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  <row Id="27" PostTypeId="1" AcceptedAnswerId="35" CreationDate="2010-12-07T20:55:13.517" Score="4" ViewCount="219" Body="&lt;p&gt;I noticed this the other day: the Maestro mixer on my Mac was showing the 'From Software' channel clipping. It happened to be that Radium was playing internet radio and the volume slider on the Radium app was maxed. The sliders on the 'From Software' channel in Maestro were set to 0dB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can it be that an internal audio signal, completely digital, can clip a channel like this? Even dropping the sliders down on the channel didn't stop the clipping. I had to reduce the volume via the volume slider in the Radium application. That's got me scratching my head a bit and wondering if the app is really clipping it's audio line or if it's the Maestro mixer's channel strip monitors showing me something that isn't actually happening. I couldn't &lt;em&gt;hear&lt;/em&gt; any discernable digital clipping on my monitors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a picture of it occurring...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/cLE2h.png&quot; alt=&quot;Maestro showing &amp;#39;From Software&amp;#39; channel clipping&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="37" LastActivityDate="2010-12-07T21:02:16.547" Title="How can internal software clip the 'From Software' channel on my Apogee Duet?" Tags="|monitoring|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="35" PostTypeId="2" ParentId="27" CreationDate="2010-12-07T21:02:16.547" Score="3" Body="&lt;p&gt;It may be that it counts 0dB (i.e. full-scale) as clipping - I've seen this before.&lt;/p&gt;&#xA;" OwnerUserId="53" LastActivityDate="2010-12-07T21:02:16.547" CommentCount="3" ContentLicense="CC BY-SA 2.5" />
  <row Id="99" PostTypeId="1" AcceptedAnswerId="102" CreationDate="2010-12-08T04:58:34.897" Score="12" ViewCount="1468" Body="&lt;p&gt;People seem to be making a point of the distinction of the role of Engineer and Producer. What's the difference?&lt;/p&gt;&#xA;" OwnerUserId="101" LastActivityDate="2010-12-08T05:19:02.640" Title="What's the difference between an Engineer and a Producer?" Tags="|producing|engineering|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="101" PostTypeId="2" ParentId="99" CreationDate="2010-12-08T05:14:30.467" Score="3" Body="&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Audio_engineering&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/Audio_engineering&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Producer, engineer, mixer Phil Ek has&#xA;  described audio engineering as the&#xA;  &quot;physical recording of any project—the&#xA;  placing of microphones, the turning of&#xA;  pre-amp knobs, the setting of&#xA;  levels—and the producer is the guy who&#xA;  directs that process.&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Producer says: &quot;Make the bass beat phatter&quot;. The engineer does it.&lt;/p&gt;&#xA;" OwnerUserId="38" LastActivityDate="2010-12-08T05:14:30.467" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="102" PostTypeId="2" ParentId="99" CreationDate="2010-12-08T05:19:02.640" Score="12" Body="&lt;p&gt;The engineer is the &quot;equipment operator&quot;.  His expertise is choosing the right equipment for the job and using it in the right way to achieve the desired effect.  His role is analogous to that of the cameraman in film production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The producer is kind of like a project manager.  His job is to get all the individuals - musicians, vocalists, engineers - to each do their part to achieve the overall goal.&lt;br&gt;&#xA;For example, he might decide a certain song should be quiet and soothing, so he'll advise the musicians to tone down the accompaniment, the vocalist to soften her voice, and the engineer to add the necessary processing to achieve that soothing sound he's after.&lt;/p&gt;&#xA;" OwnerUserId="64" LastActivityDate="2010-12-08T05:19:02.640" CommentCount="1" ContentLicense="CC BY-SA 2.5" />
  <row Id="162" PostTypeId="1" AcceptedAnswerId="178" CreationDate="2010-12-09T01:26:39.303" Score="8" ViewCount="372" Body="&lt;p&gt;While editing a song, I tried to cut out the bass drum by applying a high-pass FFT filter, i.e. filtering out the low pitch of the bass drum.  This resulted in the drum sound being severely quieted, rather than removed entirely.  I know that higher overtones from the drum would still be present in the audio, but why isn't the lower pitch completely removed?&lt;/p&gt;&#xA;" OwnerUserId="123" LastEditorUserId="24" LastEditDate="2010-12-11T20:16:22.497" LastActivityDate="2010-12-11T20:16:22.497" Title="Why doesn't an FFT pitch filter fully 'mute' the selected pitch range?" Tags="|filter|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 2.5" />
  <row Id="178" PostTypeId="2" ParentId="162" CreationDate="2010-12-09T09:13:15.547" Score="7" Body="&lt;p&gt;First of all, tell us more about the filter. Is it really a brickwall filter, or are you actually using a low roll-off or low cut-off filter? In the latter case, it is perfectly normal, when using a high cut-off filter, the low frequencies decrease with -6dB per octave below the specified frequency, and are not completely gone. Roll-off is the same, but with less dBs per octave. (either 4,5 or 3, can't really remember.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you did use a brickwall filter, there is another possible explaination: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A phenomenon in psycho-accoustics is the hearing of a low note where it is not there, but when the harmonics (= overtones) are there. Every base tone has different overtones. (Really, if multiple overtones are there, there is really not much ambiguity.) The human brain actually processes these overtones and adds the base tone.&lt;/p&gt;&#xA;" OwnerUserId="24" LastActivityDate="2010-12-09T09:13:15.547" CommentCount="1" ContentLicense="CC BY-SA 2.5" />
  <row Id="201" PostTypeId="2" ParentId="162" CreationDate="2010-12-09T22:14:05.247" Score="1" Body="&lt;p&gt;In general a filter is not something that completely removes a given set of frequencies.  Rather, it just attenuates them - cutting some percentage of them out.  In extreme cases (kill EQs on DJ mixers come to mind) the attenuation is so much that it may as well be considered getting rid of it entirely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wikipedia has a pretty good graph of how a low pass filter cuts out higher frequencies in their article on &lt;a href=&quot;http://en.wikipedia.org/wiki/Low-pass_filter&quot; rel=&quot;nofollow&quot;&gt;Low-pass filters&lt;/a&gt;.  A low-pass filter can be thought of as a &quot;high-reducing&quot; filter if that makes more sense.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This behavior shows up whether the filters are FFT-based, analog, whatever.&lt;/p&gt;&#xA;" OwnerUserId="95" LastActivityDate="2010-12-09T22:14:05.247" CommentCount="4" ContentLicense="CC BY-SA 2.5" />
  <row Id="212" PostTypeId="1" AcceptedAnswerId="233" CreationDate="2010-12-10T12:20:30.300" Score="19" ViewCount="2432" Body="&lt;p&gt;Given that most people can't hear so many frequencies above 20kHz anyways, I've never understood the exact arguments for using sampling rates above 48kHz.  At 48kHz, I understand that it is easier to construct a lowpass filter with a bit of higher bandwidth to remove aliasing, but I don't understand why anybody would want to record at 96kHz.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For projects which are strictly digital, ie, using pure digital synthesis and not recording any material which would be converted from analog -&gt; digital, is there any advantage to using sampling rates above 44.1kHz?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For everything else, is there any benefit at all to using 96kHz?  Is it beneficial when applying some particular type of DSP operation later on?  Or is it purely a placebo effect for the ear?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: There are other questions here asking about which sampling rates to use for various types of recording projects, but here I am asking for &lt;em&gt;real, hard facts&lt;/em&gt; for any mathematical or DSP-related reasons supporting use of higher sampling rates.&lt;/p&gt;&#xA;" OwnerUserId="73" LastEditorUserId="88" LastEditDate="2010-12-11T22:50:00.110" LastActivityDate="2022-04-18T16:16:49.843" Title="Are there any mathematical advantages for higher sampling rates?" Tags="|sampling-frequency|" AnswerCount="7" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="219" PostTypeId="2" ParentId="212" CreationDate="2010-12-10T15:55:53.057" Score="1" Body="&lt;p&gt;When recording with multiple tracks, I believe the bit depth is more important than the sampling rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for example, 24bit would be better that 16bit. This has to do with the way that your tracks are mixed down together and something called &quot;rounding errors&quot; when there are not sufficient bits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most hardware and software can now easily support 96k &amp;amp; 24bit, so there isn't a real need to settle for less.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, you can obviously make a high quality recording using older 16/44.1 equipment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's more about the talent than it is the equipment.&lt;/p&gt;&#xA;" OwnerUserId="50" LastActivityDate="2010-12-10T15:55:53.057" CommentCount="4" ContentLicense="CC BY-SA 2.5" />
  <row Id="233" PostTypeId="2" ParentId="212" CreationDate="2010-12-11T15:27:33.430" Score="21" Body="&lt;p&gt;I always use double sampling rates if possible, for two important reasons.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First reason: to get rid of the characteristics of the anti-imaging filter when working with analog sound sources. What is an anti-imaging filter?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say I am recording on 44100 Hz.&lt;br&gt;&#xA;If I would record a sine wave of less then 10 KHz, you could clearly see the sinewave when you plot the sample values in a graph.&lt;br&gt;&#xA;If I sample a sine wave of 0dB FS with a 22,5KHz frequency, the samples read 1 and -1 alternately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, here's the problem. If I record a sine wave of 0dB FS with a 30 KHz frequency, and plot the samples, each sample is taking more than half a sine period, and - if you would play back the samples - it would return an 11KHz sinewave. (If you don't believe me, just make a simple drawing.) This behaviour is called the 'imaging effect'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This means that before sampling the signal, we have to be sure that there are NO frequencies present what so ever above the so-called &quot;nyquist frequency&quot; (which is half the sampling rate). When using digital sound sources that provide their sounds already sampled, this is not really that big a deal, since they can sometimes just be programmed to never generate a signal above half the sampling rate, or they can filter everything out using a linear-phase brickwall filter that has no effect on the rest. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, if you are sampling signal from an analog source, this filtering is done before the signal is sampled. The only way to filter analog sound is by use of an electronical circuit. And since the filter is supposed to have a very steep curve, &lt;strong&gt;&lt;em&gt;it will affect the frequencies within the audible range&lt;/em&gt;&lt;/strong&gt;, even though the filter was not designed for it. Now there are quite some good filters inside A/D converters, so the problem is minimal, but it gets relatively irritating to listen to when you are working several days on 44.1 KHz audio, compared to using 96KHz. The filter that is going to be applied when you downsample 96 back to 44.1 is of course a digital filter, and is probably of a much better quality. And, it is only applied when you are completely done with all the work, so it won't bother you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second reason: to get rid of the characteristics of the dithering signal. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you are recording in 24 bits resolution and you plan to have your master at 16 bits, you will need a dithering signal to mask away the rounding errors. Now noise is not a pretty thing to have in your recording and while broadband noise is best for masking rounding errors, noise shaping can be a big improvement applied to the dithering signal in order to make it less disturbing. Now if the recording was made using 96KHz, you can noise shape most of the dithering signal to frequencies higher than 24KHz, so nobody will hear them. The dithering noise is at the end of the recording finally filtered out, at the moment you downsample your project back to 44.1 KHz.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, bottom lines:&#xA;Is it useful when recording analog stuff:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Yes, definitely. You have less disturbance from the anti-imaging filter and less disturbance from the dithering signal when used with proper noise shaping.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Is it useful when working with digital stuff that came right of my softsynth?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Yes, still useful if you plan to work with 24 bits, and mastering it down to 16 bits. You can gain a great deal with noise shaping the dithering signal.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="24" LastEditorUserId="24" LastEditDate="2013-09-28T14:26:23.963" LastActivityDate="2013-09-28T14:26:23.963" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="255" PostTypeId="1" AcceptedAnswerId="291" CreationDate="2010-12-13T23:39:12.330" Score="6" ViewCount="135" Body="&lt;p&gt;Some time ago, I did a project where the solo guitarist was sitting in a different location. I uploaded rough down mixes to guitarist, who would load the files into his DAW software, record his guitar parts to separate tracks and send the guitar tracks back to me. It worked really well save for one thing: His tracks always seemed a teeny tiny bit off key. Not only that, but he also seemed to drift very slightly tempo wise. The drift became more noticeable on longer takes and that's where it occurred to me that perhaps his and my sampling frequencies were not in sync. After a little trial and error I was able to identify the drift between our sampling rates and subsequently, I would always resample his submissions to get the tracks in tune and sync with my tracks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;b&gt;Edit:&lt;/b&gt; To be clear, the files were sampled at 44.1KHz at both ends. An example: One file is two minutes long. At the beginning of the file, the transient of the guitarists strum is right on top of my drums and bass. But over the course of 2 minutes, the strum consistently lags behind a little further each time. I know is isn't because my guitarist can't keep time--it's too consistent for that.  Looking at the last strum, about two minutes into the song, I see the transient of the drum and the guitar is now 200 milliseconds apart. There are supposed to be 44,100 samples every second so that's a lag of 8820 samples.  A two minute sample at 44,100Hz is 120*44,100 = 5,292,000 samples so relatively speaking, the lag is less than .17 percent. All things considered that might sound like a pretty good tolerance, but a .17 percent drift after two minutes is 200 milliseconds and very clearly audible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that you can use external clock sources to sync up digital streams, but we didn't have that kind of equipment at our disposal. Besides, although two external clock sources would probably be spot on 44.1/84/96KHz, we'd still have to make sure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In movie and video production, it is common to use a so-called clapperboard to annotate each take, and to synchronize image and sound. I wonder if maybe marking each take with a reference signal could perhaps help identify equipment that's not sampling the signal at exactly 44.1/48/96KHz. I know I could just add, say, a 1000 HZ square signal at the beginning of each take, but then I would manually have to look at the waveform to see if it is spot on. Are there better ways to deal with this kind of problem?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it a common problem or just a case of really bad hardware on my and/or the guitarists side?&lt;/p&gt;&#xA;" OwnerDisplayName="user13" LastEditorUserId="1072" LastEditDate="2011-09-27T16:07:23.817" LastActivityDate="2011-09-27T16:07:23.817" Title="Is there an easy method for detecting or marking the actual sample frequency?" Tags="|sampling-frequency|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="259" PostTypeId="2" ParentId="255" CreationDate="2010-12-14T03:21:31.697" Score="1" Body="&lt;p&gt;What file format are you passing back and forth?  The sample rate is stored in the file.  No need for a reference tone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One of you is likely recording at a different sample rate than the other.  Probably one is recording at 44.1kHz, and the other 48kHz, or 88.2/96, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, audio interfaces do vary in sample rate frequency.  44,100Hz can be 44,099Hz on one, and 44,0102Hz on another.  This won't throw your tuning off by any perceptible amount.  Given enough time, you can start hearing a difference.  However, if you are recording against a track already recorded, this isn't an issue.  The playback sample rate on his DAW while recording will be the same rate as the record rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, if you put together a few parts and send him the files, and then he records a couple tracks and sends you the files, there should be no issue here.&lt;/p&gt;&#xA;" OwnerUserId="129" LastActivityDate="2010-12-14T03:21:31.697" CommentCount="5" ContentLicense="CC BY-SA 2.5" />
  <row Id="287" PostTypeId="2" ParentId="212" CreationDate="2010-12-15T16:33:28.083" Score="12" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;For projects which are strictly digital, ie, using pure digital synthesis and not recording any material which would be converted from analog -&amp;gt; digital, is there any advantage to using sampling rates above 44.1kHz?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Yes.  Some examples:&lt;/p&gt;&#xA;&lt;h1&gt;Creation of frequencies you &lt;em&gt;don't&lt;/em&gt; want&lt;/h1&gt;&#xA;&lt;h2&gt;Aliasing from digital synthesis&lt;/h2&gt;&#xA;&lt;p&gt;Many square/sawtooth/triangle wave generators are naively-written, in that they produce an infinite number of harmonics, which &lt;a href=&quot;https://www.flickr.com/photos/omegatron/4624609411&quot; rel=&quot;nofollow noreferrer&quot;&gt;are aliased and sound clearly bad&lt;/a&gt;. (&lt;code&gt;..., +1, +1, +1, +1, −1, −1, −1, −1, ...&lt;/code&gt; is &lt;em&gt;not&lt;/em&gt; a correct square wave, and the aliased harmonics will produce radio tuning sounds in the background during portamento.)&lt;/p&gt;&#xA;&lt;p&gt;If the sampling frequency is higher, this effect is reduced, because the aliasing frequency is farther away from the audio band.&lt;/p&gt;&#xA;&lt;p&gt;Of course it would be better if &lt;a href=&quot;http://slack.net/%7Eant/bl-synth/&quot; rel=&quot;nofollow noreferrer&quot;&gt;the generator were written in a way that completely eliminates aliasing&lt;/a&gt;, but you can't always control that as a user.  Even well-written ones are usually compromises, with &lt;a href=&quot;https://ieeexplore.ieee.org/document/1395943&quot; rel=&quot;nofollow noreferrer&quot;&gt;&amp;quot;reduced&amp;quot; aliasing&lt;/a&gt;, not completely bandlimited, so higher sampling rate still helps.&lt;/p&gt;&#xA;&lt;h2&gt;Aliasing from digital distortion&lt;/h2&gt;&#xA;&lt;p&gt;Likewise, when you use any kind of digital non-linear distortion, it produces an infinite number of harmonics or &lt;a href=&quot;https://en.wikipedia.org/wiki/Intermodulation&quot; rel=&quot;nofollow noreferrer&quot;&gt;intermodulation&lt;/a&gt; products.  The ones that would be produced above the Nyquist frequency are actually aliased back into the audible range.&lt;/p&gt;&#xA;&lt;p&gt;Although it's theoretically possible to &lt;a href=&quot;https://dsp.stackexchange.com/q/2608/29&quot;&gt;distort in a bandlimited way&lt;/a&gt;, it isn't common for plugin coders to actually do this.  Every guitar distortion plugin I've tested has aliasing, even processing at 96 kHz.&lt;/p&gt;&#xA;&lt;p&gt;I'm not sure how much of a problem this is practically.  Lots of things cause small amounts of distortion, like a compressor or volume fade, but the amount is already negligible, so the aliased amount is even more negligible.  For heavy distortion, the aliased frequencies may also be not noticeable because they're buried in the noise.  Regardless, higher sampling rate will help to minimize any harmful effects.&lt;/p&gt;&#xA;&lt;h1&gt;Lack of frequencies you &lt;em&gt;do&lt;/em&gt; want&lt;/h1&gt;&#xA;&lt;p&gt;Another possible concern is that synthesized ultrasonic frequencies might become useful later in processing, even though you can't hear them directly in the recording:&lt;/p&gt;&#xA;&lt;h2&gt;Frequency shift from time changes&lt;/h2&gt;&#xA;&lt;p&gt;If you resample a wave to slow it down, such as in a soundfont player, those ultrasonic frequencies will become audible frequencies.  If you had filtered them out to avoid aliasing at the lower sampling rate, the slowed-down sound would be missing the high end.&lt;/p&gt;&#xA;&lt;h2&gt;Distortion/Modulation&lt;/h2&gt;&#xA;&lt;p&gt;As said before, distortion will create new intermodulation frequencies at sum and difference locations from the frequencies in the original recording.  This time, we're concerned about desirable audible frequencies being produced by distortion/modulation of ultrasonic frequencies (not related to aliasing).  If those ultrasonic frequencies aren't in the recording before distortion, the output will be missing the audible frequencies they produce, and it won't exactly emulate an equivalent analog effect.&lt;/p&gt;&#xA;&lt;p&gt;Again, I'm not sure if this is practically a problem, but it's at least plausible, and higher sampling rates that include ultrasound will improve it.&lt;/p&gt;&#xA;&lt;p&gt;In general, working at higher sampling rates gives &amp;quot;headroom&amp;quot; to prevent problems with effects and stuff that may not be implemented correctly.  Like photocopying a photocopy, the better the quality of each copy, the less degradation there will be in the final product.&lt;/p&gt;&#xA;&lt;h1&gt;Useless for playback&lt;/h1&gt;&#xA;&lt;p&gt;This is not to say that higher sampling rates are a good idea for &lt;em&gt;playback&lt;/em&gt; of the finished mix.  They're not.  As described above, distortion of ultrasound can produce audible sound, and loudspeakers are the least linear thing in the audio chain, so you want to eliminate any ultrasound from the final mix to prevent it from being distorted by the speaker.&lt;/p&gt;&#xA;&lt;p&gt;There's no benefit to higher sampling rates for music playback; they should only be used in the recording and processing stages.  See &lt;a href=&quot;http://people.xiph.org/%7Exiphmont/demo/neil-young.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;24/192 Music Downloads ...and why they make no sense&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="153" LastEditorUserId="17390" LastEditDate="2022-04-18T16:16:49.843" LastActivityDate="2022-04-18T16:16:49.843" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="289" PostTypeId="2" ParentId="212" CreationDate="2010-12-15T16:41:05.900" Score="2" Body="&lt;p&gt;For what it's worth, the mathematical rationale, at least to the needs of the audio world, is generally described by &lt;a href=&quot;http://en.wikipedia.org/wiki/Nyquist%E2%80%93Shannon_sampling_theorem&quot; rel=&quot;nofollow&quot;&gt;the Nyquist-Shannon sampling theorem&lt;/a&gt;, sometimes just referred to as the Nyquist theorem, which in basic language just states that to fully reproduce a waveform with a max frequency n Hz, you need 2n samples per second.&lt;/p&gt;&#xA;" OwnerUserId="156" LastActivityDate="2010-12-15T16:41:05.900" CommentCount="1" ContentLicense="CC BY-SA 2.5" />
  <row Id="291" PostTypeId="2" ParentId="255" CreationDate="2010-12-15T17:10:11.970" Score="0" Body="&lt;p&gt;Yes, sample clocks vary, and this can cause recordings on different devices to drift over time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're trying to figure out the frequency at which something was recorded, you could do a bandpass filter around 50 Hz or 60 Hz (depending on which country you're in), and then analyze the hum which is picked up in the recording.  If you're in the US, the hum will be at &lt;a href=&quot;http://en.wikipedia.org/wiki/Utility_frequency#Long-term_stability_and_clock_synchronization&quot; rel=&quot;nofollow&quot;&gt;exactly 60 Hz&lt;/a&gt;.  If you analyze it and get 60.1 Hz, then you know the sampling frequency of that device was 0.16% slow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Electrical_network_frequency_analysis&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/Electrical_network_frequency_analysis&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.theregister.co.uk/2010/06/01/enf_met_police/&quot; rel=&quot;nofollow&quot;&gt;http://www.theregister.co.uk/2010/06/01/enf_met_police/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="153" LastActivityDate="2010-12-15T17:10:11.970" CommentCount="3" ContentLicense="CC BY-SA 2.5" />
  <row Id="540" PostTypeId="1" AcceptedAnswerId="543" CreationDate="2011-01-08T12:47:20.627" Score="3" ViewCount="12083" Body="&lt;p&gt;I just can't find a program similar to Cool Edit Pro for the Mac. Any idea?&lt;/p&gt;&#xA;" OwnerUserId="33" LastEditorUserId="910" LastEditDate="2011-05-19T03:56:43.830" LastActivityDate="2011-11-24T23:40:02.100" Title="Cool Edit Pro alternative for Mac?" Tags="|software|mac|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="541" PostTypeId="2" ParentId="540" CreationDate="2011-01-08T15:28:02.367" Score="2" Body="&lt;p&gt;Depending on the functionality needed, &lt;a href=&quot;http://audacity.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;Audacity&lt;/a&gt; (it's free) may do the trick.  Otherwise, you might try &lt;a href=&quot;http://www.steinberg.net/en/products/cubase/start.html&quot; rel=&quot;nofollow&quot;&gt;Cubase&lt;/a&gt; (it's expensive depending on version).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both can use your existing sound interface.  If you want an easier (in my opinion) user interface, check into &lt;a href=&quot;http://www.avid.com/us/products/family/pro-tools&quot; rel=&quot;nofollow&quot;&gt;ProTools&lt;/a&gt;, but you will need to buy compatible hardware.&lt;/p&gt;&#xA;" OwnerUserId="129" LastActivityDate="2011-01-08T15:28:02.367" CommentCount="2" ContentLicense="CC BY-SA 2.5" />
  <row Id="543" PostTypeId="2" ParentId="540" CreationDate="2011-01-08T19:19:45.900" Score="6" Body="&lt;p&gt;Cool Edit Pro is now Adobe Audition. They have started a beta, so you're in luck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://labs.adobe.com/technologies/audition/&quot;&gt;http://labs.adobe.com/technologies/audition/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="169" LastActivityDate="2011-01-08T19:19:45.900" CommentCount="5" ContentLicense="CC BY-SA 2.5" />
  <row Id="682" PostTypeId="1" AcceptedAnswerId="2587" CreationDate="2011-01-25T13:41:30.847" Score="2" ViewCount="4091" Body="&lt;p&gt;I work for a company that outputs videos in many formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We currently stream movies in FLV format, offer downloads in a WMV and MP4 format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However in the interest of saving server space and offering the user a better service, we are preparing to offer our streams in MP4 instead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I am wondering is: What format would be good for downloads:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Download size&lt;/li&gt;&#xA;&lt;li&gt;Encoding time&lt;/li&gt;&#xA;&lt;li&gt;Format compat: Will it work out of the box on both a Mac and Windows machine.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;To my knowledge, WMV works out of the box on Windows and MP4 works out of the box on Mac. Is there a format that works for both and has a reasonable file size?&lt;/p&gt;&#xA;" OwnerUserId="423" LastEditorUserId="1072" LastEditDate="2011-11-03T13:15:28.933" LastActivityDate="2011-12-03T13:39:47.957" Title="WMV vs MP4 Streaming &amp; Download" Tags="|file-formats|video|streaming|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="720" PostTypeId="1" AcceptedAnswerId="733" CreationDate="2011-01-31T09:49:44.527" Score="2" ViewCount="862" Body="&lt;p&gt;I play in an amateur university orchestra, and I just recorded our last concert this weekend. This was a very simple setup: just a Sony PCM-D50 recorder, set to record at 96/24 through its internal mics, on a tripod a couple of meters away from the orchestra.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I set the recording level low enough that the internal limiter never triggered, while getting peaks at around -3 dB when the orchestra was really loud (and 0 dB during applause, of course).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now with an orchestral program (especially in this case where we played movie soundtracks, so you get a solo violin in Schindler's List, a small woodwind ensemble in Harry Potter (Nimbus 2000 theme), and full-tilt brass/percussion in Star Wars) there is an enormous dynamic range to cover. It seems that modern productions use heavy dynamic range compression to &quot;lift&quot; the soft passages, and while I'm quite happy with the sound quality of the recording as-is, I'd still like to try and &quot;equalize&quot; it a bit so it's more in line with other CDs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is that when I use the pre-set Dynamic range compression settings in Sound Forge Audio Studio (for example 2:1 compression from -18 dB, or 3:1 from -15 dB) and then add gain (say, +6 dB), I find that the recording starts sounding quite muddy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't think that that's because of a bad algorithm (I find the same problem in Audacity) but probably because I'm using a sledgehammer instead of a fine screwdriver to adjust the sound. Do you have any tips on how to lift low volumes without muddying the middle dynamic and high peaks?&lt;/p&gt;&#xA;" OwnerUserId="450" LastEditorUserId="2569" LastEditDate="2013-05-10T02:26:36.577" LastActivityDate="2013-05-10T02:26:36.577" Title="Amateur orchestra recording/post-processing" Tags="|compression-dynamics|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="721" PostTypeId="2" ParentId="720" CreationDate="2011-01-31T12:14:45.853" Score="3" Body="&lt;p&gt;If it sounds good, don't change it. You could try to change it to 44.1kHz-16bit and see if it's really that off from a CD. Otherwise leave it as it is. The whole loudness war is lame anyway. &lt;a href=&quot;http://productionadvice.co.uk/dynamic-range-day/&quot; rel=&quot;nofollow&quot;&gt;http://productionadvice.co.uk/dynamic-range-day/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="430" LastActivityDate="2011-01-31T12:14:45.853" CommentCount="2" ContentLicense="CC BY-SA 2.5" />
  <row Id="729" PostTypeId="1" CreationDate="2011-02-01T20:30:04.727" Score="5" ViewCount="1167" Body="&lt;p&gt;I'm working on a song that I'd like to have drums similar to Radiohead's &quot;&lt;a href=&quot;http://www.youtube.com/watch?v=I0nVJ1fnZZY&quot; rel=&quot;nofollow&quot;&gt;Pulk/Pull Revolving Doors&lt;/a&gt;.&quot; I love the way the bass kick sounds like it's cloudy, as though I were hearing it through plugged ears. The contrast it has with the snare-like clicks is perfect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What effects or equalizer settings in Ableton Live would create a similar sound? I spent some time messing with combinations of EQ, compression and other things that might destruct or squash the sound the right way, but to no avail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Granted, I could just sample the song, but I'd much rather have my own version so I can tweak it to my heart's content.&lt;/p&gt;&#xA;" OwnerUserId="458" LastEditorUserId="2569" LastEditDate="2013-05-10T02:27:18.003" LastActivityDate="2013-05-10T02:27:18.003" Title="How do I make something sound &quot;cloudy&quot; as though my ears are plugged using Ableton Live?" Tags="|effects|ableton-live|equalization|compression-dynamics|" AnswerCount="4" CommentCount="1" ClosedDate="2014-01-27T16:11:32.570" ContentLicense="CC BY-SA 2.5" />
  <row Id="730" PostTypeId="2" ParentId="729" CreationDate="2011-02-01T21:42:45.030" Score="3" Body="&lt;p&gt;I listened to the song, and it almost sounds like the bass drum is not a bass drum at all, but more like a distorted puff of air.  If I were trying to reproduce that sound from scratch, the first thing I would do is try gently &lt;strong&gt;blowing into a cheap microphone.&lt;/strong&gt;  I would bet you dollars to donuts that's how Radiohead created the sound originally.&lt;/p&gt;&#xA;" OwnerUserId="131" LastEditorUserId="131" LastEditDate="2011-02-01T21:52:06.187" LastActivityDate="2011-02-01T21:52:06.187" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="733" PostTypeId="2" ParentId="720" CreationDate="2011-02-02T13:34:58.553" Score="1" Body="&lt;p&gt;The real answer: make sure your input level is OK every time you record something. Make sure that the loudest passages are just hitting the head (I try getting to &gt; -1dB FS while not clipping.) , so the soft passages have enough detail. Also remember that dynamic range is a musical ingredient in classical music, even between different pieces. If things are soft in the hall, you don't want them as loud in your recording as things that are loud in the hall, you will lose a bit of musicality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So: never ever compress classical music to solve your dynamic range problems, unless you use it for professional broadcasting purposes only. (And even then, don't compress the master, but use compression in the broadcasting chain.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead, if you still want to fix things because you are turning the volume up and down between the pieces: slightly adjusting the overall levels of the pieces a bit is in many occasions the right thing to do. To do this, edit all pieces so that they fade in and out on the beginning and the end. (With a piece, I mean, if you record a Beethoven symphony, those 4 movements are related, so only fade the beginning of the first movement in, and the applause at the end of the last movement out. Don't fade in between the movements and don't adjust the volume for the individual movements!) If you do this, you can make slight adjustments to the overall level of the pieces. Don't normalize to 0dB FS though, and don't make the changes too big. A few (e.g. 3) dB could just be enough to solve your problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to go this path, make sure you always record in 24 bits so you have more detail in your audio if you increase the volume in the master. (Sample rate is of less importance, but to record in 96KHz or in 88.2KHz is always good.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My personal tips:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Adjusting the volume of a classical mix changes the accoustics of the hall; all sustaining noise from e.g. the audience is louder as well as the reverb it creates.&lt;/li&gt;&#xA;&lt;li&gt;Adjusting the volume of a classical mix/master is almost always an excuse for having too much headroom on your recording and will result in dynamic detail getting lost. Therefore, always record in 24 bits if you decide to increase it.&lt;/li&gt;&#xA;&lt;li&gt;As mentioned: dynamic range in classical music is a piece of the music itself, even between the different pieces. Getting rid of it is destroying part of the musical contents.&lt;/li&gt;&#xA;&lt;li&gt;As a rule of thumb: never touch the volume of a part of a classical recording if the difference in dynamics is so bad that you can't listen to the recording in the living room without touching the volume button.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="24" LastEditorUserId="24" LastEditDate="2011-02-02T13:54:59.363" LastActivityDate="2011-02-02T13:54:59.363" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="739" PostTypeId="7" CreationDate="2011-02-02T19:29:47.527" Score="0" Body="&lt;p&gt;The &lt;strong&gt;Audio-Video Production Stack Exchange&lt;/strong&gt; is for engineers, producers, editors, and enthusiasts spanning the fields of audio, video, and media creation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a question about&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;broadcast, film, audio, music, or location recording techniques&lt;/li&gt;&#xA;&lt;li&gt;editing, mixing, mastering, and distribution&lt;/li&gt;&#xA;&lt;li&gt;post-production techniques&lt;/li&gt;&#xA;&lt;li&gt;signal processing in a production context (for highly technical questions about digital signal processing, please visit &lt;a href=&quot;http://dsp.stackexchange.com/&quot;&gt;Stack Exchange's DSP site&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;asset management, media, and file formats&lt;/li&gt;&#xA;&lt;li&gt;installation, configuration, and operation of software related to these topics&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&amp;hellip; then you’re in the right place to ask your question!&lt;/p&gt;&#xA;" OwnerUserId="-1" LastEditorUserId="95" LastEditDate="2012-01-18T18:03:54.043" LastActivityDate="2012-01-18T18:03:54.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="744" PostTypeId="2" ParentId="729" CreationDate="2011-02-03T03:43:11.467" Score="6" Body="&lt;p&gt;Do you have your kick on a separate track? If so, there is this cool plugin that will trigger a midi note depending on the sound input. You could use that to trigger a synth, or your own sample as Robert Harvey says.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for transforming this sound:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;First&lt;/strong&gt; thing you notice is that there is a delay in the left channel. This reduces the impact as the sound is not heard simultaeously in both ears.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Second&lt;/strong&gt;, the lows are cut. I'm guessing under 100hz things are not really happening. It's probably boosted a bit at 120Hz. Youtube is also having an affect on this. You should test this yourself with a high quality copy of this song in an analyser. AL (8?) has a pretty good one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Third&lt;/strong&gt; is there are not many highs. If your kick is a real drum kick, you'll need to eq the sound of the drum skin.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Fourth&lt;/strong&gt; is some kind of FX: Maybe bit reduction and possibly some chorus. There are many ways to acheive this. If you want something warmer, you could also use some distortion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, all of this should really be applied reverse. At least the delay in the left ear should be added last so that the chorus (used to smooth out the harshness of bit reduction) does not sound like a &quot;CHORUS&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They are using a constant delay on the drum kit. It sounds like a right-left-right delay. No center. AL has some FX for this. There is ping pong delay and simple delay. I'm not sure which one allows for panning (I'm not in the studio). But you'd want to delay back and forth between right and left channels with just enough feedback to only have three repetitions. Also the falloff (rate the sound volume diminishes) should be rather low, so that you continue to hear each successive delay clearly, rather that it getting quieter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The beginning of the track, they've mutted the drum track on and off. It sounds like the kick and snare are being hit at the same time. You can automate this with envelopes in AL. This gives the impression that there is no delay and that the kick is sort of a double hit or has some kind of a reverse reverb on it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to make something sound like your ears are plugged, you'd need to cut out a lot of the mid-range and high-end, as that is what is blocked. Considerable low-end still gets though. Though, I don't think that is exactly the sound you want judging from your example.&lt;/p&gt;&#xA;" OwnerUserId="442" LastActivityDate="2011-02-03T03:43:11.467" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="803" PostTypeId="1" CreationDate="2011-02-13T08:23:07.293" Score="7" ViewCount="1259" Body="&lt;p&gt;There are two pieces of functionality which I need from the Behringer XENYX 1202 FX.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Our podcast requires the use of Skype which means:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Skype-out must go to an input on the mixer&lt;/li&gt;&#xA;&lt;li&gt;Skype-in should hear the other microphones but not the channel delerving Skype-out&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;We should have the ability to playing the Music to the output, while silencing the microphones from the mix.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Solving problem &lt;strong&gt;1&lt;/strong&gt;  was rather simple all I had to do was make Skype-In &lt;code&gt;FX Out&lt;/code&gt; and turn &lt;code&gt;FX&lt;/code&gt; on the non-skype channels up (Skype channel turn &lt;code&gt;FX&lt;/code&gt; Off). In this case I'm not using &lt;code&gt;FX In&lt;/code&gt; at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second one however is a little tricky. However, in &lt;a href=&quot;http://www.behringer.com/EN/downloads/pdf/1002FX_P0572_M_EN.pdf&quot;&gt;the manual&lt;/a&gt; I see the following:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If you are recording a signal via the TAPE OUTPUT and wish to&#xA;  listen to this simultaneously via the CD/TAPE INPUT, do not use the&#xA;  CD/TAPE TO MIX switch. Doing this would create a feedback loop,&#xA;  since the signal would be routed, via the main mix, back to tape via the&#xA;  TAPE OUTPUT. To monitor the CD/TAPE INPUT, use the CD/TAPE TO CTRL&#xA;  switch to assign the tape signal to the monitor(s) or headphones.&#xA;  This will avoid the tape signal being routed to the TAPE OUTPUT.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I'm not sure I understand what they're saying. But, it sounds like it speaks to what I  want. Is there any way to accomplish my goal with the one 1202FX Mixer?&lt;/p&gt;&#xA;" OwnerUserId="501" LastActivityDate="2013-04-28T15:35:05.157" Title="Hacking up a podcast functionality with the Behringer XENYX 1202FX." Tags="|podcast|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 2.5" />
  <row Id="806" PostTypeId="2" ParentId="729" CreationDate="2011-02-14T05:58:28.487" Score="2" Body="&lt;p&gt;my first approach would be to take the kick (either miced or synthesized), filter out a good amount the extreme lows, the mids, and the highs, then send it through a gated reverb.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the gated reverb was kind of popular in the 80s. it can be easily recreated by using a noise gate (with a sidechain input) and a compressor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;an example signal flow, in beautiful ascii art:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Source-&amp;gt;DensePlateReverb-&amp;gt;HeavyCompressor-&amp;gt;NoiseGate-&amp;gt;Output&#xA;   |                                             ^&#xA;   |                                             |&#xA;    -----------------------------SidechainInput--&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;so the dense plate reverb is a plate reverb setting you should be able to find/create. if you can find one which has a lot of sustain and fast release, that will decrease blurring. however, part of this is the gate's job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the compressor is pretty hard/squashed, with a short attack/release times - this keeps the signal's amplitude fairly even.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the gate uses fast attack/release, and a fairly lengthy hold -- the hold should determine the duration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;you can accomplish a variation using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Source-&amp;gt;LPF-&amp;gt;VeryShortSharpGate-&amp;gt;HeavyReverb-&amp;gt;HeavyCompressor-&amp;gt;Output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;in any case, the reverb's energy will be higher than the source's energy, particularly for the sustain. the signal path you choose will create different effects, and alternates will be required depending on the performance/song.&lt;/p&gt;&#xA;" OwnerUserId="503" LastActivityDate="2011-02-14T05:58:28.487" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="811" PostTypeId="2" ParentId="803" CreationDate="2011-02-14T13:41:05.873" Score="2" Body="&lt;p&gt;Why don't you do the music as a post.. Then you can just add the music track in the background and make it 'Duck' behind the voices. And if you really need the music to keep the tempo of the podcast conversation, you can just have it play on another device (iPod) and have it mixed into just the headphones, but not record it at all.. Or am I missing something?&lt;/p&gt;&#xA;" OwnerUserId="430" LastActivityDate="2011-02-14T13:41:05.873" CommentCount="2" ContentLicense="CC BY-SA 2.5" />
  <row Id="834" PostTypeId="1" AcceptedAnswerId="838" CreationDate="2011-02-17T08:08:45.257" Score="5" ViewCount="150" Body="&lt;p&gt;To make sure the songs still sound OK on crap systems like small radios and computer speakers I've been listening to recordings through my computers speakers, a surprisingly good value €50 Creative Labs set of small speakers + subwoofer (you know, &lt;a href=&quot;http://en.store.creative.com/products/product.aspx?catid=4&amp;amp;pid=19816&quot;&gt;this kind&lt;/a&gt; of thing). Although that has been useful, it means I can only listen to the mix after I've mixed it down to my computer (I use a Tascam 2525 mixing desk and midi sequencing a lot).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I'm looking for a set of extra monitors. They need to be &quot;crap&quot; for a certain value of crap, they must be active, and can't cost more than a couple of hundred dollars and not to big. So yes, another set of creative speakers + subwoofers fits the bill, but maybe somebody has good recommendation for alternatives.&lt;/p&gt;&#xA;" OwnerUserId="223" LastEditorUserId="223" LastEditDate="2011-02-17T14:10:49.110" LastActivityDate="2011-02-17T16:26:13.290" Title="Recommendations for good &quot;bad monitors&quot;?" Tags="|monitoring|" AnswerCount="1" CommentCount="0" ClosedDate="2015-10-13T11:14:27.813" ContentLicense="CC BY-SA 2.5" />
  <row Id="838" PostTypeId="2" ParentId="834" CreationDate="2011-02-17T15:16:04.757" Score="7" Body="&lt;p&gt;I'm struggling trying to answer this in a way that would enhance what you've got already. Because really, you've got a pretty good representation of &quot;everyman's speaker&quot; there with the Creative set you have already.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I'm going to take a different approach here and, instead of recommending something to buy, I'm going to recommend some techniques I use to test my mix to see if it'll work on other systems (I mix on a KRK Rokit setup and my big mains are JBLs driven by a McIntosh amp).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Test on a clock radio. They are almost the ubiquitous music listening device. We all have them in our rooms. There are a few, guaranteed, in every office space. Your mechanic has one in his office. They are &lt;em&gt;everywhere&lt;/em&gt;. And they sound pretty much like poo. I have a line in on my little Sony clock radio. I'll bounce a mix, drop it on my iPhone, and try it out on the clock radio via the line in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Test you mix without the sub. Most people don't have one. So click off the sub on your Creative setup and see how it sounds. Is there still a reasonable representation of the low end happening when it's just a small speaker setup?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Test your mix in mono. Or rather: move away away from the sweet spot. I like to throw a mix on in a loop and then walk out of the room. Wander around the house. Listen to it like most people listen to music: while they're going about they're day and it's background to their lives. Few people spend the time to sit down in the proper spot, between two nice speakers, and really enjoy all that hard work you spent placing each instrument in to it's own space. Sad, but true.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Test your mix in the car. Music and cars are just kind of like pie and ice cream. It needs to sound good in the car.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Test your mix in headphones. If only to avoid the &quot;Sgt. Pepper's Effect&quot; where you've panned things to extremes and when you listen to them in headphones it becomes a bit like having your head pulled apart by the ears. I test headphones last because I find if I tune for them I'll end up with a mix that's too bass heavy on regular speakers.&lt;/p&gt;&#xA;" OwnerUserId="37" LastEditorUserId="37" LastEditDate="2011-02-17T16:26:13.290" LastActivityDate="2011-02-17T16:26:13.290" CommentCount="1" ContentLicense="CC BY-SA 2.5" />
  <row Id="851" PostTypeId="1" CreationDate="2011-02-18T16:26:45.017" Score="5" ViewCount="554" Body="&lt;p&gt;I am planning to release short and basic videos on youtube. I would like to have a more polished look and feel so I am wondering if there are templates that you can use with, say, adobe premiere, that are complete with graphics, sounds, etc. Sorta like how a theme works with Wordpress.&lt;/p&gt;&#xA;" OwnerDisplayName="user529" LastActivityDate="2012-09-10T11:12:54.140" Title="Templates for video production?" Tags="|producing|video|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 2.5" />
  <row Id="895" PostTypeId="1" CreationDate="2011-02-23T23:32:58.130" Score="4" ViewCount="725" Body="&lt;p&gt;Not purely audio, but definitely related!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Jack Conte and Nataly Dawn have &quot;pioneered&quot; the 'videosong' format.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Rule 1 — What you see is what you hear. (No lip-syncing for instruments or voice)&lt;/li&gt;&#xA;&lt;li&gt;Rule 2 — If you hear it, at some point you see it. (No hidden sounds)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Example — &lt;a href=&quot;http://www.youtube.com/watch?v=xycnv87N_BU&quot; rel=&quot;nofollow noreferrer&quot;&gt;SEPTEMBER!!! by Earth Wind and Fire&lt;/a&gt;, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone suggest how these are made? Preferably with freeware for Windows...&lt;/p&gt;&#xA;" OwnerUserId="554" LastEditorUserId="18155" LastEditDate="2019-09-17T17:19:47.277" LastActivityDate="2019-09-17T17:19:47.277" Title="How can I make &quot;videosongs&quot;?" Tags="|software|video|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="907" PostTypeId="5" CreationDate="2011-02-24T23:19:02.373" Score="0" Body="&lt;p&gt;Logic Pro is a hybrid 32 / 64 bit digital audio workstation and MIDI sequencer software application for the Mac OS X platform.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Logic Pro provides software instruments, synthesizers, audio effects and recording facilities for music synthesis. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recent versions of Logic only support Apple's AU format for plugins. VST plugins cannot be used by Logic without using an AU wrapper.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Logic Pro can work with MIDI keyboards and control surfaces for input and processing, and for MIDI output. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It features real-time scoring in musical notation, supporting guitar tablature, chord abbreviations and drum notation.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;source: &lt;a href=&quot;http://en.wikipedia.org/wiki/Logic_Pro#Features&quot; rel=&quot;nofollow&quot;&gt;Wikipedia&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.apple.com/logicstudio/logicpro/&quot; rel=&quot;nofollow&quot;&gt;Logic Pro Oficial web site&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="517" LastEditorUserId="1530" LastEditDate="2011-10-20T18:06:55.767" LastActivityDate="2011-10-20T18:06:55.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="908" PostTypeId="4" CreationDate="2011-02-24T23:19:02.373" Score="0" Body="Logic Pro is a hybrid 32 / 64 bit digital audio workstation and MIDI sequencer software application for the Mac OS X platform." OwnerUserId="517" LastEditorUserId="517" LastEditDate="2011-02-24T23:27:14.190" LastActivityDate="2011-02-24T23:27:14.190" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="911" PostTypeId="2" ParentId="729" CreationDate="2011-02-25T15:31:03.513" Score="2" Body="&lt;p&gt;This kind of thing doesn't generally come from applying effects, but from the right source sound in the first place. I would try many kinds of sounds from whatever origin you can think of. For kick sounds, once I miked myself slamming the sofa I was sitting on with my palm, sounded very organic. At some point you are bound to get a sound that you will instantly see that fits your idea, and then you can put fx on it. Actual source sounds are under-rated in production.&lt;/p&gt;&#xA;" OwnerUserId="559" LastActivityDate="2011-02-25T15:31:03.513" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="924" PostTypeId="2" ParentId="895" CreationDate="2011-02-26T05:56:22.707" Score="0" Body="&lt;p&gt;You need a multi-camera setup and a video card that will receive simultaneous video feeds/channels. Then, multichannel video software which will probably need a very powerful CPU to run all channels with edits and effects.&lt;/p&gt;&#xA;" OwnerUserId="559" LastActivityDate="2011-02-26T05:56:22.707" CommentCount="3" ContentLicense="CC BY-SA 2.5" />
  <row Id="927" PostTypeId="2" ParentId="895" CreationDate="2011-02-26T15:27:34.830" Score="0" Body="&lt;p&gt;There's nothing special about how the audio is recorded for these videos.  It appears to be just video clips taken from the recording session arranged into a music video.  It does look cool but that's all it is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best people to ask about video tools would be the band themselves!&lt;/p&gt;&#xA;" OwnerUserId="95" LastActivityDate="2011-02-26T15:27:34.830" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="1057" PostTypeId="1" AcceptedAnswerId="1058" CreationDate="2011-03-18T23:53:27.907" Score="6" ViewCount="849" Body="&lt;p&gt;What is the name of those colour test screens at the beginning of videos? I've used it before in Final Cut Pro but I forget what it's called.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="657" LastEditorUserId="95" LastEditDate="2011-07-22T05:34:47.333" LastActivityDate="2022-02-04T10:49:48.127" Title="What is the name of that color test in video production with the beep?" Tags="|video|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1058" PostTypeId="2" ParentId="1057" CreationDate="2011-03-19T00:03:44.937" Score="7" Body="&lt;p&gt;Never mind. Found the answer. It's called &quot;Color Bars&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To be precise...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;SMPTE Color Bars&#xA;SMPTE Bars are &quot;split field&quot; bars composed of:&#xA;**Frame Height (Approx)**       **Type of Bars**&#xA;Top 67%                     Standard EIA 75% amplitude white bars&#xA;Next 8%                     Reverse blue bars&#xA;Lower 25%                       Pluge signal&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/eLSWM.gif&quot; alt=&quot;enter image description here&quot;&gt;&#xA;&lt;sub&gt;&lt;a href=&quot;http://www.mediacollege.com/video/test-patterns/colour-bars-smpte.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;source&lt;/a&gt;&lt;/sub&gt;&lt;/p&gt;&#xA;" OwnerUserId="657" LastEditorUserId="2569" LastEditDate="2012-10-09T21:22:58.210" LastActivityDate="2012-10-09T21:22:58.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1067" PostTypeId="1" CreationDate="2011-03-21T14:58:14.987" Score="4" ViewCount="614" Body="&lt;p&gt;How are negative timecodes handled with drop-frame:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is the frame before &lt;code&gt;-00:00:59:29&lt;/code&gt; labelled &lt;code&gt;-00:00:01:02&lt;/code&gt; (symmetric), or&lt;/li&gt;&#xA;&lt;li&gt;Is the frame after &lt;code&gt;-00:01:00:01&lt;/code&gt; labelled &lt;code&gt;-00:00:59:28&lt;/code&gt; (regular)?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="154" LastEditorUserId="24" LastEditDate="2011-03-21T18:53:52.353" LastActivityDate="2014-06-08T16:14:50.403" Title="Negative SMPTE timecode drop-frame handling?" Tags="|sync|timecode|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 2.5" />
  <row Id="1105" PostTypeId="2" ParentId="1067" CreationDate="2011-03-28T11:10:06.507" Score="1" Body="&lt;p&gt;Taking into account that&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;frame dropping works on a 10min-regular basis&lt;/li&gt;&#xA;&lt;li&gt;project offsetting by a multiple of 10min should keep frame dropping at the same positions&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I guess the correct way of doing this is on a &lt;strong&gt;regular&lt;/strong&gt; basis.&lt;/p&gt;&#xA;" OwnerUserId="154" LastActivityDate="2011-03-28T11:10:06.507" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="1118" PostTypeId="5" CreationDate="2011-03-31T09:30:25.677" Score="0" Body="&lt;p&gt;Sibelius is a commercial musical notation software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently in its version 6.2, available for Mac OS X and Windows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;http://www.sibelius.com/&quot; rel=&quot;nofollow&quot;&gt;company&lt;/a&gt; producing it is a subsidiary of Avid corporation.&lt;/p&gt;&#xA;" OwnerUserId="671" LastEditorUserId="64" LastEditDate="2011-03-31T13:52:01.523" LastActivityDate="2011-03-31T13:52:01.523" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="1119" PostTypeId="4" CreationDate="2011-03-31T09:30:25.677" Score="0" Body="Sibelius is a commercial musical notation and sequencer software.&#xD;&#xA;&#xD;&#xA;Currently in its version 6.2, available for Mac OS X and Windows." OwnerUserId="671" LastEditorUserId="64" LastEditDate="2011-03-31T13:52:22.507" LastActivityDate="2011-03-31T13:52:22.507" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="1150" PostTypeId="1" CreationDate="2011-04-10T15:24:33.917" Score="6" ViewCount="509" Body="&lt;p&gt;I'm looking at getting something to use as a 'body pack' as opposed to using a wireless setup when using a lavalier microphone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've looked into Tascam DR-08 vs. Zoom H1 or other.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found a comparison of these two here (great blog for video):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://cheesycam.com/tascam-dr-08-vs-zoom-h1-continued/&quot;&gt;http://cheesycam.com/tascam-dr-08-vs-zoom-h1-continued/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen various information recommending both of these recorders along with the negatives including build quality and battery problems of the H1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought that that the Zoom H1 with it's protective cover over the mics and the offset angles are great pluses for this device for this use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are people's thoughts on ultra compact digital recorders? Any suggestions or recommendations?&lt;/p&gt;&#xA;" OwnerUserId="702" LastActivityDate="2011-05-17T14:31:35.803" Title="Best Digital recorder for use as a ‘body pack’ + good field recorder?" Tags="|digital-recording|video|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="1154" PostTypeId="2" ParentId="212" CreationDate="2011-04-12T02:48:53.813" Score="5" Body="&lt;p&gt;To have headroom for effects is a theoretically (and practically) valid reason to have a higher sampling rate than twice the human hearing limit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason for this is easily visualised by comparing with image editing – if you only have say 800x600 px image with an overall shot of a high contrast brick wall, fishnet, striped textiles, or other finely spaced high contrast texture, you can only rotate in 45° multiples without causing a &lt;a href=&quot;http://en.wikipedia.org/wiki/Moire&quot;&gt;moiré effect&lt;/a&gt; and blurring the details. With audio, the distortions that occur with editing have different terms, but the same Nyquist-Shannon sampling theorem principles apply. &lt;b&gt;Aliasing&lt;/b&gt; is a more commonly used term than &quot;imaging effect&quot;, for the event that the sampled sound has frequency content above half the sampling rate (called Nyquist frequency).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In practise, like Pelle ten Cate already explained, a brick wall low pass filter is not achievable, but there is always some gradient (slope) on the cut off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another good reason to record with higher sampling rates is to achieve a more precise stereo image, as human hearing in large part relies on small time differences (about 5-20 ms, and physically these are phase differences) between ears to localise sound sources. The heads &quot;shadow&quot; and other aspects also play a part.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the audio CD sampling rate  of 44100 Hz, each sample represents 22,6 microseconds, and for example one period of a 882 Hz frequency has 50 samples. Also, a rather long delay of 20 ms delay lasts 50 samples. So, only 25 samples at that middle frequency means a 180° phase cancellation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, 44,1 KHz sampling rate is just good enough, but does not really have much headroom for editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing that should be kept in mind is to use dithering (just as in image editing) to prevent quantization noise. And next you will ask, should I use 24 bit quantization instead of 16 bits...?&lt;/p&gt;&#xA;" OwnerUserId="739" LastActivityDate="2011-04-12T02:48:53.813" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="1160" PostTypeId="2" ParentId="212" CreationDate="2011-04-12T16:59:20.177" Score="4" Body="&lt;p&gt;Another good reason to use a higher sampling rate is to work around deficiencies of plugin implementations.  Many plugin writers do not properly take into account the bandwidth-expanding effects of nonlinear signal operations, and as a result you can get aliasing effects  before you leave the box. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, a compressor is basically a voltage-controlled amplifier... it multiplies one signal (the audio signal) by another signal (the gain).  Multiplication of 2 signals is also known as ring modulation or heterodyning; it has the effect of producing sum and difference signals of the 2 inputs.  If you multiply a 15 kHz sine by a 10 kHz sine, you get an output signal that has a 5 kHz and a 25 kHz component.  If your compressor's gain has a very fast attack, and the input signal has a wide bandwidth, the &quot;sum&quot; component signal could easily go over the Fs/2 limit on a transient basis, resulting in spurious aliased low-frequency junk in your output signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The real fix for this is for the plugin to be implemented using oversampling internally, but if you can't get that the next best thing is to run the system at as high a Fs as you can.  You won't have any actual audio content up in the stratosphere but you are protected against some plugin blowing past the boundary.   &lt;/p&gt;&#xA;" OwnerUserId="345" LastActivityDate="2011-04-12T16:59:20.177" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1188" PostTypeId="2" ParentId="1150" CreationDate="2011-04-17T15:08:09.743" Score="1" Body="&lt;p&gt;I have a &lt;a href=&quot;http://www.d-mpro.com/users/folder.asp?FolderID=4313&quot; rel=&quot;nofollow&quot;&gt;Marantz PMD620&lt;/a&gt; &amp;amp; it works very nicely -- the builtin microphone sounds very clear, battery life is good, it has timestamping, and it takes SD cards. I'm not a professional or audio expert, but I'm very happy with it.&lt;/p&gt;&#xA;" OwnerUserId="760" LastEditorUserId="147" LastEditDate="2011-04-23T13:48:05.463" LastActivityDate="2011-04-23T13:48:05.463" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1198" PostTypeId="2" ParentId="1150" CreationDate="2011-04-19T11:39:33.570" Score="2" Body="&lt;p&gt;I have a &lt;a href=&quot;http://www.zoom.co.jp/english/products/h2/&quot; rel=&quot;nofollow&quot;&gt;Zoom H2&lt;/a&gt; and I'm very impressed with the sound quality. It has 4 built-in mics giving it a 360&amp;deg; recording capability. Battery life is poor though so a couple of sets of high-capacity rechargeables is in order.&lt;/p&gt;&#xA;" OwnerUserId="769" LastEditorUserId="147" LastEditDate="2011-04-23T13:48:13.823" LastActivityDate="2011-04-23T13:48:13.823" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1209" PostTypeId="1" AcceptedAnswerId="1210" CreationDate="2011-04-20T18:50:06.840" Score="5" ViewCount="2533" Body="&lt;p&gt;I've just purchased a few simple hardware rackmount devices, and a rack case.  I've never set anything like this up before.  I've been told that the devices' faceplates are screwed to the rack, and no other support is required.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this true?  Are rack devices only attached by the faceplates, and there's no other support?  Some of these devices are kind of heavy and it doesn't seem like enough support to handle the weight, particularly during transport where they bump around.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to make sure I'm not missing something.&lt;/p&gt;&#xA;" OwnerUserId="95" LastActivityDate="2011-04-21T11:47:26.447" Title="Does rackmount hardware attach only on the faceplate?" Tags="|hardware|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1210" PostTypeId="2" ParentId="1209" CreationDate="2011-04-20T18:55:06.867" Score="7" Body="&lt;p&gt;Yes, almost all rackmount devices are designed to bear their loads on the front plate. Only in very rare circumstances have I seen a piece of rack gear that has not remained rigid while mounted in a rack, and that was only after &lt;em&gt;years&lt;/em&gt; of being in one. There are also some rack pieces that have a second set of mounts in the back, but I haven't seen that in a long time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My Crown power amp, which has got to be 50+ pounds, is only front mounted, as is my Akai S5000, which is about as unwieldy as it gets. You should be fine. Make sure you use four rack screws, and be careful not to overtighten them. You may also want to use rubber or nylon washers, but that's a whole other topic in itself.&lt;/p&gt;&#xA;" OwnerUserId="728" LastEditorUserId="728" LastEditDate="2011-04-20T21:11:43.277" LastActivityDate="2011-04-20T21:11:43.277" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1213" PostTypeId="2" ParentId="1209" CreationDate="2011-04-20T21:23:20.723" Score="3" Body="&lt;p&gt;Rackmount gear is almost universally designed to bear all its weight from the front panel, yes. As Zeronyne points out, even fairly heavy gear is fine, as long as it is mounted properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will simply add that I &lt;em&gt;have&lt;/em&gt; on rare occasions seen rack gear that had optional mounting hardware for both the back in addition to the front. This is quite uncommon, however, and generally just an added precaution--not required.&lt;/p&gt;&#xA;" OwnerUserId="94" LastActivityDate="2011-04-20T21:23:20.723" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1226" PostTypeId="2" ParentId="1209" CreationDate="2011-04-21T11:47:26.447" Score="1" Body="&lt;p&gt;1U Rack mount computer servers will often have mounting rails or other things to support them, but nearly all audio kit or servers that use several U are usually just attached from the front.&lt;/p&gt;&#xA;" OwnerUserId="301" LastActivityDate="2011-04-21T11:47:26.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1283" PostTypeId="1" AcceptedAnswerId="1284" CreationDate="2011-04-26T16:49:33.613" Score="6" ViewCount="543" Body="&lt;p&gt;I have a recording from a camcorder (with a broken mic) where the audio is 1) largely white noise and 2) almost in-audible sound from people chatting in a room.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What methods could be used to amplify the &quot;almost in-audible&quot; parts (and remove the white noise)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess what consumer level audio tools could do this?&lt;/p&gt;&#xA;" OwnerUserId="821" LastActivityDate="2011-04-26T18:16:09.377" Title="Methods of Amplifying Poor Audio from Camcorder Recording?" Tags="|software|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1284" PostTypeId="2" ParentId="1283" CreationDate="2011-04-26T18:16:09.377" Score="5" Body="&lt;p&gt;From your description of the audio, it is going to be hard to fix, as white noise tends to cover a very broad frequency spectrum and so is hard to get rid of without losing what you want to keep.&#xA;A decent starting point for you would be to use a freeware audio editing program like &lt;a href=&quot;http://audacity.sourceforge.net/&quot; rel=&quot;noreferrer&quot;&gt;Audacity&lt;/a&gt;. Here is a &lt;a href=&quot;http://wiki.audacityteam.org/index.php?title=Noise_Removal&quot; rel=&quot;noreferrer&quot;&gt;noise removal tutorial using Audacity&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also use audacity to cut out sections where there is no background talking. Then you can use an effect called a &lt;strong&gt;compressor&lt;/strong&gt; to attempt to raise the level of the speaking to a better level, although you may still find you are amplifying some background noise. Here's a description of the &lt;a href=&quot;http://wiki.audacityteam.org/wiki/Compressor&quot; rel=&quot;noreferrer&quot;&gt;audacity compressor&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="147" LastActivityDate="2011-04-26T18:16:09.377" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1288" PostTypeId="5" CreationDate="2011-04-26T19:38:12.597" Score="0" Body="&lt;p&gt;REAPER Home Page: &lt;a href=&quot;http://reaper.fm&quot; rel=&quot;nofollow&quot;&gt;http://reaper.fm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;REAPER is a digital audio workstation: a complete multitrack audio and MIDI recording, editing, processing, mixing, and mastering environment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Questions that refer to the usage of REAPER should use this tag.  Since REAPER can use plugins from a variety of sources, it may not be appropriate to tag a question about a plugin that REAPER is hosting as a REAPER question.&lt;/p&gt;&#xA;" OwnerUserId="689" LastEditorUserId="689" LastEditDate="2011-04-26T20:19:49.177" LastActivityDate="2011-04-26T20:19:49.177" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1289" PostTypeId="4" CreationDate="2011-04-26T19:38:12.597" Score="0" Body="REAPER is a digital audio workstation: a complete multitrack audio and MIDI recording, editing, processing, mixing, and mastering environment." OwnerUserId="689" LastEditorUserId="689" LastEditDate="2011-04-26T20:20:15.150" LastActivityDate="2011-04-26T20:20:15.150" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1323" PostTypeId="1" AcceptedAnswerId="1327" CreationDate="2011-05-02T01:21:06.147" Score="7" ViewCount="2247" Body="&lt;p&gt;Just finished a tracking session with a singer who has a &lt;em&gt;huge&lt;/em&gt; dynamic range. This musician is otherwise very professional, and is a joy to have in the studio, and I'm not in any way criticizing her. However, there are some variables I'd like to know how to handle should they recur (with either her or another musician): &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The was musician playing guitar while singing live in the studio. By the end of the session, we got the takes we needed, and their quality was good. She never needed more than a few takes, but we had to do a few retakes on top of that because of a little clipping. (But hey, six songs in three hours...not bad.) But this is making me wonder: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The extreme dynamic range makes using the pad setting problematic, coupled with a slightly noisy environment. (Read: lotsa planes and trucks today in my normally quiet neighborhood.) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general, what can one do to cope with a situation like this? Should the tracking engineer ride the trim pot in a situation like this, or would that make the recording choppy? Suck it up and use automation and light compression on the audio in post? Run a second mic for the vocal?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's my rig. (Today was the first non-test session with a new computer and interface, after a recent rig meltdown.)&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Macbook Pro with Garageband, wille export to Logic for mixdown&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.motu.com/products/motuaudio/audio-express&quot;&gt;MOTU Audio Express&lt;/a&gt; interface&lt;/li&gt;&#xA;&lt;li&gt;SM58 on her vocal and a Studio Projects C1 on her guitar, with a bit of bleed between the two (as anticipated)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="167" LastActivityDate="2023-04-28T18:58:24.140" Title="How to handle extreme dynamic range in a vocalist?" Tags="|clipping|tracking|" AnswerCount="4" CommentCount="1" ClosedDate="2023-04-29T12:40:55.210" ContentLicense="CC BY-SA 3.0" />
  <row Id="1326" PostTypeId="2" ParentId="1323" CreationDate="2011-05-02T04:38:41.890" Score="1" Body="&lt;p&gt;Singing with an microphone, both live and recorded, can be improved with a little technique. Compression cannot compensate for clipping and, as you point out, some singers have an incredible dynamic range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you look closely at vocalists who regularly perform with microphones, you will notice they either move the microphone or the head to increase the distance between the microphone and the mouth at particularly powerful phrases and sounds. It takes a little practice to internalize and get the timing right, but the result is yet another control the vocalist can use to shape the sound and expression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Chances are you will be compressing the vocals anyway. A good microphone vocalist is not only able to control his or her own voice, but also control how the dynamics of the voice is recorded. This in turn could lead to more natural and open sounding recordings because more subtle compression settings can be used.&lt;/p&gt;&#xA;" OwnerDisplayName="user13" LastActivityDate="2011-05-02T04:38:41.890" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="1327" PostTypeId="2" ParentId="1323" CreationDate="2011-05-02T04:53:54.657" Score="3" Body="&lt;p&gt;What Kim Burgaard said is very true. The vocalist has a lot of control over how their voice is recorded. As I'm a much inferior vocalist to those I record, it can be difficult teaching them this technique, as you just want to get a good take.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what I end up doing is have the vocalist scream. Well, I ask them to warm up and hit the loudest levels they can. I then adjust via that. I try not affect overall sound with compression in the analog domain. With the takes in 24bit, I can use envelopes or a compressor in the mixing stage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would stay away from ridding the level during recording. It's more difficult to get the levels right in the mixing stage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You mention running a second mic for the vocal. I would hope that is what you are doing anyway. I don't think recording the mic and guitar with one mic is a good idea at all. You'll not be able to mix anything.&lt;/p&gt;&#xA;" OwnerUserId="442" LastActivityDate="2011-05-02T04:53:54.657" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="1427" PostTypeId="2" ParentId="1150" CreationDate="2011-05-17T14:31:35.803" Score="9" Body="&lt;p&gt;The specific feature set will determine if it is appropriate for you application, though from my experience most of the high end field recorders are very good quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Zoom series have a great (well deserved) reputation for being relatively easy to use, and being kind to your wallet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you wish to supply your own mic, you may wish to find one without inbuilt microphones as it may be cheaper.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do not want to supply your own mic, my experience has been that the inbuilt mics are adequate for recording dialogue, in say an interview.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're planning to record with the device on the talent (and want the recorder to be as discreet as possible), I would suggest investing in lapel mic (just the mic not the transmitter), and plug that into the field recorder to get the mic as close as possible.&lt;/p&gt;&#xA;" OwnerUserId="627" LastActivityDate="2011-05-17T14:31:35.803" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1486" PostTypeId="1" AcceptedAnswerId="1489" CreationDate="2011-05-29T05:56:29.743" Score="3" ViewCount="1216" Body="&lt;p&gt;Title says it all really. Just want to check up before I do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a spare set of &lt;a href=&quot;http://usa.yamaha.com/products/music-production/speakers/hs_series/hs80m/?mode=model&quot; rel=&quot;nofollow noreferrer&quot;&gt;Yamaha HS80M&lt;/a&gt; monitors lying around. Rather than just having them sitting on the shelf, I'd like to connect them to a Sony LCD TV directly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this safe? Is it advisable?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I plan to use a cable that looks something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/EMQYo.jpg&quot; alt=&quot;RCA male to XLR male&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realize the signal isn't balanced. I'm really most concerned as to whether this is in some way dangerous.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers.&lt;/p&gt;&#xA;" OwnerUserId="640" LastActivityDate="2011-05-29T17:48:49.750" Title="Sony TV RCA output into Yamaha HS80M input via RCA male to XLR male: Is it safe?" Tags="|cable|monitors|connectors|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1489" PostTypeId="2" ParentId="1486" CreationDate="2011-05-29T17:16:44.390" Score="4" Body="&lt;p&gt;Not dangerous at all. You may have impedance matching issues though. And possibly lots of noise in the signal because of the unbalanced source and mis-matched impedance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Start with the volume on the Yamahas all the way down and, with something playing on the television, nudge the volume up ever so slightly until you can hear the source. You want to make certain a too-hot signal from the TV doesn't rip your speakers apart.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For best results a DI with properly matched inputs for the TV would be my advice. Something like &lt;a href=&quot;http://www.radialeng.com/re-proav1.htm&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; would do the trick.&lt;/p&gt;&#xA;" OwnerUserId="37" LastEditorUserId="37" LastEditDate="2011-05-29T17:48:49.750" LastActivityDate="2011-05-29T17:48:49.750" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1558" PostTypeId="1" CreationDate="2011-06-07T21:10:15.923" Score="4" ViewCount="10346" Body="&lt;p&gt;The style that I am shooting for can be heard on this video:&#xA;&lt;a href=&quot;http://www.youtube.com/watch?v=nZlPiehYpVM&quot; rel=&quot;nofollow&quot;&gt;http://www.youtube.com/watch?v=nZlPiehYpVM&lt;/a&gt;&#xA;at 2:18 (&quot;Blades of Steel&quot;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried playing with equalization, hi-pass/low-pass, and various filters, but I can't seem to get anywhere close to this effect, where the &quot;s&quot; sounds come off as static, and the annunciation of consonants is muted (possibly an attack filter?). I can't find any documentation through Google search, either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know very little about the sound architecture of the NES, other than that music was composed with Square and Triangle waves, and the &quot;samples&quot; were presented through a separate sound channel. On NES sound emulators I use, this channel is usually labeled &quot;PCM,&quot; (Pulse Code Modulation?) The NES system itself was 8-Bit, but I do not know if its sound system was.&lt;/p&gt;&#xA;" OwnerUserId="985" LastActivityDate="2011-09-16T02:57:33.720" Title="How do I filter a voice recording to sound like a NES game sample?" Tags="|equalization|filter|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1559" PostTypeId="2" ParentId="1558" CreationDate="2011-06-07T21:34:27.617" Score="4" Body="&lt;p&gt;You wont get that effect with just an EQ.&#xA;try using a bitcrusher effect to reduce the bit-depth to 8 or 16 bits, maybe some saturation and a lowpass at the end to tame some of the distortion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The characteristics of these old game sounds come almost entirely from the crazy low resolution and data compression necessary at the time to get the samples onto the game cartridge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;good luck!&lt;/p&gt;&#xA;" OwnerUserId="1373" LastActivityDate="2011-06-07T21:34:27.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1562" PostTypeId="2" ParentId="1558" CreationDate="2011-06-08T01:50:13.587" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://freemusicsoftware.org/722&quot; rel=&quot;nofollow&quot;&gt;CMT Bitcrusher&lt;/a&gt; is a great tool for this. &lt;a href=&quot;http://illformed.org/plugins/glitch/&quot; rel=&quot;nofollow&quot;&gt;dBlue Glitch&lt;/a&gt; also has a bitcrusher module.&lt;/p&gt;&#xA;" OwnerUserId="763" LastActivityDate="2011-06-08T01:50:13.587" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1563" PostTypeId="2" ParentId="1558" CreationDate="2011-06-08T04:50:39.870" Score="2" Body="&lt;p&gt;Like Shane said, use at most 8-bits resolution, but also [re-]sample it around 4kHz or less.  No lowpass filter necessary as you want the higher frequencies to wrap &quot;poorly&quot; while sampling at the low sample rate.  (Though, some re-sampling actions on audio editors may do that lowpass for you).&lt;/p&gt;&#xA;" OwnerUserId="989" LastActivityDate="2011-06-08T04:50:39.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1567" PostTypeId="2" ParentId="1558" CreationDate="2011-06-08T12:52:55.013" Score="2" Body="&lt;p&gt;That sound is due to a combination of low sample rate and low bit depth.  Those are the 2 parameters you can control to diminish the data size on PCM data, which they had to do for the old game consoles because of their limited storage and processing power.  A very low sample rate without pre-filtering introduces strong aliasing, and a very low bit depth introduces distortion on the signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was able to re-create that kind of effect using McDSP FutzBox LoFi module in Wwise.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Downsample: 4000 Hz&lt;/li&gt;&#xA;&lt;li&gt;Bit depth: 4 bit&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="681" LastActivityDate="2011-06-08T12:52:55.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1570" PostTypeId="2" ParentId="1558" CreationDate="2011-06-09T11:01:00.810" Score="0" Body="&lt;p&gt;Its possible that the reason that you are having problems recreating the sound you want is that the samples you are trying to recreate might have been recorded/played back using the NES sample channel's DCPM (differential pulse-code modulation) capabilities&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is where instead storing each audio sample directly the chip stores the first sample and then the delta's (how much the signal goes up or down between samples). I read a blog somewhere (I'll try to find it and link) where somebody analysed the behavior of this channel and found that it introduced lots of strange artifacts into the sounds&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not sure how you might emulate that without the hardware&lt;/p&gt;&#xA;" OwnerUserId="71" LastActivityDate="2011-06-09T11:01:00.810" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1659" PostTypeId="5" CreationDate="2011-06-27T08:14:56.347" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Universal_Serial_Bus&quot; rel=&quot;nofollow noreferrer&quot;&gt;Universal Serial Bus&lt;/a&gt; is a specification to stablish communication between devices and a host controller (usually personal computers). Though designed for personal computers, it has become commonplace on other devices such as smartphones, PDAs and video game consoles, and as a power cord. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;USB devices are available with various &lt;a href=&quot;http://en.wikipedia.org/wiki/Universal_Serial_Bus#Connector_types&quot; rel=&quot;nofollow noreferrer&quot;&gt;connectors&lt;/a&gt;, cables and &lt;a href=&quot;http://en.wikipedia.org/wiki/Universal_Serial_Bus#Version_history&quot; rel=&quot;nofollow noreferrer&quot;&gt;versions&lt;/a&gt; with increasing transfer rates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/bEmCX.png&quot; alt=&quot;alt text&quot;&gt;&lt;br&gt;&#xA;Basic &lt;em&gt;trident&lt;/em&gt; USB Logo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Credit: @nik superuser.com&lt;/p&gt;&#xA;" OwnerUserId="741" LastEditorUserId="741" LastEditDate="2011-06-27T13:38:06.893" LastActivityDate="2011-06-27T13:38:06.893" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1660" PostTypeId="4" CreationDate="2011-06-27T08:14:56.347" Score="0" Body="USB is a universal, general interface standard for connecting peripheral devices to PCs." OwnerUserId="741" LastEditorUserId="741" LastEditDate="2011-06-27T13:38:11.573" LastActivityDate="2011-06-27T13:38:11.573" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1669" PostTypeId="5" CreationDate="2011-06-29T10:09:43.463" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://www.steinberg.net/en/products/cubase/cubase6_details.html&quot; rel=&quot;nofollow&quot;&gt;Cubase&lt;/a&gt; is an audio workstation for recording, editing, mixing and producing music.    &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The current release comes in three flavours: Cubase 6, Cubase Artist 6, Cubase Elements 6, offering differing levels of &lt;a href=&quot;http://www.steinberg.net/en/products/cubase/cubase6_feature_comparison0.html&quot; rel=&quot;nofollow&quot;&gt;features and instruments&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Composition and sequencing can be undertaken through Key, Score Drum and List editors. Further detailed dynamics and controller values can be edited through Expression Maps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recording of, say, guitars or miked instruments is supported, including &quot;Control Room&quot; functionality for custom bus, send and monitor setups.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio Editing can be undertaken for sample manipluation or, using &quot;VariAudio&quot;, vocal editing and pitch alteration.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The mixer supports &quot;128 physical inputs and outputs, 8 inserts per Channel, 64 FX sends as well as 256 groups/busses and unlimited routing between audio channels, busses, groups and FX returns&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The built in VST Instruments include&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Halion Sonic, Groove Agent Drum Sampling, Loopmash, Prologue (polyphonic Subtractive synth), Embracer synth, Monologue (monophonic synth), Spector (Spectrum Filter), Mystic (Comb Filter).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;and effects covering&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Parametric and Graphic EQ, filters, WahWah, Compressors/Expanders, Gates, Limiters, DeEssers, Distortion, Reverb, Chorus, Flanger, Phaser, Delay, Pitch Correction, Panning.  &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The products run on 32/64bit MacOS and Windows &lt;a href=&quot;http://www.steinberg.net/en/products/cubase/cubase6_specs_downloads.html&quot; rel=&quot;nofollow&quot;&gt;platforms&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Official Site: &lt;a href=&quot;http://www.steinberg.net/en/products/cubase/cubase6_start.html&quot; rel=&quot;nofollow&quot;&gt;steinberg.net&lt;/a&gt;&lt;br&gt;&#xA;Product History: &lt;a href=&quot;http://en.wikipedia.org/wiki/Steinberg_Cubase&quot; rel=&quot;nofollow&quot;&gt;wikipedia.org&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="741" LastEditorUserId="741" LastEditDate="2011-06-29T21:33:39.157" LastActivityDate="2011-06-29T21:33:39.157" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1670" PostTypeId="4" CreationDate="2011-06-29T10:09:43.463" Score="0" Body="Cubase is an audio workstation for recording, editing, mixing and producing music." OwnerUserId="741" LastEditorUserId="741" LastEditDate="2011-06-29T21:33:42.683" LastActivityDate="2011-06-29T21:33:42.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1674" PostTypeId="5" CreationDate="2011-06-30T08:51:46.397" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Sound_recording&quot; rel=&quot;nofollow&quot;&gt;Recording&lt;/a&gt; represents the general processes relating to the capture of analog signals through &lt;a href=&quot;http://audio.stackexchange.com/tags/microphone/info&quot;&gt;microphones&lt;/a&gt; -- say, vocals, drum kits or whole orchestras -- and/or direct signals from, say, &lt;a href=&quot;http://audio.stackexchange.com/tags/synth/info&quot;&gt;synthesisers&lt;/a&gt;. This capture may take place in a live environment or a more controlled studio setting, the latter affording rehersal and retakes. The process may involve techniques to improve the quality of the captured sound, like noise reduction or compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Multiple sources may be mixed together as part of the &lt;a href=&quot;http://audio.stackexchange.com/tags/live-mixing/info&quot;&gt;live recording&lt;/a&gt; process, or captured and stored independently, for further refinement in subsequent &lt;a href=&quot;http://audio.stackexchange.com/tags/mixing/info&quot;&gt;mixing&lt;/a&gt; and &lt;a href=&quot;http://audio.stackexchange.com/tags/mastering/info&quot;&gt;mastering&lt;/a&gt; stages.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Traditionally, the recording medium has been onto &lt;a href=&quot;http://en.wikipedia.org/wiki/Multitrack_tape_recorder&quot; rel=&quot;nofollow&quot;&gt;magnetic tape&lt;/a&gt;; latterly onto digital media, often supported by &lt;a href=&quot;http://audio.stackexchange.com/tags/daw/info&quot;&gt;Digital Audio Workstations&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="741" LastEditorUserId="741" LastEditDate="2011-06-30T15:48:57.407" LastActivityDate="2011-06-30T15:48:57.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1675" PostTypeId="4" CreationDate="2011-06-30T08:51:46.397" Score="0" Body="Recording is the process of capturing audio signals for the purpose of subsequent reproduction." OwnerUserId="741" LastEditorUserId="741" LastEditDate="2011-06-30T15:48:56.360" LastActivityDate="2011-06-30T15:48:56.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1684" PostTypeId="5" CreationDate="2011-07-03T14:55:12.413" Score="0" Body="&lt;p&gt;A &lt;b&gt;D&lt;/b&gt;igital &lt;b&gt;A&lt;/b&gt;udio &lt;b&gt;W&lt;/b&gt;orkstation is a software based tool for controlling the related processes of audio &lt;a href=&quot;http://audio.stackexchange.com/tags/recording/info&quot;&gt;recording&lt;/a&gt;, &lt;a href=&quot;http://audio.stackexchange.com/tags/editing/info&quot;&gt;editing&lt;/a&gt;, &lt;a href=&quot;http://audio.stackexchange.com/tags/signal-processing/info&quot;&gt;processing&lt;/a&gt;, &lt;a href=&quot;http://audio.stackexchange.com/tags/mixing/info&quot;&gt;mixing&lt;/a&gt; and &lt;a href=&quot;http://audio.stackexchange.com/tags/mastering/info&quot;&gt;mastering&lt;/a&gt;. The software can be hosted on generic computer equipment or in dedicated &#xA;hardware.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Popular software DAWs include: &lt;a href=&quot;http://audio.stackexchange.com/tags/ableton-live/info&quot;&gt;Ableton&lt;/a&gt;, &lt;a href=&quot;http://audio.stackexchange.com/tags/audacity/info&quot;&gt;Audacity&lt;/a&gt;, &lt;a href=&quot;http://audio.stackexchange.com/tags/cubase/info&quot;&gt;Cubase&lt;/a&gt;, &lt;a href=&quot;http://audio.stackexchange.com/tags/logic-pro&quot;&gt;Logic Pro&lt;/a&gt;, &lt;a href=&quot;http://audio.stackexchange.com/tags/pro-tools/info&quot;&gt;Pro Tools&lt;/a&gt;, &lt;a href=&quot;http://audio.stackexchange.com/tags/reaper/info&quot;&gt;REAPER&lt;/a&gt;. The products can be distinguished based on features, price, OS Platform support (e.g. Windows, MAC, Linux), licencing (e.g. Open Source/Commercial), compatibility (e.g. &lt;a href=&quot;http://audio.stackexchange.com/tags/vst/info&quot;&gt;VST&lt;/a&gt; support), and market prevalence (e.g. professional studio usage). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This tag should be applied when discussing techniques and problems applicable to multiple DAWs (else the specific tag should suffice). &lt;/p&gt;&#xA;" OwnerUserId="741" LastEditorUserId="741" LastEditDate="2011-07-03T18:53:30.377" LastActivityDate="2011-07-03T18:53:30.377" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1685" PostTypeId="4" CreationDate="2011-07-03T14:55:12.413" Score="0" Body="Digital Audio Workstation: a software based tool used in audio recording." OwnerUserId="741" LastEditorUserId="741" LastEditDate="2011-07-03T18:53:27.520" LastActivityDate="2011-07-03T18:53:27.520" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1692" PostTypeId="5" CreationDate="2011-07-04T20:36:27.257" Score="0" Body="&lt;p&gt;Questions should be tagged where they relate to MIDI connectivity, recording, note and automation editing techniques.&#xA;A specific tag relating to &lt;a href=&quot;http://audio.stackexchange.com/tags/midi-controller/info&quot;&gt;MIDI controllers&lt;/a&gt;, e.g. keyboards and drum pads, is otherwise available. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Further history, alternatives to MIDI (e.g. &lt;a href=&quot;http://audio.stackexchange.com/tags/osc/info&quot;&gt;OSC&lt;/a&gt;), transport protocols (e.g. &lt;a href=&quot;http://audio.stackexchange.com/tags/usb/info&quot;&gt;USB&lt;/a&gt;), extensions at &lt;a href=&quot;http://en.wikipedia.org/wiki/Musical_Instrument_Digital_Interface&quot; rel=&quot;nofollow&quot;&gt;Wikipedia&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Further background, &lt;a href=&quot;http://www.midi.org/techspecs/index.php&quot; rel=&quot;nofollow&quot;&gt;protocol specifications&lt;/a&gt; and MIDI related &lt;a href=&quot;http://www.midi.org/aboutmidi/glossary.php&quot; rel=&quot;nofollow&quot;&gt;glossary&lt;/a&gt; at the MIDI Manufacturer Association &lt;a href=&quot;http://www.midi.org/index.php&quot; rel=&quot;nofollow&quot;&gt;website&lt;/a&gt;. &lt;/p&gt;&#xA;" OwnerUserId="741" LastEditorUserId="741" LastEditDate="2011-07-04T22:22:52.117" LastActivityDate="2011-07-04T22:22:52.117" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1693" PostTypeId="4" CreationDate="2011-07-04T20:36:27.257" Score="0" Body="Musical Instrument Digital Interface - an industry standard protocol allowing connectivity between different manufacturers' products, for direct control or later playback of devices." OwnerUserId="741" LastEditorUserId="741" LastEditDate="2011-07-04T22:22:50.557" LastActivityDate="2011-07-04T22:22:50.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1697" PostTypeId="1" CreationDate="2011-07-05T22:23:37.283" Score="5" ViewCount="3140" Body="&lt;p&gt;I have a client who has misplaced the original source video, only has an SWF, and would like to use it in a non-flash environment. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far, I've tried &lt;code&gt;ffmpeg&lt;/code&gt; but it's failed, complaining about the compressed SWF.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;[swf @ 0x101807c00] Compressed SWF format not supported&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="1060" LastEditorUserId="64" LastEditDate="2011-07-05T22:33:54.950" LastActivityDate="2011-07-06T17:49:18.800" Title="Is there a method (or tool) to convert video from a SWF container to another more portable format (e.g., H.264)" Tags="|file-formats|video|" AnswerCount="5" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1698" PostTypeId="1" AcceptedAnswerId="2187" CreationDate="2011-07-05T23:11:03.547" Score="3" ViewCount="135" Body="&lt;p&gt;How do you load a Bolex H-16?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A complete answer will include a link to the camera manual, page number for reference in the ASC manual, and a video demonstrating effective loading technique.&lt;/p&gt;&#xA;" OwnerUserId="1062" LastEditorUserId="64" LastEditDate="2011-07-05T23:16:58.423" LastActivityDate="2011-08-22T17:20:28.900" Title="How do you load a Bolex H-16?" Tags="|setup|camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1700" PostTypeId="1" AcceptedAnswerId="1799" CreationDate="2011-07-06T00:09:33.450" Score="34" ViewCount="5567" Body="&lt;p&gt;What are some good resources for people attempting to setup their own green/blue screen, light, record and pull a quality key from it? Particularly on a low budget, or with materials that aren't specifically designed for that purpose. Such as,   &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;What sorts of fabric/material give good results? Both general tips and specific examples/links are helpful.&lt;/li&gt;&#xA;&lt;li&gt;Is it possible to light it adequately without a full lighting kit?&lt;/li&gt;&#xA;&lt;li&gt;What sort of encoding is recommended when filming it? (i.e. is it possible to use a DSLR with h.264?)&lt;/li&gt;&#xA;&lt;li&gt;What software would you recommend for post processing the key? Does some work better with homebrewed screens than others? &lt;/li&gt;&#xA;&lt;li&gt;If you have one, post an example of the results you were able to achieve with your suggestions. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="785" LastEditorUserId="744" LastEditDate="2011-07-07T16:39:11.720" LastActivityDate="2020-03-16T15:04:14.307" Title="Create a DIY Green Screen / Chroma Key" Tags="|diy|shooting|greenscreen|chromakey|" AnswerCount="8" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="1702" PostTypeId="2" ParentId="1700" CreationDate="2011-07-06T00:28:40.997" Score="6" Body="&lt;p&gt;Me and my friend made one for a video project. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What we did is took a white bed sheet and just painted it with basic green paint. It becomes a stiff starched fabric texture, which works well for hanging it on a wall. To light it, We used just work lights (3 100watt bulbs + unknown wattage) to light it. The lights we used were like this:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/7fBfQ.jpg&quot; alt=&quot;A Light&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/v7dQo.jpg&quot; alt=&quot;enter image description here&quot;&gt;&#xA;We just had to play around with the positioning until there were no dark shadows (omni- directional light)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We used two DSLRs (Nikon d90 and 3100), we encoded the footage into uncompressed h.264 and went right into final cut. With a little tweaking, we were able to almost completely key out the green screen. We used Final Cut Pro 7, but all major softwares have Chroma key. You just have to play around with it. The same green screen worked well in Premier Pro CS5 as well&lt;/p&gt;&#xA;" OwnerUserId="1070" LastActivityDate="2011-07-06T00:28:40.997" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="1703" PostTypeId="2" ParentId="1697" CreationDate="2011-07-06T00:30:34.270" Score="0" Body="&lt;p&gt;If your lucky, &lt;a href=&quot;http://www.videolan.org/vlc/&quot; rel=&quot;nofollow&quot;&gt;VLC might be&lt;/a&gt; able to play it. Then you can use its Convert/Save functionality to get it into a usable format. &lt;/p&gt;&#xA;" OwnerUserId="805" LastActivityDate="2011-07-06T00:30:34.270" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1704" PostTypeId="1" AcceptedAnswerId="1711" CreationDate="2011-07-06T00:30:47.377" Score="24" ViewCount="5191" Body="&lt;p&gt;I'm about to upgrade my DSLR camera from a Canon XSi (450D) to either a Canon 7D or T3i (600D).  I'm largely interested in the video features of the camera. I have several mid/high-end lenses that I already use for still photography, but I don't have any &amp;quot;general purpose&amp;quot; zoom lenses (since I prefer to use a prime lens for most of my stills).&lt;/p&gt;&#xA;&lt;p&gt;So, I'd like to get a general-purpose zoom lens (something that covers at least the 20-70mm range, or so) to use for shooting video.&lt;/p&gt;&#xA;&lt;p&gt;My primary question is, how important is lens quality for videography? I know that &amp;quot;quality&amp;quot; can mean many different things, so let me break this question down a little bit more.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;How important is sharpness? 1080p video is barely 2 megapixels, so it would stand to reason that an ultra-sharp lens is not really necessary to get sharp-looking video. Is this an accurate assumption?&lt;/p&gt;&#xA;&lt;p&gt;My approach for buying lenses for still photography has usually been to buy the best lens I can afford for the application I'm interested in. I'm wondering/hoping that it might be reasonable to buy a cheaper lens for video, and not feel like I'm sacrificing image quality, since the output resolution is so much lower than with stills. Is this just wishful thinking?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Obviously a large aperture is a bonus for video, since long exposures can't be used. But when shooting in low-light, again, it would stand to reason that I might be able to use a higher ISO to compensate for a slower lens, with less noticeable impact, since I'm recording at a much lower resolution than I would be for still photography. Is this also true? How fast of a lens do I need to be able to record in an average indoor lighting setting (no studio lighting), without a high ISO becoming noticeable?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Is image stabilization a pro or a con for hand-held video recording? I can imagine the sound of the motor might be a nuisance if picked up by the microphone. What impact does it have on the video itself?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I'm guessing a USM for auto focus probably won't matter a whole lot, since what I've read suggests that live auto-focus doesn't work very well in video mode. But even so, I suppose a USM AF would be a bonus, if/when it does work.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The ability for a lens to retain focus when zooming seems like it might be of particular importance when shooting video on a zoom lens.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Are there other factors I ought to consider when selecting a lens &lt;em&gt;specifically for video&lt;/em&gt;?&lt;/p&gt;&#xA;&lt;p&gt;I'm not really interested in pointers on which focal lengths I ought to use for what type of shooting, or specific lens recommendations... I'm interested in more general pointers, that will apply to all video shooting.&lt;/p&gt;&#xA;" OwnerUserId="1072" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2014-03-05T17:29:19.930" Title="What factors are important for DSLR lenses for shooting video?" Tags="|camera|hardware|dslr|canon|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1708" PostTypeId="2" ParentId="1700" CreationDate="2011-07-06T00:40:26.870" Score="4" Body="&lt;p&gt;This won't be a full answer to your question, but &lt;a href=&quot;http://www.learningdslrvideo.com/&quot; rel=&quot;nofollow&quot;&gt;LearningDSLRVideo&lt;/a&gt; has a few clips about DIY greenscreen--more from a shooting/software standpoint, than the physical setup standpoint, though.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.learningdslrvideo.com/key-green-screen-premiere/&quot; rel=&quot;nofollow&quot;&gt;How to Key DSLR Green Screen&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.learningdslrvideo.com/t2i-550d-green-screen/&quot; rel=&quot;nofollow&quot;&gt;DSLR Green Screen Test&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.learningdslrvideo.com/dslr-video-green-screen/&quot; rel=&quot;nofollow&quot;&gt;DSLR Green Screen Test with Premiere CS5&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1072" LastActivityDate="2011-07-06T00:40:26.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1709" PostTypeId="2" ParentId="1700" CreationDate="2011-07-06T00:45:49.983" Score="15" Body="&lt;p&gt;Here's what I used for my setup.&lt;/p&gt;&#xA;&lt;h2&gt;Fabric/Material&lt;/h2&gt;&#xA;&lt;p&gt;The main thing is to find a material that is very green. Walmart sells (at least in Maine) a very green cotton fabric that works well ($9 for 3 yards).&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/e9MXy.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;I've tried materials that are a lighter green, but without success. One thing you have to watch out for is large wrinkles, which will quickly ruin the key. Also, since this fabric is typically not very wide, you don't have a lot of room to move around unless you figure out a way to combine multiple pieces. Finally, you'll probably want to hem the edges so they don't unravel.&lt;/p&gt;&#xA;&lt;h2&gt;Lighting&lt;/h2&gt;&#xA;&lt;p&gt;You want to light the screen evenly, which probably means some sort of defused light. I used a desk lamp with some sheer fabric in front of it, and tried to center the screen underneath the overhead light that was in the room. You want to be far enough away from the screen so you're not casting a shadow (unless you're compositing it in a way that you want a shadow, if you were adding a nearby wall for example).&lt;/p&gt;&#xA;&lt;h2&gt;Encoding&lt;/h2&gt;&#xA;&lt;p&gt;Most places around the internet will discourage using DSLR, or anything with a highly compressed encoding format for chromakey. That's because they often use &lt;a href=&quot;http://en.wikipedia.org/wiki/Chroma_subsampling#Types_of_subsampling&quot; rel=&quot;noreferrer&quot;&gt;4:2:0 encoding&lt;/a&gt;, which means there's less color information to pull your &lt;em&gt;chroma&lt;/em&gt;key from.&lt;/p&gt;&#xA;&lt;p&gt;While it's less than ideal, however, it is &lt;em&gt;possible&lt;/em&gt;. I was surprised how usable the footage from my Canon t3i DSLR (h.264 encoding) was. There are some very good tips on &lt;a href=&quot;http://forums.creativecow.net/thread/280/5092&quot; rel=&quot;noreferrer&quot;&gt;this thread on Creative Cow&lt;/a&gt; on what settings to use when you have a less than ideal encoding situation (low ISO, etc).&lt;/p&gt;&#xA;&lt;h2&gt;Software&lt;/h2&gt;&#xA;&lt;p&gt;&lt;strong&gt;Mac&lt;/strong&gt; - I've used both &lt;a href=&quot;http://www.apple.com/finalcutpro/&quot; rel=&quot;noreferrer&quot;&gt;Final Cut Pro X&lt;/a&gt; ($299) and &lt;a href=&quot;http://www.apple.com/finalcutpro/motion/&quot; rel=&quot;noreferrer&quot;&gt;Motion 5&lt;/a&gt; ($49) for pulling the key, but I'd recommend Motion. The chroma key filter has more advanced options for tweaking the key (spill suppression, etc) as well as a &amp;quot;light wrap&amp;quot; feature that seems to help with color correction on the actor after compositing.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Linux or Windows&lt;/strong&gt; - I recommend the &lt;a href=&quot;http://www.blender.org/&quot; rel=&quot;noreferrer&quot;&gt;Blender&lt;/a&gt; (free) node based &lt;a href=&quot;http://wiki.blender.org/index.php/Doc:Tutorials/Composite_Nodes/Types/Matte/ChromaKeying&quot; rel=&quot;noreferrer&quot;&gt;compositing features&lt;/a&gt;. Although I haven't used them with my latest green screen, they were the best solution I could find before I got Motion. They are more complicated, however, as Blender isn't primarily a compositing tool, and you have to wait for rendering.&lt;/p&gt;&#xA;&lt;p&gt;Here's a &lt;a href=&quot;http://vimeo.com/25904523&quot; rel=&quot;noreferrer&quot;&gt;test I did using this setup&lt;/a&gt; (cotton screen, defused lamp, DSLR, and Motion) over about 4 hours. Hopefully I'll be able to get even better results with more practice and some lighting improvements.&lt;/p&gt;&#xA;" OwnerUserId="785" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2011-07-07T00:09:06.633" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1710" PostTypeId="2" ParentId="1704" CreationDate="2011-07-06T00:49:21.930" Score="0" Body="&lt;p&gt;I answer your question with a video that helped me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://vimeo.com/videoschool/lesson/13/dslr-lenses&quot; rel=&quot;nofollow&quot;&gt;http://vimeo.com/videoschool/lesson/13/dslr-lenses&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, you need to take into consideration fStop as well. This allows you to change the amount of blur the background.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Very important. You can't fix crappy/not sharp video. If the lens looses quality at the very limit of the zoom, then that will not effect the video. But, if the lens produces blurry shots on any focal length, it will show up in your video&lt;/li&gt;&#xA;&lt;li&gt;S&lt;strike&gt;hutter speed has no effect on the video, as the shutter stays open for filming.&lt;/strike&gt;&lt;/li&gt;&#xA;&lt;li&gt;It all depends. I have had no experience with VR, but I always keep it on. If you are using a shotgun mic, then any lens sounds will not be picked up. I don't have much experience here, so not my place to comment.&lt;/li&gt;&#xA;&lt;li&gt;Continuous Auto Focus is a camera function (AF-S AF-A for Nikon users)&lt;/li&gt;&#xA;&lt;li&gt;Telephoto lens do not retain focus when zooming. When the focal length chances a small amount, then its not noticeable (18mm to 25mm wont be that visible a change), but from 70mm to 240mm will loose all focus. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Even thou you did not ask for it...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Get the 7D (The use it to film House). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For staring I would get the Kit Lens or a 18-55mm or 24-105mm, but really, any lens will do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More Reading:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.reelseo.com/hd-video-dslr-camera/&quot; rel=&quot;nofollow&quot;&gt;http://www.reelseo.com/hd-video-dslr-camera/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1070" LastEditorUserId="1070" LastEditDate="2011-07-07T10:08:04.883" LastActivityDate="2011-07-07T10:08:04.883" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="1711" PostTypeId="2" ParentId="1704" CreationDate="2011-07-06T00:59:32.470" Score="15" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;How important is sharpness? 1080p video is barely 2 megapixels, so it would stand to reason that an ultra-sharp lens is not really necessary to get sharp-looking video. Is this an accurate assumption?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;It depends on the way the DSLR is capturing it's video from the sensor. The first method is the most obvious one, take the image and scale it, but there's also another; use only the pixels across the sensor's area that approximately &amp;quot;line up&amp;quot; with the pixels in the final resolution. I.e. in a 1080p image only every third or fourth scan line would be used resulting in one sensor pixel being used to produce one pixel in the video image.&lt;/p&gt;&#xA;&lt;p&gt;I would hazard a guess that an &amp;quot;acceptably sharp&amp;quot; lens would be okay for video, though not ideal and probably for more reasons than image sharpness.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;My approach for buying lenses for still photography has usually been to buy the best lens I can afford for the application I'm interested in. I'm wondering/hoping that it might be reasonable to buy a cheaper lens for video, and not feel like I'm sacrificing image quality, since the output resolution is so much lower than with stills. Is this just wishful thinking?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;As my above answer suggested, there are other aspects of the lens you need to keep in mind when choosing a video lens and these may be:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Maximum aperture for low-light.&lt;/li&gt;&#xA;&lt;li&gt;Fixed aperture for consistent exposure when zooming.&lt;/li&gt;&#xA;&lt;li&gt;Image stabilisation is especially useful when not using a steadicam or other stabilising rig or device.&lt;/li&gt;&#xA;&lt;li&gt;Ease of use, especially when it comes to the focus ring. Canon USM lenses in particular have a very smooth, usually well placed and grippy focus ring. Kit lenses aren't so good in comparison.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Obviously a large aperture is a bonus for video, since long exposures can't be used. But when shooting in low-light, again, it would stand to reason that I might be able to use a higher ISO to compensate for a slower lens, with less noticeable impact, since I'm recording at a much lower resolution than I would be for still photography. Is this also true? How fast of a lens do I need to be able to record in an average indoor lighting setting (no studio lighting), without a high ISO becoming noticeable?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I think you'll find with most typical video DSLR's is that the ISO performance for video isn't quite as great as you might assume, but it in no way bad. I'd say ISO 1600-3200 lives up to most expectations on the 18mp APS-C sensors, but beyond that it's quite noticeable.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Is image stabilization a pro or a con for hand-held video recording? I can imagine the sound of the motor might be a nuisance if picked up by the microphone. What impact does it have on the video itself?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;For music videos and other videos where sound is not used, IS is fantastic and goes a long way to ensuring the video is jitter free, but if you need the sound and it's potentially a quiet environment, it might be prudent to use an external, higher quality mic attached to say, the hot shoe via a mount.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;I'm guessing a USM for auto focus probably won't matter a whole lot, since what I've read suggests that live auto-focus doesn't work very well in video mode. But even so, I suppose a USM AF would be a bonus, if/when it does work.&lt;/p&gt;&#xA;&lt;p&gt;The ability for a lens to retain focus when zooming seems like it might be of particular importance when shooting video on a zoom lens.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;As above, Canon USM lenses (whether L or standard) have very usable focus rings. Provide good grip and are very smooth to focus with.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;I personally use a Canon EOS 60D with an EF-S 17-55mm F/2.8 IS USM lens and find it a great combination at those focal lengths. The IS in that lens is quite remarkable and the USM focus ring makes it very smooth and accurate to focus. When I turn the IS off, I can instantly see the jittery movement from my hands trying to hold a 2kg camera setup.&lt;/p&gt;&#xA;" OwnerUserId="923" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2011-10-31T19:16:58.557" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="1712" PostTypeId="2" ParentId="1704" CreationDate="2011-07-06T01:04:11.060" Score="1" Body="&lt;p&gt;#2 - You definitely want the largest aperture you can afford for video. The higher ISOs very quickly add a lot of noise, and you won't want to drop below a 1/60 exposure (&lt;a href=&quot;http://tylerginter.com/post/11480534977/180-degree-shutter-learn-it-live-it-love-it&quot; rel=&quot;nofollow&quot;&gt;180° shutter &quot;rule&quot;&lt;/a&gt;), which only leaves aperture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;#3 - I haven't done alot of comparison, but I've never noticed any noise from it. The general consensus on &lt;a href=&quot;http://forums.creativecow.net/thread/280/1119&quot; rel=&quot;nofollow&quot;&gt;this thread&lt;/a&gt; seems to be that it's useful for video at times. &lt;/p&gt;&#xA;" OwnerUserId="785" LastEditorUserId="785" LastEditDate="2013-10-01T15:10:24.430" LastActivityDate="2013-10-01T15:10:24.430" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="1713" PostTypeId="2" ParentId="1704" CreationDate="2011-07-06T01:15:50.917" Score="6" Body="&lt;p&gt;I do video with my Canon 5d Mkii.  I am a beginner at video, but I have done photography for years.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;1) How important is sharpness?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;My lenses are all about the same sharpness, and I've never A/B'ed two different lenses at the same focal length.  In my experience, lens sharpness is at the bottom of the list of problems with a shot.  Getting enough light, getting the focus right, the composition, tracking any movements accurately, these are all much more pronounced issues than lens sharpness.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;2) How fast of a lens do I need? &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I have found that shooting indoors in normal households in northern california even wider than f/2 I have to crank the ISO up to about 1000.  On my 5d, ISO starts to get very noticeable at about 600 or 800.  I suspect that there is a separate noise reduction implementation for video, because I can shoot stills up to ISO 2000 without any noticeable noise.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;3) Is image stabilization a pro or a con for hand-held video recording?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If you are using the built-in microphone on the camera, pretty much every minor touch of the camera and movement will come across as very loud.  For this reason, I don't use the built-in mic at all.  I suspect that stabilization would very audible.  You can get a decent mic that fits into the hotshoe for about $100. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Stabilization after the fact works OK, but it does look manipulated to me.  Virgin eyes might not pick it up though. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;4) I'm guessing a USM for auto focus probably won't matter a whole lot&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Autofocus has never worked for me at all.  I can see the camera trying, but it is just far too slow and inaccurate to be useful.  I usually start with AF in &quot;photo&quot; mode and then focus by hand while shooting video.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;5) The ability for a lens to retain focus when zooming&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I believe all zooms keep the same focal point while zooming?  I don't have any zooms, but I think that is the case.&lt;/p&gt;&#xA;" OwnerUserId="1078" LastActivityDate="2011-07-06T01:15:50.917" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1715" PostTypeId="2" ParentId="1697" CreationDate="2011-07-06T01:33:01.930" Score="0" Body="&lt;p&gt;If you're on a &lt;strong&gt;Mac&lt;/strong&gt;, there's an app called &lt;a href=&quot;http://www.macroplant.com/adapter/&quot; rel=&quot;nofollow&quot;&gt;Adapter&lt;/a&gt; that is supposed to &lt;a href=&quot;http://nofilmschool.com/2011/07/adapter-favorite-audio-video-image-converter/&quot; rel=&quot;nofollow&quot;&gt;handle SWFs&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're on &lt;strong&gt;Windows&lt;/strong&gt;, you might try &lt;a href=&quot;http://www.freeswfconverter.com/&quot; rel=&quot;nofollow&quot;&gt;Free SWF Convertor&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="785" LastEditorUserId="785" LastEditDate="2011-07-06T17:49:18.800" LastActivityDate="2011-07-06T17:49:18.800" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1718" PostTypeId="1" AcceptedAnswerId="1732" CreationDate="2011-07-06T02:40:45.393" Score="11" ViewCount="7723" Body="&lt;p&gt;I'm going to be editing more and more DSLR videos, most notably music videos for my band as we start releasing singles and want to know if there is an intermediate format for both cutting and exporting that rivals the kind of features found in ProRes 422 used in Final Cut?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to use ProRes in Premiere Pro anyway (with the same advantages in editing speed and bit-depth)?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I-frame encoding/decoding for speed.&lt;/li&gt;&#xA;&lt;li&gt;Higher sample depth for making image modifications.&lt;/li&gt;&#xA;&lt;li&gt;Intended for 720p 60fps H.264 footage captured from Canon EOS 60D.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If ProRes itself can be used in Premiere Pro, I have all the tools I need to begin transcoding. Just wondering if anyone has some workflow/codec tips for using an intermediate editing/exporting format in Premiere instead of directly editing .MOVs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not using an overly powerful Mac but it seems to do the job with editing MOVs and AVCHD files directly (mostly using preview renders). 60fps shots and other HD with effects applied start to make it crumple without rendering previews. It's a MacBook Pro 13&quot; 2.53Ghz Core 2 Duo, 8GB DDR3, 1TB internal 2.5&quot; drive (slow).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I intend to use ProRes or similar footage on an external 7200rpm FireWire drive.&lt;/p&gt;&#xA;" OwnerUserId="923" LastEditorUserId="923" LastEditDate="2011-07-06T03:01:44.610" LastActivityDate="2011-07-06T17:32:14.850" Title="The ProRes of Premiere Pro?" Tags="|video|premiere|intermediate|codec|prores|" AnswerCount="2" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="1719" PostTypeId="1" AcceptedAnswerId="1720" CreationDate="2011-07-06T02:41:37.670" Score="0" ViewCount="903" Body="&lt;p&gt;The video editing labs in my university have Final Cut Pro 7 installed on them, and most projects that we work on are done in FCP. I don't have a Macbook so I personally use Adobe Premiere Pro CS4 instead for my projects. Is there any way to transfer project files back and forth between the two software?&lt;/p&gt;&#xA;" OwnerUserId="793" LastEditorUserId="1068" LastEditDate="2011-07-08T18:29:11.603" LastActivityDate="2011-07-08T18:29:11.603" Title="File compatibility for Final Cut Pro 7 project files with Adobe Premiere Pro CS4" Tags="|video|file-formats|final-cut-pro|premiere|cs4|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1720" PostTypeId="2" ParentId="1719" CreationDate="2011-07-06T02:50:58.643" Score="1" Body="&lt;p&gt;Yes, in Premiere Pro, you can export to Final Cut XML. In Final Cut 7, you can export into an XML as well. Then you can import the XML files into each program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only problem is that Premiere on windows uses the AVI wrapper, and Final Cut 7 uses Quicktime. It might work going from Final Cut to Premiere. But going back into Final Cut probably will not work, as Final Cut does not like AVI. Also, the file paths will be different (but you can reconnect the media, but you are looking for an easy way).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unless there is a software that does this, switching in between Programs and OS is going to take time.&lt;/p&gt;&#xA;" OwnerUserId="1070" LastActivityDate="2011-07-06T02:50:58.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1721" PostTypeId="2" ParentId="1719" CreationDate="2011-07-06T02:58:27.437" Score="1" Body="&lt;p&gt;According to &lt;a href=&quot;http://www.animotion.nl/en/tutorials/fcp-xml-premiere-pro-cs5/&quot; rel=&quot;nofollow&quot;&gt;this thread&lt;/a&gt; and &lt;a href=&quot;http://www.youtube.com/watch?v=JWpJlR1tgnc&quot; rel=&quot;nofollow&quot;&gt;this video&lt;/a&gt;, it is possible to import a Final Cut Pro 7 project from a Mac into Premiere Pro CS4 on Windows. From those sources - &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Make sure that the codec you're using works on Windows (&lt;a href=&quot;http://kb2.adobe.com/cps/405/kb405978.html&quot; rel=&quot;nofollow&quot;&gt;supported file formats list&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;When exporting from Final Cut, use Version 4 of the XML&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="785" LastActivityDate="2011-07-06T02:58:27.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1723" PostTypeId="1" AcceptedAnswerId="1724" CreationDate="2011-07-06T03:06:05.260" Score="4" ViewCount="3827" Body="&lt;p&gt;One of my 'favourite' features in Adobe Premiere Pro CS family is &lt;a href=&quot;http://help.adobe.com/en_US/PremierePro/4.0/WS1c9bc5c2e465a58a91cf0b1038518aef7-7f9fa.html&quot; rel=&quot;nofollow&quot;&gt;automatic scene detection&lt;/a&gt; - its  ability to spit out individual clips when capturing from tape using pause/stop information. As far as I know, Final Cut Pro has no automnatic way of doing this. Splitting clips during import manually is so tedious. Is there something I'm missing out, or a plugin perhaps that provides this feature in FCP 7?&lt;/p&gt;&#xA;" OwnerUserId="793" LastEditorUserId="1068" LastEditDate="2011-07-09T19:09:31.070" LastActivityDate="2011-07-09T19:09:31.070" Title="Automatically split takes into individual files in Final Cut Pro" Tags="|video|premiere|final-cut-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1724" PostTypeId="2" ParentId="1723" CreationDate="2011-07-06T03:15:51.463" Score="2" Body="&lt;p&gt;There is a  pop-up menu in the General tab in User Preferences that has all the options in dealing with timecode breaks. There is an option where you choose Make New Clip from the “On timecode break”. This option will make a new clip in the bin when a timecode break is reached.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;SRC: &lt;a href=&quot;http://documentation.apple.com/en/finalcutpro/usermanual/index.html#chapter=20&amp;amp;section=5&amp;amp;tasks=true&quot; rel=&quot;nofollow&quot;&gt;http://documentation.apple.com/en/finalcutpro/usermanual/index.html#chapter=20%26section=5%26tasks=true&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1070" LastActivityDate="2011-07-06T03:15:51.463" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="1725" PostTypeId="1" CreationDate="2011-07-06T03:17:59.637" Score="4" ViewCount="88" Body="&lt;p&gt;What tools would you recommend to index the audio track for video editing? I'd like to be able to do a text search for words in the dialog to more easily locate video snippets. I'm using FC and/or Premiere.&lt;/p&gt;&#xA;" OwnerUserId="1086" LastActivityDate="2011-07-06T03:22:24.250" Title="Indexing audio for video editing" Tags="|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1726" PostTypeId="2" ParentId="1725" CreationDate="2011-07-06T03:22:24.250" Score="2" Body="&lt;p&gt;Premiere CS4+ has a feature called &lt;a href=&quot;http://library.creativecow.net/articles/weiss_roth_david/speech_search.php&quot; rel=&quot;nofollow&quot;&gt;Speech Search&lt;/a&gt;. I haven't used it personally, however, so I'm not sure of the quality. However, &lt;a href=&quot;http://www.sparkminute.com/2008/12/04/how-good-is-adobe-premieres-search-speech-technologyeh/&quot; rel=&quot;nofollow&quot;&gt;this site&lt;/a&gt; has a sample of video, and also &lt;a href=&quot;http://www.sparkminute.com/wp-content/uploads/2008/12/TWINC_TestTranscript_11-21-08.pdf&quot; rel=&quot;nofollow&quot;&gt;a PDF of the transcription&lt;/a&gt; Speech Search provided (they describe it as &quot;eh&quot;). &lt;/p&gt;&#xA;" OwnerUserId="785" LastActivityDate="2011-07-06T03:22:24.250" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1727" PostTypeId="1" AcceptedAnswerId="1811" CreationDate="2011-07-06T03:27:16.133" Score="5" ViewCount="151" Body="&lt;p&gt;So I have a bunch of clips that I shot at 1080/24p/neutral with my T2i that all look pretty good which I'm trying to import into FCPx to assemble into a short film. When I first got FCPx last week, I was playing around with the color correction on a dummy video clip. Now, for whatever reason, it seems that every clip I import has the same settings applied to it. (I'm pretty sure clips looked normal before doing this, but I'm not 100% sure).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried un-/re-installing FCPx, creating a new project, checking the effects applied, etc. but nothing seems to work. I have checked the original media in the Finder and the color looks perfectly fine, as well as in Quicktime, and on my camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I doing wrong here? The thumbnails in the Events tab look correct, but when I preview them in the viewer or add them to the timeline, then the color of the clip changes. It's almost as if the viewer is just showing the video incorrectly. I don't quite understand what's going on here. I did a Google search and it sounds like it might have something to do with the Quicktime Player gamma, or the color profiles in Apple Snow Leopard. Any thoughts or suggestions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for the help!&lt;/p&gt;&#xA;" OwnerUserId="1036" LastEditorUserId="1072" LastEditDate="2011-07-08T00:06:05.263" LastActivityDate="2011-07-08T12:23:23.963" Title="The color in my Final Cut PX Viewer is way off" Tags="|video|final-cut-pro|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="1728" PostTypeId="5" CreationDate="2011-07-06T03:52:25.363" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-07-06T03:52:25.363" LastActivityDate="2011-07-06T03:52:25.363" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1729" PostTypeId="4" CreationDate="2011-07-06T03:52:25.363" Score="0" Body="A technique for removing parts of a video (such as the background) based on their color. " OwnerUserId="785" LastEditorUserId="785" LastEditDate="2011-07-06T04:17:58.117" LastActivityDate="2011-07-06T04:17:58.117" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1730" PostTypeId="1" AcceptedAnswerId="1790" CreationDate="2011-07-06T04:09:20.753" Score="9" ViewCount="7139" Body="&lt;p&gt;I'm looking for a good video encoder to compress &lt;strong&gt;HD files&lt;/strong&gt; for editing within &lt;strong&gt;Sony Vegas Pro and Adobe After Effects&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What video codec would provide the &lt;strong&gt;fastest possible encoding and decoding&lt;/strong&gt;? Also, what are some recommended encoding settings?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video files must be usable in Sony Vegas Pro and Adobe After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt; Source Clip Info:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Format                           : AVC&#xA;Format/Info                      : Advanced Video Codec&#xA;Format profile                   : High@L5.1&#xA;Format settings, CABAC           : Yes&#xA;Format settings, ReFrames        : 8 frames&#xA;Bit rate                         : 4 334 Kbps&#xA;Width                            : 1 920 pixels&#xA;Height                           : 1 080 pixels&#xA;Display aspect ratio             : 16:9&#xA;Frame rate                       : 23.976 fps&#xA;Color space                      : YUV&#xA;Chroma subsampling               : 4:2:0&#xA;Bit depth                        : 8 bits&#xA;Scan type                        : Progressive&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The container is Matroska.&lt;/p&gt;&#xA;" OwnerUserId="1071" LastEditorUserId="1071" LastEditDate="2011-07-07T03:00:08.997" LastActivityDate="2015-01-15T15:16:27.750" Title="Best Lossless Video Encoder For Editing" Tags="|video|codec|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="1732" PostTypeId="2" ParentId="1718" CreationDate="2011-07-06T04:32:47.440" Score="11" Body="&lt;p&gt;There's a philosophical difference between delivery codecs (e.g. mpeg4, avchd), editing codecs (e.g. DNxHD, ProRes, Cineform), and capture codecs (e.g. r3d, DVCPROHD).  While almost any codec can be used for each of these three stages, your workflow needs will help you decide which are best suited for each stage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question you seem to be asking, is &quot;Which editing codec should I transcode to for an online edit?&quot;.  Editing codecs are generally less compressed and larger on disk, to make playback simpler from a processing perspective.  It's definitely possible to use ProRes in Premiere, and coming from DSLR (as of July 2011) 422 is probably (technically) overkill, but it is a reasonable default choice.  Another editing codec option to consider is Cineform, since you can get the 1920x1080 codec for free now, as part of the GoPro Cineform Studio package.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are even specialized tools to help you with transcoding batches of files, such as Magic Bullet Grinder.  If you're concerned about editing speed, there's even a chance that Premiere and your computer will be powerful enough to slog through your capture files as-is without transcoding, saving you from this step altogether.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As always, try it for yourself, and test, test, test, your workflow before putting it into production.&lt;/p&gt;&#xA;" OwnerUserId="1068" LastActivityDate="2011-07-06T04:32:47.440" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="1734" PostTypeId="1" CreationDate="2011-06-10T19:28:34.470" Score="10" ViewCount="986" Body="&lt;p&gt;I would like to do a product demonstration similar to the White Room's demonstrations done by Apple, such as &lt;a href=&quot;http://www.youtube.com/user/Apple?v=Z_d6_gbb90I&amp;amp;feature=pyv&amp;amp;ad=7393087276&amp;amp;kw=apple%20iPad&quot;&gt;iPad 2 Product Demonstration&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;What type of lighting is used to keep the whites extremely white, while producing a professional looking video? Is this done by saturating the room with light, then going in after the video and darkening the video?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;What type of room setup is needed?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Suggestions on Video Camera?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerDisplayName="Andrew Finnell" LastEditorUserId="1068" LastEditDate="2011-07-07T00:30:09.220" LastActivityDate="2014-07-11T01:52:08.293" Title="How do I get a totally white background without the subject being too bright?" Tags="|video|shooting|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1736" PostTypeId="2" ParentId="851" CreationDate="2011-07-06T06:11:01.687" Score="0" Body="&lt;p&gt;The title designer of Adobe Premiere (CS3 at least) contains some templates for on-screen overlays which look quite good. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for sounds, I dont't think there is anything included out-of-the box. &lt;/p&gt;&#xA;" OwnerUserId="1093" LastActivityDate="2011-07-06T06:11:01.687" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1738" PostTypeId="1" AcceptedAnswerId="1740" CreationDate="2011-07-06T07:22:22.397" Score="9" ViewCount="1948" Body="&lt;p&gt;Is it a codec? I don't think so; I believe it uses MPEG4/H.264 for video and AC3 for audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it a container format? Doesn't seem to make a huge amount of sense; there are enough out there already and it's likely that a suitable one already exists.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it simply a specification that specifies a particular combination of pre-existing technologies? But this would imply that AVCHD files could also be called something else, like &quot;MPEG4 container with H264/AC3 inside&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what exactly does AVCHD mean?&lt;/p&gt;&#xA;" OwnerUserId="791" LastActivityDate="2011-07-06T16:58:40.340" Title="What exactly is AVCHD?" Tags="|file-formats|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1739" PostTypeId="1" AcceptedAnswerId="1744" CreationDate="2011-07-06T07:30:44.730" Score="3" ViewCount="2509" Body="&lt;p&gt;I'd like to automatically stabilize some poorly-shot shaky footage in Adobe Premiere or After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VirtualDub Deshaker analyzes frame motion, computes smoothing, adjusts frame position, scale and rotation, and does smart filling of the area outside a frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is anything similarly powerful achievable using Adobe software, possibly via third-party plugins?&lt;/p&gt;&#xA;" OwnerUserId="791" LastEditorUserId="1068" LastEditDate="2011-07-08T18:28:07.190" LastActivityDate="2012-02-07T12:10:32.523" Title="Is it possible to recreate VirtualDub Deshaker functionality in Adobe Premiere/After Effects?" Tags="|software|virtualdub|premiere|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1740" PostTypeId="2" ParentId="1738" CreationDate="2011-07-06T07:50:07.583" Score="8" Body="&lt;p&gt;I think this image from Wikipedia says it best:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://upload.wikimedia.org/wikipedia/commons/thumb/3/3c/AVCHD_actual_file_structure.svg/380px-AVCHD_actual_file_structure.svg.png&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AVCHD is &lt;strong&gt;not a codec&lt;/strong&gt;, but it is also &lt;strong&gt;not just a container&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just like &quot;every other&quot; container, AVCHD features:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video streams&lt;/li&gt;&#xA;&lt;li&gt;Audio streams&lt;/li&gt;&#xA;&lt;li&gt;Subtitles&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;But in addition, for example:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Playlists&lt;/li&gt;&#xA;&lt;li&gt;Menu presentation (like in a DVD)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Is it simply a specification that specifies a particular combination of pre-existing technologies?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yes.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;But this would imply that AVCHD files could also be called something else, like &quot;MPEG4 container with H264/AC3 inside&quot;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;But who would like to call it that? Several other specifications take already existing specifications, remix them, and they aren't called &quot;Open Source Container format for XYZ&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think it's a &quot;one format fits it all&quot; mentality, which is why you'll find AVCHD on many consumer devices.&lt;/p&gt;&#xA;" OwnerUserId="525" LastEditorUserId="-1" LastEditDate="2017-03-10T09:42:47.690" LastActivityDate="2011-07-06T07:50:07.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1742" PostTypeId="1" CreationDate="2011-07-06T09:02:53.417" Score="3" ViewCount="900" Body="&lt;p&gt;A project I am part of would ideally require to incorporate extract of several hour longs video interviews from the 1980s. They are on VHS video tape, Stereo SECAM (French system). I have (good) master tapes and one or two copies of each tape for easy viewing. I wonder what kind of process I can use to convert them to a convenient digital format for importing and later editing while preserving the most of the original's quality. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also a working tape recorder/viewer for this format and a good monitor for its video output (SONY).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I obtain the best results?  Should I first go through PAL conversion, so I can use more conventional equipment?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I subcontract the converting part to a specialized company?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Note: I do not have sufficient reputation yet to tag properly this question, please feel free to do it )&lt;/p&gt;&#xA;" OwnerUserId="671" LastActivityDate="2011-07-07T12:44:53.667" Title="Converting SECAM VHS to a digital format" Tags="|digital-recording|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1743" PostTypeId="2" ParentId="1697" CreationDate="2011-07-06T09:14:28.550" Score="3" Body="&lt;p&gt;You should get a SWF decompiler (perhaps one of the trails for: &lt;a href=&quot;http://www.sothink.com/product/flashdecompiler/&quot; rel=&quot;nofollow&quot;&gt;Sothink SWF Decompiler&lt;/a&gt;   or &lt;a href=&quot;http://www.decompiler-swf.com/&quot; rel=&quot;nofollow&quot;&gt;Decompiler SWF&lt;/a&gt;) and use that to find the nested movie file, and extract that.&lt;/p&gt;&#xA;" OwnerUserId="1104" LastActivityDate="2011-07-06T09:14:28.550" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1744" PostTypeId="2" ParentId="1739" CreationDate="2011-07-06T09:18:16.220" Score="4" Body="&lt;p&gt;After Effects CS5.5 has the &lt;a href=&quot;http://tv.adobe.com/watch/after-effects-cs55-new-creative-techniques/ae-cs55-warp-stabilizer-instant-gratification/&quot; rel=&quot;nofollow&quot;&gt;Warp Stabilizer&lt;/a&gt; (also check the video on the main &lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;Adobe After Effects&lt;/a&gt; site).&lt;/p&gt;&#xA;" OwnerUserId="1104" LastEditorUserId="1104" LastEditDate="2011-07-06T11:30:08.817" LastActivityDate="2011-07-06T11:30:08.817" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1745" PostTypeId="5" CreationDate="2011-07-06T09:45:26.353" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Sound_recording&quot; rel=&quot;nofollow&quot;&gt;Audio Recording&lt;/a&gt; represents the general processes relating to the capture of analog signals through &lt;a href=&quot;http://avp.stackexchange.com/tags/microphone/info&quot;&gt;microphones&lt;/a&gt; -- say, vocals, drum kits or whole orchestras -- and/or direct signals from, say, &lt;a href=&quot;http://avp.stackexchange.com/tags/synthesizer/info&quot;&gt;synthesisers&lt;/a&gt;. This capture may take place in a live environment or a more controlled studio setting, the latter affording rehersal and retakes. The process may involve techniques to improve the quality of the captured sound, like noise reduction or compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Multiple sources may be mixed together as part of the &lt;a href=&quot;http://avp.stackexchange.com/tags/live-mixing/info&quot;&gt;live recording&lt;/a&gt; process, or captured and stored independently, for further refinement in subsequent &lt;a href=&quot;http://avp.stackexchange.com/tags/mixing/info&quot;&gt;mixing&lt;/a&gt; and &lt;a href=&quot;http://avp.stackexchange.com/tags/mastering/info&quot;&gt;mastering&lt;/a&gt; stages.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Traditionally, the recording medium has been onto &lt;a href=&quot;http://en.wikipedia.org/wiki/Multitrack_tape_recorder&quot; rel=&quot;nofollow&quot;&gt;magnetic tape&lt;/a&gt;; latterly onto digital media, often supported by &lt;a href=&quot;http://avp.stackexchange.com/tags/daw/info&quot;&gt;Digital Audio Workstations&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="741" LastEditorUserId="741" LastEditDate="2011-07-06T13:45:07.217" LastActivityDate="2011-07-06T13:45:07.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1746" PostTypeId="4" CreationDate="2011-07-06T09:45:26.353" Score="0" Body="Audio Recording is the process of capturing audio signals for the purpose of archiving, manipulation, or reproduction." OwnerUserId="741" LastEditorUserId="2569" LastEditDate="2012-10-05T15:00:02.087" LastActivityDate="2012-10-05T15:00:02.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1747" PostTypeId="1" CreationDate="2011-07-06T11:28:58.470" Score="2" ViewCount="529" Body="&lt;p&gt;I have a FCP sequence made of a mixture of ProRes 422 and PAL clips. As soon as I export it using &quot;QuickTime Movie&quot; (Apple ProRes 422 PAL 48KHz option), the quality of the ProRes clips is superb, but the PAL section look horrible (they look fine in the timeline). The same happens for the transitions effects, even if the transitions are between two ProRes clips. During the transitions, the quality of the exported movie drops dramatically.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What could be the issue?&lt;/p&gt;&#xA;" OwnerUserId="1091" LastActivityDate="2012-04-26T05:11:16.203" Title="Problem exporting a mixture of PAL and ProRes 422 in FCP" Tags="|final-cut-pro|codec|prores|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="1749" PostTypeId="5" CreationDate="2011-07-06T12:04:59.860" Score="0" Body="&lt;p&gt;The Nikon D3100 is a 14.2 megapixel DX format DSLR camera announced by Nikon on August 19, 2010. It was designed to replace the D3000 as Nikon's entry level DSLR. It was the first Nikon DSLR featuring full high definition video recording with full time autofocus and H.264 compression. This is not a full frame camera, therefor has a 1.5x magnification of the subject (100mm lens acts like 150mm). This camera can record at 1080p/24fps 720p/30fps + 24fps and 480p/24fps&lt;/p&gt;&#xA;" OwnerUserId="1070" LastEditorUserId="1070" LastEditDate="2011-07-06T13:45:25.297" LastActivityDate="2011-07-06T13:45:25.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1750" PostTypeId="4" CreationDate="2011-07-06T12:04:59.860" Score="0" Body="The Nikon D3100 is a 14.2 megapixel DX format DSLR camera announced by Nikon on August 19, 2010. It was designed to replace the D3000 as Nikon's entry level DSLR. It was the first Nikon DSLR featuring full high definition video recording with full time autofocus and H.264 compression." OwnerUserId="1070" LastEditorUserId="1070" LastEditDate="2011-07-06T13:45:29.010" LastActivityDate="2011-07-06T13:45:29.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1751" PostTypeId="2" ParentId="1730" CreationDate="2011-07-06T13:05:22.447" Score="-2" Body="&lt;p&gt;.mp4 always works for me.  If you are using Sony Vegas to compress it, then there should be an option to compress it as an AVCHD option, which can be one of several formats.  The best one to use would be .mp4.  It makes the file much smaller while still losing next to no quality.  (I've had 45 minute HD videos, cut to under 1gb, but it depends on how long the video is, and how many cuts there are.)  Usually that mp4 file can be read by most other programs.  I'm not sure about after effects, but I believe it can at least be read by premier.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just a note of caution, there is more than one mp4 file type.  You want the one that is categorized under AVCHD, not the regular one, and not the one in caps (MP4 as apposed to mp4).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you've selected AVCHD you can change the file type by using the &quot;custom&quot; button, or you can just type in &quot;.mp4&quot; at the end of the file name, and it will do it for you.&lt;/p&gt;&#xA;" OwnerUserId="1081" LastEditorUserId="126" LastEditDate="2011-07-06T13:43:59.060" LastActivityDate="2011-07-06T13:43:59.060" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="1753" PostTypeId="2" ParentId="1700" CreationDate="2011-07-06T13:14:47.557" Score="2" Body="&lt;p&gt;I've heard green table clothes from a dollar store work very well. You can stack them to make them more opaque if you like, and the lighting is more important than the material anyway.&lt;/p&gt;&#xA;" OwnerUserId="1119" LastEditorUserId="95" LastEditDate="2011-07-07T15:54:11.393" LastActivityDate="2011-07-07T15:54:11.393" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1756" PostTypeId="2" ParentId="851" CreationDate="2011-07-06T13:55:30.823" Score="2" Body="&lt;p&gt;Take a look at &lt;a href=&quot;http://www.premierepro.net&quot; rel=&quot;nofollow&quot;&gt;http://www.premierepro.net&lt;/a&gt; where I'm sharing some project templates. If more people share their own templates there, it will become a great resource for free Premiere Pro templates. Everything you see on &lt;a href=&quot;http://www.premierepro.net&quot; rel=&quot;nofollow&quot;&gt;http://www.premierepro.net&lt;/a&gt; is free for both commercial and private use, and you can even download free sample chapters from the book &quot;The Cool Stuff in Premiere Pro&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;/jarle&lt;/p&gt;&#xA;" OwnerUserId="1123" LastActivityDate="2011-07-06T13:55:30.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1757" PostTypeId="2" ParentId="1697" CreationDate="2011-07-06T14:19:26.097" Score="0" Body="&lt;p&gt;swfextract from SWF Tools looks like it does what you want: &lt;a href=&quot;http://wiki.swftools.org/index.php/Swfextract&quot; rel=&quot;nofollow&quot;&gt;http://wiki.swftools.org/index.php/Swfextract&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It'll probably give you an FLV, but you can then use ffmpeg or similar to turn it into a better container format.&lt;/p&gt;&#xA;" OwnerUserId="1111" LastActivityDate="2011-07-06T14:19:26.097" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1758" PostTypeId="1" AcceptedAnswerId="1766" CreationDate="2011-07-06T14:33:16.817" Score="6" ViewCount="192" Body="&lt;p&gt;I am in the market for a low-cost, color-correcting monitor. Please help me define &quot;low cost.&quot; I don't want to skimp out but don't want to buy top dollar either. I know good monitors cost money.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will be using the monitor for both Video and Photography. What features/specs should I consider a &quot;bare minimum&quot; so, hopefully, I wont need to buy two.&lt;/p&gt;&#xA;" OwnerUserId="1119" LastEditorUserId="1466" LastEditDate="2011-09-29T14:28:26.210" LastActivityDate="2011-09-29T14:28:26.210" Title="What should I be looking for in a low cost color correcting monitor?" Tags="|monitors|color-correction|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="1759" PostTypeId="2" ParentId="1697" CreationDate="2011-07-06T14:34:11.997" Score="0" Body="&lt;p&gt;Sony Vegas can read &lt;em&gt;some&lt;/em&gt; SWF files and then you can render to any of its supported formats, including H.264. The free trial is at &lt;a href=&quot;http://www.sonycreativesoftware.com/download/trials/vegaspro&quot; rel=&quot;nofollow&quot;&gt;http://www.sonycreativesoftware.com/download/trials/vegaspro&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1126" LastActivityDate="2011-07-06T14:34:11.997" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1763" PostTypeId="2" ParentId="1742" CreationDate="2011-07-06T15:01:39.007" Score="2" Body="&lt;p&gt;The ADVC-300 can take SECAM input: &lt;a href=&quot;http://www.grassvalley.com/products/advc300&quot; rel=&quot;nofollow&quot;&gt;http://www.grassvalley.com/products/advc300&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will convert to DV format, which is quite sufficient for VHS quality.&lt;/p&gt;&#xA;" OwnerUserId="1126" LastActivityDate="2011-07-06T15:01:39.007" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1765" PostTypeId="1" CreationDate="2011-07-06T15:45:39.313" Score="6" ViewCount="227" Body="&lt;p&gt;I was wondering if there was a simple way to make a squib to imitate gun wounds without having explosives in an actors shirt.&lt;/p&gt;&#xA;" OwnerUserId="1082" LastEditorUserId="1068" LastEditDate="2011-07-07T19:17:36.740" LastActivityDate="2011-07-07T19:17:36.740" Title="Simple Squib (gun wound)" Tags="|special-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1766" PostTypeId="2" ParentId="1758" CreationDate="2011-07-06T15:52:47.217" Score="6" Body="&lt;p&gt;There's a loose binning of monitors into 3 categories:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Consumer equipment [$500 - $1500] Dell U-Series LCDs, Panasonic Viera Plasmas&lt;/li&gt;&#xA;&lt;li&gt;Entry-Level Monitors [$2500+] FSI, HP DreamColor&lt;/li&gt;&#xA;&lt;li&gt;High End Monitors [$$ - $$$$] eCinema, TV Logic&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Some of the features of non-consumer monitors that you'll want to learn about are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;HD/SDI inputs&lt;/li&gt;&#xA;&lt;li&gt;Additional outputs&lt;/li&gt;&#xA;&lt;li&gt;Colorspace and signal type support, such as 4:2:2&lt;/li&gt;&#xA;&lt;li&gt;&quot;Higher&quot; bit depth, such as 10-bit&lt;/li&gt;&#xA;&lt;li&gt;LUT programmability&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you're asking for low-cost, without already knowing these monitors, then I &lt;strong&gt;strongly&lt;/strong&gt; suggest you stick to the first category, and use something like the DataColor Spyder calibration puck.  Getting that top 5% of color accuracy comes at a steep price, and since it seems you're just starting out, you probably want to stick with the 95% solution.  Upgrade only when you have specific need for the features.&lt;/p&gt;&#xA;" OwnerUserId="1068" LastEditorUserId="1068" LastEditDate="2011-07-06T17:25:19.993" LastActivityDate="2011-07-06T17:25:19.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1767" PostTypeId="2" ParentId="1765" CreationDate="2011-07-06T16:05:15.240" Score="5" Body="&lt;p&gt;Two simple solutions:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.) Plastic bag of blood with a fine wire/string stuck to it.  Thread the wire through the wound hole in the shirt/leg/buttocks of the clothes, and yank.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2.) Lightly compressed air with a blood hose.  Indy Mogul's first Backyard FX episode has a great video on building this kind of rig: &lt;a href=&quot;http://www.indymogul.com/backyardfx/episode/BFX_20070611&quot; rel=&quot;nofollow&quot;&gt;http://www.indymogul.com/backyardfx/episode/BFX_20070611&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1068" LastActivityDate="2011-07-06T16:05:15.240" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1768" PostTypeId="2" ParentId="1758" CreationDate="2011-07-06T16:17:58.223" Score="1" Body="&lt;p&gt;Consider the Matrox MXO2 products. The Mini model allows you to gain blue gun control of a normal consumer HDTV, solving the big issue with calibration of these large displays. The MXO2 Mini is under $500, other models include features like hardware H.264 encoding and more advanced interfaces.&lt;/p&gt;&#xA;" OwnerUserId="1129" LastActivityDate="2011-07-06T16:17:58.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1769" PostTypeId="2" ParentId="1738" CreationDate="2011-07-06T16:58:40.340" Score="-5" Body="&lt;p&gt;AVCHD is basically just a consumer name for H.264, which in turn is another name for the ISO standard MPEG-4, Layer 10. It is one of the most significant steps forward in video encoding in recent times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To the very best of my knowledge, it is a codec since it is used to encode and decode video but it is also a specification.&lt;/p&gt;&#xA;" OwnerUserId="1129" LastActivityDate="2011-07-06T16:58:40.340" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1770" PostTypeId="2" ParentId="1723" CreationDate="2011-07-06T17:08:09.817" Score="3" Body="&lt;p&gt;Select the clip you wish to work on in the browser, then in the top menu bar for FCP, select Mark &gt; DV Start/Stop Detect. This will break the clip up by the start/stop metadata generated when you were shooting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The options in the user preferences are for timecode breaks that occur during capture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ps: I don't know when this DV Start/Stop Detect feature was first included, but it was in FCP3 in 2002...  &lt;/p&gt;&#xA;" OwnerUserId="1129" LastActivityDate="2011-07-06T17:08:09.817" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1771" PostTypeId="2" ParentId="1718" CreationDate="2011-07-06T17:32:14.850" Score="1" Body="&lt;p&gt;If you are going to be doing any serious work with your 60D, I strongly encourage you to stick with Final Cut Studio for your projects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I work with a producer who shoots a 60D (amongst others) for music videos. We spoke with Alex Buono (DP for Saturday Night Live) about how he gets the quality with gets with the Canon. He uses a specific set-up to defeat a lot of the auto features of the camera, desaturate the image, and modify the contrast. After that, the footage goes immediately to ProRes 422 and is cut, then sent to Color for creation and &quot;look creation.&quot; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Color is a huge component in getting the 8-bit color of the AVCHD to perform. Using the 10-bit colorspace of the ProRes 422 codec and the 32-but float capabilities of Color, Alex felt he was able to effectively increase the dynamic range of the footage. I agree with this because I've seen the differences with/without &quot;the set-up&quot; and with/without Color.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no right or wrong in creative endeavors, but there may be smart and smarter...&lt;/p&gt;&#xA;" OwnerUserId="1129" LastActivityDate="2011-07-06T17:32:14.850" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="1772" PostTypeId="1" CreationDate="2011-05-17T17:37:09.610" Score="6" ViewCount="870" Body="&lt;p&gt;I've been using my Canon 7D primarily for photography and am starting to get into the video realm with it.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried using the Deshaker plug-in for VirtualDub on some of my shaky/not usable footage. I like the program but want to have as little quality loss as possible. Does anyone have suggested settings to use? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also has anyone tried &quot;streaming&quot; the output of Deshaker into something like Sony Vegas?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Edit:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although, I am still curious about this question I have since moved on to Sony Vegas 11. Wow this version is vastly superior to 9, especially for those using HD content... It also does include a built-in stabilizer. I am much happier with it and can work with files from a Canon 7D as well as an HD Sony Camcorder natively instead of having to pre-render everything.&lt;/p&gt;&#xA;" OwnerUserId="1244" OwnerDisplayName="Paul" LastEditorUserId="126" LastEditDate="2011-11-04T21:04:36.387" LastActivityDate="2012-08-31T02:01:48.487" Title="Question about using the DeShaker plug-in for VirtualDub" Tags="|video|virtualdub|dslr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1773" PostTypeId="1" AcceptedAnswerId="1774" CreationDate="2011-04-26T03:23:49.520" Score="12" ViewCount="26187" Body="&lt;p&gt;This may not be as simple a problem as it may seem at first, so read carefully.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I set my (Canon 60D, but this doesn't really matter at all) camera to record at 24 fps (I think it's actually 23.976 fps, but again, this shouldn't really matter), the film fps, it looks so &quot;perfect&quot;, like any Hollywood movie. It is a bit stuttery, kind of &quot;low fps&quot; on the first sight, but it's exactly how it should look - a perfect film - and this is exactly what I want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, the problem is, when I record at 60 fps to have a few more frames in case I need a slowmotion, the movie (when played back at 60 fps) looks too &quot;fluid, fast&quot;, like a low-budget documentary movie or something like that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The question&lt;/strong&gt;: Can I record all my scenes at 60 fps and &lt;em&gt;then&lt;/em&gt; somehow &quot;convert&quot; the 60 fps footage so that it looks like it was recorded at 24 fps ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason: I need to record all the scenes in 60 fps, because I don't know which of them I will need in slowmotion later. I &lt;em&gt;cannot&lt;/em&gt; record in 24 fps, but I &lt;em&gt;do want&lt;/em&gt; the final cut to look as if it was recorded in 24.&lt;/p&gt;&#xA;" OwnerUserId="870" OwnerDisplayName="RiMMER" LastActivityDate="2018-10-04T20:00:30.567" Title="Convert a 60 fps video to a 24 (film) video - is it possible?" Tags="|video|" AnswerCount="5" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1774" PostTypeId="2" ParentId="1773" CreationDate="2011-04-26T04:23:46.140" Score="7" Body="&lt;p&gt;You can, there's a lot of frame blending algorithms that will do it for you. That said, none of them is really great. All your 60fps footage will have a different look than your 24fps footage. You flat out cannot evenly go from 60fps to 24fps, there's just too little overlap in where the frames actually show up on a timeline. For frame conversions of that magnitude (24p-&gt;60i for TV, for example), the big boys have traditionally used telecine/telesync setups where they would literally film an image projected from a movie reel with a television camera.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Consider shooting 50fps (if that's an option). It's much easier to go from 50 to 24 (drop every other frame, then drop one frame a second) than it is to do 60-&gt;24.&lt;/p&gt;&#xA;" OwnerDisplayName="Jędrek Kostecki" LastActivityDate="2011-04-26T04:23:46.140" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="1775" PostTypeId="2" ParentId="1773" CreationDate="2011-04-26T13:12:26.727" Score="1" Body="&lt;p&gt;If it really is 60fps video (and not just field-doubled), you could do essentially the reverse of 3:2 pulldown.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is, take the third frame, then the second after that, the third after that, and so on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would look quite watchable, though not as natural as anything shot at 24fps (or 48, or 72, etc).  It would have a slight effect analogous to 3:2 pulldown, an effect Americans are very familiar with from all the 24fps films shown on their TVs and DVDs.  Pans would appear slightly more busy or as having an extra ghost.  Rolling credits may be affected more than other content and may need to be re-generated, if best results are to be desired.&lt;/p&gt;&#xA;" OwnerUserId="5750" OwnerDisplayName="thomasrutter" LastActivityDate="2011-04-26T13:12:26.727" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1777" PostTypeId="5" CreationDate="2011-07-06T22:50:27.077" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-07-06T22:50:27.077" LastActivityDate="2011-07-06T22:50:27.077" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1778" PostTypeId="4" CreationDate="2011-07-06T22:50:27.077" Score="0" Body="This tag encompasses any questions relating to any DSLR made by Canon. " OwnerUserId="1070" LastEditorUserId="2836" LastEditDate="2014-03-05T17:18:34.953" LastActivityDate="2014-03-05T17:18:34.953" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1779" PostTypeId="5" CreationDate="2011-07-06T22:53:16.747" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-07-06T22:53:16.747" LastActivityDate="2011-07-06T22:53:16.747" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1780" PostTypeId="4" CreationDate="2011-07-06T22:53:16.747" Score="0" Body="This tag encompasses any questions relating to audio/video being produced or edited from any Nikon dSLR (D3100, D5100, D7000, D90, D300S, D3s, D5000). " OwnerUserId="1070" LastEditorUserId="1070" LastEditDate="2011-07-06T23:06:00.153" LastActivityDate="2011-07-06T23:06:00.153" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1781" PostTypeId="5" CreationDate="2011-07-06T23:16:06.790" Score="0" Body="&lt;p&gt;DSLRs (or digital single-lens reflex cameras) are the digital adaption of the SLR camera. SLRs are known for interchangeable lenses, which allows the camera to be more functional by allowing for more types of shooting (Macro, Long Range, etc...). DSLRs (for this site) are cameras that have dual functions; video and photography. All new DSLRs include a function to shoot HD video. This has vastly increased the appeal of DSLRs to all ranges of film makers. Why?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;DSLRs are lighter than most Prosumer HD video cameras, which make them more attractive for hit and run style of shooting, as there is less equipment to move.&lt;/li&gt;&#xA;&lt;li&gt;DSLRs are generally cheaper than Prosumer HD video cameras, while providing most (if not all) functionality of their pricey counterparts.&lt;/li&gt;&#xA;&lt;li&gt;DSLRs shoot photos as well, so someone does not have to decide between a still camera and a video camera.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1070" LastEditorUserId="1070" LastEditDate="2011-07-07T02:36:46.177" LastActivityDate="2011-07-07T02:36:46.177" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1782" PostTypeId="4" CreationDate="2011-07-06T23:16:06.790" Score="0" Body="DSLRs (or digital single-lens reflex cameras) are the digital adaption of the SLR camera. SLRs are known for interchangeable lenses, which allows the camera to be more functional by allowing for more types of shooting (Macro, Long Range, etc...). DSLRs (for this site) are cameras that have dual functions; video and photography..." OwnerUserId="1070" LastEditorUserId="1070" LastEditDate="2011-07-07T02:36:50.687" LastActivityDate="2011-07-07T02:36:50.687" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1783" PostTypeId="5" CreationDate="2011-07-06T23:18:40.033" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-07-06T23:18:40.033" LastActivityDate="2011-07-06T23:18:40.033" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1784" PostTypeId="4" CreationDate="2011-07-06T23:18:40.033" Score="0" Body="iMovie is a video editing software application developed by Apple Inc which allows Mac users to edit their own home movies in a streamlined interface. It was originally released by Apple in 1999 for Mac OS 8. It came bundled with the first FireWire-enabled consumer Apple model; the iMac DV. Since iMovie, iMovie it has been a macOS only application, bundled in the iLife suite." OwnerUserId="1070" LastEditorUserId="17390" LastEditDate="2018-12-30T13:11:09.700" LastActivityDate="2018-12-30T13:11:09.700" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="1785" PostTypeId="5" CreationDate="2011-07-06T23:51:42.763" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-07-06T23:51:42.763" LastActivityDate="2011-07-06T23:51:42.763" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1786" PostTypeId="4" CreationDate="2011-07-06T23:51:42.763" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-07-06T23:51:42.763" LastActivityDate="2011-07-06T23:51:42.763" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1788" PostTypeId="2" ParentId="1734" CreationDate="2011-07-07T03:26:07.837" Score="2" Body="&lt;p&gt;I'd hazard a guess that they were either using a chroma key (green or blue screen) or a white wall studio to shoot in, and using a lot of lighting on the walls especially.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it was blue or green screen, they would have used a few lights behind the subject on either side, but if they were in a white wall studio, they could have possibly used the reflected light off the walls to get the highlights from behind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A dimmer, softer light source such as a soft box or umbrella from near and above where the camera is located is used to light their face.&lt;/p&gt;&#xA;" OwnerUserId="923" LastActivityDate="2011-07-07T03:26:07.837" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1790" PostTypeId="2" ParentId="1730" CreationDate="2011-07-07T04:21:28.943" Score="4" Body="&lt;p&gt;I'll start by pointing you to &lt;a href=&quot;https://video.stackexchange.com/questions/1718/the-prores-of-premiere-pro/1732#1732&quot;&gt;another answer&lt;/a&gt; I wrote before, roughly covering the different kinds of codecs.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Nice edit on your question, by the way, removing the file size limitation helped figure out what you were after.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My recommendation (again) will be to either use ProRes 422 or Cineform as your intermediate, probably via Magic Bullet Grinder or GoPro Cineform Studio respectively.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either of these codecs will give you good decoding speed, and both will work with Vegas and After Effects.  Any workflow that involves transcoding and not capturing natively to your editing codec (such as with ProRes on an Arri Alexa or a Cinedeck), is going to sacrifice time for processing, but in your case, it seems like that's a necessity. &lt;/p&gt;&#xA;" OwnerUserId="1068" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2011-07-07T04:21:28.943" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1792" PostTypeId="1" CreationDate="2011-07-07T08:45:49.427" Score="7" ViewCount="352" Body="&lt;p&gt;I'm a editor who has been editing with Final Cut Pro for the last couple of years and I'm not impressed with the new Final Cut Pro X. I'm interested in looking for another &lt;a href=&quot;http://en.wikipedia.org/wiki/Non-linear_editing_system&quot;&gt;NLE&lt;/a&gt;, such as Avid or Premiere or something else. What would you recommend in this situation?&lt;/p&gt;&#xA;" OwnerUserId="1137" LastEditorUserId="1068" LastEditDate="2011-07-08T18:25:08.097" LastActivityDate="2011-10-27T19:47:57.673" Title="I'm not happy with Final Cut Pro (X). What are my options?" Tags="|software|editing|premiere|final-cut-pro-x|avid|" AnswerCount="3" CommentCount="2" CommunityOwnedDate="2011-07-07T15:26:31.390" ContentLicense="CC BY-SA 3.0" />
  <row Id="1793" PostTypeId="2" ParentId="1792" CreationDate="2011-07-07T10:55:53.400" Score="4" Body="&lt;p&gt;If you're not impressed with X then I'd suggest going back to version 7. Learning your way around a new program will be a pain in the arse. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure how professionally you work but if you can be bothered, Avid is a great program once you get to know it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise, man, I'd probably just get used to FCPX. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2011-07-07T10:55:53.400" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1794" PostTypeId="2" ParentId="1792" CreationDate="2011-07-07T10:57:32.993" Score="4" Body="&lt;p&gt;I think the traditional knowledge is that if you want to be an editor, then you should know how to drive all 3 of the major programs (Avid, Final Cut Studio, and Premiere), and maybe some of the less mainstream broadcast editing and finishing systems (e.g. Smoke).  You should probably know a handful of specialized audio programs too.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lucky for you, the 2011 FCX launch has simplified the landscape, reducing to 2, the number of editing programs you should know how to drive.  Well, that's not entirely true - you do still have to know FCX, but it'll be a while yet before it's back on the table as a competitive option with a multi-user workflow. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most importantly, think &quot;editor&quot;. Not &quot;an FCP editor&quot;, or &quot;an Avid editor&quot;.  Just &quot;editor&quot;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know any &quot;Makita craftsmen&quot; or &quot;Price Pfister plumbers&quot;, and if I ever met any, I probably wouldn't trust them with work around my house.&lt;/p&gt;&#xA;" OwnerUserId="1068" LastEditorUserId="1068" LastEditDate="2011-07-08T18:21:39.147" LastActivityDate="2011-07-08T18:21:39.147" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1795" PostTypeId="2" ParentId="1742" CreationDate="2011-07-07T12:44:53.667" Score="2" Body="&lt;p&gt;Personally, I would use a Video Capture Card that supports SECAM (such as the Hauppauge model 01087: WinTV-PVR-150 low profile with PAL/SECAM tuner) and simply record it on my PC/Mac/Linux box.  [I've actually done this from NTSC VHS tapes to MPEG-2 using a PVR-150 capture card on a Ubuntu Linux box.]&lt;/p&gt;&#xA;" OwnerUserId="159" LastActivityDate="2011-07-07T12:44:53.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1796" PostTypeId="1" AcceptedAnswerId="1797" CreationDate="2011-07-07T13:26:07.547" Score="7" ViewCount="1286" Body="&lt;p&gt;In a film I am making I need and actor to start crying, but I cant think of how I am going to do that without actually making them sad. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing I have heard is that there are eye drops you can get. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any other options?&lt;/p&gt;&#xA;" OwnerUserId="1082" LastEditorUserId="2836" LastEditDate="2013-12-30T15:54:58.363" LastActivityDate="2013-12-30T15:54:58.363" Title="How can I make an actor cry?" Tags="|special-effects|" AnswerCount="5" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="1797" PostTypeId="2" ParentId="1796" CreationDate="2011-07-07T14:35:11.107" Score="9" Body="&lt;p&gt;Eye drops or saline are certainly simple. Alternatives include blowing dry air at the face just before action, or rubbing the eyes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can your actor not use the old tried and tested method of remembering the death of a childhood pet?&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2011-07-07T14:35:11.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1799" PostTypeId="2" ParentId="1700" CreationDate="2011-07-07T18:41:53.417" Score="19" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;What sorts of fabric/material give good results? Both general tips and specific examples/links are helpful.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Great Resources for tips on lighting and materials:&#xA;&lt;a href=&quot;http://provideocoalition.com/index.php/alindsay/story/greenscreen_primer_part_1/&quot;&gt;http://provideocoalition.com/index.php/alindsay/story/greenscreen_primer_part_1/&lt;/a&gt;&#xA;&lt;a href=&quot;http://rebelsguide.com/forum/viewtopic.php?t=2432&quot;&gt;http://rebelsguide.com/forum/viewtopic.php?t=2432&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Underexposure (not lighting enough) is your biggest enemy, followed closely by uneven falloff across the screen.  Always keep your talent/target a good distance from the screen.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Is it possible to light it adequately without a full lighting kit?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Not easily, but don't dismay, it always takes a skilled hand to get greenscreen lit well, so in many cases, even &lt;strong&gt;with&lt;/strong&gt; a full lighting kit, results will be sub-par.  It's a tough thing to get right, because lighting needs vary a lot depending on your shooting situation.  Your best bet for getting good, even light, is to have an on-set monitor setup (such as a computer with OnLocation), and test, test, test, before you start shooting.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;What sort of encoding is recommended when filming it? (i.e. is it possible to use a DSLR with h.264?)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Great question.  This is showing that you've done enough research already to be aware of the issues.  &quot;Possible&quot; isn't the word I'd use to describe your capture options, because it's more of a spectrum from good idea, to difficult to work with, almost entirely because of &lt;a href=&quot;http://en.wikipedia.org/wiki/Chroma_subsampling&quot;&gt;chroma subsampling&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Difficult: DSLR on-camera recording, consumer capture codecs (AVCHD, HDV, all of which probably will be 4:2:0)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Better: Output to an HDMI recorder at 4:2:2&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good idea: Uncompressed S-Log 4:4:4 (from something like an F3)&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;What software would you recommend for post processing the key? Does some work better with homebrewed screens than others? &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Some ordinary options are KeyLight (in Premiere and After Effects) and Primatte (which is a real pleasure to use).  Keying tools won't care &lt;strong&gt;how&lt;/strong&gt; you created the screen, just how well it was exposed, and how much color separation there is between subject and background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, a more-radical-than-it-should-be thing to consider is using a neutral gray background instead of green or blue, and relying on a combination of luma keying and roto.  One bad example I've always remembered was about the keying in Forrest Gump. Stu Maschwitz once explained the effects artists had to roto every single frame to take care of green spill and edges.  Their lives would've been easier if they'd just gone with a neutral gray.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Green does not equal magic movie effects, it's just one of many options.&lt;/p&gt;&#xA;" OwnerUserId="1068" LastEditorUserId="1068" LastEditDate="2011-07-07T22:04:52.507" LastActivityDate="2011-07-07T22:04:52.507" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1800" PostTypeId="2" ParentId="1734" CreationDate="2011-07-07T19:07:13.190" Score="2" Body="&lt;p&gt;The best how-to build for a white seamless background that I've seen yet is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.zarias.com/white-seamless-tutorial-part-1-gear-space/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.zarias.com/white-seamless-tutorial-part-1-gear-space/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And part 2 of that how-to covers setting the correct exposure very thoroughly:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.zarias.com/white-seamless-next-post-this-afternoon/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.zarias.com/white-seamless-next-post-this-afternoon/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on how you want to treat the footage, like Nick Bedford said, your camera and capture choices may be very similar to the choices you'd have if you were shooting green screen, which you can read more about over at &lt;a href=&quot;https://video.stackexchange.com/questions/1700/create-a-diy-green-screen-chroma-key/1799#1799&quot;&gt;Create a DIY Green Screen / Chroma Key&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1068" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2011-07-08T17:31:46.100" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1801" PostTypeId="1" AcceptedAnswerId="2454" CreationDate="2011-06-16T03:08:01.927" Score="0" ViewCount="289" Body="&lt;p&gt;On this camera, the battery can only be charged inside the camera. So I cannot charge one battery while using an other.&#xA;My only alternative is to charge while I film. Can I do that?&lt;/p&gt;&#xA;" OwnerUserId="1509" OwnerDisplayName="pinouchon" LastEditorUserId="1072" LastEditDate="2011-10-12T21:25:26.407" LastActivityDate="2011-10-12T21:25:26.407" Title="Is it possible to charge a panasonic HDC SD900 while filming?" Tags="|camera|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1802" PostTypeId="2" ParentId="1734" CreationDate="2011-07-07T21:11:31.370" Score="7" Body="&lt;p&gt;We do this all the time. All you need is a white wall and plenty of light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The goal is to light the wall far brighter than the subject in front. You want it so that when the subject is properly exposed, the wall behind them is vastly overexposed/blown out, thus losing any details/texture on the wall. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It helps to keep the subject at a distance from the backdrop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the last shoot I was on using this technique: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Hmt4mzF-kmg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="1006" LastActivityDate="2011-07-07T21:11:31.370" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1803" PostTypeId="2" ParentId="1801" CreationDate="2011-07-07T23:32:41.083" Score="0" Body="&lt;p&gt;I don't know on this exact model, but if it has a dedicated power port, then it should be able to charge while filming.&lt;/p&gt;&#xA;" OwnerUserId="1070" LastActivityDate="2011-07-07T23:32:41.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1804" PostTypeId="5" CreationDate="2011-07-08T01:27:59.780" Score="0" Body="&lt;p&gt;Final Cut Pro X (FCPX) is the successor to Final Cut Pro 7. It is a total redesign from the ground up. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Version 10.0 was released in june 2011. Version 10.1, released in december 2013, changed the way Projects and Events worked and introduced Libraries.&lt;/p&gt;&#xA;" OwnerUserId="5569" LastEditorUserId="5569" LastEditDate="2014-02-15T13:03:08.827" LastActivityDate="2014-02-15T13:03:08.827" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1805" PostTypeId="4" CreationDate="2011-07-08T01:27:59.780" Score="0" Body="The latest version of Apple's Final Cut Pro editing software" OwnerUserId="785" LastEditorUserId="785" LastEditDate="2011-07-08T03:40:12.147" LastActivityDate="2011-07-08T03:40:12.147" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1806" PostTypeId="5" CreationDate="2011-07-08T01:29:39.030" Score="0" Body="&lt;p&gt;Final Cut Pro is non-linear video editing software developed by Macromedia Inc. and then by Apple Inc. It runs exclusively on macOS, with Final Cut Pro X running on Intel Macs running macOS 10.6.7 or later. It allows users to log and transfer media onto internal or external storage as well as editing, processing and outputting video to a variety of formats.&lt;/p&gt;&#xA;" OwnerUserId="923" LastEditorUserId="17390" LastEditDate="2018-12-20T15:35:18.737" LastActivityDate="2018-12-20T15:35:18.737" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="1807" PostTypeId="4" CreationDate="2011-07-08T01:29:39.030" Score="0" Body="Final Cut Pro is non-linear video editing software developed by Macromedia Inc. and then by Apple Inc." OwnerUserId="785" LastEditorUserId="923" LastEditDate="2012-04-12T13:31:22.490" LastActivityDate="2012-04-12T13:31:22.490" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1811" PostTypeId="2" ParentId="1727" CreationDate="2011-07-08T12:23:23.963" Score="2" Body="&lt;p&gt;I discovered that it is an issue with my graphics card. I am running FCX on a late 2008 Macbook, which does not have a graphics card that supports the application.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check &lt;strong&gt;&lt;a href=&quot;http://support.apple.com/kb/HT4664&quot; rel=&quot;nofollow&quot;&gt;HERE&lt;/a&gt;&lt;/strong&gt; to see if yours is supported.&lt;/p&gt;&#xA;" OwnerUserId="1036" LastActivityDate="2011-07-08T12:23:23.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1812" PostTypeId="2" ParentId="1792" CreationDate="2011-07-08T13:34:35.060" Score="3" Body="&lt;p&gt;If you are in the market to rethink your workflow, now is a good time to look at Adobe's lineup. If you want to capture to a computer, check out the OnLocation application in the Production Suite. The fact that you can edit while you render in CS5... and that Premiere keeps up just fine... it's beautiful. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Avid is great when it works. I've never had FCP or Premiere throw so many errors, crashes and lost work as Avid has. Plus I feel like they aren't really keeping up. I used to be a big Avid guy and lately I've been working with FCP and Adobe and to be honest the only thing I really miss from Avid is the Colour Correction mode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd say try them all out. Read reviews. Some say &quot;It's just a tool, who cares&quot; but it was Abraham Lincoln who said: &quot;If I had six hours to chop down a tree, I would spend the first four sharpening my axe&quot;&lt;/p&gt;&#xA;" OwnerUserId="1006" LastActivityDate="2011-07-08T13:34:35.060" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1813" PostTypeId="1" AcceptedAnswerId="1814" CreationDate="2011-07-08T14:30:46.477" Score="4" ViewCount="122" Body="&lt;p&gt;I am doing a shoot where I will need to increase the saturation quite a bit in post. You can only really push it so far before you get artifacts etc. so I'm just wondering if there is anything I should be doing with my lighting/camera beforehand to ensure that I have the most data possible to work with. The cam itself shoots in HDV to a firestore (well, the sony equivalent of one) - it's an HVR-S270U (hard drive is an HVR-DR60)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't used the X.Y Color feature of the camera. I'll do some test shots and see what works best, has anyone had any experience with that?&lt;/p&gt;&#xA;" OwnerUserId="1006" LastActivityDate="2011-07-08T21:00:27.317" Title="Things to do during shoot to prevent loss of quality during extreme colour grading in post?" Tags="|camera|color-correction|lighting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1814" PostTypeId="2" ParentId="1813" CreationDate="2011-07-08T15:58:05.807" Score="3" Body="&lt;p&gt;The biggest factor in planning for aggressive grading is your wardrobe and set design.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Eric Escobar gave an excellent speech about this in 2009 at the SF Supermeet, which the MacVideo guys made available online: &quot;&lt;a href=&quot;http://www.macvideo.tv/camera-technology/features/index.cfm?articleId=114513&quot; rel=&quot;nofollow&quot;&gt;Plug-ins Won't Save You&lt;/a&gt;&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know this isn't the technical solution you were looking for, but the nature of contrast and saturation is that they're more dependent on context than on absolute color values.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.colorcube.com/illusions/chrmadptb.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.colorcube.com/illusions/chrmadptb.htm&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.colorcube.com/illusions/chrmadpt.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.colorcube.com/illusions/chrmadpt.htm&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;As you figured, underexposure will quickly destroy your ability to push your colors around.  Digital cameras love to underexpose the blue channel, so it really helps to have on-set monitoring like with OnLocation, or with a monitor with scopes, to help nail your exposure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It appears that x.v.YCC (x.v. Color) information will only play through the camera's outputs, and it'll be down-sampled back to where you started if recording to HDV.  This is because the HDV standard is an 8-bit color depth, which can't represent the 16 bits of x.v.YCC.  If you did capture the x.v.YCC stream, you won't get higher contrast and saturation though, since contrast and saturation are more about the distribution of your colors, rather than their detail and accuracy.  It might occaisonaly make your colors a little less brittle, but I doubt you'd ever notice. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd shy away from color features in-camera, especially when going out to HDV.  Shoot as flat a profile as you can (grey and washed-out), and you'll have the most latitude in post.&lt;/p&gt;&#xA;" OwnerUserId="1068" LastEditorUserId="1068" LastEditDate="2011-07-08T21:00:27.317" LastActivityDate="2011-07-08T21:00:27.317" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="1817" PostTypeId="1" CreationDate="2011-07-08T16:06:40.310" Score="2" ViewCount="297" Body="&lt;p&gt;I am trying to understand if there is any relation between Exposure(Manual/Auto) function of a Camera and Flicker effect that might be visible in a video shot by that camera?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If one has to do flicker removal, does it have any commonality with the Auto exposure parameters like Exposure time, exposure gain? Can those parameters in anyway tuned/changed to remvoe flicker effect?&lt;/p&gt;&#xA;" OwnerUserId="18776" OwnerDisplayName="goldenmean" LastEditorUserId="64" LastEditDate="2011-07-09T05:47:20.360" LastActivityDate="2011-07-09T05:47:20.360" Title="Is there any relation between a Exposure &amp; Flicker " Tags="|dslr|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1818" PostTypeId="2" ParentId="1817" CreationDate="2011-07-08T16:19:45.447" Score="1" Body="&lt;p&gt;Video is refreshed at a certain rate, depending on the display device, between 24 to 60 FPS. Any time you shoot video a a faster shutter-speed you risk the camera taking shots will the between refreshes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you take a photo with a slower shutter-speed, say 1/20s, then the camera will capture an entire refresh cycle and the flicker will go away. Use shutter-priority (S or T mode, depending on your camera), Manual (M) or time-aperture (TAv) mode to control shutter-speed yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: I realize your question is slightly ambiguous. I am assuming you are taking a photo of something that is playing a video. If you are shooting a video of a video, then your question is off-topic here.&lt;/p&gt;&#xA;" OwnerDisplayName="Itai" LastActivityDate="2011-07-08T16:19:45.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1819" PostTypeId="2" ParentId="1817" CreationDate="2011-07-08T17:08:34.217" Score="0" Body="&lt;p&gt;As Itai indicated, there are a couple of possible questions here.  CRT (picture tube) video devices paint images on their screens using an electron &quot;gun&quot; that scans left-to-right and top-to-bottom.  Photos taken with a fast shutter speed will catch a display like this in mid-paint, showing recently-painted lines brightly, with a darker area just below them (about to be refreshed).  Although LCD screens also have a &quot;refresh rate&quot;, you don't see the same kind of dimming between pixel painting, so this type of problem is much more subtle (you can still catch a picture in mid-paint, but it's just based on movement in the video).  I used to have a Ricoh SLR with a &quot;video&quot; setting designed specifically to keep the shutter slow enough to avoid this effect when shooting a CRT.  Quaint, huh?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If, on the other hand, you're talking about the &quot;&lt;a href=&quot;http://en.wikipedia.org/wiki/Rolling_shutter&quot; rel=&quot;nofollow noreferrer&quot;&gt;rolling shutter&lt;/a&gt;&quot; &lt;a href=&quot;http://vimeo.com/6894404&quot; rel=&quot;nofollow noreferrer&quot;&gt;video effect&lt;/a&gt; seen to some extent on most CMOS DSLR's, we're staying clear of video questions here, but you might have some luck with this on &lt;a href=&quot;https://video.stackexchange.com/&quot;&gt;avp.stackexchange.com/&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1148" OwnerDisplayName="D. Lambert" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2011-07-08T17:08:34.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1824" PostTypeId="1" AcceptedAnswerId="1831" CreationDate="2011-07-09T10:30:49.787" Score="6" ViewCount="10993" Body="&lt;p&gt;I was looking at some kinetic typography videos - like the one below - and wondering whether there is a plugin for Adobe After Effects CS4 that can help with this. If not, then is there any other easy way to do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/rIDdx7NPJgo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="793" LastEditorUserId="126" LastEditDate="2012-10-22T17:14:26.090" LastActivityDate="2013-10-17T21:11:46.720" Title="Is there any plugin for After Effects to create a 'kinetic typography' video?" Tags="|video|after-effects|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1826" PostTypeId="5" CreationDate="2011-07-09T17:39:34.760" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-07-09T17:39:34.760" LastActivityDate="2011-07-09T17:39:34.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1827" PostTypeId="4" CreationDate="2011-07-09T17:39:34.760" Score="0" Body="Entry level 3D tracking software made by the Pixel Farm" OwnerUserId="785" LastEditorUserId="785" LastEditDate="2011-07-09T19:26:15.560" LastActivityDate="2011-07-09T19:26:15.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1828" PostTypeId="5" CreationDate="2011-07-09T17:41:45.070" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-07-09T17:41:45.070" LastActivityDate="2011-07-09T17:41:45.070" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1829" PostTypeId="4" CreationDate="2011-07-09T17:41:45.070" Score="0" Body="A motion graphics and compositing tool developed by Apple" OwnerUserId="785" LastEditorUserId="1180" LastEditDate="2012-04-26T20:11:32.677" LastActivityDate="2012-04-26T20:11:32.677" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1830" PostTypeId="2" ParentId="1824" CreationDate="2011-07-09T18:31:46.963" Score="1" Body="&lt;p&gt;I don't know of any plugins, but I think it's probably possible to do just with After Effect itself. You may have already seen these, but here's a few articles on the subject.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Crooked Gremlins &lt;a href=&quot;http://www.bitrebels.com/geek/how-to-make-kinetic-typography/&quot; rel=&quot;nofollow&quot;&gt;Kinetic Typography Article&lt;/a&gt; (there's also a &lt;a href=&quot;http://vimeo.com/1271357&quot; rel=&quot;nofollow&quot;&gt;video version&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;BitRebels &lt;a href=&quot;http://www.crookedgremlins.com/09/01/2008/kinetic-typography-tutorial/&quot; rel=&quot;nofollow&quot;&gt;How To Make Kinetic Typography&lt;/a&gt; &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="785" LastActivityDate="2011-07-09T18:31:46.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1831" PostTypeId="2" ParentId="1824" CreationDate="2011-07-09T18:36:51.377" Score="5" Body="&lt;p&gt;As of 2011, there aren't plugins that assemble a typography video for you, because this kind of work is really a sub-topic of motion graphics.  There are tools that can help you with camera animation and rigging in AE though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My favorite is Video Copilot's &lt;a href=&quot;http://www.videocopilot.net/tutorials/sure_target_2/&quot;&gt;Sure Target 2&lt;/a&gt;, which lets you think about the animation in terms of what you're looking &lt;strong&gt;at&lt;/strong&gt;, instead of thinking about it in terms of camera perspective.  This makes the work feel similar to using something like Cinema4D's target camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another noteworthy tutorial: &lt;a href=&quot;http://ae.tutsplus.com/tutorials/motion-graphics/design-rhythmic-motion-typography-in-after-effects/&quot;&gt;http://ae.tutsplus.com/tutorials/motion-graphics/design-rhythmic-motion-typography-in-after-effects/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If not, then is there any other easy way to do this?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Not really.  Watch &lt;a href=&quot;http://www.marcofolio.net/video/15_stunning_motion_typography_videos.html&quot;&gt;lots of videos&lt;/a&gt;, take notes on ideas you like, steal the best, and &lt;a href=&quot;http://the99percent.com/articles/6977/Rainer-Maria-Rilke-Trust-In-What-Is-Difficult&quot;&gt;trust in what is difficult&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1068" LastActivityDate="2011-07-09T18:36:51.377" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1832" PostTypeId="5" CreationDate="2011-07-09T19:18:27.333" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-07-09T19:18:27.333" LastActivityDate="2011-07-09T19:18:27.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1833" PostTypeId="4" CreationDate="2011-07-09T19:18:27.333" Score="0" Body="An intermediate video codec." OwnerUserId="1068" LastEditorUserId="1068" LastEditDate="2011-07-12T14:59:44.297" LastActivityDate="2011-07-12T14:59:44.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1834" PostTypeId="5" CreationDate="2011-07-09T19:33:10.050" Score="0" Body="&lt;p&gt;A monitor is a speaker or video display designed for accurate reproduction of the source.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Reference monitor: Studio speakers used during recording and production&lt;/li&gt;&#xA;&lt;li&gt;Stage monitor: On-stage speakers projecting back towards the performer (aka foldback)&lt;/li&gt;&#xA;&lt;li&gt;Video monitor: On-set or in-studio video display used for judging critical focus, exposure, color, and framing&lt;/li&gt;&#xA;&lt;li&gt;Computer monitor&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="1068" LastEditorUserId="1068" LastEditDate="2011-07-09T20:00:17.340" LastActivityDate="2011-07-09T20:00:17.340" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1835" PostTypeId="4" CreationDate="2011-07-09T19:33:10.050" Score="0" Body="Video displays or speakers designed for accurate reproduction or monitoring of the source." OwnerUserId="1068" LastEditorUserId="2836" LastEditDate="2014-02-07T21:40:58.993" LastActivityDate="2014-02-07T21:40:58.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1840" PostTypeId="2" ParentId="1700" CreationDate="2011-07-10T20:27:07.463" Score="4" Body="&lt;p&gt;I've reflecmedia chromakey with good results using a DSLR for both stills and video, producing great easy to key files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.reflecmedia.com/video/products/chromaflex/index.htm&quot; rel=&quot;nofollow&quot;&gt;Reflecmedia Pop up screen&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We plan to use this as part of our &lt;a href=&quot;http://unitedbyphotography.com/ubp/209/dslr-video-green-screen-production-courses/&quot; rel=&quot;nofollow&quot;&gt;DSLR HD Video DIY Greenscreen Training course&lt;/a&gt; at United By Photography.&lt;/p&gt;&#xA;" OwnerUserId="1153" LastActivityDate="2011-07-10T20:27:07.463" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="1841" PostTypeId="5" CreationDate="2011-07-11T06:11:33.567" Score="0" Body="&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/L5Nha.png&quot; alt=&quot;Premiere Pro&quot; /&gt;&lt;/p&gt;&#xA;&lt;h1&gt;About&lt;/h1&gt;&#xA;&lt;p&gt;Adobe Premiere Pro was one of the first computer-based &lt;a href=&quot;https://en.wikipedia.org/wiki/Non-linear_editing_system&quot; rel=&quot;nofollow noreferrer&quot;&gt;NLE&lt;/a&gt;s, with the software first being released in 1991 on the Mac. Today, it is part of Adobe's &lt;a href=&quot;https://en.wikipedia.org/wiki/Adobe_Creative_Cloud&quot; rel=&quot;nofollow noreferrer&quot;&gt;Creative Cloud&lt;/a&gt; with it's latest version being CC 2021.&lt;/p&gt;&#xA;&lt;p&gt;The software supports resolutions of up to 10,240x8192 in up to 32-bits per channel color. It provides plugin support, multiple-channel sound mixing, and integration with other Adobe products such as &lt;a href=&quot;https://en.wikipedia.org/wiki/Adobe_Photoshop&quot; rel=&quot;nofollow noreferrer&quot;&gt;Photoshop&lt;/a&gt; and &lt;a href=&quot;https://en.wikipedia.org/wiki/Adobe_After_Effects&quot; rel=&quot;nofollow noreferrer&quot;&gt;After Effects&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;h2&gt;Versions&lt;/h2&gt;&#xA;&lt;p&gt;Before being changed to Premiere Pro 1.0, it was released with incremental version numbers from Premiere 1 to Premiere 7.&lt;/p&gt;&#xA;&lt;p&gt;It was then released as a part of CS3, CS4, CS5, and CS6. Following the release of Creative Cloud, it has seen multiple releases. The latest release version is CC 2021.&lt;/p&gt;&#xA;&lt;h2&gt;Related Tags&lt;/h2&gt;&#xA;&lt;p&gt;&lt;a href=&quot;/questions/tagged/adobe&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;adobe&amp;#39;&quot; rel=&quot;tag&quot;&gt;adobe&lt;/a&gt;&#xA;&lt;a href=&quot;/questions/tagged/after-effects&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;after-effects&amp;#39;&quot; rel=&quot;tag&quot;&gt;after-effects&lt;/a&gt;&#xA;&lt;a href=&quot;/questions/tagged/editing&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;editing&amp;#39;&quot; rel=&quot;tag&quot;&gt;editing&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2352" LastEditorUserId="2352" LastEditDate="2021-07-09T07:20:20.660" LastActivityDate="2021-07-09T07:20:20.660" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="1842" PostTypeId="4" CreationDate="2011-07-11T06:11:33.567" Score="0" Body="A non-linear video editing program made by Adobe." OwnerUserId="785" LastEditorUserId="2836" LastEditDate="2013-06-25T16:58:56.267" LastActivityDate="2013-06-25T16:58:56.267" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1843" PostTypeId="1" CreationDate="2011-07-11T13:56:55.113" Score="2" ViewCount="17925" Body="&lt;p&gt;I have two .dv4 files, taken from a CCTV and I cannot find a way to use them on either Windows or OS X.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried to open them with several applications, but to no luck!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have experience with this kind of files?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help will be really much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="789" LastActivityDate="2018-02-21T12:30:18.557" Title="How to playback/convert a DV4 file?" Tags="|video|playback|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="1844" PostTypeId="2" ParentId="895" CreationDate="2011-07-11T19:20:52.777" Score="2" Body="&lt;p&gt;Their main software tools are Pro Tools for audio and Final Cut Pro for video editing, on MacBook Pro.  Here's Jack's list of gear:  &lt;a href=&quot;http://jackconte.tumblr.com/Gear&quot; rel=&quot;nofollow&quot;&gt;http://jackconte.tumblr.com/Gear&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Jack and Nataly gave a tutorial on making videosongs at CELLspace in San Francisco for the Disposable Film Festival a few months ago.  Unfortunately only the song performances afterward have been posted to Youtube so far.  Perhaps if you contact DFF you can track down someone with video of the tutorial and Q&amp;amp;A session.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps another tool will be able to meet your requirements.&lt;br&gt;&#xA;&lt;a href=&quot;http://en.wikipedia.org/wiki/Comparison_of_video_editing_software&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/Comparison_of_video_editing_software&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1155" LastActivityDate="2011-07-11T19:20:52.777" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1847" PostTypeId="1" AcceptedAnswerId="1854" CreationDate="2011-07-12T04:27:37.773" Score="2" ViewCount="236" Body="&lt;p&gt;I produced a DVD a couple months ago and found out that people in the States had trouble viewing it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not totally sure what the problem is (could be PAL vs NTSC - I thought every modern US player would play both as is the norm in Europe and elsewhere). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What needs to be done to ensure that a DVD will play uniformly well on all players?&lt;/p&gt;&#xA;" OwnerUserId="1085" LastActivityDate="2011-07-12T16:20:08.983" Title="Producing DVDs that play everywhere" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1848" PostTypeId="2" ParentId="1796" CreationDate="2011-07-12T04:39:55.360" Score="1" Body="&lt;p&gt;Create the emotion and use eye drops only as a final touch, if needed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you try, you will find you can pretty much create any emotion at will. The actors should be sad when playing these parts, only difference is that when you are purposefully causing yourself to be sad, it's actually pretty fun. &lt;/p&gt;&#xA;" OwnerUserId="1085" LastActivityDate="2011-07-12T04:39:55.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1849" PostTypeId="2" ParentId="1843" CreationDate="2011-07-12T04:51:01.103" Score="3" Body="&lt;p&gt;Try &lt;a href=&quot;http://www.videolan.org/vlc/&quot; rel=&quot;nofollow&quot;&gt;VLC&lt;/a&gt; or &lt;a href=&quot;http://www.moviecodec.com/file-types/how-to-play-cctv-dv4-file-format-in-pc-85119/#msg3038836&quot; rel=&quot;nofollow&quot;&gt;AvTech PlayLite&lt;/a&gt; (appears to be abandonware). However, from my cursory research, it seems that DV4 videos are supposed to be bundled with proprietary software (check this &lt;a href=&quot;http://www.vsicctv.com/pdf/DVR4CRemoteSoftwaremanualEnglish.pdf&quot; rel=&quot;nofollow&quot;&gt;Bosch PDF&lt;/a&gt;, page 13), so if you're missing that, you might be out of luck.&lt;/p&gt;&#xA;" OwnerUserId="763" LastActivityDate="2011-07-12T04:51:01.103" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1850" PostTypeId="2" ParentId="1847" CreationDate="2011-07-12T08:38:29.590" Score="1" Body="&lt;p&gt;Make sure you burn your DVDs without any region encoding.  Commercially produced DVDs often/usually are encoded only to play on players manufactured for a certain region.  Typically &quot;homemade&quot; DVDs are burned without this encoding--aka &quot;region-free.&quot;  So I don't know if that's actually your problem or not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It could also be that the media you're using just doesn't work in certain players.  This is less of an issue these days than it has been in the past, but it could still creep up--especially on cheap/old media or cheap/old players.&lt;/p&gt;&#xA;" OwnerUserId="1072" LastActivityDate="2011-07-12T08:38:29.590" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1852" PostTypeId="1" AcceptedAnswerId="1853" CreationDate="2011-07-12T15:22:39.597" Score="0" ViewCount="106" Body="&lt;p&gt;I'm trying to keep this question as &quot;non&quot; subjective as possible...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to find a very specific piece of hardware (not brand or model, just type), and I'm currently coming up empty handed. I've been cruising around on Google, but all of my search terms are coming up with invalid results. I've contacted the AV suppliers that I know, but they don't seem to have any answers either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem I'm running into is that there are a million consumer grade devices as well as a myriad of software solutions, none of which are useful to me. I need results in the PRO AV grade of electronics.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;This is only here to help add context to the above question.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;What I'm looking for is a Video Playback Appliance that can be controlled either via TCP/IP or via hard buttons. It needs to play H.264/AAC files, and preferably be able to wire two of them together so that they play simultaneously (for redundancy). I'm currently using an &lt;a href=&quot;http://www.adtecdigital.com/products-and-solutions/digital-signage-a-ip-streaming/signedje&quot; rel=&quot;nofollow&quot;&gt;Adtec signEdje&lt;/a&gt;, and though it works fantastically (TCP/IP playback controls as well as Ethernet File Upload to internal 80GB HDD), it has no &quot;seek&quot; function, which is a major problem.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1161" LastEditorUserId="1161" LastEditDate="2011-07-12T15:33:07.200" LastActivityDate="2011-07-13T05:52:54.157" Title="How can I find specific PRO grade gear when CONSUMER grade dominates the search results." Tags="|hardware|recommendation|electronics|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1853" PostTypeId="2" ParentId="1852" CreationDate="2011-07-12T15:45:03.430" Score="2" Body="&lt;p&gt;I think your trouble is partly related to using the overloaded, usually inappropriate word &quot;pro&quot; instead of &quot;broadcast&quot;.  Marketing departments love using the first word, but when you think about it, that word doesn't describe the type of work, nor the level of quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The rest of your trouble may just be unfamiliarity with this kind of hardware, which is rather esoteric and specialized.  For redundant playback with various control options, I think you're probably looking for &quot;broadcast video playback systems&quot;, one example of which would be the &lt;a href=&quot;http://www.grassvalley.com/products/k2_dyno&quot; rel=&quot;nofollow&quot;&gt;Grass Valley K2 Dyno&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1068" LastActivityDate="2011-07-12T15:45:03.430" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="1854" PostTypeId="2" ParentId="1847" CreationDate="2011-07-12T16:20:08.983" Score="3" Body="&lt;p&gt;You can't make a DVD that plays on all players.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately for your distribution, @Flimzy was correct with his explanation of most compatibility problems, and only left out the PAL/NTSC issue, which simply put, means that even if you don't have region encodings, or if you get them correct, then many (if not most) DVD players won't play the opposite type.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best you may be able to do, is focus on media types.  Replicated (pressed) DVDs (not burned) are going to play back on the most devices without trouble.  After replicated disks, in a distant second place for compatibility, comes re-writable disks.  Least likely to play are single-write disks.  But, when you use writable and rewritable media, your disk is either more or less likely to play on any single DVD player, depending on the make and model.&lt;/p&gt;&#xA;" OwnerUserId="1068" LastActivityDate="2011-07-12T16:20:08.983" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="1858" PostTypeId="2" ParentId="1852" CreationDate="2011-07-13T05:52:54.157" Score="0" Body="&lt;p&gt;Google responds to volume, and the fact is that there are a lot more people looking for consumer grade devices than pro/broadcast grade devices. That's part of the problem, and adding &quot;broadcast&quot; to your query may help, but I think what most people in the business would do is not use Google in the first place. Rather, they'd use a dedicated broadcast equipment supplier of their choice (for example, &lt;a href=&quot;http://www.markertek.com/&quot; rel=&quot;nofollow&quot;&gt;Markertek&lt;/a&gt;) and search that supplier directly.&lt;/p&gt;&#xA;" OwnerUserId="617" LastActivityDate="2011-07-13T05:52:54.157" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1859" PostTypeId="1" AcceptedAnswerId="1862" CreationDate="2011-07-13T08:22:43.737" Score="1" ViewCount="1038" Body="&lt;p&gt;I have Adobe Premiere Pro CS4 in its basic settings. I am trying to merge some .AVI files that a friend shot on his digital camera. The videos play perfect on Windows Media Players and on other players. But in Premiere it looks as though it's stuck. Even after I render.&#xA;This does not happen when I work with video captures from DV camera. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is that? Is there a workaround?&lt;/p&gt;&#xA;" OwnerUserId="1164" LastEditorUserId="2836" LastEditDate="2014-07-01T16:01:14.993" LastActivityDate="2014-07-01T16:01:14.993" Title="Video files compatibility for Adobe Premiere pro CS4" Tags="|premiere|file-formats|cs4|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1860" PostTypeId="1" AcceptedAnswerId="1882" CreationDate="2011-07-13T08:50:27.670" Score="2" ViewCount="7959" Body="&lt;p&gt;I have a screen-cast clip. On a white background, I have an icon which I'd like to cover with a shape or something. In fact, I've tried using a vector shape and it partially does its job. The problem I'm having is that the clip starts with a fade in/out transition and I'd like to &quot;hide&quot; the icon also during those frames. Adding the same transition to the vector shape didn't help, so maybe I'm just using the wrong approach.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How could I hide that icon so that it looks natural also during the transition frames?&lt;/p&gt;&#xA;" OwnerUserId="1091" LastActivityDate="2011-07-15T17:56:23.873" Title="Removing an undesired object from a clip in Final Cut" Tags="|final-cut-pro|" AnswerCount="5" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1861" PostTypeId="2" ParentId="1860" CreationDate="2011-07-13T12:00:53.013" Score="2" Body="&lt;p&gt;You could use a &quot;garbage mask&quot; to cut out the desired object on the main frame. Doing that, it will be in place during the transition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that does not work for you, then just duplicate the transition for the vector object.&lt;/p&gt;&#xA;" OwnerUserId="1070" LastActivityDate="2011-07-13T12:00:53.013" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1862" PostTypeId="2" ParentId="1859" CreationDate="2011-07-13T12:03:43.627" Score="1" Body="&lt;p&gt;You need to convert the files into a format that Premiere can understand. You should try converting the files into an AVCHD format using a converter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A free conveter I like is Media Coder&lt;/p&gt;&#xA;" OwnerUserId="1070" LastActivityDate="2011-07-13T12:03:43.627" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1865" PostTypeId="2" ParentId="1859" CreationDate="2011-07-13T15:32:19.460" Score="2" Body="&lt;p&gt;Premiere handles a lot of video formats without requiring an intermediate (editing) file, so this is an uncommon problem to have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As with other editing codec questions, I think a good place to start is by reading about the different kinds of codecs: &lt;a href=&quot;https://video.stackexchange.com/questions/1718/the-prores-of-premiere-pro/1732#1732&quot;&gt;The ProRes of Premiere Pro?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would help us understand your problem better if you could tell us what you can see about the file format when you right-click to get &quot;Properties&quot;, or ctrl-click to &quot;Get Info&quot; on the file.  There's a chance that we just need to get the right codec installed for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since it's free to try, maybe download the GoPro Cineform Studio to try reading and transcoding the files.  If that works, then you'll be able to make a decision on whether to keep that workflow, or use a different conversion program.&lt;/p&gt;&#xA;" OwnerUserId="1068" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2011-07-13T15:54:21.953" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1866" PostTypeId="2" ParentId="1860" CreationDate="2011-07-13T15:50:53.577" Score="2" Body="&lt;p&gt;This is a job better accomplished with a compositing program like After Effects (or maybe Motion if that's all you have), and not with your editing program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, here's a tutorial that covers how to deal with some difficult situations in object removal:&#xA;&lt;a href=&quot;http://library.creativecow.net/articles/drozda_jerzy/SimpleObjectRemoval.php&quot; rel=&quot;nofollow&quot;&gt;http://library.creativecow.net/articles/drozda_jerzy/SimpleObjectRemoval.php&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even if you're not an After Effects user, the approach and techniques used in the tutorial are worth knowing.&lt;/p&gt;&#xA;" OwnerUserId="1068" LastEditorUserId="1068" LastEditDate="2011-07-13T15:59:05.457" LastActivityDate="2011-07-13T15:59:05.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1867" PostTypeId="2" ParentId="1796" CreationDate="2011-07-13T23:02:23.017" Score="0" Body="&lt;p&gt;It's better to try to create the emotion rather than just using eye-drops or onions, because besides tear production, there are other mannerisms and behaviors involved in crying.&lt;/p&gt;&#xA;" OwnerUserId="1017" LastEditorUserId="126" LastEditDate="2011-10-03T13:33:17.830" LastActivityDate="2011-10-03T13:33:17.830" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1870" PostTypeId="1" CreationDate="2011-07-14T00:09:55.203" Score="2" ViewCount="1103" Body="&lt;p&gt;I recently obtained a Sony NX5, now aside from the fact that its pretty much a great camera in every way (afaik); it doesn't have a IEEE 1394 port. I assume this is probably related to the AVCHD format that the NX5 uses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regardless, I can't find an easy way to stream with it on to the Macs I've been given. Up to this point it's been fine as I've only needed to get the footage post-shoot. But next week I've got an event coming up and they want to use the NX5 to stream the footage from on-site to a synchronous event occurring elsewhere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Their ambitions are high, but I figured if I can get the stream from the camera to the Mac, then I should be able to hook it up to the live stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone got any pointers/hints/tips on how I can do this?&lt;/p&gt;&#xA;" OwnerDisplayName="user1167" LastEditorDisplayName="user1167" LastEditDate="2011-07-14T01:21:56.750" LastActivityDate="2023-08-22T03:07:55.917" Title="Streaming with a Sony NX5" Tags="|live|video|mac|streaming|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1872" PostTypeId="2" ParentId="1860" CreationDate="2011-07-14T03:31:28.100" Score="0" Body="&lt;p&gt;If you're using Final Cut X, make the vector shape and the icon into a composite clip, and then apply the transition to that. That way they're both fade in and out together. &lt;/p&gt;&#xA;" OwnerUserId="785" LastActivityDate="2011-07-14T03:31:28.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1877" PostTypeId="1" CreationDate="2011-07-15T01:09:34.737" Score="3" ViewCount="2933" Body="&lt;p&gt;I'm shooting the main performance and possibly some other scenes of a music video for my band (I'm not in it) and the scene is like this:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;In a field or in a forest (some variation thereof).&lt;/li&gt;&#xA;&lt;li&gt;Guitarist singing and playing acoustic (not looking at the camera).&lt;/li&gt;&#xA;&lt;li&gt;Lighting needs to be warm, dramatic and background to be quite dark (easily done at night with lower sensitivity). Almost &quot;camp-fire&quot; like.&lt;/li&gt;&#xA;&lt;li&gt;I need to be able to hand hold at least one light as I want to constantly change the angle of the light on the subject during certain takes.&lt;/li&gt;&#xA;&lt;li&gt;All lights obviously need to be similar for white balance / grading purposes.&lt;/li&gt;&#xA;&lt;li&gt;Will be primarily shot on Canon 60D's with 50mm F/1.8 at 23.976fps 1080p with some slo-motion takes at 59.94fps (60p).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;We can spend some money on lighting but as musicians we are dirt poor (shock horror). I understand lighting fully (being a photographer) but I fear our budget is probably going to make things... interesting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any DIY or basic solutions to lighting a video such as this? The main issue is that we'll be shooting in a field with no mains nearby so we'd need a generator or other power source to power the lights. I suspect it to be a few hours of shooting.&lt;/p&gt;&#xA;" OwnerUserId="923" LastActivityDate="2012-03-15T17:50:59.610" Title="Music video lighting with small budget?" Tags="|video|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1879" PostTypeId="2" ParentId="1877" CreationDate="2011-07-15T02:47:08.987" Score="4" Body="&lt;p&gt;For this kind of lighting, I would recommend going down to your local Home Depot (or equivalent hardware super store) and looking for construction lights. They are generally cheep and some run on batteries. They are also generally small and portable. You could also try some MagLights on D batteries (the ones the 5-0 use)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These lights are generally not that &quot;warm,&quot; so I would also recommend picking up a piece of plywood and some paint. You can use this as a DYI reflector, and modify the color. More information can be found at &lt;a href=&quot;http://en.wikipedia.org/wiki/Reflector_%28photography%29&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/1xYmq.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what a friend of mine did for lighting. It worked, but it was not the best. You just have to play around, there are many different ways of doing dirt cheap lighting, and you have to find the best. Hell, headlights and a reflector would work.&lt;/p&gt;&#xA;" OwnerUserId="1070" LastActivityDate="2011-07-15T02:47:08.987" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="1882" PostTypeId="2" ParentId="1860" CreationDate="2011-07-15T06:22:51.560" Score="0" Body="&lt;p&gt;In the end, I've kept using a vector shape. Just, I've setup two keyframes - one at the beginning of the transition and one at the end - for the &quot;color&quot; property, and used the &quot;Select Color&quot; tool so the colour matches the current background. When needed, I've added extra keyframes. It now looks fine.&lt;/p&gt;&#xA;" OwnerUserId="1091" LastActivityDate="2011-07-15T06:22:51.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1883" PostTypeId="1" CreationDate="2011-07-15T11:23:35.813" Score="7" ViewCount="5881" Body="&lt;p&gt;I'm looking to stream some video from Flash Media Live Encoder with a video bitrate of around 150 Kbit/sec and audio of 50 Kbit/sec. The video will contain quite a lot of movement which I want to try and represent as faithfully as possible. Is there a particular flavour of H.264 that I could use to optimise the results at a resolution of 384x216 i.e. which profile?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="1177" LastActivityDate="2012-06-07T04:35:27.427" Title="Best H.264 settings for low bit-rate streaming video" Tags="|streaming|codec|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="1887" PostTypeId="2" ParentId="1860" CreationDate="2011-07-15T17:56:23.873" Score="1" Body="&lt;p&gt;Put the clip in question in it's own sequence. Apply the vector shape but not the transitions. Then drag the sequence from your browser window into the preview window, then put it into your original timeline as if it were the original clip. Then apply transitions.&lt;/p&gt;&#xA;" OwnerUserId="1006" LastActivityDate="2011-07-15T17:56:23.873" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1888" PostTypeId="1" AcceptedAnswerId="1935" CreationDate="2011-07-15T22:41:19.020" Score="0" ViewCount="81" Body="&lt;p&gt;I am running FCE 3.5 HD on a Macbook Pro and whenever I start rendering, it (FCE) unexpectedly quits. Here’s the crash report:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://inventaweb.net/matthew/fcecrashlog.txt&quot; rel=&quot;nofollow&quot;&gt;http://inventaweb.net/matthew/fcecrashlog.txt&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have no idea if this will even help, as I have no idea even how to read it...but....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE: I posted this on another forum and found out that the cross-dissolve transition was causing a problem.&lt;/p&gt;&#xA;" OwnerUserId="1180" LastEditorUserId="1070" LastEditDate="2011-07-23T14:07:25.013" LastActivityDate="2011-07-23T14:07:25.013" Title="Final Cut Express 3.5 HD quits unexpectedly" Tags="|video|final-cut-express|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1895" PostTypeId="1" CreationDate="2011-07-16T13:21:58.743" Score="3" ViewCount="174" Body="&lt;p&gt;I am thinking about getting some video editing software and I was wondering if Premier Pro or Final Cut Pro is better in  terms of ease of use, compatibility with other audio and video editing programs, and how powerful they are.&lt;/p&gt;&#xA;" OwnerUserId="1082" LastEditorUserId="1082" LastEditDate="2011-07-16T21:24:30.623" LastActivityDate="2011-07-21T20:36:00.680" Title="Premier Pro versus Final Cut Pro" Tags="|software|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1899" PostTypeId="2" ParentId="1895" CreationDate="2011-07-17T03:38:46.317" Score="5" Body="&lt;p&gt;In my experience both Premiere and FCP will do pretty much the same thing.&#xA;They have similar lay outs and, I would say, are as easy to use as each other. I first used Premiere when I had a PC but moved to FCP when I went to university and got a mac. I find it a lot easier to edit with FCP and the transition to other programs are very simple and effective (file &gt; send to &gt; Color/Compressor).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a mac I would suggest buying the final cut pro studio. It comes with Motion, Soundtrack Pro, DVD Studio Pro, Color and Compressor. Everything you need (pretty much except Adobe After Effects). And if you have a PC then go with Premiere. That's my advice. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2011-07-17T03:38:46.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1904" PostTypeId="1" CreationDate="2011-07-18T10:25:51.890" Score="4" ViewCount="449" Body="&lt;p&gt;I'm entering my third week into the video editing world, and have already put up a few test videos to youtube. But overall, I am unhappy with the results so far.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Quick background: I am recording video game footage using fraps, and eventually want to create professionally edited productions in the future, for now, I'm still learning.&#xA;I have tried h.264 from vegas studio 11(trial)... it looks terrible. I have also tried wmv: that looks much better... but is grainy, so still unacceptable for me (also file size is large in wmv).&#xA;And for the last week and a half, I have been playing around, googling, testing programs, researching methods for video production, trying not to ask questions(because the info might already be out there), but I just can't seem to figure this out: I'm stuck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What information I need:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know what steps I need to go through in order to end up with a high quality, high definition video with accurate colours(within acceptable parameters of course... i.e. not super dark compared to source video, which is what happens with vegas avc/h.264).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think I have some idea as to the steps involved, and I will post it below, please fill in the gaps with as much detail as you care to provide, post links to other answers, and also other websites which have supplementary information:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.Record Video in fraps at 1080p - 29.97fps&#xA;2.Encode into intermediate codec (having trouble here, one spot I need help with).&#xA;3.Import into video editor (I'm currently trying to use avid studio due to it's unlimited track nature, if vegas studio 11 is better for me, please say so).&#xA;4.Edit the video, adding effects and transitions and splicing together video footage.&#xA;5.Export the video to h.264 at about 8000kbps or to another much higher bitrate codec.&#xA;optional 6. encode into final codec using handbrake or some other encoder.&#xA;7. Upload.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So that's what I think the steps are, please correct me if I have them wrong. As you can see, I am stuck at step 2, because I keep getting no video footage after encoding into my intermediate format. &#xA;     The intermediate codecs I have tried are: ffmpeg huffyuv, ffmpeg dnxhd and they both get no video output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If anyone is still wondering what question to answer, I'll abridge it here:&#xA;What do I need to do and what programs should I use (max budget $150 total), in order to get a VERY GOOD quality video with fast editing speeds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: I may not have the correct playback codecs, I don't know, I only have the default windows codecs installed at the moment for decoding, the rest are included in ffmpeg.&#xA;note2: I am using avantigui to use ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="1189" LastEditorUserId="1189" LastEditDate="2011-07-18T10:59:00.860" LastActivityDate="2011-11-16T13:41:57.640" Title="What is a good workflow for producing High quality High definition Videos suitable for a final upload to the internet." Tags="|software|video|editing|intermediate|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="1906" PostTypeId="2" ParentId="1895" CreationDate="2011-07-18T20:13:42.367" Score="1" Body="&lt;p&gt;I would say, after having used both for a number of years each, that Chard was right up until recently. If you are on a PC then it is a no brainer - Premiere is the way to go. If you are on a Mac it is much more complicated with the new release. Apple has stopped selling FCP Suite 3. Now we are all just hoping they increase the functionality of FCPX. As of right now it is pretty useless without external monitor support, unless you just edit on a laptop. If you need to make a purchase soon, I'd go with an Adobe Suite that bundles Premiere with some other useful software like After Effects and Photoshop.&lt;/p&gt;&#xA;" OwnerUserId="795" LastEditorUserId="95" LastEditDate="2011-07-21T20:36:00.680" LastActivityDate="2011-07-21T20:36:00.680" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1908" PostTypeId="1" AcceptedAnswerId="3197" CreationDate="2011-07-18T21:43:46.787" Score="4" ViewCount="1420" Body="&lt;p&gt;I am quite new in the area of audio/video manipulation so apologies if the question is obvious. I did not manage to find an answer online, though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a MKV file with several tracks: video (MPEG4), audio (DTS EN), audio (AC3 FR) and subtitles. I wanted to extract the video and French audio, then merge them back into an MKV file.&#xA;I did this via mkvextract and mkvmerge (without any specific options). The MKV file I got is playable but the audio is shifted (by 10 or so seconds). The audio in the original file is fine for both languages (ie. it is correctly synchronized with the picture).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess that there should be a way to align the video and audio, though I do not really understand why they are shifted since I did not do any manipulations on the extracted files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would be grateful for any hints.&#xA;Thank you &lt;/p&gt;&#xA;" OwnerUserId="1192" LastEditorUserId="741" LastEditDate="2011-08-04T08:03:44.010" LastActivityDate="2012-02-03T13:11:01.380" Title="synchronizing video and audio in a remuxed MKV" Tags="|sync|matroska|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1911" PostTypeId="1" CreationDate="2011-07-19T07:13:09.447" Score="3" ViewCount="516" Body="&lt;p&gt;I am looking for a very good method to encode video recorded with fraps in 1080p into an intermediate format which I can edit in Avid Studio. Most video files load up into Avid, as far as I know, but Fraps recordings isn't one of them (on my computer at least). So I'm here to ask if anyone here knows of a guide, or is willing to write one as an answer on how to do that. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assume that I have no previous codecs installed apart from the included ones with windows 7 home premium.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem, if anyone is interested, is that when I load fraps videos into avid, I get audio, but no video. I don't know much about video editing or encoding, only what I have learned in the past 2 weeks. Please feel free to link me to websites with required theory(I will read it), but I'm really just looking for a tutorial right now.&lt;/p&gt;&#xA;" OwnerUserId="1189" LastEditorUserId="1070" LastEditDate="2011-07-19T10:53:41.077" LastActivityDate="2011-07-19T10:53:41.077" Title="Very Good Free Lossless/Lossy Video Encoding For Editing on Windows 7 (regarding fraps recordings)" Tags="|video|editing|codec|avid|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1912" PostTypeId="2" ParentId="1911" CreationDate="2011-07-19T10:53:32.060" Score="1" Body="&lt;p&gt;You want to use &lt;a href=&quot;http://virtualdub.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;VirtualDub&lt;/a&gt; to convert your FRAPS files. Just drag the clip into the window, select video from the top menu -&gt; compression. Change the codec to Avid AVI Codec 2.0d2 and then configure it to your desired resolution. BAM! The outputted files should work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also try MediaCoder and XVid&lt;/p&gt;&#xA;" OwnerUserId="1070" LastActivityDate="2011-07-19T10:53:32.060" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="1921" PostTypeId="1" CreationDate="2011-07-20T14:44:36.240" Score="5" ViewCount="191" Body="&lt;p&gt;In &lt;a href=&quot;http://documentation.apple.com/en/finalcutpro/usermanual/index.html#chapter=42&amp;amp;section=11&amp;amp;tasks=true&quot;&gt;the Final Cut Pro 7 manual is explained how to switch and cut video and audio items separately&lt;/a&gt;. At the end, it says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;However, independently switching video or audio angles breaks linking&#xA;  relationships between a multiclip’s clip items in the Timeline. After&#xA;  you perform the switch, only the audio item whose angle you switched&#xA;  remains linked to the video item.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Which is exactly what happen in my case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I switch angle for a piece of audio once the relationship is broken in the timeline?&lt;/p&gt;&#xA;" OwnerUserId="1091" LastActivityDate="2012-06-11T00:35:27.813" Title="Switching and Cutting Video and Audio Items Separately" Tags="|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1926" PostTypeId="1" CreationDate="2011-07-21T13:16:51.547" Score="0" ViewCount="901" Body="&lt;p&gt;I have a .MOV video -created with Final Cut Pro 7 - which I'm converting to .flv using FFMPEG. I'm very happy about the quality and the size of the output file, but whenever I have fade in/out transitions in the input video, I get a pixelate effect on the output file. Any advice on how to solve this, without increase too much the output file size?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;FRAME_SIZE=720x576&#xA;BIT_RATE=1200k&#xA;&#xA;ffmpeg -s $FRAME_SIZE -i $1 -g 250 -ar 44100 -deinterlace -b $BIT_RATE -minrate $BIT_RATE -maxrate $BIT_RATE -bufsize 10000k -qblur 0.3 $2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Where $1 and $2 are, respectively, the input and output file.&lt;/p&gt;&#xA;" OwnerUserId="1091" LastEditorUserId="1091" LastEditDate="2011-07-22T09:43:45.180" LastActivityDate="2012-08-15T14:08:19.573" Title="Pixelate effect when converting MOV to FLV via FFMPEG" Tags="|final-cut-pro|ffmpeg|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="1931" PostTypeId="1" CreationDate="2011-07-22T10:30:33.477" Score="3" ViewCount="5900" Body="&lt;p&gt;In Final Cut Pro 7, is it possible to select all clips and transitions on the right of the playhead with a shortcut?&lt;/p&gt;&#xA;" OwnerUserId="1091" LastActivityDate="2012-10-09T22:04:32.987" Title="Selecting all clips on the right of the playhead" Tags="|final-cut-pro|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1935" PostTypeId="2" ParentId="1888" CreationDate="2011-07-22T18:59:50.193" Score="1" Body="&lt;p&gt;The problem was with the cross-dissolve transition that I was trying to render. Technically, I haven't figured out the problem, but now I know what is causing the problem. I am able to render video in other sequences and that works just fine. I haven't tried rendering a cross-dissolve transition in another sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://apple.stackexchange.com/questions/17524/final-cut-express-3-5-hd-quits-unexpectedly&quot;&gt;https://apple.stackexchange.com/questions/17524/final-cut-express-3-5-hd-quits-unexpectedly&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1180" LastEditorUserId="-1" LastEditDate="2017-04-13T12:45:28.897" LastActivityDate="2011-07-22T18:59:50.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1939" PostTypeId="1" AcceptedAnswerId="1943" CreationDate="2011-07-22T23:01:00.670" Score="2" ViewCount="1016" Body="&lt;p&gt;I have a few recordings from my &lt;a href=&quot;http://www.trustedreviews.com/Canon-IXUS-90-IS_Digital-Camera_review&quot; rel=&quot;nofollow&quot;&gt;Canon IXUS 90 IS&lt;/a&gt; that I have combined into one sequence. I am using this small project as a way to get to know &lt;strong&gt;Adobe Premiere Pro CS5&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The pieces of video from the camera are obviously already compressed, and I would like to export the finished product in an equally compressed format to reduce the file size. Which format/codec is best suited for this task? Am I fine with the ones that are already available to me in Premiere, or should I download another somewhere?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've already tried the &lt;strong&gt;Windows Media&lt;/strong&gt; codec, but I get the error &quot;&lt;strong&gt;The source and output audio channels are not compatible or a conversion does not exist&lt;/strong&gt;&quot; and I have no idea what to do about this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video details:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;File type: AVI&lt;/li&gt;&#xA;&lt;li&gt;Video: 640x480, 30 fps&lt;/li&gt;&#xA;&lt;li&gt;Audio: 44100 Hz, 16-bit, Mono&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I am fine with having to fiddle with the parameters in order to get the quality just right. I just need a pointer in the right direction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please let me know if further details are needed.&lt;/p&gt;&#xA;" OwnerUserId="1208" LastEditorUserId="2836" LastEditDate="2014-07-01T16:09:21.080" LastActivityDate="2014-07-01T16:09:21.080" Title="Choosing the right format/codec for export" Tags="|premiere|file-formats|codec|cs5|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="1940" PostTypeId="2" ParentId="1931" CreationDate="2011-07-23T02:09:55.960" Score="1" Body="&lt;p&gt;There's something close to it. If you press 't' you will be using the Select Track Forward Tool which selects every visual OR audio track after and including the track you click on. If you press 'tttt' you will be using the Select All Tracks Forward Tool which selects everything including audio and audio transitions after and including the track you click on.&lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2011-07-23T02:09:55.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1942" PostTypeId="2" ParentId="1926" CreationDate="2011-07-23T12:08:13.670" Score="1" Body="&lt;p&gt;Try converting the file using [MPEG Streamclip], MPEG Streamclip is a good free file converter. Export the project from Final Cut Pro 7 and use MPEG Streamclip to convert the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(http://www.squared5.com/)&lt;/p&gt;&#xA;" OwnerUserId="1082" LastActivityDate="2011-07-23T12:08:13.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1943" PostTypeId="2" ParentId="1939" CreationDate="2011-07-23T12:10:02.390" Score="1" Body="&lt;p&gt;I use &lt;a href=&quot;http://vimeo.com/help/compression&quot; rel=&quot;nofollow&quot;&gt;these&lt;/a&gt; guidelines when uploading to the internet. I know that's not what you're trying to do but it's a starting point. I find there is very little loss of quality and massively reduced file size.&lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2011-07-23T12:10:02.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1946" PostTypeId="1" CreationDate="2011-07-24T20:05:25.043" Score="4" ViewCount="419" Body="&lt;p&gt;We have an old duo core Windows XP machine, and it seems to be the case that, when using Adobe Premiere Elements 9, we frequently have situations where the audio and video are out of sync. We will load a prores mov, or a new hi res mp4 and try to share a DVD version of the file, or do some minor trimming of a clip, and then have something that is clearly off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, if you have to do editing on this level (no special effects, just clips and transcoding) what is a reasonable processor, processor speed, RAM requirement? If we replace this machine, I will be looking at either Windows 7 or MacOS (long story, and I don't get to choose which), so my focus is on understanding the hardware requirements.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Hmmm. We're now using current iMacs (64-bit) and Premiere Elements 10. Being a Mac, that means saving things to .mov (the Mac's version of a &quot;wrapper&quot; format) instead of avi. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even given that, however, I am still finding that the audio and video get out of sync when writing a DVD. I also have a similar (but possibly not remotely related) problem where, when I define a clip and write the clip to a file, I lose the last ~3 seconds of the clip. In this case, no bad synccing, just that suddenly the conversation stops a few seconds before the action stops.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really don't want to invest several hundred dollars in video editing software for the trivial editing that we do, but it drives me crazy how little control I have over settings, and how many weird glitches I am encountering.&lt;/p&gt;&#xA;" OwnerUserId="1210" LastEditorUserId="126" LastEditDate="2012-03-28T21:46:04.930" LastActivityDate="2019-01-11T04:58:51.333" Title="Reasonable hardware for basic video editing?" Tags="|video|hardware|" AnswerCount="5" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="1949" PostTypeId="2" ParentId="1946" CreationDate="2011-07-25T12:49:14.073" Score="2" Body="&lt;p&gt;Adobe has tech specs on all of the software they sell on their website (www.adobe.com). I found the tech specs for [premier elements] 9 that you can look at. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(http://www.adobe.com/products/premiereel/systemreqs/)&lt;/p&gt;&#xA;" OwnerUserId="1082" LastActivityDate="2011-07-25T12:49:14.073" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="1951" PostTypeId="5" CreationDate="2011-07-25T14:36:01.557" Score="0" Body="&lt;p&gt;A &quot;wheel&quot;-like device found on Controllers, Keyboards and Combinations of both used for controlling expressions of a given sound, typically via MIDI messages. Most devices allow it to target one or more parameters of a Sound / FX. Possibilities can be further expanded by customizing which parameters it affects in a software music DAW or plugin.&lt;/p&gt;&#xA;" OwnerUserId="309" LastEditorUserId="309" LastEditDate="2011-07-25T14:40:58.573" LastActivityDate="2011-07-25T14:40:58.573" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1952" PostTypeId="4" CreationDate="2011-07-25T14:36:01.557" Score="0" Body="A &quot;wheel&quot;-like device found on Controllers, Keyboards and Combinations of both." OwnerUserId="309" LastEditorUserId="309" LastEditDate="2011-07-25T14:40:57.937" LastActivityDate="2011-07-25T14:40:57.937" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1956" PostTypeId="2" ParentId="1946" CreationDate="2011-07-26T01:41:55.607" Score="1" Body="&lt;p&gt;Is it HD footage you're working with? To work efficiently, in editing, transcoding/rendering and exporting, something like a Intel i7 quad core processor is going to make things a lot smoother. Couple that with a minimum of 4-8GB of RAM (very cheap nowadays) and things will stop getting bogged down. Add a fairly capable video card to the mix (mid-high end NVIDIA / AMD card) and the system will fly if you're doing relatively straight forward HD editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I myself have been doing a lot of work with high-definition DSLR footage transcoded to ProRes 422 and my Core 2 Duo 2.53GHz MacBook Pro with NVIDIA 9400M video is really feeling the strain, despite having 8GB of ram installed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any well developed media editing application should be sufficiently multithreaded and a simple bump from dual to quad core will make a marked difference.&lt;/p&gt;&#xA;" OwnerUserId="923" LastActivityDate="2011-07-26T01:41:55.607" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1959" PostTypeId="1" CreationDate="2011-05-19T20:27:04.450" Score="5" ViewCount="1991" Body="&lt;p&gt;I have a 20 minute video that needs to finish rendering at a maximum of 7 hours. The video format needs to compatible with Windows without Quicktime.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What the the best options to render the video?&lt;/p&gt;&#xA;" OwnerDisplayName="cogeary01" LastEditorUserId="636" LastEditDate="2012-06-22T18:41:48.243" LastActivityDate="2019-01-11T14:13:48.180" Title="Best rendering options for Sony Vegas 8 Pro?" Tags="|video|vegas-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1974" PostTypeId="2" ParentId="1959" CreationDate="2011-07-28T20:52:36.627" Score="3" Body="&lt;p&gt;I would go with a .mp4 format, if it is in HD, the AVCHD mp4 would be better compressed and better quality, but regular mp4 would be faster and compatible with more things, although I do believe that it is compatible with windows even without quicktime. I am not sure though if you can render AVCHD in sony vegas pro 8, I work out of both 9 and 10, but the AVCHD support may have come starting at 9, but I'm not sure. regardless, you should still have support for regular mp4 which would probably be the best option.&lt;/p&gt;&#xA;" OwnerUserId="1081" LastActivityDate="2011-07-28T20:52:36.627" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1978" PostTypeId="1" AcceptedAnswerId="1979" CreationDate="2011-07-29T15:36:27.850" Score="2" ViewCount="1927" Body="&lt;p&gt;I was wondering if anyone knew the technique or how to place dynamic information into a produced video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The idea is that you could, say connect to facebook, and then display your friends faces in a movie about missing persons or similar. It's the same principle as the &lt;a href=&quot;http://www.intel.com/museumofme/r/index.htm&quot; rel=&quot;nofollow&quot;&gt;Intel Museum of Me&lt;/a&gt; where you grant access to facebook and it creates a gallery of your facebook pictures.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or similar to this video where you can upload your face into a video, &lt;a href=&quot;http://vimeo.com/25392805&quot; rel=&quot;nofollow&quot;&gt;http://vimeo.com/25392805&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been searching for ages for a method or technique for this but I can't find anything. Searching for &quot;how to insert pictures in video&quot; or &quot;how to load dynamic data into video&quot; doesn't seem to yield the right kinds of results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thoughts appreciated.&lt;/p&gt;&#xA;" OwnerUserId="1227" LastActivityDate="2011-10-17T08:43:23.013" Title="How to insert dynamic data into a produced video" Tags="|video|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1979" PostTypeId="2" ParentId="1978" CreationDate="2011-07-29T15:53:22.390" Score="2" Body="&lt;p&gt;You should try googling for something like &lt;a href=&quot;http://www.google.co.uk/search?hl=en&amp;amp;source=hp&amp;amp;biw=1007&amp;amp;bih=610&amp;amp;q=green%20screen%20software&amp;amp;oq=green%20screen%20so&amp;amp;aq=0&amp;amp;aqi=g10&amp;amp;aql=&amp;amp;gs_sm=c&amp;amp;gs_upl=1422l4952l0l6468l19l13l1l0l0l0l609l1860l0.2.2.0.1.1l6l0&quot; rel=&quot;nofollow&quot;&gt;green screen software&lt;/a&gt; or &lt;a href=&quot;http://www.google.co.uk/search?hl=en&amp;amp;biw=1007&amp;amp;bih=610&amp;amp;q=chromakey%20software&amp;amp;oq=chromakey%20software&amp;amp;aq=f&amp;amp;aqi=&amp;amp;aql=&amp;amp;gs_sm=e&amp;amp;gs_upl=37225l39131l0l39428l9l8l0l0l0l3l765l1515l0.3.1.6-1l5l0&quot; rel=&quot;nofollow&quot;&gt;chromakey software&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a wide range of free, cheap and very expensive applications to do this. Some of the free ones actually work okay - depends on your requirements.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2011-07-29T15:53:22.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1980" PostTypeId="1" CreationDate="2011-07-29T22:29:55.217" Score="4" ViewCount="333" Body="&lt;p&gt;Does any one know about any free software for windows with which I can combine multiple videos and create a video like this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Mm1920zkwOA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="1228" LastActivityDate="2011-08-02T20:50:10.437" Title="Combining multiple Videos" Tags="|software|video|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="1981" PostTypeId="1" CreationDate="2011-07-30T17:26:54.597" Score="8" ViewCount="223" Body="&lt;p&gt;I was quite surprised when &lt;a href=&quot;http://www.guardian.co.uk/technology/2002/apr/04/internetnews.maths&quot;&gt;I learned&lt;/a&gt; the fact that the MP3 codec is extensively based on the &lt;a href=&quot;http://en.wikipedia.org/wiki/Fourier_transform&quot;&gt;Fourier Transform&lt;/a&gt;. I'd like to learn more about these topics in general. When I say more I mean the working principles of these technologies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For even more clarity, I would prefer something like &lt;a href=&quot;http://xiph.org/video/vid1.shtml&quot;&gt;this video&lt;/a&gt; produced by Xiph.org&lt;/p&gt;&#xA;" OwnerUserId="1232" LastActivityDate="2014-04-05T19:35:43.430" Title="Sources to learn more about Audio/Video compression, codecs, algorithms etc." Tags="|compression|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1982" PostTypeId="2" ParentId="1981" CreationDate="2011-07-30T19:10:23.500" Score="-1" Body="&lt;p&gt;I would recommend Wikipedia. They will have all the information you want, and have links to more information.&lt;/p&gt;&#xA;" OwnerUserId="1070" LastActivityDate="2011-07-30T19:10:23.500" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="1989" PostTypeId="2" ParentId="1978" CreationDate="2011-08-02T04:28:24.760" Score="0" Body="&lt;p&gt;If you don't need to do anything too complicated, you might be able to overlay data or photographic elements on video in Adobe Flash (cringe). You'd create a flash object, and send it variables that would control what would be overlaid on it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;An alternative would be to create a script to render a video, and then play that normally. &#xA;The main trouble with doing something like this is the time it'd take to render the video. &lt;a href=&quot;http://www.blender.org/&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt; for example, has compositing features, and is scriptable using Python - although there'd be a lot to figure out (mostly the framework to interface between Blender and your site). &lt;/p&gt;&#xA;" OwnerUserId="785" LastActivityDate="2011-08-02T04:28:24.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1991" PostTypeId="2" ParentId="1980" CreationDate="2011-08-02T04:53:49.917" Score="1" Body="&lt;p&gt;On Windows, for free, your best (albeit complicated) bet might be &lt;a href=&quot;http://blender.org&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could create a series of several plane meshes in the layout you wanted, in front of the camera. You'd then create a separate material for each of the planes, setting them to shadeless, and giving each a &lt;a href=&quot;http://wiki.blender.org/index.php/Doc%3aManual/Textures/Types/Video&quot; rel=&quot;nofollow&quot;&gt;different video texture&lt;/a&gt;. You'd have to mix the audio separately (Windows Movie Maker, or Blender also has a built in video editor). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I'll note that using a 3D approach for something like this isn't ideal at all - a 2D compositing program like &lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;Adobe After Effects&lt;/a&gt; would be much better&lt;/strong&gt; (Blender itself does have a &lt;a href=&quot;http://www.blender.org/development/release-logs/blender-242/blender-composite-nodes/&quot; rel=&quot;nofollow&quot;&gt;2D compositing component&lt;/a&gt;, but since it uses nodes instead of layers, it might actually be more difficult).&lt;/p&gt;&#xA;" OwnerUserId="785" LastActivityDate="2011-08-02T04:53:49.917" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1993" PostTypeId="1" AcceptedAnswerId="3394" CreationDate="2011-08-02T19:22:10.700" Score="2" ViewCount="4897" Body="&lt;p&gt;Here's what I want to do:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have footage witch I want to divide into several different squares at the same time (think &quot;24&quot;), while also cropping the footage so that I can show certain parts of the original material. All this I can do with the &quot;crop&quot; and &quot;scale&quot; functions under &quot;motion&quot;. However, I would also like to zoom in, within one of these frames, during the video. If I use scale for this, the whole frame gets bigger. That's not what I want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've circumvented the problem by creating a white square, placed it on a video track higher in the hierarchy than the one I want to manipulate, then using color key to let the footage shine through the white parts. However, this isn't especially confortable to use, especially since I haven't found any good way to feather the edges of the box.&lt;/p&gt;&#xA;" OwnerUserId="1236" LastActivityDate="2012-04-24T07:10:24.813" Title="Final Cut Pro 7: Zoom without using “scale”" Tags="|final-cut-pro|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="1995" PostTypeId="2" ParentId="1980" CreationDate="2011-08-02T20:50:10.437" Score="1" Body="&lt;p&gt;There are several free or cheap video editing programs for Windows; Microsoft themselves provide &lt;a href=&quot;http://explore.live.com/windows-live-movie-maker?os=other&quot; rel=&quot;nofollow&quot;&gt;Windows Movie Maker&lt;/a&gt;, and then as an opensource alternative there's &lt;a href=&quot;http://www.virtualdub.org/&quot; rel=&quot;nofollow&quot;&gt;VirtualDub&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1234" LastActivityDate="2011-08-02T20:50:10.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="1996" PostTypeId="1" CreationDate="2011-08-02T21:07:15.993" Score="2" ViewCount="362" Body="&lt;p&gt;I have a mac-mini and an old &lt;a href=&quot;http://images04.olx.pt/ui/11/46/88/1301001465_168863888_4-Colunas-Creative-PCWorks-41-Compra-Venda.jpg&quot; rel=&quot;nofollow&quot;&gt;analog 4.1 set of speakers&lt;/a&gt; and I want to use all 4 channels instead of only two.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do not have a receiver and I am looking for the least expensive way of achieving 4 channels audio working.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I should also mention that the mac mini does have an HDMI out, so this could contain some audio out but I'm not sure how many channel it does have and I do know that my TV is not able to convert the signal to analog (and it's speakers are far worse than the 4.1 old system).&lt;/p&gt;&#xA;" OwnerUserId="664" LastEditorUserId="664" LastEditDate="2011-08-02T21:13:20.387" LastActivityDate="2012-06-04T15:31:49.097" Title="Cheapest way to convert from toslink to 4 channel analog audio?" Tags="|digital|analog|" AnswerCount="1" CommentCount="1" ClosedDate="2014-02-15T08:52:18.490" ContentLicense="CC BY-SA 3.0" />
  <row Id="1998" PostTypeId="2" ParentId="1926" CreationDate="2011-08-03T00:04:24.740" Score="2" Body="&lt;p&gt;You should explicitly specify a video codec using &lt;code&gt;-vcodec&lt;/code&gt; as well as quality settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that &lt;code&gt;ffmpeg&lt;/code&gt;'s defaults aren't very sensible when you only specify a container format for the output, often choosing a sub-standard video format by default.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want H.264 output, try using the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-doc.html#SEC13&quot; rel=&quot;nofollow&quot;&gt;presets&lt;/a&gt;, e.g. &lt;code&gt;-vcodec libx264 -vpre max&lt;/code&gt;. (To see what presets are available, try &lt;code&gt;ls /usr/share/ffmpeg/*.ffpreset&lt;/code&gt;.)&lt;/p&gt;&#xA;" OwnerUserId="1017" LastActivityDate="2011-08-03T00:04:24.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2007" PostTypeId="1" CreationDate="2011-08-03T20:06:47.090" Score="1" ViewCount="1440" Body="&lt;p&gt;I recently borrowed a Sony DCR-TRV140E (which stores footage on the Digital8 medium) from a church in order to shoot my friend's wedding that took place there. By the looks of things, the camera had not been used for a while prior to this. When I set it up to capture into Final Cut, the preview window within FC and the LCD display on the camcorder both showed the footage, but with equally spaced grey bars, as shown below. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/k3kU7.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This being the tell-tale sign of dirty heads, I subsequently bought &lt;a href=&quot;http://www.maplin.co.uk/8mm-cassette-head-cleaner-228581&quot; rel=&quot;nofollow noreferrer&quot;&gt;this head cleaner&lt;/a&gt;, and put it in the camcorder bay, and attempted to run it as instructed. The camcorder refused to play it, and the 'eject' symbol flashed on the LCD. When I tried to eject it, the cleaner proved difficult to remove from the bay. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then left the camcorder for a while to rest, and attempted the same  thing about 90 mins later. After I had the same experience, I inserted the original footage tape back into the bay, and attempted to play that, and the unit refused to display footage, displaying only the blue screen. After leaving it to rest again, I reinserted the footage tape, and now this causes the camcorder to beep and flash the eject symbol also. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, is there anything I can do to either make the camcorder recognise the tape again, and make it play (and therefore capture) properly? I have consulted the manual for this type of problem, (with it only helpfully stating that the tape is recorded in Hi8/8mm analogue system as it's solution) but to no avail. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only thing I can think of is that the head cleaner, even though it was advertised to work with Digital 8 systems, was not in fact compatible and has damaged an internal component. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions would be much appreciated, thank you for your time. &lt;/p&gt;&#xA;" OwnerUserId="270" LastActivityDate="2011-08-04T09:28:00.723" Title="Sony DCR-TRV140E Digital 8 tape problem" Tags="|playback|camcorder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2010" PostTypeId="2" ParentId="2007" CreationDate="2011-08-04T09:28:00.723" Score="1" Body="&lt;p&gt;Ok, so it turns out that after a large amount of research into error codes, the Error: e:31:23 means that there is a problem with the right hand side tape reel cog. It appears that the cog cannot move the spool, as it clicks a bit before displaying the error when I insert a tape. I think this can only be fixed by a specialist, but I included this answer to give someone in the same situation a resolution. &lt;/p&gt;&#xA;" OwnerUserId="270" LastActivityDate="2011-08-04T09:28:00.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2014" PostTypeId="1" AcceptedAnswerId="2138" CreationDate="2011-08-04T14:04:23.203" Score="5" ViewCount="244" Body="&lt;p&gt;My friend asked me to video tape his wedding. I have minimal experience behind a video camera but I'm comfortable with technology. I'm mostly looking for &lt;strong&gt;composition and logistical advice&lt;/strong&gt; on filming a wedding. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think my friend's expectations are low but if I'm going to do this I want it to be at least worthwhile. Thus I have read that besides keeping the couple in the viewfinder the next most important aspect to shooting a wedding is to have a mic on the groom for the ceremony. I don't have a wireless mic but I figured I would put an iPhone in his pocket with the headphone mic pinned under his lapel and sync the audio in post. Is there anything else I'm missing?&lt;/p&gt;&#xA;" OwnerUserId="1243" LastEditorUserId="674" LastEditDate="2014-01-24T22:44:05.400" LastActivityDate="2014-01-24T22:44:05.400" Title="How do I film a friend's wedding?" Tags="|video|filming|composing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2020" PostTypeId="5" CreationDate="2011-08-04T23:48:08.273" Score="0" Body="&lt;p&gt;An underlying technology used by a host Music Production softare (DAW, for short) in order to communicate with an external plugin, most typically being Propellerhead Record or Reason.&lt;/p&gt;&#xA;" OwnerUserId="309" LastEditorUserId="309" LastEditDate="2011-08-05T00:15:47.703" LastActivityDate="2011-08-05T00:15:47.703" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2021" PostTypeId="4" CreationDate="2011-08-04T23:48:08.273" Score="0" Body="A communication technology used between a host DAW and Propellerhead Record / Reason." OwnerUserId="309" LastEditorUserId="309" LastEditDate="2011-08-05T00:15:46.300" LastActivityDate="2011-08-05T00:15:46.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2028" PostTypeId="2" ParentId="1996" CreationDate="2011-08-06T14:05:17.770" Score="2" Body="&lt;p&gt;I use a &lt;a href=&quot;http://www.behringer.com/EN/Products/ADA8000.aspx&quot; rel=&quot;nofollow&quot;&gt;Behringer ADA8000&lt;/a&gt; for this - it converts toslink to 8 channels of analogue, and vice versa.  It works well, and is relatively inexpensive.&lt;/p&gt;&#xA;" OwnerUserId="972" LastActivityDate="2011-08-06T14:05:17.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2030" PostTypeId="1" AcceptedAnswerId="2045" CreationDate="2011-08-06T18:44:05.797" Score="12" ViewCount="35708" Body="&lt;p&gt;I am writing a script for a short movie. How do I write a shooting script? Is it needed? What is the difference between a script and a shooting script?&lt;/p&gt;&#xA;" OwnerUserId="1180" LastEditorUserId="1180" LastEditDate="2011-08-09T01:41:06.780" LastActivityDate="2017-06-29T23:06:41.447" Title="How do I write up a shot list?" Tags="|shooting|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2031" PostTypeId="1" AcceptedAnswerId="2038" CreationDate="2011-08-06T18:52:25.697" Score="1" ViewCount="166" Body="&lt;p&gt;I am experiencing the oddest thing about a RCA-transmitted audio/video signal. The sound is transmitted correctly and so is the image. However the image itself is vertically shifted by roughly one third of the picture. That means the bottom third of the screen is undefined static and the upper third of the actual picture is cut off.&lt;/p&gt;&#xA;&lt;p&gt;Some context: As I do not have a TV at the moment but want to play some Wii games, I use my trusty but quite old VCR (which works perfectly for watching VHS cassettes) which is plugged in via television cable to the TV-card of my computer. This VCR has only a mono sound input regarding the RCA signal (yellow + white) so I left the red cable coming from the Wii unplugged and connected the other (yellow and white) cables to the VCR input.&lt;/p&gt;&#xA;&lt;p&gt;Do you have any clue what is going on? Is there any chance whatsoever I could fix this?&lt;/p&gt;&#xA;&lt;h2&gt;EDIT&lt;/h2&gt;&#xA;&lt;p&gt;I can rule out the VCR, as I plugged the Wii directly to my TV-card (I just found out it supports chinch input) and have the exact same result.&lt;/p&gt;&#xA;" OwnerUserId="1252" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2011-09-06T18:44:38.277" Title="Vertically shifted Image through RCA/Chinc connector" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2033" PostTypeId="2" ParentId="2030" CreationDate="2011-08-06T22:26:40.813" Score="8" Body="&lt;p&gt;The script is the blueprint for your film. A shooting script can be as detailed or as simple as you want/need it to be. Obviously the more detailed it is, the easier people are going to understand what you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The simplest way to do it (and this is my preferred choice) is to make notes on the actual script so that you don't have to write a whole new document. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The shooting script tells your cast and crew how long the takes are going to be and which characters are in them. It's kind of hard to explain so I drew up a little example. Please excuse the poor quality of both the script and the notes:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/vxgIg.jpg&quot; alt=&quot;shooting_script_eg&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On top of this you would usually have a floor plan which details where the actors are going to be and from which angle you want the take to be shot. Once again, excuse the dodgy example:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/WC7jh.jpg&quot; alt=&quot;floor_plan_eg&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a basic example, hopefully it gives you an idea.&lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2011-08-06T22:26:40.813" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="2037" PostTypeId="2" ParentId="1993" CreationDate="2011-08-07T17:33:59.487" Score="0" Body="&lt;p&gt;The scale attribute will only impact the items on a given layer. Of the box you want to scale I on it's on layer in the timeline, you should be able to accomplish what you want.&lt;/p&gt;&#xA;" OwnerUserId="1254" LastActivityDate="2011-08-07T17:33:59.487" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2038" PostTypeId="2" ParentId="2031" CreationDate="2011-08-07T17:48:22.823" Score="1" Body="&lt;p&gt;I solved the problem now. The Wii was configured to send out a 60 Hz signal, but my TV card could only process 50 Hz. By changing this in the Wii menu (which you could see a bit) the setup works now.&lt;/p&gt;&#xA;" OwnerUserId="1252" LastActivityDate="2011-08-07T17:48:22.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2042" PostTypeId="1" AcceptedAnswerId="2299" CreationDate="2011-07-29T17:37:33.393" Score="4" ViewCount="2591" Body="&lt;p&gt;I have a sequence in Final Cut Express 4 that has 1080p video in it, but when I export it, it exports as 720p video, because the sequence settings are set to 720p video. How do I change the frame size?&lt;/p&gt;&#xA;" OwnerUserId="1180" OwnerDisplayName="daviesgeek" LastEditorUserId="1180" LastEditDate="2011-09-06T02:29:47.967" LastActivityDate="2011-09-10T17:45:54.040" Title="Change sequence frame size Final Cut Express 4" Tags="|video|final-cut-express|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2044" PostTypeId="1" CreationDate="2011-08-09T04:59:43.013" Score="1" ViewCount="7001" Body="&lt;p&gt;I am using the 30 day trial of Premiere Pro CS5 trying to edit some clips of some game footage. The clips are in 1680x1050 and are roughly 3.5GB each. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;All the clips are saved on to my external USB 3.0 hard drive, which I've also set as the scratch disk in Premiere. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The clips will usually lag for the first 3-4 seconds, and then play smoothly for the remainder of the clip. Sometimes it begins lagging briefly in other parts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I would like to know what the optimal set up for video editing would be. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are my computer specs:&lt;br/&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;CPU: AMD Phenom II x4 965 Quadcore, 3.4 GHz&lt;br/&gt;&lt;/li&gt;&#xA;&lt;li&gt;GPU: ATI HiS IceXQ Radeon HD 6950 with 2GB DDR5 memory&lt;br/&gt; &lt;/li&gt;&#xA;&lt;li&gt;RAM: 8GB G.SKILL Ripjaws RAM&lt;br/&gt; &lt;/li&gt;&#xA;&lt;li&gt;OS: Windows 7 Ultimate x64 (On a 3GB/S Sata HDD)&lt;br/&gt; &lt;/li&gt;&#xA;&lt;li&gt;Verbatim 1TB USB 3.0 External HDD (Scratch Disk, file source)&lt;br/&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1260" LastActivityDate="2011-12-17T17:10:10.363" Title="Lag during clip playback in Premiere Pro CS5" Tags="|video|editing|premiere|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2045" PostTypeId="2" ParentId="2030" CreationDate="2011-08-09T06:07:31.557" Score="12" Body="&lt;p&gt;Shot lists are fairly easy to write. You can draw up your own grid or download a &lt;a href=&quot;http://www.anchorboltstudios.com/2010/02/how-to-make-a-shotlist&quot; rel=&quot;noreferrer&quot;&gt;template&lt;/a&gt; online. The simplest way is to have four columns: shot number, shot type, action, notes. However you can customise a shot list to include whatever you think is necessary to illustrate your vision.&lt;/p&gt;&#xA;&lt;p&gt;Here is a template I use for simple shoots:&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/blirK.png&quot; alt=&quot;example_shot_list&quot; /&gt;&#xA;Notice that they are written in an order that would be logical to shoot on the day. They are not listed in order of how they will play out in the story.&lt;/p&gt;&#xA;&lt;p&gt;Hope that helps :)&lt;/p&gt;&#xA;" OwnerUserId="1133" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2011-08-09T06:07:31.557" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2048" PostTypeId="5" CreationDate="2011-08-10T02:56:03.330" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Microphone&quot; rel=&quot;nofollow&quot;&gt;Microphones&lt;/a&gt; are acoustic to electric transducers used for the recording of sound. Mics usually have a number of different specifications and categories which they can be labeled by. All of these should be available within specification documents for a particular micropohone.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Transduction Element&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;The two major divisions of microphones by transducer are &lt;strong&gt;dynamic&lt;/strong&gt; and &lt;strong&gt;condensor.&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Dynamic microphones generate electrical signal by &lt;a href=&quot;http://en.wikipedia.org/wiki/Electromagnetic_induction&quot; rel=&quot;nofollow&quot;&gt;magnetic induction&lt;/a&gt;. This is either done in a manner similar to a reversed loudspeaker, a technique known as &quot;moving-coil&quot;, or by a thin metal ribbon suspended in the magnetic field.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Condensor (or capacitor) microphones generate signal by changes in &lt;a href=&quot;http://en.wikipedia.org/wiki/Capacitance&quot; rel=&quot;nofollow&quot;&gt;capacitance&lt;/a&gt; between two metal plates, one of which is the diaphragm of the microphone. These microphones require some initial charge, which can be provided either by batteries, an external power supply, or by &lt;a href=&quot;http://en.wikipedia.org/wiki/Phantom_power&quot; rel=&quot;nofollow&quot;&gt;phantom power&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Polar Pattern&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Microphones can also be divided by polar pattern, or the shape of the space in which the microphone is most effective at picking up sounds. Common polar patterns are &lt;strong&gt;cardiod&lt;/strong&gt;, &lt;strong&gt;super cardiod&lt;/strong&gt;, &lt;strong&gt;bi-directional or figure-8&lt;/strong&gt;, and &lt;strong&gt;omni-directional.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cardioid mics get their name from their &quot;heart-shaped&quot; pickup pattern. These mics are also known as unidirectional, as they are most effective at picking up signals directly in front of their diaphragm. They also have the best rejection of signals directly opposite the axis of focus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Super cardioids have a similar pattern to cardiod mics, but trade a more focused pattern along axis for less rejection at 180º off axis. In this manner, they can be looked at similar to an unbalanced figure-8 mic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Figure-8 microphones have a pickup pattern that is strong in two directions, with very good rejection perpendicular to its axis. This pickup pattern is often associated with ribbon microphones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Omnidirectional mics have negligible bias toward any direction in relation to the direction of the diaphragm. The are often used for more ambient recordings, or recordings in which the sound of the space needs to be captured.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Frequency Response&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;All microphones have a &lt;a href=&quot;http://en.wikipedia.org/wiki/Frequency_response&quot; rel=&quot;nofollow&quot;&gt;frequency response&lt;/a&gt;, which deals with how well the microphone captures sounds at that frequency.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Response Time&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;The response time is how quickly a microphone can react to &lt;a href=&quot;http://en.wikipedia.org/wiki/Transient_%28acoustics%29&quot; rel=&quot;nofollow&quot;&gt;transients&lt;/a&gt;. Typically condensers have the quickest response times, followed by ribbons, then finally moving coil mics.&lt;/p&gt;&#xA;" OwnerUserId="2938" LastEditorUserId="2938" LastEditDate="2012-10-01T09:24:59.477" LastActivityDate="2012-10-01T09:24:59.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2049" PostTypeId="4" CreationDate="2011-08-10T02:56:03.330" Score="0" Body="Transducer for converting sound pressure waves into an electrical signal" OwnerDisplayName="user1264" LastEditorDisplayName="user1264" LastEditDate="2011-08-10T14:19:29.533" LastActivityDate="2011-08-10T14:19:29.533" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2050" PostTypeId="5" CreationDate="2011-08-10T02:57:38.103" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-10T02:57:38.103" LastActivityDate="2011-08-10T02:57:38.103" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2051" PostTypeId="4" CreationDate="2011-08-10T02:57:38.103" Score="0" Body="Device for converting an analog electrical signal representing a sound into a digital signal, and vice-versa" OwnerDisplayName="user1264" LastEditorDisplayName="user1264" LastEditDate="2011-08-10T14:33:37.387" LastActivityDate="2011-08-10T14:33:37.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2052" PostTypeId="5" CreationDate="2011-08-10T02:58:36.290" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-10T02:58:36.290" LastActivityDate="2011-08-10T02:58:36.290" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2053" PostTypeId="4" CreationDate="2011-08-10T02:58:36.290" Score="0" Body="Unwanted sound, as opposed to &quot;signal&quot;, meaning desired sound, as in &quot;signal-to-noise ratio&quot;" OwnerDisplayName="user1264" LastEditorDisplayName="user1264" LastEditDate="2011-08-10T14:33:45.093" LastActivityDate="2011-08-10T14:33:45.093" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2054" PostTypeId="5" CreationDate="2011-08-10T02:59:26.057" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-10T02:59:26.057" LastActivityDate="2011-08-10T02:59:26.057" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2055" PostTypeId="4" CreationDate="2011-08-10T02:59:26.057" Score="0" Body="Digital Audio Workstation software and hardware system produced by the Avid company" OwnerDisplayName="user1264" LastEditorDisplayName="user1264" LastEditDate="2011-08-10T14:33:52.750" LastActivityDate="2011-08-10T14:33:52.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2056" PostTypeId="5" CreationDate="2011-08-10T03:01:01.920" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-10T03:01:01.920" LastActivityDate="2011-08-10T03:01:01.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2057" PostTypeId="4" CreationDate="2011-08-10T03:01:01.920" Score="0" Body="Vibrational devices for converting analog electrical sound signals into acoustic vibrations through electro-mechanical resonance. Short for &quot;loudspeakers&quot;" OwnerDisplayName="user1264" LastEditorDisplayName="user1264" LastEditDate="2011-08-10T14:35:04.823" LastActivityDate="2011-08-10T14:35:04.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2058" PostTypeId="5" CreationDate="2011-08-10T03:02:03.103" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-10T03:02:03.103" LastActivityDate="2011-08-10T03:02:03.103" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2059" PostTypeId="4" CreationDate="2011-08-10T03:02:03.103" Score="0" Body="Guitar that is primarily designed to produce sound through a resonance chamber. This tag is used for questions about recording and dealing with acoustic guitars." OwnerDisplayName="user1264" LastEditorUserId="95" LastEditDate="2011-08-10T16:18:27.443" LastActivityDate="2011-08-10T16:18:27.443" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2060" PostTypeId="5" CreationDate="2011-08-10T03:05:18.853" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-10T03:05:18.853" LastActivityDate="2011-08-10T03:05:18.853" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2061" PostTypeId="4" CreationDate="2011-08-10T03:05:18.853" Score="0" Body="Sound that comes from two sources, usually speakers or headphones, creating a dimensional effect. This is the most common target for audio recordings. This tag is for questions that deal specifically with managing stereo sound." OwnerDisplayName="user1264" LastEditorUserId="95" LastEditDate="2011-08-10T16:21:51.587" LastActivityDate="2011-08-10T16:21:51.587" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2062" PostTypeId="5" CreationDate="2011-08-10T03:06:12.630" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-10T03:06:12.630" LastActivityDate="2011-08-10T03:06:12.630" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2063" PostTypeId="4" CreationDate="2011-08-10T03:06:12.630" Score="0" Body="A pair of small speakers positioned directly over each ear and connected by a band worn on the head." OwnerDisplayName="user1264" LastEditorUserId="95" LastEditDate="2011-08-10T16:22:37.640" LastActivityDate="2011-08-10T16:22:37.640" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2064" PostTypeId="5" CreationDate="2011-08-10T03:07:29.227" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-10T03:07:29.227" LastActivityDate="2011-08-10T03:07:29.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2065" PostTypeId="4" CreationDate="2011-08-10T03:07:29.227" Score="0" Body="Amount of time between when a signal is sent and a sound is heard, measured in milliseconds." OwnerDisplayName="user1264" LastEditorDisplayName="user1264" LastEditDate="2011-08-10T15:02:58.567" LastActivityDate="2011-08-10T15:02:58.567" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2066" PostTypeId="5" CreationDate="2011-08-10T03:09:00.580" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-10T03:09:00.580" LastActivityDate="2011-08-10T03:09:00.580" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2067" PostTypeId="4" CreationDate="2011-08-10T03:09:00.580" Score="0" Body="Fundamental frequency, measured in Hz, (Hertz, or cycles per second) or according to the 12 notes of the Western scale" OwnerDisplayName="user1264" LastEditorDisplayName="user1264" LastEditDate="2011-08-13T21:50:58.353" LastActivityDate="2011-08-13T21:50:58.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2068" PostTypeId="5" CreationDate="2011-08-10T03:09:31.750" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-10T03:09:31.750" LastActivityDate="2011-08-10T03:09:31.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2069" PostTypeId="4" CreationDate="2011-08-10T03:09:31.750" Score="0" Body="Science of sound, a branch of physics" OwnerDisplayName="user1264" LastEditorDisplayName="user1264" LastEditDate="2011-08-13T21:51:00.037" LastActivityDate="2011-08-13T21:51:00.037" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2070" PostTypeId="5" CreationDate="2011-08-10T03:11:00.187" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-10T03:11:00.187" LastActivityDate="2011-08-10T03:11:00.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2071" PostTypeId="4" CreationDate="2011-08-10T03:11:00.187" Score="0" Body="Originally referred to the vertical arrangement of zones of recording on linear audio tape" OwnerDisplayName="user1264" LastEditorDisplayName="user1264" LastEditDate="2011-08-13T21:51:01.723" LastActivityDate="2011-08-13T21:51:01.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2072" PostTypeId="5" CreationDate="2011-08-10T03:11:50.967" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-10T03:11:50.967" LastActivityDate="2011-08-10T03:11:50.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2073" PostTypeId="4" CreationDate="2011-08-10T03:11:50.967" Score="0" Body="Abbreviation for synchronization" OwnerDisplayName="user1264" LastEditorDisplayName="user1264" LastEditDate="2011-08-13T21:51:03.360" LastActivityDate="2011-08-13T21:51:03.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2074" PostTypeId="5" CreationDate="2011-08-10T03:13:20.307" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-10T03:13:20.307" LastActivityDate="2011-08-10T03:13:20.307" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2075" PostTypeId="4" CreationDate="2011-08-10T03:13:20.307" Score="0" Body="Originally refered to &quot;disc jockey&quot;, the on-air personality at a radio station who broadcast music recorded on phonographic discs." OwnerDisplayName="user1264" LastEditorDisplayName="user1264" LastEditDate="2011-08-13T21:51:05.637" LastActivityDate="2011-08-13T21:51:05.637" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2076" PostTypeId="5" CreationDate="2011-08-10T03:14:39.603" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-10T03:14:39.603" LastActivityDate="2011-08-10T03:14:39.603" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2077" PostTypeId="4" CreationDate="2011-08-10T03:14:39.603" Score="0" Body="A component of a loudspeaker system that reproduces the lowest audio frequencies monaurally" OwnerDisplayName="user1264" LastEditorDisplayName="user1264" LastEditDate="2011-08-10T14:19:22.497" LastActivityDate="2011-08-10T14:19:22.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2088" PostTypeId="1" CreationDate="2011-08-11T08:16:36.573" Score="2" ViewCount="106" Body="&lt;p&gt;I've always been fascinated by time-lapse videos, and i wanted to give it a try.&#xA;I don't have much, just a Canon Digital IXUS970, which can record up to 4GB of video. (and i think this is enought to start)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What kind of editing should i do after i registered my video? What are the best scene setups for lights, positioning etc? What software should i use to edit and create my video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, how do i start making timelapses?&lt;/p&gt;&#xA;" OwnerUserId="1202" LastActivityDate="2011-12-21T10:52:01.513" Title="First steps in time lapse" Tags="|digital-recording|video|digital|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2097" PostTypeId="5" CreationDate="2011-08-12T14:28:25.640" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://www.experimentalscene.com/software/darkwave-studio/&quot; rel=&quot;nofollow&quot;&gt;DarkWave Studio&lt;/a&gt; is a free, open source, Digital Audio Workstation for Windows. Featuring a modular Virtual Studio, Pattern Editor, Sequence Editor and Multitrack Hard Disk Recorder. It has support for VST/VSTi instrument and effect plugins. The virtual studio has a modular design allowing machines to be connected in an ad-hoc fashion. The pattern editor enables the quick creation and modification of patterns by clicking to add or delete notes and dragging notes to move or resize them. The sequence editor allows you to queue patterns to play for each control track in any arrangement, enabling reuse of patterns and quickly remixing projects. The Multitrack Hard Disk Recorder allows you to record the output of any machine and record it to 16-bit Integer of 32-bit Floating Point PCM encoded .WAV files for full-quality post-production editing or for conversion to MP3/FLAC/etc. &lt;/p&gt;&#xA;" OwnerUserId="126" LastEditorUserId="126" LastEditDate="2011-08-12T21:20:07.323" LastActivityDate="2011-08-12T21:20:07.323" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2098" PostTypeId="4" CreationDate="2011-08-12T14:28:25.640" Score="0" Body="DarkWave Studio is a free, open source, Digital Audio Workstation for Windows." OwnerUserId="126" LastEditorUserId="126" LastEditDate="2011-08-12T21:20:06.760" LastActivityDate="2011-08-12T21:20:06.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2100" PostTypeId="5" CreationDate="2011-08-12T22:27:44.470" Score="0" Body="&lt;p&gt;Avid Technology is an audio visual software company that was an early pioneer in software-based non-linear editing.  Avid is the parent company to Avid Audio (formerly Digidesign), M-Audio, Sibelius and Euphonix.&lt;/p&gt;&#xA;" OwnerUserId="1276" LastEditorUserId="1276" LastEditDate="2011-08-13T21:51:07.323" LastActivityDate="2011-08-13T21:51:07.323" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2101" PostTypeId="4" CreationDate="2011-08-12T22:27:44.470" Score="0" Body="Avid Technology is an audio visual software company that was an early pioneer in software-based non-linear editing." OwnerUserId="1276" LastEditorUserId="1276" LastEditDate="2011-08-13T21:51:09.333" LastActivityDate="2011-08-13T21:51:09.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2103" PostTypeId="1" AcceptedAnswerId="2193" CreationDate="2011-08-12T22:35:26.580" Score="0" ViewCount="11302" Body="&lt;p&gt;What's the best way to De-Interlace footage in Avid Media Composer using fairly standard effects?  Assume the project media format and footage are interlaced.&lt;/p&gt;&#xA;" OwnerUserId="1276" LastActivityDate="2011-08-24T23:14:50.643" Title="De-Interlace footage in Avid Media Composer using standard effects" Tags="|video|avid|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2105" PostTypeId="1" AcceptedAnswerId="2185" CreationDate="2011-08-12T22:40:17.897" Score="1" ViewCount="1028" Body="&lt;p&gt;Which is better for chroma keying, Adobe After Effects or Final Cut Express and why?&lt;/p&gt;&#xA;" OwnerUserId="1180" LastEditorUserId="1180" LastEditDate="2011-09-06T02:26:39.293" LastActivityDate="2012-04-16T14:26:33.850" Title="Adobe After Effects vs. Final Cut Express for chroma keying" Tags="|final-cut-express|greenscreen|after-effects|chromakey|software-recommendation|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2108" PostTypeId="1" CreationDate="2011-08-13T12:29:29.477" Score="3" ViewCount="149" Body="&lt;p&gt;We had a get-together party. I'm the most technically sound person in my group. I collected pictures &amp;amp; videos from all the friends who attended that party. Because, not all are taken using same camera. These pictures &amp;amp; videos are of different resolutions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, I want to group all of them in to a single video and add some music etc. How can I achieve it? Which software would be better suited for my purpose?&lt;/p&gt;&#xA;" OwnerUserId="1280" LastActivityDate="2011-08-14T03:00:29.003" Title="How to make a single video out of few pics of different resolution and videos of different resolution" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2110" PostTypeId="1" CreationDate="2011-08-13T17:53:57.660" Score="20" ViewCount="2678" Body="&lt;p&gt;I've seen a lot of &quot;low budget&quot; green screen setups. However, when I watch things about professional filmmaking, it seems everyone is using blue screens instead. (e.g. I've seen Industrial Light and Magic called &quot;the blue screen boys&quot;, and the recent TF2 &quot;Sentry Sabotage&quot; video was filmed using a blue screen)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some technical reason for this distinction or is it merely personal preference/inertia?&lt;/p&gt;&#xA;" OwnerUserId="1286" OwnerDisplayName="Billy ONeal" LastEditorUserId="1286" LastEditDate="2011-09-07T17:08:06.450" LastActivityDate="2011-09-07T17:08:06.450" Title="Why do weathermen and amateurs use green screens when professional movie makers use blue screens?" Tags="|video|greenscreen|bluescreen|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2111" PostTypeId="2" ParentId="2110" CreationDate="2011-08-13T19:30:05.947" Score="3" Body="&lt;p&gt;The Lord of the Rings used green screen.  That's the last behind the scenes I've seen, however I can't imagine it being 'most' if that's the case. Looking at the wiki article there are a couple that use blue but if you think about it I imagine it all comes down to what the actor is wearing and if there are any sets pieces involved.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Green may be best for some situations and blue others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for weather forcasters specifically, which color do you see being a problem because of their attire; neon green or blue? =)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[edit] turns out I was wrong, BLUE is older.&lt;/p&gt;&#xA;" OwnerUserId="1246" LastEditorUserId="1246" LastEditDate="2011-08-15T02:48:47.463" LastActivityDate="2011-08-15T02:48:47.463" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2112" PostTypeId="2" ParentId="2110" CreationDate="2011-08-13T20:40:07.277" Score="1" Body="&lt;p&gt;Looking at &quot;behind the scenes&quot; videos from Game of Thrones, it uses &lt;em&gt;both&lt;/em&gt; colors in turns. So  yes, both work, you just pick the one that works in the situation you are filming in at that point.&lt;/p&gt;&#xA;" OwnerUserId="1282" LastActivityDate="2011-08-13T20:40:07.277" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2115" PostTypeId="2" ParentId="2108" CreationDate="2011-08-14T03:00:29.003" Score="4" Body="&lt;p&gt;Any basic editing program will do the job for you. Are you on PC or Mac? If you have a PC then Windows Movie Maker is a very good, simple option. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get the footage to the same codec and resolution you should use this free program called &lt;a href=&quot;http://www.squared5.com/&quot; rel=&quot;nofollow&quot;&gt;mpeg streamclip&lt;/a&gt;. I can't recommend a compression setting because I don't know the specs of the footage and what you are aiming to do with the video once it's been made. But there are many tutorials online that you can find with a quick google search. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2011-08-14T03:00:29.003" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2120" PostTypeId="2" ParentId="2110" CreationDate="2011-08-15T00:10:44.780" Score="28" Body="&lt;p&gt;Professional film productions use neither only green nor only blue for chroma keying, but switch between both depending on the scene. Each can only be used when there are no objects of the same colour in view, otherwise it takes extra work to un-remove these objects. Blue and green are the usual colours because the human skin, which is what will almost always need to remain visible, is very different from both, but this is not the only thing shown in chroma key scenes!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In most situations, you have neither blue nor green objects in the foreground so both colours will, in principle, work. But they may not work equally well. The main reason why green is predominant in digital productions: digital cameras can resolve green light best, so it's possible to do proper green chroma-keying even with a cheap camera that might have problems to resolve a blue screen accurately enough. But that's not a concern in professional film productions. Analog cameras actually resolve blue better, but the difference is not really significant.&lt;br&gt;&#xA;Especially blond hair will sometimes reflect much of the light coming from a greenscreen behind, which can lead to weird and somewhat ill-looking green shades. Blue is less problematic in that aspect. On the other hand, clothing will more often feature blueish colours than greenish ones.&lt;/p&gt;&#xA;" OwnerUserId="1038" LastActivityDate="2011-08-15T00:10:44.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2138" PostTypeId="2" ParentId="2014" CreationDate="2011-08-17T23:41:38.187" Score="5" Body="&lt;p&gt;I have never filmed a wedding, but here are some tips on shooting video in general.&lt;br /&gt;&#xA;1. Get a good tripod. This is critical if you are doing panning shots. I use a 3-way fluid pan head.&lt;br /&gt;&#xA;2. Don't zoom or pan too fast. If you feel like you are panning too slow, that is about the right speed. Even though it feels really slow, it won't be when you are watching it later. When zooming, make sure your zoom are even and steady (no bursts of zooming). I usually set the camera's zoom speed so that it is not variable. Don't zoom in, then immediately zoom out to correct the zooming in, unless you have two camera angles.&lt;br /&gt;&#xA;3. Get two (three if you can) HD cameras if you can. HD makes post much more flexible as you can make minor in/out changes. Two cameras makes also makes post &quot;easier&quot;. If you are only using one camera and you accidentally bump it, it's hard to correct. Two-three angles make filming much more reliable.&lt;br /&gt;&#xA;4. Use 16-bit audio on the camera(s) that you are recording from. The default setting is usually 12-bit, which can slowly drift out of sync towards the end of the video.&lt;br /&gt;&#xA;5. Film in 16:9.&lt;br /&gt;&lt;br /&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this helps you out.&lt;/p&gt;&#xA;" OwnerUserId="1180" LastActivityDate="2011-08-17T23:41:38.187" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2139" PostTypeId="5" CreationDate="2011-08-18T01:37:54.250" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-18T01:37:54.250" LastActivityDate="2011-08-18T01:37:54.250" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2140" PostTypeId="4" CreationDate="2011-08-18T01:37:54.250" Score="0" Body="Video is the technology of electronically manipulating still images that represent motion." OwnerUserId="1180" LastEditorUserId="1180" LastEditDate="2011-08-18T14:31:56.683" LastActivityDate="2011-08-18T14:31:56.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2141" PostTypeId="5" CreationDate="2011-08-18T01:40:07.943" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-18T01:40:07.943" LastActivityDate="2011-08-18T01:40:07.943" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2142" PostTypeId="4" CreationDate="2011-08-18T01:40:07.943" Score="0" Body="Final Cut Express is a now obsolete prosumer video-editing software developed by Apple Inc." OwnerUserId="1180" LastEditorUserId="1180" LastEditDate="2011-08-18T14:31:58.007" LastActivityDate="2011-08-18T14:31:58.007" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2143" PostTypeId="5" CreationDate="2011-08-18T02:13:46.497" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-18T02:13:46.497" LastActivityDate="2011-08-18T02:13:46.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2144" PostTypeId="4" CreationDate="2011-08-18T02:13:46.497" Score="0" Body="Software is a computer program that exists separate from the computer itself.  It can be installed or uninstalled.  In the context of this site, it is a tool for the manipulation of audio or video data." OwnerUserId="1180" LastEditorUserId="2569" LastEditDate="2012-10-05T15:01:13.083" LastActivityDate="2012-10-05T15:01:13.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2145" PostTypeId="5" CreationDate="2011-08-18T02:15:44.467" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-18T02:15:44.467" LastActivityDate="2011-08-18T02:15:44.467" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2146" PostTypeId="4" CreationDate="2011-08-18T02:15:44.467" Score="0" Body="Mixing is the process of manipulating individual tracks so as to make the combination of multiple tracks more appealing." OwnerUserId="1180" LastEditorUserId="2569" LastEditDate="2012-10-05T15:01:31.040" LastActivityDate="2012-10-05T15:01:31.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2147" PostTypeId="5" CreationDate="2011-08-18T02:17:45.073" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-18T02:17:45.073" LastActivityDate="2011-08-18T02:17:45.073" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2148" PostTypeId="4" CreationDate="2011-08-18T02:17:45.073" Score="0" Body="A small, personal recording studio is sometimes called a project studio or home studio. Such studios often cater to specific needs of an individual artist, or are used as a non-commercial hobby." OwnerUserId="1180" LastEditorUserId="23" LastEditDate="2012-04-11T16:14:40.580" LastActivityDate="2012-04-11T16:14:40.580" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2149" PostTypeId="5" CreationDate="2011-08-18T02:18:43.543" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-18T02:18:43.543" LastActivityDate="2011-08-18T02:18:43.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2150" PostTypeId="4" CreationDate="2011-08-18T02:18:43.543" Score="0" Body="Refers to the &quot;container&quot; that that data is stored in and how that data is encoded." OwnerUserId="1180" LastEditorUserId="1180" LastEditDate="2011-08-18T14:32:01.283" LastActivityDate="2011-08-18T14:32:01.283" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2151" PostTypeId="5" CreationDate="2011-08-18T02:24:19.153" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-18T02:24:19.153" LastActivityDate="2011-08-18T02:24:19.153" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2152" PostTypeId="4" CreationDate="2011-08-18T02:24:19.153" Score="0" Body="                    " OwnerUserId="1180" LastEditorUserId="2836" LastEditDate="2014-02-14T00:36:53.290" LastActivityDate="2014-02-14T00:36:53.290" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2153" PostTypeId="5" CreationDate="2011-08-18T02:27:28.170" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-18T02:27:28.170" LastActivityDate="2011-08-18T02:27:28.170" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2154" PostTypeId="4" CreationDate="2011-08-18T02:27:28.170" Score="0" Body="An electronic tone generator that is capable of producing and combining various sounds by altering their frequency, modulation, ADSR envelope, amplitude, etc." OwnerUserId="1180" LastEditorUserId="2569" LastEditDate="2012-10-06T12:30:30.397" LastActivityDate="2012-10-06T12:30:30.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2155" PostTypeId="5" CreationDate="2011-08-18T04:21:37.070" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-18T04:21:37.070" LastActivityDate="2011-08-18T04:21:37.070" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2156" PostTypeId="4" CreationDate="2011-08-18T04:21:37.070" Score="0" Body="The reflection of a sound." OwnerUserId="1180" LastEditorUserId="1180" LastEditDate="2011-08-18T14:32:04.577" LastActivityDate="2011-08-18T14:32:04.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2158" PostTypeId="1" CreationDate="2011-08-18T09:44:52.987" Score="1" ViewCount="27538" Body="&lt;p&gt;I need to edit some source material that comes in 1920x1080p25, with a pixel aspect ratio of 1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I'm missing the presets for this, and the closest I can find is HDV 1080p25, which would be 1440x1080 at a pixel aspect ratio of 1.3333. When I try to customize it, I obviously can't just change the PAR or the frame size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I create a sequence that handles my 1920x1080 content?&lt;/p&gt;&#xA;" OwnerUserId="525" LastActivityDate="2014-05-06T16:21:08.730" Title="How can I create a 1920x1080p25 preset in Premiere Pro CS4?" Tags="|premiere|cs4|full-hd|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2163" PostTypeId="1" AcceptedAnswerId="2173" CreationDate="2011-08-18T17:05:56.040" Score="1" ViewCount="1973" Body="&lt;p&gt;What is the difference between a fishpole and a boom pole? I think I have heard the words interchangeably, but I really don't know the difference between the two.&lt;/p&gt;&#xA;" OwnerUserId="1180" LastActivityDate="2011-08-20T07:21:01.607" Title="What is the difference between a fishpole and a boom pole?" Tags="|boom-pole|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2169" PostTypeId="1" CreationDate="2011-08-19T16:33:43.663" Score="1" ViewCount="406" Body="&lt;p&gt;I am looking at &lt;a href=&quot;http://www.bhphotovideo.com/c/product/238826-REG/Azden_SGM_1X_SGM_1X_Shotgun_Mic.html&quot; rel=&quot;nofollow&quot;&gt;this shotgun mic&lt;/a&gt; and I am making a boom pole from &lt;a href=&quot;http://www.youtube.com/watch?v=83d3qLHaAN4&quot; rel=&quot;nofollow&quot;&gt;this video.&lt;/a&gt; I know there is a mic adapter and shock mount in that video, but since the shotgun mic comes with a shock mount, what mounting adapter/connector do I need for the shotgun mic to connect to the boom pole?&lt;/p&gt;&#xA;" OwnerUserId="1180" LastEditorUserId="1180" LastEditDate="2011-09-06T02:26:21.493" LastActivityDate="2011-09-06T02:26:21.493" Title="What mounting adapter do I need for this shotgun mic?" Tags="|boom-pole|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2170" PostTypeId="5" CreationDate="2011-08-19T16:39:28.433" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-08-19T16:39:28.433" LastActivityDate="2011-08-19T16:39:28.433" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2171" PostTypeId="4" CreationDate="2011-08-19T16:39:28.433" Score="0" Body="A medium in which video (and possibly accompanying audio) information is stored in binary format.  Also, the process of transferring video information to a digital storage medium." OwnerUserId="1180" LastEditorUserId="2836" LastEditDate="2014-02-07T21:27:30.203" LastActivityDate="2014-02-07T21:27:30.203" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2173" PostTypeId="2" ParentId="2163" CreationDate="2011-08-20T07:21:01.607" Score="1" Body="&lt;p&gt;To be honest, man, I've never heard anyone use the term 'fishpole' in regards to video/film production. Recording audio with a microphone that is connected to an extendable rod is called booming. There are people in the film industry who make a living solely from being a boom swinger. &#xA;I think fishpole is just another word used for the same thing, although if someone referred to a boom pole as a fishpole onset they would probably get laughed at. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So yeah, unless you are getting filmmaking mixed up with the honorable profession of capturing sea-dwelling animals, I'd say there is no difference between the two. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2011-08-20T07:21:01.607" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2175" PostTypeId="1" CreationDate="2011-07-29T22:13:49.583" Score="2" ViewCount="2174" Body="&lt;p&gt;I am looking at upgrading from Final Cut Express 3.5 to another Final Cut product. What are the pros/cons of Final Cut Pro X and Final Cut Studio? (In terms of functionality)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: Which would you recommend: Final Cut Studio or Final Cut Pro X? I am using Final Cut Express 3.5, and am possibly looking to upgrade. Also, how steep is the learning curve going from Final Cut Express to Final Cut Studio?&lt;/p&gt;&#xA;" OwnerUserId="1180" OwnerDisplayName="daviesgeek" LastEditorUserId="1180" LastEditDate="2011-09-06T02:26:51.820" LastActivityDate="2012-05-14T13:54:44.433" Title="Final Cut Express vs. Final Cut Pro X vs. Final Cut Studio" Tags="|final-cut-pro|final-cut-express|final-cut-pro-x|software-recommendation|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="2181" PostTypeId="2" ParentId="1931" CreationDate="2011-08-22T04:31:12.437" Score="0" Body="&lt;p&gt;Instead of doing &quot;tttt&quot;, just do &quot;tt&quot; and then &quot;Shift (⇧)&quot;. This will be the same as &quot;tttt&quot;, but &quot;much&quot; faster.&lt;/p&gt;&#xA;" OwnerUserId="1180" LastActivityDate="2011-08-22T04:31:12.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2182" PostTypeId="1" AcceptedAnswerId="2186" CreationDate="2011-08-22T04:34:46.177" Score="0" ViewCount="459" Body="&lt;p&gt;How do you create a sith lightning effect? I am getting into special effects, and was wondering how you do this. I have FCE 4 &amp;amp; 3.5. I'd rather not have to use a different program, but...&lt;/p&gt;&#xA;" OwnerUserId="1180" LastActivityDate="2011-08-22T17:14:54.613" Title="Creating a sith lightning effect" Tags="|effects|final-cut-express|special-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2184" PostTypeId="2" ParentId="2175" CreationDate="2011-08-22T17:02:18.610" Score="1" Body="&lt;p&gt;FCPX, I've heard, is much easier but different. Its like a combination of FCPS and iMove: Simple, Elegant, Powerful, but overall different and in that sense incompatible with other FC project files. Its like OSX was at its time, or iMoive 8: &quot;It breaks the line&quot;. If it's for good or not depends on you: how used you are to your workflow/plugins/etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nevertheless, just like with iMovie or OSX, Apple wont go back and support whats old again, it will just keep improving, so I'd Final Cut X to be getting better with time whereas FCS is obsolete already. This plus the fact FCX is finally Cocoa 64bit and makes use of the latest Apple technologies might be enough for you or might not. It all depends on you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="732" LastActivityDate="2011-08-22T17:02:18.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2185" PostTypeId="2" ParentId="2105" CreationDate="2011-08-22T17:09:45.167" Score="2" Body="&lt;p&gt;I haven't tried chroma keying in Final Cut Express, but I'm pretty sure it depends on your needs and workflow. If you use Premiere for editing movies than AE should be more integrated. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yet, if you really want to get awesome results and have some spare bucks, I'd say you look at some plugins. After all neither AE nor FCE is specialized in chroma keying. There are plenty of companies out there that build specialized plugins that might give you better results, and they usually offer them for all video solutions (AE, Premiere, FC, etc)&lt;/p&gt;&#xA;" OwnerUserId="732" LastActivityDate="2011-08-22T17:09:45.167" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2186" PostTypeId="2" ParentId="2182" CreationDate="2011-08-22T17:14:54.613" Score="1" Body="&lt;p&gt;With FCE I think your best option would be a plugin or something. I know you can make them with Apple Motion and After Effects though, or a really simple one with good ol' iMovie HD. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck in your search for the force.&lt;/p&gt;&#xA;" OwnerUserId="732" LastActivityDate="2011-08-22T17:14:54.613" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2187" PostTypeId="2" ParentId="1698" CreationDate="2011-08-22T17:20:28.900" Score="2" Body="&lt;p&gt;The following resources show how to load a Bolex H-16 camera:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://vimeo.com/5021853&quot; rel=&quot;nofollow&quot;&gt;Instructional video for loading a Bolex (4 mins, Vimeo.com)&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.temple.edu/sct/fma/pdf/filmmaking/manuals/Bolex.pdf&quot; rel=&quot;nofollow&quot;&gt;PDF of the manual (see page 13 - &quot;Feeding the film into-the camera by hand&quot;)&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also find instructions on loading this camera in the American Cinematographer Manual.&lt;/p&gt;&#xA;" OwnerUserId="1062" LastActivityDate="2011-08-22T17:20:28.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2188" PostTypeId="1" CreationDate="2011-08-22T17:50:55.327" Score="0" ViewCount="3153" Body="&lt;p&gt;How would you go about recording a WebEx session that's being played in the Network Recording Player (not browser)? I cannot save the WebEx session so I thought of having a screen capture software that will record as the WebEx session is playing and then I need to capture the audio part of the WebEx session too. So how would I go about setting it up such that I start the streaming video, then 2-3 hours later I have all that stuff in an AVI file or something of that sort?&lt;/p&gt;&#xA;" OwnerUserId="1325" LastActivityDate="2015-03-11T16:23:18.880" Title="Recording streaming video from my computer" Tags="|streaming|" AnswerCount="3" CommentCount="1" ClosedDate="2015-03-11T17:31:30.440" ContentLicense="CC BY-SA 3.0" />
  <row Id="2189" PostTypeId="2" ParentId="2188" CreationDate="2011-08-22T19:07:02.827" Score="1" Body="&lt;p&gt;Standard screen-recording software such as &lt;a href=&quot;http://www.techsmith.com/camtasia/&quot; rel=&quot;nofollow&quot;&gt;Camtasia&lt;/a&gt; will work for this.&lt;/p&gt;&#xA;" OwnerUserId="1079" LastEditorUserId="1180" LastEditDate="2011-08-23T22:11:50.323" LastActivityDate="2011-08-23T22:11:50.323" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2193" PostTypeId="2" ParentId="2103" CreationDate="2011-08-23T14:49:14.727" Score="0" Body="&lt;p&gt;The &lt;strong&gt;Timewarp&lt;/strong&gt; motion effect (adjusted with the Motion Effect Editor) can be used to deinterlace with the following settings:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Type: &lt;strong&gt;Both Fields&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Source: &lt;strong&gt;Interlaced&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Check &lt;strong&gt;Adaptive Deinterlace Source&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Output: &lt;strong&gt;Progressive&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/lMexb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source: &lt;a href=&quot;http://community.avid.com/forums/p/99392/572313.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://community.avid.com/forums/p/99392/572313.aspx&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1276" LastEditorUserId="1276" LastEditDate="2011-08-24T23:14:50.643" LastActivityDate="2011-08-24T23:14:50.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2194" PostTypeId="5" CreationDate="2011-08-23T15:02:50.087" Score="0" Body="&lt;p&gt;A codec is a device or computer program capable of encoding and/or decoding a digital data stream or signal.  The word codec is a portmanteau of 'compressor-decompressor' or, more commonly, 'coder-decoder'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More info: &lt;a href=&quot;http://en.wikipedia.org/wiki/Codec&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/Codec&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1276" LastEditorUserId="1276" LastEditDate="2011-08-23T22:11:56.737" LastActivityDate="2011-08-23T22:11:56.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2195" PostTypeId="4" CreationDate="2011-08-23T15:02:50.087" Score="0" Body="A 'coder-decoder' computer program capable of encoding and/or decoding a digital data stream or signal." OwnerUserId="1276" LastEditorUserId="1276" LastEditDate="2011-08-23T22:11:58.933" LastActivityDate="2011-08-23T22:11:58.933" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2196" PostTypeId="1" CreationDate="2011-08-23T15:05:08.023" Score="3" ViewCount="207" Body="&lt;p&gt;How can I transfer an Avid Media Composer project -- with all media -- from one computer to another?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any issues with duplicating media when transferring media files?&lt;/p&gt;&#xA;" OwnerUserId="1276" LastActivityDate="2014-04-12T21:03:19.503" Title="Transfer Avid project from one machine to another" Tags="|software|avid|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2197" PostTypeId="2" ParentId="2188" CreationDate="2011-08-23T17:41:45.923" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://www.apple.com/quicktime/download/&quot; rel=&quot;nofollow&quot;&gt;Quicktime Player X&lt;/a&gt; will take high-quality screen recording. The best thing is that it's free!! I'm on a Mac, and it will take screen recordings. If you are on a PC, I don't know if this feature works. Let me know if it doesn't work on a PC.&lt;/p&gt;&#xA;" OwnerUserId="1180" LastActivityDate="2011-08-23T17:41:45.923" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2198" PostTypeId="1" CreationDate="2011-08-24T05:35:15.407" Score="3" ViewCount="2012" Body="&lt;p&gt;I downloaded &lt;a href=&quot;http://sourceforge.net/projects/jahshakafx/&quot; rel=&quot;nofollow&quot;&gt;Jahshaka,&lt;/a&gt; but I have no idea how to use it. Anybody know where to find a manual for it? Or even their website? I went to the SourceForge page, and clicked on the link to their website. The website never loaded.&lt;/p&gt;&#xA;" OwnerUserId="1180" LastActivityDate="2012-01-29T19:33:42.553" Title="Is there a Jahshaka manual?" Tags="|video-editor|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2205" PostTypeId="2" ParentId="2169" CreationDate="2011-08-25T18:02:41.373" Score="1" Body="&lt;p&gt;If you're on a budget, and if you are making your own boom pole - I'm assuming you are, you could try this...&#xA;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/621574-REG/Interfit_STR116_STR116_Hot_Shoe.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/621574-REG/Interfit_STR116_STR116_Hot_Shoe.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd gaff tape it for insurance.&lt;/p&gt;&#xA;" OwnerUserId="795" LastActivityDate="2011-08-25T18:02:41.373" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2207" PostTypeId="2" ParentId="1946" CreationDate="2011-08-26T04:03:12.423" Score="1" Body="&lt;p&gt;Your audio and video are probably drifting out of sync because the audio is 12-bit audio. 12-bit audio slowly drifts out of sync. The correct bit rate should be 16-bit, not 12-bit. There should be a setting in your camera to change it from 12-bit to 16-bit.&lt;/p&gt;&#xA;" OwnerUserId="1180" LastActivityDate="2011-08-26T04:03:12.423" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2210" PostTypeId="1" CreationDate="2011-08-26T07:06:08.420" Score="7" ViewCount="502" Body="&lt;p&gt;It's pretty common to shoot in HD but deliver on DVD. This requires a reduction in resolution from 1920x1080 to 720x480 (for NTSC).  If you just interpolate and throw away pixels, you get bad aliasing artifacts such as shimmering lines.  The right way to do it is to first apply a low-pass filter, then get rid of the extra pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of the popular video editing suites (Final Cut Pro, Premiere Pro, etc.) will convert the resolution but they don't do the low-pass filter step.  You have to do it yourself.  Many people approximate it with a Gaussian blur filter, but that is pretty crude, hard to control and can easily lead to loss of detail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A better approach would be to apply a 3x3 convolution filter, with the parameters precisely tuned to the specifics of this conversion.  Someone skilled in DSP theory should be able to derive the optimal convolution matrix once and for all so we can all use it.  I'm hoping someone can do so in answer to this question.&lt;/p&gt;&#xA;" OwnerUserId="1079" LastActivityDate="2011-09-29T03:23:51.393" Title="Convolution matrix for converting 1080i to DVD?" Tags="|video|filter|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2213" PostTypeId="1" CreationDate="2011-08-27T06:32:27.213" Score="2" ViewCount="2287" Body="&lt;p&gt;I am about to do a presentation of a mobile application at a conference. I have a good USB webcam to use, so I can point at the phone, but want to put it through my laptop and then through a projector for the audience to see. Can anyone recommend a simple a decent software package, (that is free to) ? Has to be compatible with Windows 7.&lt;/p&gt;&#xA;" OwnerUserId="1338" LastActivityDate="2011-10-28T22:20:23.003" Title="Need webcam presentation software for digital projectors" Tags="|software|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2215" PostTypeId="2" ParentId="1946" CreationDate="2011-08-27T21:40:29.757" Score="0" Body="&lt;p&gt;If your'e looking for a mac, I'd suggest anything from an iMac up. Currently the entry level iMac has 4GB RAM (expandable to 16GB), an Intel Core i5 and a sweet AMD Radeon HD 6750M graphics processor with 512MB of GDDR5 memory, all within a sleek computer with a full 1080p LED-backlit screen. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is about what I'd recomend for video editing. Video editing apps nowadays need just not a good processor, but also &lt;strong&gt;a good graphics card&lt;/strong&gt; for the best performance. Whichever computer your'e buying I'd say should stick to something similar to this, or better.&lt;/p&gt;&#xA;" OwnerUserId="732" LastActivityDate="2011-08-27T21:40:29.757" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2223" PostTypeId="1" AcceptedAnswerId="3970" CreationDate="2011-08-29T13:50:28.637" Score="2" ViewCount="70" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/JlWG5cyzud0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm currently doing a movie where I use FCP7s &quot;bad TV&quot;-effect quite a lot to cut within and between scenes. The effect basically emulates a bad TV set where the picture come and go with roll, wave, jitter and color sync artefacts (c.f &lt;a href=&quot;http://www.youtube.com/watch?v=uA378g_gD1I&quot; rel=&quot;nofollow&quot;&gt;Battlefield 3 trailer&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, I need some sounds to go with these transitions. White noise is a given but I will need clicks, pops and hums to go with that if you understand what I mean. I own the Propellerheads Reason/Record suite so if there are any tutorial for making suitable sounds in these, I'm all ears. Also, recommendations of free sound effects that can be downloaded somewhere are also very welcome.&lt;/p&gt;&#xA;" OwnerUserId="1236" LastEditorUserId="1236" LastEditDate="2011-08-29T17:59:09.917" LastActivityDate="2012-05-11T14:08:13.283" Title="How can I create or where can I download (royalty free) sound that goes well with a &quot;bad TV&quot;-effect?" Tags="|recommendation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2224" PostTypeId="2" ParentId="2223" CreationDate="2011-08-29T14:15:45.960" Score="2" Body="&lt;p&gt;AM radio samples would probably be a good starting point:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.freesound.org/tagsViewSingle.php?id=142&quot; rel=&quot;nofollow&quot;&gt;http://www.freesound.org/tagsViewSingle.php?id=142&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="686" LastActivityDate="2011-08-29T14:15:45.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2228" PostTypeId="2" ParentId="2213" CreationDate="2011-08-29T21:02:55.743" Score="1" Body="&lt;p&gt;I'm a mac user, so haven't tried these out, but:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://camdesk.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;http://camdesk.sourceforge.net/&lt;/a&gt; looks lightweight and may do the trick&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.screenmonkey.co.uk/&quot; rel=&quot;nofollow&quot;&gt;http://www.screenmonkey.co.uk/&lt;/a&gt; is more comprehensive live-presentation software, but should be able to get a webcam video-source full screen.&lt;/p&gt;&#xA;" OwnerUserId="1345" LastActivityDate="2011-08-29T21:02:55.743" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2239" PostTypeId="1" AcceptedAnswerId="2286" CreationDate="2011-08-30T22:58:57.297" Score="1" ViewCount="253" Body="&lt;p&gt;I've got a video camera with a standard screw-in tripod point. I would like to put that camera on my head to make a video while cycling.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any helmet mounts or similar I can purchase designed to work with a standard tripod mount?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(GoPro have lots, but I understand those use a different mount than the standard tripod point. If thats right, those won't be suitable.)&lt;/p&gt;&#xA;" OwnerUserId="1095" LastActivityDate="2011-09-09T02:43:06.087" Title="How can I put a camera with a standard tripod point on my head?" Tags="|camera|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2243" PostTypeId="1" AcceptedAnswerId="2276" CreationDate="2011-08-31T16:17:43.867" Score="3" ViewCount="172" Body="&lt;p&gt;I am completely new to shooting on a green/blue screen. What are some tips to getting good results when shooting on a green/blue screen? Is there a difference in the way you shoot green screen footage, as opposed to blue screen footage?&lt;/p&gt;&#xA;" OwnerUserId="1180" LastActivityDate="2014-02-20T15:06:37.040" Title="What are some tips for shooting green/blue screen footage?" Tags="|greenscreen|bluescreen|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2244" PostTypeId="1" AcceptedAnswerId="2277" CreationDate="2011-08-31T16:17:46.630" Score="6" ViewCount="2396" Body="&lt;p&gt;I'm shooting a 1 min. promo video for an iPhone app startup. Can I use unlicensed music as long as I mention the artists on the closing credits? Are there any other resources available to help understand how copyright applies here?&lt;/p&gt;&#xA;" OwnerUserId="515" LastEditorUserId="2836" LastEditDate="2014-04-25T13:51:45.497" LastActivityDate="2019-06-18T11:54:44.133" Title="Can I use unlicensed music as soundtrack for a video?" Tags="|copyright|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2247" PostTypeId="1" CreationDate="2011-08-31T22:03:07.703" Score="1" ViewCount="362" Body="&lt;p&gt;I want to create a channel to which various users could stream their desktop. I’m looking for the best solution for them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I’ve found &lt;a href=&quot;http://www.dyyno.com/&quot; rel=&quot;nofollow&quot;&gt;Dyyno&lt;/a&gt; (free but too simple), &lt;a href=&quot;http://www.telestream.net/&quot; rel=&quot;nofollow&quot;&gt;WireCast&lt;/a&gt; (expensive and too complex), and &lt;a href=&quot;https://www.adobe.com/products/flash-media-encoder.html&quot; rel=&quot;nofollow&quot;&gt;Flash Media Live Encoder&lt;/a&gt; (free).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need one that is free, simple to use, yet powerful enough (notably, it must be able to stream a specific area of the screen, and to include audio from the software or from the microphone or both, and to run on both Windows and Mac OS X).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you have any suggestions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. &lt;a href=&quot;http://livestream.com/&quot; rel=&quot;nofollow&quot;&gt;LiveStream&lt;/a&gt; and &lt;a href=&quot;http://www.ustream.tv/&quot; rel=&quot;nofollow&quot;&gt;Ustream&lt;/a&gt; have proprietary solutions (incompatible with others).&lt;/p&gt;&#xA;" OwnerUserId="1361" LastEditorUserId="2540" LastEditDate="2013-08-31T20:37:23.800" LastActivityDate="2013-08-31T20:37:23.800" Title="What are the various desktop streaming software used by justin.tv and similar sites?" Tags="|live|streaming|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="2250" PostTypeId="2" ParentId="2244" CreationDate="2011-09-01T23:07:58.960" Score="4" Body="&lt;p&gt;You'd be best off doing a search for CC-licensed music first. You may find something that works for you that already allows commercial use; even if you find a particular track that's &quot;no commercial use&quot; that would work, you can always write and ask permission - which you're much more likely to get directly from the artist.&lt;/p&gt;&#xA;" OwnerUserId="1366" LastActivityDate="2011-09-01T23:07:58.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2253" PostTypeId="1" AcceptedAnswerId="3831" CreationDate="2011-09-02T07:37:32.173" Score="3" ViewCount="1764" Body="&lt;p&gt;Since there is no way to send a clip directly to Motion 5 from Final Cut Pro X, only to open up general effects, transitions and generators; what is the best workflow for actually using Final Cut Pro X for a specific clip?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say I have a movie that is five minutes long, and that I want to, every minute, create a floating text with some kind of motion following behavior. How am I supposed to accomplish this? Export separate clips, import them to Motion 5, do the edits, export the clip again, importing it to Fincal Cut Pro X and replace the old clip? This seems quite cumbersome.&lt;/p&gt;&#xA;" OwnerUserId="1236" LastActivityDate="2020-04-15T18:59:15.337" Title="What is the best workflow solution for editing a movie in FCPX and creating specific effects for it in Motion 5?" Tags="|final-cut-pro-x|motion|" AnswerCount="4" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2255" PostTypeId="1" CreationDate="2011-09-02T14:10:21.380" Score="1" ViewCount="806" Body="&lt;p&gt;I am using Vegas Pro 10 and I can't find a (good) way to make pictures flying through the screen. &#xA;Well, it's a little bit difficult to describe but what I am thinking of is a screen, where you can see small pictures coming from the background and growing to the middle of the screen, these pictures come in sequence und after it reaches a certain size it fades away. (A little bit like a Picture Gallery). So there is also a little bit of an 3D-Effect included. &#xA;Maybe the best comparable situation is when you click [WIN] + [Tab] and then you go through the windows.&#xA;Sorry for the bad eyplanation, I hope anybody gets what I am talking about ;)&lt;/p&gt;&#xA;" OwnerUserId="1368" LastEditorUserId="674" LastEditDate="2012-06-26T20:35:21.590" LastActivityDate="2014-06-25T16:54:32.820" Title="How can I create an effect of pictures like an album" Tags="|video|video-editor|vegas-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2257" PostTypeId="5" CreationDate="2011-09-02T17:54:45.350" Score="0" Body="&lt;p&gt;This sound effect closely resembles the way a Delay-Effect is created, and in fact could be described as being many Delay-Effects combined together and spread across many varying lengths of time in milliseconds, making a cloudier, more spacious type of sound.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This effect can be heard naturally anywhere around you. Small spaces, such as offices, rooms, or inside a car even - has a much shorter &lt;strong&gt;reverb tail&lt;/strong&gt; when compared to larger spaces, such as: a Gymnasium, Concert Hall, Cathedral, Arena, Tunnel - which can last for several seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Analog, Digital devices and software plugins can closely mimic this natural sound phenomenon. Some of them typically include:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Several types of room modes;&lt;/li&gt;&#xA;&lt;li&gt;Control over the length of the reverb tail;&lt;/li&gt;&#xA;&lt;li&gt;A Dry / Wet knob to adjust the amount;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Occasionally they will include built in EQ, damping, gating and more parameter-controls over the specific reverb type selected on the device / plugin.&lt;/p&gt;&#xA;" OwnerUserId="309" LastEditorUserId="309" LastEditDate="2011-09-03T18:37:53.263" LastActivityDate="2011-09-03T18:37:53.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2258" PostTypeId="4" CreationDate="2011-09-02T17:54:45.350" Score="0" Body="An effect obtained by bouncing a sound multiple times in a room of a given size." OwnerUserId="309" LastEditorUserId="309" LastEditDate="2011-09-05T18:16:44.127" LastActivityDate="2011-09-05T18:16:44.127" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2259" PostTypeId="5" CreationDate="2011-09-02T18:37:03.333" Score="0" Body="&lt;p&gt;ADSR is a time-based system that plays a strong role in the timbre of a sound. It is most often used to affect the Amplitude and Filters of a sound. However, on some devices (especially sound generators / synths), it can also be used to control the amount of a wide variety of other parameters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each letters in the abbreviation stands for the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Attack&lt;/strong&gt;: The amount of time it takes for the parameter to reach it's max value;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Decay&lt;/strong&gt;:  Indicates how long to hold the parameter value at it's max value and gradually fade it to the Sustain amount (&lt;em&gt;see next item!&lt;/em&gt;).&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Sustain&lt;/strong&gt;: The destination amount (or percentage) the Decay time aims for as it gradually fades down.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Release&lt;/strong&gt;: The amount of time it takes for the parameter to fade to zero (0);&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Each of the time-related values can be specified from small to large values: milliseconds (ms) to seconds (s), respectively.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;In the context of amplitude:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A short attack will emit the sound immediatly when triggered, while a longer one will fade it in gradually.&lt;/li&gt;&#xA;&lt;li&gt;A short decay will make the sound more &quot;staccato&quot;, while a longer one will be more &quot;legato&quot;.&lt;/li&gt;&#xA;&lt;li&gt;A high sustain value will maintain the note's strength while it is held-down, while a low value will make it weaker or die completely over time.&lt;/li&gt;&#xA;&lt;li&gt;A short release value will kill the sound almost instantly when released, while a longer value can let it trail for a while.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;When combining the power of ADSR Amplitude and Filter controls together, it can morph the sound in very interesting ways. For example, a synthesizer can evolve from being a smooth pad to being a stabby synth by controlling both the Amplitude and Filter ADSR envelopes with one assigned knob or mod-wheel.&lt;/p&gt;&#xA;" OwnerUserId="309" LastEditorUserId="309" LastEditDate="2011-09-03T18:38:08.503" LastActivityDate="2011-09-03T18:38:08.503" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2260" PostTypeId="4" CreationDate="2011-09-02T18:37:03.333" Score="0" Body="Stands for: Attack, Decay, Sustain, Release. Used to modulate various sound parameters, such as Amplitude, Filters, Effects, etc." OwnerUserId="309" LastEditorUserId="309" LastEditDate="2011-09-05T18:16:49.337" LastActivityDate="2011-09-05T18:16:49.337" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2261" PostTypeId="5" CreationDate="2011-09-02T18:45:59.487" Score="0" Body="&lt;p&gt;The creative process of manipulating a piece of audio material or device in order to make it sound like one specific element in a production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This process can involve recording sounds, altering samples, dramatically changing the pitch / time of a clip, applying signal-processing effects to it, and much more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A sound-designer will most often work in the film, video game and/or music industry in order to achieve a desired &quot;feel&quot; for the context of the job at hand.&lt;/p&gt;&#xA;" OwnerUserId="309" LastEditorUserId="309" LastEditDate="2011-09-05T18:16:53.610" LastActivityDate="2011-09-05T18:16:53.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2262" PostTypeId="4" CreationDate="2011-09-02T18:45:59.487" Score="0" Body="The art or expertise in manipulating a sound, waveform, oscillators, signal-processors or a combination of those - to achieve a desired result." OwnerUserId="309" LastEditorUserId="309" LastEditDate="2011-09-05T18:16:57.400" LastActivityDate="2011-09-05T18:16:57.400" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2268" PostTypeId="2" ParentId="1772" CreationDate="2011-09-03T19:26:34.510" Score="1" Body="&lt;p&gt;The built-in stabilizer in Vegas Pro is very convenient, but some may still want to use Deshaker because it is more flexible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is available as an FX plug-in for Vegas Pro:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.vegasvideo.de/plugins/104-deshaker-interface-for-sony-vegas-pro.html&quot; rel=&quot;nofollow&quot;&gt;http://www.vegasvideo.de/plugins/104-deshaker-interface-for-sony-vegas-pro.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some people report having problems getting the plug-in to work, and continue to use the very handy script that calls out to VirtualDub:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://homepage.ntlworld.com/a.edmiston/deshaker.htm&quot; rel=&quot;nofollow&quot;&gt;http://homepage.ntlworld.com/a.edmiston/deshaker.htm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some settings that are useful to fiddle with:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Remove pan/crop prior to rendering - unclick this if there are a lot of index marks in pan/crop and you want to smooth them out&lt;/li&gt;&#xA;&lt;li&gt;Block size and scale - needs to be finer if there is a lot of black or walls or lack of things for Deshaker to lock onto.&lt;/li&gt;&#xA;&lt;li&gt;Ignore pixels inside/outside - allows you to eliminate the moving things so that the whole smoothed video doesn't bounce up and down with the moving things.&lt;/li&gt;&#xA;&lt;li&gt;Edge compensation: None&lt;/li&gt;&#xA;&lt;li&gt;Yes to Use prev and future frames to fill borders&lt;/li&gt;&#xA;&lt;li&gt;Yes to soft borders&lt;/li&gt;&#xA;&lt;li&gt;Yes to Extrapolate colors into borders&lt;/li&gt;&#xA;&lt;li&gt;Motion smoothness - all appropriate ones at 3000. Include Zoom only when appropriate (1500). Zero for Rotation if using a tripod.&lt;/li&gt;&#xA;&lt;li&gt;Correction limits - all appropriate ones at 99. Zoom at 50 only when using.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1079" LastActivityDate="2011-09-03T19:26:34.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2272" PostTypeId="1" AcceptedAnswerId="2343" CreationDate="2011-09-05T00:40:23.027" Score="6" ViewCount="24450" Body="&lt;p&gt;I am looking at Apple Motion and Adobe After Effects. How to they compare to one another? What are the pros and cons of each?&lt;/p&gt;&#xA;" OwnerUserId="1180" LastActivityDate="2013-10-11T18:35:43.817" Title="How does Apple Motion compare to Adobe After Effects?" Tags="|after-effects|motion|software-recommendation|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2274" PostTypeId="1" CreationDate="2011-09-05T19:44:38.063" Score="55" ViewCount="5738" Body="&lt;p&gt;Sure, I could Google and find random software. But I rather have the opinion of users that have had hands-on with any open source video editors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if you've used one that you like or know of any, please let me know and state whether you've used it or just know of it (and heard good things). Thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for Windows software. But you may suggest Linux as well for other people that might stumble upon this.&lt;/p&gt;&#xA;" OwnerUserId="1364" LastEditorUserId="1364" LastEditDate="2011-09-08T05:03:24.343" LastActivityDate="2021-09-04T21:51:25.397" Title="Good open source Video Editors?" Tags="|video|editing|video-editor|software-recommendation|" AnswerCount="11" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="2276" PostTypeId="2" ParentId="2243" CreationDate="2011-09-06T18:09:32.383" Score="4" Body="&lt;p&gt;Jonas Hummelstrand has a &lt;a href=&quot;http://generalspecialist.com/greenscreen-and-bluescreen-checklist/&quot; rel=&quot;nofollow&quot;&gt;great guide over on his blog&lt;/a&gt; - General Specialist that details out a bunch of tips for it (including descriptions and pictures), I'd recommend checking that out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ultimately the #1 key is lighting - you have to maintain a smooth and consistent lighting job on the backdrop so that the camera &quot;sees&quot; a consistent blue/green free from dark and light spots.  Not only does this make it easier to remove the background, but it means you can use a smaller &quot;slice&quot; of the color spectrum and thereby makes it less likely that you'll accidentally remove part of your foreground subject.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The #2 key is separating your foreground subject from the background (once again, to make the edge definition clear and easy to define).  You want to put at least a few feet between them and the screen (to reduce the amount of green/blue light reflected off the wall and onto them).  If you're using a greenscreen, it often helps to use an amber backlight for your subject (being the opposite of green means that amber cancels any bounced off green light).&lt;/p&gt;&#xA;" OwnerUserId="744" LastEditorUserId="5603" LastEditDate="2014-02-20T15:06:37.040" LastActivityDate="2014-02-20T15:06:37.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2277" PostTypeId="2" ParentId="2244" CreationDate="2011-09-06T18:41:53.350" Score="12" Body="&lt;p&gt;The short answer? &lt;strong&gt;No&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The long answer: No, copyright law requires you to have an appropriate licence from the copyright holders (usually the record label - not the artist - if they're in a record deal!)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are three distinct rights for every piece of music:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Phonogram copyright (the sound recording) (symbol: ℗, &quot;P&quot; in a circle)&lt;/li&gt;&#xA;&lt;li&gt;Composition, score, artwork, cover design, lyrics, which can all be included in one overarching copyright registration per musical work (symbol: ©, &quot;C&quot; in a circle)&lt;/li&gt;&#xA;&lt;li&gt;The Publishing right, considered separately by some&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Each of these rights may be 'assigned' to a third party (e.g., a publisher or a record label) and this is what usually what happens when a track is released by a label. However you may be able to 'encourage' the artist to grant a licence for the music's use if the project is cool or they like it. Ultimately the person who has control of the sound recording copyright is the person to request a licence from.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You are in breach of copyright law if you use a copyrighted piece of music without a licence - moreso if you exploit that copyrighted composition for commercial gain (use it to represent the product or service, even if it's just background music). Whilst I think the current system of licensing music is crazy, that's just how it works for the time being.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Occasionally artists are willing to 'look the other way' if you agree a licence arrangement after the finished work using their copyrighted music is released -- this may not even be a cash payment, it may just be promotion with the band, song name and iTunes link at the bottom of the screen. However, arranging a license 'after the fact' still compromises you from a legal perspective, and you could be forced to stop using that music in your own work (and, worst case, be taken to court for copyright infringement) if the artist or label doesn't like it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I concur with the other answerer's suggestion to seek Creative Commons licensed music; Jamendo is a good site to start on, and even if the initial license is CC-NC you can communicate with the artist to request a commercial use licence (or to be granted an exemption).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may also wish to try sites like these to seek appropriate sync licenses for music for a reasonable cost:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;SongTradr (&lt;a href=&quot;https://www.songtradr.com/licensemusic&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.songtradr.com/licensemusic&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Getty Images, formerly iStock Audio (&lt;a href=&quot;https://www.gettyimages.co.uk/Music&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.gettyimages.co.uk/Music&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Shutterstock (&lt;a href=&quot;https://www.shutterstock.com/music/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.shutterstock.com/music/&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;AudioJungle (&lt;a href=&quot;https://audiojungle.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://audiojungle.net/&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;StockMusic.net (&lt;a href=&quot;https://stockmusic.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://stockmusic.net/&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Epidemic Sound (&lt;a href=&quot;https://www.epidemicsound.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.epidemicsound.com/&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Music Gateway (&lt;a href=&quot;https://www.musicgateway.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.musicgateway.com&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Things are moving to subscription-based for licensees, so you may find over time, if you want to licence a track, contacting a musician direct is a better choice. (Or consider one of the YouTube Library tracks...)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Rob Hardy on FilmmakerFreedom has a good writeup of some other 2019 options: &lt;a href=&quot;https://filmmakerfreedom.com/blog/stock-music-showdown-2019&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://filmmakerfreedom.com/blog/stock-music-showdown-2019&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This older post from NoiseCreators has a list of other outlets and licensing sites, some of which may be defunct but may help on a sync quest. &lt;a href=&quot;http://noisecreators.com/2016/06/21/a-list-of-40-sites-that-will-help-you-license-your-music/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://noisecreators.com/2016/06/21/a-list-of-40-sites-that-will-help-you-license-your-music/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also have a read around and decide who you may wish to deal with from an ethical or business stance.&#xA;&lt;a href=&quot;https://www.digitalmusicnews.com/2019/03/21/songtradr-12-million-funding/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.digitalmusicnews.com/2019/03/21/songtradr-12-million-funding/&lt;/a&gt;&#xA;&lt;a href=&quot;https://www.gearslutz.com/board/music-for-picture/1194031-quot-music-wanted-quot-libraries-like-songtradr-taxi-etc.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.gearslutz.com/board/music-for-picture/1194031-quot-music-wanted-quot-libraries-like-songtradr-taxi-etc.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I initially recommended YouLicense.com but they closed down mid-2018.) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sync is big money. As the rise of digital msuic and streaming has increased, so has global sync revenue. I'd suggest you read &lt;a href=&quot;https://www.synchtank.com/blog/sync-licensing-in-2017-a-look-at-the-trends-and-figures/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.synchtank.com/blog/sync-licensing-in-2017-a-look-at-the-trends-and-figures/&lt;/a&gt; and &lt;a href=&quot;https://musicindustryblog.wordpress.com/2019/05/03/music-sync-a-market-ripe-for-change/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://musicindustryblog.wordpress.com/2019/05/03/music-sync-a-market-ripe-for-change/&lt;/a&gt; if you're unfamiliar with the market.&lt;/p&gt;&#xA;" OwnerUserId="546" LastEditorUserId="546" LastEditDate="2019-06-18T11:54:44.133" LastActivityDate="2019-06-18T11:54:44.133" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="2285" PostTypeId="2" ParentId="2110" CreationDate="2011-09-07T17:03:34.807" Score="8" Body="&lt;p&gt;From &lt;a href=&quot;http://generalspecialist.com/2006/10/greenscreen-and-bluescreen-checklist.asp&quot; rel=&quot;noreferrer&quot;&gt;this green/blue screen guide:&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&amp;quot;Green chroma screens have become more and more popular in recent years, largely because green provides a brighter color channel that tends to have less noise than the blue channel. The relative brightness of green makes it a bad choice for shooting blonde hair though, which is a lot easier to key against blue backgrounds.&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;&amp;quot;The bluescreen has some distinct advantages. When you can’t avoid a lot of spill (for example when you have to put the foreground very close to the chroma material) you can take advantage of the fact that we tend to find blue casts less disturbing than people walking around looking sea-sick with green faces. Also, when shooting for something that will be composited on to outdoor backgrounds and water, a slight blueish cast won’t be a problem.&amp;quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1180" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2011-09-07T17:03:34.807" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2286" PostTypeId="2" ParentId="2239" CreationDate="2011-09-07T19:09:17.903" Score="2" Body="&lt;p&gt;Not sure what size your cameras is, but a quick search at &lt;a href=&quot;http://www.bhphotovideo.com/c/product/755950-REG/Midland_XTA104_XTA_104_Vented_Helmet_Camera.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;B&amp;amp;H turned up this&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/7j6hI.jpg&quot; alt=&quot;Midland XTA-104 Vented Helmet Camera Mount&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Midland XTA-104 Vented Helmet Camera Mount&lt;/p&gt;&#xA;" OwnerUserId="1374" LastEditorUserId="129" LastEditDate="2011-09-09T02:43:06.087" LastActivityDate="2011-09-09T02:43:06.087" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2287" PostTypeId="2" ParentId="2274" CreationDate="2011-09-08T18:26:38.590" Score="3" Body="&lt;p&gt;A friend of mine liked &lt;a href=&quot;http://www.virtualdub.org&quot; rel=&quot;nofollow&quot;&gt;VirtualDub&lt;/a&gt; quite a bit, which is free. I have not, however, used it myself.&lt;/p&gt;&#xA;" OwnerUserId="95" LastActivityDate="2011-09-08T18:26:38.590" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2293" PostTypeId="1" AcceptedAnswerId="2294" CreationDate="2011-09-09T12:05:14.383" Score="9" ViewCount="604" Body="&lt;p&gt;In digital video, there are all these different kinds of files: m4v, mov, mkv, mts, mp4, mpeg, and a host of others, and I can't seem to find a clear answer as to what each is good for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(By contrast, when you're taking still pictures, you have two choices: JPG or RAW; with JPG, you basically know what the file contains, and with RAW, it's going to vary by camera manufacturer. I know it's a little more complicated than that, but it's nothing like the explosion of options available in digital video.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Furthermore, it seems like the video's file extension doesn't tell you what's inside the file. From what I understand, a .mov file (for example) could contain just about anything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then there is this whole thing about h.264, AIC, ProRes, iFrame, AVCHD, DV, HDV -- at least I think those all belong to the same category, but I'm probably mistaken.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone help me understand all the different variables that are in play here so that I can make intelligent choices about what I do with the files coming off my camcorder?&lt;/p&gt;&#xA;" OwnerUserId="1387" LastActivityDate="2014-10-23T00:15:00.357" Title="How to make sense of video file formats?" Tags="|file-formats|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2294" PostTypeId="2" ParentId="2293" CreationDate="2011-09-09T12:43:13.840" Score="8" Body="&lt;p&gt;File formats are essentially wrappers, a container of sorts. The video information is encoded in a codec (Coder/Decoder). Some file formats only work with certain codecs. This is due (in part) to corporate/organizational pissing contests (or format wars - remember dvd+ vs. dvd -?). Codecs come with varying degrees of compression. The more compressed a codec is, the smaller your files will be, but they will also potentially be losing information, in the same way that a RAW file saves everything from CCD, and JPEG compresses the file by dropping repeated information. Also, most pro level NLEs (like Final Cut Pro (not FCPX)) play nicer with codecs that are less compressed. The more compressed it is the more the computer has to work to decode and re-enconde the information when you make changes (moving on the time line, cutting, adding effects etc.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recommendations:&#xA;For recording and editing (HD), pick a low compression, high quality codec such as DVCProHD, AVCHD, Apple ProRes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To export for sharing I recommend H.264. It is supported nearly universally and is very good quality with relatively small files. BluRay videos are actually encoded in an ultra high quality H.264&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One other note: if your camcorder saves files in a weird format (ie. not mov, mpeg, mp4), you will need to use a transfer process in your NLE. Be sure to save the ENTIRE folder structure from your memory card, not just the mts, mxf, or whatever files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More tips: if you're not sure what codec a file is in, you can open it in QuickTime and hit cmd+i to open the inspector window. It will have all the codec information there.&#xA;Additionally, on Windows there is a small utility called G-SPOT which can show you what codec are you using on that file etc.&lt;/p&gt;&#xA;" OwnerUserId="1388" LastEditorUserId="95" LastEditDate="2011-10-20T14:42:34.170" LastActivityDate="2011-10-20T14:42:34.170" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2296" PostTypeId="2" ParentId="2272" CreationDate="2011-09-09T23:59:09.117" Score="1" Body="&lt;p&gt;I have used After Effects, and from what I know, the main difference is that Adobe's has a much steeper learning curve but is also more powerful than Motion. AE is truly like a &amp;quot;Photoshop&amp;quot; for video, and its great for Special Effects. Motion, I've read, is the easiest for making compositions and great if you are working with FCP because it integrates pretty seamlessly.&lt;/p&gt;&#xA;&lt;p&gt;Again, I haven't tried Motion, though I'd love to use it sometime. You can download the AE trial &lt;a href=&quot;http://www.adobe.com/cfusion/tdrc/index.cfm?product=after_effects&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Perhaps this link proves useful.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://discussions.apple.com/thread/2728496?start=0&amp;amp;tstart=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://discussions.apple.com/thread/2728496?start=0&amp;amp;tstart=0&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Hope it helps!&lt;/p&gt;&#xA;" OwnerUserId="732" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2011-09-09T23:59:09.117" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2297" PostTypeId="1" CreationDate="2011-09-10T00:18:47.043" Score="3" ViewCount="100" Body="&lt;p&gt;Anyone have any recommendations for ways to do screensharing of video on a Mac wirelessly over WiFi to a projector? In a solution that doesn't require plugging in some kind of USB dongle.&lt;/p&gt;&#xA;" OwnerUserId="1389" LastActivityDate="2011-09-14T02:17:10.947" Title="Hardware/software to project video wirelessly?" Tags="|video|wireless|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2299" PostTypeId="2" ParentId="2042" CreationDate="2011-09-10T17:45:54.040" Score="1" Body="&lt;p&gt;I think Menu -&gt; Sequence -&gt; Settings -&gt; Load Sequence Preset..., then picking choosing a 1080p  preset might do what you want.  You'll probably have to delete and re-render anything you've pre-rendered.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can set the default sequence preset for all new sequences with Easy Setup under the application menu.&lt;/p&gt;&#xA;" OwnerUserId="1299" LastActivityDate="2011-09-10T17:45:54.040" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2300" PostTypeId="1" AcceptedAnswerId="2958" CreationDate="2011-09-10T21:09:40.850" Score="3" ViewCount="202" Body="&lt;p&gt;I'm making a documentary and some of our historical footage is on VHS.  I'll be capturing the footage into our Non-Linear editor (We already have the analog to digital converter worked out).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What should I look for when choosing a high-quality VCR that can preserve as much quality as possible when playing these tapes. (They're not SVHS, in fact they're VHS-C which we'll use a tape adapter with.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, do they make $5000 VCR's that the FBI might use to analyze tapes?&lt;/p&gt;&#xA;" OwnerUserId="1392" LastEditorUserId="1072" LastEditDate="2011-09-11T02:43:09.083" LastActivityDate="2012-09-01T20:26:45.207" Title="How to choose a VCR for pulling stock footage from VHS for theatrical release" Tags="|final-cut-pro|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2301" PostTypeId="2" ParentId="2274" CreationDate="2011-09-11T14:06:27.670" Score="28" Body="&lt;p&gt;&lt;a href=&quot;http://trac.videolan.org/vlmc/&quot;&gt;VLMC&lt;/a&gt; is a non-linear multitrack editor. It's based on VLC and inherits a pretty vast format compatibility from that. The UI is a little rough, but it gets the job done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://lightworksbeta.com/&quot;&gt;Lightworks&lt;/a&gt; is a more recent project and seems polished. It's rooted in broadcast editing, so a large number of familiar codecs are unsupported. It supports Matrox codecs, which you have to install separately, so you'll have to convert your video to Matrox AVIs first.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://avidemux.sourceforge.net/&quot;&gt;Avidemux&lt;/a&gt; is a simple editor, good for trimming and small tasks. In my experience, not very stable on Windows, OK on Linux.&lt;/p&gt;&#xA;" OwnerUserId="763" LastActivityDate="2011-09-11T14:06:27.670" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="2303" PostTypeId="1" CreationDate="2011-09-12T15:25:50.320" Score="3" ViewCount="1722" Body="&lt;p&gt;I am converting a .MOV file into .MP4, .OGV and .WEBM for web use. I have found that the background rendered by QuickTime and Safari is not white although the same MP4 has a white background when viewed with Windows Media Player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video is compressed using &lt;a href=&quot;http://www.mirovideoconverter.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.mirovideoconverter.com/&lt;/a&gt; which uses ffmpeg (conversion parameters used are listed &lt;a href=&quot;https://develop.participatoryculture.org/index.php/ConversionMatrix#Output_Formats&quot; rel=&quot;nofollow&quot;&gt;https://develop.participatoryculture.org/index.php/ConversionMatrix#Output_Formats&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone tell me why this is and how I would correct the output for QuickTime?&lt;/p&gt;&#xA;" OwnerUserId="1397" LastEditorUserId="2287" LastEditDate="2012-06-27T11:51:16.057" LastActivityDate="2012-06-27T11:51:16.057" Title="Background color of MP4 rendering incorrectly in QuickTime" Tags="|video|compression|conversion|quicktime|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2305" PostTypeId="1" CreationDate="2011-09-12T20:25:06.833" Score="0" ViewCount="242" Body="&lt;p&gt;(Note: the video is a screencast hence the desktop icons, that's not actually the desktop of the machine having the error.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/K1IN1.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We are using JWPlayer, and we rarely have this issue, but on it is frequently reported by customers and becoming a repeat issue. We've had them update their Flash player to the latest version. What causes this? My guess is codecs or video driver issues but I am not sure how to fix.&lt;/p&gt;&#xA;" OwnerUserId="1399" LastEditorUserId="1399" LastEditDate="2011-09-12T20:41:18.057" LastActivityDate="2012-03-15T20:17:08.063" Title="What could be causing these strange MP4 video playback corruptions on some machines?" Tags="|video|windows|codec|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="2308" PostTypeId="2" ParentId="2274" CreationDate="2011-09-12T22:43:36.493" Score="5" Body="&lt;p&gt;For Linux people:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.kinodv.org/&quot;&gt;Kino&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is a non-linear DV editor.  It has many features including capture, editing, FX, and export to other formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've used it for several years without issue.&lt;/p&gt;&#xA;" OwnerUserId="1344" LastActivityDate="2011-09-12T22:43:36.493" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2313" PostTypeId="1" CreationDate="2011-09-13T19:01:56.787" Score="0" ViewCount="31" Body="&lt;p&gt;There's this great TV series that I am a fan of. I would like to go through each episode, available on DVD, and make note of interesting scenes, i.e. funnt stuff, reoccurring events, etc. Is there a good way to go about this? I know that shows such as The Daily show do something like this in order to find relevant clips for their show.&lt;/p&gt;&#xA;" OwnerUserId="1404" LastActivityDate="2011-09-15T03:16:59.743" Title="Best approach to go through tv series, annote key scenes?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2318" PostTypeId="2" ParentId="2297" CreationDate="2011-09-14T02:17:10.947" Score="1" Body="&lt;p&gt;Wi-Fi enabled projectors have been around for several years, &lt;a href=&quot;http://www.projectorcentral.com/wi-fi.htm&quot; rel=&quot;nofollow&quot;&gt;at least&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A cursory Google search for &quot;wifi enabled projector&quot; turns up that and several other articles, plus reviews and some product listings. The primary complaint seems to be bandwidth; however I did not find any reviews including more recent Wi-Fi standards like 802.11g/n.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, it was a &lt;strong&gt;cursory&lt;/strong&gt; search. I saw lots of other results that I didn't have time to click on. Some of them looked a lot more current, and I did find something that looks like a present-day product listing of wireless projectors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My advice would be to shop around, read reviews, and get a good return/exchange policy if you decide to buy one (so you can test it with relatively low risk).&lt;/p&gt;&#xA;" OwnerUserId="128" LastActivityDate="2011-09-14T02:17:10.947" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2321" PostTypeId="2" ParentId="1921" CreationDate="2011-09-14T20:24:26.300" Score="1" Body="&lt;p&gt;You should be able to drag the original clip from the Browser into the timeline and replace the clip you're working with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to make sure not to mess up your edit, double-click the 'broken' clip in the timeline to bring it into the viewer, and make note of your in and out points.  Then open the original clip from the browser into the viewer and set the same in and out points. Now replace the 'broken' clip in the timeline with the new one from the viewer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're asking how to switch audio and video independently &lt;strong&gt;without&lt;/strong&gt; breaking the relationship, I'm not sure.&lt;/p&gt;&#xA;" OwnerUserId="1392" LastActivityDate="2011-09-14T20:24:26.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2323" PostTypeId="2" ParentId="2313" CreationDate="2011-09-15T03:16:59.743" Score="1" Body="&lt;p&gt;If you have a Mac, iPhone or iPad I would suggest &lt;a href=&quot;http://www.filemaker.com/products/bento/&quot; rel=&quot;nofollow&quot;&gt;Bento&lt;/a&gt;. It's a program based on FileMaker that allows you to organize all sorts of projects and data.  You could try this &lt;a href=&quot;http://solutions.filemaker.com/database-templates/detail.jsp?serial=2550209&quot; rel=&quot;nofollow&quot;&gt;Film Library&lt;/a&gt; template from their template exchange or search for a different template.  Or maybe just download the program and start entering data.&lt;/p&gt;&#xA;" OwnerUserId="1392" LastActivityDate="2011-09-15T03:16:59.743" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2327" PostTypeId="2" ParentId="1558" CreationDate="2011-09-16T02:57:33.720" Score="1" Body="&lt;p&gt;I know that FamiTracker can import WAV samples and they will play back in any emulator that supports the DPCM channel. You can get FamiTracker at &lt;a href=&quot;http://famitracker.shoodot.net&quot; rel=&quot;nofollow&quot;&gt;http://famitracker.shoodot.net&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1413" LastActivityDate="2011-09-16T02:57:33.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2329" PostTypeId="1" AcceptedAnswerId="2332" CreationDate="2011-09-16T12:42:23.830" Score="4" ViewCount="11874" Body="&lt;p&gt;I remember watching a video about timelapse photography. There was a moment when the narrator explained that there is a specific trick to make the videos &quot;smoother&quot;:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;In the timelapse videos which don't use this trick, if people are moving, they suddenly appear at a precise frame, then disappear,&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In the videos which use the trick, we have a feeling that they are smoothly moving, like if there was a motion blur.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What is this technique? What is it called? Is it done when taking photos or during post-processing?&lt;/p&gt;&#xA;" OwnerUserId="6250" OwnerDisplayName="MainMa" LastEditorUserId="1303" LastEditDate="2011-09-18T19:35:25.683" LastActivityDate="2011-09-30T22:44:41.373" Title="How to add motion blur in timelapse videos?" Tags="|video|editing|effects|" AnswerCount="5" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2330" PostTypeId="2" ParentId="2329" CreationDate="2011-09-16T13:02:47.320" Score="2" Body="&lt;p&gt;I suspect that the technique is to take images at a smaller interval that you need, then when building your movie, to selectively add additional images for the people motion and smooth moving you mention.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, if you want one frame per minute, take 2 or 3 frames per minute. When you come to a scene with people moving, rather than one frame per minute, insert 'interstitial' frames to effectively slow down the scene and smooth it out, later returning to the one frame per minute speek.&lt;/p&gt;&#xA;" OwnerDisplayName="cmason" LastActivityDate="2011-09-16T13:02:47.320" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2331" PostTypeId="2" ParentId="2329" CreationDate="2011-09-16T14:50:57.860" Score="4" Body="&lt;p&gt;One solution to the jerkiness of stop-motion animation was developed for some Star Wars sequences, termed &quot;&lt;a href=&quot;http://en.wikipedia.org/wiki/Go_motion&quot; rel=&quot;nofollow&quot;&gt;Go Motion&lt;/a&gt;&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically the idea is that you leave the shutter open a little longer than necessary, and move the objects a bit, to create some motion blur.&lt;/p&gt;&#xA;" OwnerUserId="1415" LastActivityDate="2011-09-16T14:50:57.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2332" PostTypeId="2" ParentId="2329" CreationDate="2011-09-16T23:42:03.900" Score="3" Body="&lt;p&gt;After Effects has a &lt;strong&gt;frame blending&lt;/strong&gt; mode called &quot;&lt;strong&gt;Pixel Motion&lt;/strong&gt;,&quot; which will attempt to match features in two temporally adjacent frames and smoothly blend between them. &lt;a href=&quot;http://www.youtube.com/watch?v=Ohi-X7JKwVA&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;This video&lt;/strong&gt;&lt;/a&gt; shows it in action, where it is used to generate filler frames for video footage that was slowed down 10x. As you can see, the results are mixed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no magic bullet for filling in missing data. As the classic computer programming expression says, &quot;Garbage in, garbage out.&quot; If you only need to blend between small changes in the scene between frames, this blending mode might help. Otherwise, your best bet is probably to just do a very fast plain fade between each image, which can be achieved with the &quot;Frame Mix&quot; blending mode.&lt;/p&gt;&#xA;" OwnerUserId="1303" LastEditorUserId="95" LastEditDate="2011-09-30T22:44:41.373" LastActivityDate="2011-09-30T22:44:41.373" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2334" PostTypeId="2" ParentId="2329" CreationDate="2011-09-17T09:29:55.073" Score="2" Body="&lt;p&gt;For a landscape with people walking across shot, making each exposure quite long, maybe quarter of a second, can help - the background, sun transit and clouds etc will not be affected, but people will be a lightly moving blur.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2011-09-17T09:29:55.073" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2335" PostTypeId="1" CreationDate="2011-09-17T19:17:24.253" Score="2" ViewCount="81" Body="&lt;p&gt;I need to make a sort of animation. Not that I am going for same feel or style but I would like to make something that is sort of similar to the animated sequences in &quot;&lt;em&gt;Monty Pyhton's Flying Circus&lt;/em&gt;&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is one catch though! &lt;strong&gt;I need to attach some collage/clip-art to something that can easily be distorted into a 3D-perspective&lt;/strong&gt; - so I can move 'a virtual camera' around imported 2D-images(bitmap) in 3D-space (hope that's clear enough). Currently I am passing on Flash, I think.&lt;/p&gt;&#xA;" OwnerUserId="1418" LastActivityDate="2014-11-29T19:32:38.367" Title="Software advice - for creating animations" Tags="|video|windows|software-recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2336" PostTypeId="1" CreationDate="2011-09-18T17:16:48.500" Score="3" ViewCount="612" Body="&lt;p&gt;I am looking for a solution for windows/linux to create a video guest book for a wedding. The application would run on a netbook or a laptop with a front facing webcam. Basically, people should be able to come up to the screen, hit a record button, talk or whatever, then hit stop and it should save. Maybe have the option to delete if they get flustered, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would prefer if it was something that could run in a kiosk mode so people don't mess with it, if it has cute features which would make it easier for the guests that fine. Free, FOSS, or commerical options will all be considered. I have not yet bought the netbook or laptop for this yet, and I can reload it with whatever OS or dependencies are needed. I found a few for &quot;photo booth&quot; like applications, but I want to do video.&lt;/p&gt;&#xA;" OwnerUserId="1423" LastEditorUserId="2569" LastEditDate="2014-01-24T20:22:53.350" LastActivityDate="2014-01-24T20:22:53.350" Title="Video Booth / Video Guest Book for Events" Tags="|video|digital-recording|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2337" PostTypeId="1" AcceptedAnswerId="2852" CreationDate="2011-09-18T18:19:53.607" Score="2" ViewCount="61" Body="&lt;p&gt;I'm a sound engineer with extensive live and recorded experience. My electronics and acoustics are pretty strong IMO but I've never had any extensive interaction with video/film production and post timecode hardware. What's the best book/website/whitepaper to learn the nuts-and-bolts technical aspects of that stuff. Yamaha Sound Reinforcement Handbook gives some discussion of it, but it's short and out of date.&lt;/p&gt;&#xA;" OwnerUserId="1424" LastEditorUserId="126" LastEditDate="2011-09-19T02:46:41.187" LastActivityDate="2011-12-19T16:40:07.693" Title="Reading material for technical aspects of timecode and alignment" Tags="|video|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2343" PostTypeId="2" ParentId="2272" CreationDate="2011-09-20T03:44:49.080" Score="7" Body="&lt;p&gt;After Effects is much more powerful than Motion when you get into advanced stuff like scripting your animations.  After Effects is much more tolerant to large projects, and you can &quot;precomp&quot; different sequences (which is difficult to explain without you actually seeing it; basically allows you to put one timeline inside of another or reuse a specific portion of your project over and over, if that makes any sense).  Apple Motion only allows one timeline per project, you cannot nest sequences inside one another without rendering out a QuickTime movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apple Motion does however boast that it gives you &quot;realtime previews&quot; which plays your animation instantly, whereas After Effects typically requires you to render a RAM preview in order to see your animation in realtime.  Of course this depends on the speed of your computer and the complexity of your project, so this is really only handy for simple projects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you want to start doing really custom effects like particle systems and other physics based or true 3D compositing, your options are very limited in Motion.  After Effects has a whole range of plugins available online that will do almost anything you can think of.  The &lt;a href=&quot;http://www.trapcode.com/&quot;&gt;Trapcode&lt;/a&gt; plugins are very well-built and very popular.  There are very few plugins for Motion compared to After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've used both for years, and Apple Motion seems to crash more often than After Effects, especially as your projects get more complex (just personal experience, maybe this has improved as of version 5).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I actually started animating for the first time in Apple Motion, and I agree that the learning curve isn't quite as steep as After Effects (although that was Motion 2.0 and 3.0, and now they're at version 5.0).  Once I mastered Motion and dove into After Effects, I haven't looked back.  I recently fired up Motion for the first time in a few years and I was struggling to get it to do what I wanted to do, my brain has just been trained to &lt;strong&gt;think&lt;/strong&gt; like After Effects.  Even though at first I was more productive in Motion than After Effects (because After Effects is more complex), I have completely reversed and now I feel like I'm a speed machine in After Effects and Motion is now useless to me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The bottom line:&lt;/strong&gt; if you're serious about getting a professional tool to do professional work, save up to get After Effects.  If you're just a hobbyist that wants to dabble in animation, get Apple Motion (now that it's on the Mac App Store the price has come down considerably).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this answers most of your questions!  If you have any other specific ones, let me know and I'll be happy to talk.&lt;/p&gt;&#xA;" OwnerUserId="1157" LastActivityDate="2011-09-20T03:44:49.080" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2344" PostTypeId="1" CreationDate="2011-09-20T05:05:30.367" Score="2" ViewCount="226" Body="&lt;p&gt;I have a Vlog on Youtube that I would like to stream live via LiveStream, but the quality looks like complete garbage. It's blocks and just all around not what it looks like in the browser. Does anyone know of a way I can boost the quality of these youtube uploaded recordings so I can stream them from LiveStream?&lt;/p&gt;&#xA;" OwnerUserId="1428" LastActivityDate="2012-10-09T17:04:10.693" Title="Livestreaming Youtube" Tags="|video|live|streaming|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2345" PostTypeId="2" ParentId="2274" CreationDate="2011-09-20T16:00:35.940" Score="16" Body="&lt;p&gt;You might want to see Wikipedia's &lt;a href=&quot;http://en.wikipedia.org/wiki/Comparison_of_video_editing_software&quot; rel=&quot;noreferrer&quot;&gt;Comparison of video editing software&lt;/a&gt; and &lt;a href=&quot;http://en.wikipedia.org/wiki/List_of_video_editing_software&quot; rel=&quot;noreferrer&quot;&gt;list of video editing software&lt;/a&gt;. From my personal experience I recommend Kdenlive over any others. It has good support for a wide range of non-linear video editing functions. If you are the real geek, you may want to try out Cinelerra.&lt;/p&gt;&#xA;" OwnerUserId="1232" LastEditorUserId="16850" LastEditDate="2016-10-08T16:24:03.710" LastActivityDate="2016-10-08T16:24:03.710" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2350" PostTypeId="1" CreationDate="2011-09-21T15:13:25.083" Score="3" ViewCount="294" Body="&lt;p&gt;I'm interested in doing some multicam shooting of my band's gigs.  (This is a personal, not commercial, motivation, so my constraints include budget and cargo space — i.e., minimal equipment bulk.  And I need to make shot decisions after the fact since I won't have someone who can switch between shots live.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I've shot simultaneously with two or three consumer/prosumer HD camcorders, each recording to its own MiniDV tape or disk, then bringing all the content into FCP and manually syncing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;This works pretty well, except that the timecode is inconsistent&lt;/strong&gt; — if I sync all the clips at the beginning of the show, an hour later they'll all be a second or two out of sync.  So far I've dealt with this by retiming the clips — after syncing at the beginning, I go to the end and adjust the playback rate for some of the clips by a very small amount (e.g., change one clip to speed 100.01%, another to 99.97%) until they're closely in sync.  This is tedious.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I'm wondering if there's a better way.&lt;/strong&gt;  I've seen cameras in the 5,000 – 10,000 USD range which have external timecode inputs.  But that's above my price range, and would require a timecode generator and an extra cable running to each camera (which I think would violate my &quot;minimal equipment bulk&quot; constraint).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there less-expensive cameras and/or techniques that would work better for this purpose?  What should I be looking for?&lt;/p&gt;&#xA;" OwnerUserId="289" LastActivityDate="2011-09-22T23:54:36.860" Title="Hardware/workflow for HD multicam shooting on a budget" Tags="|video|camera|timecode|shooting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2356" PostTypeId="2" ParentId="2274" CreationDate="2011-09-22T14:44:47.040" Score="7" Body="&lt;p&gt;I personally run &lt;a href=&quot;http://cinelerra.org/&quot;&gt;Cinelerra CV&lt;/a&gt; and it's &quot;mochup&quot; &lt;a href=&quot;http://sourceforge.net/projects/cinecutie/&quot;&gt;Cinecutie&lt;/a&gt; on my Linux boxes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cinelerra (and it's relatives) can do some very sophisticated editing work, but they aren't the easiest to use.  Luckily, there are lots of video tutorials out there to help you.&lt;/p&gt;&#xA;" OwnerUserId="159" LastActivityDate="2011-09-22T14:44:47.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2360" PostTypeId="1" CreationDate="2011-09-22T20:27:04.257" Score="6" ViewCount="1864" Body="&lt;p&gt;I just began to take the same photo everyday, in order to try to make a stop motion over the fall/winter season.&#xA;As I have took now 3 photo (that's a start) I realized that they will not be well aligned.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I'm looking if a software will do this for me. I'm thinking of something where you click 3 or 4 precise point in each photo, and then the software crop/align/resize the picture so they all fit nicely together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm pretty sure this kind of things must exist.&lt;/p&gt;&#xA;" OwnerUserId="1445" LastEditorUserId="636" LastEditDate="2012-06-08T19:52:44.033" LastActivityDate="2012-06-08T19:52:44.033" Title="How can I align photos for stop motion?" Tags="|software|stop-motion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2361" PostTypeId="1" AcceptedAnswerId="2499" CreationDate="2011-09-22T21:55:54.167" Score="3" ViewCount="614" Body="&lt;p&gt;I'd just like to know what information I can expect to extract from a dv file. A lot of file formats have provisions for embedded metadata of all sorts, so my question is what if any data could a .dv file have?&lt;/p&gt;&#xA;" OwnerUserId="1449" LastActivityDate="2011-10-19T07:33:24.513" Title="What metadata can be stored in a .dv file?" Tags="|video|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2362" PostTypeId="1" AcceptedAnswerId="6859" CreationDate="2011-09-22T22:02:39.260" Score="2" ViewCount="115" Body="&lt;p&gt;I'm using a mac and I'd prefer a free utility, but don't mind using a commercial tool if I have to.&lt;/p&gt;&#xA;" OwnerUserId="1449" LastActivityDate="2013-01-16T22:47:59.707" Title="What is a good utility for trimming .dv files without losing metadata?" Tags="|editing|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2364" PostTypeId="2" ParentId="2350" CreationDate="2011-09-22T23:45:03.563" Score="2" Body="&lt;p&gt;More and more cameras are including GPS time sync now that they almost all use them for location information.  I am sure you can find a camera at any price range that includes this capability.  The GPS should keep your cameras within a few hundred milliseconds of each other.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take them for a run at Best Buy or a similar store, letting them run for a while to see which keep in sync and which only sync on start-up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The least expensive option is to put an AC quartz clock with a continuously sweeping hand on stage and occasionally have people &quot;sync&quot; by bringing it into view. :-)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just looked on B&amp;amp;H for a reasonable camera and found this tip at &lt;a href=&quot;http://www.bhphotovideo.com/find/newsLetter/Time-Code.jsp&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/find/newsLetter/Time-Code.jsp&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Experienced videographers will &quot;stripe&quot; the video tape with time code&#xA;  prior to their shoots. To prepare the blank tape to be striped, they&#xA;  rewind the blank tape to its very beginning, and with the lens cap on&#xA;  the camera, press Record and record black from the very beginning to&#xA;  the very end of the tape. Striping the tape burns time code to the&#xA;  tape, and this time code will not change when recording your future&#xA;  video footage to that tape. This can alleviate possible time code&#xA;  inconsistencies that can be created by many types of camcorders.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This may be worth a shot with your current gear.&lt;/p&gt;&#xA;" OwnerUserId="1430" LastEditorUserId="1430" LastEditDate="2011-09-22T23:54:36.860" LastActivityDate="2011-09-22T23:54:36.860" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2366" PostTypeId="1" CreationDate="2011-09-23T08:48:18.430" Score="2" ViewCount="11143" Body="&lt;p&gt;I have downloaded a video from youtube to my laptop. It is 640x360px mp4 format.&#xA;I'd like to edit it a little bit with Premiere CS5. How do I create a new project with the same resolution of my video? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It looks like there are a lot of preset but not customizable.&lt;/p&gt;&#xA;" OwnerUserId="1451" LastEditorUserId="2836" LastEditDate="2014-07-01T16:08:19.030" LastActivityDate="2016-01-18T17:58:40.697" Title="Premiere Create custom frame size" Tags="|video|premiere|editing|cs5|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2367" PostTypeId="1" AcceptedAnswerId="2369" CreationDate="2011-09-23T13:49:27.237" Score="1" ViewCount="543" Body="&lt;p&gt;So I have a TV with two types of inputs. Composite (just mono), and coaxial - yes it's a pretty old TV. I play a video game that I want to record some matches of onto my laptop so I can edit the clips and stuff.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My gaming system is hooked up to my TV via composite (just mono). What type of parts do I need to buy to be able to record from the TV onto my laptop from the gaming console?&lt;/p&gt;&#xA;" OwnerUserId="1452" LastEditorUserId="2569" LastEditDate="2014-01-24T20:22:32.097" LastActivityDate="2014-01-24T20:22:32.097" Title="Recording a gaming console onto my computer from my TV" Tags="|video|digital-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2369" PostTypeId="2" ParentId="2367" CreationDate="2011-09-23T17:54:46.543" Score="3" Body="&lt;p&gt;You will need a &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B00392K4LQ&quot; rel=&quot;nofollow&quot;&gt;USB Video Capture Device&lt;/a&gt; to connect the game to your laptop.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to also be able to view the game on the TV, you will need 2 &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B000M52X62&quot; rel=&quot;nofollow&quot;&gt;splitters&lt;/a&gt; for the video and audio and an extra &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B000V0DY7U&quot; rel=&quot;nofollow&quot;&gt;composite cable&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You would run the yellow and white game console outputs to the splitters and attach the splitters directly to the Video Capture device.  The red cable goes into the Video Capture device directly.  Connect the yellow and white connectors of the extra cable between the splitters and the TV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure how much the video and sound quality will be affected by splitting the signal, so you may need to buy a better &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B003C2T03G&quot; rel=&quot;nofollow&quot;&gt;splitter&lt;/a&gt; to get it to work without any loss.&lt;/p&gt;&#xA;" OwnerUserId="126" LastActivityDate="2011-09-23T17:54:46.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2370" PostTypeId="2" ParentId="2360" CreationDate="2011-09-23T18:10:41.273" Score="2" Body="&lt;p&gt;To ease in the alignment of the photos, you could use something like &lt;a href=&quot;http://www.animateclay.com/index.php/articles/72-free-downloads/129-anasazi-stop-motion-animator&quot; rel=&quot;nofollow&quot;&gt;Anazi Stop Motion Animator&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It has an &quot;Onion Skin&quot; feature that allows you to see two different frames at the same time to help in aligning them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may find some good advice on how to use this software or what software others are using for this by searching for some stop animation sites.  The only site I have personally seen is &lt;a href=&quot;http://brickfilms.com/resources/&quot; rel=&quot;nofollow&quot;&gt;brickfilms.com&lt;/a&gt; which is a stop motion animation site specializing in animating LEGOs.  On their resources page you might find some helpful advice.&lt;/p&gt;&#xA;" OwnerUserId="126" LastActivityDate="2011-09-23T18:10:41.273" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2389" PostTypeId="1" CreationDate="2011-09-28T09:04:30.020" Score="6" ViewCount="1742" Body="&lt;p&gt;&lt;strong&gt;Background&lt;/strong&gt;&#xA;I bought a couple of Handycams 6 months ago, and have since then been making videos and editing them and publishing them:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.youtube.com/user/Sathyaish&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sathyaish Chakravarthy&lt;/a&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Over the period, I have downloaded and toyed with plenty of video editors that are available free of charge. However, I cannot find a single editor that fulfills all my requirements. As a result, I am not able to make the quality of videos I wish to. Also, it takes up a lot of my time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am a sole proprietor of a start-up and time is the only asset I have, so being short of time and money, I cannot afford to spend too much of either of them on non-core activities, video editing being one (it's a marketing activity for me, my core activities being learning/studying for the corporate training programs I offer, preparing for them, conducting them, making sales calls, calling into people, etc.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Until now, I have tried the following software:&lt;br&gt;&#xA;1) Jahshaka&lt;br&gt;&#xA;2) Windows Movie Maker&lt;br&gt;&#xA;3) Avidemux&lt;br&gt;&#xA;4) Free Video Cutter&lt;br&gt;&#xA;5) Free Video Dub&lt;br&gt;&#xA;6) AVI Edit&lt;br&gt;&#xA;7) Blaze Media Pro&lt;br&gt;&#xA;8) AVI Trimmer&lt;br&gt;&#xA;9) t@b ZS4 Video Editor&lt;br&gt;&#xA;10) Video Spin&lt;br&gt;&#xA;11) Virtual Dub&lt;br&gt;&#xA;12) Wax  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My Requirements&lt;/strong&gt;&#xA;I require a non-linear video editing software that is either available for free or at a nominal charge (under $100) and allows me to do the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;a) Use chroma key to change the background. Wax does it but I lose the audio in the output video file. I see it is a problem that many people have reported.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;b) Edit the audio in the video file independent of the visual. For example, I may want to mute the audio for a couple of seconds, or replace the audio during a certain 4-second clip with a different audio file (mp3/wav/raw PCM in the audio editor).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;c) Mix, append, insert at any point, another video from a different video file into the source video file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;d) Mix, append, insert at any point, only the visual from another video file into the source video file while having the audio of the source video file play for the duration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;e) Insert audio effects -- echo, reverb, generated sounds like bullet shots, etc. into the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;f) Chop a frame of the video and split it into two vertical copies, one of which is transposed horizontally to create a lateral mirroring effect, and be able to edit each of the copies independently.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To explain point (f), please consider this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a video of me sitting on a chair facing slightly towards my left. I want to take the frames from this video and flip them horizontally so that I now face towards my right instead. Then, I might want to slice each original frame into two vertical images -- the left one being the original image in the frame, and the right one being the laterally inverted/horizontally flipped image. Also, I want that one of the images, say, the laterally inverted image, be black &amp;amp; white instead of color.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question&lt;/strong&gt;&#xA;Is there a non-linear video editing tool that is available either for free or for less than $100 to do all of these things?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: I forgot to mention that I am a Windows user.&lt;/p&gt;&#xA;" OwnerUserId="956" LastEditorUserId="18155" LastEditDate="2019-07-01T05:40:19.923" LastActivityDate="2020-05-09T11:56:52.017" Title="Non-Linear Video Editor for Free or Cheap That Does These Things" Tags="|video|video-editor|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="2390" PostTypeId="2" ParentId="2389" CreationDate="2011-09-28T09:57:26.627" Score="6" Body="&lt;p&gt;Both &lt;a href=&quot;http://www.kdenlive.org&quot;&gt;kdenlive&lt;/a&gt; and &lt;a href=&quot;http://www.cinelerra.org&quot;&gt;cinelerra&lt;/a&gt; should do all you need. If you can't make them so, try the &lt;a href=&quot;http://www.sonycreativesoftware.com/moviestudiope&quot;&gt;consumer version of Sony Vegas&lt;/a&gt;, it's also still in your price range.&lt;/p&gt;&#xA;" OwnerUserId="1038" LastActivityDate="2011-09-28T09:57:26.627" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="2391" PostTypeId="1" CreationDate="2011-09-28T10:22:12.523" Score="3" ViewCount="236" Body="&lt;p&gt;I am looking for a tool, preferably free, that will allow me to see and save each frame from MPEG-2 Transport Stream (video/mp2t).&lt;/p&gt;&#xA;" OwnerUserId="664" LastEditorUserId="2287" LastEditDate="2012-06-27T11:50:21.080" LastActivityDate="2012-06-27T11:50:21.080" Title="How can I see each frame of a mpeg transport stream under windows?" Tags="|file-formats|software-recommendation|mpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2394" PostTypeId="2" ParentId="1747" CreationDate="2011-09-28T21:55:25.003" Score="0" Body="&lt;p&gt;The transitions going horrible tell us the problem is the sequence settings(when it renders, go ugly). Check codec and quality settings, you have a lot of work in sequence settings tab. For the &quot;scale&quot; 477x357 problem, I suggest to turn &lt;strong&gt;off&lt;/strong&gt; in FCP preferences to (stupidly)auto-adjust size for sequences and manual reinsert clip (and manual make any scale/aspect ratio adjustments).&#xA;You can try export in &lt;em&gt;None&lt;/em&gt; compression to see if it is only a codec problem. And finally, you can export just a small part of your timeline to make your tests faster. Tell us what it works!&lt;/p&gt;&#xA;" OwnerUserId="1466" LastActivityDate="2011-09-28T21:55:25.003" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2395" PostTypeId="2" ParentId="2210" CreationDate="2011-09-28T22:11:34.600" Score="2" Body="&lt;p&gt;Really nice question, common problem.&#xA;After Effects, Autodesk Combustion and Autodesk Smoke can bring you a software downconversion(1920x1080 -&gt; 720x480) with more quality than Final Cut Pro or Premiere Pro. Smoke can make it near perfectly. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use (buy/rent) hardware downconverters, like AJA Kona 3, or Blackmagic clones. Better results goes with AJA. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are even more expensive/professionals solutions like Sonic and others which will make the MPEG-2 compression directly in hardware too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If  you don't get your matrix filter from someone (not me, I'm not skilled for this kind of mission), best approach will be small tests with software and settings, tests, tests, tests, and then setup the workflow to not change forever!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good Luck!&lt;/p&gt;&#xA;" OwnerUserId="1466" LastEditorUserId="1466" LastEditDate="2011-09-28T23:18:45.150" LastActivityDate="2011-09-28T23:18:45.150" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2396" PostTypeId="2" ParentId="1773" CreationDate="2011-09-28T22:22:14.577" Score="0" Body="&lt;p&gt;I disagree with @Jedrek Kostecki&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.nattress.com/Products/filmeffects/filmeffects.htm&quot; rel=&quot;nofollow&quot;&gt;gfilm&lt;/a&gt; is a incredible plug-in which saved my life many many times. Sure, not an ad! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Gives a 60fps footage a very close 24fps effect. &lt;/p&gt;&#xA;" OwnerUserId="1466" LastActivityDate="2011-09-28T22:22:14.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2399" PostTypeId="2" ParentId="2105" CreationDate="2011-09-28T23:15:05.247" Score="1" Body="&lt;p&gt;After Effects is well know as a &lt;em&gt;finishing software&lt;/em&gt;. The best chroma key plug-in I saw in A.E. was keylight. Very nice full controls, to handle even color/light correction of borders key. I don't know if keylight is avaliable for FCE. Maybe the only benefit inside FCE is rendering time. Real tests can talk a lot more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My vote goes for &lt;strong&gt;After Effects&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1466" LastActivityDate="2011-09-28T23:15:05.247" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2401" PostTypeId="2" ParentId="2210" CreationDate="2011-09-29T03:23:51.393" Score="0" Body="&lt;p&gt;When working with progressive footage, Final Cut Pro, Premiere Pro, Encore, Adobe Media Encoder and Compressor have no problem scaling from 1920x1080 (or 1440x1080) to 720x480. The problem is with how they handle the scaling of interlaced frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Judging by how After Effects works (with its &quot;Separate Fields&quot; feature), the key to a good 1080i to 480i down-conversion is to de-interlace each field prior to scaling it, treating it as 1080p60, scaling it to 480p60, then re-interlacing that to 480i30.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects does this down-conversion very quickly, too, especially compared to trying to get similar results from Compressor.&lt;/p&gt;&#xA;" OwnerUserId="1316" LastActivityDate="2011-09-29T03:23:51.393" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2404" PostTypeId="1" AcceptedAnswerId="4291" CreationDate="2011-09-29T13:12:20.353" Score="2" ViewCount="1024" Body="&lt;p&gt;Is there a product that allows you to strip HDCP from HDMI and that does not loose quality?&lt;/p&gt;&#xA;" OwnerUserId="664" LastEditorUserId="674" LastEditDate="2012-06-27T11:51:48.317" LastActivityDate="2012-06-27T11:51:48.317" Title="Lossless HDCP stripper?" Tags="|video|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2412" PostTypeId="2" ParentId="2329" CreationDate="2011-09-30T15:58:40.577" Score="0" Body="&lt;p&gt;Drag your shutter, by using an ND filter on your lens by exemple or simply closing your aperture and you'll get this effect =)&lt;/p&gt;&#xA;" OwnerUserId="1478" LastActivityDate="2011-09-30T15:58:40.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2413" PostTypeId="1" CreationDate="2011-09-19T06:41:34.653" Score="6" ViewCount="28806" Body="&lt;p&gt;I'm getting bad sound quality on video taken with my NIKON D90. I think the mic is bad so I need to know if it is possible to plug a microphone into it some how?&lt;/p&gt;&#xA;" OwnerDisplayName="Chris Keels" LastActivityDate="2021-03-21T14:57:36.610" Title="Is it possible to hook up an external mic to a Nikon D90 to get better sound for video?" Tags="|video|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2414" PostTypeId="2" ParentId="2413" CreationDate="2011-09-19T06:55:00.600" Score="9" Body="&lt;p&gt;Nope, it sure doesn't.  On that camera, its only got an internal mic.  Your options are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Record sound otherwise and then sync up in post.&lt;/li&gt;&#xA;&lt;li&gt;Buy a new camera like a D7000 that will take an external mic.&lt;/li&gt;&#xA;&lt;li&gt;Use an actual video camera that takes an external mic.&lt;/li&gt;&#xA;&lt;li&gt;Possibly tape some material to mimic a windscreen over the existing D90 mic, to help &lt;em&gt;a little&lt;/em&gt; in some situations.&lt;/li&gt;&#xA;&lt;li&gt;Live with the limitation.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1089" OwnerDisplayName="rfusca" LastActivityDate="2011-09-19T08:04:51.153" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2415" PostTypeId="2" ParentId="2413" CreationDate="2011-09-29T20:07:36.410" Score="3" Body="&lt;p&gt;No, you cannot plug in a microphone into the D90. There really isn't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend you to buy a Zoom H1 which is a separate sound recording device that records sound onto SD cards. It is rather cheap, but has much, much better sound quality than the D90's built in microphone. Actually it' much better than the D7000's build in microphone as well. It is very easy to synchronize the video with the separately recorded sound. This is the way the professionals do it. Check out YouTube on how to synchronize video and sound in any program of your choice.&lt;/p&gt;&#xA;" OwnerUserId="10580" OwnerDisplayName="bengtb" LastActivityDate="2011-09-29T20:07:36.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2421" PostTypeId="1" CreationDate="2011-10-02T23:49:02.547" Score="3" ViewCount="2579" Body="&lt;p&gt;I downloaded a file vid1 that is in C:\dir1\ which links to another file vid2 in a subdirectory C:\dir1\dir2\ and it works if I move that file to dir1 (so both files are in dir1). I figure that it'll work as long as it's in the same directory or any subdirectory of dir1 but it also works if I move vid2 to C:\ or C:\dir3\ or C:\dir3\dir4.. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So how does an MKV file look for other MKV file segments even when I move them all over the place in different directories?&lt;/p&gt;&#xA;" OwnerUserId="1485" LastActivityDate="2014-06-03T23:39:30.080" Title="How does MKV segment linking work?" Tags="|video|file-formats|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2422" PostTypeId="2" ParentId="1796" CreationDate="2011-10-03T06:58:19.750" Score="2" Body="&lt;p&gt;A 'menthol blower' is what I've seen recently used on set. The makeup artist will blow through it into the actor's eye to irritate it. A &lt;a href=&quot;http://www.google.com/search?client=safari&amp;amp;rls=en&amp;amp;q=menthol%20blower&amp;amp;oe=UTF-8&amp;amp;um=1&amp;amp;hl=en&amp;amp;authuser=0&amp;amp;bav=on.2,or.r_gc.r_pw.,cf.osb&amp;amp;biw=2560&amp;amp;bih=1378&amp;amp;ie=UTF-8&amp;amp;sa=N&amp;amp;tab=iw&quot; rel=&quot;nofollow noreferrer&quot;&gt;search&lt;/a&gt; on Google might give you some leads.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/WIkSQ.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1392" LastActivityDate="2011-10-03T06:58:19.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2425" PostTypeId="1" CreationDate="2011-10-03T11:02:52.450" Score="1" ViewCount="904" Body="&lt;p&gt;I often need to rotate object when making video and rotating with hands is not convenient. I wish there was a helping rotational hand spehere that would rotate as i film object where i could set rotational angles and in the end get to see an object with white background as it rotates. I want to place smartphone instead of that globus in the middle:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/2XPFI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;People suggested to do it with chromakey in software without studio or special equipment but it will take a learning curve and time to get familiarized with basics.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/3Ow9ftNlnbo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="1487" LastActivityDate="2011-10-04T21:37:19.403" Title="How Do I Film A Rotating Object With White Background?" Tags="|editing|chromakey|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2431" PostTypeId="1" CreationDate="2011-10-04T20:05:30.507" Score="2" ViewCount="288" Body="&lt;p&gt;I need to produce a video that can be played by a ProDVX F150 (a small black box device which plays video from a flash card). It's hard to find real specs for this thing, but webshops say it does:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Playback formats: MPEG1 (up to 8Mb/sec VBR),MPEG2 (up to 8Mb/sec VBR),MPEG4 (up to 8Mb/sec VBR),JPEG,MP3&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Based on this (little) info, what container, video codec and audio codec would you recommend? The video is 576p PAL.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately I don't have the device at hand for easy testing, otherwise I'd just hit-and-hope with various formats.&lt;/p&gt;&#xA;" OwnerUserId="1493" LastEditorUserId="1493" LastEditDate="2011-10-04T20:15:21.307" LastActivityDate="2011-10-04T20:15:21.307" Title="Which container format for ProDVX F150" Tags="|playback|codec|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2432" PostTypeId="2" ParentId="2425" CreationDate="2011-10-04T20:14:18.890" Score="2" Body="&lt;p&gt;You could use &lt;a href=&quot;http://bakingbites.com/2008/06/choosing-a-revolving-cake-stand/&quot; rel=&quot;nofollow&quot;&gt;a revolving cake stand&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1493" LastActivityDate="2011-10-04T20:14:18.890" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2433" PostTypeId="2" ParentId="2425" CreationDate="2011-10-04T21:37:19.403" Score="1" Body="&lt;p&gt;If you need to rotate large objects, you could try a &lt;a href=&quot;https://secure.wikimedia.org/wikipedia/en/wiki/Lazy_Susan&quot; rel=&quot;nofollow&quot;&gt;Lazy Susan&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2011-10-04T21:37:19.403" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2435" PostTypeId="1" CreationDate="2011-10-05T16:23:35.693" Score="2" ViewCount="637" Body="&lt;p&gt;I'm currently working with a charity that broadcasts our event to the web. The event is about a week long (24 hrs per day), and gets in excess of 2000 viewers at times during the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am wondering what the best free/low cost option is for streaming to the web that presents no ads to the viewers?&lt;/p&gt;&#xA;" OwnerUserId="1247" LastActivityDate="2014-08-07T11:26:21.257" Title="Ad Free Video Streaming to Web" Tags="|streaming|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2439" PostTypeId="1" AcceptedAnswerId="2459" CreationDate="2011-10-06T03:05:12.173" Score="1" ViewCount="81" Body="&lt;p&gt;I need to buy some basic accessories (XLR cables, mic stands and clips, etc) on a tight budget. I'd rather pay more for quality gear than buy something cheap that will break quickly, but a lot of times if you look hard enough you can find quality items that are discounted because they're overstock or last year's model, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have some recommendations on how to find local or online stores that sell discounted gear, or other creative ways to buy it without paying full retail price? For local stores, I'm specifically looking in Seattle, but some general tips would be good to help people in other cities as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I definitely want to buy cables new, but I don't mind buying mic stands used.&lt;/p&gt;&#xA;" OwnerUserId="1438" LastActivityDate="2014-02-14T20:42:59.903" Title="How can I find good quality discounted audio gear?" Tags="|budget|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2448" PostTypeId="2" ParentId="2274" CreationDate="2011-10-08T19:14:04.873" Score="7" Body="&lt;p&gt;There is an Linux/Gnome based video editor called &lt;a href=&quot;http://pitivi.org/&quot;&gt;PiTiVi&lt;/a&gt; which is working close with the GStreamer multimedia framework which is used by most Linux distributions. The PiTiVi project has been slow moving because of their development philosophy which is &quot;upstream first&quot;. Challenges they encounter in GStreamer means that they work with GStreamer to solve the issue instead of working around the framework.  &lt;/p&gt;&#xA;" OwnerUserId="1506" LastActivityDate="2011-10-08T19:14:04.873" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2451" PostTypeId="2" ParentId="1993" CreationDate="2011-10-09T17:14:26.310" Score="0" Body="&lt;p&gt;I think you can &lt;strong&gt;make the square feather on photoshop&lt;/strong&gt; first, and then import the solid already with the feather. (less render time)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also &lt;strong&gt;render the video&lt;/strong&gt; with the &lt;strong&gt;scale&lt;/strong&gt; movement first, &lt;strong&gt;export&lt;/strong&gt;, &lt;strong&gt;re-import&lt;/strong&gt; this export, then &lt;strong&gt;crop&lt;/strong&gt; exactly where u want with the scale zoom already made it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just my 2 bits. =) Hope it helps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, probably in After Effects you get faster results on this type of composition.&lt;/p&gt;&#xA;" OwnerUserId="1466" LastEditorUserId="1466" LastEditDate="2011-10-10T00:01:07.967" LastActivityDate="2011-10-10T00:01:07.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2454" PostTypeId="2" ParentId="1801" CreationDate="2011-10-10T17:10:15.557" Score="1" Body="&lt;p&gt;Yes, you can.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I first asked the question on a &lt;a href=&quot;http://www.youtube.com/watch?v=8A5GEk83NJk&quot; rel=&quot;nofollow&quot;&gt;youtube video reviewing the camera&lt;/a&gt;. And I got the folowing response:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Yes, it works. You can do anything while charging.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Now, I have bought the camera and tried it myself, and I confirm that &lt;strong&gt;Yes, is it possible to charge a panasonic HDC SD900 while filming&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1509" LastActivityDate="2011-10-10T17:10:15.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2455" PostTypeId="1" AcceptedAnswerId="2456" CreationDate="2011-10-10T17:13:36.440" Score="4" ViewCount="25384" Body="&lt;p&gt;What exactly does &quot;Ethernet-capable HDMI cable&quot; mean?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does this mean I can stream content wirelessly to my projector?&lt;/p&gt;&#xA;" OwnerUserId="1482" LastEditorUserId="95" LastEditDate="2011-10-12T14:27:40.560" LastActivityDate="2012-03-02T19:27:07.490" Title="What exactly does &quot;Ethernet-capable HDMI cable&quot; mean?" Tags="|cable|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2456" PostTypeId="2" ParentId="2455" CreationDate="2011-10-10T19:45:48.620" Score="6" Body="&lt;p&gt;No it does not mean you can do anything wirelessly - it is a cable - and it isn't likely to help you stream anything to it either, unless you have a requirement for HDMI devices to share a network connection.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Version 1.4 of the HDMI standard allows for 100Mb ethernet to be transmitted along the cable between to HDMI 1.4 capable devices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check out the &lt;a href=&quot;https://secure.wikimedia.org/wikipedia/en/wiki/HDMI&quot;&gt;HDMI wikipedia&lt;/a&gt; page for some basic info&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2011-10-10T19:45:48.620" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2458" PostTypeId="1" AcceptedAnswerId="2462" CreationDate="2011-10-12T18:24:54.330" Score="3" ViewCount="5344" Body="&lt;p&gt;What exactly is the difference between a DVCAM tape that is mini and a MiniDV tape? They look pretty much the same in terms of size. It seems like Sony is making DVCAM tapes that are the same size as MiniDV tapes now, and it’s getting hard to tell what, if anything, is different. I’m cataloging videos that have either been captured on tapes that say DVCAM, MiniDV, and some tapes that actually have both DVCAM and MiniDv printed on them. I’m basically trying to figure out what I should put as the &quot;media format.&quot; Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="1513" LastActivityDate="2021-01-20T04:38:03.400" Title="What's the difference between a DVCAM tape that is mini and a MiniDV tape?" Tags="|video|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2459" PostTypeId="2" ParentId="2439" CreationDate="2011-10-12T21:52:41.420" Score="2" Body="&lt;p&gt;Nothing beats word of mouth. Ask other producers, technicians, and musicians in your area who you talk with (I presume you do some networking). Everyone likes a deal; see what your contacts do for theirs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are a few approaches that I've had luck with:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Check classifieds, both on paper and online classifieds such as Craigslist. Look for organizations that are going out of business or upgrading their stock. Check the garage sale section, too. People occasionally clean out their home studios. Does your area have an auction site? I bought a nice synthesizer once from a site like that, through a local college that was upgrading their music program's equipment.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Look to see if there is a regular swap meet or flea market nearby. In my area, there is an audio swap meet every six months, plus a weekly general market. I've found decent used gear at both of these, and generally you can try it out.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Finally, search for pawn shops. Most cities have at least a few, and most of the ones I've seen tend to have a bit of musical equipment. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Look for &quot;deal of the day&quot; sites such as &lt;a href=&quot;http://www.goingtoday.com&quot; rel=&quot;nofollow&quot;&gt;goingtoday.com&lt;/a&gt; or &lt;a href=&quot;http://www.woot.com&quot; rel=&quot;nofollow&quot;&gt;woot.com&lt;/a&gt; or &lt;a href=&quot;http://www.musiciansfriend.com/stupid&quot; rel=&quot;nofollow&quot;&gt;Musicansfriend's Stupid Deal of the Day&lt;/a&gt;. You will probably have to wait a while before something you need shows up, but when it does, it's usually under retail price, and usually refurbished.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Very little of this applies specifically to audio equipment - variations on these basic ideas could work for finding TVs, cars, computers, whatever. &lt;/p&gt;&#xA;" OwnerUserId="95" LastActivityDate="2011-10-12T21:52:41.420" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2460" PostTypeId="2" ParentId="2458" CreationDate="2011-10-13T06:23:39.653" Score="1" Body="&lt;p&gt;According to &lt;a href=&quot;http://en.wikipedia.org/wiki/DV&quot; rel=&quot;nofollow&quot;&gt;this wikipedia article&lt;/a&gt;, it appears that &lt;a href=&quot;http://en.wikipedia.org/wiki/DV#DVCAM&quot; rel=&quot;nofollow&quot;&gt;DVCAM&lt;/a&gt; is Sony's proprietary (electronic) DV container format, and MiniDV is a physical media.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MiniDV media, as well as other sizes of DV media, can be used to store DVCAM (or any other DV stream variety).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To confuse matters, it appears that Sony markets a media format/size called DVCAM-L (visible in the photo demonstrating various DV cassette sizes) , presumably simply meaning &quot;DV-Large&quot; format, but with their proprietary container format brand as the name, for marketing reasons.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In summary, MiniDV is the physical media, (analogous to 5.25&quot; floppy disk versus 3.5&quot; floppy disk) and DVCAM is the &quot;file format&quot;.  Labeling a MiniDV tape with &quot;DVCAM&quot; is like labeling a CD as &quot;Music compatible!&quot; (which I have seen done before).  It's true information, but worthless information, as the media can store &lt;em&gt;any&lt;/em&gt; format of data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To answer your final question, what to put as the &quot;media format&quot;, that depends on whether you mean the physical format (which is MiniDV in your case), or the electronic format (which may be DVCAM in your case).  I would probably say 'DVCAM', as that's the only piece of information that won't be immediately apparent to anyone looking at the physical tape.&lt;/p&gt;&#xA;" OwnerUserId="1072" LastEditorUserId="126" LastEditDate="2011-10-13T12:50:00.843" LastActivityDate="2011-10-13T12:50:00.843" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2462" PostTypeId="2" ParentId="2458" CreationDate="2011-10-13T15:49:10.537" Score="3" Body="&lt;p&gt;Originally there was miniDV which is a standard consumer tape format (using ME tape) holding DV (at the time DV wasn't really a file format in it's own right).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sony released a professional version of this called DVCAM with locked audio and which records at a shallower angle, running tape faster at the expense of running time, to reduce dropout.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could use either DVCAM tapes (now known as DVCAM-L) which as well as holding more tape for longer runtimes used higher quality MP tape, or you could record on miniDV tapes in either DV mode (to remain compatible with miniDV cameras) or in DVCAM mode to take advantage of the better format.  (The larger tape format uses the same width tape so the same head is used for either.) More recently DVCAM mini tapes have been available which use the better quality tape in the smaller package.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So DVCAM encompasses a file format, a recording format, the larger tape format and a marque of professional quality tape in the mini size tapes.  DVCAM mini and miniDV tapes are interchangable but they are branded towards their intended use and there is a general difference in quality/price between the two.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your case regardless of the brands written on the actual tape you should probably use miniDV if it holds DV and DVCAM or DVCAM mini if it holds DVCAM.  If there is nothing recorded on the tape then it is suitable for either.&lt;/p&gt;&#xA;" OwnerUserId="1516" LastEditorUserId="1516" LastEditDate="2011-10-13T15:57:48.497" LastActivityDate="2011-10-13T15:57:48.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2465" PostTypeId="1" CreationDate="2011-10-14T15:28:06.813" Score="4" ViewCount="3126" Body="&lt;p&gt;I'm wondering if any of you have experience dealing with CHK and PAC subtitles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm working on a project (from a software point of view) and we need to open these subtitles and convert them into a &lt;em&gt;nicer&lt;/em&gt; format that can be used by some standard media players.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my 2 questions are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Does anyone know the specification of the subtitle format? (this is bit technical, but will help us open the file and transform the contents to whatever we want)&lt;/li&gt;&#xA;&lt;li&gt;Does anyone know any application that can transcode these subtitles to other formats? &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1522" LastEditorUserId="636" LastEditDate="2012-07-22T02:30:15.110" LastActivityDate="2012-09-24T18:03:41.473" Title="Video Subtitles Specification [CHK and PAC]" Tags="|video|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2468" PostTypeId="1" AcceptedAnswerId="2469" CreationDate="2011-10-15T12:58:15.910" Score="1" ViewCount="1778" Body="&lt;p&gt;I was wondering whether there is any visible difference between Region 1 and Region 2 movies. Region 1 is encoded in 23.976 fps standard, right? And Region 2 is 25 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But as I assume the movies are shot in 23.976 only, the R2 releases are just some convert/recode to be compatible with the region.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Which ultimately leads me to a question: If presented with a movie&#xA;  playing from R1 and R2 discs simultaneously, can a trained eye see any&#xA;  difference?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I know for a fact an eye can see the difference between 23.976 fps and 25 fps. A lot of low-budget movies/web series are being released lately since the Canon dSLRs can record video and there definitely is a visible difference between the standard 24 film fps and the &quot;fluid, unnatural&quot; 25 fps.&lt;/p&gt;&#xA;" OwnerUserId="870" LastActivityDate="2011-10-17T08:09:57.180" Title="Are there any (visible) differences between R1 and R2 DVDs (or blu-rays, thereof)?" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2469" PostTypeId="2" ParentId="2468" CreationDate="2011-10-15T19:35:11.790" Score="2" Body="&lt;p&gt;There is no visible difference, unless the DVD/BR publisher labels their discs as such.  Any region code (or even region-free data) can be burned or pressed on to any media.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Furthermore, region encoding (at least on DVDs, and I assume on BRs) has nothing (technically) to do with the video format.  Now, you're &lt;em&gt;likely&lt;/em&gt; to find Region-1 DVDs in NTSC format, Region 1 is the U.S. and Canada, and the U.S. and Canada use NTSC, but there's no technical barrier to creating a R1 DVD in PAL format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See the Wikipedia article on &lt;a href=&quot;http://en.wikipedia.org/wiki/DVD_region_code&quot; rel=&quot;nofollow&quot;&gt;DVD Region codes&lt;/a&gt;, and specifically the section on &lt;a href=&quot;http://en.wikipedia.org/wiki/DVD_region_code#PAL.2FSECAM_vs._NTSC&quot; rel=&quot;nofollow&quot;&gt;NTSC vs. PAL&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1072" LastActivityDate="2011-10-15T19:35:11.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2470" PostTypeId="1" AcceptedAnswerId="2493" CreationDate="2011-10-16T16:32:19.797" Score="3" ViewCount="485" Body="&lt;p&gt;I have been searching for quite a while on a tutorial of how to create the rotating phone ad with the finger coming in to interact with the app once in a while.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is an example of this effect in &lt;a href=&quot;http://www.youtube.com/watch?v=_ejvLxKBuYA&quot; rel=&quot;nofollow&quot;&gt;this ad&lt;/a&gt; starting around 8 seconds in...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone please point me to a tutorial of how to achieve this effect or perhaps just explain how if they can't find one?&lt;/p&gt;&#xA;" OwnerUserId="1527" LastEditorUserId="95" LastEditDate="2011-10-16T22:03:15.997" LastActivityDate="2011-10-18T17:02:51.473" Title="Creating a &quot;finger using device&quot; effect like in iPhone app ads" Tags="|video|editing|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2474" PostTypeId="2" ParentId="2468" CreationDate="2011-10-17T08:09:57.180" Score="0" Body="&lt;p&gt;You can only see the difference in compression of those 2 dvds, as for FPS, untrained eyes wont see the difference in 1 fps. trained eyes do.&lt;/p&gt;&#xA;" OwnerUserId="1531" LastActivityDate="2011-10-17T08:09:57.180" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2475" PostTypeId="2" ParentId="2335" CreationDate="2011-10-17T08:14:59.120" Score="1" Body="&lt;p&gt;If you are a starter go for after effects, check &lt;a href=&quot;http://www.videocopilot.net&quot; rel=&quot;nofollow&quot;&gt;videocopilot.net&lt;/a&gt; for subject of interest..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;short:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;new project, import your prerpared files, create new camera, drag your footage to the timeline, mark the 3d layer switch, set up the positions of the layers(x y z) and roll the camera ;)&lt;/p&gt;&#xA;" OwnerUserId="1531" LastEditorUserId="3592" LastEditDate="2014-11-29T19:32:38.367" LastActivityDate="2014-11-29T19:32:38.367" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2476" PostTypeId="2" ParentId="2303" CreationDate="2011-10-17T08:18:56.087" Score="2" Body="&lt;p&gt;it is a problem with  gamma settings youre using and QT has its own gamma settings, dont bother. it will display only in QT that way...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;also check for alphas, but im not so sure that mp4 can support alpha channels... only qt mov with animation codec has alpha.... as i know...&lt;/p&gt;&#xA;" OwnerUserId="1531" LastActivityDate="2011-10-17T08:18:56.087" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2477" PostTypeId="2" ParentId="1904" CreationDate="2011-10-17T08:28:59.727" Score="2" Body="&lt;p&gt;In video, there is no &quot;I don't have disk space&quot; or &quot;I want to add compression to files to lower my disk space usage and caching&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should record uncompressed, work uncompressed, and at the final stage export the uncompressed video to a suitable format for delivery.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Record your video.  Edit wherever you want (I suggest Vegas, because is the fastest on pc).  Cut.  Edit.  Do whatever you want.  Then export your timeline to h.264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suggest using Adobe media encoder cs5 + to do the job.  Don't encode already encoded video files, because it will degrade your quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check youtube/vimeo/... what formats they play the best (usually there is a guide for file formats and upload)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One more thing:  FRAPS ENCODES in its own codec.  You need a properly installed DECODER/ENCODER for Vegas/Avid/Premiere to see the files properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did a lot of gaming videos before and after HD was introduced.  I did it with FRAPS, game engines....  Uncompressed is what you want.  Or you could force FRAPS to use Avid's DNxHD code c(you can get it on Avid's site.)&lt;/p&gt;&#xA;" OwnerUserId="1531" LastEditorUserId="126" LastEditDate="2011-11-16T13:41:57.640" LastActivityDate="2011-11-16T13:41:57.640" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2478" PostTypeId="2" ParentId="2044" CreationDate="2011-10-17T08:31:04.937" Score="1" Body="&lt;p&gt;Your hard drive is probably the bottleneck. Move your scratch to another disk, and move your video files to a faster disk. Keep them separate unless you're working on fiber optics ;)&lt;/p&gt;&#xA;" OwnerUserId="1531" LastEditorUserId="126" LastEditDate="2011-10-17T15:50:19.903" LastActivityDate="2011-10-17T15:50:19.903" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2480" PostTypeId="2" ParentId="2305" CreationDate="2011-10-17T08:39:57.747" Score="1" Body="&lt;p&gt;Put keyframe distance in the encoding options to KEY EVERY FRAME.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you export in the export options you have keyframe distance, which is used to calculate &quot;intermediate key points/key frames&quot;, and the default is 25/30 frames. The player calculates pixels and frames inbetween keyframes. Sometimes it gets lost in calculation because of lost bits or bytes. Having less distance between keyframes reduces the chance of this, and results in more accurate frame rendering. &lt;/p&gt;&#xA;" OwnerUserId="1531" LastEditorUserId="95" LastEditDate="2011-10-27T17:43:32.463" LastActivityDate="2011-10-27T17:43:32.463" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2481" PostTypeId="2" ParentId="1978" CreationDate="2011-10-17T08:43:23.013" Score="0" Body="&lt;p&gt;usualy, this types of tricks are done in flash, video overlayed with your custom data in a separate container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if you do it offline, you can script after effects with you prepared video, to render the sequences with your custom data in it. Its a trick with coma delimited spaces...excel export to coma delimited, get a script from aescripts and youre good to go!&lt;/p&gt;&#xA;" OwnerUserId="1531" LastActivityDate="2011-10-17T08:43:23.013" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2486" PostTypeId="2" ParentId="1981" CreationDate="2011-10-17T15:35:17.167" Score="4" Body="&lt;p&gt;Compression codecs and methods are also based extensively in the field of Psychoacoustics.  For this, I thoroughly recommend the books available from the &lt;a href=&quot;http://www.focalpress.com/audio.aspx&quot; rel=&quot;nofollow&quot;&gt;Focal Press&lt;/a&gt;, such as &lt;a href=&quot;http://textbooks.elsevier.com/web/product_details.aspx?isbn=9780240521756&amp;amp;Search=978-0-240-52175-6&amp;amp;SearchCriteria=Keyword&quot; rel=&quot;nofollow&quot;&gt;this one&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1532" LastActivityDate="2011-10-17T15:35:17.167" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2487" PostTypeId="1" AcceptedAnswerId="29100" CreationDate="2011-10-18T05:42:29.327" Score="2" ViewCount="3146" Body="&lt;p&gt;I want to focus faces of an image and move that focus to each of the faces one by one with a delay.The other area of the image should be hidden/blurred &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(btw this is called masking right?).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any simple opensource(or just free) software for doing this? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A trial version would do because I need to make only one urgent video for now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A good tutorial would be helpful as well.&lt;/p&gt;&#xA;" OwnerUserId="1533" LastEditorUserId="126" LastEditDate="2011-10-18T13:26:17.567" LastActivityDate="2019-12-17T05:07:59.767" Title="What are some simple video editor with Masking capability?" Tags="|video|effects|video-editor|freeware|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2488" PostTypeId="1" CreationDate="2011-10-18T05:52:27.743" Score="8" ViewCount="17076" Body="&lt;p&gt;I'm trying to find someone who can make videos similar to one shown here:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Z4Vuxk1TNoU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At 49 seconds, the actress writes on glass to explain the concept.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/4Jl0CFgj3IM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does someone know what this effect is called so I know what to ask for?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if you know how to do this sort of thing, please reply.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks so much,&lt;/p&gt;&#xA;" OwnerUserId="1534" LastEditorUserId="1280" LastEditDate="2012-08-06T19:56:44.610" LastActivityDate="2021-11-20T04:24:49.557" Title="Video with person 'writing on glass' effect" Tags="|video|effects|" AnswerCount="8" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="2493" PostTypeId="2" ParentId="2470" CreationDate="2011-10-18T17:02:51.473" Score="3" Body="&lt;p&gt;ok.&#xA;lets start:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;we need a 3d model of a phone, lets say, an iphone (properly modeled, textured), then we need a shot of a moving finger which we will use later on. lets say we have everything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;after we have the idea, what we should do with the finger(adequately having this shots on green screen so we can remove the background) we animate the phone in a 3d package, after we are satisfied with the result, we render the phone sequence out from the package (properly lighten and rendered with alpha channel - ready for compositing)&#xA;Open after effects or any other compositing software, we put the a white background as solid, then we put the phone sequence on top of the background, the sequence goes, we put the finger where we want him to interact with the phone, since our phone has no animations on it, we can put them in 3d or we can add them in after effects, a little bit of tweaking and there you are, you got your 3d rotating phone with a finger and a hand interacting with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if we want to comp anything with the phone in aftereffects, we need the rotation and camera information from the 3d package, lets say cinema4d, we can export ae proj file out, with all the info wee need, and later use that data in after effects to have the perfect sync. Other way around is to have a properly UV for the phone, and put in animation sequence on the screen material, the render it out, then we have just to sync the figer with the animation.&#xA;hope this reveals some magic ;)&lt;/p&gt;&#xA;" OwnerUserId="1531" LastActivityDate="2011-10-18T17:02:51.473" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="2494" PostTypeId="2" ParentId="2488" CreationDate="2011-10-18T17:06:54.710" Score="2" Body="&lt;p&gt;We do this in post, and we can call this &quot;the write on screen/glass effect&quot;, we can track her finger and write out what she is writing in the air...and more...&lt;/p&gt;&#xA;" OwnerUserId="1531" LastActivityDate="2011-10-18T17:06:54.710" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2495" PostTypeId="2" ParentId="1824" CreationDate="2011-10-18T17:11:19.260" Score="0" Body="&lt;p&gt;you can use some scripts for camery keyframes, to get those type of ease or rushing camera effect, but it realy depends on how good your typography and idea is. &lt;/p&gt;&#xA;" OwnerUserId="1531" LastActivityDate="2011-10-18T17:11:19.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2496" PostTypeId="2" ParentId="1946" CreationDate="2011-10-18T17:32:16.713" Score="1" Body="&lt;p&gt;are the files out of sync while editing or when you render it out?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;oh, youre editing mp4 files? you should transcode them to avi and check that out, if that has no issues, then you have problems with keyframes in the mp4 video...(probably set up by the encoder who transcoded mp4 files)&lt;/p&gt;&#xA;" OwnerUserId="1531" LastActivityDate="2011-10-18T17:32:16.713" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2499" PostTypeId="2" ParentId="2361" CreationDate="2011-10-19T07:33:24.513" Score="1" Body="&lt;p&gt;you can check &lt;a href=&quot;http://www.videohelp.com/tools/DV_Datecode&quot; rel=&quot;nofollow&quot;&gt;http://www.videohelp.com/tools/DV_Datecode&lt;/a&gt; and &lt;a href=&quot;http://www.avpreserve.com/dvanalyzer/dv-metadata/&quot; rel=&quot;nofollow&quot;&gt;http://www.avpreserve.com/dvanalyzer/dv-metadata/&lt;/a&gt;&#xA;the rest is on google :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;i was using an automated software developed in house to extract the info, later on we moved to FinalCutServer so we get to manage everything in there...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;edit: this link could help you. &lt;a href=&quot;http://premierepro.wikia.com/wiki/DVMP&quot; rel=&quot;nofollow&quot;&gt;http://premierepro.wikia.com/wiki/DVMP&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1531" LastActivityDate="2011-10-19T07:33:24.513" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2500" PostTypeId="1" CreationDate="2011-10-19T10:47:30.200" Score="10" ViewCount="1940" Body="&lt;p&gt;I have developed a big interest in film making recently (I hope it isn't a fad). I am interested more in the technical side like cinematography, editing, lighting etc than acting, direction etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am in look out for sites that do a &quot;review&quot; of sorts (more) of the film making techniques than the story, acting etc. I didn't get much help googling. Could you good people on this board lead me to some sites online that discuss these aspects of movies? &lt;/p&gt;&#xA;" OwnerUserId="1539" LastEditorUserId="1180" LastEditDate="2011-10-19T17:42:15.103" LastActivityDate="2021-06-07T11:13:13.290" Title="About film making techniques" Tags="|editing|camera|lighting|filming|" AnswerCount="6" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2502" PostTypeId="2" ParentId="2500" CreationDate="2011-10-19T13:07:19.803" Score="4" Body="&lt;p&gt;Directing actors is a technical part of film making. It's not easy, and if your actors don't give good performances, chances are you won't have a good film. People can usually forgive bland cinematography and clunky editing – but if they don't believe the characters then you're going to have no chance in engaging the audience.&lt;/p&gt;&#xA;&lt;p&gt;I go to a film school myself and so I haven't really done a lot of research online. I suspect that you wouldn't be able to find everything you need to know just by looking online.&#xA;If you're serious about filmmaking then I'd suggest you take some courses. If you just want to take it up as a hobby then the best way to learn is to practice.&#xA;Buy a camera (a good DSLR if you can afford it), get editing software on your computer (would recommend Final Cut Pro 7 if you own a Mac or Adobe Premiere Pro if you've got a PC) and shoot  outdoors in natural lighting (cheaper and looks better if you can't light well).&#xA;Also, best way to study films is to watch films. Watch a lot of different kinds of cinema. If you like a certain director try and watch all their films, especially their early shorts if they have any.&lt;/p&gt;&#xA;&lt;p&gt;Just did a quick google search and found this site about&#xA;filmmaking in general: &lt;a href=&quot;http://digital-filmmaking.blogspot.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://digital-filmmaking.blogspot.com/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Not sure if it's any good though, sorry mate.&lt;/p&gt;&#xA;&lt;p&gt;If you're keen on getting a DSLR, this stackexchange site is perfect for information. &lt;a href=&quot;https://photo.stackexchange.com/&quot;&gt;https://photo.stackexchange.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1133" LastEditorUserId="25024" LastEditDate="2021-06-07T10:33:39.940" LastActivityDate="2021-06-07T10:33:39.940" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="2505" PostTypeId="5" CreationDate="2011-10-20T02:43:59.417" Score="0" Body="&lt;p&gt;More information at the &lt;a href=&quot;http://www.motu.com/&quot; rel=&quot;nofollow&quot;&gt;MOTU&lt;/a&gt; corporate website and &lt;a href=&quot;http://en.wikipedia.org/wiki/Mark_of_the_Unicorn&quot; rel=&quot;nofollow&quot;&gt;wikipedia&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2011-10-20T14:40:48.010" LastActivityDate="2011-10-20T14:40:48.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2506" PostTypeId="4" CreationDate="2011-10-20T02:43:59.417" Score="0" Body="MOTU is short for Mark of the Unicorn, a company that makes audio and MIDI interfaces as well as pro-audio software." OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2011-10-20T14:33:12.250" LastActivityDate="2011-10-20T14:33:12.250" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2512" PostTypeId="5" CreationDate="2011-10-20T15:24:36.650" Score="0" Body="&lt;p&gt;In the analog days, time stretching and &lt;a href=&quot;http://en.wikipedia.org/wiki/Pitch_shifting&quot; rel=&quot;nofollow&quot;&gt;pitch shifting&lt;/a&gt; were synonymous. If you speed up a tape deck or a record, the audio shifts up in pitch while taking less time to play. As digital technology became available for audio production, new techniques and algorithms have become available that make it possible to stretch time without impacting pitch.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wikipedia on &lt;a href=&quot;http://en.wikipedia.org/wiki/Audio_timescale-pitch_modification&quot; rel=&quot;nofollow&quot;&gt;time stretching&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2011-10-20T17:16:09.373" LastActivityDate="2011-10-20T17:16:09.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2513" PostTypeId="4" CreationDate="2011-10-20T15:24:36.650" Score="0" Body="Time stretching is the process of taking a piece of audio and changing its duration, either making it longer or shorter." OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2011-10-20T17:16:08.610" LastActivityDate="2011-10-20T17:16:08.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2515" PostTypeId="1" CreationDate="2011-10-20T08:49:06.413" Score="6" ViewCount="310" Body="&lt;p&gt;I would like your suggestions and reasoning as this would be useful in making decisions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why are film makers still using traditional 35 mm film raw stock and camera equipment to produce feature films when there are digital cameras like red cam available which can produce up to 4 k image quality and can significantly reduce production costs ?&lt;/p&gt;&#xA;" OwnerDisplayName="a.v" LastEditorUserId="126" LastEditDate="2011-10-20T20:38:02.360" LastActivityDate="2011-10-21T05:18:20.590" Title="Why use 35 mm film raw stock and camera?" Tags="|camera|filming|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2516" PostTypeId="1" CreationDate="2011-10-21T00:22:41.957" Score="2" ViewCount="1250" Body="&lt;p&gt;I'm trying to capture footage from a Desktop PC, I don't want to use FRAPS as the quality isn't good enough for what I need and it adds a load of overhead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried a BlackMagic H.264 but when I click capture and click it to finish my clip doesn't appear to save (It seems the software is pretty unreliable).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a better solution for this? I'd like to capture 1080p with multichannel audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just to clarify, I am using the HDMI out of a Radeon HD5800 card so I'm looking for a hardware solution.&lt;/p&gt;&#xA;" OwnerUserId="1543" LastEditorUserId="95" LastEditDate="2011-10-27T18:31:28.300" LastActivityDate="2012-11-26T08:09:28.157" Title="What is the best way to capture PC footage?" Tags="|video|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2517" PostTypeId="2" ParentId="2515" CreationDate="2011-10-21T03:20:07.097" Score="0" Body="&lt;p&gt;Some filmmakers continue to use film, but enough aren't that film cameras are &lt;a href=&quot;http://www.salon.com/2011/10/13/r_i_p_the_movie_camera_1888_2011/singleton/&quot; rel=&quot;nofollow&quot;&gt;going out of production&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2011-10-21T03:20:07.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2518" PostTypeId="2" ParentId="2515" CreationDate="2011-10-21T05:18:20.590" Score="3" Body="&lt;p&gt;This is a debate that could go on forever. Both have pros and cons. &#xA;I think it is inevitable that Digital will overtake Film, and we can already see it happening in that article that ObscureRobot posted. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, people will continue to use film as long as it is available simply because of its look. You can tell when something is shot on film because of its grain and general aesthetic.&#xA;Film is cinema as we know it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd argue that this is probably the biggest reason. There are many others but I don't know enough about them to get into it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think if a filmmaker can afford to use film, they will. &#xA;This is probably the best argument for film: &lt;a href=&quot;http://motion.kodak.com/motion/Products/Customer_Testimonials/index.htm&quot; rel=&quot;nofollow&quot;&gt;http://motion.kodak.com/motion/Products/Customer_Testimonials/index.htm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;^ Very informative. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2011-10-21T05:18:20.590" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2519" PostTypeId="2" ParentId="2516" CreationDate="2011-10-21T12:02:04.237" Score="2" Body="&lt;p&gt;There are many applications which do this, some free, some not - FRAPS should certainly be able to cope if your CPU/GPU is powerful enough (and in fact this may be the limiting factor for whichever application you choose)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So your question title - &quot;what is the best way&quot; - is easy to answer: use a screen capture application, and ensure you have sufficient power to cope.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the body of the question it looks like you are asking for recommendations on which application to use. This is not really an answerable question - it will vary depending on your exact needs, but many applications will do just fine, given the prerequisites mentioned above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;update&lt;/strong&gt; - I have been using &lt;a href=&quot;http://www.wegame.com/&quot; rel=&quot;nofollow&quot;&gt;WeGame&lt;/a&gt;, and it works really well, and is lighter weight than FRAPS.&lt;/p&gt;&#xA;" OwnerUserId="674" LastEditorUserId="674" LastEditDate="2011-12-27T11:16:42.823" LastActivityDate="2011-12-27T11:16:42.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2526" PostTypeId="2" ParentId="2088" CreationDate="2011-10-22T09:39:40.837" Score="1" Body="&lt;p&gt;to answer your question:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;basic setup: camera, scene, computer with editing suite (after effects, premiere, vegas, final cut express, quicktime)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You must trigger record frame every second or predifined interval of time, setup your editing timeline at 25 fps and import your footage.&#xA;if you are doing frames you must import frames interpet them and put it on timeline (depends on what software pack are you using)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;so, if we want to capture/record every second per frame, that is 60 frames which is 2 seconds and 10 frames on PAL or 2 seconds straight on NTSC (25 fps PAL / 30 fps NTSC), that is, in 2 seconds you will see 1 minute of real time. and the mathematics goes on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;so this is the concept.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;some cameras lets you get a movie out of record frames, some do it manualy.&#xA;after we have shot as many frames / time we wanted we can move on to assemble those frames and edit them.&lt;/p&gt;&#xA;" OwnerUserId="1531" LastActivityDate="2011-10-22T09:39:40.837" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2527" PostTypeId="1" AcceptedAnswerId="16035" CreationDate="2011-10-22T15:35:15.540" Score="7" ViewCount="196" Body="&lt;p&gt;Does anyone know of a graphical editor that let's one create and edit OggKate metadata for a file. I prefer using Ubuntu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of the examples I've found so far uses the commandline. &#xA;I've come across &quot;&lt;a href=&quot;http://www.bunkus.org/videotools/mkvtoolnix/doc/mkvmerge-gui.html&quot;&gt;mmg in the package mkvtoolnix-gui&lt;/a&gt;&quot;, a GUI for mkvmerge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I plan to capture video recordings through IEEE 1394/Firewire into the DV format, and then export to Ogg Theora. The editor should be able to insert the metadata (geo location, tags, comments). It is specifically metadata, not subtitles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Link:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://wiki.xiph.org/index.php/OggKate&quot;&gt;About OggKate&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="1549" LastEditorUserId="1549" LastEditDate="2011-10-22T15:46:43.103" LastActivityDate="2018-06-21T12:51:21.517" Title="Graphical editor for OggKate" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2529" PostTypeId="1" CreationDate="2011-10-22T17:00:35.910" Score="0" ViewCount="1147" Body="&lt;p&gt;I often have a movie (commercial, encrypted DVD) which I would like to import into Sony Vegas for further editing. The goal is to make my own private &quot;Director's Cut&quot;, mixing the movie with some other movie snippets from different source (&quot;Making Of&quot; from different DVD).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My usual workflow: I decypt the DVD with DVD Decrypter. Then I got a couple of decrypted VOB files and a few other files. If I open the VOB files with Sony Vegas 8.0, this approach usually works fine, I can just open the VOB file and have the movie on the timeline and can edit it, then re-render to my liking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, there are two problems with this approach:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.) Sometimes, even though I open the VOB files in the right order, the movie parts from some of the VOB files are truncated down to a few seconds in the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2.) With Vegas 11.0, this approach does not seem to work at all: I can't even see the decrypted VOB files when I do File --&gt; Open and the navigate to the directory with the decrypted VOB files in it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I alleviate this? Is there a better approach? I wonder if if I could go via some lossless AVI intermediate that's easier to import into Vegas? I searched the net, but one problem is that there is a lot of outdated tutorials out there for this specific problem. Would really appreciate some help/ideas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Software and versions I'm using:&#xA;DVD Decrypter 3.5.4.0&#xA;Sony Vegas 8.0&#xA;Sony Vegas 11.0&#xA;Windows 7&lt;/p&gt;&#xA;" OwnerDisplayName="user1550" LastEditorUserId="636" LastEditDate="2012-06-23T19:43:50.497" LastActivityDate="2014-09-10T01:08:44.340" Title="Editing a movie from DVD in Sony Vegas?" Tags="|video|file-formats|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2530" PostTypeId="1" CreationDate="2011-10-22T18:46:40.167" Score="-1" ViewCount="61" Body="&lt;p&gt;What program can develop videos like this one:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/VVm8UM6dPPE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="1551" LastActivityDate="2011-10-22T22:14:46.730" Title="What program can develop videos like ....?" Tags="|video|video-editor|" AnswerCount="1" CommentCount="1" ClosedDate="2012-10-24T17:39:16.853" ContentLicense="CC BY-SA 3.0" />
  <row Id="2531" PostTypeId="2" ParentId="2530" CreationDate="2011-10-22T22:14:46.730" Score="1" Body="&lt;p&gt;Almost any video editing package will do this. I'm pretty certain I could do it in Windows Movie Maker - there is nothing really happening here: a background image with some fade-ins and -outs.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2011-10-22T22:14:46.730" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2533" PostTypeId="1" CreationDate="2011-10-23T08:36:18.780" Score="3" ViewCount="399" Body="&lt;p&gt;As a small independent TV Station we cooperate with festivals and congresses which want to broadcast their content live. Most of the times these partners send me a webstream. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently we have a very basic solution in place&#xA;A machine with a videocard which is capable of extended desktop is used to play the stream via VLC and then send out the signal via the Videocards SDI port. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is your solution?&lt;/p&gt;&#xA;" OwnerUserId="1552" LastEditorUserId="126" LastEditDate="2011-10-24T13:24:28.990" LastActivityDate="2014-05-30T21:06:48.417" Title="What solution do you use to bring a udp, rtmp, ... stream back into the hd-sdi format" Tags="|streaming|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2534" PostTypeId="1" AcceptedAnswerId="2577" CreationDate="2011-10-23T14:48:38.133" Score="2" ViewCount="248" Body="&lt;p&gt;As in title, what is the technique involved for this scene:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/6pA_Tou-DPI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Scene starting from 0.43 to 0.48 secs, orbiting camera view with subjects at standstill.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My best guess is they had many cameras all taking a still shot all at once. Post processing stitch the still frames together. But the scene lasted for 5 seconds. In a 30 FPS video, we will need 150 still shots or 150 cameras!! How did they hide the cameras so well in the dark background? Not practical at all?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope someone can shed some light? Thank you all.&lt;/p&gt;&#xA;" OwnerUserId="913" LastEditorUserId="913" LastEditDate="2011-10-23T14:59:19.383" LastActivityDate="2011-11-01T14:27:30.393" Title="What is the orbiting technique involved for this scene [youtube]?" Tags="|camera|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2535" PostTypeId="1" AcceptedAnswerId="3470" CreationDate="2011-10-23T16:48:03.620" Score="3" ViewCount="12238" Body="&lt;p&gt;I have a single clip with multiple edits in it. Is there an easy, automatic way to detect these? Ideally I'd just like them labelled in some way with support for &quot;jump to the next label&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realise it won't be 100% reliable since it would need to detect scene changes automatically, but perhaps there's something that can considerably speed up the process of splitting such a clip into separate scenes?&lt;/p&gt;&#xA;" OwnerUserId="791" LastEditorUserId="1180" LastEditDate="2012-03-06T22:58:50.727" LastActivityDate="2020-05-25T21:06:14.893" Title="How do I detect scene changes in Adobe Premiere?" Tags="|premiere|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2536" PostTypeId="2" ParentId="2534" CreationDate="2011-10-23T19:33:00.227" Score="1" Body="&lt;p&gt;I think you partially answered your own question - the dark background actually makes it easier to hide cameras. In saying that, these days a lot of the heavy work is done by interpolation software (as @romkyns mentioned), so I wouldn't think 150 cameras would be required here.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2011-10-23T19:33:00.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2537" PostTypeId="2" ParentId="2534" CreationDate="2011-10-23T22:14:49.373" Score="0" Body="&lt;p&gt;A simple explanation of how they achieved this effect in The Matrix: &lt;a href=&quot;http://entertainment.howstuffworks.com/question295.htm&quot; rel=&quot;nofollow&quot;&gt;http://entertainment.howstuffworks.com/question295.htm&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2011-10-23T22:14:49.373" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2540" PostTypeId="1" CreationDate="2011-10-24T15:49:42.460" Score="4" ViewCount="360" Body="&lt;p&gt;I was wondering if there was any software that can process video on the go. For example I need to merge few video inputs (see image) and then pass the processed video to software that streams video live.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/6KsOz.png&quot; alt=&quot;Sample&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this really possible?&lt;/p&gt;&#xA;" OwnerUserId="1556" LastEditorUserId="126" LastEditDate="2011-10-24T16:34:46.833" LastActivityDate="2011-11-14T05:09:54.517" Title="Live video processing" Tags="|video|video-editor|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2542" PostTypeId="2" ParentId="2529" CreationDate="2011-10-25T14:03:43.277" Score="1" Body="&lt;p&gt;You should use &lt;a href=&quot;http://handbrake.fr&quot; rel=&quot;nofollow&quot;&gt;Handbrake&lt;/a&gt;. If you rip the DVD using Handbrake, you will get a single file, which you can then import into Vegas. &lt;/p&gt;&#xA;" OwnerUserId="1070" LastActivityDate="2011-10-25T14:03:43.277" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2552" PostTypeId="1" AcceptedAnswerId="3884" CreationDate="2011-10-26T22:52:03.567" Score="3" ViewCount="188" Body="&lt;p&gt;I've used Premiere and After Effects in the past, but I'm still somewhat unclear as to the different roles and responsibilities of each program in the process. When I need to mix audio, I do everything in SONAR or Garage Band, etc. When I need to do video, I have to figure out whether to use After Effects or Premiere. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems that After Effects is more for developing animations, but what's its point then? Can't its functionality be implemented within something like Premiere to make it all accessible from the same place? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's my goal. I have a ton of high-resolution images and HD video that I recently shot while on vacation. I'd just like to do simple things like start from black, fade in a SVG image, then fade in a video clip underneath it, all set to music. I'd then like to linearly change from pictures to video, etc. How should I go about doing this? Premiere or After Effects, or both? &lt;/p&gt;&#xA;" OwnerUserId="667" LastActivityDate="2012-05-01T00:18:46.017" Title="Choosing the right program for video editing" Tags="|premiere|video-editor|after-effects|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2554" PostTypeId="1" CreationDate="2011-10-27T06:58:55.443" Score="4" ViewCount="1107" Body="&lt;p&gt;I have 55 short clips (&amp;lt;1min) that have the same characteristics (only the content and length change) and I want to combine them into one big chaptered video.&lt;br&gt;&#xA;I know with QTPro how to combine 2 videos and how to add chapters to 1 file. &#xA;Now I need a Mac OS X tool that's gonna do it automagically.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;P.S. I ask here cause I know many Mac users are video professionals, if it doesnt't fit though I'll ask on apple.stackexchange.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="1361" LastEditorUserId="1072" LastEditDate="2011-10-31T21:31:53.920" LastActivityDate="2013-01-15T14:04:27.263" Title="Which software to batch join videos and add a chapter for each?" Tags="|video|mac|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2556" PostTypeId="1" CreationDate="2011-10-27T09:15:54.267" Score="3" ViewCount="4845" Body="&lt;p&gt;I am trying to import some footage into Premiere CS5. The footage was recorded on a Sony Z1 as HDV 1080i. My camera man captured the video into a series of files for me. He claimed they were in &quot;native HDV 1080i&quot; files. The files play fine in VLC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to import them I get an error claiming the file is unsupported.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used ffmpeg to get the information about the file. It claimes it is &lt;code&gt;mpeg2video (Main) (hdv3 / 0x33766468)&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'part i':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt&#xA;    creation_time   : 2011-10-26 07:09:12&#xA;  Duration: 00:15:05.36, start: 0.000000, bitrate: 26541 kb/s&#xA;    Stream #0:0(eng): Video: mpeg2video (Main) (hdv3 / 0x33766468), yuv420p, 144 0x1080 [SAR 4:3 DAR 16:9], 25000 kb/s, 25 fps, 25 tbr, 25 tbn, 50 tbc&#xA;    Metadata:&#xA;      creation_time   : 2011-10-26 07:09:12&#xA;    Stream #0:1(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, 2 channels, s16, 1536 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2011-10-26 07:09:12&#xA;    Stream #0:2(eng): Data: none (tmcd / 0x64636D74)&#xA;    Metadata:&#xA;      creation_time   : 2011-10-26 08:06:48&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Obviously I am going to need to install a codec, or convert the videos. But I'm not sure how to d this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had a go at using ffmpeg to convert:&#xA;     ffmpeg -i &quot;part i&quot; -s 640x360 -sameq -acodec copy part_i.avi&#xA;That didn't work. It created a file that I could import as an audio file, but with no video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be appreciated. If it turns out I need to re-encode it would be great if you could make a suggestion of what codec to use and what tool to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="1565" LastActivityDate="2011-11-11T13:02:36.500" Title="Importing an unsupported file type into Premiere Pro CS5" Tags="|premiere|cs5|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="2557" PostTypeId="2" ParentId="2540" CreationDate="2011-10-27T13:02:58.497" Score="2" Body="&lt;p&gt;I have seen similar things built with &lt;a href=&quot;http://vvvv.org/&quot; rel=&quot;nofollow&quot;&gt;vvvv&lt;/a&gt;. I believe the current equivalent for Mac is &lt;a href=&quot;http://www.processing.org/&quot; rel=&quot;nofollow&quot;&gt;Processing&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="456" LastActivityDate="2011-10-27T13:02:58.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2561" PostTypeId="2" ParentId="2552" CreationDate="2011-10-27T19:45:05.070" Score="1" Body="&lt;p&gt;Call me partial, but I love Sony Vegas. I'm using the current version 11 now and it's fast and good. It's the closest thing to a serious/uncrippled editor that you'll get to the top tier stuff w/o breaking the bank. There is also a decent size community out here as well to help with the inevitable questions. No good editor will have a shallow learning curve, but once you start to get the hang of it, it's awesome!&lt;/p&gt;&#xA;" OwnerUserId="1244" LastActivityDate="2011-10-27T19:45:05.070" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2567" PostTypeId="1" CreationDate="2011-10-27T21:27:03.617" Score="3" ViewCount="522" Body="&lt;p&gt;My camera phone takes video in 3gp format. I've inadvertently taken a video sideways and want to turn it 90 degrees for upload to services such as YouTube and Facebook. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What software package can I use on Windows to do this, or is there another option?  &lt;strike&gt;I've looked at the YouTube upload interface and it doesn't have an option to turn the video.&lt;/strike&gt;&lt;/p&gt;&#xA;" OwnerUserId="1567" LastEditorUserId="1567" LastEditDate="2011-10-27T22:42:24.710" LastActivityDate="2013-01-16T00:16:30.667" Title="Windows software to turn a 3gp video on its side before upload?" Tags="|video-editor|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2568" PostTypeId="1" AcceptedAnswerId="2570" CreationDate="2011-10-28T16:09:03.733" Score="2" ViewCount="371" Body="&lt;p&gt;I am not sure whether this is a good question to ask in this forum or even if it is answerable. I'll let the community decide.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am a complete newcomer to video recording having purchased my first video camera this week--a Panasonic HDC-TM900. In reading many various reviews I settled on this due to its supposedly great low light performance. I will be using this primarily to record family events the first of which is my child's play.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The stage of the play is fairly well lit though I do not know the lux. The rest of the theater, naturally, is quite dark. How do I go about recording the best possible video of the play with the the equipment that I have? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Being a newcomer should I just leave everything at auto? Does 1080P vs. 1080i really make a difference in video quality? Should I try recording in 24 FPS (Digital Cinema Mode) to get a more movie like experience?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do have two shots at this as there are two showings so I can experiment with one and adjust for the other; however, I am not sure where to begin.&lt;/p&gt;&#xA;" OwnerUserId="1569" LastEditorUserId="1072" LastEditDate="2011-10-31T19:17:16.247" LastActivityDate="2011-10-31T19:17:16.247" Title="What settings should I use when recording my child's play in a dark theater?" Tags="|video|theater|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2569" PostTypeId="2" ParentId="1747" CreationDate="2011-10-29T01:48:09.163" Score="1" Body="&lt;p&gt;I've never encountered this problem, so unfortunately I can't give you advice on how to fix it. However, next time, I would suggest that you convert all your footage to the same format before you begin editing. Prores 422 is a great editing codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go to &lt;a href=&quot;http://www.squared5.com/&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; website and download MPEG Streamclip. It's a free program that converts your footage to different codecs. Much better than Compressor IMO.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I usually convert all my footage to Apple Prores 422 (HQ) and then, upon completion, export a Quicktime H.264. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2011-10-29T01:48:09.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2570" PostTypeId="2" ParentId="2568" CreationDate="2011-10-29T01:59:15.903" Score="1" Body="&lt;p&gt;I think if you leave the settings on auto it should do the job just fine. Especially if the reviews say it performs well in low-light, I don't think you'll have a problem with exposure. Personally, I've never used that camera, so I guess I can't say for sure. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;1080P vs. 1080i is just progressive scan and interlaced scan. I won't try to explain the differences fully – if you want to read up on it, have a look at &lt;a href=&quot;http://www.allformp3.com/dvd-faqs/38.htm&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; site. There are pros and cons for using both, but for your purposes I would suggest going 1080P, that way you won't have to worry about de-interlacing your footage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not sure what they mean by Digital Cinema Mode, but don't shoot 24fps. That's mainly for shooting film. Shoot 25fps (I'm assuming you live in PAL world?) if you're in NTSC land, shoot 29.97fps (or 30fps).&lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2011-10-29T01:59:15.903" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2571" PostTypeId="1" CreationDate="2011-10-30T19:52:50.450" Score="2" ViewCount="237" Body="&lt;p&gt;My group has a budget of ~£1000 to spend on high quality recording equipment so I need to do a little background research before I go off and advise them about what to buy. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The aim is to be able to record high quality video with good sound. Often is the case that the sound lets the videos down. So I'm assuming that we'll need a separate sound kit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Therefore, I am in the market for:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A video camera which records at least HD quality video and manual zoom (as well as automatic) - ~£600&lt;/li&gt;&#xA;&lt;li&gt;A sound recording kit which either attaches to the camera, or is totally separate in which case the sound will be synced later on. - ~£200&lt;/li&gt;&#xA;&lt;li&gt;Perhaps some lighting so help with indoor scenes - ~£200&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What kinds of products do you recommend I look into? I'm relatively new to professional quality video recording so any advice is greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="1576" LastEditorUserId="1072" LastEditDate="2011-10-31T19:17:09.040" LastActivityDate="2013-07-20T00:57:11.273" Title="Video &amp; Audio Kit on a Budget" Tags="|video|camera|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2572" PostTypeId="2" ParentId="2571" CreationDate="2011-10-31T03:06:57.717" Score="3" Body="&lt;p&gt;On the audio side, I've been extremely happy with my &lt;a href=&quot;http://pro.sony.com/bbsc/ssr/cat-audio/resource.latest.bbsccms-assets-cat-audio-solutions-pcmm10.shtml&quot; rel=&quot;nofollow&quot;&gt;Sony M10&lt;/a&gt;. It takes two batteries and MicroSDHC cards. With a pair of fully-charged eneloops, it can fill up a 16GB card and the 4GB internal memory at 24/44.1 and still have some power left. Audio quality is good, but the close-set omnis don't give you a lot of stereo separation. You will also need to manually sync your audio with your camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given your budget, does it make more sense to rent gear than purchase?&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2011-10-31T03:06:57.717" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2573" PostTypeId="2" ParentId="2567" CreationDate="2011-10-31T14:15:35.973" Score="2" Body="&lt;p&gt;You could use &lt;a href=&quot;http://windows.microsoft.com/en-GB/windows7/products/features/movie-maker&quot; rel=&quot;nofollow&quot;&gt;Windows Live Movie Maker&lt;/a&gt;, which is free with Windows Live Essentials.  &lt;a href=&quot;http://www.youtube.com/watch?v=HlqqlS8CDv4&quot; rel=&quot;nofollow&quot;&gt;Here&lt;/a&gt; is a tutorial on how to do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It looks like Windows Movie Maker doesn't have native support for the 3GP format, but you should be able to download a CODEC for it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For Mac users, &lt;a href=&quot;http://www.apple.com/ilife/imovie/&quot; rel=&quot;nofollow&quot;&gt;iMovie&lt;/a&gt; is the equivalent.&lt;/p&gt;&#xA;" OwnerUserId="1532" LastActivityDate="2011-10-31T14:15:35.973" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2575" PostTypeId="2" ParentId="2552" CreationDate="2011-11-01T07:38:42.237" Score="1" Body="&lt;p&gt;After Effects is used for animations but it's WAY more capable than that. It's can do many things that Premiere Pro cannot do (or do nearly as well) such as tracking, 3D layout of layers, pseudo-camera angles, lighting effects, amongst a host of other things. It seems that Premiere Pro isn't particularly highly regarded in cutting video, with the pros using Avid and Final Cut Pro. However, After Effects is very much used by professionals and is used in many movies - it's one of the best tools of it's kind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm just an enthusiast, but I love Premiere Pro and After Effects and it's easily capable of doing everything that you're wanting to do (as described above).&lt;/p&gt;&#xA;" OwnerUserId="1510" LastActivityDate="2011-11-01T07:38:42.237" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2577" PostTypeId="2" ParentId="2534" CreationDate="2011-11-01T14:27:30.393" Score="0" Body="&lt;p&gt;@Dr Mayhem actually there might be 150 cameras! This video at 2:32 happen to show the behind the scenes. I think maybe many producers these days still prefer to use a method as direct as possible than rely on post processing manipulation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/awoeT0mf2P0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="913" LastActivityDate="2011-11-01T14:27:30.393" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2578" PostTypeId="2" ParentId="2556" CreationDate="2011-11-01T18:17:43.477" Score="0" Body="&lt;p&gt;What file extension are you using?&#xA;I've had problems with CS5 rejecting a file then accepting it with a new file extension.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could try renaming it to a .mov file (if it's not already).&lt;/p&gt;&#xA;" OwnerUserId="1094" LastActivityDate="2011-11-01T18:17:43.477" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2579" PostTypeId="1" CreationDate="2011-11-01T20:03:56.917" Score="5" ViewCount="41349" Body="&lt;p&gt;I am editing a video in iMovie. The video file is independent of the audio file; the video file's audio is what the camera picked up, and the audio file is what our lav mic picked up. After carefully listening/watching to the two tracks, I now have them synced in iMovie. &lt;strong&gt;Is there a way to link the two together so they act as one audio/video file in the timeline?&lt;/strong&gt; Right now I'm exporting it as a movie file to re-import in as one file, but I hope there's a simpler way.&lt;/p&gt;&#xA;" OwnerUserId="1195" LastActivityDate="2020-09-16T16:53:32.233" Title="Can you link an audio track to a video track in iMovie?" Tags="|imovie|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2580" PostTypeId="1" CreationDate="2011-10-29T19:34:11.190" Score="8" ViewCount="1707" Body="&lt;p&gt;Like the RAW format for photos which stores the exact image information that is of great use for post processing, are there any similar formats for video?&lt;/p&gt;&#xA;" OwnerDisplayName="vivek_jonam" LastEditorUserId="1072" LastEditDate="2011-11-03T13:17:23.907" LastActivityDate="2012-06-21T08:02:35.477" Title="Is there any format for videos like RAW format for photos?" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2581" PostTypeId="2" ParentId="2580" CreationDate="2011-10-29T20:36:18.867" Score="9" Body="&lt;p&gt;Yes there is but if you have to ask, you probably can't afford it :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Digital video cameras for professional use can shoot in a RAW format with one file for each frame. The bandwidth required is enormous and requires fast hard drives or an output over a fiber-optic link. Pricing is several times that of a full-frame &lt;/p&gt;&#xA;" OwnerDisplayName="Zak" LastActivityDate="2011-10-29T20:36:18.867" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2586" PostTypeId="2" ParentId="1883" CreationDate="2011-11-03T10:12:28.123" Score="0" Body="&lt;p&gt;It is generally impossible to say what settings will produce the best output for a given situation, without simply trying various settings.  Most encoders (I have never used Flash Media Live Encoder specifically) have quite a number of settings that can be tweaked within a specific bitrate, frame rate, and frame size that will affect the final result.  Some settings will have better results for some types of video than others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My best advice, without knowing anything about your specific software, is to try various settings and compare the results.  You may wish to encode the same 10-30 second clib (probably with a lot of movement in it, since that's one of your main concerns) with various settings, and compare the results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing I might suggest is lowering your audio bitrate so you have a little bit more video bandwidth.  Although whether that's a good idea may also depend a lot on what your audio stream is like.  If it's a music video, then you probably want to guard your audio bandwidth very jealously.  If it's an interview (unlikely since you're talking about a lot of movement, but who knows?) then you can probably get away with pretty low audio bandwidth.&lt;/p&gt;&#xA;" OwnerUserId="1072" LastActivityDate="2011-11-03T10:12:28.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2587" PostTypeId="2" ParentId="682" CreationDate="2011-11-03T10:31:20.253" Score="3" Body="&lt;p&gt;Your comparison of WMV to MP4 is a little bit confusing, because you're comparing apples and oranges.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;MP4 is a container format, which may contain a variety of audio and video formats.  Most commonly, an MP4 file will contain wither an MPEG-4 Part 10 (aka H.264) or MPEG-4 Part 2 video stream, although it can contain MPEG-2 or MPEG-1 video streams.  There are a number of audio codecs that can be stored in an MP4 file as well. See &lt;a href=&quot;http://en.wikipedia.org/wiki/Mp4#Data_streams&quot; rel=&quot;nofollow&quot;&gt;Wikipedia&lt;/a&gt; for more information.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;WMV is an actual codec (akin to H.264 or MPEG-4 Part 2 mentioned above), and files that end in .WMV are generally stored in an ASF container (&lt;a href=&quot;http://en.wikipedia.org/wiki/Windows_Media_Video#Container_format&quot; rel=&quot;nofollow&quot;&gt;see here&lt;/a&gt;).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What this all boils down to, is you need to use a &lt;em&gt;codec&lt;/em&gt; that both Mac and Windows can play.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to &lt;a href=&quot;http://support.microsoft.com/kb/291948&quot; rel=&quot;nofollow&quot;&gt;Microsoft&lt;/a&gt;, as of July 2010, Windows Media Player for Windows XP supports (among others):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Microsoft MPEG-4 Standard Video Codec&lt;/li&gt;&#xA;&lt;li&gt;Vivo H.264 Video CODEC&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Which suggests that it ought to play back the two common video formats contained in .MP4 files.  Note the caveat:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;NOTE:&lt;/strong&gt; Not all of the supported codecs are installed by default. These codecs will be downloadable when you play content that requires the codec.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So it's possible that your users may be prompted to install a codec the first time they try to play one of your videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll also want to make sure you use an audio codec supported by Windows Media Player. The most common (but by no means only) one is probably MPEG-1/MPEG-2 Audio Layer III (aka MP3), and this is in the list of supported codecs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So based on this information, if you use MP4 streaming, Windows users should have no trouble playing back your videos.  Although you'll surely want to test your specific output files on a fresh Windows (and Mac) install before you commit to this decision.&lt;/p&gt;&#xA;" OwnerUserId="1072" LastActivityDate="2011-11-03T10:31:20.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2588" PostTypeId="1" AcceptedAnswerId="2596" CreationDate="2011-11-03T11:21:28.170" Score="2" ViewCount="73" Body="&lt;p&gt;I am looking to make a music video from a number of live shows by getting fans to send in their clips taken at the shows. We run our timing from a backing drum track on Cubase, so that is fixed, which means this should work, however I have never tried to use that many inputs in different formats, with different light levels etc. I don't need to worry about sound from the devices - we can take that from house sound.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any things I should plan for?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More generically - how do video producers cope with matching or normalising inputs from multiple differing devices?&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2011-11-06T02:37:11.900" Title="How do video producers cope with matching or normalising inputs from multiple differing devices?" Tags="|live|video-editor|recording|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2589" PostTypeId="2" ParentId="2540" CreationDate="2011-11-03T18:35:52.023" Score="0" Body="&lt;p&gt;I'm sure that is possible.  I'm not aware of any software that does exactly that, but I work for a company that does something similar.  I am a developer at &lt;a href=&quot;http://www.isysglobal.com&quot; rel=&quot;nofollow&quot;&gt;Isys Global&lt;/a&gt;, and we make a web-based solution kind of like that.  We capture multiple video feeds, process them in real-time, and can stream them online.  We do not merge the videos into a single video, but our web-based player allows you to watch the live videos simultaneously over the web.&lt;/p&gt;&#xA;" OwnerUserId="1590" LastActivityDate="2011-11-03T18:35:52.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2594" PostTypeId="1" AcceptedAnswerId="2595" CreationDate="2011-11-05T11:19:37.083" Score="1" ViewCount="107" Body="&lt;p&gt;From the specs of the projector:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;DLP - 4000 lumen - 1024 x 768 - 480p - 720p - 1080i - 3D Ready - 6.4 pounds&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;They state the resolution is 1024x768, but then they add 1080i, from wikipedia:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The term 1080i assumes a widescreen aspect ratio of 16:9, implying a&#xA;  frame size of 1920×1080 pixels.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I'm a bit confused, what the resolution of this projector?&lt;/p&gt;&#xA;" OwnerUserId="1482" LastEditorUserId="126" LastEditDate="2011-11-05T15:19:13.353" LastActivityDate="2011-11-05T15:22:24.270" Title="Is this projector capable of 1080i resolution?" Tags="|specifications|projector|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2595" PostTypeId="2" ParentId="2594" CreationDate="2011-11-05T15:22:24.270" Score="0" Body="&lt;h2&gt;Yes&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Most projectors support multiple resolutions.  The specifications list all resolutions supported by the projector.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The projector you are asking about will handle 1024x768, 480p, 720p, and 1080i.&lt;/p&gt;&#xA;" OwnerUserId="126" LastActivityDate="2011-11-05T15:22:24.270" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2596" PostTypeId="2" ParentId="2588" CreationDate="2011-11-06T02:37:11.900" Score="3" Body="&lt;p&gt;Apple's Final Cut Pro X includes a variety of auto-analysis and auto-correction features — stabilization, compensation for rolling shutter, color balance, et c.  It can also attempt to automatically time-sync multiple clips, which I've found does a pretty decent job at roughing out the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I normally would feel uncomfortable relying on automated corrections, for a large set of variant inputs, it's the only practical solution I've found.&lt;/p&gt;&#xA;" OwnerUserId="289" LastActivityDate="2011-11-06T02:37:11.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2597" PostTypeId="1" AcceptedAnswerId="2599" CreationDate="2011-11-06T14:01:44.340" Score="2" ViewCount="286" Body="&lt;p&gt;I am developing a video rendering application. I would like to import editing projects from non-linear video editing application like Avid or FCP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which format should I start with, AAF or OMF? What would be the pros and cons of either?&lt;/p&gt;&#xA;" OwnerUserId="1597" LastActivityDate="2011-11-06T21:26:14.653" Title="Choosing an import format: AAF vs OMF" Tags="|video|software|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2598" PostTypeId="1" AcceptedAnswerId="2618" CreationDate="2011-11-06T16:44:12.437" Score="3" ViewCount="89" Body="&lt;p&gt;My old video camera is a Samsung HMX-H104. I love its time lapse video modes, but hate the fact that Samsung's bogus codec causes Quicktime (and also iMovie) to play Samsung recorded video at twice their actual horizontal resolution. The only way to make Samsung videos usable is to transcode them in Compressor. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm considering getting a new video camera - how do I ensure that I don't end up with another camera that requires transcoding?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if I'm considering switching from iMovie to Kino, Blender or maybe FCP X should that influence my choice of camera?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update - The codec problem with Samsung cameras goes beyond iMovie. Quicktime player 10 can't play the videos correctly either, and I don't want to optimize my camera choice for just iMovie.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2011-11-07T17:12:06.130" LastActivityDate="2011-11-10T14:34:06.153" Title="Which cameras produce video that can be edited on a mac without transcoding?" Tags="|mac|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2599" PostTypeId="2" ParentId="2597" CreationDate="2011-11-06T21:26:14.653" Score="2" Body="&lt;p&gt;AAF is the newer and more complete framework.  It is the successor to OMF, which still lives on but mostly because of legacy applications.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that &lt;a href=&quot;http://www.automaticduck.com/products/&quot; rel=&quot;nofollow&quot;&gt;Automatic Duck&lt;/a&gt; makes a line of highly-regarded tools that help with import and export of these interchange formats and have recently been made available for free.&lt;/p&gt;&#xA;" OwnerUserId="1079" LastActivityDate="2011-11-06T21:26:14.653" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2601" PostTypeId="1" AcceptedAnswerId="3099" CreationDate="2011-11-07T00:16:05.520" Score="2" ViewCount="227" Body="&lt;p&gt;I don't have a x86 Mac at hand I'm having trouble organising a large collection of Final Cut 7 projects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried to run Final Cut under Virtualized OS X.  But I have trouble installing it since VMWare doesn't provide QuartzExtreme driver.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to solve the issue or this is hopeless and I need a real Mac?&lt;/p&gt;&#xA;" OwnerUserId="1599" LastEditorUserId="1599" LastEditDate="2012-02-07T20:40:44.610" LastActivityDate="2012-02-07T20:40:44.610" Title="Is there a way to manage Final Cut project files under Linux or Windows?" Tags="|windows|final-cut-pro|linux|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2608" PostTypeId="1" AcceptedAnswerId="3176" CreationDate="2011-11-08T22:30:51.990" Score="2" ViewCount="115" Body="&lt;p&gt;What is this type of processing called?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In some popular songs with a very strong bass beat, the strength of the bass beat is exaggerated by momentarily &quot;turning down&quot; the rest of the sounds while the bass beat hits.&lt;/p&gt;&#xA;" OwnerUserId="867" LastActivityDate="2012-02-01T00:26:43.163" Title="Dynamic saturation exaggeration" Tags="|effects|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2609" PostTypeId="1" CreationDate="2011-11-09T00:25:40.317" Score="3" ViewCount="103" Body="&lt;p&gt;I own a small business making LED glow props and though the technology is sound, taking good footage of them in use is proving to be far more difficult than I expected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried with all sorts of different cameras but they all seem to result in the same thing which is gaps (seems to happen if I shoot in non-interlaced mode) or overlaps (I get this when I shoot in interlaced mode) between frames e.g.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/OUC8a.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything that can be done to combine the frames without the overlap?&lt;/p&gt;&#xA;" OwnerUserId="1606" LastActivityDate="2013-03-20T13:47:10.280" Title="How do I take optically faithful videos of glow props in the dark?" Tags="|video|recording|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2612" PostTypeId="1" CreationDate="2011-11-09T10:35:27.883" Score="3" ViewCount="185" Body="&lt;p&gt;I have a set of images that I want to make a time lapse video with. I have done this a few times but now I want to add some meta information to every image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example I have taken a picture every day from the same spot and it would be quite nice if I had some calendar along the border where I could show the current day of month so the user can virtually see the time passing on the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another example would be an analogue clock, which shows the current time for images that were taken in quick succession.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the moment it's very hard for me to figure out how I can achieve such a thing, so any help would be greatly appreciated. Unfortunately I don't have access to &quot;Pro-Style&quot; Video Editing Software like After Effects and the like.&lt;/p&gt;&#xA;" OwnerUserId="1608" LastEditorUserId="2889" LastEditDate="2012-09-16T13:14:36.587" LastActivityDate="2018-02-26T22:58:34.610" Title="Timelapse video with meta information on every frame" Tags="|video|time-lapse|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2614" PostTypeId="1" AcceptedAnswerId="2619" CreationDate="2011-11-09T14:49:19.790" Score="0" ViewCount="260" Body="&lt;p&gt;I'm sure this is trivial to do, but I've yet to find the right filter to Flip a video clip in FCE 4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, see what happens at the 0:42 mark in this video  (&lt;a href=&quot;http://vimeo.com/14448960&quot; rel=&quot;nofollow&quot;&gt;Night Stand HD Pro&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I see box flips, or page flips, but how can I just flip a single layer around an axis?&lt;/p&gt;&#xA;" OwnerUserId="1611" LastEditorUserId="126" LastEditDate="2011-11-09T15:14:25.570" LastActivityDate="2011-11-10T14:34:53.250" Title="Final Cut Express: Flip a Video Clip" Tags="|video|final-cut-express|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2615" PostTypeId="1" AcceptedAnswerId="2616" CreationDate="2011-11-09T16:08:20.117" Score="2" ViewCount="2061" Body="&lt;p&gt;My camera records videos in &lt;code&gt;.mov&lt;/code&gt; format, what can I use to edit out the audio and lower it's size in a Windows environment?&lt;/p&gt;&#xA;" OwnerUserId="1612" LastEditorUserId="1530" LastEditDate="2012-12-13T17:50:31.097" LastActivityDate="2012-12-13T17:50:31.097" Title="Compress or convert .mov to lighter format" Tags="|transcoding|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2616" PostTypeId="2" ParentId="2615" CreationDate="2011-11-09T16:24:07.767" Score="3" Body="&lt;p&gt;You didn't mention whether you're using a Mac or Windows, but...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could use a tool like &lt;a href=&quot;http://www.squared5.com&quot; rel=&quot;nofollow&quot;&gt;MPEG Streamclip&lt;/a&gt; to change the format of the video, or strip off the audio.  Works on both Mac or Windows.&lt;/p&gt;&#xA;" OwnerUserId="1611" LastActivityDate="2011-11-09T16:24:07.767" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2618" PostTypeId="2" ParentId="2598" CreationDate="2011-11-10T14:34:06.153" Score="1" Body="&lt;p&gt;One way is to ask the people in the shop you intend to buy from.&#xA;Or (if you plan to buy online), narrow down to a list of potential cameras then ask again here with specific camera names.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another idea is, if you have a compatible memory card, go to shop, ask to try the camera then shoot some video with your memory card in.&#xA;Then you can bring your memory card home and try it out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've done this with a digital SLR so I could check out the image quality on my computer.&lt;/p&gt;&#xA;" OwnerUserId="1094" LastActivityDate="2011-11-10T14:34:06.153" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2619" PostTypeId="2" ParentId="2614" CreationDate="2011-11-10T14:34:53.250" Score="1" Body="&lt;p&gt;I guess I'll answer my own question:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After a lot of searching last night, I found a &lt;a href=&quot;http://www.youtube.com/watch?v=eypaRHcriAs&quot; rel=&quot;nofollow&quot;&gt;YouTube video&lt;/a&gt; that demonstrated a method to animate the flip of video clips using a free plugin called &lt;a href=&quot;http://idustrialrevolution.com/component/sobi2/?sobi2Task=sobi2Details&amp;amp;catid=4&amp;amp;sobi2Id=5&quot; rel=&quot;nofollow&quot;&gt;MultiSpace&lt;/a&gt; from idustrial revolution.&lt;/p&gt;&#xA;" OwnerUserId="1611" LastActivityDate="2011-11-10T14:34:53.250" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2620" PostTypeId="2" ParentId="2556" CreationDate="2011-11-11T13:02:36.500" Score="1" Body="&lt;p&gt;&lt;em&gt;I've had a bit of account trouble, so I now have a different account and I can't log in to modify this question. So.. I'm going to answer my own question with what I have learned:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video files I had were not supported by Premiere Pro. However I was able to play them (in VLC) and transcode them (in FFMpeg).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The real question I was asking above was: What codec should I transcode to? And How do I do the transcode?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After quite a bit of research it seems that &lt;strong&gt;the best editing codec for PP on Windows is DNxHD&lt;/strong&gt;. This codec is not provided with Windows or PP, and must be &lt;a href=&quot;http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=263545&quot; rel=&quot;nofollow&quot;&gt;downloaded here&lt;/a&gt;. There are other editing codecs out there, but they are either expensive (CineForm) or only work on Apple (ProRes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is important to note that files for editing should not e stored as H.264, even though you might capture them in this format, and you will probably release the video in this format. This is because H.264 is very slow for editing files, and with really thrash your hard drive and CPU.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found a &lt;a href=&quot;http://www.learningdslrvideo.com/pre-rendering-canon-t2i-files/&quot; rel=&quot;nofollow&quot;&gt;nice tutorial&lt;/a&gt; that describes how to do the transcode using free tools.&lt;/p&gt;&#xA;" OwnerUserId="1574" LastActivityDate="2011-11-11T13:02:36.500" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2621" PostTypeId="1" CreationDate="2011-11-11T13:46:47.270" Score="2" ViewCount="1344" Body="&lt;p&gt;I would like to get advice on what is the best software to obtain the best level of zoom possible for a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I need to resample the video? Are there tools that can do this live? (maybe selecting just the small part of the screen I am interested in?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please note I am not asking about a quick zoom, which I can get with any media player, but I need an actual &quot;processing&quot; which will allow me to perceive more detail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the market top solution, and what's the open source top solution?&lt;/p&gt;&#xA;" OwnerUserId="1619" LastEditorUserId="1072" LastEditDate="2011-11-12T02:19:11.030" LastActivityDate="2011-11-13T22:43:13.030" Title="Best software tool to process image/video and obtain greatest level of zoom?" Tags="|video|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2625" PostTypeId="2" ParentId="2621" CreationDate="2011-11-12T10:05:38.467" Score="1" Body="&lt;p&gt;I think you misunderstand just what zoom processing software can do for you. If we exclude some highly specialist areas with supercomputers (eg NSA and others who can interpolate successive frames to gain more detail - to provide a higher resolution single frame) &lt;strong&gt;any software zoom you carry out will lose detail&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any algorithm which carries out a zoom works with the detail already in the video - from a basic one which just makes the pixels bigger, to an interpolating algorithm which tries to blend between pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only solution if you actually want a zoom is to &lt;strong&gt;use a more powerful lens&lt;/strong&gt; on the original recording device. Once the recording is on media you are limited to the amount of information on the media - to get higher zoom resolution you would need to recreate information...just doesn't happen, I'm afraid.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2011-11-12T10:05:38.467" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2627" PostTypeId="2" ParentId="2621" CreationDate="2011-11-12T12:56:06.103" Score="2" Body="&lt;p&gt;You need to scale and/or crop with the best video solution. None of them do it live.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Top market solution:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;any &lt;a href=&quot;http://usa.autodesk.com/adsk/servlet/pc/index?siteID=123112&amp;amp;id=17801117&quot; rel=&quot;nofollow&quot;&gt;Autodesk Video Solution&lt;/a&gt; (Smoke,Flint,Flame,Fire,Inferno). The number of options for the resample alghoritm is amazing... More than eight(&lt;em&gt;8&lt;/em&gt;)!&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Top open-source solution:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;&lt;a href=&quot;http://www.blender.org/&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt;, used as a video-editor.&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I'm sure you can easily find live solutions too, but not with the same level of quality, without going to a hardware-based solution like &lt;a href=&quot;http://www.blackmagic-design.com/products/ultrastudio3d/&quot; rel=&quot;nofollow&quot;&gt;Blackmagic&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1466" LastEditorUserId="1466" LastEditDate="2011-11-13T22:43:13.030" LastActivityDate="2011-11-13T22:43:13.030" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2633" PostTypeId="2" ParentId="2540" CreationDate="2011-11-14T05:09:54.517" Score="2" Body="&lt;p&gt;I have used a freeware software program &lt;strong&gt;&quot;VH Multi Camera Studio&quot;&lt;/strong&gt; to do something similar to what you describe. While it is still possible to find and download that program (just Google the name), it seems the developer no longer supports it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The modern incarnation of the company exists as &lt;a href=&quot;http://www.splitmedialabs.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.splitmedialabs.com/&lt;/a&gt; but I have no experience with it in its new form.&lt;/p&gt;&#xA;" OwnerUserId="1303" LastActivityDate="2011-11-14T05:09:54.517" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2634" PostTypeId="1" CreationDate="2011-11-14T15:26:28.403" Score="4" ViewCount="24921" Body="&lt;p&gt;I am using &lt;a href=&quot;http://code.google.com/p/ffmbc/&quot; rel=&quot;nofollow&quot;&gt;FFmbc&lt;/a&gt; (a FFmpeg derivative) to transcode some video files to H264 (in a mov wrapper).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to specify baseline profile (to reduce CPU usage) but can't figure out how.&#xA;There doesn't seem to be a simple option to specify this - I understand the profile is derived from whatever options I have specified.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However &lt;a href=&quot;http://sonnati.wordpress.com/2011/08/19/ffmpeg-%E2%80%93-the-swiss-army-knife-of-internet-streaming-%E2%80%93-part-iii/&quot; rel=&quot;nofollow&quot;&gt;most examples&lt;/a&gt; are for FFmpeg and FFmbc rejects them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The suggestion to use &quot;-flags2 +bpyramid+wpred+mixed_refs-dct8x8&quot; gives the errors:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[NULL @ 0x101093600] [Eval @ 0x7fff5fbfce20] Undefined constant or missing '(' in 'bpyramid'&#xA;[NULL @ 0x101093600] Unable to parse option value &quot;bpyramid+wpred+mixed_refs-dct8x8&quot;&#xA;[NULL @ 0x101093600] Error setting option flags2 to value +bpyramid+wpred+mixed_refs-dct8x8.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What am I missing here?&lt;/p&gt;&#xA;" OwnerUserId="1094" LastEditorUserId="1530" LastEditDate="2012-11-29T23:12:09.110" LastActivityDate="2019-10-24T18:41:55.157" Title="How do I specify baseline H264 profile using FFmbc?" Tags="|ffmpeg|transcoding|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2636" PostTypeId="1" AcceptedAnswerId="2648" CreationDate="2011-11-14T19:27:05.747" Score="0" ViewCount="157" Body="&lt;p&gt;I'm comparing the features of 2 projectors, which are very similar between them. They both have 1300 lumens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However I was surprised to see the following values:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Projector 1&#xA;Brightness (lm) 3000&#xA;Contrast ratio 2000:1&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Projector 2&#xA;Brightness (lm)*1*2 1300 (Max)&#xA;Contrast ratio*1  3600:1&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What does this mean ? They are both for home videos, but is the second one more suitable to darker environments, because it has less brightness ? But it offers better color quality, with more contrast ? Is this analysis correct ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, not sure what &quot;*1*2&quot; means, and why they wrote (max). Probably it provides less brightness on average.&lt;/p&gt;&#xA;" OwnerUserId="1482" LastEditorUserId="674" LastEditDate="2011-11-15T15:39:07.713" LastActivityDate="2011-11-16T09:00:27.720" Title="Brightness and contrast ratio, inversely proportional?" Tags="|projector|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2648" PostTypeId="2" ParentId="2636" CreationDate="2011-11-16T09:00:27.720" Score="1" Body="&lt;p&gt;On that particular specification page the *1 and *2 mean look further down the page at notes 1 and 2, which are as follows:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;*1: Varies depending on conditions&lt;/p&gt;&#xA;&#xA;&lt;p&gt;*2: All brand names and product names are trademarks, registered trademarks or trade names of their respective holders. Lamp life specification is an estimate based on verification under proper conditions and is not the duration of the warranty. Lamp will shut-off automatically when usage reaches the specified estimated maximum lamp hours. Service life may vary widely depending on usage and operating environment and conditions, as well as users' adherence to the maintenance and cleaning procedures provided in the user manual.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of which one is best - it will depend on your needs, but the second one has higher frame rate and better contrast, which for most applications will be what you need, however if you do need the extra brightness for displaying in brighter environments, the first one may be more appropriate for you.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2011-11-16T09:00:27.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2650" PostTypeId="1" AcceptedAnswerId="4156" CreationDate="2011-11-16T16:37:40.120" Score="9" ViewCount="33127" Body="&lt;p&gt;It's fairly common to see videos in which, to accompany a piece of music created using overdubs, we see a split screen showing the artist performing each overdub.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What functions, in which software, may be used to create videos like this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it a matter of mixing the audio separately, then manually synchronising the video, or is there software that automates the process?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Answers for any software are welcome, but budget answers (iMovie, Movie Maker) are welcome, as well as any software designed for this specialised purpose.&lt;/p&gt;&#xA;" OwnerUserId="1434" LastEditorUserId="636" LastEditDate="2012-06-08T19:35:42.687" LastActivityDate="2017-02-14T18:02:00.783" Title="Creating a split screen video of a multitrack recording" Tags="|video|video-editor|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2651" PostTypeId="2" ParentId="851" CreationDate="2011-11-16T20:04:04.510" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://videohive.net/&quot; rel=&quot;nofollow&quot; title=&quot;Video Hive&quot;&gt;Video Hive&lt;/a&gt; has several professional assets with various degrees of specificity that you can integrate to your project for a reasonable price.&lt;/p&gt;&#xA;" OwnerUserId="58" LastActivityDate="2011-11-16T20:04:04.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2652" PostTypeId="1" CreationDate="2011-11-16T20:05:13.127" Score="4" ViewCount="357" Body="&lt;p&gt;I've been looking into a camcorder for use as a webcam, since all the webcams I have found don't seem to be up to the task I have in mind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My biggest issue is finding camcorders can can even be used as a webcam, either natively or through a 3rd party software such as &lt;a href=&quot;http://www.clearptz.com/TCamWeb/dvdriver.htm&quot; rel=&quot;nofollow&quot;&gt;DVDriver&lt;/a&gt;. DVDriver requires that the camera have an IEEE 1394 port, but it seems that this is not a common thing on camcorders now like it was years ago.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Capability to record in 1080p and a wide angle lens would also be useful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know of any camcorders that are capable of this, or a resource where I can find more information on camcorders?  My searches of the Sony, Canon and other manufactures websites has turned up very little in the way of useful information.&lt;/p&gt;&#xA;" OwnerUserId="1636" LastActivityDate="2014-05-14T16:00:26.613" Title="Camcorder for use as a webcam" Tags="|hardware|usb|firewire|camcorder|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="2673" PostTypeId="1" CreationDate="2011-11-21T00:16:49.373" Score="-1" ViewCount="145" Body="&lt;p&gt;I have been wondering for a while if we could connect a camera to a computer and let the computer do the processing, that way we would have access to things that the camera wouldn't be able to do independently. For example higher frame rates, higher resolutions, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If a technology like this exists please redirect me to it otherwise I think it should be considered.&lt;/p&gt;&#xA;" OwnerUserId="1657" OwnerDisplayName="Seif Shawkat" LastEditorUserId="2178" LastEditDate="2013-12-14T17:40:18.197" LastActivityDate="2013-12-17T04:13:52.337" Title="Can I use a computer as the processing unit of a video camera instead of the onboard chip?" Tags="|video|digital-recording|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2674" PostTypeId="1" AcceptedAnswerId="2675" CreationDate="2011-11-21T03:50:18.120" Score="3" ViewCount="32760" Body="&lt;p&gt;&lt;a href=&quot;https://photo.stackexchange.com/questions/14563/why-is-there-a-limit-restriction-to-the-1080p-film-video-recording-time-duration&quot;&gt;This question&lt;/a&gt; addresses the fact that DSLRs have limits on video recording time and provides some speculation as to why the limit exists. It mentions that Canon has a 30 minute limit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am recording HD video on a Canon PowerShot ELPH 300 HS point-and-shoot, and am coming up against a 10 minute limit. &lt;a href=&quot;http://www.digitalcamerareview.com/default.asp?newsID=4680&amp;amp;p=4&quot; rel=&quot;nofollow noreferrer&quot;&gt;This site&lt;/a&gt; says that there is a 60 minute limit on standard definition and 10 minute limit on high definition. With 720p a 10 minute video is about 1.5 Gb. I wanted to mention the 10 minute limit explicitly because it seems that many people talk about a 30 minute limit and so this seemed like a somewhat unique case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is whether there is a way to extend the limit from 10 to something like 30 minutes? 10 minutes is just short for my purposes of recording my own judo tournament matches.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess it would have to be some kind of patch to the firmware. Does such a thing exist?&lt;/p&gt;&#xA;" OwnerUserId="1460" OwnerDisplayName="Lex Fridman" LastEditorUserId="-1" LastEditDate="2017-04-13T12:43:53.643" LastActivityDate="2020-09-26T17:39:55.597" Title="How can I extend the ten minute video limit on a Canon PowerShot ELPH 300 HS?" Tags="|video|" AnswerCount="4" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="2675" PostTypeId="2" ParentId="2674" CreationDate="2011-11-21T06:41:04.573" Score="3" Body="&lt;p&gt;I believe the limit is due to the &lt;em&gt;file size&lt;/em&gt;, not the actual recording length.  &lt;a href=&quot;http://forums.dpreview.com/forums/read.asp?forum=1031&amp;amp;message=35289169&quot; rel=&quot;nofollow&quot;&gt;This forum thread&lt;/a&gt; seems to confirm this for the T2i/500D, and &lt;a href=&quot;http://en.wikipedia.org/wiki/Canon_EOS_5D_Mark_II&quot; rel=&quot;nofollow&quot;&gt;Wikipedia&lt;/a&gt; agrees for the 5D mkII.  Also according to these sources, the limit for both cameras is 4gb.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the PowerShot cameras, the file size limit is likely much lower. For the S2, &lt;a href=&quot;http://forums.dpreview.com/forums/read.asp?forum=1010&amp;amp;message=13834915&quot; rel=&quot;nofollow&quot;&gt;it appears&lt;/a&gt; to be 1gb.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What all this means is that the time limit isn't a time limit, per se... but a file size limit.  So if you are able/willing to reduce the file &lt;em&gt;quality&lt;/em&gt;, you may be able to extend the time limit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can shoot in a lower quality video mode (say 480i instead of 720p), that will likely improve your recording time.  If you can reduce the frame rate, that may improve your time limit, as well.  Of course all of these things will make the video noticibly lower quality, as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can't get different equipment, you may be best off strategically stopping and starting the video during pauses in the action.&lt;/p&gt;&#xA;" OwnerUserId="1072" LastEditorUserId="1072" LastEditDate="2011-11-22T04:53:52.507" LastActivityDate="2011-11-22T04:53:52.507" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="2683" PostTypeId="1" AcceptedAnswerId="2689" CreationDate="2011-11-22T01:31:42.467" Score="5" ViewCount="741" Body="&lt;p&gt;What are the most used metrics to evaluate the QoS of a video streaming session? I am looking for tutorials, papers, lecture notes, ppt, anything of that kind, or your own answer.&lt;/p&gt;&#xA;" OwnerUserId="1570" OwnerDisplayName="Bob" LastEditorUserId="95" LastEditDate="2011-11-22T20:08:50.387" LastActivityDate="2011-11-24T12:24:57.010" Title="QoS for video streaming" Tags="|codec|video-quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2689" PostTypeId="2" ParentId="2683" CreationDate="2011-11-24T12:24:57.010" Score="1" Body="&lt;p&gt;&lt;strong&gt;From the perceptual front (in the user point of view):&lt;/strong&gt;  &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Quality:&lt;/strong&gt; &#xA;Here we are evaluating quality of video and audio being streamed. Usually, higher the bit rate better the quality - but it also means more &lt;em&gt;cost&lt;/em&gt;. The basic quality measure for Video is &lt;a href=&quot;http://en.wikipedia.org/wiki/Peak_signal-to-noise_ratio&quot; rel=&quot;nofollow&quot;&gt;PSNR&lt;/a&gt;. However, more relevant matrices from the perceptual quality is &lt;a href=&quot;http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.75.7246&amp;amp;rep=rep1&amp;amp;type=pdf&quot; rel=&quot;nofollow&quot;&gt;blockiness&lt;/a&gt; and there are many other approaches like &lt;a href=&quot;http://www.cic.unb.br/~mylene/PI/WinklerMohandas2008.pdf&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt;.&#xA;Usually, choosing the codec and bit rate fixes the quality primarily, so network doesn't effect that much in that case.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Consistency (or lack of jerkiness):&lt;/strong&gt;&#xA;This is a rough measure of times when the continually running stream got interrupted. Usually this is a measure of length and pauses that are caused due to unavailability or reduction of bandwidth during some time and player needs to wait for the data to arrive. &#xA;Usually, buffering is done to the optimal level in the receiver to minimize the effect on this. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Errors in pictures:&lt;/strong&gt; &#xA;This is the indication of errors occurred during the transmission due to which patchy or blank screens. There are cases, where transmission could be error free, in which case, this won't be a problem. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Latency:&lt;/strong&gt; &#xA;This refer to amount of time the service needs to begin the deliver and time the system gets reflected to screen. There are various elements of the system that contributes to this. Usually, for VoD type systems, some reasonable but it is a reasonable concern for the two systems.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;End-to-end delay or so called guarantee:&lt;/strong&gt;&#xA;The end-to-end delay is essentially same as round trip delay between two systems. For two way communications like telephony, end-to-end delay is of great importance. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Service guarantee:&lt;/strong&gt; &#xA;Usually, this refers to probability with which the given service will be surely available to the end users. This is equivalent to probability of call drops or network blocking of calls. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Intrinsic parameters:&lt;/strong&gt;&lt;br&gt;&#xA;Here we can think of QoS metrics from the point of view of basic measures of the network which is reflects the QoS as perceived by user. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Bit rate guarantees:&lt;/strong&gt; &#xA;This includes the maximum and minimum of available bandwidth during the entire session. Guarantees available for the network bandwidth is usually the single most &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Error rate or Loss runs:&lt;/strong&gt; &#xA;Usually, unlike satellite paths, in the internet there are no bit errors (above transport layer) - the errors get reflected in the form of packet losses. Basic metrics is hence packet error rate on the networks. More research has concluded that these can be modeled as loss lengths where typically, errors occur in some bursts. The packet loss and the length of the losses has a significant effect in terms of perceptions. &lt;a href=&quot;http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.21.7087&amp;amp;rep=rep1&amp;amp;type=pdf&quot; rel=&quot;nofollow&quot;&gt;This paper&lt;/a&gt; describes this metric in depth. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Latencies or Various delays:&lt;/strong&gt; &#xA;This involves the delay between the path, setup delay, resource reservation delays and buffer delay that all contributes to initialization of display and latency. Many a times, efficient codecs collects various pictures together before encoding to optimize bit rates this allows more efficient compression (higher quality) but increases the latency. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;System uptime and usage factor:&lt;/strong&gt;&#xA;If either the systems is dysfunctional (down) or it is fully utilized (blocked) it will have &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The paper below shows good relationship between various taxonomies. &#xA;Survey of QoS specifications : &lt;a href=&quot;http://eia.udg.es/~marzo/doctorat/aur98.pdf&quot; rel=&quot;nofollow&quot;&gt;http://eia.udg.es/~marzo/doctorat/aur98.pdf&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1658" LastActivityDate="2011-11-24T12:24:57.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2691" PostTypeId="1" CreationDate="2011-11-24T19:37:30.063" Score="1" ViewCount="235" Body="&lt;p&gt;Can any one give me more explanation on VITC? I need to identify the VITC code presented in the VBI signal. How does it's format work? how does one extract it? How are VITC embedded in a video signal? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need solution both for Analog Composite video as well as Digital MPEG TS file. &lt;/p&gt;&#xA;" OwnerUserId="1658" LastActivityDate="2011-11-24T19:37:30.063" Title="Decoding and Using VITC?" Tags="|video|timecode|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2692" PostTypeId="2" ParentId="540" CreationDate="2011-11-24T23:40:02.100" Score="1" Body="&lt;p&gt;As a fellow Cool Edit user, I recently started doing some basic single track recording on Mac.  The best app I've come across so far has been Sound Studio by Felt Tip Inc &lt;a href=&quot;http://felttip.com/ss/&quot; rel=&quot;nofollow&quot;&gt;http://felttip.com/ss/&lt;/a&gt; (You'll need the older version created by FreeVerse for older versions of OSX).  I'm planning to experiment with some other apps listed here: &lt;a href=&quot;http://www.pure-mac.com/audio.html&quot; rel=&quot;nofollow&quot;&gt;http://www.pure-mac.com/audio.html&lt;/a&gt; but will most likely purchase Felt Tip, as so far, it has served me well.&lt;/p&gt;&#xA;" OwnerUserId="1664" LastActivityDate="2011-11-24T23:40:02.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2698" PostTypeId="1" CreationDate="2011-11-26T13:42:31.177" Score="2" ViewCount="762" Body="&lt;p&gt;I'm planning to start a service which archives TV video content (at low quality). I'm exploring what hardware and video digitization equipment will be needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The TV channels in the geography I'm looking at are unencrypted and are provided through coaxial cable wires (similar to standard 'Cable TV' in the US).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are about 200-250 channels, each of which is to be digitized and archived. I'm looking for a cost-effective, scalable solution which can be scaled up from an initial set of 5-10 channels to a max of 200. I'm not sure how TV tuner recommendations which work only for 3-4 channels at a time would scale up cost-effectively.&lt;/p&gt;&#xA;" OwnerUserId="1668" LastEditorUserId="1950" LastEditDate="2015-02-04T23:47:04.717" LastActivityDate="2015-02-04T23:47:04.717" Title="Hardware requirements for multiple TV channels (cable TV) digitization" Tags="|video|hardware|cable|digitisation|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2707" PostTypeId="1" CreationDate="2011-11-28T13:19:17.003" Score="1" ViewCount="427" Body="&lt;p&gt;I would like to video record my (and my friends') soccer match. I've bought a Chinese mini DV cam that I attach on top of the door and record on an SD card. But I want to do more: I would like to record using 2-4 wireless IP cam, and have a synchronized video in a grid side by side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which software can I use? And what kind of hardware would I need to record 2-4 live video files? &lt;/p&gt;&#xA;" OwnerUserId="1676" LastEditorUserId="2569" LastEditDate="2012-10-09T18:27:41.817" LastActivityDate="2012-10-09T18:27:41.817" Title="Recording 2-4 live video feeds in sync" Tags="|video|recording|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2711" PostTypeId="1" CreationDate="2011-11-28T22:02:58.983" Score="1" ViewCount="295" Body="&lt;p&gt;I have a 1920x1080i project (a 50 minute film) in Avid Media Composer (version 3).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I make a high-quality DVD from my project?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Specifically: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Can I export straight from Avid to a DVD format or should I use some intermediary software (Sorenson squezee etc.) to convert the output from Avid?&lt;/li&gt;&#xA;&lt;li&gt;Do you have any specific workflow that gives good results? I.e. Avid (fill in export settings) =&gt; DVDit or Avid (fill in export settings) =&gt; DVD Studio Pro or other ...&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1678" LastEditorUserId="126" LastEditDate="2011-11-29T14:16:41.107" LastActivityDate="2011-11-29T14:16:41.107" Title="From Avid Media Composer to DVD?" Tags="|file-formats|avid|video-quality|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2715" PostTypeId="1" CreationDate="2011-11-29T10:33:54.727" Score="1" ViewCount="579" Body="&lt;p&gt;I like the video clarity and quality of the &lt;a href=&quot;http://www.nikonusa.com/Nikon-Products/Product/Digital-SLR-Cameras/25472/D3100.html&quot; rel=&quot;nofollow&quot;&gt;Nikon D3100&lt;/a&gt;. However, it has a time limit on it, which I don't like.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I go about finding an HD camcorder with similar video clarity to this camera, but without such a limit?&lt;/p&gt;&#xA;" OwnerUserId="1679" LastEditorUserId="2836" LastEditDate="2014-02-11T18:12:14.070" LastActivityDate="2015-10-24T16:58:56.200" Title="How can I find camcorders with high quality like Nikon D3100 but without its time limit?" Tags="|camcorder|recommendation|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="2717" PostTypeId="2" ParentId="2707" CreationDate="2011-11-29T18:53:10.500" Score="1" Body="&lt;p&gt;Assuming you don't need great quality and are ok with ip camera quality footage (which it sounds like you are), you could pick up several wireless ip security cameras and connect them via WiFi on the same network as a Mac laptop running &lt;a href=&quot;http://www.securityspy.com/&quot; rel=&quot;nofollow&quot;&gt;Security Spy&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="744" LastActivityDate="2011-11-29T18:53:10.500" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2719" PostTypeId="1" CreationDate="2011-11-29T22:33:10.963" Score="1" ViewCount="480" Body="&lt;p&gt;I bought the Dynacam Flycam 5000 (also sold as ProAim Flycam, and probably some other no-name brands) in a local shop the other month. Unfortunately no assembly instructions at all were included so I have some troubles getting it setup. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;More specifically I need to connect the upper part with the weights. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the plate holding the weights there are a rubber detail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The lower part of the camera base and handle is way too large to fit the rubber part on the weight plate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm also left with some metal tubing that I guess should be used to connect these parts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help in putting this thing together would be appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found &lt;a href=&quot;http://www.youtube.com/watch?v=IHV68vN6DTU&quot; rel=&quot;nofollow&quot;&gt;a Youtube video&lt;/a&gt; with a time lapse of assembly of this very product. Unfortunately the level of detail is far from helpful since you can't actually tell how these parts are connected.&lt;/p&gt;&#xA;" OwnerUserId="1683" LastEditorUserId="1683" LastEditDate="2011-12-14T22:57:39.673" LastActivityDate="2011-12-14T22:57:39.673" Title="How do I assemble a Dynacam Flycam 5000 (AKA ProAim Flycam)?" Tags="|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2726" PostTypeId="2" ParentId="1796" CreationDate="2011-12-01T09:21:39.520" Score="3" Body="&lt;p&gt;If he/she is a professional  actor you don't have to try and make him cry. It's  part the actor's job. And again professional or not you cannot fake a cry without making the actor sad ( meaning just tears or fake ones ) . Otherwise the overall scene will seem fake. What you should do is make the actor understand why he/she has to cry in that scene and most important help the actor really live the scene . Of course if you don't want to make the actor sad ( which i think is unavoidable ) you can help afterwards by congratulating and changing the sadness with happy feelings of success. ( or a romantic dinner if you have feelings for the actor - :P ) &#xA;In other words everyone that takes part on this scene just enjoy it . maybe it will need some takes . but my suggestion is .. enjoy it &lt;/p&gt;&#xA;" OwnerUserId="1686" LastActivityDate="2011-12-01T09:21:39.520" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2730" PostTypeId="1" CreationDate="2011-12-02T13:21:56.070" Score="0" ViewCount="43" Body="&lt;p&gt;What I need:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;reasonable resolution (not 640x480, maybe 1024x768 minimum, but I'm willing to budge on this)&lt;/li&gt;&#xA;&lt;li&gt;long life, no need to change parts&lt;/li&gt;&#xA;&lt;li&gt;connects to a standard computer VGA out&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What I don't need&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;SD/USB port&lt;/li&gt;&#xA;&lt;li&gt;speakers&lt;/li&gt;&#xA;&lt;li&gt;color depth&lt;/li&gt;&#xA;&lt;li&gt;absolute smoothness&lt;/li&gt;&#xA;&lt;li&gt;portability&lt;/li&gt;&#xA;&lt;li&gt;HDMI video input&lt;/li&gt;&#xA;&lt;li&gt;S-video input&lt;/li&gt;&#xA;&lt;li&gt;any other sort of input than VGA&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;In other words, minimally I need to be able to project in grayscale and without worrying about changing a bulb. So which flavor of digital projector should I be buying?&lt;/p&gt;&#xA;" OwnerUserId="1692" LastActivityDate="2011-12-05T18:08:36.690" Title="Can't figure out which projector fits these features" Tags="|projector|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2731" PostTypeId="1" CreationDate="2011-12-02T14:07:46.460" Score="1" ViewCount="82" Body="&lt;p&gt;I am working on a project in Adobe Premiere consisting of many small clips. For some of the clips I replaced the audio by unlinking the original videoclip from the original audioclip, cutting the audioclip from the timeline, replacing it with the new audiofile and relinking the original videoclip with the new audioclip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I import this Premiere project into After Effects however, all clips have their original audio again and while the new audiofiles appear in the new project view, they are nowhere to be found on the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I make sure the videoclips will be correctly imported with the new associated audioclip instead of their original audio?&lt;/p&gt;&#xA;" OwnerUserId="1693" LastActivityDate="2011-12-02T14:07:46.460" Title="How to preserve new audio when importing Premiere projects into After Effects?" Tags="|premiere|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2734" PostTypeId="1" AcceptedAnswerId="3790" CreationDate="2011-12-03T12:04:22.510" Score="3" ViewCount="2500" Body="&lt;p&gt;I have two videos of a dance at a dance competition taken by two different people. The videos are of the same dance but are from different angles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to create a single video that contains both videos side by side and synchronised to the same point. The videos start and finish a few seconds apart from each other and thus are slightly different length.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My video application is Corel VideoStudio Pro X3. How can I do this? I imagine that somehow using the audio this could be done. The music should act as a good guide for syncing them together.&lt;/p&gt;&#xA;" OwnerUserId="1697" LastActivityDate="2013-02-05T06:18:35.740" Title="How can I sync two videos together in Corel VideoStudio Pro X3" Tags="|video|sync|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2737" PostTypeId="1" CreationDate="2011-12-04T10:14:26.447" Score="3" ViewCount="857" Body="&lt;p&gt;My question(s) for you today regard the converting of videos from various cameras for use in Final Cut Pro 7. I have footage of the same event from different angles all shot on different cameras (Sony DV Handycam, Sony Hard Disk Handycam, Panasonic Hard Disk camera) that all shoot to different frame sizes, and, inconveniently, different frame rates. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My first question is (while I know FCP can handle different frame rates within a project by frame skipping, it is not advisable) how should I convert my footage so that they are all same frame rate? Should I convert the Panasonic (that shoots at 50fps) down to 24fps that the Sonys record to, or should I upconvert those two up to 50fps? Obviously I would like to lose as little quality as possible, what is the best plan of action when it comes to this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My second question is regarding converting formats. I use Compressor, and am very impressed with it, but what common format should I convert the footage from the two hard disk camcorders to? The DV tape is captured into DV by FCP, but what should I use for the others? HDV, Prores, DV?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My third is to do with frame size and aspect ratios: one of the camcorders records to 16:9 1080p, how will that work alongside the 576x720 4:3 footage from the other camcorders on the timeline?&lt;/p&gt;&#xA;" OwnerUserId="270" LastEditorUserId="126" LastEditDate="2011-12-07T14:33:26.033" LastActivityDate="2011-12-11T09:20:57.823" Title="Understanding Video Formats and Attributes for use in FCP7" Tags="|final-cut-pro|formats|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2738" PostTypeId="2" ParentId="2737" CreationDate="2011-12-04T21:44:23.023" Score="1" Body="&lt;p&gt;The codec question is the easier one: use ProRes.  It preserves quality very well and FCP likes to edit it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for what frame rates, image dimensions, etc. the general approach should be to go to the highest resolution of any of the originals so you aren't discarding any data.  So, upconvert to 50 fps rather than downconvert to 24 fps.  Similarly for image dimensions, conform to 1080p rather than 720p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I might moderate the advice above depending on what output format you are targeting.  An alternative strategy is to conform everything to a format that more closely matches the output characteristics.&lt;/p&gt;&#xA;" OwnerUserId="1079" LastActivityDate="2011-12-04T21:44:23.023" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2740" PostTypeId="1" CreationDate="2011-12-05T07:55:11.080" Score="3" ViewCount="649" Body="&lt;p&gt;I almost never get stuck with things like this and kinda figure things out myself... but I'm at a complete loss here. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've used Handbrake, X-Media Recode, and lots of other encoders and they're great.. but they just don't have clearly defined options for maximum and minimum bitrate control in VBR. That, or I just can't find the options. Is there a GUI I could use for this? Or is it only possible through command-line in x264 core? I've only been able to work with constant bitrate so far and I REALLY need to use variable bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found these extra options and I think they might be for variable bitrate.. but experimenting and encoding with that still produces a result with constant bitrate:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VBV buffer size, VBV maximum bitrate, VBV initial buffer and Bitrate variance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="1702" LastActivityDate="2016-08-21T05:55:51.160" Title="H.264 encoder with CLEAR options for specifying minimum &amp; maximum video bitrate?" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2742" PostTypeId="2" ParentId="2740" CreationDate="2011-12-05T09:40:11.073" Score="3" Body="&lt;p&gt;From &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html&quot; rel=&quot;nofollow&quot;&gt;http://ffmpeg.org/ffmpeg.html&lt;/a&gt; , you can do this in CLI.. not sure about GUI.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;em&gt;&lt;strong&gt;‘-maxrate bitrate’&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Set max video bitrate (in bit/s). Requires -bufsize to be set. &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;em&gt;&lt;strong&gt;‘-minrate bitrate’&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Set min video bitrate (in bit/s). Most useful in setting up a CBR encode   &lt;/p&gt;&#xA;  &#xA;  &lt;blockquote&gt;&#xA;    &lt;p&gt;Eg: &quot;&lt;strong&gt;&lt;em&gt;ffmpeg -i myfile.avi -b:v 4000k -minrate 4000k -maxrate 4000k -bufsize 1835k out.m2v&lt;/em&gt;&lt;/strong&gt;&quot;&lt;/p&gt;&#xA;  &lt;/blockquote&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1704" LastActivityDate="2011-12-05T09:40:11.073" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2744" PostTypeId="1" CreationDate="2011-12-05T13:41:12.597" Score="-4" ViewCount="421" Body="&lt;p&gt;Which one is better? Please reply if you have used and seen images taken by both DSLR!&lt;/p&gt;&#xA;" OwnerUserId="1679" LastEditorUserId="2836" LastEditDate="2014-03-05T17:31:21.157" LastActivityDate="2014-03-05T17:31:21.157" Title="Nikon D3100 vs Canon EOS 600D" Tags="|dslr|canon|nikon|" AnswerCount="1" CommentCount="1" ClosedDate="2012-06-27T15:44:08.417" ContentLicense="CC BY-SA 3.0" />
  <row Id="2746" PostTypeId="2" ParentId="2730" CreationDate="2011-12-05T18:08:36.690" Score="1" Body="&lt;p&gt;I would look on Ebay and Craigslist since your requirements would be met by most projectors produced in the last 10+ years. Find one that suits you, and invest in a spare bulb (or two) while you're at it, since you might be buying a used item.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, check out Slickdeals for clearance items, such as this BenQ DLP projector that meets your requirements: &lt;a href=&quot;http://slickdeals.net/forums/showthread.php?t=3634482&quot; rel=&quot;nofollow&quot;&gt;http://slickdeals.net/forums/showthread.php?t=3634482&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1707" LastActivityDate="2011-12-05T18:08:36.690" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2750" PostTypeId="2" ParentId="2744" CreationDate="2011-12-05T23:21:47.253" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://snapsort.com/compare/Canon-600d-vs-Nikon_D3100&quot; rel=&quot;nofollow&quot;&gt;http://snapsort.com/compare/Canon-600d-vs-Nikon_D3100&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;only this will help you=) because you ask to compare EVERYTHING about them, too abstract question. better go that page and see for your self.&lt;/p&gt;&#xA;" OwnerUserId="212" LastActivityDate="2011-12-05T23:21:47.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2767" PostTypeId="1" CreationDate="2011-12-06T23:50:23.467" Score="3" ViewCount="1641" Body="&lt;p&gt;I am in search of a graphics card that makes video editing fast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think to buy an i5 cpu with a motherboard with quicksync (z68?) and an SSD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Quicksync on cpu is only for transcoding (h.264 and mpeg2 as I understood).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suppose that I need a discrete graphics cards with cuda to make faster the rest of video editing. &#xA;I don't care about 3D games.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ofcourse, I will use software that supports the technologies needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The differences among the various graphic cards currently are the number of cuda cores (eg 96), the memory size (eg 1GB), the memory-channel size (eg 128bit), the type of RAM (DDR3/DDR5) etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Up to what point, adding cuda cores, and more memory to the graphics helps would help my video editing process?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is it enough to buy a cheap cuda card (under $100)? &lt;/li&gt;&#xA;&lt;li&gt;Would buying an expensive card with more cuda cores, extra memory, bigger memory&#xA;channel size, offer significant advantag over cheap cards? &lt;/li&gt;&#xA;&lt;li&gt;Could an expensive cuda card even offer no advantage at all, if there are&#xA;other bottlennecks at the system?&lt;/li&gt;&#xA;&lt;li&gt;Does a system with i5, z68    motherboard and SSD disk, 8 GB ram, and windows 7 64 bit have any bottleneck for high-end cuda cards?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1475" LastEditorUserId="1475" LastEditDate="2011-12-08T01:41:17.670" LastActivityDate="2011-12-08T14:23:12.703" Title="High-end graphics cards: is it needed or useless for video editing at i5 machine with quicksync?" Tags="|video|hardware|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2770" PostTypeId="2" ParentId="2767" CreationDate="2011-12-07T12:27:27.723" Score="2" Body="&lt;p&gt;First question to ask is:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Does your video editing software actually use your GPU at all in the editing process? If it isn't written to use CUDA then you will not benefit from getting a better video card, other than being able to view it in higher quality on the screen.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For software that can, all of those factors are important:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Memory size is likely to be the most important as working with all relevant data in memory is faster than having to import from disk.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Memory channel size is also important, as is the speed, for ensuring you minimise latency when reading video data.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;CUDA cores are probably the least relevant when editing, as this is not a hugely intensive task. They would be much more important when rendering, or carrying out complex image manipulation.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;update based on comments&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe Premiere Pro does use CUDA, through the Mercury Playback Engine. From &lt;a href=&quot;http://forums.adobe.com/message/3377595&quot; rel=&quot;nofollow&quot;&gt;this post on the Adobe forums&lt;/a&gt;, whether a frame can be processed by CUDA depends on the size of the frame and the amount of RAM on the graphics card (VRAM), which supports my point that the most important is RAM size.&lt;/p&gt;&#xA;" OwnerUserId="674" LastEditorUserId="674" LastEditDate="2011-12-08T14:23:12.703" LastActivityDate="2011-12-08T14:23:12.703" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2774" PostTypeId="1" AcceptedAnswerId="17933" CreationDate="2011-12-08T17:14:25.493" Score="2" ViewCount="550" Body="&lt;p&gt;I'm pretty excited by the new Red Scarlet, but one point seems very limiting about its (high-)framerate capacity:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's actually &lt;em&gt;cropping&lt;/em&gt; the image on the frame when shooting at framerates higher than 30fps  (see its &lt;a href=&quot;http://www.red.com/products/scarlet#product-tech-specs&quot; rel=&quot;nofollow&quot;&gt;tech specs&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This of course will reduce the resolution, but that's acceptable. Even the &lt;a href=&quot;http://www.visionresearch.com/products/&quot; rel=&quot;nofollow&quot;&gt;Vision Research Phantoms&lt;/a&gt; do so - yes, starting with extremly higher resolution/framerate ratios of course!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that cropping means that if you have to match another scene angle of view you'll have to move your camera and/or change lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a nice graphic on the &lt;a href=&quot;http://reduser.net/forum/showthread.php?66210-Scarlet-X-Data-Sheet&quot; rel=&quot;nofollow&quot;&gt;Red Forum&lt;/a&gt; that shows the cropping and I'm reading &lt;a href=&quot;http://reduser.net/forum/showthread.php?66596-SENSOR-COVERAGE-in-Scarlet-X-vs.-Red-One&amp;amp;p=867931&amp;amp;viewfull=1#post867931&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The &quot;usefull&quot; motion modes on the Scarlet are 4K and 3K. 5K at 12fps&#xA;  max is for timelapse and stills. 4K uses less of the sensor, making&#xA;  your lenses, &quot;longer.&quot; The ratio goes from 1.3 to 1.6. A 30mm lens&#xA;  goes from, effectively a 39mm to a 48mm.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;But a lot of us want to use 3K to get raw capture without huge files.&#xA;  3K captures a 4.97MP frame using 36% of the 5K sensor area. The file&#xA;  size will be 56% the size of 4K.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;However, the increasing crop factor makes a 35mm lens into a 70mm. So&#xA;  we are looking at options.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;We need to know if S-16 glass is an option here. Some say it is. Some&#xA;  say some of it is, but not all.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I'd like to underline that 4K is the highest available resolution for video.&#xA;It might be also important to point out that the there is also a limitation in the extremely useful HDR-X as well explained on &lt;a href=&quot;http://philipbloom.net/2011/11/20/scarlet/&quot; rel=&quot;nofollow&quot;&gt;this phil bloom post&lt;/a&gt;. It's okay, I think I can live without it if I get a good camera for a decent price.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I'd like somebody to shed a light about is to: clarify what lenses would reasonably work for high framerate modes, and what should be done to ensure normal speed vs. high speed shots for the same scene will edit nicely together..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also would be nice to have a real hands-on in the answer not only theoretical, about quality of the cropped videos and practical issues with the cropping factor, but it's not mandatory!&lt;/p&gt;&#xA;" OwnerUserId="1495" LastEditorUserId="95" LastEditDate="2011-12-12T22:37:59.837" LastActivityDate="2016-03-17T17:49:13.357" Title="Is the high-framerate crop mode in the Red Scarlet camera practical?" Tags="|camera|filming|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2775" PostTypeId="5" CreationDate="2011-12-08T20:09:59.557" Score="0" Body="" OwnerUserId="95" LastEditorUserId="95" LastEditDate="2011-12-08T20:09:59.557" LastActivityDate="2011-12-08T20:09:59.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2776" PostTypeId="4" CreationDate="2011-12-08T20:09:59.557" Score="0" Body="Ableton Live is a digital audio workstation program with an emphasis on live performance and looping." OwnerUserId="95" LastEditorUserId="95" LastEditDate="2011-12-08T20:09:59.557" LastActivityDate="2011-12-08T20:09:59.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2777" PostTypeId="5" CreationDate="2011-12-08T20:13:37.120" Score="0" Body="" OwnerUserId="95" LastEditorUserId="95" LastEditDate="2011-12-08T20:13:37.120" LastActivityDate="2011-12-08T20:13:37.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2778" PostTypeId="4" CreationDate="2011-12-08T20:13:37.120" Score="0" Body="This tag refers to the Scarlet still/video camera made by Red" OwnerUserId="95" LastEditorUserId="95" LastEditDate="2011-12-08T20:13:37.120" LastActivityDate="2011-12-08T20:13:37.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2782" PostTypeId="2" ParentId="2737" CreationDate="2011-12-08T23:02:29.870" Score="1" Body="&lt;p&gt;I have done this before a lot of times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't prefer FCP to do that, I use Autodesk Combustion (or better), or After Effects to do ALL my conversion before start working.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your question is all about: &quot;&lt;strong&gt;What format/codec/media is the output of my video?&lt;/strong&gt;&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I advice you to work in a HD timeline and upres low-resolution videos, even if the final product will be in SD format, and you have a extra work to go to SD resolution in the end of the job. This way you ensure best quality, in my opinion. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Question 1: Go to 50 fps. More frames, more area, more information, more quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Question 2: use Adobe After Effects(if you can't rent some Autodesk Station for this part of the job) to get best quality and control, not be impressed by well polished interface in Compression. But you can do there too as well, at your own risk.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Question 3: The &lt;em&gt;16:9 1080p&lt;/em&gt; footage will &quot;work&quot; alongside the &lt;em&gt;576x720 4:3&lt;/em&gt; footage, as FCP auto-adjust the 1st to the 2nd. But I don't think this is the best way, so I advise small tests in After Effects, and playback in FCP to see if its all right, and then do the big job.&lt;/p&gt;&#xA;" OwnerUserId="1466" LastEditorUserId="126" LastEditDate="2011-12-09T14:20:39.960" LastActivityDate="2011-12-09T14:20:39.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2788" PostTypeId="2" ParentId="2737" CreationDate="2011-12-11T09:20:57.823" Score="1" Body="&lt;p&gt;Convert the 50fps down to 24fps. You cannot convert it the other way around, the data is simply not there. Actually, I think there is a way to do it, but it's pointless. Think about it. You have 24 frames a second. That's what you recorded - that's what you have. By converting it to 50fps you are essentially doubling the information, but gaining no quality. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for codecs, Apple ProRes or DV work well in FCP. I use ProRes when I'm handling DSLR footage (which is originally .MOV h264) and I use DV when I import footage off a miniDV tape. (These two formats are the only two I have experience with.) To convert the footage I use &lt;a href=&quot;http://www.squared5.com/&quot; rel=&quot;nofollow&quot;&gt;mpeg streamclip&lt;/a&gt;. It's free and very good. I prefer it over Compressor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For your last question, I'm not exactly sure how to go about it. I would need more information to give a specific answer. However, it sounds like you have some HD footage and some SD. Inevitably you will have to downres the HD if you want to cut it alongside the SD footage. &#xA;For the aspect ratios you'll pretty much always want to go 16:9. You can get your 4:3 footage to 16:9 if it was shot anamorphic or if you letterbox it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps. I'm not an expert on any of this, just an amateur. The point I want to stress, mainly, is that converting from 24fps to 50fps is just wrong. The above two answers&lt;br&gt;&#xA;have given you incorrect advice. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2011-12-11T09:20:57.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2789" PostTypeId="1" AcceptedAnswerId="2790" CreationDate="2011-12-11T12:43:03.870" Score="1" ViewCount="309" Body="&lt;p&gt;I have downloaded an android app called &lt;a href=&quot;https://market.android.com/details?id=com.dama.papercamera&quot; rel=&quot;nofollow&quot;&gt;Paper Camera&lt;/a&gt; that provides real time camera filters such as a variety of 'sketch' and cartoony feels. I find especially interesting their filters 'Contour', which is pretty much B&amp;amp;W contour lines, and 'Sketch Up' which looks like a rough pencil drawing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What kind of software and what filters could I use to apply similar effects to an already recorded video file?&lt;/p&gt;&#xA;" OwnerUserId="1642" LastEditorUserId="1642" LastEditDate="2011-12-11T18:44:26.357" LastActivityDate="2011-12-11T18:44:26.357" Title="Paper camera software filters for post-production?" Tags="|video|effects|filter|" AnswerCount="1" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2790" PostTypeId="2" ParentId="2789" CreationDate="2011-12-11T13:03:19.823" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.adobe.com/products/premiere.html&quot; rel=&quot;nofollow&quot;&gt;Adobe Premiere&lt;/a&gt; should do exactly what you want - it has a ton of effects plugins.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As to your second question, any screen grabber video software should let you do this - you play the video and have your wacom sketch overlay running, and just use the screen grabber software to make a video of everything displayed on the screen.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2011-12-11T13:03:19.823" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2791" PostTypeId="1" CreationDate="2011-12-11T18:43:54.327" Score="3" ViewCount="359" Body="&lt;p&gt;Is there software that allows me to 'screen record' tablet wacom ink drawing on top of a video being played back, and then output a new file with the drawing being part of the video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A wacom overlay, for instance, only sends input commands to what you currently have on screen, it doesn't create 'ink' on the screen (like in say, Windows Journal or Onenote). To make a wacom overlay create ink, you open a drawing program. But then I can't have the video playback on the same screen, so I think I'd need a screen recorder software with actual inking support built-in so it creates the ink on top of video. Is there such a thing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A use case would be annotating a screencast with inking to point to and mark things up.&lt;/p&gt;&#xA;" OwnerUserId="1642" LastActivityDate="2011-12-11T18:43:54.327" Title="Screen-record tablet ink drawing on top of recorded video?" Tags="|editing|screen-casting|" AnswerCount="0" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2792" PostTypeId="1" AcceptedAnswerId="2794" CreationDate="2011-12-12T00:53:17.780" Score="11" ViewCount="8400" Body="&lt;p&gt;I have recorded several community theater productions with a Panasonic TM900 camera. The settings on the camera were to record at 1080p @ 60 FPS.  However, I noticed that the camera produces  several video files (.m2ts). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;While the included Panasonic HD Editor software plays the videos seamlessly that is not the case with other video players such as Windows Media Player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to be able stitch together two or more m2ts video files without losing the quality of the original footage. What software should I use to do this? I do not need fancy editing capabilities though I would like to cut some scenes from the video such as during the play's intermission.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open source software or at least free software is preferred but commercial software is not out of the question if it works well and it is easy to use.&lt;/p&gt;&#xA;" OwnerUserId="1569" LastEditorUserId="1569" LastEditDate="2011-12-12T13:09:25.227" LastActivityDate="2019-03-23T19:17:35.687" Title="How can I stitch together several m2ts video files into one large file?" Tags="|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2794" PostTypeId="2" ParentId="2792" CreationDate="2011-12-12T19:24:58.010" Score="10" Body="&lt;p&gt;I believe you can join MPEG ts (transport stream) files simply by joining them together.  In Linux:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cat file1.m2ts file2.m2ts file3.m2ts &amp;gt; joined_file.m2ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In Windows/DOS:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;copy /b file1.m2ts + file2.m2ts + file3.m2ts joined_file.m2ts /b&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As long as the input files are split properly, and each new file begins with a key frame (and I would expect your camera does this), this should work just fine. And even if your camera is not careful about splitting right before a keyframe (again, I'd be surprised if it doesn't), as long as you re-join in the exact same order, it ought to work.&lt;/p&gt;&#xA;" OwnerUserId="1072" LastEditorUserId="1072" LastEditDate="2011-12-13T00:38:23.040" LastActivityDate="2011-12-13T00:38:23.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2798" PostTypeId="2" ParentId="2698" CreationDate="2011-12-13T12:19:39.153" Score="0" Body="&lt;p&gt;You would need some sort of set-top box to get the signal out of coax into a video format, right? What country/area is this in? Who is the provider of these channels? Do you have the permission/co-operation of the broadcasters?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main issue you're going to run in to is how to view all 250 channels at once, and output them to something that can record. You can typically only receive one or two channels simultaneously down your wire for cable TV. What format are the channels you want to record being broadcast in? I assume DVB-C? You're going to need a way to tune into that signal and you can only tune into a single frequency at a time with a single receiver. You'll need 250 tuners, no matter what.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming you can get 250 signals (some sort of super-splitter/amplifier?) and connect 250 set-top boxes (mount em all in racks), you will still need 250 tuners, one for each channel. You could buy 125 dual tuners (@ approx $80ea with a bulk discount = $10,000) and put 3 cards into a computer (42 cheap computers @ approx $150ea = $63,00) that run nothing but capturing &amp;amp; recording TV (then I presume copying the data to some massive SAN for archival?). Roughly $17,000 to record 250 channels is only $68/channel. Doesn't sound too far fetched to me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sounds like an interesting idea though. Would love to see what you end up doing.&lt;/p&gt;&#xA;" OwnerUserId="1725" LastActivityDate="2011-12-13T12:19:39.153" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2799" PostTypeId="2" ParentId="2579" CreationDate="2011-12-13T15:03:29.197" Score="2" Body="&lt;p&gt;Nope! There's no simpler way. I'm running into the same problem right now, and it's very annoying! That's why I'm considering getting Premiere Pro or Final Cut X. It's silly to try to do any major editing in iMovie.&lt;/p&gt;&#xA;" OwnerUserId="1726" LastActivityDate="2011-12-13T15:03:29.197" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2800" PostTypeId="1" AcceptedAnswerId="2805" CreationDate="2011-12-13T23:13:27.840" Score="1" ViewCount="377" Body="&lt;p&gt;If you were to develop a short film, which one of these two cameras would you use?&#xA;In a recent discussion with a friend he was claiming that a camera like the Canon 600d can produce videos of much better quality compared to a Sony PD170. Is he correct? Can somebody show me some evidence to support this (or the opposite)?&lt;/p&gt;&#xA;" OwnerUserId="1727" LastEditorUserId="2836" LastEditDate="2014-03-05T17:30:57.513" LastActivityDate="2014-03-05T17:30:57.513" Title="Canon 600d vs Sony PD170 for video production" Tags="|video|dslr|canon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2805" PostTypeId="2" ParentId="2800" CreationDate="2011-12-14T04:53:44.407" Score="1" Body="&lt;p&gt;It's a little bit subjective. DSLR footage, straight off the camera, is very crisp and clean. Whereas a PD170 has a bit more of a 'video' look. So first off you'd have to decide what kind of look you wanted to go for. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In most cases you would choose to shoot on a DSLR, simply because the image is more visually appealing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pros of DSLR:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;better looking footage (subjective, although a common view)&lt;/li&gt;&#xA;&lt;li&gt;can attach a variety of lenses (i.e. fish-eye)&lt;/li&gt;&#xA;&lt;li&gt;smaller body, more mobility&lt;/li&gt;&#xA;&lt;li&gt;no need to import footage off a tape, just copy and paste off SD card onto computer&lt;/li&gt;&#xA;&lt;li&gt;it's cheaper&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Pros of PD170:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;don't have to worry about the camera overheating (can shoot as long as the tape and/or batter allow. DSLRs tend to overheat after 10minutes of straight shooting)&lt;/li&gt;&#xA;&lt;li&gt;larger body. Easier to do handheld with just the body alone&lt;/li&gt;&#xA;&lt;li&gt;can plug in a microphone directly into the camera. This avoids having to use a clapper before each take and avoids the need of syncing audio and video&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For me, those are the main points. If you're looking to make a film cheaply, DSLR is the way to go. But don't forget about sound; good sound is integral to a film.&lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2011-12-14T04:53:44.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2806" PostTypeId="1" AcceptedAnswerId="2807" CreationDate="2011-12-14T13:51:33.067" Score="7" ViewCount="666" Body="&lt;p&gt;I completed my first short film in December. One of the most time consuming aspects of the project was making the colors look nice. I used Adobe Premiere Pro CS5.5 and the free Magic Bullet plugin. I learned a lot. I now realise that color correction and grading is more of an art than an established set of rules.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Could an expereinced colorist provide some practical tips about dealing with color correction and grading over the scope of the entire project.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Should I wait until I have a rough cut until I start correcting?&lt;/li&gt;&#xA;&lt;li&gt;Should I correct individual clips on the timeline, or correct the original source?&lt;/li&gt;&#xA;&lt;li&gt;Should correction (of exposure etc.) and grading (achieving a &quot;look&quot;) be done at separate stages?&lt;/li&gt;&#xA;&lt;li&gt;What kind of automated colour correction tools are there?&lt;/li&gt;&#xA;&lt;li&gt;Are there things I can do during production that would help with the color correction (i.e. using a target with color squares printed on it &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B0000ALKEJ&quot;&gt;like this&lt;/a&gt;)?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="1574" LastActivityDate="2011-12-14T15:28:33.920" Title="Color correction workflow" Tags="|color-correction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2807" PostTypeId="2" ParentId="2806" CreationDate="2011-12-14T14:30:23.943" Score="8" Body="&lt;p&gt;I am not an experienced colorist but I believe I can provide you with some answers. At least from an indie filmmaker's point of view.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Wait until you have the final cut (or lock-off cut) before you grade. Grading usually happens at the same time as the sound design as both require a locked-off cut. It is best to wait until this stage so that you don't have to go back and grade new shots if the director decides he/she wants to make a change.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Correct individual clips on the timeline. You said you grade in Premiere using a plugin. That's cool. But there are other options. I always went from Final Cut to Apple Color but have recently discovered &lt;a href=&quot;http://www.blackmagic-design.com/&quot;&gt;DaVinci Resolve&lt;/a&gt;. The Lite version is free. &lt;a href=&quot;http://www.taoofcolor.com/1066/davinci-resolve-8-1-1-lite-not/&quot;&gt;Here&lt;/a&gt; is a bit of info on it.&#xA;Grading clip by clip is the best way to go because you can see what the clip before looked like and so you know what the next one needs to look like, i.e. it's easier to reference. &#xA;You don't want to color grade the original video incase you decide you want to change something later. I believe doing something like that is called destructive editing. You want to keep it raw so that you can always come back to it. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In my experience, no, it happens at the same time. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Not too sure about this one. Avid Media Composer has pretty good color grading capabilities, I never use the auto correct on it, but it's there if you need it. Check out &lt;a href=&quot;http://www.youtube.com/watch?v=bIb8QtZ0FfU&quot;&gt;this&lt;/a&gt; tutorial on grading in Avid. Other editing programs may have similar features, but I personally don't use them. And if you're editing a film, I don't see why you would want to.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Yes there are things you can do to help with grading in post. That color chart you linked to wouldn't really help you. I think that's more for when people shoot on film. They shoot 10 seconds or so of color chart on every new reel of film to make sure that the people who are processing their film are consistent. So, they have the same color chart and the same film. Provided they shoot it with the same lighting and exposure, the color charts should all look exactly the same when they come back from processing and telecine. If they don't the film processing company can get into trouble. &#xA;During production you pretty much want to make sure you get the flattest image possible and correct exposure. If you under or overexpose a part of the scene, there is no detail recorded and there is no way to get it back. If you shoot on Canon DSLR there is a great (free) picture profile which helps to obtain a flat image optimized for color grading. It's called &lt;a href=&quot;http://www.technicolor.com/en/hi/cinema/filmmaking/digital-printer-lights/cinestyle&quot;&gt;CineStyle&lt;/a&gt; by Technicolor. Otherwise you can shoot with the neutral picture profile with the contrast turned all the way down. &#xA;I only have experience with Canon DSLRs so if you are using something else you would need to do some research on how to achieve a flat image. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="1133" LastEditorUserId="126" LastEditDate="2011-12-14T15:28:33.920" LastActivityDate="2011-12-14T15:28:33.920" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2809" PostTypeId="1" CreationDate="2011-12-14T17:14:14.283" Score="1" ViewCount="2726" Body="&lt;p&gt;I'd like to convert some AVCHD footage (.m2ts) to mp4 files. Can anybody here recommend a good converter (preferably free) that'll do a good job?&lt;/p&gt;&#xA;" OwnerUserId="1731" LastEditorUserId="1731" LastEditDate="2011-12-15T10:40:24.170" LastActivityDate="2015-01-12T07:06:01.927" Title="Good free m2ts to mp4 converter?" Tags="|windows|conversion|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2810" PostTypeId="2" ParentId="2809" CreationDate="2011-12-14T18:33:08.167" Score="1" Body="&lt;p&gt;&lt;strong&gt;For Mac&lt;/strong&gt;, there is a very simple and efficient solution that results in no loss of quality whatsoever, however it does require you to install some software.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;http://clipgrab.de/en&quot; rel=&quot;nofollow&quot;&gt;Install the clipgrap app&lt;/a&gt;. This contains the necessary codecs required for step 2. You don't have to use the app again, and I just left it in the 'Utilities' folder in 'Applications.'&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://public.me.com/catservant&quot; rel=&quot;nofollow&quot;&gt;Download the 'Rewrap2M4V' file&lt;/a&gt; from this page. Put it on your desktop.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now drag and drop your M2TS file onto the Automator icon of the file you just downloaded. An MP4 file will be created in the directory of the M2TS file.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Basically, the automator script changes the wrapper on the file from the awkward Panasonic one to a more friendly MP4. You can now edit or do whatever you wish with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The advantage of this solution is that it does not hinder quality through conversion as many converters do. It does not affect the actual file content itself. It is also very quick. &lt;/p&gt;&#xA;" OwnerUserId="270" LastEditorUserId="126" LastEditDate="2011-12-14T20:15:13.420" LastActivityDate="2011-12-14T20:15:13.420" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2818" PostTypeId="1" CreationDate="2011-12-16T00:18:51.880" Score="7" ViewCount="4668" Body="&lt;p&gt;Let's say I have 30 clips. The first 10 clips are filmed outside at day, the next 10 clips are filmed outside at night and the last 10 clips are filmed indoors. This means that I want to use three different color corrections (I could of course use more, but let's say this is enough).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One way to do this would be to apply a color correction to one of the clips and then copy and paste this one to all the clips with the same lightning conditions. However, what if you later find out you should have nudged the blacks a little bit more toward the red? Then you have to go in and make individual changes to every single clip. This quickly gets very time consuming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to set global variables that gets applied to several clips at the same time? For example, when programming, one can specify a certain variable, let's say a&amp;lt;=20, use this variable on several places in the code, and then, if one want a to be 25 instead, one only has to change this on one place instead on every place in the code. Can I do something similar in Premiere?&lt;/p&gt;&#xA;" OwnerUserId="1236" LastActivityDate="2021-02-04T00:15:19.657" Title="Is it possible to make changes over several clips at the same time when color correcting?" Tags="|premiere|" AnswerCount="6" CommentCount="3" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2831" PostTypeId="1" CreationDate="2011-12-17T11:31:17.373" Score="0" ViewCount="65" Body="&lt;p&gt;What applications can I film in and integrate photos, and narrating? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've played with iMovie and don't get it (ADHD), and video apps on my iPhone seem puny for a series of youTube like documentary chapters. There is the iMac remote control, and I have Apple TV for Screening. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know this sounds obvious but I want the final cut to be a little slick, as a tool to sell the idea of not quitting after 21 years, or to use in the slightly landmark divorce, (hope not).&lt;/p&gt;&#xA;" OwnerUserId="1742" LastEditorUserId="126" LastEditDate="2011-12-17T20:30:26.687" LastActivityDate="2011-12-18T06:43:30.297" Title="What applications can I film in and integrate photos, and narrating on iMac/iPhone/Maybe iPad " Tags="|video|editing|producing|diy|imovie|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2832" PostTypeId="2" ParentId="2831" CreationDate="2011-12-17T16:28:43.533" Score="1" Body="&lt;p&gt;iMovie is extremely easy to use - maybe you just need to find some local classes or a friend who can walk you through the process?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, try writing up the screenplay version of your story so you can shop it around to local producers. If you can write out a compelling story, you will have an easier to finding people to collaborate with you. And the written document may help you structure your recording and editing process.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2011-12-17T16:28:43.533" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2833" PostTypeId="2" ParentId="2044" CreationDate="2011-12-17T17:10:10.363" Score="5" Body="&lt;p&gt;Have you rendered the work area? Unrendered clips can lead to lag in the playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have rendered your clips the bar above your clips in the timeline should light up green instead of red or yellow (see picture below). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/3SKD9.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the bar isn't green, go to Sequence-&gt;Render Entire Work Area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Done!&lt;/p&gt;&#xA;" OwnerUserId="1236" LastActivityDate="2011-12-17T17:10:10.363" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2835" PostTypeId="2" ParentId="2831" CreationDate="2011-12-18T06:43:30.297" Score="0" Body="&lt;p&gt;I would still stick with iMovie - as it's probably going to be the easiest you'll find.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The process I would take is to first record the audio in a separate program. Audacity, QuickTime, whatever - just record it in a high quality format (16-bit, 48000hz, uncompressed, mono, AIFF/WAV, ideally. Record the audio in this app, whilst flicking through the photos in Preview or however else you view photos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you've got the audio recorded, add it into a new iMovie project (should just be able to drag the audio file from the Finder into the iMovie timeline), then play through the iMovie project with your audio, pausing to add in the photos as per your narration, that you're now listening to. If your photos are in iPhoto, you can just use the media browser in iMovie to add in the photos directly from iPhoto.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the end of that, you'll have a timeline in iMovie full of still photos, as well as your audio track. You can then add any transitions or effects (I probably wouldn't bother, but you may want to do the Ken Burns effect on your photos to get that zooming in/out effect, like, err, a Ken Burns documentary :p). iMovie has an export to YouTube function, so just use that to upload to YouTube. You can also export a higher quality version suitable for the Apple TV as well.&lt;/p&gt;&#xA;" OwnerUserId="1725" LastActivityDate="2011-12-18T06:43:30.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2837" PostTypeId="1" AcceptedAnswerId="2842" CreationDate="2011-12-19T02:34:58.683" Score="3" ViewCount="10438" Body="&lt;p&gt;I'm trying to get a clip to loop on my video for its entirety. (The clip is the water mark.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't really copy paste it everywhere, it would take hours (the clip is 10 seconds, on an hour long vid.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So is there some way to do it? To loop a video so it will play for the entirety of the video?&lt;/p&gt;&#xA;" OwnerUserId="1744" LastActivityDate="2011-12-19T09:20:32.010" Title="Adobe Premiere Pro CS4 - Looping a clip" Tags="|premiere|cs4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2840" PostTypeId="2" ParentId="2818" CreationDate="2011-12-19T08:04:40.797" Score="0" Body="&lt;p&gt;I think that there is no program (or a script) to lessen the processes involved in adjusting the levels. If I understand you right, I think you can copy the adjusted effect and paste it to other clips. I think there is no &quot;universal&quot; button to change an element in the effect of a clip and applying it to other clips simultaneously. In after effects, this is possible with the parent tool.&lt;/p&gt;&#xA;" OwnerUserId="1745" LastActivityDate="2011-12-19T08:04:40.797" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2841" PostTypeId="2" ParentId="2818" CreationDate="2011-12-19T09:09:34.010" Score="0" Body="&lt;p&gt;As far as I know there isn't a way to do a 'master' color grade that you can edit which will subsequently effect all the clips it's applied to. Best way to do it would be to copy and paste the new grade onto each clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Typically, the way you color grade is to go through shot by shot and not move on until you are happy with how it looks and satisfied that it matches the previous shot. If you grade this way there would be no need to apply minor changes on a large scale. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2011-12-19T09:09:34.010" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2842" PostTypeId="2" ParentId="2837" CreationDate="2011-12-19T09:20:32.010" Score="4" Body="&lt;p&gt;Is the watermark a video or a still image? If it's a still you can usually just increase its duration. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise, copying and pasting is the best way to go about it. Copy and paste it 10 times, then select the 10 clips, copy and paste that 10 times, then select the 100 clips, copy and paste that etc. until you get the desired duration. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2011-12-19T09:20:32.010" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2843" PostTypeId="1" AcceptedAnswerId="3126" CreationDate="2011-12-19T12:39:28.970" Score="1" ViewCount="223" Body="&lt;p&gt;I'm trying to setup my site to store uploaded user content in a 640x360 frame size, which will be presented back for viewing in that frame size and in a smaller frame size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to understand why this site (and others): &lt;a href=&quot;http://www.encoding.com/what_are_the_best_flash_video_frame_dimensions&quot; rel=&quot;nofollow&quot;&gt;http://www.encoding.com/what_are_the_best_flash_video_frame_dimensions&lt;/a&gt; recommend &lt;strong&gt;only&lt;/strong&gt; the following values for smaller sizes:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;384 x 216&#xA;128 x 72&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;when clearly others like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;320 x 180&#xA;256 x 144&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;also exist.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the mathematical reason behind recommending only these frame sizes?&lt;/p&gt;&#xA;" OwnerUserId="1668" LastActivityDate="2012-03-15T20:13:16.617" Title="Scaling optimal video frame dimensions" Tags="|streaming|codec|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2847" PostTypeId="1" CreationDate="2010-11-19T08:07:02.837" Score="9" ViewCount="1177" Body="&lt;p&gt;It is known that professional photographers use SLRs &amp;amp; regular users use point &amp;amp; shoot camera. What kind of cameras do professional videographers use &amp;amp; whats the difference?&lt;/p&gt;&#xA;" OwnerDisplayName="Chirag N.R." LastActivityDate="2019-03-05T07:27:55.110" Title="What is the difference between an amateur and a professional camcorder?" Tags="|video|" AnswerCount="5" CommentCount="4" ContentLicense="CC BY-SA 2.5" />
  <row Id="2848" PostTypeId="2" ParentId="2847" CreationDate="2010-11-19T09:45:08.440" Score="1" Body="&lt;p&gt;I don't do much in the way of cinematography myself, although it is a field that interests me, and one I hope to break into sometime in the future. I am primarily a photographer, and my first video camera will likely be a Canon 5D Mark III (once released.) The Canon 5D Mark II was one of the first DSLR's to add video capability, and combined with the advanced lenses available to such cameras, you can achieve some of those vaunted &quot;cinematographic&quot; effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I can't offer any specific advice (hopefully another member will be able to answer and provide more useful information than I can), I can supply some very useful links. Here are a few that I have found helpful myself over the last couple months:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.cinema5d.com/news/&quot; rel=&quot;nofollow&quot;&gt;Cinema5D&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.cinema5d.com/news/?p=1474&quot; rel=&quot;nofollow&quot;&gt;Cinema5D's &quot;Canon 5D Rig Review&quot;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.videomaker.com/learn/&quot; rel=&quot;nofollow&quot;&gt;VideoMaker.com's &quot;Learn&quot; Site&lt;/a&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Excellent general info about cinematography&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.luminous-landscape.com/reviews/camcorders/cam-cam.shtml&quot; rel=&quot;nofollow&quot;&gt;Luminous Landscapes Video DSLR vs. Camcorders&lt;/a&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Interesting article including info on how pros are starting to gravitate towards DSLR for video (particularly the Canon 5D Mark II), and what is missing from the DSLR (combocam) setup&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6663" OwnerDisplayName="jrista" LastActivityDate="2010-11-19T09:53:12.380" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="2849" PostTypeId="2" ParentId="2847" CreationDate="2010-11-19T12:01:46.307" Score="10" Body="&lt;p&gt;I'd regard this as off topic as it concerns video cameras not stills, but anyway a lot of professionals use the Red series of cameras:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.red.com/&quot; rel=&quot;noreferrer&quot;&gt;http://www.red.com/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The most popular being the Red One:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yjxhg.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yjxhg.jpg&quot; alt=&quot;&quot; /&gt;&lt;/a&gt;&lt;br /&gt;&#xA;&lt;sub&gt;(source: &lt;a href=&quot;http://www.redoneutah.com/images/red_one.jpg&quot; rel=&quot;noreferrer&quot;&gt;redoneutah.com&lt;/a&gt;)&lt;/sub&gt;&lt;/p&gt;&#xA;&lt;p&gt;Benefits over consumer level video cameras nicely mirrors the difference between DSLRs and Compacts, namely:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The ability to shoot video in raw, for example using the proprietary RecCode format. This makes contrast adjustments, post production and grading easier.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;A larger sensor, the Red One has a similar sized sensor to a DSLR (same size as super 35 film) this allows better low light performance and shallower depth of field.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The ability to have interchangable lenses.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Higher resolution pictures (again to refer to the Red One it will output at 4k (4,096 x 2,304 pixels, which is at least four times full HD)).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Better build quality. All professional tools should be built to be packed up and shipped round the world and work first time on location.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;There are other advantages specific to professional videography cameras, namely:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Higher framerates for [real] slow motion 24fps -&amp;gt; 1000fps (some consumer cameras do this, but not very well)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Wider range of inputs for mics etc.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Wider range of accessories, HD out for live monitoring etc.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Record to multiple data banks, HDDs, flash memory etc.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Another difference is that professionals will more often than not hire equipment as the cameras cost more than even the most expensive 35mm DSLRs, and they are typically only shooting for part of the year in intensive bursts. This also enables the use of specialist cameras (such as the Phantom 1000fps camera, which can only be rented, not bought).&lt;/p&gt;&#xA;&lt;p&gt;It's worth pointing out that DSLRs which shoot video offer many of the advantages posted above, but they lack the modularity and flexibility of output that you get with a professional digital cine camera. They are also limited in terms of shooting time.&lt;/p&gt;&#xA;" OwnerUserId="6559" OwnerDisplayName="Matt Grum" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-02-27T05:52:25.447" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="2850" PostTypeId="2" ParentId="2847" CreationDate="2010-11-19T13:13:11.240" Score="3" Body="&lt;p&gt;One of the big differences is manual control.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many consumer video cameras don't let you disable automatic control of simple things like focus and exposure (or more often exposure compensation).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think that lots of cheap video hardware would be very capable of capturing clear and beautiful moving images if only one were able to control it more precisely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As an example, consider that David Lynch's &lt;a href=&quot;http://www.imdb.com/title/tt0460829/combined&quot; rel=&quot;nofollow&quot;&gt;Inland Empire&lt;/a&gt; was shot using &lt;a href=&quot;http://en.wikipedia.org/wiki/Sony_DSR-PD150&quot; rel=&quot;nofollow&quot;&gt;reasonably inexpensive but highly controlable DV cameras&lt;/a&gt;, and it looks great.&lt;/p&gt;&#xA;" OwnerUserId="29892" OwnerDisplayName="Ian Mackinnon" LastActivityDate="2010-11-19T13:27:41.313" CommentCount="1" ContentLicense="CC BY-SA 2.5" />
  <row Id="2852" PostTypeId="2" ParentId="2337" CreationDate="2011-12-19T16:40:07.693" Score="1" Body="&lt;p&gt;This doesn't cover the applications, but it gives a succint view into the nuts and bolts:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.philrees.co.uk/articles/timecode.htm&quot; rel=&quot;nofollow&quot;&gt;Phil Rees&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="728" LastActivityDate="2011-12-19T16:40:07.693" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2854" PostTypeId="2" ParentId="2847" CreationDate="2011-12-20T01:44:13.360" Score="0" Body="&lt;p&gt;Honestly in this day and age the difference in &quot;Pro&quot; and &quot;Amateur&quot; gear is whether or not you're getting paid to use it. I know some amateurs with 5D mk2s and some serious pro shooters with 60ds. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Completely agree with the comments on manual control. But even without manual control and some semblance of exposure compensation you can get amazing results. It is not about the gear, but mastering what you have in your hands to tell the story.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just spent the last week using an audio recorder that cost less than $200 but it was so much more intuitive than the $600 one I've been using. There is no difference in the sound at all. Mentioning that as an example... realizing you were asking about cameras. And in all fairness putting Flip Video footage on a large monitor - it doesn't stand up... but don't get hung up on &quot;Pro&quot; and Amateur&quot;...  get hung up on stories. &lt;/p&gt;&#xA;" OwnerUserId="795" LastActivityDate="2011-12-20T01:44:13.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2855" PostTypeId="1" AcceptedAnswerId="2938" CreationDate="2011-12-20T16:06:44.820" Score="1" ViewCount="3576" Body="&lt;p&gt;I have decided to re-encode my footage as DNxHD for editing. I am using ffmbc (&lt;a href=&quot;http://www.videohelp.com/tools/ffmbc/old-versions&quot; rel=&quot;nofollow&quot;&gt;downloaded here&lt;/a&gt;) to do the encoding. My source footage is HDV 1080i50.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Therefore I think the best format to trancode into would be DNxHD 1080i50. According to &lt;a href=&quot;http://itbroadcastanddigitalcinema.com/ffmpeg_howto.html#Encoding_VC-3&quot; rel=&quot;nofollow&quot;&gt;this document&lt;/a&gt; ffmpeg (which ffmbc is derived from) has a limited selection of formats of which 1080i50 is one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the command I am using (%1 and %2 are the in and out filenames):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmbc -i %1 -s 1920x1080 -vcodec dnxhd -b 185M -mbd rd -tff -acodec copy -threads 0 %2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;To encode interlaced media I need to specify -tff or -bff. I don't really understand the difference. Which would be the best to choose? Currently I have chosen tff as that is how the source is encoded.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Is there any benefit to doing a two pass encode? My understanding of a two pass encode is that it helps keep the bit-rate constant. Is that helpful for editing. I can do a two pass encode with the following command, but it's so slow I'm wondering if it's necessary?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmbc -i %1 -s 1920x1080 -vcodec dnxhd -b 185M -mbd rd -tff -an -f rawvideo -an -threads 0 -y NUL&#xA;ffmbc -i %1 -s 1920x1080 -vcodec dnxhd -b 185M -mbd rd -tff -acodec copy -threads 0 %2&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;My source is actually encoded as 1440x1080i. Can any one comment on the drop in quality when converting to 1920x1080i. (I believe that the image will still be the same size but the source has wider pixels)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="1574" LastEditorUserId="1530" LastEditDate="2012-11-29T23:12:21.793" LastActivityDate="2012-11-29T23:12:21.793" Title="Encoding DNxHD using ffmbc" Tags="|codec|ffmpeg|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2856" PostTypeId="1" AcceptedAnswerId="2858" CreationDate="2011-12-19T09:31:08.437" Score="1" ViewCount="2061" Body="&lt;p&gt;I recently was crawling through old boxes and came across my grandfather's old Canon Zoom 518-2 Super 8 video camera. Inside was a cartridge of AGFA Moviechrome 40 film. I'm wondering where/how I'd go about getting this developed and was wondering if anyone had any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="1755" OwnerDisplayName="speedRS" LastActivityDate="2011-12-20T18:23:10.270" Title="How would I develop AGFA Moviechrome 40 film?" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2857" PostTypeId="2" ParentId="2856" CreationDate="2011-12-19T11:15:08.160" Score="0" Body="&lt;p&gt;AGFA 40 film is from the 70's and film processing has changed a huge amount since then, and I don't think the old processing even exist anymore (in shops or repo centers) Instead of trying to replicae the old proceess the developers will just process as they would B&amp;amp;W film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If they do this (which is very likely) then you will end up with very flat and grainy images that unless they have some value wont be worth looking at.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However as with this type of thing curiosity is a very funny thing and i'm sure I would just give it a go to see what comes out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(p.s this question is slightly off topic as it is about videography)&lt;/p&gt;&#xA;" OwnerUserId="1747" OwnerDisplayName="Graeme Hutchison" LastActivityDate="2011-12-19T11:15:08.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2858" PostTypeId="2" ParentId="2856" CreationDate="2011-12-19T11:27:32.983" Score="1" Body="&lt;p&gt;You could try giving &lt;a href=&quot;http://www.filmrescue.com/old-movie-film-developing/&quot; rel=&quot;nofollow&quot;&gt;Film Rescue International&lt;/a&gt; a go. Their &lt;a href=&quot;http://www.filmrescue.com/faq/&quot; rel=&quot;nofollow&quot;&gt;FAQ&lt;/a&gt; predicts the results of Moviechrome to be on &quot;poor&quot; quality level, and  people &lt;a href=&quot;http://www.cinematography.com/index.php?showtopic=10697&quot; rel=&quot;nofollow&quot;&gt;seem to agree&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's also &lt;a href=&quot;http://www.rockymountainfilm.com/kiimovie.htm&quot; rel=&quot;nofollow&quot;&gt;Rocky Mountain&lt;/a&gt; in US; &lt;a href=&quot;http://www.processc22.co.uk/&quot; rel=&quot;nofollow&quot;&gt;Process C-22&lt;/a&gt; and &lt;a href=&quot;http://oldfilmprocessing.co.uk/Movie-film-processing-transfering-dvd.asp&quot; rel=&quot;nofollow&quot;&gt;FotoStation&lt;/a&gt; in UK.&lt;/p&gt;&#xA;" OwnerDisplayName="Imre" LastActivityDate="2011-12-19T11:47:27.030" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2859" PostTypeId="1" AcceptedAnswerId="2860" CreationDate="2011-12-17T21:31:51.117" Score="4" ViewCount="1421" Body="&lt;p&gt;It seems that the latest models of compact digital cameras come with many features which used to be only in camcorders: image stabilization, low-light shooting mode and of course high-definition to name a few.&#xA;This &lt;a href=&quot;http://www.dpreview.com/reviews/Q311TravelZoomGroupTest/page9.asp&quot; rel=&quot;nofollow&quot;&gt;article&lt;/a&gt; shows some candidates which IMO give pretty good competition to modern camcorders.&#xA;I already have a decent SLR camera for taking still pictures, and now i am interested in buying a camera for shooting home videos. I thought of buying a digital camera instead of a  camcorders - but only if I will not be missing out anything that only camcorders have to offer.&lt;/p&gt;&#xA;" OwnerUserId="1833" OwnerDisplayName="zr01" LastActivityDate="2011-12-20T18:27:07.283" Title="What are the advantages camcorders have over zoom digital cameras?" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2860" PostTypeId="2" ParentId="2859" CreationDate="2011-12-17T23:38:22.517" Score="7" Body="&lt;p&gt;&lt;strong&gt;The video capabilities of even the best digital cameras are but a small fraction of these of video cameras.&lt;/strong&gt; The gap is smaller now but only marginally so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where &lt;strong&gt;digital cameras compare very well is in terms of image quality&lt;/strong&gt;, particularly when it comes to low light shooting. For almost everything else, video cameras trump digital cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Camcorders have sophisticated and detailed control over audio recording.&lt;/strong&gt; They can set levels and recording angle which almost no digital camera can do. You can plug an external audio source on some still cameras but that is about it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The optical zoom of camcorders is specially designed for video.&lt;/strong&gt; It moves silently and smoothly to give a natural look. Camcorder lenses are built with a continuous variable apertures so that the brightness of images can vary smoothly rather than in steps (only a handfull of SLD lenses can do that). The focus system works equally smoothly and quietly while most digital cameras record AF noise in the audio track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Camcorders have tons of features which are meaningful to video.&lt;/strong&gt; Fading, transitions and even video effects are the norm. They can also record for much longer both continuously and in sequence than still cameras. You can get up to a 128GB SDXC card for a still camera but it is costly while a camcorder can easily have a 200GB HDD built in.&lt;/p&gt;&#xA;" OwnerDisplayName="Itai" LastActivityDate="2011-12-17T23:38:22.517" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2861" PostTypeId="2" ParentId="2859" CreationDate="2011-12-18T00:49:44.500" Score="2" Body="&lt;p&gt;From the point of view of image quality, I think the choice is clear. Camcorders shoot good video and crappy stills, digital still cameras shoot good video and good stills.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some digital still cameras shoot even better video than camcorders. I have a $800 Canon Vixia camcorder that shoots 1080p at 24fps with 24Mbps bitrate. The little SX230 HS referenced in your article also shoots 1080p at 24fps but at 36Mbps, and all for about $200, a quarter of the price!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Problems I see with using digital still cameras for shooting video:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Still cameras are not comfortable to hold for shooting video. Camcorders win this category easily.&lt;/li&gt;&#xA;&lt;li&gt;Audio recording is pretty bad in still cameras, so for any serious shooting you will need a separate audio recorder and microphone, plus editing software.&lt;/li&gt;&#xA;&lt;li&gt;If you plan to do in-camera editing with effects and such, then a camcorder will probably give you more options than a digital still camera. But if you plan to edit on the computer this is not a problem.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1898" OwnerDisplayName="Miguel" LastActivityDate="2011-12-18T00:49:44.500" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2863" PostTypeId="2" ParentId="2809" CreationDate="2011-12-20T19:10:04.557" Score="4" Body="&lt;p&gt;&lt;a href=&quot;http://ffmpeg.org/&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt; should be able to do this - assuming you don't mind getting down with the command line (there may be some GUI options out there too possibly).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My Olympus E-P3 produces .MTS files - I assume they're similar (AVC/AC3 in a Blu-Ray Video wrapper).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I ran the following command:&#xA;    ffmpeg -i 00001.MTS -vcodec copy -acodec copy -f mp4 00001.mp4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That just tells FFmpeg to copy the video and audio streams but put them in a new mp4 format (the -f option).&#xA;The resultant mp4 still has the same AVC/AC3 combination but now in a MP4 wrapper.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I played both source and output in VLC and they looked the same - obviously you should satisfy yourself that quality has been maintained.&lt;br&gt;&#xA;I'll wager that most GUI tools to do this task use FFmpeg under the hood.&lt;/p&gt;&#xA;" OwnerUserId="1094" LastActivityDate="2011-12-20T19:10:04.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2866" PostTypeId="1" CreationDate="2011-12-21T00:31:47.270" Score="0" ViewCount="111" Body="&lt;p&gt;I am building a video using media all on my local hard drive. When I watch the video preview in Final Cut, there's no missing media clips. However, when I bring the project into Compressor, the clips are missing and there's some areas where there's a red screen and camera, signifying missing media.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, why does the media have no problem showing up in the Final Cut preview window yet when I export to compressor, it doesn't work out. Are effects in Final Cut screwing up the media when it makes it to Compressor?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for the help - I'm in a crunch on this project, and can't figure out why Compressor says media is missing.&lt;/p&gt;&#xA;" OwnerUserId="1754" LastActivityDate="2012-12-09T04:51:21.567" Title="Why does media show up in Final Cut but errors when rendering in Compressor?" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2867" PostTypeId="1" AcceptedAnswerId="3507" CreationDate="2011-12-21T02:29:58.050" Score="1" ViewCount="99" Body="&lt;p&gt;I now have a camera that I'm quite satisfied with, and also a couple of different microphones for recording audio that doesn't sound horrible. However, something I haven't paid attention to yet is lighting and I have the feeling I could improve the quality of my shots dramatically by starting to think a little more about this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, given that I'm on somewhat of a tight budget, is there some piece of equipment that would be great for all-round use when it comes to lighting, both indoors and outdoors, at day and at night? I realize that you will have to acquire a whole truckload of gear to actually perfect your shot, but given that you only can start out with one piece of equipment, something that might come in handy during many different scenarios (like duct tape is to the engineer), what should you invest in? Would a strong flashlight be of any use? A big piece of white cardboard to reflect already present light? A couple of logs and a lighter to create instant bonfires wherever you are?&lt;/p&gt;&#xA;" OwnerUserId="1236" LastEditorUserId="95" LastEditDate="2011-12-21T16:07:06.873" LastActivityDate="2012-03-09T02:10:34.030" Title="What's a good, cheap, piece of gear to start with when adding lighting equpment to your toolset?" Tags="|filming|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2868" PostTypeId="2" ParentId="2818" CreationDate="2011-12-21T16:13:18.210" Score="1" Body="&lt;p&gt;There is a way to do it in Premiere (at least in CS5) using the &quot;Sequence Embedding/Stacking&quot; capability.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Create a master sequence (I usually label this sequence &quot;Name of Scene - Raw&quot;) of video from your clips. Put all the clips into the timeline of this sequence. Once you have the timeline/sequence locked&#xA;2) Create a new sequence, call it &quot;Name of Scene - Color Corrected&quot;&#xA;3) Drag the &quot;Name of Scene - Raw&quot; sequence from your Bin onto the &quot;Name of Scene - Color Corrected&quot; timeline.&#xA;4) Now you can apply any effect onto the &quot;Name of Scene - Color Corrected&quot; sequence as you would do an individual clip. This is the method I use to do all types of adjustments to a large number of individual clips at one time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know what Adobe calls this ability in the help files, but I call it Sequence Embedding or Stacking. You can embed layers of sequences onto other sequences as long as your computer has the horse-power. I never actually embed/stack more than two to three sequences unless I render each of the stacked sequences first.&lt;/p&gt;&#xA;" OwnerUserId="322" LastEditorUserId="126" LastEditDate="2011-12-22T15:36:39.073" LastActivityDate="2011-12-22T15:36:39.073" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2873" PostTypeId="1" AcceptedAnswerId="2893" CreationDate="2011-12-22T14:44:27.323" Score="2" ViewCount="437" Body="&lt;p&gt;I'm looking for the best (price/quality) solution to send a digital or analog video signal to an lcd tv or beamer over 80 - 100 ft. The input can be hdmi, vga or dvi (all must be possible). The output (80 - 100 ft. away) doesn't need HD quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;tv has hdmi, vga, dvi, s-video, composite and coax.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far i've got this setup in mind for relative low cost and acceptable quality:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;80-100 ft. vga cable connected to tv (should cover inputs with vga or dvi)&lt;/li&gt;&#xA;&lt;li&gt;vga switch 1-4 for switching between inputs&lt;/li&gt;&#xA;&lt;li&gt;hdmi --&gt; vga converter (to cover hdmi inputs)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Does anyone know a better setup ?&#xA;is vga the best option in this case to bridge the 80-100 ft. ?&lt;/p&gt;&#xA;" OwnerUserId="1764" LastEditorUserId="126" LastEditDate="2011-12-22T15:34:50.840" LastActivityDate="2011-12-23T20:12:56.273" Title="What's the best setup to transfer a digital or analog video over 100 ft?" Tags="|cable|digital|analog|connectors|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2876" PostTypeId="2" ParentId="2634" CreationDate="2011-12-22T21:21:30.263" Score="6" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Note: This is for recent FFmpeg, not FFmbc, which doesn't use the same option syntax (yet)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You need to use the &lt;code&gt;-profile:v&lt;/code&gt; option, which has been introduced in FFmpeg 0.9 (afaik) and is now standard in 1.0.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libx264 -preset fast -profile:v baseline out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Why? &lt;code&gt;-profile&lt;/code&gt; was used (and prioritized) for AAC encoding. It's simply ambiguous, therefore you need the stream specfier &lt;code&gt;:v&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="525" LastEditorUserId="525" LastEditDate="2012-12-20T06:18:49.590" LastActivityDate="2012-12-20T06:18:49.590" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2893" PostTypeId="2" ParentId="2873" CreationDate="2011-12-23T20:12:56.273" Score="3" Body="&lt;p&gt;A long VGA cable with a proper amp/spliter on the TX side, would be the simplest option. You can get good VGA cables up to 150' at modest prices from &lt;a href=&quot;http://www.pccables.com&quot; rel=&quot;nofollow&quot;&gt;http://www.pccables.com&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another good option is a CAT5 extender kit.&#xA;&lt;a href=&quot;http://milestek.com/p-16209-vga-over-cat5ecat6-decora-wall-plate-set.aspx&quot; rel=&quot;nofollow&quot;&gt;http://milestek.com/p-16209-vga-over-cat5ecat6-decora-wall-plate-set.aspx&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without a more detailed description of what you are trying to accomplish, it's hard to give a better answer than that.&lt;/p&gt;&#xA;" OwnerUserId="50" LastActivityDate="2011-12-23T20:12:56.273" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2900" PostTypeId="2" ParentId="2435" CreationDate="2011-12-27T08:33:51.897" Score="1" Body="&lt;p&gt;You might try justin.tv&lt;/p&gt;&#xA;&#xA;&lt;p&gt;but since its a bigger thing you want to stream and streaming bandwith is very expensive it will end sooner or later in a paid solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;livestream.com or watershed.ustream.tv could be interesting Hosts then.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you find some cheap to free alternative without (much) advertisement, let me know :)&lt;/p&gt;&#xA;" OwnerUserId="1774" LastActivityDate="2011-12-27T08:33:51.897" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2925" PostTypeId="5" CreationDate="2011-12-29T07:42:13.887" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2011-12-29T07:42:13.887" LastActivityDate="2011-12-29T07:42:13.887" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2926" PostTypeId="4" CreationDate="2011-12-29T07:42:13.887" Score="0" Body="Questions about headphones, looking for recommendations for A/V production aspects, and not for headphones for home use. " OwnerUserId="167" LastEditorUserId="167" LastEditDate="2011-12-29T14:30:05.733" LastActivityDate="2011-12-29T14:30:05.733" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2932" PostTypeId="1" CreationDate="2011-12-29T19:07:00.940" Score="1" ViewCount="3428" Body="&lt;p&gt;A friend of mine created our wedding video in FCP and now that I've got the project I've been trying to import it into the trial copy of FCPX (off the App Store) but it doesn't like it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've read on &lt;a href=&quot;http://en.wikipedia.org/wiki/Final_Cut_Pro&quot; rel=&quot;nofollow&quot;&gt;Wikipedia&lt;/a&gt; that FCPX doesn't support FCP file formats, so what can I do?&lt;/p&gt;&#xA;" OwnerUserId="1785" LastActivityDate="2023-03-03T21:22:40.347" Title="Importing an .fcp file into FCPX" Tags="|final-cut-pro|final-cut-pro-x|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2938" PostTypeId="2" ParentId="2855" CreationDate="2011-12-31T06:23:12.580" Score="3" Body="&lt;p&gt;1) If you're not going to deinterlace it then stick to the source's field order.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) I wouldn't bother with the two pass encoding (if indeed it even does anything) - dnxhd will only encode at certain specific fixed bit rates anyway so you're actually pretty constrained for options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) You'll see some softening, but it's unavoidable.  ffmbc's filtering is ok though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What software are you editing in?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And the 185M bitrate might be overkill if your source is HDV.  Try 120M and save yourself a bit of space.&lt;/p&gt;&#xA;" OwnerUserId="1791" LastEditorUserId="1791" LastEditDate="2011-12-31T06:29:23.320" LastActivityDate="2011-12-31T06:29:23.320" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2941" PostTypeId="1" AcceptedAnswerId="2944" CreationDate="2011-12-31T22:38:52.397" Score="4" ViewCount="833" Body="&lt;p&gt;I was asked to produce a set of video interviews for a friend's wedding consisting of individual single-subject interviews (the interviewer is not on camera or mic) with the bride, groom, close family, and wedding party.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The questions were prepared, the lighting and scenery set up, the subjects miked for sound, the cameras positioned, the interviews conducted, and now I have a bunch of video files sitting on my hard drive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;In short my question is, &quot;How do I edit together interview footage?&quot;&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To word it in more detail: My experience and background is weighted towards shooting video rather than editing it. I have access to all the software I might need and I know the basics of how to use it (Premier Pro, Sony Vegas), but I don't really know what I am doing. &lt;strong&gt;Is there a crash course in video editing, or possibly interview editing, that I could study to get started?&lt;/strong&gt; Or quintessential interviews to watch? Or books to read?&lt;/p&gt;&#xA;" OwnerUserId="1303" LastActivityDate="2015-03-10T21:12:35.993" Title="How do I edit video footage from an interview?" Tags="|video|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2942" PostTypeId="1" AcceptedAnswerId="2943" CreationDate="2011-12-30T18:15:58.327" Score="7" ViewCount="302" Body="&lt;p&gt;Photo editing apps like Lightroom have very intuitive ways (my opinion, of course) of performing operations on pictures.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I occasionally do small video projects that I edit either in Sony Vegas on Windows or Final Cut Pro 7 on Mac. These apps seem pretty lacking in some areas, when compared to Lightroom. For example, there is no option to show the EXIF data stored in DSLR clips, as far as I know, so I can't easily see what lens I've used for this or that shot, or what the aperture, shutter and ISO was. White balance is done by selecting a white area of the picture, which is fine, but then there is no slider to go warmer or cooler, instead I have to do this by hand using the full blown color correction filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering if there are any video editing applications that have a digital photography friendly workflow. I don't have any constraints on operating system or cost.&lt;/p&gt;&#xA;" OwnerUserId="1898" OwnerDisplayName="Miguel" LastActivityDate="2012-01-10T19:17:13.030" Title="Are there any good video editing apps for photographers?" Tags="|video|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2943" PostTypeId="2" ParentId="2942" CreationDate="2011-12-31T17:15:47.007" Score="5" Body="&lt;p&gt;I don't have any personal experience with video, but Neil van Niekirk, a photographer whose articles have thrown lots of light into my understanding of event photography, &lt;a href=&quot;http://neilvn.com/tangents/2011/04/01/cherryl-jim-their-wedding-day-stills-and-video-fusion-clip/&quot;&gt;is using&lt;/a&gt; iMovie. Even though he wished for something more powerful 8 months ago, it seems to have remained his tool of choice &lt;a href=&quot;http://neilvn.com/tangents/2011/12/28/alli-scott-their-wedding-day-fusion-clip/&quot;&gt;so far&lt;/a&gt;. Armin Defiesta, formerly videographer, now mostly photographer, has written &lt;a href=&quot;http://www.arminblog.com/2011/07/05/final-cut-pro-x-mini-review-fcpx-v-imovie/&quot;&gt;a comparison of iMovie vs Final Cut Pro X&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suspect part of the learning pain comes from the fact that video processing tools are based on heritage of movie film processing, not evolved from photography tools. The terminology and primary controls therefore have been evolving independently.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;About EXIF info - are you sure your clips contain anything relevant in the first place? Most video file formats don't have any support for that. See what metainfo your camera can show you about a recorded clip.&lt;/p&gt;&#xA;" OwnerDisplayName="Imre" LastActivityDate="2011-12-31T17:40:16.157" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="2944" PostTypeId="2" ParentId="2941" CreationDate="2012-01-01T08:14:06.353" Score="3" Body="&lt;p&gt;There is no one right way to edit anything. I've never watched a video of this kind so I probably can't give the best advice. But if I was in your position there are a few ways I'd consider cutting it together:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Edit it a bit like a 'behind the scenes' video. Begin with footage of someone talking and then use appropriate cutaways of the wedding. Cut back to different people whenever it is appropriate and put some music underneath, something that fits the mood.&#xA;This would be my preferred way but you'd need a fair amount of footage of the actual event and even some archival footage or photos would be very handy. Most movies have a behind the scenes on the DVD so I'd suggest watching one or two of those if this method sounds good to you. &lt;/li&gt;&#xA;&lt;li&gt;The simplest way would be to show each interview one by one. So you'd show the first person's interview in its entirety followed by the next person's, and so on. Crossfade between them and have music underneath. This would probably be a boring video to watch in the end, but it'd do the job.&lt;/li&gt;&#xA;&lt;li&gt;Similar to my previous suggestion, this would require only the interview footage (no event or archival footage). However, you'd intercut the interviewees based on topic. For example, if the bride talks about how she met the groom you'd intercut that along side the groom talking about how they met (assuming he does). This way you would be able to cut out a lot of the fluff that you get when interviewing people.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;That's how I'd go about it anyway, mate. Hope that helps you out a little. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2012-01-01T08:14:06.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2946" PostTypeId="2" ParentId="2942" CreationDate="2012-01-01T11:01:37.557" Score="0" Body="&lt;p&gt;You might want to try out Adobe Premiere Elements/Pro depending on what suits you. There is excellent interoperability between Photoshop and these Apps so you should be able to jump too and fro rather seamlessly. I can't check right away, but I think Adobe App do display Exif data for video files as well as image files. I know for sure Adobe Bridge does.&lt;/p&gt;&#xA;" OwnerUserId="1793" LastActivityDate="2012-01-01T11:01:37.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2949" PostTypeId="2" ParentId="2932" CreationDate="2012-01-02T02:08:42.897" Score="1" Body="&lt;p&gt;Export your FCP project as a self-contained quick time video file.&lt;br&gt;&#xA;Then import the QT file into X.&lt;br&gt;&#xA;You'll be good to go.&lt;/p&gt;&#xA;" OwnerUserId="1796" LastEditorUserId="64" LastEditDate="2012-01-05T03:55:25.090" LastActivityDate="2012-01-05T03:55:25.090" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2952" PostTypeId="1" CreationDate="2012-01-02T15:37:38.703" Score="4" ViewCount="516" Body="&lt;p&gt;Does anyone know of any services that will convert a large video (1gb+)? &#xA;I've a bunch of files I'm looking to convert from mkv to mp4's. I'm on an older Mac and I've looked at some sites like video toolbox but they limit to 600mb. I'm willing to pay.&lt;/p&gt;&#xA;" OwnerUserId="1784" LastEditorUserId="1180" LastEditDate="2012-03-06T22:58:55.313" LastActivityDate="2018-04-10T19:42:33.123" Title="Is there an online video converter?" Tags="|video|conversion|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="2957" PostTypeId="1" AcceptedAnswerId="3006" CreationDate="2012-01-03T11:25:16.963" Score="2" ViewCount="135" Body="&lt;p&gt;I'd like to start a bit of a travel video blog about my adventures, but I'm wondering how I can:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Make my videos interesting, and&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Make them look and sound reasonably professional.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I currently have the following devices at my disposal:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Canon 60D + lenses&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;HD capable point and shoot Fujifilm camera&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Zoom H1 Mic&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Pretty average tripod&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;MacBook Pro with a range of different software available&lt;/strong&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What tips/workflow advice would you give for getting started out?&lt;/p&gt;&#xA;" OwnerUserId="470" LastEditorUserId="1072" LastEditDate="2012-01-04T07:12:38.247" LastActivityDate="2012-01-11T13:00:55.300" Title="Workflow for making interesting videos" Tags="|video|producing|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2958" PostTypeId="2" ParentId="2300" CreationDate="2012-01-03T12:39:50.847" Score="2" Body="&lt;p&gt;I worked on a documentary project two years ago. The solution that worked best for me was a VHS Recorder, that had 6 heads and was able to play NTSC and PAL. I could not find a VHS Recorder with HDD or DVD recording unit, that played both formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VHS (and VHS-C) tape quality is limited. No matter how big your budget is, you will not get a full color-range HD video-material.&lt;/p&gt;&#xA;" OwnerUserId="1802" LastActivityDate="2012-01-03T12:39:50.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2959" PostTypeId="2" ParentId="2650" CreationDate="2012-01-03T12:54:07.107" Score="1" Body="&lt;p&gt;Split screen is an effect, that most video-editing softwares offer. In some programs you need to scale, crop and position the snippets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Usualy you have ONE audio track. Most video editing programs allow to do basic sound editing, but that is not a &quot;professional&quot; workflow. Simple reason: most video editing tools use 1 frame a smallest unit on the timeline. Which makes it difficult to exactly synch audio-tracks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Synching the video is easier, when you use a clapboard when recording the video. that way you have a &quot;mark&quot; on the video and audio track, that is pretty easy to find. (That's what this thing was and is used for).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Software, that could do the trick: Avid Free DV, Wax and iMovie should help you. (easy video tutorials on youtube - search for &quot;splitscreen imovie&quot;)&lt;/p&gt;&#xA;" OwnerUserId="1802" LastActivityDate="2012-01-03T12:54:07.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2967" PostTypeId="2" ParentId="2952" CreationDate="2012-01-05T17:32:55.787" Score="0" Body="&lt;p&gt;I think &lt;a href=&quot;http://zencoder.com/&quot; rel=&quot;nofollow&quot;&gt;Zencoder&lt;/a&gt; ist one of the biggest online video converter. But it's &lt;a href=&quot;http://zencoder.com/pricing/&quot; rel=&quot;nofollow&quot;&gt;not free&lt;/a&gt; and it's not made for home use. But if you want to build your own video portal (like Youtube), you are in their target group. For example the &lt;a href=&quot;http://drupal.org/project/video&quot; rel=&quot;nofollow&quot;&gt;Drupal video modul&lt;/a&gt; supports Zencoder.&lt;/p&gt;&#xA;" OwnerUserId="1214" LastActivityDate="2012-01-05T17:32:55.787" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2975" PostTypeId="1" CreationDate="2012-01-06T10:20:35.757" Score="3" ViewCount="178" Body="&lt;p&gt;So I watch my 25 fps DVD on my 60Hz LCD monitor...  For now lets assume everything is progressive scan.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems that current DVD programs (and all media players on PC's, like youtube, vlc, etc.) just show the exact frames from the source video, and don't do any frame rate conversion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Surely this leads to unnecessary jumpiness?  Some frames show for 2/60 seconds, while others show for 3/60 seconds?  The effect seems even more noticeable when the frame rate is close to the monitor refresh rate, such as 29 fps, where noticeable jumps can be seen every minute or so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any media players that use temporal interpolation through motion estimation to convert the frame rate during playback?  (like this:  &lt;a href=&quot;http://compression.ru/video/frame_rate_conversion/index_en_frcn.html&quot; rel=&quot;nofollow&quot;&gt;http://compression.ru/video/frame_rate_conversion/index_en_frcn.html&lt;/a&gt;)&lt;/p&gt;&#xA;" OwnerUserId="1814" LastEditorUserId="126" LastEditDate="2012-01-06T14:53:32.267" LastActivityDate="2012-04-09T14:54:42.533" Title="Frame rate conversion during playback for maximal smoothness" Tags="|video|signal-processing|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="2980" PostTypeId="2" ParentId="2336" CreationDate="2012-01-08T12:09:37.560" Score="1" Body="&lt;p&gt;The &quot;Photo Booth&quot; application on OS X can record video, and is pretty simple to use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could probably lock it down with the parental settings&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An iPad 2 has the same thing, although it might be more easily misplacable&lt;/p&gt;&#xA;" OwnerUserId="1819" LastActivityDate="2012-01-08T12:09:37.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2981" PostTypeId="2" ParentId="1883" CreationDate="2012-01-08T19:15:54.640" Score="1" Body="&lt;p&gt;If you are going for a lot of motion, make sure you set a higher I frame rate. An I frame is a whole frame that you are going to need with quick motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, check out this link &lt;a href=&quot;http://www.adobe.com/devnet/flash/apps/flv_bitrate_calculator.html&quot; rel=&quot;nofollow&quot;&gt;http://www.adobe.com/devnet/flash/apps/flv_bitrate_calculator.html&lt;/a&gt; for some basic settings. That shows you that 150kb/s is way to slow to keep a good picture. For SD material, bitraters of around 500kb/s with fast motion is recommended.&lt;/p&gt;&#xA;" OwnerUserId="1820" LastActivityDate="2012-01-08T19:15:54.640" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2982" PostTypeId="1" AcceptedAnswerId="2983" CreationDate="2012-01-06T04:14:35.903" Score="6" ViewCount="1027" Body="&lt;p&gt;In fact the question is the other way round:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I shoot a HD video with my Nikon-D7000, and along the way things happen, such as I change zoom, focal length, light levels change such that the D7000 adjusts its sensitivity during the recording...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is all this data available for reading somewhere, and if yes how?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could not find the information on regular websites (Nikon's, www.imaging-resource.com, general google search).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried exiftool, but it seems to only show general metadata that is true for the overall video recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So is this data recorded somewhere, and can I read it on my Linux system?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any answer or hint appreciated.&lt;/p&gt;&#xA;" OwnerUserId="516" OwnerDisplayName="asoundmove" LastActivityDate="2013-11-20T10:57:48.983" Title="D7000 HD video format - can each frame contain metadata?" Tags="|video|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="2983" PostTypeId="2" ParentId="2982" CreationDate="2012-01-06T05:39:59.370" Score="4" Body="&lt;p&gt;&lt;strong&gt;No.&lt;/strong&gt; Standard video formats do not work like that and the D7000 is no exception to this.  Conceivably it can be done but I am sure it is not on anyone's priority list. I worked for 9 years on video processing and rendering software and there are more important problems to solve. Indexing and managing that data would also become a problem. When working on functions that process video from a series of still images, it makes it vastly simpler to assume the metadata of the first frame applies to all subsequent ones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously I understand why it would be desirable but this is the same on all cameras. GPS is another perfect example. On cameras with built-in GPS, only the location of at the time video recording starts is recorded while you may be shooting from a moving vehicle and cover some ground while recording.&lt;/p&gt;&#xA;" OwnerDisplayName="Itai" LastActivityDate="2012-01-06T05:39:59.370" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="2984" PostTypeId="1" AcceptedAnswerId="2985" CreationDate="2012-01-09T13:34:27.853" Score="2" ViewCount="49020" Body="&lt;p&gt;I want to buy an entry level DSLR and EOS 1000D seems like a good buy but I have some doubts regarding it. Does it support video recording?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I need to install some software for the video recording to work? If yes, does that record the videos with sound? If no, how can I record video with sound on the Canon EOS 1000D?&lt;/p&gt;&#xA;" OwnerDisplayName="Jatin" LastActivityDate="2012-01-09T18:31:29.727" Title="Does canon EOS 1000D support video recording?" Tags="|dslr|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2985" PostTypeId="2" ParentId="2984" CreationDate="2012-01-09T13:57:07.390" Score="2" Body="&lt;p&gt;It cannot officially record video, but there is an &lt;a href=&quot;http://sourceforge.net/projects/eos-movrec&quot; rel=&quot;nofollow&quot;&gt;open source project&lt;/a&gt; to allow recording direct to a computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Canon_EOS_1000D&quot; rel=&quot;nofollow&quot;&gt;Source&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given that it doesn't support video natively then there won't be a built in microphone to record sound. If you went with the open source software you'd have to record the sound separately and sync it afterwards - which is not a straightforward process.&lt;/p&gt;&#xA;" OwnerUserId="1826" OwnerDisplayName="ChrisF" LastActivityDate="2012-01-09T14:06:15.670" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="2986" PostTypeId="1" AcceptedAnswerId="2987" CreationDate="2012-01-09T02:09:43.877" Score="3" ViewCount="542" Body="&lt;p&gt;I'm making a game using photographs for the animation. I've asked a friend to walk in place, and taking pictures of each step, using a 6-steps cycle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It ended &quot;cool&quot;, but as the photo session was made in like 20 minutes, it needs to be improved.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I myself added some tips:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Use a better camera (right know I'm using a standard digital camera).&lt;/li&gt;&#xA;&lt;li&gt;Place the camera on a tripod.&lt;/li&gt;&#xA;&lt;li&gt;Use a greenscreen to better separate the subject from the background.&lt;/li&gt;&#xA;&lt;li&gt;Don't use auto, because the lightning can't vary from picture to picture.&lt;/li&gt;&#xA;&lt;li&gt;Trace a line on the floor to indicate where my friend has to stand.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Do you have any more ideas to help me with this? What I don't really know is how to make the walking to appear as &quot;natural&quot; as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can play what I've done so far &lt;a href=&quot;http://jorjon.com.ar/knock&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. (Or just watch a &lt;a href=&quot;http://www.youtube.com/watch?v=zMjx78l4nn0&quot; rel=&quot;nofollow noreferrer&quot;&gt;video&lt;/a&gt; if you don't have the patience).&lt;br/&gt;&#xA;You can also see a making-of in this &lt;a href=&quot;http://www.youtube.com/watch?v=PdP-13IPlvg&quot; rel=&quot;nofollow noreferrer&quot;&gt;video&lt;/a&gt;.&lt;br/&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And finally, these are the pictures I'm currently using (don't mind the posterize, that's just a filter for the game):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/YnUzp.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zT9Zk.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gYNJP.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gefi8.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bUXep.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/e5mPc.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CU15p.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/p4WSW.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1828" OwnerDisplayName="Veehmot" LastEditorUserId="64" LastEditDate="2012-01-10T01:42:09.807" LastActivityDate="2012-01-10T01:42:09.807" Title="Tips to make a stopmotion walk" Tags="|stop-motion|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="2987" PostTypeId="2" ParentId="2986" CreationDate="2012-01-09T07:23:30.090" Score="2" Body="&lt;p&gt;I'm not sure you need a better camera for this. since you are downgrading the images to a pretty low quality anyway. The secret to good green screen photography is in the lighting more than in the camera. You need to light the background as evenly as possible, and use a background color that is not present in the subject's clothing. In your example blue would not work due to the shirt, but green might. You can also use a white sheet if you make sure no part of your subject gets blown specular highlights. You need to make sure your subject is not too close to the background, as it may catch reflected light from it. This is particularly important if you go with blue or green background, maybe less with white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera on a tripod is a good idea, but don't expect you'll get images that will be perfectly registered. I expect you will still need to align them, but the job will be easier when the camera was fixed on a tripod.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera should be in manual. If you don't want to mess much with the settings just take a few test pictures in auto mode (no on-camera flash, try to use other light sources from the sides, to not create shadows on the background) and once you find one that you like switch to manual and copy the exposure settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think you want to mark a spot on the floor that your subject can use to position himself for the pictures. A line does not seem too useful, since your friend isn't really walking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My final advice (the one that might be off-topic for this site) is that you grab a good book on animation and learn the animated walk cycle. You just need to have your friend pose in those proven positions that make up natural walks in cartoons. My recommendation is the Preston Blair book, &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/1560100842&quot; rel=&quot;nofollow&quot;&gt;Cartoon Animation&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck with your game.&lt;/p&gt;&#xA;" OwnerUserId="1898" OwnerDisplayName="Miguel" LastActivityDate="2012-01-09T07:23:30.090" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2988" PostTypeId="2" ParentId="2986" CreationDate="2012-01-09T08:44:40.207" Score="1" Body="&lt;p&gt;Check your walk positions again.  Google 'walk cycle key frames' for key positions.  Watch the location of the hands as well to create a more natural effect.&lt;/p&gt;&#xA;" OwnerDisplayName="utkarsh" LastActivityDate="2012-01-09T12:56:38.503" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="2991" PostTypeId="1" CreationDate="2012-01-10T05:02:53.017" Score="1" ViewCount="5071" Body="&lt;p&gt;I'll be recording some conference talks/tutorials in a couple of weeks and needed a way to capture the presenter screen without requiring them to install additional software on their machine.  The presenter would typically output their laptop/device data to a projector.  However, in addition to the projector I need to capture the output that is going to the projector to another machine for editing and creating the conference talk videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I mentioned, installing software on the presentation laptop is not preferred.  In the past I've just pointed a camera at the projector and recorded that, but that didn't end up being as good a quality that I needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="1830" LastEditorUserId="2569" LastEditDate="2014-01-24T20:21:58.393" LastActivityDate="2014-01-24T20:21:58.393" Title="Screen Output to Projector and Another Computer Recording the Screen" Tags="|video|digital-recording|projector|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2993" PostTypeId="2" ParentId="2975" CreationDate="2012-01-10T13:17:21.163" Score="2" Body="&lt;p&gt;The problem I think you are seeing is not because of the difference in framerate directly because this is inperceptable but how it is displayed.  You need to enable vsync to stop tearing and then it should play smoothly.  &lt;/p&gt;&#xA;" OwnerUserId="1516" LastActivityDate="2012-01-10T13:17:21.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="2999" PostTypeId="2" ParentId="2942" CreationDate="2012-01-10T19:17:13.030" Score="1" Body="&lt;p&gt;The newest version of &lt;strong&gt;Adobe Photoshop Lightroom - Version 4&lt;/strong&gt;(beta) has improved video capabilities. You can now do many of the standard Lightroom image adjustment controls to video clips as well. You also have the ability to play, trim(non destructive), and extract frames from video clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some examples of the adjustments to video include: exposure, contrast, clarity, and white balance temperature and tint.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As your original question was asking, this is &lt;strong&gt;&lt;em&gt;very&lt;/em&gt; friendly to photographers&lt;/strong&gt;, as Lightroom is primarily a photo editing and organizing piece of software. Only the most recent versions have started to include video editing features.&lt;/p&gt;&#xA;" OwnerUserId="1834" LastActivityDate="2012-01-10T19:17:13.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3004" PostTypeId="2" ParentId="2991" CreationDate="2012-01-11T04:52:52.087" Score="1" Body="&lt;p&gt;What I have done in the past is to use a DA on the output of the laptop. One output to the projector and another one to the recording device. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem I faced afterwords is that in the chain I had a video switcher and, since we recorded both audio and video, the audio was noticeable ahead. That's a problem if you also have a camera recording the presenter, but not so much if you are only recording the output of the laptop. Later I fixed it in a simple video editor, no big deal, but next time I am using an audio delay in line.&lt;/p&gt;&#xA;" OwnerUserId="1835" LastEditorUserId="126" LastEditDate="2012-01-11T14:33:30.863" LastActivityDate="2012-01-11T14:33:30.863" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3005" PostTypeId="1" CreationDate="2012-01-11T10:32:09.980" Score="0" ViewCount="1463" Body="&lt;p&gt;I'm not really a video expert, I'm more into &lt;a href=&quot;https://gis.stackexchange.com/&quot;&gt;Geographical Information Systems&lt;/a&gt; (GIS). I've recently been able to make some great time-based animations of Geographical Data using the excellent &lt;a href=&quot;http://underdark.wordpress.com/tag/time-manager/&quot; rel=&quot;nofollow noreferrer&quot;&gt;QGIS with Time Manager plugin&lt;/a&gt;, and mencoder. The former outputs a series of static PNG files and the latter converts to a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to improve these by adding text to the video, so that over a specific period of time (i.e. specific number of frames) some text is showing. This text should vary by month or week of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering if anyone has any good techniques for this. My first thoughts were that I would have to either:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Alter the relevant PNGs programmatically, perhaps using a tool like &lt;a href=&quot;http://www.imagemagick.org/script/index.php&quot; rel=&quot;nofollow noreferrer&quot;&gt;Image Magick&lt;/a&gt;. This would require selecting the correct frames to work on somehow&lt;/li&gt;&#xA;&lt;li&gt;Do it in video-editing software. I don't know whether there are any that can do something like this. Ideally it would be open-source and able to run on Windows as this is a work project.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any experience with either of these two methods, or some general advice?&lt;/p&gt;&#xA;" OwnerUserId="1838" LastEditorUserId="-1" LastEditDate="2017-04-13T12:34:15.320" LastActivityDate="2012-07-24T20:46:24.020" Title="How to add text to specific animation frames" Tags="|video-editor|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3006" PostTypeId="2" ParentId="2957" CreationDate="2012-01-11T13:00:55.300" Score="2" Body="&lt;p&gt;Little bit confused. The title of the question refers to workflow but then in the description you ask for advice on how to cut it together...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Might just do my best to answer both.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Workflow.&lt;/strong&gt; You should shoot on your 60D mostly as that'll give you the better looking image. Use the point and shoot if you're doing anything that might compromise the safety of your gear, like skateboarding. &#xA;So you have your footage. Dump it onto the computer and convert it using &lt;a href=&quot;http://www.squared5.com/&quot; rel=&quot;nofollow&quot;&gt;MPEG Streamclip&lt;/a&gt;, I would recommend converting the footage to Apple ProRes 422. Import transcoded footage and audio from Zoom mic (if any) into preferred editing software. Edit it. Export to &lt;a href=&quot;http://vimeo.com/help/compression&quot; rel=&quot;nofollow&quot;&gt;these parameters&lt;/a&gt; if you are uploading to the internet. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Interesting product.&lt;/strong&gt; There are lots of techniques you could use to make a video interesting and it depends largely on the footage that you have. You haven't specified what style of travel video that you want to make and I won't sit here and explain all the different types (mainly because I don't know and secondly because it would take ages). But I will suggest two that stand out to me. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Think of it as a &lt;strong&gt;music video&lt;/strong&gt;. Film things that look interesting, film the people that you meet (ask permission), film your feet – literally film anything that looks cool. You should of course film the landmarks if there are any. Get a large variety of shots: extreme long shots, mid shots, close ups, even macro if you can. In my experience, the more close ups you have the more interesting a video like this will be. And then, using the workflow I described earlier, cut it together. Pick a song that you think matches well with your footage and then cut to that. You won't have to worry about your audio if you choose this path as you'd just use the music and delete the camera's audio track in FCP. &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Chat to camera&lt;/strong&gt;... Pretty straight forward. Go somewhere quiet (and scenic if possible, but quiet is the main thing), set up your camera on a tripod, set up your mic and place it in the best position, hit record and chat away. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Hope that helps. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2012-01-11T13:00:55.300" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3014" PostTypeId="2" ParentId="2698" CreationDate="2012-01-12T13:32:30.047" Score="1" Body="&lt;p&gt;I'm assuming you're talking about digital cable, since it's 2012.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The way this works is that your equipment tunes into a frequency over which a &lt;em&gt;multiplex&lt;/em&gt; is broadcast. That's a digital stream that can be &lt;em&gt;demultiplexed&lt;/em&gt; into a number of sub-streams. Each sub-stream is a TV channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are standards for these things. The sensible thing to do (especially since they're unencrypted channels) is to use DVB receiver cards in a PC. I'd use Linux, but it's up to you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You mention archiving these at &quot;low quality&quot;. The problem here is that the channels are broadcast at a given quality, and the broadcaster has already done the hard work of digitising and compressing the content. If you want to lower the quality, you'd have to demultiplex, decompress, scale, and compress, and that's a lot of processing. Compression is especially expensive in terms of processing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since storage is cheap, and getting cheaper, I'd suggest storing the streams exactly as they arrive. This is what DVRs (e.g. Sky+, digital TiVo etc. do).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have a choice between demultiplexing, and storing the streams you want individually -- or simply writing the whole multiplex to disk. Demultiplexing is cheap; but not as cheap as simply dumping every byte the tuner supplies you onto disk. Demultiplexing, of course, allows you to pick and choose which channels to discard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm afraid my 2 minutes of Googling didn't reveal what the bit rate of a cable TV multiplex is - but it shouldn't be difficult for you to find out. Once you know that, it's simple sums to work out how quickly you'll fill disks, and what kind of sustained write speed you'll need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is free software available to drive DVB cards. One example is OpenDVB. It would be worth doing some reading around the MythTV community. Although they'll be focussed one or two channels at a time, they'll know their way around the technology, and the software is modular.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll need a DVB card for each multiplex you're recording, since each one can only tune to one frequency. Depending on what you discover about bit rates, it may be worth splitting the task between several computers - but in theory one computer can have multiple DVB cards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a vague guide on CPU power - reading from the tuner and demultiplexing take negligible amounts of CPU work. Any PC CPU of the last 10 years could do it without breaking a sweat. Encoding/compressing is really hard work. A top-end modern CPU has trouble compressing SD video in real time. To do it at all efficiently, you'd have to offload it to dedicated chips (which is how camcorders etc. manage it).&lt;/p&gt;&#xA;" OwnerUserId="1434" LastEditorUserId="1434" LastEditDate="2012-01-12T18:03:47.733" LastActivityDate="2012-01-12T18:03:47.733" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3015" PostTypeId="1" CreationDate="2012-01-12T13:44:18.043" Score="0" ViewCount="193" Body="&lt;p&gt;Is it possible to get battery status of an aftermarket battery on Canon camcorders, specifically Legria HF R26?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I insert that battery, I get the message saying that the camcorder can't communicate with the battery pack, which is understandable since it says the same thing in the manual.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd just like to know if there's some kind of a workaround.&lt;/p&gt;&#xA;" OwnerUserId="1844" LastActivityDate="2012-04-13T23:54:49.680" Title="How to get battery status of aftermarket battery on Canon camcorder" Tags="|camcorder|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3018" PostTypeId="1" CreationDate="2012-01-12T20:23:47.770" Score="15" ViewCount="2233" Body="&lt;p&gt;Specifically, I need to edit HD video on Windows 7.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need a software solution which can zoom, pan and insert text. Also, I will need to adjust the scale of video clips and composite multiple video layers into the main picture (eg. zoom to a black TV screen and insert video to that TV screen). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The software can not be complex/difficult to learn (eg. After Effects/Premiere/Vegas) as I do not have much time to complete the project. However, it should be capable, unlike Movie Maker, and run on Windows 7.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, what do you recommend?  &lt;/p&gt;&#xA;" OwnerUserId="1845" LastEditorUserId="17685" LastEditDate="2017-02-01T14:06:48.387" LastActivityDate="2017-02-02T07:39:47.307" Title="What Beginner Video Editing Software Should I Use?" Tags="|video-editor|software-recommendation|windows|full-hd|" AnswerCount="7" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3020" PostTypeId="2" ParentId="3018" CreationDate="2012-01-13T00:44:59.303" Score="5" Body="&lt;p&gt;I think pretty much every editing program would allow you to zoom, pan and insert text. Inserting another video into the main video is a little more complex and the only program I know for sure that does it is After Effects. But I'm sure there are others that will. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would suggest using Premiere because it's a very powerful program. Even though I've never had to insert video into another one like you've described, I'm sure there's a way to do it. You don't have to learn the program inside out to be able to edit in it. There are hundreds of tutorials online that take you step by step through the process. A quick Google search would reveal that. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if you still don't want to go with Premiere, here is a list of &lt;a href=&quot;http://tv.isg.si/site/?q=node/873&quot; rel=&quot;noreferrer&quot;&gt;free video editing programs&lt;/a&gt; that might be able to do the job. I haven't used any of them so I can't make a recommendation – but it's a good starting point. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2012-01-13T00:44:59.303" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3026" PostTypeId="1" CreationDate="2012-01-13T19:14:18.193" Score="2" ViewCount="1877" Body="&lt;p&gt;I was wondering if anyone could suggest a good/active forum for Adobe After Effects/Video Editing in general. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I require the forum to ask for help in editing a file/some HD video or finding someone who would be willing to do such a thing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is as this Q&amp;amp;A site would not allow me to such for such help.&lt;/p&gt;&#xA;" OwnerUserId="1852" LastEditorUserId="126" LastEditDate="2012-10-23T16:09:49.010" LastActivityDate="2014-07-18T08:58:01.143" Title="Video Editing/After Effects Forum To Ask For Help" Tags="|video|editing|recommendation|video-editor|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3028" PostTypeId="2" ParentId="3018" CreationDate="2012-01-13T20:17:22.000" Score="1" Body="&lt;p&gt;Sony Vegas is my second option to Final Cut. You can do everything you need in a very intuitive interface. Like Chard says, there are hundreds of tutorials online that take you step by step through the process and many good free video editors around.&lt;/p&gt;&#xA;" OwnerUserId="1835" LastActivityDate="2012-01-13T20:17:22.000" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3032" PostTypeId="1" AcceptedAnswerId="3033" CreationDate="2012-01-13T18:48:11.513" Score="2" ViewCount="179" Body="&lt;p&gt;I want to buy a DSLR for shooting videos (semi professional video blogging).&lt;br&gt;&#xA;What I should look for in a DSLR if I am mainly focused on video shooting.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know this question overlaps with &lt;a href=&quot;https://photo.stackexchange.com/questions/1888/what-features-should-i-look-for-in-a-dslr-to-shoot-live-bands&quot;&gt;https://photo.stackexchange.com/questions/1888/what-features-should-i-look-for-in-a-dslr-to-shoot-live-bands&lt;/a&gt; but it's more general, usually I have control over lighting, not very dynamic (moving) environment, sound recording is easier for this situation, can be tethered most of the time, more limited budget...   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&lt;br&gt;&#xA;As I understand it, the flexibility that an SLR gives you in terms of optics (you can use a variety of lenses that are not available on video cameras), and image quality (sensor quality and pixel count) and other controls (exposure controls ...) makes SLRs very good options for semi-pro video production.&lt;/p&gt;&#xA;" OwnerUserId="1856" OwnerDisplayName="Ali" LastEditorUserId="-1" LastEditDate="2017-04-13T12:43:53.643" LastActivityDate="2012-01-13T20:46:55.400" Title="What are the features you look for in an SLR when you mainly want it to shoot video" Tags="|dslr|video|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3033" PostTypeId="2" ParentId="3032" CreationDate="2012-01-13T20:19:52.403" Score="5" Body="&lt;p&gt;You will hear many responses, but let me make one point very clear.  If you are using an HDSLR for video, your primary concern will be your ability to focus or autofocus.  If we are using a true SLR - i.e. a camera with a reflex mirror, you will either need a loupe attachment or an attached LCD.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the kicker - the 5DII, darling of the indie movie crowd, with the largest, highest res sensor in this class, only provides SD video output while recording.  Dear Lord, let me tell you, nailing focus on a 105mm at f/2 at 4 feet with a slide will drive you nuts. &#xA;I had a marking wheel.  I had Magic Lantern and peaking.  I had an external HD LCD.  I could not see what I was doing.  I did not have what I needed there: a 2nd pair of hands.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oh, you saw House M.D. with really cool close up focus tricks?  That was done with a marking wheel and consistent focusing cinema primes, and a 2nd AC whose job it is just to hit the marks on cue.  Alternatively, it was a locked down shot with a lot of lighting, a decent f/stop for depth of field, and little or no focus adjustment or movement.  In this respect, the added DOF of a 7D and its ability to output HD video makes it a much easier camera to control.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;SO&lt;/strong&gt;: Much of this will depend on the style or intent of the video.  Autofocus &lt;em&gt;may&lt;/em&gt; be acceptable for ENG or documentary work.  It probably will not be for dramatic work.  You need to be clearer about what you want to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may be better off with a mirrorless camera - I love shooting with my GH1, far more than my 5DII - except for the crop factor.  We all love the &lt;em&gt;output&lt;/em&gt; of the 5DII, its 1080p with full frame, but it handles like a schoolbus at Nürburgring.  Additionally, these cameras are typically better for video auto focus, but that is changing.  Still, the NEX series is a real price performance killer for many video and photo uses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most other issues are of less consequence.  If the video quality matches your expectations, don't worry.  Go to Vimeo to find some raw footage samples. Don't expect to edit video like your photos though.  Footage from these things is more like medium quality low res JPG than full RAW. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing I would tell you to completely ignore is audio.  Many make a big deal about manual audio levels and recording fidelity.  If sound matters &lt;em&gt;at all&lt;/em&gt;, use 2nd system audio; on board sound should be used for video+audio sync and nothing more.  Seriously - a $200 recorder will do better than any camera not using XLR jack input.  If you're doing drama, you need to mic the actors and/or have booms anyway - and you don't run those lines into the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you refine the question, I might be able to point out a specific issue to watch out for or recommend a camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally - no matter what you do, learn how to light (and gel) for consistent color grading.  I cannot stress that enough.&lt;/p&gt;&#xA;" OwnerUserId="1853" OwnerDisplayName="user8086" LastActivityDate="2012-01-13T20:19:52.403" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3037" PostTypeId="1" AcceptedAnswerId="3040" CreationDate="2012-01-14T15:30:12.643" Score="2" ViewCount="3086" Body="&lt;p&gt;Very simply, I want to be able disable my monitor speakers and leave the headphones on.  This is obviously important when recording in the same room.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All the mixers I have come across place the main level controls before the phones output, which have their own level control.  This seems like a missed opportunity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sounds simple enough, but the thread &lt;a href=&quot;http://www.homerecordingconnection.com/forum.php?action=view_thread&amp;amp;id=17303&amp;amp;frm=8&quot; rel=&quot;nofollow noreferrer&quot;&gt;Home studio mixer/mic/monitor/headphone setup questions&lt;/a&gt;, which is the closest I've found to a statement of the question, never addresses it.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The biggest thing I am not sure how to do is set up my&#xA;  monitors/headphones on the mixer so that I can go back and forth when&#xA;  recording&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Up to now, I have been driving my monitors from the 1&amp;amp;2 bus of a mixing console.  This allows me to turn down the speakers using the group faders.  But this console is broken, and I would like to replace it with something simpler that is strictly for monitoring (since I don't need the preamps or EQ, etc.)  It seems like a simple line mixer should be able to handle my requirements.  But even the line mixers with 2 aux buses don't have single faders for those sends.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I missing here?  How is this normally done?&lt;/p&gt;&#xA;" OwnerUserId="119" LastEditorUserId="18155" LastEditDate="2019-09-24T17:27:38.233" LastActivityDate="2019-09-24T17:27:38.233" Title="How do I mute my monitors while leaving headphones on?" Tags="|monitoring|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="3040" PostTypeId="2" ParentId="3037" CreationDate="2012-01-14T18:07:58.140" Score="2" Body="&lt;p&gt;you are in the correct track: a small mixer would do the trick. Basically you have the pfl button that would get the specific channel(s)/souce(s) selected to your headhones jack (monitors) without modifying at all your master (and viceversa). Another option would be something like the Mackie Big Knob, made specifically for what you want, but in this case you can only select to monitor a source, not individual channels).&lt;/p&gt;&#xA;" OwnerUserId="1835" LastActivityDate="2012-01-14T18:07:58.140" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="3041" PostTypeId="2" ParentId="3015" CreationDate="2012-01-14T19:44:49.543" Score="0" Body="&lt;p&gt;I would say that any device you can get is not going to be able to give you charge percentage when the battery is in the camera. Doesn't the battery charger tell you the status of the charge?  I have a few cameras and they tell about it when you plug them in (they are Cannon). Maybe you can also ask in &lt;a href=&quot;https://electronics.stackexchange.com/&quot;&gt;https://electronics.stackexchange.com/&lt;/a&gt; and give you a solution there. Good luck.&lt;/p&gt;&#xA;" OwnerUserId="1835" LastEditorUserId="-1" LastEditDate="2017-04-13T12:33:11.287" LastActivityDate="2012-01-14T19:44:49.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3052" PostTypeId="2" ParentId="2488" CreationDate="2012-01-17T08:36:40.233" Score="6" Body="&lt;p&gt;There is a much better way to do that. That example video is a pretty poor illusion.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;It can be done &quot;for real&quot; with with real light. But it looks&#xA;different. It has to be dark. &lt;/li&gt;&#xA;&lt;li&gt;You can use motion tracking to create an animation path. &lt;/li&gt;&#xA;&lt;li&gt;You can also use manual key frames. There are lots of tutes on the intertubes about that. Here is one: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/x-Axf9oJ4Jk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="442" LastActivityDate="2012-01-17T08:36:40.233" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3053" PostTypeId="1" AcceptedAnswerId="3076" CreationDate="2012-01-17T10:10:04.183" Score="2" ViewCount="203" Body="&lt;p&gt;I just tried the new Lightworks and even though I followed the installation instructions rigorously I managed to hit codec problems. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any (preferably proprietary) video editing software with own codecs so that it would run on any Windows? I just want the software to work. Preferably without crashing.&lt;/p&gt;&#xA;" OwnerUserId="1860" LastActivityDate="2012-10-15T21:33:56.393" Title="Any video editing software with own codecs?" Tags="|video-editor|codec|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3059" PostTypeId="1" AcceptedAnswerId="3071" CreationDate="2012-01-17T17:20:30.307" Score="3" ViewCount="359" Body="&lt;p&gt;Is there an easy way to convert multiple mp3 files to video files at once? I could of course use a simple video editor, but I was thinking more of an app that would take multiple mp3 files, set the preferred album cover image as &quot;video&quot;, and convert them one after another without having to do the same process for each mp3 file manually. I would like this to be an offline app (not a web app). Which video format should I use for this (I would like to keep as much sound quality as possible)? &lt;/p&gt;&#xA;" OwnerUserId="1870" LastEditorUserId="2836" LastEditDate="2014-02-11T18:49:05.363" LastActivityDate="2014-02-11T18:49:05.363" Title="An easy way to create videos for YouTube from mp3 files" Tags="|video|conversion|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3060" PostTypeId="1" CreationDate="2012-01-14T04:13:04.733" Score="2" ViewCount="8917" Body="&lt;p&gt;I also took a bunch of pictures to make a timelapse and I'm using Windows Live Movie Maker to create the video. However, it wouldn't recognize the CR2 (raw) format. I installed the Canon RAW codec but no luck. I was able to create the timelapse using JPEG images. Any ideas? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, the final video is created in wmv format - I would like to know if there is a way to output some other format such as H.264 using Windows Live Movie Maker?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, I am looking for ways to create time lapse videos using cr2 canon raw files. I would like to use free software for accomplishing this. Any help would be appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks!&lt;/p&gt;&#xA;" OwnerDisplayName="hojusaram" LastEditorUserId="126" LastEditDate="2012-01-17T21:34:36.550" LastActivityDate="2012-01-17T21:34:36.550" Title="How to create timelapse video using CR2 RAW files?" Tags="|video|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3061" PostTypeId="2" ParentId="3060" CreationDate="2012-01-14T08:20:40.043" Score="0" Body="&lt;p&gt;The version of Windows Live Movie Maker I have (2011 15.4.3538.0513) appears to import JPG, GIF, TIF, BMP, as well as NEF and CR2 formats.  Do you also have the Windows Live Photo Gallery?  If not, install it, and see if it will read the CR2 files.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for movie formats, the old Windows Movie Maker output to AVI, but that feature seems to have been dropped with the new Windows Live version.  You'll have to convert the resulting WMV file using another program.&lt;/p&gt;&#xA;" OwnerUserId="2155" OwnerDisplayName="MikeW" LastActivityDate="2012-01-14T08:20:40.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3062" PostTypeId="2" ParentId="3060" CreationDate="2012-01-14T15:36:43.383" Score="1" Body="&lt;p&gt;I don't have access to Windows Live Movie Maker at the moment, but one reason why you may be having difficulties is because, strictly speaking, CR2 (or any type of RAW) files are not images; they're just the data that is recorded by the camera when you press the shutter (so light levels plus details of the settings used and sometimes a little jpeg thumbnail image that shows what a typical image &lt;em&gt;could&lt;/em&gt; look like when produced from this data). See &lt;a href=&quot;https://photo.stackexchange.com/questions/1455/what-is-raw-technically&quot;&gt;this question&lt;/a&gt; for more discussion on this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking at the &lt;a href=&quot;http://explore.live.com/windows-live-movie-maker-file-types-faq&quot; rel=&quot;nofollow noreferrer&quot;&gt;online help for Windows Live Movie Maker&lt;/a&gt;, it seems that WLMM &lt;em&gt;does not&lt;/em&gt; &#xA; allow the import of RAW files, and so I guess you'll have to convert the images to something such as jpeg/tiff/png (See &lt;a href=&quot;https://photo.stackexchange.com/a/12852/101&quot;&gt;this answer&lt;/a&gt; for a guide to image file formats) first and then import these into WILMM to make your time-lapse. If it were me I would want to ensure that the same processing was applied to every image in the sequence, so although some images may border on being under/over-exposed, transitions from light to dark and vice versa are captured properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of output, H.264 is not a file type, but a compression standard that can be applied to a number of different video &quot;container formats&quot; such as .mp4 or .mkv. &lt;a href=&quot;http://vimeo.com/videoschool/lesson/30/video-101-exporting-to-share-on-vimeo-with-windows-live-movie-maker&quot; rel=&quot;nofollow noreferrer&quot;&gt;This video&lt;/a&gt; on Vimeo provides some overview on how to export videos using custom settings from WLMM.&lt;/p&gt;&#xA;" OwnerUserId="236" OwnerDisplayName="Edd" LastEditorUserId="-1" LastEditDate="2017-04-13T12:43:53.643" LastActivityDate="2012-01-14T15:36:43.383" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3063" PostTypeId="2" ParentId="3060" CreationDate="2012-01-14T23:24:45.753" Score="3" Body="&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;http://picasa.google.com/&quot; rel=&quot;nofollow&quot;&gt;Picasa&lt;/a&gt;&lt;/strong&gt; is free software that will do exactly what you're after. It can read &lt;a href=&quot;http://support.google.com/picasa/bin/answer.py?hl=en-GB&amp;amp;answer=15625&quot; rel=&quot;nofollow&quot;&gt;a whole range of RAW file types&lt;/a&gt; and also creates timelapse videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To create your video, first import the folder of RAW files into Picasa and select the folder. Now:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;From the menu: &lt;strong&gt;Create &gt; Video &gt; From Selection&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;The Video Maker screen will now appear. In the left-hand pane, make sure the &lt;strong&gt;Video&lt;/strong&gt; tab is selected.&lt;/li&gt;&#xA;&lt;li&gt;Under &lt;strong&gt;Transition Style&lt;/strong&gt; choose &lt;strong&gt;Time Lapse&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Set your frames per second using the &lt;strong&gt;Slide Duration&lt;/strong&gt; slider (e.g. &lt;strong&gt;1/25 sec&lt;/strong&gt; for 25fps)&lt;/li&gt;&#xA;&lt;li&gt;Set your other options and hit &lt;strong&gt;Create Video&lt;/strong&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Couldn't be easier!&lt;/p&gt;&#xA;" OwnerDisplayName="Mark Whitaker" LastActivityDate="2012-01-14T23:24:45.753" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3064" PostTypeId="1" CreationDate="2012-01-17T18:19:14.547" Score="6" ViewCount="1287" Body="&lt;p&gt;I'll be getting a HD editing rig soon at my studio where we make mostly corporate AVs. So far our format is PAL SD and usually the delivered product is a MPEG or AVI as the client demands. Occasionally, some projects are delivered as authored Video DVDS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the new setup, we'll look to output 720p either as MPEG-4 part 2 or part 10 (H.264) in suitable containers like AVI/MOV/MKV/MP4. So standalone videos are fine for data DVDs. But what about the equivalent for a menu-driven environment like in a Video DVD. Almost certainly, most of the end users will not have access to Blu-Ray players. So, is there any way to create DVDs containing a menu-driven environment but with HD videos? Third party self-contained application/frameworks are welcome, depending on the economics and technical steps required. Hopefully, any solution will enjoy similar levels of compatibility as Video DVDs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;: I'm well aware that the DVD-Video spec will not accept HD videos. That's not what I'm trying to do. In the case of an authored Video DVD, when you put in the disc in a comp with autoplay on, a graphical interactive menu will pop up with buttons pointing to videos or other menus, which the user then has the ability to select. If the user selects a video, it plays and then returns to the menu as per the authoring. I wish to &lt;strong&gt;emulate&lt;/strong&gt;, as far as possible, such a interactive presentation system but containing HD video and to be burnt onto DVD media. I know that this is not possible within the confines of the DVD-Video spec. But maybe a third party polished solution or even a hack method exists, such as a set of web pages and a standalone portable media player provided on disc which can be invoked from the web page, but I don't actually know of anything like that, hence the question&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2012-01-24T16:27:51.583" LastActivityDate="2018-11-29T00:46:39.087" Title="How to burn HD videos with menu system onto DVD media?" Tags="|video|editing|software-recommendation|output|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3065" PostTypeId="1" AcceptedAnswerId="3095" CreationDate="2012-01-17T16:58:56.707" Score="6" ViewCount="33353" Body="&lt;p&gt;As you've probably guessed, when recording video with a computer monitor in frame I am getting banding. I'm aware that this has to do with refresh rates of the monitor vs the scan rate of the camera or something like that. I've read that most cameras have a feature to adjust for this - synchro scan, clear scan or variable scan is what I've seen it referred to as. However, I can't find anything on what or how to do this with my Canon t2i.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen a number of videos where people do this with a t2i, so I'm sure it's possible, I'm just not sure how to set the camera up properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.youtube.com/watch?v=tR61M54rBNk&quot; rel=&quot;nofollow&quot;&gt;Here is a video using a t2i to record a computer screen without banding.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've noticed that I can adjust f/stop and shutter speed to get varying results when put in to Tv mode. I'm having trouble getting to a setting that has minimal/no banding and isn't either under or over exposed.&lt;/p&gt;&#xA;" OwnerUserId="1872" OwnerDisplayName="Ryan Elkins" LastEditorUserId="2836" LastEditDate="2014-03-05T17:27:33.573" LastActivityDate="2014-03-05T17:27:33.573" Title="How do I record a computer monitor without banding/flickering with a Canon t2i/550D?" Tags="|video|dslr|canon|" AnswerCount="4" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="3067" PostTypeId="2" ParentId="2435" CreationDate="2012-01-17T22:29:15.477" Score="2" Body="&lt;p&gt;Wowza Media Server on Amazon EC2 is a really cost-effective way to do it, it's very popular among churches because of its on-demand nature and low cost. You spin up the server when you need it, pay a small hourly charge for it, pay for the bandwidth used, and shut it down. &lt;/p&gt;&#xA;" OwnerUserId="1876" LastActivityDate="2012-01-17T22:29:15.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3071" PostTypeId="2" ParentId="3059" CreationDate="2012-01-18T15:06:29.660" Score="4" Body="&lt;p&gt;Thanks to Brads recommendation, I used ffmpeg for the job. Here is a small bash script that converts all the mp3 files to mpeg4 avi files (a jpg image must be included in the folder):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;# Requires: ffmpeg&#xA;# Usage: ./convert.sh&#xA;&#xA;for file in *.mp3;&#xA;do&#xA;    ffmpeg -i *.jpg -i &quot;${file}&quot; &quot;${file%.*}.avi&quot;&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Some more info &lt;a href=&quot;https://superuser.com/questions/98980/ffmpeg-creating-video-for-youtube&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;http://www.crimulus.com/tag/upload-mp3-to-youtube/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, but that didn't work for me.. All these options they used made it too complicated and it just didn't work - nothing would get converted (I would get files with audio but without the image in the video or videos with image but without audio, -loop option was unnecessary, -shortest option was unnecessary, works fine without it)..&lt;/p&gt;&#xA;" OwnerUserId="1870" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2012-01-18T15:06:29.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3075" PostTypeId="2" ParentId="3018" CreationDate="2012-01-18T20:43:44.217" Score="4" Body="&lt;p&gt;The most easy to use Video Editing Software I know is &lt;a href=&quot;http://www.magix.com/us/movie-edit-pro/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Magix Video Delux&lt;/a&gt;. It has HD capabilities, a lot of fixed crossover effects and is available for Windows 7.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My mother swears by it and she still has trouble sending mails and stuff.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more advanced users there's the option of timeline editing, but most of the things you can do in a block overview - you just drag &amp;amp; drop blocks of video to order them and apply some effects very easily between them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I personally use &lt;a href=&quot;https://www.grassvalley.com/products/subcat-editing_software&quot; rel=&quot;nofollow noreferrer&quot;&gt;Edius&lt;/a&gt;, but that's about as professional as you can get!&lt;/p&gt;&#xA;" OwnerUserId="1881" LastEditorUserId="17685" LastEditDate="2017-02-02T07:39:47.307" LastActivityDate="2017-02-02T07:39:47.307" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3076" PostTypeId="2" ParentId="3053" CreationDate="2012-01-19T09:30:28.823" Score="2" Body="&lt;p&gt;I installed Sony Vegas Movie Studio HD ($34). The download took half a minute, the same to install it, no prerequisities ( except the software updated windows installer ) and everything worked and has been working like a charm.&lt;/p&gt;&#xA;" OwnerUserId="1860" LastActivityDate="2012-01-19T09:30:28.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3077" PostTypeId="1" CreationDate="2012-01-19T16:59:52.090" Score="3" ViewCount="550" Body="&lt;p&gt;We are looking to enhance our production with some lower thirds keying on our video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We currently output a single HD stream and encode it in real time. This output doesn't have any keying because it's application requires it to NOT have this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A new request that has come in is to have a separate recording that DOES have lower thirds keying for a couple of select applications.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We could add the keying in post production, however this is time consuming and we'd rather not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I've attached a diagram of how our system is currently configured.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering what the best way to add lower thirds keying would be if we're doing it in real time on a second stream... and is this possible with our current equipment list?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/qJmDe.png&quot; alt=&quot;Video Diagram&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;My thought on this would be to throw a Mac mini on the second &lt;code&gt;preview&lt;/code&gt; output and use software to key the output of the Mac back into a second input card on the StreamZHD. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm a little nervous in using the built in keying ability as it would require a single operator to be managing ALL of our production.&lt;/p&gt;&#xA;" OwnerUserId="1161" LastEditorUserId="17390" LastEditDate="2018-12-30T13:10:59.317" LastActivityDate="2018-12-30T13:10:59.317" Title="Best way to output two streams, and add lower thirds keying to one stream?" Tags="|video|digital-recording|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="3079" PostTypeId="1" CreationDate="2012-01-19T20:30:32.097" Score="2" ViewCount="32816" Body="&lt;p&gt;Is there any script or application that would add a timestamp to a video (avi or mov)?&#xA;Does for example &lt;em&gt;mencoder&lt;/em&gt; support this function ? I'm using it to join avi files together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would be happy for any suggestions.&lt;/p&gt;&#xA;" OwnerUserId="1884" OwnerDisplayName="justSaid" LastEditorUserId="636" LastEditDate="2012-06-23T19:44:01.213" LastActivityDate="2020-11-02T14:37:23.993" Title="Fastest way to add a timestamp to a video" Tags="|video|timecode|filter|" AnswerCount="5" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3083" PostTypeId="1" AcceptedAnswerId="3092" CreationDate="2012-01-20T10:08:10.937" Score="1" ViewCount="161" Body="&lt;p&gt;I'm trying myself with my first video. I made the figures with crayon/colored pencils. I have made the video at night with a desktop light.  &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The pencil drawings seem to glow, how can i prevent this? (Some post processing?)&lt;/li&gt;&#xA;&lt;li&gt;How is the overall angel of the video? Should it be different?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;This is the video:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/fMRrWqk646I?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="1435" LastEditorUserId="126" LastEditDate="2012-01-24T21:26:20.227" LastActivityDate="2012-01-24T21:26:20.227" Title="Lighting and Camera Angle of the Video" Tags="|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3084" PostTypeId="2" ParentId="3026" CreationDate="2012-01-20T17:31:02.777" Score="0" Body="&lt;p&gt;I've had good success with the Premiere forums in terms of getting my questions answered. I don't have any personal experience on the AE side of Adobe's site, but I would assume that community is active as well. Good luck!&lt;/p&gt;&#xA;" OwnerUserId="1889" LastActivityDate="2012-01-20T17:31:02.777" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3085" PostTypeId="2" ParentId="3083" CreationDate="2012-01-20T18:13:21.113" Score="1" Body="&lt;p&gt;I would recommend to use at least one more light source! From the bottom of the image (good luck with that) to avoid the shade of your fingers and paper not flat to the surface. I would also use a warmer light color but that's a preference. I think the angle of the shot is fine. Use bigger pieces of paper so it's easier for you to work with (specially if you set the lighting fixture between you and the table). Please read the faq and find out why you got a down vote on this post (it wasn't me!). I don't think the edges are 'glowing' and I'm not a video guy but to solve that issue I would say that the amount of light is too much. Experiment by dimming the light source down and also with the lens shutter to deny some light to go through. Don't try to fix it afterwords! Good luck!&lt;/p&gt;&#xA;" OwnerUserId="1835" LastActivityDate="2012-01-20T18:13:21.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3088" PostTypeId="1" AcceptedAnswerId="3089" CreationDate="2012-01-20T00:06:42.410" Score="2" ViewCount="179" Body="&lt;p&gt;In &lt;a href=&quot;http://www.theasc.com/ac_magazine/November2011/InTime/page1.php&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; article Roger Deakins talks about how he would &quot;check a waveform monitor to make sure that my highlights weren't clipping too much&quot;. What does he mean by this? &lt;/p&gt;&#xA;" OwnerUserId="1899" OwnerDisplayName="trying_hal9000" LastEditorUserId="1950" LastEditDate="2015-06-05T01:51:38.583" LastActivityDate="2015-06-05T01:51:38.583" Title="What does it mean to &quot;check a waveform monitor to make sure that my highlights weren't clipping too much&quot;?" Tags="|video-quality|camera|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="3089" PostTypeId="2" ParentId="3088" CreationDate="2012-01-20T07:31:28.353" Score="5" Body="&lt;p&gt;A waveform monitor is used for video rather than still images. A modern WM has has many functions, but the one he is referring to is the equivalent of the ability to detect peak signal levels using a still image histogram. &lt;a href=&quot;http://en.wikipedia.org/wiki/Waveform_monitor&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia - Waveform Monitor&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/hzHnL.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In a single still image you either have never exceeded maximum level (no pixels at max value) or you have in a variable number of cases. While the usual aim is to have no pixels which are &quot;clipping&quot; you can have a small number do so across the while image with limited loss of quality. Too many in one area and you get obvious flat spots.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In a video signal typically 24 frames a second are viewed and the occasional frame with a small percentage of &quot;maxed out&quot; pixels may be aesthetically acceptable (depending on how purist you are). Hence he says &quot;weren't clipping &lt;strong&gt;too much&lt;/strong&gt;&quot; raher than &quot;weren't clipping&quot;. ie he wanted to ensure that the signal had not pushed further into highlight clipping than was deemed acceptable. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;FWIW- gross highlight clipping is sometimes acceptable or even designed in as part of the intended image in still and in video photography. A favourite example of mine in &quot;video&quot; is in &quot;The Lord of the Rings&quot; scene in Meduseld, &quot;Hall of the kings of Rohan&quot; in the village of Edoras. The hall is very rak and light strems in from a large open doorway. The camera points, as it never normally would, into the light and exposure is for the characters with the light behind them. As the characters cross to and fro the area behind them washes out completely and to a variable extent as the light streams across the floor. The cameraman knew exactly what he was doing - but a waveform monitor would have done him no good at all - by all normal standards the image was junk.&lt;/p&gt;&#xA;" OwnerUserId="17154" OwnerDisplayName="Russell McMahon" LastActivityDate="2012-01-20T13:52:55.930" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3090" PostTypeId="2" ParentId="3026" CreationDate="2012-01-20T23:25:32.750" Score="4" Body="&lt;p&gt;I recommend the Creative Cow web site, specifically, &lt;a href=&quot;http://forums.creativecow.net/adobeaftereffects&quot;&gt;http://forums.creativecow.net/adobeaftereffects&lt;/a&gt;. This will serve your need for getting help on AE, but this is not a site for posting to find some one to do the work for you. Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-01-20T23:25:32.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3091" PostTypeId="2" ParentId="2255" CreationDate="2012-01-21T00:10:31.770" Score="1" Body="&lt;p&gt;Vegas Pro 10 has two features that could help you out. Either using the Track Motion feature for the entire video track engaged with key frames, or the pan/crop feature for the shot itself engaged with key frames would allow for changes of size, shape, rotation, zooming, orientation (reverse, upside down) and such.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a tutorial on Vegas (not sure of version but this will work in Pro 10) on&#xA;how to use the Track Motion feature:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/p-TWmGW-yzY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a tutorial on Vegas Pro 10 on how to use the Pan/Crop feature:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/-4RCHStciOg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are using more than one clip or several still images, you should use the Track Motion with key frames as the Pan/Crop feature works only with the shot itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-01-21T00:10:31.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3092" PostTypeId="2" ParentId="3083" CreationDate="2012-01-21T00:27:11.663" Score="2" Body="&lt;p&gt;I don't know how you are lighting this, but generally speaking photographing flat work requires an even light source. Usually two diffused lights above the surface at 45 degree angles should accomplish this task. Your lighting suggests that you are not using a diffused source(s) as witnessed by the hot spot in the middle of your screen hence the halo effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing I noticed is that you are using a camera with auto-exposure mode engaged, subsequently every time you move your hand into the frame the light value shifts. If this is a Point &amp;amp; Shoot camera then there is not much you can do about this, but if it's a DSLR you need to lock down the exposure so it is not changing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are three manual controls that generally should be locked down before recording:&#xA;1) white balance,&#xA;2) focus,&#xA;3) exposure,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many Point &amp;amp; Shoot cameras will allow you to set the white balance and focus, but not exposure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are in this situation, then the only way to defeat the exposure changes would be to keep the light even through out the frame and sequence. For instance if you were wearing white gloves this would help keep the auto exposure from going lighter to capture your skin tone, or if you changed the back ground, and made it the same value as your hands--awkward yes, but even light would likely improve the entire scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-01-24T18:25:54.457" LastActivityDate="2012-01-24T18:25:54.457" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3095" PostTypeId="2" ParentId="3065" CreationDate="2012-01-21T01:33:34.130" Score="4" Body="&lt;p&gt;While reviewing the Instruction Manual for the Canon 2Ti EOS 550 on page 127 you will find information on how to manually set the shutter time. Here is the pdf download for the manual:&#xA;&lt;a href=&quot;http://gdlp01.c-wss.com/gds/9/0300003169/01/eosrt2i-eos550d-im-en.pdf&quot; rel=&quot;nofollow&quot;&gt;http://gdlp01.c-wss.com/gds/9/0300003169/01/eosrt2i-eos550d-im-en.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is wide range of 1/4000 to 1/30 of a second to work with depending on your frame rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For 50 fps or 60 fps the range is 1/4000 to 1/60.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For 24, 25, &amp;amp; 30 fps the range is 1/4000 to 1/30.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suggest that you try different shutter times at your preferred frame rate. I know this is not definitive, as I don't have this camera, nor have I tested this. However, the flicker you are referring to is as you suggest a synchronization issue; you are trying to have the camera capture at a rate that synchronizes with the display. Another thing you can try is change the display frame rate, if you have this option on your monitor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps,&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-01-21T01:33:34.130" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="3096" PostTypeId="2" ParentId="2488" CreationDate="2012-01-21T01:46:13.003" Score="3" Body="&lt;p&gt;Upon closer examination of the sample video, she is not writing what you are seeing, her movement only approximates the motion and if you look close enough you can see it is a mime--take a good look at the &quot;E&quot;. She is not moving correctly to get that &quot;E&quot;. I don't know what resources you have to work with, but if you want to copy this technique you need to have 2 things:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) an actor that can closely mimic the correct motion as if she/he is really writing.&#xA;2) a good post production video editor so you can animate the writing content on a separate video track and make a composite.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ps, by the way I think the actor in your example did a marvelous job of miming the motion to trick us into believing she was actually writing the text on glass.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-01-24T18:19:00.553" LastActivityDate="2012-01-24T18:19:00.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3099" PostTypeId="2" ParentId="2601" CreationDate="2012-01-21T20:12:22.010" Score="1" Body="&lt;p&gt;You can't edit FCP project files on Linux for sure. Sorry :)&lt;/p&gt;&#xA;" OwnerUserId="1895" LastActivityDate="2012-01-21T20:12:22.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3101" PostTypeId="1" CreationDate="2012-01-22T10:49:58.837" Score="5" ViewCount="1974" Body="&lt;p&gt;I created a video in movie maker from more videos I took using my canon 550d, but the file produced is an 11 minutes 806MB video. This is huge. Now, when I create the video using movie maker, it asks me for the bitrate and resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the recommended setings?If I create a video from 10 pieces that have a bitrate of X, can I create a video which has a larger bitrate?&lt;/p&gt;&#xA;" OwnerUserId="3145" OwnerDisplayName="Ryan" LastActivityDate="2012-01-23T05:18:43.670" Title="video bitrate - how large should my video be?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3102" PostTypeId="2" ParentId="3101" CreationDate="2012-01-22T18:53:14.530" Score="8" Body="&lt;p&gt;The bitrate that you choose determines the quality of your video and the file size. The standard units for bitrate is bits per second, or bps. Sometimes bitrates are expressed in Kbps (kilobits per second) or Mbps (megabits per second). Do not confuse Mbps and Kbps with MBps and KBps. A lowercase 'b' refers to bits, an uppercase 'B' refers to bytes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From your question it seems you are more concerned about size than quality, so I recommend that you pick what is a reasonable file size and deduce the bitrate that achieves that size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, let's say you want your file to be 200MB. First convert this size to bits:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;200 x 1024 x 1024 x 8 = 1,677,721,600 bits&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You also said that your video is 11 minutes, which is 660 seconds. So now we obtain the bits per second:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;1,677,721,600 bits / 660 seconds = 2,542,002 bits per second (approximately)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;From the above, you know that if you pick a bitrate of 2,500,000 bps (same as 2,500 Kbps or  2.5 Mbps) then your file will end up being about 200MB in size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So now what's left is to pick a resolution and frame rate. Once you know your bitrate, you have set an allocation of bits for each second of your movie. To get the better quality you should now pick the smallest resolution and slowest frame rate that works for your needs, as that will assign the maximum number of bits to each frame, giving you the best possible quality.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If I create a video from 10 pieces that have a bitrate of X, can I create a video which has a larger bitrate?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You can use any bitrate you like, but if your source clips were encoded at some bitrate X in the camera, going to a higher bitrate will just waste space without increasing the quality, since you can't add detail that was not in the original recording.&lt;/p&gt;&#xA;" OwnerUserId="1898" LastEditorUserId="1898" LastEditDate="2012-01-23T05:18:43.670" LastActivityDate="2012-01-23T05:18:43.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3103" PostTypeId="1" AcceptedAnswerId="3118" CreationDate="2012-01-22T19:17:16.720" Score="2" ViewCount="426" Body="&lt;p&gt;I'm looking into getting a used Sekonic light meter, my question is what are the advantages of getting 'CINE' version light meters Sekonic makes versus the regular versions. I'm going to be primarily working with video, but some still work to, and a lot of just testing to understand light.&lt;/p&gt;&#xA;" OwnerUserId="1899" LastEditorUserId="126" LastEditDate="2012-01-23T14:26:43.257" LastActivityDate="2012-03-15T18:44:24.360" Title="Whats the difference between a sekonic light meter CINE version vs non-cine version" Tags="|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3106" PostTypeId="1" CreationDate="2012-01-23T10:45:21.173" Score="2" ViewCount="1100" Body="&lt;p&gt;I'm having major issues combining/merging(lossless) swf video files into a single file then converting to something more useful(mp4).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried using premiere but no audio as it doesn't import the audio. I have many of these files(hundreds) and need a simple way to merge them and convert. I don't really want to convert these files then merge then convert as they are already low quality and they don't need any more artifacts. &lt;/p&gt;&#xA;" OwnerUserId="1901" LastEditorUserId="126" LastEditDate="2012-01-23T14:18:57.043" LastActivityDate="2013-01-15T23:19:50.940" Title="merge and convert swf" Tags="|video|conversion|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3108" PostTypeId="1" CreationDate="2011-03-19T01:43:27.563" Score="6" ViewCount="261" Body="&lt;p&gt;I use a Boss ME-70 multieffects unit and its red LEDs are uncomfortably bright. When I bend down to adjust a setting, it's like having a red laser shining in my eyes -- I can't even read the controls. I put black Pro-Touch labeler tape over the LEDs but that's a bit extreme. Anybody else bothered by the brightness and have a better solution?&lt;/p&gt;&#xA;" OwnerDisplayName="DanB" LastEditorUserId="126" LastEditDate="2012-01-23T18:07:52.513" LastActivityDate="2023-07-23T16:43:11.777" Title="Effects LEDs are uncomfortably bright - can they be dimmed? (Boss ME-70)" Tags="|hardware|" AnswerCount="8" CommentCount="2" ContentLicense="CC BY-SA 2.5" />
  <row Id="3109" PostTypeId="2" ParentId="3108" CreationDate="2011-03-19T02:41:44.987" Score="9" Body="&lt;p&gt;You might try a few layers of clear and/or colored nail polish&lt;/p&gt;&#xA;" OwnerDisplayName="todd" LastActivityDate="2011-03-19T02:41:44.987" CommentCount="4" ContentLicense="CC BY-SA 2.5" />
  <row Id="3110" PostTypeId="2" ParentId="3108" CreationDate="2011-03-19T14:52:07.990" Score="0" Body="&lt;p&gt;I've got this same problem on my audio interface on my Mac. I solve the problem by tilting it away from me a little bit. However, if you don't need to see the LEDs at all, I'd use some good ol' black electrical tape. It's easy to apply, and is removable. Then again, your labeler tape probably is as well. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try putting tape on them in such a way that the tape is barely covering the LEDs, enough that the light peeks out over the edge, but also so that it shields &lt;em&gt;most&lt;/em&gt; of the light. You can do the same thing with paint or nail polish, but it's more permanent. &lt;/p&gt;&#xA;" OwnerUserId="167" OwnerDisplayName="Neil Fein" LastActivityDate="2011-03-19T14:57:41.323" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="3111" PostTypeId="2" ParentId="3108" CreationDate="2011-03-19T15:53:22.050" Score="0" Body="&lt;p&gt;The hardcore route for this is to open up the pedal and slap larger resistors on the cathodes for each LED but you'll void the warranty doing that :D. The nail polish idea (care of @todd), roughing the plastic with a little 400+ grit sandpaper, or clear tape (care of @Neil Fein) are all good options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you could go with some cheap sunglasses.&lt;/p&gt;&#xA;" OwnerUserId="625" OwnerDisplayName="Jduv" LastActivityDate="2011-03-19T15:53:22.050" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="3112" PostTypeId="2" ParentId="3108" CreationDate="2011-03-19T23:36:10.050" Score="4" Body="&lt;p&gt;There are two real options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can either modify the pedal electrically (replace the resistor that is connected to the LED for a larger value - thuis lowering the current through the LED).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you can modify the front of the pedal to decrease the light. A very easy way to do this is to tape a little bit of exposed film (like 35mm back when camera's used film), cut a little from the negative and slap it on with some tape, easily removable and should dim the light nicely. &lt;/p&gt;&#xA;" OwnerDisplayName="crasic" LastActivityDate="2011-03-19T23:36:10.050" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="3113" PostTypeId="2" ParentId="3108" CreationDate="2011-03-20T00:01:57.850" Score="2" Body="&lt;p&gt;I don't think tape is extreme, or a sharpie. But then I would probably just replace the LED's or pop a wee voltage drop in there to dim them down if they were that bad - this probably is extreme if you don't do home electronics much :-)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tape is probably most sensible - as if you get a gig where you really need the lights you can always rip it off again.&lt;/p&gt;&#xA;" OwnerUserId="674" OwnerDisplayName="Dr Mayhem" LastActivityDate="2011-03-20T00:01:57.850" CommentCount="1" ContentLicense="CC BY-SA 2.5" />
  <row Id="3114" PostTypeId="2" ParentId="3108" CreationDate="2011-03-20T16:40:26.697" Score="4" Body="&lt;p&gt;Tape a gel over the top. You can get cheap packs on ebay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would even allow you to adjust the level of filtration by combining them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/AcneO.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="sammylizard" LastEditorUserId="95" LastEditDate="2012-10-09T21:22:19.253" LastActivityDate="2012-10-09T21:22:19.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3115" PostTypeId="2" ParentId="3064" CreationDate="2012-01-24T09:45:24.530" Score="4" Body="&lt;p&gt;Sorry to say this, but DVD does and will not support HD videos - at least not with menu and other DVD features. HD-DVD didn't survive on the market - Blu-Ray did. The problem is that the amount of data necessary to create a HD image is higher that the bit-rate of DVD-Format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can save various file formats on a DVD-ROM and some DVD players can play those formats. But &quot;native&quot; HD on a DVD is not supported. Some DVD Player can upscale certain compressed formats, but that will not show real HD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See: &lt;a href=&quot;http://www.dvddemystified.com/dvdfaq.html#2.3.2&quot; rel=&quot;nofollow&quot;&gt;http://www.dvddemystified.com/dvdfaq.html#2.3.2&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1802" LastEditorUserId="126" LastEditDate="2012-01-24T18:27:11.283" LastActivityDate="2012-01-24T18:27:11.283" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3116" PostTypeId="2" ParentId="3106" CreationDate="2012-01-24T10:03:16.467" Score="1" Body="&lt;p&gt;One possible solution is: &lt;a href=&quot;http://www.squared5.com&quot; rel=&quot;nofollow&quot;&gt;SQUARED 5&lt;/a&gt; MPEG STREAMCLIP it's a freeware converter with basic editing functions. The Batch function should help you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other possible software solution: &lt;a href=&quot;http://avidemux.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;AviDemux&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1802" LastActivityDate="2012-01-24T10:03:16.467" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3117" PostTypeId="2" ParentId="3079" CreationDate="2012-01-24T10:51:13.023" Score="0" Body="&lt;p&gt;In Windows you can do this with the old standard Moviemaker - at least a basic timestamp anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are looking for something with a great deal of accuracy Moviemaker probably won't cope.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-01-24T10:51:13.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3118" PostTypeId="2" ParentId="3103" CreationDate="2012-01-24T15:57:17.233" Score="2" Body="&lt;p&gt;If you're working with video, the cine model is the one you want. It lets you meter for motion, not just ISO, f stops, and shutter speeds. I've had the 758 for years... great meter.&lt;/p&gt;&#xA;" OwnerUserId="795" LastActivityDate="2012-01-24T15:57:17.233" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3121" PostTypeId="1" AcceptedAnswerId="3136" CreationDate="2012-01-24T19:40:32.407" Score="8" ViewCount="19332" Body="&lt;p&gt;In addition to Adobe Flash, what other tools people usually use to make text animations.&lt;br&gt;&#xA;By text animation I mean, like animations that has a narration and word or letters from the narration dance on the screen, change in size and color, bump to each other, fall down or fly away.&lt;br&gt;&#xA;I am looking for something that professionals would use, some like what is used to produce this video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/yfRVCaA5o18?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;" OwnerUserId="1856" LastEditorUserId="1856" LastEditDate="2012-01-25T13:26:42.677" LastActivityDate="2019-09-04T09:00:32.347" Title="Professional text animation software" Tags="|software|software-recommendation|" AnswerCount="7" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="3122" PostTypeId="2" ParentId="3005" CreationDate="2012-01-24T19:44:25.530" Score="1" Body="&lt;p&gt;If you don't want to mess around with either of the free video editor versions available from Windows, WinXP (Windows Movie Maker) or Win7 (Windows Live Movie Maker) as these may not be flexible enough for your project, then you can try out a pro version with a free demo (good for 30 days) of Sony Vegas Pro 11.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you set up your trial version, add your video to the timeline, then use the &quot;media generator/text&quot; (title) features to add the titles you want. There are lots of options on the text generators.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Three links that are of interest.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Free Demo Version of Vegas Pro 11 (make sure you choose the correct version for your computer as in 32 vs. 64 bit):&#xA;&lt;a href=&quot;http://www.sonycreativesoftware.com/download/trials/vegaspro?keycode=64506&quot; rel=&quot;nofollow&quot;&gt;http://www.sonycreativesoftware.com/download/trials/vegaspro?keycode=64506&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tutorial on how to use the media generator/text on Vegas Pro 11:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/zu6YwtRjtSI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Expert advice and overview of Vegas Pro media generator:&#xA;&lt;a href=&quot;http://www.sonycreativesoftware.com/media_generators_in_vegas_pro_software&quot; rel=&quot;nofollow&quot;&gt;http://www.sonycreativesoftware.com/media_generators_in_vegas_pro_software&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Likely you can get your whole project done under the 30 day trial period and render a final version ready to post or show. If you don't understand how to render there are tons of tutorials out there, so just for fun I'll add one more link:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/jfY35kKHR3k?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-01-26T19:05:26.847" LastActivityDate="2012-01-26T19:05:26.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3123" PostTypeId="2" ParentId="2867" CreationDate="2012-01-24T20:14:38.290" Score="2" Body="&lt;p&gt;Lighting is not trivial and deserves attention and training to master. I certainly have lots to learn even after more than 25 years with working with studio lighting. There is no one thing you can buy that will work in every situation beyond understanding and mastering white balance and exposure. Nothing to invest in on this step. However, if you want to illuminate an outdoor subject that is silhouetted, then a round reflector held by a camera assistant will make a huge difference and this won't cost you much, under $75. Here you won't have to worry as much about color temperature as you are reflecting the same light as the sun provides to cast a fill in light on the subject.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For most studio lighting, you need to learn the basics of 3 point lighting. Here are three Vimeo School tutorials on basic lighting that I recommend you review before buying or making anything:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://vimeo.com/videoschool/archive/lighting&quot; rel=&quot;nofollow&quot;&gt;http://vimeo.com/videoschool/archive/lighting&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I shoot in my studio, I am generally shooting 1:12 scale subjects so my lighting can be somewhat small. I have two 100 watt tungsten lamps with big reflectors (available at Ace Hardware for about $12 each) mounted on vertical rails on my bench.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have metal clips holding plastic diffusers made out of discarded computer plotter opaque plastic. I also have an array of smaller 40 watt tungsten lamps that I can place in strategic areas such as under a lift frame that has a diffuser on top for under neath lighting.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="126" LastEditDate="2012-01-24T21:19:09.787" LastActivityDate="2012-01-24T21:19:09.787" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3126" PostTypeId="2" ParentId="2843" CreationDate="2012-01-24T20:29:45.237" Score="0" Body="&lt;p&gt;According to the site you referred to:&#xA;&lt;a href=&quot;http://www.encoding.com/what_are_the_best_flash_video_frame_dimensions&quot; rel=&quot;nofollow&quot;&gt;http://www.encoding.com/what_are_the_best_flash_video_frame_dimensions&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The math behind the &quot;Best, Better, and Good&quot; video formats are based on if both Horizontal and Vertical pixels are divided by 16 for best, 8 for better, and 4 for good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Therefore 256x144 is best, while 384x216 &amp;amp; 128x72 are better, while 320x180 is good.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="126" LastEditDate="2012-01-24T21:12:05.190" LastActivityDate="2012-01-24T21:12:05.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3127" PostTypeId="2" ParentId="2673" CreationDate="2012-01-24T20:42:22.673" Score="2" Body="&lt;p&gt;The processor in your camera is not the only thing you need to override for your proposal to work. Consider the focus system, the iris, and the shutter system, and their respective upper and lower performance boundaries. What you are suggesting appears to be a design up idea not an after it was built idea. In other words you need a whole team of engineers at Olympus at your service to redesign the camera from the ground up. The exception may be, some engineering hack that allows for the higher frame rate perhaps through the firmware.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not clear on what you mean by changing the ISO and shutter speed while shooting, do you mean change the ISO or shutter speed in the same take? If so, I've never heard of any camera being able to do that, nor do I understand what you are trying to get?&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="126" LastEditDate="2012-01-24T21:10:14.543" LastActivityDate="2012-01-24T21:10:14.543" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3129" PostTypeId="2" ParentId="3121" CreationDate="2012-01-25T09:39:44.310" Score="1" Body="&lt;p&gt;Powerpoint is often used for this sort of simple animation in corporate environments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MovieMaker can do this sort of thing on home movies.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-01-25T09:39:44.310" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3136" PostTypeId="2" ParentId="3121" CreationDate="2012-01-25T21:39:39.640" Score="3" Body="&lt;p&gt;All of the pro video editors have a means of animating titles to some degree, some are better than others. I am only experienced with Sony Vegas Pro 10, but I have seen my colleagues use Adobe Premiere with Adobe After Effects to create some mind blowing 'dancing' titles. Vegas has plugins available to boost their basic package but the basic package can do most if not all the effects you have in your example while Adobe's Premiere and After Effects might be able to take this to another level as in more 3d attributes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recommend a pro video editor over power point as you have tons of flexibility (avi, mov, mp4, m2t, etc) vs. only a ppt file. However, there are many products available to convert ppt files into video such as this free version I just found:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.effectmatrix.com/PowerPoint-Video-Converter/Free-PowerPoint-Video-Converter.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.effectmatrix.com/PowerPoint-Video-Converter/Free-PowerPoint-Video-Converter.htm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Caution: I have never tried this product so I am uncertain on quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I should mention that animating titles is not the only thing going on in your example, there is some degree of track motion control and pan/crop as well not to mention compositing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are seriously looking for a pro product, I would seek advice from professionals that already use these products in conjunction with trying out the trail versions if available. I do know that Sony Vegas Pro 11 is available for free download for a 30 day trail. Most of these products will cost between $500 and $2500 and the learning curve can be heavy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sony Vegas trial version:&#xA;&lt;a href=&quot;http://www.sonycreativesoftware.com/download/trials/vegaspro?keycode=64506&quot; rel=&quot;nofollow&quot;&gt;http://www.sonycreativesoftware.com/download/trials/vegaspro?keycode=64506&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a serious product that costs you both time and money.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend posting on the appropriate forum on creative cow to seek more inside advice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://creativecow.com/&quot; rel=&quot;nofollow&quot;&gt;http://creativecow.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1921" LastEditDate="2012-02-01T22:21:38.380" LastActivityDate="2012-02-01T22:21:38.380" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3137" PostTypeId="2" ParentId="2715" CreationDate="2012-01-26T00:45:18.883" Score="4" Body="&lt;p&gt;I am not certain I understand why you need to shoot a scene for longer than 10 minutes.&#xA;Most of the movies I make are under 4 minutes and include up to 30 or more shots some lasting less than a 1/4 second while others may last a minute. I only mention this to give you an idea what I am used to. I have both a camcorder that can shoot as long as there is memory--up to an hour possibly, and I have a pocket point and shoot that has time constraints based on format, not unlike the Nikon D3100.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming you have a need to shoot a scene for longer than 10 minutes such as a traffic study or to document a school play I will proceed to address the issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reviewing the tech specs of the Nikon D3100 I see the following HD movie settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;HD 1,920×1,080 / 24 fps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;HD 1,280×720 / 30 fps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;HD 1,280×720 / 24 fps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Noting that these all have a 10 minute recording limit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many DSLR cameras are bound to a 10 minute recording limit due to the way the firmware/software is designed to handle memory storage. Many cinematographers and photographers alike are pushing to have this issue addressed as in allowing for&#xA;longer takes so you are not alone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Choosing a camcorder is a reasonable alternative but there will be tradeoffs. Here are few that come to mind. YMMV (your mileage may very).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) The &quot;Glass&quot;: the Nikon D3100 has a removable lens so you can swap in other lenses of different focal lengths and quality while most camcorders have a non-removable zoom lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) FOCUS: the Nikon D3100 will allow you to change focus while shooting video while most camcorders do not allow you to manual focus on the fly or make this difficult by not having a focus ring on the lens but an external wheel which generally causes camera shake.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Shutter Speed: I am uncertain if the Nikon D3100 allows for changing the shutter speed while shooting video, but more advanced DSLRs will, e.g. Canon 5D Mark II. This is a significant feature for cinematographers engaged in time-lapse movies, where 'drag the shutter' is very desirable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(NOTE: one thing you will trade up to is that the Nikon D3100 only records in mono, while almost every camcorder records in stereo if not Dolby 5.1 Surround.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a criteria that might assist you in choosing a camcorder.&#xA;Since the price of D3100 is nearly $649 USD MSRP, then you might consider using this as a baseline for your search in that price range e.g. Sony HDR-CX260V/T about $549.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately you might consider the clarity and quality of the lens on the Nikon D3100 so choosing a Panasonic TM900K that comes with a Leica 12x zoom should be a pretty good contender--about $900.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or perhaps you favor a camcorder that allows you to use a variety of lenses such as the Sony NEX-VG10 or NEX-VG20H--nearly $2000.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might want to review the specs of each of these camcorders and visit local stores to give them a test ride.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One very important point, be sure that the camcorder you choose has a video format that works well with your current video editing software, this can definitely be a show stopper.&#xA;Currently your Nikon D3100 uses .mov files while Sony uses AVCHD and Panasonic has their version of AVCHD. You might want to join .mov files to work with another format so you want to be sure that they all get along in the same video suite.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-01-26T19:09:20.240" LastActivityDate="2012-01-26T19:09:20.240" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3138" PostTypeId="1" CreationDate="2011-04-04T07:18:04.073" Score="7" ViewCount="119" Body="&lt;p&gt;Many of new model of lenses are defined as megapixel (i.e 1MP, 2MP, 5MP...).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is that I did not find any difference between a standard lens and a &quot;megapixel&quot; one, in the focus quality.&#xA;I suppose that a difference should be remarked in the focus quality during the calibration step.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm working with several megapixel sensors, and I'm still looking for a megapixel lens that could fit with my sensors.&#xA;For example with a 2MP sensor, with a pixel size equal to 4um, the MTF should be at least 0.5 at 125 lp/mm. &#xA;My working distance is about 15m and the illumination wavelength is 850nm.&lt;/p&gt;&#xA;" OwnerDisplayName="Raphael" LastActivityDate="2012-01-26T04:03:12.493" Title="Does a real &quot;megapixel lens&quot; exist?" Tags="|video|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 2.5" />
  <row Id="3139" PostTypeId="2" ParentId="3138" CreationDate="2011-04-04T07:49:57.780" Score="3" Body="&lt;p&gt;The lens is related to the &lt;a href=&quot;http://en.wikipedia.org/wiki/Angular_resolution&quot; rel=&quot;nofollow&quot;&gt;angular resolution&lt;/a&gt;, while the megapixel rating has to do with the capturing device, i.e., &lt;a href=&quot;http://en.wikipedia.org/wiki/Charge-coupled_device&quot; rel=&quot;nofollow&quot;&gt;CCDs&lt;/a&gt; etc. I haven't done the calculations, but it may be that it is not the angular resolution that limits the resolution in digital images, but the the image capture technology. So the lenses from the different cameras may be similar.&lt;/p&gt;&#xA;" OwnerDisplayName="highBandWidth" LastActivityDate="2011-04-04T12:22:29.477" CommentCount="0" ContentLicense="CC BY-SA 2.5" />
  <row Id="3140" PostTypeId="2" ParentId="3138" CreationDate="2011-04-04T08:54:28.067" Score="4" Body="&lt;p&gt;Pixel count almost exclusively refers to detector quality/cost, it is the number of seperate elements capable of recording an image.  The Modulated Transfer Function (MTF) is a quantative measure of the optical train in front of the detector.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is important to differentiate between a monochromatic CCD and a CMOS sensor.  In most retail digital cameras now there will be a CMOS sensor which works in three colours simultaneously, which has the effect of dividing your pixel count by three, but allows one shot colour pictures.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also just because there are micron sized detector elements in the image plane this does not mean that your optics is capable of focussing to that level of detail.  You need to consider the resolution needed in your image and set your pixel requirements accordingly. &lt;/p&gt;&#xA;" OwnerDisplayName="Nic" LastActivityDate="2011-04-04T08:54:28.067" CommentCount="1" ContentLicense="CC BY-SA 2.5" />
  <row Id="3141" PostTypeId="2" ParentId="3138" CreationDate="2011-04-04T09:56:48.697" Score="16" Body="&lt;p&gt;This is a misnomer, if not pure marketing corruption of terms. The lens doesn't do anything to the &quot;megapixel count&quot;, that's determined solely by the sensor.&#xA;At most the lens might have the capability to resolve details to a level where a sensor of at least a certain element density is required to record them, but then you'd still not have a number of pixels as the size of the sensor as well as its element density determines that.&lt;/p&gt;&#xA;" OwnerDisplayName="jwenting" LastActivityDate="2011-04-04T09:56:48.697" CommentCount="2" ContentLicense="CC BY-SA 2.5" />
  <row Id="3144" PostTypeId="2" ParentId="2516" CreationDate="2012-01-26T22:12:21.563" Score="1" Body="&lt;p&gt;I've used &lt;a href=&quot;http://camstudio.org/&quot; rel=&quot;nofollow&quot;&gt;CamStudio&lt;/a&gt; quite a bit in the past. It has worked well for me, though I can't quite know if it is what you are looking for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, as was mentioned in @Johnny Bigoode's comment previously, &lt;a href=&quot;http://www.techsmith.com/camtasia.html&quot; rel=&quot;nofollow&quot;&gt;Camtasia&lt;/a&gt; is probably the solution/application that will give you the most range. It has a lot of features and has been around for quite some time, so it is well-polished.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="1910" LastActivityDate="2012-01-26T22:12:21.563" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3148" PostTypeId="1" CreationDate="2012-01-27T21:51:43.590" Score="4" ViewCount="177" Body="&lt;p&gt;Recently, on a trip home to my dad's, I experienced some great conversations between him and my grandmother. I really wanted a way to record them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's my thinking: using a laptop connected to two or more webcams, capture them both.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've looked around a bit and I'm finding that the software out there is either clunky, doesn't capture with good video quality, or doesn't record audio. Virtualdub seems to work well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've had thoughts of just using multiple in-expensive camcorders but what appeals to me about the computer solution is that I already have a laptop and a webcam. Also, perhaps the clips will be easier to synchronize&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering if anyone has experience with this kind of thing.&lt;/p&gt;&#xA;" OwnerUserId="1125" LastActivityDate="2012-11-08T16:47:57.220" Title="Is there a decent computer based, multiple video stream capture solution out there?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3149" PostTypeId="1" AcceptedAnswerId="3228" CreationDate="2012-01-27T22:52:28.370" Score="2" ViewCount="17558" Body="&lt;p&gt;I'm new to After Effects, but my experience with video editing so far has been that audio and video are treated separately. When I add an mp4 to my composition, I get the video element, but I can't figure out where the audio is at. When I hit play on the preview toobar, the audio does not play. I checked to make sure &quot;mute audio&quot; wasn't enabled.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sure it's something simple, I just need to be pointed in the right direction.&lt;/p&gt;&#xA;" OwnerUserId="1914" LastActivityDate="2015-08-30T15:49:14.840" Title="AE - Imported mp4 seems to be missing audio" Tags="|audio|after-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3157" PostTypeId="1" AcceptedAnswerId="7233" CreationDate="2012-01-28T19:42:01.027" Score="2" ViewCount="182" Body="&lt;p&gt;When I create a 1280 x 720 pixel image in Photoshop CS5.1 for use as a title slide in Wirecast, the resulting image is letterboxed.   I have a similar problem with 720p video feeds from a Black Magic Ultrastudio 3D.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone tell me how to find the set-up parameters to fix this.  I'm suspecting it's a pixel aspect ratio problem.&lt;/p&gt;&#xA;" OwnerUserId="1918" LastEditorUserId="2938" LastEditDate="2012-10-01T21:58:20.957" LastActivityDate="2013-03-26T13:51:07.937" Title="Unwanted letterboxing using Wirecast" Tags="|video|software|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3163" PostTypeId="2" ParentId="2608" CreationDate="2012-01-29T18:28:39.600" Score="2" Body="&lt;p&gt;The effect can be achieved with side-chain compression.&lt;/p&gt;&#xA;" OwnerUserId="1812" LastActivityDate="2012-01-29T18:28:39.600" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3164" PostTypeId="1" AcceptedAnswerId="3182" CreationDate="2012-01-29T18:33:18.487" Score="3" ViewCount="2639" Body="&lt;p&gt;I am using mostly Haaly Media Splitter for input and ffdshow for decoding (libavcodec).&#xA;Actually I am ok with the default profile 7 installation of k-lite codec pack.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the moment I have the default options in the ffdshow decoder configuration and in the Haali media splitter filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want is to make seeking as fast as possible. Any suggestions on how to detect the bottleneck or how to reduce seeking time?&lt;/p&gt;&#xA;" OwnerUserId="1919" LastActivityDate="2012-02-01T06:07:33.703" Title="Which decoder allows for fast seeking or how to configure k-lite codec pack?" Tags="|video|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3165" PostTypeId="2" ParentId="2198" CreationDate="2012-01-29T19:33:42.553" Score="1" Body="&lt;p&gt;The domain: &lt;a href=&quot;http://www.jahshaka.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.jahshaka.com/&lt;/a&gt; is online and should be working. The SourceForge site has a &lt;a href=&quot;http://sourceforge.net/projects/jahshaka/support&quot; rel=&quot;nofollow&quot;&gt;support page&lt;/a&gt; for the software but it's currently incomplete.&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2012-01-29T19:33:42.553" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3170" PostTypeId="2" ParentId="2608" CreationDate="2012-01-29T22:43:51.787" Score="3" Body="&lt;p&gt;Yup, don't know why datageist didn't expand, but it's called ducking.  The song or part of it 'ducks' out of the way of a signal, usually a big ol' kick.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can insert a compressor into the signal chain of the track to be ducked, with a side-chain key input (as J.K says): meaning that the kick's amplitude/level will cause the mix to be compressed, i.e. reduced in volume.&lt;/p&gt;&#xA;" OwnerUserId="1921" LastEditorUserId="1921" LastEditDate="2012-02-01T00:26:43.163" LastActivityDate="2012-02-01T00:26:43.163" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="3172" PostTypeId="1" AcceptedAnswerId="3173" CreationDate="2012-01-30T04:12:35.103" Score="2" ViewCount="891" Body="&lt;p&gt;I want to use the CineStyle color style for my 7D to get the most out of the dynamic range.  Saw some tutorials on how to use a LUT file to color correct in Final Cut Pro or Premiere, but only on the Mac version with the help of a plugin.  How can I do this on the PC?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Technicolor Cinestyle provide a .mga file to color correct the picture.  But I can't seem to find how to use that.&lt;/p&gt;&#xA;" OwnerUserId="1924" LastEditorUserId="2836" LastEditDate="2014-03-05T17:30:51.600" LastActivityDate="2014-03-05T17:30:51.600" Title="How can I color correct a footage from a 7D using the CineStyle Picture Style" Tags="|dslr|canon|color-correction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3173" PostTypeId="2" ParentId="3172" CreationDate="2012-01-30T07:01:27.637" Score="3" Body="&lt;p&gt;The CineStyle picture style provides you with a flat, desaturated image: providing the best dynamic range of any of the picture styles for Canon DSLRs. Technicolor provide you with a file that you can apparently import into your editing software to help you grade your footage. However, I never figured out how to use it and frankly, I don't think one needs to. I think your time would be better spent learning how to color grade rather than learning how to import an .mga file. You don't need the file to grade your footage. I think it is more of a preset kind of thing – used to return the flat, desaturated image into a contrasty, attractive one albeit with more detail in the shadows and highlights than if you'd used any of the inbuilt Canon picture styles. However, this is something you can do yourself, and if done right, you will achieve better results than any preset can give you. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most editing programs will have a color correction filter. Some programs have better than others but most should satisfy your needs. However, I will recommend a good piece of free software called &lt;a href=&quot;http://www.blackmagic-design.com/support/detail/?os=win&amp;amp;sid=3948&amp;amp;pid=11735&amp;amp;leg=false&quot; rel=&quot;nofollow&quot;&gt;DaVinci Resolve Lite&lt;/a&gt;. Like I said, it's free, and it's awesome. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry I couldn't give you any help with the .mga file. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2012-01-30T07:01:27.637" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3176" PostTypeId="2" ParentId="2608" CreationDate="2012-01-31T13:56:48.860" Score="3" Body="&lt;p&gt;The effect in question can be used with side chain compression, parallel compression or even with a excessive compression. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The side-chain effect is the one used to create &quot;a &quot;pumping&quot; effect which can clearly be heard in &quot;Call On Me&quot; by Eric Prydz, &quot;Hung Up&quot; by Madonna, and 99% of Daft Punk housier tracks. Almost all DAWs come with compressors that support side-chain, in the worst case scenario you can look for a VST to do the job, but I'm pretty sure you'll need a VST3 compatible DAW to route the signal. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Parallel_compression&quot; rel=&quot;nofollow&quot;&gt;Parallel Compression&lt;/a&gt; is more associated with rock music than electronic - but since many NY Producers end up using it (Like Armand Van Helden), some people confuse it with side-chaining. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyways, the effect can also be achieve by adding a strong compressor the song and making the kick really loud - obviously you'll have little control over the amount of effect and you'll have a hard time mixing/mastering.&lt;/p&gt;&#xA;" OwnerUserId="1759" LastActivityDate="2012-01-31T13:56:48.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3177" PostTypeId="1" CreationDate="2012-01-31T16:46:01.643" Score="4" ViewCount="611" Body="&lt;p&gt;I will explain my situation first.  I am getting married in two months and have many family members that are in bad health.  They want to make the wedding, but just cant.  We had the idea of streaming the wedding over Skype, etc.  We had already planned on having a basic camcorder (non-professional) to record the wedding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, can we record the wedding and stream the video simultaneously using the same camcorder?  Or will we need a separate camcorder for each?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd love to make this possible without costing too much.&lt;/p&gt;&#xA;" OwnerUserId="1930" LastActivityDate="2012-03-03T15:45:32.497" Title="Live Streaming and Recording Simultaneously" Tags="|video|live|streaming|camera|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3178" PostTypeId="1" AcceptedAnswerId="3180" CreationDate="2012-01-31T18:08:40.370" Score="4" ViewCount="2595" Body="&lt;p&gt;I'm shooting 3-perf 35mm @ 24 fps. How many feet of film do I need if I'm shooting one hour?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a good site/app for calculating this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: This is a repost of &lt;a href=&quot;https://photo.stackexchange.com/questions/638/how-much-film-do-i-need-in-feet-meters&quot;&gt;an off-topic/closed question&lt;/a&gt; I asked on Photography - Stack Exchange.&lt;/p&gt;&#xA;" OwnerUserId="1062" LastEditorUserId="-1" LastEditDate="2017-04-13T12:43:53.643" LastActivityDate="2012-02-03T22:25:15.460" Title="How much film do I need (in feet/meters)?" Tags="|filming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3179" PostTypeId="1" CreationDate="2012-01-31T18:29:40.710" Score="4" ViewCount="106" Body="&lt;p&gt;I want to stay up-to-date on cinematography techniques -- not just regurgitated press releases on camera technology. What regularly updated resources (not books) should I follow to continually learn the craft of cinematography?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: this is a re-post of &lt;a href=&quot;https://photo.stackexchange.com/questions/645/good-periodicals-magazines-blogs-for-cinematography&quot;&gt;a question that was closed as off-topic&lt;/a&gt; on Photography - Stack Exchange.&lt;/p&gt;&#xA;" OwnerUserId="1062" LastEditorUserId="-1" LastEditDate="2017-04-13T12:43:53.643" LastActivityDate="2012-02-03T22:24:49.627" Title="Periodicals/magazines/blogs for cinematography?" Tags="|camera|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3180" PostTypeId="2" ParentId="3178" CreationDate="2012-01-31T20:39:25.317" Score="6" Body="&lt;p&gt;4,051 feet of film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For reference:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;8mm = 80.0 frames per foot&lt;/li&gt;&#xA;&lt;li&gt;Super 8 = 72.0 frames per foot&lt;/li&gt;&#xA;&lt;li&gt;16mm = 40.0 frames per foot&lt;/li&gt;&#xA;&lt;li&gt;35mm 2-perf = 32.0 frames per foot&lt;/li&gt;&#xA;&lt;li&gt;35mm 3-perf = 21.3 frames per foot&lt;/li&gt;&#xA;&lt;li&gt;35mm = 16.0 frames per foot&lt;/li&gt;&#xA;&lt;li&gt;65mm = 12.8 frames per foot&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The math: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;60 minutes = 3600 seconds, 3600 sec x 24 fps = 86,400 frames, 86,400/21.333 = 4,050.06328&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Tools for Calculating&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Kodak makes a free app for iOS called &quot;KODAK Cinema Tools&quot; which has a film calculator, among other features.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://motion.kodak.com/US/en/motion/Tools/Mobile/index.htm&quot; rel=&quot;nofollow&quot;&gt;http://motion.kodak.com/US/en/motion/Tools/Mobile/index.htm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Panavision has a simple website with a film footage, frame and running time calculator:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.panavision.co.nz/main/kbase/reference/calcfootage.asp&quot; rel=&quot;nofollow&quot;&gt;http://www.panavision.co.nz/main/kbase/reference/calcfootage.asp&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1062" LastEditDate="2012-02-03T22:25:15.460" LastActivityDate="2012-02-03T22:25:15.460" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3181" PostTypeId="2" ParentId="3179" CreationDate="2012-01-31T20:55:24.013" Score="1" Body="&lt;p&gt;For basics in digital cinema the &lt;a href=&quot;http://vimeo.com/videoschool&quot; rel=&quot;nofollow&quot;&gt;Vimeo School&lt;/a&gt; is a great start.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are tons of blogs for cinematography.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One of the most interesting blogs that covers gear and on the set experiences&#xA;is by noted DP, Philip Bloom, a real major force in modern digital cinema:&#xA;&lt;a href=&quot;http://philipbloom.net/blog/&quot; rel=&quot;nofollow&quot;&gt;http://philipbloom.net/blog/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Coen Brothers too:&#xA;&lt;a href=&quot;http://thecoenbrothers.blogspot.com/?zx=2bb8d66a241d6286&quot; rel=&quot;nofollow&quot;&gt;http://thecoenbrothers.blogspot.com/?zx=2bb8d66a241d6286&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For me the best way to find what's up is to see if your favorite&#xA;director, studio, camera manufacturer, or whatever has a blog via Google.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1062" LastEditDate="2012-02-03T22:24:49.627" LastActivityDate="2012-02-03T22:24:49.627" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3182" PostTypeId="2" ParentId="3164" CreationDate="2012-02-01T06:07:33.703" Score="8" Body="&lt;p&gt;Let me describe what the bottleneck in seeking is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You didn't say what format are your videos encoded in, but I'm guessing you are using H.264 or maybe MPEG-2. Am I correct?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To maximize quality, these codecs have different compression formats, and each frame gets encoded differently. This is a brief summary of the compression types:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I-frames (I stands for intracoded) are frames that can be decoded easily, as they don't depend on any other frames.&lt;/li&gt;&#xA;&lt;li&gt;P-frames (P stands for predictive) are frames that encode only the differences from one or more previous I or P-frames. To decode a P-frame you need to first decode all the I and P-frames that this frame depends on.&lt;/li&gt;&#xA;&lt;li&gt;B-frames (B stands for bi-directional) are frames that encode differences like P-frames, but unlike P-frames, these differences can refer to previous or future I or P-frames. As with P-frames, To decode a B-frame you first need to decode all the past and future frames that are dependencies.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So now I hope the performance problem with seeking is clear. You jump to the middle of the movie clip, and chances are, you are going to land on a B or a P-frame. So the decoder now needs to find all the references required by that frame, decode them in the correct order and only then it can finally decode the target frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To achieve better compression and higher quality, encoders create a lot less I-frames than P or B-frames. The idea is that the compressed stream starts with a really high quality I-frame, and then for a number of frames that follow, smaller P and B frames encode just the differences. Of course if you go for a long time like this quality starts to degrade, so at some point the movie will include another big and nice I-frame and the cycle starts again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When a movie clip is played from start to end, the different frame types appear sorted in the file so that when playback reaches a given frame, all its references have already been seen by the decoder. This allows for very efficient playback at 1x speed. Unfortunately when you play at other rates or when you seek the amount of work the decoder needs to do to find referenced frames is much larger because frames are read out of sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So going back to your question, the problem isn't really in the decoder. If you need to improve seek time you need to use videos that are encoded to minimize seek time. In essence this means videos that have more frequent I-frames, also called keyframes sometimes. The more I-frames you have, the less references will be required to decode P and B-frames so the decoder will have less work to seek.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this helped understand the problem.&lt;/p&gt;&#xA;" OwnerUserId="1898" LastActivityDate="2012-02-01T06:07:33.703" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3183" PostTypeId="2" ParentId="3177" CreationDate="2012-02-01T12:17:00.583" Score="0" Body="&lt;p&gt;This is very straightforward - but you will need to install a 3rd party app to do it. I know of a couple:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://shop.skype.com/apps/Call-recording-audio-video/SuperTintin-Video-Call-Recorder.html&quot; rel=&quot;nofollow&quot;&gt;Supertintin&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.vodburner.com/&quot; rel=&quot;nofollow&quot;&gt;Vodburner&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.evaer.com/&quot; rel=&quot;nofollow&quot;&gt;Evaer&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Pamela&lt;/li&gt;&#xA;&lt;li&gt;imCapture for Skype&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;These will record the entire call to disk.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-02-01T12:17:00.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3184" PostTypeId="1" AcceptedAnswerId="3864" CreationDate="2012-02-01T17:27:49.587" Score="2" ViewCount="89" Body="&lt;p&gt;I am interested about reading material on rate adaptation, by which I mean the process of adapting the bandwidth/rate allocated for a streaming application, ranging from services such as YouTube, to Netflix or Skype calls. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to have references to papers or any kind of material where are described practical solutions that adapt the rate of the media to network and environmental conditions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am especially interested about algorithms that can be applied from the perspective of the end user. &lt;/p&gt;&#xA;" OwnerUserId="1570" LastEditorUserId="1570" LastEditDate="2012-02-01T17:34:16.347" LastActivityDate="2012-06-27T13:35:46.540" Title="Practical algorithms for rate adaptation" Tags="|streaming|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3185" PostTypeId="1" AcceptedAnswerId="3186" CreationDate="2012-02-01T19:44:09.013" Score="2" ViewCount="1730" Body="&lt;p&gt;I am working with a video vendor who just ripped a dvd and sent me BOTH m4v files AND aac files (audio and video separately),. When I asked him why he did not just send 1 m4v file with the audio and video in ONE FILE, he wrote me back this (Which I need to confirm is true or false):&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;em&gt;.M4V is a video format that doesnt directly support audio so the computer automatically rendered the audio files out as .AAC. What you&#xA;  say is an .MP4 format is really just the &quot;file type&quot; and not the&#xA;  extension itself.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Doesn't sound quite right, but I am not a video pro. But I do not want to have to splice all these files together again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please advise: Is his statement (above) correct?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks, sleeper&lt;/p&gt;&#xA;" OwnerUserId="1934" LastActivityDate="2012-02-01T20:58:45.677" Title="Does the M4V file type have direct support for Audio?" Tags="|video|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3186" PostTypeId="2" ParentId="3185" CreationDate="2012-02-01T20:58:45.677" Score="2" Body="&lt;p&gt;I find the m4v extension a bit confusing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For MPEG-2, the .m2v extension is associated with a raw video stream. Those files can have only video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now for MPEG-4, Apple uses the .m4v extension as a container format, and in fact if you rename an .m4v file to .mp4 it is likely to play on players that only read .mp4 files, since the two format are essentially equivalent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think you would need to check this .m4v file and make sure it is really the container format, and not an elementary video stream similar to what you find in .m2v files for MPEG-2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you feel comfortable inspecting files with a hex editor, just open this .m4v file, skip the first four bytes and check if the next four are the letters 'ftyp'. If they are, then you have an MP4 container file that should have no trouble holding audio along with the video. If, on the other side, you've got something else, then you may have an elementary stream, in which case you may want to recommend to your vendor to use a different extension for these files. Using .avc is probably more appropriate for an H.264 elementary stream.&lt;/p&gt;&#xA;" OwnerUserId="1898" LastActivityDate="2012-02-01T20:58:45.677" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="3187" PostTypeId="1" CreationDate="2012-02-02T08:05:11.263" Score="3" ViewCount="1007" Body="&lt;p&gt;I use mpeg streamclip to fix the timecodes in merged vobs. I would like a command line utility that does this without having to recode if possible.&lt;/p&gt;&#xA;" OwnerUserId="1901" LastEditorUserId="126" LastEditDate="2012-02-02T14:11:44.357" LastActivityDate="2016-07-01T06:06:48.887" Title="Fix timecode in merged vobs" Tags="|video|timecode|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3189" PostTypeId="2" ParentId="3177" CreationDate="2012-02-02T15:21:30.417" Score="1" Body="&lt;p&gt;personally I think ustream or the like would be easier. assuming you dont mind the possibility of someone else watching&lt;/p&gt;&#xA;" OwnerUserId="1917" LastActivityDate="2012-02-02T15:21:30.417" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3191" PostTypeId="1" AcceptedAnswerId="3202" CreationDate="2012-02-02T16:49:59.420" Score="2" ViewCount="448" Body="&lt;p&gt;I just acquired an amateur camcorder (Samsung HMX-Q10) that has only a few settings available, most of them are automatic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to shoot a video of me playing a bass guitar cover but it seems that the image is always slightly out of focus. I'm just slightly blurred but with HD image this kind of detail is really noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Shooting environment&lt;/strong&gt; : me standing in front of the camcorder (~2-3 meters) with an instrument, in my appartment (walls mostly white), natural winter/cloudy lighting, white /  bright brown background, black clothes, red guitar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Cam specifications/settings&lt;/strong&gt; : Full HD 1920x1080/50i, Exposure Value : 0, Shutter 1/50 of a second (there is a &quot;low light mode&quot; that set it to 1/25 but it adds colored artifacts).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't notice that the image is blurred on the camcorder small monitoring screen, but when I open the video on the computer it is more obvious (especially because the guitar brand label is blurred), so without proper feedback it is quite hard to manually set the focus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what can I do to help the autofocus ?&lt;br&gt;&#xA;What can I change in the shooting environment to improve its accuracy ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm thinking, maybe the lighting, the colors (background / clothes), some camcorder settings, another element I forgot ?&lt;/p&gt;&#xA;" OwnerUserId="28" LastEditorUserId="28" LastEditDate="2012-02-03T13:51:23.613" LastActivityDate="2012-02-06T18:46:51.247" Title="How to help the autofocus feature of an amateur camcorder" Tags="|camcorder|shooting|full-hd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3192" PostTypeId="1" CreationDate="2012-02-02T21:52:55.390" Score="0" ViewCount="166" Body="&lt;p&gt;Can anyone help me find a software stack for doing near real time video encoding/transcoding?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to allow users to upload videos(wmv, avi, mov, flash video, other formats) to my website. As soon as the file is uploaded, I want to encode/transcode it into h.264 (preferably with an API so I can get progress percentage etc) so that I can then play it back via html5 or a flash player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone have any guidance for me on this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oh, and the server platform can be either windows or linux.&lt;/p&gt;&#xA;" OwnerUserId="1938" LastActivityDate="2012-05-12T17:19:26.950" Title="What type of media server software do I need to transcode in near real time?" Tags="|video|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3196" PostTypeId="1" AcceptedAnswerId="34822" CreationDate="2012-02-03T10:50:48.483" Score="0" ViewCount="459" Body="&lt;p&gt;I have an ASS as the subtitle stream (with these fonts: - Orotund, jagb_&lt;strong&gt;&lt;em&gt;.tff, jagw&lt;/em&gt;_&lt;/strong&gt;.ttf, JUST.ttf, Gabrielle.ttf) in an MKV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What technique should I use to hardsub this subtitle stream onto the MPEG4 (ISO/AVC) without losing quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for all suggestions&lt;/p&gt;&#xA;" OwnerUserId="1940" LastEditorUserId="37172" LastEditDate="2022-01-12T09:41:35.423" LastActivityDate="2022-01-12T09:41:35.423" Title="Hardsubbing ASS onto MPEG4" Tags="|video|video-quality|mpeg|matroska|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3197" PostTypeId="2" ParentId="1908" CreationDate="2012-02-03T13:11:01.380" Score="1" Body="&lt;p&gt;Use mkvmerge with&#xA;  &lt;strong&gt;-y&lt;/strong&gt; or &lt;strong&gt;--sync &lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;                       Synchronize, adjust the track's timecodes with&#xA;&#xA;                       the id TID by 'd' ms.&#xA;&#xA;                       'o/p': Adjust the timecodes by multiplying with&#xA;&#xA;                       'o/p' to fix linear drifts. 'p' defaults to&#xA;&#xA;                       1 if omitted. Both 'o' and 'p' can be&#xA;&#xA;                       floating point numbers.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1940" LastActivityDate="2012-02-03T13:11:01.380" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3199" PostTypeId="2" ParentId="3196" CreationDate="2012-02-03T18:01:43.793" Score="0" Body="&lt;p&gt;I'm pretty sure it's impossible to hardcode subs without quality loss. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unless there's a new technique developed in the last 4 years, the file needs to be converted to a lossless type then the subs need to be coded frame by frame and then compress again. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So: There is no technique that may be used to hardsub onto a compressed video without losing [more] quality. &lt;/p&gt;&#xA;" OwnerUserId="1759" LastActivityDate="2012-02-03T18:01:43.793" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3201" PostTypeId="2" ParentId="3179" CreationDate="2012-02-03T22:05:13.327" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://www.theasc.com/magazine/&quot; rel=&quot;nofollow&quot;&gt;American Cinematographer&lt;/a&gt; is a magazine and the leading publication on cinematography. At the very least, you should be reading this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, these forums have great communities:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.cinematography.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.cinematography.com/&lt;/a&gt;&lt;br&gt;One of the oldest communities on the web about cinematography.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.reduser.net/&quot; rel=&quot;nofollow&quot;&gt;http://www.reduser.net/&lt;/a&gt;&lt;br&gt;A forum focused on the Red Digital Cinema Camera Company but is very active and a good place to stay up-to-date on cinematography techniques.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.rogerdeakins.com/forum2/&quot; rel=&quot;nofollow&quot;&gt;http://www.rogerdeakins.com/forum2/&lt;/a&gt;&lt;br&gt;A website where 9-time Oscar nominee Roger Deakins answers questions submitted by readers.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1062" LastActivityDate="2012-02-03T22:05:13.327" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3202" PostTypeId="2" ParentId="3191" CreationDate="2012-02-03T23:50:21.427" Score="4" Body="&lt;p&gt;I reviewed the specifications for the Samsung HMX-Q10 and have to say there is not a whole lot of information e.g., optics has no mention of &quot;Minimum Focus Distance&quot;. So we are pretty much in the dark on the near boundary of the depth of field.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(a little rant on auto-focus)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most auto focus systems have two modes: Single AF and Full-time AF. Single AF translates into setting the focus once, focusing what ever the sensor picks up first usually in the center of the frame (there are other possible areas depending on the camera, but I'm guessing this Samsung is limited to center weighted focus). Single AF keeps the same focus area during the whole shot. Full-time AF changes focus according to what is changing in the frame. This would be good for tracking a sports event or something moving. Unfortunately the Samsung specs don't mention any of this so I am not sure if this camera has two modes, or one, or if one mode, which one Samsung made the default.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is how I would approach shooting your bass playing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) mount the camera on a tripod so the camera is steady.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Likely 1 meter to 2 meters will be far enough away to be in focus. I recommend that you&#xA;   experiment with this to see if 1 meter is better than 2 or if 2 is better than 3 meters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) light the set with as much light as you can as this will force the auto-exposure to&#xA;   'stop-down' the iris as in a smaller aperture, which translates into more depth of &#xA;   field.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) in front of the camera, dead center, put a chair or something where you will be playing,&#xA;   (use some gaffers tape to mark this spot off camera on the floor assuming your not&#xA;   going to show your feet) this will force the auto-focus to focus on the space you are&#xA;   going to be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5) set the camera zoom to full wide (the wider you set the lens, the greater the depth&#xA;   of field).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;6) press the record button, walk to your spot toss the chair or prop that was standing in&#xA;   for you and start your action. All the stuff that happened before you started playing&#xA;   your bass can be cut out in post production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately you can have a friend stand in for you on your mark before you start the camera, you could even have them give an intro then decide later to keep it or cut it and go direct to the bass playing. Also, you could have an assistant do all this camera work for you while you stay in place to start the show.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Quick review:&#xA;1) tripod to steady the camera,&#xA;2) lots of light,&#xA;3) set zoom to widest angle,&#xA;4) have your spot in focus before you start.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-02-06T18:46:51.247" LastActivityDate="2012-02-06T18:46:51.247" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3203" PostTypeId="1" CreationDate="2011-02-23T07:46:01.997" Score="0" ViewCount="2175" Body="&lt;p&gt;I'm confused as to go with the costlier body cheaper lens vice-versa,&#xA;I have a budget at around $1000, and i am looking at the canon 550d with the 50mm f 1.8.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to get advice on the lens selection, the dslr will be used mostly for video.&#xA;Also is there a nikon alternative to the 550d?&#xA;Your answers are greatly appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Options:&#xA;Sony A55&#xA;Sony A580&#xA;Canon 550d&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regards&lt;/p&gt;&#xA;" OwnerDisplayName="user4031" LastActivityDate="2012-02-04T14:40:11.087" Title="Is the Canon 550d ideal for documentary video production?" Tags="|video|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 2.5" />
  <row Id="3204" PostTypeId="2" ParentId="3203" CreationDate="2011-02-23T08:49:58.523" Score="0" Body="&lt;p&gt;Nikon hits both above and below the 550D (T2i), but not right at that level. There's the entry-level D3100, which is less expensive (and relatively new), and the recently-released D7000, which comes in at about $400-$500 more (but is very capable). At around the same price level as the 550D, there's the D90 -- but it was the very first video DSLR, so it's not quite up-to-date in terms of features or video resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not a video person, so I can't tell you anything useful about the video features of either camera except that the D7000 seems to be pretty much feature-complete. The D3100 doesn't seem to get very positive reviews for serious video (major rolling shutter effect and short recording time being the major complaints), and the D7000 is more of a competitor to the Canon 60D than the 550D/T2i. The D90, as I said, is a bit of a black-and-white vacuum-tube television compared to anything more recent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(&lt;strong&gt;Rant Expurgated&lt;/strong&gt; -- but it felt good while it lasted)&lt;/p&gt;&#xA;" OwnerDisplayName="Stan Rogers" LastActivityDate="2011-02-23T09:56:50.920" CommentCount="1" ContentLicense="CC BY-SA 2.5" />
  <row Id="3205" PostTypeId="2" ParentId="3203" CreationDate="2011-02-23T09:28:58.820" Score="2" Body="&lt;p&gt;If you're all about video, Nikon D3100 (my friend owns) shall give you exact video quality as Canon 550D (I own) as well as can save a few bucks. Additional money can be used to buy a better lens f.e 28-135mm than the kit lens. 50mm f/1.8 is a very good lens for its price but not sure a prime could suffice you need for video or not. I'd prefer a zoom lens for better video framing.&lt;/p&gt;&#xA;" OwnerDisplayName="ShutterBug" LastActivityDate="2011-02-23T09:28:58.820" CommentCount="2" ContentLicense="CC BY-SA 2.5" />
  <row Id="3206" PostTypeId="2" ParentId="3203" CreationDate="2011-02-23T14:10:52.837" Score="4" Body="&lt;p&gt;Normally, it is advisable to go with a better lens even if that means a cheaper body (due to budget constraints), as lenses make much more a difference than most modern DSLRs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you are going for primarily for video, you need to consider &lt;strong&gt;audio&lt;/strong&gt; as well. There is no built-in microphone that is good enough for serious documentary, so you have two choices:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Buy a &lt;strong&gt;camera with a mini-jack&lt;/strong&gt; so that you can plug in an external microphone.&lt;/li&gt;&#xA;&lt;li&gt;Buy an &lt;strong&gt;external sound recording device&lt;/strong&gt; and record sound separately. Merge the sound track from your recording with the video track using video editing software.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The &lt;strong&gt;second option is more flexible and also more costly&lt;/strong&gt;. As usual, you need to spend enough on a sound recording to get something good. Don't both using you cellphone's sound-recording function ;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are very few DSLRs which will autofocus while recording video. It is often a concern for people buying cameras for home videos but for &lt;strong&gt;anything serious it does not matter&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do not go with one of the sound options above, then you will have to &lt;strong&gt;worry about the camera recording the sound of autofocus&lt;/strong&gt;. On the cameras I tried (&lt;a href=&quot;http://www.neocamera.com/review.php?id=15&quot; rel=&quot;nofollow&quot;&gt;Nikon D3100&lt;/a&gt; and &lt;a href=&quot;http://www.neocamera.com/review.php?id=148&quot; rel=&quot;nofollow&quot;&gt;A55&lt;/a&gt;), it will make your sound track annoying to your audience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even if you do use external audio, the contrast-detect autofocus system used by the D3100 causes the lens to move back and forth while focusing. This is easy to spot in videos and just does not look right. The &lt;a href=&quot;http://www.neocamera.com/review.php?id=148&quot; rel=&quot;nofollow&quot;&gt;Sony Alpha SLT-A55&lt;/a&gt; and its sibling the A33 are the &lt;strong&gt;only cameras that use phase-detection during video recording&lt;/strong&gt; and avoid this particular problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If possible for the subjects you are documenting, &lt;strong&gt;you should use Manual Focus while filming&lt;/strong&gt;. This will let you decide precisely on what to focus, when to change focus and how slowly to do it. It will take lots of practice to get right, so try it on squirrels or whatever animal you have roaming around where you live.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are filming things that move a lot or live-events (in which case retakes are not possible), then you may decide to rely on autofocus. You will occasionally end up with shots that are partially out of focus since sometimes the camera simply goes after the wrong thing. You can edit such parts out and move any relevant audio.&lt;/p&gt;&#xA;" OwnerDisplayName="Itai" LastActivityDate="2011-02-23T14:10:52.837" CommentCount="1" ContentLicense="CC BY-SA 2.5" />
  <row Id="3207" PostTypeId="2" ParentId="3192" CreationDate="2012-02-04T14:53:36.300" Score="0" Body="&lt;p&gt;I am guessing that mplayer and vlc are where you want to start lookIng. &lt;/p&gt;&#xA;" OwnerUserId="345" LastActivityDate="2012-02-04T14:53:36.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3208" PostTypeId="2" ParentId="3121" CreationDate="2012-02-04T16:42:25.220" Score="0" Body="&lt;p&gt;Apple Motion that comes with FinalCutPro is very versatile and if you like Apples approach to video editing you'd like it.&lt;br&gt;&#xA;I am learning it at the moment, I'll update as I make progress.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&#xA;I ended up liking After Effects more because of its versatility, and community support, availability of educational resources, and all the paid or free tools around it. And usually you will end up having it for no additional cost if you use any other Adobe products.    &lt;/p&gt;&#xA;" OwnerUserId="1856" LastEditorUserId="1856" LastEditDate="2017-09-19T11:39:33.097" LastActivityDate="2017-09-19T11:39:33.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3212" PostTypeId="1" AcceptedAnswerId="3218" CreationDate="2012-02-05T17:43:22.833" Score="1" ViewCount="2123" Body="&lt;p&gt;I am currently editing a clip in After Effects. We had a very limited supply of green screen so I am now having to edit some of the white wall too. The thing is, the actors move around, not allowing me to clip out these parts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering if there was a thing in After Effects that allowed me to break up the clips so that I can work around the actors in certain time intervals and get the white wall to be transparent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="1945" LastActivityDate="2012-10-09T21:23:09.130" Title="Adobe After Effects Frame-By-Frame Editing" Tags="|after-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3213" PostTypeId="1" AcceptedAnswerId="3214" CreationDate="2012-02-05T15:56:08.197" Score="0" ViewCount="350" Body="&lt;p&gt;I have a &lt;a href=&quot;http://reviews.cnet.com/digital-cameras/kodak-easyshare-z950-black/4505-6501_7-33765257.html&quot; rel=&quot;nofollow&quot;&gt;Kodak Easyshare z950&lt;/a&gt; camera. Previously I only used it to take some pictures while traveling. Now I want to seriously work with video. Not that seriously as in TV studio, but still I want to produce high quality videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It shoots HD720p which is pretty good. While I'm outside it looks well, but if I shoot inside, the footage I produce is grainy with lots of background noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think if I installed some proper illumination it would be fine. The problem is my budget is very limited something around $50-$100. How do you get the most lighting with least amount of money? I thought about just buying the most powerful light bulbs in the store and using some aluminum foil as a reflectors. Any better ideas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also thought about waiting for spring and when it's at least 10°C I could shoot outside. Problem then would be the sound, because wind blows into the mic. Should I build some hard cardboard walls or something?&lt;/p&gt;&#xA;" OwnerDisplayName="Tomas" LastEditorUserId="126" LastEditDate="2012-02-06T15:15:04.850" LastActivityDate="2012-02-06T22:13:13.587" Title="Bad video camera + little money = decent video quality" Tags="|lighting|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3214" PostTypeId="2" ParentId="3213" CreationDate="2012-02-05T16:50:07.907" Score="2" Body="&lt;p&gt;The difference in brightness outdoors compared with indoors is much greater than you'd think due to the way your brain compresses the dynamic range. If you've ever been on a location shoot that's been properly lit for video you'd see the difference - it hurts your eyes! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm afraid the point here is that you're not going to recreate outdoor lighting for that price range. You are better off trying to rearrange your shooting to make the most of natural light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you really need to shoot indoors, getting some work lights and using hard, direct (undiffused) lighting will give you the biggest bang for buck. It's a distinctive look that can work well.&lt;/p&gt;&#xA;" OwnerUserId="6559" OwnerDisplayName="Matt Grum" LastActivityDate="2012-02-05T16:56:48.430" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3217" PostTypeId="2" ParentId="3213" CreationDate="2012-02-06T18:58:38.170" Score="2" Body="&lt;p&gt;Regarding the part about your built in mic and wind noise/pops:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cut a piece of high quality foam to the size of the mic opening on your camera, and use tiny strips of velcro to attach. I did this for an expensive Sony Camcorder, it works great, cuts the wind down and muffles pops. I actually bought a real foam mic windscreen (for less than $10) and cut it to fit on my camera top.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-02-06T22:13:13.587" LastActivityDate="2012-02-06T22:13:13.587" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3218" PostTypeId="2" ParentId="3212" CreationDate="2012-02-06T22:33:14.927" Score="0" Body="&lt;p&gt;I hope I understand this correctly, are you saying that you have actors in front of a green screen and sometimes they are off the screen? If you want to chroma key the green screen to be another surface you have to have it consistent all the way through. Green screen is hard enough to get right. (Green or blue screen backgrounds have to be evenly lit with a flat diffused light, non-reflective, and no shadows, otherwise the green screen will look blotchy,&#xA;and have noise areas that you can't just tweak out.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Trying to mask out where your actors fall out of the green screen frame does not have a solution in it. If you didn't get this right in production you won't be able to fix this in post. At least not fix it in post with anything that looks close to natural. I highly recommend you shoot this over.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-02-06T22:33:14.927" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3221" PostTypeId="1" CreationDate="2012-02-07T03:45:25.147" Score="0" ViewCount="85" Body="&lt;p&gt;I want to encode a group of low-quality MPEG-4 video files to DVD format (to eventually burn to a DVD).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that when I encode the video, the resulting files are often 2-3x as large as the original video files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I encode the video files so that they are in DVD format, roughly the same quality, and roughly the same file size as the originals?&lt;/p&gt;&#xA;" OwnerUserId="1949" LastActivityDate="2012-02-07T12:37:56.953" Title="Encode MPEG-4 to DVD Format Without Doubling File Size" Tags="|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3222" PostTypeId="2" ParentId="1993" CreationDate="2012-02-07T11:58:30.390" Score="0" Body="&lt;p&gt;duplicate the clip to be scaled, on top of the original clip. Use crop to crop out everything except the bit you want to scale up. If necessary move the anchor point for this layer so that it's in the centre of the part that gets blown up, then scale it up.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2012-02-07T11:58:30.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3223" PostTypeId="2" ParentId="3212" CreationDate="2012-02-07T12:01:05.813" Score="1" Body="&lt;p&gt;Have you used the Roto Brush? It was designed for situations like these.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For those unfamiliar, there is a nice &lt;a href=&quot;http://www.lafcpug.org/Tutorials/basic_ae_roto_brush_douglas.html&quot; rel=&quot;nofollow&quot;&gt;concise tutorial here&lt;/a&gt; on how to use the Roto Brush.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="2569" LastEditDate="2012-10-09T21:23:09.130" LastActivityDate="2012-10-09T21:23:09.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3224" PostTypeId="2" ParentId="1739" CreationDate="2012-02-07T12:10:32.523" Score="0" Body="&lt;p&gt;Top menu&gt;animation&gt;stabilise motion&#xA;You'll have to find some tracking points, and if there's a lot of camera movement this is guaranteed to be a right royal PITA, but you don't need any 3rd party plug ins, because it's built in to after effects (since before it was even &quot;CS&quot;, IIRC).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively you can use Mocha (or was that CS5?). It does a better job of stabilising footage, at the expense of a fairly unintuitive UI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But what's wrong with Virtual Dub? Just because it's free doesn't mean it aint better.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2012-02-07T12:10:32.523" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3225" PostTypeId="2" ParentId="2634" CreationDate="2012-02-07T12:21:55.890" Score="4" Body="&lt;p&gt;&lt;code&gt;-profile baseline&lt;/code&gt; seems to work for me, using libx264. I use the libx264 presets - for example &quot;slow&quot; gives me the options listed below. there's fast, slow, veryslow and placebo (might be more, can't remember).&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;stib$ ffmbc -i test.mov -vcodec libx264 -preset slow -profile baseline -acodec libfaac -ab 96k -crf 19 test.mp4&#xA;...&#xA;[libx264 @ 0x101858c00] profile Constrained Baseline, level 3.1&#xA;[libx264 @ 0x101858c00] 264 - core 120 - H.264/MPEG-4 AVC codec - Copyleft 2003-2011 - http://www.videolan.org/x264.html - options: cabac=0 ref=5 deblock=1:0:0 analyse=0x1:0x111 me=umh subme=8 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=0 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=0 weightp=0 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=50 rc=crf mbtree=1 crf=19.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'test.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2012-02-07T13:37:15.797" LastActivityDate="2012-02-07T13:37:15.797" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3226" PostTypeId="2" ParentId="3221" CreationDate="2012-02-07T12:37:56.953" Score="3" Body="&lt;p&gt;Well, the short answer is, you can't. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The longer answer: DVD uses MPEG2 compression, which is a lot less efficient than MPEG4 (aka h.264). In other words it can't get the same quality from the same file size as MPEG4 does. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you can choose: similar file size, or similar quality, but not both.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2012-02-07T12:37:56.953" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3227" PostTypeId="2" ParentId="3187" CreationDate="2012-02-07T12:41:36.247" Score="0" Body="&lt;p&gt;I'd be guessing &lt;a href=&quot;http://ffmpeg.org&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt; or &lt;a href=&quot;http://code.google.com/p/ffmbc/&quot; rel=&quot;nofollow&quot;&gt;ffmbc&lt;/a&gt;..?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2012-02-07T12:41:36.247" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3228" PostTypeId="2" ParentId="3149" CreationDate="2012-02-07T12:45:49.937" Score="5" Body="&lt;p&gt;If you just play the comp it won't play audio. You need to do a RAM preview. Hit &lt;kbd&gt;0&lt;/kbd&gt; (zero) on the numeric keypad or &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;0&lt;/kbd&gt; if you're on a laptop. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;kbd&gt;.&lt;/kbd&gt; (period) on the numeric keypad (or for laptop &lt;kbd&gt;ctrl&lt;/kbd&gt;+&lt;kbd&gt;.&lt;/kbd&gt;) plays just the audio from wherever the playhead is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your footage does have audio, you will see the waveform in the preview thumbnail in the project window, and the item description will tell you the audio format, as below (in this case 44.1kHz, 16 bit unsigned pcm, stereo audio)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/kVdoR.png&quot; alt=&quot;AE project window showing clip with audio&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the clip has audio and you bring it into a compositon you should see a little speaker icon on the layer with the audio, next to the eye icon, on the left.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tYbck.png&quot; alt=&quot;speaker icon highlighted&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="6685" LastEditDate="2015-08-30T15:47:59.920" LastActivityDate="2015-08-30T15:47:59.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3229" PostTypeId="2" ParentId="2272" CreationDate="2012-02-07T12:56:52.883" Score="5" Body="&lt;p&gt;I use both. Agree with all of the above for After Effects, I use it for any heavy lifting because Motion just drives you insane if you try anything too tricky with it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The beauty of Motion is the way it is integrated into FCP. So I tend to use it for things like lower thirds or credits, because I can create &quot;Master Templates&quot; in Motion and import them into FCP and re-use them with different content. For example this allows you to use the same Motion composition for all your lower thirds, but change the text in FCP as you edit. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's also good for simple things like Ken Burns' effects (panning and zooming on photographs), if you want them to look a bit more polished than FCP's rather sucky motion tools can give you. And being able to tweak things in Motion and see it instantly update in FCP is a lot better than exporting to AE &gt; tweaking &gt; rendering &gt; relinking in FCP.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2012-02-07T12:56:52.883" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3230" PostTypeId="1" AcceptedAnswerId="3234" CreationDate="2012-02-07T17:01:43.350" Score="2" ViewCount="16837" Body="&lt;p&gt;&lt;br /&gt;&#xA;I'm kinda new to AE and having a weird issue while trying to render a 1920x1080 Composition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After rendering about 10seconds, i get the following error:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/DijTN.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've checked all of my objects and i have no composition with the large dimensions mentioned in the error. &lt;br /&gt;&lt;br /&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Did anyone ever bump into this error ? It would greatly help me to hear from the more experienced one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers,&lt;br /&gt;&#xA;Shai.&lt;/p&gt;&#xA;" OwnerUserId="1951" LastActivityDate="2015-07-02T16:00:08.020" Title="AE Error : Imager Buffers exceed internal limits. Decrease the memory requirements for the rendering of this frame. (12804)" Tags="|video|after-effects|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3231" PostTypeId="2" ParentId="3192" CreationDate="2012-02-07T19:45:17.510" Score="0" Body="&lt;p&gt;Encoding.com offers cloud-based high-speed conversion. Their standard plans aren't instant (up to 30 minute queue time), but they do offer encode-as-you-upload (meaning that they start encoding during the upload process, which is awesome).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll need to contact them for more info and pricing on that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Be aware: What you're wanting to do is both complex and expensive unless you hire someone, in which case it's just expensive (assuming your website becomes anywhere near popular).&lt;/p&gt;&#xA;" OwnerUserId="1431" LastActivityDate="2012-02-07T19:45:17.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3232" PostTypeId="1" AcceptedAnswerId="3239" CreationDate="2012-02-07T21:12:21.063" Score="1" ViewCount="128" Body="&lt;p&gt;We have existing coax cable in our office building and we'd like to put displays in our lobby and some other rooms in the office (where there are existing coax jacks).  We'd like these displays all controlled by a single PC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best way to accomplish the distribution aspect of this?  I have found ZeeVee's products and they seem like they will work, but I am wondering if there is a better solution?&lt;/p&gt;&#xA;" OwnerUserId="1953" LastEditorUserId="1953" LastEditDate="2012-02-07T21:47:51.897" LastActivityDate="2012-02-08T09:11:48.830" Title="What is the best way to distribute an audio/video feed from a computer to TVs over existing indoor coax cable?" Tags="|video|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3234" PostTypeId="2" ParentId="3230" CreationDate="2012-02-07T22:58:44.780" Score="1" Body="&lt;p&gt;It would be good to know what OS your machine is running and if it's 32 or 64 bit, and the resources as in type of processor (Dual Core, i3, i7?) and how much DRAM is on the motherboard. I am not an After Effects user (yet) but this error appears to be a resource error, which is common to many other video editors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would also be helpful to have you describe what you are trying to render in AE. For instance how long is the piece, how many video tracks, what effects are used, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without knowing your computer's resources is not a show stopper, here are some items to check.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are you running anything else when AE is trying to render, if so try your render again with nothing running but AE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a 32 bit machine you may have a 2GB limit on the RAM, which is going to be an issue. Have you tried this on a 64 bit machine with more memory?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What resources do you have AE using besides the requested render? For instance do you have the preview screen on 'auto' size mode, you might try to make the preview smaller and in a 1/4 or 1/2 mode so AE doesn't have to figure out each display frame size thereby freeing up some cycles.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-02-07T22:58:44.780" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3235" PostTypeId="1" AcceptedAnswerId="3253" CreationDate="2012-02-07T23:41:27.080" Score="7" ViewCount="303" Body="&lt;p&gt;Im trying to test various video/audio codecs by editing clips from larger videos that have the codecs I want to test.  Although every video editor i have tried changes the codecs of the clips i create to different codecs than what the original used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any video editors out there where I can create clips of videos without changing the codecs of the original video...I want to create clips, yet keep the audio/video codecs in tact.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Windows Movie Maker&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Avidemux 2.5&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AVS Video Editor&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VideoLAN Movie Creator&lt;/p&gt;&#xA;" OwnerUserId="1954" LastActivityDate="2012-02-27T18:49:17.743" Title="Looking For A Video Editor that will maintain the codecs of the original source video" Tags="|video|video-editor|codec|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3236" PostTypeId="2" ParentId="1883" CreationDate="2012-02-08T03:27:33.127" Score="1" Body="&lt;p&gt;It also depends a lot on your target platform. High Profile will compress better than Main Profile, but not all devices can decode High Profile with large frame sizes. A few cannot decode High Profile at all. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have had considerable success encoding motor racing in SD (852x480, actually) at 768kbps using High Profile. Even though you have a quarter the frame size, I suspect 150kpbs is extremely optimistic.&lt;/p&gt;&#xA;" OwnerUserId="1661" LastActivityDate="2012-02-08T03:27:33.127" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3237" PostTypeId="2" ParentId="3235" CreationDate="2012-02-08T03:43:54.050" Score="1" Body="&lt;p&gt;QuickTime Pro 7 does this, as long as the media is inside a QuickTime (&lt;code&gt;.mov&lt;/code&gt;) container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I understand how it works correctly, it's because the player is able to play back the source material in a large number of ways (on the fly). You could have multiple clips on the screen with different geometric properties, multiple audio tracks, cuts, etc--and the player will just play back the appropriate parts of the media at the right time with the specified scaling, masking, and other attributes. The app itself is approaching obsolescence, and had a limited feature set to begin with, but it could do what you're talking about.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, many high-end non-linear video editing software will read many codecs natively and archive the highest-quality files for use when you actually encode your project (to avoid fidelity loss caused by multiple encodes and decodes in the editing process).&lt;/p&gt;&#xA;" OwnerUserId="617" LastActivityDate="2012-02-08T03:43:54.050" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3239" PostTypeId="2" ParentId="3232" CreationDate="2012-02-08T09:11:48.830" Score="1" Body="&lt;p&gt;ZeeVee's ZVBox solution is designed exactly for this - hotels, airports, companies etc use this. They can scale massively, they can take video or feeds from PC's and distribute one or both on different channels to existing HDTV's.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what are you looking for that would be better?  It appears to cover all your bases.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-02-08T09:11:48.830" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3241" PostTypeId="1" CreationDate="2012-02-08T12:33:10.350" Score="3" ViewCount="809" Body="&lt;p&gt;I've produced a video in 50 fps progressive. I am having a hard time getting anyone to actually see it: all popular online video players are artificially capped to 30 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way I can publish this video without halving the framerate to 25 fps, which looks atrocious due to the fast shutter used?&lt;/p&gt;&#xA;" OwnerUserId="791" LastActivityDate="2012-06-28T16:55:39.623" Title="Where can I publish a 50 fps video?" Tags="|video|software|recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3244" PostTypeId="1" CreationDate="2012-02-08T23:53:20.967" Score="3" ViewCount="392" Body="&lt;p&gt;I was doing some cleaning today and found the device below, unopened, in its original plastic bag. I'm guessing it's an accessory for a photo or video camera from the 8mm jack, but anything more than that is beyond me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone else know what it is?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Top:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/kUezY.jpg&quot; alt=&quot;enter image description here&quot;&gt;&#xA;Interior:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/ATqtI.jpg&quot; alt=&quot;enter image description here&quot;&gt;&#xA;Bottom:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/JQRwK.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1958" LastEditorUserId="126" LastEditDate="2012-02-09T14:45:01.393" LastActivityDate="2012-02-18T22:01:05.497" Title="What is this device?" Tags="|hardware|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="3245" PostTypeId="1" CreationDate="2012-02-09T03:15:08.763" Score="1" ViewCount="925" Body="&lt;p&gt;I would like to know what is the proper way to connect the mixer to the compressor limiter gate to my Behringer1202fx mixer? any ideas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I would like to know if anyone has or knows how to set up at least one Skype call with  mix-minus into the same 1202 mixer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideas much appreciated, Thanks in advance&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Silas&lt;/p&gt;&#xA;" OwnerUserId="1960" LastActivityDate="2012-07-11T17:41:19.010" Title="Two questions regarding setting up a podcast with Behringer 1202fx mixer and a dual channel compressor limiter gate" Tags="|podcast|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3247" PostTypeId="1" CreationDate="2012-02-09T09:55:12.347" Score="2" ViewCount="3494" Body="&lt;p&gt;Can you please assist with a recommendation about a good Video Capture Card / Device that can used to convert from 8mm Video Tapes to Digital (PC - Windows)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found a site with lots of such devices which are not expensive at all, but since I have ZERO background in this area I am not sure which of them will do the job and will give me the best quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are 2 examples, I will be more than glad to receive your feedback / suggestions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.tigerdirect.com/applications/SearchTools/item-details.asp?EdpNo=6659984&amp;amp;CatId=1428&quot; rel=&quot;nofollow&quot;&gt;http://www.tigerdirect.com/applications/SearchTools/item-details.asp?EdpNo=6659984&amp;amp;CatId=1428&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.tigerdirect.com/applications/SearchTools/item-details.asp?EdpNo=612720&amp;amp;CatId=1428&quot; rel=&quot;nofollow&quot;&gt;http://www.tigerdirect.com/applications/SearchTools/item-details.asp?EdpNo=612720&amp;amp;CatId=1428&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1963" LastEditorUserId="126" LastEditDate="2012-02-09T13:41:34.657" LastActivityDate="2023-04-11T14:47:16.660" Title="Converting from 8mm Video Tapes to Digital (PC)" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3248" PostTypeId="2" ParentId="3247" CreationDate="2012-02-09T14:31:27.543" Score="1" Body="&lt;p&gt;I have a &lt;a href=&quot;http://hauppage.com/&quot; rel=&quot;nofollow&quot;&gt;Hauppage&lt;/a&gt; PVR-150 TV-Tuner PCI card (older analog version) that I have used to record from my Hi8 video camera.  I just plug the video from the camera into the card and the sound into my sound card.  The quality of the resulting video seemed to be just as good as the playback from the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hauppage makes several different products including &lt;a href=&quot;http://hauppage.com/site/products/data_usblive2.html&quot; rel=&quot;nofollow&quot;&gt;USB video capture devices&lt;/a&gt; similar to the ones you have listed.  The products are good and not too expensive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are many other brands and devices, but this is the only brand/device I have personal experience with.&lt;/p&gt;&#xA;" OwnerUserId="126" LastActivityDate="2012-02-09T14:31:27.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3249" PostTypeId="2" ParentId="3247" CreationDate="2012-02-09T20:09:28.037" Score="2" Body="&lt;p&gt;Three years ago I purchased the DIAMOND One Touch Video Capture similar to the 2nd link you provided.:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.newegg.com/Product/Product.aspx?Item=N82E16815306013&quot; rel=&quot;nofollow&quot;&gt;http://www.newegg.com/Product/Product.aspx?Item=N82E16815306013&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This device worked perfectly for converting tons of old VHS tapes to a format suitable for DVDs, I must have converted over 50 tapes this way. I also discovered that I could use this device to capture live broadcasts using the following chain: Antenna --&gt; Video Converter box --&gt; Diamond...Capture --&gt; USB Computer input --&gt; capture software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main thing you have to remember is that the conversion is in real time and linear. I had to allow for the tape to play through the parts I wanted to capture at the normal playback speed. On the plus side, the USB interface allows quick and easy set up, no need to open up your computer and install another PCI card. &lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-02-09T20:09:28.037" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3252" PostTypeId="2" ParentId="3064" CreationDate="2012-02-09T20:56:06.453" Score="0" Body="&lt;p&gt;Your question: So, is there any way to create DVDs containing a menu-driven environment but with HD videos?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To confirm what &lt;em&gt;@blindfold&lt;/em&gt; states, No, you can not make a DVD, that plays in a DVD player to show HD video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, you can make a Blue-Ray, with interactive menus that looks and feels like a DVD menu system, but with HD video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also use a program like Adobe Encore to create one project file and then export either a DVD with menus or Blue-Ray with menus without having to make multiple projects.&lt;/p&gt;&#xA;" OwnerUserId="322" LastEditorUserId="126" LastEditDate="2012-02-10T03:04:42.367" LastActivityDate="2012-02-10T03:04:42.367" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3253" PostTypeId="2" ParentId="3235" CreationDate="2012-02-10T04:58:50.783" Score="3" Body="&lt;p&gt;In many instances you can use &lt;a href=&quot;http://ffmpeg.org/&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt; to create a clip out of a longer clip, and request that the original frames are copied instead of re-encoded. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm writing this from memory so you may want to double check, but I believe the command line options you need to use for this are:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;lt;source-filename&amp;gt; -vcodec copy -acodec copy -ss &amp;lt;start-position&amp;gt; -t &amp;lt;duration&amp;gt; &amp;lt;destination-filename&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1898" LastActivityDate="2012-02-10T04:58:50.783" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3259" PostTypeId="1" AcceptedAnswerId="3264" CreationDate="2012-02-10T17:49:02.553" Score="2" ViewCount="467" Body="&lt;p&gt;I'm going to make a movie now with a D7000 I'm going to buy. I want it to look as professional as possible, but I don't want to blow the budget. (I'm a 16 years old student..)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What equipment do I really need to make a normal movie with a few action scenes? Is it good enough with a monopod, or do I need a tripod? In that case, do you know a concrete product I can buy? Is a DIY Manfrotto Fig-Rig better than completely hand-held? My budget is around $200, but if it is like as important to spend a bit on this as a good camera, then of course I'll put some more money into it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I need something like this to get smooth shots? &lt;a href=&quot;http://viewitem.eim.ebay.no/NEW-MANFROTTO-701HDV-701-HDV-Pro-Fluid-Video-Head/280535333409/item&quot; rel=&quot;nofollow&quot;&gt;http://viewitem.eim.ebay.no/NEW-MANFROTTO-701HDV-701-HDV-Pro-Fluid-Video-Head/280535333409/item&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your answer and time!&lt;/p&gt;&#xA;" OwnerUserId="1909" OwnerDisplayName="50ndr33" LastActivityDate="2012-02-10T23:07:00.310" Title="Do I need tripods etc. for filming?" Tags="|dslr|video|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3260" PostTypeId="2" ParentId="3259" CreationDate="2012-02-10T18:01:20.043" Score="0" Body="&lt;p&gt;With a tripod, you will gonna end up shooting from a fixed position most of the time. If you visualize that the camera will be moving when you are filming then I guess a hand-held stabilizer for DSLR is a better choice.&lt;/p&gt;&#xA;" OwnerDisplayName="yoninja" LastActivityDate="2012-02-10T18:01:20.043" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3261" PostTypeId="2" ParentId="3259" CreationDate="2012-02-10T18:04:59.633" Score="1" Body="&lt;p&gt;That depends on a few different factors. First off, you need to know what type of film you're shooting. If it has intense action scenes in which the camera needs to move around, then why use a tripod? If it is something quieter such as an interview, or a panoramic view of a landscape or a video indoors where the camera doesn't move around much, you might even be able to do it without the tripod. That will depend on the steadiness of your hand, though. Remember that if you are not moving the camera much but use the zoom a lot, you might want to consider using a tripod, even if you have a steady hand. Now, I don't know about products of this sort myself (I've never really used my DSLR for serious filming) but I believe that in most cases you can do just fine without a tripod.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do some test filming and check the results, that should help you make up your mind.&lt;/p&gt;&#xA;" OwnerDisplayName="the.midget" LastActivityDate="2012-02-10T18:04:59.633" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3262" PostTypeId="1" CreationDate="2012-02-08T20:33:38.943" Score="1" ViewCount="398" Body="&lt;p&gt;I have a Nikon D5000 and would like to use it to take video clips. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;By default, when shooting video clips in the &quot;Live View&quot; mode, you can only use 1 MP of the camera's 12 MP, thus you get video clips in a crappy resolution. In addition, you can't use apertures smaller than f/8. Also Live View doesn't respect shutter speeds. Instead, it uses ISO adjustment to move exposure, and it does so in third-stop increments that can look &quot;jumpy&quot; on the LCD (and in movies).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I avoid all of these things? Is there a way to take video clips on the D5000 without being in Live View mode?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My information comes from this website: &lt;a href=&quot;http://www.bythom.com/nikond90review.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.bythom.com/nikond90review.htm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerDisplayName="jonas" LastActivityDate="2014-02-28T20:22:10.233" Title="How to get higher resolution and smooth exposure control when shooting movies with a Nikon D5000?" Tags="|video|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3264" PostTypeId="2" ParentId="3259" CreationDate="2012-02-10T18:53:34.797" Score="3" Body="&lt;p&gt;A fig rig would be an excellent choice for an action piece. If the fig is out of your budget range look at the Opteka X-Grip. Cheap ($30) and pretty flexible, especially if you mount it sideways instead of with the handle parallel to the lens barrel when the shot needs it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also if you have access to After Effects spend some time learning the stabilization and tracking capabilities. That will probably improve your shots, helps with rolling shutter issues too that you may experience on a DSLR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Borrow a tripod. Lots of tripods sitting around in closets in this world.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Audio is the achilles heal of DSLR video. Make sure you take that into consideration. You can pick up some decent but cheap shotgun microphones that will plug into the D7000, that will help. Also consider grabbing an H4, or several H1s.&lt;/p&gt;&#xA;" OwnerUserId="1974" LastEditorUserId="1974" LastEditDate="2012-02-10T19:30:11.080" LastActivityDate="2012-02-10T19:30:11.080" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3265" PostTypeId="1" AcceptedAnswerId="3267" CreationDate="2012-02-10T18:57:55.150" Score="6" ViewCount="816" Body="&lt;p&gt;I'm going to make a serious movie, what are the BIG mistakes newbies often do, both in the clipping and the shooting stage?&lt;/p&gt;&#xA;" OwnerUserId="1909" LastEditorUserId="636" LastEditDate="2012-02-12T19:03:30.957" LastActivityDate="2023-12-18T19:39:52.737" Title="Common newbie mistakes for cinematography?" Tags="|filming|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3267" PostTypeId="2" ParentId="3265" CreationDate="2012-02-10T20:27:23.177" Score="19" Body="&lt;h4&gt;Common oversights of beginners in pre-production (planning):&lt;/h4&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;No script or plan of action.&lt;/strong&gt; Even if you are doing something very abstract or experimental, have a plan of how things begin, develop and end. You can always change this as you proceed, but it's most important to have a baseline. This should include your budget of money and time for all concerned.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;No research.&lt;/strong&gt; If you are shooting a documentary or a narrative be sure to do all the fact checking or if this is fiction, make it plausible or not if you desire the comical.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;No storyboard.&lt;/strong&gt; The storyboard is a series of panels like a comic book that describes each scene and the action contained within. This is how the camera will set up for each shot. From the storyboard you can derive a shot list.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;No idea of screen direction.&lt;/strong&gt; Right from the storyboard you should have a good handle on the direction the action moves within the frame as well as taking into account how the camera may move to cover such action whether that is a pan, tilt, crane, handheld, etc. shot. The key here is continuity of movement from shot to shot. Learn about screen direction and cover the 180 degree rule as this also falls under continuity.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;No production schedule.&lt;/strong&gt; Most movies do no shoot each scene in the scripted sequence because you can save a lot of time and money by shooting by location, time of day, or other logistical considerations. I once worked as an Hollywood extra in &amp;quot;Indiana Jones and the Temple of Doom&amp;quot;. The last shoot or wrap night as they called it was actually a sequence near the beginning of the film. Plan your shooting schedule to optimize each location as appropriate.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;h4&gt;Common oversights of beginners in production (filming):&lt;/h4&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Not locking down exposure, focus, and white balance.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Terrible lighting.&lt;/strong&gt; Learn about shooting with existing light, and how to make it work with reflectors if need be. If you are shooting indoors, learn about basic 3 point lighting to start. The most important thing is to make sure your subject is lit well and defined.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Terrible sound recording.&lt;/strong&gt; Learn the basics of sound recording, like setting the level so it does not exceed peak load and not changing the recording level while recording. Also, get creative with sound too, learn about Foley and explore ways to create your own effects.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Camera shake:&lt;/strong&gt; it's one thing to shoot hand held but if you are trying for a steady tripod shot, make sure you don't touch the camera when its recording. For instance one of my cameras has a remote so I can start and stop it with out even getting near the camera. Also, if you are using a tripod be sure that it has enough weight to handle the wind. For hand held shots shoot wide angle as vibration is proportionately magnified by increasing focal length (zooming in).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Over-zealous use of zooming.&lt;/strong&gt; Learn to use the zoom feature when it is transparent and does not call attention to itself. For instance a more effective use of zooming in or out is done simultaneously with a pan or tilt (assuming you have a tripod with a fluid head) while following an action. A good example of this is how a sports cameramen will follow a play such as someone trying to steal 2nd base.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Learn to compose a shot&lt;/strong&gt;. Use the law of thirds in framing a subject, and when to make exceptions. I highly recommend art history 101 for beginners to learn about composition. Study the greats from Leonardo da Vinci to Pablo Picasso to understand how to frame your subject and study film history 101 to learn how great directors worked with framing in motion, e.g., Orson Welles' work in &amp;quot;Citizen Kane&amp;quot;. Others: Billy Wilder, Alfred Hitchcock, Akira Kurosawa to name a few.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Didn't get enough takes&lt;/strong&gt; to cover the action. Make sure that you have enough good takes of each shot on the shot list. Be sure to allow some flexibility with adding long shots, medium shots, and close ups all with different angles to optimize the light and action. Shooting more is better than less from an editing point of view. Editors love to have tons of stuff to choose from as long as these extra shots highlight the intent and the director is behind it.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;h4&gt;Common oversights of beginners in post-production (editing):&lt;/h4&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Wrong format.&lt;/strong&gt; Be sure that your camera files are compatible with your video and music/sound editing suite.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Featuring a single shot for too long.&lt;/strong&gt; Unless you are using a steady moving crane shot don't expect to keep anyone's attention if your shots are too long, and don't have any sense of movement or action. Having a wide variety of long, medium, and close up shots with varying angles to choose from that cut swiftly on action and appear transparent will be more engaging to your audience.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Jump cuts:&lt;/strong&gt; this is all about continuity, learn when and when not to use a jump cut.&#xA;One acceptable form of the jump cut is the 'magic cut' such as some one suddenly appears in the frame like in Star Trek when they beam up. A bad jump cut is when something that may have been in the previous scene is misplaced in the following shot or the reverse is true too. There are a zillion examples of jump cuts. One famous one is Dustin Hoffman driving the wrong way on the SF Bay Bridge in &amp;quot;The Graduate&amp;quot;.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Over use of effects.&lt;/strong&gt; There is a huge temptation to over use an effect you may find interesting, even experienced cinematographers can easily over use something new to them and unfortunately your audience finds this boring and distracting. The golden rule is to use effects sparingly but appropriately when used. The best way to learn this is to see how this effect has been successfully used before by professionals in great movies.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Non-original music.&lt;/strong&gt; Too many beginners use popular music for their productions. Even if it appears to fit, we've heard it already. Does &amp;quot;Also sprach Zarathustra&amp;quot; have to always play for a sun rise or moon rise? The question you should ask yourself is, how many buddies of mine play music, how many are good and want to work on it with me? Got a friend that can compose? Original music makes any production refreshing and takes your film from the ordinary to the unique as long as you make the music interesting and supports the film action.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Pay attention to the basic rules but don't be afraid to take some risks.&lt;/strong&gt; My number one rule is that if I break one I better have a darn good reason and it really has to work within the context of the film I am working on.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="6009" LastEditDate="2023-12-18T19:39:52.737" LastActivityDate="2023-12-18T19:39:52.737" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="3268" PostTypeId="1" AcceptedAnswerId="3270" CreationDate="2012-02-10T21:16:32.427" Score="0" ViewCount="170" Body="&lt;p&gt;Has anyone tried this for filming? &lt;a href=&quot;http://www.bhphotovideo.com/c/product/223630-REG/Davis_Sanford_PROVISTA12_ProVista12_Video_Tripod_System.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/223630-REG/Davis_Sanford_PROVISTA12_ProVista12_Video_Tripod_System.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's more expensive than this: &lt;a href=&quot;http://www.bhphotovideo.com/c/product/727498-REG/Pearstone_VT_2100.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/727498-REG/Pearstone_VT_2100.html&lt;/a&gt; But is it worth it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first one I haven't found any good reviews on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second one I saw a Youtube Review on: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/6b0nc8d5MrI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-02-11T01:17:18.430" Title="Tripod duel, which one is the best?" Tags="|filming|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3269" PostTypeId="2" ParentId="3259" CreationDate="2012-02-10T22:35:24.507" Score="2" Body="&lt;p&gt;I have accumulated several tripods over the last 30 years and here is what I've learned that might help you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) If you want to do pans or tilts with a tripod be sure to get a tripod that has a fluid head and is heavy enough to support your camera with a good wind and not get any shake.&#xA;A nice way to make these pans and tilts a lot smoother even with a fluid head is to add a&#xA;deflated balloon to the tripod handle. Expand the throat of the balloon around the handle end so that the rest of the balloon lies like a limp rag. You may have to squeeze the air out of it after you insert it on the handle. Once in place, take your thumb and index finger and hold on to the loose end, gently move the camera with the head loosened for pan or tilt. You will immediately see how the movement is vastly improved for smoothness, so much so, you can even increase the focal length further with no camera shake. A 12&quot; or 18&quot; balloon works great and these are usually under 50 cents each.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) It's far better to have a steady shot from the start then to rely on post production stabilization software to fix it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) &quot;Portability links to opportunity&quot;. Remember this as a good reason to have a tripod that is so handy that you can almost stuff it in your pocket. I recently bought a JOBY Gorilla that has proven to rank very high on versatility and portability:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/633362-REG/Joby_GP3_BHEN_Gorillapod_SLR_Zoom_Flexible_Mini.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/633362-REG/Joby_GP3_BHEN_Gorillapod_SLR_Zoom_Flexible_Mini.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While this is no substitute for a fluid head tripod as it would not be very smooth for panning, consider the bendable legs that can attach to a fence or other pole to place the camera where a tripod would not fit. I have attach this to my car door to get some great tracking shots. Also, I have found that by bending the rear legs up to make a bicycle like handle bar and use the front leg as a balance or pivot point, you can really have some very smooth handheld shots with it. The key here is to get one that is heavy enough to support your camera. I am using my Joby with a pocket camera that weighs in at about 7.6 oz. (214g) while the tripod can support nearly 7 pounds so it is very stable. Your Nikon D7000 with a lens is going to be more than 2 maybe 3 pounds so you might want a heavier Joby.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realize the following is out of your budget and mine too but if you are looking for really smooth dolly shots especially for product shots or small scale shooting consider this modified version of the JOBY invented by an MIT engineering student:&#xA;&lt;a href=&quot;http://cinetics.com/&quot; rel=&quot;nofollow&quot;&gt;http://cinetics.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-02-10T23:07:00.310" LastActivityDate="2012-02-10T23:07:00.310" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3270" PostTypeId="2" ParentId="3268" CreationDate="2012-02-11T01:17:18.430" Score="2" Body="&lt;p&gt;How to judge a tripod.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally I would go with the heavier tripod of the two which appears to be the first one weighing in at 9 lbs vs. the 2nd one at 4.5 lbs. However, this is at best a calculated guess as I have not played with the head. Fluid heads can vary on smoothness, and the only way to really tell what's going to make the smoothest shot is the old 'A vs. B' test. This would require you to take similar footage with the same camera on both tripods and compare the results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suggested tests:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) make a pan and a tilt shot for each with the widest angle lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) repeat pans and tilts, continue to work the focal length with more telephoto, see which one is smoothest as you use more magnification.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) take it outside on a windy day, see which one can handle the wind the best.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) how does it feel? Is it easy to adjust or does it feel sticky and sluggish.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-02-11T01:17:18.430" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="3274" PostTypeId="1" AcceptedAnswerId="3277" CreationDate="2012-02-11T14:01:51.027" Score="2" ViewCount="894" Body="&lt;p&gt;I am making a video that is an analysis of various films. My hope is to get clips from the movies to demonstrate various points I'm talking about.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Kdenlive on Ubuntu. One issue is that it seems like loading a whole movie length video slows it down making it hard to move around to the right frames (the computer is an i5 with 4GB RAM, so it's not a particularly slow computer).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main problem, though, is that I want to select sections and edit them out so I can have them as clips ready to include in my master edit. However, if I go through the render process, I'll end up affecting the compression and video quality settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way I can specify a start and end point in hours, minutes, and seconds, and then output that portion into a new file, without changing the quality of the video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps something at the command line? That way I could scan through the video using a more efficient player like VLC or something, and pick out my start and stop times there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additional note, in case it matters: I don't need the sound, just the image.&lt;/p&gt;&#xA;" OwnerUserId="1792" LastActivityDate="2024-03-21T03:35:15.977" Title="What is a good efficient way to isolate clips from long movies?" Tags="|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3277" PostTypeId="2" ParentId="3274" CreationDate="2012-02-11T18:14:06.523" Score="3" Body="&lt;p&gt;What format is your long video? The seeking performance problem may not be in Kdenlive but in your movie. If you aren't yet, you should consider using a container format that has index tables.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now regarding extracting a clip from a movie, I believe you can do that with ffmpeg, specifying a codec named &quot;copy&quot; and setting a start position and a duration (in seconds):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss &amp;lt;start-position&amp;gt; -i &amp;lt;source-filename&amp;gt; -vcodec copy -acodec copy -t &amp;lt;duration&amp;gt; &amp;lt;destination-filename&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1898" LastEditorUserId="1898" LastEditDate="2012-02-12T06:48:18.497" LastActivityDate="2012-02-12T06:48:18.497" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3278" PostTypeId="1" AcceptedAnswerId="3279" CreationDate="2012-02-11T23:48:44.263" Score="1" ViewCount="122" Body="&lt;p&gt;Do I need a lens that is wider than 18 mm to make a professional looking video (which should be wide enough to give us some space, so the audience doesn't feel like claustrophobia)? I'm going to make a movie filmed with 1080p and a wide ratio.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ___________&#xA;|           |&#xA;|           |&#xA;|___________| &amp;lt;--- HD.&#xA;&#xA; ___________&#xA;|           |&#xA;|___________| &amp;lt;--- Wide ratio.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-02-12T06:37:17.090" Title="Is 18 mm enough for video?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3279" PostTypeId="2" ParentId="3278" CreationDate="2012-02-12T00:42:26.390" Score="2" Body="&lt;p&gt;What you're referring to is the &lt;a href=&quot;http://en.wikipedia.org/wiki/Aspect_ratio_%28image%29&quot; rel=&quot;nofollow&quot;&gt;aspect ratio&lt;/a&gt;. 1920 by 1080p is HD video, you would have to letterbox it in post production to achieve the 'wider' aspect ratio (I'm assuming you want 2.39:1).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the lens, 18mm is a pretty &lt;a href=&quot;http://en.wikipedia.org/wiki/Wide-angle_lens&quot; rel=&quot;nofollow&quot;&gt;wide lens&lt;/a&gt;. If you have a 35mm sensor you may experience some barrel distortion – which isn't necessarily a bad thing, just as long as it's used well. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not too sure what you mean by your audience feeling claustrophobic. However, a 50mm lens on a 35mm sensor closely replicates the field of view of the human eye as does (approx.) a 30mm lens on a crop sensor. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So to answer your question: no, you don't need a lens wider than 18mm to make a professional looking video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: You mentioned that you will be using a kit lens. Typically kit lenses have a low build quality and are rarely used by professional cinematographers. Obtaining a better lens will make your videos look more professional due to the superior build quality and glass. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A good way to look for good lenses is to, firstly, figure out what focal length you require (8mm fisheye, 50mm, 85mm etc.), search online for different brand's lenses (you have  a Nikon but there are many companies that make third party lenses such as Tamron, Tokina, Sigma), look online for reviews of the lenses and test footage (Vimeo is a great place to find test footage) and then you can make an informed decision on which lens is best for you. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd recommend obtaining a good 50mm prime lens. Primes have less glass and generally produce a sharper image. Not too sure what Nikon lenses are like but you could try purchasing a 2nd hand lens off eBay and then buying an adaptor to get it onto your camera. This option is usually pretty cheap and if the lens is in good condition you will most likely be impressed with the result. I bought myself a Carl Zeiss 50mm f/1.8 for $80 and an adaptor for $5 – now it's one of my favourite lenses (and definitely the cheapest). &lt;/p&gt;&#xA;" OwnerUserId="1133" LastEditorUserId="1133" LastEditDate="2012-02-12T06:37:17.090" LastActivityDate="2012-02-12T06:37:17.090" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="3284" PostTypeId="1" AcceptedAnswerId="3285" CreationDate="2012-02-13T14:36:57.620" Score="2" ViewCount="266" Body="&lt;p&gt;How would I go about simulating a photo being taken from the photographers POV in a film?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want the still to be part of the shot, with moving images before and after the still. And I want the supposed camera to be an analogue old school one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;More accurately I'd have to&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;superimpose an analogue style viewfinder (I could only find effects for camcorder ones so far)&lt;/li&gt;&#xA;&lt;li&gt;simulate the closing of the iris&lt;/li&gt;&#xA;&lt;li&gt;add a filter to make the still look more like an analogue photograph &lt;/li&gt;&#xA;&lt;li&gt;add a sound effect (at least that's not a problem)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Any tips on how to do this? I'm still in pre-production so all info from setting up the shot to post production would be helpful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Relevant Equipment&lt;/strong&gt; &lt;br&gt;&#xA;I'll be shooting with a Canon 5D MkII, 50mm prime lens&lt;br&gt;&#xA;Editing in Final Cut Pro&lt;/p&gt;&#xA;" OwnerUserId="1981" LastActivityDate="2012-02-13T15:14:42.037" Title="How to simulate a photo being taken from the photographer's POV in a film?" Tags="|editing|effects|filming|shooting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3285" PostTypeId="2" ParentId="3284" CreationDate="2012-02-13T15:14:42.037" Score="3" Body="&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Drawing out a viewfinder should not be a big deal. You can do this quicker than searching for one. Do it in photoshop or another decent app. Draw the lines with anti-aliasing on a transparent layer and export it as a PNG with transparency. You may want to set the layer compositing mode in FCP to be something other than the default, play around a bit.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Simulating closing of the iris is just a quick fade to black and back; the sound effect sells it.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Desaturation, the addition of grain. Don't over do it.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I would try 'pillar boxing' the viewfinder shot (4:3 inset in the 16:9 frame of the film), possibly reducing the size so it is inset from the outside frame completely (black all around in addition to being 4:3) as this will give more of the feeling of being 'inside' the camera viewfinder. Then when the taken photo is shown that is full frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may find that desaturating the viewfinder view and showing the taken photo with normal saturation does a better job of achieving what you want; this will depend on the narrative purpose of this effect.&lt;/p&gt;&#xA;" OwnerUserId="1974" LastActivityDate="2012-02-13T15:14:42.037" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3290" PostTypeId="1" CreationDate="2012-02-13T19:59:01.833" Score="2" ViewCount="363" Body="&lt;p&gt;I have a Canon 60D, which obviously uses the h264 codec for capturing.  I am using Adobe Premiere and After Effects -- and I've already seen how both can handle h264 footage natively (Thank you Jason Levine).  However, I've also seen footage that has been transcoded to an intermediate codec for editing (as opposed to a capturing codec).  This footage, to me, looks like it runs smoother in Premiere and After Effects than allowing the footage to run natively.  Unfortunately, these videos always fail to mention the name of the particular intermediate codec being used.  So finally we arrive to my question:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is a good intermediate codec to transcode h264 footage to, before running it on Premiere or After Effects?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would appreciate a thoughtful answer to this question from someone who uses the Canon 60D (5D and 7D user input is also welcome) in a PC based Adobe workflow that incorporates Premiere and AE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.  &lt;/p&gt;&#xA;" OwnerUserId="1984" LastActivityDate="2012-11-20T14:06:48.330" Title="Canon 60 PC Adobe Premiere and After Effects Workflow" Tags="|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3293" PostTypeId="2" ParentId="3015" CreationDate="2012-02-13T22:35:59.787" Score="1" Body="&lt;p&gt;By aftermarket do you mean generic? I.e. a battery made by a company other than Canon?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To the best of my knowledge, generic batteries won't give you a charge reading in the camera. Only original batteries will. That's just the trade off you have to live with when choosing generic batteries. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2012-02-13T22:35:59.787" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3295" PostTypeId="1" AcceptedAnswerId="3415" CreationDate="2012-02-14T01:45:47.930" Score="1" ViewCount="94" Body="&lt;p&gt;When you open &quot;log and capture&quot; window, you can't use other FCP windows anymore. How can I listen to already captured video? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to record my solo on top of rhythm which was captured before. I don't want to synchronize videos.  If I just could listen to the first video then everything would be fine. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to do the same thing as in Logic studio, listen to 3 tracks playing and record a 4th one in real time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I achieve this in final cut?&lt;/p&gt;&#xA;" OwnerUserId="212" LastEditorUserId="126" LastEditDate="2012-02-14T14:17:46.503" LastActivityDate="2012-10-15T21:31:26.243" Title="Final Cut: how to playback sequence while capturing video?" Tags="|video-editor|final-cut-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3296" PostTypeId="1" AcceptedAnswerId="3300" CreationDate="2012-02-14T06:07:45.007" Score="0" ViewCount="259" Body="&lt;p&gt;Does anyone know why are there different results in accuraterip database? For example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When finish with ripping an audio CD, the results might look like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Track 1 (98/120) Accurately ripped&#xA;Track 2 (98/120) Accurately ripped&#xA;Track 3 (98/120) Accurately ripped&#xA;Track 4 (98/120) Accurately ripped&#xA;Track 5 (98/120) Accurately ripped&#xA;Track 6 (98/120) Accurately ripped&#xA;&#xA;Offsetted by -6&#xA;Track 1 (22/120) Accurately ripped&#xA;Track 2 (22/120) Accurately ripped&#xA;Track 3 (22/120) Accurately ripped&#xA;Track 4 (22/120) Accurately ripped&#xA;Track 5 (22/120) Accurately ripped&#xA;Track 6 (22/120) Accurately ripped&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What is the offset? are they both correct?&lt;/p&gt;&#xA;" OwnerUserId="1971" LastActivityDate="2012-02-14T15:04:35.477" Title="Audio cd ripping with AccurateRip" Tags="|audio-cd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3297" PostTypeId="1" AcceptedAnswerId="3298" CreationDate="2012-02-14T11:39:19.930" Score="6" ViewCount="2567" Body="&lt;p&gt;I am making a small video (not really a film) that has muffled/hard to understand dialogue. The video goes for about 2 minutes and I only need to subtitle roughly 2 sentences worth - so it's not a lot. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Final Cut Pro 7 and I know how to insert text. What I need to know is what font is typically used for subtitles and what size should this font be?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Subsequently, if two people are talking simultaneously, what is the best way to alter the subtitle so the viewer is aware which subtitle belongs to which character?&lt;/p&gt;&#xA;" OwnerUserId="1133" LastEditorUserId="636" LastEditDate="2012-07-21T13:10:29.280" LastActivityDate="2022-06-21T08:40:37.643" Title="How do you subtitle a video?" Tags="|video-editor|final-cut-pro|subtitles|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3298" PostTypeId="2" ParentId="3297" CreationDate="2012-02-14T14:59:06.407" Score="5" Body="&lt;p&gt;Subtitling is a horrible horrible thing, and there are loads of regulations and standards and other bull which can be found &lt;a href=&quot;http://www.ofcom.org.uk/static/archive/itc/itc_publications/codes_guidance/standards_for_subtitling/subtitling_1.asp.html&quot;&gt;here.&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the font, it really depends on your opinion - if I'm not mistaken Trebuchet Sans and Deja Vu Sans are as close as you can get to the standard DVD fonts. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But all I just said depend on your artistic point of view - if the subtitles makes part of the movie it shouldn't follow the general guidelines - I would strongly recommend using a font that makes sense with the movie (Example: Consolas would be great for a movie like Primer or Tron) and use free style subtitles - like the ones in classic adventure games. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're not aware about these games, check out Full Throttle Opening on youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then again, here's some ideas about people talking simultaneously:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If they are from opposite sexes you can use different colors for each character. &#xA;One character's lines could be on the right side of the screen while the other is on the left. &#xA;You can even use different fonts (not recommended) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, according to the usual pattern you should identify the characters who are speaking with brackets and simply show both lines at the same time. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[John Doe] I love you Mary. &#xA;[Mary Doe] GTFO, I hate you. &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But, as mentioned before, I &lt;strong&gt;strongly&lt;/strong&gt; recommend creating a unique style for your movie, specially since it's only a few lines. &lt;/p&gt;&#xA;" OwnerUserId="1759" LastActivityDate="2012-02-14T14:59:06.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3300" PostTypeId="2" ParentId="3296" CreationDate="2012-02-14T15:04:35.477" Score="1" Body="&lt;p&gt;I'm quoting this from &lt;a href=&quot;http://wiki.hydrogenaudio.org/index.php?title=AccurateRip#Drive_read_offsets&quot; rel=&quot;nofollow noreferrer&quot;&gt;here:&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Drive read offsets&lt;/p&gt;&#xA;&lt;p&gt;Very few CD drives actually start reading data from audio CDs exactly at the sector requested by DAE software. There are drives that are off by over 1 sector (1/75th of a second), but most are off by much less (1/250 to 1/350 second). Most modern CD drives have &amp;quot;Accurate Stream&amp;quot; technology, so there's no &amp;quot;jitter&amp;quot;, meaning in this case that the variance is consistent from read to read, and will tend to be the same for all drives of a certain make &amp;amp; model.&lt;/p&gt;&#xA;&lt;p&gt;The AccurateRip database allows one to find out the read offset, which is normally constant for given make &amp;amp; model of CD drive. This number can then be used by DAE software to ensure that each track is ripped from its exact start to its exact finish.&lt;/p&gt;&#xA;&lt;p&gt;The offset is given in samples. One &amp;quot;sample&amp;quot; on an audio CD is 4 bytes, consisting of a 2-byte left-channel value and a 2-byte right-channel value. There are 2352 bytes, or 588 samples, in each sector of an audio CD, corresponding to 1/75th of a second of sound. Therefore, an AccurateRip offset of +134 means the drive consistently delivers data from 536 bytes behind (earlier than) where it was asked to read from, so the DAE software needs to look that far ahead (hence the positive offset) in order to get the right data.&lt;/p&gt;&#xA;&lt;p&gt;When offsets are taken into account, the DAE software might have to ask the drive to &amp;quot;overread&amp;quot; into the lead-in or lead-out portions of the disc, where there's no audio data. Some drives can't be asked to do it, some drives will try to do it and fail, and some will just return null samples (a stream of &amp;quot;0&amp;quot; bytes, a.k.a. digital silence).&lt;/p&gt;&#xA;&lt;p&gt;If the drive can't overread, then there will be samples missing from the extracted track. The DAE software can correct for this by padding the track with digital silence so it's the correct length.&lt;/p&gt;&#xA;&lt;p&gt;Soooooooooooooooooooooooooooooooooo...&lt;/p&gt;&#xA;&lt;p&gt;Basically both rips are accurate, since the DAE software should correct the situation&lt;/p&gt;&#xA;" OwnerUserId="1759" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2012-02-14T15:04:35.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3301" PostTypeId="1" AcceptedAnswerId="3306" CreationDate="2012-02-14T15:51:52.700" Score="5" ViewCount="21350" Body="&lt;p&gt;What is the best way to clean a cable that has gotten sticky. I know the best thing to do is to not get them sticky in the first place, but after time they get dirty/sticky all by themselves.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lets assume that there are no breaks or cuts in the outside of the cable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How would one best clean the outside of a cable of stickiness without damaging it more.&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="1917" LastEditorUserId="126" LastEditDate="2012-02-14T16:07:34.047" LastActivityDate="2015-07-01T23:49:03.247" Title="What is the best way to clean the outside of audio/video cables" Tags="|cable|cleaning|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3302" PostTypeId="2" ParentId="3301" CreationDate="2012-02-14T16:45:07.343" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.googone.com/&quot; rel=&quot;nofollow&quot;&gt;Goo Gone&lt;/a&gt;. Put it on a cloth, rub it on the sticky part of the cable. Let it sit for a minute, then rub off with a dry cloth. Repeat if necessary. For this or any of the other suggested procedures, it would be a good idea to test on a small non-critical part of the cable. I've never had a problem with it though.&lt;/p&gt;&#xA;" OwnerUserId="1079" LastEditorUserId="95" LastEditDate="2012-02-25T23:04:49.233" LastActivityDate="2012-02-25T23:04:49.233" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3305" PostTypeId="2" ParentId="3297" CreationDate="2012-02-14T19:59:58.207" Score="1" Body="&lt;p&gt;Tips on subtitles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) make it clear, be sure the font color is not washed out by the background for instance don't put light lettering on a light background. In a word &quot;contrast&quot;. Some title programs will have a shadow or outline to assist when the title is over a mixed light and dark area.&#xA;Choose an easily readable font. Consider why highway signs have certain fonts to optimize clarity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) make sure your subtitle is on long enough to read. The rule of thumb here and this pretty much goes for any title (exception being fast end credits) is read the title out loud, this will help you define the upper limit of how long to hold the title.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) conversely, optimized subtitles do not overlap to the next shot as the eye will at first interpret this as a new subtitle. This falls under continuity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) Specifically for your situation where you are trying to make something clear in text that is not spoken clearly, consider a bit of editing to keep it concise as you may not&#xA;have enough time or room to subtitle the whole thing. This can be difficult as you don't want to be accused of 'putting words in someone's mouth'. On the other hand if you are looking for a comical angle, subtitles can be an effective tickler. Consider the effect of someone mumbling and the subtitle is constructed from a bunch of wingding fonts. Caution with comical intentions, in a world of 'politically correct' police, be sure this is in good taste.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5) There are many ways you can construct a dialog with subtitles. One way is to italicize the same font for the other persons subtitle. Or use the script like method Johnny Bigoode suggests, this is worth sandboxing until you find the best solution that works in the context of your video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;6) I agree with Johnny Bigoode as to allow for your creativity, if you get stuck, search around Youtube for videos with subtitles, ask yourself why some work well and others do not.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-02-14T19:59:58.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3306" PostTypeId="2" ParentId="3301" CreationDate="2012-02-14T20:17:03.467" Score="4" Body="&lt;p&gt;For delicate cables use dish washing soap and warm water with a clean rag. Do not tug or squeeze on the cable too hard and be extra gentle with anything that has twisted pair.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For not so delicate cables rubbing alcohol on a clean rag then applied should do the trick.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-02-14T20:17:03.467" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3307" PostTypeId="2" ParentId="3301" CreationDate="2012-02-15T02:25:40.730" Score="3" Body="&lt;p&gt;When I was a a corporate photo/video shooter I found the &quot;desk and office cleaner&quot; everyone had worked pretty well with paper towels. Now that I shoot in the third world, it is Lysol wipes when i get back to the studio. And it is terrifying how many it takes until they come out clean...&lt;/p&gt;&#xA;" OwnerUserId="795" LastActivityDate="2012-02-15T02:25:40.730" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3316" PostTypeId="1" CreationDate="2012-02-15T08:43:56.983" Score="0" ViewCount="104" Body="&lt;p&gt;I have a 40D and I'm sometimes using EOS-MovRec to record movies. Since there is no firmware mod/hack for the 40d available I'm asking this question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a tool for the iphone/symbian/android to connect my DSLR and use it just like in&#xA;EOS-MovRec as a camera and record a movie?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Greetings&lt;/p&gt;&#xA;" OwnerDisplayName="dichterDichter" LastActivityDate="2012-06-14T12:35:34.710" Title="is there a movie recording tool for dslr connected to phones?" Tags="|dslr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3317" PostTypeId="2" ParentId="3316" CreationDate="2012-02-15T08:56:09.953" Score="1" Body="&lt;p&gt;Try this link you will get some tips&#xA;&lt;a href=&quot;http://dpexperience.com/2010/02/12/recording-audio-with-your-video-dslr-part-i/&quot; rel=&quot;nofollow&quot;&gt;http://dpexperience.com/2010/02/12/recording-audio-with-your-video-dslr-part-i/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1994" OwnerDisplayName="zapping" LastActivityDate="2012-02-15T08:56:09.953" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3324" PostTypeId="1" CreationDate="2012-02-16T06:16:49.677" Score="5" ViewCount="2548" Body="&lt;p&gt;I'm trying to create a screencast for playback on the web. Would like to use h.264, webm, and ogg. The source files are in the Apple Animation codec, and they look perfectly accurate. However when I try to convert to mp4 using ffmpeg lossless settings, there is some definite degradation. It seems to be because the source is RGB and ffmpeg auto-selects yuv420p instead.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Incompatible pixel format 'rgb24' for codec 'libx264', auto-selecting format 'yuv420p'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Anyone know how to get the same color accuracy with mp4/h.264 as with Apple Animation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="1995" LastEditorUserId="37172" LastEditDate="2022-02-07T16:20:35.247" LastActivityDate="2023-03-29T17:07:07.703" Title="creating a lossless mp4 screencast" Tags="|ffmpeg|lossless|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3326" PostTypeId="1" AcceptedAnswerId="5031" CreationDate="2012-02-16T10:07:44.870" Score="0" ViewCount="213" Body="&lt;p&gt;I'm new to editing and I'm trying to cope with a 7D project - very heavy files. Usually I don't have any problems with premiere and don't even have to render, but with these files, it's really difficult to get to the point when I CAN render, since I can't figure out which files should be on the timeline (playback is hardly working.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to render all of the footage? (not that many) Or maybe a better solution?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PC specs:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;intel i7 2Ghz&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4GB DDR3 memory&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nvidia GeForce GT 540M&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Win 7&lt;/p&gt;&#xA;" OwnerUserId="1712" LastEditorUserId="1133" LastEditDate="2012-02-16T10:46:03.487" LastActivityDate="2012-10-15T21:29:03.047" Title="Managing big Canon 7D files in Premiere CS5.5 with an average computer" Tags="|video-editor|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3327" PostTypeId="2" ParentId="3326" CreationDate="2012-02-16T10:52:03.733" Score="1" Body="&lt;p&gt;PCs don't like to deal with footage straight off the 7D. The best thing to do would be to transcode it using &lt;a href=&quot;http://www.squared5.com/svideo/mpeg-streamclip-win.html&quot; rel=&quot;nofollow&quot;&gt;MPEG Streamclip&lt;/a&gt;. I edit on a mac and use Prores 422 as my editing codec – I'm not too sure what you'd use for PC. Try MPEG-4 and see how that goes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After you've converted all the footage, import it into Premiere and see if it runs smoother. If not, you may need to re-compress it at a lower quality so that your computer can handle it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2012-02-16T10:52:03.733" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3331" PostTypeId="1" AcceptedAnswerId="3352" CreationDate="2012-02-16T19:25:50.873" Score="0" ViewCount="4118" Body="&lt;p&gt;Let me start at the very beginning:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My project frame rate is 23.976 fps (standard film). When I create such a project in Adobe Premiere and then want to add a clip to the timeline, I can set the frame rate of the clip manually. Therefore, when my clip is 60 fps shot with a Canon DSLr (actually I believe and hope it's 59.94 fps), I can override its fps to 23.976 and then drop it to the timeline, thus getting the perfect slow-motion = as slow as possible without any frames missing in-between.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, I don't know how do I do this in Vegas Pro 11. All I can do is drop the clip to the time-line and then set its playback rate to 0.4x original speed (59.94 * 0.4 = 23.976). However, I don't know how safe this is. Is it safe to assume that the playback speed of the clip will be EXACTLY 23.976 fps and there won't be any frames missing in-between, thus creating the perfect slow-motion?&lt;/p&gt;&#xA;" OwnerUserId="870" LastEditorUserId="636" LastEditDate="2012-06-22T18:41:58.527" LastActivityDate="2012-06-22T18:41:58.527" Title="How do I PROPERLY slow down a 60 fps clip in Vegas Pro 11?" Tags="|premiere|slowmotion|vegas-pro|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3334" PostTypeId="1" CreationDate="2012-02-16T21:39:03.927" Score="10" ViewCount="63939" Body="&lt;p&gt;I use a GoPro which output is mp4 files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to edit these movies into Adobe Premiere Pro CS 5.5. I'm a little lost about sequence presets to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've got the choice between Digital SLR, AVCHD, XDCam, HDV... wow... I don't understand the differences between each other because when I use one or other, it seems to be the same. My gopro movie has a yellow bar at the top, saying that it needs rendering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, what's the difference with all of these formats and what's the best format to use with my GoPro ?&lt;/p&gt;&#xA;" OwnerUserId="2000" LastEditorUserId="2836" LastEditDate="2014-07-01T16:06:26.720" LastActivityDate="2014-07-01T16:06:26.720" Title="What sequence presets I must use with a GoPro and Adobe Premiere Pro CS 5.5?" Tags="|premiere|action-cam|cs5|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3337" PostTypeId="2" ParentId="3334" CreationDate="2012-02-17T05:51:37.423" Score="3" Body="&lt;p&gt;A variation of this question has been answered on the Adobe Forums. Find it &lt;a href=&quot;http://forums.adobe.com/thread/668369&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Sequence Preset&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Now that you have all your files converted, we need to pick the right&#xA;  project sequence preset  for the resolution you are working on, all of&#xA;  them based on AVCHD&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;For R2 choose AVCHD 720p30&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;For R3 use AVCHD 720p60    &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;For R4 you will need to create a custom profile, because there is no built-in profile for this resolution: Select AVCHD 1080p30 and then&#xA;  go to the General tab. Change Editing Mode to Desktop, so  you will be&#xA;  able to modify the resolution. Change the resolution to 1280 x 960 and&#xA;  then press the Save Preset  button to save your newly created sequence&#xA;  profile for GoPro R4       &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;For R5 use AVCHD 1080p30&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2012-02-17T05:51:37.423" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3338" PostTypeId="1" CreationDate="2012-02-17T13:13:10.410" Score="2" ViewCount="1261" Body="&lt;p&gt;I would like to experiment with live videos when I'm playing as a DJ. I'm a windows user but I can migrate to GNU/Linux and I have money to spend on software. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I remember trying Virtual DJ's video capabilities, but I wanted to know if there are alternatives. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I also remember watching a presentation on QUARTZ which is a Macintosh exclusive software for manipulating video live with complete midi control - he even explained how to hook a WiiMote to the software&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is: What are the options for manipulating video live? &lt;/p&gt;&#xA;" OwnerUserId="1759" LastEditorUserId="2836" LastEditDate="2013-12-30T15:51:34.157" LastActivityDate="2013-12-30T20:34:47.117" Title="What are the options for manipulating video in live situation? Kinda like a VJ" Tags="|video|audio|live|live-performance|" AnswerCount="3" CommentCount="1" CommunityOwnedDate="2012-02-17T15:46:19.053" ContentLicense="CC BY-SA 3.0" />
  <row Id="3340" PostTypeId="2" ParentId="3338" CreationDate="2012-02-17T15:55:28.090" Score="1" Body="&lt;p&gt;The Max/MSP modular environment has a package called &lt;a href=&quot;http://cycling74.com/products/max/video-jitter/&quot; rel=&quot;nofollow&quot;&gt;Jitter&lt;/a&gt; which is used for modifying videos in realtime. I've not had the chance to play with it myself, but I've seen it used in video art installations. Max supports several kinds of control such as MIDI and OSC, so I imagine all of these could be used to control video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll have to make your own patches though - it's not an 'out of the box' solution so much as a realtime programming environment.&lt;/p&gt;&#xA;" OwnerUserId="95" LastActivityDate="2012-02-17T15:55:28.090" CommentCount="1" CommunityOwnedDate="2012-02-17T15:55:28.090" ContentLicense="CC BY-SA 3.0" />
  <row Id="3341" PostTypeId="1" CreationDate="2012-02-17T17:59:23.217" Score="1" ViewCount="127" Body="&lt;p&gt;I would like to record some videos while playing on the Xbox360. I've been looking around and I would prefer to not use the PC to record (a PCIe card, for example) and I've come across the following recorder:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.blackmagic-design.com/products/hyperdeckshuttle/&quot; rel=&quot;nofollow&quot;&gt;http://www.blackmagic-design.com/products/hyperdeckshuttle/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And I would like to know if anyone knows it or has used it. Also I would like to know if it is good and worth the money it costs. Or is there any other better alternative?&lt;/p&gt;&#xA;" OwnerUserId="1997" LastEditorUserId="674" LastEditDate="2012-06-27T11:50:57.960" LastActivityDate="2012-07-04T13:02:38.487" Title="What would you recommend me to record videos while playing Xbox360" Tags="|video|digital-recording|hardware|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3352" PostTypeId="2" ParentId="3331" CreationDate="2012-02-18T17:45:29.320" Score="2" Body="&lt;p&gt;You should be safe setting playback rate at 0.400. 59.94 is actually 60/1.001 and 23.976 is actually 24/1.001, so the 0.4 multiplier is technically exact. Switch off resample to be sure. Of course, how Vegas actually handles this internally is anybody's guess.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One way to test this would be to generate a frame sequence just containing an incremental numeral display (1,2,3...) in AE or similar, then render that as a 59.94p video. Import in vegas with playback 0.4 and resample off and then cycle through the frames to see if there are any duplicates or missing.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2012-02-18T17:45:29.320" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3354" PostTypeId="2" ParentId="3244" CreationDate="2012-02-18T22:01:05.497" Score="2" Body="&lt;p&gt;Aha! I found it. It's neither an audio nor a video device, but a Film Adapter Unit—a light source—for a CanoScan LiDE 700f. Misleading plug type.&lt;/p&gt;&#xA;" OwnerUserId="1958" LastActivityDate="2012-02-18T22:01:05.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3357" PostTypeId="1" CreationDate="2012-02-19T07:26:18.743" Score="1" ViewCount="664" Body="&lt;p&gt;I'm collecting some video and audio files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need a tool to create a searchable archive from them that will be able to store video /audio path, meta data (Name, Director, description,...) and tag them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an application for this?  &lt;/p&gt;&#xA;" OwnerUserId="2010" LastEditorUserId="2287" LastEditDate="2012-07-04T07:20:46.023" LastActivityDate="2020-12-23T01:45:26.270" Title="Video Archiving Tool" Tags="|video|audio|software-recommendation|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3362" PostTypeId="2" ParentId="3324" CreationDate="2012-02-19T13:56:35.093" Score="4" Body="&lt;p&gt;H.264 does support true lossless compression (see 'Lossless mode' on this &lt;a href=&quot;http://www.avidemux.org/admWiki/doku.php?id=tutorial%3ah.264&quot; rel=&quot;nofollow&quot;&gt;page&lt;/a&gt;). It seems that to avoid chroma format conversion, you need to encode using the Hi444PP profile, which accepts RGB pixels. However, a cursory search indicates that x264 doesn't support Hi444PP (yet), whereas some commercial codecs like MainConcept do.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2012-02-19T13:56:35.093" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3365" PostTypeId="1" AcceptedAnswerId="3366" CreationDate="2011-09-09T04:43:32.590" Score="2" ViewCount="195" Body="&lt;p&gt;I often shoot indoors for interviews with my D90, but I often get a sort of strobing with it.  Check out the attached picture, to help you see it on a picture, I added red marking, so simply look on the curtain on the right of that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/dcXrt.jpg&quot; alt=&quot;strobing effect when filming with D()&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My best explanation so far was the type of lighting in the room, which is common in most offices, similar that was is in the picture:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/nJNrE.jpg&quot; alt=&quot;Office lighting&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anybody know what is going on?&#xA;Similar experience?&#xA;Solution?&#xA;Explanation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any input.&lt;/p&gt;&#xA;" OwnerUserId="1417" OwnerDisplayName="denislexic" LastEditorUserId="1530" LastEditDate="2012-06-20T03:08:21.263" LastActivityDate="2016-02-11T17:50:23.363" Title="Does anybody get a strobing effect when filming video with the D90?" Tags="|video|image-sensors|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3366" PostTypeId="2" ParentId="3365" CreationDate="2011-09-09T05:43:37.743" Score="3" Body="&lt;p&gt;You seem to be on the right tracks, fluorescent tubes are &lt;a href=&quot;https://photo.stackexchange.com/questions/4115/do-fluorescent-lighting-and-shutter-speed-create-a-problem-with-color-cast&quot;&gt;notorious&lt;/a&gt; for flickering and CMOS sensor is read row-by-row in video mode. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try shooting under window light and/or use your own lighting, e.g. a LED video light. Try shooting so there's not much office visible in background, you won't be able to light it all.&lt;/p&gt;&#xA;" OwnerDisplayName="Imre" LastEditorUserId="-1" LastEditDate="2017-04-13T12:43:53.643" LastActivityDate="2011-09-09T05:43:37.743" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3367" PostTypeId="2" ParentId="3365" CreationDate="2012-02-19T11:08:49.940" Score="0" Body="&lt;p&gt;And try not to move the camera. I think the manual talks about that. Maybe also try PAL vs NTSC to see if the difference in fps changes the flicker.&lt;/p&gt;&#xA;" OwnerDisplayName="TodGromen" LastActivityDate="2012-02-19T11:08:49.940" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3372" PostTypeId="1" AcceptedAnswerId="3373" CreationDate="2012-02-20T18:53:02.623" Score="1" ViewCount="49" Body="&lt;p&gt;I already manage to hook the cables, but my video is black and white. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to fix this?&lt;/p&gt;&#xA;" OwnerUserId="1759" LastActivityDate="2012-02-20T19:25:56.497" Title="Is it possible to hook up a Component video cable (like those from the Wii) to an old TV that only has classic RCA?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3373" PostTypeId="2" ParentId="3372" CreationDate="2012-02-20T19:25:56.497" Score="2" Body="&lt;p&gt;You can get a component to &lt;a href=&quot;http://www.bhphotovideo.com/c/product/818178-REG/Atlona_AT_COMP500_Component_Video_to_S_Video.html&quot; rel=&quot;nofollow&quot;&gt;composite video converter&lt;/a&gt;.  It takes in the 3 component video connectors and has both S-Video and RCA out.  It should work for your needs.&lt;/p&gt;&#xA;" OwnerUserId="126" LastActivityDate="2012-02-20T19:25:56.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3385" PostTypeId="1" CreationDate="2012-02-23T06:19:39.910" Score="3" ViewCount="1188" Body="&lt;p&gt;I'd like to set up a platform such that I can record 2-4 video inputs into storage while also uploading it into a streaming cloud so that it can be viewed in near-live / real-time.  Further, I'd like the ability to mark the videos at specific times (or marked time = user input time less 5 seconds) so that they can be highlighted to the viewers (usually a memorable moment).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would be used to capture and stream live events such as kids soccer games and things like that.&lt;/p&gt;&#xA;" OwnerUserId="2024" LastEditorUserId="95" LastEditDate="2012-02-24T20:54:53.820" LastActivityDate="2013-01-21T03:47:12.613" Title="What can I use to build a live video recording, streaming, marking application / platform?" Tags="|video|streaming|recording|" AnswerCount="2" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3387" PostTypeId="2" ParentId="3079" CreationDate="2012-02-23T12:58:12.737" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.virtualdub.org/&quot; rel=&quot;nofollow&quot;&gt;Virtualdub&lt;/a&gt; will allow you to do this with the &lt;a href=&quot;http://www.hlinke.de/tinc?key=U4rlLOrY&amp;amp;formname=VirtualDub_Filter&quot; rel=&quot;nofollow&quot;&gt;Add Frame Numbers&lt;/a&gt; filter (not just frame numbers, as implied by the name).&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2012-02-23T12:58:12.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3389" PostTypeId="2" ParentId="3385" CreationDate="2012-02-23T18:46:27.427" Score="0" Body="&lt;p&gt;Get a decent computer. Then you just send it live over for example &lt;a href=&quot;http://www.ustream.tv/&quot; rel=&quot;nofollow&quot;&gt;http://www.ustream.tv/&lt;/a&gt;. Then you set up for example Ableton Live to record it to a file/files. Ustream will also be able to save what you are streaming, even though it will be of reduced quality due to the fact that it has to be small to be live.&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-02-23T18:46:27.427" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3393" PostTypeId="1" CreationDate="2012-02-24T06:27:59.130" Score="1" ViewCount="216" Body="&lt;p&gt;I'm experimenting with switching from Final Cut to Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, most of my source material is ProRes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I drag a ProRes Quicktime into Premiere (after setting up a new 'custom setting' to match), I do not get any audio playback!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other formats work fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a workaround for this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I have FCP installed on the same machine, so I have all the codecs; and the video plays back perfectly, actually more smoothly than in FCP. Just no audio!)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE: The ProRes I was trying to play had 4 audio tracks; 2 stereo and 2 mono. When I stripped out 3 of the tracks and left just 1 stereo track, it worked fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way around this? I need to work with 100-minute files of feature films that have separate tracks for Dialog, Music, Effects...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="2022" LastEditorUserId="2836" LastEditDate="2014-07-01T16:09:09.393" LastActivityDate="2014-07-01T16:09:09.393" Title="ProRes in Premiere - no audio" Tags="|premiere|editing|final-cut-pro|cs5|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3394" PostTypeId="2" ParentId="1993" CreationDate="2012-02-24T06:45:51.153" Score="1" Body="&lt;p&gt;I do this all the time. It's super easy:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Set up the 'shape' of your frame with the crop tool. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Apply the effect 'Basic 3D' (Effects &gt; Video Filters &gt; Perspective &gt; Basic 3D).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In the controls for that effect, use the 'Scale' parameter to zoom your image. It will not affect your crop marks!&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="2022" LastActivityDate="2012-02-24T06:45:51.153" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3396" PostTypeId="1" CreationDate="2012-02-24T18:48:23.903" Score="3" ViewCount="7588" Body="&lt;p&gt;If given a youtube video, where one part of the video is normal, and the other part is sped up so slightly that it's hard to notice... is there a technical way of proving that it is sped up or not?&lt;/p&gt;&#xA;" OwnerUserId="2030" LastActivityDate="2023-07-10T14:05:13.443" Title="How to technically tell if a video has been sped up or not?" Tags="|video|" AnswerCount="5" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="3397" PostTypeId="2" ParentId="3396" CreationDate="2012-02-24T21:57:12.747" Score="1" Body="&lt;p&gt;There is unfortunally (or maybe fortunally) no way to see if it is slowed down or sped up if done properly. What you have to look for is their movements. I'm not a guitar player, so I can't tell if it is real, but I think it sounded and looked real.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you study the people there you can see that they move pretty natural. You can see on several occations that they blink in normal speed, but you also see that the main guitar player looks from place to place pretty rapidly. But from&#xA; my experience with the piano you do everything a little bit faster when you play fast. Because you need to look at what you do, and when you are working hard with your brain and &quot;slowing&quot; everything down to keep up the pace you do things fast. The left hand finger movement also looked pretty natural. If it was sped down it would probably have been unnaturally fast and awquard movements.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything looked like it goes in normal speed, even their foots. Normally you have a constant speed on your foot when you tramp the beat. Depending on how slow you play you just increase the time you have your foot flat on the ground. Their foots didn't look like they went up and down too fast. If they had sped it up they would probably have had a small brake holding their foots flat on the ground before tramping the beat again really fast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Secondly I don't see why a spanish TV programme would slow down their footage or why a good guitarist wouldn't be able to play that.&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-02-24T21:57:12.747" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="3398" PostTypeId="1" AcceptedAnswerId="3400" CreationDate="2012-02-24T22:02:46.777" Score="0" ViewCount="131" Body="&lt;p&gt;I'm about to make a (feature) film. And I'm sure everyone have heard the deep booms for instance in the big films. Often movies play a build-up song, a viola plays higher and higher and then everything stops and you hear the low boom/rumble.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do you create these sounds? Do you use custom VSTs, do you EQ normal drums, what do you do?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-02-25T00:45:27.780" Title="How to create film sounds like those booms?" Tags="|video|music|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3400" PostTypeId="2" ParentId="3398" CreationDate="2012-02-24T23:55:16.860" Score="4" Body="&lt;p&gt;A boom could be done a zillion ways. If you have a composer and a full orchestra: Timpani coupled with several double basses playing a quick bowed low note or longer depending on how long you want the boom. A &quot;boom&quot; could be interpreted many ways including collecting real sounds and in post production lower the pitch and cut the sound envelope to make a fast attack. For example, you record a washing machine just before it finishes the spin cycle take the track and cut it right before the final thud, drop the pitch to make it deeper.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The key here is to get a low percussive sound which has the following characteristics: loud, very low pitches, fast attack, and a natural release, even adding a bit of Hall reverb or delay or both will help sweeten up a bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Natural boom sounds might be found in thunder, earthquakes, landslides, rock slides, a large tree falling over, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Man made boom sounds can be found in jets breaking the sound barrier, cannons, fireworks, a large truck in a collision, a train wreck, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, if you have a friend with a synthesizer you might explore some of the pre-programmed samples such as timpani, orchestra hit, Taiko drums, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I have mentioned are the basic ingredients, stir well, and season to taste. In other words you will likely want to mix a number of sounds to get it just the way you want it.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-02-25T00:45:27.780" LastActivityDate="2012-02-25T00:45:27.780" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3405" PostTypeId="1" AcceptedAnswerId="3408" CreationDate="2012-02-25T17:14:14.733" Score="2" ViewCount="233" Body="&lt;p&gt;(I'm making a short film with a friend, and we want to make this as close as possible to a blockbuster film without blowing our budget. We have spent about $5000 on a camera, lenses and two microphones. So we have made an outline of the movie and I've started making the script. I'm using Final Draft 8.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've written the first page which describes what happens when the actors and our names appear in the beginning of the movie and the start of the first scene. I figured that all this lasts exactly 1 minute, and the page is only 3/4 full. Should I expand the page, should I start on a new page or should I just continue and end up with a page describing 1.5 minutes?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Do you know about a good website where you can learn all you need about this stuff? All the websites seems to have their own interpretation about how you should write a script. Some make them for Word, WordPad and so on.. As I said, I use Final Draft 8.)&lt;/p&gt;&#xA;" OwnerUserId="1909" LastEditorUserId="17390" LastEditDate="2018-09-13T15:22:40.240" LastActivityDate="2018-09-13T15:22:40.240" Title="Timing of script pages" Tags="|script|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="3406" PostTypeId="1" AcceptedAnswerId="4362" CreationDate="2012-02-25T20:27:09.597" Score="10" ViewCount="10640" Body="&lt;p&gt;I have made some time-lapse footage of a flower blooming. It was taken inside, at night, with constant lighting. The pictures are great, but as footage, the exposure between frames is slightly inconsistent (probably beacuse one of the lights was fluorescent), resulting in a &quot;filmic&quot; flickering effect. The effect is actually quite cool (in an early 20th century kind of way), but I want to see what it would look like corrected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had assumed that it would be pretty quick and easy to correct this sort of thing in After Effects. I've tried using Auto Contrast, Auto Levels, and Auto Color (with and without temporal smoothing enabled), but they don't seem to correct the flicker at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want is to equalize the total amount of &quot;light energy&quot; (sum of pixels values) per frame, using an exposure adjustment. Anyone know how I would go about doing this (in After Effects or other software)?&lt;/p&gt;&#xA;" OwnerUserId="2036" LastEditorUserId="2036" LastEditDate="2017-02-27T21:59:38.283" LastActivityDate="2017-02-27T21:59:38.283" Title="Correcting exposure flickering in time-lapse footage &quot;in post&quot;" Tags="|post-production|stop-motion|" AnswerCount="4" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="3407" PostTypeId="2" ParentId="3106" CreationDate="2012-02-25T23:23:06.200" Score="0" Body="&lt;p&gt;The first thing you need to accomplish is to extract the video from the SWF. A SWF is not a video file. It is an application or small program. There is an &quot;FLV video&quot; compiled into it. Try &lt;a href=&quot;http://www.sothink.com/page/swf-decompiler/extract-flv.htm&quot; rel=&quot;nofollow&quot;&gt;SWF Decompiler&lt;/a&gt;. It might be able to extract the FLV from the SWF.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have the FLV (the actual video file), there are numerous video editors that can read and edit it.&lt;/p&gt;&#xA;" OwnerUserId="2037" LastActivityDate="2012-02-25T23:23:06.200" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3408" PostTypeId="2" ParentId="3405" CreationDate="2012-02-25T23:35:05.353" Score="3" Body="&lt;p&gt;As a rough estimate, one page of a script equates to one minute of screen time. It is impossible to say exactly how long a page will last on screen because it relies on too many factors. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You shouldn't worry about trying to make each page go for exactly one minute. You'll find that some pages will go over a minute on screen and some will go under. So don't start a new page - that'd be incorrect script formatting and if you give an incorrectly formatted script to a producer you'll have no hope of getting it made. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've found the best way to learn how to write screenplays (other than professional lessons) is to read screenplays. Here are a few websites that you can find scripts on:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.script-o-rama.com/snazzy/dircut.html&quot; rel=&quot;nofollow&quot;&gt;Drew's Script-O-Rama&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://sfy.ru/scripts.html&quot; rel=&quot;nofollow&quot;&gt;Screenplays for You&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.simplyscripts.com/&quot; rel=&quot;nofollow&quot;&gt;Simply Scripts&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://dailyscript.com/movie.html&quot; rel=&quot;nofollow&quot;&gt;Daily Script&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't used Final Draft to write scripts before. I use &lt;a href=&quot;https://www.celtx.com/&quot; rel=&quot;nofollow&quot;&gt;Celtx&lt;/a&gt; and it's an amazing program. It's free and it formats the script for you as you go. I highly recommend it. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastEditorUserId="1133" LastEditDate="2012-02-26T13:01:57.350" LastActivityDate="2012-02-26T13:01:57.350" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3415" PostTypeId="2" ParentId="3295" CreationDate="2012-02-26T22:59:30.580" Score="2" Body="&lt;p&gt;As far as I recall, you can't.  I would tape your solo on your camera while playing your time line and then importing that video back into FCP once it's done.&lt;/p&gt;&#xA;" OwnerUserId="2041" LastActivityDate="2012-02-26T22:59:30.580" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3416" PostTypeId="2" ParentId="3235" CreationDate="2012-02-27T18:49:17.743" Score="1" Body="&lt;p&gt;You could try &lt;a href=&quot;http://virtualdub.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;VirtualDub&lt;/a&gt; since you haven't got it working yet.. I have only used it with AVI though..&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-02-27T18:49:17.743" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3417" PostTypeId="2" ParentId="3405" CreationDate="2012-02-27T21:07:45.453" Score="1" Body="&lt;p&gt;As I understand this, your script is for you and your friend and that you are both one of the producers and the director, perhaps even the camera man, editor, etc as is the case with many independent movies. So if I have this correct, your script format is only as important as how it serves you to make this movie, not some Hollywood guys unless you plan to have this done by the industry.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regardless. Here's some long range goals for your script.&#xA;1) be prepared to change it.&#xA;2) if there are lines for actors, rehearse these to see if they sound right and make sense in the context of your story, also, it would not hurt to block out the action or positions of actors for each scene.&#xA;2) make sure you have enough visual information to make a good storyboard which will be the basis for the shot list and production schedule.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-02-27T21:07:45.453" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3420" PostTypeId="2" ParentId="3396" CreationDate="2012-02-28T01:03:11.303" Score="1" Body="&lt;p&gt;Technical reason's why I think this video is both not sped up but looks unnatural.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using the camera crane tracking shots as a time consent, I am pretty certain the video was not sped when the music tempo stepped up as the camera crane tracking shots that follow this appear to be consistent with the earlier shots. So for my eyes, I do not see a sped up video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The key thing I think that is going on here is that this was shot in a studio with studio lighting. Even with bright studio lights the stage area is large enough to demand the iris to be stopped down to get the most depth of field but the trade off is a slower shutter speed. When the music tempo picks up the close ups of the hands playing the lead guitar appear to be more slurred which looks unnatural. The longer shutter time explains why there is this slurring or blurring.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another element to consider in favor of the video not having been sped up: this looks like a live show, in other words, there was no post production, everything was done live as for broadcast. You can't speed up video in real time and match it with the sound unless maybe you have a whole chain of effects and delay lines which does not seem practical for this.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-02-28T01:03:11.303" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3421" PostTypeId="1" AcceptedAnswerId="3423" CreationDate="2012-02-28T17:44:25.093" Score="2" ViewCount="2480" Body="&lt;p&gt;I am building a 2 camera, 4 mic webcasting setup. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using firewire to connect the 2 cameras to a laptop is more involved as it requires 2 analog to digital converts and 2 firewire ports, whereas most laptops usually have at least 2 usb ports.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need the video quality to be good (possibly HD), stable and reliable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which route should i take?&lt;/p&gt;&#xA;" OwnerUserId="2046" LastActivityDate="2012-10-12T12:22:04.943" Title="Is firewire better than USB for live webcasting - Video" Tags="|streaming|usb|firewire|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3423" PostTypeId="2" ParentId="3421" CreationDate="2012-02-28T20:12:00.610" Score="4" Body="&lt;p&gt;For the best quality and/or High Definition you want to use the fastest computer input you have that your streaming app will accept. That would normally be Firewire. Most online streaming sites will accept both USB or Firewire.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take a look at &lt;a href=&quot;http://www.youtube.com/user/TEDxTalks/search?query=tedxsanantonio+2011&quot; rel=&quot;nofollow&quot;&gt;http://www.youtube.com/user/TEDxTalks/search?query=tedxsanantonio+2011&lt;/a&gt;. These are TEDx Talks we shot using a SONY PMW-EX1 with HD/SDI out and a few other SONY HDV cameras with SDI adapters ($200 each I think) into a Newtek Tricaster that was streaming and recording 1080i. The HD files were uploaded to YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps&lt;/p&gt;&#xA;" OwnerUserId="2047" LastActivityDate="2012-02-28T20:12:00.610" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3424" PostTypeId="2" ParentId="3405" CreationDate="2012-02-28T20:14:21.370" Score="0" Body="&lt;p&gt;To add...one page DOUBLE SPACED is about one minute for screenplay format. For two column format, one page Double Spaced is 30 seconds; right column is only half the page width.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And, CELTX is the bomb.&lt;/p&gt;&#xA;" OwnerUserId="2047" LastActivityDate="2012-02-28T20:14:21.370" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3425" PostTypeId="2" ParentId="3357" CreationDate="2012-02-28T20:40:00.560" Score="1" Body="&lt;p&gt;Based on research I did for a client here's what I found out. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Canto Cumulus is a desktop app that has a good rep but is relatively&#xA;expensive.&lt;/li&gt;&#xA;&lt;li&gt;iDive is a Mac based app that is relatively cheap but may&#xA;not have everything you need or want. &lt;/li&gt;&#xA;&lt;li&gt;Imagine Products has some good&#xA;integrated solutions. I've used their ShotPut Pro software. Their&#xA;customer service is very good.&lt;/li&gt;&#xA;&lt;li&gt;I've purchased and implemented CatDV.&#xA;It is simple and has a number of automation features. Basically drag&#xA;and drop.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You didn't mention platform. I'm on Apple so my solutions are Mac-centric.&lt;/p&gt;&#xA;" OwnerUserId="2047" LastActivityDate="2012-02-28T20:40:00.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3432" PostTypeId="1" AcceptedAnswerId="3438" CreationDate="2012-03-01T10:51:17.710" Score="0" ViewCount="2652" Body="&lt;p&gt;I have a video, shot with a recent but low-end camcorder (Samsung HMX-Q10) in Full HD 1920x1080/50i.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that there wasn't enough light (I guess) and the camcorder added some &quot;parasites&quot; to the video on the zones in the shadow (blacks are quite okay, but dark zones are not).&lt;br&gt;&#xA;The kind of parasites that you may see on &lt;a href=&quot;http://www.youtube.com/watch?v=GQ3fPl6eNkM&quot; rel=&quot;nofollow&quot;&gt;that video&lt;/a&gt; (on walls for instance) (this is not a video shot with that camcorder, nor my video).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I don't seem to be able to remove them when shooting, whatever the parameters of the cam are. I still need to try with more light, but I'd like to know if it is possible to correct that with a post-production effect on my existing video, especially with Sony Vegas Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Moreover, is there a way to prevent the cam to add those artificial elements to the video ? This looks like some numeric elements added to the video, like the cam tries to correct the lighting. Can't the camcorder write exactly the image it gets from the lens, even if it's too dark ?&lt;br&gt;&#xA;Can I achieve &lt;a href=&quot;http://www.youtube.com/watch?v=hz6k-38jtUQ&quot; rel=&quot;nofollow&quot;&gt;this kind of dark image&lt;/a&gt; with my cam (or maybe it is darkened in post production ?)&lt;/p&gt;&#xA;" OwnerUserId="28" LastEditorUserId="28" LastEditDate="2012-03-07T17:48:59.757" LastActivityDate="2012-03-07T17:48:59.757" Title="Remove noise in video post production" Tags="|effects|lighting|camcorder|shooting|full-hd|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3433" PostTypeId="2" ParentId="3432" CreationDate="2012-03-01T11:24:59.743" Score="1" Body="&lt;p&gt;The parasites you are referring to is actually called 'noise'. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Digital noise comes from two main sources. The first being the inherent noise in the camera's sensor. This is exacerbated by heat buildup on the chip from multiple exposures or long exposures, or by having many photosites clustered onto a small chip. This is why dSLRs have less noise than point and shoots. The second source of noise you allude to is from the ISO rating. The ISO setting simply amplifies the signal through the chip, much like turning up the volume on your stereo. With the volume at 3, you can't hear the noise in your stereo, at 10 you hear the hiss through the speakers. This is amplification noise. &#xA;  The best advice for avoiding camera noise. Buy a camera with a larger CCD or CMOS chip (think dSLR), and work to dial in your exposures. Underexposed images always end up being noisier than correctly exposed images.&#xA;  - Jay Kinghorn.&#xA;  RGB Imaging&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;There is no real way to remove this noise from your image in post. Adobe After Effects may have a Reduce Noise filter (I don't use it so I don't know for sure) but what it could actually achieve would be very limited. I also don't use Sony Vegas so I can't help you there, but I'm going to take a stab in the dark and say it doesn't have a Reduce Noise filter.&lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2012-03-01T11:24:59.743" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3438" PostTypeId="2" ParentId="3432" CreationDate="2012-03-02T11:23:30.083" Score="3" Body="&lt;p&gt;The parasites you talked about is called noise. The setting you can change to get less is called the ISO. It corresponds to the old ASA value we had before the digital age.&lt;/p&gt;&#xA;&lt;p&gt;We can't see a thing, we can only see light. That's the way the universe is built up. Same with the camera. It sees the light reflected off surfaces. So white objects reflects all light and dark objects no light. And absence of light, as you know, means darkness. Where it is dark it has to &amp;quot;work extra hard&amp;quot; to figure out what's actually there, because there is almost no information there given from the light. Therefore you will get some noise. A better camera will produce less noise.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Turn down the ISO as much as possible without compromising the aperture or &amp;quot;shutter speed&amp;quot; you want.&lt;/li&gt;&#xA;&lt;li&gt;Remove the noise left in post.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;It is also no problem to edit it away in post on your computer! The only compromise is that you will get smoother edges and blurred images the more noise you remove. I once saw a movie shot entirely by moonlight. It was full of noise but they removed everything in post!&lt;/p&gt;&#xA;&lt;p&gt;There are two plugins you can use:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Neat Video's Noise Removal. I've never tried this, but you can use it with Sony Vegas. They claim to be the best in noise removal.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Red Giant's Magic Bullet DeNoiser. I've used this and am very satisfied with it. Does a really good job. I don't know if this works in Vegas, but it certainly works great in Adobe After Effects and Premiere Pro!&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1909" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2012-03-02T11:23:30.083" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3442" PostTypeId="1" AcceptedAnswerId="3448" CreationDate="2012-02-27T06:52:31.797" Score="1" ViewCount="173" Body="&lt;p&gt;I am looking to develop a tool for editing Closed Captions for MP3s.  It is mostly in support of YouTube music videos.  I've been looking over the &lt;a href=&quot;http://code.google.com/apis/youtube/2.0/developers_guide_protocol_captions.html#Supported_Caption_File_Formats&quot; rel=&quot;nofollow&quot;&gt;Supported Caption File Formats&lt;/a&gt; in this YouTube page and the example they show is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;0:01:23.000,0:01:25.000&#xA;This text displays for two seconds starting&#xA;1 minute and 23 seconds into the video.&#xA;&#xA;0:02:20.250,0:02:23.8&#xA;This text displays from 2 minutes and 20.25 seconds after the start&#xA;of the video until 2 minutes and 23.8 seconds after the start of the video.&#xA;&#xA;0:03:14.159&#xA;This text displays beginning 3 minutes and 14.159 seconds&#xA;after the start of the video for an undefined length of time. &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It seems clear enough there, with the first line being start,end time, the blank line being a delimiter, and the rest indicating text and line breaks.  The last 'time' entry indicates a start time but no explicit end time - it is up to the software to define how to render it (any examples my software makes, will have an explicit start &amp;amp; end time).  That is basically what is shown in the SubViewer (http:// en.wikipedia.org/wiki/SubViewer - link broken to reduce 3 links to maximum of 2) example at Wikipedia.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What neither page makes clear is whether the captions could effectively &lt;em&gt;overlap.&lt;/em&gt;  E.G. a busy meeting, or songs with lead and back-up vocals.  An example of the latter is &lt;a href=&quot;http://www.youtube.com/my_videos_timedtext?video_id=a_-hARpkSuE&amp;amp;feature=vm&quot; rel=&quot;nofollow&quot;&gt;Johnny O'Keefe's - She's My Baby&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The BG vocals start &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;1. Bom, bom, bom, BOM..&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Continue that with 2 &amp;amp; 3 (when you're on a good 'bom', roll with it..)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then JO'K cuts in with ..&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;4a.                Short black hair..&#xA;4b. Bom, bom, bom, BOM..&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Does the format specify/expect that all captions will be non-overlapping periods of time, like lines 1-3, or does it also support 'interleaved' text as with lines 4 a/b? &lt;/p&gt;&#xA;" OwnerUserId="2044" OwnerDisplayName="Andrew Thompson" LastEditorUserId="2044" LastEditDate="2012-03-03T09:49:10.450" LastActivityDate="2012-03-03T09:49:10.450" Title="Closed Caption formats - support for overlapping phrases" Tags="|file-formats|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3443" PostTypeId="1" CreationDate="2012-02-22T15:06:36.243" Score="3" ViewCount="277" Body="&lt;p&gt;I have a &lt;a href=&quot;http://dl.dropbox.com/u/1705348/share/om/JSC000001.OM&quot; rel=&quot;nofollow&quot;&gt;video file&lt;/a&gt; (30Mb) in some unknown format, hex dump of its header looks like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;0000000    78  55  52  30  09  10  02  0a  00  00  09  09  22  93  00  39&#xA;0000020    00  00  00  00  bd  09  a4  00  a4  00  a4  00  a4  00  1c  00&#xA;0000040    24  00  00  00  00  00  8d  00  00  00  00  00  00  00  a3  00&#xA;0000060    00  00  00  00  00  00  00  00  00  00  00  00  00  00  00  00&#xA;*&#xA;0002560    00  00  00  00  00  00  00  00  24  24  24  24  24  24  0f  23&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have a &lt;a href=&quot;http://dl.dropbox.com/u/1705348/share/om/first_frame.bmp&quot; rel=&quot;nofollow&quot;&gt;first frame&lt;/a&gt; of that video in BMP format, so I can compare encoded and decoded bytes. The only thing I came up to is that one pixel (RBGA) is encoded to one byte. So some kind if YUV encoding is used (?). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also there are misterios 6 same bytes before each line and 7 after =) and header is 100 bytes long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example first line of pixels in video&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;0002560    00  00  00  00  00  00  00  00  24  24  24  24  24  24  0f  23&#xA;0002600    10  22  0f  20  0f  20  0d  21  0e  21  0e  21  0e  1f  0e  1f&#xA;0002620    0d  1e  0e  1f  0c  1d  0d  1c  0c  1c  0c  0c  0c  0c  0c  0c&#xA;0002640    0c  00  00  00  00  00  00  00  00  00  00  00  00  00  00  00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Corresponds to first line in BMP.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;3960   00 00 00 00 00 00 00 00 00 0e 48 43 0e 48 43 0e 48 43 00 45&#xA;3980   42 00 45 42 00 40 43 00 3c 40 00 3d 3d 00 3e 3d 00 3f 3d 00&#xA;4000   42 40 00 42 40 00 41 43 00 42 40 00 40 43 00 3e 3d 00 3a 3a&#xA;4020   00 3a 3a 00 3a 3a 00 37 35 00 37 35 00 37 35 00 3a 3a 00 36&#xA;4040   39 00 32 36 00 30 35 00 31 35 00 30 30 02 30 31 02 30 31 00&#xA;4060   00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I thought maybe my video's format is not custom and I could detect it with &lt;code&gt;file&lt;/code&gt; or &lt;code&gt;ffmpeg&lt;/code&gt; but both knew nothing about it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So me questions are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Maybe you know what format that video has?&lt;/li&gt;&#xA;&lt;li&gt;Maybe there are tools to find it out?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2983" OwnerDisplayName="alexanderkuk" LastActivityDate="2012-06-04T17:18:09.843" Title="How to figure out video format by video sample?" Tags="|video|codec|" AnswerCount="4" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="3444" PostTypeId="2" ParentId="3443" CreationDate="2012-02-27T13:45:31.483" Score="0" Body="&lt;p&gt;Maybe the mysterious bytes correspond to packet number/header/end? Hence, maybe the file you have is a streaming video file? Try Realtime, Quicktime and VLC players.&lt;/p&gt;&#xA;" OwnerDisplayName="Daniyar" LastActivityDate="2012-02-27T13:45:31.483" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3445" PostTypeId="2" ParentId="3443" CreationDate="2012-02-28T04:00:24.583" Score="0" Body="&lt;p&gt;I don't think it can be guess. No ftyp tag in the head, so ffmpeg can't probe it. You need to recapture it and save the header.&lt;/p&gt;&#xA;" OwnerDisplayName="qrtt1" LastActivityDate="2012-02-28T04:00:24.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3446" PostTypeId="2" ParentId="3443" CreationDate="2012-03-02T10:34:18.920" Score="1" Body="&lt;p&gt;If you want to identify video / audio file i recommend you to download K-Lite codec pack. It always works for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.codecguide.com/changelogs_full.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.codecguide.com/changelogs_full.htm&lt;/a&gt;&#xA;&quot;•Updated MediaInfo Lite to version 0.7.53&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MediaInfo - that's the one you can use, after installing it's just right clicking on the file or opening it and it should be recognized, via the tray icons (if not disabled) you can change various layout and information settings.&lt;/p&gt;&#xA;" OwnerDisplayName="Rafal Grasman" LastActivityDate="2012-03-02T10:34:18.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3447" PostTypeId="2" ParentId="3443" CreationDate="2012-03-02T10:59:38.907" Score="1" Body="&lt;p&gt;Since this is medical image it can be in &lt;a href=&quot;http://en.wikipedia.org/wiki/Digital_Imaging_and_Communications_in_Medicine&quot; rel=&quot;nofollow&quot;&gt;DCIM format&lt;/a&gt; or it could be in some vendor proprietary format.&lt;/p&gt;&#xA;" OwnerDisplayName="Ivan Solntsev" LastActivityDate="2012-03-02T10:59:38.907" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3448" PostTypeId="2" ParentId="3442" CreationDate="2012-03-02T17:19:34.293" Score="1" Body="&lt;p&gt;I tried this just a short while ago, and YouTube supports interleaving captions! You can even jumble the captions around in time. So the first caption could be the last one showing up in the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just specify the starting time and the end time on all of the captions and they will show up during the time you specified.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have a good time captioning! :)&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-03-02T17:19:34.293" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="3451" PostTypeId="1" CreationDate="2012-03-02T19:47:10.833" Score="2" ViewCount="92" Body="&lt;p&gt;We are setting up a big cellar as a studio in which we will shoot with a green screen.&#xA;At this point we have two solutions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Put in place a curtain which will be attached to a rail on the ceiling.&lt;/li&gt;&#xA;&lt;li&gt;Paint directly the wall in green ( with the proper paint of course )&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;What do you think is the most practical?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a risk to have chroma-key issues with the curtain?&#xA;If we opt for the paint, how often should we expect to have to refresh the paint?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you for your help!&lt;/p&gt;&#xA;" OwnerUserId="1915" LastActivityDate="2012-03-02T21:55:47.273" Title="Frequency of refreshing for a green wall" Tags="|greenscreen|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3452" PostTypeId="2" ParentId="3432" CreationDate="2012-03-02T19:50:15.497" Score="1" Body="&lt;p&gt;Regarding this part of the question:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Can I achieve this kind of dark image with my cam (or maybe it is darkened in post production ?)&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This looks like post production work and Vegas can do this. There are two things going on&#xA;in the video to make it look dark. One is the use of a border or frame that is feathered on the inside edge and totally black at the outside (frame) edge. The other effect is a tweak on the brightness and contrast levels of this clip and possibly some color grading.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Vegas Pro you can get the border a couple of ways.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Vega Pro--&gt; choose Video FX (tab) --&gt; choose 'border' --&gt; select 'soft edge' --&gt; adjust size in pop up to suit your need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Vega Pro--&gt; choose Video FX (tab) --&gt; choose 'cookie cutter' --&gt; select 'circle' --&gt; in pop up change the following: set 'shape' to rectangle', set 'method' to &quot;cut away all but section', set size and feather to your need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 2nd method will allow you more control of the soft zone of the border.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And to make the overall scene darker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Vega Pro--&gt; choose Video FX (tab) --&gt; choose 'brightness and contrast' --&gt; adjust brightness and contrast sliders to where you want it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) additionally: Vega Pro--&gt; choose Video FX (tab) --&gt; choose 'color correction' or '2nd color correction' to tweak the color grade as a part of the overall look of this clip.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-03-02T20:00:51.553" LastActivityDate="2012-03-02T20:00:51.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3453" PostTypeId="2" ParentId="3451" CreationDate="2012-03-02T20:17:33.327" Score="2" Body="&lt;p&gt;Practical or most effective?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Green Screen work demands the following optimazation points to have it be effective.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;flat even lighting, no hot spots, no dark spots.&lt;/li&gt;&#xA;&lt;li&gt;no shadows,&lt;/li&gt;&#xA;&lt;li&gt;no reflections,&lt;/li&gt;&#xA;&lt;li&gt;the lighting has to be bight enough to register the green correctly, aka no noise.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Additionally, to help avoid hot spots, plan on a fresh drywall/plasterboard for that wall and when fixing, ensure sunk and smooth plastered nails. This will help you get a consistent surface for the green.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A curtain if it can be expanded to be absolutely flat with out any wrinkles might work,&#xA;but I think this will be very troublesome.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Painting the wall with the appropriate paint would be more effective.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When to repaint?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Establish a base-line video test, that is repeatable, same lights, same object(s), same camera. Run this in your post production chroma-key video track before each production use, and it should be obvious if the paint needs to be refreshed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Paint source:&#xA;&lt;a href=&quot;http://www.tubetape.net/servlet/the-5/greenscreen-screen/Detail&quot; rel=&quot;nofollow&quot;&gt;http://www.tubetape.net/servlet/the-5/greenscreen-screen/Detail&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Disclaimer: I have not used this paint, it comes with no recommendations.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="674" LastEditDate="2012-03-02T21:55:47.273" LastActivityDate="2012-03-02T21:55:47.273" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="3454" PostTypeId="2" ParentId="3406" CreationDate="2012-03-02T20:58:18.627" Score="1" Body="&lt;p&gt;The constant lighting you are referring to is not enough. Did you lock down the camera exposure? white balance? Focus? If any of these items are left in auto mode on your camera, your going to get some kind of uneven variance in light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What kind of light are you using?&#xA;Since you are want a shallow depth of field and are achieving this with a short exposure the light source may be of interest as well.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-03-02T20:58:18.627" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3457" PostTypeId="1" AcceptedAnswerId="3458" CreationDate="2012-03-03T01:54:27.747" Score="4" ViewCount="86" Body="&lt;p&gt;For our schools theatrical production class, we need to project an image using a projector, however the only way to use the projector is to hang it on a lighting bar (Not a problem)  The problem is that we do not have a long enough VGA cord to hook that projector up to a laptop/desktop.  I have called around and asked about a 200ft VGA cable, but at that length that would loose signal.  So I thought I would ask this form what would be the best solution to my problem.  I have thought about getting a 200 coax cable with VGA ends, but is that even possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="2058" LastActivityDate="2012-03-03T03:36:14.400" Title="Projecting image from computer that is a distance away" Tags="|video|laptop|projector|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3458" PostTypeId="2" ParentId="3457" CreationDate="2012-03-03T03:36:14.400" Score="3" Body="&lt;p&gt;It's possible to amplify VGA for long runs, but since that's an analog signal it's usually not the best option. VGA over coax is probably more trouble than it's worth (you'd have to merge the many VGA channels somehow to use the single coax pin, and then reverse it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VGA over Cat5e is fairly common. You still aren't running an analog signal over 200ft, but there's hardware to convert from VGA to a digital signal and then convert back at the other end with minimal latency. For example, &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B001PBO5YK&quot; rel=&quot;nofollow&quot;&gt;this product&lt;/a&gt;, which also has a monitor port at the source end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A less reliable option, but possibly less pricey if your projector supports it, is wireless projection over wi-fi. But like I said, this may be not reliable enough for theater application.&lt;/p&gt;&#xA;" OwnerUserId="617" LastActivityDate="2012-03-03T03:36:14.400" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="3459" PostTypeId="1" AcceptedAnswerId="3460" CreationDate="2012-03-03T11:59:31.457" Score="0" ViewCount="1362" Body="&lt;p&gt;I have a video (from my Android Nexus One).  Dimensions are 720 x 480.&#xA;The pixel aspect ratio is, according to data embedded in the file, 0.9091.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, editing the video and exporting it to a media that says it has square pixel obviously makes the video look 'narrow' on the X axis.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way I could edit this in Premiere and export it to MPEG (2 or 4), was to scale each source video up to 109.9% on the X axis (since 0.9091 * 1.09 is ca 1.0).  Premiere doesn't allow me to say that the generated file as a pixel aspect ratio of 0.9091.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This works, but feels wrong.  Especially if I have lots of source videos, to set the scaling factor on each of them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a better way to do this ?&lt;/p&gt;&#xA;" OwnerUserId="2059" LastActivityDate="2012-03-04T06:49:53.070" Title="Rendering video with pixel aspect ratio 0.9091 (in premiere CS5.5)" Tags="|editing|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3460" PostTypeId="2" ParentId="3459" CreationDate="2012-03-03T21:02:46.270" Score="1" Body="&lt;p&gt;If you're exporting directly from Premiere, then select the MPEG2-DVD NTSC preset in File -&gt; Export -&gt; Media, as shown in this &lt;a href=&quot;http://i1.creativecow.net/u/205208/mpeg2-dvd_settings.png&quot; rel=&quot;nofollow&quot;&gt;image&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, it looks like MP4Box will allow you to change the pixel aspect ratio flag in a .mp4 without re-encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FYI: 720x480 with PAR 0.9091 @ 29.97fps is the NTSC DV standard resulting in a 4:3 display aspect ratio. Similarly, 720x576 with PAR 1.0667* @ 25fps is the PAL DV standard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;*&lt;sub&gt;The actual PAR is supposed to be 59/54, but many apps use 16/15. See &lt;a href=&quot;http://www.mikeafford.com/blog/2009/03/pal-d1-dv-widescreen-square-pixel-settings-in-after-effects-cs4-vs-cs3/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; if you're interested.&lt;/sub&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2012-03-04T06:49:53.070" LastActivityDate="2012-03-04T06:49:53.070" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3463" PostTypeId="2" ParentId="3406" CreationDate="2012-03-05T16:41:03.067" Score="6" Body="&lt;p&gt;The flickering you are talking about comes because you have chosen a too narrow aperture. Normally you can completely eliminate the flickering by choosing a wider aperture than f/8.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason is simple: The lenses are no longer controlled by a physical aperture ring. Today it's the camera's job to set the aperture, and if you choose a f-number higher than 8, the aperture has to move a lot in a short amount of time. This leads to an accuracy of maximum 96 %, thus resulting in 100-96=4, 4 in each direction: 4*2=8 %. This means that each picture can be up to 8 % different in exposure. (This percentage is of course dependent upon how good your camera and lenses are.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But as you already have your footage shot you need to fix it on your computer. There aren't many programs to do this, in fact I couldn't find any, but a good one is Photoshop CSX &lt;strong&gt;Extended&lt;/strong&gt;. The Extended version can work with video, thus making you able to correct each frame individually. But this leads to a lot of job!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Luckily for you there has been made an action for Photoshop CSX Extended to automate this process. (Think of it like a plugin for After Effects.) Just load your video and apply the action, and it will fix your footage completely!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The action is a part of a big action bundle called iNovaFX which only comes with this eBook: &lt;a href=&quot;http://www.gmbooks.com/product/CS5.html&quot;&gt;http://www.gmbooks.com/product/CS5.html&lt;/a&gt;. On &lt;a href=&quot;http://www.digitalsecrets.net/secrets/TimeLapseFlicker.html&quot;&gt;this&lt;/a&gt; page you can see it in action!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this will solve your flickering video! Have a good day!&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-03-05T16:41:03.067" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="3470" PostTypeId="2" ParentId="2535" CreationDate="2012-03-06T01:44:20.993" Score="4" Body="&lt;p&gt;This isn't part of Premiere, but &lt;a href=&quot;http://www.scenalyzer.com&quot; rel=&quot;nofollow&quot;&gt;Scenalyzer&lt;/a&gt; is an external tool for this that I've had some good luck with.  It can scan a large video file and split it into smaller ones based on frame change detection.  Then you can work with the smaller files much more easily.  There's a freeware version, and a more featured paid edition.&lt;/p&gt;&#xA;" OwnerUserId="2065" LastActivityDate="2012-03-06T01:44:20.993" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3471" PostTypeId="1" AcceptedAnswerId="3532" CreationDate="2012-03-06T01:47:45.077" Score="1" ViewCount="3106" Body="&lt;p&gt;I've run into what I think is a bug in Premiere Pro CS5.  I've got one large clip that was pulled from an analog camera, and I'm cutting it into scenes.  When I try to add a transition between two such scenes, it just doesn't work.  If I do a two second clock wipe, for instance, I can see the hand of the clock rotating, but I just see the left image for one second, then a sudden cut to the right image for one second, with no transition.  Can anyone confirm that this is a bug, and is there a workaround?  Thanks.&lt;/p&gt;&#xA;" OwnerUserId="2065" LastActivityDate="2012-03-12T18:56:01.233" Title="How can I add a transition between two cuts of the same clip in Premiere Pro CS5?" Tags="|video-editor|premiere|cs5|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="3473" PostTypeId="1" AcceptedAnswerId="3474" CreationDate="2012-03-06T10:02:59.060" Score="1" ViewCount="60" Body="&lt;p&gt;I am building a kinetic type-style video and am struggling to get some of the animations to sync correctly.&#xA;In this particular example I am trying to have a text box (imported .ai file) rotate with the text inside (made with an AE animation preset) but at the moment they fall out of alignment part way through the animation.&#xA;Is there a simple means of link their animations so they stay in the same position (relative to each other) or do I have to fiddle with the registration point to make sure their animations sync together?&lt;/p&gt;&#xA;" OwnerUserId="2066" LastActivityDate="2012-03-10T00:46:39.097" Title="Is there a way to link the animation of two layers?" Tags="|video|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3474" PostTypeId="2" ParentId="3473" CreationDate="2012-03-06T11:40:43.993" Score="3" Body="&lt;p&gt;What you want is layer &lt;a href=&quot;http://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103906c6dea-7da0a.html&quot; rel=&quot;nofollow&quot;&gt;parenting&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2012-03-06T11:40:43.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3477" PostTypeId="2" ParentId="2952" CreationDate="2012-03-06T22:19:46.697" Score="2" Body="&lt;p&gt;How old of a Mac? &lt;a href=&quot;http://squared5.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPEG Streamclip&lt;/a&gt; is a great option.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;This free software requires at least Mac OS X 10.2 (Jaguar) and QuickTime 6. It is also compatible with Mac OS X 10.3.x (Panther), Mac OS X 10.4.x (Tiger), Mac OS X 10.5.x (Leopard), Mac OS X 10.6.x (Snow Leopard), OS X Lion, and QuickTime 7. It works with PowerPC and Intel based Macs.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Unless you are living the the Stone Age and have a Mac running 10.1 or lower, you'll be fine. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can batch convert files by going to List&gt;Batch List:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/H6NQQ.png&quot; alt=&quot;List&amp;gt;Batch list&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll be presented with a screen like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/zkzRZ.png&quot; alt=&quot;Batch List window&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can add files from there and convert them.&lt;/p&gt;&#xA;" OwnerUserId="1180" LastActivityDate="2012-03-06T22:19:46.697" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3478" PostTypeId="1" AcceptedAnswerId="3504" CreationDate="2012-03-06T23:12:33.553" Score="1" ViewCount="630" Body="&lt;p&gt;I'm trying to get an idea of the brightness of halogen lights before I go and buy any. I'm going to be producing a music video and for some indoor scenes I'll need lighting. I'm on a small budget unfortunately so hiring hundreds of dollars of lighting is not on the agenda.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was planning on getting some cheap work lights of 250W or 500W but I've heard people say that 500W lights are actually very bright and get rather hot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I was looking for an exposure at 1/50th of 1/100th (for 50fps shots) at f/2.8-4 at around ISO 100 or 160, will a 500W light be too bright? I obviously want the ISO to be as low as possible since I'm working with an APS-C DSLR, not a dedicated cinema camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do have an ND4 filter on hand. The only remaining issue would be controlling the light from the work lights.&lt;/p&gt;&#xA;" OwnerUserId="923" LastActivityDate="2012-03-14T03:01:14.103" Title="Halogen brightness for video" Tags="|video|dslr|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3481" PostTypeId="1" AcceptedAnswerId="3501" CreationDate="2012-03-07T17:56:00.927" Score="8" ViewCount="11280" Body="&lt;p&gt;I am working at a Multimedia Production placement for my college course for a company that wants a promotional video. I shot about 4 hours of video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They believe claim that I have no right to use the raw footage that I shot for anything (including my own portfolio) and that they have the right to full access of the raw &amp;amp; audio footage that I shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to avoid escalating the situation, I didn't say anything because right now, I am the sole holder of all the raw footage files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They want to be able to use the footage I shot for their projects in the future and I doubt credit will be given to me for the footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I have the right to put a watermark on the footage before I give it to them?&#xA;Do they have the right to the raw footage, or ONLY the finished product which I am producing for them?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I signed a generic contract when I went into this placement, but the form mentioned nothing about media (as this is a hospital). So what is the default rule of thumb about the rights to this footage?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not sure if it makes a difference, but I am in Canada&lt;/p&gt;&#xA;" OwnerUserId="1982" LastActivityDate="2019-01-31T07:43:28.877" Title="Who owns raw footage?" Tags="|copyright|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3484" PostTypeId="2" ParentId="3481" CreationDate="2012-03-07T19:10:12.417" Score="1" Body="&lt;p&gt;It appears this question is not relevant for this group as it is about a legal matter, I am not qualified nor would anyone here be expected to be able to give you legal advice. I recommend that you seek legal counsel from an attorney that practices copyright, trade mark or intellectual property law in Canada.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might start by looking for firms that provide pro-bono services to students such as yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a link that might help:&#xA;&lt;a href=&quot;http://www.probono.net/&quot; rel=&quot;nofollow&quot;&gt;http://www.probono.net/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Be prepared to provide any and all documents you have signed with this employer, and any and all paper trails (emails, tweets, messages, letters, notes, etc) regarding any communications about your filming for this employer.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-03-07T19:10:12.417" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3490" PostTypeId="2" ParentId="3481" CreationDate="2012-03-08T00:17:27.760" Score="1" Body="&lt;h2&gt;I am not a lawyer, nor have I ever directly worked in professional video production.&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;That said,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In a typical situation where, say, a cameraman is working for a production company which is then in turn being contracted by some other entity, the cameraman would likely have no rights to the footage he shoots, but there would probably be a clause in his contract that grants him the right to use footage in a portfolio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The production company then negotiates with their client to decide if the client will own all raw footage at the conclusion of the project, or just the finished product.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your situation doesn't have any contract in place that mentions ownership, well, that's not a situation I'd want to be in. If you are single-handedly being contracted to shoot, produce, and deliver a finished video to the company, then you may have rights to the footage. However, if the company is producing the video in-house and you are simply there to shoot for them, you probably don't have rights to the raw footage. On the other hand, if this is a placement for a college course, then it may actually be YOUR SCHOOL that owns the rights to your raw footage. You'll have to find that out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should NOT watermark anything unless you have signed something that specifically allows you to do so. This will just make people angry, and that's not good for anyone unless you're prepared to enter a costly legal battle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The fact that you are holding all of the raw footage right now does not necessarily mean you have the rights to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frankly, the fact that this is an academic placement (and therefore unpaid, I imagine) makes me think the &quot;generic contract&quot; you signed essentially means YOU do whatever THEY want, and you get a grade for it. End of story--they own the footage. And besides, when have you EVER seen cameramen credited on the footage they shoot? Only at the ends of feature films, and in the cameraman's own portfolio; never on a promotional video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nonetheless, I do believe you are justified in wanting to retain the use of your footage for your professional portfolio. If they are going to begrudge you that, I think you have a fair case to make as a student, and your advising professor should be able to vouch for you and bargain on your behalf.&lt;/p&gt;&#xA;" OwnerUserId="617" LastActivityDate="2012-03-08T00:17:27.760" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3494" PostTypeId="1" AcceptedAnswerId="3500" CreationDate="2012-03-08T07:03:51.293" Score="6" ViewCount="1537" Body="&lt;p&gt;I have been making some movies of my iPad for promotional videos and they all range from bad to worse in terms of video quality. I have used compact cameras and camcorders with pretty similar results. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of the stuff I shoot is AVCHD 1920x1080 at 30fps. The camera is positioned to take in the whole screen of the iPad and little (or nothing) else.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other day I borrowed a Canon REBEL T2i, thinking that the results were going to be fantastic. They were not. There is a weird strobey effect (NO idea why that would appear &lt;em&gt;more&lt;/em&gt; with this camera shooting 30fps than with any other one), and the clarity is not great. In fact, it may look better with a $250 Sony pocket camera I have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which got me to thinking: I really haven't the slightest idea what I'm doing. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Should the room be dark or light? Or should there be light coming from some specific direction?&lt;/li&gt;&#xA;&lt;li&gt;Should the iPad's brightness be high, medium or low?&lt;/li&gt;&#xA;&lt;li&gt;Should the camera be as close to the iPad as possible, while still being able to get focus, or a few feet away?&lt;/li&gt;&#xA;&lt;li&gt;Since the DSLR has SO many manual settings, what adjustments should I be trying to make?&lt;/li&gt;&#xA;&lt;li&gt;Since the DSLR has interchangeable lenses, what kind of lens is really appropriate for this sort of thing?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I could go on, but I really don't even know the questions to ask. A bit of guidance or orientation or some links to read (that are not 400-page books, unless they are titled &quot;How to Make a Video of a Tablet&quot;) would be appreciated. &lt;/p&gt;&#xA;" OwnerUserId="2077" OwnerDisplayName="Yar" LastEditorUserId="2077" LastEditDate="2012-03-08T15:26:02.970" LastActivityDate="2012-03-13T22:01:29.507" Title="How to make a video of an iPad (or other tablet) screen" Tags="|video|ipad|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3497" PostTypeId="1" AcceptedAnswerId="3525" CreationDate="2012-03-08T15:54:51.253" Score="3" ViewCount="9523" Body="&lt;p&gt;I want to add a transition to one of my animations that gives the impression of the camera rushing/zooming towards the animation. Is there a better means of doing this in After Effects than scaling all of the elements onscreen up until they screen is filled?&lt;br&gt;&#xA;It's an effect you see in a ton of animated infographic-style videos at the moment, but I am new to After Effects and am not sure about the best way to replicate it.&lt;/p&gt;&#xA;" OwnerUserId="2066" LastActivityDate="2013-07-27T12:59:32.897" Title="When making an animation how can I get a zooming effect?" Tags="|after-effects|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3498" PostTypeId="1" CreationDate="2012-03-08T16:01:09.560" Score="3" ViewCount="411" Body="&lt;p&gt;How do you choose a framerate for an animation project? In this case I know the exact context where the video will be displayed (company's head office, on a 51&quot; HD TV) and it needs to look  really slick.&lt;/p&gt;&#xA;" OwnerUserId="2066" LastActivityDate="2012-04-07T23:54:41.417" Title="Choosing a frame-rate for an animation project" Tags="|recommendation|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3500" PostTypeId="2" ParentId="3494" CreationDate="2012-03-08T19:06:13.963" Score="3" Body="&lt;p&gt;From what I recall &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The room should be dark, so the tablet is the light source.&lt;/li&gt;&#xA;&lt;li&gt;Experiment with the brightness, but usually low is the way to go.&lt;/li&gt;&#xA;&lt;li&gt;Camera doesn't need to be extremely close, but the more zoom you use the more obvious vibrations will be.&lt;/li&gt;&#xA;&lt;li&gt;Put the DSLR in manual focus and adjust it so the tablet is just slightly out of focus - this will remove the moire effect.&lt;/li&gt;&#xA;&lt;li&gt;You want a short depth of field. This is achieved with a lower F-Stop (larger aperture opening).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I attended a session by &lt;a href=&quot;http://www.pocketpixels.com/&quot; rel=&quot;nofollow&quot;&gt;Hendrik Kueck&lt;/a&gt; (creator of &lt;a href=&quot;http://www.pocketpixels.com/ColorSplash.html&quot; rel=&quot;nofollow&quot;&gt;Color Splash&lt;/a&gt;) at &lt;a href=&quot;http://360iDev.com&quot; rel=&quot;nofollow&quot;&gt;360iDev&lt;/a&gt; on this topic specifically. It was called &quot;&lt;em&gt;Effectively using videos to explain and market your app&lt;/em&gt;&quot;. You can &lt;a href=&quot;http://360idev.com/session-videos#360idevaustin2010&quot; rel=&quot;nofollow&quot;&gt;buy that video online&lt;/a&gt; for $3.50. It goes into a lot more detail and explains everything really well (and may even correct me on a couple points.) It is a deal at 10x that price.&lt;/p&gt;&#xA;" OwnerUserId="237" LastEditorUserId="237" LastEditDate="2012-03-08T19:19:05.790" LastActivityDate="2012-03-08T19:19:05.790" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="3501" PostTypeId="2" ParentId="3481" CreationDate="2012-03-08T19:15:10.520" Score="4" Body="&lt;p&gt;&lt;strong&gt;&lt;em&gt;I am not a lawyer, but I played one on TV.&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the contract wasn't specific then you might have some wiggle room. Typically contract law (varies by state) says that if the contract is unclear then it favors the person who didn't write it. So if they provided you an unclear contract it favors you when it isn't clear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately if they hired you to create the &quot;work&quot; of the footage, then it may be a &quot;&lt;a href=&quot;http://en.wikipedia.org/wiki/Work_for_hire&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;work for hire&lt;/strong&gt;&lt;/a&gt;&quot;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;A &quot;work made for hire&quot; is— (1) a work prepared by an employee within the scope of his or her employment; or (2) a work specially ordered or commissioned for use as a contribution to a collective work, as a part of a motion picture or other audiovisual work, as a translation, as a supplementary work, as a compilation, as an instructional text, as a test, as answer material for a test, or as an atlas, if the parties expressly agree in a written instrument signed by them that the work shall be considered a work made for hire. (17 U.S.C. § 101)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Read up on work for hire, but generally speaking, unless the contract states otherwise, if you are hired / contracted to create something, the party paying you owns your work.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW, to be a work for hire doesn't mean they paid you cash. They could be paying you in work experience. &lt;/p&gt;&#xA;" OwnerUserId="237" LastEditorUserId="237" LastEditDate="2019-01-31T07:43:28.877" LastActivityDate="2019-01-31T07:43:28.877" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="3503" PostTypeId="2" ParentId="3497" CreationDate="2012-03-08T21:48:27.723" Score="0" Body="&lt;p&gt;If AE or Premiere has a crop/pan feature for each shot with keyframes? or Track motion control for each track with keyframes? Then you could learn to use this and zoom away.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-03-08T21:48:27.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3504" PostTypeId="2" ParentId="3478" CreationDate="2012-03-08T22:01:35.787" Score="2" Body="&lt;p&gt;If anyone was curious, I managed to pick up a 400W halogen work light (supposedly delivering equivalent to 500W) and the exposure within a few metres (3-4) was spot on. I also bought a 250W halogen that I would probably use more as a fill light as it's a stop or so darker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At f/2.8, ISO 100-320, 1/100th at 50 frames per second, the exposure on the histogram was pretty well on the money.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And the light cost me all of $20. I filmed it at 3000K (approximate temperature of halogens) using the CINEMA pf2 profile on my Canon EOS 60D. The profile produced an almost completed colour grade.&lt;/p&gt;&#xA;" OwnerUserId="923" LastEditorUserId="923" LastEditDate="2012-03-09T00:52:11.257" LastActivityDate="2012-03-09T00:52:11.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3506" PostTypeId="2" ParentId="3498" CreationDate="2012-03-08T23:30:17.330" Score="1" Body="&lt;p&gt;You have specified the output device, a 51&quot; HDTV but I don't know what camera, animation software, or video editing gear you plan to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the standard video frame rates for HDTV as quoted from this WIKI page:&#xA;&lt;a href=&quot;http://en.wikipedia.org/wiki/High-definition_television&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/High-definition_television&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Standard frame or field rates&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ATSC table 3 defines the following frame rates for digital high-definition television.[24]&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;23.976 Hz (film-looking frame rate compatible with NTSC clock speed standards)&#xA;24 Hz (international film and ATSC high-definition material)&#xA;25 Hz (PAL, SECAM film, standard-definition, and high-definition material)&#xA;29.97 Hz (NTSC standard-definition material)&#xA;59.94 Hz (ATSC high-definition material)&#xA;60 Hz (ATSC high-definition material)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics. For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although PAL, SECAM and NTSC frame rates technically apply only to standard definition television, not HD, with the roll out of HD, countries maintained the heritage of their former systems. HDTV in former PAL countries operates at a frame rate of 50 Hz and HDTV in former NTSC countries operates at 60 Hz.[25]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to choose?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First identify the process by which you are going to animate your subject. Is it software or a stop action camera or both or something else.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next, you want to learn what are the compatible frame rates and formats across all the animation tools you are using in your workflow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next, select the highest resolution and frame rate that is compatible with all your gear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next, make a short sample and then test it on a close if not same model HDTV that is in the &quot;company's head office.&quot;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-03-08T23:30:17.330" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3507" PostTypeId="2" ParentId="2867" CreationDate="2012-03-09T02:10:34.030" Score="2" Body="&lt;p&gt;If you're on a budget, look at getting some 250-500W work lights. They're less than $20 a pop, and coupled with some stands, some elbow grease in the workshop, you can build a barn-door lighting rig which will give you more control over the lights. Work lights, while cheap, are not as flexible and don't produce the same quality of light as dedicated video lights, but if you're smart with how you use them, they should fit the bill just fine. You'll likely want to have some reflectors and diffusers at the ready to modify the light. And determine the colour temperature of the lights (halogens are ~3000K) to get the correct white balance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said, as a portrait photographer who works with a lot of strobist lighting already, I would probably advise you to learn everything you can about lighting, whether it's lighting a scene or lighting a subject. Learn where to place back lights, key lights, use gels to add coloured light to a scene etc. What makes a scene pop with the lighting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Knowing how to control light in photography, both artificial and natural, definitely overlaps that of video and personally, it's probably what has made my own upcoming project possible in my eyes.  The main hurdle was moving to continuous light sources, which can be very expensive if you don't go the DIY route (which I did and it's working out just fine).&lt;/p&gt;&#xA;" OwnerUserId="923" LastActivityDate="2012-03-09T02:10:34.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3512" PostTypeId="2" ParentId="3473" CreationDate="2012-03-10T00:46:39.097" Score="1" Body="&lt;p&gt;You are looking for &lt;strong&gt;Anchor Point.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Position on composition is the sum of Position+Anchor Point. Play a little with it to understand how it works. Simple press &quot;A&quot; on keyboard to show this propertie on timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need to link values (position to anchor points or whatever) of each layer use the @ operator (on timeline too). This will give u an moving &quot;arrow&quot; to link both values. The icon of this tool really looks like a &quot;@&quot;. After linked, propertie 'childed' will follow propertie &quot;father&quot; . Parenting is the name of this tool in AE.&lt;/p&gt;&#xA;" OwnerUserId="1466" LastActivityDate="2012-03-10T00:46:39.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3513" PostTypeId="2" ParentId="3497" CreationDate="2012-03-10T00:49:23.930" Score="1" Body="&lt;p&gt;Just turn on the &lt;strong&gt;3D&lt;/strong&gt; switch for all layers, add a &lt;strong&gt;camera&lt;/strong&gt; and a &lt;strong&gt;light&lt;/strong&gt;, and &lt;strong&gt;&lt;em&gt;ACTION&lt;/em&gt;&lt;/strong&gt;, baby! -)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should gladly turn on &lt;strong&gt;Motion Blur&lt;/strong&gt; to get the effect you are talking about it too...&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;em&gt;&lt;strong&gt;ACTION&lt;/em&gt;&lt;/strong&gt; = animate the camera&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1466" LastActivityDate="2012-03-10T00:49:23.930" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3514" PostTypeId="1" CreationDate="2012-03-10T02:01:51.010" Score="3" ViewCount="411" Body="&lt;p&gt;I am a passionate photographer and currently own a nikon d80 with a handful of lenses, all Nikon Nikkor ones.&#xA;Unfortunately, that camera has no video recording capabilities.&#xA;I have missed so many professional and family occasions in which a movie would be key.&#xA;my main doubt is whether to go with a new dslr or buy a camcorder. I am not a professional video editor but occasionally work on Premiere.&#xA;Here are my ideal requirements:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;possibility to capture various light and shoot conditions (I.e. sunsets, wide angles, decent zoom)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;a good support for long recordings. A meeting may take 1.15hours. I won't like to swap the cards.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;good builtin microphone with support for external ones, better if wireless&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;1080p HD recording with quality and vivid colors&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I found good camcorders from 150$ but wouldn't mind spending more if most of my ideal requirements are met.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would you do if you were in my shoes?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks a bunch!!&lt;/p&gt;&#xA;" OwnerDisplayName="Talking Cricket" LastActivityDate="2013-01-26T21:27:00.413" Title="Quality Full HD Camcorder - DSLR or dedicated one?" Tags="|video|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3516" PostTypeId="1" CreationDate="2012-03-10T13:08:29.927" Score="2" ViewCount="551" Body="&lt;p&gt;I know about &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;K&lt;/kbd&gt; which cuts video at current position, but which shortcut will allow to cut video AND sound?&lt;/p&gt;&#xA;" OwnerUserId="1712" LastEditorUserId="2569" LastEditDate="2013-08-09T13:29:15.020" LastActivityDate="2013-08-09T13:30:27.477" Title="Keyboard shortcut for cut video AND sound at current position in premiere cs5.5" Tags="|editing|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3517" PostTypeId="1" AcceptedAnswerId="3520" CreationDate="2012-03-10T18:23:28.060" Score="0" ViewCount="40" Body="&lt;p&gt;Can i slowly move a projector while projecting a movie or should I keep it immobile?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, is it true that i shouldnt turn it on and off too many times ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks&lt;/p&gt;&#xA;" OwnerUserId="1482" LastActivityDate="2012-03-11T02:16:44.963" Title="About projector (beamers) usage" Tags="|projector|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3518" PostTypeId="1" AcceptedAnswerId="3965" CreationDate="2012-03-10T18:47:52.270" Score="3" ViewCount="11668" Body="&lt;p&gt;I can't enable Motion Blur on this layer:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/6moQz.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas what could be wrong?&lt;/p&gt;&#xA;" OwnerUserId="1809" LastActivityDate="2012-05-11T01:23:49.227" Title="Can't add Motion Blur to layer imported from Photoshop" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3520" PostTypeId="2" ParentId="3517" CreationDate="2012-03-11T02:16:44.963" Score="0" Body="&lt;p&gt;To the first question yes, you can, but try not to do it- the filament of the lamp is very delicate. &#xA;Respect to your second question, that's true! Turning your projector on and off decreases the life of the lamp, and that's true with most lamps. It also probably reduces the life of the components inside the projector, but that's not something we can go into detail here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="1835" LastActivityDate="2012-03-11T02:16:44.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3521" PostTypeId="1" AcceptedAnswerId="3526" CreationDate="2012-03-11T06:49:13.697" Score="1" ViewCount="59" Body="&lt;p&gt;I'm looking to shoot a short computer-based set of scenes, however I'm not sure what suitable (3D) engines/environments would be available to facilitate this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm aware of the Source engine, in which I can place models and script the movement of characters - this engine also includes a number of existing character models, however my fear is that going down this route would result in the scenes having a &quot;&lt;a href=&quot;http://www.clearskiesthemovie.com/&quot; rel=&quot;nofollow&quot;&gt;Clear Skies&lt;/a&gt;&quot; feel about it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, what options should I be considering? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I am happy to create my own models from scratch using Blender or any other tools associated with the environment. I could also program the necessary scenes in software myself, however I'd rather not go down this route as it's likely to be much more time consuming than this project would already be!)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, the options do not &lt;strong&gt;need&lt;/strong&gt; to be free or open source, as I am willing to purchase software if it looks worthwhile (but free is good too!) :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One final note - while my main machine is a Mac, I also have windows an Linux based machines at my disposal, so recommendations can be for any of these platforms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="2090" LastActivityDate="2012-03-11T12:42:06.383" Title="Environments in which to stage an animated scene" Tags="|video|software|software-recommendation|shooting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3524" PostTypeId="2" ParentId="3518" CreationDate="2012-03-11T12:37:44.673" Score="1" Body="&lt;p&gt;If you right click your &quot;loader&quot;-layer and choose Pre-Compose Layer and choose Move all atributes into the new composition, you should be able to put motion blur on it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And just a tip: If you for some reason in some situations can't use blurs, often because of motion generated by effects, you can use CC Force Motion Blur to force motion blur to your footage.&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-03-11T12:37:44.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3525" PostTypeId="2" ParentId="3497" CreationDate="2012-03-11T12:41:38.910" Score="2" Body="&lt;p&gt;Drag your composition (in the project window) onto the &lt;strong&gt;Make new Composition&lt;/strong&gt; button, everything inside that first composition will be added as one layer in the new composition. Now you can just zoom this one layer!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Say your original comp. is called &lt;strong&gt;1&lt;/strong&gt;. You drag &lt;strong&gt;1&lt;/strong&gt; onto the button. Now there will be a &lt;strong&gt;New Composition&lt;/strong&gt; comp. with one layer inside. This layer is called &lt;strong&gt;1&lt;/strong&gt;.)&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-03-11T12:41:38.910" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3526" PostTypeId="2" ParentId="3521" CreationDate="2012-03-11T12:42:06.383" Score="1" Body="&lt;p&gt;Have you looked at Maya? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lovely &lt;a href=&quot;http://www.youtube.com/watch?src_vid=zY3WOf6j9Kc&quot; rel=&quot;nofollow&quot;&gt;showreel here&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's an excellent platform for animation, rendering and development.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-03-11T12:42:06.383" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3530" PostTypeId="1" AcceptedAnswerId="3542" CreationDate="2012-03-12T09:51:37.897" Score="2" ViewCount="4370" Body="&lt;p&gt;Can anyone give me some tips on simulating a camera flash in After Effects. I am trying to make it keyframing the scale and opacity of a white shape layer but I can't get it to look right.&lt;/p&gt;&#xA;" OwnerUserId="2066" LastActivityDate="2012-12-19T22:22:09.167" Title="Simulating a camera flash" Tags="|after-effects|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3531" PostTypeId="2" ParentId="3530" CreationDate="2012-03-12T11:08:05.623" Score="0" Body="&lt;p&gt;I suppose you mean that you've filmed a flash that you want to &quot;fire&quot; in After Effects.&#xA;If you buy the Video Copilot &lt;strong&gt;Optical Flares&lt;/strong&gt; or Red Giant &lt;strong&gt;Knoll Light Factory&lt;/strong&gt; you can simply put a lens flare on the flash and animate the strength.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Download a trial and see for yourself!&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-03-12T11:08:05.623" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3532" PostTypeId="2" ParentId="3471" CreationDate="2012-03-12T13:14:01.863" Score="0" Body="&lt;p&gt;Well, I never got this to work, but for some reason, Premiere did allow the fade to black transition, so I used that one.  Not ideal, but it sufficed for this project.&lt;/p&gt;&#xA;" OwnerUserId="2065" LastActivityDate="2012-03-12T13:14:01.863" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3535" PostTypeId="1" CreationDate="2012-03-12T18:32:07.283" Score="1" ViewCount="1418" Body="&lt;p&gt;We are looking to broadcast or record a single video stream of two desktop computers running Windows.  The software we are looking for would be able to capture the screens of the people working on it and composite them into a single video feed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For audio, we would like to capture the computer's audio device but also ambient sounds from the room. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To summarize, we want one output feed that consists of the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Source video feed from computer #1 (in a 50% rectangle)&lt;/li&gt;&#xA;&lt;li&gt;Source video feed #2 (in a 50% rectangle)&lt;/li&gt;&#xA;&lt;li&gt;Environment noise from the room (mic in)&lt;/li&gt;&#xA;&lt;li&gt;Source audio feed from computer #1&lt;/li&gt;&#xA;&lt;li&gt;Source audio feed from computer #2&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So far, we have attempted to use Google Hangout, but it's impossible to get two screen shares going on at the same time.&lt;/p&gt;&#xA;" OwnerUserId="2096" LastActivityDate="2012-06-11T09:35:28.953" Title="How can I capture multiple computer screens and put them onto a single video stream?" Tags="|screen-casting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3537" PostTypeId="2" ParentId="3471" CreationDate="2012-03-12T18:56:01.233" Score="0" Body="&lt;p&gt;If I understand your setup correctly, then this is not exactly a bug. Let's say you have two media files A and B. Let the frames constituting media A be A1-A100 and the frames of B be B1-B100. Let's say A is trimmed to A1-A75 on the timeline and right next to it is B trimmed to B26-B100. Now, if you add a 50 frame transition centered at the A-B interface, the editing software will use B1-B25 as the target video counterpart to A51-A75 on the timeline and A76-A100 as the source video counterpart to B26-B50. So when you do a 50 frame dissolve from A to B, B1-B25 will start fading in as A51-A75 starts fading out. In your case, you seem to be transitioning between contiguous scenes, so they are IDENTICAL. So an additive dissolve, for example, will almost flash to double luminance before settling into the new clip. A borderless linear wipe shouldn't register and so forth.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2012-03-12T18:56:01.233" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3538" PostTypeId="1" CreationDate="2012-03-12T20:35:26.617" Score="3" ViewCount="178" Body="&lt;p&gt;Is there a standard for non-linear video project files? I want to create a slideshow of my life using jpg + mp3 files and want to be able to tweak it many years from now. My fear is that if I use Adobe Premiere, it will not be easy to migrate to Final Cut Pro or vice versa or whatever file format is used in the industry standard application in the future. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's not like having txt files which you can be reasonably sure will still be editable 20 years from now.&lt;/p&gt;&#xA;" OwnerUserId="2097" LastActivityDate="2012-07-04T11:32:01.087" Title="Adobe Premiere &amp; Final Cut Pro project file standard?" Tags="|file-formats|premiere|final-cut-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3542" PostTypeId="2" ParentId="3530" CreationDate="2012-03-12T22:14:39.457" Score="5" Body="&lt;p&gt;As a photographer, a flash is simply a very short burst of white light (as you're no doubt aware). The maximum time at full power is usually around 1/250th of a second, which is equal to 1/10th of a frame. In that case, if you were to accurately represent a flash being fired, you would simply boost the exposure of a single frame by several stops (to make it almost completely white, whilst retaining a little bit of detail).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something as simple as this would suffice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/qjGwN.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For one frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/zKx91.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you really wanted to be technically accurate, you could simulate the CMOS flicker of a flash by only boosting the exposure on a horizontal portion of the frame, say the top 2/3rds or something.&lt;/p&gt;&#xA;" OwnerUserId="923" LastActivityDate="2012-03-12T22:14:39.457" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3545" PostTypeId="2" ParentId="3514" CreationDate="2012-03-13T01:09:31.063" Score="3" Body="&lt;p&gt;The Canon 5D mark 2 opened the world to the abilities of DSLR shooting video. But if you read the real world discussion, you will find that taking amazing video with it is a serious challenge. And it takes only about 15 minutes of video at a time, so your 1 hour++ is simply not feasible. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 5D mark 3, just announced and $3500, doubles the video time to about 28 minutes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Things like auto focus are a ton easier with a camcorder.&lt;/p&gt;&#xA;" OwnerUserId="2099" LastActivityDate="2012-03-13T01:09:31.063" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3546" PostTypeId="2" ParentId="3535" CreationDate="2012-03-13T08:44:19.863" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.ustream.tv/&quot; rel=&quot;nofollow&quot;&gt;UStream&lt;/a&gt; has a great program that you can do that with. Your video will eighter be streamed over UStream or to a server you specify if you want that.&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-03-13T08:44:19.863" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3548" PostTypeId="1" AcceptedAnswerId="3555" CreationDate="2012-03-13T11:40:55.537" Score="3" ViewCount="1952" Body="&lt;p&gt;So the problem is simple, I'd like a video camera to just leave on record and i can just leave it in the goal mouth, or more preferably at the top of the goal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I record all my games and then edit them, but having this angle would give a brilliantly close insight into things which we just don't get to see normally. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So any ideas?&lt;/p&gt;&#xA;" OwnerUserId="2110" OwnerDisplayName="Jamie Hutber" LastActivityDate="2012-03-16T03:18:01.570" Title="Filming a football game from inside the goal. Which camera is best?" Tags="|video|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3551" PostTypeId="2" ParentId="3245" CreationDate="2012-03-13T16:24:46.870" Score="1" Body="&lt;p&gt;I have the 1204USB for a while a ended up throwing out the USB adapter and getting a Saffire PRO 24 Firewire interface. This mixer and the 1202 are great but if I had the chance I would have gotten the Mackie Onyx 1220i which has the Firewire built in. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However I did manage to make the mix minus work with this desk. You need to listen and monitor from the desk but record from the computer. Next you bring the audio back into the desk via the line out of the comp and into the 7/8 channel of the desk. Leave the POT panned down and listen to the the channel in PRE and make sure you live monitoring is also playing out the PRE to the headphones (PRE never goes out to main). Looking at the PDF for the deck: &lt;a href=&quot;http://www.behringer.com/assets/1002FX_P0572_M_EN.pdf&quot; rel=&quot;nofollow&quot;&gt;http://www.behringer.com/assets/1002FX_P0572_M_EN.pdf&lt;/a&gt;  I'm not sure if the 1202 has PRE setting but without it, you will not be able to do this.&lt;/p&gt;&#xA;" OwnerUserId="2100" LastActivityDate="2012-03-13T16:24:46.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3553" PostTypeId="2" ParentId="3514" CreationDate="2012-03-13T17:27:29.617" Score="3" Body="&lt;p&gt;In my experience (I consider myself an &quot;amateur&quot; at best),&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;decent zoom will get you to DSLRs or a more expensive camcorder (maybe in the prosumer line). most $150 camcorders only have digital zoom.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;your second req is going to get you into a dedicated cam. Like Pat said, the capacity just isn't there for continuous recording on DSLRs.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;your third req is going to keep you from either. Most onboard mics are awful. DSLRs have adapters that expand your inputs to XLR or 3.5mm. Camcorders are hit-and-miss with ports, though, you can usually find a model with a 3.5mm input. I've considered downgrading from my Panasonic DVX-100B and going with a cheaper HD camcorder and an external recorder for audio (such as the Zoom H1 or H4).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you have to have the 1.5hrs of continuous shooting, you'll have to go dedicated. Otherwise, it's more of your personal preference and/or price limit.&lt;/p&gt;&#xA;" OwnerUserId="2101" LastActivityDate="2012-03-13T17:27:29.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3554" PostTypeId="1" AcceptedAnswerId="3559" CreationDate="2012-03-13T19:15:04.180" Score="11" ViewCount="555" Body="&lt;p&gt;I have a DSLR that I've started using for video recording and I'd like to buy some accessories for shooting video. I know this could be subjective, but it doesn't have to be. I am looking for accessories for a DSLR that help with video recording, such as a follow focus, or shotgun mic. What are some important accessories for recording with a DSLR?&lt;/p&gt;&#xA;" OwnerUserId="1180" LastActivityDate="2014-06-26T08:44:28.153" Title="What are some good accessories for a DSLR video recording setup?" Tags="|dslr|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3555" PostTypeId="2" ParentId="3548" CreationDate="2012-03-13T19:24:45.007" Score="3" Body="&lt;p&gt;There are many variables here, depending on cost, what type of shot you want etc., but I would suggest you look at something like the &lt;a href=&quot;http://gopro.com/products/?gclid=CPCwmLPM5K4CFUEMfAodMUkxZw&quot; rel=&quot;nofollow&quot;&gt;GoPro HD Hero 2&lt;/a&gt; because it is:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;relatively cheap&lt;/li&gt;&#xA;&lt;li&gt;takes HD video&lt;/li&gt;&#xA;&lt;li&gt;has a range of wide to standard angle FOV&lt;/li&gt;&#xA;&lt;li&gt;is waterproof&lt;/li&gt;&#xA;&lt;li&gt;has useful mounting brackets&lt;/li&gt;&#xA;&lt;li&gt;and is incredibly robust&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-03-13T19:24:45.007" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3558" PostTypeId="2" ParentId="3494" CreationDate="2012-03-13T22:01:29.507" Score="1" Body="&lt;p&gt;Even better is to use a HDMI capture device like a Blackmagic Intensity. Plug the iPad (or any tablet with HDMI output) into it and away you go. Perfect screen capture.&lt;/p&gt;&#xA;" OwnerUserId="1725" LastActivityDate="2012-03-13T22:01:29.507" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3559" PostTypeId="2" ParentId="3554" CreationDate="2012-03-14T02:51:24.893" Score="10" Body="&lt;p&gt;I'm biased, but before anything else, invest in AUDIO GEAR. Far too often, filmmakers forget to keep audio on an equal par with picture. Invest in some good, quality mics. Shotgun? Meh...a good, all purpose cardioid like the reasonably-priced &lt;a href=&quot;http://www.coutant.org/evre10/index.html&quot;&gt;ElectroVoice RE-10&lt;/a&gt; can hold you over for a while until you get some audio recording practice under your belt. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Essential to MY toolkit is an &lt;a href=&quot;http://www.zoom.co.jp/english/products/h4n/&quot;&gt;H4N&lt;/a&gt;...an excellent digital audio recorder. It's small enough to hide on set, and I'll be honest...I've used it hidden behind a centerpiece to record a conversation at a table with no problems. They're stupid cheap, too...like...um...$299? I forget offhand. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The microphones in DSLRs are pretty much all crap from my experience; I use them more as a reference track than anything else. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good audio will make your images sparkle even more!  &lt;/p&gt;&#xA;" OwnerUserId="2106" LastEditorUserId="1180" LastEditDate="2012-03-14T12:46:51.727" LastActivityDate="2012-03-14T12:46:51.727" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3560" PostTypeId="2" ParentId="3478" CreationDate="2012-03-14T03:01:14.103" Score="1" Body="&lt;p&gt;In my kit, I've got a BUNCH of halogen worklights. Maybe 2500W altogether &amp;amp; most of the time, they're way to bright. However, with a very basic knowledge of electronics, you can build a dimmer switch. &lt;a href=&quot;http://filmflap.blogspot.com/2010/02/build-dimmer-switch-for-725.html&quot; rel=&quot;nofollow&quot;&gt;http://filmflap.blogspot.com/2010/02/build-dimmer-switch-for-725.html&lt;/a&gt; is a good site that explains/shows how. Working with electricity is dangerous...make sure you feel comfortable with it. The link above is for a cheap dimmer, but for safety's sake, I usually get a 1000W dimmer similar to this: &lt;a href=&quot;http://www.grainger.com/Grainger/LUTRON-AthenaTM-Dimmer-3X755&quot; rel=&quot;nofollow&quot;&gt;http://www.grainger.com/Grainger/LUTRON-AthenaTM-Dimmer-3X755&lt;/a&gt; - Not the cheapest, but then I managed to find a 12-pack of 'em on eBay for about $15.00 each a couple years back. You may have good luck with that. I also tend to overdo it on the cable as well...using 10 gauge where 12 gauge is just fine, etc. Safety, safety, safety. That solves your &quot;too bright&quot; issue. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Get yourself a roll of blackwrap, too...instant barndoors. :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-03-14T03:01:14.103" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="3562" PostTypeId="1" AcceptedAnswerId="3563" CreationDate="2012-03-14T06:16:48.290" Score="1" ViewCount="94" Body="&lt;p&gt;I need to broadcast on the Internet weekly &lt;strong&gt;live&lt;/strong&gt; video events.&#xA;One attempt was made with Skype and it worked pretty well, but it was only with one user. We expect 50 users and we have a low bandwidth here so I guess Skype won't be a solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What do you recommend for broadcasting live video events to 50 people with low bandwidth from the video source ? Free solutions are preferable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="2109" LastActivityDate="2012-03-15T18:02:32.013" Title="Broadcasting video and bandwidth issue" Tags="|video|broadcasting|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3563" PostTypeId="2" ParentId="3562" CreationDate="2012-03-14T06:48:34.753" Score="1" Body="&lt;p&gt;If you have at least 300-500kps of upload bandwith available you can push an rtmp stream of your live event to a CDN like youtube, dailymotion, livestream ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of software I already used:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Livestream, which provides among other things a tool called procaster with which you can broadcast your desktop, or a section of your desktop. You can even broadcast a capture of your skype window ! ( it will not be very beautiful, but it works ). Livestream also has many tools which allow to make a chat during your live event with the viewers of the event.&lt;/li&gt;&#xA;&lt;li&gt;Flash Media Encoder (aka FME ), which is a free tool provided by Adobe, which will encode to rtmp any video camera connected to your computer. You can then push it to a CDN like YouTube or DailyMotion.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;All of this is free of charge, with sometimes some limits on the number of simultaneous viewer, and/on an ad-supporting scheme which will play an advertisement before your live video.&lt;/p&gt;&#xA;" OwnerUserId="1915" LastActivityDate="2012-03-14T06:48:34.753" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3565" PostTypeId="1" AcceptedAnswerId="3566" CreationDate="2012-03-14T10:53:56.880" Score="3" ViewCount="268" Body="&lt;p&gt;I use Adobe Premier 5.5 to edit my videos. I have always seemed to have slow editing.  I upgraded the PC which now has&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;8 Core&#xA;16gb of DDR3 2333mhz ram&#xA;1gb 460 gpu&#xA;6 hard drives, 1 is SSD&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So, I think that it's my hard drives which are slowing everything down. I wonder if the amount of HDD's I have that is slowing it down, even whilst on my SSD it's still visibly lagging. &lt;/p&gt;&#xA;" OwnerUserId="2110" LastEditorUserId="2569" LastEditDate="2012-10-15T06:22:44.837" LastActivityDate="2012-10-15T06:22:44.837" Title="Slow HD video whilst editing" Tags="|editing|premiere|hardware|full-hd|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3566" PostTypeId="2" ParentId="3565" CreationDate="2012-03-14T11:01:27.320" Score="3" Body="&lt;p&gt;If you have a 8 core CPU I'd bet it is a fast one too, so that shouldn't be a problem. 16 GB is more than enough for HD, and DDR3 should ensure the speed.&#xA;The GPU shouldn't have much to say as long as it's not crap.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have 6 slow harddrives, it would be a bottleneck. You should have at least 7200 rpm disks!&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-03-14T11:01:27.320" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="3567" PostTypeId="2" ParentId="3554" CreationDate="2012-03-14T12:57:30.840" Score="3" Body="&lt;p&gt;Good advice in regards to sound from dwwilson66. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My favourite accessory for my camera is this &lt;a href=&quot;http://www.ebay.com.au/itm/DSLR-Rig-Movie-Kit-Shoulder-Mount-Canon-5D-Mark-II-7D-550D-600D-/120794131567?pt=LH_DefaultDomain_0&amp;amp;hash=item1c1fe42c6f#ht_3594wt_1174&quot; rel=&quot;nofollow&quot;&gt;shoulder rig&lt;/a&gt;. There are heaps of stores selling them on eBay for under $100. They're great for how much you pay. &lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2012-03-14T12:57:30.840" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3569" PostTypeId="2" ParentId="3554" CreationDate="2012-03-14T23:21:02.777" Score="1" Body="&lt;p&gt;I vote for audio accessories first then the rigs and tripods. Just want to mention that you can make a lot cool tracking shot stuff very cheaply with PVC pipe and skate wheels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a good example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.diyphotography.net/diy-pvc-table/skater-dolly-for-video-photography&quot; rel=&quot;nofollow&quot;&gt;http://www.diyphotography.net/diy-pvc-table/skater-dolly-for-video-photography&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The key to making this work well is to be very precise with where you make holes,&#xA;and pay attention to the lengths of each item.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you like this sort of thing but don't want to spend time building it, you might&#xA;want to become familiar with folks that specialize in dolly, cranes, and sliders.&#xA;Here are some examples:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;under $300&#xA;&lt;a href=&quot;http://cinetics.com/&quot; rel=&quot;nofollow&quot;&gt;http://cinetics.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;way over $300&#xA;&lt;a href=&quot;http://www.kesslercrane.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.kesslercrane.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-03-14T23:21:02.777" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3573" PostTypeId="1" CreationDate="2012-03-15T15:43:25.150" Score="1" ViewCount="5889" Body="&lt;p&gt;I need to transmit this video stream over satellite. So far, I have been able to send 1 fps, 320x240 with no problem. However, when I raise it to 640x480, the picture comes in once every few minutes and that's about it. Bandwidth is not an issue - we are using ~192 kbps and up. Any ideas? &lt;/p&gt;&#xA;" OwnerUserId="2113" LastActivityDate="2012-03-21T18:27:02.463" Title="H.264, 1 FPS, 640x480 Resolution - What bit rate should I be using?" Tags="|live|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3574" PostTypeId="2" ParentId="1877" CreationDate="2012-03-15T17:50:59.610" Score="0" Body="&lt;p&gt;For shooting in the woods, away from power, I'd recommend getting yourself some LEDs. I picked up a couple of lights similar to these on eBay for around $35each with free shipping, Chinese manufacturing; not the best quality, but at that price, practically disposable.&lt;br&gt;&#xA;&lt;a href=&quot;http://www.google.com/products/catalog?q=led+camera+light&amp;amp;oe=&amp;amp;safe=active&amp;amp;cid=3602064285463185100&amp;amp;ei=NyliT6KpN6TOsQff1Yy7Dg&amp;amp;ved=0CAwQrhI#&quot; rel=&quot;nofollow&quot;&gt;http://www.google.com/products/catalog?q=led+camera+light&amp;amp;oe=&amp;amp;safe=active&amp;amp;cid=3602064285463185100&amp;amp;ei=NyliT6KpN6TOsQff1Yy7Dg&amp;amp;ved=0CAwQrhI#&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're electronically inclined, &lt;a href=&quot;http://www.instructables.com/id/The-2-LED-Camera-Light-for-Video-and-Photos/&quot; rel=&quot;nofollow&quot;&gt;http://www.instructables.com/id/The-2-LED-Camera-Light-for-Video-and-Photos/&lt;/a&gt; is a great instructable for a smaller light; you could modify it as needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recently, I've been buying LEDs designed for automotive lighting applications (eBay again) and making my own light panels. I can power them from 12V batteries...two camping batteries in serial, or a 12V motorcycle or car battery. For convenience, I epoxied a standard power outlet to a car battery, wired it to the posts, and can attach a standard household cable and plug...lamp cord is fine...to the LEDs. Just don't make the mistake of plugging it in to 120V AC. Bad things will happen. :) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;LED Lighting examples, but eBay is usually a better deal...&#xA;&lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B004VMI2E4&quot; rel=&quot;nofollow&quot;&gt;http://www.amazon.com/Light-Airplane-Aircraft-Interior-Cockpit/dp/B004VMI2E4&lt;/a&gt;&#xA;http://www.oznium.com/led-flex-strips&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I find that strategy to be incredibly effective in creating portable, easy to power lights.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Color temperature can be squirrely, so make sure you white balance and have plenty of gel with you. One trick for warm is to white balance off of something slightly blue (or through a blue gel) or add CTO to the lights AFTER you've white balanced. Either way, your shot will be a little warmer. &lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-03-15T17:50:59.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3575" PostTypeId="2" ParentId="3562" CreationDate="2012-03-15T18:02:32.013" Score="0" Body="&lt;p&gt;Another option may be a Google+ hangout.  Especially if you want some sort of user interaction with-in the program.&lt;/p&gt;&#xA;" OwnerUserId="2041" LastActivityDate="2012-03-15T18:02:32.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3576" PostTypeId="2" ParentId="3103" CreationDate="2012-03-15T18:44:24.360" Score="0" Body="&lt;p&gt;Functionally, they're the same, but the Cine version allows you to select shutter speeds associated with motion picture frame rates - 24fps= 1/48th of a second, etc. I have the 708; I'm not sure if later models included provisions to adjust for various shutter angles...but the 708 does not. Or at least I've not found the feature.&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-03-15T18:44:24.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3577" PostTypeId="2" ParentId="3573" CreationDate="2012-03-15T19:57:16.947" Score="0" Body="&lt;p&gt;The correct answer &lt;em&gt;unfortunately&lt;/em&gt; is that there is no correct answer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The need for bitrate really depends on the actual implementation. For example there can be anything from 20% to 40% difference in bit rate requirement between best and worst H.264 encoders. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, it grossly depends on what acceptable quality - do you really want broadcast quality or you don't mind blockiness than bit rate requirement can be drastic. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a rough estimate - Very good hardware encoders can do good D1 resolution @ 25 FPS at 1 to 1.2 Mbps. Now if you reduce frame rate to 1 FPS the bit rate won't go down by 25 time low though. Since must of the resultant compression is due to temporal redundancy. So best bet is to have something around 1/4th of bit rate from above. So good encoder should be able to do your job below 200 to 300 kbps.  Though, this all depends on actual encoder.&lt;/p&gt;&#xA;" OwnerUserId="1658" LastActivityDate="2012-03-15T19:57:16.947" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3578" PostTypeId="2" ParentId="2843" CreationDate="2012-03-15T20:13:16.617" Score="0" Body="&lt;p&gt;The resolutions you mentioned are standard in Video codec development are CIF [352x288] and QCIF [176x144] (some other formats here: &lt;a href=&quot;http://dvrsecurityforum.com/showthread.php?tid=30&quot; rel=&quot;nofollow&quot;&gt;http://dvrsecurityforum.com/showthread.php?tid=30&lt;/a&gt;) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason why all these formats recommend multiple of 16 - is because MPEG compression has Macroblocks which are sized 16x16. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;CIF = 22 x 18 Macroblocks. and QCIF is essentially half of it both sides.&lt;/p&gt;&#xA;" OwnerUserId="1658" LastActivityDate="2012-03-15T20:13:16.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3579" PostTypeId="2" ParentId="2305" CreationDate="2012-03-15T20:17:08.063" Score="0" Body="&lt;p&gt;This has nothing to do really with Codec. Even if the stream is fully corrupt, the media player needs to portray only such things within the UI window. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This could be most likely a device driver or software dependency with player having issue. try alternative players. &lt;/p&gt;&#xA;" OwnerUserId="1658" LastActivityDate="2012-03-15T20:17:08.063" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3580" PostTypeId="2" ParentId="2500" CreationDate="2012-03-15T21:33:37.363" Score="2" Body="&lt;p&gt;Better than sites are the extras on DVDs. Often, you've got people talking about how and why certain things were done. Watch enough of these different perspectives, and you'll get good info. It's ALL aspects of filmmaking, from the technical to the artistic, but since they're all part of the same collaborative team, it's good to at least understand how the director and actor think so the technician can effectively communicate with them.&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-03-15T21:33:37.363" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3581" PostTypeId="2" ParentId="3548" CreationDate="2012-03-16T03:18:01.570" Score="0" Body="&lt;p&gt;I'll second the vote for the GoPro. I've worked on a number of reality shows that use these cameras for close up work in hazardous situations (like right next to the watermelon that's getting blasted with a shotgun...) because it's HD, it's compact and hide-able, and for the price, more 'expendable' than an XDCAM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the top of the goal...the &quot;naked&quot; version is about the same size as a pack of cigarettes. A consideration might be one at each upper corner, trained on the center...two perspectives. Not sure if your budget allows. But, based on the goals I've seen, I think it'd be just fine on the upper crosspiece, small enough so that it's not distracting. I'd safety chain it so it doesn't bean the keeper if a ball hits it square on and knocks it off the goal. :) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've had VERY good luck with these in terms of image quality, and the wide angle coverage is really spectacular. I prefer wide, though, YMMV. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Battery life...that's another issue you may have. I know that there's a battery pack that slaps onto the back, making it a bit thicker--maybe the thickness of TWO packs of cigarettes? I'd highly recommend that so you can ensure a full 90 min+ of coverage without having to worry.&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-03-16T03:18:01.570" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3582" PostTypeId="2" ParentId="3565" CreationDate="2012-03-16T03:34:36.400" Score="3" Body="&lt;p&gt;Drives are definitely the answer. My miniDV setup worked fine with 5400rpm, but HD playback looked like internet video from 2004. Upgraded to 7200rpm internal SATA drives, and ~most~ of the time, I've got good results. While I've never done any work with SSDs, I suspect those would be the ideal circumstance. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For external drives, I've used 5400rpm USB2.0 and FireWire (ieee1394) with DV just fine, but even with external drives, there may be bus speed issues on top of drive speed issues. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing that I have had good luck with is DSLR footage. I shoot 1080i on CF cards and 720p on SD Cards. I've got an internal SATA card reader, and I've been very impressed with throughput directly from the cards. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've found that most editing lag these days is more related to drive speed than anything else. Most people doing video editing are savvy enough to at least know to ask &quot;Will video editing need a more robust machine?&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;RAID 10 is something I'm exploring right now. It supposedly combines striping (for faster access) with mirroring (for reliability) on a 4-disk array. Some IT professional friends of mine say that it's stable enough that they're putting the OS on the same physical drives as the data. An interesting thing to consider. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps...or if nothing else, helps corroborate other information and ideas you're hearing.  &lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-03-16T03:34:36.400" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3589" PostTypeId="1" CreationDate="2012-03-16T20:59:23.093" Score="1" ViewCount="1169" Body="&lt;p&gt;I have a stop motion animation of about 35 seconds in duration (~150 frames). The resolution is quite large at around 900px x 450px.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best format to play this looping on my website? I think my options are either .gif, standard .swf, or convert it into a movie .swf.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the recommended approach to this? I want the images to have a high fidelity and I was hoping to not use flash due to Apple incompatibility.&lt;/p&gt;&#xA;" OwnerUserId="2120" LastActivityDate="2012-04-15T22:07:38.380" Title="Recommended format for a large embedded stop motion animation on website?" Tags="|file-formats|stop-motion|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3590" PostTypeId="2" ParentId="3589" CreationDate="2012-03-16T21:22:10.003" Score="2" Body="&lt;p&gt;Likely the best solution is take your frames into a video editor, set the still pix time to about 0.23 sec for each shot as you indicated you wanted to show 150 frames in 35 seconds.&#xA;35 / 150 = 0.233333333&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Set your project properties to 720p, (720 x 1280 progressive)&#xA;As you have 2:1 aspect ratio there will be some letter boxing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or a better match maybe to use iFrame format:&#xA;960 horizontal by 540 vertical pixels assuming you are using iMovie of FCP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming iMovie, render to .mov and follow these instructions to make it a .swf movie:&#xA;&lt;a href=&quot;http://www.ehow.com/how_8245141_export-imovie-swf.html&quot; rel=&quot;nofollow&quot;&gt;http://www.ehow.com/how_8245141_export-imovie-swf.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-03-16T21:33:05.450" LastActivityDate="2012-03-16T21:33:05.450" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3595" PostTypeId="1" CreationDate="2012-03-17T22:44:11.520" Score="1" ViewCount="371" Body="&lt;p&gt;What is (roughly) the lowest real-world latency achievable for the &quot;roundtrip&quot; from a guitar/mic input through realtime software-based processing and out to the speakers?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bonus questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;What apps and &quot;virtual buses&quot; (like JACK) are best for low-latency realtime audio-processing?&lt;/li&gt;&#xA;&lt;li&gt;What apps and &quot;virtual buses&quot; are worst for latency?&lt;/li&gt;&#xA;&lt;li&gt;Does &quot;chaining&quot; PC-based (either within a single app like Ableton Live or when chaining between multiple apps) effects necessarily compound the latency? &lt;/li&gt;&#xA;&lt;li&gt;What is roughly the typical latency of &quot;DSP-based&quot; (not software-based but not analog) guitar/vocal effects?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="867" LastActivityDate="2012-03-17T22:44:11.520" Title="Lowest-Latency in Guitar/Vocal software-based effects?" Tags="|latency|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3596" PostTypeId="1" AcceptedAnswerId="3600" CreationDate="2012-03-18T11:43:53.050" Score="0" ViewCount="177" Body="&lt;p&gt;I'm having &lt;a href=&quot;http://forums.adobe.com/message/4230171&quot; rel=&quot;nofollow noreferrer&quot;&gt;issues&lt;/a&gt; rendering a project with Premiere Elements 10. Basically it gets stuck at &quot;Estimated Time: 00:00:05&quot; and never does anything after that. After I click Cancel the program just crashes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Someone had suggested I might have picked the wrong project profile for my videos. I tried various presets without much success. I even upscaled all my footage to 720p without much success.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Judging from this codec info from one the WVGA60 video I used, which profile do I need to use?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/RINoE.jpg&quot; alt=&quot;GSpot info&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1983" LastEditorUserId="1983" LastEditDate="2012-03-19T20:02:22.907" LastActivityDate="2012-03-19T20:02:22.907" Title="What's the right project profile for my WVGA60 videos in Premiere Elements 10?" Tags="|video|video-editor|premiere|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="3600" PostTypeId="2" ParentId="3596" CreationDate="2012-03-19T06:33:29.170" Score="0" Body="&lt;p&gt;The advantage of rendering to uncompressed AVI is that you can render the project piecemeal and then join them together later on. So first, render only the entire project's audio to WAV. Then render the video (without audio) in contiguous chunks e.g. frames 0-200 to segment1.avi, then frames 201-400 to segment2.avi and so on. Once done, load the first AVI in avidemux and then do a file-&gt;append of segment2.avi and so on. Finally, from audio-&gt;main track, set source to external WAV and then browse &amp;amp; select the WAV. Now you can encode to final output from within AVIdemux.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2012-03-19T06:33:29.170" CommentCount="25" ContentLicense="CC BY-SA 3.0" />
  <row Id="3601" PostTypeId="1" CreationDate="2012-03-19T12:03:59.313" Score="1" ViewCount="145" Body="&lt;p&gt;I am trying to figure out how to put a live radio player in a website, for broadcasting from my home studio. I also want to open it up so other people can also broadcast to the website from their homes with minimal setup (maybe through skype?). Not massive amounts of people - it will be just a friends thing to start with. Other features I'd like to implement are being able to switch between live broadcast mode and playing files hosted on the server (or elsewhere, e.g Soundcloud), as well as live broadcasts being automatically recorded and made available for downloading. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if there's anything out there that does all of that, even though it seems a fairly standard set of requirements, but if there isn't I'd also like to ask for suggestions of how I could piece all this together, since I've no idea how live audio works!&#xA;If there really is nothing like that, maybe I could start an open source project and make it happen. &lt;/p&gt;&#xA;" OwnerUserId="2125" LastActivityDate="2012-06-17T22:35:37.327" Title="putting 24/7 live radio on website" Tags="|streaming|radio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3603" PostTypeId="1" AcceptedAnswerId="3604" CreationDate="2012-03-19T19:01:35.737" Score="1" ViewCount="58" Body="&lt;p&gt;It might be a silly question, but the cable connected to my tv antenna is lying on my heater in my room.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The heater isn't particularly hot, but I was wondering if it might damage it in the long run.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="1482" LastEditorUserId="674" LastEditDate="2012-03-19T20:51:41.537" LastActivityDate="2012-03-19T20:54:31.797" Title="The cable of the tv antenna lies on the heater" Tags="|cable|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3604" PostTypeId="2" ParentId="3603" CreationDate="2012-03-19T20:54:31.797" Score="1" Body="&lt;p&gt;It is very unlikely this would damage it - if it is a standard co-ax cable, then it can withstand much higher temperatures than your room heater will cause.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mechanical failure is generally much more of a problem if you move the antenna a lot (wear on the cable as it enters the connectors is quite common)&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-03-19T20:54:31.797" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3606" PostTypeId="2" ParentId="3601" CreationDate="2012-03-19T21:43:18.150" Score="1" Body="&lt;p&gt;Lithiumhosting is a great provider of streaming audio over the internet. They are pretty cheap too. I use their webservers and I am very pleased with their service!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As to what softwares you should use. It depends on how much money you are willing to put into it. A good way of doing it would be to use an analog mixing board and send the audio into the streaming computer. But you could as well do it on the computer. Again, it depends on how much money you are willing to put into it. Go to Google and study each software in depth. There are dozens of them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-03-19T21:43:18.150" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3610" PostTypeId="1" AcceptedAnswerId="4141" CreationDate="2012-03-20T05:47:42.070" Score="1" ViewCount="570" Body="&lt;p&gt;I just started trying out Snagit 11 on Windows. It now records screencasts in .mp4 instead of .avi. I thought this would be great but there's a problem. I typically record a screencast and then open it in QuickTime Pro 7.x and edit out the bits I don't want. When I'm done I export to .mp4.  When I tried to do this with the mp4 that Snagit11 created, deleting a few seconds of video would actually delete a couple of minutes. I tried it multiple times and it was very repeatable. It got the starting point of the cut correct but it didn't get the stopping point even close. I'm not sure if this is a problem on the Snagit11 encoding side or on the QT pro side. I've never tried to edit an MP4 before. I don't see why this wouldn't be possible and I can see how I might lose &lt;em&gt;some&lt;/em&gt; precision in adjusting playheads on an already compressed format but to miss by a couple of minutes seems a wee bit extreme. Are there any tricks I need to know to edit a video in QTPro that is already in mp4 format? &lt;/p&gt;&#xA;" OwnerUserId="2084" LastEditorUserId="2287" LastEditDate="2012-06-27T11:51:10.160" LastActivityDate="2012-06-27T11:51:10.160" Title="Can QuickTime Pro Edit mp4 files?" Tags="|video|video-editor|quicktime|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3612" PostTypeId="1" AcceptedAnswerId="5071" CreationDate="2012-03-20T16:01:50.980" Score="1" ViewCount="229" Body="&lt;p&gt;my question is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Which simple, lightweight, straightforward, easy to use software for Win7 can do the following:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A) import/convert on the fly MP4 (H264) movie into FLV (Flashvideo) and apply following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;B) Downscale FullHD footage from 1920x1080 into exactly half 960x540 pixels. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;C) Simple color toning or sharpess effects will be great&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The MP4 movies are recorded in Full HD and come from an Android 4.0 device that captures footages in great detail. I tried Premiere but thats too heavy/expensive/too much)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/J05HI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="200" LastActivityDate="2012-10-16T21:30:03.347" Title="Simple software program for converting H264 video in to flashvideo flv for website?" Tags="|video|file-formats|video-editor|premiere|full-hd|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3613" PostTypeId="2" ParentId="3612" CreationDate="2012-03-20T17:20:38.510" Score="2" Body="&lt;p&gt;Either &lt;a href=&quot;http://fixounet.free.fr/avidemux/&quot; rel=&quot;nofollow&quot;&gt;Avidemux&lt;/a&gt; or &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;FFMpeg&lt;/a&gt;+&lt;a href=&quot;http://avisynth.org/mediawiki/Main_Page&quot; rel=&quot;nofollow&quot;&gt;Avisynth&lt;/a&gt;(+&lt;a href=&quot;http://avanti.arrozcru.com/&quot; rel=&quot;nofollow&quot;&gt;Avanti&lt;/a&gt;) will do the job. The former should be faster to get going.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2012-03-20T17:20:38.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3621" PostTypeId="1" CreationDate="2012-03-21T17:07:59.427" Score="6" ViewCount="3307" Body="&lt;p&gt;I need an automatic solution to convert video clips for html5 (mp4/x264, webm/vp8) and flash (mp4/x264) video-on-demand streaming. For a site like Youtube, just much smaller.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The input files are mostly h264/x264 but sometimes others (like divx/xvid) and have different resolution and sometimes contain subtitles (.ass) that need to be hard-burned. The output resolution should be 720p and 480p for &gt;=720p video, 480p for 480p-720p and the original resolution for everything else.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The server is running debian.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I couldn't find any open source project, just some cloud services (SaaS) that offer this kind of conversion. I tried working with ffmpeg but each video needs a different bitrate to be still in a good quality and have a file size that allows video-on-demand. If the input video is bad the output video shouldn't be larger. I have no idea how to set the x264/vp8 params right and obviously I can't do that manually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know of any (linux) tool for this? There are many video sites out there, how do they do this? I looked at video files from youtube and they all differ in bitrate and file size. Or do you know any website or tutorial that could help me? I've spend much time searching for tips but I just can't find anything, maybe I'm searching for the wrong terms..&lt;/p&gt;&#xA;" OwnerUserId="2139" LastActivityDate="2013-01-16T23:58:42.843" Title="Automatic conversion/encode video for Video On Demand streaming" Tags="|video|streaming|codec|conversion|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3622" PostTypeId="2" ParentId="3573" CreationDate="2012-03-21T18:27:02.463" Score="1" Body="&lt;p&gt;That's something thats going to differ a fair bit based on picture complexity, implementation quality, profile used, etc. But going to low shouldn't cause the picture to stop, just fill with compression artifacts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Often, video completely stopping means you've had transfer issues. If you remove the satellite link, does the video freeze still occur? Cheap satellite links (i.e., those costing less than $1000/mbit/mo) are notorious for dropping, reordering, and delaying packets. If the freezes occur without the satellite link, I'd guess your cameras have a deficient H.264 implementation, or at least one not designed for 1FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your camera's H.264 implementation may be taking 192kbps as 192kbps &lt;em&gt;average&lt;/em&gt;, with a buffer of X bytes. So on the first frame it may generate a lot more than 192kbit, expecting to make it up later (buffer size may be assumed to be 1 megabyte or even larger). And then, the satellite link is pegged for a few seconds as it transmits that &quot;buffered&quot; amount.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lowering framerate on H.264 doesn't save nearly as much bandwidth as you'd expect, due to there being large differences between each frame. But it degrades visual quality at least as much as you expect. So its often a bad trade-off. Also, various H.264 options can increase compression, but result in multi-frame decode delays. At 1FPS, that is really noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At 1FPS, who knows how often your camera is generating keyframes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd suggest sending some data encoded with X264 (or ffmpeg, which uses it). See if that works. Its probably a better implementation than your cameras feature. It also lets you tweak buffer sizes (you probably want a low one, unless you're buffering on the receiving end).&lt;/p&gt;&#xA;" OwnerUserId="1613" LastActivityDate="2012-03-21T18:27:02.463" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3624" PostTypeId="1" CreationDate="2012-03-22T02:42:27.953" Score="2" ViewCount="4038" Body="&lt;p&gt;I would like to make one of those 600fps slow motion clips that can are on YouTube. such as this &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/QE2zsD4De7U?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;. I know it can be done in AE but I cannot figure it out.&lt;/p&gt;&#xA;" OwnerUserId="2142" LastActivityDate="2012-08-26T14:21:03.773" Title="How to create super smooth slow motion clips in After Effects that will be edited in Premiere Pro" Tags="|editing|after-effects|slowmotion|" AnswerCount="2" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3625" PostTypeId="1" AcceptedAnswerId="4006" CreationDate="2012-03-23T08:29:08.590" Score="3" ViewCount="167" Body="&lt;p&gt;My company transcodes videos sent in by users (recorder by our own screenrecording software)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use FFMpeg to do the work using this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; /ffmpeg/ffmpeg -i in.mov -vcodec libx264 -fpre /ffmpeg/ffpresets/libx264-slower.ffpreset   -y out.flv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The purpose is to prepare the video for viewing in browser.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The problem is that the first 10, or so, seconds the quality is really poor.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;What can cause this? and how can i fix it?&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Preset settings:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;coder=1&#xA;flags=+loop&#xA;cmp=+chroma&#xA;partitions=+parti8x8+parti4x4+partp8x8+partb8x8&#xA;me_method=umh&#xA;subq=8&#xA;me_range=16&#xA;g=250&#xA;keyint_min=25&#xA;sc_threshold=40&#xA;i_qfactor=0.71&#xA;b_strategy=2&#xA;qcomp=0.6&#xA;qmin=0&#xA;qmax=69&#xA;qdiff=4&#xA;bf=3&#xA;refs=5&#xA;directpred=3&#xA;trellis=1&#xA;flags2=+bpyramid+mixed_refs+wpred+dct8x8+fastpskip&#xA;wpredp=2&#xA;rc_lookahead=50&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Exampel of an input video&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '84f42bcb67ac616635ef6f99057bbbc46d418295.mov':&#xA;Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt&#xA;    creation_time   : 2012-03-07 13:45:16&#xA;  Duration: 00:15:56.00, start: 0.000000, bitrate: 4108 kb/s&#xA;    Stream #0.0(eng): Video: qtrle, rgb24, 1680x945, 3401 kb/s, 13.61 fps, 1k tbr, 1k tbn, 1k tbc&#xA;    Metadata:&#xA;      creation_time   : 2012-03-07 13:45:16&#xA;    Stream #0.1(eng): Audio: pcm_s16be, 44100 Hz, 1 channels, s16, 705 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2012-03-07 13:45:16&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="2144" LastEditorUserId="1530" LastEditDate="2012-11-29T23:11:48.343" LastActivityDate="2012-11-29T23:11:48.343" Title="How do I prevent Quality loss in the beginning of a video?" Tags="|codec|ffmpeg|video-quality|quality|transcoding|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3626" PostTypeId="2" ParentId="3621" CreationDate="2012-03-23T10:31:50.217" Score="1" Body="&lt;p&gt;Video transcoding is very confusing and there is loads of different options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you dont want to use FFMpeg you could try VLC&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Read more about transcoding with VLC &lt;a href=&quot;http://wiki.videolan.org/Transcode#Transcoding_with_the_Command_Prompt&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise FFMpeg (or some kind of wrapper tool) is your best bet.&#xA;By omitting the -vb option you let FFMpeg decide bitrate. There is also a few Presets you can use for encoding to specific devices and qualitys, like ipod640.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've build a tiny java application that transcodes video from a que (using MySQL)&#xA;but a cronjob and a shell-script is also a good solution&lt;/p&gt;&#xA;" OwnerUserId="2144" LastActivityDate="2012-03-23T10:31:50.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3627" PostTypeId="2" ParentId="2366" CreationDate="2012-03-23T15:47:03.513" Score="0" Body="&lt;p&gt;Go to the tab next to 'Load presets'. (Custom settings)&#xA;You can only change the frame size when you select editing mode: Desktop.&#xA;Now you can change the frame size/ratio to 640x360 or what ever size you want.&lt;/p&gt;&#xA;" OwnerUserId="2145" LastActivityDate="2012-03-23T15:47:03.513" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3633" PostTypeId="2" ParentId="3624" CreationDate="2012-03-23T19:24:46.227" Score="1" Body="&lt;p&gt;This footage was probably around 24 fps.. If you want to slow it down to 50 % of the speed you would need to shoot at 48 fps to be able to get 24 fps when played back in 50 % speed. If you don't you can see that it is a series of pictures animated. And if you shoot at 24 fps and slow it down 12 times you get only 2 pictures per second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BUT, there is fortunately a great way of making the computer generate the frames in between the frames that are actually there! So you could make it generate 9 pictures between each real frame thus resulting in a source clip with a fps of about 240! If you capture at 60 fps, which is possible you can get 600 fps. And the magic software that does this is called:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.thefoundry.co.uk/products/kronos/&quot; rel=&quot;nofollow&quot;&gt;THE FOUNDRY'S KRONOS&lt;/a&gt;!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've used it and it works great! It works, as far as I have noticed, by making a vector of the two images and animating that vector in between the two images that it is filling in frames inbetween. All natural movements are slowed down perfectly, but for example explosions can look a bit fake becaue they don't have a linear movement, not in terms of speed or in terms of position..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this software will help you on your way!&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-03-23T19:24:46.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3636" PostTypeId="1" AcceptedAnswerId="5623" CreationDate="2012-03-24T14:31:39.657" Score="3" ViewCount="151" Body="&lt;p&gt;I am trying edit out a two minute clip from a long movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the command I'm using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 01:05:16 -t 120 -i input.avi -vcodec copy -an clips/output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I thought that 120 would be in seconds, giving me a two minute clip. But the clip I get is over 45 minutes long. It seems to be as long as from the start time to the end of the film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is this not working and what command should I use to get a two minute clip?&lt;/p&gt;&#xA;" OwnerUserId="1792" LastActivityDate="2012-12-20T04:21:17.387" Title="Why is this ffmpeg command outputting such long clips?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3637" PostTypeId="2" ParentId="3636" CreationDate="2012-03-24T14:46:29.457" Score="0" Body="&lt;p&gt;Try putting&lt;code&gt;-t 120&lt;/code&gt; after &lt;code&gt;-an&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2012-03-24T14:46:29.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3641" PostTypeId="1" CreationDate="2012-03-24T20:24:16.527" Score="3" ViewCount="635" Body="&lt;p&gt;I have some old, low-light, pretty noisy DV8 video that I'd like to clean up. What is the best tool/technique to remove noise from low-light scenes?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also want to change the gamma correction to bring out the details - should I do that before or after I run any noise reduction?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I saw that Photoshop CS5 had some pretty amazing noise reduction capability, and that the new CS6 allows you to edit video, so my original question was &quot;can I use CS6 to reduce the noise?&quot;  But I'm ok with making the question more general.&lt;/p&gt;&#xA;" OwnerUserId="2163" OwnerDisplayName="Fred Hamilton" LastEditorUserId="674" LastEditDate="2014-01-24T22:47:57.417" LastActivityDate="2014-01-24T22:47:57.417" Title="How to reduce noise in old, low-light DV-8 video" Tags="|video|noise-reduction|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3642" PostTypeId="2" ParentId="3641" CreationDate="2012-03-25T06:15:38.820" Score="2" Body="&lt;p&gt;Yes, as DragonLord said, with the extended edition.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And assuming it's in a format (AVI, MOV etc. that Photoshop supports.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once open, select Filter &gt; Convert for Smart Filters.   Then run any filter, including noise reduction, and it will apply it to all frames.   Then Export &gt; Render to Video.&lt;/p&gt;&#xA;" OwnerUserId="2155" OwnerDisplayName="MikeW" LastActivityDate="2012-03-25T06:15:38.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3643" PostTypeId="1" AcceptedAnswerId="3645" CreationDate="2012-03-26T10:30:03.100" Score="0" ViewCount="103" Body="&lt;p&gt;Sometimes I animate the properties of certain effects using keyframes. It's a really nice feature, but something has been bugging me about it. The Add/Remove keyframe button doesn't &lt;a href=&quot;http://feedback.photoshop.com/photoshop_family/topics/premiere_elements_10_the_add_remove_keyframe_button_doesnt_provide_feedback&quot; rel=&quot;nofollow&quot;&gt;tell me&lt;/a&gt; whether or not the current frame is an existing keyframe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://s3.amazonaws.com/satisfaction-production/s3_images/706074/keyframing.jpg?1330615711&quot; alt=&quot;Keyframe toggle&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I missing something here? Is there a good way to find out whether or not the current frame is a keyframe for a certain property? I'm using Premiere Elements 10.&lt;/p&gt;&#xA;" OwnerUserId="1983" LastActivityDate="2012-03-26T10:40:48.227" Title="Is there a way to find out if the current frame is a keyframe in Premiere Elements 10?" Tags="|video|video-editor|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3644" PostTypeId="2" ParentId="2389" CreationDate="2012-03-26T10:35:11.877" Score="0" Body="&lt;p&gt;Have you looked into &lt;a href=&quot;http://www.adobe.com/premiereel&quot; rel=&quot;nofollow&quot;&gt;Adobe Premiere Elements 10&lt;/a&gt;? I got it bundled with Photoshop Elements for approx. €55 ($73). I did get a student discount and they had a special deal going on at the time.&lt;/p&gt;&#xA;" OwnerUserId="1983" LastActivityDate="2012-03-26T10:35:11.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3645" PostTypeId="2" ParentId="3643" CreationDate="2012-03-26T10:40:48.227" Score="0" Body="&lt;p&gt;The &lt;a href=&quot;http://help.adobe.com/en_US/premiereelements/using/WS09e4b3c48f3a79fc19b622510385d4355c-7e8b.html#WS09e4b3c48f3a79fc19b622510385d4355c-7e8a&quot; rel=&quot;nofollow&quot;&gt;Help&lt;/a&gt; specifies how to view keyframes.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2012-03-26T10:40:48.227" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3650" PostTypeId="1" CreationDate="2012-03-26T16:16:03.123" Score="1" ViewCount="2520" Body="&lt;p&gt;I have two sources from differents points of view of the same scene. I'd like to start the video from one camera, stop it, and make a rotation to the second source just like a famous The Matrix scene. They made use of several cameras, but I only have two sources, just like bellow:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/W3PWf.png&quot; alt=&quot;The scene&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is it possible to make it using an &quot;easy&quot; way ?&lt;/li&gt;&#xA;&lt;li&gt;If yes, can you link a tutorial or sum up the steps ?&lt;/li&gt;&#xA;&lt;li&gt;Does this technique have a name ?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm a real beginner, so please try to detail as possible your answer.&lt;/p&gt;&#xA;" OwnerUserId="2158" LastEditorUserId="2158" LastEditDate="2012-03-26T16:26:49.130" LastActivityDate="2012-03-30T14:25:16.093" Title="How to make a fake 3d effect (The Matrix 3d rotation style) from 2 video sources?" Tags="|effects|special-effects|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3652" PostTypeId="2" ParentId="3650" CreationDate="2012-03-26T17:32:51.847" Score="2" Body="&lt;p&gt;This is possible, though it wouldn't look real at all.. If you use Adobe After Effects you can just put both sources in one composition. Then you would turn on the 3D-mode on each of the layers. There is a button on each layer. If you click it there should be a small picture of a cube where you clicked.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you press P on each of the layers to bring up the position sliders. Then you animate the first layer until it &quot;matches&quot; the position of the second camera. (The axis that goes from the top of the image and downwards.) Do this for both the layers and just blend them together. I don't remember if you have to insert a camera into the scene too. So you basically move the layers to simulate movement. Oh, and add motion blur too with the motion blur button next to the 3d-button. Remember to switch on the master blur button too. This will make the camera movement (or in this instance the movement of the layer itself) look more natural. Remember to zoom in a bit into the comp to compensate for the 3D.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please post your video so we can see how it looks! :)&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-03-26T17:32:51.847" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3658" PostTypeId="2" ParentId="3650" CreationDate="2012-03-27T14:55:48.193" Score="1" Body="&lt;p&gt;The technique is called &quot;bullet time&quot;, and as stated by @DrMayhem, involves lots of camera. I seem to recall that The Matrix VisFX team had enough cameras to do 60 frames per second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said, check out Vincent Gallo's &quot;Buffalo 66&quot; and look for some articles on line. I think American Cinematographer did a piece on it around the time it was released. On a limited budget with a SINGLE camera, the closing scene is a pretty convincing bullet time sequence. He held REALLY still while the camera rolled a few seconds, cut, moved about 5 degrees along an arc, rolled for a few more seconds, cut, moved, rolled...until they'd travelled along the arc as far as they needed to. Circular dolly track makes this a LOT easier, but I'm sure a creative mind can figure out a way to simulate that... :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any jitters were smoothed out in post by morphing one frame to another...they probably had about 100 - 200 frames of each camera position from which to choose. A pain in post, but single camera bullet time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been muddling a DIY circular track in my head; A digital SLR on time lapse mode with the actor holding still is the next thing I want to try. I can get a solid 8fps; animate the other 16fps by interpolating from existing frames, e voila.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a lot of DIY Bullet-Time stuff on the web as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.instructables.com/id/How-to-Enter-the-Ghetto-Matrix-DIY-Bullet-Time/&quot; rel=&quot;nofollow&quot;&gt;http://www.instructables.com/id/How-to-Enter-the-Ghetto-Matrix-DIY-Bullet-Time/&lt;/a&gt; is one of my faves, though a little more complex than a single camera. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&#xA;d&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-03-27T14:55:48.193" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3662" PostTypeId="1" CreationDate="2012-03-28T21:57:12.600" Score="1" ViewCount="595" Body="&lt;p&gt;We have some AVCHD files (MPEG 4, 1280x720 H.264, AAC) that we have had a world of trouble editing with Premiere Elements. The main problem is that the audio and video get out of sync. Reviewing this question on the Adobe forums, the likely issue seems to be that Premiere Elements doesn't import some MPEG 4 formats correctly and Adobe recommends transcoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have Sorenson Squeeze 7 in-house (we're using simple iMacs), so my first thought is to simply transcode. The question is what format is best from an editing (and preservation) standpoint. I am currently trying the AVI &quot;NTSC DV&quot; format, since I =think= that's what we get off mini-DV tapes, but I would hate to be throwing away resolution or image/sound quality if there is a more recent, non-lossy format that we should be using. I'm also quite open to upgrading to Sorenson Squeeze 8, purchasing/installing a different transcoder, and/or going to a professional video editing platform--although the latter seems to be a waste. We pretty much exclusively generate flash and MP4 clips from our source files--simplest editing, rarely use any sort of effects (and nobody here knows video editing more sophisticated than what can be done with iMovie--ie., home movie production). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, my primary goal is to generate reasonably good clips today, and to be saving master files in the best, stable, long-term &quot;archival&quot; format that is accessible without specialized equipment.&lt;/p&gt;&#xA;" OwnerUserId="1210" LastActivityDate="2012-03-29T04:31:57.087" Title="Best transcoding path using Sorenson Squeeze for AVCHD video?" Tags="|video|video-editor|mac|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3664" PostTypeId="2" ParentId="3662" CreationDate="2012-03-29T04:31:57.087" Score="1" Body="&lt;p&gt;With NTSC DV format (854x480), you are throwing away resolution. I'd suggest I-frames only MPEG2 with a good bitrate (about 5MB/s). I don't know Squeeze, so I don't know what parameters are available. If you post a screenshot of the export/convert dialog, I may be of help.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2012-03-29T04:31:57.087" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="3666" PostTypeId="2" ParentId="3396" CreationDate="2012-03-29T12:20:53.590" Score="0" Body="&lt;p&gt;There is nothing in this that looks or sounds even slightly sped up. As @leftaroundabout said, the original is paced a bit faster all the way through, but also has that tempo increase halfway through.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While being a fairly fast piece, it is not challenging enough that I would anticipate speeding it up for any reason.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-03-29T12:20:53.590" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3670" PostTypeId="2" ParentId="3650" CreationDate="2012-03-30T14:25:16.093" Score="0" Body="&lt;p&gt;My answer, given that the footage is already created, would mirror @50ndr33 above. Yes, you can create a 3-D model. However, people are the hardest to animate. It's no coincidence that the MAIN on-screen characters in Pixar's films are toys and robots, with humans appearing from the knees down. The translucence of skin just CANNOT be replicated well, even with today's animation. Look at the animated Beowulf. While that was somewhere at the top of animation's pinnacle, it doesn't look ~real~, and that level of animation likely needs more processing power than you have or can get a hold of...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given the headaches, perhaps a reshoot might be easier...as much of a PITA as that may be, you'll likely be more pleased with the results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry I don't have better news on that front... :(&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The good news is that this experience of looking for options to make it work is a valuable learning experience for you as a filmmaker. We've all been there...have a vision bigger than what we know and figuring it out along the way, missteps and all. That's an excellent place to be. Don't ever lose that spark.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;d&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-03-30T14:25:16.093" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3671" PostTypeId="1" CreationDate="2012-03-30T17:42:37.163" Score="1" ViewCount="78" Body="&lt;p&gt;I added an Image to a video layer, by default premier scaled it up 323x its original size. I want to be able to see the resulting dimension in pixels. Is there a way to see dimensions of an element in a scene. Same question applies to titles. If i add a title to a video layer, and i scale it, is there a way to see what the resulting pixel dimension is.&lt;/p&gt;&#xA;" OwnerUserId="2173" LastActivityDate="2012-03-30T17:42:37.163" Title="How To See The Dimension Of A Still Image in Adobe Premier" Tags="|premiere|cs5|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3676" PostTypeId="1" AcceptedAnswerId="3680" CreationDate="2012-03-31T09:49:26.630" Score="4" ViewCount="3207" Body="&lt;p&gt;I am looking at the factor that allows software video players to seek at any (or close to) position in the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this the keyframes or what? &lt;/p&gt;&#xA;" OwnerUserId="1919" LastActivityDate="2012-04-01T20:41:21.700" Title="How can I make a video more seekable?" Tags="|playback|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3677" PostTypeId="2" ParentId="3676" CreationDate="2012-03-31T22:28:11.620" Score="3" Body="&lt;p&gt;Yes, that has to do with keyframes.  Most players can only seek to a keyframe.  Others will go to the prior keyframe and decode up to the point selected.  Others will just play gibberish until the next keyframe.  Having regular keyframes increases your file size, but also adds many more points a user can seek to in your video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are referring to how to make your video more seekable for the web, that is a different problem.  Video compression is typically not a constant bitrate which is why it is hard for a web-based player to guess the byte offset of a particular position in the video.  Many web players allow sending a file of metadata that contains offsets to help with this problem.&lt;/p&gt;&#xA;" OwnerUserId="129" LastActivityDate="2012-03-31T22:28:11.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3680" PostTypeId="2" ParentId="3676" CreationDate="2012-04-01T20:41:21.700" Score="4" Body="&lt;p&gt;The problems with seeking are typically in the video player and not in the videos themselves, so you may want to look at different video player. A video player should be able to seek to any frame in the video, regardless of format and the encoder settings used. It is also technically possible to play any video backwards, even though very few players support this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is, seeking into frames that are not keyframes is difficult and CPU intensive. Frames that are encoded as keyframes can be decoded on their own, while non-keyframes depend on other frames to be decoded. If you are playing the movie left to right all the dependencies  for a given frame have been already decoded, but if you are seeking directly into the frame, then the player needs to search for all those dependencies, decode them and only then it can decode the target frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I think I can summarize my advice as two different suggestions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Switch to a player that can seek to any frame.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;if you can't switch to a better player, then encoding your video with more frequent keyframes will give you better seek accuracy, at the expense of picture quality (if you keep the bitrate the same) or file size (if you increase the bitrate to compensate).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="1898" LastActivityDate="2012-04-01T20:41:21.700" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3682" PostTypeId="2" ParentId="3396" CreationDate="2012-04-02T01:31:44.447" Score="1" Body="&lt;p&gt;Slowing down a video is a magic thing, but isn't cinema magical? &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;What we are dealing with?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Video/cinema is a big lie. All we have there are photos, called frames.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;What we are looking for?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;To &quot;slowdown&quot; a &quot;video&quot;, you need more frames per second. Since they&#xA;  cannot be recorded again with a higher speed cam, the only way is to&#xA;  create intermediate frames, just repeating, or blending frames.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You should look for this(repeated or mixed frames), as a prove of the &quot;slowdown&quot; process, made by a computer. If you made the &quot;slowdown&quot; in the cam (shooting more frames per second) the process is smooth, and no prove can be extracted. Sure you should download the video to your computer to do this kind of observation.&lt;/p&gt;&#xA;" OwnerUserId="1466" LastActivityDate="2012-04-02T01:31:44.447" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3685" PostTypeId="1" CreationDate="2012-04-02T19:27:55.643" Score="4" ViewCount="382" Body="&lt;p&gt;I have a video clip that I want to convert to gif. I used this app: &lt;a href=&quot;http://itunes.apple.com/us/app/gifbrewery/id435989461&quot; rel=&quot;nofollow&quot;&gt;http://itunes.apple.com/us/app/gifbrewery/id435989461&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I couldn't figure out how to make a gif that's the proper speed. The default preview they showed had way too many frames missing, so i increased the frame count. But once I did that the gif played way too slowly. How do I make the gif speed simply the same speed as the original video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also used MPEG Streamclip to export to PNGs so I can use GIMP to create the GIF. Same problem, couldn't create a proper speed GIF.&lt;/p&gt;&#xA;" OwnerUserId="1970" LastActivityDate="2012-10-24T17:32:57.767" Title="Making a gif from a video" Tags="|video|mac|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3687" PostTypeId="2" ParentId="3685" CreationDate="2012-04-02T23:01:24.753" Score="0" Body="&lt;p&gt;You could try &lt;a href=&quot;http://gifninja.com/&quot; rel=&quot;nofollow&quot;&gt;GifNinja&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is web based.&lt;/p&gt;&#xA;" OwnerUserId="237" LastEditorUserId="126" LastEditDate="2012-10-24T17:32:57.767" LastActivityDate="2012-10-24T17:32:57.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3688" PostTypeId="1" CreationDate="2012-04-02T23:05:08.883" Score="3" ViewCount="717" Body="&lt;p&gt;I have two MP4 files that I generated with &lt;a href=&quot;http://www.techsmith.com/camtasia.html&quot; rel=&quot;nofollow&quot;&gt;Camtasia Studio&lt;/a&gt;. I need to join them together post rendering with Camtasia (it can't be done during the Camtasia rendering process). Looking for a utility or technique that will work to join these, preferably that doesn't require re-rendering all the video again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: Either Windows (preferred) or Mac. Doesn't need a GUI if it is a good command-line app.&lt;/p&gt;&#xA;" OwnerUserId="237" LastEditorUserId="237" LastEditDate="2012-04-03T00:40:27.470" LastActivityDate="2015-01-02T11:34:57.613" Title="Utility or method for joining MP4 files" Tags="|file-formats|mac|windows|mp4|" AnswerCount="5" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3689" PostTypeId="2" ParentId="3688" CreationDate="2012-04-03T05:11:07.103" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://fixounet.free.fr/avidemux/&quot; rel=&quot;nofollow&quot;&gt;Avidemux&lt;/a&gt; should do the work. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Load File &lt;/li&gt;&#xA;&lt;li&gt;Go to File -&gt; Append and select File &lt;/li&gt;&#xA;&lt;li&gt;To the left of the video window, &#xA;&lt;ul&gt;&#xA;&lt;li&gt;set video mode to Copy; &lt;/li&gt;&#xA;&lt;li&gt;same for audio mode; &lt;/li&gt;&#xA;&lt;li&gt;set format to MP4. &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Go to File -&gt; Save -&gt; Video.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="237" LastEditDate="2012-04-04T02:14:18.320" LastActivityDate="2012-04-04T02:14:18.320" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3701" PostTypeId="1" AcceptedAnswerId="7453" CreationDate="2012-04-04T20:05:36.440" Score="1" ViewCount="143" Body="&lt;p&gt;I'm editing a project where I have 5 very long clips.  I'm going through, favorite-ing the good portions (&quot;subclipping&quot; per se) and then organizing my clips from those subclips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A problem I'm running into however, is that I would like to have finer control over my in and out points, so I would like to open my long clips in the timeline, so I can use the scrubber over a larger area.  But when the clip is &quot;opened in timeline&quot; I can't favorite portions of it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any workaround to this?  Or a different solution to my problem?&lt;/p&gt;&#xA;" OwnerUserId="2195" LastActivityDate="2013-03-21T19:50:33.280" Title="Favoriting/Subclipping with Long Clips in Timeline in FCPX" Tags="|software|editing|final-cut-pro|final-cut-pro-x|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3702" PostTypeId="2" ParentId="3357" CreationDate="2012-04-05T01:33:23.560" Score="1" Body="&lt;p&gt;&lt;strong&gt;CatDV by &lt;a href=&quot;http://www.squarebox.co.uk/&quot; rel=&quot;nofollow noreferrer&quot;&gt;SquareBox&lt;/a&gt;&lt;/strong&gt; is a very powerful media archiving program which runs on both windows and mac. We use it at work to catalouge the 100s of video files we ingest daily. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;All our editors have the program installed and they can browse the library from their own computer (connecting to a server).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The features we use the most is its ability to import sidecar files (eg &lt;code&gt;.xml&lt;/code&gt;)that come with a lot of content providors which contain scripts and timecode markers. When you import the video, CatDv looks for a matching metadata file and imports that info.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also do basic edits of footage within the program and then export it to FCP. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/jR9zk.jpg&quot; alt=&quot;CatDV Pro&quot;&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/jR9zk.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;em&gt;Larger Image&lt;/em&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The downside of this software is its &lt;strong&gt;expensive&lt;/strong&gt;, so not suitable for personal use.&lt;/p&gt;&#xA;" OwnerUserId="2197" LastEditorUserId="2197" LastEditDate="2012-06-04T04:37:25.953" LastActivityDate="2012-06-04T04:37:25.953" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3705" PostTypeId="1" CreationDate="2012-04-05T14:57:13.010" Score="0" ViewCount="79" Body="&lt;p&gt;&lt;strong&gt;When making videos for YouTube, what media can I include without getting sued or breaking the terms of YouTube?&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the differences when being a YouTube partner?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take for example the gaming web show &lt;a href=&quot;http://www.youtube.com/show/dailyfix&quot; rel=&quot;nofollow&quot;&gt;IGN Daily Fix&lt;/a&gt;. They include images, audio, and video of games into their own videos. Do they pay a fee to every single video game producer, to a general organisation, or can they just include anything they want for free under fair use?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;PS: I don't know if this is the best forum for this question, but I don't really know where else I could ask.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="2191" LastEditorUserId="2191" LastEditDate="2012-04-05T17:54:28.577" LastActivityDate="2012-04-05T18:53:36.593" Title="What media can I legally include into my videos?" Tags="|video|legal|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3707" PostTypeId="1" AcceptedAnswerId="4230" CreationDate="2012-04-05T16:41:30.860" Score="8" ViewCount="19221" Body="&lt;p&gt;I'm converting mov (or flv or mp4) files into ogv. Unfortunately, the programs I've been using (Miro, FFMPEG's ogv plugin) have terrible encoding that appears extremely fuzzy.  Does anyone have recommendations for less compressed files in this format? Is it possible? Software recommendations?&#xA;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="2198" LastActivityDate="2014-06-13T18:36:27.190" Title="High quality ogv files - possible?" Tags="|conversion|quality|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3708" PostTypeId="2" ParentId="3705" CreationDate="2012-04-05T18:53:36.593" Score="3" Body="&lt;p&gt;Preface: I am not a lawyer. These comments aer based on my personal experience navigating copyright law. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The general rule of thumb is that you can only use media that you have created. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have not created the media, it's best practice to get or buy permission to use it, and get that permission in writing as a release form.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said, something like IGN daily fix could &lt;em&gt;likely&lt;/em&gt; get away with demo-ing games under fair use as part of a review or demonstration. There's also the fair use exemption for something &quot;newsworthy&quot;. There's a little bit of leeway when you shoot the video of the game yourself rather than capturing the output from the console. There you start to get into derivative work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, I would get releases for everything. In the case of IGN, I'm sure they can go to EA, and EA is more than happy to provide amterials for their use. You can do the same. Ask for a press kit that includes video clips. Those are licensed for that type of use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't have a license, here's what you risk. Let's say Google wants to buy your videos and feature them for something. Their lawyer is going to ask for chain of title documentation. This is signed, verifiable contractual agreements that say you have permission for everything. Sign a release form for you own voiceover jsut to please the lawyers. People will sue Google because they've got deep pockets. The lawyers need to mitigate that risk by making sure every i is dotted and every t is crossed. Are you willing to potentially lose a deal because you didn't get permission to use a clip? I've made the decision NOT to risk that...but that's me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As many people as I know who are under-the-radar enough to get away with a lot, I know enough people who've been &quot;made an example of&quot; that I don't want to play with that lit match. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd recommend a.) talking to an attorney and b.) asking permission for everything. You'd be surprised who says yes to the latter.&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-04-05T18:53:36.593" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3711" PostTypeId="2" ParentId="2674" CreationDate="2012-04-06T09:12:39.827" Score="-1" Body="&lt;p&gt;Canon powershot hs100 and hs 300, at 4Gb apparently shut off due to &amp;quot;tariff&amp;quot; and copyright problems.&lt;/p&gt;&#xA;&lt;p&gt;It says it right in the manual. &amp;quot;10 minute clips&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;At HD 1920 it lasted ten minutes. At 640 it lasted 1 hour.&lt;/p&gt;&#xA;" OwnerUserId="2200" LastEditorUserId="6132" LastEditDate="2020-09-26T17:39:55.597" LastActivityDate="2020-09-26T17:39:55.597" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="3712" PostTypeId="2" ParentId="3685" CreationDate="2012-04-07T05:37:29.393" Score="0" Body="&lt;p&gt;Depending on the format you might be able to use &lt;a href=&quot;http://www.mplayerhq.hu/&quot; rel=&quot;nofollow&quot;&gt;MEncoder&lt;/a&gt; or &lt;a href=&quot;http://www.imagemagick.org/&quot; rel=&quot;nofollow&quot;&gt;ImageMagick&lt;/a&gt;, both of which are installable via &lt;a href=&quot;http://macports.org/&quot; rel=&quot;nofollow&quot;&gt;MacPorts&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1234" LastActivityDate="2012-04-07T05:37:29.393" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3715" PostTypeId="1" AcceptedAnswerId="3716" CreationDate="2012-04-07T10:23:26.510" Score="1" ViewCount="97" Body="&lt;p&gt;I don't know if here is the right place to ask that so sorry if I am wrong.&#xA;I just want to know wich tools do you use to make a video (or presentation) like this one : &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/CkjRvBMwzo4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;I like the idea of 2D animation in this style, but I don't know wich are the best tools for creating something like this (I know that this is a big company and probably has some really good artistic guys)&lt;/p&gt;&#xA;" OwnerUserId="2204" LastActivityDate="2012-04-07T10:51:44.633" Title="tools for 2d animation video" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3716" PostTypeId="2" ParentId="3715" CreationDate="2012-04-07T10:51:44.633" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;After Effects&lt;/a&gt; is the preferred tool for motion graphics work like in this film.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2012-04-07T10:51:44.633" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3717" PostTypeId="1" AcceptedAnswerId="3721" CreationDate="2012-04-07T12:35:07.137" Score="1" ViewCount="1862" Body="&lt;p&gt;Is there a way of installing Adobe Production Premium CS5 on a hard drive other than C:\? I tried changing the install path in the installer but after installing parts of the program don't work and it can't find any plug-ins I add. I have windows 7.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After a lot of messing around I figured out how to get it to work and will post the answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason I actually want to do this is because my main OS drive is an SSD and there's not really enough space to install the whole Adobe suite on it.&lt;/p&gt;&#xA;" OwnerUserId="2205" LastEditorUserId="2836" LastEditDate="2014-07-01T16:07:03.523" LastActivityDate="2014-07-01T16:07:03.523" Title="How do you install Adobe Production Premium CS5 on a different hard drive in windows?" Tags="|setup|cs5|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3718" PostTypeId="2" ParentId="2389" CreationDate="2012-04-07T13:13:36.843" Score="3" Body="&lt;p&gt;As a Windows user, you can download a live CD of Kdenlive. Burn it to a CD, and then it will boot up into a Linux system for you. Or, you could install Virtual Box on Windows (again, free software) and then install the live CD to that. This would allow you to simultaneously use Kdenlive and your Windows system and share file systems between then.&lt;/p&gt;&#xA;" OwnerUserId="2206" LastActivityDate="2012-04-07T13:13:36.843" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3719" PostTypeId="2" ParentId="2274" CreationDate="2012-04-07T13:17:20.050" Score="13" Body="&lt;p&gt;&lt;a href=&quot;http://kdenlive.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Kdenlive&lt;/a&gt; is rapidly becoming the most advanced FLOSS video editor. Kdenlive &lt;a href=&quot;https://kdenlive.org/en/download/&quot; rel=&quot;nofollow noreferrer&quot;&gt;supports Linux and Windows natively&lt;/a&gt;. There is also &lt;a href=&quot;https://ports.macports.org/port/kdenlive/&quot; rel=&quot;nofollow noreferrer&quot;&gt;a version for macOS on macports.org&lt;/a&gt;, but it is outdated.&lt;/p&gt;&#xA;&lt;p&gt;I use Kdenlive often on my Linux system. It has an active development team that are very responsive to new feature requests and bug reports. The user community is also very friendly and supportive.&lt;/p&gt;&#xA;" OwnerUserId="2206" LastEditorUserId="18893" LastEditDate="2021-09-04T21:51:25.397" LastActivityDate="2021-09-04T21:51:25.397" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="3721" PostTypeId="2" ParentId="3717" CreationDate="2012-04-07T23:00:53.900" Score="1" Body="&lt;p&gt;After a long time of messing aroung I got it to work by tricking the software into thinking it was actually in the default location it likes at 'C:\Program Files\Adobe' by creating directory junctions. In order for it to work the hard drive must be formatted with the NTFS filesystem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used &lt;a href=&quot;http://code.google.com/p/symlinker/&quot; rel=&quot;nofollow&quot;&gt;http://code.google.com/p/symlinker/&lt;/a&gt; to create the directory junctions. You need to map the following folders to folders on the other hard drive you want to install the suite on. Run the symlinker software as an administrator.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;C:\Program Files\Adobe&lt;/li&gt;&#xA;&lt;li&gt;C:\Program Files\Common Files\Adobe&lt;/li&gt;&#xA;&lt;li&gt;C:\Program Files (x86)\Adobe&lt;/li&gt;&#xA;&lt;li&gt;C:\Program Files (x86)\Common Files\Adobe&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Make sure that you select &lt;strong&gt;Directory Junction&lt;/strong&gt; in the dropdown for type of link otherwise it won't work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the symlink program the box which says 'give a name to the link' is the folder name. So for example to set up the first path you would enter 'C:\Program Files' in the top box. Then 'Adobe' as the link name and then '[New Drive]:\Adobe From Link' (as an example) in the third box and then do the same for the other 3 and they all need to go to different folders.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then when you've done this and checked that the folders are being mapped correctly you can simply install the adobe suite into C:\Program Files\Adobe (where it wants to go) and it will actually set itself up on your other hard drive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know it's not common to even think about putting it on another hard drive but I had to and I hope this will be useful if there's someone else out there that ever needs to and will save a lot of time!&lt;/p&gt;&#xA;" OwnerUserId="2205" LastEditorUserId="2205" LastEditDate="2012-11-10T13:25:54.867" LastActivityDate="2012-11-10T13:25:54.867" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3723" PostTypeId="1" CreationDate="2012-04-08T13:59:39.537" Score="0" ViewCount="370" Body="&lt;p&gt;I am cross posting from the Nvidia forums... I got no answer there :(&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using the Nvidia cuda video encoder nvcuvenc, and until now I was not able to encode an H.264 video with an output frame size different from the input frame size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question: Did anyone use this encoder with an output frame size different from the input frame size successfully? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for any help.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;More details:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The sample is the following &lt;code&gt;&quot;C:\ProgramData\NVIDIA Corporation\NVIDIA GPU Computing SDK 4.0\C\src\cudaEncode&quot;&lt;/code&gt; , and the encoding works fine for the default config file &quot;704x480-h264&quot; with the plush video.&#xA;But the other config files (720x480-h264 for example) don't work and don't seem to be correct because the input size is different than the actual video in the sample!! (I tested with other videos as well... No luck.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To be precise: Sometimes the encoder crashes with an access violation, sometimes it encodes but the result is messed up ... &lt;/p&gt;&#xA;" OwnerUserId="2212" LastEditorUserId="18155" LastEditDate="2019-09-24T17:28:21.777" LastActivityDate="2019-09-24T17:28:21.777" Title="Nvidia Cuda video encoder - output frame size" Tags="|video|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="3727" PostTypeId="1" CreationDate="2012-04-09T23:49:03.273" Score="7" ViewCount="652" Body="&lt;p&gt;&lt;strong&gt;Background:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to compress lossless bluray tracks to a more storage friendly size without a huge loss in quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What I've been doing thus far:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Exploring compression options with ffmpeg. Mainly around h264 with the -crf argument. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Restrictions:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Linux and open source tools. Please don't suggest anything Apple/Microsoft specific.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of the options I see around compression involved bit rates or fixed output sizes. I am looking for a video codec that has more of a &quot;quality threshold&quot;. I don't mind if more complex portions of the track require more bytes to deliver the same level of visual quality. Does anything like this exist?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am having good luck with the -qscale argument and libxvid. If I don't get any other suggestions, I'll just go with that.&lt;/p&gt;&#xA;" OwnerUserId="2219" LastEditorUserId="2221" LastEditDate="2012-04-12T20:07:23.993" LastActivityDate="2019-09-19T17:13:49.983" Title="What video codecs can provide &quot;adaptive quality&quot;?" Tags="|video|codec|linux|video-quality|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="3728" PostTypeId="1" CreationDate="2012-04-10T16:40:44.177" Score="0" ViewCount="60" Body="&lt;p&gt;I've got a client at a golf course with software that captures videos from two cameras.  One video is from down the line and the other is from straight on.  They have two physical displays, 1 computer monitor connected via VGA and a big screen TV connected via HDMI (DVI to HDMI converter). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recently, the video card went out on this computer, so I replaced it.  Everything is working except for two instances.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;If the user selects a 'split screen' display (showing the input from each camera side-by-side), the TV display goes black.  When you go back to another display that works, the TV briefly displays the split screen as it should have, but then switches to the new type of display selected.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If the user selects a previously recorded video and plays it back full speed, again the TV display goes black.  However, if you pause the video it will display fine on the TV. You can also play it in slow motion and it will display. Only full speed playback causes the issue.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I'm trying to troubleshoot this to the best of my ability before doing anything else.  I've considered buying a better video card to see if this is the problem, but I don't want to do that until I've eliminated any other possible issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance,&#xA;Jeff&lt;/p&gt;&#xA;" OwnerUserId="1781" LastActivityDate="2012-04-10T17:54:50.170" Title="Video Output to TV is shutting down on full speed playback of video, or split screen display" Tags="|video|output|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3729" PostTypeId="2" ParentId="3728" CreationDate="2012-04-10T17:54:50.170" Score="1" Body="&lt;p&gt;Assuming that everything worked fine before you replaced the video card, did the software vendor recommend a video card for this set up? if not, does the software vendor provide a list of supported video cards? Does your new card fall in this list?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I highly suspect that the replacement card has a compatibility issue with the &quot;capture&quot; software. Have you contacted technical support for the software vendor?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is possible there is also a driver conflict or that when you replaced the video card you did not provide the correct driver. Assuming this is a PC running Windows, did you check the 'device manager' to see if there are any yellow or red flags?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to check the device manager, one way. Start--&gt;right click on 'my computer', then choose 'manage' from the drop down menu, a 2 pane window will appear, click on device manager in the left pane, look for details in the right pane.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-04-10T17:54:50.170" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3730" PostTypeId="1" AcceptedAnswerId="7844" CreationDate="2012-04-10T21:48:17.930" Score="2" ViewCount="633" Body="&lt;p&gt;Samuli -- of the Iron-Sky -film -- mentions (3.40 &lt;a href=&quot;http://www.youtube.com/watch?v=czpYwqV22p4&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;) their used software:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;adobe.com, Adobe Creative Suite 5&lt;/li&gt;&#xA;&lt;li&gt;autodesk.com, Maya&lt;/li&gt;&#xA;&lt;li&gt;newtek.com, Lightwave 3D 10&lt;/li&gt;&#xA;&lt;li&gt;renderpal.com, RenderPal&lt;/li&gt;&#xA;&lt;li&gt;thefoundry.co.uk, Nuke&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Now I am total newbie here but I would like to know whether it is possible to replace the software with some open-source alternatives? Look they cost a lot of capital to even trial so trying to find some good open-source alternatives. It would be cool to engage into project which does not require massive capital boundary to start from the participants. Suggestions highly appreciated!&lt;/p&gt;&#xA;" OwnerUserId="2221" LastEditorUserId="2221" LastEditDate="2012-08-16T16:04:34.527" LastActivityDate="2013-05-09T01:21:09.850" Title="Is Open-Source -film production possible with open-source tools?" Tags="|software-recommendation|linux|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3731" PostTypeId="2" ParentId="3730" CreationDate="2012-04-10T22:23:02.800" Score="4" Body="&lt;p&gt;The production group you refer to has a team of 20 guys (&quot;no girls&quot;) and 40 computers. Do you think there is an open source for 20 CGI professionals and 40 computers too? This is a very real production company with a budget to get things done. They have created enough attention to fund the project 'Iron Sky'. No easy task.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you are asking is like this, you see a beautiful Lamborghini Murciélago and want to know if you can make one of these with free tools and labor. By the way, what you are asking costs way more than a Lamborghini Murciélago. I would say that you have a very ambitious mind. However, there are no free open source tools that can do all the things these guys are doing and I would include the skilled labor of these 20 guys and the cost of 40 64 bit i7 machines as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even if it were possible to replace all this great software with a free open-source version, where are you going to get 20 skilled and seasoned artists with 40 computers to do this work for you? I can't stress the importance of who the people are that run the programs and make the editing decisions. Software will come and go, but the imagination and talent of a skilled team is priceless and timeless.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-04-10T22:23:02.800" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="3732" PostTypeId="2" ParentId="3730" CreationDate="2012-04-10T22:32:41.963" Score="3" Body="&lt;p&gt;The very simple answer is yes - all these tools have open source equivalents...after a fashion. But they haven't had as much development, as there is less money going into them - so you may need to work out alternative ways to create some effects...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and that will take more time for skilled people - which costs more than using tools&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I reckon @filzilla actually has the right practical answer, despite the answer really being &quot;yes you can&quot;&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-04-10T22:32:41.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3733" PostTypeId="2" ParentId="3730" CreationDate="2012-04-10T22:40:32.420" Score="2" Body="&lt;p&gt;You do need to keep in mind that, there is an entire production team behind that movie, with some money to start.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, a lot of this can be accomplished in &lt;a href=&quot;http://www.blender.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blender&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Blender is the free open source 3D content creation suite, available&#xA;  for all major operating systems under the GNU General Public License.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Full movies have even been made on Blender, its awesome. You can &lt;a href=&quot;http://youtu.be/QbzE8jOO7_0&quot; rel=&quot;nofollow noreferrer&quot;&gt;check them out on Youtube.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/OEcSF.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.gimp.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;GIMP&lt;/a&gt; is a great tool for image editing too &lt;/p&gt;&#xA;" OwnerUserId="1394" LastActivityDate="2012-04-10T22:40:32.420" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="3741" PostTypeId="1" CreationDate="2012-04-11T19:14:57.243" Score="2" ViewCount="189" Body="&lt;p&gt;How can I speed up hobbyist animation-rendering project? It would be cool to see things faster, I use tools such as Blender.&lt;/p&gt;&#xA;" OwnerUserId="2221" LastEditorUserId="2221" LastEditDate="2012-08-16T16:11:07.420" LastActivityDate="2012-08-16T16:13:30.570" Title="Options to speed up Hobbyist Rendering?" Tags="|software|linux|animation-rendering|blender|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3742" PostTypeId="2" ParentId="3741" CreationDate="2012-04-11T19:18:12.770" Score="2" Body="&lt;p&gt;You could try:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Turning off ray tracing&lt;/li&gt;&#xA;&lt;li&gt;Lowering the resolution&lt;/li&gt;&#xA;&lt;li&gt;Turning off soft shadows unless needed &lt;/li&gt;&#xA;&lt;li&gt;In Blender, use the Simplify option&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;These and others are covered in &lt;a href=&quot;http://www.blenderguru.com/13-ways-to-reduce-render-times&quot; rel=&quot;nofollow&quot;&gt;this blenderguru article&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-04-11T19:18:12.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3744" PostTypeId="1" CreationDate="2012-04-12T08:38:36.867" Score="2" ViewCount="583" Body="&lt;p&gt;this has been a painful drama for days, trying to get a nice video on youtube for my girlfriend. It looks great on the mpg file sony vegas generates, but after uploading to youtube it look more than crap.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original videos were shot with the Panasonic Lumix DMC-FS7 which uses quicktime mov format. The settings of these files are shown below, as seen in the detail tab of the properties of the video:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;General&#xA;    Name: P1050576.MOV   Folder:&#xA;  C:\Users\Public\Videos\maquiagem\3_abril   Type: QuickTime   Size:&#xA;  322.52 MB (330,261,322 bytes)   Created: terça-feira, 3 de abril de 2012, 20:55:02   Modified: terça-feira, 3 de abril de 2012, 15:21:00&lt;br&gt;&#xA;  Accessed: terça-feira, 3 de abril de 2012, 20:55:02   Attributes:&#xA;  Archive&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Streams   Video: 00:03:56.000, 30.000 fps, 848x480x24, Photo - JPEG&lt;br&gt;&#xA;  Audio: 00:03:56.000, 16,000 Hz, 16 Bit, Mono, 16-bit Big Endian&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;ACID information   ACID chunk: no   Stretch chunk: no   Stretch list:&#xA;  no   Stretch info2: no   Beat markers: no   Detected beats: no&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Other metadata   Regions/markers: no   Command markers: no&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Media manager   Media tags: no&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Plug-In   Name: qt7plug.dll   Folder: C:\Program Files&#xA;  (x86)\Sony\Vegas Pro 10.0\FileIO Plug-Ins\qt7plug   Format: QuickTime&#xA;  7   Version: Version 1.0 (Build 8261)   Company: Sony Creative&#xA;  Software Inc.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I tried several settings, and in my last attempt I used the video tutorial below to borrow the settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;www.youtube.com/watch?v=qXa849N9J9s&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The resulting video looks great when playing locally (like all the ones before), but after uploading to youtube it has the same problems as the ones I had uploaded before:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/UjnK9ECFVzY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to convert the rendered video using the SUPER app, to see if it improves something. THe link in this (just checked and it really look bad, and at a much worse screen resolution.):&#xA;watch?v=OUBpdAjuNO8&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried to upload directly one of the many quicktime MOV files, to see if the problem is with the original format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The resulting youtube video is below, there are many problems with the original MOV film after it got uploaded to youtube:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;www.youtube.com/watch?v=54neVq4dAa0&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had installed the latest quicktime version. I read somewhere that sony vegas 10 requires an older version of quicktime, the 7.1.6 to work without problems. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had doubted of this, but I just can't understand how a video run perfectly locally, and after uploaing it looks really bad :/ &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If nothing else works, I will try to downgrade my quicktime, but looking at the original file on youtube, now it looks the problem is some incompatibility with the mov. I would just had tought that after the video was rendered by sony vegas, this &quot;supposed&quot; incompatibility would be gone...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;any help is welcome :) I uploaded the rendered video, if this helps in anyway to find the problem. You can confirm that it looks great locally?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks&#xA;Emerson&lt;/p&gt;&#xA;" OwnerUserId="2225" LastEditorUserId="636" LastEditDate="2012-06-22T18:41:40.443" LastActivityDate="2012-07-22T18:44:55.170" Title="Sony Vegas 10 Video made from smaller quicktime mov videos look crap on youtube" Tags="|editing|compression|vegas-pro|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="3745" PostTypeId="2" ParentId="3744" CreationDate="2012-04-12T14:08:57.350" Score="1" Body="&lt;p&gt;I would try uploading the video to vimeo as well. Or, if you have your own website, uplaod it to there and create a simple page with an embedded player. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My experience is that YouTube sometimes adds a LOT of artifacts when it recompresses things. I've often experienced the problem you're having when I work with YouTube, but rarely with vimeo.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If Vimeo looks closer to your source material and self-hosting looks very close to it, I'd bet that it's YouTube's codec more than anything. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-04-12T14:08:57.350" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="3748" PostTypeId="2" ParentId="3688" CreationDate="2012-04-13T17:11:30.560" Score="1" Body="&lt;p&gt;I would suggest using ffmpeg, and the &lt;code&gt;-vcopy&lt;/code&gt; switch.  &lt;em&gt;Usually&lt;/em&gt; this will work, but it depends on codec support.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Various builds of it have various codecs.  If one version of it doesn't work, try downloading a copy from a different site.&lt;/p&gt;&#xA;" OwnerUserId="129" LastActivityDate="2012-04-13T17:11:30.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3750" PostTypeId="1" CreationDate="2012-04-14T13:09:08.107" Score="1" ViewCount="139" Body="&lt;p&gt;I have a Premiere Pro (CS5) project with raw files that are of good quality (image looks sharp), etc. When I export it, no matter what settings, it looks worse. At first I thought it was an OS X vs. Windows problems, but eventually I pinpointed the problem:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Clips for which I changed the position (slight moves up or down to better center the frame), without any further effect, result in a noticeable loss of quality (even without ANY encoder).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Did anyone encounter such a thing? &#xA;Do you know of a way to solve this? &lt;/p&gt;&#xA;" OwnerUserId="2233" LastActivityDate="2012-04-14T13:09:08.107" Title="Changing position creates loss of quality in Premiere Pro CS5" Tags="|premiere|cs5|video-quality|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3751" PostTypeId="1" CreationDate="2012-04-15T14:21:19.530" Score="1" ViewCount="182" Body="&lt;p&gt;I need some help with the youtube video editor? I need to join 2 youtube videos but one is in 16:9 and the other in 4:3. The final result should be in 16:9. Is it possible with the youtube video editor?&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="2237" LastEditorUserId="2237" LastEditDate="2012-04-15T15:09:28.333" LastActivityDate="2012-06-16T20:35:40.620" Title="How to join 2 youtube videos with different ratios (16:9 and 4:3)?" Tags="|video-editor|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="3754" PostTypeId="1" AcceptedAnswerId="3764" CreationDate="2012-04-16T00:37:54.557" Score="1" ViewCount="5092" Body="&lt;p&gt;I hope my question fits the theme of this SE. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any software that can extract streams from WebM videos? I don't want to convert (re-compress), I want the streams intact. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="1756" LastEditorUserId="1756" LastEditDate="2012-04-16T00:47:58.880" LastActivityDate="2012-04-16T19:50:50.123" Title="Extract streams from WebM" Tags="|video|file-formats|software-recommendation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3755" PostTypeId="1" CreationDate="2012-04-16T04:09:26.017" Score="2" ViewCount="207" Body="&lt;p&gt;I've been building up my custom keyboard layout for literally years; but it seems to be corrupt. Very often, when I try to add a key, Final Cut crashes (version 7.0.3)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recreating it would take hours and hours.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I start with a &quot;fresh&quot; keyboard map, FCP works fine. The &quot;corrupt&quot; file works until I try to add a new mapping. Then it crashes 80% of the time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to fix my keyboard file? Or isolate what is causing the issue?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or does anyone know the syntax/format of the .fcmap file? Any way to open/edit it?&lt;/p&gt;&#xA;" OwnerUserId="2022" LastEditorUserId="2836" LastEditDate="2014-02-19T18:26:24.953" LastActivityDate="2014-02-19T18:26:24.953" Title="Any way to fix a corrupt Custom Keyboard Settings file in Final Cut Pro v7?" Tags="|final-cut-pro|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="3758" PostTypeId="2" ParentId="2634" CreationDate="2012-04-16T13:06:59.227" Score="0" Body="&lt;p&gt;I also had this issue.  I removed the extra space chars present in preset file and it worked for me.&lt;/p&gt;&#xA;" OwnerUserId="2240" LastEditorUserId="126" LastEditDate="2012-04-16T13:10:40.273" LastActivityDate="2012-04-16T13:10:40.273" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3759" PostTypeId="2" ParentId="2105" CreationDate="2012-04-16T14:26:33.850" Score="1" Body="&lt;p&gt;While AE has a chromakey plugin in the box, I have good experience with:&#xA;&lt;a href=&quot;http://www.redgiantsoftware.com/news/featured/KeyingSuite11/&quot; rel=&quot;nofollow&quot;&gt;http://www.redgiantsoftware.com/news/featured/KeyingSuite11/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are several tutorials on there website, and this gave me the best results.&#xA;Of course, your footage is the key &lt;/p&gt;&#xA;" OwnerUserId="2241" LastActivityDate="2012-04-16T14:26:33.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3763" PostTypeId="1" AcceptedAnswerId="3771" CreationDate="2012-04-16T18:17:40.677" Score="3" ViewCount="5168" Body="&lt;p&gt;I have a video with a gradient background, with silhouette vector animations on top. The gradient therefore stays exactly the same throughout the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, rendering the video as mp4, I'm having considerable trouble with banding in the gradient. There should be enough of a difference to have a color for each pixel, yet the gradient in the video looks like it's from the good ol' days.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any settings or tricks I could use to avoid gradient stripes in my video? My aim is to match the video's gradient as closely as possible with the gradient background displayed on the website it's supposed to be embedded on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="1810" LastActivityDate="2012-04-30T13:30:54.233" Title="Gradient banding" Tags="|after-effects|mp4|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3764" PostTypeId="2" ParentId="3754" CreationDate="2012-04-16T19:50:50.123" Score="2" Body="&lt;p&gt;Quote: &quot;Since WebM is a Matroska subset, mkvtoolnix should let you demux the files. It's open source, cross platform, and the author provides binaries for Windows.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source: &lt;a href=&quot;https://superuser.com/questions/412890/lossless-extraction-of-streams-from-webm&quot;&gt;https://superuser.com/questions/412890/lossless-extraction-of-streams-from-webm&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1756" LastEditorUserId="-1" LastEditDate="2017-03-20T10:04:28.637" LastActivityDate="2012-04-16T19:50:50.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3765" PostTypeId="1" AcceptedAnswerId="3944" CreationDate="2012-04-17T02:55:07.197" Score="6" ViewCount="12690" Body="&lt;p&gt;I'm trying to make a transition to Final Cut Pro X from iMovie. Although I'm finding it quite simple and I'm in love with the more advanced features such as how easy keying is, I seem to have a problem I'm not sure how to get around.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to be able to &quot;undo&quot; the blade tool, in effect merging clips together. How can I do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm aware of the compound clip feature, but that lacks the &quot;I'm done here, move on&quot; feeling I get from a clip that doesn't have a bunch of visible edits to it.&lt;/p&gt;&#xA;" OwnerUserId="2244" LastEditorUserId="95" LastEditDate="2012-04-17T18:03:27.300" LastActivityDate="2020-07-25T13:59:53.080" Title="Reverse the blade tool (merge clips together)" Tags="|video-editor|final-cut-pro-x|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3769" PostTypeId="2" ParentId="3751" CreationDate="2012-04-17T19:37:29.893" Score="2" Body="&lt;p&gt;You're either going to have to resample your 4:3 video as 16:9 which will add black bars at the top and bottom, or crop the 16:9 video to fit in 4:3. Either way, the video will need to be re-edited, maybe even re-uploaded. I assume you have editor/owner access to both files?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as I can tell there is not way to do this on YouTube via the enhancement section on the Video Manager section. It looks like you will have to re-upload.&lt;/p&gt;&#xA;" OwnerUserId="2100" LastActivityDate="2012-04-17T19:37:29.893" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3770" PostTypeId="1" CreationDate="2012-04-17T21:47:21.337" Score="2" ViewCount="5062" Body="&lt;p&gt;I recorded some supposedly 720p video on my phone which usually yields nice results. However something about the conditions of how it was set up has resulted in the whole sequence having these lines that flicker and run up the screen as if its trying to adjust to the lighting repeatedly, I'm sure its this because as I move around in the video occasionally blocking the light it stops but returns when I unshadow the area that is been filmed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have the Adobe CS5 suite which includes Premier but I only know a few basic functions. Is there anything in there I can use to filter this out? Ultimately I'd like to convert the video to youtube so I don't mind a bit of format loss.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TIA&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtube clip of the offending lines:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/CRjUDOQ5kQE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="2248" LastEditorUserId="2248" LastEditDate="2012-04-19T22:30:30.920" LastActivityDate="2014-02-22T20:34:06.297" Title="Removing horizontal scan lines from video?" Tags="|video|cleaning|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="3771" PostTypeId="2" ParentId="3763" CreationDate="2012-04-17T21:50:46.433" Score="3" Body="&lt;p&gt;Banding isn't uncommon in compressed video files, and can is exacerbated by the type and level of compression...there's also the bitrate of the original file and the final output. Lot's of points along the chain can cause banding. But I'd guess it's in your final output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What software are you using for rendering/conversion, and what are the render settings you are using?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are you keeping the video on Vimeo or YouTube? If so they both have great FAQs for how to best render/compress videos for uploading, but the settings are a decent balance of economy of space vs. video quality. &lt;a href=&quot;https://vimeo.com/help/faq/general_vimeo_questions#recommended_settings&quot; rel=&quot;nofollow&quot;&gt;The FAQ on Vimeo&lt;/a&gt; is my personal favorite, and should do you well for both platforms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://greyscalegorilla.com/blog/2009/10/how-to-remove-banding-artifacts-in-after-effects/&quot; rel=&quot;nofollow&quot;&gt;Here&lt;/a&gt; is a great video (which may not apply in this case) dealing with banding and fixes, particularly if the banding is in your original/source file.&lt;/p&gt;&#xA;" OwnerUserId="2249" LastEditorUserId="1180" LastEditDate="2012-04-30T13:30:54.233" LastActivityDate="2012-04-30T13:30:54.233" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3776" PostTypeId="1" AcceptedAnswerId="3777" CreationDate="2012-04-18T20:25:50.677" Score="4" ViewCount="306" Body="&lt;p&gt;My buddy and I are contemplating putting a project up on &lt;a href=&quot;http://www.kickstarter.com/&quot; rel=&quot;nofollow&quot;&gt;Kickstarter&lt;/a&gt;. Most projects have a video (nice quality for the most part) that users can view to get a gist of the project and decide whether or not it's worth investing money in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is, we don't have much equipment, and purchasing some is out of the question (we're poor University students). Our current supplies are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;IPhone 4&lt;/li&gt;&#xA;&lt;li&gt;Studio quality mic (that plugs into an amp)&lt;/li&gt;&#xA;&lt;li&gt;Macbook Pro (for editing)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;As you can see, it's quite limited. Has anyone had experience working with similar tools and creating something worthwhile? Light and sound are my major issues, as the IPhone needs good lighting to really shine and good video without quality sound sucks. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the editing and production of the video, what software should we be looking for? Something simple that can produce some nice tones (filters I think is the correct term, pardon my ignorance) and mix everything together without knowing a whole lot about color spectrums and the sort.&lt;/p&gt;&#xA;" OwnerUserId="2254" LastActivityDate="2012-04-20T19:20:30.943" Title="How to create a good short video with limited supplies and time" Tags="|video|audio-recording|video-editor|lighting|budget|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3777" PostTypeId="2" ParentId="3776" CreationDate="2012-04-18T22:08:53.297" Score="3" Body="&lt;p&gt;The following video was made entirely on a Nokia N8 mobile phone. It is the winner of the Nokia Shorts competition 2011 and was just posted this week in the short list for the Vimeo 2012 Awards under the 'Advertising' catagory. Time Magazine says it's the 9th Most Creative Internet Film 2011.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://vimeo.com/25451551&quot; rel=&quot;nofollow&quot;&gt;http://vimeo.com/25451551&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see by the credits there is whole lot of professional people collaborating to make this amazing video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Director: James W Griffiths&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Producer: Kurban Kassam&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Director of Photography: Christopher Moon&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Editor: Marianne Kuopanportti&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sound Design: Mauricio d'Orey&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Music composed by: Lennert Busch&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a site that takes a closer look at how this was made:&#xA;&lt;a href=&quot;http://makingbettervideo.com/2011/06/29/splitscreen-a-love-story-and-things-to-learn-from-it/&quot; rel=&quot;nofollow&quot;&gt;http://makingbettervideo.com/2011/06/29/splitscreen-a-love-story-and-things-to-learn-from-it/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Summary: low budget does not have to equal a janky video, lots of talented people who know what they are doing with basic tools can do amazing things. An iphone editied in iMovie should get you and your buddies a big leap into a great video. However, be prepared to find yourself spending a lot of time on this if this is your first project. If you like this sort of thing, you will love every second of production through post production.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-04-18T22:08:53.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3781" PostTypeId="1" CreationDate="2012-04-19T17:02:48.833" Score="3" ViewCount="442" Body="&lt;p&gt;I'm creating a video for my son's fifth grade class that has a large number of interview clips. In each interview, I want to show a split-screen effect with a still photo on one side and a video of the interview on the other side. I have worked out the effect I want with some transitions, a title, cropping and a couple of key frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I want to reuse this sequence across interviews for over 100 kids. Is there a way to create a template or a combined sequence that I can then copy-paste and then replace the source photo and video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I apologize if I'm not using the right terminology, but I'm new to FCPX (and video production in general).&lt;/p&gt;&#xA;" OwnerUserId="2258" LastActivityDate="2012-07-11T08:41:12.577" Title="How can I reuse an effect sequence in FCPX?" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3782" PostTypeId="1" CreationDate="2012-04-19T23:12:12.710" Score="2" ViewCount="6328" Body="&lt;p&gt;I'm planning on recording PC screens in general, including gaming and videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm aware of screen capture software like FRAPS, Playclaw etc. and have tested them out, but the increased strain on my computer is noticeable while they are active, even with extra background programs closed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd read elsewhere  about a lag-free solution that sent the video to a second computer running the screen capture software, offloading the extra effort to the second machine and keeping gameplay smooth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I intend to try this solution, what hardware and software am I likely to need in order to duplicate the video output and be able to record it with a second machine? Audio recording won't be a problem, as I intend to do that separately.&lt;/p&gt;&#xA;" OwnerUserId="2259" LastActivityDate="2020-08-26T10:49:45.300" Title="Recording Video From one PC to Another" Tags="|video|digital-recording|hardware|software-recommendation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3783" PostTypeId="2" ParentId="3782" CreationDate="2012-04-20T00:01:50.680" Score="1" Body="&lt;p&gt;In order to duplicate the display you would need extra hardware in your machine anyway, otherwise you will still get lag, so I would instead recommend simply upgrading your existing machine - it will be cheaper, and the spinoff is that you will have a better machine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The machine I am currently writing on has a reasonable GeForce graphics card, quad core i5 and 8Gb of RAM - pretty cheap, but can happily use FRAPS on full screen (1600x1050) at &gt;25 fps while playinng COD4 or MW2 for example.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-04-20T00:01:50.680" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3785" PostTypeId="2" ParentId="3776" CreationDate="2012-04-20T19:20:30.943" Score="5" Body="&lt;p&gt;Start by throwing all the technical questions out the window. ALL of them. Don't ask about what cameras to use, which software works, or techniques. Change your mindset and think about your story. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is it that you're going to tell us about? Find a story that's based on solid collective-consciousness archetypes (read Joseph Campbell's &quot;The Hero's Journey&quot;; free, libraries). The reason that we still have The Odyssey &amp;amp; Shakespeare regarded as classics (and not Pauly Shore films) is that they play into the stories that run through our common experiences as humans. Life, death, money, power...BIG topics. But whatever you find for inspiration, work on your STORY first. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that I didn't say &quot;Script&quot;. For me, a script implies dialog. Story...not so much. Film is a visual medium. How can you communicate your story in pictures only? Pretend sound doesn't exist. VISUALS only. How will you tell your story? Show, don't tell.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have a SOLID, VISUAL story...that's when you inventory what you have. Resources, locations, people, equipment. For a cell phone camera, if you can't light it really well from a budget perspective, that means the you shoot using what Edison used in the early days of film. The sun. Your entire story takes place outside. Shoot in shade so there's not a ton of harsh shadows. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try to create a soundscape that AUGMENTS the story instead of telling it. Narration is evil. Avoid it at all costs. If you need narration, go back to step one. How will you tell your story with solid visuals?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hell, a silent film just got a bunch of Oscar cred. Kick-butt sound that's not dialog will HELP your film, not tell the story. Record your dialog in edit, in a quiet room, direct into the computer. Google ADR and Foley to get some ideas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, prepare for a slow process. In filmmaking, there's good, fast and cheap. Problme is, you can only pick two.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best of Luck!&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-04-20T19:20:30.943" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3790" PostTypeId="2" ParentId="2734" CreationDate="2012-04-21T04:32:56.700" Score="2" Body="&lt;p&gt;There is no way to do this automatically. It has to be done manually by matching the frames together from the two videos. This can be done by placing the videos in separate overlay tracks and works for two or more videos.&lt;/p&gt;&#xA;" OwnerUserId="1697" LastActivityDate="2012-04-21T04:32:56.700" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3792" PostTypeId="1" CreationDate="2012-04-21T23:03:35.750" Score="1" ViewCount="2973" Body="&lt;h2&gt;What I'd like to do&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I'm trying to draw a 2D smiley face with the pen tool on a 3D layer...and then change it to a frown (or a sad face). I was able to do this in as 2D layer...but I'd need help on doing it as 3D layer.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Why I'm using 3D Layers in the first place&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I'm using a camera (attached to a null layer) to zoom in and out of certain images I have in my animation (which are imported from illustrator). I've realized that you have to have 3D layers if you're gonna pan and zoom with the camera tool!&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;What's the Problem&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;It's close to impossible to draw using the pen tool if the pen layer is 3D. Even if I do get something drawn, I can't figure out how to animate it as a 3d layer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any tips?&lt;/p&gt;&#xA;" OwnerUserId="2264" LastEditorUserId="6685" LastEditDate="2015-01-15T02:12:52.557" LastActivityDate="2015-01-15T02:12:52.557" Title="animating a line that is a 3d layer in after-effects" Tags="|after-effects|3d|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3797" PostTypeId="1" CreationDate="2012-04-22T19:29:16.777" Score="1" ViewCount="585" Body="&lt;p&gt;I have a .hdr sequence as well as a .tga sequence. the .tga sequence contains the alpha channel to be used for the .hdr sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that if I apply the alpha channel to my hdr sequence using Set Matte or Set Channel, then the color values of my hdr sequence get clamped to 0-1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I mask my hdr sequence without losing the hdr range?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;using After Effects CS5&lt;/p&gt;&#xA;" OwnerUserId="2266" LastEditorUserId="3410" LastEditDate="2013-01-25T21:11:32.520" LastActivityDate="2014-04-21T03:08:01.133" Title="After Effects: Set Alpha/Matte to hdr layer without clamping the values to 0-1 range" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3799" PostTypeId="2" ParentId="3792" CreationDate="2012-04-23T03:13:58.857" Score="2" Body="&lt;p&gt;The way I normally go about drawing paths in AE is by using the stroke effect with masks&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create an &lt;strong&gt;Adjustment Layer&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Create &lt;strong&gt;Mask Paths&lt;/strong&gt; for the smiley face&lt;/li&gt;&#xA;&lt;li&gt;Add the &lt;strong&gt;Stroke&lt;/strong&gt; effect to the Adjustment Layer &lt;/li&gt;&#xA;&lt;li&gt;Make the Adjustment layer 3D and then position it where you want&lt;/li&gt;&#xA;&lt;li&gt;Animate the Mask Path to animate the mouth&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/MF5pX.png&quot; alt=&quot;After Effects Smiley Screenshot&quot;&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/MF5pX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/MF5pX.png&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For some reason the stroke effect doesnt work on &lt;em&gt;open paths&lt;/em&gt; when there is &lt;strong&gt;more than one mask&lt;/strong&gt; on a layer. So I put the eyes on one Adjustment layer, and made a second Adjustment layer for the mouth. Then I turned OFF 3D on the layers, PreComped them together, and made the PreComp a 3D layer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have a look at what I did: &lt;a href=&quot;http://www.filehosting.org/file/details/334754/Smiley_Face.aep&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.filehosting.org/file/details/334754/Smiley_Face.aep&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-04-23T03:13:58.857" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3800" PostTypeId="2" ParentId="3763" CreationDate="2012-04-23T03:19:16.103" Score="1" Body="&lt;p&gt;If you are using the &lt;strong&gt;Ramp&lt;/strong&gt; effect then you can increase the &lt;strong&gt;Ramp Scatter&lt;/strong&gt; value which helps decrease banding. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/VPTjV.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also working in 16 bit or 32 bit rather than 8bit can also help!&lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-04-23T03:19:16.103" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3804" PostTypeId="1" AcceptedAnswerId="3813" CreationDate="2012-04-23T09:37:04.573" Score="11" ViewCount="225262" Body="&lt;p&gt;Is there any way at all (perhaps with a plugin, paid or otherwise) to save an Adobe Premiere Pro project file so that it's compatible with an older version of the software? The scenario I have is that I use Adobe Premiere Pro CS5.5 but I need to send project files for editing to someone who only has CS3.&lt;/p&gt;&#xA;" OwnerUserId="793" LastActivityDate="2021-08-30T15:53:42.747" Title="How do I 'downgrade' an Adobe Premiere Pro project file to open in older versions?" Tags="|software|premiere|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3806" PostTypeId="2" ParentId="3797" CreationDate="2012-04-23T14:09:43.090" Score="1" Body="&lt;p&gt;Okay, &lt;a href=&quot;http://www.fxguide.com/featured/After_Effects_32-bit_Workflow_In-Depth/&quot; rel=&quot;nofollow&quot;&gt;this tutorial&lt;/a&gt; answered my question and provides a workaround.&lt;/p&gt;&#xA;" OwnerUserId="2266" LastEditorUserId="1180" LastEditDate="2012-04-30T13:31:16.540" LastActivityDate="2012-04-30T13:31:16.540" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3813" PostTypeId="2" ParentId="3804" CreationDate="2012-04-24T07:16:20.910" Score="4" Body="&lt;p&gt;I dont know of any software for Premiere that can do this (there are plugins for After Effects but cant find any for Premiere - thats not to say they arent out there). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think your best option would be to &lt;strong&gt;&lt;a href=&quot;http://help.adobe.com/en_US/premierepro/cs/using/WScbecf3f614eb38be7a1f773012504357269-8000.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;export your sequence as an XML&lt;/a&gt;&lt;/strong&gt;. You will loose any CS5.5 features there are not in CS3, but this would occur regardless of which method you use to get the project into CS3.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;Choose File &gt; Export &gt; Final Cut Pro XML.&lt;/li&gt;&#xA;  &lt;li&gt;In the Save Converted Project As dialog box, browse to a location for the XML file, and type a file name. &lt;/li&gt;&#xA;  &lt;li&gt;Click Save.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;hr&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-04-24T07:16:20.910" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3817" PostTypeId="1" CreationDate="2012-04-24T18:04:41.523" Score="4" ViewCount="1311" Body="&lt;p&gt;I am looking to put together an affordable portable studio to use with elementary school students.  Doesn't have to be fancy just affordable.  Budget around $200.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have seen some green screen kits with lights, stands and screen for around $130 - $200 or less. Could I get a decent screen kit for this cost? Space in the classroom is limited but would 6x9 be too small? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would we need software?  If so, are there any free or inexpensive programs that work with Apple Mac?  Would Photo Booth be sufficient?  We do have a video camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Examples of how we might use it is to have background photos or pictures behind students while they do a weather forecast report.  Can we take our own photos and videos and use them also in the background?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you in advance for trying to address this questions.&lt;/p&gt;&#xA;" OwnerUserId="2275" LastActivityDate="2012-04-25T11:51:04.613" Title="Want to try green screen with my elementary students. What do we need. Using Mac OS 10.5.8" Tags="|greenscreen|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3819" PostTypeId="2" ParentId="3817" CreationDate="2012-04-24T19:44:45.207" Score="7" Body="&lt;p&gt;Summary:&#xA;Green screen work is not trivial, the quality largely depends on technique and good lighting, and at least enough space for doing the work you suggested. It does require software although iMovie bundled in most MACs has a chroma key effect (the software that allows you to composite your subject with whatever background you want including maps, other videos, pictures etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Things you will need to purchase:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A pro screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Enough lights (with stands and diffusers) with the correct color temperature to fill the screen evenly as well as light the subject appropriately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For your situation I think you might get there on $200, assuming you have iMovie on your MAC, spend under $100 on a screen, and another $100 on enough lights do do the job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Details: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a good tutorial on how to shoot with a green screen:&#xA;&lt;a href=&quot;http://www.youtube.com/user/tubetape?v=q3PZO_lCBkw&quot; rel=&quot;nofollow&quot;&gt;http://www.youtube.com/user/tubetape?v=q3PZO_lCBkw&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some tutorials showing you how to composite your green screen with iMovie:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/B-ekc19csWM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/eP-svi0XQks?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/rZY6OZvlpZc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Things to remember:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) The green screen has to cover the entire area of the frame you are shooting. That is you can't have the green screen half way in the shot or showing any edges.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) The green screen has to be flat, no wrinkles, no reflections, no hot spots, and no shadows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) The green screen has to be lit evenly and bright enough to register light in the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) The green screen should be at least 5 feet behind the subject and appear diffused not in focus. (The subject should be in tight focus, and the background green screen out of focus to optimize how it blends in the chroma keyer in your editing software).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5) Your subject can not wear anything green and should not have anything reflective on them, e.g. jewelery, watches, glasses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see from the tutorials a 6 x 9 room may be too small. Alternately if you purchase a portable screen, you can clear the classroom, move your lights in, set up the screen and you are good to go. Tearing down the set should take even less time. Better to have plenty of space to do this right then jam this into a space that doesn't allow for the minimum screen to subject distance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, if you shoot outside with indirect sunlight or on a cloudy day, you won't have to buy lights.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suggestion 1: Take it in two steps. Get a screen first, shoot outside when the light is flat and diffused to get the hang of it, then spend the money for lights and go for the studio thing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suggestion 2: Should you use the portable set it up as you go method, once you achieve optimum results document the studio set up, where the lights are placed and aimed, where the subject is, and so on so you can repeat this next time.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-04-24T20:09:36.970" LastActivityDate="2012-04-24T20:09:36.970" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3822" PostTypeId="2" ParentId="3817" CreationDate="2012-04-25T11:51:04.613" Score="1" Body="&lt;p&gt;@filzilla: once again, awesome advice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would add Suggestion 3: With the space you're describing, you may be limited to tighter shots; I'm thinking head and shoulders with a graphic above a shoulder, or perhaps a virtual studio image in the background. What I have in my kit for similar setups is a collapsible greenscreen: &lt;a href=&quot;http://www.adorama.com/BD401S.html?gclid=CJv45Kf1z68CFSWFQAodyk3uEA&quot; rel=&quot;nofollow&quot;&gt;http://www.adorama.com/BD401S.html?gclid=CJv45Kf1z68CFSWFQAodyk3uEA&lt;/a&gt; and It's bluescreen on one side if you want to experiment with the differences between the two colors. That, in and of itself is an interesting exercise in lighting techniques. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suggestion 4 would be greenscreen paint on a wall of your &quot;studio&quot;. Grented, if your school is cinderblock and the walls aren't near smooth, that may not be an option. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When it comes to lighting, I've found that halogen work lights are an excellent way to light the screen. They're bright, you can use matte black foil to create barndoors and eliminate spill, and you can throw diffusion over them to even out the harshness a bit. When thinking about placement, imagine that you're creating a vertical copy stand. I usually place my subject a few feet in front of the screen (a luxury you MAY not have in your space), out of the spill from the background lights, and model the light to the subject as approp&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-04-25T11:51:04.613" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3831" PostTypeId="2" ParentId="2253" CreationDate="2012-04-26T09:01:57.960" Score="2" Body="&lt;p&gt;There's no really good workflow, I think, yet. The best way I found is to export the video out of FCPX and import it into Motion. Apple thinks that you don't need to work in Motion solely, you only go there to create an effect, title, whatever and then put that thing right on top of a clip &lt;em&gt;in Final Cut&lt;/em&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem there is that sometimes you'd rather want to have all the editing options Motion offers and just want to see how the video's going to look like. That problem is, to my knowledge, not solved yet. I hope this is all going to change in the future.&lt;/p&gt;&#xA;" OwnerUserId="2277" LastActivityDate="2012-04-26T09:01:57.960" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3832" PostTypeId="1" CreationDate="2012-04-26T09:09:09.057" Score="2" ViewCount="263" Body="&lt;p&gt;I'm looking for material on motion graphics; books, video tutorials, etc. I think I don't just need to check out &quot;advanced&quot; stuff, but also the very basics. (Since there's always much you can learn there).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What techniques would be best to find relevant and current material?&lt;/p&gt;&#xA;" OwnerUserId="2277" LastEditorUserId="2569" LastEditDate="2012-10-08T13:09:18.333" LastActivityDate="2013-02-05T18:56:41.493" Title="How best to find literature on motion graphics design" Tags="|recommendation|motion|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="3835" PostTypeId="1" CreationDate="2012-04-26T10:02:52.913" Score="5" ViewCount="8319" Body="&lt;p&gt;I am making some video slide presentations (~15-30 minutes) which consists of a lot of animated slides and my voice. I made a test video to see where problems occur when doing such a project. It was a really hard work as I had to sync my video with my prerecorded voice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How did I do it: I used Apple Keynote to make the presentation, exported it as a video with fixed animated timing, recorded my voice into an audio file, synced the material in Apple Final Cut Pro with manually pausing the video where it would get out of sync with the voice over.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you have any instructional sources on doing such a project in a more efficient manner with Mac OS X or have useful experience which you could share with me on this topic?&lt;/p&gt;&#xA;" OwnerUserId="2285" LastEditorUserId="2287" LastEditDate="2012-06-26T19:40:18.117" LastActivityDate="2017-08-09T02:01:40.823" Title="How to record a slide presentation efficiently with video/audio" Tags="|video|audio-recording|filming|sync|" AnswerCount="5" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3836" PostTypeId="2" ParentId="3835" CreationDate="2012-04-26T10:44:13.513" Score="5" Body="&lt;p&gt;Using one of these solutions will be more efficient. That's what you've asked for. It saves you time, because there's no more need to manually sync the presentation and the voiceover. &lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Free Solution&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Keynote can record a running presentation with the mic-audio. &lt;/li&gt;&#xA;&lt;li&gt;QuickTime X has also a screenrecord-feature incl. audio.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h2&gt;Low Cost Solution&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Specialized screenrecording software like &lt;a href=&quot;http://www.telestream.net/screenflow/overview.htm&quot; rel=&quot;nofollow&quot;&gt;ScreenFlow&lt;/a&gt;, &lt;a href=&quot;http://www.techsmith.com/camtasia.html&quot; rel=&quot;nofollow&quot;&gt;Camtasia&lt;/a&gt;, &lt;a href=&quot;http://www.araelium.com/screenflick&quot; rel=&quot;nofollow&quot;&gt;Screenflick&lt;/a&gt;, &lt;a href=&quot;http://www.syniumsoftware.com/screenium/&quot; rel=&quot;nofollow&quot;&gt;Screenium&lt;/a&gt;, etc. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h2&gt;Pro Solution&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Capture hardware like &lt;a href=&quot;http://www.atomos.com/ninja/&quot; rel=&quot;nofollow&quot;&gt;Ninja Atomos&lt;/a&gt;, &lt;a href=&quot;http://www.blackmagicdesign.com/products/hyperdeckshuttle&quot; rel=&quot;nofollow&quot;&gt;HyperDeck Shuttle&lt;/a&gt;, &lt;a href=&quot;http://www.blackmagicdesign.com/products/intensity/&quot; rel=&quot;nofollow&quot;&gt;Intensity Pro&lt;/a&gt;, &lt;a href=&quot;http://www.aja.com/en/family/io&quot; rel=&quot;nofollow&quot;&gt;Aja IO&lt;/a&gt;, etc., can record directly with ProRes-codec.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;A professional solution with capture hardware can record directly in Final Cut Pro X (and other NLE) native codecs/formats like ProRes422. This saves a lot of time and discspace. The picture and the audio will be always in sync, and in addition you'll get a recording with smtpe-conform timecode. – There are even more advantages, but they will be more important if you record live presentations. &lt;/p&gt;&#xA;" OwnerUserId="2287" LastEditorUserId="1864" LastEditDate="2014-01-03T17:19:01.947" LastActivityDate="2014-01-03T17:19:01.947" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3837" PostTypeId="2" ParentId="3832" CreationDate="2012-04-26T13:11:33.467" Score="0" Body="&lt;p&gt;Googling may have been a better place to start rather than Stack. There's a wealth of information out there...doing a cursory &quot;motion graphics&quot; search yielded this link &lt;a href=&quot;http://www.smashingmagazine.com/2009/05/25/the-ultimate-motion-graphics-tutorials-round-up/&quot; rel=&quot;nofollow&quot;&gt;http://www.smashingmagazine.com/2009/05/25/the-ultimate-motion-graphics-tutorials-round-up/&lt;/a&gt; on the first page. Adding &quot;totorials&quot; to the search string would have further refined the query. I'd recommend checking out the Stack FAQ about appropriate questions...this one is a little to broad and may get deleted. You may need to focus your question a little, depending on what you want to know.&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-04-26T13:11:33.467" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3840" PostTypeId="1" AcceptedAnswerId="3841" CreationDate="2012-04-26T16:30:47.580" Score="0" ViewCount="39" Body="&lt;p&gt;I am trying to learn Apple's Motion 4, which is pretty complex. I'm looking for some free online tutorials to learn the ins and outs of Motion. Where can I start?&lt;/p&gt;&#xA;" OwnerUserId="1180" LastActivityDate="2012-04-26T16:44:41.403" Title="What are some good resources for learning Motion 4?" Tags="|motion|learning-resources|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3841" PostTypeId="2" ParentId="3840" CreationDate="2012-04-26T16:44:41.403" Score="2" Body="&lt;p&gt;I found &lt;a href=&quot;http://www.rippletraining.com&quot; rel=&quot;nofollow&quot;&gt;rippletraining&lt;/a&gt; to be very helpful. &lt;a href=&quot;http://www.larryjordan.biz&quot; rel=&quot;nofollow&quot;&gt;Larry Jordan&lt;/a&gt; is also a good starting point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://alex4d.wordpress.com&quot; rel=&quot;nofollow&quot;&gt;Alex4D&lt;/a&gt; puts out some really cool, easy to learn from, Motion templates. &lt;a href=&quot;http://www.youtube.com/user/fxmah&quot; rel=&quot;nofollow&quot;&gt;Sight-Creations&lt;/a&gt; is another great resource to find Motion templates. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You're also going to find lots of good starting material on YouTube. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.youtube.com/user/timesavertutorials/videos&quot; rel=&quot;nofollow&quot;&gt;TimesaverTutorials&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.youtube.com/user/doaproductionss/videos&quot; rel=&quot;nofollow&quot;&gt;DoApproductionss&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.youtube.com/user/danonabouncycastle/videos&quot; rel=&quot;nofollow&quot;&gt;Dan Allen&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you didn't know, you can also save YouTube search queries and subscribe to them in &lt;a href=&quot;https://developers.google.com/youtube/2.0/reference&quot; rel=&quot;nofollow&quot;&gt;Google Reader&lt;/a&gt;. I find a lot of good stuff there too. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, I want to mention &lt;a href=&quot;http://vimeo.com&quot; rel=&quot;nofollow&quot;&gt;Vimeo&lt;/a&gt;. The quality of videos you're going to find there is really astonishing. Check out the group &lt;a href=&quot;https://vimeo.com/groups/98259/videos/41074603&quot; rel=&quot;nofollow&quot;&gt;Motion tips &amp;amp; tricks&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers,&lt;br&gt;&#xA;Andreas&lt;/p&gt;&#xA;" OwnerUserId="2277" LastActivityDate="2012-04-26T16:44:41.403" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3842" PostTypeId="5" CreationDate="2012-04-26T17:42:30.430" Score="0" Body="&lt;p&gt;&lt;em&gt;&lt;strong&gt;Mac&lt;/em&gt;&lt;/strong&gt; is short for &lt;a href=&quot;http://www.apple.com/mac/&quot; rel=&quot;nofollow&quot;&gt;Macintosh&lt;/a&gt;, a brand of computers created and sold by &lt;a href=&quot;http://www.apple.com/&quot; rel=&quot;nofollow&quot;&gt;Apple Inc&lt;/a&gt;. Apple currently produces several lines of Macintosh computers including the &lt;a href=&quot;http://www.apple.com/imac/&quot; rel=&quot;nofollow&quot;&gt;iMac&lt;/a&gt;, &lt;a href=&quot;http://www.apple.com/macmini/&quot; rel=&quot;nofollow&quot;&gt;Mac mini,&lt;/a&gt; &lt;a href=&quot;http://www.apple.com/macpro/&quot; rel=&quot;nofollow&quot;&gt;Mac Pro&lt;/a&gt;, &lt;a href=&quot;http://www.apple.com/macbookpro/&quot; rel=&quot;nofollow&quot;&gt;MacBook Pro&lt;/a&gt;, and the &lt;a href=&quot;http://www.apple.com/macbookair/&quot; rel=&quot;nofollow&quot;&gt;MacBook Air&lt;/a&gt;,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All current Macs ship with &lt;a href=&quot;http://apple.stackexchange.com/tags/osx/info&quot;&gt;Mac OS X&lt;/a&gt;. You can also install Windows or Linux through virtualization software, using an alternative boot loader, or Apple's provided &quot;&lt;a href=&quot;http://www.apple.com/support/bootcamp/&quot; rel=&quot;nofollow&quot;&gt;Boot Camp&lt;/a&gt;&quot; utility.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This tag is for any and all questions that relate to the actual &lt;em&gt;hardware&lt;/em&gt;. For operating system-related questions, use &lt;a href=&quot;/questions/tagged/osx&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged 'osx'&quot; rel=&quot;tag&quot;&gt;osx&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1180" LastEditorUserId="1180" LastEditDate="2012-04-26T20:11:18.260" LastActivityDate="2012-04-26T20:11:18.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3843" PostTypeId="4" CreationDate="2012-04-26T17:42:30.430" Score="0" Body="Mac is short for Macintosh, a brand of computers created and sold by Apple Inc. Apple currently produces several lines of Macintosh computers including the iMac, Mac mini, Mac Pro, MacBook Pro, MacBook Air and MacBook. All current Macs ship with OS X Lion." OwnerUserId="1180" LastEditorUserId="1180" LastEditDate="2012-04-26T20:11:25.313" LastActivityDate="2012-04-26T20:11:25.313" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3846" PostTypeId="1" CreationDate="2012-04-26T20:25:25.093" Score="1" ViewCount="143" Body="&lt;p&gt;I select the clip, then edit-&gt;set color, but it doesn't seem to effect anything. How can this be done?&lt;/p&gt;&#xA;" OwnerUserId="1712" LastActivityDate="2012-04-26T20:25:25.093" Title="How can I set clip color in Avid media composer 6" Tags="|avid|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3850" PostTypeId="1" CreationDate="2012-04-27T03:22:29.910" Score="1" ViewCount="11591" Body="&lt;p&gt;I am looking to intentionally distort a video file. Filters and effects are not really doing it for me, they are simply too generic or predictable over the course of a 2-3 minute video. I am looking for something that is close to entirely random. I would like to still be able to decipher the video content (in some manner, at least recognize it). Having the video overlaid with all kinds of random effects (I am really open to anything, as long as it changes over the course of the video) is what I am aiming for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I care less about it, but any similar suggestions for audio would be great!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really look forward to any creative suggestions. I've done a bit of research and haven't got anywhere satisfying. I know this is probably a silly question.&lt;/p&gt;&#xA;" OwnerUserId="2291" LastActivityDate="2021-06-10T21:35:44.870" Title="Looking to intentionally distort video" Tags="|filter|distortion|" AnswerCount="4" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="3851" PostTypeId="2" ParentId="3850" CreationDate="2012-04-27T07:15:33.380" Score="1" Body="&lt;p&gt;I really like what &lt;a href=&quot;http://www.youtube.com/watch?v=icruGcSsPp0&quot; rel=&quot;nofollow&quot;&gt;this guy&lt;/a&gt; did. He's been &quot;repurposing&quot; YouTube's video compression to create a glitch effect for his voice and video recording. Not sure whether this is what you're looking for.&lt;/p&gt;&#xA;" OwnerUserId="2277" LastActivityDate="2012-04-27T07:15:33.380" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3854" PostTypeId="1" AcceptedAnswerId="3855" CreationDate="2012-04-27T17:32:49.837" Score="2" ViewCount="214" Body="&lt;p&gt;What solution do you use for archiving digital video content?&lt;br&gt;&#xA;Are magnetic tapes adequate, or better setup another 8HDD raid5 server?&lt;br&gt;&#xA;I read some news that SONY will bring to market an 1.5TB tape drive by the end of the year&lt;/p&gt;&#xA;" OwnerUserId="2296" LastActivityDate="2012-04-27T18:24:03.150" Title="solution for archiving digital video" Tags="|video|hardware|storage|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3855" PostTypeId="2" ParentId="3854" CreationDate="2012-04-27T18:09:25.633" Score="2" Body="&lt;p&gt;Your best bet is to save them on two disks, that is two back up copies. A RAID sounds nice, but have you ever had to replace a RAID system with a faulty controller? It can be a nightmare. Forget RAID as a back up unless you are talking about an instant snapshot retrieval system that is online 24/7. If you are talking about a long term back up as in a real archive then get two USB disks with enough capacity and make two copies, one on each disk.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tapes will require hardware that may not be around when you want to retrieve the data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a systems administrator for many years please allow me to demonstrate this issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the 1980s we used 1/2 inch tape transports to back up our servers, this was replaced by 8mm tapes by 1995, 8mm tapes were replaced by DLT transports, DLT was then replaced by super DLT, which then was replaced by LTO. This never ends. If you wanted to read those old 1/2 inch tapes you would have to go to a museum, and this will eventually be true for every tape transport system that was ever developed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes disk interfaces change, but getting a conversion interface say EIDE to USB, or ATA 100 to USB, or SATA to USB is easy. Other serial interface conversions will be easy too vs. trying to locate a 'vintage' tape system that still works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I only shoot on digital memory, so backing up my data is simple and painless. I make two back ups on two different disks. The disks are then removed from service and stored where they will not get toasted, or frozen. I only use these disks when I need to update the backup. Eventually when they are full I store the disk in what I call a dormant back up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because I only power up the disks when I either need the data or I need to do a back up increases their reliability. Most disks have a 5 year warranty, if these are on 24/7 or turn them on every time I use my computer I would be needlessly heating them up, and after 50,000 hours they may not work. Using the back up disks only when you need them will extend their life way beyond 5 years.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I have two 2 TB disks as my active back up. I have two 1TB disks in the dormant state too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Like a volcano, information has 3 states: Active, Dormant, and Extinct.&#xA;Active data should be accessibly 24/7, dormant should be available, and extinct goes to the shredder.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-04-27T18:24:03.150" LastActivityDate="2012-04-27T18:24:03.150" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3856" PostTypeId="1" CreationDate="2012-04-27T19:17:44.103" Score="2" ViewCount="582" Body="&lt;p&gt;I need to get video/codec information from several files (avi, matroska etc).&#xA;Is there any alternative to GSpot? &#xA;GSpot is outdated with lack of support for mkv, ogm, 264 ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I already know &lt;a href=&quot;http://mediainfo.sourceforge.net/en&quot; rel=&quot;nofollow&quot;&gt;MediaInfo&lt;/a&gt; (really good - doesnt go as deep as GSpot) and &lt;a href=&quot;http://avicodec.duby.info/&quot; rel=&quot;nofollow&quot;&gt;AviCodec&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for your help.&lt;/p&gt;&#xA;" OwnerUserId="2213" LastActivityDate="2018-10-28T10:38:49.707" Title="Codec information application" Tags="|codec|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3857" PostTypeId="2" ParentId="3850" CreationDate="2012-04-27T19:21:46.757" Score="0" Body="&lt;p&gt;From an After Effects point-of-view, I think some experimenting with the included &lt;a href=&quot;http://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103a9d3c597-7bf0a.html#WS3878526689cb91655866c1103a9d3c597-7be1a&quot; rel=&quot;nofollow&quot;&gt;Stylize&lt;/a&gt; collection of effects would be worth exploring. It will take some layer duplication, precomping, and expressions of course. The &lt;a href=&quot;http://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103a9d3c597-7a6fa.html&quot; rel=&quot;nofollow&quot;&gt;Mosiac&lt;/a&gt; and &lt;a href=&quot;http://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103a9d3c597-7bbea.html&quot; rel=&quot;nofollow&quot;&gt;Posterize&lt;/a&gt; effect will give you some pixelation and abrupt color gradations. If you wanted to control the edges more, use the &lt;a href=&quot;http://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103a9d3c597-7a74a.html&quot; rel=&quot;nofollow&quot;&gt;Find Edges&lt;/a&gt; effect in addition. I would recommend using &lt;a href=&quot;http://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103906c6dea-7a24a.html&quot; rel=&quot;nofollow&quot;&gt;expressions&lt;/a&gt; to bring an element of randomness to effect attributes or to animated noise masks for adjustment layers.&lt;/p&gt;&#xA;" OwnerDisplayName="user2270" LastActivityDate="2012-04-27T19:21:46.757" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3858" PostTypeId="1" AcceptedAnswerId="3860" CreationDate="2012-04-27T19:33:02.237" Score="4" ViewCount="3288" Body="&lt;p&gt;I just saw a video and in the credits is listed &quot;phantom technician&quot; ?&#xA;What are this person's duties, and why would a director need one on a production set?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the video reference:&#xA;&lt;a href=&quot;https://vimeo.com/23141142&quot;&gt;https://vimeo.com/23141142&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2015-03-09T00:30:02.600" Title="What does a phantom technician do on a production set and why would a director need one?" Tags="|video|production|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3859" PostTypeId="1" CreationDate="2012-04-27T21:04:11.177" Score="1" ViewCount="4673" Body="&lt;p&gt;I want to import Cues from an external source (CUE-File or mp4chaps Simple Chapter Text file) to Audition, or even better yet, permanently stick them to WAV files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking through old documentation for Audition 3 (Windows), I noticed that there used to be an &quot;Import&quot; function for Markers or Cues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This function is no longer available in Audition CS5.5, and I don't know if CS6 will bring any new functionality.&lt;/p&gt;&#xA;" OwnerUserId="2297" LastActivityDate="2015-07-06T08:39:27.840" Title="Import Audio Markers or Cues to Audition CS5.5" Tags="|audition|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3860" PostTypeId="2" ParentId="3858" CreationDate="2012-04-27T22:54:35.483" Score="6" Body="&lt;p&gt;This was shot with a &lt;a href=&quot;http://www.visionresearch.com/Products/High-Speed-Cameras/Phantom-HDGOLD/&quot;&gt;Phantom HD&lt;/a&gt; camera. It's a special high-speed digital camera that can shoot at up to 1,500 fps (which is what the creators say they were shooting at). So he's likely the tech who setup this camera rig.&lt;/p&gt;&#xA;" OwnerDisplayName="user2270" LastActivityDate="2012-04-27T22:54:35.483" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3861" PostTypeId="2" ParentId="3782" CreationDate="2012-04-28T10:18:53.490" Score="1" Body="&lt;p&gt;I think I agree with Dr Mayhem, but something like the &lt;a href=&quot;http://www.blackmagic-design.com/products/intensity/&quot; rel=&quot;nofollow&quot;&gt;Intensity&lt;/a&gt; would do what you want. (Other HDMI capture products are available).&lt;/p&gt;&#xA;" OwnerUserId="2265" LastActivityDate="2012-04-28T10:18:53.490" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3862" PostTypeId="2" ParentId="3859" CreationDate="2012-04-28T11:42:50.093" Score="1" Body="&lt;p&gt;And as I spent the last two days hunting down a solution, I'll share it with you right away:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;tl;dr:&lt;/strong&gt; Use this cross platform &amp;amp; open source tool by the US Government (ya, really) to stick XMP Metadata in the WAV File.&#xA;&lt;a href=&quot;http://bwfmetaedit.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;http://bwfmetaedit.sourceforge.net/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;WAV Files support the &quot;cue &quot; chunk, and this chunk is written by Audition, but I couldn't make it read from this chunk, and related chunks containing the cue names.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But Audition also writes the XMP Metadata, including a somewhat redundant copy of the Cue chunk. And it will also read it back.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, by generating an XMP file containing the cue information, and sticking it in the XMP chunk of a WAV file, you can import that data to Audition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;?xpacket begin=&quot;&quot; id=&quot;W5M0MpCehiHzreSzNTczkc9d&quot;?&amp;gt;&#xA;&amp;lt;x:xmpmeta xmlns:x=&quot;adobe:ns:meta/&quot; x:xmptk=&quot;Adobe XMP Core 5.2-c003 61.141987, 2011/02/22-12:03:51        &quot;&amp;gt;&#xA;   &amp;lt;rdf:RDF xmlns:rdf=&quot;http://www.w3.org/1999/02/22-rdf-syntax-ns#&quot;&amp;gt;&#xA;      &amp;lt;rdf:Description rdf:about=&quot;&quot;&#xA;            xmlns:xmpDM=&quot;http://ns.adobe.com/xmp/1.0/DynamicMedia/&quot;&amp;gt;&#xA;         &amp;lt;xmpDM:Tracks&amp;gt;&#xA;            &amp;lt;rdf:Bag&amp;gt;&#xA;               &amp;lt;rdf:li rdf:parseType=&quot;Resource&quot;&amp;gt;&#xA;                  &amp;lt;xmpDM:trackName&amp;gt;CuePoint Markers&amp;lt;/xmpDM:trackName&amp;gt;&#xA;                  &amp;lt;xmpDM:trackType&amp;gt;Cue&amp;lt;/xmpDM:trackType&amp;gt;&#xA;                  &amp;lt;xmpDM:frameRate&amp;gt;f254016000000&amp;lt;/xmpDM:frameRate&amp;gt;&#xA;                  &amp;lt;xmpDM:markers&amp;gt;&#xA;                     &amp;lt;rdf:Seq&amp;gt;&#xA;                        &amp;lt;rdf:li rdf:parseType=&quot;Resource&quot;&amp;gt;&#xA;                           &amp;lt;xmpDM:startTime&amp;gt;18645250f44100&amp;lt;/xmpDM:startTime&amp;gt;&#xA;                           &amp;lt;xmpDM:name&amp;gt;Marker 01&amp;lt;/xmpDM:name&amp;gt;&#xA;                        &amp;lt;/rdf:li&amp;gt;&#xA;                        &amp;lt;rdf:li rdf:parseType=&quot;Resource&quot;&amp;gt;&#xA;                           &amp;lt;xmpDM:startTime&amp;gt;69088263f44100&amp;lt;/xmpDM:startTime&amp;gt;&#xA;                           &amp;lt;xmpDM:name&amp;gt;Marker 02&amp;lt;/xmpDM:name&amp;gt;&#xA;                        &amp;lt;/rdf:li&amp;gt;&#xA;                     &amp;lt;/rdf:Seq&amp;gt;&#xA;                  &amp;lt;/xmpDM:markers&amp;gt;&#xA;               &amp;lt;/rdf:li&amp;gt;&#xA;            &amp;lt;/rdf:Bag&amp;gt;&#xA;         &amp;lt;/xmpDM:Tracks&amp;gt;&#xA;      &amp;lt;/rdf:Description&amp;gt;&#xA;      &amp;lt;rdf:Description rdf:about=&quot;&quot;&#xA;            xmlns:dc=&quot;http://purl.org/dc/elements/1.1/&quot;&amp;gt;&#xA;         &amp;lt;dc:format&amp;gt;audio/x-wav&amp;lt;/dc:format&amp;gt;&#xA;      &amp;lt;/rdf:Description&amp;gt;&#xA;   &amp;lt;/rdf:RDF&amp;gt;&#xA;&amp;lt;/x:xmpmeta&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The format should be self explanatory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to write your own tool to automate this, follow the &lt;a href=&quot;http://www.adobe.com/content/dam/Adobe/en/devnet/xmp/pdfs/XMPSpecificationPart3.pdf&quot; rel=&quot;nofollow&quot;&gt;XMP specs from Adobe&lt;/a&gt; concerning WAV files and the XMP chunk, which, ironically is named backwards:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The XMP in […] WAV is in a chunk with the ID &quot;_PMX&quot;, encoded as UTF-8.&#xA;  Note that the ID is backwards, due to a bug in the initial&#xA;  implementation concerning processor byte order.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Here's an iOS App that will generate Audition-compatible XMP files: &#xA;&lt;a href=&quot;http://itunes.apple.com/us/app/xmp-marker/id525322095?ls=1&amp;amp;mt=8&quot; rel=&quot;nofollow&quot;&gt;http://itunes.apple.com/us/app/xmp-marker/id525322095?ls=1&amp;amp;mt=8&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2297" LastEditorUserId="2297" LastEditDate="2012-05-23T19:45:35.287" LastActivityDate="2012-05-23T19:45:35.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3863" PostTypeId="2" ParentId="3763" CreationDate="2012-04-28T12:04:31.580" Score="1" Body="&lt;p&gt;I found that you get better results from gradients in AE when you run in floating point, i.e. 16 or 32bit and output those very bits to the encoder. This means not introducing banding by downsampling it to 8 bit before sending it to the encoder, or even the internal Adobe encoder in AE (which is crap for low bitrates).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the Mac, you might want to export to ProRes HQ and then use the &lt;a href=&quot;http://www003.upp.so-net.ne.jp/mycometg3/&quot; rel=&quot;nofollow&quot;&gt;x264 Component&lt;/a&gt; in Compressor to directly input flawless gradients into the encoder. You still will always get banding in h.264, but less visibly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, when shooting for Blu-ray distribution, good old MPEG2 seems to work better than AVC.&lt;/p&gt;&#xA;" OwnerUserId="2297" LastActivityDate="2012-04-28T12:04:31.580" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3864" PostTypeId="2" ParentId="3184" CreationDate="2012-04-28T12:13:31.960" Score="1" Body="&lt;p&gt;You may want to read the spec for Apple's &lt;a href=&quot;https://datatracker.ietf.org/doc/html/draft-pantos-http-live-streaming-07&quot; rel=&quot;nofollow noreferrer&quot;&gt;HTTP Live Streaming&lt;/a&gt;&#xA;and see their &lt;a href=&quot;https://developer.apple.com/resources/http-streaming/&quot; rel=&quot;nofollow noreferrer&quot;&gt;recommended settings&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;While the standard seems to be quite well thought through, its real-world performance on iOS still needs some improvement. Switching qualities and streams (for ads) often results in less than stellar experiences. Encoder support also needs to be more accessible, I think.&lt;/p&gt;&#xA;" OwnerUserId="2297" LastEditorUserId="-1" LastEditDate="2021-10-07T07:18:56.873" LastActivityDate="2012-04-28T12:13:31.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3866" PostTypeId="2" ParentId="3341" CreationDate="2012-04-28T12:16:49.037" Score="0" Body="&lt;p&gt;You're looking for the &lt;a href=&quot;http://www.blackmagic-design.com/products/intensity/&quot; rel=&quot;nofollow&quot;&gt;Intensity cards from Blackmagic&lt;/a&gt;. They're pretty affordable and rock solid.&lt;/p&gt;&#xA;" OwnerUserId="2297" LastActivityDate="2012-04-28T12:16:49.037" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3869" PostTypeId="2" ParentId="3856" CreationDate="2012-04-28T20:49:51.303" Score="1" Body="&lt;p&gt;I'm using &lt;a href=&quot;http://videospec.free.fr/english/&quot; rel=&quot;nofollow&quot;&gt;VideoSpec&lt;/a&gt; occasionally. &lt;/p&gt;&#xA;" OwnerUserId="2277" LastActivityDate="2012-04-28T20:49:51.303" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3872" PostTypeId="1" AcceptedAnswerId="3879" CreationDate="2012-04-29T00:19:28.963" Score="1" ViewCount="733" Body="&lt;p&gt;I am working on using our 550D for shooting movies. What are some things I need to know and learn about the 550D before shooting with it?&lt;/p&gt;&#xA;" OwnerUserId="1180" LastEditorUserId="2836" LastEditDate="2014-03-05T17:30:16.393" LastActivityDate="2014-03-05T17:30:16.393" Title="What are some things to know and learn about the Canon 550D (T2i) when shooting movies?" Tags="|dslr|canon|shooting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3873" PostTypeId="1" AcceptedAnswerId="3956" CreationDate="2012-04-29T15:55:50.207" Score="0" ViewCount="1451" Body="&lt;p&gt;After searching the internet, I can't find out what the ethernet plug for the mixer is for. Can you use it to remote control the mixer from a computer? Or what is it for?&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2012-05-10T13:31:59.000" Title="What is the point of the ethernet plug: SoundCraft Si Compact 32?" Tags="|mixer|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3874" PostTypeId="1" AcceptedAnswerId="3878" CreationDate="2012-04-29T16:36:20.867" Score="1" ViewCount="151" Body="&lt;p&gt;I need a tool that allows to make multiple selections in a video and make a new video by joining all of that selections. The tool should allow to save the project, so that I could close the program, open it later, restore all selections I made before and continue. Preferably the tool should create video based on selections without any encoding settings, just using the same compression as the source file. Support for mkv required. OS: Windows 7, x86&lt;/p&gt;&#xA;" OwnerUserId="2299" LastActivityDate="2012-04-29T23:02:54.077" Title="Tool for cutting and joining multiple parts of a video" Tags="|video|software|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3875" PostTypeId="2" ParentId="3873" CreationDate="2012-04-29T16:58:30.287" Score="2" Body="&lt;p&gt;According their &lt;a href=&quot;http://www.soundcraft.com/products/product.aspx?pid=182&quot; rel=&quot;nofollow&quot;&gt;product page&lt;/a&gt; (download the &lt;a href=&quot;http://www.soundcraft.com/downloads/fetchfile.aspx?cat_id=brochures&amp;amp;id=3364&quot; rel=&quot;nofollow&quot;&gt;PDF brochure&lt;/a&gt;) the ethernet port is for &lt;a href=&quot;http://www.akg.com/site/products/powerslave,id,948,pid,948,nodeid,2,_language,EN.html&quot; rel=&quot;nofollow&quot;&gt;HiQnet&lt;/a&gt; connectivity, which is a protocol that allows for both control and monitoring of all connected devices.&lt;/p&gt;&#xA;" OwnerDisplayName="user2270" LastActivityDate="2012-04-29T16:58:30.287" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="3876" PostTypeId="1" AcceptedAnswerId="3877" CreationDate="2012-04-29T19:25:07.053" Score="8" ViewCount="50098" Body="&lt;p&gt;I'm a complete noob to video editing, so forgive me if I ask for something ridiculous.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm getting video clips from a set top recorder box.  The clips are AVI files:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Resolution: 1920 x 1080&#xA;Frames Per Second: 60&#xA;Video Format: ITU H.264&#xA;Audio Format: MPEG 1 Audio, Layer 3 (MP3)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The resolution and FPS are well beyond what I require, so I'm trying to run a command to scale things down:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i highres.avi -r 30 -s 960x540 lowerres.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is successful in giving me the desired resolution, framerate and lower file size, but it also degraded the quality way more than I expected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I looked at the new file, and found that for some reason FFmpeg converted the format used:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video Format: FFmpeg MPEG-4&#xA;Audio Format: MPEG 1 Audio, Layer 2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It's unclear to me why it wouldn't use the same output formats as input formats.  I tried to use this command to force it to use H.264:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i highres.avi -r 30 -s 960x540 -f h264 lowerresforceh264.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, it failed with the following output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 0.7.3-4:0.7.3-0ubuntu0.11.10.1, Copyright (c) 2000-2011 the Libav developers&#xA;  built on Jan  4 2012 16:21:50 with gcc 4.6.1&#xA;  configuration: --extra-version='4:0.7.3-0ubuntu0.11.10.1' --arch=i386 --prefix=/usr --enable-vdpau --enable-bzlib --enable-libgsm --enable-libschroedinger --enable-libspeex --enable-libtheora --enable-libvorbis --enable-pthreads --enable-zlib --enable-libvpx --enable-runtime-cpudetect --enable-vaapi --enable-gpl --enable-postproc --enable-swscale --enable-x11grab --enable-libdc1394 --enable-shared --disable-static&#xA;  WARNING: library configuration mismatch&#xA;  avutil      configuration: --extra-version='4:0.7.3ubuntu0.11.10.1' --arch=i386 --prefix=/usr --enable-vdpau --enable-bzlib --enable-libgsm --enable-libschroedinger --enable-libspeex --enable-libtheora --enable-libvorbis --enable-pthreads --enable-zlib --enable-libvpx --enable-runtime-cpudetect --enable-vaapi --enable-libopenjpeg --enable-gpl --enable-postproc --enable-swscale --enable-x11grab --enable-libdirac --enable-libmp3lame --enable-librtmp --enable-libx264 --enable-libxvid --enable-libvo-aacenc --enable-version3 --enable-libvo-amrwbenc --enable-version3 --enable-libdc1394 --shlibdir=/usr/lib/i686/cmov --cpu=i686 --enable-shared --disable-static --disable-ffmpeg --disable-ffplay&#xA;  avcodec     configuration: --extra-version='4:0.7.3ubuntu0.11.10.1' --arch=i386 --prefix=/usr --enable-vdpau --enable-bzlib --enable-libgsm --enable-libschroedinger --enable-libspeex --enable-libtheora --enable-libvorbis --enable-pthreads --enable-zlib --enable-libvpx --enable-runtime-cpudetect --enable-vaapi --enable-libopenjpeg --enable-gpl --enable-postproc --enable-swscale --enable-x11grab --enable-libdirac --enable-libmp3lame --enable-librtmp --enable-libx264 --enable-libxvid --enable-libvo-aacenc --enable-version3 --enable-libvo-amrwbenc --enable-version3 --enable-libdc1394 --shlibdir=/usr/lib/i686/cmov --cpu=i686 --enable-shared --disable-static --disable-ffmpeg --disable-ffplay&#xA;  avformat    configuration: --extra-version='4:0.7.3-0ubuntu0.11.10.1' --arch=i386 --prefix=/usr --enable-vdpau --enable-bzlib --enable-libgsm --enable-libschroedinger --enable-libspeex --enable-libtheora --enable-libvorbis --enable-pthreads --enable-zlib --enable-libvpx --enable-runtime-cpudetect --enable-vaapi --enable-gpl --enable-postproc --enable-swscale --enable-x11grab --enable-libdc1394 --shlibdir=/usr/lib/i686/cmov --cpu=i686 --enable-shared --disable-static --disable-ffmpeg --disable-ffplay&#xA;  avdevice    configuration: --extra-version='4:0.7.3-0ubuntu0.11.10.1' --arch=i386 --prefix=/usr --enable-vdpau --enable-bzlib --enable-libgsm --enable-libschroedinger --enable-libspeex --enable-libtheora --enable-libvorbis --enable-pthreads --enable-zlib --enable-libvpx --enable-runtime-cpudetect --enable-vaapi --enable-gpl --enable-postproc --enable-swscale --enable-x11grab --enable-libdc1394 --shlibdir=/usr/lib/i686/cmov --cpu=i686 --enable-shared --disable-static --disable-ffmpeg --disable-ffplay&#xA;  avfilter    configuration: --extra-version='4:0.7.3-0ubuntu0.11.10.1' --arch=i386 --prefix=/usr --enable-vdpau --enable-bzlib --enable-libgsm --enable-libschroedinger --enable-libspeex --enable-libtheora --enable-libvorbis --enable-pthreads --enable-zlib --enable-libvpx --enable-runtime-cpudetect --enable-vaapi --enable-gpl --enable-postproc --enable-swscale --enable-x11grab --enable-libdc1394 --shlibdir=/usr/lib/i686/cmov --cpu=i686 --enable-shared --disable-static --disable-ffmpeg --disable-ffplay&#xA;  swscale     configuration: --extra-version='4:0.7.3-0ubuntu0.11.10.1' --arch=i386 --prefix=/usr --enable-vdpau --enable-bzlib --enable-libgsm --enable-libschroedinger --enable-libspeex --enable-libtheora --enable-libvorbis --enable-pthreads --enable-zlib --enable-libvpx --enable-runtime-cpudetect --enable-vaapi --enable-gpl --enable-postproc --enable-swscale --enable-x11grab --enable-libdc1394 --shlibdir=/usr/lib/i686/cmov --cpu=i686 --enable-shared --disable-static --disable-ffmpeg --disable-ffplay&#xA;  postproc    configuration: --extra-version='4:0.7.3-0ubuntu0.11.10.1' --arch=i386 --prefix=/usr --enable-vdpau --enable-bzlib --enable-libgsm --enable-libschroedinger --enable-libspeex --enable-libtheora --enable-libvorbis --enable-pthreads --enable-zlib --enable-libvpx --enable-runtime-cpudetect --enable-vaapi --enable-gpl --enable-postproc --enable-swscale --enable-x11grab --enable-libdc1394 --shlibdir=/usr/lib/i686/cmov --cpu=i686 --enable-shared --disable-static --disable-ffmpeg --disable-ffplay&#xA;  libavutil    51.  7. 0 / 51.  7. 0&#xA;  libavcodec   53.  6. 0 / 53.  6. 0&#xA;  libavformat  53.  3. 0 / 53.  3. 0&#xA;  libavdevice  53.  0. 0 / 53.  0. 0&#xA;  libavfilter   2.  4. 0 /  2.  4. 0&#xA;  libswscale    2.  0. 0 /  2.  0. 0&#xA;  libpostproc  52.  0. 0 / 52.  0. 0&#xA;Input #0, avi, from 'highres.avi':&#xA;  Metadata:&#xA;    comment         : Quality_GOOD&#xA;    encoder         : Lavf52.64.2&#xA;    encoded_by      : AverMedia_c281_1.7.2&#xA;  Duration: 00:01:59.28, start: 0.000000, bitrate: 10263 kb/s&#xA;    Stream #0.0: Video: h264 (High), yuv420p, 1920x1080, 59.94 fps, 59.94 tbr, 59.94 tbn, 119.88 tbc&#xA;    Stream #0.1: Audio: mp3, 48000 Hz, stereo, s16, 128 kb/s&#xA;[buffer @ 0x8f438a0] w:1920 h:1080 pixfmt:yuv420p&#xA;[scale @ 0x8f431e0] w:1920 h:1080 fmt:yuv420p -&amp;gt; w:960 h:540 fmt:yuv420p flags:0x4&#xA;[libx264 @ 0x8f0fb40] broken ffmpeg default settings detected&#xA;[libx264 @ 0x8f0fb40] use an encoding preset (e.g. -vpre medium)&#xA;[libx264 @ 0x8f0fb40] preset usage: -vpre &amp;lt;speed&amp;gt; -vpre &amp;lt;profile&amp;gt;&#xA;[libx264 @ 0x8f0fb40] speed presets are listed in x264 --help&#xA;[libx264 @ 0x8f0fb40] profile is optional; x264 defaults to high&#xA;Output #0, h264, to 'lowerresforceh264.avi':&#xA;    Stream #0.0: Video: libx264, yuv420p, 960x540, q=2-31, 200 kb/s, 90k tbn, 30 tbc&#xA;Stream mapping:&#xA;  Stream #0.0 -&amp;gt; #0.0&#xA;Error while opening encoder for output stream #0.0 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm not sure why I can't do this.  Running &quot;ffmpeg -formats&quot; listed h264 as one it could use for both input and output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If anyone could point me in the right direction, I'd appreciate it greatly.  Thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: I'm using FFmpeg version 0.7.3-4:0.7.3-0 on Ubuntu 11.10.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've found a solution looking at the use of presets.  After looking for information about presets, I found the following tutorial discussing them:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://juliensimon.blogspot.com/2009/01/howto-ffmpeg-x264-presets.html&quot;&gt;http://juliensimon.blogspot.com/2009/01/howto-ffmpeg-x264-presets.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just needed to specify the codec and the proper preset setting like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i highres.avi -r 30 -s 960x540 -vcodec libx264 -vpre medium lowerresforceh264vpremedium.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I still have some tweaking to do, but this is basically what I wanted.  Thanks.&lt;/p&gt;&#xA;" OwnerUserId="2301" LastEditorUserId="2301" LastEditDate="2012-04-29T22:09:31.027" LastActivityDate="2014-02-06T20:26:51.867" Title="How can I use FFmpeg to lower the quality of H264 video but keep it in H264 format?" Tags="|conversion|ffmpeg|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3877" PostTypeId="2" ParentId="3876" CreationDate="2012-04-29T20:51:41.350" Score="3" Body="&lt;p&gt;I'm trying to help. First, I don't understand why you're saying FFMPEG H.264 is not the input format? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know the FFMPEG command line well enough (is there anyone who does? ;)  ). There's got to be a switch for multipass encoding. I know there are some built-in presets you could probably use and do almost certainly what you're aiming for. These are normally called x264 presets or x264 tune. Can you find anything like that?&lt;/p&gt;&#xA;" OwnerUserId="2277" LastActivityDate="2012-04-29T20:51:41.350" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3878" PostTypeId="2" ParentId="3874" CreationDate="2012-04-29T23:02:54.077" Score="1" Body="&lt;p&gt;There are various tools that will do this, from the professional Adobe Premier type to Windows Moviemaker (or whatever the Live version is called now)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To be honest, a quick google will give you pages of apps from premium to FOSS. Give some of the free ones a shot, and if they don'tdo what you need, give one of the expensive ones a shot on its trial version, which most have.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-04-29T23:02:54.077" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3879" PostTypeId="2" ParentId="3872" CreationDate="2012-04-30T03:51:48.327" Score="4" Body="&lt;p&gt;Some things to be aware of when shooting video (this applies to most DSLRs):&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Rolling_shutter&quot; rel=&quot;nofollow noreferrer&quot;&gt;Rolling Shutter&lt;/a&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Because of the way the 550d records each frame you can end up with &lt;a href=&quot;http://youtu.be/GMENDJdzlf0&quot; rel=&quot;nofollow noreferrer&quot;&gt;slanted video&lt;/a&gt; when combined with fast motion. This is because the camera recordes each frame line by line, so each line is recorded at a slightly different time causing a warped effect. Its not a problem for normal motion, but if you are doing moves like panning the camera quickly you will see the effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/2z5Rb.jpg&quot; alt=&quot;Example of Rolling Shutter&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Recording Sound&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;The Canon 550d (and again most other DSLRs) dont have the best quality audio recording. This leads to two methods you can use to record audio for film work&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;1. External Recording&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;Most commonly, people will shoot using an external recorder like a &lt;a href=&quot;http://en.wikipedia.org/wiki/Zoom_H4n&quot; rel=&quot;nofollow noreferrer&quot;&gt;Zoom H4n&lt;/a&gt; and then &lt;a href=&quot;https://vimeo.com/5774898&quot; rel=&quot;nofollow noreferrer&quot;&gt;sync the audio to the video in post&lt;/a&gt; using software like &lt;a href=&quot;http://www.singularsoftware.com/pluraleyes.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Plural Eyes&lt;/a&gt;. The important thing to remember if you choose this method is to make sure you still have internal recording enabled on the 550d because you will need it as reference audio (there is never really any good reason to NOT record the internal audio, its always useful as a reference even if you dont intend on using the audio)&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;2.  Built-in Recording&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;The camera has a compressor built in so anything you plug into the line in jack will be running through the cameras compressor. The issue that can come from this is clipped audio if your audio suddenly jumps up in volume. &lt;a href=&quot;http://mattthomasfilm.blogspot.com.au/2011/02/recording-sound-with-your-550d.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here is a good article&lt;/a&gt; going over recording sound specifically with a 550d and ways to avoid having your audio clipped. &lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Memory &amp;amp; Recording Time&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;A common problem with almost all the Canon DSLRs (not sure about the new ones coming out) is that they can only record around 12 minutes at a time. In my experience the amount is never exact. Its not a problem for any fictional work because its rare you would be shooting for longer than a few minutes at a time, but for documentary work (eg interviews) this can be a problem!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Its worth testing your memory cards before you shoot with them, I've had many experiences where some cards will record fine and others will stop recording after 5-15 seconds. Its always worth getting higher class memory cards which allow for &lt;a href=&quot;http://en.wikipedia.org/wiki/Secure_Digital#Speed_Class_Rating&quot; rel=&quot;nofollow noreferrer&quot;&gt;faster transfer rates&lt;/a&gt;. Class 6 or Class 10 is often the standard choice for video recording (though the higher the class, the higher the price!)&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Batteries&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Shooting video chews through the battery life. For a single days shoot you would be very lucky if you didn't use more 3-4 batteries. Its always a good idea to have at least two batteries (ideally 3). That way when your battery dies you can use the spare battery while the other charges. But I wouldnt rely on this, sometime it takes longer for the battery to charge and you may not always have access to power depending on your location.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Good Resources&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;A good resource for DSLR film making is &lt;a href=&quot;http://philipbloom.net/category/dslrposts/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Phillip Bloom&lt;/a&gt;'s website and also &lt;a href=&quot;https://vimeo.com/videoschool/archive/dslr&quot; rel=&quot;nofollow noreferrer&quot;&gt;Vimeo's DSLR video school&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-04-30T03:51:48.327" CommentCount="1" CommunityOwnedDate="2012-04-30T03:51:48.327" ContentLicense="CC BY-SA 3.0" />
  <row Id="3882" PostTypeId="1" CreationDate="2012-04-30T14:18:48.837" Score="4" ViewCount="5894" Body="&lt;p&gt;I have a directory full of short video clips in .AVI format, and I want to remove the audio from all of them. I'm using Ubuntu 12.04.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;find -name '*.avi' -exec ffmpeg -i {} -an -vcodec copy {} \;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But while it did remove the audio, it also reduced each clip down to just a few frames. They are originally about 1 to 2 minutes long each, and should stay that way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This might just be because ffmpeg can be buggy sometimes. Or maybe there's a better way of formatting the syntax.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any case, whether it's with ffmpeg or a different command, is there a way I can reliably remove the audio from a bunch of clips without changing the video in any way?&lt;/p&gt;&#xA;" OwnerUserId="1792" LastActivityDate="2013-01-15T18:12:46.603" Title="How do I remove audio from all files in a directory with ffmpeg?" Tags="|audio|ffmpeg|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3884" PostTypeId="2" ParentId="2552" CreationDate="2012-04-30T16:20:05.960" Score="2" Body="&lt;p&gt;Your goal is best accomplished with Premiere Pro!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They are actually completely different, though I didn't see the difference until I learned them both well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe Premiere Pro:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Clip video and audio together...&lt;/li&gt;&#xA;&lt;li&gt;(Mix audio, mix video)...&lt;/li&gt;&#xA;&lt;li&gt;Color Correct&lt;/li&gt;&#xA;&lt;li&gt;Add nice transitions...&lt;/li&gt;&#xA;&lt;li&gt;Add many different effects, with animations and keyframes...&lt;/li&gt;&#xA;&lt;li&gt;easy.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Adobe After Effects:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Add explosions&lt;/li&gt;&#xA;&lt;li&gt;Add other special effects&lt;/li&gt;&#xA;&lt;li&gt;Add 3D objects&lt;/li&gt;&#xA;&lt;li&gt;Add any 2D effect you can imagine&lt;/li&gt;&#xA;&lt;li&gt;Color Correct to balance your effects (though the last color correction should be done when compositing in Premiere Pro)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Any professional DAW: (Only do this if you are intending to make a blockbuster.)&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Make the raw video in a video editing program, and bring it over here to add the audio.&lt;/li&gt;&#xA;&lt;li&gt;Do all the audio here.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Vegas Pro:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Mix audio (it was originally made as a DAW.)&lt;/li&gt;&#xA;&lt;li&gt;Do a little bit of Adobe Premiere Pro stuff...&lt;/li&gt;&#xA;&lt;li&gt;Do a little bit of Adobe After Effects stuff...&lt;/li&gt;&#xA;&lt;li&gt;Do a little bit of DAW stuff.&lt;/li&gt;&#xA;&lt;li&gt;easy.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;That's it. Do the special effects in After Effects, and all the clipping and color correction in Premiere Pro. If you're new to video, then Vegas Pro is easier to do much of what you can do with Adobe. But when you've learned a bit, Vegas will be a obstacle in your way of creating what your imagination says. And as you already know After Effects and Premiere Pro, then you're good to go!&lt;/p&gt;&#xA;" OwnerUserId="1909" LastEditorUserId="1909" LastEditDate="2012-04-30T19:18:50.880" LastActivityDate="2012-04-30T19:18:50.880" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="3888" PostTypeId="2" ParentId="2552" CreationDate="2012-05-01T00:18:46.017" Score="2" Body="&lt;p&gt;&lt;strong&gt;Adobe Premiere Pro and After Effects are very different programs&lt;/strong&gt;. Premiere Pro (like all other NLE programs) has been designed to edit images together (moving or still). You can add clips to a timeline and play them back in real time with minimal rendering. The features that Premiere Pro has over After Effects makes editing sequences very easy and quick (obviously depending on what you are editing).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects on the other hand is &lt;strong&gt;not&lt;/strong&gt; designed for a video editing. You cant playback videos or sequences in real time and its very time consuming to cut together a long sequence using After Effects. The program is designed specifically for animation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would be very silly to use After Effects to edit together anything longer than 1 minute. Edit in Premiere and then &lt;strong&gt;Import your edits into After Effects&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Go into your sequence in Premiere&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Select All&lt;/strong&gt; then &lt;strong&gt;Copy&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Switch to After Effects&lt;/li&gt;&#xA;&lt;li&gt;Make a new Composition and open it&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Paste&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-01T00:18:46.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3890" PostTypeId="1" AcceptedAnswerId="3896" CreationDate="2012-05-01T13:07:44.123" Score="0" ViewCount="112" Body="&lt;p&gt;i wish &lt;strong&gt;Audio-Video Production&lt;/strong&gt; is correct Q&amp;amp;A site for that question.&lt;br&gt;&#xA;I have a Satelite Reciever and i want to watch the broadcast on my Laptop, i will not use my TV anymore.&lt;br&gt;&#xA;I have two options to capture the video stream,&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Easycap Capture Adapter&lt;/li&gt;&#xA;&lt;li&gt;Analog USB TV Tuner&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;but i want to learn that which one is better solution related to performance, easiness, quality ? Or, is there any better solution that you can advice? &lt;br&gt;&#xA;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="2310" LastEditorUserId="2310" LastEditDate="2012-05-01T17:53:01.227" LastActivityDate="2012-05-02T12:10:39.517" Title="What should I look for in a video capture device from a Satelite Reciever to PC?" Tags="|video|streaming|laptop|" AnswerCount="1" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3891" PostTypeId="2" ParentId="3882" CreationDate="2012-05-01T16:53:57.900" Score="3" Body="&lt;p&gt;I'd suggest installing &lt;a href=&quot;http://winff.org/html_new/&quot; rel=&quot;nofollow&quot;&gt;WinFF&lt;/a&gt;, which is a GUI for ffmpeg, and comes with a job manager. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, perform the task for one video and verify it's ok, then populate the job queue with the remaining files, and it will adopt the last used encode parameters and process the queue.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2012-05-01T16:53:57.900" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3892" PostTypeId="2" ParentId="3290" CreationDate="2012-05-01T18:18:23.763" Score="1" Body="&lt;p&gt;I've never noticed any codecs that run smoother in After Effects or Premiere. One thing I have noticed about Premiere is that if you don't have your source media in your main project folder (designated when you start the project), it lags. I assume the RAM gets overly taxed by searching all over the place to round up the referenced files. I haven't seen any documentation about this but have run extensive tests to prove it. I migrated recently from FCP. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based on what you said, it sounds like you want to compress your footage before working with it in AE or Premiere. I think this is a bad idea. Your camera has already compressed it (using the h.264 codec). If you absolutely have to use another codec, I would go with:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;quicktime animation&#xA;quicktime jpeg2000&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They are uncompressed or the least compressed to my knowledge. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I'm sure you know, when working with AE and Premiere, you want your raw material to be the highest quality possible and only compress it when you export your final project. For example you want to use AIFF (or something comparable) and not mp3 for audio. If you compress it before working with it in AE or PRE and then export it, you're compressing it twice and throwing away data twice. This will kill your quality. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another factor may be your memory settings in the apps preferences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another possibility, if you're using an external scratch disk, make sure it's not USB. This will cause lag.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, your graphics card and RAM need to be pretty hefty for a pleasant experience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I run an imac with a 2.8 GHz Intel Core i7 with 16 GB of RAM and a great ATI Radeon HD 4850 512 MB graphics card. It pretty much flies with any codec I use.&lt;/p&gt;&#xA;" OwnerUserId="2311" LastActivityDate="2012-05-01T18:18:23.763" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3896" PostTypeId="2" ParentId="3890" CreationDate="2012-05-01T20:20:00.410" Score="1" Body="&lt;p&gt;The Easycap Capture adapter is simply a video capture device with no TV tuner, so you would not be able to receive any TV signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend the USB TV tuner.  I'm not sure whether you will need an Analog or Digital tuner as this will vary according to where you live (here in the U.S. all stations are now Digital).  If you are putting this into a desktop computer you can get an internal TV Tuner card.  &lt;a href=&quot;http://hauppage.com/site/products/prods.html&quot; rel=&quot;nofollow&quot;&gt;Hauppage&lt;/a&gt; makes a few good ones that will work with Windows, both internal and USB.  Their products also come with software to allow you to watch and record TV.  They should also work with other programs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for performance the TV Tuner and the Video capture card should be about the same.  The TV tuner is in hardware and the video capture for both is also in hardware.  If you are concerned about performance, your best bet is to get a device that has a hardware MPEG-2 encoder (usually an internal card).  With my Hauppage card with built in encoding, I was able to watch TV and record without any serious performance hit to anything else I was doing at the time.&lt;/p&gt;&#xA;" OwnerUserId="126" LastEditorUserId="126" LastEditDate="2012-05-02T12:10:39.517" LastActivityDate="2012-05-02T12:10:39.517" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3897" PostTypeId="2" ParentId="3835" CreationDate="2012-05-01T21:26:18.813" Score="1" Body="&lt;p&gt;As @DoktorHauser mentioned. Using one of the tools he mentioned would actually solve your problem. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't really understand why you recorded your voice separately, if the point was to bring the video together with the audio. In that case it would have been much easier to record the audio with the video. (ScreenFlow, Camtasia and any of the tools mentioned are able to record audio from separate audio sources.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this didn't answer your question, we simply need more information. Your setup looks overly complicated.&lt;/p&gt;&#xA;" OwnerUserId="2277" LastActivityDate="2012-05-01T21:26:18.813" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="3906" PostTypeId="1" AcceptedAnswerId="3907" CreationDate="2012-05-03T00:00:07.990" Score="2" ViewCount="7748" Body="&lt;p&gt;I would like to compare 24fps to 48fps video, but haven't been able to find any video samples.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know of such samples?  Being able to compare the same video at several framerates would be lovely!&lt;/p&gt;&#xA;" OwnerUserId="2317" LastActivityDate="2012-09-13T01:17:57.863" Title="Are there any downloadable samples of 48 fps video?" Tags="|video|video-quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3907" PostTypeId="2" ParentId="3906" CreationDate="2012-05-03T05:42:08.177" Score="1" Body="&lt;p&gt;Here's a short mov to demonstrate the difference, that's all I've been able to find:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.stopmotionpro.com/media/video/48fps_cameramove2.mov&quot; rel=&quot;nofollow&quot;&gt;http://www.stopmotionpro.com/media/video/48fps_cameramove2.mov&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2320" LastActivityDate="2012-05-03T05:42:08.177" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3910" PostTypeId="1" AcceptedAnswerId="3914" CreationDate="2012-05-03T13:13:56.233" Score="1" ViewCount="1225" Body="&lt;p&gt;I am making a production for my companies trade show booth.  We're going to be running 2 40&quot; inch TVs one cycling a few videos of our products in production and one cycling through a bunch of product pictures.  Anyway...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a bunch of videos we want to use but they're all in different formats and resolutions (Taken with different cameras over the years).  Some 720p, some 640x480, some MOV, some MPG, mp4, avi, etc, etc...  I am trying to get away with free on the video editing (VirtualDUB, Handbrake, etc...) so I am forced into using different tools to do different things.  Well in my experimenting I am finding that some video tools open mp4 and some don't.  Some open mov but most not.  I'd like to keep the videos as &quot;RAW&quot; as possible because they're all going to end up on a 40&quot; screen eventually.  So you can see where I want to lose as little resolution as possible in the conversions.  I like mp4 (H.264) because it's the format that my player (Roku 2 XS) requires, but there isn't much as far as free video editing tools that will open those video files.  What format should I convert everything into before I start doing my editing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&#xA;-Craig &lt;/p&gt;&#xA;" OwnerUserId="2323" LastActivityDate="2012-05-04T05:41:30.657" Title="What's the best before editing format to convert to?" Tags="|editing|conversion|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3911" PostTypeId="1" CreationDate="2012-05-03T13:29:06.947" Score="1" ViewCount="599" Body="&lt;p&gt;I need to complete 4 specific tasks on my videos.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Stabilize. &lt;/li&gt;&#xA;&lt;li&gt;Crop to Anamorphic &lt;/li&gt;&#xA;&lt;li&gt;Convert resolution up or down to 720p&lt;/li&gt;&#xA;&lt;li&gt;Convert to mp4 (H.264)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Can someone point my in the right direction to the best free tools to complete these tasks?  I'm using Handbrake to do all my -&gt; mp4 conversion.  I've tried VDUB with DeShaker and Mercelli (not free) for stabilization.  Mercelli only lets me output to wmv or mpg but it compresses and creates a lot of pixelation in the process.  Not to mention it crashes more then Windows 95.  DeShaker is ok, but if the person taking the video moves around at all, it distorts and bends a lot in the background.  I can crop to anamorphic from Handbrake but it doesn't let me scale the videos up to 1280x720.  Is there a good free tool that will do all of these?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&#xA;-Craig&lt;/p&gt;&#xA;" OwnerUserId="2323" LastActivityDate="2015-09-03T03:33:07.423" Title="What is/are the best free tool/tools for editing my videos?" Tags="|editing|conversion|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3914" PostTypeId="2" ParentId="3910" CreationDate="2012-05-04T05:41:30.657" Score="1" Body="&lt;p&gt;I would recommend downloading the trial version of &lt;a href=&quot;http://www.adobe.com/cfusion/tdrc/index.cfm?product=premiere_pro&quot; rel=&quot;nofollow&quot;&gt;Adobe Premiere Pro&lt;/a&gt;, and cutting the videos together in there. The trial lasts 30 days which should be enough to get the job done..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere Pro can take almost any file you throw at it (so you can leave all your videos in their original format). This way you wont be loosing any quality by converting your videos to one uniform codec before you edit. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Otherwise&lt;/strong&gt; as a completely free solution Id suggest converting all your videos to 1920x1080p h.264 files. Then you can bring them into iMovie or Windows Movie Maker to order and export one final file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you dont need the all the videos combined into one file (ie. if your player can play all the files on its drive continuously) then all you need to do is convert them to 1920x1080 h.264 files and load them on the drive. &lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-04T05:41:30.657" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3917" PostTypeId="1" AcceptedAnswerId="3920" CreationDate="2012-05-04T09:19:58.973" Score="6" ViewCount="26690" Body="&lt;p&gt;Let's say I have the following arrangement of my audio tracks:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x ---------- &#xA;y ---------- &#xA;z ----------&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and I want to have them arranged this way instead:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x ----------&#xA;z ----------&#xA;y ----------&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What's the easiest way for me to make this happen?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(As an example, in Reason, I would grab the audio track I wanted to move and then simply place it where I want it. This does not seem to work in Premiere.)&lt;/p&gt;&#xA;" OwnerUserId="1236" LastEditorUserId="126" LastEditDate="2012-05-04T13:32:50.397" LastActivityDate="2023-02-01T10:36:14.883" Title="Rearange order of audio tracks in Premiere" Tags="|premiere|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3920" PostTypeId="2" ParentId="3917" CreationDate="2012-05-04T14:48:23.693" Score="5" Body="&lt;p&gt;As you have discovered Premiere Pro doesn't let you move the tracks as easily as that (I wish it did!)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fastest method would be to &lt;strong&gt;create 1 or 2 empty tracks&lt;/strong&gt; (right click on a track label and select &lt;code&gt;Add Tracks&lt;/code&gt;) &lt;strong&gt;then use the Track Select Tool&lt;/strong&gt;  ('A' on the Keyboard) to quickly select an entire track:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ySPL7.png&quot; alt=&quot;Premiere Pro Track Select tool&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Click and hold lets you select and move the track at the same time).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;You could also select an entire track, Cut it, move your other tracks around, then Paste it back into a new track (you can choose which track it gets pasted into by clicking on the Track labels, Premiere will paste into the top most highlighted track)&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-04T14:48:23.693" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3921" PostTypeId="1" CreationDate="2012-05-04T16:30:40.143" Score="1" ViewCount="128" Body="&lt;p&gt;How can I display the length in seconds/frames on the timeline? I know this is possible but couldn't figure this out.&lt;/p&gt;&#xA;" OwnerUserId="1712" LastActivityDate="2012-05-04T16:30:40.143" Title="Display clip length on timeline in Avid MC 6?" Tags="|avid|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3925" PostTypeId="2" ParentId="3911" CreationDate="2012-05-04T23:55:46.347" Score="2" Body="&lt;p&gt;You can download a FREE 30 trail version of Vegas Pro 11 from Sony.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.sonycreativesoftware.com/download/trials/vegaspro&quot; rel=&quot;nofollow&quot;&gt;http://www.sonycreativesoftware.com/download/trials/vegaspro&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've have Vegas Pro 10 and I have used these features: Stabilize, Convert resolution down to 720p, and convert (render) to MP4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I never convert resolution up, it just looks terrible (see my comments above).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By &quot;Crop to Anamorphic&quot;, I am assuming you mean to convert 4:3 to 16:9, I have not tried this with Vegas as all my originals are already 16:9 HD. So you might want to google for that part.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you go this route search YouTube for tutorials on each item as it will speed up your learning curve considerably.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Caution: if you want to take a 4:3 SD video and make it into a 720p 16:9 HD it's just gonna look terrible. Why? Because you are asking the software to expand the resolution, this never looks good. It's ok to reduce resolution say go from 1920 X 1080 and step it down to 720p, that's just fine, but when you try to go the other way you are asking the software to essentially make up material that is not there.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-05-05T00:09:31.087" LastActivityDate="2012-05-05T00:09:31.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3934" PostTypeId="1" CreationDate="2012-05-07T01:47:03.103" Score="1" ViewCount="44" Body="&lt;p&gt;I just went through a long video clip in Final Cut 7, adding a marker as the speaker went into the next bullet point of his talk. I'm supposed to convert the clip into video podcasts less than 10 minutes apiece, either by posting each section individually or combining the shorter ones, so I needed to check how long he spent on each bullet point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I click the disclosure arrow next to the video clip in the Browser to list the marker-generated subclips, there is no time listed next to them in the Duration column. I had to double-click each marker individually and drag the playhead to the end of the Viewer timeline for final cut to tell me how long each section was - not a big deal admittedly but I'm suspicious that I'm missing something. Is there a place in the Viewer or Browser windows I can get the length of each marker-generated subclip at a glance?&lt;/p&gt;&#xA;" OwnerUserId="2333" LastActivityDate="2012-05-07T02:32:19.190" Title="Checking duration of a marker-created subclip in Final Cut?" Tags="|final-cut-pro|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3935" PostTypeId="2" ParentId="3934" CreationDate="2012-05-07T02:32:19.190" Score="1" Body="&lt;p&gt;&lt;strong&gt;The reason you cant get the durations is because a marker is just reference to a point in time, not a time range.&lt;/strong&gt; This time around you will need to find the durations manually either by opening the clip or subtracting the time of the previous marker form the current one. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can give markers durations, but not as effortlessly as just placing a single marker while watching through the video:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Place a marker by pressing &lt;kbd&gt;M&lt;/kbd&gt; then at the end time hit&#xA;  &lt;kbd&gt;Option&lt;/kbd&gt;+&lt;kbd&gt;M&lt;/kbd&gt;, this will extend the duration of the&#xA;  marker to wherever the playhead is.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/aV7rC.jpg&quot; alt=&quot;Marker with duration&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-07T02:32:19.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3937" PostTypeId="1" AcceptedAnswerId="3939" CreationDate="2012-05-07T03:47:23.433" Score="1" ViewCount="6974" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;I want to be able to &quot;undo&quot; the blade tool, in effect merging clips&#xA;  together. How can I do this?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;(Answered &lt;a href=&quot;https://video.stackexchange.com/questions/3937/how-to-delete-an-edit-in-final-cut-pro-un-blade/3939#3939&quot;&gt;another&lt;/a&gt; question without noticing it was for Final Cut X, not FCP 7, but here is the answer for anyone using Final Cut Pro 7)&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="2197" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2014-05-27T13:24:04.770" Title="How to delete an edit in Final Cut Pro (un-blade)" Tags="|final-cut-pro|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3938" PostTypeId="2" ParentId="3937" CreationDate="2012-05-07T03:53:23.783" Score="0" Body="&lt;p&gt;You can just select the edit and hit &lt;kbd&gt;Delete&lt;/kbd&gt;. If you removed any video in between, you won't be able to delete the edit.&lt;/p&gt;&#xA;" OwnerUserId="1180" LastActivityDate="2012-05-07T03:53:23.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3939" PostTypeId="2" ParentId="3937" CreationDate="2012-05-07T03:55:56.853" Score="2" Body="&lt;p&gt;If you have made an edit and you want to remove it, you can &lt;strong&gt;click on the edit&lt;/strong&gt; then &lt;strong&gt;press &lt;kbd&gt;delete&lt;/kbd&gt;&lt;/strong&gt; and the edit will be removed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;fig1. selected edit:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/SLZ3j.png&quot; alt=&quot;Selected edit in Final Cut 7&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Note that this only works if the time on either side of the edit hasnt changed, as indicated by the red triangles.&lt;/em&gt; If you have cut out any video, you cant delete the edit:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/pL8N6.png&quot; alt=&quot;Indicator&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-07T03:55:56.853" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3940" PostTypeId="1" CreationDate="2012-05-07T16:40:59.337" Score="0" ViewCount="321" Body="&lt;p&gt;I recently attempted to export a large video file to the web through QuickTime Pro in hopes of uploading it to my web storage account and put on my website. However, when I encoded this .mov file, somewhere in the process it became corrupted and it appears as a much smaller file. I can play the file on my computer locally, but when I upload it to my web storage account I can no longer access/play it. It also appears as a much smaller file. This is the only file of the movie I have on my computer so I find it curious that it plays locally but cannot be accessed online. Please let me know if you have any suggestions as to how to fix this problem. Thank you!&lt;/p&gt;&#xA;" OwnerUserId="2336" LastEditorUserId="2287" LastEditDate="2012-06-27T11:51:34.637" LastActivityDate="2012-10-25T16:14:52.490" Title=".Mov file corrupted after QuickTime Exporting for web" Tags="|video|video-quality|quicktime|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3941" PostTypeId="1" CreationDate="2012-05-07T22:16:52.677" Score="2" ViewCount="4988" Body="&lt;p&gt;I've used Windows Movie Maker plenty of times before and I've never had a problem with it... until now. I went to choose the &quot;save to my computer&quot; option so my video would render and after it was about 10% done this message popped up:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;Windows Movie Maker cannot save the movie to the specified location.&#xA;  Verify that the original source files in your movie are still&#xA;  available, the the saving location is still available, and that there&#xA;  is enough free disk space available.&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;My files I used in the video are exactly where they were when I imported them to Movie Maker, the folder I'm trying to save the video is just fine, and I have plenty of disk space available; and the problem still comes up the same way. I tried saving it to an other place and the same thing happened. I even tried saving it to my flash drive and the same thing happened. I even tried turning my computer off and back on and nothing changed. I've looked it up online and gotten no help. I did try making a BS video with other footage and it worked but when I tried making a BS video with the same footage in this video the problem came up again, so I think it has something to do with one of my video files but I don't know.&lt;/p&gt;&#xA;" OwnerUserId="2339" LastEditorUserId="126" LastEditDate="2012-05-08T13:40:16.997" LastActivityDate="2012-12-04T15:54:26.467" Title="Problems with rendering a Windows Movie Maker video" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3942" PostTypeId="2" ParentId="3941" CreationDate="2012-05-07T22:51:46.460" Score="1" Body="&lt;p&gt;This assumes that all the material, all the video clips are on your local disk and your telling Windows Movie Maker to save these in the same folder. Do all the clips have a suffix that is acceptable to Windows Movie Maker (see below for a complete list)? e.g. are these all .avi files?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How many clips are in the video? One or more clips may be at issue. To isolate, first save your project as it is, then remove one clip and save this as minus one. Test? if there is no change then remove another clip, save as minus 2. Test? If there is still issues then proceed to remove each clip one at a time and save each of these versions until you find the clip(s) that are having an issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you locate the offending clip(s) take these to another computer, and see if you get the same results. Report back.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MORE info from Microsoft:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can import files with the following file name extensions into Windows Movie Maker to use in your project:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video files: .asf, .avi, dvr-ms, .m1v, .mp2, .mp2v, .mpe, .mpeg, .mpg, .mpv2, .wm, and .wmv&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio files: .aif, .aifc, .aiff, .asf, .au, .mp2, .mp3, .mpa, .snd, .wav, and .wma&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Picture files: .bmp, .dib, .emf, .gif, .jfif, .jpe, .jpeg, .jpg, .png, .tif, .tiff, and .wmf&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-05-07T23:01:21.503" LastActivityDate="2012-05-07T23:01:21.503" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3944" PostTypeId="2" ParentId="3765" CreationDate="2012-05-08T07:47:13.177" Score="5" Body="&lt;ul&gt;&#xA;&lt;li&gt;If that's a cut within the same clip, you can move the right edge of the first clip to the end of the second clip, to restore the formerly length. &lt;/li&gt;&#xA;&lt;li&gt;If you want to combine different clips to make some pivotal changes or append centrical effects. You have to create a compound clip.&lt;/li&gt;&#xA;&lt;li&gt;If it was a cut within one clip, you can simply undo it. But i hope you know that.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I dont' know what you mean with &quot;I'm-done-here-move-on-feeling&quot;, but a typical project has hundreds and thousands cuts. That's absolutely normal.&lt;/p&gt;&#xA;" OwnerUserId="2287" LastActivityDate="2012-05-08T07:47:13.177" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3945" PostTypeId="2" ParentId="2175" CreationDate="2012-05-08T07:50:36.107" Score="1" Body="&lt;p&gt;In general I would recommend Final Cut Pro X, because Final Cut Studio has been discontinued. If there are compatibility reasons I would recommend Final Cut Studio. But only to be compatible with external or ongoing projects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A more suitable recommendation depends on the answer of the question: What's the reason for the update?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;: The learning curve from Final Cut Express to Final Cut Studio is very flat. Largely you won't notice any differences. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Con: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;em&gt;Final Cut Studio&lt;/em&gt; has been discontinued.&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Final Cut Studio&lt;/em&gt; is more expensive.&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Final Cut Studio&lt;/em&gt; the needed preview-rendering.&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Final Cut Pro X&lt;/em&gt; needs better hardware. (GPU)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Pro: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;em&gt;Final Cut Studio&lt;/em&gt; can import projects from FC Express. &lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Final Cut Pro X&lt;/em&gt; is a lot cheaper.&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Final Cut Pro X&lt;/em&gt; working is very fast.&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Final Cut Pro X&lt;/em&gt; is the up-to-date version.&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Final Cut Pro X&lt;/em&gt; rarely need of preview-rendering.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2287" LastEditorUserId="2287" LastEditDate="2012-05-14T13:54:44.433" LastActivityDate="2012-05-14T13:54:44.433" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3946" PostTypeId="2" ParentId="2253" CreationDate="2012-05-08T09:27:27.123" Score="1" Body="&lt;p&gt;The new way: Create your Effect in Motion, but use it in Final Cut Pro X.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to:&#xA;Start up Motion. Select the category &quot;&lt;em&gt;Empty&lt;/em&gt;&quot; and choose the &quot;&lt;em&gt;Final Cut-Title&lt;/em&gt;&quot;-Template. Then create your title and effects in Motion. If you &quot;save&quot; your project you have to select or create a effect-category for FCPX, then it will be published in Final Cut Pro X.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Start Final Cut Pro X. Open your project. Choose your newly created title or effect in the effect-library and apply it to your clips. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S.:&#xA;If you want to adjust an effect-parameter from within Final Cut Pro X, just rightclick it in Motion and select &quot;publish&quot; in the dropdown-menu. It will be available in the Videoeffect-Pane of FCPX.&lt;/p&gt;&#xA;" OwnerUserId="2287" LastEditorUserId="2287" LastEditDate="2012-05-08T10:01:38.160" LastActivityDate="2012-05-08T10:01:38.160" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="3947" PostTypeId="2" ParentId="3781" CreationDate="2012-05-08T09:57:03.670" Score="1" Body="&lt;p&gt;Use &lt;strong&gt;&quot;Total Adjustment&quot;&lt;/strong&gt; it works like a photshop-layer. You simply can duplicate it for reuse with other clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to: Install &lt;a href=&quot;http://rgbhouse.com/?p=74&quot; rel=&quot;nofollow&quot;&gt;Total Adjustment&lt;/a&gt;. Open the effect-library in Final Cut Pro X. Select the titles. Drag the &quot;Total Adjustment&quot;-title to your project. Copy all effects you need to this title-clip. Place it above a new videoclip. Every video-clip that's under this kind of &quot;layer&quot;-clip will be affected of its effects and adjustments. &lt;/p&gt;&#xA;" OwnerUserId="2287" LastEditorUserId="2287" LastEditDate="2012-05-12T08:16:57.583" LastActivityDate="2012-05-12T08:16:57.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3948" PostTypeId="2" ParentId="3941" CreationDate="2012-05-08T13:44:21.843" Score="1" Body="&lt;p&gt;It seems it is one of your source videos that is causing the problem.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can try making one test video out of half of them and another test out of the rest.  If one fails and the other succeeds, you can continue to split the failing source videos in half until you find the one that is causing the problem.&lt;/p&gt;&#xA;" OwnerUserId="126" LastActivityDate="2012-05-08T13:44:21.843" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3949" PostTypeId="1" AcceptedAnswerId="3950" CreationDate="2012-05-08T16:01:08.280" Score="3" ViewCount="99" Body="&lt;p&gt;I'm animating a circle in Motion. I'm using the Sequence Replicator and the Scale setting to make the circles become larger towards the end. &#xA;When I do that however, the circles get blurry, much like if I would use a pixel graphic rather than a circle from Motion. Does anyone know how I can prevent that from happening?&lt;br&gt;&#xA;I would have assumed the circles stay crisp and sharp no matter what scale they're applied to. (Preserve scale is ticked on)&lt;/p&gt;&#xA;" OwnerUserId="2277" LastEditorUserId="674" LastEditDate="2014-01-24T22:43:41.117" LastActivityDate="2014-01-24T22:43:41.117" Title="Replicated circles are blurry in Motion" Tags="|video|composing|motion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3950" PostTypeId="2" ParentId="3949" CreationDate="2012-05-09T10:34:30.620" Score="2" Body="&lt;p&gt;This effect occurs if the cell is screened as bitmap. It should be able to avoid it if you activate 3D Rasterization. Click the &quot;3D&quot; checkbox in the Replicator Controls.&lt;/p&gt;&#xA;" OwnerUserId="2287" LastEditorUserId="2287" LastEditDate="2012-05-11T15:02:39.733" LastActivityDate="2012-05-11T15:02:39.733" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3952" PostTypeId="1" AcceptedAnswerId="3955" CreationDate="2012-05-09T17:32:14.340" Score="0" ViewCount="12329" Body="&lt;p&gt;I a currently editing a video and imported a .avi movie into my After Effects project. I went to check the RAM preview, but there was no sound. I checked the audio preview and there still was no audio. I checked the waveform and it showed a straight lines, showing that there was no audio being produced from the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I checked the video to see if there was sound playing and I determined there was. I also have another .avi file in the project and it plays audio with no problem. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help! Thanks in advance!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt; It works for some reason now... but now my characters are talking really fast and the video is going too fast! Help!!!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fixed it! Thanks for the help!&lt;/p&gt;&#xA;" OwnerUserId="1945" LastEditorUserId="1945" LastEditDate="2012-05-09T23:13:05.990" LastActivityDate="2018-10-27T13:50:04.443" Title="Audio Not Playing on Imported Video Files" Tags="|audio|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3953" PostTypeId="1" CreationDate="2012-05-09T19:03:42.583" Score="2" ViewCount="2292" Body="&lt;p&gt;&lt;em&gt;I may be asking the question in an unclear way, because I come from an audio and graphics background. Apologies in advance. Hope this is makes sense...&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My Final Cut Pro X project is 960x720, and I'm putting a clip on top of it that's larger, but scaled down using &quot;Spacial conform&quot; so it fits vertically, and there are black stripes to the left and right of the clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The clip is a Powerpoint and it's got a white background, so I'm using &quot;Stencil Luma&quot; blend to put a nice animated video behind the text. The effect is nice, but the black bars to the right and left of the clip prevent the animation from showing underneath those black bars.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I simply want those black bars to go away, or become white, so that the background video won't be clipped while the front video is on the timeline. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Solutions?&lt;/p&gt;&#xA;" OwnerUserId="2344" LastEditorUserId="2344" LastEditDate="2012-05-09T19:39:24.333" LastActivityDate="2012-05-09T20:20:02.050" Title="Video clip is smaller dimensions than project. How to change the color of extra space?" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="3954" PostTypeId="2" ParentId="3953" CreationDate="2012-05-09T20:08:58.193" Score="1" Body="&lt;p&gt;Unfortunately you can't create a project of any size. &lt;a href=&quot;http://www.larryjordan.biz/fcpx-custom-project-sizes/&quot; rel=&quot;nofollow&quot;&gt;Larry Jordan&lt;/a&gt; posted a workaround, which doesn't solve you're problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There was a tutorial that showed how you can have sequence of any size in FCPX (and thus removing black bars), but I can't find it at the moment. (&lt;strong&gt;EDIT&lt;/strong&gt;: I found it! &lt;a href=&quot;http://library.creativecow.net/payton_t/FCPX_Custom-Resolution-Timelines/1&quot; rel=&quot;nofollow&quot;&gt;Creative Cow&lt;/a&gt;) I remember what you need to do though:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Go to the event library and pick a clip that has the final clips' resolution.&lt;/li&gt;&#xA;&lt;li&gt;Make a backup copy of said clip (right click, copy&amp;amp;paste)&lt;/li&gt;&#xA;&lt;li&gt;Right click and choose Open in timeline.&lt;/li&gt;&#xA;&lt;li&gt;Drag another clip into the timeline. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This creates what is called a compound clip. Compound clips can be handled like projects, but can have any frame size. A special icon in the Event Library shows you that the clip is actually a Compound Clip.&lt;br&gt;&#xA;As long as there are at least two clips in the timeline, the clip's going to be a Compound. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you really really really rather work with a project and want to have a custom background to cover up the black bars. I suggest to drag a solid color generator from the effects/generators section underneath your Main Storyline.&lt;/p&gt;&#xA;" OwnerUserId="2277" LastEditorUserId="2277" LastEditDate="2012-05-09T20:20:02.050" LastActivityDate="2012-05-09T20:20:02.050" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="3955" PostTypeId="2" ParentId="3952" CreationDate="2012-05-09T20:12:14.110" Score="0" Body="&lt;p&gt;Check for a couple things, as there's more than one thing to cause this. First, make sure sure in your preview preferences that audio is enabled. Also, check that the duration isn't set to zero (default should be 30s, set it appropriately). Then RAM Preview with &lt;kbd&gt;0&lt;/kbd&gt; on the number pad. You can scrub through audio only in the timeline by &lt;kbd&gt;ctrl&lt;/kbd&gt;+&lt;kbd&gt;alt&lt;/kbd&gt;+dragging (Windows) or &lt;kbd&gt;cmd&lt;/kbd&gt;+&lt;kbd&gt;option&lt;/kbd&gt;+dragging (Mac) to double-check existence of audio. You can also preview audio only by choosing Composition &gt; Preview &gt; Audio Preview.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More detail can be found at these two links:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103906c6dea-7ec9a.html#WSBFF42075-A759-4fd1-BAAE-5BA313E0923Ca&quot; rel=&quot;nofollow&quot;&gt;Adobe help document on previewing audio and video&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://forums.adobe.com/thread/847056&quot; rel=&quot;nofollow&quot;&gt;Adobe forum post about this issue&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerDisplayName="user2270" LastActivityDate="2012-05-09T20:12:14.110" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3956" PostTypeId="2" ParentId="3873" CreationDate="2012-05-09T20:41:26.430" Score="1" Body="&lt;p&gt;You can use the port in V2 software to trigger HiQnet Venue Presets programmed via London Architect and System Architect; the iPad app to directly control the Si Compact is still in BETA test so it's not a 'product' on the web site but you can register for information at &lt;a href=&quot;http://www.soundcraft.com/apps/visi-remote.aspx&quot; rel=&quot;nofollow&quot;&gt;http://www.soundcraft.com/apps/visi-remote.aspx&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have further questions please use the Soundcraft web site Facebook pages or contact your distributor to make  enquiries since Soundcraft do not actively participate and monitor any forums. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regards, &lt;br/&gt;&#xA;Soundcraft-Studer Product Management Team&lt;/p&gt;&#xA;" OwnerUserId="2345" LastEditorUserId="126" LastEditDate="2012-05-10T13:31:59.000" LastActivityDate="2012-05-10T13:31:59.000" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3964" PostTypeId="1" AcceptedAnswerId="3967" CreationDate="2012-05-11T01:16:25.713" Score="0" ViewCount="8757" Body="&lt;p&gt;Asked this question before... having same problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I go to the RAM preview of After Effects, the audio of the video will play on sync for a while, then will get screwy. Sometimes the audio will jump ahead or before it should. It is making the sound choppy and my characters sound stupid.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please, I need a solution!&lt;/p&gt;&#xA;" OwnerUserId="1945" LastActivityDate="2012-10-12T08:37:49.267" Title="Audio and Frames Not in Sync in RAM Preview" Tags="|audio|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3965" PostTypeId="2" ParentId="3518" CreationDate="2012-05-11T01:23:49.227" Score="5" Body="&lt;p&gt;&lt;strong&gt;Thats because you have the collapse transformations button ticked:&lt;/strong&gt; &#xA;&lt;img src=&quot;https://i.stack.imgur.com/1lkHW.png&quot; alt=&quot;Collapse Transformation&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When &lt;a href=&quot;http://help.adobe.com/en_US/AfterEffects/9.0/WS064964FC-424C-4e5a-A5C3-2160B3DFBCA4a.html&quot; rel=&quot;noreferrer&quot;&gt;collapse transformations&lt;/a&gt; is ticked After Effects takes the options of the layers &lt;strong&gt;inside&lt;/strong&gt; the 'loader' composition. So you will need to open up the 'loader' composition (double click) and then you can enable motion blur on the layers inside.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you import Photoshop documents into After Effects as compositions, any groups in the PSD become pre-comps within AE. &lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-11T01:23:49.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3967" PostTypeId="2" ParentId="3964" CreationDate="2012-05-11T03:12:14.447" Score="1" Body="&lt;p&gt;Sounds like After Effects is having a problems reading the audio from the file. I'd suggest converting the audio to a separate &lt;code&gt;.wav&lt;/code&gt; or &lt;code&gt;.mp3&lt;/code&gt; and importing it back into After Effects: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;Open &lt;strong&gt;Adobe Media Encoder&lt;/strong&gt; &lt;/li&gt;&#xA;  &lt;li&gt;Drag the file in question into the que&lt;/li&gt;&#xA;  &lt;li&gt;Under Format select &lt;strong&gt;Waveform Audio File&lt;/strong&gt;&lt;/li&gt;&#xA;  &lt;li&gt;Leave the preset at its default&lt;/li&gt;&#xA;  &lt;li&gt;Click on the yellow text under the Output File column to set the new files destination&lt;/li&gt;&#xA;  &lt;li&gt;Click the Triangle to begin encoding&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Then use this new file in After Effects and it should work fine. &lt;/p&gt;&#xA;" OwnerUserId="2197" LastEditorUserId="2197" LastEditDate="2012-05-22T00:35:39.043" LastActivityDate="2012-05-22T00:35:39.043" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="3968" PostTypeId="1" CreationDate="2012-05-11T14:05:19.623" Score="1" ViewCount="153" Body="&lt;p&gt;I'm going to cover a concert early June inside a bath house. I've visited the location and it's both quite hot and humid. The plan is to bring in at least three video cameras and have them running constantly for an hour or so (there will be a Panasonic GH2, a Canon  HF10, and probably some fairly cheap sony video camera). I will also use a couple of self-powered michrophones (such as the zoom H1).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;External power is of course something I will have to abandon, but are there any other tips what I should think of to keep this event safe and high-quality? What kind of problems can I expect to run into?&lt;/p&gt;&#xA;" OwnerUserId="1236" LastActivityDate="2012-05-14T20:11:55.977" Title="How to avoid problems when filming in a bath house" Tags="|filming|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3969" PostTypeId="1" AcceptedAnswerId="3996" CreationDate="2012-05-11T05:57:43.080" Score="3" ViewCount="3009" Body="&lt;p&gt;What are the minimum characteristics required for a camera to project a movie taken by it on a standard cinema screen? I mean anything that affects the quality of the picture seen on the screen. What sort of camera should be used to shoot the video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; To be more clear:&lt;br&gt;&#xA;If I record a movie with my cellphone's camera, there is no doubt its quality is not good enough to be projected on a cinema. So I should use a more professional camera! My question is about the minimum characteristics this professional camera should have. Like the number of frames it can record per second, the size of picture it records, the number of pixels per picture it records, etc.&lt;/p&gt;&#xA;" OwnerUserId="2350" OwnerDisplayName="Meysam رها در بند" LastEditorUserId="126" LastEditDate="2012-05-15T14:00:16.730" LastActivityDate="2014-01-23T06:36:59.430" Title="What are the minimum camera characteristics required to record a movie for cinema?" Tags="|video|camera|specifications|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="3970" PostTypeId="2" ParentId="2223" CreationDate="2012-05-11T14:08:13.283" Score="2" Body="&lt;p&gt;What I did was to put a mic close to my speakers and then gently shake and twist the sound cable. Probably not healty for my speakers but a perfect way to generate the sound I wanted. Highly recommended :)&lt;/p&gt;&#xA;" OwnerUserId="1236" LastActivityDate="2012-05-11T14:08:13.283" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3971" PostTypeId="2" ParentId="2991" CreationDate="2012-05-11T14:13:23.733" Score="1" Body="&lt;p&gt;In general: It depends on your signals and the signalchain. With your setup you will need at least a signalsplitter, a capture device, a capture machine and big harddiscs. But first you have to clarify whats the projector input? What components and wiring do you use? What's output of the presenter laptop? Etc. Then we can give you specific recommendations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My general advice: I'm using hardware capturing. But I always install a fixed presenters machine. No personal laptops are allowed. It avoids changes in the setup and signalchain. It avoids troubleshooting while running a conference. It reduce your stresslevel and the error-proneness. And it prevents schedule delays. It makes the task a lot easier! And you could have a screen capture software running in the background. &lt;/p&gt;&#xA;" OwnerUserId="2287" LastEditorUserId="2287" LastEditDate="2012-05-11T14:19:04.540" LastActivityDate="2012-05-11T14:19:04.540" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3972" PostTypeId="1" AcceptedAnswerId="3973" CreationDate="2012-05-11T20:43:33.820" Score="1" ViewCount="130" Body="&lt;p&gt;When I encode my 1080 sequence using the MPEG2-DVD preset I get a slight letterbox effect on either side of the frame. Does anybody know if there is any way around that, or if that is just-the-way-it-is?&lt;/p&gt;&#xA;" OwnerUserId="2352" LastEditorUserId="2836" LastEditDate="2014-07-01T16:08:52.017" LastActivityDate="2014-07-01T16:08:52.017" Title="Encoding 1080p for DVD - Pr 5.5" Tags="|video|premiere|cs5|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3973" PostTypeId="2" ParentId="3972" CreationDate="2012-05-11T20:57:50.643" Score="3" Body="&lt;p&gt;1080 would suggest full HD, the rub is that DVD is not HD. At best DVD is 720 x 480 so I believe that PR5.5 like many other pro editors is scaling your 1080 to fit in this smaller screen format, so letter boxing would be expected.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-05-11T22:29:51.543" LastActivityDate="2012-05-11T22:29:51.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3974" PostTypeId="2" ParentId="3192" CreationDate="2012-05-12T02:41:15.250" Score="1" Body="&lt;p&gt;FFMPEG is what you're looking for.  You can use it to transcode most anything, it can easily be integrated via STDIO, and there are a handful of library versions of it you can use as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd recommend hopping over to &lt;a href=&quot;http://www.stackoverflow.com&quot;&gt;StackOverflow.com&lt;/a&gt;, where this topic has been heavily discussed.&lt;/p&gt;&#xA;" OwnerUserId="129" LastActivityDate="2012-05-12T02:41:15.250" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3975" PostTypeId="1" AcceptedAnswerId="3990" CreationDate="2012-05-12T14:48:49.407" Score="3" ViewCount="3223" Body="&lt;p&gt;I've got 2 DSLRs in my kit, a Nikon D7000 and a Nikon D3S, for 1080i and 720p respectively. I experienced stuttering playback with footage from both cameras, and figured it was something with Nikon's codec until I had the same issue with HDV footage from a Sony camera (client was unsure of the model#). I recently upgraded from Vegas 8 to Vegas 11 to handle HD footage more cleanly. My machine has 6gb RAM, one of the recommended NVidia graphics cards, and my CPU, while slower than I'd like at 2.53GHHz, is still within recommended ranges for Vegas 11. My internal discs are spinning @ 7200RPM &amp;amp; I'm running Win7 Pro. I've downloaded all the latest drivers, codecs and updates that I could find for my hardware and software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So here's more detail on what I've tried:&#xA;Playback in Vegas 11 Pro stutters for both the Nikon and and Sony HD footage. &#xA;SD footage plays back just fine. &#xA;Only picture stutters, not sound. &#xA;Stutter happens at all playback resolutions, from draft to highest quality. &#xA;If I view the clips in an external player (Quicktime, VLC, DivX) playback is fine.&#xA;If I render out a clip to Quicktime, AVI, Windows Media, MPG2, MPG4 at HD resolution, or at least matching the camera clip as closest as I can, I can pull it back into Vegas and play it without any issues. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based on the above facts:&#xA;It's appears to be a Vegas issue, and since playback after rendering THROUGH Vegas works fine, I suspect it's an issue with the Nikon codecs on the inbound side. But, what's up with the Sony playback stuttering? Maybe it's hard drive speed issue? Then why do rendered clips, some of which are larger than the original, not stutter?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I never did any setup from within Vegas to point it to the GPU. I assume that Vegas will FIND my GPU and assign whatever processes as it sees fit. DO I need to do something special?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone else had success with Nikon clips, and would you be willing to share your setup parameters?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks. &lt;/p&gt;&#xA;" OwnerUserId="2106" LastEditorUserId="2836" LastEditDate="2014-03-05T17:32:30.990" LastActivityDate="2016-03-06T01:54:45.633" Title="Help with playback stutter in Sony Vegas Pro 11" Tags="|dslr|vegas-pro|post-production|workflow|nikon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3976" PostTypeId="2" ParentId="3192" CreationDate="2012-05-12T17:19:26.950" Score="0" Body="&lt;p&gt;You could look into MediaTomb it runs on linux. I use it for real time transcoding to my direcTv box and PS3&lt;/p&gt;&#xA;" OwnerUserId="2355" LastActivityDate="2012-05-12T17:19:26.950" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3979" PostTypeId="1" CreationDate="2012-05-13T10:53:43.507" Score="0" ViewCount="2998" Body="&lt;p&gt;So I have a JVC Everio GZ-MG360BU handycam and a HP Pavilion DV2000 Laptop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The JVC has three ports - USB, A/V and DC (for charger).&#xA;My lap has a S-Video port (Is it an input or output port?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I use the JVC as my webcam?? Do I need a firewire or S-Video cable?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Kaushik&lt;/p&gt;&#xA;" OwnerUserId="2358" LastActivityDate="2012-05-15T18:44:40.887" Title="How can I use my JVC as a webcam on my HP pavilion laptop?" Tags="|video|camcorder|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3983" PostTypeId="1" CreationDate="2012-05-14T13:34:53.023" Score="11" ViewCount="9551" Body="&lt;p&gt;I'm doing research into natural phenomena in computer vision, and I'm looking for a method of shooting video from multiple camera angles. It's likely that the subject will move very erratically, therefore any synchronization issues between the cameras will be a problem. Imagine a flame or flowing water, it's hard to say exactly but it's going to need to be microseconds rather than milliseconds. I will want to use as many as 8 cameras, ideally constrained by budget rather than the ability to keep them in sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The cameras the department owns are Canon DSLRs, however after much searching it seems infeasible to synchronize them, especially with this level of accuracy. Therefore if I can find affordable cameras that can be synchronized easily, we might be able to buy some.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The two options available to me seem to be genlock and LANC. From what I can tell, I'm not going to get hold of a single genlock-able camera for under, say, £5000. Even forgetting the genlock signal, that's too much for us to be able to afford one, let alone 8. The Sony/Canon LANC thing seems more feasible, however I can't find any reliable information about how to go about setting this up or what cameras actually support it which are available now. I keep hitting dead-ends trying to look into this, and it doesn't help that mostly everyone doing this is trying to shoot in just stereo. Can anyone advise me on what set up we'd need and how much it would roughly cost? Or if there's some other synchronization solution that someone would like to recommend? Ease and cost are the biggest factors! Quality of video would of course be nice, but something is better than nothing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks! And I hope this doesn't sound like a shopping recommendation question. While I do want to go shopping, I really just need help understanding the synchronization techniques, and I'll work out what to buy after that!&lt;/p&gt;&#xA;" OwnerUserId="2361" LastActivityDate="2023-01-16T00:08:47.257" Title="Cheap solution for shooting with multiple (&gt;2) cameras in sync (genlock or LANC?)" Tags="|video|hardware|" AnswerCount="5" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="3989" PostTypeId="2" ParentId="3983" CreationDate="2012-05-14T17:53:21.943" Score="2" Body="&lt;p&gt;I've done 4-camera DSLR shoots with Nikon gear (D7000 &amp;amp; D3S). For our shots, we simply did a &lt;a href=&quot;http://www.dvxuser.com/V6/showthread.php?132493-DIY-Clapboard&quot; rel=&quot;nofollow&quot;&gt;clapstick&lt;/a&gt; after all the cameras rolled AND just before cutting, so we had two sync points. Our longest shot was about 18 minutes long, and there was no noticable drift in sync in out post system. Although genlock is the PREFERRED way to go, I've found that a lot of digital equipment is ~close enough~ (heck, I've shot a music video with playback from a CD boombox and a constant speed (not crystal controlled) camera motor and it was SPOT ON. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For something that's under a minute, which your project sounds like, I'm fairly confident you won't need to worry about sync. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just get a clapboard, make sure all the cameras can see it clearly and are RUNNING, then clap it down. Without cutting, jsut reposition your focus and focal length to where you need it for the shot. Capture the shot, then, again without cutting, zoom back out to where all eight cameras can see the clapstick, and clap. THEN you can cut your cameras. Sync up the frames where the clapstick hits in all 8 shots, e viola.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!  &lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-05-14T17:53:21.943" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="3990" PostTypeId="2" ParentId="3975" CreationDate="2012-05-14T18:53:12.917" Score="3" Body="&lt;p&gt;I have seen some trainwrecks by combining Nikon .mov with Vegas Pro 10. After tech calls into both Nikon and Sony it was determined that my machine didn't have enough resources.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to upgrade from 32 bit to a 64 bit version of Win7, plus I need to go from a quad core to an i7, and from 4GB to 12 GB or better. I can use my Nikon files now but only if I keep the total under 1 GB, short projects only but it works. One thing that may help your stuttered preview is to set the window to preview mode at 1/4 size, this helped a lot for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a tutorial that covers everything I've tried and more of the things that may help you&#xA;get your playback smoother.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/bFRVKJCHmUg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-05-14T18:53:12.917" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3991" PostTypeId="2" ParentId="3979" CreationDate="2012-05-14T20:05:21.873" Score="1" Body="&lt;p&gt;On page 31 of the JVC Everio GZ-MG360BU manual it describes how you can hook it up to your TV using the A/V or S-Video outputs of your camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://resources.jvc.com/Resources/00/01/13/57.PDF&quot; rel=&quot;nofollow&quot;&gt;http://resources.jvc.com/Resources/00/01/13/57.PDF&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately the S-Video port on the HP Pavilion DV2000 is output only.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do you hook up the A/V cable to your HP when this HP laptop does not have separate stereo line in audio or an RCA type video input as is the layout of the A/V cable?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may want to look at an A/V to USB adapter:&#xA;&lt;a href=&quot;http://compare.ebay.com/like/120691660283?var=lv&amp;amp;ltyp=AllFixedPriceItemTypes&amp;amp;var=sbar&quot; rel=&quot;nofollow&quot;&gt;http://compare.ebay.com/like/120691660283?var=lv&amp;amp;ltyp=AllFixedPriceItemTypes&amp;amp;var=sbar&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am assuming that you want to use the JVC camera over the built in webcam that comes with your HP laptop because the JVC should have better resolution and a zoom lens?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Caution: The image sent to the computer from your JVC will likely have the status information text/graphics over laid on it such as REC on/off unless the JVC has a way of clearing the display.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-05-15T18:44:40.887" LastActivityDate="2012-05-15T18:44:40.887" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3993" PostTypeId="2" ParentId="3968" CreationDate="2012-05-14T20:11:55.977" Score="2" Body="&lt;p&gt;Get underwater housings for your cameras. Since it doesn't sound like you will actually be dunking the gear under the water, you can probably get away with the cheap bag-type housings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To avoid fogging up the lenses, let your gear warm up to the ambient temperature, then clean the lens.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2012-05-14T20:11:55.977" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3994" PostTypeId="1" CreationDate="2012-05-15T03:57:59.287" Score="1" ViewCount="98" Body="&lt;p&gt;Our company has been recently encouraging knowledge sharing via fortnightly presentations (usually on Powerpoint) with respect to tools, technologies and development methodologies. We would also like to record some of these presentations to allow for sharing between sites and to new starters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recently watched &lt;a href=&quot;http://www.infoq.com/presentations/Simple-Made-Easy&quot; rel=&quot;nofollow&quot;&gt;this presentation&lt;/a&gt; and found the way the video triggers slide changes on the site to be a great way of accomplishing this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a definitive tool-stack that can be used to accomplish something like this? Or is this something we would need to develop in-house using a set of existing tools? How would you do it if you were going to start your own conference?&lt;/p&gt;&#xA;" OwnerUserId="2366" LastActivityDate="2012-05-15T06:06:52.433" Title="How do I.T. conferences record and synchronise video, audio and slides?" Tags="|video|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3995" PostTypeId="1" CreationDate="2012-05-15T04:39:02.977" Score="3" ViewCount="48" Body="&lt;p&gt;Basically, I've recorded a video of gameplay on my DS console using a camcorder, and I want to:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Remove the shaky movement caused by me not having a tripod&lt;/li&gt;&#xA;&lt;li&gt;Stretch the screen to cover the entire viewport.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I'm a complete newbie at video editing, but I've got Adobe After Effects so I figured I'd give it a try. My video is imported and thanks to a tutorial I have it happily tracking the corners of the screen. Now what I need to know is how can I expand that area to fill the viewport?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any tutorials or other step-by-step instructions would be much appreciated!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: Motion tracking isn't quite working the way I'd hoped... If it helps any, the console is black so the video is essentially just the screen surrounded by near-black area. Any idea how to track that?&lt;/p&gt;&#xA;" OwnerUserId="2367" LastActivityDate="2013-07-27T11:09:18.983" Title="Tracking box to full viewport" Tags="|video|video-editor|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3996" PostTypeId="2" ParentId="3969" CreationDate="2012-05-15T05:07:07.043" Score="4" Body="&lt;p&gt;If I understood your question correctly, you want to project a movie on a cinema.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would depend on the projector used by the movie theatre. Most movie theatres use film projectors, for which there really isn't a &quot;quality&quot;, but rather you'd have to worry about getting a decent camera with decent film at the correct size. In this case I don't know much about transferring from digital to film. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the movie theatre uses a digital projector though, they usually come in 2K (2048×1080) at 24 or 48 frames per second, or 4K (4096×2160) at 24 fps if they follow the DCI specification. Basically, get the best camera you can get. 2K should be enough to have a pretty good quality experience at the distance a cinema projection is seen from.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also remember though, the quality does not only depend on the amount of pixels on screen, but also on the compression used, and the sensor of the camera itself, so be prepared for large files or a lot of processing to compress your movie to a high quality profile.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can't get a 2K camera, 1080p should do: it's not too far from 2k: it the same vertical size, &lt;a href=&quot;http://en.wikipedia.org/wiki/File%3aVector_Video_Standards2.svg&quot; rel=&quot;nofollow&quot;&gt;just a little less wide&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Links that might help: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.mkpe.com/digital_cinema/faqs/tech_faqs.php#2K+4K&quot; rel=&quot;nofollow&quot;&gt;http://www.mkpe.com/digital_cinema/faqs/tech_faqs.php#2K+4K&lt;/a&gt;&#xA;http://en.wikipedia.org/wiki/Digital_cinema&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope it helps!&lt;/p&gt;&#xA;" OwnerUserId="732" LastActivityDate="2012-05-15T05:07:07.043" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="3997" PostTypeId="2" ParentId="3994" CreationDate="2012-05-15T06:06:52.433" Score="1" Body="&lt;p&gt;It is a tall order because it requiters combining many different technologies however university I am studying at have this kind of service.&lt;br/&gt; &#xA;Here is their main website: &lt;a href=&quot;https://vips.liedm.lt/en/&quot; rel=&quot;nofollow&quot;&gt;https://vips.liedm.lt/en/&lt;/a&gt; &lt;br/&gt;&#xA;Here is an example &lt;a href=&quot;https://vips.liedm.lt/vflash/klientas/2204/2207/false&quot; rel=&quot;nofollow&quot;&gt;https://vips.liedm.lt/vflash/klientas/2204/2207/false&lt;/a&gt; &lt;br/&gt;&#xA;Check out recorded sessions to get controls in English there is menu call &quot;Kalba&quot; just click it and chose English controls will change to English.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It was developed on Drupal 6 and uses technologies like Flex and flash it uses wowza and red 5 for live video streaming.&lt;/p&gt;&#xA;" OwnerUserId="2363" LastActivityDate="2012-05-15T06:06:52.433" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="3998" PostTypeId="1" CreationDate="2012-05-15T08:55:44.983" Score="2" ViewCount="113" Body="&lt;p&gt;Is there a way to use premiere like the hundreds of other &quot;cheap&quot; video cutters out there?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need a quick way to select a portion of video, for example our source footage is often 1h long, and we need to cut out many 30s clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, this needs to be a fast process, and we cant re-compress those clips on the export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have premiere pro, can this do the job? Every time I try, it wants to compress the footage.&lt;/p&gt;&#xA;" OwnerUserId="2368" LastActivityDate="2015-10-11T18:52:34.320" Title="Extract section from Premiere without re-compression" Tags="|premiere|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4000" PostTypeId="1" CreationDate="2012-05-15T19:31:13.757" Score="3" ViewCount="132" Body="&lt;p&gt;I'm setting up an educational lab which is going to have a number of cameras positioned around the room. Ideally, there would be one button somewhere which we could press to automatically start all the cameras, and when we pressed the stop button, all the cameras would send their video to a computer in the room. What would be the best setup for this? I don't want to have to walk around and press record on five cameras, then walk around and press stop, then attach 5 USB cables, then remove 5 USB cables, etc.&lt;/p&gt;&#xA;" OwnerUserId="2371" LastActivityDate="2016-09-08T16:08:23.743" Title="Camera setup for quick preview/editing" Tags="|video|studio|automation|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4002" PostTypeId="1" AcceptedAnswerId="4037" CreationDate="2012-05-16T08:26:24.697" Score="2" ViewCount="1652" Body="&lt;p&gt;I have the following starting position:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a GoPro Hero 2 and have done some timelapse series. I took them and stitched them together with the software that go pro provides. This all worked well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Problem:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As soon as i want to watch these videos somewhere else, I can't. The software uses some codec apparently belonging to GoPro and obviously most common players won't play anything.&#xA;I already tried to convert the video to a wider accepted format(codec) but I wouldn't get anything I could watch. It either only used the first view pictures and then went black or &#xA;the video was entirely black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Question:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now my question is should I use an other program or is there any easy way to convert my current work into a format(codec) that is wider spread. What software would you suggest to use in such a case. This is only a hobby project so I'm not prepared to spend unreasonable amounts on fully fledged software suites.&lt;/p&gt;&#xA;" OwnerDisplayName="user2373" LastActivityDate="2012-05-25T08:11:48.733" Title="For time-lapse videos, what software should one use?" Tags="|video|software|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4003" PostTypeId="2" ParentId="4002" CreationDate="2012-05-16T10:47:32.837" Score="2" Body="&lt;p&gt;You should have the option of export to QuickTime - which is pretty widely used. And even if you don't like those format options you can convert to something else easily from there. &lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-05-16T10:47:32.837" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="4004" PostTypeId="1" AcceptedAnswerId="4036" CreationDate="2012-05-16T11:02:47.343" Score="0" ViewCount="972" Body="&lt;p&gt;I have some files that when played in jwplayer the playback is corrupt.&#xA;The files are encoded to h.264 using FFMpeg and there is other files encoded in the same way that works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the moment we only use the flash version of the player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The corrupt playback looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://adam.ingmansson.com/public/jwplayer-corrupt-video.png&quot; rel=&quot;nofollow&quot;&gt;http://adam.ingmansson.com/public/jwplayer-corrupt-video.png&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This problem started showing up after we did an upgrade to FFMpeg, so I haven't ruled out that it could be an encoding error.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the command used to run FFMpeg is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg &#xA;    -i /home/ftp/1c8f08b7d0d9e7fa4b24066156ad50bc981497a0.mov &#xA;    -vcodec libx264 &#xA;    -preset ultrafast &#xA;    -profile baseline &#xA;    -acodec libfaac &#xA;    -ab 96k &#xA;    -crf 19 &#xA;    -vf movie=&quot;/home/adam/logo.png [watermark]; [in][watermark] overlay=main_w-overlay_w-10:main_h-overlay_h-10 [out]&quot; &#xA;    -y /home/ftp/1c8f08b7d0d9e7fa4b24066156ad50bc981497a0.flv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I am in no way an expert in FFMpeg commandline, so feel free to point out any mistakes made.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFMpeg info:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version git-2012-05-02-2330eb1 Copyright (c) 2000-2012 the FFmpeg developers&#xA;  built on May  3 2012 08:51:25 with gcc 4.4.3&#xA;  configuration: --enable-gpl --enable-libfaac --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libtheora --enable-libvorbis --enable-libvpx --enable-libx264 --enable-nonfree --enable-version3 --enable-x11grab&#xA;  libavutil      51. 49.100 / 51. 49.100&#xA;  libavcodec     54. 17.101 / 54. 17.101&#xA;  libavformat    54.  3.100 / 54.  3.100&#xA;  libavdevice    53.  4.100 / 53.  4.100&#xA;  libavfilter     2. 72.103 /  2. 72.103&#xA;  libswscale      2.  1.100 /  2.  1.100&#xA;  libswresample   0. 11.100 /  0. 11.100&#xA;  libpostproc    52.  0.100 / 52.  0.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/home/ftp/javarecorder/aeb1038bd3e380782e2293cfdeb56ba8fab0d167.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt&#xA;    creation_time   : 2012-05-15 16:33:35&#xA;  Duration: 00:25:01.00, start: 0.000000, bitrate: 4299 kb/s&#xA;    Stream #0:0(eng): Video: qtrle (rle  / 0x20656C72), rgb24, 1920x1080, 3593 kb/s, 9.24 fps, 1k tbr, 1k tbn, 1k tbc&#xA;    Metadata:&#xA;      creation_time   : 2012-05-15 16:33:35&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:1(eng): Audio: pcm_s16be (twos / 0x736F7774), 44100 Hz, 1 channels, s16, 705 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2012-05-15 16:33:35&#xA;      handler_name    : Apple Alias Data Handler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="2144" LastActivityDate="2012-05-22T06:13:14.640" Title="Corrupt video when playing through JW Player" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4006" PostTypeId="2" ParentId="3625" CreationDate="2012-05-16T13:03:45.723" Score="2" Body="&lt;p&gt;Fixed by updating FFMpeg to newer version&lt;/p&gt;&#xA;" OwnerUserId="2144" LastActivityDate="2012-05-16T13:03:45.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4010" PostTypeId="1" AcceptedAnswerId="8531" CreationDate="2012-05-16T18:34:11.570" Score="0" ViewCount="2695" Body="&lt;p&gt;I'm trying to export a mpeg format sequence to .mov (I need it to be quicktime for a ceratin reason). When I choose the format, e.g. quicktime animation or quicktime H.264, It opens an 'encoding' window, and stays on 0% forever.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Exporting other formats works great. What could be the problem?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd be happy to include more information as soon as I know which info is relevant. &lt;/p&gt;&#xA;" OwnerUserId="1712" LastEditorUserId="2287" LastEditDate="2012-06-27T11:51:05.947" LastActivityDate="2013-08-28T09:28:13.200" Title="Can't export .mov with premiere pro cs5.5?" Tags="|premiere|mpeg|quicktime|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="4014" PostTypeId="1" AcceptedAnswerId="4049" CreationDate="2012-05-16T22:29:54.927" Score="6" ViewCount="5877" Body="&lt;p&gt;I have an hour-long video that I want to split into individual clips at arbitrary timepoints. I could do this by hand in iMovie, or even borrow a machine with Final Cut, but there are upwards of thirty separate clips, so doing it manually strikes me as time-consuming and error-prone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(It's a sequence of recordings for a language textbook, but it's all one file, and it's unwieldy not to be able to separately view, repeat, etc. the chapter-by-chapter clips. Currently it's an H.264 MPEG-4 but I'm not adverse to converting it.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know all the timepoints, and I'd like to feed a list of them to something, or build a script around the list, to produce the split clips without further human intervention. Linux would be okay but Mac OS would be ideal; Windows isn't really an option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suggestions?&lt;/p&gt;&#xA;" OwnerUserId="2379" LastActivityDate="2018-10-06T00:30:40.840" Title="Command-line tool to split video at timepoints?" Tags="|video|editing|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4016" PostTypeId="1" CreationDate="2012-05-17T20:15:50.913" Score="2" ViewCount="2743" Body="&lt;p&gt;My dad has a Sony HXR-NX5E which writes its output to SDHC cards in AVCHD format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wanting to back up his video and not understanding the AVCHD structure, I originally got him to copy the contents of the &lt;code&gt;PRIVATE/BDMV/STREAM/&lt;/code&gt; folder to his backup storage, seeing as they were the video files and they were playable in VideoLan Client.&#xA;My dad filmed multiple separate events onto the same SDHC card and I thought that by separating the &lt;code&gt;*.MTS&lt;/code&gt; files for a each event into a separate folder, we'd be able to separate the events and work with them later.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I now know that we ought to have backed up the entire BDMV folder and in order for him to edit the video and transfer it to Blu-ray or DVD, it's easiest for him if we could recreate a AVCHD structure for the video files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems to me that it ought to be straight-forward to recreate the clip files (&lt;code&gt;*.CLI&lt;/code&gt;) for each of the &lt;code&gt;*.MTS&lt;/code&gt; files and create a single playlist (&lt;code&gt;*.MPL&lt;/code&gt;) file which will play each of the clips in sequence with no menus or anything else (and an &lt;code&gt;INDEX.BDM&lt;/code&gt; and &lt;code&gt;MOVIEOBJ.BDM&lt;/code&gt; file) without touching the &lt;code&gt;MTS&lt;/code&gt; files at all. But after searching for and trying out a bunch of different free and trial programs, I can't seem to find anything which I can get to carry out this task.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have problems with programs creating superfluous menus, insisting on re-encoding the &lt;code&gt;MTS&lt;/code&gt; files and insisting on combing the video into one short file, presumably with all the streams overlapping.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone give me any advice on how I might achieve this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To be clear, I would like an AVCHD which contains no menus, immediately begins playing the first clip and continues playing each clip in sequence until the last one, without re-encoding the video files.&lt;/p&gt;&#xA;" OwnerUserId="2381" LastEditorUserId="2569" LastEditDate="2013-06-25T15:33:23.367" LastActivityDate="2020-11-28T16:56:30.800" Title="Recreate basic AVCHD from MTS files" Tags="|video|file-formats|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4017" PostTypeId="1" AcceptedAnswerId="4018" CreationDate="2012-05-17T20:48:34.190" Score="1" ViewCount="205" Body="&lt;p&gt;Last month I downgraded my AT&amp;amp;T UVerse service and this month I got my first bill -- including a custom video detailing all of my SPECIFIC charges. Custom animations, my own name, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apparantly, this has been around for awhile -- I found this &lt;a href=&quot;http://www.youtube.com/watch?v=JH8i7umh45g&quot; rel=&quot;nofollow&quot;&gt;YouTube video&lt;/a&gt; detailing the bill for a new customer &quot;Brad&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions as to how they do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&#xA;Chris&lt;/p&gt;&#xA;" OwnerUserId="2382" LastActivityDate="2012-05-18T01:06:28.520" Title="How do they create the AT&amp;T Video Bill?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4018" PostTypeId="2" ParentId="4017" CreationDate="2012-05-18T01:06:28.520" Score="2" Body="&lt;p&gt;I use a script for After Effects (&lt;a href=&quot;http://aescripts.com/compsfromspreadsheet/&quot; rel=&quot;nofollow&quot;&gt;CompsFromSpreadsheet&lt;/a&gt;) which generates compositions using the data from a spreadsheet. We use it to batch create graphics with different values - like in the ad. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The script can add different files into the animation at different times, so they probably have a database of all the possible phrases.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The script as it stands couldnt be used to fully automate the process as you still have to specify where the spreadsheet is, but you could easily create a simmilar script which would look for new spreadsheets, apply the data to a template and start a render. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said, I wouldn't be surprised if they had their own in-house software. &lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-18T01:06:28.520" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4025" PostTypeId="1" AcceptedAnswerId="4026" CreationDate="2012-05-20T17:17:51.207" Score="4" ViewCount="4178" Body="&lt;p&gt;I have encountered a probable bug in Premiere Elements 10, and fortunately I've also found a workaround which is why I wrote my own answer below. But since I haven't been able to solve the underlying problem, I'd be very glad for additional ideas on how to fix the problem. Now here's the question:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I salvage a Premiere Elements project file (.prel) that can't be opened because of the following error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Premiere Elements Debug Event&#xA;Premiere Elements has encountered an error:&#xA;[d:\pre\mediacore\mediafoundation\api\inc\Keyframe/Keyframe.h-142]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This error appears to occur sporadically on non-US versions of Windows. There is no previous indication during the editing session that anything may be wrong (saves and auto-saves work fine), but on the next restart, the project can't be opened. Other projects appear to be unaffected. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to other users who have seen the same error (Google for &quot;premiere debug keyframe&quot; and you'll find some), there might be some connection with the introduction of DVD menus into the project, but I'm just speculating here.&lt;/p&gt;&#xA;" OwnerUserId="450" LastEditorUserId="126" LastEditDate="2012-05-21T13:10:04.040" LastActivityDate="2015-01-25T18:03:05.357" Title="Premiere Elements &quot;Debug Event&quot;: Keyframe error" Tags="|premiere|windows|premiere-elements|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4026" PostTypeId="2" ParentId="4025" CreationDate="2012-05-20T17:39:45.423" Score="3" Body="&lt;p&gt;Analyzing the files that fail to open in contrast to those that do open just fine shows one glaring problem: All lines in the &lt;code&gt;project.prel&lt;/code&gt; file (which is just an XML file) where there should be decimal numbers in &lt;code&gt;&amp;lt;StartKeyframe&amp;gt;&lt;/code&gt; or &lt;code&gt;&amp;lt;Keyframe&amp;gt;&lt;/code&gt; tags are damaged. Example: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Correct version:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;StartKeyframe&amp;gt;-91445760000000000,100.,0,0,0.,0.,0.,0.&amp;lt;/StartKeyframe&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Defective version:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;StartKeyframe&amp;gt;-91445760000000000,100,,0,0,0,,0,,0,,0,&amp;lt;/StartKeyframe&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So apparently Premiere Elements at some point got confused by European locale settings and decided to save decimal values using the European decimal separator (comma) instead of the US decimal separator (dot). Of course it's then impossible to open that file correctly ever again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fortunately, at least in my tests, there are only three kinds of decimal values in &lt;code&gt;.prel&lt;/code&gt; files:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;integer floats: &lt;code&gt;1.&lt;/code&gt;, &lt;code&gt;0.&lt;/code&gt;, &lt;code&gt;100.&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;the single value &lt;code&gt;0.5&lt;/code&gt; &lt;/li&gt;&#xA;&lt;li&gt;double precision floats: &lt;code&gt;0.16666666666666666&lt;/code&gt;, &lt;code&gt;1.000000000000000000000000&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This makes it possible to fix the file using a regular expression replace. If your editor supports Perl-style regular expressions, you can search for&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;,(?:(?=[,&amp;lt;]|\d{10})|(?&amp;lt;=\b0,)(?=5\b))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and replace all with&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will replace all erroneous decimal commas (i. e. those that are either followed by another comma, an opening angle bracket, a decimal fraction of at least 10 digits, or the number 5 (but only if that comma is preceded by the single digit 0)) with a decimal point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After that (be sure to back up your &lt;code&gt;.prel&lt;/code&gt; file before you do this!), the file can be opened again correctly. However, as soon as it's saved again, the error is re-introduced.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Therefore, if someone has an idea how to actually fix this problem instead of patching it up with an admittedly wonky regex, I'd be most grateful.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;One hint as to what the underlying problem might be: Around the time the error was introduced, Premiere spontaneously opened a little dialog window that said (in German) something like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;Premiere Elements is updating a component. Information is being transmitted...&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;While this window was displayed, two Win7 UAC boxes popped up, asking me to allow the Windows Regserver to update my system. The actual commands it needed approval for were&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Windows\System32\regsvr32.exe /s &#xA;   &quot;C:\Program Files\Adobe\Adobe Premiere Elements 10\mc_dec_mpa_ds.ax&quot; &#xA;   &quot;C:\Program Files\Adobe\Adobe Premiere Elements 10\mc_dec_mp2v_ds.ax&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Windows\SysWOW64\regsvr32.exe /s &#xA;   &quot;C:\Program Files\Adobe\Adobe Premiere Elements 10\32\mc_dec_mpa_ds.ax&quot; &#xA;   &quot;C:\Program Files\Adobe\Adobe Premiere Elements 10\32\mc_dec_mp2v_ds.ax&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(line breaks inserted for clarity). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first time around, I allowed these actions (which in retrospect may have been a bad idea...); now this happens every time I'm trying to open a &quot;patched&quot; project file. It doesn't matter whether I now allow or refuse it - either way, Premiere writes a corrupted project file when I save my project.&lt;/p&gt;&#xA;" OwnerUserId="450" LastActivityDate="2012-05-20T17:39:45.423" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4032" PostTypeId="1" CreationDate="2012-05-20T23:20:33.833" Score="1" ViewCount="1894" Body="&lt;p&gt;I have an animation I've exported from Flash Pro CS6 as a MOV file with an alpha channel (ignore stage), and I want to do some editing in AE CS6. When I go to import the MOV as Strait-Unmatted, I do get a transparent background, however when I scrub the playhead with transparency grid toggled, &lt;a href=&quot;http://i1224.photobucket.com/albums/ee378/dcd018/Untitled-1.jpg&quot; rel=&quot;nofollow&quot;&gt;a black background appears behind my animation&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried a number of methods found here and elsewhere on the web including keying out black with luma key, but results were undesirable. Is there a way to get rid of the black behind my animation in AE without effecting the rest of my animation? Or is there an export setting I'm missing in Flash Pro?&lt;/p&gt;&#xA;" OwnerDisplayName="dcd018" LastEditorUserId="636" LastEditDate="2012-07-21T13:12:10.370" LastActivityDate="2015-02-17T01:30:29.273" Title="Exported MOV from Flash Pro with alpha channel doesn't retain transparency" Tags="|video|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4033" PostTypeId="1" AcceptedAnswerId="4034" CreationDate="2012-05-21T20:21:27.097" Score="3" ViewCount="10364" Body="&lt;p&gt;Ive got a quicktime VR in .mov format i need to strip the all still frames (in total there are 250) out of it and have them in as individual images, preferably pngs or jpegs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was looking at using quicktime pro for this, is that the right software to do it ? Would you suggest trying another method ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks in advance. &lt;/p&gt;&#xA;" OwnerUserId="2394" LastEditorUserId="2287" LastEditDate="2012-06-29T06:09:02.383" LastActivityDate="2013-09-17T03:45:12.063" Title="exporting .mov vr to multiple still frames" Tags="|software|file-formats|software-recommendation|quicktime|formats|" AnswerCount="2" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="4034" PostTypeId="2" ParentId="4033" CreationDate="2012-05-22T00:03:21.307" Score="3" Body="&lt;p&gt;&lt;strong&gt;Using &lt;a href=&quot;http://support.apple.com/kb/DL923&quot; rel=&quot;nofollow noreferrer&quot;&gt;Quicktime Player 7&lt;/a&gt; you can export any movie file as an Image Sequence&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;Open your .mov&lt;/strong&gt; file using Quicktime 7&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;File &gt; Export&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;In the Export dropdown select &lt;strong&gt;Movie to Image Sequence&lt;/strong&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/BAhJH.jpg&quot; alt=&quot;Export dialogue box&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;Open the options and set the &lt;strong&gt;export format&lt;/strong&gt; (eg JPEG or PNG)&#xA;&lt;img src=&quot;https://i.stack.imgur.com/ZjtVD.jpg&quot; alt=&quot;Image Sequence options&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;If you want just the current frame leave the &lt;strong&gt;frames per second&lt;/strong&gt; blank. Otherwise, enter hte videos frame rate and you will export ALL the frames. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-22T00:03:21.307" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4035" PostTypeId="2" ParentId="4033" CreationDate="2012-05-22T00:34:34.473" Score="0" Body="&lt;p&gt;&lt;strong&gt;You can also use &lt;a href=&quot;http://www.squared5.com/&quot; rel=&quot;nofollow&quot;&gt;MPEG Streamclip&lt;/a&gt; which is FREE!&lt;/strong&gt; (Its also good for files which arent compatible with QT)&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open the movie file with Mpeg Streamclip&lt;/li&gt;&#xA;&lt;li&gt;Choose &lt;strong&gt;File –&gt; Export to other Formats&lt;/strong&gt;.&lt;/li&gt;&#xA;&lt;li&gt;In the export options window: go to the Format drop-down menu and choose &lt;strong&gt;Image Sequence&lt;/strong&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Click &lt;strong&gt;Options&lt;/strong&gt; and choose the image format. (Leave Frame per Seconds at 'best'), click OK.&lt;/li&gt;&#xA;&lt;li&gt;In 'Frame Size', choose 'unscaled' to leave the image at its original size&lt;/li&gt;&#xA;&lt;li&gt;Click OK to export&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-22T00:34:34.473" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4036" PostTypeId="2" ParentId="4004" CreationDate="2012-05-22T06:13:14.640" Score="1" Body="&lt;p&gt;Seems like the framerate was the problem. JW Player seems to have problems playing videos with high framerates (like 1k).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A simple &lt;code&gt;-r 30&lt;/code&gt; in the FFMpeg command seems to have solved it&lt;/p&gt;&#xA;" OwnerUserId="2144" LastActivityDate="2012-05-22T06:13:14.640" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4037" PostTypeId="2" ParentId="4002" CreationDate="2012-05-22T07:40:01.130" Score="4" Body="&lt;p&gt;So I finally got time and dug around. I unearthed multiple options to do a timelapse video, but the one I found best is actually the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The answer is so simple, I just didn't know a time-lapse video could be created with &lt;a href=&quot;http://www.virtualdub.org/&quot; rel=&quot;nofollow&quot;&gt;VirtualDub&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is how you do it and you can install and use your very own and wanted codec: &lt;a href=&quot;http://timelapseblog.com/2009/08/04/using-virtualdub-for-time-lapse/&quot; rel=&quot;nofollow&quot;&gt;manual&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can then work on the time-lapse movie with a video editor of your choice.&lt;/p&gt;&#xA;" OwnerDisplayName="user2373" LastEditorDisplayName="user2373" LastEditDate="2012-05-25T08:11:48.733" LastActivityDate="2012-05-25T08:11:48.733" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4039" PostTypeId="1" CreationDate="2012-05-22T18:48:59.143" Score="0" ViewCount="32" Body="&lt;p&gt;I'm working on a project and one part of the project needs me to create an application that needs to record commercials from the TV shows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically people skip commercials, but in my case I need to record them. and for that Case I will need a trigger to let the recorder know that it is time to record!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is one of the times that I searched Google alot couldn't figure out something!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any advice!&lt;/p&gt;&#xA;" OwnerUserId="2395" LastActivityDate="2012-05-23T18:17:31.033" Title="Automated Commercial Recorder" Tags="|video|digital-recording|" AnswerCount="1" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4043" PostTypeId="2" ParentId="2366" CreationDate="2012-05-23T02:57:05.707" Score="4" Body="&lt;p&gt;What you want to do is make a &lt;strong&gt;sequence&lt;/strong&gt; with the same frame size as your source file (in Premiere and other NLEs your project doesnt have a specific frame size, as you can have multiple sequences with different frame sizes in one project)&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open Premiere and Start a new Project (File &gt; New &gt; Project)&lt;/li&gt;&#xA;&lt;li&gt;Give the project a name and click ok (dont worry about any of the options)&lt;/li&gt;&#xA;&lt;li&gt;In the New Sequence window click Cancel - this will take you straight into the project without making a sequence&lt;/li&gt;&#xA;&lt;li&gt;Import your footage (file &gt; Import)&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Create a new Sequence from clip by either:&lt;/strong&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Dragging the footage down to the New Sequence icon&lt;/strong&gt; (in the project panel) OR &#xA;&lt;img src=&quot;https://i.stack.imgur.com/bL7fX.png&quot; alt=&quot;New Sequence button&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Right click&lt;/strong&gt; on the footage and &lt;strong&gt;select &lt;em&gt;New Sequence from Clip&lt;/em&gt;&lt;/strong&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/i16UL.png&quot; alt=&quot;New Sequence from Clip&quot;&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This will create a sequence that matches the attributes of your footage (frame size, frame rate etc)&lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-23T02:57:05.707" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4045" PostTypeId="1" AcceptedAnswerId="4047" CreationDate="2012-05-23T16:44:08.170" Score="2" ViewCount="273" Body="&lt;p&gt;I have a DVD. Its basically an hour long video that is just a collection of photos that rotate to a new photo every 5 seconds or so. What I am looking for is a program that will convert the entire movie into a collection of jpegs or TIF files. If it converted every frame of the video into an image, that is fine, but preferably I'd like it to detect when the image changes and then capture the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen many programs, like VLC that will capture a single image, but I'm looking for something that is more automated. Anyone have any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="2400" LastEditorUserId="1909" LastEditDate="2012-05-23T19:50:38.990" LastActivityDate="2012-10-09T21:22:30.313" Title="Converting DVD to still images" Tags="|video|time-lapse|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4046" PostTypeId="2" ParentId="4045" CreationDate="2012-05-23T17:34:58.350" Score="0" Body="&lt;p&gt;There are many programs that will do the job for you. Most media converter programs are capable of doing it. Personally I use Adobe Media Encoder, but if you don't want to spend any money, a free one will work just as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found this one: &lt;a href=&quot;http://download.cnet.com/Video-AVI-to-GIF-JPEG-Converter/3000-2194_4-10379741.html&quot; rel=&quot;nofollow&quot;&gt;Video-AVI to GIF/JPG converter&lt;/a&gt;&#xA;It says that you can specify how many frames per second you want. This means that if it changes picture exactly every 5 seconds, you can set it to capture every 120. frame. You take the fps and multiply it by the number of seconds. 24x5 = 120. Thus, it will capture a frame every 5th second. (Be aware that it can be for example 30 fps if you're using the NTSC standard.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It should do exactly the job you need to be done!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Leave me a comment if it works for you or not!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: Do you have the movie in a .AVI file? If you don't, tell me, and I'll explain how you can rip it. (You probably know it already.)&lt;/p&gt;&#xA;" OwnerUserId="1909" LastEditorUserId="1909" LastEditDate="2012-05-23T17:54:13.953" LastActivityDate="2012-05-23T17:54:13.953" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4047" PostTypeId="2" ParentId="4045" CreationDate="2012-05-23T18:14:22.257" Score="1" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -r 0.25 -i video.mpg -f image2 %05d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg&lt;/code&gt; invoke the program&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-r 0.25&lt;/code&gt;  force the frame rate of&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-i video.mpg&lt;/code&gt;  your input file&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-f image2 %05d.png&lt;/code&gt;  force the format of  the output file&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the &lt;a href=&quot;http://ffmpeg.org/about.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg site&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;FFmpeg is the leading multimedia framework, able to decode, encode,&#xA;  transcode, mux, demux, stream, filter and play pretty much anything&#xA;  that humans and machines have created. It supports the most obscure&#xA;  ancient formats up to the cutting edge. No matter if they were&#xA;  designed by some standards committee, the community or a corporation.&#xA;  It contains libavcodec, libavutil, libavformat, libavdevice,&#xA;  libswscale and libswresample which can be used by applications. As&#xA;  well as ffmpeg, ffserver, ffplay and ffprobe which can be used by end&#xA;  users for transcoding, streaming and playing&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="2347" LastEditorUserId="2569" LastEditDate="2012-10-09T21:22:30.313" LastActivityDate="2012-10-09T21:22:30.313" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4048" PostTypeId="2" ParentId="4039" CreationDate="2012-05-23T18:17:31.033" Score="1" Body="&lt;p&gt;Mythtv could be of use to you.  It will automatically mark commercial in points and out points in a recording.  You could modify the their &lt;em&gt;transcode&lt;/em&gt; shell script to cut the program and leave the commercials.  &lt;/p&gt;&#xA;" OwnerUserId="2347" LastActivityDate="2012-05-23T18:17:31.033" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4049" PostTypeId="2" ParentId="4014" CreationDate="2012-05-23T21:28:00.737" Score="5" Body="&lt;p&gt;&lt;a href=&quot;http://howto-pages.org/ffmpeg/#basicvideo&quot; rel=&quot;noreferrer&quot;&gt;ffmpeg&lt;/a&gt; is the obvious choice. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i x.mov -ss 00:05:00 -t 00:01:00 y.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;will split out a segment of the movie 1 minute long from minute 5.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've not had much luck with lip-sync when doing this. I think there a problems with both decoding and re-encoding the GOP structure and the equivalent AAC or MPEG1 audio structures; but the underlying issue must be that the audio and video frame rates are not linked, e.g. 48 kHz for the audio and 29.97 fps.&lt;/p&gt;&#xA;" OwnerUserId="2265" LastActivityDate="2012-05-23T21:28:00.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4051" PostTypeId="2" ParentId="3079" CreationDate="2012-05-24T00:19:44.517" Score="1" Body="&lt;p&gt;If you have &lt;a href=&quot;http://en.wikipedia.org/wiki/Compressor_%28software%29&quot; rel=&quot;nofollow&quot;&gt;Compressor&lt;/a&gt; installed (comes with the Final Cut 7 Studio) you can &lt;a href=&quot;http://library.creativecow.net/ross_shane/visible-timecode/1&quot; rel=&quot;nofollow&quot;&gt;burn-in a timecode&lt;/a&gt; to a video. You need to setup a preset at the beginning, but then you can make a droplet for further use. &lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-24T00:19:44.517" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4054" PostTypeId="1" AcceptedAnswerId="4060" CreationDate="2012-05-24T04:02:37.557" Score="4" ViewCount="7952" Body="&lt;p&gt;I notice this on a regular basis while watching videos I've downloaded. The image will alternate pretty quickly between blurry and sharp and sometimes the effect is quite drastic. Below is an example image of a tree and the difference between two frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/peOzz.jpg&quot; alt=&quot;Two frames less than a second apart&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What is this effect called and why does it happen&lt;/strong&gt;? I'm fairly certain it has to do with compression but what is going on?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you receive a video like this and there's nothing you can do with how it was rendered or processed, &lt;strong&gt;is there anything you can do after the fact to minimize the effect&lt;/strong&gt;? Settings in your video player maybe?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This particular screen shot was taken in Windows Media Player on Windows 7 playing an AVI file. The effect is still visible in VLC and I first noticed this while playing video through my PS3 off a harddrive. I can't say for sure, but I'm fairly certain that it's happened on multiple file types as well.&lt;/p&gt;&#xA;" OwnerUserId="2405" LastEditorUserId="2405" LastEditDate="2012-05-25T17:27:38.637" LastActivityDate="2012-05-27T16:05:19.197" Title="Why is my video alternating between blurry and sharp?" Tags="|video|video-quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4060" PostTypeId="2" ParentId="4054" CreationDate="2012-05-26T06:07:06.630" Score="5" Body="&lt;p&gt;The effect that you've seen is a side effect of the compression algorithm that was used to encode the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The most common compression algorithms (MPEG-4 and MPEG-2 among them) compress different frames with different methods, and that is why two very close and relatively similar frames may look so different.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The frame that looks pretty good is likely a &lt;em&gt;keyframe&lt;/em&gt;. This is a frame that has all its pixels represented in the encoded stream. The compression introduces some loss of quality, but since the whole image is encoded the result typically looks good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The image that looks bad is a frame that is not fully represented in the encoded stream. To make videos smaller, for certain parts of the picture the encoder references parts of previous frames that the player/decoder keeps stored in memory, so only the parts that are different are stored for the frame. Because of this these frames end up being a sort of collage. If the bitrate is too low, then you end up with really washed up images like the one you show. But increasing the bitrate enough helps dissimulate this effect, to the point that it is barely or not noticeable. Consider that all the TV that you watch (digital over the air, satellite, FIOS, cable, etc.) is encoded in this way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For MPEG-2 it is common practice to insert a keyframe in the stream every half a second (15 frames for 29.97fps video, 12 frames for 25fps). For H.264 sometimes they go even longer than half a second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general, the image quality of a compressed video is at its highest at the keyframe points, and then slowly starts to degrade, going up again with the next keyframe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a more detailed explanation of frame types used in compression algorithms see the Wikipedia article &lt;a href=&quot;http://en.wikipedia.org/wiki/Video_compression_picture_types&quot; rel=&quot;nofollow&quot;&gt;Video compression picture types&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately a player cannot improve the quality of the video, since the problem is that the information to reproduce the frame with better quality isn't there. The only ways to address this is by increasing the bitrate when encoding and/or increase the number of keyframes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the player side I think the only thing you can do is play the video in a smaller window, so then these artifacts will be less visible.&lt;/p&gt;&#xA;" OwnerUserId="1898" LastEditorUserId="1898" LastEditDate="2012-05-27T16:05:19.197" LastActivityDate="2012-05-27T16:05:19.197" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4061" PostTypeId="1" CreationDate="2012-05-26T21:45:09.167" Score="3" ViewCount="1191" Body="&lt;p&gt;SDI video coming out of cameras can trigger the video recorder to start and stop via ancillary packets usually contained in the HANC space.  I've found the ARRI specification for this packet in their white paper &lt;a href=&quot;http://www.arri.de/?eID=registration&amp;amp;file_uid=8295&quot; rel=&quot;nofollow&quot;&gt;Metadata_in_the_ALEXA.pdf&lt;/a&gt;, but not all recorders work with it.  Where to find the packet specification for Sony, Red and/or Panasonic? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After contacting a manufacturer, I found out that a popular way to flag record is to set the MSB bit of binary group 1 of the RP188 timecode ancillary packet. &lt;/p&gt;&#xA;" OwnerUserId="2416" LastEditorUserId="2416" LastEditDate="2013-06-03T21:19:02.780" LastActivityDate="2013-06-03T21:19:02.780" Title="What are or where to find SDI record start/stop ancillary packet specification for Sony, Red or Panasonic" Tags="|video|digital-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4063" PostTypeId="1" CreationDate="2012-05-26T23:01:35.500" Score="0" ViewCount="418" Body="&lt;p&gt;I want to start producing short promotional videos for products, services, events, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I figure the first thing to do is: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Know how to find examples of 3-5 minute promotional videos,&lt;/li&gt;&#xA;&lt;li&gt;Learn how to critique the how the video expresses it's message, and &lt;/li&gt;&#xA;&lt;li&gt;Access the cost required to produce the video.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Any suggested resources for learning to do this?&lt;/p&gt;&#xA;" OwnerUserId="2418" LastActivityDate="2017-08-31T11:02:46.223" Title="How to critique promotional videos?" Tags="|producing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4066" PostTypeId="1" CreationDate="2012-05-26T21:53:55.233" Score="0" ViewCount="87" Body="&lt;p&gt;In the attached video, the camera films the crowd from above. How is this achieved? What kind of equipment is the camera equipped with?  &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/gOomBSTTzrU#t=182a?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="idober" LastEditorUserId="2836" LastEditDate="2014-11-11T14:39:22.827" LastActivityDate="2014-11-11T14:39:22.827" Title="kind of equipment used in this video" Tags="|camera|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4072" PostTypeId="2" ParentId="3850" CreationDate="2012-05-28T00:54:24.867" Score="0" Body="&lt;p&gt;Have a look at AEScripts &lt;a href=&quot;http://aescripts.com/tv-distortion-bundle/&quot; rel=&quot;nofollow noreferrer&quot;&gt;TV Distortion Bundle&lt;/a&gt;. It has a bunch of scripts that can be used to create distortion and artefacts on videos. Its just a matter of tweaking them to your liking and then keyframing the settings rather than just using a preset. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/WSfo8.jpg&quot; alt=&quot;glitch effect&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From AE Scripts:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;&lt;strong&gt;DataGlitch&lt;/strong&gt;: Data Glitch creates realistic digital image glitch    effects on the fly. You can control the glitch pattern, type of&lt;br&gt;&#xA;  glitch and create awesome audio reactive image glitch effects. Data&lt;br&gt;&#xA;  Glitch also helps you to create controllable compression artifacts&lt;br&gt;&#xA;  with ease.  &lt;/li&gt;&#xA;  &lt;li&gt;&lt;strong&gt;BadTV&lt;/strong&gt;: BadTV    creates realistic analog TV distortion with control over    vertical,horizontal syncs and scanline distortion. &#xA;  Simulates VCR, DV    Tape and Poor Reception Television effects. &lt;/li&gt;&#xA;  &lt;li&gt;&lt;strong&gt;TVPixel&lt;/strong&gt;: TVPixel is a plugin for After    Effects and Premiere Pro that pixelates your image into R,G,B Pixels    like a real TV/LCD&#xA;  Screen. &lt;/li&gt;&#xA;  &lt;li&gt;&lt;strong&gt;Dot Pixels&lt;/strong&gt;: A native plugin for After Effects and    Premiere Pro to pixelate your image into circles and rings. &lt;/li&gt;&#xA;  &lt;li&gt;&lt;strong&gt;Separate RGB&lt;/strong&gt;:    Separate RGB separates the individual R,G,B channels. Not only you    can separate them but you can also offset,&#xA;  fade and rotate individual    channels in a single layer. You can&#xA;  create many color distortion    effects including Chromatic&#xA;  Aberration.&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-28T00:54:24.867" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4073" PostTypeId="2" ParentId="4066" CreationDate="2012-05-28T01:34:42.647" Score="2" Body="&lt;p&gt;As Jared said, probably not the most relevant question. But if I wanted to get a simmilar kind of shot I'd put a &lt;a href=&quot;http://gopro.com/&quot; rel=&quot;nofollow&quot;&gt;GoPro&lt;/a&gt; on a &lt;a href=&quot;https://encrypted.google.com/#hl=en&amp;amp;gs_nf=1&amp;amp;cp=8&amp;amp;gs_id=w&amp;amp;xhr=t&amp;amp;q=boom+pole&amp;amp;pf=p&amp;amp;output=search&amp;amp;sclient=psy-ab&amp;amp;oq=boom+pol&amp;amp;aq=0&amp;amp;aqi=g4&amp;amp;aql=&amp;amp;gs_l=&amp;amp;pbx=1&amp;amp;bav=on.2,or.r_gc.r_pw.r_qf.,cf.osb&amp;amp;fp=11b35ad57e24ec16&amp;amp;biw=1312&amp;amp;bih=929&quot; rel=&quot;nofollow&quot;&gt;boom pole&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-28T01:34:42.647" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4074" PostTypeId="2" ParentId="4063" CreationDate="2012-05-28T01:47:11.067" Score="1" Body="&lt;p&gt;A quick google and the &lt;strong&gt;3rd result&lt;/strong&gt; is this article on &lt;a href=&quot;http://www.clicknewz.com/1995/how-to-write-a-product-review/&quot; rel=&quot;nofollow&quot;&gt;how to write a product review&lt;/a&gt;...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finding examples is easy, just do a youtube search or google &quot;Canon 550d Video Review&quot; or any other product event or service. Just add &quot;video review&quot; to the end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I dont think you will find any specific tutorials or resources on how to produce review videos. Making good review videos comes from experience. Either because the producer has been educated in writing &amp;amp; marketing or because they have done it many times before and have worked out what 'works' and what doesnt. Just look at the reviews that are already out there  and model yourself off those. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cost is simple: What equipment do you need?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Camera&lt;/li&gt;&#xA;&lt;li&gt;Lights&lt;/li&gt;&#xA;&lt;li&gt;Microphone &lt;/li&gt;&#xA;&lt;li&gt;Editing Software (eg Final Cut)&lt;/li&gt;&#xA;&lt;li&gt;Editing Hardware (eg Laptop)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-28T01:47:11.067" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4076" PostTypeId="1" CreationDate="2012-05-28T11:43:09.017" Score="3" ViewCount="142" Body="&lt;p&gt;Hi I'm preparing for my exam tomorrow and I've come across a 17 Mark question which seems trivially easy, so I think I'm missing a key point giving the rest of this exam is fairly difficult. The question is below and my attempt is below that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/FgJFB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/d9qAy.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My attempt:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I looked up video capture on wikipedia and it defined it as the process of converting an analog signal to digital - so I took the point at which frames were captured as being after they were digitised. We are told to ignore the time taken for compression and decompression, so the next part is just to send the data. The total amount of data in the frame sequence is 54KB (I'm not sure why the frame sequence starts and ends with an I-frame to be honest - doesn't seem to make sense). So to transfer 1s of video will take 0.27s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To be play a second of frames smoothly the the playout buffer must contain 25 frames minimum. The sequence of frames is IBBPBBI which has a total size of 54 KB. In one second the playout is 54 x 25 = 0.432 MB/s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm pretty sure that we would need to make some estimations to solve the rest of this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As always I'm open to any suggestions! Thanks for reading :D&lt;/p&gt;&#xA;" OwnerUserId="2415" LastActivityDate="2014-02-28T20:37:09.703" Title="Exam Question - end-to-end delay from video capture to video playout" Tags="|video|compression|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4080" PostTypeId="1" CreationDate="2012-05-28T23:18:36.793" Score="4" ViewCount="1764" Body="&lt;p&gt;I make an action(combat) short-length film and I use After Effects and 3DS MAX to edit it.&#xA;I want to make a battle scene where the one guy hits another guy and the second one is thrown away like a ragdoll.Could anyone please give me some advices or guide how to do an effect like this?&#xA;The following video resembles a good example of the effect that i am trying to create.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/XoJ3fNZ_774?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way i found effective is to crop the &quot;ragdoll&quot; guy and manipulate it by using the puppet tool (from after effects)...Also blur would hide the fake effect...  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you! :)  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S.:The following 2 links are samples of the film that I am making!Hope you enjoy it!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://dl.dropbox.com/u/48212109/the_battle_final.flv&quot; rel=&quot;nofollow&quot;&gt;http://dl.dropbox.com/u/48212109/the_battle_final.flv&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://dl.dropbox.com/u/48212109/the_battle_part6.flv&quot; rel=&quot;nofollow&quot;&gt;http://dl.dropbox.com/u/48212109/the_battle_part6.flv&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2425" LastEditorUserId="2425" LastEditDate="2012-05-30T17:02:21.747" LastActivityDate="2012-09-03T22:01:53.470" Title="How to create a ragdoll effect on a human?" Tags="|editing|effects|video-editor|after-effects|special-effects|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="4085" PostTypeId="1" CreationDate="2012-05-29T04:58:41.583" Score="2" ViewCount="194" Body="&lt;p&gt;I don't have much clue about 3D modeling or Animation. I'm good at programming &amp;amp; Graphic designing though. Thing is I want to do something like shown in this 15second video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/-QAvpl8oTtI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To be more specific, I need some 3D text as shown in the video as a slideshow. I need to create a 15-30 second video of that kind. Then I'll also have to record voice over it. That I can do in video editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you know a quick tutorial of this kind, that would be a great help too. Kindly help.&lt;/p&gt;&#xA;" OwnerUserId="1280" LastEditorUserId="126" LastEditDate="2012-05-29T14:12:53.730" LastActivityDate="2012-05-29T14:12:53.730" Title="How can I create this 3D text video presentation?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4086" PostTypeId="1" CreationDate="2012-05-29T06:17:59.347" Score="0" ViewCount="1390" Body="&lt;p&gt;If you open this &lt;a href=&quot;https://vimeo.com/31836169&quot; rel=&quot;nofollow&quot;&gt;video on vimeo&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then fast forward to 00:56 on the timeline you can see a text animation where the blocks of text appear like there are being flipped and falling. I want to know what plugin or pre-set animation they are using in After Effects to achieve the same. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need more clarity on the question please let me know. Thanks&lt;/p&gt;&#xA;" OwnerUserId="2428" LastActivityDate="2012-05-29T07:40:58.100" Title="Which Text falling and flipping animation preset or plugin is used in after effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4087" PostTypeId="2" ParentId="4086" CreationDate="2012-05-29T07:40:58.100" Score="3" Body="&lt;p&gt;&lt;strong&gt;They haven't used a preset or plugin.&lt;/strong&gt; They have animated it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Achieving this effect in After Effects is done by &lt;a href=&quot;http://help.adobe.com/en_US/aftereffects/cs/using/WSC6FF4D87-B70E-430f-B432-09061F7FCAFBa.html&quot; rel=&quot;nofollow&quot;&gt;enabling 3D on the layer&lt;/a&gt;, positioning the &lt;a href=&quot;http://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103906c6dea-7dd2a.html#WS3878526689cb91655866c1103906c6dea-7dada&quot; rel=&quot;nofollow&quot;&gt;anchor point&lt;/a&gt; and then &lt;a href=&quot;http://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103906c6dea-7e33a.html&quot; rel=&quot;nofollow&quot;&gt;animating the rotation&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-29T07:40:58.100" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4088" PostTypeId="2" ParentId="4085" CreationDate="2012-05-29T07:47:48.157" Score="2" Body="&lt;p&gt;I use the &lt;a href=&quot;http://aescripts.com/3d-extruder/&quot; rel=&quot;nofollow&quot;&gt;3D Extruder&lt;/a&gt; plugin/script for After Effects CS5.5 to create the 3D text, then I'll create a camera to animate the movement. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The tutorials plus network has a lot of &lt;a href=&quot;http://ae.tutsplus.com/articles/news/3d-text-in-after-effects/&quot; rel=&quot;nofollow&quot;&gt;great tutorials&lt;/a&gt;. Though I've never actually watched any of the ones on 3D text...&lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-29T07:47:48.157" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4089" PostTypeId="1" CreationDate="2012-05-29T15:46:20.133" Score="3" ViewCount="2007" Body="&lt;p&gt;Are there any tutorials on how to create animated 'coding', where it looks like code is being typed in? I want to do something similar to this: &lt;a href=&quot;http://footage.shutterstock.com/clip-1355773-stock-footage-a-d-animation-about-the-network-data-flow.html&quot; rel=&quot;nofollow&quot;&gt;http://footage.shutterstock.com/clip-1355773-stock-footage-a-d-animation-about-the-network-data-flow.html&lt;/a&gt;. In that video about half way through it pans to a section where it looks like code is being typed in. &lt;/p&gt;&#xA;" OwnerUserId="2429" LastEditorUserId="126" LastEditDate="2012-05-30T13:23:42.847" LastActivityDate="2012-06-06T19:38:01.490" Title="After Effects - How do I create animated coding" Tags="|after-effects|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4091" PostTypeId="2" ParentId="4089" CreationDate="2012-05-30T04:22:27.230" Score="1" Body="&lt;p&gt;I dont know of any tutorials off hand (you will need to do a google) but to animate text to make it look as if its typing on isnt too hard:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create your text layer&lt;/li&gt;&#xA;&lt;li&gt;Expand the later (clicking the white triangle next to the name)&lt;/li&gt;&#xA;&lt;li&gt;Click on the animate button &gt; select Opacity&lt;/li&gt;&#xA;&lt;li&gt;Now you can use the range selectors to animate what is changed.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;There is also a typewriter preset in the Effects and Presets panel which does the same thing. &lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-05-30T04:22:27.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4096" PostTypeId="1" AcceptedAnswerId="4097" CreationDate="2012-05-31T18:22:15.230" Score="3" ViewCount="975" Body="&lt;p&gt;Can someone suggest good softwares for making a video tutorial of computer screen, like is done on most computer tutoring sites?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking a software that can capture a video of my blackberry simulator run so that the client can preview the look and feel of an app on the device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please suggest software that is freely available and which doesn't add any watermarks.&lt;/p&gt;&#xA;" OwnerUserId="2439" LastEditorUserId="1530" LastEditDate="2012-09-11T01:20:04.210" LastActivityDate="2017-07-12T07:50:54.053" Title="How to record a video of computer screen movements" Tags="|video|screen-casting|" AnswerCount="3" CommentCount="3" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4097" PostTypeId="2" ParentId="4096" CreationDate="2012-05-31T19:05:01.460" Score="1" Body="&lt;p&gt;There are a large number of these, mostly advertised on gaming websites, but I think this question may be too localised. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Google will find you many, 2 seconds found me this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.anewmorning.com/2009/01/06/5-free-alternatives-to-fraps/&quot; rel=&quot;nofollow&quot;&gt;http://www.anewmorning.com/2009/01/06/5-free-alternatives-to-fraps/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And if you want to find a good one, that link gives some information about each one.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-05-31T19:05:01.460" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="4100" PostTypeId="1" CreationDate="2012-06-02T22:44:18.107" Score="4" ViewCount="322" Body="&lt;p&gt;I had some old 8mm (16fps) and Super-8 (18fps) film transfered to HD video (1080p30).  Since the video is 30fps, they telecined it, duplicating frames.  The telecine pattern (from looking at the video frame-by frame) appears to be:&#xA;AA&#xA;BB&#xA;CC&#xA;D&#xA;EEE&#xA;FF&#xA;G&#xA;HH&#xA;II&#xA;JJ&#xA;KK&#xA;L&#xA;MMM&#xA;NN&#xA;O&#xA;PP&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which seems breathtakingly awful from a playback point of view.  It should have been something like:&#xA;A&#xA;BB&#xA;CC&#xA;DD&#xA;EE&#xA;FF&#xA;GG&#xA;HH&#xA;I&#xA;JJ&#xA;KK&#xA;LL&#xA;MM&#xA;NN&#xA;OO&#xA;PP &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is:  &lt;strong&gt;Are there any tools out there that can fix this?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My secondary question is: Should this have been digitized at 16fps?  Seems like that would minimize file size, introduce no errors (like I'm dealing with now) and let the playback engine decide how best to convert the frame rate (when needed).&lt;/p&gt;&#xA;" OwnerUserId="2163" LastActivityDate="2013-01-05T14:32:17.913" Title="Fixing a badly telecined 8mm film digitization" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4104" PostTypeId="1" AcceptedAnswerId="4113" CreationDate="2012-06-04T10:13:28.997" Score="1" ViewCount="84" Body="&lt;p&gt;I just bought a Sony camcorder that records videos in AVCHD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I only have a modest, older XP host with an Athlon 64 X2 5200+ and 2GB of RAM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It looks like I should first convert the AVCHD files into something smaller before editing the segments with standard applications. I need to edit videos I took over a vacation, so lower quality is OK.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would you recommend I do?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="2445" LastActivityDate="2012-06-06T15:25:14.633" Title="Editing AVCHD on older XP host?" Tags="|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4105" PostTypeId="1" AcceptedAnswerId="4111" CreationDate="2012-06-04T14:21:19.737" Score="5" ViewCount="1979" Body="&lt;p&gt;I am a PC user and use Sony Vegas Pro. I really like it for editing purposes. I do not like Adobe Premier or Avid which work on Windows and believe that the top 3 tools are AVID, Sony Vegas, and Premier. Can Vegas be used for professional productions today or semi pro; is the quality and tools up to notch? Can it compare to Final Cut Pro which I see professionals use?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The criteria can vary but in general if it is feasible. &lt;/p&gt;&#xA;" OwnerUserId="540" LastEditorUserId="636" LastEditDate="2012-06-23T19:43:55.083" LastActivityDate="2019-01-05T01:23:31.660" Title="Can Sony Vegas Pro be used or compared to the output produced by Final Cut Pro for professional use?" Tags="|video-editor|final-cut-pro|video-quality|vegas-pro|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4108" PostTypeId="1" CreationDate="2012-06-04T17:24:52.720" Score="9" ViewCount="15933" Body="&lt;p&gt;Anyone know of a program that will add a visible date and time stamp to a video file? Preferably, I can just put in the start time of the video and it will just keep incrementing the time as the video plays.&lt;/p&gt;&#xA;" OwnerUserId="2400" LastActivityDate="2017-05-24T14:49:53.730" Title="Adding a time stamp to a video" Tags="|video|timecode|" AnswerCount="6" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4109" PostTypeId="2" ParentId="4105" CreationDate="2012-06-04T17:46:42.243" Score="4" Body="&lt;p&gt;The way you've phrased this question makes it meaningless. Of course you can use Vegas for professional and semi-professional work. Of course you can compare the output of Vegas with other professional production tools. The problem is that &quot;professional and semi-professional work&quot; is such a broad field that you will always be able to find some situation where some tool is appropriate. Even MS Paint. (I'm sure someone has manually drawn animation frames with Paint and stacked them up for a music video or short animated logo)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For small projects that you can complete entirely by yourself, all that matters is the final output. If you can produce a product pleasing to your client with Vegas, then go right ahead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For larger projects where you need to share your intermediate work with other professionals, you may need to use the same tools that they use. But those tools will depend on the other professionals that you work with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: It has been a while since I've used Vegas, but I would guess that it would be a perfectly adequate tool for internal corporate communications work. On the other hand, I doubt Michael Bay uses Vegas much.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2012-06-04T21:34:32.727" LastActivityDate="2012-06-04T21:34:32.727" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="4110" PostTypeId="2" ParentId="4108" CreationDate="2012-06-04T18:50:05.517" Score="1" Body="&lt;p&gt;Most pro non-linear editors (NLEs) such as Vegas or FinalCut include something to do that. Search the documentation for &quot;timecode burn&quot; or &quot;window burn&quot;. I know in Sony Vegas it's one of the text effects. While it's possible that the prosumer NLEs like Windows Movie Maker, iMovie, Vegas Studio may have that functionality, I just don't know about those products for sure. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;good luck!&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-06-04T18:50:05.517" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="4111" PostTypeId="2" ParentId="4105" CreationDate="2012-06-04T19:35:29.690" Score="11" Body="&lt;p&gt;Vegas is a mature, full-featured NLE. I use it regularly for professional work from spots, to corporate video to feature films. I've also used it for semi-professional things like editing a video of my stepdaughter's choir concert for a Christmas DVD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's where I run into problems. My producing partner is all about FCP. There's no clean way to export an EDL between our two systems so that we can BOTH edit. We work around it. If there's something with Sony's proprietary HD format that's somewhere between HDV and XDCAM, or DSLR footage from a Nikon, I edit because Vegas imports those clips easily. When FCP imports those formats, it ranges from not recognizing the file to displaying interlace artifacts. On the other hand, my Vegas setup chokes on Canon HDV, so that gets edited on FCP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whether using FCP or Vegas, the output is comparable, I'm not saying identical because of inherent differences in how MacOS/FCP and Windows/Vegas implement the various output codecs. Needless to say, though, our material from FCP and Vegas has been used in every media from Broadcast to family videos. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The tool, in and of itself, it not the issue. Professionalism comes from a.) the footage and b.) the skill of the editor. Shoot a corporate video with the onboard mic, no tripod and no lights and Eisenstein himself couldn't make that a professional looking edit. Conversely, light and mic a two year old's dance recital, shoot it with three Steadicams for proper coverage, and you'll get something worthy of a broadcast dance show. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's just that for some projects, I need a phillips head and for some I need a flathead. It doesn't matter if Vegas in the flathead or the phillips and FCP the other. Which one is the best for the job? No one's comparing MSPaint to Vegas...it's just a tool, and if you use it right, you'll be very pleased wit the results. &lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-06-04T19:35:29.690" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4113" PostTypeId="2" ParentId="4104" CreationDate="2012-06-05T18:14:35.627" Score="2" Body="&lt;p&gt;Remember every time a video is transcoded or rendered you will loose some quality. Why not consider getting Vegas Movie Studio. Version 9 through the current version 11 are compatible with WinXP and can handle the AVCHD format just fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Vegas Movie Studio is the light or home version of Vegas Pro and costs about 84% less.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are only editing simple scene to scene, not multitracking video as in compositing, and keeping it simple, any of these versions should work on your WinXP machine. The older the version the cheaper the cost, for instance Vegas Movie Studio 11 (current verison) is running about $94 while the older version 9 maybe as little as $75 on amazon.com or less on EBay. This way you can edit your original AVCHD files and only have to render once.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I ran Vegas Movie Studio 9 before upgrading to the pro version and found it perfect for simple scene to scene edits, and it has a multitrack audio too so can have voice, effects, Foley, ambient, and music all on their own tracks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you choose to do this, I would run a test with how long vs how many effects you can get Vegas Movie Studio to do on this older machine so you will know what the limits are. Even with a quad core running 4 GB of DRAM on Win7, I have learned there are limits what I can do with the Pro Version of Vegas 10. This is extremely useful to know as you will be able to walk into a project knowing if your gear can handle it or if you will have to seek workarounds, like breaking a project in half and rendering separately or not.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-06-05T18:14:35.627" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4114" PostTypeId="2" ParentId="4080" CreationDate="2012-06-05T21:06:21.297" Score="1" Body="&lt;p&gt;it's not super realistic but this tutorial uses the puppet tool in AE to simluate a ragdoll effect as the dude is crumpled over the hood.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.videocopilot.net/tutorials/advanced_car_hit/&quot; rel=&quot;nofollow&quot;&gt;http://www.videocopilot.net/tutorials/advanced_car_hit/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2453" LastActivityDate="2012-06-05T21:06:21.297" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4115" PostTypeId="2" ParentId="4089" CreationDate="2012-06-05T21:08:43.493" Score="1" Body="&lt;p&gt;There's some text animation effects you can use to automate it.&#xA;This tutorial &lt;a href=&quot;http://www.videocopilot.net/tutorials/text_blur_titles/&quot; rel=&quot;nofollow&quot;&gt;http://www.videocopilot.net/tutorials/text_blur_titles/&lt;/a&gt; uses the text animation blur, one of the others is text typing.&lt;/p&gt;&#xA;" OwnerUserId="2453" LastActivityDate="2012-06-05T21:08:43.493" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4116" PostTypeId="2" ParentId="4104" CreationDate="2012-06-06T05:50:03.170" Score="2" Body="&lt;p&gt;In the early days of AVC where pretty much nobody had a computer that can decode H.264 with decent performance it was standard to transcode to an intermediate format for editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are many choices for an intermediate format. An important quality of the intermediate codec is that it is intra-coded, meaning that each frame is encoded independently, without depending on other frames (this referencing of other frames is one of the reasons that make AVCHD/H.264 so slow to work with during editing).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming you have plenty of disk space, then a good option is to go with a lossless codec, like &lt;a href=&quot;http://en.wikipedia.org/wiki/Huffyuv&quot; rel=&quot;nofollow&quot;&gt;HuffYUV&lt;/a&gt; or &lt;a href=&quot;http://en.wikipedia.org/wiki/Lagarith&quot; rel=&quot;nofollow&quot;&gt;Lagarith&lt;/a&gt;. These will preserve the original quality of your AVCHD source, but will decode a lot faster, while taking a lot more disk space.&lt;/p&gt;&#xA;" OwnerUserId="1898" LastEditorUserId="1898" LastEditDate="2012-06-06T15:25:14.633" LastActivityDate="2012-06-06T15:25:14.633" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4117" PostTypeId="2" ParentId="4032" CreationDate="2012-06-06T14:09:26.820" Score="2" Body="&lt;p&gt;Seeing as this appears to be a bug, my only suggestion is to export it as a PNG sequence. At my work we always transfer from Flash to AE as a PNG sequence, as we find MOV notoriously unreliable and buggy. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need to retain an audio track, try exporting that separately as a WAV or MP3 and placing it on your timeline in AE.&lt;/p&gt;&#xA;" OwnerUserId="2457" LastActivityDate="2012-06-06T14:09:26.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4118" PostTypeId="2" ParentId="4032" CreationDate="2012-06-06T17:36:21.100" Score="1" Body="&lt;p&gt;Sometimes you can pick number of colors for output like 256, if the option doesn't have a + symbol after it, it doesn't actually output the matte properly.&lt;br&gt;&#xA;Or at least I've had a similar problem when outputting stuff with a trasnparency in AE&lt;/p&gt;&#xA;" OwnerUserId="2453" LastActivityDate="2012-06-06T17:36:21.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4119" PostTypeId="2" ParentId="3911" CreationDate="2012-06-06T17:41:42.933" Score="2" Body="&lt;p&gt;Adobe Premiere Elements is like $80 and does all that including stabilization.&#xA;I use Premiere pro on my main comp and you elements on my backup computer since I couldn't afford another copy.&#xA;It's not free but I've looked for free editors and you won't find anything free that does stabilization.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Elements project files can be imported in to Premiere Pro so you can work on something and send the project file, files and folder to a pro and he can work with it from there.&lt;/p&gt;&#xA;" OwnerUserId="2453" LastActivityDate="2012-06-06T17:41:42.933" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4120" PostTypeId="2" ParentId="4096" CreationDate="2012-06-06T17:44:11.060" Score="4" Body="&lt;p&gt;I love using Camstudio!&#xA;It's free I've used it , not the best interface but great to use until you are willing to pony up $300 for Camtasia.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://camstudio.org/&quot; rel=&quot;nofollow&quot;&gt;http://camstudio.org/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2453" LastActivityDate="2012-06-06T17:44:11.060" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4122" PostTypeId="2" ParentId="4089" CreationDate="2012-06-06T19:38:01.490" Score="1" Body="&lt;p&gt;This may not be exactly what you are after, but the simplest way could be to use a screen recording tool to record you typing the code. Have a look at &lt;a href=&quot;https://video.stackexchange.com/q/4096/674&quot;&gt;this question&lt;/a&gt; for guidance - it is very easy to do, and you can time it as you like, rather than have to worry about setting animation schedules etc.&lt;/p&gt;&#xA;" OwnerUserId="674" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2012-06-06T19:38:01.490" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4123" PostTypeId="2" ParentId="3685" CreationDate="2012-06-06T19:46:05.643" Score="2" Body="&lt;p&gt;The GIMP has a GIF Animation Package that can convert MP4 to gif.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can just use the Split Video into Frames function, which will split each frame into a layer in GIMP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then when you Save As, select .gif and choose Save as Animation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Photoshop has a similar function, but I haven't used it for a while now.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-06-06T19:46:05.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4129" PostTypeId="2" ParentId="2274" CreationDate="2012-06-07T00:07:41.050" Score="3" Body="&lt;p&gt;&lt;a href=&quot;http://www.openshot.org/&quot; rel=&quot;nofollow&quot;&gt;OpenShot&lt;/a&gt; is easy to use. Only for Linux.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;OpenShot Video Editor is a free, open-source video editor for Linux licensed under the GPL version 3.0. It can take your videos, photos, and music files and easily add sub-titles, transitions, and effects, and then export your film to DVD, YouTube, Vimeo, Xbox 360, and many other common formats.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="2459" LastEditorUserId="3561" LastEditDate="2015-10-15T08:21:12.990" LastActivityDate="2015-10-15T08:21:12.990" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4136" PostTypeId="1" AcceptedAnswerId="4137" CreationDate="2012-06-07T23:10:07.200" Score="1" ViewCount="770" Body="&lt;p&gt;I have read that from the NLE video editors Sony Vegas Pro is better than the competitors in terms of the audio editing capabilities. But using it there still seem to be a limited set. Mostly the editing is the addition of plugin effects or to open the audio in another editor. Am I missing something which the program allows?&lt;/p&gt;&#xA;" OwnerUserId="540" LastEditorUserId="636" LastEditDate="2012-06-26T20:34:51.433" LastActivityDate="2012-06-26T20:34:51.433" Title="What are the audio production capabilities in Sony Vegas Pro because I see mostly plug-ins only?" Tags="|audio|video-editor|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4137" PostTypeId="2" ParentId="4136" CreationDate="2012-06-07T23:41:48.707" Score="5" Body="&lt;p&gt;If you are judging Vegas Pro audio editing on native effects than I don't think it has any edge over others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have been using the Pro version for about 18 months now and I find it pretty darn good overall. I am also learning Adobe Premiere and After Effects CS5.5, so far I think Vegas has the edge on the audio for sure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, are you aware that Vegas Pro audio editing has the ability to add as many audio tracks as your system can handle (stereo or mono), treat each track with a pan position feature, set individual volume (amplitude) envelopes for each clip, boost or buck the audio overall output of each track, name each track, size the vertical and horizontal view of the audio track as you see fit, record directly to any track, cut any audio clip any way you want, reverse an audio clip with two mouse clicks, and edit Dolby 5.1? And this is only a partial list of some of the built in controls available.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE: I omitted one feature that I really love, both audio and video tracks can have their order rearranged very easily. With a simple mouse click and drag, you can put that bass line near the drum track or move the voice-over above the music track. I like to move audio tracks as I am building them to keep it tiddy.&#xA;:&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This list is not complete and does not include the native sound effects which as mentioned earlier are rather standard with any NLE: reverb, EQ, pitch shift, delay, etc. And yes, AFAIK, it can accept plugins but I have never needed any at this point so I am not aware what plugins are compatible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have both Vegas Pro 10 and the home version of Sony Sound Forge. I can export an audio clip to Sound Forge for further effects, it's sort of like Audacity on steroids. As far as I know you can render your audio portion to several formats and export to anything that has the same format. I haven't tried this, but I would think you could easily export your audio as a .wav to Audacity but I have never needed to export the audio for further processing except to test it with Sound Forge, and in that exercise, I just had to copy paste the clip--easy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have made video content with Vegas Pro that has had as many as 18 stereo tracks with no issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Remember Vegas was originally a multi track audio editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think the best answer is for you to try the trail version of Vegas Pro 11 for free for 30 days and kick the tires and then take a spin:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.sonycreativesoftware.com/download/trials/vegaspro?keycode=64506&quot; rel=&quot;nofollow&quot;&gt;http://www.sonycreativesoftware.com/download/trials/vegaspro?keycode=64506&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Disclaimer:&#xA;I should mention that I sort of have one hand tied behind my back on this answer as it would be so much more useful to launch Vegas when answering this to review the features. My version of Vegas lives on a machine that is not accessible from the network for security reasons and that location is about 8 miles from where I am typing this.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-06-08T18:16:02.723" LastActivityDate="2012-06-08T18:16:02.723" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4138" PostTypeId="1" AcceptedAnswerId="4140" CreationDate="2012-06-08T02:07:01.567" Score="0" ViewCount="188" Body="&lt;p&gt;Im new to the video and capturing world.  I want to give you the setup.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We will be filming a event with three or two cameras. Then pushing this video to a webserver and stream it live.  We will be using Silverlight HD technology which can stream out at 720HD quality video.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most likely two cameras will be over cable and then one over wireless.  We currently have not figured out what video cameras we want, but to save on costs, we plan on renting the equipment.  Our budget is also $1,000.  We can push it over the top a little, because once we have the hardware, we will be using it over and over hopefully recouping the costs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have a PC figured out for encoding and that will be a desktop with a GTX NVidia Card for GPU processing.  The CPU will run us $550, so over and done with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So we have about $500 or less for the capturing card(s).&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;First Question, Can we get away with one capturing card for three cameras?  Or do we need one card per camera?&lt;/li&gt;&#xA;&lt;li&gt;Second, What cards can we buy on the cheap?  If we need three cards, What cards can we buy for about $125 a piece that can produce HD quality?  If we only need one card, Whats a good card to buy that can produce three video feeds?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;All the cards need to connect to a Desktop Machine.  It doesn't really matter how, as we can buy Firewire cards or HDMI cards if needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Do we need to capture Audio Too? Or will the Capture cards do just that?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="2462" LastEditorUserId="2287" LastEditDate="2012-07-02T15:17:25.940" LastActivityDate="2012-07-02T15:17:25.940" Title="Video Capturing Cards - What to Buy on the Cheap for HD Quality?" Tags="|video|capturing|hdmi|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4139" PostTypeId="2" ParentId="4138" CreationDate="2012-06-08T08:40:09.690" Score="1" Body="&lt;p&gt;The cheapest boards i know: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the &lt;a href=&quot;http://www.elgato.com/elgato/int/mainmenu/products/capture-convert.en.html&quot; rel=&quot;nofollow&quot;&gt;elgato game capture HD&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;the &lt;a href=&quot;http://www.blackmagic-design.com/products/intensity/models/&quot; rel=&quot;nofollow&quot;&gt;BMD Intensity series&lt;/a&gt;. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;In that price-category you will need one board per camera. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You don't need &lt;em&gt;additional&lt;/em&gt; HDMI- or FiWi-cards. These boards can capture via HDMI, so there are ports for that signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;:&#xA;Yes, this boards can capture the audiosignal too. &lt;/p&gt;&#xA;" OwnerUserId="2287" LastEditorUserId="2287" LastEditDate="2012-07-02T15:14:13.947" LastActivityDate="2012-07-02T15:14:13.947" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4140" PostTypeId="2" ParentId="4138" CreationDate="2012-06-08T14:27:11.170" Score="1" Body="&lt;p&gt;1 - No, you will need more than one card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2 - It's entirely dependant on your motherboard, but where i work we have 2 Black Magic Intensity Pro cards, and they do an excellent job of capturing HD footage over HDMI. They are also relatively cheap, so would suit your needs. They also allow you to run multiple cards in a single system.&lt;/p&gt;&#xA;" OwnerUserId="2457" LastActivityDate="2012-06-08T14:27:11.170" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4141" PostTypeId="2" ParentId="3610" CreationDate="2012-06-08T15:20:46.027" Score="2" Body="&lt;p&gt;I think the short answer (one you may have already found) is no! I'm in a similar situation: I write music to picture and used to receive clips as .movs. I could then add final audio myself for showreel/web purposes. Now those clips arrive as mp4 and are useless and unchangeable. I can merge files in QT pro for viewing, but no saves are allowed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Editing software usually prefers 'linear' formats (aiff or wav for audio, .mov or similar for vids) whereas mp4 is heavily compressed and 'lossy'. Also, the key frame rate is very poor (300 I think) so that might explain some of your edit problems. The only workaround I can find is to open in QT and re-export, but the results are pretty ugly! Saving to mp4 for final product? Why not - it looks pretty and the file sizes are good. Working with mp4 in the edit? Hell no :)&lt;/p&gt;&#xA;" OwnerUserId="2466" LastActivityDate="2012-06-08T15:20:46.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4142" PostTypeId="2" ParentId="2650" CreationDate="2012-06-08T19:20:12.333" Score="2" Body="&lt;p&gt;&lt;a href=&quot;http://www.debugmode.com/wax/&quot; rel=&quot;nofollow noreferrer&quot;&gt;WAX&lt;/a&gt; is an freeware video editing program. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can create a split screen effect with either a source image or AVI video file. Import then source files into the MediaPool (Project -&gt; Insert Tracks) then position them on seperete layers on the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the MediaPool change to the Plugin Presets tab and drag the desired split screen effects over the video/image you wish to apply.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;&lt;a href=&quot;https://i.stack.imgur.com/gGRd4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;[Full Size]&lt;/a&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/gGRd4.png&quot; alt=&quot;enter image description here&quot;&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;&lt;a href=&quot;https://i.stack.imgur.com/WMycR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;[Full Size]&lt;/a&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/WMycR.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've shown an example above, in the second screenshot you can see I played with some of the settings to adjust the width of the split screen. You can also change the size and position of the video. &lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2012-06-08T19:20:12.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4143" PostTypeId="1" CreationDate="2012-06-08T21:58:42.710" Score="1" ViewCount="1302" Body="&lt;p&gt;Could you tell me how do I zoom in Adobe Premiere Elements 9? And I mean a slow zoom transition, not a non-transitioning zoom that &quot;jumps&quot; into zoom from one frame to the other.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="2470" LastActivityDate="2014-06-10T22:11:14.070" Title="How do I create a zoom transition in Premiere Elements 9?" Tags="|video|video-editor|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4144" PostTypeId="2" ParentId="4143" CreationDate="2012-06-08T23:04:53.873" Score="2" Body="&lt;p&gt;I'm not sure what you mean but I you can get a zooming transition by adding keyframes to the scale and opacity property.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if you scale it up as you turn the opacity down it should look like a zoom and transisiton.&lt;/p&gt;&#xA;" OwnerUserId="2453" LastActivityDate="2012-06-08T23:04:53.873" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4145" PostTypeId="1" CreationDate="2012-06-09T00:01:21.853" Score="2" ViewCount="1094" Body="&lt;p&gt;My friend told me that you could create games in blender and it has an game engine in it. Now I want to do some simple things with blender such as rolling ball, the topic now in this question. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ckIWm.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, my problem contain &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Problems&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;&lt;p&gt;a learning problem and reference-request. &lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;I am using DVO -layout where many keys such as &quot; and ' are broken -- and many hotkeys are broken (things are apparently hard-coded to QWE -layout). &lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;I find it hard to find help about using python inside Blender, besides broken window-paste-board in X, lack of TAB as auto-completion&#xA;  and lack of good examples.&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Helper questions&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;&lt;p&gt;what kind of modules and functions does it have to edit and tune the Blender -objects?&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;How can I do a rolling ball such as from (-500,0) to (50,0) with 7-turns in 7 seconds?&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;Is it possible to handle basic operations in the Python console?&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;Where can I find Blender-Python code to see examples?&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;How can I render and open up the render-result to a new window with the console?&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="2221" LastEditorUserId="2221" LastEditDate="2012-08-16T16:14:14.267" LastActivityDate="2012-08-16T16:14:14.267" Title="How to create a rolling ball with Python in Blender?" Tags="|video|linux|blender|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4146" PostTypeId="2" ParentId="4145" CreationDate="2012-06-09T00:01:22.120" Score="2" Body="&lt;p&gt;&lt;strong&gt;Answers&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;blockquote&gt;&#xA;    &lt;p&gt;I. a learning problem and reference-request.&lt;/p&gt;&#xA;  &lt;/blockquote&gt;&#xA;  &#xA;  &lt;p&gt;Please, see very good examples &lt;a href=&quot;http://wiki.blender.org/index.php/Doc:2.6/Manual/Extensions/Python/Console&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. The code can also become&#xA;  useful&#xA;  &lt;a href=&quot;https://svn.blender.org/svnroot/bf-blender/branches/apricot/release/scripts/console.py&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. Good tutorial video &lt;a href=&quot;http://blip.tv/pycon-us-videos-2009-2010-2011/pycon-2011-using-blender-s-new-bpy-python-api-4898905&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. Main docs &lt;a href=&quot;http://wiki.blender.org/index.php/Doc:2.6/Manual/Extensions/Python&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;  &#xA;  &lt;blockquote&gt;&#xA;    &lt;p&gt;II. I am using DVO -layout where many keys such as &quot; and ' are broken -- and many hotkeys are broken (things are apparently&#xA;    hard-coded to QWE -layout).&lt;/p&gt;&#xA;  &lt;/blockquote&gt;&#xA;  &#xA;  &lt;p&gt;&lt;code&gt;Press AltGr + &amp;lt;quote key&amp;gt;&lt;/code&gt; or select no-dead-key-keyboard, keys such&#xA;  as shift-space tend to interrupt with Blender -keys. &lt;/p&gt;&#xA;  &#xA;  &lt;blockquote&gt;&#xA;    &lt;p&gt;III. I find it hard to find help about using python inside Blender, besides broken window-paste-board in X, lack of TAB as auto-completion&#xA;    and lack of good examples.&lt;/p&gt;&#xA;  &lt;/blockquote&gt;&#xA;  &#xA;  &lt;p&gt;The key is auto-completion (not with TAB for some odd reason but&#xA;  CTRL+SPACE) and the key command is &lt;code&gt;$ bpy&lt;/code&gt;. I haven't yet found a solution for the clipboard, investigating.&lt;/p&gt;&#xA;  &#xA;  &lt;blockquote&gt;&#xA;    &lt;p&gt;&lt;strong&gt;Example 1: specify a ball to origin with Python in Blender&lt;/strong&gt; &lt;/p&gt;&#xA;    &#xA;    &lt;p&gt;Select your ball in 3D mode and then:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ bpy.context.object.location.xyz=[0,0,0] &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;    &#xA;    &lt;p&gt;so you have your ball in origin.&lt;/p&gt;&#xA;  &lt;/blockquote&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Animation&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is not easy to explain this so some puzzles while also working on it.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Puzze 0: show the details about things&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;gt;&amp;gt;&amp;gt; for object in bpy.data.objects: &#xA;         print(object.name + &quot; is at location &quot; + str(object.location))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;Puzzle 1: create cubes (&lt;a href=&quot;http://wiki.blender.org/index.php/Doc:2.6/Manual/Extensions/Python/Console&quot; rel=&quot;nofollow noreferrer&quot;&gt;source&lt;/a&gt;)&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; &amp;gt;&amp;gt;&amp;gt; mylayers = [False]*20&#xA; &amp;gt;&amp;gt;&amp;gt; mylayers[0] = True&#xA; &amp;gt;&amp;gt;&amp;gt; add_cube = bpy.ops.mesh.primitive_cube_add&#xA; &amp;gt;&amp;gt;&amp;gt; for index in range(0, 5):&#xA; ...     add_cube(location=(index*3, 0, 0), layers=mylayers)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;Puzzle 2: perhaps useful things&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;gt;&amp;gt;&amp;gt; bpy.context.object.animation_&#xA;data&#xA;data_clear(&#xA;data_create(&#xA;visualisation&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Related Questions&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://stackoverflow.com/questions/10972637/how-can-i-access-bpy-in-standard-python-console-bpy-is-the-blender-python-thin/10973302#10973302&quot;&gt;https://stackoverflow.com/questions/10972637/how-can-i-access-bpy-in-standard-python-console-bpy-is-the-blender-python-thin/10973302#10973302&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://stackoverflow.com/questions/3924294/blender-python-scripting-tutorials?rq=1&quot;&gt;https://stackoverflow.com/questions/3924294/blender-python-scripting-tutorials?rq=1&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2221" LastEditorUserId="-1" LastEditDate="2017-05-23T11:33:38.633" LastActivityDate="2012-06-11T02:19:35.773" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4156" PostTypeId="2" ParentId="2650" CreationDate="2012-06-10T10:46:10.877" Score="2" Body="&lt;p&gt;In general you should be able to do that with any video editing software.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Professionals use timecode-synced equipment for this job. Low budget productions do this with simple audio marks at the beginning and the end of a take. You can do this simply by clapping with your hands. But using a slate gives you a more significant mark (peak).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The main audiotrack is a separate mix. This is the reference. The videos will be synced track-by-track to this reference. Usually this will be done manually. But &lt;strong&gt;Final Cut Pro X&lt;/strong&gt; can also do this automatically with great success. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The splitscreen itself is nothing special. Just adjust size, crop and position of a track or clip as you like. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2287" LastEditorUserId="2287" LastEditDate="2012-06-10T10:53:03.457" LastActivityDate="2012-06-10T10:53:03.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4158" PostTypeId="1" CreationDate="2012-06-10T16:36:17.360" Score="0" ViewCount="120" Body="&lt;p&gt;How does the “AUTO TAKE” feature on the Panasonic WJ-MX12 work?&#xA;Also, what is the purpose?&lt;/p&gt;&#xA;" OwnerUserId="50" LastActivityDate="2012-11-08T21:53:31.070" Title="How does the “AUTO TAKE” feature on the Panasonic WJ-MX12 work?" Tags="|video|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4159" PostTypeId="1" AcceptedAnswerId="4170" CreationDate="2012-06-11T00:28:53.670" Score="0" ViewCount="384" Body="&lt;p&gt;I recently converted an old 90-minute VHS to DVD. I then copied the DVD files onto my PC: VIDEO_TS.BUP, VIDEO_TS.IFO, VIDEO_TS.VOB, VTS_01_0.BUP, VTS_01_0.IFO, VTS_01_1.VOB (1GB), VTS_01_2.VOB (1GB), and VTS_01_3.VOB (938MB). I can open VIDEO_TS.IFO with VLC media player and watch the entire video. No problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I try to convert the VOB files to AVI, I get problems. VTS_01_1.VOB only has nine seconds, and VTS_01_2.VOB only has ten seconds! VTS_01_3.VOB has only the last 26 minutes of the video. The software I've tried includes Windows Live Movie Maker, Convert VOB to AVI, and VOB to AVI: they all generate the same problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just want the video in a single easy-to-watch file. Does anyone know what to do? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="2477" LastEditorUserId="2477" LastEditDate="2012-06-11T20:19:51.737" LastActivityDate="2012-06-12T04:34:36.213" Title="Very simple question: converting DVD/VOB to (say) AVI" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4163" PostTypeId="2" ParentId="4158" CreationDate="2012-06-11T19:50:38.043" Score="2" Body="&lt;p&gt;According to the Instruction Manual for the WJ-MX12 from Panasonic, the &quot;AUTO TAKE&quot; feature allows &quot;A WIPE MIX EFFECT mode&quot; to be &quot;operated automatically without changing the MIX/WIPE lever.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is from pp. 2 of the manual that you can read here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://tda.panasonic-europe-service.com/docs/2z4fd648faz3z1f340z656ez706466z35z6265ac2843a7c8785ba2cc5185b68bc80d0f9dea/ttips/Visual/Mixers_Edit_Controllers/WJ/MX12/727808/BMX12.pdf&quot; rel=&quot;nofollow&quot;&gt;http://tda.panasonic-europe-service.com/docs/2z4fd648faz3z1f340z656ez706466z35z6265ac2843a7c8785ba2cc5185b68bc80d0f9dea/ttips/Visual/Mixers_Edit_Controllers/WJ/MX12/727808/BMX12.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On pp. 16 item 4 of the same manual there are more details&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-06-11T19:50:38.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4164" PostTypeId="1" AcceptedAnswerId="4165" CreationDate="2012-06-11T20:46:34.307" Score="2" ViewCount="2032" Body="&lt;p&gt;I have a video with stereo audio, but one channel is completely silent. So the audio only plays on the left stereo. How is it possible to duplicate the left channel and create a new stereo mix for the same clip? Or alternatively force the sound in a mono audio track?&lt;/p&gt;&#xA;" OwnerUserId="1712" LastActivityDate="2012-06-11T21:42:32.693" Title="How to create a new stereo mix from one channel in Premiere pro cs5.5" Tags="|audio|premiere|cs5|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4165" PostTypeId="2" ParentId="4164" CreationDate="2012-06-11T21:42:32.693" Score="1" Body="&lt;p&gt;Hey try the audio effect Fill left or Fill right!&#xA;(I use a zoom h4n and have to constantly do that )&#xA;&lt;a href=&quot;http://www.mediacollege.com/adobe/premiere/pro/audio/fill.html&quot; rel=&quot;nofollow&quot;&gt;http://www.mediacollege.com/adobe/premiere/pro/audio/fill.html&lt;/a&gt; !&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Happy editing!&#xA;(remember fireballs always make video better!)&lt;/p&gt;&#xA;" OwnerUserId="2453" LastActivityDate="2012-06-11T21:42:32.693" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4166" PostTypeId="2" ParentId="3972" CreationDate="2012-06-11T21:45:52.673" Score="0" Body="&lt;p&gt;They are slightly different sizes. (I think it has to do with aspect ratio )&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I scale down 1920 HD to DVD I scale Fit Width,  not Fit all.&#xA;This scales it down but leaves a few pixels above and below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think you end up with 720x485 when it's supposed to be 720X480&lt;/p&gt;&#xA;" OwnerUserId="2453" LastActivityDate="2012-06-11T21:45:52.673" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4167" PostTypeId="2" ParentId="3804" CreationDate="2012-06-11T21:48:08.163" Score="0" Body="&lt;p&gt;You  might be able to get away just sending the project to them as is.&#xA;They get some warnings on opening but I think it works (remember trying this with CS5 --&gt; CS4)&lt;/p&gt;&#xA;" OwnerUserId="2453" LastActivityDate="2012-06-11T21:48:08.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4170" PostTypeId="2" ParentId="4159" CreationDate="2012-06-12T04:34:36.213" Score="3" Body="&lt;p&gt;I suggest you use &lt;a href=&quot;http://handbrake.fr/&quot; rel=&quot;nofollow&quot;&gt;Handbrake&lt;/a&gt;. It's one of the best transcoders I know of, and have used it myself many times to convert DVDs to video files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is pretty simple and straight forward to use, but if you need any help/guidance &lt;a href=&quot;http://www.winxdvd.com/blog/how-to-use-handbrake-convert-dvd-to-avi-100915.htm&quot; rel=&quot;nofollow&quot;&gt;this page&lt;/a&gt; covers pretty much all you need to know. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have fun! And if you have any further doubts don't hesitate to comment. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Kevin.&lt;/p&gt;&#xA;" OwnerUserId="732" LastActivityDate="2012-06-12T04:34:36.213" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4174" PostTypeId="1" CreationDate="2012-06-12T19:31:57.447" Score="1" ViewCount="127" Body="&lt;p&gt;I just finished shooting some film on a Canon xf105 in 1080p24 on the 50mb/s setting with a shutter of 48. Every few frames it seems to be doubling the image, reminds me of deinterlaced blended frame. What is happening? I have twiked the fps playback in premiere thinking it is trying to convert up to a higher frame rate, but everything is 23.976 fps and it still does it. Could this be an effect of the rolling shutter on the camera? or maybe the camera does not capture true 24p and it is interpolating frames for some reason? &lt;/p&gt;&#xA;" OwnerUserId="2485" LastActivityDate="2012-09-12T21:02:50.963" Title="Canon xf105 blending frames at 24p?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4191" PostTypeId="1" CreationDate="2012-06-15T22:43:18.033" Score="2" ViewCount="384" Body="&lt;p&gt;I have been reading through all these resources &lt;a href=&quot;http://en.wikipedia.org/wiki/DisplayPort&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;http://www.displayport.org/faq/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; . But, I don't have my answer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is simply, can the display port on a Mac take video input source?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More Details:  I have &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Macbook Pro Model 6,2 (Mid 2010) that has a Display Port&lt;/li&gt;&#xA;&lt;li&gt;A camcorder that has HDMI output and NO firewire outputs. &lt;/li&gt;&#xA;&lt;li&gt;A HDMI to Display port adapter.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I want to know if it's possible to use my camcorder like a webcam i.e capture live video for the purpose of streaming. As a primary test, I should be able to connect the camcorder and do a capture using iMovie. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would this be possible? I am pretty sure input through USB won't work. And from what I have seen there is no easy way to convert the HDMI video stream into firewire. So, any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="2497" LastEditorDisplayName="user10383" LastEditDate="2017-06-04T06:14:36.657" LastActivityDate="2017-06-04T06:14:36.657" Title="Does my Macbook display port support video input?" Tags="|live|mac|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4192" PostTypeId="2" ParentId="4191" CreationDate="2012-06-15T23:02:27.077" Score="4" Body="&lt;p&gt;No, the display port on your macbook pro is output only.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may be able to use your camcorder as a webcam if it is capable of streaming video over USB or Firewire, though.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2012-06-15T23:02:27.077" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4193" PostTypeId="1" AcceptedAnswerId="4201" CreationDate="2012-06-16T05:34:37.443" Score="0" ViewCount="1787" Body="&lt;p&gt;Recently I have been looking at a lot of reviews of these two video stabilization products and now I simply can't make up my mind - which one is better for me, which one should I buy?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I mean, the Glidecam is amazing, but is it really worth the price? Perhaps Opteka shoulder rig would be enough if I'm filming just camps, public events and such things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps you have had a similar experience. Perhaps there's something else that you can suggest for a low-budget starter in DSLR film making?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ps. - I already have a really great tripod, but I would like to be able to move around while recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Opteka CXS-2: &lt;a href=&quot;http://cheesycam.com/optekas-new-cxs-2/&quot; rel=&quot;nofollow&quot;&gt;http://cheesycam.com/optekas-new-cxs-2/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Glidecam HD-2000: &lt;a href=&quot;http://www.glidecam.com/product-hd-series.php&quot; rel=&quot;nofollow&quot;&gt;http://www.glidecam.com/product-hd-series.php&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2500" LastActivityDate="2012-06-18T19:51:50.870" Title="Opteka CXS-2 vs Glidecam HD-2000" Tags="|video|filming|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4198" PostTypeId="2" ParentId="4193" CreationDate="2012-06-18T16:04:29.970" Score="0" Body="&lt;p&gt;A few years ago, I invested in a &lt;a href=&quot;http://www.google.com/products/catalog?q=fig-rig&amp;amp;rls=com.microsoft%3aen-us%3aIE-Address&amp;amp;oe=&amp;amp;safe=active&amp;amp;um=1&amp;amp;ie=UTF-8&amp;amp;tbm=shop&amp;amp;cid=14610077084515054801&amp;amp;sa=X&amp;amp;ei=Mk7fT4SaGqLW2gW94InhAQ&amp;amp;ved=0CGwQ8wIwAA&quot; rel=&quot;nofollow&quot;&gt;Fig-Rig&lt;/a&gt;. The price is right (under US$300) and I love the look of the footage. Because it's hand held, there's still a little bit of the organic movement that you lose with the perfect stability of a GlideCam. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Versatility is awesome...high shots, low shots, travelling shots, I can attach it to a tripod, and most of my accessories...eye-lights, mic receiver paks, cabling...can attach right to the frame. Google for &quot;Fig Rig Demo videos&quot;, &amp;amp; watch them to see what it can do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I originally picked it up for my Panasonic DVX100B, but recently switched over to DSLR. For the latter, it's a wonderfully compact support package that does everything I need it to do except make coffee.  :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Designed like a steering wheel where the camera creates a low center of gravity, it self-stabilizes like gyro stabilizer, without having to fight as much as you do against a gyro stabilizer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which should you get? Whichever one you like. Personally, I don't like SteadiCam/glidecam shots; they're TOO perfect. I like to see a little bit of human frailty in the image that reminds me of the hard work the operator puts into the film. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd recommend finding friends, rental houses or production companies in your area that may own these or similar devices. Try them out for a weekend by borrowing or renting them. Analyze the footage. More likely than noe, you'll find something you LOVE, and then you have your answer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing that I will note, is that there are a TON of DIY plans on the 'net to make these things on the cheap. One of my &lt;a href=&quot;http://littlegreatideas.com/stabilizer/diy/&quot; rel=&quot;nofollow&quot;&gt;first stabilizers&lt;/a&gt; was made for under $10.00 with iron pipe and some fitness weights. &lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-06-18T16:04:29.970" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4201" PostTypeId="2" ParentId="4193" CreationDate="2012-06-18T19:51:50.870" Score="0" Body="&lt;p&gt;I have a glidecam 2000 and a chest harness for it.  I also have a shoulder mount similar to the opteka one you linked.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use shoulder mount far more then the glidecam.&lt;br&gt;&#xA;It takes time and practice to get good at the glidecam.  Lots and lots of time.&#xA;After using it with a chest harness I would never use it by itself again.&#xA;Without any extra support just the glidecam is exhausting for your arm.  Guess what your arm does when it's tired, it shakes..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The shoulder mount rocks.  I can give that to a rooky camera op and they have very few issues using it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's ideal as a mobile shoot.  Unless you have good image stabilization neither can move very fast or far.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keep in mind neither can move far or fast, your not going to be running after your actor .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will also need to shoot with a wide lens that has image stabilization using either of these pieces of gear.&lt;/p&gt;&#xA;" OwnerUserId="2453" LastActivityDate="2012-06-18T19:51:50.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4202" PostTypeId="1" AcceptedAnswerId="4216" CreationDate="2012-06-18T20:16:01.793" Score="3" ViewCount="9869" Body="&lt;p&gt;&lt;strong&gt;Short version:&lt;/strong&gt; I believe I have truncated but otherwise valid AVI/DV files that won't play in any player I've tried (Adobe Premiere, MPC HC, VLC). I assume the stream data is intact but truncated, and the container is damaged. Are the files still recoverable and how would I accomplish this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Long version:&lt;/strong&gt; Having finished a recording from a Sony AnyCast workstation with two cameras to a FireWire hard disk drive, I accidentially unplugged the hard disk drive without &quot;disconnecting&quot; (unmounting) it first.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The result was a corrupted ext3 filesystem that would not mount under the Windows Ext2 IFS setup I was using to download the videos, so I connected the hard disk to a Linux laptop and ran e2fsck on it. After this, I was able to list the directory and copy the files, but the files appeared corrupted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm working under the assumption that I've only lost some data at the end of the two video files. (This might prove false as e2fsck might have wrecked havoc on them.) That would mean I have 1,5 hours (x2) of unscathed DV stream. Unfortunately, my layman analysis concludes that these lost bits must have contained some information vital to the container format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that all I have are the files copied to an NTFS volume from the fsck'ed ext3 volume. I no longer have access to the original hard disk drive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Dear StackExchange, please help me find a way to recover and reconstruct these files! I suspect what I would need is some software that would guess or be told the information usually contained in the container header, copy the stream data and write it into a new, valid container file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; I believe the format is DV instead of MPEG2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit2:&lt;/strong&gt; It seems that the broken files do &lt;em&gt;not&lt;/em&gt; in fact have an AVI header at all - they should begin with the bytes &quot;RIFF&quot; which they do not. &lt;code&gt;ffprobe&lt;/code&gt; &lt;em&gt;does&lt;/em&gt; recognize the stream format, though:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[dv @ 0xefb8a0] Estimating duration from bitrate, this may be inaccurate&#xA;Input #0, dv, from '120610-1-001.avi':&#xA;  Duration: 02:08:36.84, start: 0.000000, bitrate: 28799 kb/s&#xA;    Stream #0.0: Video: dvvideo, yuv420p, 720x576, 28800 kb/s, PAR 64:45 DAR 16:9, 25 tbr, 25 tbn, 25 tbc&#xA;    Stream #0.1: Audio: pcm_s16le, 48000 Hz, 2 channels, s16, 1536 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit3:&lt;/strong&gt; Thanks to Matti &quot;Lumpio-&quot; Virkkunen, we've finally got the video files fixed. He wrote a good 400 lines of C that did exactly what @JEEB suggested: crafted an AVI header and searched for things that look like AVI chunks, copying them over to the output file. A long AVI file needs a new header between every gigabyte or so, and the program simply fixes the broken first section and then copies the following sections as-is. The &lt;a href=&quot;https://gist.github.com/2959531&quot; rel=&quot;nofollow&quot;&gt;source code for &lt;code&gt;fixavi.c&lt;/code&gt;&lt;/a&gt; can be found on Gist.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please note that details such as codecs, audio sample rate and video frame rate are hard-coded in the source, so if you need to replicate this process, please adapt the source to your needs. I found &lt;a href=&quot;http://www.alexander-noe.com/video/documentation/avi.pdf&quot; rel=&quot;nofollow&quot;&gt;Alexander Noe's AVI format guide&lt;/a&gt; a good reference on the AVI file format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit4:&lt;/strong&gt; And as &lt;code&gt;fixavi.c&lt;/code&gt; does not create an index at the end of the AVI file, I simply used &lt;code&gt;./fixavi broken.avi recovered_without_index.avi; ffmpeg -i recovered_without_index.avi -acodec copy -vcodec copy recovered_with_index.avi&lt;/code&gt; to make one.&lt;/p&gt;&#xA;" OwnerUserId="2507" LastEditorUserId="2507" LastEditDate="2012-06-20T11:56:58.907" LastActivityDate="2012-06-29T13:09:32.530" Title="How do I recover truncated AVI/DV video?" Tags="|video|ffmpeg|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4211" PostTypeId="1" AcceptedAnswerId="4217" CreationDate="2012-06-19T13:00:49.297" Score="0" ViewCount="124" Body="&lt;p&gt;My father has a large collection of video tapes that he wants to transfer to digital format.  He's brilliant, but getting up in age and I'm finding that he is having an increasingly harder time with technology as years pass.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;He's tried using a stand alone VCR/DVDR unit, but I cannot get the unit to record to DVD in spite of meticulously following the instructions and using approved media.  The entire process is complex to begin with, so even if this device worked (it is several years old) it is not a good choice due to the complexity. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought the ION VCR-USB player is an ingenious idea, but reviews say the software is atrocious.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there proven capture devices (analogue to digital) for PC that also have reliable, simple to use software?   &lt;/p&gt;&#xA;" OwnerUserId="2504" LastActivityDate="2014-02-20T15:19:50.973" Title="Video capture device for senior citizen" Tags="|video|digital-recording|recommendation|conversion|analog|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4212" PostTypeId="1" CreationDate="2012-06-19T13:01:36.690" Score="2" ViewCount="929" Body="&lt;p&gt;I don't know if this is the correct exchange site to ask this question. I would like to know what is the difference between mkv and mp4 files?&lt;/p&gt;&#xA;" OwnerUserId="2513" LastEditorUserId="2513" LastEditDate="2012-06-19T15:50:02.017" LastActivityDate="2018-04-10T07:20:10.267" Title="What is the difference between mkv and mp4 files?" Tags="|software|mp4|mkv|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4214" PostTypeId="2" ParentId="4212" CreationDate="2012-06-19T15:36:48.747" Score="6" Body="&lt;p&gt;Both &lt;a href=&quot;http://en.wikipedia.org/wiki/Matroska&quot; rel=&quot;noreferrer&quot;&gt;MKV&lt;/a&gt; and &lt;a href=&quot;http://en.wikipedia.org/wiki/MPEG-4_Part_14&quot; rel=&quot;noreferrer&quot;&gt;MP4&lt;/a&gt; are container file formats. Container formats define how actual audio, video, subtitle and other data are structured. MKV is an open standard format, while MP4 comes from the ISO and is based on the &lt;a href=&quot;http://en.wikipedia.org/wiki/QuickTime_File_Format&quot; rel=&quot;noreferrer&quot;&gt;QuickTime&lt;/a&gt; file format.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2012-06-19T15:36:48.747" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4215" PostTypeId="1" CreationDate="2012-06-19T15:28:04.727" Score="3" ViewCount="123" Body="&lt;p&gt;It is now common to have CMOS pixel matrices inside DSLRs and video cameras. However, when acquiring movies, these sensors suffer from artifacts known as rolling shutter effect, since they are due to the electronic rolling shutter (but surprisingly, CCDs with electronic rolling shutters did not create those artifacts, which gives me hope that there is a hardware solution).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've read on the web recently (in reports from CMOS lab meetings) that rolling-shutter-free CMOS sensors were now available, and I have also noticed that the &quot;jelly&quot; effect was reduced on recent cameras, but I couldn't find precise information. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hence, I was wondering if someone knew the current status of global shutter CMOS sensors for the market ? Are they still in the research labs, or embedded in high end devices, coming soon... ?&lt;/p&gt;&#xA;" OwnerUserId="3099" OwnerDisplayName="sansuiso" LastEditorUserId="1530" LastEditDate="2012-06-20T22:51:45.407" LastActivityDate="2012-11-01T10:06:04.207" Title="What is the current status of rolling-shutter-free CMOS sensors on the market?" Tags="|image-sensors|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4216" PostTypeId="2" ParentId="4202" CreationDate="2012-06-19T18:32:34.687" Score="5" Body="&lt;p&gt;First of all, if I remember correctly, the DV format is intra-only, and thus if there is various damage that has happened to your video, there should be a relatively big chance of getting at least something out -- given that the file isn't completely broken in the most relevant of places.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A good way of checking if there's at least some kind of sanity left in the file is indeed by the aforementioned &lt;code&gt;ffmpeg|avconv -i input.avi&lt;/code&gt; or &lt;code&gt;ffprobe|avprobe input.avi&lt;/code&gt;. If ffmpeg/avconv and/or the related probe application can 'see' the format as well as other information there's at least some hope that the file actually still contains some of the things you're hoping it contains.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for actual recovery attempts, I would actually first make a copy of the file (backups are generally useful, even if it's a backup of possibly broken data), and try to open it with Avery Lee's &lt;a href=&quot;http://www.virtualdub.org/&quot; rel=&quot;nofollow&quot;&gt;VirtualDub&lt;/a&gt;, as I remember it having one of the good general AVI reconstruction mechanisms I've seen so far. If you are lucky and there's enough data for VirtualDub to actually do something with the file, it should ask if you want to repair/reconstruct the index and so forth. After that you can set both audio and video to 'Direct stream copy', and just remux with another file name, and see if that works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another way to try and salvage it is to use ffmpeg/avconv, and use the stream copying function there (of course this might not work at all in case ffmpeg/avconv or the related probe application cannot see what container/video/audio format the file is). &lt;code&gt;ffmpeg|avconv -i input.avi -vcodec copy -acodec copy out.avi&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A yet another way to try and salvage something is by trying out the now-discontinued &lt;a href=&quot;http://www.alexander-noe.com/video/amg/&quot; rel=&quot;nofollow&quot;&gt;AVI-Mux GUI&lt;/a&gt;. I have not tried it myself, but I have some hazy memories of people fixing their broken AVI files by remuxing with it a few years ago.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;:&#xA;And of course the so-called final destination would be to see if there are any chunk-like entities in the file, and manually recreating the AVI header and friends before it either via scripting or with a hex editor, looking at the related &lt;a href=&quot;http://wiki.multimedia.cx/index.php?title=Microsoft_Audio/Video_Interleaved&quot; rel=&quot;nofollow&quot;&gt;technical documentation&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2517" LastEditorUserId="2517" LastEditDate="2012-06-20T18:58:23.430" LastActivityDate="2012-06-20T18:58:23.430" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="4217" PostTypeId="2" ParentId="4211" CreationDate="2012-06-19T18:45:46.087" Score="1" Body="&lt;p&gt;The worst part of transferring old VHS to DVD is that it has to be done in real time as VHS is linear access and analog. Here are two ways I know of that work. One will eat your time the other will eat your wallet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) for about $35 or less you can get a transfer device which connects the output of your VHS machine into a USB interface to your computer. There are a bunch of these out there, they are all about that same as this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.newegg.com/Product/Product.aspx?Item=N82E16815306013&quot; rel=&quot;nofollow&quot;&gt;http://www.newegg.com/Product/Product.aspx?Item=N82E16815306013&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It comes with software to capture the VHS program and &quot;software included to burn full screen video capture, edit and create DVD&quot; but you can take the captured mpeg files and put them in any video DVD authoring suite too. The software is easy to learn, you can start transferring quickly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did this process 3 years ago, I must have saved over 50 VHS tapes. So the cost was less than $40 but I surely put more than 40 hours into that project.&#xA;:&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Costco and many other large chains have video transfer services, e.g.:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.costcodvd.com/videotape_to_dvd.aspx&quot; rel=&quot;nofollow&quot;&gt;http://www.costcodvd.com/videotape_to_dvd.aspx&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Prices range from vendor to vendor, $9 to $20 per transfer.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-06-19T18:45:46.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4219" PostTypeId="1" AcceptedAnswerId="4220" CreationDate="2012-06-19T19:38:51.383" Score="1" ViewCount="105" Body="&lt;p&gt;I am making a video and want to have a stylized screencast like the Disqus 2012 video: &lt;a href=&quot;https://vimeo.com/43917945&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/43917945&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What software is used to create these sorts of animations?&lt;/p&gt;&#xA;" OwnerUserId="2518" LastActivityDate="2012-06-19T19:44:35.123" Title="What software was used to create this stylized screencast for Disqus 2012?" Tags="|software|software-recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4220" PostTypeId="2" ParentId="4219" CreationDate="2012-06-19T19:44:35.123" Score="0" Body="&lt;p&gt;In order to grab the screencast itself, a number of applications have been &lt;a href=&quot;https://video.stackexchange.com/q/4096/674&quot;&gt;discussed here before&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then use whatever video suite you feel most comfortable with - the angled view used in that clip can be done in Premier or various others, but it isn't very complex.&lt;/p&gt;&#xA;" OwnerUserId="674" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2012-06-19T19:44:35.123" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4224" PostTypeId="5" CreationDate="2012-06-20T03:01:46.967" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Image_sensor&quot; rel=&quot;nofollow&quot;&gt;Image sensors&lt;/a&gt; are the electronic devices that translate light into electrical signals that can then be digitally sampled and stored to create an image or video. Two popular image sensor technologies are &lt;a href=&quot;http://en.wikipedia.org/wiki/Active_pixel_sensor&quot; rel=&quot;nofollow&quot;&gt;CMOS&lt;/a&gt; and &lt;a href=&quot;http://en.wikipedia.org/wiki/Charge-coupled_device&quot; rel=&quot;nofollow&quot;&gt;CCD&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2012-06-20T08:49:15.767" LastActivityDate="2012-06-20T08:49:15.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4225" PostTypeId="4" CreationDate="2012-06-20T03:01:46.967" Score="0" Body="Image sensors, as used on still and video cameras." OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2012-06-20T08:49:15.157" LastActivityDate="2012-06-20T08:49:15.157" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4228" PostTypeId="1" AcceptedAnswerId="4229" CreationDate="2012-06-20T15:45:20.503" Score="2" ViewCount="59227" Body="&lt;p&gt;Hi I've taken a 1080p screen recording on my desktop but only want a specific crop of the actual recorded screen in the final video. How can I do this in Premiere Pro CS4?&lt;/p&gt;&#xA;" OwnerUserId="2524" LastEditorUserId="2764" LastEditDate="2014-08-19T21:32:45.573" LastActivityDate="2014-08-19T21:32:45.573" Title="How can I crop a section of the video screen in Premiere Pro?" Tags="|video|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4229" PostTypeId="2" ParentId="4228" CreationDate="2012-06-20T16:41:48.847" Score="4" Body="&lt;p&gt;You want to use an effect that's called a 4 point garbage matte.  It allows you to set 4 points which create a box and everything outside it is removed.&#xA;Here is a link to a tutorial on how to use the effect 4 point garbage matte.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Y2FI_d1WVDc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="2453" LastActivityDate="2012-06-20T16:41:48.847" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4230" PostTypeId="2" ParentId="3707" CreationDate="2012-06-20T17:40:38.087" Score="16" Body="&lt;p&gt;You can encode to Theora video and Vorbis audio with &lt;code&gt;ffmpeg&lt;/code&gt; if it has been compiled with &lt;code&gt;--enable-libtheora&lt;/code&gt; and &lt;code&gt;--enable-libvorbis&lt;/code&gt;. Depending on your &lt;code&gt;ffmpeg&lt;/code&gt; version the default settings may not provide good enough quality. Therefore you must add some additional parameters to enable a constant quality type of mode for the video.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Theora video&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Adjust video quality with the &lt;code&gt;-qscale:v&lt;/code&gt; (or the alias &lt;code&gt;-q:v&lt;/code&gt;) option. The valid range to set video quality with libtheora is -1 to 10. A higher value is a higher quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; More modern alternatives such as VP8 can provide better quality at lower bitrates. See the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/VP8&quot;&gt;FFmpeg: VP8 in WebM Encoding Guide&lt;/a&gt; for more info.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Vorbis audio&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Adjust audio quality with the &lt;code&gt;-qscale:a&lt;/code&gt; (or the alias &lt;code&gt;-q:a&lt;/code&gt;) option for VBR audio. The valid range to set audio quality with libvorbis is 0 to 10. A higher value is higher quality. &lt;a href=&quot;http://wiki.hydrogenaudio.org/index.php?title=Recommended_Ogg_Vorbis#Recommended_Encoder_Settings&quot;&gt;See the Recommended Vorbis Encoder Settings&lt;/a&gt; to get an idea of what values to use. The default of &lt;code&gt;-q:a 3&lt;/code&gt; will be used if you omit &lt;code&gt;-q:a&lt;/code&gt; or &lt;code&gt;-b:a&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that &lt;code&gt;ffmpeg&lt;/code&gt; supports two Vorbis encoders: the external library libtheora (&lt;code&gt;-c:a libvorbis&lt;/code&gt;) and the native Vorbis encoder (&lt;code&gt;-c:a vorbis -strict experimental&lt;/code&gt;). The native encoder is experimental, does not compare well to libvorbis, and usage is not recommended.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Example&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;The following command will create a good quality output for both video and audio:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c:v libtheora -c:a libvorbis -q:v 6 -q:a 5 output.ogg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;Getting &lt;code&gt;ffmpeg&lt;/code&gt;&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;Make sure to always use a recent &lt;code&gt;ffmpeg&lt;/code&gt; build and refer to the current documentation specific to your build since options can change. See the &lt;a href=&quot;http://ffmpeg.org/download.html&quot;&gt;FFmpeg download&lt;/a&gt; page for various ways to acquire &lt;code&gt;ffmpeg&lt;/code&gt; or follow one of the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/CompilationGuide&quot;&gt;FFmpeg compile guides&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Also see&lt;/h3&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://ffmpeg.org/ffmpeg-codecs.html#libtheora&quot;&gt;FFmpeg documentation on libtheora&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://ffmpeg.org/ffmpeg-codecs.html#libvorbis&quot;&gt;FFmpeg documentation on libvorbis&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2014-06-13T18:36:27.190" LastActivityDate="2014-06-13T18:36:27.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4231" PostTypeId="1" CreationDate="2012-06-20T17:41:07.190" Score="1" ViewCount="116" Body="&lt;p&gt;I need to rip a DVD (product instruction manual for my company) and convert the files into common formats for users to download and play on their computers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was planning on offering .MOV, .MP4, .WMV and .SWF (is this overkill?). I was able to use &lt;a href=&quot;http://handbrake.fr/&quot; rel=&quot;nofollow&quot;&gt;handbrake&lt;/a&gt; to convert the files to .MP4, but I am not sure how to convert the rest.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking for a software recommendation (Windows) that will cover all of the formats.&lt;/p&gt;&#xA;" OwnerUserId="2516" LastEditorUserId="2516" LastEditDate="2012-06-21T14:21:39.347" LastActivityDate="2016-03-31T16:22:44.647" Title="What software do I need to convert a DVD to common formats? And what are the recommended formats?" Tags="|software-recommendation|" AnswerCount="3" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="4233" PostTypeId="1" AcceptedAnswerId="4234" CreationDate="2012-06-21T01:36:43.007" Score="3" ViewCount="2681" Body="&lt;p&gt;Can someone suggest free tools for video editing and video making? If you can include the feature much better. Hope to be able to get some of your advice. I need it badly. I am really not into technology but greatly needed to make a simple video. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="2526" LastActivityDate="2018-04-09T12:41:24.113" Title="Simple Video Editing Tool?" Tags="|video-editor|" AnswerCount="4" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="4234" PostTypeId="2" ParentId="4233" CreationDate="2012-06-21T01:42:08.117" Score="2" Body="&lt;p&gt;Why not try this list. All of this are basic software and very easy to use and learn. Hope this helps!&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Movie Maker&lt;/li&gt;&#xA;&lt;li&gt;Magix&lt;/li&gt;&#xA;&lt;li&gt;Media Composer&lt;/li&gt;&#xA;&lt;li&gt;Premiere Pro&lt;/li&gt;&#xA;&lt;li&gt;After Effects&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Try also to visit this link &lt;a href=&quot;http://www.techyv.com/questions/software-required-making-vedios-and-editing&quot; rel=&quot;nofollow&quot;&gt;http://www.techyv.com/questions/software-required-making-vedios-and-editing&lt;/a&gt; I believe this will going to be very helpful to you too.&lt;/p&gt;&#xA;" OwnerUserId="2527" LastActivityDate="2012-06-21T01:42:08.117" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4235" PostTypeId="2" ParentId="2580" CreationDate="2012-06-21T08:02:35.477" Score="2" Body="&lt;p&gt;There are actually quite a number of cameras now available or announecd for 2012 that will use Raw video formats. Some of them are not even very expensive. &#xA;REDCode: used by RED cinema cameras&#xA;ARRIRAW: used by Arri Alexa&#xA;CinemaDNG: Blackmagic Design, Digital Bolex, Ikonoskop, Weisscam, Kinoraw S35, S16, and S8p&#xA;Cineform: Kineraw&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and more to come. &lt;/p&gt;&#xA;" OwnerUserId="2528" LastActivityDate="2012-06-21T08:02:35.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4236" PostTypeId="1" CreationDate="2012-06-21T10:16:26.097" Score="1" ViewCount="4167" Body="&lt;p&gt;I have a 1440 x 1080 sequence that I'm attempting to export in Premiere Pro, in the Export | Media... dialog I've tried a bunch of settings but each time I click OK the exporting status bar pops up momentarily and nothing happens (there is no file produced). I've double checked the output directory and name, both export video &amp;amp; audio are checked. Tried DV PAL, Intel IYUV and None under video codec and all had same result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What else should I be looking at/is this a common silly mistake?&lt;/p&gt;&#xA;" OwnerUserId="2524" LastActivityDate="2012-07-16T16:10:48.580" Title="Adobe Premiere Pro Says Exporting, No File Produced" Tags="|premiere|cs4|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4237" PostTypeId="1" CreationDate="2012-06-21T13:50:05.950" Score="2" ViewCount="123" Body="&lt;p&gt;I have recorded a video of a blackberry simulator using Cam Studio and i use Nero for playing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used fixed region dimensions of width 454 and Height of 762 inorder to capture simulator dimensions to show app working.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now i want to edit this video.I used Windows movie maker inorder to edit and add few things like:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Title&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Captions&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when i play after performing necessary edits in Windows media player,it shows full screen dimension.As a result of which the simulator video looks enlarged and magnified.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to avoid this and retain original dimensions that i used during record.How to go about it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help.&lt;/p&gt;&#xA;" OwnerUserId="2439" LastActivityDate="2012-11-18T15:54:03.120" Title="Recorded video changes dimensions while play" Tags="|video|video-editor|playback|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4238" PostTypeId="2" ParentId="4237" CreationDate="2012-06-21T14:12:55.130" Score="1" Body="&lt;p&gt;Windows Media Player by default will re-size the video to fit the screen.  To get it back down to the actual video resolution you will need to press F11 to exit full screen mode.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it is still not the correct size right click on the video and select 100% from the Video sub menu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for preventing the video player from resizing the video, I don't think it is possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(These instructions are for WMP 12, but should be similar to previous versions)&lt;/p&gt;&#xA;" OwnerUserId="126" LastActivityDate="2012-06-21T14:12:55.130" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="4240" PostTypeId="2" ParentId="4233" CreationDate="2012-06-21T15:51:24.403" Score="4" Body="&lt;p&gt;Both windows and the Apple IOS have free video editors that work well enough for basic stuff.&#xA;(I used the windows one for a bit before buying Elements)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Windows Movie Maker&#xA;&lt;a href=&quot;http://windows.microsoft.com/en-us/windows/downloads/get-movie-maker&quot; rel=&quot;nofollow&quot;&gt;http://windows.microsoft.com/en-us/windows/downloads/get-movie-maker&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;IMovie&#xA;&lt;a href=&quot;http://www.apple.com/ilife/imovie/&quot; rel=&quot;nofollow&quot;&gt;http://www.apple.com/ilife/imovie/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2453" LastActivityDate="2012-06-21T15:51:24.403" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4241" PostTypeId="2" ParentId="4236" CreationDate="2012-06-21T16:07:25.133" Score="1" Body="&lt;p&gt;I find when a composition won't render it's usually a clip on the timeline (or really large still images in my case)&#xA;For instance I do video board game reviews and I have issues rendering from Premier CS5 when the  9 megabyte  still images are on the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try moving half the clips to a layer and turning them off(click the eye next to the layer) then trying to render, if it still fails turn that layer back on and the other layers off.&#xA;Or rendering out a smaller segment of the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think CS4 comes with media encoder.&#xA;If your using the media encoder try not using it and rendering directly from Premier.  If your not using the media encoder try using it.&#xA;(this might be your issue ? &lt;a href=&quot;http://frankieloscavio.blogspot.ca/2009/03/fixing-adobe-media-encoder-export.html&quot; rel=&quot;nofollow&quot;&gt;http://frankieloscavio.blogspot.ca/2009/03/fixing-adobe-media-encoder-export.html&lt;/a&gt; )&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have you been able to render from premier before?&#xA;Have you patched it with the latest updates from Adobe?&lt;br&gt;&#xA;Hacked copies of premier tend to have more bugs because you can't install the updates and fixes they release.&lt;/p&gt;&#xA;" OwnerUserId="2453" LastActivityDate="2012-06-21T16:07:25.133" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4242" PostTypeId="1" AcceptedAnswerId="4243" CreationDate="2012-06-21T17:00:20.420" Score="3" ViewCount="3035" Body="&lt;p&gt;I've been asked to video tape a Q/A session with a speaker, and I plan to use my HD camcorder (http://www.amazon.com/Panasonic-HDC-TM700K-Camcorder-Control-Internal/dp/B0035LD0EY).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issue is that my camcorder only has the 1/8th inch speaker cable input, and a long cable from the PA system to my camcorder could pick up a lot of noise.  Wondering what my options are as to how to get the audio from the PA system into my camcorder.  I thought of two options:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Wirelessly transmit the audio from the PA system into the camcorder &lt;/li&gt;&#xA;&lt;li&gt;Get an XLR &amp;lt;--&gt; 1/8th inch adapter for my camcorder and use an XLR cable to get the audio from the PA system.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Are there any other ways?  If not, could you please recommend product options for 1 and 2. Not too expensive (around $100 if possible).  This isn't professional, but I do want decent audio quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="598" LastEditorUserId="2836" LastEditDate="2014-02-14T00:01:25.943" LastActivityDate="2014-02-14T00:01:25.943" Title="Audio from PA system to Camcorder" Tags="|camcorder|digital-recording|connectors|live-recording|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4243" PostTypeId="2" ParentId="4242" CreationDate="2012-06-21T17:53:37.227" Score="2" Body="&lt;p&gt;An XLR cable used with an adapter won't give you the audio quality that an all-XLR cable will. If audio quality is really important, I'd buy or borrow an external recorder that takes XLR cables directly. If this isn't an option, pick up an XLR to 1/8&quot; adapter cable. I suggest taping the adapter to the camcorder so it doesn't move around much. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Mic cables &lt;em&gt;do&lt;/em&gt; move around, particularly if you have a boom operator. However, with an interview, you may be able to use on-screen mics in stands or a single, overhead mic on a stand or hung from the ceiling.) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need two mics for the interview, you'll need a small mixer which you can then feed into the camera. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wireless only really makes sense if you want to use lavalier mics on the actors; wireless systems introduce additional complexities, as they're less plug-and-play than a standard cabled mic. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Balanced versus unbalanced audio:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any signal chain will have line noise. An unbalanced system (like an XLR cable going into an 1/8&quot; stereo adapter would be) will have more of it. XLR cables (with three connectors) are good because they deliver &lt;em&gt;balanced audio&lt;/em&gt;, which is another way of saying that they can do long cable runs without much noise. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A 1/8&quot; cable has also three connectors, but usually because they carry a &lt;em&gt;stereo signal&lt;/em&gt;, which is not the same as an unbalanced one. I assume the stereo cable jack on your camera means that the cable run is &lt;em&gt;not&lt;/em&gt; balanced - repurposing that third prong from ground to a stereo signal is what does it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although I think it's technically possible to have a balanced 1/8&quot; jack, I've never heard of one. (A stereo signal carried through XLR would neccesitate two XLR cables.)  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to &lt;a href=&quot;http://shop.panasonic.com/shop/model/HDC-TM700K?t=specs&amp;amp;support#tabs&quot; rel=&quot;nofollow&quot;&gt;Panasonic's specs&lt;/a&gt;, your camera uses a &quot;stereo mini&quot; jack, not a balanced or TRS jack. Connector quality would be even more important in that case, since you're feeding an unbalanced analog signal to the camera. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a little time, perhaps getting two adapters - one high-end and one inexpensive - and doing a test may be in order. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Conclusion:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your situation, if buying or renting an external recorder isn't an option (around $300US), a good microphone feeding into an XLR to 1/8&quot; adapter &lt;em&gt;will&lt;/em&gt; introduce line noise, but will also give you getter audio quality than most onboard camera mics.&lt;/p&gt;&#xA;" OwnerUserId="167" LastEditorUserId="167" LastEditDate="2012-06-21T18:35:15.537" LastActivityDate="2012-06-21T18:35:15.537" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="4244" PostTypeId="1" CreationDate="2012-06-21T18:14:34.660" Score="1" ViewCount="76" Body="&lt;p&gt;I'm interested in purchasing a camera setup for video where I just &quot;tether&quot; a camera with realtime HDMI or USB output to a PC (a netbook) with a huge hard drive and shoot everything directly to the netbook.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why? So that I can experiment with visual effects in realtime, and get excellent macro-command functionality and web uploading for &quot;free&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do any of you have personal experience with this kind of setup and have anything to say to dissuade me from trying it?&lt;/p&gt;&#xA;" OwnerUserId="867" LastActivityDate="2012-06-21T18:36:56.617" Title="Mobile Tethered Video Shooting" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4245" PostTypeId="2" ParentId="4244" CreationDate="2012-06-21T18:36:56.617" Score="2" Body="&lt;p&gt;I have personal experience with tethered shooting for different purposes, and I have absolutely NOTHING to say to dissuade you. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Having said that, there are some things about which you need to be cautious. I don't know what your end result is going to be. Is this going to be a webcast? or are you trying to save some post-production time on a movie for distribution? That makes a huge difference in what you need to watch out for. Without that, the best I can do are some very broad generalities.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, prosumer cameras take up a lot of bandwidth. Do some tests to make sure your hard drive spins fast enough to capture the data coming down the wire. I had to upgrade to a 10k RPM hard drive for a stright-to-disc project once. Use lower quality cameras for less bandwidth, but few of those have HDMI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, depending on what you're doing for VisFX, coupled with the complexity of the image you're using, you'll want to make sure that your processor is fast enough to render everything on the fly. That's a total crapshoot...but VisFX on a relatively static talking head will take less processing overhead than VisFX on a scene with fifteen people all moving in front of the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Third, if you're webcasting, see my bandwidth comment above. You've got similar issues on the output side, and you'll need to render your output to be small enough to be web-friendly. Uncompressed AVI to compressed QuickTime, Flash Video, Windows Media, etc. takes time and processing power. If this is the plan, you may wish to consider a dedicated machine that transcodes for web in realtime. The ones I've used are dedicated machines, I'm not sure if they'd play nicely with your system.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have a lot of variables at play here. Before you invest in the gear, I would recommend borrowing and renting what you can, and testing the bejeebers out of the system to make sure it's doing what you need. If something doesn't work, figure out that smaller piece of the process, then move on. I can guarantee that by doing it and asking questions along the way, you'll lern more about doing this than you ever wanted to. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I'm definitely NOT dissuading you. Be excited about your journey into new technological realms, and go for it!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-06-21T18:36:56.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4246" PostTypeId="2" ParentId="4242" CreationDate="2012-06-21T18:46:19.390" Score="1" Body="&lt;p&gt;I can't really say anything else beyond what Neil said...that's great info...but I'll throw this into the mix. If you're handy with electronics (or know someone who is), try making &lt;a href=&quot;http://www.crownaudio.com/kb/entry/279/&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; adapter from off-the-shelf parts at Radio Shack.  &lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-06-21T18:46:19.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4247" PostTypeId="1" AcceptedAnswerId="4249" CreationDate="2012-06-22T08:02:48.053" Score="5" ViewCount="1178" Body="&lt;p&gt;I'm using a Kodak Zi8 at the moment, but I've noticed this effect on other cameras. When a camera is moving it occasionally produces fun house mirror-style effects. It makes things appear to stretch and shrink. Is this a software issue or a problem with cheap components? Are there any cameras that don't produce this effect?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See example video:&#xA; &lt;p&gt;&lt;a href=&quot;http://vimeo.com/44503828&quot;&gt;Kodak Zi8 shake issue&lt;/a&gt; from &lt;a href=&quot;http://vimeo.com/reedlaw&quot;&gt;Reed Law&lt;/a&gt; on &lt;a href=&quot;http://vimeo.com&quot;&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;&lt;/p&gt;&#xA;" OwnerUserId="2537" LastActivityDate="2012-07-08T19:44:53.237" Title="Camera shake produces ripple-like effect" Tags="|video|digital-recording|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4248" PostTypeId="2" ParentId="4247" CreationDate="2012-06-22T13:48:46.150" Score="4" Body="&lt;p&gt;It is down to the raster/line speed of the CMOS array in your camera - it does not expose the whole thing at once, it scans from left to right and downwards. For even more amusement google for iPhone propellor videos, such as &lt;a href=&quot;http://www.youtube.com/watch?v=ZAbj3nL_i58&quot; rel=&quot;nofollow&quot;&gt;this one&lt;/a&gt;, or in fact any video of oscillating or moving objects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The solution is to get equipment with slightly more upmarket sensor arrays.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-06-22T13:48:46.150" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4249" PostTypeId="2" ParentId="4247" CreationDate="2012-06-22T15:51:39.203" Score="8" Body="&lt;p&gt;This &quot;effect&quot; is called &lt;a href=&quot;http://en.wikipedia.org/wiki/Rolling_shutter&quot;&gt;Rolling Shutter&lt;/a&gt;. It is common in most CMOS camera sensors because they don't capture an instantaneous image, instead they do it progressively over a period of time. CCD sensors do not have this problem as they do have instantaneous capture.&lt;/p&gt;&#xA;" OwnerUserId="1898" LastEditorUserId="1898" LastEditDate="2012-06-22T15:57:56.537" LastActivityDate="2012-06-22T15:57:56.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4250" PostTypeId="1" AcceptedAnswerId="4279" CreationDate="2012-06-22T18:23:51.150" Score="5" ViewCount="2659" Body="&lt;p&gt;I've been trying to upload a video to Youtube which had been created in Vegas Movie Studio HD 11 and rendered as an MP4 file. You may notice the text has become sharper and the watermark is now almost impossible to see:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Video on PC (Played in Quicktime)&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/1Gyhw.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Video on Youtube&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Np9G6.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The entire video is affected by not just the first slide. I have tried to increase the colour settings in Sony Vegas and with Youtube's built-in editor. I have also tried using the built-in Vegas Youtube uploader.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Video Properties&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Created and rendered in Vegas Movie Studio HD. &lt;/li&gt;&#xA;&lt;li&gt;Rendered as HDV 720-25P (Matches project settings)&lt;/li&gt;&#xA;&lt;li&gt;Audio: 384 Kbps, 48,000 Hz, 16 Bit, Stereo, MPEG&lt;/li&gt;&#xA;&lt;li&gt;Video: 25 fps, 1280x720 Progressive, YUV, 18.3 Mbps&lt;/li&gt;&#xA;&lt;li&gt;Pixel Aspect Ratio: 1.000&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="636" LastEditorUserId="636" LastEditDate="2012-06-22T18:29:11.087" LastActivityDate="2014-01-31T07:35:57.473" Title="Upload a video to Youtube without losing contrast" Tags="|video|youtube|vegas-pro|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="4251" PostTypeId="5" CreationDate="2012-06-22T18:34:15.843" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-06-22T18:34:15.843" LastActivityDate="2012-06-22T18:34:15.843" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4252" PostTypeId="4" CreationDate="2012-06-22T18:34:15.843" Score="0" Body="Sony Vegas is a video editing software package for non-linear editing systems (NLE)" OwnerUserId="636" LastEditorUserId="636" LastEditDate="2012-06-22T18:42:15.703" LastActivityDate="2012-06-22T18:42:15.703" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4253" PostTypeId="2" ParentId="4108" CreationDate="2012-06-22T19:02:00.320" Score="2" Body="&lt;p&gt;Timecodes can be added in Sony Vegas. It's possible to adjust the vertical and horizontal allignment and scale of the timecodes as well as the format (Time, Frames, Feet).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open or create a new project in Sony Vegas and switch to the 'Video FX' tab, find the Timecode effect, click and drag one of the formats onto your media event. In my example I've chosen to use the 'Time &amp;amp; Frames' timecode which displays in hours, minutes, seconds and frame number (HH:MM:SS:FF)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ku96V.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't own this software, and you only intend to add a time stamp, you can download a free 30-day trial from the &lt;a href=&quot;http://www.sonycreativesoftware.com/download/trials/moviestudiohd&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sony Vegas&lt;/a&gt; website.&lt;/p&gt;&#xA;" OwnerUserId="636" LastEditorUserId="636" LastEditDate="2014-12-19T23:09:17.673" LastActivityDate="2014-12-19T23:09:17.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4254" PostTypeId="2" ParentId="4231" CreationDate="2012-06-22T19:55:11.697" Score="1" Body="&lt;p&gt;I ended up using &lt;a href=&quot;http://www.xilisoft.net/video-converter-ultimate.html?gclid=CKux__vP4rACFQK5Kgod-R3W3Q&quot; rel=&quot;nofollow&quot;&gt;Xilisoft&lt;/a&gt; and it works well for my requirements. &lt;/p&gt;&#xA;" OwnerUserId="2516" LastActivityDate="2012-06-22T19:55:11.697" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4256" PostTypeId="1" CreationDate="2012-06-23T06:25:39.183" Score="1" ViewCount="46" Body="&lt;p&gt;This question obviously is highly dependent on specific VisFX's, so please answer IN GENERAL:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;In general, which GPUs/GPU families and software (Mac, Windows, Linux) COMBINATIONS are best for rendering a large variety of VisFX in realtime on a live video feed (from a tethered camera)?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm asking in order to choose a netbook to purchase for realtime VisFX on a live feed; netbooks are fundamentally limited in GPU/CPU power, so I want to find a GPU/software combination that works most efficiently.&lt;/p&gt;&#xA;" OwnerUserId="867" LastActivityDate="2012-06-23T06:25:39.183" Title="GPUs and software for FAST realtime VisFX?" Tags="|effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4257" PostTypeId="1" CreationDate="2012-06-23T06:32:39.643" Score="3" ViewCount="605" Body="&lt;p&gt;What would be most similar in concept to VST effects but for visuals?  In other words, is there a standardized interface for running VisFX on a video in the same way that one can run VST realtime effects on audio?&lt;/p&gt;&#xA;" OwnerUserId="867" LastEditorUserId="2836" LastEditDate="2014-02-13T21:09:59.550" LastActivityDate="2014-07-19T14:55:32.137" Title="Visual equivalent of VST" Tags="|video|effects|plugins|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4258" PostTypeId="1" CreationDate="2012-06-23T09:42:25.650" Score="1" ViewCount="56" Body="&lt;p&gt;I've created many HFX transitions to use in Pinnacle Studio 9 but newer versions of Pinnacle Studio(e.g. 12,14, etc.) does not support it. I need to stuck with 9 because I need those effects so badly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way or workaround to make it work in newer versions?&lt;/p&gt;&#xA;" OwnerUserId="2431" LastActivityDate="2012-06-23T09:42:25.650" Title="How to use Pinnacle Studio 9 effects in newer versions?" Tags="|effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4263" PostTypeId="2" ParentId="4257" CreationDate="2012-06-23T23:37:08.793" Score="5" Body="&lt;p&gt;It really depends on how much you care about realtime operation.  VSTs tend to be used both for production and performance, but with video, because there's so much more processing involved, things tend to be split between production and performance.  That being said, for production, &lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot;&gt;After Effects&lt;/a&gt; plugins are probably the closest analogy.  For performance, probably &lt;a href=&quot;http://freeframe.sourceforge.net/&quot;&gt;Freeframe&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Freeframe is a format that's specifically tailored to be cross-application, but on the production side of things, I don't know of anything that transcends applications the way that VSTs do.  Each video production app tends to have its own format.  The main reason I say AE plugins are the closest analogy to VSTs is because AE itself is almost as ubiquitous in the same application price range/platform.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So there's not really an exact analogy (if you consider all the various factors), but there are similar things out there.&lt;/p&gt;&#xA;" OwnerUserId="686" LastActivityDate="2012-06-23T23:37:08.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4265" PostTypeId="2" ParentId="4108" CreationDate="2012-06-24T09:09:52.447" Score="1" Body="&lt;p&gt;For example &lt;em&gt;Motion&lt;/em&gt; has textgenerators for this task. &#xA;Just look for &quot;Timecode&quot; and &quot;Time &amp;amp; Date&quot; in the effect-library. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But most compositing and editing applications can do that. &lt;/p&gt;&#xA;" OwnerUserId="2287" LastActivityDate="2012-06-24T09:09:52.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4266" PostTypeId="2" ParentId="4242" CreationDate="2012-06-24T09:36:41.270" Score="2" Body="&lt;p&gt;Answer 3: &lt;br&gt;&#xA;Use XLR cables to get the audio from the PA to your camcorder. To convert the balanced PA signal to the line signal, take a passive &lt;a href=&quot;http://en.wikipedia.org/wiki/DI_unit&quot; rel=&quot;nofollow&quot;&gt;DI-box (aka DI-unit)&lt;/a&gt;. They are not expensive. You'll get a solid one for &lt;a href=&quot;http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias=aps&amp;amp;field-keywords=di-unit#/ref=nb_sb_noss_1?url=search-alias=aps&amp;amp;field-keywords=di%20box&amp;amp;rh=i%3aaps,k%3adi%20box&quot; rel=&quot;nofollow&quot;&gt;less than 50$&lt;/a&gt; by Amazon. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;More info:  &lt;br&gt;&#xA;&lt;a href=&quot;http://en.wikipedia.org/wiki/DI_unit&quot; rel=&quot;nofollow&quot;&gt;DI-Units - Wikipedia&lt;/a&gt; &lt;br&gt;&#xA;&lt;a href=&quot;http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias=aps&amp;amp;field-keywords=di-unit#/ref=nb_sb_noss_1?url=search-alias=aps&amp;amp;field-keywords=di%20box&amp;amp;rh=i%3aaps,k%3adi%20box&quot; rel=&quot;nofollow&quot;&gt;DI-Boxes - Amazon.com&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2287" LastEditorUserId="2287" LastEditDate="2012-06-24T09:47:37.843" LastActivityDate="2012-06-24T09:47:37.843" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4272" PostTypeId="1" CreationDate="2012-06-24T19:21:22.993" Score="0" ViewCount="130" Body="&lt;p&gt;I have developed a video which approximates to 13 Mb.I try opening it with Windows media player or Nero.It tries to open but then the player automatically closes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Format is .avi&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What could be the possible reason.Is size the issue?&lt;/p&gt;&#xA;" OwnerUserId="2439" LastActivityDate="2012-07-11T01:34:26.217" Title="Not able to play 13Mb video file" Tags="|video|video-editor|windows|video-quality|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4273" PostTypeId="2" ParentId="4272" CreationDate="2012-06-24T20:29:30.340" Score="3" Body="&lt;p&gt;Not enough info. Try getting a copy of the GSpot Codec Information program (google it) and report back here what it says about the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Size is almost certainly not the problem.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2012-06-24T20:29:30.340" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4279" PostTypeId="2" ParentId="4250" CreationDate="2012-06-26T16:12:27.447" Score="5" Body="&lt;p&gt;I worked out a satisfactory solution to this problem. It involves adding the 'Computer RGB to Studio RGB' Video FX to each video track in your Vegas Studio project. This effects the rendered file and project quite a lot but appears normal when uploaded to Youtube:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Quicktime&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/aEMVi.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Youtube&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/c1KBR.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;It's possible to disable the track Video FX whilst you work on your project so you don't have to deal with dimmed video. The effects will need to be be re-enabled before you render the project.&lt;/p&gt;&#xA;" OwnerUserId="636" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2014-01-30T15:41:44.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4280" PostTypeId="2" ParentId="4202" CreationDate="2012-06-26T16:44:52.233" Score="0" Body="&lt;p&gt;Kudos to Japsu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't want to bother with compiling code and using command line tools, you can use a video repair service.&#xA;&lt;a href=&quot;http://mp4repair.org&quot; rel=&quot;nofollow&quot;&gt;http://mp4repair.org&lt;/a&gt; provides free preview and diagnostics.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-- Benoît&#xA;(disclaimer: I'm affiliated with this website)&lt;/p&gt;&#xA;" OwnerUserId="2565" LastEditorUserId="2565" LastEditDate="2012-06-29T13:09:32.530" LastActivityDate="2012-06-29T13:09:32.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4288" PostTypeId="2" ParentId="2391" CreationDate="2012-06-27T07:58:12.687" Score="1" Body="&lt;p&gt;Take a look at &lt;a href=&quot;http://www.squared5.com/svideo/mpeg-streamclip-win.html&quot; rel=&quot;nofollow&quot;&gt;MPEG Streamclip for Windows&lt;/a&gt;. It's a very usefull converter. It's free. You can step frame-by-frame thought your TS-Streams, and you can export frames.&lt;/p&gt;&#xA;" OwnerUserId="2287" LastEditorUserId="2287" LastEditDate="2012-06-27T08:11:45.243" LastActivityDate="2012-06-27T08:11:45.243" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4289" PostTypeId="2" ParentId="3341" CreationDate="2012-06-27T08:41:01.540" Score="1" Body="&lt;p&gt;The hyperdeck shuttle is a small, lightweight and easy-to-use field recorder. The downside it just works with expensive SSD volumes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A possible alternative could be the Atomos Ninja. - Pros: Runs with SSD, but also with cheap and capacious 2.5-inch-HDDs. Built-in Touch-LCD-screen. Double battery connectors. The drives and batteries are hot-swapable. Cons: It's weight and it's size.&lt;/p&gt;&#xA;" OwnerUserId="2287" LastEditorUserId="2287" LastEditDate="2012-07-04T13:02:38.487" LastActivityDate="2012-07-04T13:02:38.487" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4290" PostTypeId="2" ParentId="3940" CreationDate="2012-06-27T10:55:55.803" Score="2" Body="&lt;p&gt;I guess you've uploaded a reference movie file, because this kind of movie is much smaller, and can not play without it's master. What you need is a self-contained movie. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My suggestion: To avoid this, try to export your movie via the &quot;&lt;strong&gt;&lt;em&gt;Export…&lt;/em&gt;&lt;/strong&gt;&quot;-Item, but &lt;strong&gt;not with &quot;&lt;em&gt;Export for Web…&lt;/em&gt;&quot;&lt;/strong&gt;. So you'll get a self-contained movie.&lt;/p&gt;&#xA;" OwnerUserId="2287" LastActivityDate="2012-06-27T10:55:55.803" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4291" PostTypeId="2" ParentId="2404" CreationDate="2012-06-27T11:06:30.830" Score="2" Body="&lt;p&gt;Yes. The companies &lt;a href=&quot;http://www.spatz-tech.com/&quot; rel=&quot;nofollow&quot;&gt;Spatz-Tech&lt;/a&gt;, &lt;a href=&quot;http://www.hdfury.com/&quot; rel=&quot;nofollow&quot;&gt;HDFury&lt;/a&gt; and &lt;a href=&quot;http://www.faroudja.com/&quot; rel=&quot;nofollow&quot;&gt;Faroudja&lt;/a&gt; have products with that functionality in their portfolio. But there are selling restrictions in many countries. &lt;/p&gt;&#xA;" OwnerUserId="2287" LastEditorUserId="2287" LastEditDate="2012-06-27T11:27:11.600" LastActivityDate="2012-06-27T11:27:11.600" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4292" PostTypeId="1" CreationDate="2012-06-27T11:45:11.473" Score="0" ViewCount="167" Body="&lt;p&gt;I have a small problem with rendering.When i render with default setting my video size is more than 1 GB and i was using only 10 pics, some solids and 1 null object.Can you please tell me what setting is best for rendering so that the size is reasonable and the quality is good enough.Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="2525" LastEditorUserId="2525" LastEditDate="2012-06-27T17:42:01.187" LastActivityDate="2012-07-31T22:55:33.217" Title="After effects rendering" Tags="|software|after-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4306" PostTypeId="1" AcceptedAnswerId="4351" CreationDate="2012-06-27T22:12:28.187" Score="4" ViewCount="1643" Body="&lt;p&gt;I would like to know if anyone out there knows of any free software, or software not as expensive as Adobe After Effects, that can do &lt;a href=&quot;http://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103a9d3c597-7b52a.html#WS3878526689cb91655866c1103a9d3c597-7b4ba&quot; rel=&quot;nofollow&quot;&gt;Difference Matte Keying&lt;/a&gt;? I have searched the web a little and have not come up with any promising results. &lt;strong&gt;Note: Chroma Keying is not an option. I am on a Windows 7 computer.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you in advance for your time, and possible help.&lt;/p&gt;&#xA;" OwnerUserId="2575" LastEditorUserId="2575" LastEditDate="2013-09-27T02:25:06.087" LastActivityDate="2013-09-27T02:25:06.087" Title="Difference Matte Keying software" Tags="|video|software|effects|composing|freeware|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4311" PostTypeId="2" ParentId="3241" CreationDate="2012-06-28T16:55:39.623" Score="1" Body="&lt;p&gt;I believe that &lt;a href=&quot;http://www.dailymotion.com/us&quot; rel=&quot;nofollow&quot;&gt;dailymotion.com&lt;/a&gt; can have 50 fps videos, though the recommended is 25 fps. &lt;a href=&quot;http://www.dailymotion.com/video/x92u89_derelict-bmx-march-in-50-frames-per_music?search_algo=1&quot; rel=&quot;nofollow&quot;&gt;Here&lt;/a&gt; is an upload that &lt;strong&gt;&lt;em&gt;says&lt;/em&gt;&lt;/strong&gt; that it is in 50fps.&#xA;I am not completely sure, so you might have to just end up converting it to 25. &lt;/p&gt;&#xA;" OwnerUserId="2575" LastActivityDate="2012-06-28T16:55:39.623" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4312" PostTypeId="1" AcceptedAnswerId="4317" CreationDate="2012-06-29T08:16:53.527" Score="4" ViewCount="341" Body="&lt;p&gt;I have some mp4 video files with pretty poor video quality. I need to add a voiceover translation. I have seen some video software programs that could do the job but unfortunately most of these programs recompress also the video stream, so it becomes worse.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any (preferably, free) software, which would allow me to remix only audio part of my mp4 files and leave the video stream as is, without recompression?&lt;/p&gt;&#xA;" OwnerUserId="2583" LastActivityDate="2012-06-30T10:35:51.110" Title="Adding voiceover without video recompression" Tags="|video-editor|compression|vocal|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4313" PostTypeId="1" AcceptedAnswerId="4318" CreationDate="2012-06-29T09:29:53.570" Score="1" ViewCount="232" Body="&lt;p&gt;Hi everyone I am in my last three days before I present my final project for my exam at college everything is ready for the final presentation except a good presentation. At first I made one in Microsoft Power Point but it isn't very cool looking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just got an idea for the presentation to create a video that slide's different images that contain information about my project, add some music in the background and at some point the music's volume will be turned lower and an mp3 with me talking will start playing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Until now it isn't something I could not do in power point although I hope you guys will suggest another software because I also want to add over the presentation another video with me talking and pointing my hand on different subjects from the video. I have never done this before and do not know how am I supposed to cut that part with me talking from one video and add it over another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone suggest a good easy to learn software that can achieve this and has an easy learning curve? And also some tutorials on that. Can a beginner like me manage to do it in 3 days?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to make something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/3jZ_Ns3Sqqo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone know a tutorial that teaches how to make a similar video?&lt;/p&gt;&#xA;" OwnerUserId="2584" LastEditorUserId="2287" LastEditDate="2012-07-01T08:16:05.900" LastActivityDate="2012-07-01T08:16:05.900" Title="Building a presentation video" Tags="|video|video-editor|composing|greenscreen|tutorial|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4315" PostTypeId="2" ParentId="4312" CreationDate="2012-06-29T12:40:03.340" Score="-1" Body="&lt;p&gt;Short answer is no...in order to marry picture and sound, a new file needs to be created. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said, some software will allow you to edit the compression settings, and may have a setting to leave the video at &quot;original quality&quot; or &quot;no compression&quot; or &quot;uncompressed&quot;. The latter may actually result in a larger file, as the file get decompressed and then re-saved with ALL the data intact instead of compressed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do some experimentation to see which option(s) work best with the software you have available. You can also download some free trial versions of software that are fully functional for 30 days before you get locked out. Most editing programs that allow tweaking of the video codec's options will work for you.&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-06-29T12:40:03.340" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4316" PostTypeId="2" ParentId="4272" CreationDate="2012-06-29T13:08:32.533" Score="0" Body="&lt;p&gt;Size should not be an issue.&#xA;You probably have a corrupt video file. This would explain why players close when trying to decode it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can try to preview the video with this tool:&#xA;&lt;a href=&quot;http://mp4repair.org&quot; rel=&quot;nofollow&quot;&gt;http://mp4repair.org&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(disclaimer: I'm affiliated with this website)&lt;/p&gt;&#xA;" OwnerUserId="2565" LastEditorUserId="64" LastEditDate="2012-07-11T01:34:26.217" LastActivityDate="2012-07-11T01:34:26.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4317" PostTypeId="2" ParentId="4312" CreationDate="2012-06-29T15:32:23.137" Score="6" Body="&lt;p&gt;Yes, it's possible. What you need to do is demux and remux. Check out free tools like VirtualDub and Any Video Converter to split the original into separate streams, add what you want using Audacity or similar, then re-multiplex them together using a tool like AviMux. The video can remain unchanged.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2012-06-29T15:32:23.137" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4318" PostTypeId="2" ParentId="4313" CreationDate="2012-06-29T18:20:14.340" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://stackoverflow.com/questions/11259425/building-a-presentation-video/11266926#11266926&quot;&gt;On this question&lt;/a&gt; @hasanyasin and I provided you with alternatives for slideshow presentations. Additionally I place here a part of my answer, just for your convenience:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Anyway, what you wish to do in a video can be achieved by a&#xA;  professional non linear editing system, like Sony Vegas or Adobe&#xA;  Premiere, of which Sony Vegas is the easiest to learn.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;If you are used to Microsoft Based Products (PhotoShop, Corel Draw,&#xA;  Office, Movie Maker, etc.) you are almost ready to do it.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;The process to place you in front of the moving images, videos,&#xA;  transitions, text and other media is called &quot;Chroma Key&quot; and it can be&#xA;  reached in the Effects tab of the Sony Vegas 8 (and previous/further&#xA;  versions). A video tutorials on how to create the Chroma Key effect&#xA;  can be found on youtube by dropping the terms &quot;chroma key sony vegas&quot;,&#xA;  here is an example: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/KMgxQCwfrcs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Basically you work in multi layer. Placing in a time line the elements&#xA;  in the order that you wish them to appear on screen, adding a&#xA;  background, in/out transitions, and other elements. Remember that the&#xA;  top layer will be the &quot;front&quot; element on screen. After which you&#xA;  insert your blue/green screen video at the very top, apply the Chroma&#xA;  Key effect, choose the dropper and select the background in your&#xA;  video, after which you adjust the threshold in order not to appear&#xA;  like a ghost in the video.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;You will need to use the &quot;Event Pan and Crop&quot; tool in order to create&#xA;  the &quot;moving&quot; effect for some static items, like pictures and even if&#xA;  you wish your videos to &quot;fly&quot; around the screen. Just run a search in&#xA;  youtube with the words &quot;Pan and Crop Sony Vegas&quot; and you will get tons&#xA;  of results. Here is an example:&#xA;  &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/lpvJ6Dhz63M?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;And yes...  you can create awesome results in a couple of hours. Give&#xA;  it a try and drop us back a link with your published video.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="2587" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2012-06-29T18:20:14.340" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4319" PostTypeId="2" ParentId="4313" CreationDate="2012-06-30T08:09:45.613" Score="0" Body="&lt;p&gt;I think one can do this with some helpers, and if 3 days means working 72 hours.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For getting this result you need:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A editing or compositing software.&lt;/li&gt;&#xA;&lt;li&gt;A green- or bluescreen- backdrop.&lt;/li&gt;&#xA;&lt;li&gt;Four adujstable Lightsources.&lt;/li&gt;&#xA;&lt;li&gt;A room with a depth of about 4-6 meters.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2287" LastActivityDate="2012-06-30T08:09:45.613" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4320" PostTypeId="2" ParentId="4312" CreationDate="2012-06-30T10:35:51.110" Score="1" Body="&lt;p&gt;Both Apple Logic can separate the audio from an .mp4 file for editing and then bounce a new audio track back to a video file without changing the video at all. Pro Tools can do similar but I can't remember if it does mp4 or not.&lt;/p&gt;&#xA;" OwnerUserId="2508" LastActivityDate="2012-06-30T10:35:51.110" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4321" PostTypeId="1" AcceptedAnswerId="4328" CreationDate="2012-06-30T16:57:45.570" Score="3" ViewCount="5415" Body="&lt;p&gt;After uploading a bunch of clips to YouTube, I go into their editor and begin making cuts, combining clips together, etc. The problem is, after I published it, there is no way (that I can see) to go back and open up that project in the Video Editor again to make changes to the edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This wouldn't be so bad if I also couldn't figure out how to duplicate an edit project. So for example, if Im in the middle of editing a bunch of clips together, named &quot;Project 1&quot;, how could I think &quot;Save as...&quot; or duplicate that project to &quot;Project 1b.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas? The google help center on this is pretty sparse.&lt;/p&gt;&#xA;" OwnerUserId="2589" LastActivityDate="2016-11-05T21:24:12.210" Title="How to re-edit and/or duplicate an in-progress edit with YouTube Video Editor" Tags="|youtube|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4323" PostTypeId="2" ParentId="4306" CreationDate="2012-06-30T19:26:27.927" Score="1" Body="&lt;p&gt;Seems like &lt;a href=&quot;http://cinelerra.org/docs/split_manual_en/cinelerra_cv_manual_en_14.html#Difference-key&quot; rel=&quot;nofollow&quot;&gt;Cinelerra can&lt;/a&gt;. Haven't checked how well it works though, I've been wanting to install it for quite some time but never got around to doing it yet.&lt;/p&gt;&#xA;" OwnerUserId="1038" LastActivityDate="2012-06-30T19:26:27.927" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4324" PostTypeId="1" CreationDate="2012-06-30T23:04:12.563" Score="2" ViewCount="6280" Body="&lt;p&gt;When producing a video, Camtasia lets you pick the save location for the produced file but I can't find an option to change the location for this. I have set the &lt;em&gt;recording&lt;/em&gt; and &lt;em&gt;temp&lt;/em&gt; directories through other menus, but Camtasia asks for this location each time I produce and I have to manually change it each time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The default location is &lt;code&gt;/users/documents/camtasia studio/&lt;/code&gt; but I'd like to dump them into a different directory for ease of access. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way at all to change this location? If it matters I'm testing Camtasia Studio 8, but I've always had the same problem in Camtasia 7, and will be going back to Camtasia 7 if I don't like 8 enough to purchase it.&lt;/p&gt;&#xA;" OwnerUserId="2210" LastEditorUserId="64" LastEditDate="2012-07-04T03:07:50.037" LastActivityDate="2022-11-04T16:13:25.577" Title="How can I change the default Production file save location in Camtasia Studio?" Tags="|screen-casting|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4328" PostTypeId="2" ParentId="4321" CreationDate="2012-07-01T15:26:32.743" Score="2" Body="&lt;p&gt;The YouTube video editor is just not designed for this sort of thing - it has very basic functionality, just enough to allow you to tweak a couple of things. Once the edit is complete it has no ongoing concept of a 'project' - you just have a new video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would always recommend editing locally in a proper video editor and then uploading.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-07-01T15:26:32.743" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4334" PostTypeId="2" ParentId="4272" CreationDate="2012-07-02T14:58:01.090" Score="1" Body="&lt;p&gt;Best tool for this is &lt;a href=&quot;http://mediainfo.sourceforge.net/en&quot; rel=&quot;nofollow&quot;&gt;MediaInfo&lt;/a&gt;.&#xA;This tool is opensource and has nearly daily updates for features and bug fixes. It is an analyzer of media files. Have many levels of how deep it will report you about media file. While it is not checking the integrity of the whole media file it check correctness of headers and tells you about capabilities. &lt;/p&gt;&#xA;" OwnerUserId="2435" LastEditorUserId="64" LastEditDate="2012-07-11T01:32:55.033" LastActivityDate="2012-07-11T01:32:55.033" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4335" PostTypeId="2" ParentId="4306" CreationDate="2012-07-02T15:03:41.617" Score="0" Body="&lt;p&gt;Check the blend modes of your video tracks. Almost any actual editing and compositing software, has blend modes for &quot;Difference&quot;. So i'm nearly sure, you don't need a separate software. &lt;/p&gt;&#xA;" OwnerUserId="2287" LastEditorUserId="2287" LastEditDate="2012-07-02T15:19:28.030" LastActivityDate="2012-07-02T15:19:28.030" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4336" PostTypeId="2" ParentId="4324" CreationDate="2012-07-02T15:14:07.457" Score="1" Body="&lt;p&gt;In camtasia, if you choose a certain location that it will store it in your used places. Then you can access it easily through the dropdown list. Here is an image:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/gpagp.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It isn't possible to change the default output folder though....&lt;/p&gt;&#xA;" OwnerUserId="2575" LastEditorUserId="2575" LastEditDate="2012-07-12T13:39:18.147" LastActivityDate="2012-07-12T13:39:18.147" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="4341" PostTypeId="1" AcceptedAnswerId="4343" CreationDate="2012-06-26T16:48:22.367" Score="7" ViewCount="392" Body="&lt;p&gt;As per the title, how much &lt;strong&gt;fps count&lt;/strong&gt; should I be considering on a camera if I am looking to do slo-mo shots &lt;strong&gt;without framerate lag&lt;/strong&gt; taking effect on video settings?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On a side note, I don't know if this is counted as Photography or videography. I'm looking at &lt;strong&gt;digital cameras&lt;/strong&gt; that have a good video framerate, though.&lt;/p&gt;&#xA;" OwnerUserId="2609" OwnerDisplayName="Reno Yeo" LastEditorUserId="636" LastEditDate="2012-07-21T13:08:33.293" LastActivityDate="2012-07-21T13:08:33.293" Title="How much is a good framerate for slo-mo recording?" Tags="|video|camera|slowmotion|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="4342" PostTypeId="2" ParentId="4341" CreationDate="2012-07-02T15:31:23.167" Score="7" Body="&lt;p&gt;In tecnical terms of Slow Motion, you can record at any speed, the fact is that actually slow motion... is achieved when each film frame is captured at a rate much faster than it will be played back.The technical term for slow motion is overcranking which refers to the concept of cranking a handcranked camera at a faster rate than normal (i.e. faster than 24 frames per second).&#xA;A third technique that is becoming common using current computer software post-processing (with programs like Twixtor) is to fabricate digitally interpolated frames to smoothly transition between the frames that were actually shot. Ciberlink PowerDVD uses that interpolation for ex.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Answering your question, you can achieve slow motion with any video recorder, the more frames per second, the better or smoothly... and of course you can use software post-processing to smooth frames out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this answer your question.&lt;/p&gt;&#xA;" OwnerDisplayName="Mariano Argañaraz" LastActivityDate="2012-07-02T15:31:23.167" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4343" PostTypeId="2" ParentId="4341" CreationDate="2012-07-02T21:50:17.737" Score="5" Body="&lt;p&gt;This is relative depending on your subject. Slow motion for a person walking could be 60fps while a car may be 1000fps. Both of these are examples of the capture rate. They are captured at this rate and then replayed around 30fps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Determining necessary frame rate: Think of your subject's action that you want to slow down. If it's a drift in a car, lets say it took 1 second for that car to come around the bend. How long would you like it to take in the video? 2 seconds? 60fps. 4 seconds? 120fps. You simply do the math to determine what fps you want to capture. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll find that the most popular DSLRs (and helmet cams) are going to capture at 60fps. Usually this won't meet your needs of slow motion. To compensate, many professionals are using a software solution that is much cheaper than a hardware solution. Twixtor is one of the leading models and has been able to slow &lt;em&gt;some&lt;/em&gt; videos to the equivalent of 2000fps (remember, playback is always around 30fps) from a 60fps capture. I say &quot;some&quot; because the software is attempting to determine what occurred between the missing frames and this can cause artifacts. If you're shocked by the sticker price of Twixtor, take a moment and research prices of cameras that capture at the rate Twixtor can almost duplicate, at 1080p, without having to carry that price tag around potentially dangerous areas. Then try and strap one of those cameras to your bike/wakeboard/car.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I digress..&lt;/p&gt;&#xA;" OwnerDisplayName="AndyML" LastActivityDate="2012-07-02T21:50:17.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4344" PostTypeId="2" ParentId="4292" CreationDate="2012-07-03T03:09:52.610" Score="2" Body="&lt;p&gt;As @Oliver-G said above, your final use of the footage will dictate your render settings. But I'm going to explain HOW rendering works, because it's essential knowledge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Rendering is the process of taking your After Effects comp - a series of instructions of how to process files - and writing every pixel's value to a file (See footnote 1).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The way AE does this is to work from each layer from the bottom-most upwards, calculating expressions, effects on each later, motion etc. Then it computes the next bottom-most layer, laying it over the previously computer layer(s). The final size is not dependant on the complexity of the comp, so a still image will be the same file size (footnote 2) as a full composite with particles, effects, 3D elements etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once this is done, AE then runs the resultant file through a &lt;em&gt;compressor&lt;/em&gt;, which is where you choose your codec(s) and compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Codec:&lt;/strong&gt; Every file has three (footnote 3), one for Audio, Video and Container. Think of a codec like the format for that stream in the file - so you can mix and match codecs. This is why &lt;code&gt;.mov&lt;/code&gt; files can be unplayable on some systems: Quicktime is a &lt;em&gt;Container&lt;/em&gt; format, and can have any of a huge number of video codecs in it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Compression:&lt;/strong&gt; Set how much data is &quot;thrown away&quot; to achieve a smaller file size. Similarly (footnote 4) to how a &lt;code&gt;.zip&lt;/code&gt; file has a smaller size than the files it contains - fewer bits to be stored - compression can reduce the file size of a video, at the expense of quality. This is why web video - YouTube especially - looks atrocious, because it is reduced to such a small file size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These settings are accessed through the &lt;code&gt;Output Module&lt;/code&gt; button under each file in the Render Queue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you did when exporting is leave everything &lt;code&gt;Uncompressed&lt;/code&gt;, so you had a huge file size.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;Footnotes&lt;/h2&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;For those with a deeper understanding of encoding, yes, I realise that keyframes, I/B frames make this statement untrue. But it's simplified for this explanation.&lt;/li&gt;&#xA;&lt;li&gt;Not true, depending on how the codec's compression chooses to handle movement - a still image will be smaller because the codec doesn't have to record every frame of new data.&lt;/li&gt;&#xA;&lt;li&gt;At least three, for a normal Audio+Video+Container. Multiple audio/video tracks, 3D etc. all add more codecs to the one file.&lt;/li&gt;&#xA;&lt;li&gt;Not at all, but hey, cut me some slack :)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2598" LastActivityDate="2012-07-03T03:09:52.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4345" PostTypeId="2" ParentId="3538" CreationDate="2012-07-03T06:03:18.703" Score="3" Body="&lt;p&gt;To be fully honest, it's impossible to tell.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even now, there's a bit of an industry battle between FCP (which is dead following FCX), Premiere and AVID.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your best bet would be to edit in Premiere and keep an ear out, upgrading every 3-4 years with Premiere and possible emigrating the project over to whatever NLE is the industry standard at that time.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update 120703 @ 1604&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Having reread the question, mp3 + jpg images - why not use PowerPoint?&lt;/p&gt;&#xA;" OwnerUserId="2598" LastActivityDate="2012-07-03T06:03:18.703" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4351" PostTypeId="2" ParentId="4306" CreationDate="2012-07-03T21:25:54.790" Score="4" Body="&lt;p&gt;&lt;a href=&quot;http://blender.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blender&lt;/a&gt;, which is &lt;strong&gt;free and open-source&lt;/strong&gt;, can do difference matte keying.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if it's better or worse than After Effects' keyer because I haven't used it before.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/FDTv8.png&quot; alt=&quot;Difference matte keying with Blender&amp;#39;s node-based compositor.&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1147" LastActivityDate="2012-07-03T21:25:54.790" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4354" PostTypeId="1" CreationDate="2012-07-04T04:40:56.707" Score="2" ViewCount="3492" Body="&lt;p&gt;Okay, so what I'm trying to accomplish is to take a standard TV monitor and mount it at 90 degrees, while simultaneously rotating the source input signal 90 degrees so that the video output appears right-side-up on the rotated TV monitor.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We're doing this in an attempt to mock-up a giant iPhone in portrait orientation, driving the screen image off of an actual iPhone in portrait orientation.  So the TV needs to receive the signal from the iPhone, rotate it 90 degrees, and then scale it to fill the screen (probably distorting it a bit due to different aspect ratios).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I understand this sort of thing is relatively simple to do in software, but we really need some sort of hardware solution as we will be running this on a live feed, with the video running directly from the input device (iPhone) to the TV, with no computer in-between.  Is there any readily available hardware (like a cable or adaptor, maybe) that can do this?  Or perhaps any known TV models that allow the input image to be rotated arbitrarily?&lt;/p&gt;&#xA;" OwnerUserId="2605" LastActivityDate="2015-06-22T13:08:04.280" Title="Hardware to rotate a video signal 90 degrees?" Tags="|video|hardware|cable|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4355" PostTypeId="2" ParentId="4354" CreationDate="2012-07-04T08:49:52.147" Score="2" Body="&lt;p&gt;I don't know of any cables which do it, but you have a simpler solution:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A few recent HDMI computer monitors will be able to do this in hardware - an example I quite like is the &lt;a href=&quot;http://www.itpro.co.uk/640096/samsung-syncmaster-c24a650x-monitor-review/2&quot; rel=&quot;nofollow&quot;&gt;The Samsung Syncmaster C24A650X&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-07-04T08:49:52.147" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4357" PostTypeId="2" ParentId="3538" CreationDate="2012-07-04T11:32:01.087" Score="4" Body="&lt;p&gt;FCP can export an XML file that contains the basics of your sequence. Premiere can then import this and create a native project file based on the contents of that XML. I'm pretty sure Premiere can also export a similar file for import/conversion into FCP (I haven't tried though).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's worth noting that the formats are likely to change considerably years down the line, to the extent that a later version of the same software package may not be able to open it. You're best bet is to make sure all the individual files are archived so that if you're in that situation, you can just start over with the same files.&lt;/p&gt;&#xA;" OwnerUserId="2607" LastActivityDate="2012-07-04T11:32:01.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4358" PostTypeId="1" AcceptedAnswerId="4365" CreationDate="2012-07-04T16:30:28.930" Score="2" ViewCount="480" Body="&lt;p&gt;Many Canon AVCHD camcorders record 24fps in a format they call PF24, which essentially disguises the 24 fps in a 60i stream by applying 3:2 pulldown.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately they do this so well that to my knowledge editors can't detect it automatically and apply the reverse transformation. I have verified that this is true for Sony Vegas Pro 10 on Windows and FCPX on OS X, which treat these files as regular 60i material. When these clips are added to a 24p timeline they get the regular deinterlacing treatment, which looks awful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any tools (command line preferred) that can take a .MTS file with PF24 material and perform the inverse telecine process to convert to native 24p with minimal quality loss?&lt;/p&gt;&#xA;" OwnerUserId="1898" LastEditorUserId="1898" LastEditDate="2012-07-04T18:00:08.210" LastActivityDate="2013-03-05T09:08:42.823" Title="Tool to transcode Canon PF24 MTS files to native 24p?" Tags="|camcorder|canon|avchd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4359" PostTypeId="1" CreationDate="2012-07-04T18:26:45.260" Score="1" ViewCount="154" Body="&lt;p&gt;I'm experimenting with motion tracking and screencasts. The motion tracker in Motion 5 has problems tracking a very basic shape though. I was wondering if someone may know why and how I could get the tracker to work properly?&lt;br&gt;&#xA;The problem is that as soon as I hit analyze the tracker analyzes two or three frames then stops. I tried a couple of different settings but couldn't get it to work.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://twitpic.com/a3w2b5&quot; rel=&quot;nofollow&quot;&gt;Here's an example image&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The lower half shows a tracking point sitting on one of Motion's &quot;suggested&quot; tracking points.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="2277" LastActivityDate="2012-07-05T08:16:17.283" Title="Motion tracking in screen recording" Tags="|motion|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="4362" PostTypeId="2" ParentId="3406" CreationDate="2012-07-05T04:17:48.627" Score="5" Body="&lt;p&gt;&lt;a href=&quot;http://www.granitebaysoftware.com/products/productgbd.aspx&quot; rel=&quot;nofollow&quot;&gt;GBDeflicker&lt;/a&gt; plugin for after effects does the trick&lt;/p&gt;&#xA;" OwnerUserId="2611" LastEditorUserId="4426" LastEditDate="2015-02-05T20:39:43.453" LastActivityDate="2015-02-05T20:39:43.453" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4365" PostTypeId="2" ParentId="4358" CreationDate="2012-07-05T11:46:42.327" Score="3" Body="&lt;p&gt;The usual tool recommended for this is JES Deinterlacer, which apparently has an adaptive method of finding and removing the 'smear' frames. I haven't used it myself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason this is an issue is that the field cadence used for PF24 is (stupidly, IMO) different from the typical telecine cadence, which is what most 'inverse telecine' algos detect and remove. So applying standard inverse telecine just adds another layer of mess-up to the video.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2012-07-05T11:46:42.327" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4368" PostTypeId="1" AcceptedAnswerId="4375" CreationDate="2012-07-05T21:56:56.347" Score="2" ViewCount="2145" Body="&lt;p&gt;My budget is around $750. So far I have come up with &lt;em&gt;&lt;a href=&quot;http://www.dpreview.com/reviews/canoneos550d&quot; rel=&quot;nofollow&quot;&gt;Canon 550D&lt;/a&gt;&lt;/em&gt; and I think it's a great choice to shoot a low-budget short film. I am just seeking your advice to see if there is any better alternative I can use with this budget. Cameras with &lt;em&gt;Flip-out screen&lt;/em&gt; are preferred. Any advice would be appreciated!&lt;/p&gt;&#xA;" OwnerUserId="2350" LastEditorUserId="2350" LastEditDate="2012-07-05T22:09:00.143" LastActivityDate="2012-07-06T10:54:00.780" Title="What's a good camera to shoot a low-budget short film with?" Tags="|camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4370" PostTypeId="1" AcceptedAnswerId="4371" CreationDate="2012-07-06T03:55:49.573" Score="9" ViewCount="473" Body="&lt;p&gt;I have a small camera and this is the first time I'm filming anything that is serious. I'm wonder if there is a cheap way I can smoothly shoot footage in a room while moving without a camera dolly.&lt;/p&gt;&#xA;" OwnerUserId="2617" LastEditorUserId="636" LastEditDate="2012-07-06T15:18:20.440" LastActivityDate="2013-03-18T11:25:02.173" Title="how can I smoothly move a camera without a dolly?" Tags="|camera|stabilisation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4371" PostTypeId="2" ParentId="4370" CreationDate="2012-07-06T05:40:43.723" Score="11" Body="&lt;p&gt;You want something like a &lt;a href=&quot;http://www.google.com/search?client=safari&amp;amp;rls=en&amp;amp;q=steadicam&amp;amp;ie=UTF-8&amp;amp;oe=UTF-8&quot; rel=&quot;nofollow&quot;&gt;Steadicam&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The idea is to add weight to the camera assembly so that it is stabilized by an increase of &lt;a href=&quot;http://en.wikipedia.org/wiki/Moment_of_inertia&quot; rel=&quot;nofollow&quot;&gt;moment of inertia&lt;/a&gt;. For larger rigs, the entire thing might be supported by the cameraperson's body on a harness.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For smaller applications, the mount point of the camera is right above where you grip the assembly, and the pivot point is at the top of this grip. Then, a rigid strut extends from the mount point to below the grip, and weight is added at the bottom of this strut so that the center of gravity of the entire assembly (camera included) is at the pivot point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B005PYZG6E&quot; rel=&quot;nofollow&quot;&gt;This&lt;/a&gt; is an example of something like this that you can purchase, but if you're on a tight budget you might even be able to &lt;a href=&quot;http://www.google.com/search?client=safari&amp;amp;rls=en&amp;amp;q=diy+steadicam&amp;amp;ie=UTF-8&amp;amp;oe=UTF-8&quot; rel=&quot;nofollow&quot;&gt;make something yourself&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="617" LastEditorUserId="2178" LastEditDate="2013-03-18T11:25:02.173" LastActivityDate="2013-03-18T11:25:02.173" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4374" PostTypeId="1" CreationDate="2012-07-06T07:19:36.303" Score="0" ViewCount="659" Body="&lt;p&gt;If connecting a Blackmagic Cinema Camera via Thunderbolt to a laptop, can you record directly to the harddrive of the laptop? Which bitrate does have these recordings if using ProRes HQ422 at 1920x1080 @25p? And what's the real bitdepth of the image you get in this setup? &lt;/p&gt;&#xA;" OwnerUserId="2287" LastEditorUserId="2569" LastEditDate="2013-04-02T18:30:37.463" LastActivityDate="2014-01-27T23:14:04.260" Title="Blackmagic Cinema Camera: recording, bitrate and bitdepth" Tags="|camera|video-recording|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4375" PostTypeId="2" ParentId="4368" CreationDate="2012-07-06T10:54:00.780" Score="6" Body="&lt;p&gt;The short answer is anything that works for you. IMO, the 550D is a fine choice if it works for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The long answer? Even if you need to postpone the film, make sure your script is FLAWLESS. Shooting with a &lt;a href=&quot;http://www.red.com/&quot;&gt;Red&lt;/a&gt; can't save an awful script, but I've seen some ~awesome~ shorts &amp;amp; features shot with a &lt;a href=&quot;http://en.wikipedia.org/wiki/PXL-2000&quot;&gt;Fisher Price PXL-2000&lt;/a&gt; and the &lt;a href=&quot;http://www.amazon.com/Pure-Digital-Camera-Photo/b?ie=UTF8&amp;amp;node=373705011&quot;&gt;Flip&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Beyond that, understand lighting. Know where your light is coming from and how to use it to make your scenes less muddy or grainy (unless that's what you're going for stylistically). Consumer camcorders are less light-sensitive than their professional brethern. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, make sure you can record decent sound. In most cases, on-board microphones are crap. That being said, bad sound makes a mediocre script awful. amazing sound can make mediocre scripts a touch less painful to watch. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One other thing you may want to try: network with other filmmakers and see what they're using. See if you can rent or borrow cameras to see what you like to work with. Who knows? I've shot films and donated my gear to the cause because the script was AWESOME. You may run into someone who's willing to support your vision with a camera donation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But start with your script.&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-07-06T10:54:00.780" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4377" PostTypeId="2" ParentId="4374" CreationDate="2012-07-06T18:06:33.430" Score="1" Body="&lt;p&gt;The Media Express software it ships with will let you capture video directly from the Thunderbolt port at 23.98p, 24p, 25p, 29.97p, 30p frame rates (&lt;a href=&quot;http://www.blackmagic-design.com/products/blackmagiccinemacamera/techspecs/&quot; rel=&quot;nofollow&quot;&gt;from the tech specs page&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/ProRes_422&quot; rel=&quot;nofollow&quot;&gt;From the Wikipedia ProRes 422 page&lt;/a&gt; you will get 10-bit sample depth, and High-Quality comes in at 220 Mbit/s for HD resolution at 60i&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thunderbolt can handle 10Gb/s and SATA 3 can handle 6Gb/s so they will not be a bottleneck here.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-07-06T18:06:33.430" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4378" PostTypeId="1" AcceptedAnswerId="4389" CreationDate="2012-07-06T18:44:10.487" Score="1" ViewCount="1553" Body="&lt;p&gt;My footage consists of someone with black sunglasses moving his head tilting slowly back and forth. The glass of the sunglasses is visible in the footage. In the beginning the head is tilted back, the glasses are turned up from the camera, so only a small portion of the glass is visible. The more the head tilts forward, the more the glass approaches being parallel to the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to track the shape and movement of the glass. So the movement would be saved to the position/rotation path and the shape to a mask shape. I have tried this using After Effects, but I only managed to track the motion of the area movement.&lt;br&gt;&#xA;How do I track the changing shape of the glass as well?  I also have access to Mocha and Boujou.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="2178" LastEditDate="2012-07-06T21:08:47.287" LastActivityDate="2012-07-09T08:14:07.637" Title="Motion and shape tracking in After Effects CS5.5" Tags="|after-effects|tracking|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4387" PostTypeId="2" ParentId="4247" CreationDate="2012-07-08T19:44:53.237" Score="1" Body="&lt;p&gt;Look in your video editing software for &quot;Rolling Shutter&quot; correction.  That will help, but probably not completely eliminate, the problem.&lt;/p&gt;&#xA;" OwnerUserId="1918" LastActivityDate="2012-07-08T19:44:53.237" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4388" PostTypeId="2" ParentId="4378" CreationDate="2012-07-09T06:13:09.267" Score="2" Body="&lt;p&gt;I would suggest as a starting point to use &lt;code&gt;Corner Pin Tracking&lt;/code&gt;, found on the tracking panel of AE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Track each side of the sunglasses separately and when done, you should have two solids that move with the area of the glasses. Add a mask to each one, and rotoscope the actual shape of the glasses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think this would be easier than rotoscoping from scratch. These two solids can then be used as track mattes or precomposed etc.&lt;/p&gt;&#xA;" OwnerUserId="2598" LastActivityDate="2012-07-09T06:13:09.267" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4389" PostTypeId="2" ParentId="4378" CreationDate="2012-07-09T08:14:07.637" Score="1" Body="&lt;p&gt;I found a tutorial which uses Mocha for After Effects to accomplish my task exactly. Here is the link to the tutorial:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.imagineersystems.com/videos/mocha-ae-paste-mocha-shapes-to-after-effects-mask-channel/view&quot; rel=&quot;nofollow&quot;&gt;http://www.imagineersystems.com/videos/mocha-ae-paste-mocha-shapes-to-after-effects-mask-channel/view&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2012-07-09T08:14:07.637" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4399" PostTypeId="1" AcceptedAnswerId="4401" CreationDate="2012-07-13T03:21:44.860" Score="7" ViewCount="574" Body="&lt;p&gt;For starters, please forgive me if this question is very amateurish - if they sound that way, that's because I am an amateur.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to start shooting some webisodes in my garage and want to know what equipment I will need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The quality would be the equivalent to that of any of Revision3's shows - or more specifically &lt;a href=&quot;http://www.totallyradshow.com&quot;&gt;TRS&lt;/a&gt;. So nothing TOO high quality, but decent-ish quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a Canon 7D, and would like another camera for a 2nd shot. My budget is about $4Kish for everything. The 2nd camera, lighting, audio, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Someone suggested a t3i, or t4i for my second camera - what do you guys think about that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, about 60% of the shots I do will be in this garage, but I also want to be mobile and be able to setup shots elsewhere - so keep that in mind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you recommend lighting (both individual pieces and entire kits) and audio solutions that I might want to look at?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was thinking of getting stuff on B&amp;amp;H, but the choices just seem overwhelming and I know it's easy to spend a ton of money on stuff that I don't &quot;need&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I would love any feedback on how I can get a &quot;decent-ish&quot; studio setup for a few $K.&lt;/p&gt;&#xA;" OwnerUserId="2635" OwnerDisplayName="marcamillion" LastEditorUserId="-1" LastEditDate="2012-07-13T15:46:46.080" LastActivityDate="2012-07-13T15:57:25.893" Title="What equipment do I need to be able to produce 'HD quality' videos?" Tags="|recommendation|video-quality|production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4400" PostTypeId="1" CreationDate="2012-07-13T14:25:59.793" Score="3" ViewCount="177" Body="&lt;p&gt;I want to understand how ROI selection actually happens inside a camera? I have an ethernet camera, that can capture and send images to the PC, based on user defined ROI. The advantage of this is that I transfer only useful/relevant data from the image to my PC which will process it, instead of processing on the complete image.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The manufacturer has given a user guide, that gives very little details. The user guide says that ROI Selection-1(see figure below) is a valid ROI, and the ROI Selection-2 is of no use, in the sense that it will be still sending the complete image (though with some 0 values or garbage). That is the ROI selection-2 will not give any advantage of having only useful data transfer.&lt;br&gt;&#xA;  &lt;img src=&quot;https://i.stack.imgur.com/4DAXx.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In support of his arguments he has given the following figure(without any explanation)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Horizontal scanning&lt;/strong&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/3yM4j.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Vertical scanning&lt;/strong&gt;&lt;br&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/r5KUg.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone help me understand why the selection 2 is invalid. I am really facing problem in understanding these pulses. Is there any link giving details about these pulses?  &lt;/p&gt;&#xA;" OwnerUserId="2592" LastActivityDate="2013-07-16T21:47:52.957" Title="Understanding Region of Interest selection in a Camera" Tags="|video|camera|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4401" PostTypeId="2" ParentId="4399" CreationDate="2012-07-13T15:57:25.893" Score="10" Body="&lt;p&gt;With your budget, I would suggest investing in a few basic lights and decent audio recording equipment. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;While a second camera is nice to have, creating production value with the non-picture parts of your films will make them a lot better. If you need to get second or third angle, just move the camera for a closeup and re-run the scene. Sure, it may take longer to shoot, but from my experience, you'll have better selection in the edit suite than if you're just cutting a bunch of suimultaneously rolling cameras together. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's also the issue of matching. The 7D is so spectacular, that I'd fear mixing in something that's not comparable (and likely over your budget) will be very visible to the viewer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lighting: Learn basic three point lighting. Rather than buying a kit new, check eBay for Lowel lights. They're relatively well made (using metal!) and still very economical. The ProLight, VLight and Rifa lights are good to start a digital video lighting package with. I've put together kits designed to my specs buying individual pieces off of eBay, and spent half the cost of a comparable kit new. I would say a good place to start is 2-3 ProLights and a Rifa Light, &lt;em&gt;maybe&lt;/em&gt; a vLight. The latter is good for just makign something bright, but isn't terribly good at adding modeling to a scene. It may not be appropriate for your garage shoot. I usually use it to uplight a tree in night shots jsut to add some texture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Accessories for lighting: stands, dimmer switches and a roll of blackwrap. Gels are useful once you start shooting outside...you'll need to balance the lights to match the sun. Read about Color Balance and Color temperature if you're unfamiliar with the concept. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio: Invest in a good shotgun mic and a boom pole. I &lt;strong&gt;cannot&lt;/strong&gt; stress enough the importance of good audio. If your picture is mediocre, awesome sound can save it, but no matter how awesome your picture is, bad sound makes it unwatchable. Play around with the mic to learn how its pickup pattern works and to find the sweet spot for placement. If you need to record sounds effects, ambient sounds, or record dual system, pick of an H4N. It's one of the best investments I made into my audio kit, and I use it on &lt;strong&gt;every&lt;/strong&gt; shoot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A solid, economical mic is the Audio Technica AT-435B. Sennheiser is also a good brand, but more expensive. I forget my model numbers off the top of my head; perhaps someone can fill in? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In short, a second camera is not as necessary as lighting and audio. The production value that you can add with those things far outweighs the convenience of adding a second camera. If you &lt;strong&gt;do&lt;/strong&gt; insist on a second camera, look at the GoPro. I work on a lot of network shows that just place one of these to get b-roll...for cooking shows, it'll just monitor the cooktop while the rest of the crew runs around the restaurant. Quality is good enough to cut ionto broadcast shows, but the size of the chip limits its contrast and color reproduction...so there is a marked quality difference between that and the 7D. That being said, perhaps killer audio and lighting will compensate. Good luck! &lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-07-13T15:57:25.893" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4405" PostTypeId="2" ParentId="4174" CreationDate="2012-07-14T20:15:36.180" Score="1" Body="&lt;p&gt;The XF-105 will acquire native 24p video, that is 23.97 fps.&#xA;3:2 pulldown is only added to the Composite/YUV and SD/HD-SDI signal interfaces during 24p, and 2:2 pulldown during 30p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you upload the video seq somewhere, and I'll have a look at it for you.&lt;/p&gt;&#xA;" OwnerUserId="2637" LastActivityDate="2012-07-14T20:15:36.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4406" PostTypeId="1" CreationDate="2012-07-14T23:13:11.360" Score="2" ViewCount="1458" Body="&lt;p&gt;I'm working with videos from a client that need to be converted to Flash from Quicktime.  I've started to encounter a problem where Adobe Media Encoder will trim of a fraction of a second at the very end, which sometimes even clips off the very end of the audio.  The client does not want to add some silence to the end of the videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the complete render settings, please see this screenshot: &lt;a href=&quot;http://cl.ly/2V372S2N3B0R091N1P1s&quot; rel=&quot;nofollow&quot;&gt;http://cl.ly/2V372S2N3B0R091N1P1s&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know what causes this or how it can be prevented?  Adobe doesn't seem to have any information about the problem and Google results all seem to be about intentional trimming.&lt;/p&gt;&#xA;" OwnerUserId="2639" LastActivityDate="2012-07-16T16:05:12.680" Title="How can I prevent adobe media encoder from trimming the end of the video?" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4407" PostTypeId="2" ParentId="4406" CreationDate="2012-07-15T01:55:42.790" Score="2" Body="&lt;p&gt;I can't read your screenshot, and in any case I don't use the particular tool, but I can say that some common reasons for this are: 1) the audio and video are different lengths and the particular encoding scheme or codecs don't like that; 2) the scheme or codec requires that the material ends in a full GOP (encoding quantum). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If these are your issue, possible solutions are obvious: make the streams the same length, and/or pad the streams out to a full quantum. Probably both...&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2012-07-15T01:55:42.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4410" PostTypeId="1" CreationDate="2012-07-15T14:00:49.467" Score="1" ViewCount="1334" Body="&lt;p&gt;I have a problem when merging two h264/mp4 files with the same parameters except length. I'm using the command &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4box -cat .... &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After that the video player's behaviour is strange: if I drag the time slider closer to the end of file it restarts the video; Sometimes the player shows an incorrect video file length; Also there is a problem with audio sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Input file sample parameters:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Movie Info * Timescale 90000 - Duration 00:15:00.214 &#xA;Fragmented File no - 2 track(s) &#xA;File suitable for progressive download (moov before mdat) &#xA;File Brand mp42 - version 0 Created: GMT Thu Jun 7 23:31:52 2012&#xA;File has root IOD (9 bytes) Scene PL 0xff - Graphics PL 0xff - OD PL 0xff &#xA;Visual PL: ISO Reserved Profile (0x7f) &#xA;Audio PL: High Quality Audio Profile @ Level 2 (0x0f) &#xA;No streams included in root OD&#xA;&#xA;iTunes Info: Encoder Software: HandBrake 0.9.6 2012022800&#xA;&#xA;Track # 1 Info - TrackID 1 - TimeScale 90000 - Duration 00:14:59.858 &#xA;Media Info: Language &quot;Undetermined&quot; - Type &quot;vide:avc1&quot; - 21576 samples &#xA;Visual Track layout: x=0 y=0 width=853 height=480 MPEG-4 &#xA;Config: Visual Stream - ObjectTypeIndication 0x21 AVC/H264 &#xA;Video - Visual Size 864 x 480 AVC Info: 1 SPS - 1 P&#xA;PS - Profile Main @ Level 3 NAL Unit length bits: 32 &#xA;Pixel Aspect Ratio 80:81 - Indicated track size 853 x 480 Self-synchronized&#xA;&#xA;Track # 2 Info - TrackID 2 - TimeScale 44100 - Duration 00:15:00.214  &#xA;Media Info: Language &quot;English&quot; - Type &quot;soun:mp4a&quot; - 38769 samples MPEG-4 &#xA;Config: Audio Stream - ObjectTypeIndication 0x40 MPEG-4 &#xA;Audio MPEG-4 Audio AAC LC - 2 Channel(s) - SampleRate 44100 Synchronized on stream 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Movie Info * Timescale 90000 - Duration 00:29:24.136 &#xA;Fragmented File no - 3 track(s) &#xA;File suitable for progressive download (moov before mdat) &#xA;File Brand isom - version 1 Created: GMT Thu Jun 28 19:40:39 2012&#xA;File has root IOD (9 bytes) Scene PL 0xff - Graphics PL 0xff - OD PL 0xff &#xA;Visual PL: AVC/H264 Profile (0x15) &#xA;Audio PL: AAC Profile @ Level 2 (0x29) &#xA;No streams included in root OD&#xA;&#xA;Track # 1 Info - TrackID 1 - TimeScale 90000 - Duration 00:19:36.968 &#xA;Media Info: Language &quot;Undetermined&quot; - Type &quot;vide:avc1&quot; - 28219 samples &#xA;Visual Track layout: x=0 y=0 width=1024 height=576 MPEG-4 &#xA;Config: Visual Stream - ObjectTypeIndication 0x21 AVC/H264 &#xA;Video - Visual Size 1024 x 576 AVC Info: 1 SPS - 1 &#xA;PPS - Profile Main @ Level 3.1 NAL Unit length bits: 32 &#xA;Pixel Aspect Ratio 1:1 - Indicated track size 1024 x 576 Self-synchronized&#xA;&#xA;Track # 2 Info - TrackID 2 - TimeScale 44100 - Duration 00:29:24.136 &#xA;Media Info: Language &quot;English&quot; - Type &quot;soun:mp4a&quot; - 75975 samples MPEG-4 &#xA;Config: Audio Stream - ObjectTypeIndication 0x40 MPEG-4 &#xA;Audio MPEG-4 Audio AAC LC - 2 Channel(s) - SampleRate 44100 Synchronized on stream 1&#xA;&#xA;Track # 3 Info - TrackID 3 - TimeScale 90000 - Duration 00:09:46.503 &#xA;Media Info: Language &quot;Undetermined&quot; - Type &quot;vide:avc1&quot; - 14062 samples &#xA;Visual Track layout: x=0 y=0 width=1280 height=720 MPEG-4 &#xA;Config: Visual Stream - ObjectTypeIndication 0x21 AVC/H264 &#xA;Video - Visual Size 1280 x 720 AVC Info: 1 SPS - 1 &#xA;PPS - Profile Main @ Level 3.1 NAL Unit length bits: 32 &#xA;Pixel Aspect Ratio 1:1 - Indicated track size 1280 x 720 Synchronized on stream 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And I do not understand, why in output file I have 2 video tracks?&lt;/p&gt;&#xA;" OwnerUserId="2642" LastEditorUserId="674" LastEditDate="2012-07-18T11:30:30.567" LastActivityDate="2012-11-15T12:53:45.340" Title="2 h264/mp4 files does not merging in right way by mp4box" Tags="|mp4|" AnswerCount="1" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4412" PostTypeId="5" CreationDate="2012-07-15T16:26:22.653" Score="0" Body="&lt;p&gt;Any relevant video related to video games, whether it's SFX, cinematics, cutscenes, game play footage or other related content.&lt;/p&gt;&#xA;" OwnerUserId="309" LastEditorUserId="2836" LastEditDate="2014-03-05T17:17:05.300" LastActivityDate="2014-03-05T17:17:05.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4413" PostTypeId="4" CreationDate="2012-07-15T16:26:22.653" Score="0" Body="Any relevant video related to a video game, whether it's SFX, cinematics, cutscenes, game play footage or other related content." OwnerUserId="309" LastEditorUserId="2836" LastEditDate="2014-03-05T17:17:05.300" LastActivityDate="2014-03-05T17:17:05.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4415" PostTypeId="2" ParentId="4406" CreationDate="2012-07-16T16:05:12.680" Score="1" Body="&lt;p&gt;Do you have audio at end without any video?  Try putting in black video until the very end of sequence. (File - New - Black Video)  -- I had an issues when I faded out to nothingness at end and cross fading to black video fixed it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, make sure &quot;Source Range&quot; is set to &quot;Entire Sequence&quot; when exporting in Media Encoder.  That could be another problem source.&lt;/p&gt;&#xA;" OwnerUserId="2646" LastActivityDate="2012-07-16T16:05:12.680" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4416" PostTypeId="2" ParentId="4236" CreationDate="2012-07-16T16:10:48.580" Score="2" Body="&lt;p&gt;Also make sure &quot;Source Range&quot; is set to &quot;Entire Sequence&quot; (below preview on left side of &quot;Export Settings&quot; pop-up.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you say &quot;nothing happens&quot; - does Media Encoder freeze? crash? does it say &quot;done&quot; and you can't find the file?&lt;/p&gt;&#xA;" OwnerUserId="2646" LastActivityDate="2012-07-16T16:10:48.580" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4417" PostTypeId="2" ParentId="4410" CreationDate="2012-07-16T16:21:23.560" Score="1" Body="&lt;p&gt;I believe this statement:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I've a problem while merging 2 h264/mp4 files width the same parameters except length&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;is incorrect. In addition to length your video files have different picture dimensions, and that prevents the merge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your &quot;input sample&quot; shows a track size of 853x480. The output, however, shows that track #1 is 1024x576 and track #3 if 1280x720.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So clearly, the input file that you are showing in your example is not one of the files you merged in the output. There are at least three different files at play here, and each has a different picture size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To be able to merge two files they must have the same picture size. As a test, you may want to try merging the same file twice.&lt;/p&gt;&#xA;" OwnerUserId="1898" LastActivityDate="2012-07-16T16:21:23.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4420" PostTypeId="1" AcceptedAnswerId="4431" CreationDate="2012-07-17T11:36:40.433" Score="2" ViewCount="789" Body="&lt;p&gt;I need to find some software that will help me create a nice and user friendly presentation, like this one : &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/XU0llRltyFM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I prefere to use better effects and transition between objects but powerpoint needs lot of work to do that, and it is very hard to get it done with good precision.&lt;/p&gt;&#xA;" OwnerUserId="2649" LastEditorUserId="674" LastEditDate="2012-08-27T09:42:50.347" LastActivityDate="2012-08-27T09:42:50.347" Title="Software to create nice presentations/infographics" Tags="|effects|presentation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4423" PostTypeId="1" CreationDate="2012-07-17T14:57:47.087" Score="4" ViewCount="133" Body="&lt;p&gt;I have a video of a guy doing push ups. On that video I want to be able to draw some lines showing what angles the arms should be at when the guy is down and up. The lines should follow the guy on screen as he doing the exercise to show the viewers the correct way of doing the exercise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone suggest any software that I will be able to use to achieve this effect? I have looked at Final Cut Pro but it is unclear if I can draw primitives (lines, circles etc.) with this package on screen.&lt;/p&gt;&#xA;" OwnerUserId="2650" LastEditorUserId="95" LastEditDate="2012-08-06T15:48:17.743" LastActivityDate="2012-08-06T15:48:17.743" Title="Animation over video" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4424" PostTypeId="1" CreationDate="2012-07-17T14:37:19.507" Score="0" ViewCount="16" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Possible Duplicate:&lt;/strong&gt;&lt;br&gt;&#xA;  &lt;a href=&quot;https://video.stackexchange.com/questions/4423/animation-in-video&quot;&gt;Animation in video&lt;/a&gt;  &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&#xA;&#xA;&lt;p&gt;I know this is a photography forum but maybe someone can help me with a video related question?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a video of a guy doing push ups. On that video I want to be able to draw some lines showing what angles the arms should be at when the guy is down and up. The lines should follow the guy on screen as he doing the exercise to show the viewers the correct way of doing the exercise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone suggest any software that i will be able to use to achieve this effect? I have looked at some Final Cut Pro stuff but it is unclear if I can draw primitives (lines, circles etc.) with this package on screen?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, sorry if this is the wrong forum to ask. Hopefully someone out there have done something similar to this in the past and can point me in the right direction&lt;/p&gt;&#xA;" OwnerUserId="2650" OwnerDisplayName="Hans Moolman" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2012-07-17T17:27:41.137" Title="Animation in videos" Tags="|video|" AnswerCount="0" CommentCount="2" ClosedDate="2012-07-17T18:07:36.980" ContentLicense="CC BY-SA 3.0" />
  <row Id="4425" PostTypeId="2" ParentId="4423" CreationDate="2012-07-18T02:08:20.740" Score="2" Body="&lt;p&gt;&lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;Adobe After Effects&lt;/strong&gt;&lt;/a&gt; is the go to program for motion graphics. There are a lot of resources &lt;a href=&quot;https://www.google.com/search?btnG=1&amp;amp;pws=0&amp;amp;q=adobe%20after%20effects%20basics%20tutorials&quot; rel=&quot;nofollow&quot;&gt;available online&lt;/a&gt; in the form of tutorials and guides to help you get started. Something like you are describing is a simple enough task, but still requires a basic understanding of AE. &lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-07-18T02:08:20.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4426" PostTypeId="2" ParentId="4420" CreationDate="2012-07-18T02:15:40.953" Score="7" Body="&lt;p&gt;A graphic like this would have most likely been made using &lt;strong&gt;&lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot;&gt;Adobe After Effects&lt;/a&gt;&lt;/strong&gt;. The style of this graphic is a mix of Kinetic Typography and Infographics. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Googling around you can find tutorials on creating infographics and kinetic typographic videos. Though as a warning, generally creating a video like this takes a number of days for an experienced user. &lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-07-18T02:15:40.953" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4427" PostTypeId="1" CreationDate="2012-07-18T09:31:14.323" Score="1" ViewCount="103" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Possible Duplicate:&lt;/strong&gt;&lt;br&gt;&#xA;  &lt;a href=&quot;https://video.stackexchange.com/questions/3763/gradient-banding&quot;&gt;Gradient banding&lt;/a&gt;  &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&#xA;&#xA;&lt;p&gt;I have a video imported in Adobe Premier from After effect (16 bits).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before rendered in the timeline the &lt;a href=&quot;http://flic.kr/p/czePj5&quot; rel=&quot;nofollow noreferrer&quot;&gt;image looks nice&lt;/a&gt; but when rendered I have a important &lt;strong&gt;banding&lt;/strong&gt; (see &lt;a href=&quot;http://flic.kr/p/czeQ6q&quot; rel=&quot;nofollow noreferrer&quot;&gt;photo 2&lt;/a&gt; (no banding) and &lt;a href=&quot;http://flic.kr/p/czePkW&quot; rel=&quot;nofollow noreferrer&quot;&gt;3 (with banding)&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because it is only on the rendered video in the timeline this must be a codec issue (correct me if I am wrong). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best codec and settings to use in order to have a nice preview and nice final video ?&lt;/p&gt;&#xA;" OwnerUserId="2653" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2014-07-01T16:08:35.123" Title="Banding in Premiere preview" Tags="|premiere|after-effects|cs5|" AnswerCount="0" CommentCount="4" FavoriteCount="0" ClosedDate="2012-10-25T16:59:46.283" ContentLicense="CC BY-SA 3.0" />
  <row Id="4428" PostTypeId="2" ParentId="4423" CreationDate="2012-07-18T09:38:52.020" Score="1" Body="&lt;p&gt;If you need a free application that can do this, it should be do-able in &lt;a href=&quot;http://www.debugmode.com/wax/&quot; rel=&quot;nofollow&quot;&gt;Wax&lt;/a&gt; without too much effort.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tracking the arm movements will be a pretty manual process, but the modelling in Wax is good - you also have a lot of other useful effects to make the end result fit well.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-07-18T09:38:52.020" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4431" PostTypeId="2" ParentId="4420" CreationDate="2012-07-18T21:50:13.717" Score="3" Body="&lt;p&gt;I think you would like to take a look at this free online presentation editor:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://prezi.com&quot; rel=&quot;nofollow&quot;&gt;Prezi.com&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It might not give you results as &quot;fancy&quot; as in your provided video sample but you might be satisfied by it's simplicity of constructing your presentations in a dynamic way. Here is some presentation &lt;a href=&quot;http://prezi.com/sx2j5xrnniam/3d-backgrounds-freshwater-shortage/&quot; rel=&quot;nofollow&quot;&gt;sample&lt;/a&gt; to check it out if still wondering before signing up.&lt;/p&gt;&#xA;" OwnerUserId="2634" LastActivityDate="2012-07-18T21:50:13.717" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4433" PostTypeId="2" ParentId="4420" CreationDate="2012-07-19T15:16:50.103" Score="1" Body="&lt;p&gt;Whether you do this in Powerpoint, Flash, or After Effects, it's still going to require a bit of prep work to get all the elements ready. I don't know what your skill level and experience is at this kind of thing, so please excuse me if I'm saying things you already know, but it may be best to carefully storyboard the entire thing then collect all the assets you need. This will go a LONG way towards simplifying the process in the long run.&lt;/p&gt;&#xA;" OwnerUserId="728" LastActivityDate="2012-07-19T15:16:50.103" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4437" PostTypeId="1" AcceptedAnswerId="4448" CreationDate="2012-07-21T18:02:43.153" Score="1" ViewCount="705" Body="&lt;p&gt;I am working with an JVC Everio GZ-MS90E which is configured to produce a 16:9 video. But my aspect ratio is 5:4 instead of 16:9.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Width: 720&#xA;Height: 576&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Width/Height = aspect ratio&#xA;720/576 = 1.25 = 5:4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anybody have similar problems or probably a solution how to fix that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am really annoyed because I don't know the right preset for my Adobe Premiere Pro CS5.5 sequence. I have already some clips and I would like to use them without transcoding.&lt;/p&gt;&#xA;" OwnerUserId="2663" LastEditorUserId="2663" LastEditDate="2012-07-24T18:18:53.167" LastActivityDate="2012-10-23T01:27:32.660" Title="JVC Everio GZ-MS90E aspect ratio is 5:4 instead of 16:9" Tags="|premiere|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4438" PostTypeId="2" ParentId="4025" CreationDate="2012-07-22T20:57:32.020" Score="1" Body="&lt;p&gt;&lt;strong&gt;1. Recover broken files&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found this online application very helpful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.vibait.com/software/premiere-fix-keyframe.h-142/&quot; rel=&quot;nofollow&quot;&gt;http://www.vibait.com/software/premiere-fix-keyframe.h-142/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simply upload your Premiere Elements file and you get a fixed version in return. Save it to your disk and open it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With one file I got error messages like this one a few times:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Parse error on line 1431. Expected 8 values, got 9 &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Old value: 116050644638,87,5,0,0,25,791250419642971,0,16666666666666666,1,2731148504048133,0,16666666666666666 &lt;/p&gt;&#xA;&#xA;&lt;p&gt;New value: 116050644638,87,5,0,0,25.791250419642971,0.16666666666666666,1.2731148504048133,0.16666666666666666&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using an editor I searched for some of the mentioned numbers in the XML file and simply cleared the XML element (deleted all numbers).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2. Fix it (i.e. a workaound)&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A few web pages mentioned that the number formats of the regional settings (especially , and .) may be involved in this problem. After setting &quot;.&quot; as the decimal separator I did not have this problem again.&lt;/p&gt;&#xA;" OwnerUserId="2670" LastActivityDate="2012-07-22T20:57:32.020" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4448" PostTypeId="2" ParentId="4437" CreationDate="2012-07-24T18:04:24.930" Score="1" Body="&lt;p&gt;Now I found the right way for my footage. It was simple: Just right click on the footage, and select &lt;strong&gt;Ändern » Filmmaterial interpretieren&lt;/strong&gt;. This is probably &lt;strong&gt;Change » Footage&lt;/strong&gt; or something like that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I fored premiere to use the aspect ratio &lt;strong&gt;D1/DV PAL Widescreen 16:9&lt;/strong&gt; and everything is fine.&lt;/p&gt;&#xA;" OwnerUserId="2663" LastActivityDate="2012-07-24T18:04:24.930" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4449" PostTypeId="2" ParentId="2158" CreationDate="2012-07-24T18:10:43.423" Score="3" Body="&lt;p&gt;I don't use CS4 but in CS5.5 you can do it this way: Open the Composition dialog, open the &lt;strong&gt;Settings&lt;/strong&gt; tab, and &lt;strong&gt;choose Custom as preset&lt;/strong&gt; (this should be the first entry). Now you can change all parameters. To save you preset, click the button &lt;strong&gt;Change preset&lt;/strong&gt; at the lefthand bottom.&lt;/p&gt;&#xA;" OwnerUserId="2663" LastActivityDate="2012-07-24T18:10:43.423" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4453" PostTypeId="2" ParentId="3297" CreationDate="2012-07-24T21:31:54.090" Score="1" Body="&lt;p&gt;You can also left align the speech for person on left side of screen and right align for person on right side.  Or place the dialogue next to the person on screen.  I've seen this done a lot when TV sitcoms are subtitled, esp. when a scene has 3 or more people in a conversations.  Don't feel limited to the bottom third or center of the screen!&lt;/p&gt;&#xA;" OwnerUserId="2646" LastActivityDate="2012-07-24T21:31:54.090" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4454" PostTypeId="2" ParentId="4108" CreationDate="2012-07-24T21:37:18.983" Score="1" Body="&lt;p&gt;Adobe Premiere has this functionality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Search for &quot;Timecode&quot; in Effects tab.&lt;/p&gt;&#xA;" OwnerUserId="2646" LastEditorUserId="126" LastEditDate="2012-10-24T17:31:56.237" LastActivityDate="2012-10-24T17:31:56.237" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4458" PostTypeId="1" AcceptedAnswerId="4460" CreationDate="2012-07-25T03:49:43.527" Score="5" ViewCount="1182" Body="&lt;p&gt;A friend asked me to put together a video presentation for his companies national sales meeting.  I put it together in Premiere.  All of that went fine, but I'm not sure what resolution to make it.  They're obviously going to be using a projector to present it, but I'm not sure of the specs.  Is there a resolution you recommend using that would probably work best?  Would it probably be a widescreen format?  What questions should I be asking of them about the equipment? &lt;/p&gt;&#xA;" OwnerUserId="2676" LastEditorUserId="95" LastEditDate="2012-07-25T18:05:57.077" LastActivityDate="2012-07-25T18:05:57.077" Title="Is there a standard resolution for Video Presentations?" Tags="|video|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4460" PostTypeId="2" ParentId="4458" CreationDate="2012-07-25T15:25:42.843" Score="3" Body="&lt;p&gt;If it's NTSC/standard def/4x3, 640x480 will be good. If it's HD/widescreen/16x9, 1920x1080 or 1280x720 (1080p and 720p, respectively). Premiere will likely have presets for all of these aspect ratios. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would ask the projector owner for the pixel dimensions or pixel resolution. Likely, it'll match one of the above pixel dimensions. If the owner's not very projector savvy, ask for the model number and manufacturer, and look up the info you need on their website's support section or downloadable manuals.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The thing to keeop in mind is that the projection hardware is a fixed size...usually one of the pixel dimensions noted above, or something CLOSE to it for computer monitor resolution. Even if you feed a 1280x960 image to an NTSC display, it's going to interpolate it into a 640x480 display. On a projector, what makes it bigger is the lens projecting that tiny 640x480 pixel image to a 10' screen. My point is that if you know the maximum pixel resolution on the projector, you don't need to bother rendering anything MORE than that; it won't affect image quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;good luck! &lt;/p&gt;&#xA;" OwnerUserId="2106" LastEditorUserId="2106" LastEditDate="2012-07-25T15:31:06.320" LastActivityDate="2012-07-25T15:31:06.320" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4461" PostTypeId="2" ParentId="4108" CreationDate="2012-07-25T21:45:33.800" Score="7" Body="&lt;p&gt;You can use &lt;code&gt;ffmpeg&lt;/code&gt; to display current localtime:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/6o2oK.jpg&quot; alt=&quot;localtime&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf &quot;drawtext=fontfile=/usr/share/fonts/TTF/Vera.ttf: text='%{localtime}': x=(w-tw)/2: y=h-(2*lh): fontcolor=white: box=1: boxcolor=0x00000000@1&quot; image%03d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://superuser.com/a/575935/110524&quot;&gt;Can &lt;code&gt;ffmpeg&lt;/code&gt; extract images from a video with timestamps?&lt;/a&gt; for more examples.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2014-12-19T01:50:30.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4463" PostTypeId="1" CreationDate="2012-07-25T14:20:34.917" Score="2" ViewCount="80" Body="&lt;p&gt;I have a Panasonic SDR-H100 camcorder. When I shoot videos, with stoppages, i.e. many clips, the videos are put into two different program folders within the sd_card folder on my SCHD. I was wondering if there was a way to ensure that those video files are put into the same folder?&lt;/p&gt;&#xA;" OwnerDisplayName="Vincent Giacalone" LastEditorUserId="3592" LastEditDate="2013-03-11T00:46:01.317" LastActivityDate="2014-05-29T21:07:05.313" Title="Panasonic SDR-H100 Multiple Program Files" Tags="|video|camcorder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4465" PostTypeId="2" ParentId="3727" CreationDate="2012-07-26T17:21:05.970" Score="-3" Body="&lt;p&gt;Maybe this is going to be helpfull &lt;a href=&quot;http://rbytes.net/linux/k-lite-codec-pack-review/&quot; rel=&quot;nofollow&quot;&gt;K-Lite Codec Pack&lt;/a&gt;&#xA;When you install there is pack of codecs so you can choose what best fits you.&#xA;This is the list of codecs:&#xA;• DirectShow video decoding filters:&#xA;- ffdshow [version 1.2.4475]&#xA;- LAV Video [version 0.51.3] (- Decoding of: H264, VC1 (progressive only), MPEG2, MPEG4-ASP, MS-MPEG4, MJPEG, VP8, RV40, WMV1/2/3)&#xA;- On2 VP7 [version 7.0.10.0]&#xA;- DScaler5 MPEG-2 decoder [version 0.0.6.0 IVTC mod]&lt;/p&gt;&#xA;" OwnerUserId="2685" LastActivityDate="2012-07-26T17:21:05.970" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4466" PostTypeId="2" ParentId="2465" CreationDate="2012-07-26T17:37:12.473" Score="2" Body="&lt;p&gt;This might be helpfull &lt;a href=&quot;http://codecpack.co/download/Subtitle-Edit.html&quot; rel=&quot;nofollow&quot;&gt;Subtitle-Edit&lt;/a&gt; for .PAC subtitles.&#xA;The .PAC subtitle format is binary format&#xA;For other subtitle format, .CHK is far I know the file format for &quot;Chunks&quot; or fragments of hard disk after doing CHCKDISK command. But also the CHK file extension is associated with the SSConvert application used to distribute data format containing multiple streams (typ. languages) of subtitle text, timing and presentation style data for video. &lt;/p&gt;&#xA;" OwnerUserId="2685" LastActivityDate="2012-07-26T17:37:12.473" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4467" PostTypeId="2" ParentId="3727" CreationDate="2012-07-26T18:30:16.033" Score="6" Body="&lt;p&gt;You're on the right track with &lt;code&gt;-crf&lt;/code&gt; and x264 (the best H.264 encoder), and it should provide the &quot;quality threshold&quot; that you're looking for. CRF is recommended if you want a certain output quality and output file size is of less importance. Conversely, performing a two-pass encode with &lt;code&gt;-b:v&lt;/code&gt; is recommend if you are targeting a specific output file size and quality is of less importance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Encoding HEVC/H.265 with x265 should follow the same basic guidelines. You'll generally get better compression in exchange for a longer encoding time.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;1. Choose a preset&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;A preset is a collection of options that will provide a certain &lt;em&gt;encoding speed:compression ratio&lt;/em&gt;. A slower preset will provide better compression (compression is quality per filesize). General usage is to use the slowest preset that you have patience for. Current presets in descending order of speed are: &lt;code&gt;ultrafast, superfast, veryfast, faster, fast, medium, slow, slower, veryslow, placebo&lt;/code&gt;. Ignore &lt;code&gt;placebo&lt;/code&gt; as it is a joke and a waste of time (it helps at most ~1%). If it's encoding too slowly then use a faster preset.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;2. Choose a CRF value&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;The range for x264 is 0-51 where 0 is lossless, 23 is default, and 51 is worst possible. A lower value is a higher quality. A subjectively sane range is 18-28. Consider ~18 to be visually lossless: it should look the same as the input but it isn't technically lossless. Increasing the CRF value +6 is roughly half the bitrate while -6 is roughly twice the bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;General usage is to choose the highest &lt;code&gt;-crf&lt;/code&gt; value that still provides an acceptable quality. That is if the output looks good then try a higher value and if it looks bad then choose a lower value.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;3. Encode&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Use these settings for the rest of your videos. They should all end up with the same quality.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Example&lt;/h2&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c:v libx264 -preset slow -crf 22 -c:a copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;Also see&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki: H.264&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.265&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki: H.265&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2019-09-19T17:13:49.983" LastActivityDate="2019-09-19T17:13:49.983" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="4469" PostTypeId="1" AcceptedAnswerId="6841" CreationDate="2012-07-26T21:59:36.173" Score="7" ViewCount="2593" Body="&lt;p&gt;I have a Sketchup scene with a 3D model and a geolocation, but I also have a photo for the scene. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How cam I match/create a virtual camera in the 3D application to match the viewpoint of the physical camera's viewpoint ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would be cool if the solution is also in Sketchup, but can be done using other 3D packages as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="1780" LastEditorUserId="2938" LastEditDate="2012-10-01T22:00:56.693" LastActivityDate="2013-01-15T14:08:00.453" Title="Matching a camera in a 3D scene based on a photo" Tags="|camera|3d|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="4470" PostTypeId="1" AcceptedAnswerId="4472" CreationDate="2012-07-26T22:54:01.747" Score="1" ViewCount="3475" Body="&lt;p&gt;I have many clips which all need basic editing such as adjusting the start and end. I would also like to reuse these same clips in multiple videos without setting the start and end again. I would like a portfolio of these basic edits once and simply use them as is. Of course inside premiere i would edit them again if necessary and so on without affecting the original settings. Is this possible if so how ?&lt;/p&gt;&#xA;" OwnerUserId="2687" LastActivityDate="2012-07-27T07:07:17.947" Title="How does one edit and save clips once and reuse in multiple videos with Adobe Premiere?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4472" PostTypeId="2" ParentId="4470" CreationDate="2012-07-27T07:07:17.947" Score="1" Body="&lt;p&gt;Within a new project, create a sequence/timeline; call it 'Basic Edits' if you like, and make your trim edits on the source clips there. For each of your multiple videos, create a new sequence and copy-paste the trimmed clips from the first sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or if you want to use these clips in another project, you can import the sequence by the File -&gt; Import menu dialog.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, I presume that by Adobe Premiere, you don't mean Premiere Elements - the lite version - which doesn't feature multiple sequences in a project, as far as I know.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2012-07-27T07:07:17.947" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4473" PostTypeId="1" AcceptedAnswerId="4474" CreationDate="2012-07-27T09:12:01.167" Score="4" ViewCount="802" Body="&lt;p&gt;I need to shoot the clouds and how they are moving during the time. I saw a lot of time similar clips on youtube and always shot it is just a set of animated photos. Am I right? If yes, is there any special name for this approach? Or is it just an accelerated video?&lt;/p&gt;&#xA;" OwnerUserId="2239" LastActivityDate="2012-07-27T13:25:21.693" Title="Shoot moving clouds" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4474" PostTypeId="2" ParentId="4473" CreationDate="2012-07-27T13:25:14.833" Score="3" Body="&lt;p&gt;I think what you're thinking of is time-lapse photography. In a sense it &lt;em&gt;is&lt;/em&gt; animated photos, except that the &quot;photos&quot; are captured with a video camera. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can certainly Google time lapse and get hundreds of good ideas for creating time lapse photography, there are two methods for doing it--in-camera, and post-production. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For in-camera, you're generally going to be shooting 1 frame every x seconds. The larger &quot;x&quot; is, the longer the time lapse will last, and the more time between each frame. I usually run some tests starting at 1 frame every 30 seconds and adjust from there. It take a lot of time to test, since you have to go through about 200 frames to get a true sense of what the motion looks like.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In post-production, you would just take the 1hour clip you photographed in real time, tell the software to make it, say 30 seconds, and the software will automatically pick out the frames it'll show you during playback. Again, it's like animated stills, one frame at a time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The principle is the same: normal film/video is 24/25/30 (depending on your standard) frames every second, you compress the time by INCREASING the time interval between frames. Instead of 24 frames per second (fps), 8 fps will give you fast motion and 1 frame every 8 seconds will move so fast it's a time lapse clip. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whether that technique happens in-camera or in the post production proceess is up to you. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;d  &lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-07-27T13:25:14.833" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4475" PostTypeId="2" ParentId="4473" CreationDate="2012-07-27T13:25:21.693" Score="1" Body="&lt;p&gt;Your question doesn't really explain what you are trying to do - my guess is that you mean a speeded up film of cloud movement over a long time period. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If so, your two statements are actually the same - a video is a series of photos...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally you take a series of individual frames at a low rate (1 a second, 1 a minute or whatever) then play them back at 24 frames a second to speed up the footage into a video.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-07-27T13:25:21.693" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4476" PostTypeId="1" AcceptedAnswerId="4482" CreationDate="2012-07-27T21:58:50.483" Score="5" ViewCount="1638" Body="&lt;p&gt;Recently I was playing a Hi8 tape from 1998, when I tried rewinding and rewatching a part (stopping the tape, before rewinding).  The part of the tape I had just watched was highly distorted and black and white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I've learned the hard way that old metal particle tapes are prone to being erased, when watched.  Presumably, the 'MP' on the tapes stands for metal particle?  These tapes have been stored in a safe place.  How many years before this problem arises with MP tapes?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a better alternative than playing these tapes into a capture card?  If not, I realize that I only have one chance to capture this video.  If this is the only option, I'll expect to capture until the read head becomes too affected by residue, and then stop and clean the head, and repeat.  Any advice would be appreciated.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Edit&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, I've found out the hard way there are consequences to over-using a cleaning tape.  The head is either dirtier than before, or damaged.&lt;/p&gt;&#xA;" OwnerUserId="2692" LastEditorUserId="2692" LastEditDate="2015-07-08T04:02:05.500" LastActivityDate="2020-06-26T16:21:41.410" Title="Metal particle Hi8 tape degradation" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4477" PostTypeId="1" CreationDate="2012-07-28T02:08:22.617" Score="2" ViewCount="622" Body="&lt;p&gt;Just wondering what software he uses. I see his videos regularly and I'm somewhat impressed by the video and audio quality of his screen-casts.&lt;/p&gt;&#xA;" OwnerUserId="2693" LastActivityDate="2013-08-26T19:16:19.947" Title="How does Salman Khan make his screencasts?" Tags="|software|screen-casting|tutorial|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4478" PostTypeId="1" AcceptedAnswerId="4485" CreationDate="2012-07-28T03:11:41.440" Score="5" ViewCount="1238" Body="&lt;p&gt;I figured I'd leave a question here while I did the manual labor, but what do you find is the best way to transcribe footage?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm an editor and the first thing I like to do is create a script of people said, then piece together parts of their takes, and THEN get to the actual footage editing. That way I'm only working with what I need ahead of time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically what I do now is load up the videos in VLC, and open a TextEdit (mac), then watch it through normally or double speed until I get to a part with the interview, then I mark that timecode on the TextEdit, and go watch through the interview in triple-quadruple slowdown, so that I can keep up with what they say and not have to constantly stop and start it back up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With this way it seems like I'm doing somewhere around 5 minutes real time to transcribe a minute, which comes to about 12 video mins a realtime hour. And I was just wondering if there was a better way you guys already know about. I'm not sure I trust auto-transcribe-type things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you think this slowing the vid down and having to go back 5 seconds only a few times when I can't quite tell what he's saying because it's so slow, is saving more time than watching it in real time, pausing, writing, going back and watching the next part?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or do you know better ways? Seems transcribing is the most time-consuming part of my workflow. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since VLC is opensource, would it be possible to combine VLC and a Text Editor...something like VLC on the top and the text editor on the bottom, and whenever you hit a certain key, it automatically puts the timecode in the text, and you can use VLC's shortcuts while typing? Etc?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, non-automatic preferred. For one, it could be wrong, and two, I'd like to get used to the footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help?&lt;/p&gt;&#xA;" OwnerUserId="2169" LastEditorUserId="2169" LastEditDate="2012-07-28T21:52:46.213" LastActivityDate="2015-09-30T16:26:23.130" Title="Transcription Methods/Times" Tags="|video|audio-recording|audio|vocal|workflow|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4482" PostTypeId="2" ParentId="4476" CreationDate="2012-07-29T16:54:29.463" Score="3" Body="&lt;p&gt;You do need to play the tapes onto a capture card, yes. And the sooner the better. You don't just get one attempt, but you will get a slight degradation of quality every play, so you are best off aiming to do it in one pass if possible.&lt;/p&gt;&#xA;&lt;p&gt;First think about cleaning any metal particles from the read head, and then look at this technique archivists use where they bake old tapes when they shed is.gd/LxdRGH - thanks @stib.&lt;/p&gt;&#xA;&lt;p&gt;I recently captured about 50 tapes from the late 80's to the mid 90's and I did about half of them then cleaned the head then did the other half. Degradation wasn't noticeable, but I just thought I should do it just in case.&lt;/p&gt;&#xA;&lt;p&gt;As to how long you can store them - is the safe place shielded from EMF, heat and humidity, then they can last for years, but due to the nature of magnetic tape, the magnetic field strength of particles affects adjacent particles, so quality will degrade no matter what.&lt;/p&gt;&#xA;&lt;p&gt;When configuring your capture, set it for the highest quality you can afford - as there are utilities which can clean up some noise and speckle once the signal is digitised.&lt;/p&gt;&#xA;" OwnerUserId="674" LastEditorUserId="674" LastEditDate="2020-06-26T16:21:41.410" LastActivityDate="2020-06-26T16:21:41.410" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="4485" PostTypeId="2" ParentId="4478" CreationDate="2012-07-30T04:03:04.340" Score="4" Body="&lt;h2&gt;Speech Detection with Adobe Premiere&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;You haven't mentioned what NLE you use to edit, however here is a &lt;a href=&quot;http://help.adobe.com/en_US/premierepro/cs/using/WS1c9bc5c2e465a58a91cf0b1038518aef7-7d0fa.html#WS29F692D2-7A49-44db-A109-AE016B766767&quot; rel=&quot;nofollow&quot;&gt;method&lt;/a&gt; you can use to transcribe if you are using Adobe CS4 or later. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This method uses speech detection to automatically transcribe videos - a feature brought in with CS4. It then adds the the text into the metadata of the file. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;a href=&quot;http://help.adobe.com/en_US/premierepro/cs/using/WS1c9bc5c2e465a58a91cf0b1038518aef7-7d0fa.html#WS29F692D2-7A49-44db-A109-AE016B766767&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;Analyze speech to create text metadata&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;Select a file or clip.&lt;/li&gt;&#xA;  &lt;li&gt;At the bottom of the Metadata panel, click Analyze Speech, or Analyze (Adobe Premiere Pro).&lt;/li&gt;&#xA;  &lt;li&gt;Set the Language and Quality options, and select Identify Speakers if you want to create separate speech metadata for each person. &#xA;  &lt;em&gt;Note: Speech Search can use any of several language-specific and dialect-specific libraries, such as libraries for Spanish and UK&#xA;  English.&lt;/em&gt;&lt;/li&gt;&#xA;  &lt;li&gt;Click OK.&lt;/li&gt;&#xA;  &lt;li&gt;The spoken words appear in the Speech Analysis section.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;To retain the speech metadata, save the project.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Obviously this depends on the quality of the audio. Good clean audio will provide the best results. Its also worth noting that Premiere uses Soundbooth to process the detection, so if your audio wasn't up to scratch you could clean it up in Soundbooth, and then perform the analysis there. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;VLC Scripting&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I came across &lt;a href=&quot;http://wiki.videolan.org/How_to_use_VLC_for_transcription_in_linux&quot; rel=&quot;nofollow&quot;&gt;this article&lt;/a&gt; explaining how to take the current timecode from a video and add it to a text document for transcribing. The title of the article states its a method for Linux. However I'm sure it would be easy enough to take the method and apply it to Windows or OSX.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;Manual&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;In regards to your current method, it depends on how many times you fall behind. When I have transcribed video I have done it at full speed but I haven't bothered to fix errors while I'm typing. Usually I'll go back and fix it up later - and being that they are just for editing purposes they don't need to be totally correct. &lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Manual live tagging with Adobe Prelude&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;You might also want to have a look at &lt;a href=&quot;http://www.adobe.com/products/prelude.html&quot; rel=&quot;nofollow&quot;&gt;Adobe Prelude CS6&lt;/a&gt;. It's an ingesting and meta logging program. One of its features is that it lets you add markers (and name them) in realtime as you are watching the video.&lt;/p&gt;&#xA;" OwnerUserId="2197" LastEditorUserId="11625" LastEditDate="2015-09-30T16:26:23.130" LastActivityDate="2015-09-30T16:26:23.130" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4488" PostTypeId="1" CreationDate="2012-07-30T15:04:01.480" Score="2" ViewCount="276" Body="&lt;p&gt;I've the following hardware and a problem getting things work. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;projector Sanyo PLV-Z800&lt;/li&gt;&#xA;&lt;li&gt;DeLock 87498 HDMI 1.3 Switch &lt;/li&gt;&#xA;&lt;li&gt;MacBook Pro 2010 just with miniDisplay Port&lt;/li&gt;&#xA;&lt;li&gt;MacBook Pro 2011 with Thunderbold Port&lt;/li&gt;&#xA;&lt;li&gt;Lenovo ThinkPad with normal Displayport&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;When I try to connect my (3) MacBook Pro 2010 through my (2) HDMI Switch to my (1) projector everything works fine. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Problem: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to connect my (4) MacBook Pro 2011 through my (2) HDMI Switch to my (1) projector I don't get a signal on my projector.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to connect my (5) Thinkpad through my (2) HDMI Switch to my (1) projector I don't get a signal on my projector either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried to find out which hdmi versions my hardware is working with.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The Projector seems to have the HDMI version 1.3b&lt;/li&gt;&#xA;&lt;li&gt;The HDMI Swtich seems to have the HDMI version 1.3&lt;/li&gt;&#xA;&lt;li&gt;I don't know, which versions my Macbooks have&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Is there anyone who can tell me if my Switch is problem? So I just want to know if the HDMI version 1.3 doesn't support the newer standards. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone recommend me a nice and affordable HDMI Switch where my setup will work with. &#xA;I want to buy this one: &lt;code&gt;Aten CS1792 HDMI KVMP Switch (2-polig, 2x HDMI, 2X USB)&lt;/code&gt;. &lt;/p&gt;&#xA;" OwnerUserId="2701" LastEditorUserId="2569" LastEditDate="2012-11-02T01:14:46.947" LastActivityDate="2013-05-01T04:38:11.533" Title="Thunderbold to HDMI ---&gt; HDMI Switch ---&gt; Saeco projector = No Video" Tags="|video|recommendation|hdmi|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4489" PostTypeId="2" ParentId="4488" CreationDate="2012-07-30T17:19:11.057" Score="1" Body="&lt;p&gt;There are no real differences between HDMI 1.3 and 1.3b so I would blame either the switch (most likely), the cables (do you have the correct ones for each device), or even the configuration settings on each machine.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If you plug each one into the projector individually do they work? If so, it is your switch that is at fault.&lt;/li&gt;&#xA;&lt;li&gt;If not, try replacing the cables and connect each one to the projector - does this solve the problem? If so, the cables were the problem.&lt;/li&gt;&#xA;&lt;li&gt;If not, check your configuration settings for the display on each machine.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-07-30T17:19:11.057" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4491" PostTypeId="1" AcceptedAnswerId="14864" CreationDate="2012-07-30T21:08:09.743" Score="5" ViewCount="2203" Body="&lt;p&gt;I have two images that form a stereo pair. I'd like to view this in 3D on a &lt;a href=&quot;http://www.samsung.com/hu/consumer/televisions/televisions/plazma-tv/PS51D8000FSXXH&quot;&gt;Samsung 3D television&lt;/a&gt;. I was looking for such a software but did not find anything exactly for this task. My question is: how could I put this togedher? What if I make a video that changes the two images frame-by-frame in 25 fps? Is 3d avi supposed to work that way?&lt;/p&gt;&#xA;" OwnerUserId="2703" LastEditorUserId="64" LastEditDate="2012-07-31T11:46:36.080" LastActivityDate="2018-03-16T17:51:31.233" Title="How to create 3D video from two separate stereo images?" Tags="|video|3d|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4492" PostTypeId="2" ParentId="2030" CreationDate="2012-07-31T06:36:16.340" Score="0" Body="&lt;p&gt;I'm a director and I designed a new shot listing software called &lt;a href=&quot;http://www.shotlister.com&quot; rel=&quot;nofollow&quot;&gt;Shot Lister&lt;/a&gt;. It's an awesome app that runs on iPad and iPhone so you have your entire digital shot list in your hand as you shoot. Lets you build, organize, schedule and share shot lists all on the fly. Check it out. I think it's really going to answers a lot of your questions.&lt;/p&gt;&#xA;" OwnerUserId="2704" LastEditorUserId="64" LastEditDate="2012-07-31T11:44:41.030" LastActivityDate="2012-07-31T11:44:41.030" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4493" PostTypeId="1" CreationDate="2012-07-31T10:20:35.207" Score="0" ViewCount="174" Body="&lt;p&gt;How can I make the particular trail longer? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why when I animate the particular do I only have a trail when I parent it to an Object or Emitter?&lt;/p&gt;&#xA;" OwnerUserId="2705" LastEditorUserId="126" LastEditDate="2012-08-02T13:01:22.723" LastActivityDate="2013-07-27T17:56:20.087" Title="How can I make the particular trail longer in After Effects CS4?" Tags="|video|after-effects|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4494" PostTypeId="2" ParentId="4292" CreationDate="2012-07-31T16:00:09.377" Score="0" Body="&lt;p&gt;Try rendering it as an &lt;strong&gt;flv&lt;/strong&gt; (flash video). Put the quality down to 80-90%, and your video will be much, MUCH smaller in file size with great quality. I can never get small file sizes from &lt;strong&gt;avi&lt;/strong&gt; videos no matter what I do.&lt;/p&gt;&#xA;" OwnerUserId="2708" LastEditorUserId="2708" LastEditDate="2012-07-31T22:55:33.217" LastActivityDate="2012-07-31T22:55:33.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4499" PostTypeId="1" CreationDate="2012-07-31T23:09:42.223" Score="2" ViewCount="2068" Body="&lt;p&gt;When a DVD is ripped to a file on a computer the dark scenes typically get compressed to the point of illegibility; huge squares of black are all set to the same value, removing all the detail. This is often seen in video files posted to the internet.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I get why it happens; The difference between two shades of black is quite easily to perceive, but to the compression algorithm it is a tiny difference, so the two shades are set to one value to save space. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, this effect is obviously avoided on the DVD itself. How do they do this, and why don't the compression methods used when ripping the DVD to a file also do this? I mean, the DVD format and codecs are old, far older the the ones used online today. So why does this problem appear when ripping the file?&lt;/p&gt;&#xA;" OwnerUserId="2711" LastActivityDate="2012-08-02T02:53:01.353" Title="How do DVDs avoid the blockyness that plagues dark scenes in most video files?" Tags="|compression|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4502" PostTypeId="2" ParentId="4499" CreationDate="2012-08-02T02:53:01.353" Score="3" Body="&lt;p&gt;A single layer DVD has about 4.5 GB of capacity, a dual layer DVD has about 8.5 GB of capacity. Some of this space is taken up by menus and special features, but that still leaves plenty of room for video with minimal compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take a look at the &quot;blocky&quot; videos - they have probably been re-compressed down to 700MB (so they can fit on a CD-R blank) or 1GB (because people love round numbers). Shrinking the video down requires more aggressive compression settings, which results in lower quality video. Sometimes this lower quality exhibits itself in terms of large blocky dark regions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other issue is that the compression algorithms used on DVD video are lossy. When you transcode to a lower bitrate codec, the software uncompresses and then recompresses the video. Since the compression is lossy, the uncompress step recovers imperfect video, and that imperfect video is then compressed. This slightly compounds the quality problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to make a perfect copy, just rip out the original video. Don't transcode it to a new format.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2012-08-02T02:53:01.353" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="4504" PostTypeId="1" AcceptedAnswerId="4506" CreationDate="2012-08-02T10:18:31.803" Score="4" ViewCount="3903" Body="&lt;p&gt;I created a video (slideshow of 14.2MP photos and music) using Windows Live Movie Maker. The video's resolution is 1440x1080 and is as WMV with 840MB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now what I want is to &lt;strong&gt;burn that HD video (no menus, no other videos) into a DVD so it can be playable on any DVD player and watchable on a TV&lt;/strong&gt;. Is there any way to burn it without losing quality? I tried &lt;em&gt;Nero&lt;/em&gt;, &lt;em&gt;Windows Live Movie Maker burn dvd option&lt;/em&gt; and &lt;em&gt;Wondershare DVD Creator&lt;/em&gt;. The video quality got worse in all of them (Nero's being the worse and Wondershare's the better) with loss of sharpness, sometimes minor jpeg artifacts and some color changes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe there must be a way to do it because:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the DVD still has 3.80GB free, so why compressing it?&lt;/li&gt;&#xA;&lt;li&gt;the movie DVD's image quality is great so what are they using to do it?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Is there any software to burn the video without losing the original quality? Should I compress the video to 720x480 using specialized software /which one?) before burning it?&lt;/p&gt;&#xA;" OwnerUserId="2715" LastEditorUserId="2715" LastEditDate="2012-08-07T11:18:16.773" LastActivityDate="2012-08-07T11:18:16.773" Title="Burn a single HD video into a DVD without losing quality" Tags="|video|digital-recording|compression|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4506" PostTypeId="2" ParentId="4504" CreationDate="2012-08-02T20:51:56.493" Score="5" Body="&lt;p&gt;The short answer is &quot;No.&quot;  DVD by definition is limited to 720x480 video with a fairly low bitrate, compressed specifically with MPEG-2.  There is absolutely no way to make your HD video look just as good with those constraints.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some DVD players do let you play .mp4, .mkv, or whatever files that happen to be stored on a DVD, but that isn't a standard function of DVD players in general.&lt;/p&gt;&#xA;" OwnerUserId="1234" LastActivityDate="2012-08-02T20:51:56.493" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4512" PostTypeId="1" CreationDate="2012-08-03T10:37:33.457" Score="3" ViewCount="1025" Body="&lt;p&gt;I shoot POV bike videos using a GoPro Hero at 1280x720. Picture is fine (lots of details, fine color), but similar videos (also with GoPro or another helmet mounted camera, same resolution) in YouTube weigth just a 10% of mine, while looking gorgeous. Take a look at this &lt;a href=&quot;http://www.youtube.com/watch?v=6c7EcnG5p4g&quot; rel=&quot;nofollow&quot;&gt;RedBull example&lt;/a&gt; (83 MB) and then &lt;a href=&quot;http://www.youtube.com/watch?v=mwJ0et3xoaA&amp;amp;feature=plcp&quot; rel=&quot;nofollow&quot;&gt;my last video&lt;/a&gt; (162 MB). RedBull look great at 16 MB/sec, while mine look not so good at 23 MB/sec (original size 480 MB). I'm using the same camera (or very similar), with no postprocessing. How can achieve a better looking video in YouTube? (BTW, I used kdenlive for editing).&lt;/p&gt;&#xA;" OwnerUserId="2720" LastEditorUserId="1760" LastEditDate="2012-08-05T19:36:00.810" LastActivityDate="2017-07-10T04:36:24.230" Title="Compress video while keeping details" Tags="|youtube|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4513" PostTypeId="1" CreationDate="2012-08-03T10:54:31.427" Score="0" ViewCount="2158" Body="&lt;p&gt;I have two video clips. What I need is for the first video clip to play behind the second. I need to be able to choose the offset since the two videos are not exactly in sync.I need to adjust the position of the second clip on the first. (It should be at different places at different times).What would be the right software to do this. Also are there any blog posts about this? &lt;/p&gt;&#xA;" OwnerDisplayName="user2721" LastActivityDate="2012-08-03T17:56:30.920" Title="How to lay one video over another" Tags="|video|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4515" PostTypeId="2" ParentId="4513" CreationDate="2012-08-03T17:50:52.690" Score="2" Body="&lt;p&gt;It is not clear to me what you mean by laying &quot;one video over another.&quot; This could mean you want to show both simultaneously in the same frame. One way to do this is using a split screen. Another is to superimpose each over the other then reduce the opacity so you see both images. Yet another is to superimpose each over the other but use a mask on the top layer so only portions of the bottom layer are exposed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Summary of possible overlays with links to examples.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Split Screen&#xA;&lt;a href=&quot;https://vimeo.com/22564317&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/22564317&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Double Exposure&#xA;&lt;a href=&quot;https://vimeo.com/42863351&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/42863351&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Compositing&#xA;&lt;a href=&quot;https://vimeo.com/44747735&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/44747735&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will need an NLE that is capable of rendering multiple video tracks at once. Sony Vegas Movie Studio would allow up to 4 video simultaneously, while Vegas Pro will allow as many as your computer can handle (on my 3 year old quad core this can be up to 9 SD tracks or 5 HD tracks). Other NLE video editors to check out would be Avid, Adobe Premiere, and FCP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you know which one of the effects I listed above fits your situation, you will be able to find tutorials on YouTube specific to the NLE you are using. For instance, here is a tutorial I found on YouTube by searching for &quot;how to use split screen on vegas movie studio&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=HnsWKDXIxJA&quot; rel=&quot;nofollow&quot;&gt;https://www.youtube.com/watch?v=HnsWKDXIxJA&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-08-03T17:56:30.920" LastActivityDate="2012-08-03T17:56:30.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4516" PostTypeId="2" ParentId="4512" CreationDate="2012-08-03T19:49:02.543" Score="2" Body="&lt;p&gt;While watching the examples it struck me that your video is stuttering as it is over the top with MBPS (23 MB per sec). So I would address your compression scheme first. I recommend that you consider rending your work in mp4 with 5 MB to 10 MB per sec. Here is the recommended video and audio compression as set by the folks at Vimeo for optimizing presentation on their site:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/help/compression&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/help/compression&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another issue your video example is facing is that the GoPro does not have manual exposure controls. In your example, I see the bike going through bright areas and dark areas rapidly hence quick changes of exposure from the GoPro auto exposure. While the Red Bull example, shows the bikes in a stable light situation that does not force the GoPro to make wide adjustments. The solution to this problem is to either use a camera that offers manual exposure or shoot scenes that are evenly lit so they do not challenge the auto exposure to make big changes. Also, since the GoPro offers you at least a choice of Spot or Center Weighted auto exposure you might explore how one or the other might help expose the scenes more evenly.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-08-03T20:16:04.740" LastActivityDate="2012-08-03T20:16:04.740" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4522" PostTypeId="2" ParentId="4512" CreationDate="2012-08-05T18:50:31.460" Score="1" Body="&lt;p&gt;YouTube will re-encode whatever you give it, and depending on the ratecontrol method YouTube uses, the complexity of the input can be a major factor in the file size of the videos YouTube re-encodes. Therefore, without altering your content, you may have little control of the size of the videos on YouTube's servers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is little need to adhere to specific bitrate suggestions: the best practice is to upload the best quality you practically can since YouTube (and others) are going to re-encode it anyway.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;For Kdenlive specifically, I recommend a new export profile:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open Kdenlive. Choose &lt;strong&gt;Render&lt;/strong&gt; and then the &lt;strong&gt;Render Project&lt;/strong&gt; tab. Click the &lt;strong&gt;Create New Profile&lt;/strong&gt; icon. Fill out &lt;strong&gt;Profile name&lt;/strong&gt; with &lt;strong&gt;H.264 Visually Lossless (video) / Vorbis (audio)&lt;/strong&gt; or whatever you prefer. Extension is &lt;strong&gt;mkv&lt;/strong&gt;. Parameters are:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;f=matroska vcodec=libx264 -preset medium -crf 18 acodec=libvorbis aq=8 ac=2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For newer ffmpeg verions the parameter string is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-f matroska -vcodec libx264 -preset medium -crf 18 -acodec libvorbis -aq 8 -ac 2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This should provide an output that is &quot;visually lossless&quot;, yet it should be a manageable size for uploading. The audio format doesn't really matter as long as and Matroska and YouTube support it and you use a high enough quality (and assuming your ffmpeg supports the encoder). Others to consider are &lt;code&gt;acodec=libmp3lame aq=1&lt;/code&gt; or &lt;code&gt;acodec=libfaac aq=100&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Who needs Premiere with such output flexibility?&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="-1" LastEditDate="2017-07-10T04:36:24.230" LastActivityDate="2017-07-10T04:36:24.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4525" PostTypeId="1" CreationDate="2012-08-06T03:07:03.127" Score="8" ViewCount="2364" Body="&lt;p&gt;Im looking for a fast workflow, where i can take my gopro video files, make simple cuts (no transisions, no effects, no audio manipulation), and cut them together into a clip and then export that edit out without having to re-encode/compress it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Im shooting in their lowest HD setting (1280x960)... but would be open to switching formats if it helped.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In looking at this &lt;a href=&quot;http://support.apple.com/kb/TA26174?viewlocale=en_US&quot; rel=&quot;noreferrer&quot;&gt;Final Cut Tutorial&lt;/a&gt;, it says i could edit without re-encoding if the project format matched the source material. The problem is, my Final Cut doesn't have the exact format my gopro records in... any ideas? Can i install the gopro codec somehow into final cut?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;GoPro codec specs:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;GoPro AVC H.264&#xA;1280x960&#xA;29.97&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;One Idea:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use QuickTime to set in/out and keep copy/pasting clips into a single clip then SAVE. This works without re-encoding and saves fast, but the the workflow is not that fast. The other downside to this is Quicktime saves all the audio tracks into separate tracks, so the file chokes on youtube/vimeo unless you do an export with re-compression.&lt;/p&gt;&#xA;" OwnerUserId="2589" LastEditorUserId="2589" LastEditDate="2012-08-06T16:37:24.910" LastActivityDate="2022-01-22T07:06:40.737" Title="Simple editing without re-encoding from the GoPro AVC codec?" Tags="|codec|final-cut-pro|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4526" PostTypeId="1" CreationDate="2012-08-06T04:14:55.160" Score="1" ViewCount="330" Body="&lt;p&gt;When I copy/paste multiple clips into a single clip inside quicktime, QuickTime allows me to save that &quot;edit&quot; as a single standalone mp4 file without having to re-encode any video. This is a very fast/efficient export and works well for quick edits where you just need to trim off material.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The Problem:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you look at the final output file, it has multiple audio tracks, instead of a single. At the point where the 2nd edit point plays in the video file (where the 2nd audio track plays), the audio drops out on youtube and vimeo. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Solution?&lt;/strong&gt;&#xA;Im guessing the only solution is to do an export instead of a save, which will re-encode... but im asking the question in case anyone else knows any tricks to avoid re-encoding.&lt;/p&gt;&#xA;" OwnerUserId="2589" LastActivityDate="2012-10-05T10:04:28.370" Title="How to save multiple QuickTimes but flatten audio tracks so that youtube/vimeo will accept it" Tags="|quicktime|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4527" PostTypeId="1" CreationDate="2012-08-06T06:08:34.737" Score="1" ViewCount="284" Body="&lt;p&gt;I recently encountered this video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/4Jl0CFgj3IM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really like the presentation of that person in the video. I guess he has a glass screen infront of the him and he is writing it. But is he writing it backward? Or is it an editing effect? I mean, any option for mirror imaging the video?&lt;/p&gt;&#xA;" OwnerUserId="1280" LastActivityDate="2012-08-06T08:09:31.887" Title="Is there any option for mirror imaging in video editing software?" Tags="|video|video-editor|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4528" PostTypeId="2" ParentId="4527" CreationDate="2012-08-06T08:09:31.887" Score="1" Body="&lt;p&gt;I don't think it would matter that much other than for the actor writing, easier if (s)he doesn't have to think about reverse-writing. The flipping effect is a one-click effect and wouldn't require much in terms of hardware, software or brain-power.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What editing software are you using - the effect should be easy to find in any way. It might not even be an effect as such but rather a transform feature but it would help if the editor was brought out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I doubt that your editor DOESN'T have this effect but in the strange case where it doesn't, you can also try setting the width of the image to -100%, that works on some editors. But I'm pretty sure there is a flip.horizontal effect somewhere.&lt;/p&gt;&#xA;" OwnerUserId="2719" LastActivityDate="2012-08-06T08:09:31.887" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4530" PostTypeId="2" ParentId="4526" CreationDate="2012-08-06T09:56:42.703" Score="1" Body="&lt;p&gt;Exporting is the only option from within QuickTime if you want your audio to be flattened down to the standard channels which most simple players will understand.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem you have is that your extra audio tracks are just ignored by YouTube, Vimeo etc.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-08-06T09:56:42.703" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4538" PostTypeId="2" ParentId="4493" CreationDate="2012-08-07T22:26:31.783" Score="2" Body="&lt;p&gt;You need to change lifespan of the particle and move the emitter around.  The longer the lifespan of the particle the longer the trail will be because the trail is composed of ageing particles. &lt;/p&gt;&#xA;" OwnerUserId="2453" LastActivityDate="2012-08-07T22:26:31.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4539" PostTypeId="1" AcceptedAnswerId="4546" CreationDate="2012-08-08T05:59:17.080" Score="2" ViewCount="6458" Body="&lt;p&gt;I'm using After Effects CS6, and I'm deliberately trying to recreate the look of a cheap camcorder. I want that stereotypical red &quot;REC&quot; text and big red dot in a corner of the screen, and I want it to blink off and on. I want the &quot;ons&quot; and &quot;offs&quot; spaced one second apart, like so:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ON ==[one second]=&gt; OFF ==[one second]=&gt; ON ==[one second]=&gt; OFF&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And so forth. However, animating this by hand is a huge pain. How can I automate this animation? Would an expression work, or is there a way to tell After Effects to loop certain keyframes?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="2738" LastActivityDate="2012-08-08T21:19:43.140" Title="Repeating Flashing Text in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4542" PostTypeId="1" AcceptedAnswerId="4544" CreationDate="2012-08-02T13:24:08.060" Score="5" ViewCount="103" Body="&lt;p&gt;Recently I've done a &quot;mini-triathlon&quot; event called &lt;a href=&quot;http://www.winchesterppp.co.uk/&quot; rel=&quot;nofollow&quot;&gt;WinchesterPPP&lt;/a&gt; and I was able to record the whole event by placing my GoPro camera on the helmet (You can see my video on that website). Next year I'm planning to do a proper triathlon and instead of kayak I'll be swimming. The thing is I would like to record that part too, but I don't know where to put the camera to get the best video&lt;/p&gt;&#xA;" OwnerUserId="2744" OwnerDisplayName="SERPRO" LastEditorUserId="95" LastEditDate="2012-08-08T14:53:03.907" LastActivityDate="2012-08-08T15:00:09.590" Title="Where to place a camera to record Swimming" Tags="|camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4543" PostTypeId="1" CreationDate="2012-08-08T11:44:35.903" Score="3" ViewCount="1443" Body="&lt;p&gt;We're looking to make an &lt;a href=&quot;http://www.apple.com/ipad/&quot; rel=&quot;nofollow&quot;&gt;iPad like commercial&lt;/a&gt; video for one of our apps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My Question is, what technologies are involved in making this kind of a video? Is it &lt;code&gt;flash&lt;/code&gt;/&lt;code&gt;after effects&lt;/code&gt;? or something else all together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if there is a tutorial which can help me build something like this video, it'd be helpful. cheers.&lt;/p&gt;&#xA;" OwnerUserId="2740" LastActivityDate="2012-11-16T02:56:48.393" Title="How to make an iPad like commercial video?" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4544" PostTypeId="2" ParentId="4542" CreationDate="2012-08-08T14:44:06.490" Score="2" Body="&lt;p&gt;For the swim you really only have one option - to wear a light helmet of some kind to get the camera on the top of your head.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anywhere else and it will not show anything useful (too much splash) or will cause drag (eg chest mounted) - look how much of the body is underwater:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/pH2MK.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you think you are really good, point it backwards. You will get a better view, with less splash, and if you are in front, the shots you will get of the rest of the pack could be really good.&lt;/p&gt;&#xA;" OwnerUserId="674" LastEditorUserId="674" LastEditDate="2012-08-08T15:00:09.590" LastActivityDate="2012-08-08T15:00:09.590" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4545" PostTypeId="1" AcceptedAnswerId="4569" CreationDate="2012-08-08T20:54:13.673" Score="3" ViewCount="5500" Body="&lt;p&gt;I've got a multitude of MKV files each containing two audio tracks that correspond to two languages. In each of the files, the English language is the second track and it's the only track I need for these MKV files. So how do I easily discard the first audio track in each of the MKV files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;N.B. My primary OS is Windows but if there really is no easy way to have it done on Windows, I could be interested in a Linux answer too.&lt;/p&gt;&#xA;" OwnerUserId="2743" LastActivityDate="2013-08-23T08:23:53.990" Title="Remove audio tracks from multiple MKV files" Tags="|video|audio|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4546" PostTypeId="2" ParentId="4539" CreationDate="2012-08-08T21:19:43.140" Score="2" Body="&lt;p&gt;This can be done easily with a mixture of time remapping and an expresison. Simply precomp the text animated as once on, once off (keyed out manually), then drop it into your main comp and apply the following expression:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;loop_out(&quot;cycle&quot;,0)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then, just extend the composition for as long as you would like it to loop.&lt;/p&gt;&#xA;" OwnerUserId="2457" LastActivityDate="2012-08-08T21:19:43.140" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4547" PostTypeId="1" CreationDate="2012-08-09T06:12:40.787" Score="3" ViewCount="529" Body="&lt;p&gt;This is my first time of using Windows Movie Maker so, I'm not sure what the problem is. What I want to do is to make a video with 5 short videos, each lasting 3-4 seconds, with a background music. But when I edit some videos three to four times, like adding effects, they show errors. It's not that I can't play my video anymore. It's just I can't edit it. So, how can I fix that kind of error? &lt;/p&gt;&#xA;" OwnerUserId="2745" LastActivityDate="2014-07-24T20:02:35.487" Title="Errors in Windows Movie Maker" Tags="|video-editor|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4548" PostTypeId="2" ParentId="4547" CreationDate="2012-08-09T16:28:29.953" Score="2" Body="&lt;p&gt;Chances are, the corruption was just caused by a hiccup in the program while it was placing the effects into the project file. In my experience, all versions of Windows Movie Maker beyond the one bundled with Windows XP SP2/3 are incredibly buggy and should be replaced with a better video editor. Problems like this are ridiculously common in the Vista version of Windows Movie Maker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To answer your question, you should try closing and reopening the file, and if it is still corrupted, you'll obviously need to start over. The issue may be that Movie Maker inserted malformed properties into the project file, causing Movie Maker to not be able to parse it correctly.&lt;/p&gt;&#xA;" OwnerUserId="2747" LastActivityDate="2012-08-09T16:28:29.953" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4550" PostTypeId="1" CreationDate="2012-08-10T00:52:38.963" Score="1" ViewCount="11866" Body="&lt;p&gt;I was filming some scenes on my Panasonic SD90 and it recorded them In a AVHC-HD format, .MTS. The problem is, when I import them in through Premier they lose their audio tracks! It plays fine in VLC, and I have the K-Lite codec pack installed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any Ideas?&lt;/p&gt;&#xA;" OwnerUserId="2750" LastActivityDate="2019-07-19T05:47:28.413" Title="Adobe Premiere not reading audio from .MTS file" Tags="|audio|premiere|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4552" PostTypeId="1" AcceptedAnswerId="4555" CreationDate="2012-08-10T15:06:34.893" Score="3" ViewCount="228" Body="&lt;p&gt;I have a Canon HF100 HD camera which I'm using to produce video for youtube and other online video channels, in HD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to primarily shoot video of objects and people in low light conditions, where the objects emit light (lamps, etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main problem I have with the camera is that it quickly renders the objects to be white when in fact they emit purple light (the diffuser is purple on the object).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, during daylight, when I want to shoot video and want it to be obvious in the video that the object is emitting light, it looks like the object is not emitting light at all (probably because the daylight is so intense that the camera adjusts for that and hence the object's light is not visible in the image ... ?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not a photography or video expert, so I'm wondering what to do with each of these situations. Should I get some lights? Should I buy a different camera, and perhaps specific lenses?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a small business, so don't have 10,000 dollar budgets to spend on cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks B&lt;/p&gt;&#xA;" OwnerUserId="2752" LastActivityDate="2012-08-12T02:14:35.857" Title="filming objects that emit light in low light conditions" Tags="|video|digital|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4553" PostTypeId="1" CreationDate="2012-08-10T15:23:24.677" Score="8" ViewCount="14993" Body="&lt;p&gt;Let's say I have two recordings (or more) of the same event. Maybe one has been recorded slightly slower or faster (different &quot;pitch&quot;) than the other one and has been started several seconds after or before the other one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's also say, for simplicity's sake, that there are no gaps in the recordings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can synchronize the recordings manually in a software such as Audacity by importing the different recordings as tracks and shifting/stretching them, but is there any way to do that process automatically?&lt;/p&gt;&#xA;" OwnerUserId="2753" LastActivityDate="2021-03-03T15:15:46.017" Title="How to automatically synchronize two recordings of the same event?" Tags="|sync|" AnswerCount="6" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="4555" PostTypeId="2" ParentId="4552" CreationDate="2012-08-10T19:37:19.617" Score="2" Body="&lt;p&gt;This type of photography is called 'available light' which covers shooting subjects without adding strobes or other lights. It is favored by many photographers for many reasons. I personally favor this because the subject and scene appear more natural to me. Things that glow interest me as well and there are tons of things that fit this: the moon, neon art, neon signs, street light reflections on the surface of wet pavement, faces illuminated by camp fire, Christmas lights and decorations, just to name a few.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each of these subjects will require the photographer to make needed adjustments to capture the light. Let's start with the brightest thing in my list, the moon. The moon as you know does not emit light, but rather reflects the light from the sun. As I recall when I would measure it with my digital spot meter, a full moon might be close to or exceed 12 EV. When I shoot video of the moon where it is almost 50% of the frame, I have found these things that assist:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) very high magnification, 80x to 100x&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) heavy tripod and no vibration&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) do not touch camera while recording, use remote to start and stop&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) manual exposure&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5) manual focus&lt;/p&gt;&#xA;&#xA;&lt;p&gt;6) set the white balance to outdoor (sunlight)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;7) setting up these things before starting the recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to the specs on the Canon HF100 it has both manual exposure and manual focus.&#xA;When I put my Sony in digital zoom, I notice that the manual focus is not always accurate as far as the numbers go, so I trick it by first lining up the moon in the middle of the frame, set focus to auto then after it adjusts, I lock it down by pressing the manual button. I adjust the manual exposure by looking at how much detail I want on the surface.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;example of moon shot:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/11145790&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/11145790&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Notes: in the example the motion is sped up 4x in post production, also note the wavy lines as per atmospheric distortion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regarding the issue you are having with &quot;the camera is that it quickly renders the objects to be white when in fact they emit purple light (the diffuser is purple on the object).&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This could be more than just one thing that needs adjustment. First I would check that you are not over exposing the lamp, then I would also make sure you have set the proper white balance as well. If you were expecting to capture both the purple lamp and an illuminated face, the lamp may be too bright for this or that the dynamic range of getting the lamp's purple glow and enough illumination to see detail on your subject's face may exceed the camera's dynamic range. You may have to change the bulb in the light to be brighter or darker to bring it in range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also note that in very low light situations, less than 10 LUX, you may start to notice digital noise in the black areas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shooting a light emitting object in sunlight is going to be difficult as you are correct in thinking that the daylight is too intense compared to your subject. Remember the sun is so bright that it may harm your sensor if you expose the sun directly for extended periods of time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing you can do is add a reflector on your subject as a fill light or add highlight. Here is an example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/0jLX4oyoZKY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Balancing the light of a scene will take some practice and some experimentation. Let's say you wanted to shoot a scene outside in daylight and your subject is working on a laptop. Your goal is to have the subject's features to be illuminated and at the same time be able to read or see detail on the laptop screen. To do this, you will likely have to shoot these in the shade to reduce the amount of daylight in your frame, and may have to use a reflector on your subject as well as put the laptop display in max brightness. It's all a balancing act of light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can not afford a light meter, or spot meter, use your camera's display as the best source of how the scene will be balanced for light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recommend that you examine your display carefully to see that all the things you want are properly illuminated. Some scenes may have extreme high and low values of light that exceed the dynamic range of your camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Summary:&#xA;Capturing things that reflect light or emit light can be interesting yet require camera adjustments and good planning. Adjustments include: manual exposure, manual focus, manual white balance, possibly using a reflector, and if possible change the brightness of any lamps in your scene.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-08-10T20:06:07.787" LastActivityDate="2012-08-10T20:06:07.787" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4557" PostTypeId="2" ParentId="4552" CreationDate="2012-08-12T02:14:35.857" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;The main problem I have with the camera is that it quickly renders the objects to be white when in fact they emit purple light (the diffuser is purple on the object).&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This is because you are letting the camera choose the exposure. Since most of the scene is dark the camera will expose for those dark areas and that will put the light emitting object above the dynamic range of the camera, making it clip to white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Solution&lt;/strong&gt;: switch your camera to manual exposure and set the exposure so that the light emitting object is a tad below clipping. To find the right point let it go to white and then back up until you get it to look properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately this is probably going to make everything else look too dark. So you may need to add ambient light to compensate. For adding light you may want to point your light source towards a white ceiling or wall, so that it evenly lights the scene. The size of light you need will depend on how big is the space you are shooting, you will need to experiment until you find the right light.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Also, during daylight, when I want to shoot video and want it to be obvious in the video that the object is emitting light, it looks like the object is not emitting light at all&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In this case the problem is that the object is receiving a lot of light, and that overpowers the light that is being emitted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Solution&lt;/strong&gt;: Do not shoot in the sunlight, find a place in the shade, so that the ambient light isn't too strong. Also, it is important for a light emitting object to reflect its light on something. To help show this light you want to have some close object onto which the purple light of your object reflects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="1898" LastActivityDate="2012-08-12T02:14:35.857" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4563" PostTypeId="1" AcceptedAnswerId="4571" CreationDate="2012-08-13T15:24:22.980" Score="401" ViewCount="568686" Body="&lt;p&gt;I have an MP4 file of a screen recording that I need to crop. How can I do this with &lt;code&gt;ffmpeg&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="2764" LastEditorUserId="2764" LastEditDate="2024-02-13T18:34:45.570" LastActivityDate="2024-02-13T18:34:45.570" Title="How can I crop a video with ffmpeg?" Tags="|video|editing|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="4569" PostTypeId="2" ParentId="4545" CreationDate="2012-08-14T18:48:56.870" Score="1" Body="&lt;p&gt;I don't know Windows, but I have just gone through this in Mac OS X (Linux Applicable).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.bunkus.org/videotools/mkvtoolnix/&quot; rel=&quot;nofollow&quot;&gt;mkvtoolnix&lt;/a&gt; is your friend here, and is available for Windows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used the GUI to check (a sample of) my files to make sure the audio tracks that I wanted to keep and delete were in the same order in the files. Then I manipulated the options in the GUI to match what I wanted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, I used the &quot;copy to clipboard&quot; button to copy the command line output to the clipboard and massaged it into a bash script to run on a directory of the files I wanted strip the audio from. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know it's quick and dirty (and maybe not to your liking), but you can probably use it as a starting point to massage into what you &lt;em&gt;really&lt;/em&gt; want to do.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;for file in *.mkv; do mkvmerge -o &quot;$file-noeng.mkv&quot;  --language &quot;1:jpn&quot; --track-name &quot;1:AVC-HD&quot; --default-track &quot;1:yes&quot; --forced-track &quot;1:no&quot; --display-dimensions &quot;1:1920x1080&quot; --language &quot;3:jpn&quot; --track-name &quot;3:AAC&quot; --default-track &quot;3:no&quot; --forced-track &quot;3:no&quot; --language &quot;4:eng&quot; --track-name &quot;4:ASS&quot; --default-track &quot;4:no&quot; --forced-track &quot;4:no&quot; -a &quot;3&quot; -d &quot;1&quot; -s &quot;4&quot; --attachments &quot;1&quot; -T &quot;--no-global-tags&quot; &quot;$file&quot; --track-order &quot;0:1,0:3,0:4&quot;;&#xA;&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1247" LastActivityDate="2012-08-14T18:48:56.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4570" PostTypeId="2" ParentId="3077" CreationDate="2012-08-14T19:14:08.530" Score="1" Body="&lt;p&gt;Much like your Mac Mini approach, you can set up a PC with a free demo of vMix (http://www.vmix.com.au) and see if it will work for you.&lt;/p&gt;&#xA;" OwnerUserId="221" LastActivityDate="2012-08-14T19:14:08.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4571" PostTypeId="2" ParentId="4563" CreationDate="2012-08-15T02:53:29.937" Score="581" Body="&lt;p&gt;Use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;crop&lt;/code&gt; filter&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &amp;quot;crop=out_w:out_h:x:y&amp;quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Where the options are as follows:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;use &amp;quot;-vf&amp;quot; or -&amp;quot;filter:v&amp;quot; - depending on your version of ffmpeg/avconv&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;out_w&lt;/code&gt; is the width of the output rectangle&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;out_h&lt;/code&gt; is the height of the output rectangle&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;x&lt;/code&gt; and &lt;code&gt;y&lt;/code&gt; specify the top left corner of the output rectangle (coordinates start at (0,0) in the top left corner of the input)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Original image&lt;/h2&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/LAW6C.png&quot; alt=&quot;original image&quot; /&gt;&lt;br /&gt;&#xA;&lt;sub&gt;Original 320x240 image&lt;/sub&gt;&lt;/p&gt;&#xA;&lt;h2&gt;How out_w, out_h, w and h fit into the picture&lt;/h2&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oZXFK.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oZXFK.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;h2&gt;Example 1&lt;/h2&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/vqW5O.png&quot; alt=&quot;80x60&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;To crop a 80×60 section, starting from position (200, 100):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &amp;quot;crop=80:60:200:100&amp;quot; -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The audio is &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;noreferrer&quot;&gt;stream copied&lt;/a&gt; in this example, so re-encoding is avoided.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Example 2&lt;/h2&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/IwvRw.png&quot; alt=&quot;bottom right quarter&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;To crop the bottom right quarter:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &amp;quot;crop=in_w/2:in_h/2:in_w/2:in_h/2&amp;quot; -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is the same as:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &amp;quot;crop=320/2:240/2:320/2:240/2&amp;quot; -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Which is the same as:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &amp;quot;crop=160:120:160:120&amp;quot; -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;You can refer to the input image size with &lt;code&gt;in_w&lt;/code&gt; and &lt;code&gt;in_h&lt;/code&gt; as shown in this first example. The output width and height can also be used with &lt;code&gt;out_w&lt;/code&gt; and &lt;code&gt;out_h&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Example 3&lt;/h2&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/l1ILH.png&quot; alt=&quot;20 pixels from the top, and 20 from the bottom&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;Crop 20 pixels from the top, and 20 from the bottom:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i in.mp4 -vf &amp;quot;crop=in_w:in_h-40&amp;quot; -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The filter will automatically center the crop if &lt;code&gt;x&lt;/code&gt; and &lt;code&gt;y&lt;/code&gt; are omitted such as in this example.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Previewing&lt;/h2&gt;&#xA;&lt;p&gt;You can take a crop (heh heh) and preview it live with &lt;code&gt;ffplay&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -i input -vf &amp;quot;crop=in_w:in_h-40&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This way you can experiment and adjust your cropping without the need to encode, view, repeat.&lt;/p&gt;&#xA;&lt;h2&gt;Notes&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;crop&lt;/code&gt; filter documentation&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Default encoder for MP4 is &lt;code&gt;libx264&lt;/code&gt; (H.264 video) or &lt;code&gt;mpeg4&lt;/code&gt; (MPEG-4 Part 2 video) depending on your &lt;code&gt;ffmpeg&lt;/code&gt; build. See &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg Wiki: H.264 Video Encoding Guide&lt;/a&gt; for more info.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Instead of cropping and re-encoding, consider cropping upon playback. This is possible with any player worth using.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Ancient &lt;code&gt;ffmpeg&lt;/code&gt; builds used &lt;code&gt;-croptop&lt;/code&gt;, &lt;code&gt;-cropbottom&lt;/code&gt;, &lt;code&gt;-cropleft&lt;/code&gt;, &lt;code&gt;-cropright&lt;/code&gt; options instead of the &lt;code&gt;crop&lt;/code&gt; filter. If this is the case for you then &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;noreferrer&quot;&gt;get a modern &lt;code&gt;ffmpeg&lt;/code&gt;&lt;/a&gt;. Development is very active and there is no reason to use an antique.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2587" LastEditorUserId="4837" LastEditDate="2024-02-06T19:47:06.553" LastActivityDate="2024-02-06T19:47:06.553" CommentCount="23" ContentLicense="CC BY-SA 4.0" />
  <row Id="4572" PostTypeId="2" ParentId="3077" CreationDate="2012-08-15T07:15:50.850" Score="1" Body="&lt;p&gt;I'd recommend to add an optional i/o board (AV-HS04M7 or AV-HS04M1 for external CG) to have simultaneous program output w/o graphics (clean feed) and still have fully functional preview &amp;amp; program outputs. You can use ProPresenter or any template-based CG with key&amp;amp;fill outputs, which is quite simple to control. E.g. &lt;a href=&quot;http://www.casparcg.com/&quot; rel=&quot;nofollow&quot;&gt;CasparCG&lt;/a&gt;. You can even create a special control application for shows, an operator would have to push the only button at desired time.&lt;/p&gt;&#xA;" OwnerUserId="2773" LastActivityDate="2012-08-15T07:15:50.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4573" PostTypeId="2" ParentId="3876" CreationDate="2012-08-15T11:24:50.210" Score="2" Body="&lt;p&gt;There are some things to make clear:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A format is &lt;strong&gt;not&lt;/strong&gt; a codec; you want to get a file in avi &lt;strong&gt;format&lt;/strong&gt; with video encoded with &lt;strong&gt;h264&lt;/strong&gt; codec. Just use &lt;em&gt;-vcodec libx264&lt;/em&gt; and a filename with &lt;em&gt;.avi&lt;/em&gt;. Ffmpeg should recognize a format by looking at a file extension, but you may also be specific adding &lt;em&gt;-f avi&lt;/em&gt;. You definetely &lt;strong&gt;not&lt;/strong&gt; want to use mpeg1, because it gives worse quality than mpeg2 or even worse comparing with mpeg4, which I reccomend.&lt;/li&gt;&#xA;&lt;li&gt;Your problem was that ffmpeg just used the lowest possible quality because you didn't specify any. The -sameq option rarely seems to work for me. In fact, it is very handful to set the bitrate manually. Add, for example, &lt;em&gt;-vb 3000k&lt;/em&gt; to get a file with average &lt;em&gt;video&lt;/em&gt; bitrate of 3Mb/s, which gives quite good quality. I guess it would be even enough for you to have 2Mb/s for the mentioned resolution.&lt;/li&gt;&#xA;&lt;li&gt;The key to lowering filesize is not resolution, but bitrate mentioned above. I would rather stick to the original resolution and just manipulate the bitrate.&lt;/li&gt;&#xA;&lt;li&gt;I guess you also want to keep the audio without conversion (so without quality loss), so use &lt;em&gt;-acodec copy&lt;/em&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Try this:&#xA;&lt;em&gt;ffmpeg -i highres.avi -acodec copy -vcodec libx264 -vb 2000k lowerres.avi&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="2774" LastActivityDate="2012-08-15T11:24:50.210" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4576" PostTypeId="2" ParentId="1926" CreationDate="2012-08-15T14:08:19.573" Score="-2" Body="&lt;p&gt;Try the &lt;code&gt;-sameq&lt;/code&gt; option. It tells &lt;code&gt;ffmpeg&lt;/code&gt; to use the same quality in the output as in the input. I often find that &lt;code&gt;ffmpeg&lt;/code&gt; likes to use sub-standard video codecs.&lt;/p&gt;&#xA;" OwnerUserId="2764" LastActivityDate="2012-08-15T14:08:19.573" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4588" PostTypeId="2" ParentId="3741" CreationDate="2012-08-16T16:13:30.570" Score="1" Body="&lt;p&gt;&lt;strong&gt;Some novel ideas&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;physical: better CPUs, more RAM&lt;/li&gt;&#xA;  &lt;li&gt;crowdsourcing: render farms &amp;amp; distributed rendering like &lt;a href=&quot;http://www.renderfarm.fi/blog/prodigalson/first-cycles-render-ever-renderfarmfi&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;&lt;/li&gt;&#xA;  &lt;li&gt;knowledge &amp;amp; experience: elegant simple shortcuts -- keep things simple: no smoke or fluid etc CPU-expensive stuff&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Perhaps Related, found after some googling but not sure&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;&lt;p&gt;&lt;a href=&quot;http://www.blender.org/development/release-logs/blender-246/distributed-rendering-new-render-options/&quot; rel=&quot;nofollow&quot;&gt;http://www.blender.org/development/release-logs/blender-246/distributed-rendering-new-render-options/&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;&lt;a href=&quot;http://blenderartists.org/forum/showthread.php?86521-How-do-you-set-up-a-render-farm&quot; rel=&quot;nofollow&quot;&gt;http://blenderartists.org/forum/showthread.php?86521-How-do-you-set-up-a-render-farm&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;&lt;a href=&quot;http://burp.renderfarming.net/&quot; rel=&quot;nofollow&quot;&gt;http://burp.renderfarming.net/&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;&lt;a href=&quot;http://www.respower.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.respower.com/&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="2221" LastActivityDate="2012-08-16T16:13:30.570" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4594" PostTypeId="2" ParentId="3065" CreationDate="2012-08-17T01:19:19.433" Score="2" Body="&lt;p&gt;The link on the video says they used magic lantern which is alternate firmware update that is open source for the t2i and other canon bodies. I can only say that canon will not support it, it can void your warrenty, and overheat and cause all sorts of shut down problems.  Having said that, this is how they were able to adjust the shutter setting slower. I have also seen some amazingly high speed slow mo stuff shot progressive speed ramped to look like arri alexa. Amazing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my take on it, I am a pro video with 18 years of broadcast.  Personally I would not try ML on my t2i until I get a better camera and this guy becomes no issue for me as a backup body.  The issue with these canon cameras as video cameras lies in the fact that the processor used to backhaul the data is not optimized for video, it is optimized for great stills, stunning in fact. Video processing although lower res even on 1080 i/p, uses a lot of processing, even more than just getting a 18mp still on raw with AA. Its not even in the same ball park. Processing is heat, and this camera and other canon bodies can overheat even on the regular f/w let alone some of the crazy thing ML will let you do. This is why video has lagged behind film in quality and why a C300 or C500 is thousands of dollars more for a dedicated canon video camera. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally I really give magic lantern a lot of credit, they essentially overhauled the system software to give you zebra bars, markers, better shutter, intervolometer etc.  I am just not about to try it on my cam since it is still my primary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For people out there needing a low light solution, check out a EF 1.4 or 1.2 manual focus 50mm lens, it is some of the best glass canon ever made and edge to edge sharp.&lt;/p&gt;&#xA;" OwnerUserId="2788" LastActivityDate="2012-08-17T01:19:19.433" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4595" PostTypeId="1" CreationDate="2012-08-17T01:54:02.910" Score="2" ViewCount="100" Body="&lt;p&gt;A friend has come into possession of a VHS tape whose video is encoded in the PAL standard. He would like to play this tape back and record the output into some format that he can easily play back in the United States - either NTSC video, or some digital format. He can't just play it in a common local NTSC VCR, as he hears sped-up sound and sees no video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What equipment would be required to do this, and are there any other considerations that need to be taken into account, such as power adapters?&lt;/p&gt;&#xA;" OwnerUserId="95" LastActivityDate="2013-07-05T19:23:29.403" Title="How can I transcode a PAL-formatted videotape in the United States?" Tags="|video|video-standards|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4596" PostTypeId="2" ParentId="4595" CreationDate="2012-08-17T07:48:51.560" Score="4" Body="&lt;p&gt;You need two things - a PAL VCR and a digital video converter than can speak PAL. The last one I bought (in 2005) was software configurable for (or could autodetect) PAL and NTSC, and several that show up on Amazon appear to be both PAL and NTSC compatible. It looks like VCRs that are PAL compatible are available on both Amazon and EBay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When acquiring a VCR, pay attention to its power supply requirements. I haven't purchased a VCR in over a decade, so I have no general advice on what to expect. However, if the VCR expects 220-240 V and/or 50 Hz, then you will need an inverter in order to use it in North America (120V @ 60Hz).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Once you've digitally captured the video, you should be able to play it on a PC or most mobile devices. If you really need to transcode it to NTSC, then something like VLC or Apple's Compressor should do the trick.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2012-08-17T08:02:00.023" LastActivityDate="2012-08-17T08:02:00.023" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4601" PostTypeId="1" AcceptedAnswerId="4602" CreationDate="2012-08-19T02:16:44.043" Score="4" ViewCount="122" Body="&lt;p&gt;I don't know if i'm doing something wrong or this is the way my camera (550d/t2i) works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems to me that the video is softer than it should be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To test this I made a picture and video using the same settings (iso, f-stop, shutter speed and picture style) at the same distance and without moving the focus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I cropped and resized the picture to match the resolution of the video (1920x1088) and then I compared the results. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Detail from movie frame&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/fW4Wb.png&quot; alt=&quot;Detail from movie frame&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Detail from picture (appropriately scaled)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/YfP9w.png&quot; alt=&quot;Detail from picture (appropriately scaled)&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;here is an archive of the originals &lt;a href=&quot;http://darwin.nicu.ro/public/550dTest.zip&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;550dTest.zip&quot;&gt;550dTest.zip&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2794" LastActivityDate="2012-08-19T06:23:00.487" Title="Is it possible that the actual video resolution of the t2i/550d is not 1920x1080" Tags="|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4602" PostTypeId="2" ParentId="4601" CreationDate="2012-08-19T06:13:49.733" Score="5" Body="&lt;p&gt;The sensor in your camera has about 18 megapixels, and all those MP are used to record pictures and movies. What's different is how the sensor data was processed on the picture and the movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Scaling&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the picture you scaled down the original 18MP picture using Photoshop, GIMP or similar. This was probably a high quality scaling operation, so the resulting 2MP image still looks pretty good, since it was generated from the whole 18MP of data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the movie, it is the camera that did the scale down operation. The camera has to scale down images at a rate of 24 per second, so it can't use as good scaling as you get from an image editing app. I'm not sure what the algorithm is, but I'm certain its main goal is performance and not quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Compression&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the image you took a raw or a lightly compressed jpeg (not sure which one you used). If you went with the jpeg, it's got 4.7MB worth of data. The raw is way more than that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the movie the camera compressed all the frames using H.264 encoding and you took a random frame from the middle of the movie. Your movie has 58 frames and is 20.3MB big, so on average, there are just 360KB for each frame if we consider the audio and metadata in the noise. H.264 makes an amazingly efficient use of the limited bitrate by encoding differences between frames, so it isn't as bad as it looks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So based on the above reasons, I think the picture vs. movie quality cannot be expected to match.&lt;/p&gt;&#xA;" OwnerUserId="1898" LastEditorUserId="1898" LastEditDate="2012-08-19T06:23:00.487" LastActivityDate="2012-08-19T06:23:00.487" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4605" PostTypeId="1" CreationDate="2012-08-19T17:18:18.503" Score="1" ViewCount="253" Body="&lt;p&gt;I am trying to convert files from .mov to .webm with Miro on a Mac for publishing to the web with HTML5. The conversions go fine for about 75% of the file but then Miro does not convert the rest of the file. I'm wondering if anyone else has experienced this issue and what they did to get around it. Thanks! &lt;/p&gt;&#xA;" OwnerUserId="2797" LastActivityDate="2013-05-24T14:34:26.390" Title="Miro does not convert the entire file when converting to webm" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4609" PostTypeId="1" CreationDate="2012-08-21T08:58:46.013" Score="4" ViewCount="1955" Body="&lt;p&gt;I'm trying to find a wearable camera (to mount on a helmet, or on the shoulder) that support live-streaming video over a WiFi-network or the mobile phone network (HSPA or LTE) to a custom video streaming server. Are there any such cameras that you know of?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have considered using something like a GoPro HD Hero 2 with an Eye-Fi SD-card. That I believe would make it possible to upload the video to an FTP-server, and then I could provide on-demand streaming of the files that are uploaded. However, it would be really nice to allow live-streaming, and in that case the FTP-server setup wouldn't be a good option.&lt;/p&gt;&#xA;" OwnerUserId="2803" LastActivityDate="2012-08-21T19:45:17.190" Title="Are there any wearable IP cameras?" Tags="|live-recording|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4610" PostTypeId="2" ParentId="4609" CreationDate="2012-08-21T15:13:56.247" Score="2" Body="&lt;p&gt;I use the Contour cameras, with a small transmitter-box connected to the camera. If you want decent quality footage, you should avoid cameras with built-in wireless streaming, as most really do not have the capability to transmit in full quality.&lt;/p&gt;&#xA;" OwnerUserId="2805" LastActivityDate="2012-08-21T15:13:56.247" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4611" PostTypeId="2" ParentId="4609" CreationDate="2012-08-21T19:45:17.190" Score="2" Body="&lt;p&gt;Easiest way would be to get a small camera with HDMI output (like say, a &lt;a href=&quot;http://gopro.com/hd-hero2-cameras/&quot; rel=&quot;nofollow&quot;&gt;GoPro HD Hero 2&lt;/a&gt; or a &lt;a href=&quot;http://replayxd.com/cameras/replay-xd1080-camera/&quot; rel=&quot;nofollow&quot;&gt;Replay XD1080&lt;/a&gt;) and hook it up to a &lt;a href=&quot;http://new.livestream.com/broadcast-live/livestream-broadcaster&quot; rel=&quot;nofollow&quot;&gt;Livestream Broadcaster unit&lt;/a&gt;, which looks small enough (and is battery powered) to strap on to someone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Livestream Broadcaster supports wi-fi, or even plugging a USB modem directly into it. There's also the &lt;a href=&quot;http://teradek.com&quot; rel=&quot;nofollow&quot;&gt;Teradeck&lt;/a&gt; stuff if the Livestream Broadcaster doesn't do it for ya.&lt;/p&gt;&#xA;" OwnerUserId="1725" LastActivityDate="2012-08-21T19:45:17.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4612" PostTypeId="1" CreationDate="2012-08-22T03:12:46.510" Score="3" ViewCount="868" Body="&lt;p&gt;When the iPad stutters playing my video, it continues playing audio at a normal rate. This causes the video to go out of sync until the video can catch up. Is there any setting that triggers a pause instead? Or are there better export settings than what Premiere provides?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm exporting video from Adobe Premiere at 4mb / 5mb the application's preset &quot;iPad 2 / iPhone 4s&quot;, with the modified resolution of 1024x768 instead of 1200x1080 (or whatever it normally is).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way that I know of to resolve this issue is to reduce the mb/s video quality, so I'm hoping someone out there has a better idea.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="2808" LastActivityDate="2013-12-24T12:31:21.230" Title="Prevent video stutter / lag in h264 on iPad" Tags="|premiere|ipad|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4618" PostTypeId="1" AcceptedAnswerId="4619" CreationDate="2012-08-22T19:09:04.480" Score="2" ViewCount="565" Body="&lt;p&gt;I record screencasts in 720p resolution, but would like to put up 1080p as well. This brings a problem: how can I record videos in 1080p such that they still look OK when scaled down to 720p? I've been thinking about DPI scaling (on Windows), but maybe it's possible to go the other way, i.e. record at 720p and then use some sort of smart scaling to produce a (relatively speaking) high-quality 1080p render?&lt;/p&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2012-08-22T23:44:39.090" Title="Best way of presenting both 720p and 1080p screencasts" Tags="|screen-casting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4619" PostTypeId="2" ParentId="4618" CreationDate="2012-08-22T23:44:39.090" Score="1" Body="&lt;p&gt;Generally speaking shooting in 1080p and scaling it down to 720p is not a problem with cameras as I do this all the time and it looks just fine. When I do this I may also be mixing 1080p and 720p raw images, and I always scale to the lowest resolution. When I render a 1080p I will generally render a 720p version as an answer print to view before committing the final cut to a 1080p render. I say this with caution because I have not worked with screencasts or using screen motion capture software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, shooting in 720p and trying to make it into 1080p is a losing battle because then you are asking software to make up for pixels that do not exist. You can try it, but I don't think you will like it unless someone makes a software product something like Twixtor that adds frames needed for extra slow motion shots.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-08-22T23:44:39.090" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4621" PostTypeId="1" AcceptedAnswerId="4623" CreationDate="2012-08-23T21:02:42.703" Score="4" ViewCount="78" Body="&lt;p&gt;I have a video training course supplied as AVI files. Most of the screens are shown as slides with a pointer moving around on them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to capture a screenshot of the slide automatically when the screen changes (ignoring when the image changes a small amount due to the pointer moving around.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to do this so I can paste the images into a word or html document that I can add notes to as I learn as at the moment I'm taking screenshots but it's very slow and tedious and the course is very long (around 24 hours play time).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone suggest how to go about doing this?&lt;/p&gt;&#xA;" OwnerUserId="2816" LastActivityDate="2012-08-24T03:47:09.237" Title="Automatically capturing stills from video presentation" Tags="|video|screen-casting|capturing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4622" PostTypeId="2" ParentId="3385" CreationDate="2012-08-24T01:30:52.047" Score="1" Body="&lt;p&gt;Check out &lt;a href=&quot;http://www.wowza.com&quot; rel=&quot;nofollow&quot;&gt;Wowza&lt;/a&gt; - it should do what you want. The basic premise of Wowza is video in, video out. It can take multiple video streams into it's encoding engine, and spit them out in various formats, live.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you've got 4 inputs (let's assume they're cameras with HDMI output), you need a computer with 4x HDMI input cards (or 2x computers with 2x cards, whatever), that then sends the 4x streams to a Wowza server, then the Wowza server can either be directly accessed by viewers, or pushed out to a cloud service (like Amazon S3 or EC2 for example) for viewing without bandwidth constraints.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using Wowza will get you a live stream of your event without using a service like Livestream/UStream. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not 100% sure on marking clips though. Using Wowza gives you the flexibility to use your own player, so if you wanted to add markers within the video timeline, that users can click on and see that specific moment in the video (even during a live broadcast), that would be how you'd do it. But how you'd get the player to read some sort of file for the markers, and how you'd publish the marker information to the player, is beyond me. It might just be easier to create a &quot;highlights package&quot; for people to view later, that's just a YouTube video of clips you've edited together from the live footage.&lt;/p&gt;&#xA;" OwnerUserId="1725" LastActivityDate="2012-08-24T01:30:52.047" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4623" PostTypeId="2" ParentId="4621" CreationDate="2012-08-24T03:47:09.237" Score="2" Body="&lt;p&gt;You can do this with &lt;a href=&quot;http://processing.org/&quot; rel=&quot;nofollow&quot;&gt;Processing&lt;/a&gt;.  You would have to write a processing sketch to step through the movie frame-by-frame, and calculate how different each was from the previous frame.  When the difference is above a certain threshold, save the whole frame as an image file.  &lt;a href=&quot;http://processing.org/discourse/beta/num_1169227799.html&quot; rel=&quot;nofollow&quot;&gt;Here is a forum post&lt;/a&gt; about something very similar.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other than processing, you may also be able to use &lt;a href=&quot;http://cycling74.com/products/max/&quot; rel=&quot;nofollow&quot;&gt;Max/MSP&lt;/a&gt;'s &lt;a href=&quot;http://cycling74.com/products/max/video-jitter/&quot; rel=&quot;nofollow&quot;&gt;Jitter&lt;/a&gt;, &lt;a href=&quot;http://en.wikipedia.org/wiki/Quartz_Composer&quot; rel=&quot;nofollow&quot;&gt;Quartz Composer&lt;/a&gt;, or a bonafide programming language such as Python.&lt;/p&gt;&#xA;" OwnerUserId="187" LastActivityDate="2012-08-24T03:47:09.237" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4625" PostTypeId="1" AcceptedAnswerId="8591" CreationDate="2012-08-24T21:49:45.600" Score="2" ViewCount="60" Body="&lt;p&gt;CS6 has made it easier for me by making me have to use the keyboard to fast forward without having to hold it, but i preferred the control of being able to use the sort of slidebar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anybody know a way to get this sliding bar speed controller back?&lt;/p&gt;&#xA;" OwnerUserId="2110" LastActivityDate="2013-07-31T18:36:17.687" Title="Adobe Premiere CS6 search slidebar" Tags="|video-editor|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4629" PostTypeId="1" AcceptedAnswerId="4894" CreationDate="2012-08-25T22:15:05.747" Score="1" ViewCount="5654" Body="&lt;p&gt;I'm new to After Effects and played with Mocha for After Effects a bit (which is v.easy to pick up) and was wondering: If I have a bunch of dense set of keyframes as a result of tracking, is there an After Effects option/script that can clean the data (reduce keyframes but maintain easing/timing) ? &#xA;Is this possible ? If so, how ? &lt;/p&gt;&#xA;" OwnerUserId="1780" LastActivityDate="2022-11-14T10:02:45.777" Title="Cleaning tracked keyframes in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4632" PostTypeId="2" ParentId="3624" CreationDate="2012-08-26T14:21:03.773" Score="2" Body="&lt;p&gt;As 50ndr33 says, you need to shoot/capture at as high an FPS as possible. The more FPS the better the slow motion effect afterwards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Kronos is also a great plugin, but as he also states - it has some problems when footage isn't linear. If that's the case, you should have look at &lt;a href=&quot;http://www.revisionfx.com/products/twixtor/&quot; rel=&quot;nofollow&quot;&gt;Twixtor&lt;/a&gt;. It's a bit more advanced (and more expensive) but it's better at handling advanced remaps, and gives you pin-point control.&lt;/p&gt;&#xA;" OwnerUserId="2805" LastActivityDate="2012-08-26T14:21:03.773" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4638" PostTypeId="1" CreationDate="2012-08-27T16:50:41.120" Score="0" ViewCount="411" Body="&lt;p&gt;Im having difficulty in final cut pro, My captured footage looks absolutely terrible on the timeline and when its exported it’s in 4:3 and looks squished, What is the BEST outcome I can setup with this footage, Im a tad naive when it comes to codec’s etc, I literally have two days to get this project completely done and im really struggling on what settings I need as my two source materials are different size’s codecs etc.&#xA; I have two sources of captured footage that Im editing between. the first is in:&#xA;DV - PAL, 720 × 576, 4:3, 25 fps, 28.80 Mbps - Audio: DV stereo, 32 kHz, 28.80 Mbps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second camera’s footage is in:&#xA;.mov Apple Intermediate Codec, 960 × 540, 25 fps, 29.43 Mbps - Audio: 16-bit Big Endian stereo, 48 kHz, 1.54 Mbps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The sequence settings are set to:&#xA;720x576, CCIR 601 / DVPAL (5:4)&#xA;Pixel aspect ratio: PAL - CCIR 601 (720 x 576)&#xA;Field Dominance: Lower&#xA;Anamorphic 16:9: off (Tried exporting with this on and off)&#xA;Compressor: Apple ProRes 422 (Was defaulted to DV PAL)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Final Cut Pro     6.06 on an Old Macbook running OSX 10.5.8&#xA;I have my mac plugged into an external TV as a monitor at 1920 x 1080&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The footage is being used on a projector for an audience, Either as a DVD or File, It may be used on the web later.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a screen grab of the DV footage in the timeline in final cut pro and opened up the source footage in quicktime side by side.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/jPFEN.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/jPFEN.jpg&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2827" LastActivityDate="2012-11-14T21:15:32.333" Title="FCP Editing: Timeline Footage Looks terrible in timeline &amp; export its 4:3" Tags="|editing|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4639" PostTypeId="1" CreationDate="2012-08-27T19:30:51.663" Score="0" ViewCount="252" Body="&lt;p&gt;I have some footage that I converted from red to prores444. I am able to view the converted mov in quicktime and the audio sounds fine. However, I when import it to Efter Effects, the audio previews and exports as white noise, I can see the waveform in the audiotrack, but it won't play. Any ideas what might be causing this?&lt;/p&gt;&#xA;" OwnerUserId="2828" LastActivityDate="2012-09-01T21:48:19.263" Title="Why is after effects turning my Prores audio into white noise" Tags="|audio|after-effects|prores|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4642" PostTypeId="1" CreationDate="2012-08-28T14:02:38.543" Score="6" ViewCount="2652" Body="&lt;p&gt;I’m new at video editing… and hoping someone can direct me to the best software for my needs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Running on windows OS. I need to build a video from frames in tga format, convert them in different formats like .mov or .avi and sometimes with different compressions types (none, animation, jpeg). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also need to be able to set the frame rate and add an audio track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The software I’m looking for should be able to batch process the jobs as I have many frames in different scenes/folders.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the reading I’ve been doing I would say virtualdub is the way to go but would like to know what other alternatives are out there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hoping I can gain I little more insight here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks. &lt;/p&gt;&#xA;" OwnerUserId="2831" LastEditorUserId="95" LastEditDate="2012-08-28T14:34:19.513" LastActivityDate="2015-01-15T18:54:22.240" Title="Batch processing individual frames into video" Tags="|video|editing|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4644" PostTypeId="1" CreationDate="2012-08-28T17:44:58.580" Score="7" ViewCount="38030" Body="&lt;p&gt;I added a camera to my comp, however, when I render it uses the active camera, and not camera1. How do I Either make camera1 my active camera, or make it so that I can render out camera1&lt;/p&gt;&#xA;" OwnerUserId="2828" LastActivityDate="2015-03-05T17:48:12.910" Title="How to change active camera in after effects ( or render a different camera )" Tags="|after-effects|camera|animation-rendering|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4653" PostTypeId="1" AcceptedAnswerId="4656" CreationDate="2012-09-01T02:07:09.703" Score="0" ViewCount="55" Body="&lt;p&gt;In particular, right now anyway, I want to know what the following under Animation menu do:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Track Camera&lt;/li&gt;&#xA;&lt;li&gt;Track in mocha AE&lt;/li&gt;&#xA;&lt;li&gt;Warp Stabilizer&lt;/li&gt;&#xA;&lt;li&gt;Track Motion&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Looking for a text-based explanation.&lt;/p&gt;&#xA;" OwnerUserId="2840" LastActivityDate="2012-09-01T16:05:08.560" Title="Good place to learn about every option/button in Adobe After Effects?" Tags="|video|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4656" PostTypeId="2" ParentId="4653" CreationDate="2012-09-01T16:05:08.560" Score="1" Body="&lt;p&gt;The User Guide has all this information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Online, visit the &lt;a href=&quot;http://helpx.adobe.com/after-effects/topics.html&quot; rel=&quot;nofollow&quot;&gt;Adobe After Effects Help pages here&lt;/a&gt; and read the Animation and Keyframes section. As an example, the Track Camera page says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;3D camera tracker effect&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;The 3D camera tracker effect analyzes video sequences to extract&#xA;  camera motion and 3D scene data. The 3D camera motion allows you to&#xA;  correctly composite 3D elements over your 2D footage.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-09-01T16:05:08.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4659" PostTypeId="2" ParentId="4488" CreationDate="2012-09-01T21:39:11.507" Score="1" Body="&lt;p&gt;Depending on how the switch is designed, it might not be sending the DDC signal back to the computers when the switch isn't set to point to them, and this could be confusing the cable-detection logic on the output ports.  When you switch the switcher to the Mac, try using the Mac's &quot;detect displays&quot; button (on the Displays control panel) to see if it comes to life.&lt;/p&gt;&#xA;" OwnerUserId="1234" LastActivityDate="2012-09-01T21:39:11.507" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4660" PostTypeId="2" ParentId="4639" CreationDate="2012-09-01T21:48:19.263" Score="2" Body="&lt;p&gt;My guess would be that AfterEffects is assuming something about the audio format which Quicktime is handling correctly but AE is not.  Check your format settings; you might need to specify a different byte ordering (also called &quot;byte swapping&quot;) or tell it to be explicitly 16-bit instead of, say, 24-bit.  In Quicktime you can see what the audio format is via the movie inspector.&lt;/p&gt;&#xA;" OwnerUserId="1234" LastActivityDate="2012-09-01T21:48:19.263" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4663" PostTypeId="1" CreationDate="2012-09-02T15:58:53.717" Score="1" ViewCount="50" Body="&lt;p&gt;I have a video with an overlay that i need to fade in. When i add a crossfade it starts fully opaque and then fades out. The exact opposite of what i want to achieve. How do i reverse the crossfade effect without also reversing the video?&lt;/p&gt;&#xA;" OwnerUserId="2846" LastActivityDate="2013-06-08T17:05:23.560" Title="Having problems with fade in" Tags="|video|blender|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4664" PostTypeId="1" CreationDate="2012-09-03T05:59:41.150" Score="1" ViewCount="428" Body="&lt;p&gt;I am wanting opinions for the best software to put together 2D parallax video content, using flat images, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What do you suggest?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. Could not create the tags parallax or 2d (rep). Sorry for the lack of tagging.&lt;/p&gt;&#xA;" OwnerUserId="2847" LastEditorUserId="2847" LastEditDate="2012-09-03T06:05:51.860" LastActivityDate="2012-09-03T06:05:51.860" Title="What is good software for building 2D parallax videos?" Tags="|video-editor|animation-rendering|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4666" PostTypeId="1" CreationDate="2012-09-04T11:37:20.310" Score="2" ViewCount="83" Body="&lt;p&gt;I'm working on a daily video blog, currently creating them with Adobe Premiere Pro. I need an advice or an alternative software, because I don't find a way to add text (e.g. as titles) from file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an intro, a main part and an outro. In the main part is a background image and changing text (fade in, fade over, fade out). I would like to leave off all the duplicate steps to change a text or move the position (4 titles, break, 2 title, break, 3 titles, break but in the next video 2 titles, break, 3 titles, break and so on). I've started to modify the text in PS, which is a bit faster since I dont have to look up the correct title in the project, but its not perfect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, do you know a software that can combine 3 parts of a video and add text from a file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would be nice to here from you!&lt;/p&gt;&#xA;" OwnerUserId="2851" LastActivityDate="2012-09-05T14:51:10.907" Title="Software to add text from file" Tags="|software-recommendation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4669" PostTypeId="2" ParentId="4666" CreationDate="2012-09-05T14:51:10.907" Score="1" Body="&lt;p&gt;Well there are MANY programs that do this but what your talking about is something you want to do manually. Technically you should be able to accomplish this with Premiere Pro, and I don't understand why your having trouble due to the awesome functionality between Adobe programs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But what you're describing is something you do not want to leave up to a program if at all possible because a program could totally screw it up or would apply things EXACTLY the same so the alignments could be totally off or an assortment of other problems with how it looks. And since you are in premiere you should only have to copy and paste these &quot;duplicate steps&quot; you are talking about. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If its frustrating you so much that you want to automate it have you ever taken a look at the macro tools built into the Adobe Suite? It may help you with what your looking for.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastActivityDate="2012-09-05T14:51:10.907" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4679" PostTypeId="1" CreationDate="2012-09-07T23:28:55.313" Score="3" ViewCount="638" Body="&lt;p&gt;I have wasted over 8 hours trying to figure out what is wrong my program. I am trying to render a 30 minute file in high quality HD using the Main Concept codec, but as soon as it reaches 100% I get this error saying there was unknown error while creating the media file. Is this some sort of limitation to the codex or program? Is there a workaround?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="2859" LastEditorUserId="2938" LastEditDate="2012-10-01T21:54:30.350" LastActivityDate="2012-10-01T21:54:30.350" Title="Unable to render file larger than 4 Gigs in Sony Vegas 10" Tags="|codec|vegas-pro|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="4680" PostTypeId="1" AcceptedAnswerId="4683" CreationDate="2012-09-08T20:20:21.410" Score="3" ViewCount="158" Body="&lt;p&gt;I own a Canon 1100d/T3i with very decent lenses (85mm/f1.8 and 35mm/f2). I really like shooting movies at home with it as the depth of field and the clarity of the subject are really beautiful. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that its not easy to focus and my wife finds it very difficult to use. The camera itself has zero auto-focus capabilities that I have managed to get going and it has basically been all manual focus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was considering getting a more expensive camcorder because making videos is quite important to me (the photo quality on this DSLR is absolutely fine with me btw). But I could not seem to find any of the cool depth-of-field that this DSLR gives me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My questions is: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a different Canon DSLR that does have good auto-focusing (ideally face recognition)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or is there a decent camcorder that has nice depth of field?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(and hopefully the prices are not very high as well)&lt;/p&gt;&#xA;" OwnerUserId="2862" LastEditorUserId="2938" LastEditDate="2012-10-01T07:04:28.707" LastActivityDate="2012-10-08T06:20:22.517" Title="Canon DSLR home-video. Need advice" Tags="|video|recommendation|dslr|camcorder|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4683" PostTypeId="2" ParentId="4680" CreationDate="2012-09-09T02:09:14.007" Score="2" Body="&lt;p&gt;As far as I know the &lt;a href=&quot;http://www.dpreview.com/reviews/canon-eos-650d-rebel-t4i&quot; rel=&quot;nofollow&quot;&gt;Canon 650D&lt;/a&gt; is the only Canon DLSR that has full auto focus during video recording. Not sure about the face recognition though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do some research on it. If you really like the DSLR look then I think this is the camera for you... especially as you'll be able to use your 85mm and 35mm lenses. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know too much about other camcorders but I doubt you'll be able to find any that can give you that DSLR depth of field for the price of the 650D.&lt;/p&gt;&#xA;" OwnerUserId="1133" LastActivityDate="2012-09-09T02:09:14.007" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4686" PostTypeId="1" AcceptedAnswerId="4688" CreationDate="2012-09-08T01:28:19.207" Score="3" ViewCount="21650" Body="&lt;p&gt;The title says it all. My video is too dark. I Learned how to avoid it next time (after the horse had bolted).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything I can do to lighten it up? Preferably freeware and not to complex. THe video is .AVI format&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[update] Windows 7 pro (and I am wondering whether brightness or contrast is the way to go (ans if some magic s/w has an &quot;auto&quot; feature))&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks a 1,000,000 in advance&lt;/p&gt;&#xA;" OwnerUserId="2904" OwnerDisplayName="Mawg" LastActivityDate="2012-09-20T00:49:15.253" Title="Seeking free and simple way to brighten a dark video" Tags="|video|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="4687" PostTypeId="2" ParentId="4686" CreationDate="2012-09-08T03:24:15.403" Score="5" Body="&lt;p&gt;&lt;strong&gt;Windows:&lt;/strong&gt;&#xA;If you are on windows 7/Vista, you should have Windows Live Movie Maker. You can open your video in that, go to the Visual Effects tab, and select the brightness button. Then you have to re-encode your video. This will decrease the quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://windows.microsoft.com/en-US/windows-live/movie-maker-get-started&quot; rel=&quot;nofollow&quot;&gt;Free Windows Live Movie Maker&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem with Windows Live Movie Maker is that there are limited effects and no way to create custom effects. However, Windows Movie Maker from Vista (i.e. WMM 6.0) does support custom effects, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://movies.blainesville.com/p/wmm-60-on-windows-7.html&quot; rel=&quot;nofollow&quot;&gt;You can download WMM 6.0 for Windows 7 here.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://movies.blainesville.com/p/movie-maker-add-ons.html&quot; rel=&quot;nofollow&quot;&gt;Blaine also provides an extensive list of add on effects here.&lt;/a&gt; Which includes contrast effects to increase the contrast.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Mac:&lt;/strong&gt;&#xA;If you have a MAC and iMovie, I found this &lt;a href=&quot;http://forums.macrumors.com/showthread.php?t=468159&quot; rel=&quot;nofollow&quot;&gt;link&lt;/a&gt;. You hover over the thumbnail and a &quot;sun&quot; symbol should show up, clicking that should bring up color controls.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Hopefully one of those will work. If not, you'll have to dive into the world of opensource video editing tools, which is a nightmare.&lt;/p&gt;&#xA;" OwnerUserId="2869" OwnerDisplayName="Onlyjus" LastEditorUserId="2869" LastEditDate="2012-09-20T00:49:15.253" LastActivityDate="2012-09-20T00:49:15.253" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="4688" PostTypeId="2" ParentId="4686" CreationDate="2012-09-08T14:32:42.760" Score="5" Body="&lt;p&gt;I've used &lt;a href=&quot;http://www.virtualdub.org/&quot; rel=&quot;nofollow&quot;&gt;VirtualDub&lt;/a&gt; (one of the open source tools) with some success for just this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's not trivial to use, and I'm afraid I don't remember the exact settings, etc., but there are plenty of tutorials/explanations around the web.&lt;/p&gt;&#xA;" OwnerUserId="2887" OwnerDisplayName="pdbartlett" LastEditorUserId="28" LastEditDate="2012-09-13T14:48:20.700" LastActivityDate="2012-09-13T14:48:20.700" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4691" PostTypeId="2" ParentId="4679" CreationDate="2012-09-09T13:06:38.750" Score="1" Body="&lt;p&gt;Not sure what went wrong but I was able to render it in .wmv format. Must have been something wrong with the file itself.&lt;/p&gt;&#xA;" OwnerUserId="2859" LastActivityDate="2012-09-09T13:06:38.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4692" PostTypeId="2" ParentId="4680" CreationDate="2012-09-10T04:20:56.910" Score="1" Body="&lt;p&gt;The 650D (Rebel T4i) &lt;em&gt;does&lt;/em&gt; autofocus in video mode, but only with the STM lenses.  Currently, there are only 2 STM lenses, a 40mm STM pancake and a 18-135mm STM.  I haven't used them, but tests I've seen online show that they have decent autofocus in video mode, but still not up to par with an actual video camera.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.youtube.com/watch?v=bGB4KOmvohc&quot; rel=&quot;nofollow&quot; title=&quot;Rebel T4i Autofocus Test&quot;&gt;This is a good video&lt;/a&gt; showing how well the AF with face detection works. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't speak to cheap camcorders but I do own the 7D and it does very well with face detection autofocusing, but only when I hit the AF ON button or hold the shutter release down halfway. When recording video I shoot with manual focus only as lenses can tend to hunt and make noise and usually doesn't work. For doing video I would also recommend using IS lenses (or lens equivalent).  I don't shoot video with my 85mm or 35mm without a tripod or shoulder rig.  For handheld I only ever use IS lenses.  &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;...I doubt you'll be able to find any that can give you that DSLR&#xA;  depth of field for the price of the 650D.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Chard is right, you aren't going to get the depth you're used to on your T3i without spending at least $6000 on a video camera.  You're best bet for a new camera with the things you're looking for is the Rebel T4i with an STM lens.&lt;/p&gt;&#xA;" OwnerUserId="2870" LastActivityDate="2012-09-10T04:20:56.910" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4693" PostTypeId="1" CreationDate="2012-09-10T04:51:24.367" Score="7" ViewCount="25674" Body="&lt;p&gt;Behringer makes two mixers with preamps that look the same. One of them is Eurorack lineup.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.behringer.com/EN/Products/1202FX.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;XENYX 1202FX&lt;/a&gt; (sometimes marketed as premium)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.behringer.com/EN/Products/UB1202FX.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;EURORACK UB1202FX&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Here are the pictures:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tJPQu.jpg&quot; alt=&quot;1202FX&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Mhoja.jpg&quot; alt=&quot;UB1202FX&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could someone help me discern the difference between the two lineups. Feel free to remove the association with 1202 in the Question if the answer applies to the Eurorack and Xenyx lineups in general.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even the discreptions are vague:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Ultra-low noise design, highest possible headroom, ultra-transparent audio&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;vs:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Premium ultra-low noise, high headroom analog mixer&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Other oddities make it really hard to compare. With the &lt;em&gt;1202FX +48V phantom power&lt;/em&gt; is listed as a bullet. With the UB1202FX, it's only listed in the description.&lt;/p&gt;&#xA;" OwnerUserId="501" LastEditorUserId="501" LastEditDate="2012-09-10T17:34:17.960" LastActivityDate="2022-04-21T04:46:13.033" Title="What's the difference between Behringer XENYX 1202FX and the Behringer Eurorack UB1202FX?" Tags="|mixer|" AnswerCount="6" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4694" PostTypeId="2" ParentId="851" CreationDate="2012-09-10T11:12:54.140" Score="-3" Body="&lt;p&gt;There are many companies which participate in the production of the templates of the video production. Our company provide better facilities than any other company to produce templates as well as audios and videos also. You will get all the facilities in one place.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.multimediamktg.com/services.html&quot; rel=&quot;nofollow&quot;&gt;video production services&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2871" LastActivityDate="2012-09-10T11:12:54.140" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4695" PostTypeId="2" ParentId="4693" CreationDate="2012-09-10T14:45:11.813" Score="6" Body="&lt;p&gt;The telling part is in the name. If you are not aware, Behringer has had a longstanding feud with Mackie (among other manufacturers as well) about copyright and trademark violations. Behringer has lost at least one of these lawsuits and were forced to change their cosmetic design on many of their mixers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Their Xenyx series is a not so subtle copy of Mackie's Onyx series preamps. The Onyx series were a noticeable step up from the vLz and vLz Pro preamps. Behringer decided to create their own premium line and call them Xenix. The problem is, I have yet to read a review that states a discernible difference between the UB and Xenyx lines. My presumption is that at this basement price point, it hardly matters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you could audition both (many online retailers have a return policy), I wouldn't bother trying to find qualitative differences...I'd just listen for noise floor differences.&lt;/p&gt;&#xA;" OwnerUserId="728" LastActivityDate="2012-09-10T14:45:11.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4703" PostTypeId="1" AcceptedAnswerId="4725" CreationDate="2012-09-11T03:35:53.830" Score="3" ViewCount="2325" Body="&lt;p&gt;I was looking around for computers aimed at AV production, and there doesn't seem to be many. It seems you largely have the option of SOHO PCs, business machines, or gaming machines. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is a gaming machine optimal for AV production? What aspects of a gaming machine are unnecessary for AVP? What aspects are missing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I plan on mostly doing audio production, with some graphic design, and maybe a little video production (mostly 2D).&lt;/p&gt;&#xA;" OwnerUserId="2034" LastActivityDate="2012-09-14T18:50:59.970" Title="Should I just get a gaming PC for audio/video production?" Tags="|hardware|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="4704" PostTypeId="1" AcceptedAnswerId="4706" CreationDate="2012-09-11T06:12:50.510" Score="7" ViewCount="8099" Body="&lt;p&gt;I'm uploading a file to an external system that accepts only mpg or mpeg extension files. I had a mp4 file so I changed the mp4 extension to mpg and I was able to upload the file into the system. Would other using the system who have access to this uploaded mpg file be able to view my video correctly? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is it that I can change the extension from .mp4 to .mpg and the video still plays fine? Should it not give me an error because the extension is not correct?&lt;/p&gt;&#xA;" OwnerUserId="2876" LastEditorUserId="2598" LastEditDate="2012-09-14T14:54:30.893" LastActivityDate="2021-04-11T07:17:45.587" Title="I changed the .mp4 extension of my video to .mpg and it still opens and plays fine (in VLC and in Windows Media Player). Why is this so?" Tags="|video|codec|mp4|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4705" PostTypeId="2" ParentId="4704" CreationDate="2012-09-11T06:28:33.540" Score="0" Body="&lt;p&gt;I think this a good explanation from &lt;a href=&quot;http://www.iorgsoft.com/compare/mp4-vs-mpg-comparison.html&quot; rel=&quot;nofollow&quot;&gt;iOrgSoft&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;MPEG-4 is method of defining compression of audio and visual&lt;/strong&gt; (AV)&#xA;  digital data. &lt;strong&gt;The MP4 file format defines the storage&lt;/strong&gt; of MPEG-4 audio,&#xA;  scenes and multimedia content using the ISO Base Media File Format.&#xA;  MPEG4 is one of the most popular variants as it found prominent use in&#xA;  mobile devices.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So essentially your &lt;code&gt;MPG&lt;/code&gt; video is packaged as a &lt;code&gt;MP4&lt;/code&gt;, but inside there is still a MPG (or MPEG) video. So both extensions work (because inside is the same format)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I dont know of any other situations where you can do this. eg If you were to change the extension to something like &lt;code&gt;.WMV&lt;/code&gt; or &lt;code&gt;.MOV&lt;/code&gt; you wouldnt be able to open the file. &lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-09-11T06:28:33.540" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4706" PostTypeId="2" ParentId="4704" CreationDate="2012-09-11T06:34:26.953" Score="5" Body="&lt;p&gt;The &lt;code&gt;.mpg&lt;/code&gt; and &lt;code&gt;.mpeg&lt;/code&gt; extensions are typically associated with MPEG-1 and MPEG-2 files. The structure of these files is different than the .mp4 format used for H.264 video, part of the MPEG-4 family of formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suspect VLC and WMP can play the file because they must not be using the file extension to determine file type, they probably parse the file with all the supported parsers until one works. To prove this point, I took a .wmv movie and renamed it to .mp4. When I played it in my Windows 7 PC with WMP I got a warning window saying that the extension did not match the format, but I told it to proceed anyway and the file played just fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this online service requires MPEG-1 or 2 then you should transcode your video to one of those formats before uploading. Unless the online service transcodes all uploaded videos to some standard format. In that case it does not really matter what the format of the uploaded video is, as long as the service can read it and transcode to its own favorite format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="1898" LastActivityDate="2012-09-11T06:34:26.953" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4707" PostTypeId="2" ParentId="2612" CreationDate="2012-09-11T09:24:00.647" Score="1" Body="&lt;p&gt;This may only answer the first part of your question:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found &lt;a href=&quot;https://superuser.com/a/403232&quot;&gt;this article&lt;/a&gt; on superuser.  It's on extracting the metadata from a batch of images.  They are using ExifTool, a command-line tool for Windows and OS X.  &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ExifTool is a platform-independent Perl library plus a command-line application for reading, writing and editing meta information in a wide variety of files. ExifTool supports many different metadata formats...as well as the maker notes of many digital cameras...&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You can find ExifTool &lt;a href=&quot;http://www.sno.phy.queensu.ca/~phil/exiftool/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.  It looks pretty handy, I'll be installing it today.  It looks like it will output a csv with all the metadata you want.  That csv is what a program would use to burn into your video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as burning the data into your video, I'm not finding anything online that would take any sort of data set and burn it onto a video or even to a jpeg, especially without &quot;Pro&quot; software.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would be interested to hear your solution to this, if any.  It seems just putting the raw metadata in there wouldn't serve much purpose, because of the framerate.  It'd be nice to see some sort of graphical ebb and flow of the data, again, don't know how it could be done without paid software.&lt;/p&gt;&#xA;" OwnerUserId="2870" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2012-09-11T09:24:00.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4708" PostTypeId="2" ParentId="2554" CreationDate="2012-09-11T10:04:57.653" Score="1" Body="&lt;p&gt;Ever since the fall of Visual Hub, there have been several generations of programs that have taken up the sourcecode and tried to remake the magic.  Visual Hub was awesome at stitching files together, sad it no longer works.  Film Redux was a fork of VisualHub, but has since been abandoned also. You can still &lt;a href=&quot;http://www.macupdate.com/app/mac/31954/filmredux&quot; rel=&quot;nofollow&quot; title=&quot;Download FilmRedux&quot;&gt;download FilmRedux for free&lt;/a&gt;, however I can't get it to process any of my files. It may just be a configuration issue on my machine, you may have better luck.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your Mac should have come with iMovie, otherwise it's at the &lt;a href=&quot;http://itunes.apple.com/us/app/imovie/id408981434?mt=12&quot; rel=&quot;nofollow&quot; title=&quot;iMovie '11&quot;&gt;Mac App Store for $15&lt;/a&gt;.  I found &lt;a href=&quot;http://www.kenstone.net/fcp_homepage/imovie_09_stone.html#markers&quot; rel=&quot;nofollow&quot; title=&quot;iMovie Markers&quot;&gt;this comprehensive guide to iMove '09&lt;/a&gt; and the section on markers is still relevant to iMovie '11.  The drawback is you'll have to add them manually, but that shouldn't be &lt;em&gt;too&lt;/em&gt; much trouble.&lt;/p&gt;&#xA;" OwnerUserId="2870" LastActivityDate="2012-09-11T10:04:57.653" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4711" PostTypeId="1" AcceptedAnswerId="4712" CreationDate="2012-09-11T21:16:45.263" Score="2" ViewCount="1023" Body="&lt;p&gt;Aside from just gluing (or velcroing) the camcorder onto a baseball hat beak, is there something better? Would this type of thing work?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B003LRWB3S&quot; rel=&quot;nofollow&quot;&gt;http://www.amazon.com/Calumet-Quick-release-Video-Head-Adapter/dp/B003LRWB3S/ref=sr_1_102?s=photo&amp;amp;ie=UTF8&amp;amp;qid=1347397880&amp;amp;sr=1-102&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or is it irrelevant. If your answer is &quot;get an Go Pro&quot; or whatever, I still need to know how to mount it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="2077" LastEditorUserId="5416" LastEditDate="2014-04-02T13:35:39.940" LastActivityDate="2016-11-01T17:52:02.397" Title="Mount a Camcorder on my Hat?" Tags="|camcorder|action-cam|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4712" PostTypeId="2" ParentId="4711" CreationDate="2012-09-11T21:29:05.133" Score="3" Body="&lt;p&gt;The key thing to remember about mounting any camera is stability. What makes Go Pro so attractive to many cinematographers are the many mounts available for it that fit the camera snugly on a helmet, car, surf board, or what have you. There will always be some motion when attaching a camera to say a helmet, but with the Go Pro helmet mount, you have minimized any residual motion. The only motion that is left is that of the helmet moving.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Trying to mount a camera to a baseball hat and expecting the stability of a helmet mount Go Pro or Contour camera is not easy or trivial.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First of all a baseball cap is not rigid like a helmet, there is flex built into the cap even in the beak. Adding an adapter may make things worse. You will have to experiment. Consider ways to make the cap as rigid as a helmet and ways to attach the camera so it moves with the cap without any swaying or extra movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For every design you think will work you will need to make test shots that cover the conditions of the actual production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think this can be done. But without your camera or your cap in my hands I would not venture a guess on how you go about it. This is truly hands on experimental kludge-0-matic work.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="126" LastEditDate="2012-09-12T13:54:06.273" LastActivityDate="2012-09-12T13:54:06.273" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4715" PostTypeId="2" ParentId="4711" CreationDate="2012-09-12T09:30:19.513" Score="2" Body="&lt;p&gt;I've got a GoPro and filzilla is right, stability can be an issue.  There is the &lt;a href=&quot;http://gopro.com/camera-mounts/head-strap-mount/&quot; rel=&quot;nofollow&quot;&gt;head strap mount&lt;/a&gt; that will fit on your head, or helmet, or even hat, and it works well.  The &lt;a href=&quot;http://gopro.com/camera-mounts/chest-mount-harness/&quot; rel=&quot;nofollow&quot;&gt;chest mount&lt;/a&gt; works a bit better, more stable and it doesn't move around with your head (much easier to watch).  I'm sure you could get it to work decently with the chest mount.  You may find that, in this case, &lt;a href=&quot;http://gopro.com/camera-mounts/tripod-mount/&quot; rel=&quot;nofollow&quot;&gt;using it on a tripod&lt;/a&gt; or Gorillapod would be better for stability.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I still like the GoPro for the flexibility it gives, despite the stability issues, it's just good to have it in the bag.  &lt;/p&gt;&#xA;" OwnerUserId="2870" LastActivityDate="2012-09-12T09:30:19.513" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4721" PostTypeId="1" CreationDate="2012-09-12T22:23:48.713" Score="5" ViewCount="1287" Body="&lt;p&gt;If I add a simple UV sphere that emits white light, and in the compositor add a Fast Gaussian blur effect, then when viewing on a transparent background there is a noticeable black halo around the glow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas what the correct way to do this is?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt; It seems to have something to do with the horizon colour being picked up by the blur effect.  How do you prevent that from happening?  As a work around I can set the horizon colour to white, but I don't think that's the correct way to do it...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here you can see with a red horizon colour, and changing the colour of the emitter to blue the effect is quite pronounced:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/iBTvu.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="2880" LastEditorUserId="2880" LastEditDate="2012-09-14T08:36:14.653" LastActivityDate="2015-10-26T15:16:40.143" Title="Blur effects on a transparent background leaves a black ghosting effect" Tags="|blender|" AnswerCount="1" CommentCount="3" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4723" PostTypeId="2" ParentId="3565" CreationDate="2012-09-14T07:30:56.463" Score="2" Body="&lt;p&gt;A common problem for a slow edit is incorrectly setting the codec of the sequences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unless under very specific circumstances (of which I'm not sure of), you should set your sequence codec (when you create the new sequence and Premiere asks you what preset it should use) to be &lt;em&gt;identical&lt;/em&gt; to your footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/UaEw5.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="2598" LastActivityDate="2012-09-14T07:30:56.463" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4725" PostTypeId="2" ParentId="4703" CreationDate="2012-09-14T18:50:59.970" Score="3" Body="&lt;p&gt;I researched this when building my own computer for HD video editing about a year ago - I don't remember all of my sources, but there's &lt;a href=&quot;http://forums.adobe.com/thread/433549&quot; rel=&quot;nofollow&quot;&gt;a hardware guide&lt;/a&gt; on the Adobe Primiere Hardware Forum (very helpful place) that was a big help. That guide is several years old, so the specific hardware recommended is out of date, but the principles are still there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, most gaming PCs are going to have a more powerful graphics card than you need and less RAM than you'll want (and possibly inadequate hard drives). It's better to build yourself, but if you're going to buy an off-the-shelf model, a gaming PC will probably serve you better than one that's not (since most of the manufacturers' high-end stuff is geared toward gamers). There are companies that build PCs specifically for video editing, but they are VERY expensive, especially compared to what you can do yourself. I built mine for around $1000, which is what I would've paid for the Dells and HPs I was looking at, but I was able to get exactly what I wanted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know about audio, but for video, I'd recommend:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The fastest processor that fits your budget (use &lt;a href=&quot;http://www.cpubenchmark.net/high_end_cpus.html&quot; rel=&quot;nofollow&quot;&gt;benchmark scores&lt;/a&gt;, not clock speeds, to compare)&lt;/li&gt;&#xA;&lt;li&gt;Fast hard drives. An ideal setup from what I've read (and based on &lt;a href=&quot;http://ppbm5.com/DB-PPBM5-2.php&quot; rel=&quot;nofollow&quot;&gt;Premiere benchmarks&lt;/a&gt;) is to have a small SSD for your boot drive and a RAID array for the actual editing. Those are fairly expensive, but at minimum, you should have 2 hard drives, one to boot and one to work in (and do NOT get 5400 RPM models).&lt;/li&gt;&#xA;&lt;li&gt;A mid-level graphics card. I've got a GeForce GTX 550 Ti and it handles my 1080p/60fps video just fine.&lt;/li&gt;&#xA;&lt;li&gt;RAM will depend on what software you're using (as will all of these, but RAM more so). For Premiere CS5+, for instance, you probably want at least 12 GB; I use Lightworks, which is still a 32 bit program as of this writing and therefore can't use more than 4 GB.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1889" LastActivityDate="2012-09-14T18:50:59.970" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4728" PostTypeId="1" AcceptedAnswerId="8485" CreationDate="2012-09-14T23:27:33.130" Score="24" ViewCount="85723" Body="&lt;p&gt;Is it possible to change the speed of Premiere's playback of the video without altering the speed of the produced version? Even if I could play it only 1.5x faster, it would mean a lot of time saved in the long run.&lt;/p&gt;&#xA;" OwnerUserId="2888" LastActivityDate="2020-05-09T08:33:34.263" Title="Is it possible to alter the playback *preview* speed?" Tags="|premiere|playback|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4729" PostTypeId="1" AcceptedAnswerId="4730" CreationDate="2012-09-14T11:42:55.787" Score="2" ViewCount="1447" Body="&lt;p&gt;I've started seeing this term mentioned in camera specs but have no idea what it means. It somehow relates to recording video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can somebody please explain where does it come from and what it means?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's all I found:&#xA;&lt;a href=&quot;http://www.dslrnewsshooter.com/2012/03/02/canon-launch-5d-mkiii-headphone-jack-all-i-recording-and-better-controls/&quot; rel=&quot;nofollow&quot;&gt;http://www.dslrnewsshooter.com/2012/03/02/canon-launch-5d-mkiii-headphone-jack-all-i-recording-and-better-controls/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The compression system is the same as the 1D X and supports the higher&#xA;  bitrate &lt;strong&gt;ALL-I&lt;/strong&gt; compression system alongside a more regular IPB option.&#xA;  The &lt;strong&gt;ALL-I&lt;/strong&gt; mode is supposed to offer easier editing due to it’s less&#xA;  compressed nature, whether it also offers improved quality over&#xA;  standard IPB remains to be seen.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Also, the upcoming Panasonic GH3 has &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Video Bitrate 50Mbps (72Mbps ALL-I)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Never seen this thing before...&lt;/p&gt;&#xA;" OwnerUserId="2889" OwnerDisplayName="Dmitry Pashkevich" LastActivityDate="2012-09-14T23:38:23.940" Title="What does ALL-I mode mean?" Tags="|terminology|video|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4730" PostTypeId="2" ParentId="4729" CreationDate="2012-09-14T12:34:55.183" Score="2" Body="&lt;p&gt;This will get migrated but the short answer is that ALL-I stores every frame in it's entirety, whereas other methods store a certain number of keyframes in entirety, with the other frames stored as the difference to the keyframe.&lt;/p&gt;&#xA;" OwnerUserId="6559" OwnerDisplayName="Matt Grum" LastActivityDate="2012-09-14T12:34:55.183" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="4731" PostTypeId="5" CreationDate="2012-09-15T15:05:28.263" Score="0" Body="&lt;p&gt;Questions specific to linux environment&lt;/p&gt;&#xA;" OwnerUserId="2889" LastEditorUserId="2889" LastEditDate="2012-09-16T13:14:41.123" LastActivityDate="2012-09-16T13:14:41.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4732" PostTypeId="4" CreationDate="2012-09-15T15:05:28.263" Score="0" Body="Questions specific to linux environment" OwnerUserId="2889" LastEditorUserId="2889" LastEditDate="2012-09-16T13:14:32.030" LastActivityDate="2012-09-16T13:14:32.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4733" PostTypeId="5" CreationDate="2012-09-15T15:08:32.147" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://www.blender.org/&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt; is the free open source 3D content creation suite, available for all major operating systems under the GNU General Public License.&lt;/p&gt;&#xA;" OwnerUserId="2889" LastEditorUserId="2889" LastEditDate="2012-09-16T13:14:04.493" LastActivityDate="2012-09-16T13:14:04.493" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4734" PostTypeId="4" CreationDate="2012-09-15T15:08:32.147" Score="0" Body="Blender is the free open source 3D content creation suite, available for all major operating systems under the GNU General Public License.&#xD;&#xA;Add this tag to your question if it's related with this product." OwnerUserId="2889" LastEditorUserId="2889" LastEditDate="2012-09-16T13:14:48.597" LastActivityDate="2012-09-16T13:14:48.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4741" PostTypeId="2" ParentId="4553" CreationDate="2012-09-17T08:43:03.420" Score="-3" Body="&lt;p&gt;You can try Ableton live and its wrapping feature.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To glue them together you can also use a bit of reverb and maybe some little compression.&lt;/p&gt;&#xA;" OwnerUserId="718" LastActivityDate="2012-09-17T08:43:03.420" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4745" PostTypeId="2" ParentId="3338" CreationDate="2012-09-17T15:01:07.833" Score="1" Body="&lt;p&gt;Besides Max/MSP or Pure Data, which have already been mentioned, you can look into software like Processing, which can also be used to generate visuals, I believe. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pure Data supports OSC and MIDI I believe, which makes it easy to hook up the software to input devices which you can use in your DJ sets. So you can potentially control the visuals at the same time as controlling the music or sound from your input device. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are looking to be visible yourself as a DJ rather than having people watch the videos you mix up on the screen or projection, you might want to look into MIDI controllers or OSC devices that also offer visual feedback, like the &lt;a href=&quot;http://www.percussa.com/&quot; rel=&quot;nofollow&quot;&gt;audiocubes&lt;/a&gt;. &lt;/p&gt;&#xA;" OwnerUserId="2752" LastEditorUserId="2909" LastEditDate="2012-09-20T08:45:24.427" LastActivityDate="2012-09-20T08:45:24.427" CommentCount="3" CommunityOwnedDate="2012-09-17T15:01:07.833" ContentLicense="CC BY-SA 3.0" />
  <row Id="4762" PostTypeId="2" ParentId="3835" CreationDate="2012-09-18T02:38:25.570" Score="2" Body="&lt;p&gt;Here is what I believe may help you a litte better. This I found after seeing all these, good suggestions, but not answers to your question, from Gavin Minnis over on a apple support forum.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is my recommendation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 1) Create your Keynote presentation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 2) Record your speaking part (separately) with an audio recording program. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recommend Audacity. It's a great free application. You can download Audacity from www.sorceforge.com among other places. You'll also want to get the Audacity LIB file that is needed to export your audio recording to .mp3.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) From the Keynote Inspector, under the Document tab, go to the audio section and add your new voice recording file to the Soundtrack.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) From Keynote, go to File, Record Slideshow. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;While the audio plays, click through your slides. This is getting the slide change time down.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5) From Keynote, go to File, Export. Make sure to have the following settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Playback Uses: Recorded Timing&#xA;Include audio (sound files, movie audio): NOT SELECTED&#xA;Include the slideshow soundtrack: NOT SELECTED&#xA;Include the slideshow recording: SELECTED!!!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Click next and your Keynote presentation should export to a .mov file (keep in mind, this .mov file has no audio. we'll take care of that in the last steps).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;6)Open the new .mov Keynote presentation in Quicktime Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;7) Open the original .mp3 sound file in Quicktime Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;8) Select All of the .mp3 file and then click CTRL + C to copy it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;9) Go back to the .mov Keynote file and Select All. Then go up to Edit &gt; Add to Movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This adds your sound and movie file together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;10) Finally click on File &gt; Save As. Select, Save As A Self-Contained Movie and you're done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I Hope This Helps!&lt;/p&gt;&#xA;" OwnerDisplayName="user2897" LastActivityDate="2012-09-18T02:38:25.570" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4788" PostTypeId="1" AcceptedAnswerId="4867" CreationDate="2012-09-21T13:35:51.107" Score="3" ViewCount="593" Body="&lt;p&gt;I have an issue with the &lt;strong&gt;Transform&lt;/strong&gt; | &lt;strong&gt;Auto-orient&lt;/strong&gt; option. I does work in general but at the very last keyframe the object's rotation changes apruptly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0A25j.jpg&quot; alt=&quot;Screenshot&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I avoid that? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using After Effects CS4.&lt;/p&gt;&#xA;" OwnerUserId="2915" LastEditorUserId="2569" LastEditDate="2012-10-05T14:05:53.800" LastActivityDate="2012-10-05T14:05:53.800" Title="Auto-Orient, Wrong Rotation on Last Keyframe in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4798" PostTypeId="1" AcceptedAnswerId="4808" CreationDate="2012-09-21T22:16:19.897" Score="2" ViewCount="414" Body="&lt;p&gt;I want to crop the video at some position and move the part next to the part that wasn't cropped. (See image, it explains better)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/QCJJC.png&quot; alt=&quot;example&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mzBN8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/mzBN8.png&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2918" LastEditorUserId="2569" LastEditDate="2012-10-05T14:05:03.587" LastActivityDate="2013-01-16T17:48:28.160" Title="How do I move (rearrange) the orientation of a video?" Tags="|video|editing|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4801" PostTypeId="1" AcceptedAnswerId="5029" CreationDate="2012-09-22T02:18:53.593" Score="2" ViewCount="78" Body="&lt;p&gt;I need to make a video with extrodinary dimensions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &quot;screen&quot; will have to be large enough to hold a very large amount of text and diagrams....  say 20,000 By 20,000 pixels.  The text is going to be transitioned onto the &quot;screen&quot; one word at a time - synchronized with a voice over.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm then going to take this animation and wrap it around a sphere in Maya and have a &quot;camera&quot; follow the text/diagrams as they are revealed (with a big finish where the camera zooms out and shows the text has formed word clouds in the shape of continents).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone suggest a tool or method I can use?&lt;/p&gt;&#xA;" OwnerUserId="2920" LastActivityDate="2012-11-14T21:53:45.547" Title="What tool should I use to animate text on an EXTREMELY high resolution &quot;screen&quot;?" Tags="|video|video-editor|animation-rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4808" PostTypeId="2" ParentId="4798" CreationDate="2012-09-22T16:50:24.067" Score="1" Body="&lt;p&gt;You'll need to use something different, other than VirtualDub. Sony Vegas 8+ comes to my mind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Sony Vegas you can put your video, rotate it, crop it and fit the first upper part in the left side of the video. I am assuming that you are going to use a 16:9 aspect ratio video project for this case, so you can use the left side of the canvas in order to put the first part of your video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In another row in the time line, you can add the same video, rotate it, crop it and fit the right side of the project. This way, you can put the parts of the video in whatever position, rotation, size, zoom, etc. as you wish.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suggest you to run a search on youtube with the words &quot;Sony Vegas Pan Crop Tutorial&quot; in order to find useful tricks on how to do this. I was about to suggest you some of them but they doesn't cover exactly your need. Nevertheless, learning how to pan/crop a video you can achieve this task.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="2587" LastActivityDate="2012-09-22T16:50:24.067" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4815" PostTypeId="1" CreationDate="2012-09-23T22:42:31.230" Score="4" ViewCount="459" Body="&lt;p&gt;I would like to build simple Quartz compositions that respond in real time to audio. Once I've done that, how can I record both the audio and video into a single video file for upload to youtube? I would prefer to work within Quartz Composer, iMovie and other software that is free or already included with OSX.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2014-05-10T04:29:19.997" Title="Is it possible to record audio-responsive Quartz compositions along with the audio?" Tags="|imovie|quartz-composer|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4816" PostTypeId="5" CreationDate="2012-09-23T22:46:47.200" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Quartz_Composer&quot; rel=&quot;nofollow&quot;&gt;Quartz Composer&lt;/a&gt; is a visual programming language that is included with Apple's &lt;a href=&quot;http://en.wikipedia.org/wiki/Xcode&quot; rel=&quot;nofollow&quot;&gt;Xcode&lt;/a&gt; development environment.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2012-09-24T08:24:07.317" LastActivityDate="2012-09-24T08:24:07.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4817" PostTypeId="4" CreationDate="2012-09-23T22:46:47.200" Score="0" Body="Quartz Composer is a visual programming language for processing audio and visual data." OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2012-09-24T08:24:04.133" LastActivityDate="2012-09-24T08:24:04.133" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4820" PostTypeId="1" CreationDate="2012-09-24T10:47:56.107" Score="1" ViewCount="45" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Possible Duplicate:&lt;/strong&gt;&lt;br&gt;&#xA;  &lt;a href=&quot;https://video.stackexchange.com/questions/3969/what-are-the-minimum-camera-characteristics-required-to-record-a-movie-for-cinem&quot;&gt;What are the minimum camera characteristics required to record a movie for cinema?&lt;/a&gt;  &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&#xA;&#xA;&lt;p&gt;Can one send Nikon D 3200 or Canon 550 D video to any major film festival (after Reverse Telecine conversion)? Can this video be projected on a large screen...large enough to be displayed in front of 200-300 people? I am aware about the quality of canon 5d...please let me know about the video quality of cameras mentioned (canon 550d or Nikon D 3200). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please also let me know if it's wiser to invest in a Nikon AF-S DX Nikkor 55-300 mm f/4.5-5.6G ED VR Lens; (considering i am concerned only about the video)? The 55-200 mm lens is much cheaper and i am not very sure (have not handled these lenses before) if 55-300 provides any considerable magnification over the 55-200 one. Please advise which one is significantly better considering the cost as well.     &lt;/p&gt;&#xA;" OwnerUserId="2931" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2012-10-02T15:11:15.943" Title="How good is a DSLR video?" Tags="|video|dslr|" AnswerCount="0" CommentCount="1" ClosedDate="2012-10-03T13:53:23.090" ContentLicense="CC BY-SA 3.0" />
  <row Id="4836" PostTypeId="1" CreationDate="2012-09-25T01:31:58.747" Score="3" ViewCount="1166" Body="&lt;p&gt;I have a clip which is 720p30 and plays back perfectly smoothly when opened outside of premiere. When I import the clip into premiere and play it back it looks awful: &lt;a href=&quot;https://i.stack.imgur.com/V0NZR.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/V0NZR.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I export the sequence it looks the same as in the preview (interlaced and awful).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere indicates that the clip is 1280x720 (1.0) which is correct and the sequence preset I am using is AVCHD 720p30. I have tried fiddling with interlacing settings (though none should be necessary) to no avail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a project full of different 720p clips from different sources and this is the only one that is exhibiting this behavior. The problem clip was generated by another program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea what I'm doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="2935" LastActivityDate="2014-05-23T21:00:22.520" Title="Clip quality severely degrades when imported into Premiere Pro CS5? (appears interlaced)" Tags="|video|premiere|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4844" PostTypeId="1" CreationDate="2012-09-27T12:26:59.233" Score="2" ViewCount="1359" Body="&lt;p&gt;I have searched everywhere and consulted many people yet no one seems to know how to solve this problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have created a large project in After Effects in 16:9 format:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;1280x720&lt;br&gt;&#xA;  Square Pixels&lt;br&gt;&#xA;  Frame Aspect Ratio 16:9 (1,78)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The problem is that every single time I burn any of this footage to DVD, it works perfectly on a computer, but on dvd/tv, rather than letterboxing the tops and bottoms, the sides are cut off. (Even with black bars on the sides where footage should be). The same DVDs play flawlessly on the computer. I have tried cycling through every mode available on the TV as well (4:3, 14:9, Widescreen (16:9), SuperLive, etc etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't believe it is an issue with Action/Title Safe as vertically, nothing is cut off, only the sides.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried Roxio Toast and Burn. With both, I have ensured 16:9 is enabled/checked and PAL Video DVD Format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried countless settings in my dvd burning software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've also tried putting everything into Final Cut and exporting with Compressor: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Name: MPEG-2 for DVD&lt;br&gt;&#xA;  Description: MPEG-2 elementary stream for DVD Authoring&lt;br&gt;&#xA;  File Extension: m2v&lt;br&gt;&#xA;  Estimated size: 2.25 GB/hour of source&lt;br&gt;&#xA;  Type: MPEG-2 video elementary stream&lt;br&gt;&#xA;      Usage:SD DVD&lt;br&gt;&#xA;  Video Encoder&lt;br&gt;&#xA;      Width: 720&lt;br&gt;&#xA;      Height: 576&lt;br&gt;&#xA;      Pixel aspect ratio: PAL CCIR 601 (16:9)&lt;br&gt;&#xA;      Crop: None&lt;br&gt;&#xA;      Padding: None&lt;br&gt;&#xA;      Frame rate: (100% of source)&lt;br&gt;&#xA;      Frame Controls: Automatically selected: Off&lt;br&gt;&#xA;      Start timecode from source&lt;br&gt;&#xA;      Aspect ratio: 16:9&lt;br&gt;&#xA;      Field dominance: Progressive&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In every single case, the footage plays perfectly on a computer, but the edges are noticeably cut off on a TV. Why isn't the DVD just fitting the footage to screen??&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe the issue lies in the PAR (Pixel Aspet Ratio) - but shouldn't a compressor setting that is setup SPECIFICALLY to output a format made for a 16:9 PAL DVD make it work regardless of the source footage?&lt;/p&gt;&#xA;" OwnerUserId="2940" LastEditorUserId="2940" LastEditDate="2012-09-27T12:33:11.287" LastActivityDate="2014-02-20T09:30:47.247" Title="How to export footage and burn a 16:9 PAL DVD for playback on television" Tags="|video|after-effects|final-cut-pro|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4848" PostTypeId="2" ParentId="4644" CreationDate="2012-09-27T17:25:15.150" Score="8" Body="&lt;p&gt;Just move the camera to the top of the composition. The 1st camera is the one Ae will render.&lt;/p&gt;&#xA;" OwnerUserId="2943" LastActivityDate="2012-09-27T17:25:15.150" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4850" PostTypeId="1" CreationDate="2012-09-27T22:25:35.147" Score="2" ViewCount="1411" Body="&lt;p&gt;Just set up my new Rode Podcaster and trying to figure out how to monitor both the mic and the system sound from my mac.  Using it for podcasting, so I want to be able to monitor myself and the person I'm interviewing.  The Podcaster mic includes a line out for monitoring, but it doesn't include system sound.  Conversely, jacking my headphones into the computer allows me to monitor the other person I'm speaking w/ (typically via skype) but not the mic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Help!&lt;/p&gt;&#xA;" OwnerUserId="2944" LastActivityDate="2017-04-07T21:56:58.250" Title="How to monitor system sound and mic using Rode Podcaster?" Tags="|monitoring|podcast|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4853" PostTypeId="1" CreationDate="2012-09-28T14:00:06.063" Score="1" ViewCount="1090" Body="&lt;p&gt;I am a newly retired person (40 years old). I always loved animation&#xA;and have some experience in 3D modelling (using 3Ds max). &#xA;Now after retirement I want to start my own freelance animated video &#xA;production business. However I have few questions&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Question 1: Since I do not want to get a huge team should I stick with 3D &#xA;animation or switch to 2D. Is 2D managable for small team of two? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Question 2: Is it possible for 1 or 2 men team to develop 2D anmations&#xA;at their own since I do not want to start a large company just me and&#xA;may be one more person. I had plans to have a 3D animation company but&#xA;3D animation is a very long process and takes lot of time so I have&#xA;settled for 2D. Is making a 1 or 2 minute 2D aniamtion for a single person&#xA;/ month possible (please assume what ever you have to to answer this)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Question 3: My objecctive is making 500-1000$ / month since I have my pension&#xA;how long it will take me to reach this goal in freelance business if i&#xA;work full time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I understand that all the above questions are very subjective&#xA;and need lot and lot of other information but please assume what all you &#xA;have to OR just give your own experience.&#xA;My style in 2D animation I assume will be cartoon / series creation &#xA;promotional vidoes.&lt;/p&gt;&#xA;" OwnerUserId="2946" LastEditorUserId="2938" LastEditDate="2012-10-01T21:59:16.680" LastActivityDate="2023-09-09T18:48:25.740" Title="Want to Start 2D 3D Animation Studio" Tags="|animation-rendering|workflow|3d|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4861" PostTypeId="1" CreationDate="2012-09-29T01:42:37.677" Score="-1" ViewCount="59" Body="&lt;p&gt;I have a 75.7 GB avi file that when viewed only plays ~ 2 seconds of video and then quits.  How can I correct this issue?&lt;/p&gt;&#xA;" OwnerUserId="2949" LastActivityDate="2012-10-01T07:13:17.497" Title="Video file playback issue" Tags="|video-editor|file-formats|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4866" PostTypeId="1" AcceptedAnswerId="4902" CreationDate="2012-09-30T18:56:41.170" Score="1" ViewCount="3479" Body="&lt;p&gt;I tried searching for freeware on Google which can do this. But I have not been able to find a software which clearly mentions &lt;code&gt;fade in&lt;/code&gt; or &lt;code&gt;fade out&lt;/code&gt; in its specifications.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wanted to have a scene with music in the background. At &lt;code&gt;fade out&lt;/code&gt; both the music and the video should fade out (or grow darker to be &lt;/p&gt;&#xA;" OwnerUserId="2953" LastEditorUserId="2938" LastEditDate="2012-10-01T07:03:18.847" LastActivityDate="2021-02-23T08:34:28.937" Title="How can I add fade in and fade out effects to a video?" Tags="|video|video-editor|software-recommendation|freeware|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4867" PostTypeId="2" ParentId="4788" CreationDate="2012-09-30T21:07:52.520" Score="1" Body="&lt;p&gt;I found the issue. The rotation was caused by an expression I used to loop the animation&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;loopOut(&quot;cycle&quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="2915" LastActivityDate="2012-09-30T21:07:52.520" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4869" PostTypeId="5" CreationDate="2012-10-01T01:42:35.357" Score="0" Body="&lt;p&gt;Audio has the meaning of being &quot;related to sound.&quot; This broad topic can be subdivided into &lt;a href=&quot;http://en.wikipedia.org/wiki/Audio_signal&quot; rel=&quot;nofollow&quot;&gt;audio signals&lt;/a&gt;, which are electronic representations of sound, and &lt;a href=&quot;http://en.wikipedia.org/wiki/Acoustics&quot; rel=&quot;nofollow&quot;&gt;acoustics&lt;/a&gt;, which deals with the mechanical transfer of sound waves through air.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the context of this site, audio generally refers to the &lt;a href=&quot;http://avp.stackexchange.com/tags/audio-recording/info&quot;&gt;recording&lt;/a&gt;, manipulation, or reproduction of acoustical signals. This includes both professional and hobbiest recording, different tools and techniques related to the manipulation of audio signals, or equipment and layout for accurate reproduction of sound.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Examples of questions that would warrant the &lt;code&gt;audio&lt;/code&gt; tag:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a noticeable difference between [mic x] and [mic y]?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How loud should my mix be before mastering? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How should I place my studio monitors to get the most accurate stereo mix spectrum?&lt;/p&gt;&#xA;" OwnerUserId="2938" LastEditorUserId="2569" LastEditDate="2012-10-05T15:01:52.053" LastActivityDate="2012-10-05T15:01:52.053" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4870" PostTypeId="4" CreationDate="2012-10-01T01:42:35.357" Score="0" Body="Audio refers broadly to the information, be it acoustic or electronic, entering, traversing, or exiting some medium.  " OwnerUserId="2938" LastEditorUserId="2569" LastEditDate="2012-10-05T15:00:51.803" LastActivityDate="2012-10-05T15:00:51.803" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4871" PostTypeId="5" CreationDate="2012-10-01T02:00:54.717" Score="0" Body="&lt;p&gt;Live can be used to refer to audio, video, or both, that is consumed at the same time (or after a slight delay) that the original subject is being created. Examples of this are concerts, live broadcasts, and some streamed podcasts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Live audio and video production usually has a much different set of requirements than does &lt;a href=&quot;http://avp.stackexchange.com/tags/studio/info&quot;&gt;studio production&lt;/a&gt; of the same material. &lt;a href=&quot;http://avp.stackexchange.com/tags/gear/info&quot;&gt;Gear&lt;/a&gt; used in live performances must be reliable, low impact, and usually durable, as to provide the least impediment to the performance as possible. Techniques often have a focus on minimize problems rather than providing the highest quality reproduction available. &lt;/p&gt;&#xA;" OwnerUserId="2938" LastEditorUserId="2938" LastEditDate="2012-10-01T09:24:42.563" LastActivityDate="2012-10-01T09:24:42.563" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4872" PostTypeId="4" CreationDate="2012-10-01T02:00:54.717" Score="0" Body="Live refers to the manipulation and consumption of a subject in real time without significant delay, as opposed to playback after it has been recorded." OwnerUserId="2938" LastEditorUserId="2938" LastEditDate="2012-10-01T09:25:23.157" LastActivityDate="2012-10-01T09:25:23.157" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4873" PostTypeId="5" CreationDate="2012-10-01T02:10:02.713" Score="0" Body="&lt;p&gt;Gear is a broad term which is used to incorporate any and all equipment used in video production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: Differences between similar pieces of gear and which piece of gear is best for a particular application are often hotly debated topics among professionals in the field of  video production, so there may not always exist a definite answer. Please keep this in mind when forming your questions.&lt;/p&gt;&#xA;" OwnerUserId="2938" LastEditorUserId="2836" LastEditDate="2014-02-11T18:50:39.637" LastActivityDate="2014-02-11T18:50:39.637" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4874" PostTypeId="4" CreationDate="2012-10-01T02:10:02.713" Score="0" Body="Gear is a general, somewhat slang, term used to refer to any and all equipment used in video production." OwnerUserId="2938" LastEditorUserId="2836" LastEditDate="2014-02-11T18:50:39.637" LastActivityDate="2014-02-11T18:50:39.637" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4875" PostTypeId="5" CreationDate="2012-10-01T02:43:02.450" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-01T02:43:02.450" LastActivityDate="2012-10-01T02:43:02.450" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4876" PostTypeId="4" CreationDate="2012-10-01T02:43:02.450" Score="0" Body="Plugins are extensible software components designed to work within another piece of software.  They typically add functionality or processing options to the built-in features of the software." OwnerUserId="2938" LastEditorUserId="2569" LastEditDate="2013-02-13T17:52:17.973" LastActivityDate="2013-02-13T17:52:17.973" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4877" PostTypeId="5" CreationDate="2012-10-01T03:00:48.080" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-01T03:00:48.080" LastActivityDate="2012-10-01T03:00:48.080" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4878" PostTypeId="4" CreationDate="2012-10-01T03:00:48.080" Score="0" Body="The recommendation tag is used for requests as to which piece of gear or what technique would best fit a particular situation." OwnerUserId="2938" LastEditorUserId="2938" LastEditDate="2012-10-01T09:25:07.993" LastActivityDate="2012-10-01T09:25:07.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4879" PostTypeId="5" CreationDate="2012-10-01T03:02:40.247" Score="0" Body="&lt;p&gt;Windows is a family of graphical interface operating systems for server, client and mobile platforms, developed by Microsoft.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Windows 8, the successor to Windows 7, has finished its development, and will be released to the market on 26 October 2012. Windows 8 has been designed to be used on both tablets and the conventional PC Resources.&lt;/p&gt;&#xA;" OwnerUserId="2938" LastEditorUserId="2938" LastEditDate="2012-10-01T09:25:10.257" LastActivityDate="2012-10-01T09:25:10.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4880" PostTypeId="4" CreationDate="2012-10-01T03:02:40.247" Score="0" Body="Windows is a family of client, server, and mobile operating systems, developed by Microsoft." OwnerUserId="2938" LastEditorUserId="2938" LastEditDate="2012-10-01T09:25:02.113" LastActivityDate="2012-10-01T09:25:02.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4882" PostTypeId="2" ParentId="4866" CreationDate="2012-10-01T06:21:21.207" Score="1" Body="&lt;p&gt;Without looking into this in too much detail:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://ffmpeg.org/&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt; lists a &lt;a href=&quot;http://ffmpeg.org/trac/ffmpeg/wiki/FilteringGuide&quot; rel=&quot;nofollow&quot;&gt;fade filter&lt;/a&gt; which fades in/out video. You might be able to use this in conjunction with the volume change filter to effectively fade in and our the audio/video.&lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2012-10-01T06:21:21.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4883" PostTypeId="2" ParentId="4861" CreationDate="2012-10-01T07:13:17.497" Score="1" Body="&lt;p&gt;I can't make any comments on why playback stops after only 2 seconds because you haven't given us much information about what operating system you are working with, what you you are attempting to use to play the video back, etc. When we know that we can give a much more detailed answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I'd like to make a suggestion that you may be running into problems with the max file size for whatever system you are working with. Especially if your hard drive is formatted in FAT32, you will be unable to work with files that are 4GB or larger.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://neuron2.net/LVG/filesize.html&quot; rel=&quot;nofollow&quot;&gt;This article&lt;/a&gt; has some good information on the upper bounds of AVI file sizes. From it's suggestions, I recommend finding a tool which will allow you to divide your file into smaller (&amp;lt; 4GB) segments, which will in turn also make them much more manageable for editing or storage.&lt;/p&gt;&#xA;" OwnerUserId="2938" LastActivityDate="2012-10-01T07:13:17.497" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4886" PostTypeId="5" CreationDate="2012-10-01T17:20:53.783" Score="0" Body="&lt;p&gt;Vocals are any sound produced by the throat, and can including speaking, singing, screaming, shouting, whispering, grunting, screeching, squealing, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Vocals are usually classified by their intended effect, speaking and singing being the most common. Others may be more common in other genres. Some vocal sounds may be undesirable in one genre, where as they will be common or popular in another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Vocals can also be labeled as &lt;strong&gt;male&lt;/strong&gt; or &lt;strong&gt;female&lt;/strong&gt;, which is used as a rough label for gauging the frequency range and tonal characteristics of the voice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Singing vocals may be further categorized by &lt;a href=&quot;http://en.wikipedia.org/wiki/Vocal_range&quot; rel=&quot;nofollow&quot;&gt;range&lt;/a&gt;, which gives even more information about their sonic content. The following are the most common, keeping in mind that C4 is middle C.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Female:&lt;/strong&gt; &lt;br /&gt;&#xA;Soprano: C4 - C6 &lt;br /&gt;&#xA;Alto: G3 - F5&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Male:&lt;/strong&gt; &lt;br /&gt;&#xA;Tenor: C3 - C5 &lt;br /&gt;&#xA;Baritone: F2 - F4 &lt;br /&gt;&#xA;Bass: E2 - E4&lt;/p&gt;&#xA;" OwnerUserId="2938" LastEditorUserId="2938" LastEditDate="2012-10-01T17:25:11.657" LastActivityDate="2012-10-01T17:25:11.657" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4887" PostTypeId="4" CreationDate="2012-10-01T17:20:53.783" Score="0" Body="Vocal refers to the voice, and more broadly any sounds produced by the throat." OwnerUserId="2938" LastEditorUserId="2938" LastEditDate="2012-10-01T17:25:16.867" LastActivityDate="2012-10-01T17:25:16.867" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4888" PostTypeId="5" CreationDate="2012-10-01T18:06:46.630" Score="0" Body="&lt;p&gt;Cables are generally two or more pieces of wire used to transmit signal from one device to another. Cables are generally classified by &lt;a href=&quot;http://en.wikipedia.org/wiki/American_wire_gauge&quot; rel=&quot;nofollow&quot;&gt;gauge&lt;/a&gt; when referring just to the wire, or to the connectors at either end of the cable, also sometimes known as &quot;heads&quot; or &quot;ends.&quot; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are several common types of connectors used in audio and video, and this is by no means a comprehensive list. The most commonly used are:&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Audio&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1/4&quot; or TRS (Tip-Ring-Sleeve)&lt;/strong&gt; - &lt;a href=&quot;http://en.wikipedia.org/wiki/TRS_connector&quot; rel=&quot;nofollow&quot;&gt;TRS&lt;/a&gt; can be &lt;a href=&quot;http://en.wikipedia.org/wiki/Balanced_audio&quot; rel=&quot;nofollow&quot;&gt;balanced&lt;/a&gt; or unbalanced, and is often used for high impedance signals such as guitars, keyboards, studio headphones, and some outboard gear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1/8&quot; or 3.5mm&lt;/strong&gt; - Another type of TRS cable, these are most commonly known for their use in consumer headphones and earbuds. There are also some instruments which output to this size connector. Generally found in more budget audio applications.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;XLR&lt;/strong&gt; - &lt;a href=&quot;http://en.wikipedia.org/wiki/XLR_connector&quot; rel=&quot;nofollow&quot;&gt;XLR cables&lt;/a&gt; are three pin connector most often associated with microphones, which is why cables of this type are often called &quot;Mic cables.&quot; This connector is low impedence, and is also used in direct boxes and outboard gear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Speakon&lt;/strong&gt; - &lt;a href=&quot;http://en.wikipedia.org/wiki/Speakon_connector&quot; rel=&quot;nofollow&quot;&gt;Speakon cables&lt;/a&gt; are mostly commonly used for larger live rigs, and are designed to connect speakers to more powerful amplifiers both safely and securely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;RCA&lt;/strong&gt; - &lt;a href=&quot;http://en.wikipedia.org/wiki/Rca_cable&quot; rel=&quot;nofollow&quot;&gt;RCA cables&lt;/a&gt; are the small red, white, and yellow cables often found on television sets. In audio, they are most often used for auxiliary stereo inputs on mixers or other similar devices.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Video&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;*Please update this section if you are familiar with common cables used in video production.&lt;/p&gt;&#xA;" OwnerUserId="2938" LastEditorUserId="2938" LastEditDate="2012-10-01T20:05:24.670" LastActivityDate="2012-10-01T20:05:24.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4889" PostTypeId="4" CreationDate="2012-10-01T18:06:46.630" Score="0" Body="Cables are lengths of wire or optical fiber used to transfer signal over distances" OwnerUserId="2938" LastEditorUserId="2938" LastEditDate="2012-10-01T20:05:36.260" LastActivityDate="2012-10-01T20:05:36.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4894" PostTypeId="2" ParentId="4629" CreationDate="2012-10-02T03:11:35.177" Score="6" Body="&lt;p&gt;Just select all the keyframes you want reducing and use the built-in plugin called 'smoother' which will convert your set of baked keyframes back into a bezier curve.&lt;/p&gt;&#xA;" OwnerUserId="2962" LastEditorUserId="4426" LastEditDate="2022-11-14T10:02:45.777" LastActivityDate="2022-11-14T10:02:45.777" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="4895" PostTypeId="1" CreationDate="2012-10-02T10:50:58.027" Score="7" ViewCount="87061" Body="&lt;p&gt;I need to change an .mp4 (h264, AAC-Audio) to an exactly same .m4v. Can I just rename it from &quot;X.mp4&quot; to &quot;X.m4v&quot;? By renaming, I mean clicking on it in Finder (Mac) or Explorer (Win) and renaming it.&lt;/p&gt;&#xA;" OwnerUserId="2963" LastEditorUserId="617" LastEditDate="2012-10-02T21:57:03.147" LastActivityDate="2019-06-12T15:01:06.883" Title="Can I manually change an .mp4 to .m4v by changing the extension in the Finder (mac) or explorer (win)?" Tags="|mac|mp4|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4896" PostTypeId="1" CreationDate="2012-10-01T06:27:22.123" Score="4" ViewCount="4789" Body="&lt;p&gt;Having worked with GoPro cameras for a few years, I had originally ignored the &lt;a href=&quot;http://gopro.com/3d-cineform-studio-software-download/&quot; rel=&quot;nofollow&quot;&gt;GoPro CineForm Studio&lt;/a&gt; software. Probably out of the usual disregard for packaged software, but also due to it being marketed for a while at the 3D users. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've added it to my workflow lately at it performs better (somehow) on my Macbook Pro for simple preview/rename/sort operations than VLC does for my tastes. I have tried using the conversion batch processing also, but I was wondering what use turning a 271 MB source MP4 file into a 2 GB MOV file is? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using FCP X as my NLE, which has recently even replaced Lightroom/Quicktime for timelapses, and I'm curious if there's a point to the conversion workflow for this environment? There's a &lt;a href=&quot;http://www.youtube.com/watch?v=Te3fCWsA5GE&amp;amp;feature=colike&quot; rel=&quot;nofollow&quot;&gt;YouTube video&lt;/a&gt; by GoPro themselves that doesn't explain this, and they seem to be ignoring user comments asking similar questions. &lt;/p&gt;&#xA;" OwnerUserId="2968" OwnerDisplayName="ddri" LastEditorUserId="636" LastEditDate="2020-07-12T20:31:34.953" LastActivityDate="2020-07-12T20:31:34.953" Title="Advantage of converting GoPro video files with GoPro CineForm?" Tags="|video|gopro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4897" PostTypeId="2" ParentId="4896" CreationDate="2012-10-01T08:15:10.123" Score="2" Body="&lt;p&gt;The &lt;a href=&quot;http://gopro.com/wp-content/uploads/2012/02/GoPro-CineForm-Studio-Manual-01.pdf&quot; rel=&quot;nofollow&quot;&gt;GoPro CineForm Studio Manual&lt;/a&gt; sums up the advantage as being primarily one of unpacking the compressed and native MP4 file that the device records to. It also introduces metadata, allowing the user to adjust elements of the video such as the contrast or scaling. As these are metadata elements, you can continue to adjust these on the fly, while the media is being edited in your video editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://gopro.com/wp-content/uploads/2012/02/GoPro-CineForm-Studio-Manual-01.pdf&quot; rel=&quot;nofollow&quot;&gt;Read the guide here.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure if this will replace the conforming process I use importing media into Final Cut Pro X, but it's a great addition to the workflow as I look more into open source editing tools.&lt;/p&gt;&#xA;" OwnerUserId="2968" OwnerDisplayName="ddri" LastActivityDate="2012-10-01T08:15:10.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4899" PostTypeId="2" ParentId="4895" CreationDate="2012-10-02T17:24:08.263" Score="3" Body="&lt;p&gt;&lt;strong&gt;Yes&lt;/strong&gt;, this simple conversion should work fine. Both files are technically mp4 files anyways.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Notably, certain older Apple products, like older versions of appleTV for example, require it to be in m4v format so &lt;strong&gt;don't forget to switch it back if you're switching between a Mac and a PC if you are using older mac products.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By default, m4v files will always open in iTunes vs other programs.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="6709" LastEditDate="2019-06-12T15:01:06.883" LastActivityDate="2019-06-12T15:01:06.883" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="4900" PostTypeId="2" ParentId="4895" CreationDate="2012-10-02T18:02:18.820" Score="3" Body="&lt;p&gt;Be aware that you are not changing anything. If I call you Bob, you are still Jac and even then you are probably posting under a different name. If you have software that naively trusts the filename instead of examining the actual binary headers of the file, this can work for you. If the actual format or encoding is wrong then no name change will fix that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is possible that some embedded systems do rely on the filename to filter a list of possible files and provide no way get around the default filters. Renaming the file can be your solution.&lt;/p&gt;&#xA;" OwnerUserId="399" LastActivityDate="2012-10-02T18:02:18.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4902" PostTypeId="2" ParentId="4866" CreationDate="2012-10-02T23:59:36.673" Score="3" Body="&lt;p&gt;Windows Live Movie Maker is a free app that can do both audio and video fades (both in and out).  You probably already have this application installed on your computer, and if you need further help I would imagine you can find a number of YouTube tutorial videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you import your video, click on the Edit tab and you'll see the audio fades immediately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, click on the Visual Effects tab, and click the down arrow at the right of the single row of effects to expand these.  Scroll down to &quot;Motion and Fades&quot;.  In this group you'll find what you're looking for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't already have WLMM on your computer, there are a jillion places where you can download it.  Incidentally, the latest version is called &quot;Windows Movie Maker 2012&quot;, for Windows 7 and 8, so you'll want to look for that unless you're still running Vista or XP.&lt;/p&gt;&#xA;" OwnerUserId="2966" LastEditorUserId="2966" LastEditDate="2012-10-03T00:20:00.160" LastActivityDate="2012-10-03T00:20:00.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4903" PostTypeId="1" CreationDate="2012-10-03T02:17:02.683" Score="4" ViewCount="1505" Body="&lt;p&gt;I'm creating narrated mp4 (x264+aac) videos for books. Each video has just the book's cover as the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wonder what would be the most effective way to create such videos with ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried using framerate of 1fps and that created small videos, but there were problems seeking in the video, and some video playing libraries for web browsers got confused with such videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you have any recommendations for creating small mp4 videos with just 1 static frame?&lt;/p&gt;&#xA;" OwnerUserId="2967" LastEditorUserId="2967" LastEditDate="2012-10-03T02:25:53.860" LastActivityDate="2013-02-24T13:38:49.260" Title="How to create a x264 (mp4) video with the smallest size using ffmpeg that has just 1 image through entire video?" Tags="|ffmpeg|mp4|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4904" PostTypeId="1" CreationDate="2012-10-03T03:00:49.473" Score="7" ViewCount="20406" Body="&lt;p&gt;I have a mpeg4 video at 25fps. This video contains just one static frame. I'm trying to downsample the frame rate to 1fps and convert the video to x246 (mp4).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I ran the following ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i vid.avi -acodec aac -ar 32000 -ab 64k -ac 2 \&#xA;-vcodec libx264 -strict -2 -y -r 1 -force_key_frames 0 vid.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;FFmpeg then drops a lot of frames until it inserts the first keyframe. Sometimes image appears only after 16 or 20 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I gather ffmpeg doesn't insert a keyframe at very beginning.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know how could I take the first frame of vid.avi and use it as the key frame for vid.mp4?&lt;/p&gt;&#xA;" OwnerUserId="2967" LastEditorUserId="1530" LastEditDate="2012-11-29T23:10:47.343" LastActivityDate="2019-03-24T14:14:14.507" Title="How to force ffmpeg to insert keyframe at first frame when downsampling a framerate of a video with x264 vcodec" Tags="|ffmpeg|mp4|transcoding|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="4912" PostTypeId="1" CreationDate="2012-10-04T10:44:50.200" Score="5" ViewCount="8500" Body="&lt;p&gt;I have an mp4 using h264 that i'm using in the background of a website. It has to blend in with the background image. I've already created ogv and webm videos for firefox and chrome and these work fine but the mp4 for safari doesn't blend properly. The only difference i see in the files is that the ogv, webm and original mov are all in sRGB color space, but the mp4 is in SDTV NTSC Y'CbCr. I've tried lots of different exporters but the mp4 is always in this colorspace. How do i get the mp4 in sRGB colorspace?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;adam&lt;/p&gt;&#xA;" OwnerUserId="2976" LastActivityDate="2021-07-02T13:38:18.170" Title="Possible to use sRGB as mp4 colorspace?" Tags="|mp4|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4913" PostTypeId="1" AcceptedAnswerId="4954" CreationDate="2012-10-04T16:42:01.063" Score="5" ViewCount="11830" Body="&lt;p&gt;I produced a video which will include subtitles. The movie is edited in Premiere Pro and (currently) rendered to a .mov file. I've created subtitles with Aegisub which creates a .ass file in order to keep the existing font- and position settings. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anyway in which I can merge the .mov and the subtitles together? I've tried many different programs but none of them seems working. The only one that worked a bit was SubMerge but that ignored the font-settings and positions of the subtitles.&lt;/p&gt;&#xA;" OwnerUserId="2955" LastActivityDate="2014-12-31T07:40:01.300" Title="Merge .ass-subtitles into movie" Tags="|subtitles|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4918" PostTypeId="1" CreationDate="2012-10-05T10:25:29.887" Score="5" ViewCount="6083" Body="&lt;p&gt;We are looking at broadcasting a live 'roundtable discussion' between 4 or 5 people. We are after either a service which would allow us to stream from all of these 4 people into a single channel. Note that none of the participants would be in the same geographical location.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In a perfect world, it would work like streaming a Google+ Hangout to however many thousand people we have watching the overall stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video needs to be private, so we cannot use something like Hangouts on Air because this will be listed publicly. We don't need encryption or anything like that, just it cannot be publicly advertised somewhere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would also be very good to simply get an RTMP stream from a Wowza/FMS server so that we can play it back through a player such as JW Player or FlowPlayer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions or ideas?&lt;/p&gt;&#xA;" OwnerUserId="2980" LastEditorUserId="2980" LastEditDate="2012-10-09T17:12:28.333" LastActivityDate="2012-10-10T06:27:11.337" Title="How can I stream to a single channel, from multiple geographical locations?" Tags="|streaming|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4924" PostTypeId="5" CreationDate="2012-10-05T15:15:57.253" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-05T15:15:57.253" LastActivityDate="2012-10-05T15:15:57.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4925" PostTypeId="4" CreationDate="2012-10-05T15:15:57.253" Score="0" Body="The use of identifying patterns in video to reduce the required data rate required to create a video stream." OwnerUserId="2569" LastEditorUserId="2836" LastEditDate="2014-02-07T21:36:28.913" LastActivityDate="2014-02-07T21:36:28.913" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4926" PostTypeId="1" AcceptedAnswerId="4991" CreationDate="2012-10-05T15:58:48.053" Score="2" ViewCount="2906" Body="&lt;p&gt;Today I recorded presentation I gave to my development team, part of this recording was screencast. Right after I finished, screen capturing tool that I used collapsed and I was left with &lt;a href=&quot;http://yadi.sk/d/pv2PMVjc02Los&quot; rel=&quot;nofollow&quot;&gt;corrupted .MOV file (160Mb)&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is header:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;0000000      0000    1400    7466    7079    7471    2020    0000    0000&#xA;0000020      7471    2020    0000    0800    6977    6564    0000    0000&#xA;0000040      646d    7461    2021    4003    1c68    4e21    3bff    785a&#xA;0000060      d8ac    c326    6d06    bf0e    5c5d    0010    0000    2000&#xA;0000100      4c45    9987    9691    8948    9b15    dbfd    000e    0000&#xA;0000120      c700    c774    7541    a2c6    3fd5    8a92    7880    677d&#xA;0000140      ed57    87ff    b783    00ae    7dfc    7e6f    78f0    fbfe&#xA;0000160      0678    6839    eefb    230f    8ca7    0100    2387    977e&#xA;0000200      a44f    61e5    f5d5    073e    1d2f    88b7    0400    4bd7&#xA;0000220      0e3d    ef59    faef    d1f3    808d    6f00    dd67    1d37&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is it corrupted?&#xA;Is there any way to play such file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can not recapture my talk so I really hope you could help me.&lt;/p&gt;&#xA;" OwnerUserId="2983" LastEditorUserId="2983" LastEditDate="2012-10-05T20:41:10.983" LastActivityDate="2012-10-12T11:08:03.600" Title="Is there any way to play corrupted .MOV video file" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4927" PostTypeId="2" ParentId="4918" CreationDate="2012-10-05T16:13:15.620" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.google.com/+/learnmore/hangouts/onair.html&quot; rel=&quot;nofollow&quot;&gt;Hangouts On Air&lt;/a&gt; will allow you to stream your G+ Hangouts to Youtube. This should allow you to reach as large an audience as you wish.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2012-10-05T16:13:15.620" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="4928" PostTypeId="5" CreationDate="2012-10-05T17:30:44.293" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-05T17:30:44.293" LastActivityDate="2012-10-05T17:30:44.293" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4929" PostTypeId="4" CreationDate="2012-10-05T17:30:44.293" Score="0" Body="On this site, can refer to any of the various physical devices used in the production of video.  (In contrast to software)" OwnerUserId="2569" LastEditorUserId="2836" LastEditDate="2014-02-07T21:26:09.243" LastActivityDate="2014-02-07T21:26:09.243" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4930" PostTypeId="5" CreationDate="2012-10-05T18:30:00.867" Score="0" Body="&lt;p&gt;The excerpt is pulled from the answer at &lt;a href=&quot;http://avp.stackexchange.com/q/99/2569&quot;&gt;What&amp;#39;s the difference between an Engineer and a Producer?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2012-10-07T00:37:36.760" LastActivityDate="2012-10-07T00:37:36.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4931" PostTypeId="4" CreationDate="2012-10-05T18:30:00.867" Score="0" Body="The producer is kind of like a project manager. His job is to get all the individuals - actors, cameramen, engineers, scriptwriters, etc - to each do their part to achieve the overall goal." OwnerUserId="2569" LastEditorUserId="2836" LastEditDate="2014-02-07T21:37:40.370" LastActivityDate="2014-02-07T21:37:40.370" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4932" PostTypeId="2" ParentId="2344" CreationDate="2012-10-05T19:02:08.923" Score="1" Body="&lt;p&gt;&lt;strong&gt;What you are asking is extremely difficult without some very expensive and complex software and video studio equipment.&lt;/strong&gt; I learned some techniques in After Effects that were supposed to make an enlarged video look better (certain blurs and sharpeners, deinterlacing, etc) but I was NEVER satisfied with the results. Every technique made the enlarged version blurry or grainy. &lt;strong&gt;These techniques I just mentioned do improve the quality somewhat, but does not magically or vastly improve the quality like what everybody expects expects (not saying you do but in general).&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's would be easier for you just to &lt;strong&gt;stream from Youtube Live since it can be set to automatically record and upload your stream&lt;/strong&gt; once its completed. &lt;strong&gt;It does so in HD or at least matches the quality of the stream.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I also find Youtubes general stream quality to be much better than LiveStream's.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Here is the official Youtube user guide on how to setup live streams.&lt;/strong&gt; The guide little lengthy but it explains all the steps quite thoroughly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://support.google.com/youtube/bin/static.py?hl=en&amp;amp;page=guide.cs&amp;amp;guide=2474025&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;http://support.google.com/youtube/bin/static.py?hl=en&amp;amp;page=guide.cs&amp;amp;guide=2474025&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Notice Step 1, Part 8 with information about recording the live stream.&lt;/strong&gt; Just remember that if your live stream is going to go over 4 hours, which in my opinion is tremendously long, you cannot use the recording feature. &lt;strong&gt;If this is one of the rare events or streams that would go over that time limit&lt;/strong&gt; (maybe a huge concert or music festival) &lt;strong&gt;then a solution would be to have an &quot;intermission&quot; where you stop streaming at 3 hours and 50 minutes just to be safe.&lt;/strong&gt; Then have a nice 10 minute break to do whatever you want!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One important thing to note when recording live streams with Youtube is that &lt;strong&gt;you can't edit the recorded stream once it exceeds two hours.&lt;/strong&gt; This is kind of lame but I understand why it was necessary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, &lt;strong&gt;it would be a good idea to record a local copy using an HD screen and audio recorder.&lt;/strong&gt; In this answer &lt;strong&gt;I listed a few popular examples of &lt;a href=&quot;https://video.stackexchange.com/questions/3148/is-there-a-decent-computer-based-multiple-video-stream-capture-solution-out-the/4933#4933&quot;&gt;screen recording software&lt;/a&gt;.&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2012-10-09T16:01:35.500" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4933" PostTypeId="2" ParentId="3148" CreationDate="2012-10-05T19:09:54.173" Score="1" Body="&lt;p&gt;&lt;strong&gt;You could just record the entire screen or at least the portion that shows the stream with a program designed to do just that.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One really popular one &lt;strong&gt;for Mac&lt;/strong&gt; is &lt;a href=&quot;http://www.shinywhitebox.com/ishowu-hd/&quot; rel=&quot;nofollow&quot;&gt;iShowU HD&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One really popular one &lt;strong&gt;for PC&lt;/strong&gt; is &lt;a href=&quot;http://camstudio.org/&quot; rel=&quot;nofollow&quot;&gt;CamStudio&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CamStudio is free while iShowU HD isn't. &lt;strong&gt;A free one for Mac&lt;/strong&gt; that is pretty good is &lt;a href=&quot;http://www.techsmith.com/jing.html&quot; rel=&quot;nofollow&quot;&gt;Jing&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-10-09T16:00:22.937" LastActivityDate="2012-10-09T16:00:22.937" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4934" PostTypeId="5" CreationDate="2012-10-05T19:10:19.930" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-05T19:10:19.930" LastActivityDate="2012-10-05T19:10:19.930" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4935" PostTypeId="4" CreationDate="2012-10-05T19:10:19.930" Score="0" Body="Reason is an integrated music recording and production studio, with instruments, effects and mixing tools for writing, recording, and remixing." OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2012-10-06T12:29:11.363" LastActivityDate="2012-10-06T12:29:11.363" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4938" PostTypeId="5" CreationDate="2012-10-05T22:52:27.700" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-05T22:52:27.700" LastActivityDate="2012-10-05T22:52:27.700" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4939" PostTypeId="4" CreationDate="2012-10-05T22:52:27.700" Score="0" Body="A device used to capture still images." OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2012-10-06T12:29:03.203" LastActivityDate="2012-10-06T12:29:03.203" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4940" PostTypeId="5" CreationDate="2012-10-05T22:54:13.203" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-05T22:54:13.203" LastActivityDate="2012-10-05T22:54:13.203" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4941" PostTypeId="4" CreationDate="2012-10-05T22:54:13.203" Score="0" Body="An audio codec employing lossy compression, used for many consumer audio storage and playback devices." OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2012-10-06T12:29:38.290" LastActivityDate="2012-10-06T12:29:38.290" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4942" PostTypeId="1" AcceptedAnswerId="7072" CreationDate="2012-10-06T00:20:22.627" Score="5" ViewCount="81018" Body="&lt;p&gt;&lt;em&gt;I make a 30 second recording using a webcam on a laptop. When I play the .avi file afterwards, the audio and video are out of step. The sound starts arriving about a second after it should do and gets increasingly delayed.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Why is this?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whilst I am making the recording, I can see the video that is being captured being displayed on the laptop monitor. I can actually get lip synch if I  s-p-e-a-k  l-i-k-e  t-h-i-s. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I clap my hands at the start of the video. When I watch the video afterwards, the sounId is delayed by about a second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The audio track continues for about ten or so seconds after the video component has finished. (A still image remains in the video player while the voice continues.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can fix this problem after the recording (laboriously), but I want to have the recording work properly in the first place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The webcam is a BisonCam NB Pro integrated into the laptop. It is a 2 Megapixel camera that can record at 15 fps. The CPU is an Intel dual core T4200. The machine has 4GB of RAM. I am saving the recording to a file on a ramdisk, so I don't think the hard drive is the problem. I am using BisonCap to record, the software that came with the computer. I have set recording for 15 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help!&lt;/p&gt;&#xA;" OwnerUserId="2984" LastActivityDate="2020-09-13T16:21:40.467" Title="Why is Audio and Video out of Sync during recording?" Tags="|video|digital-recording|live|hardware|" AnswerCount="7" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="4945" PostTypeId="1" CreationDate="2012-10-07T02:36:00.520" Score="6" ViewCount="1803" Body="&lt;p&gt;I'm making mp4 (libx264 + aac) videos that have just one static image throughout the whole video. It's basically a narrated text with a nice background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question I've is how could I speed up encoding of such videos? Currently the videos are encoding at 50fps which is very, very slow. I can only encode 2000 videos on a single computer in one day.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any particular settings I could specify to ffmpeg or lib264 library to suggest that there is no motion, and it's just a single image that has to b&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For comparison, I was doing .avi (divx + mp3) videos before I moved to mp4, and I was able to encode 6000 - 8000 videos per day.&lt;/p&gt;&#xA;" OwnerUserId="2967" LastEditorUserId="2569" LastEditDate="2012-10-08T12:50:54.327" LastActivityDate="2013-01-25T22:04:11.587" Title="How do I speedup encoding of a video that has just 1 static frame with ffmpeg and lib264 library?" Tags="|video|ffmpeg|encoding|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4946" PostTypeId="5" CreationDate="2012-10-07T04:17:43.710" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-07T04:17:43.710" LastActivityDate="2012-10-07T04:17:43.710" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4947" PostTypeId="4" CreationDate="2012-10-07T04:17:43.710" Score="0" Body="Alteration after recording.  Cutting, moving, or otherwise adjusting the various aspects of video." OwnerUserId="2569" LastEditorUserId="2836" LastEditDate="2014-02-07T21:24:50.237" LastActivityDate="2014-02-07T21:24:50.237" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4949" PostTypeId="2" ParentId="4680" CreationDate="2012-10-08T06:20:22.517" Score="1" Body="&lt;p&gt;DSLRs don't have decent auto-focus that can be engaged during video recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The proper way to work with a DSLR when shooting video is to plan your focus in advance of your shot. If you need to move the focus point during the shot, then your preparation will include setting up all the focus points in your shot, marking the position of each in the focus ring and finally during the shot operating the focus ring with your free hand.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Setting focus while you are in live view but not recording is possible, and this actually works really well. For this you should use the Quick AF-mode. In this mode the camera suspends the live view for a second or two and enables the fast AF that is used in picture mode. As soon as focus is achieved the live view is restored. After you set the Quick AF mode you trigger the auto-focus by pressing the AF-on button on the back if your camera. The AF modes that do not stop the live view are inaccurate and slow, the Quick AF mode is the only mode that really makes sense.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing you need to consider is that to reduce the need for changing focus so much during a shot you can shoot with a larger depth of field. To increase the depth of field you basically have to reduce the aperture (i.e. larger f numbers). To be able to reduce the aperture you need to (a) add more light, or (b) increase the ISO, (c) lower the shutter speed, or (d) a combination of more than one of the above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="1898" LastActivityDate="2012-10-08T06:20:22.517" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4952" PostTypeId="1" CreationDate="2012-10-08T19:20:41.293" Score="2" ViewCount="656" Body="&lt;p&gt;I'm having an issue capturing video on our Final Cut Pro (version 6.0.6) edit system when pulling in video from our MiniDV tape deck (via Firewire, linked via an Ethernet &quot;extender&quot;). We seem to get a few different timecode errors. We had normally captured video using Log and Capture, setting &lt;em&gt;in&lt;/em&gt; and &lt;em&gt;out&lt;/em&gt; points and then clicking Capture &lt;strong&gt;Clip&lt;/strong&gt;, but a few weeks back that resulted in getting an error (I believe that there was not sufficient pre/post-roll space, even though there surely was) and the tape being reset to about &lt;code&gt;00:02:00&lt;/code&gt; (2 minutes) in the deck, regardless of set positions. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Our workaround to this situation was to revert to &quot;Capture &lt;strong&gt;Now&lt;/strong&gt;&quot; from the Log and Capture window. We line up near our starting point, click &lt;em&gt;Play&lt;/em&gt; and then hit Capture Now. This has seemed to worked decently (other than you have to monitor to the clip to see when it's over and hit &lt;code&gt;&amp;lt;Escape&amp;gt;&lt;/code&gt; to back out), but it does, nearly all the time display this error message:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/YAt0C.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This hasn't normally caused much in the way of issues (all of our videos are pretty much a single weather forecast clip with a pre-recorded open and close that we put together and then render as a final video), though I have at least one report of a clip &quot;jumping&quot; at some point that might be related.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, we &lt;em&gt;must&lt;/em&gt; hit play before hitting Capture Now or else we get the following screen, which never results in anything productive:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/FT2BW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It certainly appears that there's some sort of timecode errors going on somewhere, but I have no idea how to go about fixing these. In case it's necessary, the tape deck is a &lt;strong&gt;Panasonic AG-DV2000P&lt;/strong&gt; that we purchased earlier this year. Any thoughts on a potential solution to our timecode woes?&lt;/p&gt;&#xA;" OwnerUserId="2988" LastEditorUserId="2569" LastEditDate="2012-10-09T14:34:03.947" LastActivityDate="2014-06-03T20:26:08.493" Title="Resolving timecode errors when capturing in FCP from MiniDV tape deck" Tags="|final-cut-pro|timecode|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4954" PostTypeId="2" ParentId="4913" CreationDate="2012-10-09T15:13:08.343" Score="1" Body="&lt;p&gt;&lt;strong&gt;Will refer to Premiere Pro as PP and After Effects as AE from here on:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Here is a solution which requires AE&lt;/strong&gt; that &lt;em&gt;I think&lt;/em&gt; works but can't test it because my demo of PP and AE has finished. Luckily for you, &lt;strong&gt;they have trials for many products including AE which you &lt;a href=&quot;http://www.adobe.com/cfusion/tdrc/index.cfm?product=designweb_premium&quot; rel=&quot;nofollow&quot;&gt;can download from their site&lt;/a&gt;.&lt;/strong&gt; I contacted a friend of mine who works as a video editor about this and he mentioned something that sounded a lot like this method, but without the conversion I will mention. At least I'm pretty sure since some of what he said went over my head.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyways, he initially said that &lt;strong&gt;.ass files are not compatible with Premiere Pro.&lt;/strong&gt; Luckily though he pointed out that &lt;strong&gt;you can easily convert .ass files into .srt files, which can be imported into PP (CS4 and above).&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://sub-converter.hostei.com/&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;Here is a website that does this for free&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is where he began to loose me, but mentioned using the analyze content feature to make sure the content roughly matches up with the video. The video below will explain more and clarified stuff for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.youtube.com/watch?v=4LAnZPDUOiI&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;Here is the video explaining how to do this and how to automate the process&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-10-09T17:10:43.167" LastActivityDate="2012-10-09T17:10:43.167" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4955" PostTypeId="2" ParentId="4942" CreationDate="2012-10-09T15:49:03.240" Score="1" Body="&lt;p&gt;There are quality settings for both the audio and video recording.  Have you checked out the video capture settings?  Maybe some adjustment here would get the audio and video back in sync.&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/R5zbB.jpg&quot; alt=&quot;Video Stream Format Properties&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;The picture is from &lt;a href=&quot;http://support.dell.com/support/topics/global.aspx/support/kcs/document?c=us&amp;amp;cs=04&amp;amp;docid=116999&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; Dell support site.  May be some more useful info there.&lt;/p&gt;&#xA;&lt;p&gt;Also, just in general (sorry if it's obvious) are you sure your drivers for the webcam are up to date?&lt;/p&gt;&#xA;" OwnerUserId="2569" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2012-10-09T15:49:03.240" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4957" PostTypeId="2" ParentId="2344" CreationDate="2012-10-09T17:04:10.693" Score="1" Body="&lt;p&gt;This question doesn't really make sense as it is now--the quality of your YouTube videos should have nothing to do with livestreaming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your camera takes good video to begin with and the videos look fine on YouTube, then the problem with livestreaming is going to be the upload bandwidth of your internet connection. If you don't have the bandwidth, the stream has to be highly compressed, and will look pixelated (block-y) as a result.&lt;/p&gt;&#xA;" OwnerUserId="617" LastActivityDate="2012-10-09T17:04:10.693" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4958" PostTypeId="5" CreationDate="2012-10-09T18:53:13.840" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-09T18:53:13.840" LastActivityDate="2012-10-09T18:53:13.840" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4959" PostTypeId="4" CreationDate="2012-10-09T18:53:13.840" Score="0" Body="Mixing in real time for a live audience.  Topics may include venue acoustics, feedback, speaker delay/placement, micing, gear use/selection, etc." OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2012-10-09T21:22:49.223" LastActivityDate="2012-10-09T21:22:49.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4960" PostTypeId="5" CreationDate="2012-10-09T18:58:09.157" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-09T18:58:09.157" LastActivityDate="2012-10-09T18:58:09.157" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4961" PostTypeId="4" CreationDate="2012-10-09T18:58:09.157" Score="0" Body="                     " OwnerUserId="2569" LastEditorUserId="2836" LastEditDate="2014-02-14T00:35:57.113" LastActivityDate="2014-02-14T00:35:57.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4962" PostTypeId="5" CreationDate="2012-10-09T19:11:45.773" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-09T19:11:45.773" LastActivityDate="2012-10-09T19:11:45.773" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4963" PostTypeId="4" CreationDate="2012-10-09T19:11:45.773" Score="0" Body="(S/PDIF) An acronym for Sony/Phillips Digital Interconnect Format (aka Sony/Phillips Digital Interface).  Carries either PCM 2-channel or compressed multi-channel surround.  Cabling can be either a coaxial copper with an RCA connector, or a optical fiber with a TOSLINK connector." OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2012-10-09T21:22:39.707" LastActivityDate="2012-10-09T21:22:39.707" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4967" PostTypeId="2" ParentId="4918" CreationDate="2012-10-10T06:27:11.337" Score="0" Body="&lt;p&gt;What you're asking for is pretty common in TV circles (think CNN interviews with 3x people in different places, arguing with themselves and a host) - they use satellites and lots of expensive gear...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How tech savvy are the people on the other end? If you have staff who can assist, set up Wirecast on each computer and have each remote computer hooked up to a camera (for best quality, get a camera with HDMI output and a Blackmagic Intensity card) and just publish a simple RTMP stream from their computer directly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, on your end, get a 4x computers to receive a stream each (or a computer with 4x monitor outputs), plug each computer into another computer, running Wirecast, with Blackmagic Decklink Quad card (with DVI/HDMI to SDI adaptors) and use Wirecast to receive each stream and live mix the streams as appropriate (like a sports broadcast for example) inside a single 720p or whatever frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can then publish the single feed from Wirecast to any number of services (Livesteream for example) that won't list your video publicly, then set up a 2nd RTMP stream on a more robust connection, just for those in the chat can hear &amp;amp; see the other people they're talking with (using a 3rd party like Livestream adds a fair bit of latency, will make for a shitty conversation).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does that make sense? I can draw a diagram if you need me to, hah.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This really depends on your budget and level of tech knowledge at each remote site. You could use Skype at full screen, instead of Wirecast, but it won't be as good quality (but fuckloads easier if you have nobody on the other end - just tell the people participating in the chat to load Skype, that's it, you do the rest)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An even easier option is just to make a Skype conference call, make it full screen, output it to two mirrored monitors - one for you to watch locally, one for output to second computer running Wirecast. Then just set up the Wirecast computer to broadcast to a stream location of your choice for everyone to view.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a bit long winded, so if you have any points you need clarified, ask :)&lt;/p&gt;&#xA;" OwnerUserId="1725" LastActivityDate="2012-10-10T06:27:11.337" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4968" PostTypeId="2" ParentId="3108" CreationDate="2012-10-10T11:58:24.030" Score="1" Body="&lt;p&gt;You can buy some adhesives that will dim the led light for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, &lt;a href=&quot;http://www.thinkgeek.com/product/eeb6/?srp=15&quot; rel=&quot;nofollow&quot;&gt;ThinkGeek&lt;/a&gt; has a set that will just dim the led and another set that will completly black-out it.&lt;/p&gt;&#xA;" OwnerUserId="2304" LastActivityDate="2012-10-10T11:58:24.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4969" PostTypeId="2" ParentId="4926" CreationDate="2012-10-10T22:27:47.063" Score="1" Body="&lt;p&gt;Trying using a program called VLC, a lot of times it will play corrupt video clips but it may crash/and or stop playing around corrupt portion&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-10-10T22:27:47.063" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="4970" PostTypeId="2" ParentId="4952" CreationDate="2012-10-10T22:34:02.047" Score="1" Body="&lt;p&gt;Go into your capture settings and first try non VTR controllable device and if that does not work, there is a check box I believe for warn if there is dropped frames uncheck that, there may be another for stop capture if there is dropped frames, uncheck this as well&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-10-10T22:34:02.047" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4971" PostTypeId="2" ParentId="2932" CreationDate="2012-10-10T23:15:39.260" Score="-2" Body="&lt;p&gt;You cannot do anything, from what I understand they have added xml support so you may be able to import an xml from fcp7 but why, fcpx is awful, stay in fcp7&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-10-10T23:15:39.260" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="4973" PostTypeId="1" AcceptedAnswerId="4996" CreationDate="2012-10-11T05:45:46.280" Score="3" ViewCount="79" Body="&lt;p&gt;I've been using Premiere Pro since CS5 and am now using CS6. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have always had this odd bug where, if at any point while using Premiere Pro I switched to any other application on my computer (Mac 10.8), coming back to Premiere would result in the playback function not working anywhere and the audio not playing, even while scrubbing. The only way to fix it is to restart the app. I am able to save and everything, so the app isn't completely crashed, only playback functions are affected. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can adjust the playhead, but hitting the play button only turns it into a stop button, no playback occurs, and pressing the stop button has no effect whatsoever. And as previously stated, audio doesn't play anytime, not even while scrubbing over the footage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have never heard of this bug anywhere in all of my searching. Does anyone know what might be causing this?&lt;/p&gt;&#xA;" OwnerUserId="2738" LastActivityDate="2012-10-18T13:00:44.693" Title="Focusing away from Premiere causes playback crash" Tags="|premiere|mac|playback|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="4977" PostTypeId="1" AcceptedAnswerId="5149" CreationDate="2012-10-11T12:27:13.863" Score="3" ViewCount="5155" Body="&lt;p&gt;I need to capture a video stream from a web cam and then show it non-stop with a delay of 30 seconds or more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A server side linux software would be the best but a Windows GUI application will be ok as well.&lt;/p&gt;&#xA;" OwnerUserId="2435" LastEditorUserId="2178" LastEditDate="2012-10-23T09:56:42.310" LastActivityDate="2019-09-19T01:53:25.657" Title="Video stream with delay" Tags="|video|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="4982" PostTypeId="1" CreationDate="2012-10-11T20:25:51.500" Score="1" ViewCount="756" Body="&lt;p&gt;A while ago I recorded a video with a friend which I didn't examine or watch until today. Upon opening it, I realized that the whole 15 minute video session had somehow only saved four seconds. We didn't click out of Photo Booth (like into the desktop or anything app), nor did we accidentally exit or force quit the app, all of which seem to be the most &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have already figured out a solution to how to fix this problem and my real problem is that I &lt;strong&gt;really&lt;/strong&gt; want this video. This video is quite dear to me as my friend in it is taking a turn for the worst and I have since moved to a different state. There is no way that I can possible rerecord this video &lt;strong&gt;:(&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if the video is corrupted or not since it plays just fine, but is way too short. &lt;strong&gt;Can this be fixed?&lt;/strong&gt; Possibly something in the encoding of the video to extend the length of the video? Is that even how it works? I know mov files are packages so maybe there is something restricting the length? The size is larger than I would expect a 4 second video to be which makes me hope what I just mentioned is possible.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastActivityDate="2012-10-11T20:25:51.500" Title="video recorded with Mac's Photo Booth doesn't match session length. Can this be fixed?" Tags="|video|video-editor|mac|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="4985" PostTypeId="1" CreationDate="2012-10-11T21:19:28.920" Score="2" ViewCount="4715" Body="&lt;p&gt;I'm not exactly sure what it is called, which is why I can't find answers anywhere. It is the grey box that envelopes the text, I think it is called a &quot;Bounding Box&quot;. It is not needed at all in anything that I do. I have presets that I have saved and use them for everything, no reason to tweak them at all, and all they do is obstruct the text I am editing. How do I disable these [&quot;Bounding boxes&quot;]?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/TSGtj.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="2997" LastActivityDate="2013-12-21T21:18:25.067" Title="Removing [&quot;Bounding box&quot;] in Sony Vegas" Tags="|vegas-pro|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="4988" PostTypeId="2" ParentId="3964" CreationDate="2012-10-12T08:37:49.267" Score="2" Body="&lt;p&gt;Try to convert your video into ProRes422. I guess the video codec of your source material is using some sort of compression, that After Effects is having problems with and is loosing sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On OSX ProRes422 comes with Quicktime or can be downloaded as a &lt;a href=&quot;http://support.apple.com/downloads/Apple_ProRes_QuickTime_Decoder_1_0_for_Mac&quot; rel=&quot;nofollow&quot;&gt;free Update for Quicktime&lt;/a&gt;. But if you only have a Win7 computer to work with, you can use FFMPEG: it &lt;a href=&quot;http://transcoding.wordpress.com/2012/01/29/prores-ffmpeg/&quot; rel=&quot;nofollow&quot;&gt;supports ProRes422&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3001" LastActivityDate="2012-10-12T08:37:49.267" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4990" PostTypeId="2" ParentId="2932" CreationDate="2012-10-12T08:58:07.130" Score="1" Body="&lt;p&gt;I haven't used it but &quot;7toX&quot; can import FCP7 projects into FCP X:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://itunes.apple.com/us/app/7tox-for-final-cut-pro/id496926258?mt=12&quot; rel=&quot;nofollow&quot;&gt;https://itunes.apple.com/us/app/7tox-for-final-cut-pro/id496926258?mt=12&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3001" LastActivityDate="2012-10-12T08:58:07.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4991" PostTypeId="2" ParentId="4926" CreationDate="2012-10-12T11:08:03.600" Score="0" Body="&lt;p&gt;Found tiny tools called &lt;a href=&quot;http://slydiman.narod.ru/rus/mmedia/recover_mp4.htm&quot; rel=&quot;nofollow&quot;&gt;recover_mp4&lt;/a&gt; , emailed it's author who modified it to conform my case. iShowYou suppor has not answer me yet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also cool online tool called &lt;a href=&quot;http://mp4repair.org/pwt6/preview.html&quot; rel=&quot;nofollow&quot;&gt;mp4repair&lt;/a&gt; that is frontend to video repair service. &lt;/p&gt;&#xA;" OwnerUserId="2983" LastActivityDate="2012-10-12T11:08:03.600" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4992" PostTypeId="2" ParentId="3421" CreationDate="2012-10-12T12:22:04.943" Score="4" Body="&lt;p&gt;Firewire is better for video, because firewire is a more sophisticated interface. Firewire provides for device to device communication, DMA transfers and other performance features that USB does not. Therefore Firewire does not rely on the host computer's CPU. USB does not provide DMA transfers. All data on the USB bus must be managed by the CPU loading it down and potentially slowing the databus if the CPU is busy with other tasks. Since Firewire can keep transferring data without assistance from the CPU, it's better suited for continuous data streams, such as video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Firewire does have a downside. Firewire interfaces are more sophisticated and therefore more costly. Firewire devices cost more. Firewire computer interfaces cost more. USB trades off performance and flexibility for low cost.&lt;/p&gt;&#xA;" OwnerUserId="3002" LastActivityDate="2012-10-12T12:22:04.943" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4993" PostTypeId="1" CreationDate="2012-10-12T18:43:12.667" Score="1" ViewCount="2648" Body="&lt;p&gt;I need to add closed captioning to a short video that will be broadcast on our cable TV system.  The cable system will accept MPEG-2, QuickTime MOV, or AVI/DV formats.  This is in the United States, and I'm guessing that we will need both &lt;a href=&quot;http://en.wikipedia.org/wiki/EIA-608&quot; rel=&quot;nofollow&quot;&gt;EIA-608&lt;/a&gt; and &lt;a href=&quot;http://en.wikipedia.org/wiki/CEA-708&quot; rel=&quot;nofollow&quot;&gt;CEA-708&lt;/a&gt; formats.  Because I am not actually producing the video itself, and I don't have it yet, I don't know whether it will be in a standard-definition or high-definition format.  I am presuming the latter, but information on either could be helpful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What software (preferably free and/or open-source) can help with this task?  I have tried Google, and I have tried skimming the documentation of some of the packages out there (e.g., Kdenlive) to no avail.  I can use Linux or Windows software for sure, and I can probably find someone with OS X if needed.&lt;/p&gt;&#xA;" OwnerUserId="3005" LastActivityDate="2012-10-14T11:21:11.283" Title="How to add closed captioning to MPEG-2, QuickTime MOV, or AVI/DV for cable broadcast?" Tags="|editing|quicktime|broadcasting|mpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4994" PostTypeId="1" AcceptedAnswerId="4995" CreationDate="2012-10-12T21:23:53.313" Score="2" ViewCount="1699" Body="&lt;p&gt;How can a video be converted to black and white color. It should not have any shades of gray color. Only two colors - black and white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are many options to convert colored video to grayscale - which will have various shades of black. But I want video to only contain two colors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any source where such videos can be found?&lt;/p&gt;&#xA;" OwnerUserId="3006" LastActivityDate="2012-10-13T12:35:47.300" Title="how to convert a video to black and white color without any shades" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4995" PostTypeId="2" ParentId="4994" CreationDate="2012-10-12T21:56:52.683" Score="4" Body="&lt;p&gt;I'm only familiar with Vegas Pro, but I think many NLEs will do the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Begin by applying the desaturate effect or the 100% black and white effect. Then engage the Brightness and contrast effect, adjust the contrast until you have only black and white, you may need to toy with the brightness as well but not much.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-10-12T21:56:52.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="4996" PostTypeId="2" ParentId="4973" CreationDate="2012-10-13T00:01:18.137" Score="2" Body="&lt;p&gt;1st, make sure you don't have any equipment or 3rd party programs that interfere with the audio on your computer because, more often than not, it is a problem with that instead of the audio on the computer itself. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/4677/sound-stopped-in-ableton-live-after-3rd-party-program-hear-was-installed&quot;&gt;I actually asked a similar question&lt;/a&gt; (which is specific to your question) about a third party program messing with Ableton (same as with Premiere).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/4773/do-audio-interfaces-output-sounds-from-my-computer-or-only-from-the-input-device/4777#4777&quot;&gt;I also answered a similar question (that got accepted)&lt;/a&gt; that covers a lot of things about different audio drivers and sound and the tendencies of both.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you have Hear installed, make sure to remove the leftover plugin located in Macintosh HD/Library/Audio/Plug-Ins even if you followed the correct steps to uninstall the app.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2012-10-18T13:00:44.693" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="4997" PostTypeId="2" ParentId="3858" CreationDate="2012-10-13T03:20:09.313" Score="1" Body="&lt;p&gt;A phantom tech is someone who basically operates the high speed camera.  Everything from initial set up to shooting to transfer of footage.  The camera itself is quite complex, so it requires a little bit of knowledge, and tons of experience as it really is nothing like any other camera, with that said, the footage is incredible&lt;/p&gt;&#xA;" OwnerUserId="3009" LastEditorUserId="126" LastEditDate="2012-10-18T18:10:13.877" LastActivityDate="2012-10-18T18:10:13.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5001" PostTypeId="2" ParentId="4994" CreationDate="2012-10-13T12:35:47.300" Score="3" Body="&lt;p&gt;Depending on which editor / effects SW you're using, you may find this as an existing effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have to do it yourself, first desaturate -- convert to greyscale. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you then simply increase the contrast until only pure black and white remain, you may be disappointed in the result, because video generally has a low-ish APL (average picture level), so most of the image will turn black as it's stretched to the two extremes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To counteract this, first (or simultaneously) increase the gamma of the image, to raise the APL into a centered range. Only then max out the contrast. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Playing with your actual images is the only way to know where the knobs should be turned, but it's important to know what knobs there are and what they do.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2012-10-13T12:35:47.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5009" PostTypeId="1" CreationDate="2012-10-14T09:55:03.573" Score="1" ViewCount="87" Body="&lt;p&gt;newbie here,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to remove some segments of an MP4 video I have. Which easy to use tool would you recommend. Preferably free.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Windows.&lt;/p&gt;&#xA;" OwnerUserId="3014" LastEditorUserId="3014" LastEditDate="2012-10-17T08:28:58.713" LastActivityDate="2012-10-17T08:28:58.713" Title="Tool to clip segments of a video" Tags="|video|software|editing|video-editor|software-recommendation|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5010" PostTypeId="2" ParentId="5009" CreationDate="2012-10-14T10:53:41.647" Score="2" Body="&lt;p&gt;You can always try this one for example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.dvdvideomedia.com/video-cutter-joiner/video-cutter-joiner.html&quot; rel=&quot;nofollow&quot;&gt;http://www.dvdvideomedia.com/video-cutter-joiner/video-cutter-joiner.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But as will all &quot;free&quot; software, be aware during installation if you need to opt-in or out of any added software, tool-bars and so forth.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2012-10-14T10:53:41.647" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5011" PostTypeId="2" ParentId="4993" CreationDate="2012-10-14T11:15:45.533" Score="1" Body="&lt;p&gt;You could check out these links to see if they provide what you need:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.theneitherworld.com/mcpoodle/SCC_TOOLS/DOCS/SCC_TOOLS.HTML&quot; rel=&quot;nofollow&quot;&gt;http://www.theneitherworld.com/mcpoodle/SCC_TOOLS/DOCS/SCC_TOOLS.HTML&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Caption Maker Pro:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.cpcweb.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.cpcweb.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And of course Scenarist and Encore, although both are DVD oriented you should be able to produce at least MPEG-2 with closed captions embedded:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.rovicorp.com/products/distribution/content-production-tools/scenarist-bd.htm&quot; rel=&quot;nofollow&quot; title=&quot;Sonic Scenarist&quot;&gt;http://www.rovicorp.com/products/distribution/content-production-tools/scenarist-bd.htm&lt;/a&gt;&#xA;&lt;a href=&quot;http://www.adobe.com/products/encore.html&quot; rel=&quot;nofollow&quot; title=&quot;Adobe Encore&quot;&gt;http://www.adobe.com/products/encore.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Closed-captioning support&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Import line 21 files to add closed captions to your DVDs (NTSC titles&#xA;  only).&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerDisplayName="user2995" LastEditorDisplayName="user2995" LastEditDate="2012-10-14T11:21:11.283" LastActivityDate="2012-10-14T11:21:11.283" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5014" PostTypeId="1" CreationDate="2012-10-14T15:51:00.903" Score="4" ViewCount="19418" Body="&lt;p&gt;I have two long video clips on two different tracks in my timelines, both starting at the same time, and I would like to alternate between them (see a bit of track 1, then a bit of track 2, then track 1...).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way I can think of for now is to cut the track with the greatest number when I want to show the one below, but then I loose some data and it gets hard to change my edit points.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any standard way of doing that (for instance make the track with the greatest number transparent...)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="3017" LastActivityDate="2012-10-14T23:16:04.410" Title="How to alternate between two video clips in Premiere Pro CS6" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5015" PostTypeId="2" ParentId="5014" CreationDate="2012-10-14T16:29:08.970" Score="1" Body="&lt;p&gt;I'm not sure I have the whole picture, but one way would be to add a third layer that acts as an external luma keyer -- when it's black, the top track will show, when it's white the bottom track shows. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make a continuous black track the length of your clip pair, then just overlay white during the portions you want to switch to the other track. Easy to alter, and no chance of the clips getting out of sync.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2012-10-14T16:29:08.970" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5016" PostTypeId="2" ParentId="4550" CreationDate="2012-10-14T17:07:48.447" Score="2" Body="&lt;p&gt;Apparently its a problem with Premiere pro Cs6 that haven't been updated or fixed as yet there are 3 ways that might help you resolve your work;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Install an earlier version of premiere pro like 4 - 5 depending what version fits what you do......(DO NOT UPDATE!!!)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Convert all your videos to mp4 720 or 1080, what every quality your working with. Might be a bit time consuming but it works.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Import the ENTIRE CARD, very important, all the files from your card to your pc/mac, the metadata should be located somewhere in a folder within the card, it's not on the .mts file.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Method 3. has been reported to work so try it and let me know.&#xA;installing new codecs wont work.&lt;/p&gt;&#xA;" OwnerDisplayName="user3020" LastActivityDate="2012-10-14T17:07:48.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5017" PostTypeId="2" ParentId="5014" CreationDate="2012-10-14T23:16:04.410" Score="5" Body="&lt;p&gt;You can use the multi-camera feature in Premier to achieve this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From Adobe's &lt;a href=&quot;http://helpx.adobe.com/premiere-pro/using/editing-multi-camera-sequences.html&quot; rel=&quot;nofollow&quot;&gt;page&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;To easily synchronize footage from all cameras, make sure each camera&#xA;  records a sync point using a clapper slate or other technique. Keep&#xA;  each camera recording to maintain synchronization. After you capture&#xA;  the footage in Premiere Pro, use the following workflow to edit the&#xA;  footage:&lt;/p&gt;&#xA;  &#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;Add clips from multiple cameras to a sequence.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;Stack the clips from each camera on separate tracks of a sequence.&#xA;  (See Add clips for multi-camera editing.)&lt;/p&gt;&#xA;  &#xA;  &lt;ol start=&quot;2&quot;&gt;&#xA;  &lt;li&gt;Synchronize the clips in the sequence.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;Mark the sync point with numbered clip markers, or reassign the sync&#xA;  point for each camera to a specific timecode. (See Synchronize clips.)&lt;/p&gt;&#xA;  &#xA;  &lt;ol start=&quot;3&quot;&gt;&#xA;  &lt;li&gt;Create the multi-camera target sequence.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;The final edits are made in a target sequence. You create the target&#xA;  sequence by nesting the sequence of synchronized clips into a new&#xA;  sequence. Then you enable the clip in the target sequence for&#xA;  multi-camera editing. (See Create a multi-camera target sequence.)&lt;/p&gt;&#xA;  &#xA;  &lt;ol start=&quot;4&quot;&gt;&#xA;  &lt;li&gt;Record the multi-camera edits.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;In the Multi-Camera Monitor, you can view the footage of all four&#xA;  cameras simultaneously and switch between cameras to choose footage&#xA;  for the final sequence. (See Record multi-camera edits.)&lt;/p&gt;&#xA;  &#xA;  &lt;ol start=&quot;5&quot;&gt;&#xA;  &lt;li&gt;Adjust and refine edits.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;You can rerecord the final sequence and substitute clips with footage&#xA;  from one of the other cameras. You can also edit the sequence like any&#xA;  other sequence—using the standard editing tools and techniques, adding&#xA;  effects, or compositing using multiple tracks. (See Rerecord&#xA;  multi-camera edits and Adjust multi-camera edits in a Timeline panel.)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If you like it more visually explained, take a look at this video:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/C8M-Ez9r58Q?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2012-10-14T23:16:04.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5020" PostTypeId="1" AcceptedAnswerId="5026" CreationDate="2012-10-15T14:22:00.707" Score="7" ViewCount="4573" Body="&lt;p&gt;I am very new to a/v editing and need to automate a simple process. Basically what I need is a way for my mom to capture video from her camera and input a series of numbers like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;1:02 1:30&#xA;1:55 2:34&#xA;3:10 10:00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;then the software to process the full video, cut out only the sequences specified by these time signatures and mix everything into one file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am a software developer by trade so ideally that would be some software that has a scripting language which I can learn and make a script in. I can semi-automate the process up to the point where it needs to cut out the desired sequences. I would do it myself for her but we don't live in the same town.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that no special editing is required, only cutting out sequences and stitching them together. I have googled around after &quot;adobe premiere automation&quot; and similar but found nothing. I am sort of familiar with AP, but it can be any other software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If all else fails I would have to use some sort of desktop automation, but I would rather avoid this.&lt;/p&gt;&#xA;" OwnerUserId="3027" LastActivityDate="2022-01-12T19:04:55.263" Title="Software for video cut automation / scripting" Tags="|video|editing|premiere|software-recommendation|automation|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5021" PostTypeId="1" CreationDate="2012-10-15T04:20:23.233" Score="0" ViewCount="76" Body="&lt;p&gt;So my friend wants to hear the west coast announcers during the playoffs - while watching the game on tv. Problem is that the tv broadcast is delayed a few seconds. Does anyone know of a work around? I have computers, recorders, att u-verse and an am radio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could run the am broadcast through something and delay it to match the game somehow. Ideas?&lt;/p&gt;&#xA;" OwnerDisplayName="Elizabeth" LastEditorUserId="2569" LastEditDate="2012-10-15T16:59:05.110" LastActivityDate="2012-10-15T16:59:05.110" Title="Trying to help a west coast fan in an east coast world" Tags="|software-recommendation|broadcasting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5022" PostTypeId="2" ParentId="5020" CreationDate="2012-10-15T15:16:59.267" Score="2" Body="&lt;p&gt;I'm sure Virtual Dub &lt;a href=&quot;http://virtualdub.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;http://virtualdub.sourceforge.net/&lt;/a&gt; can do what you want, though there may be simpler scripted cutters out there. Before investing too much time in the script, be sure VD can handle the particular codec(s) you'll be using.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2012-10-15T15:16:59.267" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5023" PostTypeId="2" ParentId="5021" CreationDate="2012-10-15T15:23:20.817" Score="2" Body="&lt;p&gt;&quot;I have computers, recorders, att u-verse and an am radio&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then there's nothing you can't accomplish! (-:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Google shows plenty of examples. This was the first hit for &quot;audio delay software free&quot;: &lt;a href=&quot;http://www.fountainware.com/Products/AudioDelay/index.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.fountainware.com/Products/AudioDelay/index.htm&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2012-10-15T15:23:20.817" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5024" PostTypeId="2" ParentId="5020" CreationDate="2012-10-15T15:53:49.807" Score="2" Body="&lt;p&gt;Take a look at Sony Vegas Pro. It supports scripting automation based on .NET (C#).&#xA;There are third-party extensions like &lt;a href=&quot;http://vegasaur.com&quot; rel=&quot;nofollow&quot;&gt;Vegasaur&lt;/a&gt;, which contains a lot of scripts and tools.&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2012-10-15T15:53:49.807" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5026" PostTypeId="2" ParentId="5020" CreationDate="2012-10-15T18:32:27.800" Score="3" Body="&lt;p&gt;You can also try to use &lt;a href=&quot;http://www.avidemux.org&quot; rel=&quot;nofollow&quot;&gt;Avidemux&lt;/a&gt; -- its free and open source program + you can use it on Windows, Linux and Mac.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the &lt;a href=&quot;http://www.avidemux.org/admWiki/doku.php&quot; rel=&quot;nofollow&quot;&gt;documentation wiki on Avidemux&lt;/a&gt;, where you can find section &quot;&lt;a href=&quot;http://www.avidemux.org/admWiki/doku.php?id=tutorial%3ascripting_tutorial&quot; rel=&quot;nofollow&quot;&gt;Scripting&lt;/a&gt;&quot;: &lt;/p&gt;&#xA;" OwnerUserId="3031" LastEditorUserId="2569" LastEditDate="2012-10-16T08:14:02.877" LastActivityDate="2012-10-16T08:14:02.877" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5029" PostTypeId="2" ParentId="4801" CreationDate="2012-10-15T21:20:01.420" Score="1" Body="&lt;p&gt;After effects, and while your at it, just do the whole thing in After effects, by the time this renders out, and then bring it into maya, apply camera animation, and render it out, you could have made 20 with AE&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-10-15T21:20:01.420" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5030" PostTypeId="2" ParentId="3612" CreationDate="2012-10-15T21:25:19.760" Score="3" Body="&lt;p&gt;Use Mpeg Streamclip, its an industry used conversion software that is reliable and fast, and free&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-10-15T21:25:19.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5031" PostTypeId="2" ParentId="3326" CreationDate="2012-10-15T21:29:03.047" Score="2" Body="&lt;p&gt;Do a complete offline edit, it you want the quickest editing, use something like DV NTSC Quicktimes and edit on the fly, it will be SD but you never see the difference, then online to the original by replaceing footage back to your H.264...btw play around with your settings in Premiere and do some tutorials, there shouldnt be a reason an H264 file does not play on that system with those specs.  Transcoded is needed to play 5D or 7D footage within FCP but not within Premiere&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-10-15T21:29:03.047" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5032" PostTypeId="2" ParentId="3295" CreationDate="2012-10-15T21:31:26.243" Score="1" Body="&lt;p&gt;There is no way of accessing the rest of the FCP program while capturing, because your computer is allocating all of the 2.5GB of Ram to capturing to prevent a smooth capture and no dropped frames, since FCP is software based and not hardware based this is not possible.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-10-15T21:31:26.243" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5033" PostTypeId="2" ParentId="3053" CreationDate="2012-10-15T21:33:56.393" Score="1" Body="&lt;p&gt;Depends on what your end goal is, Sony Vegas is nice but VERY outdated, youd be better off spending the extra money on Premiere&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-10-15T21:33:56.393" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5040" PostTypeId="1" CreationDate="2012-10-16T12:57:49.097" Score="2" ViewCount="4412" Body="&lt;p&gt;I'm performing some tests with the chroma key, I already noticed that blue screen will not perform well for me (the subject is often in black, which doesn't match well with blue), so I got a green screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I managed to light it quite correctly with some cheap work lights and managed to have a pretty good result with a few minutes playing with the Sony Vegas 11 chroma key effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is that it is not absolutely perfect because of the lighting and I find that the chroma key effect is lacking some options. I'd love to have the kind of options I can get with the Secundary color corrector effect (with this one, I was able to replace my first blue screen with a flashy green ! But the same imperfections are still there).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I read somewhere that one should not select one color but a range, but I couldn't find how to do that in Vegas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is : what can I do to improve the quality of the chroma keyer match, in term of effects or settings, in Sony Vegas (not considering the lighting, I'm already working on getting better lights, but I guess there will always be some imperfections that I want to be able to deal with).&#xA;Is there any other plugins (free or reasonably priced) that have more options for the keyer ?&lt;/p&gt;&#xA;" OwnerUserId="28" LastActivityDate="2014-01-02T18:31:38.133" Title="Improve chroma key effect in Sony Vegas" Tags="|lighting|vegas-pro|chromakey|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5041" PostTypeId="5" CreationDate="2012-10-16T13:27:27.837" Score="0" Body="&lt;p&gt;The term Ableton generally refers to any of the programs in the Ableton Live Suite. They are all loop-based software music sequencers and DAWs for OS X and Windows. The most recent release is version 8.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-10-16T16:19:17.637" LastActivityDate="2012-10-16T16:19:17.637" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5042" PostTypeId="4" CreationDate="2012-10-16T13:27:27.837" Score="0" Body="Ableton AG is a Berlin-based music software company that produces and distributes the production and performance suite Ableton Live and a collection of related instruments and sample libraries." OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-10-16T16:20:02.970" LastActivityDate="2012-10-16T16:20:02.970" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5043" PostTypeId="5" CreationDate="2012-10-16T13:36:41.917" Score="0" Body="&lt;h1&gt;About&lt;/h1&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yY7ih.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yY7ih.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Adobe_After_Effects&quot; rel=&quot;nofollow noreferrer&quot;&gt;After Effects&lt;/a&gt; is a digital motion graphics and compositing software published by Adobe Systems. It is used in the post-production process of film and television production.&lt;/p&gt;&#xA;&lt;p&gt;The main use for After Effects is its ability for 2D, &lt;a href=&quot;https://en.wikipedia.org/wiki/2.5D&quot; rel=&quot;nofollow noreferrer&quot;&gt;2.5D&lt;/a&gt;, and 3D animation, key, tracking, visual effects compositing and finishing (image adjustments, color correction, and more). After Effects also can be used as a basic &lt;a href=&quot;https://en.wikipedia.org/wiki/Non-linear_editor&quot; rel=&quot;nofollow noreferrer&quot;&gt;non-linear video editor&lt;/a&gt; and audio editor.&lt;/p&gt;&#xA;&lt;h1&gt;History&lt;/h1&gt;&#xA;&lt;p&gt;Originally created by the &lt;a href=&quot;https://en.wikipedia.org/wiki/Company_of_Science_and_Art&quot; rel=&quot;nofollow noreferrer&quot;&gt;Company of Science and Art&lt;/a&gt; in 1993, it was later obtained by Aldus corporation, which was itself obtained by Adobe in 1994.&lt;/p&gt;&#xA;&lt;p&gt;It is now part of Adobe's &lt;a href=&quot;https://en.wikipedia.org/wiki/Adobe_Creative_Cloud&quot; rel=&quot;nofollow noreferrer&quot;&gt;Creative Cloud&lt;/a&gt; (it was previously part of the now discontinued Creative Suite), with its latest release being CC 2021.&lt;/p&gt;&#xA;&lt;h2&gt;Related Tags&lt;/h2&gt;&#xA;&lt;p&gt;&lt;a href=&quot;/questions/tagged/after-effects-expressions&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;after-effects-expressions&amp;#39;&quot; rel=&quot;tag&quot;&gt;after-effects-expressions&lt;/a&gt;&#xA;&lt;a href=&quot;/questions/tagged/adobe&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;adobe&amp;#39;&quot; rel=&quot;tag&quot;&gt;adobe&lt;/a&gt;&#xA;&lt;a href=&quot;/questions/tagged/animation&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;animation&amp;#39;&quot; rel=&quot;tag&quot;&gt;animation&lt;/a&gt;&#xA;&lt;a href=&quot;/questions/tagged/editing&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;editing&amp;#39;&quot; rel=&quot;tag&quot;&gt;editing&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Related Software Tags&lt;/strong&gt;:&#xA;&lt;a href=&quot;/questions/tagged/premiere&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;premiere&amp;#39;&quot; rel=&quot;tag&quot;&gt;premiere&lt;/a&gt;&#xA;&lt;a href=&quot;/questions/tagged/adobe-media-encoder&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;adobe-media-encoder&amp;#39;&quot; rel=&quot;tag&quot;&gt;adobe-media-encoder&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="2352" LastEditDate="2021-07-09T07:26:58.697" LastActivityDate="2021-07-09T07:26:58.697" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="5044" PostTypeId="4" CreationDate="2012-10-16T13:36:41.917" Score="0" Body="Adobe After Effects is a digital motion graphics and compositing software package published by Adobe Systems.  It is used in post-production process of film and television production." OwnerUserId="2814" LastEditorUserId="2836" LastEditDate="2013-06-25T17:02:09.533" LastActivityDate="2013-06-25T17:02:09.533" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5048" PostTypeId="2" ParentId="5040" CreationDate="2012-10-16T17:46:45.920" Score="4" Body="&lt;p&gt;Let's first review the basics of green screen:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) screen about 5 or more feet behind subject so it is out of focus from subject.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) flat screen, no wrinkles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) flat lighting, no shadows, no hot spots.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) subject can not wear green or wear shiny things or see through things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Review Vegas Chroma Key: Once you engage the chroma key effect, use the eye dropper and take a sample of the green screen to set the baseline color, engage the mask and tweak the level until you get a flat black on the screen area and white everywhere else then turn the mask off. If this can not be done then something in the basics above was not done correctly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another idea to assist. Make sure when you shoot your subject that you have properly set the white balance on the camera so that you have the correct color baseline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some tutorials to assist:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/tl01EeSWDvg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/34365256&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/34365256&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-10-16T17:46:45.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5050" PostTypeId="5" CreationDate="2012-10-16T19:08:07.873" Score="0" Body="&lt;p&gt;From &lt;a href=&quot;http://en.wikipedia.org/wiki/Virtual_Studio_Technology&quot; rel=&quot;nofollow&quot;&gt;Wikipedia&lt;/a&gt;: Virtual Studio Technology (VST) is an interface for integrating software audio synthesizer and effect plugins with audio editors and hard-disk recording systems. VST and similar technologies use digital signal processing to simulate traditional recording studio hardware with software.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="95" LastEditDate="2012-11-05T15:38:04.507" LastActivityDate="2012-11-05T15:38:04.507" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5051" PostTypeId="4" CreationDate="2012-10-16T19:08:07.873" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-16T19:08:07.873" LastActivityDate="2012-10-16T19:08:07.873" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5052" PostTypeId="2" ParentId="4553" CreationDate="2012-10-16T19:11:01.537" Score="2" Body="&lt;p&gt;There is a plugin called vocalign that will do this. It is designed mainly for aligning vocal overdub and replacment dialog but it should work for what you are doing. You can use it as a VST in audacity. It isn't cheap but, if my memory serves me correct, it has a fully functioning demo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.synchroarts.com/index.php?PAGEID=products&amp;amp;ID=vocalign&quot; rel=&quot;nofollow&quot;&gt;http://www.synchroarts.com/index.php?PAGEID=products&amp;amp;ID=vocalign&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2508" LastActivityDate="2012-10-16T19:11:01.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5053" PostTypeId="5" CreationDate="2012-10-16T19:12:19.303" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-16T19:12:19.303" LastActivityDate="2012-10-16T19:12:19.303" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5054" PostTypeId="4" CreationDate="2012-10-16T19:12:19.303" Score="0" Body="A MIDI controller is a hardware device that transmits MIDI data. MIDI controllers are generally used to control software or hardware audio devices more intuitively. Use this tag for questions about using, troubleshooting, or programming MIDI controllers." OwnerUserId="-1" LastEditorUserId="95" LastEditDate="2012-10-30T22:15:49.990" LastActivityDate="2012-10-30T22:15:49.990" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5055" PostTypeId="5" CreationDate="2012-10-16T19:35:15.807" Score="0" Body="&lt;p&gt;The iPad is a line of tablet computers designed and marketed by Apple Inc., primarily as a platform for audio-visual media including books, periodicals, movies, music, games, apps and web content. Its size and weight fall between those of contemporary smartphones and laptop computers. The iPad runs iOS, the same operating system used on Apple's iPod Touch and iPhone, and can run its own applications as well as iPhone applications. Without modification or a developer certificate, the iPad will only run programs approved by Apple and distributed via the Apple App Store (with the exception of programs that run inside the iPad's web browser).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Like iPhone and iPod Touch, the iPad is controlled by a multitouch display—a departure from most previous tablet computers, which generally used a pressure-triggered stylus—as well as a virtual onscreen keyboard in lieu of a physical keyboard. The iPad is sold with Wi-Fi and cellular models. The Wi-Fi connection is used to access local area networks and the Internet. Cellular models connect to mobile data networks with 3G or 4G in addition to Wi-Fi. Since the release of iOS 5, the device does not need to be managed and synced by iTunes running on a personal computer via USB cable.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-11-02T01:14:14.263" LastActivityDate="2012-11-02T01:14:14.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5056" PostTypeId="4" CreationDate="2012-10-16T19:35:15.807" Score="0" Body="The iPad is a line of tablet computers designed and marketed by Apple Inc." OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-10-31T03:38:54.647" LastActivityDate="2012-10-31T03:38:54.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5057" PostTypeId="5" CreationDate="2012-10-16T19:37:08.627" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-16T19:37:08.627" LastActivityDate="2012-10-16T19:37:08.627" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5058" PostTypeId="4" CreationDate="2012-10-16T19:37:08.627" Score="0" Body="Firewire, also known as IEEE 1394, is an interface standard used for connecting external devices to computers. It is similar in concept, but not in implementation, to USB. Firewire is frequently used for digital cameras and audio interfaces. Use this tag for questions that specifically deal with using firewire connections and devices." OwnerUserId="2814" LastEditorUserId="95" LastEditDate="2012-11-05T15:51:24.110" LastActivityDate="2012-11-05T15:51:24.110" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5059" PostTypeId="5" CreationDate="2012-10-16T19:38:04.197" Score="0" Body="&lt;p&gt;From &lt;a href=&quot;http://en.wikipedia.org/wiki/Audacity_%28audio_editor%29&quot; rel=&quot;nofollow&quot;&gt;Wikipedia:&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audacity is a free digital audio editor and recording application, available for Windows, Mac OS X, Linux and other operating systems. Audacity was started by Dominic Mazzoni and Roger Dannenberg at Carnegie Mellon University. As of 10 October 2011, it was the 11th most popular download from SourceForge.net, with 76.5 million downloads.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="95" LastEditDate="2012-10-30T22:32:10.623" LastActivityDate="2012-10-30T22:32:10.623" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5060" PostTypeId="4" CreationDate="2012-10-16T19:38:04.197" Score="0" Body="Audacity is a free digital audio editor and recording application, available for Windows, Mac OS X, Linux and other operating systems" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-11-02T01:15:10.270" LastActivityDate="2012-11-02T01:15:10.270" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5061" PostTypeId="5" CreationDate="2012-10-16T19:47:18.650" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-16T19:47:18.650" LastActivityDate="2012-10-16T19:47:18.650" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5062" PostTypeId="4" CreationDate="2012-10-16T19:47:18.650" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-16T19:47:18.650" LastActivityDate="2012-10-16T19:47:18.650" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5063" PostTypeId="5" CreationDate="2012-10-16T19:48:14.033" Score="0" Body="&lt;p&gt;The drum is a member of the percussion group of musical instruments, which is technically classified as the membranophones. Drums consist of at least one membrane, called a drumhead or drum skin, that is stretched over a shell and struck, either directly with the player's hands, or with a drum stick, to produce sound. There is usually a &quot;resonance head&quot; on the underside of the drum, these are usually tuned to a slightly lower pitch than the top drumhead. Other techniques have been used to cause drums to make sound, such as the thumb roll. Drums are the world's oldest and most ubiquitous musical instruments, and the basic design has remained virtually unchanged for thousands of years.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All types of drums such as timpani for example are always tuned to a certain pitch. Often, several drums, other than timpani drums, can be arranged together to create a drum kit.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-10-31T03:40:30.000" LastActivityDate="2012-10-31T03:40:30.000" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5064" PostTypeId="4" CreationDate="2012-10-16T19:48:14.033" Score="0" Body="A percussive instrument, usually used to create rhythm." OwnerUserId="-1" LastEditorUserId="2569" LastEditDate="2013-04-02T01:00:05.230" LastActivityDate="2013-04-02T01:00:05.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5065" PostTypeId="5" CreationDate="2012-10-16T19:50:06.307" Score="0" Body="&lt;p&gt;Equalization (British: equalisation) is the process of adjusting the balance between frequency components within an electronic signal. The most well known use of equalization is in sound recording and reproduction but there are many other applications in electronics and telecommunications. The circuit or equipment used to achieve equalization is called an equalizer. These devices strengthen (boost) or weaken (cut) the energy of specific frequency bands.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In telecommunications, equalizers are used to render the frequency response—for instance of a telephone line—flat from end-to-end. When a channel has been &quot;equalized&quot; the frequency domain attributes of the signal at the input are faithfully reproduced at the output. Telephones, DSL lines and television cables use equalizers to prepare data signals for transmission.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the field of audio electronics, the term &quot;equalization&quot; has come to include the adjustment of frequency responses for practical or aesthetic reasons, often resulting in a net response that is not truly equalized. The term EQ specifically refers to this variant of the term. Stereos typically have adjustable equalizers which boost or cut bass or treble frequencies. Broadcast and recording studios use sophisticated equalizers capable of much more detailed adjustments, such as eliminating unwanted sounds or making certain instruments or voices more prominent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Equalizers are critical to the successful operation of electronic systems such as analog broadcast television. In this application the actual waveform of the transmitted signal must be preserved, not just its frequency content. Equalizing filters must cancel out any group delay and phase delay between different frequency components.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2013-01-09T13:46:21.017" LastActivityDate="2013-01-09T13:46:21.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5066" PostTypeId="4" CreationDate="2012-10-16T19:50:06.307" Score="0" Body="Equalization, sometimes called &quot;EQing,&quot; is the process of adjusting frequency levels within a signal. On this site, it refers generally to adjusting frequency content in audio. Use this tag for questions about frequency balance or using an equalizer." OwnerUserId="2814" LastEditorUserId="95" LastEditDate="2012-10-30T22:22:16.577" LastActivityDate="2012-10-30T22:22:16.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5067" PostTypeId="5" CreationDate="2012-10-16T19:50:43.187" Score="0" Body="&lt;p&gt;An electric guitar is a guitar that uses a pickup to convert the vibration of its strings into electrical impulses. The most common guitar pickup uses the principle of direct electromagnetic induction. The signal generated by an electric guitar is too weak to drive a loudspeaker, so it is amplified before sending it to a loudspeaker. Since the output of an electric guitar is an electric signal, the signal may easily be altered using electronic circuits to add &quot;color&quot; to the sound. Often the signal is modified using effects such as reverb and distortion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Invented in 1931, the electric guitar became a necessity as jazz musicians sought to amplify their sound in the big band format. During the 1950s and 1960s, the electric guitar became the most important instrument in pop music. It has evolved into a stringed musical instrument that is capable of a multitude of sounds and styles. It served as a major component in the development of rock and roll and many other genres of music.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2013-01-09T13:47:41.327" LastActivityDate="2013-01-09T13:47:41.327" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5068" PostTypeId="4" CreationDate="2012-10-16T19:50:43.187" Score="0" Body="An electric guitar is a musical instrument. Use this tag for questions that are about recording, using, or dealing with electric guitars in a production setting." OwnerUserId="2814" LastEditorUserId="95" LastEditDate="2012-10-30T22:30:52.200" LastActivityDate="2012-10-30T22:30:52.200" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5071" PostTypeId="2" ParentId="3612" CreationDate="2012-10-16T21:30:03.347" Score="1" Body="&lt;p&gt;FFmpeg can do this. By &quot;FLV (Flashvideo)&quot; I assume you mean &quot;FLV1 / Sorenson Spark / Sorenson H.263&quot;. Not sure why anyone would choose this these days over H.264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c:v flv1 -q:v 2 -filter:v scale=iw/2:-1,hqdn3d output.flv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What the options mean:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-c:v flv1&lt;/code&gt; Choose the encoder named &lt;code&gt;flv1&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-q:v 3&lt;/code&gt; Quality level. Range is 1-31 (for MPEG-1/2/4, excluding H.264) and a higher value is a lower quality.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-filter:v scale=iw/2:-1,hqdn3d&lt;/code&gt; Filters that will:&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Scale your video to half the size of the input then&lt;/li&gt;&#xA;&lt;li&gt;Apply the de-noise filter &lt;code&gt;hqdn3d&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Windows users can download recent FFmpeg from &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;Zeranoe FFmpeg Builds&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2012-10-16T21:30:03.347" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5072" PostTypeId="2" ParentId="5009" CreationDate="2012-10-16T21:50:58.723" Score="2" Body="&lt;p&gt;I assume you want to extract sections. You can do this with ffmpeg which is multiplatform, open source, and free. This example will skip the first 12 seconds and create an output that is 10 seconds long. The video and audio will be copied instead of re-encoded, so there will be no quality loss.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -ss 12 -t 00:00:10.00 -c copy -map 0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What these options mean:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-ss&lt;/code&gt; Offset time, or how much to skip. Value can be in seconds, or hours:minutes:seconds:milliseconds.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-t&lt;/code&gt; Output duration. Value can be in seconds, or hours:minutes:seconds:milliseconds.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-c copy -map 0&lt;/code&gt; Copy all input streams to the output.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Windows users can get FFmpeg from &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;Zeranoe FFmpeg Builds&lt;/a&gt;. See the &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;FFmpeg download&lt;/a&gt; page if you're using Linux or OS X for several options.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2012-10-16T21:50:58.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5073" PostTypeId="1" CreationDate="2012-10-16T22:44:21.087" Score="7" ViewCount="2432" Body="&lt;p&gt;Is there any way that I can automatically cut a video based on a sound. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a couple of long sections of video that contain videos.  I would like to remove the parts of the video that do not fall between two whistles, much like football game footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video format is &lt;code&gt;mp4&lt;/code&gt;.  I am looking for some type of software that would allow me to do this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have not had any luck with automatic video spliters because they will only split based on file size. Currently, I am cutting this footage by hand using iMovie.&lt;/p&gt;&#xA;" OwnerUserId="3035" LastEditorUserId="2569" LastEditDate="2012-10-17T12:58:15.450" LastActivityDate="2013-12-16T13:21:46.557" Title="Automatically cut out sections of a video delineated by a sound." Tags="|video-editor|software-recommendation|automation|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5077" PostTypeId="1" CreationDate="2012-10-16T01:40:00.797" Score="4" ViewCount="668" Body="&lt;p&gt;We're shooting basketball videos, and I would like to be able to Pause/Rewind while continuing to record, so I can show the coaches of the team the video, while the players are still playing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there something in Adobe Premiere that will allow you to do this, or will I need to buy a PVR or something?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We currently are looking to buying a new camcorder, and getting the entire setup created. Basically we want to be able to record all of our games straight to a computer via a capture card or direct Firewire out of the camera, and then be able to Pause/Rewind/Scrub through the video, but when we are pausing and scrubbing, we still need to be able to catch back up to &quot;Real Time&quot;, basically like a DVR in a TV.&lt;/p&gt;&#xA;" OwnerUserId="3041" OwnerDisplayName="David" LastActivityDate="2012-10-18T04:41:46.217" Title="Shooting with a camera and then pausing while recording" Tags="|camcorder|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5080" PostTypeId="2" ParentId="5077" CreationDate="2012-10-17T16:11:25.237" Score="1" Body="&lt;p&gt;It doesn't sound like thee is a cheap or easy way to do what you want to do.&#xA;I use premiere a lot and.  There are mutlicam features for Premiere that allow you to sync to tracks and edit them easily, not to do live recording and playback at the same time.&#xA;If you stop and start the recording on lulls in the game where nothing is happening you will generate files that can be played back while the computer is recording the next file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also&#xA;Most computers video cards have an HDMI out, and can output to two monitors.&#xA;wire one output through a PVR and use that to rewind etc.  I don't have any experience with a pvr but that might work.&lt;/p&gt;&#xA;" OwnerUserId="2453" LastActivityDate="2012-10-17T16:11:25.237" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5084" PostTypeId="2" ParentId="5077" CreationDate="2012-10-18T04:41:46.217" Score="0" Body="&lt;p&gt;You may want to look at &lt;a href=&quot;http://www.mythtv.org/&quot; rel=&quot;nofollow&quot;&gt;MythTV&lt;/a&gt;, a very good open source DVR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A more complete list of free DVR applications can be found on Wikipedia's &lt;a href=&quot;http://en.wikipedia.org/wiki/Digital_video_recorder#Linux&quot; rel=&quot;nofollow&quot;&gt;Digital video recorder&lt;/a&gt; page.&lt;/p&gt;&#xA;" OwnerUserId="1898" LastActivityDate="2012-10-18T04:41:46.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5085" PostTypeId="5" CreationDate="2012-10-18T13:27:59.477" Score="0" Body="&lt;p&gt;Soundcraft is a British manufacturer of mixing consoles and other professional audio equipment, and is a subsidiary of Harman International Industries.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-11-02T01:14:51.627" LastActivityDate="2012-11-02T01:14:51.627" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5086" PostTypeId="4" CreationDate="2012-10-18T13:27:59.477" Score="0" Body="Soundcraft is a British manufacturer of mixing consoles and other professional audio equipment, and is a subsidiary of Harman International Industries." OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-10-31T03:38:51.620" LastActivityDate="2012-10-31T03:38:51.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5087" PostTypeId="5" CreationDate="2012-10-18T13:29:56.337" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-18T13:29:56.337" LastActivityDate="2012-10-18T13:29:56.337" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5088" PostTypeId="4" CreationDate="2012-10-18T13:29:56.337" Score="0" Body="The sine wave or sinusoid is a mathematical function that describes a smooth repetitive oscillation" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-10-31T03:38:47.767" LastActivityDate="2012-10-31T03:38:47.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5089" PostTypeId="5" CreationDate="2012-10-18T13:31:01.173" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-18T13:31:01.173" LastActivityDate="2012-10-18T13:31:01.173" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5090" PostTypeId="4" CreationDate="2012-10-18T13:31:01.173" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-18T13:31:01.173" LastActivityDate="2012-10-18T13:31:01.173" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5091" PostTypeId="5" CreationDate="2012-10-18T13:33:21.390" Score="0" Body="&lt;p&gt;In production and development, open source is a philosophy, or pragmatic methodology that promotes free redistribution and access to an end product's design and implementation details. Before the phrase open source became widely adopted, developers and producers used a variety of phrases to describe the concept; open source gained hold with the rise of the Internet, and the attendant need for massive retooling of the computing source code. Opening the source code enabled a self-enhancing diversity of production models, communication paths, and interactive communities. The open-source software movement was born to describe the environment that the new copyright, licensing, domain, and consumer issues created.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The open-source model includes the concept of concurrent yet different agendas and differing approaches in production, in contrast with more centralized models of development such as those typically used in commercial software companies. A main principle and practice of open-source software development is peer production by bartering and collaboration, with the end-product, source-material, &quot;blueprints&quot;, and documentation available at no cost to the public. This model is also used for the development of open-source-appropriate technologies, solar photovoltaic technology and open-source drug discovery.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2013-01-09T13:46:35.260" LastActivityDate="2013-01-09T13:46:35.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5092" PostTypeId="4" CreationDate="2012-10-18T13:33:21.390" Score="0" Body="In production and development, open source is a philosophy, or pragmatic methodology that promotes free redistribution and access to an end product's design and implementation details" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2013-01-09T13:47:52.777" LastActivityDate="2013-01-09T13:47:52.777" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5093" PostTypeId="5" CreationDate="2012-10-18T13:34:36.693" Score="0" Body="&lt;p&gt;From &lt;a href=&quot;http://en.wikipedia.org/wiki/Audio_Stream_Input/Output&quot; rel=&quot;nofollow&quot;&gt;Wikipedia&lt;/a&gt;: Audio Stream Input/Output (ASIO) is a computer sound card driver protocol for digital audio specified by Steinberg, providing a low-latency and high fidelity interface between a software application and a computer's sound card. Whereas Microsoft’s DirectSound is commonly used as an intermediary signal path for non-professional users, ASIO allows musicians and sound engineers to access external hardware directly.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="95" LastEditDate="2012-11-05T15:47:23.210" LastActivityDate="2012-11-05T15:47:23.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5094" PostTypeId="4" CreationDate="2012-10-18T13:34:36.693" Score="0" Body="ASIO (short for Audio Stream Input/Output) is a computer sound card driver protocol for digital audio specified by Steinberg" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-10-31T03:39:44.070" LastActivityDate="2012-10-31T03:39:44.070" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5095" PostTypeId="5" CreationDate="2012-10-18T13:37:32.040" Score="0" Body="&lt;p&gt;Wavetable synthesis is used in certain digital music synthesizers to implement a restricted form of real-time additive synthesis. The technique was first developed by Wolfgang Palm of PPG in the late 1970s and published in 1979, and has since been used as the primary synthesis method in synthesizers built by PPG and Waldorf Music and as an auxiliary synthesis method by Sequential Circuits, Ensoniq, Korg, Access and Dave Smith Instruments among others.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2013-01-09T13:46:57.897" LastActivityDate="2013-01-09T13:46:57.897" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5096" PostTypeId="4" CreationDate="2012-10-18T13:37:32.040" Score="0" Body="Wavetable synthesis is used in certain digital music synthesizers to implement a restricted form of real-time additive synthesis" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-10-31T03:38:42.433" LastActivityDate="2012-10-31T03:38:42.433" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5097" PostTypeId="5" CreationDate="2012-10-18T13:38:06.317" Score="0" Body="&lt;p&gt;The XLR connector is a style of electrical connector, primarily found on professional audio, video, and stage lighting equipment. The connectors are circular in design and have between 2 and 9 pins. They are most commonly associated with balanced audio interconnection, including AES3 digital audio, but are also used for lighting control, low-voltage power supplies, and other applications. XLR connectors are available from a number of manufacturers and are covered by an international standard for dimensions, IEC 61076-2-103. They are superficially similar to the older and smaller DIN connector range, but are not physically compatible with them&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2013-01-09T13:46:46.790" LastActivityDate="2013-01-09T13:46:46.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5098" PostTypeId="4" CreationDate="2012-10-18T13:38:06.317" Score="0" Body="he XLR connector is a style of electrical connector, primarily found on professional audio, video, and stage lighting equipment" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-11-02T01:13:59.163" LastActivityDate="2012-11-02T01:13:59.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5099" PostTypeId="5" CreationDate="2012-10-18T13:39:10.200" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-18T13:39:10.200" LastActivityDate="2012-10-18T13:39:10.200" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5100" PostTypeId="4" CreationDate="2012-10-18T13:39:10.200" Score="0" Body="Panning refers to a camera movement where a camera is rotated horizontally on its axis (right to left or left to right)." OwnerUserId="2814" LastEditorUserId="2836" LastEditDate="2014-02-11T17:58:41.107" LastActivityDate="2014-02-11T17:58:41.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5101" PostTypeId="5" CreationDate="2012-10-18T13:41:24.877" Score="0" Body="&lt;p&gt;Native Instruments is a technology company that develops software and hardware for music production and DJing. The company has originally been identified mostly with software instruments, but has also expanded to various other music equipment segments in recent years.&#xA;Current products of Native Instruments include software synthesizers, samplers and effect processors, sound libraries and emulations of acoustic instruments, groove production systems and audio interfaces, as well as various products for computer-based DJing that include DJ software, Digital Vinyl Systems, hardware controllers and specific DJ audio interfaces.&#xA;Native Instruments was founded in 1996 in the Kreuzberg district of Berlin, Germany, where its headquarters are still located. It also has a branch in Los Angeles, California. The company also holds a partnership with the online music store Beatport.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(The above is adapted from &lt;a href=&quot;http://en.wikipedia.org/wiki/Native_Instruments&quot; rel=&quot;nofollow&quot;&gt;the Wikipedia article&lt;/a&gt;.)&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="1682" LastEditDate="2012-10-18T22:45:05.863" LastActivityDate="2012-10-18T22:45:05.863" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5102" PostTypeId="4" CreationDate="2012-10-18T13:41:24.877" Score="0" Body="Native Instruments is a technology company that develops software and hardware for music production and DJing" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-10-31T03:39:23.243" LastActivityDate="2012-10-31T03:39:23.243" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5103" PostTypeId="5" CreationDate="2012-10-18T13:42:01.320" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-18T13:42:01.320" LastActivityDate="2012-10-18T13:42:01.320" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5104" PostTypeId="4" CreationDate="2012-10-18T13:42:01.320" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-18T13:42:01.320" LastActivityDate="2012-10-18T13:42:01.320" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5105" PostTypeId="5" CreationDate="2012-10-18T13:42:57.263" Score="0" Body="&lt;p&gt;From &lt;a href=&quot;http://en.wikipedia.org/wiki/Freeware&quot; rel=&quot;nofollow&quot;&gt;Wikipedia&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Freeware (portmanteau of &quot;free&quot; and &quot;software&quot;) is software that is available for use at no cost or for an optional fee, but usually with one or more restricted usage rights. Freeware is in contrast to commercial software, which is typically sold for profit, but might be distributed for a business or commercial purpose in the aim to expand the marketshare of a &quot;premium&quot; product.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="95" LastEditDate="2012-10-30T22:19:11.160" LastActivityDate="2012-10-30T22:19:11.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5106" PostTypeId="4" CreationDate="2012-10-18T13:42:57.263" Score="0" Body="Freeware is software that is available for use at no cost or for an optional fee, but usually with one or more restricted usage rights." OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-11-02T01:15:01.893" LastActivityDate="2012-11-02T01:15:01.893" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5107" PostTypeId="5" CreationDate="2012-10-18T13:44:36.607" Score="0" Body="&lt;p&gt;HDMI (High-Definition Multimedia Interface) is a compact audio/video interface for transferring uncompressed digital audio/video data from an HDMI-compliant device (&quot;the source&quot;) to a compatible digital audio device, computer monitor, video projector, or digital television. HDMI is a digital replacement for existing analog video standards.&#xA;There are a number of HDMI-standard cable connectors available, each of which can be used for any uncompressed TV or PC video format, including standard, enhanced, high definition, and 3D video signals; up to 8 channels of compressed or uncompressed digital audio; a CEC (Consumer Electronics Control) connection; and an Ethernet data connection. HDMI implements the EIA/CEA-861 standards, which define video formats and waveforms, transport of compressed, uncompressed, and LPCM audio, auxiliary data, and implementations of the VESA EDID.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The CEC allows HDMI devices to control each other when necessary and allows the user to operate multiple devices with one remote control handset. Because HDMI is electrically compatible with the CEA-861 signals used by digital visual interface (DVI), no signal conversion is necessary, nor is there a loss of video quality when a DVI-to-HDMI adapter is used. As an uncompressed CEA-861 connection, HDMI is independent of the various digital television standards used by individual devices, such as ATSC and DVB, as these are encapsulations of compressed MPEG video streams (which can be decoded and output as an uncompressed video stream on HDMI).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Production of consumer HDMI products started in late 2003. In Europe either DVI-HDCP or HDMI is included in the HD ready in-store labeling specification for TV sets for HDTV, formulated by EICTA with SES Astra in 2005. HDMI began to appear on consumer HDTV camcorders and digital still cameras in 2006. Shipments of HDMI were expected to exceed those of DVI in 2008, driven primarily by the consumer electronics market. HDMI Licensing, LLC announced on October 25, 2011 that there were over 1,100 HDMI Adopters and that over 2 billion HDMI-enabled products had shipped since the launch of the HDMI standard. From October 25, 2011, all development of the HDMI specification became the responsibility of the newly-created HDMI Forum.&lt;/p&gt;&#xA;" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2013-01-09T13:46:06.837" LastActivityDate="2013-01-09T13:46:06.837" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5108" PostTypeId="4" CreationDate="2012-10-18T13:44:36.607" Score="0" Body="short for High-Definition Multimedia Interface" OwnerUserId="2814" LastEditorUserId="2814" LastEditDate="2012-10-31T03:39:38.597" LastActivityDate="2012-10-31T03:39:38.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5111" PostTypeId="1" CreationDate="2012-10-18T14:35:26.673" Score="2" ViewCount="685" Body="&lt;p&gt;I read that Sony Vegas Movie Studio (the non-pro version) supports video and audio effect plugins via the OpenFX standard.&#xA;Are there any such plugins available as freeware or open-source?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I only found commercial pulgins, which are tailored for a professional audience and are beyond my budget as a hobbyist filmmaker.&lt;/p&gt;&#xA;" OwnerUserId="3043" LastActivityDate="2012-10-18T14:35:26.673" Title="Are there free OpenFX plugins available?" Tags="|editing|plugins|production|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5113" PostTypeId="2" ParentId="4985" CreationDate="2012-10-18T18:12:13.673" Score="1" Body="&lt;p&gt;I tried to replicate the issue last night with using Sony Vegas Movie Studio Platinum 9.0, version 9.0 (b) build 92.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I engaged various text options under the Sony Media Generator: Simple Text, Rolling Text, and some legacy defaults. The only time I saw a Bounding Box was within the text pop up window where one has the option of placing text by dragging the box to where you want it to appear in the video. In no cases did I see the Bounding Box appear in the preview window nor were there any artifacts such as the persistent &quot;42&quot; that you demonstrated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Due to the timing of the upgrade from v 8 to v 11 that you mention in the comments,  I am thinking something went awry. The best thing I can recommend is to use the question form available at:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.sonycreativesoftware.com/support/technicalsupport.asp&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.sonycreativesoftware.com/support/technicalsupport.asp&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will need to register with the site to access this service, and once you engage the form it will look something like this. You will need to give them the needed technical info like the version number and your machine info too. Here is a snip of the form to assist in that preparation. I have used this service many times in the past, and they generally offer very kind attention. However, you may have to wait a few days before they process your question depending on their current load.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/m8YL4.jpg&quot; alt=&quot;Sony Support&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-10-18T18:12:13.673" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5118" PostTypeId="5" CreationDate="2012-10-18T23:19:05.273" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-18T23:19:05.273" LastActivityDate="2012-10-18T23:19:05.273" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5119" PostTypeId="4" CreationDate="2012-10-18T23:19:05.273" Score="0" Body="Questions about which software to use for a particular situation.  Be sure to bring your research about your specific situation to the question.  Keep in mind that asking someone to do your research and shopping for you will likely be considered off-topic.  " OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2012-10-31T03:39:28.253" LastActivityDate="2012-10-31T03:39:28.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5120" PostTypeId="5" CreationDate="2012-10-18T23:22:32.727" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-10-18T23:22:32.727" LastActivityDate="2012-10-18T23:22:32.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5121" PostTypeId="4" CreationDate="2012-10-18T23:22:32.727" Score="0" Body="The act of transmitting media over a network for consumption in real time." OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2012-10-22T16:36:41.753" LastActivityDate="2012-10-22T16:36:41.753" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5126" PostTypeId="1" AcceptedAnswerId="5127" CreationDate="2012-10-19T15:11:51.237" Score="1" ViewCount="170" Body="&lt;p&gt;There is a category of film and a contest I read about some years ago.  The rules were:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;sixty seconds or less&lt;/li&gt;&#xA;&lt;li&gt;black and white&lt;/li&gt;&#xA;&lt;li&gt;no cuts fades or edits&lt;/li&gt;&#xA;&lt;li&gt;stationary camera&lt;/li&gt;&#xA;&lt;li&gt;no sound&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;the idea was to mimic filmmaking technology available at the dawn of time.  I want to introduce the idea to my son but can't remember where I found it or the name of it.&lt;/p&gt;&#xA;" OwnerUserId="3049" LastActivityDate="2012-10-20T21:33:45.133" Title="What is the name of this minimalist film genre?" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5127" PostTypeId="2" ParentId="5126" CreationDate="2012-10-19T18:27:39.933" Score="2" Body="&lt;p&gt;Generally &quot;Minimalism&quot; is more about shedding content to focus on the essence, &quot;eliminating all non-essential forms, features or concepts.&quot; This does not necessarily require the elimination of sound or strict use of b/w.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another term used for a Minimalist like film back in the 1970s was &quot;lean&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you are describing is more like emulating a silent film which reached its peak in 1928.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you only use b/w, 60 seconds, no camera movement (pans, tilts, tracking), no cuts, no edits what you have is one clip from a stationary camera. This in itself does not fulfill what &quot;Minimalism&quot; in cinema is about as the balance of this question rests with whether the content is in fact Minimalism.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, specifying certain aspects such as b/w and no sound are somewhat superficial now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Consider that before 1928 that sound was generally limited to what music or sound effects could be played live with the film. So too, color films were not widely available so only hand tinted films existed. Before 1928 the cinematographer generally did not have the option of synchronized sound and color. To go back to this approach is a conscience artistic choice today where as back then, you did not have this choice cause that's all you had.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would call the genre you are describing as approaching Neo-Silent but not quite there as these guys use hand-cranked gear etc, as described in their manifesto:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.silentmovies.com/neosilent/neosilent.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.silentmovies.com/neosilent/neosilent.htm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So perhaps, &quot;Post-Neo-Silent&quot; is a more accurate term?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any event what you are describing is actually very popular in some cinema circles. Consider director, Blake Whitman's &quot;1 Minute Vimeo Project&quot;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/groups/1minute&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/groups/1minute&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wherein Blake offers:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Welcome to the 1 Minute Vimeo Project Group. Add one video, comment on two!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the chaos of everyday life consuming our senses, it is nice to sit back and enjoy moments and experiences that are often overlooked. This project aims to study the forgotten moments and times in life that we often pass by without acknowledging.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The rules:&#xA;-Video must be exactly one minute long&#xA;-No camera movement (no panning, tilting, etc)&#xA;-No editing whatsoever&#xA;-Use original sound&#xA;-Tag with '1 minute'&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;-Have fun&quot;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Aside from allowing color and sound, this is pretty close to the criteria you have defined.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-10-19T18:27:39.933" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5130" PostTypeId="1" AcceptedAnswerId="5131" CreationDate="2012-10-20T16:28:15.193" Score="2" ViewCount="3118" Body="&lt;p&gt;I have a Windows 7 (32 bit, service pack 1) on my laptop and, whenever I launch my sound editor (Ableton Live 8), all other programs (Firefox, Chrome, Skype etc) stop outputting any sounds. Even when I try switching the order of steps (opening Ableton first and then launching a browser, for example) it doesn't work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Control Panel &gt; Sound, I have the laptop speakers as the default output and, as soon as I close Ableton, all other programs are able to make noise again.&lt;/p&gt;&#xA;" OwnerUserId="3051" LastEditorUserId="126" LastEditDate="2012-10-22T15:00:54.947" LastActivityDate="2012-10-22T15:00:54.947" Title="Windows 7 - multiple programs with conflicting sound output" Tags="|windows|ableton-live|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="5131" PostTypeId="2" ParentId="5130" CreationDate="2012-10-20T20:48:22.637" Score="2" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Driver type &lt;strong&gt;ASIO&lt;/strong&gt; Audio device &lt;strong&gt;ASIO4ALL v2&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Aha, there we go. ASIO is designed to give only one program at a time access to the audio hardware. As I said, this is in principle a good thing, because it ensures the DAW can run trouble-free and without overly long latency or crippled sound introduced when the OS tries to combine the audio from different programs so some composite that's then usable for even the worse hardware that can be assumed. However, for just testing out the program, learning features etc. none of this is really a concern, so you might as well use one of the non-professional alternatives. Microsoft DirectSound should always work.&lt;/p&gt;&#xA;" OwnerUserId="1038" LastActivityDate="2012-10-20T20:48:22.637" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5132" PostTypeId="2" ParentId="5126" CreationDate="2012-10-20T21:33:45.133" Score="0" Body="&lt;p&gt;You're describing, I think, the kinds of films made by the Lumiere Brothers like &lt;a href=&quot;http://www.youtube.com/watch?v=1dgLEDdFddk&quot; rel=&quot;nofollow&quot;&gt;Arrival of a Train at La Ciotat&lt;/a&gt;. The official term for these kinds of film today is &lt;a href=&quot;http://en.wikipedia.org/wiki/Actuality_film&quot; rel=&quot;nofollow&quot;&gt;Actualities&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3053" LastActivityDate="2012-10-20T21:33:45.133" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5133" PostTypeId="2" ParentId="4231" CreationDate="2012-10-21T06:46:42.103" Score="0" Body="&lt;p&gt;Mpeg streamclip, its free, and I believe you can open the DVD right into mpeg and then convert it to anything you would like, If you are unable to open the DVD, then transcode your mp4 from handbrake (another great tool) into any file you would like&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-10-21T06:46:42.103" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5135" PostTypeId="1" CreationDate="2012-10-21T15:37:17.463" Score="1" ViewCount="7010" Body="&lt;p&gt;I need to insert a still image for several seconds at the end of my 1080p video. I can't find how to do that with Virtual Dub. Tried with Microsoft Movie Maker but it messes the resolution, changes the format, etc. Any quick solution I haven't thought about ?&lt;/p&gt;&#xA;" OwnerUserId="2971" LastActivityDate="2014-05-10T14:39:53.633" Title="How to easily insert frames at the end of a video?" Tags="|video|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5136" PostTypeId="1" CreationDate="2012-10-21T17:34:46.813" Score="3" ViewCount="5098" Body="&lt;p&gt;I have a lot of videos that need stabilization... is there any way to batch stabilize them?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;edit: I'm on Windows 7 64-bit. I don't think that what kind of software and footage do I have... I'm just looking for a program that can take a folder full of videos and batch stabilize them. VReveal kinda can do it, but I have to manually add each file to the queue, which is a chore&lt;/p&gt;&#xA;" OwnerUserId="3055" LastEditorUserId="3060" LastEditDate="2012-10-22T14:31:20.053" LastActivityDate="2014-11-06T18:17:03.440" Title="Any way to batch stabilize video files?" Tags="|video|stabilisation|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5137" PostTypeId="1" CreationDate="2012-10-21T18:40:52.140" Score="1" ViewCount="116" Body="&lt;p&gt;And if so which application is able to do that? I do not need menus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right now I copy the MTS files directly to a BD data disk, which can be played by a PS3. But I would prefer a standard BD video disk. But I do not want to recode the data. Is there any way?&lt;/p&gt;&#xA;" OwnerUserId="3056" LastEditorUserId="3056" LastEditDate="2012-10-25T07:57:44.797" LastActivityDate="2012-12-24T09:31:23.730" Title="Is it possible to convert a AVCHD video stored in a MTS file loss-less without recoding into a Blue-Ray video disk?" Tags="|avchd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5138" PostTypeId="2" ParentId="5135" CreationDate="2012-10-21T20:48:43.853" Score="1" Body="&lt;p&gt;A quick Google search for the terms &lt;code&gt;add photo with virtual dub&lt;/code&gt; shows &lt;a href=&quot;http://www.videoforums.co.uk/general-software-problems/20438-insert-image-video.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; result. Quoting:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;save the titlescreen in bitmap (same size of video, obviously)&lt;/li&gt;&#xA;  &lt;li&gt;import image in VirtualDub (with Open command)&lt;/li&gt;&#xA;  &lt;li&gt;select the single frame you get after opening and copy it&lt;/li&gt;&#xA;  &lt;li&gt;open your video&lt;/li&gt;&#xA;  &lt;li&gt;paste the frame you copied in the desired position (every ctrl-v is a single frame, if your movie is 25fps, just paste 25 times to create&#xA;  1-second title sequence)&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;For your case you don't have a titlescreen but just a regular image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can select frames in VirtualDub as following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Click on the timeline on the location where your frame that you want to select. In the image below I clicked on frame 30.&lt;/li&gt;&#xA;&lt;li&gt;Click on the button where the arrow points to. This sets your beginning of the selection.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/mds8z.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If you want to select one frame, click on the 31st frame (as in the image below) and click the button that is indicated by the arrow. This sets your endpoint of the selection.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/f2MQZ.png&quot; alt=&quot;enter image description here&quot;&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also select a series of frames this way.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="2178" LastEditDate="2012-10-22T14:01:51.543" LastActivityDate="2012-10-22T14:01:51.543" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="5140" PostTypeId="2" ParentId="3026" CreationDate="2012-10-22T03:30:58.610" Score="1" Body="&lt;p&gt;Try &lt;a href=&quot;http://www.videocopilot.net/&quot; rel=&quot;nofollow&quot;&gt;Video Co-Pilot&lt;/a&gt;.  They have several tutorials and a forum.&lt;/p&gt;&#xA;" OwnerUserId="3023" LastEditorUserId="126" LastEditDate="2012-10-25T12:10:52.363" LastActivityDate="2012-10-25T12:10:52.363" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="5149" PostTypeId="2" ParentId="4977" CreationDate="2012-10-23T16:04:11.150" Score="10" Body="&lt;p&gt;What you are looking for is called a &lt;strong&gt;Broadcast Delay Processor&lt;/strong&gt;. Unfortunately, these processors come as a hardware device that you feed your signal through, and therefore they are relatively expensive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did look around for a software based broadcast delay for you, but I was not able to find any.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Luckily though, you can use &lt;a href=&quot;http://wiki.videolan.org/VLC_command-line_help&quot; rel=&quot;nofollow noreferrer&quot;&gt;VLC&lt;/a&gt; (free and available on Linux and Windows) to stream with a delay. Check out this command:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Display stream output&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  --sout-display-delay=&amp;lt;integer [-2147483648 .. 2147483647]&amp;gt;&#xA;                             Delay (ms)&#xA;      Introduces a delay in the display of the stream.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In your case use it like with this value:  &lt;code&gt;--sout-display-delay=30000&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also record your webcam with VLC, see this article for details:&lt;br /&gt;&#xA;&lt;a href=&quot;http://newcome.wordpress.com/2010/01/17/recording-webcam-videos-with-vlc-media-player/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Recording webcam videos with VLC Media Player&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words, using VLC with the provided commands you should be able to both record your webcam and stream it with a delay (at no cost).&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorUserId="14523" LastEditorDisplayName="user2995" LastEditDate="2019-09-19T01:53:25.657" LastActivityDate="2019-09-19T01:53:25.657" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="5150" PostTypeId="1" CreationDate="2012-10-24T13:09:21.437" Score="4" ViewCount="15562" Body="&lt;p&gt;Is it possible to set more than one motion tracking point in After Affects CS6 at the same time in the same scene?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example one track point closer to our viewpoint, and another one that follows the background (therefore with a slower movement). To achieve a more realistic effect.&lt;/p&gt;&#xA;" OwnerUserId="3068" LastActivityDate="2014-02-22T06:33:05.050" Title="Is it possible to set more than one motion tracking point in After Affects CS6 at the same time" Tags="|after-effects|tracking|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5151" PostTypeId="2" ParentId="5150" CreationDate="2012-10-24T17:01:18.257" Score="0" Body="&lt;p&gt;Depends on what you are trying to do achieve, it sounds like you are doing a combination of 3d tracking or something.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But to answer your question technically no, you can only track one part at a time, you could track multiple points to gauge rotation and scale but its only going to affect one object at the end.  You would create a null object target the track to the null and then submit.  You would need to do another track on the second point separately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No if you are trying to track to simulate a parallax in 3d space, one thing you can do is us AE expressions, if you dont know how to do this, do a simple google search, and something like this would get you where you need to be.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-10-24T17:01:18.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5152" PostTypeId="2" ParentId="5137" CreationDate="2012-10-24T17:07:24.383" Score="1" Body="&lt;p&gt;Here you go, here is a list of applications on PC and MAC that open MTS files and can convert them to a more desirable file format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.fileinfo.com/extension/mts&quot; rel=&quot;nofollow&quot;&gt;http://www.fileinfo.com/extension/mts&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-10-24T17:07:24.383" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5153" PostTypeId="2" ParentId="5136" CreationDate="2012-10-24T17:12:59.340" Score="2" Body="&lt;p&gt;I think the quick answer is no, not that there is not software to do it, but every clip is different and will need to be stabilized using different paramaters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you take the easy way you may realize that after the fact it took way longer in that it could be a step backwards rather than actually helping.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend editing the clips as is, then stabilize when you are finished, that way it is only stabilizing what is used which is a) faster, and b) more efficient as you may cut around large camera moves that could cause un needed blown up footage.  At this point you could do each clip using software like premiere, which has a 30 day free trial.  And at worst you would just need to apply it individually to each clip, and unless this is a feature, it cant take that much time.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-10-24T17:12:59.340" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5160" PostTypeId="1" AcceptedAnswerId="6867" CreationDate="2012-10-25T21:50:15.103" Score="21" ViewCount="22009" Body="&lt;p&gt;I have subtitles in .srt file format, and I need to render them on top of video file (prefereably mp4). I have tried handbrake and mediacoder so far, with no luck. What should I do?&lt;/p&gt;&#xA;" OwnerUserId="1804" LastActivityDate="2016-03-10T06:38:46.433" Title="Render srt subtitles to video?" Tags="|video|subtitles|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5161" PostTypeId="2" ParentId="5160" CreationDate="2012-10-25T22:10:09.287" Score="7" Body="&lt;p&gt;Here are three ways to burn subtitles onto video:&lt;br /&gt;&#xA;&lt;a href=&quot;http://blogs.princeton.edu/hrc/2011/01/three_ways_to_burn_subtitles_into_a_video_avi_file.html&quot;&gt;http://blogs.princeton.edu/hrc/2011/01/three_ways_to_burn_subtitles_into_a_video_avi_file.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;&lt;p&gt;You must use or convert to an AVI file&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;The subtitle file (.srt) must be named the same exact name as the video file (AVI)&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;The video file and the subtitle (.srt) file should reside in the same folder.&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;I will link to the first method I discovered in June:&#xA;  &lt;a href=&quot;https://blogs.princeton.edu/hrc/2010/06/how_to_burn_subtitles_into_a_video_file.html&quot;&gt;https://blogs.princeton.edu/hrc/2010/06/how_to_burn_subtitles_into_a_video_file.html&lt;/a&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;The second method I used requires a Mac that has Toast Titanium. You&#xA;  will then have to download a free program called Perian:&#xA;  &lt;a href=&quot;http://www.perian.org/&quot;&gt;http://www.perian.org/&lt;/a&gt; (make sure you have the latest version of both&#xA;  programs.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Method 2 (Mac): Using Toast Titanium (not free) with Perian (free)&lt;/p&gt;&#xA;  &#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;&lt;p&gt;Open Perian  and keep Perian open before and while you either burn a DVD using Toast Titanium or burn a ISO (which is what I did). To see&#xA;  if Perian is doing it's job, open the AVI file in VLC (VideoLan&#xA;  Client) and see if subtitles show up (you can also check in Quicktime)&#xA;  when you play the video. If they do, you are ready to use Toast to&#xA;  burn the subtitles into the file.&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;Open Toast and choose DVD. Drop the AVI file into the space to burn. Don't drop the srt file, but make sure the srt file is in the&#xA;  SAME folder as the AVI video file. If you drop the srt file in Toast&#xA;  you will get an error, but Perian will work it's magic and burn the&#xA;  subtitles into the video, so no need to worry.&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;Choose either burn to DVD or Disc Image (Disc Image is at the bottom of the window where you dropped the video file into).&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;Burn the video. You will now either have an ISO or a burned DVD. The files will now be in a DVD structure (VOBs, etc). You can now use&#xA;  Handbrake to rip the ISO or DVD to convert the video into another&#xA;  format (like mp4).&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;*Note: My subtitles did get cut off when I converted the video into an mp4 using Handbrake, not sure why.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Method 3 (Windows): Any Video Converter (AVC-free)&lt;/p&gt;&#xA;  &#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;&lt;p&gt;Download and install AVC &lt;a href=&quot;http://www.any-video-converter.com/products/for_video_free/&quot;&gt;http://www.any-video-converter.com/products/for_video_free/&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;Make sure your AVI and .srt files are in the same folder. For AVC, if you have an mp4, you can actually load the mp4 and not have to&#xA;  convert it into an AVI file before burning the subtitles into the&#xA;  file.&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;Drag and drop the video file into AVC.&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;For Output file, choose Customized AVI Movie (*.avi)&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;Highlight the file (by clicking on it) and under audio options (scroll to bottom) click on the drop down menu next to Subtitle.&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;The .srt file should appear in the drop down if the video file and the srt file are in the same folder. Choose the correct srt fie.&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;Choose the rest of your settings for the AVI and click Convert at the top of the program screen.&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;I hope this helps :-). Here are a few sources I used to figure these&#xA;  steps out and find these resources:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;a href=&quot;http://www.mac-forums.com/forums/os-x-applications-games/101010-how-burn-avi-srt-files-toast.html&quot;&gt;http://www.mac-forums.com/forums/os-x-applications-games/101010-how-burn-avi-srt-files-toast.html&lt;/a&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;a href=&quot;http://www.any-video-converter.com/add-srt-subtitle-to-output-video.php&quot;&gt;http://www.any-video-converter.com/add-srt-subtitle-to-output-video.php&lt;/a&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;a href=&quot;http://forums.support.roxio.com/topic/35597-adding-srt-files-to-dvd/&quot;&gt;http://forums.support.roxio.com/topic/35597-adding-srt-files-to-dvd/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2012-10-25T22:10:09.287" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5165" PostTypeId="2" ParentId="4913" CreationDate="2012-10-26T02:32:05.420" Score="5" Body="&lt;p&gt;Sorry this is a bit late but I just found your question while doing research on this topic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have access to After Effects, I've developed a script that can import .srt subtitle files (I think you can export .srt from Aegisub). You can download a trial at &lt;a href=&quot;http://aescripts.com/pt_importsubtitles/&quot; rel=&quot;noreferrer&quot;&gt;http://aescripts.com/pt_importsubtitles/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It preserves the timings but not the font or position, although these are easy enough to set in AE. Once imported you can drag the composition straight into Premiere Pro using Dynamic Link for compositing onto your movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've also developed a script that can import .ass files into AE. It's primarily meant for subtitles with karaoke timings, but it should be able to import plain subtitles too.&#xA;&lt;a href=&quot;http://aescripts.com/pt_ssakaraokeanimator/&quot; rel=&quot;noreferrer&quot;&gt;http://aescripts.com/pt_ssakaraokeanimator/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3072" LastActivityDate="2012-10-26T02:32:05.420" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5166" PostTypeId="2" ParentId="4693" CreationDate="2012-10-26T02:50:38.667" Score="2" Body="&lt;p&gt;I researched both, and though the specs have the same features and the same sound quality, XENYX beats EURORACK because of the preamps.  XENYX mic pre is a bit better than the EURORACK.  You should purchase good quality microphone cables in either case to avoid excess noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the end both are good desks.  XENYX only wins because of preamps.  Otherwise, the two have almost the same quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have helped good luck hug!  :)&lt;/p&gt;&#xA;" OwnerUserId="3073" LastEditorUserId="126" LastEditDate="2012-10-26T10:44:28.207" LastActivityDate="2012-10-26T10:44:28.207" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5171" PostTypeId="1" CreationDate="2012-10-27T08:26:18.087" Score="1" ViewCount="298" Body="&lt;p&gt;Generally used to achieve the anamorphic 'streak' effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/VTWes.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3077" LastEditorUserId="3077" LastEditDate="2012-10-27T15:15:29.040" LastActivityDate="2012-11-26T16:54:08.770" Title="I can't buy a streak filter where I live. How do I go about making myself one for my DSLR?" Tags="|dslr|filter|diy|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5176" PostTypeId="2" ParentId="5171" CreationDate="2012-10-27T15:17:10.120" Score="1" Body="&lt;p&gt;It's not on Youtube, so I can't embed it, but there is a &lt;a href=&quot;http://vimeo.com/25581562&quot; rel=&quot;nofollow&quot;&gt;nice tutorial here&lt;/a&gt; that looks like a simple, and very inexpensive method to achieve the streak filter.  (link is to vimeo)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, you affix a piece of fishing line across the lens.&lt;/p&gt;&#xA;" OwnerUserId="2569" LastActivityDate="2012-10-27T15:17:10.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5177" PostTypeId="1" CreationDate="2012-10-27T15:19:35.327" Score="0" ViewCount="71" Body="&lt;p&gt;I wan't to make a camera slider with bearings that is very smooth. I haven't come up with a good idea yet. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wan't it to be able to be placed on a tripod. Can you please show me som links and tips and ideas?&lt;/p&gt;&#xA;" OwnerUserId="2861" LastActivityDate="2012-10-27T15:19:35.327" Title="How to make a Camera Slider with bearings?" Tags="|video|camera|diy|gear|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5184" PostTypeId="1" AcceptedAnswerId="5199" CreationDate="2012-10-28T15:52:21.097" Score="5" ViewCount="4426" Body="&lt;p&gt;You know that camera technique when the camera operator usually have a steadicam and runs/walks around a person.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to learn how to do that with my homemade glidecam but it is so hard. it would be nice to find a tutorial but I don't know what to search for.&lt;/p&gt;&#xA;" OwnerUserId="2861" LastEditorUserId="2836" LastEditDate="2014-02-11T17:56:50.613" LastActivityDate="2021-05-23T19:36:27.713" Title="What is a circular motion around a object called when filming?" Tags="|video|camera|filming|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5186" PostTypeId="2" ParentId="5184" CreationDate="2012-10-28T18:31:11.820" Score="2" Body="&lt;p&gt;It is known as panning, from the word &quot;panoramic&quot; - googling will throw up many tutorials on this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.slrlounge.com/panning-tutorial&quot; rel=&quot;nofollow&quot;&gt;An example at the slrlounge&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-10-28T18:31:11.820" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5189" PostTypeId="1" AcceptedAnswerId="5192" CreationDate="2012-10-28T23:51:01.777" Score="1" ViewCount="374" Body="&lt;p&gt;Currently I am recording screencast in fullscreen and my resolution is 1920 x 1080, which means I can render in 1080p. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For me 720p is already acceptable if this means that this will cut down in rendering times. But from what I have heard is that changing the resolution while rendering will always result in longer render times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the question here is, should I stick with 1080p, because my raw video file is also 1080p, or can I change my render settings to output 720p and cut down on render time.&lt;/p&gt;&#xA;" OwnerUserId="3085" LastActivityDate="2012-10-29T00:27:29.990" Title="Will a lower resolution while rending cut down rendering time" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5190" PostTypeId="1" CreationDate="2012-10-29T00:09:28.177" Score="1" ViewCount="60" Body="&lt;p&gt;Lets start with a theory. Lets say you create subtitles perfectly synchronized with an audio track. Yes, I dont care about hearing impaired people atm, so video track doesnt concern me right now. Then you start delaying audio or subtitles. At what point will the listener notice the leading/lagging?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My goal is to create a minimal value on a scale used to time subtitles. So the user cant time subtitles beyond the point where it no longer has a meaning.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There must be a ton of research on this subject because all we hear is lagging behind what we see.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just cant find the right keywords to google it.&lt;/p&gt;&#xA;" OwnerUserId="3084" LastEditorUserId="2569" LastEditDate="2014-01-24T16:59:01.980" LastActivityDate="2014-01-24T16:59:01.980" Title="Minimal subtitle leading/lagging difference" Tags="|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5192" PostTypeId="2" ParentId="5189" CreationDate="2012-10-29T00:27:29.990" Score="2" Body="&lt;p&gt;Rendering in lower resolution will&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Downscale the video, which takes very little additional processing time&lt;/li&gt;&#xA;&lt;li&gt;Take less per frame time for the video encoder to compress&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;You should definately notice a significant gain in rendering speed if you switch from 1080p to 720p, and I cannot imagine what the other person meant, by &quot;will always result in longer rendering times&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course if you cancel a rendering process which is 95% through, just to change the resolution, you will not have gained much, since the renderer has to start all over again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also there might be some video software on the market which is so incredebly bad that the situation I described above is reversed. But this shouldn't be the case, especially if you render with video codecs like h264, which always need &lt;em&gt;a lot&lt;/em&gt; of processing time.&lt;/p&gt;&#xA;" OwnerUserId="3086" LastActivityDate="2012-10-29T00:27:29.990" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5197" PostTypeId="2" ParentId="5190" CreationDate="2012-10-29T09:49:42.823" Score="2" Body="&lt;p&gt;There are lots of tricks to proper subtitling, but none of them involve delaying them. The reason you see large lags is because of &quot;live&quot; captioning -- they're appearing as fast as some trained operator can hear and enter them, which for the very best of them is still a few seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For post-event titling, you want the text to appear at or slightly before the spoken word, but consistent with scene changes -- when a scene changes behind a title, the viewer tends to start reading it again, which is confusing.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2012-10-29T09:49:42.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5199" PostTypeId="2" ParentId="5184" CreationDate="2012-10-29T14:47:57.703" Score="4" Body="&lt;p&gt;That's a kind of tracking shot known as an orbit. Here is a product video for the Digital Juice Orbit Dolly, which is a piece of equipment that can be used to achieve this effect:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/RKmC0z_pVmI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="617" LastEditorUserId="617" LastEditDate="2021-05-23T19:36:27.713" LastActivityDate="2021-05-23T19:36:27.713" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="5220" PostTypeId="2" ParentId="4215" CreationDate="2012-11-01T10:06:04.207" Score="4" Body="&lt;p&gt;OK, answering my own question. Sony recently announced a 4K CMOS sensor with an electronic global shutter, see &lt;a href=&quot;http://image-sensors-world.blogspot.ch/2012/10/sony-cinealta-camera-offers-global.html&quot; rel=&quot;nofollow&quot;&gt;this blog post&lt;/a&gt; and the references inside.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, the status seems to be: reaching the higher end of the market right now (Nov. 2012), the technology does exist. We still have to wait a few years before seeing these global shutters in lower tiers though.&lt;/p&gt;&#xA;" OwnerUserId="3099" LastActivityDate="2012-11-01T10:06:04.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5227" PostTypeId="1" CreationDate="2012-11-02T08:57:35.497" Score="6" ViewCount="2470" Body="&lt;p&gt;Is there a good technique to do lens correction, rolling shutter removal and stabilisation on GoPro footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you start by rolling shutter correction, the filter seek for straight edges and cannot find them.&#xA;If you start by lens correction, the image is distorded so rolling shutter could not be corrected.&lt;/p&gt;&#xA;" OwnerUserId="3105" LastEditorUserId="2391" LastEditDate="2013-09-17T14:51:00.077" LastActivityDate="2013-09-17T14:51:00.077" Title="How to clean GoPro footage?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5231" PostTypeId="1" AcceptedAnswerId="5239" CreationDate="2012-11-02T15:52:47.990" Score="0" ViewCount="47" Body="&lt;p&gt;My MacBook Pro died today and I am looking for solid advice on a replacement that will be best for working with Adobe Premier Pro 6.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apple has the new 13&quot; Retina Display and the regular flavor. I have seen a variety of reviews and want to get some solid perspective on which would work best for video editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="1149" LastEditorUserId="2569" LastEditDate="2012-11-02T16:36:24.377" LastActivityDate="2012-11-03T01:01:04.813" Title="Looking for recommendations on editing Premier Pro on a MacBook Pro" Tags="|video-editor|recommendation|mac|" AnswerCount="1" CommentCount="4" ClosedDate="2013-02-01T02:42:14.577" ContentLicense="CC BY-SA 3.0" />
  <row Id="5232" PostTypeId="1" AcceptedAnswerId="5255" CreationDate="2012-11-02T16:39:07.413" Score="1" ViewCount="263" Body="&lt;p&gt;I am trying to edit a Theora video in Premiere Elements 10. I installed the Xiph OpenCodecs package which allowed me to view the video in WMP, but it still wouldn't import into PRE. I then tried installing QuickTime and the XiphQT package, but still no joy. However, QT wouldn't play the video so maybe this didn't work. I notice that the Xiph website has not been updated since 2009, so maybe these are out of date.&lt;/p&gt;&#xA;" OwnerUserId="3107" LastActivityDate="2012-11-05T13:16:18.750" Title="Import Theora video into Premiere Elements" Tags="|premiere|windows|premiere-elements|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5236" PostTypeId="1" CreationDate="2012-11-02T21:39:16.500" Score="0" ViewCount="12910" Body="&lt;p&gt;Is there an easy way to open WMV files in Virtual Dub ? I came across &lt;a href=&quot;http://www.ehow.com/how_5011067_open-wmv-files-virtualdub.html&quot; rel=&quot;nofollow&quot;&gt;this tutorial&lt;/a&gt; but the plugin used in it if unavailable (page offline).&lt;/p&gt;&#xA;" OwnerUserId="2971" LastActivityDate="2012-11-17T20:02:42.883" Title="Opening WMV files in Virtual Dub" Tags="|virtualdub|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5237" PostTypeId="1" CreationDate="2012-11-02T23:32:48.780" Score="0" ViewCount="422" Body="&lt;p&gt;Not sure if I am allowed to ask the following question here or not as it's not clear from the FAQ&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to record a non stop 24 hour video and wanted to know if the following device can do that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/838579-REG/Samsung_HMX_F80BN_XAA_HMX_F80_Flash_Memory_Camcorder.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/838579-REG/Samsung_HMX_F80BN_XAA_HMX_F80_Flash_Memory_Camcorder.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This device has a SDXC so I should be able to get more than 24 hours non stop using a 128Gb card right?  So is there a limitation on SDXC cards?  Maybe 4.2Gb per file/video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming that the camcorder allows recording while plugged into the mains?&lt;/p&gt;&#xA;" OwnerUserId="463" LastActivityDate="2012-11-03T00:42:55.477" Title="24hour non stop recording in a single file on a 128Gb SDXC?" Tags="|file-formats|recording|camcorder|storage|" AnswerCount="1" CommentCount="1" FavoriteCount="0" ClosedDate="2012-11-05T18:46:04.880" ContentLicense="CC BY-SA 3.0" />
  <row Id="5238" PostTypeId="2" ParentId="5237" CreationDate="2012-11-03T00:42:55.477" Score="2" Body="&lt;p&gt;I don't have experience with that particular Samsung camcorder, but I did do some long term recording on an older Samsung camcorder. My camcorder had a time lapse mode that allowed it to capture a frame every minute or so. It would record while plugged in to A/C power. Although the camera used the FAT32 filesystem with 2GB file limits, it was able to span the recording across multiple files. As far as I could tell, the process was seamless.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2012-11-03T00:42:55.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5239" PostTypeId="2" ParentId="5231" CreationDate="2012-11-03T01:01:04.813" Score="1" Body="&lt;p&gt;I've seen a few reviews of the Retina display machines that suggest that the graphics chip has trouble pushing the display at full resolution. At this point, I think the Retina machines are better suited to the processing of static images for iPad development than for high-res video editing.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2012-11-03T01:01:04.813" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5241" PostTypeId="1" AcceptedAnswerId="5242" CreationDate="2012-11-03T07:00:17.697" Score="3" ViewCount="149" Body="&lt;p&gt;I hope I'm in the right forum for this question!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, I'm trying to create &lt;a href=&quot;http://www.youtube.com/watch?v=ViLDPBaIO-E#t=0m20s&quot; rel=&quot;nofollow&quot;&gt;this effect&lt;/a&gt;, where the camera zooms in on Simba's face and the background seems to zoom in at a different pace.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to know, first, what this effect is called. I want to see if I can recreate it in the opposite way. So basically, I want to make it seem like I'm zooming out in the same way this effect is zooming in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, I'd like to know where I can find out how to do this. I'm really a complete n00b at filming and I don't have any fancy filming material, just a basic camera that can record. I'd love some suggestions. :) Thanks a ton!&lt;/p&gt;&#xA;" OwnerUserId="3108" LastActivityDate="2012-11-03T10:03:16.423" Title="What is this filming technique called and how do I do it?" Tags="|effects|filming|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5242" PostTypeId="2" ParentId="5241" CreationDate="2012-11-03T10:03:16.423" Score="6" Body="&lt;p&gt;It's called a &lt;a href=&quot;https://en.wikipedia.org/wiki/Dolly_zoom&quot;&gt;dolly zoom&lt;/a&gt;, and you achieve it by moving the camera towards your subject and zooming out at the same time (or moving away and zooming in).&lt;/p&gt;&#xA;" OwnerUserId="2972" LastActivityDate="2012-11-03T10:03:16.423" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5243" PostTypeId="1" AcceptedAnswerId="5267" CreationDate="2012-11-03T18:06:45.370" Score="1" ViewCount="1090" Body="&lt;p&gt;I'm very much an amateur video maker, but I am trying to broaden my skill set a bit and start creating my own effects and short video clips to supplement the recordings I make in a more substantial way.  As an example, one of the first things I'd like to do is to make a small clip that functions a little bit like Megaman boss select screen of yore; moving a selector around some pictures and scrolling in a text label to briefly explain it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can handle the resources that go into it to a large extent; the portraits, the actual selector graphic, the text, all no problem.  However, I have no idea how to properly overlay and tie all this stuff together!  I'm most familiar with AviSynth and Lightworks, and I've pored over the documentation for both the best I know how.  It seems like I'm just missing out on a structure for the basic work flow.  Can anyone help me out with an approach to making basic animations and movies when you have a large amount of static content to go into it?&lt;/p&gt;&#xA;" OwnerUserId="3110" LastActivityDate="2012-11-10T23:09:08.083" Title="Creating effects/transitions in AviSynth or Lightworks" Tags="|video|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5252" PostTypeId="1" CreationDate="2012-11-05T09:10:40.133" Score="1" ViewCount="625" Body="&lt;p&gt;I want to change the opacity of the edge of an object so that when I render it and import to After Effects, it would match with the background video and feather at the edge of objects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cant place images yet.&lt;/p&gt;&#xA;" OwnerUserId="3115" LastEditorUserId="2569" LastEditDate="2012-11-05T20:26:35.110" LastActivityDate="2012-12-06T21:15:40.970" Title="3d max change the opacity of an object's edges rendered in After Effects." Tags="|after-effects|3d|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5255" PostTypeId="2" ParentId="5232" CreationDate="2012-11-05T13:16:18.750" Score="0" Body="&lt;p&gt;Currently it &lt;a href=&quot;http://forums.adobe.com/message/4817383&quot; rel=&quot;nofollow&quot;&gt;doesn't appear possible&lt;/a&gt; to directly import Ogg Theora video into Premiere Elements 10, however I did manage to convert the video to DNxHD/VC-3 so that PRE would handle it nicely (previous conversions had &lt;a href=&quot;http://www.youtube.com/watch?v=dDx3krqie9E&quot; rel=&quot;nofollow&quot;&gt;behaved very badly&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i out-48.ogv -s 1920x1080 -r pal -b 36M -threads 2 -vcodec dnxhd -acodec libmp3lame out-48.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://blog.jamiek.it/2012/11/encoding-ogv-files-to-edit-in-adobe.html&quot; rel=&quot;nofollow&quot;&gt;http://blog.jamiek.it/2012/11/encoding-ogv-files-to-edit-in-adobe.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3107" LastActivityDate="2012-11-05T13:16:18.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5264" PostTypeId="1" AcceptedAnswerId="5265" CreationDate="2012-11-06T00:01:13.217" Score="5" ViewCount="9073" Body="&lt;p&gt;We want to install HD IP cameras in our classrooms to record lectures and make them available online.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We are having a hard time finding the right one. Most are geared towards surveillance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any recommendations?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Room size: large classroom seating about 70 students&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camera specs required: Audio/in for wireless microphone, 1080p, data transfer over ethernet.&lt;/p&gt;&#xA;" OwnerUserId="3119" LastEditorUserId="3119" LastEditDate="2012-11-06T00:21:13.870" LastActivityDate="2017-08-15T12:17:42.643" Title="What camera to use for classroom/lecture recording?" Tags="|camera|" AnswerCount="1" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5265" PostTypeId="2" ParentId="5264" CreationDate="2012-11-06T00:04:55.807" Score="2" Body="&lt;p&gt;have a look at these (I don't know your price range so I leave options in the link):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.logitech.com/en-us/webcam-communications/webcams&quot; rel=&quot;nofollow&quot;&gt;http://www.logitech.com/en-us/webcam-communications/webcams&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more professional solutions:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.crestron.com/resources/product_and_programming_resources/catalogs_and_brochures/online_catalog/default.asp?jump=1&amp;amp;model=CAPTURELIVEHD&quot; rel=&quot;nofollow&quot;&gt;http://www.crestron.com/resources/product_and_programming_resources/catalogs_and_brochures/online_catalog/default.asp?jump=1&amp;amp;model=CAPTURELIVEHD&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;combined with:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.crestron.com/resources/product_and_programming_resources/catalogs_and_brochures/online_catalog/default.asp?cat=1058&amp;amp;subcat=1506&amp;amp;id=2220&quot; rel=&quot;nofollow&quot;&gt;http://www.crestron.com/resources/product_and_programming_resources/catalogs_and_brochures/online_catalog/default.asp?cat=1058&amp;amp;subcat=1506&amp;amp;id=2220&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorDisplayName="user2995" LastEditDate="2012-11-06T00:23:37.473" LastActivityDate="2012-11-06T00:23:37.473" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5267" PostTypeId="2" ParentId="5243" CreationDate="2012-11-06T03:47:12.437" Score="2" Body="&lt;p&gt;You will need so-called video composition software such as &lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;Adobe After Affects&lt;/a&gt; or even &lt;a href=&quot;http://en.wikipedia.org/wiki/Blender_%28software%29&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A few years ago Combustion was available which was very good for things like this, but Autodesk came along and purchased it, sucked it dry of blood, and put it in a drawer never to be seen again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AE comes with a price tag, while Blender is free (site &lt;a href=&quot;http://www.blender.org&quot; rel=&quot;nofollow&quot;&gt;http://www.blender.org&lt;/a&gt; appear to be down when I tested it now - see Wiki link above for information on it). Both have a pretty steep learning curve though if you never used composition software before. But there exist a lot of free learning material on the web to help you up and going.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: Adding some links to resources that hopefully can be of use:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After effects, layers, compositions - This will show how you can first create elements, then how to place them with different position and angle onto another video. The more relevant part starts from about 8:30 or so:&lt;br /&gt;&#xA;&lt;a href=&quot;http://library.creativecow.net/articles/rabinowitz_aharon/Jumbotron/video-tutorial&quot; rel=&quot;nofollow&quot;&gt;http://library.creativecow.net/articles/rabinowitz_aharon/Jumbotron/video-tutorial&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects introduction:&lt;br /&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This site gives you bucket loads of video tutorials on AE and composition effects, layers and so forth:  &lt;br /&gt;&#xA;&lt;a href=&quot;http://library.creativecow.net/&quot; rel=&quot;nofollow&quot;&gt;http://library.creativecow.net/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video editing with Blender (part 1):&lt;br /&gt;&#xA;&lt;a href=&quot;https://www.youtube.com/watch?v=1sODml0PBlo&quot; rel=&quot;nofollow&quot;&gt;https://www.youtube.com/watch?v=1sODml0PBlo&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Special video effects with Blender:&lt;br /&gt;&#xA;&lt;a href=&quot;https://www.youtube.com/watch?v=x3ytZrGJ1ZQ&quot; rel=&quot;nofollow&quot;&gt;https://www.youtube.com/watch?v=x3ytZrGJ1ZQ&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope these will be of help!&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorDisplayName="user2995" LastEditDate="2012-11-10T23:09:08.083" LastActivityDate="2012-11-10T23:09:08.083" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5270" PostTypeId="1" AcceptedAnswerId="5274" CreationDate="2012-11-06T09:55:11.120" Score="6" ViewCount="6805" Body="&lt;p&gt;I want to record video tutorials but I can't get the program to capture my screen with high quality, and not just that, when I try to edit it in After Effects scaling and positioning the fonts and window seem pixelized and doesn't look sharp. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="3123" LastEditorDisplayName="user2995" LastEditDate="2012-11-06T14:24:55.773" LastActivityDate="2016-04-30T15:20:17.697" Title="Software to capture high quality screen-casts" Tags="|after-effects|screen-casting|tutorial|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5271" PostTypeId="2" ParentId="5270" CreationDate="2012-11-06T10:12:14.923" Score="5" Body="&lt;p&gt;What are you using currently?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use &lt;a href=&quot;http://www.techsmith.com/camtasia.html&quot;&gt;Camtasia Studio&lt;/a&gt; and it works pretty well, I can record portions of the screen or the entire screen with the native screen resolution [1280x800].&lt;/p&gt;&#xA;" OwnerUserId="3124" LastActivityDate="2012-11-06T10:12:14.923" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5273" PostTypeId="2" ParentId="5252" CreationDate="2012-11-06T11:40:34.013" Score="0" Body="&lt;p&gt;You can use simplechoker module in After Effects to crop unmatched edges.&lt;/p&gt;&#xA;" OwnerUserId="3123" LastActivityDate="2012-11-06T11:40:34.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5274" PostTypeId="2" ParentId="5270" CreationDate="2012-11-06T11:51:27.887" Score="6" Body="&lt;p&gt;There are a lot of screen recording software, for example:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://camstudio.org/&quot;&gt;CamStudio&lt;/a&gt; (free)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://vegasaur.com/Screenpresso&quot;&gt;Screenpresso&lt;/a&gt; (free/paid versions)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://screencapture.movavi.org/&quot;&gt;Movavi Screen Capture Studio&lt;/a&gt; ($49.95)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.techsmith.com/camtasia.html&quot;&gt;Camtasia Studio&lt;/a&gt; ($299.00)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2012-11-06T11:51:27.887" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5278" PostTypeId="1" AcceptedAnswerId="5285" CreationDate="2012-11-06T22:08:30.847" Score="1" ViewCount="477" Body="&lt;p&gt;I purchased a 1100D/Rebel T3 as a starting DSLR.&#xA;I like the video aspect the most, but its quite limited.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have some low aperture lenses and I like them very much, but they make it difficult to focus  when something is moving around.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only option I have with this camera to change the aperture setting on video is... buying a different lens with a different minimum aperture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering what Canon DSLR allows me to change aperture in video mode?&lt;/p&gt;&#xA;" OwnerUserId="2862" LastActivityDate="2012-11-07T22:40:28.383" Title="Canon DSLR that changes aperture in Video" Tags="|video|dslr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5280" PostTypeId="2" ParentId="5270" CreationDate="2012-11-07T02:14:22.350" Score="4" Body="&lt;p&gt;I use &lt;a href=&quot;http://atomisystems.com&quot; rel=&quot;nofollow&quot;&gt;ActivePresenter&lt;/a&gt;. The best free screen recorder I've known. It contains everything you need to make a professional screencast.&lt;/p&gt;&#xA;" OwnerUserId="3127" LastActivityDate="2012-11-07T02:14:22.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5281" PostTypeId="5" CreationDate="2012-11-07T14:23:55.590" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2012-11-07T14:23:55.590" LastActivityDate="2012-11-07T14:23:55.590" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5282" PostTypeId="4" CreationDate="2012-11-07T14:23:55.590" Score="0" Body="A discrete electronic pathway.  In mixers, a destination channel that sums all signal that is assigned to it." OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2012-11-07T17:55:49.417" LastActivityDate="2012-11-07T17:55:49.417" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5285" PostTypeId="2" ParentId="5278" CreationDate="2012-11-07T22:40:28.383" Score="4" Body="&lt;p&gt;With canon the first DSLR that can do that is the 550d (you need to set the movie mode to manual in the settings otherwise it will adjust automatically).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However i would suggest something with a swivel screen (600d and up) because it's very useful while shooting video. The 60d and 7d have more options for video (frame rate for one) but it depends on your needs and budget if those are an option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this is helpful.&lt;/p&gt;&#xA;" OwnerUserId="3129" LastActivityDate="2012-11-07T22:40:28.383" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5289" PostTypeId="1" AcceptedAnswerId="5357" CreationDate="2012-11-08T19:59:41.927" Score="3" ViewCount="3944" Body="&lt;p&gt;I'm planning to make a video tutorial about one application. I would like to make it without speaking, but I would like to add comments to video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a video software that allows you to add comments, labels, arrows etc.. to clarify and highlight some things in the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wink seemed like one, but it is only available for linux as 32 bit binary.&lt;/p&gt;&#xA;" OwnerUserId="3133" LastEditorUserId="3133" LastEditDate="2012-11-18T10:36:15.453" LastActivityDate="2020-02-23T11:48:24.480" Title="Video tutorials: how to add labels, comments, arrows etc" Tags="|video|software|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5291" PostTypeId="1" CreationDate="2012-11-08T21:12:42.463" Score="7" ViewCount="6244" Body="&lt;p&gt;I have an image file (png) and an audio file (aiff).  How do I combine them to make a video file that shows the still image and plays the audio file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Target operating system: either OS X Lion or Ubuntu, using only free software, must be command-line driven (no GUI solutions please).  Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="3134" LastEditorUserId="3134" LastEditDate="2012-11-08T21:18:03.887" LastActivityDate="2013-01-17T00:29:33.327" Title="How to make a video from a still image and an audio file?" Tags="|video|audio|osx|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="5294" PostTypeId="2" ParentId="5289" CreationDate="2012-11-09T05:00:31.673" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.techsmith.com/camtasia.html&quot; rel=&quot;nofollow&quot;&gt;Camtasia Studio&lt;/a&gt; (and many others) is such a software (for Windows, you didn't state OS).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a screen recorder which in post allow you to add labels, pop-outs, arrows, text-boxes, zooms and pans etc, as well as letting you do basic editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am recommending this one because I have personal experience with it, but that isn't to say other similar software isn't as good or worse/better.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2012-11-09T05:00:31.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5296" PostTypeId="1" CreationDate="2012-11-09T11:49:38.023" Score="1" ViewCount="287" Body="&lt;p&gt;Following &lt;a href=&quot;http://www.my-guides.net/en/guides/general-video/154-how-to-embedhardcode-subtitles-in-your-videos-using-virtualdub&quot; rel=&quot;nofollow&quot;&gt;this tutorial&lt;/a&gt; I installed VobSub in my VD folder, selecting the VobSub and TextSub options in the installation process. Then in 'VD &gt; Video &gt; Filters' I added the TextSub filter and picked my subtitles. I could then see the subtitles displayed in the video. Finally, I picked 'Video &gt; Normal recompress' and chose Xvid in 'Video &gt; Compression'. I saved as AVI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The resulting file should include embedded subtitles, yet this is not the case. Why not ?&lt;/p&gt;&#xA;" OwnerUserId="2971" LastActivityDate="2012-11-09T11:49:38.023" Title="Embedding subtitles with Virtual Dub" Tags="|virtualdub|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5297" PostTypeId="1" CreationDate="2012-11-09T16:36:16.673" Score="3" ViewCount="401" Body="&lt;p&gt;I'm trying to setup a way to do video conferencing between two individuals. The tricky part is that the users need to be able to touch the screen and have the other user see their hand on their end. The only way this will work is if the camera is behind the screen filming through it. This has led us to this theoretical setup: camera + projector on one side of a transparent screen / person on the other side.&#xA;The issues that we've run into are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;we don't know of a screen material that will allow for a rear projector that will also allow the filming through it&lt;/li&gt;&#xA;&lt;li&gt;the image being projected onto the individual&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Please let me know if there are any screens that come to mind or an alternative setup or if I should stop right now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="3135" LastActivityDate="2012-11-12T01:00:26.100" Title="Tricky full body video conferencing" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5301" PostTypeId="2" ParentId="5291" CreationDate="2012-11-10T01:03:39.583" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.itforeveryone.co.uk/image-to-video.html&quot; rel=&quot;nofollow&quot;&gt;This article&lt;/a&gt; looks like it'll get you close.  Doesn't include the audio, but that honestly sounds easier than converting the images to video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Excerpt:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ImageMagick and ffmpeg combined can be used to turn still images into&#xA;  video. Both ImageMagick and ffmpeg have been around for years, and are&#xA;  readily available as packages with most Linux distributions. The tips&#xA;  below allow you to convert images on the command line, which for a may&#xA;  appear to be time consuming, but once you know how to do it you'll&#xA;  find it much faster than using a GUI!&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="2569" LastActivityDate="2012-11-10T01:03:39.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5302" PostTypeId="1" AcceptedAnswerId="5303" CreationDate="2012-11-08T00:00:40.560" Score="0" ViewCount="69" Body="&lt;p&gt;I want to start out by saying I am not doing this now or in the very near future. however, it is something I would like to do and wish to do. &#xA;I tried google but found nothing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I video record other people performing musical sets at competitions and charge to let people stream those videos online?&#xA;The subject are Pipe Band competitions. The BBC records &amp;amp; shows the World championships every year, however this is in corrolation with the RSPBA (Royal Scottish Pipe Band Assosciation) who organise and run these events. The RSPBA also make a yearly DVD of the &quot;Worlds&quot; which they sell.&#xA;However, the &quot;Worlds&quot; is one of 5 yearly major championships and (bad quality) videos from those other 4 (and the worlds) get good views. I thought about perhaps videoing the bands perform and charging for a pass to a website where people can watch the videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although I think that it may be illegal to sell videos of other people performing? Especially if the event is organised by the RSPBA who may own rights by default? &#xA;Lastly, I'd like to add that I am in the UK.&lt;/p&gt;&#xA;" OwnerUserId="3148" OwnerDisplayName="Guth" LastEditorUserId="2836" LastEditDate="2013-12-30T15:51:12.953" LastActivityDate="2013-12-30T15:51:12.953" Title="Can I charge to view videos of other people performing?" Tags="|video|live-performance|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5303" PostTypeId="2" ParentId="5302" CreationDate="2012-11-08T00:41:22.267" Score="2" Body="&lt;p&gt;&lt;strong&gt;Disclaimer:&lt;/strong&gt; I am not a lawyer, this is not legal advice, just my understanding of common application of copyright law. Copyright law varies between countries and even within countries, so you should consult a lawyer who is familiar with the copyright law in any relevant jurisdictions before proceeding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You would need permission from the performers and may also need to pay a fee for reproduction of the music or any other copyright aspects of the performance (this can include lighting effects, dance moves, or any other creative aspects of the performance).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The performance itself would be copyright by the performing group, whoever is paying them to perform, or whoever organised the event, so you would first need their permission to reproduce the performance. This of course may involve a licensing agreement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The music they are playing might also be subject to copyright, depending on how old it is, so you may need to pay the owner of said rights to reproduce it (yes, even though its someone else performing).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other aspects of a performance can also be copyright; things like dance moves, lighting effects, any other video/music playing that might be visible, costumes, props, any artworks or even advertisements visible in the video. That said, may all be owned by the event organiser/producer so that may simplify things. But it can be harder in a public space to get permission from all relevant parties.&lt;/p&gt;&#xA;" OwnerUserId="3141" OwnerDisplayName="drfrogsplat" LastActivityDate="2012-11-08T00:41:22.267" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5306" PostTypeId="2" ParentId="5297" CreationDate="2012-11-11T10:15:34.823" Score="2" Body="&lt;p&gt;You will need a one-way mirror for this. It's related to something called &lt;a href=&quot;https://en.wikipedia.org/wiki/Front_projection_effect&quot; rel=&quot;nofollow noreferrer&quot;&gt;front projection&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This setup is typically, except from the touch part, used with auto-cues (text projected in front of a camera that f.ex. a news anchor reads from appearing looking into the camera).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ogAb3.jpg&quot; alt=&quot;One-way mirror setup&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a full body you would of course need a bigger mirror and you would need to project the image from top (or side), turn the mirror 90 degrees so it reflect what comes from top (or side), as well as a layer between the projector and mirror (can be as simple as a cloth)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/4djcV.jpg&quot; alt=&quot;One-way mirror full body setup&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In addition to that, you would need a video mixer so you can super-impose/mix in the interface that is supposedly touched (same as the projected image from the TV or projector) (alt. do it in post with composition/video editing software).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The tricky part is to get the overlayed video (the user-interface) synchronized with the touches from the talent. You would need initially to perform some calibration, f.ex. an image with fixed corners and a center that is projected while the talent touches these spots. Then scale/zoom/place video/camera to match the super-imposed image that is projected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other tricky part is the lighting conditions. The room need to be relative dark for the mirror to work properly at the same time as the talent is properly lit for the camera. You can darken the area behind and around the mirror with black colored textile in addition to turn off all none-talent lights and so forth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorDisplayName="user2995" LastEditDate="2012-11-12T01:00:26.100" LastActivityDate="2012-11-12T01:00:26.100" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5307" PostTypeId="1" AcceptedAnswerId="5315" CreationDate="2012-11-11T17:37:30.213" Score="9" ViewCount="26873" Body="&lt;p&gt;After losing a backup device with a bunch of my original videos I've had to download a large number of them (~300) back from Youtube. The new downloads are a mix of MP4 and FLV, and the originals are a mix of almost any video format due to lots of experimenting. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make matters worse there's no clear cutoff for when my local copies disappeared; I've found a point in my youtube videos chonologically where I have some of the videos and I don't have others. I've been trying to manually weed out videos where I already have a copy, but with this many videos I'm sure I've missed some.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I effectively go through several hundred videos of different formats and weed out duplicates? The names will be similar but not identical. The formats may be different, and the file size may be different due to that (and or encoding differences). The file lengths should be the same, and visually the videos should be similar enough, but I'm not sure there's any tool to sort that out visually. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I doomed to go through the list based on running time and manually look for duplicates or is there a better way?&lt;/p&gt;&#xA;" OwnerUserId="2210" LastActivityDate="2022-03-16T13:25:00.893" Title="How can I find duplicate videos from a large set of videos of varying formats?" Tags="|video|" AnswerCount="6" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5308" PostTypeId="2" ParentId="5307" CreationDate="2012-11-11T22:30:45.113" Score="4" Body="&lt;p&gt;Video recognition software is I would say, a niche market which means you will either find very expensive software and/or software that &lt;a href=&quot;https://web.archive.org/web/20130813180741/http://www.forensic-pathways.co.uk/products-and-services/videntifier&quot; rel=&quot;nofollow&quot;&gt;targets government&lt;/a&gt;, movie industry and so forth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It works by &quot;finger printing&quot; video so it can recognize the video despite different formats, compressions, cropping etc. This ability is not so common in the non-forensic world (at least not yet).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did try to find something that is targeting consumers but was not able to find any. There do exists APIs (programming interfaces) that provides technology for doing this, and even free, but you will need to develop the software to use it yourself which I am fairly certain is beyond the scope of what you're asking for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So in conclusion, unless you want to spend a noticeable amount of money on specialized software you will need to go through the stack manually. However, in my link above you will find a trial version of such software so you can see if that is what you're looking for and if it works for your purpose.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorUserId="-1" LastEditDate="2016-05-08T12:22:59.757" LastActivityDate="2016-05-08T12:22:59.757" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5309" PostTypeId="2" ParentId="2809" CreationDate="2012-11-12T03:04:43.887" Score="0" Body="&lt;p&gt;I believe &lt;a href=&quot;http://media-converter.sourceforge.net/index.html&quot; rel=&quot;nofollow&quot;&gt;Media Converter&lt;/a&gt; can do this using one of the &lt;a href=&quot;http://media-converter.sourceforge.net/presets.html&quot; rel=&quot;nofollow&quot;&gt;Re-Wrap AVCHD for Quicktime presets&lt;/a&gt;. Not sure what format you want your audio in, but one of them is PCM uncompressed. I've just modified the preset to AAC for my own purposes though.&lt;/p&gt;&#xA;" OwnerUserId="3141" LastActivityDate="2012-11-12T03:04:43.887" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5311" PostTypeId="1" AcceptedAnswerId="5323" CreationDate="2012-11-13T05:10:10.587" Score="3" ViewCount="95" Body="&lt;p&gt;Our church is trying to move into the 21&lt;sup&gt;st&lt;/sup&gt; century.  We have the opportunity to apply for a grant of up to $20,000 ($10,000 would be more likely to succeed) for equipment purchases.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We need to be able to accomplish two things. First, to stream our Sunday morning service along with recording for our archive.  Second, to host video conferences as a remote site. The Diocese (bigger entity over us) is already setup with MegaMeeting, we just need the equipment to send and receive audio and video to MM in real time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given the above, I know I need a Video Camera (or two), a few more Mics, a dedicated computer, and the equipment to hook them all together.  It is the last part that I am not sure about.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm fairly certain that once I get audio and video into the computer I can get it out to the web, what I need to know is how to mix it all together.&lt;/p&gt;&#xA;" OwnerUserId="3144" LastActivityDate="2012-11-13T23:24:11.540" Title="Getting Started with Webcasting and Video conferencing" Tags="|hardware|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5312" PostTypeId="1" CreationDate="2012-11-13T08:10:28.860" Score="6" ViewCount="3672" Body="&lt;p&gt;I have a hand drawn image. How can I create a video out of it like this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/v2U-nyTpHDY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What other options would you recommend? I want to create a presentation&lt;/p&gt;&#xA;" OwnerUserId="3145" LastEditorUserId="2569" LastEditDate="2012-11-13T15:31:31.410" LastActivityDate="2014-05-16T15:16:23.497" Title="create video from hand drawing" Tags="|video|time-lapse|" AnswerCount="5" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5313" PostTypeId="2" ParentId="5312" CreationDate="2012-11-13T08:26:18.273" Score="3" Body="&lt;p&gt;To create video from hand drawn images, you will need to prepare yourself for drawing a lot more images, as you likely need one for every frame, which you then photograph as a single image. When there images are combined you get the effect of movement. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a lot like the old fashioned flick books we used to draw at school- with a slightly changed picture at the corner of each page so that when you riffle the pages you get the effect of continuous movement. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are some video packages that will let you build a virtual model and overlay your images onto the model so you can animate it etc. But you will be talking big bucks, and steep learning curves. &lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-11-13T08:26:18.273" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5314" PostTypeId="2" ParentId="5312" CreationDate="2012-11-13T08:26:46.107" Score="3" Body="&lt;p&gt;One way to do this:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;You need a drawing board (Wacom or similar)&lt;/li&gt;&#xA;&lt;li&gt;Record screen while drawing on the table with a screen-recording software. Only the drawing surface on the screen.&lt;/li&gt;&#xA;&lt;li&gt;Then record some small segments with your arm holding a pen over a green or blue sheet of paper that is evenly lit.&lt;/li&gt;&#xA;&lt;li&gt;in a video composition software make a matte for the arm&lt;/li&gt;&#xA;&lt;li&gt;Put the arm with the pen over the recorded screen capture and animate it so that the pen appear to follow the line. Variate to make it look realistic.&lt;/li&gt;&#xA;&lt;li&gt;Speed up everything&lt;/li&gt;&#xA;&lt;li&gt;Render out to finished video&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;UPDATE: To demo what's described, this will be about the result (although simplified demo, you will see the basic principle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/AfgG2iqf-xA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorDisplayName="user2995" LastEditDate="2012-11-14T10:37:22.900" LastActivityDate="2012-11-14T10:37:22.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5315" PostTypeId="2" ParentId="5307" CreationDate="2012-11-13T15:16:55.360" Score="13" Body="&lt;p&gt;I'd recommend a hybrid approach using both computers and people.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Bucket the videos by their length (round to the nearest second)&lt;/li&gt;&#xA;&lt;li&gt;For each bucket, use ffmpeg to &lt;a href=&quot;http://blog.prashanthellina.com/2008/03/29/creating-video-thumbnails-using-ffmpeg/&quot;&gt;generate thumbnails&lt;/a&gt; at a predictable and uniform point in the videos (ex: a frame from 10 seconds into the video)&lt;/li&gt;&#xA;&lt;li&gt;Look at the generated thumbnails in a grid (most OS's provide a nice thumbnail view) and scan for duplicates to remove.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;You shouldn't have to do any programming to perform these steps, though creating the thumbnails on the command line with ffmpeg may take some finesse.  Good luck!&lt;/p&gt;&#xA;" OwnerUserId="3134" LastActivityDate="2012-11-13T15:16:55.360" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="5317" PostTypeId="1" AcceptedAnswerId="5320" CreationDate="2012-11-13T16:22:00.540" Score="9" ViewCount="1911" Body="&lt;p&gt;I'm recording video game footage via lossless methods, after which I need to compress them and upload them to youtube. I'm not sure which format and/or codecs are best for this. I've been experimenting with various formats and I've found MP4 (and whatever Camtasia 7 uses as a codec for that) to be mostly effective, but the quality varies by game.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Particularly I've noticed that lower-motion games like platforming games (Super Mario) or RPGs (Final Fantasy) seem to be fine no matter what format they're in; few &quot;blocky&quot; compression artifacts, almost no issues due to how often key-frames are used. But higher motion games, especially First Person Shooters (Halo) and scrolling shooters (Gradius) suffer relatively severe issues with &quot;ghost&quot; images between keyframes and generally blocky or choppy video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Is there a generally acceptable video codec for high motion gameplay footage?&lt;/strong&gt; I want to absolutely minimize compression artifacts like ghost images between keyframes, blocks of colors, etc. To maximize quality my recordings are at 30 FPS, 32 bit RGB at naitive resolution and file size isn't a major limiting factor (but I'd like to keep files under 1 GB due to low upload speeds). So assume the source file is basically pristine. How should I compress these high quality source files of full motion gameplay &lt;strong&gt;to be uploaded on youtube?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To reiterate the general requirements:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Lossless or high quality source file at 30 FPS, 32 bit RGB&lt;/li&gt;&#xA;&lt;li&gt;Full motion recording, minimal compression artifacts wanted&lt;/li&gt;&#xA;&lt;li&gt;Resolution only limited by the game's res; generally 480p, 720p or 1080p, occasionally weird resolutions when a game requires them (but if those come out less-awesome it's not a big deal, I accept that those are problematic).&lt;/li&gt;&#xA;&lt;li&gt;Youtube will receive and process the final product, so their processing determines the final quality. I want something that Youtube will butcher the least (their videos do not always match my upload file's quality and I'm not sure why)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If it matters I'm using Camtasia Studio to edit/render the video before uploading, and I use a combination of Camtasia Studio and Fraps to record videos. I have the K-Lite Full codec pack on my PC, so Youtube is the major limiting factor for codecs. Fraps records lossless, and Camtasia &lt;em&gt;can&lt;/em&gt; be lossless but I've been taking to DivX for encoding the initial recording in  Camtasia. My videos are at the whim of Youtube's re-encoding process for the final product as well, but I'm not sure exactly what they use for that.&lt;/p&gt;&#xA;" OwnerUserId="2210" LastEditorUserId="2210" LastEditDate="2012-11-13T16:32:50.873" LastActivityDate="2012-11-13T20:45:12.443" Title="What codecs/formats are appropriate for full motion video recording for youtube?" Tags="|video|file-formats|codec|video-quality|youtube|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5318" PostTypeId="1" CreationDate="2012-11-13T17:35:27.870" Score="32" ViewCount="54466" Body="&lt;p&gt;Related to &lt;a href=&quot;https://video.stackexchange.com/questions/5317/what-codecs-formats-are-appropriate-for-full-motion-video-recording-for-youtube&quot;&gt;What codecs/formats are appropriate for full motion video recording for youtube?&lt;/a&gt; I'm wondering exactly how I can expect Youtube to handle my videos. I know they have a rather zealous processing set up that generates multiple copies of my upload at different resolutions; 1080p, 720p and 480p and apparently a mobile one, at the very least.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What codec(s) do they use? As a producer I have an option to download the file as an MP4; however I note a third party downloader (which is extremely shady and crappy) brings the files down as FLV. I'm basically wondering if my codec is going to be preserved or overwritten with H.264 or whatever they use. Considering their amazing compatibility across devices I assume they either use a very common standard or multiple codecs for each video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what codec can I expect my videos to be output in, and if it depends, what does it depend on? Should I adjust my own encoding to &quot;play nice&quot; with Youtube's codec, or does it matter, quality-wise? I know I can throw pretty much anything on Youtube and it will take it, so I'm mostly concerned with video quality.&lt;/p&gt;&#xA;" OwnerUserId="2210" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2020-09-29T16:20:42.743" Title="How does YouTube encode my uploads and what codec should I use to upload?" Tags="|video|codec|youtube|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5320" PostTypeId="2" ParentId="5317" CreationDate="2012-11-13T20:45:12.443" Score="4" Body="&lt;p&gt;Personally I always choose MP4 container and the H.264 codec as this is also the codec YouTube uses in the final video stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What key-frame rates and compression you need really depends on the footage and it's unfortunately close to impossible to give as a generic answer for this reason.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a lot of movements you will need key-frames more often as well as lower compression. This will of course result in larger file sizes as a key-frame is basically a full frame image. There are only costly compromises for this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How much you need to compress depends on the frame size, the bit-rate that will be used, f.ex. there is no point in compressing at a high bit-rate if YouTube then re-compress to match their max output bit-rate, which again means even worse quality due to re-compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I should recommend a generic compromise it would be to reduce the frame size from 1920 x 1080 to 1280 x 720 instead. A viewer won't notice small details if there are a lot going on in the movie. It of course depends on which eyes one uses, the viewer's eye or the producer's eye. What I'm trying to say is that there is the factor of &quot;psychology&quot; you can use as well. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You won't need 32 bits. 32-bit is just 24-bit RGB with 8-bits for an alpha channel. You should record and process in 24-bit in cases as this. This will save you some file size and processing time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camtasia uses it's own proprietary codec so you will always need to re-compress to another non-lossy or lossy format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically it comes down to trial and error approach, and then experience from that, as each individual video may require a different approach. I saw a similar post here with a link to YouTube guide-lines. Check them out and use them as a basis for settings (especially bit-rate settings).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also try not to think of the movie in terms of technical perfection but rather how a viewer will view it and for what reason (is the content interesting enough then quality matters less, think news-reports).&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2012-11-13T20:45:12.443" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5321" PostTypeId="1" CreationDate="2012-11-13T21:24:44.793" Score="1" ViewCount="130" Body="&lt;p&gt;I would like to calculate the projected area of an object in Cinema 4D R12 on the Mac. Initially I am fine with calculating the projected area on one of the principal planes, but if a method exists where I can choose my object and a plane on which the projected area should be calculated this would be exquisite.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am willing to learn python, COFFEE and/or Xpresso to accomplish this. &lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="2569" LastEditDate="2012-11-13T21:28:19.537" LastActivityDate="2012-11-13T21:28:19.537" Title="Calculate projected area in Cinema 4D" Tags="|software|3d|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5323" PostTypeId="2" ParentId="5311" CreationDate="2012-11-13T23:24:11.540" Score="2" Body="&lt;p&gt;&lt;a href=&quot;http://www.blackmagicdesign.com&quot; rel=&quot;nofollow&quot;&gt;Blackmagic&lt;/a&gt; and &lt;a href=&quot;http://new.livestream.com&quot; rel=&quot;nofollow&quot;&gt;Livestream&lt;/a&gt; are your friends :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You probably want to get 3 cameras - one for the priest, one for roaming action shots and one for the audience. You'll need a whole bunch of microphones and an audio mixer. But you probably already know all this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Buy a &lt;a href=&quot;http://www.blackmagicdesign.com/products/atemtelevisionstudio/&quot; rel=&quot;nofollow&quot;&gt;Blackmagic TV Studio&lt;/a&gt; and buy a &lt;a href=&quot;http://store.livestream.com/products/livestream-broadcaster&quot; rel=&quot;nofollow&quot;&gt;Livestream Broadcaster&lt;/a&gt; - plug the TV Studio's HDMI output into the Livestream Broadcaster and plug a computer into the TV Studio's ethernet port. You use the computer to control the switching between cameras and the Livestream Broadcaster spits it out to the Internet using Livestream's servers. Make sure where you're broadcasting from has a fast Internet connection.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lots of churches seem to have projectors these days, so you can plug the output from your projector's source (use a splitter of some sort, and a scaler to match the frame specs as the cameras) into the TV studio too, and add what's on the projector into the mix as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can replace the Livestream Broadcaster with a computer, but the Livestream Broadcaster is cheaper, more flexible and more reliable, in my opinion. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess this is a starting point - but if you want more info, just post and I'll answer any questions :)&lt;/p&gt;&#xA;" OwnerUserId="1725" LastActivityDate="2012-11-13T23:24:11.540" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5325" PostTypeId="1" CreationDate="2012-11-14T04:36:06.430" Score="8" ViewCount="2375" Body="&lt;p&gt;I am trying to prepare a collection of ~120 video clips to be played in VLC Player and projected on a low-res (1024x768) projector during a DIY electronic music event.  The source clips are all super hi-res abstract visuals in .mov format, about 4GB each.  They are of various aspect ratios.  Some are 4:3, others are 16:9, others are 1:1 (square) etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to crop / scale all of the clips to 1024x768 while maintaining their respective original aspect ratios.   And, I would like to do so &lt;em&gt;without&lt;/em&gt; letterboxing them and leaving black bars either at the top/bottom or left/right.  Basically what I would like to do is to reduce them to the point where they entirely fill the 1024x768 screen, and no smaller.  I believe that is essentially a &quot;pan and scan&quot; technique?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(It doesn't matter if part of the image is removed in the process - they're just spinning geometric shapes and such.)  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some way I can resize all ~120 videos in batch using a single FFMPEG command?  Or, is there another tool for Windows or Linux that would work?  I don't really care what output format - just something that VLC can play without getting choppy.&lt;/p&gt;&#xA;" OwnerUserId="3149" LastActivityDate="2019-02-11T18:59:24.627" Title="Batch resize videos with &quot;pan and scan&quot; cropping" Tags="|video|software|conversion|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5332" PostTypeId="2" ParentId="4638" CreationDate="2012-11-14T21:15:32.333" Score="2" Body="&lt;p&gt;It seems to me from a high level, two things. First off your project settings in FCP do not match your source materials. First off you should transcode one of your two sources to a common format so you are dealing with only one aspect ratio and frame size, it may require cropping or scaling down some of the larger content to match the smaller one (i.e. bring the 960x540 down to 720x432 so that the width of that clip is the same width as your PAL source, not the other way or you will get fuzzy resolution)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next set up your sequence setting, to match your source 720x576. &#xA;Usually when you drag a clip to FCP new sequence in FCP 6.06 the dialog message in fcp will offer to create sequence settings to match your clip, do it, just pick the lower res clip, and scale down the high res ones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you bring in the 720x432 (formerly 960x540) you will need to adjust aspect manually in FCP for that clip (double click on your clip in timeline, click motion tab, then adjust/play with the distort Aspect Ratio slider) , there will be a little black on top or bottom of the clip, but at least that way you are no blowing out and scaling up the PAL content, and you can manually adjust aspect if needed.&lt;/p&gt;&#xA;" OwnerUserId="3153" LastActivityDate="2012-11-14T21:15:32.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5335" PostTypeId="2" ParentId="4904" CreationDate="2012-11-14T22:23:58.970" Score="6" Body="&lt;p&gt;To force a keyframe at the 00:00:00.000 time code, you should try using the following flag:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-force_key_frames 00:00:00.000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3154" LastEditorUserId="14523" LastEditDate="2019-03-24T14:14:14.507" LastActivityDate="2019-03-24T14:14:14.507" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="5345" PostTypeId="2" ParentId="4543" CreationDate="2012-11-16T02:56:48.393" Score="4" Body="&lt;p&gt;A lot of commercials involving electronic devices, like Apple advertisements, usually have simulated screens. This is usually done in After Effects or 3D software like 3ds Max or Cinema 4D.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do this animation and screen replacement yourself if you have the software and knowledge required. If you are an After Effects or 3D beginner, there are tutorials that can help you and ready-made project files you can download and add your app's footage to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example Commercial: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/hEdZ-Ru_4yk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; - &#xA;Download Commercial Template: &lt;a href=&quot;http://videohive.net/item/tablet-commercial/166585&quot; rel=&quot;nofollow&quot;&gt;http://videohive.net/item/tablet-commercial/166585&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps! Let me know if you have any questions.&lt;/p&gt;&#xA;" OwnerUserId="3161" LastActivityDate="2012-11-16T02:56:48.393" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5346" PostTypeId="2" ParentId="4644" CreationDate="2012-11-16T03:14:28.463" Score="3" Body="&lt;p&gt;It sounds like you've switched over to Active Camera in your Composition window.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may need to switch the Composition viewport window to the camera you wish to use. Do this by selecting the camera in the dropdown menu at the bottom of the Composition window.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Bw3SU.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="3161" LastActivityDate="2012-11-16T03:14:28.463" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5352" PostTypeId="2" ParentId="5236" CreationDate="2012-11-17T20:02:42.883" Score="1" Body="&lt;p&gt;There is a mirror for the plugin used below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://gral.y0.pl/~fcchandler/&quot; rel=&quot;nofollow&quot;&gt;http://gral.y0.pl/~fcchandler/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And an alternative plugin based on ffmpeg : &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://code.google.com/p/ffinputdriver/downloads/list&quot; rel=&quot;nofollow&quot;&gt;http://code.google.com/p/ffinputdriver/downloads/list&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3169" LastActivityDate="2012-11-17T20:02:42.883" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5357" PostTypeId="2" ParentId="5289" CreationDate="2012-11-18T10:36:01.197" Score="0" Body="&lt;p&gt;My solution was to use Youtube's video editing tools to add annotations and comments. Thanks to other comments!&lt;/p&gt;&#xA;" OwnerUserId="3133" LastActivityDate="2012-11-18T10:36:01.197" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5358" PostTypeId="2" ParentId="3876" CreationDate="2012-11-18T12:09:14.187" Score="9" Body="&lt;p&gt;ffmpeg has removed their x264 presets so the -vpre setting doesn't work any more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, I have a script for converting video files to a format my Cellphone can handle.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -sws_flags lanczos+accurate_rnd -vf &quot;scale=320:240&quot; -c:v libx264 -crf 20 -preset veryslow -profile:v main -tune fastdecode -c:a copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'll explain each option&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-sws_flags lanczos+accurate_rnd&lt;/code&gt; this option is the downscaling algorithm, lanczos is recommended as it produces the least artifacts without bluring but it is slow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-vf &quot;scale=...&quot;&lt;/code&gt; is self explanatory specify the output resolution&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-crf 20&lt;/code&gt; this is the quality, 20 is a good final (don't use it before editing) output setting, this is constant quality and is the best option when file size isn't tight and will produce better quality at lowest file size than anything else, otherwise use two pass for maximum quality at a specific file size(like needing to fit it on a CD or DVD), fixed bitrate (ex. &lt;code&gt;-b 2000k&lt;/code&gt;) should only be used when streaming, a special case is '0' which is lossless and range of this option is from 1 (highest quality) to 50 (lowest quality).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A good test for this is to run through the encode with -crf 20 take note of the bitrate, and then use that as the -b setting for a 2nd version of the file both should be the same file size, compare the two for quality differences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://mewiki.project357.com/wiki/X264_Settings#Presets&quot;&gt;&lt;code&gt;-preset veryslow&lt;/code&gt;&lt;/a&gt; this chooses how much CPU you want to use, the slower it is the smaller the file size and better quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-profile:v main&lt;/code&gt; this is the &lt;a href=&quot;http://en.wikipedia.org/wiki/H.264/MPEG-4_AVC#Profiles&quot;&gt;H.264 profile&lt;/a&gt; to use. high is the most efficient file size wise but uses lots of CPU to decode compared to the other formats, that being said its the most popular as most cellphones have a hardware decoder built in and flash player supports it, mine does not so I have to use main.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-tune fastdecode&lt;/code&gt; my cellphone doesn't like playing the files without this option, but usually this can be left blank or set to 'film' for videos games, the main reason you use this is to get a little extra quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And last thing I would highly recommend using a modern container format .avi isn't designed to hold H.264 and from what I understand there's no standard for storing H.264 or making the file larger than 2GB, most implementations are hacks and prone to have problems, use mkv or mp4.&lt;/p&gt;&#xA;" OwnerUserId="3170" LastActivityDate="2012-11-18T12:09:14.187" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5359" PostTypeId="1" AcceptedAnswerId="5376" CreationDate="2012-11-18T12:33:34.167" Score="3" ViewCount="3411" Body="&lt;p&gt;I'm sure someone out there must have done this before, but how do I create a countdown timer with hours, minutes and seconds that starts from a specific time and counts down at 71.928x speed?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;71.928x because I took one frame every 3 seconds and I'm playing it back at 23.976fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried using text expressions but to no avail.&lt;/p&gt;&#xA;" OwnerUserId="3171" LastActivityDate="2012-11-20T20:43:00.297" Title="Timelapse Countdown Timer in After Effects" Tags="|after-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5361" PostTypeId="1" AcceptedAnswerId="5374" CreationDate="2012-11-19T14:39:34.363" Score="2" ViewCount="12771" Body="&lt;p&gt;I'm not sure the best way to explain the scenario so I'll do my best, please don't hesitate to ask if I'm missing something obvious to help build the picture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is I've edited a video in Premiere (CS6) and when I export it part of the audio is missing and I cant seem to find any reason why.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The audio that is missing is at the start and end of the video, it's a stereo piece of music. The rest of the audio is mono (and renders out no problem). When I'm playing back the preview everything plays as expected, nothing seems to be muted or turned down. The settings on the export are set to match the quality of the music track that is missing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas why I can't get that audio to render? It's really frustrating! Cheers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: I've tried rendering in different formats and sample rates. No joy.&lt;/p&gt;&#xA;" OwnerUserId="3177" LastEditorUserId="3177" LastEditDate="2012-11-20T13:33:37.250" LastActivityDate="2023-07-26T18:07:28.610" Title="Certain audio tracks not rendering" Tags="|audio|premiere|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5362" PostTypeId="2" ParentId="5312" CreationDate="2012-11-19T21:50:33.130" Score="3" Body="&lt;p&gt;Here is a fast and basic workflow using Adobe Illustrator and After Effects, basic knowledge is needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Convert your cartoons or artworks to vectors first, probably in Adobe Illustrator. Then select the paths and copy them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Adobe After Effects create a new composition and a new solid layer (any color). Select your solid and paste (Cmd or Ctrl + V) your paths. This will create masks on your solid layer and your solid layer will look like your Vector graphics.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select your solid and apply &lt;code&gt;Effect &amp;gt; Generate &amp;gt; Stroke&lt;/code&gt;. In &lt;code&gt;Effect Controls&lt;/code&gt; panel you need to modify some of the Stroke Effect's parameters:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Check &lt;code&gt;All Masks&lt;/code&gt; option&lt;/li&gt;&#xA;&lt;li&gt;Check &lt;code&gt;Stroke Sequenially&lt;/code&gt; option&lt;/li&gt;&#xA;&lt;li&gt;Select &lt;code&gt;On Transparent&lt;/code&gt; under &lt;code&gt;Paint Style&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Edit the &lt;code&gt;Color&lt;/code&gt;, &lt;code&gt;Brush Hardness&lt;/code&gt;, &lt;code&gt;Opacity&lt;/code&gt; and &lt;code&gt;Brush Size&lt;/code&gt; parameters to meet your taste.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Now you must add keyframes to the &lt;code&gt;End&lt;/code&gt; parameter to animate your illustration. On frame 0 (or 1) add a keyframe with a value of 0%. Move a few seconds (or the length of your desired animation), set another keyframe with a value of 100%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your illustration is now animated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need the hand, you can either find a stock footage or take a photo of your hand holding a pen. Cut it out in Photoshop/GIMP etc. Then you can animate it in After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have many options to do that animation but if you are a novice, there are no easier methods to create an OK result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: By the way, if you need to scale your illustration up, your layer's &lt;code&gt;Continuously Rasterize&lt;/code&gt; switch should be turned on to maintain the smoothness. It's that sun like icon, I can not add a screenshot at the moment :)&lt;/p&gt;&#xA;" OwnerUserId="3179" LastEditorUserId="3179" LastEditDate="2012-11-19T21:57:44.577" LastActivityDate="2012-11-19T21:57:44.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5363" PostTypeId="2" ParentId="5359" CreationDate="2012-11-19T22:58:59.793" Score="1" Body="&lt;p&gt;You will have to do it with expressions, unfortunantly it is the only outside of possibly finding a 3rd Party plugin...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a good start, &lt;a href=&quot;http://www.motionscript.com/design-guide/up-down-clock.html&quot; rel=&quot;nofollow&quot;&gt;http://www.motionscript.com/design-guide/up-down-clock.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-11-19T22:58:59.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5367" PostTypeId="2" ParentId="5312" CreationDate="2012-11-20T05:23:24.663" Score="1" Body="&lt;p&gt;If you look carefully, you'll see that the hand it's not actually drawing. The effect is acomplished by several images from the hand in distinct poses, following the lines as they are painted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Images like &lt;a href=&quot;http://www.rgbstock.com/images/writing%20hand&quot; rel=&quot;nofollow&quot;&gt;these&lt;/a&gt; could be used as a layer on top of the drawing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then the areas of the drawing could be successively cut to diferent layers and then hidden or shown as needed to give the ilusion that they are being drawn on the paper.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could try any image editing software, then import the key frames to any video editing tool, and tweak each key frame time duration to give the right speed to the hand&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most video editing tools would give the option to move only the hand following a path between two key frames, wich could make things easier&lt;/p&gt;&#xA;" OwnerUserId="3159" LastEditorUserId="3159" LastEditDate="2012-11-20T05:48:39.123" LastActivityDate="2012-11-20T05:48:39.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5370" PostTypeId="2" ParentId="5150" CreationDate="2012-11-20T08:49:43.113" Score="0" Body="&lt;p&gt;I couldn't understand what you are trying to accomplish but you should check Imagineer Systems' planar tracking tool, &lt;a href=&quot;http://www.imagineersystems.com/products/mochaAE&quot; rel=&quot;nofollow&quot;&gt;Mocha&lt;/a&gt;. After Effects CS6 comes with a basic copy. Basically, Mocha does not track features or points, it tracks planes. You can watch their &lt;a href=&quot;http://www.imagineersystems.com/products/videos&quot; rel=&quot;nofollow&quot;&gt;training videos&lt;/a&gt; on their websites.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it fits your needs there is a pro version which does much more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AE's tracker is very good and powerful but in some cases Mocha handles the tracking better.&lt;/p&gt;&#xA;" OwnerUserId="3179" LastActivityDate="2012-11-20T08:49:43.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5371" PostTypeId="2" ParentId="3290" CreationDate="2012-11-20T09:42:12.240" Score="0" Body="&lt;p&gt;Intermediate codecs are intra-frame. That means that each frame is compressed alone.  The movie is like lot of JPGs in one file.  When you move the play-head, After Effects just needs to load the requested frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;H264 has lot of different formats in it, but most of them compress some frames like JPG, (they are called keyframes) and for the few other frames, it encodes just the difference relative to previous keyframe (movement, zoom, or other differences). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may have seen the common bug in decoding an MPEG movie when a flashy green or purple stain spreads across the screen, until the stream reaches the next keyframe. Using this kind of codec in After Effects makes it less reactive because it is harder to get one precise frame. After effect must decode the previous keyframe and all the frames up to the one it really wants.&lt;/p&gt;&#xA;" OwnerUserId="3105" LastEditorUserId="2569" LastEditDate="2012-11-20T14:06:48.330" LastActivityDate="2012-11-20T14:06:48.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5374" PostTypeId="2" ParentId="5361" CreationDate="2012-11-20T13:46:06.347" Score="2" Body="&lt;p&gt;Managed to dive in to it and root out the problem. Despite all the audio playing in the preview there was actually a channel solo'd in the audio mixer. I only noticed this when I ran an update on Premiere, de-authorised and re-authorised it (because of another issue that happened) the audio in the preview started to play back correctly as per the track solo status.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for those who looked at the question and tried to help.&lt;/p&gt;&#xA;" OwnerUserId="3177" LastActivityDate="2012-11-20T13:46:06.347" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5375" PostTypeId="2" ParentId="5227" CreationDate="2012-11-20T18:51:55.847" Score="3" Body="&lt;p&gt;For the rolling shutter issue, you can check AE CS6 built in tool, &lt;code&gt;Effect &amp;gt; Distort &amp;gt; Rolling Shutter Repair&lt;/code&gt;, if you haven't already. This basic tool is useful in some of the shuts but in more action packed footage (this is the case i think), you can try The Foundry's &lt;a href=&quot;http://www.thefoundry.co.uk/products/rollingshutter/&quot; rel=&quot;nofollow&quot;&gt;ROLLINGSHUTTER&lt;/a&gt; plug-in, which is more powerful. And there is a Virtualdub plugin, &lt;a href=&quot;http://www.guthspot.se/video/deshaker.htm&quot; rel=&quot;nofollow&quot;&gt;Deshaker&lt;/a&gt;, claimed to fix the rolling shutter artifacts, but i couldn't test it on my own, worth trying.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the lens correction, there are built in stuff in AE CS6 (and probably in Premier Pro, i'm not sure though), &lt;code&gt;Effect &amp;gt; Distort &amp;gt; Optics Compensation&lt;/code&gt;. Play around with the &lt;code&gt;Field of View&lt;/code&gt; parameter along with the others. You'll have some loss in quality yet you may find the correct balance after some experimentation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can try first adding the rolling shutter fix, precomp the footage, then add the lens correction or vice versa.&lt;/p&gt;&#xA;" OwnerUserId="3179" LastActivityDate="2012-11-20T18:51:55.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5376" PostTypeId="2" ParentId="5359" CreationDate="2012-11-20T20:43:00.297" Score="0" Body="&lt;p&gt;Here's what I did in the end (as an expression on the  text layer)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;countspeed = 144;&#xA;clockStart = thisComp.duration * countspeed * -1;&#xA;&#xA;function times(n) {&#xA;    if (n &amp;lt; 10)  return &quot;0&quot; + n else return &quot;&quot; + n&#xA;}&#xA;&#xA;clockTime = clockStart + countspeed * (time - inPoint);&#xA;&#xA;if (clockTime &amp;lt; 0) {&#xA;    minus = &quot;&quot;;  clockTime = -clockTime;&#xA;} else {&#xA;    minus = &quot;&quot;;&#xA;}&#xA;&#xA;t = Math.floor(clockTime);&#xA;h = Math.floor(t/3600);&#xA;min = Math.floor((t%3600)/60);&#xA;sec = Math.floor(t%60);&#xA;ms = clockTime.toFixed(3).substr(-3);&#xA;minus + times(h) + &quot;:&quot; + times(min) + &quot;:&quot; + times(sec) &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3171" LastActivityDate="2012-11-20T20:43:00.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5378" PostTypeId="1" AcceptedAnswerId="5379" CreationDate="2012-11-21T13:56:07.377" Score="2" ViewCount="8807" Body="&lt;p&gt;After Effects beginner here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The effect I'm after is where text is appearing from behind an object. So far, I'm using the position and rotation parameters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the text is rigid. I found something about having text along a path which is what I want except I haven't found out how to work it in 3D.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what I have so far. I need the text to look like it's bending as it comes around the ... well, bend!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/rwTdy.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3186" LastActivityDate="2019-03-12T19:24:25.830" Title="After effects: Moving text along 3D path" Tags="|effects|after-effects|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5379" PostTypeId="2" ParentId="5378" CreationDate="2012-11-21T14:43:01.167" Score="3" Body="&lt;p&gt;to accomplish this, we need to cheat something. I assume you are trying to do something like this in the following image:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/9tzNo.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;First, create a camera in your comp (i see you already have one)&lt;/li&gt;&#xA;&lt;li&gt;Then create a text layer and make it 3D (you have this as well)&lt;/li&gt;&#xA;&lt;li&gt;Select your layer and select &lt;code&gt;Ellipse tool (Q)&lt;/code&gt; but do not apply&#xA;anything.&lt;/li&gt;&#xA;&lt;li&gt;While your text layer selected, double click the Ellipse tool in&#xA;your toolbar. This will create a circular mask on your text layer.&lt;/li&gt;&#xA;&lt;li&gt;Rotate your Text layer -90 degrees on X Axis.&lt;/li&gt;&#xA;&lt;li&gt;Twirl down the controls of the Text layer and under Text controls&#xA;you will see &lt;code&gt;Path Options&lt;/code&gt;. In these options select your mask. And&#xA;change your settings as you wish.&lt;/li&gt;&#xA;&lt;li&gt;Now expand all the controls of that layer. There you will see a text&#xA;label &lt;code&gt;Animate:&lt;/code&gt; with a small circled arrow.&lt;/li&gt;&#xA;&lt;li&gt;Select Enable Per-character 3D.&lt;/li&gt;&#xA;&lt;li&gt;Then in the same menu, select Rotation.&lt;/li&gt;&#xA;&lt;li&gt;There will be an &lt;code&gt;Animator 1&lt;/code&gt; section, expand it and change the X&#xA; Rotation to 90 degrees.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Now check with your camera, orbit around, you should see your text bends through your mask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To animate this text along that path, get back to the &lt;code&gt;Path Options&lt;/code&gt;. Keyframe the &lt;code&gt;First Margin&lt;/code&gt; option or add an expression by &lt;code&gt;Alt+Left Click&lt;/code&gt;, and add this value and edit as you like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;time * 500&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will get the current frame and multiply it with 500 and give this value to &lt;code&gt;First Margin&lt;/code&gt; property.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am also adding the link for the project, but you need at least CS5.5 to open: &lt;a href=&quot;http://www.mediafire.com/?13dl3x67w4v5yod&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.mediafire.com/?13dl3x67w4v5yod&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3179" LastActivityDate="2012-11-21T14:43:01.167" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5382" PostTypeId="1" AcceptedAnswerId="5418" CreationDate="2012-11-21T23:02:22.523" Score="2" ViewCount="768" Body="&lt;p&gt;In TV broadcasts of football matches (soccer matches) there are often long displays along the side of the football field that show advertisements. I guess that these displays are made up of electronic lamps, but in the future it might be possible (albeit technically very difficult) to add the advertisements by just post-processing the TV photo in a computer. In this way TV companies could broadcast international football matches with localized advertisement, for instance with one type of advertisement per country.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know of any examples from TV broadcasts of sport events, where image post-processing have altered the TV photo to adjust for different advertisements?&lt;/p&gt;&#xA;" OwnerUserId="3189" OwnerDisplayName="Erik Sjölund" LastEditorUserId="636" LastEditDate="2017-11-03T00:25:07.117" LastActivityDate="2017-11-03T00:25:07.117" Title="do TV broadcasts provide localized advertisements by altering the TV photo" Tags="|broadcasting|" AnswerCount="3" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5385" PostTypeId="2" ParentId="5382" CreationDate="2012-11-22T01:25:28.433" Score="3" Body="&lt;p&gt;What a great idea -- you should enter the marketing field!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if anyone has thought to do localized advertisements yet, but image post-processing is routinely used, at least on American football broadcasts, to track the field and the marker lines thereupon, so as to provide various forms of in-game analysis.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If they can do that, I'm sure they could turn the field-side displays into green screen to show localized TV advertisements on, but if that happens, then the spectators at the physical location aren't able to see the advertisements! So some of this probably has to do with whether it's the TV station or the Stadium that sells those ads, and whether or not localized broadcast ad revenue would be more lucrative than installed non-processed ads.&lt;/p&gt;&#xA;" OwnerUserId="617" LastActivityDate="2012-11-22T01:25:28.433" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5386" PostTypeId="2" ParentId="3334" CreationDate="2012-11-22T04:07:02.250" Score="2" Body="&lt;p&gt;GoPro video files are basically the old Cineform Neoscene. GoPro bought them out. Cineform files have always worked in Premiere. I use them right in Premiere without any conversion. It is batter than the DSLR format. I convert all my Canon footage to the GoPro code before editing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just make your own preset and save it. &lt;/p&gt;&#xA;" OwnerUserId="3188" LastActivityDate="2012-11-22T04:07:02.250" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5389" PostTypeId="1" CreationDate="2012-11-22T12:03:37.863" Score="0" ViewCount="9883" Body="&lt;p&gt;I've just bought a Panasonic Lumix TZ25 to replace my sadly defunct Lumix TZ3. This new camera is excellent, but I'm a bit confused over the video recording formats available. The user manual states:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;This unit can record motion pictures in either AVCHD or MP4 formats... AVCHD records high definition  quality images suitable for viewing on a large format TV or for saving to disc. MP4 is a simpler format best used when extensive editing is needed.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Is AVCHD superior to MP4? The way Panasonic describes it, that's the impression given. Yet surely MP4 can provide the same high quality?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Can an AVCHD video be shown on an Android tablet? My wife has an Asus Transformer and would is trying to view some holiday recordings on it but so far without any success - we're assuming there's a compatability problem?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Assuming that AVCHD is superior to anything else, is there any software out there which would convert AVCHD to a more widely used format but without discernible loss of image quality?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerDisplayName="Scott Grainger" LastActivityDate="2019-02-07T19:48:46.747" Title="Panasonic's AVCHD video format: questions about quality, compatability, conversion" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5390" PostTypeId="2" ParentId="5389" CreationDate="2012-11-22T20:30:22.160" Score="4" Body="&lt;p&gt;The AVCHD vs. MP4 is just a choice of a container format. When all other parameters are the same, choosing AVCHD or MP4 depends on the use you intend to give to the movie clips that you record. If you plan on doing editing, then MP4 is better because it has the index tables that video editors need to find frames fast using random access. If on the other side you plan to just streaming these clips over to a TV or computer then AVCHD is best as it is a transport stream, so players will have to do less work to play the clip from start to end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that a utility like ffmpeg can easily convert between AVCHD and MP4 without any loss of quality, so really the choice you make isn't irreversible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What determines image quality is the picture size and the recording bitrate, not the container format. I went to the site that has the &lt;a href=&quot;http://www.panasonic.co.uk/html/en_GB/Products/LUMIX+Digital+Cameras/Superzoom+Cameras/DMC-TZ25/Specification/8616423/index.html&quot; rel=&quot;nofollow&quot;&gt;specs for your camera&lt;/a&gt; and found it offers the following recording options:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;[HD Video]&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1920 x 1080 pixels, 50i (FSH: 17Mbps / AVCHD) (Sensor output is 25p)&lt;/li&gt;&#xA;&lt;li&gt;1280 x 720 pixels, 50p (SH: 17Mbps / AVCHD) (Sensor output is 25p) &lt;/li&gt;&#xA;&lt;li&gt;1920 x 1080 pixels, 25 fps (FHD: 20Mbps / MP4)&lt;/li&gt;&#xA;&lt;li&gt;1280 x 720 pixels, 25 fps (HD: 10Mbps / MP4) &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;[STD Video]&#xA;&lt;ul&gt;&#xA;&lt;li&gt;640 x 480 pixels, 25 fps (VGA: 4Mbps / MP4)&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So for best quality you should pick the largest picture size at the largest bitrate. Looking at the above list the best choice is the FHD format, which is 1920x1080 at 20Mbps, and that option is only available in MP4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second and third options are at 17Mbps. At that level you have two options, 1920x1080 and 1280x720, both recorded in AVCHD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that I'm not including frame rate in my decisions, since it appears the sensor in this camera can only record 25p.&lt;/p&gt;&#xA;" OwnerUserId="1898" LastActivityDate="2012-11-22T20:30:22.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5394" PostTypeId="1" CreationDate="2012-11-23T08:55:10.500" Score="2" ViewCount="227" Body="&lt;p&gt;I am trying to create this video using adobe premier pro. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/7drXf48kyeY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In each slide, I will have 3 different images slides in with different effect and timing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, it is a bit complex for me and I found difficult to change photos in slide, as I need to cater the motion effect, size, of other two images in the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had tried window movie maker, it is very simple but it seems that it only allows transition of one whole image. I can't freely adjust the 3 different images to slide in with different angle, speed, stay on time, and fading effect, and stay on one screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;May I know is there any other software that can produce the similar effect as in the video? &lt;/p&gt;&#xA;" OwnerUserId="3195" LastActivityDate="2012-12-01T02:45:26.727" Title="What software can we use to create this slideshow video" Tags="|video|video-editor|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5398" PostTypeId="2" ParentId="5394" CreationDate="2012-11-23T16:12:17.217" Score="3" Body="&lt;p&gt;You should give a chance to Sony Vegas 8 or newer. In Sony Vegas you can place as many images as you wish and make it &quot;fly in&quot; or &quot;fly out&quot; over a background which can be a solid color, gradient (both self-generated) and/or a background image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The process itself is quite easy. You set the background in the timeline for the duration that you need. Then simply add as many tracks as you need for each image that you wish to get animated over the background, place the item in the timeline, enter the &quot;Pan and Crop&quot; function of the timeline and create the movement that you wish. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;See this video for a comprehensive explanation about the &lt;strong&gt;Pan and Crop&lt;/strong&gt; function in Sony Vegas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/lpvJ6Dhz63M?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Sony Vegas you can create per-track and/or per-event motion by using the proper tools.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are using Linux you may find KDEnlive as a good alternative for Sony Vegas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="2587" LastActivityDate="2012-11-23T16:12:17.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5410" PostTypeId="1" AcceptedAnswerId="5425" CreationDate="2012-11-25T07:25:22.320" Score="3" ViewCount="5836" Body="&lt;p&gt;All of these converted, but Premiere Pro only loads the audio.  I use Ctrl-I to import the videos, and they come up as waveforms, and can only be placed on audio tracks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These examples use avconv, but I also have ffmpeg, and don't really care which as long as it works  :-)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i v1raw.AVI  -c:a copy -c:v mpeg2video  v1conv.mpeg&#xA;avconv -i v1raw.AVI  -c:a copy -c:v mpeg2video  v1conv.avi&#xA;avconv -i v1raw.AVI  -c:a copy -c:v mpeg4  v1conv.m4v&#xA;avconv -i v1conv.avi  -c:a copy -c:v copy  v1conv_copy.mpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here's the data for my input file (incase it helps).&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, avi, from 'v1raw.AVI':&#xA;  Duration: 00:05:28.53, start: 0.000000, bitrate: 9592 kb/s&#xA;    Stream #0.0: Video: h264 (Main), yuv420p, 1920x1080, 30 fps, 30 tbr, 30 tbn, 60 tbc&#xA;    Stream #0.1: Audio: adpcm_ms, 44100 Hz, 1 channels, s16, 176 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And my available video encoding formats from avconv.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;a64multi, a64multi5, asv1, asv2, bmp, cljr, dnxhd, dpx, &#xA;dvvideo, ffv1, ffvhuff, flashsv, flv, gif, h261, h263, h263p, &#xA;huffyuv, jpegls, libdirac, libschroedinger, libtheora, libvpx, &#xA;libx264, libxvid, ljpeg, mjpeg, mpeg1video, mpeg2video, &#xA;mpeg4, msmpeg4, msmpeg4v2, pam, pbm, pcx, pgm, pgmyuv, png, &#xA;ppm, qtrle, rawvideo, roqvideo, rv10, rv20, sgi, snow, svq1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;sup&gt;&lt;a href=&quot;http://pastebin.com/raw.php?i=z4qsWpdh&quot; rel=&quot;nofollow&quot;&gt;see full codec info&lt;/a&gt;&lt;/sup&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd be happy to post anything else that has the slightest chance of helping.&lt;/p&gt;&#xA;" OwnerUserId="3204" LastEditorUserId="3204" LastEditDate="2012-11-25T07:46:35.150" LastActivityDate="2020-09-20T16:15:55.937" Title="What ffmpeg/avconv format and container will Adobe Premiere Pro accept, out-of-box?" Tags="|video|file-formats|premiere|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5411" PostTypeId="1" AcceptedAnswerId="5412" CreationDate="2012-11-25T12:48:52.167" Score="6" ViewCount="180" Body="&lt;p&gt;When I start editting something I'm very sharp about cuts that does or doesn't work. But as I go through the process, in which I watch the sequence hundreds of times, I get used to it, and becomes a bit blind to problems. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do you stay objective and aware after viewing your own work so many times?&lt;/p&gt;&#xA;" OwnerUserId="1712" LastActivityDate="2012-11-27T09:59:58.763" Title="How to stay objective after viewing your edit hundreds of times?" Tags="|editing|video-editor|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5412" PostTypeId="2" ParentId="5411" CreationDate="2012-11-25T13:55:29.920" Score="8" Body="&lt;p&gt;I believe the only answer to that is to take at least a 24hr break. Move onto another project or start something new. The number of times I have come back to something after a decent break and can all of a sudden see what needs to be done is shocking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't believe their is a quick fix to this issue.&lt;/p&gt;&#xA;" OwnerUserId="3205" LastActivityDate="2012-11-25T13:55:29.920" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5413" PostTypeId="2" ParentId="2674" CreationDate="2012-11-25T13:58:38.313" Score="2" Body="&lt;p&gt;Well, if a photographic (Digital) camera is capable of recordig video for a longer period, these items will be identified by the customs (of many countries) as &quot;Video Recorders&quot; where a higher tax rates may apply. To prevent this, all camera manufacturers limit their productions to 1 hour (approx.) for lower resolutions and 10 minutes for HD video. May be the 9.59 minutes limit for HD to prevent &quot;10 min or higher&quot; HD recording term by customs.....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not they would have been manufactured to save files automatically by every 10 minutes and continue video recordings -like in many software and like in multy /continues photo shooting with the digital camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;THere cannot be any FAT matter as many cameras are capable of handlong SD (less than 2 GB), SD-HC (More than 2 GB), MMC (commonly used by Sony) and SD-XC with higher capacities up to 32 GB. Untl recent past, 32 GB was a Card manufacturing limitation, but not by camers. May be that is why it is mentioned as &quot;up to 32 GB&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is always better to stay with Class 4 SD HC cards up to 4 GB and Class 10 for higher capacities.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Found this info while searching to find why this 10 min limit on Digital cameras....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this help  you all...&lt;/p&gt;&#xA;" OwnerUserId="3206" LastActivityDate="2012-11-25T13:58:38.313" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5414" PostTypeId="2" ParentId="5382" CreationDate="2012-11-25T14:18:05.077" Score="0" Body="&lt;p&gt;I disagree and don't believe you should get into marketing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The point of advertising at big events like soccer matches is to generate cash for the club and exposure for the big brands.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;small localised audiences equals small business' and small business budgets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the clubs will ALWAYS prefer huge, household brand names who can afford to pay the premium for national/international exposure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nike paying (for example) £1m is a done deal. One transaction, large amount of money, done.&#xA;Organising several sales to many many small companies across the country is both time consuming, resource intensive and a headache. What if for example noone in newcastle wants to buy advertising that week?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other factor is brand dilution. Big name clubs who get national tv coverage want to be associated with huge names like Nike, Addidas, Microsoft, Audi etc. They don't want &quot;Jim's TV Repairs&quot; or &quot;East Sussex Motors&quot;. It makes them look big to have big names and the opposite is also true.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are so many factors as to why this is a bad idea. &lt;/p&gt;&#xA;" OwnerUserId="3205" LastActivityDate="2012-11-25T14:18:05.077" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5415" PostTypeId="2" ParentId="5302" CreationDate="2012-11-25T17:01:33.393" Score="0" Body="&lt;p&gt;Quite simply, anything is possible pending a licensing agreement with the content owners and the event organisers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could not do this legally without coming to a deal with those two bodies.&lt;/p&gt;&#xA;" OwnerUserId="3205" LastActivityDate="2012-11-25T17:01:33.393" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5416" PostTypeId="2" ParentId="2516" CreationDate="2012-11-26T08:09:28.157" Score="2" Body="&lt;p&gt;Bandicam works well for recording the desktop, has alot more options then fraps and will encode to any of several formats as you record if you want less disk use then frap's basically uncompressed recording&lt;/p&gt;&#xA;" OwnerUserId="3209" LastActivityDate="2012-11-26T08:09:28.157" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5417" PostTypeId="1" CreationDate="2012-11-26T10:17:22.610" Score="0" ViewCount="80" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Possible Duplicate:&lt;/strong&gt;&lt;br&gt;&#xA;  &lt;a href=&quot;https://video.stackexchange.com/questions/1704/what-factors-are-important-for-dslr-lenses-for-shooting-video&quot;&gt;What factors are important for DSLR lenses for shooting video?&lt;/a&gt;  &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&#xA;&#xA;&lt;p&gt;The one-line question above had to be vague, so let me elaborate:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say that I'm using a Canon T4i (doesn't necessarily have to be that camera) with a Canon 50mm f/1.4 USM lens to shoot 1080p video. I know that this particular Canon lens is naturally not very sharp at 1.4, and this would probably be apparent on a full-size photo when blown up to 100% scale on a screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, it seems reasonable to me that, even if the lens is soft, if I were to shoot video at f/1.4 and then view it at 100% scale on a screen, the video is still so small in resolution that the lack of sharpness may not be very visible, similar to taking the photo previously described and scaling it down to 50%. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this way, I want to see if I can get away with using this lens at 1.4 and get results that look very good and really sharp, despite the lens's apparent natural limitations (and, of course, assuming proper focus on my part).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does my theory have any truth behind it?&lt;/p&gt;&#xA;" OwnerUserId="2738" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2012-12-20T08:01:07.490" Title="Will lens softness be visible in DSLR video?" Tags="|video|dslr|canon|" AnswerCount="2" CommentCount="1" ClosedDate="2013-01-23T22:49:33.700" ContentLicense="CC BY-SA 3.0" />
  <row Id="5418" PostTypeId="2" ParentId="5382" CreationDate="2012-11-26T10:45:07.333" Score="3" Body="&lt;p&gt;This was already done and seems to be done regularly in certain sports. &lt;a href=&quot;http://www.spiegel.de/spiegel/print/d-8039371.html&quot; rel=&quot;nofollow&quot;&gt;Here&lt;/a&gt; is a (German, sorry) article from 1998 where this was done in the UEFA cup game Glasgow Rangers vs AC Parma. There where localized advertisements in Germany and Italy placed on areas originally pink. &lt;a href=&quot;http://www.accessmylibrary.com/article-1G1-274114770/virtual-advertising-sports-events.html&quot; rel=&quot;nofollow&quot;&gt;Here&lt;/a&gt; is the only English summary article on the subject that I found using a quick search.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;@Mick79 the question was for advertisements per country which is a good idea. In the given UEFA cup game for Germany they showed ads for a nation wide hardware store and a brewery selling nation wide which wouldn't have paid for ad space in this match (Scotland vs. Italy) if they had to pay for the whole international reach (I would think). Targeted advertisement is always better.&lt;/p&gt;&#xA;" OwnerUserId="3210" LastActivityDate="2012-11-26T10:45:07.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5420" PostTypeId="2" ParentId="5417" CreationDate="2012-11-26T19:50:49.527" Score="1" Body="&lt;p&gt;No, if the lens is soft while shooting video you will notice.  However when shooting any of the Canon Cameras, 5D mark three to be exact, the camera is very susceptible to sharpening in a proper grading software or VFX software, AE can do this, so can Nuke, Flame, Smoke, and many of your color grading softwares.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So yes you will notice if the lens is soft in your video, however you can counter this with a bit of sharpening in post.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-11-26T19:50:49.527" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5421" PostTypeId="2" ParentId="5411" CreationDate="2012-11-26T19:55:34.210" Score="2" Body="&lt;p&gt;What you are referring to is what I like to call Temp Love, you get used to something that is not finished.  The key is understanding where the end is, have a vision, and work through it...thats the key to being a good editor...knowing where you are, and where the finish is&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-11-26T19:55:34.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5425" PostTypeId="2" ParentId="5410" CreationDate="2012-11-27T01:50:22.787" Score="5" Body="&lt;p&gt;Premiere Pro CS5 should be able to import H.264 video, IIRC, however it may be having trouble with the audio and/or container format. With ffmpeg try re-muxing the video stream without the audio:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -an -codec:v copy output.mp4 -an -codec:v copy output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If both &lt;code&gt;output.mp4&lt;/code&gt; and &lt;code&gt;output.avi&lt;/code&gt; work then we know that the issue lies with the audio (although H.264 with b-frames in AVI probably isn't a great idea). You can re-encode the audio and keep the video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -codec:v copy -codec:a pcm_s16le output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If the first command does not work with Premiere, then you may need to re-encode. This is a good use case for an editor friendly, lossless intermediate file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -codec:v utvideo -codec:a pcm_s16le output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Close Premiere, install &lt;a href=&quot;http://umezawa.dyndns.info/archive/utvideo/&quot; rel=&quot;nofollow&quot;&gt;Ut Video&lt;/a&gt; (scroll to the bottom of the page), open Premiere, and import your video. You can do your editing, and then export to your final format using the crappy Adobe Media Encoder, or export to another lossless file, and then use ffmpeg to provide whatever you need. Alternatively, if you're using Windows you can use &lt;a href=&quot;http://www.debugmode.com/frameserver/&quot; rel=&quot;nofollow&quot;&gt;Debugmode FrameServer&lt;/a&gt; and encode directly with ffmpeg from Premiere. See &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/wiki/FFmpegPremierePro&quot; rel=&quot;nofollow&quot;&gt;How to encode with ffmpeg from Adobe Premiere Pro&lt;/a&gt; for instructions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need a recent ffmpeg for Windows see &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;Zeranoe FFmpeg builds&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2012-11-27T21:50:47.663" LastActivityDate="2012-11-27T21:50:47.663" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="5427" PostTypeId="2" ParentId="5411" CreationDate="2012-11-27T09:59:58.763" Score="2" Body="&lt;p&gt;If you have a specific goal in mind, you can focus on that and just keep going until you're satisfied. &#xA;More often than not, though, I find that taking at least one session away from the project to do something else helps. When you come back to it, your eyes and ears will feel fresher.&lt;/p&gt;&#xA;" OwnerUserId="3213" LastActivityDate="2012-11-27T09:59:58.763" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5428" PostTypeId="2" ParentId="5394" CreationDate="2012-11-27T11:10:46.743" Score="0" Body="&lt;p&gt;In Adobe After Effects, you can import each picture as a layer and animate them separately. Check out tutorials on youtube, there are plenty out there : &lt;a href=&quot;https://www.youtube.com/watch?v=9nt-BMN_GIw&quot; rel=&quot;nofollow&quot;&gt;https://www.youtube.com/watch?v=9nt-BMN_GIw&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3203" LastActivityDate="2012-11-27T11:10:46.743" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5429" PostTypeId="1" CreationDate="2012-11-27T11:49:42.460" Score="1" ViewCount="4053" Body="&lt;p&gt;I was umming and arring if this is the right place to post this, however the FAQs say this site applies to software and recording, amongst other things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've recently started recording a certain Java based video game on my PC - along with audio commentary - using 32 bit Bandicam and Audacity for microphone input. My computer is as follows:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Windows 8&lt;/li&gt;&#xA;&lt;li&gt;3GB DDR2 RAM&lt;/li&gt;&#xA;&lt;li&gt;Core 2 Duo CPU&lt;/li&gt;&#xA;&lt;li&gt;256MB RAM graphics card (nVidia of some sort, few years old)&lt;/li&gt;&#xA;&lt;li&gt;120GB 7200RPM SATA drive - OS&lt;/li&gt;&#xA;&lt;li&gt;1TB 7200RPM SATA drive - Videos&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I've been tweaking settings in my graphics control panel and within the game to get the FPS up. Finally I got to the point where I could comfortably record at 30fps. Yesterday, I installed Microsoft Office 2010 and VMWare vSphere for work purposes (sometimes I work from home). These had large installation files and fragmented the machine a bit - I ran a defrag and everything seems OK.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately since then, my framerate will start around 40fps when recording and drop over 5-10 minutes to 30-40, then 20-25, then around 10-15 and stay there. This persists even if I stop the recording and start it again; When not recording I have the game set to limit to 60fps, which it sits on quite comfortably. Closing the game and reopening resets the FPS for the next recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did notice Audacity writing its temporary files to the OS drive, so I tried without Audacity - no change. I've monitored the CPU, memory and disk I/O during recording - none of them hit anywhere near their max.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realise I need to get new hardware and I'm hoping to over Christmas, however until then I'm trying to get this machine to work. Could anyone provide any suggestions to help me get a stable framerate?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this is not the right place for such a question, please do point me to the right part of Stack Exchange or any external forums you think may help.&lt;/p&gt;&#xA;" OwnerUserId="3112" LastActivityDate="2013-07-01T13:32:18.110" Title="Dropping framerate when recording games with Bandicam" Tags="|recording|video-game|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="5431" PostTypeId="1" AcceptedAnswerId="5432" CreationDate="2012-11-27T20:00:29.143" Score="6" ViewCount="2651" Body="&lt;p&gt;I do a lightpainting video on After Effects (CS6 here) where I duplicate my layert to create continuous lines based on a moving light. I have a lot of comps to do and many layers to duplicate, then I search a solution to avoid this boring task…&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you knows a script or something else which &lt;strong&gt;duplicates a layer X times and moves it 1 frame everytime&lt;/strong&gt; (like stairs), it would be very welcomed!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a screenshot of the current (but working) solution, by hand:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/aEbOv.jpg&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3215" LastEditorUserId="3215" LastEditDate="2015-01-25T12:48:54.960" LastActivityDate="2015-09-07T07:06:04.910" Title="Duplicate layers X times and move 1 frame each time" Tags="|video|after-effects|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5432" PostTypeId="2" ParentId="5431" CreationDate="2012-11-27T20:44:54.740" Score="8" Body="&lt;p&gt;Check the &lt;a href=&quot;http://aescripts.com/array/&quot;&gt;Array&lt;/a&gt; script on &lt;a href=&quot;http://aescripts.com&quot;&gt;aescripts.com&lt;/a&gt; website. It duplicates your layer in desired numbers and has more control for offsetting the properties like position, scale, rotation as well as time. It is really easy to use and has many great built in functions for creating really good looking and creative motion graphics. Especially for your case, playing around with the script might function as a brainstorm tool to create new looks. Just watch the provided tutorial video to see the features.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By default, AEScripts website will set a price but you can &quot;Name your own price&quot; for this particular script. Just register with the website and type zero in the price field and add to cart.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My personal thought on the pricing, if you are using the script in a commercial project, it is always a good thing to pay some amount for it. As this is a great and creative tool, it deserves some donations, think it as a tip. It is not compulsory but a way of showing appreciation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By the way, check the other scripts on the website, it is a gold mine. There are lots of great tools to speed your workflow.&lt;/p&gt;&#xA;" OwnerUserId="3179" LastActivityDate="2012-11-27T20:44:54.740" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="5434" PostTypeId="1" AcceptedAnswerId="5435" CreationDate="2012-11-26T10:14:34.220" Score="3" ViewCount="131" Body="&lt;p&gt;The one-line question above had to be vague, so let me elaborate:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say that I'm using a Canon T4i (doesn't necessarily have to be that camera) with a Canon 50mm f/1.4 USM lens to shoot 1080p video. I know that this particular Canon lens is naturally not very sharp at 1.4, and this would probably be apparent on a full-size photo when blown up to 100% scale on a screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, it seems reasonable to me that, even if the lens is soft, if I were to shoot video at f/1.4 and then view it at 100% scale on a screen, the video is still so small in resolution that the lack of sharpness may not be very visible, similar to taking the photo previously described and scaling it down to 50%. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this way, I want to see if I can get away with using this lens at 1.4 and get results that look very good and really sharp, despite the lens's apparent natural limitations (and, of course, assuming proper focus on my part).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does my theory have any truth behind it?&lt;/p&gt;&#xA;" OwnerUserId="2738" OwnerDisplayName="Tortilla" LastActivityDate="2012-11-28T04:18:25.613" Title="Will lens softness be apparent on DSLR video footage?" Tags="|canon|dslr|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5435" PostTypeId="2" ParentId="5434" CreationDate="2012-11-26T10:43:04.673" Score="3" Body="&lt;p&gt;Your theory is correct, video is much less demanding of resolution than stills (1080p HD is only 2 megapixels). However you'll never get a truly sharp video image out of a Canon DSLR due to the strange interpolation/line-skipping that is used to produce a video frame from the full image sensor resolution, the result is always a lot softer than you would get from a dedicated HD video camera (or strangely the much cheaper m43 Panasonic GH2).&lt;/p&gt;&#xA;" OwnerUserId="6559" OwnerDisplayName="Matt Grum" LastActivityDate="2012-11-26T10:43:04.673" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5436" PostTypeId="2" ParentId="4478" CreationDate="2012-11-28T05:14:33.743" Score="1" Body="&lt;p&gt;Well, no need to worry about. Transcribing footage is something very easy now-these-days. What you have to make sure is that just write down all your audio in chronological order and he time codes of when each section begins and ends. Try to include punctuation and how phrases are expressed, so your are as close to the video as possible.&#xA;If you are seriously very much keen, then you should go ahead and try to use the real transcription symbols, which can indicate pauses and overlaps in speech. &lt;/p&gt;&#xA;" OwnerUserId="3212" LastActivityDate="2012-11-28T05:14:33.743" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5437" PostTypeId="2" ParentId="3334" CreationDate="2012-11-28T07:41:28.293" Score="9" Body="&lt;p&gt;In Premiere, a possible, easy approach would be importing your footage to the library before creating any sequence, then right click a clip and choose 'New Sequence from Clip'. Premiere will automatically adjust the settings according to the clip's properties.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is also recommended by &lt;a href=&quot;http://www.adobe.com/content/dam/Adobe/en/products/premiere/cs6/pdfs/adobe-premiere-cs6-quickstartguide-for-fcp-users.pdf&quot;&gt;Adobe&lt;/a&gt; (3rd paragraph).&lt;/p&gt;&#xA;" OwnerUserId="1712" LastEditorUserId="1712" LastEditDate="2012-11-28T07:51:21.807" LastActivityDate="2012-11-28T07:51:21.807" CommentCount="0" CommunityOwnedDate="2012-11-28T07:51:21.807" ContentLicense="CC BY-SA 3.0" />
  <row Id="5440" PostTypeId="2" ParentId="5429" CreationDate="2012-11-28T09:50:34.457" Score="1" Body="&lt;p&gt;You are hitting a bottleneck of some kind - from your description it is hard to see whether it is CPU or I/O based, but things that could well be culprits:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;You are only running with 3GB of RAM - this is pretty low. The Java engine can require large amounts of RAM. I play a fair bit of Minecraft and 8GB really helped me out!&lt;/li&gt;&#xA;&lt;li&gt;A Core 2 Duo is not exactly cutting edge - get a nice fast Quad Core i7 CPU if you want a gaming machine.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Until you upgrade, the following may help:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Your drives should be on separate controllers, otherwise they will have to share the bandwidth.&lt;/li&gt;&#xA;&lt;li&gt;Reduce screen resolution and graphics depth/quality&lt;/li&gt;&#xA;&lt;li&gt;Shut down all other applications (including background apps)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-11-28T09:50:34.457" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5455" PostTypeId="1" AcceptedAnswerId="5456" CreationDate="2012-11-29T19:34:17.567" Score="1" ViewCount="138" Body="&lt;p&gt;I'm looking for a piece of software I'm even sure it exists.&#xA;Here's what I would like this software to do:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;be free (ideally open source, but free and closed source is also fine)&lt;/li&gt;&#xA;&lt;li&gt;be cross platform (at least works on Win and OSX, Linux support would be nice)&lt;/li&gt;&#xA;&lt;li&gt;import a variety of video formats (mov, avi, wmv, mpg, mp4, ogg, flv, 3gp, etc.)&lt;/li&gt;&#xA;&lt;li&gt;exports an image sequence from the imported video&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Any ideas/suggestions ?&lt;/p&gt;&#xA;" OwnerUserId="1780" LastEditorUserId="1530" LastEditDate="2012-12-02T03:13:22.630" LastActivityDate="2012-12-02T21:04:42.397" Title="cross platform software to convert video to image sequence" Tags="|video|formats|transcoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5456" PostTypeId="2" ParentId="5455" CreationDate="2012-11-29T21:08:36.990" Score="7" Body="&lt;p&gt;Look at &lt;a href=&quot;http://ffmpeg.org/&quot;&gt;ffmpeg&lt;/a&gt;. It will run on just about anything and should do what you want, although it might depend on what your source actually is&#xA;Something like this should work : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i sourcefile.avi -f image2 'img-%03d.jpeg'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(see the &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#image2-2&quot;&gt;image2 section&lt;/a&gt; for full reference)&lt;/p&gt;&#xA;" OwnerUserId="3224" LastActivityDate="2012-11-29T21:08:36.990" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5469" PostTypeId="2" ParentId="5394" CreationDate="2012-12-01T02:45:26.727" Score="0" Body="&lt;p&gt;If what you want is the easiest software then Powerpoint or Keynote seem to be the best options. Keynote can export presentations as a .mov file via it's share menu, as shown in the following video tutorial:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.techwithintent.com/2011/12/exporting-keynote-presentations-to-video-for-sharing-on-websites/&quot; rel=&quot;nofollow&quot;&gt;Exporting Keynote presentations to video for sharing on websites&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Powerpoint 2010 allows you to share as a video too, as described in the following help article:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://office.microsoft.com/en-001/powerpoint-help/turn-your-presentation-into-a-video-HA010336763.aspx#_Toc252973122&quot; rel=&quot;nofollow&quot;&gt;Turn your presentation into a video&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you already use Premier to edit videos I think purchasing another high-profile app to just animate slide-ins would be a rather unnecessary investment, plus an office suite always comes in handy!&lt;/p&gt;&#xA;" OwnerUserId="732" LastActivityDate="2012-12-01T02:45:26.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5471" PostTypeId="1" CreationDate="2012-12-01T10:40:38.670" Score="2" ViewCount="3280" Body="&lt;p&gt;I want to make video like this: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Izj5FnN4dz4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I know they used different technique (stop motion from photos), I would want to make mine from existing video of person walking. So my question is: what software would automatically remove every frame except the ones I mark as important for walk animation (ie.: frames in which left or right leg is in specific position so the walk impression is preserved).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even better, the video I currently have has pretty systematic walk so I guess it would be nice if I could specify the important frames as &lt;code&gt;x+n&lt;/code&gt; and &lt;code&gt;y+&lt;/code&gt;n (where &lt;code&gt;x&lt;/code&gt; and &lt;code&gt;y&lt;/code&gt; are numbers of first important frame for left and for right leg and n is some constant offset) and just adjust the &lt;code&gt;n&lt;/code&gt; if and when necessery.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even better if the software cold actually detect which frames may be important.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, can this be done and if yes then what software do I need?&lt;/p&gt;&#xA;" OwnerUserId="3233" LastEditorUserId="3233" LastEditDate="2012-12-01T20:48:10.260" LastActivityDate="2017-12-10T19:27:19.970" Title="What software can I use to make &quot;stop motion&quot; video from existing video material" Tags="|video|software|software-recommendation|stop-motion|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5477" PostTypeId="1" CreationDate="2012-12-02T10:05:24.783" Score="1" ViewCount="2627" Body="&lt;p&gt;I'll start off by saying that I know next to nothing about video encoding and I'm looking for a nice tutorial explaining the basics (I have a technical background and some knowledge of signal processing) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've heard that encoding a video with 8-bit color can actually take more filesize than in 10-bit color. The explanation offered was that since the source file was in 10-bit color, it's somehow easier to stay in 10-bit color. I don't understand how that's possible, because whatever algorithm is used to convert between video formats can do what it needs to do, and when the time comes to convert to 8-bit quality, just round off the color. I don't see how rounding off a color could contribute to file size. &lt;/p&gt;&#xA;" OwnerUserId="3235" LastEditorUserId="2569" LastEditDate="2012-12-02T16:38:39.260" LastActivityDate="2017-09-07T23:30:34.750" Title="How could an 8-bit encoding take more memory than a 10-bit encoding?" Tags="|file-formats|encoding|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5478" PostTypeId="1" CreationDate="2012-12-02T12:00:18.320" Score="5" ViewCount="160" Body="&lt;p&gt;I'm trying to color-correct a video I'm working on. This is an example frame from the footage:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/VCTQ5.png&quot; alt=&quot;Original footage&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I'm a newbie and pretty clueless about good-looking color correction, I've tried playing around with some Picasa filters. Eventually I've came out with this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/wvS9E.png&quot; alt=&quot;Picasa color correction&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This supposed to be a reference for me to later on immitate with Premire's color correction tools. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Premiere, I've tried using Levels:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/2c21Z.png&quot; alt=&quot;Levels&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And RGB curves: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/DKYot.png&quot; alt=&quot;RGB curves&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And this is the result:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Jwbbz.png&quot; alt=&quot;Premiere Attempt&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After a lot of small adjusments, still you can see a big difference:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/2bOBD.png&quot; alt=&quot;Picasa vs Premiere&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My main problem is that &lt;strong&gt;whenever I'm fixing one color, or one area of the frame, always another part is affected in a non-wanted way&lt;/strong&gt;. For example you can see the wall in the Picasa version is more yellow than the one in the Premiere version, but the left-hand closet is less yellow than the one in the Premiere version. Meaning making the whole thing more yellow might fix the wall's shade but make the closet's shade worse.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My question is, what method should I use while using these filters (or others) in order to achieve a known effect?&lt;/strong&gt; Is there a specific filter I should use before or after another? Or how could I determine the proper adjusment for affecting one color/shade but leaving another as it is?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is important to me not only for this specific project, but also because I assume this &lt;strong&gt;method&lt;/strong&gt; is what professional editors use when trying to achieve a specific vision they have for a frame.&lt;/p&gt;&#xA;" OwnerUserId="1712" LastEditorUserId="1712" LastEditDate="2012-12-03T12:41:17.570" LastActivityDate="2014-07-28T16:05:11.670" Title="How can I accurately immitate this Picasa filter with Premiere's color correction filters?" Tags="|video|premiere|filter|cs5|color-correction|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5480" PostTypeId="2" ParentId="5477" CreationDate="2012-12-02T18:25:43.057" Score="1" Body="&lt;h2&gt;Memory size&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;This is certainly not true for any encoding as reducing 10 bits to 8 bits is by definition reducing the size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, it is possible that some codecs adds a segment for alpha channel turning 24-bits (3 bytes (RGB) per pixel) into 32-bits (3 bytes for color RGB + 1 byte for alpha channel).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This way it may appear as if the video takes more memory, but it's the added alpha channel that adds to the data. In fact it would take the same space as the original 10-bits data (assuming there is only RGB) as it would use 32-bits to hold the 30 bits it represent. This is because in memory data needs to be aligned to a full 4/8 bytes segment to work efficiently so 30-bits data would take 32-bits (4x4 bytes) memory (this will become very technical and programming oriented so I'll leave it with that).&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;File size&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;The reduction of one number of bits to another can be performed in various ways such as shifting for example the 10 bits 2 bit places into 8 bits effectively cutting the two lower bits. This is the quick and dirty way of doing it leaving in general poor result but not affecting compression so much.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other way is to do rounding and introducing noise to the data, what is called dithering. The quality is visually much better with this technique as a reduced representation, but it has one draw back: This noise will remove coherence in the signal and can increase the &lt;em&gt;file size&lt;/em&gt; (but not memory size which would be the size of the raw image - the software will have to use uncompressed data for processing) as it's harder to compress as compression always bases it self on coherency. Noise is basically random numbers without much structure (I'm not gonna go into chaos theory and such :-) ).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this reason the file size may become larger.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorDisplayName="user2995" LastEditDate="2012-12-02T18:33:59.643" LastActivityDate="2012-12-02T18:33:59.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5481" PostTypeId="2" ParentId="5455" CreationDate="2012-12-02T21:04:42.397" Score="4" Body="&lt;p&gt;For a good GUI based on libavcodec (which a ffmpeg library), take a look at &lt;a href=&quot;http://handbrake.fr/screenshots.php&quot; rel=&quot;nofollow&quot;&gt;handbrake&lt;/a&gt;. Might be a bit too detailed for a very &quot;simple&quot; user, but with some effort it's manegable. It also supports saving of presets, so you can set it up for easy use.&lt;/p&gt;&#xA;" OwnerUserId="3241" LastActivityDate="2012-12-02T21:04:42.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5488" PostTypeId="2" ParentId="5471" CreationDate="2012-12-03T20:15:26.287" Score="1" Body="&lt;p&gt;You can use any non-linear video editor to make this, but you are in for a lot of manual work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Time posterizing (or video strobe) is mentioned which can give you that &quot;stop&quot; effect, but it will not take care of the walk-cycle. For that you need to manually go in and choose each frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My suggestion would be to take the video sequences you need, go through frame by frame in the preview monitor and grab the frame you need according to where in the cycle by making the in and out point the same, then drag the cut (a single frame) onto the timeline. Repeat.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now the only thing you need to do is to scale the timeline so that each image has a duration longer than 1 frame (probably around 10 frames or so). With this technique you can also fine-adjust a single &quot;take&quot; if needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other approach is to convert video (or using photo still) as single images. Here you loose the advantage of fine-adjusting though (in relation to the walk-cycle).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Automatically detecting where in a walk-cycle a person is is highly specific task and AFAIK there exist no such software available to the public (some law enforcement agencies have access to software for behavioral analysis including walk patterns, but that becomes quite a different table- - so yes, it's &lt;em&gt;possible&lt;/em&gt;, but not available).&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2012-12-03T20:15:26.287" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5489" PostTypeId="2" ParentId="5477" CreationDate="2012-12-03T20:25:32.140" Score="1" Body="&lt;p&gt;From &lt;a href=&quot;http://x264.nl/x264/10bit_02-ateme-why_does_10bit_save_bandwidth.pdf&quot; rel=&quot;nofollow&quot;&gt;Why does 10-bit save bandwidth (even when content is 8-bit)?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;So why does a AVC/H.264 10-bit encoder perform better than 8-bit?&lt;/strong&gt;&lt;br&gt;&#xA;  When encoding with the 10-bit tool, the compression process is&#xA;  performed with at least 10-bit accuracy compared to only 8-bit&#xA;  otherwise. So there is less truncation errors, especially in the&#xA;  motion compensation stage, increasing the efficiency of compression&#xA;  tools. As a consequence, there is less need to quantize to achieve a&#xA;  given bit-rate. The net result is a better quality for the same&#xA;  bit-rate or conversely less bit-rate for the same quality: between 5%&#xA;  and 20% on typical sources.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;See the link for more information.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2012-12-03T20:25:32.140" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5493" PostTypeId="1" CreationDate="2012-12-04T10:27:24.530" Score="2" ViewCount="190" Body="&lt;p&gt;Before whenever I imported videos on my timeline, there would be an orange bar in my event browser indicating I've used that portion of the clip. In the new 10.0.6 version, I don't see this. Is there some kind of setting I have to turn on, or was I imagining it this whole time and this never existed?&lt;/p&gt;&#xA;" OwnerUserId="3249" LastActivityDate="2013-01-14T07:11:40.040" Title="Orange Bar in Final Cut Pro X 10.0.6" Tags="|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5496" PostTypeId="1" AcceptedAnswerId="5503" CreationDate="2012-12-04T17:24:04.487" Score="4" ViewCount="9458" Body="&lt;p&gt;I have this video whereby text is revealed one letter after another. A text cursor is moving along with each letter to simulate the fact of writing the text on a word processor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have separate animations for the text being revealed: a mask expands, for the cursor: the position. Keyframes are aligned and the animation is linear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the cursor is overlapping the text at the start of the animation as you can see here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/evbit.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried adding a solid layer that moves with the text and hiding everything to the right of the cursor. That works except when the background is not a solid color as is my case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is if I can parent the mask's movement to the cursor, or vice-versa? Alternatively, is there a better way to do it?&lt;/p&gt;&#xA;" OwnerUserId="3186" LastActivityDate="2012-12-05T08:26:29.727" Title="How to parent a mask to another element in AfterFX?" Tags="|after-effects|animation-rendering|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5497" PostTypeId="1" AcceptedAnswerId="5499" CreationDate="2012-12-04T18:16:07.253" Score="1" ViewCount="4352" Body="&lt;p&gt;I want to try to make my own musicbox. The picture below shows what I mean:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/UvfPs.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering how to determine the length of the metal tone generating plates (shown in dark grey). I assume it is a function of the length and thickness, I just don't know the exact relationship.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could someone please provide me with a formula relating the plate dimensions with the frequency?&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2021-08-07T15:48:25.677" Title="How to tune a musicbox" Tags="|analog|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5499" PostTypeId="2" ParentId="5497" CreationDate="2012-12-04T20:03:27.080" Score="3" Body="&lt;p&gt;The tuned teeth (or lamellae) of the steel comb is typically set to a chromatic scale. To change the tuning would require adding or subtracting material to an individual tooth with some trial and error and a good ear. Changing the length would cancel the action of the pins on the revolving cylinder so that is not a good idea.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you think the scale you have meets your tuning definition then it would be far easier to make a new scroll to change to the melodic and harmonic content you desire. If you are starting from scratch and have the tools you should make a system to be able to change the scrolls so you have a diversity of songs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a reference to tuning the reeds on a harmonica since this is adding and subtracting material related:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.angelfire.com/music/harmonica/mikesretuning.html&quot; rel=&quot;nofollow&quot;&gt;http://www.angelfire.com/music/harmonica/mikesretuning.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Information on how to tune lamellae as used in a Karimba:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.nscottrobinson.com/mbiratunings.php&quot; rel=&quot;nofollow&quot;&gt;http://www.nscottrobinson.com/mbiratunings.php&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a place where you can make your own music box tunes by using &#xA;punchable paper strip musical movement:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.deanorgans.co.uk/order_musicalmovements_mbm30hp.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.deanorgans.co.uk/order_musicalmovements_mbm30hp.htm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Math part:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Tuning_fork#Calculation_of_frequency&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/Tuning_fork#Calculation_of_frequency&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not entirely certain that using tuning fork math is the right place for a series of metal bars as found in a music box comb so I have done some more searches and found a reference that covers much more here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://windworld.com/features/tools-resources/exmis-free-bar-length-calculator/&quot; rel=&quot;nofollow&quot;&gt;http://windworld.com/features/tools-resources/exmis-free-bar-length-calculator/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-12-04T21:59:52.263" LastActivityDate="2012-12-04T21:59:52.263" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5500" PostTypeId="1" CreationDate="2012-12-04T23:39:20.980" Score="2" ViewCount="751" Body="&lt;p&gt;How can you determin when a digital video was made? I know one possibility would be just looking at the meta data but sometimes they are faked or missing. I need some more ideas since I have to write 10 pages about it...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any trick like figuring out what codec was used recording the video, and that this codec is only used by this type of phone, that is only available since then and so the video can not be older than...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need some ideas in this direction but I am stumped. One idea I have is to analyze the picture quality of multiple copies of the video found online and since every recoding results in loss of quality, you could try to determin which one might be the first since it has the best quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But this would only be one method. Any help would be brilliant! I don't expect ready to use answers but suggestions would be wonderful! I am hoping to find something in the line of the Kodak Edge Codes but for digital videos. &lt;/p&gt;&#xA;" OwnerUserId="3254" LastEditorUserId="1530" LastEditDate="2012-12-05T20:37:44.117" LastActivityDate="2012-12-05T20:37:44.117" Title="How would you go about finding out when a digital video was made?" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5502" PostTypeId="2" ParentId="5500" CreationDate="2012-12-05T00:16:52.480" Score="2" Body="&lt;p&gt;When data is in digital format they can be manipulated in any way you want, so the initial data would not be certain in any way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Videos on mobile phones is a fairly recent thing, however video over phone is nothing new and the first video capable phones are based on codecs back from the 80's. Only the later years you will see phones with more modern video formats due to the increased processing power of the phone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Meta data and it's possible date data can be wrong. See if you can get the phone's brand and model from the meta data - then you can establish a more accurate period as phones come and go at a rather fast pace.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you can combine these data (codec used) to see if you have some overlap time-wise.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2012-12-05T00:16:52.480" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5503" PostTypeId="2" ParentId="5496" CreationDate="2012-12-05T08:26:29.727" Score="4" Body="&lt;p&gt;At the moment parenting a mask or its vertices to another object like a null is not possible by default. Although it is &lt;a href=&quot;http://blogs.adobe.com/aftereffects/2012/12/top-feature-requests-for-after-effects-in-2012.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;one of the most wanted features&lt;/a&gt;, probably there is no official solution for this. But in the same link you can find a link to a forum post where scripting master Dan Ebberts &lt;a href=&quot;http://forums.adobe.com/thread/881618&quot; rel=&quot;nofollow noreferrer&quot;&gt;offers a solution&lt;/a&gt;. This solution has some limitations though, yet it might work in your project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My solution would be more manual, this is not the fastest way but it works. If you are using a text layer, try adding an animator for the opacity, based on the characters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/8uZHI.png&quot; alt=&quot;Screenshot&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then animate your cursor layer's position accordingly. Or better, parent it to a null and animate your null and use hold keyframes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This option is better than animating a mask on text layers, as it reveals each character. In your screenshot, there is this situation that your letters are revealed as if a linear wipe is used.&lt;/p&gt;&#xA;" OwnerUserId="3179" LastActivityDate="2012-12-05T08:26:29.727" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5505" PostTypeId="1" AcceptedAnswerId="5507" CreationDate="2012-12-05T21:08:22.527" Score="-5" ViewCount="86" Body="&lt;p&gt;can I ask you some comments about this video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/mNgnsMJ8eOg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to do a video like that.. Can anybody tell me a good SW to do that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="3257" LastActivityDate="2012-12-06T01:18:21.957" Title="Comment about a video" Tags="|video|music|" AnswerCount="2" CommentCount="2" ClosedDate="2012-12-11T22:32:41.947" ContentLicense="CC BY-SA 3.0" />
  <row Id="5506" PostTypeId="2" ParentId="5505" CreationDate="2012-12-05T22:50:36.113" Score="1" Body="&lt;p&gt;To do a video like that you can use any pro or semi-pro editing suite. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But they will not enable you to produce something like that unless you have some experience in directing and in composing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There really is nothing deeply technical required to do this, so unfortunately you won't be able to just buy some software and assume you can do this.  &lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-12-05T22:50:36.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5507" PostTypeId="2" ParentId="5505" CreationDate="2012-12-06T01:10:54.817" Score="1" Body="&lt;p&gt;This is a lot of hard work by a lot of hard working professional people that obviously love what they are doing as witnessed by how easy they made it look. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First start with this really talented band that knows their material inside and out. Take a close look, do you see any other mics in the scene beside the one for the lead vocalist?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's no mics on the amps, or any on the drums for that mater. You can't get that sound without mic'ing everything and their brother. This band had to do a heck of a job of making it look live when indeed they are miming a master recording--not once but for possibly many takes. These are both fine musicians and actors at work and that's what you get when you have talent in the hands of good a director.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next you have a crew that is so good you don't even know they are there. Likely two or three live camera feeds otherwise you would have to have that band play it over and over again to get all those shots with a single camera. Speaking of cameras, likely some high end gear, maybe a Canon 5d mark II or III, or maybe even a Red or who knows but it is something that has some great glass on it. Camera(s) like this cost over 2K and as much as 40K and then add the cost of the glass.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Did you notice the lighting? Perhaps not, it's so natural you would think there isn't a light on anywhere albeit there are a couple of shots with that box light on the floor in the left corner. Then there's the post production color grading, this a pro job by someone that understands and has lots of experience in color grading never mind the software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How about that make up? Wardrobe? The decor? Who did the location scouting and pre-production planning? Guitar and amp techs? Catering? Security?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is so much more here that is significant to speak about than the editing suite. I don't mean to chide you or discourage you as this is truly an inspiring piece of work and begs the question: &quot;how?&quot;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-12-06T01:18:21.957" LastActivityDate="2012-12-06T01:18:21.957" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5508" PostTypeId="1" AcceptedAnswerId="7684" CreationDate="2012-12-06T01:21:19.330" Score="7" ViewCount="1633" Body="&lt;p&gt;I'm looking into options for recording video game sessions, including multiple different video and audio sources. I'm only at the planning stage of this, but here is basically what I want to set up:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Have PC set up as recording hub for gameplay sessions either on same PC or on nearby game console&lt;/li&gt;&#xA;&lt;li&gt;Capture game footage, both audio and video, either capturing PC game footage or via capture hardware for console games (PCI or USB connection)&lt;/li&gt;&#xA;&lt;li&gt;Capture footage of players, probably via webcam attached to PC&lt;/li&gt;&#xA;&lt;li&gt;Capture both game and players feeds simultaneously&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm fairly new to a lot of this stuff, so I'm not particularly sure what I'm looking for here. Can anyone provide some recommendations of software/hardware that would work for what I'm trying to do?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE: I've just discovered Telestream's &lt;a href=&quot;http://www.telestream.net/wirecast/overview.htm&quot;&gt;Wirecast&lt;/a&gt;. It seems to be the sort of software I'm looking for, and I can use it to stream or save it to disk. It also has support for some Blackmagic Intensity capture hardware, which I was already looking at. Has anyone had experience with it or seen a similar, possibly cheaper alternative?&lt;/p&gt;&#xA;" OwnerUserId="3258" LastEditorUserId="3258" LastEditDate="2012-12-06T03:34:12.577" LastActivityDate="2013-09-15T21:20:47.980" Title="Windows software for recording multiple video/audio sources?" Tags="|software-recommendation|live-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5509" PostTypeId="1" AcceptedAnswerId="5517" CreationDate="2012-12-06T02:10:41.463" Score="0" ViewCount="201" Body="&lt;p&gt;I usually have great success in not needing rendering. I take all of my clips and make them Apple ProRes 422 @29.97fps and everything works. The clip that defines the characteristics of the sequence is imported from AVCHD, so it's Apple ProRes 422 1920x1080 @29.97fps (HDTV 1080i).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Today, one of my clips wants to be 1024x768 @29.97fps and the sequence (and other clips) are HDTV 1080i @29.97. For some reason, the smaller frame-size clip needs rendering. If I use Mpeg Streamclip and scale it up (to 720p, for instance), then it doesn't need rendering. However, I want it in its actual size (1024x768).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been through this before and was able to use clips that were not 1920x1080 with success. This time, I need to render. What am I doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="2077" LastEditorUserId="2077" LastEditDate="2012-12-08T01:38:57.083" LastActivityDate="2012-12-08T01:38:57.083" Title="Avoid Rendering in Final Cut Pro: Smaller Frame Size?" Tags="|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5510" PostTypeId="1" AcceptedAnswerId="5511" CreationDate="2012-12-06T08:08:05.367" Score="2" ViewCount="3261" Body="&lt;p&gt;While editing some vocals the other day, I accidentally hit a key in Vegas and the scrub head started going backwards, playing my audio in reverse. I wasn't trying to do this at the time and got it playing normal again. Today I was thinking that this could be useful when trying to find a point where the vocalist takes a breath. Rather than guess, split the clip and play from a few seconds earlier to hear if it is gone, then repeat the process, you could just set the play head past the breath, play it backwards and find the exact point that they start their breath.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know the key you hit to play the scrub head backwards in Sony Vegas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(This is not flipping the clip to play in reverse using &quot;Right-click/Reverse&quot;, I don't need that, I just need the play head to play in reverse temporarily, like scrubbing it backwards)&lt;/p&gt;&#xA;" OwnerUserId="2997" LastEditorUserId="2997" LastEditDate="2012-12-16T03:00:35.323" LastActivityDate="2012-12-16T03:00:35.323" Title="How do you play a clip backwards in Sony Vegas?" Tags="|editing|vegas-pro|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="5511" PostTypeId="2" ParentId="5510" CreationDate="2012-12-06T08:35:58.247" Score="4" Body="&lt;p&gt;Found it!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can press the &quot;J&quot; key to play in reverse. Each time you hit the &quot;J&quot; it will jump a full speed up to x4. If you want to jump by speeds of .25x, hold the &quot;K&quot; button and hit &quot;J&quot;. While it is play backwards, hitting the spacebar will jump you back to where you started playing, and hitting &quot;K&quot; will stop you where you are.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To adjust playback speeds going forward, you can use the &quot;L&quot; key in the same manor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To find the exact point where a breath is taken, you place the play head about where the breath starts, then hit &quot;J&quot;, it will play backwards for a bit. Hit the spacebar and adjust the playback spot by hitting the left or right arrow, then hit &quot;J&quot; again. Once you are exactly where you want to cut the clip, hit &quot;S&quot; and you will split the clip right there. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(The arrows will jump one &quot;frame&quot; according to the frame rate of your project, even if it is an audio project. If it is set to 24 fps, it will jump 1/24th of a second forward or backward)&lt;/p&gt;&#xA;" OwnerUserId="2997" LastEditorUserId="2997" LastEditDate="2012-12-06T08:43:43.720" LastActivityDate="2012-12-06T08:43:43.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5513" PostTypeId="2" ParentId="4100" CreationDate="2012-12-06T14:24:11.580" Score="1" Body="&lt;p&gt;For question one, the short answer is not that I know of with that pattern. Most NLEs today include tools to reverse 3:2 and 2:3 pulldown, and you ~may~ want to experiment with the clips to see if those help improve it. You may also want to export as a targa sequence. Sometimes this export has tools specifically built to remove pulldown. Sometimes not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As to recording in 16fps, that's not really an option since video systems don't RUN at 16fps. The whole purpose of pulldown in the first place is to take a 24p (or, in this case, 16p and 18p) source and stretch it into a 30i destination. Any way you slice it, it's just not a clean transfer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;16fps should typically be a 3:4:4:4 pulldown, and 18fps a 3:3:4. Obviously, your telecine house got confused. Maybe they'd be willing to re-do it if you bitched loud enough&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While it may not be possible to fix the problem because of the transfer rate, I will share what's worked for me in the past with a similar situation. I had some Super8 and I transferred it frame-by-frame as a series of jpgs. I loaded single frame jpgs into my NLE, rendered out the jpgs as a file, then added a velocity envelope to adjust the speed as if it were 30p. A little cumbersome, but it got me the results I needed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said, I'm sure if I'd hunted some more, I'd been able to find a function that would have played back these stills at a certain frame rate in the project settings. Or, since this was a few years ago, just before true HD was starting to make its way into NLEs, that funtionality was missing, but is available in current versions. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the pulldown is really screwing you, and you can't get something close enough from the software, I'd recommend a clean transfer For safety, I would do a video file at the correct pulldown rate, and a series of frame-by-frame bitmaps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-12-06T14:24:11.580" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="5514" PostTypeId="2" ParentId="3514" CreationDate="2012-12-06T14:40:19.793" Score="1" Body="&lt;p&gt;Here's my two cents. I work as a professional photographer, have a background in film and video production, and own both DSLRs and camcorders. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I was making the decision to go from NTSC to HD, I chose to go with Nikon DSLRs. I've been a nikon guy for years, mainly because of a large accumulation of Nikkor lenses, and was waiting for Nikon to catch upto Canon. I ended up with a D7000 (720p) and a D3S (1280i). Lens flexibility has been awesome. Camcorders rarely come with quality glass at the $150.00 price point, and they're rarely interchangeable. When they are, it's not nikon mount, so you're looking at an additional glass investment if you want that option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camcorder CCDs are typically 1/3&quot; to 1/2&quot;. Nikon's F-series has full (35mm) frame CCDs. This results in significantly better color, resolution, and the biggest selling point for my money, DEPTH OF FIELD CONTROL. Awesome production value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've had good luck with Sennheiser external mics; some have a hotshoe mount &amp;amp; they plug into a minijack on the camera. Builtin mics on DSLRS are crap, and audio control is minimal, so you may not be able to manipulate audio as well as you need to. To solve this problem, I use an H4N.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've not run into long recording time issues. I've alays found a way to swap cards..if I get the 128gb cards, you've got some decent recording time. While I've not researched them, I've heard that Canon has external hard drives to which you can record via HDMI. I've not seen these for Nikon, but that could solve your issue without a problem. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For my money, these capabilities, plus the ability to use a single tool for stills and motion sold me on the dslr concept. I'm hooked now,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2012-12-06T14:40:19.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5515" PostTypeId="2" ParentId="5252" CreationDate="2012-12-06T21:15:40.970" Score="2" Body="&lt;p&gt;When you render in 3D Max make sure pre-multiplying is turned off.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Given the situation you want to render an object to be used for post-production within Photoshop, then…&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Be sure you set the background to complete black: Rendering &amp;gt; Environment &amp;gt; Background &amp;gt; Colour (click on the colour field and set&#xA;red, green and blue to 0)&lt;/li&gt;&#xA;&lt;li&gt;Set the antialising in your render settings to Blackman - this type of antialising is quite sharp and doesn’t blur the edges. In&#xA;V-Ray this is located in Renderer &amp;gt; Image sampler &amp;gt; Antialiasing&#xA;Filter.&lt;/li&gt;&#xA;&lt;li&gt;Set the file type in the common rendering dialog to tga, 32-bit, premultiplied and alpha split off, compress on.&lt;/li&gt;&#xA;&lt;li&gt;In Photoshop, load the TGA image, double click the layer to convert it from a background layer into a normal layer.&lt;/li&gt;&#xA;&lt;li&gt;Go to channels, CTRL-select the alpha channel, invert the selection, go back to layers and hit the delete button.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;[...]&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;If you already have rendered your image and your alpha is accidentally&#xA;pre-multiplied, you can add a 6th step to the 5 I mentioned above. In&#xA;Photoshop go to Layer &amp;gt; Matting &amp;gt; Remove Black Matte. Voilà, you got&#xA;rid of the black ‘halo’ again.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Full article:&lt;br /&gt;&#xA;&lt;a href=&quot;http://www.onoff.ch/2007/01/04/premultiplied-alpha-problems/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.onoff.ch/2007/01/04/premultiplied-alpha-problems/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2012-12-06T21:15:40.970" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5517" PostTypeId="2" ParentId="5509" CreationDate="2012-12-07T07:44:51.180" Score="1" Body="&lt;p&gt;First off, there is no such coded as ProRes 411, so I have to assume you are using ProRes 422...which is a great start.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However it is not really worth the effort of trying to convert the clips so that you don't have to render within Final Cut, rendering in Final Cut is going to occur whether you attempt to avoid it or not.  In your case I believe it is a difference in pixel aspect ratio, if the PAR matches with a different frame size typically you do not have to render, however if they do not match even if both clips are 1920x1080 you would still need to render.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-12-07T07:44:51.180" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5519" PostTypeId="1" AcceptedAnswerId="5525" CreationDate="2012-12-07T17:26:39.153" Score="6" ViewCount="3704" Body="&lt;p&gt;I see this all the time: a character is doing something on a computer or watching TV. Instead of filming the actual content of the screen, they film the scene with a fixed camera and add a layer with the content they want to show during post production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an example (from a TV series named Underemployed, Season 1 episode 1 at 18:42). &lt;img src=&quot;https://i.stack.imgur.com/hX76B.png&quot; alt=&quot;screen changed at post production&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this case, you can see that the perpective correction is wrong (the bottom right corner doesn't match the actual corner of the screen), and I'm really wondering what I'm looking at. It looks like a deformed iPad application displayed on a cheap PC, I really don't know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What kind of problems occur when you film an LCD ? Is it a technical issue, or is there another problem I'm not thinking of ? Maybe a logistic problem (like.. the actor doesn't know how to use a computer, or they should synchronize the actors play with the content played on the TV..).&lt;/p&gt;&#xA;" OwnerUserId="2454" LastActivityDate="2012-12-07T23:46:00.343" Title="Why not filming computer or TV screens?" Tags="|post-production|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5521" PostTypeId="1" AcceptedAnswerId="5527" CreationDate="2012-12-07T21:02:51.490" Score="3" ViewCount="12214" Body="&lt;p&gt;I run the old CS 5 version of Adobe Premiere but my friend just got the newer CS 6 version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now she's handing over a project on to me. So I have to turn her project files into files I can continue working in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that Premiere's own built-in conversion process did not quite do it. I ended up with a faulty project where the project window is actually blank, even though the files are clearly there (they show up in the timeline). Also, it is still possible to play back the timeline - it's just that I can't actually do much editing with the project window being as it is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This leads me to my question: Is there a better and simpler way to do the conversion from a CS 6 file to a CS 5 one yet? Are there any good workarounds I have not thought of (that aren't &quot;render every single track individually and go from there&quot;) or anything else I can do?&lt;/p&gt;&#xA;" OwnerUserId="1910" LastEditorUserId="1910" LastEditDate="2012-12-07T21:09:20.063" LastActivityDate="2014-02-03T12:56:24.870" Title="Converting a Adobe Premiere CS6 project to a CS5 one" Tags="|premiere|cs5|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5522" PostTypeId="2" ParentId="5519" CreationDate="2012-12-07T21:11:18.990" Score="4" Body="&lt;p&gt;The problem with recording a video display with a video camera weather LCD, LED, or old fashion CRT is the frame rate often does not match the camera. Artifacts may include a vertical bar rolling through the screen. Even if your camera can match the frame rate of the display being recorded one may still end up with moiré pattern artifacts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many productions find it easier to either cut out the display and add by compositing and masking another layer for the desired content. Another way is to green screen the display area and use chroma key to add the additional layer of content in post production. Not everyone is great at setting up the perspective correctly in post. One needs a professional video editing software that has the ability to alter the added layer with track motion that has x, y, z axis controls. This is not a trivial task.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other possible solutions may involve the use of gen lock and frame lock systems.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2012-12-07T21:11:18.990" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="5524" PostTypeId="2" ParentId="5478" CreationDate="2012-12-07T22:26:38.433" Score="1" Body="&lt;p&gt;This might be better suited as a comment to your original post, but alas I do not yet have those privilegies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, my answer to you would be a cliché one: Keep tinkering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's really a matter of finding out what effects Premiere can offer, deciding which will be able to assist you the most and then going back and forth between them until you find a result that pleases you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, you might want to check out the Color Balance effect. I find it very useful in most projects.&lt;/p&gt;&#xA;" OwnerUserId="1910" LastActivityDate="2012-12-07T22:26:38.433" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5525" PostTypeId="2" ParentId="5519" CreationDate="2012-12-07T23:46:00.343" Score="7" Body="&lt;p&gt;There are several factors that comes to play with recording computer screens.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;As filzilla already mentions, sync is a major factor. In the old days CRT monitors was very challenging to film even with sync-locking. Depending on if you filmed on silver or on video you did get different results. With the exception of LED screens, LCDs also offer sync problems.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The other factor is light conditions. For movie scene you usually have a large amount of light which a computer screen is unable to produce - so the screen turns very dark. You also get problems with color-correction/white-balance as the monitor typically have a different color temperature than the lights used to lit the scene.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The third factor is of more recent nature and has to do with the nature of LCD screen and it's polarization, referring to the limited angle they are visible within. You will get &quot;gradient&quot; effects and on more poor screens also have limited visibility from the sides, top and bottom.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Moiré can be a problem. For video this isn't such a big problem because the light coming from the screen will blend the pixels. Unless you have a high resolution camera filming in low(er) light conditions, or are filming close-up (but not so close that you can actually see the screen pixels), the camera won't be able to separate the individual pixels. For movie cameras this is more present though due the higher resolutions and the requirement to light conditions.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Then there is content synchronization with the actor's interactions or the scene in general, the potential of typos, wrong clicks, having to reset for each take and so forth.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;It's more easy to put in a video in post which you can color correct and adjust, synchronize and so forth to the movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The process isn't very complicated. The computer screen is often recorded with a green or blue backdrop to eliminate the need for mask/matte rotoscoping. You just track the corners of the inner part of the screen and drop in a keyed replacement for the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are plugins too that do a pretty decent job automating this process (or instance the Mocha AE and its planar tracking).&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2012-12-07T23:46:00.343" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5527" PostTypeId="2" ParentId="5521" CreationDate="2012-12-08T00:22:04.460" Score="2" Body="&lt;p&gt;It seems that I have solved my problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All I had to do was to import the CS6 project file into a brand new CS5 project. That did it for me.&lt;/p&gt;&#xA;" OwnerUserId="1910" LastActivityDate="2012-12-08T00:22:04.460" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5533" PostTypeId="1" AcceptedAnswerId="5628" CreationDate="2012-12-09T01:47:35.983" Score="19" ViewCount="43304" Body="&lt;p&gt;I hope this isn't off-topic.  While technically about video production, it's not about a problem I am having.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have you ever noticed on TV how the color red is always noticeably pixelated?  It's the same why while watching video on the computer, as well, be it a Blu-ray, DVD, a video playing directly from disk, or a video being streamed from the internet.  No other other that I know of looks pixelated like the color red.  I've noticed this since as far back as I can remember starting with DVD.  I haven't watched any VHS tapes for many, many years, so I can't say whether or not this pixelation occurs with tapes, but it'd make sense to think that it wouldn't since those are analog.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW, I've searched for this online and found a lot of people asking the same questions, but I have yet to see an actual answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an example of red pixelation that I just happened to come across on YouTube, although the same thing occurs even on TV broadcasts.  Although you can still see it at actual size, zooming in lets you see how pixelated the color red is in comparison to the rest of the colors which really aren't pixelated at all.  I strongly doubt that this is merely a visual anomaly.  Instead, I believe it has to do with how the color red is processed during encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/CYXz9.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3275" LastEditorUserId="3275" LastEditDate="2012-12-09T19:44:11.673" LastActivityDate="2016-11-26T14:56:10.290" Title="Why does the color red always appear pixelated on TV and videos on the PC?" Tags="|digital|analog|broadcasting|" AnswerCount="5" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5534" PostTypeId="2" ParentId="5533" CreationDate="2012-12-09T02:24:17.883" Score="5" Body="&lt;p&gt;It's a well known issue that red component in video devices suffers in presentation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason is the red color's long wave length and that our eyes &lt;a href=&quot;https://en.wikipedia.org/wiki/RGB_color_model#Physical_principles_for_the_choice_of_red.2C_green.2C_and_blue&quot; rel=&quot;nofollow noreferrer&quot;&gt;respond more to long wave ranges&lt;/a&gt; (not to be confused with color sensitivity which would be in yellow-green range).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For us to perceive the colors as equal (ref. responsiveness) the green and blue are compensated for in the video signal. This cause red to have a &quot;weaker&quot; representation in the signal and during its life cycle with signal deterioration red kind of suffers first which result in increased noise and smear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the past with analogue signals the green was prioritized color. The signal is compensated approximately like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/pUo90.png&quot; alt=&quot;RGB Compensation chart&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issue with the red component is the same for analogue as well as loss-compressed digital signal. The red's area is reduced, hence it is more pixelated.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorDisplayName="user2995" LastEditDate="2012-12-26T22:13:49.573" LastActivityDate="2012-12-26T22:13:49.573" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5535" PostTypeId="2" ParentId="5533" CreationDate="2012-12-09T04:43:12.883" Score="3" Body="&lt;p&gt;While pure red is tough to match, partly due to our visual sensitivity in that region, I've never noticed any tendency for red to 'pixelate' more than any other color. Maybe you're seeing an artifact of compression? Do you also see this in non-electronic displays like backlit signs, etc?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another answer here claims that manufacturers kept secrets about color signals. That would be odd, since all equipment had to interoperate. In fact, the percentage of each of RGB in white is well documented -- in NTSC analog days it was 59% G, 30% R and 11% B. It's slightly different in digital broadcast. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There were differences in phosphors and matrixing among CRT makers, and other differences between US and EU systems, but all of those are/were well known and standardized.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2012-12-09T04:43:12.883" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5536" PostTypeId="2" ParentId="2866" CreationDate="2012-12-09T04:51:21.567" Score="1" Body="&lt;p&gt;Is your Final Cut event using proxy media? It's possible the original media has been moved and Compressor can't find it.&lt;/p&gt;&#xA;" OwnerUserId="3278" LastActivityDate="2012-12-09T04:51:21.567" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5537" PostTypeId="1" AcceptedAnswerId="5538" CreationDate="2012-12-09T21:38:34.480" Score="4" ViewCount="333" Body="&lt;p&gt;I've shot a video with my Canon EOS 1100D, but unfortunately forgot to turn the auto lighting optimizer off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now the video footage looks really bad because there are random changes of brightness every time the colours change, similar to the changes &lt;a href=&quot;http://vimeo.com/20932557&quot; rel=&quot;nofollow&quot;&gt;seen in this video&lt;/a&gt;, only that it's even worse for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to repair the footage and adapt the brightness so that it is equally the same throughout the video? Or is my footage lost?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keyframing and changing the brightness &amp;amp; contrast would be the last possible option, but it's certainly far from perfect and very much work.&lt;/p&gt;&#xA;" OwnerUserId="3282" LastEditorUserId="1530" LastEditDate="2012-12-10T01:09:19.693" LastActivityDate="2012-12-10T01:09:19.693" Title="Repairing brightness problems caused by auto lighting optimizer" Tags="|video|editing|color-correction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5538" PostTypeId="2" ParentId="5537" CreationDate="2012-12-09T23:05:09.370" Score="1" Body="&lt;p&gt;Without knowing the exact result of this, if I where you I would give the GBDeflicker a shot (plugin for AE Win/Mac and stand-alone application):&lt;br&gt;&#xA;&lt;a href=&quot;http://www.granitebaysoftware.com/products/productgbd.aspx&quot; rel=&quot;nofollow&quot;&gt;http://www.granitebaysoftware.com/products/productgbd.aspx&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a software meant to solve time-lapse flickering by averaging the luminance of the scene over time. For the video you showed as an example this would also be the case, unstable luminance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can probably isolate your background or the problem area for this plugin to work on, to achieve even better result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might need to adjust end lightness but after running the scene through this I would think that's just a matter of matching the first and last frame setting the keyframes for both.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2012-12-09T23:05:09.370" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5541" PostTypeId="1" CreationDate="2012-12-10T15:07:05.500" Score="5" ViewCount="1237" Body="&lt;p&gt;I have a few markers that I use to make augmented reality pictures for DIY projects. It's working fine when the camera is fixed. Now I would like to use them on a moving object to do basic motion tracking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some frame grabs. I moved the marker with increasing speed in front of my camera. By camera, I mean the built-in camera in my Samsung Galaxy S.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/gInCn.png&quot; alt=&quot;enter image description here&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/ITt63.png&quot; alt=&quot;enter image description here&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/h8jzx.png&quot; alt=&quot;enter image description here&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/mgcTg.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously this is not usable for motion tracking. I am a programmer and I'm interested in computer vision, but I am not a videographer, so feel free to put as much details as you want in your answer. I am not familiar with the characteristics of video capture hardware. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My goal is not to buy a high speed camera to duplicate what they do in Mythbusters for example. For example, I would like to be able to track juggling props, if you need an idea of the speed of the targeted objects.&lt;/p&gt;&#xA;" OwnerUserId="2454" LastActivityDate="2012-12-10T21:21:34.513" Title="What kind of camera do I need to record a moving object in order to do motion tracking?" Tags="|video|hardware|tracking|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5542" PostTypeId="2" ParentId="5533" CreationDate="2012-12-10T15:43:14.760" Score="2" Body="&lt;p&gt;I think the issue you see here is actually because of bright pixels against a very dark background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most lossy compression takes into account that we are far more perceptive to lightness differences than we are color differences.  Depending on the codec used, and encoding options chosen, the blocks used for approximating the video can be fixed size, which appears to be the problem in your video.  As you get to the edges of the light, you find edges which cannot be quantified with the large block alone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many codecs support subsampling where the larger blocks are subdivided into smaller ones.  There may not have been enough available bandwidth (especially common with fixed-bitrate streams) to use subsampling, the option may not have been enabled, or it might have not been available on the codec used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In short, you've found a part of the frame that is difficult to encode with many lossy codecs, and becomes easily visible depending on the configuration of the encoder.&lt;/p&gt;&#xA;" OwnerUserId="129" LastActivityDate="2012-12-10T15:43:14.760" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5543" PostTypeId="2" ParentId="5541" CreationDate="2012-12-10T15:58:58.020" Score="0" Body="&lt;p&gt;As far as I can tell, what you are asking for is a camera that can capture your content into smooth, sharp and crisp video that will remain sharp and unblurred.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most cameras can do this. It's not so much about &lt;em&gt;what&lt;/em&gt; camera you get, but rather about what &lt;em&gt;settings&lt;/em&gt; you use and what &lt;em&gt;conditions&lt;/em&gt; you film in. To explain further, you need to film with a short shutter speed and in a well-lit environment. The faster your object is moving, the shorter shutter speed and the more light is needed to keep it sharp and neat-looking. You will also want to make sure that the aperture of the camera lens is completely open (to let in as much light as possible). There are more factors to consider but these are the most important.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, obviously the camera on your phone is not optimal to do this since you can not change any of the settings I mentioned above. What you need to look for is a camera that let's you change the aperture and shutter speed settings. That is the most important and should be sufficient for your needs. Most DSLR's (with a video function) and camcorders today allow this - at least to some extent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, after taking a second glance at your pictures, I just realized that you might have used some kind of digital zoom for this. Don't, it will be way harder to get any type of quality content from your camera in that case. Also, try to shoot in as high of a resolution as possible. At least 720 (HD).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope you understand this and that it helps you some. English is not my first language so the post might be a bit messy. But hopefully someone can edit and clean it up a bit. With that said, best of luck to you! I hope you find what is right for you.&lt;/p&gt;&#xA;" OwnerUserId="1910" LastActivityDate="2012-12-10T15:58:58.020" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="5546" PostTypeId="2" ParentId="5541" CreationDate="2012-12-10T21:21:34.513" Score="3" Body="&lt;p&gt;When tracking there are two (main things) that you need to be concerned with in tracking.  While there are many variables that need to be taken into account, when shooting there are two things that you should keep in mind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First off, contrast, 99% of all tracking software uses contrast in the luminance channel (brightness) to determine a point and where it is going, green and black is not going to work very well.  White and black is your best bet...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/4HXL5.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second is going to be the camera you are capturing the video with, obviously then this introduces a lot more variables...you want the footage to be properly exposed, and the shutter to be correct, the lower or too high of a shutter will make it more difficult to track shots.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also when choosing a camera understand compression, the more compressed an image is the harder it will, also the lower the resolution.  For example, 1920 TV has a better resolution than a 720 TV.  But compression also matters, an image could be as big as texas but if it is highly compressed chances of pulling a track out of it is unlikely...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take a look at this image, you can see all the images are the same &quot;resolution&quot; however the further right the more compressed the image is, and the harder it is to detect edges...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/3A32E.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So now that you understand how to capture your footage, you need to check out a simple tutorial or two on how to track your footage.  there are several types of tracking but from what is sounds like you are looking to track a point or track a motion of a point.  Your best bet is going to be After Effects motion tracker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can get a 30-day free trial from the adobe website, and check out some awesome tutorials on VideoCopilot.net on how to do tracking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this helps&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-12-10T21:21:34.513" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5548" PostTypeId="1" AcceptedAnswerId="5554" CreationDate="2012-12-10T22:24:58.073" Score="2" ViewCount="195" Body="&lt;p&gt;I'm not entirely sure if this is on-topic here, since it's about stage lighting rather than audio or video directly, but I'll give it a shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been looking at various types of laser stage lighting, and I'm trying to work out how they work internally. I figure the scanning lasers (single fast-moving beam) work by firing a single laser onto a rotating mirror, or a mirror controlled by servos for more precise movements.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I can't figure out how the cluster lasers work. I'd guess there's some kind of prism in there, or some trickery with a set of mirrors and lenses that somehow &quot;split&quot; the beam, but I can't quite figure it out. My first thought was a fixed prism, but that wouldn't explain how these devices can spread, focus and rotate the beams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do these laser effects usually work?&lt;/p&gt;&#xA;" OwnerUserId="3284" LastActivityDate="2013-05-02T02:47:02.177" Title="Cluster laser stage lighting" Tags="|effects|lighting|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5549" PostTypeId="1" AcceptedAnswerId="5551" CreationDate="2012-12-10T22:30:45.643" Score="4" ViewCount="3017" Body="&lt;p&gt;I want to experiment with slowed down footage and I see several ways in doing that with my current set-up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have the following hardware/software at my disposal:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects CS5.5,&#xA; Twixtor Pro,&#xA;Canon 550D (capable of shooting 50fps 1280x720 footage)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can think of several ways to slow-down my 50fps footage, I'm interested to hear what the most effective way to go is in terms of &lt;strong&gt;quality&lt;/strong&gt; and what the best way is to slow my footage down &lt;strong&gt;as much as possible&lt;/strong&gt;.&lt;br&gt;&#xA;The methods I could think of are written down below.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Interpret the footage in CS5.5 as 25fps or lower. 18fps being the minimum, stutter is noticeable below that.&lt;/li&gt;&#xA;&lt;li&gt;Interpret as 50fps and then do a time-remapping to slow down the footage. Add frame blending to compensate for any stutter.&lt;/li&gt;&#xA;&lt;li&gt;Interpret as 50fps and use Twixtor Pro to slow down the footage.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="2836" LastEditDate="2014-03-05T17:30:04.697" LastActivityDate="2014-03-05T17:30:04.697" Title="What is the most effective way of slowing down footage?" Tags="|after-effects|dslr|canon|slowmotion|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5551" PostTypeId="2" ParentId="5549" CreationDate="2012-12-11T00:32:52.207" Score="2" Body="&lt;p&gt;Depending on how much you are looking to slow down.  Interpret as 50fps, and then once in your timeline, say it is a 25fps timeline.  Then you can stretch the footage using time remapping, then you can turn on frame blending to the solid line...this will be good in most instances up to about 25% speed of original...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Less than that the same, 25fps timeline, interpret footage at 50fps, then use twixter to get that super slomo feel.  Not that twixter does not always work and is going to give varying results based on the footage.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-12-11T00:32:52.207" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5554" PostTypeId="2" ParentId="5548" CreationDate="2012-12-11T08:46:53.293" Score="3" Body="&lt;p&gt;The way most stage laser effects work is by using a holographic plate or diffraction grating which splits the single beam up into multiple beams. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;[image removed due to a DMCA request from copyright holder]&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These then pass to further holographic elements to provide shapes and lines, and these can then be manipulated further with lenses or mirrors.&lt;/p&gt;&#xA;" OwnerUserId="674" LastEditorUserId="1877" LastEditDate="2013-05-02T02:47:02.177" LastActivityDate="2013-05-02T02:47:02.177" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="5555" PostTypeId="1" AcceptedAnswerId="5565" CreationDate="2012-12-11T10:56:44.993" Score="2" ViewCount="509" Body="&lt;p&gt;With my staff we have to create a video similar to &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/3wtUr3iVVIw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have to start from scratch, buying the software and involving some experienced people.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which kind of software you think would allow us to make a video like the one of CERN's guys?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In particular a feature I think we need is the possibility of having multiple videos on the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example: a box with someone talking on the uppre left corner, while some images go on in the main screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;--UPDATE 1 --&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The OS I'm using is Mac OS. If needed I can surely switch to linux, and also to windows 7 (but I would avoid this last option).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Our level in video editing is not really high, hovever I'm a so-called &lt;em&gt;ICT person&lt;/em&gt; so I don't usually get lost with new software. But of course a  software with a steep learning curve do not fit well to our needs, because I would take one month just to learn it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We were looking at &lt;a href=&quot;http://www.pinnaclesys.com/&quot; rel=&quot;nofollow&quot;&gt;Pinnacle studio&lt;/a&gt; or &lt;a href=&quot;http://www.apple.com/ilife/imovie/&quot; rel=&quot;nofollow&quot;&gt;iMovie&lt;/a&gt;.&#xA;Pinnacle has the video-wall feature which is great, iMovide allows for box where people is talking while images go on on the main background screen.&lt;/p&gt;&#xA;" OwnerUserId="2410" LastEditorUserId="2410" LastEditDate="2012-12-12T09:17:44.887" LastActivityDate="2019-04-09T16:42:44.077" Title="Reverse engineering: which video editing software was used on this video?" Tags="|video-editor|software-recommendation|" AnswerCount="2" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="5559" PostTypeId="2" ParentId="5555" CreationDate="2012-12-11T18:48:00.487" Score="2" Body="&lt;p&gt;UPDATE:&#xA;I may be a bit overboard on the hardware and software targets. Taking a second and third look at your example video tells me that yes there is some animation s/w but the composite level does not appear to be as intense as I first thought. In any event you won't go wrong with the h/w I recommended but if you are on a budget you may be able to scale it back some. Certainly the basic system should be at least a i5 core 64 bit machine with at least 12 GB. Again, asking the folks that are actually going to edit your video should be the most important input on what s/w and h/w will work for them. I am assuming that you are going to have seasoned professional editors to do this work as the work you are targeting is not trivial nor is it something that you can learn fast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The CERN video has more than one piece of software in it as there is a ton of animation, and a ton of compositing as well as multi synchronized track motion not to mention some very good motion graphic titles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would not start with buying software. Instead I would let the expert people you hire to choose the software they know and trust to get the job done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Likely they will ask for one or more of the following and then some animation tools that will plug into these. You don't mention hardware but to render something like this CERN video you will need at least an Intel  third generation i7 Core 64 bit CPU with a great GPU card that has 1 GB or more local memory and 16GB to 24 GB for system memory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For Windows systems: Avid, Adobe Premier, Vegas Pro, and additionally Adobe After Effects no matter what editor you use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For MAC systems: Final Cut Pro and Adobe After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, let your experts decide on the tools they need, don't hoist some one else's opinion on them.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2012-12-13T20:06:39.640" LastActivityDate="2012-12-13T20:06:39.640" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5560" PostTypeId="2" ParentId="5493" CreationDate="2012-12-11T22:36:32.540" Score="1" Body="&lt;p&gt;FCP X is a complete re-write of the software, many and most features that everyday professional editors use when video editing are no longer available in FCP X, this feature was not included.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also this only works on true Time-based cameras, a 5D or 7D will not produce this feature even in FCP 7&lt;/p&gt;&#xA;" OwnerUserId="2994" LastEditorUserId="2994" LastEditDate="2013-01-14T07:11:40.040" LastActivityDate="2013-01-14T07:11:40.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5564" PostTypeId="1" AcceptedAnswerId="5572" CreationDate="2012-12-12T16:39:34.833" Score="5" ViewCount="3363" Body="&lt;p&gt;I'm currently searching for new codecs that are better suited for production than the ones we are currently using. So far we used QuickTime Animation and PhotoJPEG. The latter always proved as something &quot;rocksolid&quot; and never made any problems. Though its lossy and has no alpha, thats when we used Animation but that codec is a dinosaur when it comes to compression and bit-depth.&#xA;I generally dislike all the built-in QuickTime codecs as they either dont deliver all the formats options or are just not pracitcal in a multi OS workflow. The whole Pro-Res family is a no go as it can only be encoded on a mac (except for the beta version of the ffdshow ProRes encoder).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I'm very happy with JPEG2000 using the j2k plugin from fnordware, the format has all the good things from legacy JPEG and Animation and has even more features but the downside is the fact that its an image sequence which is not so nice to handle as a single container file. The crippled JPEG2000 codec in QuickTime is no option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what I'm searching is a codec that can be used with container formats like .avi or .mov (or any other container, it really doesn't matter), with a good compressability in the range of lossless JPEG2000, atleast 16bit per channel and support for an alpha channel. E: And of course lossless if that wasn't clear so far. Otional lossy compression like JPEG2000 has, would be great but not necessary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope someone can suggest me something, its no problem if the format needs a plugin for After Effects, Premiere etc. it just needs to be compatible with CS6 and not be restricted to Windows or Mac.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2012-12-13T02:04:05.137" LastActivityDate="2012-12-20T07:16:03.833" Title="Recommendable production codecs for Adobe video products" Tags="|premiere|after-effects|codec|" AnswerCount="3" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="5565" PostTypeId="2" ParentId="5555" CreationDate="2012-12-12T16:52:27.053" Score="4" Body="&lt;p&gt;With a 99% chance After Effects was used here.&#xA;As long as you plan on doing a commercial video I would avoid home video production programs like iMovie at all costs. Specially because iMovie is made for cutting video and not making animations. That's like making a commercial in Windows Movie Maker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are many many talented freelancing After Effects animation artists out there who will make you this kind of animation with ease if you don't want to learn the software yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More info on After Effects &lt;a href=&quot;https://www.adobe.com/de/products/aftereffects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here on the Adobe website&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="17390" LastEditDate="2019-04-09T16:42:44.077" LastActivityDate="2019-04-09T16:42:44.077" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="5566" PostTypeId="2" ParentId="5564" CreationDate="2012-12-12T23:34:03.527" Score="-3" Body="&lt;p&gt;Apple ProRes 422 is very good, however you need a codec on PC to be able to read it and a PC cannot encode it, however it is probably the most widely accepted format within the industry.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using FFmpeg when working with video editing is pretty much useless, it is designed for web application but not used AT ALL in the professional world.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are PC ONLY check out DVCPRO HD codecs, however far inferior to ProRes&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-12-12T23:34:03.527" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="5567" PostTypeId="2" ParentId="5431" CreationDate="2012-12-13T04:01:25.060" Score="2" Body="&lt;p&gt;One other thing to add. On the Layer Repeater plugin you can offset your animation in time as well. So you could do the same thing by animating the opacity of the 1st layer, and that will get offset in time to the rest of the layers.&lt;/p&gt;&#xA;" OwnerUserId="3297" LastActivityDate="2012-12-13T04:01:25.060" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5571" PostTypeId="1" AcceptedAnswerId="5573" CreationDate="2012-12-13T18:29:06.350" Score="2" ViewCount="233" Body="&lt;p&gt;I have a camcorder that does 1024x576 videos imported from a camera on a MacBook, using iMovie. But, those videos are H.264 encoded (I think), and that's not convenient for sharing where most of my viewers use Windows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to convert it of course, but every program (even Mac OS) &lt;em&gt;think&lt;/em&gt; my video is 720x576-encoded, so when I convert them the aspect ratio is not conserved.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/jJuqS.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see on this screenshot, took from QuickTime info, the &quot;normal size&quot; of that video is &quot;1024x576&quot;. But all other programs, including Mac OS, only &lt;em&gt;see&lt;/em&gt; the 720x576 (in the Format line here). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mac OS :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/47STR.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any Video Converter Ultimate :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Yd35Y.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;SkySoft iMedia Converter :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/kOQTS.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I get stuck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know a way to convert large-width iMove imported videos to other formats preserving aspect-ratio ?&lt;/p&gt;&#xA;" OwnerUserId="3301" LastActivityDate="2012-12-13T23:03:22.140" Title="How to convert large iMovie-imported videos preservig aspect ratio?" Tags="|conversion|imovie|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5572" PostTypeId="2" ParentId="5564" CreationDate="2012-12-13T18:59:28.717" Score="2" Body="&lt;p&gt;&lt;a href=&quot;http://umezawa.dyndns.info/archive/utvideo/?C=M;O=D&quot; rel=&quot;nofollow&quot;&gt;Ut Video&lt;/a&gt; is an editor friendly lossless video codec and is a good choice for in house production as an intermediary. It is fast, open source, actively developed, supports RGB(A)/ULRA (for your alpha channel requirement) and YUV colorspaces, and is available for Windows, OS X, and Linux. You can install it on Windows and it will show up in Adobe Media Encoder, After Effects, etc. I don't know if it will fit all of your needs, but it is worth a try.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2012-12-13T18:59:28.717" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5573" PostTypeId="2" ParentId="5571" CreationDate="2012-12-13T23:03:22.140" Score="2" Body="&lt;p&gt;I spent my eveening but finally found a working software. That's not a freeware :( 69 boxes, but it works so I'll buy it. This is &lt;a href=&quot;http://www.wondershare.net/active/video-converter-ultimate-mac.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wondershare Video Converter Ultimate&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/OksJW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Don't hesitate to edit this answer if you feel that my answer is too spammy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Happy converting&lt;/p&gt;&#xA;" OwnerUserId="3301" LastActivityDate="2012-12-13T23:03:22.140" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5575" PostTypeId="1" AcceptedAnswerId="5576" CreationDate="2012-12-14T05:13:39.607" Score="3" ViewCount="4697" Body="&lt;p&gt;I just got a kodak playsport zx5 and shot some video of a volleyball game at 720p 60fps. I figured since the ball was moving so fast i'd need the 60fps to capture the games clearly. I just downloaded the videos and playing them in KMPlayer and they are in slow motion. How can I get them to play in real time?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="3304" LastEditorUserId="2569" LastEditDate="2012-12-18T19:09:48.133" LastActivityDate="2012-12-18T19:09:48.133" Title="720p 60fps playing in slow motion need real time speed?" Tags="|playback|slowmotion|framerate|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5576" PostTypeId="2" ParentId="5575" CreationDate="2012-12-14T09:30:18.963" Score="1" Body="&lt;p&gt;The reason it plays back in slow-motion is because you recorded it in slow-motion mode. From &lt;a href=&quot;http://store.kodak.com/store/ekconsus/en_US/pd/ThemeID.3925700/PLAYSPORT_Video_Camera__Zx5/productID.221644700&quot; rel=&quot;nofollow&quot;&gt;Kodak's web page&lt;/a&gt; (my emphasis):&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;720p at 60 fps—for fast action and &lt;strong&gt;super slow motion playback&lt;/strong&gt; &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Your computer have no problem playing back the video if CPU usage is just 30% and have a full frame rate of 60 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you need to change this is to re-time your video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do is in many ways - I would suggest a video editor such as Adobe Premier Pro (try their 30 days free trial if you don't have it already), select a project that fits the format (HD720P) but with 30 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then drop your video on the time line, right-click and select change playback speed (or something in those words). Set 200% or what will suit your video. Render out to final video and the problem will be gone.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2012-12-14T09:30:18.963" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="5577" PostTypeId="1" AcceptedAnswerId="5578" CreationDate="2012-12-14T10:42:31.807" Score="4" ViewCount="3675" Body="&lt;p&gt;I have large number of numbered .tif files and I'd like to convert them to a .mov/Quicktime video file for further editing in Final Cur Pro X. Therefore no artefacts should be added in the process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a good way to do this conversion. I'd prefer using a command line tool.&lt;/p&gt;&#xA;" OwnerUserId="2915" LastEditorUserId="4456" LastEditDate="2013-08-18T16:47:17.177" LastActivityDate="2023-11-18T14:37:48.753" Title="Command Line Tool for Converting Image Sequence to Quicktime .mov Video" Tags="|video|conversion|quicktime|time-lapse|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5578" PostTypeId="2" ParentId="5577" CreationDate="2012-12-14T13:36:57.120" Score="5" Body="&lt;p&gt;You can use wonderful &lt;a href=&quot;http://ffmpeg.org/&quot; rel=&quot;noreferrer&quot;&gt;ffmpeg&lt;/a&gt; for your desired workflow. There is a guide &lt;a href=&quot;http://www.warpwood.com/wiki/ffmpeg/&quot; rel=&quot;noreferrer&quot;&gt;here on this page&lt;/a&gt; but once you have the ffmpeg installed, you can simply cd into your folder with sequence, and type in your terminal:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2 -pattern_type glob -i '*.png' -vcodec qtrle -r 25 -s 1920x1080 test.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To understand the options, you can check the &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Video-and-Audio-file-format-conversion&quot; rel=&quot;noreferrer&quot;&gt;documentation&lt;/a&gt; but here is the explanation:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;When importing an image sequence, -i also supports expanding shell-like&#xA;wildcard patterns (globbing) internally, by selecting the image2-specific&#xA;-pattern_type glob option.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In this specific command, &lt;code&gt;-r&lt;/code&gt; is for framerate, and &lt;code&gt;-s&lt;/code&gt; is our image size. &lt;code&gt;-vcodec qtrle&lt;/code&gt; tells ffmpeg to use QuickTime Animation. For ProRes, you can use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vcodec prores -profile 2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here &lt;code&gt;-profile&lt;/code&gt; refers to ProRes Profiles (0, 1, 2, 3), 0 being Proxy, and 3 being High Quality (&lt;a href=&quot;http://forum.doom9.org/showthread.php?p=1538476#post1538476&quot; rel=&quot;noreferrer&quot;&gt;source&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Besides these, if you are going to use ffmpeg, there are lots of detailed bits of commands online, or we can figure out specific commands for your workflow here.&lt;/p&gt;&#xA;" OwnerUserId="3179" LastActivityDate="2012-12-14T13:36:57.120" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5582" PostTypeId="1" CreationDate="2012-12-14T21:26:43.730" Score="5" ViewCount="2095" Body="&lt;p&gt;I want to be able to stream live TV but also include the closed captions.  My workflow is to use a Blackmagic Designs Decklink card (video source is SDI) and use VLC to capture and transcode the video, then send that to a Wowza server to be packetized for HTTP streaming.  I have this working for Video, but I cannot figure out how to get the closed captions to appear in my player.  I am using a VLC Player, Quicktime, Flowplayer on a web page, iPad, and iPhone to view the streams, none of them show the closed captioning in the source video.  The closed captions are both 608 and 708.  I have spent the last 3 days reading everything I can about vlc and closed captions, wowza and closed captions, and x264 and closed captions, vbi, teltext, and even subtitles, but I am no where closer than when I started.  I sincerely that someone here will be able to help me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using a core i7 with 4GB ram, runign ubuntu 10.04 64bit.  I compiled vlc with the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;./configure  '--enable-xvideo' '--enable-sdl' '--enable-avcodec' '--enable-avformat' '--enable-swscale' '--enable-mad' '--enable-a52' '--enable-libmpeg2' '--enable-dvdnav' '--enable-faad' '--enable-vorbis' '--enable-ogg' '--enable-theora' '--enable-mkv' '--enable-flac' '--enable-caca' '--enable-alsa' '--enable-qt4' '--enable-ncurses' '--enable-realrtsp' '--enable-twolame' '--enable-real' '--enable-x264' '--with-decklink-sdk=/home/bimls/bmd/Blackmagic_Decklink_SDK_9.6.4/Linux' '--enable-zvbi'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I use the following to capture and stream the live video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cvlc decklink:// --decklink-card-index=&quot;0&quot; --decklink-mode=&quot;ntsc&quot; --rtsp-timeout 0 --sout='#transcode{venc=x264{subme=1, ref=1, bframes=16, b-adapt=1, bpyramid=none, weightp=0 }, vcodec=h264, vb=1300, acodec=mp4a, ab=96, threads=4}:rtp{dst=127.0.0.1:8888,mux=ts}'' --vbi-page=100 --no-vbi-opaque --vbi-position=0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Some of the question I have are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is this the proper way to get the closed captions to appear? if not please what am I doing wrong? &lt;/li&gt;&#xA;&lt;li&gt;How does one&#xA;know what vbi-page to look for as the range seems to be &quot;--vbi-page integer [-2147483648 .. 2147483647]&gt;&quot; &lt;/li&gt;&#xA;&lt;li&gt;Does transcoding destroy&#xA;closed caption data?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So, Please any help will be greatly appreciated! Thank you!&lt;/p&gt;&#xA;" OwnerUserId="3306" LastActivityDate="2012-12-19T00:50:55.003" Title="How to get closed captions to appear on a live stream" Tags="|streaming|transcoding|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5584" PostTypeId="1" AcceptedAnswerId="5601" CreationDate="2012-12-15T03:27:06.383" Score="4" ViewCount="2423" Body="&lt;p&gt;Am new to Premier CS6 - working with Multicam editing.  Having success but stuck on color correction.  I am able to create a multicam clip and do my edits using the Multicam Editing window (very slick and fast).  Also able to adjust those edits in the timeline to improve timing.  Sweet.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;How do I color correct (or add an effect) to an entire angle in a multicam sequence after I've applied the edits (or even before)?&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;If I drag the effect into the timeline it sticks only to a particular edit and won't get to all the edits from that angle.  I can't drag it into the upper-left window (&amp;quot;browser&amp;quot;?) and don't know how else to apply the effect.&lt;/p&gt;&#xA;&lt;p&gt;I've read some online but am hitting a wall with how I get to the underlying video footage behind the multicam edit.&lt;/p&gt;&#xA;&lt;p&gt;Can someone hold my hand and guide me?&lt;/p&gt;&#xA;&lt;h3&gt;Detail Steps Taken in CS6&lt;/h3&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Place video files (angles) in the project browser&lt;/li&gt;&#xA;&lt;li&gt;For each file, double click to preview video and then set corresponding in-points&lt;/li&gt;&#xA;&lt;li&gt;Select all video angles in project browser, right-click, and choose &lt;em&gt;Make multicamera clip...&lt;/em&gt; (by in-point)&lt;/li&gt;&#xA;&lt;li&gt;Place new multicam clip in the sequence&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="3308" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2012-12-18T17:31:41.223" Title="Using Multicam Editing How to Color Correct an entire angle" Tags="|premiere|color-correction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5588" PostTypeId="1" CreationDate="2012-12-15T21:58:22.253" Score="1" ViewCount="668" Body="&lt;p&gt;I'm using this command line to extract the audio&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ffmpeg -i video.mkv -c:a pcm_s16le audio.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;this is its output&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 1.0 Copyright (c) 2000-2012 the FFmpeg developers&#xA;  built on Oct  1 2012 10:47:52 with gcc 4.0.1 (GCC) (Apple Inc. build 5493)&#xA;  configuration: --prefix=/Volumes/Ramdisk/sw --enable-gpl --enable-pthreads --enable-version3 --enable-libspeex --enable-libvpx --disable-decoder=libvpx --enable-libmp3lame --enable-libtheora --enable-libvorbis --enable-libx264 --enable-avfilter --enable-libopencore_amrwb --enable-libopencore_amrnb --enable-filters --enable-libgsm --arch=x86 --enable-runtime-cpudetect&#xA;  libavutil      51. 73.101 / 51. 73.101&#xA;  libavcodec     54. 59.100 / 54. 59.100&#xA;  libavformat    54. 29.104 / 54. 29.104&#xA;  libavdevice    54.  2.101 / 54.  2.101&#xA;  libavfilter     3. 17.100 /  3. 17.100&#xA;  libswscale      2.  1.101 /  2.  1.101&#xA;  libswresample   0. 15.100 /  0. 15.100&#xA;  libpostproc    52.  0.100 / 52.  0.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'video.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    creation_time   : 1970-01-01 00:00:00&#xA;    encoder         : Lavf52.111.0&#xA;  Duration: 01:29:59.83, start: 0.000000, bitrate: 832 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 720x406, 762 kb/s, 25 fps, 25 tbr, 25 tbn, 50 tbc&#xA;    Metadata:&#xA;      creation_time   : 1970-01-01 00:00:00&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (mp4a / 0x6134706D), 48000 Hz, stereo, s16, 64 kb/s&#xA;    Metadata:&#xA;      creation_time   : 1970-01-01 00:00:00&#xA;      handler_name    : SoundHandler&#xA;Output #0, wav, to 'audio.wav':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf54.29.104&#xA;    Stream #0:0(eng): Audio: pcm_s16le ([1][0][0][0] / 0x0001), 48000 Hz, stereo, s16, 1536 kb/s&#xA;    Metadata:&#xA;      creation_time   : 1970-01-01 00:00:00&#xA;      handler_name    : SoundHandler&#xA;Stream mapping:&#xA;  Stream #0:1 -&amp;gt; #0:0 (aac -&amp;gt; pcm_s16le)&#xA;Press [q] to stop, [?] for help&#xA;size= 1012464kB time=01:29:59.82 bitrate=1536.0kbits/s    &#xA;video:0kB audio:1012464kB subtitle:0 global headers:0kB muxing overhead 0.000004%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then the audio is normalized and put back into the video file&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mkv -i audio_normalized.wav -map 0:0 -map 1:0 -c:v copy -c:a libmp3lame -b:a 64k video_normalized.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Sometimes the video won't play in my ipod touch, or plays muted&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When that happens, I convert the video to AVI, with the same quality, wich gives a bigger file more often than not&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -sameq -i video.mp4 video.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I just wondered whether there is a way to always change the container file to AVI with the same video quality and replace the sound with the normalized audio in one step&lt;/p&gt;&#xA;" OwnerUserId="3159" LastEditorUserId="3159" LastEditDate="2012-12-18T04:59:46.310" LastActivityDate="2012-12-18T04:59:46.310" Title="ffmpeg - convert video to iDevice format, replace sound with normalized WAV file, while maintaining the original video quality?" Tags="|video|conversion|ffmpeg|" AnswerCount="0" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="5589" PostTypeId="1" AcceptedAnswerId="5590" CreationDate="2012-12-15T22:05:41.540" Score="4" ViewCount="2140" Body="&lt;p&gt;I am looking for a good and &lt;em&gt;free option&lt;/em&gt; to convert AVCHD (Full-HD from a Panasonic Lumix GH1) to image sequences. I am currently using &lt;em&gt;Blender&lt;/em&gt; but it is cumbersome in that it only allows me to convert the videos if I disable the preview - should the preview be open in my workspace, Blender halts for about 1-2 mins until it shows a preview image - any further click on the preview halts it again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It can very well be a &lt;em&gt;command line tool&lt;/em&gt; (I am willing to craft the command line options myself if needed). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The output images can be any common format (PNG, JPG, even TIFF). The conversion to image sequences is asked for because Blender (that I use as editing software) has no problems with image sequences and other formats but AVCHD seems to still be painful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="3312" LastEditorUserId="3312" LastEditDate="2012-12-15T22:38:01.337" LastActivityDate="2012-12-15T23:30:10.663" Title="open-source or free AVCHD conversion to image sequence" Tags="|conversion|blender|avchd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5590" PostTypeId="2" ParentId="5589" CreationDate="2012-12-15T23:30:10.663" Score="3" Body="&lt;p&gt;Wonderful &lt;a href=&quot;http://ffmpeg.org/&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt; command line utility is the solution. Just check their &lt;a href=&quot;http://ffmpeg.org/documentation.html&quot; rel=&quot;nofollow&quot;&gt;documentation&lt;/a&gt;, but something like the following will probably work for your case:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mts video%05d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will take your video, and create video00001.png, video00002.png... files in the same folder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can find a lot of guides for ffmpeg, or ask here for a specific soltion. We can try to figure out.&lt;/p&gt;&#xA;" OwnerUserId="3179" LastActivityDate="2012-12-15T23:30:10.663" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5593" PostTypeId="5" CreationDate="2012-12-16T17:29:00.360" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Ffmpeg&quot; rel=&quot;nofollow&quot;&gt;Source from Wikipedia&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2012-12-17T02:36:01.023" LastActivityDate="2012-12-17T02:36:01.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5594" PostTypeId="4" CreationDate="2012-12-16T17:29:00.360" Score="0" Body="FFmpeg is a free software project that produces libraries and programs for handling multimedia data. The most notable parts of FFmpeg are libavcodec, an audio/video codec library used by several other projects, libavformat, an audio/video container mux and demux library, and the ffmpeg command line program for transcoding multimedia files." OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2012-12-17T02:36:26.017" LastActivityDate="2012-12-17T02:36:26.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5595" PostTypeId="1" AcceptedAnswerId="5602" CreationDate="2012-12-16T19:24:16.747" Score="3" ViewCount="4242" Body="&lt;p&gt;I think this software idea seems simple enough to have been created, but it might be so specific that no one has done it. I'm just wondering if it already exists.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for some program which takes two videos which have identical backgrounds (or nearly identical, there are likely slight intensity differences in pixels) and allows you to combine the dynamical elements of each into a single video. For example, If I have a video of a room where I'm standing on the left side of the room, then another video from the same view where I'm standing on the right, and then the program would combine the two so I'm standing on both left and right. I guess things like shadows and whatnot would cause some problems here, but the general idea shouldn't be too ridiculous. Does something like this exist?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you much!&lt;/p&gt;&#xA;" OwnerUserId="3314" LastActivityDate="2012-12-17T22:20:50.807" Title="Software to combine two videos of the same scene?" Tags="|software|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5596" PostTypeId="2" ParentId="5595" CreationDate="2012-12-17T04:53:27.677" Score="1" Body="&lt;p&gt;Sony Vegas Pro can do it but it is a bit pricey. In general, you need any video editor that supports masking and compositing.&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2012-12-17T04:53:27.677" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5598" PostTypeId="2" ParentId="5595" CreationDate="2012-12-17T19:30:06.910" Score="1" Body="&lt;p&gt;Check out After Effects, this is a pretty easy thing to do within using masks...You can download a 30-day free trial at adobe.com&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-12-17T19:30:06.910" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5599" PostTypeId="1" CreationDate="2012-12-17T21:00:32.963" Score="4" ViewCount="47" Body="&lt;p&gt;What initial setting should I be using in Premiere CS4 if I shot video on a Samsung HMX-q10 camera but shot in standard definition? When I tried DV NTSC the video looks very bad, like it's somewhat pixellated. When I view it on Windows media player the video looks good.&#xA;The properties on the clips are: 720x480 59 fps. &lt;/p&gt;&#xA;" OwnerUserId="3321" LastActivityDate="2013-09-23T15:22:24.810" Title="settings for editing in cs4" Tags="|video|editing|premiere|codec|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5600" PostTypeId="1" CreationDate="2012-12-17T21:45:57.067" Score="-1" ViewCount="119" Body="&lt;p&gt;I'm a developer and I'm intending to develop a camera based surveillance software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The simplest way is to try and pick a 360 degrees video camera. I found some models but the problem is that the recorded/real-time flow videos are only readable by the manufacturer's software (example: &lt;a href=&quot;http://www.gopano.com/store/&quot; rel=&quot;nofollow&quot;&gt;GoPano&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any 360° video camera device that is shipped with tools for developers so that we can build our own softwares ? Are there alternatives ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The idea is to have a real time video flow that could be consumable by any platform (browser, iOS SDK, Android SDK, etc.).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regards. &lt;/p&gt;&#xA;" OwnerUserId="3322" LastActivityDate="2012-12-18T16:36:25.107" Title="Recommandation for a 360 degrees video camera for developers" Tags="|video|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5601" PostTypeId="2" ParentId="5584" CreationDate="2012-12-17T21:54:28.997" Score="2" Body="&lt;p&gt;If all is correct you enable the multi camera mode on a sequence containing the different angles in different tracks as shown in the image below (this is CS5.5, but CS6 is similar).&#xA;  The image shows a sequence containing 4 different clips which represent 4 different angles.&#xA;In this example these are just a collection of random footage, but it works the same if you have actual different footage from different angles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/B01Li.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's call this &lt;code&gt;Sequence 01&lt;/code&gt;. Now put &lt;code&gt;Sequence 01&lt;/code&gt; in another sequence,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/6344j.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;click on &lt;code&gt;Multi-Camera -&amp;gt; Enable&lt;/code&gt; and then you can switch witch camera you want in &lt;code&gt;Sequence 02&lt;/code&gt;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/vaQJz.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;According to the information in your question you've already come so far.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now if you want to color correct one angle (lets take the angle called &lt;code&gt;Leaf.MOV&lt;/code&gt;) just open &lt;code&gt;Sequence 01&lt;/code&gt;, apply the effect to the clip (drag and drop on the &lt;code&gt;Leaf.MOV&lt;/code&gt; clip) and this changes should propagate into your multi-cam edits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please feel free to ask any question if this doesn't work for you. I'll try to help.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2012-12-17T21:54:28.997" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5602" PostTypeId="2" ParentId="5595" CreationDate="2012-12-17T22:20:50.807" Score="0" Body="&lt;p&gt;I thought I might expand a bit on the previous answers here. They're both correct, just not very informative.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you are after is a technique often called the cloning or twin effect. As you have already stated, it consists of filming two different clips against the same background and then layering them over eachother.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This can be achieved in almost any conventional video editing program (even Windows Movie Maker and iMovie) - so which one you choose depends only on your own preferences and other needs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, &lt;a href=&quot;http://www.youtube.com/watch?v=xxX5eVFye4I&quot; rel=&quot;nofollow&quot;&gt;here is a video tutorial&lt;/a&gt; of how to do it in Premiere Elements. This should help show you the basic technique. If you need more specific help with whatever other piece of software you want to use, simply googling it will give you some great links. ;) Also, if anyone wants to specific video tutorials on how to do this in other video editing programs - feel free to edit (or comment on) this post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope that was of help to you - and if you need more help I'll gladly assist.&lt;/p&gt;&#xA;" OwnerUserId="1910" LastActivityDate="2012-12-17T22:20:50.807" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5608" PostTypeId="2" ParentId="5600" CreationDate="2012-12-18T16:36:25.107" Score="1" Body="&lt;p&gt;One way to go is to use a camera which you can attach a &quot;fish-eye&quot; (wide-angle) lens to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These can be very expensive though and typically target professional photographers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have also this lens for iPhone:&lt;br&gt;&#xA;&lt;a href=&quot;http://www.pixeet.com/fisheye-lens&quot; rel=&quot;nofollow&quot;&gt;http://www.pixeet.com/fisheye-lens&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other option is to contact the manufacturer of the camera you already looked at and ask if they are willing to give you the protocol specifications (or you can try reverse-engineer the protocol communication).&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2012-12-18T16:36:25.107" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5609" PostTypeId="1" CreationDate="2012-12-18T20:19:57.067" Score="3" ViewCount="199" Body="&lt;p&gt;I'm primarily a still photographer, but necessity is pushing me into learning video editing. I'm in the habit of dumping my camera data to Aperture, using the rating &amp;amp; stacking system there to sort out favorite pictures, and finally exporting those for final touches in PhotoShop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Will a similar workflow work for iMovie and editing there? iMovie automatically picks up the videos I dump into Aperture, but at first glance I don't see the precious, precious metadata I've taken the time to mark them up with there: No ratings!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to get ratings/sorting from Aperture showing up in iMovie? If not, what's your favorite workflow for picking clips to use in iMovie?&lt;/p&gt;&#xA;" OwnerUserId="3325" LastActivityDate="2012-12-19T14:06:44.230" Title="Is importing to Aperture then editing in iMovie a viable workflow?" Tags="|mac|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5610" PostTypeId="2" ParentId="5582" CreationDate="2012-12-19T00:50:55.003" Score="1" Body="&lt;p&gt;There isn't support for taking the closed caption data from SDI and embedding it in the video stream. That's why it doesn't work.&lt;/p&gt;&#xA;" OwnerUserId="3326" LastActivityDate="2012-12-19T00:50:55.003" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5611" PostTypeId="2" ParentId="5609" CreationDate="2012-12-19T01:19:45.973" Score="1" Body="&lt;p&gt;I usually manually drop my files into the iMovie Drop Box for safe keeping until I want to use/edit them and do all my managing of videos (personal ones, at least) in iMovie.&lt;/p&gt;&#xA;" OwnerUserId="3308" LastEditorUserId="674" LastEditDate="2012-12-19T14:06:44.230" LastActivityDate="2012-12-19T14:06:44.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5612" PostTypeId="1" CreationDate="2012-12-19T15:18:26.483" Score="3" ViewCount="184" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Possible Duplicate:&lt;/strong&gt;&lt;br&gt;&#xA;  &lt;a href=&quot;https://video.stackexchange.com/questions/2360/how-can-i-align-photos-for-stop-motion&quot;&gt;How can I align photos for stop motion?&lt;/a&gt;&lt;br&gt;&#xA;  &lt;a href=&quot;https://video.stackexchange.com/questions/5577/command-line-tool-for-converting-image-sequence-to-quicktime-mov-video&quot;&gt;Command Line Tool for Converting Image Sequence to Quicktime .mov Video&lt;/a&gt;  &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&#xA;&#xA;&lt;p&gt;Want to do a project with my kids over the holidays and create a stop motion video using their large assortment of dolls.  We are good with taking the shots but wondering what a good editing app would be to put it all together.&lt;/p&gt;&#xA;" OwnerUserId="3332" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2013-01-18T23:47:16.150" Title="what's a good basic app to edit stop motion video?" Tags="|mac|osx|stop-motion|" AnswerCount="2" CommentCount="3" ClosedDate="2013-01-23T22:57:35.197" ContentLicense="CC BY-SA 3.0" />
  <row Id="5615" PostTypeId="1" AcceptedAnswerId="5626" CreationDate="2012-12-19T19:07:50.150" Score="7" ViewCount="17509" Body="&lt;p&gt;What application is there that can open a video, modify it, and save it?&lt;br&gt;&#xA;(the software that I am using now, only allows the video to be used as a source, and then exported)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have adobe premier, but it does not actually edit videos, you have to make a new project, and set the output type/settings, then import the video, then bring in the video, edit it, and then save it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also have iMovie, and again, project, import, edit, export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any application that I can open a mp4 video make edits (clipping segments) and save it in the same format/size/container/etc as it was opened in?&lt;/p&gt;&#xA;" OwnerUserId="3335" LastEditorUserId="13926" LastEditDate="2019-11-27T16:39:48.983" LastActivityDate="2020-05-17T13:19:40.327" Title="Batch video editing software that can trim without re-encoding" Tags="|video-editor|mac|" AnswerCount="6" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="5616" PostTypeId="1" AcceptedAnswerId="5617" CreationDate="2012-12-19T19:32:15.470" Score="2" ViewCount="1490" Body="&lt;p&gt;I am looking at the specs of a BenQ projector and trying to understand it's output frequency. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On page 74 of &lt;a href=&quot;http://www.projectorcentral.com/pdf/projector_manual_5848.pdf&quot; rel=&quot;nofollow&quot;&gt;the manual&lt;/a&gt;, there are specs for vertical, horizontal and &quot;pixel&quot; frequency. What does pixel frequency mean?&lt;/p&gt;&#xA;" OwnerUserId="3336" LastActivityDate="2012-12-20T04:24:01.273" Title="What is a projector's &quot;pixel frequency&quot;?" Tags="|projector|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5617" PostTypeId="2" ParentId="5616" CreationDate="2012-12-19T20:17:15.240" Score="3" Body="&lt;p&gt;Pixel frequency, also known as &lt;em&gt;dot clock&lt;/em&gt; is referring to the bandwidth of the projector's controller chip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a resolution a certain &lt;em&gt;data rate&lt;/em&gt; is required to display all the data (not pixel frequency, see later) - it can be for example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A resolution of 800x600 at 60 Hz would require:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;800 x 600 x 3 (RGB) x 60 Hz/2 (interlaced frame rate) = 43 200 000 bytes per second&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or divided on 1024^2 = 41.2 Mb/s, as data rate with full 8-bit color-depth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To calculate the projector/monitor's &lt;em&gt;bandwidth&lt;/em&gt; you will need accurate timing measurement available, but you can get close by using the vertical frequency and compensate for VBLANK (vertical blanking which is a sync feature) with about 5% and HBLANK with about 30%:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So with 800x600 resolution at 60 hz:  &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;800x1.3 x 600x1.05 x 60 = approx. 39 Mhz&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The closer these two results get the better it is as that will tell that the projector/monitor is capable to handle the needed data rate to get full resolution, color depth as so forth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The bandwidth becomes a factor when showing video in particular.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorDisplayName="user2995" LastEditDate="2012-12-20T04:24:01.273" LastActivityDate="2012-12-20T04:24:01.273" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5618" PostTypeId="2" ParentId="5615" CreationDate="2012-12-19T20:18:48.000" Score="-3" Body="&lt;p&gt;I think you are trying to reinvent the wheel here...premiere does exactly what you want it to do, just use google to figure out the parts you dont understand&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-12-19T20:18:48.000" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5619" PostTypeId="2" ParentId="5615" CreationDate="2012-12-19T21:27:04.560" Score="3" Body="&lt;p&gt;Open your video in Quicktime Player, click &lt;code&gt;Edit -&amp;gt; Trim&lt;/code&gt; and place the start and end marks at the desired beginning and end of your clip. Hit &lt;code&gt;Trim&lt;/code&gt; and then click &lt;code&gt;Save&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2012-12-19T21:27:04.560" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5620" PostTypeId="2" ParentId="5612" CreationDate="2012-12-19T22:14:59.687" Score="0" Body="&lt;p&gt;Personally, for a quick-and-dirty solution, I use iMovie. You put all the stills into a new project, then you highlight them all, choose &lt;code&gt;clip settings&lt;/code&gt; and disable the Ken Burns effect, and put the duration of the photo to 0.1 seconds (This is the fastest iMovie can handle).&lt;/p&gt;&#xA;" OwnerUserId="3338" LastActivityDate="2012-12-19T22:14:59.687" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5621" PostTypeId="2" ParentId="3530" CreationDate="2012-12-19T22:22:09.167" Score="2" Body="&lt;p&gt;In After Effects, there is an effect &lt;code&gt;Exposure&lt;/code&gt; that controls the exposure of the layer. You could probably use that instead of a white shape layer.&lt;/p&gt;&#xA;" OwnerUserId="3338" LastActivityDate="2012-12-19T22:22:09.167" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5623" PostTypeId="2" ParentId="3636" CreationDate="2012-12-20T04:21:17.387" Score="2" Body="&lt;p&gt;I found that the time after &lt;code&gt;-t&lt;/code&gt; has to be in the format &lt;code&gt;00:00:00&lt;/code&gt;. So, for a two minute clip, the command is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -sameq -ss 01:05:16 -t 00:02:00 clips/output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1792" LastActivityDate="2012-12-20T04:21:17.387" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5625" PostTypeId="2" ParentId="5615" CreationDate="2012-12-20T05:38:37.200" Score="1" Body="&lt;p&gt;What do you mean by &quot;Edit&quot;? If splitting/cutting all you need, take a look at&#xA;&lt;a href=&quot;http://avs-video-suite.org&quot; rel=&quot;nofollow&quot;&gt;AVS Video Remaker&lt;/a&gt;, which makes it without conversion.&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2012-12-20T05:38:37.200" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5626" PostTypeId="2" ParentId="5615" CreationDate="2012-12-20T06:32:21.743" Score="10" Body="&lt;p&gt;If you can script yourself, all you need to do is call FFmpeg repeatedly:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss [start-time] -i input.mp4 -c copy -t [clip-time] output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here, start and clip times can be in the form &lt;code&gt;HH:MM:SS.mmmm&lt;/code&gt;, or just in seconds. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;To give you a rough idea how that'd look like in Ruby, see &lt;a href=&quot;https://gist.github.com/2574696&quot; rel=&quot;noreferrer&quot;&gt;this Gist of mine&lt;/a&gt;. It contains a script that takes an edit list, a folder of videos, and cuts them accordingly. I've used it very often for cutting videos based on an input edit list.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The edit list would look like that, with the timestamps in the proper FFmpeg format (e.g. 00:00:24.240) and the difference passed to &lt;code&gt;-t&lt;/code&gt; in the last column.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/M01G8.png&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that you can't expect it to work with any input/output without synchronization issues. If that's the case, you need to re-encode video and audio parts. I wouldn't use that script of mine though as it's not very … eloquent in that regard. Rather cut your video in a NLE.&lt;/p&gt;&#xA;" OwnerUserId="525" LastActivityDate="2012-12-20T06:32:21.743" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5627" PostTypeId="2" ParentId="5564" CreationDate="2012-12-20T07:07:48.747" Score="2" Body="&lt;p&gt;Targa (TGA in the format options menu in AE) is a lossless codec that works with video (most people who know it know it from early days of image compression). It has better file compression ratios than Animation, but retains alpha support (32b/p). Its main advantage is that it's faster than animation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;PNG (as used in pictures on the internet) also supports alpha (32b/p) and is lossless with a smaller file size than Animation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The BBC developed a lossless codec, er a &quot;specification&quot; called Dirac which they want to use for broadcast, so it ought to be pretty fast. The downside is that you need to compile &lt;a href=&quot;http://diracvideo.org/&quot; rel=&quot;nofollow&quot;&gt;the codec&lt;/a&gt; (confusingly called &quot;schrodinger&quot;) yourself (there may be binaries out there).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're a windows, you can download the open-source lossless codec &lt;a href=&quot;http://neuron2.net/www.math.berkeley.edu/benrg/huffyuv.html&quot; rel=&quot;nofollow&quot;&gt;HuffyUV&lt;/a&gt; which is much faster. Or if you want to be able to support 12bit/channel colour (and who wouldn't) there's &lt;a href=&quot;http://lags.leetcode.net/codec.html&quot; rel=&quot;nofollow&quot;&gt;Lagarith&lt;/a&gt; - a variation of huffyuv. But when you talk 12-bit colour you're not talking small file sizes any more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're editing in one of these codecs though, you're just making pain for yourself. Better to do your editing in something fast like proRes or Avid dnxHD and then reconform to your high quality originals.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2012-12-20T07:16:03.833" LastActivityDate="2012-12-20T07:16:03.833" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="5628" PostTypeId="2" ParentId="5533" CreationDate="2012-12-20T07:46:34.987" Score="22" Body="&lt;p&gt;It's not an illusion - it's called chroma subsampling.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most video codecs do not represent colour in full resolution. This allows for more efficient &quot;lossy&quot; compression because it takes advantage of the fact that the human eye is more sensitive to brightness (&quot;luma&quot;) than colour (&quot;chroma&quot;). Most lossy codecs lower the chroma resolution to half or one quarter of the overall resolution, so you may only get one pixel's worth of colour for every four pixels of brightness. This dramatically decreases the amount of data needed, with only a small loss of apparent quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's slightly more complicated though: the brightness is actually made up of the sum of the three colour components Red, Green and Blue. And they're not encoded as RGB, that would be require more bandwidth, they're encoded as YUV. Y corresponds roughly to the green component, and the U and V are Y minus the red component and Y minus the blue component (a gross approximation, actually - if you want the whole formula look &lt;a href=&quot;https://en.wikipedia.org/wiki/Yuv#Converting_between_Y.27UV_and_RGB&quot; rel=&quot;noreferrer&quot;&gt;here&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In most codecs the U and V components are sampled at a lower resolution than the Y. this is expressed in the three-way ratio you often see if you hang around video forums too much, e.g. 4:2:2 or 4:2:0. For a two row rectangle of pixels the numbers represent:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;width of sample region (Y samples)&quot;:&quot;UV samples in the first&#xA;  row&quot;:&quot;additional UV samples in the second row&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;A common example of this notation is in the codec name &quot;proRes422&quot; the 422 part of the name comes from 4:2:2 meaning for every a 4x2 rectangle there will be 4 Y samples in each row 2 UV samples in the first row (half the horizontal resolution) and 2 UV samples in the second row. So proRes422 has half the chroma resolution of the luma.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the internet and on telly you're most likely seeing everything in a 4:2:0 codec. In every 4x2 rectangle of picture there are only two UV samples (the 0 means that there are no additional samples on the second row). So the colour part of the image is composed of chunks 2x2 pixels in size, in other words, one quarter the resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This means the red channel on its own has one quarter the resolution of the overall picture. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;TL;DR&lt;/strong&gt; the red looks pixelated - because it actually &lt;em&gt;is&lt;/em&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-04-27T21:50:09.997" LastActivityDate="2016-04-27T21:50:09.997" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5629" PostTypeId="2" ParentId="5417" CreationDate="2012-12-20T08:01:07.490" Score="2" Body="&lt;p&gt;You are correct. You're shooting at a much lower resolution on video than stills, and so your effective circles of confusion are much bigger. So you can get away with glass that a decent stills photographer wouldn't touch. This is speaking from experience at work where I share DSLR equipment with a bunch of stills photographers who are always complaining about lenses that I use all the time for video with no problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Get away with&quot; being the critical phrase there. Crap lenses are still crappier than good ones.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2012-12-20T08:01:07.490" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5631" PostTypeId="1" AcceptedAnswerId="5644" CreationDate="2012-12-20T18:15:40.497" Score="0" ViewCount="114" Body="&lt;p&gt;I just shot some video in 720 using my kodak playsport zx5. I know HD videos don't fit on DVD and i'll have to compress / edit them. I don't want to buy any advanced programs right now since i'm just starting with video editing. I'm familiar with imgburn and other dvd burning apps but I am looking for a program that will let me do basic video editing and the ability to create a basic dvd menu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would like the app to run on XP and or Vista&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="3304" LastEditorUserId="3304" LastEditDate="2012-12-20T18:39:09.883" LastActivityDate="2012-12-21T19:06:22.333" Title="Looking for a free dvd burning program which has basic video editing to make a menu?" Tags="|software|software-recommendation|producing|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="5634" PostTypeId="2" ParentId="5631" CreationDate="2012-12-20T20:31:52.890" Score="0" Body="&lt;p&gt;I dont think you will find one that can do all that for free, but...you could download a trial of Adobe Premiere and Encore, they have a free 30-day limitless trial...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While it is not one software to do all of that, Premiere is pretty simple to learn and so is Encore and they work very well with eachother.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2012-12-20T20:31:52.890" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5636" PostTypeId="1" CreationDate="2012-12-21T15:18:09.480" Score="2" ViewCount="412" Body="&lt;p&gt;One of the basic edits one can make to a video is reversing it such that it plays backwards.&#xA;The goal of this community wiki is to show beginning users how to reverse footage with different video editors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When adding answers, please try to make the guide as easy as possible as this is aimed towards beginning users.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;List of software in alphabetical order&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/a/5637/2178&quot;&gt;After Effects&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/a/5638/2178&quot;&gt;Premiere Pro&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/a/5646/1760&quot;&gt;Vegas Movie Studio &amp;amp; Vegas Pro&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2012-12-22T19:35:56.217" Title="How to reverse video in different software packages" Tags="|editing|" AnswerCount="3" CommentCount="2" CommunityOwnedDate="2012-12-21T16:34:24.270" ContentLicense="CC BY-SA 3.0" />
  <row Id="5637" PostTypeId="2" ParentId="5636" CreationDate="2012-12-21T15:18:09.480" Score="2" Body="&lt;h2&gt;After Effects&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;There are three steps involved when you want to reverse footage in After Effects.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Import the footage&lt;br&gt;&#xA;Go to &lt;code&gt;File -&amp;gt; Import -&amp;gt; File...&lt;/code&gt; select your footage and click &lt;code&gt;Open&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Create new composition&lt;br&gt;&#xA;In the &lt;code&gt;Project Panel&lt;/code&gt; drag your footage to the new composition button as shown in the image below:&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/su1Q7.png&quot; alt=&quot;Drag footage to new composition button&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;Reverse the footage&#xA;Now in the &lt;code&gt;Composition Panel&lt;/code&gt; right click on your footage and go to &lt;code&gt;Time -&amp;gt; Time-Reverse Layer&lt;/code&gt; as shown in the image below:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/cVZVh.png&quot; alt=&quot;Time-Reverse Layer&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now your footage is reversed and you only need to export it with the settings you desire by clicking &lt;code&gt;Composition -&amp;gt; Make Movie...&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2012-12-21T15:18:09.480" CommentCount="0" CommunityOwnedDate="2012-12-21T15:18:09.480" ContentLicense="CC BY-SA 3.0" />
  <row Id="5638" PostTypeId="2" ParentId="5636" CreationDate="2012-12-21T15:31:10.493" Score="2" Body="&lt;h2&gt;Premiere Pro&lt;/h2&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Make a new project&lt;br&gt;&#xA;Go to &lt;code&gt;File -&amp;gt; New -&amp;gt; Project&lt;/code&gt;. Set the folder and project name and choose the sequence preset that fits your footage with regards to the dimensions, frame rate, frame aspect ratio, etc...&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Import your footage&lt;br&gt;&#xA;Go to &lt;code&gt;File -&amp;gt; Import&lt;/code&gt;, choose your footage and click &lt;code&gt;Open&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Put the footage in the sequence&#xA;Drag and drop the footage from the &lt;code&gt;Project Panel&lt;/code&gt; to the timeline in the &lt;code&gt;Sequence Panel&lt;/code&gt; as shown in the image below:&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/07fiQ.png&quot; alt=&quot;Drag drop from project to sequence&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;4&quot;&gt;&#xA;&lt;li&gt;Reverse the clip&#xA;Right click on the footage in the timeline and go to &lt;code&gt;Speed/Duration...&lt;/code&gt;. In the window that shows up check the &lt;code&gt;Reverse Speed&lt;/code&gt; checkbox and click OK.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/DgUxN.png&quot; alt=&quot;Right click on footage&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/h3ZUL.png&quot; alt=&quot;Reverse speed checkbox&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now your footage is reversed and you can export it by going to &lt;code&gt;File -&amp;gt; Export -&amp;gt; Media&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2012-12-21T15:31:10.493" CommentCount="0" CommunityOwnedDate="2012-12-21T15:31:10.493" ContentLicense="CC BY-SA 3.0" />
  <row Id="5639" PostTypeId="1" CreationDate="2012-12-21T15:33:51.703" Score="6" ViewCount="7375" Body="&lt;p&gt;We have regular fulfilment jobs for clients which require us to insert a few seconds of black between each clip in a contiguous file. It's not a great deal of effort to do it once or twice but when the jobs are larger, consisting of 50+ short clips, it seems like some time could be saved if there were a way to get the sequence to automatically and consistently add the black clip every time a footage clip was added.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone think of a clever way to do this? Would handles help here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Very grateful for any thoughts!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="3347" LastActivityDate="2015-06-24T10:54:19.900" Title="Premiere 6 - how to add black between clips in a sequence automatically" Tags="|premiere|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5640" PostTypeId="2" ParentId="5631" CreationDate="2012-12-21T16:24:55.657" Score="1" Body="&lt;p&gt;Windows Movie Maker and Windows DVD Maker. Both are free and already installed on your PC if you have Vista (go to Start &gt; All Programs - i don't remember)&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2012-12-21T16:24:55.657" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5644" PostTypeId="2" ParentId="5631" CreationDate="2012-12-21T19:06:22.333" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.dvdstyler.org/&quot; rel=&quot;nofollow&quot;&gt;DVDStyler&lt;/a&gt; is a cross platform, free DVD authoring tool. It probably has all the features you want, and works pretty good. Usage is really easy as seen on their &lt;a href=&quot;http://www.dvdstyler.org/en/documents?id=70&quot; rel=&quot;nofollow&quot;&gt;guide&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3179" LastActivityDate="2012-12-21T19:06:22.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5645" PostTypeId="1" AcceptedAnswerId="5649" CreationDate="2012-12-21T20:03:16.547" Score="2" ViewCount="1651" Body="&lt;p&gt;I have created a video+audio clip in Sony Vegas. After the work was completed, I decided to increase velocity a little bit (final percentage ~95% original).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the project, I have several audio and video tracks, each of which obviously has multiple events.&lt;br&gt;&#xA;I can &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;Mouse Drag&lt;/kbd&gt; each individual &lt;strong&gt;event&lt;/strong&gt;, but it seems even impossible to do the same when several events selected (only one event changes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For both audio and viodeo, I need only velocity changed (&lt;strong&gt;time stretch&lt;/strong&gt;, but no audio pitch shift), and all event points (transitions etc) change accordingly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For audio, it seems possible to go to &lt;em&gt;Master FX&lt;/em&gt; and add &lt;em&gt;Time Stretch&lt;/em&gt; FX, but it only affects audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How can I change velocity for each individual track (or, well, an entire project) with minimum hassle?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. Sony Vegas Pro 12.0, Windows 7.&lt;/p&gt;&#xA;" OwnerUserId="2365" LastActivityDate="2012-12-22T12:27:41.567" Title="Entire Track Velocity in Sony Vegas" Tags="|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5646" PostTypeId="2" ParentId="5636" CreationDate="2012-12-21T21:37:58.427" Score="1" Body="&lt;h2&gt;Vegas Movie Studio &amp;amp; Vegas Pro&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Assuming you have put the desired clip(s) in the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right click on the clip and a menu will appear, check 'reverse' and this will reverse the clip. You will get confirmation by a reverse arrow appearing at the leading edge of the clip in the timeline. Note, you will need to do this for both video and audio tracks separately. To undo go back and uncheck it.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1760" LastEditDate="2012-12-22T19:35:56.217" LastActivityDate="2012-12-22T19:35:56.217" CommentCount="0" CommunityOwnedDate="2012-12-21T21:37:58.427" ContentLicense="CC BY-SA 3.0" />
  <row Id="5647" PostTypeId="2" ParentId="5549" CreationDate="2012-12-21T22:17:18.953" Score="1" Body="&lt;p&gt;Well the best method quality wise is using The Foundrys &quot;Kronos&quot; ( &lt;a href=&quot;http://www.thefoundry.co.uk/products/kronos/&quot; rel=&quot;nofollow&quot;&gt;http://www.thefoundry.co.uk/products/kronos/&lt;/a&gt; ).&#xA;Its a similar tool like twixtor but delivers the better results (in my opinion).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you dont want to use that/spend money then use twixtor OR the built-in time remapping functions, you get the best results by letting either one of them do its job on its own. Otherwise its like using sharpening on a layer, then render that out/precompose it and then use another third-party sharpening effect ontop of the old one. The result will be messy and anything but nice looking. All you get is a weird look and not a sharper image. There is no good reason to interprete the footage not natively before using Twixtor.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2012-12-21T22:23:32.207" LastActivityDate="2012-12-21T22:23:32.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5649" PostTypeId="2" ParentId="5645" CreationDate="2012-12-22T12:27:41.567" Score="3" Body="&lt;p&gt;The best way to increase the playback rate for the entire project is to use nested projects: Start new project and add your original project to the timeline as an event. Then Ctrl + Mouse Drag. &lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2012-12-22T12:27:41.567" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5651" PostTypeId="1" AcceptedAnswerId="7420" CreationDate="2012-12-22T21:32:07.590" Score="3" ViewCount="50" Body="&lt;p&gt;I admit, I'm not sure this Q&amp;amp;A site is right for this question, as my question does not deal with technical aspects of film production... But the site description says, &quot;Q&amp;amp;A for engineers, producers, editors, and enthusiasts spanning the fields of audio, video, and media creation,&quot; so I hope this is the right spot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recently helped a friend produce a short zombie comedy. Throughout the making of the film we have grown a small local cult following.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, we are ready to submit the film to film festivals. Is it good practice to ask our supporters to contact the program director of each film festival showing their support for the inclusion of our film into their festival?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My background in website design, so my thought was to make a simple form letter, where each supporter would simply enter their name and email address to have the email sent to the program director.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My worries, I don't want to show my lack of knowledge in the film festival arena, hurt the chance of the film's inclusion or be disrespectful to the the festival.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="2272" LastActivityDate="2013-03-18T02:02:54.503" Title="Is it good practice to have a film's supporters contact film festival program directors?" Tags="|producing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5652" PostTypeId="2" ParentId="5651" CreationDate="2012-12-22T23:20:17.020" Score="3" Body="&lt;p&gt;Informally, I would think this would be a bad idea - you really don't want to annoy the directors by spamming them with emails.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I speak to a lot of festival directors on behalf of my band (music, not video, but I feel the principle holds true anyway) and what they want to see is evidence of your following, examples of your work, and positive evidence that you will bring in a crowd.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So of high value are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Social networking - creating 'the buzz' - on Twitter, Facebook etc - not just from you, but form supporters&lt;/li&gt;&#xA;&lt;li&gt;Targeting high profile supporters or sponsors to provide advertising, merchandise etc&lt;/li&gt;&#xA;&lt;li&gt;Providing a simple bio and materials for the festival to review and then use&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;And above all making it easy for them to put on your material and attract a crowd - don't annoy them, just show them why it makes sense.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2012-12-22T23:20:17.020" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5657" PostTypeId="2" ParentId="5639" CreationDate="2012-12-23T12:50:19.563" Score="3" Body="&lt;p&gt;A workflow involving Adobe Bridge is as follows. If you have Premiere Pro, you probably installed Bridge, if not, please do install.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Put your batch of clips in a folder. I would use a directory structure like &lt;code&gt;Client Name &amp;gt; Jobs &amp;gt; YYYY_MM_DD &amp;gt; Footage&lt;/code&gt; etc.&lt;/li&gt;&#xA;&lt;li&gt;Find your footage in Bridge.&lt;/li&gt;&#xA;&lt;li&gt;Select all your footage, then under &lt;code&gt;Tools&lt;/code&gt; menu select &lt;code&gt;Batch Rename (Shift + Command (Control) + R&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/5VJsB.png&quot; alt=&quot;Tools &amp;gt; Batch Rename&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;In your Batch Rename settings, change destination folder to something like &lt;code&gt;Renamed&lt;/code&gt;, next to your footage folder (to keep everything organised). Under &lt;code&gt;New Filenames&lt;/code&gt; just select &lt;code&gt;Sequence Number&lt;/code&gt;, add 1 and select Three or Four digits. This will rename your files &lt;code&gt;0001.mov, 0002.mov etc.&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/P8C26.png&quot; alt=&quot;Batch Rename Settings&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;From Premiere, render a black video with a length you wish or a black&#xA;frame with the same resolution and pixel aspect ratio with your&#xA;footage. You will need to duplicate the black footage as much as you&#xA;need. Rename them with Bridge, this time add a letter &lt;strong&gt;a&lt;/strong&gt; to the&#xA;end of filename, and rename in the same folder.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/sFR4b.png&quot; alt=&quot;Batch Rename Blacks&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Back in Premiere, import all the footage in your footage folder, including blacks. In your bin panel, sort them by name, they should be sorted in the following order: &lt;code&gt;0001.mov, 0001a.mov(or png), 0002.mov, 0002a.mov&lt;/code&gt;. Select them all and drag to your timeline. They should be placed as you wish, a video clip followed by a black clip.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you are using still images as blacks, adjust their default length in Premiere's &lt;code&gt;Preferences &amp;gt; General &amp;gt; Still Image Default Duration&lt;/code&gt; option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the videos are always in the same specs, you can re-use those blacks, by duplicating and renaming again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Still not the shortest way, but kind of better??&lt;/p&gt;&#xA;" OwnerUserId="3179" LastActivityDate="2012-12-23T12:50:19.563" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5658" PostTypeId="1" CreationDate="2012-12-23T20:02:48.070" Score="13" ViewCount="29079" Body="&lt;p&gt;Is it possible to upload one video on YouTube, and have multiple soundtracks for it? Much like one can choose the subtitles, can one make several language-specific voice-overs for the same, say, screen-cast?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that feature is not present on YouTube, are there calls or plans for it? What other services may have this implemented?&lt;/p&gt;&#xA;" OwnerUserId="3355" LastActivityDate="2019-02-21T15:36:44.653" Title="Does YouTube allow multiple soundtracks" Tags="|youtube|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5660" PostTypeId="2" ParentId="5658" CreationDate="2012-12-24T01:53:42.210" Score="7" Body="&lt;p&gt;When uploading to YouTube: no (for now...)&lt;br&gt;&#xA;Your audio needs to be premixed into one stereo (or mono) channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When using YouTube's online video editor: yes, but you are limited to voice-over and music tracks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more info:&#xA;&lt;a href=&quot;http://support.google.com/youtube/bin/answer.py?hl=en&amp;amp;answer=183851&quot; rel=&quot;noreferrer&quot;&gt;http://support.google.com/youtube/bin/answer.py?hl=en&amp;amp;answer=183851&lt;/a&gt;&lt;br&gt;&#xA;(see point 4. adding audio)&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorDisplayName="user2995" LastEditDate="2012-12-24T19:22:56.970" LastActivityDate="2012-12-24T19:22:56.970" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="5663" PostTypeId="1" CreationDate="2012-12-24T11:09:05.007" Score="4" ViewCount="21282" Body="&lt;p&gt;I am creating a video promo, and the customer wants the &quot;crap old soviet&quot; style.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have shot the video on a Nikon D800 and it is being edited in Premiere Pro CS6, so the workflow is top-notch digital.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to impart a few &quot;old analog&quot; effects into the video but cant figure out how to do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;first effect:&#xA; - The weird fuzz you got when you started a recording over another one on VHS, the new recording was always really fuzzy/noisy for the first second or so as the tracking changed between the old and new recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;second effect:&#xA;- the general &quot;old videotape&quot; look - odd colour casts, fuzz, like the tracking is off a bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;third effect:&#xA;- now the sound, needs to be a bit muffled and low-fi&lt;/p&gt;&#xA;" OwnerUserId="3358" LastActivityDate="2012-12-29T20:36:35.683" Title="Old video tape effect in Premiere Pro" Tags="|effects|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5667" PostTypeId="2" ParentId="3688" CreationDate="2012-12-24T23:47:16.437" Score="4" Body="&lt;p&gt;I think the simplest way to this is to use MP4Box.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;./MP4Box -add file1.mp4 -cat file2.mp4 -cat file3.mp4 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3361" LastActivityDate="2012-12-24T23:47:16.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5670" PostTypeId="1" CreationDate="2012-12-25T16:32:40.450" Score="3" ViewCount="2436" Body="&lt;p&gt;I'm editing a project with premiere, and using After Effects to edit some of the footage (color corrections, some masking etc').&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All raw footage was captured with a Canon 550D, 1280*720 at 50fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My premiere sequences are defined to be 50fps, as well as my AE compositions. However, when exporting edited footage from AE as 50fps H264, the exported edited footage feels &quot;faster&quot;, compared to the original footage, even though thee clips have the same length. The discrepancy is very noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I resolve this issue?&lt;/p&gt;&#xA;" OwnerUserId="3363" LastActivityDate="2013-02-23T22:24:00.473" Title="Footage feels &quot;faster&quot; when exporting from After Effects" Tags="|premiere|after-effects|framerate|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="5676" PostTypeId="2" ParentId="4945" CreationDate="2012-12-26T19:25:21.850" Score="1" Body="&lt;p&gt;Give this a try:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i audio.m4a -loop 1 -r 2 -i image.jpg -c:a copy -c:v libx264 -preset ultrafast -shortest out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-r 2&lt;/code&gt; sets the frame rate to 2 fps (some players seem to have problems with 1 fps).&lt;/p&gt;&#xA;" OwnerUserId="3361" LastEditorUserId="1760" LastEditDate="2012-12-26T21:51:59.140" LastActivityDate="2012-12-26T21:51:59.140" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5677" PostTypeId="1" AcceptedAnswerId="5680" CreationDate="2012-12-26T20:23:25.663" Score="2" ViewCount="814" Body="&lt;p&gt;I have been using HD PVR to capture some of my football games to PC and now I want to edit out the commercials.  So I'm wondering what is the software that will do all these needs:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Allow me to edit out commercials anywhere in the video.&lt;/li&gt;&#xA;&lt;li&gt;After editing, it keeps the 5.1 Surround Sound.&lt;/li&gt;&#xA;&lt;li&gt;Burn the video to a Blu-Ray player or save it to disk.&lt;/li&gt;&#xA;&lt;li&gt;Ability to add menus too my Blu-Rays.&lt;/li&gt;&#xA;&lt;li&gt;If there are logos on the screen(say ESPN logo), be able tell the software to find all instances and remove it.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The HD PVR allows me to record in .TS, .M2TS or MP4.  Which format is best to allow me to do video editing?&lt;/p&gt;&#xA;" OwnerUserId="3369" LastEditorUserId="1530" LastEditDate="2012-12-26T22:38:22.860" LastActivityDate="2013-02-05T06:39:37.210" Title="What software do I need to edit commercials out of recorded sports games?" Tags="|video|video-editor|software-recommendation|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5680" PostTypeId="2" ParentId="5677" CreationDate="2012-12-26T22:28:18.260" Score="6" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Allow me to edit out commercials anywhere in the video.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Any modern editor can do this (&lt;a href=&quot;http://www.adobe.com/products/premiere.html&quot;&gt;Adobe Premier&lt;/a&gt;, &lt;a href=&quot;http://www.sonycreativesoftware.com/vegassoftware&quot;&gt;Sony Vegas,&lt;/a&gt; &lt;a href=&quot;https://www.apple.com/finalcutpro/&quot;&gt;Final Cut&lt;/a&gt; etc) including light-weight (ex. &lt;a href=&quot;http://www.pinnaclesys.com/PublicSite/us/Products/Consumer+Products/Home+Video/Studio+Family/&quot;&gt;Pinnacle Studio&lt;/a&gt;) and &lt;a href=&quot;http://www.nchsoftware.com/videopad/index.html&quot;&gt;free editors&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;After editing, it keeps the 5.1 Surround Sound.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Provided your original clip contains 5.1 channels and your editing environment is set up with (and can support, see more professional packages) 5.1 support, and you export in a format that support 5.1, this is granted.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Burn the video to a Blu-Ray player or save it to disk.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;As long as you export in a format supported by the BD-disk creator software, or a format that can be trans-coded, no problem.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Ability to add menus too my Blu-Rays.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This most BD-disk creator software can do (see for example &lt;a href=&quot;http://www.adobe.com/products/encore.html&quot;&gt;Adobe Encore&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If there are logos on the screen(say ESPN logo), be able tell the software to find all instances and remove it.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This is a very specific task and as you say, you need to tell the software to find these. You can do this by combining a tracker to the logo and a script that can follow. When logo is &quot;lost&quot; for the tracker, init a method in the script that do what you want. This as said, will be very specific and it will require you to program your script very specific.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;IMO it will be quicker to go through these manually. especially if you know the material you're working with or at least what to expect of it.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorDisplayName="user2995" LastEditDate="2012-12-26T23:08:41.883" LastActivityDate="2012-12-26T23:08:41.883" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5693" PostTypeId="2" ParentId="5318" CreationDate="2012-12-28T19:43:48.100" Score="5" Body="&lt;p&gt;What format YT output their video depends on various factors. For most ordinary videos they use H264 encoded streams for video (AAC or MP3 for audio) in form of MP4 and FLV container files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are just containers holding the encoded video data - although the H264-encoded format is no guarantee with FLV-files (or in theory with MP4 files) as they can also hold Sorenson Spark, On2 VP6 and others (especially the case with older videos).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FLV's are used as they are guaranteed to be playback-able with Flash-player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's not really up the downloader-software to determine the format - they just download what is available using the &lt;code&gt;itag&lt;/code&gt; of the &quot;internal&quot; video URL (not the one in the browser) to identify the options. If they optionally convert the video it would be a feature, but not related to YT's formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also other formats in addition to these such as 3GP, WEBM as well as for 3D movies. Some to target phones and the new Html5 standard (being implemented as-we-speak) which can play videos directly with html (ie. without flash-player).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But back to the most common formats: Quality-wise it doesn't really matter. If the FLV contains H264 you can playback this just as fine as a MP4 container file with f.ex &lt;a href=&quot;http://www.videolan.org/vlc/&quot; rel=&quot;noreferrer&quot;&gt;VideoLAN's VLC Player&lt;/a&gt;. If the FLV does not contain H264 and you want it as MP4 container holding H264 you'd need to recode it which mean you will loose quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As YT currently seem to prefer H264 I would suggest uploading in this format as well (see their information about sizes and bit-rates to avoid recoding for the best resolution).&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2012-12-28T19:43:48.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5697" PostTypeId="1" AcceptedAnswerId="5706" CreationDate="2012-12-28T22:47:48.173" Score="4" ViewCount="84" Body="&lt;p&gt;What is a simple way of extracting a video clip from, say, an .avi file? An example: I only want between 1:05 and 1:35 of this video, and I want to save the clip as its own file. I have been using Premiere Pro but it has not been particularly efficient.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="3380" LastActivityDate="2012-12-29T14:01:45.683" Title="Simple way of clipping video files?" Tags="|video|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5699" PostTypeId="2" ParentId="5663" CreationDate="2012-12-28T23:37:16.277" Score="3" Body="&lt;p&gt;You could try a plugin that does it all in one:&lt;br&gt;&#xA;&lt;a href=&quot;http://www.digieffects.com/product/damage&quot; rel=&quot;nofollow&quot;&gt;http://www.digieffects.com/product/damage&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(edit: removed video example for aged film - was intended to show the powers but could mislead to think it only produced aged film look).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the plugin you should be able to produce the old video tape look using one or more of these in combination:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go directly to features (thanks Inan):&lt;br&gt;&#xA;&lt;a href=&quot;http://www.digieffects.com/product/damage#features&quot; rel=&quot;nofollow&quot;&gt;http://www.digieffects.com/product/damage#features&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Artifact: Create displaced pixel blocks, color errors, frame dropping&#xA;  and video compression artifacts&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Blockade: Control color inaccuracy, block size, speed, and temporal&#xA;  frame stuttering&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Destabilize: Create convincing camera shake or earthquake simulations&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Interference: Simulate the CRT look of a security camera or interlaced&#xA;  video&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Overexpose: Overexposes images just like your eyes would&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Skew: Create analog noise with reckless abandon&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerDisplayName="user2995" LastEditorDisplayName="user2995" LastEditDate="2012-12-29T20:36:35.683" LastActivityDate="2012-12-29T20:36:35.683" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5706" PostTypeId="2" ParentId="5697" CreationDate="2012-12-29T07:10:55.557" Score="2" Body="&lt;p&gt;&lt;a href=&quot;http://virtualdub.org&quot; rel=&quot;nofollow&quot;&gt;VirtualDub&lt;/a&gt; is probably the best tool for trimming/splitting &lt;strong&gt;AVI&lt;/strong&gt; files (without recompression). For other formats, you should look for other tools, eg.:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://fixounet.free.fr/avidemux/&quot; rel=&quot;nofollow&quot;&gt;Avidemux&lt;/a&gt; &lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://vegasaur.com/AVS-Video-Remaker&quot; rel=&quot;nofollow&quot;&gt;AVS Remaker&lt;/a&gt; &lt;/li&gt;&#xA;&lt;li&gt;etc.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2012-12-29T07:10:55.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5707" PostTypeId="2" ParentId="5663" CreationDate="2012-12-29T10:50:15.687" Score="0" Body="&lt;p&gt;Try downloading those video files (or similar ones, search for them) (&lt;a href=&quot;http://www.youtube.com/watch?v=zxVbvNXinHs&quot; rel=&quot;nofollow&quot;&gt;Video 1&lt;/a&gt;, &lt;a href=&quot;http://www.youtube.com/watch?v=Gi0I_OYSRKs&quot; rel=&quot;nofollow&quot;&gt;Video 2&lt;/a&gt;, &lt;a href=&quot;http://www.youtube.com/watch?v=aumRsqFwWxU&quot; rel=&quot;nofollow&quot;&gt;Video 3&lt;/a&gt;) with some service like &lt;a href=&quot;http://keepvid.com&quot; rel=&quot;nofollow&quot;&gt;keepvid.com&lt;/a&gt; (But you should contact the owners first, to prevent any possible future copyright issues).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They are actual recordings from VHS tapes. They have different aspects of the distortion you are after. Edit them as you wish, loop, reverse, slow down etc. Then just use different blending modes fitting your choice of clips to superimpose them on your edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can combine them along with some vignette, noise, Wave Warp and other possible distortion effects. So it all depends on your clients' and your taste.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But If you have some experience, I would recommend using After Effects for this part. You will have more control over your distortion and there will be wider range of image distortion effects.&lt;/p&gt;&#xA;" OwnerUserId="3179" LastActivityDate="2012-12-29T10:50:15.687" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5708" PostTypeId="2" ParentId="5697" CreationDate="2012-12-29T14:01:45.683" Score="2" Body="&lt;p&gt;You can use &lt;a href=&quot;http://ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; to accomplish this. FFmpeg is a command line tool that is used to convert and cut audio and video.&lt;br&gt;&#xA; From &lt;a href=&quot;https://superuser.com/questions/138331/using-ffmpeg-to-cut-up-video&quot;&gt;this&lt;/a&gt; answer I got the sample code which I have rewritten for your purpose.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -ss 00:01:05.0 -t 00:00:30.0 -i input.avi -acodec copy -vcodec copy -async 1 output.avi&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="-1" LastEditDate="2017-03-20T10:04:28.637" LastActivityDate="2012-12-29T14:01:45.683" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5712" PostTypeId="1" AcceptedAnswerId="5713" CreationDate="2012-12-30T06:38:29.953" Score="2" ViewCount="660" Body="&lt;p&gt;One of my DVD plays jagged when objects moves fast in the picture, I want to know what is this effect called and hope someone could give a solution. I have VLC. It is like this: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/RBwH4.png&quot; alt=&quot;https://i.stack.imgur.com/2UZl4.png&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3389" LastEditorDisplayName="user2995" LastEditDate="2012-12-30T07:01:45.667" LastActivityDate="2013-02-04T09:35:59.190" Title="DVD playback jagged" Tags="|video|playback|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5713" PostTypeId="2" ParentId="5712" CreationDate="2012-12-30T07:00:30.020" Score="5" Body="&lt;p&gt;This happens with &lt;code&gt;interlaced video&lt;/code&gt;. Interlaced video is drawn to the screen in two passes, first the odd lines from top to bottom, then the even lines from bottom to top.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a legacy thing inherited from the days of good ol' CRT tubes when the dots on the screen was drawn using a beam; and to optimize the physical limitations of that the beam could not be all places at once this method where used together with phosphoric layer to reduce flicker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With this you end up with two half frames (odd and even lines). Now, this is also the way video is captured on many video cameras. The exception is progressive recording where a single frame is recorded at once, like with analogue film cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem you see happens when something moves fast and the odd lines captures one position of the object, while the process is about to capture the even lines the object has moved enough to be visible on the two merged half-frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, you can drop one half-frame and use various techniques to for example interpolate the remaining lines, but always with a loss of quality as a result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way to really eliminate this problem is to record everything progressively.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this will give some input.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2012-12-30T07:00:30.020" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5715" PostTypeId="2" ParentId="5318" CreationDate="2012-12-30T19:51:51.187" Score="36" Body="&lt;p&gt;&lt;strong&gt;Some general info about the formats used:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;YouTube uses 4 container formats and 4 different codecs. It depends on the popularity of the video what codecs are used for your video (see below why). Generally, every of your uploaded videos will be encoded in h.264 and will be muxed into an .flv and .mp4 container. That's the standard and this will happen for every video. Though .flv will only be used for resolutions below 720p. Meaning only 360p and 480p will exist in an .flv container. Though every video below 720p will also have a mp4 version available. For 240p YouTube is also using 3gp which is a rather old codec (based on MPEG-4 Part 2 (not to be confused with MPEG4 Part 10 aka h.264) meant for mobile devices (long before the smartphone era), it comes in the container .3gpp.&lt;/p&gt;&#xA;&lt;p&gt;The other codec used is VP8 which is coming in the WebM container format. WebM is a format developed by Google and was meant as a standard video codec for HTML5, support for it is by now pretty good in most modern browsers.&#xA;WebM was introduced with the HTML5 version of YouTube. YouTube only encodes some videos in WebM after they got uploaded and mostly only popular videos (going by the videos I saw encoded in WebM) so it's not certain your video will be present in WebM. Though this is changing with WebM gaining some more support.&lt;/p&gt;&#xA;&lt;p&gt;YouTube also supports VP8/VP9 in the WebM container. This is supported by all major browsers for several years now. With WebM, they also introduced support for the Opus audio codec (besides AAC which is used in all other containers).&lt;/p&gt;&#xA;&lt;p&gt;In regard of your linked question (maybe they should be merged?)&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;What codec/container should you use for uploading?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;That depends, if you are limited/concerned by your upload speed then use h.264 Level 3.1/4.1 with Main Profile for SD or High Profile for HD. YouTube will accept this just fine and it will look nice after it got encoded by the YouTube servers. I would usually recommend a bitrate of ~4-5 Mbit/s for 720p material and ~8-9 Mbit/s for 1080p. For 4k go for ~15-25Mbit/s or more depending on the complexity of the footage. &amp;quot;Cartoon&amp;quot; content with few colours can usually have a much lower bitrate in general.&#xA;This is usually a good balance between size and quality. If you want better quality go with a higher bitrate, and if you want a smaller video go with a lower bitrate.&lt;/p&gt;&#xA;&lt;p&gt;But be aware that YouTube will ALWAYS encode your video once it's uploaded, doesn't matter what codec and settings you use. So if you want the theoretically best quality for your uploads, choose a lossless codec for uploading or at least visually lossless.&#xA;See YouTube as the final output into a delivery/consumer format and the upload to YouTube is the last step in production and during production you want to stay lossless.&#xA;But please note this is all just a theoretical thing, practically I'd say it really doesn't matter as we are talking about YouTube and not about TV broadcast or Cinema. In almost all cases a very high bitrate h264 encode (20-40mbit/s) will suffice even for high-end content.&lt;/p&gt;&#xA;&lt;p&gt;But if you really want to do it the &amp;quot;perfect&amp;quot; way, use a production codec and not a consumer codec like h.264.&#xA;MJPEG would be a good codec for that, YouTube definitely supports that in an .avi or .mov container. MJPEG is a lossy codec but the visual quality will be the same as the source (if you chose a high enough quality setting, this is practically JPEG as the video codec).&#xA;Going with a real lossless codec would be a waste of hard-drive space and bandwidth in my opinion.&lt;/p&gt;&#xA;&lt;p&gt;But if you want to upload your video truly lossless and don't care about the upload time, I recommend using a standard QuickTime codec as they should be nearly all supported by YouTube (note that not all of them are lossless, h264 is also a standard QuickTime codec). Though YouTube doesn't state which QuickTime codecs are supported, unfortunately. Animation or JPEG2000 should work I guess. Both codecs can be 100% lossless depending on settings in case of JPEG2000.&lt;/p&gt;&#xA;&lt;p&gt;When it comes to frame rates, if you can choose then use 25FPS or 30FPS  during recording/animating (by now YouTube also supports 50 and 60FPS+ video, so use that if your content benefits from a higher framerate), YouTube likes standard framerates like 25 or 30FPS the most (or again one of the higher FPS options) but if your footage comes already in another frame rate like 24FPS then stick with that and don't interpolate up or down. YouTube will handle the conversion for you and generally does that better then your average encoder. They have to deal with all kind of framerates every day and solved this (actually very complicated) issue really well.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Audio:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;For the audio use PCM if you want to stay lossless with the audio as well but again this is really just a theoretical quality improvement. AAC will usually do the same job quality wise (subjective) and will be smaller. I recommend a bitrate of at 128-192kbps for AAC. The size impact is usually not as big as the video codec so you can also just go with 192kbps or higher if you feel your audio content is very sensitive. YouTube will convert audio to ~24kbps(Mobile aka 3gp) ~64kbps(240p), ~128kbps(360p/480p) and ~192kbps(720p+) using the AAC and Opus (WebM only) codec.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2020-09-29T16:20:42.743" LastActivityDate="2020-09-29T16:20:42.743" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="5721" PostTypeId="2" ParentId="5712" CreationDate="2013-01-01T17:26:09.577" Score="0" Body="&lt;p&gt;There is ways to solve this...its a field dominance issue, if the video is playing interlaced that means that it is in two fields, an upper and a lower.  If you can see the lines, that means that it is assuming the wrong fields for upper and lower and they need to be swapped.  A simple would solve your problem, try a free program like mpeg streamclip and you can rip the DVD and deinterlace it at the same time. deinterlace&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-01-01T17:26:09.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5724" PostTypeId="2" ParentId="5712" CreationDate="2013-01-02T04:30:03.920" Score="1" Body="&lt;p&gt;I enabled Deinterlace in VLC and the problem almost got solved, see the screenshot from the same frame, there is still jagged edges, but much better. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/PsyOU.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And I changed its deinterlace mode from the default &quot;Blend&quot; to something else the lines seems to disappear...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/RlNSL.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3389" LastEditorUserId="2569" LastEditDate="2013-02-04T09:35:59.190" LastActivityDate="2013-02-04T09:35:59.190" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5728" PostTypeId="1" AcceptedAnswerId="5729" CreationDate="2013-01-02T11:18:36.260" Score="6" ViewCount="32229" Body="&lt;p&gt;I'm looking for a way to turn an HD video clip into 80's style VHS low-quality.&#xA;Here is an example of the look I'm desperately looking for:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/asSgIrIcMZc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!!!&lt;/p&gt;&#xA;" OwnerUserId="3401" LastEditorUserId="2569" LastEditDate="2013-01-02T13:11:32.550" LastActivityDate="2017-02-01T22:29:35.287" Title="Looking for an 80's VHS effect!" Tags="|effects|video-quality|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5729" PostTypeId="2" ParentId="5728" CreationDate="2013-01-02T13:01:28.487" Score="4" Body="&lt;p&gt;Every decent video editor has built-in filters (like Color Correction, Film Effects, TV simulator, Color Curves, etc.) that can be used to achieve the desired 'look'. There are plug-ins and tools that contain many ready-to-use presets, such as:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.redgiantsoftware.com/products/all/magic-bullet-looks/&quot; rel=&quot;nofollow&quot;&gt;Magic Bullet Looks&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://vegasaur.com/film-looks&quot; rel=&quot;nofollow&quot;&gt;Film Looks SVP&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.adobe.com/products/speedgrade.html&quot; rel=&quot;nofollow&quot;&gt;Adobe SpeedGrade&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.blackmagicdesign.com/products/davinciresolve/&quot; rel=&quot;nofollow&quot;&gt;DaVinci Resolve&lt;/a&gt;&#xA;etc.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2013-01-02T13:01:28.487" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5731" PostTypeId="1" AcceptedAnswerId="5752" CreationDate="2013-01-02T17:17:55.993" Score="2" ViewCount="159" Body="&lt;p&gt;I have been using Adobe Premier Pro and After Effects on my main Core i7 machine for actual videos, but I would like to know which Non-linear video editor would work best for some of my slower machines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For some videos all I really need is the ability to trim clips and do basic color-correction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems Adobe CS4 software is a little too much for my dual core (even my Core 2 Quad) machines. I was thinking about installing OSX on some of them and using something more basic like iMovie, or trying some other software like Sony Vegas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are my choices for this? I run ubuntu, Windows XP-7, and OSX 10.6.x.&lt;/p&gt;&#xA;" OwnerUserId="3402" LastActivityDate="2013-01-06T18:44:20.433" Title="Video editor with basic color correction for commodity hardware?" Tags="|video|video-editor|software-recommendation|color-correction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5740" PostTypeId="1" AcceptedAnswerId="5745" CreationDate="2013-01-03T15:49:01.043" Score="6" ViewCount="7947" Body="&lt;p&gt;Say someone's giving a presentation with the projector image next to them. What I see when recording this is the screen flickers, kind of like top-to-bottom scan refresh that's actually visible. What can be done to fix this? Recording is done with Canon 5DIII.&lt;/p&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2013-01-04T08:49:10.060" Title="Preventing flicker when recording live presentations" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5742" PostTypeId="2" ParentId="5728" CreationDate="2013-01-03T23:55:53.423" Score="4" Body="&lt;p&gt;This is certainly more work, but if you want a truly authentic and &quot;organic&quot; VHS look:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Go find a used VHS recorder (or two) at a thrift store (you might have one sitting around your house!)&lt;/li&gt;&#xA;&lt;li&gt;Get some blank VHS tapes at a Walgreens (they still sell it)&lt;/li&gt;&#xA;&lt;li&gt;lay off your video onto VHS tape (for extra authenticity, copy it again to a second recorder and repeat as often as necessary to achieve the desired look)&lt;/li&gt;&#xA;&lt;li&gt;then bring it back in to your computer by digitizing it&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Digitizing analog video is a little more complicated, but really any TV tuner card will do. Your graphics card may already have RCA composite or S-video component input. Or if you have a set-top DVD recorder, then you can &quot;digitize&quot; it that way, and then rip the MPEG2 video from the DVD on your computer using DVD Decrypter (a fantastic tool and completely legal if you're using it for video that you own the rights to). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check out VirtualDub for a good general video capture and processing tool to help you with this.&lt;/p&gt;&#xA;" OwnerUserId="3410" LastActivityDate="2013-01-03T23:55:53.423" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5745" PostTypeId="2" ParentId="5740" CreationDate="2013-01-04T08:49:10.060" Score="3" Body="&lt;p&gt;The reason why this happen has to do with synchronization, or rather, lack there-of.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The projector displays its video-stream at one frame-rate and starting at one point, while your Canon records at a perhaps different frame-rate and starting when the projector image maybe has drawn part of the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The ideal approach is to use a common sync - in this case that is very unlikely to help in any case as the Canon don't have a sync input and the projector probably doesn't have one either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To reduce the problem you need to make sure as a minimum that the Canon and the projector work on the same frame-rate. Ask someone or ask to look at the projector if possible. The start-point (for when the image lines start to draw) is worse - here you need to cross fingers and hope that when you turn on your camera that it will sync with the vertical blanking. As a rule of thumb: use 60i or 30p fps in America and Japan, 50i or 25p in Europe. However, some projectors can show at an internal rate rather than the one based on the electrical system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Secondly, lower shutter-time (slower) and of course increase the f-stop (add ND filter if necessary). This will reduce the flicker but you can still get &quot;bands&quot; in the video. It will also be more sensitive to movement so here you need to balance/compromise. Too low and you get a strobo-effect instead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also try progressive record mode to see if that helps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the best option in cases such as these is to ask for a copy of the presentation file so you can grab stills/video from that in post and super-impose those on the video, or cut to the presentation when editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ask in advance so you can rig your camera in a better position to capture the presenter rather then the screen, but keep track of where in the presentation he is so you get the correct &quot;slide&quot; in post.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2013-01-04T08:49:10.060" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5746" PostTypeId="2" ParentId="5728" CreationDate="2013-01-04T12:57:58.503" Score="0" Body="&lt;p&gt;Besides the plug-ins and preset looks (which are great and life saving most of the time) you can manually create such looks by observing some example videos. The video you showed, for example, has some blur, and overall diffuse. It has plenty of colour noise. It is pretty brightened up, with lower contrast. There's a visible shift in color channels. It has a reddish and yellowish look etc..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also you can add some bad VHS tape artefacts as mentioned &lt;a href=&quot;https://video.stackexchange.com/questions/5663/old-video-tape-effect-in-premiere-pro/5707#5707&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course creating each property manually might need a capable software and some experience with the software you are using.&lt;/p&gt;&#xA;" OwnerUserId="3179" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2013-01-04T12:57:58.503" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5749" PostTypeId="1" CreationDate="2013-01-04T20:25:40.753" Score="1" ViewCount="349" Body="&lt;p&gt;I've been considering whether to buy the &lt;a href=&quot;http://www.amazon.co.uk/Manfrotto-701HDV-Professional-Fluid-Video/dp/B001D2LJ3Q/ref=sr_1_1?s=electronics&amp;amp;ie=UTF8&amp;amp;qid=1357331301&amp;amp;sr=1-1&quot; rel=&quot;nofollow&quot;&gt;701HDV&lt;/a&gt; or the &lt;a href=&quot;http://www.amazon.co.uk/Manfrotto-Pro-Fluid-Video-Neiger/dp/B006TZE0UQ/ref=sr_1_1?ie=UTF8&amp;amp;qid=1357331270&amp;amp;sr=8-1&quot; rel=&quot;nofollow&quot;&gt;502AH&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've pretty much settled on the 502AH for its superior drag quality, but one thing a lot of people do not consider is the type of Quick Release (QR) plate they use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 701HDV and 501HDV both use the 501PL-type plate. The 502AH on the other hand uses 504PLONG plates, which are significantly bigger.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found out that you can use short plates on a &quot;long&quot; head by looking &lt;a href=&quot;http://www.dvinfo.net/forum/tripod-sticks-heads/507616-manfrotto-long-short-plates.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;, but I'm not sure if I can put long plates on a &quot;short&quot; head.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason I ask is that I have a few short plates left over from an older tripod that &lt;em&gt;should&lt;/em&gt; fit in the 502AH, and if I buy a &lt;a href=&quot;http://www.calumetphoto.co.uk/eng/product/calumet_quick_release_video_head_adapter/ck9007&quot; rel=&quot;nofollow&quot;&gt;non-Manfrotto-branded QR adapter&lt;/a&gt; for something else, I can only find short plates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, can I use the long plate that comes with the 502AH with a short head or short QR adapter?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From looking at photos I can't see why not, but there's always a chance that it doesn't. Does anyone know for sure?&lt;/p&gt;&#xA;" OwnerUserId="3171" LastEditorUserId="14523" LastEditDate="2018-09-20T23:30:18.000" LastActivityDate="2018-09-20T23:30:18.000" Title="Can I Use Long Manfrotto QR Plates on a short head?" Tags="|hardware|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5752" PostTypeId="2" ParentId="5731" CreationDate="2013-01-05T01:17:34.267" Score="3" Body="&lt;p&gt;Finding non-linear editors on a computer can be really hard. The linear approach in the old days was actually a forced limitation due to the restrictions you had with tapes. You needed to add clips successively. Sure, you could make an insert but at the risk of messing up the time-base and other things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said - the non-linear/linear is not the reason why editing struggle on a less capable CPU. To the computer it doesn't matter at all in what succession clips comes in so implementing a restriction such as linear approach has no point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main reason for what you experience comes from the the resolution of the video, its compression codec, the disk capabilities and memory available for caching the video/sound. If you work in HD the amount of raw data is many times that of f.ex. NTSC/PAL and naturally gets harder to process for a computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will see these problems in any editor as the common factor is the computer itself. The Adobe suite and other professional suites can do a lot of things with a video, but as long as you don't utilize effects and so forth there is really not much load on the computer besides from processing the video itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The professional software has also addresses performance issues to get the most out of what is available. The risk is actually to &lt;em&gt;loose&lt;/em&gt; performance with very basic software that do no pre-processing of the video and sound to enable it run smoother, implementing smart optimized caching, not to mention utilizing a GPU and so forth, and only relies on loading from disk as-is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The (permanent) solution is to upgrade the hardware or run the software on capable hardware.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Tip to get around with a less capable computer:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before starting to edit you can reduce the resolution of the original clips to a low-res version. Then edit with these in that resolution. When finished create a new project set to the resolution of the final product and import the original full resolution clips and an edit list. This way you can work with low-resolution on a less capable CPU.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://en.wikipedia.org/wiki/Edit_decision_list&quot; rel=&quot;nofollow&quot;&gt;EDL files&lt;/a&gt; or &lt;a href=&quot;https://en.wikipedia.org/wiki/Open_Media_Framework_Interchange&quot; rel=&quot;nofollow&quot;&gt;OMF interchange files&lt;/a&gt; or &lt;a href=&quot;https://en.wikipedia.org/wiki/Advanced_Authoring_Format&quot; rel=&quot;nofollow&quot;&gt;AAF files&lt;/a&gt; (what suits best), and refer to the software's manual on how to export and import edit files. You might need to rename the clip names in the file to point to the full resolution of the clips so have a naming convention ready from the beginning when importing clips from the camera to make life easier.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorDisplayName="user2995" LastEditDate="2013-01-06T18:44:20.433" LastActivityDate="2013-01-06T18:44:20.433" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5765" PostTypeId="1" AcceptedAnswerId="5767" CreationDate="2013-01-07T17:58:13.893" Score="1" ViewCount="7315" Body="&lt;p&gt;I'm using Windows Live Movie Maker on Windows 7.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I made a screen capture video with a third party app which produces &lt;strong&gt;.avi&lt;/strong&gt; files. Its quality is perfect. Its properties: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Resolution: 1280 * 720 (720p)&lt;/li&gt;&#xA;&lt;li&gt;Frame Rate: 15&lt;/li&gt;&#xA;&lt;li&gt;Kbps: ~10.000&lt;/li&gt;&#xA;&lt;li&gt;Video Size: ~23 MB&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I imported it to Movie Maker. And without any modification I just exported it with these settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/4a1eU.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The resulting video was 1.5 MB and of course in &lt;strong&gt;.wmv&lt;/strong&gt; format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The quality drastically lower.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Than I tried increasing frame rate (till 30), bit rate (til 60.000), resolution (till 1080p). No change!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't care about the size (in MB), I want a big high quality video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll add lots of videos and do lots of editing and Windows Movie Maker is a very practical tool for an amateur like me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So &lt;strong&gt;is there a way to get a very high quality video from Movie Maker?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="3433" LastEditorUserId="3433" LastEditDate="2013-01-07T18:43:46.367" LastActivityDate="2013-01-07T20:08:14.497" Title="Windows Live Movie Maker Output Video Quality Low" Tags="|video-editor|windows|video-quality|screen-casting|freeware|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5766" PostTypeId="2" ParentId="4550" CreationDate="2013-01-07T19:08:26.110" Score="1" Body="&lt;p&gt;I would check the audio encoding options on your camera and if possible set the encoding to uncompressed. I've come across some issues with some encoding codec's on some cameras when trying to import into Premiere.&lt;/p&gt;&#xA;" OwnerUserId="322" LastActivityDate="2013-01-07T19:08:26.110" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5767" PostTypeId="2" ParentId="5765" CreationDate="2013-01-07T19:59:41.913" Score="2" Body="&lt;p&gt;You can't do much about it. Movie Maker can only export in WMV format - and WMV is created for small video sizes (at the cost of quality).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will need another software package to export in other formats than WMV. Check out &lt;a href=&quot;http://www.pinnaclesys.com/PublicSite/us/Home/&quot; rel=&quot;nofollow&quot;&gt;Pinnacle products&lt;/a&gt; for alternative - they target amateur producers.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorDisplayName="user2995" LastEditDate="2013-01-07T20:08:14.497" LastActivityDate="2013-01-07T20:08:14.497" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5768" PostTypeId="1" CreationDate="2013-01-07T21:52:17.083" Score="2" ViewCount="108" Body="&lt;p&gt;I go to lots of monthly developer meetings, and there are many requests that the talks be recorded. I have no idea what kind of camera or setup is right for this.&#xA;Recordings are always indoors, generally in front of a big LCD or projector screen. There are varying levels of background noise.&#xA;Here are my requirements:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Total price tag for everything (camera, tripod, bag, mics, etc) &amp;lt;= $1000.&lt;/li&gt;&#xA;&lt;li&gt;Must be &lt;em&gt;very&lt;/em&gt; easy to use correctly, and be confident that it's recording. Volunteers can be trained in ~ 2 minutes.&lt;/li&gt;&#xA;&lt;li&gt;Wireless mic for the speakers to wear.&lt;/li&gt;&#xA;&lt;li&gt;Fastest possible route to the web. E.g., built-in compression so I don't have to transcode later, or automatic upload/streaming to the web on its own.&lt;/li&gt;&#xA;&lt;li&gt;It would be nice if multiple mics were supported, for spread-out roundtable discussions.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3435" LastActivityDate="2013-03-31T07:56:40.853" Title="What's the right setup for recording programming talks?" Tags="|wireless|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5771" PostTypeId="1" AcceptedAnswerId="5777" CreationDate="2013-01-08T10:44:32.133" Score="3" ViewCount="5578" Body="&lt;p&gt;I created a title sequence: title, with glow/fade in then fade out and made this into a nested sequence. I wanted to reuse this nested sequence in other parts of my project, but use different text content for the title in each of the other instances. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I copied the nested sequence several times. But when I changed the title to different text, this affected all of the nested sequence copies. So it seems that the copy creates a new 'container' but references the same components (e.g. title) as the original.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I'm looking for a way to entirely copy a nested sequence and make duplicates of all the consituent components. Is there a way?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By the way, there seem to be three different ways to make a copy: from the contextual pop-up menu for a sequence there is 'Copy', 'Duplicate' and another method (name escapes me at the moment). I've tried all three and none of them solve my problem. I'm hoping that there is a check box somewhere that I can tick/enable to say 'copy all components'.&lt;/p&gt;&#xA;" OwnerUserId="1049" LastActivityDate="2020-04-28T11:56:22.660" Title="How to do a &quot;deep&quot; / full copy of a nested sequence in Premiere Pro CS6? (i.e. constituent components are all copied)" Tags="|video-editor|premiere|mac|" AnswerCount="5" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5773" PostTypeId="1" CreationDate="2013-01-08T13:20:40.727" Score="1" ViewCount="1982" Body="&lt;p&gt;After installing Adobe Premiere Elements 11 Trial I opened the Editor and pressed &lt;strong&gt;New Project&lt;/strong&gt;. Than our beloved Windows error: &lt;strong&gt;Adobe Premiere Elements has stopped working&lt;/strong&gt; contact there, do this, do that error... It just crashed...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Restarted the computer... No&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There were some video related services running I stopped them... No&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="3433" LastActivityDate="2013-01-08T13:30:07.140" Title="Adobe Premiere Elements 11 Crash Issues (Adobe Premiere Elements has stopped working)" Tags="|software|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5774" PostTypeId="2" ParentId="5773" CreationDate="2013-01-08T13:30:07.140" Score="1" Body="&lt;p&gt;Solved! I'm just answering this question in case someone has the same issue...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Short Story:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;Update your graphics card drivers. (All of them!)&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;If you have more than 1 card be sure the stronger one handles adobe premiere.&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Long Story:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My laptop has 2 graphic cards &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Intel HD Graphics&lt;/li&gt;&#xA;&lt;li&gt;NVIDIA GeForce GT 330M&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;First I updated the driver of Intel HD graphics by uninstalling it from Device Manager (which is a bad idea as the screen disappears any way) then restarted my computer. Than Windows found the driver, installed it Restart number 2. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I tried Elements, great it worked! But... consuming 7.5 GB of RAM!!! (Virtual and Physical combined)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This time I don't know why, I just had to try it, I updated my NVIDIA driver (which had 2 updates) and from NVIDIA console I marked Adobe Premiere Elements.exe to use the NVIDIA graphics card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Than I tried it and Elements worked perfectly...&lt;/p&gt;&#xA;" OwnerUserId="3433" LastActivityDate="2013-01-08T13:30:07.140" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5777" PostTypeId="2" ParentId="5771" CreationDate="2013-01-09T00:34:58.043" Score="3" Body="&lt;p&gt;Duplicate both your Title and your sequence, call one sequence V1...and the other V2, then take your title and call it Title V1 and title V2...then replace the title in sequence 2 with V2, then from that point on any changes made within the V1 side will not affect V2 and vise versa.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-01-09T00:34:58.043" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="5779" PostTypeId="2" ParentId="5768" CreationDate="2013-01-09T04:14:58.353" Score="2" Body="&lt;p&gt;I do this all the time for local user groups and I'm yet to find a &quot;plug and play/set and forget&quot; solution. To do the recordings at a professional quality, you need some sort of skill and training, otherwise it will look amateur. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If all you want to record is the person talking, and not what's on their screen, it's relatively easy: buy a wireless lapel mic (the &lt;a href=&quot;http://www.samsontech.com/samson/products/wireless-systems/airline-micro/&quot; rel=&quot;nofollow&quot;&gt;Samson Airline&lt;/a&gt; range is good) and plug it into a video camera of your choice that has audio input. Put that on a tripod and away you go. Then copy that on to a computer, trim the top and tail in something like iMovie, then export to YouTube or whatever format you like.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to do multiple microphones for discussions, then you need to buy more than one mic (a couple of Sennheiser MD46 mics are great for this - one per person) and plug them into a mixer (Behringer mixers are fine and cost effective), then plug a recording device (such as a Zoom H4N) or the camera into the mixer's outputs (using the tape output, 2x RCA to 3.5mm for example).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When it gets tricky is if you want to record the presenter's slides/demos as well as them talking, in videos like so: &lt;a href=&quot;https://vimeo.com/omtconf/videos/page:1/sort%3aalphabetical&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/omtconf/videos/page:1/sort:alphabetical&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That requires more than $1,000, plus a bit of A/V knowledge that's probably too long winded for this response. You also need to do some editing in post. It can be done live (using something like a &lt;a href=&quot;http://www.blackmagicdesign.com/products/atemtelevisionstudio/&quot; rel=&quot;nofollow&quot;&gt;Blackmagic ATEM switcher&lt;/a&gt;), but will cost even more and you'd need a bit more training than two minutes. Upside however, if being able to easily live stream it to the web, using that sort of setup, so people who can't make it can watch. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you've got any specific questions, feel free to ask for more info :)&lt;/p&gt;&#xA;" OwnerUserId="1725" LastActivityDate="2013-01-09T04:14:58.353" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5782" PostTypeId="2" ParentId="2554" CreationDate="2013-01-09T13:42:15.657" Score="1" Body="&lt;p&gt;You can easily create such chaptered file just draggin all your small files into &lt;a href=&quot;http://simplemoviex.com/SimpleMovieX/new.html&quot; rel=&quot;nofollow&quot;&gt; SimpleMovieX&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(As crew of Aero Quartet I may receive some form of compensation, financial or otherwise, from my recommendation or link.)&lt;/p&gt;&#xA;" OwnerUserId="3441" LastEditorUserId="126" LastEditDate="2013-01-15T14:04:27.263" LastActivityDate="2013-01-15T14:04:27.263" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5784" PostTypeId="1" CreationDate="2013-01-09T15:58:20.560" Score="4" ViewCount="358" Body="&lt;p&gt;I have lots of movies stored as DVD folders(.bup, .vob, .ifo files); I am looking for the easiest way to convert each folder into one (or more) mkv files (preferably by using freeware program(s))&lt;/p&gt;&#xA;&#xA;&lt;p&gt;HandBrake does a decent job; there is only one problem - it would not convert all &lt;strong&gt;titles&lt;/strong&gt; automatically, you'd have to go and do it one title after another one; would anyone suggest a good DVD-&gt;MKV converter, or, perhaps, describe how to force HandBrake to convert all titles (just as is takes all chapters for each title)?&lt;/p&gt;&#xA;" OwnerUserId="1897" LastActivityDate="2015-08-24T09:08:44.837" Title="Easisest way to convert whole DVD folder (all titles and chapters) to MKV file(s)?" Tags="|conversion|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5791" PostTypeId="1" AcceptedAnswerId="5793" CreationDate="2013-01-10T07:26:36.707" Score="0" ViewCount="68" Body="&lt;p&gt;Nowadays I am using 1920 x 1080 for all my videos/projects using Sony PMW-100.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to start making more detailed stuff in a year or two. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Specifically in the mid-late 2014 I have a plan to make a documentary film. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to use similar small camcoder but wit hthe higher resolution 4096 × 2304.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you think that some camcoders capable of 4K recording without the need of external recording source would be in the stores in the mid 2014 and the price would be no more than 5000 EUR at that time?&lt;/p&gt;&#xA;" OwnerUserId="3450" LastActivityDate="2013-01-10T10:37:44.123" Title="4K camcorder question" Tags="|camcorder|" AnswerCount="1" CommentCount="1" ClosedDate="2013-01-10T14:06:51.083" ContentLicense="CC BY-SA 3.0" />
  <row Id="5793" PostTypeId="2" ParentId="5791" CreationDate="2013-01-10T10:37:44.123" Score="1" Body="&lt;p&gt;JVC was first out of the gate with an &lt;a href=&quot;http://nofilmschool.com/2012/01/wanted-3k-3k-red-scarlet-jvc-you/&quot; rel=&quot;nofollow&quot;&gt;affordable consumer 4K camera&lt;/a&gt;.&#xA;Sony is showing their first &lt;a href=&quot;http://www.engadget.com/2013/01/07/sonys-4k-handycam-and-hxr-ifr5-4k-interface-unit-prototypes-eye/&quot; rel=&quot;nofollow&quot;&gt;4K &quot;Handycam&quot; prototype&lt;/a&gt; at Consumer Electronics Show in Las Vegas...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I think the answer is YES :)&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2013-01-10T10:37:44.123" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5795" PostTypeId="1" AcceptedAnswerId="6851" CreationDate="2013-01-09T14:55:59.777" Score="6" ViewCount="14017" Body="&lt;p&gt;Using the Timelapse app on my Sony NEX-6 camera, I get an AVI which contains an MJPEG stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I'd like to take all the individual frames into Lightroom as normal photos, to do my post-processing. Is there a way to extract the individual JPEG frames in a lossless fashion, e.g. &lt;em&gt;without resaving them&lt;/em&gt;? As I understand it, MJPEG format is essentially just a lot of JPEG files contained within (in this case) an AVI container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would prefer to do this on a Mac (I normally use Lightroom and Photoshop), but any application that does it would be fine, I'll find an OS to run it!&lt;/p&gt;&#xA;" OwnerUserId="3486" OwnerDisplayName="RipperDoc" LastActivityDate="2013-01-16T07:02:23.593" Title="Lossless extracting of JPEGs from an MJPEG video" Tags="|software|video|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5796" PostTypeId="2" ParentId="5795" CreationDate="2013-01-09T15:29:41.927" Score="0" Body="&lt;p&gt;I'm not sure what you mean by &quot;&lt;em&gt;without re-saving them&lt;/em&gt;&quot; ... &#xA;I use a software &lt;a href=&quot;http://www.dvdvideosoft.com/free-dvd-video-software.htm&quot; rel=&quot;nofollow&quot;&gt;freestudio&lt;/a&gt; to extract the JPEG files and then reorganize &amp;amp; edit the pix in LR,PS or AE...&lt;/p&gt;&#xA;" OwnerDisplayName="June" LastActivityDate="2013-01-09T15:29:41.927" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="5797" PostTypeId="2" ParentId="5795" CreationDate="2013-01-09T21:01:38.320" Score="1" Body="&lt;p&gt;If you have access to Photoshop you can open the MJPEG in Photoshop and apply the same edits there as you would in Lightroom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The instructions below are carried out on a Mac with Photoshop CS5.1 but for Windows it should be comparable.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open Photoshop&lt;/li&gt;&#xA;&lt;li&gt;Open your MJPEG file&lt;/li&gt;&#xA;&lt;li&gt;Go to &lt;code&gt;Window -&amp;gt; Workspace -&amp;gt; Motion&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Now a timeline appears on your screen where you can play and scrub through your footage.&lt;/li&gt;&#xA;&lt;li&gt;Go to &lt;code&gt;Layer -&amp;gt; New Adjustment Layer&lt;/code&gt; and choose the adjustment you want.&lt;/li&gt;&#xA;&lt;li&gt;When you're done editing go to &lt;code&gt;File -&amp;gt; Export -&amp;gt; Render Video&lt;/code&gt; and choose the desired video settings.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Make sure to use adjustment layers, as a simple adjustment will only affect one frame.&lt;/p&gt;&#xA;" OwnerUserId="2178" OwnerDisplayName="Bart Arondson" LastActivityDate="2013-01-09T21:01:38.320" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5798" PostTypeId="1" AcceptedAnswerId="5811" CreationDate="2013-01-10T13:50:34.080" Score="2" ViewCount="2520" Body="&lt;p&gt;On this page I found this here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.timescapes.org/products/&quot; rel=&quot;nofollow&quot;&gt;http://www.timescapes.org/products/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And I don't get it, because 4k Ediition is only 25gb and 4k cinema is 330gb.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the difference if both are 4K (4096 x 2304) ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could 12-bit (color resolution) make that huge difference in size?&lt;/p&gt;&#xA;" OwnerUserId="3450" LastEditorUserId="3450" LastEditDate="2013-01-11T06:51:26.197" LastActivityDate="2013-01-16T13:22:04.490" Title="Difference between 4K Edition and 4K Cineform" Tags="|file-formats|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5801" PostTypeId="1" AcceptedAnswerId="5824" CreationDate="2013-01-10T18:59:00.890" Score="-1" ViewCount="512" Body="&lt;p&gt;For me personally seems youtube videos crisper in 1080 or &quot;original size&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Vimeo seems a little fuzzy when HD is on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What technology does Youtube use, and why is it apparently better? What is the difference between the two technologies?&lt;/p&gt;&#xA;" OwnerUserId="3450" LastEditorUserId="2604" LastEditDate="2016-08-19T08:12:09.570" LastActivityDate="2016-08-19T08:12:09.570" Title="Which technology do YouTube and Vimeo use for processing 1080 HD Video?" Tags="|youtube|" AnswerCount="1" CommentCount="3" FavoriteCount="0" ClosedDate="2013-01-14T14:22:57.637" ContentLicense="CC BY-SA 3.0" />
  <row Id="5811" PostTypeId="2" ParentId="5798" CreationDate="2013-01-11T14:01:19.303" Score="3" Body="&lt;p&gt;The simple answer is yes for a couple of reasons:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;if the number of pixels is the same*, the colour depth can have a huge impact on the size. 12 bit = 4096 in decimal. So if the difference between the two formats is 13.2 (330/25) that could be easily explained as the difference between 8 bit and 12 bit is could be a 16x difference.&lt;/li&gt;&#xA;&lt;li&gt;the content on each of the formats may be different - you have no way of knowing from this product list.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;(*there are some differences - see table below from the &lt;a href=&quot;http://en.wikipedia.org/wiki/4K_resolution&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia 4K page&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/POJGX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2013-01-11T14:01:19.303" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="5814" PostTypeId="1" AcceptedAnswerId="5825" CreationDate="2013-01-11T15:34:17.150" Score="-4" ViewCount="121" Body="&lt;p&gt;I am interested which software do people use in PBS? Final Cut Pro or Adobe Premiere?&lt;/p&gt;&#xA;" OwnerUserId="3450" LastActivityDate="2013-01-14T14:17:05.987" Title="Which software use people in PBS? FCP or Premiere?" Tags="|editing|" AnswerCount="2" CommentCount="1" ClosedDate="2013-01-14T14:24:49.803" ContentLicense="CC BY-SA 3.0" />
  <row Id="5815" PostTypeId="1" AcceptedAnswerId="5816" CreationDate="2013-01-11T21:56:34.023" Score="-2" ViewCount="38" Body="&lt;p&gt;Can I do a documentary with the actors from The Outer Limits or The Twilight Zone etc.?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible or the actors cannot speak because of some waivers with the film studios?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or I can ask the main characters, directors, producers without any problem and I need only the approval of the people I am questioning in the document?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wont use any footage from the series just interviews with the actors,directors and other peopl who were involved.&lt;/p&gt;&#xA;" OwnerUserId="3450" LastActivityDate="2013-01-11T22:17:15.637" Title="Documentary with the actors from e.g. The Outer Limits or The Twilight Zone etc.?" Tags="|filming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5816" PostTypeId="2" ParentId="5815" CreationDate="2013-01-11T22:17:15.637" Score="1" Body="&lt;p&gt;IANAL but that would likely depend on their contracts with the studios.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-01-11T22:17:15.637" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5817" PostTypeId="2" ParentId="5814" CreationDate="2013-01-11T22:20:54.890" Score="8" Body="&lt;p&gt;PBS is made up of 354 different broadcasters and carry content from many different studios, it is highly unlikely that they all use one product and chances are good they use a product other than Final Cut or Premiere.  Avid makes several very popular products and the software that drives actual broadcast studios isn't the same kind of software used by production studios.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll try to clarify further.  PBS is not a content creator, they are a broadcaster.  Content creation shops, such as studios, would be the ones to use Premiere or FinalCut, but generally studios prefer higher end rigs like one of Avid's platforms.  A broadcast studio isn't going to use FinalCut or Premiere (at least not for anything beyond very limited and basic work if anything).  They are going to use software that is concerned with sequencing up content and playing it back in order without interruption so that they can have programs run together smoothly.  In some cases, this can even be a hardware system rather than any software component, particularly in someplace like a PBS station where finances are limited.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-01-14T14:17:05.987" LastActivityDate="2013-01-14T14:17:05.987" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="5818" PostTypeId="1" AcceptedAnswerId="7081" CreationDate="2013-01-12T20:28:19.417" Score="1" ViewCount="3815" Body="&lt;p&gt;I have a project with events saved on my Mac drive. I want to save this project on my external HD drive to clean space and work on this project later. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I copy pasted Final Cut Events and Final Cut Projects folders to my external HD but I don't know how to restore it into project in FC.&#xA;Any help is appreciated.&lt;/p&gt;&#xA;" OwnerUserId="3462" LastActivityDate="2014-09-23T21:39:53.400" Title="Save existing project to an external drive Final Cut Pro X 10" Tags="|video|software|file-formats|final-cut-pro|final-cut-pro-x|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="5819" PostTypeId="1" CreationDate="2013-01-13T00:14:41.270" Score="5" ViewCount="577" Body="&lt;p&gt;I've got a video and &lt;em&gt;I thought&lt;/em&gt; it's &lt;strong&gt;size was 640x480&lt;/strong&gt; and this is shown on GSpot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However also in the container section of GSpot it is saying&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; Recommended Display Size: 853 x 480&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;does anyone know where it get's this from?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) If it is calculated what from?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) If it is a property of the file while isn't it the same as the width x height?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/XisAX.png&quot; alt=&quot;GSpot Example&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3463" LastActivityDate="2014-07-16T16:10:47.997" Title="How does GSpot calculate &quot;Recommended display size&quot;" Tags="|codec|video-standards|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5820" PostTypeId="2" ParentId="5819" CreationDate="2013-01-13T00:40:34.850" Score="3" Body="&lt;p&gt;I don't know what tags or fields are present in a .MP4 file, but something is flagging the file as having a 16:9 'display aspect ratio' (shown as &quot;dar&quot; in GSpot), while the 'pixel aspect ratio' (par) is 4:3. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;((480 * 16) / 9) = 853&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-01-13T00:40:34.850" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5822" PostTypeId="1" AcceptedAnswerId="5827" CreationDate="2013-01-13T05:42:53.337" Score="3" ViewCount="4675" Body="&lt;p&gt;I searched around and I have not come across a good answer.&#xA;What does FCP have that Motion5 does not? I have been looking at the two and they look relatively the same. Here is some of what I am doing/care about:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I love YouTube, I want to become a video maker. I want to do productions from Minecraft ExplodingTNT to Smosh to Productions and more... I need a video editor to make up for iMovie because I am sick of the export errors, slowness, and overall limitations of it. My budget is low so I don't really want to get FCP, Avid, or Adobe Production Suite until I can get the money to get them. I am also looking into 3d stuff like Cinima 4D and Autodesk Entertainment  Creation Suite (or a few of the products in that suite) but that can be for another time. I am also experienced in audio creation and editing. I have Ableton and am planning to get more software (if that is helpful to know). Really, I want to know if Motion is all that is needed for a pretty experienced, but still new person to video creation. Or if I should go strait to the big stuff.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I still want to know some big differences regardless of my needs.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;If I did something wrong or you want more information on something, feel free to leave a comment because I am new to AVP.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="3465" LastActivityDate="2013-08-07T15:11:19.897" Title="FCP vs Motion 5" Tags="|final-cut-pro|youtube|motion|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5824" PostTypeId="2" ParentId="5801" CreationDate="2013-01-13T05:51:39.240" Score="1" Body="&lt;p&gt;They both are powered by flash, which can read most file types, so I think it really has to do with the way and speed it is buffered.&lt;/p&gt;&#xA;" OwnerUserId="3465" LastActivityDate="2013-01-13T05:51:39.240" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5825" PostTypeId="2" ParentId="5814" CreationDate="2013-01-13T06:04:56.190" Score="1" Body="&lt;p&gt;Having a big company like PBS, they most likely use a mix of many pieces of software. They need to have a 3D tool like Cinema 4D for some of the title sequences and may even use custom made software. Some of the software they use may not even have been heard of before. So the answer to your question is most likely both.&lt;/p&gt;&#xA;" OwnerUserId="3465" LastActivityDate="2013-01-13T06:04:56.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5826" PostTypeId="1" AcceptedAnswerId="5829" CreationDate="2013-01-13T08:49:10.367" Score="5" ViewCount="50027" Body="&lt;p&gt;I was looking on wikipedia but couldn't find any definitive answer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think it's because it depends on how many bits is the color pallete and frames per second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please, could somebody help me make a rough estimate &lt;strong&gt;how much GB or TB&lt;/strong&gt; would be a standard &lt;strong&gt;24fps? or 30fps?&lt;/strong&gt; (I am not sure which is the standard frame rate for UHD movies) &lt;strong&gt;Ultra HD movie (3840x2160)&lt;/strong&gt; with the length of &lt;strong&gt;1 hour&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to know the uncompressed raw size of the movie file after exporting from Adobe Premiere&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not sure what is the standard 8 or 12 bit or some other? So, I will be thankful for your advice.&lt;/p&gt;&#xA;" OwnerUserId="3450" LastEditorUserId="1950" LastEditDate="2022-04-13T00:48:17.410" LastActivityDate="2022-04-13T00:48:17.410" Title="How many GB or TB is 1 hour of raw uncompressed Ultra HD film?" Tags="|video-standards|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="5827" PostTypeId="2" ParentId="5822" CreationDate="2013-01-13T10:12:13.387" Score="7" Body="&lt;p&gt;There's actually a &lt;em&gt;big&lt;/em&gt; difference between the two. If you're on a budget and don't mind that editing video is not as straight forward, then Motion is actually not a bad route to take.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Final Cut allows you to use things you've created in Motion as graphical templates. Motion in and of itself is a 2D(/3D) animation app, it wasn't made for video editing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, although you &lt;em&gt;can&lt;/em&gt; edit video in Motion, doesn't mean it's very comfortable. For instance, you can just press a shortcut to render your timeline in Proxy, High Quality format. If you'd do the same thing in Motion, you would have to encode the material by yourself and tell Motion manually to use the Proxy's instead of the original material. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Final Cut also has some media management tools that allow you to quickly find the footage you want to edit. So if you imported tons of clips, it's easier to find a particular clip in FCP than in M5. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both apps work well together, but in itself, Motion wasn't made to edit video. If you come from iWork. Editing in Final Cut Pro is almost equal (if not the same). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't talk about Avid, Premiere, but they work similarly to the &quot;old&quot; way of editing video, where the timeline is static. When there is a clip deleted between two clips, they don't ripple together. They stay at their current position. Some people prefer to edit that way. Personally I can't see myself going back to that way of editing, it is simply too slow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now in regards to 3D… Motion is a 2D motion graphics application. It can do 3D too, but it misses most features &quot;real&quot; 3D apps have like fluid or explosion calculations of material. Material can also have a real material. So the app knows that wood explodes differently from glass. If you are new in 3D animation and just want to tip your toes in, go for Blender. It is hard to learn, though, because it's free, there are tons of tutorials available online to get you quick up and running. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects is the industry leader in motion graphics. It is said that nothing can't be done in After Effects. Motion tries to an After Effects. It is also said that Motion can do everything that After Effects can, but, again, with more effort. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a summary. If you're on a budget and need a great 2D motion graphics app, Motion is not a bad choice. It works well together with Final Cut Pro, a video editing app that is similar to iMovie. Though 3D animation can be done in Motion, it is better to use a dedicated 3D animation app like Blender. If you really want the most top-notch effects, templates and biggest community (and can afford the price of a monthly/yearly Cloud membership) go with Adobe. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="2277" LastActivityDate="2013-01-13T10:12:13.387" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5828" PostTypeId="2" ParentId="5826" CreationDate="2013-01-13T14:11:35.987" Score="4" Body="&lt;p&gt;A 'base' value is ~33 GB per minute for 8-bit RGB at 24fps. Multiply by 1.25 for 30fps, and/or by 1.5 for 12 bits/pixel, or 1.25 for 10 bits/px.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3840x2160 = 8294400 pixels per plane &lt;br&gt; &#xA;   x 3 for RGB = 24883200 px per frame &lt;br&gt;&#xA;     x 24 fps = 597196800 px per sec &lt;br&gt;&#xA;       x 60 sec = 3.5831808 x 10^10 px per hour &lt;br&gt;&#xA;         x 8 bits per pixel, / 8 bits per byte = 3.6 x 10^10 bytes / hour &lt;br&gt;&#xA;So, roughly 33 GB per minute for 8-bit 24 fps&lt;/p&gt;&#xA;" OwnerUserId="3908" LastEditorUserId="2836" LastEditDate="2014-07-16T16:15:42.480" LastActivityDate="2014-07-16T16:15:42.480" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="5829" PostTypeId="2" ParentId="5826" CreationDate="2013-01-13T14:21:20.447" Score="3" Body="&lt;p&gt;There are some storage calculators: &lt;a href=&quot;http://www.aja.com/en/products/software/&quot; rel=&quot;nofollow&quot;&gt;AJA DataCalc&lt;/a&gt;, &lt;a href=&quot;http://www.digitalrebellion.com/webapps/video_calc.html&quot; rel=&quot;nofollow&quot;&gt;Video Space Calculator&lt;/a&gt;. Nothing complex, but keep also in mind that actual required storage size will be more than raw disk size due formatting, RAID levels etc. &lt;/p&gt;&#xA;" OwnerUserId="2773" LastActivityDate="2013-01-13T14:21:20.447" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="5830" PostTypeId="2" ParentId="2579" CreationDate="2013-01-13T16:20:13.727" Score="0" Body="&lt;p&gt;There is a way, but it is more work. You have to add the audio in another project and export in and reimport it or add it in other software. It is pointless. Just like Devin, get a better pice of software. If you want you can try Motion for 50 bucks on the Mac App Store.&lt;/p&gt;&#xA;" OwnerUserId="3465" LastActivityDate="2013-01-13T16:20:13.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5831" PostTypeId="2" ParentId="4815" CreationDate="2013-01-13T16:49:31.033" Score="1" Body="&lt;p&gt;Well, you can import the audio into quartz or play it through the mic input using &lt;a href=&quot;http://cycling74.com/soundflower-landing-page/&quot; rel=&quot;nofollow&quot;&gt;Soundflower&lt;/a&gt;.  &lt;a href=&quot;http://quartzcomposer.com/plugins/1-export-to-movie&quot; rel=&quot;nofollow&quot;&gt;http://quartzcomposer.com/plugins/1-export-to-movie&lt;/a&gt; SHOULD export it. Then you can go back and add and line up the music to the video with iMovie (or something better) and export it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;*&lt;a href=&quot;http://cycling74.com/soundflower-landing-page/&quot; rel=&quot;nofollow&quot;&gt;Soundflower&lt;/a&gt; Instructions: Open soundflowerbed, in the menubar (top) a little flower will appear, click on it and go under &quot;Soundflower (2ch)&quot; and click &quot;Built-in output.&quot; This will let you hear the audio when you do this. Then go to your system preferences, go to audio settings, and change the &lt;em&gt;OUTPUT&lt;/em&gt; to &quot;Soundflower (2ch)&quot; When you go into Quartz Composer, drag the Audio Input (if you have not already) and wire it up. Then go to settings in the inspector and check &quot;Select a specific audio source&quot; and select &quot;Soundcloud (2ch).&quot; Then go and play whatever you want on your computer.&lt;/p&gt;&#xA;" OwnerUserId="3465" LastActivityDate="2013-01-13T16:49:31.033" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="5833" PostTypeId="1" CreationDate="2013-01-13T17:19:48.940" Score="11" ViewCount="7373" Body="&lt;p&gt;I've made a set of screencasts using recordmydesktop on ubuntu 12.10.&#xA;The output is an ogv file.  When I watch the ogv file using the default movie player (totem) it looks fine - the audio and video are in sync.  When it is transcoded (by me or youtube) the audio and video are out of sync.  It looks like I skip through a slide or two while narrating.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Update&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I suspect the problem is more properly characterized as dropping duplicate frames during transcoding.  Converting video where the mouse is moving seems to normally work fine.  But when I'm just talking during a slide those duplicate frames are dropped.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I saw this but it isn't quite my situation (trying to go from ogv -&gt; anything) &lt;a href=&quot;https://superuser.com/questions/436187/ffmpeg-convert-video-w-dropped-frames-out-of-sync&quot;&gt;https://superuser.com/questions/436187/ffmpeg-convert-video-w-dropped-frames-out-of-sync&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AVI files seem to translate correctly!  I assume this will be a big hint to someone.  I'd still like to track down the underlying issue.  I'm testing the conversion of my previous videos to AVI but this takes a while since I have to check each transition.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Examples&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;This is the original OGV file from gtk-recordmydesktop:&#xA;&lt;a href=&quot;http://dl.dropbox.com/u/64693533/sync_test/sync_test1.ogv&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://dl.dropbox.com/u/64693533/sync_test/sync_test1.ogv&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video starts with a slide for 10s, then advances to 3 more slides 5s each.  Each time I advance slides I tap the microphone too (10s, 15s, 20s, 25s).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some conversions that were done (each displays it's own video timing issues):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://dl.dropbox.com/u/64693533/sync_test/sync_test1.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://dl.dropbox.com/u/64693533/sync_test/sync_test1.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;this one shows the first slide in the first frame but quickly advances past it&lt;/li&gt;&#xA;&lt;li&gt;this was done using the stock ffmpeg&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://dl.dropbox.com/u/64693533/sync_test/sync_test1.ffmpeg-static.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://dl.dropbox.com/u/64693533/sync_test/sync_test1.ffmpeg-static.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;this one is pretty close - for some reason at 13s it decides to advance though&lt;/li&gt;&#xA;&lt;li&gt;this was done using the static build of ffmpeg from a few days ago&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Here it is on youtube - you can see that at around 13s it advances early (from slide 1 -&gt; slide 2):&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/MrCqsoy_WoI?start=11&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is proof the OGV file works correctly:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/yCdpQJZP9ik?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;ffmpeg translation&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Using ffmpeg or avconv I seem to get similar results as youtube (transitions appear to happen early but not necessarily at the same time).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the command I use (with a recent static build of ffmpeg) and output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;$ ~/ffmpeg/ffmpeg -i JSP.ogv JSP.mp4&#xA;ffmpeg version N-50025-gb8bb661 Copyright (c) 2000-2013 the FFmpeg developers&#xA;  built on Feb 17 2013 05:23:03 with gcc 4.6 (Debian 4.6.3-1)&#xA;  configuration: --prefix=/root/ffmpeg-static/64bit --extra-cflags='-I/root/ffmpeg-static/64bit/include -static' --extra-ldflags='-L/root/ffmpeg-static/64bit/lib -static' --extra-libs='-lxml2 -lexpat -lfreetype' --enable-static --disable-shared --disable-ffserver --disable-doc --enable-bzlib --enable-zlib --enable-postproc --enable-runtime-cpudetect --enable-libx264 --enable-gpl --enable-libtheora --enable-libvorbis --enable-libmp3lame --enable-gray --enable-libass --enable-libfreetype --enable-libopenjpeg --enable-libspeex --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-version3 --enable-libvpx&#xA;  libavutil      52. 17.101 / 52. 17.101&#xA;  libavcodec     54. 91.103 / 54. 91.103&#xA;  libavformat    54. 63.100 / 54. 63.100&#xA;  libavdevice    54.  3.103 / 54.  3.103&#xA;  libavfilter     3. 38.100 /  3. 38.100&#xA;  libswscale      2.  2.100 /  2.  2.100&#xA;  libswresample   0. 17.102 /  0. 17.102&#xA;  libpostproc    52.  2.100 / 52.  2.100&#xA;[ogg @ 0x34d4640] Multiple fisbone for the same stream is not implemented. Update your FFmpeg version to the newest one from Git. If the problem still occurs, it means that your file has a feature which has not been implemented.&#xA;[ogg @ 0x34d4640] Header parsing failed for stream 0&#xA;[ogg @ 0x34d4640] Broken file, keyframe not correctly marked.&#xA;Input #0, ogg, from 'JSP.ogv':&#xA;  Duration: 00:12:49.67, start: 0.000000, bitrate: 224 kb/s&#xA;    Stream #0:0: Data: none&#xA;    Stream #0:1: Video: theora, yuv420p, 1600x880 [SAR 1:1 DAR 20:11], 15 fps, 15 tbr, 15 tbn, 15 tbc&#xA;    Metadata:&#xA;      RECORDMYDESKTOP : 0.3.8.1&#xA;    Stream #0:2: Audio: vorbis, 22050 Hz, mono, fltp, 89 kb/s&#xA;[libx264 @ 0x369c5e0] using SAR=1/1&#xA;[libx264 @ 0x369c5e0] using cpu capabilities: MMX2 SSE2Fast SSSE3 FastShuffle SSE4.2 AVX&#xA;[libx264 @ 0x369c5e0] profile High, level 4.0&#xA;[libx264 @ 0x369c5e0] 264 - core 129 r2230 1cffe9f - H.264/MPEG-4 AVC codec - Copyleft 2003-2012 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=15 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'JSP.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf54.63.100&#xA;    Stream #0:0: Video: h264 ([33][0][0][0] / 0x0021), yuv420p, 1600x880 [SAR 1:1 DAR 20:11], q=-1--1, 15360 tbn, 15 tbc&#xA;    Metadata:&#xA;      RECORDMYDESKTOP : 0.3.8.1&#xA;    Stream #0:1: Audio: aac ([64][0][0][0] / 0x0040), 22050 Hz, mono, s16, 128 kb/s&#xA;Stream mapping:&#xA;  Stream #0:1 -&gt; #0:0 (theora -&gt; libx264)&#xA;  Stream #0:2 -&gt; #0:1 (vorbis -&gt; libvo_aacenc)&#xA;Press [q] to stop, [?] for help&#xA;[ogg @ 0x34d4640] Broken file, non-keyframe not correctly marked.&#xA;    Last message repeated 2 times&#xA;Broken file, non-keyframe not correctly marked.=00:00:08.37 bitrate=  28.7kbits/s dup=66 drop=0    &#xA;Broken file, keyframe not correctly marked.time=00:00:51.01 bitrate= 125.3kbits/s dup=675 drop=0    &#xA;Broken file, keyframe not correctly marked.time=00:00:55.05 bitrate= 140.2kbits/s dup=782 drop=0    &#xA;Broken file, keyframe not correctly marked.time=00:00:59.60 bitrate= 140.5kbits/s dup=836 drop=0    &#xA;[ogg @ 0x34d4640] Broken file, keyframe not correctly marked.&#xA;Broken file, keyframe not correctly marked.time=00:01:08.00 bitrate= 143.0kbits/s dup=900 drop=0    &#xA;Broken file, keyframe not correctly marked.time=00:01:11.86 bitrate= 141.6kbits/s dup=910 drop=0    &#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;...repeated many times...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;Broken file, keyframe not correctly marked.time=00:12:47.62 bitrate= 153.0kbits/s dup=9087 drop=0    &#xA;frame=11521 fps= 87 q=-1.0 Lsize=   14849kB time=00:12:49.48 bitrate= 158.1kbits/s dup=9087 drop=0    &#xA;video:2401kB audio:12024kB subtitle:0 global headers:0kB muxing overhead 2.938094%&#xA;[libx264 @ 0x369c5e0] frame I:49    Avg QP:16.05  size: 29658&#xA;[libx264 @ 0x369c5e0] frame P:2912  Avg QP: 9.88  size:   114&#xA;[libx264 @ 0x369c5e0] frame B:8560  Avg QP:12.76  size:    78&#xA;[libx264 @ 0x369c5e0] consecutive B-frames:  0.9%  0.1%  0.2% 98.9%&#xA;[libx264 @ 0x369c5e0] mb I  I16..4: 90.8%  0.4%  8.8%&#xA;[libx264 @ 0x369c5e0] mb P  I16..4:  0.0%  0.0%  0.0%  P16..4:  0.0%  0.0%  0.0%  0.0%  0.0%    skip:99.9%&#xA;[libx264 @ 0x369c5e0] mb B  I16..4:  0.0%  0.0%  0.0%  B16..8:  0.3%  0.0%  0.0%  direct: 0.0%  skip:99.7%  L0:65.3% L1:34.6% BI: 0.1%&#xA;[libx264 @ 0x369c5e0] 8x8 transform intra:0.5% inter:15.8%&#xA;[libx264 @ 0x369c5e0] coded y,uvDC,uvAC intra: 6.4% 0.1% 0.1% inter: 0.0% 0.0% 0.0%&#xA;[libx264 @ 0x369c5e0] i16 v,h,dc,p: 94%  4%  2%  0%&#xA;[libx264 @ 0x369c5e0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 19% 22% 44%  1%  2%  2%  3%  1%  6%&#xA;[libx264 @ 0x369c5e0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 35% 17% 19%  4%  5%  5%  5%  5%  5%&#xA;[libx264 @ 0x369c5e0] i8c dc,h,v,p: 100%  0%  0%  0%&#xA;[libx264 @ 0x369c5e0] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0x369c5e0] ref P L0: 82.5%  1.4% 11.9%  4.3%&#xA;[libx264 @ 0x369c5e0] ref B L0: 47.2% 52.4%  0.4%&#xA;[libx264 @ 0x369c5e0] ref B L1: 99.2%  0.8%&#xA;[libx264 @ 0x369c5e0] kb/s:25.60&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The video still advances early but at different times.  It sounds like gtk-recordmydesktop is generating a &quot;broken file&quot;.  What's annoying is that the OGV does work so it seems like I should be able to make this work with some set of options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;s&gt;I have found that I can render the video in kdenlive and it seems to be working there.  I'd still like to know what is going on.&lt;/s&gt;  kdenlive does a much better job, but it still advances early sometimes.&lt;/p&gt;&#xA;" OwnerUserId="3467" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2020-05-28T18:05:28.637" Title="OGV Format plays properly on my computer but transcoding drops (duplicate?) frames" Tags="|ffmpeg|transcoding|youtube|" AnswerCount="4" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="5837" PostTypeId="1" CreationDate="2013-01-14T00:51:31.093" Score="3" ViewCount="3658" Body="&lt;p&gt;I have some old 3GP (mp4v codec)videos from my HTC desire S and when I try to drop them into Vegas they won't open so I decided to convert them to a format that would open. However when I convert to a standard mp4 template h.254 at a frame rate of 30, the video converts and plays back at twice the speed but the audio is original. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I cannot figure out the frame rate for the original video according to Gspot it is 16.393 and other videos its 9.901 etc&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the information from the container &#xA;3gp4: 3GPP Media (.3GP) Release 4  &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;mp41: MP4 v1 [ISO 14496-1:ch13]&lt;/code&gt;  &lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;3gp6: 3GPP Media (.3GP) Release 6 Basic Profile&lt;/code&gt;  &lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;Recommended Display Size: 800 x 480&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;How would I convert such videos to play back normally?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;**EDIT INFORMATION FROM MEDIA INFO**  &#xA;Format                                   : MPEG-4  &#xA;Format profile                           : 3GPP Media Release 4  &#xA;Codec ID                                 : 3gp4  &#xA;File size                                : 208 MiB  &#xA;Duration                                 : 3mn 55s  &#xA;Overall bit rate                         : 7 430 Kbps  &#xA;Law rating                               : (empty)  &#xA;Released date                            : 0  &#xA;Encoded date                             : UTC 2012-04-29 18:18:23  &#xA;Tagged date                              : UTC 2012-04-29 18:18:23  &#xA;Classification                           : (empty)  &#xA;&#xA;**Video**&#xA;ID                                       : 1  &#xA;Format                                   : MPEG-4 Visual  &#xA;Format profile                           : Simple@L6  &#xA;Format settings, BVOP                    : Yes  &#xA;Format settings, QPel                    : No&#xA;Format settings, GMC                     : No warppoints  &#xA;Format settings, Matrix                  : Default (H.263)  &#xA;Codec ID                                 : 20  &#xA;Duration                                 : 3mn 55s  &#xA;Bit rate mode                            : Constant  &#xA;Bit rate                                 : 7 416 Kbps  &#xA;Nominal bit rate                         : 8 000 Kbps  &#xA;Width                                    : 1 280 pixels  &#xA;Height                                   : 720 pixels  &#xA;Display aspect ratio                     : 16:9  &#xA;Frame rate mode                          : Variable  &#xA;Frame rate                               : 13.033 fps &#xA;Minimum frame rate                       : 3.906 fps  &#xA;Maximum frame rate                       : 58.824 fps  &#xA;Color space                              : YUV  &#xA;Bit depth                                : 8 bits  &#xA;Scan type                                : Progressive  &#xA;Compression mode                         : Lossy &#xA;Bits/(Pixel*Frame)                       : 0.617  &#xA;Stream size                              : 208 MiB (100%)  &#xA;Language                                 : English  &#xA;Encoded date                             : UTC 2012-04-29 18:18:23  &#xA;Tagged date                              : UTC 2012-04-29 18:18:23  &#xA;&#xA;**Audio**&#xA;ID                                       : 2  &#xA;Format                                   : AMR  &#xA;Format/Info                              : Adaptive Multi-Rate  &#xA;Format profile                           : Narrow band  &#xA;Codec ID                                 : samr  &#xA;Duration                                 : 3mn 55s  &#xA;Bit rate mode                            : Constant  &#xA;Bit rate                                 : 12.8 Kbps  &#xA;Channel(s)                               : 1 channel  &#xA;Sampling rate                            : 8 000 Hz  &#xA;Bit depth                                : 13 bits  &#xA;Stream size                              : 367 KiB (0%)  &#xA;Writing library                          : pvmm  &#xA;Language                                 : English  &#xA;Encoded date                             : UTC 2012-04-29 18:18:23  &#xA;Tagged date                              : UTC 2012-04-29 18:18:23  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="2716" LastEditorUserId="2569" LastEditDate="2013-01-15T19:26:27.997" LastActivityDate="2017-04-14T00:38:05.727" Title="How to convert variable frame rate videos?" Tags="|conversion|framerate|" AnswerCount="2" CommentCount="8" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="5838" PostTypeId="2" ParentId="4469" CreationDate="2013-01-14T07:19:06.843" Score="1" Body="&lt;p&gt;There may be software to look at a photo and determine the lens, lens height, and lens angle.  But I only know of software that does this with video clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However the way to do would be to look at the shot and overlay the photo with the scene, and play with 3D cameras lens, lens height, and lens angle and get it close.  Due to lens distortion there is some margin of error but you can probably get very close.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-01-14T07:19:06.843" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="6839" PostTypeId="1" CreationDate="2013-01-14T17:45:12.890" Score="0" ViewCount="87" Body="&lt;p&gt;Created a short promotional video for a client, it's an online magazine. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the sake of example, let's say I charged the magazine $700. The video is embedded into the magazine using a proprietary method (ie: not youtube, vimeo, or any other video sharing site with embed options). This is fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now the video happens to be something of an pseudo-official biography on a local artist (hes in it, he talks in it, official interview stuff), but the video wasn't made FOR him, but now he's inquiring how much it would cost him to embed the video on HIS site as well, for marketing purposes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, lets say I charged the Magazine $700 (2.5min video), how much should I charge for a re-embed? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(ps: I own the copyrights)&lt;/p&gt;&#xA;" OwnerUserId="3471" LastActivityDate="2013-01-15T19:30:38.663" Title="How much to charge for a re-posting of a video?" Tags="|video|editing|streaming|" AnswerCount="2" CommentCount="4" ClosedDate="2013-01-20T06:15:26.150" ContentLicense="CC BY-SA 3.0" />
  <row Id="6840" PostTypeId="2" ParentId="6839" CreationDate="2013-01-14T18:19:59.520" Score="-1" Body="&lt;p&gt;The same amount of money for every person. But if he couldn't afford it then go for less 200? 300? ;)&lt;/p&gt;&#xA;" OwnerUserId="3450" LastActivityDate="2013-01-14T18:19:59.520" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6841" PostTypeId="2" ParentId="4469" CreationDate="2013-01-14T23:34:13.717" Score="5" Body="&lt;p&gt;Production Software Used:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.thepixelfarm.co.uk/product.php?productId=PFTrack&quot; rel=&quot;nofollow&quot;&gt;PfTrack&lt;/a&gt;, &lt;a href=&quot;http://www.thepixelfarm.co.uk/product.php?productId=PFMatchit&quot; rel=&quot;nofollow&quot;&gt;PfMatchit&lt;/a&gt;, &lt;a href=&quot;http://www.vicon.com/boujou/&quot; rel=&quot;nofollow&quot;&gt;Boujou&lt;/a&gt;, &lt;a href=&quot;http://www.ssontech.com/synovu.htm&quot; rel=&quot;nofollow&quot;&gt;Syntheyes&lt;/a&gt;, &lt;a href=&quot;http://www.thefoundry.co.uk/products/nuke/&quot; rel=&quot;nofollow&quot;&gt;Nuke Camera Tracker&lt;/a&gt;...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Student free use:&#xA;&lt;a href=&quot;http://usa.autodesk.com/maya/&quot; rel=&quot;nofollow&quot;&gt;Autodesk Matchmover&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All of the above software is used to 3D Match Move Cameras to video sequences. Most of them are very expensive. PfTrack is my personal favorite.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although all of the above mentioned software is used to solve cameras for video sequences they work just as well with stills. PfTrack has tools to orient a scene based on hints that you give it about scale, x-axis, y-axis,z-axis, FOV and so on. The solve is easier with more reference images that have been taken from different angles looking at the same scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As was mentioned above looking for key signs in the photo that give hints for y-axis and z-axis will help you align your scene. If you Place grids down you can try to ballpark the perspective of the shot and give yourself a good horizon line. You can also place proxy geometry of some of the objects in your scene to guess depth and so on. Many of these techniques are what is used to match CG to video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the end the more information you have about the original physical scene is what will make matching CG easier. such as actual dimensions of the scene and as many measurements as possible. If you have access to any of the above software you can undistort your stills and have assistance on producing good solutions to your scenes 3D camera.&lt;/p&gt;&#xA;" OwnerUserId="3473" LastEditorUserId="2569" LastEditDate="2013-01-15T14:08:00.453" LastActivityDate="2013-01-15T14:08:00.453" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6843" PostTypeId="2" ParentId="5784" CreationDate="2013-01-14T23:47:34.647" Score="3" Body="&lt;p&gt;If you wrote a small script (say in python) you could use the Command line client of the software convert all the videos sequentially. Python has good system calls functionality and make this quite easy.&lt;/p&gt;&#xA;" OwnerUserId="3473" LastActivityDate="2013-01-14T23:47:34.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6844" PostTypeId="2" ParentId="3882" CreationDate="2013-01-15T18:12:46.603" Score="6" Body="&lt;p&gt;I suspect you are having problems because you are trying to overwrite the input file with the output, ffmpeg just doesn't work that way. For a single file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -an -c:v copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To do every file in a directory, you can use a for loop. For every `file.avi``in the working directory, this command will create an output called file-v.mkv:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for f in *avi; do ffmpeg -i &quot;$f&quot; -an -c:v copy &quot;${f/%.avi/-v.mkv}&quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To do the same thing recursively, you can indeed use find like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;find . -type f -name *.avi -exec bash -c 'ffmpeg -i &quot;$0&quot; -an -c:v copy &quot;${0/%.avi/-v.mkv}&quot;' {} \;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3476" LastActivityDate="2013-01-15T18:12:46.603" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="6846" PostTypeId="2" ParentId="6839" CreationDate="2013-01-15T19:30:38.663" Score="1" Body="&lt;p&gt;That is completely up to you, how much is it worth to you, etc.  Keeping in mind you have to do zero additional work on it to give it to him, and if he were to put it up on his site without your knowledge you would loose nothing.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-01-15T19:30:38.663" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6848" PostTypeId="2" ParentId="5325" CreationDate="2013-01-15T22:12:57.467" Score="3" Body="&lt;p&gt;If you had just 4:3 and 16:9 videos, I would suggest:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -filter:v 'scale=-1:768,crop=1024:ih' \&#xA;-c:v libx264 -crf 23 -preset veryfast output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That would scale a video to a height of 768, scaling the width to keep the aspect ratio; and then it crops the width to 1024, keeping the height at 768. The fact that you are using 1:1 videos as well complicates things: a 3000x3000 video would get scaled to 768x768, and then ffmpeg would try to crop it to 1024x768, which obviously wouldn't work, since crops can be no bigger than the input...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way I can think of getting this to work would be to crop &lt;em&gt;all&lt;/em&gt; of the videos, which you stated wouldn't be a problem. This will crop the output width to be the same as the input height, and the output height to be 3/4 of the input height; and then it will scale the video down to a height of 768, keeping the aspect ratio with the width:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -filter:v 'crop=ih:3/4*ih,scale=-1:768' \&#xA;-c:v libx264 -crf 23 -preset veryfast output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will only work if the original files have a height of 1024 or more. Note that x264 only accepts an even width or height, which can cause problems (but shouldn't in this case).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To convert every .mov in a directory, you can use a for loop:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for f in *.mov; \&#xA;do ffmpeg -i &quot;$f&quot; -filter:v 'crop=ih:3/4*ih,scale=-1:768' \&#xA;-c:v libx264 -crf 23 -preset veryfast &quot;${f/%mov/mp4}&quot;; \&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To do so recursively, you can use &lt;code&gt;find&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;find . -type f -name *.mov -exec bash -c \&#xA;'ffmpeg -i &quot;$0&quot; -filter:v &quot;crop=ih:3/4*ih,scale=-1:768&quot; \&#xA;-c:v libx264 -crf 23 -preset veryfast &quot;${0/%mov/mp4}&quot;' {} \;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;All of this will require a recent version of ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="3476" LastEditorUserId="24380" LastEditDate="2019-02-11T18:59:24.627" LastActivityDate="2019-02-11T18:59:24.627" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="6849" PostTypeId="2" ParentId="3106" CreationDate="2013-01-15T23:19:50.940" Score="0" Body="&lt;p&gt;'Hundreds of files' sounds like you could go for automation, rather than a heavy GUI-based solution like a proper NLE. The command-line tool ffmpeg has an option you may find useful: the concat demuxer. To concatenate files with the same resolution, first create a file called &lt;code&gt;inputs.txt&lt;/code&gt;, containing lines like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'input1.swf'&#xA;file 'input2.swf'&#xA;file 'input3.swf'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;One file per line. Then, using ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i inputs.txt \&#xA;-c:v libx264 -crf 22 -preset veryfast \&#xA;-c:a libfdk_aac -q:a 3 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For more information on the encoding options, look &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/wiki/x264EncodingGuide&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/wiki/AACEncodingGuide&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For other concatenation options with ffmpeg, see &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/wiki/How%20to%20concatenate%20%28join%2C%20merge%29%20media%20files&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3476" LastActivityDate="2013-01-15T23:19:50.940" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6850" PostTypeId="2" ParentId="2567" CreationDate="2013-01-16T00:16:30.667" Score="1" Body="&lt;p&gt;The following will flip a video 90 degrees clockwise:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.3gp -filter:v 'transpose=1' -c:a copy \&#xA;-c:v libx264 -crf 22 -preset veryfast output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To flip it 90 degrees anti-clockwise, use 'transpose=2'. See &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#transpose&quot; rel=&quot;nofollow&quot;&gt;the documentation&lt;/a&gt; for more information. Note that this will require a fairly up-to-date version of ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="3476" LastActivityDate="2013-01-16T00:16:30.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6851" PostTypeId="2" ParentId="5795" CreationDate="2013-01-16T07:02:23.593" Score="13" Body="&lt;p&gt;The easiest way is to use ffmpeg or avconv.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i mjpegvideo.avi -vcodec copy frame%d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;will create a series of jpeg without reencoding.&lt;/p&gt;&#xA;" OwnerUserId="2756" LastActivityDate="2013-01-16T07:02:23.593" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6852" PostTypeId="2" ParentId="5798" CreationDate="2013-01-16T13:22:04.490" Score="4" Body="&lt;p&gt;It's the compression!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The color resolution is a factor, but not such a big one. In this case the compression is the biggest factor. If you assume that both the 4K Edition and the 4K Cineform contain the same material, 4K Cineform contains more than 13x the information (as stated on the timescapes.org &lt;a href=&quot;http://www.timescapes.org/products/&quot; rel=&quot;nofollow&quot;&gt;products page&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But is more really better? Cineform states &lt;a href=&quot;http://support.cineform.com/entries/20000177-how-big-are-cineform-files&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; that for 4K their codec produces a stream between 30 MByte/s up to 90 MByte/s, depending on the color space. This is far more than an average computer can display without interruptions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, if you just plan to play back the movie smoothly, choose a smaller format, as timescapes.org offers for 30&quot; or retina displays.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2013-01-16T13:22:04.490" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6853" PostTypeId="2" ParentId="4642" CreationDate="2013-01-16T14:31:32.837" Score="3" Body="&lt;p&gt;Here are some options:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;VirtualDub&lt;/strong&gt; can join still images to videos. Just select the first&#xA;image, choose a compression, and save the video. That's some mouse&#xA;clicks per folder, but no automatic batch procession. &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;FFmpeg&lt;/strong&gt; can do the same, but you need to write a command line for&#xA;each folder, which can then be automatically batch processed.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2013-01-16T14:31:32.837" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6854" PostTypeId="2" ParentId="4798" CreationDate="2013-01-16T17:48:28.160" Score="2" Body="&lt;p&gt;FFmpeg can do anything :D&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 \&#xA;-filter_complex '[0:v]split[top][bottom];[bottom]crop=iw:ih/2:0:ih/2[right];[top]crop=iw:ih/2:0:0,pad=iw*2:ih:0:0[left];[left][right]overlay=W/2:0[outv]' \&#xA;-map [outv] -c:v libx264 -crf 22 -preset veryfast output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#split&quot; rel=&quot;nofollow&quot;&gt;split&lt;/a&gt; filter creates two identical versions of the input video (&lt;code&gt;[0:v]&lt;/code&gt;), called &lt;code&gt;[top]&lt;/code&gt; and &lt;code&gt;[bottom]&lt;/code&gt; for the purposes of the filtergraph. The first &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;nofollow&quot;&gt;crop&lt;/a&gt; cuts the top half of &lt;code&gt;[bottom]&lt;/code&gt; off, creating an output called &lt;code&gt;[right]&lt;/code&gt;; the second &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;nofollow&quot;&gt;crop&lt;/a&gt; removes the bottom half of &lt;code&gt;[top]&lt;/code&gt;, then sends it to the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#pad&quot; rel=&quot;nofollow&quot;&gt;pad&lt;/a&gt; filter, which doubles the width of the video frame to the right and creates an output &lt;code&gt;[left]&lt;/code&gt;. Finally, &lt;code&gt;[left]&lt;/code&gt; and &lt;code&gt;[right]&lt;/code&gt; are sent to the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#overlay-1&quot; rel=&quot;nofollow&quot;&gt;overlay&lt;/a&gt; filter, which places &lt;code&gt;[right]&lt;/code&gt; on top of &lt;code&gt;[left]&lt;/code&gt;, on top of the black area created by the pad filter, creating the final output &lt;code&gt;[outv]&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately I can't put a line break in the &lt;code&gt;-filter_complex&lt;/code&gt;, since that would break the command.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-map [outv]&lt;/code&gt; tells ffmpeg to use the video output of the complex filtergraph; if you want to use the input audio too, you can use &lt;code&gt;-map 0:a&lt;/code&gt; as well. All the &lt;code&gt;-c:v&lt;/code&gt; and so on are video settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a slightly shorter, but less clear version of the above command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 \&#xA;-filter_complex 'split[top][bottom];[bottom]crop=iw:ih/2:0:ih/2[right];[top]crop=iw:ih/2:0:0,pad=iw*2:ih:0:0,[right]overlay=W/2:0' \&#xA;-c:v libx264 -crf 22 -preset veryfast output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3476" LastActivityDate="2013-01-16T17:48:28.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6855" PostTypeId="7" CreationDate="2013-01-16T18:25:41.640" Score="0" Body="&lt;ul&gt;&#xA;&lt;li&gt;broadcast, film, audio, music, or location recording techniques&lt;/li&gt;&#xA;&lt;li&gt;editing, mixing, mastering, and distribution&lt;/li&gt;&#xA;&lt;li&gt;post-production techniques&lt;/li&gt;&#xA;&lt;li&gt;signal processing in a production context&lt;/li&gt;&#xA;&lt;li&gt;asset management, media, and file formats&lt;/li&gt;&#xA;&lt;li&gt;installation, configuration, and operation of software related to these topics&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="-1" LastEditorUserId="803" LastEditDate="2013-01-16T18:25:41.640" LastActivityDate="2013-01-16T18:25:41.640" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6856" PostTypeId="2" ParentId="4642" CreationDate="2013-01-16T20:08:57.743" Score="3" Body="&lt;p&gt;As for FFmpeg see &lt;a href=&quot;http://ffmpeg.org/faq.html#How-do-I-encode-single-pictures-into-movies_003f&quot; rel=&quot;nofollow noreferrer&quot;&gt;How do I encode single pictures into movies?&lt;/a&gt; Additional info:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Use a recent ffmpeg build. Development is very active and &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;online&#xA;documentation&lt;/a&gt; corresponds to recent FFmpeg code. Windows users&#xA;can acquire it from &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Zeranoe FFmpeg builds&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Declare your frame rate (&lt;code&gt;-framerate&lt;/code&gt; option) as an input option. The output&#xA;will then use this same frame rate, or you can declare both an input&#xA;and output frame rate with &lt;code&gt;-r&lt;/code&gt;; for example if you need to read the input&#xA;frames at a certain fps and need a standard output rate. Note that&#xA;frames will simply be dropped or duplicated for non-matching input&#xA;and output frame rates. Default is &lt;code&gt;-framerate 25&lt;/code&gt; if you do omit this option.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Additional streams (audio, video, subtitle, etc) are easy to add, and a complete command may look like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 24 -pattern_type glob -i 'frames*.png' -i audio.aac -c:v libx264 -c:a copy -preset slower -crf 23 -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;See &lt;a href=&quot;https://superuser.com/a/523164/110524&quot;&gt;Using ffmpeg with decimal wildcard&lt;/a&gt; for additional image to video examples, and &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/wiki/x264EncodingGuide&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki: H.264 Encoding Guide&lt;/a&gt; and &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/wiki/AACEncodingGuide&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki: AAC Encoding Guide&lt;/a&gt; to get a good quality output.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="-1" LastEditDate="2017-03-20T10:04:28.637" LastActivityDate="2015-01-15T18:54:22.240" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="6857" PostTypeId="2" ParentId="4642" CreationDate="2013-01-16T22:15:55.033" Score="1" Body="&lt;p&gt;To expand upon Fred42vid's answer (I won't go into VirtualDub since 1. I don't know it and 2. it's a GUI tool, and so should be relatively easy to use): if the images are named image001.jpg, image002.jpg, etc, you can use ffmpeg like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2 -r 16 -i image%03d.jpg -c:v libx264 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Control the number of images per second by changing &lt;code&gt;-r 16&lt;/code&gt;: as it is, that will give you 16 images per second (film uses 24 fps, PAL video uses 25, NTSC uses 29.97).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;%03d&lt;/code&gt;means that ffmpeg will look for incremental images, starting at 001 and going up to 999. &lt;code&gt;%02d&lt;/code&gt; would get you 01-99.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't have the files named in this way, you can use the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2 -pattern_type glob -r 16 -i '*.jpg' -c:v libx264 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will input the jpg files in alphanumeric order.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For information about encoding the video with x264, &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/wiki/x264EncodingGuide&quot; rel=&quot;nofollow&quot;&gt;see this guide&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3476" LastActivityDate="2013-01-16T22:15:55.033" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6858" PostTypeId="2" ParentId="2792" CreationDate="2013-01-16T22:23:03.993" Score="5" Body="&lt;p&gt;While the cat/copy option mentioned generally works, I've found that it can cause problems with some media players, due to timecode issues. I would prefer to use ffmpeg's concat protocol to achieve the same effect (but more reliably in my experience):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;concat:in1.m2ts|in2.m2ts|in3.m2ts|in4.m2ts&quot; -c copy output.m2ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3476" LastActivityDate="2013-01-16T22:23:03.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6859" PostTypeId="2" ParentId="2362" CreationDate="2013-01-16T22:47:59.707" Score="1" Body="&lt;p&gt;The following ffmpeg command will remove the first and last minute of a ten-minute input file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -ss 00:01:00 -t 00:08:00 -c copy output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-ss&lt;/code&gt; means start seek; that is, where the output will begin. &lt;code&gt;-t&lt;/code&gt; means time; that is, the length of the output: so the above command will start at the first minute, and end eight minutes later.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With some video codecs, using these options with &lt;code&gt;-c copy&lt;/code&gt; can cause issues due to I-frames (i.e. ffmpeg will cut to the nearest I-frame). This shouldn't be a problem with DV, though, sine AFAIK it's I-frame only.&lt;/p&gt;&#xA;" OwnerUserId="3476" LastActivityDate="2013-01-16T22:47:59.707" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6860" PostTypeId="2" ParentId="3621" CreationDate="2013-01-16T23:58:42.843" Score="5" Body="&lt;p&gt;For a server, you &lt;em&gt;definitely&lt;/em&gt; want ffmpeg. I would also strongly recommend &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/wiki/UbuntuCompilationGuide&quot; rel=&quot;noreferrer&quot;&gt;compiling it yourself&lt;/a&gt; (those are Ubuntu instructions, but should work for Debian as well AFAIK) - the best AAC encoder available for ffmpeg (libfdk_aac) cannot be redistributed alongside x264 (because of the GPL), and the version of ffmpeg in the repositories is probably too old for some of the things I'm going to list here.&lt;/p&gt;&#xA;&lt;h2&gt;MP4&lt;/h2&gt;&#xA;&lt;p&gt;To convert an arbitrary video to an MP4 using libx264 and libfdk_aac:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -c:v libx264 -crf 24 -preset veryfast \&#xA;-ac 2 -c:a libfdk_aac -vbr 3 -movflags faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Control the quality of the video with &lt;code&gt;-crf&lt;/code&gt;: a lower number is better quality, but larger file. 18 is visually lossless under most circumstances, and 24 should be more than good enough for online streaming. Use a &lt;code&gt;-preset&lt;/code&gt; to control the speed/size of the video: a slower preset means a smaller file (the presets are ultrafast, superfast, veryfast, faster, fast, medium, slow, and slower). See &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/wiki/x264EncodingGuide&quot; rel=&quot;noreferrer&quot;&gt;here&lt;/a&gt; for more detail.&lt;/p&gt;&#xA;&lt;p&gt;Control the quality of the audio with &lt;code&gt;-vbr&lt;/code&gt;: the scale is 1-5, where 5 is best quality. Actually, even a vbr of 1 should be good enough for your purposes. See &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/wiki/AACEncodingGuide&quot; rel=&quot;noreferrer&quot;&gt;here&lt;/a&gt; for more detail. &lt;code&gt;-ac 2&lt;/code&gt; means that ffmpeg will output 2 audio channels, mixing down if necessary; you only really need to use it if you think people will send in 5.1 surround sound audio or something.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-movflags faststart&lt;/code&gt; is required for internet MP4 video.&lt;/p&gt;&#xA;&lt;h2&gt;WEBM&lt;/h2&gt;&#xA;&lt;p&gt;.webm is a little more complicated. libvpx (the VP8 encoder) should have a crf mode that will work in a similar way to x264's, but it is &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/ticket/2136&quot; rel=&quot;noreferrer&quot;&gt;currently broken&lt;/a&gt;. Unfortunately, you'll have to target a bit rate instead. For standard definition, 1000kb/s should give very good quality (in fact, that is probably overkill). For full 1080p HD, about 5000kb/s will give really good quality (again, you can probably go lower - try it out and see). About 2200kb/s should do it for 720p.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -c:v libvpx -b:v 1000k \&#xA;-c:a libvorbis -q:a 4 -ac 2 output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;NOTE&lt;/strong&gt; - make sure you use &lt;em&gt;libvorbis&lt;/em&gt; (the xiph.org encoder lib), NOT &lt;em&gt;vorbis&lt;/em&gt; (the inferior internal ffmpeg encoder). Set the quality with &lt;code&gt;-q:a&lt;/code&gt;: the range is -1-10, where 10 is best quality, and 5 is indistinguishable from an original CD. 3 or 4 should be adequate for online streaming purposes.&lt;/p&gt;&#xA;&lt;h2&gt;Subtitles &amp;amp; scale video&lt;/h2&gt;&#xA;&lt;p&gt;To hardcode subtitles, you have to first extract them from the original file, then use either the ass filter or the subtitles filter to encode them. Using the subtitles filter:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -map 0:s:0 -c:s ass subtitle.ass&#xA;ffmpeg -i input.mkv -filter:v 'subtitles=subtitle.ass' \&#xA;-c:v libx264 -crf 24 -preset veryfast \&#xA;-c:a libfdk_aac -vbr 3 -movflags faststart output.mp4 \&#xA;-filter:v 'subtitles=subtitle.ass' \&#xA;-c:v libvpx -b:v 1000k \&#xA;-c:a libvorbid -q:a 4 output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;To scale videos, use the scale filter. &lt;code&gt;-1:480&lt;/code&gt; means 'for the width, keep the input aspect ratio, and scale the height to 480'.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -filter:v 'scale=-1:480' \&#xA;-c:v libx264 -crf 24 -preset veryfast \&#xA;-c:a libfdk_aac -vbr 3 -movflags faststart output.mp4 \&#xA;-filter:v 'scale:-1:480' \&#xA;-c:v libvpx -b:v 1000k \&#xA;-c:a libvorbid -q:a 4 output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You can combine the scale and subtitle filters like so:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -filter:v 'scale=-1:480,subtitles=subtitle.ass' \&#xA;-c:v libx264 -crf 24 -preset veryfast \&#xA;-c:a libfdk_aac -vbr 3 -movflags faststart output.mp4 \&#xA;-filter:v 'scale:-1:480,subtitles=subtitle.ass' \&#xA;-c:v libvpx -b:v 1000k \&#xA;-c:a libvorbid -q:a 4 output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You'd probably want to use a bash script to detect the input height and test the existence of subtitles; I'd personally use mediainfo to find that information, it's pretty amenable to regex.&lt;/p&gt;&#xA;&lt;p&gt;That should be enough to get you going.&lt;/p&gt;&#xA;" OwnerUserId="3476" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2013-01-16T23:58:42.843" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6861" PostTypeId="2" ParentId="5291" CreationDate="2013-01-17T00:29:33.327" Score="11" Body="&lt;p&gt;To expand upon ObscureRobot's answer, use ffmpeg like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -f image2 -r 2 -i input1.png -i input2.aiff -c:v libx264 -c:a copy -shortest output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-loop 1 -f image2 -r 2 -i input1.png&lt;/code&gt; tells ffmpeg to loop input1.png forever, at a frame rate of 2fps. &lt;code&gt;-c:v libx264&lt;/code&gt; tells it to &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/wiki/x264EncodingGuide&quot; rel=&quot;noreferrer&quot;&gt;use x264 to encode the video&lt;/a&gt;, and &lt;code&gt;-c:a copy&lt;/code&gt; tells it to simply copy the audio, without encoding. &lt;code&gt;-shortest&lt;/code&gt; makes ffmpeg stop when the shortest input ends - input2.aiff in this case.&lt;/p&gt;&#xA;" OwnerUserId="3476" LastActivityDate="2013-01-17T00:29:33.327" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6864" PostTypeId="2" ParentId="5073" CreationDate="2013-01-17T08:46:01.767" Score="2" Body="&lt;p&gt;I haven't done this myself, but I think it's quite doable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, you'd need to setup a ffmpeg script to demux the video into audio and video portions. Then, you'd need to apply a script that will analyze the audio file. Silence is easier to automatically detect in an audio file, assuming that you can produce the silence on site to mark the intervals (e.g. disconnect the mic for 2 seconds). You'd need to know some programming, but with something like Python it would be quite easy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, with the output of the script as times to cut between, feed this into ffmpeg again on the original file, using the -ss  -t  command.&lt;/p&gt;&#xA;" OwnerUserId="3486" LastActivityDate="2013-01-17T08:46:01.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6867" PostTypeId="2" ParentId="5160" CreationDate="2013-01-17T15:24:09.147" Score="22" Body="&lt;p&gt;With a recent version of ffmpeg (requires the subtitles to be in a separate file, due to current libavfilter limitations):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter:v subtitles=subtitle.srt -c:a copy -c:v libx264 -crf 22 -preset veryfast output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If your SRT subtitles are muxed into an MKV container, you can extract them like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -map 0:s:0 subtitles.srt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3476" LastEditorUserId="3476" LastEditDate="2013-02-01T00:03:54.607" LastActivityDate="2013-02-01T00:03:54.607" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="6868" PostTypeId="1" CreationDate="2013-01-17T18:34:49.677" Score="0" ViewCount="66" Body="&lt;p&gt;I'm facing an annoying problem, for the last few weeks somebody in my neighborhood steals gas from my motorcycle.&#xA;It's a Honda VT125 Shadow, all the wires and hoses under the tank are apparent. So the guy unplugs the hoses and siphons the tank.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So i'm looking for a way to film the bike at night to try and find out who this jacka** is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The street isn't very dark at night.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas are welcome&lt;/p&gt;&#xA;" OwnerUserId="3489" LastActivityDate="2013-01-18T15:05:09.800" Title="Cheap solution to shoot during several hours at night?" Tags="|video|" AnswerCount="2" CommentCount="1" ClosedDate="2013-02-01T07:25:59.347" ContentLicense="CC BY-SA 3.0" />
  <row Id="6870" PostTypeId="2" ParentId="6868" CreationDate="2013-01-17T21:10:15.643" Score="1" Body="&lt;p&gt;I would say your best bet is to look through the surveillance section on amazon and see what your options are for your budget...100 bucks seems to get you a pretty good setup.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.amazon.com/Security-Surveillance-Home-Automation/b?ie=UTF8&amp;amp;node=524136&quot; rel=&quot;nofollow&quot;&gt;http://www.amazon.com/Security-Surveillance-Home-Automation/b?ie=UTF8&amp;amp;node=524136&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-01-17T21:10:15.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6874" PostTypeId="2" ParentId="6868" CreationDate="2013-01-18T07:08:42.673" Score="0" Body="&lt;p&gt;Do you have a camcorder?  If you do you can probably connect it to a PC or Mac with firewire and use capture software to record to a HDD with overnight.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have the hardware already it's just a matter of finding software (iMovie for Mac is an option, as well as Premier for windows), and making sure you have a HDD large enough for several hours of video.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option would be to stay out one night waiting for him.  If it's just a thug maybe all he needs is a good scare - maybe you could yell or shine a bright flashlight at him.&lt;/p&gt;&#xA;" OwnerUserId="3352" LastEditorUserId="3352" LastEditDate="2013-01-18T15:05:09.800" LastActivityDate="2013-01-18T15:05:09.800" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="6878" PostTypeId="2" ParentId="4324" CreationDate="2013-01-18T21:04:44.793" Score="1" Body="&lt;p&gt;I believe this is a bug.  When you specify the folder, make sure you select the post-production option, &quot;Show production results&quot;.  If you don't, it won't remember the last folder location.  I'm using 8.0.4 and that worked for me.&lt;/p&gt;&#xA;" OwnerUserId="3495" LastActivityDate="2013-01-18T21:04:44.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6879" PostTypeId="2" ParentId="5612" CreationDate="2013-01-18T23:47:16.150" Score="0" Body="&lt;p&gt;If you just want to put all the photos together at a certain frame-rate I would recommend Quicktime 7. Keep in mind that no editing with respect to colour and contrast is possible in that application, it's very basic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are the steps when you want to make a stop-motion video out of a series of photographs:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;http://support.apple.com/kb/HT3678&quot; rel=&quot;nofollow noreferrer&quot;&gt;Install Quicktime 7&lt;/a&gt;&lt;/strong&gt; from the original installation CD. I am certain that this is possible on Snow Leopard, not sure about newer OS's. Also check your Utilities folder, maybe it's already installed.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Organize&lt;/strong&gt;. Make sure that your images are in one folder and that they are sequentially named. The first frame should have the lowest number (not necessarily 1) and the last frame should have the highest number.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Resize&lt;/strong&gt;.Check the size of your photos. If they're shot on a consumer level compact camera it is very likely that the size is something like &lt;code&gt;3888 x 2592&lt;/code&gt; pixels. For a photo this is good, but for a video/time-lapse this is overkill. I would recommend to resize the photos such that the longest size is smaller or equal to 1920 pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3a. &lt;strong&gt;Resize using Preview&lt;/strong&gt;. You can resize the images in any way you want, I will explain the workflow when you use the pre-installed Preview. Work on a copy of the images, just in case something goes wrong.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Open Preview, click &lt;code&gt;File -&amp;gt; Open&lt;/code&gt; or hit &lt;code&gt;cmd+O&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Navigate to the folder containing a copy of the images and select them all to open.&lt;/li&gt;&#xA;&lt;li&gt;Make sure the sidebar is visible. Go to &lt;code&gt;View -&amp;gt; Sidebar -&amp;gt; Show Sidebar&lt;/code&gt; or hit &lt;code&gt;shift+cmd+D&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Go to &lt;code&gt;View -&amp;gt; Sidebar -&amp;gt; Contact Sheet&lt;/code&gt; or hit &lt;code&gt;cmd+option+1&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Now select all the images and go to &lt;code&gt;Tools -&amp;gt; Adjust Size...&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;You will see the following window:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/Clspp.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;Change the largest dimension (in this image the width) to 1920 and leave the rest as is.&lt;/li&gt;&#xA;&lt;li&gt;Wait for Preview to process all images.&lt;/li&gt;&#xA;&lt;li&gt;Go to &lt;code&gt;File - Save All&lt;/code&gt; or hit &lt;code&gt;cmd+option+S&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Load the images&lt;/strong&gt;. Open Quicktime 7, go to &lt;code&gt;File -&amp;gt; Open Image Sequence...&lt;/code&gt; or just hist &lt;code&gt;shift+cmd+o&lt;/code&gt; and select the first image of the resized sequence. Click &lt;code&gt;Open&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Pick your desired frame-rate&lt;/strong&gt;. This depends on the amount of photos you have taken and influences how long your final time-lapse will be.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Finished&lt;/strong&gt;. Now the time-lapse movie is done. Click &lt;code&gt;File -&amp;gt; Save&lt;/code&gt; and save it as a self-contained movie. Or you can hit &lt;code&gt;File -&amp;gt; Export&lt;/code&gt; if you want more control over the movie format.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2013-01-18T23:47:16.150" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6883" PostTypeId="1" AcceptedAnswerId="6884" CreationDate="2013-01-19T17:33:30.443" Score="2" ViewCount="244" Body="&lt;p&gt;I'm an absolute noob to After Effects. I'm not using it for video. I just want to use the 3D ray tracing to get a single image. I've created the 3D image, set the lighting I want and have a camera angle that I like. If I try to save the frame using &lt;code&gt;Composition -&amp;gt; Save Frame As&lt;/code&gt;, I lose the camera angle - it saves just a front-on view.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I save the image as it looks in the composition?&lt;/p&gt;&#xA;" OwnerUserId="3499" LastActivityDate="2013-01-19T21:09:15.147" Title="Save frame with current camera angle" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6884" PostTypeId="2" ParentId="6883" CreationDate="2013-01-19T18:06:52.970" Score="3" Body="&lt;p&gt;The following steps work for me for an arbitrary camera.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create the desired composition.&lt;/li&gt;&#xA;&lt;li&gt;Create a camera by going to &lt;code&gt;Layer -&amp;gt; New -&amp;gt; Camera&lt;/code&gt;. For now just accept the default settings..&lt;/li&gt;&#xA;&lt;li&gt;Position the camera as you desire by changing the &lt;code&gt;Transform&lt;/code&gt; parameters or by dragging it to the desired position. Here below an image of the &lt;code&gt;Transform&lt;/code&gt; parameters:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/7Mpfo.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;Make sure that all the layers are 3D layers.&lt;/li&gt;&#xA;&lt;li&gt;In the bar between your composition and the timeline there is a camera dropdown menu:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/2u35x.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;Make sure that you choose the camera angle you wish to export. In this case it is &lt;code&gt;Camera 1&lt;/code&gt;:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/HlPDn.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;Go to &lt;code&gt;Composition -&amp;gt; Save Frame As...&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="2178" LastEditDate="2013-01-19T21:09:15.147" LastActivityDate="2013-01-19T21:09:15.147" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="6885" PostTypeId="1" AcceptedAnswerId="6896" CreationDate="2013-01-19T18:18:29.577" Score="1" ViewCount="217" Body="&lt;p&gt;I have a video clip that is one hour long and I would like to compress it down to 60 seconds. Anyone know the easiest way to do this with Premiere?&lt;/p&gt;&#xA;" OwnerUserId="3501" LastEditorUserId="2836" LastEditDate="2014-07-01T16:07:55.223" LastActivityDate="2014-07-01T16:07:55.223" Title="Create a Time Lapse Video with Adobe Premiere" Tags="|video|premiere|time-lapse|cs5|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6886" PostTypeId="1" AcceptedAnswerId="6888" CreationDate="2013-01-19T21:04:52.853" Score="2" ViewCount="7438" Body="&lt;p&gt;I read this:&#xA;To reproduce a given frequency, the sample rate must be at least twice that frequency.&#xA;Why is this so?&lt;/p&gt;&#xA;" OwnerUserId="3502" LastEditorUserId="3502" LastEditDate="2013-01-20T05:46:01.780" LastActivityDate="2022-01-14T14:55:02.143" Title="Why must a sample rate by at least twice a frequency in order to reproduce that frequency accurately?" Tags="|sampling-frequency|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6888" PostTypeId="2" ParentId="6886" CreationDate="2013-01-20T02:12:04.297" Score="6" Body="&lt;p&gt;That's Nyquist-Shannon sampling theorem. Think about it in the other way: imagine you are given a set of samples (the black dots in the image).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/05b9o.png&quot; alt=&quot;https://i.stack.imgur.com/ld5VI.png&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The most intuitive way to recover the original analog signal would be by joining these samples. But you can easily notice that there is not a unique way of joining them. In fact, there are infinite possible signals that would contain the whole set of samples. Obviously, given the sample set, you would join them the easiest way, i.e. the blue signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, what about sampling? In the image you also have a red signal (which frequency is 1 Hz) that has been sampled too slowly, resulting in the black dot sample set. To have a clue about the real signal, we should have sampled it at, at least, 2 Hz. That way, we also would have samples (dots) at 0.5, 1.5, 2.5, etc seconds. And, as you can draw in Paint, the easiest path to join all the samples would be, again, the red signal. So we would have recovered our original signal successfully.&lt;/p&gt;&#xA;" OwnerUserId="3503" LastEditorDisplayName="user2995" LastEditDate="2013-01-20T05:25:00.703" LastActivityDate="2013-01-20T05:25:00.703" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6896" PostTypeId="2" ParentId="6885" CreationDate="2013-01-21T17:19:17.523" Score="3" Body="&lt;p&gt;Depending on your version of Premiere, there should actually be a speed adjustment from the context menu when you right click on the clip.  It may be under a sub-menu depending on version, but it will give you the option of either a % to increase/decrease the speed by or a new time that you want the clip to take.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-01-21T17:19:17.523" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6898" PostTypeId="1" CreationDate="2013-01-22T00:59:43.837" Score="5" ViewCount="2759" Body="&lt;p&gt;I have a Canon Powershot SX40 HS and am having problems with recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I start to record and it only lets me for a short period of time.  Then it stops recording by itself. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems to stop every time at 1:44 into the recording. Another weird thing is that during the short time it is recording, these little squares appear in a row on the right side of the screen, and one by one the squares turn to a dark color, and then the last square turns to red and right when it does is when the recording stops.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is a very strange situation, and I've reset the settings on the camera but it still didn't stop. HELP! And thank you!&lt;/p&gt;&#xA;" OwnerUserId="3512" LastEditorUserId="2569" LastEditDate="2013-01-22T14:16:05.290" LastActivityDate="2013-04-24T16:27:32.660" Title="My Canon Powershot SX40 stops recording regularly and predictably." Tags="|video|recording|canon|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6899" PostTypeId="1" AcceptedAnswerId="6903" CreationDate="2013-01-22T08:14:00.467" Score="3" ViewCount="2507" Body="&lt;p&gt;I'm a first time adobe premiere user. I can get the results I want after a fashion, but I find the methods I use way to cumbersome. I was wondering if you guys could point me some shortcuts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have two video streams from two camera's (slides &amp;amp; stage). I fade over from one camera to the next depending on what happens. I have added both streams to the sequence and just turn the opacity of the top stream to 0 when I want to show the bottom stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a large bunch of timecodes for when I want to make a fade-over. However, the default fade is way to slow. So I have to now: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;go to the time code&lt;/li&gt;&#xA;&lt;li&gt;add a keyframe&lt;/li&gt;&#xA;&lt;li&gt;drag the frame to 0 or 100&lt;/li&gt;&#xA;&lt;li&gt;right click selecte bezier&lt;/li&gt;&#xA;&lt;li&gt;drag the bezier handle upwards enough that the fade speed is acceptable&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;That's a lot of mouse work, fiddlings and clickings. I have found the effect controls which allow me to fine tune the controls, but still with a lot of imprecise mouse moving.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would love to have a way to just specify all keyframes and bezier parameters in a text file or so, so I can quickly edit them change all bezier parameters for all keyframes at the same time and be able to twiddle the results. Another possibility would be to copy keyframe settings, apply settings to multiple keyframes at once or to define keyframe 'classes' or so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even more so, I'm just learning premiere so I sometimes make rooky mistakes. For example by picking the wrong sequence framerate (I think) i managed to create a result that flickered heavily. I can't edit sequence settings so I had to create a new sequence. But I can't find how to copy markers or keyframes from one sequence to another. So I have to set them all over again :(&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas on how I can improve the efficiency of this process? Or maybe I shouldn't be using keyframes and opacity at all?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks!&lt;/p&gt;&#xA;" OwnerUserId="3513" LastActivityDate="2013-01-23T07:02:50.953" Title="Easy way of editing keyframes in adobe Premiere" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6902" PostTypeId="1" AcceptedAnswerId="12100" CreationDate="2013-01-22T13:45:09.453" Score="9" ViewCount="10485" Body="&lt;p&gt;Recently, I was reading a wiki, dedicated to one popular cartoon show and stumbled upon &lt;a href=&quot;http://mlp.wikia.com/wiki/Forum:Australian_iTunes_rips&quot; rel=&quot;noreferrer&quot;&gt;an interesting problem&lt;/a&gt;: &lt;img src=&quot;https://i.stack.imgur.com/s0Pvv.jpg&quot; alt=&quot;frames from the different regional iTunes stores&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;From left to right: frames from the US iTunes, Australian iTunes and US iTunes version with CC in a video player&lt;/em&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you may see, it's the same frame, but colours are different. So, it makes me wonder: does H.264 standard / MP4 container supports any kind of colour profiles (like, ICC in JPEG) and if yes, does any player support it? And what about DVD/Blu-Ray disks? Or there is no way to watch the same version of any video, as it was shot by it's creators? Thanks. :)&lt;/p&gt;&#xA;" OwnerUserId="3515" LastEditorUserId="3515" LastEditDate="2013-01-23T08:11:33.797" LastActivityDate="2017-02-03T14:42:25.837" Title="Do video formats support colour profiles?" Tags="|video-quality|mp4|color-correction|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6903" PostTypeId="2" ParentId="6899" CreationDate="2013-01-22T14:29:03.463" Score="4" Body="&lt;h2&gt;Adjusting the default video transition duration&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Go to &lt;code&gt;Preferences -&amp;gt; General&lt;/code&gt; and change the &lt;code&gt;Video Transition Default Duration&lt;/code&gt; to a frame amount of your choice.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Optimising current workflow&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I can think of some optimalisations regarding your current workflow. It's not a drastic change, but might help you do the task faster.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;I would suggest splitting the timecode list per videotrack (slide &amp;amp; stage) according to the following scheme:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;List 1: slide fade-outs&lt;br&gt;&#xA;List 2: slide fade-ins&lt;br&gt;&#xA;List 3: stage fade-outs&lt;br&gt;&#xA;List 4: stage fade-ins  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;List 1 should match list 4 and list 2 should match list 3.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Go to the first fade-out on a list. Create a keyframe pattern you like for the fade-out, for example the one shown below:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/ZYtyT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;In the effects panel it looks like this:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/X8RfW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A linear keyframe followed by a bezier keyframe followd by a hold keyframe.&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;Now select those three keyframes in the effect panel by dragging a rectangle around them or clicking each keyframe while holding &lt;code&gt;ctrl&lt;/code&gt; (Windows) &lt;code&gt;cmd&lt;/code&gt; (Mac).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Right click and press &lt;code&gt;Copy&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now go to each fade-out timecode on both video tracks (so list 1 and 3) and in the effects panel right click and press &lt;code&gt;Paste&lt;/code&gt;. Of course you can also hit &lt;code&gt;ctrl+V&lt;/code&gt; or &lt;code&gt;cmd+V&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Repeat this process for list 2 and 4.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;In this way you only have to set the bezier speed once and just copy paste the keyframe sequence at each timecode.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Exporting keyframe locations to textfile&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I'm not aware of a way to do this directly, but if you export your project to a Final Cut Pro XML or to EDL (Select sequence, then: &lt;code&gt;File -&amp;gt; Export&lt;/code&gt;) you have the ability to change the position of /add keyframes through a text editor by editing the &lt;code&gt;.edl&lt;/code&gt; or &lt;code&gt;.xml&lt;/code&gt; files . You can then import the &lt;code&gt;.edl&lt;/code&gt; or &lt;code&gt;.xml&lt;/code&gt; file into Premiere Pro as a new sequence.&#xA;However, these formats do not support bezier keyframes.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="2178" LastEditDate="2013-01-22T14:36:57.557" LastActivityDate="2013-01-22T14:36:57.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6904" PostTypeId="2" ParentId="6898" CreationDate="2013-01-22T14:34:04.543" Score="6" Body="&lt;p&gt;The squares in a row on the right represent the buffer memory of your camera.&lt;br&gt;&#xA;When you are recording video the data goes roughly as follows:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Sensor -&amp;gt; Buffer memory -&amp;gt; Memory card&lt;/code&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When the last square turns red it means the buffer is full. This is caused by the fact that the buffer memory could not move it's contents to the memory card fast enough. A faster memory card would allow the buffer to load it's contents in time and you shouldn't see the red square anymore.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Baseline is: get a faster memory card.&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2013-01-22T14:34:04.543" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6905" PostTypeId="1" CreationDate="2013-01-22T15:21:02.987" Score="1" ViewCount="470" Body="&lt;p&gt;Has anybody had experience with Multi Projector setups? I've been looking around and run across several options:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.dataton.com/watchout&quot; rel=&quot;nofollow&quot;&gt;Watchout&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://europe.avstumpfl.com/en/products/wingsav/vioso/preproduction&quot; rel=&quot;nofollow&quot;&gt;Wings&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.millumin.com/&quot; rel=&quot;nofollow&quot;&gt;Millumin&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.coolux.de/products/pandoras-box-player/&quot; rel=&quot;nofollow&quot;&gt;Pandoras Box&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.christiedigital.co.uk/emea/pages/default.aspx&quot; rel=&quot;nofollow&quot;&gt;Christie Projectors&lt;/a&gt;  &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The only type of presenting I've done is with a single &lt;a href=&quot;http://www.panasonic.com/business/projectors/PT-D6000US.asp&quot; rel=&quot;nofollow&quot;&gt;Panasonic PT-D6000US&lt;/a&gt;, we want to branchout and do a really wide screen show. It will not be for a live performance (it seems like that is a big feature with most of those applications).&lt;br&gt;&#xA;There isn't a need for 3D mapping, the projectors will be mounted above the screen, so we'll need to correct for distortion. We'll have a curved screen, and will need some sort of triggering system, whether it is a motion sensor, sound or light sensor or just a button that can be pushed. So the question is, what is the most cost effective simple multi-projector setup.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for any advice!&lt;/p&gt;&#xA;" OwnerUserId="2352" LastEditorUserId="2178" LastEditDate="2013-01-23T03:02:42.093" LastActivityDate="2013-11-19T19:06:46.440" Title="Multi Projector Setup" Tags="|projector|presentation|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="6906" PostTypeId="1" AcceptedAnswerId="6925" CreationDate="2013-01-22T20:30:48.717" Score="4" ViewCount="4332" Body="&lt;p&gt;I've been trying to encode a video trailer for mobile Safari playback (iPhone). Using Handbrake for Windows, I selected the source .mov file and chose the iPhone 4 preset. I then checked off the Web optimized option and started the process. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The resulting video did not play on my iPhone's Safari browser, however.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://mobilevideo.jt.citeeze.com/static/trailer.mp4&quot; rel=&quot;nofollow&quot;&gt;http://mobilevideo.jt.citeeze.com/static/trailer.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For reference, here is the original file:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://mobilevideo.jt.citeeze.com/static/53159_high.mov&quot; rel=&quot;nofollow&quot;&gt;http://mobilevideo.jt.citeeze.com/static/53159_high.mov&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="3517" LastEditorUserId="3517" LastEditDate="2013-01-24T15:12:13.137" LastActivityDate="2020-03-16T22:45:44.880" Title="How to encode a video for the iPhone with Handbrake" Tags="|iphone|" AnswerCount="1" CommentCount="4" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6907" PostTypeId="2" ParentId="6899" CreationDate="2013-01-23T07:02:50.953" Score="2" Body="&lt;p&gt;I've marked Bart Arondson's answer as correct because it answers precisely the question I was asking. (and thanks for that and the quick response! Especially using Final Cut Pro XML to be able to automate this process)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But because I also added the reason why I was asking the question, and some people might end up here through google based on those keywords, I'd like to repeat the answer I got from the Walter Soyka at CreativeCow which gives a different method of achieving the goal (without keyframes)&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I wouldn't do this by keyframing opacity.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;I'd either use a &lt;a href=&quot;http://helpx.adobe.com/premiere-pro/using/editing-multi-camera-sequences.html&quot; rel=&quot;nofollow&quot;&gt;multicamera sequence&lt;/a&gt;, or I'd make split top sequence with the &lt;a href=&quot;http://help.adobe.com/en_US/premierepro/cs/using/WS1c9bc5c2e465a58a91cf0b1038518aef7-7d04a.html#WS1c9bc5c2e465a58a91cf0b1038518aef7-7d03a&quot; rel=&quot;nofollow&quot;&gt;razor tool&lt;/a&gt;, delete the material I didn't want, and apply transitions to the top layer to get the fades.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;(from: &lt;a href=&quot;http://forums.creativecow.net/readpost/3/935382&quot; rel=&quot;nofollow&quot;&gt;http://forums.creativecow.net/readpost/3/935382&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Multi camera sequence seems to be what I need.&lt;/p&gt;&#xA;" OwnerUserId="3513" LastActivityDate="2013-01-23T07:02:50.953" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6910" PostTypeId="1" CreationDate="2013-01-23T09:51:05.843" Score="4" ViewCount="1063" Body="&lt;p&gt;&lt;strong&gt;Background&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've just completed an editing project to produce video highlights of an awards evening for my local community radio station. It was a voluntary non-paid project and I'm very pleased the results I achieved - and more importantly, the station are very pleased with it too. But, as with many other previous projects, have found editing can be tiring at times. I have a full time job in computing but unrelated to video editing (funds all the software and equipment that I learnt this stuff on!) and usual housekeeping commitments so I had to produce this work from a number of sessions, some into the early hours. When I know I have to resume the work to get it done I procrastinate and do other jobs sometimes before I finally get in the zone, once in the zone I get frustrated when I have to stop to meet other commitments: sleep, work etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any top tips to bear in mind for a future project?&lt;/p&gt;&#xA;" OwnerUserId="1049" LastActivityDate="2013-01-23T19:36:21.107" Title="Effective working at audio/video editing sessions (avoid fatigue making steady progress)" Tags="|video|audio|editing|workflow|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="6917" PostTypeId="2" ParentId="6910" CreationDate="2013-01-23T14:34:23.620" Score="3" Body="&lt;p&gt;OK, I'll have a go. Here's my own answer (and advise I should take for myself - which I actually did do to some extent):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Avoid procrastination. Start small. Start with doing something. Don't hold up too high expectations to put yourself off. Good ideas here: &lt;a href=&quot;http://zenhabits.net/dead-simple-guide-to-beating-procrastination/&quot; rel=&quot;nofollow&quot;&gt;http://zenhabits.net/dead-simple-guide-to-beating-procrastination/&lt;/a&gt; (I succeed a bit with this advice, BTW I have no affiliation to zenhabits)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Regularly deliver draft work in a complete state to the customer. This rewards you. It gives them confidence that this is being done. It gives them opportunity to give feedback during the process (to avoid unnecessay work or deviation or disappointment). It gives them something to do on in the event you are delayed later, due to illness or other commitments.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Take breaks.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Track progress to help predict how long the remainder may take.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'd welcome anyone else's input. I'm really answering here because no-one else has yet. I'd welcome some enlightenment from your own experiences.&lt;/p&gt;&#xA;" OwnerUserId="1049" LastActivityDate="2013-01-23T14:34:23.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6920" PostTypeId="2" ParentId="6910" CreationDate="2013-01-23T14:57:08.357" Score="2" Body="&lt;p&gt;I'm in a very similar situation to yours.  I'm a software architect that also does a professional level of A/V work on the side as a professional hobby.  The time commitment can be difficult at times, but I have always found that putting aside blocks of time is the best way to make solid progress.  I find that if I try to do it small bits at a time, it tends to give the end product a bit of a fractured feel if I try doing it 30 minutes at a time here and there.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It sometimes means I only get one or two times a week to work on a project, but I try to put in at-least 2 to 3 hours to a session.  More if I can manage on a weekend.  For larger projects, I'll try to get everything done I need to during the week so I can just dedicate most of a Saturday to it.  I'll actually probably be doing just that this Saturday since I have a back log of photo and video work to post produce from the last two weeks (a birthday party, two work parties and a weekend conference from last weekend).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oh, also, try to plan out what you want to do before you do it.  Having a good idea of the full picture lets you move around while working on it between different aspects of the project.  It takes some practice to figure out what bits you can do in what order, but finding ways to be able to change things up while not interrupting your flow tend to be helpful in avoiding fatigue of logging clips for 3 hours after spending a long day at the office writing code.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-01-23T14:57:08.357" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6921" PostTypeId="2" ParentId="6905" CreationDate="2013-01-23T15:06:16.233" Score="1" Body="&lt;p&gt;Depending on your needs, it might be as simple as using the drivers that come with your system.  I know that certain NVidia cards can make multiple video outputs appear as one single screen to Windows.  In a case like that, it would simply be a matter or properly aligning the projectors (if they can handle the key-stoning themselves)  A lens might be able to handle correcting for the curve.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-01-23T15:06:16.233" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="6922" PostTypeId="2" ParentId="6902" CreationDate="2013-01-23T15:15:25.463" Score="4" Body="&lt;p&gt;As it was shot by its creators is kind of a nebulous concept, particularly when compression is involved.  Color reproduction varies greatly from one device to another and without a calibrated display and a complete chain of color control going back to the source, you aren't going to get exact.  Even then, chances are good that somewhere along the line the color spaces won't match up exactly.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It gets even harder when you get in to compression because compression impacts color.  Colors are generalized subtly by compression.  The more area of an image it can simplify (particularly for things like cartoons) the smaller the image can be.  Most likely, the slight color banding that is seen in that frame does not exist in the original, however because H264 groups similar colors together and simplifies them to one, it ends up causing a banding effect to occur.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In short, for a format that is lossy, a color profile isn't going to solve the problem since the color isn't preserved exactly anyway.  It might help improve it a little, but there is still going to be color alteration from the compression.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-01-23T15:15:25.463" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6923" PostTypeId="2" ParentId="6910" CreationDate="2013-01-23T19:36:21.107" Score="3" Body="&lt;p&gt;This is an interesting question and I think maybe you are coming from a different situation than I am, I worked as a professional editor / VFX Artist and before that assistant editor for many years before graduating to directing and I think the easy bottom line answer is, if you love it, you wont be able to get enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However there are those days your like screw this im surfing the web or this and that.  Which are a given.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really loved what I was doing and while I may sit on a project for two years every day was a new day and every day brought new challenges, both technical and editing related.  I tend to work an area until I am bored with it or until I get in the zone, and then move around.  The longer the job the more things that need to be done etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After awhile it just becomes clockwork and you dont think about whats going on in the world, tunnel vision just becomes so normal to you when you sit in front of your system that when your there, its work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When its time to go, its time to go, and also I think setting a time limit.  If I sit down I wont work more than 7 hours, if I work more then I feel like I can always work more, which is fine when you have deadlines, but if your always letting yourself work too much, you'll get burnt out and hate doing it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hopefully something in this answer helps&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-01-23T19:36:21.107" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6925" PostTypeId="2" ParentId="6906" CreationDate="2013-01-23T22:06:30.097" Score="2" Body="&lt;p&gt;Based on the &lt;a href=&quot;http://blog.zencoder.com/2010/09/30/how-to-encode-video-for-mobile-use/&quot; rel=&quot;nofollow noreferrer&quot;&gt;link&lt;/a&gt; given in &lt;a href=&quot;https://stackoverflow.com/a/5871802&quot;&gt;this&lt;/a&gt; answer on stackoverflow I will try to explain how to encode a video in an iPhone friendly format. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The steps below are carried out on a Mac, but the windows version of Handbrake should be similar.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open Handbrake.&lt;/li&gt;&#xA;&lt;li&gt;Go to &lt;code&gt;File -&amp;gt; Open Source&lt;/code&gt; and browse to your video.&lt;/li&gt;&#xA;&lt;li&gt;Choose &lt;code&gt;MP4 File&lt;/code&gt; as container. &lt;/li&gt;&#xA;&lt;li&gt;Input the settings shown below for the respective tabs:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Picture tab&lt;/strong&gt;:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Keep aspect ratio - check&lt;br&gt;&#xA;  Width - 480 (set to 960 if encoding for the iPhone 4)&lt;br&gt;&#xA;  Anamorphic - None&lt;br&gt;&#xA;  Cropping - Automatic  &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;Video tab&lt;/strong&gt;:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Codec - H.264&lt;br&gt;&#xA;  Video quality - RF = 21&lt;br&gt;&#xA;  Constant framerate - 30  &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;Audio tab&lt;/strong&gt;:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Codec - AAC&lt;br&gt;&#xA;  Bitrate - 128&lt;br&gt;&#xA;  Sample rate - 44.1&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;Advanced tab&lt;/strong&gt;:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Add the following text in the textbox labeled &lt;code&gt;Current x264 Advanced Options String:&lt;/code&gt; if you're encoding for a pre iPhone 4 device:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;code&gt;cabac=0:ref=2:me=umh:bframes=0:weightp=0:subq=6:trellis=0:8x8dct=0:level=3&lt;/code&gt;  &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;If it's an iPhone 4 or higher the text should be:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;code&gt;level=4.1&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The Advanced tab should look like this (for the iPhone 3 encode):&#xA;&lt;img src=&quot;https://i.stack.imgur.com/hpuiK.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a MediaFire link to the converted video for iPhones before the 4:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.mediafire.com/?tlyzcg1hyygq8zf&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.mediafire.com/?tlyzcg1hyygq8zf&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2013-01-24T15:40:12.293" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="6929" PostTypeId="1" CreationDate="2013-01-24T04:30:50.373" Score="-1" ViewCount="29" Body="&lt;p&gt;Here's an idea that I wonder if anybody has tried...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to get better lighting for indoor video camera work, get a few small pendant lamps, each with a suction-cup.  Just stick them onto a nearby wall, plug in to an outlet, and shoot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Question: where can I find some suction cups with which to do this?&lt;/p&gt;&#xA;" OwnerUserId="867" LastActivityDate="2013-01-24T14:46:14.257" Title="suction-cup lamps for video lighting" Tags="|lighting|" AnswerCount="1" CommentCount="0" ClosedDate="2013-02-01T07:21:15.237" ContentLicense="CC BY-SA 3.0" />
  <row Id="6930" PostTypeId="1" CreationDate="2013-01-24T04:38:23.573" Score="4" ViewCount="527" Body="&lt;p&gt;I'm brand new to video production, but I'm finding that when splicing some clips together in the NLE captured with my GH1 camera, there can often be very jarring jumps in the color, white balance, brightness, and things like that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do amateur videographers keep the image looking consistent from one shot to the next?  Is it a matter of using the same manual settings on the camera for every shot, or a matter of using some NLE editing features?&lt;/p&gt;&#xA;" OwnerUserId="867" LastActivityDate="2013-01-27T15:43:34.000" Title="Tips for making multiple video shoots appear Continuous in color?" Tags="|video|color-correction|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6931" PostTypeId="1" CreationDate="2013-01-24T06:37:26.327" Score="3" ViewCount="167" Body="&lt;p&gt;We recently just switched our production to anamorphic (SD) widescreen (720x486) and we're running into some issues getting our videos to export from Final Cut Pro (version 6) at the right size. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get things looking correctly, our current workflow is to &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Go to Export-&gt;Using QuickTime Conversion. &lt;/li&gt;&#xA;&lt;li&gt;Then from there, leaving the &quot;Use&quot; dropdown on &quot;Default Settings&quot;, we click [Options], then the [Size] button from the Movie Settings box and finally, &lt;/li&gt;&#xA;&lt;li&gt;Change the Dimensions dropdown from the current &lt;strong&gt;Compressor native&lt;/strong&gt; (apparently the default setting, which has dimensions of 854x480) to &lt;strong&gt;NTSC 720 x 486 16:9&lt;/strong&gt;. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;See screenshot below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/TaY7R.png&quot; alt=&quot;Settings to export the video at the correct size&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is obviously a very tedious process to repeat for every video we want to export. Is there some way we can change the default settings (or something to that effect) so that it exports at that size as the default? While the Export Using QuickTime Conversion works well after you change that, if there's another simpler workaround, I'd likely be open to considering it!&lt;/p&gt;&#xA;" OwnerUserId="2988" LastEditorUserId="2569" LastEditDate="2013-07-27T13:29:38.830" LastActivityDate="2014-01-23T16:15:19.623" Title="Changing QuickTime Conversion Default Settings for export" Tags="|video|final-cut-pro|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6932" PostTypeId="2" ParentId="6930" CreationDate="2013-01-24T10:20:01.623" Score="3" Body="&lt;p&gt;Consistent camera settings are a good beginning for continuous looking footage. Here below I will try to explain how to achieve consistent brightness and colour of footage.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Consistent brightness&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Assuming that the lighting of the scene stays the same, you can pick a shutter speed, aperture and ISO that gives you a desired exposure. If in the next recording you will use the same settings on the same scene the brightness of the image will stay the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It gets trickier when the light changes. By using your exposure meter you can get close to consistent footage. If for example in scene 1 your exposure meter shows -2/3 with the desired settings, try to get an exposure of -2/3 in scene 2 with the same metering mode.&lt;br&gt;&#xA;This will only work when the scenes are lighted similar to each other. Night/day shots or inside/outside shots are not going to get consistent brightness ever.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Later in post-processing you can of course alter the brightness of two different clips, but you don't have much working space getting it right in camera is the best starting point.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Constant colour&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Again assuming that the scene lighting stays the same, you can pick the white balance. On a GH1 this can be done in several different ways, it even allows you to set the colour temperature in Kelvin. Pick a method of your liking, but to avoid Automatic White-Balance (AWB). AWB is a big cause for changing colours across different clips because it can get thrown off easily by changing objects in the scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Baseline: for the same scene, set the white-balance manually and don't let AWB decide for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, in post-processing you will probably need to do some colour grading and this gives you the chance to colour correct your footage.&lt;br&gt;&#xA;But, get it right in camera and you will save yourself some work.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2013-01-24T10:20:01.623" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="6933" PostTypeId="2" ParentId="6929" CreationDate="2013-01-24T14:46:14.257" Score="1" Body="&lt;p&gt;While I have not tried this.  I imagine the problem would be getting a good enough seal to hold the weight of the light and cable.  Having your (generally pricy) light with a hot, sensitive bulb in it go smashing to the floor because the suction didn't quite hold is generally a risk most people wouldn't want to take.  Simple tripods are easier to setup and are easier to adjust the positioning (you aren't confined to positioning it on a wall for example).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-01-24T14:46:14.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6940" PostTypeId="1" CreationDate="2013-01-24T17:22:52.357" Score="5" ViewCount="5824" Body="&lt;p&gt;I'm using Lightworks 11 for Windows and I can't import the .mov files from my Canon EOS Rebel T3i.  Lightworks identifies the .mov files as &quot;Apple / H264&quot; but the show up in a red color.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other .mp4 files that I have can be imported easily without problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I will be answering my own question)&lt;/p&gt;&#xA;" OwnerUserId="3526" LastActivityDate="2013-03-21T21:20:20.930" Title="Lightworks problems importing, editing, and exporting using Canon EOS Rebel T3i" Tags="|editing|canon|post-production|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6945" PostTypeId="1" AcceptedAnswerId="6967" CreationDate="2013-01-25T06:46:53.987" Score="0" ViewCount="1422" Body="&lt;p&gt;What's one way to get a strobe flash effect in video (you know, virtually, in software) that's synchronized to the beat of a music track?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or for that matter, how do I synchronize ANY effect with music?&lt;/p&gt;&#xA;" OwnerUserId="867" LastActivityDate="2013-01-30T14:21:42.720" Title="Music-sync'd Strobe effect in video" Tags="|video|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="6946" PostTypeId="1" AcceptedAnswerId="6953" CreationDate="2013-01-25T11:16:04.073" Score="1" ViewCount="3351" Body="&lt;p&gt;I'm running the latest version of Premiere Pro &amp;amp; Encoder (CS6). Encoder has a watch folder capability to automatically encode files, but it defaults to Flash output with a specific preset &amp;amp; gives the file the name of the original sequence selected in the Premiere project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I'd like to do is drop a Premiere project file in a watch folder and have my rendering server pickup the file and start encoding it but I want to configure a specific output file type, present &amp;amp; name the output file the name of the Premiere project file. I can't figure how to do this or if it is even possible (aside from the watch folder &amp;amp; encoding).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The current project I'm on has over 100 video outputs and we're looking at 1 Premiere project per output. This is just the first project... looking at many more in the future so working on a workflow now.&lt;/p&gt;&#xA;" OwnerUserId="3530" LastActivityDate="2013-01-25T19:25:24.767" Title="Configure file naming &amp; presents in Adobe Media Encoder" Tags="|premiere|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6951" PostTypeId="2" ParentId="6940" CreationDate="2013-01-25T17:29:05.470" Score="4" Body="&lt;p&gt;So after 8 hours of research, trial and error, I found a successful workflow for .mov footage from my Canon EOS Rebel T3i.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first part is that you can't import .mov &quot;Apple / H264&quot; files with Lightworks without purchasing the &quot;Pro&quot; version.  The pro version costs $60 per year (which is actually a good price for what you get).  So I bought that and was able to import my .mov files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The next problem I had was that playing the imported footage was horribly slow and choppy.  I wanted to &quot;mark and park&quot; to get clips added to my editor but when I would play the video, it would only play a few frames and then get horribly choppy (audio would still play).  By the way, I have a laptop with an Intel Core i5 (2nd gen) and 4GB of RAM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After some research, I found the solution to this was to import the video while transcoding it to AVI format with &quot;DVCPRO100&quot;.  This made the video playable within Lightworks for editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next I had some real problems exporting my edits into a codec/format that would actually work.  Some formats would just error out (post an error and exit).  Others would succeed, but the final video would not have audio (I think this happened with MP4).  Finally I found that exporting as &quot;Quicktime Movie&quot; (not to be confused with the &quot;MOV&quot; option!) worked.  It worked with the following options:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Quicktime Movie&#xA;H.264, Quality = High, Key framerate = 24&#xA;Frame Recording = Yes, Encoding Mode = Multi-pass&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sound:  Format = Uncompressed, 44.1 kHz, Channels = 2&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the other Lightworks export options, I chose:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;HD 1080, 29.97 fps, and Progressive button checked.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I sure hope this helps other people save 8 hours of frustration!  With this workflow, I can now be efficient and productive and make some great videos.&lt;/p&gt;&#xA;" OwnerUserId="3526" LastActivityDate="2013-01-25T17:29:05.470" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6952" PostTypeId="2" ParentId="3079" CreationDate="2013-01-25T19:06:53.947" Score="1" Body="&lt;p&gt;After Effects has a plugin called Timecode (located under the Text category) that you simply apply to any video layer and it outputs a timecode box over the video that can be rendered out. It includes settings to change the text size, color, position as well as the display format of the timecode (SMPTE, frame numbers, and feet/frames for 35mm or 16mm film).&lt;/p&gt;&#xA;" OwnerUserId="3410" LastActivityDate="2013-01-25T19:06:53.947" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6953" PostTypeId="2" ParentId="6946" CreationDate="2013-01-25T19:25:24.767" Score="1" Body="&lt;p&gt;You can change the format, once you add a watch folder to your watch folders window, click the F4V under the format tab, and you can configure how you want each video from that watch folder to be set as...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Furthermore if you click the output folder destination, you can change the filename and destination in which the movie will be saved to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-01-25T19:25:24.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6954" PostTypeId="1" CreationDate="2013-01-26T09:53:09.317" Score="1" ViewCount="150" Body="&lt;p&gt;I'm a beginner in this field and I have to buy this &lt;a href=&quot;http://footage.shutterstock.com/clip-1406194-stock-footage-ripping-paper-different-materials-d-animation-with-alpha-matte.html&quot; rel=&quot;nofollow&quot;&gt;clip&lt;/a&gt; from shutter-stock.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This clip comes with some pre-rendered patterns and has an alpha-matte version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My question&lt;/strong&gt; is : I want to use different pattern for the ripped paper, how can I achieve that ? and can the alpha-matte version used for this purpose ? if no .. it used for what ??&lt;/p&gt;&#xA;" OwnerUserId="3535" LastEditorUserId="3535" LastEditDate="2013-01-26T10:32:54.893" LastActivityDate="2013-02-26T15:27:50.307" Title="Does alpha matte version of a clip allows to change the pattern" Tags="|after-effects|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6955" PostTypeId="2" ParentId="6945" CreationDate="2013-01-26T15:37:47.727" Score="2" Body="&lt;p&gt;Assuming that you're using AE...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The old fashioned way: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Select your layer, hit 0 (on the numeric keypad) to do a ram preview&lt;/li&gt;&#xA;&lt;li&gt;Wait till the preview is loaded into the ram&lt;/li&gt;&#xA;&lt;li&gt;When the preview begins to playback, hit * (on the numeric key pad) at each beat&lt;/li&gt;&#xA;&lt;li&gt;As soon as you stop playback, you'll have a marker at each beat&lt;/li&gt;&#xA;&lt;li&gt;now you're ready to begin key framing according  to the beats&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Red Giant's - Trapcode Sound Keys is probably the best plugin out there for automating it.&#xA;&lt;a href=&quot;http://www.redgiantsoftware.com/products/all/trapcode-sound-keys/&quot; rel=&quot;nofollow&quot;&gt;http://www.redgiantsoftware.com/products/all/trapcode-sound-keys/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2352" LastEditorUserId="2352" LastEditDate="2013-01-30T14:21:42.720" LastActivityDate="2013-01-30T14:21:42.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6957" PostTypeId="1" CreationDate="2013-01-26T21:12:09.413" Score="0" ViewCount="55" Body="&lt;p&gt;What are a few common GPUs that offer the best hardware acceleration for motion graphics and compositing? (i.e. After Effects, Motion, Combustion, etc)&lt;/p&gt;&#xA;" OwnerUserId="867" LastActivityDate="2013-01-28T16:22:55.850" Title="GPUs for motion graphics" Tags="|hardware|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6958" PostTypeId="1" CreationDate="2013-01-26T21:16:59.997" Score="0" ViewCount="22" Body="&lt;p&gt;If I want good color rendition, do I just need to search for monitors with &quot;IPS&quot;, high contrast, and high brightness?  Or are there other keywords I should use in shopping?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: I'm talking about CONSUMER monitors ($200-300 range), NOT fancy commercial models designed for ultra-accurate color.&lt;/p&gt;&#xA;" OwnerUserId="867" LastActivityDate="2013-01-26T21:16:59.997" Title="How to buy a decent monitor" Tags="|monitors|" AnswerCount="0" CommentCount="3" ClosedDate="2014-02-28T20:56:40.953" ContentLicense="CC BY-SA 3.0" />
  <row Id="6959" PostTypeId="2" ParentId="3514" CreationDate="2013-01-26T21:27:00.413" Score="0" Body="&lt;ol&gt;&#xA;&lt;li&gt;Buy a Panasonic GH1.  This is a $500-ish (with lens) DSLR that is known far and wide for its ability to achieve cinema-quality (or Canon 5D quality) via a free software hack.&lt;/li&gt;&#xA;&lt;li&gt;As they teach you in beginning videography courses, if the audio doesn't sound professional, the video doesn't look professional no matter your camera.  So buy a lavaliere mic and clip it to your subject.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="867" LastActivityDate="2013-01-26T21:27:00.413" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6964" PostTypeId="1" AcceptedAnswerId="6966" CreationDate="2013-01-27T05:52:55.843" Score="1" ViewCount="1134" Body="&lt;p&gt;I'm brand new to video so I don't even yet have a favorite software package.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general, on popular software like FCPX or Premiere, how many MB per minute of 1080p will I need?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realize there are a hundred different ways to compress the video, but I'm just asking about the rough storage requirements for a typical editing workflow.&lt;/p&gt;&#xA;" OwnerUserId="867" LastActivityDate="2013-01-28T14:55:49.647" Title="How much storage does video editing take?" Tags="|storage|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6966" PostTypeId="2" ParentId="6964" CreationDate="2013-01-27T07:47:12.510" Score="2" Body="&lt;h2&gt;Original video material&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;It depends on the protocol and color formats as well as the mentioned compression, but if you're starting in video I assume you're using HDV. A rough estimate based on the HDV format (the one you transfer over the FireWire cable) will give you around 19.2 Mbps (ironically less than the DV format), or 138 Mb per minute.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If in the higher end you can end up with f.ex. HDCAM at 440 mbps (the double with SR1 docking).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if we use the former as a basis you can store about:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;10 minutes with 1.35 GB&#xA;30 minutes with 4.04 GB&#xA;60 minutes with 8.09 GB&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, this is for compressed video and audio. In practice the files tend to be around 50-60% larger due to various factors such as the audio being converted to uncompressed audio at 16-bit (optional 24-bit on some cameras), 48 kHz.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So conclusively, if you calculate using &lt;strong&gt;12-13 GB per hour&lt;/strong&gt; you should be fairly safe for 1080i using HDV original video.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Editing&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Editing involves referencing the original video in most cases and when you convert it a final product you will probably use a different compression format such as H.264 (mp4, mov etc.).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if the editor need to conform the video (f.ex. for use of complex effects) and audio, these files tend to take a noticeable amount of storage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But this depends entirely on your pipe-line. If you involve 3D graphics/animation in it, then you grow the project considerably more. If you plan to add voice-over, music and so forth you will use even more space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Give yourselves comfortable space on the disc, say (holding finger in the air to find wind direction) 3-4x the project's length for a good start.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorDisplayName="user2995" LastEditDate="2013-01-27T08:00:46.233" LastActivityDate="2013-01-27T08:00:46.233" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6967" PostTypeId="2" ParentId="6945" CreationDate="2013-01-27T08:08:37.327" Score="3" Body="&lt;p&gt;Trapcode's Sound Keys will do the job:&lt;br&gt;&#xA;&lt;a href=&quot;http://www.redgiantsoftware.com/products/all/trapcode-sound-keys/&quot; rel=&quot;nofollow&quot;&gt;http://www.redgiantsoftware.com/products/all/trapcode-sound-keys/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the promotional text:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Now it's easy to synchronize motion and sound in After Effects. With&#xA;  Trapcode Sound Keys, your audio-intensive animations no longer require&#xA;  extensive keyframing. Visually select parts of an audio track and&#xA;  convert them into keyframes, syncing footage with audio using&#xA;  amplitude or frequency ranges. Sound Keys is applied as a regular VFX&#xA;  effect, so you can save its settings with your project, generate&#xA;  keyframes into output parameters, and link keyframes to expressions.&#xA;  The possibilities are huge, just like the beat.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;By using the generated key frames you can hook them up to almost any effect or behavior that you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A basic example of using this plugin to drive a few &quot;strobes&quot;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/_ptzCbhk0vE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2013-01-27T08:08:37.327" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6968" PostTypeId="2" ParentId="6954" CreationDate="2013-01-27T15:24:29.493" Score="1" Body="&lt;p&gt;Changing the pattern of the paper will be too difficult, because you would have to map the pattern around the roll, too. But you can change the color with some Hue/Saturation/Value effect. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, what are the black/white alpha-matte sections for? The author had to append them at the end, because in the process chain at Shutterstock the video could be transcoded and the alpha channel could get lost. In your own video editor you will have to cut these black/white sections out and re-apply them as alpha clip over your color clip. How to do this can be different in After Effects, Final Cut Pro, ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But now the most interesting part. Why did the author append two alpha-matte versions, which seem to be equal?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Only after calculating the difference between the two versions I saw it. In this picture gray means that the pixels of the two images are equal, and black or white means that there is some difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/duOKQ.png&quot; alt=&quot;difference of the two alpha-matte clips&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This means that the first alpha-matte is for the paper including the white ripped edge, where-as the second one is for the paper surface without the ripped edge. If you want to color the paper, apply the effect just together with the second alpha-matte, and the edge will stay white.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2013-01-27T15:24:29.493" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="6969" PostTypeId="2" ParentId="6930" CreationDate="2013-01-27T15:43:34.000" Score="0" Body="&lt;p&gt;The key rule of avoiding these jumps is to use manual settings on your camera. I already had these jumps only because a cloud was suddenly covering the sun.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Normally, I let the camera adjust WB, exposure, and focus. Then I turn everything off and start filming.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2013-01-27T15:43:34.000" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6971" PostTypeId="1" CreationDate="2013-01-27T22:13:26.847" Score="1" ViewCount="115" Body="&lt;p&gt;Hope this is on-topic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is often that assesing the amount of work required for editting a video is a very hard task. This makes the payment issue a bit complicated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I assume there is no one standart for this, but still, is there a recommended, customary payment system that helps making the deal fair for both parties?&lt;/p&gt;&#xA;" OwnerUserId="1712" LastActivityDate="2014-07-04T11:43:40.187" Title="How is it customary to pay a video editor - global or per-hour?" Tags="|video-editor|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6972" PostTypeId="1" CreationDate="2013-01-27T22:47:30.413" Score="1" ViewCount="710" Body="&lt;p&gt;I need to record a presentation at a conference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did it last year and the lighting was so low it was unusable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;i want to come prepared this year, so i need advice on proper lighting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The subject is more or less static and elaborating on their powerpoint.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can get them in front of a wall or screen for better background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you recommend and lighting products that would be suitable for this scenario?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also if anyone knows any good products so i can get good audio, it would be appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just to clarify, it's a video.&lt;/p&gt;&#xA;" OwnerUserId="3541" LastEditorUserId="2836" LastEditDate="2014-02-14T20:32:48.360" LastActivityDate="2014-02-14T20:32:48.360" Title="Lighting for shooting a presentation" Tags="|video|lighting|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6975" PostTypeId="2" ParentId="6971" CreationDate="2013-01-28T05:36:53.293" Score="0" Body="&lt;p&gt;I can't give you guidance on pay rates - that depends on experience, your local market, and probably other factors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've had video editors on staff that were paid a full-time salary. When I was helping to interview a new team member, most of the candidates were doing contract work on an hourly basis. So it seems clear to me that payment for video editing can be as variable as any other job.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2013-01-28T05:36:53.293" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6976" PostTypeId="1" AcceptedAnswerId="7010" CreationDate="2013-01-28T11:15:58.400" Score="5" ViewCount="48360" Body="&lt;p&gt;I'm creating a video for my institution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a scientific institution, so I suppose that the video can be considered no-profit (we don't make it to sell our products but to show our scientific project).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I already searched around for explanations about the youtube standard license, but it seems there is not much clear information on that: only vague posts ( &lt;a href=&quot;http://productforums.google.com/forum/#!topic/youtube/N7LaB524fkA&quot; rel=&quot;noreferrer&quot;&gt;google groups&lt;/a&gt; or &lt;a href=&quot;http://answers.yahoo.com/question/index?qid=20110725170611AANFmJo&quot; rel=&quot;noreferrer&quot;&gt;yahoo answers&lt;/a&gt; ) in which there is not a clear reference to the term of use (which I'm not able to read as I'm not a lawyer), while there is much documentation on the &lt;a href=&quot;http://creativecommons.org/licenses/by/2.0/&quot; rel=&quot;noreferrer&quot;&gt;CC BY&lt;/a&gt; license.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my questions are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;can I use the videos marked as &quot;&lt;em&gt;youtube standard license&lt;/em&gt;&quot; for this video, of course citing the source?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In case I can't, do you know any other place where I can take video I can use for this non commercial purpose of makning a scientific video to show the project?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2410" LastActivityDate="2018-07-15T08:22:44.083" Title="Can I use the videos marked as &quot;youtube standard license&quot; for a non profit video?" Tags="|video|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6977" PostTypeId="2" ParentId="6972" CreationDate="2013-01-28T14:41:12.230" Score="3" Body="&lt;p&gt;While I can't recommend any particular products and generally stack exchange communities are hesitant about product recommendations, what I can recommend is that at a minimum you should use two light sources offset to the left and right of the camera and if budget allows, put an additional light behind them facing up.  Ideally, one of the lights behind the camera should be slightly less intense and/or further away than the other.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the concept of three point lighting.  The lights in front are called the key and fill light.  The purpose is that with only a key light, you will get unacceptably dark shadows where the camera may have a hard time getting a good image.  The fill light fills in the shadows without making them completely washed out so that the shot still looks natural.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The light behind and below them is called the backlight and will illuminate their edges to make them stand out from the backdrop a bit more, but it isn't strictly necessary if you can't afford three good lights.  The image will just seem flatter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My recommendation for finding suitable lights is to visit the site for a popular online A/V retailer and look at the reviews of specific lighting products.  I personally use B&amp;amp;H for a lot of my needs and I know lots of people also like Adorama.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also worth noting that in a jamb, you could use just about any lights that have the same color temperature (the tint of the light) but in general, the made for the purpose lights you would get from an A/V store will be the most durable, easiest to set up, and likely give a better result if you aren't experienced with lighting for video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-01-28T14:41:12.230" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6978" PostTypeId="2" ParentId="6971" CreationDate="2013-01-28T14:45:18.547" Score="1" Body="&lt;p&gt;My experience is that it really depends on the situation and the editor.  I personally have done both hourly and project rate editing.  Typically I'll only take project rates if it is clear how much time it will take (ie, a simpler project), but it will really depend on your area and what particular editor you are working with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd suggest having estimates of what you are willing to pay for either option and then simply ask them which method they prefer and then supply them with that number.  If you have a preference one way or the other, you might also ask them if they would consider the method you prefer.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-01-28T14:45:18.547" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6980" PostTypeId="2" ParentId="6964" CreationDate="2013-01-28T14:55:49.647" Score="0" Body="&lt;p&gt;The most complete answer is probably to simply describe the way data rates are calculated.  Basically all HD video uses some amount of compression, but the simple algorithm is to take the number of horizontal pixels times the number of vertical pixels times the color depth (in bits) times the frame rate to get the raw, uncompressed data rate per second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For 1080p 24bit color at 30fps, this is 1920x1080x24x30 bits per second or 186 megabytes per second of uncompressed video.  That makes 671 gigabytes per hour for an uncompressed stream at 24 bit color and 30fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The level of compression typically used can range anywhere from 1:3 to 1:300 so you could be looking at anywhere between 230gb an hour to 2.3 gigabytes for an hour (and possibly even less if they compress really heavily.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The acceptable level of compression also depends on the format used, the compression options chosen and the level of movement and similar color areas in the video.  So it really is extremely hard to estimate without an idea of what you want to work on with it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-01-28T14:55:49.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6982" PostTypeId="2" ParentId="6957" CreationDate="2013-01-28T16:22:55.850" Score="1" Body="&lt;p&gt;Currently Adobe products only support hardware with CUDA support.  While there is a specific list on Adobe's website of officially supported hardware, most cards with CUDA support will work with a little bit of tweaking.  The best bet is probably to Google for the particular card you are interested in and the package you want to use as the exact support and capabilities of each card/software combination will vary.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-01-28T16:22:55.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6987" PostTypeId="1" AcceptedAnswerId="6991" CreationDate="2013-01-29T17:02:01.960" Score="3" ViewCount="16875" Body="&lt;p&gt;I just started using after effects CS4, and created my first video.&#xA;But if i look at my final (rendered) video, its 2x the speed it was originally.&#xA;I recorded a 22 second clip, and traced etc.&#xA;Looked awesome, but after rendering, its only 11 seconds, so 2x speed.&#xA;Here's the video&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/0TFStZlongU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Cam is a Logitech C920 Pro HD Webcam&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found whats wrong, but don't know how to fix it. The recorded videos are 15 fps, but AE imports them at 30, how do i change that? Immediatly when i import, its speed up&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can i make it so it goes normal speed?&lt;/p&gt;&#xA;" OwnerUserId="3551" LastEditorUserId="2178" LastEditDate="2013-01-30T15:21:48.147" LastActivityDate="2013-01-30T15:21:48.147" Title="How to force After Effects to interpret footage at a specific framerate?" Tags="|video|editing|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6989" PostTypeId="2" ParentId="6987" CreationDate="2013-01-29T19:00:54.123" Score="3" Body="&lt;p&gt;The first thing I would check is frame rates of the input, the composition and the output.  I would also check the render settings on the output to make sure it isn't only rendering 50% of the frames.  Check the properties of the input, the properties of the composition and the render settings in the render queue.  Let me know if you can't find the problem in one of those places and I'll try to think of some other possible problems.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-01-29T19:00:54.123" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="6991" PostTypeId="2" ParentId="6987" CreationDate="2013-01-29T22:55:44.153" Score="4" Body="&lt;p&gt;To answer your edited question:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your footage is 15fps and After Effects thinks it's 30fps, you need to tell After Effects to re-interpret the footage.&lt;br&gt;&#xA;You do this as follows:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open the Project panel (by default on the left of your screen)&lt;/li&gt;&#xA;&lt;li&gt;Right click on your footage and go to &lt;code&gt;Interpret Footage -&amp;gt; Main...&lt;/code&gt; as shown below.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/JehOz.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;In the screen that opens up input the desired framerate (15fps in your case) in the textbox next to &lt;code&gt;Conform to framerate&lt;/code&gt;. Press OK.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/z7Yy0.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Now After Effects should know that the footage is 15fps.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2013-01-29T22:55:44.153" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6994" PostTypeId="1" CreationDate="2013-01-30T05:35:58.643" Score="2" ViewCount="500" Body="&lt;p&gt;I've heard of this tool, &lt;a href=&quot;http://www.blackmagicdesign.com/products/davinciresolve&quot; rel=&quot;nofollow&quot;&gt;Blackmagic's Da vinci&lt;/a&gt; resolve, as its available for free from the site but the Package including its consoles and all costs much. Is there anybody here familiar with this Da-vinci resolve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Question is , is it feasible to work with the free version (without the consoles) for a small scale video project ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any courses or online training available for this ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Expecting feedbacks.. and affordable alternatives for color grading..&lt;/p&gt;&#xA;" OwnerUserId="3552" LastEditorUserId="3552" LastEditDate="2013-01-30T05:41:31.753" LastActivityDate="2013-01-31T12:45:42.823" Title="Color grading ; Anybody familiar working with Da-Vinci Resolve?" Tags="|video|editing|video-editor|color-correction|" AnswerCount="1" CommentCount="0" ClosedDate="2013-02-03T07:04:41.130" ContentLicense="CC BY-SA 3.0" />
  <row Id="6996" PostTypeId="1" AcceptedAnswerId="6998" CreationDate="2013-01-30T11:55:49.997" Score="1" ViewCount="538" Body="&lt;p&gt;I'm putting together a very basic software to animate a few pixels frame-by-frame. I've skimmed through Richard William's Animator's Survival Kit in the past and noticed most traditional animation uses 24fps and he used to &quot;animate on twos&quot; for most motion and on &quot;ones&quot; for fast motion. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since my tool will deal with frame by frame animation I'd like to make use of those principles, but I am constraint to 30 fps. Because of this, I'm wondering how would I workout at what frame interval(every frame, every two frames, every three frames, etc.) a 'keyframe'/changed frame should be placed to look good ? Is there a way to work that out arithmetically ? Does it make a bit difference/ is it safe two stick to twos even for 30fps ?&lt;/p&gt;&#xA;" OwnerUserId="1780" LastActivityDate="2013-01-30T12:43:01.763" Title="Traditional animation techniques and 30fps software animation?" Tags="|framerate|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="6997" PostTypeId="1" AcceptedAnswerId="7001" CreationDate="2013-01-30T12:08:35.050" Score="2" ViewCount="240" Body="&lt;p&gt;I was watching Match Of the Day (a soccer highlights show for those not from the UK) and I've found they use this software &lt;a href=&quot;http://www.redbeemedia.com/piero/piero&quot; rel=&quot;nofollow&quot;&gt;Piero&lt;/a&gt; to annotate the football matches.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When annotating video of moving players I find that the graphics can be quite clunky and perhaps a bit too obtrusive. You can't see clearly the ball when some graphics are applied for example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I take an interest in video editing myself, my question is &lt;strong&gt;what would be the best design principles to annotate sports videos, especially while they are moving?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="3554" LastActivityDate="2013-01-30T14:01:58.980" Title="Annotating sports video: design principles?" Tags="|video|editing|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="6998" PostTypeId="2" ParentId="6996" CreationDate="2013-01-30T12:43:01.763" Score="3" Body="&lt;p&gt;Yes, repeating every other frame works the same way at 30fps as it does at 24fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Animating on twos is done not because it looks better, but because it means less drawing and you can 'get away' with it. Nothing stops you from drawing every frame if you want the smoothest possible motion, and nothing prevents you from repeating a frame indefinitely when there is no motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you really want to work at 24fps, you could always animate 'as though' you were working at 24fps -- your work will look sped up when viewed at 30fps -- and applying a cine expansion (3:2 pulldown) as a final step.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-01-30T12:43:01.763" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="6999" PostTypeId="1" CreationDate="2013-01-30T13:11:59.623" Score="2" ViewCount="1047" Body="&lt;p&gt;Here is the Script:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lets take the opening scenes of &lt;a href=&quot;http://www.imdb.com/title/tt0970179/&quot; rel=&quot;nofollow&quot;&gt;Hugo&lt;/a&gt;, of course the film bagged Academy awards, In the scene that starts by following the kid (Hugo), carries on and on for some time with many complex movements and dynamics and finally reaches at a decent close frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Yes&lt;/strong&gt;, in the making it was revealed that it was 3 different boys acting the scene.&lt;br/&gt;&#xA;What I ask here is an easier way, or maybe easiest among the lot (in the sense of both production cost and human resource/effort) to imitate a continuous shot effect using multiple cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have heard from my friend (a professional CG artist) that it can be done using 3D techniques. It involves the creation of the entire stage (the area where the scene occurs in real film) in the 3D virtual space. and then intelligently filling up the cuts between cameras using this 3D virtual &lt;em&gt;fillers&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am really open to that idea. But, are there any real life (no virtual/3D) techniques to establish a continuous looking scene?&lt;/p&gt;&#xA;" OwnerUserId="3552" LastEditorUserId="167" LastEditDate="2013-02-03T10:31:20.933" LastActivityDate="2013-02-03T10:31:20.933" Title="Easiest way to create a continuous shot effect using multiple cameras?" Tags="|editing|video-editor|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7000" PostTypeId="2" ParentId="6999" CreationDate="2013-01-30T13:58:08.607" Score="1" Body="&lt;p&gt;CG is probably the best bet.  Motion controlled cameras would be the second best bet, but it would still be pretty tricky as the real world has a remarkable ability to change subtly, but substantially enough to result in a jump cut pretty quickly.  Even if you could manage to stop the camera on something that is static, resuming the movement at the same speed would be difficult at best without a computer controlled camera.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are able to have the camera stop movement on scenery in between, that might make a possible stop point, but it would still have to be done pretty quickly to avoid changes in lighting conditions that would be noticeable in the final shot.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-01-30T13:58:08.607" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="7001" PostTypeId="2" ParentId="6997" CreationDate="2013-01-30T14:01:58.980" Score="3" Body="&lt;p&gt;I'd think the best principal would be to ensure that motion always trump graphics.  Ie, any pixels that are detected as having velocity that is not equal to the velocity of the background should be rendered over the graphics.  This might be difficult to accomplish without purpose built software, but such an approach should keep the graphics from going over any action.  You actually already see this with things like American &quot;Football&quot; (not soccer) games where they render on lines for things like line of scrimmage and first down.  The perspective makes it look like it is simply graphics on the field even though they are actually added electronically.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-01-30T14:01:58.980" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7004" PostTypeId="5" CreationDate="2013-01-30T16:25:11.253" Score="0" Body="&lt;p&gt;In audio, an &quot;effect&quot; is typically the result of some form of signal processing, which can be applied live or in post-production, that changes the &quot;clean&quot; or &quot;dry&quot; input to achieve a desired aesthetic quality. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio effects can generally be placed in two categories. &lt;em&gt;Gain&lt;/em&gt; effects function primarily by manipulating the strength of some or all of the audio signal. Examples include equalization, overdrive/distortion, and compression/limiting/gating. &lt;em&gt;Synthesis&lt;/em&gt; effects work by analyzing the input signal and generating some artificial signal that augments or replaces the input signal. Examples include chorusing, flanging, phasing, reverb, delay, looping, and in a broader sense, using the input signal as a controller for a full synthesizer device, such as one using MIDI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video effects are similar in theory, but instead of an audio signal, they work on an analog or digital video signal by changing values for some or all pixels in an image. Examples range from basic color, contrast, brightness, and hue controls, to transitions such as fade-ins and wipes, to more specialized effects such as solarization, color-replacement (&quot;green screen&quot;), false-color, trailing and overlay effects, and similar. In video, &quot;effects&quot; can also mean &quot;special effects&quot;, generally referring to post-production processing that adds elements to a &quot;base plate&quot; in which they were not filmed; these typically include compositing, where one shot is inserted or overlaid onto another, and computer animation, where something that doesn't exist in real life or that can't happen in real life is inserted into a live scene.&lt;/p&gt;&#xA;" OwnerUserId="3550" LastEditorUserId="3550" LastEditDate="2013-01-30T18:12:09.083" LastActivityDate="2013-01-30T18:12:09.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7005" PostTypeId="4" CreationDate="2013-01-30T16:25:11.253" Score="0" Body="Effects are transformations that can be applied to an audio or video signal to achieve a desired aesthetic result." OwnerUserId="3550" LastEditorUserId="3550" LastEditDate="2013-01-30T18:12:29.490" LastActivityDate="2013-01-30T18:12:29.490" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7006" PostTypeId="5" CreationDate="2013-01-30T16:26:47.137" Score="0" Body="&lt;p&gt;Conversion is the process of changing one format in to another.  Usually this means a software conversion like from MOV to MP4, but can also be a hardware conversion like from HDMI to composite with separated chroma and luminance by cable.&lt;/p&gt;&#xA;" OwnerUserId="17419" LastEditorUserId="2836" LastEditDate="2017-06-16T14:00:16.013" LastActivityDate="2017-06-16T14:00:16.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7007" PostTypeId="4" CreationDate="2013-01-30T16:26:47.137" Score="0" Body="Conversion is the process of changing one format is to another.  Usually this means a software conversion like from MOV to MP4, but can also be a hardware conversion like from HDMI to composite with separated chroma and luminance by cable." OwnerUserId="17419" LastEditorUserId="2836" LastEditDate="2017-06-16T13:59:44.497" LastActivityDate="2017-06-16T13:59:44.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7009" PostTypeId="1" CreationDate="2013-01-30T17:54:01.917" Score="4" ViewCount="2791" Body="&lt;p&gt;I'm pretty new to video editing so please excuse if my question is rather entry level.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a bunch of archival films that were converted MPEG-2 at 720px by 480px. I'm required to put a watermark on them (which I've already figured out) and then upload them to youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, given the size (720X480) and non-HD quality of my archival film what would be the optimal settings to render in for Sony Vegas Pro? Or what would be the optimal format to render to given the above and it's end purpose being to get the best quality to Youtube? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help is much appreciated&lt;/p&gt;&#xA;" OwnerUserId="3558" LastActivityDate="2013-01-31T06:11:53.257" Title="Best rendering output for 720px X 480px Sony Vegas Pro 12" Tags="|vegas-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7010" PostTypeId="2" ParentId="6976" CreationDate="2013-01-30T19:11:16.980" Score="8" Body="&lt;p&gt;I know you probably already found this link, but according to &lt;a href=&quot;http://answers.yahoo.com/question/index?qid=20110725170611AANFmJo&quot; rel=&quot;nofollow noreferrer&quot;&gt;Yahoo&lt;/a&gt;, you will want to contact the Uploader before you try to use it. Thats what I would try. I don't think I would want my youtube videos just used by anyone who wanted to. Seems &lt;a href=&quot;http://productforums.google.com/forum/#!topic/youtube/N7LaB524fkA&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; person ran into that problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If a video is only using the &lt;a href=&quot;http://www.youtube.com/yt/copyright/creative-commons.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Creative Commons License&lt;/a&gt; you may use it, but otherwise &lt;strong&gt;contact the YouTube user before you use it&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="2575" LastEditorUserId="-1" LastEditDate="2018-07-15T08:22:44.083" LastActivityDate="2018-07-15T08:22:44.083" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="7011" PostTypeId="2" ParentId="7009" CreationDate="2013-01-30T21:49:23.507" Score="2" Body="&lt;p&gt;Not sure if you are asking about rendering to edit, or rendering for output to Youtube...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whilst Editing pretty much whatever your system is setup up for will be fine, most likely Mpeg-2 or DVCPROHD will get you by...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you are referring to uploading to youtube, your best bet will be H264 since that is what Youtube will convert it to anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a little bit more reading you can do on Youtube Video formats...&#xA;&lt;a href=&quot;http://www.ifunia.com/youtube-column/best-youtube-video-format.html&quot; rel=&quot;nofollow&quot;&gt;http://www.ifunia.com/youtube-column/best-youtube-video-format.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-01-30T21:49:23.507" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7014" PostTypeId="5" CreationDate="2013-01-31T00:01:16.320" Score="0" Body="&lt;p&gt;In industrialized nations, a number of rights are typically recognized as applying to the owner of &quot;intellectual property&quot; or &quot;IP&quot;. IP encompasses most creative work, such as written or spoken word, images, music, and combinations such as those seen in motion pictures. Typically, where the tangible product of the IP is its printed form, the owner of the IP has a &quot;copyright&quot;; they have the right to assert creative credit, to make and distribute copies of their work, and to prevent anyone else from doing the same. Typically, these rights are &quot;reserved&quot; by the copyright holder; they claim these rights and prohibit anyone else from performing these actions without permission from and consideration to the copyright holder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With a creative work identified as in the &quot;public domain&quot;, one of two things has happened; either the work was created in a time before copyright was recognized by law (in the U.S., this is prior to 1937), or the owner of the IP has relenquished their rights to the work, either explicitly by statement or implicitly by an overt act indicating that they do not wish to exercise their rights as IP holder. Once a work has entered the public domain, a copyright cannot be reclaimed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Public domain works thus have no intellectual property rights attached to them; they may be freely viewed, copied, distributed, derived from, performed in public, etc, and no consideration is required to be given to the original creator of the work. One right of the creator of the work - the right to be recognized as its creator - is typically recognized even for public domain works, however this attribution is primarily a courtesy extended by those who redistribute the work; there is no legal requirement of attribution of a public-domain work, and therefore no legal penalty for mis-attributing or omitting attribution.&lt;/p&gt;&#xA;" OwnerUserId="3550" LastEditorUserId="3550" LastEditDate="2013-02-11T22:12:57.340" LastActivityDate="2013-02-11T22:12:57.340" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7015" PostTypeId="4" CreationDate="2013-01-31T00:01:16.320" Score="0" Body="Public domain refers to works of a type that might normally be subject to legal protections such as copyrights, but for these specific works such protections do not apply, and the work may be freely used by others." OwnerUserId="3550" LastEditorUserId="3550" LastEditDate="2013-01-31T14:25:15.560" LastActivityDate="2013-01-31T14:25:15.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7018" PostTypeId="2" ParentId="5160" CreationDate="2013-01-31T05:11:34.900" Score="3" Body="&lt;p&gt;&lt;strong&gt;Freemake&lt;/strong&gt; would be my best choice. It gives you great flexibility and also &lt;strong&gt;&lt;em&gt;enables you to add subtitles to your video&lt;/em&gt;&lt;/strong&gt; also. There is a variety of codecs and formats available for your testing. Just give a try , after  all its free na ? Here is the &lt;a href=&quot;http://www.freemake.com/&quot; rel=&quot;nofollow&quot;&gt;Link.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;`&lt;strong&gt;.freemake: Free Video Converter with Subtitles Support&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Convert DVD, MKV, MOV with embedded subtitles to any video format or&#xA;  device for free. Add SSA/SRT/ASS external subtitles to any video with&#xA;  our free video converter.`&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;says so in the official site.And they also says, &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;.freemake: Fastest Video Converter with CUDA and DXVA&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Freemake is the only free video converter that features integrated&#xA;  both CUDA and DXVA technologies for the fastest ever video conversion&#xA;  and less CPU usage. The software automatically detects the optimal&#xA;  conversion parameters and switches on/off CUDA and DXVA for better&#xA;  conversion results.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="3552" LastActivityDate="2013-01-31T05:11:34.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7019" PostTypeId="2" ParentId="7009" CreationDate="2013-01-31T06:11:53.257" Score="2" Body="&lt;p&gt;Many ways here:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;You can render your video using Mainconcept renderer with one of the&#xA;&lt;strong&gt;Internet 4:3 SD&lt;/strong&gt; templates &lt;/li&gt;&#xA;&lt;li&gt;You can create your own render template that best meets the &lt;a href=&quot;https://support.google.com/youtube/bin/answer.py?hl=en&amp;amp;answer=1722171&amp;amp;topic=1728573&amp;amp;parent=1728585&amp;amp;rd=1&quot; rel=&quot;nofollow&quot;&gt;YouTube specs&lt;/a&gt; &lt;/li&gt;&#xA;&lt;li&gt;You can upload your video w/o rendering, and let YouTube convert it for you (in this&#xA;case, you can not apply a watermark)&lt;/li&gt;&#xA;&lt;li&gt;You can use free extension &lt;a href=&quot;http://vegasaur.com/Video4YouTube&quot; rel=&quot;nofollow&quot;&gt;Video4YouTube&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Something I forgot :)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2013-01-31T06:11:53.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7020" PostTypeId="2" ParentId="6976" CreationDate="2013-01-31T08:55:33.470" Score="5" Body="&lt;p&gt;You can restrict YouTube to search only those videos who have a CC licence.&#xA;Just click &quot;Filters&quot; under the search bar, then &quot;Creative Commons&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The concrete details of reuse are described here: &lt;a href=&quot;http://www.youtube.com/yt/copyright/creative-commons.html&quot; rel=&quot;noreferrer&quot;&gt;http://www.youtube.com/yt/copyright/creative-commons.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If a video is not marked as CC, then the standard YouTube license applies. To reuse such a video you have to ask the owner first.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2013-01-31T08:55:33.470" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7022" PostTypeId="2" ParentId="6994" CreationDate="2013-01-31T12:45:42.823" Score="1" Body="&lt;h2&gt;&lt;em&gt;Got it.. ... I am sharing what i found here for everyone.May be someone needy finds it useful someday ;-)&lt;/em&gt;&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Z5l5R.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Q1 was : Can  DaVinci Resolve be used without a panel?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ans: Yes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DaVinci Resolve has been designed to be used with the DaVinci Resolve control panel but can also be used with a mouse or a pen and tablet. There are third party control panels that can also be used with Resolve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, there is a significant advantage in terms of speed and ease of grading by using the DaVinci Resolve control panel as it has been specifically designed for Resolve and has the fullest implementation of the feature set. Grading with the DaVinci Resolve control panels will allow you more time to finesse your grades and make and compare different grades for each shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Q2: Any training or tutorials available ?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ans : Plenty, but as said earlier without the console , things will gt tricky.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://software.blackmagicdesign.com/DaVinciResolve/Manual/Resolve_9_Manual_2012-08-31.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt; is the link for the official manual.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Additional Notes:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This , from what i understand is a truly dedicated color grading system, not for editors but colorists and the color specialists of the industry.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What i still don't know is how is the product available for purchase.. Checked out the Official site, but only 2 dealers found in my country. :-(&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Well that's it, i am downloading. &lt;br/&gt;&#xA;Will update after using...&lt;br/&gt;&#xA;Cheerio..&lt;/p&gt;&#xA;" OwnerUserId="3552" LastActivityDate="2013-01-31T12:45:42.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7026" PostTypeId="1" AcceptedAnswerId="7027" CreationDate="2013-01-31T16:02:05.430" Score="2" ViewCount="56" Body="&lt;p&gt;I have Apple Compressor and have been trying to determine the correct format for my videos to allow them to play on both the iPad and my PlayStation 3 via a Media Server. Can anyone help me to determine a format that both can play? I'd hate to have to keep two copies of the same video on my Media Server. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="3564" LastActivityDate="2013-01-31T21:33:44.750" Title="Format to view on iOS and PS3?" Tags="|file-formats|ios|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7027" PostTypeId="2" ParentId="7026" CreationDate="2013-01-31T21:33:44.750" Score="3" Body="&lt;p&gt;MP4 with AAC audio and h.264 video is &lt;em&gt;definitely&lt;/em&gt; playable on the PS3, and since it's an extension of Apple's .mov files, it should work on all the iDevices too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For maximum compatibility, use the h.264 'baseline' profile, and avoid AAC-HE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Older devices (like some DVD players) may require XVID video and AC3 audio in an AVI container, but that won't apply to either the PS3 or iPad.&lt;/p&gt;&#xA;" OwnerUserId="3476" LastActivityDate="2013-01-31T21:33:44.750" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7029" PostTypeId="1" CreationDate="2013-02-01T22:02:05.667" Score="3" ViewCount="209" Body="&lt;p&gt;Here's a 1 minute After Effects (?) production about The Noun Project (an &lt;em&gt;iconic&lt;/em&gt; website):&lt;br /&gt;&#xA;&lt;a href=&quot;https://vimeo.com/48846655&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/48846655&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I really like the style of it and would like to learn how to create something similar.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Questions&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;What effect is used for the letters to animate per-letter vertically?&lt;/li&gt;&#xA;&lt;li&gt;How is the scene setup so that element gradually fade in and out from the top/bottom?&lt;/li&gt;&#xA;&lt;li&gt;How can the &amp;quot;elements-to-globe animation&amp;quot; at 0.54 done?&lt;/li&gt;&#xA;&lt;li&gt;Where can I find or create sound similar to that used in the film?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/IOzvM.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/p&gt;&#xA;" OwnerUserId="3572" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2013-02-05T19:04:55.537" Title="What techniques are used to create this 1-minute motion graphic?" Tags="|video|after-effects|" AnswerCount="1" CommentCount="5" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7033" PostTypeId="1" CreationDate="2013-02-02T10:59:53.650" Score="1" ViewCount="2861" Body="&lt;p&gt;I have 200 layers in Illustrator CS6. I have another set of the same layers but where basic attributes (position, scale) have changed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to import these two &quot;states&quot; into After Effects CS6 so that I end up with 200 layers animating from state 1 to state 2?&lt;/p&gt;&#xA;" OwnerUserId="3572" LastActivityDate="2013-02-03T15:24:28.130" Title="After Effects: Importing Illustrator sequence?" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7034" PostTypeId="1" CreationDate="2013-02-02T13:29:29.573" Score="2" ViewCount="60" Body="&lt;p&gt;Hope, I got the right forum for my question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm a Podcaster and publishing podcasts since 2005. In my first few episodes I used a Music Track as an opener which seems to have a copyright on it, so I got a mail from a lawyer. First of all: Yep, i didn't check the license in detail so I have to pay for this now. I appreciate the work of musicians and I never wanted to do piracy - the website I got the track from seemed to have free tracks and so I used them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway: I have to commit myself to never ever republish this copyrighted track again. But in The mass of episodes I have created it would be hard work to check of I used the track even after changing the opener to a (real) free track. Is there a possibility to scan my library automatically against a short part of the copyrighted track?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this is the wrong section, please refer to the correct one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Phil&lt;/p&gt;&#xA;" OwnerUserId="3573" LastActivityDate="2013-04-06T01:57:00.550" Title="Scan Library for music track" Tags="|podcast|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7036" PostTypeId="1" AcceptedAnswerId="7045" CreationDate="2013-02-02T18:57:46.343" Score="1" ViewCount="131" Body="&lt;p&gt;I've been learning about how the Kinect is being hacked by&#xA;artists and multi-media nuts to make some incredible interactive&#xA;systems. The examples up at &lt;a href=&quot;http://www.kinecthacks.com&quot; rel=&quot;nofollow&quot;&gt;www.kinecthacks.com&lt;/a&gt; and many other&#xA;similar sites. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to experiment with the kinect for a solo dance performance&#xA;piece, where the dancers movements are the input to create live &#xA;projections and sound design. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is what kind of projector will I need to be &#xA;suitable for a live performance in a theatre with 100-300 seat&#xA;capacity. The projector must be compatible with the Kinect &#xA;motion detector technology, and have sufficient lumens for an&#xA;effective live performance, where lighting conditions may vary&#xA;slightly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions on how to get a great result out of this&#xA;complex A/V setup would be appreciated. If you know of specific&#xA;models (with price) that you've evaluated in a similar context, &#xA;that would be great.&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="1799" LastEditorUserId="2836" LastEditDate="2013-12-30T15:50:18.947" LastActivityDate="2013-12-30T20:39:44.207" Title="Ideal projection solution for Kinect hack performance" Tags="|projector|live-performance|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7038" PostTypeId="1" CreationDate="2013-02-02T21:51:39.427" Score="2" ViewCount="3978" Body="&lt;p&gt;I have subtitles for a video in .srt format and I want to use this create 'burned-in' subtitles in Adobe Premiere Pro. Is this possible to do - and how?&lt;/p&gt;&#xA;" OwnerUserId="793" LastActivityDate="2017-01-08T21:01:02.463" Title="How do I automatically create burned-in subtitles in Premiere Pro?" Tags="|video-editor|premiere|subtitles|" AnswerCount="4" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7039" PostTypeId="2" ParentId="7033" CreationDate="2013-02-03T04:01:27.440" Score="1" Body="&lt;p&gt;I have tried the following steps with 4 layers, and it seemed to work.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Name the file with the state 1 set, &lt;code&gt;your-filename-1.ai&lt;/code&gt; and the file with the state 2 set &lt;code&gt;your-filename-2.ai&lt;/code&gt;. Make sure they are in the same folder&lt;/li&gt;&#xA;&lt;li&gt;Open After Effects, click &lt;code&gt;File -&amp;gt; Import -&amp;gt; File...&lt;/code&gt; and click &lt;code&gt;your-filename-1.ai&lt;/code&gt;. Make sure the checkmark is checked as shown below:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/OLH0O.png&quot; alt=&quot;enter image description here&quot;&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To keep all the individual layers, set &lt;code&gt;Import As:&lt;/code&gt; to &lt;code&gt;Composition&lt;/code&gt;.&lt;br&gt;&#xA; 3. Now you will have a composition in your project panel named &lt;code&gt;your-filename&lt;/code&gt; and a folder named &lt;code&gt;your-filename Layers&lt;/code&gt; that contains all the layers.&#xA; 5. Now you can open the composition and check &lt;code&gt;Frame Blending -&amp;gt; Frame Mix&lt;/code&gt; for every layer that you want to tween.&#xA; 6. Don't forget to enable frame blending. The image below shows how to do this:&#xA; &lt;img src=&quot;https://i.stack.imgur.com/jyrFe.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you have an animation from state 1 to state 2. To change the animation playback speed you can use time-stretching on a layer-per-layer basis.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="2178" LastEditDate="2013-02-03T15:24:28.130" LastActivityDate="2013-02-03T15:24:28.130" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7042" PostTypeId="1" AcceptedAnswerId="7061" CreationDate="2013-02-03T15:49:57.487" Score="0" ViewCount="92" Body="&lt;p&gt;I've got a set-up where I'm using an iPad to record myself writing something on a white sheet of paper (with less-than-perfect lighting, of course). I'm recording a video in 1080p, and would like to improve its quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The kind of things I'd like to do are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Even out the paper tone or, better yet, make the paper invisible. Other objects in the frame (the writing and my hand) are 'less white', so I'd like to keep them.&lt;/li&gt;&#xA;&lt;li&gt;If possible, get rid of my hand altogether, leaving only the stuff that's on the page. Not sure how feasible it is, but I thought that since my hand is moving, maybe it can be filtered out. (Writing is 'moving' too, but stays persistent after I move my hand away.)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'd appreciate any ideas for how this can be achieved. I know the second-part is science-fiction (or maybe not, but not doable with stock tools). Thanks!&lt;/p&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2013-02-05T18:53:45.323" Title="Tips for recording pen and paper" Tags="|video|premiere|after-effects|post-production|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7043" PostTypeId="1" AcceptedAnswerId="7062" CreationDate="2013-02-03T19:14:10.023" Score="1" ViewCount="91" Body="&lt;p&gt;i am looking for a way to produce this transition effect for a slideshow :&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/kqhaCx4_iYM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;i mainly use After Effects and Final Cut but i couldn't find a way to do it.&#xA;Also i am ready to use any other software, free or not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;does anybody knows ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks&lt;/p&gt;&#xA;" OwnerUserId="3578" LastActivityDate="2013-02-05T18:54:35.317" Title="Looking for a tile slideshow transition effet" Tags="|video-editor|after-effects|software-recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7044" PostTypeId="2" ParentId="7038" CreationDate="2013-02-04T14:36:48.880" Score="1" Body="&lt;p&gt;What do you mean by burned in?  Do you mean you wish to actually render the text on to the video or that you wish to encode it in a format that supports inclusion of a subtitle channel?  For actually making them a permanent part of the video, I've always done it through titles rather than an srt.  I unfortunately don't have any experience with the latter option of making them a subtitle channel in a compatible format, but it would likely depend greatly on the format chosen.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-02-04T14:36:48.880" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7045" PostTypeId="2" ParentId="7036" CreationDate="2013-02-04T14:38:40.020" Score="1" Body="&lt;p&gt;This question is the same, even with Kinect removed from the equation.  The easiest way to work with a Kinect for custom work is to use it with a PC, so choose the appropriate projector for the room and lighting and then get the hardware to hook the PC up to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Specific projector recommendations is likely too specific to the current time and is going to change over time, but you will need a pretty high lumen count if you want to be able to use it in a lit auditorium or at a large projection size (greater than 15 feet or so diagonal).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-02-04T14:38:40.020" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7047" PostTypeId="1" CreationDate="2013-02-04T22:28:27.673" Score="3" ViewCount="1528" Body="&lt;p&gt;I use Sony Vegas for video production but would like to be able to create more visual effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any cheaper alternatives for Adobe's After Effects? Or is there an extension for Vegas?&lt;/p&gt;&#xA;" OwnerUserId="643" LastActivityDate="2013-02-08T04:03:17.477" Title="After Effects Alternative for Windows" Tags="|after-effects|windows|vegas-pro|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7049" PostTypeId="2" ParentId="7047" CreationDate="2013-02-05T01:06:56.010" Score="1" Body="&lt;p&gt;After Effects is an extremely powerful tool, not just because of the out of box abilities but also its integration with 3rd party plugins...In some degrees I could say it can compete with Nuke which is like 4k, and even more for Nuke X&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of Pro-sumer/ boarder-line Professional Software these two are in a league of their own, being both MAC and PC compatible also is a huge advantage for them over, well there really isn't any competition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects has a 30-day free trial and Nuke has a 15-day free trial, also if you are a student you can get AE for just a couple hundred on its own, and will work great with Vegas, just need to export and import VFX clips.  Same would be for Nuke, however obviously much more expensive and probably not in your budget so...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To simply answer your question, no...Use the 30-day free trial, and if you like it, find someone who is a student (if your not) and get it via the student discount.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-02-05T01:06:56.010" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7050" PostTypeId="2" ParentId="7034" CreationDate="2013-02-05T01:18:48.550" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/5339/match-two-sounds-with-a-level-of-certainty/5344#5344&quot;&gt;https://video.stackexchange.com/questions/5339/match-two-sounds-with-a-level-of-certainty/5344#5344&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similar post, but the conclustion was that while the technology exists, it is mainly used to confirm what a song is etc...but you could for sure look into the Shazam or Soundhound APIs to see if you can create a code/script that would do it for you&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However if the song, has a point in which the song is literally the only thing playing, you could use a software called pluraleyes, to sync your podcasts to that song, if they find a sync point, most likely it will be that song...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This may or may not work to some degree, there is obviously a high level of error while trying to make it match, the more of the song playing that is not mixed with anything else, the higher the likelyness of this working.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2013-02-05T01:18:48.550" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7051" PostTypeId="2" ParentId="7047" CreationDate="2013-02-05T04:52:02.650" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://hitfilm.com/&quot; rel=&quot;nofollow&quot;&gt;HitFilmFX&lt;/a&gt; integrates nicely with Sony Vegas Pro 12. It is much cheaper than AE.&#xA;Take a look at &lt;a href=&quot;http://www.sonycreativesoftware.com/vegasprosuite/hitfilm2&quot; rel=&quot;nofollow&quot;&gt;Sony Vegas Pro 12 Suite&lt;/a&gt;. There is also &lt;a href=&quot;http://www.borisfx.com/red/&quot; rel=&quot;nofollow&quot;&gt;Boris RED&lt;/a&gt; and &lt;a href=&quot;http://www.borisfx.com/sony/bccsvp/&quot; rel=&quot;nofollow&quot;&gt;Boris Continuum Complete&lt;/a&gt; for Sony Vegas, &lt;a href=&quot;http://www.genarts.com/software/overview&quot; rel=&quot;nofollow&quot;&gt;GenArts products&lt;/a&gt;, &lt;a href=&quot;http://newbluefx.com&quot; rel=&quot;nofollow&quot;&gt;NewBlueFX&lt;/a&gt;... &lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2013-02-05T04:52:02.650" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7052" PostTypeId="2" ParentId="7047" CreationDate="2013-02-05T06:07:49.330" Score="-1" Body="&lt;p&gt;&lt;strong&gt;NOT&lt;/strong&gt; really  alternatives but you can look into these tools too..&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Pinnacle Studio HD &lt;/li&gt;&#xA;&lt;li&gt;Corel Video Studio Pro &lt;/li&gt;&#xA;&lt;li&gt;Nova Cut (Open ,Distributed Editing)&lt;em&gt;&lt;br/&gt;[NOTE: CHECK FOR WINDOWS COMPATIBILITY]&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;As i said, these are &lt;strong&gt;not&lt;/strong&gt; Proper alternatives..&lt;br/&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But many simple and at par professional level performance can be expected from these. &lt;br/&gt;&lt;br/&gt; &lt;strong&gt;The first one&lt;/strong&gt;, Pinnacle Studio HD, delivers a failrly good quality output and also supports extra features like Chroma Keying, Basic Color Grading and also has some additional Pligins available like the RED GIANT EFFECTS. I am not sure whether its capable of giving you what you need, but have a look . &lt;a href=&quot;http://www.pinnaclesys.com/PublicSite/us/Products/Consumer+Products/Home+Video/Studio+Family/Pinnacle+Studio+16+Ultimate.html&quot; rel=&quot;nofollow&quot;&gt;Here is the link to Pinnacle&lt;/a&gt;&lt;br&gt;&#xA;&lt;br/&gt;&lt;br/&gt;&#xA;&lt;strong&gt;Secondly,&lt;/strong&gt; &lt;code&gt;Corel® VideoStudio® Pro X5 is an all-in-one video editor that brings together creative editing, advanced effects, screen recording, interactive web video and total disc authoring. Ultra-fast and packed with intuitive tools, it lets you create everything from family movies and slideshows, to fun stop motion animations, and screen recordings of presentations, tutorials and more. Get creative with advanced compositing and stellar creative effects. Tap into the full power of your multi-core processor with unprecedented speed. And share everywhere with native HTML5 video support, and enhanced DVD and Blu-ray™ authoring&lt;/code&gt; as said in the official site. &lt;br/&gt;&lt;a href=&quot;http://www.corel.com/corel/product/index.jsp?pid=prod4650075&amp;amp;cid=catalog50008&amp;amp;segid=6100016&amp;amp;storeKey=ca&amp;amp;languageCode=en&quot; rel=&quot;nofollow&quot;&gt;Here is the Link to the Product&lt;/a&gt; Have a look.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The third&lt;/strong&gt; and slighlty interesting item is the Nova Cut Pro. (A free movement, still under development) . Warning: i am not sure about its capabilities and disabilities. But i have read from their blog that , it provides powerful solutions for distributed editing requirements. You can(should) take a look and go through their blogs before trying it.&lt;br/&gt;Good thing is it is (or was) free.. Have a look &lt;a href=&quot;https://wiki.ubuntu.com/Novacut&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; , &lt;a href=&quot;http://blog.novacut.com/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;http://www.novacut.com/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3552" LastActivityDate="2013-02-05T06:07:49.330" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7053" PostTypeId="2" ParentId="2734" CreationDate="2013-02-05T06:18:35.740" Score="1" Body="&lt;p&gt;As you are using Corel VideoStudio Pro X3, here is a tip:&#xA;&lt;br/&gt;&#xA;&lt;strong&gt;Did you know ?&lt;/strong&gt; &lt;br/&gt;You can import your projects as videos into your timeline before actually rendering them. So You can do all your touchups and effects (all that doesn't alter the length of the clip) to match the tone and look &amp;amp; feel of the two cameras, then simply save the two clips as VSP (project file). Start a new project and simply add the two VSP's on to two Video tracks and there you are.. Same looking clips available for your sync Editing.&lt;br/&gt;&lt;em&gt;[ Pardon me if you already knew this. And thanks for bearing with me ]&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="3552" LastActivityDate="2013-02-05T06:18:35.740" CommentCount="1" CommunityOwnedDate="2013-02-05T06:18:35.740" ContentLicense="CC BY-SA 3.0" />
  <row Id="7054" PostTypeId="2" ParentId="5677" CreationDate="2013-02-05T06:29:38.533" Score="0" Body="&lt;p&gt;TRY , Corel video Studio Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simple and meets your needs. Supports, 5.1 sound ,Disk burning (if you have the capability), and add menus. Also provides features to add an overlay above the Logo.&#xA;Try the description &lt;a href=&quot;http://www.corel.com/corel/product/index.jsp?pid=prod4650075&amp;amp;cid=catalog20038&amp;amp;segid=6100016&amp;amp;storeKey=us&amp;amp;languageCode=en&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;&lt;br/&gt; &lt;strong&gt;$60 or less only&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="3552" LastEditorUserId="3552" LastEditDate="2013-02-05T06:39:37.210" LastActivityDate="2013-02-05T06:39:37.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7057" PostTypeId="1" CreationDate="2013-02-05T09:30:26.630" Score="3" ViewCount="1437" Body="&lt;p&gt;I am trying to make a animation. There is a 3D animation which is sharp, I need to put some layers over it with descriptions about some parts that are shown.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original video is extremly sharp, but when I render my own version in After Effects it isn't sharp at all. I changed the 'Interpert footage &gt; Main' a couple of times but it doesn't help. Also in the render queue I changed the export settings, still nothing changes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to export as a QuickTime &gt; Photo &gt; Quality 100%. I am using AE CS5.&lt;/p&gt;&#xA;" OwnerUserId="3583" LastActivityDate="2013-02-05T18:44:49.933" Title="After Effects quality drops" Tags="|after-effects|video-quality|animation-rendering|animation|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7058" PostTypeId="2" ParentId="7057" CreationDate="2013-02-05T14:54:45.257" Score="1" Body="&lt;p&gt;Make sure that resolutions match.  Look at the properties of the source clip, make sure that all of the main parameters (height, width, pixel ratio, frame rate) match for your composition and your export.  If it is having to interpolate pixels (as a result of non-divisible height or width or a difference in pixel aspect ratio) or interpolate frames (as a result of a mismatched framerate) then you are going to see a noticeable drop in sharpness.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also check to make sure that render options are all set to 100% and that Best quality is selected on the render output.  It is possible to run renders in AE that don't process every pixel to speed rendering for drafts.  This could be what is happening as well.  If you can provide more detail about the composition, render settings and source material, then we might be able to help more.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-02-05T14:54:45.257" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="7060" PostTypeId="2" ParentId="7057" CreationDate="2013-02-05T18:44:49.933" Score="0" Body="&lt;p&gt;Check your Comp Settings to make sure that matches what you want your output to be...and I would recommend to make your output match your input in terms of Resolution, Aspect Ratio, Pixel Ratio, Codec, Colorspace (if applicable)...and make sure your not changing it with your Comp settings&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-02-05T18:44:49.933" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7061" PostTypeId="2" ParentId="7042" CreationDate="2013-02-05T18:53:45.323" Score="2" Body="&lt;p&gt;The old school way is stop-motion animation. You basically take snapshots of the paper at regularly timed intervals, where you remove you hand and take the snapshot, then compile a video from the stills. You can use interpolation to smooth out the framerate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another idea to remove your hand and pencil is to chroma-key your hand and drawing implement (green-screen). If you keep the hand and pencil away from the center of the frame, you might have some success with this, and touch up any problems with elements from earlier or later frames. Problems with this: reflectance of the mask color on the paper; cast shadows etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, and probably most difficult, is to use a secondary camera (such as a video camera with &quot;night-mode&quot;) and an IR pass filter. Cover or disable the IR spotlight on the camera, and attach an IR LED (extracted from a tv remote etc) very close to the business end of the pencil. With the right setup, one might wind up with a dark video field with light area where the LED is shining. With some manipulation, and {magic}, you now have a mask of the pencil area.&lt;/p&gt;&#xA;" OwnerUserId="399" LastActivityDate="2013-02-05T18:53:45.323" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7062" PostTypeId="2" ParentId="7043" CreationDate="2013-02-05T18:54:35.317" Score="0" Body="&lt;p&gt;Here is something similar, &lt;a href=&quot;http://www.mihaipanait.com/portfolio-items/hexagon-transitions/&quot; rel=&quot;nofollow&quot;&gt;http://www.mihaipanait.com/portfolio-items/hexagon-transitions/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know Noise Industries used to have that effects with squares and I am sure you could make the squares into hexagon shapes if you wanted...but their website seems to be down at the minute&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also check out videohive.com they have some pretty cheap templates for transitions etc and you may be able to find something that you can tweak to make work&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-02-05T18:54:35.317" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7063" PostTypeId="2" ParentId="3832" CreationDate="2013-02-05T18:56:41.493" Score="1" Body="&lt;p&gt;Zettt please check out a site called GreyScaleGorilla.com he covers this sort of, blog esq style bridging the knowledge between those beginners and the mograph world.  He is super helpful, and a great guy...also check out his forums as well as many mograph replated questions have been asked and answered there as well&lt;/p&gt;&#xA;&#xA;&lt;p&gt;GreyScaleGorilla.com&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-02-05T18:56:41.493" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7064" PostTypeId="2" ParentId="7029" CreationDate="2013-02-05T19:04:55.537" Score="2" Body="&lt;p&gt;Okay, now that you have updated your question I think we may be able to answer your questions better...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But keep in mind this could have been done 100 ways and we are simply hypothesizing on how it could have been done.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;The individual letters coming in like this could be done 100 different ways, it could be done via an effect in aftereffects, a preset in livetype, etc.  I most likely would simply make each letter its own layer and tie that to a slider via expressions and then be able to keyframe the slider to initiate and finish the animation...this allows me to change the speed of the animation easily and the in and out points of the animation etc.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;My guess is that as the items are sliding in and out vertically there is a mask of white with a high feather so that as it goes from center to bottom or top...it is going beneath a layer of white that is feathered to solid at the tops and bottom and feathered to transparent at the center.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I am going to say this was also done with expressions, he had a gride of icons, in a circle...made the middle icons slide from the - in the z axis and arrive on 0, with a crossfade of an icon of the world.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;This is more of an audio question, &quot;how do you make music?&quot; but I would say digital performer, or even on the super cheap side is garageband which is free with mac os, and theres millions between, burn-studios.audiotool.com is free, theres audacity, theres fruity loops&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Hope this helps you a little bit&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-02-05T19:04:55.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7072" PostTypeId="2" ParentId="4942" CreationDate="2013-02-07T10:15:20.700" Score="2" Body="&lt;p&gt;You should check your recorded video with &lt;a href=&quot;http://mediainfo.sourceforge.net/en&quot; rel=&quot;nofollow&quot;&gt;MediaInfo&lt;/a&gt;. Regarding your problem, it shows,&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;if the durations of the video and the audio is the same or not,&lt;/li&gt;&#xA;&lt;li&gt;if the interleave of the audio (the starting offset) is set correctly&lt;/li&gt;&#xA;&lt;li&gt;in which sampling rate your audio was recorded.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Then, I would import your video file into &lt;a href=&quot;http://audacity.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;Audacity&lt;/a&gt; (which imports only the audio, of course). &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;On the left side of each track you find the sampling rate, too. Is this the same sampling rate as being reported by MediaInfo?&lt;/li&gt;&#xA;&lt;li&gt;Does Audacity play the audio too slow, too?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;My impression from the symptoms that you describe is that the audio is recorded at a certain sampling rate, but reported as a lower sampling rate, or not at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try to modify your sampling rate, either in your recordings settings, or in the Windows system. On Win7, it's under &lt;em&gt;Control Panel-&gt;Hardware &amp;amp; Sound-&gt;Manage Audio Devices-&gt;Recording&lt;/em&gt;. There, select your microphone, then &lt;em&gt;Properties-&gt;Advanced&lt;/em&gt;. There you can change the sampling rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If changing the sampling rate doesn't help, then you can only try another webcam software, or record the audio independently.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2013-02-07T10:15:20.700" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7073" PostTypeId="1" CreationDate="2013-02-07T13:51:25.983" Score="1" ViewCount="5055" Body="&lt;p&gt;I'm making a short movie with iMovie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From time to time (more than once per day) I export it in medium format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did it with my last version, then I refined the video and when exporting again iMovie started crashing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After lot of hacking, reading (&lt;a href=&quot;http://serato.com/forum/discussion/618693&quot; rel=&quot;nofollow&quot;&gt;this great post for instance&lt;/a&gt;, which gives multiple very useful solutions), &lt;em&gt;I understood that the cause was some corrupted video&lt;/em&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I crashes probably in the part where I included some video produced with iMovie itself. So, I create a temp project with iMovie, and I export it to use the exported video in my MAIN project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I removed it and now it works. If I include it again it sometimes crashes, and it is the weird thing:&#xA;I never changed this video, and when I include it again some time the project is exporting well, sometimes not (it seems a not-reproducible issue! crazy!).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hence I have the following questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;is it possible to 'repair' the video which make the project crash?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;is there a way to understand, from the error report, WHICH WAS THE PART CAUSING THE CRASH?&lt;/strong&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;iMovie is great but I think it is still somewaht a toy. So if I buy &lt;a href=&quot;http://www.apple.com/it/finalcutpro/&quot; rel=&quot;nofollow&quot;&gt;final cut pro x&lt;/a&gt;, can I import iMovie videos without getting crazy?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;-- UPDATE --&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The followings are not  possible solutions:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Removing the &quot;organic&quot; title (I'm not using it)&lt;/li&gt;&#xA;&lt;li&gt;clean the preferences entry in the library folder (com.apple.iMovieApp.plist), I've already tried it&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2410" LastEditorUserId="2410" LastEditDate="2013-02-08T10:31:53.627" LastActivityDate="2013-08-22T08:12:33.790" Title="What makes iMovie 11 crash when exporting a project?" Tags="|video-editor|final-cut-pro-x|imovie|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7075" PostTypeId="1" CreationDate="2013-02-07T15:38:38.027" Score="3" ViewCount="218" Body="&lt;p&gt;I have a Satellite STB which saves .mpg files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't play them through vlc and avidemux gives me a blurred output?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way I can edit these recordings?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: &lt;a href=&quot;http://dl.dropbox.com/u/24369006/CCTV%2014%5B10FEB2013-055546%5D.mpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here is a link&lt;/a&gt; to a very short clip in this format (6.6MB).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/hxHDG.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;mediainfo output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : CCTV-11[02JUN2012-183712].mpg&#xA;Format                                   : MPEG-PS&#xA;File size                                : 3.94 GiB&#xA;Duration                                 : 1h 43mn&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 5 473 Kbps&#xA;&#xA;Video&#xA;ID                                       : 234 (0xEA)&#xA;Format                                   : MPEG Video&#xA;Format version                           : Version 2&#xA;Format profile                           : Main@Main&#xA;Format settings, BVOP                    : Yes&#xA;Format settings, Matrix                  : Custom&#xA;Format settings, GOP                     : M=3, N=12&#xA;Duration                                 : 1h 43mn&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 5 108 Kbps&#xA;Maximum bit rate                         : 10 000 Kbps&#xA;Width                                    : 720 pixels&#xA;Height                                   : 576 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate                               : 25.000 fps&#xA;Standard                                 : PAL&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Interlaced&#xA;Scan order                               : Top Field First&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel*Frame)                       : 0.493&#xA;Stream size                              : 3.68 GiB (93%)&#xA;&#xA;Audio&#xA;ID                                       : 192 (0xC0)&#xA;Format                                   : MPEG Audio&#xA;Format version                           : Version 1&#xA;Format profile                           : Layer 2&#xA;Duration                                 : 1h 43mn&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 256 Kbps&#xA;Channel(s)                               : 2 channels&#xA;Sampling rate                            : 48.0 KHz&#xA;Compression mode                         : Lossy&#xA;Delay relative to video                  : -921ms&#xA;Stream size                              : 189 MiB (5%)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3595" LastEditorUserId="3595" LastEditDate="2013-02-09T11:03:22.893" LastActivityDate="2013-02-09T12:52:25.513" Title="Satellite DVR: Cant play recording on computer" Tags="|codec|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="7077" PostTypeId="1" CreationDate="2013-02-07T16:42:32.983" Score="1" ViewCount="1135" Body="&lt;p&gt;I need to keyframe the Y position transform of a moving subject to keep her in the center of the frame and would like a set of crosshairs to help me do it.  I've seen solutions which employ Motion titles, but I can't get this to work because the clip I'm translating is inside a multicam clip. I've looked, but cannot find, plugins to add this functionality. Thanks&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2013-02-07T18:34:15.313" LastActivityDate="2014-02-15T01:21:17.920" Title="How do I add a crosshair guide to a FCPX angle editor viewer window?" Tags="|video|editing|plugins|final-cut-pro-x|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7081" PostTypeId="2" ParentId="5818" CreationDate="2013-02-08T03:41:39.157" Score="5" Body="&lt;p&gt;&quot;I copy pasted Final Cut Events and Final Cut Projects folders to my external HD but I don't know how to restore it into project in FC. Any help is appreciated.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's better to perform this type of operation from within FCPX, instead of the Finder via copy/paste.  With the project selected in the Project Library, choose File-&gt;Move Project...  As long as you have an external drive connected, the resultant &quot;location&quot; dropdown menu will be populated (instead of saying &quot;no value&quot;).  Selecting the &quot;Move project and referenced events&quot; radio button will transfer all of the necessary media to the external drive, AND remove it from the local drive, thus freeing up space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you work this way, there is no need to, as you say, &quot;restore it to a project in FC&quot;.  You simply make sure the external drive which contains the project file and media is connected to your machine, and the project is available in the project library window.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-02-08T03:41:39.157" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7082" PostTypeId="2" ParentId="7047" CreationDate="2013-02-08T04:03:17.477" Score="2" Body="&lt;p&gt;Blender does have &lt;a href=&quot;http://www.blender.org/education-help/tutorials/compositing/&quot; rel=&quot;nofollow&quot;&gt;compositing&lt;/a&gt; capability, and can be used to do some of the stuff that AE does. It's free, but you have to learn how to use it, so how highly you value your time counts in the final equation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to see Blender in action as a compositor you can see the &quot;&lt;a href=&quot;http://www.tearsofsteel.org/&quot; rel=&quot;nofollow&quot;&gt;Tears of Steel&lt;/a&gt;&quot; short film made with Blender last year.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2013-02-08T04:03:17.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7087" PostTypeId="2" ParentId="7073" CreationDate="2013-02-08T16:04:24.073" Score="2" Body="&lt;p&gt;You can try to convert the defunct video to a different codec. Use something Lossless like ProRes, if you can, or Motion JPEG. Then put the clip back into your project. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had this problem &lt;a href=&quot;http://mosx.tumblr.com/post/8353326625/how-to-solve-a-general-error-in-final-cut-pro-7-or&quot; rel=&quot;nofollow&quot;&gt;once in FCP7 for about a week&lt;/a&gt;. It didn't go away until I re-recorded that video (which was painful, but in my case, doable). I wouldn't suggest such a radical solution in your case though. There's a lot you can still try. Read the linked post. Basically what I did was: &quot;circumvent or force media conversion at different production stages&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also open Console and take a look at the log when the app is crashing. That normally gives hints what is going on in the background.&lt;/p&gt;&#xA;" OwnerUserId="2277" LastActivityDate="2013-02-08T16:04:24.073" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="7089" PostTypeId="1" AcceptedAnswerId="7104" CreationDate="2013-02-09T06:29:54.660" Score="3" ViewCount="109" Body="&lt;p&gt;I was struck by some of the effects in the &quot;&lt;a href=&quot;http://www.youtube.com/watch?v=AMpZ0TGjbWE&quot; rel=&quot;nofollow&quot;&gt;god made a farmer&lt;/a&gt;&quot; superbowl commercial... and was curious what programs are out there that let you take an image, and in a video, produce the illusion of...&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;the sky moving in the background&lt;/li&gt;&#xA;&lt;li&gt;false depth as the camera &quot;pans&quot; across the image (making different layers in the image overlap)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="3598" LastActivityDate="2013-02-11T01:08:49.853" Title="adding depth and motion to images for video" Tags="|video|effects|photos|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7092" PostTypeId="2" ParentId="7075" CreationDate="2013-02-09T12:52:25.513" Score="1" Body="&lt;p&gt;Okay this has a stupid answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I installed the &lt;code&gt;ubuntu-restricted-extras&lt;/code&gt; package and avidemux opens this file fine now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looks like I didn't have the right codecs.&lt;/p&gt;&#xA;" OwnerUserId="3595" LastActivityDate="2013-02-09T12:52:25.513" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7093" PostTypeId="2" ParentId="7089" CreationDate="2013-02-09T16:52:39.817" Score="3" Body="&lt;p&gt;I believe the technique you're interested in is most commonly called &quot;camera mapping&quot; or &quot;camera projection&quot;.  &lt;a href=&quot;http://greyscalegorilla.com/blog/2010/01/camera-projection-in-cinema-4d-part-1/&quot; rel=&quot;nofollow&quot; title=&quot;GreyscaleGorilla tutorial on camera mapping in Cinema 4d&quot;&gt;Here&lt;/a&gt; is a tutorial on the technique which employs the use of Maxon Cinema 4d, although the effect is achievable through many other other software packages.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-02-09T16:52:39.817" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7096" PostTypeId="1" AcceptedAnswerId="7101" CreationDate="2013-02-10T01:02:39.817" Score="3" ViewCount="421" Body="&lt;p&gt;I want to know is there any website or software available to make white board animation as following?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/NugRZGDbPFU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="3603" LastActivityDate="2014-05-16T05:56:55.997" Title="Is there any automated online service for making white board animation?" Tags="|video|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7098" PostTypeId="1" CreationDate="2013-02-10T02:47:10.443" Score="4" ViewCount="9178" Body="&lt;p&gt;I'm trying to export a composition from Adobe After Effects. My Comp is 1280x720, and ideally I'd export with an mp4 container, and h264 video codec. Problem is, After Effects is giving me a PAR error, telling me the video will be resized &quot;to meet format contraints&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Error Message:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Video will be resized from 1280x720(1.00PAR) to 176x120(1.21PAR) to meet format constraints.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Anyone know of a fix to this? Looks like my encoder is MainConcept MP4 Video. I'm using CS6. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="3605" LastEditorUserId="6685" LastEditDate="2015-05-22T07:04:41.100" LastActivityDate="2017-11-08T15:25:17.970" Title="Adobe After Effects MP4 Export Issue" Tags="|video|after-effects|codec|encoding|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7101" PostTypeId="2" ParentId="7096" CreationDate="2013-02-10T11:39:10.287" Score="2" Body="&lt;p&gt;The video you showed is simply a stop motion video, not an animation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you aren't going to be able to simply send a jpg off somewhere and have it come back as a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are plenty of video houses that will happily make you a video like this, but it is time consuming. Usually they video the entire process of drawing the art, then cut out frames - to ensure they keep in important key frames.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2013-02-10T11:39:10.287" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7104" PostTypeId="2" ParentId="7089" CreationDate="2013-02-11T01:08:49.853" Score="4" Body="&lt;p&gt;I think you're referring to the (false) parallax effect. &lt;a href=&quot;https://vimeo.com/28709243&quot; rel=&quot;nofollow&quot;&gt;This guy&lt;/a&gt; has applied it to stationary photographs in a similar way as in the &quot;God made a farmer&quot; video and in the video description he explains the global steps he has taken.&lt;br&gt;&#xA;Here's a quote from his description concerning the production process: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;First, the image is cut into multiple sections, each cut section being&#xA;  at different distances from the camera. After the photos have been&#xA;  sliced into multiple layers and the holes filled in (yes, you have to&#xA;  fabricate some of the background, a slow but usually pretty easy&#xA;  process in Photoshop) the layers are then brought into After Effects&#xA;  and separated in Z-Space (pushed away from the viewer in 3D space). If&#xA;  the layers are put approximately in the correct distance from the&#xA;  virtual camera, mimicking the distance from the original image, a&#xA;  believable parallax &quot;video&quot; can be made with simple virtual camera&#xA;  moments.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2013-02-11T01:08:49.853" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7105" PostTypeId="1" CreationDate="2013-02-11T06:52:36.300" Score="2" ViewCount="47" Body="&lt;p&gt;I'm going to compress a video but I have one problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is a frame with a bit(last bit) of each color(RGB) changed unacceptable or distinguishable from the original one in HD?&lt;/p&gt;&#xA;" OwnerUserId="3611" LastActivityDate="2013-02-11T14:40:17.437" Title="Last bit of RGB changed" Tags="|video|compression|full-hd|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7106" PostTypeId="2" ParentId="7105" CreationDate="2013-02-11T13:09:33.403" Score="3" Body="&lt;p&gt;Unacceptable is in the eye of the watcher, so that part is tough to answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Distinguishable is easier: yes, there will be a difference. It will not be obvious in every frame or circumstance, but it will be there. If you simply truncate the lowest bit, it will raise the noise floor and the effect will be most evident in low light areas. So, it will look worse, but how much worse, and whether it's acceptable, depend on the particulars.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-02-11T13:09:33.403" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7107" PostTypeId="2" ParentId="7105" CreationDate="2013-02-11T14:40:17.437" Score="1" Body="&lt;p&gt;It is unlikely to be noticeable.  This is basically the principal on which steganography operates.  It changes the least significant bits in images and video such that there is not a noticeable change in the final image, however software can later pull out the data without it being obvious that the data was there.  Without access to the original image it is quite difficult for even a computer to know that the change occurred.  The NSA and security professionals in general have put considerable time and resources in to trying to figure out good ways to identify steganographic messages.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-02-11T14:40:17.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7109" PostTypeId="2" ParentId="7098" CreationDate="2013-02-11T14:45:10.333" Score="1" Body="&lt;p&gt;It sounds like you are using a trial version of an encoder that imposes limitations on the size it will export based on the severe down-scaling that it is imposing.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-02-11T14:45:10.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7110" PostTypeId="1" CreationDate="2013-02-11T16:29:42.873" Score="2" ViewCount="1849" Body="&lt;p&gt;Hopefully I'm not out of line asking here, but I used to have a Sony HDR camera and of course all the files were in a sony format.  Quite some time ago I used iMovie to import them and since then I've just been storing them on a file server.  Now I'm going through my archive and trying to figure out what I want to keep and what I don't.  However, I'm having issues opening some of the files.  It seems completely random quite honestly.  Clips from the same day will work while others won't?  I've downloaded VLC for mac and pc and neither recognizes the file.  VLC has always opened everything pretty much.  Any thoughts on how I can determine if this is just a unrecognized format or a corrupt file  or something else?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the a public link to the file in case you want to have a look.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://dl.dropbox.com/u/25690725/clip-2008-12-25%2009%3B21%3B23.mov&quot; rel=&quot;nofollow&quot;&gt;http://dl.dropbox.com/u/25690725/clip-2008-12-25%2009%3B21%3B23.mov&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="3615" LastActivityDate="2013-02-13T11:47:28.953" Title="Video file format won't play" Tags="|file-formats|imovie|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7115" PostTypeId="1" AcceptedAnswerId="7121" CreationDate="2013-02-11T20:53:04.480" Score="3" ViewCount="251" Body="&lt;p&gt;What are some of the best options for setting up an indoor, stationary scene?&#xA;The project is an instructional video with one human subject speaking. The final end product will be interspersed with screen-capture video from a laptop. Intended viewing format for the end-user will be streaming through the web, if that makes any difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From what I know, most &quot;professional&quot; camcorders can take both mic level and line level inputs. So I have a few questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;Camcorder&lt;/strong&gt;: Aside from video-related differences, how do video DSLRs or otherwise consumer-grade camcorders compare to professional (big 3-CCD) camcorders in terms of working with external mics? What considerations should be taken regarding mic level vs. line level, if any?&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Microphone&lt;/strong&gt;: Any recommendations for microphones at various budgets (~$50-300)? Would a lav/lapel mic or a shotgun mic be better? Background noise reduction is key (firetrucks, sirens, etc. creeping through closed windows).&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Mixer&lt;/strong&gt;: Would a mixer be appropriate here, considering the answers to the previous questions?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;From my preliminary research, I figured I have a few initial options:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Buy shotgun mic and plug into camcorder (phantom power provided by battery/outlet, I assume?)&lt;/li&gt;&#xA;&lt;li&gt;Buy wired lapel mic, plug into mixer/whatever to raise to line level, and plug into camcorder line-in&lt;/li&gt;&#xA;&lt;li&gt;Buy wired lapel mic and plug into camcorder mic-in&lt;/li&gt;&#xA;&lt;li&gt;Buy wired lapel mic, plug into mixer/audio interface to raise to line level, and plug into computer (and sync during editing)&lt;/li&gt;&#xA;&lt;li&gt;Buy wireless USB lapel mic and plug into computer (and sync during editing)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I feel that option 2 is probably the best way to do it in terms of sound quality, convenience, and budget. Option 5 might be suitable as well if mixers are the bottleneck that breaks the budget.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any thoughts or equipment recommendations appreciated. Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="3618" LastEditorUserId="2569" LastEditDate="2013-02-11T21:26:47.130" LastActivityDate="2013-02-12T14:29:49.047" Title="Equipment/setup recommendations (1 camcorder, 1 mic)" Tags="|video|audio-recording|video-editor|recommendation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7117" PostTypeId="2" ParentId="7115" CreationDate="2013-02-12T05:25:01.087" Score="1" Body="&lt;p&gt;Image quality and audio quality are really two separate beasts, so address each solution independently.  &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Camcorder: Aside from video-related differences, how do video DSLRs or otherwise consumer-grade camcorders compare to professional (big 3-CCD) camcorders in terms of working with external mics?&#xA;  Blockquote&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&quot;Big CCD&quot; cameras are great at avoiding rolling shutter in the video signal, but this has no bearing whatsoever on the audio they record.  Since your question specifically addresses a stationary scene, though, rolling shutter shouldn't be a problem.  Another big advantage of professional video cameras is their connectivity to broadcast equipment.  But if you're not working in a broadcast environment, these features add unnecessary cost.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With respect to audio, most dslrs and consumer camcorders ship with some sort of automatic gain compensation (AGC) enabled.  This reduces peak volumes and amplifies silences in an attempt to balance the volume.  In uncontrolled situations, AGC can be helpful, and keep your signal from clipping.  In controlled situations such as interviews, however, AGC will introduce unwanted hiss into the silences.  Make sure the camera you choose allows you to disable AGC for these situations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, the danger of disabling AGC is that your signal might clip.  To avoid this, consider audio bracketing.  Split the signal from your mic, feed it to a preamp on two channels, and reduce the volume on one of the channels.  That way, if your primary signal clips, you'll have a backup.  Feed both of these channels into your camcorder to avoid sync issues.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apologies if this doesn't make sense.  I'm not an audio guy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In response to your question about lavs vs shotgun mics, I think this is a matter of preference.  Lavs are easy to set up, but they are more conspicuous than shotgun mics.  With a shotgun, you need a dedicated sound man, or a very stationary subject. Keep in mind that you aren't limited to &quot;wired&quot; lavs.  Wireless ones are actually the status quo.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-02-12T05:25:01.087" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="7118" PostTypeId="2" ParentId="7098" CreationDate="2013-02-12T07:04:07.233" Score="2" Body="&lt;p&gt;In AE's &quot;output module settings&quot;, with the format set to h.264, click &quot;format options&quot;.  Under the &quot;video&quot; tab, make sure &quot;Level&quot; is set to 5.1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/H.264/MPEG-4_AVC&quot; rel=&quot;nofollow&quot;&gt;Here&lt;/a&gt; is a wikipedia entry which contains a table on h.264 level dimension constraints.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-02-12T07:04:07.233" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7119" PostTypeId="2" ParentId="7110" CreationDate="2013-02-12T11:17:51.140" Score="1" Body="&lt;p&gt;I just downloaded the clip from provided Dropbox link and found that the file is repairable. Please try to diagnose it using &lt;strong&gt;&lt;a href=&quot;http://mp4repair.org/&quot; rel=&quot;nofollow&quot; title=&quot;MP4repair.org&quot;&gt;MP4repair.org&lt;/a&gt;&lt;/strong&gt; or in case you're on a Mac computer using &lt;strong&gt;&lt;a href=&quot;http://aeroquartet.com/movierepair/download/&quot; rel=&quot;nofollow&quot; title=&quot;Treasured&quot;&gt;Treasured&lt;/a&gt;&lt;/strong&gt;. You will be able to repair it in a few minutes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regards,&#xA;Javier&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(As crew of Aero Quartet I may receive some form of compensation, financial or otherwise, from my recommendation or link.)&lt;/p&gt;&#xA;" OwnerUserId="3441" LastEditorUserId="3441" LastEditDate="2013-02-13T11:47:28.953" LastActivityDate="2013-02-13T11:47:28.953" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7121" PostTypeId="2" ParentId="7115" CreationDate="2013-02-12T14:29:49.047" Score="1" Body="&lt;p&gt;In general, the recommendation when working with a DSLR for video is to buy a separate external recorder for audio.  Personally, I use a Zoom H4N for recording audio when doing recordings with my DSLR.  For a non-moving subject that is the only audio source, a LAV is hands down the way to go, particularly if you can conceal the mic and not control external noise levels.  The only advantage a shotgun mic would have is that it doesn't have to be visible in the scene, but it will also pick up far more room noise than the LAV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for your situation, my recommendation is to use a LAV (or possibly a shotgun if visibility of the mic is a major concern, a DSLR (since the shot is not panning) and an independent balanced (XLR based) audio recorder.  A mixer is not necessary as there is only one audio channel to worry about so it can be mixed later.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-02-12T14:29:49.047" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7125" PostTypeId="5" CreationDate="2013-02-12T22:33:31.657" Score="0" Body="&lt;p&gt;An operational amplifier, or op-amp, is an electrical circuit incorporating a transistor, used to increase the power of an electromagnetic input signal such as a radio frequency or a wired electrical waveform. This increase in power, specifically by increasing the voltage amplitude of the signal, is called &quot;gain&quot;, and an op-amp placed into an electrical circuit for this purpose is called a &quot;gain stage&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In professional audio and video, these op-amps are used in virtually all aspects of signal processing, and often occur several times within a single piece of equipment. However, as referred to by the end audio user, two primary pieces of equipment, or conceptual sub-pieces, are called &quot;amplifiers&quot;; the preamplifier and the power amplifier.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A preamplifier or pre-amp is primarily a &quot;tone-shaping&quot; tool. A raw input signal, such as from a microphone or instrument, is input into the preamplifier, which first boosts the signal to a strength that the rest of the processing circuit can easily work with. The signal then normally passes through an &quot;equalizer&quot;, which adjusts the relative strength of various individual frequencies of the signal, usually configurable by the operator. This equalizer can be as simple as a treble and bass knob, or as complex as a multi-band graphic or parametric equalizer. Finally, a second gain stage boosts the signal to the desired output strength. This signal strength is usually still relatively low (fractions of a volt).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The power amplifier is designed to take the &quot;line-level&quot; low-voltage signal and transform it into a &quot;speaker-level&quot; high-voltage signal, that then &quot;drives&quot; the cones in the speaker cabinets to produce the amplified sound in the venue. The basic idea is the same as a signal-level gain stage, but instead of a boost of a few tenths of a volt, the input signal is strengthened to many hundreds or thousands of volts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both of these types of amplifiers are basic necessities of any pro audio system. A mixing console or soundboard has several preamplifiers in its design, one for each input channel, that then feeds &quot;buses&quot;, which can be independently controlled to produce the output signals. These mixer outputs are then fed to power amplifiers that feed various sets of speakers in the main system, or to radio transmitters that convert the electrical signal into radio waves that can be picked up by receivers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instrument amplifiers typically used on stage often have both a preamplifier and power amplifier in the same piece of equipment; this is normally called an &quot;amp head&quot; and is paired with one or more speaker cabinets to produce the instrument's &quot;stage sound&quot;. When an amp head is placed in the same cabinet enclosure as one or more speakers, the setup is called a &quot;combo amp&quot;.&lt;/p&gt;&#xA;" OwnerUserId="3550" LastEditorUserId="3550" LastEditDate="2013-02-14T09:54:17.603" LastActivityDate="2013-02-14T09:54:17.603" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7126" PostTypeId="4" CreationDate="2013-02-12T22:33:31.657" Score="0" Body="Amplifiers are pieces of equipment that accept an input signal and increase its power, for use in other components of the audio system." OwnerUserId="3550" LastEditorUserId="3550" LastEditDate="2013-02-13T03:49:17.937" LastActivityDate="2013-02-13T03:49:17.937" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7128" PostTypeId="1" CreationDate="2013-02-13T02:52:18.123" Score="1" ViewCount="909" Body="&lt;p&gt;I recently recorded an &lt;code&gt;avi&lt;/code&gt; using VirtualDub with Microsoft's LifeCam Studio 1080p HD. However, when playing back the video and audio keep accelerating as the video progresses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I tried to edit the frame rate in MAGIX Movie Edit Pro 17 Plus, the audio track seems fine, but the video track is accelerated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas what could have caused this or how I can go about fixing this?&lt;/p&gt;&#xA;" OwnerUserId="3621" LastEditorUserId="2261" LastEditDate="2013-08-20T05:44:01.337" LastActivityDate="2013-08-20T05:44:01.337" Title="Why recorded avi speeds up?" Tags="|video|editing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7129" PostTypeId="1" AcceptedAnswerId="7195" CreationDate="2013-02-13T03:10:57.540" Score="5" ViewCount="597" Body="&lt;p&gt;What I am looking to do is fairly simple, however seems complicated in theory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I need to do is be able to have a folder where all video files placed in the folder, are transcoded to all applicable web video formats (H264, OGG, WEBM, FLV) Then placed into another folder...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can set this up to a certain extent using Adobe Media Encoder however I need to use source Frame Rate, and Frame Size, as these clips will vary in range from PAL to NTSC to HD...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am open to using FFmpeg but cant seem to get it work in the Mac Environment correctly doing what I want.  Any software as long as it is mac based would work, but must be able to create all 4 of the above mentioned formats.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastEditorUserId="126" LastEditDate="2013-02-13T15:00:39.267" LastActivityDate="2013-02-18T23:07:59.860" Title="Web Videos via Watch Folders Transcode" Tags="|mac|transcoding|webvideos|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7131" PostTypeId="1" AcceptedAnswerId="7132" CreationDate="2013-02-12T18:44:31.617" Score="16" ViewCount="505" Body="&lt;p&gt;I don't know is this is the correct place to ask this but ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've watched several &quot;making of&quot; of current movies and noticed a thing i cannot explain. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What is this strange &quot;secondary&quot; camera you can see near the main camera?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Image: &#xA;&lt;img src=&quot;https://i.stack.imgur.com/F4I99.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reference:  (5:52 and 6:50)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/e3-VCVLtlBQ?start=350&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user16150" LastEditorUserId="2836" LastEditDate="2014-11-11T14:41:53.210" LastActivityDate="2014-11-11T14:41:53.210" Title="What is this strange second camera?" Tags="|camera|filming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7132" PostTypeId="2" ParentId="7131" CreationDate="2013-02-12T18:51:16.397" Score="17" Body="&lt;p&gt;That is a specially built enclosure called a &lt;a href=&quot;http://en.wikipedia.org/wiki/Sound_blimp&quot;&gt;Sound Blimp&lt;/a&gt;, for a still camera, which renders it completely silent, so they can shoot stills without clicks and beeps disturbing the filming.&lt;/p&gt;&#xA;" OwnerUserId="2155" OwnerDisplayName="MikeW" LastActivityDate="2013-02-12T18:51:16.397" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7134" PostTypeId="5" CreationDate="2013-02-13T04:40:51.950" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2013-02-13T04:40:51.950" LastActivityDate="2013-02-13T04:40:51.950" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7135" PostTypeId="4" CreationDate="2013-02-13T04:40:51.950" Score="0" Body="Plug-in-power is a low-voltage variant of phantom power. It is typically used with PC-compatible microphones with 1/8&quot; (3.5mm) TRS plugs." OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2013-02-13T04:53:21.297" LastActivityDate="2013-02-13T04:53:21.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7136" PostTypeId="1" AcceptedAnswerId="10326" CreationDate="2013-02-13T05:41:58.937" Score="6" ViewCount="5929" Body="&lt;p&gt;I have a laptop with an i7 CPU, 1.73 GHz, 8GB RAM, Ubuntu 10.04 with an &quot;ATI Mobility Radeon HD 5800 Series&quot; graphics card. I have compiz enabled (which may be one of the culprits with the problem below).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have recorded a few short videos in 720p resolution at 120fps (GoPro Hero 3), stored on my local HD. The mp4 videos range from 30MB to 500MB, so quite small.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried a variety of players, none of which seem to respond in real time  . In fact the response time is so bad that I get a few frames quite fast at the start but then only the odd frame every second to 5 seconds and the sound seems spliced! One of my 8 cores runs into the ground (100%), the others are essentially unused, with the video player process running at 98%. So obviously this is my limiting factor (can't multi-thread?).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(mplayer, xine both try to play in real time but drop many frames; vlc plays the sound, but shows impressionist rendering and then gets stuck on one frame quite early on; avidemux plays every frame but about 1/6th of real-time speed; cinelerra plays some of the frames only and quite slowly; kdenlive does not allow me to create a 120fps project; Kino converts and down-samples; Lives can't follow; OpenShot plays the sound Ok, but gets stuck on the first frame)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Playing standard 1080p 30fps footage uses about 65% of one core. I did expect that playing 120fps would drop frames, but not to the extent that I only see one every few seconds. In fact I thought that it would play about 1 in 4, which would be great for my purpose.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I'd really appreciate if any of you had any hint as to how I should configure my video card, system or whatever to get better playback ability, i.e. real-time playback with my raw footage (without conversion or down-sampling prior to viewing).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This also affects my ability to edit the videos as I can't tell what I'm looking at in real time, which is very inconvenient when editing. I do not want to down-sample for the first stage of editing as I want to get a feel for the full video first and choose which sections to slow down for slow-motion and which sections to down-sample for normal real-time play.&lt;/p&gt;&#xA;" OwnerUserId="516" LastActivityDate="2015-09-12T13:10:59.880" Title="120fps 720p footage with real time playback on Ubuntu? + editing?" Tags="|video|editing|playback|linux|slowmotion|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7138" PostTypeId="2" ParentId="7129" CreationDate="2013-02-13T14:55:40.197" Score="2" Body="&lt;p&gt;You could create a droplet in compressor.  Unfortunately, your options for destination folder are limited by this method to either source, desktop, cluster storage, or your movie folder.  Since you don't want your watch folder endlessly copying movies, &quot;source&quot; is a bad choice, and you probably don't have cluster storage, so as long as you're ok with your destination being movies or desktop, you could use automator to make a watch folder that performs the Finder-&gt;open action using your droplet as the application.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sure someone will chime in here with a better solution soon.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;edit&lt;/em&gt;  You can change a droplet's destination to any folder you want.  Just open it in the finder after you've created it and change the destination.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2013-02-13T15:09:48.473" LastActivityDate="2013-02-13T15:09:48.473" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7145" PostTypeId="1" CreationDate="2013-02-14T03:35:09.477" Score="2" ViewCount="18090" Body="&lt;p&gt;I have tons of videos of my children and they have been moved from drive to drive many times over the years.  Is there a way to easily get the date the video was taken?  I'm importing them into iTunes currently, but I can find nothing that shows the date the video was taken?&lt;/p&gt;&#xA;" OwnerUserId="3615" LastActivityDate="2021-09-11T20:16:41.963" Title="Capture Date For Video" Tags="|video|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7146" PostTypeId="2" ParentId="7145" CreationDate="2013-02-14T04:23:37.357" Score="1" Body="&lt;p&gt;If you have &lt;a href=&quot;http://www.ffmpeg.org&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt; installed you can type &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffprobe filename.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;and it will give you a list of information about the file with in the end the creation time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sure it is possible to automate this with a bash script and maybe even to extract the creation time out of the list of info, but I wouldn't know how exactly.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2013-02-14T04:23:37.357" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7147" PostTypeId="1" CreationDate="2013-02-14T04:32:00.453" Score="0" ViewCount="151" Body="&lt;p&gt;Ok so I have this presentation thing for next week, and I have to make a explainer video. I'm super torn between whiteboard animation (I can do this) and kinetic typographic video. I really want to try out the latter, but have no experience with AE. My school has almost any imaginable A/V tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I being ambitious? What are some good resources to learn to generate the video (like a 3-minute video) using AE? Are there any &quot;shortcuts&quot;?&lt;/p&gt;&#xA;" OwnerUserId="3634" LastActivityDate="2013-02-14T18:57:48.063" Title="No experience with AE, I want to create a Kinetic Typographic video. Am I being too ambitious?" Tags="|after-effects|animation|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7148" PostTypeId="1" AcceptedAnswerId="16894" CreationDate="2013-02-14T05:13:43.117" Score="1" ViewCount="13831" Body="&lt;p&gt;Is there any way to capture an RTMP stream and output it to SDI?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my situation: We specialize in producing local sports for web streaming. Occasionally we are asked to deliver a stream to a local TV-station. Paying for uplink truck and the whole satellite thing is way beyond our budget.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not really familiar with IP-based workflows, that's why capturing RTMP-stream was my first idea.&lt;/p&gt;&#xA;" OwnerUserId="3635" LastEditorUserId="2569" LastEditDate="2014-01-24T20:31:05.937" LastActivityDate="2018-07-08T17:57:36.943" Title="Is there a way to capture RTMP-stream and output it to SDI?" Tags="|video|streaming|sdi|rtmp|" AnswerCount="6" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7149" PostTypeId="1" AcceptedAnswerId="7153" CreationDate="2013-02-14T10:10:54.457" Score="0" ViewCount="1318" Body="&lt;p&gt;I'm exporting a project from iMovie to Final Cut Pro X.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's really a mess, but working patiently on the project on FCPX can achieve some better results... in any case, during the exporting many videos and sounds chenged their start and end time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, to give an example, if I had an audio of me reading the sentences &quot;Hi all, how are you? Today I'm not fine because I'm getting crazy&quot;, and in iMovie I had cut the &#xA;&quot;how are you&quot; sentence, then in FCPX it gives me the &quot;I'm getting crazy&quot; part of the track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I have two question:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;do you know how to fix this? Is there a known issue? I searched a lot but I couln't find anything!&lt;/li&gt;&#xA;&lt;li&gt;in case there is not a solution to this problem, is there a FAST way to change the start time and the end time of a track? &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I tought it was simple to do with the &quot;open in timeline&quot; menu, but it is not possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I open the audio track in the timeline, the active part is eveidenced, but appartenly there is no way to MOVE the part I want to use...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope I made myself understand.&lt;/p&gt;&#xA;" OwnerUserId="2410" LastActivityDate="2013-02-14T11:42:13.910" Title="How to change the start time of track in Final Cut Pro X?" Tags="|final-cut-pro-x|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7150" PostTypeId="1" CreationDate="2013-02-14T10:13:35.753" Score="0" ViewCount="122" Body="&lt;p&gt;I'm exporting a project from iMovie to Final Cut Pro X.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not all tracks are exported properly, mainly the pip tracks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want to do is to re-make in FCPX the same pip effect that in iMovie is named &quot;exchange&quot; (or something like this, my version is not in english).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some fast way to to that in FCPX or I have to play with the keyframes each time?&lt;/p&gt;&#xA;" OwnerUserId="2410" LastActivityDate="2013-02-14T11:30:39.127" Title="Emulate iMovie PIP exchange effect in Final Cut Pro X" Tags="|final-cut-pro-x|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7152" PostTypeId="2" ParentId="7150" CreationDate="2013-02-14T11:30:39.127" Score="1" Body="&lt;p&gt;You have to create the effect in Motion.  I'm not sure what the iMovie effect looks like, but I use this technique on a daily basis. In my setup, there are actually six separate effects; left_panel_in, left_panel_static_, left_panel_out, right_panel_in, right_panel_static, right_panel_out.  This allows me to go between a 1-up and 2-up configuration at any point in time, and to do so consistently throughout multiple projects.  If you need step by step instructions, I would be happy to assist once I'm sitting in front of a machine with Motion on it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;best, Jason.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-02-14T11:30:39.127" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7153" PostTypeId="2" ParentId="7149" CreationDate="2013-02-14T11:42:13.910" Score="1" Body="&lt;p&gt;Try using the trim tool (keyboard shortcut &quot;t&quot;).&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-02-14T11:42:13.910" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7154" PostTypeId="2" ParentId="7148" CreationDate="2013-02-14T11:56:59.660" Score="0" Body="&lt;p&gt;It looks like there's plenty of software available to capture an RTMP stream available on the internet, although I personally have not tried any of it because I don't have a legitimate reason to do so.  However, to output to SDI, you might be interested in something like &lt;a href=&quot;http://www.bhphotovideo.com/c/product/892451-REG/Blackmagic_Design_bdlkulsdzminmon_Ultrastudio_Mini_Monitor.html&quot; rel=&quot;nofollow&quot;&gt;this.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-02-14T11:56:59.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7155" PostTypeId="2" ParentId="7148" CreationDate="2013-02-14T14:21:34.423" Score="0" Body="&lt;p&gt;The easiest bet is to simply play back the RTMP stream on a system with SDI output.  Don't even need special software, just full screen it and let it rip.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-02-14T14:21:34.423" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7156" PostTypeId="2" ParentId="7147" CreationDate="2013-02-14T14:25:03.043" Score="0" Body="&lt;p&gt;What do you mean by kinetic typographic video?  Do you simply mean that you want moving text?  It is quite easy to setup and animate the movement of layers in After Effects, so I don't think it sounds too ambitious if you have a passing familiarity with other layer based systems (like Photoshop).  You simply need to place what you want on a layer and then manipulate the layer using the Transform options.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As long as you click the diamond for key frame tracking you simply go to the desired keyframe, adjust it to where it should be on that keyframe and AE will interpolate the motion in between.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, if you want to be a bit more complex, you could use path text, setup a path for the text to follow and then use key framing to adjust the start position along the path.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-02-14T14:25:03.043" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="7157" PostTypeId="2" ParentId="7145" CreationDate="2013-02-14T14:28:13.723" Score="1" Body="&lt;p&gt;It entirely depends on what information the camera embedded in the video file.  It may or may not have actually stored the date.  If the information is in the meta data, then any advanced video player or editing tool should be able to see the meta data and tell you the date associated.  Also, it is possible that the file date may be accurate, though there are a lot of things that can cause the file date to change.  The meta data, if present is the most accurate and best bet though if it is present.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-02-14T14:28:13.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7159" PostTypeId="2" ParentId="7145" CreationDate="2013-02-14T15:38:04.877" Score="5" Body="&lt;p&gt;&lt;a href=&quot;http://mediainfo.sourceforge.net/en&quot; rel=&quot;noreferrer&quot;&gt;MediaInfo&lt;/a&gt; gives you a way to check the file metadata, including the creation date for the video and audio streams. This is free, cross platform and open source and also provides a GUI for you to check.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://mediainfo.sourceforge.net/en&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VVjgw.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're up for using the command line, with MediaInfo:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mediainfo in.mp4 | grep &quot;Encoded date&quot; | head -n1 | cut -d: -f2-&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With &lt;a href=&quot;http://ffmpeg.org/&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg's&lt;/a&gt; &lt;code&gt;ffprobe&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -v quiet -print_format flat -show_format in.mp4 | grep creation_time | cut -d= -f2-&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="525" LastActivityDate="2013-02-14T15:38:04.877" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="7160" PostTypeId="1" AcceptedAnswerId="7166" CreationDate="2013-02-14T16:16:46.573" Score="1" ViewCount="3377" Body="&lt;p&gt;I'm looking to convert raw, uncompressed video (currently in avi container) into lossless motion jpeg2000 encoded video in an mxf container. I've tried FFMPEG, but don't think it can do this. What's the best method for transcoding on Linux?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFMPEG command tried:&lt;br /&gt;&#xA; &lt;code&gt;ffmpeg -i Glueck_Newsreel.avi -vcodec libopenjpeg -acodec copy ms0001.mxf&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Errors:&lt;br /&gt;&#xA;&lt;code&gt;[mxf @ 0x1f43a00] track 0: could not find essence container ul, codec not currently supported in container&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;Could not write header for output file #0 (incorrect codec parameters ?)&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="3639" LastActivityDate="2013-02-15T15:08:55.147" Title="Convert Uncompressed AVI to JPEG2000 in MXF" Tags="|ffmpeg|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7161" PostTypeId="5" CreationDate="2013-02-14T18:33:27.723" Score="0" Body="&lt;p&gt;RTMP on &lt;a href=&quot;http://en.wikipedia.org/wiki/Real_Time_Messaging_Protocol&quot; rel=&quot;nofollow&quot;&gt;Wikipedia&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2013-02-15T15:33:42.963" LastActivityDate="2013-02-15T15:33:42.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7162" PostTypeId="4" CreationDate="2013-02-14T18:33:27.723" Score="0" Body="RTMP is an internet protocol for streaming audio, video and data over the internet." OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2013-02-14T18:44:52.990" LastActivityDate="2013-02-14T18:44:52.990" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7163" PostTypeId="2" ParentId="7147" CreationDate="2013-02-14T18:57:48.063" Score="1" Body="&lt;p&gt;This is pretty funny, literally the first thing I ever did in After Effects...Was this&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was able to achieve it pretty easily and if I remember correctly I did it after watching a few of the VideoCoPilot.net beginner tutorials from Andrew Kramer.  And as you get more advanced do some of his harder tutorials, I found it probably to be the number one source in terms of learning the basis to After Effects&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-02-14T18:57:48.063" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7164" PostTypeId="2" ParentId="7148" CreationDate="2013-02-14T21:02:43.700" Score="1" Body="&lt;p&gt;I found this rack mount device called &lt;a href=&quot;http://dveo.com/pdf/D-Streamer-IP-Datasheet.pdf&quot; rel=&quot;nofollow&quot;&gt;DVEO D-Streamer IP/DIG&lt;/a&gt;. One of DVEO's press relises announced $4000 price for the device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Inputs: HTTP Live (HLS), UDP, RTP, RTSP, HTTP, RTMP (Open Flash), MMS.&#xA;Output: SD/HD-SDI.&lt;/p&gt;&#xA;" OwnerUserId="3635" LastActivityDate="2013-02-14T21:02:43.700" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7166" PostTypeId="2" ParentId="7160" CreationDate="2013-02-15T15:08:55.147" Score="1" Body="&lt;p&gt;The JPEG 2000 codec in FFMPEG is still experimental. To use it you would have to compile FFMPEG by yourself with a special option enabled.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But you could use &lt;a href=&quot;http://opendcp.org/&quot; rel=&quot;nofollow&quot;&gt;OpenDCP&lt;/a&gt;, which has it's &lt;a href=&quot;http://code.google.com/p/opendcp/wiki/Documentation&quot; rel=&quot;nofollow&quot;&gt;documentation here&lt;/a&gt;. It needs TIFF images and WAV files as input, that you can produce with FFMPEG. The resulting MXF can be tested with the &lt;a href=&quot;http://www.iis.fraunhofer.de/en/bf/bsy/download/easydcpplayer.html&quot; rel=&quot;nofollow&quot;&gt;easyDCP player&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;OpenDCP is available on all mayor platforms, but the easyDCP player only on Windows/Mac. But perhaps this is still an option for you, since you only need to run the easyDCP player once (on a friend's PC), just to be sure that the OpenDCP output is &quot;according to the standard&quot;.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2013-02-15T15:08:55.147" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7169" PostTypeId="2" ParentId="7128" CreationDate="2013-02-15T19:57:59.277" Score="1" Body="&lt;p&gt;According to the symptoms it seems that the workload is too much for VirtualDub. That does depend on the CPU, but also on the hard disk. Sometimes VirtualDub has to drop frames and resync between video and audio. But in the file header there are only static values that MAGIX and other video editors expect to be constant throughout the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should try setting a smaller frame size and a lower frame rate in &lt;strong&gt;Video-&gt;Capture pin&lt;/strong&gt;. And in &lt;strong&gt;Capture-&gt;Timing&lt;/strong&gt; there are some other important options. Try the &quot;Sync video to audio...&quot; alternative under &lt;strong&gt;Resync mode&lt;/strong&gt;, or the &quot;Automatically disable resync...&quot; option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you find a combination that works, then you can increase the frame size again. I hope this helps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/l4Q1W.jpg&quot; alt=&quot;Capture timing options dialog&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2013-02-15T19:57:59.277" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7172" PostTypeId="1" CreationDate="2013-02-16T08:12:43.267" Score="3" ViewCount="834" Body="&lt;p&gt;I have a need to record a lecture. I would like to capture video of the speaker and video of his slides.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Optimally, I would like to hook up two recording devices, hit record on one program, then the program will record a video stream for each device. When I am done recording I would like to hit stop once on the program and then I would have two videos that are the same length and are basically synchronized. Later I would like the same benefit in editing for simple functions like trimming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there such a program available? Prefer windows but open to other options.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2013-02-18T07:00:31.667" Title="Record and edit two videos at same time" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7174" PostTypeId="1" CreationDate="2013-02-16T19:40:51.417" Score="1" ViewCount="280" Body="&lt;p&gt;I've tried using Adobe Premiere to save a video for iBooks Author. The problem is that when I export my project as a mpeg2 file the quality of the video degrades a lot. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using images to re-create a Ken Burns/panning and scaling effect. I want the quality of the exported video of the images I am using to remain as high as possible. I am aware that iBooks Author optimizes and resizes the imported videos automatically. But right now the quality of the video isn't up to the standard I would like it to be, even before the iBooks optimisation. &#xA;What settings should I use in Premiere Pro to export a video that is going to be used in iBooks Author?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frame rate 23.972&lt;/p&gt;&#xA;&#xA;&lt;p&gt;field order- progressive&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Aspect- square pixel(1)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TV standard - NTSC&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Level- 4.0&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bitrate encoding- VBR 2 pass&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Target bitrate- 5 Mbps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maximum Bitrate- 8Mbps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keyframe distance- 72&lt;/p&gt;&#xA;" OwnerUserId="3645" LastEditorUserId="3645" LastEditDate="2013-02-18T02:51:35.940" LastActivityDate="2013-02-18T02:51:35.940" Title="What export settings should I use in Premiere Pro for iBooks Author videos?" Tags="|video|premiere|file-formats|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7178" PostTypeId="1" CreationDate="2013-02-17T09:42:23.027" Score="4" ViewCount="2400" Body="&lt;p&gt;I want to make a video that will mix a whiteboard drawing animation in the style of RSA Animate videos (so speeded-up drawings) and stop-motion. I think I'm almost ready to start but I still have two questions I can't figure out an answer:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;when I want to make a drawing move in stop-motion, do I have to erase it and draw it again a little bit on the right, then erase it and draw it again and again? In some videos like this one &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/6vZ0iqUS6sg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; , the motion is very fluid, how do I know how many drawings I have to make to get a fluid motion like this? &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;What's the best way to move the field of the camera to draw in different areas of the whiteboard, like what you see here &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Dg5RRMAc1GY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; ? If I manually move my camera I feel like the transition will not be very smooth, but if I do it by software I could have problems in terms of resolution?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3649" LastActivityDate="2014-05-16T06:03:55.280" Title="Whiteboard animation: how to zoom and draw a motion?" Tags="|stop-motion|animation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7179" PostTypeId="2" ParentId="7178" CreationDate="2013-02-17T11:54:27.687" Score="2" Body="&lt;h2&gt;Erase and redraw&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;If you play the first video frame by frame (by pausing the video and pressing the left or right key) you see that moving objects are erased and redrawn again and again. The line properties (thickness, straightness) change a little bit between frames, hinting that the line is redrawn each time (best seen at 0:45). &lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Camera motion&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;About the 2nd video you're correct that manually moving your camera will be not so smooth. If you have a &lt;a href=&quot;http://en.wikipedia.org/wiki/Jib_%28camera%29&quot; rel=&quot;nofollow&quot;&gt;jib&lt;/a&gt; you could achieve much smoother motion. &#xA;However, I don't think they used that in this video. The biggest output size is 720p meaning that the frame has a size of 1280x720 pixels. If you have a camera that can film 1920x1080 pixels you have quite some room left in which you can crop and move the frame.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2013-02-17T11:54:27.687" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7180" PostTypeId="1" AcceptedAnswerId="7183" CreationDate="2013-02-17T13:29:38.160" Score="5" ViewCount="37485" Body="&lt;p&gt;I am new to 3D software and have just started with Cinema 4d. This is a very noobish question but when I create any object in a project it always shows up pitch black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The tutorial videos I have seen create objects where the faces can be see in a shaded grey. What am I doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Image relating to the problem:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/oKvdo.jpg&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3650" LastEditorUserId="17390" LastEditDate="2019-08-28T22:51:07.283" LastActivityDate="2019-08-28T22:51:07.283" Title="Why do my Objects show up black in Cinema-4D?" Tags="|3d|cinema4d|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="7181" PostTypeId="5" CreationDate="2013-02-17T13:56:12.247" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2013-02-17T13:56:12.247" LastActivityDate="2013-02-17T13:56:12.247" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7182" PostTypeId="4" CreationDate="2013-02-17T13:56:12.247" Score="0" Body="CINEMA 4D is a 3D modeling, animation and rendering application developed by MAXON Computer GmbH of Friedrichsdorf, Germany. It is capable of procedural and polygonal/subd modeling, animating, lighting, texturing, rendering, and common features found in 3d modelling applications." OwnerUserId="2178" LastEditorUserId="2178" LastEditDate="2013-02-18T14:05:35.107" LastActivityDate="2013-02-18T14:05:35.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7183" PostTypeId="2" ParentId="7180" CreationDate="2013-02-17T15:33:30.607" Score="3" Body="&lt;p&gt;This can either be an issue with OpenGL and you may want to disable it in the program settings (under &quot;File) to test if thats the issue. Or you may have disabled the standard infinite light that is present in every new scene until you add your first light. Add an infinite light from the lights menu and see if that gives your objects some shading.&#xA;Also try what @Bart Arondson said and look if you have the &quot;Use Color&quot; option enabled and set to black. If yes set it to &quot;off&quot;.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2013-02-17T15:33:30.607" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="7187" PostTypeId="1" AcceptedAnswerId="7190" CreationDate="2013-02-18T02:10:40.580" Score="1" ViewCount="1073" Body="&lt;p&gt;I'm a new user to Premiere Elements 10.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to rotate a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, &lt;strong&gt;the motion effect is not present in the effects panel&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have only recently installed Elements.&lt;/p&gt;&#xA;" OwnerUserId="3653" LastActivityDate="2013-02-18T10:37:29.223" Title="motion effects missing from adobe premiere elements 10" Tags="|premiere-elements|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7188" PostTypeId="2" ParentId="7172" CreationDate="2013-02-18T07:00:31.667" Score="5" Body="&lt;p&gt;There are several ways of doing this... really depends on the cameras you are shooting on &amp;amp; budget.  On set we sometimes use a piece of software called Qtake, which can record two video feeds from an HDSDI source, and play them back immediately, but it's really pricey.  Other ways to do it would be to use a HDSDI trigger to set both devices in to record mode.  Another way is to just make sure your TimeCode is in sync. What cameras are you planning on using?  If you are using Canon 5DII/7D's etc you could use the magiclantern hack and get a trigger record going, see the link below, then the files would correspond and sync up pretty well by the looks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.magiclantern.fm/forum/index.php?topic=1088.0&quot; rel=&quot;noreferrer&quot;&gt;http://www.magiclantern.fm/forum/index.php?topic=1088.0&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3654" LastActivityDate="2013-02-18T07:00:31.667" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7190" PostTypeId="2" ParentId="7187" CreationDate="2013-02-18T10:37:29.223" Score="1" Body="&lt;p&gt;It doesn't appear in your panel as rotate, but if you go to your transform effect you will see roll and rotate options in there. &lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2013-02-18T10:37:29.223" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7195" PostTypeId="2" ParentId="7129" CreationDate="2013-02-18T23:07:59.860" Score="3" Body="&lt;p&gt;...FFMPEG worked, it was a steep learning curve in terms of getting it to work in my environment and, took me a few days to learn how to code in Bash Scripts Shell based, but in the end very happy with the results and it's integration with both Macs and my Unix server.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-02-18T23:07:59.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7196" PostTypeId="2" ParentId="4942" CreationDate="2013-02-19T00:10:51.620" Score="1" Body="&lt;p&gt;Best way to check if it's out of sync or drifting, or both would be make a recording, clap with your hands once at the beginning and at the end.  Check if the sound is earlier or later at the beginning or the end.  Then to resync, use an Non Linear Editing program to align and possibly re-time the audio, retiming the video will look much worse than fixing the sound.  Also recording at 15fps rather than 30 won't look great.&lt;/p&gt;&#xA;" OwnerUserId="3654" LastActivityDate="2013-02-19T00:10:51.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7197" PostTypeId="2" ParentId="7178" CreationDate="2013-02-19T00:59:19.810" Score="2" Body="&lt;p&gt;You could even shoot way higher res than 1920x1080 if you put the camera in stills mode and shoot timelapse, say 5fps, which is what I'd expect this playback speed it (6 times quicker than realtime, at 30fps, although you could easily playback at 24fps too)... Things to watch out for here would be lens distortion, ie a reasonably wide lens would produce bending at the edges, so you would want to undistort the pictures before doing the post pan &amp;amp; tilt.&lt;/p&gt;&#xA;" OwnerUserId="3654" LastActivityDate="2013-02-19T00:59:19.810" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7198" PostTypeId="2" ParentId="7077" CreationDate="2013-02-19T03:14:02.083" Score="0" Body="&lt;p&gt;The best workflow I've found so far is pulling the left and right edges of the viewer frame inward to isolate the center of the picture.  This is obviously far from ideal.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-02-19T03:14:02.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7200" PostTypeId="1" CreationDate="2013-02-19T20:48:48.760" Score="4" ViewCount="31317" Body="&lt;p&gt;I am editing a video in Adobe Premiere Pro CS6 on a 2012 MacBook Pro with the Intel HD Graphics 4000. Sometimes the play button does not play the footage anymore, I can press the button but nothing happens. Do you have any suggestions for a solution?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;&lt;strong&gt;EDIT&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have figured something out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Last time I moved my PC, I had to re-plug-in all my stuff. Mic, USB for the external sound hard drive and so on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I started up CS5.5 Premiere Pro and, with all preferences as usual, nothing worked. I pressed the &quot;Play&quot; button and nothing happened.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After a while, I found out that the Default Settings for the Sound in- and output works only but my UX24 Asio driver wasn't accepted anymore in a way that I wasn't able to use the &lt;code&gt;Play&lt;/code&gt; button.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Well, I closed CS5.5 and then re-re-pluged-in all my Stuff.  Then I opened CS5.5 and selected Asio Ux24 (my soundcard) and everything worked again. Don't ask me why it accepted it this time. Maybe you have to plug in everything in a certain order. Please let me know if that is the case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem now:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I moved my PC again and I face the same problem.  So I did everything I did as described before, but it didn't work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The last point, and I quote here &quot;Go to Preferences -&gt; Audio Hardware and change Default Device to Built-in Output. Do the same in Preferences -&gt; Audio Output mapping.&quot;, was all set. Everything right, as usual. Re-Pluging in the hardware didn't work and re-selecting, restarting didn't work either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need support and help, because there are people waiting for me to make videos.&#xA;Thanks for any answers.&lt;/p&gt;&#xA;" OwnerUserId="1149" LastEditorUserId="2569" LastEditDate="2013-05-20T12:25:15.400" LastActivityDate="2016-01-28T22:51:05.540" Title="Why doesn't the Play button Play in Premiere CS6?" Tags="|premiere|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="7203" PostTypeId="2" ParentId="5833" CreationDate="2013-02-20T00:21:23.257" Score="4" Body="&lt;p&gt;Why convert to OGV when your final upload is going to be to youtube, I may be wrong but you can convert to x264 video codec with AAC Audio even on linux and upload that to youtube considering that is what they prefer to be uploaded anyway.  Have you tried making an h264 and uploading to youtube instead of the OGV file and seeing if that was the issue.  Because I would bet that if that solves it, you then know it was an issue with the OGV being uploaded to youtube, and if it does not solve it, it could be a frame-rate issue with youtube's interpretation or something similar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There have been a lot of issues with OGV files uploaded to youtube in the past.  I cant imagine that it is 100% fixed even at this point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://support.google.com/youtube/bin/answer.py?hl=en&amp;amp;answer=1722171&quot; rel=&quot;nofollow&quot;&gt;http://support.google.com/youtube/bin/answer.py?hl=en&amp;amp;answer=1722171&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: also just noticed that your original footage is at 15fps...this could very well be the source of the issue&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT 2: I seemed to slightly have misread the question a little bit...being that you are starting with a video file that is OGV, and I saw that you are going to MP4...this changes things a little bit...but I am going to guess it has something to do with the 15fps and 22050 Hz audio...I know the sample rate has nothing to do with syncing the audio, but from experience when using non standard frame-rates and audio samplerates, I have tended to see drifting...getting these to sync may be rather difficult while not being able to edit these after the initial recording with a cheap video editor...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While software has gotten better about drifting audio it is still a common problem when using uncommon framerates and samplerates as the keyframed sync points are not standard and could be rounding key frames etc...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You see where it says &quot;Broken file, keyframe not correctly marked.&quot; that is what it is referring to...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;my advice for you would be to get it as close as possible, take it into a video editor and slip and cut up the audio to get it to match the way you want it.  Unfortunately sometimes this is how it is fixed...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Software based transcoders do not always work as they should...hense why a protools setup and/or an avid setup would come with hardware to further ensure sync capabilities and constant frame-rates etc...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing you could try is to convert the footage to a standard framerate, and try to re-mary the audio...as I am pretty sure it is the video drifting...probably ever so slightly slowing down and then speeding up towards the end or vice versa.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT: I was able to get the video to sync to the original using this ffmpeg command...it may have need the rate clause which is what I suspected&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i sync_test1.ogv -strict experimental -pix_fmt yuv420p -r 15 -vcodec h264 -acodec aac sync_test1.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="2994" LastEditorUserId="2994" LastEditDate="2013-02-23T00:57:12.703" LastActivityDate="2013-02-23T00:57:12.703" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="7205" PostTypeId="1" CreationDate="2013-02-20T16:23:29.453" Score="4" ViewCount="223" Body="&lt;p&gt;We want to make recordings of high school hockey games for coach and player reviewing.  However, getting a good shot of the entire rink with one camera is impossible.  Using a student to record the game live has proven to be a problem, because the student usually will watch the game and forget he's recording it, so a lot of the action is missed.  So, I was thinking about putting two static cameras at the centerline, one shooting one side of the rink and one shooting the other, then combining into a split-screen video, and then recording that video, so that it can easily be played back at a later time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I have a couple of issues with this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;How to combine the two video streams into a split-screen video.&lt;/li&gt;&#xA;&lt;li&gt;How to then digitally record these videos for later viewing (digital is preferred, due to the ease of copying and playback).&lt;/li&gt;&#xA;&lt;li&gt;I would actually prefer HD video... Is that even possible?&lt;/li&gt;&#xA;&lt;li&gt;Prefer hardware rather than software based, due to the environment.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Any ideas would be appreciated!  I have been googling this and am having a very difficult time finding pro-level equipment made for this... There's a variety of i* apps, and in-car mobile video products, but none of them seem like the right fit.&lt;/p&gt;&#xA;" OwnerUserId="3662" LastEditorUserId="3662" LastEditDate="2013-02-20T16:56:16.260" LastActivityDate="2013-02-22T22:01:05.910" Title="Split-screen closed-circuit sports recording" Tags="|video|digital-recording|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="7206" PostTypeId="2" ParentId="7205" CreationDate="2013-02-20T20:21:08.107" Score="2" Body="&lt;p&gt;Your best bet to easily do this is probably to set up two cameras with half the field of view being used.  Then simply setup a simple project that can combine the two and encode it for electronic distribution.  If you want to do an all digital route, you are still going to need to run an encoding after the fact to get the size down, so doing the combination of two feeds as a fixed project in post is probably the most straight forward.  Should be able to just copy the files and hit go.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-02-20T20:21:08.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7216" PostTypeId="1" AcceptedAnswerId="7224" CreationDate="2013-02-22T03:57:04.420" Score="2" ViewCount="3534" Body="&lt;p&gt;I have a new install of APE 10 on a Windows 7 64-bit machine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am a new user of APE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have edited a .MOV file, and now I want to save it in a format compatible with YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I go to the File menu, &lt;strong&gt;Export is greyed out&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the requirements before being able to export in Adobe Premiere Elements 10?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="3653" LastActivityDate="2013-02-23T17:20:05.067" Title="Adobe Premiere Elements 10: File &gt; Export is greyed out" Tags="|premiere-elements|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7218" PostTypeId="1" AcceptedAnswerId="7222" CreationDate="2013-02-22T06:05:07.620" Score="7" ViewCount="5827" Body="&lt;p&gt;We are trying to live stream our worship service on Sunday morning.  We have located an ideal spot for the video camera. Unfortunately it is 100 ft away from the sound and network connections which are &quot;behind&quot; the front wall of the worship space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can we use to connect a consumer level ($400) video camera to a computer that is 100 or so feet away.  My understanding is that FireWire will run 10 ft max, and composite video no more then 30 feet without the image becoming soft and having color bleed issues.&lt;/p&gt;&#xA;" OwnerUserId="3144" LastEditorUserId="2178" LastEditDate="2013-02-22T19:19:07.373" LastActivityDate="2013-12-21T22:33:35.230" Title="How to connect a camera to a computer 100ft away?" Tags="|video|cable|" AnswerCount="5" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="7220" PostTypeId="2" ParentId="7218" CreationDate="2013-02-22T16:41:55.090" Score="7" Body="&lt;p&gt;Do you have a component out.  An R/G/B or R/G/B/V/U feed should be stable over a 100 ft run as long as you can separate the components on different wires.  We do this for the Excel and Break Out youth conferences with Youth For Christ and our runs are significantly longer than 100 feet.  If you don't, you could probably get a reasonably cheap firewire to component breakout.  There are also wireless HDMI options available if you have HDMI output.  The analog HDMI output is the same signal as DVI which is an RGB component type signal.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-02-22T16:41:55.090" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7221" PostTypeId="2" ParentId="7205" CreationDate="2013-02-22T22:01:05.910" Score="0" Body="&lt;p&gt;Many of us including myself tend to throw technology at problems that otherwise would yield better and optimized results by old fashion human intervention.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem as I see it:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You want to present to the coaches and team information that will allow them to make decisions on how to improve their performance on the ice during a competition. Simply, you need an accurate and clear recording of a game with the best possible details of the actions of all the players engaged with the puck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Solution:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While it would be nice to have two cameras to cover the entire field there is still the problem that the optimal portion of the screen will be the half way point between the goalie and the center per both cameras. Any action at either goal or center will be on the edge of each camera's frame. This is not optimal. The best solution would be for one camera to &quot;follow&quot; the action with enough detail to capture the players handling the puck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Consider how professionally produced hockey games accomplish this by using the following: multiple cameras at strategic locations fed into a live mixer and switcher under the supervision of a video director, and yes with the occasional cut away shots to the commentators. Not to mention the real time graphic compositing with clock, scores, and handy info found marching across the ticker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's streamline this to be affordable and targeting the coaching staff's criteria.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One camera with an experienced &quot;sports&quot; camera operator. The camera should have the ability to zoom and easily be focused manually on the fly, mounted on a heavy duty tripod with a very smooth fluid head and stationed on the center line of the field at 10 to 30 feet above the ice on the most stable platform. The elevation of the camera is critical to capture the geometry of motion under play.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera operator must be extremely experienced to achieve the optimal recording. Hiring a student with little or no live sports coverage experience and expecting the student to yield professional results is at best a fairy tale. One of the most demanding and challenging camera work is sports photography. So don't even think about skimping on experience here as you have already found out it will bite you in the butt.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You likely do not have a budget for hiring a professional camera operator.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No worries, since this is a high school you have an enormous resource of moms and dads, uncles and aunts, or other relatives that may have this level of experience and are more than happy to volunteer their skills and talents to assist in improving the performance of this hockey team. Imagine if you had a son or grandson involved in hockey and you are both proud of this and love the sport, and were once a professional sports camera operator.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You only need this experienced person for at least one season as they train two student interns who are at most in their junior year or one year from graduation. You should have at least two interns so you have back up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These interns should first demonstrate a keen passion for sports video capture and they should receive academic credit for their efforts and perhaps some tuition weaver or discount as an additional incentive. These interns should be additionally trained on the care and feeding of the camera, tripod, and any associated accessories.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the following year the former interns will be your mentors for the next batch of interns.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you have a sustainable means of professional quality capture and recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I base this answer on personal experience some 40 years ago.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I was in my senior year at SIU Carbondale as a cinema major, I was selected from numerous applicants to a special internship for credit to the SIU film unit. One of their main duties was to record on 16mm color film all the home games of the SIU Saluki football team. I recall many Friday nights and Saturday afternoons working as camera assistant to a professional camera operator covering these games. This guy had it down cold with numerous seasons doing this. He would demonstrate technique and then I would have a chance to see if I had got it with his evaluation right on the spot. Instant feedback, instant progress.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One camera, zoom lens, heavy duty tripod with a very smooth fluid head, mounted above the press box outside at about 60 to 80 feet centered above the 50 yard line. These films were absolutely needed for the coaching staff. This coaching staff expected professional results and they got it delivered. Hence, some of the funding for SIU film unit thus came from the SIU football program.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2013-02-22T22:01:05.910" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7222" PostTypeId="2" ParentId="7218" CreationDate="2013-02-23T12:31:08.230" Score="4" Body="&lt;p&gt;As you have Wi-Fi access you could buy a Wi-Fi capable camera. For example the &lt;a href=&quot;http://www.ebay.com/itm/HP-T450-Wireless-HD-Camcorder-With-Live-Streaming-Video-Wi-Fi-/400348234610&quot; rel=&quot;nofollow&quot;&gt;HP T450&lt;/a&gt; costs $134 and is able to stream to &lt;a href=&quot;http://www.ustream.tv/&quot; rel=&quot;nofollow&quot;&gt;Ustream&lt;/a&gt; via Wi-Fi. The pages 39-42 of &lt;a href=&quot;http://h10032.www1.hp.com/ctg/Manual/c03561403.pdf&quot; rel=&quot;nofollow&quot;&gt;the manual (PDF)&lt;/a&gt; elaborate on the use of Wi-Fi to stream to Ustream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is just one of many Wi-Fi capable camera's. &lt;a href=&quot;http://store.sony.com/p/Sony-Live-Streaming-Video-Camcorder-MP4-Recorder-Video-Footage-Camera/en/p/MHSTS55/S#features&quot; rel=&quot;nofollow&quot;&gt;Sony's Bloggie&lt;/a&gt; ($150) can also stream over Wi-Fi, but it uses &lt;a href=&quot;http://www.qik.com&quot; rel=&quot;nofollow&quot;&gt;Qik&lt;/a&gt; as its footage server.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your Wi-Fi signal turns out to be too weak to stream over Wi-Fi, both camera's have a HDMI out so you could use a &lt;a href=&quot;http://www.amazon.co.uk/Component-YPbPr-Audio-Video-Converter/dp/B00622MA6W&quot; rel=&quot;nofollow&quot;&gt;HDMI -&gt; RGB converter&lt;/a&gt; and utilise AJ Henderson's answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I'm not affiliated with any sellers/companies listed above&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2013-02-23T12:31:08.230" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7223" PostTypeId="2" ParentId="5670" CreationDate="2013-02-23T16:47:56.880" Score="2" Body="&lt;p&gt;I had the same problem!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So let me explain the answer :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After effects imports your video at the wrong frame rate, so to fix it follow these steps : &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open the Project panel (by default on the left of your screen)&lt;/li&gt;&#xA;&lt;li&gt;Right click on your footage and go to Interpret Footage -&gt; Main... as shown below.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/BpyAe.png&quot; alt=&quot;https://i.stack.imgur.com/JehOz.png&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;In the screen that opens up input the desired framerate (15fps in this case) in the textbox next to Conform to framerate. Press OK. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/zHN4Y.png&quot; alt=&quot;https://i.stack.imgur.com/z7Yy0.png&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Now After Effects should know that the footage is 15fps.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3551" LastEditorUserId="2569" LastEditDate="2013-02-23T22:24:00.473" LastActivityDate="2013-02-23T22:24:00.473" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7224" PostTypeId="2" ParentId="7216" CreationDate="2013-02-23T17:20:05.067" Score="2" Body="&lt;p&gt;The Export function was removed a couple of generations ago but it is still in the file menu as its used for a couple of things such as tiles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All video is output using the &quot;Share&quot; button.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want some extra information on this matter here is an answer from Adobe:&#xA;&lt;a href=&quot;http://helpx.adobe.com/premiere-elements/kb/export-option-unavailable-premiere-elements.html&quot; rel=&quot;nofollow&quot;&gt;http://helpx.adobe.com/premiere-elements/kb/export-option-unavailable-premiere-elements.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps!&lt;/p&gt;&#xA;" OwnerUserId="3650" LastActivityDate="2013-02-23T17:20:05.067" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7225" PostTypeId="2" ParentId="7200" CreationDate="2013-02-23T17:46:02.077" Score="2" Body="&lt;p&gt;If you Google this problem, you'll see it's quite common. Below are a few suggestion to fix this problem from a big &lt;a href=&quot;http://forums.creativecow.net/thread/3/931380&quot; rel=&quot;nofollow&quot;&gt;Creative Cow thread&lt;/a&gt; about the issue.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Delete the audio track from the video, hit undo, and see if it plays.&lt;/li&gt;&#xA;&lt;li&gt;Create a new sequence and copy paste the old timeline objects in it, see if it plays.&lt;/li&gt;&#xA;&lt;li&gt;Right click on the video footage in your source monitor window and then click &lt;code&gt;Clear in and out&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Reinstall Premiere Pro CS6&lt;/li&gt;&#xA;&lt;li&gt;Go to &lt;code&gt;Preferences -&amp;gt; Audio Hardware&lt;/code&gt; and change &lt;code&gt;Default Device&lt;/code&gt; to Built-in Output. Do the same in &lt;code&gt;Preferences -&amp;gt; Audio Output mapping&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If one of these fixes work for you, let us know in the comments.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2013-02-23T17:46:02.077" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7227" PostTypeId="1" AcceptedAnswerId="7229" CreationDate="2013-02-24T05:04:37.707" Score="3" ViewCount="139" Body="&lt;p&gt;How can I make a video such that the quality degrades if someone tries to record it using cam-studio or similar software? We create music videos which are often subjected to piracy. Although the CDs are encrypted, making it difficult for people to duplicate, anyone can record the videos using camstudio or similar software while playing it on their computer. &lt;/p&gt;&#xA;" OwnerUserId="3676" LastEditorUserId="1530" LastEditDate="2013-02-24T08:27:49.593" LastActivityDate="2013-02-24T09:55:17.000" Title="How can I make a video such that the quality degrades if someone tries to record it using screen recording software?" Tags="|video|video-quality|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7228" PostTypeId="2" ParentId="7227" CreationDate="2013-02-24T08:25:12.397" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.rovicorp.com&quot; rel=&quot;nofollow&quot;&gt;Rovi&lt;/a&gt;, formerly Macrovision dominates this field. Their products can be expensive, and are far from perfect, so there are a variety of competitors out there, but you have to evaluate them (and Rovi products as well) &lt;em&gt;very&lt;/em&gt; carefully.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2013-02-24T08:25:12.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7229" PostTypeId="2" ParentId="7227" CreationDate="2013-02-24T09:55:17.000" Score="7" Body="&lt;p&gt;Rovi does try to add an element of security but the simple truth is that once it is being played, there is actually nothing you can do to prevent it being copied. Unless you control everything (including the screen) then an attacker can just wait until the encryption has been removed and copy the output. So this could be in memory, on screen, by intercepting HDMI etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This has been discussed at great length on security.stackexchange.com as it is one of the unsolved issues in security.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2013-02-24T09:55:17.000" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7232" PostTypeId="2" ParentId="4903" CreationDate="2013-02-24T13:38:49.260" Score="2" Body="&lt;p&gt;ffmpeg will do it for you - &lt;a href=&quot;https://stackoverflow.com/questions/5887311/ffmpeg-1-image-1-audio-file-1-video&quot;&gt;https://stackoverflow.com/questions/5887311/ffmpeg-1-image-1-audio-file-1-video&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to provide good seeking ability, you will need to provide key frames at certain intervals in the encoding, which will increase the size of the video. The codec will encode the whole frame at each of the keyframes but greatly compress the intervening frames. By playing around with the value of the key frame interval, you can arrive at a good compromise for your needs.&lt;/p&gt;&#xA;" OwnerUserId="3675" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2013-02-24T13:38:49.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7233" PostTypeId="2" ParentId="3157" CreationDate="2013-02-24T13:45:04.280" Score="1" Body="&lt;p&gt;Most likely, it is the 'canvas size' setting under the top level Broadcast menu. If you are broadcasting at anything less than 1280x720, then try to keep the aspect ratio the same for the lower resolution, i.e. something like 640x360&lt;/p&gt;&#xA;" OwnerUserId="3675" LastActivityDate="2013-02-24T13:45:04.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7234" PostTypeId="2" ParentId="7218" CreationDate="2013-02-24T15:02:09.613" Score="4" Body="&lt;p&gt;&lt;strong&gt;You can absolutely run composite video over RG-59 or RG-6 without any trouble up to a few hundred feet in my experience. (Analog style security cameras utilize composite connections and run hundreds of feet.) You could even use a video amp to extend further.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also consider that when you encode/compress the stream for broadcasting, you are essentially throwing away a lot of the original quality. There are two ways to look at this, 1… Start with the highest quality image possible because you are going to loose a lot of quality in the codec. Also, the less noise in the input signal, the better the codec will perform. 2… The input image quality doesn't matter because the output is still going to look poor by comparison. You may be in the 1st group or the 2nd group.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing to consider is the camera itself. It will affect the image quality far far more than composite vs. s-video vs. component vs. 1394 vs. HDMI. A prosumer 3CCD camera connected via composite over coax will give you a far better image than a consumer 1 CCD camera connected via 1394.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other things to consider...&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;SD or HD?&lt;/li&gt;&#xA;&lt;li&gt;How many cameras do you want to use?&lt;/li&gt;&#xA;&lt;li&gt;Will you use a video mixer? Digital or Analog?&lt;/li&gt;&#xA;&lt;li&gt;How are you feeding the audio into the encoder?&lt;/li&gt;&#xA;&lt;li&gt;What are you using for encoding?&lt;/li&gt;&#xA;&lt;li&gt;What are you using as a streaming host?&lt;/li&gt;&#xA;&lt;li&gt;Size of online audience? If two people are watching&#xA;online, that suggests a small investment. If one hundred people are&#xA;watching online, that suggests something else.&lt;/li&gt;&#xA;&lt;li&gt;How many people are available to run the system if there are multiple cameras?&lt;/li&gt;&#xA;&lt;li&gt;Are you recording to DVD or some other media?&lt;/li&gt;&#xA;&lt;li&gt;Are you feeding into a CCTV system for nurseries or overflow areas?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;That's not an exhaustive list, just what came off the top of my head.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would advise against using a WiFi camera for this type of application.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have other questions let me know.&lt;/p&gt;&#xA;" OwnerUserId="50" LastActivityDate="2013-02-24T15:02:09.613" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7236" PostTypeId="1" CreationDate="2013-02-24T22:23:40.990" Score="2" ViewCount="159" Body="&lt;p&gt;HI I want to know how many FPS I should use for a video for the internet. I guess it depends on where I am going to show it? youtube, vimeo, etc?. if you can, please, give me a list of possibilities, thanks!&lt;/p&gt;&#xA;" OwnerUserId="3680" LastEditorUserId="2569" LastEditDate="2014-01-24T20:17:47.513" LastActivityDate="2014-01-24T20:17:47.513" Title="FPS for the internet" Tags="|video|digital-recording|video-standards|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7237" PostTypeId="1" CreationDate="2013-02-25T04:19:39.163" Score="7" ViewCount="431" Body="&lt;p&gt;So I'm a beginner when it comes to video editing, but I hear and read about a lot of different types of cuts between clips, e.g. jump cut, smash cut, etc. I always felt it would be great to just see them demonstrated in some example video clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have anyone seen such a resource, preferrably free, online, where most or all of these types of cuts are shown in examples?&lt;/p&gt;&#xA;" OwnerUserId="3486" LastActivityDate="2021-01-25T12:37:50.227" Title="Is there a good collection of examples of the different type of video cuts?" Tags="|video|video-editor|tutorial|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7238" PostTypeId="2" ParentId="7236" CreationDate="2013-02-25T07:23:25.593" Score="3" Body="&lt;p&gt;If your source footage is interlaced, deinterlace it.  If your progressive frame rate is a constant 23.976, 24, 25, 29.97, or 30 fps, then keep the frame rate as it is, unless you require a very low bitrate and want to halve the frame rate.  These are all widely supported frame rates, although other arbitrary frame rates below 30 fps will often work as well.  Many popular devices only claim to support up to 30 fps.  If your source footage has a higher frame rate or you have a variable frame rate, consider converting it to one of these constant frame rates for wider compatibility.  Don't bother if you are submitting to YouTube as they will accept a wide range of frame rates and will re-encode the video for you at various quality levels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are shooting all new footage specifically for the Internet, which will not be combined with existing footage, and you have your choice of frame rate, 30 fps (progressive) is a good and popular choice.  If you will not have any fast motion and want that cinematic look, you may prefer 24 fps.&lt;/p&gt;&#xA;" OwnerUserId="2236" LastActivityDate="2013-02-25T07:23:25.593" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7240" PostTypeId="2" ParentId="7236" CreationDate="2013-02-25T14:28:08.723" Score="3" Body="&lt;p&gt;Most modern codecs will support whatever frame rate you throw at them.  The choice is more of an artistic decision than a technical one.  For the best quality, you should match the frame rate of your source or some even multiple there of.  If you can choose on your source, then choose according to the feel you want.  24(23.976) is more &quot;cinematic&quot; and is what is used in theater films while 30 (29.97) is a little smoother and is what is used by NTSC television (like the US).  48 and 60 are much smoother but also less common.  25 is common in PAL countries.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-02-25T14:28:08.723" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7242" PostTypeId="1" AcceptedAnswerId="7248" CreationDate="2013-02-25T18:22:29.190" Score="1" ViewCount="988" Body="&lt;p&gt;What software can I use to create the &quot;Marvel&quot; movie like flipping effect that accompanies pretty much every Marvel movie? I am looking to create a home movie on my PC that flips through a bunch of pictures really fast as to show time flying by, so to speak. I do not own Adobe After Effects. Looking for cheap or open source.&lt;/p&gt;&#xA;" OwnerUserId="3684" LastActivityDate="2013-02-26T02:11:33.167" Title="Marvel-like Image Flipping Technique" Tags="|software|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7248" PostTypeId="2" ParentId="7242" CreationDate="2013-02-26T02:11:33.167" Score="1" Body="&lt;p&gt;Firstly to clarify is it this kind of effect your want to create?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/aTDNosVEEyk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know you dont have after effects and your looking for something free, however you can get a free trial if you dont want to use the software for long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can download this at:&#xA;www.adobe.com/go/tryaftereffects/&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is this video tutorial on how to replicate something similar to the marvel style.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Ac1D1xZRK4E?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this Helps!&lt;/p&gt;&#xA;" OwnerUserId="3650" LastActivityDate="2013-02-26T02:11:33.167" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7255" PostTypeId="2" ParentId="7218" CreationDate="2013-02-27T00:23:03.493" Score="3" Body="&lt;p&gt;Convert the signal coming out of the camera to SDI and run a long SDI cable (it's designed for long runs - it's what they use in TV studios and outside broadcasts) into an SDI capture card on the computer which will let you do whatever you want with it. Blackmagic sell all the gear you need:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Get a &lt;a href=&quot;http://www.blackmagicdesign.com/products/decklink/&quot; rel=&quot;nofollow&quot;&gt;Decklink card&lt;/a&gt; and a &lt;a href=&quot;http://www.blackmagicdesign.com/products/miniconverters/&quot; rel=&quot;nofollow&quot;&gt;HDMI to SDI mini converter&lt;/a&gt; and that will let the computer stream to the Internet. Alternatively, just buy a &lt;a href=&quot;http://www.teradek.com/pages/vidiu&quot; rel=&quot;nofollow&quot;&gt;Teradek VidiU&lt;/a&gt; or &lt;a href=&quot;http://store.livestream.com/products/livestream-broadcaster&quot; rel=&quot;nofollow&quot;&gt;Livestream Broadcaster&lt;/a&gt;, and plug it in to the network (ethernet or wi-fi) and into the HDMI port of the camera. It will live stream to the Internet without the use of a computer.&lt;/p&gt;&#xA;" OwnerUserId="1725" LastActivityDate="2013-02-27T00:23:03.493" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7257" PostTypeId="1" CreationDate="2013-02-27T06:17:37.750" Score="1" ViewCount="160" Body="&lt;p&gt;I'm looking for an external DSLR monitor that is not bigger than around 3 inches. For example, 4 or 5 inches is too big. I need something small and not bulky, for skateboarding videography.&lt;/p&gt;&#xA;" OwnerUserId="603" LastActivityDate="2013-03-03T19:21:46.263" Title="Any DSLR monitors around 3 inches?" Tags="|dslr|monitors|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7258" PostTypeId="2" ParentId="7237" CreationDate="2013-02-27T08:36:54.900" Score="-3" Body="&lt;p&gt;Try to use Avidemux as free video cutting and joining software. Also try freemake video converter is quality software to convert multimedia files.&lt;/p&gt;&#xA;" OwnerUserId="3023" LastEditorUserId="126" LastEditDate="2013-02-27T18:17:47.567" LastActivityDate="2013-02-27T18:17:47.567" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7259" PostTypeId="1" CreationDate="2013-02-27T13:43:48.240" Score="2" ViewCount="1034" Body="&lt;p&gt;When uploading a video to Vimeo the video is transcoded by Vimeo and in the process red gets a bit more saturation and the contrast is increased a little.&#xA;As I chose Vimeo as my platform I have to live with that and hence compensate for it during my video production.&lt;br&gt;&#xA;How would I determine the exact amount of red desaturation and contrast decrease? Can I overlay the screenshots somehow and calculate a difference? Is there maybe a plug-in for Premiere Pro that compares two videos and outputs a suggested colour correction?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I can do this by trial and error, but I'd rather have an automatic solution. &#xA;Here's an image showing the effect:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/3N7aL.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note the difference of skin tone between &lt;code&gt;Safari&lt;/code&gt; and &lt;code&gt;Vimeo HD file&lt;/code&gt;. The latter is the intended colour.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2016-03-13T03:03:19.897" Title="How to compensate for red oversaturation and contrast increase?" Tags="|color-correction|webvideos|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7260" PostTypeId="2" ParentId="7259" CreationDate="2013-02-27T14:05:25.490" Score="2" Body="&lt;p&gt;Unfortunately, even if you could get an exact amount of the difference, it is highly unlikely that adjusting by that amount will fix your problem.  Since a lossy compression is being used, the codec is deciding to alter the color to something that is more easily stored in a small space.  You will likely get a different color artifact if you try to correct for this one.  Your best bet would probably be to look in to the formats that Vimeo uses and try to encode it yourself such that Vimeo won't have to transcode it.  This would give you control over the compression itself and you might be able to use a better encoder that would maintain color more accurately.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-02-27T14:05:25.490" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="7267" PostTypeId="1" AcceptedAnswerId="7276" CreationDate="2013-03-01T02:03:06.500" Score="3" ViewCount="6039" Body="&lt;p&gt;Animatedly, I tried to zoom into a video clip in Premiere by creating two Position keyframes and two Scale keyframes&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/XUx2g.png&quot; alt=&quot;Premier transform effect animation&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;But &lt;a href=&quot;https://www.dropbox.com/s/h3qwy01xxksy1tm/hammering-removal.flv&quot; rel=&quot;nofollow noreferrer&quot;&gt;the result is very shaky for some reason?&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;What am I doing wrong with this implementation, or should I achieve this zooming effect by other means?&lt;/p&gt;&#xA;&lt;h3&gt;Same shaky result using linear interpolations&lt;/h3&gt;&#xA;&lt;p&gt;If I use just Position keyframes (Scale keyframes deleted for troubleshooting), and if I set the keyframes' &lt;strong&gt;Temporal Interpolation&lt;/strong&gt; to &lt;strong&gt;Linear&lt;/strong&gt; and also the &lt;strong&gt;Spatial Interpolation&lt;/strong&gt; to &lt;strong&gt;Linear&lt;/strong&gt;, &lt;a href=&quot;https://www.dropbox.com/s/me0kvm6fqb3upgd/position-only-linear-animation.flv&quot; rel=&quot;nofollow noreferrer&quot;&gt;the resultant video is still jerky, as evidenced here&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I set the temporal and spatial interpolations to Linear for both keyframes i.e. for both the starting and middle keyframes&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/L78ny.png&quot; alt=&quot;Premier transform effect linear animation&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;There are a number of other interpolation options, maybe one of them would help?&lt;/p&gt;&#xA;" OwnerUserId="2070" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2023-04-20T11:01:55.893" Title="zooming animation is not smooth in Premiere CS6" Tags="|video|premiere|effects|post-production|" AnswerCount="2" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="7271" PostTypeId="1" CreationDate="2013-03-01T10:08:56.700" Score="3" ViewCount="762" Body="&lt;p&gt;So I wanted to do a mashup video for personal usage, meaning scenes cut from downloaded commercial movies or Youtube. This is typically relatively highly compressed h264-material.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The workflow that I attempted, but feel is not optimal, is to:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Remux losslessly to .mov containers and stereo-only audio where applicable&lt;/li&gt;&#xA;&lt;li&gt;On 2x speed, watch through in QuickTime Player X. Whenever I want to use something, I use the Trim function, Duplicate the trimmed movie, save the duplicate, and then undo the changes in the original and continue.&lt;/li&gt;&#xA;&lt;li&gt;In FCPX, I import the clips and put them in a project.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The problems in my workflow is, that it would be great with a tool that is more optimal to scan large amount of video (e.g. a full length movie) and mark sections to become clips. Secondly, FCPX frequently crashes when I try to use the clips natively. I have converted some of them to Optimized Media (Prores 422).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a better tool, or a workflow combining tools, that makes it particularly easy to do these types of video mashups?&lt;/p&gt;&#xA;" OwnerUserId="3486" LastActivityDate="2013-06-05T12:35:04.733" Title="Best way to edit mashup video of downloaded movies?" Tags="|editing|workflow|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7272" PostTypeId="2" ParentId="7271" CreationDate="2013-03-01T11:33:20.803" Score="1" Body="&lt;p&gt;Not on FCPX, but on Avid.  However, this is what I do and it may help:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Download at the maximum possible resolution you can download at.&lt;/li&gt;&#xA;&lt;li&gt;Use AVIDemux as my rough-cut tool to mark 'A' and 'B' and save as clips with meaningful names.  Leave a few seconds on either side. &lt;/li&gt;&#xA;&lt;li&gt;Import clips into Avid&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Sometimes, I have to convert the container to 'MP4' or resample frame rates and AVIDemux handles these well.&lt;/p&gt;&#xA;" OwnerUserId="3675" LastActivityDate="2013-03-01T11:33:20.803" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7273" PostTypeId="1" CreationDate="2013-03-01T13:16:10.007" Score="2" ViewCount="124" Body="&lt;p&gt;I have a silly question:&#xA;Do I have to the WB before or after choosing a Color filter?&#xA;If I do it after, then the camera will &quot;see&quot; white and the filter wouldn't make sense. If I do it before, why just not balance for the color temperature I want, say, 2900K if I want warm colors?&#xA;I am sure I don't understand something basic&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="3680" LastActivityDate="2013-03-01T14:17:29.863" Title="White Balance/ Filters" Tags="|video-quality|lighting|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7274" PostTypeId="2" ParentId="7273" CreationDate="2013-03-01T14:17:29.863" Score="5" Body="&lt;p&gt;The ability to set custom white balances largely makes color filters unnecessary.  The only thing they really (potentially) offer is better dynamic range.  With a white balance adjustment, it alters the processing of what the sensors pick up, but if there is a really bright orange area for example, it could overload those sensors and thus detail would be lost if the rest of the image was darker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using a filter would reduce the amount of light of that color reaching the sensor and could potentially keep more detail.  This probably isn't going to happen in the vast majority of cases, but it is one physical difference between the two processes.  For the most part, color filters are a hold over from film days when there wasn't electronic white balancing.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-01T14:17:29.863" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="7275" PostTypeId="2" ParentId="7271" CreationDate="2013-03-01T14:21:59.607" Score="1" Body="&lt;p&gt;Why are you not simply using the video editing package to scrub for clips?  My preference has always been to do things in the editing software directly.  I'm a Premiere guy not a FCPX guy, but is there any method to form a virtual clip based on given start and end points in FCPX?  How powerful is your system if it is crashing trying to scrub H264 files?  It sounds like there are some bigger issues going on with your hardware or software.  Either that or FCP has really truly fallen off the wagon with X.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-01T14:21:59.607" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7276" PostTypeId="2" ParentId="7267" CreationDate="2013-03-01T19:13:01.497" Score="3" Body="&lt;p&gt;Turns out that one should use &lt;a href=&quot;http://crawfordschools.org/dshepard/Broadcast%20Video/PSA/p4_09_howto_motion_effect.pdf&quot; rel=&quot;nofollow&quot;&gt;the Motion effect&lt;/a&gt; and not the Transform effect for zooming in Premiere, even though they have exactly the same Position and Scale controls!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;https://www.dropbox.com/s/64lc85thyb6jm3k/zooming-with-motion-effect.flv&quot; rel=&quot;nofollow&quot;&gt;Here is the result with the Motion effect&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;p.s. &lt;a href=&quot;http://help.adobe.com/en_US/premierepro/cs/using/WS52DEF9DC-C740-41f3-865A-46DB6827BCC0.html&quot; rel=&quot;nofollow&quot;&gt;The Anti-Flicker filter&lt;/a&gt; I discovered under the Motion effect was left to the default of 0, so that was not needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;p.p.s. I also found &lt;a href=&quot;http://forum.videohelp.com/threads/303107-Premiere-CS4-My-zoom-PNG-image-is-stutter!&quot; rel=&quot;nofollow&quot;&gt;this discussion&lt;/a&gt; of a similar issue&lt;/p&gt;&#xA;" OwnerUserId="2070" LastActivityDate="2013-03-01T19:13:01.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7277" PostTypeId="1" CreationDate="2013-03-01T20:09:12.123" Score="2" ViewCount="88" Body="&lt;p&gt;I'm specifically using the &lt;a href=&quot;http://www.smallhd.com/products/dp6/&quot; rel=&quot;nofollow&quot;&gt;smallHD DP6&lt;/a&gt; SDI version, so I don't have scopes built into the monitor.  I'm generating bars with a Sony HXR-NX5U, and using the blue gun feature on the monitor as per &lt;a href=&quot;http://www.glennchan.info/broadcast-monitors/monitor-calibration/monitor-calibration.htm&quot; rel=&quot;nofollow&quot;&gt;these&lt;/a&gt; instructions.  But when I record to an SD card, import onto my laptop, and compare, the laptop matches the Sony LCD, but the SmallHD one is way too saturated.  Do I just have to eyeball it, or are there hardware solutions (&quot;spiders&quot;?) available?&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-03-03T19:14:52.930" Title="How do I accurately calibrate an external on-camera LCD monitor?" Tags="|video|monitors|color-correction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7280" PostTypeId="1" CreationDate="2013-03-02T05:02:35.433" Score="1" ViewCount="111" Body="&lt;p&gt;If there is more than one light source, they should be the same temperature, right?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this isn't always the case, when should they be different?&lt;/p&gt;&#xA;" OwnerUserId="3680" LastEditorUserId="674" LastEditDate="2013-03-02T11:53:22.137" LastActivityDate="2013-03-02T17:05:06.800" Title="Color temperature" Tags="|video-quality|lighting|color-correction|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7281" PostTypeId="2" ParentId="7280" CreationDate="2013-03-02T06:50:21.960" Score="3" Body="&lt;p&gt;Generally speaking yes. This makes it easier for your camera to define the correct colors. Normally you gain experience best by committing errors or by analyzing the errors of others. So, if you see an image that is too cold, the color temperature / white balance should be higher. If it's too warm, the color temperature should be lower. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have two different light sources, you must prioritize: Which part of your scene should have a neutral color temperature / white balance, which could be different.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And here are the creative exceptions: If you analyze movies or professional documentaries, you realize that there aren't many neutral, correctly white balanced shots. Because they look boring. So, if you only have different light types, why not use them to compose your scene. Just to give one example: If you compose a scene and want to present an actor or an interview partner in a comfortable mood, he can have some warm light in his face, and a colder light in the background.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2013-03-02T06:50:21.960" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7285" PostTypeId="2" ParentId="7280" CreationDate="2013-03-02T17:05:06.800" Score="2" Body="&lt;p&gt;It depends entirely on what you are looking for.  If you want an image that appears consistently lit, then you will want to have uniform light temperature.  If however, you want to have some type of effect lighting, you will want to alter the lighting temperature.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Say for example you have a candle in the scene (or want to allude to a fire off-screen), or perhaps it's a sunny day outside the window.  You can use lights of a different temperature and vary their intensity to achieve the desired look of shading with color after white balancing to your key light (the main wash you are using to light the scene).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-02T17:05:06.800" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7290" PostTypeId="2" ParentId="7277" CreationDate="2013-03-03T19:14:52.930" Score="1" Body="&lt;p&gt;It is because you are calibrating the monitor correctly however the other two, The Sony LCD and the Computer are probably not correctly color calibrated in the same way, I know that my laptop seems to desaturate colors around the 30% mark and when compared to a calibrated monitor it looks quite a bit different...I would assume this would account for why they are different, if you want it to look like it does on the laptop or Sony Camera then you will need to do just as you have, then eyeball it to bring the saturation back down.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-03-03T19:14:52.930" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7291" PostTypeId="2" ParentId="7257" CreationDate="2013-03-03T19:21:46.263" Score="2" Body="&lt;p&gt;Zacuto makes an EVF monitor that is 3.2 inches, and I can say from experience this is the real deal...Has built in sharpening monitoring to help with focus support, and has a detachable eyepiece...also look into their camera rigs fro your skateboarding videos, they could be really helpful for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.zacuto.com/zfinderevf&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.zacuto.com/zfinderevf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/29KOb.jpg&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-03-03T19:21:46.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7292" PostTypeId="2" ParentId="7271" CreationDate="2013-03-03T21:47:51.293" Score="0" Body="&lt;p&gt;If you search for a tool that has a great performance with h.264 editing. Try Adobe Premiere Pro CS5+ (though CS6 is recommended, it has improved perofrmance with DSLR footage which is basically h.264 for most cameras), you can edit natively with nearly no frame drops even on lower end systems.&#xA;Though that might be a bit expensive for a hobby solution.&#xA;If its a one time project the 30 days trial version might be an option.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2013-03-03T21:47:51.293" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7293" PostTypeId="1" AcceptedAnswerId="7298" CreationDate="2013-03-03T22:33:25.030" Score="7" ViewCount="1582" Body="&lt;p&gt;It is common that TV channels or internet TV channels (e.g. those regularly post their shows on Youtube) use materials from other sources. For example, displaying photos from the internet, parts of videos already posted on Youtube and other websites, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am curious how the copyright permission is handled for using copyrighted materials in videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the past, major TV channels were only in the market, and they had their own reporters and photographers to make their materials. Nowadays, there are many small channels (even personal ones), and I doubt if they take of care of copyright issues at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a more specific example, how to obtain right to use a part of a Youtube video in an online show, which will be posted on Youtube ?&lt;/p&gt;&#xA;" OwnerUserId="2974" LastActivityDate="2013-10-19T14:38:39.920" Title="Copyright of materials used in a video" Tags="|video|youtube|copyright|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7294" PostTypeId="1" CreationDate="2013-03-03T23:48:35.733" Score="0" ViewCount="118" Body="&lt;p&gt;can someone explain this numbers please?, what means equivalent?&lt;br&gt;&#xA;Focal Length 4.25-42.5mm, 35mm equivalent 30.4-305mm&lt;br&gt;&#xA;thanks for your help&lt;/p&gt;&#xA;" OwnerUserId="3680" LastActivityDate="2013-03-04T02:20:28.977" Title="how do I interpret this number?" Tags="|video|camcorder|" AnswerCount="1" CommentCount="2" ClosedDate="2013-06-11T07:01:12.270" ContentLicense="CC BY-SA 3.0" />
  <row Id="7295" PostTypeId="2" ParentId="7294" CreationDate="2013-03-04T02:20:28.977" Score="1" Body="&lt;p&gt;From the wikipedia entry on &lt;a href=&quot;http://en.wikipedia.org/wiki/Focal_length&quot; rel=&quot;nofollow&quot;&gt;focal length&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Due to the popularity of the 35 mm standard, camera–lens combinations&#xA;  are often described in terms of their 35 mm equivalent focal length,&#xA;  that is, the focal length of a lens that would have the same angle of&#xA;  view, or field of view, if used on a full-frame 35 mm camera. Use of a&#xA;  35 mm-equivalent focal length is particularly common with digital&#xA;  cameras, which often use sensors smaller than 35 mm film, and so&#xA;  require correspondingly shorter focal lengths to achieve a given angle&#xA;  of view, by a factor known as the crop factor.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-03-04T02:20:28.977" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7298" PostTypeId="2" ParentId="7293" CreationDate="2013-03-04T10:55:05.137" Score="5" Body="&lt;p&gt;Very broadly speaking, you have a much easier experience obtaining permission if you are not making money from someone else's content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most copyright laws recognise 'fair use' -- a small quote or a clip that is proof of someone else having said something.  It is customary and advisable to put such clip in a box or window to show that the content is being referenced.  Fair use for a small portion of text or video is easily established than a picture, for a picture is the entire content.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;For images, search engines usually have a license filter in the search. Usually, it errs on the side of caution. Unfortunately, you have to contact the original agency or person and obtain permission to use.&lt;/li&gt;&#xA;&lt;li&gt;Youtube now has content signature comparison and will warn you that you are using someone else's content but will leave it up to the copyright owner to enforce it.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;So, if it is does not fall under 'fair use' and is clearly someone else's copyright, you will have to track down the owner and obtain permission.&lt;/p&gt;&#xA;" OwnerUserId="3675" LastActivityDate="2013-03-04T10:55:05.137" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7300" PostTypeId="1" AcceptedAnswerId="7585" CreationDate="2013-03-04T15:04:57.527" Score="39" ViewCount="58300" Body="&lt;p&gt;I have a bunch of images, that follow this pattern.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;0001.png&#xA;0004.png&#xA;0007.png&#xA;0010.png&#xA;0013.png&#xA;0016.png&#xA;0019.png&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;They're in the correct order, but FFMPEG ignores anything after the first file, because it can't find a &lt;code&gt;0002.png&lt;/code&gt;.  How can I get it to join these files?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i %04d.png out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3204" LastActivityDate="2021-07-18T15:29:45.230" Title="How to get FFMPEG to join non-sequential image files? (skip by 3s)" Tags="|ffmpeg|linux|" AnswerCount="6" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7301" PostTypeId="2" ParentId="7300" CreationDate="2013-03-04T15:27:51.780" Score="6" Body="&lt;p&gt;I would actually suggest the same thing Mulvya suggested.  Whenever I've needed to do stuff like this when dealing with 3D animation renderings, I've renamed the files to make them sequential.  It's just easier to work with that way in a lot of different software unless you need to preserve the file names for some reason.  Total Commander is also a great tool for multi-renaming.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-04T15:27:51.780" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7306" PostTypeId="1" AcceptedAnswerId="7308" CreationDate="2013-03-04T21:31:17.747" Score="1" ViewCount="1631" Body="&lt;p&gt;I currently run live streams of amateur sporting events, mainly inside. Currently I am using several &lt;code&gt;Panasonic HS-900k&lt;/code&gt;s connected to a PC desktop via RCA cables and several &lt;code&gt;Easycap DC60+&lt;/code&gt;s (USB 2.0). As you can imagine, the quality from the Panasonic's gets degraded very quickly. Some of the RCA cables are carrying video over 100ft from source to destination.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking to upgrade the connections to SDI via the &lt;code&gt;Blackmagic Decklink&lt;/code&gt; products. That said, I will need cameras that support SDI output, or purchase an HDMI-SDI adapter (~$300). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My budget is approx. $3000 for a single camera, and since I'll only be outputting the stream at 720p max for the foreseeable future (don't want to overburden end-users bandwidth), I really don't need a fancier camera then that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Obviously there is a big price difference between a new camera and a HDMI-SDI adapter. Is there a big quality difference, or does HDMI-SDI not really lose much quality?&lt;/strong&gt; Will it provide the same signal as a new camera such as a &lt;code&gt;Panasonic AG-HPX170 P2HD&lt;/code&gt; that provides native SDI-output? I am not looking to output audio from these cameras, just video.&lt;/p&gt;&#xA;" OwnerUserId="3679" LastActivityDate="2013-03-05T17:26:49.313" Title="Native SDI-output vs HDMI-SDI adapter for live stream" Tags="|live|conversion|streaming|hdmi|sdi|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7308" PostTypeId="2" ParentId="7306" CreationDate="2013-03-04T21:44:27.767" Score="2" Body="&lt;p&gt;For amateur events, SDI may be overkill compared to using simple Component.  The key for long runs is to separate the various components so that they don't degrade.  There is a similar question &lt;a href=&quot;https://video.stackexchange.com/questions/7218/how-to-connect-a-camera-to-a-computer-100ft-away/7220#7220&quot;&gt;here&lt;/a&gt; about long distance runs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for HDMI to SDI, there should be no quality loss compared to HDMI as both are digital formats supporting full uncompressed HD streams.  The quality of the converter may make a difference, but there is no technical reason that you couldn't have a flawless conversion between formats.  Both support both YCbCr 4:2:2 and 4:4:4, so the color spaces should be compatible either way.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2013-03-05T17:26:49.313" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="7312" PostTypeId="2" ParentId="7293" CreationDate="2013-03-05T03:36:47.727" Score="1" Body="&lt;p&gt;Just to clarify, the &quot;Standard YouTube license&quot; found in YouTube's ToS basically grants YouTube the permission to serve the video to anyone who asks to see it on YouTube.com or through an approved portal like an embedded player or mobile app (you may restrict the work's playback in certain markets, or prevent certain non-core uses, such as embedding, including in a playlist, listing in search results, etc). You, as the uploader of an original video, retain all other rights to the work including the right to prevent anyone else from using it in a derivative work, including a TV show. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, you may, and many do, give your express permission to the producers of a TV show to use the video in their own show. This is the honest and upfront way for the producers of the show to get the needed clearance, and it's done quite simply by sending the video's uploader a private message asking them for their permisison. If they want to use it badly enough, they'll pay you, but my guess is that &gt;95% of the videos shows were shown without any financial compensation paid out; there's a lot of puke on the Internet, so Daniel Tosh doesn't ever have to look very far to find enough people willing to let him show their videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, the question is, what happens if they did't ask, or if you say no and they show it anyway?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, patent law is subject in most cases to the Golden Rule: Whomever has the gold makes the rules. In this case, the TV networks such as Viacom (MTV - &lt;em&gt;Ridiculousness&lt;/em&gt;, ComCent - &lt;em&gt;Tosh.O&lt;/em&gt;) and NBC Universal (E! - &lt;em&gt;The Soup&lt;/em&gt;, G4 - &lt;em&gt;Web Soup&lt;/em&gt;) have armies of legal staff for the sole purpose of representing the network in copyright cases, whether as plaintiff &lt;em&gt;or&lt;/em&gt; defendant. The networks can and do take the stance that what they're doing is &quot;parody&quot;, which is protected under the First Amendment and thus exempt from copyright law as &quot;fair use&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The short version; while you may indeed own the copyright, free and clear, there is a limitation on your right to prevent derivative use of the work for the purpose of criticism, ridicule or satire. Such uses constitute &quot;parody&quot;. This is, for instance, how Weird Al does his stuff (though he generally asks permission, and until relatively recently it was considered a great honor to most artists to have him parody their song). There is no line in the sand here, where on one side it's protected parody and on the other side it's copyright infringement. There is a legal test, but each allegation is decided case-by-case; it's a real can o' worms. Virtually all of these viral video shows air a piece of a clip and make a humorous statement ridiculing the person/people in it; that's parody, in the producers' eyes. So far, nobody has been willing to test this claim in court.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's somewhat ironic that in 2007, Viacom filed suit against YouTube's owner Google alleging massive copyright infringement due to its users uploading Viacom's content, including clips of The Daily Show (which uses news broadcast footage under similar &quot;parody&quot; doctrine). Most of the &quot;viral video&quot; shows started up after that (&lt;em&gt;Tosh.O&lt;/em&gt; and &lt;em&gt;Web Soup&lt;/em&gt; in 2009, &lt;em&gt;Ridiculousness&lt;/em&gt; in 2011).&lt;/p&gt;&#xA;" OwnerUserId="3550" LastActivityDate="2013-03-05T03:36:47.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7313" PostTypeId="1" CreationDate="2013-03-05T05:52:13.750" Score="2" ViewCount="414" Body="&lt;p&gt;Sometimes I watch a video that I don't want to see from beginning to the end, but only some parts. Sometimes I need to quickly find some scene/spot in a video. The less keyframes there are, the longer it takes to seek random place in a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What hardware/software configuration I need to make seeking time as fast as possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I mean if I to build a new PC, what hardware is there to get fast access time by fast decoding?&lt;/p&gt;&#xA;" OwnerUserId="3723" LastActivityDate="2013-03-08T00:36:52.657" Title="What hardware/software to get fastest possible access time in AVC/h264 files?" Tags="|video|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7315" PostTypeId="2" ParentId="7313" CreationDate="2013-03-05T08:14:18.143" Score="-2" Body="&lt;p&gt;On the hardware side, I would recommend a &lt;a href=&quot;http://en.wikipedia.org/wiki/RAID&quot; rel=&quot;nofollow&quot;&gt;RAID&lt;/a&gt; storage system, that you can assemble with smaller, cheaper hard drives. With this you will have a large overall capacity, fast read performance, and depending on the RAID level your data is also protected against hard drive failures. One negative aspect is the additional noise of the hard drives.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2013-03-05T08:14:18.143" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7318" PostTypeId="1" AcceptedAnswerId="7319" CreationDate="2013-03-05T11:28:52.603" Score="3" ViewCount="1418" Body="&lt;p&gt;I have a video camera that only 'streams' the images and has no way of recording them. Currently I'm plugging the RCA into a TV and then recording from that, but I need to be mobile and so need to record onto a laptop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Will something like this (&lt;a href=&quot;http://www.amazon.co.uk/tag/av%20to%20usb%20converter/products&quot; rel=&quot;nofollow&quot;&gt;http://www.amazon.co.uk/tag/av%20to%20usb%20converter/products&lt;/a&gt;) work?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any other ideas?&lt;/p&gt;&#xA;" OwnerUserId="3724" LastEditorUserId="126" LastEditDate="2013-03-05T22:08:59.940" LastActivityDate="2013-03-05T22:08:59.940" Title="Record on laptop from streaming camera via RCA cable" Tags="|video|streaming|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7319" PostTypeId="2" ParentId="7318" CreationDate="2013-03-05T13:17:49.197" Score="3" Body="&lt;p&gt;EasyCap 2.0 DC60+ is what I use, and they work great. Make sure you get the DC60+ version, you don't want the older versions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a lot of knock-offs floating around--I'd stick with &lt;a href=&quot;http://www.ezcap.tv/usb-video-capture/ezcap116-capture-card&quot; rel=&quot;nofollow&quot;&gt;the official one.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's also a good compilation of capture cards on &lt;a href=&quot;http://forum.telestream.net/forum/messageview.aspx?catid=44&amp;amp;threadid=9881&amp;amp;enterthread=y&quot; rel=&quot;nofollow&quot;&gt;this thread&lt;/a&gt; on the Wirecast Forum.&lt;/p&gt;&#xA;" OwnerUserId="3679" LastActivityDate="2013-03-05T13:17:49.197" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7320" PostTypeId="2" ParentId="7300" CreationDate="2013-03-05T14:15:40.223" Score="25" Body="&lt;p&gt;Besides the workaround in my comment, you should be able to use this syntax from the ffmpeg &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Video-and-Audio-file-format-conversion&quot;&gt;documentation&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2 -pattern_type glob -i '*.png' out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The quotes are important, you need ffmpeg to see the &lt;code&gt;*&lt;/code&gt;, not have the shell expand it.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="9105" LastEditDate="2015-01-16T09:32:29.713" LastActivityDate="2015-01-16T09:32:29.713" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="7322" PostTypeId="1" CreationDate="2013-03-05T23:55:07.660" Score="1" ViewCount="84" Body="&lt;p&gt;My TV is a Sanyo HDTV, 1080p. I heard that if shoot at 720p the quality of the video is the same. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone explain if there is a difference between the two resolutions, and in which case I use one or the other?&lt;/p&gt;&#xA;" OwnerUserId="3680" LastEditorUserId="126" LastEditDate="2013-03-06T14:04:53.393" LastActivityDate="2013-03-06T14:04:53.393" Title="TV resolution/compatibility" Tags="|video-quality|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7323" PostTypeId="2" ParentId="7322" CreationDate="2013-03-06T00:13:15.850" Score="3" Body="&lt;p&gt;Whoever told you that was wrong.  &quot;1080p&quot; has 1920 horizontal pixels and 1080 vertical pixels.  &quot;720p&quot; has 1280 horizontal pixels and 720 vertical ones.  See &lt;a href=&quot;http://en.wikipedia.org/wiki/1080p&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; wikipedia page.  You would want to use 1080p whenever you want the highest quality your television is capable of reproducing.  The only reason you'd use 720p is if file size is a concern, or if your television doesn't really go up to 1080p.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-03-06T00:13:15.850" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7324" PostTypeId="2" ParentId="7322" CreationDate="2013-03-06T00:38:17.217" Score="3" Body="&lt;p&gt;1080p on a native 1080p TV will always be (much) higher quality than 720p on the same screen.  The only thing I can think of that they might have been thinking is that 1080i on some TVs is lower than 1080p if they have a particularly bad de-interlacer (drop one of the two frames).  This would result in a 540p video stream.  1080p is always higher quality than 720p as long as your TV supports 1080p natively.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your TV only supports 720p, then 720p will be higher quality than a down-converted 1080p if 720p matches the pixel ratio of your screen.  This is because whenever an image is scaled(either up or down), it doesn't match up exactly with the pixels that physically make up your screen and some amount of approximation has to be done to figure out what color should be displayed for each pixel.  This results in a (slight) loss of sharpness in the image compared to a native resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is also why there is typically a (Recommended) setting in Windows on most LCD computer monitors.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-06T00:38:17.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7328" PostTypeId="5" CreationDate="2013-03-06T13:36:42.913" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2013-03-06T13:36:42.913" LastActivityDate="2013-03-06T13:36:42.913" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7329" PostTypeId="4" CreationDate="2013-03-06T13:36:42.913" Score="0" Body="Gain is a measure of the amplitude of a signal within the electronic signal path (a distinction from volume, which is a perceived loudness).  It can also describe the difference in amplitude (usually expressed in decibels) between a signal input and output." OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2013-03-06T13:54:35.827" LastActivityDate="2013-03-06T13:54:35.827" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7330" PostTypeId="1" CreationDate="2013-03-06T15:59:05.200" Score="4" ViewCount="840" Body="&lt;p&gt;I have 100 videos that need editing so that I can level the and amplify the audio track. However I do not want to have to extract the mp3 track from each one and edit it then merge it again with the video. this is aloooonggg process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a software that can achieve this or something similar?&lt;/p&gt;&#xA;" OwnerUserId="3729" LastActivityDate="2018-07-29T22:02:31.300" Title="Bulk/Mass Edit Video Audio?" Tags="|video|audio|video-editor|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7331" PostTypeId="1" AcceptedAnswerId="7336" CreationDate="2013-03-06T16:49:32.393" Score="1" ViewCount="2565" Body="&lt;p&gt;I was wondering how accurate frequencies do PC speakers produce. I'm talking about the old small things in computer that usually beep.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used the &lt;code&gt;beep&lt;/code&gt; linux command to generate some frequencies. But I noticed something interesting. When I use the hardware PC speaker I stop hearing anything on 1700Hz. Actually I barely hear up to 16850Hz and I feel it more like a pain in the back part of my head.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Emulating PC speaker with the integrated sound card and listening through the laptop speaker I hear up to 20KHz and it is nothing like a pain.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I am wondering if any of these two can be trusted for producing frequencies above 8Khz? I'm more inclined to trust the old PC speaker because I expect to hardly be able to hear such high frequencies. Not having experience with known correct equipment it is hard to judge though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. I don't think there is any spec I can read about frequency response.&lt;/p&gt;&#xA;" OwnerUserId="3730" LastActivityDate="2013-03-06T22:33:41.137" Title="how accurate frequency does a PC speaker produce" Tags="|sampling-frequency|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7332" PostTypeId="2" ParentId="7331" CreationDate="2013-03-06T17:09:25.613" Score="1" Body="&lt;p&gt;There isn't a good answer to this.  It depends on the quality of the speaker and the quality of the sound chipset that is sending the output to the speaker.  20khz is a typical estimate of average human hearing range, so I wouldn't be that surprised if the sound card is more accurate.  Generally they try to cover the range from 20hz to 20khz as the &quot;typical human hearing range&quot;.  A lot can alter that such as age and any hearing loss, but it's a general rule.  It's also entirely possible for someone to be able to hear considerably past 20khz (22 to 23 isn't unheard of.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Really, neither is designed as a calibrated audio system, so they may both be off by a bit, but for a simple sine wave, the sound card is likely much better quality than a simple PC speaker.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-06T17:09:25.613" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7333" PostTypeId="2" ParentId="7330" CreationDate="2013-03-06T17:10:46.003" Score="1" Body="&lt;p&gt;This is a given for any professional video editing package.  Audio effects should be able to be applied to the video tracks to make the necessary adjustments.  The exact details depend on your software of choice.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-06T17:10:46.003" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7334" PostTypeId="1" AcceptedAnswerId="7335" CreationDate="2013-03-06T19:21:45.497" Score="0" ViewCount="79" Body="&lt;p&gt;Sometimes in documentaries, they have the face darkened out. Is their an effective way to undo this anoynmous effect? Obviously, the curves levels doesn't work as it just shows a bunch of square like patches of dark pixels and no detail as seen. Is their an algorithm that can guess as to how the darkening effect was done?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below are examples from a documentary film ( It was the only one I could immediately think of as I couldn't find one on gangs / prisoners / murders out of the blue )&lt;/p&gt;&#xA;" OwnerUserId="3708" LastEditorUserId="3708" LastEditDate="2013-03-12T14:51:28.557" LastActivityDate="2013-03-12T14:51:28.557" Title="Reverse Darkening Face Out" Tags="|video|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="7335" PostTypeId="2" ParentId="7334" CreationDate="2013-03-06T20:36:10.840" Score="1" Body="&lt;p&gt;If it is done properly, it should be impossible.  If there is some amount of information there, then it might be possible to get a result by cranking up gamma or luminance, but done correctly, the information is set to black pixels for the entire area and there is no difference between pixels over that area to work from.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is sometimes possible to reverse images that have been pixelated, blurred or distorted (or at least determine if it is the same person) but there is no way to make up information that isn't there.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-06T20:36:10.840" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7336" PostTypeId="2" ParentId="7331" CreationDate="2013-03-06T22:33:41.137" Score="2" Body="&lt;p&gt;The &lt;a href=&quot;http://en.wikipedia.org/wiki/PC_speaker&quot; rel=&quot;nofollow&quot;&gt;classic PC Speaker&lt;/a&gt; is a very simple system that was designed to be inexpensive and use off-the-shelf parts of the early 1980s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The core problem is that the PC speaker system consists of a cheap speaker, a timer, and digital pulses. Using this system, you can get quite a lot of interesting sounds out that weren't originally intended. But you are limited to square waves and the harmonic content that comes with them.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I don't think there is any spec I can read about frequency response.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The best you can find is specs for the timer and then run experiments with the actual hardware. The early IBM PCs had discrete timers, but at some point that functionality got rolled into the VLSI chipsets that PC makers used to build motherboards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have an actual audio chip built into the motherboard (fairly common, these days, much less common even in the late 1990s), then it is likely that the PC speaker functionality is emulated there. So the behavior will be different from the original hardware.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your integrated sound card should produce the most accurate sound. But at the upper end of the sound range, you may be limited by the physical capabilities of your laptop speakers. If you drive the speaker faster than it can move, then you won't get the sound you expect.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2013-03-06T22:33:41.137" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7337" PostTypeId="2" ParentId="7330" CreationDate="2013-03-07T06:38:52.050" Score="2" Body="&lt;p&gt;you can use &lt;code&gt;avconv&lt;/code&gt; (the ffmpeg utility replacement) and &lt;code&gt;mp3gain&lt;/code&gt; to script extracting, adjusting and merging the files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The advantage using mp3gain is that it does not reencode the audio but just adjust levels. So you don't lose any quality. It has a nice automatic mode that work descent although not perfect.&lt;/p&gt;&#xA;" OwnerUserId="3730" LastActivityDate="2013-03-07T06:38:52.050" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7338" PostTypeId="1" AcceptedAnswerId="7345" CreationDate="2013-03-07T06:40:30.787" Score="10" ViewCount="117885" Body="&lt;p&gt;Recently, I helped a friend produce a short zombie comedy. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;He has now asked me to add it to the film's website as a digital download. I'm not having issues with the digital download. My issue is how to create a high-quality file (preferably .mp4) with a small file size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I currently have a copy of the film in .mov (created in Final Cut). The .mov file is 3.2GB. The film is 29:52 in running time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From other experiences, I know a 30 minute high quality .mp4 can be 185mb - 250mb. The problem, I can't seem to find any legit tutorials to create a high quality .mp4 file with this type of compression. The closest I have been able to get is 385mb (I believe that was with VLC, but I last converted the file a few months ago, so I'm not positive)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am on a Windows 7 machine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a wide variety of software at my disposal and would likely be able to purchase software, if needed.&lt;/p&gt;&#xA;" OwnerUserId="2272" LastEditorUserId="126" LastEditDate="2013-03-07T14:20:12.627" LastActivityDate="2014-11-17T13:54:52.070" Title="How to Create a High Quality, Small File Size .mp4 from .mov" Tags="|compression|mp4|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7339" PostTypeId="2" ParentId="7338" CreationDate="2013-03-07T06:54:51.527" Score="5" Body="&lt;p&gt;The key is to dial in the bitrate - you'll need about 800kbps video with 100kbps audio to hit 200MB. That's low for for SD resolution, but it might be good enough for you. Also look for software that has an option for 2-pass encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try Expression Encoder, Adobe Media Encoder, or Sorenson Squeeze.&lt;/p&gt;&#xA;" OwnerUserId="3732" LastActivityDate="2013-03-07T06:54:51.527" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7340" PostTypeId="1" AcceptedAnswerId="7343" CreationDate="2013-03-07T07:38:27.530" Score="6" ViewCount="184" Body="&lt;p&gt;I really love mixing reallife environment with floating text over buildings or virtual paintings on the walls.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When the camera moves, the text also moves and looks like it is really attached to the surface. I hope you have the idea of what I'm trying to tell. Here are some questions:  &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;What (1 entry level, 1 professional) Software can be used or is typically used?&lt;/li&gt;&#xA;&lt;li&gt;Does the Software detect the movement or is it neccessary to move the decal every frame?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/x6m3z.png&quot; alt=&quot;example&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3733" LastEditorUserId="2569" LastEditDate="2013-03-07T14:14:10.420" LastActivityDate="2013-03-07T14:14:10.420" Title="placing text in video filmed environments" Tags="|video|post-production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7341" PostTypeId="2" ParentId="7338" CreationDate="2013-03-07T09:50:45.793" Score="3" Body="&lt;p&gt;Can you provide more details about the source format, as in resolution, video &amp;amp; audio codec details etc?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My stock answer is to use ffmpeg with &lt;a href=&quot;http://avanti.arrozcru.com/&quot; rel=&quot;nofollow&quot;&gt;Avanti&lt;/a&gt; for the frontend. A starter tutorial is &lt;a href=&quot;http://ffmpeg.org/trac/ffmpeg/wiki/x264EncodingGuide&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2013-03-07T09:50:45.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7343" PostTypeId="2" ParentId="7340" CreationDate="2013-03-07T13:34:27.537" Score="4" Body="&lt;p&gt;The general technique you're asking about is called motion tracking, of which there exist different types: Feature (&quot;point&quot;) tracking, planar tracking, and 3D match moving.  After Effects (and the bundled Mocha) is probably the best entry level software to each of these methods, but it definitely leaves room for professional growth.  Apple's Motion includes a more basic toolset, is only suited to feature tracking, but is more beginner-friendly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When text is flatly attached to a simple, clearly visible surface such as a picture frame, you can use Feature tracking to track the corners of the object, and &quot;corner pin&quot; an image or text into the frame.  The software will do its best to automate the process of tracking each corner, but if, for instance, an object passes in front of one of the points, you may have to manually keyframe its movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Planar tracking goes a step further and tracks the movement of full flat surfaces.  Mocha, bundled with After Effects, is a planar tracker.  It's fast and flexible, and you can achieve better results more reliably, but it's a little more complicated.  To mask out an obstruction, for instance, you must rotoscope out the offending object.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You would only use 3D matchmoving if you wanted your text to be three dimensional, cast realistic shadows, receive image-based lighting, reflections, transparencies, in other words, be a realistic object in your scene.  This is the most complicated method because it requires a back and forth workflow through tracking, 3d modeling, and compositing software.  Different combinations of software packages will lump one or more of these steps within the same application.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example of a dedicated professional motion tracking application is Boujou, although there are others (PFtrack comes to mind).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this gives you a place to start.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-03-07T13:34:27.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7345" PostTypeId="2" ParentId="7338" CreationDate="2013-03-07T17:50:29.020" Score="18" Body="&lt;p&gt;A really good program you can use is &lt;a href=&quot;http://handbrake.fr/&quot;&gt;Handbrake&lt;/a&gt;. It's a very popular program among so called &quot;pirates&quot; because it's really good at getting a high quality even at tiny file sizes. And this is with good reason, because the main purpose of Handbrake is, indeed, to make the movies small with high quality. Personally I use it when I distribute my short movies on the internet, and it works like a charm. But enough talking, let's get to the settings!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's start with the beginning and go through the important settings.&#xA;On the right you have a presets panel. Choose Regular -&gt; Normal or Regular -&gt; High Profile.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, we start with the Picture settings.&#xA;The anamorphic setting is about the aspect ratio. So you've probably heard about the fact that in video, pixels aren't always square. So if you have widescreen footage, if you compress that to be much thinner, like an OLD SD TV, you could tell the video player to make each pixel wider than it actually is. So, you started have a 500 wide picture, you compressed it to 300, then you tell the player to make those 300 as wide as 500 again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is just a basic idea about what it is. You can just leave it at Loose with Modulus at 16. But if you want to learn more and squeeze the absolute maximum out of the file, read about it &lt;a href=&quot;https://trac.handbrake.fr/wiki/AnamorphicGuide&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Leave the cropping at Automatic, unless you want to crop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then we go over to the Video Filters. You can turn all of these off. They are made to correct bad footage, which you've probably already done in your video composing software..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, Video. These are the crucial settings. Use H.264. This is the format that gives you the highest quality compared to file size today. Quality. This is THE setting if you only want to set ONE. Set it to Avg Bitrate. This is the best one because if you have a lot of blacks in the picture (at night), you can optimize for that and get even smaller file sizes, but at other points in the movie you'll need more space, and so average is the best here. Notice that the size is in kbps which means kilo-bits-per-second. One kilo is 1000 (not 1024, that's kibibit.). One bit is 1/8 of a byte. So if you want a 10 second movie that's 1 MB, you want to enter 1 MB = (1024 * 1kB * 8bits) / 10s = 820 kbps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Remember that the audio will also add up in addition to this. You just have to test some values until you get an acceptable quality that's small enough for you. If you enable 2-pass encoding, it will evaluate the movie twice, which means smaller file sizes compared to the quality, but it also means that you need more CPU (computer power) to watch it. So turn it on if you want to watch it on computers, leave it off if you want to watch it on mobile phones/tablets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the audio, you just set it to what the output of your original file is. The sample rate of most movies is 48 kHz, but if you recorded in 44.1 kHz, set it to 44.1 kHz... As for the bit rate, 160 is acceptable, but if you have high quality mics and music, set it to 192. You can go higher than this, but as you want small file sizes, there is no need. You could also go lower depending on what size you want to end up with. But do a Preview and listen to the result until you are happy with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, the last thing you need to do is to tick off &quot;Large file size&quot;. You need to have this on if the file is going to be larger than 4GB, but it will break compability with a lot of devices if you leave it on. Then you turn on &quot;Web Optimized&quot;. It will make your movie better suited for progressive download so you can shuffle in the movie without downloading it all. But if you are planning for your users to download the whole movie as .mp4 and watch it on the computer, leave it off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, set a file name and click Start. You can also Preview a small clip when you're testing the bitrate setting. Make sure that the extension is .mp4 and not .m4v. This isn't important, but you asked for .mp4, not .m4v. It's just the extension that is the difference anyway..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope you get your video squeezed down in size and yet keep the quality as high as possible! Good luck :)&lt;/p&gt;&#xA;" OwnerUserId="1909" LastEditorUserId="1909" LastEditDate="2013-03-07T17:56:18.247" LastActivityDate="2013-03-07T17:56:18.247" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7349" PostTypeId="2" ParentId="7313" CreationDate="2013-03-08T00:08:47.387" Score="2" Body="&lt;p&gt;If its just about playback, I can highly recommend Media Player Classic HC for Windows. I think I haven't seen a faster player so far. It utilizes DirectX 9 for most image rendering which results in a lot faster playback on many machines. Most players only uitilize the CPU for drawing.&#xA;Even uncompressed avi's had a lag free playback and fast seeking times from a USB 2.0 hard drive. The player is very good at caching aswell which should give you a benfit with files that have keyframes that are far apart from each other. It also has the option to always skip to the next keyframe when seeking (Options/Tweaks/Fast Seek). It also has a setting for the jump distance when seeking very long videos.&#xA;&lt;a href=&quot;http://sourceforge.net/projects/mpc-hc/&quot; rel=&quot;nofollow&quot;&gt;http://sourceforge.net/projects/mpc-hc/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally for all plattforms recommendable is mplayer with a fitting GUI (there are quite a few of them out there for Windows/Mac/Linux). A little &quot;geeky&quot; but very powerfull.&#xA;&lt;a href=&quot;http://www.mplayerhq.hu/design7/dload.html&quot; rel=&quot;nofollow&quot;&gt;http://www.mplayerhq.hu/design7/dload.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You dont need RAID storage to seek through h.264 files fast. That only applies to really huge &quot;raw&quot; video files that are meant for editing. A video card that has MPEG-4 decoding supported would be good to have but normally any video card from the last 4-5 years supports that. Apart from that you dont need any special hardware, your problem is mainly a software issue.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2013-03-08T00:36:52.657" LastActivityDate="2013-03-08T00:36:52.657" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="7350" PostTypeId="1" AcceptedAnswerId="7351" CreationDate="2013-03-08T00:56:19.120" Score="0" ViewCount="525" Body="&lt;p&gt;I have a bunch of PNG files in separate directories that I'll turn into videos with FFMPEG.  Say each clip will be a minute long.  I then want to stitch those together into a final video.  The final format can be anything YouTube accepts.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I need a format that won't lose a lot of quality when the PNGs are encoded the first time, and that doesn't lose &lt;strong&gt;any&lt;/strong&gt; quality when it's concatenated to other videos of the same format (some need to be re-encoded and some behave like UNIX's &lt;code&gt;cat&lt;/code&gt;).  They will also each have their own audio tracks which need to stay lined up correctly.  So, do any audio formats have problems with this?  I can have them in any format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, is there a way to set the video durration longer than then would be assumed?  Say I have 48 frames showing at 24 fps.  Could I have it make the video 3 seconds instead of 2; holding the last frame for a full second?&lt;/p&gt;&#xA;" OwnerUserId="3204" LastActivityDate="2015-01-15T15:27:09.740" Title="Good Intermediate Format for Combining Videos" Tags="|ffmpeg|encoding|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7351" PostTypeId="2" ParentId="7350" CreationDate="2013-03-08T08:54:16.907" Score="1" Body="&lt;p&gt;What you wish to do is somewhat convoluted. There is a path to achieving it in the 2 step process you propose, but I would just suggest creating a new folder where you copy all the input files and rename to form a continuous sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say you have 3 folders and the following files in them to be joined in that order&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Folder A: a001.png, a002.png, a003.png, ...... a175.png&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Folder B: b0001.png, b0002.png, b0003.png, ...... b1075.png&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Folder C: c01.png, c02.png, c03.png, ...... c75.png&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also let's say you want to hold the last frame of B for 5 seconds&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, you rename a001-a175 to s0001-s0175; rename b0001-b1075 to s0176-1250; duplicate s1250 120 times (24fps x 5) and rename the copies s1251-s1370, and finally rename c01-c75 to s1371-s1445.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This method avoids issues of video generation loss. For audio, WAVE files of the correct length and order can be appended losslessy by FFmpeg and then converted+muxed with the output video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, I see from your history that you have access to Premiere Pro. The simplest way of all would be to load all PNGs and audio in the editor, assemble and take output. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2013-03-08T08:54:16.907" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7352" PostTypeId="2" ParentId="7350" CreationDate="2013-03-08T14:44:20.817" Score="0" Body="&lt;p&gt;The easiest way to do this is to simply use the png sequences directly in your editing program.  Any good editing package should support using them directly and you can interpret the sequence at any framerate you desire (though be aware you will have some quality loss if your final frame rate is not an even multiple of the various PNG sequence frame rates).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-08T14:44:20.817" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7354" PostTypeId="1" AcceptedAnswerId="7361" CreationDate="2013-03-08T16:34:40.800" Score="2" ViewCount="95" Body="&lt;p&gt;It seems there are a number of HDMI category ratings. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In regards to quality, least amount of signal loss, and shielding, what currently are the highest rated HDMI categories available to either the general public or to those who have extra $$ to shell out?&lt;/p&gt;&#xA;" OwnerUserId="3679" LastEditorUserId="3679" LastEditDate="2013-03-08T16:42:39.697" LastActivityDate="2013-03-09T17:13:43.923" Title="What is the highest rated HDMI category available?" Tags="|hdmi|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7356" PostTypeId="1" CreationDate="2013-03-08T20:01:59.160" Score="2" ViewCount="77" Body="&lt;p&gt;We have a temporary FM radio station running for a week before the May Day. We don't have a portable radio transmitter for our field reporter and we're planning on using the mobile data (3G) for the field to studio link.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mobile data network here is quite good, but the latency varies. We can either use mobile phones/pads or the reporter can carry a laptop. Which protocol/software could be suitable for this kind of a scenario so that the audio stream survives a bit jittery and lossy network?&lt;/p&gt;&#xA;" OwnerUserId="3743" LastActivityDate="2013-07-08T21:13:33.053" Title="Sending real time audio from the field unit to the radio studio over 3G" Tags="|radio|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7359" PostTypeId="2" ParentId="7356" CreationDate="2013-03-09T10:30:45.583" Score="1" Body="&lt;p&gt;Look at &lt;a href=&quot;http://www.aeq.eu/products/groups/portable-devices&quot; rel=&quot;nofollow&quot;&gt;Pocket Lite or Pocket codecs&lt;/a&gt;, for example. They use &lt;a href=&quot;http://www.ebu-acip.org/Main_Page&quot; rel=&quot;nofollow&quot;&gt;N/ACIP&lt;/a&gt; protocol.&lt;/p&gt;&#xA;" OwnerUserId="2773" LastActivityDate="2013-03-09T10:30:45.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7360" PostTypeId="2" ParentId="7354" CreationDate="2013-03-09T12:58:04.083" Score="1" Body="&lt;p&gt;At the present the highest category of HDMI cable shielding is Category 2&lt;/p&gt;&#xA;" OwnerUserId="3745" LastActivityDate="2013-03-09T12:58:04.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7361" PostTypeId="2" ParentId="7354" CreationDate="2013-03-09T17:13:43.923" Score="3" Body="&lt;p&gt;The latest and greatest HDMI specification is 1.4a (and version 2 is expected to be released this year). The fastest/highest bandwidth category of HDMI cable is &quot;HDMI with Ethernet.&quot; The rating of a cable's shielding (Class 2, Class 3) has more to do with fire resistance and US wiring code and is not really relevant to the matter of signal loss. MyCableMart.com has a great article with more information and cable recommendations: &lt;a href=&quot;http://mycablemart.com/help/hdmi_which_one.php&quot; rel=&quot;nofollow&quot;&gt;http://mycablemart.com/help/hdmi_which_one.php&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whether a given cable available for purchase is higher quality with more more shielding is a matter of finding a good vendor and vetting their claims (caveat emptor). Longer cables with thicker wires inside, e.g., 22 AWG versus 24 AWG, will, all other things being equal have lower signal loss. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, my experience with long HDMI cables has been very hit and miss. Just this week during an install for a multicamera livestream, a brand new, 50ft HDMI cable with built-in &quot;signal booster&quot; would work when connected to a monitor but not when connected to the video switcher (a Blackmagic ATEM Television Studio). A Blackmagic technical support technician told me that TVs/monitors are engineered to be very forgiving of signals that have fallen off spec. The ATEM switcher is more strict (and rightly so) and would not display the signal. Furthermore, I was told by Blackmagic that after 10 feet, HDMI cables start to fall off spec. In the end, we purchased an HDMI to SDI converter and successfully got the signal from the computer to the switcher.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After this and other HDMI misadventures, my gut feeling is to avoid long HDMI runs in favor of SDI connections or CAT5 baluns/extenders. YMMV.&lt;/p&gt;&#xA;" OwnerUserId="3746" LastActivityDate="2013-03-09T17:13:43.923" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7362" PostTypeId="1" AcceptedAnswerId="7363" CreationDate="2013-03-09T05:56:14.057" Score="2" ViewCount="74" Body="&lt;p&gt;How can I flip a browser window in the same way as seen in the MS Access video, which should automatically start at the correct time where the flip begins and only lasts about 3 seconds.  From 4:52 - 4:55&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to create a video (that I record of my desktop) that can do this.  But what program does this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/86Q357ZTJ1I?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="3751" OwnerDisplayName="Solomon Closson" LastEditorUserId="2569" LastEditDate="2013-03-10T20:02:51.113" LastActivityDate="2013-03-10T20:02:51.113" Title="Flipping Video Animation, How?" Tags="|video|editing|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7363" PostTypeId="2" ParentId="7362" CreationDate="2013-03-09T23:03:11.403" Score="2" Body="&lt;p&gt;You don't do the flip while recording your video, it is done later as a transition effect in the video-editing program. Microsoft Movie Maker has several transitions to choose from, just as almost any movie editor whatsoever.&lt;/p&gt;&#xA;" OwnerUserId="3750" LastActivityDate="2013-03-09T23:03:11.403" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7366" PostTypeId="1" CreationDate="2013-03-10T14:05:34.210" Score="2" ViewCount="211" Body="&lt;p&gt;Whenever I split a video using Apple's &lt;code&gt;mediafilesegmenter&lt;/code&gt;, using the following command: &lt;code&gt;medifilesegmenter video.ts -t 10&lt;/code&gt;. I get the following error for each segment except the first:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;segment does not contain sync frame&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Before splitting I've converted the .MP4 version to a .TS with the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -y -i video.mp4 -f mpegts -acodec libmp3lame -ar 48000 -ab 64k -s 640x480 -vcodec libx264 -b 64k -flags +loop -cmp +chroma -partitions +parti4x4+partp8x8+partb8x8 -subq 7 -trellis 0 -refs 0 -coder 0 -me_range 16 -keyint_min 25 -sc_threshold 40 -i_qfactor 0.71 -bt 200k -maxrate 64k -bufsize 64k -rc_eq 'blurCplx^(1-qComp)' -qcomp 0.6 -qmin 30 -qmax 51 -qdiff 4 -level 30 -aspect 640:480 -g 30 -async 2 sample_64.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Can anyone tell me why this error occurs?&lt;/p&gt;&#xA;" OwnerUserId="3753" LastActivityDate="2013-03-10T14:05:34.210" Title="segment does not contain sync frame" Tags="|conversion|ffmpeg|sync|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7367" PostTypeId="1" CreationDate="2013-03-11T07:59:29.553" Score="0" ViewCount="802" Body="&lt;p&gt;I need to synchronize an audio track and a video track (that is, cut the video so that it matches perfectly a voice-over), except that the audio track is in chinese and I don't speak chinese, so I don't understand what is being said and I can't synchronize it with the image!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I would need is a way to &quot;tag&quot; the audio track or to add subtitles to the audio track, so that I know that at time 1'02, the word &quot;hello&quot; is pronounced, at time 1'13 the word &quot;mister&quot; is pronounced, and so on. Then I would import this file in Adobe premiere to be able to edit my video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So basically I have:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;one audio file, a voice-over in chinese&lt;/li&gt;&#xA;&lt;li&gt;one text file, the text spoken by the voice-over but in english&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;And I need to create &quot;something&quot; that will match the two files and will help me synchronize my video and audio track afterwards in Adobe Premiere (a chinese speaker will make the match, but he won't be able to edit in Premiere). How would you do that?&lt;/p&gt;&#xA;" OwnerUserId="3649" LastEditorUserId="3649" LastEditDate="2013-03-11T09:28:49.823" LastActivityDate="2013-03-11T11:22:36.083" Title="Add subtitles to an audio track" Tags="|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7368" PostTypeId="2" ParentId="7367" CreationDate="2013-03-11T11:22:36.083" Score="1" Body="&lt;p&gt;I'm not perfectly clear on your process, but it seems you could approach this in the same way you would captioning (subtitling). The thing that ties the two together is time code: in your text file, each phrase is preceded by an &quot;appear&quot; time code, set apart (in brackets, etc) to indicate that it's not part of the spoken text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[01:02:03:04] These words are being spoken now.&lt;br&gt;&#xA;   [01:02:09:10] And this is the next spoken phrase&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are established formats for this, some very elaborate, using XML for example (see Universal Subtitle Format), and very simple ones as laid out above. Since it's for your eyes and not a machine's, simpler is better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are utilities (sorry, no links) that can capture the current running time in a readable form and insert it into the text, making the process reasonably efficient for the Chinese translator to accomplish.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-03-11T11:22:36.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7369" PostTypeId="1" CreationDate="2013-03-11T13:54:14.163" Score="0" ViewCount="1277" Body="&lt;p&gt;Is there anyone in the forum with After Effects experience related to the production of a virtual choir, such as that of Eric Whitacre (e.g., see video below)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/2NENlXsW4pM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to get some advice on how to set up  the AE 3D environment for a similar production. &lt;/p&gt;&#xA;" OwnerUserId="3760" LastEditorUserId="2814" LastEditDate="2013-03-11T18:54:48.927" LastActivityDate="2013-12-30T21:50:38.670" Title="After Effects experience with virtual choir 3D environment" Tags="|after-effects|3d|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7370" PostTypeId="1" CreationDate="2013-03-11T14:31:56.953" Score="3" ViewCount="3728" Body="&lt;p&gt;I want to edit the anchor point path of a layer, and to do that I know I need to open the layer in it's own layer panel. However I can't figure out how to open the layer in the layer panel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm following along with a beginner tutorial, and using the tutorial source files so everything's the same: The instructor says to &quot;double-click on the layer in the timeline&quot;, but when I do that nothing happens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried right-clicking on the layer, but the &quot;open layer&quot; option is grayed out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, I switched to the &quot;All Panels&quot; workspace, select the Layer Panel, but it's gray and empty and doesn't allow me to choose a layer or add a new layer view.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm new to After Effects but experienced with CS5 - I just can't figure out what's wrong&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/f7wTY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/cmsyO.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3741" LastActivityDate="2013-03-11T15:23:00.373" Title="Accessing the Layer Panel in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7371" PostTypeId="1" CreationDate="2013-03-11T14:34:10.253" Score="2" ViewCount="64" Body="&lt;p&gt;I was wondering if there is an easy way to detect presenter (speaker) changes from a video clip. I have some presentation / panel / seminar type videos, and want to add markers whenever the speaker changes in the stream. It can be when someone from the audience asks a question, or when another panel starts talking. &lt;/p&gt;&#xA;" OwnerUserId="3761" LastEditorUserId="3761" LastEditDate="2013-03-15T03:56:58.833" LastActivityDate="2014-12-28T19:53:16.277" Title="presenter (speaker) change detection from a video clip?" Tags="|video|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7372" PostTypeId="2" ParentId="7370" CreationDate="2013-03-11T15:23:00.373" Score="3" Body="&lt;p&gt;Figured it out- Apparently shape layers can't be opened in the Layer Panel. That includes Illustrator footage layers with &quot;Continuous Rasterization&quot; turned on. If you turn Continuous rasterization off, it &lt;em&gt;will&lt;/em&gt; open in the Layer Panel.&lt;/p&gt;&#xA;" OwnerUserId="3741" LastActivityDate="2013-03-11T15:23:00.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7373" PostTypeId="1" AcceptedAnswerId="7390" CreationDate="2013-03-11T18:29:05.337" Score="1" ViewCount="221" Body="&lt;p&gt;I'd like to convert some of my videos for viewing them on &lt;a href=&quot;https://en.wikipedia.org/wiki/Sony_Ericsson_C702&quot; rel=&quot;nofollow&quot;&gt;Sony Ericsson C702&lt;/a&gt; cell phone. But I couldn't find the right set of parameters (a/v codecs, container, etc.). I'd prefer a solution using ffmpeg or another tool available on Linux. It seems that different phone models even from the same manufacturers have different video decoding abilities, so the more specific answer the better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: As suggested, I'm posting ffmpeg's output of one of the videos recorded by the phone itself:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 0.7.13, Copyright (c) 2000-2011 the FFmpeg developers&#xA;  built on Jun 13 2012 14:01:54 with gcc 4.4.5&#xA;  configuration: --enable-libdc1394 --prefix=/usr --extra-cflags='-Wall -g'&#xA;    --cc='ccache cc' --enable-shared --enable-libmp3lame --enable-gpl&#xA;    --enable-libvorbis --enable-pthreads --enable-libfaac --enable-libxvid&#xA;    --enable-postproc --enable-x11grab --enable-libgsm --enable-libtheora&#xA;    --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libx264&#xA;    --enable-libspeex --enable-nonfree --disable-stripping&#xA;    --enable-avfilter --enable-libdirac --disable-decoder=libdirac&#xA;    --enable-libfreetype --enable-libschroedinger&#xA;    --disable-encoder=libschroedinger --enable-version3&#xA;    --enable-libopenjpeg --enable-libvpx --enable-librtmp&#xA;    --extra-libs=-lgcrypt --disable-altivec --disable-armv5te&#xA;    --disable-armv6 --disable-vis&#xA;  libavutil    50. 43. 0 / 50. 43. 0&#xA;  libavcodec   52.123. 0 / 52.123. 0&#xA;  libavformat  52.111. 0 / 52.111. 0&#xA;  libavdevice  52.  5. 0 / 52.  5. 0&#xA;  libavfilter   1. 80. 0 /  1. 80. 0&#xA;  libswscale    0. 14. 1 /  0. 14. 1&#xA;  libpostproc  51.  2. 0 / 51.  2. 0&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/media/sde1/DCIM/100MSDCF/MOV00456.MP4':&#xA;  Metadata:&#xA;    major_brand     : 3gp5&#xA;    minor_version   : 512&#xA;    compatible_brands: vfj13gp43gp5mp42emp &#xA;    creation_time   : 2012-05-19 12:27:58&#xA;    copyright       : &#xA;    copyright-eng   : &#xA;  Duration: 00:01:21.79, start: 0.000000, bitrate: 382 kb/s&#xA;    Stream #0.0(jpn): Video: mpeg4, yuv420p, 320x240 [PAR 1:1 DAR 4:3], 348 kb/s, 29.60 fps, 30 tbr, 1k tbn, 30 tbc&#xA;    Metadata:&#xA;      creation_time   : 2012-05-19 12:27:59&#xA;    Stream #0.1(jpn): Audio: aac, 16000 Hz, mono, s16, 31 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2012-05-19 12:27:59&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3762" LastEditorUserId="3762" LastEditDate="2013-03-13T19:48:30.240" LastActivityDate="2013-10-27T01:08:31.680" Title="How to convert video for viewing on Sony Ericsson C702?" Tags="|conversion|ffmpeg|linux|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="7375" PostTypeId="5" CreationDate="2013-03-12T02:43:51.863" Score="0" Body="&lt;p&gt;Foley is the (re)production of sounds which enhance the aural ambiance of a video, film, radio, or podcast.  These sounds are usually commonplace; creaking doors, footsteps, tires squealing.  But they are often purely fictional; laser blasters, monster noises, catastrophic events.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2013-03-12T13:40:55.427" LastActivityDate="2013-03-12T13:40:55.427" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7376" PostTypeId="4" CreationDate="2013-03-12T02:43:51.863" Score="0" Body="the (re)production of sounds which enhance the aural ambiance of a project." OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2013-03-12T13:41:00.780" LastActivityDate="2013-03-12T13:41:00.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7379" PostTypeId="2" ParentId="7369" CreationDate="2013-03-12T08:10:36.817" Score="1" Body="&lt;p&gt;This is a tricky video production technique. Anyway, try the following steps:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;First, create 4 black solid layers. Then, add a Lens Flare to them. &#xA;&lt;ul&gt;&#xA;&lt;li&gt;Place one flare in the bottom right corner. &lt;/li&gt;&#xA;&lt;li&gt;On another solid, make the lens flare on the fare right middle. &lt;/li&gt;&#xA;&lt;li&gt;For the third color solid's lens flare, make it on the top. With different color flares, it will look closer to what you are after. &lt;/li&gt;&#xA;&lt;li&gt;Then, add a Ramp behavior to the last black solid and make sure it is on the bottom of the other layers. &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Also, make the top a light gray and the bottom a dark gray. &lt;/li&gt;&#xA;&lt;li&gt;Add an Adjustment layer above the black solids. &#xA;&lt;ul&gt;&#xA;&lt;li&gt;Add a Fast Blur to it and set it to around say 60, making the lens flares blurry.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Select all of the layers and create a pre-comp. &lt;/li&gt;&#xA;&lt;li&gt;Meanwhile, try to add another color solid and make it white. Then, add a mask to it and make it an oval shape. Make the feather big like 250 or more. Move it so it is where the floor would be.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3023" LastEditorUserId="2569" LastEditDate="2013-12-30T21:50:38.670" LastActivityDate="2013-12-30T21:50:38.670" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7381" PostTypeId="1" CreationDate="2013-03-12T21:53:41.037" Score="0" ViewCount="308" Body="&lt;p&gt;How can you render a .wmv video file in After Effects without DRM protection, there doesn't seem to be an option when rendering. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This composition im rendering is basically a small animation i made from scratch, so i know im not rendering it with any pre-rendered files&lt;/p&gt;&#xA;" OwnerUserId="3749" LastEditorUserId="3749" LastEditDate="2013-04-11T12:30:41.653" LastActivityDate="2013-07-27T17:52:04.100" Title="How to render an After Effects composition without DRM protection" Tags="|after-effects|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7382" PostTypeId="2" ParentId="5307" CreationDate="2013-03-13T12:30:59.123" Score="1" Body="&lt;p&gt;You can try Video Comparer (shareware).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.video-comparer.com&quot; rel=&quot;nofollow&quot;&gt;http://www.video-comparer.com&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It quickly detects similar videos with image transformations and supports split videos into multiple CDs.&lt;/p&gt;&#xA;" OwnerUserId="3772" LastActivityDate="2013-03-13T12:30:59.123" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7383" PostTypeId="2" ParentId="7381" CreationDate="2013-03-13T13:22:18.577" Score="1" Body="&lt;p&gt;I've never seen this kind of behavior in After Effects.  I'm going to assume that you are using a system that is typically used for producing DRM protected media and that the default options for your Windows Media format are setup to use a DRM system.  This would be part of the configuration of the encoder itself and should be available from the encoding and format options (not the exact name, I don't have AE on my current computer to check, but it's the setting right below quality level in the render queue.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without knowing the exact encoder being used, I can't really give any more direct feedback than that.  If you can post the exact encoder being used and the version of AE, I can give some more specific instructions later when I am at my home desktop.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-13T13:22:18.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7384" PostTypeId="1" AcceptedAnswerId="7386" CreationDate="2013-03-13T15:11:58.093" Score="2" ViewCount="521" Body="&lt;p&gt;For school we came up with a cool concept, the video starts in black and white and when a person in the video touches an object it turns to colour.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could you guys help us out here? Do you have any tutorials for us? Which programs do we have to use (the price of the software is not a problem).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I now understand that rotoscoping can be used for this. But how bout a gradual change from black and white to colour if a building has been touched for example? For it to change in one frame will look kinda terrible...&lt;/p&gt;&#xA;" OwnerUserId="3774" LastEditorUserId="3774" LastEditDate="2013-03-13T17:35:08.613" LastActivityDate="2013-03-13T17:35:08.613" Title="Video editing objects from black and white to colour" Tags="|video|effects|after-effects|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7385" PostTypeId="1" AcceptedAnswerId="7399" CreationDate="2013-03-13T15:54:34.310" Score="1" ViewCount="16313" Body="&lt;p&gt;I have a Nikon D600 and when I set up a new project in Adobe Premiere CS6 there are many options available for Sequence Presets. I suppose this could be a subjective question, but what is the best preset for Nikon DSLR video? ARRI? Digital SLR, etc.?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="1149" LastEditorUserId="2836" LastEditDate="2014-03-05T17:32:14.810" LastActivityDate="2014-03-05T17:32:14.810" Title="What is the correct setting in Adobe Premiere CS6 for Nikon Video?" Tags="|premiere|dslr|nikon|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7386" PostTypeId="2" ParentId="7384" CreationDate="2013-03-13T16:17:18.717" Score="2" Body="&lt;p&gt;This will probably require a technique called rotoscoping, which involves painting a mask on each frame.  You would need to have two layers of video, one which is desaturated (to make the image black and white) and one which is full color.  You would then need to make a mask (a layer which effectively makes a hole in the black and white layer so that the color layer can be seen).  Since the mask may change based on camera movement and actors moving around the scene, you have to update the mask periodically (possibly every frame).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can simplify the process quite a bit if the objects are stationary in the scene and the camera is stationary on a tripod.  You could also try using object tracking to maintain the placement of the mask roughly, but to get a satisfactory result, you will probably still need some rotoscoping.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects can accomplish what you are looking for.  Any tutorials on rotoscoping and masking in AE would work to demonstrate the finer points of what tools to use to accomplish it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-13T16:17:18.717" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7387" PostTypeId="2" ParentId="7385" CreationDate="2013-03-13T16:20:03.290" Score="2" Body="&lt;p&gt;The best option is going to be a format which matches the resolution, pixel pitch, frame rate and color format/color space of your original footage.  These settings can typically be changed based on the shooting mode you used on your camera, so there is not enough detail in your question to give a specific setting.  If you actually open up the footage file, it should show these details in the properties for the clip and you can choose a sequence preset accordingly.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-13T16:20:03.290" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7388" PostTypeId="1" AcceptedAnswerId="7389" CreationDate="2013-03-13T18:05:00.463" Score="-1" ViewCount="432" Body="&lt;p&gt;For a project we need 3d animations to start &lt;em&gt;unfolding&lt;/em&gt; whilst a person is walking. The video camera will be moving. Using After effects, achieve such a thing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also what is this called? So I can also continue my search on google.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="3774" LastActivityDate="2013-06-20T19:18:58.927" Title="Adding 3d animations in a video" Tags="|video|after-effects|animation|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7389" PostTypeId="2" ParentId="7388" CreationDate="2013-03-13T19:33:51.210" Score="2" Body="&lt;p&gt;You will need motion tracking at a minimum if the camera is moving during the shot and you want to composite a 3d animation.  It will need to be able to do 3d motion tracking, which is the hardest to do.  I believe that Mocha (which comes with recent versions of After Effects) can handle this passably enough for a simple project.  I'm not entirely sure what you are trying to do with the animation though based on how you phrased the question.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-13T19:33:51.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7390" PostTypeId="2" ParentId="7373" CreationDate="2013-03-13T21:07:13.810" Score="3" Body="&lt;p&gt;Devices are often picky, and specifications are usually too uninformative so it's always trial and error. For example, your link indicates that the phone supports MP4 playback, but that is simply a container than can utilize several video and audio formats.&lt;/p&gt;&#xA;&lt;h3&gt;MPEG-4 part 2 video and AAC-LC audio&lt;/h3&gt;&#xA;&lt;p&gt;(partially based on the working video details you provided)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf scale=320:-1 -c:v mpeg4 -b:v 400k -c:a aac -strict experimental -b:a 32k -ar 16000 -ac 1 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Some recommendations:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Try increasing the audio bitrate since &lt;code&gt;-c:a aac&lt;/code&gt; is not very good&#xA;for low bitrates, and because your build does not support better AAC&#xA;encoders.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Consider removing &lt;code&gt;-ar 16000&lt;/code&gt; and &lt;code&gt;-ac 1&lt;/code&gt;. It's best to try to preserve the original file audio rate and number of audio channels if supported by the phone.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Try replacing &lt;code&gt;-b:v 400k&lt;/code&gt; with &lt;code&gt;-q:v&lt;/code&gt; using a value of or between 2 - 5 (lower is higher quality) to set a constant quantization parameter instead of an arbitrary bitrate.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Results may vary.&lt;/p&gt;&#xA;&lt;h3&gt;H.264 video and AAC-LC audio&lt;/h3&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf scale=320:-1 -c:v libx264 -profile:v baseline -crf 28 -c:a aac -strict experimental -b:a 128k output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm unsure if this will work on your phone, but it's worth trying. See the &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/wiki/x264EncodingGuide&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg and x264 Encoding Guide&lt;/a&gt; for more info on encoding with x264.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2013-03-13T21:07:13.810" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7391" PostTypeId="1" CreationDate="2013-03-13T22:10:28.773" Score="2" ViewCount="42" Body="&lt;p&gt;I Am looking for a good program to make graphics for 2d games. I have a lot if experience with adobe after effects but want to expand and make some game graphics for my friend who programs c# with a xna framework. Any suggestions for a good program?&lt;/p&gt;&#xA;" OwnerUserId="3776" LastActivityDate="2013-03-15T14:03:47.497" Title="Looking for a Graphics program" Tags="|video|video-game|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7392" PostTypeId="2" ParentId="7388" CreationDate="2013-03-14T01:04:03.247" Score="3" Body="&lt;p&gt;The technique you're looking for is called 3D match moving, and AE is definitely capable of pulling this off for simple/short shots, but you'll need to use it in conjunction with a 3d package like blender, maya, max, c4d, etc.  Basically, you use AE's Effect-&gt;Perspective-&gt;3d Camera Tracker to extract 3d information about your physical camera's spatial orientation, and use this data to animate a camera in your 3d package.  Render your 3D animations (with separate passes for whatever info you'll need to recomp, shadows, lights, AO, reflections, alphas, etc), and then composite them with the original footage back in After Effects.  Keep in mind, this is a VERY simplistic overview of a VERY difficult process.  For more advanced tracking, you might want to look into programs like Boujou, PFTrack, or Autodesk MatchMover.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-03-14T01:04:03.247" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7393" PostTypeId="2" ParentId="7391" CreationDate="2013-03-14T01:15:35.000" Score="0" Body="&lt;p&gt;I'm not too familiar with XNA, or graphics for games in general, but judging by &lt;a href=&quot;http://www.xnadevelopment.com/sprites&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt;, After Effects is probably a good fit, probably in combination with Photoshop.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-03-14T01:15:35.000" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7394" PostTypeId="2" ParentId="4370" CreationDate="2013-03-14T02:57:50.983" Score="3" Body="&lt;p&gt;A steadicam is one solution, but there are others.  You could use a slider dolly, camera crane, jib, shoulder mount, or fluid head tripod, depending on the movement you want.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-03-14T02:57:50.983" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7395" PostTypeId="1" AcceptedAnswerId="7398" CreationDate="2013-03-14T05:06:12.697" Score="6" ViewCount="347" Body="&lt;p&gt;I know that it's very hard to find out best encoding parameters for a whole video file. Wouldn't it be easier to just go through the video and find out the best parameters for different parts (or scenes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does it make sense or probably there is software that already allows that?&lt;/p&gt;&#xA;" OwnerUserId="3777" LastEditorUserId="126" LastEditDate="2013-03-14T13:30:37.520" LastActivityDate="2015-06-05T18:55:10.783" Title="Is it possible to encode video using the same codec and container but different parameters for different scenes?" Tags="|codec|encoding|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7396" PostTypeId="2" ParentId="7395" CreationDate="2013-03-14T06:55:30.353" Score="0" Body="&lt;p&gt;Variable bit rate and adaptive codecs are common in the audio world, and work very well. The most obvious example is VBR MP3s. Encoding video is a fundamentally similar problem, so I would be surprised if adaptive codecs don't exist there too.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2013-03-14T06:55:30.353" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7397" PostTypeId="2" ParentId="7391" CreationDate="2013-03-14T13:14:23.383" Score="1" Body="&lt;p&gt;I would recommend learning Illustrator and Photoshop for 2d work.  Illustrator is a vector graphics program and will produce very small and infinitely scalable art work as the graphics are defined as line and curve strokes with various different types of fills.  I believe XNA has vector graphic support.  This would mean that the resolution could effectively scale without having to have different assets at each level.  Also, if you need to move beyond what can be done with vector graphics, you can bring them over to Photoshop and do raster (typically what you think of as a picture) work with them in a format that supports alpha channel (for example TGA).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects isn't really practical for 2D asset creation for games as it is a video compositing tool.  It would be very useful for cut-scenes though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-14T13:14:23.383" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7398" PostTypeId="2" ParentId="7395" CreationDate="2013-03-14T13:22:16.117" Score="5" Body="&lt;p&gt;What you are describing is effectively what 2-pass VBR does for you.  It makes a first path that calculates the level of change for each particular time in the video and then uses this information to make the best possible use of the available storage space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is, however, entirely possible to do the process manually by doing multiple encodings with different parameters.  In fact, many formats even support having multiple encodings with different parameters within the same file.  This is how you are able to change the resolution on the fly when streaming videos on YouTube and how Netflix automatically adjusts the quality on the fly as you watch to try to avoid buffering issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any professional level encoder should allow you to specify multiple formats for the file in queue and many will even let you specify multiple outputs for one instance of the file.  (For example, the render queue in After Effects allows for this.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general, I would recommend running a 2-pass VBR and then adjusting the keyframe and total bandwidth accordingly.  If you are using a format that works based on the motion in the scene, then generally keyframes need to be more often if the video gets lots of motion artifacts (where it diverges from where it actually should be too much in high motion).  If the video is simply too low quality and &quot;pixelly&quot;, then the bandwidth generally needs to be raised or the keyframes lowered.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-14T13:22:16.117" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7399" PostTypeId="2" ParentId="7385" CreationDate="2013-03-14T15:10:03.780" Score="2" Body="&lt;p&gt;The easiest way to set up a sequence with the right settings for your footage is to first import the video footage into your Premiere Pro project. Then right click on the clip in the media bin, and select &quot;new sequence from clip.&quot; That will create a new sequence with settings that match your footage.&lt;/p&gt;&#xA;" OwnerUserId="3778" LastActivityDate="2013-03-14T15:10:03.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7400" PostTypeId="1" AcceptedAnswerId="7409" CreationDate="2013-03-14T15:31:24.977" Score="2" ViewCount="1881" Body="&lt;p&gt;I need to conduct a video conference using professional video cameras. I will be recording and streaming 1080p video &lt;strong&gt;[1]&lt;/strong&gt;. To that end, I need to stream live video from a professional video camera to my PC. Here are the requirements:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The camera output is HDMI or SDI&lt;/li&gt;&#xA;&lt;li&gt;The computer input is USB3&lt;/li&gt;&#xA;&lt;li&gt;The delay between the time an event occurs and the moment it reaches the PC must be under 300ms.&lt;/li&gt;&#xA;&lt;li&gt;The camera must show up as a webcam to the PC.&lt;/li&gt;&#xA;&lt;li&gt;The PC will be running Windows or Linux.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;[1]&lt;/strong&gt; I am aware of how much data is involved. Please assume that I have sufficient resources to do this.&lt;/p&gt;&#xA;" OwnerUserId="3779" LastActivityDate="2013-03-15T19:44:03.270" Title="How to record live video using camcorder?" Tags="|usb|hdmi|webvideos|sdi|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7401" PostTypeId="1" CreationDate="2013-03-15T02:41:19.337" Score="4" ViewCount="305" Body="&lt;p&gt;Added a new external drive. Moved Final Cut X Folders to new drive. Now Events and Projects missing. I know files need to be relinked, but I'm not even seeing the Event folders. I relocated the FCP folders back to original drive, but Events/Projects still missing. What do I need to do to regain original configuration?&lt;/p&gt;&#xA;" OwnerUserId="3781" LastEditorUserId="3592" LastEditDate="2013-03-15T12:35:04.820" LastActivityDate="2013-03-15T12:43:08.667" Title="Final Cut X Events missing" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7403" PostTypeId="2" ParentId="7401" CreationDate="2013-03-15T12:33:24.057" Score="3" Body="&lt;p&gt;This is just a guess, but when the projects and events folders are on an external drive, they need to be at the drive's root level for FCPX to see them.  So, when you had them on your external drive, the file path would need to be: &lt;code&gt;External_Drive/Final Cut Events/YourEvent&lt;/code&gt; and &lt;code&gt;External_Drive/Final Cut Projects/YourProject&lt;/code&gt;.  They will not show up any other way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When they're on your system drive, they need to be at ~/Movies.  When you move projects and events, it's better to do it from within Final Cut (instead of Finder) because Final Cut keeps track of all of the symbolic links.  To do this, choose File-&gt;Move Project (or duplicate project, duplicate event, move event, duplicate event).&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2013-03-15T12:43:08.667" LastActivityDate="2013-03-15T12:43:08.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7405" PostTypeId="2" ParentId="7391" CreationDate="2013-03-15T14:03:47.497" Score="2" Body="&lt;p&gt;The free and open source alternatives to Photoshop and Illustrator are &lt;a href=&quot;http://www.gimp.org&quot; rel=&quot;nofollow&quot;&gt;Gimp&lt;/a&gt; and &lt;a href=&quot;http://www.inkscape.org&quot; rel=&quot;nofollow&quot;&gt;Inkscape&lt;/a&gt;, respectively. While Adobe has introduced some flexible payment options, their cost can be prohibitive to the non-pirating hobbyist or independent developer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Don't overlook &lt;a href=&quot;http://www.getpaint.net&quot; rel=&quot;nofollow&quot;&gt;Paint.NET&lt;/a&gt; on Windows; it's actually pretty capable as an image editor.&lt;/p&gt;&#xA;" OwnerUserId="11" LastActivityDate="2013-03-15T14:03:47.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7406" PostTypeId="1" CreationDate="2013-03-15T15:41:46.037" Score="4" ViewCount="2896" Body="&lt;p&gt;I'm a newbie here. I have a problem that I don't really understand. Hopefully, someone can share their experience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I have an ip camera of &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1) 640x480(sensor width = 3.6mm)&lt;/strong&gt;, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2) focal length from 5 to 50mm&lt;/strong&gt;, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;3) need to record 30fps&lt;/strong&gt;, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the suitable shutter speed to be use to avoid motion blur?Assuming that the object distance to camera is 30ft (80 ppf needed =~ 13.5mm lens focal length needed).&lt;/p&gt;&#xA;" OwnerUserId="3788" LastActivityDate="2013-03-15T17:22:37.957" Title="Avoiding motion blur from a network camera" Tags="|video|camera|image-sensors|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7408" PostTypeId="2" ParentId="7406" CreationDate="2013-03-15T17:22:37.957" Score="3" Body="&lt;p&gt;Shutter speed and motion blur are inversely proportional.  The higher the shutter speed, the less amount of motion blur, so crank up the shutter speed as high as it will go.  If the exposure comes out too dark, add more lights.  Keep in mind that high shutter speeds in combination with fluorescent or HMI light can produce scrolling banding due to the power cycle frequency.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-03-15T17:22:37.957" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7409" PostTypeId="2" ParentId="7400" CreationDate="2013-03-15T19:33:21.177" Score="0" Body="&lt;p&gt;Perhaps the Intensity Shuttle from Blackmagicdesign&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.blackmagicdesign.com/products/intensity/models/&quot; rel=&quot;nofollow&quot;&gt;http://www.blackmagicdesign.com/products/intensity/models/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This link has some additional info.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://help.livestream.com/customer/portal/articles/577891-what-are-your-recommended-devices-&quot; rel=&quot;nofollow&quot;&gt;http://help.livestream.com/customer/portal/articles/577891-what-are-your-recommended-devices-&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="50" LastEditorUserId="50" LastEditDate="2013-03-15T19:44:03.270" LastActivityDate="2013-03-15T19:44:03.270" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7410" PostTypeId="1" CreationDate="2013-03-14T11:38:07.550" Score="2" ViewCount="866" Body="&lt;p&gt;I'm confused about the relationship between focal length and shutter speed, and the relationship between shutter speed and FPS. Can somebody explain in more detail here? What I read is that &lt;code&gt;shutter speed=1/(2*fps)&lt;/code&gt; at least, while &lt;code&gt;shutter speed=1/focal length&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edited&#xA;If i have an ip camera of 640x480(sensor width =3.6mm), focal length from 5 to 50mm, need to record 30fps, what is the best shutter speed to be use?assuming that the object distance to camera is 60ft.&lt;/p&gt;&#xA;" OwnerDisplayName="user17752" LastEditorUserId="3592" LastEditDate="2013-03-16T01:14:08.540" LastActivityDate="2013-03-16T01:14:08.540" Title="focal length vs shutter speed vs fps" Tags="|video|" AnswerCount="1" CommentCount="2" ClosedDate="2013-03-26T03:08:49.737" ContentLicense="CC BY-SA 3.0" />
  <row Id="7411" PostTypeId="2" ParentId="7410" CreationDate="2013-03-14T11:57:56.123" Score="9" Body="&lt;p&gt;&lt;strong&gt;Shutter speed&lt;/strong&gt; and &lt;strong&gt;focal length&lt;/strong&gt; are completely independent parameters, &lt;strong&gt;focal length&lt;/strong&gt; determines angle of view (how much scenery you get in your shot). &lt;strong&gt;Shutter speed&lt;/strong&gt; determines how long each part of the image sensor is exposed for, and therefore it determines the brightness of the image, and how much blur is caused by moving objects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The quantity that most commonly relates the two is &lt;strong&gt;camera shake&lt;/strong&gt;. It is often advised that to avoid camera shake the shutter speed must be &lt;code&gt;1/focal-length&lt;/code&gt;. This is presumably where you've gotten this equivalence from. The rule is a guideline only and depends on your technique and degree of enlargement in the final image. A better guideline is &lt;code&gt;shutter-speed = 3/focal-length&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;FPS, or &lt;strong&gt;frames per second&lt;/strong&gt; is the number of images per second recorded by your camera. It is related to shutter speed in that &lt;code&gt;shutter-speed + latency &amp;lt; 1/FPS&lt;/code&gt;. If each frame takes more than a 60th of a second to expose, then you are not going to be able to cram more than 60 exposures in a second! There is a nonzero amount of time required to recock the shutter mechanism (if necessary) and readout and store the image, which is the latency. In stills cameras not designed for continuous readout the latency can increase as buffers become full, causing the maximum obtainable FPS to drop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The formula &lt;code&gt;shutter speed = 1/(2*FPS)&lt;/code&gt; relates to a &lt;strong&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Rotary_disc_shutter&quot;&gt;shutter angle&lt;/a&gt;&lt;/strong&gt; of 180 degrees, which is a concept from film cine cameras whereby the film can only be exposed for a maximum of half the intra-frame time, because of the rotating shutter. This rule is still obeyed by digital filmmakers to ensure &quot;cinema like&quot; motion to the image, compared to if &lt;code&gt;shutter speed = 1/FPS&lt;/code&gt; which gives more fluid &quot;TV like&quot; motion.&lt;/p&gt;&#xA;" OwnerUserId="6559" OwnerDisplayName="Matt Grum" LastActivityDate="2013-03-14T12:12:42.507" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7412" PostTypeId="1" CreationDate="2013-03-16T17:25:21.863" Score="0" ViewCount="3613" Body="&lt;p&gt;I need a camera that functions like a surveillance or webcamera but that I can output to a computer monitor (via adapters) with a VGA-cable. I could perhaps use a normal camcorder for this, but I find those to be too expensive for our simple needs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, I want the cheap price and simple functionality of a webcam but the possibility to connect it to a computer monitor using only adapters (not running through a computer).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any tips?&lt;/p&gt;&#xA;" OwnerUserId="1910" LastActivityDate="2013-03-18T14:59:08.190" Title="Camera for live feed-transfer to external monitor in adjacent room?" Tags="|live|camera|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7413" PostTypeId="2" ParentId="7412" CreationDate="2013-03-16T20:17:57.417" Score="0" Body="&lt;p&gt;A web cam is digital and designed to output a stream and be controlled over USB, it outputs a digital feed, you will need something to translate that to an analog feed that the VGA monitor can understand.  You really can't do it without a computer, but a simple cheap computer could do the job.  It doesn't require particularly sophisticated hardware, but a cheap camcorder with an analog output would probably do the job more cheaply and easily.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-16T20:17:57.417" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="7414" PostTypeId="1" AcceptedAnswerId="7416" CreationDate="2013-03-16T21:40:02.917" Score="3" ViewCount="3254" Body="&lt;p&gt;I wonder if there is a video player (similar to VLC) where I could stop the video, and draw annotations on top of the video (lika on a transparent layer). Then I could choose to erase it when continuing to play the video, or leave it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The purpose would be showing recordings of football/hockey matches. When stopping the video I could highlight players and draw tactical instructions(using the mouse).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does such a video player exist?&lt;/p&gt;&#xA;" OwnerUserId="3794" LastActivityDate="2013-03-17T08:49:55.677" Title="Is there a video player where I can draw on top of video?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7416" PostTypeId="2" ParentId="7414" CreationDate="2013-03-17T08:49:55.677" Score="2" Body="&lt;p&gt;Why not just use an app that annotates the screen? Depending on whether you are on Windows, OS X, or Linux there should be plenty of apps when you search for &quot;screen annotate&quot; or &quot;annotation&quot;. Maybe you've searched for the wrong thing until now. &lt;/p&gt;&#xA;" OwnerUserId="2277" LastActivityDate="2013-03-17T08:49:55.677" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7420" PostTypeId="2" ParentId="5651" CreationDate="2013-03-18T02:02:54.503" Score="1" Body="&lt;p&gt;Without being able to find a definitive answer, I logged into my &lt;a href=&quot;http://withoutabox.com&quot; rel=&quot;nofollow&quot;&gt;Withoutabox&lt;/a&gt; account and began emailing festival directors and simply asking them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Being that there is no absolute format to how films are chosen for festivals, I received a WIDE range of replies, including:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Support from fans would help if the fans are local to the festival&#xA;who would be likely to purchase festival tickets.&lt;/li&gt;&#xA;&lt;li&gt;Attendance of the filmmakers to the festival is likely to boost&#xA;probability of acceptance.&lt;/li&gt;&#xA;&lt;li&gt;Would affect chances negatively.&lt;/li&gt;&#xA;&lt;li&gt;Would affect chances positively.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I suppose, all in all, it is beneficial to email each festival and simply ask the program/festival director.&lt;/p&gt;&#xA;" OwnerUserId="2272" LastActivityDate="2013-03-18T02:02:54.503" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7422" PostTypeId="2" ParentId="7412" CreationDate="2013-03-18T14:48:54.640" Score="1" Body="&lt;p&gt;A &lt;a href=&quot;http://www.raspberrypi.org/&quot; rel=&quot;nofollow&quot;&gt;Raspberry Pi&lt;/a&gt; might be what you are looking for.  It is a credit card sized Arm based computer running Raspbian (a Debian variant), and at $25 it may even be cheaper than buying several adapters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could simply attach a web cam to the Pi and attach the monitor or TV via HDMI or Component out.  To get to VGA you will need a &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B003O55U8K&quot; rel=&quot;nofollow&quot;&gt;converter&lt;/a&gt; which you can get for about $30.&lt;/p&gt;&#xA;" OwnerUserId="126" LastEditorUserId="126" LastEditDate="2013-03-18T14:59:08.190" LastActivityDate="2013-03-18T14:59:08.190" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7425" PostTypeId="1" AcceptedAnswerId="7426" CreationDate="2013-03-19T05:24:08.077" Score="2" ViewCount="1176" Body="&lt;p&gt;In this video &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/0n9XE6MfFCw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;you can see a logo next to head that moves with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can  I do that in Premiere?&lt;/p&gt;&#xA;" OwnerUserId="3805" LastEditorUserId="525" LastEditDate="2013-03-19T11:47:35.950" LastActivityDate="2013-03-19T11:47:35.950" Title="How can I move a floating text or image with the video?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ClosedDate="2013-03-26T16:18:06.990" ContentLicense="CC BY-SA 3.0" />
  <row Id="7426" PostTypeId="2" ParentId="7425" CreationDate="2013-03-19T10:15:08.080" Score="1" Body="&lt;p&gt;This is called &lt;em&gt;Motion Tracking&lt;/em&gt;. You define a part on the head that will be tracked, and then have another object move relative to this position. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure this can be &lt;em&gt;easily&lt;/em&gt; done with Premiere, as I've never done that, but it's a fairly standard procedure in After Effects. After Effects has a built-in tracking system, but there are also plugins like &lt;a href=&quot;http://www.imagineersystems.com/products/mochav2&quot; rel=&quot;nofollow&quot;&gt;Mocha&lt;/a&gt; which offer the same features (and possibly a bit more).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are hundreds of Motion Tracking tutorials online that explain how to do this, but looking for the term &quot;Tracking&quot; should get you started easily. For example, here's a tutorial for Premiere:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/DUX61MZip-A?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="525" LastActivityDate="2013-03-19T10:15:08.080" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="7436" PostTypeId="2" ParentId="2609" CreationDate="2013-03-20T13:47:10.280" Score="2" Body="&lt;p&gt;Deciding whether or not to shoot interlaced is really a matter of matching your destination format.  If you're shooting video for the web, you should record it in progressive scan mode.  You &lt;em&gt;can&lt;/em&gt; record interlaced, and then de-interlace it in software, but this will likely lead to video artifacts, especially considering your subject matter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think the picture you posted has misled many commenters into giving you the wrong advice.  Because the picture is blurry, they recommend a faster shutter speed, which &lt;em&gt;will&lt;/em&gt; sharpen a moving object.  But, given the nature of &lt;a href=&quot;http://www.youtube.com/watch?v=3OwUFh_Fbp4&amp;amp;feature=player_embedded&quot; rel=&quot;nofollow&quot;&gt;the video you linked to&lt;/a&gt;, I think more motion blur will result in a smoother, more natural look.  So try recording progressive, with a slow shutter speed.  This will let more light into the lens, brightening the exposure and making longer motion trails.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, try to match the framerate with which you're recording to that of your destination.  If you are recording at 29.97 and vimeo or youtube is playing at 24fps, they're going to introduce some frame blending on their end, which you have no control over, and which is likely to introduce artifacts.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-03-20T13:47:10.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7439" PostTypeId="1" CreationDate="2013-03-20T17:57:07.880" Score="2" ViewCount="1776" Body="&lt;p&gt;My school's drama department is looking for a camera to record our plays/musicals. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have looked and looked for a good camera that &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Records in 1080p at 30fps&lt;/li&gt;&#xA;&lt;li&gt;Has a mic-in port so we can connect our sound board to it to record directly onto the video from the tech booth.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I think the GoPro might work. It records at 1080p 60, 48, 30, or 24 fps, and has a mic-in. Would this work? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The tech booth is elevated and is in the back of the auditorium. I wouldn't need to zoom as I can crop it and scale it in post (which I think we will export at 720p) and I don't want it to look fish-eyed or distorted. Would the Narrow option work? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I really want answered is, Should I use the GoPro Hero 3 Black or is there a better camera to use ($400 or less)?&lt;/p&gt;&#xA;" OwnerUserId="3814" LastEditorUserId="2569" LastEditDate="2013-03-29T15:14:29.487" LastActivityDate="2013-03-29T15:14:29.487" Title="Should I use a GoPro Hero 3 Black for recording drama?" Tags="|video|recommendation|budget|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7440" PostTypeId="2" ParentId="7439" CreationDate="2013-03-20T18:31:09.557" Score="4" Body="&lt;p&gt;The GoPro is really more designed as a small, rugged, action camera.  It really isn't designed for recording a theater production and you would be able to get much better quality out of any number of camcorders in that price range.  You really want something with an optical zoom on it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either something like a Canon T3i or T2i would probably handle what you need.  Alternately, Panasonic makes some pretty good video cameras in that price range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also worth noting that the GoPro has no screen so you would need to buy a separate screen to know what it is that you are actually shooting so that you could aim it.  There is one available from GoPro, but it adds around $80 to the cost.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-03-20T19:50:46.613" LastActivityDate="2013-03-20T19:50:46.613" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7453" PostTypeId="2" ParentId="3701" CreationDate="2013-03-21T17:26:12.337" Score="1" Body="&lt;p&gt;Your event browser needs to be in filmstrip view for this to work. Press [&amp;#8997;&amp;#x2318;1]  Then you can Zoom in [&amp;#x2318;+] or out [&amp;#x2318;-] to whatever granularity you like.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-03-21T17:26:12.337" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7454" PostTypeId="1" AcceptedAnswerId="7457" CreationDate="2013-03-21T17:42:50.330" Score="0" ViewCount="140" Body="&lt;p&gt;Could someone please explain to me when it might be necessary to use multiple RED rocket cards in the same computer?  Does an additional card significantly improve workflow speeds for lower resolution video (such as 1080p), or is an additional card only useful 2k, 4k, etc?&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-03-21T20:29:38.810" Title="What is the benefit to using multiple RED rocket cards?" Tags="|video|hardware|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7455" PostTypeId="1" CreationDate="2013-03-21T18:04:56.283" Score="6" ViewCount="543" Body="&lt;p&gt;I know that it's possible to selectively ingest in the import dialogue, but is it possible to delete &quot;rejected&quot; portions of clips once they've been imported, without deleting the whole clip?  If not, what are viable workarounds?&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-05-30T00:07:10.100" Title="Is is possible to trim portions of clips in FCPX to save disk space?" Tags="|video|editing|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7456" PostTypeId="2" ParentId="3701" CreationDate="2013-03-21T19:50:33.280" Score="1" Body="&lt;p&gt;I would recommend to use JKL to scrub in the Viewer, directly in the Event Library. Press L to play forward at 1x. Press another time to play at 2x and so forth.&lt;br&gt;&#xA;Press K to stop playback.&lt;br&gt;&#xA;L plays backwards. Multiple invocations result in faster playback.&lt;br&gt;&#xA;Hold down K and press L to go one frame forward, K + J to go one frame backward.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe you can give it a go and see if that work out for you. If not go with Jason Conrad's suggestion. &lt;/p&gt;&#xA;" OwnerUserId="2277" LastActivityDate="2013-03-21T19:50:33.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7457" PostTypeId="2" ParentId="7454" CreationDate="2013-03-21T20:29:38.810" Score="3" Body="&lt;p&gt;The RedRocket card provides encoder and decoder support via specialized hardware that can do particular calculations well.  Having multiple cards doubles the amount of calculations that can be done.  Since at least some of the calculations can be done in parallel, having multiple cards increases the amount of processing power available.  It probably wouldn't be much of an additional advantage after hitting real time, but could probably allow for better scrubbing.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-21T20:29:38.810" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7459" PostTypeId="1" AcceptedAnswerId="7465" CreationDate="2013-03-22T03:46:58.743" Score="9" ViewCount="12741" Body="&lt;p&gt;I am currently looking for a video editing program which I can control via the command line. The main feature I need is the ability to add some overlay text. Is there anything out there that can do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My ideal platform would be Linux, but I would be open to using Windows or OSX if need be.&lt;/p&gt;&#xA;" OwnerUserId="3821" LastActivityDate="2020-10-18T12:39:14.393" Title="Are there any good video editing programs with a command line interface?" Tags="|video|software-recommendation|" AnswerCount="5" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7462" PostTypeId="2" ParentId="7459" CreationDate="2013-03-22T08:06:20.693" Score="5" Body="&lt;p&gt;&lt;a href=&quot;http://sourceforge.net/projects/avisynth2/&quot; rel=&quot;noreferrer&quot;&gt;Avisynth&lt;/a&gt; (&lt;a href=&quot;http://avisynth.org/mediawiki/Main_Page&quot; rel=&quot;noreferrer&quot;&gt;wiki&lt;/a&gt;) is a script-driven app and in conjunction with filters should be able to do the work.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2013-03-22T08:06:20.693" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7465" PostTypeId="2" ParentId="7459" CreationDate="2013-03-22T14:59:50.890" Score="5" Body="&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; (&lt;a href=&quot;http://ffmpeg.org/trac/ffmpeg/wiki&quot; rel=&quot;nofollow noreferrer&quot;&gt;wiki&lt;/a&gt;) is one option; you can achieve what you want either with the &lt;a href=&quot;http://ffmpeg.org/trac/ffmpeg/wiki/How%20to%20burn%20subtitles%20into%20the%20video&quot; rel=&quot;nofollow noreferrer&quot;&gt;subtitles filter&lt;/a&gt; (see also &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#subtitles-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;) or the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#drawtext-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;drawtext filter&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The subtitles filter requires ffmpeg to be compiled with &lt;code&gt;--enable-libass&lt;/code&gt; and drawtext requires it to be compiled with &lt;code&gt;--enable-libfreetype&lt;/code&gt;. If you're on Linux, the former is fairly likely to be the case, though the latter may not be. Also, beware than Debian and its derivatives (including Ubuntu et al) are using the forked tool avconv, from the libav project (see &lt;a href=&quot;https://stackoverflow.com/questions/9477115/who-can-tell-me-the-difference-and-relation-between-ffmpeg-libav-and-avconv/9477756#9477756&quot;&gt;here&lt;/a&gt; for a summary of the situation); some people have reported problems with avconv vs ffmpeg. I would recommend using ffmpeg, mainly because there seem to be more ffmpeg users than avconv users on the SE network, so you'll be able to get better help here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the version in your repos is not compiled to do these, you can grab a static build &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;from the FFmpeg website&lt;/a&gt;, or you can compile it yourself, &lt;a href=&quot;http://ffmpeg.org/trac/ffmpeg/wiki/CompilationGuide&quot; rel=&quot;nofollow noreferrer&quot;&gt;following one of the guides on the ffmpeg wiki&lt;/a&gt;, making sure to use the correct flags.&lt;/p&gt;&#xA;" OwnerUserId="3476" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2013-03-22T14:59:50.890" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7468" PostTypeId="1" AcceptedAnswerId="7469" CreationDate="2013-03-22T21:31:07.027" Score="2" ViewCount="2506" Body="&lt;p&gt;I'm rather new to AE but I believe I have the rotoscoping under control.&#xA;How can I gradually (each frame more) colourize an object in a video. So that at first the whole video is black and white and then one object starts to get more and more colour starting from a certain point and allow the colour to spread back to the whole object.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks a lot!&lt;/p&gt;&#xA;" OwnerUserId="3774" LastActivityDate="2013-03-23T08:58:49.690" Title="How to gradually colourize an object in after effects" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7469" PostTypeId="2" ParentId="7468" CreationDate="2013-03-22T21:56:21.440" Score="3" Body="&lt;p&gt;I can't give you AE specifics, but one general method would be to have a mono layer and an otherwise identical color layer, keying the color over the mono using a matte layer that you draw on. As portions of the matte layer are turned white, or shades of white, the color layer is revealed.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-03-22T21:56:21.440" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7472" PostTypeId="2" ParentId="7468" CreationDate="2013-03-23T08:58:49.690" Score="2" Body="&lt;p&gt;Set an adjustment layer, mask it to cover what you want, use the Hue/Saturation color effect, and set the saturation to zero...then on your layer push the e key, and then select the stop watch next to the saturation of the effect. go to where you want it in color, and set the saturation amount.  Done&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-03-23T08:58:49.690" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7476" PostTypeId="1" AcceptedAnswerId="7483" CreationDate="2013-03-23T16:09:18.390" Score="0" ViewCount="458" Body="&lt;p&gt;I've got a few wmv files, when I import them into avid it seems that the video channel is not being imported. There's just audio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I missing something in the import stage? Or in the handling of the sequence?&lt;/p&gt;&#xA;" OwnerUserId="3831" LastEditorUserId="126" LastEditDate="2013-03-28T02:27:31.680" LastActivityDate="2018-11-05T06:22:23.267" Title="Avid import wmv file, just audio no video" Tags="|avid|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7477" PostTypeId="1" CreationDate="2013-03-23T17:41:28.073" Score="1" ViewCount="136" Body="&lt;p&gt;I'm seeking recommendations on how to shoot a long lecture by a guest speaker that is coming to town. I currently own a Canon t4i. My main question is what do I need to avoid my camera from spazzing out during the lecture. What SD card might I need? Will the battery run out? How to avoid that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerDisplayName="Zacharia" LastEditorUserId="2569" LastEditDate="2013-04-03T00:21:20.393" LastActivityDate="2013-04-03T00:21:20.393" Title="Recommendation to Shooting Long Videos" Tags="|recommendation|video-recording|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7480" PostTypeId="2" ParentId="7477" CreationDate="2013-03-24T00:41:11.460" Score="4" Body="&lt;p&gt;The biggest trick you will run in to is the 4GB file size limit and the 30 minute record time limit.  You will need to monitor the recording and resume several times or use a third party software like Magic Lantern to overcome the limitations.  As for battery, there is a DC adapter available that you can buy if battery life is a concern.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-24T00:41:11.460" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7483" PostTypeId="2" ParentId="7476" CreationDate="2013-03-24T13:03:03.767" Score="2" Body="&lt;p&gt;This is likely due to the video codec that you are using. First, an explanation of terms is required: WMV is a container format. These can contain one or more video or audio streams - with video this is normally one video &amp;amp; one audio stream; and these are encoded with various codecs (coder/decoder). I'm not very familiar with the WMV format - for editing I use proper intermediate codecs (Apple ProRes in my case; more in this in a moment), and I prefer MP4 as a delivery codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are broadly three 'types' of video codec: capture codecs, that a video camera will use to record the video; intermediate codecs, that are more suited to post-production editing (they trade larger files for requiring less processing power &amp;amp; the ability to easily cut on any frame); and delivery codecs, that are more compressed (so they can be streamed over the internet, or so you can fit a decent length on a physical medium like a DVD, or for broadcast). There is some overlap between these (many DSLRs use h.264, which is designed to be a delivery codec, to capture video).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This stuff also applies to audio - though there you should use uncompressed PCM audio. However, since audio decompression requires far less processing power, some NLEs will allow you to get away with compressed audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have never heard of the WMV format containing any intermediate formats, as far as I know it's a purely delivery format. That's probably the cause of your problem. I've never used Avid, so I don't know  exactly which intermediate codec you should use. Since it's designed by Avid, the DNxHD codec is a good bet for video (you should convert your audio to PCM audio while you're at it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your video editing software probably came with a media conversion tool. You could also use the command-line-based &lt;a href=&quot;https://ffmpeg.org/&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt; (&lt;a href=&quot;http://ffmpeg.org/trac/ffmpeg/wiki&quot; rel=&quot;nofollow&quot;&gt;wiki&lt;/a&gt;) to encode to DNxHD. For the following command, you would need to adjust the bit rate - here it is 36 megabits/second - see &lt;a href=&quot;http://www.itbroadcastanddigitalcinema.com/ffmpeg_howto.html#Encoding_VC-3&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; for some information on what you should use. Note that the ffmpeg syntax used in that guide is somehat out of date; you should use &lt;code&gt;-c:v&lt;/code&gt; instead of &lt;code&gt;-vcodec&lt;/code&gt; and &lt;code&gt;-b:v&lt;/code&gt; instead of &lt;code&gt;-b&lt;/code&gt;. This following command will also convert the audio to uncompressed 16-bit PCM, for maximum compatibility:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.wmv -c:v dnxhd -b:v 36M -c:a pcm_s16le output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3476" LastEditorUserId="3476" LastEditDate="2013-03-24T16:00:16.310" LastActivityDate="2013-03-24T16:00:16.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7484" PostTypeId="1" AcceptedAnswerId="7495" CreationDate="2013-03-25T00:14:44.147" Score="2" ViewCount="477" Body="&lt;p&gt;I'm rather new to AE but I have to do some complicated things for school since we came up with such a hard concept.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have rotoscoped a part of the main footage, now how can I apply this roto mask (at least that's how I understand roto's function) to a solid layer?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My solid layer is something I painted on and I want it to stay within the bounds of the rotoscoped object.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help on this would be great!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="3774" LastActivityDate="2013-03-26T01:09:54.367" Title="How to assign roto to another layer in After Effects" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7487" PostTypeId="1" AcceptedAnswerId="7506" CreationDate="2013-03-25T11:51:13.687" Score="0" ViewCount="269" Body="&lt;p&gt;I've run into a little snag.&#xA;I can't seem to mask out some of the brush that I've used on a an empty layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I create the mask but it simply doesn't mask out anything, it does however mask out pixels when I did some experiments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can i get this done?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="3774" LastActivityDate="2013-03-27T13:00:33.417" Title="How to mask out brush in After effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7490" PostTypeId="1" CreationDate="2013-03-25T15:45:24.533" Score="3" ViewCount="197" Body="&lt;p&gt;I have the following gear:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;2 x Lumex GH2s&lt;/li&gt;&#xA;&lt;li&gt;Matrox MX02&lt;/li&gt;&#xA;&lt;li&gt;Black Magic Intensity&lt;/li&gt;&#xA;&lt;li&gt;XLR Shotgun Mic&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;My problem....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a studio where the cameras do not move, I use the HDMI out on the cameras in to the MX02 or Intensity. I am running 23.9 frames per second output from the cameras. When I use the video in Premiere Pro, the video is all jittery. I get the issue on both capture cards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use a studio with a white, green background however maybe I only need cheap camcorders. The audio is coming via XLR input on the MX02.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have asked Matrox &lt;a href=&quot;http://forum.matrox.com/mxo/viewtopic.php?p=41114#41114&quot; rel=&quot;nofollow&quot;&gt;http://forum.matrox.com/mxo/viewtopic.php?p=41114#41114&lt;/a&gt;&#xA;I have asked GH2 forum &lt;a href=&quot;http://www.personal-view.com/talks/discussion/6495/recording-out-of-gh2-hdmi-out-without-pressing-record-on-mx02-black-magic-intensity#Item_7&quot; rel=&quot;nofollow&quot;&gt;http://www.personal-view.com/talks/discussion/6495/recording-out-of-gh2-hdmi-out-without-pressing-record-on-mx02-black-magic-intensity#Item_7&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I am stuck and I am not sure what to do to address the stutter. I have spent over 1800 for 2 gh2s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also tried filters and plugins in Premiere Pro to make it smooth. but no joy... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone provide any insight into this...  &lt;/p&gt;&#xA;" OwnerUserId="3836" LastEditorUserId="2836" LastEditDate="2013-03-26T12:54:11.593" LastActivityDate="2013-03-26T12:54:11.593" Title="GH2 HDMI out on MX02 &amp; Black Magic (Need for studio recording)" Tags="|studio|hdmi|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7493" PostTypeId="2" ParentId="7490" CreationDate="2013-03-25T17:07:41.927" Score="1" Body="&lt;p&gt;It isn't really clear what you are asking here.  The 23.9 frame rate is most likely 23.976 which is the more accurate standard frame rate for 24fps.  This shouldn't result in a stutter.  It is possible that your computer is simply not powerful enough to play the video smoothly.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are you trying to capture from both the Intensity and the MX02 at the same time from different cameras?  This is going to put a pretty extreme load on your system's ability to store the file and will almost certainly not work without an SSD and even that might be pushing it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a particular reason you need to be capturing the input live?  If you simply want to do uncompressed capture, I would recommend recording to Black Magic HyperDecks and then syncing in post.  Alternately, if you need to be doing live editing, you could get the Black Magic Studio ATEM Production Switcher which would handle what you need.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-25T17:07:41.927" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="7495" PostTypeId="2" ParentId="7484" CreationDate="2013-03-26T00:27:20.867" Score="2" Body="&lt;p&gt;Put a layer underneath it and set the lower layer's &quot;TrakMat&quot; to &quot;Alpha Matte&quot;.  If you don't see the &quot;TrkMat&quot; dropdown menu to the right of the source name, click the &quot;Toggle Switches/Modes&quot; button at the bottom of the screen.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-03-26T00:27:20.867" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7496" PostTypeId="2" ParentId="7484" CreationDate="2013-03-26T01:09:54.367" Score="2" Body="&lt;p&gt;You can use track mattes, you can also go to your first key frame copy the mask and paste it on the solid, this will also work&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-03-26T01:09:54.367" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7506" PostTypeId="2" ParentId="7487" CreationDate="2013-03-27T05:54:50.803" Score="1" Body="&lt;p&gt;Create a white solid, mask out what you want with that...then use it as an alpha matte to mask out what you do not want.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastEditorUserId="2836" LastEditDate="2013-03-27T13:00:33.417" LastActivityDate="2013-03-27T13:00:33.417" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7510" PostTypeId="2" ParentId="7477" CreationDate="2013-03-27T20:25:53.610" Score="0" Body="&lt;p&gt;AJ Henderson is correct, as far as power, finding a way to plug it to a constant circuit would be the best option. Bring an extension cord, and a surge protector (pref: low-noise) :-)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as video capacity... there should be some way you can stream the video out in real time to a close by laptop or something (with lots of HD space, and 7200rpm recomended too).. Since video can fill up space FAST, getting an external drive or two would definitely do the job... again def. get 7200 rpm and you can get 500 Gb fairly cheap these days... I &lt;a href=&quot;http://www.lacie.com/us/products/product.htm?id=10553&quot; rel=&quot;nofollow&quot;&gt;recommend&lt;/a&gt; ...&lt;/p&gt;&#xA;" OwnerUserId="3725" LastActivityDate="2013-03-27T20:25:53.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7525" PostTypeId="1" AcceptedAnswerId="7529" CreationDate="2013-03-28T06:22:09.733" Score="-2" ViewCount="101" Body="&lt;p&gt;Other than drawing skills, what software does one need to make videos like this one?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.dunnhumby.com/in/about-us-what-we-do&quot; rel=&quot;nofollow&quot;&gt;http://www.dunnhumby.com/in/about-us-what-we-do&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="956" LastActivityDate="2013-03-28T13:29:35.333" Title="How do you make videos like this one?" Tags="|video|animation|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7529" PostTypeId="2" ParentId="7525" CreationDate="2013-03-28T13:29:35.333" Score="1" Body="&lt;p&gt;It appears like it is a combination of traditional hand animation or possibly Flash or Illustrator combined with After Effects for compositing and camera motion.  The images appear to use a Draw On style followed by an animated wipe to remove them.  This is then overlaid over the background and camera motion is added by panning and zooming the entire image.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-28T13:29:35.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7534" PostTypeId="1" CreationDate="2013-03-29T17:48:10.130" Score="-7" ViewCount="662" Body="&lt;p&gt;I want to know how to make video scribe or whiteboard animation? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/u6XAPnuFjJc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please suggest me some tools&lt;/p&gt;&#xA;" OwnerUserId="3859" LastActivityDate="2017-08-06T20:03:49.133" Title="how to make video scribe or whiteboard animation?" Tags="|video|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7535" PostTypeId="2" ParentId="7534" CreationDate="2013-03-29T17:53:02.013" Score="0" Body="&lt;p&gt;There are any number of ways.  You can do it with flash, you can do it with After Effects (probably the most popular).  If you want to do it cheap, you can do it with a tripod and a still camera and just do a lot of stop motion.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-03-29T17:53:02.013" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7536" PostTypeId="2" ParentId="2389" CreationDate="2013-03-29T19:59:49.530" Score="3" Body="&lt;p&gt;How about Lightworks? Its free and does the job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.lwks.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.lwks.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user3849" LastActivityDate="2013-03-29T19:59:49.530" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="7537" PostTypeId="1" CreationDate="2013-03-29T20:03:59.267" Score="2" ViewCount="327" Body="&lt;p&gt;I have a graphic EQ connected to my amp which I want to calibrate for a flat response. I've read somewhere that you can't calibrate a EQ by ear using test tones (different frequencies at same volume) but I'm wondering if I can connect my laptop to a mic and run a dB meter program on it in order to accurately depict the sound of the test tones. Using the dB meter, I can then set my EQ properly so that all the tones sound the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Will this technique work? I dont need perfect calibration, I just want it to be reasonable calibrated. &lt;/p&gt;&#xA;" OwnerDisplayName="user3849" LastActivityDate="2013-03-29T23:58:58.903" Title="Calibrate Graphic EQ without SPL Meter" Tags="|equalization|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7540" PostTypeId="2" ParentId="7537" CreationDate="2013-03-29T23:58:58.903" Score="3" Body="&lt;p&gt;If you know the curve for the mic you're using, then you should at least be able to determine what response you have now, which would tell you if you need to make EQ changes. Doing it band by band might be a bit tedious, but you won't do it often, so...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The gold standard is something like an Ivie sound analyzer, which uses &quot;pink noise&quot; as the sound source, and one or more calibrated microphones as pickups. You can monitor the acoustic properties of the room, from different positions, and see changes in EQ reflected in real time across the entire spectrum.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They're too expensive for casual use, but you may be able to rent one, or hire someone who owns one for a nominal fee.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-03-29T23:58:58.903" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7542" PostTypeId="1" CreationDate="2013-03-30T10:01:38.050" Score="2" ViewCount="115" Body="&lt;p&gt;I have bought a touchscreen backpanel for my GoPro3 black and whenever I take it diving, it switches to &quot;&gt;&quot; play mode (the black triangle shows up on the front panel and keeps stuck there). I cannot switch it off or operate any of the buttons.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can it be that the touch panel reacts to pressure from the back cover? I am not using the touch back panel by the way. Any idea what else can be causing this? I have the latest firmware.&lt;/p&gt;&#xA;" OwnerUserId="3866" LastEditorUserId="5416" LastEditDate="2014-04-02T13:35:54.337" LastActivityDate="2014-06-01T14:13:47.957" Title="GoPro 3 Black gets stuck in &quot;&gt;&quot; Play mode when diving" Tags="|hardware|action-cam|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7548" PostTypeId="1" AcceptedAnswerId="7550" CreationDate="2013-03-31T13:35:57.997" Score="1" ViewCount="221" Body="&lt;p&gt;Please let me explain how I've recorded in the past since I think this will make my question clearer.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Microphone -&amp;gt; direct into TL Audio pre-amp -&amp;gt; direct into soundcard.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is the only way I know how to route.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Due to the location of my equipment (mixer - it's a home studio), the mixer could offer the ease of accessibility so I want to understand more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, I know I could apply the following setup:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Microphone -&amp;gt; track 1 of mixer -&amp;gt; direct into TL Audio pre-amp -&amp;gt; direct into soundcard&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this doesn't seems like a good way, as it means that &lt;code&gt;Track 2&lt;/code&gt; of the mixer cannot use the TL Audio pre-amp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was also given a patch bay if that matters (or not).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I set up my mixer so I can use the outboard device? In total, I have 3 outboard devices and sadly only 2 send/return on my mixer. I do have 6 AUX though! The problem is AUX is just a send. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is where my head hurts. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's assume my TL Audio pre-amp is connected via &lt;code&gt;AUX 1&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would mean my AUX1 of the mixer goes into my SoundCard &lt;code&gt;Port 8&lt;/code&gt; and my DirectOut on the mixer (of &lt;code&gt;Track 1&lt;/code&gt;) goes into SoundCard &lt;code&gt;Port 1&lt;/code&gt;. It then means Direct Out of &lt;code&gt;Track 2&lt;/code&gt; of my mixer goes to SoundCard &lt;code&gt;Port 2&lt;/code&gt; etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this correct?&lt;/p&gt;&#xA;" OwnerUserId="3839" LastEditorUserId="3839" LastEditDate="2013-10-23T14:53:57.467" LastActivityDate="2013-10-23T14:53:57.467" Title="How to route from mixer to PC when using outboard equipment" Tags="|mixer|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7550" PostTypeId="2" ParentId="7548" CreationDate="2013-03-31T14:16:27.557" Score="1" Body="&lt;p&gt;Since your question is not very clear, I will answer generally and then improve my answer if more information is supplied. First of all, it is important to mention that there are 2 types of audio effects: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Parallel effects&lt;/strong&gt; -  used &lt;strong&gt;with&lt;/strong&gt; the original signal, without changing it. For example if you use delay or reverb; your signal gets routed to the effect and then returned back to your mixing console. At this stage - you decide what will be the correct mix between the original signal and the effect. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Serial effects&lt;/strong&gt; - affecting the &lt;strong&gt;whole&lt;/strong&gt; signal, for example compression. Auxiliary channels in consoles are usually used to work with parallel effects. You send the original channel through aux to your effects processor and then route the processed signal(actual effect)  back to your return input. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I say that to imply that usually you will not use your auxiliary sends and returns to use them with external pre-amp. The signal has to be pre-amped before going into the mixer channel, long before it reaches aux send point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regarding your question about direct outs and aux returns - yes, both of them will output the same signal as long as the aux volume is at maximum since both of them are post-fader.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to use your external pre-amp with your mixer, you can use the line-in input which, in most mixers, is skipping the built-in pre.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT1&lt;/strong&gt;:&#xA;In some mixers the aux send\return are utilized by only one insert point, however internally tip is used as send and ring as return. This is from your mixer spec:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/XyKXe.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="2261" LastEditorUserId="2261" LastEditDate="2013-03-31T14:49:52.400" LastActivityDate="2013-03-31T14:49:52.400" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="7552" PostTypeId="1" CreationDate="2013-03-31T21:37:34.247" Score="16" ViewCount="23203" Body="&lt;p&gt;Is there a reason timecode in Final Cut 7 and timecode in Pro Tools starts at the 1 hour mark? eg. 01:00:00:00? As opposed to all zeros? Some old broadcast standard that I don't know about?&lt;/p&gt;&#xA;" OwnerUserId="3875" LastActivityDate="2017-01-10T19:04:59.713" Title="Why does all timecode start at 1 hour? (01:00:00:00)" Tags="|video|timecode|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7553" PostTypeId="2" ParentId="7552" CreationDate="2013-03-31T22:49:27.607" Score="15" Body="&lt;p&gt;It's to leave room before first picture, for slates, countdowns, test signals etc, while still preserving an easy count of running time for the video. Yes, it traces historically to broadcast and in particular videotape.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many tape-based editing systems couldn't deal with 24-hour wraparound, so the next even hour became traditional 'time zero'. I suspect that most non-linear systems are the same.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-03-31T22:49:27.607" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="7557" PostTypeId="5" CreationDate="2013-04-02T00:55:35.193" Score="0" Body="" OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2013-04-02T00:55:35.193" LastActivityDate="2013-04-02T00:55:35.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7558" PostTypeId="4" CreationDate="2013-04-02T00:55:35.193" Score="0" Body="A measure of the clarity and/or cleanliness of an audio signal.  There can be both objective and subjective measures.  It can refer to any point in the audio chain, from source, through recording and production, to the subjective human ear." OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2013-04-02T00:55:35.193" LastActivityDate="2013-04-02T00:55:35.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7559" PostTypeId="1" CreationDate="2013-04-02T00:58:38.990" Score="2" ViewCount="1292" Body="&lt;p&gt;I have a pair of old speakers that I want the EQ calibrated for, and I found their manual with its SPL graph. However, I'm wondering if the graph is even accurate now (the speakers are around 15 years old). I'm also wondering how the read the graph, since there's more than one line and I don't know which one to use when calibrating my EQ.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/fhXpW.jpg&quot; alt=&quot;Speaker SPL Graph&quot;&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user3849" LastActivityDate="2013-05-02T15:07:07.583" Title="Calibrate EQ Using Speaker SPL Graph" Tags="|equalization|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7563" PostTypeId="2" ParentId="7559" CreationDate="2013-04-02T13:06:39.737" Score="0" Body="&lt;p&gt;Frequency response is going to vary at different levels of signal being sent to the speaker.  The graph is useful for assessing general speaker quality, but you will probably get the best adjustments by doing it by ear.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you really wanted to do a high quality job, you would need a pink noise generator, a real time analyzer and a 31 band equalizer.  The way that a professional PA is &quot;calibrated&quot; is to play pink noise (a broad spectrum noise with a known frequency distribution), and then use the Real Time Analyzer to examine the SPL(sound pressure level or &quot;volume&quot;) of various frequencies in the room from the primary listening location at the typical overall SPL and adjust the 31 band EQ to make a curve that fits the desired sound when the noise is subtracted out.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-02T13:06:39.737" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7569" PostTypeId="2" ParentId="7552" CreationDate="2013-04-02T21:25:56.320" Score="3" Body="&lt;p&gt;Some projects use the hours field as a reel/tape/memory card indicator. Many cameras permit setting the TC hours number arbitrarily to support this usage. You could set the hours number in Pro Tools or FCP to conform to such a system if required.&lt;/p&gt;&#xA;" OwnerUserId="3882" LastActivityDate="2013-04-02T21:25:56.320" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7570" PostTypeId="2" ParentId="7477" CreationDate="2013-04-02T22:06:22.617" Score="1" Body="&lt;p&gt;Using a second DSLR and alternating between them would allow you to edit together continuous coverage, swapping memory cards as you go. Have both cameras on power adapters, not batteries. Don't buy, rent.&lt;/p&gt;&#xA;" OwnerUserId="3882" LastActivityDate="2013-04-02T22:06:22.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7571" PostTypeId="5" CreationDate="2013-04-03T00:27:13.543" Score="0" Body="" OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2013-04-03T00:27:13.543" LastActivityDate="2013-04-03T00:27:13.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7572" PostTypeId="4" CreationDate="2013-04-03T00:27:13.543" Score="0" Body="The fitting attached either to the end of a cable, or the receptacle.  E.g., RCA, XLR, TRS, BNC, HDMI, etc." OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2013-04-03T00:27:13.543" LastActivityDate="2013-04-03T00:27:13.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7573" PostTypeId="5" CreationDate="2013-04-03T00:30:52.453" Score="0" Body="" OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2013-04-03T00:30:52.453" LastActivityDate="2013-04-03T00:30:52.453" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7574" PostTypeId="4" CreationDate="2013-04-03T00:30:52.453" Score="0" Body="An audio signal consisting of a single, discrete, channel of information.  Contrasted with stereo (two channels) or multi-channel (two or more channels)." OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2013-04-03T00:30:52.453" LastActivityDate="2013-04-03T00:30:52.453" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7575" PostTypeId="1" AcceptedAnswerId="7792" CreationDate="2013-04-03T02:32:26.613" Score="0" ViewCount="1038" Body="&lt;p&gt;I'm trying to set up CamTwist + a Blackmagic Intensity Thunderbolt Shuttle on a MacBook Pro but am getting a black screen in CamTwist.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the correct settings?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="3883" LastActivityDate="2013-05-03T04:43:50.033" Title="CamTwist + Blackmagic Intensity Thunderbolt Shuttle Settings" Tags="|streaming|camcorder|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7577" PostTypeId="1" AcceptedAnswerId="7579" CreationDate="2013-04-03T13:05:46.640" Score="2" ViewCount="127" Body="&lt;p&gt;I run a video system at my church that consists of two fixed robotic cameras among other things. The person who installed this equipment didn't have experience with video production, only display, so instead of a video mixer we have video input switchers, needless to say that doesn't work well for recording. The end result is that currently I'm only recording from a single camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example of my work is here: &lt;a href=&quot;http://www.mbcdet.com/media/&quot; rel=&quot;nofollow&quot;&gt;http://www.mbcdet.com/media/&lt;/a&gt;. I'll disclose this is a Christian sermon so if you don't agree with what is said in the video I understand but I would appreciate if the feedback is &lt;em&gt;pertinent to the question&lt;/em&gt;, thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that ultimately recording from the second camera at the same time and mixing the inputs is a good way to go, or purchasing a video mixer and mixing the video inputs real time is also a good way to go. What I'm looking for is an answer on recording the video from a fixed camera in a way that doesn't seem &lt;em&gt;boring&lt;/em&gt;, so to speak.&lt;/p&gt;&#xA;" OwnerUserId="3880" LastActivityDate="2013-04-03T19:51:30.200" Title="What is the best way to record from a single fixed camera?" Tags="|video|recording|production|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7579" PostTypeId="2" ParentId="7577" CreationDate="2013-04-03T19:51:30.200" Score="1" Body="&lt;p&gt;There isn't really a good answer to that.  There isn't a whole lot you can do with a fixed shot and making adjustments on a live shot is always a danger of being distracting, even when controlling it by hand as an experienced operator.  Making adjustments via a Pan Tilt Unit while the camera is live is going to be anything but smooth and will be very distracting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd recommend either recording from both to edit in post or picking up one of the Black Magic Studio ATEM's (under $1000 HD video switcher with built in H264 encoding).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-03T19:51:30.200" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7580" PostTypeId="1" CreationDate="2013-04-03T22:15:16.300" Score="2" ViewCount="128" Body="&lt;p&gt;I would like to make a video with songs in the background. I'm mostly interested about classic music, but other genres as well. I know of Creative Commons. However, I was wondering if there are recordings of famous songs available for free (perhaps, old recordings?).&lt;/p&gt;&#xA;" OwnerUserId="1570" LastActivityDate="2013-10-23T13:34:09.107" Title="Free songs for video production" Tags="|video|music|copyright|" AnswerCount="2" CommentCount="3" ClosedDate="2013-10-23T13:34:20.637" ContentLicense="CC BY-SA 3.0" />
  <row Id="7582" PostTypeId="1" AcceptedAnswerId="7584" CreationDate="2013-04-04T01:17:21.440" Score="3" ViewCount="69" Body="&lt;p&gt;I don't know if this is the correct place to ask this type of question, but here is it.&#xA;I wanted to find a ball park size of each blu-ray frame size in bytes. This is my calculation which cannot be correct.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming we have a 2 hour blu-ray movie of size 25GB: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;(25 * 1024) / (2 * 3600) = 3.56 MB/s of data&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Blu-ray's fps ranges from 25-59 fps: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;3.56 MB/s / 25 = 145 KB&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is around 145 KB for each &lt;code&gt;1910 x 1080&lt;/code&gt; pixel picture?! I don't know what I'm doing wrong here...&lt;/p&gt;&#xA;" OwnerUserId="3890" LastEditorUserId="3890" LastEditDate="2015-11-12T17:28:57.673" LastActivityDate="2015-11-12T17:28:57.673" Title="Bluray I/O speed" Tags="|compression|video-quality|storage|bluray|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7584" PostTypeId="2" ParentId="7582" CreationDate="2013-04-04T04:40:28.177" Score="5" Body="&lt;p&gt;What you are missing is that not every frame is stored as a picture.  A large number of frames are stored simply by keeping track of what changed from the previous picture.  If you think about most video, not a whole lot is actually changing since the majority of the scene stays the same or moves in a similar pattern.  By describing only the changes, the amount of space required can be reduced drastically.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is why the actual data &quot;per frame&quot; can be so low since only a fraction of the frames are actually full frames.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-04T04:40:28.177" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="7585" PostTypeId="2" ParentId="7300" CreationDate="2013-04-04T16:00:03.457" Score="30" Body="&lt;p&gt;&lt;strong&gt;For recent versions of ffmpeg, see &lt;a href=&quot;https://video.stackexchange.com/a/7320/3894&quot;&gt;Gyan's answer&lt;/a&gt; instead&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;Original answer:&lt;/em&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;with ffmpeg 0.11.1 it's as easy as:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2 -i %*.png out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;From the &lt;code&gt;man&lt;/code&gt; page, in an example under &amp;quot;Video and Audio file format conversion&amp;quot;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;When importing an image sequence, &lt;code&gt;-i&lt;/code&gt; also supports expanding shell-like wildcard patterns (globbing) internally. To lower the chance of interfering with your actual file names and the shell's glob expansion, you are required to activate glob meta characters by prefixing them with a single &lt;code&gt;%&lt;/code&gt; character, like in &lt;code&gt;foo-%*.jpeg&lt;/code&gt;, &lt;code&gt;foo-%?%?%?.jpeg&lt;/code&gt; or &lt;code&gt;foo-00%[234%]%*.jpeg&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Update per comments: on recent versions you should now use &lt;code&gt;-i '*.png'&lt;/code&gt; syntax.&lt;/p&gt;&#xA;" OwnerUserId="3894" LastEditorUserId="3894" LastEditDate="2021-03-09T15:35:27.607" LastActivityDate="2021-03-09T15:35:27.607" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="7586" PostTypeId="2" ParentId="7455" CreationDate="2013-04-04T17:02:20.070" Score="1" Body="&lt;p&gt;It depends on your method of encoding, but with many formats, you can not simply cut a clip at a point of your choice without running in to other issues related to how the file is stored.  It might be possible to do it within a few seconds of the desired point, but it's not frequently done in an editing application itself since that isn't the point of an editing application.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you want to look for is an application that is capable of splitting the file format you are working with.  Quicktime itself can do this for at least some MOV formats.  Once you have split the file in two, you can delete the unnecessary portion and import the part you want to use.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-04T17:02:20.070" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="7587" PostTypeId="1" CreationDate="2013-04-04T20:05:42.023" Score="2" ViewCount="100" Body="&lt;p&gt;I record conferences and produce them in an HTML player. I have a need to transcribe some content and integrate it into the player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found &lt;a href=&quot;https://video.stackexchange.com/questions/4478/transcription-methods-times&quot;&gt;this question&lt;/a&gt;, but the answer seems to say that the transcription is mixed into the video file. I do not want that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I need, or could work with, is a transcript that is in a separate text file with the timings that the sections begin. XML, CSV, or some other standard is perfect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have thousands of hours per year that I would potentially need to do this on. There needs to be very little effort involved to get the transcripts for this to be viable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would be perfect is that I tell the program what videos I want a transcript for, click go, then it produces the files. Any OS is fine, though I prefer Windows.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt; I learned that Google employs a very good transcript engine, but you cannot seem to take advantage of it without actually uploading files to YouTube. &lt;a href=&quot;https://superuser.com/questions/734939/how-use-googles-youtube-speech-recognition-without-uploading-videos-to-youtube&quot;&gt;I asked if there was a way around this on Superuser&lt;/a&gt;, but got nothing. To further complicate things, YouTube decides if the video with be transcripted without notice to the user. There is no option to select it or generate it on command. So in expansion of this question, what options do I have available to me regarding YouTube's engine? Is there a way around this? I can upload to YouTube as long as I can keep it private and the transcript &lt;em&gt;will&lt;/em&gt; be generated at time of encoding, if that's the only option.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2015-06-01T16:48:55.937" Title="Software to make a transcript?" Tags="|software-recommendation|youtube|windows|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7596" PostTypeId="1" AcceptedAnswerId="7605" CreationDate="2013-04-05T18:03:25.750" Score="2" ViewCount="11715" Body="&lt;p&gt;It seems there are lots of discussions on the web, none recently though, on &lt;code&gt;RG6&lt;/code&gt; vs &lt;code&gt;RG59&lt;/code&gt; and the distances that they can carry signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For situations when quality matters, such as live streaming (as opposed to something like CCTV), is &lt;code&gt;RG6&lt;/code&gt; the only way to go?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A &lt;a href=&quot;http://www.bhphotovideo.com/c/product/415820-REG/Canare_L_4CFB_984_L_4CFB_75_Ohm_RG59.html&quot; rel=&quot;nofollow&quot;&gt;984' RG59&lt;/a&gt; cable costs just about as much as a &lt;a href=&quot;http://www.bhphotovideo.com/c/product/863724-REG/Canare_200_HD_SDI_Video_Coaxial.html&quot; rel=&quot;nofollow&quot;&gt;200' RG6&lt;/a&gt; cable. Assume that the signal is powerful enough to send the signal over 900'. Will the &lt;code&gt;RG59&lt;/code&gt; cable experience significant and noticeable signal loss compared to the &lt;code&gt;RG6&lt;/code&gt; cable? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a significant price different between the two types, so if I can get away with a &lt;code&gt;RG59&lt;/code&gt; cable, certainly I will.&lt;/p&gt;&#xA;" OwnerUserId="3679" LastActivityDate="2017-09-19T14:36:55.937" Title="RG6 vs RG59 HD-SDI cables for live stream" Tags="|streaming|cable|sdi|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7604" PostTypeId="1" CreationDate="2013-04-07T00:14:56.567" Score="1" ViewCount="5063" Body="&lt;p&gt;I want to add a gradient transparency mask so that the front layer will slowly transform into the layer below. Can anybody suggest something?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not talking about transition in time, but transition between layers. This is an example of video I want to get:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/t7hES.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think that in old final cut you could do this with black to white gradient and filters.&lt;/p&gt;&#xA;" OwnerUserId="3907" LastEditorUserId="1530" LastEditDate="2013-04-07T16:34:01.427" LastActivityDate="2021-06-29T15:13:03.453" Title="How to add gradient transparency mask in final cut pro x?" Tags="|final-cut-pro-x|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7605" PostTypeId="2" ParentId="7596" CreationDate="2013-04-07T00:21:11.193" Score="4" Body="&lt;p&gt;Unfortunately there is no perfect or exact answer. Your question topic mentions HD-SDI, which is a digital signal. Those tends to degrade 'cliff-wise', unlike analog signals where degradation is gradual. It will partly depend on the quality of the receiving device -- whether or not, or how well, it can capture the signal as the eye pattern turns to mush.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Having said that, 900 feet over RG59 is bound to be trouble, even over the premium shielded variants like Belden 1505a. For 720p, that's rated for maybe 200 feet. Your footage may vary (-:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;RG6 will be better, but again, shielding matters so you're better off with 1694a or equivalent. Even then, I wouldn't gamble on 900' without testing it in place.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-04-07T00:21:11.193" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7606" PostTypeId="2" ParentId="7604" CreationDate="2013-04-07T03:22:43.820" Score="1" Body="&lt;p&gt;If you're talking a special, unique transition that you can't find in the effect browser, you have to use Motion to create the transition yourself, and publish it to FCPX.  If you're just looking for a slow dissolve, there's already a dissolve transition available.  Just drag it from the effects browser to your edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: &lt;a href=&quot;https://docs.google.com/file/d/0B6aKxDC1rLtqbGxnZ2Z5WGZqb0U/edit?usp=sharing&quot; rel=&quot;nofollow&quot;&gt;Here's&lt;/a&gt; one I created in Motion.  Delete the .xml extension that google adds to the filename; it should be called &quot;SideBySideGradient.motr&quot;, not &quot;SideBySideGradient.motr.xml&quot;  Put this file at ~/Movies/Motion Templates.  If you don't already have a Motion Templates folder in your [home directory]/Movies, create one there, drop this in, and look for &quot;SideBySideGradient&quot; in your FCPX effects browser under the transitions category.  Drag this transition between two clips on your timeline, and VIOLA!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realize that this is a pretty simple application which might not suit your needs exactly, which is why I encourage you to use motion and try it for yourself.  It's not hard!  If you need help, feel free to ask.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2013-04-08T00:41:04.057" LastActivityDate="2013-04-08T00:41:04.057" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7607" PostTypeId="1" CreationDate="2013-04-07T12:20:28.417" Score="2" ViewCount="694" Body="&lt;p&gt;For a short student film, I'd like to be able to work with shots that are 60FPS. For some reason I dont see this option:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/phTkl.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3909" LastEditorUserId="1530" LastEditDate="2013-04-07T16:33:06.703" LastActivityDate="2013-04-07T16:33:06.703" Title="Why does After Effects not enable me to work with 60FPS?" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7608" PostTypeId="2" ParentId="7607" CreationDate="2013-04-07T14:39:00.167" Score="1" Body="&lt;p&gt;Those &quot;options&quot; are just convenient presets. Just select Custom and input the frame rate and any other parameters you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, if only some of your shots are 60fps, and your final output is 24 or 30 fps, then set your comp settings to the desired output values, and interpret your footage as 60 fps (if it isn't sensed by AE automatically).&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2013-04-07T14:39:00.167" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7610" PostTypeId="1" CreationDate="2013-04-07T17:42:06.770" Score="0" ViewCount="117" Body="&lt;p&gt;I am not 100% sure if this is on topic or not here but I think its the most relevant place to post this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any programs out there that record the screen but saves the output to multiple drive locations at once?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To elaborate, lets say I have 3 hard drives: &lt;code&gt;a)&lt;/code&gt; &lt;code&gt;b)&lt;/code&gt; and &lt;code&gt;c)&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When it is saving from memory it will do the following...&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;save 1/3 of the bytes to drive a)&lt;/li&gt;&#xA;&lt;li&gt;save 1/3 of the bytes to drive b)&lt;/li&gt;&#xA;&lt;li&gt;save 1/3 of the bytes to drive c)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;But it does this concurrently.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any screen recorders out there that can do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PC Specs:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I7 clocked @ 6.5GHz &lt;/li&gt;&#xA;&lt;li&gt;Radeon HD 6490&lt;/li&gt;&#xA;&lt;li&gt;32GB DDR5 RAM&lt;/li&gt;&#xA;&lt;li&gt;2 * 3TH HDD's&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3910" LastEditorUserId="3910" LastEditDate="2013-04-09T17:18:36.147" LastActivityDate="2013-04-09T17:18:36.147" Title="recording to multiple locations" Tags="|screen-casting|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="7611" PostTypeId="2" ParentId="7610" CreationDate="2013-04-07T18:58:25.183" Score="2" Body="&lt;p&gt;You may find that it is easiest to use file system utilities rather than look for a recording application that writes multiple copies. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could run mirrored filesystems, which will provide copied volumes, or simply set up scripts to copy individual files to multiple locations. &lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2013-04-07T18:58:25.183" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7612" PostTypeId="2" ParentId="7610" CreationDate="2013-04-07T21:43:27.020" Score="2" Body="&lt;p&gt;If you're OK with the command-line, you could use &lt;a href=&quot;https://ffmpeg.org/&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt; to &lt;a href=&quot;http://ffmpeg.org/trac/ffmpeg/wiki/How%20to%20grab%20the%20desktop%20%28screen%29%20with%20FFmpeg&quot; rel=&quot;nofollow&quot;&gt;record your desktop&lt;/a&gt; and then use the &lt;a href=&quot;http://ffmpeg.org/trac/ffmpeg/wiki/Creating%20multiple%20outputs#Teepsuedo-muxer&quot; rel=&quot;nofollow&quot;&gt;tee psuedo-muxer&lt;/a&gt; to record copies to multiple locations. I haven't used this to record to separate hard-drives, but I'm not aware of any underlying issues that would prevent it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A simple (Linux) example would be:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f x11grab -r 25 -s 1024x768 -i :0.0 -f alsa -ac 2 -i pulse \&#xA;-c:v libx264 -crf 22 -preset veryfast -c:a ac3 -b:a 192k \&#xA;-f tee &quot;/path/to/output1.mp4|/path/to/output2.mp4|path/to/output3.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3476" LastActivityDate="2013-04-07T21:43:27.020" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7614" PostTypeId="1" AcceptedAnswerId="7618" CreationDate="2013-04-07T23:44:11.607" Score="0" ViewCount="167" Body="&lt;p&gt;&lt;strong&gt;Brief Background&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a 30 minute film originally edited on Premiere Pro 1.5 in 2005/2006 that used 4:3 720x576 PAL interlaced DV AVI footage imported by firewire from a DV Cam. The entire raw footage totals at around 100Gb. I have archived/backed up this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My question&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd also like to work with the footage in a more efficient codec/file format (but preserving quality) that used much less space than the DV/AVI format and that works in both Final Cut Studio 7 and Adobe Premiere Pro CS6.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Further background&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have both licensed copies of Premiere Pro CS6 and Final Cut Studio 7. I am in the process of importing the old Premiere Pro 1.5 project into both tools. This has worked with reasonable success with the original AVIs (used Premiere Pro CS3 as an intermediate step) though there are some effects that didn't migrate but I am happy to tweak these manually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to keep the project that made this film in a current format so that it is still workable and to serve as practice for learning both tools. I believe that modern codecs provide efficiency in file size compared with the AVI file but still retaining the quality. I believe that FCP7 still does have some fans even though FCP X is said to be improved.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Detail about my technique for replacing the .AVI with the newer efficient file format&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am hoping that I can batch create copies of all the original footage files but in a more efficient commonly compatible format. I would expect the efficient version of the files to have the same name but with a new extension, e.g. .MOV for quicktime instead of the original .AVI. Assuming that both tools use a text-based/XML project file, in a text editor I should be able to global replace .AVI with .MOV so that the tool refers to the new efficient version of the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Research so far on a auitable codec/format&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have done some research including the FCP7 manual and on this site but not found many options. At the moment QuickTime seems to be the common format to use, but how efficient is this compared to the original AVI. I am not so concerned about Adobe Premiere Pro as this seems to be compatible with many formats.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;What digital file formats are compatible with final cut pro?&#xA;&lt;a href=&quot;http://answers.yahoo.com/question/index?qid=20090729091700AAFR72i&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://answers.yahoo.com/question/index?qid=20090729091700AAFR72i&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Video Formats Supported by Final Cut Pro&#xA;&lt;a href=&quot;http://documentation.apple.com/en/finalcutpro/usermanual/#chapter=C%26section=13&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://documentation.apple.com/en/finalcutpro/usermanual/#chapter=C%26section=13&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/tagged/final-cut-pro+file-formats&quot;&gt;https://video.stackexchange.com/questions/tagged/final-cut-pro+file-formats&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1049" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2014-01-31T14:12:36.983" Title="Looking for compressed standard definition file format to share footage between Final Cut Pro 7 and Adobe Premiere Pro CS6" Tags="|premiere|file-formats|final-cut-pro|quicktime|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7617" PostTypeId="1" CreationDate="2013-04-08T10:10:39.127" Score="1" ViewCount="836" Body="&lt;p&gt;I like to do drum covers, but the process always takes ages. I have to record my sounds from my electronic drumset (TD-9KX) to Cubase via a Tascam US122-MKii interface. Video is captured with a Canon 600D. Afterwards I have to export the audio from Cubase and insert it in Adobe Premiere together with the video and make sure both are in sync. That takes a loooooooong while!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because the 600D has an &quot;external mic&quot; input that supports stereo, I thought it might be very well possible to record from my external drumset, to the interface and via its output to the 600D to the PC. This would mean that everything is in sync. Is this correct?&lt;/p&gt;&#xA;" OwnerUserId="3915" LastEditorUserId="2836" LastEditDate="2014-03-05T17:29:56.187" LastActivityDate="2015-05-14T13:42:46.523" Title="Recording video and audio with external input to computer with Canon 600D" Tags="|video|dslr|canon|sync|audio-recording|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7618" PostTypeId="2" ParentId="7614" CreationDate="2013-04-08T13:45:38.900" Score="1" Body="&lt;p&gt;Your best bet is probably MPEG2 or MPEG4.  Both are going to have quality loss compared to your high quality DV format though, but proportionally, they should be pretty good.  You should be able to use Adobe Media Encoder to make the transition to whichever format you want to use.  Simply setup a profile and drag all the files in to Encoder and let it rip.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As to the type of MPEG2 or MPEG4, it really depends on what you are trying to accomplish.  I would personally probably go with h.264 at a fairly high quality level, though there will be some amount of difficulty working with the format in an NLE since it doesn't store very frame.  You really have to choose a trade off between space and efficiency in your NLE.  Large, less compressed videos can more readily access a particular frame without hammering the CPU, but they take up more space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Motion JPEG is an in-between format that compresses each frame individually (or you can use all I frame H.264) but both give up a LOT in terms of compression since they compress each frame individually instead of making use of multiple frames at a time (which complicates non-linear playback).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One final option, (which is likely what I would do in your shoes) is to not recompress at all, but rather move the DV format video to an MOV container.  AVI and MOV are just containers and while AVI may not play nice in Mac world, MOV should play nice in both.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-01-31T14:12:36.983" LastActivityDate="2014-01-31T14:12:36.983" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="7619" PostTypeId="2" ParentId="7617" CreationDate="2013-04-08T13:47:46.220" Score="2" Body="&lt;p&gt;It should be.  You might end up with impedance mismatches that have to be dealt with, so it might take a few other (relatively cheap) steps to get there (devices called pads, which bring down the level), but it should work.  The quality might not be quite as good though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-08T13:47:46.220" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7621" PostTypeId="1" CreationDate="2013-04-08T18:55:46.033" Score="1" ViewCount="646" Body="&lt;p&gt;I am facing a situation caused by the need to start broadcasting in High Definition and there are a few Digital Automation/Playout Suppliers that offer excellent solutions such as Fission, Miranda, Black Magic, Tricaster and a few other.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is related to the possibility to use a different system, preferably (but not limited to) in a Linux based system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am currently using a NLES Sony Vegas 8.0 timeline in order to use the preview's output in the secondary monitor (via GPU) for sending such video to an analog video converter and this way drop the signal to my video switcher, after which I can route both the audio and the video to the transmission block.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would appreciate a lot if somebody tell me if is it there a way to keep my current workflow by adding a digital video card to my computer in order to Sony Vegas drop the video signals to the proper outputs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, if the solution involves linux, I would really appreciate if somebody provides the details of such solution. I have tested many free and open source software in Linux (Ubuntu) but they are far from my needs yet. It does not matter if the software is paid, free or open source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW: I am planning to include Tricaster 8000 in my production lane, just to be considered.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="2587" LastActivityDate="2013-04-08T18:55:46.033" Title="Is it there a way to create a video playout system? (Preferably in Linux)" Tags="|video|playback|broadcasting|preview|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7624" PostTypeId="2" ParentId="4952" CreationDate="2013-04-09T13:24:53.077" Score="1" Body="&lt;p&gt;Are you sure that there is not a problem with the actual recorded timecode?  Under certain situations (such as two clips with a blank spot between them on the tape) the timecode can get screwed up.  My guess is that this is what is happening.  It is weird that you would end up with a problem with the final output as a result of this though.  I've normally only seen problems related to not being able to relog the same clip later.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either way, your timecode on an output should come from the timeline, not the source clip, so it would either produce an issue for everyone watching your final video or it would produce no issue for anyone.  If you have only gotten one report of an issue, then it is not related to the capture problem in any way that I can see being feasible.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-09T13:24:53.077" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7625" PostTypeId="1" AcceptedAnswerId="7630" CreationDate="2013-04-09T16:35:21.253" Score="2" ViewCount="5564" Body="&lt;p&gt;I have a text in after effects that I wish to first blur the whole thing and then animate it so that a part of the text is clear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I have the text &lt;code&gt;Maecenas sed diam eget risus varius blandit sit amet non magna.&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First the whole text is blurred. Then it animates and at the end just the last part &lt;code&gt;non magna&lt;/code&gt; is blurred.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I've used the blur function by going to my &lt;code&gt;Text Layer&lt;/code&gt; &gt; &lt;code&gt;Animate&lt;/code&gt; &gt; &lt;code&gt;Blur&lt;/code&gt;. I've tried doing the thing I want by setting keyframes for the &lt;code&gt;Range Selector&lt;/code&gt; properties but I can't get it right.&lt;/p&gt;&#xA;" OwnerUserId="3916" LastActivityDate="2013-04-10T14:25:11.327" Title="Blur whole text and then &quot;unblur&quot; part of it" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7627" PostTypeId="1" CreationDate="2013-04-09T18:04:26.147" Score="4" ViewCount="610" Body="&lt;p&gt;I have VHS tapes that I want to digitize. I started this using something like Pinnacle's Dazzle. I notice that the only encoding options were for compressed video, which could lead to quality degradation, especially in reprocessing to improve the image quality (such as adjusting colors and contrast, noise reduction, and de-interlacing). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was concerned whether I should continue such a time consuming process without first choosing an encoding wouldn't lead to unwanted limitations (e.g., a&lt;a href=&quot;https://video.stackexchange.com/questions/4069/re-encoding-mp3-reduces-quality&quot;&gt;s described here&lt;/a&gt;) in the final product. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would guess that I have on the order of 100 hours of video. In the past, cost of disk storage was a concern, hence encoding with compression was the norm. But I don't feel constrained that way anymore. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I get some recommendations on a range of consumer hardware and encoding choices and some ideas of what the benefits and limitations are?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Sorry if this has already been answered, but I didn't see anything in the list of related questions. &lt;a href=&quot;https://video.stackexchange.com/questions/3247/converting-from-8mm-video-tapes-to-digital-pc&quot;&gt;This one&lt;/a&gt; touches on the subject, but doesn't go into much detail.)&lt;/p&gt;&#xA;" OwnerUserId="3800" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2022-12-11T14:07:53.507" Title="Recommended Encoding for VHS to Digital to be Followed by Post Processing" Tags="|video|conversion|digital|encoding|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7628" PostTypeId="2" ParentId="7627" CreationDate="2013-04-09T21:02:20.930" Score="1" Body="&lt;p&gt;VHS is already highly 'compressed', so capturing to an uncompressed format is likely overkill. For your purposes MJPEG with a reasonably high quality setting will preserve all your options and shouldn't degrade the images any further than VHS already has.&lt;/p&gt;&#xA;&lt;p&gt;MJPEG goes by other names -- the idea is that it's all &amp;quot;I-frames&amp;quot;. It is a lossy codec, but there are no interframe artifacts since each video frame is encoded separately.&#xA;. . . . .&#xA;VHS is already highly 'compressed', so capturing to an uncompressed format is likely overkill. For your purposes MJPEG with a reasonably high quality setting will preserve all your options and shouldn't degrade the images any further than VHS already has.&lt;/p&gt;&#xA;&lt;p&gt;MJPEG goes by other names -- the idea is that it's all &amp;quot;I-frames&amp;quot;. It is a lossy codec, but there are no interframe artifacts since each video frame is encoded separately.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastEditorUserId="40002" LastEditDate="2022-12-11T14:07:53.507" LastActivityDate="2022-12-11T14:07:53.507" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="7629" PostTypeId="2" ParentId="7627" CreationDate="2013-04-09T22:36:15.343" Score="0" Body="&lt;p&gt;DV can also work well as a format since it is designed to maintain pretty good quality in standard definition and is still fairly compressed.  That's the standard format used for capturing from miniDV cameras and should take around 1 gigabyte for every 4.7 minutes of video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-09T22:36:15.343" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7630" PostTypeId="2" ParentId="7625" CreationDate="2013-04-10T14:25:11.327" Score="5" Body="&lt;p&gt;What you need to do is to use a regular blur effect. You also have to apply the effect to an adjustment layer. I'll explain why later on. Why don't I just make a recipe for you to follow first, and then I'll explain what's going on! :)&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;Make your text layer and fill it with text.&lt;/li&gt;&#xA;  &lt;li&gt;Make an Adjustment Layer. (Layer -&gt; New -&gt; Adjustment Layer)&lt;/li&gt;&#xA;  &lt;li&gt;Make sure the Adjustment Layer is selected, and go Effect -&gt; Blur -&gt; Test some of them (Gaussian Blur is very common.)&lt;/li&gt;&#xA;  &lt;li&gt;Go to the Effect Controls panel to set the blur to what you want it to be.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;What is happening now, is that the Adjustment Layer is blurring all the layers below it. So if you have other layers below, you may need to Pre-Compose the two layers so that the Adjustment Layer doesn't affect more than the text layer. And the reason why we are using an Adjustment Layer, is that now we can either animate the layer away to reveal the naked text layer, or we can animate a mask to do the same thing. If you use a mask, you can add a feather that will make it look much better in most cases.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you can make two copies of the text, one with the blur directly on it, and one without any blur at all. Then you could animate the mask of the naked text layer to reveal it, but this is a bit difficult if you are animating the text or something like that, because you'll have to do exactly the same on both layers...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here I'll explain how to do it with the Adjustment Layer with a mask.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;Select the Adjustment Layer and select the Rectangle tool from the top toolbar, and draw a rectangle covering the whole of the text.&lt;/li&gt;&#xA;  &lt;li&gt;Press M to open the mask settings on the layer. Now you can set the feather to what you want it to be.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Move the mask a bit to the right to see how the effect will look like. Remember also that when you are adding feather, you'll have to make the mask bigger because the mask will fade away in the corners...&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;Animate the mask as you please. Tell me if you want me to explain how to do this! :)&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If you need to have more layers below the text layer, you need to Pre-Compose it:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;Select both the layers, right-click and select Pre-Compose.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;That's it! Good luck with your movie :)&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2013-04-10T14:25:11.327" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7632" PostTypeId="1" AcceptedAnswerId="7650" CreationDate="2013-04-11T15:26:18.013" Score="3" ViewCount="3580" Body="&lt;p&gt;1&#xA;00:00:01,000 --&gt; 00:00:04,000&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using Adobe Premiere to produce videos in English by gluing together multiple clips put together from lots of different footage or sources. I do have a text transcript of what is being said though, in English, so talking about word-for-word English subtitles for the voice in English.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2&#xA;00:00:04,250 --&gt; 00:00:06,250&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How would I go about creating a subtitles file for the final video?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I do not wish to render the captions into the video&lt;/li&gt;&#xA;&lt;li&gt;The transcript I have does not have any time information and that is the crux of this question - &lt;strong&gt;what is the easiest way to generate semi-accurate timing records, as automatically as possible&lt;/strong&gt;?&lt;/li&gt;&#xA;&lt;li&gt;So the question is NOT about how to sync existing subtitles with existing timestamps&lt;/li&gt;&#xA;&lt;li&gt;I could do it in Premiere, or Adobe Audition, or &lt;a href=&quot;http://nikse.dk/SubtitleEdit/&quot; rel=&quot;nofollow&quot;&gt;Subtitle Edit&lt;/a&gt;, Subtitle Workshop or &lt;a href=&quot;http://en.wikipedia.org/wiki/Subtitle_editor&quot; rel=&quot;nofollow&quot;&gt;any other subtitle editor&lt;/a&gt; that may provide relevant synchronization functionality?&lt;/li&gt;&#xA;&lt;li&gt;The end result I'm hoping for is a flv file with closed captioning (.sub, .srt or similar) that could be turned on or off in a web-browser / Flash player&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.youtube.com/watch?v=hbmf0bB38h0&quot; rel=&quot;nofollow&quot;&gt;Like this lecture&lt;/a&gt;, for example, when you click on CC and choose the embedded English subtitling (&lt;a href=&quot;http://support.google.com/youtube/bin/static.py?hl=en&amp;amp;topic=2734693&amp;amp;guide=2734661&amp;amp;page=guide.cs&quot; rel=&quot;nofollow&quot;&gt;not the automatic captions that YouTube offers&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2070" LastActivityDate="2013-07-17T10:40:39.937" Title="create subtitles track by automatic timing of existing text" Tags="|video|audio|premiere|conversion|subtitles|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7633" PostTypeId="1" CreationDate="2013-04-11T18:36:26.833" Score="1" ViewCount="179" Body="&lt;p&gt;We have some screen casts that need to be dubbed to various languages for which we have script for the target language like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Begining Time | Audio Narration&#xA;&#xA;0:0           | blah nao lorep iposm...&#xA;&#xA;1:20          | aqzao dok dkjv  dwv....&#xA;&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;We can record each of the above units separately and then align it at the proper beginning times as mentioned in the above script.&#xA;Is there a tool or system which allows us to align these audio units based on the times provided?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EXAMPLE&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Input:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Input the &lt;code&gt;N&lt;/code&gt; time values: &lt;code&gt;0:0,1:20 ...&lt;/code&gt;&#xA;Then input the &lt;code&gt;N&lt;/code&gt; audio recordings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Output:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio recordings aligned to the above timings while:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Overflow should be detected by the system individually &lt;/li&gt;&#xA;&lt;li&gt;Underflow is padded by silence&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3925" LastEditorUserId="2836" LastEditDate="2014-02-11T19:35:26.123" LastActivityDate="2014-02-11T19:35:26.123" Title="Automated aligning audio tracks with timings for dubbing screen casts" Tags="|video|editing|screen-casting|tracks|audio|" AnswerCount="1" CommentCount="19" ContentLicense="CC BY-SA 3.0" />
  <row Id="7636" PostTypeId="1" AcceptedAnswerId="7639" CreationDate="2013-04-12T06:47:14.867" Score="0" ViewCount="14239" Body="&lt;p&gt;I have Toshiba 29PB200ZE (just purchased). Now the problem is it displays pixels with very blur effect. Reason is that the Cable operators in India (using Standard Channel Broadcasting) broadcasting 720p resolution output. As I have 1080p HDTV it does not displays output properly. Means that tiering the pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any converter available that converts 720p output from Channel (set top box) to 1080p so that I can view output properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I go for HD Channels then issue will not be arised. But as HD channels have very high price range so could not afford them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: I am using 3 pin (red, yellow and white) cable which connects Set Top Box (digital signals) and my HDTV Toshiba 29PB200ZE. Is performance can be improved by installing other higher density cable like Coaxial?&lt;/p&gt;&#xA;" OwnerUserId="3931" LastEditorUserId="3931" LastEditDate="2013-04-16T10:22:05.130" LastActivityDate="2016-11-02T13:25:54.403" Title="Is it possible to convert output of TV Channel (set top box 720p) to 1080p?" Tags="|conversion|streaming|cable|setup|full-hd|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7638" PostTypeId="2" ParentId="7636" CreationDate="2013-04-12T12:23:47.607" Score="4" Body="&lt;p&gt;The cabling is likely your problem.  The composite cables you're using (red, yellow, white) will only move analog signal from the set top box to the TV.  Likewise with RG59 or RG6 (coaxial).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;While both varieties of cables there are technically capable of passing digital signals (they don't care... they're just dumb cables), set top boxes typically only output 480i signals on those particular outputs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They only way you're going to get 720p signal to your TV is by using one of the set top box's outputs capable of transmitting 720p: HDMI, DVI, VGA, or the component RCA outputs (red, green, blue).  Not all set top boxes have all of these.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Incidentally, if you don't have any HD content, the improvement will be marginal.  Standard 480i signals often just don't look that good when displayed on a large flat screen.&lt;/p&gt;&#xA;" OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2013-04-12T14:19:06.287" LastActivityDate="2013-04-12T14:19:06.287" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7639" PostTypeId="2" ParentId="7636" CreationDate="2013-04-12T13:45:30.410" Score="7" Body="&lt;p&gt;What you are talking about is upscaling and any current HDTV will do upscaling automatically.  Upscaling doesn't work miracles though, it will only make it so that the lower quality signal can be watched on a higher quality display.  It just multiplies the pixels so that a 720 by 480 (.9 pixel compressed) signal for example doesn't end up only taking up 1/4 of your screen.  It doesn't make the video any higher quality (it in fact will be slightly lower quality than if you were to watch it at the native resolution).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your problem however is not lack of upscaling.  Your problem is using the wrong signal.  You are currently connecting your cable box to your TV through what is known as a composite cable.  It's an old type of analog connection that includes all the video information on the single yellow pin and sends left and right audio on the white and red pins respectively.  It is only capable of reproducing a standard definition signal so you are not actually using HD signals.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To benefit from 720 or 1080 signals, you will have to either use analog Component video (the red/green/blue connectors) or use an HDMI cable.  It's worth noting that as long as your TV and cable box both have component inputs/outputs, you can actually re-purpose the existing Composite cable to carry a component signal, but there will be no audio (you need a separate white/red pair for the audio, which is the same format as with the composite signal).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you fix the cable and hookup issue, you should see better image quality.  Personally, I'd recommend using HDMI if it is available on both your cable box and TV as that is the easiest to setup and will give a nice digital signal.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="399" LastEditDate="2013-04-12T14:20:11.137" LastActivityDate="2013-04-12T14:20:11.137" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="7641" PostTypeId="1" CreationDate="2013-04-12T16:47:48.700" Score="0" ViewCount="292" Body="&lt;p&gt;I have decided to run a &quot;vlog&quot; as of recently, so I decided to test out my Nikon D5100's capabilities. It is consistently refocusing, thus creating a very loud, irritating noise. When I set it to manual, it comes out of focus, and doesn't return. I need both of these issues solved before I use it, or I'm just going to go buy a camcorder of some sort.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know of any quality microphones I can use, perhaps a different type of lens, tactics, etc.&lt;/p&gt;&#xA;" OwnerUserId="3935" OwnerDisplayName="Adra Elkins" LastEditorUserId="3935" LastEditDate="2013-04-12T17:30:37.057" LastActivityDate="2013-04-12T17:35:13.473" Title="Best video performance with the Nikon 5100?" Tags="|video|audio-recording|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7642" PostTypeId="2" ParentId="7641" CreationDate="2013-04-12T17:35:13.473" Score="1" Body="&lt;p&gt;The focus issue is a side effect of contrast based autofocus.  The camera basically is guessing at what &quot;in focus&quot; means by analyzing the lines in the image and if the overall sharpness is better or worse than it was at the previous focus setting.  This process ends up meaning it will move through the focal point and out of focus again as many as a few times before settling on the best point.  Using manual focus with a narrow aperture to increase depth of field is generally your best bet to get a suitable result, but may require fairly bright lighting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for microphones, the best mic to use is going to depend on what kind of look you want.  If you want a handheld mic, the Shure SM58 is a relatively cheap and standard mic.  You can also go with a shotgun mic if you'd prefer something off camera that can pick up clear audio, though it might be harder to use properly without an operator pointing it if you move much in the scene.  The in-between option is a lapel mic which can be worn and remain fairly inconspicuous.  This is the most common approach when a boom operator isn't available and you don't want to be visibly holding a microphone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a wide selection of shotgun and lapel mics available.  Your best bet will probably be to jump on someplace like B&amp;amp;H and start looking for well reviewed mics in your price range.  If you have any more specific questions about what type of mic to choose, we could answer general questions about what features would be best to look for if you have particular concerns or needs.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-12T17:35:13.473" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7643" PostTypeId="1" AcceptedAnswerId="7644" CreationDate="2013-04-12T18:19:33.830" Score="0" ViewCount="3269" Body="&lt;p&gt;I'm sure there are benchmarks out there, but I'm not sure where to find them. Circa 2006 I was holding on to Vegas 6 without letting go because I could see very noticeable differences in its rendering times. (It's super fast!) And I've made fun of people who tough it out with Final Cut or Premiere for its atrociously slow rendering times. I'm just curious if anyone benchmarks this stuff.&lt;/p&gt;&#xA;" OwnerUserId="3936" LastEditorUserId="3936" LastEditDate="2016-03-28T14:42:14.783" LastActivityDate="2016-03-28T14:42:14.783" Title="Which software gets the fastest rendering times?" Tags="|video-editor|" AnswerCount="1" CommentCount="3" FavoriteCount="0" ClosedDate="2013-04-16T21:18:12.633" ContentLicense="CC BY-SA 3.0" />
  <row Id="7644" PostTypeId="2" ParentId="7643" CreationDate="2013-04-12T18:53:54.747" Score="2" Body="&lt;p&gt;I'm not sure that it is necessarily possible to get meaningful benchmarks for video editing render times now.  With the advent of system's using GPU processing for rendering, the already complicated field got even tougher.  There are simply too many variables.  It depends on the performance of particular effects and plugins and what kind of hardware and bandwidth needs there are within the project.  Since the needs of projects differ so greatly, I don't see how a meaningful benchmark could be established unless it was to try benchmarking individual filters within the applications.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general, the new render engine in Premiere is very fast though.  Even for software only it works quick, but with GPU acceleration, it gets pretty crazy.  Running software only, I can run a full resolution all I frame 1080p 24fps signal with color correction applied through my tower with fairly minimal frame drops.  I'm unfortunately PC only so I can't compare to FCPX.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-12T18:53:54.747" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7650" PostTypeId="2" ParentId="7632" CreationDate="2013-04-13T15:52:05.783" Score="2" Body="&lt;p&gt;If you select your clip and go to the Clip menu, then choose Analyse Content, Premiere will attempt to identify speakers and even attempt to dictate what is being said.  You can assist this analysis by providing a script file to it by adding either an Adobe Story Script file or a TXT file to the Reference Script option.  I don't have any experience with how well this feature works, but it's certainly worth a shot if you already have an accurate script file to try it with.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-13T15:52:05.783" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7656" PostTypeId="2" ParentId="7627" CreationDate="2013-04-15T06:10:00.933" Score="1" Body="&lt;p&gt;If you want something pretty standard and with good quality with DV. The most important thin, whatever the codec you choose, configure it for an interlaced source (since VHS signal is interlaced). If you don't you will end up with a digitized file that will need more space and have much lower quality.&lt;/p&gt;&#xA;" OwnerUserId="2756" LastActivityDate="2013-04-15T06:10:00.933" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7657" PostTypeId="1" CreationDate="2013-04-15T12:12:33.433" Score="1" ViewCount="969" Body="&lt;p&gt;I want to connect a YPbPr component video signal to a computer monitor using a simple component-to-VGA adapter, I know this isn't possible on most monitors as you would need a converter to convert YPbPr to RGB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if the monitor supports Sync-on-Green will it work?&lt;/p&gt;&#xA;" OwnerUserId="3942" LastActivityDate="2014-11-25T19:04:28.113" Title="Component YPbPr to VGA with monitor that supports Sync-on-Green" Tags="|video|conversion|monitors|adapter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7681" PostTypeId="1" AcceptedAnswerId="7895" CreationDate="2013-04-18T11:39:36.010" Score="3" ViewCount="3520" Body="&lt;p&gt;I've got a Haivision Barracuda, which can stream RTMP to a URL (secured by username/password) set in its interface, but have very little experience of streaming video. What software do I need (Windows or Linux, but ideally free or open source at the moment) to set up a server that can provide this URL on which to receive the stream, please?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I then rebroadcast that (also as RTMP, to a remote URL endpoint), and how can I view the live stream to test that it's working?&lt;/p&gt;&#xA;" OwnerUserId="150" LastEditorUserId="2569" LastEditDate="2014-01-24T20:30:43.217" LastActivityDate="2014-01-24T20:30:43.217" Title="How do I set up an RTMP stream server and URL endpoint?" Tags="|video|streaming|rtmp|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7682" PostTypeId="2" ParentId="7681" CreationDate="2013-04-18T13:17:15.207" Score="0" Body="&lt;p&gt;If you have a Windows server, Windows Streaming Media Services works nicely and is included with most versions of Windows Server.  You just need to install the role and then configure a publishing point for the URL.  Their is a GUI provided for doing the configuration.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-18T13:17:15.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7684" PostTypeId="2" ParentId="5508" CreationDate="2013-04-18T18:48:46.943" Score="1" Body="&lt;p&gt;If it were me, I would try using a video recording interface with RCA connectors, as most TVs have an RCA audio/video output. Most of these connect via USB and come with some sort of software. For the video of the players, use a second software program and webcam/etc. to capture this. If you had a Mac, this could probably be sync'd in Final Cut Pro. I'm not familiar with all the software for Windows. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main part I don't think you'll be able to accomplish (without expensive software) is capturing all of this in-sync with each device. This would require some sort of video-switcher software, similar to what TV stations use for live broadcasts. The method above is probably your cheapest route, if you can handle syncing it after the fact.&lt;/p&gt;&#xA;" OwnerUserId="3752" LastActivityDate="2013-04-18T18:48:46.943" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7694" PostTypeId="1" AcceptedAnswerId="9508" CreationDate="2013-04-19T23:54:28.707" Score="6" ViewCount="33745" Body="&lt;p&gt;I am recording 15-minutes videos with my GoPro Hero 3 Black edition. The camera starts a new file every 10 minutes of recording by default. I do not think I can change this in a setting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I do the white-balance and other edits in the GoPro Cineform Studio, I cannot find a function to stitch these videos back together into one continuous clip. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was somehow expecting that if GoPro automatically splits these videos that there would be a function to rejoin them, too. Am I missing something? Is there such a function in this software or do I have to get another software to do this? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If so, what software should I get, assuming that I do not want to do anything else than that?&lt;/p&gt;&#xA;" OwnerUserId="3866" LastActivityDate="2019-04-25T04:12:58.153" Title="Easiest way to stitch GoPro videos that have been split due to length?" Tags="|video|software|editing|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7712" PostTypeId="1" CreationDate="2013-04-21T17:36:34.830" Score="2" ViewCount="234" Body="&lt;p&gt;While using Twixtor in After Effects, you can automate the speed of the clip by manipulating the &quot;Speed %&quot; under &quot;Output Control&quot;. Now, since there's no good way to do time-remapping natively in After Effects (rather, you'll have to automate specific time codes yourself, as stated in &lt;a href=&quot;http://forums.creativecow.net/thread/2/949299&quot; rel=&quot;nofollow&quot;&gt;this thread&lt;/a&gt;, which is a total drag), I'd like to use Twixtor's controls even when I don't need to use the frame interpolation it offers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, let's say I'm running a 60 frames per second clip first at 100% speed, then at 40% speed, and then at 20% speed. When running the clip at 100% and 40%, I do already have enough information contained in the clip and won't need Twixtor's interpolation feature (it might even destroy my footage by affecting it when it's really not needed). It's only at 20% that I'll need it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some way to turn of Twixtor's interpolation during certain sections of the clip, while still taking advantage of the automation of the &quot;speed %&quot; variable?&lt;/p&gt;&#xA;" OwnerUserId="1236" LastActivityDate="2013-11-25T01:21:01.390" Title="Automate turning on and off Twixtor effect in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7713" PostTypeId="1" CreationDate="2013-04-21T18:50:04.913" Score="2" ViewCount="110" Body="&lt;p&gt;I'm currently undergoing a project where I have to edit some material only available from DVDs. Basically I need to export a clip or two from the DVDs, and edit them in FCP for use on the net. The material I have are mostly feature films stored on the DVDs in 720x576 MPEG 1/2 Video (mpgv), however strangely FCP claims the frame size is 720x404.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem isn't ripping the DVD's. For that I have the right equipment. The problem is finding the right settings in FCP 6.0.6.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The videos are 16:9, so anamorphic seems to be the right choice in FCP as well. However when I set the FCP Sequence to CCIR 601 / DV PAL (5:4) to 16:9, the image is squished… Obviously that can't be right. While &lt;code&gt;Modify &amp;gt; Conform to Sequence&lt;/code&gt; worked, it makes me uncertain that there is also a &lt;code&gt;Scale to Sequence&lt;/code&gt;... Which one should I use, if any?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What kind of settings would be best to edit this correctly with minimum loss of quality in FCP? Advice about settings in Compressor or Adobe Media Encoder are also welcome. &lt;/p&gt;&#xA;" OwnerUserId="3968" LastEditorUserId="3968" LastEditDate="2013-04-21T19:12:04.677" LastActivityDate="2013-04-21T19:12:04.677" Title="How do I edit source material from DVDs in Final Cut Pro?" Tags="|final-cut-pro|codec|formats|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7727" PostTypeId="1" CreationDate="2013-04-23T19:28:57.723" Score="2" ViewCount="412" Body="&lt;p&gt;I have tried to combine two video clips, but it feels impossible. In the first clip there's one character running around the screen. In the second clip the character is just standing (still being animated however) and the first clip's character should be running around him. When I tried to use the basic cloning effect by using a mask to the second clip, the first character simply disappeared from the screen when it reached the mask of the second one. How do I combine them so that the first character won't ruin the scene?! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Sony Vegas Pro 11.&lt;/p&gt;&#xA;" OwnerUserId="3979" LastEditorUserId="3979" LastEditDate="2013-04-24T12:46:01.160" LastActivityDate="2013-04-24T12:46:01.160" Title="How to use cloning effect if the clips are overlapping themselves?" Tags="|video|animation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7728" PostTypeId="2" ParentId="7727" CreationDate="2013-04-23T19:36:40.120" Score="2" Body="&lt;p&gt;If the character runs in front and then behind the other character then either a depth map or a manually adjusted mask is going to be necessary.  I'm unfortunately an After Effects guy, so I don't know how you would do that in Vegas.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If nothing else, you might be able to creatively do it by putting one layer of the character running around on top and another layer of the character running around underneath the character that is standing still and then cutting back and forth between them.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is of course assuming that the animations have alpha channel support and that Vegas properly interprets the alpha channel.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-23T19:36:40.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7729" PostTypeId="1" CreationDate="2013-04-24T00:48:31.640" Score="2" ViewCount="2143" Body="&lt;p&gt;We're doing rear-screen projection.  It looks great, but in tests with the canon t2i there's a scrolling rainbow in the video that changing shutter speed or frame rate won't get rid of.  Any advice?&lt;/p&gt;&#xA;" OwnerUserId="3981" LastActivityDate="2021-05-08T16:52:32.000" Title="Scrolling rainbow when projector screen is in frame" Tags="|video|projector|canon|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7731" PostTypeId="2" ParentId="7729" CreationDate="2013-04-24T02:54:58.347" Score="1" Body="&lt;p&gt;You are seeing the scan line of the projector.  You need a camera with a screen sync feature in order to deal with the rolling shutter issue and depending on the technique used by the projector, it may not even be possible.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you are actually seeing is what the projector actually does, it's just that it happens too fast for your eye to perceive it normally.  A video camera is however fast enough to catch it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is regularly a problem even for professional gear and it is not at all uncommon for video screens to be shot with the device off and the video on the screen composited in after the fact.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-24T02:54:58.347" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7734" PostTypeId="1" CreationDate="2013-04-24T10:21:38.360" Score="0" ViewCount="99" Body="&lt;p&gt;Hi Im using a Canon EOS 550D &amp;amp; for some reason when ever i try shoot video it stops recording a couple of seconds in. I'm using a Scandisk  Ultra SDHC 4 32GB card, i've tried formatting before hand but it still does the same thing.&#xA;please could you assist&#xA;Thanks&lt;/p&gt;&#xA;" OwnerDisplayName="Darren SupaFly Townsley" LastActivityDate="2013-04-24T13:38:13.660" Title="Canon EOS 550D video" Tags="|video|" AnswerCount="1" CommentCount="2" ClosedDate="2013-04-24T15:16:56.853" ContentLicense="CC BY-SA 3.0" />
  <row Id="7735" PostTypeId="2" ParentId="7734" CreationDate="2013-04-24T13:38:13.660" Score="0" Body="&lt;p&gt;The reasons for an automatic stop are either reaching the 30 minute limit (thank you European Union video camera tax that ends up impacting what's available to most of the rest of the world), hitting the 4gb file limit (file system limit for the OS on the camera), the sensor is overheating (high usage + temperature) or the buffer is being used up (memory card is too slow).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based on your description of the problem, the first two do not sound like the issue, however you could either be hitting an overheat or a buffering issue.  A class 4 card is a bit slow for recording HD video, but I'd still expect more than a few seconds, particularly for a SanDisk card which should actually be giving you speeds for a class 4 card.  (Some less reputable manufacturers routinely sell cards marked faster than they actually test in the real world.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd first try getting a faster card and if that doesn't work, I'd make sure you are using the camera in a cool area and see if that gives a longer run time.  It's also possible there could be something wrong with the camera that is complicating things, but a slow memory card is most likely the problem.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-24T13:38:13.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7737" PostTypeId="2" ParentId="6898" CreationDate="2013-04-24T16:27:32.660" Score="2" Body="&lt;p&gt;The reasons for an automatic stop are either reaching the 30 minute limit (thank you European Union video camera tax that ends up impacting what's available to most of the rest of the world), hitting the 4gb file limit (file system limit for the OS on the camera), the sensor is overheating (high usage + temperature) or the buffer is being used up (memory card is too slow).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd first try getting a faster card and if that doesn't work, I'd make sure you are using the camera in a cool area and see if that gives a longer run time. It's also possible there could be something wrong with the camera that is complicating things, but a slow memory card is most likely the problem.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-24T16:27:32.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7740" PostTypeId="1" CreationDate="2013-04-24T19:18:17.160" Score="-1" ViewCount="3944" Body="&lt;p&gt;What is the smallest video size possible in Sony Vegas Pro?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a 2.21 GB 40 hour long video I need to compress as much as possible (preferably 100 MB). I don't care about quality as it is already a &lt;code&gt;240*144&lt;/code&gt; resolution. I don't care about bitrate or FPS or anything. There is no audio either. I just need it to be REALLY small.&lt;/p&gt;&#xA;" OwnerUserId="3985" LastEditorUserId="2569" LastEditDate="2013-04-25T12:12:51.730" LastActivityDate="2013-05-14T21:21:15.557" Title="What is the smallest video size possible in Sony Vegas Pro?" Tags="|video|vegas-pro|compression-data|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7741" PostTypeId="2" ParentId="7740" CreationDate="2013-04-24T20:34:05.763" Score="2" Body="&lt;p&gt;The smallest possible output is 0 bytes.  Simply delete the video.  Otherwise, it is going to depend on the bit-rates supported by whatever output format you want to use.  Simply choose an output with the lowest possible bit-rate and number of frames and output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Trying to get 40 hours in to 100Mb requires a .7kbps data rate though.  You are unlikely to have anything worth watching at that level of compression.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-24T20:34:05.763" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="7743" PostTypeId="1" AcceptedAnswerId="7744" CreationDate="2013-04-24T22:26:01.917" Score="3" ViewCount="29238" Body="&lt;p&gt;This is the actual &lt;strong&gt;source image&lt;/strong&gt; to a video track in Premiere (a PNG):&#xA;&lt;img src=&quot;https://i.stack.imgur.com/NiZYL.jpg&quot; alt=&quot;decentqualityinput&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;With no resizing whatsoever, and .flv output, this is a &lt;strong&gt;resultant frame&lt;/strong&gt; from the exported video:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/wg7j4.png&quot; alt=&quot;poorqualityoutput&quot; /&gt;&lt;/p&gt;&#xA;&lt;h3&gt;How could I improve the output quality, especially the text?&lt;/h3&gt;&#xA;&lt;p&gt;What settings should I use&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I've tried to max out pretty much everything in the FLV export settings.&lt;/li&gt;&#xA;&lt;li&gt;And now I moved to MP4 output with H.264 encoding, but still get poor quality stills.&lt;/li&gt;&#xA;&lt;li&gt;Here are the MP4 Export settings, what should I change?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Bcutp.png&quot; alt=&quot;MP4-poor&quot; /&gt;&lt;/p&gt;&#xA;&lt;h3&gt;Solution&lt;/h3&gt;&#xA;&lt;p&gt;Inspired from the answers, turns out that have to set the source to Progressive when creating a New Sequence (instead of Fields: Upper)&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;this is why I did not get better results whatever my configuration once I had created a sequence with Fields set to Upper&lt;/li&gt;&#xA;&lt;li&gt;and this is why the following settings for my next project, yielded good stills&#xA;&lt;ul&gt;&#xA;&lt;li&gt;although also using higher resolution, so not sure high that plays into the test results&lt;/li&gt;&#xA;&lt;li&gt;H.264 / MP4 Export settings otherwise the same&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/H0USB.png&quot; alt=&quot;ProgressiveFields&quot; /&gt;&lt;/p&gt;&#xA;" OwnerUserId="2070" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-09-11T20:56:34.350" Title="poor quality export of still images from premiere" Tags="|video|premiere|file-formats|codec|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="7744" PostTypeId="2" ParentId="7743" CreationDate="2013-04-25T10:18:25.920" Score="5" Body="&lt;p&gt;That looks more like a 'field' from the video, rather than a frame -- jagged diagonals are the tell.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your video is interlaced, you may only get half the vertical resolution in a still, unless you specifically set it to output a full frame. Check the export settings.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-04-25T10:18:25.920" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7745" PostTypeId="2" ParentId="7633" CreationDate="2013-04-25T12:46:34.160" Score="1" Body="&lt;p&gt;Add your video to your timeline. Then you play the video from the beginning. Now you are going to insert a marker every time you want a new clip to be inserted. If you have CS6, the shortcut is M, otherwise it's * on the numpad.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you've added all the markers, you should delete the video track (since you only want the audio. If you want to render the video with the dub directly from Premiere Pro, just delete the audio.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you import all the audio files you want. Be sure to name them alphabetically so that Premiere knows which order to place them in. Then you have to make sure that the Project pane is selected. Then you go to the menu and choose Project-&gt;Automate to Sequence... Choose Sort order and At Unnumbered Markers. Now they will be placed one by one at the markers you've placed. If one audio clip is too long , it'll just be clipped where the next one starts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hopefully this will solve your problem. Now, you can use the same markers for every language you are dubbing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck! :)&lt;/p&gt;&#xA;" OwnerUserId="1909" LastActivityDate="2013-04-25T12:46:34.160" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="7746" PostTypeId="1" CreationDate="2013-04-25T17:47:48.670" Score="3" ViewCount="74" Body="&lt;p&gt;I've always wondered what these things are such an awkward angle. I only see them in Whitehouse shots.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/qhjWa.jpg&quot; alt=&quot;Picture of dumb ass&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="501" LastActivityDate="2013-04-25T18:14:19.563" Title="What are the placards in this picture?" Tags="|photos|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7747" PostTypeId="2" ParentId="7746" CreationDate="2013-04-25T17:52:49.907" Score="5" Body="&lt;p&gt;They are for the teleprompter.  The words are on a screen below, the angle is to reflect to the speaker's line of site...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sure there are different implementations, but that's the basic gist.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/CviZg.jpg&quot; alt=&quot;Telepromptor&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="2569" LastActivityDate="2013-04-25T17:52:49.907" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7748" PostTypeId="2" ParentId="7746" CreationDate="2013-04-25T18:14:19.563" Score="2" Body="&lt;p&gt;These are teleprompters, or more accurately the upper mirror of a free standing teleprompter.  The screen is at the base of the device and can be larger and brighter than would otherwise fit on a small stand.  They place the screen at a 45 degree angle and then place the mirror at a 45 degree angle such that the image looks like the screen is hovering directly in front of the speaker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Teleprompters are actually used for far more than political presentations, but typically if the speaker is not presenting to a live audience, they will be presenting to a camera.  For camera setups, they actually use a half-silvered (see-through) mirror that will project the text directly in front of the camera lens.  This allows the speaker (such as a news caster) to read a script directly off the camera as they are looking at it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the case of live presentations however, they need to be able to engage the audience, which means they need to look around but still have the script close at hand.  Using multiple teleprompters allows for this.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-25T18:14:19.563" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7749" PostTypeId="1" CreationDate="2013-04-25T20:15:50.083" Score="1" ViewCount="2786" Body="&lt;p&gt;I currently have around 100 text layers placed in the middle of my composition in After Effects. What I would like to do is randomly place this layers around the middle and then create an animation where they are all moved to the center again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to do this without manually placing the layers?&lt;/p&gt;&#xA;" OwnerUserId="3916" LastActivityDate="2013-07-26T22:17:46.073" Title="AE - Randomly place ~100 layers and then move to the middle" Tags="|after-effects|animation|automation|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7753" PostTypeId="1" CreationDate="2013-04-27T16:35:28.397" Score="2" ViewCount="474" Body="&lt;p&gt;I have a Windows 7 Laptop (Sony VGN-Z12GN) and a Pioneer DVL-9 Laserdisc player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to digitize some of my Laserdiscs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have some experience with video transcoding (Virtual Dub, Sony Vegas), but I have absolutely no idea how I to get the signal from the Laserdisc player into the laptop in the first place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What kind of hardware is necessary and most useful for this purpose?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I somewhere read that I can use a TV card for this, but as I described above, I have a laptop.&lt;/p&gt;&#xA;" OwnerDisplayName="user1550" LastActivityDate="2013-04-27T17:20:15.247" Title="what hardware can I use to connect a Laserdisc player to my laptop?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7754" PostTypeId="2" ParentId="7753" CreationDate="2013-04-27T17:20:15.247" Score="1" Body="&lt;p&gt;The best quality output that your LaserDisc player has is S-Video, so you will want to get a capture device that supports S-Video input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your laptop has three inputs that could be used.  You have 4 pin firewire, ExpressCard34 and USB2.0.  The USB solutions are the cheapest, but also generally the lowest quality.  Either a firewire based external adapter or an ExpressCard34 internal adapter should work about equally well depending on build quality.  The data rates supported are much higher and the quality should be superior, but it's also going to cost more as that moves more into prosumer and professional territory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, I can't tell you much in terms of capture devices.  Most of the tech has moved on to being HD focused at this point and finding products that are still made to capture high quality SD video seems to be trickier now than it used to be.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-27T17:20:15.247" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7755" PostTypeId="1" CreationDate="2013-04-27T17:48:05.547" Score="3" ViewCount="4379" Body="&lt;p&gt;I am creating a video in portrait orientation but the TV I am putting this on cannot rotate the video while playing, so I need to export the video in landscape format. Is there a way to rotate the video when exporting or rotate the entire sequence?&lt;/p&gt;&#xA;" OwnerUserId="3992" LastActivityDate="2013-04-28T05:26:33.953" Title="Export rotated video out of Adobe Premiere" Tags="|video|editing|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7756" PostTypeId="1" CreationDate="2013-04-28T01:12:31.297" Score="0" ViewCount="3897" Body="&lt;p&gt;What exactly is a voyeur shot in cinematography?  Is this movement or style?  The only thing I can find online is basically perverted stuff.  Where can I find an example?&lt;/p&gt;&#xA;" OwnerUserId="3993" LastActivityDate="2016-09-29T16:35:35.677" Title="What exactly is a voyeur shot in cinematography?" Tags="|video|filming|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7757" PostTypeId="1" CreationDate="2013-04-28T01:24:22.820" Score="0" ViewCount="4922" Body="&lt;p&gt;I am creating a slideshow in Premiere so it's just a bunch of images with transitions. When exporting to any kind of format or codec, it would get stuck &quot;Encoding 0%&quot; forever and freeze afterwards. This doesn't happen when I put videos in the sequence. As soon as there is 1 image, the whole thing just won't export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea why?&lt;/p&gt;&#xA;" OwnerUserId="3992" LastActivityDate="2013-04-28T01:24:22.820" Title="Adobe Premiere CS6 stuck at 0% exporting still images" Tags="|video|editing|premiere|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="7759" PostTypeId="2" ParentId="7755" CreationDate="2013-04-28T05:26:33.953" Score="2" Body="&lt;p&gt;You can simply transform the video to be vertical within the normal frame.  I'd do it using a nested sequence that way you can avoid having to alter your main full quality sequence.  Simply make a new scene, drag your existing scene in to it.  Click on the clip, go to Effects Control.  Expand Motion control and adjust the rotation, scale and position as necessary.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-28T05:26:33.953" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7760" PostTypeId="2" ParentId="7756" CreationDate="2013-04-28T05:33:29.653" Score="1" Body="&lt;p&gt;I've not heard of it referred to as a style.  The only thing I could imagine it would be is trying to emulate a style similar to the voyeuristic feel which would probably be made up of roughly shot and edited clips of what would normally be a private, intimate scene, but I am not familiar with a &quot;voyeur shot&quot; as a thing.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-04-28T18:49:25.720" LastActivityDate="2013-04-28T18:49:25.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7767" PostTypeId="1" CreationDate="2013-04-29T15:50:53.983" Score="0" ViewCount="131" Body="&lt;p&gt;If you read at digital video cameras specifications, you will probably read that camera has 20x optical zoom or even greater. &lt;Br/&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you compare this camera with my Nikor 18-200 lens, the lens itself is much bigger then digital video camera, but digital video camera has bigger optical zoom. How this is made, and why my lenses are so big in compare with digital video cameras?&lt;br/&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Term digital video camera is referencing to devices which is used for recording video in first place.&lt;/p&gt;&#xA;" OwnerDisplayName="D4Am" LastActivityDate="2013-04-29T16:49:32.353" Title="Digital video cameras optical zoom vs lenses" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7768" PostTypeId="2" ParentId="7767" CreationDate="2013-04-29T16:07:25.213" Score="3" Body="&lt;p&gt;Your facts mislead you. &lt;strong&gt;Lens magnification and size have nothing to do with video or stills. They have to do with sensor-size.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your DSLR has a large sensor and requires a large lens. The digital video camera you refer to has a small sensor and requires a small lens. You can very easily pick some random examples to show the opposite! Take a Canon Powershot SX50 HS, for example, which has a 50X optical zoom and a Sony NEX FS100U which has a sensor larger than your Nikon and will require an even larger lens to achieve the same magnification. This makes it impossible to get the kinds of zoom seen on small cameras without the lens requiring its own transport mechanism!&lt;/p&gt;&#xA;" OwnerUserId="4001" LastActivityDate="2013-04-29T16:07:25.213" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7769" PostTypeId="2" ParentId="7767" CreationDate="2013-04-29T16:49:32.353" Score="0" Body="&lt;p&gt;There are a few things that can be going on here.  First, the wider the lens can get, the less telephoto it has to be able to go before being a high multiplier.  Say your lens was able to do 10mm instead of 20, it was a pretty small change on the short end, but would be twice as large of a x multiplier.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Multipliers are not used in professional lens measurements for exactly that reason, it doesn't say much of anything about the actual extent of the range that can be covered.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, the size of the sensor is critical to the size of the lens.  If you have a very small sensor, it is easy to use smaller optics since you are resolving to a smaller circle.  You see a little bit of this when you see the effect that APS-C camera's have on the MM equivalent of lenses designed for full frame cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the combination of these factors results in a little point and shoot being able to have a significantly high multiplier for the zoom, but really it is shooting very wide and on a very small sensor (which also means a very large depth of field and very little if any background blurring.)  A larger camera, like a DSLR, on the other hand has a much bigger sensor and typically doesn't go from ultra wide to super telephoto in a single lens, so the multipliers are smaller.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One final point as to why we don't see lenses for a very wide zoom range on DSLRs very often is that zoom lenses are a trade off.  The wider the amount of zoom, the more compromises have to be made in the image quality of the optics.  Prime (non-zoom) lenses almost always have the best image quality due to their simpler design and then short zoom ranges generally (though not always) have better image quality than their wider range of zoom counterparts (at least within a similar price range).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-04-29T16:49:32.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7773" PostTypeId="1" AcceptedAnswerId="7774" CreationDate="2013-04-30T02:21:38.043" Score="1" ViewCount="3230" Body="&lt;p&gt;If I record a sound at a rate of 8,000 samples per second, I know that the highest frequency that can be reproduced from the sound is 4000Hz. What I want to know is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the sound contains frequencies above 4000Hz, when I play the sound back what would I hear and what frequencies would be produced at the points where the frequency of the original sound is greater than 4000Hz.&lt;/p&gt;&#xA;" OwnerUserId="4003" LastEditorUserId="2569" LastEditDate="2013-05-01T12:22:53.100" LastActivityDate="2013-05-01T12:31:56.443" Title="What Happens to Frequencies Above the Nyquist Limit?" Tags="|sampling-frequency|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7774" PostTypeId="2" ParentId="7773" CreationDate="2013-04-30T02:44:43.017" Score="4" Body="&lt;p&gt;Sounds above the Nyquist limit (in this case 4000 Hz) will seem to fold back into the allowed range. For example, a tone 100 Hz above the limit will appear as a phantom tone 100 Hz below it. So a frequency of 4100 will seem to appear at 3900, one at 4200 will appear at 3800, and so on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is called 'aliasing' or 'folding'. The apparent 3900 tone is an alias for the 4100 tone. Since actual, complex sounds are composed of many frequencies, the audible effect is not as clean as theory describes it.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-04-30T02:44:43.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7779" PostTypeId="2" ParentId="4488" CreationDate="2013-05-01T04:38:11.533" Score="1" Body="&lt;p&gt;Are you sure that the Lenovo and 2011 MacBook support HDMI out via their displayPort?  Native DisplayPort signals are not compatible with HDMI.  What a DisplayPort to HDMI adapter actually does is simply put a DisplayPort that supports HDMI signaling in to the appropriate mode to send an HDMI signal, but it is not a required part of the DisplayPort standard.  It is possible that your devices simply do not implement HDMI signaling.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend trying to connect both non-working devices to a direct HDMI output to see if they work.  If they do, it may be that the HDMI detection does not work with the switch.  I've seen that before in cheap HDMI switches even when using native HDMI devices.  The solution then is unfortunately either a) restart the source device while that source is selected (to see if the full signal path is maintained when selected) or b) get a better HDMI switch.  It might also be possible to lock the HDMI output option on in a driver somewhere, but that would be hardware specific.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-01T04:38:11.533" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7780" PostTypeId="2" ParentId="7773" CreationDate="2013-05-01T12:31:56.443" Score="2" Body="&lt;p&gt;The result of using a sampling rate that is too low for your program material is easiest understood with a graph.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the blue wave is the actual sound you are attempting to record, in your example, say, 4.5KHz, with a sample rate of 8,000 samples/sec, the signal can only be recreated with the information that was recorded (in red).  So to answer your question, you get a lower frequency.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/B4hCQ.gif&quot; alt=&quot;Nyquist Frequency&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="2569" LastActivityDate="2013-05-01T12:31:56.443" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7783" PostTypeId="1" AcceptedAnswerId="7786" CreationDate="2013-05-01T15:28:05.563" Score="2" ViewCount="1961" Body="&lt;p&gt;I recently purchase an &lt;a href=&quot;http://www.axis.com/products/cam_m5014/&quot; rel=&quot;nofollow&quot;&gt;AXIS network camera&lt;/a&gt; that will be used at a scrap metal yard to photograph truck license plates. While the camera is probably sufficient for my purposes I was a bit confused because it was advertised as an HDTV 720p camera but the image quality (still or video) is nowhere near as good as, say, any of the leading smartphone cameras. Apparently, this is because each image is only around 1 MP. If the image is aliased and blurry, in what sense is it &quot;high definition&quot;? It has &quot;more lines&quot; than my old TV, yet it looks worse than any other digital camera I've owned in the last 10 years. Isn't this term a bit misleading in this context?  &lt;/p&gt;&#xA;" OwnerUserId="4013" OwnerDisplayName="regularmike" LastEditorUserId="3750" LastEditDate="2013-05-01T23:13:13.620" LastActivityDate="2013-05-02T14:56:16.500" Title="Does HD necessarily mean clear, high quality images?" Tags="|video-quality|photos|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7784" PostTypeId="2" ParentId="7783" CreationDate="2013-05-01T15:39:21.877" Score="4" Body="&lt;p&gt;HD generally means that it complies with the HDTV standard in some form. This says something about resolution and frame-rate, since it is a video-standard, but says nothing about image quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;720p is 0.9 megapixels, so your statement is correct. This resolution is fine for quick frames moving on a TV, it is not so much to resolve fine-details. Even so, there is no guarantee that the lens on a camera is capable of letting enough details through to fully take advantage of those 0.9 megapixels.&lt;/p&gt;&#xA;" OwnerDisplayName="Itai" LastActivityDate="2013-05-01T15:39:21.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7785" PostTypeId="2" ParentId="7783" CreationDate="2013-05-01T15:52:17.697" Score="2" Body="&lt;p&gt;The camera's sensor possibly has 1,280 × 720 = 921,600 pixels arranged in a &lt;a href=&quot;http://en.wikipedia.org/wiki/Bayer_pattern&quot; rel=&quot;nofollow&quot;&gt;Bayer Pattern&lt;/a&gt;. Half of the pixels are green, a quarter are red, and the remaining are blue. It takes more than one such pixel to calculate an actual full-color pixel, through an interpolation process called &lt;a href=&quot;http://en.wikipedia.org/wiki/Demosaicing&quot; rel=&quot;nofollow&quot;&gt;demosaicing&lt;/a&gt;. This process leads to &lt;em&gt;blurry&lt;/em&gt; images when viewed at full resolution. As for the &lt;em&gt;aliasing&lt;/em&gt;: This is likely caused by in-camera &lt;a href=&quot;http://en.wikipedia.org/wiki/Unsharp_masking&quot; rel=&quot;nofollow&quot;&gt;digital sharpening&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other factors that negatively influence the quality of the picture:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;low quality optics, possibly also badly adjusted&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;dirt&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/JPEG&quot; rel=&quot;nofollow&quot;&gt;JPEG&lt;/a&gt; compression&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="4011" LastEditorUserId="4011" LastEditDate="2013-05-02T14:56:16.500" LastActivityDate="2013-05-02T14:56:16.500" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7786" PostTypeId="2" ParentId="7783" CreationDate="2013-05-01T16:05:04.407" Score="8" Body="&lt;p&gt;HD simply refers to a given number of pixels in the signal, not some measure of quality.  Even 1080p TV is lower resolution than the photos on most camera phones.  Even the 4k video used in the latest Hollywood blockbuster movies is lower quality than the still photos of most camera phones.  Video takes up far FAR more data than stills.  If you think about it, 1 second of video contains between 24 and 60 individual photos depending on the format of video being used.  Now there are ways to shrink the video since a lot of the pictures are very similar, but the quality that can be recorded is still much smaller than what we can process for a still.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The think is that an 8mp camera phone still doesn't shoot any better than 1080p video at most, so while it may take 8mp stills, it only takes sub 2mega pixel video.  720p isn't all that much better than an old 480 display.  The main advantage is the progressive scan, but there still isn't that much more information (about double).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other thing to note with security cameras is that they tend to be made to be durable more than high quality.  The optics are probably not that great and they favor infinity focus over sharpness.  They want everything in the scene to be reasonably in-focus instead of having any particular area really sharp.  So between the optics, the design goals and the limited resolution, it isn't all that surprising that it doesn't render things that clearly since it isn't the goal of a typical security camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The term is not at all misleading though and based on your description, it sounds like it behaves like I would expect for the device.  It is High Definition since 720p is a high definition standard even if the optics don't give you as sharp of an image as you'd prefer.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-01T16:05:04.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7787" PostTypeId="2" ParentId="7783" CreationDate="2013-05-01T21:00:21.520" Score="0" Body="&lt;p&gt;Have you noticed, when watching tv, it is hard to read a license plate off a car if that said car is showing wholly with some surroundings on the screen? When the storyline of the tv-program needs to show you the license plate, they move in close and really show you the plate. Can't do better even when they do have very expensive high quality large lens videocameras!! And they produce 1080-lines to show true HD on your telly. Yet no reading the license plate. How could a small and cheap 720-line tiny lens surveillancecamera do any better? No, it does much worse.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As already stated in other answers, most mobile phone cameras beat most video cameras in still photos. Only if someone used the high quality videocamera to switch mode and take a still photo, then it quite likely would beat the mobile phone camera in image quality. But this small surveillancecamera is just no match. Calling it HD is perhaps misleading, but it never meant to say anything about the quality of single still frame, it is a &lt;em&gt;video&lt;/em&gt; camera, after all. Video and photograph are not measured by the same standards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;HD video shown in &lt;a href=&quot;http://en.wikipedia.org/wiki/High-definition_television&quot; rel=&quot;nofollow&quot;&gt;HD television&lt;/a&gt; is max 1920×1080 pixel and minimum requirement is 1280×720 pixel. Fill that slot and the video can be called &lt;em&gt;&quot;High Definition&quot;&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, that's the television that makes the limits. Having a truly high definition surveillance video is possible after all. You just can't show the resulting video in normal HD television, you need special equipment for that, and then you got the license plates. Link to example photos of &lt;a href=&quot;http://silvernet.com/solutions/Megapixel-secure-wireless-cctv.php&quot; rel=&quot;nofollow&quot;&gt;megapixel CCTV&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3750" LastEditorUserId="3750" LastEditDate="2013-05-01T21:12:51.117" LastActivityDate="2013-05-01T21:12:51.117" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7788" PostTypeId="1" AcceptedAnswerId="7843" CreationDate="2013-05-02T01:36:14.597" Score="1" ViewCount="1546" Body="&lt;p&gt;I am new to After Effects. I downloaded the free file for the Month of May from VideoHive and have been playing with it. Some of the text is displayed just a bit too short for my linking. I do not want to change the look of the effects but take everything and make it a half second to one second longer. Basically take the length from 35 seconds to about 55-60 seconds without messing up any of the transitions or effects.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible? &lt;/p&gt;&#xA;" OwnerUserId="3270" LastActivityDate="2013-05-09T00:40:18.600" Title="Stretch or Change Timing in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7791" PostTypeId="2" ParentId="7559" CreationDate="2013-05-02T15:07:07.583" Score="1" Body="&lt;p&gt;Well, calibrating EQ for home speakers is not a common practice. However it seems that the easiest and cheapest way to do it is just play some music through them and record the output. Then you could use one of the free audio software (e.g. Audacity) to import the recorded audio and get the frequency spectrum graph. Using this graph you might get a general idea of salient frequencies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And now regarding the graph you see.. You're right, usually the frequency response is represented with one line in dB/Hz units. However in your case there are actually 6 different graphs in one picture:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Regular frequency response (one of the 3 bottom lines with no comments near it)&lt;/li&gt;&#xA;&lt;li&gt;Frequency response of 2nd and 3d harmonics distortion (the ones wit 2nd HD and 3rd HD comments near them)&lt;/li&gt;&#xA;&lt;li&gt;What seems to be a phase response (the 3 graphs on top). This one is pretty unusual, especially for home speakers.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2261" LastActivityDate="2013-05-02T15:07:07.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7792" PostTypeId="2" ParentId="7575" CreationDate="2013-05-02T23:28:30.063" Score="1" Body="&lt;p&gt;Solved the problem...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go to: Mac System Preferences &gt; Blackmagic Design&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Set default video standard as &lt;code&gt;HD 1080i 59.94 CamTwist&lt;/code&gt; &gt; &lt;code&gt;Blackmagic HD 1080i 59.94 - 8 Bit&lt;/code&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I figured out my camera settings using the Blackmagic Media Express app, which did detect the camera. Just take a look in the app's settings to find your camera's connection settings.&lt;/p&gt;&#xA;" OwnerUserId="3883" LastEditorUserId="2569" LastEditDate="2013-05-03T04:43:50.033" LastActivityDate="2013-05-03T04:43:50.033" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7796" PostTypeId="1" AcceptedAnswerId="7797" CreationDate="2013-05-04T03:31:30.377" Score="1" ViewCount="646" Body="&lt;p&gt;What is the best way to compress a video shot by my Nikon D5100 so it can be easily uploaded to Youtube? &#xA;I have a video of around 600MB, I tried converting using Xilisoft video converter but without any success.&lt;/p&gt;&#xA;" OwnerUserId="4026" OwnerDisplayName="AmazingSixty" LastEditorUserId="2836" LastEditDate="2014-03-05T17:32:47.453" LastActivityDate="2017-05-02T11:34:48.023" Title="Converting videos taken by D5100 for a Youtube upload" Tags="|video|dslr|conversion|youtube|nikon|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7797" PostTypeId="2" ParentId="7796" CreationDate="2013-05-04T14:34:02.457" Score="3" Body="&lt;p&gt;Amazingly, the best place to start with a question like this is Youtube. Believe it or not they have help file that explain the process with quite a bit of detail:&#xA;&lt;a href=&quot;https://support.google.com/youtube/bin/answer.py?hl=en&amp;amp;answer=1722171&amp;amp;topic=2888648&amp;amp;ctx=topic&quot; rel=&quot;nofollow&quot;&gt;https://support.google.com/youtube/bin/answer.py?hl=en&amp;amp;answer=1722171&amp;amp;topic=2888648&amp;amp;ctx=topic&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On Youtube itself many others have offered up video tutorials on how to do it:&#xA;&lt;a href=&quot;https://www.youtube.com/results?search_query=how%20to%20convert%20video%20for%20youtube&amp;amp;oq=how%20to%20convert%20video%20for%20youtube&amp;amp;gs_l=youtube.3..0.638.6986.0.7066.32.16.0.14.14.0.132.1067.13j3.16.0...0.0...1ac.1.11.youtube.RZDyIjFJGEg&quot; rel=&quot;nofollow&quot;&gt;Youtube.com search&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would take the recommendations that YouTube has on the help pages, and simply apply those settings to your favorite video software, it could be something like Adobe Premiere Elements which is a very common video editor, but many others exist.&lt;/p&gt;&#xA;" OwnerUserId="1834" LastActivityDate="2013-05-04T14:34:02.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7804" PostTypeId="1" CreationDate="2013-05-05T06:54:22.133" Score="1" ViewCount="920" Body="&lt;p&gt;I'm shooting some doco footage using the iPhone 5. I'm looking for a way to shoot &quot;tape&quot; style. I don't want independant clips when I stop recording. Just want to append clips back to back continuously like pausing and recording does on any video camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd rather not combine clips at the end. If there's a way to avoid this that would be perfect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions? &lt;/p&gt;&#xA;" OwnerUserId="4021" LastActivityDate="2013-12-03T05:43:30.527" Title="iPhone 5 video: continuous shooting without creating independent clips" Tags="|iphone|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7809" PostTypeId="1" AcceptedAnswerId="7812" CreationDate="2013-05-05T19:00:52.217" Score="1" ViewCount="288" Body="&lt;p&gt;I'm trying to get Greek symbols in a Cinema4D text object that is extruded, however when I select the Symbol font the text disappears from the viewport. I can still see it in the text input frame, but it's not visible in the render.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I get an extruded Greek letter in Cinema4D?&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2013-05-05T19:37:28.460" Title="How to get Greek symbols (alpha, beta) in Cinema4D text" Tags="|cinema4d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7812" PostTypeId="2" ParentId="7809" CreationDate="2013-05-05T19:37:28.460" Score="2" Body="&lt;p&gt;I can't be 100% certain, but the problem is most likely your font type.  I'm not familiar with Cinema4D specifically, but some fonts are raster based for given point sizes and some are vector based.  Most extrusions require you to have a vector based format and if the font is raster, then you aren't going to get any result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best bet is either to find a vector based greek font or to use something like illustrator to create a vector path that fits the characters and import that vector document for extrusion.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-05T19:37:28.460" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7814" PostTypeId="1" AcceptedAnswerId="7816" CreationDate="2013-05-05T22:43:33.510" Score="-1" ViewCount="89" Body="&lt;p&gt;The title says it all. I have a DSLR and would like to learn more about video, from basics to advanced (I am an intermediate+ photographer). Are there good tutorials I can find online? I could not find much but very basic intros on the web.&lt;/p&gt;&#xA;" OwnerUserId="1570" LastActivityDate="2013-05-05T23:52:25.417" Title="DSLR filmmaking tutorials and tips" Tags="|video|dslr|" AnswerCount="1" CommentCount="2" ClosedDate="2013-05-07T18:23:22.013" ContentLicense="CC BY-SA 3.0" />
  <row Id="7816" PostTypeId="2" ParentId="7814" CreationDate="2013-05-05T23:52:25.417" Score="0" Body="&lt;p&gt;The best suggestion I can come up with is to get a book on cinematography.  There isn't really much in the way of difference between using a DSLR for video versus any other camera.  The techniques are all the same, just the mechanics of the particular camera differ.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best way to learn the mechanics of a camera is just to read the manual and try it.  The way to figure out what you need to use those mechanics to do is to study cinematography in general.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Beyond that, if you have more specific questions, I'm sure we can help you with those in more detail.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-05T23:52:25.417" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7817" PostTypeId="1" AcceptedAnswerId="7818" CreationDate="2013-05-06T02:32:18.733" Score="3" ViewCount="1138" Body="&lt;p&gt;What I want is simple: I want to modulate the volume (amplitude) of one channel, with the amplitude of another channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's the vocoder effect which does something vaguely similar to what I'm looking... but it splits the audio in bands to (obviously) create the vocoder effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A sidechain compression/gating won't do it either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So how can I do this?&lt;/p&gt;&#xA;" OwnerUserId="4025" LastEditorUserId="2261" LastEditDate="2013-05-06T02:49:55.613" LastActivityDate="2013-05-06T02:58:18.320" Title="how to do an amplitude modulation in Ableton Live" Tags="|effects|ableton-live|" AnswerCount="1" CommentCount="1" ClosedDate="2014-01-27T16:10:53.083" ContentLicense="CC BY-SA 3.0" />
  <row Id="7818" PostTypeId="2" ParentId="7817" CreationDate="2013-05-06T02:58:18.320" Score="2" Body="&lt;p&gt;If you have Max4Live (included in Live9 Suite), it should be easy enough to build a Live device that does the amplitude modulation exactly the way you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise, look for Ring Modulator and Amplitude Modulation VST plugins. The easy way to write a Ringmod plugin is to just do amplitude modulation. So the free plugins are likely to do what you want. Actually modeling an analog ring modulator takes more effort, but maybe &lt;em&gt;that&lt;/em&gt; is the sound you are really looking for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you happen to have Absynth, I'm pretty sure you can accomplish AM or ring modulation on arbitrary incoming signals with that.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastActivityDate="2013-05-06T02:58:18.320" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7825" PostTypeId="1" AcceptedAnswerId="7831" CreationDate="2013-05-06T20:39:03.597" Score="0" ViewCount="533" Body="&lt;p&gt;Is there puller for controlling the lens focus when using a glidecam? Is there also something similar for the zoom, in case it's a zoom lens?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have not found anything off the shelf that I can buy online.&lt;/p&gt;&#xA;" OwnerUserId="1570" LastEditorUserId="2836" LastEditDate="2014-03-05T17:29:43.820" LastActivityDate="2014-03-05T17:29:43.820" Title="Glidecam focus control" Tags="|dslr|canon|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7828" PostTypeId="1" CreationDate="2013-05-07T00:59:01.737" Score="2" ViewCount="604" Body="&lt;p&gt;I have the Roku Stick which plugs directly into an MHL port. I have a TV without MHL (just normal HDMI) that I would like to try this on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My understanding is that I would need to introduce 5v at 500mA and then I would have a compatible port. The HDMI spec says pin 18 is powered, is this port the powered for MHL as well?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a detailed pinout available for MHL HDMI?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a pinout for a Micro USB to HDMI cable for the MHL spec?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I be asking this somewhere else?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="4032" LastActivityDate="2013-05-07T00:59:01.737" Title="MHL HDMI to HDMI" Tags="|hdmi|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="7829" PostTypeId="2" ParentId="7804" CreationDate="2013-05-07T02:36:05.137" Score="1" Body="&lt;p&gt;At this time the iPhone 5 does NOT have that feature. The only thing you can do is download an application such as Qik or other recording in the appstore which they have a feature such pause or zoom.&lt;/p&gt;&#xA;" OwnerUserId="4033" LastActivityDate="2013-05-07T02:36:05.137" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7831" PostTypeId="2" ParentId="7825" CreationDate="2013-05-07T14:46:33.353" Score="1" Body="&lt;p&gt;I don't think there is anything specifically made for use with a glidecam.  My impression of most stabilization systems is that you still operate the camera directly, you just are not supporting it without the stabilization.  I'm not aware of any follow focus/pull systems that are designed specifically for use with a gimble or gimble and spring-arm stabilization system.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-07T14:46:33.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7843" PostTypeId="2" ParentId="7788" CreationDate="2013-05-09T00:40:18.600" Score="1" Body="&lt;p&gt;The solution will be found in the Timeline. Scroll through the items in the timeline until you find the track for the text object you want to change. The duration of the text on screen is defined by starting and ending keyframes on the object's track.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Moving the last keyframe on the object's timeline will extend the duration of an object, so clicking and dragging the last keyframe for the text will extend how long it is on screen. &lt;/p&gt;&#xA;" OwnerUserId="3882" LastActivityDate="2013-05-09T00:40:18.600" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7844" PostTypeId="2" ParentId="3730" CreationDate="2013-05-09T01:21:09.850" Score="2" Body="&lt;p&gt;To make your vector artwork into a playable movie file, it will have to be rendered, and another term for rendering is rasterizing.  For example, in printing, a single image is rasterized when a vector image of a page is converted to the tiny dots the printer produces on the page. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Digital movies exist in pixel-based raster formats, so each frame of the vector animation must be converted into a pixel-based representation of that frame, for each frame in the movie. Most software today uses the word render. Rendering will also apply some form of video compression to the resulting movie file, you'll want to experiment with different &lt;em&gt;codecs&lt;/em&gt; to see what kind of render quality they offer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You are trying to identify a 'workflow', a path you can take to make your project, that uses open source software.  The programs that have been brought up are very good, and could be the tools for the whole workflow, for many projects. You may also need some kind of video editing software. I'm not sure if there's a good open source video editor, or if Blender allows you to edit. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should proceed by figuring out your production workflow, and looking for tools that can fulfill that workflow. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to suggest Celtx as an excellent open source script writing tool.&lt;/p&gt;&#xA;" OwnerUserId="3882" LastActivityDate="2013-05-09T01:21:09.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7845" PostTypeId="1" AcceptedAnswerId="8150" CreationDate="2013-05-09T04:33:31.593" Score="2" ViewCount="79" Body="&lt;p&gt;I have a bluray disk that I burned from an image I made with Encore CS6.  The source footage is a timeline composed of multiple different video assets that are linked Premiere projects.  They run back to back within a single timeline.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I burned it to disk, most of it works fine, but there are a couple of spots where the playback stops and gets gittery and then jumps ahead.  If I try to chapter skip to a part that is in this area of playback, it simply hangs for a while before jumping forward to a later section.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas what could be causing this?  I've tried two different builds of the disk and both have had the problem, but in different spots.  The only odd thing about the build is that both times I was attempting a build and then had it fail part way through because of not having enough disk space.  I then freed more space and restarted the build, but I figured it could have something cached that is corrupt, so I thought it was worth mentioning.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-18T14:25:29.683" Title="What can cause Bluray disks burned from Encore to get laggy/skippy?" Tags="|bluray|encore|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7846" PostTypeId="1" AcceptedAnswerId="7848" CreationDate="2013-05-09T06:57:45.583" Score="2" ViewCount="331" Body="&lt;p&gt;I want to mix some vacation clips into a single video. The sources I have are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;48 fps&lt;/li&gt;&#xA;&lt;li&gt;25 fps&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I don't care whether the end result will be at &lt;code&gt;24&lt;/code&gt; or &lt;code&gt;25&lt;/code&gt; fps but I do want to maintain the best viewing quality for the two different sources I got.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the question in my case is, what is better between the following two?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;resampling &lt;code&gt;25&lt;/code&gt; to &lt;code&gt;24&lt;/code&gt; (and perfect resampling &lt;code&gt;48&lt;/code&gt; to &lt;code&gt;24&lt;/code&gt;)&lt;/li&gt;&#xA;&lt;li&gt;resampling &lt;code&gt;48&lt;/code&gt; to &lt;code&gt;25&lt;/code&gt; (and leaving &lt;code&gt;25&lt;/code&gt; as is)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="4039" LastEditorUserId="2569" LastEditDate="2013-05-09T12:51:34.753" LastActivityDate="2013-05-09T13:10:35.490" Title="fps resampling dilema" Tags="|video|video-quality|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7848" PostTypeId="2" ParentId="7846" CreationDate="2013-05-09T13:10:35.490" Score="4" Body="&lt;p&gt;48 to 25 should be better because you have more frame information to interpolate, though the contents of the clips could also matter.  If all the 48 fps clips are high speed motion while the 25 is relatively static shots, then it will probably interpolate better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The key is that frames are going to have to be guessed at and the less time that passed from the last frame that can be used for the guess, the better off you will be.  Since 48 frames much closer to the correct timings it should generally get a better result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ultimately though, I'd suggest trying both interpolations and see which looks better to you.  While what I explained is a good general rule, sometimes the content of the clips makes weird things happen and there's no replacement for trying it out to see.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-09T13:10:35.490" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7849" PostTypeId="1" CreationDate="2013-05-09T19:03:04.307" Score="2" ViewCount="305" Body="&lt;p&gt;I am using TitleBox for dynamic graphic animations.&#xA;There are several was to play an animation in this tool, but the &quot;safest&quot; seems to be the internal &quot;animation file&quot; object, which comes with a tools to create an &quot;image sequence file&quot; from a list of pictures ( .png / .tga  ). Such sequences files, once generated, have a .seq2 extension.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is: does anyone know about this format ? Is there a cli tool with which I could create a batch which would generate the .seq2 files?&lt;/p&gt;&#xA;" OwnerUserId="1915" LastActivityDate="2013-05-09T19:03:04.307" Title="TitleBox .seq2 animation files" Tags="|codec|animation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7852" PostTypeId="1" AcceptedAnswerId="7854" CreationDate="2013-05-10T04:47:48.157" Score="0" ViewCount="310" Body="&lt;p&gt;I have 12 parts of videos .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to join them in a sequence and make a single video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please suggest me software and steps to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;can i need to install adobe premier? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;thank you &lt;/p&gt;&#xA;&#xA;&lt;p&gt;example videos are &lt;a href=&quot;https://www.youtube.com/playlist?list=PLTShW1Bm7xcM0bLdbadfpsdia5MkOEkrI&quot; rel=&quot;nofollow&quot;&gt;https://www.youtube.com/playlist?list=PLTShW1Bm7xcM0bLdbadfpsdia5MkOEkrI&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3859" LastActivityDate="2015-12-09T06:34:59.113" Title="how to join video files?" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7853" PostTypeId="2" ParentId="7852" CreationDate="2013-05-10T09:20:45.483" Score="0" Body="&lt;p&gt;If you have money CarbonCoder does this. It is very easy, drag and drop the video, check the &quot;stitch&quot; box and select the output format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Else you can use ffmpeg + avisynth.&#xA;Create an avisynth script which will just read and add the different videos:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Avisynth script:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;vid1 = FFmpegSource2(&quot;path_to_first_video.avi&quot;)&#xA;vid2 = FFmpegSource2(&quot;path_to_second_video.avi&quot;)&#xA;vidn = FFmpegSource2(&quot;path_to_nth_video.avi&quot;)&#xA;concat = vid1 + vid2 + .. + vidn &#xA;return concat&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ffmpeg command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i avisynth_script.avs [ encoding options ] concatened_video.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In the example I used avi container, but avisynth supports also quicktime and other.&#xA;Find here the &lt;a href=&quot;http://avisynth.org/mediawiki/Main_Page&quot; rel=&quot;nofollow&quot;&gt;Avisynth documentation&lt;/a&gt; . This will work on windows, as far as I know avisynth does not work on linux ( or in alpha stage ? ).&lt;/p&gt;&#xA;" OwnerUserId="1915" LastActivityDate="2013-05-10T09:20:45.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7854" PostTypeId="2" ParentId="7852" CreationDate="2013-05-10T09:42:22.887" Score="0" Body="&lt;p&gt;Quicktime can do this. I tried the following steps on a Mac with two &lt;code&gt;.mov&lt;/code&gt; files. &#xA;One file was encoded with the &lt;code&gt;h264&lt;/code&gt; coded, the other with &lt;code&gt;JPEG&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open the first video in Quicktime and just drag and drop the second video on it.&#xA;The second video will be appended to the end of the first. The timeline will be showing the different movies and a button titled &lt;code&gt;Done&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Add all your videos in the above manner and then click &lt;code&gt;Done&lt;/code&gt;. To save the result go to &lt;code&gt;File -&amp;gt; Export to -&amp;gt; Web...&lt;/code&gt; and choose the destination and video settings.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2013-05-10T09:42:22.887" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7861" PostTypeId="1" AcceptedAnswerId="7864" CreationDate="2013-05-11T01:51:37.223" Score="2" ViewCount="358" Body="&lt;p&gt;I calculated that for a film of 2 hours with 30 fps, over a 1920*1080 (16:9) display with 32 bps (True Colour) had to weight : &lt;code&gt;2×3600×30×1920×1080×4 Bytes&lt;/code&gt; which is &lt;code&gt;1,7915904×10¹²&lt;/code&gt; so &lt;code&gt;1,8 TB&lt;/code&gt;...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there something I didn't get right? Or is it that uncompressed, I could not have more than 1 film stored on my computer to watch on my very standard &lt;code&gt;1920*1200&lt;/code&gt; Display?&#xA;Are the films that are shot and projected in 1080p really that size? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And my question is : if so how are Blu-Rays compressed into a measly 25-100 GB disk? I thought DVDs and such were lossless encodings and even if not how can we lose 95%+ of the information (100GB/2TB) and be ok watching it?&lt;/p&gt;&#xA;" OwnerUserId="4048" LastEditorUserId="2569" LastEditDate="2013-05-13T12:25:43.057" LastActivityDate="2013-05-13T14:02:42.797" Title="How can 1080p films be so disproportionally lightweight?" Tags="|video|video-quality|theater|compression-data|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="7863" PostTypeId="2" ParentId="7861" CreationDate="2013-05-11T02:37:26.690" Score="4" Body="&lt;p&gt;Your guess is correct. That would be fully uncompressed, true to its settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You're right, there's only so much data that disks can handle, so there's compression that does need to take place. We can't always notice it. That's why there's different formats (MOV, MP4, WMV). They all have their individual compression types. Compression, really, is just removing data that is deemed &quot;unnecessary&quot; and remove. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To put it in a perspective, here's an example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have a bag of air. It has Hydrogen and Oxygen in it. Let's say you want to keep the Oxygen, but get rid of the Hydrogen, because the Hydrogen is extra space (like extra lines in the binary code of files). When you compress it, and take out Hydrogen, you have a smaller bag, but you also still have Oxygen. The more you want that bag to be smaller, the more Oxygen you'll have to take out. Therefore, there will still be Oxygen there, it's just not as good.&lt;/p&gt;&#xA;" OwnerUserId="4050" LastActivityDate="2013-05-11T02:37:26.690" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7864" PostTypeId="2" ParentId="7861" CreationDate="2013-05-11T03:19:10.210" Score="6" Body="&lt;p&gt;DVD and Blu-Ray content makes &lt;em&gt;massive&lt;/em&gt; use of lossy encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An easy way to see for yourself is to find a dark scene in a film, and then pause it. If the only issue was a limited number of black levels, you would expect to see a stepped gradient curve from the darkest region to the lightest region. Of course, if true 24-bit color was being used, the &quot;stepping&quot; would be too subtle for your eye to see. But the video isn't even that good! You will most likely see large solid rectangles in the black part of the screen. This is the result of the compression algorithm &quot;guessing&quot; that a square is a good enough approximation, and everything within the square is close enough to the same color to just use one color.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This works well most of the time, but tends to fall apart in films that make extensive use of dramatic dark scenes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Added from comments: Encoders &quot;cheat&quot; on &lt;em&gt;everything&lt;/em&gt; they possibly can. If you can think of something new to &quot;cheat&quot; on that most people won't notice, you can make a lot of money licensing your codec in the video production world.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2013-05-11T20:17:26.953" LastActivityDate="2013-05-11T20:17:26.953" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7871" PostTypeId="2" ParentId="2247" CreationDate="2013-05-11T16:18:02.490" Score="1" Body="&lt;p&gt;If you want to stream with Justin.TV, you can download FFSplit !&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.ffsplit.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.ffsplit.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is still in a BETA State, but it does run quite well !&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Don't forget to follow every instruction that is put on the site.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck !&lt;/p&gt;&#xA;" OwnerUserId="4053" LastActivityDate="2013-05-11T16:18:02.490" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7879" PostTypeId="1" AcceptedAnswerId="7881" CreationDate="2013-05-13T09:21:38.497" Score="15" ViewCount="577" Body="&lt;p&gt;Adding video feature to digital camera was for their popular applications, as unprofessional users wanted to have both photography and videography at the same time. Professional cameras were exclusively divided to photography or videography. However, this situation is changing, and videography features are added to DSLR cameras too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The interesting point is that the level professionality of videography on photography cameras are reaching the highest level, as many filmmakers use DSLR camera for professional projects. I understand that technology is advancing with better DSLR cameras, but video cameras were also advanced. Why there is such tendency to use photography camera for filmmaking?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the technical advantages (or even better pros and cons) of using photography DSLR camera for filmmaking?&lt;/p&gt;&#xA;" OwnerUserId="2974" OwnerDisplayName="All" LastActivityDate="2017-04-20T17:34:15.793" Title="Why filmmaking with DSLR?" Tags="|dslr|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7880" PostTypeId="2" ParentId="7861" CreationDate="2013-05-13T14:02:42.797" Score="3" Body="&lt;p&gt;For distribution to theaters, typically the files are several hundred gigabytes to a terrabyte per film (depending on the quality level that they choose to distribute).  Even for cinema, some compression is generally used though the quality is still higher than bluray.  Even if they choose lossless, compression can still probably cut it down by a significant margin in most cases, the file sizes for lossless 24bit HD is still very high though and it gets even worse when moving to 4K.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For distribution on DVD and Bluray, very heavy compression is used.  Over-simplified a little, they use a technique that involves storing &quot;keyframes&quot; of the video and then storing information only about what changed from the last key-frame that was seen.  Since video, by nature, has a lot of similarities between one frame and the next, this kind of compression scheme works exceptionally well with minimal quality loss despite the massive amounts of raw data being thrown away.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It does have some costs, such as making it harder to work with the file and making it so that generations of loss are a factor for editing, but for average consumer viewing, it is still plenty high quality to be very near the look and feel of the uncompressed original.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-13T14:02:42.797" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="7881" PostTypeId="2" ParentId="7879" CreationDate="2013-05-13T14:14:08.243" Score="16" Body="&lt;p&gt;The main advantage is cost.  Historically, there were two main types of imaging sensors, CMOS and CCD.  CMOS was historically used in digital cameras (because of the higher quality images it can capture, the lower cost, and the fact that digital cameras only have to capture a single moment).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;CCDs on the other hand were historically used in video cameras, with one CCD per color (3CCD) to increase the quality.  They have been significantly more expensive and generally capable of lower resolutions, but had the advantage of capturing the entire frame at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most CMOS sensors scan line by line rather than capturing a fixed image at a time, they exhibit an artifact known as a rolling shutter.  This appears as a distortion when the camera is moving (particularly panning) due to the change of orientation mid-frame.  Previously, the sample rates for CMOS sensors were too slow to allow their use for video, but as the technology has improved, it is now possible to sample quickly enough that, while still present, rolling shutter is not nearly the problem it was even a few years ago.  Now there are even CMOS sensors capable of offering a global shutter and they have all but supplanted the old CCD based cameras, with even major motion pictures being shot on CMOS sensors with global shutters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The advances in CMOS technology have allowed for CMOS sensors to be used in professional level video, bringing with them the low cost, high resolution and high quality that had previously not been possible.  Global shutter CMOS still costs more than rolling shutter relative to other features of the sensor, so rolling shutter is still present in many cameras (even fairly high end cinema cameras) due to the cost savings and the fact that higher sampling speed has greatly reduced the impact of rolling shutters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another large advantage is size.  DSLRs tend to have less processing capability to work with the large amounts of data involved in things like 4k video, so they are more limited in capability, but they also are much smaller and more portable.  This is probably most visible in comparing the Black Magic Production Camera and the Black Magic Ursa Mini 4k.  Both use the same 4k sensor, however the size of the BMPC limits it's ability to work with high frame rate video as well as some other features of the camera.  The Ursa Mini is a much larger form factor that currently costs the exact same amount, but is able to fit more features in due to the extra size and hardware that can be included in the larger form factor.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2017-04-20T15:14:54.980" LastActivityDate="2017-04-20T15:14:54.980" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7888" PostTypeId="1" CreationDate="2013-05-13T21:24:55.603" Score="5" ViewCount="10591" Body="&lt;p&gt;Basically the situation is I have a PS3 and I want to be able to split a lossless HDMI connection to my TV and &lt;em&gt;something&lt;/em&gt; to a capture card. Using an HDMI splitter I can connect to the TV just fine but my capture card does not read HDCP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could use a component splitter but that would prevent me from being able to use HDMI quality video/audio on the TV, and not using HDMI as the source means my setup is more complicated; I have other sources (like my Wii U) where I have to use HDMI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How how can I record from this HDCP HDMI in? I can take HDMI without HDCP or component video, but my searches have been unable to find to find something that either converts HDMI (with HDCP) to component or takes HDMI and spits out something non-HDCP devices can read.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the record I know of &lt;em&gt;one&lt;/em&gt; device that does this: The HDFury4/3. However, the HDFury3 is about $150 above what I'm currently willing to pay, I'm just looking for something barebones. I have seen numerous other devices claiming to do things like convert HDMI to component but they either have multiple 1 star reviews saying &quot;this doesn't work at all&quot; or they have no reviews at all. I'd rather be reasonably confidence before purchasing something like this since it seems like there are a &lt;em&gt;lot&lt;/em&gt; of solutions which simply don't do what I need them to.&lt;/p&gt;&#xA;" OwnerUserId="2210" LastActivityDate="2015-01-17T13:51:38.573" Title="How can I capture/convert HDMI from an HDCP protected input?" Tags="|video|hdmi|hdcp|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7890" PostTypeId="2" ParentId="7888" CreationDate="2013-05-13T23:19:37.487" Score="1" Body="&lt;p&gt;You would need a device that supports HDCP if your output source is utilizing it.  That's the entire point of the system.  The video signal is encrypted and will only exchange the data with a device which can cryptographically authenticate itself as an authorized HDCP receiver. Getting that certificate requires proving that they are going to follow the rules on what can and can't be done with the content (such as not allowing it to be recorded.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Occasionally codes are cracked, but these codes are then removed from the valid list of codes in future products and they won't work on newer material until another code is broken.  It is also worth pointing out that (unfortunately), if you live in the US at least, such bypassing is illegal in the United States according to the DMCA which specifically prevents bypassing protective measures even if the use would be fair use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It looks like it may also be possible to connect the PS3 to a non-HDCP device, which would prevent it from using HDCP.  If that is the case, then if you could find a device that isn't HDCP compatible or that can strip the HDCP information, then you could get an unprotected stream and do an end run around DMCA limitations.  You may have to do a soft-reset of the PS3 to get it to recognize a non-HDCP TV if it was previously attached to an HDCP one however since it starts up in the same mode it was in for the previous display.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-05-14T13:56:18.827" LastActivityDate="2013-05-14T13:56:18.827" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7891" PostTypeId="2" ParentId="7740" CreationDate="2013-05-14T14:12:58.777" Score="1" Body="&lt;p&gt;Since your intentions seem a bit weird, I'll give a weird suggestion; if a video consists largely of a still image, then any decent compression algorithm will use almost no space in storing that length of time. So you'll notice if you go to &quot;watch&quot; a track someone's uploaded to YouTube with only album art for its image, the video loads very quickly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This depends on whether you can actually change the content of the video, though. Otherwise, you can theoretically tell Vegas to render it at 16px by 9px (or 4px by 3px).&lt;/p&gt;&#xA;" OwnerUserId="4064" LastActivityDate="2013-05-14T14:12:58.777" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7895" PostTypeId="2" ParentId="7681" CreationDate="2013-05-15T13:10:03.257" Score="0" Body="&lt;p&gt;Turns out we had the free version of Adobe Flash Media Server installed on a Linux server that could receive the stream and show it via players connecting to the URL and the inbuilt test applications. We didn't have time to take down one of our servers to test the Windows Streaming Media path, but thanks for the suggestion, AJ Henderson.&lt;/p&gt;&#xA;" OwnerUserId="150" LastActivityDate="2013-05-15T13:10:03.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7896" PostTypeId="1" AcceptedAnswerId="7898" CreationDate="2013-05-15T13:16:44.080" Score="4" ViewCount="475" Body="&lt;p&gt;When&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I make an presentation in the Apple's Keynote with transitions an like, and&lt;/li&gt;&#xA;&lt;li&gt;export it to an video,&lt;/li&gt;&#xA;&lt;li&gt;can I publish the video as commercial - as my own work?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm added the soundtrack later - it is royalty free (public domain - classical music).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any difference when&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;using apple supplied THEME?&lt;/li&gt;&#xA;&lt;li&gt;or when the presentation contains  only my own theme?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="4069" LastActivityDate="2013-05-15T14:13:41.570" Title="What are the rights to exported video from the Apple's Keynote app?" Tags="|video|copyright|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7897" PostTypeId="2" ParentId="7896" CreationDate="2013-05-15T13:37:03.180" Score="2" Body="&lt;p&gt;Typically, there shouldn't be a legal problem using any transitions\effects\clip art that come with any software package.  That is what they are there for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ultimately, you will need to read the license agreement and possibly contact Apple to find out what your actual rights are.&lt;/p&gt;&#xA;" OwnerUserId="126" LastActivityDate="2013-05-15T13:37:03.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7898" PostTypeId="2" ParentId="7896" CreationDate="2013-05-15T13:44:29.033" Score="3" Body="&lt;p&gt;This is really going to come down to what the terms of the EULA is.  It should outline what rights you have to use the Apple provided contents.  Most likely you would be fine as included assets are typically intended for reproduction.  It might be trickier if you were going to sell copies, but a commercial is probably ok.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as using it as commercial work, I'd be careful about what you use it for.  The quality level is still probably going to be sub-professional for most purposes.  Programs like Keynote and PowerPoint are really more designed for making basic presentations easy for the average consumer rather than trying to actually make a good commercial production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also worth mentioning that while the classical music itself may be in the public domain, the particular recording may not be.  Rights are a complex thing and while classical music in the public domain is free for anyone to play, copyrights can still exist on particular recordings that have been done recently.  Unless you specifically purchased it as royalty free from a reputable dealer, then you may want to double check that as well.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-05-15T14:13:41.570" LastActivityDate="2013-05-15T14:13:41.570" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7903" PostTypeId="1" CreationDate="2013-05-16T18:41:04.690" Score="37" ViewCount="92647" Body="&lt;p&gt;I have a large set of jpgs that I want to convert to a video losslessly (or, at the very least, very close to losslessly as long as the encoding time isn't much higher than otherwise).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Naively, I would think that there should be some codec that can store each individual jpg frames as-is (without recompression), and perhaps achieve some nice compression by replacing some of the frames by just the information on the delta from the previous frame. In my case there are many sequences of frames which are identical to each other, or that have a tiny difference between them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some codec and suitable settings for ffmpeg that can achieve this?&lt;/p&gt;&#xA;" OwnerUserId="4073" LastEditorUserId="6685" LastEditDate="2015-01-19T07:42:39.203" LastActivityDate="2020-12-24T19:01:47.510" Title="How to losslessly encode a jpg image sequence to a video in ffmpeg?" Tags="|video|ffmpeg|encoding|" AnswerCount="4" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7905" PostTypeId="2" ParentId="7903" CreationDate="2013-05-17T04:54:46.163" Score="6" Body="&lt;p&gt;You can create an &lt;code&gt;avi&lt;/code&gt; animation as a series of &lt;code&gt;png&lt;/code&gt; images ( &lt;code&gt;png&lt;/code&gt; &lt;em&gt;is&lt;/em&gt; lossless so the &lt;code&gt;jpeg =&amp;gt; png&lt;/code&gt; conversion should not degrade your pictures ):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if your images a named &lt;code&gt;img_0001.jpg&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 25 -start_number 1 -f image2 -i &quot;img_%04d.jpg&quot; -vcodec png video.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &quot;25&quot; is the frame rate you want in the resulting video. &lt;code&gt;-start_number&lt;/code&gt; is not needed if it is 1, but it is useful if your first video number is not 1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to encode in &lt;code&gt;mjpeg&lt;/code&gt; with highest quality command line is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 25 -start_number 1 -f image2 -i &quot;img_%04d.jpg&quot; -vcodec mjpeg -qscale 1 video.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And the beauty of the thing is that you can convert the video back to a series a pictures:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.avi &quot;img_series_%04d.png&quot;&#xA;ffmpeg -i video.avi &quot;img_series_%04d.jpg&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;etc...&lt;/p&gt;&#xA;" OwnerUserId="1915" LastEditorUserId="2261" LastEditDate="2013-05-17T12:06:31.270" LastActivityDate="2013-05-17T12:06:31.270" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7908" PostTypeId="1" AcceptedAnswerId="7949" CreationDate="2013-05-17T13:10:44.040" Score="-1" ViewCount="32" Body="&lt;p&gt;My internal camera (shown as USB 2.0 camera, but it is mounted in the laptop screen) shows all pictures quite blueish in different lighting situations. Manual post processing of photos/videos greatly improves the result. Does somebody know a possibility to calibrate (hue, lightness, contrast, etc.) the camera so that it produces more useful pictures for any application? There is no camera driver from Sony (I have an SVS1511), it uses the generic one from Windows. However I did not find a way to calibrate with the Windows driver. Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="4076" LastActivityDate="2013-05-23T19:29:11.193" Title="Calibrate internal camera under Windows" Tags="|software-recommendation|windows|camera|" AnswerCount="1" CommentCount="1" ClosedDate="2013-06-30T12:39:07.973" ContentLicense="CC BY-SA 3.0" />
  <row Id="7913" PostTypeId="2" ParentId="7903" CreationDate="2013-05-17T23:06:58.243" Score="42" Body="&lt;h1&gt;Just mux the images&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;You can simply mux the JPG images to make a video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -i input%03d.jpg -codec copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that if you omit &lt;code&gt;-framerate&lt;/code&gt; then a default of &lt;code&gt;-framerate 25&lt;/code&gt; will be applied to the input.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Lossless optimization&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;You can use &lt;code&gt;jpegtran&lt;/code&gt; to perform lossless optimization on each frame which &lt;em&gt;may&lt;/em&gt; provide significant file size savings:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkdir outputdir&#xA;for f in *.jpg; do jpegtran -optimize -copy none -perfect -v &quot;$f&quot; &amp;gt; &quot;outputdir/$f&quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now mux with &lt;code&gt;ffmpeg&lt;/code&gt; as shown above.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Checking that it is actually lossless&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#framehash&quot; rel=&quot;noreferrer&quot;&gt;framehash muxer&lt;/a&gt; can be used to compare the unique hash of each frame to ensure that the result is truly lossless:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i input%03d.jpg -f framehash -&#xA;stream_index, packet_dts, packet_pts, packet_duration, packet_size, hash&#xA;0,          0,          0,        1,   460800, 29bcc2db3726c7dfec1826c5740f603f&#xA;0,          1,          1,        1,   460800, b5fdc23d93cbd043dc2b9290dc8378f0&#xA;0,          2,          2,        1,   460800, ee0709942f24b458fd2380d134dcb59d&#xA;...&#xA;&#xA;$ ffmpeg -i output.mkv -map 0:v -f framehash -&#xA;stream_index, packet_dts, packet_pts, packet_duration, packet_size, hash&#xA;0,          0,          0,        1,   460800, 29bcc2db3726c7dfec1826c5740f603f&#xA;0,          1,          1,        1,   460800, b5fdc23d93cbd043dc2b9290dc8378f0&#xA;0,          2,          2,        1,   460800, ee0709942f24b458fd2380d134dcb59d&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In the above examples each associated frame for the input and output share the same hash ensuring that the frames are identical and that the output is lossless.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Also see&lt;/h1&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://ffmpeg.org/faq.html#How-do-I-encode-single-pictures-into-movies_003f&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg image file demuxer documentation&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://ffmpeg.org/faq.html#How-do-I-encode-single-pictures-into-movies_003f&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg Wiki: How do I encode single pictures into movies?&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2016-06-22T20:13:18.667" LastActivityDate="2016-06-22T20:13:18.667" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="7925" PostTypeId="5" CreationDate="2013-05-18T17:48:01.393" Score="0" Body="&lt;p&gt;See also:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&quot;&lt;a href=&quot;http://en.wikipedia.org/wiki/Chiptune&quot; rel=&quot;nofollow&quot;&gt;Chiptune&lt;/a&gt;&quot; on Wikipedia&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1530" LastEditorUserId="2391" LastEditDate="2013-06-18T22:25:23.843" LastActivityDate="2013-06-18T22:25:23.843" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7926" PostTypeId="4" CreationDate="2013-05-18T17:48:01.393" Score="0" Body="Chiptunes is a genre of music that references the sounds of the home computers and video games of the 1980s" OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2013-05-19T01:07:24.117" LastActivityDate="2013-05-19T01:07:24.117" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7928" PostTypeId="2" ParentId="7200" CreationDate="2013-05-20T09:06:01.003" Score="3" Body="&lt;p&gt;Okay, this worked for me:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Re-Plug-in ALL your External Sound-Hardware.&lt;/li&gt;&#xA;&lt;li&gt;Open your Sound Menu from Windows and set your Microphone to your current one. (For me it was the external Soundcard)&lt;/li&gt;&#xA;&lt;li&gt;Now Open up Premiere Pro and set everything on your Preferences as previously stated.&#xA;Save your Current Sequenz/Project. Close premiere.&lt;/li&gt;&#xA;&lt;li&gt;Reboot your PC.&lt;/li&gt;&#xA;&lt;li&gt;Check your Sound Options in Windows, if everything is set right.&#xA;Open Premiere and check again, if your Prefences are still in (everything should be in order)&#xA;Now hit play.&lt;/li&gt;&#xA;&lt;li&gt;If the Re-plugin doesnt work, use different USB slots :)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Hope I could help you.&lt;/p&gt;&#xA;" OwnerUserId="4087" LastEditorUserId="2569" LastEditDate="2013-05-20T12:19:26.637" LastActivityDate="2013-05-20T12:19:26.637" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7930" PostTypeId="1" AcceptedAnswerId="7972" CreationDate="2013-05-20T22:20:11.513" Score="4" ViewCount="3118" Body="&lt;p&gt;I have some video files I recorded using a Canon 7D (.mov encased H.264). The recording is full HD resolution at 30fps. I need to... &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Adjust the white balance and saturation &lt;/li&gt;&#xA;&lt;li&gt;Combine several short clips into one longer clip, and &lt;/li&gt;&#xA;&lt;li&gt;Export to a format that will allow smaller file sizes. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Anything that would be ready to upload to Vimeo would be a plus. Due to budget constraints I need to do this as inexpensively as possible. Is there an open source, free, or inexpensive program out there that can do what I need? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use a Windows 7 (64) system.&lt;/p&gt;&#xA;" OwnerUserId="4089" LastEditorUserId="2836" LastEditDate="2014-03-05T17:28:37.023" LastActivityDate="2014-03-05T17:28:37.023" Title="Software to edit .mov files from a Canon 7D" Tags="|video-editor|dslr|canon|freeware|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7931" PostTypeId="2" ParentId="7930" CreationDate="2013-05-20T22:28:00.263" Score="0" Body="&lt;p&gt;I have not personally used it, but &lt;a href=&quot;http://www.lwks.com/index.php?option=com_content&amp;amp;view=article&amp;amp;id=45&amp;amp;Itemid=184&quot; rel=&quot;nofollow&quot;&gt;Lightworks&lt;/a&gt; might be an option.  It looks fairly interesting and comprehensive for a product with a free version.  It also has a professional version that unlocks more features for $60 a year.  I think the free version would probably handle your needs though from what I could gather.  I might even check it out as a post Adobe era option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: This might or might not work.  It doesn't work with mov encased H.264 apparently (well not without paying the $60.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-05-20T23:04:19.063" LastActivityDate="2013-05-20T23:04:19.063" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7932" PostTypeId="2" ParentId="7930" CreationDate="2013-05-21T11:47:24.773" Score="1" Body="&lt;p&gt;The &lt;a href=&quot;http://www.youtube.com/editor&quot; rel=&quot;nofollow noreferrer&quot;&gt;Youtube Video Editor&lt;/a&gt; does the things you list.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a screenshot of the editor in action. &#xA;&lt;img src=&quot;https://i.stack.imgur.com/B3Ixl.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see you can adjust the color balance and the saturation and, not shown here, it is also possible to combine several clips into one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you're done editing go to your &lt;a href=&quot;http://www.youtube.com/my_videos?o=U&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video Dashboard&lt;/a&gt;, click on the arrow next to &lt;code&gt;Edit&lt;/code&gt; on your video and click &lt;code&gt;Download MP4&lt;/code&gt;. See the screenshot below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/V2glf.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will download your video to your computer with the edits applied.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="2178" LastEditDate="2013-11-28T13:52:12.723" LastActivityDate="2013-11-28T13:52:12.723" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="7941" PostTypeId="2" ParentId="4032" CreationDate="2013-05-22T15:07:38.180" Score="1" Body="&lt;p&gt;In AFX import MOV with options: &quot;Premultiplied - Matted with color&quot; and select black or white color&lt;/p&gt;&#xA;" OwnerUserId="4097" LastActivityDate="2013-05-22T15:07:38.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7947" PostTypeId="1" AcceptedAnswerId="7948" CreationDate="2013-05-23T12:34:14.947" Score="0" ViewCount="169" Body="&lt;p&gt;I have a video in which there appears a wall at some point. Having that video as input and a photo (that could be new in each interation), I want to get a new video in which the texture of that wall would be changed with the photo. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I mean, my program must get as input the same base video every time, and a new photo.  It should generate the new video with my photo as the wall texture. Of course, I could prepare/mangle the video before the process, get whatever info I need to do that texture change dynamically, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My questions is, what technique/software do you recommend to accomplish this? I'm a newbie in the field and want some direction/light from some experts so I can then dig deeper.&lt;/p&gt;&#xA;" OwnerDisplayName="user4101" LastEditorUserId="2569" LastEditDate="2013-05-23T15:38:34.087" LastActivityDate="2013-05-23T17:40:45.197" Title="How to dynamically add texture to an object in a video and get a new video?" Tags="|video|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7948" PostTypeId="2" ParentId="7947" CreationDate="2013-05-23T17:40:45.197" Score="0" Body="&lt;p&gt;If I understand you correctly, this is traditionally done by compositing programs such as Adobe After Effects.  You could track the wall and then replace the wall with an image but it's going to be a lot trickier if anything is moving in front of the wall.  (You would need to make a rotoscope mask to tell it where not to render the image.)  You could then simply change out the image that is being applied to the wall.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-23T17:40:45.197" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="7949" PostTypeId="2" ParentId="7908" CreationDate="2013-05-23T19:29:11.193" Score="1" Body="&lt;p&gt;Meanwhile, I found a solution. Not sure if there is a hidden function under Windows to do the calibration, but some programs like Skype can be used to configure the camera settings. Whatever settings are applied in Skype-&gt;Options-&gt;Video Settings, they are global for the overall system.&lt;/p&gt;&#xA;" OwnerUserId="4076" LastActivityDate="2013-05-23T19:29:11.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7958" PostTypeId="1" AcceptedAnswerId="7961" CreationDate="2013-05-24T10:55:44.857" Score="1" ViewCount="4790" Body="&lt;p&gt;I have an idea for linking a keynote presentation with a video (exported from a 3d tool).  The idea is that each time you 'click' (as you would to move to the next slide/transition) it would play x more frames of the video then pause.  So frame 1-30 might be the first animation, and it would pause on frame 30.  Then, you click again and it plays 31-60, stopping on 60.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is such a thing possible and if so how would I achieve it?  Assume a video file is available in the required format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many thanks.&lt;/p&gt;&#xA;" OwnerUserId="4108" LastActivityDate="2013-05-24T15:36:57.200" Title="Keynote video pausing/playing" Tags="|video|presentation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7960" PostTypeId="2" ParentId="4605" CreationDate="2013-05-24T14:34:26.390" Score="1" Body="&lt;p&gt;I tried using Miro as well to transcode H.264 MP4 into VP-8 WebM so that Firefox would play using HTML5 rather than a Flash fallback.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;But at least when the mp4 source was exported from Premiere then the Miro conversion did not work properly&lt;/li&gt;&#xA;&lt;li&gt;it finished in my case, but the webm file would always start to play from the last second of the video for some reason (try it with VLC, for instance).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;FireFogg Worked&lt;/h3&gt;&#xA;&lt;p&gt;My solution was to use FireFogg, which can encode into webm as well&#xA;&lt;a href=&quot;http://firefogg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://firefogg.org/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Instructions here, just choose webmsd or webhd instead of ogg: &lt;a href=&quot;http://diveintohtml5.info/video.html#firefogg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video - Dive Into HTML5&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2070" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2013-05-24T14:34:26.390" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7961" PostTypeId="2" ParentId="7958" CreationDate="2013-05-24T15:36:57.200" Score="0" Body="&lt;p&gt;The easiest way I can think of would be to actually do it as multiple videos and stills.  Have the first video play and then go to a still of the last frame.  The next would be the next video clip followed by the still.  Continue doing that for the length of it.  Not sure if it works like that in Keynote or not, but that's how I'd do it in any of my sequencing/presentation packages.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-24T15:36:57.200" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="7963" PostTypeId="1" AcceptedAnswerId="7969" CreationDate="2013-05-25T02:17:02.953" Score="3" ViewCount="571" Body="&lt;p&gt;There is an ongoing movement for movies to be recorded in digital instead of film.  If I'm watching a movie at home on a 1080p HDTV and a bluray player, could I see the difference between something originally recorded on film vs digital?  Are those differences erased in the conversion to the home viewing format?  Would I have I go to a theater that showed analog films to see the movie as the director intended?&lt;/p&gt;&#xA;" OwnerUserId="4111" LastEditorUserId="2836" LastEditDate="2013-05-25T21:50:46.867" LastActivityDate="2014-06-30T04:14:42.083" Title="Film vs digital - telling the difference" Tags="|filming|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7965" PostTypeId="1" AcceptedAnswerId="7968" CreationDate="2013-05-25T09:27:53.877" Score="1" ViewCount="2527" Body="&lt;p&gt;I am noticing more and more product videos being released using lots of blur and the focus shifting from one point to another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is an example of the technique I'm refering to:&#xA;&lt;a href=&quot;http://vimeo.com/43763778&quot; rel=&quot;nofollow&quot;&gt;http://vimeo.com/43763778&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is the shot accomplished?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am noob when it comes to video editing, so I want to ask what are the producers of this video most likely using, and how are they doing it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry if this question seems a bit open ended, but I just want to ask, what techniques have been apparently used on this video to make it what it is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="4112" LastEditorUserId="2836" LastEditDate="2013-05-26T18:13:20.903" LastActivityDate="2013-05-26T18:19:11.597" Title="How can I create the blurring effect in a video like this?" Tags="|video|editing|rack-focus|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7966" PostTypeId="2" ParentId="7963" CreationDate="2013-05-25T10:45:08.353" Score="4" Body="&lt;p&gt;For something shot in a controlled setting, you'd be hard pressed to tell the difference between top-end digital cameras and 35mm film. The usual tells would be grain vs noise and highlight handling. Resolution is not really an issue, because even the finest film negative is reduced to (at best) 4K digital as the first step in post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Aside from the taking medium, everything you see in a movie released on blu-ray is 'digital' from that point on (Digital Intermediate (DI) is the general term). Working in digital allows easy integration of CGI and application of other effects. Film grain is removed from the camera originals on scanning, and perhaps added to generated elements to match. Also, by the time it gets to BVD it's highly compressed, which can further mask any source differences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even movies released on film for theaters have almost certainly been through the DI process, and printed to film only as the last step. There is nothing I'm aware of in taking or grading that can be accomplished only in film any more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I look forward to other opinions. (-:&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-05-25T10:45:08.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7968" PostTypeId="2" ParentId="7965" CreationDate="2013-05-25T21:46:04.910" Score="2" Body="&lt;p&gt;There are no filters applied there.  It's pretty much basic shots, probably from a DSLR based on the feel of the video.  The shots with the one guy were shot with things overexposed and then they upped the contrast to try and do recovery, but it results in large overblown highlights where there was too much light to fit in the dynamic range (the amount of variation between brightest and darkest spot) that the camera could capture.  It otherwise all looks like standard footage though, nothing special done other than basic color grading.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that if you are talking about the shifting blur effect, that's called rack focus and is so apparent because of the use of a fast lens with a short depth of field.  It looks remarkably similar to footage I get with my 5D Mark iii and 24-70mm f/2.8 L lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Rack Focus can either be from out of focus completely to focus on a particular subject or from one subject to another. It generally uses a narrow depth of field and a follow focus may be used to help reach the focus points exactly and in a controlled manner.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The technique is often used either to introduce a subject from a dream or stunned like state (for example, if someone is waking up or in an accident, their pov might start out with a rack focus from being completely out of focus). It is also very frequently used to shift the viewer's focus from one subject to another in a dramatic way. In the more artistic sense, it can also be used to simply explore the depth of the scene by moving the viewer through the space.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-05-26T18:19:11.597" LastActivityDate="2013-05-26T18:19:11.597" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="7969" PostTypeId="2" ParentId="7963" CreationDate="2013-05-25T21:59:56.933" Score="7" Body="&lt;p&gt;The final presentation has been digitally altered and compressed.  Even if it was full quality, you'd likely be unable to tell as film grain can artificially be added (or removed) and color grading can adjust for much of the differences in the way color is captured.  If no editing had been done to the source, it would be pretty clear even on your home set if you knew what to look for, but after post production is done, you can make one look like the other so that it's pretty hard to tell the difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as how you are more likely to see it the way the director intended, a high quality digital theater is the best bet.  While films may be shot on film some of the time and digital other times, they never go through the entire process of editing in analog (at least not for any hollywood film and not for most artsy films either.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first step after shooting a film reel is going to be to scan it to a digital format so that it can be used in the NLE (non-linear editing) software and whatever compositing software is being used for effects work.  Since all films go through a digital process, the process of converting back to film is more a matter of convenience for theaters that lack high quality digital projection that can match the quality of the actual digital files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's also worth noting that theaters that do use film projection have to worry about degradation of the film which happens rapidly and results in imperfections in the playback.  Digital cinema projectors have no such drawback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The debate in the film world about digital vs cinema cameras is rather about how the light is captured.  The primary difference between film and digital sensors is not how the final product looks so much as how it captures light.  A digital camera is exceedingly high quality and very precise, but similar to a keyboard that can play an exact frequency of a note, it lacks the &quot;warmth&quot; of film.  This is similar to the CD vs Vinyl debate.  The film camera captures the light differently and as an analog medium has a softer and &quot;warmer&quot; feel that some people prefer to the &quot;cold&quot; and exacting nature of digital sensors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is only a factor for the initial capture of the image however and after that, it doesn't matter and all parties agree that having the most accurate and exact capture in the conversion to the digital world is important, just the film buffs want it to be in a high quality scan while the digital camera guys see no reason not to shoot directly to a hard drive.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-25T21:59:56.933" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7970" PostTypeId="5" CreationDate="2013-05-26T18:18:03.017" Score="0" Body="&lt;p&gt;Rack Focus can either be from out of focus completely to focus on a particular subject or from one subject to another.  It generally uses a narrow depth of field and a follow focus may be used to help reach the focus points exactly and in a controlled manner.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The technique is often used either to introduce a subject from a dream or stunned like state (for example, if someone is waking up or in an accident, their pov might start out with a rack focus from being completely out of focus).  It is also very frequently used to shift the viewer's focus from one subject to another in a dramatic way.  In the more artistic sense, it can also be used to simply explore the depth of the scene by moving the viewer through the space.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-05-27T02:21:04.133" LastActivityDate="2013-05-27T02:21:04.133" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7971" PostTypeId="4" CreationDate="2013-05-26T18:18:03.017" Score="0" Body="A cinematic technique involving shifting the focus from one point to another, generally to shift attention from one subject to another." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-05-27T02:20:48.087" LastActivityDate="2013-05-27T02:20:48.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7972" PostTypeId="2" ParentId="7930" CreationDate="2013-05-27T10:12:12.747" Score="2" Body="&lt;p&gt;&lt;a href=&quot;http://virtualdub.sourceforge.net&quot; rel=&quot;nofollow&quot;&gt;VirtualDub&lt;/a&gt; is a very powerful video editor. However, it's not very intuitive to use it and it has a steep learning curve. On the plus side, there's a large internet community that supports it, so lots of online resources are available.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For your specific problem I've made a short tutorial below. I've done all steps in Windows XP with two .mov files from a Canon 550D. Unfortunately I failed to find an easy way of adjusting white balance with VirtualDub.&lt;br&gt;&#xA;I've used various on-line resources to compile this tutorial. There might be a more optimal way of doing this, but I found this the most straight forward.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Installing VirtualDub + plugins&lt;/h3&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Download the &lt;a href=&quot;http://sourceforge.net/projects/virtualdub/files/virtualdub-experimental/1.10.3.35390/VirtualDub-1.10.3.zip/download&quot; rel=&quot;nofollow&quot;&gt;VirtualDub 1.10.3&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Download &lt;a href=&quot;http://code.google.com/p/ffinputdriver/downloads/list&quot; rel=&quot;nofollow&quot;&gt;ffinputdriver&lt;/a&gt; to enable loading .mov files.&lt;/li&gt;&#xA;&lt;li&gt;Drag the VirtualDub folder to a convenient location. You don't need to install the program, it's click and run.&lt;/li&gt;&#xA;&lt;li&gt;Place the contents of the plugin folder of ffinputdriver in the plugin folder found in the VirtualDub folder.&lt;/li&gt;&#xA;&lt;li&gt;Start VirtualDub&lt;/li&gt;&#xA;&lt;li&gt;First you'll need to convert your video to AVI. That's what VirtualDub works with natively. A warning: my 1280x720 .mov file of 25MB became a 600MB .avi file.&#xA;The transcoding speed is dependent on your machine.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h3&gt;Transcoding .mov to .avi&lt;/h3&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;code&gt;File -&amp;gt; Open video file&lt;/code&gt;  &lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;File -&amp;gt; Save segmented AVI&lt;/code&gt;  &lt;/li&gt;&#xA;&lt;li&gt;Repeat for all your files.  &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h3&gt;Adjust Saturation&lt;/h3&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;code&gt;File -&amp;gt; Open video file&lt;/code&gt;. Choose one of the AVI files you generated in the previous step.&lt;/li&gt;&#xA;&lt;li&gt;The video file opens in two screens. The left is the original, the right one is the processed video. At first they should be identical. You can scale the video views by right-clicking on them and choosing an appropriate zoom percentage.&lt;/li&gt;&#xA;&lt;li&gt;Go to &lt;code&gt;Video&lt;/code&gt; and check if &lt;code&gt;Full processing mode&lt;/code&gt; is on.&lt;/li&gt;&#xA;&lt;li&gt;Go to &lt;code&gt;Video -&amp;gt; Filters -&amp;gt; Add -&amp;gt; HSV Adjust&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Adjust the saturation to your liking and hit &lt;code&gt;OK&lt;/code&gt;. Hit &lt;code&gt;OK&lt;/code&gt; again in the filter window.&lt;/li&gt;&#xA;&lt;li&gt;Click &lt;code&gt;File -&amp;gt; Save segmented AVI...&lt;/code&gt; and save the edited file somewhere.&lt;/li&gt;&#xA;&lt;li&gt;Repeat the process for all your videos in need of saturation adjustments.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h3&gt;Combine clips into one longer clip&lt;/h3&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;code&gt;File -&amp;gt; Open video file&lt;/code&gt;. Choose the first file of your sequence.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;File -&amp;gt; Append AVI segment&lt;/code&gt;. The selected video file will be appended to the end of the open file.&lt;/li&gt;&#xA;&lt;li&gt;Repeat this with all the video files.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h3&gt;Export to smaller file&lt;/h3&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Follow the steps outlined &lt;a href=&quot;https://frapsforum.com/threads/virtualdub-save-direct-to-mp4-fraps-to-youtube-with-external-encoders.2446/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;br&gt;&#xA;From a 25MB .mov file I got a 600MB .avi file, which got transformed to a 2.7MB .mp4 file with the steps given in the linked tutorial.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="2178" LastEditDate="2013-05-27T11:01:29.630" LastActivityDate="2013-05-27T11:01:29.630" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7982" PostTypeId="2" ParentId="7930" CreationDate="2013-05-28T23:59:16.263" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://sourceforge.net/projects/avidemux/?source=dlp&quot; rel=&quot;nofollow&quot;&gt;AviDemux&lt;/a&gt; seems to do what you need.  The UI is not very friendly at all, but you can open the first file and then append additional files to it.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also apply filters to adjust saturation, hue and color gammas.  There is also an auto-white point tool that may or may not get the white point you want (no way to manually select a white point unfortunately.)  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can then export in any supported format which should allow much smaller file sizes.  This includes what appears to be pretty elaborate H.264 options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Through all my searching, that was the best free utility I could find that allowed applications of filters.  There really isn't much out there unless you go in to commercial offerings.  Commercial offerings start around $60 from what I can gather.  My brother in law has had decent luck with Cyberlink's editing software, though I have not personally tried it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-28T23:59:16.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7984" PostTypeId="1" AcceptedAnswerId="8027" CreationDate="2013-05-29T10:05:28.260" Score="2" ViewCount="6519" Body="&lt;p&gt;I have a folder that contains around 51 videos and another folder with their respective subtitles.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't want to merge the folders into one folder so I was wondering if there's a way to store subtitle &lt;code&gt;srt&lt;/code&gt; files location (or at least a folder location for all subtitles) in an &lt;code&gt;m3u&lt;/code&gt; playlist file along with the video files locations. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; Video file format is &lt;code&gt;flv&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4133" LastEditorUserId="2569" LastEditDate="2013-05-29T12:26:37.887" LastActivityDate="2016-06-27T09:11:31.227" Title="Is it possible to store subtitle srt files in an m3u playlist file?" Tags="|video|file-formats|subtitles|playlist|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7985" PostTypeId="1" CreationDate="2013-05-29T11:19:20.067" Score="1" ViewCount="352" Body="&lt;p&gt;I'm interested in video, but I know very little about it.&#xA;I love to make videos with my camcorder or GoPro, edit them afterwards and upload them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The thing is, I know how to do this, but I don't know how it works. When I have to choose the presets in Adobe Premiere Elements 9, I have no idea what all those things mean. Neither do I know what settings are the best on the camcorder and GoPro. I don't know in what filetype I should export or upload the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to learn very much about video.&#xA;My question: where and how do I start?&lt;/p&gt;&#xA;" OwnerDisplayName="user4125" LastEditorUserId="126" LastEditDate="2013-05-29T13:30:03.173" LastActivityDate="2013-05-29T14:06:48.223" Title="Video compression for Beginner, where to start?" Tags="|video|learning-resources|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7986" PostTypeId="1" CreationDate="2013-05-29T13:05:57.803" Score="1" ViewCount="77" Body="&lt;p&gt;I'm part of the multimedia team at a conference, where I'm responsible for the live-video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know what cable to connect, but I've got no idea what kind of signal it is and when something doesn't work, I don't know how to fix it.&#xA;I've heard things like NTSC/PAL, BNC, DMX, but I have no idea what it stands for or what it is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to learn about this.&#xA;Where/how do I start?&lt;/p&gt;&#xA;" OwnerDisplayName="user4125" LastActivityDate="2013-05-29T13:35:16.870" Title="Live-video beginner, where to start?" Tags="|video|signal-processing|learning-resources|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7987" PostTypeId="2" ParentId="7986" CreationDate="2013-05-29T13:35:16.870" Score="1" Body="&lt;p&gt;There are two main concepts that I think are key here.  The first is learning about signal paths and what the functions of each piece of equipment does along the way.  The second is understanding the signals themselves and how they work.  In video, this can be particularly important since many signals are actually the same on different cables.  In both cases, I think the best way to get started is to research each individual device and signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For signal flow, simply looking at how things are wired up should help you start.  You've normally got something similar to a camera that runs in to either a video switcher or a time base corrector followed by a switcher.  From the switcher, there are feeds to the preview and production monitors as well as an output that most likely goes to a Distribution Amplifier and from there it goes to the outputs which are probably projectors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you understand the purpose of each device, that is the first step towards understanding where problems may be coming from.  For example if one camera's signal is bad but the others are fine, check the camera and cable.  If all the output has the same problem, it may be the switcher or something between the switcher and DA (or the DA itself).  If only one projector has a problem, then either the DA, the cable from the DA to the projector or the projector itself has a problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second part is understanding signals.  This is more in-depth and many video guys don't get this deep in to things.  Again, Wikipedia searches on either the cable or signal type are a great way to get detailed, accessible information.  To talk about the ones you specifically mentioned.  NTSC and PAL are actual video standards.  NTSC and the Japanese version NTSC-J are 29.97 frame per second interlaced (every other scan line is updated) formats.  PAL is the equivalent of NTSC that the rest of the world uses and is 25 frames per second, interlaced.  They are both analog, standard definition formats.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;BNC is a type of coax cable connection.  It is a twist lock connector that can attach the cable securely and is generally used for professional video.  It also used to be used for old school Token Ring networking (on computers).  BNC cables can carry a very wide variety of signal types including Composite, Component and SDI.  BNC refers to the physical medium and not the format of signal passing through it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DMX is a lighting control protocol that works over either an XLR or a 5 conductor wire similar in connection to XLR cable (but with 5 pins rather than 3) or a standard RJ45 cable (network cable).  There are also various wireless implementations of DMX.  It supports 512 addressable channels with 256 possible values per channel.  It can be used for controlling either robotic or fixed lighting.  With fixed lights, one or two channels is used per light. (Dimmer and possibly color selection)  For robotic lights, any number of channels may be used and each channel controls some different value such as gobo selection, x axis movement, y axis movement, strobe settings, dimmer, color, prisms, etc.  Additionally, some devices may use 2 channels to give finer control over a single axis.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also far more information available on Wikipedia in a fairly friendly and accessible form assuming you have a fairly basic understanding of electronic concepts.  That is how I have picked up the majority of my knowledge.  You can also learn fun things like the fact that VGA is identical to the analog feed in DVI which is also a component RGBVU feed.  Also, the digital signal on a DVI-D cable is the same as an unencrypted digital signal on HDMI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Identifying the keywords to search for is probably the biggest trick, but if you know the cable name for example, you can likely find what the signal type is.  Also, if you ever end up stuck on a particular signal or cable, feel free to come back here and post a question and someone would be happy to point you in the right direction and provide you with details about the particular signal or device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oh, one other term that might be worth searching is Gen-lock.  It's a clock signal that is how the frames of video signals from higher end cameras are synchronized. Most modern video switchers can correct for time base shifting automatically now, but for minimum lag in display, if the video cameras support gen-lock, then using it to have them sample together can be helpful.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-29T13:35:16.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7988" PostTypeId="2" ParentId="7985" CreationDate="2013-05-29T14:06:48.223" Score="4" Body="&lt;p&gt;Compression is a very complex field that you can get in to either a little or a lot or anywhere in between.  There are companies whose only job is to do high quality compression for major releases.  Part of the trick is that there are different compression algorithms, different storage formats, different codecs and each codec has its own set of settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Starting at the most broad, we have different algorithms.  A compression algorithm is a particular approach to trying to reduce the amount of information that needs to be stored to reproduce a signal.  Examples of compression algorithms are things like MPEG, MPEG-2/H.262, MPEG-4, MPEG-4 AVC/H.264.  It defines how to simplify the information and what kinds of patterns are being looked for in the signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, similarly broad, we have storage formats.  These are either physical formats such as Bluray disk or DV tape or file formats such as WMV, MOV, M4V and simply store information that is either raw or more likely compressed with a compression algorithm via a codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A codec is a particular implementation of a compression algorithm.  It is an encoder/decoder.  With standards based codecs, it is not necessary for the same exact codec to be used for decoding as is used for encoding, though proprietary codecs do exist that require the same codec to be installed for playback to function.  Part of the complexity of compression is that each codec makes it's own implementation of even standard algorithms and has it's own settings available to adjust how encoding is done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Often, the better the codec, the more control it gives over how compression is performed.  Since settings differ from one codec to another, the impact of settings can similarly differ.  There isn't really any substitute for experimentation when learning how a codec behaves, but some key terminology stays consistent between different codecs and even different algorithms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The most obvious, significant and consistent one is probably VBR (1 and 2 pass) and CBR.  Almost any motion based compression has these options.  CBR is Constant Bit Rate.  It means that a certain amount of data should be used per second every second regardless of the amount of activity or difficulty of compressing.  In motion based video, it leads to really high quality when things are relatively still, but quality suffers during times of high motion.  It also gives very easy to estimate file sizes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VBR, on the other hand, stands for Variable Bit Rate and as the name implies, the bit rate can change based on the difficulty of compressing the current scene.  Typically a target bit rate and a maximum bitrate are give.  The target is what the codec will try to average out to and the maximum bitrate is the level it isn't allowed to exceed at any time.  1 pass VBR will attempt to do so with no prior knowledge of the video being encoded.  2 pass VBR on the other hand makes a pass through the video to determine the characteristics of the video so that it can properly spread the data rates around to achieve the best possible quality with the allotted bandwidth.  The downside is that it takes roughly twice as long to encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another relatively consistent concept is keyframes.  Many compression work by only actually storing full images occasionally.  The rest of the frames are approximations based on the previous full image.  Keyframes can determine how often those full frames are used.  More advanced codecs will even allow for the actual sequence of frame types being used to be controlled.  (For example, with MPEG-2, I, B and P frames are the 3 main types of frames.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When using non-standard formats, resolution is also an option for compression.  It can greatly reduce the amount of information that needs to be stored, but also greatly reduces the quality it is designed to be played back at.  When trying to figure out the best compression for the web, it's important to consider both the bitrate and the resolution.  Trying to store too many pixels with not enough bitrate will result in compression related artifacts, but storing too few pixels will result in a universal loss of resolution (but less artifacts).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While each codec can have guidelines for approximating bitrates needed for various resolutions, there unfortunately isn't much substitute for experimentation.  A video of watching paint dry is going to take substantially less bitrate than Uncle Billy Bob's shaky footage of a high speed soccer match.  In general, for motion based compression, the amount of motion in the scenes determines how well it compresses and you can develop a feel for it with time working with a particular codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As with your other question, if there are any more specific topics you are stuck on, feel free to ask here or to check a particular format on Wikipedia or similar for much more in-depth information than can easily fit in a Q/A format.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-29T14:06:48.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7991" PostTypeId="1" CreationDate="2013-05-29T18:56:48.780" Score="2" ViewCount="644" Body="&lt;p&gt;When tapping a simple beat on my MPD24 controller in Ableton Live on a Macbook, the notes sound fine when I play them, but as the clip repeats, they seem to play too early. I must admit I am an utter amateur, but it seems like Ableton has moved the notes a bit earlier (to compensate for latency?). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/4hEjt.png&quot; alt=&quot;Notes just before the beat&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps there is something wrong with my brain, but I really think I am playing these notes on the beat, not before. There is also a notable difference between when I play them and when the clip repeats after that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What setting controls this behavior? Is there a MIDI latency setup step that I skipped?&lt;/p&gt;&#xA;" OwnerUserId="4135" LastActivityDate="2013-05-29T22:52:19.457" Title="Setting up (negative?) midi delay in ableton" Tags="|ableton-live|latency|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7992" PostTypeId="2" ParentId="7991" CreationDate="2013-05-29T22:06:27.620" Score="1" Body="&lt;p&gt;Go to Preferences, the click on the MIDI/Sync tab.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open up one of your MIDI ports, and you will see the MIDI Clock Sync Delay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mess with that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/2Zx85.png&quot; alt=&quot;Ableton MIDI settings&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that doesn't do it, then Driver Error Compensation, under Latency in the Audio tab.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/hpga7.png&quot; alt=&quot;Ableton Audio settings&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2013-05-29T22:52:19.457" LastActivityDate="2013-05-29T22:52:19.457" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="7995" PostTypeId="1" CreationDate="2013-05-30T10:23:08.650" Score="3" ViewCount="129" Body="&lt;p&gt;Just say I have a bunch of separate clips (DV stream format .dv), and I join them using Quicktime 7. If I then export them out as a new .dv file, am I losing any quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a loss in quality if you re-encode a video under the same exact codec with the same exact settings? If so, how can I join my clips and retain the original quality?&lt;/p&gt;&#xA;" OwnerUserId="4021" LastActivityDate="2013-07-29T13:44:02.807" Title="Retaining quality while re-encoding with same codec" Tags="|video|quicktime|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="7999" PostTypeId="2" ParentId="7995" CreationDate="2013-05-30T12:46:20.970" Score="1" Body="&lt;p&gt;It can depend on the compression used, but generally yes, there will be a loss of quality, particularly if there is any alteration to the video.  For a fairly low compression format like DV it probably isn't going to be much, but the best bet, if the format supports it, is to append the stream data and alter the file such that it has the necessary format or simply make a virtual clip if your editing environment supports it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, I've always taken the latter option when working with DV, so I don't recall if it is a format that easily supports combining files or not, though I would expect it is since it compresses every frame independently as I recall. (May be wrong on that though, haven't worked with DV in a while.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-30T12:46:20.970" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8000" PostTypeId="1" CreationDate="2013-05-30T14:54:05.640" Score="1" ViewCount="867" Body="&lt;p&gt;I'm encoding all my source files for offline editing with Premiere Media Encoder. I have MP4 and MTS files, and I thought of converting them all to AVI DV-PAL. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Problem is I guess I'll have some problems when I'd like to replace the files back to original resolution, because of the different file names.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How should I approach this? Is there a way to ignore file name extenstions while replacing source files for online editing in Premiere?&lt;/p&gt;&#xA;" OwnerUserId="1712" LastEditorUserId="674" LastEditDate="2013-07-01T11:09:30.997" LastActivityDate="2013-07-01T11:09:30.997" Title="How to ignore file name extensions while replacing source files for online editing in Premiere?" Tags="|editing|video-editor|premiere|file-formats|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8005" PostTypeId="2" ParentId="8000" CreationDate="2013-05-30T18:33:17.600" Score="1" Body="&lt;p&gt;You can use &quot;Replace Footage&quot; (right click on a source clip in the project) to swap a file with another file, but I don't know of a good automated way to do a bunch of files at the same time.  I think it might be a manual process to wire up the clips unfortunately.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-30T18:33:17.600" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8007" PostTypeId="1" CreationDate="2013-05-30T22:16:18.997" Score="1" ViewCount="1772" Body="&lt;p&gt;Following the short tutorial &lt;a href=&quot;http://www.youtube.com/watch?v=nNGA-QyQ4rk&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; to make a loop in After Effects using time remapping and the loopOut() expression I encountered some odd behaviour.&#xA;In the tutorial it is mentioned that when this method is used a black frame appears between the loops. To remedy this problem one needs to create a new time remapping keyframe the frame before the last one and then delete the last one. This should give a smooth loop.&#xA;However, instead of the black frame my frame gets &quot;sheared&quot; as shown below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Normal frame:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/fJHJy.png&quot; alt=&quot;enter image description here&quot;&gt;&#xA;Sheared frame:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/dyCHB.png&quot; alt=&quot;enter image description here&quot;&gt;&#xA;How can I get a loop using (preferably using loopOut) and not get a sheared frame in the loop? I'm using After Effects CS5.5 on Mountain Lion 10.8.3.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2014-06-12T06:30:43.060" Title="Why does After Effects shear my last frame in a loop?" Tags="|after-effects|" AnswerCount="0" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="8008" PostTypeId="1" CreationDate="2013-05-31T00:47:47.677" Score="1" ViewCount="302" Body="&lt;p&gt;Does anyone know of what kind of hardware along with any good codecs that could reasonably encode 3 x 1920x1200 60fps DirectShow streams in real time? Preferably a lossless codec but I know at these massive rates it might not be feasible. I know there are some OpenCL/CUDA based codecs out there but don't know of what kind of hardware would be required to to this in real time. Price is non-issue but we are planning on using epiphan's DVI2PCIE capture cards.&lt;/p&gt;&#xA;" OwnerUserId="4141" LastActivityDate="2014-04-26T09:02:32.793" Title="Codec/Hardware Advice on real-time encoding multiple HD streams" Tags="|video|software-recommendation|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8011" PostTypeId="2" ParentId="8008" CreationDate="2013-05-31T03:17:03.160" Score="1" Body="&lt;p&gt;To do this, you would need real time encoding hardware and some seriously high speed hard drives.  I know devices like the Matrox MX-02 will work for 1080p30, but I'm not sure about resolutions higher than that and at 60p.  I think Black Magic Design has some 4k real time encoders but I'm not sure if they support 60p.  Multiple SSDs would also pretty much be a requirement.  Probably on separate controllers and even then the bus rate might be a bottleneck with that much data.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-05-31T03:17:03.160" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8012" PostTypeId="1" CreationDate="2013-05-31T05:44:11.250" Score="4" ViewCount="2423" Body="&lt;p&gt;Using Windows 7, which program helps me&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Remove silence, like the option in adobe audition&lt;/li&gt;&#xA;&lt;li&gt;Remove still images in video, when nothing happens&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;in the same program?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both functions should require a threshold value to distinguish between silence and non-silence and still image and non-still image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Goal is when silence was removed these parts are removed in the video aswell, so audio and video remain in sync. Maybe a fade between frames then.&lt;/p&gt;&#xA;" OwnerUserId="2460" LastActivityDate="2023-04-19T04:26:38.067" Title="Removing silence and no movement from videos" Tags="|editing|video-editor|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8013" PostTypeId="1" AcceptedAnswerId="8015" CreationDate="2013-05-31T12:41:00.183" Score="2" ViewCount="5527" Body="&lt;p&gt;I'm trying to highlight a part of my video. Since I'm totally new to video editing on Premier Pro - I'm not sure if this is the best way of doing that, but I'm using masks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a title sitting in &lt;code&gt;video 2&lt;/code&gt; row, in it a have a rectangular mask (100% opacity)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Y1YBT.png&quot; alt=&quot;title&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then apply a &lt;code&gt;Track Matte Key&lt;/code&gt; effect on the video I'm trying to highlight, and get the following result:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/zf0JQ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This seems like a step in the right direction, but I can't find the place to change the settings of the mask to enable transparency. The intended result is to have dimmed out frame, with only the masked area fully shown.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the &lt;code&gt;Effect Controls&lt;/code&gt; screen for my video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/9XndY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4143" LastActivityDate="2013-05-31T22:05:03.513" Title="How to make the rest of the mask transparent in Premier Pro CS6?" Tags="|video|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8015" PostTypeId="2" ParentId="8013" CreationDate="2013-05-31T13:38:51.437" Score="2" Body="&lt;p&gt;Ok, now that I was able to reproduce your technique thus far, I can fill in the missing pieces.  Your use of the Track Matte Key produces a layer that is transparent everywhere other than where the mask is present.  You need to layer it overtop of the video that you want behind it and you need to apply the dimming effect to the background layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your example, Move video 2 to Video 3 and copy Video 1 to Video 2.  Leave the track matte key on Video 2 and remove it from Video 1.  This will layer the highlighted area (Video 2) over the full video (Video 1).  You can then either reduce the opacity or apply a brightness reduction to Video 1 to make it appear more subdued and get the look you are going for.  &lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-05-31T22:05:03.513" LastActivityDate="2013-05-31T22:05:03.513" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="8017" PostTypeId="1" CreationDate="2013-05-31T20:48:23.883" Score="2" ViewCount="1403" Body="&lt;p&gt;I have a bunch of large HDTV .MTS files from a camera. I want to cut them in many parts, preferably with free software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How?&lt;/p&gt;&#xA;" OwnerUserId="4145" LastEditorUserId="2569" LastEditDate="2013-06-01T14:04:51.537" LastActivityDate="2014-06-03T23:12:04.290" Title="How to split MTS files?" Tags="|video|file-formats|software-recommendation|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8018" PostTypeId="1" AcceptedAnswerId="8019" CreationDate="2013-06-01T15:25:39.843" Score="3" ViewCount="547" Body="&lt;p&gt;One popular feature on TV nowadays is to create 3D overlays on top of the recorded content. Also, as the camera changes direction or position, the 3D content view is subsequently adjusted. How is this implemented?&lt;/p&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2013-06-01T16:01:28.083" Title="How are 3-dimensional overlays synchronized with videos?" Tags="|video|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8019" PostTypeId="2" ParentId="8018" CreationDate="2013-06-01T16:01:28.083" Score="4" Body="&lt;p&gt;There are two different approaches that can be used.  Motion/Camera tracking and Motion Control.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Motion or Camera tracking, multiple non-coplanar fixed points in the scene are tracked and from that it is possible to extrapolate the position of the camera within the scene.  This information can then be fed into a virtual camera used to generate the output from the 3d model such that when the 3d model output is superimposed over the video, the movements line up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Motion Control is similar but uses a special camera rig to either track the camera movement exactly or to reproduce a movement plotted in the 3d software exactly in real life.  This is the more precise but also much more sophisticated approach as it requires far more elaborate gear to do.  It also allows for more accurate tracking of things like change in zoom verses actually moving the camera in (which are otherwise only evident by fairly subtle shifting of perspective and vanishing points.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The result of both is effectively similar though.  You end up with data on how the camera moves in the real life scene and it matches the movement done in the 3d scene.  There are other factors such as lighting that also have to be matched for the best looking composition.  Then both outputs are brought in to a composition package like After Effects where they can be overlayed and blended together.  Sometimes various additional effects like depth of field and other virtual camera effects may be applied to help it blend.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing is that if anything in the real scene needs to move in front of the 3d object, then they need something called a mask layer.  This is normally produced by rotoscoping, which is a process of updating the image on every frame to follow the subject.  This mask then tells the compositing software that the real video plate should be placed over the 3d plate on the areas where the mask is painted.  Otherwise the 3d plate is used over the real plate.  Alpha channel blending is used to convey information about the transparency of a 3d shape such that the image behind it can be visible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the 3d object has any refractive properties, then the real life plate may be fed into the 3d software as an environment.  Then the 3d render engine can actually sample information from the environment in order to figure out refraction in things like a glass object or a 3d object with a mirror.  Since it is mapping a 2d environment onto a 3d one, a lot of the selection of how the environment is applied would be done manually though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-01T16:01:28.083" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8020" PostTypeId="1" AcceptedAnswerId="8026" CreationDate="2013-06-01T13:38:56.403" Score="4" ViewCount="2058" Body="&lt;p&gt;I've got a composition in After Effects CS 6 on Windows that contains several .ai files. One of them has over 30 layers, which I imported and animated in AE. Unfortunately, I gave the .ai file the not so clever name &lt;code&gt;foo.ai&lt;/code&gt; because it started out as a test but worked, and I'd like to go ahead with it. When I rename the file to something more sensible, like &lt;code&gt;Scene 1 - Spaceship.ai&lt;/code&gt;, AE complains about a missing footage file. Now it wants me to give it the new path, which I do. I have to select the layer from the .ai as well. And it looks like it wants me to do it for every layer from the same file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've already tried making a copy of the AE project file, opening it with a text editor and replacing all occurrences of &lt;code&gt;foo.ai&lt;/code&gt; with &lt;code&gt;Scene 1 - Spaceship.ai&lt;/code&gt;. After that, AE told me it &lt;em&gt;tried to read after the end of file&lt;/em&gt;. Looks like there's a file length in there. Damn.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So how can I do this without having to change the source file and resellecting the layer for each individual layer in AE?&lt;/p&gt;&#xA;" OwnerUserId="4149" OwnerDisplayName="simbabque" LastEditorUserId="4149" LastEditDate="2013-06-02T16:26:58.917" LastActivityDate="2013-06-02T16:26:58.917" Title="How can I rename a footage .ai file for AE without breaking the references?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8023" PostTypeId="1" AcceptedAnswerId="8024" CreationDate="2013-06-02T00:58:32.670" Score="2" ViewCount="179" Body="&lt;p&gt;&lt;strong&gt;Background&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a Panasonic HDC-HS700 camera that I am using to record indoor office scenes. The scenes are illuminated predominantly by fluoro lighting, with little natural light, however there are substantial lighting variations between corridors and offices/cubicles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far, my recordings contain a fair amount of image noise. The video will be processed using image processing and computer vision techniques, so I need to keep image noise to an absolute minimum for the algorithms to work best. However, upstream noise removal (i.e. within the recording process itself) is much more desirable than downstream noise reduction (i.e. image processing algorithms).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am a novice when it comes to video production, so I am unfamiliar with the &quot;tricks of the trade&quot;. What is the best approach (and/or camera settings) to minimise image noise given my recording scenario?&lt;/p&gt;&#xA;" OwnerUserId="4148" LastEditorUserId="674" LastEditDate="2014-01-24T22:48:05.823" LastActivityDate="2014-01-24T22:48:05.823" Title="Minimising image noise within the recording of indoor office environments" Tags="|video|digital-recording|noise|noise-reduction|image-sensors|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8024" PostTypeId="2" ParentId="8023" CreationDate="2013-06-02T01:36:00.753" Score="1" Body="&lt;p&gt;The first thing is to make sure any gain is off.  Gain on a video camera is like high ISO on a digital still camera.  It increases the noise floor significantly and causes much more noise in even a good image.  This should make the camera make other adjustments to try to preserve the exposure with a lower noise floor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there is still too much noise, it may require that the dynamic range of the scene be reduced with properly placed lighting to eliminate dark shadows.  If you have particularly bright and particularly dark areas, the camera may attempt to get detail in the dark areas and result in noise.  Reducing this dynamic range will allow the detail to be captured clearly in all parts of the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also possible that there simply isn't enough light.  It can be very dark inside buildings.  Our eyes are exceptionally good at adjusting to a wide range of lighting intensities so we don't really notice it much, but outside is hundreds of time brighter than inside.  An average office hall lighting is about 80 lux.  A typical sunny day is over 10,000 lux with over 30,000 lux in directly sunlight.  That's a HUGE variation.  The camera you mentioned seems to have good low light performance for it's price range from the CNet review, but if you still have too much noise after adjusting the gain to 0 or have too dark of an image, then your primary option is to throw more light at it.  Good strong studio lighting should allow the sensor to clearly pick things up in such a way that the images will be suitable for computer vision with low noise.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-02T01:36:00.753" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8025" PostTypeId="2" ParentId="8023" CreationDate="2013-06-02T01:40:10.517" Score="1" Body="&lt;p&gt;The answer is always &quot;More light&quot;. The higher the illumination of the sensor (within obvious limits), the less noise or grain. If you must deal only with ambient light -- you can't supplement or fill in -- then open the iris. However, in doing so you trade off depth of field, so it's a balancing act.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally, avoid increasing preamp 'gain' to compensate for low light. It will increase the noise as much as it increases signal.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-06-02T01:40:10.517" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8026" PostTypeId="2" ParentId="8020" CreationDate="2013-06-02T03:29:51.723" Score="4" Body="&lt;p&gt;Save the project in XML file format, do as you already did, open it in a text editor, find-replace the name. Open the modified file in AE and re-save it in its normal binary format (aep).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Size shouldn't be an issue since renaming a file doesn't change it size. It seems like you have edited the aep file? Hope this helps!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More on the topic here:&lt;br&gt;&#xA;&lt;a href=&quot;http://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103906c6dea-7fa0a.html&quot; rel=&quot;nofollow&quot;&gt;http://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103906c6dea-7fa0a.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2013-06-02T03:29:51.723" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8027" PostTypeId="2" ParentId="7984" CreationDate="2013-06-02T03:42:21.053" Score="1" Body="&lt;p&gt;&lt;code&gt;m3u&lt;/code&gt; playlists only contains links to the media itself that you're playing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It doesn't actually consider the &lt;code&gt;srt&lt;/code&gt; file at all. If the software used to play back the &lt;code&gt;m3u&lt;/code&gt; file support &lt;code&gt;srt&lt;/code&gt; files it will look in the same folder for the same file as the video only with the extension switched to &lt;code&gt;srt&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will therefor always need to store the &lt;code&gt;srt&lt;/code&gt; together with the video file.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2013-06-02T03:42:21.053" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8030" PostTypeId="1" AcceptedAnswerId="8031" CreationDate="2013-06-03T01:30:30.327" Score="2" ViewCount="599" Body="&lt;p&gt;Sorry if this is the wrong place to ask this question, but, I'm having a issue with Premiere Pro CS6 from Creative Cloud.  Whenever I put footage in the timeline this happens: &lt;img src=&quot;https://i.stack.imgur.com/k3mYm.jpg&quot; alt=&quot;problem image&quot;&gt;.  The file's encoding is fine and it happens with every file.  I'm running it on a MacBook Pro Retina.  Does anyone have any ideas on how I could try and get Premiere working?&lt;/p&gt;&#xA;" OwnerUserId="4150" LastEditorUserId="2178" LastEditDate="2013-06-03T07:27:24.903" LastActivityDate="2013-06-03T07:27:24.903" Title="Premiere Pro CS6 preview problem: other application shows through" Tags="|premiere|encoding|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8031" PostTypeId="2" ParentId="8030" CreationDate="2013-06-03T04:43:02.117" Score="3" Body="&lt;p&gt;It looks like a problem with the playback engine.  I would try updating your video card drivers and/or making sure the playback engine (in the project/ project settings/general menu) is set to Mercury Playback Engine Software Only.  If that doesn't work, I'd try uninstalling and re-installing Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know what can cause it on Mac OS, but on Windows seeing something from another application through a portion of a window is generally a sign of a graphics driver being misconfigured or misused by the software in question.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-03T04:43:02.117" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8032" PostTypeId="1" AcceptedAnswerId="8034" CreationDate="2013-06-03T14:05:37.293" Score="4" ViewCount="4315" Body="&lt;p&gt;After finishing editing a video with Sony's &lt;em&gt;Movie Studio Platinum 12.0&lt;/em&gt;, I'm left with a giant folder of uncompressed rushes. I would like to delete some of them to save disk space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an easy way to keep only the video files that I have used in a project ?&lt;/p&gt;&#xA;" OwnerUserId="4153" LastActivityDate="2018-02-01T22:43:02.950" Title="Delete unused video clips in Vegas" Tags="|vegas-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8034" PostTypeId="2" ParentId="8032" CreationDate="2013-06-03T18:16:11.293" Score="4" Body="&lt;p&gt;I use Vegas Pro, but I think this applies to the Movie Studio version as well. As far as I know there is no magic clean up button that removes the unused files from your folder. However, if you go to the 'project media' tab in Vegas, you will see reference icons of all the files that were used during your editing session including jpegs, and .wav files. This is an accumulation, so if you pulled a clip in and then decided to delete it from the timeline it will still show up here until you click the button with the lightning bolt icon, this updates this folder so it will show you everything that is currently on the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This can be your reference to manually remove from the folder outside of Vegas. Caution: if you delete a file that is in the timeline, Vegas will complain and ask you for the location of the file the next time you launch this session. Likewise, if you move or rename any clips that were in the timeline, Vegas will treat this like a lost file and you will have to show Vegas where it is.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2013-06-03T18:23:38.567" LastActivityDate="2013-06-03T18:23:38.567" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8035" PostTypeId="2" ParentId="4061" CreationDate="2013-06-03T20:45:26.180" Score="2" Body="&lt;p&gt;I couldn't find specific details, but it appears that ancillary data on SDI in general conforms to &lt;a href=&quot;http://en.wikipedia.org/wiki/SMPTE_291M&quot; rel=&quot;nofollow&quot;&gt;SMPTE 291M&lt;/a&gt;.  I couldn't find any details about the specific implementations used for deck control.  It appears like there could potentially be some variation between manufacturers or even particular decks since the ancillary space doesn't seem to be that regulated other than specifying what it shouldn't step on with the main signal.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-03T20:45:26.180" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8036" PostTypeId="1" AcceptedAnswerId="8039" CreationDate="2013-06-03T21:28:33.920" Score="1" ViewCount="131" Body="&lt;p&gt;I have a Samsung LN40A550 LCD TV, purchased in 2008.  I have a 2011 mac mini connected via HDMI, and I use VLC Media Player to play tv/movies, most often x264/mkv files.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The native resolution of the TV is 1920x1080 so that's what I have the mac set to output most often, and I get video files with the same resolution whenever I can.  However, often the video files I get are only 1280x720.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is:  Will it look better to leave the mac set to the 1920x1080 resolution, and then have VLC's full screen mode stretch the 1280x720 image to 1920x1080, or will it look better to set the mac to output a 1280x720 signal, and then VLC doesn't do any stretching.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;By &quot;look better&quot;, i mean picture quality and the shading / filling in of pixels, not frame rate or anything CPU performance related, obviously the latter would have less CPU load.&lt;/p&gt;&#xA;" OwnerUserId="4155" LastActivityDate="2013-06-04T01:13:02.257" Title="Is it better to have a player application stretch the video or to use a resolution that matches the video file?" Tags="|video|hardware|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8039" PostTypeId="2" ParentId="8036" CreationDate="2013-06-04T01:13:02.257" Score="0" Body="&lt;p&gt;That's really a loaded question.  In general, the rest of your content is going to look better if you leave the computer at native resolution and let the computer scale the video.  If for example you have a video that is a slightly different size, then you would end up scaling to get the resolution setting and again to get the native resolution of the display.  The TV should be able to take into account more information about the exact display too, so I'd leave the computer at native resolution and let software scale it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-04T01:13:02.257" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8044" PostTypeId="1" CreationDate="2013-06-04T10:10:30.273" Score="0" ViewCount="284" Body="&lt;p&gt;I would like to learn a lot about Transcoding video files with FFMPEG from any format to mp4 (hH264/AAC) format. We have a large repository of video files ranging from 1 MB to 2 GB of various formats like mkv,mp4,avi,wmv,mov,m4a etc including both HD and SD. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After converting we will be uploading the files to a CDN from where we stream it through JW player. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, the goal here was to attain a maximum quality with reasonable file size and has to stream faster.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am planning to use FFMPEG for transcoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please point me to the articles where I could learn about efficient transcoding. &lt;/p&gt;&#xA;" OwnerUserId="3977" LastEditorUserId="2836" LastEditDate="2013-06-05T13:23:38.893" LastActivityDate="2013-06-05T13:23:38.893" Title="Where to start Transcoding with FFMPEG?" Tags="|ffmpeg|transcoding|mp4|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8050" PostTypeId="2" ParentId="7271" CreationDate="2013-06-05T12:35:04.733" Score="1" Body="&lt;p&gt;Another option worth exploring would be to use Cineform Studio (&lt;a href=&quot;http://gopro.com/software-app/cineform-studio&quot; rel=&quot;nofollow&quot;&gt;http://gopro.com/software-app/cineform-studio&lt;/a&gt;) from GoPro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It allows you to mark clips within a larger movie file, and to individually export the clips as separate .mov files, which can then be imported into your favourite editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While Cineform Studio is developed by GoPro, I've found that it works fine on H.264 DSLR video  footage. I can't confirm whether it will work for a full-length movie, however.&lt;/p&gt;&#xA;" OwnerUserId="4167" LastActivityDate="2013-06-05T12:35:04.733" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8052" PostTypeId="1" AcceptedAnswerId="8053" CreationDate="2013-06-05T18:51:02.520" Score="1" ViewCount="110" Body="&lt;p&gt;I've inherited some (12) DVD recordings of events for our organization that were burned to disc as data, instead of as a video disc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking to take a 16:9 MPG video from these DVDs and burn it back to DVD in video format. Unfortunately I'm having problems with it. It seems to be losing its 16:9 dimension/ratio whenever I do a conversion from the very little amount of knowledge that I have with the applications at my disposal. I'm not too knowledgeable about video production software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have Windows Live Movie Maker, Windows Live DVD Maker, and Adobe Premiere Pro and Encore CS5 (part of CS5 Master Collection).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I tried Encore, it converted (or read as?) the video to 728x480 (3:2) on import even though the settings seem to show &quot;Don't Transcode&quot; and DVD Maker seemed to add a black border around the video regardless of what settings I had attempted (widescreen/fullscreen). Live Movie Maker was made to make the creation process easy, so its settings are rather lacking, and I understand that - it just happened to be what I had on hand. I unfortunately don't have a lot of experience with video products.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any suggestions on solutions to run the conversion? Points for fewer steps and ease-of-use, but with &quot;decent&quot; quality conversion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have no additional budget for this task.&lt;/p&gt;&#xA;" OwnerUserId="4172" LastEditorUserId="4172" LastEditDate="2013-06-05T19:08:48.307" LastActivityDate="2013-06-06T09:27:54.937" Title="Converting an MPG data file burned to disc to a burned &quot;video disc&quot; for set-top DVD players" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8053" PostTypeId="2" ParentId="8052" CreationDate="2013-06-05T19:27:58.703" Score="0" Body="&lt;p&gt;Encore should work fine for your purposes.  When you look at the original source, what is the resolution?  Is it still 728 by 480?  Most likely the original image is using oblong pixels to make a 16:9 image with a non 16:9 resolution.  This is fairly typical and is called Anamorphic Widescreen.  The 16:9 image is compressed to a 4:3 size (720 by 480 is a typical .9 pixel compressed NTSC 4:3 image.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When recording it to a DVD, you want to make sure that it is encoding it as an Anamorphic wide screen so that the DVD player that plays it back knows that it should scale it out to 16:9.  Your other option is to letterbox the original to a 4:3 size with black bars on the top and bottom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't have Encore in front of me at the moment, but if you can't find the setting for anamorphic widescreen, I can look it up when I get home and let you know.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-05T19:27:58.703" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8055" PostTypeId="1" AcceptedAnswerId="8062" CreationDate="2013-06-06T08:58:05.907" Score="2" ViewCount="168" Body="&lt;p&gt;I'm trying to make a videogame review video, with the help of a friend. I'd rather have each of us in different places, so that I can record our audio independently. But then I have a bigger problem : I need to record my screen AND stream it live to my friend at the same time ! Is it feasible ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I record using Fraps and I'm happy with it, and the stream doesn't have to be HD, just nice enough to see what is going on.&lt;/p&gt;&#xA;" OwnerUserId="4153" LastActivityDate="2013-06-06T13:51:46.423" Title="Record and stream what's on my screen" Tags="|streaming|video-game|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8056" PostTypeId="2" ParentId="8052" CreationDate="2013-06-06T09:27:54.937" Score="0" Body="&lt;p&gt;DVD video is actually MPEG video, packed in VOB format (with audio and subtitles). So you don't have to reencode your footage. Adobe Premiere Pro and Encore are high-end software programs, not for beginners. I recommend you to find more user-friendly software (like &lt;a href=&quot;http://vegasaur.com/ConvertXtoDVD&quot; rel=&quot;nofollow&quot;&gt;ConvertXtoDVD&lt;/a&gt; or similar). &lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2013-06-06T09:27:54.937" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8059" PostTypeId="1" CreationDate="2013-06-06T13:07:10.363" Score="2" ViewCount="823" Body="&lt;p&gt;I have a video with 640x480 resolution, which I want to import into premiere and add a MASK over specific areas which should not be visible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering what settings I should select when I start my project.&#xA;Additionally, wondering if there is a better way / program. Basically I want to have te final result with minimal loss of data from re-compression and minimal creation of artifacts etc..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My video has the following characteristics:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ID_VIDEO_ID=0&#xA;ID_DEMUXER=lavfpref&#xA;ID_VIDEO_FORMAT=avc1&#xA;ID_VIDEO_BITRATE=0&#xA;ID_VIDEO_WIDTH=640&#xA;ID_VIDEO_HEIGHT=480&#xA;ID_VIDEO_FPS=1001.000&#xA;ID_VIDEO_ASPECT=0.0000&#xA;ID_LENGTH=10970.24&#xA;ID_SEEKABLE=1&#xA;ID_CHAPTERS=0&#xA;ID_VIDEO_CODEC=ffh264&#xA;ID_VIDEO_ASPECT=1.3333&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The Media Information from VLC is the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/esCe0.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4175" LastActivityDate="2013-06-06T13:55:11.410" Title="Editing a 640x480 mp4 in premiere CS4" Tags="|premiere|compression|mp4|presets|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8060" PostTypeId="1" AcceptedAnswerId="8064" CreationDate="2013-06-06T13:15:47.450" Score="1" ViewCount="127" Body="&lt;p&gt;Basically is it possible to set the value of specific areas of pixels to black without re-encoding an MP4 video completely in an editor or application (Premiere, Ffmpeg, etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering if such a capability exist to work directly on the compressed data as opposed to having to decode and re-encode.&lt;/p&gt;&#xA;" OwnerUserId="4175" LastEditorUserId="4175" LastEditDate="2013-06-06T14:23:53.727" LastActivityDate="2013-06-06T14:23:53.727" Title="Blacking out specific pixels in MP4 without re-encoding" Tags="|video|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8061" PostTypeId="1" CreationDate="2013-06-06T13:18:46.700" Score="0" ViewCount="132" Body="&lt;p&gt;I'd like to make several online language courses, and was thinking about incorporating video into a lecture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was looking for a way to convert presentations (PowerPoint or OpenOffice) directly to some video format, or, indirectly, maybe through Adobe Flash format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right now I'm on a Ubuntu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe there is some kind of tool, like FFmpeg style?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you again!&lt;/p&gt;&#xA;" OwnerUserId="4176" LastActivityDate="2014-09-02T18:54:23.390" Title="Presentation to Video conversion" Tags="|video|conversion|presentation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8062" PostTypeId="2" ParentId="8055" CreationDate="2013-06-06T13:51:46.423" Score="1" Body="&lt;p&gt;It is unlikely that you will be able to do that.  To stream a high quality video over a home Internet connection is going to take a LOT of complex compression.  Compression is both memory, CPU and possibly GPU intensive and running a game is also CPU, memory and GPU intensive.  This is why the files that FRAPS produces are so massive.  They apply minimal compression to make sure that it doesn't have more of an impact on the game than necessary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you could do is play the game, record the video portion, compress it (possibly to a really low quality version so that you can stream it quickly), stream it and record both of your dialog, then mix the dialog back with the higher quality version of the video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-06T13:51:46.423" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8063" PostTypeId="2" ParentId="8059" CreationDate="2013-06-06T13:55:11.410" Score="1" Body="&lt;p&gt;A custom resolution of 640 by 480 with square pixels would work.  It's also worth noting that if you import the video and drag it on to a new sequence, Premiere should offer to automatically adjust the settings for the sequence for you.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-06T13:55:11.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8064" PostTypeId="2" ParentId="8060" CreationDate="2013-06-06T13:56:41.450" Score="1" Body="&lt;p&gt;No, it is not possible.  Mpeg-4 compression is based around storing information about patterns found within the video.  It doesn't deal with particular pixels.  Blacking out certain pixels alters the pattern and thus alters the way the video would compressed, potentially significantly.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-06T13:56:41.450" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8065" PostTypeId="2" ParentId="8061" CreationDate="2013-06-06T14:09:35.763" Score="1" Body="&lt;p&gt;What you are looking for is called a Screen Capture program or Screen Cast program.  A quick Google search turned up gtk-recordMyDesktop as an option that should work for your purposes and appears to be built in to Ubuntu.  &lt;a href=&quot;http://www.howtogeek.com/howto/24742/record-screen-activity-in-ubuntu-with-recordmydesktop/&quot;&gt;This&lt;/a&gt; was the site I found that explained more detail on how it is used.  I personally have no experience working with Ubuntu, let alone screen capture on it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-06T14:09:35.763" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8069" PostTypeId="1" CreationDate="2013-06-06T22:45:43.287" Score="4" ViewCount="6260" Body="&lt;p&gt;What do you recommended for capturing VHS for archiving on a HDD? Will DV PAL codec do? H264 at high quality? (I'm PAL over here btw). I want to retain the quality, but at the same time I don't want 60GB per hour...&lt;/p&gt;&#xA;" OwnerUserId="4021" LastActivityDate="2023-03-30T19:28:14.637" Title="What compression should I use for archiving VHS tapes to HDD?" Tags="|video|codec|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8070" PostTypeId="2" ParentId="8069" CreationDate="2013-06-07T00:06:55.927" Score="4" Body="&lt;p&gt;DV has a something of a focus on simplicity, so it can be encoded with primitive microprocessors and decoded quickly in an NLE. In particular, it's &lt;a href=&quot;http://en.wikipedia.org/wiki/Intraframe&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;em&gt;intra-frame&lt;/em&gt;&lt;/a&gt;: a DV file is basically an array of still-image files.&#xA;That's useful for professional editing; it means however DV can't achieve nearly as high compression ratios as more complicated formats with P- and even B-frames – space used to be not so much of an issue since magnetic tape fits quite astonishing amounts of data.&lt;/p&gt;&#xA;&lt;p&gt;So DV isn't really a great format for archiving, it takes up not 60 but easily 10 GB per hour. And that for SD quality, albeit with very little compression artifacts.&lt;/p&gt;&#xA;&lt;p&gt;h.264 is &lt;em&gt;much&lt;/em&gt; more space-efficient, and its higher computional cost isn't much of an issue now everybody has a fast, at least duo-core processor at hand. You can easily get VHS-like–quality files down to about 1 MB/s with h.264.&lt;/p&gt;&#xA;&lt;p&gt;It's pretty much the canonical format now. The main alternatives I'd suggest are free alternatives, mainly&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.theora.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Theora&lt;/a&gt;. Reasonably well-supported, simpler than h.264, not quite as that good as that- but still pretty ok compression-wise. And&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://diracvideo.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Dirac&lt;/a&gt;. Highly sophisticated, really good quality/compression, but computation-heavy and not supported by anything consumer-grade. Not too well by professional stuff either.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;This so far applies to pretty much any kind of video, not just VHS. All of these formats support PAL resolution; Theora doesn't have interlacing, but switching to progressive-scan prior to compression is no big deal and might in fact be a good idea anyway. Just make sure you use a good deinterlacing algorithm.&lt;/p&gt;&#xA;" OwnerUserId="1038" LastEditorUserId="1038" LastEditDate="2023-03-30T19:28:14.637" LastActivityDate="2023-03-30T19:28:14.637" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="8071" PostTypeId="2" ParentId="8069" CreationDate="2013-06-07T05:41:18.220" Score="1" Body="&lt;p&gt;For archiving VHS I suggest using MPEG2 720x576 as the best format in terms of quality/space. &#xA;DV is 12 GB per hour, but this is the best format for editing. H264 takes up much less space, but it is the delivery format, not for editing. MPEG2 is a compromise. In addition, you can burn them to DVD w/o reconverting.&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2013-06-07T05:41:18.220" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8072" PostTypeId="1" AcceptedAnswerId="8504" CreationDate="2013-06-07T14:27:17.560" Score="1" ViewCount="631" Body="&lt;p&gt;Null objects don't have volume controls, but I'd like to control many audio layers in my timeline at once. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone know of a way to adjust volume or toggle mute on a bunch of layers without having to precompose them?&lt;/p&gt;&#xA;" OwnerUserId="4183" LastActivityDate="2013-07-26T23:03:11.027" Title="Null object to toggle volume in After Effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8073" PostTypeId="1" CreationDate="2013-06-07T17:50:02.903" Score="1" ViewCount="1366" Body="&lt;p&gt;I have a client who gave me nothing but MTS files to use in After Effects. Basically it's HD slow motion photography, shot sideways, against a greenscreen, and all he wants to do is put one 1920 x 1080 composition up against another (they are rotated 90 degrees), have em move in the slow motion he shot them as, and fade out to another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's more of an effect, than a movie, so we're working completely in After Effects, no need to go back to any NLE. There's also no audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects WILL work with MTS, but it runs really slow and was going to take hours just to render out 10 seconds. So I suggested we find a way to compress them, while still keeping the quality. (Also the greenscreen needs to retain data to be keyed out)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried using Adobe Media Encoder to try out these formats. Note that the source MTS is 500MB, and 4 mins.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Quicktime PNG Codec (NO, LOSS QUALITY BAD) I forget the size, deleted it.&#xA;&#xA;Quicktime ProRes422 : (SEEMS QUALITY RETAINED, FILE SIZE TRIPLES THOUGH) 2GB&#xA;&#xA;Quicktime Animation (NO, LOST TOO MUCH QUALITY, ALL TILING AND PIXELATED) 5GB&#xA;&#xA;Quicktime Cinepak (NO, SO MUCH QUALITY LOSS THAT IT LOOKS LIKE A 256 GIF PAINTING NOW) 600MB&#xA;&#xA;Quicktime H.264 (NO, BLURRY QUALITY PIXELS) 37MB&#xA;&#xA;Quicktime TIFF Codec (NO, LOST TOO MUCH QUALITY, ALL TILING AND PIXELATED) 10-FRICKEN-GB&#xA;&#xA;Quicktime MPEG-4 VIDEO (NO, BLURRY QUALITY PIXELS, LOOKS LIKE H.264 RESULT) 28MB)&#xA;&#xA;Quicktime HDV1080p24 MPEG-2 (WE MIGHT HAVE A WINNER) 600MB&#xA;&#xA;TIFF SEQUENCE (Hasn't exported yet)&#xA;&#xA;FLV (Hasn't exported yet)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Yeah....so I'm not sure what to do here. Again, the final result, is a no-audio, 1920 x 1080...not sure frame rate, VLC says some crazy number like 46.3432, that retains quality and can be reliably keyed, and renders out the fastest that After Effects CS5 (or 5.5, don't remember, it's the clients) will allow, because my client needs to be able to compare compositions against each other and stuff.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks, I'm going crazy here!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I asked CC, but figured I'd get faster responses here.&lt;/p&gt;&#xA;" OwnerUserId="2169" LastEditorUserId="2169" LastEditDate="2013-06-07T18:02:30.210" LastActivityDate="2014-06-16T07:37:51.100" Title="Converting MTS for best use in After Effects?" Tags="|video|after-effects|file-formats|transcoding|avchd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8079" PostTypeId="2" ParentId="4663" CreationDate="2013-06-08T17:05:23.560" Score="2" Body="&lt;p&gt;If the overlay has transparency, you could use an Add strip instead. Then keyframe the Multiply setting for it going from 0.0 (invisible) to 1.0 (fully visible).&lt;/p&gt;&#xA;" OwnerUserId="4177" LastActivityDate="2013-06-08T17:05:23.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8084" PostTypeId="1" CreationDate="2013-06-09T03:56:58.377" Score="1" ViewCount="50" Body="&lt;p&gt;Here is my situation. I'm doing a series of lectures for a Udemy course and I need to show people how to boot into tails from a USB drive. Obviously while configuring the bios and when in the new O.S it is impossible to run a software screencast solution thus I need some form of hardware to frame grab. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've never done this before and I need some help to understand the basic concepts and what I should buy. I understand this question isn't quite in a stackexchange format thus at the very least if you could point me to a forum that could answer this question or a tutorial you think would be helpful, then I'd be very grateful&lt;/p&gt;&#xA;" OwnerUserId="4196" LastActivityDate="2013-06-09T08:47:10.297" Title="Hardware Screencasting Help" Tags="|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8085" PostTypeId="2" ParentId="8084" CreationDate="2013-06-09T08:47:10.297" Score="2" Body="&lt;p&gt;You can use a graphics card that has a HDMI output connector.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead of connecting it to a monitor/TV you can connect it to a camera or a VCR that has HDMI input. This way you should be able to record anything that is shown at the card.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2013-06-09T08:47:10.297" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8087" PostTypeId="1" CreationDate="2013-06-09T14:28:18.890" Score="2" ViewCount="108" Body="&lt;p&gt;I thought there would be 100 and 1 good solutions for this but so far I have not found something that could all of the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Create a DVD-player DVD&lt;/li&gt;&#xA;&lt;li&gt;Have a menu with options&lt;/li&gt;&#xA;&lt;li&gt;Have images &amp;amp; Video&lt;/li&gt;&#xA;&lt;li&gt;prefrably handle .mod&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Basically I am trying to put a bunch of photos and videos from our wedding &amp;amp; honeymoon on and older-relative friendly DVD. So it must be able to be playable in a normal dvd player so therefore it must be able to show a menu with categories.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone got good recommendations for this? Everything I come across is either a completely generic menu or frankly broken!&lt;/p&gt;&#xA;" OwnerUserId="4199" LastActivityDate="2013-06-10T14:14:07.867" Title="Best Program for combining Images and Videos onto a DVD with menu" Tags="|video|digital-recording|photos|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8088" PostTypeId="2" ParentId="8087" CreationDate="2013-06-09T16:26:08.847" Score="0" Body="&lt;p&gt;Take a look at &lt;a href=&quot;http://vegasaur.com/SonyCreativeSoftware&quot; rel=&quot;nofollow&quot;&gt;Movie Studio Platinum 12&lt;/a&gt; (or DVD Architect Studio w/o video editor)&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2013-06-09T16:26:08.847" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8089" PostTypeId="1" CreationDate="2013-06-10T01:48:58.177" Score="2" ViewCount="4964" Body="&lt;p&gt;In versions of After Effects prior to CS5, there are opacity map presets such as Fade In, Fade Out, Constant, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can see Opacity Map under Particle in the CS6 CC Particle World, but how do I get the presets?&lt;/p&gt;&#xA;" OwnerUserId="4201" LastActivityDate="2022-02-17T13:46:26.003" Title="Where are the opacity map presets for CC Particle World in CS5 and CS6?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8092" PostTypeId="1" AcceptedAnswerId="8094" CreationDate="2013-06-10T14:08:46.420" Score="0" ViewCount="8443" Body="&lt;p&gt;I am having a challenge with Premiere Pro 6. Every time I open a project I get a little progress bar in the lower right hand corner of the window that says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Generating Peak File...&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This can take a fair amount of time with a lengthy project. Is this normal? I have see comments on Adobe forums about issues with this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another possibly related issue is the project getting corrupted. Before I noticed this I tried making some changes while PP6 was Generating and ending up getting the dreaded project corruption message...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With that as background, is the Generating Peak File normal? What can I do about it and do I just need to be careful while it is going on not to make any changes?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="1149" LastActivityDate="2013-06-10T14:17:24.243" Title="Why does Premiere Pro 6 Generate Peak Files?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8093" PostTypeId="2" ParentId="8087" CreationDate="2013-06-10T14:14:07.867" Score="1" Body="&lt;p&gt;Adobe Encore can do what you are looking for.  It is included with Adobe Premiere.  You can either buy a copy of CS6 or if you only need it for the one project, you can use Creative Cloud to obtain it for just a month or two.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general, you will find most DVD authoring software comes in fairly expensive packages.  It's not as easy as you would think to do and not a lot of software does it.  The options now are cheap in comparison to how much it used to cost.  When I first did DVD authoring, it cost $2500 to get DVD authoring software that crashed every 15 minutes or so.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-10T14:14:07.867" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8094" PostTypeId="2" ParentId="8092" CreationDate="2013-06-10T14:17:24.243" Score="1" Body="&lt;p&gt;Peak file creation as well as creating alternate forms of various assets is perfectly normal background behavior for Premiere.  When you load new assets into a project, Premiere automatically starts a number of background processes to analyze the clip and make it easier for Premiere to do its job smoothly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This should not cause any trouble and should not be a concern to you.  It is just the program functioning as it should.  It shouldn't cause any problems if you start working with it prior to completion of the work, but some functions may work more slowly or provide incomplete information while the processes are still going on.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-10T14:17:24.243" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8106" PostTypeId="1" CreationDate="2013-06-11T06:15:52.220" Score="7" ViewCount="9866" Body="&lt;p&gt;I need to trim videos with a precise end frame, however, &lt;code&gt;ffmpeg&lt;/code&gt; seems to cut the video at the nearest first key-frame. So I don't have enough control over the ending frame.&#xA;I try to insert key-frame before trimming, but it doesn't work.&#xA;These are my command lines:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;lt;sVideoFilename&amp;gt; -force_key_frames 00:00:1:520 -vcodec wmv1 -acodec wmav2 -q:a 0 -q:v 0 &amp;lt;sVideoFilenamekf&amp;gt;&#xA;&#xA;ffmpeg -i &amp;lt;sVideoFilenamekf&amp;gt; -ss 00:00:1:520 -to 00:00:3:640 -vcodec wmv1 -acodec wmav2 -q:v 0 -q:a 10 -r 30 &amp;lt;sVideoFilenameTrimmed&amp;gt;*&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What's wrong with my command line ?&#xA;Thanks for your answer&lt;/p&gt;&#xA;" OwnerUserId="4213" LastEditorUserId="2836" LastEditDate="2013-06-12T13:27:24.630" LastActivityDate="2017-01-01T15:41:45.830" Title="How to trim a video with frame precision using ffmpeg?" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8113" PostTypeId="2" ParentId="8106" CreationDate="2013-06-11T13:43:16.067" Score="2" Body="&lt;p&gt;You seem to have a fundamental misunderstanding of how video works.  Video is composed of frames.  You can't have millisecond precision because video doesn't have millisecond precision.  If there are 30 frames per second in the video, you can only stop after one of those frames.  That means your options are only every 1/30th of a second roughly.&#xA;If the format is group of pictures based it may be limited when it can end as well depending on the formats ability to end a group of pictures early. (A group of pictures is used in formats where some frames are stored as changes from other related frames rather than full images.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are you trying to accomplish that you need this precision for?  Perhaps there may be an alternate way to accomplish your goal.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2017-01-01T15:41:45.830" LastActivityDate="2017-01-01T15:41:45.830" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="8114" PostTypeId="1" AcceptedAnswerId="8115" CreationDate="2013-06-11T14:48:58.837" Score="2" ViewCount="221" Body="&lt;p&gt;I have a clip made of a sequence of .png images, which I import to premiere. When I create a new sequence with different dimensions from that of the clip, add the clip to it and export it as a .wmv file, I see a lot of aliasing. However, when I make a sequence out of the clip (using the &quot;New sequence from clip&quot; option) and export it to a .wmv file, everything works great, even if I scale the clip in the sequence. In what lies the difference? The two sequences's settings only differ in their dimension.&lt;/p&gt;&#xA;" OwnerUserId="4127" LastActivityDate="2013-06-11T15:55:40.197" Title="Premiere export to WMV causes aliasing" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8115" PostTypeId="2" ParentId="8114" CreationDate="2013-06-11T15:55:40.197" Score="2" Body="&lt;p&gt;OK, found out the problem: the sequence's interlacing option was turned on, while I was exporting without interlacing.&lt;/p&gt;&#xA;" OwnerUserId="4127" LastActivityDate="2013-06-11T15:55:40.197" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8119" PostTypeId="1" CreationDate="2013-06-12T16:34:07.120" Score="2" ViewCount="3129" Body="&lt;p&gt;I have a live multi-program MPEG-TS stream [MPTS] over IP, I'd like to select just one program from the stream, and output a single-program MPEG-TS stream containing just that program.&#xA;is there any software, either open-source or for sale that can do that?&lt;/p&gt;&#xA;" OwnerUserId="4218" LastActivityDate="2014-07-08T13:48:29.563" Title="How to demux MPTS to SPS" Tags="|streaming|ffmpeg|mpeg|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8120" PostTypeId="2" ParentId="8119" CreationDate="2013-06-13T04:40:43.260" Score="1" Body="&lt;p&gt;Adobe Media Server appears to support the functionality you are looking for.  There is a free starter edition or the Extended or Professional editions also support live stream splitting.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-13T04:40:43.260" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="8121" PostTypeId="1" AcceptedAnswerId="8122" CreationDate="2013-06-13T14:11:23.983" Score="3" ViewCount="6252" Body="&lt;p&gt;I purchased Canon 600D Few days ago. I am very new to the kind of photography and Videography .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I generally use my camera for taking pictures in auto mode .But yesterday I was in the party I shoot some good video which is important to me . When I was previewing that video in my camera it was good but when I import that to my system . It was very choppy I played in almost every video player . (. mov) This file works great on my iPod Touch .I read somewhere I have to convert the file so I use some simple convertor in Ubuntu . But I get poor quality video in .avi format. In short&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I just want to know 3 things here :&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;1) Is it nessecary to Convert video which I shoot from my T3i .&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;2) How do I convert video simply without losing its HD quality.(Which&#xA;       format is good for HD videos&lt;/strong&gt;)&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;&gt; 3) I am using Sandisk Extreme 4 GB card it is Getting full in 10 min&#xA;  in 1920*1080p 24fps.Why it is taking too much space&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="4220" OwnerDisplayName="Gaurav_Java" LastActivityDate="2013-06-13T14:42:26.933" Title="Canon 600D/ T3i Video Output and Converting?" Tags="|canon|video|software-recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8122" PostTypeId="2" ParentId="8121" CreationDate="2013-06-13T14:33:20.827" Score="4" Body="&lt;p&gt;The default video files made by most Canon DSLRs is an H264 video file in an MOV container.  Decoding high definition video at the data rates that most Canon cameras use is intensive for both memory, disk and CPU unless you have a dedicated decoder chip.  Your iPod Touch uses flash storage (which is fast) and has H264 decoding capability to make it run smoothly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand, a lower end desktop in particular is going to have slow hard drives and may not have sufficient power to decode the file on the fly, thus resulting in lag during playback.  Based on the quality level you describe, data retrieval from disk is most likely the problem you are experiencing.  So now with some groundwork set, lets move on to your direct questions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) It isn't necessary to convert video you shoot from your T3i.  It's a standard format and will play or be editable on any system capable of playing it.  If you are having issues with the H264 playback lagging on a particular system, you can try converting it to a lower data rate or less CPU/Memory intensive compression. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either of these options might make the issue worse if you go in the wrong direction (for example, most algorithms that are less CPU intense take more space and vice versa, so if you were CPU limited and you use a higher compression, it might be more jumpy).  You can also simply sacrifice quality to make it play faster and take less space, but this isn't really ideal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Any good transcoder can do the job.  The files that come off the camera are generally pretty high quality and thus should transcode well.  Your choice of encoder depends a lot on the platform you are on.  FFMPEG(MPEG based formats, including H264) isn't that user friendly, but is freely available and works cross platform.  Other options include the free Windows Media Encoder(WMV) on Windows, Quicktime(several formats) on Mac or Windows, Adobe Media Encoder(numerous formats) on Mac or Windows or Microsoft Expression Encoder(WMV).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The basic key for quality conversion is to keep the native resolution (number of pixels) in the video and use a high enough data rate to support the quality.  VBR 2 pass is better than VBR 1 pass which is generally better than Constant Bit Rate, but each takes more time than the latter to encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Video is BIG.  Really, REALLY, BIG.  Since the camera needs to record fast, fairly limited compression is used.  It sounds like you are probably using All I frame video which is fairly high data rate video.  Keep in mind that you are effectively storing 24 pictures every second, continuously.  If it was truly uncompressed, it would go even faster.  RAW, uncompressed HD video produces 261 megabytes of information PER SECOND! (14 bits per color, 3 colors, 1920 x 1080 pixels per picture, 24 pictures a second.)  Makes 10 minutes on a 4GB card sound a lot better doesn't it?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't need as high of a quality, you can use IBP frame video which will drastically reduce (about 1/5 to 1/6 the size) the amount of space required though it also drops the quality of the video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-06-13T14:42:26.933" LastActivityDate="2013-06-13T14:42:26.933" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="8123" PostTypeId="1" CreationDate="2013-06-14T08:57:09.507" Score="1" ViewCount="102" Body="&lt;p&gt;I am trying to record some video of an iPad with a Canon 60D. The camera is mounted on a tripod about 100cm above the iPad. Everything next to the iPad is sharp, but the display itself seems a little fuzzy. I can't seem to focus the lens so that the icons are sharp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does this have to do with the image repeat rate? I tried a 35mm 2.0 prime lens but that did not help. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I take a picture with the same setup everything is sharp as can be, but as soon as I go into video mode it becomes fuzzy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any ideas on how I can get the icons and what is on the screen sharp?&lt;/p&gt;&#xA;" OwnerUserId="4483" OwnerDisplayName="Casper" LastEditorUserId="17390" LastEditDate="2018-09-13T15:22:44.400" LastActivityDate="2018-09-13T15:22:44.400" Title="Recording Video of iPad" Tags="|ipad|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="8125" PostTypeId="2" ParentId="8123" CreationDate="2013-06-14T13:37:09.320" Score="1" Body="&lt;p&gt;You have two things going on here, both related.  The first is that the native resolution of the display you are filming is higher than the format you are capturing in.  You are immediately losing 1/3 of the image information on the iPad.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is further compounded however by the natural anti-aliasing that filming a screen at similar or lower resolution produces.  Since the pixels of your camera don't line up with the pixels on the display exactly, each pixel of the camera's video file is going to have contributions from multiple distinct pixels on the display (as many as 4).  While the resolution of the video may be near 2mp, it is going to get information slightly blurred together as pixels become less sharp from this blending.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This isn't an issue when you are using much higher resolution because the amount of pixels in your image that are covering multiple pixels of the display are minimal and the majority of each pixel is sharply exposed, but in the case of a video that is 1/3 smaller, as many as 9 pixels on the display may be getting blended for each pixel in the final video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The ideal way to overcome this is either shoot in a substantially higher resolution or use a direct output from the iPad that will preserve pixel alignment.  I believe there is an HDMI mirroring option and you could then capture the HDMI feed with an HDMI capture card unless they are using HDCP on the HDMI output.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-14T13:37:09.320" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8127" PostTypeId="1" CreationDate="2013-06-14T14:57:59.847" Score="5" ViewCount="2383" Body="&lt;p&gt;I'm trying to add a light to a scene that has black text on a white background. My goal is to keep the light in position and slide in the text. As the text slides, part of the text will be less black because of the light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've added a light and positioned it correctly. I've also made sure my text is 3D-enabled and has &quot;accepts lights&quot; on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem I'm having is that no matter how I position the light or tweak the material options, I can't figure out what to do so that the &lt;em&gt;surface&lt;/em&gt; of the text changes intensity with the light that's being cast. The text will cast shadows (when turned on), but the surface won't change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What do I need to do to get the surface of the text to change color (to grey or white) based on the light source?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Here's what it looks like:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ooHGz.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/BZTvb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3661" LastActivityDate="2014-04-21T01:05:08.813" Title="How to make black text accept light in After Effects" Tags="|after-effects|post-production|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8128" PostTypeId="1" CreationDate="2013-06-14T18:01:48.207" Score="1" ViewCount="32" Body="&lt;p&gt;Anybody knows how or where I can see tutorials about Videomapping? I searched a lot. Truthly, I found lots of info about Madmapper, Modul8, etc..., but I am looking for something fully awesoe, like real practical examples, how I build the scaled video and how I can play all that stuff (more than a simple loop) into projection.&#xA;Thanks to all.&lt;/p&gt;&#xA;" OwnerUserId="4225" LastActivityDate="2013-06-14T18:01:48.207" Title="Videomapping tutorials" Tags="|video|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8129" PostTypeId="2" ParentId="8127" CreationDate="2013-06-14T22:46:10.837" Score="4" Body="&lt;p&gt;Adjust Metal to 0% and Specular Shininess to taste in the material options of the text layer.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-14T22:46:10.837" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8130" PostTypeId="1" CreationDate="2013-06-15T13:44:27.803" Score="1" ViewCount="9149" Body="&lt;p&gt;Is there a way to apply the same effects across multiple video tracks?&lt;/p&gt;&#xA;" OwnerUserId="643" LastActivityDate="2016-10-29T01:43:54.707" Title="Apply effects to multiple video channels in Sony Vegas" Tags="|vegas-pro|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8133" PostTypeId="1" CreationDate="2013-06-16T04:28:03.443" Score="9" ViewCount="103505" Body="&lt;p&gt;I am attempting to edit video in Adobe Premiere CS6. When I create a sequence and try to play it back in the preview screen, the video is extremely choppy, which makes editing very difficult (dance videos, i.e. trying to sync with music properly). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After some searching, two things seem to work for others - either changing playback quality to 1/4 or 1/2, or rendering the work area before playback. The former seems to have no effect, although the latter (rendering) does create smooth video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, when the render finishes, the video is now playing in super slow motion, and is therefore completely out of sync with the music. Any ideas on how to fix this?&lt;/p&gt;&#xA;" OwnerUserId="4230" LastEditorUserId="2261" LastEditDate="2013-06-16T12:19:27.867" LastActivityDate="2016-11-30T17:48:30.930" Title="Adobe Premiere preview video lagging" Tags="|video|video-editor|premiere|preview|" AnswerCount="6" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="8137" PostTypeId="1" AcceptedAnswerId="8139" CreationDate="2013-06-16T19:00:38.920" Score="3" ViewCount="10119" Body="&lt;p&gt;I was considering buying an IPS LCD monitor (&lt;a href=&quot;http://www.newegg.com/Product/Product.aspx?Item=24-005-364&quot; rel=&quot;nofollow&quot;&gt;this one&lt;/a&gt;; though &lt;strong&gt;the question is generic&lt;/strong&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It lists the response time of 14ms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How do I judge if that is enough?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am slightly concerned since some of NewEgg reviews for that monitor mention issues with playback of movies, but I'm not sure if their attributing the problems to the response time is the correct call. Researching online (TomsHardware forums, Yahoo answers, some other forums) keeps giving contradictory answers, some say don't go above 5ms, some say 14 is enough unless you do FPS sensitive high end games.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The intended usages of the monitor include light fare (productivity, web browsing, Youtube, some light gaming where FPS isn't an issue; and - what seems to be the most taxing to me LCD wise - watching movies encoded as DivX or MP4, with resolutions between 720p and 1080p).&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Is there danger with ghosting or any other image issues due to 14ms response time given such usage patterns?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;What other things may need to be considered that would either mitigate or exacerbate the response time?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;A second sub-question is whether this response time will become a serious problem if the user of LCD becomes interested in some light video editing (it's a child, so nothing professional).&lt;/p&gt;&#xA;" OwnerUserId="3521" LastActivityDate="2013-06-17T15:03:34.107" Title="How do I decide if 14ms response time in IPS LCD monitor enough?" Tags="|monitors|performance|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8138" PostTypeId="1" CreationDate="2013-06-16T21:45:07.560" Score="0" ViewCount="89" Body="&lt;p&gt;I'm learning After Effects from scratch so sorry if this is obvious but whenever I try to make one part of an image 'glitch' I create a section of the image and place it in the middle but when I press play my desired glitch (JPG noise) does appear but black pixels appear outside the selected area of the image, anyone got any idea how I can stop this??&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you &lt;/p&gt;&#xA;" OwnerUserId="4234" LastActivityDate="2013-07-26T23:06:13.930" Title="Glitch effect won't work" Tags="|video-editor|after-effects|special-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8139" PostTypeId="2" ParentId="8137" CreationDate="2013-06-17T15:03:34.107" Score="3" Body="&lt;p&gt;At 14ms, you can still get an effective 71 frames per second.  It should be fine for working with video.  The frames might not show up exactly at the start of their time interval, but it still should be ok.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Faster response is still better, but it isn't going to be critical for anything other than really high frame rate gaming.  5ms is very VERY fast for a high end screen.  Cheap screens go faster because they use simple techniques that are fast and cheap but produce (greatly) inferior image quality.  Better screens like IPS and PVA are by nature slower and the last time I was seriously in the market (which was a couple years ago), 6 to 8ms was considered fast for an IPS or PVA.  sub-5 is completely unnecessary.  14ms is probably on the slower end, but should still be fine.  Even 20ms would likely be ok, though it might start getting more noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as if ghosting would be an issue, at 71 refreshes per second, a frame won't be able to off by more than 1/3 or so of a frame.  That's 1/90th or so of a second, so would be pretty minor.  It might make for a slight stutter, but isn't that likely to be noticeable.  I think most of the arguments against it come from the faster is better mantra and the twitch reflex crowd.  You might or might not be able to notice the difference, but it shouldn't be a significant problem and I'd personally much rather have a good quality display with a slower refresh than a display I can only view from one exact angle and even then have color differences from the angle of one eye to the other, but have &quot;crisp&quot; frame rendering.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-17T15:03:34.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8140" PostTypeId="1" CreationDate="2013-06-17T18:56:57.903" Score="3" ViewCount="133" Body="&lt;p&gt;I am looking to invest in a weatherproof outdoor camera with audio, if possible, to &lt;strong&gt;LIVE&lt;/strong&gt; (or at least within the past hour) stream some wildlife. I am looking for advice on what type of camera would be a good buy for rugged use. Night vision would be a great addition. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit: more info...&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will be a permanent install, or at least 6 to 8 months out of the year. 100 degrees F to -20 degrees F temp swings throughout the year. Will be exposed to wind and snow, but not too much rain. Power will come from hardwire or solar. The camera will be wired to the power and computer about 100' away. I'd also like a 120 degree view or so... something that could show a lot within 5 to 8 feet of something.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT::: I got a $30 cam off Amazon and am running it though a 100' cable with power. It runs into my computer with a KWorld usb connector. It is ok... I haven't found a great source for the streaming yet... iSpy was ok, but wasn't always working. I have it up on UStream now, but quality is not up to the 720 setting. &lt;a href=&quot;http://www.ustream.tv/channel/chicken-run-cam&quot; rel=&quot;nofollow&quot;&gt;http://www.ustream.tv/channel/chicken-run-cam&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll keep at it. &lt;/p&gt;&#xA;" OwnerUserId="4236" LastEditorUserId="4236" LastEditDate="2013-12-07T17:15:37.393" LastActivityDate="2013-12-07T17:15:37.393" Title="Advice on Weatherproof HD Camera for Streaming Video / Audio" Tags="|camcorder|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8141" PostTypeId="2" ParentId="8140" CreationDate="2013-06-17T22:51:26.333" Score="1" Body="&lt;p&gt;I've been looking for something similar but haven't found the perfect solution yet.  If you can live without it streaming in real time, I've heard good things about the Bushnell Trophy Cam series.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://bushnell.com/all-products/trail-cameras/trophy-cam&quot; rel=&quot;nofollow&quot;&gt;http://bushnell.com/all-products/trail-cameras/trophy-cam&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1079" LastActivityDate="2013-06-17T22:51:26.333" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8144" PostTypeId="2" ParentId="8133" CreationDate="2013-06-18T02:03:44.570" Score="3" Body="&lt;p&gt;It sounds like a combination of two things from the comments discussion.  First, with the very high frame rate, your laptop simply can not handle the high data rate.  If you need to edit on the laptop, I would suggest re-compressing the video down to a smaller size and then when you are done, you can replace the low quality footage with the original for the final output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second problem is that it appears Premiere is interpreting the footage wrong.  There is an  Interpret Footage option if you right click on the clip and go to Modify, Interpret Footage.  You can confirm the frame rate is correct on the source.  If it is, then you also want to check the framerate on the sequence itself.  Right click on the sequence, choose Sequence Settings and verify that the frame rate is correct there as well.  If both of those are correct and you are still getting the issues, then I am unsure what could be happening.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-18T02:03:44.570" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8146" PostTypeId="1" AcceptedAnswerId="8147" CreationDate="2013-06-18T12:25:26.953" Score="1" ViewCount="1759" Body="&lt;p&gt;I want to take two video sources:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A screencast of a PowerPoint presentation&lt;/li&gt;&#xA;&lt;li&gt;A camcorder AVCHD recording of the presenter and the conference room&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;..and create a video in the style of Apple's Keynote videos. See here for exactly what I'm looking for:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://i.i.com.com/cnwk.1d/i/tim/2012/06/12/apple-wwdc-video.jpg&quot; rel=&quot;nofollow&quot;&gt;http://i.i.com.com/cnwk.1d/i/tim/2012/06/12/apple-wwdc-video.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video feed of the PowerPoint itself would take up the majority of the screen and the video recording of the room/speaker would take up another, smaller, separate area of the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd appreciate any advice on:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;What software can create this dual video effect?&lt;/li&gt;&#xA;&lt;li&gt;What method/software would you recommend for creating the screencast?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Thanks for your time.&lt;/p&gt;&#xA;" OwnerUserId="4240" LastActivityDate="2013-11-06T10:02:57.077" Title="How to create Apple Keynote style Picture in Picture video" Tags="|video|editing|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8147" PostTypeId="2" ParentId="8146" CreationDate="2013-06-18T13:18:24.180" Score="1" Body="&lt;p&gt;Any fairly basic video editing package should be able to closely emulate the look.  You just have to be able to distort the video to make it fit the shape that looks like it is 3d and then size and position the speaker's video appropriately.  I'd personally probably do it in After Effects with a 3d layer for simplicity, but most far cheaper consumer video editing packages should be able to do basic deformations to get the same look.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-18T13:18:24.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8150" PostTypeId="2" ParentId="7845" CreationDate="2013-06-18T14:25:29.683" Score="0" Body="&lt;p&gt;It seems that this may have just been that the burning software in Encore doesn't work well with my burner.  Since burning a folder itself with Nero worked, this seems to be the only logical conclusion.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-18T14:25:29.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8153" PostTypeId="1" CreationDate="2013-06-18T16:55:04.223" Score="4" ViewCount="17112" Body="&lt;p&gt;I have a 2.5 hour corporate event that I edited in Premiere Pro. There are AE clips, sound, imported video, the works. When I run it out to AME, the source resolution is 1440x1080 and I am downsampling to 640x480 for delivery on Vimeo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The thing is... Media Encoder is teling me that it is going to take 20 hours to render this video. Why would it take that long? I rendered last night at full resolution, it took 8 hours and produced a 27 gig MP4. I have run out video this size (previous events) with way less of a time investment. Clearly I am doing something wrong! My newbie-ness is showing something bad here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am on a Mac Pro, 2 x 2.4 GHz Quad-Core Inel Xenon tower with 22 GB of RAM running OS 10.8.4 and the Adobe Master Suite 6.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you make a suggestion, or maybe point me at a tutorial on render settings? I thought I had everything set right, but this is crazy! &lt;/p&gt;&#xA;" OwnerUserId="4242" LastActivityDate="2016-11-12T05:21:48.890" Title="Why is Adobe Media Encoder so slow?" Tags="|video|encoding|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8154" PostTypeId="2" ParentId="8153" CreationDate="2013-06-18T17:24:48.767" Score="3" Body="&lt;p&gt;10 times the length does sound pretty long, but isn't completely insane, particularly if you are running two pass.  The more compression you are trying to do while maintaining quality, the longer it is going to take to compress it down.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's also possible that if you are using nested projects, it may still be trying to do some rendering at the native resolution of the output for it.  Are you running the MP4 or the project through encoder?  If you have a full res MP4, I would suggest trying to run it directly instead of running the project.  The quality will likely be lower, but it should run a lot faster.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-18T17:24:48.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8155" PostTypeId="5" CreationDate="2013-06-18T20:35:10.690" Score="0" Body="&lt;p&gt;A bass guitar resembles a typical electric guitar with a fretboard and pickups, however they commonly only have four strings. The standard tuning of a four string bass guitar is the same as the four lowest strings of an electric guitar, albeit one octave lower (&lt;code&gt;E1 A1 D2 G2&lt;/code&gt; versus &lt;code&gt;E2 A2 D3 G3&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Questions in this tag should reference the bass guitar as a means of music production, not as a means of learning how to play one.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;See also:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&quot;&lt;a href=&quot;http://en.wikipedia.org/wiki/Bass_guitar&quot; rel=&quot;nofollow&quot;&gt;Bass guitar&lt;/a&gt;&quot; on Wikipedia&lt;/li&gt;&#xA;&lt;li&gt;&quot;&lt;a href=&quot;http://en.wikipedia.org/wiki/Bass_guitar_tuning&quot; rel=&quot;nofollow&quot;&gt;Bass guitar tuning&lt;/a&gt;&quot; on Wikipedia&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2391" LastEditorUserId="2391" LastEditDate="2013-06-18T22:26:02.033" LastActivityDate="2013-06-18T22:26:02.033" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8156" PostTypeId="4" CreationDate="2013-06-18T20:35:10.690" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2013-06-18T20:35:10.690" LastActivityDate="2013-06-18T20:35:10.690" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8158" PostTypeId="2" ParentId="8130" CreationDate="2013-06-18T21:30:24.103" Score="1" Body="&lt;p&gt;U P D A T E:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have located a script that suggests it can &quot;apply the same effects across multiple video tracks&quot; here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://mmdv.com/vegastips/index.php?title=Scripts&quot; rel=&quot;nofollow&quot;&gt;http://mmdv.com/vegastips/index.php?title=Scripts&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Under &quot;Beginners Scripts&quot; is this one:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AddEffectToAllMedia demonstrates how you can add an effect to all media files in the project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will need to download &quot;Media:Beginner Scripts.zip&quot; and unzip then install this script in Vegas as shown here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.sonycreativesoftware.com/scripting_in_vegas_pro_and_sound_forge&quot; rel=&quot;nofollow&quot;&gt;http://www.sonycreativesoftware.com/scripting_in_vegas_pro_and_sound_forge&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Scripting became available with Vegas Pro 4)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-------------------- old but may have some other value ---------------------&#xA;I have considerable experience with Vegas Pro and generally there is no button to push that will apply the same effect to multiple clips. I generally apply effects individually to each clip and move on to the next one. But here's something you might like to know. If for instance you apply an effect and you change its default values as in tweak it a bit you can save this new effect by the following.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming I had a special blend of brightness and contrast, I would type in a new unique name, lets say &quot;brightness -10, contrast +25&quot; and then hit the save button next to the line, this button looks like the standard save icon (an old floppy). You won't see this effect show up in this effects group until you navigate to another effects group and then come back to it (a manual refresh if you will). This way you can at least apply the same effect without tweaking it each time over multiple clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally if you are good at scripting you might investigate if there is a script available to apply an effect to multiple clips by addressing this to the sony vegas forum at creative cow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I generally don't want to apply all the same effects to each clip as each clip may need a tweak one way or another as I need to pay attention to all the effect details.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2013-07-09T23:43:22.523" LastActivityDate="2013-07-09T23:43:22.523" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8159" PostTypeId="1" CreationDate="2013-06-19T03:35:59.413" Score="3" ViewCount="2267" Body="&lt;p&gt;I've got some moderately large, compressed video files (~2+ gigs, over an hour long) from a few Open Broadcaster Software streams to Twitch.tv. All output files (including the twitch archive's export) have the dreaded gradual audio desync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have assorted tools to play with audio, but all of them seem to be failing me. Camtassia Studio barely loads the files (sometimes it just plain doesn't), and since the desync is gradual, Camtasia can't really help since I can only shift ALL audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used to be able to fix a similar desync problem in Virtual Dub, which would change the &quot;framerate&quot; or some equivalent timing of the video or audio to make them match up in timing, I did this with small 10 minute AVI files and it worked like a charm. But Virtual Dub doesn't support mp4s with h264, and even after adding a plugin to give VDub support for them it crashes when I load the files in Virtual Dub.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any moderately easy way to correct this audio sync? I have about 6 video files to work with, all over an hour long, so manually adjusting timing with millisecond precision just isn't practical. I have Camtasia Studio and access to any free software for x64/32 bit windows and I'm willing to buy software to fix this as well, I just have no idea what I'm looking for to make this really work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I fix gradually desynced audio in large video files?&lt;/p&gt;&#xA;" OwnerUserId="2210" LastActivityDate="2014-06-11T22:05:44.120" Title="Fixing desync in a large, long video file" Tags="|video|audio|editing|sync|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8160" PostTypeId="2" ParentId="8159" CreationDate="2013-06-19T11:04:14.703" Score="3" Body="&lt;p&gt;I have no idea if this is optimal for you, but one approach using free software would be to first determine the percentage (and direction) of drift by finding a point near the end where you can tell with some precision what the sync error is, in frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Demux the video and audio into separate streams, using a free tool like AVI-Mux. Load the audio into Audacity, and apply the time shift determined above, either as a &quot;new length&quot; or a ratio (frame error / total frames).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Export the audio and remux using the new track. &lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-06-19T11:04:14.703" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8162" PostTypeId="1" AcceptedAnswerId="8177" CreationDate="2013-06-20T13:24:40.520" Score="1" ViewCount="350" Body="&lt;p&gt;I'm trying to put together a library of 'clips' and/or 'effects' to use in some upcoming training videos I am developing. Is there a 'best practices' that includes making each effect into a composition? Or are 'best practices' usually individually developed and there really isn't any such thing for After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My effects are things like:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;templated layouts&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Specific lower thirds fonts and colors&lt;/li&gt;&#xA;&lt;li&gt;outlines that draw themselves&lt;/li&gt;&#xA;&lt;li&gt;text blocks that swoop in and settle that can have their text updated per video&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;color palettes or swatches&lt;/li&gt;&#xA;&lt;li&gt;intro videos&lt;/li&gt;&#xA;&lt;li&gt;etc.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I am trying to reduce repetition. I could create these effects each video, but I would like to create an effect ( i.e., text block swooping in at angle x and changing color at arrival ) and then replace JUST the text each video so that the effect becomes something the viewer recognizes as part of my training series.&lt;/p&gt;&#xA;" OwnerUserId="4248" OwnerDisplayName="randomblink" LastEditorUserId="4248" LastEditDate="2013-06-21T19:10:00.173" LastActivityDate="2013-06-21T19:10:00.173" Title="After Effects CS6 : Template Compositions" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8172" PostTypeId="1" CreationDate="2013-06-20T18:56:33.023" Score="0" ViewCount="588" Body="&lt;p&gt;So I'm downloading a placeholder video FLV comp from iStockphoto.com (right click, save-link as under any video preview). When adding the downloaded FLV to AE, it comes up with an import error, saying that it is damaged or unsupported.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It plays fine in VLC, so using VLC, I convert/save it to other formats, but it still will not play in After Effects. Closest I've come is by converting to MP4, which at least imports into After Effects, but shows the flat error green screen instead of the actual footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone know how I can import an iStock comp into AE?&lt;/p&gt;&#xA;" OwnerUserId="4183" LastActivityDate="2015-01-23T22:47:39.283" Title="Issues importing iStock comps into After Effects" Tags="|after-effects|file-formats|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8174" PostTypeId="2" ParentId="7388" CreationDate="2013-06-20T19:18:58.927" Score="1" Body="&lt;p&gt;After Effects CC comes with &lt;a href=&quot;http://tv.adobe.com/watch/learn-after-effects-cc/introduction-to-cinema-4d-lite/&quot; rel=&quot;nofollow&quot;&gt;Cinema 4D Lite&lt;/a&gt;, so if you're on the Adobe cloud, you're in luck. (CC is the successor to CS6 and was released this week)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are many other programs that can accomplish this, (see other answers), but you'll need particular expertise in 3D and compositing (match moving) to accomplish it. There are tutorials floating around the net, but they are program specific... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also build something in After Effects 3D layers, but I wouldn't recommend it unless it is really simple boxes/planes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're new to 3D, I'd suggest getting into Cinema 4D Lite as it looks like there is a lot of effort by the Maxon and Adobe teams making the match-moving and import processes really easy. &lt;/p&gt;&#xA;" OwnerUserId="4183" LastActivityDate="2013-06-20T19:18:58.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8175" PostTypeId="1" CreationDate="2013-06-20T20:35:54.207" Score="2" ViewCount="137" Body="&lt;p&gt;I am working on a project on human-robot interaction that involves me capturing videos of two humans working on a task together. Eventually, I will analyze the videos and try to model how these humans are working together. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to capture their teamwork effectively, I set up three cameras at multiple angles (one at the starting location of the task, one at the ending location and an overhead camera that spans the entire task area). I have obtained these videos. Each of the cameras were started 1 second apart. This is because all three cameras are connected to a laptop computer, so I didn't want to overload the system with 3 camera worth of the video information at the same time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first step in modeling this, is to make sure that all the 3 videos are time-synced so that I can apply any number of modeling techniques that depend on time (such as HMM, CRF, DBN's etc). Furthermore, I would need to freeze frame at every time step (granularity of the time step would be determined later but might be as small as one-tenth of a second) and note different features for my modeling algorithm. I am a complete noob in video editing so if anyone could suggest a software that could accomplish what I desire, I would greatly appreciate it. I have access to all three platforms: Windows 7, Ubuntu 12.04, Mac OS X 10.7 (although I would prefer Windows or Ubuntu as my Macbook is quite old and might not be able to perform video editing with ease).&lt;/p&gt;&#xA;" OwnerUserId="4252" LastEditorUserId="636" LastEditDate="2013-11-18T16:51:37.743" LastActivityDate="2013-12-18T19:24:18.250" Title="Video Editor for syncing mult camera videos" Tags="|video|video-editor|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8177" PostTypeId="2" ParentId="8162" CreationDate="2013-06-21T02:22:02.967" Score="0" Body="&lt;p&gt;There are a few different ways you can do this depending on your scenario.  Normally, for things like lower thirds, I make one composition in which I enter just the lower third text and plate.  I then use that composition as an asset in another composition to do the actual animations.  I can then simply turn on or off any particular text I need to in the static composition and render the final composition to get the needed output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly, for a video at the beginning of a clip, you can have a wrapper composition that has the lead-in and then you can replace the contents of the composition that is shown after the lead-in plays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, you could probably do a fair bit of it using expressions too, but I've yet to have any tasks that were complex enough to have bothering to setup something with expressions.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-21T02:22:02.967" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8178" PostTypeId="2" ParentId="8175" CreationDate="2013-06-21T04:30:05.557" Score="1" Body="&lt;p&gt;Not sure if this can help you, but take a look at &lt;a href=&quot;http://www.redgiant.com/products/all/pluraleyes/&quot; rel=&quot;nofollow&quot;&gt;PluralEyes&lt;/a&gt;. It can automatically sync your videos &lt;strong&gt;based on audio&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for video editor, I recommend &lt;a href=&quot;http://vegasaur.com/SonyCreativeSoftware&quot; rel=&quot;nofollow&quot;&gt;Sony Vegas &lt;strong&gt;Pro&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2013-06-21T04:30:05.557" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8182" PostTypeId="1" CreationDate="2013-06-21T18:57:10.670" Score="0" ViewCount="272" Body="&lt;p&gt;I exported a music video using H.264 for the first time (I would normally just use a simple Apple intermediate codec) and as the 1st shot fades up, for the duration of the fade up, there are ever so slightly visible 'lines' across the white background. It is literally just for the 1st second of the clip, but being the opening shot it's rather important. check it out, it's more obvious at 1080p&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ENBuxqM0pyw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By the way, yes it is meant to be out of focus and grainy. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I set the quality to 10,000KB/s which as far as I'm aware is pretty good for online streaming?? I use Final cut express 4.1&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be greatly appreciated as I have no H.264 knowledge at all &lt;/p&gt;&#xA;" OwnerUserId="4258" LastEditorUserId="674" LastEditDate="2013-06-22T11:30:00.927" LastActivityDate="2013-06-22T11:30:00.927" Title="Lines on my H.264 video export" Tags="|video|quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8183" PostTypeId="2" ParentId="8182" CreationDate="2013-06-21T23:36:54.277" Score="1" Body="&lt;p&gt;Ok, now that I'm home I think I see what you are noticing.  That is just an error with the block transitioning from black to white.  You can either slow down the fade or increase the keyframe frequency.  H.264 works by storing only certain frames and then storing the change in-between.  It breaks the image in to sections to analyse and so you can see if you go frame by frame that it is having a hard time figuring out what the change is around the edge between black and white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either decreasing the rate of change or increasing the frequency of keyframes should give it a better idea of what is happening.  You might also try 2 pass VBR if you were only doing one pass or CBR prior as the analysis pass should help clean up artifacts like that by directing more bitrate to harder areas to compress.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-21T23:36:54.277" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8189" PostTypeId="1" CreationDate="2013-06-22T20:37:47.943" Score="3" ViewCount="7338" Body="&lt;p&gt;I am trying to import some .mov files into Adobe Premiere project, but I keep getting the following error message &quot;Codec missing or unavailable&quot;, this only happen for certain .mov videos which have been recorded with certain camera, but videos from other camera like canon with the same extension .mov can be imported without any trouble.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried to install K-lite codec package but it didn't make a difference in Adobe Premiere. &#xA;I've read somewhere on the web that not all the .mov files are the same and that the .mov extension is only a wrapper. The inner formation of the file may differ from one .mov file to another.&lt;br&gt;&#xA;I've opened the file with the GSpot tool to get some info and here is the output: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;qt  : Apple QuickTime (.MOV/QT)&#xA;File Type: QuickTime (.MOV)&#xA;Mime Type: video/quicktime&#xA;Recommended Display Size: 1920 x 1080&#xA;Created:     2013 Jun 06   17:53:53&#xA;Modified:    2013 Jun 22   01:10:47&#xA;codec:xdvc name: unkown&#xA;frms:146&#xA;kbps:36774&#xA;qf:0.709&#xA;pics/s: 25000&#xA;sar:1.778 (16:9)&#xA;dar: 1.778 (16:9)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="4262" LastEditorUserId="2178" LastEditDate="2013-06-24T15:22:46.143" LastActivityDate="2014-12-03T03:16:47.510" Title="Can't import some .mov files into Adobe Premiere, it says &quot;Codec missing or unavailable&quot;" Tags="|premiere|file-formats|codec|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8192" PostTypeId="2" ParentId="8189" CreationDate="2013-06-22T23:30:34.623" Score="1" Body="&lt;p&gt;First off, codec packs are often more problem than they are worth.  They tend to cause conflicts as much or more than resolve them.  You are far better off targeting the particular codec that is needed.  If you look at the information about the clip, it should indicate the codec that is used within the MOV and you should then be able to get that particular codec for your machine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the info you listed.  It appears to be an XDCAM format.  I would recommend going to the camera manufacturer's website and looking for their XDCAM codec.  If you can't find it, I suggest posting the actual camera model here.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-22T23:30:34.623" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8193" PostTypeId="1" AcceptedAnswerId="8194" CreationDate="2013-06-23T04:12:07.527" Score="1" ViewCount="107" Body="&lt;p&gt;I know that in the early versions of PremierePro it was necessary to fill all gaps in your sequence (places where there was no video) with black video.&#xA;If you left these gaps Premiere would give you trouble exporting or wouldn't export at all. Does anybody know if there is any need to still do that, or is that a thing of the past?&lt;/p&gt;&#xA;" OwnerUserId="2352" LastActivityDate="2013-06-23T17:49:14.283" Title="Is it still necessary to fill in gaps in sequence?" Tags="|video-editor|premiere|video-standards|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8194" PostTypeId="2" ParentId="8193" CreationDate="2013-06-23T17:49:14.283" Score="1" Body="&lt;p&gt;I don't think it has been an issue for some time.  I've been using Premiere since version 5 and don't seem to recall ever having a problem with exports though I don't recall my work area ever extending over a gap (though I certainly had many projects where there were gaps between work areas.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did verify that in CS6, it is no problem.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-23T17:49:14.283" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8198" PostTypeId="1" AcceptedAnswerId="8199" CreationDate="2013-06-24T16:38:02.767" Score="3" ViewCount="325" Body="&lt;p&gt;Movies these days have a lot of computer generated effects and they all seem to follow the laws of physics, what render program is used for this kind of stuff ?&lt;/p&gt;&#xA;" OwnerUserId="4269" LastActivityDate="2013-07-01T23:47:12.540" Title="What software do movies use for FX?" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8199" PostTypeId="2" ParentId="8198" CreationDate="2013-06-24T17:54:21.300" Score="6" Body="&lt;p&gt;There are a number of different options.  Some production companies use their own proprietary, in house systems for rendering.  There are a large number of companies that use existing commercial products however.  Maya, SoftImage, 3D Studio Max and Cinema4D are some of the big ones.  I have not personally worked with Cinema4D, but I know that physics simulation is possible in all of the first 3.  Cinema4D also supports physics simulation according to comments, though I have not personally used it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also worth noting that a combination of both physics simulation and physical modeling can be used.  For complex systems like particle effects and such, simulation is pretty much the only option, but for some larger actions, they may actually film a movement and then animate it to match what they record.  This can either be automated (using motion capture where they tracks dots on an object from multiple angles and computers reconstruct the motion) or by an animator manually watching the video and reproducing it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These models and scenes are then rendered using a process called ray tracing.  Ray tracing works by having a simulated view point and a simulated screen.  The image is formed at the simulated screen by sending a ray from the view point, through the pixel on the simulated screen and then allowing the reflections to be traced back until they reach light sources.  This produces highly accurate reflections and lighting effects but is much more time consuming than the kind of rendering used in 3d games.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The output of the ray tracing is then combined with other information (such as depth and transparency) that comes out of the 3d rendering engine.  This information is all fed in to a compositing program such as Adobe After Effects or Autodesk (formerly Discreet) Inferno.  These programs combine the 3d elements back with the actual video elements and allows for filters and effects to be applied to help blend the layers together smoothly.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-06-24T19:51:06.493" LastActivityDate="2013-06-24T19:51:06.493" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8205" PostTypeId="2" ParentId="4016" CreationDate="2013-06-25T14:04:14.740" Score="3" Body="&lt;p&gt;I use &lt;code&gt;ffmpeg&lt;/code&gt; for that.&#xA;Just plain concat filter with stream coping works.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i ./file1.MTS ./file2.MTS -c copy output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="4274" LastEditorUserId="2261" LastEditDate="2013-06-25T15:31:49.187" LastActivityDate="2013-06-25T15:31:49.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8206" PostTypeId="2" ParentId="5599" CreationDate="2013-06-25T14:26:56.360" Score="1" Body="&lt;p&gt;Try applying a de-interlace and make sure that the preview window is at full quality.  If you play back interlaced footage as progressive without deinterlacing, then every other frame only has half the normal information which would look pretty bad.  You should be able to adjust it under Interpret Footage from the footage properties.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-25T14:26:56.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8209" PostTypeId="5" CreationDate="2013-06-25T16:58:25.200" Score="0" Body="&lt;p&gt;A video editor is either a piece of hardware or software used for trimming and organizing multiple source clips in to a final output clip.  It may include the ability to add non-video elements as well such as placing titles over videos.  It generally allows for simple effects such as color correction, scaling and cropping to be applied to video and for transitions to be placed between clips.  It may also provide some basic audio editing capability.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video editor may also refer to the individual who uses a video editing system to edit video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-06-25T16:58:25.200" LastActivityDate="2013-06-25T16:58:25.200" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8210" PostTypeId="4" CreationDate="2013-06-25T16:58:25.200" Score="0" Body="Either an individual or a software or hardware platform that manipulates and combines source video clips in to a finished, combined output video." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-06-25T16:58:25.200" LastActivityDate="2013-06-25T16:58:25.200" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8211" PostTypeId="5" CreationDate="2013-06-25T17:06:18.833" Score="0" Body="&lt;p&gt;HDCP or High Definition Content Protection is the content protection schemer of the HDMI standard.  HDCP operates by transmitting video and audio in an encrypted form.  In theory, only authorized devices with HDCP decode keys should be able to decrypt the encrypted content.  Since devices are only given an authorized key when certified to protect the content, it limits the ability of content to be copied.  The encrypted signal is not sent if a secure path can not be verified from the HDCP source to an HDCP compatible end point (such as a TV.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-06-25T17:06:18.833" LastActivityDate="2013-06-25T17:06:18.833" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8212" PostTypeId="4" CreationDate="2013-06-25T17:06:18.833" Score="0" Body="HDCP or High Definition Content Protection is the content protection scheme of the HDMI standard." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-06-25T17:06:18.833" LastActivityDate="2013-06-25T17:06:18.833" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8215" PostTypeId="1" AcceptedAnswerId="8216" CreationDate="2013-06-26T00:07:38.600" Score="1" ViewCount="57" Body="&lt;p&gt;I'd like to make be able a project file only ninety seconds, and have Ableton discard any music that runs over that time as a result of any midi tranformations or effects.&lt;/p&gt;&#xA;" OwnerUserId="2403" LastActivityDate="2013-06-26T04:46:57.687" Title="How to make an Ableton Live project a set time" Tags="|ableton-live|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8216" PostTypeId="2" ParentId="8215" CreationDate="2013-06-26T00:32:17.680" Score="2" Body="&lt;ol&gt;&#xA;&lt;li&gt;Go into arrange view, expand the master track&#xA;&lt;img src=&quot;https://i.stack.imgur.com/hQe4U.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;Enter draw mode: press ctrl+b or click on the pencil button at the top of the screen next to the little keyboard. You want it to be yellow.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/cqPqH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;Use draw mode to zero out a region of the Master Mixer - Track Volume automation&#xA;&lt;img src=&quot;https://i.stack.imgur.com/Pa0HH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;Exit draw mode: press ctrl+b again, or click on the pencil button so that it is no longer active.&lt;/li&gt;&#xA;&lt;li&gt;Use the pointer cursor to click on one of the automation corners to the right, deleting it.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/scKPa.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;Delete the other rightmost automation corner. Now the automation curve should be down at the bottom for the rest of time.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/RP2EH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2013-06-26T04:46:57.687" LastActivityDate="2013-06-26T04:46:57.687" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8217" PostTypeId="1" AcceptedAnswerId="8219" CreationDate="2013-06-26T06:44:39.650" Score="0" ViewCount="725" Body="&lt;p&gt;My plan is to record gameplay (using fraps) and myself using a Galaxy S + microphone. I then want to glue them together into one video - picture in picture kind of thing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My concern is for the part where I use my phone (filming myself): do I have to put the audio and video together in an editing software? Or is the phone smart enough to match the sound that the external mic captures with the image?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks a lot in advance. Also, feel free to recommend a good (~40$) microphone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adrian&lt;/p&gt;&#xA;" OwnerDisplayName="user4278" LastActivityDate="2013-06-26T13:15:24.167" Title="Video recording using external microphone and smartphone" Tags="|video|audio-recording|microphone|software|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8218" PostTypeId="1" AcceptedAnswerId="8220" CreationDate="2013-06-26T10:29:54.900" Score="1" ViewCount="1075" Body="&lt;p&gt;I've bought a new analogue mackie mixer that I'm very happy with, but if I need one effect it would be compression. The mixer comes with 16 builtin effects and not a compressor. Is it expensive to make or why is compression not included? Instead I have reverbs and echoes which are not very applicable for the dry sounds of a small room that I want to create. &lt;/p&gt;&#xA;" OwnerUserId="3480" LastEditorUserId="3480" LastEditDate="2013-06-26T19:47:35.437" LastActivityDate="2013-06-26T23:56:13.610" Title="Why is compression rarely included as a builtin effect?" Tags="|effects|mixer|compression-dynamics|" AnswerCount="2" CommentCount="1" ClosedDate="2014-01-27T16:10:22.313" ContentLicense="CC BY-SA 3.0" />
  <row Id="8219" PostTypeId="2" ParentId="8217" CreationDate="2013-06-26T13:15:24.167" Score="1" Body="&lt;p&gt;If the microphone is hooked in to the phone, then it should be an input to the camera app and it should record both at the same time.  If the microphone was not linked to the camera app for some reason but was recording separately, it isn't that hard to sync, just clap on camera and look for the spike on the waveform and align it with the clap.  I wouldn't expect it to be a problem though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-26T13:15:24.167" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8220" PostTypeId="2" ParentId="8218" CreationDate="2013-06-26T13:21:37.650" Score="4" Body="&lt;p&gt;While you often see compression in the effects section of editing software, it is dynamics rather than actual effects.  In the traditional sense in the live world, compression is not considered an effect.  The software world simply does it that way because they are all software filters, but even then they are often in a dynamics category.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Compression, Expansion, Gating and Limiting are all dynamics.  I'm not sure if the effects hardware could do compression, but the controls for the parameters on the effects are certainly too limited.  You need attack, release, ratio, threshold at least and gain and soft/hard and auto attack/release options are common.  You can't adjust these with the very basic effects controls provided in the board.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are boards that have built in compression, but they list it under dynamics normally.  There are also stand alone compression units you can get that you can use the inserts to feed the signal to.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-26T13:21:37.650" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8223" PostTypeId="1" CreationDate="2013-06-26T18:45:13.600" Score="1" ViewCount="275" Body="&lt;p&gt;I am currently planning to run a podcast or a radio show as you prefer, where I intend to broadcast some Skype talking and play some music, live through &lt;a href=&quot;http://mixlr.com/&quot; rel=&quot;nofollow&quot;&gt;Mixlr&lt;/a&gt;. I've been looking for some software that can help me to do this. Something where I can create a playlist that I can set up easily, control mic, have some embedded notes, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am especially looking for &lt;strong&gt;free software&lt;/strong&gt;, but if I get myself into something that fits my needs, then I am willing to spend a few bucks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I ran into a couple paid solutions: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.proppfrexx.radio42.com/v3/index.html&quot; rel=&quot;nofollow&quot;&gt;ProppFrexx&lt;/a&gt; OnAir, which seems the most complete solution, with tons of options, most of them not really understood by me... Looks very recent, and the free version lets you play for 3 hours, with a random 2kHZ sound playing occasionally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://spacial.com/sam-broadcaster&quot; rel=&quot;nofollow&quot;&gt;SAM Broadcaster&lt;/a&gt;, which seems to be used by most of the people. Looks like a very simple solution (the free version, at least)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are other free options, but most of them do not work rather well or are hard to understand and get used to. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is then, if there are good free solutions that fit my needs (for Windows and/or eventually Ubuntu) and which. Or paid ones, that are quite simple and easy to manage. Out of curiosity, I would also ask if you know which software big radio stations use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="4168" LastEditorUserId="4168" LastEditDate="2014-01-22T12:30:26.583" LastActivityDate="2014-01-27T16:49:56.533" Title="Looking for Radio Automation Software" Tags="|software-recommendation|live|podcast|radio|broadcasting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8226" PostTypeId="1" CreationDate="2013-06-26T21:27:41.293" Score="1" ViewCount="10181" Body="&lt;p&gt;If I have a video of a face moving around, and I want to change the colour of the eyes in the video for example, how do I do that? I don't need specifics, just point me in the right direction, like which software is designed to do things like this? What is this process called? Do I literally go through frame by frame and make the changes? Is this a task that is mainly done programmatically?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just want to know where to start learning. I'm very technical but I don't have experience with video editing, and don't know where to start googling even. Thanks! &lt;/p&gt;&#xA;" OwnerUserId="4283" LastActivityDate="2017-10-07T15:33:30.993" Title="Beginning video editing (colouring eyes on a moving face)" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8228" PostTypeId="2" ParentId="8226" CreationDate="2013-06-26T23:32:56.533" Score="2" Body="&lt;p&gt;Technically, what you're looking to accomplish falls into the scope of visual effects (commonly abbreviated VFX), more than editing.  Editing is mostly making decisions about timing cuts between audio and video tracks.  I don't mean to be pedantic, but perhaps this distinction will help your google searches.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, you want to perform two actions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Track the eyes&lt;/li&gt;&#xA;&lt;li&gt;Adjust the color of the eyes over time&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;For the first task, I would recommend researching &quot;motion tracking&quot;&#xA;For the second, I would recommend &quot;color correction&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe After Effects (with the bundled Mocha module) and Davinci Resolve are each capable of accomplishing both of these tasks.  I'm sure there's more, but these are the software packages I'm most familiar with.  Nuke, Houdini, Premiere, Shake, FCP7 (FCPX can't keyframe color adjustments), and Apple Motion are all other names that come to mind, but I'm less familiar with them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;edit&lt;/em&gt; Bukkojot correctly pointed out in the comments that I forgot to mention matting and masking, which is the process of isolating the effect on the eyes, and making sure that the effect doesn't show through occlusions, such as blinking or foreground objects passing between the camera and subject.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2017-10-07T15:33:30.993" LastActivityDate="2017-10-07T15:33:30.993" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8229" PostTypeId="2" ParentId="8218" CreationDate="2013-06-26T23:56:13.610" Score="2" Body="&lt;p&gt;Well, first off – all professional &lt;em&gt;digital&lt;/em&gt; mixers today now have per-channel compressors, and more and more analogue ones also begin to have them, at least on some channels. Usually, there will be just one knob, basically controlling the threshold but possibly also a combination of ratio and gain. That's not as versatile as a fully-featured rack compressor, but still often quite useful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for why compression is not included in the multieffects section: those are &lt;em&gt;send effects&lt;/em&gt;, i.e. effects that run in parallel to the main mix bus on a send bus. By routing a bit of one channel to the FX bus, you get some e.g. reverb, &lt;strong&gt;in addition&lt;/strong&gt; to the dry sound you get on the mix itself. These effects are usually linear, which means you can route multiple channels to the same FX instance and the signals won't interfere, and reducing the input level is fully sufficient to control the &quot;strength&quot; of the effect.&#xA;&lt;br&gt;&#xA;But this doesn't work for insert effects such as EQ, compression, distortion etc.. Those need to get the entire signal of one single channel, and for full control there shouldn't leak any unprocessed signal component directly to the mix. And you can't properly control the strength of the effect by modifying the input level (in the case of a compressor it would &lt;em&gt;kind of&lt;/em&gt; work, but not nicely). So such effects either need to be fixed in one channel strip – that's what done with the channel EQs. Or you need some way to patch both the effect input and output to an arbitrary channel. The easiest way to do that is to use a rackmount compressor, put a Y-cable in its I/O jacks, and plug the stereo jack in the channel's &lt;em&gt;insert&lt;/em&gt; connector. This way the whole signal will be routed through the FX processor, and only afterwards it's allowed to pass into the mix at all.&lt;/p&gt;&#xA;" OwnerUserId="1038" LastActivityDate="2013-06-26T23:56:13.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8230" PostTypeId="2" ParentId="8226" CreationDate="2013-06-27T02:48:19.880" Score="2" Body="&lt;p&gt;As Jason Conrad pointed out, this would fall into the realm of visual effects rather than video editing.  Also, as he said, After Effects would support doing what you are attempting by tracking the eyes and then doing a selective hue change would probably be the easiest way to do it after a video has been shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, this isn't really the right way to do it.  It is far more practical and will get far better results to simply use a physical effect.  Get colored contact lenses and have your actor wear them to change the eye color in practical effects instead of trying to artificially change it in post (which will get far inferior results).  You should be able to find color contact lenses at most costume stores.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-27T02:48:19.880" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8231" PostTypeId="1" CreationDate="2013-06-27T04:07:08.013" Score="-2" ViewCount="2312" Body="&lt;p&gt;I was thinking you probably use Adobe Premiere and/or Adobe After Effects, but I'm not sure at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, how hard will it be? I have some basic experience with Photoshop and Illustrator if it matters.&lt;/p&gt;&#xA;" OwnerUserId="4284" LastActivityDate="2013-06-28T01:22:45.733" Title="Which software should I use for making an YouTube intro for videos on a channel, and how long would I take to learn it?" Tags="|premiere|after-effects|youtube|" AnswerCount="1" CommentCount="4" ClosedDate="2013-06-29T00:25:56.467" ContentLicense="CC BY-SA 3.0" />
  <row Id="8232" PostTypeId="1" CreationDate="2013-06-27T07:48:17.303" Score="1" ViewCount="23" Body="&lt;p&gt;I have a &lt;strong&gt;Canon-DSLR-650-D&lt;/strong&gt;,the problem is when I start recording move at &lt;strong&gt;HD&lt;/strong&gt; it will automatically stop after 10-12 sec, whereas at &lt;strong&gt;640&lt;/strong&gt; resolution it is working fine.&#xA;My Memory card is empty..can anyone help me is there any issue with my &lt;strong&gt;SD card&lt;/strong&gt; or what ???&lt;/p&gt;&#xA;" OwnerUserId="4285" LastActivityDate="2013-06-27T07:48:17.303" Title="Canon 650D HD movie stop after 10-12 sec" Tags="|video|dslr|full-hd|canon|" AnswerCount="0" CommentCount="0" ClosedDate="2013-06-27T11:46:09.410" ContentLicense="CC BY-SA 3.0" />
  <row Id="8234" PostTypeId="1" AcceptedAnswerId="8238" CreationDate="2013-06-27T08:21:35.567" Score="0" ViewCount="1837" Body="&lt;p&gt;I'm just starting shooting videos with a DSLR (5DMIII). I already have a good background in photography. I was wondering if Auto ISO is good when shooting a video or if it is better to tune ISO manually. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It be nice to hear some thoughts from more experienced people. &lt;/p&gt;&#xA;" OwnerUserId="1570" LastActivityDate="2013-06-27T13:04:05.577" Title="Auto ISO for shooting videos with DSLR" Tags="|video|video-quality|dslr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8238" PostTypeId="2" ParentId="8234" CreationDate="2013-06-27T13:04:05.577" Score="1" Body="&lt;p&gt;It depends on what you are doing, but generally for video you want pretty tight manual control to avoid changes during a shot.  What I often do when I'm in a hurry (and don't want to determine optimum settings manually) is to let the camera figure out what it wants for settings and then manually enter those.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, while changes in exposure during a shot can be very distracting, it's still better to get the shot than not get it, so occasionally I may shoot with the camera fully on auto and use exposure compensation as necessary to adjust the exposure.  This can be particularly useful for live events where you don't have time to adjust manually.  Note that if you are shooting with multiple identical cameras however, it is best to lock everything down (including white balance) to ensure a consistent look between cameras.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ultimately, there isn't a right answer, just be aware of how distracting changes in exposure can be during videos and balance the need to have the camera adapt vs the need to control when and how adjustments are being made for the content you are shooting.  It's best to try to avoid uncontrolled changes, but not at the expense of not getting a shot.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-27T13:04:05.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8247" PostTypeId="2" ParentId="8231" CreationDate="2013-06-28T01:22:45.733" Score="1" Body="&lt;p&gt;Based on the link you added in your comment, I would say you could use After Effects, and Premiere for this very easily...there may be easier/cheaper solutions but essentially what you are going for is pretty easy to make&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Graphic designing aside you could probably learn and do this in a day or two, if you have any sort of background in photoshop or computers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Start here, I am pretty sure this is where I learned how to use After Effects &lt;a href=&quot;http://www.videocopilot.net/basic/&quot; rel=&quot;nofollow&quot;&gt;http://www.videocopilot.net/basic/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-06-28T01:22:45.733" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8259" PostTypeId="1" CreationDate="2013-06-30T07:06:29.563" Score="-1" ViewCount="42" Body="&lt;p&gt;Hey, I have a &lt;strong&gt;canon DSLR 650D&lt;/strong&gt;, and I want to know if there are any settings or features in the camera that will only catch/accept the predefined color. For example, I just want to capture red, and everything else should be in black and white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please don't suggest Adobe Photoshop.&lt;/p&gt;&#xA;" OwnerUserId="4285" LastEditorUserId="3592" LastEditDate="2013-07-01T11:57:37.117" LastActivityDate="2013-07-01T11:57:37.117" Title="Detecting a particular colour" Tags="|effects|dslr|canon|filter|photos|" AnswerCount="2" CommentCount="4" ClosedDate="2013-07-01T20:52:25.737" ContentLicense="CC BY-SA 3.0" />
  <row Id="8260" PostTypeId="2" ParentId="8259" CreationDate="2013-06-30T08:05:49.160" Score="0" Body="&lt;p&gt;No there is not feature you want to.&lt;/p&gt;&#xA;" OwnerUserId="4296" LastActivityDate="2013-06-30T08:05:49.160" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8262" PostTypeId="2" ParentId="4721" CreationDate="2013-06-30T19:11:24.267" Score="1" Body="&lt;p&gt;To ensure you get 'pure' transparency, you'll have to ensure the transparent world is used, instead of your (coloured) sky.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When using Blender Internal, make sure you have in the Render settings, under Shading panel Alpha set to Transparent&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/7E26B.png&quot; alt=&quot;Transparency setting in BI&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When using Cycles renderer, make sure you have in the Render settings, under Film panel the Transparency box checked.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/dRZIX.png&quot; alt=&quot;Transparency setting in Cycles&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without these settings your alpha will be pre-multiplied with the sky color, which will look like your example.&lt;/p&gt;&#xA;" OwnerUserId="4177" LastActivityDate="2013-06-30T19:11:24.267" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8263" PostTypeId="2" ParentId="8259" CreationDate="2013-06-30T19:33:07.853" Score="1" Body="&lt;p&gt;You can't do advanced manipulation like that in camera.  In general, most DSLRs are limited to relatively simple or special stuff like limited HDR processing, simple B/W or basic cropping.  Advanced editing like selective coloration require post production work and often require some matte painting to get it to work the way you want.  It doesn't have to be Photoshop, something like GIMP could also do it, but you can't do it in camera.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-06-30T19:33:07.853" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8264" PostTypeId="1" AcceptedAnswerId="8309" CreationDate="2013-06-30T19:59:40.290" Score="11" ViewCount="13023" Body="&lt;p&gt;I need a software which can blur a scene from a video file. I have thought about VirtualDub and Adobe Premiere but I am not sure if they provide the desired functionality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My requirement is to blur a some-seconds scene for example blur the scene from 10:12 to 10:45 in a video file.&lt;/p&gt;&#xA;" OwnerUserId="4297" LastActivityDate="2015-03-29T17:07:06.507" Title="how to blur a short scene in a video" Tags="|video|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8269" PostTypeId="2" ParentId="8264" CreationDate="2013-07-01T04:41:27.977" Score="2" Body="&lt;p&gt;Premiere can certainly do what you need.  You could either cut the clip into sub-clips and apply a blur filter or you could apply a filter and keyframe the level of blur.  Note that this would be if you are trying to blur the entire frame.  If you want to blur only a portion of the frame, you would probably want something like motion tracking in After Effects that could follow the thing you want to blur and limit the blur to only the area impacted by a mask that follows the motion.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-01T04:41:27.977" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8272" PostTypeId="1" CreationDate="2013-07-01T13:43:59.290" Score="1" ViewCount="1168" Body="&lt;p&gt;I have the following rig: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;E8400 4.1 oced- &lt;/li&gt;&#xA;&lt;li&gt;nvidia 8800 GTS 3gb DDR2 RAM. &lt;/li&gt;&#xA;&lt;li&gt;WinXP SP3 (yes it still rocks based on this rig)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I installed bandicam today. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried EVERY setting &amp;amp; preset there is to it, from the lowest to the highest. I get 8 fps during recording (game: empire at war rts). It's not the components guys, it's something else. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried the RGB24 which is supposed to be the same as FRAPS lossless standard recording. I expected that since it wont have to compress it ,it would give me the same fps as FPAPS... thus 30 fps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have 60 stable fps when not recording this game in any situation &amp;amp; with max video settings. The fps drop is dramatic. I was excited when I read about bandicam on how small its files are. This is my main concern. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, how can it drop to 8 fps when the same format? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;FRAPS gives you 30fps with no lag at all. I used all formats, the best I got was 12 fps. But the result was worst than FRAPS, half size recording. (OS -game - output recording folder are on separate drives) even when I set all graphics to the lowest it gave me 200 fps &amp;amp; then on recording it dropped again in 8 fps so it must be something else. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that the stress on the CPU is tops 80%. So it manages. Also the drives do not share same ATA channel. So where is the bottleneck? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The weird thing is that FRAPS that is considered to create huge fps drop generally won't make me lag at all. I guess bandicam's engine won't exploit the full ability of the rig? I also toggled the CPU affinity but no luck at all.&lt;/p&gt;&#xA;" OwnerUserId="4298" LastEditorUserId="2569" LastEditDate="2013-08-01T15:04:24.390" LastActivityDate="2013-08-01T15:04:24.390" Title="Bandicam dramatic fps drop" Tags="|video|recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8274" PostTypeId="2" ParentId="8272" CreationDate="2013-07-01T16:27:12.510" Score="1" Body="&lt;p&gt;FRAPS gets its speed specifically because of the large file size.  When dealing with video you have two conflicting goals, low CPU usage vs low space usage.  To use less space, more compression must be applied.  To apply more compression, more CPU must be consumed.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If CPU consumption gets too heavy, it impacts performance of games.  Thus FRAPS goes to the other side, rather than use compression, it saves nearly totally uncompressed.  This results in massive size files which hit the memory and hard disk more, but as most games tend to be more forgiving on these, it has less of an impact on frame rate as long as the memory and hard drive can keep up with the data rate coming out of FRAPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The fact you are trying to produce smaller files means you are running compression while the game is going.  This means more CPU consumption and thus lower frame rates.  If you want small files and good performance, use FRAPS and then compress down the files produced by FRAPS after recording.  Since they are basically uncompressed, there shouldn't be any measurable quality loss.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-01T16:27:12.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8278" PostTypeId="2" ParentId="8198" CreationDate="2013-07-01T23:47:12.540" Score="2" Body="&lt;p&gt;Blender is a free, open source 3D modeler and renderer which has physics support. It also supports compositing, or layering, animated graphics into your movie footage, right inside Blender. Like any 3D program, there's a steep learning curve. Blender has lots of learning resources to help with that, like user web sites, and Youtube tutorials.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some short films made with Blender are available as source files - meaning the entire 3D scene files, character rigs, lighting, everything - are available for a modest cost. Having high quality content like this to take apart and play with is a very valuable learning resource.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please be aware that when you hear about a movie FX studio using a product, they do use it - but, they usually have a team of in-house programmers that customize the daylights out of it. Those customizations are generally not available to anyone else. &lt;/p&gt;&#xA;" OwnerUserId="3882" LastActivityDate="2013-07-01T23:47:12.540" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8280" PostTypeId="2" ParentId="8146" CreationDate="2013-07-02T00:38:27.110" Score="0" Body="&lt;p&gt;Apple has a software package, called Keynote. Apple uses a version of it to make those presentations you see. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You would need to capture the camera footage to your computer, then you could embed the clip into a presentation easily. The workflow would be: import powerpoint, embed captured video, then export presentation as Quicktime movie with streaming enabled.&lt;/p&gt;&#xA;" OwnerUserId="3882" LastActivityDate="2013-07-02T00:38:27.110" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8283" PostTypeId="1" AcceptedAnswerId="8286" CreationDate="2013-07-02T09:14:55.220" Score="5" ViewCount="359" Body="&lt;p&gt;I know that the shutter speed should be approximatively as twice as much the fps. However, I know people who tune the shutter speed to any value they need it to achieve the correct exposure. They say that, except for a few cases, using a shutter speed bigger than the recommended value (2X the fps) is not noticeable.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to hear your opinion about this. It is quite important to me, because if this is true, I would avoid using ND filters, as they reduce image quality. &lt;/p&gt;&#xA;" OwnerUserId="1570" LastEditorUserId="2836" LastEditDate="2014-03-05T17:29:32.140" LastActivityDate="2014-07-16T16:35:18.653" Title="Shutter speed when recording with DSLR" Tags="|dslr|canon|framerate|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8284" PostTypeId="2" ParentId="8283" CreationDate="2013-07-02T10:34:20.683" Score="4" Body="&lt;p&gt;In almost all digital video cameras there's no physical shutter, just a circuit that limits the exposure time. As long as that time allows the entire sensor to be illuminated and scanned, you should see no degradation of any individual frame. In this sense, as long as the minimum is met, there should be no visible difference between a fast shutter and an ND. But then there's motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With limited motion, fast shutter times and NDs are pretty much equivalent, and trade off against aperture. A significant difference is that closing the aperture increases depth of field, where increasing shutter speed (or using NDs) does not. So aperture and ND have different visual effects, but only you can decide which is better for your shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With more rapid motion the difference is more obvious. With fast shutter times motion will seem less fluid, with each frame being crisper, more frozen in time, which is not true for NDs. With normal shuttering, motion tends to blur within the frame, since different positions of a moving object are integrated during the exposure. This is usually more pleasing to my eye, but  your aesthetic, or your situation, should be what matters.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-07-02T10:34:20.683" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8285" PostTypeId="1" CreationDate="2013-07-02T12:39:21.590" Score="1" ViewCount="3579" Body="&lt;p&gt;I have asked a similar question before, but we are still having the same issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/2303/background-color-of-mp4-rendering-incorrectly-in-quicktime&quot;&gt;Background color of MP4 rendering incorrectly in QuickTime&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to encode MP4's for playback on a website. I have created a test page so you can see the problem I am having. The original video is created in After Effects. When the page displays correctly the video should match the background (so should be unnoticeable apart from while loading).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://videooptimization.azurewebsites.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://videooptimization.azurewebsites.net/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The MP4 file was encoded via Adobe Media Encoder&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PAL, 25 fps, Progressive&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No Audio, 2.06 Mbps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The difference in rendering seems to change depending on machine. My machine renders the video perfectly in IE10 and not in Chrome or Safari, my colleagues machine renders the video fine in Chrome and Safari, but not in IE10 (so an exact swap of issue). We both run Windows 8. There are also similar problems on Macs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;IE10 Screenshot&#xA;&lt;img src=&quot;https://i.stack.imgur.com/f6Lmq.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Chrome Screenshot&#xA;&lt;img src=&quot;https://i.stack.imgur.com/sJqUu.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Safari Screenshot&#xA;&lt;img src=&quot;https://i.stack.imgur.com/Esajn.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone tell me what is going on / how I can create an MP4 that will render identically cross platform and device?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="1397" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2013-07-03T09:35:25.597" Title="MP4 video rendering differently on different browsers and different machines" Tags="|video|encoding|mp4|webvideos|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8286" PostTypeId="2" ParentId="8283" CreationDate="2013-07-02T14:00:47.787" Score="7" Body="&lt;p&gt;On DSLRs, a fast shutter can actually be better.  DSLRs scan the image to sample rather than capturing the whole frame at once.  This is why you get a distortion when you do a rapid pan.  A faster shutter will result in stopping motion more clearly (less motion blur), which can seem a little harsher than the softness of film, but a sharper image may be preferable.  That said, a good ND shouldn't have a significant impact on image quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, my final advice is, if you want crisp frames with little motion blur, use high shutter speed, if you need smooth motion for things moving around a static scene, a high quality ND is probably better.  If you simply have a fairly static shot, then shutter is probably the way to go again.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-07-16T16:35:18.653" LastActivityDate="2014-07-16T16:35:18.653" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8287" PostTypeId="2" ParentId="8285" CreationDate="2013-07-02T14:06:21.597" Score="2" Body="&lt;p&gt;Unfortunately you are not going to be able to accomplish your goal.  Two major factors impact this.  First, color processing on different systems is going to differ.  This will result in slight differences in the colors that are displayed because many video players apply &quot;enhancements&quot; to video and what you actually see when viewing the video in a browser is an embedded player that is installed on the local machine.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, different software is also going to use different implementations of a decoder which may result in slight differences in color based on optimizations and rounding error based on how they do their calculations to get the video out.  It's just a side effect of the way the players operate, there isn't a problem with your source (as the data in the file can't change from one player to another.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-02T14:06:21.597" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8288" PostTypeId="1" CreationDate="2013-07-02T16:30:11.000" Score="1" ViewCount="41" Body="&lt;p&gt;I'm trying to use the Ken Burns effect in FCP X. I have no problem accessing the functionality and altering the settings, but when I run it in the preview, the video just shows as zoomed in and then pans across. I have it setup to do a zoom in and pan. What am i doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="4303" LastActivityDate="2014-04-26T17:47:03.677" Title="Can't make Ken Burns effect zoom properly" Tags="|video-editor|final-cut-pro-x|" AnswerCount="0" CommentCount="1" ClosedDate="2014-04-26T17:48:34.280" ContentLicense="CC BY-SA 3.0" />
  <row Id="8293" PostTypeId="2" ParentId="8264" CreationDate="2013-07-02T23:22:12.087" Score="16" Body="&lt;p&gt;You can use ffmpeg, and you currently have a choice of four video filters that can blur: &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#boxblur&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;boxblur&lt;/code&gt;&lt;/a&gt;, &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#sab&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;sab&lt;/code&gt;&lt;/a&gt;, &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#smartblur-1&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;smartblur&lt;/code&gt;&lt;/a&gt; and &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#unsharp&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;unsharp&lt;/code&gt;&lt;/a&gt;. These filters can use the &lt;code&gt;enable&lt;/code&gt; option for &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#Timeline-editing&quot; rel=&quot;noreferrer&quot;&gt;timeline&lt;/a&gt; support, so you can apply the blurring effect to a certain duration if desired. You can view what filters have timeline support with &lt;code&gt;ffmpeg -filters&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Example&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/iwCqE.png&quot; alt=&quot;original image&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/ON6Hz.jpg&quot; alt=&quot;boxblur&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This example will apply the blur from 22-113 seconds, then again from 275-286 seconds:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -vf &quot;boxblur=enable='between(t,22,113)',boxblur=enable='between(t,(60*4)+35,286)&quot; -codec:a copy output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;You can enter seconds or have it calculate seconds for you as shown in the example.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;http://ffmpeg.org/ffmpeg-utils.html#Expression-Evaluation&quot; rel=&quot;noreferrer&quot;&gt;Expression evaluation&lt;/a&gt; is not my best area. You may find a method to declare the filter just once.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Note that, since you only want to modify the video, the audio can be &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;noreferrer&quot;&gt;stream copied&lt;/a&gt; from the input to the output without re-encoding. This is faster than re-encoding and will preserve the quality. This is something most editors, such as Premiere, do not support without additional shenanigans.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h3&gt;Preview&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;If you have &lt;code&gt;ffplay&lt;/code&gt; you can get a preview instead of encoding, watching, re-encoding...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -i input -vf smartblur&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;Getting &lt;code&gt;ffmpeg&lt;/code&gt;&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;Builds are available for Windows, Linux, and OS X users. See the &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg Download&lt;/a&gt; page, but of course you can always &lt;a href=&quot;https://trac.ffmpeg.org/wiki/CompilationGuide&quot; rel=&quot;noreferrer&quot;&gt;compile &lt;code&gt;ffmpeg&lt;/code&gt;&lt;/a&gt; too.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2015-03-29T17:03:57.213" LastActivityDate="2015-03-29T17:03:57.213" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="8295" PostTypeId="1" AcceptedAnswerId="8297" CreationDate="2013-07-03T04:21:18.657" Score="6" ViewCount="3654" Body="&lt;p&gt;I'm fairly new do filmmaking. I've been trying to figure out which is best, but people seem to have very different opinions and everyone has his own arguments. My guess is that ALL-I should be better because they are all I-Frames, whereas IPB should be used when storage is a concern. However, some people are saying IPB is actually better.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any thoughts?&lt;/p&gt;&#xA;" OwnerUserId="1570" LastActivityDate="2023-11-16T21:51:34.827" Title="ALL-I vs IPB. Which one to use" Tags="|compression|codec|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8296" PostTypeId="1" AcceptedAnswerId="8298" CreationDate="2013-07-03T04:23:13.460" Score="1" ViewCount="59" Body="&lt;p&gt;I have a Tiffen variable ND filter. I was wondering if the quality is good enough for video, since I'm pretty new to this. I've heard people using other filters but they are way too expensive for me right know, so I was wondering if, quality-wise, the Tiffen is a decent filter for DSLR videomaking.&lt;/p&gt;&#xA;" OwnerUserId="1570" LastActivityDate="2013-07-07T19:57:08.653" Title="Which ND filter should I use?" Tags="|filter|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8297" PostTypeId="2" ParentId="8295" CreationDate="2013-07-03T04:38:02.177" Score="4" Body="&lt;p&gt;First we need a primer on I, P and B frames.  An I frame is a frame that is a completely independant picture of the frame.  It doesn't depend on any other frames and is a frame which B and P frames are based on.  A P frame stores only the changes from the previous frame and a B frame stores only the changes in either direction.  IPB uses a mix of all 3 frame types in a set sequence to capture video with much lower data usage, but every P and B frame is an approximation of what the frame that was originally captured was.  They are not exact.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the same size I frame, all I will ALWAYS be better quality, however, it could be possible for IPB to be better if the camera has a set limit rate for I frame that could end up with larger I frames for the IPB due to the saved space, but that would depend on the exact data rates used by the camera.  The theory behind it would be to say we have all I with 3k per frame (making this number up completely) then we have 30 pictures of whatever quality we can get out of 3k.  Now, if the IPB frame, if we had say 1k per frame on average, but the P and B frames are very small, then it might be possible for the I frame to use 5k of data and the P and B frames to use only .5k each and result in a higher overall quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would depend on the quality of the motion and the data rates being used by the camera however.  In most cases, recording all I on the camera is probably going to produce I frames equal or larger in size than those in IPB.  However, when doing a final output, the highest quality for a given size will almost always be compressing to IPB.  All I will also capture fast motion better since the difference between frames will be larger.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-03T04:38:02.177" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8298" PostTypeId="2" ParentId="8296" CreationDate="2013-07-03T04:40:36.280" Score="3" Body="&lt;p&gt;If a filter is good enough for photo, it is good enough for video.  Video is much MUCH lower quality than photography.  Ultimately, it really depends on your standards though and we can't tell you if it is good enough for your particular tastes and needs.  The reason that there are more expensive cinema lenses is because of how focus works while zooming.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-03T04:40:36.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8305" PostTypeId="1" AcceptedAnswerId="8315" CreationDate="2013-07-03T21:41:58.360" Score="9" ViewCount="4490" Body="&lt;p&gt;For a small project of mine I want to record short screen-casts which show features of my program. Currently, I'm using a small app on my Ubuntu box which creates directly animated gif output. The drawback is, that gif has some limitations in the number of colors. If &lt;a href=&quot;http://halirutan.de/start&quot; rel=&quot;nofollow noreferrer&quot;&gt;you inspect some of the gifs&lt;/a&gt; you may note that although it looks great, it's not perfect, especially when you look at the aliased fonts&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/y391d.gif&quot; alt=&quot;animated gif&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are some handmade solutions, for instance the demonstration on the &lt;a href=&quot;http://www.sublimetext.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;sublime-text site&lt;/a&gt;. To have something that nice, you first need to record your screen completely lossless. Most screen-casting programs I know unfortunately do compress the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question:&lt;/strong&gt; I have Ubuntu and OSX at my disposal, what (if possible free) screen-casting solutions exists which let me create lossless videos?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Extra credit for programs where I can select the region or window to record and turn off audio.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Update&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;To make it clear what I mean with lossless: Usually, videos are compressed with a method which is perfect for &lt;a href=&quot;http://www.hdwallpaperstop.com/wp-content/uploads/2013/06/forest-landscape_pictures_hd_wallpapers_nature_backgrounds_autumn_forest_and_landscape_color.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;natural images/videos&lt;/a&gt; but horrible for images/videos having &lt;a href=&quot;http://upload.wikimedia.org/wikipedia/commons/3/3b/Ringing_artifact_example.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;sharp edges and one-colored structures&lt;/a&gt;. I made two screen-casts and zoomed a small part so that those effects are visible. The first one is done with &lt;a href=&quot;http://wiki.ubuntuusers.de/recordMyDesktop&quot; rel=&quot;nofollow noreferrer&quot;&gt;gtk-recordmydesktop&lt;/a&gt; with highest quality and the artifacts in the gray area are clearly visible&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Q5oNm.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second one is done with the small &lt;em&gt;Record your Desktop&lt;/em&gt; tool which saves gif files directly and takes the exact pixels of the screen without compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/vK5GH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want is a screen-caster which saves its videos in this raw format without the limitations of gif.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Possibly related questions:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/q/4477/4310&quot;&gt;How does Salman Khan make his screencasts?&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/q/3324/4310&quot;&gt;creating a lossless mp4 screencast&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="4310" LastEditorUserId="37172" LastEditDate="2022-02-07T11:25:20.677" LastActivityDate="2022-02-07T11:25:20.677" Title="Lossless screen-recording software" Tags="|screen-casting|lossless|" AnswerCount="7" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="8306" PostTypeId="1" AcceptedAnswerId="8307" CreationDate="2013-07-04T05:47:32.243" Score="0" ViewCount="5046" Body="&lt;p&gt;I installed adobe premiere cs4 and was really astonished by the fact that it's not possible to import a video downloaded from YouTube, but it is needed to convert it firstly. This application is weight about 3GB on my hard disk and now I must search for a plugin to import a video from YT.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would be perfectly if i could download a video directly into premiere, and also upload finished file up to youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only result of my search is a paid plugin named moyea-importer - USD 70&lt;br&gt;&#xA;Is there any free plugin for this task. Or any similar solution.&lt;br&gt;&#xA;If not - in which format should I download youtube video, in which format should I convert it (what is the best converter for that) to make it editable in premiere.&lt;br&gt;&#xA;Working on win xp sp3.&lt;br&gt;&#xA;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="4312" LastActivityDate="2020-03-29T21:01:37.613" Title="How to import youtube video into premiere cs4" Tags="|video|premiere|youtube|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8307" PostTypeId="2" ParentId="8306" CreationDate="2013-07-04T07:22:35.343" Score="2" Body="&lt;p&gt;It's not really all that astonishing.  Youtube is a streaming media service and Premiere is a video editing suite designed to work with files on your local computer.  It isn't part of the function of Premiere to deal with streaming media or convert from a stream to a file or to stream content (though it can produce stream ready files).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To use a video from Youtube, you would first need to use a Youtube stream ripper that will save it out as an actual video file which Premiere should then have no problem opening.  When you finish your project, you would then export to a Youtube compatible format and upload the file to Youtube.  Adobe Media Encoder (which can be used for doing the rendering out of Premiere) actually has presets specifically for Youtube.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-04T07:22:35.343" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8309" PostTypeId="2" ParentId="8264" CreationDate="2013-07-04T08:35:34.033" Score="2" Body="&lt;p&gt;I fulfilled my requirement in Adobe Premiere Pro by following the below procedure:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Load the complete video in Timeline panel.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Using 'Razor' tool cut the section which I need to blur. When we cut using 'Razor' tool, Adobe Premiere Pro marks it as a logical separate clip.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Drag the &lt;em&gt;Video → Blur&lt;/em&gt; effect on the desired clip and set the Gaussian blur settings.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Repeat the above steps for all other sections of the original video which I need to blur.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In the end, Export the complete sequence.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="4297" LastEditorUserId="1760" LastEditDate="2015-03-29T17:07:06.507" LastActivityDate="2015-03-29T17:07:06.507" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8310" PostTypeId="1" CreationDate="2013-07-04T13:48:16.910" Score="0" ViewCount="43" Body="&lt;p&gt;The song 'No Homo' by The Lonely Island samples 'Girls Can't Do What the Guys Do' by Betty Wright.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.whosampled.com/sample/view/96863/The%20Lonely%20Island-No%20Homo%20Outro_Betty%20Wright-Girls%20Can%27t%20Do%20What%20the%20Guys%20Do/&quot; rel=&quot;nofollow&quot;&gt;http://www.whosampled.com/sample/view/96863/The%20Lonely%20Island-No%20Homo%20Outro_Betty%20Wright-Girls%20Can%27t%20Do%20What%20the%20Guys%20Do/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In 'No Homo', the sample is lowered in pitch. I was able to raise the pitch to make it kind of sound like the original song. However, this obviously raises the pitch of the entire song. So my logic is to remove the sample from 'No Homo' and raise the pitch, then put it back in. Naively I thought I could cancel it out, but that obviously doesn't work because they're not the same waveforms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using Audacity, is there an easy way of changing the sample in 'No Homo' using the original song?&lt;/p&gt;&#xA;" OwnerDisplayName="user4313" LastActivityDate="2013-09-02T18:18:09.530" Title="Modify a sample in a mix using the original sample" Tags="|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8313" PostTypeId="2" ParentId="8310" CreationDate="2013-07-04T16:45:20.100" Score="1" Body="&lt;p&gt;In theory, if you knew exactly what they did to the sample, you could produce an inverse wave and recombine it with the mixed version in No Homo.  However in practice, since it is unlikely that you will be able to match the frequency shift exactly plus whatever other effects they may have applied (like compression), you are unlikely to be able to make an inverse wave that satisfactorily cancels out the original.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-04T16:45:20.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8315" PostTypeId="2" ParentId="8305" CreationDate="2013-07-04T21:33:13.770" Score="7" Body="&lt;p&gt;FFmpeg with a lossless codec is one solution. I recall &lt;a href=&quot;http://boredzo.org/codec-comparison/&quot;&gt;a comparison of different codecs&lt;/a&gt; which concluded that Apple Animation (known to ffmpeg as &lt;code&gt;qtrle&lt;/code&gt;) gave the best quality for screen-recording.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f x11grab -r 25 -s 1024x768 -i :0.0 -c:v qtrle output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Stop it by opening its terminal while it is running and pressing &lt;code&gt;q&lt;/code&gt;. Obviously change the resolution (1024x768 here) to match your own. For selecting a section of your screen, see &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/wiki/How%20to%20grab%20the%20desktop%20%28screen%29%20with%20FFmpeg&quot;&gt;how to grab the screen&lt;/a&gt; on the ffmpeg wiki.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is possible that the &lt;code&gt;ffmpeg&lt;/code&gt; which comes with your Linux distribution does not have the &lt;code&gt;qtrle&lt;/code&gt; codec included. In this case you have to &lt;a href=&quot;http://www.ffmpeg.org/index.html&quot;&gt;download and compile&lt;/a&gt; your own version. &lt;/p&gt;&#xA;" OwnerUserId="3476" LastEditorUserId="4310" LastEditDate="2013-07-05T03:35:46.697" LastActivityDate="2013-07-05T03:35:46.697" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="8316" PostTypeId="1" CreationDate="2013-07-05T02:15:38.983" Score="1" ViewCount="92" Body="&lt;p&gt;I am developing a web application and going to launch it soon. I am already done with the website, photos and brochures, and only the video presentation is missing. To present the app, I just want to show them the features in text and graphic form, sans the actors, locations and props. I want to produce the video taking inspiration from Oracle video ads like this &lt;a href=&quot;http://www.youtube.com/watch?v=4qzFFBff34g&quot; rel=&quot;nofollow&quot;&gt;Oracle Exadata. Are You Ready?&lt;/a&gt; and this &lt;a href=&quot;http://www.youtube.com/watch?v=WQs94hh9UDI&quot; rel=&quot;nofollow&quot;&gt;Power Your HR Business Contribution With Oracle Human Capital Management&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know how these videos were produced? Can you suggest some software that can produce videos like these? Thanks!&lt;/p&gt;&#xA;" OwnerUserId="4316" LastActivityDate="2013-07-06T18:33:47.280" Title="Software Advice for producing video ads" Tags="|video|software|video-editor|software-recommendation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8319" PostTypeId="2" ParentId="8316" CreationDate="2013-07-05T04:40:37.303" Score="2" Body="&lt;p&gt;That is motion graphics.  A program like Adobe After Effects in combination with Photoshop or Illustrator is ideal for producing such a video.  Something like Flash could also be used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that it is very complicated to make something that good on your own.  There are however templates available for After Effects that you may be able to use.  Alternately, you could look for someone who knows how to do motion graphics and hire them to do something.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-07-06T18:33:47.280" LastActivityDate="2013-07-06T18:33:47.280" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8322" PostTypeId="2" ParentId="8306" CreationDate="2013-07-05T07:47:03.620" Score="1" Body="&lt;p&gt;Excuse me if I am assuming something that is incorrect.  It appears that you want to download some one else's hard work, modify it by removing any signs of ownership and the HTTPHostHeader, making it appear like you are the owner, and ran your own raw data thru Adobe.  Is that correct??&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Being a Youtube channel owner, I hate it when that happens.  Some one stealing your stuff and claiming it as their own...........  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may want to visit:    &lt;a href=&quot;https://productforums.google.com/forum/#!forum/youtube/categories&quot; rel=&quot;nofollow&quot;&gt;https://productforums.google.com/forum/#!forum/youtube/categories&lt;/a&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see what happens to people who are caught stealing some one else's work.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other than that, try getting a video encoder from sourceforge and re encoding it first.  Then Adobe should be able to handle it.  I use Cyberlink Power Director 11 because it's smarter than Adobe, and will take anything you can feed it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry, I really dislike seeing people go against the YT terms of service and hurting other people on the way there.  I've seen a lot of channels terminated for doing just that kind of stuff.&lt;/p&gt;&#xA;" OwnerUserId="4319" LastActivityDate="2013-07-05T07:47:03.620" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8323" PostTypeId="2" ParentId="4942" CreationDate="2013-07-05T07:57:59.160" Score="1" Body="&lt;p&gt;I think you should try another program first and see the result. Maybe the software is the reason or tweak the settings of yours.&#xA;Also try to close any other software which is running at that time like antivirus programs etc. &lt;/p&gt;&#xA;" OwnerUserId="4318" LastActivityDate="2013-07-05T07:57:59.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8325" PostTypeId="2" ParentId="4595" CreationDate="2013-07-05T08:53:57.723" Score="1" Body="&lt;p&gt;Any VCR to PC capture device should do the job.IF you can find a VCR which can play PAL.&#xA;Usually these type of players are sold in the Indian or Arabic neighbourhoods.&#xA;I think it is not worth the effort to buy one and deal with the capturing.&#xA;Simply find a place close to where you live, where they can do it for you. The average cost is $5 to $10 per tape. And they will give you the information on a disk or flash card.&lt;/p&gt;&#xA;" OwnerUserId="4318" LastEditorUserId="126" LastEditDate="2013-07-05T19:23:29.403" LastActivityDate="2013-07-05T19:23:29.403" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8332" PostTypeId="1" CreationDate="2013-07-05T19:29:24.643" Score="1" ViewCount="624" Body="&lt;p&gt;I have a square adjustment layer which I have to animate to follow a screen around during a video. I want to apply some Color Correction filters to only that square, and a &lt;strong&gt;separate&lt;/strong&gt; set of photo filters to the rest of the video. This way the filters do not overlap.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to make the negative of that layer by duplicating and using &quot;Invert Selection&quot; but that didn't seem to invert the selection. I also do not know how to link the animation on the two layers (position, size, rotation, etc.)&lt;/p&gt;&#xA;" OwnerUserId="4323" LastActivityDate="2014-02-02T02:15:00.360" Title="AE Adjustment Layer Separate Effects on It &amp; Its inverse" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8333" PostTypeId="2" ParentId="8332" CreationDate="2013-07-06T01:41:30.447" Score="0" Body="&lt;p&gt;For what you are trying to do, I think you need masks rather than adjustment layers.  An adjustment layer simply applies an effect to all layers under it.  If you mask the adjustment layer, then it will impact all layers under the mask in the composition.  You want two masks that are the inverse of each other so that you can apply different effects to each masked area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: As I was thinking about this a bit more, I realized there is a simpler way.  You don't need two masks, you only need one.  Apply one effect to the entire background layer.  Then apply a mask to the foreground layer that needs to be tracked.  You can apply whatever effect you need to that layer and it will only contain the portion of the screen that has your different effect and will be layered over top of the base plate.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-07-06T06:59:31.463" LastActivityDate="2013-07-06T06:59:31.463" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8337" PostTypeId="1" CreationDate="2013-07-06T23:13:54.147" Score="2" ViewCount="1285" Body="&lt;p&gt;Not the most accomplished music theorist or producer, so perhaps a rewrite of this question would be in order. &#xA;When composing in draw mode in Ableton Live, I would like to be able to make more than one 'length' of note. It seems all the notes i make are all eighth notes or some other short note. I would like to use whole notes and quarter notes, etc.&lt;/p&gt;&#xA;" OwnerUserId="2403" LastActivityDate="2013-08-07T21:54:55.650" Title="How to change note value in Ableton Live" Tags="|ableton-live|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8338" PostTypeId="1" AcceptedAnswerId="8339" CreationDate="2013-07-07T00:41:36.090" Score="1" ViewCount="660" Body="&lt;p&gt;I am working on a computer vision project where I will setup a camcorder in a room at around 6am and record people as they walk around and interact with things. The recording ends at 11pm. The room itself is huge (~50 ft tall) and I need to mount the camera either on the ceiling or on one of the rafters, so I'd prefer not to have to fetch an SD card at the end of each day if at all avoidable. The people are not moving super fast, but I will be doing motion analysis based on an image of the empty room, so it's important that the video be uncompressed (compression changes pixels and messes up the before/after diff for the motion tracking). Also, the people will be interested in viewing their actions later, so it needs to be in color and preferably HD. There is likely to be minor vibrations, so it also needs to be able to stabilize the video, though I imagine that is standard nowadays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given those requirements, does anyone have any recommendations for a camcorder? I'm looking in the sub-$400 range if at all possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;: Compressed video is fine after all. I was misunderstanding what kind of video my test data was using, but it seems to be compressed, so I can handle that. Also, if possible I'd like the camera to be able to just stream the video to a server on a local network so I can store it offline without having to retrieve the SD card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit 2&lt;/strong&gt;: After some more looking, it does seem like there are 30M (~64ft) active USB extension cables. So it's possible that I could run a cable to a laptop on the ground and not need to worry about power or SD storage. As a result, I'm currently leaning towards an HD webcam like AJ suggested.&lt;/p&gt;&#xA;" OwnerUserId="4329" LastEditorUserId="4329" LastEditDate="2013-07-07T20:40:13.027" LastActivityDate="2013-07-07T20:40:13.027" Title="Recommendations for HD camcorder for all-day static recording?" Tags="|video|recommendation|camcorder|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8339" PostTypeId="2" ParentId="8338" CreationDate="2013-07-07T02:19:31.307" Score="6" Body="&lt;p&gt;Ok, so now that I got that comment out of my system, let me start by saying your expectation is 100% completely, totally and insanely unrealistic.  HD + uncompressed = a data rate measured in gigabytes (11.2 gigabytes to be specific) per minute (16.1 terabytes per 24 hour day) and is only available on very high end cameras (&gt;$3000, without optics) price range.  Additionally, to not have to get the card every 30 minutes, let alone every day, you would need to have it wired in to a recorder elsewhere which means getting a record deck alone that will be over $600.  There is simply no possible way to accomplish all of your goals within an order of magnitude of your stated target cost.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For $6,000 or so, I could probably recommend a setup that would work nicely for capture and then you'd need another $4,000 or so just for the disk drives that could store it, but unless you can bear a reasonable level of compression, then it isn't going to be any cheaper.  Even SD would have problems running fully uncompressed for lengths of time without a dedicated professional deck, though SD might possibly drop the cost in to the 1 to 2k range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While off topic for AVP, I would suggest that what you need to do is update your analysis to support compression.  Add a buffer that will recognize pixels that are close in color as the same and adjust as necessary until compression artifacts aren't recognized.  Unless people are all the same color as the floor, it should probably still be able to track pretty well.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll need this anyway as from frame to frame, there are going to be variations in what hits the sensor even if you have a fully uncompressed signal.  Noise happens in the real world.  You have to deal with it.  The noise in the signal is going to be at least as much of a problem as most good compression, probably much more.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-07-07T02:36:15.170" LastActivityDate="2013-07-07T02:36:15.170" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="8340" PostTypeId="2" ParentId="8338" CreationDate="2013-07-07T19:42:28.323" Score="3" Body="&lt;p&gt;I would recommend looking into the GoPro 3 Black Edition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Benefits:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-US$ 400 retail price&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-Wide angle lens, can cover the area you need&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-4k recording, very high resolution, lets you reframe afterwards if need be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-WiFi capabilities. I guess you could store the video signal on your laptop. I do not know what quality/compression you get out of WiFi though...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-very small and lightweight, you could basically tape it anywhere, or grip clip it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need a higher quality image and less compression, I would rent a RedOne MX. With cheap optics you could get a week rental (depending on where you are) for about US$600. Then SDI the signal to a Black Magic deck (US$150 a week? maybe). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Benefits: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;-&quot;RAW&quot; recording. It actually means the signal is compressed but not debayered in camera. If you are not familiar with the term wikipedia has a good article on it, but basically you get color information from each pixel, and not a calculated average. Dont know if you can get a white paper that describes the file structure of the RAW file so you can use it directly in your code though...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-4.5k frame size, even bigger.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-you can choose your lens, higher quality and more precise framing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-you could tweak the frame rate. Maybe you do not need 24 fps. I would guess 8 fps is fine, if people are far away and nothing moves quickly through the frame. Some old cameraman say that to get full clarity in movement, at 24fps, an object can traverse the full horizontal frame in 7 seconds. Which means you could shoot 8fps if the fastest someone moves from one end of the frame to the other is 21 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is a heavier camera though, a little more complicated to rig. If you can spend a little more money get the Red Scarlet X, it is much lighter, and can do up to 3:1 compression, instead of the 8:1 that the RedOne MX outputs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, you also need to think of powering these things up, so if you can get an AC cable to the camera, you can get a USB, SDI, etc, you dont really need the WiFi capabilities...&lt;/p&gt;&#xA;" OwnerUserId="4332" LastActivityDate="2013-07-07T19:42:28.323" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8341" PostTypeId="2" ParentId="8296" CreationDate="2013-07-07T19:57:08.653" Score="2" Body="&lt;p&gt;Bob, if you ask 10 ASC Cinematographers which filters they think are best and which lenses are higher quality, youll get 10 different answers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Point is, it is subjective. You have to test and choose for yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frame a nice picture, with dark and light elements in frame, with a bare bulb in frame, add something highly textured (like plants or a piece of clothing), and with some skin tone (a model). Then shoot some tests with your lenses, with and without the ND filter, with the lenses wide open and also with your most common shooting stop (f/2.8 to f/4 probably), and screen the results. You will clearly see if your ND filter flares, or has a color cast, or makes you lose resolution, or not. And then you can decide if you are ok with it or not.&lt;/p&gt;&#xA;" OwnerUserId="4332" LastActivityDate="2013-07-07T19:57:08.653" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8342" PostTypeId="2" ParentId="8283" CreationDate="2013-07-07T20:51:38.590" Score="5" Body="&lt;p&gt;I disagree with the above answers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Our visual culture and the century of cinema has dictated that we evaluate a 180 degree shutter as &quot;normal&quot;, because that is how film cameras have worked almost forever, and that is how most scenes in every movie are shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;180 degree shutter is the same as 1 over twice the frame rate, or 1/48 for 24fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there is little to no movement in frame, it is true that shutter speed will not create any visible effect, but with fast character movement or almost any but the slowest camera movement a different shutter speed will be noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is valid to say that for storytelling reasons you need the shutter to be closed down, but if its just for technical reasons, it will be noticed, and will come through as amateurish. Use ND filters for exteriores, for sure. If you are afraid of quality loss, test them, but every major production uses ND filters, so unless you use cheap plastic ones, you will be fine. Be more wary of color cast than of resolution loss though. Some digital sensors need extra IR filtration on hot day exteriors to maintain color consistency.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regarding timelapses, the same rule applies. Use 180 degree shutter unless the story calls for something different. This presents an extra challenge. If you need one frame every 10 seconds, it means that each frame must be exposed for 5 seconds, which is a lot for day exteriores, and you will need a lot of ND filtration. I am sure there are many great timelapses that do not follow this rule, but I suggest looking at Kooyanisqatsi, the feature film that made nature timelapses famous. Every shot uses a 180 degree shutter, and it looks gorgeous, cinematic, epic.&lt;/p&gt;&#xA;" OwnerUserId="4332" LastActivityDate="2013-07-07T20:51:38.590" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8346" PostTypeId="1" CreationDate="2013-07-08T05:17:56.967" Score="2" ViewCount="2631" Body="&lt;p&gt;This editing techniques seem very prevalent on YouTube (usually in the type of videos where the person is just talking to the screen/audience).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically they just make a small 1 second cut every 5 seconds or so.  Makes the video seem to go at a faster pace.  I remember seeing it from Philip DeFranco (&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/_ATwd3EufUA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;) years ago but now it looks like everyone is doing it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a name for this technique?&lt;/p&gt;&#xA;" OwnerUserId="1485" LastEditorUserId="95" LastEditDate="2013-07-08T21:15:09.750" LastActivityDate="2013-07-10T19:32:48.037" Title="What is this 5 second interval cut technique called?" Tags="|editing|youtube|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8347" PostTypeId="2" ParentId="8337" CreationDate="2013-07-08T05:30:11.083" Score="0" Body="&lt;p&gt;This is easily done by right-clicking on a blank cell in the draw module and changing your gird layout from there.&lt;/p&gt;&#xA;" OwnerUserId="2403" LastActivityDate="2013-07-08T05:30:11.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8349" PostTypeId="2" ParentId="8346" CreationDate="2013-07-08T05:33:23.133" Score="4" Body="&lt;p&gt;It's referred to as a jump cut.  I would guess that perhaps the Apple ads that used it might have made it popular again, but that's just a guess.  The idea behind it is to visually show a change in direction of thought since typically it matches up with the start of another phrase.  It jumps the viewer forward in time and makes them aware of a subtle change in action.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A similar technique is often used in interviews where clips are cross dissolved to produce a smooth flow where silence is eliminated.  The approach of replacing these dissolves with jumps gives more of a feel of rapid movement through time and has made appearances in recent culture as more &quot;edgy.&quot;&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-07-09T17:03:49.943" LastActivityDate="2013-07-09T17:03:49.943" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8351" PostTypeId="1" AcceptedAnswerId="8363" CreationDate="2013-07-08T16:58:57.690" Score="5" ViewCount="152" Body="&lt;p&gt;Walmart sells a line of beverages manufactured by Cott with very generic labelling, for example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://i.walmartimages.com/i/p/00/06/15/00/01/0006150001096_180X180.jpg&quot; rel=&quot;noreferrer&quot;&gt;Cott Grape soda image&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since these drinks bear no brand name, I know there are no trademark/brand issues there. There are also no trademarked logos (with the exception of a very small Royal Crown logo by the nutrition facts which would be easy to not show on camera).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what I'm wondering: Could the printed format on the can be protected by some sort of copyright/trademark or other form of intellectual property protection? If so, how can I find out?&lt;/p&gt;&#xA;" OwnerUserId="4338" LastActivityDate="2013-07-09T12:56:44.623" Title="Would it be legal to use Cott-produced, generic beverages in a film?" Tags="|filming|legal|" AnswerCount="4" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8352" PostTypeId="2" ParentId="8305" CreationDate="2013-07-08T17:47:38.650" Score="1" Body="&lt;p&gt;Here's a non-command-line option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try Collaaj (&lt;a href=&quot;http://collaaj.com&quot; rel=&quot;nofollow&quot;&gt;http://collaaj.com&lt;/a&gt;). Works on PC &amp;amp; Mac. It doesn't work on Ubuntu, but since you mentioned you have OSX, this should work just fine. I think it should do what you asked for and more. Such as region selection, selecting inputs etc.., and it also lets you upload and maintain your recordings on collaaj.com for anytime access. They have a nice set of videos here - &lt;a href=&quot;http://collaaj.com/videos&quot; rel=&quot;nofollow&quot;&gt;http://collaaj.com/videos&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4339" LastActivityDate="2013-07-08T17:47:38.650" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8353" PostTypeId="2" ParentId="8351" CreationDate="2013-07-08T18:08:53.770" Score="3" Body="&lt;p&gt;I think you have the reason that brands don't appear in films backwards.  &quot;Promotional Consideration&quot; is the term for a company paying to have their product used in media as a form of advertising.  Generally, entertainment companies avoid displaying any brands because they want to be paid for the product to appear and couldn't charge for it if they just did it anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It doesn't hurt to verify in your jurisdiction (and I am not a lawyer), but I'm not aware of any restrictions on a trademark appearing in media as long as it appears on something that the trademark actually belongs to.  If one of your characters is drinking a Pepsi, it isn't a misuse of the Pepsi trademark because it is the product being used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now if you instead slapped the Pepsi logo on the side of a building and filmed it as if it was what was going on at the Pepsi headquarters, then there might be trademark issues since it is a use of the trademark for purposes other than official Pepsi products.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-08T18:08:53.770" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8354" PostTypeId="2" ParentId="8351" CreationDate="2013-07-08T18:35:55.840" Score="3" Body="&lt;p&gt;In addition to what AJ says, and I am also not a lawyer, one reason for not displaying actual brand logos is if your use (by a character, etc) could be seen as placing the brand in disrepute, or in some way showing it in a negative light. Many companies are very touchy about reputation and won't hesitate to call out the legal beagles.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-07-08T18:35:55.840" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8355" PostTypeId="2" ParentId="8346" CreationDate="2013-07-08T20:43:37.617" Score="1" Body="&lt;p&gt;I'd be careful how one uses the term 'jump cut'. Historically a jump cut meant a serious violation of continuity such as a cowboy holding a gun in his left hand and then in the next shot he is holding it in his right hand with no possible reason for the sudden change. Another example is when action might be moving from left to right and suddenly in the next shot everything is moving right to left, again for no reason. Errors in continuity cover a lot of area including wardrobe, make up, props including guns, where people are standing or sitting etc. In narrative film continuity is extremely important to keep what might have taken weeks to shoot appear to be happening right now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand a jump cut where a cowboy holding a gun in one shot and it suddenly becomes a flower in the next shot would be a special case of a jump cut, called a 'magic cut'. Or another example of a magic cut is when people appear to beam up in Star Trek.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The example you have shown us uses what might be called 'jump-ahead-cutting' or 'fast forward cuts' wherein there is a reasonable amount of continuity (the background is the same, the guy hasn't changed his clothing) but to save time the editor is jumping ahead to get to the point or points. This works well with several successive discrete cuts to get rid of those awkward pauses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Often in news interviews will use this technique and another version where instead of a cut the editor provides a 1/2 second or 1/4 second dissolve to the 'ahead' shot to smooth it over a bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE:&#xA;With all due respect to AJ Henderson, I don't believe that using the term 'jump cut' is accurate because it is too general. What I think is needed here is a new term for the example sited by Jack above. Something more specific. While 'jump-ahead-cutting' is not official but only my own description it may not fit the bill.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps if we think of the original clip in the example before editing like the path of a skipping stone on a still bed of water, cutting so only the parts where the stone actually touches the water or cutting when only the stone is gliding in the air is analogous to the example. Might we call this a 'skip-cut'?&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2013-07-10T19:32:48.037" LastActivityDate="2013-07-10T19:32:48.037" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="8356" PostTypeId="2" ParentId="8337" CreationDate="2013-07-08T21:13:20.790" Score="1" Body="&lt;p&gt;When you draw in a note in Live's MIDI Clip View editor, the note defaults to the current size of the grid. You can change the grid size (there's a right-click menu, as well as keyboard shortcuts, and zooming in/out if that is enabled), and you can also change the length of an existing note by grabbing the beginning or ending edge of it and dragging around in whatever the current grid size is. You can also drag to arbitrary sizes, ignoring the grid, by holding ctrl/cmd.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you select a group of notes and then change one's length, they'll all expand/contract with it.&lt;/p&gt;&#xA;" OwnerUserId="95" LastActivityDate="2013-07-08T21:13:20.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8357" PostTypeId="2" ParentId="7356" CreationDate="2013-07-08T21:13:33.053" Score="0" Body="&lt;p&gt;Expect a certain degree of latency. 3G (Such as hspda+) is fairly latent and not suited well for real-time data transmittal. &lt;/p&gt;&#xA;" OwnerUserId="4341" LastActivityDate="2013-07-08T21:13:33.053" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8363" PostTypeId="2" ParentId="8351" CreationDate="2013-07-09T12:56:44.623" Score="6" Body="&lt;p&gt;I received an answer from an actual lawyer:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Context matters. As a general matter, it is perfectly &quot;legal&quot; to use anyone's logo or brand indicia in a film, without permission, as long as it is done in a manner which does not falsely suggest the endorsement or sponsorship of the film or the producer's products by the trademark owner. For example, it is entirely possible to have your hero drink Beefeater or 7-Up in clearly identified containers. No permission is required. It is not really clear what interest you may think is being protected, but trademark law doesn't preclude all use of the trademark owner's mark by others. Sometimes, in an excess of caution, such permissions will be sought. They are nearly universally granted.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;http://www.lawyers.com/ask-a-lawyer/572216.html?reply=MzMxOTk=&quot;&gt;Hilary B. Miller on Lawyers.com&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4338" LastActivityDate="2013-07-09T12:56:44.623" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8369" PostTypeId="2" ParentId="8305" CreationDate="2013-07-09T23:14:00.280" Score="3" Body="&lt;p&gt;Alternatively, pipe your screen output to a second computer to record, using a device like a Blackmagic Intensity. It supports capturing to a totally uncompressed format (make sure you have an SSD or a RAID setup to record as the bitrate is very high). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the computer you're doing the work on should have dual monitor output - mirror the display so one output goes to your monitor, the other to a PC with a BlackMagic PCIe (or USB 3.0) card in it, that records the output. Use DVI/HDMI, not VGA.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note, the Intensity only supports video-type resolutions, so a res like 1024x768 or 1024x1024, etc. is no good - 480p, 720p, 1080p, etc. are what you'll need to mirror your display at (21&quot; 1080p LCDs are $99 now anyways). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you can edit &amp;amp; compress the raw video any way you like.&lt;/p&gt;&#xA;" OwnerUserId="1725" LastActivityDate="2013-07-09T23:14:00.280" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8388" PostTypeId="1" AcceptedAnswerId="8389" CreationDate="2013-07-12T01:49:03.460" Score="2" ViewCount="1432" Body="&lt;p&gt;I have two clips running at the same time. One is a computer and the other is a clip that I've made to look like its running on the computer screen. I've used four corner motion tracker to keep the two in sync as the computer clip zooms in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At a certain point i'd like to freeze the computer clip while the clip on its screen plays out. I can crop the computer clip up to the point I want it frozen but I'm unsure of how to extend/repeat that last frame so it stays visible until the other clip finishes. At the moment it just dissapears when it hits the crop.&lt;/p&gt;&#xA;" OwnerUserId="4352" LastActivityDate="2016-05-11T14:06:43.127" Title="Freezing/repeating the last frame of a video clip in Apple Motion 5" Tags="|video|video-editor|motion|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8389" PostTypeId="2" ParentId="8388" CreationDate="2013-07-12T02:20:12.090" Score="1" Body="&lt;p&gt;Okay, figured out how to do this. Make sure you location is at the frame you want to freeze, hide all the other layers in Motion to just show the video that you want to freeze.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then go Share menu &gt; Save Current Frame. Then save that image somewhere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All you have to do then is import that image back in and place it again at the end of the clip it came from. Ensure it's lower in the layer stack so that other clips appear on top of it until they disappear - or just crop it.&lt;/p&gt;&#xA;" OwnerUserId="4352" LastEditorUserId="2178" LastEditDate="2013-12-14T14:12:18.353" LastActivityDate="2013-12-14T14:12:18.353" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8394" PostTypeId="1" AcceptedAnswerId="8395" CreationDate="2013-07-12T19:55:24.873" Score="0" ViewCount="185" Body="&lt;p&gt;I'm planning on making some &quot;let's play&quot; videos. These videos are usually edited together from screen recordings of multiple different players but have one shared audio track. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an example: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/fMzUkYSa6ck?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the best way to go about doing this? What software would be good for this? Ideally I'd like to import all of the screen recordings into the software and then have a way of easily switching between &quot;cameras&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Links to tutorials doing this or something similar would also be a huge help. &lt;/p&gt;&#xA;" OwnerUserId="4356" LastActivityDate="2013-07-12T21:53:44.570" Title="Best way to edit multi screen footage into one clip." Tags="|video|editing|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8395" PostTypeId="2" ParentId="8394" CreationDate="2013-07-12T21:53:44.570" Score="1" Body="&lt;p&gt;Adobe Premiere Pro actually has a multicamera mode you can use where it will display all the videos playing together and you can switch between them.  You just line up the time and then can swap.  If they aren't time synced, then you can simply cut clips out and place them at will.  That's why it is called non-linear editing (NLE), because you can take clips and put them together without having to work linearly (deck to deck) like you used to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While links are generally discouraged, I think &lt;a href=&quot;http://helpx.adobe.com/premiere-pro/using/editing-multi-camera-sequences1.html&quot; rel=&quot;nofollow&quot;&gt;this link&lt;/a&gt; to Adobe's help pages is probably the most ideal explanation of how to do multicamera editing.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-12T21:53:44.570" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8399" PostTypeId="1" CreationDate="2013-07-14T01:38:10.807" Score="4" ViewCount="1570" Body="&lt;p&gt;In the many Red Dead Redemption trailers, they use this cool effect were paint/brush strokes somewhat pan into the actual game-play and overlay it with an awesome drawn out piece from the previous frame - what I am trying to do, is recreate just that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example is : &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/3gBctl1h_2o?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; at 0:11 and 0:17&lt;/p&gt;&#xA;" OwnerUserId="4360" LastActivityDate="2020-01-17T05:18:21.560" Title="How could I recreate this stroke effect in After Effects and/or Sony Vegas?" Tags="|after-effects|vegas-pro|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8400" PostTypeId="1" CreationDate="2013-07-14T05:16:34.000" Score="2" ViewCount="151" Body="&lt;p&gt;I have a LCD monitor which only has resolution of &lt;code&gt;1366 x 768&lt;/code&gt;, and it can support &lt;code&gt;1080i&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Should I output 1080i video to this monitor, or should I just use 720p? Which one is better?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I have tested using &lt;code&gt;1080i/50&lt;/code&gt; give me the best result, while &lt;code&gt;1080i/60&lt;/code&gt; produce flicking image, any idea?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="4361" LastActivityDate="2013-07-14T21:14:11.190" Title="Using 1080i on a 720P monitor will produce better image/video quality?" Tags="|video-quality|hdmi|full-hd|video-standards|hdcp|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8401" PostTypeId="2" ParentId="8399" CreationDate="2013-07-14T08:20:52.050" Score="3" Body="&lt;p&gt;It's a lot of matte painting.  While the video is still running, they animate a semi-transparent shape (probably made in Illustrator or something similar) and animate the shape in over it.  As soon as the painting finishes, they switch to a frozen shot of the last frame and seem to transition to the painted version of that frame.  It's hard to tell exactly from the Youtube video since I can't frame advance, but that should get the general feel of it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-14T08:20:52.050" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8402" PostTypeId="2" ParentId="8400" CreationDate="2013-07-14T08:22:45.400" Score="2" Body="&lt;p&gt;Native resolution is always better than non-native.  If it only has a resolution of 720p, then it would have to be down-converting to that resolution which means it has to blend pixels which can produce artifacts from the pixel blending.  (Notably, softer edges is the most likely.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: I'm sorry, re-reading, I noticed that it isn't native for either resolution.  I didn't read closely enough as I was a bit tired when responding just before bed.  Given that the resolution exceeds 720p, it would probably be better to use the higher resolution, though the interlacing would be the bigger problem.  I'd suggest trying both and picking whichever looks better to you.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-07-14T21:14:11.190" LastActivityDate="2013-07-14T21:14:11.190" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8407" PostTypeId="2" ParentId="4400" CreationDate="2013-07-15T06:42:02.907" Score="0" Body="&lt;p&gt;Here's what I &lt;em&gt;think&lt;/em&gt; is going on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the example above, with the &quot;A&quot;, let's assume that all white space takes up very little information in the data stream when being transferred from the camera, and that the &quot;A&quot; itself takes considerably more space (similar to how, in a JPEG, an image with lots of solid color will be smaller than an image with lots of contrast). In this case, looking at ROI 1, you are cutting out parts of the &quot;A&quot;, meaning parts of the image that would be costly to transfer are being left out. This means that the resulting stream will be considerably smaller. In ROI 2, the only parts being cut out are white parts that would be very cheap to transfer anyway, thus making it inefficient.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking at the two diagrams, the first one seems to illustrate RIO 1. Notice that the video output here seems to measure 2,448 CLK. In the upper right we see that 1 CLK = 12.22 nanoseconds. Doing the math, that comes out to the video output taking 29.91456 microseconds. Meanwhile, in the second diagram, we have what appears to be an illustration of RIO 2. Here, video output is measured at 2,058 H, with 1 H being 31.68 microseconds. That comes out to 65.19744 milliseconds, considerable longer than 30 microseconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll admit the diagrams are strange, but really they just seem to be an overly-complicated way of saying that RIO 1 leaves less hard-to-transfer parts of the image than RIO 2 (which leaves all of it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's my guess.&lt;/p&gt;&#xA;" OwnerUserId="2738" LastActivityDate="2013-07-15T06:42:02.907" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8413" PostTypeId="2" ParentId="8399" CreationDate="2013-07-16T19:07:18.343" Score="1" Body="&lt;p&gt;Down and dirty and did I say simple?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately in Vegas Pro under the transitions tab is a group of transitions called gradient map. In this group is a paint stroke or splatter like transition. First set the fade time on the clip(s) then add this effect by drag and drop. You'll find it's more like a drippy paint than a stroke, perhaps you can fiddle with the settings of this transition to season to taste.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could use this effect with a solid background color field and blend with your next scene, just another track to add, but be aware that you will may need to play with the compositing method to see what looks best: add, subtract, dodge, burn, difference, etc.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2013-07-16T19:07:18.343" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8415" PostTypeId="2" ParentId="4400" CreationDate="2013-07-16T21:47:52.957" Score="1" Body="&lt;p&gt;The image is scanned (and data stored) with an imaginary cursor starting at the upper left, working across horizontally to the right, then the cursor pauses to move down one line and resetting to left edge. One could think of the rectangular image as a single string where the &quot;carriage return - line feed&quot; is merely implied by keeping track of the timing (or counting pixels). In most image storage formats, the width and height are tags in the header and the data itself is a long stream without demarcated frame extents. Since the figures speak about clocks and blanking however, file storage is probably not implicated here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I think&lt;/em&gt; that the horizontal scan lines can be skipped (or at least started and then reset arbitrarily), but cannot be started at an arbitrary distance from the left edge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Selection 1, is optimal for this behavior: you send a minimal set of commands to skip down to the proper horizontal position, and scanning can start at the upper left &lt;strong&gt;of the desired viewport&lt;/strong&gt; scan what is desired and then skip the rest.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Selection 2, we must scan every single line to at least the rightward extent of the part we are interested in, at which time we can send a command to move to the next line and reset.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Very roughly: if you have a 99w x 99h &quot;units&quot;, and are interested in 1/3 of the image centered as in the examples, in selection 1, you scan 99w x 33h units while in selection 2, you must scan 66w x 99h units minimum. It is unclear to me, but the supporting figure looks to me to be speaking about selection 2 only, and the horizontal &quot;2,592clk 1H&quot; implies to me that the right-side mask is skipped for scanning.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that if the camera cannot start a horizontal line without scanning the complete line (i.e. can't stop and reset at an arbitrary distance from the left edge), then the selection 2 scenario must scan 99w x 99h units.&lt;/p&gt;&#xA;" OwnerUserId="399" LastActivityDate="2013-07-16T21:47:52.957" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8416" PostTypeId="1" CreationDate="2013-07-16T22:11:39.393" Score="0" ViewCount="99" Body="&lt;p&gt;I have a video that is 38 minutes and 13 seconds in length but when I convert the video to the H.264 encoding using the 'YouTube HD 720p 29.97' preset the video is converted - but only the first 2 minutes or so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video file is of the extension '.avi' and was originally recorded using the Lagarith Loss-less video codec in DXtory - the original file fps is 30.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can I do to convert the entire video?&lt;/p&gt;&#xA;" OwnerUserId="4371" LastActivityDate="2013-07-17T15:32:01.323" Title="Adobe Premiere Pro CS6 Shortening Video" Tags="|premiere|conversion|mp4|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8417" PostTypeId="2" ParentId="8416" CreationDate="2013-07-17T03:24:40.327" Score="1" Body="&lt;p&gt;After selecting File -&gt; Export -&gt; Media, in the Export Settings window that pops up, go to the lower left and make sure that Source Range: Entire Sequence is selected.&lt;/p&gt;&#xA;" OwnerUserId="2738" LastActivityDate="2013-07-17T03:24:40.327" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8419" PostTypeId="2" ParentId="7632" CreationDate="2013-07-17T10:40:39.937" Score="1" Body="&lt;p&gt;Try to publish your video on youtube and add 'Titles' as plain text file. It will be synced automatically if language is supported by Google voice input.&lt;/p&gt;&#xA;" OwnerUserId="4373" LastActivityDate="2013-07-17T10:40:39.937" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8420" PostTypeId="1" AcceptedAnswerId="8421" CreationDate="2013-07-17T13:18:09.030" Score="1" ViewCount="640" Body="&lt;p&gt;I recently tested my GoPro Hero 3 for the first time during a run in the park using a helmet mounting. It's not bad footage but it's very 'bouncy'. I've been looking at a few options to stabilize the camera. There are some interesting steadicam options out there and some very fine DIY videos on YouTube. However most helmet-based steadicam solutions involve mounting the camera on a long pole which includes a counter weight.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm going to be running the Tough Mudder (&lt;a href=&quot;http://www.toughmudder.com&quot; rel=&quot;nofollow&quot;&gt;http://www.toughmudder.com&lt;/a&gt;) soon and I don't think sticking the rig of a long pole will be particularly convienent, least of all for the other runners whom I might injure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an alternative steadicam-style helmet mounting that I could buy or make?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="4374" LastEditorUserId="5416" LastEditDate="2014-04-01T17:53:55.340" LastActivityDate="2015-08-03T09:33:01.820" Title="In search of a Helmet-based steadicam solution for GoPro Hero 3" Tags="|video|action-cam|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8421" PostTypeId="2" ParentId="8420" CreationDate="2013-07-17T13:52:20.823" Score="1" Body="&lt;p&gt;Unfortunately, the physics of a Steadycam require a counterweight (sometimes provided by springs) and distance to minimize the impact of movement by using the inertia of the system.  The best you might be able to do in a small size would be a shock mount.  If you had a power source, you could presumably put a small gyroscope in to try and further stabilize the rotation, but that would become pretty (very) expensive really fast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A shock mount is probably your best option within a semi-affordable range and will deal with the actual movements forward and backward, up and down, etc, but not rotation.  It does appear that people have made multi-axis gyro mounts that would work, but they've all been custom builds and the power and weight is still probably prohibitive to wearing it in a run.  It would also still have to be shock mounted to account for lateral movements as the gyro would only deal with rotation.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-17T13:52:20.823" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8422" PostTypeId="2" ParentId="8416" CreationDate="2013-07-17T15:32:01.323" Score="0" Body="&lt;p&gt;There are two possibilities here.  One is that your work area is highlighting less than the entire sequence.  There is a selectable area (shown by two notches on the timeline) that will normally be the limit of the area that Premiere exports if you leave the defaults.  You can either adjust the selected work area or choose to Entire Sequence as the range to export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other, though much less likely possibility, is that you are using a third party H.264 encoder that is in a demo mode and limiting output to two minutes.  It is reasonably common for trial modes of codecs to include a length limitation so that the full quality can be seen but it isn't useful for any major projects, but unless you've installed a third party codec, this isn't a possible cause.  If you had a codec installed in the past however, Premiere may have picked it up and started trying to use it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-17T15:32:01.323" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8425" PostTypeId="1" AcceptedAnswerId="8427" CreationDate="2013-07-17T21:24:59.853" Score="0" ViewCount="1424" Body="&lt;p&gt;On one channel of my Mackie mixer, the OL light is on whatever I do. The channel sounds like it's working but the OL light is lit. What is the reason?&lt;/p&gt;&#xA;" OwnerUserId="3480" LastActivityDate="2019-07-05T00:10:33.210" Title="Overloading in a Mackie profx8" Tags="|mixer|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8427" PostTypeId="2" ParentId="8425" CreationDate="2013-07-17T22:15:28.457" Score="1" Body="&lt;p&gt;Try turning the gain all the way down and unplugging the channel.  If the overload light is still lit, then there is a fault with your board.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-17T22:15:28.457" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8433" PostTypeId="2" ParentId="7237" CreationDate="2013-07-18T21:29:05.373" Score="2" Body="&lt;p&gt;Wikipedia is not a bad resource for explaining the different types of edits in continuity editing. Some have examples using stills of the out and in points, or references to usage of the edit in a well known film sequence.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Continuity_editing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Continuity_editing&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/180-degree_rule&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/180-degree_rule&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/30-degree_rule&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/30-degree_rule&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Axial_cut&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Axial_cut&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Cross-cutting&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Cross-cutting&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Cutaway_(filmmaking)&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Cutaway_(filmmaking)&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Cutting_on_action&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Cutting_on_action&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Establishing_shot&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Establishing_shot&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Eyeline_match&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Eyeline_match&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Insert_(filmmaking)&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Insert_(filmmaking)&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/L_cut&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/L_cut&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Long_take&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Long_take&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Match_cut&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Match_cut&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Shot_reverse_shot&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Shot_reverse_shot&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4382" LastEditorUserId="11926" LastEditDate="2021-01-25T12:37:50.227" LastActivityDate="2021-01-25T12:37:50.227" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="8436" PostTypeId="1" AcceptedAnswerId="8439" CreationDate="2013-07-19T07:53:44.480" Score="0" ViewCount="102" Body="&lt;p&gt;I have recently asked about Auto ISO for video, and got great responses. I would like to have further clarifications in these regards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am planning to film an event in a public place. The scene will be fairly dynamic, and I won't have much of a control over what will be going on. I believe I won't have much time for settings either.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For these reasons, I was planning to use AWB and Auto ISO. Specifically, I was thinking about setting the ND filter and aperture such that the correct exposure would correspond to ISO 200. That way, the camera should be able to go up and down when needed.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, considering that each clip will be no more than 4 seconds, will I run into any issues with the above strategy?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: I will be using a 5DMIII (no Magic Lantern).&lt;/p&gt;&#xA;" OwnerUserId="1570" LastActivityDate="2013-07-19T14:29:35.777" Title="AWB and Auto ISO in fast moving scenes" Tags="|video|video-quality|dslr|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8439" PostTypeId="2" ParentId="8436" CreationDate="2013-07-19T14:29:35.777" Score="1" Body="&lt;p&gt;It's a toss up either way.  On the one hand AWB may help you get better footage without needing manual correction later, but on the down side, if you end up needing any correction, it will change uncontrolled on you and will complicate the process of color correction in post.  If you don't plan to color correct in post and don't have time to adjust white balance on the fly, then AWB is really your only choice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Auto ISO has similar problems.  It should generally do a decent job, particularly if you set good edge boundaries for the ISO (which the 5d3 does nicely), but it will shift on you and make adjusting for brightness and contrast in post more difficult.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ultimately the shot you get is better than the shot you don't though, so if you can't operate it manually fast enough to get the shots, then use Auto for what it is there for, getting the shot you wouldn't otherwise be able to get.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-19T14:29:35.777" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8443" PostTypeId="2" ParentId="2571" CreationDate="2013-07-20T00:57:11.273" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/8442/its-2013-is-hacked-gh1-still-the-best-cheap-cinematic-video-camera&quot;&gt;https://video.stackexchange.com/questions/8442/its-2013-is-hacked-gh1-still-the-best-cheap-cinematic-video-camera&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This camera body can be had for £200-400. Use a &quot;micro four thirds adapter&quot; to attach any high-end used lens you can get your hands on. Beware, however, if you use such an adapter, zoom and focus motors do not work. Or instead you can use a real micro four thirds lens if you need focus and zoom motor. &lt;/p&gt;&#xA;" OwnerUserId="867" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2013-07-20T00:57:11.273" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8444" PostTypeId="1" CreationDate="2013-07-20T11:24:27.513" Score="2" ViewCount="1014" Body="&lt;p&gt;Can anyone tell me how I'm going to get the best performance out of AE - I have a number of circles I need to animate expanding which are essentially stroked lines.  Just made some paths with very thick strokes and it seems to be chugging a bit.  I'm wondering if I would be better off with a Solid, with a circular mask on it, if that's faster to render - more over, I'm looking for a document that explains how Shape layers are rendered vs Masks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any reading anywhere on performance for this kind of thing? Have any of you come across this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm running a iMac, 27-inch, Mid 2011&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Processor  3.4 GHz Intel Core i7&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Memory  8 GB 1333 MHz DDR3&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Graphics  AMD Radeon HD 6970M 2048 MB&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Software  Mac OS X Lion 10.7.5 (11G63b)&lt;/p&gt;&#xA;" OwnerUserId="4385" LastEditorUserId="4385" LastEditDate="2013-07-22T12:56:29.260" LastActivityDate="2013-08-23T13:55:45.043" Title="Animating shapes vs masks in After Effects" Tags="|after-effects|performance|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8446" PostTypeId="1" AcceptedAnswerId="8449" CreationDate="2013-07-21T02:25:38.783" Score="2" ViewCount="1093" Body="&lt;p&gt;I recorded some videos from my superzoom compact camera Canon Powershot SX150 IS. When I run these videos on camera itself, they run fine. But when I move them on PC and run it, I can see it being pixelate and gray framing many times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried it with Auto mode as well as M mode (where I can do all settings myself).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I missing some setting?&#xA;Or if I can repair these videos...&lt;/p&gt;&#xA;" OwnerUserId="5946" OwnerDisplayName="articlestack" LastEditorUserId="3750" LastEditDate="2013-07-21T11:52:55.670" LastActivityDate="2017-07-25T20:37:55.823" Title="What can cause poor quality video in Canon point&amp;shoot camera?" Tags="|video|camera|video-quality|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8448" PostTypeId="1" CreationDate="2013-07-21T06:15:05.577" Score="2" ViewCount="1139" Body="&lt;p&gt;my CCTV software (GeoVision) supplies me with AVI videos with the FourCC &quot;GMP4&quot; codec (&quot;Geovision MP4&quot;). The codec is supplied as a Video for Windows 32-bit driver only, so I had to set up a virtual machine to even be able to play the files with MPC-HC. What software can I use to convert the files into something more universal like h.264?&#xA;The &quot;usual suspects&quot; ffmpeg/VLC don't play the file at all because they are not able to use VfW codecs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="4388" LastActivityDate="2013-12-19T15:25:34.883" Title="Convert VfW-codec based video to &quot;normal&quot; (Windows)" Tags="|conversion|windows|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8449" PostTypeId="2" ParentId="8446" CreationDate="2013-07-21T07:57:51.593" Score="1" Body="&lt;p&gt;On camera viewing is limited by the low resolution of the lcd-display of the camera. Maybe there is the same issues but you just don't notice them on the small display?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for what might be causing this, without seeing a sample video, I'd suggest a slow memory card. Would you get these quality issues if you shot a video with one step lower quality? I would buy/borrow a faster or at least better quality memory card and see if the problem is solved.&lt;/p&gt;&#xA;" OwnerUserId="3750" LastActivityDate="2013-07-21T07:57:51.593" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8450" PostTypeId="1" CreationDate="2013-07-21T11:17:38.257" Score="1" ViewCount="7048" Body="&lt;p&gt;So pretty much it. Simply clicking the .exe nothing happens, no errors, no nothing. It just simply do not work. Premiere works and when exporting video and clicking Queue simply nothing happens, AME doesn't get loaded neither, I just get back to Premiere window.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also applied latest 7.0.1 update and nothing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With CS6 everything worked.&lt;/p&gt;&#xA;" OwnerUserId="4389" LastActivityDate="2016-04-16T08:49:40.893" Title="Adobe Media Encoder CC do not work/start/load on Win8 x64" Tags="|software|windows|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8452" PostTypeId="1" AcceptedAnswerId="8454" CreationDate="2013-07-22T07:47:13.887" Score="3" ViewCount="135" Body="&lt;p&gt;I know this might sound absurd but can i use use a cell phone camera NEXUS 4 &amp;amp; iphone 4s to be specific, to record 1080p HD videos and will those videos be good enough to play in a theater environment. This is what i have for shooting, is it possible. If yes do i need to make any tweaks with apps, processing, editing. Need your guidance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks a ton, i am completely new to this but want to do this all by my self.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Appreciate your answers and help !!!&lt;/p&gt;&#xA;" OwnerUserId="4391" LastActivityDate="2013-07-22T14:00:35.333" Title="Using cell phone camera to record and play back in theaters?" Tags="|video|theater|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8453" PostTypeId="1" CreationDate="2013-07-22T08:22:48.713" Score="2" ViewCount="141" Body="&lt;p&gt;I've about 1000 audio files that I want to batch convert to videos, with some picture slideshows &amp;amp; upload to youtube. Is there any tool available that does this ?&lt;/p&gt;&#xA;" OwnerUserId="4392" LastEditorUserId="2569" LastEditDate="2013-07-22T12:34:59.773" LastActivityDate="2013-12-19T16:25:34.890" Title="batch audio + picture slideshow video creation for youtube" Tags="|software-recommendation|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8454" PostTypeId="2" ParentId="8452" CreationDate="2013-07-22T14:00:35.333" Score="3" Body="&lt;p&gt;1080p is sufficient in terms of resolution, though 2k or better yet 4k is prefered these days, though resolution isn't the only measure of quality. The quality of the color and dynamic range of the camera and the use of a global shutter (or lack there of) can make a big difference on how good the footage looks in a theater environment, depending on what the footage is like. Footage from a cellphone is not going to have the quality of color or the shutter to hold up well in a theater. You'd really want to spend a minimum of probably $1500 or so and preferably at least $4,000 or so on a minimal setup for high quality video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as editing software, After Effects is not an editing package. You would want to use a NLE (non-linear editor) like Premiere to edit the footage. After Effects is useful for things like titling, color grading, stabilization and effects work. Sufficient quality H.264 is ideal. Probably a high data rate All I frame would be ideal, though the exact best option would depend on the playback gear available at the theater.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as how to play it at the theater. The majority of theaters are rapidly going digital. It is easier to manage digital cinema since there are only large files to deal with that can be delivered electronically and don't wear out. Also, the editing is generally done digitally anyway, so there isn't quality loss that would be necessary to move back to film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;320kbps is low for editing sound, but fine in terms of final output. Ideally you would want to record 96khz, 24bit PCM audio for each channel and then do your edits on that and only compress it for the final output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The bigger deal is that technique and skill make a far bigger difference when blowing it up a lot. A little bit of vibration that isn't that bad on a TV screen quickly becomes physically nauseating when blown up to an entire wall. You need to use good tripods and dollies and such when shooting for the theater. It would likely be possible for a really skilled individual to make something passable with a cellphone camera if the rough quality made sense for the piece, but without proper shooting technique and stabilization (physical, not added in post production) the footage would make people ill to watch in a theater.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-22T14:00:35.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8455" PostTypeId="2" ParentId="8448" CreationDate="2013-07-22T14:07:37.690" Score="1" Body="&lt;p&gt;While it can't go direct to H.264, VirtualDub I believe can work with Vfw codecs and can transcode to something more compatible with your other tools.  I don't know if Quicktime for Windows supports Vfw codecs or not, but I do believe the Pro version of Quicktime supports H.264 encoding.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have Adobe Media Encoder, it would also easily do what you are looking for, but I believe it only comes with the Adobe suite, thus would be prohibitively expensive if you don't have it already.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-22T14:07:37.690" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8456" PostTypeId="2" ParentId="8453" CreationDate="2013-07-22T14:10:43.797" Score="1" Body="&lt;p&gt;Is there a tool that will do it, probably... is there a tool that will do it well and make it anything worth watching? No.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Making a quality slideshow set to music requires manual timing and ordering and a fair bit of effort on the editor's part.  It isn't something you can simply automate away.  If you don't put in the effort to make something good, it will just be adding a bunch more Youtube slideshow trash to the already large pile of Youtube slideshow trash.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-22T14:10:43.797" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8458" PostTypeId="1" AcceptedAnswerId="8568" CreationDate="2013-07-22T19:49:40.470" Score="3" ViewCount="399" Body="&lt;p&gt;I have a use case where I need to leave a pro-sumer camcorder, (Let's say a Canon XA10) powered 24 hours a day indefinitely. The HDMI out of the camera would be used for monitoring 24 hours a day, but no recording would be done, and the LCD and viewfinder can stay turned off.  Additionally, other mechanical functions like auto focus can be disabled.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any negative effects on the camera to leaving it on and powered for extended periods of time?&lt;/p&gt;&#xA;" OwnerUserId="4395" LastActivityDate="2013-07-29T19:36:49.253" Title="What are the negative effects (if any) for leaving a prosumer comcorder powered 24hrs a day?" Tags="|camcorder|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8460" PostTypeId="2" ParentId="8458" CreationDate="2013-07-22T21:08:59.273" Score="0" Body="&lt;p&gt;I don't think there will be any real consequences. Normally I would cite overheating, LCD life reduction, etc. as consequences, but since most of the functions (including LCD) will be off and no actual recording will be taking place, it would seem that the number of moving parts that would be active would be very few.&lt;/p&gt;&#xA;" OwnerUserId="2738" LastActivityDate="2013-07-22T21:08:59.273" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8461" PostTypeId="2" ParentId="4105" CreationDate="2013-07-22T21:42:59.573" Score="1" Body="&lt;p&gt;Yes, you can use Sony Vegas for fully professional productions. I was the video producer for Media Services at a local college and I used Vegas all the time, for all kinds of productions ranging from student programs to publicity videos for the college and its website, and a huge pile of other things, like instructional videos for professors, and publicity and instructional videos for local health care organizations. I've used Final Cut Pro at our local cable access TV studio - they professionalized their production and editing area with JVC professional camcorders and Mac Pros with FCP. FCP is good - it's flexible down to the last pixel. But it's hard! They had several video instructors who were Apple-certified FCP pros. Even they couldn't get folks up to speed without a long winded learning-teaching process. I stayed with Vegas because it could do pro-level effects (we did a lot of green and blue screen) and was tons simpler than FCP.&lt;/p&gt;&#xA;" OwnerUserId="4396" LastActivityDate="2013-07-22T21:42:59.573" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8462" PostTypeId="2" ParentId="8458" CreationDate="2013-07-22T21:44:33.553" Score="2" Body="&lt;p&gt;There could be some consequences to using the Canon XA10 24/7, although I don't think they are very likely to happen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can think of two things that might go wrong:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Even tough the LCD is off, the CMOS sensor inside is still working. This can generate significant heat and cause an overheat. However, most cameras have a built in protection that shuts them down in case of overheating, so it's not a real risk.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Depending on what you will be shooting it is possible that the sun will shine directly through the lens on the sensor for a long time. There's &lt;a href=&quot;https://photo.stackexchange.com/questions/4016/can-the-sun-damage-the-camera-sensor-under-what-conditions&quot;&gt;some debate on this&lt;/a&gt; on the Photo.SE site, but some think this can damage your sensor.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="-1" LastEditDate="2017-04-13T12:43:53.643" LastActivityDate="2013-07-22T21:44:33.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8464" PostTypeId="1" CreationDate="2013-07-22T23:34:22.897" Score="0" ViewCount="1179" Body="&lt;p&gt;Any thoughts on why audio might be missing from such a project?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Steps:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) 3 mkv files 1280x720 25P, stereo audio (2 channels)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) converted to mp4 using ffmpeg&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) audio still present&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) created premiere pro cs6 hdv project&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5) lines up the 3 files, back to back&lt;/p&gt;&#xA;&#xA;&lt;p&gt;6) confirmed audio still present by listening in the monitor&lt;/p&gt;&#xA;&#xA;&lt;p&gt;7) saved project&lt;/p&gt;&#xA;&#xA;&lt;p&gt;8) created encore cs6 project, H264 blu-ray, 1280x720 50 (25 not selectable)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;9) confirm audio still present in monitor&lt;/p&gt;&#xA;&#xA;&lt;p&gt;10) create blu-ray image&lt;/p&gt;&#xA;&#xA;&lt;p&gt;11) burn it with imgburn&lt;/p&gt;&#xA;&#xA;&lt;p&gt;12) watch blu-ray on vlc player - no audio&lt;/p&gt;&#xA;&#xA;&lt;p&gt;13) on MPC-HC player - no audio&lt;/p&gt;&#xA;&#xA;&lt;p&gt;14) on cyberlink powerdvd - no audio&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've just started to repeat the steps, this time in step 8, selecting PCM audio instead of dolby (in first attempt), as the original signal is 2 channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Playback through Yamaha SW1000XG sound card, stereo out on Windows 8 desktop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Encore blu-ray generation done on Mac. blu-ray image burnt using imgburn on windows 8 desktop.&lt;/p&gt;&#xA;" OwnerUserId="1049" LastEditorUserId="2569" LastEditDate="2014-01-24T16:53:23.123" LastActivityDate="2014-01-24T16:53:23.123" Title="Why would Blu-ray made with Encore CS6 be silent/have missing audio, no sound?" Tags="|bluray|encore|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8468" PostTypeId="1" CreationDate="2013-07-23T05:08:23.463" Score="11" ViewCount="49436" Body="&lt;p&gt;I am using a &lt;strong&gt;Canon EOS-650D&lt;/strong&gt; to record video and I have a problem with wind/noise on my recordings. Can anyone tell me how can I reduce noise/wind from the recorded video. I usually edit my videos on Windows movie maker and having some knowledge of &lt;strong&gt;Adobe Premiere Pro&lt;/strong&gt; too.&lt;/p&gt;&#xA;" OwnerUserId="4285" LastEditorUserId="2836" LastEditDate="2013-07-23T14:01:14.163" LastActivityDate="2017-09-23T19:40:12.713" Title="How to reduce wind noise from a video?" Tags="|video|noise-reduction|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8469" PostTypeId="2" ParentId="8468" CreationDate="2013-07-23T05:54:59.557" Score="4" Body="&lt;p&gt;I use audacity for this not perfect but gets the job done.&#xA;You will need to extract the audio and reattach it with you editing software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://wiki.audacityteam.org/wiki/Noise_Removal&quot; rel=&quot;nofollow&quot;&gt;http://wiki.audacityteam.org/wiki/Noise_Removal&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4398" LastActivityDate="2013-07-23T05:54:59.557" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8470" PostTypeId="2" ParentId="8468" CreationDate="2013-07-23T09:19:46.700" Score="0" Body="&lt;p&gt;As already mentioned, &lt;a href=&quot;http://audacity.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;Audacity&lt;/a&gt; is good &lt;strong&gt;free&lt;/strong&gt; audio editor that can be used for cleaning your audio. There's no magic, you have to read its manual and to experiment to achieve good results. There is also &lt;a href=&quot;http://vegasaur.com/Magix-VideoLab&quot; rel=&quot;nofollow&quot;&gt;Magix Video Sound Cleaning Lab&lt;/a&gt; - it's not free, but you can freely use it for 30 days.&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2013-07-23T09:19:46.700" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8474" PostTypeId="2" ParentId="8468" CreationDate="2013-07-23T13:58:27.777" Score="8" Body="&lt;p&gt;The best bet is to avoid getting it on the recording.  The use of a wind cover can help break up the wind and prevent it from interfering with a recording.  Once it is there, particularly if it is really loud, there isn't a whole lot you can do about it that will result in satisfactory audio.  You can reduce it some, but it is unlikely to be able to be removed entirely and may well produce artifacts in your audio in the process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The old adage crap in, crap out still greatly applies to audio.  Once something is mixed in to a signal, it's part of the signal.  The real world doesn't often fit digital models very well and thus there isn't a sure way to separate one part of the signal from another part.  This is why audio recordings are done with multiple tracks rather than recording everything to one output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as what you can try doing with the existing audio, any software with noise reduction or wind reduction can try to reduce it or you can try to EQ the frequencies of the majority of the noise down some to help suppress it, but short of re-recording the audio and dubbing (or just re-shooting) there isn't anything I know of that will get rid of it entirely.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-23T13:58:27.777" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8475" PostTypeId="2" ParentId="8464" CreationDate="2013-07-23T14:03:46.360" Score="1" Body="&lt;p&gt;The only thing I can think of is that the audio channel may not be getting set on the timeline for some reason.  I would verify what audio track is associated by default with the timeline as a first step and try a simple case of a disk that immediately plays the timeline with the audio set to the default audio track.  If that still doesn't work, I'm out of ideas.  Your situation seems very odd.  Have you tried playing it in a stand alone bluray player by any chance?&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-23T14:03:46.360" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8478" PostTypeId="1" AcceptedAnswerId="8482" CreationDate="2013-07-23T17:19:19.857" Score="1" ViewCount="74" Body="&lt;p&gt;After watching Battlestar Gallactica and thinking about the Camera Technology of today it got clear that you need a high exposure time or a HDR camera to pick up the starlight.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know also that you don't see stars at the Pictures takes from the moon becaus the exposure time is too low.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the question is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it realistic that you can see stars in Motion pictures/movies taken with a HDR camera?&lt;/p&gt;&#xA;" OwnerUserId="4403" LastActivityDate="2013-07-24T19:37:09.333" Title="Are stars in Movies realistic?" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8481" PostTypeId="2" ParentId="8153" CreationDate="2013-07-23T19:57:49.080" Score="2" Body="&lt;p&gt;The encoding time is pretty long (but not unheard of), but I think your problem is your output format. You're likely not using a compressed format which is why the result is 27 GB - a movie at 1080p of the same length usually doesn't top 5 GB. It would be helpful if you elaborated a bit on the settings you used to export the media.&lt;/p&gt;&#xA;" OwnerUserId="4182" LastActivityDate="2013-07-23T19:57:49.080" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8482" PostTypeId="2" ParentId="8478" CreationDate="2013-07-23T20:55:54.760" Score="1" Body="&lt;p&gt;There are many time-lapse DSLR videos out with great star fields moving across the sky per the rotation of the earth and these are very popular.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are a few examples:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/24253126&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/24253126&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/48787310&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/48787310&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/57757618&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/57757618&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;...this has the moon, but notice how you can't see any detail of the moon's surface as it is overexposed to capture star light:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/22439234&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/22439234&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The above are for the most part are realistic and shot with DSLR cameras but in time-lapse which can allow for the needed exposure time (both dragging the shutter and opening the lens).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Hollywood feature films it would be more likely and practical for the editors to composite star fields as shot separately or create in animation as this allows for more control of the total picture with predictable results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In big productions there is less of a chance that they would try to shoot stars in real time with actors or other subjects simply because the difference in exposing stars is huge compared to that of a lit set. Just as you mentioned that you don't see a detailed moon shot with stars in the background because the moon is like 12 EV units while the stars are like near zero, that's like 12 or more stops difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the present, to get a detailed moon surface shot with a star background would require a composite.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE:&#xA;To be clear, most feature narrative films will not be real stars on their own, possibly composites with the main scene or animation or other effects while many independent cinematographers will use time-lapse that is real however sped up in time.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2013-07-24T19:37:09.333" LastActivityDate="2013-07-24T19:37:09.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8485" PostTypeId="2" ParentId="4728" CreationDate="2013-07-24T17:52:12.097" Score="21" Body="&lt;p&gt;Yes - while playing the video, press the &lt;code&gt;L&lt;/code&gt; key to increase playback speed and press the &lt;code&gt;J&lt;/code&gt; key to decrease it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For further options, please reference the relevant &lt;a href=&quot;http://help.adobe.com/en_US/premierepro/cs/using/WS52A45F55-4237-480c-86F0-9A3869DBEF57.html&quot; rel=&quot;noreferrer&quot;&gt;Premiere Pro documentation&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4182" LastActivityDate="2013-07-24T17:52:12.097" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8490" PostTypeId="1" AcceptedAnswerId="8496" CreationDate="2013-07-25T06:04:37.620" Score="1" ViewCount="271" Body="&lt;p&gt;I did not quite understand if using copyrighted music in a video falls under the umbrella of the so called &quot;Fair use&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, here, I am assuming that the video is not used for commercial purposes, and it is solely produced for artistic/hobbyist purposes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am aware of the fact that royalty free music is available online. However, there are some pieces of music, mostly from movies, which are fabulous and it is a pity to not be able to use them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am therefore wondering as to what, at least in the US, is permissible and what is not for non-commercial purposes. &lt;/p&gt;&#xA;" OwnerUserId="1570" LastActivityDate="2013-07-25T18:12:50.800" Title="Fair use with copyrighted material" Tags="|video|music|copyright|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8491" PostTypeId="1" AcceptedAnswerId="8492" CreationDate="2013-07-25T06:12:46.020" Score="1" ViewCount="3222" Body="&lt;p&gt;I'm a youtuber and I make a bunch of videos. Every time I make a vid I have to import the same files [watermarks, back ground music]. Is there anyway to make a template so when I create a new file they are already there?&lt;/p&gt;&#xA;" OwnerUserId="4416" LastActivityDate="2013-07-25T14:46:51.683" Title="Create Project Template in Adobe Premiere cs6" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8492" PostTypeId="2" ParentId="8491" CreationDate="2013-07-25T07:39:47.390" Score="0" Body="&lt;p&gt;Certainly - you can simply create a new project with the appropriate files already imported. Save that project. Whenever you need to create a new video, go to your template project and save it as a copy. This way, you retain your original template and you can bypass the process of reimporting the necessary media.&lt;/p&gt;&#xA;" OwnerUserId="4182" LastActivityDate="2013-07-25T07:39:47.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8493" PostTypeId="2" ParentId="8490" CreationDate="2013-07-25T12:25:45.413" Score="0" Body="&lt;p&gt;IANAL - but my general rule is, if someone other than myself is going to see/hear it - I have clear rights to use it. I don't use external assets unless I know they are CC with the correct attributes, public domain, or I purchased them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original movie producers paid to have that music in there, and the thought is that another movie (even non-commercial) using that music &quot;weakens&quot; their brand. The exception to this is if the new movie is a parody of the original.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, I'm not a lawyer... but it seems to me it would be better to be legit and fair, even if it require a bit more searching to find that &quot;perfect&quot; song.&lt;/p&gt;&#xA;" OwnerUserId="4311" LastActivityDate="2013-07-25T12:25:45.413" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8494" PostTypeId="2" ParentId="8490" CreationDate="2013-07-25T14:34:01.190" Score="1" Body="&lt;p&gt;I am not a lawyer, but as far as I know, the commercial vs non-commercial distinction doesn't matter in terms of copyright restrictions unless the music is released under a license that allows non-commercial use.  Fair use generally only applies to using a (small) portion of the song.  For example, if you had a character that is supposed to hear the song on the radio, you could play a few measures of it before starting a conversation, but you couldn't just play the whole song.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There can be some exceptions to this such as parody (of the song itself), but that often involves having to record your own performance of the parody version of the song.  Your best bet is still to see a lawyer to see if your use falls under fair use though as there are most likely other exceptions that I don't know about.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are multiple services that will help you work out the licensing necessary for your video and it often isn't actually that expensive to do for smaller non-commercial projects, depending on the size of the expected audience.  If you search for &quot;music for video licensing&quot; you should get a quick set of results for some current organizations that handle it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-25T14:34:01.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8495" PostTypeId="2" ParentId="8491" CreationDate="2013-07-25T14:46:51.683" Score="0" Body="&lt;p&gt;The easiest way to do this is with nested sequences.  I will have to double check if it is possible to import a Premiere sequence from one project in to another, (I normally use After Effects for this kind of thing.) however you can produce a sequence that has your watermarks and music and leaders and such and then simply sub-out the underlying nested sequence with whatever your latest project is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This allows for you to reuse the shared components while only having to adjust for any change in length of the main sequence.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-25T14:46:51.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8496" PostTypeId="2" ParentId="8490" CreationDate="2013-07-25T18:12:50.800" Score="4" Body="&lt;p&gt;Disclaimer: not a lawyer, but based on the experience from usage (and making) of such tracks -&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All music is &quot;copyrighted&quot; by default unless the creator explicitly has in writing abandon those rights. The author can also write it's OK to use his music for &quot;anything&quot;. Copyright only means that the author has the right to determine the usage of his track. If the track is used commercially or not doesn't really matter, but commercial tracks are often restricted by default by an organization that represent the artist.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Fair use&quot; only applies to USA and UK. Though other countries has similar variants and various restrictions/liberties in relation to usage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the USA version of it: Fair use means you can use any copyrighted material with another purpose than public performing or sharing. More specifically you use an excerpt of the track to criticize it, review it, as an example in relation to education and so forth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can not just use it, or a part of it as a background piece or in some way which does not have a purpose as mentioned above (unless you have permission through for example royalty agreements with the organization or the artist).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lets say you are a music journalist in a radio or TV station and doing a review of a track. Here you may use a &lt;em&gt;fair&lt;/em&gt; part of the music, a part that is sufficient for the task so you can make your point but not so large you have in practice performed the &quot;whole&quot; track publicly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you work as a teacher in a lets say a music school and want to show the student how to make a certain effect, bridge, sound or whatever, you can use a part of the music sufficient to demonstrate what you try to teach, but you can not play the whole track or the irrelevant parts of the track for the students (this last would be considered public performance).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you post a video on YouTube showing a screen recording of a game and use a few seconds of a track as background music - this is &lt;em&gt;not&lt;/em&gt; fair use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you make a movie trailer and use a part of a cool track you like - this is &lt;em&gt;not&lt;/em&gt; fair use (however, there are exceptions in some countries to this for radio/TV stations that makes in-house trailers (commercials for their own programs/shows), I am not sure about USA on this).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bottom line is - Use common sense and not the heart and love for the track you want to use! :-)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to use a track outside  the fair use you can always become a member of the organization which manage the copyright and pay royalties for the use if it is public performance related. If you want to use it for non-generic performance (movie, commercial, youtube video..) you will need a written permission to use the track for that purpose (and it comes, most likely, with a price tag).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Worth to mention: there are commercial music made especially for usage in films, commercials etc. where you don't have to pay royalties and where you have automatically all permissions you need to use it in that way. There are plenty (too many to list here) of company sites where you can buy this from. For instance &lt;a href=&quot;http://www.smartsound.com/&quot; rel=&quot;nofollow&quot;&gt;SmartSound&lt;/a&gt;, &lt;a href=&quot;http://www.istockphoto.com/audio&quot; rel=&quot;nofollow&quot;&gt;iStockphoto Music&lt;/a&gt; ++.&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2013-07-25T18:12:50.800" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8501" PostTypeId="1" AcceptedAnswerId="8511" CreationDate="2013-07-26T21:31:57.423" Score="0" ViewCount="64" Body="&lt;p&gt;I want to buy the ordinary &lt;em&gt;Pinnacle Studio 16&lt;/em&gt; (not the &lt;em&gt;Plus&lt;/em&gt; one), because it's cheaper. But I would be dissapointed if it lacked the features I need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The questions are about the simple version:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Will I be able to cut a video from one exact frame to another? I need &lt;em&gt;high precision&lt;/em&gt; based on frames. (&lt;a href=&quot;http://www.pinnaclesys.com/images/redesign/comparison/studio.html&quot; rel=&quot;nofollow&quot;&gt;The comparison&lt;/a&gt; shows that the simple version doesn't have &quot;&lt;em&gt;keyframable effects&lt;/em&gt;,&quot; I'm not sure what it means.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Will I be able to put text in a video?&lt;/p&gt;&#xA;" OwnerUserId="4425" LastActivityDate="2013-07-27T03:45:42.207" Title="Pinnacle 16 vs Pinnacle 16 Plus" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8502" PostTypeId="2" ParentId="8444" CreationDate="2013-07-26T21:53:45.473" Score="2" Body="&lt;p&gt;Rendering a series of expanding circles (say less that 20) should not be a particularly slow task.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check this page about how to improve performance in AE. &lt;a href=&quot;http://helpx.adobe.com/after-effects/using/improve-performance.html&quot; rel=&quot;nofollow&quot;&gt;http://helpx.adobe.com/after-effects/using/improve-performance.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AE doesn't render the same way as non-linear editors like Final Cut or Premiere, so rendering can take longer (but users are usually working on shorter sequences than in FCP).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you are preparing your work, try to work at lower quality settings, ie at 25% zoom, or quarter resolution, only zooming to 100% to check specific frames - get the motion working correctly at a lower res - this will save you a lot of time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't think animating paths rather than masks will make a particular difference to the speed.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-26T21:53:45.473" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8503" PostTypeId="2" ParentId="8073" CreationDate="2013-07-26T21:59:05.433" Score="1" Body="&lt;p&gt;Use ClipWrap to convert the MTS file into a Quicktime Movie file (e.g. ProRes 422 codec).  There's a free version and a paid version - both will do what you need:&#xA;&lt;a href=&quot;http://www.divergentmedia.com/clipwrap&quot; rel=&quot;nofollow&quot;&gt;http://www.divergentmedia.com/clipwrap&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Handbrake will also do this, I believe:&#xA;&lt;a href=&quot;http://allmybrain.com/2010/01/05/handbrake-can-convert-mts-files-for-mac/&quot; rel=&quot;nofollow&quot;&gt;http://allmybrain.com/2010/01/05/handbrake-can-convert-mts-files-for-mac/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-26T21:59:05.433" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8504" PostTypeId="2" ParentId="8072" CreationDate="2013-07-26T22:11:52.373" Score="2" Body="&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Add a Slider to your Null Object.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Alt-click on the stopwatch next to the one of the volume controls that you want to control.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;This will open the Expressions box for the volume control, and a pick-whip icon will appear.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Drag from the pick-whip to the Slider in your Null.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Some code will appear in the Expressions box, something like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;temp = thisComp.layer(&quot;Null 1&quot;).effect(&quot;Slider Control&quot;)(&quot;Slider&quot;);&#xA;[temp, temp]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The numbers on the volume control will turn pink to indicate that they are being controlled by an expression.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Now move the slider on the null, and the volume should change on the audio track.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;To do this to multiple audio tracks, just follow the same process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a screen shot to illustrate this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/m1vox.png&quot; alt=&quot;screenshot&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="2569" LastEditDate="2013-07-26T23:03:11.027" LastActivityDate="2013-07-26T23:03:11.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8505" PostTypeId="2" ParentId="7749" CreationDate="2013-07-26T22:17:46.073" Score="1" Body="&lt;p&gt;I would use a particle system to do this, like Particular or Particle World.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Particular is part of the Trapcode Suite of AE plugins, and is the easiest to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.redgiant.com/products/all/trapcode-particular/&quot; rel=&quot;nofollow&quot;&gt;http://www.redgiant.com/products/all/trapcode-particular/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generate a load of particles in random positions&#xA;Make a pre-comp with all the different text layers on different frames, so one text object per frame.&#xA;Tell the particle generator to use the pre-comp to texture the particles&#xA;Have the particles emit from a central point to their random positions.&#xA;Then time reverse the whole comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This video tutorial explains how to get different textures (in this case different leaf images) on to each particle:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/bJnU3ecmZcs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-26T22:17:46.073" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8506" PostTypeId="2" ParentId="8138" CreationDate="2013-07-26T22:23:14.630" Score="1" Body="&lt;p&gt;I think you should use the &quot;Bad TV&quot; plugin to achieve this effect.  It has a setting to glitch images, and make them look as though the encoding has broken:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://aescripts.com/bad-tv/&quot; rel=&quot;nofollow&quot;&gt;http://aescripts.com/bad-tv/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/b00Fk9UvRiM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="2569" LastEditDate="2013-07-26T23:06:13.930" LastActivityDate="2013-07-26T23:06:13.930" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8507" PostTypeId="2" ParentId="8399" CreationDate="2013-07-26T22:31:13.587" Score="0" Body="&lt;p&gt;Pause your live video on the frame that you want to animate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Export that frame into something like photoshop or illustrator.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Design several &quot;painted&quot; layers over your still frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Export the layers back into After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Animate some masks to expand across each of the layers, to appear in such a way that they  appear to be painted on. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To improve the effect, you could use some stock animated footage of brushed paint as a matte layer.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-26T22:31:13.587" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8509" PostTypeId="2" ParentId="5837" CreationDate="2013-07-26T22:59:32.667" Score="2" Body="&lt;p&gt;Have you tried using Quicktime Pro version 7?  It's what I usually use for file conversions.  It costs about £20 / $30.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://store.apple.com/uk/product/D3380Z/A/quicktime-7-pro-for-mac-os-x&quot; rel=&quot;nofollow&quot;&gt;http://store.apple.com/uk/product/D3380Z/A/quicktime-7-pro-for-mac-os-x&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open your file.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go to the file menu, and select Export&#xA;Choose your format, e.g. Quicktime Movie with ProRes 422 codec at 30 fps.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-26T22:59:32.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8510" PostTypeId="2" ParentId="5150" CreationDate="2013-07-26T23:02:51.213" Score="0" Body="&lt;p&gt;It is possible to set more than one motion tracking marker on a piece of video in AE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It totally depends what you're trying to accomplish - whether it is 2D or 3D tracking, whether you need to track rotation and scale, or only position.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a video tutorial here explaining how to set up 2D motion tracking:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/8VQd3jsJzYs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-26T23:02:51.213" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8511" PostTypeId="2" ParentId="8501" CreationDate="2013-07-27T03:45:42.207" Score="1" Body="&lt;p&gt;Keyframeable effects means that you can set values for the effects at various points along the timeline.  For example, you could tell a dissolve that you want to start at 100% opacity, then move to 50% opacity 5 frames in and then sit at 50% for 20 frames and then dissolve the rest of the way to 0% by another frames.  The effect will make sure it hits each value on the frame you specify and blend the values automatically to get to that value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without having it, you should probably still have frame accurate control, but you'll only have a begin and end point to work with, no control over how it progresses in between those points.  It's a nice feature to have, but shouldn't be critical for your described purpose.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Chromakey would seem to indicate that you can do your titles in either, but you may have to produce the title in an image editing program outside of it.  I'd guess that it will let you do static titles inside the program, but it sounds like it won't let you easily make the title move without going to the Plus version.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-27T03:45:42.207" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8512" PostTypeId="2" ParentId="8468" CreationDate="2013-07-27T04:55:26.410" Score="1" Body="&lt;p&gt;A high pass filter might help. Set to about 100Hz, depends on the character of the wind noise.&lt;/p&gt;&#xA;" OwnerUserId="4427" LastActivityDate="2013-07-27T04:55:26.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8513" PostTypeId="2" ParentId="8468" CreationDate="2013-07-27T09:10:52.013" Score="2" Body="&lt;p&gt;Use Adobe Audition. Find a section where there is only wind noise (no speech) and use this to analyse the noise in the Noise Reduction effect. &#xA;Then apply those settings to the rest of the audio. &#xA;If you don't have 10 seconds or so of noise, you can edit some together.&lt;br&gt;&#xA;A high pass filter set to about 40Hz can help too, but it's never going to get rid of all of it. &#xA;Finally, manually adjusting the filters for the worst sections can also improve things. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T09:10:52.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8514" PostTypeId="2" ParentId="4612" CreationDate="2013-07-27T11:03:55.003" Score="1" Body="&lt;p&gt;From the look of the specs page, the current iPad (4) can handle up to 2.5Mbps MPEG 4 video at HD resolution (1920x1080) at 30fps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Going above this will result in what you described. See discussion link below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://discussions.apple.com/thread/5012754?start=0&amp;amp;tstart=0&quot; rel=&quot;nofollow&quot;&gt;https://discussions.apple.com/thread/5012754?start=0&amp;amp;tstart=0&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T11:03:55.003" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8515" PostTypeId="2" ParentId="3995" CreationDate="2013-07-27T11:09:18.983" Score="1" Body="&lt;p&gt;Tracking the corners of the screen isn't the same as stabilising the image. &#xA;Whatever you do, the stabilisation is going to reduce the overall resolution of the video, as it is going to have to scale up to fill the viewport with the cropped stabilised image. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a YouTube tutorial showing how to use image stabilisation in AE:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/xdVsoUTKBUI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;LockNLoad is a plugin that can help with stabilisation, but it will still make the image look softer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively Final Cut has stabilisation built in too. &#xA;The best option would be to reshoot with the camera on a firm surface, and avoid the wobbles in the first place. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T11:09:18.983" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8516" PostTypeId="2" ParentId="7587" CreationDate="2013-07-27T12:42:22.103" Score="1" Body="&lt;p&gt;Adobe premiere has a speech analysis system built in, after cs4 I believe. Machine transcription systems tend to be very poor though - in my experience it is only useful for a vague sense of where you are in the video. See below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.realeyes.com/blog/2010/03/05/caption/&quot; rel=&quot;nofollow&quot;&gt;http://www.realeyes.com/blog/2010/03/05/caption/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Human transcription services are getting cheaper as many of them use Amazon's &quot;Mechanical Turk&quot; to provide the human labour. The quality is much better, but will still require editing for readability. See the link for more info:&#xA;&lt;a href=&quot;http://waxy.org/2008/09/audio_transcription_with_mechanical_turk/&quot; rel=&quot;nofollow&quot;&gt;http://waxy.org/2008/09/audio_transcription_with_mechanical_turk/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T12:42:22.103" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8518" PostTypeId="2" ParentId="3497" CreationDate="2013-07-27T12:59:32.897" Score="1" Body="&lt;p&gt;Add your text layer, and design it as you wish. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Click the 3D icon on the text layer to make it 3D. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Add a camera to the scene. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open the cameras &quot;transform&quot; settings, and from there, open the &quot;position&quot; settings. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are three coordinates, corresponding to X,Y, and Z. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pull the Z coordinate back a lot. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will see the text get smaller. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Enable key frames by clicking the stopwatch. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Move forward a couple of seconds on the time line. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pull the Z coordinate forward a lot, until the text is very close. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Add a second key frame, by clicking the diamond icon. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure motion blur is enabled on the text. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Change the two key frames to &quot;easy ease&quot; mode to make the movement start and end gently, but get faster in the middle. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T12:59:32.897" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8519" PostTypeId="2" ParentId="6931" CreationDate="2013-07-27T13:02:35.207" Score="1" Body="&lt;p&gt;Why not set your sequence settings in final cut to the desired resolution and aspect ratio before beginning a project? Then you will just have to select &quot;export to QuickTime&quot; without having to select all the options each time. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T13:02:35.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8522" PostTypeId="2" ParentId="7694" CreationDate="2013-07-27T13:39:08.813" Score="1" Body="&lt;p&gt;Cineform can't join clips together. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could use iMovie (free), QuickTime 7 Pro (£30/$20), or something like Final Cut or Premiere (more). &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T13:39:08.813" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8523" PostTypeId="2" ParentId="4836" CreationDate="2013-07-27T15:27:10.263" Score="1" Body="&lt;p&gt;The problematic file could have been encoded using a different codec, which Premiere is unable to convert effectively. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the file looks ok in QuickTime player, I would export it to the same format as your Premiere sequence, and see if it looks any better when you reimport it into Premiere. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T15:27:10.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8524" PostTypeId="2" ParentId="4477" CreationDate="2013-07-27T15:39:31.223" Score="1" Body="&lt;p&gt;He uses Camtasia Pro ($200) a Wacom tablet and (at least on the earliest videos) MS Paint. And a head mic. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.teachthought.com/technology/how-to-screencast-like-the-khan-academy/&quot; rel=&quot;nofollow&quot;&gt;http://www.teachthought.com/technology/how-to-screencast-like-the-khan-academy/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On a mac, a similar piece of screen capture software would be Screenflow, although Khan works on a Windows machine:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.telestream.net/screenflow/&quot; rel=&quot;nofollow&quot;&gt;http://www.telestream.net/screenflow/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T15:39:31.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8525" PostTypeId="2" ParentId="3770" CreationDate="2013-07-27T15:46:36.210" Score="2" Body="&lt;p&gt;If your video was shot indoors with fluorescent lamps illuminating the room, then the lines will be due to the frequency of the camera's shutter being similar to the frequency of the lights flickering on and off (usually 50Hz in UK, 60Hz in US).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's not really possible to fix this in post production. You'd need to reshoot with different lighting or at a different shutter speed on the camera. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;See link below for more info:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.davidsatz.com/aboutflicker_en.html&quot; rel=&quot;nofollow&quot;&gt;http://www.davidsatz.com/aboutflicker_en.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T15:46:36.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8526" PostTypeId="2" ParentId="8127" CreationDate="2013-07-27T17:46:23.183" Score="1" Body="&lt;p&gt;Play with the cone feather settings on the light. This will alter how harsh the gradient between lit and unlit sections of the text is. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, make sure your text is not totally black (#000000) otherwise the lighting will probably not look right. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T17:46:23.183" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8527" PostTypeId="2" ParentId="7381" CreationDate="2013-07-27T17:52:04.100" Score="0" Body="&lt;p&gt;If you are using a Mac, you need to buy Flip for Mac Studio in order to be able to export wmv files.  It costs $50. The more expensive version lets you export using two-pass encoding. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.telestream.net/flip4mac/&quot; rel=&quot;nofollow&quot;&gt;http://www.telestream.net/flip4mac/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't you have an issue with DRM in After Effects when using this. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T17:52:04.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8528" PostTypeId="2" ParentId="4493" CreationDate="2013-07-27T17:56:20.087" Score="1" Body="&lt;p&gt;Agree with the previous answer. You could also add Wind or Turbulence in order to make the &quot;tail&quot; blow further away from the emitter.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T17:56:20.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8529" PostTypeId="2" ParentId="8089" CreationDate="2013-07-27T22:32:34.557" Score="2" Body="&lt;p&gt;In the newer versions of CC Particle World the opacity map presets have been removed.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way to set opacity now is by drawing a curve on the graph.  See screenshot below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/M1f8A.png&quot; alt=&quot;Opacity map CC Particle World screenshot&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T22:32:34.557" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8530" PostTypeId="2" ParentId="7712" CreationDate="2013-07-27T22:39:50.103" Score="1" Body="&lt;p&gt;You could try making two copies of your footage, then disabling all the interpolation features within Twixtor on one of the copies - ie:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Motion Vectors = None&lt;/li&gt;&#xA;&lt;li&gt;Image Prep  = None&lt;/li&gt;&#xA;&lt;li&gt;Motion Sensitivity = 0.00&lt;/li&gt;&#xA;&lt;li&gt;Frame Interp = Nearest&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Keyframe the &quot;speed %&quot; controls on both tracks exactly the same, but then remove the appropriate track when you're running at 20% (maybe by keyframing opacity between 0% and 100%).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let me know if it works. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T22:39:50.103" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8531" PostTypeId="2" ParentId="4010" CreationDate="2013-07-27T22:45:33.473" Score="1" Body="&lt;p&gt;Sounds like your Quicktime install has been messed up, possibly by iTunes or something else installing Quicktime.  Try reinstalling Quicktime Player or the whole of Premiere if you can face it...&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-07-27T22:45:33.473" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8533" PostTypeId="1" AcceptedAnswerId="8537" CreationDate="2013-07-28T14:05:08.233" Score="4" ViewCount="543" Body="&lt;p&gt;I have a home video on VHS which I want to transfer to someone else. As I don't have two VHS recorders I am looking into other ways to duplicate the footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am considering two options to do this:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Using a Canon 550D with a &#xA;Sigma AF 18-50mm f/2.8-4.5 DC HSM OS lens to film the footage from a full HD 27 inch TV in 1920x1080 at 24 fps.&lt;/li&gt;&#xA;&lt;li&gt;Using a cheap &lt;a href=&quot;http://www.ebay.com/itm/USB-AV-Video-Grabber-Capture-Recorder-from-VCR-VHS-to-PC-DVD-/230989456789&quot; rel=&quot;nofollow&quot;&gt;VCR to USB&lt;/a&gt; adapter to capture the footage directly to the hard-disk.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What is the preferable option in terms of quality?&lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="2178" LastEditDate="2013-07-28T16:17:25.000" LastActivityDate="2013-07-28T18:55:45.780" Title="Best practice recording VHS to digital" Tags="|video|video-recording|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8534" PostTypeId="2" ParentId="8533" CreationDate="2013-07-28T16:40:15.650" Score="1" Body="&lt;p&gt;The second option is likely to work better, as it is converting the signals electronically, rather than optically.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first option relies on the calibration of the monitor, the synchronisation between the camera's shutter and the refresh rate of the screen, and the ambient light in the room whilst filming etc etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also if the frame rate of the TV is 24fps, this will be different from the VHS, which would have been recorded at either 25 fps in the UK or 29.97 in the US. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2013-07-28T17:37:06.097" LastActivityDate="2013-07-28T17:37:06.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8535" PostTypeId="2" ParentId="8533" CreationDate="2013-07-28T17:06:11.527" Score="1" Body="&lt;p&gt;For me this are the possibilities:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;VCR to USB adapter&lt;/li&gt;&#xA;&lt;li&gt;VCR / DVD recorder device (you can still find them second-hand)&lt;/li&gt;&#xA;&lt;li&gt;Video card for computer with video input&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Don't do your first option, it's not worth, the quality will be very bad.&lt;/p&gt;&#xA;" OwnerUserId="4417" LastActivityDate="2013-07-28T17:06:11.527" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8537" PostTypeId="2" ParentId="8533" CreationDate="2013-07-28T18:55:45.780" Score="3" Body="&lt;p&gt;The best option would be either to send it out to someone that has a good capture capability or invest in a decent quality RCA capture card.  The USB option will work the best of your two suggestions, but it is still likely going to be a decent quality loss (granted, VHS in general may not be that high to begin with.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first option is not worth considering as the result would be completely substandard.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-28T18:55:45.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8538" PostTypeId="1" AcceptedAnswerId="8539" CreationDate="2013-07-28T05:47:55.723" Score="1" ViewCount="1137" Body="&lt;p&gt;i am trying to figure out how to get my webcam to record directly from Guiat Rig. Currently i have to manualy sync the audio and video.&#xA;i have the focusrite scarlet 2i2 audio interface. If possible i don't want to use a mic. &#xA;When i see the recording sources in webcam I see either the laptop mic or the line in from focusrite audio interface. I choose line in from focusrite. The guitar recording happens but the effects from guitar rig don't get recorded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please suggest.&lt;/p&gt;&#xA;" OwnerDisplayName="silverkid" LastActivityDate="2013-07-28T18:59:11.603" Title="How To Get The Webcam To Record From Guitar Rig Directly" Tags="|recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8539" PostTypeId="2" ParentId="8538" CreationDate="2013-07-28T07:20:32.763" Score="1" Body="&lt;p&gt;The focusrite scarlet 2i2 has no inbuilt mic, you need to connect an &quot;external mic&quot; to it, or connect the guitar lineout to it. If you have effects pedals, just connect the last 1/4&quot; connector n the chain to the input of the Focusrite.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please update why you are having sync problems. Anyway don't not rely on a webcam to give synced audio/video. I would say that if you record video &amp;amp; audio from different sources, almost always you have to sync audio with video. Professional gear have a &quot;sync clock&quot; that makes it automatic but this is expensive. At less expensive level you have to work &quot;hard sometimes&quot; with sync. Having a good program like Final Cut Pro or Adobe Premiere helps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apart from the discussion of how to fix &lt;strong&gt;&lt;a href=&quot;http://www.zoom.co.jp/products/q3hd/&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt;&lt;/strong&gt; (Zoom Q3HD Video Recorder) to the guitar, this is a very practical audio/video recorder, you can even connect external input to it. &lt;/p&gt;&#xA;" OwnerUserId="4417" OwnerDisplayName="Sergio" LastActivityDate="2013-07-28T07:20:32.763" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="8545" PostTypeId="1" CreationDate="2013-07-28T23:03:43.433" Score="0" ViewCount="1204" Body="&lt;p&gt;Is there any way to providing video conference supporting large number of participants in conference (around 2000). The conference will be held in future and I should guaranty the performance. What is System Requirements for server. &#xA;Does anybody test &quot;Lync Server 2013&quot;, &quot;apache-openmeeting&quot; or &quot;BigBlueButton&quot;?&lt;/p&gt;&#xA;" OwnerUserId="4437" LastActivityDate="2014-02-24T06:35:40.540" Title="Large scale video conferencing" Tags="|video|streaming|webvideos|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8547" PostTypeId="2" ParentId="8545" CreationDate="2013-07-29T03:46:41.523" Score="1" Body="&lt;p&gt;I've messed with BBB, though no where close to those numbers.  As the presenter, you can prohibit participants from sharing their video or audio, making it a one way presentation.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a gut feeling though, that the server requirements would be significant for that many participants.  We ran it on an old HP G3 and it worked , but slow for a dozen participants.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From their &lt;a href=&quot;https://code.google.com/p/bigbluebutton/wiki/FAQ#What_are_the_minimum_hardware_requirements_for_the_BigBlueButton&quot; rel=&quot;nofollow&quot;&gt;FAQ&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;What are the minimum hardware requirements for the BigBlueButton&#xA;  Server&lt;/strong&gt; As a minimum, we recommend you run BigBlueButton on a dedicated&#xA;  quad-core machine with at least 4 GB of memory and a 2.6+ Ghz&#xA;  processor.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;We recommend installing BigBlueButton on Ubuntu 10.04 32-bit/64-bit on&#xA;  the server (see Installing BigBlueButton).&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;While the BigBlueButton VM is a good way to try out the system, we&#xA;  recommend you run BigBlueButton on a dedicated server to reduce audio&#xA;  lag. In a virtual environment, the BigBlueButton VM gets only a&#xA;  portion of the host's CPU, and any lag in the CPU cycles can translate&#xA;  to lag in processing VoIP packets.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;What are the minimum bandwidth requirements for the BigBlueButton&#xA;  Server&lt;/strong&gt; You'll need good upstream and downstream bandwidth from the&#xA;  server. We recommend (at least) 100 MBits/second bandwidth in both&#xA;  directions.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Personally, I'd probably looking into a SaaS solution like Webex, GoToMeeting, or the like.  There are probably at least a half dozen solid options.  Without having done it before, I'd hate to have sole responsibility for a conference that big.&lt;/p&gt;&#xA;" OwnerUserId="2569" LastActivityDate="2013-07-29T03:46:41.523" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8554" PostTypeId="1" AcceptedAnswerId="8556" CreationDate="2013-07-29T15:34:57.067" Score="1" ViewCount="990" Body="&lt;p&gt;So I'm pretty new to video production and I'm struggling with properly rendering 1080p game footage. My main problem is that multiple frames of the output video are pretty pixled, looking like this &#xA;&lt;img src=&quot;https://i.stack.imgur.com/rUhS5.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm working with footage recorded using fraps and I'm editing with Sony Vegas pro 12 atm. &#xA;My project settings are matched to the footage I'm using in this particular project:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/VSKEn.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No doubt I messed up the rendering options somehow, since the raw footage looks okay. Here are the render settings I used for the shown output:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/TK7ZI.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone help me get those pixled scenes out of the video? Desired output format is MP4 since it seems easier to handle for youtube uploads.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance, I hope someone can help me with this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best regards,&#xA;Rickyfox&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just discovered that about a minute of the output video just turned out black with the scene settings being exactly the same as the rest - anyone have a clue what that could be?&lt;/p&gt;&#xA;" OwnerUserId="4440" LastActivityDate="2014-11-04T07:34:42.180" Title="1080p video partly pixled after rendering" Tags="|video|video-quality|youtube|output|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8556" PostTypeId="2" ParentId="8554" CreationDate="2013-07-29T15:47:01.070" Score="1" Body="&lt;p&gt;It honestly looks like something got corrupted with your export.  Have you tried encoding it more than once?  12 megabits per second with a 24mpbs peak should be more than sufficient for high quality 1080p video.  If anything, it may be excessive.  The quality you are getting looks more like what I'd expect at sub-1 mbps video for this quality level.  As an aside, it is worth noting that 2 pass will produce better results, thought it will extend encoding time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One other thought is to try watching it in more than one viewer.  It is possible that the viewer you are using is struggling to decode the high data rate fast enough which could also result in the block issues you are seeing.  Basically, it looks like some of the blocks in the H.264 file are not encoding or decoding properly and that either means file corruption or insufficient decoding speed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess to rule out data rates, you could try increasing it to 30mbps with 45mpbs peaks.  It shouldn't have to be that high (that's the high end of bluray data rates), but it should rule out the data rate entirely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: From some additional reading, I would try turning on 2-pass and turning on the deblocking filter.  It supposedly should help.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-07-29T15:52:16.873" LastActivityDate="2013-07-29T15:52:16.873" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="8558" PostTypeId="1" CreationDate="2013-07-29T17:45:33.663" Score="4" ViewCount="3577" Body="&lt;p&gt;When I create edited films on iMovie and then export them to Youtube, Youtube's stabilization enhancement greatly increases the quality of many of my shakier action shots. Unfortunately, this same process ruins all of my titles and text overlaid on the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I am exporting the problem (shaky) scenes as single iMovies to youtube, stabilizing them, then downloading them and adding them back into my iMovie project as clips. This saves my text on the screen from being rendered illegible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am aware of iMovie's stabilization and have tried it, but haven't gotten even close to the enhancement in watchability of my shaky shots that Youtube's stabilization algorithm/method has given me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for some software that can give me the serious quality improvement that Youtube's can do, without having to use cloud services as a hack like I am now.&lt;/p&gt;&#xA;" OwnerUserId="4442" LastEditorUserId="1530" LastEditDate="2013-07-30T06:41:30.930" LastActivityDate="2014-07-08T16:22:27.710" Title="Looking to get Youtube-quality video stabilization from a software based video editing application (on mac)" Tags="|video-editor|effects|youtube|imovie|stabilisation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8559" PostTypeId="1" AcceptedAnswerId="9935" CreationDate="2013-07-29T05:10:16.297" Score="1" ViewCount="236" Body="&lt;p&gt;The D7100, &lt;a href=&quot;http://imaging.nikon.com/lineup/dslr/d5200/features03.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;D5200&lt;/a&gt; and &lt;a href=&quot;http://imaging.nikon.com/lineup/dslr/d5100/features02.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;D5100&lt;/a&gt; have a &lt;a href=&quot;https://www.youtube.com/watch?v=nSepft1WzAE&quot; rel=&quot;nofollow noreferrer&quot;&gt;&quot;miniature effect&quot;&lt;/a&gt;.  Videos recorded in this mode play back at high speed:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;Miniature effect movies play back at high speed, compressing 30 to 45&#xA;  minutes of footage shot at 1920 × 1080/30p into a movie that plays&#xA;  back in about 3 minutes.&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The effect also blurs the edges of the picture to create the illusion of a shallow depth of field.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question:&lt;/strong&gt; Is it possible to record a low framerate movie, in the same way as the miniature effect does, but &lt;em&gt;without&lt;/em&gt; the blurring or any other processing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most websites about shooting time lapse sequences warn about &lt;a href=&quot;https://photo.stackexchange.com/q/6153/10147http://&quot;&gt;limited shutter life&lt;/a&gt;.  I was hoping that the low framerate movie recording that the camera does in miniature effect mode could be an alternative that does not stress the mechanical shutter.&lt;/p&gt;&#xA;" OwnerUserId="1561" OwnerDisplayName="Szabolcs" LastEditorUserId="-1" LastEditDate="2017-04-13T12:43:53.643" LastActivityDate="2014-01-16T10:23:50.470" Title="Is low-framerate video recording possible on the D7100 without miniature effect?" Tags="|playback|framerate|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8562" PostTypeId="2" ParentId="8558" CreationDate="2013-07-29T18:57:43.017" Score="2" Body="&lt;p&gt;Adobe After Effects includes stabilization that is of similar or superior quality to Youtube's but it is also not a cheap software package.  I don't know of any particularly cheap software stabilization options that do a high end job.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-29T18:57:43.017" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="8563" PostTypeId="2" ParentId="8559" CreationDate="2013-07-29T19:05:35.653" Score="0" Body="&lt;p&gt;Based on your description of the miniature effect, this isn't a question of &lt;em&gt;recording&lt;/em&gt; at a low framerate, it is a question of &lt;em&gt;playing it back&lt;/em&gt; at a specific speed. The Nikon D7100 can record 1080p at 30fps without an issue. That will take care of the recording without blurring or other effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The rest of the solution would involve pushing through those 30fps in about 3 minutes via post production techniques.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Further, I think it is important hear to understand the difference between a mechanical shutter as used in capturing still images on a DSLR, and the electronic shutter which is used for the capture of video or images taken while in live view. See this existing question for more information: &lt;a href=&quot;https://photo.stackexchange.com/questions/27398/how-does-shutter-work-when-shooting-videos&quot;&gt;How does shutter work when shooting videos?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1834" LastEditorUserId="-1" LastEditDate="2017-04-13T12:43:53.643" LastActivityDate="2013-07-29T19:05:35.653" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8564" PostTypeId="1" AcceptedAnswerId="8565" CreationDate="2013-07-29T09:25:52.117" Score="2" ViewCount="1233" Body="&lt;p&gt;I have a Canon SX230 HS camera and want to record a movie from a train driver's perspective on a model railway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything is working fine, except that the camera refocuses continuously during the shoot, making your eyes hurt when watching the movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to disable the continuous autofocus when recording a movie?&lt;/p&gt;&#xA;" OwnerUserId="4439" OwnerDisplayName="Spontifixus" LastEditorUserId="2569" LastEditDate="2013-07-29T19:26:12.523" LastActivityDate="2013-07-29T19:26:12.523" Title="How to disable continuos autofocus during video shooting with Canon SX230 HS?" Tags="|canon|focus|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8565" PostTypeId="2" ParentId="8564" CreationDate="2013-07-29T12:15:21.743" Score="4" Body="&lt;p&gt;See &quot;Shooting with the AF Lock&quot; on p94 of the &lt;a href=&quot;http://gdlp01.c-wss.com/gds/4/0300005134/01/PS_SX220HS_SX230HS_CUG_EN.pdf&quot; rel=&quot;nofollow&quot;&gt;user manual&lt;/a&gt;.  This is linked from p120 which is for shooting movies so I would assume it works for movies as well as stills.&lt;/p&gt;&#xA;" OwnerDisplayName="Mike" LastActivityDate="2013-07-29T12:15:21.743" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8566" PostTypeId="5" CreationDate="2013-07-29T19:30:16.450" Score="0" Body="" OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2013-07-29T19:30:16.450" LastActivityDate="2013-07-29T19:30:16.450" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8567" PostTypeId="4" CreationDate="2013-07-29T19:30:16.450" Score="0" Body="The visual clarity of an image through an optical system, or the process of affecting it." OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2013-07-29T19:30:16.450" LastActivityDate="2013-07-29T19:30:16.450" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8568" PostTypeId="2" ParentId="8458" CreationDate="2013-07-29T19:36:49.253" Score="1" Body="&lt;p&gt;While there would not be any immediate adverse affects in the long run it will &quot;burn&quot; itself out. On the prosumer varaiety (Canon XA10) was NOT made to say on 24/7. It was made for broadcast videos and &quot;on/off&quot; use like shooting documentaries or news-like vids. Like LCD screens if you have the CMOS sensor on a fixed static shot for an extended time you could literally &quot;burn&quot; the scene onto the sensor. Also, the generated heat [and there will be heat] could eventually wear out the C-chips [resistors and whatnot. . . ]. The ideal operating temperature for the XA10: 32-104°F (0-40°C), 85% relative humidity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead I would suggest a &quot;cheap&quot; security cam instead. Not as big and not as intrusive. AND you can leave it on 24/7.&lt;/p&gt;&#xA;" OwnerUserId="4445" LastActivityDate="2013-07-29T19:36:49.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8572" PostTypeId="1" CreationDate="2013-07-30T02:20:32.830" Score="1" ViewCount="132" Body="&lt;p&gt;I want to create a DVD form a dancing show. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;There are about 30 scenes&lt;/li&gt;&#xA;&lt;li&gt;I want to separate the scenes with some black space &lt;/li&gt;&#xA;&lt;li&gt;add a title before each of the scenes&lt;/li&gt;&#xA;&lt;li&gt;create a DVD menu with each scene&lt;/li&gt;&#xA;&lt;li&gt;have a menu with at least 12 tracks per page&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I used to do this with Ulead Viedeo Studio 11 (on a really slow XP-PC). Now I have ACVD material, a Mac and the old hardware and software cannot handle it anymore. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;What software would you use?&lt;/li&gt;&#xA;&lt;li&gt;Is this possible with Adobe elements 11?&lt;/li&gt;&#xA;&lt;li&gt;Does final cut provide custom menus?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="4411" LastActivityDate="2013-07-30T16:59:55.043" Title="How to create a simple DVD with menu and a set of scenes (on a mac)?" Tags="|video|final-cut-pro-x|premiere-elements|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8573" PostTypeId="2" ParentId="8572" CreationDate="2013-07-30T02:24:51.323" Score="2" Body="&lt;p&gt;iDVD should have come with your mac. Give it a try.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;iDVD is a very basic DVD authoring tool (a category that is distinct from video editing, though authoring tools may be bundled with some editing packages). I've only used it a handful of times, but I'm fairly sure that it does everything that is requested here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing to keep in mind is that DVD authoring is very much an art. I can't offer much specific advice other than the observation that different DVD players react to different Codecs in their own ways. Single-layer DVDs are relatively easy to author, but if you get into making dual-layer DVDs then you need to do extensive testing to ensure that your discs will actually be playable.&lt;/p&gt;&#xA;" OwnerUserId="1530" LastEditorUserId="1530" LastEditDate="2013-07-30T16:59:55.043" LastActivityDate="2013-07-30T16:59:55.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8574" PostTypeId="1" CreationDate="2013-07-30T03:06:15.263" Score="3" ViewCount="695" Body="&lt;p&gt;I am just importing some AVCHD (.MTS) files into iMovie and even if Import them as 960x540 (original is 1920x1080) it uses more space than the original.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I import it at full size, the .mov file is 5 times bigger than the original!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That means 4h of video which are originally 25 GB suddenly become 400GB on my disk! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I doing going wrong here? Why can't iMove work with the original file and only convert it when I export the file?&lt;/p&gt;&#xA;" OwnerUserId="4411" LastActivityDate="2020-05-07T02:59:04.253" Title="Why does iMovie convert a 1.8GB .MTS (AVCHD) file into a 2.2 GB .mov file by reducing resolution?" Tags="|imovie|avchd|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8576" PostTypeId="1" CreationDate="2013-07-30T09:41:08.063" Score="1" ViewCount="944" Body="&lt;p&gt;I convert AVI to MPEG with folowing command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i file.avi -c:v mpeg2video -b:v 6000k -c:a mp2 -b:a 384k file.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When the MPG file has been burned to DVD it is hard to read afterthat. The DVD on the computer starts to make noise and to read slow the DVD. Also it is hard to watch directly - it is like there is no buffer in the VLC player. The Windows media player doesn't even play the MPG file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I checked with avprobe the MPG file and another MPG file made with EDIUS program.&#xA;Here are the resuts:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MY MPG FILE&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avprobe my-file.mpg &#xA;avprobe version 0.8.6-4:0.8.6-0ubuntu0.12.04.1, Copyright (c) 2007-2013 the Libav developers&#xA;  built on Apr  2 2013 17:00:59 with gcc 4.6.3&#xA;[mpeg @ 0x9b6f240] max_analyze_duration reached&#xA;Input #0, mpeg, from 'my-file.mpg':&#xA;  Duration: 00:34:56.47, start: 1.000000, bitrate: 6411 kb/s&#xA;    Stream #0.0[0x1e0]: Video: mpeg2video (Main), yuv420p, 720x576 [PAR 16:15 DAR 4:3], 104857 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0.1[0x1c0]: Audio: mp2, 48000 Hz, stereo, s16, 384 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;EDIUS CREATED MPG FILE&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avprobe edius.mpg &#xA;avprobe version 0.8.6-4:0.8.6-0ubuntu0.12.04.1, Copyright (c) 2007-2013 the Libav developers&#xA;  built on Apr  2 2013 17:00:59 with gcc 4.6.3&#xA;[mpeg @ 0x8449240] max_analyze_duration reached&#xA;Input #0, mpeg, from 'edius.mpg':&#xA;  Duration: 00:34:56.47, start: 0.346411, bitrate: 2290 kb/s&#xA;    Stream #0.0[0x1e0]: Video: mpeg2video (Main), yuv420p, 720x576 [PAR 16:15 DAR 4:3], 6000 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0.1[0x1c0]: Audio: mp2, 48000 Hz, stereo, s16, 256 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The two files are with great quality but I am questioning myself how to achieve two things:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What to change in my command line to reach edius bitrate on that line:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  Duration: 00:34:56.47, start: 0.346411, bitrate: 2290 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;instead of:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  Duration: 00:34:56.47, start: 1.000000, bitrate: 6411 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And how to reach this 6000kb in Edius STREAM line:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0.0[0x1e0]: Video: mpeg2video (Main), yuv420p, 720x576 [PAR 16:15 DAR 4:3], 6000 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;instead of mine 104857kb :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0.0[0x1e0]: Video: mpeg2video (Main), yuv420p, 720x576 [PAR 16:15 DAR 4:3], 104857 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I think that will resolve my problem with burning and reading DVDs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ALso whe I am converting the yellow sigh appears:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mpeg @ 0x8e75f40] VBV buffer size not set, muxing may fail&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is this a part of the problem?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="4449" LastEditorUserId="4449" LastEditDate="2013-07-30T10:08:39.350" LastActivityDate="2013-07-30T10:08:39.350" Title="High bitrate in AVCONV converted MPG file causes DVD reading problem" Tags="|video|conversion|ffmpeg|linux|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8577" PostTypeId="1" AcceptedAnswerId="8578" CreationDate="2013-07-30T11:52:16.810" Score="3" ViewCount="1734" Body="&lt;p&gt;I'm a computer science engineer with no experience and very little knowledge in camera and video processing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to record boardgame sessions (timelapse for example) and record boardgame rules description for my friends.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm therefore looking for a camera and I'm a bit lost. There are plenty of different camera on the market with lot of specs and I don't really know what I need to have to record boardgame sessions...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think it has to have:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;HD capabilities&lt;/li&gt;&#xA;&lt;li&gt;A good microphone input both to catch my voice or multiple voices during a game&lt;/li&gt;&#xA;&lt;li&gt;No specific spec related to frame rate&lt;/li&gt;&#xA;&lt;li&gt;No waterproof capability&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Could you help me with other different parameters I would need to care about when buying a camera?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your help and precious advices&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Random example : &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/g_QRczGzXqw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.s. I'm not looking for a shopping list here... &lt;/p&gt;&#xA;" OwnerUserId="4450" LastEditorUserId="2569" LastEditDate="2013-07-30T12:34:15.933" LastActivityDate="2013-07-30T15:22:03.063" Title="What specs should I be looking for in a camera to record board-game sessions?" Tags="|video|hardware|recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8578" PostTypeId="2" ParentId="8577" CreationDate="2013-07-30T15:22:03.063" Score="1" Body="&lt;p&gt;There are two approaches you can take based on budget.  The first is to record audio in camera, the other is to record audio to a dedicated audio recorder and mix it with the video after.  The former is cheaper, but the latter will generally produce better quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as features, beyond HD, you are mostly just looking for good performance in whatever lighting conditions you will have and then looking for good color and video quality.  Best bet is to look at sample videos from them to find one you like.  I'd also recommend taking a look at the GoPro, it's one of the better, cheaper video cameras available and would probably work well for your needs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want something more general purpose, you could also look at a DSLR with video capabilities such as a Canon T4i which would allow for high quality stills as well as high quality video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your best bet for narrowing down your choices is really going to be to think about what else you might want to do with it and how much you would like to spend, then look at what is in your price range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do want a dedicated audio recorder, the Zoom H4n is a reasonably cheap and decent option that will allow external microphones to be used for recording audio.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-30T15:22:03.063" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="8579" PostTypeId="2" ParentId="8574" CreationDate="2013-07-30T15:33:27.330" Score="4" Body="&lt;p&gt;Video is practically never stored uncompressed because the data rates are insane if they were.  Each image in a video is 1920 by 1080 pixels and takes 3 bytes per pixel (one each for red, green and blue).  That's 6.2 megabytes per frame.  There are 24 frames in a second, that's roughly 150 megabytes per second for 24p video.  That's 9 gigabytes per minute.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To reduce this size, codec's (encoders/decoders) are used that can compress the data either losslessly(similar to a zip file, they uncompress to produce identical input to the raw, uncompressed data) but typically can take as little as 1/3 of the space, or lossy, where the video is altered to make it easier to compress without significantly distorting the video.  Most HD video is shot with a minimally lossy codec due to the size (H.264).  AVCHD also records using H.264.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are outputting to uncompressed or lossless compression for the MOV, then the file size would increase significantly from the compressed AVCHD file, even if the number of pixels being stored has been reduced some.  If you change to a similar H.264 data rate for the mov file, then you should not see an increase in file size.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-30T15:33:27.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8580" PostTypeId="2" ParentId="8572" CreationDate="2013-07-30T15:36:07.030" Score="0" Body="&lt;p&gt;Adobe Premiere Pro (which includes Encore) would certainly meet your needs and is what I use for such projects.  I am unsure if Premiere Elements supports this level of functionality or not, though from what I've seen, it seems very limited in capability.  I believe there is a free trial available for it though, so you could use that to test if it is possible.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-30T15:36:07.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8581" PostTypeId="2" ParentId="8558" CreationDate="2013-07-30T16:17:56.710" Score="4" Body="&lt;p&gt;A coworker has just turned me on to using Warp Stabilizer. It's a built-in effect in Adobe Premiere CS6. Before using this tool, I also used After Effects to smooth and stabilize motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The difference is outstanding. Warp Stabilizer has worked faster, within my workflow, and more reliable than After Effects stabilization has. This has been huge for me. Here's a quick guide that outlines the effect: &lt;a href=&quot;http://www.premiumbeat.com/blog/premiere-pro-warp-stabilizer/&quot; rel=&quot;nofollow&quot;&gt;http://www.premiumbeat.com/blog/premiere-pro-warp-stabilizer/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another solution is Lock and Load. I've never used it, but I've heard it gets the job done. Might be worth looking into if you do not already own the Adobe Creative Suite. &lt;a href=&quot;http://www.coremelt.com/products/lock-and-load-x.html&quot; rel=&quot;nofollow&quot;&gt;http://www.coremelt.com/products/lock-and-load-x.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4453" LastActivityDate="2013-07-30T16:17:56.710" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8584" PostTypeId="1" CreationDate="2013-07-30T18:02:33.913" Score="1" ViewCount="892" Body="&lt;p&gt;To briefly summarize: I am looking for a video conversion box that will accept any resolution/refresh rate/color space and split out a properly converted feed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I utilize a hardware H.264 encoder/video switcher called the &lt;a href=&quot;http://www.blackmagicdesign.com/products/atemtelevisionstudio/&quot; rel=&quot;nofollow&quot;&gt;ATEM Television Studio&lt;/a&gt; for live-streaming company events. It's worked wonderfully for all intents and purposes, except it requires precise audio and video inputs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For audio, I use a Behringer DEQ2496 to convert my audio into a usable AES/EBU digital signal and to provide an audio delay (when needed). Super useful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For video, I have a laptop that sits at 720p and I've set a 59 refresh rate--and it is accepted as a 720p59.94 signal. As such, it requires any other video input be precisely 720p59.94.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the past, I've requested A/V companies I've worked with to supply the video signal at precisely 720p59.94. This has caused some issues, the last conference we hosted I was barely able to get working (they had to find a spare video conversion box on-site, as the first box they were using did not give a correct signal). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to take the A/V company out of the video conversion process and be able to accept any video input, and convert it. I would like to be able to accept both HDMI and SDI inputs of any resolution/refresh rate, and be able to convert that signal into something usable. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking at a &lt;a href=&quot;http://www.blackmagicdesign.com/products/miniconverters/models&quot; rel=&quot;nofollow&quot;&gt;Blackmagic Broadcast Convertor&lt;/a&gt;, but the lack of documentation about it has me slightly concerned. I'm not very familiar with any non-Blackmagic solutions for this problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any familiarity with the above equipment, or have a similar piece of a equipment they've used for live, on-site video conversion?&lt;/p&gt;&#xA;" OwnerUserId="4453" LastActivityDate="2013-07-30T18:51:03.203" Title="Hardware solution for live video conversion" Tags="|hardware|live|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8585" PostTypeId="2" ParentId="8584" CreationDate="2013-07-30T18:39:55.547" Score="2" Body="&lt;p&gt;That or the UpDownCross converter should meet your needs as long as the frame rates are the same.  I'd personally stick with BlackMagic's hardware as you already have their ATEM and they make some of the most cost-effective hardware around.  They aren't the top quality brand for sure, but you won't beat the value for the price pretty much anywhere else.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need to change the frame rate, you will need some kind of frame buffer that can interpolate on the fly, which is likely going to get pricy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, is there a reason that you can't vary the output of the laptop to fit whatever quality is needed for the feed from the A/V company?  This would avoid the need for a converter and seems to be the easier option.  A better output for the laptop may well be a cheaper solution.  The Intensity Shuttle for example is only $199 if you have a thunderbolt or USB 3 port.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-07-30T18:51:03.203" LastActivityDate="2013-07-30T18:51:03.203" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="8586" PostTypeId="1" AcceptedAnswerId="8587" CreationDate="2013-07-30T18:47:29.063" Score="1" ViewCount="271" Body="&lt;p&gt;Basically, companies will be giving us access to a variety of videos in a variety of formats.  We will then download the videos, trim out the important part in a 5 min and/or 10 min chunk.  From there, we want to encode the video to a variety of web (mp4) qualities. Initially we will only have 1, maybe 2 people doing the process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Workflow:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Download video to local computer&lt;/li&gt;&#xA;&lt;li&gt;Import video to Vegas Movie Studio&lt;/li&gt;&#xA;&lt;li&gt;Trim video &amp;amp; export to the highest quality we'll be publishing at&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Place video in local watch folder for a local encoder (Sorenson Squeeze Desktop) which will encode the video to the pre-defined outputs.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;OR&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Manually upload videos to a server that is being watched by Zencoder/Encoding.com/Sorenson Server which will encode the video to the pre-defined outputs and sends to main server.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Main server watches for completed encodings and automatically publishes them on the site as we please.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;There are a few issues I see with this workflow.  First off, we are re-encoding the video after trimming, then encoding it AGAIN to all of the desired outputs.  And second, the issue of uploading all of the files from a local computer to a server could be time consuming depending on the upload speed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a better, more time efficient, and/or more money saving workflow to this?&lt;/p&gt;&#xA;" OwnerUserId="4455" LastActivityDate="2013-07-30T18:56:58.433" Title="Workflow for trimming, encoding, and publishing videos to the web" Tags="|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8587" PostTypeId="2" ParentId="8586" CreationDate="2013-07-30T18:56:58.433" Score="2" Body="&lt;p&gt;If you are willing to use Adobe products, Premiere supports direct integration with Adobe Media Encoder and can be set with presets that include multiple output formats and sizes.  Each encoding runs off the actual main project, thus you remove the extra generation of loss.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, using a lossless quality intermediate file will prevent issues as no additional quality will be lost going from the source material to the intermediate output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A big pipe is the only answer to the second problem.  Encoding to the final format locally will save on bandwidth, but you have to transfer the file at some point and final output is the smallest amount of data possible unless you are making an awfully large number of different sizes of each video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-30T18:56:58.433" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8588" PostTypeId="1" CreationDate="2013-07-31T01:20:39.353" Score="1" ViewCount="68" Body="&lt;p&gt;I've recorded a lot of my audio guitar performances successfully, enjoying the ability to edit out some mistakes thru post-production editing of the .aif files. Typically I just plug the guitar into my amp, and plug the amp's line output into the the audio input jack of my Macintosh computer, and record directly into Sound Studio. I'd like to make the jump to doing a video recording, but the problem of how to sync and edit the audio seems more daunting since any edits require precise sync of audio and video.  I've got an HD digital camcorder with a 3.5mm external mic input jack. Seems like I'll need to connect the output jack on my guitar, to a small preamp (i've got a SansAmp that might do the trick) to boost the low level signal from the guitar pickup up enough to generate appropriate volume in the video, and also to feed a signal into my headphones so I can hear what is being recorded. Once all this is done, and I have a video, I can run it through IMovie to edit as needed. Am I on the right track?&lt;/p&gt;&#xA;" OwnerUserId="4457" LastActivityDate="2013-08-30T04:17:08.043" Title="What's the minimum needed to make a video of my guitar performance with good quality sound?" Tags="|video|digital-recording|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8589" PostTypeId="2" ParentId="8588" CreationDate="2013-07-31T03:58:55.743" Score="2" Body="&lt;p&gt;There are a couple ways you could go about this.  If you can do it in a single take, then you can record the audio and video at the same time and then simply sync them up and all will be well in the world.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to be able to do multiple takes, then what you should do is do it the way they make music videos.  Do the audio first, make your recording and do your editing and multiple takes.  Once you have done that, play back the audio aloud and fake it.  You don't actually use the audio from while playing in the video, you just record yourself playing in sync with the pre-recorded audio.  After, you do the same sync process as you would have done with the first option.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-31T03:58:55.743" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8591" PostTypeId="2" ParentId="4625" CreationDate="2013-07-31T18:36:17.687" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://blogs.adobe.com/kevinmonahan/2012/07/24/alternatives-to-the-jog-shuttle-controls-in-premiere-pro-cs6/&quot; rel=&quot;nofollow&quot;&gt;This feature was completely removed in CS6&lt;/a&gt;. However, you can now use the keys &lt;code&gt;J&lt;/code&gt;, &lt;code&gt;K&lt;/code&gt;, and &lt;code&gt;L&lt;/code&gt; to scrub the footage.&lt;/p&gt;&#xA;" OwnerUserId="4182" LastActivityDate="2013-07-31T18:36:17.687" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8593" PostTypeId="1" CreationDate="2013-07-31T21:05:31.373" Score="1" ViewCount="2305" Body="&lt;p&gt;I have 2 .wmv files which are equal in codec information (windows media video 9 in 640x360 with 25 fps; windows media audio 2 in stereo with 44,1kHz and 16 bits per sample). I'd like to concatenate / join them, so that I get one file which plays the content of file 1 and then the contents of file 2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can only use free, preferably open, software, preferably available for Linux.&lt;/p&gt;&#xA;" OwnerUserId="4460" LastActivityDate="2013-07-31T21:50:00.723" Title="Join / Concatenate .wmv files" Tags="|linux|freeware|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8594" PostTypeId="2" ParentId="8593" CreationDate="2013-07-31T21:50:00.723" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.radioactivepages.com/asfbin.aspx&quot; rel=&quot;nofollow&quot;&gt;Asfbin&lt;/a&gt; appears like it might be able to do what you are looking for.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-07-31T21:50:00.723" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8595" PostTypeId="1" CreationDate="2013-08-01T00:04:41.697" Score="-2" ViewCount="131" Body="&lt;p&gt;I have watched How I Met Your Mother, The Big Bang Theory and there are these laughs from audiences. Are these shows recorded with live audiences watching?&lt;/p&gt;&#xA;" OwnerUserId="4461" LastActivityDate="2013-08-01T21:29:20.647" Title="Are comedy shows recorded with live audiences?" Tags="|video-recording|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8598" PostTypeId="2" ParentId="8595" CreationDate="2013-08-01T00:29:57.190" Score="3" Body="&lt;p&gt;It depends on the show.  Some still are, but lots just use sound effects (called laugh tracks) to replicate the style of the older style of shows that are/were done live.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best bet for determining it for a particular show is to try and find tickets to the show.  If you can't find tickets or people talking about tickets, it probably isn't filmed live.  It does tend to be more prevalent with BBC shows, but there are still some US shows that have live audiences, though I'm not sure how many sitcoms and comedy shows specifically do.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-08-01T00:35:22.273" LastActivityDate="2013-08-01T00:35:22.273" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8600" PostTypeId="2" ParentId="8595" CreationDate="2013-08-01T12:49:39.423" Score="1" Body="&lt;p&gt;Often ones that are will mention some time during the opening/closing &quot;filmed before a live audience&quot; - I believe Big Bang Theory does.&lt;/p&gt;&#xA;" OwnerUserId="4311" LastActivityDate="2013-08-01T12:49:39.423" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8601" PostTypeId="2" ParentId="8595" CreationDate="2013-08-01T13:20:08.597" Score="1" Body="&lt;p&gt;It's really hard to be funny without an audience.  Audiences are brought in to help with that, and are also recorded for the laughter that occurs.  However, the end product you see on TV is heavily edited.  Timing is adjusted for better comedic effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This isn't a hard rule though.  Think of a show such as 30 Rock.  It has no audience (except when they do their live shows).&lt;/p&gt;&#xA;" OwnerUserId="129" LastActivityDate="2013-08-01T13:20:08.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8602" PostTypeId="2" ParentId="8595" CreationDate="2013-08-01T21:29:20.647" Score="2" Body="&lt;p&gt;They usually have stadium seating inside for a couple hundred people, with a bunch of microphones pointed at you. They have a comedian warm you up between takes to get everyone in the mood, play silly games etc. The sets are prebuilt for each show and they film most but not all scenes live, usually taking a few takes. The writing team is on standby and they change some jokes as they go if they don't get a big enough laugh form the live audience.&lt;/p&gt;&#xA;" OwnerUserId="4183" LastActivityDate="2013-08-01T21:29:20.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8603" PostTypeId="1" CreationDate="2013-08-01T22:33:13.293" Score="3" ViewCount="1579" Body="&lt;p&gt;This question has probably been asked before, but could not find it. With the possibility of recording RAW video on a DSLR, file size matters because CF cards are limited.&lt;br&gt;&#xA;File size can be reduced by recording at 720p as opposed to 1080p. First of all, how do I compute the size needed for a certain resolution? I presume it would be &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;file_size_per_second = height x width x 14 x fps&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;and the result must be divided by some compression factor, I guess, otherwise the number would be too large.&lt;br&gt;&#xA;Now, the second question is: for practical purposes, how does the size of the screen need to be  be in order to be able to notice differences between 1080p and 720p? Or, perhaps, does it also depend on what is being recorded?&lt;br&gt;&#xA;I'm asking this question, because I would go for 720p to save some space if it did not affect video quality significantly. &lt;/p&gt;&#xA;" OwnerUserId="1570" LastEditorUserId="1570" LastEditDate="2013-08-08T04:32:13.437" LastActivityDate="2013-08-12T19:31:55.397" Title="DSLR RAW video: 1080p or 720p?" Tags="|video|video-quality|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8605" PostTypeId="1" CreationDate="2013-08-01T23:43:33.497" Score="1" ViewCount="2133" Body="&lt;p&gt;The sequence is composed of a jpg followed by an mp4. When the jpg is not present, after I hit Command + R, the sequence can render without errors. When the jpg is present, after I hit Command + R, the sequence cannot render and it returns a message &quot;File Error: Unknown file.&quot;&lt;/p&gt;&#xA;" OwnerUserId="4471" LastActivityDate="2014-02-02T00:14:55.047" Title="Final Cut Pro 7: File Error: Unknown file" Tags="|editing|final-cut-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8607" PostTypeId="2" ParentId="8603" CreationDate="2013-08-02T01:53:06.647" Score="3" Body="&lt;p&gt;Keep in mind that it is 14 bit color and there are 8 bits to a byte.  So the uncompressed data rate would be height * width * 14 bits per pixel / 8 bits per byte * fps.  That said, I'm not sure if they store it completely uncompressed.  RAW images are generally compressed significantly, they are just compressed losslessly.  I'm not sure if the MagicLantern hack uses compression or not though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as screen size for noticing the difference between 720p and 1080p, it doesn't have to be big.  Viewing distance makes a bigger difference, but it's fully possible to tell the difference between 1080p and 720p even on screens that are inches in size as long as they actually support 1080p and are viewed from fairly close.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I wasn't able to find a CC version, Carlton Bale has a &lt;a href=&quot;http://s3.carltonbale.com/resolution_chart.html&quot; rel=&quot;nofollow&quot;&gt;nice graph on his site&lt;/a&gt; that shows the screen sizes and distances at which 20/20 vision can resolve the differences.  Note that someone with higher than 20/20 vision would see the differences further out.  It unfortunately only goes from 20 inch displays up though.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In closer, it might be easier to use a pixels per inch measure.  Photographs are typically suggested to be printed at 300dpi or higher when in close.  A 4.7 inch screen at 720p has around 312 ppi.  Uping that to a 1080p resolution at 5 inches or so has a PPI of 415.  At arms length, it isn't going to be noticeable, but when you get in close to it, say watching in bed with it a few inches from your face, the difference will become quite noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thinking about it another way, it really all has to do with how big of an area of your vision the screen takes.  So using a 50 inch screen as a guideline, if the display takes up the area of your vision that a 50 inch TV takes when sitting 8 to 10 feet away, then you won't see better than 720p with 20/20 vision.  If it is taking more than that area, then you will easily be able to see the difference.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-08-08T14:36:48.100" LastActivityDate="2013-08-08T14:36:48.100" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="8608" PostTypeId="2" ParentId="8605" CreationDate="2013-08-02T07:15:58.230" Score="1" Body="&lt;p&gt;Final Cut Pro may not recognize your file location. Did you change the location of the jpg after you imported it into the sequence? If so, you may have to locate it again. &lt;/p&gt;&#xA;" OwnerUserId="4182" LastActivityDate="2013-08-02T07:15:58.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8613" PostTypeId="1" CreationDate="2013-08-04T20:01:40.037" Score="2" ViewCount="759" Body="&lt;p&gt;I am trying to create a sequence that displays hundreds of images in succession. I want the images to change according to the speed/mood/beat of the music that plays at that moment. For example, changing to the next image every time the kickdrum is heard. I am talking about a rapid succession of images, many of them will only show for a couple of frames. So basically I am looking for a way to accomplish this as fast as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what I've come up with.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;First, I'll listen to the song and edit my preferences so that in the &quot;General&quot; tab, the &quot;Still Image Default Duration&quot; is set to the number of frames that would best sync up with the tempo/beat of the song.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Next I'll listen to the song again in the &quot;Source&quot; panel and whilst playing it I'll set markers using the m keyboard shortuct where I'll want the images to change. If necessary, I'll listen to it again at half-speed or zooming in a lot and fine-tune the position of the markers until I am happy.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Then I'll import the song to my timeline, along with all of my images, which of course will not be in sync with the markers. So I'll basically use the &quot;Ripple Edit Tool&quot; with all of my images, and individually set the in and out points of every single image so that they 'snap' to the markers.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Finally I'll fine-tune again the in and out points of the images, performing ripple deletes and doing minor adjustments.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Is there a way to speed up this workflow? Maybe a way so that when I import all of the images to the timeline, they'll sync automatically their in and out points with the position of the markers?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks. I'm using Adobe Premiere Pro CS6.&lt;/p&gt;&#xA;" OwnerUserId="4479" LastEditorUserId="2569" LastEditDate="2013-08-04T22:07:57.663" LastActivityDate="2014-06-01T07:13:21.417" Title="Batch-importing images in sync with audio/markers" Tags="|premiere|workflow|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8614" PostTypeId="1" CreationDate="2013-08-04T22:36:09.107" Score="-1" ViewCount="219" Body="&lt;p&gt;I always see good videos on Youtube. I mean that they are good in quality and in the presentation. So, what are the tools or programs which helps in that?&lt;/p&gt;&#xA;" OwnerUserId="4480" LastEditorUserId="2569" LastEditDate="2013-08-05T01:26:31.723" LastActivityDate="2013-08-05T02:51:49.787" Title="What are the tools needed to produce good quality videos on Youtube?" Tags="|youtube|" AnswerCount="1" CommentCount="1" ClosedDate="2013-08-06T13:51:33.170" ContentLicense="CC BY-SA 3.0" />
  <row Id="8615" PostTypeId="2" ParentId="8613" CreationDate="2013-08-05T02:38:59.487" Score="1" Body="&lt;p&gt;You are going along the right track, but the first step is not necessary.  You want to use the &quot;automate to sequence&quot; functionality, found under the Project menu, to set the images to the markers.  There are a variety of orders that you can have it insert the images in and you may need to do some adjustments to how you bring in the images to make them go in the correct order, but it will handle setting the start and end points at the markers and can even automate transitions if you so desire.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-05T02:38:59.487" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8616" PostTypeId="2" ParentId="8614" CreationDate="2013-08-05T02:51:49.787" Score="2" Body="&lt;p&gt;What you need is no different from what you need for any video production effort.  You need a decent camera and camera work, which likely involves a decent tripod, decent lighting, decent scripting, decent acting, decent editing and decent compression.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera and camera work ensure that the video is clear and that it isn't distractingly shaky and that angles and shot composition look good.  Decent lighting ensures that the camera can get good color and that there aren't weird or distracting shadows and helps things look pleasing to the eye.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A very wide variety of cameras could do the job, starting with cameras like entry level DSLR video or cameras like the GoPro.  Lighting can be done with any set of similar type lights, though specifically made studio lights will output the whitest light which is helpful for filming, but isn't a necessary expense for starting out.  It is important to make sure the color of the lights match though or you will get weird looking issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Decent scripting and acting ensure that there is interesting content that is well performed.  Decent editing ensures that the source material is pieced together in a way that flows nicely and tells the story that is visually interesting and properly paced.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Editing generally is done with a piece of software known as a non-linear editor or NLE for short.  Adobe Premiere Pro is a popular NLE, though in a pinch, cheaper alternatives can be used to produce satisfactory results, though they are generally more difficult to work with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, decent compression of the final video ensures that it looks good on Youtube, even at the limited file sizes that Youtube displays.  This simply involves the use of a video compression software.  Many good NLEs include a video transcoding and compression package (such as Adobe Media Encoder) and there are also free ones available, such as FFMPEG.  VBR 2 pass, H.264 is the general compression of choice for Youtube, but some fine tuning of the bitrate, resolution and keyframe interval can make a big difference on the overall quality of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Overall, to pull off a top notch video requires a fair bit of preparation, gear, knowledge and experience and it isn't going to be possible to detail everything you need to know in a single question and answer, but hopefully this gives you an idea of the key components involved in the process of making such a video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-05T02:51:49.787" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8617" PostTypeId="1" CreationDate="2013-08-05T03:14:04.020" Score="0" ViewCount="116" Body="&lt;p&gt;I'm trying to create a video feed that will display a special effects rendition of a dance area on a nearby video board.  Much like what many of you have probably seen in a children's museum.  An example of what I'm trying to do can be seen here: &lt;a href=&quot;http://exs.exploratorium.edu/exhibits/recollections/&quot; rel=&quot;nofollow&quot;&gt;http://exs.exploratorium.edu/exhibits/recollections/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been searching for hours, but as there isn't a specific search term I can think of, it's extremely frustrating.  I would really appreciate it if someone can point me in the right direction or has another solution to how this can be done.&lt;/p&gt;&#xA;" OwnerUserId="4482" LastActivityDate="2013-11-03T16:51:06.333" Title="Software or video interpretation to create live dance floor effects" Tags="|video|video-editor|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8620" PostTypeId="2" ParentId="8617" CreationDate="2013-08-05T14:44:47.477" Score="1" Body="&lt;p&gt;I think most things like this tend to be specialty installations where the system and image processing is designed by the artist making it.  The exact ways to approach it would depend on the particular type of effect you are trying to produce.  It could be as simple as storing the last few frames and blending them together with an average that is weighted towards the last frame to give it a blur look or various other possible methods of effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At it's simplest, you might look at some of the simple effects stuff that some webcams make available, but I'd expect you'd need to do custom work for most of it.  You could also look in to video jokey software that might have some components that could be used for this kind of thing, though I don't personally have a whole lot of experience in that particular arena, so the amount of help I can give is limited there.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-05T14:44:47.477" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8621" PostTypeId="1" AcceptedAnswerId="8622" CreationDate="2013-08-05T15:32:52.877" Score="6" ViewCount="11214" Body="&lt;p&gt;I'm attempting to extract the individual frames from a raw AVC video stream. I'm doing this via the following ffmpeg command: &lt;code&gt;ffmpeg -q 1 -i video_test.avc -f image2 frames/frames_%04d.jpg&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem I'm encountering is the first few frames look good. I'm including an example below.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/9KWDv.jpg&quot; alt=&quot;Example of good frame&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The extracted frames then get progressively worse and by the time I get to the 17th frame, they're really blocky.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/imKyK.jpg&quot; alt=&quot;Example of blocky image&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You get get the raw video from this &lt;a href=&quot;https://dl.dropboxusercontent.com/u/21682354/Internet%20Posts/ffmpeg%20issue/video_test.avc&quot; rel=&quot;noreferrer&quot;&gt;link&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an option I'm missing? I've noticed that FFMPEG on my Mac works as expected and generates nice frames, but FFMPEG on my production server that runs Ubuntu exhibits this problem. &lt;/p&gt;&#xA;" OwnerUserId="1794" LastActivityDate="2013-08-05T19:31:39.283" Title="FFMPEG output is blocky" Tags="|video-quality|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8622" PostTypeId="2" ParentId="8621" CreationDate="2013-08-05T19:31:39.283" Score="7" Body="&lt;h3&gt;Option placement matters&lt;/h3&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Is there an option I'm missing?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;No, but option placement matters. Options before the input apply to the input, and options before the output generally apply to the output. The exception are global options. See the &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Synopsis&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg synopsis&lt;/a&gt; and &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Description&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg description&lt;/a&gt; for more details on option placement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Therefore, you must move your &lt;code&gt;-q&lt;/code&gt; (alias for &lt;code&gt;-qscale&lt;/code&gt;) option:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video_test.avc -q:v 2 frames/frames_%04d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-f image2&lt;/code&gt; is superfluous here since ffmpeg knows that your outputs are images.&lt;/li&gt;&#xA;&lt;li&gt;A sane range for &lt;code&gt;-q:v&lt;/code&gt; for the encoder &lt;code&gt;mjpeg&lt;/code&gt; is 2-5; lower is higher quality.&lt;/li&gt;&#xA;&lt;li&gt;It is recommended to be explicit as to which stream you want to apply &lt;code&gt;-q&lt;/code&gt; to since ffmpeg can not know if it should be applied to video or audio, so in your case use &lt;code&gt;-q:v&lt;/code&gt;. This is good practice, although it does not matter for your input since you have no audio.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h3&gt;A fake &quot;ffmpeg&quot;&lt;/h3&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I've noticed that FFMPEG on my Mac works as expected and generates nice frames, but FFMPEG on my production server that runs Ubuntu exhibits this problem.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Ubuntu no longer uses FFmpeg:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://stackoverflow.com/a/9477756/1109017&quot;&gt;Who can tell me the difference and relation between ffmpeg, libav, and avconv?&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://blog.pkh.me/p/13-the-ffmpeg-libav-situation.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;The FFmpeg/Libav situation&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Since I do not use the fork my answer may not work for you.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Getting ffmpeg&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;FFmpeg development is very active and it is always a good idea to use a recent version. Two main ways of getting it are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Follow a step-by-step &lt;a href=&quot;http://trac.ffmpeg.org/wiki/UbuntuCompilationGuide&quot; rel=&quot;nofollow noreferrer&quot;&gt;guide to compile ffmpeg&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Use an already compiled &lt;a href=&quot;http://ffmpeg.org/download.html#LinuxBuilds&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg build&lt;/a&gt; (&lt;a href=&quot;https://askubuntu.com/a/270107/59378&quot;&gt;instructions&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2013-08-05T19:31:39.283" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8623" PostTypeId="1" AcceptedAnswerId="8624" CreationDate="2013-08-05T21:11:03.487" Score="3" ViewCount="17080" Body="&lt;p&gt;I'm trying to add a cross dissolve effect in between two clips. Premiere doesn't allow me to do it between the first and the second clip.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know the reason?&lt;/p&gt;&#xA;" OwnerUserId="1570" LastActivityDate="2013-08-05T22:01:17.443" Title="Cross Dissolve not available in between clips [Premiere CS6]" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8624" PostTypeId="2" ParentId="8623" CreationDate="2013-08-05T22:01:17.443" Score="2" Body="&lt;p&gt;Do your clips have overlap?  If you put the clips end to end, running them right up to the end of the file and beginning of the file, then there is no video for Premiere to apply a dissolve to.  You need to have sufficient video left in the clip to complete the transition.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-05T22:01:17.443" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8626" PostTypeId="2" ParentId="7694" CreationDate="2013-08-06T08:13:56.040" Score="3" Body="&lt;p&gt;If you are using PC, you have some great options. &lt;a href=&quot;http://fixounet.free.fr/avidemux/&quot; rel=&quot;nofollow&quot;&gt;Avidemux&lt;/a&gt; is great and allows you to join separate clips together losslessy which is great. You simply open the first 10-minute movie clip in Avidemux and then choose &quot;Append&quot; from the File menu. Select your second clip and press OK. It should now simply be added onto the end of your first clip. Rinse and repeat for extra segments you might have. Make sure the audio/video options on the left hand side says &quot;copy&quot; or &quot;stream copy&quot; to ensure you are saving the new output file without re-encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.virtualdub.org/&quot; rel=&quot;nofollow&quot;&gt;Virtualdub&lt;/a&gt; is also capable of this but you might need to install codecs/plugins to be able to open and use your files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that solves your problem!&lt;/p&gt;&#xA;" OwnerUserId="3037" LastActivityDate="2013-08-06T08:13:56.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8627" PostTypeId="1" CreationDate="2013-08-06T10:01:17.337" Score="0" ViewCount="575" Body="&lt;p&gt;I have a &lt;strong&gt;mov&lt;/strong&gt; file with the size of 74 MB. because of the size it is getting slow to load in my webpages. i would like to reduce my video size. But if i do that by using online compressor the video quality become low. i am not bother about reducing the resolution and changing the video format. Can anyone please help for doing this more efficiently&lt;/p&gt;&#xA;" OwnerUserId="1779" LastActivityDate="2013-08-06T13:49:31.063" Title="Have to reduce the video size with losing the quality" Tags="|video|video-quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8628" PostTypeId="1" AcceptedAnswerId="8630" CreationDate="2013-08-06T11:36:40.987" Score="3" ViewCount="2613" Body="&lt;p&gt;Apologies for the noob question but I've just started trying to learn FCP and couldn't find the settings to export my movie in 16:9 aspect ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone tell me the quickest way to go about it?&#xA;(source material has a variety of different aspect ratios)&lt;/p&gt;&#xA;" OwnerUserId="3213" LastActivityDate="2013-08-06T13:13:01.550" Title="Export to wide screen (16:9) from Final Cut pro X" Tags="|final-cut-pro-x|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8630" PostTypeId="2" ParentId="8628" CreationDate="2013-08-06T13:13:01.550" Score="4" Body="&lt;p&gt;This answer assumes that the video that you're editing is already in a 16:9 ratio, otherwise when you export there will be black bars on the sides or above and below your video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A 16:9 ratio is the standard for HDTV and Full HD. You're probably familiar with the Youtube video qualities - 360p, 480p, 720p, 1080p, etc. These are all 16:9. Therefore, all you have to do is export in one of these resolutions - 1080p is Full HD and 720p is HD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more reading on common aspect ratios, reference this &lt;a href=&quot;http://en.wikipedia.org/wiki/16:9#Common_resolutions&quot; rel=&quot;nofollow&quot;&gt;Wikipedia page&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4182" LastActivityDate="2013-08-06T13:13:01.550" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8631" PostTypeId="2" ParentId="8627" CreationDate="2013-08-06T13:49:31.063" Score="1" Body="&lt;p&gt;By nature, reducing the size of the video (either by bitrate, by resolution or both) will reduce the quality of the video.  You can minimize the loss by using good compression algorithms from high quality sources with proper settings, but there will always be quality loss with additional compression, even if minimal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without knowing more about the type, length and resolution of your video, it isn't possible to give the best advice, but using 2 pass VBR H.264 video is a fairly standard compression algorithm to use.  2 pass VBR will adjust the rate of data use to help account for differences in complexity of the video and make better use of the data you allocate to it, but it is still necessary to allocate sufficient data rate or the quality will deteriorate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the video is HD, then it would have to be pretty short (under one minute) to stay under 74mb without pretty significant quality loss.  Dropping the resolution will similarly greatly reduce the quality, though depending on the level of compression, it may be less blocky.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-06T13:49:31.063" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8633" PostTypeId="1" AcceptedAnswerId="8634" CreationDate="2013-08-06T18:41:46.267" Score="1" ViewCount="336" Body="&lt;p&gt;Which video format allows concatenation simply by joining files?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cat out1.mp4 ou2.mp4 &amp;gt;out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;These videos are created from images using ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -f image2 -i image.png -s 640x480 -vcodec libx264 -t 30 -y out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you can give me a running example it'd be great.&lt;/p&gt;&#xA;" OwnerUserId="4492" OwnerDisplayName="Dzung Nguyen" LastEditorUserId="2261" LastEditDate="2013-08-07T05:51:10.110" LastActivityDate="2013-08-07T05:51:10.110" Title="Join videos through concatenation" Tags="|video|file-formats|conversion|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8634" PostTypeId="2" ParentId="8633" CreationDate="2013-08-07T04:07:12.297" Score="0" Body="&lt;p&gt;From &lt;a href=&quot;http://www.ffmpeg.org/faq.html#Concatenating-using-the-concat-protocol-_0028file-level_0029&quot; rel=&quot;nofollow&quot;&gt;FFmpeg FAQ&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;A few multimedia containers (MPEG-1, MPEG-2 PS, DV) allow to&#xA;  concatenate video by merely concatenating the files containing them.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Hence you may concatenate your multimedia files by first transcoding them to these privileged formats, then using cat command (or copy under Windows), and finally transcoding back to your format of choice.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.avi -qscale:v 1 intermediate1.mpg&#xA;ffmpeg -i input2.avi -qscale:v 1 intermediate2.mpg&#xA;cat intermediate1.mpg intermediate2.mpg &amp;gt; intermediate_all.mpg&#xA;ffmpeg -i intermediate_all.mpg -qscale:v 2 output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="2261" LastEditorUserId="2261" LastEditDate="2013-08-07T05:02:00.730" LastActivityDate="2013-08-07T05:02:00.730" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8636" PostTypeId="1" AcceptedAnswerId="8641" CreationDate="2013-08-07T06:36:28.040" Score="1" ViewCount="156" Body="&lt;p&gt;I recorded a video of a speaker at a graduation ceremony using my tablet. The first half of the recording, I held the tablet in my hand so it's shaky and just terrible. I finally realized that I could capture the scene I wanted just fine by using the tablet's stand and placing it on the ground.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Throughout the entire video, the background never changes, the speaker is at a podium and it can act as a focal point...other than the speaker, there is no motion in the scene (other than audience heads in the foreground.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to use After Effects Motion Warp but it looks horrid but it would work perfectly if I could select a &quot;static background&quot; from one frame and apply that throughout the rest of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is something like this possible?&lt;/p&gt;&#xA;" OwnerUserId="4485" LastActivityDate="2013-08-07T13:57:52.600" Title="Very Shaky camera but a constant background" Tags="|premiere|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8637" PostTypeId="1" AcceptedAnswerId="8642" CreationDate="2013-08-07T08:55:03.140" Score="0" ViewCount="3200" Body="&lt;p&gt;I have been searching for an indie movie that is completely done in Blender, but the longest animation I have found was about 15 minutes long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any full length animated cartoons/movies (~90 minutes)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found only this:&#xA;&lt;a href=&quot;http://www.blender.org/features-gallery/movies/&quot; rel=&quot;nofollow&quot;&gt;http://www.blender.org/features-gallery/movies/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can tell me also commercial titles if there are any, but I haven't found any so I am interested if they are any or not?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of the movies from big studios are using Maya, so I am curious if any indie companies are using Blender or not, because I think that if a group of enthusiasts invest 2 or 3 years in something like Big Buck Bunny (it's only 10 minutes long, but created in Blender and I think it is really nice ely done, especially if you consider it was done about 5 years ago): &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/YE7VzlLtp-4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;" OwnerUserId="3450" LastActivityDate="2015-06-06T23:00:00.213" Title="Why there are no full lenght independent cartoon animated movies created in Blender?" Tags="|animation|3d|blender|" AnswerCount="4" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="8639" PostTypeId="1" CreationDate="2013-08-07T09:13:51.640" Score="0" ViewCount="1282" Body="&lt;p&gt;I don't know how to call this kind of proof in English, but maybe if I explain it a little bit further you'll get the idea.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically I want to create video/audio proof that something was shot in 2013 and have this &quot;proof&quot; video as evidence later, in 2015. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question is what to do so the people will believe that the video from back in the days is authentic and not fabricated in 2015.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I was thinking that it should be one-taker and that &lt;/li&gt;&#xA;&lt;li&gt;it should contain some evidence of the date and time and &lt;/li&gt;&#xA;&lt;li&gt;some things that were unique for that time and don't exist anymore or something like that e.g. building that will be destroyed, people who will be dead in 2 years ;D etc. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;But I need something easier to accomplish, because the newspapers and TV, radio could be faked. Something more bullet proof would be needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas how to accomplish that? Thanks in advance for every take on this. I am really curious how would you solved this problem.&lt;/p&gt;&#xA;" OwnerUserId="3450" LastEditorUserId="2569" LastEditDate="2013-08-07T12:45:57.050" LastActivityDate="2023-10-17T20:59:37.650" Title="How to include proof of when a video was made, something that couldn't be be faked at a later date?" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8640" PostTypeId="2" ParentId="8636" CreationDate="2013-08-07T13:22:42.947" Score="0" Body="&lt;p&gt;Deshaker which is a filter that can be applied in Virtual Dub, could fix the original shaking some, on mostly default settings (where the background moves).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Dehaker also has many many settings possible, you could mask out areas , as long as the person moving was then larger than the masked out area, and you got the settings all correct, it might be able to fix some of that up for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In most situations of any EIS (electronic image stabilization) It is cropping up a smaller portion of the whole video, and the methods for filling in where there is no picture at all (borders) are not great.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I find that setting everything and testing by looking at the vectors, using a excessive ammount of smoothing, and then using only about 1/2 of what would completly fix it , works ok to make the pictures a little more viewable.&lt;/p&gt;&#xA;" OwnerUserId="4488" LastActivityDate="2013-08-07T13:22:42.947" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8641" PostTypeId="2" ParentId="8636" CreationDate="2013-08-07T13:57:52.600" Score="1" Body="&lt;p&gt;While it's fairly easy for it to figure out the camera position from the shot, it is not nearly as easy for it to identify subjects cleanly.  In order to do what you are talking about, the subject would have to be identified and extracted from the background without any extra bits coming along.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Computer vision algorithms simply aren't that advanced yet and such work is always either done by rotoscoping (manually outlining the subject on each frame) or using a chroma or luma key backdrop that can be removed.  Stabilization works by identifying straight lines and tracking them generally.  The border fill in motion warp then works by attempting something similar to what you are talking about by looking at what appeared to be there in previous frames, but it doesn't really work all that well yet either as it is a new technology.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The same problems that prevent them figuring out accurately what was there in previous frames are what prevent separating the subject from the background (the ability to identify, with precise accuracy, the same object in one image to another.  You would end up with a subject that hovered oddly on the background and had a ring of background around them and/or left bits of them behind if you tried it with current level of technology.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using motion warp and applying a crop or bypassing the auto-crop and manually cropping and moving around the frame is probably your best bet.  This is how I usually handle stabilization issues.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-07T13:57:52.600" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8642" PostTypeId="2" ParentId="8637" CreationDate="2013-08-07T14:02:42.120" Score="5" Body="&lt;p&gt;Simply put, to make a full length movie requires a lot of man hours and generally a decent budget.  It becomes more cost effective to get real animation software when dealing with a full length film than trying to struggle through with something like Blender.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Don't get me wrong, Blender is great for what it is as a free product, but, at least as of the last time I was able to seriously work with it a few years back, it was nothing at all compared to the capabilities of one of the high end systems like Maya or SoftImage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both the ease of working with the tools and the improved collaboration workflows make it so that using a commercial system may likely be cheaper in the long run due to time saved for a long project like a full length movie.  It's certainly easier, even if costs are just close to comparable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's also worth noting that Maya isn't the only platform used by the big studios.  Several use their own in-house systems, Maya, SoftImage and Cinema4D are also all used pretty extensively.  3D Studio Max is also sometimes used, though it has found more of a niche in the video game market.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-07T14:02:42.120" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8643" PostTypeId="2" ParentId="8639" CreationDate="2013-08-07T14:10:04.667" Score="5" Body="&lt;p&gt;There isn't any way to do it within the video.  You can easily prove a video was made (or altered) after a particular time, but you can't prove that it happened before a particular time via the media itself, since you could edit things in from previous time to make it look that way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The non-video answer would be to generate a signature of the video file and get it cryptographically signed by a reliable time stamping service.  This would prove that the video files had been unaltered since the time the stamp was applied.  Most Certificate Authorities can do this.  I personally use StartSSL because they are pretty cheap but reasonably well respected.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, you can have a document from a notary about when the video was made, though that won't prove it wasn't altered in some way.  The notary may have more legal baring than a particular CA's time server though depending on if anything causes a loss of faith in the Certificate Authority.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-07T14:10:04.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8651" PostTypeId="1" CreationDate="2013-08-08T14:11:22.013" Score="7" ViewCount="2481" Body="&lt;p&gt;I am using the Ken Burns effect in Final Cut Pro X, however it does not allow me enough control over how it behaves.  I end up having to cut the video in to multiple clips in order to get the effect to work the way I want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I achieve multiple different Ken Burns like zooms without having to cut my video in to multiple pieces to make the adjustments.  What about other software when Ken Burns isn't an effect that it has?&lt;/p&gt;&#xA;" OwnerUserId="4483" LastEditorUserId="6079" LastEditDate="2014-07-01T16:14:35.547" LastActivityDate="2014-07-01T16:14:35.547" Title="How can I achieve the Ken Burn Effect with greater control or in other software?" Tags="|editing|final-cut-pro|keyframes|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8652" PostTypeId="1" CreationDate="2013-08-08T14:35:53.180" Score="2" ViewCount="66" Body="&lt;p&gt;I've just bought a second-hand Canon MV 750i camcorder. Unfortunately, its screen doesn't show what I'm looking at. I understand that the problem is with the image sensor, which I want to try to replace myself. I have a repair manual. I got in touch with Canon, but it doesn't have the part and its support wasn't very helpful. Does anyone know the part number and where I might source it?&lt;/p&gt;&#xA;" OwnerDisplayName="Terry" LastEditorUserId="3963" LastEditDate="2013-12-07T04:29:26.480" LastActivityDate="2013-12-07T04:29:26.480" Title="MV 750i image sensor" Tags="|canon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8653" PostTypeId="2" ParentId="8652" CreationDate="2013-08-08T14:41:30.823" Score="1" Body="&lt;p&gt;If Canon no longer has the part, most likely your best bet will be to find another used MV 750i that you can salvage the part from.  If you have a repair manual, you might checking what the part number it lists is and try searching if any surplus places have the part itself.  Some quick looking on eBay shows what appears (or at least claims) to be a compatible part for $20.&lt;/p&gt;&#xA;" OwnerUserId="2836" OwnerDisplayName="AJ Henderson" LastActivityDate="2013-08-08T14:41:30.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8654" PostTypeId="1" CreationDate="2013-08-08T19:48:50.183" Score="0" ViewCount="84" Body="&lt;p&gt;I am new to video editing so if my terminology is wrong, I apologize. I am making a video with output settings : 720p and dimensions 640 x 480. I am inserting a series of video clips but their dimensions are smaller than 640 x 480. Instead of the video clip slide expanding up to 640 x 480, I want it to remain the same size but have a black cinema box or border box around the video clip. How can this be accomplished with a video editor?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/XM1V5.png&quot; alt=&quot;Smaller video clip expands to fill container size&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/hEqVD.png&quot; alt=&quot;Cinema box around smaller video clip&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4496" LastEditorUserId="2569" LastEditDate="2013-08-08T23:03:55.193" LastActivityDate="2013-08-08T23:03:55.193" Title="Make a cinema box around a video clip" Tags="|video-editor|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8655" PostTypeId="1" CreationDate="2013-08-08T20:07:42.440" Score="1" ViewCount="33" Body="&lt;p&gt;I'm using Sony Vegas pro 10 and trying to render a small video for YouTube (3 min).&lt;br&gt;&#xA;Resulting video is always slightly flushed, frozen, interrupted... on the same place - on about 1:18 till 1:36.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Original video is ok. I tried to render just this small problematic part - the same result. Something is wrong on that part. Playing in Vegas - no problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What could be the reason, pls.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe important, on that place the audio track is the most loud.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Rendering another videos is ok.&lt;/p&gt;&#xA;" OwnerUserId="4497" LastActivityDate="2013-08-08T21:01:41.103" Title="Resulting video is bad always on the same place" Tags="|vegas-pro|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8656" PostTypeId="2" ParentId="8654" CreationDate="2013-08-08T20:22:38.467" Score="1" Body="&lt;p&gt;Just import the video and don't scale it.  Any decent NLE should support using clips at their original resolution and placing them within a larger format either scaled or unscaled.  Without knowing your intended NLE, I can't really offer any more advice than that.  Premiere Pro would certainly meet your needs.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-08T20:22:38.467" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8658" PostTypeId="2" ParentId="8655" CreationDate="2013-08-08T21:01:41.103" Score="2" Body="&lt;p&gt;Two possibilities that come to mind are that it could be a dropped frame that isn't that noticeable until an H.264 compression is applied or it could be that you are using an insufficient bit rate and that particular part of the video has enough going on that it couldn't compress well.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would check the time code around the problem to make sure all the frames are there.  I would also try increasing the bit rate used and try VBR 2 pass and see if either of those fix it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-08T21:01:41.103" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8659" PostTypeId="1" AcceptedAnswerId="8660" CreationDate="2013-08-08T22:02:28.620" Score="2" ViewCount="417" Body="&lt;p&gt;&lt;strong&gt;Television broadcasters&lt;/strong&gt; show short &quot;outlooks&quot; or &quot;summaries&quot; of the upcoming program, often right after the advertisement (w/ or w/o the &lt;a href=&quot;http://en.wikipedia.org/wiki/Digital_on-screen_graphic&quot; rel=&quot;nofollow noreferrer&quot;&gt;Digital on-screen graphic&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the &lt;strong&gt;term&lt;/strong&gt; for this short announcments?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/9tOa4.png&quot; alt=&quot;TV broadcast announcments&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4498" LastEditorUserId="4498" LastEditDate="2013-08-09T06:10:33.677" LastActivityDate="2013-08-09T06:10:33.677" Title="Term for upcoming TV summaries (broadcast design)" Tags="|terminology|broadcasting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8660" PostTypeId="2" ParentId="8659" CreationDate="2013-08-08T22:42:18.900" Score="1" Body="&lt;p&gt;I am not aware of any particular term for showing the schedule.  It's just a schedule of upcoming programs and may include playing teasers or previews, which are the video clips to promote upcoming shows.  It could also be referred to as filler since it is content that is run while the credits are going (which they have to display) but want to fill it with some more interesting content.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-08-09T00:06:02.347" LastActivityDate="2013-08-09T00:06:02.347" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8661" PostTypeId="2" ParentId="8659" CreationDate="2013-08-08T23:06:30.757" Score="1" Body="&lt;p&gt;You may be referring to a &quot;teaser&quot; or &quot;pre-cap&quot;. These are clips of upcoming shows designed to pique your interest and remind you of an upcoming episode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An ordinary teaser usually runs separately from the program, where (what we always called) pre-caps are teasers that run at or near the closing credits for an episode -- as in &quot;Next time on XXX...&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that's not what you're referring to, I don't know what term you mean.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-08-08T23:06:30.757" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8663" PostTypeId="2" ParentId="3516" CreationDate="2013-08-09T13:20:48.813" Score="2" Body="&lt;p&gt;the keyboard shortcut is &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;K&lt;/kbd&gt;, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;K&lt;/kbd&gt; didnt work for me for some reason.&lt;/p&gt;&#xA;" OwnerUserId="4503" LastEditorUserId="2569" LastEditDate="2013-08-09T13:30:27.477" LastActivityDate="2013-08-09T13:30:27.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8677" PostTypeId="2" ParentId="8130" CreationDate="2013-08-11T01:20:02.913" Score="2" Body="&lt;p&gt;Say, you have a video that has indoor and outdoor scenes, and also some other tracks. And you notice that indoor parts require brightness/saturation adjustment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You cut your video into a sequence of scenes (&lt;em&gt;Video Events&lt;/em&gt;), and you find it boring to apply FX to all/several indoor &lt;em&gt;events&lt;/em&gt;, especially if they are cut into many places across your video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I use a pretty simple technique to automate it.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Make sure all &lt;em&gt;Video Events&lt;/em&gt; that need to have an FX stay on a separate &lt;em&gt;Video Track&lt;/em&gt;, so that the &lt;em&gt;track&lt;/em&gt; contains &lt;strong&gt;only&lt;/strong&gt; &lt;em&gt;events&lt;/em&gt; that do need the FX. Call it, say, &quot;Indoor with brightness&quot;.&lt;/li&gt;&#xA;&lt;li&gt;Let's complicate things and assume you also need some scenes to be pixelated. Place them into yet another &lt;em&gt;track&lt;/em&gt;, call it &quot;Indoor with brightness and pixelate&quot;. Apply Pixelate FX to this track.&lt;/li&gt;&#xA;&lt;li&gt;Make a new &lt;em&gt;Video Track&lt;/em&gt;, and call it, say, &quot;Brightness FX Master&quot;&lt;/li&gt;&#xA;&lt;li&gt;Make both &quot;Indoor with brightness&quot; and &quot;Indoor with brightness and pixelate&quot; tracks to be &lt;em&gt;children&lt;/em&gt; of &quot;Brightness FX Master&quot; track&lt;/li&gt;&#xA;&lt;li&gt;Apply the Brightness FX to &quot;Brightness FX Master&quot; track&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/vPxmn.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Pros:&lt;/strong&gt; You set all FX only once. Modify it freely and you don't need to re-apply it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Cons:&lt;/strong&gt; Usually, you will have to cut through the tracks carefully because it's impossible to add a non-FX track in between two child tracks. Also, managing cross-track crossfades is often a difficult to accomplish.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, You can't partially apply an FX this way, e.g., Brightness +10 is always Brightness +10, there's no way to set its opacity=50% (effectively to Brightness +5). In this case, use &lt;em&gt;Animate&lt;/em&gt; feature to dynamically change parameters of applied FX (&quot;Brightness Amount&quot;, in this case).&lt;/p&gt;&#xA;" OwnerUserId="2365" LastActivityDate="2013-08-11T01:20:02.913" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8688" PostTypeId="1" CreationDate="2013-08-12T17:53:18.067" Score="3" ViewCount="660" Body="&lt;p&gt;I downloaded &lt;a href=&quot;https://www.youtube.com/watch?v=Tae1GuzUccY&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; YT video, and want to make it 16:9 in Vegas 10 pro.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my file settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Template - HD 1080 24p (1920x1080, 29.970 fps)&lt;br&gt;&#xA;Frame rate - 29.970(NTSC)&lt;br&gt;&#xA;Field order - None (progressive scan)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Render settings:&lt;br&gt;&#xA;Save as type - Sony AVC (&lt;em&gt;.mp4,&lt;/em&gt;.m2ts,*.avc)&lt;br&gt;&#xA;Template - Internet1280x720-30p&#xA;Bit rate - 8,000,000  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right click on video track - properties - Maintain aspect ratio is not checked.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Playing in Vegas is fine, but rendered video is full of interruptions, freeze places...&lt;br&gt;&#xA;Audio sounds ok.&lt;br&gt;&#xA;Rendering still images with the above settings is ok.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help, pls.&lt;/p&gt;&#xA;" OwnerUserId="3309" LastActivityDate="2015-07-19T11:28:05.687" Title="Cannot render 16:9 video for youtube" Tags="|vegas-pro|youtube|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8691" PostTypeId="2" ParentId="8603" CreationDate="2013-08-12T19:31:55.397" Score="1" Body="&lt;p&gt;If you are recording RAW then you need to know what that really means, is there any compression or not ? You also need to know the colour space, RGB or YCbCr and if chrominance subsampling is involved.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's only realistic to assume that the compression is lossless and in a real world example we would be looking at a worst case scenario of not being able to compress any better than the original amount of data. That's also assuming that such compression doesn't expand the data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems that you are considering 14 bit video, as in 14 bit per colour channel. If I assume you are talking about uncompressed video, for RGB and YCbCr at 4:4:4 that means you need&lt;/p&gt;&#xA;&#xA;&lt;p&gt;width x height x 3 x 2 x fps bytes per second&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To explain the constants:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;There are 3 colour channels&lt;/li&gt;&#xA;&lt;li&gt;You need 2 bytes to store 14 bits - it is unlikely (but not impossible) that the software is going to be packing multiple 14 bits together without gaps in between. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Check QuickTime's v216 format for an example of how 14 bits are typically encoded - 2 bytes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For YCbCr 4:2:2 you will get 2 pixels encoded in 8 bytes (4 channels = Y0, U, V, Y1; at 2 bytes each) in this case the rate is&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(width/2) x height x 8 x fps bytes per second&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm assuming that your images are an even number of pixels across. Note that in all these calculations I'm assuming there are no padding bytes added to each line for memory alignment A.K.A. 'stride'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's plug in some numbers for 30 fps:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1080P at RGB/YCbCr 4:4:4 = 356 MB/s&lt;/li&gt;&#xA;&lt;li&gt;720P at RGB/YCbCr 4:4:4 = 158 MB/s&lt;/li&gt;&#xA;&lt;li&gt;1080P at YCbCr 4:2:2 = 237 MB/s&lt;/li&gt;&#xA;&lt;li&gt;720P at YCbCr 4:2:2 = 105 MB/s&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If the RAW format is very raw, then you may have to recompute for demosaicking of colour filters.&lt;/p&gt;&#xA;" OwnerUserId="1414" LastActivityDate="2013-08-12T19:31:55.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8692" PostTypeId="1" CreationDate="2013-08-12T20:43:36.323" Score="0" ViewCount="2716" Body="&lt;p&gt;I'm installing a Hitachi MS-1 switcher, and it's HDMI output works fine with an HDMI v1.3 cable, but not with a cable v1.4.  I've tested the v1.4 cable on a different output device (DVD player) and it works fine.  I've also tried two different display devices (monitor and projector).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is:  Is HDMI v1.4 supposed to be fully backwards compatible, or are there some caveats?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, has anyone else encountered any equipment that worked with HDMI v1.3 but not v1.4?&lt;/p&gt;&#xA;" OwnerUserId="4519" LastActivityDate="2013-09-11T21:19:56.253" Title="Is HDMI 1.4 backwards compatible with 1.3?" Tags="|hdmi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8693" PostTypeId="2" ParentId="8692" CreationDate="2013-08-12T21:05:33.777" Score="1" Body="&lt;p&gt;A 1.4 cable should work fine with a 1.3 signal, however an HDMI 1.4 signal will not work with an HDMI 1.3 cable or an HDMI 1.3 output unless the source is capable of using a prior standard.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-12T21:05:33.777" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8696" PostTypeId="2" ParentId="4815" CreationDate="2013-08-13T00:06:00.490" Score="0" Body="&lt;p&gt;Since Quartz Composer renders directly on the graphics card (with openGL) there's no way to render a file in real-time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an alternative solution:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Display the Quartz video fullscreen on a second monitor output (HDMI preferably)&lt;/li&gt;&#xA;&lt;li&gt;capture the HDMI signal with an HD capture device, like &lt;a href=&quot;http://www.blackmagicdesign.com/products/intensity/&quot; rel=&quot;nofollow&quot;&gt;this one&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="4519" LastActivityDate="2013-08-13T00:06:00.490" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8711" PostTypeId="1" AcceptedAnswerId="8712" CreationDate="2013-08-14T10:28:21.257" Score="3" ViewCount="4462" Body="&lt;p&gt;I just bought a GoPro Hero 3 Black Edition.  I have been testing out two modes: 1080p at 30fps and 720p at 60fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have noticed that when reproducing the videos with 720p at 60fps they are not really smooth, they seem a little bit weird (I have used VLC to reproduce them). So, a friend of mine suggested me to convert them to 30fps and then they will be slow motion, and later on speed them up 50% with Adobe Premier.  After doing that, they look better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am confused. Why does this happen? Why do I need to low them down to 30fps and then speed them up up to 50%? Wouldn't that mean that we are back to 60fps?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="4525" LastActivityDate="2016-10-01T05:38:46.350" Title="Do I need to convert 60fps to 30fps so it will be reproducible?" Tags="|framerate|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8712" PostTypeId="2" ParentId="8711" CreationDate="2013-08-14T12:31:38.650" Score="3" Body="&lt;p&gt;You're not back to 60fps, you're still at 30fps but with every other frame discarded (or blended, or interlaced, depending on how the speedup is accomplished). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you discard every other frame, you're trading off temporal resolution. If you interlace, you're trading off spatial resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either way, if this appears smoother, something's wrong with the way the 60fps is being presented. Your playback system may not be able to keep up with the data rate or frame rate. If 1080/30 looks OK, then it's probably not a data rate issue.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-08-14T12:31:38.650" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8714" PostTypeId="1" CreationDate="2013-08-14T13:30:42.750" Score="1" ViewCount="618" Body="&lt;p&gt;I just transformed a MP4 file coming from my GoPro into a MOV file using CineForm studio. It works great in MAC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when doing the same on Windows, and transforming from MP4 to AVI, when trying to open the file on Premiere, I get an error saying 'unkown file or damaged file'.  I am guessing Adobe Premiere doesn't know how to open that AVI file, but at the same time it's weird because I can open it with Windows Media Player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anybody has experienced this or knows how to solve it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="4525" LastActivityDate="2014-06-08T13:31:23.250" Title="Adobe Premier CS6 'Unable to open file' coming from Cineform" Tags="|premiere|mp4|avid|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8716" PostTypeId="2" ParentId="8711" CreationDate="2013-08-14T13:47:40.560" Score="1" Body="&lt;p&gt;My first guess would be that perhaps your screen is incapable of a 60hz refresh.  If you have a slower screen refresh or frame rate, then it could result in some odd visual artifacts when trying to view the video at 60fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As Jim described, the slowing it to 30fps and then increasing the speed is still a 30fps video, you just discarded half the frames, so that's why it looks like your 30fps shot did.  I would look in to the capabilities of your video card and monitor to see if there might be a problem there.  Also keep in mind that unless your player supports frame synchronization, it is possible that even a 59 or 60hz screen might be insufficient to play it back if the video isn't loaded in to the buffer by the time the screen goes to refresh.  This would result in dropped frames.  The same thing can happen at lower frame rates, but if the screen refreshes more often, then the frame still gets displayed, just for a shorter time.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-14T13:47:40.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8717" PostTypeId="2" ParentId="8714" CreationDate="2013-08-14T13:54:44.213" Score="0" Body="&lt;p&gt;Sounds like a codec problem.  Is there a reason you don't just directly try opening the MP4 or MOV file?  Do those also have problems?  You shouldn't have to work with a AVI file in Premiere on Windows.  You need to identify the codec being used in the video and then install the proper codecs.  There are different types of codecs that can be used on Windows and it is possible that the codec that works in Windows Media Player wouldn't work in Premiere.  You need to obtain a copy of the codec that will work with Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do not know how to identify the codec, if you can post a small sample of video encoded the same way, it should be possible for us to identify the codec and it might help identify the problem as well if it is something more rare that isn't codec related.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-14T13:54:44.213" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8721" PostTypeId="1" CreationDate="2013-08-15T09:15:55.397" Score="1" ViewCount="23778" Body="&lt;p&gt;I try to export video in Adobe Premier Pro CS5 but it export the video using another resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for example the original video (.mov) has resolution 1920x1080, but exported video has resolution 720x560 (something like this, I don't remember it is rough resolution).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to adjust size of vide in export window but the size video was another then I expected in this case as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe you can advice some good tutorial import/export video. Many thanks &lt;/p&gt;&#xA;" OwnerUserId="4532" LastEditorUserId="2836" LastEditDate="2014-07-01T16:07:43.187" LastActivityDate="2014-07-01T16:07:43.187" Title="Export video has different resolution Adobe Premier Pro" Tags="|premiere|cs5|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8724" PostTypeId="2" ParentId="8721" CreationDate="2013-08-15T13:27:53.773" Score="1" Body="&lt;p&gt;Exports will be set to the resolution of the sequence you are exporting.  You need to adjust your sequence settings to match your file input and then export.  You can do this from the sequence settings.  It should have also given you an option to update the sequence when you initially added the 1080p clip to the sequence, but you must have chosen not to update your sequence at that time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other, more rare, possibility is that you are using a demo codec that doesn't support 1080p for export and it is trying to export at the maximum supported resolution.  If this is the case, choosing a different codec for export should allow you to resolve the problem.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-15T13:27:53.773" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8726" PostTypeId="1" AcceptedAnswerId="8729" CreationDate="2013-08-15T14:58:49.163" Score="1" ViewCount="123" Body="&lt;p&gt;I have recently discovered a tutorial about 3DS Max on &lt;a href=&quot;http://www.youtube.com/watch?v=3XIZXkWDo2Q&amp;amp;list=PLDAAE3C90CFFA6152&quot; rel=&quot;nofollow&quot;&gt;Youtube&lt;/a&gt; that explains (in one of its parts) the creation of an explosion with a &lt;code&gt;PF Source&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to create the same explosion but for a different scene and scope. My explosion should begin suddenly and without a collision to happen. I followed those steps but I discovered that they don't work in my case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More information: I have an extruded text (converted into an editable poly object) that is required to explode at the 450th frame in my animation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I create this explosion?&lt;/p&gt;&#xA;" OwnerUserId="3218" LastActivityDate="2013-08-15T16:30:39.050" Title="Creating a particle system explosion without a collision" Tags="|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8727" PostTypeId="1" AcceptedAnswerId="9207" CreationDate="2013-08-15T16:17:47.980" Score="3" ViewCount="338" Body="&lt;p&gt;I need some help or tips in the area of video and audio sync. Think a music videoclip, where the audio is recorded independently to create a master audio track and then the video will follow along. Not interested at all in the audio recorded with the videocamera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm experienced with the audio part, but have done only one video project of this nature with iMovie (absolute noob and not willing to invest much in video editing software at the moment).  While editing, it was an absolute pain to get everything in sync, lips motion with lyrics, ... I had to do it by hand drag and dropping frames around the audio track. Waste of time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering if there's anything I can do while recording either the audio or the video that would easy this process. I do have semi-pro audio equipment with timing signals like SMPTE and things like that but I've never used them, not sure if they would be of any help for this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="4536" LastActivityDate="2013-10-19T17:59:51.023" Title="Sync audio and video, equipment?" Tags="|sync|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8728" PostTypeId="2" ParentId="8721" CreationDate="2013-08-15T16:21:59.747" Score="0" Body="&lt;p&gt;The most likely explanation is that either your sequence or export settings don't match the imported resolution. My recommendation is that when you begin your project, your do NOT select a sequence preset but instead create a sequence from the imported video settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In addition, you may also be modifying your export settings to something different from your intended resolution. If your sequence is 1920 x 1080, simply find the appropriate preset, or you can even export a video that has the same settings as your sequence.&lt;/p&gt;&#xA;" OwnerUserId="4182" LastActivityDate="2013-08-15T16:21:59.747" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8729" PostTypeId="2" ParentId="8726" CreationDate="2013-08-15T16:30:39.050" Score="2" Body="&lt;p&gt;If you want to use a physics simulation, your best bet is to have a collision but don't render the object that collides.  I haven't used 3DSMax personally in a number of years, but there should be an option to have the object physically impact the scene but not be rendered by the render engine itself.  Then you simply do the collision to occur at frame 450 and it should behave the way you want as it does in the tutorial you are following.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-15T16:30:39.050" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8730" PostTypeId="2" ParentId="8727" CreationDate="2013-08-15T16:52:09.140" Score="0" Body="&lt;p&gt;There is a very expensive piece of highly specialized gear that can easily fix this problem....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's called a boom box. :)  The secret to doing any kind of sync like this is to finish either the audio or video first and then play one while you work on the other.  You can insert a quick beep just before the beginning so that it can be easily matched in post.  This is the point of that clapper thing they use at the beginning of film clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simply lip sync to the audio that is playing and/or dub over the mouth movements using a script (depending if you are doing video after audio or audio after video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheaper audio gear will sometime have problems with bad timing that will cause drift, but decent quality semi-pro or pro gear should hold sync well even with hour or more run times.  If you do find that drift is a problem, try using a clapper or beep before the beginning and the end and then do a speed correction, which should work well as long as you don't have dropped frames.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-15T16:52:09.140" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="8731" PostTypeId="2" ParentId="1824" CreationDate="2013-08-15T18:04:28.173" Score="2" Body="&lt;p&gt;TypeMonkey will help you a lot when trying to create kinetic text animations. &lt;a href=&quot;http://aescripts.com/typemonkey/&quot; rel=&quot;nofollow&quot;&gt;http://aescripts.com/typemonkey/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4537" LastActivityDate="2013-08-15T18:04:28.173" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8740" PostTypeId="1" AcceptedAnswerId="8746" CreationDate="2013-08-16T08:50:08.983" Score="7" ViewCount="13162" Body="&lt;p&gt;When making a video from single image files whereas each image file should be visible for about one second, it does make sense to encode a video with an extremely low frame rate such as 1 frame per second. For this type of application, every frame rate greater than this would be a waste of resources.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am wondering if the H264 codec (or any specific implementation, such as x264) itself has any lower limit for the frame rate below which it comes to technical problems or some kind of instabilities. In case there is no problem with encoding, can we expect video players to properly deal with such an unusual low frame rate?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for sharing your experience!&lt;/p&gt;&#xA;" OwnerUserId="4543" LastActivityDate="2019-04-18T09:01:11.107" Title="Minimal working frame rate for H264 codec" Tags="|encoding|framerate|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8741" PostTypeId="2" ParentId="5577" CreationDate="2013-08-16T10:06:44.363" Score="0" Body="&lt;p&gt;I'm using &lt;a href=&quot;http://www.dayofthenewdan.com/projects/tlassemble/&quot; rel=&quot;nofollow&quot;&gt;tlassemble&lt;/a&gt; which is easier for me comparing to ffmpeg.&#xA;Highly recommended.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My common command line options are:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;tlassemble DirectoryWithJpgs output.mov -fps 24 -height 1080 -codec h264 -quality high&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;tlassemble is a simple utility the serves the same purpose as Time&#xA;  Lapse Assembler, but can be run from the command line.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="4544" LastEditorUserId="4544" LastEditDate="2013-08-20T22:47:29.433" LastActivityDate="2013-08-20T22:47:29.433" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8742" PostTypeId="1" CreationDate="2013-08-16T14:16:37.310" Score="4" ViewCount="2652" Body="&lt;p&gt;I would like to make a demonstration animation like this... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/52ScGZr0CGk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I am really ignorant about animation making, I even don't know how to describe it.  I think this is something made with vector, as you see there are zooming effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think this animation is made very practical. I hope I could master it in minimum time. Anybody would tell me what technology is used and how long could a beginner master it.&lt;/p&gt;&#xA;" OwnerUserId="4541" LastEditorUserId="2569" LastEditDate="2013-08-16T15:34:02.560" LastActivityDate="2017-01-26T19:22:38.083" Title="How to make this vector animation?" Tags="|video|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8744" PostTypeId="2" ParentId="8742" CreationDate="2013-08-16T15:28:06.070" Score="1" Body="&lt;p&gt;That is the realm of motion graphics and is probably using vector graphics within the motion graphics.  To get something of that quality, would take a very long time for a beginner to make look that good, though if someone is naturally skilled at it, it could shorten the curve considerably.  It requires skill in multiple disciplines to produces a reasonably high production value video like that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to try to pursue it though, I would suggest looking at software like Flash or After Effects.  Illustrator is also worth looking at for developing the vector assets.  After Effects with Illustrator is probably the best bet as it supports 3d layers (which could be used for the 3D spinning) as well as fairly easy support for write on text.  The painting effect is probably a little easier in Flash, but should be plenty doable with some work in After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your early work isn't going to look anything like the video you linked though.  If you want such a video for commercial purposes, your best bet is to pay a studio to do something for you.  If you just want to play around, then dig in to the topic of Motion Graphics which is way too big of a topic to cover in one question and answer.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-16T15:28:06.070" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="8745" PostTypeId="2" ParentId="8740" CreationDate="2013-08-16T15:30:34.987" Score="5" Body="&lt;p&gt;I'm not sure how it will behave at very low frame rates, but it is worth pointing out this would also limit your options on how and when you could change frames since they would have to follow on the clock cycles.  What is more likely to work in this case is a long keyframe interval.  The majority of frames in a compression like H.264 only store the changes from the previous frame.  In the case of a still image, the compression ratios will be huge because very little (no) change occurs between frames.  I'm not sure that you would really pick up enough of a savings from dropping the frame rate to be worth the loss of control over when you can make a change to the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best bet would be to try it with your media and see the results.  Compression is a highly content dependent thing and the best quality and compression for any particular clip is going to depend a lot on the nature of that clip, so trial is still the best way to test it out.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-16T15:30:34.987" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="8746" PostTypeId="2" ParentId="8740" CreationDate="2013-08-16T16:36:01.767" Score="2" Body="&lt;p&gt;I'm with AJ. Unless you know the characteristics of every player that might view this, it would be unwise to rely on a small sample of test results. Using a standard frame rate like 24 fps with a keyframe interval of 24 frames will give you essentially the same thing with no compromise in compatibility. The intermediate frames will be minimally small because there will be no detectable changes to encode.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-08-16T16:36:01.767" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8747" PostTypeId="2" ParentId="8740" CreationDate="2013-08-16T22:02:08.057" Score="1" Body="&lt;p&gt;Most NLE's will allow you to import a still image in the form of how long you want it to appear in the timeline assuming you have set the project properties to some standard frame rate such as 30 fps or 24 fps etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Vegas Pro I can set the time a still picture should appear on the timeline, from a fraction of second to several seconds. If I set this to 1 second then when I drag and drop a still image in the timeline, Vegas will generate enough frames to meet my request. I usually edit with 30 fps videos, and when I add a still picture I am mixing a timeline with 30 fps video that is already there (AVCHD 1080p).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To give you a specific answer, I would need to know what NLE you are using.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2013-08-16T22:02:08.057" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8749" PostTypeId="1" AcceptedAnswerId="8751" CreationDate="2013-08-17T04:03:36.813" Score="1" ViewCount="53" Body="&lt;p&gt;I was watching this video by CorridorDigital and I heard them mention Rapid. I can't find it on Google. Could someone link me to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/AE7EYmSncQ8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="3465" LastEditorUserId="2569" LastEditDate="2013-08-17T14:32:08.780" LastActivityDate="2013-08-17T14:32:08.780" Title="Where can I get Rapid?" Tags="|software|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8751" PostTypeId="2" ParentId="8749" CreationDate="2013-08-17T04:59:12.400" Score="1" Body="&lt;p&gt;It appears to be RapidForm which has now been bought out (or changed name possibly) to 3D Systems Geomagic.  The website is &lt;a href=&quot;http://www.rapidform.com/home/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.  I found this by looking for mesh refinement software matching the term Rapid and that seemed likely the best match.  In particular, it appears to be GeoMagic XOS.  I don't personally have any experience with the particular software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically the point behind the software is to make refined meshes from a point cloud.  3D scanners like the Kinect don't actually form a mathematical model, instead, they generated large numbers of points at a given distance from the sensor.  These points are formed into a cloud which then has to be modeled into a vector based solid mesh for rendering purposes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This process is actually incredibly similar to converting a bitmap image into a vector graphic, but it has to be done to produce smooth, solid surfaces in 3d, so it's a bit of a complex and specialized operation.  Software like this allows for the best fit mesh to be found and to ensure that it makes a solid, detailed mesh that doesn't have holes in it that could cause problems with the geometry.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-08-17T05:06:35.567" LastActivityDate="2013-08-17T05:06:35.567" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8755" PostTypeId="2" ParentId="2652" CreationDate="2013-08-17T11:56:25.293" Score="1" Body="&lt;p&gt;I know one solution, but it's not cheap as webcams. Same time full hd quality is something that webcams usually doesn't deliver.&#xA;Device especially interesting for live shows recording and streaming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://zoom.co.jp/products/q2hd&quot; rel=&quot;nofollow&quot;&gt;http://zoom.co.jp/products/q2hd&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Webcam driver is provider by Zoom, so you still can use it as regular webcam delivering high quality video and audio to Skype for instance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: there are plenty of reviews on youtube.&lt;/p&gt;&#xA;" OwnerUserId="4544" LastActivityDate="2013-08-17T11:56:25.293" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8757" PostTypeId="1" AcceptedAnswerId="10835" CreationDate="2013-08-17T18:20:37.540" Score="4" ViewCount="23316" Body="&lt;p&gt;So, I'm asking that, since I've got a GTX650Ti 1 GB graphics, and it takes 5 minutes to render a simple 1 minute video with minimum effects. Is it normal? I've tried it both with Sony Vegas and Adobe Premiere&#xA;Will the 2 GB version of GTX650Ti increase performance?&lt;/p&gt;&#xA;" OwnerUserId="4551" LastActivityDate="2014-01-02T18:17:03.370" Title="How does graphics card's memory affect video rendering performance?" Tags="|video|premiere|vegas-pro|performance|" AnswerCount="5" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8758" PostTypeId="2" ParentId="8757" CreationDate="2013-08-17T21:48:15.253" Score="4" Body="&lt;p&gt;Not likely.  Graphics card memory is more about loading information on to the card for textures and such for rendering.  It isn't really a key component of pushing information through the GPU itself.  When using a GPU for rendering, we are interested in the high level of parallel performance that a GPU can reach for relatively simple calculations.  The rate at which information can move in and out of the card as well as the rate at which the GPU can process matters, the memory on the GPU is not generally going to be a bottleneck.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-17T21:48:15.253" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8767" PostTypeId="1" CreationDate="2013-08-19T20:40:03.957" Score="2" ViewCount="400" Body="&lt;p&gt;This is something I've never quite understood, but have always wondered. Forgive my basic knowledge here, but I've tried to research this without a specific answer as to what is going on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I convert from an .MTS file to ProRes422 HQ, the file get's huge. Why is that? Where is that extra data coming from if it's not there to begin with? i.e. higher bitrate. I understand the codec has a standard bitrate it will always maintain, but why do it if the original file bitrate is so much lower?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, a stock GH2 mts for me streams at about 22 Mbits/s, I convert it to ProRes422 HQ, that same file is now playing at 216 Mbits/s. - With no discernible image quality difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is going on in the codec that makes the file so huge? Other than workflow issues, why would you want to transcode from MTS? Does converting it to ProRes (or another codec) 'Unpack' the data in a more efficient way?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why not use something like ProRes422 LT if you're starting from a much lower data rate like a native MTS file provides?&lt;/p&gt;&#xA;" OwnerUserId="4561" LastActivityDate="2013-10-19T03:29:12.303" Title="Where does the 'extra' data come from when transcoding video?" Tags="|video|codec|compression|prores|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8769" PostTypeId="2" ParentId="8767" CreationDate="2013-08-19T21:07:36.583" Score="0" Body="&lt;p&gt;Some filetypes are compressed, so when you transcode, your software will first decompress, so the interim file is going to be much larger. If you then convert to a filetype which isn't compressed, then you stay at this large size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It won't have any better quality, as you can never improve quality by transcoding, and in fact it is likely to worse - possibly not by much, but sometimes transcoding really alters the quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A key difference, and the reason why uncompressed filetypes are used is that they can be played back on devices with low compute power. If you have used strong compression, the device has to do a lot of work to decompress fast enough to play it back - so you may get lag, stuttering, glitches etc.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2013-08-19T21:07:36.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8772" PostTypeId="2" ParentId="8767" CreationDate="2013-08-20T02:22:10.047" Score="1" Body="&lt;p&gt;When video or audio data is compressed, it works by two different mechanisms.  The first (which is the only one used by lossless compression) is to look for patterns that are repeated.  When patterns are found, it can store the data once and reference the stored copy.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second is only used lossy compression and involves discarding the least significant parts of the information.  This can be done in several creative ways such as being more forgiving in what pattern can be matched, but the loss of information generally ends up equating to a slight loss of detail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can think of it kind of like blurring a photo.  You still have just as many pixels and just as much &quot;raw&quot; data, but the amount of detail stored in that data is reduced, and thus it can be compressed further because it fits patterns better.  When you move from the high compression, lossy format to a lossless format, a large number of those savings are no longer applied, so it stores the raw &quot;but fudged&quot; data again under a new system that isn't capable of as much compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically the video is uncompressed from your original format to form a file of 1920 by 1080 pixels (assuming it's a 1080p file anyway) and then it is recompressed differently to become a ProRes file.  The file size is large because the ways that it will try to simplify the file are simpler, but the information that is recorded is still the blurred copy that resulted from decompressing the smaller file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is also why it is important to work with the highest possible quality files until final output because repeated recompression of files will result in additional quality loss every time.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-20T02:22:10.047" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8778" PostTypeId="1" CreationDate="2013-08-20T16:33:26.557" Score="0" ViewCount="1773" Body="&lt;p&gt;This is happening when rendering lasts longer than ~20-30  mins.&#xA;I've tried checking the temperatures, they are holding steady at a maximum of 45 Celsius (on both CPU and GPU).&#xA;Freezes computer completely (no response to mouse/keyboard, image is frozen).&#xA;I really need help with this as I plan to make videos a lot.&#xA;I doubt its the memory (I have a new Corsair Vengeance memory), thinking It might be the power supply (its 500W, claimed to be OK for GTX 650 Ti + Core i3-3220), Zalman ZM500&lt;/p&gt;&#xA;" OwnerUserId="4551" LastEditorUserId="4551" LastEditDate="2013-08-20T16:59:29.580" LastActivityDate="2013-08-20T16:59:29.580" Title="Why is Adobe Premiere Pro / Adobe Media Encoder freezing my computer when rendering?" Tags="|premiere|hardware|performance|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="8789" PostTypeId="2" ParentId="7073" CreationDate="2013-08-22T08:12:33.790" Score="-1" Body="&lt;p&gt;I've solved the same problem by removing all animations of my introduction. I hope this is helpful for future problems.&lt;/p&gt;&#xA;" OwnerUserId="4578" LastActivityDate="2013-08-22T08:12:33.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8792" PostTypeId="2" ParentId="8446" CreationDate="2013-08-22T17:16:26.567" Score="2" Body="&lt;p&gt;Are you dragging the videos and watching them in an editing program such as Final Cut or Premiere Pro? If so, it is probably because you need to log and capture and run them through 'Compressor' to convert the files to a suitable format (say ProRes(LT)..)... I am guessing you are just viewing them in a default viewer, which in that case, as mentioned above it may be due to expectation from watching them on a smaller, lower resolution lcd screen on the camera..Though, the camera you mentioned should output fairly decent video... Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="3725" LastActivityDate="2013-08-22T17:16:26.567" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8793" PostTypeId="1" AcceptedAnswerId="8794" CreationDate="2013-08-22T19:59:38.230" Score="0" ViewCount="424" Body="&lt;p&gt;I found a picture to illustrate the effect I would like to have. &lt;a href=&quot;http://www.bugei.com/scart/public/database/repository/images_import/peace/habuchi.jpg&quot; rel=&quot;nofollow&quot;&gt;http://www.bugei.com/scart/public/database/repository/images_import/peace/habuchi.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know of text effect for this, or another way to do it?&lt;/p&gt;&#xA;" OwnerUserId="4570" LastActivityDate="2014-01-13T02:09:29.443" Title="Is there a text effect for Sony Vegas Movie Studio for light reflecting off metal?" Tags="|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8794" PostTypeId="2" ParentId="8793" CreationDate="2013-08-22T20:39:31.307" Score="1" Body="&lt;p&gt;Vegas Movie Studio or Pro versions do not have a text option already set up for this but there are a couple of ways to get what you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One way is to make a composite by creating two video tracks one with the text and the other with the image you want to bleed through the text, here are instructions on how to do what is called a 'masking track':&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.sonycreativesoftware.com/creating_masking_tracks_in_vegas&quot; rel=&quot;nofollow&quot;&gt;http://www.sonycreativesoftware.com/creating_masking_tracks_in_vegas&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2013-08-22T20:39:31.307" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8801" PostTypeId="5" CreationDate="2013-08-23T12:29:49.867" Score="0" Body="" OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2013-08-23T12:29:49.867" LastActivityDate="2013-08-23T12:29:49.867" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8802" PostTypeId="4" CreationDate="2013-08-23T12:29:49.867" Score="0" Body="Mainstage is a music software sold by Apple Computer Inc, that targets live musicians (mostly Keyboarders) rather than studio environments. It provides various instruments and effects and the ability to map specific controls of these components to a easy-to-use controller window. There is no ability for recording audio." OwnerUserId="2569" LastEditorUserId="4572" LastEditDate="2013-09-29T22:41:30.630" LastActivityDate="2013-09-29T22:41:30.630" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8803" PostTypeId="2" ParentId="8444" CreationDate="2013-08-23T13:55:45.043" Score="2" Body="&lt;p&gt;The performance should not take the decision for you which tool you are better off with in your case, since there won't be a huge difference, as tomh has stated correctly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Rather let the style / type of animation be a reason for a specific tool. For example, an adjustment layer or a solid with an animated mask to which you apply a stroke effect gives you nice possibilities if you want to animate the line appearing on the screen as if it was drawed. However, with shape layers you can use a repeater or other path operations to create nice algorithmic animations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AE's performance when rendering shapes is less significant here than your performance when playing around with options. When your animation of multiple circles can be done quickly with a shape and a repeater, you'd better not use masks.&lt;/p&gt;&#xA;" OwnerUserId="4590" LastActivityDate="2013-08-23T13:55:45.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8812" PostTypeId="1" AcceptedAnswerId="8821" CreationDate="2013-08-25T12:48:07.107" Score="0" ViewCount="16129" Body="&lt;p&gt;What (or how) can I insert a box with a visual of my face while I am recording the game I'm playing? I currently use Hypercam but there is no option for this game/reality split screen.&lt;/p&gt;&#xA;" OwnerUserId="4595" LastEditorUserId="2569" LastEditDate="2013-08-26T01:01:33.420" LastActivityDate="2018-03-19T03:33:47.777" Title="Picture in picture for my face while recording video games" Tags="|live-recording|webvideos|video-recording|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8815" PostTypeId="1" CreationDate="2013-08-25T18:35:34.537" Score="1" ViewCount="4340" Body="&lt;p&gt;When I add text to an after effects project there's an &quot;animate&quot; triangle I can click which lets me animate the position of the text from 0.0, 0.0. This is great because if I duplicate that layer and move it around the text animates relatively from its new position no problem. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to do this with an image but I can't work out how to do it. Animating the position of the image based on key frames is fine but when I try to duplicate and move the animated image around it animates from it's original position. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any easy way to do this? &lt;/p&gt;&#xA;" OwnerUserId="4356" LastActivityDate="2015-06-26T04:38:30.420" Title="How do I animate an image based on relative position in after effects?" Tags="|after-effects|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8817" PostTypeId="2" ParentId="8815" CreationDate="2013-08-25T20:11:09.460" Score="0" Body="&lt;p&gt;There are several ways.  You can use an adjustment layer to apply to the layers above it or you can nest a composition such that the movements of that composition apply to everything in the source.  I most often use the nested composition approach as it lets me work on things separately, but it is a bit more of a pain for making changes while looking at the final output, so it isn't ideal for every situation.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-25T20:11:09.460" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8818" PostTypeId="2" ParentId="8812" CreationDate="2013-08-25T20:13:53.537" Score="1" Body="&lt;p&gt;This is normally done as a post production operation.  Record the video of you and the gameplay and then sync them up in any video editing or composition software and it should easily allow you to scale down and position the clip of you over the video game layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It will normally either be called picture in picture on more consumer targeted software or is done by altering the scale and position of a video layer in professional products.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-25T20:13:53.537" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8821" PostTypeId="2" ParentId="8812" CreationDate="2013-08-26T17:56:05.103" Score="3" Body="&lt;p&gt;&lt;a href=&quot;http://www.xsplit.com/&quot; rel=&quot;nofollow&quot;&gt;Xsplit&lt;/a&gt; is a popular software choice for people recording and/or streaming video games. It allows multiple inputs and can overlay video on top of video, as you'd need for the PiP effect. There is a small fee to purchase this, but would highly recommend it if you are serious about it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another popular solution is &lt;a href=&quot;http://obsproject.com/&quot; rel=&quot;nofollow&quot;&gt;Open Broadcaster Software (OBS)&lt;/a&gt; which is similar to Xsplit, but is completely free. Here is a &lt;a href=&quot;http://obsproject.com/forum/viewtopic.php?f=18&amp;amp;t=402&quot; rel=&quot;nofollow&quot;&gt;guide to using OBS&lt;/a&gt;. When you setup a &quot;Streaming Profile,&quot; you can just set it to locally record.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With both services, you have the option to record footage locally (such as to edit/produce and then upload to YouTube) and/or stream directly to an online streaming service (such as Twitch or Ustream). &lt;/p&gt;&#xA;" OwnerUserId="4453" LastActivityDate="2013-08-26T17:56:05.103" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8822" PostTypeId="2" ParentId="8815" CreationDate="2013-08-26T18:02:36.537" Score="0" Body="&lt;p&gt;I've found that using the Anchor Point is a great way to do this. The position will not copy over (be sure to just copy the anchor point animation), and it will instead animate relative to the position.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I usually do it the reverse of this. I set my position using the Anchor Point, and then animate using keyframes on the Position.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I generally don't use the &quot;Animate&quot; button on text in AE, though, so this might not work as you're expecting. &lt;/p&gt;&#xA;" OwnerUserId="4453" LastActivityDate="2013-08-26T18:02:36.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8825" PostTypeId="1" CreationDate="2013-08-27T00:08:40.263" Score="0" ViewCount="112" Body="&lt;p&gt;I bought &lt;a href=&quot;http://www.monoprice.com/products/product.asp?c_id=102&amp;amp;cp_id=10235&amp;amp;cs_id=1023503&amp;amp;p_id=2409&amp;amp;seq=1&amp;amp;format=2&quot; rel=&quot;nofollow&quot;&gt;these composite to vga cables&lt;/a&gt; to go from the YPbPr ports on &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B007F9XHBI&quot; rel=&quot;nofollow&quot;&gt;these dvd players&lt;/a&gt; to a &quot;standard&quot; lcd monitor's vga port.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, they don't work. The best results I can get are green and blue colors to come through on any given monitor.  Other monitors don't show any output at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This sort of thing should work, right?   Any help/advice is really appreciated.&lt;/p&gt;&#xA;" OwnerUserId="4605" LastActivityDate="2014-10-15T17:53:03.850" Title="component to vga cable not giving video" Tags="|conversion|cable|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8827" PostTypeId="2" ParentId="8825" CreationDate="2013-08-27T02:07:12.090" Score="1" Body="&lt;p&gt;VGA is RGBHV (horizontal and vertical sync) not YPbPr so without active adapting hardware, it isn't going to work.  The formats are not compatible as the addressing information is missing.    You might be able to find a dual mode monitor that has support for both formats on the connector (some video mixers do for example), but it would be luck of the draw and pretty rare.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-10-15T17:53:03.850" LastActivityDate="2014-10-15T17:53:03.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8844" PostTypeId="1" CreationDate="2013-08-28T23:28:06.653" Score="1" ViewCount="1762" Body="&lt;p&gt;How can I stream from my windows 7 desktop to TVs in multiple apartments in my building on a dedicated cable channel. Is it possible? If so, how can I go about it?&#xA;The stream must play if someone switches to that channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to achieve something simple. I own a hotel and I want to broadcast hotel conferences/local tech programs/local sports events live to all rooms.&lt;/p&gt;&#xA;" OwnerUserId="4620" LastEditorUserId="4620" LastEditDate="2013-08-29T21:09:27.727" LastActivityDate="2013-08-29T21:09:27.727" Title="Stream from a windows desktop to multiple TVs/apartments on a separate channel" Tags="|windows|streaming|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8845" PostTypeId="2" ParentId="8844" CreationDate="2013-08-28T23:55:04.070" Score="0" Body="&lt;p&gt;I think you are confusing broadcast vs. streaming. Traditional broadcast is not in the same frequency band as Wi-Fi or 4G, it's also in a special format and not broken into packets as in video streaming on the internet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One might consider the FCC licensing for broadcasting on standard television broadcast bands as well. These are not free or up for grabs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think the only thing you can do is stream via internet and let your apartment friends know the URL you are using. If their TV has an internet connection they should be able to pick up your show otherwise they will need Wi-Fi for the TV and a internet interface on their TV, like getting a NIC card for your PC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE: this model is simple. Content on internet, say your own vimeo of youtube channel, distribution via streaming through a browser to a 'smart TV' that has internet access and a browser or like tool or app. Youtube has an app for smart TVs that would allow your audience to stream your channel to them. Here are several streaming services:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.techradar.com/us/news/television/16-best-tv-streaming-services-1044010&quot; rel=&quot;nofollow&quot;&gt;http://www.techradar.com/us/news/television/16-best-tv-streaming-services-1044010&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you wanted to a live stream, then you will need a streaming video site account here is an example of such a service.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://streamhoster.com/&quot; rel=&quot;nofollow&quot;&gt;http://streamhoster.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2013-08-29T20:59:27.583" LastActivityDate="2013-08-29T20:59:27.583" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="8846" PostTypeId="2" ParentId="8844" CreationDate="2013-08-29T01:51:59.707" Score="1" Body="&lt;p&gt;While what you are asking about is technically possible, it wouldn't be easy or cheap.  It would in fact be very expensive.  To use a channel, you would need to form your own cable network within your house and play different sources for each channel into the system.  These are the kinds of systems that hotels buy to do their own cable network in the building and they can easily cost tens of thousands of dollars.  You would also probably need some pretty expensive licensing from the cable company to rebroadcast their channels so you would need to basically pay for everyone's cable bill.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the interactive portion (having a stream start when they go to the channel) you actually need a set-top box for each TV as well.  Broadcast networks like cable can only play a signal on a channel to everyone.  They don't normally support starting a video when someone tunes the channel unless the set-top box can communicate back and control the source.  Alternately, the more modern way of approaching it is to have an on-demand type setup where the content isn't streamed in the traditional broadcast manner, but rather is stored on a media server and sent as a digital signal on demand and encoded for a particular set-top box.  This is generally implemented more like Netflix now with a digital stream being sent over a data network allocated to part of the cable network, though some older systems do it as a hidden channel that only that set-top box knows to tune to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it is something you still wish to pursue, I suggest looking into manufacturers of different &quot;hotel cable systems&quot; or &quot;private cable systems.&quot;  Some quick searching found &lt;a href=&quot;http://aircomsolutions.com/services.php&quot; rel=&quot;nofollow&quot;&gt;these guys&lt;/a&gt; as one possible option, though I know nothing about them or how good of an option they may be.  They are just the first option I found to give you an idea of what you are looking for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: If you are in a comcast area, it looks like they may also have an option that they can provide to help work it into an actual service agreement which might be cheaper upfront.  See &lt;a href=&quot;http://business.comcast.com/enterprise/industry-solutions/hospitality?CMP=KNC-IMPAQT-20130129-GOOGLE-52883925-18905176709&amp;amp;IQ_ID=52883925-VQ6-18905176709-VQ16-c&amp;amp;utm_source=google&amp;amp;utm_medium=cpc&amp;amp;utm_campaign=Hospitality%20-%20NB%20-%20MBR&amp;amp;utm_term=52883925-+hotel%20+cable&amp;amp;kw=%2Bhotel%20%2Bcable&amp;amp;ad=18905176709&amp;amp;c=Hospitality%20-%20NB%20-%20MBR&amp;amp;iq_id=52883925-VQ6-18905176709-VQ16-c&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-08-29T01:57:56.230" LastActivityDate="2013-08-29T01:57:56.230" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="8849" PostTypeId="1" CreationDate="2013-08-29T14:31:32.533" Score="0" ViewCount="584" Body="&lt;p&gt;I'm searching for video converter software that maintains folder structure. I have a lot of videos that store to their respective folder, but what I want is to convert the entire folder and subfolders and the output path will remain the same.&lt;/p&gt;&#xA;" OwnerUserId="4623" LastEditorUserId="26024" LastEditDate="2019-12-20T18:10:52.507" LastActivityDate="2019-12-20T18:10:52.507" Title="Searching for video converter that maintains folder structure" Tags="|video|video-editor|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="8850" PostTypeId="1" CreationDate="2013-08-29T15:02:22.017" Score="3" ViewCount="102918" Body="&lt;p&gt;What is the typical size of a mp4 video, size 1280x720 encoded by ffmpeg libx264, and lasts for one hour? Currently my file is around 700Mb, is it too much?&lt;/p&gt;&#xA;" OwnerUserId="4492" LastActivityDate="2022-01-21T02:28:08.653" Title="Typical size of one hour long mp4 video" Tags="|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8851" PostTypeId="2" ParentId="8849" CreationDate="2013-08-29T16:15:55.873" Score="1" Body="&lt;p&gt;Most decent encoders with watch folder support have an option to automatically encode to the same folder structure that the source came from.  I'd check the listing of any software you are looking at to see if it supports it or try a demonstration copy.  I know that Adobe Media Encoder does.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Beyond that level of detail, this is a product recommendation question which is off topic since software may or may not be available tomorrow and the options for video conversion software change frequently.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-29T16:15:55.873" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8852" PostTypeId="2" ParentId="8850" CreationDate="2013-08-29T16:25:02.787" Score="6" Body="&lt;p&gt;There is no &quot;typical&quot; size.  It depends entirely on the quality level and level of motion in the video.  I could encode ten hours of video where there is no movement with very little space since the compression would work very well.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand, if I had a video where every frame was completely different from the last, it would take a huge amount of space to compress it with any kind of quality being left over.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using Youtube as an example, uses a data rate of 2megabits per second for 720p video.  An hour of video has 3600 seconds, so that's 7200 megabits, which is 900 megabytes of video.  Bluray disks on the other hand often use much higher rates, such as 10 or even 25mbps which would take 4.5 gigabytes and 11.25 gigabytes respectively.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see, there isn't a &quot;standard&quot; size and it can vary by orders of magnitude.  The best bet is to compress it to whatever level you need and see if the quality is sufficient for your purposes, though 700 megabytes for an hour of HD video is already pretty small.  Compressing further from such a highly compressed source is likely to obtain sub-standard results at any quality level.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-08-29T16:25:02.787" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8853" PostTypeId="1" CreationDate="2013-08-29T18:58:31.413" Score="0" ViewCount="68" Body="&lt;p&gt;I have a video camera with a external trigger. I have been experimenting with the external trigger and it looks like I'm ready to grab some frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm new on this field of hobby, and therefor I have no clue what to look for. Are there any consumer frame grabbers with flexible OR low frame rate?&lt;/p&gt;&#xA;" OwnerUserId="4624" LastEditorUserId="2261" LastEditDate="2013-08-30T01:08:51.370" LastActivityDate="2013-08-30T01:08:51.370" Title="Analog (PAL) Frame Grabber capable of arround 4 fps" Tags="|video|hardware|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8857" PostTypeId="2" ParentId="3406" CreationDate="2013-08-30T12:59:46.910" Score="3" Body="&lt;p&gt;You should try VirtualDUB with the MSU deflicker plug-in. It's totally free and work better than other software I've tried.&#xA;You don't have to tweak any settings, it's working directly.&#xA;It's available for Windows.&lt;/p&gt;&#xA;" OwnerUserId="4627" LastEditorUserId="2178" LastEditDate="2014-04-07T13:45:39.357" LastActivityDate="2014-04-07T13:45:39.357" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8860" PostTypeId="1" AcceptedAnswerId="8861" CreationDate="2013-09-01T10:48:24.357" Score="0" ViewCount="90" Body="&lt;p&gt;What is the format of newly imported file into the Adobe Premiere project? Evenmore, will the video be lossy encoded?&lt;/p&gt;&#xA;" OwnerUserId="4633" LastActivityDate="2013-11-06T09:12:26.337" Title="Format of imported video files in Adobe Premiere" Tags="|video-editor|premiere|file-formats|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8861" PostTypeId="2" ParentId="8860" CreationDate="2013-09-01T19:00:12.767" Score="2" Body="&lt;p&gt;Premiere works with the source files you provide.  Depending on the format it may generate a lossy copy that can be used for faster preview in the editor, but final renders will work directly from your source files.  That's what's going on if you see it says it is conforming  files in the lower right corner.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-09-01T23:11:14.517" LastActivityDate="2013-09-01T23:11:14.517" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8863" PostTypeId="1" CreationDate="2013-09-02T10:35:33.243" Score="3" ViewCount="557" Body="&lt;p&gt;I got two media files: the first is an application window capture, the second is desktop cature. The only difference between them is that one has &lt;code&gt;format profile&lt;/code&gt; section with value &lt;code&gt;OpenDML&lt;/code&gt; in &lt;code&gt;MediaInfo&lt;/code&gt;, and the other hasn't. All other information are the same (besides only file specific: &lt;em&gt;size&lt;/em&gt;, &lt;em&gt;duration&lt;/em&gt; and &lt;em&gt;bit rate&lt;/em&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What does the &lt;code&gt;format profile&lt;/code&gt; field mean? The files are produced by one media program with the same output settings. How it may affect media file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&amp;nbsp;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm just interesting how the encoding software chooses what to put into this field. Is that field just a text info provided by encoder on its own (like description, notes, etc) or it is some kind of property for decoding software to take appropriate actions?&lt;/p&gt;&#xA;" OwnerUserId="4633" LastEditorUserId="4633" LastEditDate="2013-09-03T10:08:07.917" LastActivityDate="2014-05-01T13:42:39.180" Title="`Format profile` property in MediaInfo" Tags="|file-formats|capturing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8866" PostTypeId="2" ParentId="8863" CreationDate="2013-09-02T17:12:54.060" Score="1" Body="&lt;p&gt;OpenDML is just a slight difference in the internal arrangement of an AVI file allowing it to go beyond the 2GB limit and supports a few other new features.  It shouldn't have any particular impact on the data within the file, though I'm unsure why one file was stored that way and the other was not.  Perhaps the software you were using only includes the extra format data if going beyond 2GB.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-02T17:12:54.060" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8868" PostTypeId="2" ParentId="3065" CreationDate="2013-09-02T20:56:31.443" Score="1" Body="&lt;p&gt;Hey I know this is an old post, but I have been trying to figure this out definitively. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My situation is thus. I am using a T2i, except I am trying to record from my projector, an inFocus IN104 (it was basically the cheapest I could afford at the time).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried a bunch of lenses (kit lens 18 - 55mm (3.5 - 5.6), Pentax 50mm (1.7), Pentax 135mm(3.5)) at all f stop values and on the camera all the ISO values, all the shutter speeds, all the frame rates. I have tried to adjust the projector &quot;Phase&quot; value which the manual is a bit unclear about...but doesn't seem to effect the bars.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only thing that really seems to effect the rolling bars is the shutter speed on the camera. I turn the shutter speed all the way down to 30 (It will only go to 60 at 60fps), I know these aren't the &quot;recommended&quot; settings, but I only really notice different ISO settings when they are higher and it looks like a Jason Bourne fight scene (ie less natural motion blur).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This itself will NOT eliminate the bars. The next thing you will have to do, I find if I just turn the camera on and off a couple times it will magically &quot;sync up&quot; and there will be no bars and sometimes they will be slightly visible. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also this will depend on the content you are recording. I am using the projector to project an animation I did which is largely solid colors on a black field and it is VERY noticable. If you had say, a bunch of people talking and moving around on a dark background it would be less noticable...though you'd probably just actually film that scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="4642" LastActivityDate="2013-09-02T20:56:31.443" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8869" PostTypeId="2" ParentId="2274" CreationDate="2013-09-03T11:46:09.330" Score="5" Body="&lt;p&gt;If you're on Linux, consider &lt;a href=&quot;http://cinelerra.org/&quot;&gt;Cinelerra&lt;/a&gt;: the most powerful video editor for Linux, Openshot: simple, powerful, and free video editor for Linux, or Kdenlive (also available for FreeBSD and Mac OSX): Free and open source video editor for GUN/Linux and FreeBSD&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Openshot and Kdenlive can be installed via &lt;code&gt;apt-get install&lt;/code&gt;, however Cinelerra requires a little more configuration&lt;/p&gt;&#xA;" OwnerUserId="4645" LastActivityDate="2013-09-03T11:46:09.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8871" PostTypeId="2" ParentId="4491" CreationDate="2013-09-03T15:28:58.553" Score="2" Body="&lt;p&gt;For creating a 3d image (from two jpeg images), this piece of software works pretty well:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://stereo.jpn.org/eng/stphmkr/&quot; rel=&quot;nofollow&quot;&gt;http://stereo.jpn.org/eng/stphmkr/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Creating a full 3d video is a bit more difficult, so I'm not sure if I can help you there.&lt;/p&gt;&#xA;" OwnerUserId="4649" LastActivityDate="2013-09-03T15:28:58.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8872" PostTypeId="1" CreationDate="2013-09-03T15:33:17.223" Score="4" ViewCount="2545" Body="&lt;p&gt;I've got two video files, each created with ffmpeg from a series of JPEG images, which I've obtained from rendering with a stereo camera in Maya.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to somehow merge together these videos to form a single stereoscopic video file, but I can't find anything that would do it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've looked at as much of the documentation for ffmpeg as I could find, but haven't found anything. Is there some way of doing it with ffmpeg, or should I be looking for some other piece of software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An alternative solution would be to turn the two sets of jpeg files into a single set of .mpo files (a 3d image format), and then merge them into a 3d video, but I haven't had much luck working out how to do that either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="4649" LastEditorUserId="2836" LastEditDate="2014-02-11T19:06:59.083" LastActivityDate="2014-02-11T19:06:59.083" Title="Creating stereoscopic video from two video files" Tags="|video|ffmpeg|3d|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8873" PostTypeId="2" ParentId="8872" CreationDate="2013-09-03T15:53:33.717" Score="3" Body="&lt;p&gt;This depends entirely on what kind of 3d video you want.  There are numerous formats for 3d video.  Some are as simple as placing the left and right images either side by side or one on top of the other (typically compressing them spatially to still take up the original space, for example 1080p video done like this ends up being wither 540 vertical pixels per eye or 960 horizontal ones.)  Others involve doubling the frame rate and interweaving the frames alternating between left and right.  Still other formats store the video files separately and stream them in parallel, possibly combined via timecode.  Some even use entirely separate files and just synchronize the players via the timecode (such as with 3d projection with dual projectors).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The split video is the easiest way to do it.  Most of the interwoven options involve special authoring (for things like 3D bluray) and I've only ever seen authoring options for 3D bluray on pretty high end (and expensive) authoring software.  The split option is easy to do and most 3D displays support it, the only downside is the resolution loss and the fact it typically has to be manually configured for playback.  It's by far the simplest and cheapest approach though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-03T15:53:33.717" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8874" PostTypeId="1" AcceptedAnswerId="8877" CreationDate="2013-09-04T20:58:37.923" Score="3" ViewCount="102" Body="&lt;p&gt;...I think I will want to make a tutorial that covers video file formats, and their relationship to video codecs.  There seems to always be a lot of confusion around these topics for emerging media creators.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a good source for a tutorial that introduces beginners to the intricacies of this topic?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In particular, it would be good to explain best practices for encoding and exporting files for use during workflow on a single project (ie. many specialists preparing material for use by the primary editor on the job), and formats/codecs to use for mastering a BluRay or for upload to YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I see some snippets of the information available piecemeal from a variety of sources, but I'd love to discover one clear tutorial -- or at least several that could be used as a basis for a good comprehensive knowledge resource.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;---v&lt;/p&gt;&#xA;" OwnerUserId="4653" LastActivityDate="2013-09-04T23:11:48.353" Title="Clear and informative tutorial on video file formats" Tags="|video|codec|mp4|quicktime|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8875" PostTypeId="5" CreationDate="2013-09-04T21:03:45.883" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2013-09-04T21:03:45.883" LastActivityDate="2013-09-04T21:03:45.883" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8876" PostTypeId="4" CreationDate="2013-09-04T21:03:45.883" Score="0" Body="The podcast tag is related to creating and editing podcasts, including equipment, software, and other resources for their production." OwnerUserId="4652" LastEditorUserId="4652" LastEditDate="2013-09-04T21:58:23.470" LastActivityDate="2013-09-04T21:58:23.470" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8877" PostTypeId="2" ParentId="8874" CreationDate="2013-09-04T23:11:48.353" Score="1" Body="&lt;p&gt;I don't think you will find a single clear tutorial as you are talking about a very very broad field and talking about multiple aspects of it.  Many, many, many tutorials exist for help with encoding for YouTube or encoding for Bluray.  In fact, most Bluray authoring software has pretty good walkthroughs in their help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtube itself outlines the basics for getting the best quality encoding for it &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&amp;amp;ref_topic=2888648&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;, provides conversion settings for unsupported formats &lt;a href=&quot;https://support.google.com/youtube/troubleshooter/2888402?hl=en&amp;amp;ref_topic=2888648&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; and has links to numerous videos related to creating videos &lt;a href=&quot;http://www.youtube.com/yt/creators/creatoracademy.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for understanding file formats vs codecs, I don't know that a tutorial would be much help as it is a conceptual thing not something you can walk-through.  I generally tell people that a video file format is a bit like a filing cabinet, it gives the general organization, but doesn't define the data held within.  The codec is like the filing system and determines how the data the file format holds is stored.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as choosing what file format to use or codec, again, with so many to choose from, they really are better covered in tutorials about a specific need.  H.264 in general ends up being by far the most common these days and the file format itself is more or less irrelevant as long as it's using an H.264 codec since it's fairly simple to move an H.264 stream from one format to another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly, CBR vs VBR 1 pass vs VBR 2 pass is again really more of a conceptual thing rather than something a tutorial can cover.  Most people seem to get it ok when you simply describe video as a bunch of photos and say that CBR uses the same amount of data for every photo, regardless of how complicated the picture is, VBR 1 pass uses less when it notices that a photo is easy to store and more when it is hard and VBR 2 pass looks through all the photos first to make sure that it makes all the photos the overall best quality they can be by spreading the data around to where it's needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ultimately though compression in and of itself is a field that people spend their entire careers in.  It is very deep and complex and you really aren't going to find an all inclusive tutorial to cover everything.  It simply doesn't exist.  The closest I've ever seen was actually the section on encoding in one of the Premiere Pro manuals (I think it was CS2, but it might have been Premiere Pro 6.5 (pre Creative Suite).) but that content is a bit dated now as that was DVD era and prior to H.264 really taking center stage for most purposes.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-04T23:11:48.353" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8878" PostTypeId="1" CreationDate="2013-09-05T08:22:47.527" Score="2" ViewCount="460" Body="&lt;p&gt;What I want as result: a video with the English stream on the front lineout of my soundcard and a German audio stream on the rear lineout of my soundcard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far, I extracted the streams with: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;mkvextract tracks video.mkv 1:video.h264 2:audio.ac3&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;...to get the single streams from an .mkv. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to merge the two audio streams to the video the way I want to have it?&lt;/p&gt;&#xA;" OwnerUserId="4654" LastEditorUserId="2569" LastEditDate="2014-01-24T16:52:50.963" LastActivityDate="2014-01-24T16:52:50.963" Title="How to merge video stream and two Stereo audio streams in 5.1 with a terminal command?" Tags="|video|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8879" PostTypeId="2" ParentId="8878" CreationDate="2013-09-05T13:56:25.640" Score="1" Body="&lt;p&gt;That depends on your video file format and possibly if you have a surround encoder.  Some file formats provide multiple audio channels that can be configured for different speakers, others rely on a Dolby encoding or similar to provide the speaker information in one audio stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either use a file format that supports multiple independent audio tracks per speaker or use a Dolby (or some other system like MPEG Surround) surround encoder to encode the audio in to a single Dolby (or similar) stream that can be processed by a Dolby (or similar) receiver.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The encoding option would be the best one if you want to ensure compatibility with most players.  Encoders are available in most professional quality DVD/Bluray authoring software packages as well as for some better audio software packages.  You can alternately get a stand alone Dolby encoder, but licensing fees (1 time) for the encoder apply.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-05T13:56:25.640" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8882" PostTypeId="1" AcceptedAnswerId="8886" CreationDate="2013-09-05T20:38:45.747" Score="1" ViewCount="326" Body="&lt;p&gt;I have to do some editing and add right to left text over a video, from past experience I've learned that some programs dont handle well RTL text, so if you can recommend from your experience about one that does it would be great. thanks.&lt;/p&gt;&#xA;" OwnerUserId="3831" LastEditorUserId="95" LastEditDate="2013-09-06T18:11:46.253" LastActivityDate="2023-03-07T23:57:46.450" Title="Which video editing software is best compatible with RTL languages?" Tags="|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8883" PostTypeId="2" ParentId="8882" CreationDate="2013-09-05T21:34:16.000" Score="0" Body="&lt;p&gt;According to this Wiki there are a number of RTL (right to left) and bi-directional text editors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Comparison_of_text_editors&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/Comparison_of_text_editors&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First scroll down to the &quot;Right to left (RTL) &amp;amp; bidirectional (bidi) support&quot; chart, which is about 75% of the way down the page. Then compare other features with the other charts such as:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Overview&quot; (which has cost or free indicated)&#xA;&quot;Protocol support&quot;&#xA;&quot;Natural language&quot;&#xA;&quot;Cross-platform&quot;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2013-09-05T21:34:16.000" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8884" PostTypeId="1" CreationDate="2013-09-05T21:44:20.160" Score="0" ViewCount="391" Body="&lt;p&gt;I recorded a video chat session with recordmydesktop in linux, but it is somehow defective. I give more details in a (big) footnote down here. I badly need to repair and play that video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please put me in the right direction, what should I learn about, which internet sites provide that information, and any clue on what you should thing the problem could be. I don't shy away from doing any learning efforts, but the question of Video Production is just too wide. Any help on narrowing the search for the probable cause would be very helpful.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;This is the capture of the konsole during the recording:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;inma:~&gt; recordmydesktop&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Initial recording window is set to:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;X:0   Y:0    Width:1366    Height:768&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Adjusted recording window is set to:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;X:6   Y:0    Width:1354    Height:768&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Your window manager appears to be KWin&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Initializing...&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Buffer size adjusted to 4096 from 4096 frames.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Opened PCM device default&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Recording on device default is set to:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;1 channels at 22050Hz&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Capturing!&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;^CShutting down.&lt;/p&gt;&#xA;  &#xA;  &lt;hr&gt;&#xA;  &#xA;  &lt;p&gt;Cached 72482 MB, from 215345 MB that were received.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Average cache compression ratio: 66.3 %&lt;/p&gt;&#xA;  &#xA;  &lt;hr&gt;&#xA;  &#xA;  &lt;p&gt;Saved 54287 frames in a total of 54245 requests&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;....&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;STATE:ENCODING&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Encoding started!&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;This may take several minutes.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Pressing Ctrl-C will cancel the procedure (resuming will not be&#xA;  possible, but any portion of the video, which is already encoded won't&#xA;  be deleted).&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Please wait...&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Output file: out.ogv&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;[89%]   [Cache File 141]&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Encoding finished!&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Wait a moment please...&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Done.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Written 921301705 bytes&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;(885658169 of which were video data and 35643536 audio data)&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Cleanning up cache...&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Done!!!&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Goodbye!&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;But now I try to play the file:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;inma:~&gt; mplayer out.ogv &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;MPlayer svn r34540 (Ubuntu), built with gcc-4.6 (C) 2000-2012 MPlayer&#xA;  Team&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;mplayer: could not connect to socket&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;mplayer: No such file or directory&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Failed to open LIRC support. You will not be able to use your remote&#xA;  control.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Playing out.ogv.                                                      &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;libavformat version 53.21.1 (external)&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Mismatching header version 53.19.0&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;libavformat file format detected.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;[ogg @ 0x2b4a70f82940]Codec not found&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;[ogg @ 0x2b4a70f82940]Codec not found&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;LAVF_header: av_open_input_stream() failed&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Ogg : Warning found none bos page from unknown stream 1091944242&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;libavformat file format detected.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;[ogg @ 0x2b4a70f82940]Codec not found&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;[ogg @ 0x2b4a70f82940]Codec not found&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;LAVF_header: av_open_input_stream() failed&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Exiting... (End of file)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;What is happeing with this recording? Will&lt;/p&gt;&#xA;" OwnerUserId="4658" LastEditorUserId="2261" LastEditDate="2013-09-06T01:22:22.613" LastActivityDate="2015-02-15T19:14:01.143" Title="What do I need to learn in order to repair an ogv or ogg video that is defective? Where to start?" Tags="|video|encoding|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="8885" PostTypeId="2" ParentId="8884" CreationDate="2013-09-05T21:54:25.143" Score="1" Body="&lt;p&gt;It appears you do not have the necessary codec to play the video in mplayer. You will need to find a codec that can decode it. I can't tell from the posted information what codec it is.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-05T21:54:25.143" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8886" PostTypeId="2" ParentId="8882" CreationDate="2013-09-05T21:56:51.373" Score="1" Body="&lt;p&gt;If you can use images of the text, just about any program will handle it fine.  I would expect that any professional level product such as Premiere Pro should also handle it fine.  Even in software that doesn't support it, you can often fake it by entering the text and then doing the reveal backwards starting from the end of the line.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-05T21:56:51.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8892" PostTypeId="1" CreationDate="2013-09-06T07:42:11.927" Score="3" ViewCount="4143" Body="&lt;p&gt;I like SubRib (*.srt) subtitle positioning, as shown below:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;28&#xA;00:02:25,016 --&gt; 00:02:27,393&#xA;&lt;b&gt;{\pos(200,250)}&lt;/b&gt;- &amp;lt;i&amp;gt;Naw&amp;lt;/i&amp;gt;, you're fired.&#xA;- What?&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But that makes me wonder is whether this position will remain the same for the movie file in a different screen resolution?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, the dimensions movies is 1920x800 in the 1440x900 monitor, and then played in a 1024x600 monitor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This method is relative to the dimensions of the movie file or to monitor? Are all the players recognize the positioning in this way? Is there another way to do the positioning?&lt;/p&gt;&#xA;" OwnerUserId="4659" LastActivityDate="2014-07-04T01:10:56.913" Title="Subtitle SubRip (*.srt) Positioning" Tags="|video|playback|subtitles|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8893" PostTypeId="1" AcceptedAnswerId="8895" CreationDate="2013-09-06T08:05:51.513" Score="1" ViewCount="140" Body="&lt;p&gt;I have a Sony Handy Cam (sony dcr sx60) and no tripod with me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have to make an indoor video shoot (I am a beginner and it is a test shoot). &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The subject will not be moving and it could be a interview kind of video. &lt;/li&gt;&#xA;&lt;li&gt;There will be only one subject on which to focus. &lt;/li&gt;&#xA;&lt;li&gt;The room will have natural light on one side of it (through the transparent glass door of window) and a few more lights will be available on the ceilings (Yellow and white lights). &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I have surfed on the net regarding the ISO, aperture, shutter speed and more, confused about all. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could you please give me quick and simple tips to make a good output?&lt;/p&gt;&#xA;" OwnerUserId="4696" OwnerDisplayName="Ayyappan Sekar" LastEditorUserId="2569" LastEditDate="2013-09-06T14:34:22.867" LastActivityDate="2013-09-06T14:34:22.867" Title="Light settings for indoor shoot - Sony dcr sx60" Tags="|video|lighting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8895" PostTypeId="2" ParentId="8893" CreationDate="2013-09-06T13:44:15.447" Score="2" Body="&lt;p&gt;You may actually be better off without the natural light.  The color is going to be different between the sunlight and the interior lights and will be much MUCH brighter.  It will result in strong shadows and some weird white points.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are shooting video, shutter speed isn't really much of an issue since you'll want to have it set at your frame rate to get as much light as possible.  Aperture you will want to set based on the desired depth of field for your shot, the wider the better to allow in more light and the ISO should be set to properly expose your image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Options for dealing with the color mismatch between lights is to either gel the lights inside or gel the windows to alter the color of the sunlight.  Alternately, it might be possible to use a large white reflector (even white sheets can work in a pinch) to try to reflect light from the windows back on to the subject from a different angle, but that can be tricky depending on the angle that light is coming in at.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The key is that you want to have a light source that fills in the shadows that is near, but slightly less powerful than the main light and you want them to be the same color.  Your interior lights do not sound to be the right color or near bright enough to compete with the sun, so your options are really either shoot entirely with interior light or reflect the sun and shoot entirely based on light from the sun.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If doing entirely interior lights, (really in either case, but harder with sun only) a back light can also be helpful that is below and behind the subject to light up their outline and make them stand out more from the background.  That's what gives the &quot;pop&quot; to the image.  It is referred to as 3 point lighting (key - the main light, fill - the one that fills in shadows, and back - the one behind).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-06T13:44:15.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8896" PostTypeId="5" CreationDate="2013-09-06T16:06:19.403" Score="0" Body="&lt;p&gt;Questions in the performance tag should deal with issues related to performance of software, hardware, tools and devices being used in Audio/Video production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For live performances, use the &quot;live-performance&quot; tag instead.&lt;/p&gt;&#xA;" OwnerUserId="-1" LastEditorUserId="2836" LastEditDate="2013-12-30T15:56:02.213" LastActivityDate="2013-12-30T15:56:02.213" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8897" PostTypeId="4" CreationDate="2013-09-06T16:06:19.403" Score="0" Body="Performance deals with how well/quickly a system or device operates." OwnerUserId="-1" LastEditorUserId="2836" LastEditDate="2013-12-30T15:56:02.213" LastActivityDate="2013-12-30T15:56:02.213" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8901" PostTypeId="1" CreationDate="2013-09-06T18:12:13.077" Score="0" ViewCount="350" Body="&lt;p&gt;I want to record a Flash video stream from the web. This is the website in question: &lt;a href=&quot;http://www.arte.tv/guide/de/plus7&quot; rel=&quot;nofollow&quot;&gt;http://www.arte.tv/guide/de/plus7&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that the video starts with a task bar over it and I have to move the mouse pointer over and out of the video to fade it out, all of which is recorded in my screen capture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How do I avoid recording the task bar?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user4661" LastEditorUserId="2836" LastEditDate="2013-09-06T20:50:44.923" LastActivityDate="2013-09-07T05:09:18.810" Title="How to start and record Flash video stream without recording the player taskbar" Tags="|streaming|screen-casting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8902" PostTypeId="2" ParentId="8901" CreationDate="2013-09-06T20:54:06.767" Score="1" Body="&lt;p&gt;As long as the video isn't copy protected, you will want to use a stream ripper instead of trying to do a screen capture of your monitor.  Any number of software products are able to directly transfer a video that is in the Flash streaming video format as long as it isn't copy protected.  A quick search for &quot;flash video ripper&quot; and your operating system should return numerous results to choose from.  The advantage of this is that the stream can be recorded with the original encoding preserved, which avoids loss of quality due to repeat encoding and compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a side bonus, since the stream rippers will record the stream directly, you also don't have to worry about the bar or your mouse being over the screen.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-06T20:54:06.767" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="8904" PostTypeId="2" ParentId="8901" CreationDate="2013-09-07T05:09:18.810" Score="0" Body="&lt;p&gt;I simply looked at the source code of the web page and opened the player in a new window, scaled to the width of the video iframe, but &lt;strong&gt;&lt;em&gt;higher&lt;/em&gt;&lt;/strong&gt;, so that the task bar came to lie &lt;em&gt;below&lt;/em&gt; the video. Now I can click and mouseover the task bar as much as I want, without recording it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/hWguG.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Screenshot of the original website to the left, and the player in a scaled separate window to the right.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user4661" LastActivityDate="2013-09-07T05:09:18.810" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8906" PostTypeId="1" CreationDate="2013-09-07T10:11:40.287" Score="1" ViewCount="12666" Body="&lt;p&gt;I purchased a Sandisk ultra with 64GB of memory for like 60$ but now it will not allow me to take videos. Why is this and is there any way to change it? When I display the info on the screen I can see a little REC button but it has a slash through it, implying that I cannot record (which is correct) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did format the disk, and also when I used a friends SD card in my camera it worked for video, AND when she used my SD card in her's it worked for her to take videos(though her card is a 16GB &quot;Silicon Power&quot; make). We both have Nikons though mine is a D5000 and hers is a coolpix p510.... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am on a trip through Europe and I like videos because I make music videos... I would love for the expensive large memory card that I bought to work for my camera. Hence why I bought it. So if anyone has any good answers on how to get it to work, that would be much appriciated&lt;/p&gt;&#xA;" OwnerDisplayName="John Chriest" LastEditorUserId="2569" LastEditDate="2013-09-07T17:03:37.200" LastActivityDate="2013-09-07T17:13:14.387" Title="I am not able to take video with my SD card" Tags="|video|camera|sd-card|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8907" PostTypeId="2" ParentId="8906" CreationDate="2013-09-07T17:03:41.287" Score="5" Body="&lt;p&gt;There are two possible problems, first is that your camera does not appear to have SDXC support.  32GB is the limit of the SD and SDHC file system used on lower capacity memory cards.  To move to 64GB, you have to move to exFat which your camera may not support, so the card may simply be too big.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also possible the card is simply too slow to support your chosen resolution and quality level.  Have you tried stepping down the quality (to IBP or less than 1080p)?  The Ultra line of SanDisk cards is one of their slowest lines and $60 for a 64GB card is not expensive, it is dirt cheap.  To give you an idea, the SanDisk Pro Extreme SD card that I use (which is still slower than my compact flash card I use) was $150 for a 64GB card that handles 1080p video at All I frame storage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: After some more reading of the manual, it appears the problem is the card size.  I see your camera doesn't even support 1080p video at all and 720p should be fine on an Ultra card.  It simply doesn't support exFat, so you will need to limit yourself to a SDHC card of no more than 32GB.  It might be worth doing some more digging on that too as there are SDHC cards listed for your camera, but none in the 32GB range (but that may simply be that there weren't any available when it was made.)  I would verify 32GB compatibility before buying a 32gb card since 16GB is the biggest listed in the manual.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-09-07T17:13:14.387" LastActivityDate="2013-09-07T17:13:14.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8908" PostTypeId="5" CreationDate="2013-09-07T17:07:16.403" Score="0" Body="&lt;p&gt;For more info, visit the &lt;a href=&quot;http://en.wikipedia.org/wiki/Sd_card&quot; rel=&quot;nofollow&quot;&gt;SD Card Wikipedia page&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2013-09-07T17:07:16.403" LastActivityDate="2013-09-07T17:07:16.403" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8909" PostTypeId="4" CreationDate="2013-09-07T17:07:16.403" Score="0" Body="Secure Digital (SD) non-volatile memory card.  Flash-based storage device commonly used in cameras, phones, tablets, etc.  " OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2013-09-07T17:07:16.403" LastActivityDate="2013-09-07T17:07:16.403" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8912" PostTypeId="1" CreationDate="2013-09-08T20:44:02.477" Score="2" ViewCount="13485" Body="&lt;p&gt;I created a project with 60fps.&#xA;Imported videos which are at 25fps (using eyeframe converter).&#xA;Did all my editing, took me forever and exported the project.&#xA;Again used eyeframe converter to get .mp4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here was the problem, the video was playing at higher rate (meaning it was playing at double or more faster speed),&#xA;but the audio was playing at normal rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I am wondering is it possible to change the project fps or&#xA;copy the edit into a new project which is at 25fps?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help me.&lt;/p&gt;&#xA;" OwnerUserId="1444" LastActivityDate="2014-06-09T09:39:15.727" Title="How to change lightworks project frame rate?" Tags="|video|editing|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8934" PostTypeId="1" CreationDate="2013-09-11T09:44:49.637" Score="2" ViewCount="1191" Body="&lt;p&gt;My setup is the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;BlackMagic Television Studio&lt;/li&gt;&#xA;&lt;li&gt;MacBook Pro for controlling the BlackMagic TVS&lt;/li&gt;&#xA;&lt;li&gt;A video camera connected via SDI (stands in front of a blue screen)&lt;/li&gt;&#xA;&lt;li&gt;MacBook Pro with QLab 2.0 for back- / foreground connected to the TVS&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;QLab's rendering:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1x Video background @ 720p (QuickTime - JPEG codec)&lt;/li&gt;&#xA;&lt;li&gt;3x Video footage    @ 720p with alpha (QuickTime - HAP codec)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;These four video layers needs to play at one time all together. But unfortunately the images stutters already when playing the video background alone. Image what happens when playing these four layers together. ;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The MacBook is pretty new and filled with 16 GB of RAM, so I can't imagine thats is the biggest bottleneck.&#xA;Is there a possibility to load the video's in the RAM before playing it? Or are there other things I can do to make the playback smooth? Maybe other cue-able programs?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advantage!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS - No audio is needed.&lt;/p&gt;&#xA;" OwnerUserId="4688" LastActivityDate="2013-12-03T06:43:30.473" Title="How can I accomplish smooth video playback with QLab 2?" Tags="|video|playback|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8935" PostTypeId="2" ParentId="8651" CreationDate="2013-09-11T09:54:14.660" Score="4" Body="&lt;p&gt;What you like to accomplish is a zoom?&#xA;In that case you can just add keyframes on the position of the video within your canvas/composition.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Find the moment where you want to zoom.&lt;/li&gt;&#xA;&lt;li&gt;Add keyframe on the scale / position&lt;/li&gt;&#xA;&lt;li&gt;Add keyframe on end of the zoom&lt;/li&gt;&#xA;&lt;li&gt;Set preferred value&lt;/li&gt;&#xA;&lt;li&gt;Add keyframe one frame before zooming out&lt;/li&gt;&#xA;&lt;li&gt;Add keyframe on that next frame.&lt;/li&gt;&#xA;&lt;li&gt;Add keyframe at the end of the zoom&lt;/li&gt;&#xA;&lt;li&gt;Set the value of that keyframe back to 100% (original value)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;That's it!&lt;/p&gt;&#xA;" OwnerUserId="4688" LastActivityDate="2013-09-11T09:54:14.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8937" PostTypeId="1" CreationDate="2013-09-11T13:12:17.610" Score="1" ViewCount="1215" Body="&lt;p&gt;Adobe Premiere has problems with variable frame rate. If I import a MOV file from an iPhone for example than audio and video is not synchron. I found out that the problem is the variable frame rate. Now I'm looking for a solution to fix this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I reencoded the videos in Windows Movie Maker for example but I don't want to have a loss in quality. I searched a bit and found out that &lt;code&gt;AviSynth&lt;/code&gt; could do this for me. &lt;code&gt;AviSynth&lt;/code&gt; cannot open MOV files so &lt;code&gt;qtsource&lt;/code&gt; should be able to handle it. I placed it in the plugin folder of &lt;code&gt;AviSynth&lt;/code&gt; but in the readme it says that the vfr feature is experimental and not working ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, I could use &lt;code&gt;Handbrake&lt;/code&gt; but I always would have to reencode. Are there other options?&lt;/p&gt;&#xA;" OwnerUserId="4690" LastActivityDate="2013-11-10T15:02:44.217" Title="Convert vfr mov file to cfr mov file" Tags="|premiere|framerate|iphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8938" PostTypeId="2" ParentId="8934" CreationDate="2013-09-11T13:36:18.230" Score="1" Body="&lt;p&gt;Sounds like a job for either re-compression, solid state drives or both.  It appears that the BlackMagic Television Studio does has the media server that the other Black Magic ATEMs have, so you might also be able to load them in to that depending on their length.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your bottle neck is almost certainly data rates, and the main options are to increase the rate your system can move data at (solid state drives), reduce the amount of data that needs to be moved (re-compression) or place the data somewhere that it can be accessed more easily (in the media server of the ATEM).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-11T13:36:18.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8939" PostTypeId="2" ParentId="8937" CreationDate="2013-09-11T13:39:17.087" Score="1" Body="&lt;p&gt;If you have Premiere, why not simply use Adobe Media Encoder?  I believe it should handle your needs.  There will always be some quality loss though as you will have to change codecs and the compression is going to differ.  You can use high quality formats to minimize the loss, but there is going to be loss.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-11T13:39:17.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8947" PostTypeId="1" AcceptedAnswerId="8951" CreationDate="2013-09-12T08:55:07.000" Score="3" ViewCount="70" Body="&lt;p&gt;I'm doing a short video and I am not from video editing background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes I want to show my post production team the effect I want but it's very difficult to say... Just look at [...] video. I don't know where to find examples. Is there a list of names or example videos somewhere I can easily refer to?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, if I say I want Ken Burns effect for this photo, he immediately knows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The particular example I want is having lots of newspaper headlines intersecting, creating an effect that this event generated a lot of buzz... but I don't know where to find a video example for him?&lt;/p&gt;&#xA;" OwnerUserId="4697" LastActivityDate="2013-09-12T20:17:41.553" Title="How do I communicate with post-production team? Need a list of effects and examples" Tags="|post-production|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8948" PostTypeId="2" ParentId="8947" CreationDate="2013-09-12T13:34:42.493" Score="1" Body="&lt;p&gt;Any set of samples would really have the same problem.  How do you find what you are looking for within them?  If you can draw, story-boarding has traditionally served this purpose.  Part of it could also be to get better editors.  If your editor's are good, they should be able to produce things in a visually interesting way with or without your help and, since you admittedly are not an editor, they should have a better idea of how to do so than you do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you do see things you don't like, talk to them about what you don't like about it.  Explain what you don't like about it using their visuals as reference.  Describe to them what you want and ask them what they think of it.  They may have a reason why that wouldn't work well or they may be able to determine exactly what you mean.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A good editor should be able to work with you to identify your meaning even if you don't know exactly what you want.  When you go to a computer repair place, they don't ask you to tell them that you got the &quot;virusAofTheWeek.Beta virus installed in C:\MyVirus\ that you need them to run RemoveMyVirusTool on.  You only tell them, &quot;my computer is acting funny and slow, figure it out&quot;.  That's why they are the professional.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can't trust them to do this, then it may be that you either need to be a little more trusting of their artistic talents or it may be that you need to find an editor that has the talents and skills necessary to do the job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Editing also isn't generally a hands off role when you want more direct control.  It is typical for directors to work directly with the editor on key moments or even the entire film/video to ensure their original vision is met.  Even then though, unless the director has editing experience, they should be trusting their editor to make good calls and only offering corrections when it is something they have a real clear picture of in their mind (and even then should be open to feedback from the editor) or feedback on general things like pacing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Producing video is a collaborative process, work with people who understand and work well with the medium and be willing to trust their work and you will find yourself both less stressed and get a much better final product.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-12T13:34:42.493" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8951" PostTypeId="2" ParentId="8947" CreationDate="2013-09-12T20:17:41.553" Score="2" Body="&lt;p&gt;About the newspaper headlines. I would not call it an effect at first. First it is a storytelling element, with the headlines actually telling something and often carrying the storyline forward - easily anything between three days to several months, plus that you could use it as a prelude for a jump in time of several years. What I'm trying to say is; this effect, as you call it, is a timeline jump in your story. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So in practice it is not an effect first. The way you actually do it is an effect, meaning that you can do it entirely in digital, CG, or real newspapers thrown on a table and filmed as so, a combination of methods, etc. Whatever, you need the headlines in these papers, because your audience is going to read them, or at least have time to grasp the message if not given time to properly read them. Telling a story through newspaper headlines is not a job for effects engineer. You provide the headlines, the story. (A job for your writer(s), not necessarily yourself.)  Then you let your team create a newspaper headlines storytelling section.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Furthermore, say you want to skip filming a court of law section in your story. In between those newspaper headlines you could do very short inserts of video, like the main characters walking up the steps to a courthouse, accompanied with more newspaper headlines, then a clip of grieving after a lost case, and when the media buzz is over, you can continue your film at any distance in time, like 20 years forward if you so wish and the story tells you so. But this was not in your question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To answer your question - write those headlines and take them to your team, and tell them what you want with the same words that you used to describe your question here. It should be enough for them.&lt;/p&gt;&#xA;" OwnerUserId="3750" LastActivityDate="2013-09-12T20:17:41.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8952" PostTypeId="1" CreationDate="2013-09-12T20:27:28.393" Score="2" ViewCount="548" Body="&lt;p&gt;I have always wondered if the animation technology used in film-making uses AI to any extent.&lt;/p&gt;&#xA;" OwnerUserId="4701" LastActivityDate="2013-09-13T04:52:41.737" Title="Does animation make use of any Artificial Intelligence?" Tags="|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8953" PostTypeId="1" CreationDate="2013-09-12T20:44:58.767" Score="2" ViewCount="24613" Body="&lt;p&gt;I am looking to be able to use my Canon EOS Rebel T3i as a webcam on a computer, both Mac and Windows based. Some uses for this would be a HD live stream or the ability to record video directly to my computer. I know I would need to use an HDMI cable to connect my T3i to my computer. Since there is no HDMI in on the computers I will be using (or any computer that I know of) I would need a way to connect my T3i's HDMI out to my computer. I am looking at the Blackmagic Design Intensity Shuttle for USB 3.0 and the elgato Game Capture HD. It needs to be able to work with USB 2.0, as that is the only port that I have on both of the computers I would be using this with. The elgato runs from USB 2.0 and where the Intensity uses 3.0. I need to know 100% that the Intensity would work on 2.0. I also need to know if they would show up as a webcam on the computer. The apps I would be using would be Skype, EasyWorship, and an Twitch.tv.&lt;/p&gt;&#xA;" OwnerUserId="3814" LastEditorUserId="2836" LastEditDate="2014-03-05T17:28:48.247" LastActivityDate="2014-03-05T17:28:48.247" Title="Use Canon T3i as a HD Webcam" Tags="|dslr|canon|hdmi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8954" PostTypeId="2" ParentId="8952" CreationDate="2013-09-12T20:47:36.273" Score="4" Body="&lt;p&gt;Yes, quite frequently, particularly in crowd simulation.  Actors within the crowd are programmed with particular behavior types and will interact with each other to form a more lifelike crowd.  The interactions are usually fairly simple, but it is a form of AI.  I'm not sure if it is still around, but one of the early programs used for this was actually called &quot;Behavior&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some procedural animation could also be described as a form of AI as well.  For example, when a character needs to walk across uneven terrain, it can be possible to setup a physics simulation and have the character alter their movements to maintain balance.  This is really also a form of AI combined with physics simulation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are probably others as well, but those are the first two that come to mind as relatively common uses.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-12T20:47:36.273" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8955" PostTypeId="2" ParentId="8953" CreationDate="2013-09-12T21:05:26.303" Score="2" Body="&lt;p&gt;You can probably do it directly through the EOS software.  It is possible to get a live video stream from the camera over the USB connection.  Note that USB2 is not going to be able to carry a full quality HDMI stream though.  This is why the Intensity is USB3.  It requires USB3 because the bandwidth requirements for the quality level it is working at require USB3 data rates.  If you have a firewire port on both, that would be an alternate option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are systems that have HDMI capture, but they are due to having an encoder card like the internal version of the Intensity.  If it is a desktop that doesn't have USB3, it may be possible to get a USB3 card for that system.  I personally have used an addin card for USB3 support on my desktop (a first gen i7) and it works great.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No matter what you do, there is a good chance you are going to have to hack your way to getting it to show up as a webcam.  It would likely show up as a capture device though, which should work with EasyWorship or ProPresenter.  (Personally I'm an old MediaShout fan that is looking at swapping to ProPresenter since Media Shout went pretty awful with version 4, but I've used all 3.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One other option you haven't considered is that there may be a way to use the USB connection to pull the LiveView feed that EOS Utility uses, but it still wouldn't be as good of quality as something like an Intensity, but free is good and it would likely support USB2.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-12T21:05:26.303" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="8964" PostTypeId="2" ParentId="8952" CreationDate="2013-09-13T04:52:41.737" Score="-1" Body="&lt;p&gt;I don't think it's very common. They use animators, which may have set movements, which they can queue at certain times. Self-interactive AI seems like it would take too much time to program and reprogram.&lt;/p&gt;&#xA;" OwnerUserId="4266" LastActivityDate="2013-09-13T04:52:41.737" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8983" PostTypeId="2" ParentId="5227" CreationDate="2013-09-16T21:16:34.010" Score="1" Body="&lt;p&gt;For reducing the fisheye effect I used &lt;a href=&quot;http://www.crumplepop.com/fisheyefixer/&quot; rel=&quot;nofollow&quot;&gt;http://www.crumplepop.com/fisheyefixer/&lt;/a&gt; with pretty good results.&lt;/p&gt;&#xA;" OwnerUserId="4713" LastActivityDate="2013-09-16T21:16:34.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8985" PostTypeId="2" ParentId="5073" CreationDate="2013-09-17T01:29:55.177" Score="0" Body="&lt;p&gt;if you have After Effects, there is a script for that.  You essentially import your footage into AE, and then run the script.  Here is a &lt;a href=&quot;http://aescripts.com/magnum-the-edit-detector/&quot; rel=&quot;nofollow&quot;&gt;link for more information&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Automatically detects edits in footage. To use it you simply select a&#xA;  footage layer in a comp, set the work area to the region you'd like to&#xA;  find edits and tell Magnum to go to work!&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/KeRtN6IihU0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4714" LastEditorUserId="2569" LastEditDate="2013-09-17T12:25:43.333" LastActivityDate="2013-09-17T12:25:43.333" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="8988" PostTypeId="1" CreationDate="2013-09-17T13:12:04.367" Score="0" ViewCount="245" Body="&lt;p&gt;I'm trying to find out what video editing program does this type of graphical layer to input title over video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/RJ5xh.jpg&quot; alt=&quot;sample video&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are several videos edited with this same program but no reference of the video editor used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.google.com/search?tbs=sbi:AMhZZit8OGASlL_1SaDL0kHSq52z9pSIOQOMur7klZpkwqLXs4bR8Gjf7TyQJ5CPYLK7InF4UddI8RZyeBZkrzqdkfvU5YJQlPbRHhBYsNHzRgnU8Q7KieLJmhVaGsf-eDoEQTPq9vmiijEarlyCt3kl7nOea8VaBNN_11321o9GifOJ3qFQu8HXv4VDSS2j5eos96-j6zZiBIVaueOVfVcmXV2L9J0UxnB8ktCx2Q4kbGJ7fcsNAFEygRK2N4LaFqBDM2BIqH7ZYrk1RBD6ZDLS2JmjScH_1p_1SM2zZQYTqthqPL2buHYC1KXDnZuminltcalBOZrUFeB3atl5F2A7ysBiinoEgcVkYC_1Dxw17YOFMxhs_1J-oJ4xwdUgA0m3D3eLnCADPSDwvz54ccAYd5Y4ZbKctP0U5uUcNaAqjP4G726zrc2F1Io_1VAJUzI41Z14m_1Q2TVjgm5d2cHX_1AAohQfLQSiXsrPE2tJHO64Lnm-pZ7YakDka7VyLwnqsgtDcoQj23i762OkM8Hyz-uhHR_1Jeuw0i6yquixXW8GedqZT3UukWW5vuotqgehuAQDDWckNP5ePb81lCMZ0BBnYLTmEf8x68V4Mp5W_1Ve3K1334fDp2jG2fUh9RmBtDgTA8t278YP6d54_1ib9Rtp82K0Hp3dJAPKRJbIUfWotqbiGN6Ac-MTfC0CjD5MXTIXC9y_1ivFsCVIGFGLV8jLk-anqp4VmuGIDuvvhEtLcTk4jjN1Q26bbLVHsHXzUNjSHxmBAOpZSpIUXmNtPyfJoaG23c-kNtpevDQjuVL7W1xEMRUW5rPi8bg1-rPRLbB_1-tvdvJI6Fey2f5inJCdoG8Hwv5l7d3Lyf891O6xiy96tNsjDA9jXqhlWwN_17izDq0V8oSaLbfa4IzNHWaqTHi8ckebSxCA0q_1WoqH3BAVJrxQtMA7Z05XPGBKY8_1z9cFBx3uda9wHyjdutX8w_1kfQ3Q1vk0aXXsoYe6OdAO-3zh2cR2VNx8n0EeyxWI8zwnZSD-rVDuL6i9cnJa4nuUnGpTskwkGsa_1qG96KMmPh6QyPOf-Pj7jYlxCABNlsqWVdtAgXDhrScy3S9JdUlGCWMephntnBNp1lF1YIJn7ojTKQdXx5YkDvQNS18IbGITQ_1XJYXQYm5_1dDL4QByM0Utvl7NwBAo6onQCnnU_1oN-DCwCBYRIrworTcW7Axb9_1183qvJKAbpCmc0dK_15aYAHTQSmNq6t6xh-8rrxK2lTNLRxRGExIpM75Dg-8TK8rfa4Z3DEfiSWnuLQRLu4qePda2ngtyrHoV_1AuB1x5lbA&amp;amp;safe=off&amp;amp;hl=en&amp;amp;bih=1263&amp;amp;biw=1328&quot; rel=&quot;nofollow noreferrer&quot;&gt;google image search&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4717" LastEditorUserId="2569" LastEditDate="2013-09-17T15:28:25.727" LastActivityDate="2013-11-07T02:40:42.463" Title="Which video editing software can create this style of title graphic?" Tags="|video-editor|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8989" PostTypeId="2" ParentId="8988" CreationDate="2013-09-17T13:51:33.593" Score="2" Body="&lt;p&gt;If you are just looking for what video editor can do a title over a video, the answer is any of them that are worth paying for and most of them that are free.  That's the majority of the point of a video editor is to blend video together and that more or less inherently requires supporting transparency.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are looking for the particular template used in that video, I'd suggest asking the people whose YouTube videos used it.  There are many motion graphics template vendors who provide templates that can be used for similar looks if you don't know how (or don't want to bother) to make one yourself.  There are often even some that are free.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That particular effect could be for any number of editors, composition programs or titlers though.  It might come with one directly as an included template or it might come separately.  Nobody is going to know all templates everywhere, so the best bet is to ask the people that used them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are just looking for software in general, I use Adobe After Effects for most things like that, but it's a professional level product so you may not want to go that high end.  Premiere Pro is also able to do a level of motion graphics, though it is more limited.  I'm not sure on the lower levels, but if text overlay or layer transparency or something similar is listed on the features of a product, it should be able to do something reasonably similar.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-17T13:51:33.593" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8992" PostTypeId="1" AcceptedAnswerId="8994" CreationDate="2013-09-18T06:15:00.080" Score="0" ViewCount="5347" Body="&lt;p&gt;I have this command in ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i '/var/www/sites/default/files/private/videos/original/reel para web en loop_2_2.mp4' -vf 'scale=640:480' -strict experimental -vco&#xA;dec 'h264' -vpre 'libx264-baseline' -acodec 'aac' -vprofile 'baseline' -ac '2'&#xA; -y /tmp/1379483589-52393fc5e233e.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And I have the following pressets:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;libvpx-1080p50_60.ffpreset  libvpx-720p50_60.ffpreset  libx264-ipod320.ffpreset&#xA;libvpx-1080p.ffpreset       libvpx-720p.ffpreset       libx264-ipod640.ffpreset&#xA;libvpx-360p.ffpreset        libx264-baseline.ffpreset&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And this is the result:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-56279-g5295407 Copyright (c) 2000-2013 the FFmpeg developers&#xA;  built on Sep 15 2013 03:43:12 with gcc 4.7 (Ubuntu/Linaro 4.7.3-1ubuntu1)&#xA;  configuration: --prefix=/usr --enable-gpl --enable-libass --enable-libmp3lame&#xA;--enable-libopus --enable-libtheora --enable-libvorbis --enable-libvpx --enable-&#xA;libx264 --enable-nonfree --enable-version3&#xA;  libavutil      52. 43.100 / 52. 43.100&#xA;  libavcodec     55. 31.101 / 55. 31.101&#xA;  libavformat    55. 16.102 / 55. 16.102&#xA;  libavdevice    55.  3.100 / 55.  3.100&#xA;  libavfilter     3. 84.100 /  3. 84.100&#xA;  libswscale      2.  5.100 /  2.  5.100&#xA;  libswresample   0. 17.103 /  0. 17.103&#xA;  libpostproc    52.  3.100 / 52.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/var/www/sites/default/files/private/vi&#xA;deos/original/reel para web en loop_2_2.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp42mp41&#xA;    creation_time   : 2013-09-12 17:30:22&#xA;  Duration: 00:00:39.32, start: 0.000000, bitrate: 3190 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv), 720x4&#xA;80 [SAR 40:33 DAR 20:11], 2991 kb/s, 29.97 fps, 29.97 tbr, 29970 tbn, 59.94 tbc&#xA;(default)&#xA;    Metadata:&#xA;      creation_time   : 2013-09-12 17:30:22&#xA;      handler_name    : Mainconcept MP4 Video Media Handler&#xA;    Stream #0:1(eng): Audio: aac (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 18&#xA;9 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2013-09-12 17:30:22&#xA;      handler_name    : Mainconcept MP4 Sound Media Handler&#xA;[NULL @ 0xab9d980] [Eval @ 0xbfd87b9c] Undefined constant or missing '(' in 'wpr&#xA;ed'&#xA;[NULL @ 0xab9d980] Unable to parse option value &quot;wpred-dct8x8&quot;&#xA;[NULL @ 0xab9d980] Error setting option flags2 to value -wpred-dct8x8.&#xA;Output #0, mp4, to '/tmp/1379483589-52393fc5e233e.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp42mp41&#xA;    Stream #0:0(eng): Video: h264, yuv420p, 640x480 [SAR 15:11 DAR 20:11], q=-1-&#xA;-1, 90k tbn, 29.97 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2013-09-12 17:30:22&#xA;      handler_name    : Mainconcept MP4 Video Media Handler&#xA;    Stream #0:1(eng): Audio: aac, 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2013-09-12 17:30:22&#xA;      handler_name    : Mainconcept MP4 Sound Media Handler&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 -&amp;gt; libx264)&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac -&amp;gt; aac)&#xA;Error while opening encoder for output stream #0:0 - maybe incorrect parameters&#xA;such as bit_rate, rate, width or height&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What is the problem in my command? I have baseline profile in ffmpeg. Or I need do one more step?&#xA;I need that this file playing in iPhone in MP4. Because I use JW Player.&lt;/p&gt;&#xA;" OwnerUserId="4721" LastActivityDate="2013-10-02T20:19:46.903" Title="Error FFMPEG when convert video to MP4 with baseline presset" Tags="|video|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8993" PostTypeId="2" ParentId="7180" CreationDate="2013-09-18T07:30:57.043" Score="0" Body="&lt;p&gt;I had the same issue but I fixed it. All I did was add light layers around my object &amp;amp; it no longer was black.&lt;/p&gt;&#xA;" OwnerUserId="4722" LastActivityDate="2013-09-18T07:30:57.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="8994" PostTypeId="2" ParentId="8992" CreationDate="2013-09-18T13:56:02.493" Score="1" Body="&lt;p&gt;This looks to me like an actual issue with the scripts in the preset vs your build of FFMpeg.  It appears that the syntax of options being passed to the encoder are incorrect (particularly something related to &quot;wpred&quot; and a missing parens) and since they are not specified in your command line, I can only assume it is the preset that is the problem.  I would suggest trying either a different version, a different build or a different source for your copy of FFMPEG and see if you have better luck.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-18T13:56:02.493" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="8999" PostTypeId="1" AcceptedAnswerId="9028" CreationDate="2013-09-19T16:15:45.840" Score="4" ViewCount="1632" Body="&lt;p&gt;I have hundreds of videos in storage I need to distribute online.  I'd like to do the following for each clip:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add a pre-roll video&lt;/li&gt;&#xA;&lt;li&gt;Process the audio (audio leveling, generic hiss/noise reduction for speaking (no music or other sound))&lt;/li&gt;&#xA;&lt;li&gt;Add a title overlay at the beginning and end (could be same for all videos, but would like to pull from a spreadsheet to individualize each video if easily accomplished)&lt;/li&gt;&#xA;&lt;li&gt;Convert video from AVCHD 1080p24 to format(s) suitable for Youtube and Vimeo with as little loss of quality as possible.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;While static overlays are fine, it would be nice if things were animatable to add a bit more interest to the final product.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm a programmer, so I'm fine with scripting.  My primary video system is an older windows 7 64 bit machine with a quad-core i7 and 16GB RAM.  I'd be fine turning it into a linux machine temporarily if there are better workflows in that environment. I also have a quad core i7 OS X laptop with 16GB memory, but the disk is slower. There's no particular deadline, so if chewing through these videos slowly can be done cheaply, then that's better than paying for quick conversion, but speed would be nice, particularly if I can task multiple machines to the conversion easily on my network.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd prefer not to spend more money, but if there's software that can help me out significantly then buying the correct software might be acceptable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I accomplish this task without spending months individually editing each video once or twice a day?&lt;/p&gt;&#xA;" OwnerUserId="4734" LastActivityDate="2016-09-01T19:18:45.560" Title="How to batch process hundreds of videos?" Tags="|video|conversion|automation|workflow|avchd|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9001" PostTypeId="1" AcceptedAnswerId="9038" CreationDate="2013-09-19T20:59:36.387" Score="4" ViewCount="12946" Body="&lt;p&gt;I have a series of photos 3840x2880 which I want to crop to make a 1080 timelapse video to be uploaded to YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which sequence setting in Adobe Premiere CS6 I should use for YouTube videos?&lt;/p&gt;&#xA;" OwnerUserId="4737" LastActivityDate="2014-11-17T22:40:11.400" Title="Which sequence settings in Adobe Premiere for a YouTube video" Tags="|premiere|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9003" PostTypeId="2" ParentId="8912" CreationDate="2013-09-19T22:34:49.210" Score="2" Body="&lt;p&gt;I haven't used LightWorks recently or extensively, and I am not sure how the whole EyeFrame converter works, but if you want to change your output frame-rate, I think &lt;a href=&quot;http://www.lwks.com/index.php?option=com_kunena&amp;amp;func=view&amp;amp;catid=20&amp;amp;id=1064&amp;amp;Itemid=81&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; link will help.&lt;/p&gt;&#xA;&lt;p&gt;In it (the link), user HammerHead says:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;You choose the &lt;em&gt;project-rate&lt;/em&gt; when you first create your project from the projects browser (the window that you see when you first run up the app). This governs the frame-rate that all your edits are created at in that project.&lt;/p&gt;&#xA;&lt;p&gt;Once you enter that project/room you can then change the &lt;em&gt;output&lt;/em&gt; rate in that project using the setting you describe on the project-card. So if you're in a 25fps project, the available playback rates will be 25 &amp;amp; 50.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;To make a 30fps project, go back to the projects-browser (by clicking the arrow icon in the lower right corner), and fill in the details at the top.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I'm pretty sure that the sentence I took the liberty of making bold, is the answer. Also, the user was asking for a 30fps video but it should work for 25fps. Read the whole link for more details.&lt;/p&gt;&#xA;&lt;p&gt;I don't think this is what you are looking for, but &lt;a href=&quot;http://www.lwks.com/index.php?option=com_kunena&amp;amp;func=view&amp;amp;catid=23&amp;amp;id=11273&amp;amp;Itemid=81&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; is another link, just in case.&lt;/p&gt;&#xA;" OwnerUserId="2575" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2013-09-19T22:34:49.210" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9013" PostTypeId="1" CreationDate="2013-09-21T14:26:18.180" Score="0" ViewCount="380" Body="&lt;p&gt;How can i have a PC camera/webcam that have high quality as a portable camera, like the Nikon D800 have 35 MP. I can't find a PC camera that have the same Megapixel ? Even the Microsoft Lifecam have only 2MP and it's not my choice :(&lt;/p&gt;&#xA;" OwnerUserId="4745" LastEditorUserId="4745" LastEditDate="2013-09-22T01:25:49.037" LastActivityDate="2013-09-22T13:22:57.013" Title="Finding a highest megapixel camera for PC" Tags="|camera|" AnswerCount="1" CommentCount="4" ClosedDate="2013-09-22T21:05:09.903" ContentLicense="CC BY-SA 3.0" />
  <row Id="9018" PostTypeId="1" CreationDate="2013-09-21T19:46:18.987" Score="1" ViewCount="206" Body="&lt;p&gt;My main goals are family events.&lt;br&gt;&#xA;So I would like a nice zoom &amp;amp; 1080/60p and a a wifi connection would be nice too.&lt;br&gt;&#xA;and I am not comparing camcorders vs dslr (too bulky) only vs point &amp;amp; shoot.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;At first I thought of buying panasonic v720.&lt;br&gt;&#xA;Then I saw that many Point and shoots have my desired requirements.&lt;br&gt;&#xA;Do I really need a camcorder or will a good Point and shoot will do?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It sounds like that the one intended to be a video camera will be better but how?  &lt;/p&gt;&#xA;" OwnerUserId="4750" OwnerDisplayName="stam" LastActivityDate="2013-09-22T19:03:11.353" Title="Is there still a reason to buy camcorders?" Tags="|video|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9020" PostTypeId="2" ParentId="9013" CreationDate="2013-09-21T21:57:56.987" Score="1" Body="&lt;p&gt;Your best bet is a DSLR with a lens mount for the microscope.  It goes in places of the eyepiece and generally does not have the diopter from an eyepiece (so magnification is a bit lower, but you can also zoom in).  Among standard size DSLRs, the highest megapixel one I'm aware of at this time is the Nikon D800 at 35 megapixels, but there may be bigger out there now.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-21T21:57:56.987" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="9021" PostTypeId="2" ParentId="9018" CreationDate="2013-09-21T22:02:22.443" Score="3" Body="&lt;p&gt;It depends on the type of camcorder you get.  Most point and shoots use a cheap CMOS sensor.  The problem with this is that CMOS is read sequentially by line and results in an effect called screen tearing.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, as you pan quickly, the lines at the top of the frame are in a different position than in the bottom so that you end up with a jello like effect where vertical lines become diagonal.  A decent camcorder should use a CCD sensor which can capture an entire image at the same time and thus you get smooth panning.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While high end DSLRs have done a pretty good job at accounting for this issue by reading their sensor very quickly, low end consumer models, particularly of point and shoots, will have a substantial issue with this.  If money is tight and you can only get one, then, yes, a Point and Shoot should do a passable job for home video, but there is certainly a lot to be gained by using a camcorder of similar quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another factor to consider is that there are often time limits on how long of videos can be captured without stopping on still cameras.  You can thank the European Union for this fantastic bit of idiocy because they decided to charge a significant tax on video cameras and defined them as anything that can shoot 30 minutes of video or more at a time.  Due to this, most camera manufacturers place a completely artificial limit of 29 minutes, 59 seconds on continuous recording from any still camera.  Some do make different versions outside of the EU, but others seem to be worried that it will make the EU come down on them if they only do it for the one model for the EU.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-09-22T19:03:11.353" LastActivityDate="2013-09-22T19:03:11.353" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9028" PostTypeId="2" ParentId="8999" CreationDate="2013-09-22T10:25:07.397" Score="2" Body="&lt;p&gt;You can achieve all your goals using &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; and &lt;a href=&quot;http://sox.sourceforge.net&quot; rel=&quot;nofollow noreferrer&quot;&gt;sox&lt;/a&gt;, these are command line tools for video and audio processing respectively.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can not provide you with a ready to roll solution, but here are examples for a &lt;a href=&quot;https://trac.ffmpeg.org/wiki/How%20to%20concatenate%20(join,%20merge)%20media%20files&quot; rel=&quot;nofollow noreferrer&quot;&gt;pre-roll video&lt;/a&gt;, &lt;a href=&quot;http://www.zoharbabin.com/how-to-do-noise-reduction-using-ffmpeg-and-sox&quot; rel=&quot;nofollow noreferrer&quot;&gt;audio noise reduction&lt;/a&gt;, &lt;a href=&quot;https://superuser.com/questions/567606/multiple-effect-overlays-with-ffmpeg&quot;&gt;text overlay&lt;/a&gt; and &lt;a href=&quot;http://pvdm.xs4all.nl/wiki/index.php/Convert_an_AVCHD_/_MTS_file_to_MP4_using_ffmpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;conversion from AVCHD&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2013-09-22T10:25:07.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9038" PostTypeId="2" ParentId="9001" CreationDate="2013-09-23T13:45:35.043" Score="2" Body="&lt;p&gt;There are presets for Youtube specifically already in Adobe Media Encoder.  I would suggest using one of them.  You can also find the technical recommendations from Youtube on how to encode the videos &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;, however I believe the presets already conform to these recommendations.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-23T13:45:35.043" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9040" PostTypeId="1" AcceptedAnswerId="9174" CreationDate="2013-09-24T01:50:56.880" Score="0" ViewCount="6502" Body="&lt;p&gt;I have a Sony Handycam HDR-XR260, and haven't had any trouble before the last two weeks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While editing, occasionally a clip's audio will suddenly disappear a few minutes in, and not return until the next clip. Could be a 10 minute clip, could be a 20 minute clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The microphone is built in, so it isn't a matter of disconnected mic equipment. I'm not doing anything different from one clip to another, during filming or during uploading.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Super frustrating - any thoughts on the cause?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I checked the original files on my computer, and the audio is still there. So for whatever reason, the clip isn't importing into Premiere with the audio, even when I try again.&lt;/p&gt;&#xA;" OwnerUserId="4756" LastEditorUserId="2569" LastEditDate="2014-01-24T16:52:18.553" LastActivityDate="2015-02-03T21:17:50.573" Title="Audio randomly cuts out for remainder of clip - Adobe Premier Elements 11" Tags="|camcorder|audio|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9041" PostTypeId="1" CreationDate="2013-09-24T03:24:08.730" Score="1" ViewCount="1849" Body="&lt;p&gt;My new Canon Vixia HF G30 video camera has an option to encode directly to 35 Mbit/sec Mp4 at 1080p60 and it does a nice job. I primarily use it to record my daughter's high school basketball games.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to make highlights from the camera files AND I WISH TO RETAIN AS MUCH QUALITY AND CLARITY AS POSSIBLE. Here is the workflow that I have developed with my limited understanding of FFmpeg:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;STEP 1.) Join the camera produced mp4 clips into one mp4 file representing one game. Here is a representative command that I use for this step from a Windows command prompt (DOS box):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i &quot;\\mylancomputer\f\Canon\2013.09.21_san_francisco_game2\gameclipsfromcamera.txt&quot; -c copy &quot;\\mylancomputer\f\Canon\2013.09.21_san_francisco_game2\joined_fullgame.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This joins the game clips into a game video with no transcoding (I believe), and so this is good (it is quick and no additional compression artifacts are introduced).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;STEP 2.) Cut highlight clips from the game video. Here is a representative command that I use for this step:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:00:06.00 -i &quot;\\mylancomputer\f\Canon\2013.09.21_san_francisco_game2\joined_fullgame.mp4&quot; -acodec copy -vcodec copy  -t 00:00:20.00 &quot;\\mylancomputer\f\Canon\2013.09.21_san_francisco_game2\1.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This produces the following 20 second clip starting at 6 seconds into the game video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://ehasamples.excelhero.com/video/1.mp4&quot; rel=&quot;nofollow&quot;&gt;Highlight Sample&lt;/a&gt; (85 MB)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;STEP 3.) I require a 2-second pause at the beginning of each highlight clip where a text overlay identifies my daughter. To get this I make a bitmap image from the first frame of the clip :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;\\mylancomputer\f\Canon\2013.09.21_san_francisco_game2\1.mp4&quot; -ss 00:00:00.00 -f image2 -vframes 1 -deinterlace &quot;\\mylancomputer\f\Canon\2013.09.21_san_francisco_game2\1freezeframe.bmp&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here is the &lt;a href=&quot;http://ehasamples.excelhero.com/video/1freezeframe.bmp&quot; rel=&quot;nofollow&quot;&gt;result&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then loop the video for 2 seconds with CRF 0 to introduce no additional artifacts:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -r 59.97 -i &quot;\\mylancomputer\f\Canon\2013.09.21_san_francisco_game2\1freezeframe.bmp&quot; -c:v libx264 -crf 0 -pix_fmt yuv420p  -t 2  &quot;\\Excelhero\f\Canon\2013.09.21_san_francisco_game2\1freezeframe.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then add the text overlay label identifying Fiona:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;\\mylancomputer\f\Canon\2013.09.21_san_francisco_game2\1freezeframe.mp4&quot; -vf drawtext=&quot;fontfile=/Windows/Fonts/Corbelb.ttf:text='Fiona':fontsize=40:fontcolor=yellow:x=1321:y=417&quot;  -b:v 35M -minrate 35M -maxrate 35M -bufsize 35M    -profile:v high -level:v 4.2  -refs 2  -pix_fmt yuv420p  -bf 0    -r 59.97 &quot;\\mylancomputer\f\Canon\2013.09.21_san_francisco_game2\1freezeframeannotated.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Which produces this file:  [ ehasamples.excelhero.com/video/1freezeframeannotated.mp4 ]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(SuperUser only allowed me to include 2 live links)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now we add a silent sound stream to the clip:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i aevalsrc=0:0:sample_rate=48000 -i &quot;\\mylancomputer\f\Canon\2013.09.21_san_francisco_game2\1freezeframeannotated.mp4&quot; -shortest -c:v copy -c:a aac -b:a 255k -strict -2 &quot;\\mylancomputer\f\Canon\2013.09.21_san_francisco_game2\1freezeframeannotatedwithsilentsound.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Resulting in this:  [ ehasamples.excelhero.com/video/1freezeframeannotatedwithsilentsound.mp4 ]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(SuperUser only allowed me to include 2 live links)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The above is a 2-second video with my daughter labeled in suspended animation with a blank sound stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;STEP 4.) The final operation is to join the 2-second video to the full clip from the camera.  I can easily re-render by filter producing one output file from these two input files in this fashion:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;\\mylancomputer\f\Canon\2013.09.21_san_francisco_game2\1freezeframeannotatedwithsilentsound.mp4&quot; -i &quot;\\Excelhero\f\Canon\2013.09.21_san_francisco_game2\1.mp4&quot; -filter_complex &quot;[0:0] [0:1] [1:0] [1:1] concat=n=2:v=1:a=1 [v] [a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; -c:v libx264 -r 59.97 &quot;\\mylancomputer\f\Canon\2013.09.21_san_francisco_game2\1done.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this is not a great solution. It is slow because the original footage from the video camera is re-rendered with the introduction of new compression artifacts.  I can choose to add &quot; -crf 0 &quot; to get a lossless re-rendering, but this bloats the size of the clip by well over 1000%, in this case bringing our sample clip to over a gigabyte.  So this is not a practical solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I want to use the concat demuxer instead of the filter:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i &quot;\\mylancomputer\f\Canon\2013.09.21_san_francisco_game2\clipfiles.txt&quot; -c copy &quot;\\mylancomputer\f\Canon\2013.09.21_san_francisco_game2\1doneBAD.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With this approach the operation is quick as there is no re-encoding.  BUT, the resulting file does not play properly.  Here it is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[ ehasamples.excelhero.com/video/1doneBAD.mp4 ]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(SuperUser only allowed me to include 2 live links)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 2-second image displays the entire 22 seconds. Although the video does not play properly, the sound seems to work just fine.  So my guess is that the two files (the clip from the camera and the 2-second label clip) are simply too far apart on their relative encoding. I have attempted to get them as close to identical as I can in terms of encoding by using MediaInfo and by using FFProbe, and the above series of commands are my best, but apparently are not sufficient.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the question I have is simply this: is it possible with FFmpeg to make my labeled clip enough like the encoded footage from the camera in order for the Concat demux to succeed?  If so, how?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This entire workflow is driven by batch file and is really simple on my part and so I like it and hope to use this methodology to allow me to quickly edit highlights from games going forward. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Conversely, is there a better (quicker, no transcoding) workflow using FFmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you kindly for your assistance.&lt;/p&gt;&#xA;" OwnerUserId="4757" LastEditorUserId="2836" LastEditDate="2013-09-24T13:56:40.153" LastActivityDate="2015-01-15T10:37:50.553" Title="Lossless Editing by Combining Clips with FFmpeg x264" Tags="|video|editing|ffmpeg|encoding|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9046" PostTypeId="2" ParentId="9040" CreationDate="2013-09-24T13:51:28.927" Score="0" Body="&lt;p&gt;I'm not that familiar with Premiere Elements, however in Premiere Pro, there is a conforming process during which a special preview video is made that can be used for more efficient editing.  I wonder if perhaps either the conforming has not finished yet or if perhaps you are having a problem with the conforming.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does it stop at roughly the same time on all clips?  Is the spot that it stops consistent?  How high is CPU usage and memory usage during the drop outs?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the spot that it stops isn't consistent within a particular clip, then it is highly likely that it is an artifact of the conforming progressing.  If it is roughly the same spot across multiple clips, there may be some other kind of software or buffering issue going on that causes it to error or crash.  Also, if CPU or memory usage is high, it may support being a buffering issue where your system simply can't keep up with the playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is also probably something that will be hard to troubleshoot over the Internet, so it might be worth contacting Adobe to see if they have any ideas as well.  It certainly doesn't sound like typical behavior.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-24T13:51:28.927" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9047" PostTypeId="1" CreationDate="2013-09-24T19:25:39.380" Score="1" ViewCount="1721" Body="&lt;p&gt;I would like to use my Canon G11 as a webcam, and I thought this would be as simple as getting a video capture card to convert the composite video out of the camera into USB on the laptop. I have tried a number of capture cards now of which show up as a webcam. They allow me to capture video from the device fine, but that's not really what I want to do. &lt;/p&gt;&#xA;" OwnerUserId="4762" LastActivityDate="2013-10-25T18:39:14.223" Title="Is it possible to use Canon G11 as Webcam?" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9048" PostTypeId="2" ParentId="9040" CreationDate="2013-09-24T20:41:41.680" Score="0" Body="&lt;p&gt;I've had similar issues using Premiere Pro and a Sony Handycam too. I usually had to convert that particular clip to another format. But if Premiere can't figure out the audio, my experience is that, other Adobe programs wont either so you can't convert with Adobe Media Encoder because you will have the same problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once I recopied the file from the camera to the computer and imported it again into Premiere and that worked.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It only happened a couple of times though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it's a regular occurrence for you, there is probably something else wrong.&lt;/p&gt;&#xA;" OwnerUserId="4459" LastActivityDate="2013-09-24T20:41:41.680" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9050" PostTypeId="2" ParentId="9047" CreationDate="2013-09-24T23:58:40.367" Score="1" Body="&lt;p&gt;You have to look at the specs for the capture card you want to buy. I don't have the model on the top of my head, but I do have one where you can output video from the card inputs as a webcam. It's a matter of doing your research before the purchase.&lt;/p&gt;&#xA;" OwnerDisplayName="user3849" LastActivityDate="2013-09-24T23:58:40.367" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9053" PostTypeId="1" AcceptedAnswerId="9055" CreationDate="2013-09-25T12:47:51.407" Score="0" ViewCount="192" Body="&lt;p&gt;I just bought a Hero3 Silver camera, intending to check it out a bit before getting a second one for 3D. Checked it out, and apart from a malfunctioning time-lapse, liked it, made my second camera a Hero3 Black. These two cameras don't capture anywhere near the same frame, and so appear to be useless as a 3D pair. So I bought another Hero3 Black, expecting the two Blacks to capture the same frame. They don't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mounted precisely in the same spot, each camera captures a different area. The two Blacks also differ in rotation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://solsifa.com/hero3/&quot; rel=&quot;nofollow&quot;&gt;http://solsifa.com/hero3/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this normal behavior for these cameras? In fact, is this expected behavior for cameras in general?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can two Hero3 cameras be made to capture the same frame from the same spot? Say, by adjusting the lens, the CCD chip or something?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Gunnar Jonsson.&lt;/p&gt;&#xA;" OwnerUserId="4765" LastActivityDate="2013-09-25T13:38:15.403" Title="Can two GoPro Hero3 cameras be made to capture the same frame from the same spot?" Tags="|video|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9055" PostTypeId="2" ParentId="9053" CreationDate="2013-09-25T13:38:15.403" Score="1" Body="&lt;p&gt;GoPro Hero's are frequently used in the kind of capacity you describe.  It is possible you got some defective units (as certainly the time lapse stuff for the silver is a bad unit), however much of the problems appear to be user error rather than camera problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your overlay shots, the frame appears to be consistent, they just aren't pointed in the same direction.  Keep in mind that a very small amount of variation in positioning will result in a drastically shifted image.  If you are just setting the camera on a table, picking it up and putting another one down in the same place, I would expect results like you are getting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To really do what you are trying, you need to get a mount for the purpose that will hold the GoPro's in proper alignment.  With many cameras, this type of rig is a custom job, but for the GoPro, things like this are done so often that you can actually buy pre-made rigs for them for things like 3D shooting, 360 degree shots (or even video), time lapse tracking rigs and other forms of multi-shot rigs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you get one of these mounts and are still having problems, contact GoPro about the problem because they should be consistent.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-25T13:38:15.403" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9056" PostTypeId="2" ParentId="9047" CreationDate="2013-09-25T17:06:36.107" Score="1" Body="&lt;p&gt;It is going to depend on what software you are using and what it expects for a webcam.  In theory, if the capture device supports Window Video Capture, it should allow for you to rig it up as a webcam in any software that will work with a Windows Video Capture device, but not all capture devices and not all software that uses a webcam support Windows Video Capture (or similar technologies on other platforms) to allow for the connection to occur.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes it is possible to use third party software to make the connection too, but that depends entirely on the capture card and client software being used.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-25T17:06:36.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9057" PostTypeId="1" CreationDate="2013-09-25T19:24:29.370" Score="2" ViewCount="134" Body="&lt;p&gt;I work in a developmental psychology lab where it would be useful to have audio / video documentation of notable behavior and speech patterns.  Sessions with subjects last for several hours, and during this time, most of my attention is devoted to the proper administration of tests.  It would be nice to have something as simple as a button press that inserts some type of marker / flag / bookmark / chapter division into the video footage whenever I observe noteworthy behavior I'll want to review later on.  During review, I envision being able to use the marker system to jump straight to these moments of interest.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The chief issue I'm trying to avoid here is wasting a bunch of time searching through hours of tape just to collect a few minutes (or even seconds) of worthwhile footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realize that a low-tech workaround would be to just synchronize a stopwatch to the start of the tape, and just glance at this / jot down times whenever anything interesting happens.  However, this would still be a somewhat cumbersome undertaking, as I also use a stopwatch during the administration of several tests.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is anybody familiar with any specific camcorders that could handle this sort of thing?  Perhaps a model that lets you insert &quot;chapter breaks&quot; while recording?  Any input is appreciated - I feel I may be missing some other obvious ideas here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S.  Ideally, my &quot;button&quot; would actually be a foot-pedal beneath the testing table, which would, in some way, communicate with the camcorder - but I'd be plenty satisfied if I could accomplish this via some button operation on the camcorder itself.&lt;/p&gt;&#xA;" OwnerUserId="4766" LastActivityDate="2013-10-28T04:04:51.820" Title="Flagging noteworthy moments during lengthy video recording?" Tags="|recommendation|recording|camcorder|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9058" PostTypeId="2" ParentId="9057" CreationDate="2013-09-25T20:09:59.100" Score="1" Body="&lt;p&gt;If the camcorder records stereo sound and you are only interested in mono recordings, the foot switch could trigger an oscillator that injected a short tone on the left channel and the inverted tone on the right channel. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;During regular playback where you might be mixing left and right audio to one mono audio signal, the tone will be unheard because of electrical cancellation of the signals. However, if you had a small electronic circuit that looked for the presence of the tone on (say) the right channel then it would find it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A better version would use a balanced differential amplifier to look at both left and right together - pure mono sounds (i.e. the sounds you collected in your recording) would be totally cancelled by the differential mixing in the amplifier whereas the &quot;tone&quot; you injected would be plainly and unambiguously heard reminding you to play back the regular recording at this point.&lt;/p&gt;&#xA;" OwnerUserId="4024" LastActivityDate="2013-09-25T20:09:59.100" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9059" PostTypeId="2" ParentId="9057" CreationDate="2013-09-25T20:21:56.377" Score="1" Body="&lt;p&gt;This was a feature on some Mini DV camcorders back in the day.  I know the Canon GL2 supported it, but as I recall I think it also required a MiniDV tape with a circuit in it that cost extra and I'm not sure if you can still get them anymore.  Having to deal with capturing tapes is also a bit of a pain.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't mind a momentary break in the footage, you can timecode your footage based on the actual time in some DSLRs and then can take a photo (which interrupts the recording for a second) and the meta data will also have the time of the photo.  It's then just a matter of looking for the timestamps of the photos within the video to find the behavior.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-25T20:21:56.377" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9062" PostTypeId="1" AcceptedAnswerId="9064" CreationDate="2013-09-26T11:12:41.343" Score="5" ViewCount="95" Body="&lt;p&gt;In &lt;a href=&quot;http://youtu.be/_esC9Rg0SAA&quot;&gt;this video&lt;/a&gt; a bouncing water droplet is filmed at what appears to be a very high framerate. However at &lt;a href=&quot;http://www.youtube.com/watch?feature=player_detailpage&amp;amp;v=_esC9Rg0SAA#t=102&quot;&gt;1:43&lt;/a&gt; the narrator explains that he used the &quot;wagon wheel effect&quot; to achieve an apparent high framerate with a regular DSLR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The filmed droplet vibrated at 40Hz while he filmed it at 40.06Hz. How does this result in a super slow motion video?&lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="674" LastEditDate="2013-09-26T15:21:40.143" LastActivityDate="2013-09-26T15:21:40.143" Title="Framerate wagon wheel effect" Tags="|dslr|filming|slowmotion|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9064" PostTypeId="2" ParentId="9062" CreationDate="2013-09-26T14:01:37.017" Score="5" Body="&lt;p&gt;This requires a repetitive motion and good lighting.  You expose the position of the droplet on successive oscillation, but capture it at a slightly different spot on each.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thinking about it from the perspective of a ball bouncing.  On the first photo, I take a quick photo of the ball on the ground.  The ball bounces up and then back down.  I then take a photo on the second bounce of the ball just a bit off the ground.  The ball goes up and down again.  I then take a photo on the third bounce of the ball just a little further off the ground.  That's why it is key that the oscillation of the object and the framerate be so close.  Each photo is only .06 hz worth of movement away from the previous at the time the photo is actually taken.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I finish, I end up with a slideshow that shows a ball bouncing very slowly, but in reality, it was well timed photos of many bounces.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is referred to as the wagon wheel effect because the gaps in the wheels could make it so that things would seem to move slower or even backwards because of the interruptions in vision and where things were positioned when vision was restored.  Our brains then would fill in the in-between bits in the wrong direction or assume it was the shortest distance instead of seeing what actually happened.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-26T14:01:37.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9069" PostTypeId="2" ParentId="8468" CreationDate="2013-09-27T09:38:11.213" Score="3" Body="&lt;p&gt;The EOS 650D does have a wind noise reducer built in.  I can't say how truly effective it might be (and imagine that there is some loss somwehere because of the processing.)  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise there are now DSLR focused wind deflectors called Wind Jammers and Micro Muffs.  In the broadcast industry a boom microphone usually has a 'zepplin' or wind cheater covering it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can get your hands on a large piece of soft foam (1m x 2m) then it could be used as a wind break if positioned between the wind and the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another way to reduce noise is to record an audio 'wild track' at the same time on another machine but keep it significantly far away from your subject's voice / the sound your subject is making e.g. presenter.  This has often been done on TV dramas where shooting on location is open to the (audio) elements so to speak.  I have first hand experience of this on Coronation Street where the 'whistling' sound on the newly constructed Beetham Tower nearby was causing havoc in the recordings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Often, low and high frequencies from things like air conditioning machines, compressors, refrigerators etc might be a lot louder in the recording because of the dynamics of the recording system.  Machines are fairly easy to cancel out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If a second recorder isn't available and the noise is fairly constant then just record a good sized chunk of the background noise separately.  This may not work too well with something organic like wind however.  Again, a muff or wind cheater would be the weapon of choice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The audio on the second recording can then be used with certain software as a reference for noise reduction in that it can be used to cancel out the noise in the original recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, as AJ Henderson points out - if the background noise is particularly disruptive, there's a limit to what you can do with that recording material and a re-shoot or audio dub will no doubt be the only way to cope with the results.&lt;/p&gt;&#xA;" OwnerUserId="4774" LastEditorUserId="4774" LastEditDate="2013-09-27T09:48:51.020" LastActivityDate="2013-09-27T09:48:51.020" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9079" PostTypeId="2" ParentId="8999" CreationDate="2013-09-28T20:26:10.620" Score="1" Body="&lt;p&gt;Quite an expensive solution: &lt;a href=&quot;http://www.sonycreativesoftware.com/vegaspro&quot; rel=&quot;nofollow&quot;&gt;Sony Vegas Pro&lt;/a&gt; + &lt;a href=&quot;http://vegasaur.com/transcoder&quot; rel=&quot;nofollow&quot;&gt;Transcoder&lt;/a&gt; plugin can do it :)&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2013-09-28T20:26:10.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9086" PostTypeId="1" AcceptedAnswerId="9208" CreationDate="2013-09-29T20:02:10.650" Score="2" ViewCount="4055" Body="&lt;p&gt;I'm trying to locate a desktop capture driver.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using Flash Media Encoder 3.2 and had a device listed as &quot;&lt;code&gt;desktop capture engine&lt;/code&gt;&quot; in my list of devices. Allowed me to stream my desktop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had no idea where it came from so I tried to uninstall some programs to see which one &quot;removed&quot; it. Bright idea, I Know!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So after removing RealVNC and Super! from my computer, it's gone, but re-installing those programs doesn't re-add the device. I'm wondering if I had a different version of RealVNC installed. I don't remember downloading from their website before.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone know what the origin of this driver might be?&lt;/p&gt;&#xA;" OwnerUserId="4781" LastActivityDate="2018-09-20T20:21:25.177" Title="Origin of &quot;desktop capture engine&quot;" Tags="|software|video-recording|capturing|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9087" PostTypeId="1" AcceptedAnswerId="9090" CreationDate="2013-09-29T21:16:04.290" Score="1" ViewCount="1634" Body="&lt;p&gt;I am new to After Effects and I have the following problem with an animation of mine:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a walk cycle drawn for 8 frames per second.&#xA;The composition has 24 frames per second, so each frame of the animation is shown for three frames. The background moves using keyframe animation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But now the background moves every frame whereas the animation only moves every third frame, which looks odd as the feet seem to slip. If I change the frame rate to 8fps, it looks fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So is it somehow possible to change the movement of the background so that the position is only updated every third frame?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to avoid changing the frame rate of the whole composition to 8fps, as then other parts of the animation become less smooth.&lt;/p&gt;&#xA;" OwnerUserId="4732" LastActivityDate="2013-09-30T03:50:52.970" Title="Update keyframe animations only every third frame in After Effects" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9089" PostTypeId="1" CreationDate="2013-09-30T03:50:36.530" Score="4" ViewCount="913" Body="&lt;p&gt;Previously it was asked &lt;a href=&quot;https://video.stackexchange.com/questions/5740/preventing-flicker-when-recording-live-presentations&quot;&gt;how to prevent flicker when recording a presenter and a slide show simultaneously&lt;/a&gt;. I'm interested in how to correct pre-existing video where there are flickering slides.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an &lt;a href=&quot;http://youtu.be/ZFGgEnBYzIc?t=1m38s&quot; rel=&quot;nofollow noreferrer&quot;&gt;example video that demonstrates the flicker&lt;/a&gt;.   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I appreciate that the flicker is caused by some problem to do with the video and projector refresh rate being out of sync. However, assuming that such film has been taken, I'm interested in ways to remove the flicker. In particular, when filming slides, the rate of movement in slide content is low. So on some level I assume that there is enough information in the video file to restore an image without flicker. Perhaps there is some smoothing effect that can be applied post processing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How can flicker from a slide projector be removed from existing video footage?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In particular, I'd be interested in simple and efficient solutions available in standard consumer video editing software.&lt;/p&gt;&#xA;" OwnerUserId="2682" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2013-09-30T13:51:02.383" Title="How can flicker from a slide projector be removed from existing video footage?" Tags="|video|post-production|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9090" PostTypeId="2" ParentId="9087" CreationDate="2013-09-30T03:50:52.970" Score="0" Body="&lt;p&gt;I don't know if there is an easy way to do it directly.  You could do some modular math in a script for the keyframe positions, but that's kind of complicated and non-user friendly.  An alternate approach would be to do an additional nested composition.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make an animation composition for your character that is at 8 FPS, perhaps bring in the main composition as a backplate while putting it together, then remove the backplate and import the animation composition at 24fps as a stationary composition.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-30T03:50:52.970" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9092" PostTypeId="2" ParentId="9089" CreationDate="2013-09-30T10:50:16.560" Score="4" Body="&lt;p&gt;I didn't view the entire video, but from what I saw it looks like a series of static slides. You could grab a still frame from each slide and create a (say) five second repeat of that frame, and use it to cover the section in the video where that slide appears. Every editing package I'm aware of can do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Better yet, get the original slide stack and scan them, then do the same as above. You can correct for parallax etc and have more readable content.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-09-30T10:50:16.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9093" PostTypeId="2" ParentId="9089" CreationDate="2013-09-30T13:51:02.383" Score="0" Body="&lt;p&gt;Your best bet is to composite in the screen.  That's the typical solution for this kind of problem.  You can use a program like After Effects and Mocha to image track if you have any shots that have motion and feed either the original or stills of the presentation in as the image to be mapped on to the area that the screen appears on.  Since screens are square with strong edges, they are very easy and reliable to track, so results are generally very good, though it can take a bit of time to do depending on how often the shot changes.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-09-30T13:51:02.383" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9097" PostTypeId="1" AcceptedAnswerId="9098" CreationDate="2013-10-01T00:07:00.563" Score="0" ViewCount="1482" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/KsSPodtCD7g?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What type of camera or software, do I need to achieve that?&lt;/p&gt;&#xA;" OwnerUserId="4783" LastEditorUserId="674" LastEditDate="2013-10-02T07:47:23.727" LastActivityDate="2013-11-06T08:45:55.870" Title="How can i achieve the effect of this video, focused in the foreground with a blurred background?" Tags="|video|video-editor|special-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9098" PostTypeId="2" ParentId="9097" CreationDate="2013-10-01T00:14:39.337" Score="4" Body="&lt;p&gt;You need a camera with a relatively large sensor and a fast lens.  What you are seeing is actually a property of optics called Depth of Field.  Only a certain distance from the camera can be in focus at any given point for a given aperture and focal length.  The degree of how out of focus it appears is also relative to the size of the image being projected (thus the distance from the point where the image inverts) and thus, larger sensors show more blur.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheap cameras often use very small sensors and thus have a hard time getting a shallow depth of field, however any DSLR will achieve it quite easily, as will any more professional video camera with a larger sensor.  Shoot with the aperture as wide open as possible and try to have the camera relatively close to the subject with the background as far away as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Technically, increasing focal length will also decrease the depth of field, but then you have to move back from the subject which will increase it again.  You want a small depth of field close to the camera so that the background can be significantly out of focus.  If it is too out of focus, you can adjust the aperture or the ratio between the camera, the subject and the background to make it less blurry (by expanding the depth of field).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also use many online Depth of Field calculators to figure out a shooting situation with a particular camera prior to trying it in real life.  They won't visualize it for you, but they will give you an idea of what distances will be in focus and which will be out.  There are also lots of great articles on depth of field over on our &lt;a href=&quot;http://photo.stackexchange.com&quot;&gt;Photography&lt;/a&gt; sister site, though they don't deal with video specifically, but the principal is the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In a pinch, you can fake it as well using masks and blurs, but that's really not an ideal way to do it.  In camera always looks better.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-01T00:14:39.337" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9103" PostTypeId="1" AcceptedAnswerId="9107" CreationDate="2013-10-02T06:56:18.900" Score="0" ViewCount="895" Body="&lt;p&gt;I'm trying to get a Sony PMW-EX1R XDCAM to output HDMI for live streaming (using Teradek Vidiu). The picture looks fine, but it seems to lack audio. Is there a setting that I'm missing, or is it impossible to use HDMI in this way? &lt;/p&gt;&#xA;" OwnerUserId="4794" LastEditorUserId="2569" LastEditDate="2014-01-24T16:51:18.487" LastActivityDate="2014-01-24T16:51:18.487" Title="Does Sony PMW-EX1R HDMI output contain audio?" Tags="|streaming|live|hdmi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9104" PostTypeId="1" CreationDate="2013-10-02T08:05:24.847" Score="0" ViewCount="72" Body="&lt;p&gt;I need to make a &lt;strong&gt;Screen-cast&lt;/strong&gt;. This is, I need to capture my screen and audio from my computer and then after be able to edit this video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I need an app for Macintosh.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I just need to do really basic editing tasks I've trying Camtasia and Screenflow, both of them works just fine, but both of these has important lacks imho.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Screenflow&lt;/strong&gt;: doesn't have vectorial objects like &quot;bubble speeches&quot;, &quot;squares&quot;, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Camtasia&lt;/strong&gt;: you can not group or nest the tracks (keep in mind that this is Camtasia for Mac, which has less features that its Windows version)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, I'm just wondering what other app would I use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I use Final Cut Pro to get all the features I need?&lt;/p&gt;&#xA;" OwnerUserId="4795" LastEditorUserId="4795" LastEditDate="2013-10-02T08:31:55.263" LastActivityDate="2014-06-30T03:15:36.763" Title="Application for Screen-casting for Macintosh" Tags="|screen-casting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9105" PostTypeId="1" AcceptedAnswerId="9108" CreationDate="2013-10-02T08:20:50.897" Score="0" ViewCount="575" Body="&lt;p&gt;I used CamStudio Ver. 2.00 to create a recording of a region of my screen. I want to add annotations to it, but when I import it in Movie Maker, the quality is significantly degraded. I tried importing it in Adobe Premier Pro CS, but the quality is still slightly degraded and the video is very jerky. Why is this happening? I have left all the setting of CamStudio to default values before creating the screen capture video.&lt;/p&gt;&#xA;" OwnerUserId="4796" LastEditorUserId="2836" LastEditDate="2014-07-01T16:07:25.053" LastActivityDate="2014-07-01T16:07:25.053" Title="how to improve quality while editing video captured through CamStudio?" Tags="|video|premiere|windows|cs5|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9107" PostTypeId="2" ParentId="9103" CreationDate="2013-10-02T13:48:06.973" Score="0" Body="&lt;p&gt;HDMI does support audio, but it is possible that either the PMW-EX1R doesn't output audio over HDMI (which would seem odd to me, but is possible).  It is also possible that the settings are wrong on the Vidiu.  The Vidiu appears to support audio input from either the HDMI port itself or a line input.  If it is expecting signal on the line input, it might ignore the HDMI audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd check the documentation for the Vidiu to see if you can find anything about that since I don't see anything in the PMW-EX1R documentation to answer it.  You could also try plugging the PMW-EX1R in to another HDMI device to see if you get audio.  If not, you can also try running the audio output of the camera in to the line input of the Vidiu and monitor off of the headphone jack of the Vidiu.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-02T13:48:06.973" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9108" PostTypeId="2" ParentId="9105" CreationDate="2013-10-02T13:51:16.823" Score="2" Body="&lt;p&gt;Most likely, the jerkiness is just your system being overloaded.  Many screen capture programs record relatively large files to avoid loading the CPU while capturing, but this means that the data rates needed for playback can be very high and thus can result in problems with reading the data fast enough to keep up with playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as the degradation, without a sample of what the degradation looks like, it's hard to tell.  The preview may simply be reduced quality to help with the load.  Also, a final output is going to be slightly lower quality as more thorough compression is probably applied by default and any lossy recompression is going to result in further quality loss, though choosing good compression options should minimize the level of loss.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can try re-compressing the video from the screen capture and it will likely improve performance, but it will also degrade the quality of the final output.  Alternately, you could use a better NLE (non-linear editor) that might handle it more smoothly through better buffering or graphics card acceleration, but most likely you'll want faster hard drives or more memory to work from if you want to maintain the best quality and smoothest editing experience.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-10-02T19:27:49.843" LastActivityDate="2013-10-02T19:27:49.843" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="9109" PostTypeId="2" ParentId="8992" CreationDate="2013-10-02T20:19:46.903" Score="1" Body="&lt;p&gt;Remove &lt;code&gt;-vpre 'libx264-baseline'&lt;/code&gt;. This preset should not be included with your ffmpeg build and is designed for older builds; therefore resulting in usage of unsupported, old options. I am guessing you copied the old preset file from somewhere are tried to get a newer ffmpeg to use it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using &lt;code&gt;-vprofile 'baseline'&lt;/code&gt; should suffice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/x264EncodingGuide&quot; rel=&quot;nofollow&quot;&gt;FFmpeg and x264 Encoding Guide&lt;/a&gt; and &lt;a href=&quot;https://trac.ffmpeg.org/wiki/AACEncodingGuide&quot; rel=&quot;nofollow&quot;&gt;FFmpeg and AAC Encoding Guide&lt;/a&gt; for more info.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2013-10-02T20:19:46.903" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9118" PostTypeId="1" CreationDate="2013-10-04T18:19:14.190" Score="1" ViewCount="479" Body="&lt;p&gt;I have been using the lowest level model of the &lt;a href=&quot;http://www.epiphan.com/products/frame-grabbers/vga2usb/&quot; rel=&quot;nofollow&quot;&gt;Epiphan VGA2USB Frame Grabber&lt;/a&gt; to capture a video stream over vga.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is an okay piece of hardware. It is just very expensive for what it is and there does not seem to be any other options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my problem:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I typically capture slide presentations in 1024 x 768, so it should default to 10 fps, using the Epiphan capture tool software that came with it. I would think that the video should be pretty seamless at 10 fps, but it is not. There seems to be a lot of horizontal lines for about two seconds after every slide change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what I am thinking it might be:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The capture tool software that came with it is junk. I notice now that they have a new suggestions section. Perhaps any verification on these would be sufficient.&lt;/li&gt;&#xA;&lt;li&gt;The cheapest model of the frame grabber is not that good, and if I want to eliminate this problem I need to get one of the better models.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Here's how you can help:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Verify that it is the capture tool and suggest a different software to use.&lt;/li&gt;&#xA;&lt;li&gt;Verify that it is the frame grabber itself and suggest options.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2013-12-03T21:43:54.543" Title="Help with the epiphan vga2usb frame grabber" Tags="|video-quality|video-recording|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9119" PostTypeId="2" ParentId="9118" CreationDate="2013-10-04T20:36:35.197" Score="1" Body="&lt;p&gt;I'd first try some different software to see if it is a hardware shortcoming or not.  If it is a hardware short coming, I'd go for a different approach to getting the highest quality signal possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based on your needs to operate with minimal gear, taking the fewest devices and trying to keep the best quality, I'd probably try and go with something like an HDMI capture device like the Black Magic Intensity (which will work over either Thunderbolt or USB3) and then for dealing with analog signals coming in, I'd probably pick up a scan converter to handle the analog signals.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;DVI's pretty much cross compatible with HDMI, so if you can get either DVI or HDMI, you should be able to use it with the Intensity directly.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-04T20:36:35.197" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9122" PostTypeId="1" AcceptedAnswerId="9123" CreationDate="2013-10-04T22:37:37.587" Score="0" ViewCount="455" Body="&lt;p&gt;I am using Sony Vegas 12 to make a movie. I just want to make a DVD menu, something which has play , extra, etc. Which program should I use to do this and which one will work well with Sony Vegas?&lt;/p&gt;&#xA;" OwnerUserId="4808" LastEditorUserId="2261" LastEditDate="2013-10-05T15:58:30.863" LastActivityDate="2013-10-05T15:58:30.863" Title="Looking for a DVD menu maker which works best with Sony Vegas" Tags="|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9123" PostTypeId="2" ParentId="9122" CreationDate="2013-10-05T00:03:39.983" Score="0" Body="&lt;p&gt;Sony makes a companion product that works for both Vegas and Vegas Pro called &quot;DVD Architect Pro 6.0 Author DVD or Blu-ray Disc™ media&quot; for $199.00. This is your best bet for Vegas since it has years of Sony compatibility behind it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Link here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.sonycreativesoftware.com/dvdarchitectpro&quot; rel=&quot;nofollow&quot;&gt;http://www.sonycreativesoftware.com/dvdarchitectpro&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please note there is a FREE 30 day trial version here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.sonycreativesoftware.com/download/trials/dvdarchitectpro&quot; rel=&quot;nofollow&quot;&gt;http://www.sonycreativesoftware.com/download/trials/dvdarchitectpro&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also a tutorial here (webinar originally aired March 31, 2011.):&#xA;&lt;a href=&quot;http://www.sonycreativesoftware.com/vegaspro10webinar02&quot; rel=&quot;nofollow&quot;&gt;http://www.sonycreativesoftware.com/vegaspro10webinar02&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2013-10-05T00:03:39.983" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9130" PostTypeId="1" CreationDate="2013-10-07T00:00:18.263" Score="0" ViewCount="496" Body="&lt;p&gt;I'm running a small weekly live webshow with an investor on the other side of the planet. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We are using Google Hangouts on Air, but it's not really great.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best system to set up for improving our quality, such as getting guests on (via Skype, not Google+), improve quality, reduce lag, increase production quality etc?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have been looking at using Google Live and Wirecast, but it seems to be kind of a hack in terms of Skype. I want something simple. Also been looking at Newtek-products. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need some input. &lt;/p&gt;&#xA;" OwnerUserId="4814" LastEditorUserId="2836" LastEditDate="2014-02-19T16:46:05.313" LastActivityDate="2014-06-20T05:36:36.893" Title="What's the best way to set up a live webshow with multiple Skype video inputs?" Tags="|video|software|audio|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9131" PostTypeId="1" AcceptedAnswerId="9206" CreationDate="2013-10-07T08:27:25.890" Score="9" ViewCount="4555" Body="&lt;p&gt;&lt;a href=&quot;http://www.kdenlive.org/&quot; rel=&quot;noreferrer&quot;&gt;kdenlive&lt;/a&gt; starts with a profile for instance 1080*720/etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I import a video clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to tell kdenlive to modify its profile to match the video clip?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Modifying the profile manually by copy/pasting each of the clip's properties is very time-consuming and error-prone, I am sure there is a better way to do this.&lt;/p&gt;&#xA;" OwnerUserId="4815" LastActivityDate="2021-03-03T01:56:04.327" Title="Forcing kdenlive to adapt its profile to the video clip" Tags="|video-editor|linux|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9132" PostTypeId="2" ParentId="9104" CreationDate="2013-10-07T11:57:59.787" Score="0" Body="&lt;p&gt;I assume that grouping/nesting is coming in a future version of Camtasia.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are going for professional screencasting, there's Claquette. &lt;/p&gt;&#xA;" OwnerUserId="2277" LastEditorUserId="2836" LastEditDate="2014-02-28T20:11:40.670" LastActivityDate="2014-02-28T20:11:40.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9136" PostTypeId="1" CreationDate="2013-10-08T00:22:56.640" Score="2" ViewCount="1276" Body="&lt;p&gt;Ok, so I just got married, and I had a friend video-tape the ceremony and reception for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera was a Sony PMW-EX3, and I've imported the footage into Final Cut Pro X.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The wedding was outdoors on a beach, and the footage appears quite burnt out. Also, the colours don't quite look right to me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm used to shooting RAW for digital photos, and being able to adjust exposure and colour balance easily - however, I have no idea how to do the equivalent for video, so I'm sort of fumbling along.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The footage currently looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/LG4IX.jpg&quot; alt=&quot;Original Footage&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had a look at this tutorial (&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/1d66LoobZVQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;), and I've tried&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I dragged the exposure sliders around a bit, and I got this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Kwl6R.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The exposure is still not create, and the colour balance is off though? Anyhow, I did choose to analyse colour balance when I imported the video, so I thought I'd click on &quot;Balance: Analyzed&quot; in the inspector. Then I end up with this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/HidPW.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The above seems quite over-saturated. I thought there might be some equivalent of clicking on a neutral gray for setting white balance, but I can't find it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What steps would you guys recommend to fix this footage? I'm hoping something can be done...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers,&#xA;Victor&lt;/p&gt;&#xA;" OwnerUserId="4818" LastActivityDate="2013-10-08T00:33:55.763" Title="Wedding Footage from beach - fixing over-exposure and colour balance?" Tags="|final-cut-pro-x|color-correction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9137" PostTypeId="2" ParentId="9136" CreationDate="2013-10-08T00:33:55.763" Score="4" Body="&lt;p&gt;What you are trying to do is impossible given how bad the original footage is.  I'm honestly pretty amazed at the result in the third shot given the original state.  Unfortunately, video frames are the equivalent of a series of JPEG images.  It is possible to shoot RAW video on ultra high end cameras, but the data rates are completely off the charts (around 90 to 100MB per second or worse).  The information is simply gone and there is no way to recover it if it was clipped out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It sucks, but that's the long and short of it.  That's why I always do a pre-roll test prior to filming at weddings, but that's what experience of doing professional wedding videography for 3 to 4 years gets you.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-08T00:33:55.763" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9140" PostTypeId="2" ParentId="3983" CreationDate="2013-10-08T08:08:12.250" Score="1" Body="&lt;p&gt;If your research involve some motion analysis, you should consider shooting at high FPS.&#xA;You'll get better synch by default as the synch error cannot exceed the time gap between two frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shooting at high frameratee in high resolution cost a lot, but you can trade resolution for FPS on cheap cameras (like sports cameras). Resolution is often less important than we think. Computer vision has sub-pixel accuracy, if you move a white object on a black background the edge will be aliased (grey). If your software take this grey shades into account it can theoretically get a precision of 1/256 pixel width. But for this to work you must have uncompressed data because compression quantize color and therefore change the information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For cheap synching solution I can think of this :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;link all start buttons together electrically&lt;/li&gt;&#xA;&lt;li&gt;build a led small device with several leds displaying accurate time in binary (one led per bit), show this device to each camera then manually synch the shots. Kind of advanced clap.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The syncing difference could be handled on software side. If you are studing motion, you can analyse it in 2D for each camera, then interpolate results from one camera to guess what was the position at the time shot by the other camera. Ask if this is not clear for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This software compensation is definitely the way to go. Especially if you have to compensate also rolling shutter effect that most cameras have. Top of frame is shot slightly before bottom of frame. &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Zt0u9hsPuZY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="3105" LastEditorUserId="3105" LastEditDate="2013-10-08T11:36:15.263" LastActivityDate="2013-10-08T11:36:15.263" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9146" PostTypeId="2" ParentId="3983" CreationDate="2013-10-08T17:48:09.890" Score="5" Body="&lt;p&gt;A year after posting this question, I'm getting a few extra comments and answers, which is really great. It is technically still a problem, but let me share what I've learned in the last year, in case anyone else stumbles on this page with a similar problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We came up with two inexpensive solutions to the problem which I think will work, in the right conditions.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Use a high speed strobe light. This only works if the subject does not emit light (unfortunately not the case for me) and can be placed in a very dark room. Get hold of a very fast very accurate strobe light, then set it to go off at the same frequency as the cameras, say 50fps/50hz. Then set the shutter speed of all the cameras to 1/50th of a second, i.e. the shutter is always open. Place the subject in a very dark room, and set the aperture such that the video appears black without the light. Then illuminate with the strobe light. The videos will naturally be synchronised, because the only light they get is from the strobe, and it happens once per frame. Difficulty is getting a precise enough strobe. But I hear that they are used in heavy manufacturing operations to inspect blades/wheels/belts etc, which can't be turned off. You light the tool only with a strobe that has analogue control, and slowly increase the speed of the strobe, and as you reach the frequency of the tool it will appear to slow down, and eventually stop. Now you can inspect for problems. Just don't touch it ;).&lt;/li&gt;&#xA;&lt;li&gt;Use the vsync signal on the composite video out of the cameras. This is inspired by &lt;a href=&quot;http://samj.snappages.com/&quot; rel=&quot;noreferrer&quot;&gt;http://samj.snappages.com/&lt;/a&gt;. This signal is sent out regularly every frame, and with some electronics you can measure the difference between the signal on two (or more) different cameras. You can then power cycle the camera (or on some cameras, take a picture. More on that later...) and measure it again, and so on. If you are clever with the timing on the power cycling you can bring them closer and closer together to within a threshold. We didn't end up trying this just because we didn't end up building the circuit, and we figured this would just be too fiddly to work with, especially with more than 2 cameras.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;As I said, we didn't end up doing either of these. We ended up putting in a bid for funding for a not-inexpensive system, one that is designed for this exact purpose, from a company such as NorPix. These are synchronised over ethernet and come set up. I was never able to find out how exactly (protocol etc) they use ethernet to synchronise, so if someone wants to explain that I'd be very interested. Last time I was updated, I was told we did find some money, but of course, if you know anything about academic bureaucracy you won't be surprised to find out that I'm still waiting for the equipment!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If anyone does have a magic idea that achieves true synchronisation inexpensively, I'm still open to suggestions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To close, I will mention a strategy that &lt;em&gt;did not&lt;/em&gt; work, in my tests. And that is the one on this website: &lt;a href=&quot;http://3dfilmfactory.com/index.php?option=com_content&amp;amp;view=article&amp;amp;id=93:gen-lock-canon-5d-mark-ii-cameras-and-shoot-3d&quot; rel=&quot;noreferrer&quot;&gt;http://3dfilmfactory.com/index.php?option=com_content&amp;amp;view=article&amp;amp;id=93:gen-lock-canon-5d-mark-ii-cameras-and-shoot-3d&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Granted, we have different hardware, Canon 60Ds, and we had very cheap off-brand wireless shutter releases. However I have no reason to think they caused any noticeable difference to the setup in the link. I set up tests using an LED device, like Bokan suggested in his answer, and the average difference in synchronisation only dropped by about 1ms after using the wireless shutter release compared to the control tests, and sometimes it made it worse. I didn't do any statistical analysis, but I suspect it would not be significant compared to chance. I think it's very likely that 3D Film Factory either weren't shooting material in which they'd notice the synchronisation problem, or their more expensive hardware gave a slightly more reliable result which still isn't measurably that different. Scaling to more than 2 cameras, I'm confident that it's not a reliable method.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, using the remote shutter release &lt;em&gt;does&lt;/em&gt; reset the video. If you use the 'record' button on the cameras (or a remote), then it simply starts saving the footage that is already being processed. In other words, if you measure the synchronisation in several different tests without turning the camera off, taking a picture, or letting it go into power save mode, then the synchronisation will be the same. You could incorporate this mechanism into approach number (2) above: rather than power cycling the cameras it could take pictures until the vsync signals were in line. It would be a cool device, we just never got round to actually building it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks again for any suggestions. I hope someday someone will find this useful, and the months I wasted trying to solve it will save someone a bit of time!&lt;/p&gt;&#xA;" OwnerUserId="2361" LastActivityDate="2013-10-08T17:48:09.890" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9147" PostTypeId="1" AcceptedAnswerId="9148" CreationDate="2013-10-09T14:30:32.880" Score="0" ViewCount="50" Body="&lt;p&gt;I want to make a website where visitors can view webcams from the world. I want to make categories per countries, a map etc. The problem is that 90% of webcams i find on internet are .mjpg or .cgi. So, i've made a code that make this mjpg working in IE 8,9 etc. I can't put links to these websites that contains these webcams because on their sites, these streams doesn't work in IE. So I need to load the image in HTML:  from their website.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is legally to load the stream form these external sites? Must I put a link above the picture to their website? What can I do to be legally? I want to make this site without external links for viewing of the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this question is not appropriate for asking here, please leave a comment, and I will delete it (please tell me where can I ask this question).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you in advance!&lt;/p&gt;&#xA;" OwnerUserId="4423" LastActivityDate="2013-10-09T17:44:16.267" Title="Video Live Embed from external websites" Tags="|video|live|broadcasting|" AnswerCount="1" CommentCount="1" ClosedDate="2013-10-10T13:12:36.827" ContentLicense="CC BY-SA 3.0" />
  <row Id="9148" PostTypeId="2" ParentId="9147" CreationDate="2013-10-09T17:44:16.267" Score="1" Body="&lt;p&gt;What you are referring to is called hot linking, and while it may or may not technically be a violation of their copyright or terms of use (check their website for details) it is still generally considered a poor practice since you are effectively utilizing their bandwidth without mentioning that it is their bandwidth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your best bet is to contact the operators of those cameras and ask them what they think.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-09T17:44:16.267" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9149" PostTypeId="1" CreationDate="2013-10-10T07:58:29.567" Score="0" ViewCount="41" Body="&lt;p&gt;As the title says; how can I draw my own textures using softwares like photoshop?&lt;/p&gt;&#xA;" OwnerUserId="4823" LastActivityDate="2013-10-10T13:12:07.453" Title="How can I draw my own textures for my 3D objects?" Tags="|3d|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9150" PostTypeId="2" ParentId="9149" CreationDate="2013-10-10T13:12:07.453" Score="2" Body="&lt;p&gt;There are many ways this can be done.  Historically, the main way was to paint the area of each surface and then create a texture map in the 3d software that would take the portions of the image and project them on to the geometry.  You simply had to know the shapes of your surfaces.  (Sometimes the software could even output a template to fill in, but it depends on the 3d software you are using.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, with modern versions of Photoshop, they've simplified the process a bit as long as your 3d software supports exporting and importing a compatible format.  Photoshop now actually supports loading a 3d geometry and will let you paint directly on to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While the specifics depend on file format and version of Photoshop, the relevant help documentation can be found &lt;a href=&quot;http://help.adobe.com/en_US/photoshop/cs/using/WS4D1D6629-B6CD-4920-98FD-5003CFB0F599.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.  Basically you load the geometry in to Photoshop, go to 3D and 3D Paint Mode and then use Photoshop fairly normally to paint on to the geometry.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-10T13:12:07.453" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9153" PostTypeId="2" ParentId="2272" CreationDate="2013-10-11T18:35:43.817" Score="1" Body="&lt;p&gt;While the other answers here cover the feature comparison better, I feel they aren't representing the cost difference adequately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Motion has a one time cost of $50.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to get After Effects from Adobe, you need to sign up for Creative Cloud, which is basically a software leasing scheme being represented as though it were a service (which it most certainly is not). I signed up for Creative Cloud over a year ago to get After Effects and paid $60 a month. Despite 15 years of experience animating with programs like Flash, Modo, and Maya -- After Effects had a substantial learning curve to do the same things very differently, and was basically useless to me without having my full day to dedicate to learning and using it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem with the $60 a month model is not only that the money is wasted if you don't use the software - it's that as far as you do use it, you are increasingly tied to continuing the payments. Once you cancel &quot;Creative Cloud&quot; you lose access to all of your work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I went to cancel my subscription, I was required to wait a long time to sit through a very frustrating conversation with a chat bot, that ultimately ended with my issue being forwarded to some committee that took over week to get back to me. They tried to tell me that I had to pay half the cost of the remaining year's subscription for &quot;early cancellation&quot; even though my first year was up and they automatically renewed my commitment without my permission. I was never able to get a hold of an actual human being once, and ultimately had to reverse the automatic charges through my bank in order to close my account with Adobe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So we aren't talking $50 vs $1000. Supposing you needed to use the software for about 30 years, your talking more like $50 vs $20,000. And if in year 31 you need to cancel your subscription, all your lifetime of payments earned you was the right to lose a lifetime of work. Except perhaps fighting disease and reversing the aging process, I can't think of a feature that justifies such a compromise.&lt;/p&gt;&#xA;" OwnerUserId="4827" LastActivityDate="2013-10-11T18:35:43.817" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9157" PostTypeId="2" ParentId="3301" CreationDate="2013-10-12T02:18:01.577" Score="-1" Body="&lt;p&gt;goo-gone or butane lighter fluid will remove just about any gunk that has built up on your cables.&lt;/p&gt;&#xA;" OwnerUserId="4830" LastActivityDate="2013-10-12T02:18:01.577" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9159" PostTypeId="1" CreationDate="2013-10-12T15:38:16.067" Score="1" ViewCount="63" Body="&lt;hr&gt;&#xA;&#xA;&lt;p&gt;EDIT: It's possible I should have just asked whether any digital video format included per-frame metadata. As asoundmove did here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/2982/d7000-hd-video-format-can-each-frame-contain-metadata&quot;&gt;D7000 HD video format - can each frame contain metadata?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And like many others have asked elsewhere for some years now.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I've been asked to measure the surface area of ground floor windows on a kilometer-long street lined with stores. I'm also supposed to videotape the storefronts, as if from a (slowly) passing car, and superimpose the surface area of glass for each store. Maybe on the glass, using motion-tracking software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Videotaping the stores from a car is not a problem (hood or roof mount, I guess), nor is &quot;attaching&quot; a number on the glass with software afterwards for each store on the way by. Likewise, measuring the glass with a tape measure is easy, but very time-consuming. I'd like to acquire the measurements from the videotape, even if I have to shoot once for a nice angle, and again for measuring, where the camera points straight at the glass.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And if it works, I'll be reproducing the work for much more than the one kilometer of storefronts, so efficiency is my goal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could:&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;EDIT: Actually, one of my first thoughts was that I could just read the distance off the focus ring of my old SLR, but this doesn't provide accuracy to within a meter, as far as I can read it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I wondered why I'd never seen camera-to-subject distance in EXIF data. Turns out it was because I wasn't looking hard enough.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Get the measurements from an individual frame for each store, using the pixel-to-meter ratio, but I'd have to also measure the distance from the camera to the glass each time. Not a really big nuisance with an inexpensive laser distance measuring device like the Bosch DLR130K. I'd need an assistant to measure and record the distance for each store while I was driving, or vice versa.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;This method would definitely work, but it's only a short step, really, from using a tape measure on the window of every store.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Attach a meter-long stick to the edge of one window, photograph the storefront, walk to the next store, repeat. This is also like using a tape measure, but I my attempts have shown it to be more efficient to get the pixel-to-meter ratio from the stick and measure the rest in Photoshop.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Somehow figure out how to use OpenCV with my two GoPros for stereo triangulation. Like in this video, the source code for which has been removed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/YCO86_Ml2ZU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Should it work, this approach has the advantage of getting video and distance simultaneously. Not to mention 3D, should there ever be any use for that.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Use any number of range imaging methods, none of which I actually see myself pulling off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Range_imaging&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://en.wikipedia.org/wiki/Range_imaging&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So now I'm hoping someone has dealt with this kind of thing before, and can show me the real way to do it! :)&lt;/p&gt;&#xA;" OwnerUserId="4765" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2013-10-14T08:59:33.530" Title="How to derive surface measurements from video" Tags="|video|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9161" PostTypeId="1" CreationDate="2013-10-13T12:24:11.170" Score="5" ViewCount="935" Body="&lt;p&gt;I'm using mencoder/libav to capture an interlaced source to mjpeg.&lt;/p&gt;&#xA;&lt;p&gt;Now, my hunch is that mjpeg is a codec that handles only full-frames, progressive video - because I assume it compresses single (full-)frames as jpeg. How would it handle the &amp;quot;half frames&amp;quot; of interlaced video??&lt;/p&gt;&#xA;&lt;p&gt;Am I wrong? Did the mjpeg developers take that into account and figured out a way to properly keep the interlaced aspect of interlaced video when stored as mjpeg?&lt;/p&gt;&#xA;&lt;p&gt;Or is my hunch correct and I am unknowingly &amp;quot;sort of&amp;quot; de-interlacing my material?&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;To encourage answers, my thoughts on this are:&lt;/p&gt;&#xA;&lt;p&gt;Ok, Motion-JPEG compresses each frame as a jpg, more or less. Right? Then, how is interlaced material handled? Let's assume it vertically merges/compresses each half-frame from the &amp;quot;lined&amp;quot; state into what looks like a non-interlaced image and then compresses that as a jpeg. Well, then, the (possibly heavy) smearing/blocking/blurring of normal jpeg would kick in and the lines would bleed into each other. On reassembly of the interlaced picture-stream, separating the lines again, this blur then would end up in the final re-interlaced video. Resulting in a loss of quality a native, interlaced-capable codec wouldn't have introduced... At least that's my hunch, as I don't know anything about the internal workings of mjpeg (what probably became obvious above). Prove me wrong.&lt;/p&gt;&#xA;&lt;p&gt;More encouragement: eye-candy: &lt;img src=&quot;https://i.stack.imgur.com/VJjb5.jpg&quot; alt=&quot;enter image description here&quot; /&gt; This is a screenshot-section, from a mjpeg encoded interlaced video. And even though this image itself is again jpeg encoded (at q=85%), the &amp;quot;bleeding&amp;quot; of lines into each other is not that bad. Could be, jpeg resolution at average compression ratios is good enough to resolve the &amp;quot;lines&amp;quot;, and I am worrying about nonsense. Still, technical details anyone?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="4837" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2014-05-15T22:42:42.110" Title="Does mjpeg handle interlaced video correctly?" Tags="|transcoding|codec|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="9163" PostTypeId="1" CreationDate="2013-10-13T18:03:16.350" Score="0" ViewCount="263" Body="&lt;p&gt;My video jumps when playing (and I know it has nothing to do with my harddrive, cause it does the same thing on my phone in the same spots), all through the video.  Like every couple seconds it jumps, is there a program out there that will fix this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For Instance a program that can smooth out the video somehow?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That would be super cool!  And preferably something that is free...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks guys/gals :)&lt;/p&gt;&#xA;" OwnerUserId="3751" LastActivityDate="2013-11-13T16:05:03.403" Title="How to smooth out video" Tags="|video|video-editor|video-quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9166" PostTypeId="1" CreationDate="2013-10-14T03:24:55.573" Score="0" ViewCount="174" Body="&lt;p&gt;This has to do with production sound. If you're a mixer, please help me, because I cannot wrap my head around this. I am a total newbie. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the scenario. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not working explicitly with this device, but since it makes for a head scratching example, take the Zaxcom Maxx (&lt;a href=&quot;http://www.trewaudio.com/store/Zaxcom-Maxx-Mixer-Recorder.html&quot; rel=&quot;nofollow&quot;&gt;http://www.trewaudio.com/store/Zaxcom-Maxx-Mixer-Recorder.html&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This nifty little recorder has several outputs. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1x TA5 Mono(?) tape out&lt;/li&gt;&#xA;&lt;li&gt;1x TA5 &quot;Aux 1/2&quot; out, a sum of Out 1 &amp;amp; 2&lt;/li&gt;&#xA;&lt;li&gt;1x TA5 Stereo(?) Return&lt;/li&gt;&#xA;&lt;li&gt;2x XLR Outputs&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I am assuming from Zaxcom's manual that they are all balanced connections.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;NOW. I want to send my stereo mix from the Zaxcom Maxx to a camera, which has two Mic/Line selectable XLR inputs, AND to a Comtek M-216 transmitter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have no idea how to do this. Obviously for camera you would use the two XLR outs with some kind of twin/braided XLR cable, right? Does that cable even exist? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you use the tape out for the Comtek? TA5 to stereo mini? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Very confused. Please help. &lt;/p&gt;&#xA;" OwnerUserId="3875" LastEditorUserId="3875" LastEditDate="2013-10-14T04:05:46.743" LastActivityDate="2014-01-12T15:44:14.260" Title="How do I set up a field recorder with camera/wireless monitoring?" Tags="|field-recording|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9167" PostTypeId="1" AcceptedAnswerId="9182" CreationDate="2013-10-14T11:22:54.420" Score="1" ViewCount="27491" Body="&lt;p&gt;Whenever I try to mask a clip or multiple clips in my main composition, the mask has no effect, neither does inverting the mask or any of the other mask modes provided. The same thing happens when I pre-compose a clip from my main composition. Masks do still work on adjustment layers though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However if i take the same clip from my clips in the project section and create a new composition with it, masking seems to work fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if I have disabled a setting in my main composition that would have caused this (I can't find any difference between my main and any new compositions), and it seems that nobody else has had this problem or that the answer is simplistic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let me know if you need anymore information. Any help will be greatly appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regards&lt;/p&gt;&#xA;" OwnerUserId="4845" LastActivityDate="2013-10-16T22:29:58.090" Title="After effects: masking not working in select compositions" Tags="|video|after-effects|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9172" PostTypeId="2" ParentId="9166" CreationDate="2013-10-14T14:22:12.433" Score="1" Body="&lt;p&gt;Easiest bet, use a distribution amplifier.  If you need the same audio to both, a DA will boost the signal so that it can actually go to both.  Not sure what the inputs on the Comtek are though, the DA will generally work best if they can both take XLR in.  Also, are you mixing in stereo?  If not, do you need two XLR to the camera?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the cable to the camera, you could heat shrink wrap two XLRs if you can't find a basic 2 channel XLR snake (assuming you are looking to have only one &quot;cable&quot; going to the camera.  Any reason not to timecode sync them and combine in post if running two cables is really a problem.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-14T14:22:12.433" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9173" PostTypeId="2" ParentId="9163" CreationDate="2013-10-14T15:50:16.020" Score="3" Body="&lt;p&gt;It sounds like the problem is probably what is known as dropped frames.  There is unfortunately not any particularly good fix.  With dropped frames, information is actually completely missing for the frames where there was no update, thus there is nothing to play during those frames.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on the length of time that is dropped, it may be possible to interpolate frames, but this is not a perfect process and will generally produce substandard results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, the idea with interpolation is that the computer tries to guess what things are the same in the frame before and the frame after the missing information and then invents frames that go in-between, but since it doesn't know what objects are, it has to make a lot of guesses and motion isn't always linear, so if it is more than a frame or two, it won't be particularly good results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally, if possible, the recommendation is re-shoot rather than try to interpolate, but you can interpolate if you don't have the ability to re-shoot.  This problem also generally occurs when you have insufficient write speed to stay ahead of the video, so you may want to consider a faster memory card for future video so that you can avoid dropped frames in the future.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://superuser.com/questions/504669/ffmpeg-for-frame-interpolation-ala-twixtor&quot;&gt;This&lt;/a&gt; question over on superuser talks about doing so with some free tools.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="-1" LastEditDate="2017-03-20T10:04:28.637" LastActivityDate="2013-10-14T15:50:16.020" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9174" PostTypeId="2" ParentId="9040" CreationDate="2013-10-14T18:21:46.823" Score="0" Body="&lt;p&gt;Through more research, I learned that Adobe struggles with .m2ts files (proprietary Sony format) despite being a supported file extension.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I updated my codecs for this extension with k-lite, but it didn't solve the issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I ended up using some free conversion software to convert to .mp4, and was able to bring in the audio finally! I only did this extra step for clips that lost their audio, since the conversion added additional time.&lt;/p&gt;&#xA;" OwnerUserId="4756" LastActivityDate="2013-10-14T18:21:46.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9179" PostTypeId="1" AcceptedAnswerId="9180" CreationDate="2013-10-15T09:29:59.950" Score="3" ViewCount="9840" Body="&lt;p&gt;I'm on windows using After Effects CS6. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm new to this software and am having a problem scrolling the window vertically or horizontally, &lt;strong&gt;Where is the scroll bar?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively I'm trying to scroll using the mouse wheel, but this seems to be zooming in and out. I read that I can hold the Alt or Ctrl button while moving the wheel, but that doesn't make any difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just want to scroll the panel up and down so I can see what I'm doing.&lt;/p&gt;&#xA;" OwnerUserId="4849" LastActivityDate="2018-07-05T13:16:04.213" Title="Scrolling the panel in After Effects" Tags="|after-effects|windows|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9180" PostTypeId="2" ParentId="9179" CreationDate="2013-10-15T09:42:38.000" Score="6" Body="&lt;p&gt;After tearing my hair out I found the &quot;hand cursor&quot;, now I can drag the panel around however I want it :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/m24ve.png&quot; alt=&quot;After Effects Hand Cursor&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4849" LastActivityDate="2013-10-15T09:42:38.000" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9181" PostTypeId="2" ParentId="9167" CreationDate="2013-10-15T13:18:54.130" Score="0" Body="&lt;p&gt;I believe this is the intended function. Masks are not meant for the main (i.e., background) clip. They are only meant for clips that will overlay others. Otherwise, what would display behind the masked-out areas?&lt;/p&gt;&#xA;" OwnerUserId="4850" LastActivityDate="2013-10-15T13:18:54.130" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9182" PostTypeId="2" ParentId="9167" CreationDate="2013-10-15T15:36:32.097" Score="0" Body="&lt;p&gt;Clips were originally twixtored, which prevented my masks from showing as twixtor has its own masks and splines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Resolved this by first twixtoring my clips, pre-compsing the clip and then masking the composition&lt;/p&gt;&#xA;" OwnerUserId="4845" LastActivityDate="2013-10-15T15:36:32.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9191" PostTypeId="2" ParentId="9167" CreationDate="2013-10-16T22:29:58.090" Score="1" Body="&lt;p&gt;Most likely you have effects on those layers that are being applied and messing up your masks, anything from the distort effects will do this, and others as well...you can wither pre-comp your layers or use layer masks&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2013-10-16T22:29:58.090" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9197" PostTypeId="1" CreationDate="2013-10-17T23:51:15.953" Score="1" ViewCount="497" Body="&lt;p&gt;I am a beginner FCPX user and am currently working on setting up a green screen studio for interviews/podcasts/etc. I am planning on painting a wall with this &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B003ZX2V8S&quot; rel=&quot;nofollow&quot;&gt;paint&lt;/a&gt; and using a &lt;a href=&quot;https://wondermat.com/cart/index.html?prodwmr.html&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; for my floor mat (in the light green color option). I am planning on doing the keying in either FCPX or Motion, but I am unsure if it (they) will be able to handle to slightly different colors in the same chroma key frame. Is it possible to make the floor and wall, even though they are slightly different shades of green, into one seamless green screen in FCPX or Motion?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="4863" LastActivityDate="2014-02-15T05:29:29.867" Title="Two green screens in FCPX?" Tags="|final-cut-pro-x|greenscreen|chromakey|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9198" PostTypeId="2" ParentId="9197" CreationDate="2013-10-18T03:25:54.607" Score="1" Body="&lt;p&gt;It depends, you can typically adjust a tolerance for the level of removal.  If the colors of green are closer than the next nearest color, you should be fine, if not, then you would have to do two keys, though I would expect you should be able to stack two layers to get the necessary transparency.  (Basically keying over a keyed image, since the result of a keyed image is a layer with alpha.)  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keep in mind that lighting will also be a significant concern and you could always paint the floor tiles as well to get the same color on everything.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-18T03:25:54.607" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9201" PostTypeId="1" CreationDate="2013-10-19T06:36:26.013" Score="0" ViewCount="230" Body="&lt;p&gt;I am getting a problem whenever I import a video having formats in &lt;code&gt;wmv &amp;amp; avi&lt;/code&gt; in &lt;code&gt;windows movie maker&lt;/code&gt;, the audio becomes &lt;strong&gt;noisy&lt;/strong&gt; I dont why it is happening may be is it the bitrate issue or something else please advice me on this as I have to stick with &lt;code&gt;Windows movie maker&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using &lt;strong&gt;Adobe Soundbooth&lt;/strong&gt; to reduce noise but after &lt;code&gt;exporitng&lt;/code&gt; from &lt;code&gt;Adobe soubdbooth&lt;/code&gt; video's audio becomes noisy only in &lt;code&gt;windows movie maker&lt;/code&gt; else it is fine.&lt;/p&gt;&#xA;" OwnerUserId="4285" LastEditorUserId="674" LastEditDate="2014-01-24T22:48:16.950" LastActivityDate="2014-02-23T23:35:38.167" Title="Audio noiseless video becomes noisy after importing in windows movie maker" Tags="|video|video-editor|audio-quality|noise|noise-reduction|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9204" PostTypeId="2" ParentId="7293" CreationDate="2013-10-19T14:38:39.920" Score="-1" Body="&lt;p&gt;If you need royalty free music for Youtube you can download the samples of &lt;a href=&quot;http://www.locutortv.es/musicalibredederechos.htm&quot; rel=&quot;nofollow&quot;&gt;voiceovers+music&lt;/a&gt; .  It is a legal website and It is no charge&lt;/p&gt;&#xA;" OwnerUserId="4868" LastActivityDate="2013-10-19T14:38:39.920" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9205" PostTypeId="2" ParentId="7580" CreationDate="2013-10-19T14:41:56.653" Score="2" Body="&lt;p&gt;You can download &lt;a href=&quot;http://www.locutortv.es/musicalibredederechos.htm&quot; rel=&quot;nofollow&quot;&gt;royalty-free&lt;/a&gt; songs for video production or &lt;a href=&quot;http://www.amorypoesia.es&quot; rel=&quot;nofollow&quot;&gt;poems free&lt;/a&gt; for video production. It is no charge&lt;/p&gt;&#xA;" OwnerUserId="4868" LastActivityDate="2013-10-19T14:41:56.653" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9206" PostTypeId="2" ParentId="9131" CreationDate="2013-10-19T17:54:49.170" Score="8" Body="&lt;p&gt;Curious... recent versions of KDEnlive practically push this option into your face once you add a clip with properties different from the project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the option got disabled in your setup you can enable it again by going to &lt;code&gt;Settings&lt;/code&gt; -&gt; &lt;code&gt;Configure KDEnlive&lt;/code&gt; -&gt; &lt;code&gt;Misc&lt;/code&gt; (selected by default) -&gt; &lt;code&gt;[ ] check if first added clip matches project profile&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using this option in version 0.9.6 on Debian, but I've seen this behaviour in 0.9.4 and probably older versions as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also if you got used at some point to dismissing this funny question window you get immediately when adding a clip, try to control the urge this time - the question is whether KDEnlive should adjust the project properties, which is what you want ;-)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(don't be mad at me if you think this last part is stupid, I've done user support occasionally and I have seen people do this;-)&lt;/p&gt;&#xA;" OwnerUserId="3086" LastActivityDate="2013-10-19T17:54:49.170" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9207" PostTypeId="2" ParentId="8727" CreationDate="2013-10-19T17:59:51.023" Score="1" Body="&lt;p&gt;Haha! In movies about movies you always see this clap in the beginning of a shot. The one where the take number and everything is written on with chalk. And they hold it in front of the cam and make one loud clapping noise with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Well, if you have ever wondered what this ritual is for, congrats! You have found the problem to the solution ;-))&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You get a video frame on which you see the clap closing and at the same time you can see the noise level peeking in the audio recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The poor mans version of this is to tell one of your actors to do the clap with her hands.&lt;/p&gt;&#xA;" OwnerUserId="3086" LastActivityDate="2013-10-19T17:59:51.023" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9208" PostTypeId="2" ParentId="9086" CreationDate="2013-10-19T18:50:40.107" Score="1" Body="&lt;p&gt;I have installed SUPER today, and Desktop Capture Engine has appeared on my computer.&lt;/p&gt;&#xA;" OwnerUserId="4869" LastActivityDate="2013-10-19T18:50:40.107" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9209" PostTypeId="2" ParentId="9201" CreationDate="2013-10-20T01:06:54.163" Score="1" Body="&lt;p&gt;Try seperating the audio and video streams of the WMV and AVI files - I don't have an app in mind but there should be some free ones avaliable. Put the video part in, which will remain in the original format (WMV or AVI) and should work. For the audio, use Soundbooth to convert it into a variety of formats like WAV, MP3, WMV, etc. until the import works without noise. I don't use MM now, but I have before and know for a fact that there are no problems with importing MP3 files.&lt;/p&gt;&#xA;" OwnerDisplayName="user3849" LastActivityDate="2013-10-20T01:06:54.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9210" PostTypeId="1" CreationDate="2013-10-20T07:37:57.883" Score="3" ViewCount="2599" Body="&lt;p&gt;I work with some clips, all taken from the same camera, which have the exact following characteristics (apart from the duration of course):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video: 00:03:21.806, 47.952 fps progressive, 1920x1440x12, AVC&#xA;Audio: 00:03:21.835, 48,000 Hz, Stereo, AAC&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The spec on the camera says &quot;48 fps&quot; but as seen above the software I load the clip shows 47.952.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My questions are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is this a thing of the specific camera? Or is 47.952 some kind of standard number for the 48 fps?&lt;/li&gt;&#xA;&lt;li&gt;Should I render my final mix at 48 or 47.952 fps?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="4039" LastActivityDate="2013-10-20T12:17:31.307" Title="47.952 instead of 48 fps?" Tags="|framerate|video-standards|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9211" PostTypeId="2" ParentId="9210" CreationDate="2013-10-20T12:12:17.167" Score="3" Body="&lt;p&gt;Yeah! Welcome to the good ol' world of analog television. When they originally introduced color television and put a high frequency chroma signal on top of the black- and white luma signal, they had to introduce a freqeuncy shift to prevent the signal from bleeding over into the audio .... oh, you don't want to know. Srsly! Even in times of digital video this stuff will hunt us around for another hundred years.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make it short: this is normal, and your computer handles it badly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Those framerates are very common, for every plain frame rate there is the garbled version, because the framerate got shifted down by one thousands part:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;24fps vs. 24000 / 1001 = 23.976...&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;25fps vs. 25000 / 1001 = 24.975...&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;30fps vs. 30000 / 1001 = 29.970...&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do the math - this is exactly what you experience too. Even worse: those numbers cannot be precisely represented in binary. Not even with long floating point numbers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video editing and player software is normally designed to somewhat compensate and prevent A/V desync anyway, either by dropping a frame every once in a while, or by doing ungodly things to the audio stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend you check the settings of your camera to find out if it really does not have a plain 48fps / 50fps setting. I do not think that in the digital age we are still supposed to keep up with this 1950s electron tube hack.&lt;/p&gt;&#xA;" OwnerUserId="3086" LastEditorUserId="3086" LastEditDate="2013-10-20T12:17:31.307" LastActivityDate="2013-10-20T12:17:31.307" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9212" PostTypeId="2" ParentId="9210" CreationDate="2013-10-20T12:16:18.563" Score="1" Body="&lt;p&gt;There must be a setting on the camera that you're not describing which causes this shift. The difference is exactly the same as 24 vs 23.976 or 30 vs 29.97, which is the ratio 1000/1001 -- the 'color vs mono' ratio that originated with NTSC color and should have completely ended with digital standards. Maybe that will offer a clue to finding the setting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any case, I would treat these as 48 fps. There's no advantage (and plenty of downside) to still using these bastardized frame rates. Your editing system should allow you to import 47.952 cleanly to a 48fps timeline.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-10-20T12:16:18.563" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9213" PostTypeId="2" ParentId="9130" CreationDate="2013-10-20T15:24:28.590" Score="2" Body="&lt;p&gt;The popular VLC media player offers low latencey multicast video streaming solutions. This is not as one-clickish as Skype, but hey, thats what you get for becoming more professional.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video streamed by VLC can have any properties regarding video resolution and quality - within the limits of your network bandwith of course.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ususally your PC will be behind a home router which acts as so called NAT-Gateway and firewall. Much to the annoyance of network administrators Skype sees to it automatically that this firewall is cranked open, and multidirectional video casts can flow through. It also handles IP address and port negotiation. VLC does not, as the concept behind it is different (its main use is streaming, not video conferencing).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for this post I will assume that you are willing to invest a degree of brain juice in creating a clean media flow over the internet. After all you are working on a global technological scale. Do not worry, we still will not need to get into the advanced internet routing stuff.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With VLC you will have to configure your home router manually to present a service running on your computer to the open internet. This is called port forwarding, look it up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will not get into details about setting up VLC streaming, as it is pretty much straight forward and you can handle this yourself: Open VLC, press &lt;code&gt;Ctrl&lt;/code&gt; &lt;code&gt;S&lt;/code&gt;, follow instructions. Best use RTP or HTTP streaming as they are well standardised.&#xA;When setting up your VLC to stream media from a webcam, you will configure a network port, on which the webcam stream is offered to the internet. Make sure this port is forwarded by your home router.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Decrease media caching to improve latency, increase caching to prevent stuttering. 200ms will be fine. A h264 stream with 720p resolution will look OK at about 2000 kbps but only if you let VLC handle compression. If you let your webcam handle the compression internally you will need much more bandwith, as the hardware encoders are somewhat limited.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once both parties (you and your cohost) have set up this stream, you can connect to each other using a media player like VLC, mplayer, Windows Media Player, Quick Time... streaming really is a standard ;-) Any guests you are hosting can connect to this stream too, and so can spectators. VLC also lets you record remote video streams to disk for post production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get guests on your screen, you can let them use a tool of their convenience like Skype or Hangouts. Once VLC is using your webcam, you will not be able to offer video from the same cam via Skype. But this will not be necessary, since guests can see you over the VLC stream. You would only need Skype to see them, while video streamed from you and your partner remains fluent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To have people connect to your stream, they will need to know your public IP address, which you can look up on &lt;a href=&quot;http://www.whatismyip.com&quot; rel=&quot;nofollow&quot;&gt;http://www.whatismyip.com&lt;/a&gt; or similar sites. You can use a dyndns service like &lt;a href=&quot;http://no-ip.biz&quot; rel=&quot;nofollow&quot;&gt;http://no-ip.biz&lt;/a&gt; (or other) to use a convenient DNS name instead of an IP address.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With this description you should be able to get started, ask me anything if you need to know more.&lt;/p&gt;&#xA;" OwnerUserId="3086" LastEditorUserId="3086" LastEditDate="2013-10-20T15:46:07.253" LastActivityDate="2013-10-20T15:46:07.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9215" PostTypeId="2" ParentId="7580" CreationDate="2013-10-21T00:08:04.857" Score="1" Body="&lt;p&gt;Look for music released with Creative Commons licences.&lt;/p&gt;&#xA;" OwnerUserId="3963" LastActivityDate="2013-10-21T00:08:04.857" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9217" PostTypeId="1" AcceptedAnswerId="9219" CreationDate="2013-10-21T02:14:09.347" Score="1" ViewCount="95" Body="&lt;p&gt;I want to shoot a video for my iPhone app demo. My idea is shoot a phone running the app, and the iPhone is relatively still in the video, while I could move the camera around, so the background changes, but not the phone. Is there something available to do this? I would imagine something like an extension arm, one side holds the camera, and the other side holds my phone. I don't know if this thing exists nor not. Please help, thanks! (What I have now is a DSLR and a tripod)&lt;/p&gt;&#xA;" OwnerUserId="4873" LastActivityDate="2013-10-21T13:26:36.213" Title="Is there a thing that can hold the subject in front of the camera, locked, not moving while shooting video?" Tags="|video-recording|stabilisation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9218" PostTypeId="2" ParentId="7300" CreationDate="2013-10-21T08:11:15.173" Score="9" Body="&lt;p&gt;From &lt;a href=&quot;http://www.ffmpeg.org/faq.html&quot;&gt;http://www.ffmpeg.org/faq.html&lt;/a&gt;:&#xA;If you have large number of pictures to rename, you can use the following command to ease the burden. The command, using the bourne shell syntax, symbolically links all files in the current directory that match *jpg to the ‘/tmp’ directory in the sequence of ‘img001.jpg’, ‘img002.jpg’ and so on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&#xA;x=1; for i in *jpg; do counter=$(printf %03d $x); ln -s &quot;$i&quot; /tmp/img&quot;$counter&quot;.jpg; x=$(($x+1)); done&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="4874" LastActivityDate="2013-10-21T08:11:15.173" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9219" PostTypeId="2" ParentId="9217" CreationDate="2013-10-21T13:26:36.213" Score="2" Body="&lt;p&gt;Yes, what you are talking about falls in the realm of rigging.  There are lots and lots of rigging products available, but most of the specialty built rigs are going to be very expensive for your needs (hundreds to probably over a thousand USD).  If you aren't turned off by the price, I suggest looking at rigs in a web store like B&amp;amp;H to find something that will suit your needs and allow attaching an extension and the phone mount.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might be better off to do something yourself to save money.  You should be able to buy a basic mount plate that you could bolt to a pipe and then on the other end attach a device holder for the phone.  I'd probably try and do it with something like a Trident case that will look like a nice case on the phone while allowing you to attach the mount to the back of the case securely.  It will still probably run you a couple hundred USD though, even making it yourself.  (Trident cases and the stand for it alone will run you $70 or so.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-21T13:26:36.213" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9221" PostTypeId="1" AcceptedAnswerId="9222" CreationDate="2013-10-22T03:12:54.533" Score="1" ViewCount="143" Body="&lt;p&gt;I'm new here.&#xA;I'm looking for a easy-to-use video editor, like windows movie maker but with a couple of more tools like: adding videos over a video and adding two or more lines of text simultaneously appearing with different effects. I'm using Windows 7 and the software must be free. Thanks for your suggestions!&lt;/p&gt;&#xA;" OwnerUserId="4877" LastActivityDate="2015-10-04T17:15:10.417" Title="Video editor suggestion" Tags="|software-recommendation|freeware|" AnswerCount="1" CommentCount="1" ClosedDate="2013-12-01T14:44:47.077" ContentLicense="CC BY-SA 3.0" />
  <row Id="9222" PostTypeId="2" ParentId="9221" CreationDate="2013-10-22T05:56:18.553" Score="5" Body="&lt;p&gt;Start here: &lt;a href=&quot;http://www.akascope.com/2011/07/15/free-video-editing-software/&quot; rel=&quot;nofollow&quot;&gt;10 free video editors&lt;/a&gt; &lt;sup&gt;&lt;a href=&quot;https://web.archive.org/web/20140301015804/http://www.akascope.com/2011/07/15/free-video-editing-software&quot; rel=&quot;nofollow&quot;&gt;&lt;em&gt;mirror&lt;/em&gt;&lt;/a&gt;&lt;/sup&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keep in mind that free video editors are very simple and do not have many effects. &#xA;I recommend you to buy inexpensive video editing software, like Sony Movie Studio or Cyberlink PowerDirector. Take a look at this list of consumer &lt;a href=&quot;http://vegasaur.com/video-editing-software&quot; rel=&quot;nofollow&quot;&gt;video editors&lt;/a&gt; &lt;sup&gt;&lt;a href=&quot;https://web.archive.org/web/20150907103605/http://vegasaur.com/video-editing-software&quot; rel=&quot;nofollow&quot;&gt;&lt;em&gt;mirror&lt;/em&gt;&lt;/a&gt;&lt;/sup&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3029" LastEditorUserId="3561" LastEditDate="2015-10-04T17:15:10.417" LastActivityDate="2015-10-04T17:15:10.417" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9223" PostTypeId="1" CreationDate="2013-10-22T02:59:00.027" Score="4" ViewCount="134" Body="&lt;p&gt;What is the best method to record a home video of multiple players?  I see people doing this all the time on the internet but I want to pick the easiest one.  For example, I want one video that has 2 video tracks on it, one for rhythm guitar and one for lead guitar.   Another example:  generate a video of 4 different musicians playing together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, how was &lt;a href=&quot;http://www.youtube.com/watch?v=_cZfMLVdvxI&quot; rel=&quot;nofollow&quot;&gt;this done&lt;/a&gt;, and is there a better way?&lt;/p&gt;&#xA;" OwnerDisplayName="djangofan" LastActivityDate="2013-10-22T13:37:38.163" Title="What is the best method to record a home video of multiple players?" Tags="|recording|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9224" PostTypeId="2" ParentId="9223" CreationDate="2013-10-22T10:58:09.607" Score="3" Body="&lt;p&gt;Here is what I do (for my videos on &lt;a href=&quot;http://www.youtube.com/user/killergege&quot; rel=&quot;nofollow&quot;&gt;http://www.youtube.com/user/killergege&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tools : &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Software : Reaper for audio recording, Sony Vegas Pro for video editing&lt;/li&gt;&#xA;&lt;li&gt;Hardware : a camcorder, an audio interface (POD HD500 in my case)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Process :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I create a new project in Reaper and Vegas and setup everything to record audio properly on Reaper through my audio interface.&lt;/li&gt;&#xA;&lt;li&gt;I add a backing track in Reaper.&lt;/li&gt;&#xA;&lt;li&gt;I record myself playing each instrument (video &amp;amp; audio) at the same time, Reaper takes the sound, the camcorder takes the video. I might do several takes, Reaper handles pretty well takes and the camcorder just keeps recording.&lt;/li&gt;&#xA;&lt;li&gt;When finished recording I then have a track for each instrument in Reaper (with maybe several takes in each track), and a video for each instrument.&lt;/li&gt;&#xA;&lt;li&gt;Then I select the audio takes and mix the tracks with the backing track (changing volume, adding fades, etc.)&lt;/li&gt;&#xA;&lt;li&gt;I export the audio mixed and import it in Vegas&lt;/li&gt;&#xA;&lt;li&gt;Then I edit the videos in Vegas, cutting the unused takes and mixing with effects (I use chroma keying to remove the background, fades, camera movements) and to place the videos like you want. Editing the video to do a &quot;splitscreen&quot; like in the example is quite easy and a lot of other editing software can do that.&lt;/li&gt;&#xA;&lt;li&gt;The hard part is syncing the audio with the video. I try to sync the videos' audio with the Reaper mixed audio I imported just before removing the videos' sound.&lt;br&gt;&#xA;I also do it visually (trying to match hand movements with audio).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you need more details, just ask.&lt;/p&gt;&#xA;" OwnerUserId="28" LastActivityDate="2013-10-22T10:58:09.607" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9225" PostTypeId="2" ParentId="9223" CreationDate="2013-10-22T13:37:38.163" Score="1" Body="&lt;p&gt;This is just a crop effect (also sometimes called picture in picture or size and position).  Any video editing software that supports layers and layer resize can do this, though the exact approach varies from software to software.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is a very basic thing to do and just involves bringing in each of the video clips as a layer, synchronizing them time wise and then sizing and positioning them such that they each are 1/4 of their original size and sit in the corners of the screen.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-22T13:37:38.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9226" PostTypeId="1" CreationDate="2013-10-22T18:02:12.677" Score="0" ViewCount="37" Body="&lt;p&gt;I know apple uses keynote for the presentation software for its keynotes, but I can't figure out what they use for their video switching for picture-in-picture display.&lt;/p&gt;&#xA;" OwnerUserId="4879" LastActivityDate="2013-10-22T18:10:24.300" Title="What video switching application is used for Apple's Keynotes?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9227" PostTypeId="2" ParentId="9226" CreationDate="2013-10-22T18:10:24.300" Score="1" Body="&lt;p&gt;They are probably using some kind of a live switcher for that rather than software, but there is no real way to tell what they would be using.  To keep quality in live environments still generally requires using specialized hardware though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-22T18:10:24.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9228" PostTypeId="1" AcceptedAnswerId="9231" CreationDate="2013-10-23T09:04:42.150" Score="7" ViewCount="13950" Body="&lt;p&gt;I have shot some videos on a Panasonic v720 camcorder. The videos are huge. I used the internal feature of the camcorder to convert to MP4 and the quality was reduced very much.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best practice to compress MTS videos?  What is the recommended output format (avi, mp4)? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My goal is just to consume less disk space and upload to Youtube (and have 1080p there) with the least quality loss.&lt;/p&gt;&#xA;" OwnerUserId="4750" LastEditorUserId="5889" LastEditDate="2014-05-06T19:18:18.097" LastActivityDate="2015-11-10T04:49:52.430" Title="How to convert an MTS file without loosing quality?" Tags="|video|mp4|compression|avchd|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9229" PostTypeId="2" ParentId="9228" CreationDate="2013-10-23T12:04:33.517" Score="0" Body="&lt;p&gt;For YouTube you should use H.264 video format (aka AVC) in MP4 container. Full YouTube specifications you can find &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;p.s. there a lot of various &lt;a href=&quot;http://vegasaur.com/video-editing-software?t=c&quot; rel=&quot;nofollow&quot;&gt;video converters&lt;/a&gt; that can do the trick&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2013-10-23T12:04:33.517" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9230" PostTypeId="1" AcceptedAnswerId="9232" CreationDate="2013-10-23T12:30:50.323" Score="2" ViewCount="107" Body="&lt;p&gt;I just want to make videos like this one: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/GAb7m5oBMs4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;But I can't imagine how to do them. I mean, what kind of software is he using?&lt;/p&gt;&#xA;" OwnerUserId="4877" LastActivityDate="2013-11-02T12:54:29.950" Title="How to make this kind of animated video?" Tags="|software-recommendation|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9231" PostTypeId="2" ParentId="9228" CreationDate="2013-10-23T13:29:32.960" Score="7" Body="&lt;p&gt;What is your definition of huge and what is your definition of high quality?  Size is directly related to compression and compression is directly inversely related to quality for the most part.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some amount of compression can be had for free using lossless compression or near free with more efficient pattern finding for lossy compression, but for the most part, there is a direct relationships between size and quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In fact, you generally have to actually increase the size to maintain the quality when re-encoding a lossy file as information that was already lost by the first can't be recovered, but other information may be lost due to the encoding process running again, so the combined error requires a higher data rate to avoid losing more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MTS files are already generally based on H.264 (MPEG4) and are generally relatively small.  It should be possible to extract the MPEG4 from the container and repackage without any loss, but to reduce size would pretty much require a reduction in quality.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-23T13:29:32.960" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="9232" PostTypeId="2" ParentId="9230" CreationDate="2013-10-23T13:34:04.030" Score="1" Body="&lt;p&gt;This is called a &quot;&lt;strong&gt;write on&lt;/strong&gt;&quot; effect and is typically accomplished with either a &lt;strong&gt;2d animation&lt;/strong&gt; package such as Adobe Flash or with a &lt;strong&gt;motion graphics&lt;/strong&gt; software package such as Adobe After Effects or Apple Motion.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It generally involves building the imagery as &lt;strong&gt;vector graphics&lt;/strong&gt;.  Any lines that will be animated are generally drawn as paths that can be &quot;written on&quot; by starting at the beginning of the path and drawing the line until it reaches the end of the path.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It can also be accomplished using motion recording and a digitizer tablet which will allow the writing to be done in real time and recorded, it can then be accelerated or decelerated as needed, or the paths created and timings can be tweaked to smooth things out using typical &lt;strong&gt;keyframe animation&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-23T13:34:04.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9233" PostTypeId="2" ParentId="3835" CreationDate="2013-10-23T15:06:39.780" Score="2" Body="&lt;p&gt;&lt;strong&gt;Regarding @rich's suggestion... if you don't have Quicktime, will iMovie work instead? Or some other program?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Create your Keynote presentation.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Record your speaking part (separately) with an audio recording program. I recommend Audacity. It's a great free application. You can download Audacity from &lt;a href=&quot;http://www.sorceforge.com&quot; rel=&quot;nofollow&quot;&gt;www.sorceforge.com&lt;/a&gt; among other places. You'll also want to get the Audacity LIB file that is needed to export your audio recording to &lt;code&gt;.mp3&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;From the &lt;em&gt;Keynote Inspector&lt;/em&gt;, under the &lt;em&gt;Document&lt;/em&gt; tab, go to the audio section and add your new voice recording file to the soundtrack.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;From &lt;em&gt;Keynote&lt;/em&gt;, go to &lt;em&gt;File&lt;/em&gt;, &lt;em&gt;Record Slideshow&lt;/em&gt;. While the audio plays, click through your slides. This is getting the slide change time down.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;From &lt;em&gt;Keynote&lt;/em&gt;, go to &lt;em&gt;File&lt;/em&gt;, &lt;em&gt;Export&lt;/em&gt;. Make sure to have the following settings: &lt;p&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Playback Uses&lt;/strong&gt;: Recorded Timing &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Include audio&lt;/strong&gt; (sound files, movie audio): NOT SELECTED &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Include the slideshow soundtrack&lt;/strong&gt;: NOT SELECTED &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Include the slideshow recording&lt;/strong&gt;: SELECTED&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Click next and your Keynote presentation should export to a &lt;code&gt;.mov&lt;/code&gt; file (keep in mind, this &lt;code&gt;.mov&lt;/code&gt; file has no audio. We'll take care of that in the last steps). &lt;/p&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Open the new &lt;code&gt;.mov&lt;/code&gt; Keynote presentation in Quicktime Pro.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Open the original &lt;code&gt;.mp3&lt;/code&gt; sound file in Quicktime Pro.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Select All of the &lt;code&gt;.mp3&lt;/code&gt; file and then click &lt;code&gt;CTRL + C&lt;/code&gt; to copy it.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Go back to the &lt;code&gt;.mov&lt;/code&gt; Keynote file and Select All. Then go up to &lt;em&gt;Edit&lt;/em&gt; &gt; &lt;em&gt;Add to Movie&lt;/em&gt;. This adds your sound and movie file together.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Finally click on &lt;em&gt;File&lt;/em&gt; &gt; &lt;em&gt;Save As&lt;/em&gt;. Select &lt;em&gt;Save As A Self-Contained Movie&lt;/em&gt; and you're done.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="4883" LastEditorUserId="126" LastEditDate="2013-10-24T11:56:14.217" LastActivityDate="2013-10-24T11:56:14.217" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9234" PostTypeId="1" CreationDate="2013-10-23T16:41:53.657" Score="0" ViewCount="106" Body="&lt;p&gt;I have been asked to create a slide for a viewsonic slideshow player that has a rotating diamond at the bottom, and &quot;Your Diamond Store&quot; above.&#xA;I am having a hard time figuring out how to do this with what I have and this is way out of my normal scope.&#xA;I have adobe cs4 suite and standard apple software.  Can anyone please help?&#xA;Thanks!!&lt;/p&gt;&#xA;" OwnerUserId="4884" LastActivityDate="2014-06-20T20:01:10.340" Title="Trying to add text to a video file and save it as an mpeg to be played in a slide show" Tags="|mpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9235" PostTypeId="2" ParentId="9234" CreationDate="2013-10-23T17:02:24.300" Score="1" Body="&lt;p&gt;Either After Effects or Premiere will do this for you no problem.  I'd probably use After Effects for simplicity since it is easier to understand the layers there.  Either use a text effect or use Illustrator to make the text a bit nicer and import it in as a layer in After Effects.  Position the video that it is playing over as the bottom layer then import the text layer and position it over the background as necessary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the rotating diamond, you would need a rotating diamond that has a transparent background to the layer.  This is easiest to do with 3d graphics software, though you could also do it by rotating an actual diamond and keying out the background from around it.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand, the best looking approach (since a diamond refracts the surroundings) would be to bring it in to a professional 3d package and use the video as an environment map for the refraction to be correct and then export it as a series of images with alpha that can be composited back in as a source in After Effects.  Since the diamond will look like it is refracting the image it is over, it will be far more believable as a diamond in the scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure if Blender (the most popular free 3d software) can support environment maps or not, but if it can, that would be your best bet for approaching that.  (Sadly, I use commercial 3D software so I've never learned Blender which is much more limited, someone else might be able to provide more insight on that though.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-23T17:02:24.300" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="9237" PostTypeId="1" CreationDate="2013-10-23T18:11:52.890" Score="1" ViewCount="541" Body="&lt;p&gt;I'm a total digital video beginner, having a weird (to me) issue in the music videos I've shot with my Samsung NX1000, which is that the video and audio are out of sync with each other, but not in a consistent way (to be clear, I'm talking about video/audio both captured by the camera itself - I'm not using any external mic for the audio). Here's the rundown:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Slightly out of sync when played back in the camera&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;More out of sync in VLC&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Very out of sync in:&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;Finder windows (when quick-look previewed by hitting space bar)&lt;/li&gt;&#xA;&lt;li&gt;QuickTime Player 10&lt;/li&gt;&#xA;&lt;li&gt;Final Cut Pro X&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;First I imported the movies from my camera to my Mac over USB cable, using the Image Capture app. The files are in .mp4 format, and the related codecs are H.264 and AAC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I tried importing movies directly into FCPX (ticking Optimize and choosing to convert the camera native format into ProRes 422.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both methods result in un-synced audio/video. However, the amount of delay differs depending on how a given clip was imported. I opened several clips in VLC and was finally able to sync things by adding an audio delay: 200ms for a clip imported with Image Capture, 300ms for a clip imported with FCPX.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know what's going on here? I'm sure there are apps I could use to sync the video and audio, but if anyone can help me solve this problem in the camera in the first place, that would really speed up my workflow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;MacBook Pro 5,3&#xA;Intel Core 2 Duo 2.8 GHz&#xA;8GB RAM&#xA;NVIDIA GeForce 9400M&lt;/p&gt;&#xA;" OwnerUserId="4887" LastActivityDate="2019-01-11T04:41:26.150" Title="Audio/Video Out of Sync with Samsung NX1000 Camera - Why?" Tags="|video|audio|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9244" PostTypeId="1" AcceptedAnswerId="9251" CreationDate="2013-10-23T23:35:40.370" Score="1" ViewCount="191" Body="&lt;p&gt;I'd like to record presentations and lectures and then edit them after the fact. I'll use one or more camera feeds and a timecode source (either a camcorder or external source). To record the screen, I was thinking of using something like &lt;a href=&quot;http://www.blackmagicdesign.com/products/hyperdeckshuttle&quot; rel=&quot;nofollow&quot; title=&quot;Blackmagic Hyperdeck Shuttle&quot;&gt;the Blackmagic Hyperdeck Shuttle&lt;/a&gt;, but I'm not stuck on this device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Shuttle can record HDMI sources (great--I can record DVI or convert VGA to HDMI). However, it can only record timecode from SDI. I could convert HDMI to SDI, but then where does the timecode come from? Is there any way I can inject the timecode into my SDI stream?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any other totally different solutions?&lt;/p&gt;&#xA;" OwnerUserId="4890" LastActivityDate="2013-10-24T14:04:39.167" Title="Record VGA/DVI with timecode" Tags="|timecode|screen-casting|hdmi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9245" PostTypeId="1" AcceptedAnswerId="9291" CreationDate="2013-10-24T05:18:35.360" Score="2" ViewCount="579" Body="&lt;p&gt;Can I create subtitle (.srt) file manually (to add subtitle) for .avi file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have created .avi file using Snagit but there is no option to add subtitle as well. So can I create subtitle file manually by myself? Or Do I have to download a specific Software for it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does it follows any structure?&lt;/p&gt;&#xA;" OwnerUserId="3931" LastEditorUserId="3931" LastEditDate="2013-10-31T06:57:43.697" LastActivityDate="2016-02-29T01:47:01.260" Title="How to add Subtitles to already created video file for .avi format on Windows 8?" Tags="|windows|video-recording|subtitles|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9248" PostTypeId="1" CreationDate="2013-10-24T13:39:58.677" Score="0" ViewCount="114" Body="&lt;p&gt;For an After Effects project that animates mostly solids and Illustrator objects, what frame rate should one use to achieve smooth visual effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm currently working with 23.9 fps but it renders a bit choppy. Can I go up to 60 fps, or are there any downsides?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yesterday, I saw the video at the start of the Apple keynote (&lt;a href=&quot;http://www.apple.com/apple-events/october-2013/&quot; rel=&quot;nofollow&quot;&gt;http://www.apple.com/apple-events/october-2013/&lt;/a&gt;) which has a great level of smoothness to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is that achieved through higher fps or an other technique?&lt;/p&gt;&#xA;" OwnerUserId="3186" LastActivityDate="2013-10-24T14:11:38.927" Title="AE: Frame rate and animating solids" Tags="|after-effects|animation|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9251" PostTypeId="2" ParentId="9244" CreationDate="2013-10-24T14:04:39.167" Score="1" Body="&lt;p&gt;If cost isn't an object, I believe the higher end rack mount HyperDeck accepts an external timecode (ref in), but it's also quite a bit more expensive ($1000).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-24T14:04:39.167" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9252" PostTypeId="2" ParentId="9248" CreationDate="2013-10-24T14:11:38.927" Score="1" Body="&lt;p&gt;24 FPS should be plenty smooth, anything about 15fps should appear fairly smooth to the human eye.  There are two possibilities I can think of, first, you may be encoding to a fairly low compression format that produces large files, if so, your computer may be having trouble displaying the frames in time.  This can result in lag or frame skips which make the video look much less smooth.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, you may need to apply some motion blur depending on the type of motion and objects you have.  While it makes the image less sharp, we naturally expect a certain amount of blur on things in motion and our brain sometimes things it is less smooth if there isn't a small amount of blur.  After Effects can render this, but it's not on by default as it adds additional render time.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-24T14:11:38.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9253" PostTypeId="1" AcceptedAnswerId="9256" CreationDate="2013-10-24T15:37:55.300" Score="1" ViewCount="385" Body="&lt;p&gt;For some time now I've been looking for screencast software that can record someone presenting on another computer. The application is for a commercial screencast recording company that comes in and records screencasts of lectures, product demos, and keynotes for other companies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem I run into is that all the screencast software I've seen records only the local screen. That doesn't work--we can't load screencast software on the presenter's computer. What we've used so far is Wirecast and Desktop Presenter. Desktop Presenter goes on the presenter's computer, and Wirecast goes on our recording cart computer. This works, but it produces videos that are difficult to edit (we use QuickTime Pro 7 to edit without re-compressing). If we had something like &lt;a href=&quot;http://www.telestream.net/screenflow/overview.htm&quot; rel=&quot;nofollow&quot; title=&quot;ScreenFlow&quot;&gt;ScreenFlow&lt;/a&gt; that also had remote recording (i.e. Desktop Presenter)--that would be perfect. Anyone know of a product like this? If no product like I've described exists, can you think of another creative solution? It would be ideal if the solution can track and zoom in on mouse movement like many screencast products do (i.e. Camtasia Studio and ScreenFlow).&lt;/p&gt;&#xA;" OwnerUserId="4890" LastActivityDate="2014-02-21T19:31:48.893" Title="Record Screencast of Remote Presenter" Tags="|screen-casting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9254" PostTypeId="2" ParentId="9104" CreationDate="2013-10-24T15:57:12.543" Score="2" Body="&lt;p&gt;I know you looked at ScreenFlow. Were you looking at the latest version--ScreenFlow 4? It does have some vectorial shapes (they're called Annotations):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Line (arrow)&lt;/li&gt;&#xA;&lt;li&gt;Line&lt;/li&gt;&#xA;&lt;li&gt;Square (filled)&lt;/li&gt;&#xA;&lt;li&gt;Square&lt;/li&gt;&#xA;&lt;li&gt;Circle&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Now, that doesn't get you speech bubbles and other abstract shapes. For those, you can use a text box with an image fill--unfortunately, you've got to supply your own image in that case. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;ScreenFlow also accepts PDF and other image types as layers. This makes ScreenFlow able to import vector PDF's as &quot;shapes&quot; that one can use to add annotations such as the mentioned speech bubbles.&lt;/p&gt;&#xA;" OwnerUserId="4890" LastEditorUserId="2277" LastEditDate="2014-06-30T03:15:36.763" LastActivityDate="2014-06-30T03:15:36.763" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9256" PostTypeId="2" ParentId="9253" CreationDate="2013-10-24T17:38:08.010" Score="2" Body="&lt;p&gt;You have two options, one, install software on the presenter's system that can encode and send a video feed to another system.  This is in-effect going to be a screen casting application, even if the feed is only forwarded to another system to be packaged.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other option is to actually capture the raw output from the presenter's system through a frame grabber or video interface of some type.  This is the least invasive way, but then have no idea about cursor position or the like.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no solution that can connect to another computer and grab whatever is on their screen without putting software on that computer.  You can however do something minimally invasive like putting a VNC server that can run from a USB stick without installing and then connect to that VNC server and run the screen capture off the VNC client on a system you control.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-24T17:38:08.010" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9257" PostTypeId="1" CreationDate="2013-10-24T19:05:19.707" Score="1" ViewCount="69" Body="&lt;p&gt;I have been using Vimeo for a good long while to host our corporate videos. I like the service, and it is certainly affordable, but I am quickly outgrowing it. I now have almost 200 videos warehoused in there, most of which I can't get rid of. Plus, Vimeo is just so weak when it comes to management. Finding the right video can be sometimes like finding a needle in a haystack, even with decent metatags. I have been looking at Brightcove and they seem pretty decent, if very expensive for my needs. Can you recommend someone?&lt;/p&gt;&#xA;" OwnerUserId="4242" LastActivityDate="2013-12-24T14:31:21.977" Title="Recommend a good online video host?" Tags="|video|streaming|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9261" PostTypeId="1" CreationDate="2013-10-25T13:10:39.650" Score="0" ViewCount="8336" Body="&lt;p&gt;First let me get this out of the way: I &lt;strong&gt;can not use&lt;/strong&gt; any third party software to load captions into my videos. With that said, &lt;strong&gt;what is the best way to get Closed Captions into my videos (it's about 5mins long) with Adobe Premiere Pro CS6?&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;IF I must type it in, that's fine...but tell me how. I'm a newbie. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="4896" LastActivityDate="2014-01-28T09:07:28.103" Title="Best way to create closed captions in Premiere CS6? No 3rd party software!" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9262" PostTypeId="2" ParentId="9257" CreationDate="2013-10-25T13:40:18.363" Score="2" Body="&lt;p&gt;Depending on how often the videos are watched and how big are they in total?  Rolling your own might work.  For my video streaming needs, I use a dedicated Windows server in a data center (can be as cheap as $110 a month, including a terabyte of disk space and unmetered 100Mb/sec connectivity) and use the included Windows Media Streaming Services to provide streaming video.  Alternately, if you need more cross platform support, there are other stream server software packages you can buy that will allow easy management and streaming of other videos and you can install them on the server.  If your volume of viewers is sufficiently low (less than 20 or 30 simultaneous viewers) then rolling your own may work on a 100 megabit dedicated connection.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-25T13:40:18.363" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9264" PostTypeId="2" ParentId="9261" CreationDate="2013-10-25T13:48:42.717" Score="0" Body="&lt;p&gt;Have you perhaps considered the &lt;a href=&quot;http://helpx.adobe.com/premiere-pro/using/closed-captioning.html&quot; rel=&quot;nofollow&quot;&gt;Adobe Premiere documentation&lt;/a&gt;?  There is an import option under File... Import.  They can either be imported as a sidecar file or embedded in a clip.  You'd most likely be using the sidecar.  The documentation is for CC, but the import is very similar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note this can only be exported to tape though.  There is unfortunately no option to output them embedded in a file in CS6.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-10-25T15:18:46.147" LastActivityDate="2013-10-25T15:18:46.147" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9265" PostTypeId="1" CreationDate="2013-10-25T14:46:57.517" Score="3" ViewCount="1034" Body="&lt;p&gt;Using Magic Lantern on a 600D. With Follow Focus and Rack Focus, the camera always misses the focus point I set. Sometimes it's just one or two movements too far but it's always too many. And if you focus back and forth a lot it drifts further and further. I've tried various settings and both a Canon 50mm f/1.8 as well as a Canon EFS 18-55mm f/3.5 (maybe slightly better).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there something wrong with my lenses? Or camera? Or is this normal?&lt;/p&gt;&#xA;" OwnerUserId="4898" LastActivityDate="2013-11-24T16:21:12.787" Title="Magic Lantern follow focus" Tags="|focus|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9266" PostTypeId="2" ParentId="9265" CreationDate="2013-10-25T15:12:13.277" Score="1" Body="&lt;p&gt;The problem is that cheap lenses (and even some expensive ones) do not know where the focus ring is actually positioned. They only know if they are in focus and which way to run the motor to get more in focus. For focusing, they don't generally need access to this kind of information because they get feedback via the AF sensor about if they need to keep going.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When shooting video, the PDAF sensor is covered and the only way to verify positioning is to continue until contrast decreases. This is why you get the focus hunting issue with contrast based auto focus such as what is used on most LiveView modes (unless the camera has a hybrid sensor that includes PDAF pixels.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What Magic Lantern is probably doing to get around this is running the motor for a fixed amount of time to approximate the movement, but in cheaper lenses, the motors are particularly imprecise, so it is going to often miss the mark. There might also be an option to have it use CBAF for confirmation, but that will result in at least a minimal amount of focus hunting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's still no real software fix for what is really a matter of needing to be able to move from position A to position B exactly unless you have a lens that actually provides exact position information back to the camera (in which case, this information may be able to be used by Magic Lantern for giving an exact follow or rack.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-25T15:12:13.277" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9271" PostTypeId="1" CreationDate="2013-10-27T12:30:50.413" Score="0" ViewCount="31" Body="&lt;p&gt;Whats the name of transition where the new image slides left to right over the old?&lt;/p&gt;&#xA;" OwnerUserId="4618" LastEditorUserId="2836" LastEditDate="2013-10-28T16:22:33.070" LastActivityDate="2013-10-28T16:22:57.493" Title="What is the name of the transition where the new image slides left to right over the old?" Tags="|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9272" PostTypeId="2" ParentId="9271" CreationDate="2013-10-27T12:42:15.213" Score="3" Body="&lt;p&gt;This transition is called a Wipe.&lt;/p&gt;&#xA;" OwnerUserId="4618" LastEditorUserId="2836" LastEditDate="2013-10-28T16:22:57.493" LastActivityDate="2013-10-28T16:22:57.493" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9276" PostTypeId="1" AcceptedAnswerId="9281" CreationDate="2013-10-28T02:12:05.880" Score="3" ViewCount="190" Body="&lt;p&gt;I want to become a freelance video editor. I love editing video and have done a couple of projects.  My question is:  If I learned Adobe Premiere, should it be enough to get work done?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What should I learn in this program to get started as a professional?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any other software, besides Premiere, that I should learn?&lt;/p&gt;&#xA;" OwnerUserId="4912" LastEditorUserId="3592" LastEditDate="2014-07-08T14:55:47.843" LastActivityDate="2014-07-08T14:55:47.843" Title="How can I become a video editor with Adobe Premiere?" Tags="|video-editor|premiere|learning-resources|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9277" PostTypeId="2" ParentId="9057" CreationDate="2013-10-28T04:04:51.820" Score="0" Body="&lt;p&gt;I use &lt;a href=&quot;http://www.digitalrebellion.com/cutnotes/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Cut Notes&lt;/a&gt; &lt;strong&gt;(warning, paywall)&lt;/strong&gt; application for iPad.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Long story short,&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Define your own &quot;events&quot;, grouped by category &lt;img src=&quot;https://i.stack.imgur.com/d3zwg.jpg&quot; alt=&quot;Events&quot;&gt;  &lt;/li&gt;&#xA;&lt;li&gt;During recording or playback, click the buttons, and they are recorded along with the timeline;&lt;/li&gt;&#xA;&lt;li&gt;Export the data into your favorite post-mastering application or just into a plain text: &lt;img src=&quot;https://i.stack.imgur.com/8sF5M.jpg&quot; alt=&quot;Timeline&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;Since the projects are editable, it's easy to take your &lt;em&gt;initial&lt;/em&gt; notes while recording and improve them during further previews.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;http://www.youtube.com/watch?v=MnyyITl6PbM&quot; rel=&quot;nofollow noreferrer&quot;&gt;Cut Notes Overview video&lt;/a&gt; on Youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm pretty sure there are also a plenty of free apps available as well as apps for other platforms like Android.&lt;/p&gt;&#xA;" OwnerUserId="2365" LastActivityDate="2013-10-28T04:04:51.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9278" PostTypeId="1" AcceptedAnswerId="9280" CreationDate="2013-10-28T12:08:04.563" Score="2" ViewCount="81" Body="&lt;p&gt;&lt;a href=&quot;https://prismic.io/&quot; rel=&quot;nofollow&quot;&gt;https://prismic.io/&lt;/a&gt; - has a very nice explainer video and I was wondering how they made the nice &quot;tilted&quot; sliding effect on the screencast video? Also... how are they making the video being focused on the center, but blurry on the sides?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know it's probably a bit of a noob question, but I'm still relatively new to AE.&lt;/p&gt;&#xA;" OwnerUserId="4914" LastEditorUserId="2836" LastEditDate="2013-10-28T16:12:42.890" LastActivityDate="2013-10-28T16:15:32.230" Title="How did they make the nice moving shots in this video?" Tags="|editing|after-effects|effects|special-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9279" PostTypeId="2" ParentId="9276" CreationDate="2013-10-28T14:39:47.033" Score="4" Body="&lt;p&gt;Premiere is simply a tool. While learning how to use it will give you some experience and you can experiment to find out techniques, it will not teach you how to be a video editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Same with the other video editors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to become a professional video editor, there are college courses in this, some lasting 3 years or more, which will give you techniques, skills, training etc in concepts, the mental and artistic processes you will require etc., as well as training you in the tools.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2013-10-28T14:39:47.033" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9280" PostTypeId="2" ParentId="9278" CreationDate="2013-10-28T16:15:32.230" Score="1" Body="&lt;p&gt;It's two very basic tools in After Effects.  The first is simply either a perspective correction or a 3d transform depending on which way you want to do it coupled with an x/y movement across the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also a few different ways you can approach the blur such as using a layer as the basis of the amount of blur and using a mask or using a filter that supports a blur that changes with the distance from center (I think there is a built in filter to do this under the blur filters, but if not, I'm sure there are third party ones.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-28T16:15:32.230" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9281" PostTypeId="2" ParentId="9276" CreationDate="2013-10-28T16:20:53.767" Score="2" Body="&lt;p&gt;Learning a software package will not make you an editor.  Learning to be an editor will make you an editor.  One of the most valuable experiences I actually had when developing my skills as an editors was when my High School video production teacher forced us to start on a reel to reel tape deck based linear editor.  I'd been working with NLEs (non-linear editors) such as Premiere and Final Cut Pro for a while at that point, but working with a linear editor where I couldn't just drag and drop forced me to plan my edits and think about how I wanted to tell a story.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Editing isn't about how to use a tool, it is about how to tell a story.  It's about how to make something visually interesting that flows and keeps the viewer engaged.  It has NOTHING at all to do with knowing how to use a tool, and knowing how to use a tool will not make you a better editor.  If you want to learn about being a video editor, I recommend starting with books on how to edit.  If it's something you really want to get into, there are college programs that specialize in editing that you can use or if you are more of a self starter, you can try to find an editor in your area that might be willing to take you under their wing for helping out with doing some of the more gruntish work in video editing.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-28T16:20:53.767" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9282" PostTypeId="5" CreationDate="2013-10-28T16:26:30.007" Score="0" Body="&lt;p&gt;A transition is a technique used to switch from one source to another.  It can be an audio transition or a video transition or both.  It is and editing element used to either smooth or draw attention to the change of the source being used.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-10-28T16:26:30.007" LastActivityDate="2013-10-28T16:26:30.007" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9283" PostTypeId="4" CreationDate="2013-10-28T16:26:30.007" Score="0" Body="A transition is a technique used to switch from one source to another." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-10-28T16:26:30.007" LastActivityDate="2013-10-28T16:26:30.007" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9285" PostTypeId="2" ParentId="8305" CreationDate="2013-10-29T11:59:02.260" Score="0" Body="&lt;p&gt;If you need something less complicated try rec, which is mine :) &lt;a href=&quot;https://sites.google.com/site/joopeter/&quot; rel=&quot;nofollow&quot;&gt;https://sites.google.com/site/joopeter/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also free, lossless but more efficient and accurate!&lt;/p&gt;&#xA;" OwnerUserId="4919" LastActivityDate="2013-10-29T11:59:02.260" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9286" PostTypeId="2" ParentId="3324" CreationDate="2013-10-29T12:01:15.987" Score="0" Body="&lt;p&gt;If you need something less complicated try rec, which is mine :)&#xA;&lt;a href=&quot;https://sites.google.com/site/joopeter/&quot; rel=&quot;nofollow&quot;&gt;https://sites.google.com/site/joopeter/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also free, lossless but more efficient and accurate!&lt;/p&gt;&#xA;" OwnerUserId="4919" LastActivityDate="2013-10-29T12:01:15.987" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9287" PostTypeId="1" CreationDate="2013-10-29T14:20:45.650" Score="1" ViewCount="699" Body="&lt;p&gt;Can anyone explain in detail the difference between Refresh rate and Flicker rate in a CRT ? &lt;/p&gt;&#xA;" OwnerUserId="4920" LastActivityDate="2015-04-29T15:46:28.530" Title="What is the difference between Refresh Rate and Flicker Rate?" Tags="|video|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9288" PostTypeId="2" ParentId="9287" CreationDate="2013-10-29T19:55:20.797" Score="3" Body="&lt;p&gt;In the context of a CRT vs. flat panel, that is a Cathode Ray (vacuum) Tube, you have to consider the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Video sync as broken down to Vertical and Horizontal scan rates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Phosphor persistence (the length of time the phosphor coating on the inside of the CRT will glow). &quot;Phosphors are available with persistences ranging from less than one microsecond to several seconds.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Cathode_ray_tube&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/Cathode_ray_tube&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These two factors will determine the overall picture quality with regard to time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Refresh rate would be best explained as vertical frames per second, for NTSC it is 60 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Flicker rate includes the refresh rate plus factoring in the persistence of the phosphor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Long persistent phosphors were employed in radar screens and O'Scopes as to allow objects to last longer on the screen while shorter persistent phosphors were employed in most consumer TVs to reduce motion blur.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Flicker occurs on CRTs when they are driven at a low refresh rate, allowing the brightness to drop for time intervals sufficiently long to be noticed by a human eye...&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Flicker_(screen)&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/Flicker_(screen)&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2013-10-29T20:56:43.610" LastActivityDate="2013-10-29T20:56:43.610" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="9291" PostTypeId="2" ParentId="9245" CreationDate="2013-10-31T07:02:59.367" Score="0" Body="&lt;p&gt;I researched on net and found that it's very to add subtitle to any &lt;code&gt;.avi&lt;/code&gt; file format. Here is a link for a site called &lt;a href=&quot;http://www.any-video-converter.com/add-srt-subtitle-to-output-video.php&quot; rel=&quot;nofollow&quot;&gt;Any Video Converter&lt;/a&gt; where an example has been given that How to create &lt;code&gt;.srt&lt;/code&gt; file for Subtitles?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For quick view, below I am specifying format for Subtitle file (.srt)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;1&#xA;00:00:03,000 --&amp;gt; 00:00:07,000&#xA;Hi Friends, This is First Track&#xA;&#xA;2&#xA;00:00:14,000 --&amp;gt; 00:00:17,000&#xA;Second Track goes here&#xA;&#xA;3&#xA;00:00:18,000 --&amp;gt; 00:00:22,000&#xA;Third Track goes here&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So, we have to just follow this format. There should be a new line between each track. That's it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;00:00:18,000&lt;/code&gt; is format of &lt;code&gt;hh:mm:ss:ms&lt;/code&gt;. So it's pretty simple.&lt;/p&gt;&#xA;" OwnerUserId="3931" LastActivityDate="2013-10-31T07:02:59.367" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9292" PostTypeId="1" CreationDate="2013-10-31T09:35:26.340" Score="3" ViewCount="153" Body="&lt;p&gt;I run a small travel company in a remote Himalayan region. We are very much interested to shoot some interesting films of your trips and adventures. As our budget is low (somewhere around $200 to $300, what would be the best camera to buy which can give us professional HD quality videos. We have been checking out GoPro but are confused if a proper camcorder would be better option. Would appreciate if someone can help with the best buy for our project.&lt;/p&gt;&#xA;" OwnerUserId="4924" LastActivityDate="2014-01-29T15:14:18.967" Title="Which low budget video camera would be appropriate for making travel/advenutre short films?" Tags="|video|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9294" PostTypeId="2" ParentId="9292" CreationDate="2013-10-31T13:49:36.893" Score="1" Body="&lt;p&gt;For your budget and situation, GoPro is probably the best bet as it is exceptionally light and a good value for the money.  It doesn't have a variable length lens, so it can be a little limiting in shot composition, but you won't get the same video quality, weight and durability in any other camera for the same price.  That's why they are the market leader in that segment.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most other cameras that are that cheap sacrifice either quality and durability or size for more versatility and consumer friendly features, but at that low of a price point, there isn't enough budget for making the device to keep much of any quality with any kind of versatility.  (As an example, an optical zoom lens of decent quality would probably take 1/4 to 1/3 of the budget of a camera in the price range you are looking for.  That doesn't leave much for sensor and processing electronics.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-10-31T13:49:36.893" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9299" PostTypeId="1" AcceptedAnswerId="9300" CreationDate="2013-11-02T01:08:06.677" Score="2" ViewCount="2744" Body="&lt;p&gt;We have records from 30 cameras (couple TBs of video files), which were started almost simultaneously, part of them were action cameras (so no timecode here, and there are gaps because of battery replacement), other part were usual hd cameras with time codes embeded to video files.&#xA;All video is 1080p25.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We need to sync all videos together, and then render all 30 sequences after color correction and cutting.I have tried adobe premiere cc, but is was real pain, especially rendering with crushes and other glitches.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any alternative for Premiere?&#xA;We have quite recent workstations running windows 7 with consumer video cards (both ati 7970 and nvidia 680 are available), so it will be great if software can do distributed rendering and use gpu. We also have couple of 2 year mac pro, so osx only software can also be of use.&lt;/p&gt;&#xA;" OwnerUserId="4931" LastActivityDate="2016-06-07T02:13:30.920" Title="best software for multicam video production" Tags="|software-recommendation|" AnswerCount="6" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="9300" PostTypeId="2" ParentId="9299" CreationDate="2013-11-02T01:28:09.323" Score="2" Body="&lt;p&gt;Premiere is your best option unless you plan on spending a boatload (thousands and thousands) on an Avid system.  I'd suggest working on smaller sets of cameras at a time and then working off the combined feeds.  You can use multicamera editing mode with several cameras at a time, make the best choices out of those and then run each of those sequences in to another multicamera sequence to further resolve them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The process is going to kind of suck no matter what system you do it on because it is a boatload of synchronous footage to go through.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-02T01:28:09.323" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9304" PostTypeId="2" ParentId="9299" CreationDate="2013-11-02T21:28:32.550" Score="-1" Body="&lt;p&gt;You can also try Sony Vegas Pro (only Windows). It has good multicam features&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2013-11-02T21:28:32.550" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9306" PostTypeId="1" CreationDate="2013-11-03T16:54:29.757" Score="0" ViewCount="88" Body="&lt;p&gt;Hi I have an interesting task I want to achieve. I currently manage a website that acts as a tracking system for a popular piece of flight simulation software. Currently we take a dump of the lat/lon and other data of everybody flying every 5 minutes. This has been done constantly for the past two years. There is close to a million records now in the database.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I would really like to produce is a video of the world showing these lines being drawn in a sped-up fashion however this isn't really my area and I can't think of the best way I could go about this in such a programatic fashion. I've seen similar types of videos done before but has anyone got any ideas of what routes I could go down to make this visualisation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&#xA;Rory&lt;/p&gt;&#xA;" OwnerUserId="4941" LastActivityDate="2014-07-11T21:13:40.490" Title="Visualising geo data on a map" Tags="|video|software-recommendation|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9307" PostTypeId="2" ParentId="8332" CreationDate="2013-11-03T22:58:14.300" Score="1" Body="&lt;p&gt;The easiest way is to use &lt;strong&gt;&lt;a href=&quot;http://helpx.adobe.com/after-effects/using/alpha-channels-masks-mattes.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Track Mattes&lt;/a&gt;&lt;/strong&gt;. This will let you use one layer to automatically 'mask' another layer without the need for manual masking. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take your &lt;code&gt;square adjustment layer&lt;/code&gt; and make any effect changes you want, then create a new adjustment layer (make sure its comp size to fit fully over the video). Place this new layer (&lt;code&gt;background adjustment layer&lt;/code&gt;) below your &lt;code&gt;screen adjustment layer&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select the background adjustment layer and set the &lt;strong&gt;Track Matte to &lt;code&gt;Alpha Inverted&lt;/code&gt;&lt;/strong&gt;. This action will turn automatically turn off the visibility of the top layer which is normally the desired effect, but in this case we want to turn it back on. You should end up with a layer panel looking something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/myS3i.png&quot; alt=&quot;Sample Layer Order&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What this has done is the background adjustment layer is using the screen adjustment layer as a window. So wherever the screen layer is, the background layer wont be visible. &lt;/p&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2013-11-03T22:58:14.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9308" PostTypeId="2" ParentId="8605" CreationDate="2013-11-03T23:01:17.407" Score="1" Body="&lt;p&gt;There are three reasons I can think of:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The file is (as Andrew suggested) offline. &lt;/li&gt;&#xA;&lt;li&gt;The JPEG doesnt have a .jpeg extention (final cut has problems with files that are missing their extension)&lt;/li&gt;&#xA;&lt;li&gt;The JPEG resolution is too large. Try sizing the resolution down to under 2000x2000&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2197" LastActivityDate="2013-11-03T23:01:17.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9312" PostTypeId="1" AcceptedAnswerId="9971" CreationDate="2013-11-04T05:32:53.697" Score="1" ViewCount="1572" Body="&lt;p&gt;I want to make an interlaced video with 50fps into a 25fps progressive, in the process i'm also reducing the size of the frame. Currently i am using avconv and there are deinterlacing options, however, they are not documented. So what i am afraid of is that they will actually start bleeding information i am trying to drop into the frames that i am trying to keep.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only tool that i have found, that does a documented drop of even/odd frames is a plugin for AVIDemux, which unfortunately does not export into Ogg or even encode into Theora. When i attempt to dump into Huff codec (to not introduce quality loss due to reencoding) it demands that i split files at 4 GiB. So i can only use it for small videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there another tool that can help me?&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="4943" LastEditDate="2014-01-07T16:39:42.300" LastActivityDate="2019-07-18T06:43:08.287" Title="Deinterlace by dropping even lines from command line" Tags="|video|libav|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9313" PostTypeId="1" CreationDate="2013-11-04T05:56:16.170" Score="3" ViewCount="46" Body="&lt;p&gt;The goal is to release the work anonymously, but not into the public domain or as CC0, but rather under the Share-Alike licence. However, most of the licences require reusers to identify the original creator of the work, which they will be unable to do.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2013-11-04T13:56:57.237" Title="How to release the work anonymously under the free licence?" Tags="|legal|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9314" PostTypeId="1" CreationDate="2013-11-04T10:10:43.067" Score="2" ViewCount="575" Body="&lt;p&gt;I have 30 sequences which are syncronized to start at same time (different cameras of one sport event). Those sequences are couple of hours length. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to render some segments of all sequences, lets say  0:10:00 to 0:30:00 and 1:10:00 to 1:30:00. How to do it efficently? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to set time range in media encoder, range settings apply only to one encoding task, not to all selected ones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way known for me is to create 60 more sequences and trim them to length, then export to media encoder and render, but there must be easier way!&lt;/p&gt;&#xA;" OwnerUserId="4931" LastActivityDate="2022-09-24T08:49:56.957" Title="how to trim and render multiple sequences in premiere" Tags="|editing|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9316" PostTypeId="2" ParentId="9313" CreationDate="2013-11-04T13:56:57.237" Score="3" Body="&lt;p&gt;The route that most people take, is to release it 'pseudonymously' rather than anonymously. So you just make up a pseudonym and use that in the copyright/licence statement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A better approach may be to use the little-known CC-SA 1.0 licence, which was unfortunately retired by Creative Commons due to it not being used a lot. This licence requires a reuser to publish their altered versions with the same freedoms, but does not place the requirement to find out who was the original author.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2013-11-04T13:56:57.237" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9317" PostTypeId="2" ParentId="9314" CreationDate="2013-11-04T14:22:05.860" Score="1" Body="&lt;p&gt;I would honestly probably just punch in the range settings for each of the renders separately in Adobe Media Encoder.  It's likely the easiest way to go about it.  It's not that long or hard of a process to punch in start and end times for 30 clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only other remote possibility (I don't think it will work though) would be to see if you can make a preset for the times to be rendered.  You could then apply that preset, but I don't think that information can be stored in a preset. (I don't have Adobe Media Encoder in front of me at the moment.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-04T14:22:05.860" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9322" PostTypeId="1" CreationDate="2013-11-06T05:43:02.417" Score="1" ViewCount="669" Body="&lt;p&gt;Wirecast 4.3.1 (Telestream) on OS X 10.9&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After launching Wirecast, I select &quot;Broadcast Settings&quot; --&gt; Authenticate.&#xA;Upon selecting my Youtube account and accepting the conditions, Wirecast crashes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know a solution to this problem?&#xA;I tried to re-install the application but the problem persists.&lt;/p&gt;&#xA;" OwnerUserId="4952" LastEditorUserId="95" LastEditDate="2014-02-07T23:32:26.260" LastActivityDate="2014-02-07T23:32:26.260" Title="Wirecast crashes when I attempt to authenticate to Youtube account" Tags="|youtube|broadcasting|osx|webvideos|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9323" PostTypeId="2" ParentId="9097" CreationDate="2013-11-06T08:45:55.870" Score="0" Body="&lt;p&gt;The simplest way i suggest is to blur the background with video editor after shot by your recorder. It's not hard to operate, check this tutorial about  &lt;a href=&quot;http://www.youtube.com/watch?v=L1gqlvSukog&quot; rel=&quot;nofollow&quot;&gt;How to blur Something out in a picture or video with Adobe photoshop&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4954" LastActivityDate="2013-11-06T08:45:55.870" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9324" PostTypeId="2" ParentId="8988" CreationDate="2013-11-06T09:07:35.163" Score="-1" Body="&lt;p&gt;1, Download this picture&#xA;2, Search it in images.google.com via uploading image&#xA;3, Filtered the result with the right image&#xA;After i've done above, i found there is a related youtube video which may help you. Check the screenshot below.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/rvuUF.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4954" LastActivityDate="2013-11-06T09:07:35.163" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9325" PostTypeId="2" ParentId="8860" CreationDate="2013-11-06T09:12:26.337" Score="-1" Body="&lt;p&gt;Check the supported video formats of Adobe Premiere &lt;a href=&quot;http://www.adobe.com/hk_en/products/premiere/extend.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;. And i don't think it would loss some video quality because it's very powerful and professional, that's one of the reasons why people like to spend such much money for it.&lt;/p&gt;&#xA;" OwnerUserId="4954" LastActivityDate="2013-11-06T09:12:26.337" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9328" PostTypeId="1" AcceptedAnswerId="9329" CreationDate="2013-11-06T15:49:17.603" Score="7" ViewCount="28208" Body="&lt;p&gt;Using After Effects expressions, I can create a color reference by pick-whipping a color control and the result is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var rgb = rgbToHsl(effect(&quot;Color Control&quot;)(&quot;Color&quot;));&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But, I want to avoid using a color control, and simply instantiate a color through code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var rgb = rgbToHsl([159,27,41,1]);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;...but this doesn't seem to work.  Is it possible?&lt;/p&gt;&#xA;" OwnerUserId="4957" OwnerDisplayName="itsmikem" LastEditorUserId="4957" LastEditDate="2013-11-06T19:05:05.310" LastActivityDate="2013-11-07T19:56:01.590" Title="After Effects: how to create a color via expressions" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9329" PostTypeId="2" ParentId="9328" CreationDate="2013-11-07T00:25:47.143" Score="6" Body="&lt;p&gt;From what I'm reading, it looks like it may just be [R,G,B] where each value is a floating point number between 0 and 1.  I'm looking in the &lt;a href=&quot;http://blogs.adobe.com/aftereffects/files/2012/06/After-Effects-CS6-Scripting-Guide.pdf?file=2012/06/After-Effects-CS6-Scripting-Guide.pdf&quot; rel=&quot;noreferrer&quot;&gt;Adobe After Effects Scripting Guide&lt;/a&gt;.  Every method I can find that accepts a color value simply uses an array like that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: While certain scripting methods take a 3 parameter RGB value, other expressions require RGBA or HSLA.  In these cases, there will be a forth parameter for Alpha (ie, transparency) where 1 is fully opaque (a good default value) and 0 is fully transparent.  If you get an error with one format, I suggest trying the other and if you get unexpected values, check if the input expects HSL or RGB.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-11-07T19:56:01.590" LastActivityDate="2013-11-07T19:56:01.590" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9330" PostTypeId="1" CreationDate="2013-11-07T00:34:54.427" Score="1" ViewCount="570" Body="&lt;p&gt;I just got a video file in my email that we want to use on our website.  However, the entire thing is inverted so the people are walking on the ceiling.  Is there any software that I can use to reverse this?  The file is a .mov if that makes a difference.&lt;/p&gt;&#xA;" OwnerDisplayName="user4959" LastActivityDate="2017-04-21T08:52:06.037" Title="Video file is inverted. Can it be fixed?" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9331" PostTypeId="2" ParentId="9330" CreationDate="2013-11-07T00:44:20.540" Score="4" Body="&lt;p&gt;Use &lt;a href=&quot;http://www.ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;. It's the swiss army knife for video converting/editing.  Once it's installed, enter the following command on the command line: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -vf &quot;vflip&quot; output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Look at following answer: &lt;a href=&quot;https://superuser.com/questions/578321/how-to-flip-a-video-180-vertical-upside-down-with-ffmpeg&quot;&gt;https://superuser.com/questions/578321/how-to-flip-a-video-180-vertical-upside-down-with-ffmpeg&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4046" LastEditorUserId="-1" LastEditDate="2017-03-20T10:04:28.637" LastActivityDate="2013-11-08T08:36:57.710" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9332" PostTypeId="2" ParentId="8988" CreationDate="2013-11-07T02:40:42.463" Score="2" Body="&lt;p&gt;The software used here is &lt;a href=&quot;https://itunes.apple.com/en/app/imovie/id377298193&quot; rel=&quot;nofollow noreferrer&quot;&gt;iMovie&lt;/a&gt; using a built-in &lt;em&gt;theme&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This &lt;a href=&quot;http://appsopinion.com/other/imovie-make-wonderful-movies-with-your-ios-device/&quot; rel=&quot;nofollow noreferrer&quot;&gt;link advertise&lt;/a&gt; for it and uses this theme as one of the selling images:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/eE0Hd.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2013-11-07T02:40:42.463" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9336" PostTypeId="1" CreationDate="2013-11-07T12:01:56.603" Score="3" ViewCount="54" Body="&lt;p&gt;I still like CDs, buy one from a shop and slip it into my car, easy - no encoding, file transfers etc etc...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CD-TEXT has been around for a LONG time, but I have only ever come across 1 or 2 albums / singles where the producer bothers to put the CD-TEXT data on the disk. &#xA;Given that it is a simple, open and free thing to do, and nearly all CD players (home and car) support displaying of CD-TEXT data, why is it not more widely used?&lt;/p&gt;&#xA;" OwnerUserId="3358" LastActivityDate="2013-11-07T14:24:42.837" Title="Why to music producers not bother with CD-TEXT" Tags="|audio-cd|" AnswerCount="1" CommentCount="2" ClosedDate="2014-01-14T21:20:18.320" ContentLicense="CC BY-SA 3.0" />
  <row Id="9337" PostTypeId="2" ParentId="9336" CreationDate="2013-11-07T14:24:42.837" Score="2" Body="&lt;p&gt;The only answers I could quickly find are that they either don't think about it, don't want to have to deal with clients that supplied incorrect track information, have a duplication house who's software can't support it (apparently there are some errors in one of the major pieces of software used by duplication companies) or think that the CD-TEXT data can result in a slightly slower cue time on the CD.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-07T14:24:42.837" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9338" PostTypeId="2" ParentId="9328" CreationDate="2013-11-07T15:03:50.620" Score="2" Body="&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; I'm new to this exchange, and I posted this to the graphic design exchange, but my question got migrated here. I thought it had been deleted, so I proceeded to post it on Creative Cow.  I got a great answer there, and I'd like to give credit to Kevin Camp, who &lt;a href=&quot;http://forums.creativecow.net/readpost/227/25506&quot; rel=&quot;nofollow&quot;&gt;answered it perfectly&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;your rgb values need to be in values 0-1 rather than 0-255. so if you want to stick with entering 0-255 values you just need to divide that array by 255...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var myColor = rgbToHsl([159,27,41,255]/255);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;note, i did assume that you wante the alpha component to be full (255) not 1. if i guessed wrong, change the alpha back to 1.&lt;/p&gt;&#xA;" OwnerUserId="4957" LastActivityDate="2013-11-07T15:03:50.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9339" PostTypeId="1" CreationDate="2013-11-07T15:13:21.980" Score="3" ViewCount="18343" Body="&lt;p&gt;Is there a way to mask brush strokes like you can with a pen?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At present, Im using a pen to create a mask then generate a stroke (Effects&gt;Generate&gt;Stroke). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then use reveal putting a keyframe on the end of the effect to reveal the comp following the pen's stroke if that makes sense.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to use the same type of effect by revealing a larger background image, but the stroke's maximum width using the above technique is 50 which is not big enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From what i understand, brush strokes are vectors in AE so is the same type of thing possible using a brush to create a mask?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks&lt;/p&gt;&#xA;" OwnerUserId="4960" LastActivityDate="2014-02-19T21:42:58.620" Title="AE : Using a drawn brush as a mask" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9340" PostTypeId="1" AcceptedAnswerId="9352" CreationDate="2013-11-08T00:10:07.420" Score="1" ViewCount="3959" Body="&lt;p&gt;I'm a newbie to AE so there's probably a simple answer to this. So I've imported some art from illustrator and dropped in on the stage. I then &lt;code&gt;Create shapes from vector layer&lt;/code&gt;. Then I apply the effect &lt;code&gt;CC Slant&lt;/code&gt; under the Distort menu under Effects and give the slant a value of 50.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/5RVMl.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking good. Until I move it to the edge of the stage and then the artwork gets cropped. Notice how only the &quot;mple&quot; of &quot;Example&quot; are visible:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/NV8z2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even after rendering the movie (with the position changing from center stage to left stage while slanted), the problem persists. I have tried re-importing my artwork, and applying the slant effect while the artwork is in different positions on the stage to no avail. I've also tried other effects like the warp effect, and the same thing happens. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to keep the artwork from getting cropped on the edge of the stage?&lt;/p&gt;&#xA;" OwnerUserId="4899" LastActivityDate="2015-07-27T07:36:15.347" Title="After Effects CC slant effect crops artwork" Tags="|after-effects|" AnswerCount="3" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="9341" PostTypeId="2" ParentId="9312" CreationDate="2013-11-08T00:17:11.017" Score="0" Body="&lt;p&gt;You could use ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf framestep=2 output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will output every second frame.&lt;/p&gt;&#xA;" OwnerUserId="4519" LastActivityDate="2013-11-08T00:17:11.017" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9342" PostTypeId="1" AcceptedAnswerId="9351" CreationDate="2013-11-08T04:49:10.357" Score="1" ViewCount="200" Body="&lt;p&gt;For the last 24 hours I've been waiting for some files from a Sony camera (about 60Gb) to convert to MP4. I'm thinking there must be some other way to speed this up. I'd much rather go for a purpose-built piece of hardware rather than trust CUDA or ATI as these options have failed miserably (I have both ATI and NVIDIA cards and it seems the software simply ignores them).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, what are my options for hardware transcoding?&lt;/p&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2013-12-10T02:20:20.060" Title="What options are there for hardware encoding/decoding?" Tags="|hardware|encoding|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9345" PostTypeId="2" ParentId="9342" CreationDate="2013-11-08T13:27:17.930" Score="2" Body="&lt;p&gt;I'm sure there are dedicated MP4 encoders out there, maybe someone else has better info. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I've had good results using &lt;a href=&quot;http://www.any-video-converter.com/&quot; rel=&quot;nofollow&quot;&gt;AVC Ultimate&lt;/a&gt;, which takes advantage of CUDA on an NVIDIA card to speed up MP4 processing, to about double the rate I get without it. There's a free version, but I can't remember if the CUDA option is available in that -- I've used the paid version for quite a while.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-11-08T13:27:17.930" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9351" PostTypeId="2" ParentId="9342" CreationDate="2013-11-08T18:24:12.283" Score="1" Body="&lt;p&gt;While this is borderline a product recommendation question, there is an entire class of hardware encoders that support h.264.  The cheapest ones I know of are made by Black Magic Design.  Matrox also makes some pretty affordable ones.  Be aware you are still talking about a $200 - $500+ device for doing the real time encoding though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-08T18:24:12.283" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9352" PostTypeId="2" ParentId="9340" CreationDate="2013-11-08T19:17:28.490" Score="2" Body="&lt;p&gt;Depending on how you imported it, it is possible that it ended up nested as a nested composition or smart object.  If you applied the effect to the outer object but then dragged it within the inner object, you could end up dragging it off the edge of the outer object which would produce the result you are experiencing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Effectively, you would have an outer object that is tilted and an inner object that is going off the edge of the outer.  Thus, the outer object displays only the half of the object you see and then the skew gets applied (which makes the otherwise vertical clipping to be angled.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's the only thing that occurs to me as a possible cause.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even if that isn't it, a work around might be to put the original graphic in a composition and then apply the effect to the composition instead and then move the composition as you need.  This would probably work around whatever issue you are having here.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-08T19:17:28.490" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9356" PostTypeId="1" AcceptedAnswerId="9357" CreationDate="2013-11-09T12:13:48.547" Score="0" ViewCount="1199" Body="&lt;p&gt;I have shot a video with a handheld camera that uses auto white balance. Unfortunately, the auto white balance seems to have done more harm than good. The camera was readjusting the white balance every time when it was moved. The video ends up having many transitions from dark to bright then back to dark every few seconds throughout it. The video looks as though it was flickering in slow motion. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried adjusting the colour balance of the video in After Effects but because the white balance by the camera was on every frame, a linear colour balance correction doesn't seem to help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to correct this problem without having to retake all my shots?&lt;/p&gt;&#xA;" OwnerUserId="1194" LastEditorUserId="1194" LastEditDate="2013-11-09T12:28:40.390" LastActivityDate="2013-11-09T16:22:06.890" Title="Correcting video flicker problem caused by camera's auto white balance" Tags="|camera|color-correction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9357" PostTypeId="2" ParentId="9356" CreationDate="2013-11-09T16:22:06.890" Score="1" Body="&lt;p&gt;Probably not easily.  You might be able to try applying a better auto-white balance and hope for the best.  You could also manually adjust it repeatedly and adjust the interpolation between values (on the animation curves) but this is highly time consuming and still won't get as good of a result as reshooting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If reshooting is an option, it's going to probably be the quickest, easiest and best looking solution.  If not, then your stuck trying some very painful and time consuming adjustments.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-09T16:22:06.890" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9361" PostTypeId="1" CreationDate="2013-11-10T01:01:36.827" Score="8" ViewCount="2787" Body="&lt;p&gt;I have dozens of video files containing scenes of movement interspersed with 5-10 second periods of nothing happening (many identical frames in a row). There's no audio track and I'd like to strip the identical frames to remove those pauses and keep only the movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a (preferably free) tool to accomplish this?&lt;/p&gt;&#xA;" OwnerUserId="4975" LastActivityDate="2014-10-01T18:57:55.353" Title="How can I automatically remove pauses from a video?" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9365" PostTypeId="1" CreationDate="2013-11-10T07:30:05.863" Score="0" ViewCount="23256" Body="&lt;p&gt;I have &lt;code&gt;Canon 650 D&lt;/code&gt; which I use for &lt;code&gt;Video Shoots&lt;/code&gt; mostly,my question is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How Can I change the video format inside &lt;code&gt;camera setting&lt;/code&gt;? is there any possibility to do that ?&#xA;the reason because my Video editor doesn't support &lt;code&gt;.MOV&lt;/code&gt; files for which I have to convert it into different formats like &lt;code&gt;WMV&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I dont want to compromise with the quality of video&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Help me out! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="4285" LastEditorUserId="2836" LastEditDate="2014-03-05T17:29:04.753" LastActivityDate="2014-10-18T03:40:24.950" Title="How can I change the movie format from .MOV to .AVI in canon 650D" Tags="|video|file-formats|video-quality|dslr|canon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9367" PostTypeId="1" CreationDate="2013-11-10T10:57:32.030" Score="2" ViewCount="763" Body="&lt;p&gt;I have created a OGG file from a stream of jpegs using fmpeg within a c# application.  I would like to know if it is possible to add an image (of same size and resolution) at a later date to this ogg file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have spent some time looking but found not even the subject matter anywhere. I could extract all the images from the ogg file and recreate the ogg file form all the images but this seems a long way of doing things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible at all please? I would post code relevant if I had any.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks...&lt;/p&gt;&#xA;" OwnerUserId="4976" LastActivityDate="2013-11-10T14:47:17.617" Title="Adding image to a video file using ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9369" PostTypeId="2" ParentId="9367" CreationDate="2013-11-10T14:47:17.617" Score="1" Body="&lt;p&gt;According to Ogg specifications you can take two Ogg files and simply concatenate them together, so you can encode that single image as a single frame Ogg and then do the concatenation however you do that in your Operating System (you didn't state which one).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, while this is completely allowed by the standard, many players will have hard time playing such a file. Let's say you have two files that you concatenate, VLC, for example, will restart the time progress when it will get to the beginning of the second one, making it very difficult to control the position in the video. And some other players may completely freak out when they see that the file continues after it should have ended.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On GNU/Linux there is a oggCat inside libogg package, but i've had mixed success with it... sometimes it works, and sometimes it doesn't. And to the best of my knowledge it's written in C++, so you won't be able to directly use the code from it anyhow, but it may give you clues of how to make it work.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2013-11-10T14:47:17.617" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9370" PostTypeId="2" ParentId="2421" CreationDate="2013-11-10T15:07:16.997" Score="1" Body="&lt;p&gt;It's not the container that 'knows' that, it is a player. And it is a good question how it managed to find the file in the different directory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only thing that the container does to help the player to identify the blocks is storing the Previous UID and Next UID for the files. It also stores the UID for the current file. So my guess would be that you have a player with some sort of 'library' capability, the player has scanned your drive and recorded the UIDs of the MKV files that it found, it then encounters the Next UID field in a file that it's playing and it will know where to look for the next one.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2013-11-10T15:07:16.997" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9372" PostTypeId="1" CreationDate="2013-11-11T11:51:38.773" Score="0" ViewCount="49" Body="&lt;p&gt;I need a single application that can cut, split, flip and add subtitles in large numbers. Currently I use Freemake and Video to video to do this and it takes about 6 to 8 hours for 30 videos.  I'd like to be able to do it without needing multiple applications.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I run Windows 7 with a 3.2ghz AMD processor,Nvidia 460 SE graphics card and 8 gb Ram.&lt;/p&gt;&#xA;" OwnerUserId="4979" LastEditorUserId="2569" LastEditDate="2013-11-11T23:45:35.320" LastActivityDate="2013-11-11T23:45:35.320" Title="Single Aplication needed that can cut,split,Flip and add subtitles in large numbers" Tags="|video|editing|software-recommendation|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9373" PostTypeId="2" ParentId="5020" CreationDate="2013-11-11T11:54:58.400" Score="1" Body="&lt;p&gt;try Freemake (older version, latest adds a watermark) or video to video converter.Both have easy to use graphical interface.&lt;/p&gt;&#xA;" OwnerUserId="4979" LastActivityDate="2013-11-11T11:54:58.400" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9375" PostTypeId="2" ParentId="9361" CreationDate="2013-11-11T14:48:09.300" Score="6" Body="&lt;p&gt;This can be accomplished with the &lt;code&gt;mpdecimate&lt;/code&gt; filter in the free program ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &quot;in.mp4&quot; -vf &quot;mpdecimate&quot; &quot;out.mp4&quot;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="4975" LastActivityDate="2013-11-11T14:48:09.300" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9376" PostTypeId="2" ParentId="9365" CreationDate="2013-11-11T15:54:07.190" Score="3" Body="&lt;p&gt;It is likely not possible to change in camera.  For power and efficiency reasons, cameras generally use dedicated encoder hardware to encode the video in real time (this is why your camera can encode h.264 video live, but when you try to encode it on your PC, it takes longer, even though your computer is far FAR more powerful.)  The caveat of this is that there are a limited number of options for how it can store the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many Canon cameras record as an h.264 stream embedded in a MOV file.  While this isn't super convenient in your case, it also isn't the end of the world.  MOV and AVI are both simply container formats.  They store a particular type of stream within them that is based on a codec.  Since both MOV and AVI support an h.264 stream, you should be able to use a software package of your choice to take the h.264 stream out of an MOV container and store it in an AVI container and then your software should work fine with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe that QuickTime Pro offers a Save As option that will go to m4v or mp4 (which is more of a raw h.264 stream) if your editor supports either of those options.  It might support Save As an AVI as well, but my memory is a bit fussy on that since I haven't had to do such conversions in a while. (My editing software supports both.)  There are literally any number of other tools (including free ones) that can do the same thing as well.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-11T15:54:07.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9380" PostTypeId="1" CreationDate="2013-11-12T05:53:31.860" Score="2" ViewCount="7053" Body="&lt;p&gt;A few days ago I had a problem installing a video conferencing system, as I was unable to take the output of the codec display on a TV for some reasons. I was wondering could I have used the VGA port of the laptop as the display input just like that of a TV? If Yes how?&lt;/p&gt;&#xA;" OwnerUserId="4577" LastEditorUserId="4577" LastEditDate="2013-11-12T06:54:53.197" LastActivityDate="2013-11-13T01:27:15.583" Title="Can the VGA port of the laptop be used as input port?" Tags="|hardware|electronics|" AnswerCount="2" CommentCount="0" ClosedDate="2013-11-14T13:51:00.270" ContentLicense="CC BY-SA 3.0" />
  <row Id="9381" PostTypeId="2" ParentId="9380" CreationDate="2013-11-12T06:06:10.770" Score="3" Body="&lt;p&gt;No, VGA ports on a laptop are output only.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-12T06:06:10.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9384" PostTypeId="2" ParentId="4233" CreationDate="2013-11-12T07:18:33.640" Score="5" Body="&lt;p&gt;Q:Best Video Editor for Windows (Free)&#xA;A:  &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Windows Movie Maker&lt;/strong&gt;&#xA;Windows Movie Maker is a free video editing tool for Windows and users can make home movies by simple drag-and-drop. It contains features such as video effects, video transitions, adding titles/credits, audio track, timeline narration, and Auto Movie. What's more, new effects and transitions can be added and existing ones can be modified using XML code. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;VirtualDub&lt;/strong&gt;&#xA;VirtualDub is a powerful free video editing software for Windows with many amazing features, such as compression, video splitting, and the addition of audio tracks. As a free movie editing software, it has batch-processing capabilities for dealing with large numbers of files and can be extended with third-party video filters. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Wax&lt;/strong&gt;&#xA;Wax is a high performance and flexible video editing program which is good for both home users and professionals. It can be used as a stand-alone application, or as a plug-in to other video editors.However, its video editing functions are quite limited. If you want more advanced video editing features like Mosaic, Jump Cut, Flashhold, or need more transitional effects, picture-in-picture, titles, sound effects, you can turn to Wondershare Video Editor software, which make your video go to the next level. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Avidemux&lt;/strong&gt;&#xA;Avidemux is a free video editor designed for simple cutting, filtering and encoding tasks. It supports various file types, including AVI, DVD compatible MPEG files, MP4 and ASF, using a variety of codecs. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;FFMpeg&lt;/strong&gt;&#xA;FFmpeg is a paid video editing tool for Windows, but a collection of free software that can record, convert and stream digital audio and video, including libavcodec (a leading audio/video codec library), and libavformat (a leading audio/video container mux and demux library). &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Blender&lt;/strong&gt;&#xA;Blender is the free open source 3D content creation which supports all major operating systems under the GNU General Public License. Blender has many advanced features, such as modifier-based modeling tools, powerful character animation tools, a node-based material, etc. and is one of the best video editors for both Windows and Mac. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;ZS4 Video Editor&lt;/strong&gt;&#xA;ZS4 Video Editor is another great free video editing and compositing software that provides media experts with a facility to combine photos, videos and audio files into one or more output files. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Cinefx Jashaka&lt;/strong&gt;&#xA;Jahshaka is the first OpenSource Realtime Editing and Effects System in the world. With the power of OpenGL and OpenML, it gives users exceptional levels of performance. It currently supports Linux, OS X, Irix and Windows and is considered one of the best free video editor for Windows. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Zwei-Stein&lt;/strong&gt;&#xA;Zwei-Stein is a great free video editor featured with many video effects. It can edit up to 256 video, audio, and still image clips. But the user interface is very technical so many people find it hard to use. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Movica&lt;/strong&gt;&#xA;Movica uses some fine programs to edit your movies and receives good reputation. The keyboard shortcuts make video editing easier than ever. It's one of the best free video editor for Windows and fully supports WMV, FLV and MPG files. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Q: Top Mac Video Editor here (Free of course): &lt;a href=&quot;http://www.wondershare.com/video-editor/free-video-editing-software-mac.html&quot;&gt;http://www.wondershare.com/video-editor/free-video-editing-software-mac.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Don't tell me that i'm the affiliate of this company, actually i'm the contributor for that site, and those articles are wrote by me. And i wish i can help here. Thanks&lt;/p&gt;&#xA;" OwnerUserId="4954" LastActivityDate="2013-11-12T07:18:33.640" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9385" PostTypeId="2" ParentId="5307" CreationDate="2013-11-12T08:27:30.407" Score="1" Body="&lt;p&gt;I had the same problem recently and I found the program that helped me. It doesn't compare file names or calculate hashes. It compare real video content. It is not free, but if you haven't many duplicates, the trial version is enough. The link to the program is &lt;a href=&quot;http://duplicatevideosearch.com&quot; rel=&quot;nofollow&quot;&gt;http://duplicatevideosearch.com&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4983" LastActivityDate="2013-11-12T08:27:30.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9387" PostTypeId="1" AcceptedAnswerId="9388" CreationDate="2013-11-12T13:24:01.367" Score="0" ViewCount="82" Body="&lt;p&gt;Suppose that we have one video file in.mkv, which has two audio tracks, what is the most direct way to remux it into two separate mkv files with just one audio track?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Two streams is an example, the technique should work with 100 audio streams.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2013-11-12T20:36:28.510" Title="How to make a multi-audio video into several video files with one audio track each?" Tags="|file-formats|performance|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9388" PostTypeId="2" ParentId="9387" CreationDate="2013-11-12T13:24:01.367" Score="0" Body="&lt;p&gt;There are several ways to do that. The simplest, but not the best would be to run some sort of remuxing twice, each time taking just a single audio track. But since there is no re-encoding the speed will go down since the computer is forced to read the whole file twice (or more times if you have more audio tracks).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To accomplish the task with a single read using libav (ffmpeg will probably be the same):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i in.mkv -map 0:0 -map 0:1 -c:a copy -c:v copy out1.mkv -map 0:0 -map 0:2 -c:a copy -c:v copy out2.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It is probably also possible to do that with gstreamer.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="4943" LastEditDate="2013-11-12T20:36:28.510" LastActivityDate="2013-11-12T20:36:28.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9389" PostTypeId="1" AcceptedAnswerId="9396" CreationDate="2013-11-12T20:27:17.263" Score="1" ViewCount="57" Body="&lt;p&gt;Although I've read &lt;a href=&quot;https://video.stackexchange.com/about&quot;&gt;the about page&lt;/a&gt;, I'm not sure whether this question fits here. If it doesn't, please refer me to a better StackExchange website.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using a 5 year old laptop. Sometimes, when I play 720p videos, the video will hang for a few milliseconds and then continue playing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This doesn't really bother me, but it'd be nice if I could have smooth video playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've recently learnt about codecs, and I'm wondering whether I can reduce the workload at play time by converting the MP4 video stream to a MPEG video stream beforehand, or any other codec that doesn't use intrapolation. It would be cool if this would result in smoother playback.&lt;/p&gt;&#xA;" OwnerUserId="4984" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2013-11-12T22:29:41.043" Title="Can I get smoother playback by converting a video to a non-interpolation codec?" Tags="|conversion|codec|playback|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9391" PostTypeId="1" AcceptedAnswerId="9394" CreationDate="2013-11-12T21:33:44.477" Score="1" ViewCount="700" Body="&lt;p&gt;Unsure if this is the right &quot;sub-Stack Exchange&quot; for this question, however I've been unable to find a way to scroll a block of text up then reverse it and scroll down after similar to &quot;The Future of Publishing - by DK (UK)&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Weq_sHxghcg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or &quot;Lost Generation&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/42E2fAWM6rA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried with Movie Maker (I have a Windows 8 laptop) but if there's some other program that I can get this done with then I'm happy to try it out.&lt;/p&gt;&#xA;" OwnerUserId="4987" LastEditorUserId="4986" LastEditDate="2013-11-12T22:18:05.283" LastActivityDate="2013-11-12T22:18:51.297" Title="Scroll text up (like in credits) then reverse and scroll text down?" Tags="|video-editor|software-recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9392" PostTypeId="1" CreationDate="2013-11-12T22:08:42.117" Score="0" ViewCount="262" Body="&lt;p&gt;I'm working on a project with After Effects CS6. All videos I'm producing are quite similar to each other (both in terms of footage, montage, duration, resolution etc.). Currently it takes 6h to render (produce H264 file) 1h of 720p footage therefore &lt;strong&gt;rendering multiplier is 6&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm interested in approximate render time with upgraded configuration (with exact same software stack) in terms of rendering multiplier, or, in simpler terms - what would be my performance gain with new configuration? I'm not quite familiar how much CPU/RAM/GPU affects video rendering performance in After Effects so any help is appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it helps, I don't use any special effects or plugins, pretty much just overlaying some images and text on top of multiple videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Current configuration&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Core2Duo E6600 @ 2.40 GHz (Dual-Core, PassMark is &lt;code&gt;1,545&lt;/code&gt;)&lt;/li&gt;&#xA;&lt;li&gt;4 GB of RAM&lt;/li&gt;&#xA;&lt;li&gt;Nvidia GeForce 210 (512 MB)&lt;/li&gt;&#xA;&lt;li&gt;OCZ Vertex 4 SSD 128 GB&lt;/li&gt;&#xA;&lt;li&gt;Windows x64 with After Effects CS6&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Potential new configuration&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;i7 4770 @ 3.40 GHz (Quad-Core, PassMark is &lt;code&gt;9,966&lt;/code&gt;)&lt;/li&gt;&#xA;&lt;li&gt;16 GB or 32 GB of RAM&lt;/li&gt;&#xA;&lt;li&gt;Nvidia GeForce GTX 760 (2 GB)&lt;/li&gt;&#xA;&lt;li&gt;OCZ Vertex 4 SSD 128 GB&lt;/li&gt;&#xA;&lt;li&gt;Windows x64 with After Effects CS6&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="4988" LastActivityDate="2013-11-12T22:25:43.840" Title="Approximate render time in After Effects CS6" Tags="|video|after-effects|performance|" AnswerCount="1" CommentCount="2" ClosedDate="2013-11-14T13:50:33.923" ContentLicense="CC BY-SA 3.0" />
  <row Id="9394" PostTypeId="2" ParentId="9391" CreationDate="2013-11-12T22:18:51.297" Score="3" Body="&lt;p&gt;After Effects or just about any titling software should allow this easily.  You just need to make a layer with all the text on it (or even an image) then you simply need to apply a motion effect to scroll from the top to bottom, put a keyframe in the middle and then the keyframe at the end should bring it back.  This should produce exactly what you are looking for.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-12T22:18:51.297" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9395" PostTypeId="2" ParentId="9392" CreationDate="2013-11-12T22:25:43.840" Score="1" Body="&lt;p&gt;Sadly this isn't really answerable in an exact way.  There is simply too many variables at play.  How much motion is in your source and final videos as well as how computationally and memory dependent your effects that you are applying will all impact the overall performance.  Your best bet for getting an idea of the performance increase is to look at what is currently resource constrained on your system.  Are you maxing CPU usage, memory usage, graphics card processing or disk access?  Increasing whatever you are constrained by will produce a significant improvement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based on your current configuration though I can try to take a guess, you are really underpowered in pretty much all categories other than disk access.  Dual core 2.4 ghz with 4gb of ram and a low end 512mb graphics card is nothing when it comes to rendering.  I'm actually a bit surprised it manages an hour in 6 hours.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To give you an idea of a comparison, my computer is a 2.93 ghz original i7 with 12gb of ram, striped SSDs and a Radeon 6970 (which sadly can't make use of the CUDA support).  I can comfortably render clips that are higher than 1080p quality with 2 pass VBR compression in just over twice the runtime.  With the CUDA support on the GTX, you'd probably see even more of an improvement.  For your 720p case, I make no promises, but it wouldn't surprise me if it would run faster than real time.  (Not to mention the fact your experience just using the software will be infinitely better.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-12T22:25:43.840" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9396" PostTypeId="2" ParentId="9389" CreationDate="2013-11-12T22:29:41.043" Score="3" Body="&lt;p&gt;Many different factors can contribute to stutter in video playback.  It could be a CPU issue (check your CPU when playing the video) in which case, a simpler codec or a player that can leverage the graphics card for decoding would help.  It could also be data rate related though.  In this case, using a simpler format would actually compound the problem as less compressed formats (easier to decode) require proportionally more disk space to store the same quality.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are constrained by memory or disk I/O then you would actually make it stutter more by moving to a simpler format (and there would also be quality loss unless you made the file size much much higher due to loss of compression efficiency as well as a second generation encoding penalty.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-12T22:29:41.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9398" PostTypeId="2" ParentId="9380" CreationDate="2013-11-13T01:27:15.583" Score="2" Body="&lt;p&gt;To expand on AJ Henderson's answer, it would be extremely rare to find combined output/input ports for A/V on a computer, and certainly not combined input/output VGA. This is because the underlying technology to receive and process video is very different to that required to send it and uses high-frequency electronics which tend to be very picky about how they are laid out and connected. As a result adding both send and receive hardware to the same physical port is impractical, bordering on impossible. There are also implications of cost, naturally adding anything to a laptop that's not really needed by the majority of users will drive the price up, and nobody wants that!&lt;/p&gt;&#xA;" OwnerUserId="4968" LastActivityDate="2013-11-13T01:27:15.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9405" PostTypeId="1" CreationDate="2013-11-14T13:28:33.387" Score="2" ViewCount="307" Body="&lt;p&gt;How would I achieve the digital distortion effect seen in &lt;a href=&quot;http://www.vice.com/read/david-bowie-love-is-lost#ooid=w4eDY2aDoTd7peG4onC8zz_vAEJxzdct&quot; rel=&quot;nofollow noreferrer&quot;&gt;this David Bowie video&lt;/a&gt; from 6:20 to 7:10?  Is there a term for this effect to help guide future searches?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can't embed the video, so here's a screenshot&#xA;&lt;img src=&quot;https://i.stack.imgur.com/udAPn.jpg&quot; alt=&quot;Bowie Clip&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="2261" LastEditDate="2013-11-14T13:39:42.923" LastActivityDate="2013-12-17T02:52:01.850" Title="What software and technique would I use to achieve this effect?" Tags="|video|editing|effects|special-effects|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9406" PostTypeId="1" CreationDate="2013-11-14T18:12:57.017" Score="4" ViewCount="13119" Body="&lt;p&gt;I have a movie in AVI format from a toy helicopter that reports an corrupt or missing index but still plays in VLC very wide and short.  When I click Video -&gt; Aspect Ratio -&gt; 4:3 the file plays as it should, but I have to do this each time I open a file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video file info: Video: mjpeg, yuvj422p, 720x240, 59.94 fps, 59.94 tbr, 60 tbn&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video dimensions are 720x240 and according to the instructions the video should be 720x480&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking for suggestions for video conversion software that will allow me to change the aspect ratio.  I am using a Mac, but have access to Windows PC as well.  Freeware is preferred.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried Handbrake 0.9.9 on Mac, but I can't seem to find a method of increasing the vertical size beyond the original 240.&lt;/p&gt;&#xA;" OwnerUserId="4994" LastEditorUserId="4994" LastEditDate="2013-11-14T19:23:52.137" LastActivityDate="2022-08-14T19:12:25.770" Title="How to correct aspect ratio" Tags="|mac|osx|aspect|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9407" PostTypeId="2" ParentId="9406" CreationDate="2013-11-14T19:54:04.937" Score="3" Body="&lt;p&gt;&lt;a href=&quot;http://avidemux.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;AVIdemux&lt;/a&gt; can do that when encoding, but i cannot remember if it allows you to do that when you chose to copy the stream without reencoding (you don't want to reencode, since it will not only be time consuming, but also lossy).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are willing to change it from AVI to MKV (VLC and most other players will have no problem playing it) you can do that with &lt;a href=&quot;http://www.bunkus.org/videotools/mkvtoolnix/downloads.html&quot; rel=&quot;nofollow&quot;&gt;MKV-merge&lt;/a&gt; with no problem. It will be in the settings of your video stream, just set the display resolution to what you want it to be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not 100% sure, but i would bet that both these are compiled for both Windows and Mac.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are not afraid of the command line, i would recommend &lt;code&gt;avconv&lt;/code&gt; from &lt;code&gt;libav&lt;/code&gt; package. It not only allows one to set the display aspect ratio with the &lt;code&gt;-aspect&lt;/code&gt; parameter (just like &lt;code&gt;ffmpeg&lt;/code&gt; did), but also to manipulate the pixel (aka sample) aspect ratio, which then recalculates the display aspect ratio automatically. That second approach, however, would require the stream to be decoded and reencoded again. So you you have:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No reencoding:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i input.avi -aspect 4:3 -c:a copy -c:v copy output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With reencoding:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i input.avi -vf dar=4:3 -c:v libxvid -c:a copy output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i input.avi -vf sar=1:1 -c:v libxvid -c:a copy output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Keep in mind that unless you are doing something very creative, it makes little sense to specify both dar and sar, since the last one you mention will basically override the settings set by the previous one.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="4943" LastEditDate="2014-11-11T08:57:02.557" LastActivityDate="2014-11-11T08:57:02.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9409" PostTypeId="2" ParentId="8742" CreationDate="2013-11-15T13:55:05.143" Score="0" Body="&lt;p&gt;you can make the logo with some design software for vertorial drawing like Ilustrator. Then you need yo animate this in another software like After Effects. Its very simple. You only need to set some keys in each frame number changing XYZ coordinates of rotation and traslation. Then you can add motion blur to smooth the animation. Thats all.&lt;/p&gt;&#xA;" OwnerUserId="4999" LastActivityDate="2013-11-15T13:55:05.143" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9412" PostTypeId="2" ParentId="7136" CreationDate="2013-11-16T18:33:38.347" Score="2" Body="&lt;p&gt;If you shot at 120fps, it is presumably to get a slow motion effect. So the playback actually needs to be at your normal 24/25/30 fps speed to get the effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no such thing as 120 fps playback. The maximum I know of would be 60p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What do ffmpeg or mediainfo report as the frame rate for these videos. If they report 120fps or some other weird value, then you could probably rewrap the videos in a container which would advertise the right fps. Something like &lt;code&gt;ffmpeg -r 30 -i INFILE .... -r 30 OUTFILE&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt; to clarify after seeing the comments :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no transformation or loss when viewing footage in slow motion. (Arguably quite the opposite, since you have a better chance of seeing each and every frame).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A frame is a frame, whatever your playback speed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Transformations only come into play once you decide to drop frames to achieve a faster (not-so-slow) speed, or to double some frames to increase the slow-motion effect further. Your 120fps footage is intended to either be played at the normal speed of your movie (24p, 60i, ... whatever speed is the right one for your medium), or to be processed by doubling/dropping frames to achieve the exact speed you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You did the right thing by shooting at a very high speed to achieve a slow-motion effect, while having enough frames to tweak the final speed more exactly if needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your player does the right thing in showing you the slow-motion effect you shot, exactly as you shot it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a very long time (since the late 1920s), there used to be only 1 possible playback speed: &lt;a href=&quot;http://en.wikipedia.org/wiki/24p&quot; rel=&quot;nofollow&quot;&gt;24 fps&lt;/a&gt; and nothing else. Later, with television, a few more speeds were added for engineering convenience: 25/50i and 30/60i (for 50Hz and 60Hz countries). Now, that has been extended to 48p, 50p and 60p, but that's it. There is no such thing as 120 fps playback.&lt;/p&gt;&#xA;" OwnerUserId="3138" LastEditorUserId="3138" LastEditDate="2014-02-28T20:30:53.670" LastActivityDate="2014-02-28T20:30:53.670" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9413" PostTypeId="1" CreationDate="2013-11-17T06:01:18.027" Score="3" ViewCount="72" Body="&lt;p&gt;Any suggestions for the software used to make this video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://vimeo.com/65571323&quot; rel=&quot;nofollow&quot;&gt;http://vimeo.com/65571323&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The drawings can be made in illustrator, but I can't figure out how to animate it.&lt;/p&gt;&#xA;" OwnerUserId="5001" LastEditorUserId="2178" LastEditDate="2013-12-18T17:43:21.310" LastActivityDate="2013-12-22T19:04:11.357" Title="What software is used to produce this video?" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9421" PostTypeId="1" CreationDate="2013-11-18T03:40:05.787" Score="0" ViewCount="41" Body="&lt;p&gt;My new &quot;Numark PT-01 USB&quot; turntable/vinyl converter actually spins 35.3 RPM instead of 33.3.  Notes sound slightly sharp.  Is there a good software to fix this?&lt;/p&gt;&#xA;" OwnerUserId="5008" LastActivityDate="2014-01-17T17:12:31.003" Title="Vinyl converter spins 35.3 RPM -- How to correct?" Tags="|software-recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9428" PostTypeId="2" ParentId="9413" CreationDate="2013-11-18T15:06:39.433" Score="1" Body="&lt;p&gt;It honestly looks hand animated to me, however the digital equivalent would be to start with vector graphics and animate them in something like Flash or After Effects.  Either product is capable of keyframe animation of various assets including vector graphics.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, I'd rank them by likelihood as by hand and scanned, followed by Flash, followed by After Effects as the possibilities.  Keyframe animation allows for objects to be set at a start point and an end point and the computer fills in the values in-between.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-18T15:06:39.433" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9429" PostTypeId="2" ParentId="9421" CreationDate="2013-11-18T15:12:41.133" Score="1" Body="&lt;p&gt;Just about any audio editing software should be able to do this for you.  You simply need a &quot;stretch&quot; or &quot;speed&quot; adjustment.  If you don't know of any software, Audacity is a popular free option.  It's probably overkill for your needs, but should allow you to stretch the audio out to slow it down.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-18T15:12:41.133" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9433" PostTypeId="1" AcceptedAnswerId="9434" CreationDate="2013-11-18T19:38:36.843" Score="1" ViewCount="5374" Body="&lt;p&gt;Question: How to get the XF100 to live-feed into a laptop for streaming?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Details:&#xA;I currently have a Canon XF100 HD video camera, and I need to use it for live streaming of some upcoming events.  I also need to do a HD stream (opposed to SD).  The outputs on the camera are HDMI, YPbPr, and SD RCA plugs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would think HDMI or YPbPr with red/white audio would be best, however the part I need to know is, how do I get this into a laptop?  A desktop is not an option in this case.   We do have some laptops around, but we also might be able to get a new laptop if needed.&lt;/p&gt;&#xA;" OwnerUserId="5013" LastActivityDate="2018-05-14T22:17:25.423" Title="Canon XF100 live stream -- additional hardware needed" Tags="|hardware|streaming|hdmi|laptop|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9434" PostTypeId="2" ParentId="9433" CreationDate="2013-11-18T20:45:39.520" Score="1" Body="&lt;p&gt;You need a capture card.  If you have either USB3 or Thunderbolt, then you can use something like the &lt;a href=&quot;http://www.blackmagicdesign.com/products/intensity&quot; rel=&quot;nofollow&quot;&gt;Black Magic Intensity&lt;/a&gt; or &lt;a href=&quot;http://www.matrox.com/video/en/products/mxo2_mini/streaming/&quot; rel=&quot;nofollow&quot;&gt;Matrox MXO2&lt;/a&gt;.  You could also consider a stand alone device that is capable of handling the streaming for you directly, such as the &lt;a href=&quot;http://www.matrox.com/video/en/products/monarch_hd/&quot; rel=&quot;nofollow&quot;&gt;Matrox Monarch&lt;/a&gt; or similar devices that don't have to rely on the computer's processing to send the stream.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-18T20:45:39.520" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9439" PostTypeId="1" AcceptedAnswerId="9440" CreationDate="2013-11-18T22:21:09.897" Score="3" ViewCount="193" Body="&lt;p&gt;Why do some camcorders record in 1080i? Does it have any technical or visual advantages over 1080p?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's suppose that all media players and TVs which can handle 1080i can also handle 1080p. Is there still an advantage of 1080i?&lt;/p&gt;&#xA;" OwnerUserId="5016" LastActivityDate="2013-11-25T14:09:54.477" Title="Why do some camcorders record in 1080i?" Tags="|full-hd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9440" PostTypeId="2" ParentId="9439" CreationDate="2013-11-18T23:16:59.607" Score="4" Body="&lt;p&gt;It uses a lower data rate (within the TV, not for the actual signal) and is cheaper to produce.  That is all.  The only difference is that if you are going to view it on a 1080i display, then shooting in 1080i would look slightly smoother since half the information updates every half a frame rather than updating the whole thing at once, but 1080p is preferable pretty much hands down on a 1080p display.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Interlacing just means that the upper and then lower fields update alternately.  It's less difficult to fake interlacing than it is to deinterlace, but you still get some artifacts displaying a progressive scan image on an interlaced display because of how things update.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-11-25T14:09:54.477" LastActivityDate="2013-11-25T14:09:54.477" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="9441" PostTypeId="1" CreationDate="2013-11-19T07:55:10.240" Score="1" ViewCount="1747" Body="&lt;p&gt;I have developed a desktop application that records motion from any video source - ie ip Camera, web cam (etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These motion 'clips' timestamps are uploaded to my server.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Web user can log in and view these 'Time-clips'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If they want to view any of these clips they double-click on it a request is made to a clients PC (in this scenario a very old laptop) and the images which are in jpeg format are encoded to ogg video format using ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything works well and fast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, the client has complained/wants constant streaming of all the video captured from the client.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My second immediate thoughts was to have a base image on my server (or 2 - for caching)) and update the differences between 2 frames and upload and overlay the pixel changes on the base image on my server.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, as I have been informed before this actual process is how a video encoder works?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that is the case I could save a lot of time using an encoder to change the base image on my server.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg naturally comes to mind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1). Does this sound reasonable to try to achieve?&#xA;2). Are they any pointers to what arguments I could use with ffmpeg to achieve all this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am very new to this fascinating subject and I am keen to learn and understand rather than copy &amp;amp; paste (sounds like a job interview!).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using C# as a programming tool but consider this is irrelevant to the initial question?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I very much welcome people's thoughts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="4976" LastActivityDate="2015-02-26T03:27:10.807" Title="Constant streaming to a web server" Tags="|ffmpeg|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9444" PostTypeId="2" ParentId="9441" CreationDate="2013-11-19T12:21:39.780" Score="1" Body="&lt;p&gt;The way I've seen this done in other systems intended for CCTV is to encode every couple of frames compressed with something like &lt;a href=&quot;http://en.wikipedia.org/wiki/Motion_JPEG&quot; rel=&quot;nofollow&quot;&gt;MJPEG&lt;/a&gt; and then stream that to the client, the server component of ffmpeg, &lt;a href=&quot;http://www.ffmpeg.org/ffserver.html&quot; rel=&quot;nofollow&quot;&gt;ffserver&lt;/a&gt; may be able to help you with that. &#xA;Of course, depending on your needs a different video codec may be more appropriate, particularly if you intend to send every frame in which case something like H.264 may be more efficient.&lt;/p&gt;&#xA;" OwnerUserId="4968" LastActivityDate="2013-11-19T12:21:39.780" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9447" PostTypeId="2" ParentId="9441" CreationDate="2013-11-19T14:29:04.290" Score="0" Body="&lt;p&gt;If you are on Windows (presumably since you are using C#) is there a reason that you can't simply use Windows Media Encoder and Windows Streaming Media Services on the server?  It sounds like it is designed to do exactly what you are trying to do.  I'm not sure I understand why you need to build your own solution when many great (and even free or no additional cost) solutions exist already.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update:&#xA;Based on the understanding that you just need about 10fps jpeg's and that latency doesn't matter as much as guaranteeing delivery, I would probably do the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Client submits each image with an incrementing sequence number to the server.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) The server takes each image and stores it in to the file system with the path and sequence number in a dictionary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) When the viewer connects it starts by asking for the current image and is given the image and sequence number.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) Upon display of an image, the viewer then requests the next sequence number.  Timing information for how far behind the viewer is could also be sent back to keep it from getting too far behind.  The server would wait until an image is available for the sequence number if it doesn't yet have one.  This would help keep in sync as well.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-11-19T14:48:45.683" LastActivityDate="2013-11-19T14:48:45.683" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="9452" PostTypeId="1" CreationDate="2013-11-19T23:54:14.897" Score="3" ViewCount="88" Body="&lt;p&gt;By default, when I drop an image into the timeline, it fills the full width of the video. Which I don't want. Is it possible to say, &quot;adjust yourself to your actual size&quot;? And if so, how?&lt;/p&gt;&#xA;" OwnerUserId="5024" LastActivityDate="2014-02-12T16:02:29.840" Title="Is it possible to have an image be picture-in-picture and just tell FCPX to keep it at its original size?" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9460" PostTypeId="1" CreationDate="2013-11-21T11:31:11.770" Score="0" ViewCount="1285" Body="&lt;p&gt;I am interested in creating a fire light kind of effect for a footage. We have a 2d animation composition, and want to add a fire lighting to the scene. Think of a wall when lighted with a campfire or a fireplace. That is what I am trying to accomplish.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thinking about using particular kind of thing. But not sure if that's the correct way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I? Open to every kind of suggestions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="5032" LastActivityDate="2013-11-21T16:43:18.437" Title="How to Create Fire Light like Ligthing in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9462" PostTypeId="2" ParentId="9460" CreationDate="2013-11-21T16:43:18.437" Score="1" Body="&lt;p&gt;You could add some randomization to applying a redish orange color to the scene, but really, without 3d depth information it isn't going to work all that well.  Lighting falls differently based on distance from the source and angle of incidence and you can't compute that information easily or accurately from a flat frame.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-21T16:43:18.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9465" PostTypeId="1" CreationDate="2013-11-21T20:24:20.147" Score="2" ViewCount="2406" Body="&lt;p&gt;I have setup a trial live streaming cam in my chicken coop to test this little camera. I am seeing some waves and lines in the feed now and again.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know why this happens and what the fix is? I am using the RCA / BNC connector to connect to my video in and this is a 12v system running through 100' of wire.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an example video (around :10 shows the most...): &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/NVhjknTS6do?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have this connected to my gamer PC which is more than powerful enough to process all this video if that could be an issue. Might it be the video capture mechanism? If so, anyone have a good card in mind?&lt;/p&gt;&#xA;" OwnerUserId="4236" LastEditorUserId="3592" LastEditDate="2014-05-23T20:25:09.437" LastActivityDate="2014-05-23T20:25:09.437" Title="Wavy screen and lines showing now and again in live streaming cam" Tags="|live|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9466" PostTypeId="2" ParentId="9465" CreationDate="2013-11-22T02:37:58.920" Score="1" Body="&lt;p&gt;That appears to be analog signal degradation resulting in a loss of frame syncronization.  You may need to add a video amplifier on the end near the camera to boost the signal enough to get it to your computer or possibly use a device that can convert it to digital and stream it over a network connection directly. &lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-22T02:37:58.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9471" PostTypeId="1" AcceptedAnswerId="9821" CreationDate="2013-11-22T23:27:56.147" Score="1" ViewCount="2120" Body="&lt;p&gt;I have a video in which a person is speaking something. He is right in the middle of the frame. I want to blur out all of his surroundings like you have when you shoot a photograph or a video with a shallow depth of field. I am in post-production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using Sony Vegas Movie Studio 11 HD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the shape to be blurred was rectangular, I could overlay two duplicate tracks and blur out the section from the frames in the top track, but I want to blur out everything around the person's body, which happens not to be a geometrically named shape.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I do that?&lt;/p&gt;&#xA;" OwnerUserId="956" LastEditorUserId="956" LastEditDate="2013-11-24T09:55:35.593" LastActivityDate="2014-01-22T00:40:46.973" Title="Blur out an irregular shaped section of the frame using Sony Vegas Studio" Tags="|video|editing|vegas-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9472" PostTypeId="1" CreationDate="2013-11-23T01:16:39.553" Score="1" ViewCount="1097" Body="&lt;p&gt;I'm trying out video editing for the first time and basicly I just want to cut a part of my video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I take Razor tool and click on these two blue lines I've drawn with MS Paint:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/iW5ZA.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And now my clip is &lt;strong&gt;ruined&lt;/strong&gt;. When playing or going frame by frame it jumps back and forth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Like here: &#xA;&lt;img src=&quot;https://i.stack.imgur.com/lZAAP.jpg&quot; alt=&quot;enter image description here&quot;&gt;&#xA;See that casting bar in video preview? It should be &lt;strong&gt;shrinking&lt;/strong&gt;, but I go few frames ahead and it &lt;strong&gt;grows&lt;/strong&gt;, because video gets back in time: &#xA;&lt;img src=&quot;https://i.stack.imgur.com/oVTti.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How did I manage to screw up so easily? How to correctly cut that part so I could move it/delete it without screwing up &lt;em&gt;whole&lt;/em&gt; clip?&lt;/p&gt;&#xA;" OwnerUserId="5039" LastEditorUserId="2569" LastEditDate="2013-11-24T21:01:07.093" LastActivityDate="2014-03-28T06:50:04.397" Title="Adobe Premiere - Razor Tool screws up clip" Tags="|editing|premiere|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9474" PostTypeId="2" ParentId="9472" CreationDate="2013-11-23T17:45:02.490" Score="1" Body="&lt;p&gt;The problem is not the razor tool.  You must have slid the contents of the part you razored back in time using one of the other tools.  The easiest way to recover is to undo the edits or to simply drag out the original again.  The razor tool is completely non-destructive, so it hasn't altered your original video at all, just the parts of the video in your sequence no longer line up with the actual time things occurred.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's worth noting that as a matter of technique, it's generally preferable to open a source clip in the preview window and use the In and Out points to choose just the part of the clip you want to bring over and then assemble clips together.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-23T17:45:02.490" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9476" PostTypeId="1" CreationDate="2013-11-23T23:06:00.003" Score="1" ViewCount="2163" Body="&lt;p&gt;I am using Windows 7 and trying to find a right application to get advanced features of the &quot;[Ken Burns effect]&quot;, like pan and zoom. Unfortunately Photostory version in Windows 7 is not able to get effects. I have access to Photoshop in other computer&lt;/p&gt;&#xA;" OwnerUserId="5041" LastEditorUserId="2569" LastEditDate="2013-11-24T21:01:41.020" LastActivityDate="2017-03-13T21:29:17.737" Title="Ken Burns Effect. - Software Recommendations" Tags="|software-recommendation|photos|" AnswerCount="3" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9477" PostTypeId="1" CreationDate="2013-11-24T06:52:27.393" Score="0" ViewCount="50" Body="&lt;p&gt;I wish to create a video that demonstrates my research results, which comprise of images (graphs, tables, visualisations, etc), image sequences and videos. An example video which achieves what I am trying to do conceptually can be found &lt;a href=&quot;http://research.microsoft.com/pubs/145347/CVPR%202011%20-%20Final%20Video.mp4&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; (MP4 file, ~15.9 MB).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Therefore, the requirements for my research videos include the ability to create:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Title pages&lt;/li&gt;&#xA;&lt;li&gt;Images to be displayed over variable time (e.g. graphs / tables, single frames side-by-side, etc)&lt;/li&gt;&#xA;&lt;li&gt;Text annotations (with options for adding bullet points / numbered lists, arrows, boxes, etc)&lt;/li&gt;&#xA;&lt;li&gt;Video sequences that can be displayed side by side and it is &lt;strong&gt;critical&lt;/strong&gt; that they are in sync&lt;/li&gt;&#xA;&lt;li&gt;Image sequences to be played as video with a user-defined frame rate&lt;/li&gt;&#xA;&lt;li&gt;Background audio (voice-overs)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Such resulting video should be of similar quality to the example given and allow good compression ratios.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;OS:&lt;/strong&gt; Mac OS X 10.9&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;System:&lt;/strong&gt; 2.7GHz i7; 16GB RAM&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Budget:&lt;/strong&gt; $300 (when justifiable)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Complexity:&lt;/strong&gt; Up to a full day of learning&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given this use case and constraints, what would be the best software tool for such a task?&lt;/p&gt;&#xA;" OwnerUserId="4148" LastActivityDate="2014-05-20T22:34:49.287" Title="Software recommendation for creating videos for demoing research results" Tags="|software|software-recommendation|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9478" PostTypeId="1" CreationDate="2013-11-24T10:07:19.297" Score="2" ViewCount="186" Body="&lt;p&gt;If you've ever seen a Bink compressed color video, chances are it was striped and each second stripe was much brighter than the first. They went like this: bright-dim-bright-dim. Was it some kind of compression trick aimed at CRT displays that would blend the rows of pixels into evenly bright picture?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't have an example picture, but you can probably find an old PC game CD with a Bink-compressed video on it that has this striped pattern.&lt;/p&gt;&#xA;" OwnerUserId="4295" LastActivityDate="2013-11-24T23:14:33.307" Title="Why are Bink compressed videos striped?" Tags="|compression|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9479" PostTypeId="2" ParentId="9340" CreationDate="2013-11-24T12:21:29.597" Score="1" Body="&lt;p&gt;Just pre-compose the layer with the CC Slant effect, and make this new comp a little wider than Your main comp. The crop will still happen but You won´t see in Your main comp, because it´s out of frame.&lt;/p&gt;&#xA;" OwnerUserId="5044" LastActivityDate="2013-11-24T12:21:29.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9481" PostTypeId="2" ParentId="9478" CreationDate="2013-11-24T15:11:24.017" Score="1" Body="&lt;p&gt;It sounds to me like you're describing &lt;a href=&quot;http://en.wikipedia.org/wiki/Interlaced&quot; rel=&quot;nofollow&quot;&gt;interlaced video&lt;/a&gt;.  Which is, yes, &quot;some kind of compression trick aimed at CRT displays,&quot; but has more to do with the perception of smooth motion, and less to do with brightness.  Basically, every other line comes from the next video frame, which may have the effect of making the lines brighter or darker.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2013-11-24T15:11:24.017" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9485" PostTypeId="2" ParentId="9477" CreationDate="2013-11-24T22:58:32.020" Score="1" Body="&lt;p&gt;Just about any NLE could handle your needs.  Nothing in that listing seems particular difficult, though with a budget of $300 it might be easiest and fastest to pay an editor to put it together for you really quick.  Alternately, Final Cut Pro X could do it pretty easily since you are on the Mac platform and the most recent copy is just within your budget.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is a professional NLE (non-linear editor) but there are a ton of tutorials available online to get you going quickly with all the basics and your particular needs are very simple to do.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-24T22:58:32.020" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9486" PostTypeId="1" AcceptedAnswerId="9488" CreationDate="2013-11-24T23:11:27.097" Score="0" ViewCount="31" Body="&lt;p&gt;I was filming a music recital when the color autocorrected on my canon g10. I am new at all of this, but I recently bought final cut pro x and I was wondering if anybody could point me in the right direction for correcting this. There is a 5 second period in the video where the colors shift from dark to light, how would I go about smoothing this out in post? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="5048" LastActivityDate="2013-11-24T23:18:58.060" Title="Color autocorrected on my Canon G10 in the middle of filming, any tips for editing in post?" Tags="|final-cut-pro-x|color-correction|canon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9487" PostTypeId="2" ParentId="9478" CreationDate="2013-11-24T23:14:33.307" Score="1" Body="&lt;p&gt;While I am not 100% sure, I believe that the effect you are talking about (such as how it is seen in Command &amp;amp; Conquer) is a result of applying a reduced color pallet to the video.  For old games, disk space was at a premium and file sizes had to be kept exceptionally small and modern advanced compression was too processor intensive to be used.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Smacker (the precursor to modern Bink video) used an 8 bit color pallet to simplify video display greatly, however this left a large restriction on the quality of video.  To get around this, they allowed the color pallet to be switched out on a per-frame basis and blocks from the last frame to be used.  By using each frame as a field in interlaced video, they could use a bright color pallet on one set of rows and a darker one on the other.  This resulted in a dithered color pallet that was much larger than 8 bits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Dithering is the process of using spots of color that are near a color you want someone to perceive in order to make it look like that color when the brain blends them together.  The net result is video that looked much better than the technology of the day would have otherwise allowed for, which is why at the time it looked amazing, even if looking back now we end up wondering what we were on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More detailed information is available on the &lt;a href=&quot;http://en.wikipedia.org/wiki/Smacker_video&quot; rel=&quot;nofollow&quot;&gt;Smacker&lt;/a&gt; Wikipedia page.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-24T23:14:33.307" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9488" PostTypeId="2" ParentId="9486" CreationDate="2013-11-24T23:18:58.060" Score="0" Body="&lt;p&gt;Not easily.  You would need to apply a color correction to try to replicate the change.  If you can use the color correction to get the beginning and end pretty close, you can then use keyframes to have it blend between them and hopefully overcome the adjustment, but results are still probably going to be so-so and it isn't trivial to get even a mediocre fix.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-24T23:18:58.060" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9491" PostTypeId="1" AcceptedAnswerId="9492" CreationDate="2013-11-25T15:27:25.230" Score="3" ViewCount="2122" Body="&lt;p&gt;I'm hoping to produce an amateur movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I may be renting some equipment: (professional camera, microphone and digital recorder) but I hope to primarily use my own equipment: camera phones, professional microphones, analogue audio mixer, audio digitizer and a laptop. I hope to produce the video on an open-source video editor (Linux or Windows).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In case it needs to be said, I'm on a near-zero budget! The biggest concern I have is how I will synchronize a phone camera with an external microphone fed into the laptop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any techniques to help with this? I had a go before and it's surprisingly hard getting the audio perfectly sync'd with the video. Are there any tricks?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, what industry-standard technologies are used for synchronizing professional microphone setups with video, and between multiple cameras? I assume there are at least a couple of old analogue and newer modern digital methods?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: I looked at &lt;a href=&quot;https://video.stackexchange.com/questions/3646/merge-audio-and-video-in-post-production?rq=1&quot;&gt;this link&lt;/a&gt; but it didn't go into detail or explain different options. &lt;/p&gt;&#xA;" OwnerUserId="2547" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2013-11-25T19:22:10.030" Title="Techniques and technologies for synchronizing multiple audio and video streams" Tags="|audio-recording|video-editor|sync|video-recording|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9492" PostTypeId="2" ParentId="9491" CreationDate="2013-11-25T16:14:30.803" Score="4" Body="&lt;h1&gt;The professional way&lt;/h1&gt;&#xA;&lt;p&gt;Professionally done, all cameras and audio recorders will have a running (SMPTE) time code, which can be configured in 'free run' mode - meaning the time counter runs regardless whether we record or not (ie, STOP mode).&lt;/p&gt;&#xA;&lt;p&gt;At the beginning of the shooting day, all recordists (cameras, audio) will sync their clocks. This is done either to SMPTE 01:00:00:00, or to the time of the day.&lt;/p&gt;&#xA;&lt;p&gt;Then all video clips and audio files (broadcast wave files - BWF, which is just a WAV file with time code imprinted) will be 'timestamped' - the time at which the clip was recorded is part of the file header.&lt;/p&gt;&#xA;&lt;p&gt;In addition, these recorders allow you to choose the folder and file prefix of the recorded clips. A simple case is when all crew (camera and audio) set this prefix based on the shooting day ('Day01' for example).&lt;/p&gt;&#xA;&lt;p&gt;Then when the audio and video clips are imported to the video editing software, there's alway an option to 'spot' the clips to their original time code. This way, the alignment of video and audio happens nearly automatically.&lt;/p&gt;&#xA;&lt;h1&gt;The non-professional way&lt;/h1&gt;&#xA;&lt;p&gt;Before the days of digital equipment, the syncing between pictures to audio was done manually with the help of a clapper (clapperboard):&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/q3ntI.jpg&quot; alt=&quot;A photo of a clapper&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;Upon the director's instruction 'Cameras', both the camera men and audio recordists will aim at the clapper; then the clapper is clapped.&lt;/p&gt;&#xA;&lt;p&gt;Later on, each clip is brought consecutively into the timeline (clips are numbered - there's a way to know which came before the other). The sync is done manually, by finding the video frame at which the clapper jaws were hitting each other; on the waveform display, you can see a transient from the sound the clapper makes. So it's all about moving the audio transient to the clapping frame.&lt;/p&gt;&#xA;&lt;p&gt;For your purpose - you can just clap your hand in front of the camera (although visual and auditory labelling can be of great aid later on, but this too can be improvised).&lt;/p&gt;&#xA;&lt;p&gt;Note that in the professional industry, this practice takes place until today, even if all equipment can stamp timecode.&lt;/p&gt;&#xA;" OwnerUserId="4702" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2013-11-25T19:22:10.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9493" PostTypeId="2" ParentId="9491" CreationDate="2013-11-25T17:01:17.540" Score="1" Body="&lt;p&gt;A clapper is the easy approach for your budget since it will provide a synced audio/video event that can be heard on the audio and seen on the video.  The main problem you might run in to however is that many cellphone video cameras are not fixed frame rate.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If they do not capture with a reliable and accurate timecode then syncing up after the fact will be next to impossible.  You will want to make sure that the recording rate of your cameras is precise.  This can be tested quite easily by using a clapper.  Simply start your cameras and audio gear, use the clapper, wait about 10 minutes, use the clapper again.  Bring all the files in to your editor, line them up on the initial clap.  Check the final clap and see if there is drift, if there is, then whatever equipment is drifting is not going to be suitable for your purposes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Variable frame rate can also be a problem, though this can usually simply be examined by looking at the file format information.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-25T17:01:17.540" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9494" PostTypeId="1" AcceptedAnswerId="9497" CreationDate="2013-11-25T17:09:23.820" Score="0" ViewCount="548" Body="&lt;p&gt;I'd like to ask if there is an possibility to make a dvd-disk that would read from dvd-player clock and compare it to &quot;expiry&quot; data on dvd disk itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the date is after &quot;expiry&quot; date then dvd wouldn't show its content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm aware that someone could just change dvd-player time, but I would like to do it another way.&lt;/p&gt;&#xA;" OwnerUserId="5051" LastEditorUserId="2261" LastEditDate="2013-11-26T12:17:32.720" LastActivityDate="2013-12-17T08:03:22.813" Title="Is there a way to burn video on dvd and set &quot;expire time&quot; of it to be watched?" Tags="|video|programming|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9496" PostTypeId="2" ParentId="9494" CreationDate="2013-11-25T19:23:45.173" Score="1" Body="&lt;p&gt;No there isn't - DVD authoring does not include 'expiry' option.&lt;/p&gt;&#xA;" OwnerUserId="4702" LastActivityDate="2013-11-25T19:23:45.173" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9497" PostTypeId="2" ParentId="9494" CreationDate="2013-11-25T19:58:34.107" Score="0" Body="&lt;p&gt;There is not only no way to do this with DVD, but there is no way to do this in any platform where you release the content.  If they can see it, they can record it.  Any measures that you can put in their way are simply DRM and have the analog hole.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using streaming media is probably the closest you could come, but that still doesn't guarantee that it won't be copied.  The only sure option is to have a guard play it for someone and have them ensure that they do not have a means of recording going.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-25T19:58:34.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9502" PostTypeId="1" CreationDate="2013-11-26T18:47:44.977" Score="1" ViewCount="117" Body="&lt;p&gt;I am able to drop each each filter to each of the clip.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I try - Select all clips - Drop a filter to the selections, it does not work as expected.  Instead the filter gets applied only to one clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any other way to achieve what I am doing - Automatically fix exposure and colour levels to all clips?&lt;/p&gt;&#xA;" OwnerUserId="4504" LastActivityDate="2013-11-26T18:47:44.977" Title="What are the steps to apply filters to all my video clips in Corel Videostudio?" Tags="|video|video-editor|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9504" PostTypeId="1" AcceptedAnswerId="12237" CreationDate="2013-11-26T20:48:18.287" Score="2" ViewCount="1488" Body="&lt;p&gt;I have a small apartment kitchen that I'd like to be able to convert (at will) into a small studio.  The idea is to capture myself cooking.  I'd like your thoughts on the type of cameras to purchase, unique mounting options and lighting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally I'd like to be able to take all video sources and bring them into my computer (Mac) and edit via Final Cut.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Space is at a premium and with that, what would be my best option for digital cameras for the following purposes:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Overhead shot of stove &lt;/li&gt;&#xA;&lt;li&gt;Active camera I can look at to speak and give direction  &lt;/li&gt;&#xA;&lt;li&gt;Overhead shot of cutting board&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Secondly are Mounts. I'd need something that could 1) support the camera in question 2) be long and flexible so I can position a camera above the stove&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I have to be concerned with heat/steam interfering?  Any tips on thwarting such problems?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, lighting.  I have no clue, I guess I'm looking for affordable and not too bulky.&lt;/p&gt;&#xA;" OwnerUserId="5056" LastEditorUserId="17390" LastEditDate="2018-07-15T08:21:55.363" LastActivityDate="2018-07-15T08:21:55.363" Title="Small Kitchen studio setup" Tags="|recommendation|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="9506" PostTypeId="1" CreationDate="2013-11-26T23:25:50.360" Score="0" ViewCount="408" Body="&lt;p&gt;I've been asked, on a very short time schedule, to shoot video at a party on behalf of someone too ill to attend.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my custody are my Nikon D5100 and a Sony Handycam DCR-SR68. I am not experienced at using the former for video (I'm a still photographer by avocation) or the later at all (it is borrowed.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Conditions are likely to involve mediocre light levels. I have a tripod. Understandable sound would be good. I don't need continuous recording for long periods of time; it can be clips in the 5-15 minute range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are either of these devices likely to satisfy, or should I go rent something fancier?&lt;/p&gt;&#xA;" OwnerUserId="5057" LastEditorUserId="5416" LastEditDate="2014-04-01T17:53:48.033" LastActivityDate="2014-04-01T17:53:48.033" Title="Using a Nikon D5100 or Sony SR68 to shoot video of an event" Tags="|video|hardware|camcorder|nikon|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9507" PostTypeId="2" ParentId="7694" CreationDate="2013-11-27T05:11:17.957" Score="3" Body="&lt;p&gt;For this purpose I like to use &lt;a href=&quot;http://www.solveigmm.com/en/products/video-splitter-gopro&quot; rel=&quot;nofollow&quot;&gt;SolveigMM Video Splitter&lt;/a&gt;. It's very fast and lossless video tool (no recompression) and it fully supports H.264 video (GoPro records in mp4 files using h.264 compression).&lt;/p&gt;&#xA;" OwnerUserId="5053" LastActivityDate="2013-11-27T05:11:17.957" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9508" PostTypeId="2" ParentId="7694" CreationDate="2013-11-27T05:24:53.827" Score="1" Body="&lt;p&gt;The latest version of Cineform can join clips together as I found out recently, so the problem solved itself.&lt;/p&gt;&#xA;" OwnerUserId="3866" LastActivityDate="2013-11-27T05:24:53.827" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9509" PostTypeId="1" AcceptedAnswerId="9513" CreationDate="2013-11-27T07:18:29.887" Score="0" ViewCount="912" Body="&lt;p&gt;I record video with a large window as a softbox during the day, but I want to record during the night keeping those nice ambient shadows and even lighting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm planing to buy a 3 piece softbox kit. I currently have DSLR with 50 mm f 1.8 and 80 mm f1.4 lenses which give a nice light aperture. The more natural the light is the better. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a sample of my setup with natural light (large window, no additional lights):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/olV-0YDTJ3U?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found these two kits that caught my attention, my budget is around 200 bucks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ePhoto 2400:&#xA;&lt;a href=&quot;http://goo.gl/0GfWdf&quot; rel=&quot;nofollow&quot;&gt;http://goo.gl/0GfWdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ePhoto 2700:&#xA;&lt;a href=&quot;http://goo.gl/6Wov5S&quot; rel=&quot;nofollow&quot;&gt;http://goo.gl/6Wov5S&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best wattage between these two for a near natural lighting? If not what is the right ammount of wattage to archive it?&lt;/p&gt;&#xA;" OwnerUserId="3845" LastEditorUserId="3845" LastEditDate="2013-11-27T07:30:33.000" LastActivityDate="2013-11-27T15:36:40.690" Title="Near natural lighting with softbox wattage between 2400 to 2700?" Tags="|dslr|lighting|video-recording|greenscreen|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9510" PostTypeId="1" AcceptedAnswerId="10174" CreationDate="2013-11-27T08:51:42.500" Score="1" ViewCount="1880" Body="&lt;p&gt;I recieved a VMP video file to convert to avi or mpeg or something. I searched the web but I cannot find any association with this file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone help? Which program does this file come from?&#xA;What can I do with it?&lt;/p&gt;&#xA;" OwnerUserId="5059" LastActivityDate="2014-02-13T19:13:28.170" Title="What to do with a VMP video file" Tags="|video|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9512" PostTypeId="2" ParentId="9506" CreationDate="2013-11-27T15:32:07.483" Score="0" Body="&lt;p&gt;It depends on the quality desired.  The best bet is to test them both out before hand and see what you are comfortable with.  Most DSLRs do not have autofocus while recording, so you would need to manually focus the lens, however the quality is usually very high.  The handicam on the other hand will provide Autofocus however you would want to test how it handles low light before hand.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-27T15:32:07.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9513" PostTypeId="2" ParentId="9509" CreationDate="2013-11-27T15:36:40.690" Score="1" Body="&lt;p&gt;Wattage has nothing to do with achieving natural lighting.  The amount of diffusion and placement does.  More light is ALWAYS better because it results in more signal to the camera and more options as far as ISO, aperture and shutter speed.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nothing you setup with artificial lights (particularly on your budget) will come close to the level of the sun on even a cloudy day.  This doesn't matter though as long as you provide enough light for the camera to pick it up and spread it out through diffusers and light placement and reflectors such that you get a natural look.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd suggest reading some on 3 point lighting if you want more information on light placement and get the biggest diffusers you can, though on your budget, you will be hard pressed to get even a decent 3 point light kit, let alone any kind of diffusers.  (A decent large diffuser alone will run over $100.)  Your best bet is to put all the money in to the best light kit you can get and get diffusers later.  Proper three point lighting will still be fairly natural looking.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-27T15:36:40.690" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9514" PostTypeId="1" AcceptedAnswerId="10279" CreationDate="2013-11-27T18:42:10.447" Score="1" ViewCount="1108" Body="&lt;p&gt;We have a number of meeting rooms that were equipped with an AV cabinet and projector each. There's a local PC and input for mobile devces at the meeting table.  All of the cable runs are HDMI (those longer than ~10m are supported by active Kramer Cat6 Baluns). We've standardised on 1080p for our displays. Locally, everything works well.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We've upgraded two of these rooms for conferencing. This includes: A second, wall mounted TV and a LifeSize Express 220. Input are handled by a Kramer VS-84 (or VS-44) matrix switcher, such that the image to the Projector is mirrored to the DVI-I Input of the LifeSize unit, making it possible to present to remote participants from any of the input devices with ease. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, the LifeSize 220 series doesn't support 1080p input for presentations. This wasn't regarded as a significant issue, since a compressed, downscaled input was judged sufficient for passive observers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To rectify this, we installed a Kramer VP-424 scaler in-line between the switch and the LifeSize. (HDMI in and out). This would give us a clean 720p feed to the LifeSize while all the local displays stay at 1080p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's where the problems come in: At both sites, output from the scaler was being corrupted or not displayed. The pattern of this varied depending on the input device and the scaler used:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Kramer VP-424: Macbooks and iOS devices Display, but are subject to very regular (1/s) single-frame flashes of noise with audible popping sound. Windows laptops display cleanly&lt;/li&gt;&#xA;&lt;li&gt;CYP SY298H: Similar to the Kramer, with audible poppping, but the image would drop to flat blue and 'No Input', or appear squashed up into the top 1/6 of the screen. &lt;/li&gt;&#xA;&lt;li&gt;Extron DCS 301: A clean display from Windows laptops, but a no output whatsoever from any Apple devices. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;We've also tried:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Many (many) cables. &lt;/li&gt;&#xA;&lt;li&gt;Direct device input to the Lifesize (Everything works, as the device will downscale to 720p on connection, but it requires manual connection wrangling prior to meetings, which isn't sustainable)&lt;/li&gt;&#xA;&lt;li&gt;Discussing with our installer. (They're being brilliant about this, but they're as stumped as we are)&lt;/li&gt;&#xA;&lt;li&gt;Discussing with LifeSize support (Also very helpful, but there are too many variables and 3rd party products for them to suggest anything concrete)&lt;/li&gt;&#xA;&lt;li&gt;Not having the scaler: All inputs are corrupted as the switch tries to feed 1080p into the LifeSize.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;We can't enforce input device type, as support for everything is required in our environment. We can't really mandate 720p across the board as, although it's sufficient for passive viewing, the presenter still needs 1080p (lots of small text and Wireframe 3D in some cases).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd love a one-shot solution to this, but if anyone can give me some pointers in how to further debug the problem, I'll be in their debt. (I can provide diagrams of the setup, if it'll help)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT 1&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;At AJ's Suggestion, I removed the switch from the equation. (Mackbook 1080p@60 -&gt; Scaler-&gt; Lifesize). To start with, the issue was just as apparent. Then I tried something we'd eliminated previously, and switched off the &lt;code&gt;HDCP on Input&lt;/code&gt; option.  Suddenly I'm looking at a clean, scaled 720p image!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I put the switch back in line and now all I see is what we saw with earlier tests: A blank screen. Still, this means that without the switch in place, HDCP isn't needed. If I can disable it in the entire chain, then we might be sorted. I'll report back when I've done some further testing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT 2&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something I didn't point out previously: If I take the codec out of the equation (Mac -&gt; Scaler -&gt; TV), then I don’t see any problems at all, regardless of the HDCP setting. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So we have HDCP being agreed from device to switch to (if it's enabled) scaler. It looks like the scaler -&gt; Lifesize negotiation is where it's failing. Both agree on HDCP support, but then something goes wrong that causes this regular popping. &lt;/p&gt;&#xA;" OwnerUserId="5062" LastEditorUserId="5062" LastEditDate="2013-11-28T17:32:12.630" LastActivityDate="2014-02-21T15:32:27.457" Title="LifeSize DVI Input from multiple devices with in-line scaler" Tags="|hdmi|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9517" PostTypeId="1" AcceptedAnswerId="16897" CreationDate="2013-11-28T03:57:01.740" Score="2" ViewCount="12861" Body="&lt;p&gt;I've got video recorded from my phone and I use Vegas to edit them, when I play the video back in VLC player the video orientation is ok, but when I import into Sony Vegas and it asks if I want to set project preferences to match the media, I have&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;allowed the Vegas to match the project settings and the orientation changes to portrait. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;when this happens I change the project settings to make the project settings to landscape and then use track motion to straigten the video. But when I render, its always a blank screen with the audio playing in the back ground. &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;not allow Vegas to match the project settings and the video shows portrait with the black strips on the side. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I then use track motion to straighten the video but the render produces the same result. Blank screen with audio. &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I do not know why this is happening, how would I set up the import and project preferences so that the movie renders properly?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: All videos are mp4 format. And the media offline checkbox doesn't make a difference, checked or unchecked.&lt;/p&gt;&#xA;" OwnerUserId="2716" LastEditorUserId="2716" LastEditDate="2013-11-28T04:08:01.903" LastActivityDate="2015-11-15T02:23:17.010" Title="How to fix Sony Vegas 12.0 blank screen render?" Tags="|vegas-pro|mp4|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9518" PostTypeId="1" CreationDate="2013-11-28T07:50:19.850" Score="0" ViewCount="2596" Body="&lt;p&gt;I'm doing some video work on a budget, so I followed a suggestion I found online for audio to combine an inexpensive lavalier mic with a portable voice recorder. In my case, I chose the Olympus ME-15 microphone with the Olympus VN-702PC recorder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The recorder only has two input volume settings, high and low, and on the lowest setting I'm experiencing frequent clipping when my characters talk, especially when they get excited. Originally we had clipped the mic to the collar of a t-shirt, somewhat off-center, but it also happens when clipped lower on the lapel of a coat.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not concerned about whether the mics are visible, but I'm wondering how to pick up clear sound that isn't louder than the recorder can handle. Would it be better to place it under a layer of clothing? I'm willing to experiment, but I thought it would be helpful to ask others with more experience for suggestions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can I do to my microphones to avoid clipping? Can I put them somewhere else? Can I cover them with something?&lt;/p&gt;&#xA;" OwnerUserId="5066" LastEditorUserId="2569" LastEditDate="2013-11-29T05:13:35.380" LastActivityDate="2013-11-29T05:13:35.380" Title="Preventing audio clipping on inexpensive lapel mics" Tags="|clipping|budget|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9521" PostTypeId="2" ParentId="9518" CreationDate="2013-11-28T17:05:24.580" Score="1" Body="&lt;p&gt;There unfortunately isn't enough information here to give you a definitive answer but I will try to cover the most likely bases.  The first thing you need to do is determine the source of the clipping.  Is it actually clipping at the recorder or are the microphones themselves clipping.  Clipping occurs whenever the signal level exceeds what a particular piece of equipment is designed to handle and can occur at almost any point in the process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the levels you see on the recorder are actually exceeding the levels it is capable of recording, then you need to use a device called a pad to bring down the levels and match the impedance of the microphones to the impedance of the recorder.  You can try working around it by positioning them further away, but any sufficiently loud noise is still going to cause them to clip and background noise will become a much larger problem.  Bringing down the signal level with a pad is the correct solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other possible problem, particularly with cheap microphones, is that the mics themselves could be clipping.  If this is the case, it would likely be a distortion but not peak the recorder.  In this case, you would need to move the mic further away and ensure that nothing is bumping in to the diaphragm that could be causing direct shocks to it.  Alternately, a better mic could be used which would allow it to stay closer to the signal source and thus reduce your background noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main thing to keep in mind when getting clean audio is that you want to sample as much signal and as little noise as possible, which means keeping things as directional and as localized as possible and/or keeping the environment quiet.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-11-28T17:05:24.580" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9529" PostTypeId="1" CreationDate="2013-11-29T20:38:45.303" Score="0" ViewCount="777" Body="&lt;p&gt;I also posted this question in stack exchange for web applications (&lt;a href=&quot;https://webapps.stackexchange.com/questions/52579/youtube-video-resolution-problem&quot;&gt;https://webapps.stackexchange.com/questions/52579/youtube-video-resolution-problem&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recently uploaded three ~30 second .mp4 files to youtube. The first five seconds of them are displayed in 244p and then at five seconds, youtube switches them to 360p. I would like youtube to display them at 360p from zero seconds. This problem is happening in chrome browser with the html5 player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;It's important because I need to use these videos as advertisements for my company.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the videos:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/sYvlPaZP9Ng?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/erCmhnVks68?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/xHAYb.png&quot; alt=&quot;2 seconds in, low resolution&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/j4pYJ.png&quot; alt=&quot;6 seconds in, high resolution&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For some reason, when embedded the videos do not have this problem, but when watched on youtube and as you can see from the above photos, there is a resolution issue.&lt;/p&gt;&#xA;" OwnerUserId="5072" LastEditorUserId="-1" LastEditDate="2017-04-13T12:57:25.677" LastActivityDate="2013-11-30T10:22:15.883" Title="Youtube Video Resolution Problem" Tags="|youtube|mp4|" AnswerCount="1" CommentCount="5" ClosedDate="2013-12-03T14:22:42.903" ContentLicense="CC BY-SA 3.0" />
  <row Id="9533" PostTypeId="2" ParentId="9529" CreationDate="2013-11-30T10:22:15.883" Score="1" Body="&lt;p&gt;For best results on any Youtube upload it is always best to follow the recommended video encoding settings.&#xA;Listed here: &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow&quot;&gt;https://support.google.com/youtube/answer/1722171?hl=en&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have followed those settings exactly and you are still having a problem it is a localized problem that will not affect everyone. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtube videos do not play the exact same way on every computer nor every playback. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I watched the videos and as predicted I had no problem with resolution, it was a constant 480p throughout. &lt;/p&gt;&#xA;" OwnerUserId="3851" LastActivityDate="2013-11-30T10:22:15.883" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9535" PostTypeId="1" AcceptedAnswerId="9704" CreationDate="2013-11-30T14:28:05.917" Score="2" ViewCount="176" Body="&lt;p&gt;I have videos recorded with Canon EOS and rendered with Sony Vegas. No color correction whatsoever.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although the rendered video looks great on any computer screen, the dark areas are always too dark when rendered to a PAL DVD and displayed on a TV set.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By comparing the histogram to some recorded TV material, I realized that the TV material's histogram usually starts around 15, whereas the Canon material starts at 0.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I normally do now is, whenever rendering to PAL I apply a Sony levels effect and set the Output start to around 0.054 which seems to correspond to 15 in the histogram. On computer screens the resulting footage now looks quite greyish, but on TV it's OK.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is this the correct way to handle the situation? &lt;/li&gt;&#xA;&lt;li&gt;What is the correct value to use for the levels effect?&lt;/li&gt;&#xA;&lt;li&gt;Is it correct to not apply the levels effect when rendering for Youtube etc.?&lt;/li&gt;&#xA;&lt;li&gt;In which situations do I have to use the levels effect, and in which situations better not?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2013-12-18T20:56:36.363" Title="Video too dark on PAL TV" Tags="|vegas-pro|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9536" PostTypeId="2" ParentId="8032" CreationDate="2013-11-30T14:40:09.793" Score="0" Body="&lt;p&gt;Another option to physically deleting non-used files:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Go to your video file folder and delete all the sfk files&lt;/li&gt;&#xA;&lt;li&gt;Open your project in Vegas. Vegas will re-create all sfk files for files present in your project (assuming the audio is also present in the timeline). Wait some time until Vegas has finished doing so.&lt;/li&gt;&#xA;&lt;li&gt;Press the lightning button in your project media tab and close the project.&lt;/li&gt;&#xA;&lt;li&gt;Go to your video subfolder. It's pretty easy now to select all files without corresponding sfk file. Move those files somewhere else. (I guess it's not too hard to create a batch script for that job, but I haven't yet)&lt;/li&gt;&#xA;&lt;li&gt;Open the project again and see whether Vegas complains about any missing files. If it does, bring back those files.&lt;/li&gt;&#xA;&lt;li&gt;The remaining stuff doesn't seem to be needed.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2013-11-30T14:40:09.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9539" PostTypeId="1" AcceptedAnswerId="9545" CreationDate="2013-12-01T12:46:34.500" Score="0" ViewCount="1434" Body="&lt;p&gt;Good time of the day,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have heard that such a feature exists, but i've lost the reference and have been unable to find it now. I am looking for a way to use the file as the input for all the fileter options passed to libav's avconv (or ffmpeg).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know i can do that via a command line with -f or -vf, but there are two problems: i often reuse the same settings and sometimes i need to reuse the particular approach after bash has already lost that particular command line from history.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If i'm mistaken and there's no way to do that, also kindly let me know.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2013-12-02T18:51:23.807" Title="Using a parameter file for filter option of libav (or ffmpeg)" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9545" PostTypeId="2" ParentId="9539" CreationDate="2013-12-02T18:51:23.807" Score="0" Body="&lt;p&gt;You can use the &lt;code&gt;-filter_script&lt;/code&gt; option:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i input -filter_script filtering -codec:a copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In this example, &lt;code&gt;filtering&lt;/code&gt; is a file with the filtergraph.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ cat filtering &#xA;scale=640:-1,negate&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I believe this only works for &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Simple-filtergraphs&quot; rel=&quot;nofollow&quot;&gt;simple filtergrahps&lt;/a&gt; that contain exactly one input and one output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Libav stuff (avconv and their fake, so-called &quot;ffmpeg&quot; version) is buggy. You can simply download a recent &lt;a href=&quot;http://ffmpeg.org/download.html#LinuxBuilds&quot; rel=&quot;nofollow&quot;&gt;Linux build of ffmpeg from FFmpeg&lt;/a&gt; or follow a &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/wiki/CompilationGuide&quot; rel=&quot;nofollow&quot;&gt;step-by-step guide to compile ffmpeg&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2013-12-02T18:51:23.807" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9546" PostTypeId="1" AcceptedAnswerId="9549" CreationDate="2013-12-03T00:40:01.970" Score="2" ViewCount="1294" Body="&lt;p&gt;I'm using the CC Ball action to make some spheres to illustrate a chemical reaction. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I make the balls, the circle to move it is thrown to the left, and the actual sphere is to the right. I tried changing the anchor point, however I can't move the shapes wherever I want. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I change the position of the created shapes?&lt;/p&gt;&#xA;" OwnerUserId="5086" LastEditorUserId="2178" LastEditDate="2013-12-04T11:13:47.880" LastActivityDate="2013-12-04T11:13:47.880" Title="How to position spheres that are created with the CC Ball action?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9547" PostTypeId="2" ParentId="9546" CreationDate="2013-12-03T03:58:48.760" Score="2" Body="&lt;p&gt;CC Ball is a video effect to make an array of balls that video can be displayed on.  It isn't designed for making circles that you can move around like this.  What you want is a 3D shape object.  Unfortunately, unless you have a 3rd party tool like Blender to make a geometry you can import, there isn't an easy way to make a true sphere in AE.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only real option I know of without using a third party tool is to take a period or circle shape layer, extrude it by its diameter and apply a curved bezel and adjust the strength until it results in a fully round sphere.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-03T03:58:48.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9549" PostTypeId="2" ParentId="9546" CreationDate="2013-12-03T14:47:01.810" Score="2" Body="&lt;p&gt;Try using CC Sphere on a large texture instead.  It will wrap the texture into a sphere, which you can then move around in two dimensions.  If you need to pass the spheres behind or in front of each other, you could place the layers in 3D space, even though the spheres will still really be flat layers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other option would be to use some particle generators.  Make a single particle that doesn't move in each particle generator you need, then manipulate them within the generator.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally if you really need true 3D, use something like Cinena4D, then import the rendered animation into After Effects.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2013-12-03T14:47:01.810" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9552" PostTypeId="1" AcceptedAnswerId="9557" CreationDate="2013-12-03T16:11:12.767" Score="7" ViewCount="5146" Body="&lt;p&gt;Is the assumption in the title true?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is preventing the use of ffmpeg when producing a movie or broadcast quality material?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any prominent or well known users of ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is used instead of ffmpeg? Quicktime pro? Final Cut Pro/Adobe Premiere/Avid media composer?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One interesting indication of ffmpeg usage could be job offer listings from major media firms where they are looking for ffmpeg skills.&lt;/p&gt;&#xA;" OwnerUserId="5089" LastEditorUserId="5089" LastEditDate="2013-12-04T14:42:30.533" LastActivityDate="2016-12-05T03:22:49.330" Title="Why isn't ffmpeg used in movie production or broadcasting tool chains?" Tags="|ffmpeg|final-cut-pro|broadcasting|quicktime|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9555" PostTypeId="2" ParentId="9552" CreationDate="2013-12-03T17:55:21.060" Score="5" Body="&lt;p&gt;The main reason is support, usability and control.  First, lets clarify that FFMPEG is an encoder, QuickTime Pro is a video utility that happens to include multiple encoders and Final Cut Pro is a non-linear editor and has nothing to do with encoders other than the fact it can output to an encoder (generally QuickTime I believe).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For big budget commercial projects, the emphasis is going to be on having the highest possible quality encoding which often will involve manual review of the content and tweaking the way things are encoded to minimize artifacts and maximize the quality.  Commercial encoders or even proprietary ones used internally by encoding houses have far more control, support and development than ffmpeg.  It's great for a free tool, but it isn't a high end commercial product.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For smaller commercial projects, you may find some users, but most often people use the encoders that come with their NLEs at that level (such as QuickTime Pro or Adobe Media Encoder).  The main reason at that level is convenience since they are tied directly in to the NLEs and are easy to configure and behave well with good quality results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't guarantee that there aren't any production chains that use FFMPEG or a modified form of it, but in general, it is worth simply pointing out that not all encoders are created equally and while ffmpeg does very, very well for being free, it isn't the best option in all cases all the time, even if for business reasons rather than technical ones.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-12-03T18:54:15.577" LastActivityDate="2013-12-03T18:54:15.577" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="9557" PostTypeId="2" ParentId="9552" CreationDate="2013-12-03T18:11:29.223" Score="11" Body="&lt;p&gt;FFmpeg is probably being used more than you believe. I think the BBC uses it for some workflows, there is evidence that Laika and Weta may use it, and there is a fork called FFmbc which is targeted for professional broadcast usage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;YouTube probably uses FFmpeg to decode as shown by some unique decoding issues (but this was several years ago that I read about this and I'm not sure of the current status).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also see the &lt;a href=&quot;http://ffmpeg.org/projects.html&quot;&gt;FFmpeg Projects&lt;/a&gt; page for a small list of who uses FFmpeg in their projects.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2013-12-31T23:28:40.807" LastActivityDate="2013-12-31T23:28:40.807" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9558" PostTypeId="1" AcceptedAnswerId="9561" CreationDate="2013-12-03T19:25:51.907" Score="6" ViewCount="4018" Body="&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Blu-ray_Disc#Blu-ray_3D&quot;&gt;Wikipedia&lt;/a&gt; says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;MPEG4-MVC compresses both left and right eye views with a typical 50% overhead compared to equivalent 2D content, and can provide full 1080p resolution backward compatibility with current 2D Blu-ray Disc players.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So if a Blu-Ray 3D is completely backwards compatible to a regular Blu-Ray, why do all consumer Blu-Ray-3D packages contain a 2D as well as a 3D disc? Is that just marketing (so people will even buy it if they don’t yet have a 3D-capable setup) or is there some technical reason behind this?&lt;/p&gt;&#xA;" OwnerUserId="5091" LastEditorUserId="2836" LastEditDate="2013-12-03T21:42:33.140" LastActivityDate="2022-10-18T10:37:24.683" Title="Why is there a “2D” disc in every Blu-Ray 3D package?" Tags="|3d|bluray|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9561" PostTypeId="2" ParentId="9558" CreationDate="2013-12-03T21:37:34.367" Score="5" Body="&lt;p&gt;Disk space.  The 3d content takes more space so there is generally not enough room for special features.  The 2d special features are only on the 2d disk.  They take up the room that the second eye takes on the 3d disk.  They could make a special features only disk, but this is generally more expensive since it requires another master and another production line.  It's more cost effective and better marketing to just include the 2D copy.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-03T21:37:34.367" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9566" PostTypeId="1" AcceptedAnswerId="9569" CreationDate="2013-12-05T01:34:46.517" Score="4" ViewCount="2460" Body="&lt;p&gt;I'm looking for software which can simultaneously record video from my computer's web cam at the same time as recording the content displayed on screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;More Detailed Requirements&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Run on Windows 7&lt;/li&gt;&#xA;&lt;li&gt;Be cheap (&amp;lt; ~70 USD)&lt;/li&gt;&#xA;&lt;li&gt;Be simple (i.e. easy to learn for basic recording features at least)&lt;/li&gt;&#xA;&lt;li&gt;Record videos up to 3 hours in length.&lt;/li&gt;&#xA;&lt;li&gt;Quality is not overly important so long as it's possible to see and hear what's going on.&lt;/li&gt;&#xA;&lt;li&gt;The video will be published as a file; we don't need any broadcast/streaming facilities&lt;/li&gt;&#xA;&lt;li&gt;Basic post production video editing tools (examples below) would be useful, though not essential&#xA;&lt;ul&gt;&#xA;&lt;li&gt;adjust audio levels in sections of the video &lt;/li&gt;&#xA;&lt;li&gt;cutting and splicing facilities &lt;/li&gt;&#xA;&lt;li&gt;ability to switch between cam, screen, and composite feeds&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Background&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My specific use case: we're about to have a number of software demos for various products and would like to record these.  We can then make these videos available to the end users so they can see what was said &amp;amp; get an idea of what the products looked like without them needing to sit through each demo (saving them time, easing the logistics of organising the demos and keeping number of people present down to avoid too many tangents).  We're likely to also use this tool for some user training videos once the eventual products are selected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Research&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I've found a number of potential solutions, but have no personal experience with any.  Reading their sites though they claim to record from various input sources it's not clear if simultaneous input (i.e. cam &amp;amp; screen) recording is possible, or if there are limits on video length.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;NCH Debut:   &lt;a href=&quot;http://www.nchsoftware.com/capture&quot; rel=&quot;nofollow&quot;&gt;http://www.nchsoftware.com/capture&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Open Broadcast Software:   &lt;a href=&quot;http://obsproject.com&quot; rel=&quot;nofollow&quot;&gt;http://obsproject.com&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Many Cam:   &lt;a href=&quot;http://manycam.com&quot; rel=&quot;nofollow&quot;&gt;http://manycam.com&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;XSplit:   &lt;a href=&quot;http://www.xsplit.com&quot; rel=&quot;nofollow&quot;&gt;http://www.xsplit.com&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Any recommendations would be much appreciated; thank-you in advance.&lt;/p&gt;&#xA;" OwnerUserId="5096" LastEditorUserId="5096" LastEditDate="2013-12-07T01:18:31.283" LastActivityDate="2013-12-07T01:18:31.283" Title="Windows Software to record from Webcam &amp; Screen" Tags="|software-recommendation|screen-casting|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9567" PostTypeId="1" CreationDate="2013-12-05T01:53:49.510" Score="2" ViewCount="177" Body="&lt;p&gt;Is it electrically possible to transmit a 1920x1080 32-bit color image at 30 frames per seconds just being powered off of a laptop's USB2 port?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking for technical information regarding power requirements of VGA at different resolutions, refresh rates, and color depth to see if I could explain to a co-worker whether it is or isn't possible using theoretical math and known benchmarks. (Boss wants to find a wireless VGA transmitter that doesn't require external power source other than USB if it must + driverless/softwareless.)&lt;/p&gt;&#xA;" OwnerUserId="2840" LastEditorUserId="2836" LastEditDate="2014-02-14T02:52:57.237" LastActivityDate="2014-02-14T02:52:57.237" Title="Is it possible to wirelessly transmit 1920x1080 32-bit color 30fps video through VGA from laptop to HDTV?" Tags="|video|wireless|video-standards|specifications|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9568" PostTypeId="2" ParentId="9567" CreationDate="2013-12-05T02:24:00.593" Score="0" Body="&lt;p&gt;Without the power requirement it is certainly doable, however I'm not sure it is going to be easily doable with only a USB port to go on since VGA is analog.  If you were to expand to digital options, then WiDi is an option&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-05T02:24:00.593" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9569" PostTypeId="2" ParentId="9566" CreationDate="2013-12-05T07:38:17.850" Score="5" Body="&lt;p&gt;Personally I use &lt;a href=&quot;http://www.techsmith.com/camtasia.html&quot;&gt;Camtasia Studio&lt;/a&gt; and &lt;a href=&quot;http://www.techsmith.com/snagit.html&quot;&gt;SnagIt&lt;/a&gt;. TechSmith, the vendor, has created their own codec for their software which IMO works excellent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will probably find Camtasia a bit stiff when it comes to the price compared to your budget, but I mentioned SnagIt for this reason although it's primarily to capture screenshots it do have built-in video recording as well using the same codec as its big brother.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's simpler and you will probably want to convert the result and edit it in a third-party editor (Camtasia Studio comes with its own editor which is in part why the price is higher).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I never recorded 3 hours but I did more than an hour which was without problem. The key factor here is to have enough space on the disk you record to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My 2 cents..&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2013-12-05T07:38:17.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9570" PostTypeId="1" CreationDate="2013-12-05T15:03:50.610" Score="2" ViewCount="765" Body="&lt;p&gt;I have a Premiere Pro project with a multicam sequence, shot with two cameras, A and B, on HDV. The total is about 1:16 long. I have two clips from each camera - A1 and A2, B1 and B2, and after A1 ends, there is a tape switch before A2 starts, and then B1 ends with a tape switch to B2. So I have continuous video and audio, even if I only have from one camera at a time at those two points.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camera A has audio from an XLR microphone. The mic is mono, but the sound is recorded as stereo, i.e. same audio in each track. Camera B has &quot;room audio&quot; with audience reactions etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to now take the audio from these 4 (in total) audio channels and export them to Audition. There is some noises I have to remove in the camera B track, and I want to adjust the mix so that the XLR audio is clear and the room audio is present, but not dominating.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then want to export this back to Premiere as a nice, clean, two channel mix that can replace the original audio in the sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best workflow to do this? I am a CC subscriber, keeping up to date, if that matters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="5100" LastActivityDate="2013-12-05T17:43:42.653" Title="Best way to get synced audio from multi-cam Premiere project into Audition and back" Tags="|premiere|audition|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9571" PostTypeId="2" ParentId="9570" CreationDate="2013-12-05T17:43:42.653" Score="1" Body="&lt;p&gt;Adobe Bridge should allow you to open the Sequence in Audition.  If you go to the project panel and right click the sequence you want to edit, you should be able to choose Edit and then Edit In Audition.  This will automatically bring the sequence over to Audition with the tracks properly laid out.  You should then be able to do any work you want to in Audition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For output you have two options, you can either rely on Bridge to apply your changes from Audition when rendering the sequence or you can output a mix-down from Audition and then import it to Premiere and use it to replace the existing audio.  Since the project in Audition is synced to the Premiere sequence, the audio length should be correct starting from the beginning of the sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More details are available in Adobe's online documentation &lt;a href=&quot;http://help.adobe.com/en_US/premierepro/cs/using/WS367138A8-E5E3-49f3-8719-0EFDC91D329C.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-05T17:43:42.653" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9572" PostTypeId="1" AcceptedAnswerId="9573" CreationDate="2013-12-05T20:36:39.133" Score="2" ViewCount="1823" Body="&lt;p&gt;I have been practicing with Adobe After Effects for quite a while.  I've created some effects like gunshots, intros and such. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I now want to learn how to combine many videos together, and with additional effects - not only fade in and fade out, but more amazing stuff! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have not found anything helpful when looking for where to start learning about this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My main occupation is game programming.  Would you suggest that I go learn better video editing and Photoshop or rely on an artist to do so?&lt;/p&gt;&#xA;" OwnerUserId="5101" LastEditorUserId="2569" LastEditDate="2013-12-06T13:40:24.843" LastActivityDate="2013-12-06T14:06:39.363" Title="After Effects - Making a compilation" Tags="|video|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9573" PostTypeId="2" ParentId="9572" CreationDate="2013-12-05T20:58:59.510" Score="4" Body="&lt;p&gt;If you are trying to do editing, you are using the wrong program.  Adobe After Effects is an effects and compositing program.  It is designed to make alterations to clips of video that can then be used together.  It is not designed for editing clips together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you wish to do video editing, you want a piece of software known as a Non Linear Editor (or NLE).  Adobe Premiere is the NLE in Adobe's software line.  Adobe Bridge allows for you to move back and forth between them, so you can include an After Effects composition as a clip in Premiere or open a clip from Premiere in After Effects to do effects or composition work on the clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a bonus, note that this same kind of interaction can be used with Adobe Encore to add a Premiere Sequence directly to an Encore project if you wish to make a DVD or Bluray disk from your videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: Since you asked about it, here is a list of the major Adobe CC applications and their purpose.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Photoshop: In depth Image Manipulation&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Lightroom: Photo cataloging, Non-destructive RAW processing and basic touch up, workflow management, printing, publishing.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Premiere: Non-linear Video Editing&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;After Effects: Video effects and compositing&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Encore: DVD/Bluray disk production&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Prelude: Video/Asset intake&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;SpeedGrade: Color grading&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Illustrator: Vector graphic creation and editing&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Flash: Vector and sprite based animation, script-able and interactive capable as well as supporting video playback &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Audition: Audio Editing DAW&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;InDesign: Print layout&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Acrobat: Public document finishing, creates PDFs&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;DreamWeaver: Web design&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Muse: simpler web design&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Fireworks: Alternate image manipulation application, primarily targeting the web.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Bridge: Minor Adobe product that interconnects the applications to allow them to exchange nested data&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Media Encoder: Minor Adobe product that allows for a shared render queue and encoding of final assets&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-12-06T14:06:39.363" LastActivityDate="2013-12-06T14:06:39.363" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="9574" PostTypeId="1" CreationDate="2013-12-05T23:55:10.680" Score="0" ViewCount="124" Body="&lt;p&gt;I would like to make a film of our dance show from 2 videos which were shot of it, keeping 1 audio track and the movement synched to the audio. Can anyone tell me what software can do this as easily as possible? I had a go a couple of years ago, spent many hours on it and completely failed! As far as I can remember the problem was that I couldn't line up the videos one above the other and in time with each other so that I could choose which bits I wanted to cut from one to the other and put them in the right place. I happen to have a reduction for corel video studio - can it do this, if not what can?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks very much&lt;/p&gt;&#xA;&#xA;&lt;p&gt;any suggestions on what the technical terms I need to do this are would be much appreciated to help me search the web&lt;/p&gt;&#xA;" OwnerUserId="5103" LastActivityDate="2021-02-08T00:49:53.353" Title="Beginner: what software to combine 2 videos of a dance show" Tags="|video|audio|software-recommendation|sync|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9575" PostTypeId="2" ParentId="9574" CreationDate="2013-12-06T01:33:17.617" Score="3" Body="&lt;p&gt;You are looking for a Non-Linear Video Editing packages or NLE.  Premiere and Final Cut Pro are two of the most popular, but they are also relatively pricy professional products.  There are also many cheaper and/or free options available such as Windows Movie Maker (Windows) or iMovie (Mac).  If you search for non-linear editing software or video editing software, you should find lots of possible options.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-06T01:33:17.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9586" PostTypeId="1" AcceptedAnswerId="9589" CreationDate="2013-12-07T13:41:23.227" Score="1" ViewCount="804" Body="&lt;p&gt;I am usually listening to &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a) 320 kbps MP3&lt;/li&gt;&#xA;&lt;li&gt;b) Spotify over WiFi&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;on my &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;c) Samsung Galaxy S4&lt;/li&gt;&#xA;&lt;li&gt;d) HP laptop with internal sound card (I can't even google what card is there)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;over &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Sony Mdr-V6 closed headphones.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What is the bottle neck in my sound quality? What should be my upgrade path?&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;upgrade headphones?&lt;/li&gt;&#xA;&lt;li&gt;buy external sound card for the laptop?&lt;/li&gt;&#xA;&lt;li&gt;buy headphones amplifier?&lt;/li&gt;&#xA;&lt;li&gt;improve the audio source?*&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;*&lt;em&gt;I can/will not use CDs as audio source as this is not compatible with my lifestyle.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="5111" LastEditorUserId="5111" LastEditDate="2013-12-07T13:51:45.193" LastActivityDate="2013-12-07T21:32:36.530" Title="320 kbps MP3 -&gt; laptop sound card -&gt; studio headphones = what is the bottleneck?" Tags="|audio-quality|" AnswerCount="2" CommentCount="1" ClosedDate="2014-02-18T06:46:55.553" ContentLicense="CC BY-SA 3.0" />
  <row Id="9587" PostTypeId="1" AcceptedAnswerId="9683" CreationDate="2013-12-07T13:57:41.323" Score="0" ViewCount="327" Body="&lt;p&gt;I have a bunch of videos and pictures. I want to make a compilation with them. I just don't want it to be worse than movie maker. I am looking for these moving effects that you can play while the video is changing ( &lt;a href=&quot;http://prntscr.com/29coci&quot; rel=&quot;nofollow&quot;&gt;http://prntscr.com/29coci&lt;/a&gt; ) I already have experience in After Effects and Photoshop CC&lt;/p&gt;&#xA;" OwnerUserId="5101" LastActivityDate="2013-12-17T01:55:30.193" Title="Premiere Pro - How to make a slideshow/compilation" Tags="|video|audio|mixing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9589" PostTypeId="2" ParentId="9586" CreationDate="2013-12-07T14:46:16.293" Score="4" Body="&lt;h2&gt;File format&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Bit rate tells surprisingly little about quality in the case of mp3 files. There are old encoders where no matter how low you set the compression, there will always be audible artifacts. But LAME and the like have long gotten over this, and &lt;a href=&quot;https://video.stackexchange.com/questions/8382/is-there-a-losslessly-compressed-audio-file/8383#8383&quot;&gt;properly done 320 kBit mp3 is for listening purposes lossless&lt;/a&gt;, just like &lt;a href=&quot;http://xiph.org/~xiphmont/demo/neil-young.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;CDs are&lt;/a&gt;. Note anyway that mp3 is an outdated standard; I'd like to recommend switching to OGG Vorbis but practically this wouldn't gain you anything.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Network&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;What digital connection you use to transfer the file from the source to the DA unit has no influence on the sound whatsoever&lt;sup&gt;1&lt;/sup&gt;. WiFi is fine as long as its avarage transmission rate can keep up, which should never be a problem nowadays (apart from complete dropouts if the connection breaks down somehow, of course).&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Sound card&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Laptop on-board sound cards are horrible, so off the top I'd say that's your bottleneck. &lt;em&gt;However&lt;/em&gt;, the one thing they usually manage quite well is driving headphones. The main problems that such sound cards have are&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Awful mic preamps.&lt;/li&gt;&#xA;&lt;li&gt;Bad AD/DA units.&lt;/li&gt;&#xA;&lt;li&gt;Insufficient (or no) shielding against interference from power supply bursts etc.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You don't need the mic inputs. Even low-quality DAs of today can actually reproduce properly bandlimited audio quite faithfully. And the interference issues mostly turn up when you connect to some other audio device (with ground connection), but not so much with headphones. The headphone amplifiers themselves aren't great of course, but since that's quite an easy job electronically they still don't have easily audible influence on the sound. One remaing problem is high volume levels, especially in mobile devices, for power-supply (as well as, possibly, heat dissipation) reasons.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may try an external sound card, it &lt;em&gt;might&lt;/em&gt; improve you listening experience; but perhaps not significantly.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Headphones&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Like any kind of speaker device, those actually have more influence on the sound than any properly designed purely electronic component&lt;sup&gt;2&lt;/sup&gt;. That's often not so much considered a flaw as a characteristic; HiFi speakers aren't really designed to transmit with flat response at all, but to transmit &quot;nicely sounding&quot;, which obviously isn't quite well-defined.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Studio monitors and -headphones are, in principle, designed to operate as linearly as possible. Incidentally, this means they &lt;em&gt;don't&lt;/em&gt; really sound &quot;good&quot;: they're most of all supposed to &lt;em&gt;reveal&lt;/em&gt; any issues in the material. Sound engineers value this, obviously. But again, &lt;em&gt;mastering engineers&lt;/em&gt; anticipate that most listeners will use technically inferior speakers, and set up the mastering accordingly.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Music source&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;This, in a way, means the actual bottleneck is probably the orginal source; not the file format but the mastering. Indeed many of today's records are mastered quite horribly IMO, &lt;a href=&quot;http://en.wikipedia.org/wiki/Loudness_war&quot; rel=&quot;nofollow noreferrer&quot;&gt;grossly overcompressed&lt;/a&gt; etc..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course this depends on what style of music you hear. Classical music and Jazz are least affected, Pop through Electronic and Metal are most. What can you do about it? It's nothing you could fix by buying better listening equipment; if anything you could get &lt;em&gt;worse&lt;/em&gt; equipment to better match the master engineers' expectations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just try and be selective about what tracks you listen to, that's the advice I'd give you. A great recording&lt;sup&gt;3&lt;/sup&gt; over 30$ equipment is much more enjoyable than a bad recording over 1000$ equipment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;hr&gt;&#xA;&lt;sup&gt;1&lt;/sup&gt;Actually, that's only true for asynchronous transport, as in your case. If you need realtime performance, then there are sure enough a couple of issues in the digital transmission.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;sup&gt;2&lt;/sup&gt;Of course, I'm leaving out deviced &lt;em&gt;designed to alter the sound&lt;/em&gt; here, like EQs etc..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;sup&gt;3&lt;/sup&gt;Sure enough, in the &lt;em&gt;recording studio&lt;/em&gt; they will have needed expensive equipment. Recording has much higher demands (e.g. low-noise mic preamps) than listening.&lt;/p&gt;&#xA;" OwnerUserId="1038" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2013-12-07T14:46:16.293" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9591" PostTypeId="1" AcceptedAnswerId="9593" CreationDate="2013-12-07T13:27:35.163" Score="2" ViewCount="81" Body="&lt;p&gt;I have two videos - both are on a tripod, so they are locked in place. First video has an &lt;strong&gt;empty background&lt;/strong&gt; (no people or objects), the second video has a &lt;strong&gt;person walking&lt;/strong&gt; through the scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a technique that allows me to combine the two images - have the empty background remove the background from the person walking through it - and &lt;strong&gt;only keep the person with a transparent background&lt;/strong&gt;?&lt;/p&gt;&#xA;" OwnerUserId="5117" OwnerDisplayName="Taapo" LastEditorUserId="17390" LastEditDate="2018-07-15T08:22:28.437" LastActivityDate="2018-07-15T08:22:28.437" Title="Technique: remove background by combining two images?" Tags="|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9593" PostTypeId="2" ParentId="9591" CreationDate="2013-12-07T20:14:19.507" Score="3" Body="&lt;p&gt;I believe the effect you're after is &lt;code&gt;Difference Matte&lt;/code&gt;. Keep in mind your clean plate needs to be &lt;strong&gt;exactly&lt;/strong&gt; the same, pixel for pixel, as in your shots. You'll likely need to do some manual clean up as well.&lt;/p&gt;&#xA;" OwnerUserId="5116" LastActivityDate="2013-12-07T20:14:19.507" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9596" PostTypeId="2" ParentId="9591" CreationDate="2013-12-07T21:29:35.143" Score="0" Body="&lt;p&gt;I dont quite understand but I think you need to grab a video composer like After Effects or Sony Vegas Pro and put the video with the person ontop of the other video. You can achieve clones by that!&lt;/p&gt;&#xA;" OwnerUserId="5101" LastActivityDate="2013-12-07T21:29:35.143" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9597" PostTypeId="2" ParentId="9586" CreationDate="2013-12-07T21:32:36.530" Score="1" Body="&lt;p&gt;Its most likely your sound card. HP is notorious for using extremely cheap components on non essential hardware, such as your soundcard. It is the same way with all 3 of my HP computers.&lt;/p&gt;&#xA;" OwnerUserId="3851" LastActivityDate="2013-12-07T21:32:36.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9602" PostTypeId="1" AcceptedAnswerId="9606" CreationDate="2013-12-08T19:30:14.997" Score="3" ViewCount="191" Body="&lt;p&gt;I am using the CC version. I am making a gunshot composition and I need to have a specific frame brighter. What should I do? Remember , there shall be only one frame , not all the clip with preferences!&lt;/p&gt;&#xA;" OwnerUserId="5101" LastActivityDate="2013-12-08T23:45:05.227" Title="After Effects - Make one frame brighter" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9603" PostTypeId="2" ParentId="9602" CreationDate="2013-12-08T21:01:15.077" Score="3" Body="&lt;p&gt;I'm not an AE user, but if it has the concept of an effect layer, you can add a track above your clip that has one frame of 'brighten' or blowout.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, split your clip into three -- pre-glow, the hot frame, post-glow.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-12-08T21:01:15.077" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9604" PostTypeId="1" CreationDate="2013-12-08T23:08:53.040" Score="4" ViewCount="2770" Body="&lt;p&gt;I have a video that I recorded on my phone and would like to flip horizontally. I am using the &lt;a href=&quot;http://libav.org/avconv.html#hflip&quot; rel=&quot;nofollow&quot;&gt;following command&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i 20131117_220136.mp4 -vf &quot;hflip&quot; 20131117_220136.flipped.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I get the following output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv version 0.8.9-4:0.8.9-0ubuntu0.12.04.1, Copyright (c) 2000-2013 the Libav developers&#xA;  built on Nov  9 2013 19:12:07 with gcc 4.6.3&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '20131117_220136.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 0&#xA;    compatible_brands: isom3gp4&#xA;    creation_time   : 2013-11-18 04:35:04&#xA;Duration: 00:33:26.03, start: 0.000000, bitrate: 17127 kb/s&#xA;    Stream #0.0(eng): Video: h264 (High), yuv420p, 1920x1080, 17000 kb/s, PAR 1:1 DAR 16:9, 30 fps, 90k tbr, 90k tbn, 180k tbc&#xA;    Metadata:&#xA;      creation_time   : 2013-11-18 04:35:04&#xA;    Stream #0.1(eng): Audio: aac, 48000 Hz, stereo, s16, 124 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2013-11-18 04:35:04&#xA;[buffer @ 0x9a80de0] w:1920 h:1080 pixfmt:yuv420p&#xA;[mpeg4 @ 0x9a83200] removing common factors from framerate&#xA;[mpeg4 @ 0x9a83200] timebase 1/90000 not supported by MPEG 4 standard, the maximum admitted value for the timebase denominator is 65535&#xA;Output #0, mp4, to '20131117_220136.flipped.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 0&#xA;    compatible_brands: isom3gp4&#xA;    creation_time   : 2013-11-18 04:35:04&#xA;    Stream #0.0(eng): Video: mpeg4, yuv420p, 1920x1080 [PAR 1:1 DAR 16:9], q=2-31, 200 kb/s, 90k tbn, 90k tbc&#xA;    Metadata:&#xA;      creation_time   : 2013-11-18 04:35:04&#xA;    Stream #0.1(eng): Audio: [0][0][0][0] / 0x0000, 48000 Hz, stereo, s16, 200 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2013-11-18 04:35:04&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 -&amp;gt; mpeg4)&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac -&amp;gt; aac)&#xA;Error while opening encoder for output stream #0:0 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The issue is the &lt;code&gt;timebase 1/90000 not supported by MPEG 4 standard&lt;/code&gt; error, I'm assuming. I haven't found anything on it yet.&lt;/p&gt;&#xA;" OwnerDisplayName="Will" LastEditorUserId="1760" LastEditDate="2013-12-10T13:13:07.513" LastActivityDate="2013-12-10T13:13:07.513" Title="Invalid timebase converting videos from Galaxy S3" Tags="|video|libav|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9605" PostTypeId="2" ParentId="9604" CreationDate="2013-12-08T23:11:55.853" Score="5" Body="&lt;p&gt;Specifying the framerate fixes the issue. I.e. adding &lt;code&gt;-r 23.967&lt;/code&gt; to the command.&lt;/p&gt;&#xA;" OwnerDisplayName="Will" LastActivityDate="2013-12-08T23:11:55.853" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9606" PostTypeId="2" ParentId="9602" CreationDate="2013-12-08T23:45:05.227" Score="3" Body="&lt;p&gt;Its been a long time since I've been in AE, but you could do this a few ways. You could physically layer a clip of the effect(with transparency) over the section you want to 'flash', or select the frame and tweak the saturation until it looks right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Jim has a good point about splitting it into 3 frames. It will look much less harsh, but it will make timing a little more difficult. I would make the pre-glow focused in a certain area of the frame, the hot frame be completely covered by the effect, and have post glow be a diminished version of the hot frame. This will look the most natural, as it will look like your flash is actually originating from the end of the barrel (or whatever point you choose).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I remember correctly, there is a masking function that you could use to achieve the pre-glow frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ultimately, layering the effect on top would be easier because you're not working from pre-existing effects and you have the freedom to easily move and duplicate the clip.&lt;/p&gt;&#xA;" OwnerUserId="5118" LastActivityDate="2013-12-08T23:45:05.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9608" PostTypeId="1" CreationDate="2013-12-09T11:16:29.040" Score="5" ViewCount="296" Body="&lt;p&gt;We've had a video production studio for about 6 months, and we're revisiting how we should back-up/archive our client files and in general what our workflow should be with about a 8K limit on hardware.  We've sketched out a couple options for what hardware and procedures we're using.&lt;/p&gt;&#xA;&lt;p&gt;Here is one:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Transfer RAW footage (we're shooting DSLR) to portable bus&#xA;powered HD&lt;/li&gt;&#xA;&lt;li&gt;Import RAW footage into FCPX using Ext. Drive for&#xA;Scratch Disk (here we have RAW footage and FCPX project files&#xA;separated) Step&lt;/li&gt;&#xA;&lt;li&gt;Delete SD Cards&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;EDIT Footage&lt;/p&gt;&#xA;&lt;ol start=&quot;4&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;Move FCP Projects files to RAID &amp;amp; Delete bus powered HD that had raw footage&#xA;Step&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Delete Scratch Disks&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/LfELF.png&quot; alt=&quot;breakdown of example&quot; /&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Here is possibly another option:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Transfer RAW footage to Scratch Drives&lt;/li&gt;&#xA;&lt;li&gt;Copy RAW Footage to RAID&lt;/li&gt;&#xA;&lt;li&gt;Delete SD Cards&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;EDIT Footage Step&lt;/p&gt;&#xA;&lt;ol start=&quot;4&quot;&gt;&#xA;&lt;li&gt;Move FCP Projects files to RAID&lt;/li&gt;&#xA;&lt;li&gt;Delete Scratch Disks&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/9dZBP.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/p&gt;&#xA;" OwnerUserId="5127" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2014-01-22T16:15:19.977" Title="How should we back-up our media files for our production studio" Tags="|video-editor|post-production|production|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="9613" PostTypeId="2" ParentId="4850" CreationDate="2013-12-09T21:03:51.960" Score="1" Body="&lt;p&gt;In general, I'd say don't bother. Just do a bit of pre-recording testing to make sure your input levels are good. You're not going to want to tweak the input levels a bunch while you're recording, anyways. That would just be distracting to you and the other people that are recording. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you really want to, and you're on a Mac, check out &quot;Line In&quot; from Rogue Amoeba: &lt;a href=&quot;http://rogueamoeba.com/freebies/&quot; rel=&quot;nofollow&quot;&gt;http://rogueamoeba.com/freebies/&lt;/a&gt; - I just tried it out, and it works great.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're on windows, this may work &lt;a href=&quot;http://answers.microsoft.com/en-us/windows/forum/windows_vista-pictures/how-to-get-the-microphone-sound-through-speakers/1643d977-5dfb-4eca-9330-3b16370e7646&quot; rel=&quot;nofollow&quot;&gt;http://answers.microsoft.com/en-us/windows/forum/windows_vista-pictures/how-to-get-the-microphone-sound-through-speakers/1643d977-5dfb-4eca-9330-3b16370e7646&lt;/a&gt; though I haven't tried it (don't have my windows machine ready to try it out). There are other options, as well, like software packages you can purchase.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing you need to know, though, is that you'll end up with a small delay between your actual voice and what you're hearing through your headset. It's not much of a delay, but it is noticeable. This can be confusing if you're not used to it. You might accidentally start to slow down or pause or get mixed up because you're hearing yourself slightly after the moment that you are speaking. It tends to make people think they are interrupting someone else, and can cause stumbles in speaking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you've done any studio recording, this shouldn't be too much of a problem. But if you've never done anything like that, it can be disconcerting. So if you're going to go down the path, be sure to practice recording yourself with this feature on. Get used to the way it works, and the output levels that you need for the recording vs what you are hearing. &lt;/p&gt;&#xA;" OwnerUserId="5132" LastActivityDate="2013-12-09T21:03:51.960" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9616" PostTypeId="2" ParentId="9342" CreationDate="2013-12-10T02:20:20.060" Score="2" Body="&lt;p&gt;There are many hardware options including Intel media SDK, FPGA options, nvidi, ASIC solutions, elgato, etc. But for my money, I prefer quality. The software solutions, especially x264, perform WAY (WAY) better as measured by visual quality by file size ratio. As for Quality per watt in terms of encoding, you cant beat a good ASIC. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2013-12-10T02:20:20.060" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9617" PostTypeId="1" AcceptedAnswerId="15094" CreationDate="2013-12-10T09:03:52.907" Score="4" ViewCount="5450" Body="&lt;p&gt;In BDAV's M2TS there are .clpi files, in AVCHD the same files are labeled as .CPI. As i understand, some sort of metadata is written into these files. The question is twofold:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;What metadata exists in these files? (both 'by the standard' and 'de facto', if there are differences)&lt;/li&gt;&#xA;&lt;li&gt;Are there any free/libre/open-source software tools that are able to extract this metadata from them?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;An example of such a file is &lt;a href=&quot;https://dl.dropboxusercontent.com/u/1033657/00074.CPI&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="4943" LastEditDate="2014-01-08T06:39:13.763" LastActivityDate="2015-03-11T11:33:51.673" Title="What can be done with .CPI or .clpi files?" Tags="|avchd|mpeg|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9628" PostTypeId="1" CreationDate="2013-12-10T22:25:20.883" Score="2" ViewCount="336" Body="&lt;p&gt;A short while ago I made an Encore project from my Premiere CS4 project and spent some time sorting out the menus, credits and timelines, etc. I then told Encore to build the project, which of course caused the rendering of the original Premiere video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately I found some errors in the original project, so went back to Premiere and fixed them. However if I just re-build the video it rebuilds from the original render. I did find the option to set the status of the Premiere Sequence back to Original, but when I build from that, I get a large video full of 'media offline' images... not quite what I meant!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, how can I build my final video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In case it matters:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Original footage: Full HD/50p, destination to &quot;DVD Folder&quot;, using the default Encore settings.&lt;/li&gt;&#xA;&lt;li&gt;Encore project has a DVD main menu and per-Chapter shortcuts appropriately&#xA;linked up.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I really don't want to have to rebuild the Encore project :(&lt;/p&gt;&#xA;" OwnerUserId="5145" LastEditorUserId="2836" LastEditDate="2014-07-01T16:00:51.827" LastActivityDate="2014-07-01T16:00:51.827" Title="How to re-transcode sequence Encore CS4?" Tags="|premiere|encore|cs4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9633" PostTypeId="1" CreationDate="2013-12-11T09:09:21.673" Score="1" ViewCount="558" Body="&lt;p&gt;I am editing a music video in Final Cut Pro 7.&#xA;I would like to create a random frame sequence, a flashing-frame effect to insert into the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas on how to create it?&lt;/p&gt;&#xA;" OwnerUserId="5147" LastEditorUserId="2178" LastEditDate="2013-12-11T10:49:31.333" LastActivityDate="2013-12-11T10:49:31.333" Title="How to create a video sequence made up of random frames in Final Cut Pro 7?" Tags="|video|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9636" PostTypeId="1" AcceptedAnswerId="9669" CreationDate="2013-12-11T21:11:49.677" Score="0" ViewCount="2040" Body="&lt;p&gt;After spending a few hours setting up and configuring PlexMediaServer, I realized that it looks &lt;em&gt;awesome&lt;/em&gt; for home use, but has some impediments for serving up content to the public at large. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have 50 or so video presentations (genetics &amp;amp; infant healthcare if you must know) that need to be served up.  The presentations will be available on a web page, and I would simply need a link to point back to a file that the streaming server would transcode &amp;amp; play.  The HTML is not important - I can have simple href links for that.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any relatively easy to configure and set up streaming servers that can offer this basic functionality?   My server is CentOS 6.5.  &lt;/p&gt;&#xA;" OwnerUserId="2504" LastActivityDate="2013-12-15T00:28:08.460" Title="Simple, easy to configure streaming server for linux - just transcode &amp; stream" Tags="|streaming|webvideos|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="9637" PostTypeId="2" ParentId="8558" CreationDate="2013-12-11T21:13:03.130" Score="1" Body="&lt;p&gt;MotionBend, &lt;a href=&quot;http://www.motionbend.com&quot; rel=&quot;nofollow&quot;&gt;http://www.motionbend.com&lt;/a&gt;, might be what you are looking for, &lt;a href=&quot;http://www.fcp.co/final-cut-pro/news/1119-motionbend-takes-video-stabilisation-to-the-next-level-and-adds-fcpx-xml-export&quot; rel=&quot;nofollow&quot;&gt;http://www.fcp.co/final-cut-pro/news/1119-motionbend-takes-video-stabilisation-to-the-next-level-and-adds-fcpx-xml-export&lt;/a&gt;. Do you have any examples of videos you are trying to stabilize ?&lt;/p&gt;&#xA;" OwnerUserId="1414" LastEditorUserId="1414" LastEditDate="2013-12-11T21:19:28.733" LastActivityDate="2013-12-11T21:19:28.733" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9640" PostTypeId="1" CreationDate="2013-12-12T07:17:54.770" Score="1" ViewCount="114" Body="&lt;p&gt;I'm looking for a program but since I don't really know how these kind of effects are called, it is hard to search for it, so I hope someone here can give me some pointers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to create animated gifs like this one: &lt;a href=&quot;http://9gag.com/gag/aozMMGg&quot; rel=&quot;nofollow&quot;&gt;http://9gag.com/gag/aozMMGg&lt;/a&gt;&#xA;The remarkable thing here is, that some parts of the gif enjoy a &quot;wind effect&quot;. The tie and the picture in the background are blown away.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, I think the creator did this in a SFX video program and converted the video to a gif. If so, does somebody know which program can do this?&lt;/p&gt;&#xA;" OwnerUserId="5150" LastActivityDate="2014-02-06T03:46:37.667" Title="Special effect in videos and gifs" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9641" PostTypeId="2" ParentId="9640" CreationDate="2013-12-12T11:18:10.230" Score="1" Body="&lt;p&gt;For that specific example, any editing package would do - either an image stitching program or as Weylin said, more likely a video editing tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All that they have done there is have a background layer which is fixed throughout, then 5 layers containing the sign, his chin, his mouth, his tie and the ticker. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each of these layers is manually edited to move the item, then the frames are stitched together to form a gif.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are ways to automate all the movements along animation tracks, but for a simple gif like this that would probably be overkill.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2013-12-12T11:18:10.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9644" PostTypeId="1" CreationDate="2013-12-07T20:39:27.750" Score="43" ViewCount="48977" Body="&lt;p&gt;I have to create a video. Part of it involves &quot;showing&quot; a radio interview. Rather than just having a black screen and listening to the audio, I'd like to have a varying waveform on the screen and a caption.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any free or cheap tool I can use that will do this?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;If I ask a friend to do it, is there anything in the Adobe Creative Suite that can do the job?&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="12802" OwnerDisplayName="ccleve" LastEditorUserId="6685" LastEditDate="2015-10-08T15:37:20.780" LastActivityDate="2020-09-04T15:01:55.223" Title="How do I turn audio into video (that is, show the waveforms in a video)?" Tags="|video|audio|software-recommendation|" AnswerCount="7" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9645" PostTypeId="2" ParentId="9644" CreationDate="2013-12-07T20:53:11.120" Score="6" Body="&lt;p&gt;Adobe After Effects has a visualizer, &lt;a href=&quot;http://www.youtube.com/watch?v=YglOeu3-DYE&quot;&gt;see&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also plugins such as &lt;a href=&quot;http://softwaresolution.informer.com/d/Photoshop_Visualizer_Plugin&quot;&gt;here&lt;/a&gt; for Photoshop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck with your project.&lt;/p&gt;&#xA;" OwnerDisplayName="JennaDesign" LastActivityDate="2013-12-07T20:53:11.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9646" PostTypeId="2" ParentId="9644" CreationDate="2013-12-12T06:04:26.543" Score="4" Body="&lt;p&gt;I understood your question quite well. If you are trying to make a waveform pattern that moves according to the pitch and bass of your audio, then you can try this link.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.videocopilot.net/tutorial/audio_to_animation/&quot; rel=&quot;nofollow&quot;&gt;http://www.videocopilot.net/tutorial/audio_to_animation/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe After effects lets you do it easily. You can play along with the particle effects to get a more solid looking waveform.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerDisplayName="BoxGraphics" LastActivityDate="2013-12-12T06:04:26.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9647" PostTypeId="1" CreationDate="2013-12-12T19:56:45.050" Score="4" ViewCount="3813" Body="&lt;p&gt;I'm putting together a scene with music that has a steady beat, and then the tempo increases to the point where the beat is far more rapid. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to alternate between video clips on every beat. I can do this by slicing up one clip and have it on a higher track than the other, but that becomes tedious with the amount of times it need to be done and how small some clips need to be because of the tempo increase.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an example from around 2:40 here &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/i-gyZ35074k?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is, is there any way to accomplish this in a simple fashion? I'm not sure if I can do this in After Effects, but if I can, I'm willing to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="3579" LastEditorUserId="6330" LastEditDate="2014-08-18T10:28:55.657" LastActivityDate="2014-08-18T10:28:55.657" Title="Create quickly alternating clips in Premiere Pro" Tags="|premiere|effects|transitions|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9652" PostTypeId="1" CreationDate="2013-12-13T02:58:21.833" Score="1" ViewCount="51" Body="&lt;p&gt;Can you recommend a good site with some online training for the latest iMovie on OS X? I have tried to play with iMovie over the years and I never seem to 'get' how it is meant to be used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right now I have about 1.5 hours of raw video taken with my iPhone 5s of a set of student presentation and I (naively) wanted to make a short 'highlight real' of it. But once I import the video into iMovie I am not sure how to use its features.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Note that I am very proficient on my mac in every other respect, software development, html, photoshop, illustrator, all those I manage just fine, but iMovie is so confusing. I feel like I just need a 20 minute leg up in a tutorial or something like that.)&lt;/p&gt;&#xA;" OwnerUserId="5159" LastEditorUserId="5159" LastEditDate="2013-12-13T14:35:26.357" LastActivityDate="2014-01-16T03:31:39.597" Title="Want to learn the new iMovie" Tags="|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9654" PostTypeId="2" ParentId="9644" CreationDate="2013-12-13T12:53:46.650" Score="3" Body="&lt;p&gt;Many music players have visualisers. Play the audio in one of them and use a screen-grabber to record the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also try to use gstreamer as described at &lt;a href=&quot;http://www.vidarholen.net/contents/blog/?p=23&quot; rel=&quot;nofollow&quot;&gt;http://www.vidarholen.net/contents/blog/?p=23&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option is Sonic Candle, &lt;a href=&quot;http://sourceforge.net/projects/soniccandle/&quot; rel=&quot;nofollow&quot;&gt;http://sourceforge.net/projects/soniccandle/&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="5161" LastEditorUserId="5161" LastEditDate="2015-10-19T13:06:56.300" LastActivityDate="2015-10-19T13:06:56.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9657" PostTypeId="1" AcceptedAnswerId="9660" CreationDate="2013-12-13T16:06:22.710" Score="2" ViewCount="11633" Body="&lt;p&gt;&lt;strong&gt;After effects&lt;/strong&gt; noob here. I'm working on an animation where a ball falls through a hole. I created a &lt;code&gt;Shape layer&lt;/code&gt; to use as the mask, but I can't get it to mask the ball layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've also tried adding a mask directly to the ball layer, but it moves with the rest of the animation. Is there a way to turn the mask on and off without affecting the rest of the animation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/J717t.gif&quot; alt=&quot;Ball not being masked&quot;&gt; &lt;/p&gt;&#xA;" OwnerUserId="4007" LastEditorUserId="4007" LastEditDate="2014-02-10T19:39:14.097" LastActivityDate="2014-02-10T19:39:14.097" Title="How to mask an animated layer in After Effects?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9659" PostTypeId="2" ParentId="9636" CreationDate="2013-12-13T17:57:39.323" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://www.digitalocean.com/community/articles/how-to-stream-videos-with-nginx-and-jwplayer-on-centos-6&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.digitalocean.com/community/articles/how-to-stream-videos-with-nginx-and-jwplayer-on-centos-6&lt;/a&gt; makes Nginx look pretty simple to set-up as the streaming server. I've not used it but I have used jwplayer and that worked well for me (I was streaming from vlc/vlm). Another good option for the player end would be jplayer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/7129&quot;&gt;Web Videos via Watch Folders Transcode&lt;/a&gt; is a reasonable approach to the transcode issue.&lt;/p&gt;&#xA;" OwnerUserId="2265" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2013-12-13T17:57:39.323" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9660" PostTypeId="2" ParentId="9657" CreationDate="2013-12-13T18:21:40.653" Score="4" Body="&lt;p&gt;I found this post helpful: &lt;a href=&quot;http://forums.adobe.com/thread/704283&quot; rel=&quot;nofollow&quot;&gt;Preventing a Mask From Animating&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;Create a comp size solid above your text layer.  &lt;/li&gt;&#xA;  &lt;li&gt;Apply the mask to the solid.  &lt;/li&gt;&#xA;  &lt;li&gt;Set the &lt;strong&gt;Track Matte&lt;/strong&gt; setting of your text layer to &lt;code&gt;Alpha Matte&lt;/code&gt;.&lt;/li&gt;&#xA;  &lt;li&gt;The text layer will now adopt the alpha channel of the masked solid.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;You can freely animate the text and mask independently.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I did not know the name of what I was trying to do. I needed to convert the mask layer into a &lt;code&gt;Track Matte&lt;/code&gt;. &lt;/p&gt;&#xA;" OwnerUserId="4007" LastActivityDate="2013-12-13T18:21:40.653" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9663" PostTypeId="1" CreationDate="2013-12-14T02:58:38.770" Score="3" ViewCount="91" Body="&lt;p&gt;I have a GIF that uses variable framerates throughout. It plays back correctly in web browsers, and opening it in GIMP shows the time for each frame. If I import it into Premiere CS6, it plays at a constant average framerate. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to preserve the correct frame timing without cutting and splicing several copies of the source GIF?&lt;/p&gt;&#xA;" OwnerUserId="5167" LastActivityDate="2013-12-17T16:37:47.407" Title="GIF individual frame timing" Tags="|video|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9666" PostTypeId="1" CreationDate="2013-12-14T19:38:25.157" Score="3" ViewCount="1118" Body="&lt;p&gt;Is it just to do with the image sensor tech of the time or is it a deliberate effect? What is it called?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A lot of music and pro videos shot during the 00s have that misty, glowing, saturated and grainless look throughout the entire videos, which you don't see any more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just a few prominent examples:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Usher - U Don't Have To Call - &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/3AszPTJXIgM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Professional ad for a facial workout DVD - &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/AsdWl5Ns2aU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Outkast - Hey Ya! - &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/PWgvGjAhvIw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pussycat Dolls - Don't Cha - &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/YNSxNsr4wmA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4970" LastActivityDate="2013-12-16T06:14:04.460" Title="What Is That Misty, Glowing, Saturated Look 2000s Music and Pro Videos Have?" Tags="|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9667" PostTypeId="2" ParentId="9406" CreationDate="2013-12-14T20:39:00.027" Score="10" Body="&lt;p&gt;&lt;a href=&quot;http://www.ffmpeg.org/&quot; rel=&quot;noreferrer&quot;&gt;FFMpeg&lt;/a&gt; has an option to modify the aspect ratio of a video file without actually modifying the video, see &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-all.html#Video-Options&quot; rel=&quot;noreferrer&quot;&gt;http://www.ffmpeg.org/ffmpeg-all.html#Video-Options&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, in your case, the desired aspect ratio is 720 / 480 = 1.5 (3:2) (which is &lt;strong&gt;NOT&lt;/strong&gt; 4:3, it should be 540 in that case)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So your command line may look like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input_file.avi -c copy -aspect 1.5 output_file.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This copies both audio and video streams unchanged to the output file, and specify into the file's metadata that the aspect ratio is 1.5 as a hint for video players.&lt;/p&gt;&#xA;" OwnerUserId="4448" LastActivityDate="2013-12-14T20:39:00.027" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9668" PostTypeId="2" ParentId="9657" CreationDate="2013-12-15T00:13:38.670" Score="1" Body="&lt;p&gt;In these cases, I generally precompose the layer and apply the mask to the precomp (the layer is animating inside the precomp)&lt;/p&gt;&#xA;" OwnerUserId="5172" LastActivityDate="2013-12-15T00:13:38.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9669" PostTypeId="2" ParentId="9636" CreationDate="2013-12-15T00:28:08.460" Score="0" Body="&lt;p&gt;Ended up with &lt;a href=&quot;http://www.vimp.com/en/web/vimp-community.html&quot; rel=&quot;nofollow&quot;&gt;ViMP Community Edition&lt;/a&gt;.  Took a little while to work through some dependencies but now that it is installed everything works exactly like I want. &lt;/p&gt;&#xA;" OwnerUserId="2504" LastActivityDate="2013-12-15T00:28:08.460" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9674" PostTypeId="2" ParentId="9666" CreationDate="2013-12-16T06:14:04.460" Score="2" Body="&lt;p&gt;I don't know how much of this contributes to the effect, &#xA;but it seems that they are applying a blurred copy of the footage with very low opacity.&#xA;Similar to this: &lt;a href=&quot;http://digital-photography-school.com/4-easy-photoshop-techniques-to-make-your-pictures-pop&quot; rel=&quot;nofollow&quot;&gt;http://digital-photography-school.com/4-easy-photoshop-techniques-to-make-your-pictures-pop&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5172" LastActivityDate="2013-12-16T06:14:04.460" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9676" PostTypeId="2" ParentId="2673" CreationDate="2013-12-16T18:21:06.387" Score="1" Body="&lt;p&gt;In some sense, shooting to a raw format with something like a Red camera or an Alexa does what you want.  The camera doesn't do any in-camera image processing to alter the image (except maybe compression), leaving all the data in the original sensor color space.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can then use your computer to do whatever you want to generate a final image.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;ISO can be set in post, for example.  Shutter speed, OTOH, still depends on things like the actual sensor parameters.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's nothing about the CPU in the camera that would likely be the limiting factor.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have some control software for the camera that has useful features like allowing a particular frame rate that the camera vendor doesn't expose in the camera's controls, then it doesn't really matter whether that custom software is running on some frankencamera with a bunch of custom soldering to somehow connect your computer directly to the camera internals, or running directly on the camera.&lt;/p&gt;&#xA;" OwnerUserId="272" LastEditorUserId="2569" LastEditDate="2013-12-17T04:13:52.337" LastActivityDate="2013-12-17T04:13:52.337" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9681" PostTypeId="2" ParentId="9647" CreationDate="2013-12-17T00:52:34.170" Score="0" Body="&lt;p&gt;I have used a number of pro NLE editors and I have not heard of this kind of automation.&#xA;It might be possible via a script, but that is not my area, I am a nuts and bolts editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I think that your video will be much better to have it cut by hand instead of letting a program decide where to cut it. Yes, it will be an enormous chore to get your video to checkerboard or cross cut back and forth so many times so quickly, but if you really dig editing here's your chance to shine besides if you plan to master editing, this is an opportunity to accelerate the learning curve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also the speed increase, or accelerating the tempo is another step that makes this even more demanding, and really should be thought out carefully and done by hand.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2013-12-17T00:59:02.447" LastActivityDate="2013-12-17T00:59:02.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9682" PostTypeId="2" ParentId="9647" CreationDate="2013-12-17T01:28:55.187" Score="2" Body="&lt;p&gt;I would imagine that the music video you posted used manual edits to achieve that effect. However, there are a few automated beat detection utilities out there which you might like. One After Effects / Premiere plugin specifically dedicated to beat detection and music is Mamoworld's &lt;a href=&quot;http://mamoworld.com/tools/beat-assistant&quot; rel=&quot;nofollow&quot;&gt;Beat Assistant&lt;/a&gt;. I haven't used the plugin (cost ~$40), but it should work with Premiere or After Effects. You can see a video tutorial and overview &lt;a href=&quot;http://www.redgiant.com/products/all/trapcode-sound-keys/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For other ideas, Premiere Elements (but not Pro) does have a built-in beat detection feature. You could also investigate Trapcode's Sound Keys plugin, which might help you  more quickly place markers on beats by hand. If you can make cuts based on loudness of the music (as opposed to beats), you may be able to use the &quot;Convert audio to keyframes&quot; keyframe assistant.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, I'm not sure if beat detection tools will be able to easily / perfectly recognize an accelerando or tempo increase like you describe. You may be stuck doing some manual editing to at least identify the beats. Using Premiere's &quot;Add clips to a sequence automatically&quot; could speed up your workflow when it comes time to assemble the clips in place.&lt;/p&gt;&#xA;" OwnerUserId="5142" LastActivityDate="2013-12-17T01:28:55.187" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9683" PostTypeId="2" ParentId="9587" CreationDate="2013-12-17T01:55:30.193" Score="1" Body="&lt;p&gt;Premiere Pro has a number of default transitions under the &quot;video transitions&quot; tab in the effects pane (usually located in the bottom left of the window). Are those what you are looking for? If you have experience with After Effects, you could also use AE's more robust effects library to animate interesting effects for your videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based on your included image, it looks like you might be interested in wipe transitions.&lt;/p&gt;&#xA;" OwnerUserId="5142" LastActivityDate="2013-12-17T01:55:30.193" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9684" PostTypeId="2" ParentId="9652" CreationDate="2013-12-17T02:00:12.993" Score="2" Body="&lt;p&gt;I'm generally a fan of Lynda.com. If you are a student (especially in a college environment), you may have free access to Lynda at your library. It looks like there are a series of tutorials for iMovie on their site:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.lynda.com/iMovie-training-tutorials/229-0.html&quot; rel=&quot;nofollow&quot;&gt;http://www.lynda.com/iMovie-training-tutorials/229-0.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, if you search Youtube for iMovie training, you'll likely some good stuff as well (even reposted Lynda.com videos). I suspect that after about an hour of video tutorials you'd have a good sense of the key features of iMovie.&lt;/p&gt;&#xA;" OwnerUserId="5142" LastActivityDate="2013-12-17T02:00:12.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9685" PostTypeId="2" ParentId="9663" CreationDate="2013-12-17T02:13:31.297" Score="1" Body="&lt;p&gt;That does sound like a tricky issue. Have you tried opening the GIF in PhotoShop using video to layers (file &gt; import &gt; video to layers)? If so, did the timing appear accurate? What are you ultimately trying to do with the GIF?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://helpx.adobe.com/photoshop/using/editing-video-animation-layers-photoshop.html&quot; rel=&quot;nofollow&quot;&gt;http://helpx.adobe.com/photoshop/using/editing-video-animation-layers-photoshop.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5142" LastEditorUserId="5142" LastEditDate="2013-12-17T16:37:47.407" LastActivityDate="2013-12-17T16:37:47.407" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9686" PostTypeId="2" ParentId="9405" CreationDate="2013-12-17T02:52:01.850" Score="2" Body="&lt;p&gt;Tough question, and I imagine that those effects may be combinations of many other effects (probably in a 3D package given the context of the video itself). Barnaby Roper has a pretty interesting skill set, and we could try forever guessing what he did without getting it exactly right. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, you should be able to accomplish a similar effect with purposefully induced compression artifacts. Getting those artifacts to animate seemingly organically like the video will be tricky.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise, dig into After Effects and start playing with combinations of all the distortion. Trapcode's Particular is (unsurprisingly) used throughout, but it's hard to pin down exactly what they're using it for everywhere. Still, Trapcode does have a small blog about the video, which might be able to direct you to further expertise:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.trapcode.com/journal/2013/11/19/david-bowie-love-is-lost-hello-steve-reich-mix.html&quot; rel=&quot;nofollow&quot;&gt;http://www.trapcode.com/journal/2013/11/19/david-bowie-love-is-lost-hello-steve-reich-mix.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may also want to look into Trapcode MIR: &lt;a href=&quot;http://vimeo.com/46449353&quot; rel=&quot;nofollow&quot;&gt;http://vimeo.com/46449353&lt;/a&gt;; I don't think it was used for the distortion you've highlighted, but it's possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Happy hunting!&lt;/p&gt;&#xA;" OwnerUserId="5142" LastActivityDate="2013-12-17T02:52:01.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9690" PostTypeId="1" AcceptedAnswerId="12143" CreationDate="2013-12-17T04:06:47.650" Score="2" ViewCount="3137" Body="&lt;p&gt;I uploaded some of my home movies to YouTube for family members to watch but there were a few songs in there which YouTube said were copyrighted. The only music in there was the theme song from the old Mission Impossible but there's not arguing with Google. So they muted the whole video.  Fine, thems the rules.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any other options for hosting a video like that for private viewing (even though I had the Youtube video set to &quot;private&quot;)  and thus allow copyright music to be in the video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I assume that putting copyright music into a home movie, not for distribution beyond my immediate family falls under Fair Use and that the issue is that YouTube is under a lot of pressure to avoid copyright issues... but I'm hot trying to broadcast this to 100's of people. Maybe 10 or so. But just trying to avoid burning DVDs for them.&lt;/p&gt;&#xA;" OwnerUserId="5183" LastActivityDate="2014-07-11T16:00:23.677" Title="What are some free (or cheap) options for hosting home videos that have copyright music in them?" Tags="|copyright|" AnswerCount="5" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="9691" PostTypeId="2" ParentId="9494" CreationDate="2013-12-17T08:03:22.813" Score="0" Body="&lt;p&gt;One more better solution is to trim the part you don't want to show. And there is really no such expiry function is most of dvd creators as i know. &lt;/p&gt;&#xA;" OwnerUserId="4954" LastActivityDate="2013-12-17T08:03:22.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9692" PostTypeId="2" ParentId="4211" CreationDate="2013-12-17T09:15:36.830" Score="0" Body="&lt;p&gt;I think your question makes me confused, but i wish i still can provide something useful here for you.&#xA;If you father needs some converter to convert video taps to digital formats, you can check the &lt;a href=&quot;http://www.wondershare.com/convert-video-audio/free-video-converter-windows8.html&quot; rel=&quot;nofollow&quot;&gt;top 5 free video converter&lt;/a&gt; here(list made by the company I work for), most of them can convert your vcr to common video formats and preserve your father's best memory.&#xA;If you need a proven capture devices for pc (if i didn't wrong you, you mean a screen recorder, yes?), you can check the &lt;a href=&quot;http://www.hongkiat.com/blog/win-screen-recording-softwares/&quot; rel=&quot;nofollow&quot;&gt;top 5 free screen recorder&lt;/a&gt;.&#xA;The above lists are for windows version, good luck!&lt;/p&gt;&#xA;" OwnerUserId="4954" LastEditorUserId="2836" LastEditDate="2014-02-20T15:19:50.973" LastActivityDate="2014-02-20T15:19:50.973" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9693" PostTypeId="1" AcceptedAnswerId="9699" CreationDate="2013-12-17T13:47:27.963" Score="0" ViewCount="534" Body="&lt;p&gt;Simple question, is it legal to take a DVD you already own and convert (rip) it into a format (such as .mp4) so it can be played on a tablet or laptop ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the past you had to use various nefarious means to convert CD to .mp3 but now, iTunes &amp;amp; windows media player come with the functionality built in (which in my mind legitimises the practice).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, assuming DVD -&gt; .mp4 is legal, is there any legitimate software to make the task easy ?&lt;/p&gt;&#xA;" OwnerUserId="5186" LastEditorUserId="126" LastEditDate="2013-12-17T14:11:44.790" LastActivityDate="2015-08-20T09:05:18.113" Title="Is converting DVD to a format to play on a tablet legal (in the UK)" Tags="|conversion|mp4|legal|" AnswerCount="2" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="9694" PostTypeId="2" ParentId="9693" CreationDate="2013-12-17T15:41:42.040" Score="1" Body="&lt;p&gt;There are different laws regarding ripping DVDs depending on where you live.  Two points to consider though:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Cases have been made (in the US) that you are within your rights as a license holder to make an archival copy for backup.&lt;/li&gt;&#xA;&lt;li&gt;Having said that, breaking DRM is almost always instantly illegal.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Little bit of a catch-22 there for sure.  Having said all that...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Assuming DVD-&amp;gt;.mp4 is legal&lt;/code&gt;, a combination of &lt;a href=&quot;http://www.makemkv.com/&quot; rel=&quot;nofollow&quot;&gt;MakeMKV&lt;/a&gt; and &lt;a href=&quot;http://handbrake.fr/&quot; rel=&quot;nofollow&quot;&gt;Handbrake&lt;/a&gt; will get you where you want to go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both Free.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MakeMKV will do the ripping, and Handbrake will do the transcoding for various formats/devices.  I do believe there are even iPhone/iPad presets.&lt;/p&gt;&#xA;" OwnerUserId="2569" LastEditorUserId="2569" LastEditDate="2013-12-17T15:50:22.913" LastActivityDate="2013-12-17T15:50:22.913" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9696" PostTypeId="1" CreationDate="2013-12-18T00:39:08.503" Score="1" ViewCount="106" Body="&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/zzZgw.jpg&quot; alt=&quot;Example of moiré I&amp;#39;m getting on the tie&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just picked up Blackmagic camera. Shooting in 2.5K for a series of interviews and experiencing excessive moire throughout all subjects. There are no obnoxious patterns on anyone, so I'm wondering what I can do minimize this and/or cancel out in the future.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there something I can do in Blackmagic settings in camera or in post production to cancel this out?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="5191" LastActivityDate="2013-12-18T00:39:08.503" Title="How Can I Eliminate Moiré With Blackmagic 2.5K?" Tags="|video|video-quality|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9697" PostTypeId="2" ParentId="9644" CreationDate="2013-12-18T09:14:08.313" Score="66" Body="&lt;p&gt;You can use &lt;code&gt;ffmpeg&lt;/code&gt; to create video from audio using several filters.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#ahistogram&quot; rel=&quot;noreferrer&quot;&gt;ahistogram&lt;/a&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Convert input audio to a video output, displaying the volume histogram.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VO0x1.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VO0x1.jpg&quot; alt=&quot;ahistogram&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffmpeg&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.flac -filter_complex \&#xA;&quot;[0:a]ahistogram,format=yuv420p[v]&quot; \&#xA;-map &quot;[v]&quot; -map 0:a output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffplay&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f lavfi &quot;amovie=input.flac, asplit [a][out1]; [a] ahistogram [out0]&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#ahistogram&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;ahistogram&lt;/code&gt;&lt;/a&gt; documentation for more options and examples.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;&lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#aphasemeter&quot; rel=&quot;noreferrer&quot;&gt;aphasemeter&lt;/a&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Convert input audio to a video output, displaying the audio phase.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vsDD6.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vsDD6.jpg&quot; alt=&quot;aphasemeter&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffmpeg&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.wav -filter_complex \&#xA;&quot;[0:a]aphasemeter=s=1280x720:mpc=cyan,format=yuv420p[v]&quot; \&#xA;-map &quot;[v]&quot; -map 0:a output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffplay&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f lavfi &quot;amovie=input.wav, asplit [a][out1]; [a] aphasemeter=s=1280x720:mpc=cyan [out0]&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#aphasemeter&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;aphasemeter&lt;/code&gt;&lt;/a&gt; documentation for more options and examples.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#avectorscope&quot; rel=&quot;noreferrer&quot;&gt;avectorscope&lt;/a&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/yAPxt.jpg&quot; alt=&quot;avectorscope filter&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Convert input audio to a video output, representing the audio vector scope. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffmpeg&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp3 -filter_complex \&#xA;&quot;[0:a]avectorscope=s=1280x720,format=yuv420p[v]&quot; \&#xA;-map &quot;[v]&quot; -map 0:a output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffplay&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f lavfi &quot;amovie=input.mp3, asplit [a][out1]; \&#xA;[a] avectorscope=zoom=1.3:rc=2:gc=200:bc=10:rf=1:gf=8:bf=7 [out0]&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#avectorscope&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;avectorscope&lt;/code&gt;&lt;/a&gt; documentation for more options and examples.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#showcqt&quot; rel=&quot;noreferrer&quot;&gt;showcqt&lt;/a&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/MtKy2.jpg&quot; alt=&quot;showcqt filter&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Convert input audio to a video output representing frequency spectrum with musical tone scale.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffmpeg&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex \&#xA;&quot;[0:a]showcqt,format=yuv420p[v]&quot; \&#xA;-map &quot;[v]&quot; -map 0:a output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffplay&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f lavfi &quot;amovie=input.mp4, asplit [a][out1]; [a] showcqt [out0]&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#showcqt&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;showcqt&lt;/code&gt;&lt;/a&gt; documentation for more options and examples.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#showfreqs&quot; rel=&quot;noreferrer&quot;&gt;showfreqs&lt;/a&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Convert input audio to video output representing the audio power spectrum. Audio amplitude is on Y-axis while frequency is on X-axis. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/L6wnp.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/L6wnp.png&quot; alt=&quot;showfreqs&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffmpeg&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex \&#xA;&quot;[0:a]showfreqs=mode=line:fscale=log,format=yuv420p[v]&quot; \&#xA;-map &quot;[v]&quot; -map 0:a output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffplay&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f lavfi &quot;amovie=input.mp4, asplit [a][out1]; [a]  showfreqs=mode=line:fscale=log [out0]&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#showfreqs&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;showfreqs&lt;/code&gt;&lt;/a&gt; documentation for more options and examples.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#showspectrum&quot; rel=&quot;noreferrer&quot;&gt;showspectrum&lt;/a&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/WG1Dy.jpg&quot; alt=&quot;showspectrum image&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Convert input audio to a video output, representing the audio frequency spectrum. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffmpeg&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.oga -filter_complex \&#xA;&quot;[0:a]showspectrum=s=1280x720,format=yuv420p[v]&quot; \&#xA;-map &quot;[v]&quot; -map 0:a output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffplay&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f lavfi &quot;amovie=input.oga, asplit [a][out1]; \&#xA;[a] showspectrum=mode=separate:color=intensity:slide=1:scale=cbrt [out0]&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#showspectrum&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;showspectrum&lt;/code&gt;&lt;/a&gt; documentation for more options and examples.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#showwaves&quot; rel=&quot;noreferrer&quot;&gt;showwaves&lt;/a&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/MFJ4J.png&quot; alt=&quot;showwaves filter&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Convert input audio to a video output, representing the samples waves. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffmpeg&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.m4a -filter_complex \&#xA;&quot;[0:a]showwaves=s=1280x720:mode=line:rate=25,format=yuv420p[v]&quot; \&#xA;-map &quot;[v]&quot; -map 0:a output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffplay&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f lavfi &quot;amovie=input.m4a, asplit [a][out1]; [a] showwaves [out0]&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#showwaves&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;showwaves&lt;/code&gt;&lt;/a&gt; documentation for more options and examples.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;&lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#showvolume&quot; rel=&quot;noreferrer&quot;&gt;showvolume&lt;/a&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Hv3Og.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Hv3Og.png&quot; alt=&quot;showvolume filter&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Convert input audio volume to a video output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffmpeg&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mka -filter_complex \&#xA;&quot;[0:a]showvolume=f=1:b=4:w=720:h=68,format=yuv420p[vid]&quot; \&#xA;-map &quot;[vid]&quot; -map 0:a output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffplay&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f lavfi &quot;amovie=input.mka, asplit [a][out1]; [a] showvolume=f=255:b=4:w=720:h=68 [out0]&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#showvolume&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;showvolume&lt;/code&gt;&lt;/a&gt; documentation for more options and examples.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;Notes&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;See &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg Wiki: H.264 Encoding Guide&lt;/a&gt; for more detailed information regarding output quality.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;format=yuv420p&lt;/code&gt; makes sure that libx264 uses a pixel format that is compatible with crappy players like QuickTime.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Instead of re-encoding by default, you can use &lt;code&gt;-c:a copy&lt;/code&gt; to &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;noreferrer&quot;&gt;stream copy&lt;/a&gt; the audio if your output container format supports the audio format. Think of stream copying (re-muxing) like a copy and paste – no re-encoding.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;Get &lt;code&gt;ffmpeg&lt;/code&gt;&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;You should always use a recent version since development is very active. Links to builds of &lt;code&gt;ffmpeg&lt;/code&gt; for Windows, OS X, and Linux are available on the &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg Download&lt;/a&gt; page. Or you can follow a step-by-step &lt;a href=&quot;http://trac.ffmpeg.org/wiki/CompilationGuide&quot; rel=&quot;noreferrer&quot;&gt;guide to compile &lt;code&gt;ffmpeg&lt;/code&gt;&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="12511" LastEditDate="2017-03-20T21:42:43.727" LastActivityDate="2017-03-20T21:42:43.727" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9698" PostTypeId="2" ParentId="9690" CreationDate="2013-12-18T13:12:27.673" Score="2" Body="&lt;p&gt;You could host the videos yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use a piece of software called &lt;a href=&quot;http://www.plexapp.com/&quot; rel=&quot;nofollow&quot;&gt;Plex&lt;/a&gt;.  Basically, you set up a media server at home, which you can then share with people by sending them an invite.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In effect, you're giving people passworded access to your media server.  You can even choose &lt;em&gt;which&lt;/em&gt; videos are shared with which people by creating categories, and then giving access to only certain categories.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The videos are never really &lt;em&gt;public&lt;/em&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2569" LastActivityDate="2013-12-18T13:12:27.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9699" PostTypeId="2" ParentId="9693" CreationDate="2013-12-18T15:28:28.410" Score="2" Body="&lt;p&gt;Please note this is &lt;strong&gt;UK&lt;/strong&gt; legislation&lt;/p&gt;&#xA;&lt;p&gt;After some research I found the following in a Government consultation paper:&lt;/p&gt;&#xA;&lt;p&gt;From &lt;strong&gt;MODERNISING COPYRIGHT: A modern, robust and flexible framework&lt;/strong&gt;&#xA;&lt;a href=&quot;http://www.ipo.gov.uk/response-2011-copyright-final.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.ipo.gov.uk/response-2011-copyright-final.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;There is a clear mismatch between what is permitted by law and the type of private copying that most people think is reasonable. The current law imposes unreasonable restrictions on consumers and may restrict the range of products and services available to them by limiting opportunities for technological innovation. In response to this, the Government will introduce a narrow technology-neutral private copying exception which applies equally to all types of private storage and all types of copyright works. It will allow a lawful owner or buyer of a copy of a work to reproduce that copy for their personal use, but would not permit them to share copies with other people.&lt;/p&gt;&#xA;&lt;p&gt;This exception would therefore permit someone to copy music from a CD they have bought onto their mobile phone, or to back up an eBook onto their computer hard disk or other private storage, whether held locally or remotely. It would be allowed regardless of contract terms to the contrary. However, it would not allow someone to give copies they have made to friends, family or the wider public, nor would it permit copying of rented, borrowed or streamed content.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;And&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;A permitted act that only allows copies to be made by and for a person who lawfully owns[41] an original copy will remove restrictions on the use of copyright materials that most people consider to be unreasonable and unnecessary, while drawing a clear line between acceptable personal copying and unacceptable sharing of copies. Consumers appear to recognise that sharing copies can harm creators and the Government does not want to dilute this message. Rights holders will therefore still be able to offer family copying and other licences that add value over pure private copying by individuals. They will also remain able to use technological protection measures (TPM) to restrict copying of works as and when they wish to do so.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;em&gt;[41] - This would include downloaded digital content that has been purchased to keep (or licensed in an analogous way) such as eBooks or film downloads, but not rented or streamed materials.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;So, as I read it, you can make copies of CDs, eBooks, DVDs/BluRay if and only of they have no TPM on them.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;CDs don't have TPM so copying (format shifting) is legal.&lt;/li&gt;&#xA;&lt;li&gt;eBooks have TPM so copying is illegal.&lt;/li&gt;&#xA;&lt;li&gt;DVDs/BluRay have TPM so copying is illegal.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;But, it's the act of 'breaking' the TPM which is illegal. not the actual copying as long as the copy is for another device (format shifting) or for an archive/backup copy (whether on a local hard disc or a remote storage facility (the cloud)).&lt;/p&gt;&#xA;&lt;p&gt;So, clear as mud really !&lt;/p&gt;&#xA;" OwnerUserId="5186" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2013-12-18T15:28:28.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9703" PostTypeId="2" ParentId="3230" CreationDate="2013-12-18T20:49:14.747" Score="-2" Body="&lt;p&gt;This happens because of motion blur. Deactivate it or change the movement of your layers if they pass close to the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers.&lt;/p&gt;&#xA;" OwnerUserId="5198" LastActivityDate="2013-12-18T20:49:14.747" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9704" PostTypeId="2" ParentId="9535" CreationDate="2013-12-18T20:51:05.893" Score="2" Body="&lt;p&gt;&lt;em&gt;To make the distinction: PAL is just an encoding system, which only really defines the resolution and frame rate for analogue systems. Rec601/709 are  colourspaces generally used by TVs.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sounds like you might be having trouble with colourspace conversion. The black point on an 8-bit Rec601 image is 16, not 0 (it's to do with the way analogue systems transmit video data - sync, etc.), so as a result, anything below this, from 0-15 will be displayed as black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video editors, DVD burners and other video processors may not take colourspaces into account or may manipulate your video, resulting in a change of colourspace, which will ultimately change the colours in your video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 'Sony Levels' effect essentially applies a LUT to your image (think of it as scaling the values 0-255 to the bounds 15-235, the 8-bit luma range). This means that your image will be displayed correctly on a Rec601 system, but will look flat on a computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Working in a 10+ bit workflow may help to solve this issue. However, to answer your points:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;em&gt;1. Is this the correct way to handle the situation?&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Your camera shoots video in the RGB colourspace, not the Rec601/709 spaces.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ultimately, the best way is to apply a RGB -&gt; Rec601 LUT, essentially remapping the colours correctly across the board, but I'm not sure if Vegas supports this off the top of my head. Using the Levels effect will help with the black/white values (make sure the centre is at 0.5), but there may be some colour variation.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;em&gt;2. What is the correct value to use for the levels effect?&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The black point should be 0.059 and the white point should be 0.918 to comply with the standard.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;em&gt;3. Is it correct to not apply the levels effect when rendering for Youtube etc.?&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;That's correct - YouTube will accept your video with the default colourspace and should display it correctly. You may as well test this, though.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;em&gt;4. In which situations do I have to use the levels effect, and in which situations better not?&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Any time you're displaying your content on a Rec601 device.&lt;/p&gt;&#xA;" OwnerUserId="5176" LastEditorUserId="5176" LastEditDate="2013-12-18T20:56:36.363" LastActivityDate="2013-12-18T20:56:36.363" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9705" PostTypeId="1" AcceptedAnswerId="9730" CreationDate="2013-12-18T21:47:22.720" Score="1" ViewCount="52" Body="&lt;p&gt;Is there a software or plugin for video software that allows for arbitrary numbers and angles of split screens, and if so, what is it called?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I.e. For a particular effect I wanted to split a screen in to 6 pieces the same way you would cut a pie. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;OR&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I.e a non rectangular grid of split screens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This kind of assumes there is a some kind of masking feature built in to allow non rectangular non 4:3 or non 16:9 screens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am targeting Windows 7 and 8 mostly, but if there is specific linux based video editor that fits the bill, don't hesitate to recommend it.&lt;/p&gt;&#xA;" OwnerUserId="5199" LastEditorUserId="5199" LastEditDate="2013-12-18T23:51:30.783" LastActivityDate="2013-12-23T15:16:59.583" Title="Arbitrary angles or slices for split screens" Tags="|software-recommendation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9710" PostTypeId="1" AcceptedAnswerId="9729" CreationDate="2013-12-20T13:20:32.793" Score="2" ViewCount="140" Body="&lt;p&gt;System Specs:&#xA;-GTX 660 Windforce 2GB&#xA;-i5 3570k Ivy Bridge&#xA;-2 x 4GB 2133Mhz RAM&#xA;-Processor HydroCooled (H100i)&#xA;-My HDD is old and 500GB&#xA;-Case Corsair 500r(Awesome cooling)&#xA;-Nevermind about the internet connection &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally , what is better?-&gt;&#xA;Q#1: I play many games and want to upload gameplay/do livestreams. For recording: &#xA;nVidia ShadowPlay/DxTory/FRAPS? If I decide to livestream , should I use the game's own streaming machine or use something like XSplit or OBS?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Q#2: Videos are usually big.I heared from a friend that he does some stuff in video editors and QuickTime so video size gets reduced (preserving quality). Also , youtube recommends something about Quicktime's settings. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Q#3: How many FPS should I record?&lt;/p&gt;&#xA;" OwnerUserId="5101" LastEditorUserId="741" LastEditDate="2014-01-05T13:57:21.393" LastActivityDate="2019-08-23T20:07:49.310" Title="Recording Video Games and uploading to YouTube" Tags="|software-recommendation|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9716" PostTypeId="1" AcceptedAnswerId="9728" CreationDate="2013-12-21T09:53:36.517" Score="-1" ViewCount="298" Body="&lt;p&gt;Is it possible for me to transcode nearly 25 live tv channels that run on satellite to internet. Is it possible for me to that via help of Cloud media services from most known cloud providers. As i know, i need some capturing hardware to capture satellite tv channels. Can i rent that in cloud. Can you guide me on anyhow to starting point?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regards.&lt;/p&gt;&#xA;" OwnerUserId="5214" LastActivityDate="2013-12-23T14:59:50.263" Title="Transcoding Satellite online TV Channels to Internet Via Help of Cloud?" Tags="|video|streaming|encoding|transcoding|capturing|" AnswerCount="1" CommentCount="2" ClosedDate="2013-12-23T19:59:45.570" ContentLicense="CC BY-SA 3.0" />
  <row Id="9718" PostTypeId="2" ParentId="7218" CreationDate="2013-12-21T22:33:35.230" Score="0" Body="&lt;p&gt;I suggest you purchase a name brand 720p CCTV camera, connect to the LAN you have, then embed the video to the web page of your church and let the WWW enjoy the show.&lt;/p&gt;&#xA;" OwnerUserId="5218" LastActivityDate="2013-12-21T22:33:35.230" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9720" PostTypeId="1" AcceptedAnswerId="11929" CreationDate="2013-12-22T02:11:49.993" Score="2" ViewCount="246" Body="&lt;p&gt;Windows Movie Maker is very slow in converting from MP4 to whatever it's using as its preferred/interim format. What is their preferred format, so I can convert to it using faster and/or GPU accelerated programs?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've somewhat ruled out WMV, however, I converted the video to it, and WMM is processing it a good amount faster.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the ideal format to use for movie maker for importing video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;sub&gt;55 hours of video to encode/process with microsoft &quot;technology&quot; is not fun!&lt;/sub&gt;&lt;/p&gt;&#xA;" OwnerUserId="5220" LastEditorUserId="3851" LastEditDate="2013-12-23T09:08:22.833" LastActivityDate="2014-06-13T03:28:11.210" Title="Ideal video format for Windows Movie Maker" Tags="|software|video-editor|file-formats|windows-movie-maker|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9724" PostTypeId="2" ParentId="9413" CreationDate="2013-12-22T19:04:11.357" Score="0" Body="&lt;p&gt;His vimeo tags seem to point to it being made in Flash. You could produce similar in most animating software though, such as After Effects, once you've created your drawings.&lt;/p&gt;&#xA;" OwnerUserId="5226" LastActivityDate="2013-12-22T19:04:11.357" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9727" PostTypeId="2" ParentId="9720" CreationDate="2013-12-23T14:51:36.103" Score="1" Body="&lt;p&gt;Windows Movie Maker, being a Microsoft product, works with WMV files using the Windows Media Video codecs.  You can use the free Windows Media Encoder to encode the files.  I believe there is also a free version of Microsoft Expression Encoder that you could use as well.  Expression is a bit newer, but slightly less capable since they moved a lot of functionality to the commercial Expression Encoder Pro (the Pro version is unfortunately not free).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-23T14:51:36.103" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9728" PostTypeId="2" ParentId="9716" CreationDate="2013-12-23T14:59:50.263" Score="0" Body="&lt;p&gt;No, it isn't possible to do it through the cloud in the way you have described.  It is possible to offload transcoding to the cloud (changing from one file format or size to another) however you can't use that cloud for capture hardware as that needs to be physically connected to the source.  There are no services that I know of that will run a satellite box for you and hook it up to capture for you, so the source would have to be at your satellite box.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, while it is possible to have transcoding done online, to stream 25 uncompressed satellite channels over the Internet to a cloud service provider for transcoding would require a MASSIVE amount of bandwidth to be available.  You really don't have any option other than local transcoding for that kind of thing in order to get the bandwidth requirement down far enough to have streaming 25 channels to become viable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even then, you would have a hard time streaming 25 channels in HD quality without a massive upstream Internet connection.  Even 25 SD streams would be require more than most common ISP connections would support.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-23T14:59:50.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9729" PostTypeId="2" ParentId="9710" CreationDate="2013-12-23T15:12:36.737" Score="1" Body="&lt;p&gt;1) Each software has its own advantages and disadvantages, there isn't a right answer.  If you have ShadowPlay support, the hardware leverage is nice.  FRAPS is good at dumping a really high quality video quickly, but it needs lots of memory and high speed disks to deal with the amount of data it dumps.  I've not personally worked with DxTory, so I can't speak to that, though I believe it offers a slightly more balanced level of data rate (can use slower hdd) but at a cost of CPU performance.  I could be wrong on that last part though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) There are two things you can do to help reduce the size.  You can edit the video in a video editor such as Premiere or Windows Movie Maker in order to remove portions of the video that you do not need.  This trims file size by reducing the amount of time the video covers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also use what is known as a video encoder, such as Quicktime, Adobe Media Encoder or ffMPEG.  A video encoder stores the video in a more compressed way that allows for smaller files size while minimizing the quality loss.  Using a format like 2-pass VBR h.264 will produce very high quality files with a minimal size, however it is time consuming and CPU intensive to produce such files, so the live encoding tools can not use that level of compression.  Running the slower encoding will produce smaller files as it can take the time to find more ways to save space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Youtube recommendations that you talk about are the preferred encoder settings that Youtube wants a source file to have, however Youtube itself will still transcode (make additional encodings) the file for streaming at different resolutions and speeds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Your preference.  Video standards tend to be either 30fps (NTSC TV (America/Japan)), 25fps (PAL TV (most of the rest of the world)) or 24fps (Cinema, used frequently by everyone).  Choose based on what your system can handle and what you like the most.  If you can't manage 24fps, then an even multiple tends to work best since frames will match up at the higher rate. (For example, 15fps on a 30fps video will result in each original frame being used twice, so the computer doesn't have to guess at any frames [called interpolation].)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-23T15:12:36.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9730" PostTypeId="2" ParentId="9705" CreationDate="2013-12-23T15:16:59.583" Score="0" Body="&lt;p&gt;I don't know of any software that makes this trivial to do, however After Effects can certainly accomplish it.  You would need to make multiple masks that would show portions of the same video and then position them however you want.  You could even derive the masks from a shape imported from Adobe Illustrator that you could slice up however you wanted to ensure that you get full coverage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This technique is still non-trivial and would take some time to do manually, but you could then manipulate each of the shape layers however you wanted using motion keyframes in After Effects.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-23T15:16:59.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9732" PostTypeId="1" AcceptedAnswerId="9803" CreationDate="2013-12-23T15:30:05.727" Score="1" ViewCount="4952" Body="&lt;p&gt;Does anyone know how to take a video and re-encode the audio, but just copy the video data using FFMPEG?&lt;/p&gt;&#xA;" OwnerUserId="5233" LastActivityDate="2013-12-31T15:11:40.997" Title="How to re-encode a video file's audio, but leave the video stream with ffmpeg?" Tags="|ffmpeg|encoding|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9733" PostTypeId="2" ParentId="9690" CreationDate="2013-12-23T15:31:33.677" Score="1" Body="&lt;p&gt;This is really the same question as any private distribution and is dependent on the hosting provider's TOS.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, I use my own web server to host the files for download by friends and put a password on the download (or simply hide the link).  A simple web hosting package with enough space would allow for this.  They could even watch it as they download if you encode for &quot;progressive download&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also use a service like DropBox and share the file to your friends.  It wouldn't allow streaming playback, but it would allow you to get the file to your family.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also try looking at other services to see if their TOS allow for private sharing that includes content such as that.  I don't know much about the TOS for streaming sites though since I self-host all my stuff.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-23T15:31:33.677" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9734" PostTypeId="2" ParentId="9608" CreationDate="2013-12-23T15:56:51.277" Score="1" Body="&lt;p&gt;My process is always to start from the recording media, move the files from recording media to a 12TB external RAID5 array with a utility that verifies the integrity of the transfer.  This is my long term working archive.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I don't do this at this time, I'd recommend making periodic off-site backups of this array (either to a cloned array or to tape) to guard against loss of the entire RAID array.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For actually working with the assets, I copy (not move) the files to an internal scratch SSD RAID0 array.  Upon completion or archiving of a project, I move only the project files and any newly created files that need to be stored to the RAID5 archive.  I then rename my scratch folder, verify the project works when loaded on the archive array and then delete the renamed folder (which should only contain copies of the master source files.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This protects against any corruption of original source files while editing and also minimizes the amount of data that I have to move off of the scratch disk.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-23T15:56:51.277" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9735" PostTypeId="2" ParentId="9628" CreationDate="2013-12-23T16:00:56.200" Score="1" Body="&lt;p&gt;It sounds like your Premiere project is missing assets.  When you embed a Premiere project in to Encore, it will actually run a render in Premiere when you go to encode it in Encore.  If the Premiere project can not find assets that are used in the Sequence that you have embedded, you get a &quot;media offline&quot; image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would suggest opening the Premiere project and verifying that it has proper access to all the source files it needs.  I'd also verify that the Premiere project link itself is still intact.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-23T16:00:56.200" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9736" PostTypeId="2" ParentId="9732" CreationDate="2013-12-23T16:25:36.730" Score="1" Body="&lt;p&gt;I know that &lt;a href=&quot;http://www.virtualdub.org&quot; rel=&quot;nofollow&quot;&gt;Virtual Dub&lt;/a&gt; can do this, but it only works with a limited number of codecs. Since it's free, it's worth a look to see if it'll do what you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise, any demux/remux software will work, but it'll take three steps. First demultiplex the file into video and audio streams, re-encode the audio as needed, then remux them into a combined stream.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-12-23T16:25:36.730" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9737" PostTypeId="1" CreationDate="2013-12-23T19:43:05.587" Score="6" ViewCount="7525" Body="&lt;p&gt;For an experiment purpose i collected 8 projector with 5000 lumens and 1080P resolution.&#xA;I need to connect them altogether to create a really large image?&#xA;So, should i use 1 computer for each projector and slice the image and then adjust them to match?&#xA;Or, is there any hardware and software to help me do this?&#xA;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="5235" LastActivityDate="2014-03-20T19:33:00.013" Title="connect 8 projectors together to create a large image" Tags="|hardware|projector|" AnswerCount="6" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9738" PostTypeId="2" ParentId="9737" CreationDate="2013-12-23T20:15:18.927" Score="4" Body="&lt;p&gt;The easiest way to do this is multiheaded video cards.  Many video cards support 3 displays and it is possible to get cards that support even more than that, particularly via DisplayPort (which allows for chaining multiple displays on a single connection).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When using multiple displays in Windows, it will allow you to specify how they are arranged and software can also be used to make it act as one giant display.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, you can use a stand alone splitter that can take one ultra high resolution output and split it to multiple screens, but it's generally cheaper to simply use one or more video cards to use multiple monitors.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-23T20:15:18.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9739" PostTypeId="2" ParentId="9737" CreationDate="2013-12-23T20:20:33.660" Score="6" Body="&lt;p&gt;Do you expect the large image to be seamless, both in dimension and in tone? Each is a separate challenge. Color-matching 8 projectors can be daunting, depending on the technology. As a general rule, you would overlap the images from the projectors and feather their edges. This costs you something in size, with the benefit of disguising mismatches to some degree. Some projectors have this blending ability built in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any case, it would probably be better to use a pair of 4-head graphics cards on one computer, rather than 8 separate PCs. Keeping 8 PCs sync-locked is not easy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are commercial products like Watchout that will perform the slicing and syncing of one image into multiple playback PCs, if you have the budget for that.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2013-12-23T20:20:33.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9740" PostTypeId="2" ParentId="9690" CreationDate="2013-12-23T20:21:00.030" Score="4" Body="&lt;p&gt;You can use a file storage service like:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;DropBox &lt;/li&gt;&#xA;&lt;li&gt;Google Drive &lt;/li&gt;&#xA;&lt;li&gt;Microsoft SkyDrive &lt;/li&gt;&#xA;&lt;li&gt;Apple iCloud&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You can restrict access of your files there to a handful of persons.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example on Google Drive, when you share a file with some people, it asks you for their email addresses. It then sends an email to all those people with a &quot;secret&quot; link. In theory, this link is still public. But in practice, it is next to impossible to guess the value of those links.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, I use Google Drive. It offers an initial 15 Gb of space.&lt;/p&gt;&#xA;" OwnerUserId="5211" LastActivityDate="2013-12-23T20:21:00.030" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9742" PostTypeId="2" ParentId="9737" CreationDate="2013-12-23T21:51:09.467" Score="5" Body="&lt;p&gt;As said by AJ Henderson and Jim Mack, you should just use one computer with multiheaded video. On an X11-based window system, you can use &lt;a href=&quot;http://www.x.org/wiki/Projects/XRandR/&quot;&gt;&lt;code&gt;xrandr&lt;/code&gt;&lt;/a&gt; to organise the screen segments. Most operating systems have also GUI tools for doing this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The biggest problem will probably be the fine alignment. Most good projectors have settings for perspective correction built in, but in particular at extreme angles this always becomes troublesome.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're projecting from very far away so the area could in principle be covered with one projector (or two) and you mainly need more luminance, it might be easier to use them simply &quot;in parallel&quot;, i.e. with the same signal on multiple projectors covering the same area. If they are very close to each other (e.g. stacked – careful that each gets enough cooling!) the parallax difference becomes neglectable.&lt;/p&gt;&#xA;" OwnerUserId="1038" LastActivityDate="2013-12-23T21:51:09.467" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9743" PostTypeId="2" ParentId="9737" CreationDate="2013-12-24T01:11:55.087" Score="4" Body="&lt;p&gt;One additional option on Linux setup will be DMX: &lt;a href=&quot;http://dmx.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;http://dmx.sourceforge.net/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If enough heads per machine can not be supported and the presentation data is relatively &quot;slow&quot;, DMX will provide a single, ultra high resolution X11 display to an application and will automatically split the image between multiple &quot;slave&quot; X servers forming a unified display wall.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If 3D data presentation is desired, VirtualGL supports a &quot;display wall&quot; mode as well (albeit with somewhat more effort): &lt;a href=&quot;http://www.virtualgl.org/&quot; rel=&quot;nofollow&quot;&gt;http://www.virtualgl.org/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5237" LastActivityDate="2013-12-24T01:11:55.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9744" PostTypeId="2" ParentId="9737" CreationDate="2013-12-24T02:16:25.443" Score="1" Body="&lt;p&gt;1 PC with many outs is usually easier to handle than multiple PCs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you have any specific software you're working with? Is it for an installation, or for general use? Do you have a budget you need to stay under? Are they all the same brand and model of projector? Tearing might also become an issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as software goes, some have been mentioned above, but if you're doing an art installation or similar, these software would be more helpful:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-Derivative TouchDesigner&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-Resolume Avenue&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-d3&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-MadMapper&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But answering the above questions will help get you more precise answers. &lt;/p&gt;&#xA;" OwnerUserId="5226" LastActivityDate="2013-12-24T02:16:25.443" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9745" PostTypeId="1" CreationDate="2013-12-24T17:53:59.530" Score="4" ViewCount="1173" Body="&lt;p&gt;So I just filmed something using two webcams and a separate audio recorder. This means I have 3 files, 2 video, 1 audio and they all need to be synced and then I need some sort of software which will allow me to put all three files into it, sync them together (I clapped at the beginning so I can Sync the Video and Audio) and then throughout the video, choose whether I want File 1 or File 2 being shown.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Free Software is my only option as I don't have funds to buy.&lt;/p&gt;&#xA;" OwnerUserId="5240" LastEditorUserId="3592" LastEditDate="2014-01-14T21:22:57.180" LastActivityDate="2014-01-14T21:22:57.180" Title="Free software to synchronize audio and video recorded at the same time" Tags="|video|audio|software-recommendation|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9746" PostTypeId="2" ParentId="9745" CreationDate="2013-12-24T18:57:48.893" Score="2" Body="&lt;p&gt;What you need is called a non-linear video editor or NLE.  Basically you can load in the files and then you put them on a &quot;timeline&quot;.  Each audio track and video track goes on a horizontal track.  You move the clips right to left on the timeline to synchronize them and once you have them synchronized, you can cut out portions of the top most clip that you don't want and the bottom clip will take its place since it is under the top clip.  You can also add in transitions to switch between the clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a lot more to video editing as you get in to it, but that should give you the primer you need to get up and running.  Take a look at the duplicate post for suggestions of some NLE software you can use for free.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-24T18:57:48.893" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9753" PostTypeId="1" AcceptedAnswerId="9756" CreationDate="2013-12-25T13:43:21.823" Score="1" ViewCount="108" Body="&lt;p&gt;What is the required upload speed I need to stream HD video on web?&#xA;Curently I am in process of talking to various ISPs so I can find the best solution, but seems like they can't help me since a lot of them are offering low upload speed connections.&lt;/p&gt;&#xA;" OwnerUserId="5247" LastActivityDate="2013-12-26T04:33:25.203" Title="Video Streaming connection speed" Tags="|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9754" PostTypeId="1" CreationDate="2013-12-25T23:09:51.907" Score="4" ViewCount="8985" Body="&lt;p&gt;I have a video with multiple moving people, from which I would like to remove one person. I know this is possible and that software exists to do it (see &lt;a href=&quot;http://www.mpi-inf.mpg.de/~granados/projects/vidbginp/&quot; rel=&quot;nofollow&quot; title=&quot;Background Inpainting for Videos with Dynamic Objects and a Free-moving Camera&quot;&gt;this paper&lt;/a&gt;), but I can't find any available to the general public.&lt;/p&gt;&#xA;" OwnerUserId="5248" LastActivityDate="2013-12-26T04:39:47.900" Title="Software to Remove a Person from a Video" Tags="|video|software|editing|video-editor|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9755" PostTypeId="2" ParentId="9754" CreationDate="2013-12-26T02:19:09.050" Score="1" Body="&lt;p&gt;You could export the video to still frames, then the problem is reduced to removing the person from pictures.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use Gimp or any decent paint program with a clone tool to copy sections of a good image to the image that needs correcting.  The clone tool is pretty quick to use.  But yes, at 30 fps if your perpetrator is in the scene for 5s is a lot of frames to tinker with.&lt;/p&gt;&#xA;" OwnerUserId="5249" LastActivityDate="2013-12-26T02:19:09.050" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9756" PostTypeId="2" ParentId="9753" CreationDate="2013-12-26T04:33:25.203" Score="0" Body="&lt;p&gt;It depends on a lot of details you haven't covered here. You need about 3 Mbps to have sufficient overhead to maintain a well compressed 720p stream (the quality that Hulu Plus uses), but you would need specialized hardware to keep a good quality 720p stream encoding on the fly.  Most likely, you are going to be looking at significantly more than that if you are trying to software or CUDA encode on the fly since it won't be able to get as high of quality with as little data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that this is only talking about sending the feed to a single system as well.  The most common case for distributing to multiple viewers is to encode and upload to either a CDN (content distribution network) or your own live streaming server that is in a data center somewhere.  With that kind of a setup, your one connection can be replicated out over a 100Mbps or 1000Mbps connection to many more viewers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use overly compressed settings to reduce the bandwidth needs further, but it will start showing as a really noticeable reduction in meaningful resolution.  There might still be an HD number of pixels, but they won't have the kind of detail you'd normally expect from HD since it would be over-compressed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There can be a lot of variation on that too though.  If you are live-streaming something that isn't real life, compression tricks can be used to make it much more highly compressed for example, so this still isn't a one size fits all answer, but it covers the general live video streaming case for professional level quality.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-26T04:33:25.203" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9757" PostTypeId="2" ParentId="9754" CreationDate="2013-12-26T04:39:47.900" Score="1" Body="&lt;p&gt;Adobe After Effects has the ability to fill based on previous frames which works fairly well if the camera is stationary.  Basically it pulls pixels from previous frames where the person isn't there and places them over the person.  It can extract the person because it is easy to tell what pixels are changing and look for a group of them from frame to frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are some major limits though.  If there is anything else moving in front or behind the person, then there isn't an effective way to distinguish the person from the other object.  Similarly, if the camera is moving at all, then both the background to fill in behind and the reference of what is stationary go out the window.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In cases where it can't be automatically processed, it would be necessary to rotoscope the person out frame by frame.  After Effects is also capable of supporting rotoscoping pretty easily as well, though it is a time consuming process.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-26T04:39:47.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9760" PostTypeId="1" CreationDate="2013-12-26T21:01:04.910" Score="2" ViewCount="22953" Body="&lt;p&gt;I'm a complete beginner to After Effects and Premier Pro. When I typed directly into After Effects and then did a &quot;Best Settings&quot; render my text looks a bit pixelated. Is this the best quality AE can do or would it be better to import the text in another format for high quality? Transparent TIF for example? Is there another thing I should look at in the render settings to ensure the type renders crisp?&lt;/p&gt;&#xA;" OwnerUserId="5206" LastActivityDate="2020-11-05T14:38:47.030" Title="How do you get the highest quality type in After Effects?" Tags="|after-effects|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9761" PostTypeId="2" ParentId="9760" CreationDate="2013-12-26T21:11:08.393" Score="0" Body="&lt;p&gt;The quality of the text is going to depend on the quality of the font.  There are two types of fonts, bitmap and vector.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bitmap fonts basically have pictures of each letter and information about how they should be spaced, each font size that is officially supported has its own picture.  Vector fonts are a mathematical description of the characters and can be resized smoothly.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are using a bitmap font and not using a sufficient font point size, then you will get a pixelated image.  Try using other fonts and/or adjusting the point size to find one that isn't pixelated.  It should be perfectly possible to render fonts smoothly in After Effects directly.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-26T21:11:08.393" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="9765" PostTypeId="1" AcceptedAnswerId="9768" CreationDate="2013-12-27T12:42:00.603" Score="0" ViewCount="5912" Body="&lt;p&gt;So, I am a multimedia developer: I develop websites and that nerd things... My last site is responsive (fluid work in all devices - mobile, computer, television,...).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A responsive website needs &lt;strong&gt;4 video files&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;2 &lt;code&gt;MP4&lt;/code&gt; - &lt;strong&gt;1)&lt;/strong&gt; for big screens and &lt;strong&gt;1)&lt;/strong&gt; for small screens&lt;/li&gt;&#xA;&lt;li&gt;2 &lt;code&gt;WEBM&lt;/code&gt; - for same purposes&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;So, recently I checked my server disk usage and I realized that videos are consuming a big percentage of it, so I guess that it's because of bitrate.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;DEFAULT BITRATE OF MY VIDEOS&lt;/h2&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;HD MP4&lt;/strong&gt; - 2,10 Mbps - 1280X720 (~77,5MB) - &lt;strong&gt;Duration:&lt;/strong&gt; 04:42&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;SD MP4&lt;/strong&gt; - 694 kbps - 640X360 (~25,57MB) - &lt;strong&gt;Duration:&lt;/strong&gt; 04:42&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;So, am I using right bitrate? Are the files small enough?&lt;/p&gt;&#xA;" OwnerUserId="4225" LastActivityDate="2013-12-27T14:25:18.073" Title="Best bitrate to responsive (web) video" Tags="|video-quality|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9768" PostTypeId="2" ParentId="9765" CreationDate="2013-12-27T14:25:18.073" Score="1" Body="&lt;p&gt;Those are the expected file sizes for those data rates.  4 minutes and 42 seconds of video is 282 seconds of video, at 2.1 Mbps, that's 592.2 Mbits.  That's around 72 megabytes or so, so your 77.5 megabyte file is the correct size (there can be some variation and sound is also generally factored in separately.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Those are also pretty close to the minimum bitrates that you can use without getting substantial quality loss.  2.1 Mbps is around the same bitrate that Hulu uses for their 720HD streaming and they are the lowest bandwidth of the major streaming sites that I'm aware of.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you plan to host video, you really need more disk space and bandwidth.  Hosting is available very cheaply for multiple gigabytes of hosting space with unlimited bandwidth if you look around a bit, though I haven't been in that segment of the market for a while so I couldn't tell you who is best anymore.  (I self host on a dedicated server because I need a lot of space and high performance.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-27T14:25:18.073" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9769" PostTypeId="1" AcceptedAnswerId="9770" CreationDate="2013-12-27T15:37:11.180" Score="2" ViewCount="1486" Body="&lt;p&gt;I made a simple animation in SketchUp and am trying to bring it into After Effects. When I do the AVI is all black in Footage and Composition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reading around it sounds like the most common issue is Codec but beyond that I'm a bit clueless here. When I open it in Adobe Media Encoder it shows &lt;code&gt;H.264 Match Source - High bitrate&lt;/code&gt; which from what little I understand the H.264 should be acceptable?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there something else I should be looking for? How can I get the animation from SketchUp into After Effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT WITH CLIP PROPERTIES:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Adobe Premier Pro the clip's properties show:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Type: AVI Movie  &lt;/li&gt;&#xA;&lt;li&gt;File Size: 508.9 MB &lt;/li&gt;&#xA;&lt;li&gt;Image Size: 1280 x 720 &lt;/li&gt;&#xA;&lt;li&gt;Frame Rate: 24.00 &lt;/li&gt;&#xA;&lt;li&gt;Total Duration: 00:00:08:01 &lt;/li&gt;&#xA;&lt;li&gt;Pixel Aspect Ratio: 1.0&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;AVI File details:&#xA;Contains 1 video track(s) and 0 audio track(s).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video track 1:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Size is 508.88M bytes (average frame = 2.63M bytes) &lt;/li&gt;&#xA;&lt;li&gt;There are 193 keyframes.&lt;/li&gt;&#xA;&lt;li&gt;Frame rate is 24.000 fps &lt;/li&gt;&#xA;&lt;li&gt;Frame size is 1280 x 4294966576&lt;/li&gt;&#xA;&lt;li&gt;Depth is 24 bits. Compressor: none.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Additional information:&#xA;Lavf54.34.100&lt;/p&gt;&#xA;" OwnerUserId="5206" LastEditorUserId="5206" LastEditDate="2013-12-27T16:38:33.573" LastActivityDate="2013-12-27T16:53:45.083" Title="How to bring a SketchUp Animation into After Effects" Tags="|after-effects|codec|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9770" PostTypeId="2" ParentId="9769" CreationDate="2013-12-27T15:58:38.733" Score="1" Body="&lt;p&gt;Not sure on the AVI but kept searching and found &lt;a href=&quot;http://sketchucation.com/forums/viewtopic.php?f=11&amp;amp;t=18827&quot; rel=&quot;nofollow&quot;&gt;http://sketchucation.com/forums/viewtopic.php?f=11&amp;amp;t=18827&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;What OS are you using?&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Vista 64 bit has codec issues, so if it is indeed a Vista 64 bit you need to export as a series of images (which is best anyway) and compile it in after effects.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I'm on Windows 7 so don't know why it was an issue to begin with but did the Export as Images instead. Then did a simple Import (Ctrl+I) which detected the jpeg sequence and that worked perfectly. Smaller file size then the AVI SketchUp exported too.&lt;/p&gt;&#xA;" OwnerUserId="5206" LastActivityDate="2013-12-27T15:58:38.733" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="9771" PostTypeId="2" ParentId="9769" CreationDate="2013-12-27T16:53:45.083" Score="0" Body="&lt;p&gt;First thing you should check is to make sure you don't have any 3rd party codec packs installed (like k-lite or etc), as they can cause a lot of problems when Adobe apps try to encode/decode movies. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know what codec you're using. Avi is a container, not a codec, so you can put different file types inside of an Avi file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unless you're married to using avi, follow these instructions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) open your project&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) go to export -&gt; animation&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) if you're on Windows click the box next to &quot;Codec&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) Then you'll want to look through the dropdown for &quot;Compressor&quot; and find something that Adobe supports&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want list the codec choices you have, and I'll let you know which to use. &lt;/p&gt;&#xA;" OwnerUserId="5226" LastActivityDate="2013-12-27T16:53:45.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9775" PostTypeId="2" ParentId="9237" CreationDate="2013-12-27T23:51:35.613" Score="1" Body="&lt;p&gt;I have a similar problem and that's how I found your question online today... The Mp4 file from my nx1000 was imported as it is on adobe premiere cs3.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The audio and video seem to have same starting and ending point, but the video alone is faster than the original as if it was stretched, and the audio has the normal speed but ends in the middle of the original sound track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Knowing that I imported the file to a project with the same settings as video, 1080i 29.9fps... I tried again with 25fps and with a video card and without a video card... In vain&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way I got it right, is unfortunately by decoding it on a software called procoder, to a different format (i chose *.mov), and it worked like a charm on my editing software. But of course I lost resolution... I did not buy the nx1000 so i can decode it and lose resolution for editing!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There should be an answer, I hope you found yours!&lt;/p&gt;&#xA;" OwnerUserId="5258" LastActivityDate="2013-12-27T23:51:35.613" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9778" PostTypeId="1" CreationDate="2013-12-28T23:39:21.437" Score="3" ViewCount="6021" Body="&lt;p&gt;I recently started using a Canon t3i to record video. When I upload the files to my computer (PC), however, the video is very choppy-- it lags even more dramatically when I try importing it into my video-editing software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried looking up some solutions online, and I found some that seem to recommend using a program to convert the video files into a different format before editing them. I haven't found any programs that do this and are compatible with Windows. I tried renaming the files to &quot;.avi&quot; instead of &quot;.mov&quot; (their original form) but that didn't do anything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My knowledge of computers/cameras/technology in general is extremely basic, so I would appreciate any potential solutions in layman's terms :) Thanks for your help!&lt;/p&gt;&#xA;" OwnerUserId="5265" LastEditorUserId="2836" LastEditDate="2014-03-05T17:28:20.173" LastActivityDate="2016-06-27T18:38:22.887" Title="How to fix choppy/lagging video from Canon t3i?" Tags="|video|video-editor|video-quality|dslr|canon|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9779" PostTypeId="2" ParentId="7369" CreationDate="2013-12-29T00:15:29.517" Score="0" Body="&lt;p&gt;There's no one place better than www.videocopilot.net for the solution to this problem.  Theres is Adobe AfterEffects for motion graphics and VC's plugin called Element, worth every expense for managing the scope of the video choir.  They have posted two very important tutorials with a particular toolset in AE called Sure Target and using 3D positioning mapped onto the globes in the video above, you should be able to achieve this result.&#xA;It is quite the project and they did a fantastic job producing the result in the virtual choir on TED Talks.  You can achieve similar results if you take a look at what I've posted.  Good luck…!&lt;/p&gt;&#xA;" OwnerUserId="5266" LastActivityDate="2013-12-29T00:15:29.517" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9780" PostTypeId="2" ParentId="9778" CreationDate="2013-12-29T06:17:10.993" Score="1" Body="&lt;p&gt;There's a number of things that can be the issue, and a number of ways to try to work around them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first is that depending on the specs of your computer, it might not be able to decode the video files quickly enough, which could cause a stutter. Similar to how people used to have issues trying to watch 1080p videos on Netbooks that didn't have much horsepower. What kind of PC are you using?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What video editing software are you using? Different editing softwares prefer different file formats. What kind of footage and for what purpose? Family footage or more professional presentation work? Are you planning on uploading it to youtube or the net or preserving it on a large hard drive somewhere? With those questions answered, I can recommend some codecs for editing, and codecs that you'll want to export to when you're all edited and finished. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a number of free tools for converting video files. FFMPEG is a great one, but it has a little bit of a learning curve if you're not familiar with command line applications. If you'd like to take a stab at it, link below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;http://ffmpeg.zeranoe.com/builds/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, there are some GUI front-ends that you can use along with FFMPEG, that basically make it more user friendly by giving it buttons and sliders like applications you're used to. One of which is below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://avanti.arrozcru.com/&quot; rel=&quot;nofollow&quot;&gt;http://avanti.arrozcru.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5226" LastActivityDate="2013-12-29T06:17:10.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9783" PostTypeId="1" CreationDate="2013-12-29T23:14:32.433" Score="1" ViewCount="175" Body="&lt;p&gt;Good evening,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What do I need to do in order to make DVD subpictures be rendered exactly as I designed it in Adobe Encore or in Adobe Photoshop?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please, take a look at the pictures listed below (because I don't have permissions to post links and pictures are a little big):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/rm8IM.jpg&quot; alt=&quot;- Image #1&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what I see while editing the menu template in Adobe Photoshop. I've toggled the visibility of subpictures layers so they can be seen, because Encore guidelines says they must be hidden to work properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/rHL08.png&quot; alt=&quot;- Images #2&quot;&gt;&#xA; &lt;img src=&quot;https://i.stack.imgur.com/hmrEC.png&quot; alt=&quot;- Images #3&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These picture show what I see in Adobe Encore Project Preview. As you can see, the subpictures work fine, just as expected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ictdN.jpg&quot; alt=&quot;- Images #4&quot;&gt;&#xA; &lt;img src=&quot;https://i.stack.imgur.com/FzdY4.jpg&quot; alt=&quot;- Images #5&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These pictures show what I see in the Video Player (VLC in this case). When hovering the action buttons, which trigger the subpictures, the one associated to to the number &quot;2&quot; is misaligned while the one associated to the number &quot;3&quot; seems to be clipped.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Initially I designed the subpictures as a normal Text Layer. Now I see it was a terrible workaround but the last two pictures I took after re-render the project whith these layers rasterized, and the problem continues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is all I need to finish this gift.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: I would like to add the proper tags (dvd, photoshop and, maybe, subpictures) but I'm not allowed to do it too. &amp;lt;_&amp;lt;&lt;/p&gt;&#xA;" OwnerUserId="5270" LastEditorUserId="2836" LastEditDate="2013-12-30T15:32:30.607" LastActivityDate="2013-12-30T15:32:30.607" Title="Adobe Encore and DVD Subpictures inconsistency" Tags="|encore|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9784" PostTypeId="1" AcceptedAnswerId="9790" CreationDate="2013-12-30T02:43:54.850" Score="0" ViewCount="3353" Body="&lt;pre&gt;&lt;code&gt; ffmpeg -i test.mp4 -acodec libvorbis -vcodec libvpx out.webm&#xA;ffmpeg version N-57647-g1880294 Copyright (c) 2000-2013 the FFmpeg developers&#xA;  built on Oct 30 2013 19:25:44 with gcc 4.4.7 (GCC) 20120313 (Red Hat 4.4.7-3)&#xA;  configuration: --prefix=/usr/local --enable-version3 --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libvpx --enable-libfaac --enable-libmp3lame --enable-libtheora --enable-libvorbis --enable-libx264 --enable-libvo-aacenc --enable-libxvid --disable-ffplay --enable-shared --enable-gpl --enable-postproc --enable-nonfree --enable-avfilter --enable-pthreads --extra-cflags=-fPIC --arch=x86_64&#xA;  libavutil      52. 48.100 / 52. 48.100&#xA;  libavcodec     55. 39.100 / 55. 39.100&#xA;  libavformat    55. 19.104 / 55. 19.104&#xA;  libavdevice    55.  5.100 / 55.  5.100&#xA;  libavfilter     3. 90.100 /  3. 90.100&#xA;  libswscale      2.  5.101 /  2.  5.101&#xA;  libswresample   0. 17.104 /  0. 17.104&#xA;  libpostproc    52.  3.100 / 52.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'test.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf55.19.104&#xA;  Duration: 00:01:47.16, start: 0.023220, bitrate: 273 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 320x180 [SAR 1:1 DAR 16:9], 192 kb/s, 25 fps, 25 tbr, 12800 tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 74 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;File 'out.webm' already exists. Overwrite ? [y/N] y&#xA;[libvpx @ 0xc4bd00] v0.9.0&#xA;[libvpx @ 0xc4bd00] Failed to initialize encoder: ABI version mismatch&#xA;Output #0, webm, to 'out.webm':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf55.19.104&#xA;    Stream #0:0(und): Video: vp8, yuv420p, 320x180 [SAR 1:1 DAR 16:9], q=-1--1, 200 kb/s, 90k tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: vorbis, 44100 Hz, mono, fltp (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 -&amp;gt; libvpx)&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac -&amp;gt; libvorbis)&#xA;Error while opening encoder for output stream #0:0 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is my CLI wrong? Do I need to specify more commands.&lt;/p&gt;&#xA;" OwnerUserId="5271" OwnerDisplayName="Frank Thornton" LastEditorUserId="2569" LastEditDate="2014-01-24T16:41:09.353" LastActivityDate="2014-06-23T19:20:16.530" Title="Error while opening encoder for output stream #0:0 - maybe incorrect parameters such as bit_rate, rate, width or height" Tags="|video|ffmpeg|linux|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9786" PostTypeId="1" AcceptedAnswerId="9789" CreationDate="2013-12-30T09:14:46.680" Score="4" ViewCount="2091" Body="&lt;p&gt;I have a Canon EOS 60D camera. I want to use this to take some video by moving the camera smoothly in horizontal and vertical axis. For example, if I want to take video of the bezel of a TV, I'd like to be able to smoothly have the camera move down on the vertical axis with the lens facing the bezel in the same angle the whole time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something like this, but not this expensive&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/QW1Ny.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an example at 3:40 when the camera man slides through the keyboard horizontally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/gFWR8r5sdWY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="5273" LastActivityDate="2018-10-02T16:51:47.597" Title="Smooth horizontal and vertical camera movement" Tags="|video|camera|dslr|video-recording|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9787" PostTypeId="1" AcceptedAnswerId="9788" CreationDate="2013-12-30T11:24:18.907" Score="0" ViewCount="1101" Body="&lt;p&gt;I am trying to test a flash player for red5 live streaming video and in flash CS6 I have put a player component on the stage and not sure what url to input the live stream source?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can test and see it working in mysite.com:5080/demos/publisher.html but cannot work out how to get that streaming video linked to my flash player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;update: it is not as simple as entering RTMP url as has failed on every attempt with all possible parameters and in any case the question now is what stops anyone from going to any given url with 5080 port and taking advantage...something to hash out in future with the help of mister AJ. &lt;/p&gt;&#xA;" OwnerUserId="5274" LastEditorUserId="5274" LastEditDate="2013-12-31T07:26:43.523" LastActivityDate="2013-12-31T07:26:43.523" Title="How to link URL in flash media player to red5 server" Tags="|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9788" PostTypeId="2" ParentId="9787" CreationDate="2013-12-30T15:14:14.687" Score="0" Body="&lt;p&gt;I don't know this particular product, but based on what you are describing, I think this may help.  The player in flash probably wants the actual streaming media link.  When you go to the html page, you are accessing an HTML page that probably has an embedded player.  Flash streaming actually uses RTMP rather than HTTP, so you would need to find out what the RTMP URL is and provide that to the Flash video player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: So to do a live stream, you need to use the rtmp link to the publishing point on your server.  You then need to use the publisher to send a feed to that publishing point.  Whatever name you provide in the publisher will be the name of the file that you need to feed to your viewer.  Everything gets relayed through the server.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-12-31T05:44:44.470" LastActivityDate="2013-12-31T05:44:44.470" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="9789" PostTypeId="2" ParentId="9786" CreationDate="2013-12-30T15:22:11.093" Score="2" Body="&lt;p&gt;Unfortunately, there aren't really cheap options to do this.  You can approximate it using a crane or a stabilization rig (like a SteadiCam Jr), but both of those is still going to cost you hundreds of dollars.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For horizontal movement, the cheapest option is probably to use a more basic track and roll it by hand.  You can use a motion control unit to get smoother motion, but a motion control unit itself is going to be over a grand normally.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For pure vertical, you need something called a camera pedestal.  Unfortunately, this is probably the most complex movement to perform in a controlled manner, so there simply are no cheap options.  There are some DIY approaches out there, but you're looking at expensive hardware if you want to do a pure vertical movement with good control.  (The cheapest commercial pedestal I know of is over a grand.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is just the way the market is for being able to do advanced moves.  They are all specialized, limited use devices and the cost rapidly multiplies with the weight of the camera.  That's why rigging costs so much, because the market is so limited and specialized.  It requires careful design, tight tolerances and a very limited market, that all adds up to big costs to the consumer.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-30T15:22:11.093" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="9790" PostTypeId="2" ParentId="9784" CreationDate="2013-12-30T15:27:08.507" Score="1" Body="&lt;p&gt;This is an issue with your ffmpeg installation.  You have a mismatch between the version numbers of the libraries you are trying to use.  Most likely, your version of the webm libraries is not built on the same version of ffmpeg as you are using.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-30T15:27:08.507" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9791" PostTypeId="5" CreationDate="2013-12-30T15:47:59.557" Score="0" Body="&lt;p&gt;Live performance should deal with questions related to live audio/video production.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-12-30T15:47:59.557" LastActivityDate="2013-12-30T15:47:59.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9792" PostTypeId="4" CreationDate="2013-12-30T15:47:59.557" Score="0" Body="Live Performance is the performance of a show, song or other creative work in real-time." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2013-12-30T15:47:59.557" LastActivityDate="2013-12-30T15:47:59.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9793" PostTypeId="2" ParentId="9778" CreationDate="2013-12-30T16:46:21.740" Score="1" Body="&lt;p&gt;Video files are relatively complex beasts that have multiple factors contributing to how well they play.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, a video file has a container format, this is generally indicated based on the extension the file has and simply defines how the file is physically organized.  A MOV file is an Apple Quicktime file, an AVI is a windows audio/video file.  Other formats also exist such as MP4, M4V, MPEG, etc.  You can't simply change the extension in most cases because the files are organized differently and the extension tells the computer which format the file is stored in.  Some players are smart enough to figure out what the file actually is by looking at it though, so you won't always have problems when you change the extension.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next, a video file has what is known as a codec (short for encoder/decoder), the codec is responsible for actually taking the raw video information (which is really simply just a sequence of photos and some audio) and convert it in to easier to store format.  Many, many different codecs exist, but the most standard one for HD video is h.264.  h.264 defines how the pictures are broken up and stored so that we don't have to store the video uncompressed (which would be VERY large, like 149 megabytes a second large).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, we have a level of compression within that codec.  The amount of compression that each codec can apply is often variable (though it varies based on the codec being used).  The level of compression balances the overall quality of the video, the amount of disk space required to store the video and the amount of processing power that is needed to decode the video for playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For relatively low levels of compression, it is a fairly light processing load, however since much more data is used, you need fast access to the file in order to be able to read it quickly enough for live playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For relatively high levels of compression, either the quality of the video must be decreased or the complexity of the compression must be increased.  The smaller file size means that less data has to be loaded from disk per second to support live playback, however more processing has to be done to read the more complexly compressed data and get it back to the color of the pixels that should be displayed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This all brings us back to your original question.  Since the video plays back ok on the camera, but you have issues on your computer, it means that you probably have a bottle neck on your computer preventing it from playing back in real time.  This could be any of several things.  It may be that the video is not compressed enough and your hard drive or system memory is unable to move the data around fast enough for smooth playback, it may be that the video is too compressed and your processor is not fast enough to decode the video on the fly.  It also could be that you have a version of the codec that doesn't perform very well and thus results in being overly taxing on the system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can make some guesses based on file size or you can look at memory and CPU utilization in task manager to see if there are any obvious bottle necks.  You also have a few options for fixing it once you have the source of the problem determined.  You may be able to alter the encoding options on the camera to have it use a different level of compression (though this will likely impact video quality as well).  You may be able to add either more or faster memory to your computer or use a solid state drive to supply the data faster.  If you are processor limited, it's also reasonably low quality loss to transcode a high compression video to a larger, lower compression video.  There is still some quality loss, but less so than increasing the level of compression.  (Alternately, you can also increase the compression if you are disk speed limited, but this will result in much more severe quality loss.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as trans-coding goes, you can do that through most any video editing package or numerous stand alone packages for encoding video.  Quicktime Pro supports transcoding through using Save As, ffMPEG is a free option, though it can be somewhat trickier to learn to use.  If you have the Adobe software suite, Adobe Media Encoder is also a decent option.  You could also just import the file in to your video editor of choice and then export it again without any editing and it should produce a new video based on what ever export settings you want to use.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-30T16:46:21.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9795" PostTypeId="2" ParentId="3338" CreationDate="2013-12-30T20:34:47.117" Score="0" Body="&lt;p&gt;If you're looking for visual programming environments:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Max/MSP and Jitter by Cycling 74&#xA;&lt;a href=&quot;http://cycling74.com/products/max/&quot; rel=&quot;nofollow&quot;&gt;http://cycling74.com/products/max/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VVVV:&#xA;&lt;a href=&quot;http://vvvv.org/&quot; rel=&quot;nofollow&quot;&gt;http://vvvv.org/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Derivative TouchDesigner:&#xA;&lt;a href=&quot;http://www.derivative.ca/&quot; rel=&quot;nofollow&quot;&gt;http://www.derivative.ca/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're looking for products oriented towards VJing and more general live video performance (and less programming):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Modul8:&#xA;&lt;a href=&quot;http://www.modul8.ch/&quot; rel=&quot;nofollow&quot;&gt;http://www.modul8.ch/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Resolume Avenue:&#xA;&lt;a href=&quot;http://resolume.com/&quot; rel=&quot;nofollow&quot;&gt;http://resolume.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;GrandMA:&#xA;&lt;a href=&quot;http://www.malighting.com/en/products/control/control/ma-lighting/grandma2-onpc/gma2onpc-grandma2-onpc.html&quot; rel=&quot;nofollow&quot;&gt;http://www.malighting.com/en/products/control/control/ma-lighting/grandma2-onpc/gma2onpc-grandma2-onpc.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Professionally, I use TouchDesigner, Max/MSP, and Resolume, but all of the above are excellent pieces of software.&lt;/p&gt;&#xA;" OwnerUserId="5226" LastActivityDate="2013-12-30T20:34:47.117" CommentCount="0" CommunityOwnedDate="2013-12-30T20:34:47.117" ContentLicense="CC BY-SA 3.0" />
  <row Id="9796" PostTypeId="2" ParentId="7036" CreationDate="2013-12-30T20:39:44.207" Score="2" Body="&lt;p&gt;As AJ Henderson mentioned, you program the Kinect with a PC using various software packages, either ones that support Kinect natively, or by using the Kinect SDK. One that we use often is Derivative TouchDesigner. There is a free educational version you can download and use for non-commercial work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Projector wise, I'd recommend something of at least 10,000 lumens. Depends where you set up the projector, and how much throw you need. You can use this handy calculator to help you get closer to what you need. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.projectorcentral.com/projection-calculator-pro.cfm&quot; rel=&quot;nofollow&quot;&gt;http://www.projectorcentral.com/projection-calculator-pro.cfm&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5226" LastActivityDate="2013-12-30T20:39:44.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9801" PostTypeId="1" AcceptedAnswerId="9804" CreationDate="2013-12-31T12:27:12.510" Score="0" ViewCount="873" Body="&lt;p&gt;I want to transfer a set of old home video tapes recorded on a Sanyo VM-D66P. I do not have access to the camcorder anymore need to buy a camcorder that will play them so I can capture it via USB. The manual unfortunately does not make it clear precisely the type of tapes that it used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The instruction manual gives the following hints:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Television System: PAL, CCIR&lt;/li&gt;&#xA;&lt;li&gt;Video recording system: Rotating 2-head helical-scan FM, color under system&lt;/li&gt;&#xA;&lt;li&gt;Audio recording system: Rotating head FM system&lt;/li&gt;&#xA;&lt;li&gt;Cassette type: 8mm video tape cassette&lt;/li&gt;&#xA;&lt;li&gt;Tape speed: SP: 20.051 mm/sec&lt;/li&gt;&#xA;&lt;li&gt;Tape speed: LP: 10.025 mm/sec&lt;/li&gt;&#xA;&lt;li&gt;Recording/playback time: 180 minutes (P5-90 cassette)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;After looking through the &lt;a href=&quot;http://en.wikipedia.org/wiki/8_mm_video_format&quot; rel=&quot;nofollow&quot;&gt;8mm video format wikipedia page&lt;/a&gt;, I have come to the weary conclusion that the VM-D66P used the standard &lt;strong&gt;&quot;original Video8 (analog recording) format&quot;&lt;/strong&gt;. Does this sound correct? And does this mean I can use any Video8-compatible camcorder to play back the VM-D66P tapes?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="2547" LastActivityDate="2013-12-31T16:43:26.190" Title="Old 8mm video recording tapes and standards" Tags="|camcorder|analog|video-standards|formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9802" PostTypeId="1" CreationDate="2013-12-31T15:06:24.197" Score="4" ViewCount="5296" Body="&lt;p&gt;I would like to convert some short videos to .MJP format, and none of my preferred tools for video conversion can do this. Can anybody suggest free software that can achieve this? OSX preferred, but Windows is available if necessary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;All I can tell you is that I have a (newish) device that has a video screen and contains a memory card holding four .MJP files that can be shown on the screen. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The videos play, with sound, so I know the files are valid. If I copy them over to my Mac, no software that I've found can play them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to replace the video files that the device shows, but this requires converting my videos to .MJP format. I have put one of the existing files at &lt;a href=&quot;https://app.box.com/s/kbtvfbpowqwbp1aym88m&quot; rel=&quot;nofollow&quot;&gt;https://app.box.com/s/kbtvfbpowqwbp1aym88m&lt;/a&gt; if anybody wants to examine it.&lt;/p&gt;&#xA;" OwnerUserId="5281" LastEditorUserId="5281" LastEditDate="2014-01-06T20:53:18.420" LastActivityDate="2014-02-28T21:16:01.833" Title="converting to .MJP files" Tags="|file-formats|codec|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="9803" PostTypeId="2" ParentId="9732" CreationDate="2013-12-31T15:11:40.997" Score="3" Body="&lt;p&gt;So Apparently FFMPEG can do this, I had to use &lt;code&gt;-c:v copy&lt;/code&gt; and that will leave the video stream intact. I actually used an app called iFFMPEG to figure this out.&lt;/p&gt;&#xA;" OwnerUserId="5233" LastActivityDate="2013-12-31T15:11:40.997" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9804" PostTypeId="2" ParentId="9801" CreationDate="2013-12-31T16:43:26.190" Score="1" Body="&lt;p&gt;The logo on the manual I could find indicates that it was standard 8mm, not Hi8 or Digital8.  If you are in a PAL region, then most likely it is the PAL version of 8mm.  You should be able to use any PAL based 8mm playback deck or camcorder to play the tape back.  You then be able to use a standard video capture device to digitize the video that you playback.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-31T16:43:26.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9807" PostTypeId="2" ParentId="9802" CreationDate="2013-12-31T20:27:12.490" Score="1" Body="&lt;p&gt;You can try using either of the two Motion JPEG codec's available with Quicktime and see if either of those works after renaming the extension.  Motion JPEGs are kind of a major pain though because it's literally just a sequence of JPEG images for each frame within the video and the exact specifications of the container can vary.  This can result in files not being recognized or result in incorrect playback rates or poor audio sync.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best bet would probably be to see if LG has any utilities for converting videos to their format for your device, though it is possible no such software exists.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2013-12-31T20:27:12.490" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9816" PostTypeId="2" ParentId="8757" CreationDate="2014-01-02T18:17:03.370" Score="4" Body="&lt;p&gt;I use Sony Vegas 12pro and it uses CPU rendering OR certain codecs can render to GPU. I have used GPU rendering and found that it is only slightly faster but way buggier. GPU rendering is a pretty new thing so I'd stay away from it and I wouldn't expect it to be good for a few more years.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the faster your CPU the faster the video will render. The GPU is doing nothing with CPU rendering. Well it is doing basic windows OS stuff but not handling the rendering of the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been editing with Sony Vegas for 5 years and started with version 8.&lt;/p&gt;&#xA;" OwnerUserId="5294" LastActivityDate="2014-01-02T18:17:03.370" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9819" PostTypeId="2" ParentId="5040" CreationDate="2014-01-02T18:31:38.133" Score="1" Body="&lt;p&gt;Everything that Filzilla said is great and on point. BUT the standard chromakey plugin that comes with Vegas is lacking. There really is no way to get around it. I have been doing greenscreen videos for yourmusicmuse.com for 3 years and I have found the NewBlue ChromaKey Pro plugin is perfect. It has the following features:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Garbage mask to mask out bad areas&#xA;Spill corrector - this is huge. It gets rid of the green edges.&#xA;Chroma smoothing for 4:2:0 consumer cameras. The edges of your subjects will be smoothed out.&#xA;Shrink and Blur which can help blend the subject into the background better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not sure how much this plugin is but I think it is part of a package that is less than $100. It is the best option I believe after trying everything and not being happy with my keys in the standard plugin.&lt;/p&gt;&#xA;" OwnerUserId="5294" LastActivityDate="2014-01-02T18:31:38.133" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9820" PostTypeId="2" ParentId="9517" CreationDate="2014-01-02T18:37:00.737" Score="1" Body="&lt;p&gt;Use VLC to get the actual frame size. You can go to Tools/media information and from there navigate through the tabs to see what the frame size is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then enter that information manually into vegas. When you drop your clips in everything should be good to go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are still getting blank frames in the rendered video then I would guess that to be a render setting. You may want to render to a default setting to see if that helps.&lt;/p&gt;&#xA;" OwnerUserId="5294" LastActivityDate="2014-01-02T18:37:00.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9821" PostTypeId="2" ParentId="9471" CreationDate="2014-01-02T18:42:45.577" Score="3" Body="&lt;p&gt;Unfortunately you are asking too much from Sony Vegas my friend! In order to get a true effect you'd have to do something called &quot;rotoscoping&quot; which means you go into each frame and mask out the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do this in vegas by going into the pan/crop window on the video event. Look for &quot;mask&quot; and then you can key frame out the background with the pen tool there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no way to automate this so you'll have to key frame quite a bit. Then once you have just the person visible you duplicate the track beneath it and uncheck the mask on the duplicate. You then can add lense blur or gaussian blur to create the desired effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unless the clip is super short I wouldn't recommend doing it this way though. It takes a lot of time even for skilled maskers.&lt;/p&gt;&#xA;" OwnerUserId="5294" LastActivityDate="2014-01-02T18:42:45.577" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9823" PostTypeId="1" CreationDate="2014-01-02T19:58:24.947" Score="1" ViewCount="3787" Body="&lt;p&gt;So I am using my camera to make vlogs for youtube and sometimes interview people. I have a background that doesn't move and I have a person in front of the camera who sometimes moves from left to right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My camera already has a subtle depth-of-field, but I want to make it more noticeable. Now I know that photobooth in OS X has a trick where you step out of the frame for a moment and then when you step into the frame it can separate you from the background. I guess FCPX can probably do the same trick, but I haven't found that feature yet. Is it in there? Can I use it to create the effect that I want to create?&lt;/p&gt;&#xA;" OwnerUserId="5299" OwnerDisplayName="Evert" LastActivityDate="2014-02-01T21:14:53.823" Title="How do I blur the background, but not a moving subject in FCPX to create a depth-of-field effect?" Tags="|final-cut-pro|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9824" PostTypeId="2" ParentId="9823" CreationDate="2014-01-02T20:22:25.543" Score="1" Body="&lt;p&gt;&lt;strong&gt;FCPX can't do this automatically (like Photo Booth) unless the background is a single colour.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a workaround, if possible…&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Take a picture of the background.&lt;/li&gt;&#xA;&lt;li&gt;Film the vlog in front of a green screen.&lt;/li&gt;&#xA;&lt;li&gt;Key the background leaving the alpha channel.&lt;/li&gt;&#xA;&lt;li&gt;Place the picture behind the video layer.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;There is a full guide in this Apple KB article:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://support.apple.com/kb/PH12665&quot; rel=&quot;nofollow&quot;&gt;Final Cut Pro X: Use chroma keys&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5296" LastActivityDate="2014-01-02T20:22:25.543" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9825" PostTypeId="1" AcceptedAnswerId="9828" CreationDate="2014-01-03T02:52:17.173" Score="1" ViewCount="1818" Body="&lt;p&gt;I am a newbie to video editing and I've been trying to take some files I downloaded from a stream online (public government videos), to make an Adobe Premiere Pro video out of them. Here's an example link to a file I downloaded that I want to edit: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;mms://stream.miamibeachfl.gov/tv20%20archive/design%20review%20board/drb_20130806.asf&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem I am having is that the ASF files have an issue when I try to import it or just open in the Source Monitor in Adobe Premiere Pro. The &quot;Conforming&quot; notice shows at the bottom right, but it stalls there after about 1% and I have an error in the Events dialog which says the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;File importer detected an inconsistency in the file structure of XXX.avi. Reading and writing this file's metadata (XMP) has been disabled.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought the files were possibly too big to use in Premiere (some are over 1GB), so I used some freeware programs to trim them down, thinking this would help. However, even then it doesn't work, or if it does work to trim the file and convert to AVI, I get the following error when trying to open the new file in Adobe Premiere Pro: &quot;Unsupported format or damaged file&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the properties of a sample file I am having problems with, which I get from the Premiere Pro menu -&gt; Get Properties For -&gt; File:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;File Path: C:\Users\Daniel Desktop\Documents\Google Drive\Consulting\Activism\DATA SOURCES\VIDEOS\plb_20120327.asf&#xA;Type: Windows Media &#xA;File Size: 1.4 GB&#xA;Image Size: 320 x 240&#xA;Frame Rate: 29.97&#xA;Source Audio Format: 32000 Hz - 16 bit - Stereo&#xA;Project Audio Format: 32000 Hz - 32 bit floating point - Stereo&#xA;Total Duration: 11:03:16:05&#xA;Pixel Aspect Ratio: 1.0&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not sure why this issue is happening but based on the file issues, maybe there is some setting I am missing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any tips or help would be much appreciated. I can't start video processing if it's not possible for the video to load. Thank you!&lt;/p&gt;&#xA;" OwnerUserId="5302" LastEditorUserId="5302" LastEditDate="2014-01-03T23:45:17.590" LastActivityDate="2014-01-03T23:45:17.590" Title="Issue with Opening Downloaded ASF Stream files in Adobe Premiere Pro CC" Tags="|premiere|file-formats|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9827" PostTypeId="1" AcceptedAnswerId="9829" CreationDate="2014-01-03T14:23:53.323" Score="4" ViewCount="3614" Body="&lt;p&gt;Sorry about the terrible title question. I'll edit it if I get an answer to be more useful to others, or you're welcome to do so.&lt;/p&gt;&#xA;&lt;p&gt;I'm trying to find tutorials and even inspiration for stuff like the DKS bar in this picture:&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Tv9RH.jpg&quot; alt=&quot;image from video&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;I looked up &amp;quot;trade show videos&amp;quot; &amp;quot;after effects titles&amp;quot; &amp;quot;after effects text&amp;quot; and haven't really found much that's helping. Is there a name used in the video world for that part of a video which might help me find more examples?&lt;/p&gt;&#xA;&lt;p&gt;Here's the video set to this moment so you can see it all animated:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ys4mj8266zA?start=24&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="5206" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2014-01-05T14:06:43.130" Title="What is a description along the bottom of a video generally called?" Tags="|after-effects|terminology|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9828" PostTypeId="2" ParentId="9825" CreationDate="2014-01-03T14:28:22.617" Score="0" Body="&lt;p&gt;The link you gave is for a streaming media file, not a download.  Most likely, whatever ripper you used to pull down the file did a poor job and produced a faulty file.  It may actually play back since most playback applications are rather permissive when it comes to errors in the file, however a professional editing package like Premiere will tend to throw errors if there are major problems in the file since it won't be able to generate suitable output from the file.  The best bet is probably to try and find a non-streaming version, particularly since the quality of the streaming version is VERY low.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-03T14:28:22.617" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9829" PostTypeId="2" ParentId="9827" CreationDate="2014-01-03T14:36:28.930" Score="7" Body="&lt;p&gt;It is often called a lower third because it is a bar often appearing in the lower third of the image.  Also sometimes a name plate or title plate.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-03T14:36:28.930" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9831" PostTypeId="5" CreationDate="2014-01-03T15:06:05.417" Score="0" Body="&lt;p&gt;Videos posted by humans or machines on the Internet on different websites&lt;/p&gt;&#xA;" OwnerUserId="5308" LastEditorUserId="5308" LastEditDate="2014-01-06T14:53:55.607" LastActivityDate="2014-01-06T14:53:55.607" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9832" PostTypeId="4" CreationDate="2014-01-03T15:06:05.417" Score="0" Body="Videos on the Internet " OwnerUserId="5308" LastEditorUserId="5308" LastEditDate="2014-01-03T17:20:12.610" LastActivityDate="2014-01-03T17:20:12.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9833" PostTypeId="1" AcceptedAnswerId="9834" CreationDate="2014-01-03T16:33:44.287" Score="1" ViewCount="369" Body="&lt;p&gt;I have a Canon Vixia HF G10 and a Canon 70D. I need to do an interview requiring two camera angles. I need to figure out what the best way to ensure both cameras record video at the highest frame rate, resolution etc but match so that I don't have a post production nightmare on my hands.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Canon Vixia HF G10 does 60i, PF30 and PF24 (recorded as 60i) and 24P. It appears the resolution is determined by video quality (either 1920x1080 or 1440x1080). I have been using MXP mode (1920x1080 - 24MBits) on PF30 for the past year with decent results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Canon 70D does either 1920x1080 @ 30 or 24 or 1280x720 @ 60 (I am guessing progressive, but the manual does not confirm this). I will of course record in their better compression method ALL-I. I currently am testing the 70D @ 1920x1080 24 ALL-I and it appears to be ok.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All post is preferred to rely on stock Adobe Premiere Pro CS6 if possible and the final result will be published on YouTube for sure and may be played off a Windows PC inside the client's office. I am not really picky about 30p or 24p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would appreciate an expert's opinion on the best way to set this up so I don't end up with two different frame rates, crappy results or wasting time in post editing because I screwed it up.&lt;/p&gt;&#xA;" OwnerUserId="5309" LastEditorUserId="2836" LastEditDate="2014-03-05T17:28:07.987" LastActivityDate="2014-03-05T17:28:07.987" Title="How to Setup Resolution and Frame Rate Between Two Cameras for Premiere Editting and YouTube" Tags="|video|video-quality|dslr|canon|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9834" PostTypeId="2" ParentId="9833" CreationDate="2014-01-03T17:21:24.410" Score="1" Body="&lt;p&gt;1080P/24 seems to be the way to go in this case.  It's generally considered to have a more cinematic look and both cameras appear to support that resolution and framerate.  Youtube has a 24 fps setting and should handle 1080P video fine.  As you already said, use All I on your 70D to ensure highest quality.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-03T17:21:24.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9835" PostTypeId="1" AcceptedAnswerId="9836" CreationDate="2014-01-03T19:00:14.687" Score="2" ViewCount="675" Body="&lt;p&gt;I can't quite tell if shopping/product questions are allowed here, but...I'm not sure where else to turn on the SE network.  I have no a/v experience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to gather info for a project here at work where we need the ability to remotely control various cameras during a webinar presentation from a host computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideal would be the cameras have the ability to pan/tilt/zoom on their own, but as I've found out PTZ cameras are expensive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know we can use something cheap like the Logitech Orbit camera, but we'd really like the ability to have decent video cameras hooked up to a multi-input control video box and then also have them on tripods that can control their p/t/z if that even exists.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;tl;dr - So basically:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What options do I have if I want to remotely control multiple cameras via a single computer (pan/tilt/zoom) during a webinar, so that the host/actor can just speak/present and we don't have to manually operate the cameras or have dedicated cameramen?&lt;/p&gt;&#xA;" OwnerUserId="5310" LastActivityDate="2014-01-04T00:19:41.820" Title="Remote pan/tilt/zoom cameras that aren't expensive" Tags="|video|webvideos|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9836" PostTypeId="2" ParentId="9835" CreationDate="2014-01-03T22:03:11.587" Score="2" Body="&lt;p&gt;You want a Pan/Tilt head.  Zoom will depend on having a camera that can have the zoom remote controlled and a remote control that can hook in to the zoom.  A pan tilt head can generally either be left sitting on a table or threaded on to a tripod.  They are, however, not cheap.  Expect to spend at least $300 for a cheap one and more if the camera ways more than a couple pounds.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-03T22:03:11.587" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9837" PostTypeId="2" ParentId="9835" CreationDate="2014-01-04T00:19:41.820" Score="1" Body="&lt;p&gt;Guess Polycom has something like that, PTZ camera that can automatically follow a presenter. It follows a special &quot;tag&quot; device that presenter should be wearing, but not his/her face. If more than one camera will be used there should be the video operator anyway to switch views, choose the best angle etc. Standalone PTZ heads for handycams or more heavy-weight professional cameras are usually quite expensive, PTZ cameras may be even cheaper (look at Panasonic, Sony and others). For webinars - it's my point of view - it's enough to have 1-2 PTZ cameras + 1-2 fixed ones (e.g. audience view, screen view etc), so operator won't have to control all of them all the time. &lt;/p&gt;&#xA;" OwnerUserId="2773" LastActivityDate="2014-01-04T00:19:41.820" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9838" PostTypeId="1" CreationDate="2014-01-04T11:48:36.970" Score="2" ViewCount="486" Body="&lt;p&gt;I'm using Kdenlive on Linux Mint 16, and I was finding that my keyframed &quot;Box Blur&quot; effect was significantly slowing down playback, and so I thought there might be a way to render the effects on a clip, essentially making them &quot;non-editable&quot;, to speed up playback.&#xA;Is there such a function?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="4645" LastActivityDate="2016-12-22T16:18:33.273" Title="Kdenlive Render Effects" Tags="|video|video-editor|effects|linux|playback|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9839" PostTypeId="1" AcceptedAnswerId="9843" CreationDate="2014-01-04T15:40:40.923" Score="0" ViewCount="54" Body="&lt;p&gt;I have created a plate through the &quot;difference matte&quot; process - but I have a bunch of area's that show small white speckles on a black background. Is there an automated way to remove those small white dots?&lt;/p&gt;&#xA;" OwnerUserId="5117" LastEditorUserId="4426" LastEditDate="2015-01-26T21:45:24.947" LastActivityDate="2015-01-26T21:45:24.947" Title="Cleaning matte - remove areas smaller than x pixels?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9841" PostTypeId="2" ParentId="9567" CreationDate="2014-01-04T19:05:40.420" Score="1" Body="&lt;p&gt;On a side note, I believe the power is required for the analog to digital converter in wireless transmissions, and not the signal itself, since there is +5V DC power running through one of the pins. So you might actually have better luck searching for USB powered signal converters, because once the signal is digital, you're home free.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.atlona.com/Atlona-VGA-to-HDMI-Scaler-Converter-USB-Powered.html&quot; rel=&quot;nofollow&quot;&gt;http://www.atlona.com/Atlona-VGA-to-HDMI-Scaler-Converter-USB-Powered.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once it's digital, you could use something like this if the little bit of latency isn't a big deal:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.amazon.ca/Nyrius-Transmitter-Streaming-Satellite-NPCS549/dp/B009E6R89C&quot; rel=&quot;nofollow&quot;&gt;http://www.amazon.ca/Nyrius-Transmitter-Streaming-Satellite-NPCS549/dp/B009E6R89C&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5226" LastActivityDate="2014-01-04T19:05:40.420" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9843" PostTypeId="2" ParentId="9839" CreationDate="2014-01-05T09:19:48.360" Score="1" Body="&lt;p&gt;I think adding a matte choker should do what you need. You can expand the matte using this effect. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-01-05T09:19:48.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9844" PostTypeId="2" ParentId="9760" CreationDate="2014-01-05T09:24:11.177" Score="0" Body="&lt;p&gt;I suspect you have the view window set at less than 100% scale. Your quality setting should match your view screen scale. For example, if your view screen is at 50% you should set the quality to half. If the screen is at 49% or 51% the text will look jagged (aliased). The Auto setting on the quality drop down is useful to keep the closest quality setting to your scale. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-01-05T09:24:11.177" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9845" PostTypeId="2" ParentId="9827" CreationDate="2014-01-05T14:06:43.130" Score="2" Body="&lt;p&gt;Things like this are called TG or Title Graphics&lt;/p&gt;&#xA;" OwnerUserId="5319" LastActivityDate="2014-01-05T14:06:43.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9850" PostTypeId="2" ParentId="9802" CreationDate="2014-01-05T23:37:17.517" Score="2" Body="&lt;p&gt;&lt;a href=&quot;http://www.openthefile.com/ext/mjp/4458&quot; rel=&quot;nofollow&quot;&gt;http://www.openthefile.com/ext/mjp/4458&lt;/a&gt; and &lt;a href=&quot;http://www.fileinfo.com/extension/mjp&quot; rel=&quot;nofollow&quot;&gt;http://www.fileinfo.com/extension/mjp&lt;/a&gt; both suggest mplayerx (&lt;a href=&quot;http://mplayerx.org/&quot; rel=&quot;nofollow&quot;&gt;http://mplayerx.org/&lt;/a&gt;) can play them. It would make sense to post a file for people to examine. If mplayer or ffmpeg can play them, chances are mencoder or ffmpeg can encode to the format.&lt;/p&gt;&#xA;" OwnerUserId="2265" LastActivityDate="2014-01-05T23:37:17.517" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="9854" PostTypeId="1" AcceptedAnswerId="9855" CreationDate="2014-01-06T20:48:25.427" Score="0" ViewCount="195" Body="&lt;p&gt;I can play almost all videos without problems on my Google TV or XBMC box, but when I try to play videos recorded on a Canon 60D camera it gives severe lag and takes some time to start up. Any reason for this? Should I check some other option? Tried also without network streaming, but almost same result (although better than streaming). Starting from a windows machine with VLC does not have a problem. &lt;/p&gt;&#xA;" OwnerUserId="5330" LastActivityDate="2014-01-09T20:09:29.593" Title="Home video, Canon 60D, 1080p, 23 fps, H.264 lag during playback" Tags="|video|playback|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9855" PostTypeId="2" ParentId="9854" CreationDate="2014-01-06T21:28:23.087" Score="3" Body="&lt;p&gt;This is almost certainly a data rate problem.  The quality level of H.264 from a camera is much higher and much less compressed than a typical media file.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;H.264 is an elaborate compression which can achieve substantial compression ratios while maintaining high quality, however it is also very complex and difficult to encode with the best compression settings available.  To save time and battery, a camera such as the 60D uses a hardware encoder and applies only simple compression.  This means the file size is much larger (though the quality is also higher).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before final consumption, the video file should be re-compressed to a more compressed file for final viewing.  You can use any of a number of compressors (either one built in to a video editing package of your choice or you can use the free FFMpeg).  If you use a two pass VBR preset for something like YouTube it should encode to a much more highly compressed and network/low power device playback friendly compression.  If you have an option for profile, I'd try the low profile as it is supported by more low power devices than the high or medium profiles.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-06T21:28:23.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9856" PostTypeId="1" CreationDate="2014-01-06T21:29:05.107" Score="1" ViewCount="2809" Body="&lt;p&gt;I must use &quot;stream&quot; because the video must sync with audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suggestions I found on Google:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Use Event mode. I am aware the &quot;Event&quot; mode will play over multiple scenes, but it does not force audio sync, which causes major problems with audio sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Don't use scenes. This is what I'm working on now, but it's a nightmare solution - trying to transfer many layers from many scenes so they all line up again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would even be open to trying other software, but flash is the only vector animation program I've found that allows for easy animation and freehand vector drawing (unlike Illustrator-type programs that make you take all day dragging curve points).&lt;/p&gt;&#xA;" OwnerUserId="5331" LastActivityDate="2014-07-05T21:28:20.633" Title="How to *stream* audio over multiple scenes in Flash?" Tags="|streaming|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9859" PostTypeId="2" ParentId="9617" CreationDate="2014-01-07T21:14:15.983" Score="0" Body="&lt;p&gt;Did some quick research on the Internet and found this:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;File extension CPI is AVCHD Video Clip Information File. The AVCHD&#xA;  directory contains a folder for clipinfo which contains one .cpi file&#xA;  for each .mts file in the stream folder. cpi (clip info) contains&#xA;  various contains metadata describing an AVCHD video stream, such as&#xA;  the frame rate, frames per second, and aspect ratio. The video and&#xA;  audio is stored in the mts/m2ts (Transport Stream) files.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It would appear that basic metadata about the camera (frame rate, aspect ratio, etc.) is saved in this format. You might be able to use ffdshow (open source) or similar to extract the metadata.&lt;/p&gt;&#xA;" OwnerDisplayName="user3849" LastEditorUserId="1760" LastEditDate="2015-02-13T23:21:48.590" LastActivityDate="2015-02-13T23:21:48.590" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9862" PostTypeId="1" AcceptedAnswerId="9863" CreationDate="2014-01-07T23:47:51.607" Score="1" ViewCount="236" Body="&lt;p&gt;Maybe you know this wonderful video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/eG-6HaAF6Cs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone help me to understand how the LED trail effect has been done? &lt;/p&gt;&#xA;" OwnerUserId="5337" LastEditorUserId="167" LastEditDate="2014-01-09T04:25:27.553" LastActivityDate="2014-01-09T04:25:27.553" Title="Does anybody have suggestion to recreate this light trail effect?" Tags="|effects|lighting|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9863" PostTypeId="2" ParentId="9862" CreationDate="2014-01-08T00:06:40.717" Score="1" Body="&lt;p&gt;There are two ways this can be accomplished.  The easiest is by using a slow shutter speed.  While most DSLRs may be limited to 30FPS and faster, it is possible through the use of third party firmwares to lower that arbitrarily further.  As you can see from the details on Vimeo, they were using GH2s with the EOSHD Vanilla hack.  This removes many of the limitations that would otherwise be on the system.  It is also possible with most Canon hardware using MagicLantern's &lt;a href=&quot;http://wiki.magiclantern.fm/userguide#fps_override&quot; rel=&quot;nofollow&quot;&gt;FPS Override&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other way to do it is to artificially do it in post production (though the result often isn't as good) by additive combining each frame with previous frames.  This results in a trail that can animate on and animate off and maintain the original frame rate, but it is likely to introduce gaps in the trails and either requires a pre-existing plugin or some creative layering in After Effects.  Layer each video one from apart and then apply blending until you get something that looks like you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is hard to tell which technique is being used for sure without a downloadable copy that I can go through frame by frame, though my initial impression (particularly based on the hacked firmware and the general feel of the video) is that they are using the lower frame rate option in the hacked GH2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: I managed to dig up my old Youtube downloader and got the video in to Premiere.  I can confirm that it is in fact a lowered frame rate (around 1/12 or 1/15 for most of the trail shots).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-01-08T00:32:42.713" LastActivityDate="2014-01-08T00:32:42.713" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="9864" PostTypeId="1" AcceptedAnswerId="9865" CreationDate="2014-01-08T16:41:13.910" Score="0" ViewCount="746" Body="&lt;p&gt;In After Effects to speed up and slow down footage &lt;a href=&quot;http://www.youtube.com/watch?v=4feQ1HylGC0&amp;amp;feature=share&quot; rel=&quot;nofollow&quot; title=&quot;Slow Motion in After Effects&quot;&gt;this tutorial&lt;/a&gt; shows that you first enable &lt;code&gt;Time Remap&lt;/code&gt; then use &lt;code&gt;Timewarp&lt;/code&gt;. He doesn't appear to do anything with the Time Remap though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.lynda.com/After-Effects-tutorials/Slowing-accelerating-video-speed/59957/64216-4.html&quot; rel=&quot;nofollow&quot; title=&quot;Slowing and accelerating video speed in After Effects&quot;&gt;This other tutorial&lt;/a&gt; shows doing slow motion either with the &lt;code&gt;Stretch&lt;/code&gt; or with &lt;code&gt;Timewarp&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I get the &lt;code&gt;Stretch&lt;/code&gt; vs &lt;code&gt;Timewarp&lt;/code&gt; a bit but don't understand the &lt;code&gt;Time Remap&lt;/code&gt;. When, if ever, should I be toggling that? From this &lt;a href=&quot;http://library.creativecow.net/articles/preston_bryan/time_remapping.php&quot; rel=&quot;nofollow&quot; title=&quot;Time Remapping in After Effects&quot;&gt;nice written tutorial on time remapping&lt;/a&gt; it seems that &lt;code&gt;Time Remapping&lt;/code&gt; is more useful if you need to reverse playback or add still frames and such. So was there a reason the &lt;code&gt;Time Remap&lt;/code&gt; was toggled before the first guy did &lt;code&gt;Timewarp&lt;/code&gt;? Does it make it render faster or work better or was it completely unnecessary?&lt;/p&gt;&#xA;" OwnerUserId="5206" LastActivityDate="2014-01-08T17:56:49.227" Title="When is it necessary to enable &quot;Time Remap&quot; in After Effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9865" PostTypeId="2" ParentId="9864" CreationDate="2014-01-08T17:56:49.227" Score="0" Body="&lt;p&gt;If you are using Time Remap, a Timewarp should not be needed and vice versa.  Timewarp is designed to allow adjusting the playback rate, where as Time Remap is designed to allow you to tell the playback to be at a particular point in the original timecode when it reaches a particular time in your composition.  It mostly just matters how you want to control the adjustments and what level of control you want over the processing, but only one is needed.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-08T17:56:49.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9866" PostTypeId="1" CreationDate="2014-01-09T05:53:29.853" Score="1" ViewCount="462" Body="&lt;p&gt;In the context of ASC-CDL, saturation is applied as:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;luma = 0.2126*iR + 0.7152*iG + 0.0722*iB&#xA;oR = luma + saturation*(iR-luma)&#xA;oG = luma + saturation*(iG-luma)&#xA;oB = luma + saturation*(iB-luma)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, in the &lt;a href=&quot;http://www.arri.com/?eID=registration&amp;amp;file_uid=7760&quot; rel=&quot;nofollow&quot;&gt;ARRI Look Files in the ALEXA Camera&lt;/a&gt; whitepaper they say:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Note: The ALEXA saturation parameter differs from the ASC CDL&#xA;  saturation.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;But they don't specify in what way, and I can't find that information anywhere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anybody know?&lt;/p&gt;&#xA;" OwnerUserId="2416" LastActivityDate="2014-05-17T00:19:23.960" Title="How does ARRI saturation formula differ from the ASC-CDL spec?" Tags="|color-correction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9870" PostTypeId="1" CreationDate="2014-01-09T20:05:50.827" Score="1" ViewCount="95" Body="&lt;p&gt;I uploaded them as guest, but they are not listed online even though I provided a valid email address. Windows 7 &lt;/p&gt;&#xA;" OwnerUserId="5346" LastEditorUserId="5346" LastEditDate="2014-01-17T21:38:39.173" LastActivityDate="2014-01-17T21:38:39.173" Title="Where does Camtasia store files locally?" Tags="|audio|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9872" PostTypeId="1" AcceptedAnswerId="9874" CreationDate="2014-01-10T06:55:19.787" Score="1" ViewCount="51" Body="&lt;p&gt;I'm not very familiar with VFX production but I've been asked to do some research on companies that develop Maya plugins.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I'm having trouble locating such companies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, I tried Autodesk's website, hoping they would have an official developer directory, but they do not.  &lt;strong&gt;Edit&lt;/strong&gt;: I did find the &lt;a href=&quot;http://area.autodesk.com/jobs&quot; rel=&quot;nofollow&quot;&gt;official Autodesk site&lt;/a&gt;, but the rest of my question still stands.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, I tried Googling terms such as &lt;em&gt;hire &quot;maya plugin&quot; developer&lt;/em&gt; and &lt;em&gt;&quot;maya plugin&quot; development companies&lt;/em&gt;.  However, I am getting very few hits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I search for companies that do Maya development?  I do not want a list of Maya development companies (that would obviously be off topic); I just don't know enough about the terminology to perform a search, so I'd like to know which keywords have potential.&lt;/p&gt;&#xA;" OwnerUserId="5349" LastEditorUserId="5349" LastEditDate="2014-01-10T08:01:22.803" LastActivityDate="2014-01-10T14:30:31.853" Title="What keywords to use when searching for a Maya plugin developer?" Tags="|recommendation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9873" PostTypeId="1" AcceptedAnswerId="9875" CreationDate="2014-01-10T14:27:21.000" Score="0" ViewCount="34" Body="&lt;p&gt;In Premier when adding a new Audio or Video track it wants to add both. In industry is it considered good form to leave empty tracks, say:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;V2 Movie Clip &lt;/li&gt;&#xA;&lt;li&gt;V1 Title &lt;/li&gt;&#xA;&lt;li&gt;A1 BG Music &lt;/li&gt;&#xA;&lt;li&gt;A2 nothing&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Or is it better form to delete those extra tracks or not add them to begin with so instead it looks like&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;V2 Movie Clip&lt;/li&gt;&#xA;&lt;li&gt;V1 Title&lt;/li&gt;&#xA;&lt;li&gt;A1 BG Music&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5206" LastEditorUserId="5206" LastEditDate="2014-01-10T20:44:52.030" LastActivityDate="2014-01-10T20:44:52.030" Title="Is it bad form to have a different number of audio tracks from video tracks?" Tags="|premiere|tracks|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9874" PostTypeId="2" ParentId="9872" CreationDate="2014-01-10T14:30:31.853" Score="1" Body="&lt;p&gt;Your best bet is probably to look for developers of commercial Maya plugins and see if they are willing to do contract work.  Most studios have developers on staff to handle any project specific coding work needed.  It's a pretty specialized skill set and I doubt there is much of a market for doing it as consultants.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, my (limited) experience playing with APIs in 3d graphics software would tend to indicate that any developer with experience working with 3d systems should be able to pick it up pretty quickly.  The concepts, when it comes to the programing, aren't that different from DirectX to OpenGL to SoftImage or Maya.  It's still shaders, geometry, physics, etc...&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-10T14:30:31.853" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9875" PostTypeId="2" ParentId="9873" CreationDate="2014-01-10T14:41:48.103" Score="1" Body="&lt;p&gt;I always avoid excess tracks.  You can add as many or few tracks of each types as you want in &quot;Add Tracks...&quot; Simply adjust the number of tracks to be added by clicking on the number.  It defaults to 1 video and 1 audio track, but that can easily be changed each time you add tracks.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also add an individual track to either by right clicking in the header area and saying Add Track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as industry standards go, I've never heard of a standard and I've never known anyone to think anything of having unused tracks, but cleanliness is always a plus.  There is certainly no standard to intentionally use excess tracks, but in my experience nobody is going to think anything if there are a few excess tracks either.  Generally cleaning up after yourself does look a little more professional though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-01-10T15:33:48.730" LastActivityDate="2014-01-10T15:33:48.730" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="9876" PostTypeId="1" AcceptedAnswerId="9877" CreationDate="2014-01-10T15:37:05.830" Score="1" ViewCount="102" Body="&lt;p&gt;I'm building a video dvd for a wedding. I have rendered the VIDEO_TS and AUDIO_TS folders using an authoring software. &#xA;I have burned them into a DVD using Windows, but the DVD is unreadable on 3 different dvd players, so I can suppose I have made something wrong.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What else do I need to have a working DVD?&lt;/p&gt;&#xA;" OwnerUserId="4839" LastActivityDate="2014-02-09T16:25:56.427" Title="Reliable way to burn VIDEO_TS folder on a DVD?" Tags="|video|digital-recording|software-recommendation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9877" PostTypeId="2" ParentId="9876" CreationDate="2014-01-10T15:41:43.543" Score="2" Body="&lt;p&gt;You must use the proper formatting for it to be read by a DVD player that only reads standards compliant disks.  Specifically, DVD Video disks use the UDF 1.02 format.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-10T15:41:43.543" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9879" PostTypeId="1" CreationDate="2014-01-10T17:18:24.580" Score="0" ViewCount="299" Body="&lt;p&gt;How to defeat the display info overlay on the HDMI output of the Canon XA25 including the status indicator.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An IT/AV colleague of mine needs to send the HDMI output of a Canon XA25 for streaming but can not get a completely clear video source void of the display overlay. He was able to shutdown everything else but the status light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Actually two questions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) is it possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) if so, how?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please advise.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastEditorUserId="1890" LastEditDate="2014-01-10T17:29:04.843" LastActivityDate="2014-01-10T18:40:43.010" Title="How to defeat the display info overlay on the HDMI output of the Canon XA25 including the status indicator?" Tags="|streaming|live|canon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9880" PostTypeId="2" ParentId="9879" CreationDate="2014-01-10T18:40:43.010" Score="1" Body="&lt;p&gt;The only thing I can find about it is to set the Output OnScreen Displays to Off in the settings.  If that isn't doing it, then I'm not sure that it is possible.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-10T18:40:43.010" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9882" PostTypeId="1" AcceptedAnswerId="9883" CreationDate="2014-01-10T20:47:22.807" Score="0" ViewCount="34" Body="&lt;p&gt;Say you have file100.mov run for 10 seconds on track A1 and V1. At the 11 second mark track A1/V1 is effectively empty. Is it better to &quot;recycle&quot; that track with file200.mov or to put file200.mov onto track A2 even though there is no overlap?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If its best to use the same track when not overlapped would it be beneficial to slice the below as soon as the cross dissolve ends on V3 and move the rest of MVI_6260.MOV to continue running on V2?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/feSXq.jpg&quot; alt=&quot;Cross Dissolve&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5206" LastEditorUserId="5206" LastEditDate="2014-01-10T21:55:15.597" LastActivityDate="2014-01-10T22:00:26.517" Title="After a clip ends should that track be re-used?" Tags="|premiere|tracks|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9883" PostTypeId="2" ParentId="9882" CreationDate="2014-01-10T21:06:39.220" Score="0" Body="&lt;p&gt;It depends on what technique you are using for editing and what purpose you assign to each track.  In a non-linear editing (NLE) program like Premiere, it is extremely common for almost all editing to be done on a single video track with additional tracks only being used when something needs to be layered on over top of what is currently on Video 1.  (Such as titles).  When doing this type of editing, it doesn't matter where exactly you put the cut when you are doing transitions.  The clip will keep playing as long as it is needed for the transition (unless it runs out of footage in the source file.)  So in your example, if V2 and V3 were both on the same track, you would just need the one instance of Cross Dissolve and the clips on V2 and V3 would both be used for the duration of the dissolve effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In composition software like After Effects however, each video or asset is on it's own layer and has it's own track.  The difference is that composition cares about the layers themselves and how they combine where as non-linear editing cares about what clip is currently being displayed and how you change between them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also possible, particularly in large, multi-camera projects to synchronize the video clips from different sources on different tracks in an NLE and then choose which track you want to be active.  This is known in some systems as A/B or multi-camera editing.  Premiere does support mutli-camera editing and formerly had an optional A/B editing mode.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-01-10T22:00:26.517" LastActivityDate="2014-01-10T22:00:26.517" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9886" PostTypeId="1" CreationDate="2014-01-11T09:42:42.593" Score="1" ViewCount="252" Body="&lt;p&gt;When I create a new closed caption on my video, nothing appears on my images. (I can see the overview on the closed caption monitor but nothing appears on my video)&lt;/p&gt;&#xA;" OwnerUserId="5354" LastActivityDate="2014-01-11T16:59:43.630" Title="Problem of overview with my created closed caption in Premiere CC" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9887" PostTypeId="1" CreationDate="2014-01-11T11:07:27.360" Score="3" ViewCount="828" Body="&lt;p&gt;In a typical Udacity course, the hand written course videos are displayed with the writers hand beneath a semi-transparant view of the notes (1:02 in video linked below).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to replicate this to record some tutorial videos, but am stuck on how Udacity managed to achieve this effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a video of their set up:&#xA;&lt;a href=&quot;http://blog.udacity.com/2013/06/coffee-break-episode-6-inside-recording.html&quot; rel=&quot;nofollow&quot;&gt;http://blog.udacity.com/2013/06/coffee-break-episode-6-inside-recording.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And here is some more information from one of the teachers:&#xA;&lt;a href=&quot;https://medium.com/teaching-learning/1d7c77b857de&quot; rel=&quot;nofollow&quot;&gt;https://medium.com/teaching-learning/1d7c77b857de&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From what I gather, they have a Tablet that they draw on, which they then use some form of screen capture software to record the video of the notes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the same time, they are recording a video of the teacher writing on the tablet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With these two videos they seem to be chroma keying the screen capture out of the video of the teacher's hand.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How are they achieving this effect? If they are chroma keying the screen capture out of the teacher's hand video, how can this be achieved?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks &lt;/p&gt;&#xA;" OwnerUserId="230" LastActivityDate="2016-04-20T10:15:09.447" Title="Udacity - Hand under notes video effect" Tags="|video|chromakey|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9889" PostTypeId="2" ParentId="9886" CreationDate="2014-01-11T16:59:43.630" Score="1" Body="&lt;p&gt;Closed captions are not sub-titles.  They are supposed to be encoded to be able to be turned on as an option by the final viewer.  If you want sub-titles you will need to do things a little bit differently.  Historically I've just used titles for further control over positioning and formatting.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-11T16:59:43.630" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9890" PostTypeId="2" ParentId="9887" CreationDate="2014-01-11T17:05:16.027" Score="3" Body="&lt;p&gt;Most likely, they are simply using an output of the notes with transparency.  If you output the digital version of the notes with a transparent background you could just layer it over the video once properly aligned and it would work fine.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, a quicker process if they do not support alpha is to just apply a blend between the layers.  Since the background matches the video except for where the hand is, it would blend very smoothly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, what is known as a luma-key could also be used on the screen capture file to generate transparency anywhere that the luminosity (brightness) differs from the empty background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any of these options could be used and they are all extremely easy to use, though the first requires the most advanced technique to generate the alpha content, but would also produce the best results.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-11T17:05:16.027" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9891" PostTypeId="1" AcceptedAnswerId="9920" CreationDate="2014-01-11T18:59:01.617" Score="4" ViewCount="14840" Body="&lt;p&gt;I'm looking for a Webcam with large aperture and shallow depth of field, similar to the F 1.8 Canon lenses, so far It has been really difficult since most of the specifications for any webcam are meant for home users.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do video casting with green screen, and it does help tremendously having large aperture to diffuse the green screen (color evenness) and clarity at night with inexpensive lighting equipment. Also editing time is reduced considerably since I wouldn't have to re-sync audio and video or import files from the DSLR to my computer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please give your thoughts.&lt;/p&gt;&#xA;" OwnerUserId="3845" LastActivityDate="2023-02-09T16:46:40.817" Title="Is it possible to find a webcam with large aperture?" Tags="|camera|webvideos|greenscreen|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9892" PostTypeId="2" ParentId="9891" CreationDate="2014-01-11T23:29:22.887" Score="2" Body="&lt;p&gt;Working at this level, your best bet is probably to use a DSLR and use one of the hacks available to use them as a webcam via USB.  Consumer web-cams use a very small sensor which makes it virtually impossible to get any kind of meaningful background blur.  You really need the large sensor of a DSLR to best accomplish what you are looking to do.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-11T23:29:22.887" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9893" PostTypeId="1" CreationDate="2014-01-12T00:58:52.663" Score="2" ViewCount="3889" Body="&lt;p&gt;I'm looking for advice on how to adjust focus effectively when using a DSLR to record video.  I find it difficult to judge focus on the small LCD screen on the back of the camera when focusing manually, and the auto-focus feature is not very useful during recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am aware that it's possible to attach external monitors which help by having larger screen or focus peeking.  Other than expensive external accessories, what techniques can one use to achieve the best results in various situations?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not looking to get serious about video making.  I'm simply trying to find out what I can do with the video feature of a DSLR I got primarily for still photos, and focusing has been one of the major pain points so far.   I was successful only when pre-setting focus, and not adjusting it during recording.&lt;/p&gt;&#xA;" OwnerUserId="1561" LastActivityDate="2014-11-05T03:35:06.363" Title="How to focus when recording video using a DSLR?" Tags="|video|dslr|focus|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9896" PostTypeId="2" ParentId="9887" CreationDate="2014-01-12T02:16:19.707" Score="1" Body="&lt;p&gt;What with the felt-tip pen and the transparency of the writing surface, this actually looks more like they're writing on a transparent whiteboard. Probably perspex, or plexiglass.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This type:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/JTALO.jpg&quot; alt=&quot;Whiteboard&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5176" LastActivityDate="2014-01-12T02:16:19.707" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9897" PostTypeId="2" ParentId="9893" CreationDate="2014-01-12T02:22:40.040" Score="3" Body="&lt;p&gt;Other than what you mentioned, the only other alternative is to use a third party firmware that highlights the points of highest contrast.  This gives you a better idea of what is focused on by highlighting the edges that are sharp in the LCD.  MagicLantern offers this for most Canon cameras.  I don't know if third party firmware for other DSLR makes has similar features or not.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-12T02:22:40.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9898" PostTypeId="1" CreationDate="2014-01-12T12:56:13.433" Score="3" ViewCount="130" Body="&lt;p&gt;We've got loads of tapes filmed with an old camera that are just sitting there never being watched, and we want an easy way to import and play with them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We purchased the Dazzle DVC100, which seems to be working fine, but I'm trying to find the right set of tools to import them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I gave Pinnacle Movie Studio a try, but although the scene detection is really good (detects all the missed footage, blue/black screens, etc), using the software itself is rather agravating and complicated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, keeping in mind my father, who isn't very tech savy, is going to be doing the importing, what software would you recommend for us ?&#xA;We need to :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Be able to work with the Dazzle DVC100/be able to import footage easily&lt;/li&gt;&#xA;&lt;li&gt;Be able to detect scenes, so we can get rid of blue/black screens and things we don't want&lt;/li&gt;&#xA;&lt;li&gt;Be able to add little transitions and a tittle at the beggining&lt;/li&gt;&#xA;&lt;li&gt;Needs to be fairly easy to use&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Any tips on what I should try/buy ? Currently trying Pinnacle Movie Studio 17, but it's pretty heavy, and is probably a bit too advanced for something as simple as what we are trying to achieve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks a lot !&#xA;Mark&lt;/p&gt;&#xA;" OwnerUserId="5364" LastActivityDate="2014-05-23T02:53:22.400" Title="What software do you recommend to easily import and edit tapes?" Tags="|video|software|tape|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9899" PostTypeId="2" ParentId="9893" CreationDate="2014-01-12T19:40:45.737" Score="1" Body="&lt;p&gt;You could check focus before you start recording and use a narrow aperture so that everything stays in focus.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-01-12T19:40:45.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9900" PostTypeId="1" CreationDate="2014-01-12T21:25:05.723" Score="1" ViewCount="79" Body="&lt;p&gt;I am creating my own content. We have recorded uncompressed, and are now at the exporting stage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This video will be downloaded, not streamed via YouTube or Vimeo. So far, we are rendering it at 5Mbps bitrate and it is coming in at very high.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It ranges from 23MB/minute to 38MB/minute for 720p high-def quality (mp4).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I know that many videos downloaded from the internet, for example - &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://revision3.com/filmriot#download&quot; rel=&quot;nofollow&quot;&gt;Film Riot&lt;/a&gt; - has an HD file that is 84.5MB for 10:11 (so that works out to about 8.45MB/minute). The quality still looks nice...not necessarily THE BEST....but definitely pretty decent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://revision3.com/filmstate#download&quot; rel=&quot;nofollow&quot;&gt;Film State&lt;/a&gt; - has an HD MP4 file that is 203.5MB that runs 25:50 (so that works out to about 7.8MB/minute).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://revision3.com/hdnation/netflix-hacks#download&quot; rel=&quot;nofollow&quot;&gt;HD Nation&lt;/a&gt; - has an HD MP4 file that is 236.2MB that runs 17:55 (so that works out to about 7.8MB/minute).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I get it so low, but quality still being so high?&lt;/p&gt;&#xA;" OwnerUserId="2635" LastActivityDate="2014-01-13T04:00:06.237" Title="What encoding settings does Revision3 use to get quality high but file size so low?" Tags="|compression|encoding|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9901" PostTypeId="1" CreationDate="2014-01-12T22:08:00.107" Score="2" ViewCount="532" Body="&lt;p&gt;Over time, as I've taken on more and more work (as a theatrical AV designer), I've built up a large collection of stock clips from a wide variety of sources, which always come in handy for smaller designs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far, I've been keeping track of the clips by building a non-relational database that allows me to record the details of each clip - such as the title, source, licence, owner, description and so on. However, the collection has come to such a size now that adding more clips or searching through the library for something specific has become a bit of a chore. So, I'm wondering if anybody has any ideas regarding library management/archiving.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm reluctant to use file metadata due to the fact that the fields available vary with each codec and I'd like to keep track of some custom data (licence, etc.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any software available, maybe a video equivalent of Soundminer? Or do you have a recommended database schema that works for you?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. When using archive reels, do you prefer to save the whole reel or split into individual clips?&lt;/p&gt;&#xA;" OwnerUserId="5176" LastEditorUserId="23652" LastEditDate="2018-12-30T13:11:31.897" LastActivityDate="2018-12-30T13:11:31.897" Title="Clip Library Management" Tags="|video|software-recommendation|software|storage|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9902" PostTypeId="2" ParentId="8793" CreationDate="2014-01-13T02:09:29.443" Score="1" Body="&lt;p&gt;Yes you can add this type of effect using light rays and lens flares on the text.  When I was first learning Vegas I did some YouTube searches to find tutorials. &lt;a href=&quot;http://youtu.be/3HT4Aoqd7M8&quot; rel=&quot;nofollow&quot;&gt;THIS&lt;/a&gt; video in particular gives you an idea of how to do what you are looking for I believe.&lt;/p&gt;&#xA;" OwnerUserId="5367" LastActivityDate="2014-01-13T02:09:29.443" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9903" PostTypeId="2" ParentId="9900" CreationDate="2014-01-13T04:00:06.237" Score="2" Body="&lt;p&gt;Your best bet for high quality and low size is 2 pass variable bit rate, but it is worth noting that the size of the video also has a ton to do with how much motion it contains and how often the scene changes.  One of the most popular modern codecs to use for such compression is h.264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video compression works by looking for similarities not only within one frame, but also between nearby frames.  They more similarities there are, the less data it takes to represent it at a given quality.  Variable bit rate seeks to maximize quality by using the most data where it is needed and saves data where it is not.  Using two-pass allows the first pass to figure out what the best places to use the available data are before actually making the final compression.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-13T04:00:06.237" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9904" PostTypeId="2" ParentId="9901" CreationDate="2014-01-13T04:01:34.083" Score="1" Body="&lt;p&gt;I'm not sure that it would be ideal, but Lightroom is able to provide keyword and cataloging support for a variety of video clip types.  It isn't expressly designed for it, but it's a relatively cheap option that may be able to handle your needs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As stib was nice enough to point out, Adobe Bridge also can do similar cataloging if you have the broader Adobe suite or you can try using Darktable which is an open source package similar to Lightroom, though I have no direct experience with Darktable's ability to catalog video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-01-15T15:24:48.733" LastActivityDate="2014-01-15T15:24:48.733" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9908" PostTypeId="1" AcceptedAnswerId="9911" CreationDate="2014-01-13T13:52:17.450" Score="3" ViewCount="135" Body="&lt;p&gt;in Final Cut Pro X 10.08 I have been able to move a clip frame wise with the arrow key. In 10.1 this moves the cursor, not the clip. Is there a way to move the clip?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Kind regards,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nils&lt;/p&gt;&#xA;" OwnerUserId="5370" LastActivityDate="2014-01-13T18:19:58.003" Title="Final Cut Pro 10.1: How to move clip framewise in timeline?" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9909" PostTypeId="1" CreationDate="2014-01-13T14:37:04.990" Score="3" ViewCount="3783" Body="&lt;p&gt;Often my videos that i upload to Youtube turn 'pinkish' when played there. And unfortunately Youtube allows to adjust Yellow-Blue ratio, but doesn't allow one to play with any other colour after upload.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes i can counteract this 'pinkification' by using the Youtube editor and increasing both brightness and contrast, but since that implies one extra re-encoding step i would like to avoid that if at all possible (also it doesn't always work).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What i have notice is that this happens more often if the video is shot with just slightly insufficient lighting, where the video (as it plays on my computer) appears just a little darker than it should be.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is this something that is a common problem or is it just my particular approach to recording that causes that?&lt;/li&gt;&#xA;&lt;li&gt;Can i expect better quality if i re-encode video locally by increasing luma? Or maybe by decreasing red in RGB?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Additional details:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not adding any extra profiles/filters when viewing videos locally. I have tried two separate players (totem and vlc) and both play all the videos equally well. Dark ones are a little dark, but no pinkish colour is added.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video is recorded by Panasonic HC-V500 and is directly (without any extra reencoding) uploaded to youtube. Recording mode is 1080/50p (i have also tried 1080/50i). The file format is M2TS. Here is the avprobe output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ avprobe 00002.MTS &#xA;avprobe version v10_alpha1-32-g9a4c10e, Copyright (c) 2007-2013 the Libav developers&#xA;  built on Jan  2 2014 23:10:46 with gcc 4.8 (Ubuntu/Linaro 4.8.1-10ubuntu9)&#xA;[mpegts @ 0xa5bfb60] Non-increasing DTS in stream 2: packet 2 with DTS 170282, packet 3 with DTS 170282&#xA;[mpegts @ 0xa5bfb60] Non-increasing DTS in stream 2: packet 5 with DTS 213482, packet 6 with DTS 213482&#xA;(..... some more of these, but they are unlikely to be a cause of anything....)&#xA;[mpegts @ 0xa5bfb60] Non-increasing DTS in stream 2: packet 17 with DTS 299882, packet 18 with DTS 299882&#xA;Input #0, mpegts, from '00002.MTS':&#xA;  Duration: 00:19:09.10, start: 1.957800, bitrate: 25053 kb/s&#xA;  Program 1 &#xA;    Stream #0.0[0x1011]: Video: h264 (High), yuv420p, 1920x1080 [PAR 1:1 DAR 16:9], 50 fps, 90k tbn, 100 tbc&#xA;    Stream #0.1[0x1100]: Audio: ac3, 48000 Hz, stereo, fltp, 256 kb/s&#xA;    Stream #0.2[0x1200]: Data: [144][0][0][0] / 0x0090&#xA;Failed to probe codec for input stream 2&#xA;# avprobe output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My monitor is calibrated just fine and i have no problems playing anything else. In fact, as i've said i have no problem playing these exact videos locally before they get converted by Google (Youtube).&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="4943" LastEditDate="2014-01-15T11:46:02.900" LastActivityDate="2015-01-24T00:56:23.980" Title="How to deal with Youtube making videos 'pinkish'?" Tags="|youtube|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9911" PostTypeId="2" ParentId="9908" CreationDate="2014-01-13T18:19:58.003" Score="5" Body="&lt;p&gt;Use the comma and period keys to nudge the clip left and right, respectively.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-01-13T18:19:58.003" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9912" PostTypeId="1" CreationDate="2014-01-13T22:56:45.997" Score="5" ViewCount="3547" Body="&lt;p&gt;I always have been intrigued by high speed/fps video. And I have looked online how much it would cost to buy one myself. However they are often very expensive, I do not know what the average price range was, but to much for me to buy for &quot;fun&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recently saw &lt;a href=&quot;http://www.youtube.com/watch?v=x0sATDVCTME&quot;&gt;this video&lt;/a&gt; which made me realize that instead of reducing the exposure time, you can also influence the lighting within the exposure. However in the video this was used to make high speed photos, which made me think if this could not be used for a video camera. My initial idea was to place multiple cameras around a fast rotating mirror. However this might be dangerous when not correctly balanced.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My other idea was also partially based on an &lt;a href=&quot;http://www.newscientist.com/article/dn18522-offtheshelf-camera-hacked-to-grab-highspeed-video.html#.UtIIf9JDudg&quot;&gt;article I saw&lt;/a&gt; a few years ago. I want to keep it simple, so instead of using some sort of &quot;filter&quot; to only illuminate certain pixels of the sensor at certain times, I would like to take advantage of the fact that it would be a color camera. This involves a red, green and blue light source, such that each frame would be exposed by each light source for a short moment at different times. After shooting I would need to separate each color layer out of frame and possibly convert it into grey-scale images. This would mean that I would only be able to reach three times as high frame rates, the object, which is being filmed, has roughly the same emission/absorption for all three colors and is not highly fluorescent with &quot;large&quot; &lt;a href=&quot;http://en.wikipedia.org/wiki/Stokes_shift&quot;&gt;stokes shift&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This was a bit of a long introduction, but here are my related questions:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Would colored LED's suffice for the different light sources? Such as their spectrum, assuming a &lt;a href=&quot;http://en.wikipedia.org/wiki/Image_sensor#Color_separation&quot;&gt;Bayer filter sensor&lt;/a&gt; is used.&lt;/li&gt;&#xA;&lt;li&gt;Are there any theoretical/technical limitations to this idea? Such as the &lt;a href=&quot;http://en.wikipedia.org/wiki/Shutter_speed&quot;&gt;exposure time&lt;/a&gt;, since if this is to small compared to the time between each frame then there would still be a substantial gap between every 3 frames. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5372" LastActivityDate="2014-01-14T17:46:34.847" Title="Low cost DIY high-speed video camera" Tags="|video-recording|framerate|diy|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9913" PostTypeId="2" ParentId="9912" CreationDate="2014-01-14T04:31:21.870" Score="1" Body="&lt;p&gt;This will not work because of the difference in absorption of light.  The scene will look completely different lit by different colors of light and thus each of the frames will not fit together in a sequence.  There is no shortcut for capturing high speed video, you need a high speed camera.  You can get cameras up to about 240fps at consumer price points (look at Lumix (Panasonic) in particular), but much beyond that you need a true high speed camera which is more comparable to the cost of a house than the cost of a consumer camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could use an array of sensors and try to account for the differences in position, but you are still limited to the shutter speed of each of the cameras you use and would require elaborate timing equipment to make sure they all fire in sequence and behave similarly optically.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-01-14T17:46:34.847" LastActivityDate="2014-01-14T17:46:34.847" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9914" PostTypeId="2" ParentId="9912" CreationDate="2014-01-14T09:23:50.010" Score="4" Body="&lt;p&gt;You could use multiple cheap cameras recording at low fps, but slightly out of phase.  Bennett Wilburn talks about this in his 2004 Stanford Doctoral thesis, &quot;&lt;a href=&quot;http://graphics.stanford.edu/~wilburn/wilburn_thesis.pdf&quot; rel=&quot;nofollow&quot;&gt;High Performance Imaging Using Arrays of Inexpensive Cameras&lt;/a&gt;&quot;.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-01-14T09:23:50.010" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9915" PostTypeId="1" CreationDate="2014-01-14T16:44:58.927" Score="0" ViewCount="316" Body="&lt;p&gt;apologies if this is not the correct place to ask this question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to use a USB camera with a long extension (something like this &lt;a href=&quot;http://www.lightinthebox.com/5m-usb-waterproof-borescope-endoscope-mini-inspection-snake-tube-home-camera_p344225.html&quot; rel=&quot;nofollow&quot;&gt;http://www.lightinthebox.com/5m-usb-waterproof-borescope-endoscope-mini-inspection-snake-tube-home-camera_p344225.html&lt;/a&gt;) in the field without a laptop. I don't necessarily need to record anything - only view the image on a screen. Is it possible to buy a battery-operated screen / monitor compatible with these USB webcams / borescopes? Or even a cheap tablet computer? Basically, a cheaper option than buying a handheld inspection camera (&lt;a href=&quot;http://www.toolstop.co.uk/ridgid-micro-ca-100-36738-hand-held-inspection-camera-p14976&quot; rel=&quot;nofollow&quot;&gt;http://www.toolstop.co.uk/ridgid-micro-ca-100-36738-hand-held-inspection-camera-p14976&lt;/a&gt;) with £££s worth of extension tubes?&lt;/p&gt;&#xA;" OwnerUserId="5376" LastActivityDate="2014-01-14T17:18:48.920" Title="Portable screen for USB camera" Tags="|hardware|" AnswerCount="1" CommentCount="2" ClosedDate="2014-01-14T17:38:05.827" ContentLicense="CC BY-SA 3.0" />
  <row Id="9916" PostTypeId="2" ParentId="9915" CreationDate="2014-01-14T17:18:48.920" Score="1" Body="&lt;p&gt;Pair a &lt;a href=&quot;http://www.newegg.com/Product/Product.aspx?gclid=CJqbzLyV_rsCFYQ7OgodiSwABw&amp;amp;Item=N82E16813142001&amp;amp;nm_mc=KNC-GoogleAdwords&amp;amp;cm_mmc=KNC-GoogleAdwords-_-pla-_-Embedded%20Solutions-_-N82E16813142001&amp;amp;ef_id=UMDrTAAAVloZgDXH:20140114171542%3as&quot; rel=&quot;nofollow&quot;&gt;raspberry pi&lt;/a&gt; with one of these &lt;a href=&quot;http://www.afterpartz.com/us/3-5-tft-lcd-color-screen-car-rearview-monitor-dvd-vcr.html&quot; rel=&quot;nofollow&quot;&gt;3.5 inch lcd displays&lt;/a&gt; and that should bring you under the cost of one of those handheld displays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finding a decent way to enclose it would be the difficult part.&lt;/p&gt;&#xA;" OwnerUserId="5377" LastActivityDate="2014-01-14T17:18:48.920" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9917" PostTypeId="1" AcceptedAnswerId="10011" CreationDate="2014-01-14T20:27:50.847" Score="2" ViewCount="1050" Body="&lt;p&gt;I have a few avi videos that are encoded with the mp4v fourcc codec. I have Sony Vegas Pro 8 and it will not open the video part. It will bring the files into the file manager, but when I drag them into the project timeline they only show the audio track as if there is no video track at all. There is no error message at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to be able to resolve this without converting the files.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2016-05-10T05:18:00.333" Title="Vegas pro will not show video for avi with mp4v fourcc codec?" Tags="|codec|vegas-pro|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="9918" PostTypeId="1" AcceptedAnswerId="9919" CreationDate="2014-01-14T23:03:27.870" Score="1" ViewCount="1613" Body="&lt;p&gt;My Canon EOS 600D's class 10 SD card does not write out data very quickly and this results in buffering issues which can be seen when shooting 1080p@30fps video.  Why can't the card keep up and what can I do to fix the problem?&lt;/p&gt;&#xA;" OwnerUserId="5381" OwnerDisplayName="Andalur" LastEditorUserId="2836" LastEditDate="2014-03-05T17:27:44.727" LastActivityDate="2014-04-02T01:32:33.977" Title="Why does my Class 10 memory card run in to buffering problems?" Tags="|dslr|canon|sd-card|" AnswerCount="4" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="9919" PostTypeId="2" ParentId="9918" CreationDate="2014-01-14T23:42:43.650" Score="1" Body="&lt;p&gt;The class of a memory card often deals with the reading speed of the card, even if it should deal with the write speed.  It is relatively common for a card to have much quicker read times than write times, but since the read time is fast enough, they slap a faster class label on it than it can actually write.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will need to get a class 10 card that actually has high speed writing in addition to high read speeds.  The best bet for checking this kind of thing is to read reviews of the cards and buy from reliable manufacturers that put the write speed in their spec.  The spec can be important since SD card makers will often change the actual storage chips used without changing the part number of the card.&lt;/p&gt;&#xA;" OwnerUserId="2836" OwnerDisplayName="AJ Henderson" LastEditorUserId="2836" LastEditDate="2014-01-14T23:54:39.513" LastActivityDate="2014-01-14T23:54:39.513" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9920" PostTypeId="2" ParentId="9891" CreationDate="2014-01-14T23:49:45.453" Score="3" Body="&lt;p&gt;Actually, your best bet is to use a PCIe or USB 3.0 HDMI input card, like a &lt;a href=&quot;http://www.blackmagicdesign.com/au/products/intensity&quot; rel=&quot;nofollow&quot;&gt;Blackmagic Intensity&lt;/a&gt;, which will take the clean HDMI output of many high quality cameras (e.g: a Nikon D600 or D800, a Canon C100 or C300, etc.) and make it available to other apps on your computer. This is what professional productions do for green screen work to ensure they're getting the full quality image out of the camera before it hits the camera's compression software.&lt;/p&gt;&#xA;" OwnerUserId="1725" LastActivityDate="2014-01-14T23:49:45.453" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9921" PostTypeId="2" ParentId="9918" CreationDate="2014-01-14T23:54:52.687" Score="1" Body="&lt;p&gt;I use an app called &quot;Black Magic Disk Speed Test&quot; to determine the read/write speeds of my various cards and disks which has the added benefit of also giving a go/no go status on the various standards (such as 1080p@30fps). Also, most of the time you can find user submitted images on Amazon that are screenshots of this (or similar) apps and see how users are actually reporting their speeds. &lt;/p&gt;&#xA;" OwnerUserId="5380" LastActivityDate="2014-01-14T23:54:52.687" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="9922" PostTypeId="1" AcceptedAnswerId="9934" CreationDate="2014-01-15T03:34:26.160" Score="1" ViewCount="274" Body="&lt;p&gt;I'm wondering, what tools would you suggest that I use to create an animated logo like the following. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Say I have a logo that represents a roaring tiger head. I would like to have an intro video that would show the tiger walking and suddenly open his mouth to roar. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is at this precise moment that I would like to paste the logo on top of the tiger head with a fading effect. So in the end only the logo is displayed with its slogan. The point is to show where this logo design came from. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would be a nice effect and I can only imagine it's a very simple task for experienced video editors, but for me I have no clue where to start.&lt;/p&gt;&#xA;" OwnerUserId="5383" LastEditorUserId="2569" LastEditDate="2014-01-16T13:32:31.643" LastActivityDate="2014-01-16T13:32:31.643" Title="Tools to combine a video with an animated logo" Tags="|video-editor|software-recommendation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9923" PostTypeId="2" ParentId="9922" CreationDate="2014-01-15T04:39:54.390" Score="1" Body="&lt;p&gt;The big trick is just finding the right source clip that will fit with the logo, though it also depends on how closely you want it to match up.  Simply layering the logo over top of a video clip and fading it in is trivial with any editing or compositing software package (such as Premiere or After Effects).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get a little more advanced you can actually build the logo off the video clip so that it is an exact match (if you don't already have a finalized logo that you have to use).  If you do, you can try making an animated logo using either vector graphics or 3d graphics that will start at the way the video looks and transition to the way the logo looks, but that is far more complicated.  You could also try to use morphing software which might be able to do it for you, though I don't know of any good, current morphing software as I haven't done any morphing in a while.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, the most complex would be to do the entire thing in 3d animation software, but that would require a lot of time and resources to do.  Really, any of the things involving 3d animation are going to require an experienced professional to do, so your best bet is probably going to be either the basic position and fade or trying to find a video morphing program that can handle the transition.  &lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-15T04:39:54.390" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9924" PostTypeId="1" CreationDate="2014-01-15T06:10:13.937" Score="3" ViewCount="406" Body="&lt;p&gt;On export of an animation from Photoshop, the rendered video has a grey background where it should be white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have tried multiple settings and documents and nothing we've tried works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.inkling.com/read/photoshop-cs6-missing-manual-lesa-snider-1st/chapter-20/exporting-videos&quot; rel=&quot;nofollow&quot;&gt;These are the exact setting we are using&lt;/a&gt;. And also tried numerous other options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know what might cause this? Using CS6. Thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have now tried every conceivable solution and not found it. Oddly enough, when we play the video in Windows Media Player it is perfect but not in VLC. Also, uploaded the video to YouTube &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ghTOosJqgTk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; and in the player it is grey but when you open it in the Video Manager, it is white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It also appears as white in Google+, Facebook and anywhere else.&lt;/p&gt;&#xA;" OwnerUserId="5384" LastEditorUserId="5384" LastEditDate="2014-03-19T12:49:25.620" LastActivityDate="2014-03-19T12:49:25.620" Title="Rendering video from Photoshop CS6 leaves background grey where it should be white" Tags="|video|animation-rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9925" PostTypeId="2" ParentId="9918" CreationDate="2014-01-15T10:02:14.493" Score="2" Body="&lt;p&gt;You don't mention which Transcend card you bought but the benchmarks &lt;a href=&quot;http://www.tomshardware.com/reviews/compactflash-sdhc-class-10,2574-8.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; indicate that the write throughput performance of Transcend cards are a little under 10 Mbps (naively I assume this is true for their brand of SD cards but I could be wrong). Strictly speaking the SD Card class rating seems to imply 10 Mbps minimum for 1080p recording so that may partially explain why you are seeing that behavior with your camera. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can try other manufacturers, look at their benchmarks from them as well as reviews to see how it goes. &lt;/p&gt;&#xA;" OwnerUserId="5385" LastActivityDate="2014-01-15T10:02:14.493" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9926" PostTypeId="2" ParentId="9924" CreationDate="2014-01-15T12:43:30.267" Score="2" Body="&lt;p&gt;It is probably worth checking your Image&gt;Mode settings.&#xA;I find they tend to change my colours between exports and prints etc.&lt;/p&gt;&#xA;" OwnerUserId="5387" LastActivityDate="2014-01-15T12:43:30.267" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9928" PostTypeId="2" ParentId="9893" CreationDate="2014-01-15T23:03:37.863" Score="1" Body="&lt;p&gt;I agree auto focus can mess with your capture especially when there is low contrast at the point of interest. In this situation with auto focus engaged, the focus tends to oscillate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I generally do the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) compose frame of shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) set to auto-focus and zoom in on point of interest until auto focus is stable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) once this is stable, I then switch to manual, that is auto focus has got it and manual now keeps it there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may not have a zoom so you will have to improvise the best focus area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also use a Sony camcorder, my in camera display is only 3 or so inches.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2014-01-15T23:03:37.863" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9932" PostTypeId="2" ParentId="3481" CreationDate="2014-01-16T08:55:31.193" Score="4" Body="&lt;p&gt;Unless you/they have a contract which states that it was a&quot; work for hire&quot; and they have ownership of the raw media, the videographer or photographer owns the rights to the raw footage. The client has paid for the finished product, but that is all, and it is questionable if they even have the right to take excerpts from or re-edit it without your permission, or given a right of first refusal. The client is not the creator, the person who shot it, the production company or, if single videographer, is.&lt;/p&gt;&#xA;" OwnerUserId="5396" LastActivityDate="2014-01-16T08:55:31.193" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9933" PostTypeId="1" CreationDate="2014-01-16T09:51:32.593" Score="4" ViewCount="379" Body="&lt;p&gt;In almost every app on Earth, the width of the scrollbar thumb (aka scroller or knob) is proportional to the amount of content present in the window, relative to total content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yet in Premiere Pro CS6, it seems to follow a totally different logic. For example, in this simple one-clip timeline, I'm scrolled all the way to the left, and the clip pretty much fills the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/jRyWA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But dragging the scroller right just a little bit (as seen below), the clip flies offscreen, even though the scroller area is clearly overlapping its previous area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/AKsSX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's up with that?? Is my install bugged, or is this just a bizarre UI oversight by Adobe?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE: More screengrabs and descriptions&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The image below shows 4 states:&lt;br&gt;&#xA;1) Fully zoomed out. TONS of empty space.&lt;br&gt;&#xA;2) Zoomed to fill the timeline with the clip.&lt;br&gt;&#xA;3) Scrolling until the end of the clip is just in sight.&lt;br&gt;&#xA;4) Scrolling all the way right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/x7Tte.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The scrollers of states 2 &amp;amp; 3 have a 50% overlap, which means the clip should also be ~50% visible. It seems like Premiere thinks the timeline is twice as big as it actually is, as demonstrated by the 50% overlap. I was using dual-monitors, so I thought perhaps my dual-monitor setup was the cause, but disconnecting the 2nd prior to Fred Rick's reset didn't help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any more suggestions out there?&lt;/p&gt;&#xA;" OwnerUserId="5397" LastEditorUserId="5397" LastEditDate="2014-01-17T02:46:17.753" LastActivityDate="2014-01-17T02:46:17.753" Title="Why is my Premiere timeline scrollbar thumb non-proportional?" Tags="|premiere|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9934" PostTypeId="2" ParentId="9922" CreationDate="2014-01-16T10:19:54.267" Score="3" Body="&lt;p&gt;If I were you, here is my solution. I separate your video with animated with 3 parts: intro video with walking and roaring tiger, fading logo and logo with slogan. As per your mentioned that you may be a green hand for video editing software, therefore Premiere or After Effects may be too complicate for you. You can try some simple video editing software like I answered &lt;a href=&quot;https://video.stackexchange.com/questions/4233/simple-video-editing-tool/9384#9384&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Step one, find a walking and roaring tiger YouTube video like this&#xA;One: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/461YO5wjKxQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;, then download it&#xA;via YouTube downloader, Google it, you will find some free&#xA;Downloader (because it's not friendly to YouTube, you may need to&#xA;take caution)&lt;/li&gt;&#xA;&lt;li&gt;Step two,  cut/edit this video with the simple video editing tools&#xA;You picked above, only keep the useful scene, i.e. walking and&#xA;Roaring part, save it to your pc first.&lt;/li&gt;&#xA;&lt;li&gt;Step three, Google tiger head cartoon, you will find multiple&#xA;suitable tiger head logo, but you may need to touch up before use it&#xA;as your logo. If you already have one, perfect, you can just import&#xA;to that video editor, drag and drop to the timeline, applying fading&#xA;transaction, save it to your pc again.&lt;/li&gt;&#xA;&lt;li&gt;Step four, at this point you need PIP function (make sure the&#xA;software you picked up has this function). Import the two video clip&#xA;and drag and drop the first one(made on step two) to video track and&#xA;drop the second one to PIP track, adjust the size and position of&#xA;your second video, which can be positioned above the tiger head,&#xA;fading at the same time, that's the PIP value.&lt;/li&gt;&#xA;&lt;li&gt;Step five, import logo to that video editor and them drag to&#xA;image/media track (this logo should be put at the end of the&#xA;previous video), add text with the slogan you need.&lt;/li&gt;&#xA;&lt;li&gt;Last step, export and save them to your pc, your video with animated&#xA;logo completed. All those steps can be achieved by my software (you&#xA;can check my profile), which is very simple to use and will be&#xA;suitable for green hands like you. Good luck for you!&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="4954" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2014-01-16T10:31:16.443" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9935" PostTypeId="2" ParentId="8559" CreationDate="2014-01-16T10:23:50.470" Score="1" Body="&lt;p&gt;No.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The miniature effect is the only creative mode that also allows movie creation. It suffers from performance &quot;issues&quot; giving it's unique time lapse like feel.&lt;/p&gt;&#xA;" OwnerUserId="5398" LastActivityDate="2014-01-16T10:23:50.470" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9936" PostTypeId="1" AcceptedAnswerId="9951" CreationDate="2014-01-16T11:32:50.333" Score="0" ViewCount="56" Body="&lt;p&gt;I filmed Video during Christmas with my Canon 5D mark II.  My input source is H.264/MPEG-4 (Base Profile @ L5) from my camera.  I have edited the movie and just want to save it to the hard drive for long term storage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When choosing the profile for encoding for storage, should I use the same H.264/MPEG-4 (Base Profile @ L5) profile to keep the quality, or lower to save space. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How does the source encoding reflect the settings used to export?&lt;/p&gt;&#xA;" OwnerUserId="5399" LastEditorUserId="126" LastEditDate="2014-01-17T14:55:11.033" LastActivityDate="2014-01-17T19:53:59.397" Title="How does the source encoding reflect the settings used to export?" Tags="|encoding|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9937" PostTypeId="2" ParentId="9933" CreationDate="2014-01-16T12:19:22.463" Score="2" Body="&lt;p&gt;Well this is not my Direct Answer but tried this?:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;trash the preferences and then create a new project. Then go to window&gt;workspace and uncheck the import workspace from the project and reset it again. Then try opening your project and check.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My Buddy Google gave me that:&#xA;&lt;a href=&quot;http://forums.adobe.com/message/5796914&quot; rel=&quot;nofollow&quot;&gt;http://forums.adobe.com/message/5796914&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers&lt;/p&gt;&#xA;" OwnerUserId="5245" LastActivityDate="2014-01-16T12:19:22.463" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9941" PostTypeId="2" ParentId="3324" CreationDate="2014-01-16T18:00:58.217" Score="0" Body="&lt;p&gt;if you want yuv444p try something like this: &amp;quot;-vcodec libx264 -pix_fmt yuv444p&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264#LosslessH.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;LosslessH.264&lt;/a&gt; seems to imply that lossless (or practically lossless) is available via -qp 0&lt;/p&gt;&#xA;" OwnerUserId="2969" LastEditorUserId="10558" LastEditDate="2023-03-29T17:07:07.703" LastActivityDate="2023-03-29T17:07:07.703" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="9942" PostTypeId="1" CreationDate="2014-01-16T19:17:15.237" Score="5" ViewCount="4119" Body="&lt;p&gt;Please explain, so confusing. I get that &lt;strong&gt;AVC&lt;/strong&gt; is a video format, &lt;strong&gt;MKV&lt;/strong&gt; is a container (that can contain mp4 video, FLAC audio etc.), but what is &lt;strong&gt;mp4&lt;/strong&gt; then?&lt;/p&gt;&#xA;" OwnerUserId="5400" LastActivityDate="2021-03-09T16:48:18.410" Title="mp4 - Codec or Container" Tags="|mp4|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9943" PostTypeId="2" ParentId="9942" CreationDate="2014-01-16T20:05:43.473" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/MPEG-4_Part_14&quot; rel=&quot;nofollow&quot;&gt;MP4&lt;/a&gt; is a container, not a video format.  MP4 generally contains a variant of MPEG for the video, such as h.264 or generic MPEG-4.  Sometimes they may contain an MPEG-2 or MPEG-1 stream, though that is pretty uncommon.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-16T20:05:43.473" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9944" PostTypeId="1" AcceptedAnswerId="9945" CreationDate="2014-01-16T20:26:25.723" Score="4" ViewCount="1032" Body="&lt;p&gt;I followed &lt;a href=&quot;http://www.videocopilot.net/tutorials/3d_shadows/&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;Video Copilot 3D Shadows&quot;&gt;Video Copilot 3D Shadows&lt;/a&gt; tutorial to create a nice shadow on my text. Because of the angle I'm doing though which is much more ... perspective I suppose you could say it could really use a little depth to it. I looked up if AE could do extrusion (also since I've been told some basic 3D is built-in to AE by members of this exchange) and found &lt;a href=&quot;http://www.youtube.com/watch?v=4mZsANPiv-Y&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;How to Extrude Text in AE&quot;&gt;How to Extrude Text in AE&lt;/a&gt;. The problem is this tutorial tells me to change my Renderer to Ray-Traced 3D as a prerequisite for extrusion but if I do that it tells me Blending Modes don't work and clicking okay anyways seems to agree as my ground on Multiply goes back to Normal with no option to change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Extruded Text&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/wrAyI.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Extruded Text moved into scene&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ECxCm.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Extruded text when I try to make it 3D for shadows, light and placement in scene&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/o4fyW.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a native way in After Effects to combine both Layer Modes and Extruded Text?&lt;/p&gt;&#xA;" OwnerUserId="5206" LastEditorUserId="5206" LastEditDate="2014-01-17T17:29:00.030" LastActivityDate="2014-01-17T17:29:00.030" Title="Is there a way to do both Extruded Text and Layer Modes natively in After Effects?" Tags="|after-effects|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9945" PostTypeId="2" ParentId="9944" CreationDate="2014-01-16T20:51:34.343" Score="1" Body="&lt;p&gt;You can work around it using multiple compositions.  Do one composition to generate the 3d layer and then use that composition within another to handle the blending (or vice versa depending on your needs).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-16T20:51:34.343" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="9947" PostTypeId="1" AcceptedAnswerId="9967" CreationDate="2014-01-17T00:24:18.290" Score="31" ViewCount="93017" Body="&lt;p&gt;I'm new to this StackExchange site, and to using the FFmpeg encoder. I have a video that is 720x480 (3:2) that I would like to change to 720x406 (16:9) to match the other videos I have for a site. I have tried various command combinations, including:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i myfile.mv4 -s 720x406 outfile.mp4&#xA;ffmpeg -i myfile.m4v -c copy -aspect 16:9 outfile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What I end up with is a video that scaled down to the specified height, but didn't preserve the width.  It ends up at 608x406 or thereabouts. I've been playing with various GUI versions of FFmpeg today, and they seem to do the same thing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would be the proper options/parameters to pass in (assuming I'll have more control via the command line) to achieve the desired frame size?&lt;/p&gt;&#xA;" OwnerUserId="5405" LastEditorUserId="-1" LastEditDate="2017-10-11T15:17:27.777" LastActivityDate="2020-02-03T03:36:47.947" Title="How do I change frame size, preserving width (using ffmpeg)?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9951" PostTypeId="2" ParentId="9936" CreationDate="2014-01-17T14:54:43.737" Score="0" Body="&lt;p&gt;The quality you use to export the video for long term storage largely depends on what you will be doing with the footage at a later date.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you will be mostly using it for personal viewing, a lower quality may be sufficient.  If you will be editing the footage and using it in another video, you will want to encode it a higher quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only scenario I can think of for encoding to a higher quality than the original video is if you were including the clip for use with other videos of higher quality in a project that will ultimately be encoded with the higher quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To sum up:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should encode the video in the highest quality you can without exceeding the original and without going over your space requirements.  Since large hard drives are relatively inexpensive these days, this will likely mean that you encode to the original quality of the video.&lt;/p&gt;&#xA;" OwnerUserId="126" LastActivityDate="2014-01-17T14:54:43.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9952" PostTypeId="2" ParentId="9936" CreationDate="2014-01-17T19:53:59.397" Score="0" Body="&lt;p&gt;For most types of compression, every generation of compression will lose quality.  Any quality you lose can never be recovered in future generations, however encoding at higher quality will reduce the amount of loss.  If you absolutely need to preserve the most detail you can (even out of a low quality video), encoding at a low level of compression (bigger file than you started with) will help avoid losing as much detail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is why it is very important to keep video as high quality as possible until you are doing a final output that will be consumed by a viewer.  This is also why it is important to try to minimize the number of times that video needs to be re-encoded when working with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are some types of compression that are very specially designed to not have any additional loss when re-encoded provided that nothing has changed about the video, but they are not used very often and are pretty specialized.  (Generally for images rather than video as well.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-17T19:53:59.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9953" PostTypeId="1" AcceptedAnswerId="9994" CreationDate="2014-01-18T01:18:31.033" Score="1" ViewCount="222" Body="&lt;p&gt;I bought a camera that I plan on using for my videos. The problem? It streams over the network, live, in a format that I've never even heard of.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;b&gt;.sav&lt;/b&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried everything, and I don't know how to get it to a format that something can read. What is this format, and what can read it? &lt;/p&gt;&#xA;" OwnerUserId="5415" LastActivityDate="2014-02-20T22:30:56.523" Title=".SAV live video?" Tags="|file-formats|camera|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9954" PostTypeId="1" AcceptedAnswerId="9997" CreationDate="2014-01-18T02:44:56.247" Score="3" ViewCount="15654" Body="&lt;p&gt;In Vegas is quite time consuming having to insert text using only visual cues, for example: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Inserting new text media requires to choose presets instead of having a default style on the go.&lt;/li&gt;&#xA;&lt;li&gt;No keyboard shortcut for &quot;Insert Text Media...&quot;&lt;/li&gt;&#xA;&lt;li&gt;Copying and pasting existing Text in the timeline requires clicking on the &quot;Generated Media...&quot; icon to start editing the new instance.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Is there a way to simplify or speed-up this process?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keyboard shortcuts, third party plugins? Please give your thoughts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/6FOyw.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3845" LastEditorUserId="3845" LastEditDate="2014-01-21T03:32:02.450" LastActivityDate="2020-04-01T08:36:21.383" Title="Fast subtitle workflow in Sony Vegas?" Tags="|editing|video-editor|vegas-pro|subtitles|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9956" PostTypeId="2" ParentId="9339" CreationDate="2014-01-18T13:41:10.633" Score="1" Body="&lt;p&gt;If you use the brush on a layer, it actually applies the &quot;paint&quot; effect to the layer. If you paint on a layer with the brush and expand the properties for effects&gt;paint&gt;brush 1&gt; you'll see that there is a start and end setting that can be animated, allowing you to animate the stroke.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/4yKL2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-01-18T13:41:10.633" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9957" PostTypeId="2" ParentId="8815" CreationDate="2014-01-18T13:55:43.800" Score="2" Body="&lt;p&gt;You can move the anchor point of a layer, but this may upset scale, rotation or masking. There is a much simpler and very intuitive way to do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Click on the position property to select all keyframes. Park the playhead on one of these keyframes (use j or k keys to do this). Now if you move one of the keyframes they all move. If you don't park the playhead on an existing keyframe then you will just create a new keyframe at the current time and leave the others unchanged.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Tip: If you need to have the playhead at a particular time to see the&#xA;  relative position and there is no keyframe there, just create a&#xA;  temporary one at the current time.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-06-26T04:38:30.420" LastActivityDate="2015-06-26T04:38:30.420" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9958" PostTypeId="1" AcceptedAnswerId="9960" CreationDate="2014-01-18T14:30:21.453" Score="0" ViewCount="85" Body="&lt;p&gt;I want to crop the center region of a video while exporting it for YouTube upload. It is 360 x 360 pixels. I don't know what is the best format for this task and when I try MPEG2 and set the frame width and height to 360 the output is blurry. What should I do instead? I'm using Adobe Premiere 4.2.1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Z5T6n.png&quot; alt=&quot;screenshot&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5417" LastActivityDate="2014-01-18T14:53:29.187" Title="Crop the center region" Tags="|video|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9960" PostTypeId="2" ParentId="9958" CreationDate="2014-01-18T14:53:29.187" Score="0" Body="&lt;p&gt;Crop the video in a new sequence in Premiere and then export it using Youtube's &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow&quot;&gt;standard encoding settings&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-18T14:53:29.187" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9963" PostTypeId="1" AcceptedAnswerId="10363" CreationDate="2014-01-19T03:33:12.307" Score="2" ViewCount="409" Body="&lt;p&gt;As excited as I am about the new asset management possibilities of the .1 release of Final Cut Pro X, I'm nervous about screwing up my existing projects and events. My projects and events are currently spread across 2 hard drives (my boot drive and an external drive). Some are &quot;hidden&quot; via Event Manager X. Some projects and events belong together, and others do not. I performed the upgrade to FCP X 10.1.1 (apparently they've already released some bug fixes to 10.1.0). When I did this, I kept my projects and events &quot;hidden&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now it's time to import them, but I want to make sure I pair the correct projects and events in the correct libraries. (In other words, I want to have 1 library for each client, not 1 library for each hard drive, nor 1 library for each project.) There is not an menu option for importing and pairing projects and events—at least not that I can find. How can I conduct combine projects and events into libraries in a controlled way?&lt;/p&gt;&#xA;" OwnerUserId="5113" LastActivityDate="2014-03-12T00:42:49.747" Title="FCP X 10.1.1 - Transitioning to libraries without blending" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9965" PostTypeId="2" ParentId="9954" CreationDate="2014-01-19T11:38:11.080" Score="2" Body="&lt;p&gt;Vegas' text capabilities are rather limited. It allows you to insert captions only one by one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is an extension for Vegas Pro, which is called &lt;strong&gt;Vegasaur&lt;/strong&gt;. It contains &lt;em&gt;Text Generation Wizard&lt;/em&gt; that can import text from subtitle files (srt, sub etc.) or just from the Clipboard&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://vegasaur.com/Vegasaur&quot; rel=&quot;nofollow&quot;&gt;http://vegasaur.com/Vegasaur&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-01-19T11:38:11.080" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9967" PostTypeId="2" ParentId="9947" CreationDate="2014-01-19T13:15:29.707" Score="49" Body="&lt;p&gt;using the scale filter will do it, but there is a bit more to it.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -vf scale=720x406 output.mov &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;will create a movie with the required pixel dimensions, but if you look at the output you'll find that it adds information into the metadata so that it will play back at the same aspect ratio as the original, by using non-square pixels. So if you want to stretch the movie anamorphically to a new aspect ratio you need to manually set the pixel aspect ratio, called the SAR for &quot;Sample Aspect Ratio&quot;, thus for square pixels use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -vf scale=720x406,setsar=1:1 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Alternatively you can set the display aspect ratio to whatever you want, thus:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -vf scale=720x406,setdar=16:9 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What I'm doing with the &lt;code&gt;-vf&lt;/code&gt; command and the &lt;code&gt;x=y,z=a&lt;/code&gt; expressions that follow is creating a chain of &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html&quot; rel=&quot;noreferrer&quot;&gt;filters&lt;/a&gt;. Filters can be quite complex, but in the most simple usage they take the form &lt;code&gt;effect=parameter,nexteffect=anotherparameter&lt;/code&gt;, and they get processed in the order you write them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may want to put additional commands for the codec and so on, eg &lt;code&gt;-c:v libx264&lt;/code&gt; to use the x264 mp4 encoder, and something like &lt;code&gt;-crf 20&lt;/code&gt; to set the constant rate factor to 20 (usually a pretty good compromise between size and quality). So, a reasonably complete command would look like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -vf scale=720x406,setdar=16:9 -preset slow -profile:v main -crf 20 output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Main profile is good for device compatibility, the &lt;code&gt;slow&lt;/code&gt; preset for the libx264 encoder is a pretty good balance of speed and quality, so this is a good general web-encoding workhorse. You can make it faster by using &lt;code&gt;fast&lt;/code&gt; or &lt;code&gt;veryfast&lt;/code&gt; or slower with &lt;code&gt;veryslow&lt;/code&gt; and &lt;code&gt;placebo&lt;/code&gt; will make it ever so slightly better than &lt;code&gt;veryslow&lt;/code&gt; at the expense of a lot more processing time (hence the name).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW &lt;strong&gt;Don't use -c copy&lt;/strong&gt;, that means just copy the video and audio streams without doing anything to them &lt;em&gt;at all&lt;/em&gt;, so nothing you do in terms of scale, codec, bitrate etc will have &lt;em&gt;any&lt;/em&gt; effect.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-02-03T03:36:47.947" LastActivityDate="2020-02-03T03:36:47.947" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="9968" PostTypeId="2" ParentId="9552" CreationDate="2014-01-19T13:28:57.977" Score="5" Body="&lt;p&gt;I use it in &lt;em&gt;my&lt;/em&gt; professional production chain all the time. Last week I was using it to batch through dozens of videos that needed subtitles burnt-in. It would have taken me weeks of tedious labour with Final Cut, it took me a couple of minutes burning the srts in with ffmpeg, and I was able to automatically rename the files and compress them for the various playback devices at the same time, and keep editing in the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd say unfamiliarity with the command line is the major reason most people don't use it. Typy-typy is too scary, they need clicky-clicky. Though there are definitely some areas - archival preservation for one, where it is one of the main tools of choice. In any situation where you need to automate video manipulation or conversion there is really nothing that beats it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-12-05T03:22:49.330" LastActivityDate="2016-12-05T03:22:49.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9969" PostTypeId="1" CreationDate="2014-01-20T02:57:50.673" Score="3" ViewCount="8385" Body="&lt;p&gt;I've been searching for this and could not find a single solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I apply a blur effect to an entire video? not just specific objects or faces.&lt;/p&gt;&#xA;" OwnerUserId="5424" LastActivityDate="2014-04-21T16:25:31.530" Title="How can I blur an entire video using iMovie or similar?" Tags="|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9971" PostTypeId="2" ParentId="9312" CreationDate="2014-01-20T06:22:58.973" Score="1" Body="&lt;p&gt;&lt;code&gt;ffmpeg -i input -vf field,scale=123:456 output&lt;/code&gt; will do the trick, where 123:456 is your x:y frame dimensions for the output. The field filter just chucks away the fields it doesn't use. Documention on the field filter &lt;a href=&quot;http://ffmpeg.org/ffmpeg-all.html#field&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;. Note that you'll need extra stuff in the command to get good results - e.g. you'll probably want to specify codec details and so on.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-01-20T06:22:58.973" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9972" PostTypeId="1" AcceptedAnswerId="9974" CreationDate="2014-01-20T10:54:51.993" Score="3" ViewCount="76" Body="&lt;p&gt;Is there a standard way of checking a render as it would be seen on different screens (iPads, monitors, tvs, whatever) for colors etc.. &#xA;Maybe AB/Testing software? (Wanted to add the tag ab-testing, but my rep isn't high enough yet)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a reference I have a song &amp;amp; corresponding music video (see link below).&#xA;I'm wondering if I affected (washed out) the colors too much. I'd like to know the differences on different screens. How can you effectively check on different screens (on your own pc). Reference: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/_LqSgPIgppQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&#xA;Yves&lt;/p&gt;&#xA;" OwnerUserId="5426" LastEditorUserId="5426" LastEditDate="2014-01-20T11:55:57.893" LastActivityDate="2014-01-23T05:28:25.657" Title="How to check video, AB test, on different screens: balancing colors, etc" Tags="|after-effects|filter|color-correction|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9974" PostTypeId="2" ParentId="9972" CreationDate="2014-01-20T14:55:27.373" Score="2" Body="&lt;p&gt;The standard way to deal with this is to use color calibration.  Unfortunately, color accuracy on consumer devices tends to be all over the charts.  There is no way to guarantee that the color will be similar, even on multiple of the same model of device, or even on the same exact device over time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thus, the best practice is to setup a color calibrated environment that you can verify the content looks correct in.  You can then run your encodings for different profiles and compare them in an environment where you know the differences will show up clearly.  The results on end user devices may vary based on how good their screens actually are, but building to a standard high quality, calibrated display should produce the best overall outcome across devices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to get really advanced, you can also generate or obtain ICC profiles of the average for the device screen you want to display the video on.  This profile can then be applied to the video on a calibrated display to alter the colors to be similar to that produced by the device.  It still won't take in to account pixel density though.  If you want to know exactly what it will look like on a display, there is no substitute for actually sending it to that display since pixel layout and density, as well as the surface type and size, make a gigantic difference in the way the video looks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using the device itself is also helpful for ensuring that the video can decode and play smoothly within the constraints of the device.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-20T14:55:27.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9976" PostTypeId="1" AcceptedAnswerId="9978" CreationDate="2014-01-20T15:53:17.360" Score="2" ViewCount="689" Body="&lt;p&gt;I am attempting to edit the videos I've recorded with a GoPro Hero 3 in Premiere Pro CS6. However, the preview window jumps, is slow and not smooth at all. As this pretty much makes video editing impossible, I was looking for a solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any settings in Premiere Pro CS6 which would fix this or are you guys able to recommend me another program for Windows 7 which has a comparable features?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My computer specs:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;OS:&lt;/strong&gt; Windows 7 Professional 64-Bit&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;RAM:&lt;/strong&gt; 32 GB&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Processor:&lt;/strong&gt; Intel i7-3820 @ 3.60Ghz (8 CPUS)&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Graphic Card:&lt;/strong&gt; NVIDIA GeForce GTX 670&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5428" LastActivityDate="2014-01-20T16:57:44.067" Title="Editing 1440p @ 47 FPS in Premiere Pro CS6" Tags="|video|video-editor|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9978" PostTypeId="2" ParentId="9976" CreationDate="2014-01-20T16:51:55.107" Score="0" Body="&lt;p&gt;This sounds like a hardware problem.  The playback engine in Premiere has been very, very fast since CS5, so it is unlikely to be a software problem.  The data rate for 1440p video at 47fps is going to be astonishingly high (170MB/sec once decoded, for comparison, 1080p 24fps is just under 50MB/sec) and extremely demanding on your system.  Based on your system specs, it probably isn't a processing or memory problem, particularly if you have CUDA enabled, however you may be running in to a bandwidth problem loading off your hard-disk or loading in to memory (depending on your memory speed).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It also may be an issue with the format of the video you are using.  Not all video formats are designed for random access.  Even with a very powerful computer, if the file format you are working with requires rendering out multiple frames from the latest key frame every time that you move your preview, you will hammer your computer far harder.  (In the worst case, you end up having to load over a dozen frames of video to get one frame.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It also wouldn't hurt to double check if anything is bottle necking by looking at Task Manager when you are previewing video.  Does memory utilization or CPU get high?  I expect it will be hard disk access (which won't peak the CPU or memory utilization) but it doesn't hurt to double check.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-01-20T16:57:44.067" LastActivityDate="2014-01-20T16:57:44.067" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9980" PostTypeId="1" CreationDate="2014-01-20T18:27:18.047" Score="1" ViewCount="2298" Body="&lt;p&gt;I have a few videos I have to convert for a website. They are PowerPoint slides with a narration track over top. The originals I have to work with are in m4v format. I have converted them to mp4 and webm, but it seems like the video in the converted files plays too quickly. The audio doesn't match up. I used ffmpeg to convert to mp4 format. Is there an option I could pass in to keep the audio and video together?&lt;/p&gt;&#xA;" OwnerUserId="5405" LastActivityDate="2014-08-18T22:47:11.257" Title="How to keep audio and video in sync?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9982" PostTypeId="2" ParentId="9980" CreationDate="2014-01-20T18:37:07.203" Score="1" Body="&lt;p&gt;It sounds like the video frame rate probably got messed up.  You need to make sure you compress the video to the same framerate in webm as the source is.  Also, m4v and mp4 are synonyms, you don't need to alter the file, you can just change the extension.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-20T18:37:07.203" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9985" PostTypeId="2" ParentId="9969" CreationDate="2014-01-21T07:31:19.720" Score="1" Body="&lt;p&gt;I work with a company that makes a product called Wondershare Video Editor for mac.  It is what I personally use so i can only offer my solution by this software. Check the screenshot first:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/1gvqu.png&quot; alt=&quot;enter image description here&quot;&gt;&#xA;In a word, you can make it by the mosaic function in this software. Now i will show you step by step (8 steps in total).&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Step one, import the video file and drag and drop to the video&#xA;timeline&lt;/li&gt;&#xA;&lt;li&gt;Step two, click the power tool button to open the editing window&lt;/li&gt;&#xA;&lt;li&gt;Step three, choose Mosaic function&lt;/li&gt;&#xA;&lt;li&gt;Step four, pick up &quot;Apply Mosaic to the clip&quot;&lt;/li&gt;&#xA;&lt;li&gt;Step five, click &quot;Add&quot;&lt;/li&gt;&#xA;&lt;li&gt;Step six, adjust the size of blur area you need, if you want to blur&#xA;the whole video, drag the rectangular to the border&lt;/li&gt;&#xA;&lt;li&gt;Step seven, you can change the heavy of this blur by dragging the&#xA;percent button&lt;/li&gt;&#xA;&lt;li&gt;Last step, click &quot;OK&quot;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Done! Check the preview video screenshot as follow:&lt;img src=&quot;https://i.stack.imgur.com/syVqK.png&quot; alt=&quot;enter image description here&quot;&gt;&#xA;Export it, you will get a blur video. I wish it's helpful for you.&lt;/p&gt;&#xA;" OwnerUserId="4954" LastEditorUserId="2836" LastEditDate="2014-02-20T15:13:28.670" LastActivityDate="2014-02-20T15:13:28.670" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9986" PostTypeId="2" ParentId="4844" CreationDate="2014-01-21T08:09:29.810" Score="1" Body="&lt;p&gt;Render your footage again downscaled to 720x576 then burn it to your DVD.  Even though the downscaled files look squashed on your computer, when burnt to a DVD with a 16x9 anamorphic setting it should appear correctly.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-01-21T08:09:29.810" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9989" PostTypeId="1" CreationDate="2014-01-21T14:51:44.390" Score="2" ViewCount="1062" Body="&lt;p&gt;I have a large (~3GB) video file and I would like to trim just a few seconds at the beginning (~3s).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would be the fastest way to do this without having to process all the video file?&lt;/p&gt;&#xA;" OwnerUserId="5436" LastEditorUserId="2836" LastEditDate="2014-02-19T21:05:15.417" LastActivityDate="2019-03-24T18:36:02.967" Title="How can I cut a few seconds at the beginning of a large video file?" Tags="|video|editing|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="9991" PostTypeId="2" ParentId="9989" CreationDate="2014-01-21T15:42:52.867" Score="1" Body="&lt;p&gt;You could try using a tool like VirtualDUB, but your options will depend on the type of file that you are working with.  Some files don't support arbitrary adjustment without atleast some amount of re-encoding.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-21T15:42:52.867" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9993" PostTypeId="1" CreationDate="2014-01-21T20:00:01.020" Score="4" ViewCount="459" Body="&lt;p&gt;Next week I'm doing my final presentation on my thesis about Android development. Because I go to school in the Netherlands, and my internship is in New York City, I'm going to do my presentation through the likes of something like Skype or Google Hangouts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this presentation I was hoping I could use a green screen and project my presentation on the background, like &lt;a href=&quot;https://www.youtube.com/watch?v=sONcojECWXs&quot; rel=&quot;nofollow&quot;&gt;this presentation&lt;/a&gt; by Reto Meier on Android 4.4. The difference here is that I think the video has been edited in after the video recording, and I would like to be able to control my presentation live.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would anyone know of a way to accomplish this? In short, I'm looking for software that can display what's happening on my Mac monitor on a green screen background. I would then like to be able to use that combined view of me and the presentation as a background as a webcam view for Hangouts or Skype.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance,&#xA;Dennis Altena&lt;/p&gt;&#xA;" OwnerUserId="5437" LastActivityDate="2014-01-21T20:41:32.983" Title="Live desktop feed on green screen: thesis presentation" Tags="|mac|greenscreen|presentation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9994" PostTypeId="2" ParentId="9953" CreationDate="2014-01-21T20:37:13.983" Score="0" Body="&lt;p&gt;From everything I can see, this is a proprietary format with no third party software that can open the files.  Does the software that came with camera allow you to export footage as a more compatible format?  It would be up to the manufacturer to be providing a software package that can save out a standard video format.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-01-21T22:04:15.820" LastActivityDate="2014-01-21T22:04:15.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9995" PostTypeId="2" ParentId="9993" CreationDate="2014-01-21T20:41:32.983" Score="2" Body="&lt;p&gt;If you have a Mac, download &quot;Cam Twist.&quot; It offers reasonable live keying, and it can even put you as picture in picture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you use the right browser, I.e. Firefox with the Google Hangouts plugin necessary for hangouts, &quot;Camtwist&quot; will just be an option in the list of cameras. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Download it &lt;a href=&quot;http://camtwiststudio.com/&quot; rel=&quot;nofollow&quot;&gt;here.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5415" LastActivityDate="2014-01-21T20:41:32.983" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="9996" PostTypeId="2" ParentId="8688" CreationDate="2014-01-22T00:08:26.680" Score="1" Body="&lt;p&gt;The source video from YouTube is Standard Definition not HD, so your project properties in Vegas are not set right nor can they be set to 1080p. Simply, you can't take an SD video and make it into an HD video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The proper way to set Vegas project properties is to use the folder icon far right top of the properties pop up window, this will allow you to &quot;match media settings&quot; so that your Vegas project has correctly identified your source material.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a short YouTube Tutorial on this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/DZ_Xd4M7BjQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No matter, you still won't be able to take SD video and make it HD, but at least your project will start out on the right foot.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2014-01-22T00:08:26.680" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="9997" PostTypeId="2" ParentId="9954" CreationDate="2014-01-22T00:28:15.843" Score="1" Body="&lt;p&gt;In Vegas you can make a default text or preset by using the save preset feature. For instance you may add a text at the end of all your movies that looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Joe Blow Productions&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Copyright Joe Blow 2014&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After you make this text, give the text title a unique name &quot;Joe Blow&quot;, then click the save preset button just to the right of the title window--looks like a floppy disk. The next time you go to the text generator it will be in the menu. Note, when you save any effect or text preset in Vegas you have to leave the current menu and then return to it so it refreshes the content of that menu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a short Vegas Tutorial to show you how to make your own presets:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/sQC2J7wQboI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say you want to change the font of this preset, engage it, and then make your changes and save this new version with a unique name, like &quot;Joe Blow 2&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do this with effects too. It's an easy way to build a custom library of effects and texts that you can use a baseline and then tweak/save as you need them.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2014-01-22T00:28:15.843" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="9998" PostTypeId="2" ParentId="9471" CreationDate="2014-01-22T00:40:46.973" Score="1" Body="&lt;p&gt;You can easily do this in Vegas Pro using the blur function and compositing two tracks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One way to do this:&#xA;The lower track will be your back plate, apply the blur effect on this, the top track is your clear on blurred original track, use the cookie cutter likely an oval or a circle and and invert it so you have it allow everything around the cookie cutter to show through.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The effect should be an out of focus back ground with a sharp area where the cookie cutter was not applied. You may want to use the feathering feature of the cookie cutter to blend the tracks better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another way to do this would be to put your clear unblurred video on the bottom track (back plate) and put the blurred version of the original on top, again with the Cookie Cutter bit but this time allow only the cookie cutter to shine through. Either way you get the same effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did something like in my video &quot;K I T E S&quot;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/47605517&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/47605517&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At time marker 02:41 you will see a post production selective rack focus.&lt;/p&gt;&#xA;" OwnerUserId="1890" LastActivityDate="2014-01-22T00:40:46.973" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10002" PostTypeId="2" ParentId="5150" CreationDate="2014-01-22T05:35:04.037" Score="1" Body="&lt;p&gt;Sounds like you need to track the camera in 3D. If you're using CS6 then the best thing for tracking the camera in 3D is the 3D camera tracker (who'da thunk it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To fire it up Choose &lt;code&gt;Animation &amp;gt; Track Camera&lt;/code&gt;, or choose &lt;code&gt;Track Camera&lt;/code&gt; from the layer context menu, or choose &lt;code&gt;Effect &amp;gt; Perspective &amp;gt; 3D Camera Tracker&lt;/code&gt;, or (because there's always 3 ways to do anything in AE) in the Tracker panel, click the &lt;code&gt;Track Camera&lt;/code&gt; button.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After tracking the camera in you footage you have a virtual stage, where any 3D objects that you add will look as though they're in the 3D space of your footage, so if you move past them they respect the parallax of your camera's viewport. It makes it super easy to add elements to a moving camera scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here be &lt;a href=&quot;http://podcasts.creativecow.net/after-effects-tutorials-podcast/using-the-new-3d-camera-tracker-in-after-effects-cs6&quot; rel=&quot;nofollow noreferrer&quot;&gt;tutorial&lt;/a&gt; and the &lt;a href=&quot;http://helpx.adobe.com/after-effects/using/tracking-3d-camera-movement.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe page&lt;/a&gt; about it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oh and to actually answer your question, &lt;strong&gt;yes&lt;/strong&gt; you can have more than one track point per layer. For 2D tracking where I'm not getting steady results I often make a dozen or so track points and average out their position with an expression. This gives good results on difficult footage. To add track points, select the layer, choose &lt;code&gt;Animation&amp;gt;Track Motion&lt;/code&gt;. Set the track type to Raw in the tracker panel. Then in the timeline you'll see the Motion Trackers property has been added to the layer. Expand that and you'll see tracker1, expand that and you'll see Track Point 1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/CkIUa.png&quot; alt=&quot;motion tracker points in the timeline&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select that and choose &lt;code&gt;Edit&amp;gt;Duplicate&lt;/code&gt; or hit &lt;strong&gt;cmd/ctrl+D&lt;/strong&gt;. The track point will be duplicated. Note that it will be right on top of the other one, so you'll have to move it in the comp window or adjust the feature centre properties. Repeat as many times as you need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now when you go to Analyze using the tracker panel it will analyze all your track points at once.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oh and FYI here's the expression I use when I'm adding all the track points together. I apply it to the position of a null or whatever it is I want to move:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;trackpoints=10;    &#xA;vsum=[0,0];&#xA;for (i=1; i&amp;lt;=trackpoints; i++){&#xA;    vsum+=thisComp.layer(&quot;tracked layer name&quot;).motionTracker(&quot;Tracker 1&quot;)(&quot;Track Point &quot;+i).featureCenter&#xA;}&#xA;vsum/trackpoints&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;trackpoints&lt;/strong&gt; is the number of track points you're using. and &lt;strong&gt;&quot;tracked layer name&quot;&lt;/strong&gt; is the layer with the points on it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2014-01-23T05:36:39.923" LastActivityDate="2014-01-23T05:36:39.923" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10003" PostTypeId="1" AcceptedAnswerId="10006" CreationDate="2014-01-22T09:44:42.457" Score="2" ViewCount="163" Body="&lt;p&gt;I have 60Gb of DV footage that I need to store, but 60Gb is WAY too big. I need to transcode it to a lossy format, but I need the resulting video to be robust such that it can be easily edited with a NLV editor later on. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;By robust I mean: able to chop it up easily without losing sync. I suppose this has something to do with the regularity of keyframes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am on Ubuntu, so tools at my disposal are ffmpeg/avconv, Handbrake, and various other NLVEs.&lt;/p&gt;&#xA;" OwnerUserId="5443" LastEditorUserId="674" LastEditDate="2014-02-17T00:20:42.863" LastActivityDate="2014-02-17T00:20:42.863" Title="What is a good lossy format for storing DV" Tags="|transcoding|storage|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10005" PostTypeId="2" ParentId="8223" CreationDate="2014-01-22T13:13:50.570" Score="2" Body="&lt;p&gt;Not sure about Windows, but for Ubuntu, you could always check out Rivendell.&#xA;&lt;a href=&quot;http://www.rivendellaudio.org/&quot; rel=&quot;nofollow&quot;&gt;http://www.rivendellaudio.org/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5176" LastActivityDate="2014-01-22T13:13:50.570" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10006" PostTypeId="2" ParentId="10003" CreationDate="2014-01-22T14:08:41.980" Score="1" Body="&lt;p&gt;For DV footage, anything below 4.7 minutes per gigabyte is going to start being sub-standard for editing.  That's the standard data rate for lossy compressed DV footage.  Each generation of compression and the lower quality you make the compression, the less suitable for video editing it becomes.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you use a highly lossy format to store the video, after you edit it and try to encode your final video, you will have a sloppy mess because the source video is too low quality.  It will make you have to increase the settings on your final output to preserve any kind of quality and will mean you have a larger final product than you could have otherwise gotten away with.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;By modern standards, 60GB is about $4 of HDD storage or $5 of optical.  Just buy the extra storage if you need it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you still want to compress it more (or if you aren't yet at 4.7 minutes per gigabyte) then any standard DV format would work well.  It isn't quite as ideal for editing, but a high quality (high data rate) h.264 high profile VBR 2-pass could be used as well.  Using 3500 KBPS (I'd probably also try all I frame and see how it goes) should give you a good high quality compression.  It is worth noting that h.264 is more demanding for editing with though.  That's still not going to give you any lower than the 4.7 minutes per gigabyte though, so if you have around 5 hours of footage, 60GB really is as small as you want to go.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-22T14:08:41.980" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="10008" PostTypeId="1" CreationDate="2014-01-22T16:27:11.520" Score="1" ViewCount="20108" Body="&lt;p&gt;I am new to video editing and learning Adobe After Effects CS6. I have downloaded different templates from the web and edited them and now I want to create a final movie by combining all the clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some clips/projects have different resolutions - I have rendered all the projects separately and created individual .mov clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I want to create final movie by combining all the clips.&lt;/p&gt;&#xA;" OwnerUserId="5446" LastEditorUserId="674" LastEditDate="2014-02-17T00:20:08.157" LastActivityDate="2016-05-14T15:33:08.893" Title="How to combine different projects to create final clip in After Effects?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10009" PostTypeId="2" ParentId="10008" CreationDate="2014-01-22T16:48:44.087" Score="2" Body="&lt;p&gt;First, you don't want to render the clips prior to final output if you want maximum quality.  You instead want to use nested compositions.  Really, final assembly is ideally done using an actual non-linear editor, such as Premiere, however you can accomplish the same thing by putting together a composition and using each of the compositions you have made as assets.  Then, when you output the final render, it will render what it needs from each of the nested compositions and keep the highest possible quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that you should use nested compositions regardless of if you use Premiere or After Effects.  Premiere will import compositions directly from After Effects if you import the After Effects project in Premiere.  You may also have to apply scaling in order to get the clips to match resolution.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-22T16:48:44.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10010" PostTypeId="1" AcceptedAnswerId="10013" CreationDate="2014-01-22T18:24:36.583" Score="1" ViewCount="2177" Body="&lt;p&gt;I've spent a very long time on this and have been unimpressed with 90% of the main stream video editors, so I'd really appreciate some expert advice on this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for a video editor (hopefully within the 100-150 range if possible) that has the following options:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&quot;Effects Masking&quot; - ability to draw custom masks for blurring small segments of text on screen captures. A lot of the editors I see allow you to import a png file for this, but I really would rather have this in the editor, as I have a lot of footage and making a new png for every time the text changes would take forever.&lt;/li&gt;&#xA;&lt;li&gt;Customizable basic shapes/drawing tools for overlays - NOT cheesy animated overlays; I want to be able to highlight areas of the screen by being able to draw boxes or circles around them.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;These seem like basic requirements, but I've had a really hard time with this, so I would REALLY appreciate your help!&lt;/p&gt;&#xA;" OwnerUserId="4662" LastEditorUserId="4662" LastEditDate="2014-01-22T20:38:25.457" LastActivityDate="2014-01-28T01:03:32.387" Title="Video Editor with custom effect masking and shape/drawing overlays" Tags="|video-editor|effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10011" PostTypeId="2" ParentId="9917" CreationDate="2014-01-22T19:07:57.867" Score="1" Body="&lt;p&gt;I resolved this issue by installing &lt;a href=&quot;http://www.videolan.org/vlc/&quot; rel=&quot;nofollow&quot;&gt;VLC&lt;/a&gt;. Apparently VLC has some necessary codecs that Vegas Pro uses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After installing VLC I was able to import the video and use it normally with no hindrances. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;After some time, this issue cropped up on a different computer. Installing/reinstalling VLC did not work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I installed &lt;a href=&quot;http://www.softpedia.com/get/Multimedia/Video/Codec-Packs-Video-Codecs/D-i-v-X-AV-Codec-Pack-Pro.shtml&quot; rel=&quot;nofollow&quot;&gt;AVI Codec Pack Pro v2.4.0 from Softpedia&lt;/a&gt; and the issue was resolved. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If Softpedia no longer has the file available by the time you are reading this, the file was titled &quot;avi.codec.pack.pro.v2.4.0.setup.exe&quot; and was 16.7MB (17,538,685 bytes). A google search at the time of update yields other sources for download, but some are concerned with malware imbedded in it. I haven't noticed any malware with the softpedia download.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2015-11-04T09:21:25.313" LastActivityDate="2015-11-04T09:21:25.313" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10013" PostTypeId="2" ParentId="10010" CreationDate="2014-01-22T20:17:31.770" Score="1" Body="&lt;p&gt;That isn't really rotoscoping, just mask drawing.  Rotoscoping is more on a frame by frame basis generally.  Either way, After Effects will do what you are looking for very easily, but is not in your price range (not even nearly).  Largely, you get what you pay for though and I'm not sure that there are a whole lot of cheaper options that allow you to draw your masks in the editor.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-22T20:17:31.770" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10014" PostTypeId="1" AcceptedAnswerId="10027" CreationDate="2014-01-22T22:59:49.737" Score="1" ViewCount="17654" Body="&lt;p&gt;I'm the only one that knows how to use a computer in the family and so I've been asked to produce a video for a wedding. One of the main requirements for the video is that a map location must be zoomed on. Something similar to this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/O8xxT1Mub5M?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guessed Google Earth would be the best tool for this, however it wasn't as simple as I first thought as the app takes a while to download map data and sometimes the camera location jumps when zooming in. I tried using the built in video tool within the mac Google Earth app to achieve the effect, but then discovered that you have to pay to export the video. Unfortunately the price is too steep for this one project...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I overcome this problem? Or are there any other methods I could try to achieve this effect? Would screen recording Google Earth be the right thing to do (potential copyright issues)? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="4204" LastActivityDate="2019-08-19T08:38:36.953" Title="How could I make a map zoom in effect?" Tags="|video|special-effects|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10015" PostTypeId="2" ParentId="9898" CreationDate="2014-01-23T01:01:05.260" Score="1" Body="&lt;p&gt;I used to translate videos from tape to digital with a capture device. &#xA;The program i used was Ulead Video Studio which is really easy to set up and use. Right now it is called &lt;strong&gt;Corel VideoStudio&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It has a bunch of transitions and media generators to add titles and credits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.corel.com/corel/product/index.jsp?pid=prod4900075&quot; rel=&quot;nofollow&quot;&gt;http://www.corel.com/corel/product/index.jsp?pid=prod4900075&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oh the other hand, going to a much cheaper option, you could try  &lt;strong&gt;Lightworks&lt;/strong&gt;, it is a lightweight program that has a lot of functionallity suitable for what you are asking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope it helps&lt;/p&gt;&#xA;" OwnerUserId="5449" LastActivityDate="2014-01-23T01:01:05.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10016" PostTypeId="2" ParentId="10008" CreationDate="2014-01-23T03:49:36.003" Score="2" Body="&lt;p&gt;You can import whole AE projects into your project, just choose them in the import dialogue like you would any other asset. When you do this the imported project will appear as a folder in your project with all of its assets inside. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you can do is import all of the projects you've created and drag all of the compositions you want into one final composition. The advantage of this is that you can resize the comps without re-rendering the pixels.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;To Illustrate: say you had an image in one of your individual comps that you'd scaled down to 50%, then you want that comp to be twice the size in the final comp. If you pre-render then you will get softness because you will be scaling up the layer and having to re-interpolate the pixels, but if you nest the composition your image will be displaying at 100% and no interpolation will be required. The downside is that it may take longer and require a lot more RAM when you render. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Don't worry if the nested comps are different sizes, you can quickly resize them to fit your output comp size by using one of three methods: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Fit to the Comp&lt;/strong&gt; (without preserving aspect ratio) by hitting&#xA;&lt;kbd&gt;Cmd&lt;/kbd&gt;+&lt;kbd&gt;Opt&lt;/kbd&gt;+&lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;F&lt;/kbd&gt; or &lt;br&gt;&lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;Alt&lt;/kbd&gt;+&lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;F&lt;/kbd&gt; on Windows (&lt;kbd&gt;F&lt;/kbd&gt; for fit)&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Fit to Comp Height&lt;/strong&gt; (preserving aspect ratio) by hitting &lt;kbd&gt;Cmd&lt;/kbd&gt;+&lt;kbd&gt;Opt&lt;/kbd&gt;+&lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;G&lt;/kbd&gt; or &lt;br&gt;&lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;Alt&lt;/kbd&gt;+&lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;G&lt;/kbd&gt; on Windows (&lt;kbd&gt;G&lt;/kbd&gt; because it's next to &lt;kbd&gt;F&lt;/kbd&gt;)&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Fit to Comp Width&lt;/strong&gt; (preserving aspect ratio) by hitting &lt;kbd&gt;Cmd&lt;/kbd&gt;+&lt;kbd&gt;Opt&lt;/kbd&gt;+&lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;H&lt;/kbd&gt; or &lt;br&gt;&lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;Alt&lt;/kbd&gt;+&lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;H&lt;/kbd&gt; on Windows (this should be the shortcut for fit to Height, but it isn't)&#xA;You can select all of your layers and do this in one hit. This is great when you have a bunch of layers with different sizes.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Once you've done that you'll want them all to be one after the other. Select them in order and from the menu menu choose &lt;em&gt;Animation &gt; Keyframe Assistant &gt; Sequence Layers&lt;/em&gt; (or if you right-click on the layer choose &lt;em&gt;Keyframe Assistant &gt; Sequence Layers&lt;/em&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also investigate turning on &lt;a href=&quot;http://helpx.adobe.com/en/after-effects/using/layers.html#layer_switches_and_columns_in_the_timeline_panel&quot; rel=&quot;nofollow noreferrer&quot;&gt;Collapse Transformations/Continuously Rasterize&lt;/a&gt; for the nested compositions. It's the icon on the layer switches that looks like a sun. What that does is to do all the transforming - rotation, scaling etc before rasterizing the layer, meaning you won't get pixelation on any shapes, vectors or text etc in those layers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/kWml7.png&quot; alt=&quot;the little icon that looks like a sun&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-05-14T15:33:08.893" LastActivityDate="2016-05-14T15:33:08.893" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10018" PostTypeId="2" ParentId="9972" CreationDate="2014-01-23T05:28:25.657" Score="1" Body="&lt;p&gt;Unlike print graphics there is no way of really controlling the colour in video as seen by the final user, unless you know the profiles of all the devices it will be played on. The best you can do is that your material is properly exposed and balanced to give it the best chance out there in the cruel world.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using scopes is the objective way to test your material. Waveform monitors, histograms and vector scopes give you information about levels, colour and balance that is independent of the playback device, but you've got to know how to read them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a good &lt;a href=&quot;http://www.glennchan.info/articles/technical/vectorscopes.html&quot; rel=&quot;nofollow&quot;&gt;vectorscopes 101 tutorial&lt;/a&gt; from Glenn Chann and a &lt;a href=&quot;http://help.adobe.com/en_US/premierepro/cs/using/WSCE1EF46C-AB40-45f9-BAD8-D790421BD01A.html&quot; rel=&quot;nofollow&quot;&gt;How to&lt;/a&gt; for Premiere (but can be extrapolated for any software)&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-01-23T05:28:25.657" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10019" PostTypeId="2" ParentId="10014" CreationDate="2014-01-23T05:38:34.333" Score="1" Body="&lt;p&gt;There's a good tutorial of how to do this at videocopilot, called &lt;a href=&quot;http://www.videocopilot.net/tutorials/earth_zoom/&quot; rel=&quot;nofollow&quot;&gt;earth zoom&lt;/a&gt;.  The tutorial uses after effects, but the technique will be the same for whatever software you use.  I'm making this answer a community wiki in case anyone wants to elaborate.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-01-23T05:38:34.333" CommentCount="0" CommunityOwnedDate="2014-01-23T05:38:34.333" ContentLicense="CC BY-SA 3.0" />
  <row Id="10020" PostTypeId="1" AcceptedAnswerId="10226" CreationDate="2014-01-23T05:47:29.987" Score="2" ViewCount="431" Body="&lt;p&gt;We're shooting on a Blackmagic Cinema Camera, and at the moment are using the guts of a little portable drive enclosure as our cradle for transferring to our Macs via Firewire 800. It's got a very guerrilla vibe to it, but it's not exactly what I want to see when I'm transferring irreplaceable footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've looked around, but there doesn't seem to be any purpose built SSD cradle for Firewire 800 or Thunderbolt (our editing machines are being replaced by Thunderbolt-only ones), only USB3. Has anyone got any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2014-01-25T01:31:40.160" LastActivityDate="2014-02-17T12:09:50.487" Title="What are people using to connect SSD drives from a camera to Thunderbolt or Firewire?" Tags="|mac|firewire|bmcc|ssd|thunderbolt|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10021" PostTypeId="2" ParentId="3969" CreationDate="2014-01-23T06:36:59.430" Score="1" Body="&lt;p&gt;Depends on the look you're after. &lt;a href=&quot;https://en.wikipedia.org/wiki/Searching_for_Sugar_Man&quot; rel=&quot;nofollow&quot;&gt;Searching For Sugar Man&lt;/a&gt; won the 2013 BAFTA Award for Best Documentary, and it was partially shot on an iPhone, the &lt;a href=&quot;http://www.iofilm.co.uk/feats/feat_dvfilm.htm&quot; rel=&quot;nofollow&quot;&gt;Blair witch Project&lt;/a&gt; used a lot of DV video (standard definition heavy compression) and parts of &lt;a href=&quot;https://en.wikipedia.org/wiki/Natural_Born_Killers&quot; rel=&quot;nofollow&quot;&gt;Natural Born Killers&lt;/a&gt; were shot on super-8.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the content is worth it, or if the style of story telling motivates it people will forgive crappy picture quality (but it certainly needs to be good content).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-01-23T06:36:59.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10022" PostTypeId="1" AcceptedAnswerId="10023" CreationDate="2014-01-23T08:21:54.980" Score="-1" ViewCount="123" Body="&lt;p&gt;My question is about copyright of videos.&#xA;I want to use &lt;a href=&quot;http://www.youtube.com/watch?v=AByfaYcOm4A&quot; rel=&quot;nofollow&quot;&gt;this video&lt;/a&gt; inside my demo web base video player,but i do not know any thing law of copyright or license of video. how can i check for this video license ?&#xA;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="5450" LastActivityDate="2014-01-23T15:11:00.233" Title="use video for demo player is it legal?" Tags="|video|copyright|legal|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10023" PostTypeId="2" ParentId="10022" CreationDate="2014-01-23T11:13:43.407" Score="2" Body="&lt;p&gt;Anything published anywhere is automatically copyrighted, with all rights reserved to the author or publisher. The source of this video is known, so your obvious choice here is to contact the publisher and ask permission.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a promotional video, so it's very possible that they will permit your use, with proper attribution or for a small fee. But you have to ask, and they have to agree, for your use to be legitimate.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-01-23T11:13:43.407" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10024" PostTypeId="2" ParentId="10022" CreationDate="2014-01-23T15:11:00.233" Score="1" Body="&lt;p&gt;Often short clips for demonstration purposes qualify as fair use, however you can't generally use more than a few seconds.  Even video clips that have been released on the Internet are not necessarily safe to use as the content may still require you to have a license.  Your best bet is to contact a lawyer since fair use varies greatly from jurisdiction to jurisdiction or look for content that is released under an open license such as creative commons.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-23T15:11:00.233" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10025" PostTypeId="2" ParentId="10020" CreationDate="2014-01-23T15:14:21.640" Score="0" Body="&lt;p&gt;Well, seeing as you are already using Black Magic stuff, you could always use the Black Magic Multi-Dock.  It supports 4 SSDs and Thunderbolt.  The Black Magic HyperDeck Studio Pro is another option.  It has thunderbolt connectivity and accepts two SSDs and can even handle the recording for you as well if you feed a line in to it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-23T15:14:21.640" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10026" PostTypeId="2" ParentId="10020" CreationDate="2014-01-23T15:21:46.923" Score="0" Body="&lt;p&gt;I use a &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B006P1QWOQ&quot; rel=&quot;nofollow&quot;&gt;seagate thunderbolt adapter&lt;/a&gt;.  It works.  It's portable.  It's cheap.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-01-23T15:21:46.923" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10027" PostTypeId="2" ParentId="10014" CreationDate="2014-01-23T15:22:19.857" Score="1" Body="&lt;p&gt;You want images of varying degrees of zoom that you can align and then scale between.  You start from far out and as you zoom in, you fade in the image that is slightly closer (and aligned to the other image).  Once the closer image takes up the full screen, you remove the first image from the background and place the next level of zoom in the correct spot and start fading it in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Repeat this process for each level of zoom you can get until you reach your target level of zoom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It can be helpful to align and animate the images without any transparency and then add the transparency after.  This helps to ensure the proper look before you blend the images together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that this requires a video editor capable of keyframe animation.  If you don't have one, then your options are far more limited and there may not be a good way to do it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-23T15:22:19.857" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10028" PostTypeId="1" CreationDate="2014-01-23T18:46:49.843" Score="0" ViewCount="609" Body="&lt;p&gt;I have some 1080p content and a 1080p display.&lt;br&gt;&#xA;Currently, if I play 720 content, it's not as sharp on the display, obviously, as it is a lesser resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Will this be the same issue if I relay my 1080p content on to a 4K display?&lt;br&gt;&#xA;Or will I still get the same crispness of the 1080p content as it is on the 1080p display?&lt;/p&gt;&#xA;" OwnerUserId="1677" LastActivityDate="2014-01-24T15:13:35.347" Title="Will 1080p content on 4K display look as crisp" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10030" PostTypeId="2" ParentId="10028" CreationDate="2014-01-23T21:48:31.680" Score="1" Body="&lt;p&gt;Obviously, it depends a lot on the quality of the displays. A high-quality 720p display may actually give &lt;em&gt;better&lt;/em&gt; result than a bad 1080p one, and likewise a bad 4k display isn't that much use!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But assuming the quality is &quot;the same&quot; (though I'm not sure there is a good way to compare this objectively), 1080p footage will look at least as good on 4k display as it does on the 1080p one. In doubt, it can just upsample the footage, that's a lossless operation (&lt;a href=&quot;http://en.wikipedia.org/wiki/Shannon-Nyquist_sampling_theorem&quot; rel=&quot;nofollow&quot;&gt;in theory&lt;/a&gt;) and may in fact already improve the picture, since it's doesn't have the 1080p's pixel grainyness. Likely, it will also do some clever sharpening, which actually gives a &quot;crisper&quot; result, though that may well seem unnatural.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Remember that high-definition TV sets were on the market well before much HD material was actually widely obtainable, and even then it was a substantial quality improvement over the old standards.&lt;/p&gt;&#xA;" OwnerUserId="1038" LastActivityDate="2014-01-23T21:48:31.680" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10032" PostTypeId="2" ParentId="10028" CreationDate="2014-01-24T15:13:35.347" Score="1" Body="&lt;p&gt;It depends on which resolution of 4k your display supports.  Displays have what is known as a native resolution.  Even when you increase the number of pixels significantly, if it isn't an even multiple of both horizontal and vertical resolution as well as frame rate, then the output video must be interpolated to create pixels that fill in the gaps.  This results in distortion and softening of the image as well as potentially producing artifact from trying to guess at what the pixels in between should be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the screen is an exact multiple, then it can simply use 4 pixels for each of the previous pixels and there are no impacts on sharpness.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, as leftaroundabout mentioned, there are also far more details than simple sharpness that &quot;crisp&quot; could refer to.  Contrast ratio and overall brightness also contribute to how crisp an image looks and that varies based on the quality of the TV itself, independent of resolution.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-24T15:13:35.347" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10033" PostTypeId="1" CreationDate="2014-01-24T17:28:47.483" Score="0" ViewCount="58" Body="&lt;p&gt;I wish to export all frames of an MPEG video as individual frames.  How can I do this?&lt;/p&gt;&#xA;" OwnerUserId="4920" LastEditorUserId="2836" LastEditDate="2014-01-27T16:47:33.537" LastActivityDate="2022-08-08T10:36:31.723" Title="Reconstrcuting images from MPEG" Tags="|video|mpeg|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10034" PostTypeId="2" ParentId="10033" CreationDate="2014-01-24T19:49:36.230" Score="1" Body="&lt;p&gt;Export it from any transcoding software to a frame by frame format such as motion JPEG or an actual image sequence.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-24T19:49:36.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10035" PostTypeId="2" ParentId="8223" CreationDate="2014-01-24T22:37:54.473" Score="2" Body="&lt;p&gt;Can't help with freeware, but i can shed some light on the professional side of things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At urgent.fm we use &lt;a href=&quot;http://www.zenon-media.com/&quot; rel=&quot;nofollow&quot;&gt;Zenon&lt;/a&gt; because most commercial stations in Belgium use it, and our station is one of the starting places for people interested into getting into radio work professionally in our region.&#xA;That way someone who was trained at our station feels right at home in most commercial settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It consists of several soft- and hardware devices that can be tailored to suit to specific needs.&lt;/p&gt;&#xA;" OwnerUserId="5011" LastEditorUserId="2836" LastEditDate="2014-01-27T16:49:56.533" LastActivityDate="2014-01-27T16:49:56.533" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10037" PostTypeId="1" AcceptedAnswerId="10038" CreationDate="2014-01-25T17:30:46.723" Score="2" ViewCount="3633" Body="&lt;p&gt;Been using royalty free music for some time, however youtube shows that I am using some copyrighted material. So just wanted to know if there is any way by which I can check if a song is copyrighted or not?&lt;/p&gt;&#xA;" OwnerUserId="5461" LastActivityDate="2019-05-04T07:18:15.450" Title="How can i check if a particular sound I used in my video was copyrighted?" Tags="|video|music|youtube|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10038" PostTypeId="2" ParentId="10037" CreationDate="2014-01-25T18:27:26.507" Score="3" Body="&lt;p&gt;In nearly all countries, copyright protects creative works automatically. Some exceptions and restrictions apply, but unless the author has voluntarily added his work to the public domain or the copyright has expired (common terms are seventy and ninety years after publication or after death of the author), it's safe to assume all songs are copyrighted, including the royalty-free music you've been using.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whether or not it's okay to upload material that contains this music to youtube, that would depend on the author's consent. Sometimes, the music is released under a blanket licence that allows redistribution. If not, contact the author to obtain permission.&lt;/p&gt;&#xA;" OwnerUserId="3678" LastActivityDate="2014-01-25T18:27:26.507" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10041" PostTypeId="1" AcceptedAnswerId="10056" CreationDate="2014-01-26T21:13:26.007" Score="1" ViewCount="109" Body="&lt;p&gt;I got into live streaming recently and while I was reading up on encoding settings I noticed that even though there are rules of thumb, there doesn't seem to be a standard set of bit rates we could point to for various requirements of quality like audio (eg 96 128 192 224 etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is that? Wouldn't a standard set of numbers be handy? Am I looking at this the wrong way?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="5469" LastActivityDate="2014-01-27T14:30:21.217" Title="Why does audio have standard bit rates whereas video does not" Tags="|video-quality|audio-quality|encoding|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10045" PostTypeId="1" AcceptedAnswerId="10046" CreationDate="2014-01-26T23:06:28.153" Score="2" ViewCount="168" Body="&lt;p&gt;Anyone have experience with a cheap DIY Steadicam style rig for a video camera? It doesn't have to take perfect picture, but be steadier than a handheld camera. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="2151" LastActivityDate="2014-01-27T00:27:11.010" Title="Inexpensive do-it-yourself Steadicam rig" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10046" PostTypeId="2" ParentId="10045" CreationDate="2014-01-27T00:27:11.010" Score="2" Body="&lt;p&gt;Maybe this is enough for you? &#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/JW6AWmqa8ZM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically just use a tripod as a balance and let gravity do the job for you.&lt;/p&gt;&#xA;" OwnerUserId="3626" LastActivityDate="2014-01-27T00:27:11.010" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10048" PostTypeId="2" ParentId="10033" CreationDate="2014-01-27T02:49:14.050" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://www.mplayerhq.hu/&quot; rel=&quot;nofollow&quot;&gt;MPlayer&lt;/a&gt; has GUI and command line options to extract JPEGs for frames. You could give it the following command line, for example, to get 1000 frames out of the specified video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mplayer -vo jpeg -frames 1000 my_video.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="2151" LastActivityDate="2014-01-27T02:49:14.050" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10049" PostTypeId="2" ParentId="10041" CreationDate="2014-01-27T07:21:07.547" Score="0" Body="&lt;p&gt;The reason audio has 'standard' bitrates is because it evolved in such a way that was supported by the 'infrastructure' of the industry - that is, digital audio became a standard because those creating the content (record labels) decided &quot;this is how CDs will work&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Digital video, however, has always* been a free-for-all, with each camera manufacturer creating their own proprietary format. As such, there has been no 'infrastructure' standard for video - the closest we have yet have been &lt;em&gt;codec&lt;/em&gt; standards, not &lt;em&gt;bitrate&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;*Close enough&lt;/p&gt;&#xA;" OwnerUserId="2598" LastActivityDate="2014-01-27T07:21:07.547" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10050" PostTypeId="1" AcceptedAnswerId="10057" CreationDate="2014-01-27T11:04:29.453" Score="4" ViewCount="102" Body="&lt;p&gt;What would be the best (e.g. most compact) format for a &quot;video&quot; that is actually an audio track with a single static image the whole time? (&lt;a href=&quot;https://www.youtube.com/watch?v=FHfIfGlNrx4&quot; rel=&quot;nofollow&quot;&gt;example&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And if it was not one static image, but a slow slideshow (maybe 1 image every couple of minutes)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;&lt;br&gt;&#xA;One more case: What if it is a short clip (1-2 seconds), that itself is full quality (I think that means 25 FPS, right?), but is played in a continuous loop throughout the entire audio?&lt;/p&gt;&#xA;" OwnerUserId="5473" LastEditorUserId="5473" LastEditDate="2014-01-27T13:12:40.213" LastActivityDate="2014-03-19T22:21:08.540" Title="Best format for audio track with a single/few images" Tags="|file-formats|compression|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10051" PostTypeId="2" ParentId="10050" CreationDate="2014-01-27T13:35:57.643" Score="-1" Body="&lt;p&gt;Most video codecs lets you control the interval of what's called keyframes (or intra frames). Those are snapshots of the video, of which the codec will then try to interpolate lost data between. If you only need the image to change every x seconds, and you are OK with 1 second distortion/tween/morph/artifacts then simply set the keyframes interval to 1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not an expert (never tried what you want to do) but I think H.264/MPEG-4 would be a good match. Hope this helps!&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;If you have access to the player (if this is for an app you're making, or a website etc), you could try to mimic this behavior using just an image viewer for your platform and an audio player.&lt;/p&gt;&#xA;" OwnerUserId="3626" LastActivityDate="2014-01-27T13:35:57.643" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10052" PostTypeId="2" ParentId="10041" CreationDate="2014-01-27T13:42:24.433" Score="-1" Body="&lt;p&gt;The bitrate for music has to do with the way our brain perceives audio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I won't go into detail, but for each bit you add to a sample, you lower the noise floor -6dB. This means, that there is definable sweet spot for when humans starts to enjoy listening because the fidelity of what we hear through the speakers is close enough to what we think we would hear if the original audio source was there with us. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess I'm not the only who has confused a lamp for a person in the dark, or been fooled by visual illusions. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Our brain is funny this way, and much more sensitive to audible distortion, than to visual.&lt;/p&gt;&#xA;" OwnerUserId="3626" LastActivityDate="2014-01-27T13:42:24.433" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10053" PostTypeId="2" ParentId="10037" CreationDate="2014-01-27T13:47:01.663" Score="2" Body="&lt;p&gt;&quot;Royalty free&quot; is funny that way, because the content is actually copyrighted - but you're given permission to use it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have your source, and can point to a licence that states 'royalty free' you should be able to get Youtube to reactivate your video. You'd probably need to give credits where credit's due in your about text.&lt;/p&gt;&#xA;" OwnerUserId="3626" LastActivityDate="2014-01-27T13:47:01.663" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10054" PostTypeId="2" ParentId="10037" CreationDate="2014-01-27T14:16:51.773" Score="2" Body="&lt;p&gt;The royalty free music is still copy-written.  You have purchased a right to use it without paying royalties, but YouTube doesn't know that you have those rights.  You need to provide the necessary documentation to YouTube that you have the right to use it there (license statement from your purchase) and they should re-activate it for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They do this to make sure that someone else doesn't grab the music from your video and use it in their own without paying for it.  (Since generally royalty free video is licensed to the individual and can't be reused by other people you give it to.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-27T14:16:51.773" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10056" PostTypeId="2" ParentId="10041" CreationDate="2014-01-27T14:30:21.217" Score="2" Body="&lt;p&gt;Complexity is the main thing.  Because of how audio works, there tends to not be a whole lot of variation in the quality you get from a given bit rate.  While video often has frames that are very similar from one image to another, audio rarely has the exact same sound playing for a long period of time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This lack of predictability in audio means that the compression ends up being similarly efficient between one clip and another, so the quality levels can be closely associated to a given bit rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video on the other hand can be predictable or unpredictable.  Some videos sit on the same background for a long time with slow changes between scenes and large areas of similar color within those scenes.  Such videos can be compressed very heavily and maintain their quality since large areas of the same color that remain consistent over time compress very well.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other videos may have lots of action on complex background with rapid cuts between shots.  Such video requires a much higher bitrate for the same quality because the rate of change within the video is much higher.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This distinction makes video unsuitable for &quot;standard&quot; bitrates because they are no guarantee of quality.  Instead, standard metrics are based around arbitrary, subjective quality levels of video.  Since there isn't a good concrete way to measure quality level, each company ends up using their own definition of what quality their videos are and use the balance of file size and quality to differentiate their offering.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-27T14:30:21.217" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10057" PostTypeId="2" ParentId="10050" CreationDate="2014-01-27T15:50:24.440" Score="1" Body="&lt;p&gt;The best compression would come from a &lt;a href=&quot;http://en.wikipedia.org/wiki/Variable_frame_rate&quot; rel=&quot;nofollow&quot;&gt;variable frame rate&lt;/a&gt; format.  Variable Frame Rate formats are designed to adjust their frame rate based on the level of activity in the video.  For something with a very low effective framerate, this would allow it to store the image far fewer times and simply describe how long the image should stay up for.  It would then use more frames when necessary for any transitions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The one downside to variable framerate formats is that there aren't a whole lot of well supported ones and even fewer good encoders to support working with them, but it is what would give the best results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.handbrake.fr/wiki/VariableFrameRate&quot; rel=&quot;nofollow&quot;&gt;Handbrake&lt;/a&gt; appears to support VFR output.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-03-19T22:21:08.540" LastActivityDate="2014-03-19T22:21:08.540" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10059" PostTypeId="2" ParentId="10010" CreationDate="2014-01-28T01:03:32.387" Score="1" Body="&lt;p&gt;Apple motion can do this, and it's in your price range at $50.  It's not a video editor per-se, more of a motion graphics and compositing app, but then again, so is After Effects.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-01-28T01:03:32.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10060" PostTypeId="2" ParentId="9261" CreationDate="2014-01-28T09:07:28.103" Score="1" Body="&lt;p&gt;To answer your question, you can't create Closed Captions in PP CS6. It's a new feature only available CC onwards. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Source: From Adobe forum&lt;/strong&gt; &#xA;You have a few choices -- there are two commercial products that I have used and know about, to create sidecar closed captioning files that are usable in PPRO and follow industry standarads for CC: CPC (www.cpcweb.com) makes a authoring program called 'MacCaption' for MAC and 'Caption Maker' for WIN. Also, a German company (www.zeitanker.com) makes a program called 'Annotation Edit'.&lt;/p&gt;&#xA;" OwnerUserId="5479" LastActivityDate="2014-01-28T09:07:28.103" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10062" PostTypeId="1" CreationDate="2014-01-28T15:12:33.687" Score="0" ViewCount="39" Body="&lt;p&gt;I'm looking for a decent quality video camera that I can travel around with and conduct short interviews. I also need to be able to use a lavalier microphone with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Someone recommended a GoPro but that seems better suited to lots of action.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit (more info):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Budget: $1,000 or less.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Quality: As far as quality, the videos will be going up on a website. Currently are videos are SD so I don't need 1080p or anything, just a good clear picture. Audio quality is more important.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simplicity is very important. I'm actually the one that will be editing the video, and the person that will be filming is not a technical person. They will not know much about filming techniques, and certainly won't want to be messing with different lenses and stuff like that.&lt;/p&gt;&#xA;" OwnerUserId="5483" LastEditorUserId="5483" LastEditDate="2014-01-28T15:42:50.727" LastActivityDate="2014-01-28T15:42:50.727" Title="Portable camera recommendation for interviews" Tags="|camcorder|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10063" PostTypeId="2" ParentId="10062" CreationDate="2014-01-28T15:25:51.140" Score="1" Body="&lt;p&gt;Often, the best option, particularly for interviews, is a DSLR.  The particulars of your needs may change that or harden in on a specific level of DSLR, however in general they key thing for interviews is to be able to have a sharply focused subject with a nice blur to the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DSLR cameras shooting HD video with a fast lens (f/2.8 or faster preferably) can achieve very nice background blurs and make great looking video.  Most also have a line input that you can run a mic into, though use of the best quality mics will often require using an external device first to deal with the mic and convert it to the type of signal the camera wants.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, I shoot with a Canon 5D Mark iii and use a Zoom h4n for audio.  I record the audio separately and sync in post production, but a line out from the Zoom can also be fed in to the camera directly.  You don't need something as advanced as the 5D Mark iii, but it hopefully gives you an idea of how a setup can work.  You could substitute any DSLR with a mic or line input for the 5D Mark iii.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If portability is super key however, it might be best to go with an actual camcorder.  They can get a little bit smaller than a full fledged DSLR though the smaller the camera, the harder it is to get the background blur that you often see in interviews.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-28T15:25:51.140" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10065" PostTypeId="1" AcceptedAnswerId="10070" CreationDate="2014-01-28T17:23:58.167" Score="1" ViewCount="773" Body="&lt;p&gt;I have a few bullet points as so:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/4fWj4.jpg&quot; alt=&quot;Screenshot of Bullet Point&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to apply an &lt;code&gt;Animation Preset &amp;gt; Text &amp;gt; Blurs &amp;gt; Bullet Train&lt;/code&gt; to it... But I want the effect to include the blue circle. I've tried applying directly, parenting, and pre-composing. None had the desired result. Is there a way to get the &lt;code&gt;Text Effect&lt;/code&gt; onto the shape layer?&lt;/p&gt;&#xA;" OwnerUserId="5206" LastActivityDate="2014-01-31T14:29:07.390" Title="Is there a way to apply an Animation Preset - Text Effect onto a shape?" Tags="|after-effects|animation|presets|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10066" PostTypeId="1" CreationDate="2014-01-28T21:31:32.417" Score="1" ViewCount="2091" Body="&lt;p&gt;I have a ~70mb (3 minutes long) m4v video that I need to get to a much more reasonable file size for playing on a site that will primarily be accessed via iPad.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if it matters, but the video will need to play automatically upon page load.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've read through a few &lt;a href=&quot;http://support.apple.com/kb/ht2438&quot; rel=&quot;nofollow&quot;&gt;tutorials&lt;/a&gt; for doing this with Quicktime, however I think I'm missing something..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the Export pop-up menu, there should seemingly be an option to choose &quot;Movie to QuickTime Movie.&quot; I have only 480p and iPod/iPhone/iPad options(which I believe would result in a viewing frame that is too small).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I proceed with web-optimizing this file in Quicktime? (Or is there a better solution? I tried Sorenson Squeeze, but that had a large watermark..)&lt;/p&gt;&#xA;" OwnerUserId="5484" LastEditorUserId="5484" LastEditDate="2014-01-28T21:39:59.453" LastActivityDate="2014-03-02T13:43:38.777" Title="optimizing / compressing video for web with Quicktime" Tags="|video-editor|video-quality|quicktime|webvideos|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10067" PostTypeId="1" AcceptedAnswerId="10069" CreationDate="2014-01-29T03:34:31.807" Score="4" ViewCount="457" Body="&lt;p&gt;I want to start two short film projects but I don't know what equipment I need to get a good professional quality result. I've been saving some money so I hope budget is not a problem. Also, what's most commonly used to record audio in this kind of project? I want to get the sound from two people talking with the camera placed far away from them. I'm trying to make an independent production company so I'm seeing this as an investment. The cheaper the better though.&lt;/p&gt;&#xA;" OwnerUserId="5488" LastEditorUserId="2836" LastEditDate="2014-01-29T04:50:10.287" LastActivityDate="2014-10-23T16:51:49.673" Title="What equipment should I get for starting out making professional quality films?" Tags="|camera|video-recording|audio-recording|audio|" AnswerCount="5" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10068" PostTypeId="2" ParentId="10066" CreationDate="2014-01-29T04:15:54.877" Score="0" Body="&lt;p&gt;The simplest way is probably to use the &quot;Export For Web&quot; option in QuickTime.  It may only be available in Pro though.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want a bit more flexibility, the full Export dialog will allow you to choose an H.264 stream of your choosing for quality and data rate.  If you use the full Export, you'll want to make sure to choose to optimize for streaming when you choose a data rate.  This should organize the file so that it can start playing prior to fully downloading.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as choosing a data rate, your best bet is to choose based on how much you think the device/viewer's connection/web server can handle.  If you get too many artifacts, try decreasing the resolution until you get artifact free video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-29T04:15:54.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10069" PostTypeId="2" ParentId="10067" CreationDate="2014-01-29T04:24:29.113" Score="3" Body="&lt;p&gt;For videography, the best bang for your buck is, hands down, going to be an entry level DSLR and a decent lens.  For audio, if your budget can allow for it, I suggest getting a stand alone multi-track recorder.  The Zoom H4n is a particularly popular model with videographers for its low price and decent (though not superb) audio quality.  (Update: The H5 and H6 are now available offering significant upgrades over the H4n, but also at a slightly higher price point.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are far better options and values as you get more skill in the field, however for starting out, you probably don't want to invest too much until you get some experience under your belt.  It's easy to spend upwards of $10 to $15 grand on a nice videography setup as you get more and more professional, but a $1500-$1700 setup with something like a Canon T4i or Lumix G2 with a moderate level lens and an H4n or similar for recording audio (with some basic shotgun or lavaliere mics) is a decent start.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, be sure not to skimp on a tripod.  You'll want a solid, sturdy tripod (probably aluminum) with a good fluid tripod head to make sure you can get steady shots.  Just a solid tripod alone can run you in to the $350 to $500 range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you'll be shooting indoors, you may also need a light kit.  A cheap 3 point lighting kit can be had for a couple hundred dollars, though depending on what you intend to shoot, you may be able to get by without this initially.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So overall breakdown I'd recommend starting out is around $500 to $600 on an entry level DSLR, $150 to $300 on a lens (if your DSLR body supports video auto focus, such as the Canon T4i, a stepper motor lens is needed), about $280 for an audio recorder, about $100 to $200 on mics, about $400 on a tripod and optionally about $150-$250 on lights.  Altogether, that's about $1600 or $1850 and you should be able to make some pretty solid professional looking stuff.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It does add up quickly, but the good news is that you can improve on the gear incrementally over time once you have the basics.  If you do have more than 2 grand to start out with, I'd spend a little bit extra on the lens or the camera body to get better low light performance and better background blur.  Better mics or mic boom arms also couldn't hurt and if you do go with lights, light modifiers or more powerful lights is also never a bad investment, though the best place to spend any extra money is going to depend on the kind of shooting you are planning on doing.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-10-21T14:47:49.433" LastActivityDate="2014-10-21T14:47:49.433" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="10070" PostTypeId="2" ParentId="10065" CreationDate="2014-01-29T04:44:33.513" Score="0" Body="&lt;p&gt;There sadly does not appear to be a direct way to do it, however you can approximate it by using a Directional Blur on your shape layer with a 90 degree orientation and then applying a fade in.  If you mess with the keyframes a bit, you should be able to get it to look like a constant animation.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-29T04:44:33.513" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10071" PostTypeId="1" AcceptedAnswerId="10225" CreationDate="2014-01-29T16:21:58.403" Score="4" ViewCount="6231" Body="&lt;p&gt;I am going to re-sample a bunch of videos to be played through web browsers.&#xA;(Current video is large, 3 MB for a 4s clip. Hoping to compress by 90%).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use:  These videos will be played in a web-based eduational app. They'll be up to about 5 seconds and be played in the latest Chrome or (on iOS/Mac) Safari browser.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Handbrake (.9.9.5530, latest) . These must be playable in &lt;strong&gt;Chrome and Safari&lt;/strong&gt; (latest versions) browsers without any pluggins (and would be nice to be playable in the latest FireFox and IE).&#xA;(I'm also open to using another free or cheap encoding software that will let me do batch processing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the recommended settings (Video Codec, Quality (and constant or avg bit rate, etc.)&#xA;My top priority is compatibility.&lt;/p&gt;&#xA;" OwnerUserId="5183" LastEditorUserId="5183" LastEditDate="2014-02-05T08:34:26.957" LastActivityDate="2015-01-20T06:28:07.660" Title="What is the most compatible compression/Codec to in Handbrake use for video that will be played in Chrome and Safari browsers?" Tags="|codec|encoding|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10072" PostTypeId="2" ParentId="10071" CreationDate="2014-01-29T17:48:07.787" Score="0" Body="&lt;p&gt;h.264 is probably the easiest.  Just about anything plays it, particularly if you use a base profile (which reduces effectiveness, but also simplifies the playback for lower powered devices).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-01-29T17:48:07.787" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10076" PostTypeId="1" CreationDate="2014-01-30T22:12:39.853" Score="3" ViewCount="3009" Body="&lt;p&gt;So I want to do something simple: define two sets of coordinates (a &quot;from&quot; and a &quot;to&quot; position), along with a duration in frames. I want the animation to be executed, then reversed, and looped.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I can set two keyframes, and use &lt;code&gt;loopOut(&quot;pingPong&quot;);&lt;/code&gt; but I want to try and achieve this with a simple expression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sure it's possible!&lt;/p&gt;&#xA;" OwnerUserId="5499" LastEditorUserId="6685" LastEditDate="2015-01-27T23:41:39.403" LastActivityDate="2015-01-27T23:41:39.403" Title="After Effects expression - define two positions, tween back and forth" Tags="|after-effects|after-effects-expressions|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10077" PostTypeId="1" CreationDate="2014-01-30T22:30:30.780" Score="1" ViewCount="1162" Body="&lt;p&gt;I am following &lt;a href=&quot;http://www.youtube.com/watch?v=t4elrY4adr8&quot; rel=&quot;nofollow noreferrer&quot;&gt;this tutorial&lt;/a&gt; on how to cut out audio from my video (I actually wanted to cut out just part of audio but i know how to do that so its not a problem)&#xA;@ 2:55 the video shows a window which does not appear when i drag and drop my video in. :(&#xA;however when i right click on my video bar and click properties it still says the video is 480x800&lt;/p&gt;&#xA;&lt;p&gt;However when i try to export the video the resolution of the original video appears as 720x480&#xA;In addition when i go to &lt;code&gt;sequence&amp;gt;sequence settings&lt;/code&gt; the video frame is grayed out at 720 and 480 so i cannot change the settings.&lt;/p&gt;&#xA;&lt;p&gt;When i try to export the video in the 480x800 resolution it just appears as a small video in the middle with whole bunch of black space around it.&lt;/p&gt;&#xA;&lt;p&gt;I just want my exported video to be the same as the original video but i cant figure out how to do that.&lt;/p&gt;&#xA;&lt;p&gt;Im using adobe premiere-cs6 but i need 50 more reputation to create that tag.&lt;/p&gt;&#xA;" OwnerUserId="5500" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2014-03-05T00:46:32.110" Title="Cannot export video file in correct resolution" Tags="|premiere|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10078" PostTypeId="2" ParentId="10067" CreationDate="2014-01-31T05:35:26.387" Score="1" Body="&lt;p&gt;Zoom H4n is a pretty good unit for audio&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Clean up your recordings (if req'd) in Adobe Audition using the Noise Print feature and you can remove a lot of extraneous noise.&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2014-01-31T05:35:26.387" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10079" PostTypeId="2" ParentId="4250" CreationDate="2014-01-31T07:35:57.473" Score="3" Body="&lt;p&gt;The reason you are losing contrast is because of the codec you are using to export to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;YouTube (as well as Vimeo, and practically every other video website nowadays) works using the H.264 codec. Here are &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow&quot;&gt;YouTube's instructions&lt;/a&gt; for how they'd like videos to be encoded for upload.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The TL;DR version of that page:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;Container: .mp4&lt;/li&gt;&#xA;  &lt;li&gt;Audio Codec: AAC-LC&lt;/li&gt;&#xA;  &lt;li&gt;Video Codec: H.264&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;When you upload the incorrect codec - like HDV (mpeg?) you are using above, YouTube has to re-encode your video, resulting in the loss of quality and contrast you have been experiencing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Now the bad news.&lt;/strong&gt; From my quick Googling, people have had trouble exporting to H.264 from Sony Vegas. However, Vimeo has a &lt;a href=&quot;http://vimeo.com/help/compression&quot; rel=&quot;nofollow&quot;&gt;page dedicated to encoding instructions&lt;/a&gt;. Here's their &lt;a href=&quot;http://vimeo.com/40331922&quot; rel=&quot;nofollow&quot;&gt;tutorial for Sony Vegas 11&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2598" LastActivityDate="2014-01-31T07:35:57.473" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10080" PostTypeId="2" ParentId="10066" CreationDate="2014-01-31T07:43:39.927" Score="1" Body="&lt;p&gt;To add on to &lt;a href=&quot;https://video.stackexchange.com/a/10068/2598&quot;&gt;AJ's answer&lt;/a&gt;, Vimeo has a &lt;a href=&quot;http://vimeo.com/help/compression&quot; rel=&quot;nofollow noreferrer&quot;&gt;dedicated page&lt;/a&gt; on their preferred compression settings; Youtube &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;has the same&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check these out for some more specific information on which bitrate/codec to choose!&lt;/p&gt;&#xA;" OwnerUserId="2598" LastEditorUserId="-1" LastEditDate="2017-04-12T07:32:19.270" LastActivityDate="2014-01-31T07:43:39.927" CommentCount="0" CommunityOwnedDate="2014-01-31T07:43:39.927" ContentLicense="CC BY-SA 3.0" />
  <row Id="10081" PostTypeId="2" ParentId="10066" CreationDate="2014-01-31T12:31:15.513" Score="1" Body="&lt;p&gt;You need &lt;a href=&quot;http://support.apple.com/kb/DL923&quot; rel=&quot;nofollow&quot;&gt;Quicktime 7&lt;/a&gt; pro to get the full export options. Quicktime as it currently stands is a gutted shell of its former self. Can I suggest you use &lt;a href=&quot;http://www.squared5.com/&quot; rel=&quot;nofollow&quot;&gt;mpeg streamclip&lt;/a&gt;. Free, very widely used (by many professionals too) and a great tool for transcoding. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is unless you're handy with the command line, in which case you want &lt;a href=&quot;http://ffmpeg.org&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-01-31T12:31:15.513" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10082" PostTypeId="2" ParentId="10076" CreationDate="2014-01-31T13:07:46.427" Score="3" Body="&lt;p&gt;Darby Edelen posted an &lt;a href=&quot;https://forums.creativecow.net/thread/2/1047221&quot; rel=&quot;nofollow&quot;&gt;answer on Creative Cow.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;You won't be able to define any spatial paths any other way, but this&#xA;  should work:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;d = 5;&#xA;fd = d * 2;&#xA;p1 = [200, 500];&#xA;p2 = [500, 200];&#xA;t = (time - inPoint) % fd;&#xA;if(t &amp;lt;= d) linear(t, 0, d, p1, p2);&#xA;else linear(t, d, fd, p2, p1); &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;  &#xA;  &lt;p&gt;This starts from p1 at the beginning of the layer and runs to p2 over&#xA;  5 seconds, then goes back to p1 and begins again. If you want the&#xA;  animation to ease in to each point you could use the ease() function&#xA;  instead of linear() providing the same arguments.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;-Darby&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="5499" LastEditorUserId="1950" LastEditDate="2015-01-27T12:56:18.963" LastActivityDate="2015-01-27T12:56:18.963" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10083" PostTypeId="2" ParentId="10076" CreationDate="2014-01-31T13:57:43.787" Score="2" Body="&lt;p&gt;It's trickier than it seems if you want to do the whole thing from scratch.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;//first make some shortcuts&#xA;//choose the property to drive it - could be any property on any layer&#xA;myproperty=transform.position&#xA;//choose the keys that define the movement - in AE key indexes start at 1, not 0&#xA;key1=myproperty.key(1); &#xA;key2=myproperty.key(2);&#xA;//more shortcuts&#xA;pos1=key1.value&#xA;pos2=key2.value&#xA;//period is the length of the cycle&#xA;period=key2.time-key1.time&#xA;//phase is the point in the cycle we're at&#xA;phase= Math.abs(Math.abs(time - key1.time) % (period*2) -period);&#xA;//avoid divide-by-zero errors&#xA;if ( period == 0 ) { //this shouldn't happen&#xA;    pos1;&#xA;} else {&#xA;    (pos1*(Math.abs(period-phase))+pos2* phase )/period;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now what we're doing with &lt;code&gt;phase&lt;/code&gt; is creating a value that goes from 0 to period and back again, and then making a weighted average of the two keyframes' values. It's easier to understand if you say there are 4 frames in the cycle and the first keyframe is at zero. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;At frame 1, phase is abs(abs(4-1) % 8 - 4) = 1 (the &lt;strong&gt;%&lt;/strong&gt; is the &lt;a href=&quot;https://en.wikipedia.org/wiki/Modulo_operation&quot; rel=&quot;nofollow&quot;&gt;modulo&lt;/a&gt;&#xA;operator, aka the remainder). When we substitute it into the last expression, the result is &lt;code&gt;(pos1 * (4-1) +pos2 * 1)/4&lt;/code&gt; or to expand it &lt;code&gt;3/4*pos1 + 1/4*pos2&lt;/code&gt; - so basically &lt;code&gt;pos1&lt;/code&gt; is influencing the position 3 times as much as &lt;code&gt;pos2&lt;/code&gt;.  &lt;/li&gt;&#xA;&lt;li&gt;At frame2: &lt;code&gt;phase&lt;/code&gt;=2&#xA;and it works out to &lt;code&gt;2/4*pos1 + 2/4*pos2&lt;/code&gt;, so half and half, so it will be the average of the two keyframes.&lt;/li&gt;&#xA;&lt;li&gt;At frame 3 &lt;code&gt;phase&lt;/code&gt;=3, so it's &lt;code&gt;1/4*pos1 + 3/4*pos2&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The second expression is basically doing the job of the built-in linear() interpolation method. Once time &gt; period, then the abs() function kicks in and phase heads back to the original value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also use the phase variable with the valueAtTime property of the position property: &lt;code&gt;transform.position.valueAtTime(phase)&lt;/code&gt;, if you wanted a complex motion path. that way it would shuttle backward and forward along the motion path between the two keyframes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't want no steenkin' keyframes the first few lines could be replaced thus:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;pos1=[123,456]; //or for a 3d layer [123,456,789]&#xA;pos2=[987,654];&#xA;period=123;&#xA;startTime=12;&#xA;phase = Math.abs(Math.abs(time - startTime) % (period*2) -period);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The benefit of using keyframes is that you couple the power of expressions with the ease of the GUI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can see the value in this as a learning exercise (and a couple of glasses of Islay single malt this evening made it extra challenging), but one has to ask: why not use the built-in loopOut() expression? It probably will run much faster.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-01-27T13:00:22.767" LastActivityDate="2015-01-27T13:00:22.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10084" PostTypeId="2" ParentId="10065" CreationDate="2014-01-31T14:29:07.390" Score="0" Body="&lt;p&gt;What about cheating by using a font that has numbers in circles? This, for example: &lt;a href=&quot;http://www.fontscape.com/explore?3O4&quot; rel=&quot;nofollow&quot;&gt;http://www.fontscape.com/explore?3O4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Won't work for more than 9 bullet points though.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-01-31T14:29:07.390" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10085" PostTypeId="2" ParentId="3065" CreationDate="2014-01-31T18:10:05.293" Score="2" Body="&lt;p&gt;just figured it out woth magic lantern. You wanna turn on frame rate override, and change thr timing clock from its perfect number to something slightly above or below the usual 4200 or whatever it is. I got a true frame rate of 26.007, and a flicker free video of a lcd screen. Bam!&lt;/p&gt;&#xA;" OwnerUserId="5504" LastActivityDate="2014-01-31T18:10:05.293" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10088" PostTypeId="1" CreationDate="2014-02-01T04:50:31.100" Score="1" ViewCount="227" Body="&lt;p&gt;How do I get &#xA;royalty free music, &#xA;images ,&#xA;video clips, &#xA;cartoon characters with different actions and emotions &#xA;for short filmmaking?&lt;/p&gt;&#xA;" OwnerUserId="3603" LastActivityDate="2015-11-14T18:50:13.207" Title="How do I get royalty free music, images ,video clips, cartoon characters with different actions and emotions for short filmmaking" Tags="|video|music|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10089" PostTypeId="2" ParentId="10088" CreationDate="2014-02-01T07:29:18.703" Score="3" Body="&lt;p&gt;By buying it or looking for freely licensed media (such as creative commons).  I'm not sure what more you are looking for.  Royalty free content still has to be purchased, there are online stores that specialize in it.  The only trick with it is that you don't have to pay for each copy you make of the final media that you use it in.  There may also be other limitations (such as how much of the media it can make up).  Be sure to read the license for the media closely prior to purchasing to make sure it meets your needs.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-01T07:29:18.703" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10092" PostTypeId="1" CreationDate="2014-02-01T12:05:45.900" Score="0" ViewCount="55" Body="&lt;p&gt;I'm tidying up and have found a cable that came with a Lumix camera.&#xA;It has a micro-usb port at one and and white and yellow phono plugs at the other - just like &lt;a href=&quot;http://www.miniinthebox.com/c6-to-2rca-m-m-cable-for-samsung-1-5m_p598701.html&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; one. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, what is it for?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I use it to output pictures from a Nexus to a TV?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers&lt;/p&gt;&#xA;" OwnerUserId="5508" LastEditorUserId="3592" LastEditDate="2014-02-01T16:45:19.253" LastActivityDate="2014-02-01T16:45:19.253" Title="What is this cable for?" Tags="|cable|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10093" PostTypeId="2" ParentId="10092" CreationDate="2014-02-01T15:47:26.833" Score="4" Body="&lt;p&gt;Yellow and white generally mean video (yellow) and mono audio or left channel audio (white).  It is fairly typical for a usb like port to be used as a video connector when the proper cable is inserted.  It sometimes even uses the same exact port.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that it requires special hardware in the camera.  You can't simply plug it into any USB port and expect it to work.  RCA's carry an analog signal while USB is digital.  There is however a system called MHL that is often present in smartphones that allows output of an HDMI signal over the USB port, though external power is often required.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-01T15:47:26.833" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10094" PostTypeId="1" AcceptedAnswerId="12318" CreationDate="2014-02-02T19:06:39.867" Score="5" ViewCount="2626" Body="&lt;p&gt;I recently acquired a Bell &amp;amp; Howell Filmosound 8mm Projector, and several 8mm Sound Films.  To my delight, the motor and lamp work and the unit seems to work quite well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would love to figure out how to capture/play the sound from the sound films, but the unit is designed to connect to something else, presumably a preamp or stereo system of some sort.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Originally, this unit came with a special cable to connect to the atypical audio ports on the projector, but I don't have it.  Both ports are un-labled.  One appears to be an 1/8&quot; headphone type jack, and the other is smaller.  I have tried connecting the 1/8&quot; jack to a number of preamps/mixers, but have not been able to get any audio.  This leads me to believe the 1/8&quot; jack may be for recording sound to a film, and the smaller one is for playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone used this or a similar model and been able to get sound?  Any help appreciated:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/wJPCB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4395" LastActivityDate="2022-11-20T12:00:25.210" Title="Getting audio from a Bell &amp; Howell Filmosound 8 Projector" Tags="|projector|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10095" PostTypeId="2" ParentId="10077" CreationDate="2014-02-03T00:17:14.973" Score="1" Body="&lt;p&gt;From your question, you want to remove the audio from a video clip, using Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Start a new sequence, and drop your clip into it. There should be audio and video streams in the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using &lt;code&gt;File &amp;gt; Export &amp;gt; Media&lt;/code&gt;, there is a very simple way to remove the audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/BsBl4.jpg&quot; alt=&quot;Premiere&amp;#39;s Export window allows you to select whether to export video and/or audio&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using these toggles here, you can disable audio from being included in the export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, you will also want to make sure that your export settings are the same as the video clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/UZyRg.jpg&quot; alt=&quot;Premiere&amp;#39;s Export window has video codec settings&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for setting a codec, I suggest either:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Format: QuickTime / Codec: Animation - if you need a high-quality, large file size video for further editing.&lt;/li&gt;&#xA;&lt;li&gt;Format: QuickTime / Codec: H.264 - if you need a file ready for playback, distribution, or internet upload.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2598" LastActivityDate="2014-02-03T00:17:14.973" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10096" PostTypeId="2" ParentId="5521" CreationDate="2014-02-03T12:56:24.870" Score="1" Body="&lt;p&gt;Since PrPro project file is an XML document, you can open it up in any script editor (e.g. in Adobe ExtendScript Toolkit) or just text editor, find Version=&quot;25&quot; in the fourth row and replace it with Version=&quot;24&quot;:&lt;/p&gt;&#xA;&#xA;&#xA;&#xA;&lt;p&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;Project ObjectRef=&quot;1&quot;/&amp;gt;&#xA;&#xA;&amp;lt;Project ObjectID=&quot;1&quot; ClassID=&quot;62ad66dd-0dcd-42da-a660-6d8fbde94876&quot; Version=&quot;24&quot;&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Although in most cases this works just fine and much better than exporting to FCP XML or whatever, bear in mind: no warranty, everything is at your own peril.&lt;/p&gt;&#xA;" OwnerUserId="5517" LastActivityDate="2014-02-03T12:56:24.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10097" PostTypeId="1" CreationDate="2014-02-03T20:21:08.957" Score="1" ViewCount="915" Body="&lt;p&gt;I'm looking for a method to add an audio file (a short blip) to many short video files. Is there a method on any popular video software to create a batch process that will add the same audio file to many video files, so that the 'blip' plays at the start of each video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="5519" LastActivityDate="2015-01-07T07:41:23.307" Title="Batch add audio to video - Adobe?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10098" PostTypeId="2" ParentId="9989" CreationDate="2014-02-04T04:21:30.227" Score="2" Body="&lt;p&gt;Libav can do that as well, but it is not clear what you mean by 'process'. With avconv you can remux without reencoding, so you will still read the whole file and write it again, but will use only minimal processor power to split and then recombine the streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The format of the command can be along the lines of:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -ss 3 -i in.mkv -c:a copy -c:v copy out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The results will depend on codec, since you cannot really copy all the codecs at any arbitrary point. IIRC libav will start at the next possible point in such cases, but that maybe a full second later (or perhaps even more, even though i didn't run into such things).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you require an &quot;in-place edit&quot;, and cannot afford even the harddrive load that will happen due to you reading and writing large files, then you should really provide much more information about the format (as much information as you have, but at least: container, streams, codecs for each stream).&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="4943" LastEditDate="2014-02-21T09:57:50.900" LastActivityDate="2014-02-21T09:57:50.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10099" PostTypeId="2" ParentId="10097" CreationDate="2014-02-04T09:54:04.550" Score="0" Body="&lt;p&gt;You mentioned Adobe and &quot;any popular video software&quot; - I don't know how to do it in Adobe products, but you can do it in Vegas Pro with Vegasaur extension (&lt;a href=&quot;http://vegasaur.com/transcoder&quot; rel=&quot;nofollow&quot;&gt;transcoder&lt;/a&gt; tool)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also try &lt;strong&gt;ffmpeg&lt;/strong&gt; - free command-line utility with myriad functions. &lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-02-04T09:54:04.550" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10100" PostTypeId="1" CreationDate="2014-02-04T18:25:02.353" Score="0" ViewCount="229" Body="&lt;p&gt;I'm working on breaking a world record for continuous game play, multiple days, with my brother and tried to use my MBP to record it all but Quicktime kept stopping.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Questions:&lt;/strong&gt; Does someone have a better solution for continuously recording that video file?&#xA;Does someone have suggestions for how I should/can easily edit that ginormous file?&lt;/p&gt;&#xA;" OwnerUserId="5524" LastActivityDate="2014-02-04T19:08:06.910" Title="How to record multiple days worth of video without interrruption" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10101" PostTypeId="2" ParentId="10100" CreationDate="2014-02-04T19:08:06.910" Score="1" Body="&lt;p&gt;The problem with recording video while also playing is that you are forced to split processing time between video compression and the game.  Your best bet for this kind of extended recording is a real-time encoder that can take the load off the CPU, however such devices are not particularly cheap.  Devices such as the BlackMagic Intensity and Matrox MX02 will perform such a real time encoding task, however they cost $200 to $500.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For best results, I would suggest outputting to an HDMI splitter and using a completely separate computer for recording with the capture interface installed on the secondary computer.  This should also greatly reduce the space required since real time encoding hardware will provide a much higher degree of compression than real time CPU only encoding.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-04T19:08:06.910" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10102" PostTypeId="1" AcceptedAnswerId="10103" CreationDate="2014-02-04T21:32:54.393" Score="1" ViewCount="559" Body="&lt;p&gt;In documentaries / semi-documentaries and even fake documentaries there's often text that comes on at the end showing some facts fading in and out, or where the people are now (depending on subject).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a term for this element of a video? I tried searching for &quot;end text in documentary&quot; but couldn't really find anything except actual credits.&lt;/p&gt;&#xA;" OwnerUserId="5206" LastActivityDate="2014-02-05T06:31:31.507" Title="What is the text commonly found at the end of documentaries called?" Tags="|terminology|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10103" PostTypeId="2" ParentId="10102" CreationDate="2014-02-05T06:31:31.507" Score="2" Body="&lt;p&gt;This might even be more on-topic at English.SE, but as far as I'm concerned that's definitely called an &lt;a href=&quot;https://en.wikipedia.org/wiki/Epilogue#In_film&quot; rel=&quot;nofollow&quot;&gt;epilogue&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;https://en.wikipedia.org/wiki/Epilogue#In_film&quot; rel=&quot;nofollow&quot;&gt;Wikipedia&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;In many documentaries and biopics, the epilogue is text-based, explaining what happened to the subjects after the events covered in the film.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="617" LastActivityDate="2014-02-05T06:31:31.507" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10104" PostTypeId="1" CreationDate="2014-02-05T18:29:59.127" Score="0" ViewCount="1971" Body="&lt;p&gt;Were trying to film a vine using an iphone. We want to have a first person shot of falling off of a building. Our budget is £20.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way we can get this shot without damaging the iphone nor jumping from the building and killing one of us in the process? I was thinking of some kind of camera protector if they exist...how do amateurs get falling shots? &lt;/p&gt;&#xA;" OwnerUserId="5533" LastActivityDate="2014-02-07T19:10:47.983" Title="How to film a falling shot" Tags="|shooting|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10106" PostTypeId="2" ParentId="10104" CreationDate="2014-02-05T19:41:54.287" Score="0" Body="&lt;p&gt;With a £20 budget, you don't have much in the way of options.  Your best bet is probably going to be a piece of rope and a case to attach to the rope, but I'd still give you a decent chance of breaking the phone in the process.  The most typical way to get a shot like this is either a camera that can be destroyed or using a crane, neither is likely within your price range though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-05T19:41:54.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10108" PostTypeId="1" CreationDate="2014-02-05T20:04:06.713" Score="2" ViewCount="3542" Body="&lt;p&gt;I've done about 1h of footage during a SCUBA dive with a Gopro Hero 2 (underwater housing, no filter), but the auto white balance algorithm messed up the colors and everything has a very strong green tint to it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I understand that some light wavelengths get weaker with depth, hence the green tint, therefore I'd like to know how to fix this in post-production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried Adobe Premiere Elements 11, with the &quot;smart fix&quot; feature, and in some of the footage it seems to work fine. However, since the footage is quite dynamic, the algorithm gets confused and there's lots of flicker, as it constantly changes color corrections.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried alternative programs that let me pick a &quot;white&quot; reference to correct the white balance of the video, but nothing on these clips is good enough to use to that effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to determine the optimal color corrections for these clips, for example by picking them from a frame in the flickery &quot;smart fixed&quot; video that Premiere Elements outputs?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any free applications that could help me here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Samples below: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://goo.gl/CzQyZD&quot; rel=&quot;nofollow&quot;&gt;http://goo.gl/CzQyZD&lt;/a&gt; &lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://goo.gl/CYlNYQ&quot; rel=&quot;nofollow&quot;&gt;http://goo.gl/CYlNYQ&lt;/a&gt; &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;EDIT: I've had some minor success with Adobe Premiere Elements 12 &quot;auto color&quot; mode, so it is possible to get something out of this footage. However, it flickers a lot since the color correction changes as the scene changes, even in the same clip. An example of 2 nearly-contiguous frames can be found in the comment below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I force PE12 to use the same color correction across the entire clip, or at least figure out the proper color corrections from a given frame?&lt;/p&gt;&#xA;" OwnerUserId="5510" LastEditorUserId="5510" LastEditDate="2014-04-16T10:03:20.503" LastActivityDate="2014-04-16T10:03:20.503" Title="How to fix white balance gone bad?" Tags="|color-correction|premiere-elements|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10109" PostTypeId="2" ParentId="10108" CreationDate="2014-02-05T21:47:14.693" Score="1" Body="&lt;p&gt;This is not the auto white balance screwing up.  This is the way that SCUBA footage looks without artificial light.  Even shooting with my SeaLife DC1400 which has specialized underwater white balance settings, you get a strong color cast, particularly in green water.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Water doesn't block frequencies of light evenly and as depth increases, much of the red light is lost from the spectrum.  Unless you have an artificial light to put red back in to the color, there is no signal there to be had.  The color cast comes from the color of the light exceeding the sensitivity of the sensor to be able to adjust for the imbalance between the red, green and blue light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: Ok, I just looked at your footage and it looks like there may have been a technical glitch with it.  That is extremely green, even for underwater footage.  That almost looks more like a malfunction, but there still isn't enough information there to correct.  It looks like red and even blue data is almost completely absent from the recording.  I guess maybe my SeaLife DC1400 does a better job than I thought with color if there wasn't a technical problem there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as ways to try and salvage it, you could go black and white with it or could try reducing the amount of green in it using a hue adjustment, but it still is only going to look &quot;less bad&quot; not &quot;good&quot;.  Wish I had better news for you, but it kind of goes with the territory of shooting underwater at any kind of depth at all without a light, particularly in colder green waters.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-05T21:52:59.670" LastActivityDate="2014-02-05T21:52:59.670" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10110" PostTypeId="1" CreationDate="2014-02-06T03:25:21.280" Score="2" ViewCount="80" Body="&lt;p&gt;I want to write a script that automates rendering in a way that each, say, 30 seconds of a longer video becomes a separate video file. How do I approach this without having to manually highlight and render each time increment?&lt;/p&gt;&#xA;" OwnerUserId="5536" LastEditorUserId="2836" LastEditDate="2014-07-01T16:05:44.650" LastActivityDate="2014-07-01T16:05:44.650" Title="How do I render each time increment on Premiere Pro CS5/6?" Tags="|premiere|video-editor|automation|cs6|cs5|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10111" PostTypeId="2" ParentId="9640" CreationDate="2014-02-06T03:46:37.667" Score="1" Body="&lt;p&gt;The &quot;wind effect&quot; on the text is just a linear blur. In the case of that GIF, the creator likely used After Effects to accelerate the scroll while gradually increasing the linear blur. As for the tie, mouth, and chin, he/she almost certainly used Puppet Warp for that smooth, stretchy animation. I'd be very impressed if he/she edited frame-by-frame.&lt;/p&gt;&#xA;" OwnerUserId="5536" LastActivityDate="2014-02-06T03:46:37.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10112" PostTypeId="2" ParentId="10108" CreationDate="2014-02-06T06:37:26.973" Score="1" Body="&lt;p&gt;I had a look at it in After Effects (at first I thought that there wasn't any information at all on the red and blue channels, but there is). A few minutes' worth of mucking around with colour correction tells me that you're never going to get that to look normal. There is so little information in the red and blue channels that any attempt to balance the levels just brings up a ton of noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A workaround might be to colorize it to a reasonable colour, or go black and white. &lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-02-06T06:37:26.973" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10113" PostTypeId="2" ParentId="10104" CreationDate="2014-02-06T06:42:31.800" Score="1" Body="&lt;p&gt;A dad and his young son &lt;a href=&quot;https://www.youtube.com/watch?v=Hz1ipDYpAgQ&quot; rel=&quot;nofollow&quot;&gt;sent an iPhone to space&lt;/a&gt;, had it fall back to earth and got it back safely. You could have a look at their rig for inspiration (basically a polystyrene box and a parachute).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-02-06T06:42:31.800" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10114" PostTypeId="2" ParentId="10071" CreationDate="2014-02-06T07:01:59.913" Score="1" Body="&lt;p&gt;There's a table &lt;a href=&quot;http://fmbip.com/litmus/#mdz_video_h264&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; showing support for the various video codecs by the four main browsers around today. For Chrome and Safari the only option that plays on both is h.264 in an mp4 container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've found that main profile h264 video plays best across most modern devices, but you can wind it back to base profile if you're having problems. &lt;a href=&quot;http://gravlab.com/2013/11/07/difference-baseline-main-high-h264-mpeg4-mp4-profiles/&quot; rel=&quot;nofollow&quot;&gt;This&lt;/a&gt; is a good discussion about the differences between the profiles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A quality setting of 20 is a good place to start; it's a good compromise between size and quality, but you could tweak depending on your results.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-02-06T07:01:59.913" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10116" PostTypeId="1" CreationDate="2014-02-06T10:32:37.297" Score="1" ViewCount="20746" Body="&lt;p&gt;I need to add an image above a movie, i.e not overlaying the movie itself. I see this being broken down into two parts:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Change the canvas size to create a region at the top for the image to go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Add the image&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've used picture-in-picture to add the image to the screen, which is fine, but that obviously overlays the video. I feel that if I can change the canvas size (I would prefer not to zoom) then I can use picture-in-picture. Is that the best way or is there a cleaner way to do this? How would you go about doing that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a sidenote, I have iMovie 10 and iMovie 9 so I can use either on this.&lt;/p&gt;&#xA;" OwnerUserId="5538" LastActivityDate="2019-02-12T17:58:55.937" Title="Adding an image above a video in imovie" Tags="|video-editor|editing|imovie|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10117" PostTypeId="1" AcceptedAnswerId="10119" CreationDate="2014-02-06T11:51:18.053" Score="0" ViewCount="383" Body="&lt;p&gt;I am using a HD Video Camera with a max resolution of 1920x1080. It is a &lt;a href=&quot;http://www.canon.co.uk/For_Home/Product_Finder/Camcorders/High_Definition_HD/LEGRIA_HF_M32/&quot; rel=&quot;nofollow&quot;&gt;Canon Legria HF M32&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to record the videos using my PC. I have a component cable to USB adapter. My problem is the max resolution this allows me to record at is roughly 700x500.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to record at a higher resolution on my PC?&lt;/p&gt;&#xA;" OwnerUserId="5540" LastActivityDate="2014-02-06T21:04:43.067" Title="High resolution recording with component cable" Tags="|recording|video-recording|live-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10119" PostTypeId="2" ParentId="10117" CreationDate="2014-02-06T15:33:09.217" Score="1" Body="&lt;p&gt;If you are actually using a component cable (3 or 5 connectors with 2 more for audio) then you should be able to do HD signals unless your capture device or source device is limiting you.  Based on the SD resolution limit, it sounds like you may actually be using a composite cable though (1 yellow cable for video and a white and red cable for audio).  Composite cables only go up to SD resolution (more accurately 720 by 480 for NTSC and I forget the exact resolution for PAL but it is 576 horizontal lines.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to record HD videos using your PC you will need an actual HD capture device.  I'd personally recommend going with something HDMI based since your camera supports HDMI out.  This would prevent quality loss from going to analog and back to digital (component video cables are still analog).  Such devices aren't super cheap though.  Devices like the Black Magic Intensity or Matrox MX02 will handle your needs, but they are in the $200 price range.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-06T21:04:43.067" LastActivityDate="2014-02-06T21:04:43.067" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10120" PostTypeId="2" ParentId="10110" CreationDate="2014-02-06T15:36:58.077" Score="1" Body="&lt;p&gt;I would honestly suggest outputting the whole thing to a lossless format and then using another tool to split the file.  Depending on if you have audio, it could be particularly easy to do by exporting as an image sequence and simply moving and renaming the images for each 30 second clip and then encoding each.  If they have audio, then you'd want to actually use something like FFMpeg for splitting the file though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-06T15:36:58.077" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10124" PostTypeId="2" ParentId="10116" CreationDate="2014-02-07T00:10:42.873" Score="1" Body="&lt;p&gt;In my experience (2 years), there's not a great way to accomplish this. Here's how I would do it:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Make an additional &quot;background image&quot;, in the dimensions of your typical video (16x9, I assume).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Drag your original image over that background image, at the top, leaving room for (later) the video clip at the bottom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Save that image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) Bring that image into your iMovie timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5) Drag your video clip onto it as a picture-in-picture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;:)&lt;/p&gt;&#xA;" OwnerUserId="5546" LastEditorUserId="5546" LastEditDate="2014-02-07T18:56:59.497" LastActivityDate="2014-02-07T18:56:59.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10125" PostTypeId="2" ParentId="10104" CreationDate="2014-02-07T00:16:52.580" Score="0" Body="&lt;p&gt;Find a tall slide in a playground, and slide the phone down that. If you cut it right, you could show the hero's face, then swish pan to what appears to be a P.O.V. but you actually CUT to your shot from the slide (which should start with a swish pan).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also probably fake it by placing the camera 10 meters from a building and panning down quickly.  If you cut that in between your &quot;I'm at the top of a building&quot; shot and your &quot;I just landed on the ground&quot; shot, that would look pretty believable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could get a more comedic effect with a tall still shot of the front of a building, which you could &quot;truck&quot; down in post production (like in iMovie). I trucked horizontally across a still shot in post-production, to give the appearance that I was panning with a pie as it flew across the sky. The pie was a picture-in-picture element in iMovie, and the background was a very wide shot of trees (aspect ratio of about 1x10).&lt;/p&gt;&#xA;" OwnerUserId="5546" LastEditorUserId="5546" LastEditDate="2014-02-07T00:32:16.590" LastActivityDate="2014-02-07T00:32:16.590" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10128" PostTypeId="1" AcceptedAnswerId="10158" CreationDate="2014-02-07T08:15:24.060" Score="1" ViewCount="9410" Body="&lt;p&gt;I have some problem with video and its representation on youtube. When I upload video which was encoded with MPEG4 or H.264 codec, I get bad quality video after youtube processing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is this video. And what is my task. &#xA;I get source video from Iphone, Ipad, Ipod. Format of this video is - mp4. Then, I decode this video on frames with Java Library - Xuggler. This library is a wrapper of ffmpeg. After some filters on frames, I encode this frames on final video. I use codec MPEG-4 and try H.264, final format - mp4. And this final video is fine. It has the same quality as source video, when I play this video on Windows Media Player. But, when I upload video on youtube, after processing I get video with bad quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is characteristics of source video, after uploading on youtube it doesn't lose quality:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/920ki.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And this is characteristics of final video. It loses quality after youtube processing:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/g71K4.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5542" LastEditorUserId="5542" LastEditDate="2014-02-07T09:11:12.977" LastActivityDate="2018-03-19T14:19:19.670" Title="Youtube convert my video on bad quality" Tags="|video|youtube|codec|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10129" PostTypeId="1" CreationDate="2014-02-07T09:13:15.960" Score="2" ViewCount="133" Body="&lt;p&gt;I currently use a mac pro for importing mxf files into FCP (equivalent to converting to prores, I believe) at about 3x realtime @29.97fps.  I want to get a machine to run ffmpeg &amp;amp; do the conversion from mxf to prores, and then import those to fcp.  From my testing, that import is instant.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On a 4 core PC with plenty of ram but a horrible GPU, using ffmpeg I can only get about 0.7x realtime for the same conversion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I'm looking to buy a computer to install linux &amp;amp; ffmpeg onto which would be able to tear through these faster.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the important things to consider?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CPU number/Core count&#xA;CPU speed&#xA;CPU cache size&lt;/p&gt;&#xA;&#xA;&lt;p&gt;RAM/mobo speed&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Graphics card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmpeg seems to be maxing out 4 cores on the current PC.  But I haven't been able to find out what other hardware it'd be able to use to speed this up.  Does ffmpeg even use the video card for this kind of encoding?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I get an 8 core beast, how fast can linux prores encoding get with ffmpeg?  Or is the fast way to do this to split it up and send chunks to different machines?  i.e. is ffmpeg good at splitting up the work between cores, or would that be better handled by something that could split up the work and send it out to independent machines and then stitch it back together?&lt;/p&gt;&#xA;" OwnerUserId="5548" LastActivityDate="2014-02-07T09:13:15.960" Title="What hardware should I get for a conversion farm for MXF =&gt; Prores" Tags="|hardware|final-cut-pro|encoding|mac|prores|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10132" PostTypeId="2" ParentId="10128" CreationDate="2014-02-07T15:02:37.123" Score="2" Body="&lt;p&gt;This is just a result of the compression that Youtube chooses to apply.  Your initial data rate for the video (3.5 megabits for an SD video) is exceptionally high and not really designed for streaming.  Youtube probably sees that it is only an SD stream and then drops the bit-rate accordingly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It may not be possible to get better quality since Youtube's system decides what compression settings to apply for their transcode, however you could try submitting videos which match with Youtube's &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow&quot;&gt;suggested transcode settings&lt;/a&gt; and that might help.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-07T15:02:37.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10133" PostTypeId="1" CreationDate="2014-02-07T16:59:27.820" Score="1" ViewCount="711" Body="&lt;p&gt;I'm looking at my options, I would like to buy an SSD to do RAM previews with but I'm not sure if it can be configured this way... is there anyone else that has tried this?&lt;/p&gt;&#xA;" OwnerUserId="5550" LastActivityDate="2014-02-08T10:47:18.297" Title="Is it possible to use an SSD for the RAM preview in After Effects CC?" Tags="|after-effects|preview|ssd|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10135" PostTypeId="2" ParentId="10104" CreationDate="2014-02-07T19:10:47.983" Score="1" Body="&lt;p&gt;I have another idea, based on a cliff-jumping technique (which I can't remember the name of).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Decide on a suitably tall building that has roof access.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Get a rope that is a meter shorter than the building is tall.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Build a sturdy case for the iPhone, attached to one end of the rope.  The case only needs to have one small hole for the camera lens.  (I would build it of paper or cardboard, and then wrap it with duct tape.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) At the top of the roof, one person holds the camera and that end of the rope, at the edge of the roof. Another person holds the camera and moves SEVERAL METERS AWAY from the person holding the rope, also standing at the edge of the roof.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5) When the phone is dropped it will only free-fall partway down the building before the rope becomes straight. HOWEVER, since the person holding the rope isn't directly above the falling iPhone, the rope will more GENTLY swing the phone to the side instead of stopping it abruptly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Test this first with something that weighs the same as your iPhone but isn't as valueable (like a piece of wood or a small book).  Figure out where to stand so it doesn't hit the wall when it's swinging.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this works!  Good luck!!&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-02-07T19:10:47.983" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10136" PostTypeId="5" CreationDate="2014-02-07T21:39:38.830" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-07T21:39:38.830" LastActivityDate="2014-02-07T21:39:38.830" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10137" PostTypeId="4" CreationDate="2014-02-07T21:39:38.830" Score="0" Body="The process of converting a media file from one format to another or changing the compression settings used." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-07T21:39:38.830" LastActivityDate="2014-02-07T21:39:38.830" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10138" PostTypeId="1" AcceptedAnswerId="10139" CreationDate="2014-02-08T02:23:32.777" Score="0" ViewCount="65" Body="&lt;p&gt;Trying to work out if you upload a live stream if it is routed and just played or if it saves into a folder. So for example if you set up a webcam 24 hours and relay that online if that just broadcasts and you then can configure options to save, otherwise it just plays? It would take up a lot of space if were saving to server so trying to be clear on it. Any help to understand greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="5274" LastActivityDate="2014-02-08T02:33:07.967" Title="live stream saved or not" Tags="|webvideos|live-recording|" AnswerCount="1" CommentCount="1" ClosedDate="2014-05-16T23:26:24.527" ContentLicense="CC BY-SA 3.0" />
  <row Id="10139" PostTypeId="2" ParentId="10138" CreationDate="2014-02-08T02:33:07.967" Score="0" Body="&lt;p&gt;It depends on the configuration and choice of streaming server.  You can generally configure stream servers to either record live streams or simply relay them.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-08T02:33:07.967" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10140" PostTypeId="2" ParentId="10133" CreationDate="2014-02-08T10:47:18.297" Score="2" Body="&lt;p&gt;An SSD is a replacement for a hard drive, not a replacement for RAM. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;RAM previews are rendered into your computer's system RAM, not to internal storage (and then you can save the RAM preview to disk if you wish).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Having said that, I recently replaced a 7200rpm internal hard drive in my macbook pro, and added some more RAM. It makes a huge difference to the speed of loading and saving, and seems to improve render times to some extent too. It's like buying a new computer- I would definitely recommend it.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-02-08T10:47:18.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10141" PostTypeId="1" CreationDate="2014-02-08T23:29:11.703" Score="3" ViewCount="2953" Body="&lt;p&gt;I know that motion estimation has to do with calculating motion vectors, but where does motion compensation come into play. Can't we just do it with motion vectors, since, we are still calculating the differences in the displacement of the blocks in the reference and the target frames. &lt;/p&gt;&#xA;" OwnerUserId="2161" LastActivityDate="2016-08-07T04:47:28.370" Title="What is the underlying difference between motion compensation and motion estimation?" Tags="|encoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10142" PostTypeId="2" ParentId="10141" CreationDate="2014-02-09T20:42:34.757" Score="2" Body="&lt;p&gt;Motion compensation is the use of the motion estimation information to achieve compression.  If you can describe the motion, then you only have to describe the changes that occur after compensating for that motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used &lt;a href=&quot;http://www.cmlab.csie.ntu.edu.tw/cml/dsp/training/coding/motion/me1.html&quot; rel=&quot;nofollow&quot;&gt;this article&lt;/a&gt; as a primer.  Basically the first involves how you determine what movement is happening and the other is then used to determine what information changed after the movement and to describe what changes need to occur for playback.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-09T20:42:34.757" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10145" PostTypeId="2" ParentId="4895" CreationDate="2014-02-10T07:39:53.213" Score="7" Body="&lt;p&gt;Yes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/M4V&quot; rel=&quot;noreferrer&quot;&gt;M4V&lt;/a&gt; is a slight extension to the &lt;a href=&quot;http://en.wikipedia.org/wiki/MPEG-4_Part_14&quot; rel=&quot;noreferrer&quot;&gt;MP4&lt;/a&gt; container format. M4V is Apple's version, which adds optional DRM-encryption.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if the video is DRM-protected (i.e. came from the iTunes store) it should stay as m4v (and will open by default in iTunes). If it's not, it can be used with either extension, and many players will be happy either way. By default, .m4v files will open with iTunes, which may be convenient.&lt;/p&gt;&#xA;" OwnerUserId="3141" LastActivityDate="2014-02-10T07:39:53.213" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10146" PostTypeId="1" AcceptedAnswerId="12293" CreationDate="2014-02-10T09:05:02.127" Score="7" ViewCount="1002" Body="&lt;p&gt;I have a rather effect-heavy clip in my project. I made it a separate sequence using &lt;em&gt;nest&lt;/em&gt; from the context menu and rendered its preview to see it's ok.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now that it's rendered(shows green on top of the timeline), I go to the main sequence and notice that Premiere has to render the nested sequence again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, is there any way to make Premiere reuse these already rendered previews in a nested sequence either through native settings or a plugin?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Premiere Pro CC on Win 8.1&lt;/p&gt;&#xA;" OwnerUserId="3980" LastActivityDate="2016-03-06T16:10:18.080" Title="Is there a way to make Premiere reuse nested previews?" Tags="|premiere|preview|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10147" PostTypeId="1" AcceptedAnswerId="10148" CreationDate="2014-02-10T15:40:20.537" Score="2" ViewCount="2395" Body="&lt;p&gt;My goal is to get a high bitrate video to a friend of mine, so he can then use the video and edit it for another use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am to the point where i need to export the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What export option is going to keep the best quality and bitrate but still be under 2 gigs? My video is currently 12 minutes long, but i can shorten it into 4 minute sections.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, what is the best export option to keep a high bitrate and quality and get 4 minutes under 2 gigs. 1080p @ 60fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Screenshots of lightworks pro export options. It is not all of them, but let me know if you would like to see more of the options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Picture of the format options:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/P7utB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;AVI&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/IPXdF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Image Sequence&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/nkf2f.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;MOV&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/pZPnc.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;MXF&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/phgvA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;WAV&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/CVApn.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5562" LastEditorUserId="5562" LastEditDate="2014-02-11T21:51:46.253" LastActivityDate="2014-02-11T21:51:46.253" Title="Export high bitrate video in lightworks" Tags="|video-quality|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10148" PostTypeId="2" ParentId="10147" CreationDate="2014-02-10T15:54:39.783" Score="3" Body="&lt;p&gt;Depending on your definition of high quality, this is impossible.  For comparison sake, DV video (at standard definition) takes a gigabyte per 4.7 minutes, which is at a good, high quality level of compression.  You are trying to do 60fps 1080p video and get it under 2GB for 4 minutes.  That's over 12 times the information and you are trying to fit it in just over twice the space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to see how it works out when you use the highest possible quality that will fit your size requirements, you can simply calculate the data rate. Create a 2-pass VBR encoding with an average data rate determined by the size and time.  The file size is equal to the data rate times the number of seconds in the video.  2 pass VBR will ensure that the best possible use is made of that space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You mention that you can break it up in to 4 minute sections to send over.  Why is it that you can't split the files (using file tools rather than video tools) and have them reassembled on the other side?  Is it a file size limitation or a file transfer limitation?  Also, is there a reason you can't send the original files along with the project files?  Each additional time that you encode, there is a slight bit of quality loss, so it is preferable to work from the original assets whenever possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another possibility if you are working collaboratively and have issues with moving a huge amount of data.  It is possible to output low quality copies of the original video files and substitute those files for the high quality versions when working on them remotely.  Your friend would take your project files and the low quality assets, do any editing he wants, and then send the project files back to you.  You could then render the final output based on your friend's editing decisions but using the original, full quality assets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason you don't want to go to a smaller file size in-between is that each time you encode a video, quality is lost.  The lower quality the source you are working from, the more is lost in each additional encoding, so if you move to a mid-range format early on, then the final output will suffer.  If you run the render from the originals however, you get maximum quality.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-10T16:34:48.420" LastActivityDate="2014-02-10T16:34:48.420" CommentCount="14" ContentLicense="CC BY-SA 3.0" />
  <row Id="10149" PostTypeId="1" AcceptedAnswerId="10150" CreationDate="2014-02-10T19:29:33.670" Score="1" ViewCount="213" Body="&lt;p&gt;I want to record screen and add some zoom effects like in this video: &lt;a href=&quot;https://vimeo.com/59343034&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/59343034&lt;/a&gt; (for example at 00:11)&#xA;Can you tell me, how can I do that?&lt;/p&gt;&#xA;" OwnerUserId="5563" LastActivityDate="2014-02-10T19:33:54.143" Title="Screen recording 3d zoom" Tags="|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10150" PostTypeId="2" ParentId="10149" CreationDate="2014-02-10T19:33:54.143" Score="0" Body="&lt;p&gt;That is a very simple perspective shift or 3d transform of a video layer.  It can be fairly easily accomplished in any decent non-linear video editor or trivially in After Effects.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You simply have to scale the video to fill the frame and then apply a perspective distortion to it to make it appear to be off angle from the &quot;camera&quot;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, a 3d layer can be used in After Effects and the plane the video is being played back on can actually be moved closer to the camera and rotated.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-10T19:33:54.143" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10151" PostTypeId="1" AcceptedAnswerId="10156" CreationDate="2014-02-10T19:47:35.537" Score="4" ViewCount="23065" Body="&lt;p&gt;I'm using After Effects CS3 (&lt;em&gt;yeah, I know it's old&lt;/em&gt;) and I'm rendering my composition out. When I &lt;strong&gt;Add to Render Queue&lt;/strong&gt; I have to change the settings like &lt;strong&gt;Render Settings &amp;amp; Output Module&lt;/strong&gt; every time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to set these once and have AE use them every time you &lt;strong&gt;Add to Render Queue&lt;/strong&gt;?&lt;/p&gt;&#xA;" OwnerUserId="4007" LastActivityDate="2014-09-06T05:12:30.990" Title="How to Set the defaults for Render Queue in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10152" PostTypeId="5" CreationDate="2014-02-10T20:02:38.457" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2014-02-10T20:02:38.457" LastActivityDate="2014-02-10T20:02:38.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10153" PostTypeId="4" CreationDate="2014-02-10T20:02:38.457" Score="0" Body="The term &quot;camcorder&quot; is used to describe a portable, self-contained device, with video capture and recording its primary function." OwnerUserId="5416" LastEditorUserId="5416" LastEditDate="2014-02-11T13:19:22.663" LastActivityDate="2014-02-11T13:19:22.663" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10154" PostTypeId="1" AcceptedAnswerId="10222" CreationDate="2014-02-10T20:07:04.597" Score="1" ViewCount="1153" Body="&lt;p&gt;For JVC Adixxion, there is &quot;ADIXXION sync.&quot; app, available for Android and iOS devices. The app's page states, that it is dedicated to JVC GC-XA2. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Will this app work also with GC-XA1 model? Are there any limitations, or features, that would not work with XA1?&lt;/p&gt;&#xA;" OwnerUserId="5416" LastEditorUserId="5416" LastEditDate="2014-04-01T17:27:49.293" LastActivityDate="2014-04-01T17:27:49.293" Title="Smartphone app for JVC Adixxion" Tags="|action-cam|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10156" PostTypeId="2" ParentId="10151" CreationDate="2014-02-10T20:42:16.670" Score="8" Body="&lt;p&gt;I'm pretty sure it hasn't changed since CS3 (in fact It's been the same for as long as I can remember): in &lt;code&gt;Edit &amp;gt; Templates &amp;gt; Render Settings &amp;gt;&lt;/code&gt;. Another way of getting to this dialogue is from the &lt;code&gt;Render Settings&lt;/code&gt; drop-down in the render queue. At the bottom of the list of templates in the drop-down is &lt;code&gt;Make Template…&lt;/code&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Choosing that brings up the dialogue box pictured below. Up the top of the dialogue box you'll find &lt;code&gt;Movie Default&lt;/code&gt;; set that to whatever template you want to be the default for renders. If you haven't got a template that has the settings you need then you can make one here - hit the &lt;code&gt;New&lt;/code&gt; button, set all your settings and give it a name.  I find duplicating an existing one and modifying it a useful way to go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Same goes for the output modules, which you get to from &lt;code&gt;Edit &amp;gt; Templates &amp;gt; Output Modules&lt;/code&gt;, or from the &lt;code&gt;Output Modules&lt;/code&gt; drop-down in the render queue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/plOFl.png&quot; alt=&quot;enter image description here&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/KB2Pg.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2014-02-10T22:16:33.013" LastActivityDate="2014-02-10T22:16:33.013" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10157" PostTypeId="1" CreationDate="2014-02-11T05:07:58.600" Score="1" ViewCount="43" Body="&lt;p&gt;How do I link the parameters of one element to another so that they mimic each other but have there be a 1-2sec delay in the mirroring behavior?  Normally I would use a link behavior to join the parameters but that doesn't allow you to set a delay as far as I am aware.&lt;/p&gt;&#xA;" OwnerUserId="5565" LastActivityDate="2014-02-11T05:07:58.600" Title="Motion 5 - Link Parameters but Trail or Lag Value by a Few Seconds" Tags="|animation|motion|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10158" PostTypeId="2" ParentId="10128" CreationDate="2014-02-11T08:24:48.633" Score="1" Body="&lt;p&gt;I'm going to repost a section of my answer from &lt;a href=&quot;https://video.stackexchange.com/questions/4250/upload-a-video-to-youtube-without-losing-contrast/10079#10079&quot;&gt;this question&lt;/a&gt;, as it seems generally relevant:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;YouTube (as well as Vimeo, and practically every other video website&#xA;  nowadays) works using the H.264 codec. Here are &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube's&#xA;  instructions&lt;/a&gt; for how they'd like videos to be encoded for upload.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;The TL;DR version of that page:&lt;/p&gt;&#xA;  &#xA;  &lt;blockquote&gt;&#xA;    &lt;ul&gt;&#xA;    &lt;li&gt;Container: .mp4&lt;/li&gt;&#xA;    &lt;li&gt;Audio Codec: AAC-LC&lt;/li&gt;&#xA;    &lt;li&gt;Video Codec: H.264&lt;/li&gt;&#xA;    &lt;/ul&gt;&#xA;  &lt;/blockquote&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;When you upload the incorrect codec - like AVC-HD you are using above, YouTube has to re-encode your video, resulting in the loss of quality and contrast you have been experiencing.&lt;/p&gt;&#xA;" OwnerUserId="2598" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-02-11T08:24:48.633" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10159" PostTypeId="1" AcceptedAnswerId="10160" CreationDate="2014-02-11T17:06:34.590" Score="3" ViewCount="1454" Body="&lt;p&gt;I have a Canon Vixia HF G20 and I cannot find anywhere in the manual about an external mic in stereo mode. The &quot;advanced hot shoe&quot; does support stereo and surround sound but through the Line In/Mic port on the camera I can't seem to produce stereo sound. My source is definitely stereo. Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="5566" LastActivityDate="2016-05-16T17:29:57.157" Title="Is it possible to have stereo sound from an external mic on a Canon Vixia HF G20" Tags="|video|recording|digital|audio|stereo|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10160" PostTypeId="2" ParentId="10159" CreationDate="2014-02-11T17:18:39.337" Score="1" Body="&lt;p&gt;According to the Using Commercially Available Microphones section on page 76 of the manual for the HF G20, it should be possible to connect a stereo microphone to the external mic connection.  There may be some problem with the kind of a source you are using or the way you are connecting it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-11T17:18:39.337" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10161" PostTypeId="1" AcceptedAnswerId="10162" CreationDate="2014-02-11T17:43:39.917" Score="4" ViewCount="1064" Body="&lt;p&gt;I'm currently trying to get distributed processing to work using two different computers on the same network running the same versions of osx, fcpx, and compressor. When I go to choose the group I made from the &quot;process on:&quot; dropdown, it will not let me choose the group that I made. I'm trying to export to compressor directly from FCPX, and that works, but it would be much faster if I could farm out the videos from this computer to my other mac. Does anyone have any idea why I can't select my group?&lt;/p&gt;&#xA;" OwnerUserId="5567" LastEditorUserId="2836" LastEditDate="2014-02-11T17:54:12.883" LastActivityDate="2014-02-11T17:54:12.883" Title="Compressor 4.1: Why can't I select the group I made for distributed processing?" Tags="|video|software|final-cut-pro-x|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10162" PostTypeId="2" ParentId="10161" CreationDate="2014-02-11T17:52:15.190" Score="1" Body="&lt;p&gt;Compressor 4.1 does not support distributed renderings for other programs (such as FCPX).  This is documented on page 11 of the &lt;a href=&quot;http://images.apple.com/final-cut-pro/docs/Transitioning_to_Compressor.pdf&quot; rel=&quot;nofollow&quot;&gt;Transitioning To Compressor document&lt;/a&gt;.  You can only do distributed encoding for transcodes defined entirely within Compressor, not renders.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-11T17:52:15.190" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10163" PostTypeId="2" ParentId="10159" CreationDate="2014-02-11T19:36:12.103" Score="1" Body="&lt;p&gt;Verify again that your source is indeed a stereo source and that your cabling is TRS cabling. I own this same camera and have been able to record audio in full stereo and also on only one side of the stereo spectrum.&lt;/p&gt;&#xA;" OwnerUserId="4677" LastActivityDate="2014-02-11T19:36:12.103" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10165" PostTypeId="2" ParentId="2196" CreationDate="2014-02-11T20:12:08.473" Score="1" Body="&lt;p&gt;Your best bet for transferring any type of media file will be to zip it along with any session files/data first to preserve the file types. Once you zip your files you can use any external hard drive to make the transfer from one machine to another.&lt;/p&gt;&#xA;" OwnerUserId="4677" LastActivityDate="2014-02-11T20:12:08.473" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10167" PostTypeId="2" ParentId="9452" CreationDate="2014-02-12T08:56:18.667" Score="2" Body="&lt;p&gt;By &quot;actual size&quot; I suppose you want to conform your footage &lt;em&gt;pixel to pixel&lt;/em&gt; instead of &lt;em&gt;frame to frame&lt;/em&gt;. For this you will need to change &lt;em&gt;Spatial Conform&lt;/em&gt; to &lt;em&gt;None&lt;/em&gt; in the inspector.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The new default behavior in FCP is to scale your footage to either &quot;fit&quot; or &quot;fill&quot; the project's frame, the difference being only relevant when your footage doesn't have the same aspect as the project's. This conforming defines the actual 100% Scale in the Transform panel. So make sure the scale is also set to 100%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can find more information about Spatial Conform in it's &lt;a href=&quot;https://support.apple.com/kb/PH12648&quot; rel=&quot;nofollow&quot;&gt;documentation&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="5569" LastEditorUserId="5569" LastEditDate="2014-02-12T16:02:29.840" LastActivityDate="2014-02-12T16:02:29.840" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10168" PostTypeId="1" AcceptedAnswerId="10169" CreationDate="2014-02-12T18:34:07.377" Score="3" ViewCount="111" Body="&lt;p&gt;I'm working on one of those videos where there's a voice over and text follows it, one sentence appearing at a time. I lose quite a lot of time having to generate or copy media and having to &quot;feed it&quot; once sentence at a time. I have complete control over the format of the text, so is there any way for me to feed 25 sentences to Vegas and have it generate 25 media elements for me, putting one sentence to each of them? I'm open to ANY suggestion, as the method I use now just takes a lot of time alttabing and copying sentence by sentence.&lt;/p&gt;&#xA;" OwnerUserId="5572" LastActivityDate="2014-02-12T19:53:43.343" Title="Sony Vegas Text Parser?" Tags="|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10169" PostTypeId="2" ParentId="10168" CreationDate="2014-02-12T19:53:43.343" Score="2" Body="&lt;p&gt;Take a look at Vegasaur's &lt;a href=&quot;http://vegasaur.com/text-generation-wizard&quot; rel=&quot;nofollow&quot;&gt;TextGen&lt;/a&gt;.&#xA;It can import text from SRT, SUB and CSV files, or you can create 25 markers, paste 25 sentences and generate 25 media elements (one sentence for each text media)&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-02-12T19:53:43.343" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10172" PostTypeId="1" CreationDate="2014-02-13T10:00:22.820" Score="4" ViewCount="4000" Body="&lt;p&gt;I have mxf files which went over the 2G limit, so were split up in the camera to produce two mxf files.  They have two audio streams, one from each mic, like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Duration: 00:10:01.60, start: 0.000000, bitrate: 27165 kb/s&#xA;Stream #0:0: Video: mpeg2video (Main), yuv420p(tv, bt709), 1440x1080 [SAR 4:3 DAR 16:9], max. 25000 kb/s, 29.97 fps, 29.97 tbr, 29.97 tbn, 59.94 tbc&#xA;Stream #0:1: Audio: pcm_s16le, 48000 Hz, 1 channels, s16, 768 kb/s&#xA;Stream #0:2: Audio: pcm_s16le, 48000 Hz, 1 channels, s16, 768 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I know how to concatenate them with ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;concat:a01.mxf|b02.mxf&quot; -y -c copy result.mxf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But, this combines the audio streams and produces a file with just one, merged stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also know how to split out the individual audio streams into individual files:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i a01.mxf -map 0:1 -vn one.aiff&#xA;ffmpeg -i a01.mxf -map 0:2 -vn two.aiff&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Grabs the streams and correctly transfers them across untouched.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, how to do this for the split up mxfs?  I could rip their sound, then join the video, then put the sound back in, but it seems really unnecessary, and there should be a way to use a big -map command to do all of this.&lt;/p&gt;&#xA;" OwnerUserId="5548" LastEditorUserId="5548" LastEditDate="2014-02-13T10:14:05.867" LastActivityDate="2014-02-13T10:35:49.997" Title="How to concatenate two mxf files with ffmpeg, preserving both audio channels?" Tags="|ffmpeg|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10173" PostTypeId="2" ParentId="10172" CreationDate="2014-02-13T10:35:49.997" Score="6" Body="&lt;p&gt;Apparently by default ffmpeg only copies one stream of each type.  To tell it to copy all streams, you need &lt;code&gt;-map 0&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, this does it:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;concat:a01.mxf|b02.mxf&quot; -y -map 0 -c copy result.mxf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5548" LastActivityDate="2014-02-13T10:35:49.997" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10174" PostTypeId="2" ParentId="9510" CreationDate="2014-02-13T16:48:36.943" Score="2" Body="&lt;p&gt;This is likely a video from a Sony/Vaio product having a vmp extension.  I don't know of any third party converters, however you should be able to export the video file from your Vaio/Sony product itself.  It'll automatically create an mpeg video file for you. &lt;/p&gt;&#xA;" OwnerUserId="5576" LastEditorUserId="2836" LastEditDate="2014-02-13T19:13:28.170" LastActivityDate="2014-02-13T19:13:28.170" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10175" PostTypeId="5" CreationDate="2014-02-13T20:56:33.277" Score="0" Body="&lt;p&gt;If you have a subscription to this tag, it means that one or more of the tags you were previously subscribed to are no longer a part of Video Production.  They have likely been migrated to &lt;a href=&quot;http://sound.stackexchange.com&quot;&gt;Sound Design&lt;/a&gt; and you will want to re-subscribe to tags of interest there.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-13T20:56:33.277" LastActivityDate="2014-02-13T20:56:33.277" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10176" PostTypeId="4" CreationDate="2014-02-13T20:56:33.277" Score="0" Body="This is an unused tag that acts as a place holder for former tags that were Audio Production specific and have been removed from the site." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-13T20:56:33.277" LastActivityDate="2014-02-13T20:56:33.277" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10177" PostTypeId="5" CreationDate="2014-02-13T21:53:43.407" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-13T21:53:43.407" LastActivityDate="2014-02-13T21:53:43.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10178" PostTypeId="4" CreationDate="2014-02-13T21:53:43.407" Score="0" Body="Black Magic Cinema Camera" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-13T21:53:43.407" LastActivityDate="2014-02-13T21:53:43.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10179" PostTypeId="5" CreationDate="2014-02-14T00:26:10.697" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:26:10.697" LastActivityDate="2014-02-14T00:26:10.697" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10180" PostTypeId="4" CreationDate="2014-02-14T00:26:10.697" Score="0" Body="Parts used for making repairs to a damaged device." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:26:10.697" LastActivityDate="2014-02-14T00:26:10.697" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10181" PostTypeId="5" CreationDate="2014-02-14T00:26:36.637" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:26:36.637" LastActivityDate="2014-02-14T00:26:36.637" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10182" PostTypeId="4" CreationDate="2014-02-14T00:26:36.637" Score="0" Body="A popular brand of professional video camera." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:26:36.637" LastActivityDate="2014-02-14T00:26:36.637" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10183" PostTypeId="5" CreationDate="2014-02-14T00:28:13.677" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:28:13.677" LastActivityDate="2014-02-14T00:28:13.677" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10184" PostTypeId="4" CreationDate="2014-02-14T00:28:13.677" Score="0" Body="A magnetic media that can hold either analog or digital data.  It is generally a thin strip wrapped around a wheel and will spin from one wheel to another while being played back." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:28:13.677" LastActivityDate="2014-02-14T00:28:13.677" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10185" PostTypeId="5" CreationDate="2014-02-14T00:29:16.620" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:29:16.620" LastActivityDate="2014-02-14T00:29:16.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10186" PostTypeId="4" CreationDate="2014-02-14T00:29:16.620" Score="0" Body="A high speed digital I/O connector.  It is a descendant of Firewire and primarily used with computers made by Apple." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:29:16.620" LastActivityDate="2014-02-14T00:29:16.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10187" PostTypeId="5" CreationDate="2014-02-14T00:30:02.360" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:30:02.360" LastActivityDate="2014-02-14T00:30:02.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10188" PostTypeId="4" CreationDate="2014-02-14T00:30:02.360" Score="0" Body="A basic video editing application that is included with certain versions of Microsoft Windows." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:30:02.360" LastActivityDate="2014-02-14T00:30:02.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10189" PostTypeId="5" CreationDate="2014-02-14T00:30:50.910" Score="0" Body="&lt;p&gt;Adobe After Effects allows the user to parametrically control any of the properties of a layer that can be animated using scripting. The scripting language is based on Javascript.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Expressions have read access to all the properties of any layer, composition or source in the project, as well as being able to sample pixel values for layers and compositions. They are not however, able to change the pixels of a composition directly, or alter any property apart from the property to which they are applied.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Expressions are calculated with each frame (or more accurately every time the composition is rendered, which can be many times per frame with motion blur) and are unable to store values between frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Expressions should not be confused with the Extendscript scripting framework, which can be used to control the application itself.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="1950" LastEditDate="2017-07-24T14:08:31.457" LastActivityDate="2017-07-24T14:08:31.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10190" PostTypeId="4" CreationDate="2014-02-14T00:30:50.910" Score="0" Body="A script used to set a property value for a layer in an After Effects composition." OwnerUserId="2836" LastEditorUserId="1950" LastEditDate="2017-07-24T14:08:31.457" LastActivityDate="2017-07-24T14:08:31.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10191" PostTypeId="5" CreationDate="2014-02-14T00:34:40.760" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:34:40.760" LastActivityDate="2014-02-14T00:34:40.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10192" PostTypeId="4" CreationDate="2014-02-14T00:34:40.760" Score="0" Body="A list of media files which should be played back, generally in order." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:34:40.760" LastActivityDate="2014-02-14T00:34:40.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10193" PostTypeId="5" CreationDate="2014-02-14T00:46:56.520" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:46:56.520" LastActivityDate="2014-02-14T00:46:56.520" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10194" PostTypeId="4" CreationDate="2014-02-14T00:46:56.520" Score="0" Body="The operating system used by Apple's mobile devices such as the iPad, iPhone and iPod Touch." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:46:56.520" LastActivityDate="2014-02-14T00:46:56.520" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10195" PostTypeId="5" CreationDate="2014-02-14T00:48:18.670" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:48:18.670" LastActivityDate="2014-02-14T00:48:18.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10196" PostTypeId="4" CreationDate="2014-02-14T00:48:18.670" Score="0" Body="A media asset format that is optimized for quality and performance.  This type of format is generally used after shooting, while editing and before encoding to a more highly compressed final output." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:48:18.670" LastActivityDate="2014-02-14T00:48:18.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10197" PostTypeId="5" CreationDate="2014-02-14T00:48:48.203" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:48:48.203" LastActivityDate="2014-02-14T00:48:48.203" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10198" PostTypeId="4" CreationDate="2014-02-14T00:48:48.203" Score="0" Body="An open source audio/video library." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:48:48.203" LastActivityDate="2014-02-14T00:48:48.203" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10199" PostTypeId="5" CreationDate="2014-02-14T00:49:23.643" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:49:23.643" LastActivityDate="2014-02-14T00:49:23.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10200" PostTypeId="4" CreationDate="2014-02-14T00:49:23.643" Score="0" Body="An open-source media container format." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:49:23.643" LastActivityDate="2014-02-14T00:49:23.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10201" PostTypeId="5" CreationDate="2014-02-14T00:50:17.727" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:50:17.727" LastActivityDate="2014-02-14T00:50:17.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10202" PostTypeId="4" CreationDate="2014-02-14T00:50:17.727" Score="0" Body="Removal of dirt and debris." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:50:17.727" LastActivityDate="2014-02-14T00:50:17.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10203" PostTypeId="5" CreationDate="2014-02-14T00:51:21.547" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:51:21.547" LastActivityDate="2014-02-14T00:51:21.547" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10204" PostTypeId="4" CreationDate="2014-02-14T00:51:21.547" Score="0" Body="An extended pole from which a microphone or other production related device can be mounted to hold it over a scene." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:51:21.547" LastActivityDate="2014-02-14T00:51:21.547" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10205" PostTypeId="5" CreationDate="2014-02-14T00:52:03.457" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:52:03.457" LastActivityDate="2014-02-14T00:52:03.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10206" PostTypeId="4" CreationDate="2014-02-14T00:52:03.457" Score="0" Body="A device (either physical or software) that converts from one format to another." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:52:03.457" LastActivityDate="2014-02-14T00:52:03.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10207" PostTypeId="5" CreationDate="2014-02-14T00:52:57.710" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:52:57.710" LastActivityDate="2014-02-14T00:52:57.710" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10208" PostTypeId="4" CreationDate="2014-02-14T00:52:57.710" Score="0" Body="Aspect Ratio is the ratio between the width and the height of a video asset." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:52:57.710" LastActivityDate="2014-02-14T00:52:57.710" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10209" PostTypeId="5" CreationDate="2014-02-14T00:54:25.297" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:54:25.297" LastActivityDate="2014-02-14T00:54:25.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10210" PostTypeId="4" CreationDate="2014-02-14T00:54:25.297" Score="0" Body="A screen that is a set shade of blue.  This screen is used so that when a subject is filmed in front of it, the screen can easily be removed and replaced with any background." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T00:54:25.297" LastActivityDate="2014-02-14T00:54:25.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10211" PostTypeId="5" CreationDate="2014-02-14T02:39:11.593" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T02:39:11.593" LastActivityDate="2014-02-14T02:39:11.593" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10212" PostTypeId="4" CreationDate="2014-02-14T02:39:11.593" Score="0" Body="Recording while away from a studio or preset environment (ie, in the field)." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T02:39:11.593" LastActivityDate="2014-02-14T02:39:11.593" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10213" PostTypeId="5" CreationDate="2014-02-14T02:53:58.993" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T02:53:58.993" LastActivityDate="2014-02-14T02:53:58.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10214" PostTypeId="4" CreationDate="2014-02-14T02:53:58.993" Score="0" Body="Operation (or the thing the operator does) to operate their equipment." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T02:53:58.993" LastActivityDate="2014-02-14T02:53:58.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10215" PostTypeId="5" CreationDate="2014-02-14T03:30:10.283" Score="0" Body="" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T03:30:10.283" LastActivityDate="2014-02-14T03:30:10.283" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10216" PostTypeId="4" CreationDate="2014-02-14T03:30:10.283" Score="0" Body="Solid State Hard Drives or SSDs are storage devices which do not require moving parts and can read and write data much faster than traditional disk drives." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-14T03:30:10.283" LastActivityDate="2014-02-14T03:30:10.283" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10217" PostTypeId="1" CreationDate="2014-02-14T03:49:13.017" Score="2" ViewCount="519" Body="&lt;p&gt;In Quicktime pro you can turn off streams in movies, without deleting the stream. Is it possible to do this with a command line application like ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a bunch of video files that were recorded with both the crappy on-camera mic and a separate audio recorder. I've synched the sound and added it to the video, and now each clip has two audio streams. I want to keep the original audio, for reference and archival purposes but disable it. It's obviously done in metadata, but can it be done by ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-02-15T23:48:53.497" Title="disabling streams in quicktime movies with ffmpeg" Tags="|ffmpeg|quicktime|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10218" PostTypeId="2" ParentId="10116" CreationDate="2014-02-14T07:43:18.960" Score="0" Body="&lt;p&gt;I tried imovie several times and found your problem can't be solved in imovie because your image inserted via PIP can't be changed to transparency, while transparent image can solve your problem here. Fortunately, the company I work with makes a piece of software called Wondershare Video Editor that can make it. But you may need to borrow a PC first. (This function only supports by Windows version right now). Here are the step by step:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;download and install the free trial version via cnet.com or their&#xA;official site, if you don't like watermark and won't pay for any&#xA;software, check the tricks to get 100% free lifetime codes here:&#xA;&lt;a href=&quot;http://software-insight.quora.com/How-to-Get-100-Free-Wondershare-License&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://software-insight.quora.com/How-to-Get-100-Free-Wondershare-License&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;import your image and video and them drag to the timeline (image should be in PIP timeline)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;move your image to the right place with right size you need, up to now, all of steps are similar with iMovie&lt;/li&gt;&#xA;&lt;li&gt;then double click the image in timeline you will enter the PIP editing section with different transitions, choose the advanced mode.&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;click the &quot;Effect&quot; tab, you will see a window as below:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/IIZZ6.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Number 1 is the image you insert (i just used one of my colleague's avatar)&#xA;Number 2 is the Effect tab&#xA;Number 3 is the transparent function area, which can solve your problem&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;Pick up &quot;Make parts of the clip transparet&quot; in Effect tab, then your image will show like this:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/ogkfi.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;Click save, preview it in preview window, you can see your image won't overlay your video and only float above&#xA;Good luck for you!&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="4954" LastEditorUserId="2836" LastEditDate="2014-02-20T15:15:40.650" LastActivityDate="2014-02-20T15:15:40.650" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10219" PostTypeId="2" ParentId="7136" CreationDate="2014-02-14T21:41:17.150" Score="3" Body="&lt;p&gt;There are a few things to consider. The MP4 spec was not designed for the playback of high frame rate files, because the files are highly compressed, and limited to using a single core for decompression. Even if you had 12 cores, the file would not decompress any faster. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The easiest way to solve your issue is to either encode the MP4 into another codec, or to do your editing and bounce out samples as needed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As @mivk above said, if this is mostly for slow-mo purposes, you can encode the MP4 into Animation codec, Photo-JPEG, or Cineform. These codecs stand a better chance at playing back the file in closer to real time, but even then, they will still have difficulty. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That might give you enough real-time playback though to be able to move into your editor, to do your slow-mo effects, then export the file to 24/30/60 FPS, which you should have no problem playing on your machine. &lt;/p&gt;&#xA;" OwnerUserId="5226" LastActivityDate="2014-02-14T21:41:17.150" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10220" PostTypeId="2" ParentId="7077" CreationDate="2014-02-15T01:21:17.920" Score="1" Body="&lt;p&gt;It is indeed impossible to put a title over a clip inside a multi cam clip... Unless you turn that clip into a compound clip. Then you can add whatever overlay you want to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you will have:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;keyframed clip with crosshair overlay&lt;/li&gt;&#xA;&lt;li&gt;inside a compound clip&lt;/li&gt;&#xA;&lt;li&gt;inside a multicam clip&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Just right click your the clip inside your multicam clip and choose New Compound Clip ( &lt;kbd&gt;⌥ &lt;/kbd&gt; + &lt;kbd&gt;G&lt;/kbd&gt; )&lt;/p&gt;&#xA;" OwnerUserId="5569" LastActivityDate="2014-02-15T01:21:17.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10222" PostTypeId="2" ParentId="10154" CreationDate="2014-02-15T14:02:27.797" Score="2" Body="&lt;p&gt;&quot;ADIXXION sync.&quot; does not work wit XA1. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, another app, WiVideo works with XA1. It is available for Android and iOS. For PC, the camera comes with Windows version of WiVideo.&lt;/p&gt;&#xA;" OwnerUserId="5416" LastActivityDate="2014-02-15T14:02:27.797" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10223" PostTypeId="2" ParentId="9942" CreationDate="2014-02-15T21:56:55.813" Score="6" Body="&lt;p&gt;MP4 has not really an official meaning, but it adds a lot to the MPEG-confusion. MP4 refers to MPEG-4 which is a huge collection of video-related standards that has been growing for more than 20 years.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;MPEG-4 part 14 container&lt;/strong&gt;: takes an .mp4 file extension, therefore often just called MP4, if it contains audio, it can also have the .m4a extension, for video .m4v, and others (.m4p, .m4b, .m4r). the container format is a derivative of Apple QuickTime's container format (.mov).&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;MPEG-4 Part 2 video codec&lt;/strong&gt;: Most often just called &lt;em&gt;MPEG-4&lt;/em&gt;, sometimes it also takes the name of the encoder software: Xvid, DivX... Became the first de facto standard for web video.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;MPEG-4 Part 10 video codec&lt;/strong&gt;: also called &lt;em&gt;MPEG-4 AVC&lt;/em&gt; and &lt;em&gt;(ITU-T) H.264&lt;/em&gt;, and by the name of it's most popular encoder software: &lt;em&gt;x264&lt;/em&gt;. De facto standard video codec today: video conferencing, smartphone videography, Web, Blu-Ray, TV, camcorders. Almost all video capable devices ship today with H.264/AVC hardware codecs by default besides newer but still less common codecs like VP9, HEVC or AV1. The successor for H.264/AVC has been coming since 2013, but just for fun they decided not to call it MPEG-4, but &lt;strong&gt;MPEG-H Part 2&lt;/strong&gt; also known as &lt;em&gt;ITU-T H.265&lt;/em&gt; or &lt;em&gt;High Efficiency Video Coding (HEVC)&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;AAC&lt;/strong&gt; (Advanced Audio Coding) is often called &lt;em&gt;MPEG-4 Audio&lt;/em&gt;. It is probably the most prominent amongst the many codecs standardised in &lt;em&gt;MPEG-4 Part 3&lt;/em&gt;. It often uses the file extension .mp4 or .m4a&lt;/p&gt;&#xA;&lt;p&gt;I'm not even going to start about &lt;a href=&quot;http://en.wikipedia.org/wiki/Moving_Picture_Experts_Group#Standards&quot; rel=&quot;nofollow noreferrer&quot;&gt;all the other MPEGs&lt;/a&gt; :-)&lt;/p&gt;&#xA;&lt;h2&gt;TL;DR&lt;/h2&gt;&#xA;&lt;p&gt;MP4 could mean a video codec, a file that contains video and/or audio or even something else. It's not a clear term.&lt;/p&gt;&#xA;" OwnerUserId="5569" LastEditorUserId="5569" LastEditDate="2021-03-09T16:48:18.410" LastActivityDate="2021-03-09T16:48:18.410" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="10224" PostTypeId="2" ParentId="10217" CreationDate="2014-02-15T23:48:53.497" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.3am.pair.com/QTCoffee.html&quot; rel=&quot;nofollow&quot;&gt;QTCoffee&lt;/a&gt; let's you edit track information in QuickTime files, but it's OS X only and donationware:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ modmovie -list clip.mov&#xA;Track list for clip.mov:&#xA;    * Video Track&#xA;    * Timecode Track&#xA;    * Sound Track&#xA;$ modmovie -disable &quot;Sound Track&quot; -save-in-place clip.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you are on OS X, and if you have QuickTime Pro (included in the pro apps), I would rather use that and AppleScript.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For other platforms: &lt;a href=&quot;http://libquicktime.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;libquicktime&lt;/a&gt; can also &lt;a href=&quot;http://libquicktime.sourceforge.net/doc/apiref/group__atoms.html&quot; rel=&quot;nofollow&quot;&gt;edit track properties&lt;/a&gt; through it's API, so you will need to write a command line wrapper first ...&lt;/p&gt;&#xA;" OwnerUserId="5569" LastActivityDate="2014-02-15T23:48:53.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10225" PostTypeId="2" ParentId="10071" CreationDate="2014-02-16T13:26:16.447" Score="5" Body="&lt;p&gt;If compatibility is your top priority, then you should include two alternative versions of your video on your website, like in this &lt;a href=&quot;https://developer.mozilla.org/en-US/docs/HTML/Supported_media_formats&quot; rel=&quot;noreferrer&quot;&gt;HTML example&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the exact formats I would suggest:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;H.264 and AAC in MP4&lt;/strong&gt;: Chrome, Firefox 22+ on Windows, IE9, Safari 3.1&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;VP8 and Vorbis in WebM&lt;/strong&gt;: Firefox fallback for Mac and older versions on Windows.&lt;/li&gt;&#xA;&lt;li&gt;(If you need support for even older browsers (IE6-8), and mobile (Android, WP7), you could add &lt;a href=&quot;http://mediaelementjs.com&quot; rel=&quot;noreferrer&quot;&gt;mediaelement.js&lt;/a&gt; to your website.)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Make sure to put them in that order to make the fallback work. H.264 or MPEG-4 are recommended because they are the only formats to have hardware acceleration on newer devices. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Compression settings: start by using &lt;strong&gt;constant quality&lt;/strong&gt; with default settings for video and &lt;strong&gt;128 Kbps VBR&lt;/strong&gt; audio. For H.264 make sure to not exceed &lt;strong&gt;Main Profile&lt;/strong&gt; and &lt;strong&gt;Level 4.0&lt;/strong&gt;. And since Handbrake doesn't do the WebM format, you could try &lt;a href=&quot;http://mirovideoconverter.com&quot; rel=&quot;noreferrer&quot;&gt;Miro Video Converter&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="5569" LastActivityDate="2014-02-16T13:26:16.447" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10226" PostTypeId="2" ParentId="10020" CreationDate="2014-02-16T14:42:47.627" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.highpoint-tech.com/USA_new/series_RS5212-overview.htm&quot; rel=&quot;nofollow&quot;&gt;HighPoint RocketStor RS5212&lt;/a&gt; is a Thunderbolt Dock that will accept two hard drives or SSDs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would not use FireWire for SSDs, unless you don't have USB 3.0 and you're on a budget. USB 3.0 is often fast enough to get the maximum out of your SSD, FireWire not.&lt;/p&gt;&#xA;" OwnerUserId="5569" LastEditorUserId="1950" LastEditDate="2014-02-17T12:09:50.487" LastActivityDate="2014-02-17T12:09:50.487" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10227" PostTypeId="1" CreationDate="2014-02-17T08:25:12.080" Score="1" ViewCount="4766" Body="&lt;p&gt;I cannot get the code right in video-js player when wanting play rtmp url flv file. Does anyone know what it should be? I've tried following a number of examples at the blog reference site for video-js but nothing seems to work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Code I was trying to use is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oh the code won't input I don't know why sorry :(&lt;/p&gt;&#xA;&#xA;&lt;p&gt;      &lt;/p&gt;&#xA;" OwnerUserId="5274" LastActivityDate="2015-03-11T17:40:57.207" Title="flv rtmp url for video-js" Tags="|video|rtmp|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10228" PostTypeId="1" CreationDate="2014-02-17T09:54:24.050" Score="2" ViewCount="112" Body="&lt;p&gt;I have a directory of 100 mp4 files. All are working well on my ipad but most of them do not have a working thumb.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to generate these thumbs with a command line command (on macosx) based on a frame of the movies (at second 30 for example).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you in advance&lt;/p&gt;&#xA;" OwnerUserId="5588" LastActivityDate="2014-02-17T09:54:24.050" Title="Set ipad compatible thumbs for mp4 videos based on a frame of the video with command line" Tags="|ffmpeg|mp4|mac|" AnswerCount="0" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="10229" PostTypeId="2" ParentId="8815" CreationDate="2014-02-17T15:34:38.540" Score="1" Body="&lt;p&gt;And furthermore there is parenting. You parent your image to a null. Copy the null and image over, and set the null in a new position. The image will move relative to the null's position &lt;/p&gt;&#xA;" OwnerUserId="5591" LastActivityDate="2014-02-17T15:34:38.540" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10230" PostTypeId="1" CreationDate="2014-02-17T16:02:40.433" Score="0" ViewCount="762" Body="&lt;p&gt;I would like to know how I can handle video transmission in the a 2 story building, from the upper floor to the down floor?&#xA;There 2 possible cases:&#xA;-unidirectional transmission: the transmission will be done from the upper floor to the down floor;&#xA;-bidirectional transmission: the transmission will be done from the upper floor to the down floor, and also from the down floor to the upper floor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a very low budget for this so need cheap options.&lt;/p&gt;&#xA;" OwnerUserId="5593" LastEditorUserId="2836" LastEditDate="2014-02-17T17:29:54.397" LastActivityDate="2014-04-20T16:08:00.600" Title="Cheap Method for Audio/video transmission in a building" Tags="|video|live|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10231" PostTypeId="1" AcceptedAnswerId="10232" CreationDate="2013-12-28T18:08:25.873" Score="1" ViewCount="388" Body="&lt;p&gt;Looking to buy a new memory card for my Samsung dv100.&lt;br/&gt;&#xA;After reading the manual,  asking samsung support and searching the web,&lt;br/&gt;&#xA;I still don't understand whether buying UHS1 card is an &quot;overkill&quot; for this camera model.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What advantages would buying a UHS1 card have?&lt;/p&gt;&#xA;" OwnerUserId="3400" OwnerDisplayName="Gal Margalit" LastEditorUserId="3400" LastEditDate="2014-02-18T07:58:31.063" LastActivityDate="2014-02-19T16:45:10.963" Title="UHS1 vs. Class 10 sd card (Samsung dv100)" Tags="|camera|video-recording|sd-card|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10232" PostTypeId="2" ParentId="10231" CreationDate="2013-12-28T19:10:47.613" Score="2" Body="&lt;p&gt;When taking photos or shooting video, the image data is offloaded to a high speed internal cache for processing.  There is a limited amount of space available in this cache and so to empty it out, files are written off to the memory card to make room for more pictures or frames of video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you take photos or video at a rate that exceeds the memory card's ability to save, eventually the cache will fill up and it will not be possible to store any more images.  Using a faster memory card allows for the cache to be cleared faster and thus, you can shoot for longer before the cache fills (assuming the camera supports writing to and from the cache simultaneously) and also makes it so that when the cache does fill, it can be empties more quickly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The one caveat to this is that if a particular type of card is not supported by the camera or the speed of the card exceeds the speed of the card slot, then there would be no gain by moving to a faster card and it could actually result in the card not working potentially.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, to determine if the UHS1 card would be an upgrade, you need to verify that your camera supports UHS1 cards and that it can make use of the speed.  If it can (or if it supports a speed faster than your current, but slower than UHS1) then the upgrade will allow for your cache to be cleared quickly and increase the available video recording time (if it was previously cache limited), increase the number of photos that can be shot in a burst (if the camera supports writing to the SD card while the cache is being written too) and faster clearing of the cache when not shooting (gets ready to shoot a burst again faster).&lt;/p&gt;&#xA;" OwnerUserId="2836" OwnerDisplayName="AJ Henderson" LastActivityDate="2013-12-28T19:10:47.613" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10233" PostTypeId="1" CreationDate="2014-02-18T00:25:06.080" Score="3" ViewCount="249" Body="&lt;p&gt;I'm looking to achieve something similar to this effect in a short film for 2 shots :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://www.silverpetticoatreview.com/wp-content/uploads/2013/12/tauriel-as-his-guardian-angel-lighting.jpg&quot; alt=&quot;Elf effect form The Hobbit&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is from the new Hobbit movie, with of course a massive budget.  To me it looks mostly a digital effect they used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for ideas on how i could achieve something close to this - I don't expect to achieve something so polished as Peter Jackson et al.  The story uses the &quot;angel&quot; motif as a representation of personal power and self confidence, and this would be a way to demonstrate that visually, as the character feels it, we see it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure if a strong light source behind my actor, and some form of filter (i know little about filters) on the lens would work on it's own?&lt;br&gt;&#xA;Or if it's better achieved in post-processing - perhaps in a grading step? If so, ideas on software i should investigate would be much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="5136" LastEditorUserId="-1" LastEditDate="2017-03-10T09:42:47.763" LastActivityDate="2014-02-19T21:10:36.290" Title="Achieving the Elf &quot;Angel&quot; effect" Tags="|video|effects|lighting|post-production|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10234" PostTypeId="2" ParentId="10230" CreationDate="2014-02-18T01:07:16.610" Score="1" Body="&lt;p&gt;There are two options, neither of which is particular expensive.  You can either use a component cable with a distribution amplifier or if you prefer a digital signal, there are wireless HDMI transmitters that will also work well.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A distribution amplifier and a repeater are essentially the same thing, just slightly different purposes. A distribution amplifier boosts the power of an analog signal to account for the attenuation when sending it over one or more lines or a long line. A repeater is similar, it reads the signal in on one side and outputs it again on the other. The main difference is that the repeater will reduce line noise since it is interpreting the signal rather than just boosting it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could try doing a wired HDMI, but it would likely be quite pricy.&lt;br&gt;&#xA;HDMI is a digital signal that is designed in such a way that it doesn't handle long distances well on the wire. Currently, the effective reliable limit for an HDMI cable is about 10 meters. To make a 50 meter run reliable, you would need 4 repeaters and 5 10 meter rated HDMI cables. This is going to be far, far more expensive than a wireless HDMI unit that is rated for even twice the distance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could try just using a 50 meter cable and hope that your hardware on each side is powerful enough to make sense of the data on the line, but I wouldn't expect it to be a reliable connection if you use a physical HDMI wire without at least 2 or 3 repeaters minimum. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for reliable solutions, you can probably do the analog wire &amp;amp; distribution amplifier solution for about $150 or the wireless for about $250 to 350.  Putting a DA on both sides of the wire solution would allow for you to choose which way you wanted to send signal by plugging in the DA on that side.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-19T15:08:14.400" LastActivityDate="2014-02-19T15:08:14.400" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10236" PostTypeId="1" CreationDate="2014-02-18T14:20:44.723" Score="3" ViewCount="5333" Body="&lt;p&gt;I'm wondering how I can expand the transformation line like it's possible for the compositing. Can it be done? Where can I edit the connection between two keyframes from linear to ...?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0FC8I.png&quot; alt=&quot;Video animation dialoge: How to open the transformation pane like the compositing one at the bottom?&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5597" LastActivityDate="2014-02-18T22:34:07.900" Title="Precise Keyframing in Final Cut Pro X" Tags="|final-cut-pro-x|animation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10238" PostTypeId="2" ParentId="10236" CreationDate="2014-02-18T22:34:07.900" Score="2" Body="&lt;p&gt;You cannot expand the Transform Line in the Timeline. You can finetune your &lt;em&gt;Position&lt;/em&gt; keyframes separately in the Viewer.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Create keyframes and navigate between them with the keyframe buttons in the top-left corner of the Viewer.&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/CKNe9.png&quot; alt=&quot;keyframe buttons&quot; /&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Position keyframes&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Click the Transform button in the lower-left corner of the Viewer (Shift-T).&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/64mbz.png&quot; alt=&quot;transform button&quot; /&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The yellow handles in the middle of your clip are your position keyframes. Control-click on one of them.&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/jHTra.png&quot; alt=&quot;keyframe popup&quot; /&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Choose Smooth in the popup, you will see two smaller red dots, they are the bezier handles!&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/vSotu.png&quot; alt=&quot;bezier handles&quot; /&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You can change direction and speed by moving the bezier handles.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;change the length of the handle that points to the other keyframe&lt;/li&gt;&#xA;&lt;li&gt;short means fast, long means slow&lt;/li&gt;&#xA;&lt;li&gt;set your start speed in the first keyframe, and your end speed in the last keyframe.&lt;/li&gt;&#xA;&lt;li&gt;if you make them both short, you will start gradually, speed up in the middle and slow down before stopping. use it for a smooth motion&lt;/li&gt;&#xA;&lt;li&gt;if you make them both long, you will start promptly, slow down in the middle and stop abruptly. Use this effect to imitate gravity (bouncing)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Rotation and Scale keyframes&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;These can also be set separately but they are not visible on the Position line in the viewer as yellow dots.&lt;/li&gt;&#xA;&lt;li&gt;In the middle of your clip is the blue Rotation handle.&lt;/li&gt;&#xA;&lt;li&gt;On the corners and borders are the eight blue handles for Scaling.&lt;/li&gt;&#xA;&lt;li&gt;Scale and Rotation keyframes don't have a smooth option in FCPX. It might be possible to do that in Motion.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5569" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2014-02-18T22:34:07.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10239" PostTypeId="2" ParentId="10227" CreationDate="2014-02-19T03:08:08.537" Score="1" Body="&lt;pre&gt;&lt;code&gt;&amp;lt;link href=&quot;http://mysite.net/sites/all/libraries/video-js/video-js.css&quot; rel=&quot;stylesheet&quot; /&amp;gt;&#xA;&amp;lt;script src=&quot;http://mysite.net/sites/all/libraries/video-js/video.js&quot;&amp;gt;&amp;lt;/script&amp;gt;&#xA;&amp;lt;script&amp;gt;&#xA;  videojs.options.flash.swf = &quot;http://mysite.net/sites/all/libraries/video-js/video-js.swf&quot;&#xA;&amp;lt;/script&amp;gt;&#xA;&amp;lt;script src=&quot;http://mysite.net/sites/all/libraries/video-js/videosub.js&quot;/&amp;gt;&amp;lt;/script&amp;gt;&#xA;&#xA;&amp;lt;video class=&quot;video-js vjs-default-skin&quot; &#xA;       controls=&quot;&quot;&#xA;       data-setup=&quot;{&amp;amp;quot;example_option&amp;amp;quot;:true}&quot;&#xA;       height=&quot;264&quot;&#xA;       id=&quot;example_video_1&quot;&#xA;       poster=&quot;http://video-js.zencoder.com/oceans-clip.png&quot;&#xA;       preload=&quot;auto&quot;&#xA;       width=&quot;640&quot;&amp;gt;&#xA;  &amp;lt;source src=&quot;rtmp://mysite.net/oflaDemo/takeout.flv&quot; type=&quot;rtmp/flv&quot;/&amp;gt;&#xA;  &amp;lt;track kind=&quot;subtitle&quot; label=&quot;English&quot; src=&quot;http://mysite.net/takeout.srt&quot; srclang=&quot;en-US&quot; /&amp;gt;&#xA;&amp;lt;/video&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5274" LastEditorUserId="-1" LastEditDate="2015-03-11T17:40:57.207" LastActivityDate="2015-03-11T17:40:57.207" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10240" PostTypeId="1" CreationDate="2014-02-19T04:17:48.393" Score="1" ViewCount="103" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Standards compliant video subtitles for HTML5 video tags. Original MooTools implementation by Thomas Sturm, jQuery port by Max Wheeler.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Usage&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;UsageDead simple. Call the videoSub() function on any jQuery collection of video elements. This will probably look something like:&quot;&#xA;  &lt;code&gt;$('video').videoSub();&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This might be dead simple for some but not for me. Where does this code go? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The subtitles for flv is starting to become something for the too hard basket for me because it really requires some understanding of security in terms of changing and implementing code on the RED5 server side of things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I even question my use of RED5 for streaming pre-recorded video. Surely Red5 is only really useful for streaming LIVE broadcast. Perhaps I should put my pre-recorded video in various formats in a folder outside of RED5 and let the player do the streaming work. In fact I think that is the next thing I shall try. &lt;/p&gt;&#xA;" OwnerUserId="5274" LastActivityDate="2014-02-19T04:17:48.393" Title="jquery-videosub how to" Tags="|video|streaming|subtitles|" AnswerCount="0" CommentCount="4" ClosedDate="2014-06-03T23:24:44.503" ContentLicense="CC BY-SA 3.0" />
  <row Id="10241" PostTypeId="2" ParentId="10233" CreationDate="2014-02-19T11:38:23.937" Score="1" Body="&lt;p&gt;You certainly could get a long way in camera. You might want to add a &lt;a href=&quot;http://www.tiffen.com/tips_diffusion_filters.html&quot; rel=&quot;nofollow&quot;&gt;diffusion filter&lt;/a&gt; to your lens - or a &lt;a href=&quot;http://www.hurlbutvisuals.com/blog/2012/05/diffusion-for-the-digital-age-part-2/&quot; rel=&quot;nofollow&quot;&gt;stocking&lt;/a&gt; if you can't afford one, certainly a strong backlight, and by the looks of it maybe a touch of diffused fog. Then in post grade it up until the skin tone is starting to get crushed to white.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-02-19T11:38:23.937" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10242" PostTypeId="2" ParentId="10231" CreationDate="2014-02-19T15:59:03.357" Score="3" Body="&lt;p&gt;Here is some reasoning based on numbers:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;You don't need a fast card for video.&lt;/strong&gt; It is generally advised to use at least class 6 for video recording on a consumer AVCHD device:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Max recording bit rate of AVCHD 2.0 is 28&amp;nbsp;Mbit/s and minimum write speed of a class 6 card is 48&amp;nbsp;Mbit/s, this should provide enough headroom even with an almost full card.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Your camera doesn't mention UHS-I in it's &lt;a href=&quot;http://www.samsung.com/in/consumer/camera-camcorder/cameras/compact/EC-DV100ZBDBIN-spec&quot; rel=&quot;nofollow&quot;&gt;specs&lt;/a&gt;, only SDHC.&lt;/strong&gt; So if you use a UHS-I card, it will be limited below 25&amp;nbsp;MByte/s, which is still faster than many class 10 cards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For shooting pictures in continuous (burst) mode: when the high speed memory buffer of the camera fills up, you will continue to shoot below 25&amp;nbsp;MByte/s, about 3 images per second or less.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Using high speed card reader&lt;/strong&gt;, transferring a full 32&amp;nbsp;GB UHS-I Class 1 card will take you maximum about an hour.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Take a look at this list of some bitrates for cards, cameras and video formats. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;                        MEGABYTE/S    MEGABIT/S&#xA;&#xA;---- 1080p30 Consumer ----&#xA;          AVCHD              3.0         24     also in some prosumer cams&#xA;        AVCHD 2.0            3.5         28&#xA;------ 1080p30 Pro -------&#xA;          DNxHD             9-28     36-220&#xA;         ProRes            12-41    100-330&#xA;        AVC-Intra           6-55     50-440&#xA;  Compresed CinemaDNG         60        480     roughly, as seen in BMPCC&#xA;        12-bit Raw            89        712    &#xA;&#xA;---- 16 Mpix Picture -----                      File size per picture&#xA;  Uncompressed 14-bit Raw     27        214&#xA;   Lossless Raw (NEF,CR2)     20        160     roughly&#xA;           JPEG                8         64     roughly&#xA;&#xA;------ SD Card Class -----                      &#xA;          Class 2            2.0         16     Card class is the minimum speed&#xA;          Class 4            4.0         32     of the card according to the spec,&#xA;          Class 6            6.0         48     measured with empty card&#xA;          Class 10          10.0         80&#xA;------- SD Card BUS ------                      &#xA;            SD              12.5        100     Bus speed: speed of interface&#xA;          SDHC/XC           25.0        200     between device and card,&#xA;                                                data transfer speed is lower.&#xA;--- UHS SD Card Class ----&#xA;    UHS Speed Class 1       10.0         80&#xA;    UHS Speed Class 3       30.0        240&#xA;---- UHS SD Card BUS -----&#xA;       SDXC UHS-I         50/104    400/832&#xA;       SDXC UHS-II       156/312  1248/2496&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5569" LastEditorUserId="5569" LastEditDate="2014-02-19T16:45:10.963" LastActivityDate="2014-02-19T16:45:10.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10243" PostTypeId="2" ParentId="9299" CreationDate="2014-02-19T16:24:33.017" Score="1" Body="&lt;p&gt;Lightworks just became another professional option for multicam editing in version 11.5. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And there is a free version.&lt;/p&gt;&#xA;" OwnerUserId="5569" LastActivityDate="2014-02-19T16:24:33.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10244" PostTypeId="2" ParentId="9989" CreationDate="2014-02-19T20:48:29.277" Score="3" Body="&lt;p&gt;Try this: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Open the file in the Quicktime player -- it'll have to be Quicktime Pro.&lt;/li&gt;&#xA;&lt;li&gt;Select the frames that you want to remove with the input and output markers.&lt;/li&gt;&#xA;&lt;li&gt;Hit 'Delete.'&lt;/li&gt;&#xA;&lt;li&gt;Then save as a 'self-contained' movie.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5600" LastEditorUserId="14588" LastEditDate="2019-03-24T18:36:02.967" LastActivityDate="2019-03-24T18:36:02.967" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="10245" PostTypeId="2" ParentId="9477" CreationDate="2014-02-19T20:57:33.967" Score="1" Body="&lt;p&gt;You're forgetting something important: the &lt;strong&gt;time&lt;/strong&gt; it will take to learn how to use sophisticated editing software. If this is a one-time task, the previous answerer is right -- hire someone. If you're going to do this regularly, plan on spending at least $300 for Final Cut Pro and a few weeks to learn the basics well.&lt;/p&gt;&#xA;" OwnerUserId="5600" LastActivityDate="2014-02-19T20:57:33.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10246" PostTypeId="2" ParentId="10233" CreationDate="2014-02-19T21:10:36.290" Score="1" Body="&lt;p&gt;I like @stib's suggestions, and I have another option. (This will only work if the actor/actress doesn't move across frame much, and the camera isn't moving.) Shoot the actor/actress in front of a green screen. Take a still of the background, and doctor it up in Photoshop or some similar program so there is a &quot;glow&quot; around that part of the image. When you composite the shot, if the lighting is similar enough it could look very cool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The effect would look even better if you dissolved between different backgrounds that were pretty similar. The glow would look more alive.  In fact, the glow could &quot;appear&quot; if you dissolve or iris out from an undoctored background photo to your background photo.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-02-19T21:10:36.290" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10247" PostTypeId="2" ParentId="9339" CreationDate="2014-02-19T21:42:58.620" Score="1" Body="&lt;p&gt;Paint on a solid layer (in the layer panel). Select the path of the paint object by putting a keyframe on the paint effect's brush in the timeline and copying that keyframe. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now add a mask by right-clicking on the layer and choosing a 'new mask'. Put a keyframe in the mask on the timeline. Select that keyframe and paste.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you can turn off the eyeball on the paint effect and you'll have it's shape as a unstroked mask on that mask keyframe.  Select that mask path keyframe (you may or may not see the control points) and apply a stroke. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thicken up the stroke (with 'Brush Size' in the Stroke effect in the timeline) until you like it. Make the stroke white. Now add a Key effect - probably you'll want a 'Luma Key.'  Switch the view from the Layer view to the Composition view. In the timeline, under the Luma Key effect, select 'Key Out Brighter' and the dial in the correct 'Threshold' until you can see the layer below (you've got one, right?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's how to turn a brush stroke into a mask.&lt;/p&gt;&#xA;" OwnerUserId="5600" LastActivityDate="2014-02-19T21:42:58.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10248" PostTypeId="1" CreationDate="2014-02-19T22:46:38.030" Score="3" ViewCount="44" Body="&lt;p&gt;I have a long video that I am trying to shorten.  I want to be able to play through the video and, while it is playing, select the points at which I want to start and end my clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to do this for multiple clips until I play to the end of my video without having to stop.  Some of my clips will be very short shots so it needs to be fast enough for that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the end I should have a shorter version of my video composed of all the pieces I've sliced.  This way I can quickly achieve a first draft of my edited video.  Later I can slowly improve it and fix all of my mistakes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know how to do this with Premiere. If it is not possible, do you know any other editing software that can do this?&lt;/p&gt;&#xA;" OwnerUserId="5601" LastEditorUserId="2836" LastEditDate="2014-02-19T22:55:05.600" LastActivityDate="2014-03-23T07:11:45.630" Title="Start and stop capturing while video is playing" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10249" PostTypeId="2" ParentId="2674" CreationDate="2014-02-19T23:59:09.043" Score="1" Body="&lt;p&gt;I just found out there is a software mod developed called CHDK that will work on this camera and one of the features it opens up is the time limit on recording, and does not permanently alter the camera hardware or software. You can boot it off the SD card. I will be trying this myself soon, mostly for cat videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The version for this camera is just an alpha build, but what is working and what isn't is discussed over on the &lt;a href=&quot;http://chdk.setepontos.com/index.php?topic=6341.msg79508#msg79508&quot; rel=&quot;nofollow&quot;&gt;developer's site&lt;/a&gt;.  It only extends it to the 4gb limit, but it should buy you a little more time.&lt;/p&gt;&#xA;" OwnerUserId="5602" LastEditorUserId="2836" LastEditDate="2014-02-22T17:56:58.593" LastActivityDate="2014-02-22T17:56:58.593" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10251" PostTypeId="2" ParentId="10248" CreationDate="2014-02-20T15:56:09.000" Score="1" Body="&lt;p&gt;There are two main way I can think of to do this, the first, which requires a little work after the fact, but certainly won't interrupt your play back, is to set marker points as you watch through the timeline.  Put the entire video in the timeline and then use the M key to place timeline markers at each point you wish to make a cut.  After watching through, you can place razor cuts on each marker and ripple delete every other section.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other option, which I'm not sure if it will work without interrupting playback or not, is to set in and out points using shortcut keys.  I will set an in point, O will set an outpoint and Ctrl-K to add the edit to the timeline.  If that does end up interrupting playback, there is one other option that might work indirectly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also try using a multi-cam edit with nothing on the second track.  This would let you monitor what is on your main playback and you could cut to and away from it whenever you like.  At the end you would just have to remove the empty space and get rid of the other track.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-20T15:56:09.000" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10255" PostTypeId="2" ParentId="10248" CreationDate="2014-02-21T06:46:50.300" Score="-2" Body="&lt;p&gt;I'm not professional video editor familiar with Premiere but I know your requirements can be met by some simple video editing software I recommended here: &lt;a href=&quot;https://video.stackexchange.com/questions/4233/simple-video-editing-tool/9384#9384&quot;&gt;Simple Video Editing Tool?&lt;/a&gt;&#xA;Here are the solution steps I recommend for you. I won't recommend the best video editing here, but you can pick up anyone (most of them can achieve it as long as it has &quot;Split&quot; and &quot;Delete&quot; function.)&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Firstly, download any of free simple video editing software in your&#xA;PC as per different version.&lt;/li&gt;&#xA;&lt;li&gt;Secondly, Import the video you want to edit and then drag to the&#xA;timeline (or other editing area like board).&lt;/li&gt;&#xA;&lt;li&gt;Thirdly, Play your video in preview windows and click &quot;Stop&quot; in the&#xA;first clip you want to second-editing. Now use the simple but&#xA;powerful &quot;Split&quot; button, which is always designed to &quot;scissors&quot;.&#xA;(Let's set it as point 1)&lt;/li&gt;&#xA;&lt;li&gt;Fourthly, continue to preview the video and stop in the end of the&#xA;first clip you want to second-editing. Use &quot;Split&quot; again. (Let's set&#xA;it as point 2)&lt;/li&gt;&#xA;&lt;li&gt;Fifthly, Then continue to find the third &quot;Split&quot; point for your next&#xA;clips you want to second-editing (Let's set it as point 3) and end&#xA;with point 4 as the end of your second clip&lt;/li&gt;&#xA;&lt;li&gt;Sixthly, now you need to use &quot;Delete&quot; function which is can delete&#xA;the clips you don't need (the part from point 2 to point 3) in&#xA;further editing.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Then repeat the steps from 3-5, you will get multiple clips you need to second editing. &#xA;To this point, you have 2 options:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Save all those clips in your PC (which will merge to the whole video&#xA;automatically) and then edit them later with more professional video&#xA;program.&lt;/li&gt;&#xA;&lt;li&gt;Zoom in/out all those clips to further editing in this simple video&#xA;editing software with other functions. I may need more details about&#xA;your questions to solve your further problems.&#xA;Check the image below to get more intuitive understanding.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/tyM1D.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="4954" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-02-21T06:46:50.300" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10256" PostTypeId="1" CreationDate="2014-02-21T10:03:39.487" Score="4" ViewCount="68" Body="&lt;p&gt;Without caring for speed of processing, extra disk space needed, and other such factors, which of the following two is better (i.e. produces higher quality/better compressed video).&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Scale each individual image with imagemagick's &lt;code&gt;convert&lt;/code&gt;, and then use that as the input to libav without any additional filters.&lt;/li&gt;&#xA;&lt;li&gt;Keep the images as is, but then apply &lt;code&gt;scale&lt;/code&gt; video filter at the encoding time.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2014-02-28T19:53:15.710" Title="Is it better to scale video or images when doing time-lapse?" Tags="|video-quality|time-lapse|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10257" PostTypeId="1" AcceptedAnswerId="10259" CreationDate="2013-10-07T04:11:23.983" Score="0" ViewCount="226" Body="&lt;p&gt;I am just wondering if anyone can shed any light on the subject of On/Off line editing, as I have been approached and asked before.. &#xA;I understand this is type work flow for post production process but without sounding too clueless about things, can you somebody please describe to me what it means and what different skills are required that separate these workflows...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks so much for your time and answers!&lt;/p&gt;&#xA;" OwnerDisplayName="Chris Phillips Leeds Met" LastActivityDate="2014-02-21T10:15:46.087" Title="On-line and Off-line editing?" Tags="|workflow|editing|production|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10258" PostTypeId="2" ParentId="10257" CreationDate="2013-10-07T04:47:53.053" Score="2" Body="&lt;p&gt;I've never heard the terms On-line and Off-line editing used for audio.  In the video world, off-line editing is a term used for the editing process, whereby you edit your footage (often compressed) and then export and EDl for the On-line editor to do the final assembly with higher quality picture, maybe adding titles and some transitions and color correction.&lt;/p&gt;&#xA;" OwnerUserId="4770" OwnerDisplayName="coaxmw" LastActivityDate="2013-10-07T04:47:53.053" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10259" PostTypeId="2" ParentId="10257" CreationDate="2013-10-07T06:14:47.910" Score="2" Body="&lt;p&gt;Offline editing, was almost standard when non-linear video editing started, because of hard disk memory mostly. It was easier to digitise your rushes at a low video resolution, especially in longer form high shooting ratio programmes and films. As the previous person says, at the end of the edit, a 'conforming' session took place, whereby the sequence was rebuilt, at full resolution (but only the actual shots in the final cut) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With sound it was a slightly differing story. During offline digitising, the audio was usually taken in at 48khz digital, so it was technically ok for broadcast. So in theory the final cut audio tracks could simply exported to the sound mix. Sometimes however, for various reasons, the audio was also conformed, using an EDL ( for example a CMX3600 C mode list) The sound editor would load up each audio rushes tape and import Just the audio referenced by the edit ( with suitable handles for mixing/ramping)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To dig deeper, sometimes the audio digitised with the rushes was a mix of various microphones, taken from a digi beta tape or SX or Beta SP. The original sound rushes having been recorded onto DAT tape for example. In this scenario it was of course necessary to redigitise (I.e. Conform) the audio at the end of the edit, to make sure all the original sound tracks were imported into the sound editors system. They effectively then used the editors final soundtrack as a guide to check sync etc, but they would rebuild the soundtrack using the digital rushes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There was another distinction about offline/online editing, whereby a traditional 'film editor' would be called an offline editor and a traditional VT editor would becalmed an online editor. The implication being that offline editors were more used to editing from scratch, without the director present for assembly work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Film of course was the original non-linear medium, as usually the editor cut a positive print copy of the originally shot negative)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nowadays, by and large an ON line editor is someone who is very accomplished at compositing, effects work, quick turnaround high-end work, and an offline editor restricts themselves to cutting the film or programme. however these boundaries are breaking down fast now, with many editors able and forced to do everything from start to finish - and crucially now it is possible to edit full resolution video in the initial non-linear edit, removing the need for a conforming session.&lt;/p&gt;&#xA;" OwnerDisplayName="Chris" LastActivityDate="2013-10-07T06:20:35.067" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10260" PostTypeId="1" CreationDate="2013-12-23T05:13:20.693" Score="0" ViewCount="120" Body="&lt;p&gt;I want to run my condenser microphone through my Alesis iO2 interface directly into my D3200 Nikon video camera, which has a 3.5mm jack input.  Can I simply run a 1/4&quot; output from the Alesis with an adapter into the Nikon's audio input?  Since the Aleis is powered by a USB into my computer, I am curious whether such a configuration will work?  I am very new to the recording world, so any insights or suggestions would be much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="5228" OwnerDisplayName="Richard" LastEditorUserId="5228" LastActivityDate="2014-02-21T10:16:38.257" Title="How do I connect my Alesis iO2 Interface with video camera Nikon D3200?" Tags="|audio|conversion|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10261" PostTypeId="2" ParentId="10260" CreationDate="2014-02-14T15:37:39.347" Score="3" Body="&lt;p&gt;Im unfamiliar with the iO2, but it sounds as though you're basically wanting to use it as a preamp; you almost certainly &lt;em&gt;can&lt;/em&gt; set up it so the inputs are mirrored back to the outputs so you can use it this way, but you will may  need some sort of audio application 'in the middle' to do so.  You'll also need need the computer running for it to work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thing is, though, this doesnt really sound like a particularly great way of going about recording your audio, and its certainly not advantageous to have to cart around, and hook up, a computer, just so you can basically misuse a USB soundcard as a preamp.  You'd be better off with a separate preamp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Plus, if you were utterly determined to use the computer for some reason, you'd probably be better off using &lt;em&gt;it&lt;/em&gt; to record your audio, rather than the camera; you'd be opting out on two extra stages of conversion between analog and digital for a start.&#xA;I think you're going about this the wrong way, though, and a separate battery-powered preamp would  be a simpler, easier approach.&lt;/p&gt;&#xA;" OwnerDisplayName="sxa" LastActivityDate="2014-02-14T15:37:39.347" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10262" PostTypeId="1" AcceptedAnswerId="10263" CreationDate="2013-12-07T13:57:41.323" Score="0" ViewCount="24" Body="&lt;p&gt;I have a bunch of videos and pictures. I want to make a compilation with them. I just don't want it to be worse than movie maker. I am looking for these moving effects that you can play while the video is changing ( &lt;a href=&quot;http://prntscr.com/29coci&quot; rel=&quot;nofollow&quot;&gt;http://prntscr.com/29coci&lt;/a&gt; ) I already have experience in After Effects and Photoshop CC&lt;/p&gt;&#xA;" OwnerDisplayName="user3029101" LastActivityDate="2014-02-21T10:20:18.167" Title="Premiere Pro - How to make a slideshow/compilation" Tags="|video|audio|mixing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10263" PostTypeId="2" ParentId="10262" CreationDate="2013-12-17T01:55:30.193" Score="1" Body="&lt;p&gt;Premiere Pro has a number of default transitions under the &quot;video transitions&quot; tab in the effects pane (usually located in the bottom left of the window). Are those what you are looking for? If you have experience with After Effects, you could also use AE's more robust effects library to animate interesting effects for your videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based on your included image, it looks like you might be interested in wipe transitions.&lt;/p&gt;&#xA;" OwnerDisplayName="ZeroFlux" LastActivityDate="2013-12-17T01:55:30.193" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10264" PostTypeId="1" CreationDate="2013-10-23T18:11:52.890" Score="1" ViewCount="88" Body="&lt;p&gt;I'm a total digital video beginner, having a weird (to me) issue in the music videos I've shot with my Samsung NX1000, which is that the video and audio are out of sync with each other, but not in a consistent way (to be clear, I'm talking about video/audio both captured by the camera itself - I'm not using any external mic for the audio). Here's the rundown:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Slightly out of sync when played back in the camera&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;More out of sync in VLC&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Very out of sync in:&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;Finder windows (when quick-look previewed by hitting space bar)&lt;/li&gt;&#xA;&lt;li&gt;QuickTime Player 10&lt;/li&gt;&#xA;&lt;li&gt;Final Cut Pro X&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;First I imported the movies from my camera to my Mac over USB cable, using the Image Capture app. The files are in .mp4 format, and the related codecs are H.264 and AAC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I tried importing movies directly into FCPX (ticking Optimize and choosing to convert the camera native format into ProRes 422.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both methods result in un-synced audio/video. However, the amount of delay differs depending on how a given clip was imported. I opened several clips in VLC and was finally able to sync things by adding an audio delay: 200ms for a clip imported with Image Capture, 300ms for a clip imported with FCPX.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know what's going on here? I'm sure there are apps I could use to sync the video and audio, but if anyone can help me solve this problem in the camera in the first place, that would really speed up my workflow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;MacBook Pro 5,3&#xA;Intel Core 2 Duo 2.8 GHz&#xA;8GB RAM&#xA;NVIDIA GeForce 9400M&lt;/p&gt;&#xA;" OwnerDisplayName="radionowhere" LastActivityDate="2014-05-22T11:48:01.577" Title="Audio/Video Out of Sync with Samsung NX1000 Camera - Why?" Tags="|video|audio|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10265" PostTypeId="2" ParentId="10264" CreationDate="2013-12-27T23:51:35.613" Score="1" Body="&lt;p&gt;I have a similar problem and that's how I found your question online today... The Mp4 file from my nx1000 was imported as it is on adobe premiere cs3.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The audio and video seem to have same starting and ending point, but the video alone is faster than the original as if it was stretched, and the audio has the normal speed but ends in the middle of the original sound track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Knowing that I imported the file to a project with the same settings as video, 1080i 29.9fps... I tried again with 25fps and with a video card and without a video card... In vain&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way I got it right, is unfortunately by decoding it on a software called procoder, to a different format (i chose *.mov), and it worked like a charm on my editing software. But of course I lost resolution... I did not buy the nx1000 so i can decode it and lose resolution for editing!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There should be an answer, I hope you found yours!&lt;/p&gt;&#xA;" OwnerDisplayName="user5258" LastActivityDate="2013-12-27T23:51:35.613" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10266" PostTypeId="1" AcceptedAnswerId="10267" CreationDate="2012-11-08T21:12:42.463" Score="4" ViewCount="119" Body="&lt;p&gt;I have an image file (png) and an audio file (aiff).  How do I combine them to make a video file that shows the still image and plays the audio file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Target operating system: either OS X Lion or Ubuntu, using only free software, must be command-line driven (no GUI solutions please).  Thanks in advance!&lt;/p&gt;&#xA;" OwnerDisplayName="jimbojw" LastActivityDate="2014-02-21T10:20:42.513" Title="How to make a video from a still image and an audio file?" Tags="|video|audio|osx|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10267" PostTypeId="2" ParentId="10266" CreationDate="2012-11-09T23:58:53.540" Score="2" Body="&lt;p&gt;I think &lt;a href=&quot;http://ffmpeg.org/&quot; rel=&quot;nofollow&quot;&gt;&lt;code&gt;ffmpeg&lt;/code&gt;&lt;/a&gt; is what you want, but you will need to dive into the docs to figure out how to make it do what you want.&lt;/p&gt;&#xA;" OwnerUserId="1530" OwnerDisplayName="ObscureRobot" LastActivityDate="2012-11-09T23:58:53.540" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10268" PostTypeId="2" ParentId="10266" CreationDate="2012-11-10T01:03:39.583" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.itforeveryone.co.uk/image-to-video.html&quot; rel=&quot;nofollow&quot;&gt;This article&lt;/a&gt; looks like it'll get you close.  Doesn't include the audio, but that honestly sounds easier than converting the images to video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Excerpt:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ImageMagick and ffmpeg combined can be used to turn still images into&#xA;  video. Both ImageMagick and ffmpeg have been around for years, and are&#xA;  readily available as packages with most Linux distributions. The tips&#xA;  below allow you to convert images on the command line, which for a may&#xA;  appear to be time consuming, but once you know how to do it you'll&#xA;  find it much faster than using a GUI!&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="2569" OwnerDisplayName="JoshP" LastActivityDate="2012-11-10T01:03:39.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10269" PostTypeId="2" ParentId="10266" CreationDate="2013-01-17T00:29:33.327" Score="3" Body="&lt;p&gt;To expand upon ObscureRobot's answer, use ffmpeg like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -f image2 -r 2 -i input1.png -i input2.aiff -c:v libx264 -c:a copy -shortest output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-loop 1 -f image2 -r 2 -i input1.png&lt;/code&gt; tells ffmpeg to loop input1.png forever, at a frame rate of 2fps. &lt;code&gt;-c:v libx264&lt;/code&gt; tells it to &lt;a href=&quot;https://ffmpeg.org/trac/ffmpeg/wiki/x264EncodingGuide&quot; rel=&quot;nofollow&quot;&gt;use x264 to encode the video&lt;/a&gt;, and &lt;code&gt;-c:a copy&lt;/code&gt; tells it to simply copy the audio, without encoding. &lt;code&gt;-shortest&lt;/code&gt; makes ffmpeg stop when the shortest input ends - input2.aiff in this case.&lt;/p&gt;&#xA;" OwnerDisplayName="evilsoup" LastActivityDate="2013-01-17T00:29:33.327" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10270" PostTypeId="1" AcceptedAnswerId="10271" CreationDate="2012-08-08T20:54:13.673" Score="3" ViewCount="447" Body="&lt;p&gt;I've got a multitude of MKV files each containing two audio tracks that correspond to two languages. In each of the files, the English language is the second track and it's the only track I need for these MKV files. So how do I easily discard the first audio track in each of the MKV files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;N.B. My primary OS is Windows but if there really is no easy way to have it done on Windows, I could be interested in a Linux answer too.&lt;/p&gt;&#xA;" OwnerDisplayName="Desmond Hume" LastActivityDate="2014-02-21T10:20:57.233" Title="Remove audio tracks from multiple MKV files" Tags="|video|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10271" PostTypeId="2" ParentId="10270" CreationDate="2012-08-14T18:48:56.870" Score="1" Body="&lt;p&gt;I don't know Windows, but I have just gone through this in Mac OS X (Linux Applicable).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.bunkus.org/videotools/mkvtoolnix/&quot; rel=&quot;nofollow&quot;&gt;mkvtoolnix&lt;/a&gt; is your friend here, and is available for Windows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used the GUI to check (a sample of) my files to make sure the audio tracks that I wanted to keep and delete were in the same order in the files. Then I manipulated the options in the GUI to match what I wanted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, I used the &quot;copy to clipboard&quot; button to copy the command line output to the clipboard and massaged it into a bash script to run on a directory of the files I wanted strip the audio from. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know it's quick and dirty (and maybe not to your liking), but you can probably use it as a starting point to massage into what you &lt;em&gt;really&lt;/em&gt; want to do.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;for file in *.mkv; do mkvmerge -o &quot;$file-noeng.mkv&quot;  --language &quot;1:jpn&quot; --track-name &quot;1:AVC-HD&quot; --default-track &quot;1:yes&quot; --forced-track &quot;1:no&quot; --display-dimensions &quot;1:1920x1080&quot; --language &quot;3:jpn&quot; --track-name &quot;3:AAC&quot; --default-track &quot;3:no&quot; --forced-track &quot;3:no&quot; --language &quot;4:eng&quot; --track-name &quot;4:ASS&quot; --default-track &quot;4:no&quot; --forced-track &quot;4:no&quot; -a &quot;3&quot; -d &quot;1&quot; -s &quot;4&quot; --attachments &quot;1&quot; -T &quot;--no-global-tags&quot; &quot;$file&quot; --track-order &quot;0:1,0:3,0:4&quot;;&#xA;&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerDisplayName="ihorner" LastActivityDate="2012-08-14T18:48:56.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10272" PostTypeId="1" AcceptedAnswerId="10273" CreationDate="2012-07-28T03:11:41.440" Score="4" ViewCount="36" Body="&lt;p&gt;I figured I'd leave a question here while I did the manual labor, but what do you find is the best way to transcribe footage?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm an editor and the first thing I like to do is create a script of people said, then piece together parts of their takes, and THEN get to the actual footage editing. That way I'm only working with what I need ahead of time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically what I do now is load up the videos in VLC, and open a TextEdit (mac), then watch it through normally or double speed until I get to a part with the interview, then I mark that timecode on the TextEdit, and go watch through the interview in triple-quadruple slowdown, so that I can keep up with what they say and not have to constantly stop and start it back up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With this way it seems like I'm doing somewhere around 5 minutes real time to transcribe a minute, which comes to about 12 video mins a realtime hour. And I was just wondering if there was a better way you guys already know about. I'm not sure I trust auto-transcribe-type things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you think this slowing the vid down and having to go back 5 seconds only a few times when I can't quite tell what he's saying because it's so slow, is saving more time than watching it in real time, pausing, writing, going back and watching the next part?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or do you know better ways? Seems transcribing is the most time-consuming part of my workflow. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since VLC is opensource, would it be possible to combine VLC and a Text Editor...something like VLC on the top and the text editor on the bottom, and whenever you hit a certain key, it automatically puts the timecode in the text, and you can use VLC's shortcuts while typing? Etc?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, non-automatic preferred. For one, it could be wrong, and two, I'd like to get used to the footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help?&lt;/p&gt;&#xA;" OwnerDisplayName="user1159454" LastActivityDate="2014-02-21T10:21:25.737" Title="Transcription Methods/Times" Tags="|video|audio-recording|audio|workflow|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10273" PostTypeId="2" ParentId="10272" CreationDate="2012-07-30T04:03:04.340" Score="4" Body="&lt;h2&gt;Speech Detection&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;You havent mentioned what NLE you use to edit, however here is a &lt;a href=&quot;http://help.adobe.com/en_US/premierepro/cs/using/WS1c9bc5c2e465a58a91cf0b1038518aef7-7d0fa.html#WS29F692D2-7A49-44db-A109-AE016B766767&quot; rel=&quot;nofollow&quot;&gt;method&lt;/a&gt; you can use to transcribe if you are using Adobe CS4 or later. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This method uses speech detection to automatically transcribe videos - a feature brought in with CS4. It then adds the the text into the metadata of the file. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;a href=&quot;http://help.adobe.com/en_US/premierepro/cs/using/WS1c9bc5c2e465a58a91cf0b1038518aef7-7d0fa.html#WS29F692D2-7A49-44db-A109-AE016B766767&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;Analyze speech to create text metadata&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;Select a file or clip.&lt;/li&gt;&#xA;  &lt;li&gt;At the bottom of the Metadata panel, click Analyze Speech, or Analyze (Adobe Premiere Pro).&lt;/li&gt;&#xA;  &lt;li&gt;Set the Language and Quality options, and select Identify Speakers if you want to create separate speech metadata for each person. &#xA;  &lt;em&gt;Note: Speech Search can use any of several language-specific and dialect-specific libraries, such as libraries for Spanish and UK&#xA;  English.&lt;/em&gt;&lt;/li&gt;&#xA;  &lt;li&gt;Click OK.&lt;/li&gt;&#xA;  &lt;li&gt;The spoken words appear in the Speech Analysis section.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;To retain the speech metadata, save the project.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Obviously this depends on the quality of the audio. Good clean audio will provide the best results. Its also worth noting that Premiere uses Soundbooth to process the detection, so if your audio wasnt up to scratch you could clean it up in Soundbooth, and then perform the analysis there. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;VLC Scripting&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I came across &lt;a href=&quot;http://wiki.videolan.org/How_to_use_VLC_for_transcription_in_linux&quot; rel=&quot;nofollow&quot;&gt;this article&lt;/a&gt; explaining how to take the current timecode from a video and add it to a text document for transcribing. The title of the artice states its a method for Linux. However I'm sure it would be easy enough to take the method and apply it to Windows or OSX.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;Manual&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;In regards to your current method. It depends on how many times you fall behind. when I have transcribed video I have done it at full speed but I havent bothered to fix errors while I'm typing. Usually I'll go back and fix it up later - and being that they are just for editing purposes they dont need to be totally correct. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might also want to have a loot at &lt;a href=&quot;http://www.adobe.com/products/prelude.html&quot; rel=&quot;nofollow&quot;&gt;Adobe Prelude CS6&lt;/a&gt;. Its an ingesting and meta logging program. One of its features is that it lets you add markers (and name them) in realtime as you are watching the video.&lt;/p&gt;&#xA;" OwnerDisplayName="OrangeBox" LastActivityDate="2012-07-30T04:03:04.340" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10274" PostTypeId="2" ParentId="10272" CreationDate="2012-11-28T05:14:33.743" Score="1" Body="&lt;p&gt;Well, no need to worry about. Transcribing footage is something very easy now-these-days. What you have to make sure is that just write down all your audio in chronological order and he time codes of when each section begins and ends. Try to include punctuation and how phrases are expressed, so your are as close to the video as possible.&#xA;If you are seriously very much keen, then you should go ahead and try to use the real transcription symbols, which can indicate pauses and overlaps in speech. &lt;/p&gt;&#xA;" OwnerDisplayName="Ajay Prasad" LastActivityDate="2012-11-28T05:14:33.743" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10275" PostTypeId="1" AcceptedAnswerId="10276" CreationDate="2012-07-27T21:58:50.483" Score="4" ViewCount="96" Body="&lt;p&gt;Recently I was playing a Hi8 tape from 1998, when I tried rewinding and rewatching a part (stopping the tape, before rewinding).  The part of the tape I had just watched was highly distorted and black and white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I've learned the hard way that old metal particle tapes are prone to being erased, when watched.  Presumably, the 'MP' on the tapes stands for metal particle?  These tapes have been stored in a safe place.  How many years before this problem arises with MP tapes?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a better alternative than playing these tapes into a capture card?  If not, I realize that I only have one chance to capture this video.  If this is the only option, I'll expect to capture until the read head becomes too affected by residue, and then stop and clean the head, and repeat.  Any advice would be appreciated.&lt;/p&gt;&#xA;" OwnerDisplayName="Peter Becich" LastEditorUserId="1950" LastEditDate="2015-02-04T23:46:38.143" LastActivityDate="2019-09-09T06:30:58.863" Title="Transferring old metal particle Hi8 tapes" Tags="|video|digitisation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10276" PostTypeId="2" ParentId="10275" CreationDate="2012-07-29T16:54:29.463" Score="3" Body="&lt;p&gt;You do need to play the tapes onto a capture card, yes. And the sooner the better. You don't just get one attempt, but you will get a slight degradation of quality every play, so you are best off aiming to do it in one pass if possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recently captured about 50 tapes from the late 80's to the mid 90's and I did about half of them then cleaned the head then did the other half. Degradation wasn't noticeable, but I just thought I should do it just in case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As to how long you can store them - is the safe place shielded from EMF, heat and humidity, then they can last for years, but due to the nature of magnetic tape, the magnetic field strength of particles affects adjacent particles, so quality will degrade no matter what.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When configuring your capture, set it for the highest quality you can afford - as there are utilities which can clean up some noise and speckle once the signal is digitised.&lt;/p&gt;&#xA;" OwnerUserId="674" OwnerDisplayName="Dr Mayhem" LastActivityDate="2012-07-29T16:54:29.463" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10277" PostTypeId="1" CreationDate="2014-02-21T11:30:13.413" Score="1" ViewCount="45" Body="&lt;p&gt;Does anyone know for sure if Sony HDR AS30 is only compatible with macOS 7 and up?&#xA;I know from reading docs it's only compatible for 7 and up for wifi setup but it's hard to know for desktop because there is software current for mac but no ability to input without device detection. I can see the USB connection on the mac and camera but the software is not detecting a camera.&lt;/p&gt;&#xA;" OwnerUserId="5274" LastActivityDate="2014-05-22T22:52:29.773" Title="Sony HDR AS30 detect device on imac" Tags="|video|mac|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10279" PostTypeId="2" ParentId="9514" CreationDate="2014-02-21T15:32:27.457" Score="1" Body="&lt;p&gt;I've found an answer to my specific problem that's a little ugly, but might be of some use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The basic premise is to ensure that the first device in the chain does not support (or is capable of disabling support for) HDCP. Macs and iOS devices are opportunistic when it comes to HDCP; they'll always attempt to negotiate it, but will fall back to unencrypted when there's no protected content playing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Kramer VP-424 scaler has a setting &quot;HDCP on input&quot; that will, when disabled, prevent that negotiation. By putting one of these inline between the input and the switch, HDCP never starts and the whole chain is unencrypted:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Mac&lt;/strong&gt; -&gt; &lt;strong&gt;VP-424&lt;/strong&gt; (HDCP Disabled, 1080p output) -&gt;&lt;strong&gt;VS-84H&lt;/strong&gt; Switch -&gt; &lt;strong&gt;VP-424&lt;/strong&gt; (HDCP Disabled, 720 Output) -&gt; &lt;strong&gt;LifeSize Codec&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The scaling doesn't have any noticeable effect on image quality or unduly effect sync times, which is a bonus. I still get 1080p out to the local projector and downscaled 720p to the codec. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I say, it's neither pretty, nor cheap; but it works.&lt;/p&gt;&#xA;" OwnerUserId="5062" LastActivityDate="2014-02-21T15:32:27.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10280" PostTypeId="2" ParentId="10277" CreationDate="2014-02-21T21:37:31.300" Score="1" Body="&lt;p&gt;Ok finally worked it out haha&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do not be a dummy like me and insert the memory stick upside down!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will know when it is correctly inserted because a red light will come on indicating ready to record.&lt;/p&gt;&#xA;" OwnerUserId="5274" LastActivityDate="2014-02-21T21:37:31.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10281" PostTypeId="1" CreationDate="2014-02-21T22:25:34.660" Score="1" ViewCount="801" Body="&lt;p&gt;I work for a software company that offers Video Coaches to our clients.  We are offering Coaches in foreign languages and the current Teleprompter software we are using does not support anything but English. We have been able to work around Spanish by replacing accented and special characters with standard English ones, however, this makes it harder for the talent as some words change meaning without the accent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Beyond that, we are going to be filming Chinese Coaches soon and we will need Simplified Chinese to be supported by the software (we have been unable to think of a workaround).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have the trial version of PromptDog but have not been happy with the 'Talent Window'.  I don't like that it cannot be expanded to full screen and the text can only be flipped horizontally (we need to flip vertically with our current setup).  It is also difficult to set up the Talent Window as I cannot see the talent monitor from the computer.  Ideally, the second monitor would be filled to full screen automatically.  It would also be convenient if the software could easily import .doc files (PromptDog does not).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I apologize ahead of time if this question is not appropriate for this forum.  I participate in the Music Practice and Performance page and software questions are generally closed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE:&lt;/strong&gt; Budget is up to 500 USD but preferably under 300 USD&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE2:&lt;/strong&gt; Though I have awarded the bounty, I did not receive a specific recommendation that fulfilled my specifications.  It did point me in a good direction and provided resources to find other software options but I would like to award the official answer to one that provides a specific software that meets my needs.&lt;/p&gt;&#xA;" OwnerUserId="5317" LastEditorUserId="5317" LastEditDate="2014-03-03T16:20:45.527" LastActivityDate="2021-12-14T09:13:50.367" Title="Is there a cheap Teleprompter software that supports foreign languages?" Tags="|software-recommendation|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="10282" PostTypeId="1" AcceptedAnswerId="10304" CreationDate="2014-02-23T17:49:35.647" Score="4" ViewCount="263" Body="&lt;p&gt;I'm producing a video with several graphics animations, and some of them need to be done in Motion. What's the best way to store a Motion animation that will only be used in one place in one FCP project?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Motion appears to want me to save it as a FCP template, but then it'll be in that template list for all time. I want to keep it with the project, ideally in an Event. It's media, just like my video and audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any good way to handle this?&lt;/p&gt;&#xA;" OwnerUserId="589" LastActivityDate="2014-02-28T13:08:04.183" Title="How can I keep my project-specific Motion elements together with my Final Cut projects?" Tags="|final-cut-pro|motion|workflow|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10283" PostTypeId="1" AcceptedAnswerId="11909" CreationDate="2014-02-23T21:37:57.910" Score="5" ViewCount="11748" Body="&lt;p&gt;I'm trying to get my (non-graded) video from Final Cut Pro X through DaVinci Resolve 10.1 Lite, and back into FCPX for the last bits (audio, logos etc). The first part wasn't that hard, just export the FCPX project as XML, and load that from DaVinci Resolve. The color grading itself was a bit harder but still very doable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The hardest part is getting the graded clips from DaVinci Resolve back into FCPX. I went to the &lt;strong&gt;Deliver&lt;/strong&gt; page, set the &lt;strong&gt;Easy setup&lt;/strong&gt; to &lt;em&gt;Final Cut Pro XML Round-Trip&lt;/em&gt;, selected all the clips and selected a destination. After adding the job and running the job, I looked in the directory that was just created and saw a bunch of videos there and a &lt;em&gt;fcpxml&lt;/em&gt; file. But importing that &lt;em&gt;fcpxml&lt;/em&gt; file into FCPX just loads the clips from their original location...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, how is this round trip supposed to work between Final Cut Pro X and DaVinci Resolve Lite?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've spend the better part of today trying to figure that out, but all I can find are YouTube clips explaining how to do it with Premiere Pro or other video editors. And when I do manage to find something about Final Cut Pro X, it says I should just go to &lt;strong&gt;File&lt;/strong&gt;=&gt;&lt;strong&gt;Export AAF, XML&lt;/strong&gt;. Unfortunately that option is greyed out for me. And all the other docs are either refering to Resolve 8 or 9. Even the official documentation still refers to a &lt;strong&gt;Conform&lt;/strong&gt; page which is long gone in Resolve 10, and replaced by the &lt;strong&gt;Color&lt;/strong&gt; page. Too bad I can't find a way to export from there either :(&lt;/p&gt;&#xA;" OwnerUserId="5610" LastActivityDate="2014-06-10T13:24:54.317" Title="FCPX =&gt; DaVinci Resolve =&gt; FCPX color grading round trip" Tags="|final-cut-pro-x|color-correction|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="10284" PostTypeId="1" AcceptedAnswerId="10295" CreationDate="2014-02-24T03:26:22.357" Score="1" ViewCount="46" Body="&lt;p&gt;I was playing with my shotgun mic on my new 5D Mark II (upgraded from my T2i), and had it plugged into the camera. I plugged some headphones into the audio out of the Mark II and was hearing what I thought was live audio in my left ear (nothing in the right though). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything I've read says that the Mark II cannot monitor sound. So what exactly am I hearing?&lt;/p&gt;&#xA;" OwnerUserId="1036" LastEditorUserId="1036" LastEditDate="2014-02-24T19:15:00.913" LastActivityDate="2014-02-25T04:28:03.320" Title="What exactly am I hearing from my 5DMkII audio out jack?" Tags="|audio|monitoring|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10286" PostTypeId="1" CreationDate="2014-02-24T18:30:35.733" Score="0" ViewCount="51" Body="&lt;p&gt;I've been making videos (episodes) for my YouTube channel. They are all in a standard format with an intro which has the episode # and title, then the clips fade in always using the same simple cross-fade. I'm putting it all together using After Effects CS6. It seems to be too time consuming to manually trim/align the clips and then apply the transitions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first thing I do is watch my source content and note the in/out times for all of the clips (could be one or more in/out per clip). Then I mark certain things like &quot;speed up 4x&quot; or &quot;no audio&quot;, etc. I wonder if there's a way I can write a script and then have the video be produced for me, quickly. I'd need to supply some values  for some variables, such as episode # and name, and then the in/out/etc. for each clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What tools exist that would allow me to create the final video from a &quot;script&quot;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: I'm a software engineer so I'm sure I could just write a program to do this for me, but I'm sure it already exists!&lt;/p&gt;&#xA;" OwnerUserId="806" LastActivityDate="2014-02-24T18:48:47.950" Title="Script to create video in standard format?" Tags="|video-editor|after-effects|editing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10287" PostTypeId="2" ParentId="10286" CreationDate="2014-02-24T18:48:47.950" Score="1" Body="&lt;p&gt;I'm not aware of any software that does what you are looking for.  The workflow doesn't really fit within a typical post-production workflow, so there isn't really a reason for it.  You can find software that will do things like adding the beginning and ending leads to a video based on meta data, so doing the titles automatically should be possible.  However, actually making automated edits based on timestamps is fairly non-typical.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally, the clips are cut in as they are reviewed if you are reviewing that way.  You can watch a clip, set an in and out point and then send it to the timeline.  This way you document the edits and build the sequence at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your best bet would probably be to use software for making EDLs (editing decision lists).  If you can produce an EDL with the cuts you have defined in your &quot;script&quot; then software that can process EDLs (such as Premiere) should be able to make use of them.  Normally EDLs are used for transitioning between different editing systems, so it should be possible to modify or create your own EDL fairly easily.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-24T18:48:47.950" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10288" PostTypeId="1" AcceptedAnswerId="10291" CreationDate="2014-02-24T12:03:45.123" Score="1" ViewCount="4158" Body="&lt;p&gt;I need to know the name of the codec?&#xA;They have the file extension of .mov  but i need to know what codec that is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the video codec name of videos made through the Canon 600d DSLR?&lt;/p&gt;&#xA;" OwnerUserId="5624" OwnerDisplayName="Julian" LastActivityDate="2014-02-25T08:13:54.117" Title="What is the video codec name of videos made through the Canon 600d DSLR" Tags="|dslr|video|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10289" PostTypeId="2" ParentId="10288" CreationDate="2014-02-24T19:55:46.700" Score="1" Body="&lt;p&gt;I can just copy my answer from the comment:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Canon SLRs encode video using h.264 - use of Magic Lantern will give you control over the bitrate which is not available by default.&#xA;The standard Canon codec is available on any spec sheet for Canon cameras - such as the 700D or 5D MK III (my 5D MK II also uses h.264)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go to Specifications -&gt; file type for the codec information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source 1: &lt;a href=&quot;http://www.canon.co.uk/For_Home/Product_Finder/Cameras/Digital_SLR/EOS_5D_Mark_III/index.aspx#p-specification13&quot; rel=&quot;nofollow&quot;&gt;http://www.canon.co.uk/For_Home/Product_Finder/Cameras/Digital_SLR/EOS_5D_Mark_III/index.aspx#p-specification13&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source 2:&#xA;&lt;a href=&quot;http://www.canon.co.uk/For_Home/Product_Finder/Cameras/Digital_SLR/EOS_700D/index.aspx#p-specification13&quot; rel=&quot;nofollow&quot;&gt;http://www.canon.co.uk/For_Home/Product_Finder/Cameras/Digital_SLR/EOS_700D/index.aspx#p-specification13&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5614" LastActivityDate="2014-02-24T19:55:46.700" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10290" PostTypeId="1" CreationDate="2014-02-24T21:26:10.437" Score="3" ViewCount="61" Body="&lt;p&gt;Using After Effects CS6, I'd like to import one project (ProjA) into another project (ProjB). Let's say that ProjA has some text that I want to customize from ProjB. I'd like to be able to import ProjA into ProjB and then set some property &quot;this is ProjB&quot; on the imported project/comp and have the text in ProjA render that text dynamically. Is there a global properties/variables collection I can use to do this inside of a comp?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The way I see this working is I would add a variable called &lt;code&gt;myText&lt;/code&gt; to the comp in ProjA. Then I would add a text layer and set its &lt;code&gt;Source Text&lt;/code&gt; to an expression which would grab &lt;code&gt;myText&lt;/code&gt; from the comp's properties/variables: &lt;code&gt;thisComp.properties(&quot;myText&quot;)&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would allow me to import ProjA over and over into many videos and have unique text for each instance.&lt;/p&gt;&#xA;" OwnerUserId="806" LastActivityDate="2017-04-12T22:26:38.023" Title="Set variables on imported comp?" Tags="|video-editor|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10291" PostTypeId="2" ParentId="10288" CreationDate="2014-02-25T00:28:43.583" Score="2" Body="&lt;p&gt;All Canon DSLRs, including 600D use the same video codec: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;em&gt;Codec&lt;/em&gt;: MPEG-4 Part 10 / AVC / H.264&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Profile&lt;/em&gt;: Baseline&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Level&lt;/em&gt;: 5.0&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Bitrate mode&lt;/em&gt;: CBR ± 40 Mbit/s maximum average&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;PAL&lt;/em&gt;: 1080p25, 1080p24, 720p50, 480p50&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;NTSC&lt;/em&gt;: 1080p30, 1080p24, 720p60, 480p60 &lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Colorspace&lt;/em&gt;: 8-bit YUV 4:2:0 Rec. 709&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Many of the higher-end models have an additional &lt;strong&gt;All-I mode&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;em&gt;Profile&lt;/em&gt;: High (without CABAC)&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Level&lt;/em&gt;: 5.1&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Bitrate mode&lt;/em&gt;: VBR ± 100 Mbit/s maximum average&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5569" LastEditorUserId="5569" LastEditDate="2014-02-25T08:13:54.117" LastActivityDate="2014-02-25T08:13:54.117" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10292" PostTypeId="1" CreationDate="2014-02-25T00:40:14.600" Score="2" ViewCount="763" Body="&lt;p&gt;Is it possible to import a IMovie 11 project into FCP 10.1? I tried to Export the XML in IMovie, but when I try to import it in FCP the file is grayed out.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For some reason apple keeps changing how this works from version to version and I'm wondering if its even possible anymore.&lt;/p&gt;&#xA;" OwnerUserId="5615" LastActivityDate="2014-07-24T02:59:44.847" Title="IMovie 11 to FCP 10.1" Tags="|final-cut-pro-x|imovie|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10293" PostTypeId="1" AcceptedAnswerId="10294" CreationDate="2014-02-25T04:08:17.030" Score="7" ViewCount="44859" Body="&lt;p&gt;I'm using AfterEffects CS6 on Windows 7. During footage preview/playback, I never get any audio. I have the &lt;code&gt;Mute Audio&lt;/code&gt; option in the &lt;code&gt;Preview&lt;/code&gt; panel turned off (audio is not muted). I checked the &lt;code&gt;Edit &amp;gt; Preferences &amp;gt; Audio Hardware&lt;/code&gt; settings and found that 1) the only device listed in the &lt;code&gt;Default Device&lt;/code&gt; list is &quot;After Effects WDM Sound&quot;, and 2) clicking the &lt;code&gt;Settings&lt;/code&gt; button and checking all of my audio devices (with and without the &lt;code&gt;Device 32-bit Playback&lt;/code&gt; option selected) does nothing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I missing something here? I have to preview my clips in Windows Media Player and then go back to AfterEffects to do the trimming - it's annoying!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/upDRi.png&quot; alt=&quot;AfterEffects audio settings.&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="806" LastActivityDate="2017-04-26T04:07:06.703" Title="No audio during footage preview" Tags="|after-effects|editing|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10294" PostTypeId="2" ParentId="10293" CreationDate="2014-02-25T04:13:53.777" Score="6" Body="&lt;p&gt;After Effects is not designed as an editing platform.  Audio preview only works when you do a RAM Preview and pre-render all the frames for the content you are previewing.  You never get Audio with the real-time preview.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The intent behind RAM Preview is that it lets you check the final quality of the render prior to writing it to disk, but it isn't really designed to be used constantly while doing effects work in most cases.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-25T04:13:53.777" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10295" PostTypeId="2" ParentId="10284" CreationDate="2014-02-25T04:28:03.320" Score="2" Body="&lt;p&gt;You may be getting just a little bit of drive from the A/V Output connection.  The 5D Mark ii has no headphone connector.  All it has is a TRRS (tip, ring, ring, sleeve) connector that happens to be the same size as a headphone plug.  It is designed to feed an analog video feed out of the camera and in to a TV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While there would be a drastic impedance difference, the part of the headphones that happened to connect to one of the audio channels may have been sufficient to minimally drive your headphones.  The other ear piece likely got connected to the video feed which wouldn't do much except perhaps produce noise, quite probably in-audibly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would avoid trying it as sending the wrong kind of signal through your headphones may potentially cause damage, though you could use the A/V cable to output the audio and then wire it up to a small headphone amplifier to monitor the audio output from the A/V cable safely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More information about the 5D Mark ii's A/V output connector can be found on page 139 of the manual.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-25T04:28:03.320" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10296" PostTypeId="2" ParentId="10281" CreationDate="2014-02-25T04:53:30.873" Score="2" Body="&lt;p&gt;If you have a Mac, Presentation Prompter had a few good reviews I found when doing some research.  I don't have a Mac to try it, but it appears to have mirror modes and is listed as having RTF support.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also worth pointing out you may be able to setup the necessary mirroring on a particular output desktop rather than having the prompting software have to support it.  This could possibly make the software that didn't have the needed mirroring option work for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that doesn't work, &lt;a href=&quot;http://www.freetelepromptersoftware.com/pc.htm&quot; rel=&quot;nofollow&quot;&gt;MirrorScript&lt;/a&gt; appears to have a free teleprompting software that works with PC and international characters.  They also offer an entire list of alternative prompting software that might be worth looking in to if they don't meet your needs for other reasons.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-25T04:53:30.873" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10298" PostTypeId="1" CreationDate="2014-02-25T12:54:31.747" Score="1" ViewCount="65" Body="&lt;p&gt;I am interested in gathering opinons on the best way to create an effect very similar to what might be termed &quot;Broken gif&quot;. In this effect the last still shot of the previous scene is used as the colour values for the next one, but all the motion and changes are already unrelated to the depth and other information of that last scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a video which makes pretty good use of the effect. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/js9EY7iHNfs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="5618" LastEditorUserId="4943" LastEditDate="2014-03-01T18:43:04.250" LastActivityDate="2014-03-04T10:21:38.140" Title="How to produce a &quot;broken gif&quot; effect - video example" Tags="|effects|special-effects|distortion|" AnswerCount="0" CommentCount="1" FavoriteCount="0" ClosedDate="2014-03-11T02:51:52.230" ContentLicense="CC BY-SA 3.0" />
  <row Id="10299" PostTypeId="1" CreationDate="2014-02-26T06:58:55.230" Score="0" ViewCount="142" Body="&lt;p&gt;I need a (desktop) video player that is able to play a movie and automatically skip some scenes that I define in advance. Is this feature supported in any video player? I looked at Km Player and VLC and I couldn't find what I am looking for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&#xA;Thanks &lt;/p&gt;&#xA;" OwnerUserId="5622" LastActivityDate="2014-05-27T23:56:27.937" Title="Play video skipping some scenes" Tags="|video|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10301" PostTypeId="1" AcceptedAnswerId="10303" CreationDate="2014-02-26T13:49:26.897" Score="3" ViewCount="162" Body="&lt;p&gt;I have just created a simple AVI video that contains a small powerpoint slide as an opener, then it does into a timed installation of some software. I have managed to copy and paste the final frame so that once the software is installed, the stopwatch appears to stop showing the time it took to install. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've recorded the video in AVI format using CamStudio, I'd like to be able to keep the audio track that exists and also add a final audio track or voiceover at the end of the video.&#xA;Anyone know any free software that will allow me to do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suppose I could just leave it as it is, load it onto YouTube and annotate it on there, but I just wanted to do something a little more professional. Comments/suggestions welcome.&lt;/p&gt;&#xA;" OwnerUserId="5626" LastEditorUserId="2836" LastEditDate="2014-02-26T15:47:38.600" LastActivityDate="2014-02-26T21:33:32.323" Title="I want to add some audio to the end of a video" Tags="|software-recommendation|audio|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10302" PostTypeId="2" ParentId="10301" CreationDate="2014-02-26T14:16:54.427" Score="2" Body="&lt;p&gt;There are many good free open source video editing software available. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A couple of them are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pinnacle Videospin, downloadpage: &lt;a href=&quot;http://videospin.en.softonic.com/&quot; rel=&quot;nofollow&quot;&gt;http://videospin.en.softonic.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ZS4 Video Edit, official website: &lt;a href=&quot;http://www.zs4.org/&quot; rel=&quot;nofollow&quot;&gt;http://www.zs4.org/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;LiVES, official website: &lt;a href=&quot;http://lives.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;http://lives.sourceforge.net/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Kdenlive, official website: &lt;a href=&quot;http://www.kdenlive.org/&quot; rel=&quot;nofollow&quot;&gt;http://www.kdenlive.org/&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Avidemux, &#xA;official website:&#xA;&lt;a href=&quot;http://avidemux.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;http://avidemux.sourceforge.net/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Jahshaka, official website: &lt;a href=&quot;http://www.jahshaka.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.jahshaka.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could check on Wikipedia for a longer list. See link: &#xA;&lt;a href=&quot;http://en.wikipedia.org/wiki/List_of_video_editing_software#Free_and_open-source&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/List_of_video_editing_software#Free_and_open-source&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A good video editing software is &quot;Sony Vegas&quot;. But its quite  expensive. A better video editing software is &quot;Adobe Premiere Pro&quot; but also more expensive. And If you don't care about money anymore I'd advise you to use a Mac and &quot;Final Cut&quot;. &lt;/p&gt;&#xA;" OwnerUserId="5624" LastEditorUserId="5624" LastEditDate="2014-02-26T16:22:42.700" LastActivityDate="2014-02-26T16:22:42.700" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10303" PostTypeId="2" ParentId="10301" CreationDate="2014-02-26T15:23:34.023" Score="3" Body="&lt;p&gt;It sounds like you are looking to do what is traditionally handled by a Non-Linear Video Editing software, or just video editor for short.  There are a number of free and cheap options available.  They lack many of the bells and whistles of more advanced software, but are actually typically easier to use than the more advanced software targeted at professionals.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are on Windows, Windows Movie Maker will easily allow you to do what you are trying to do and has a nice, friendly user interface.  Due to stability issues and limited functionality, if you want to get more advanced than very basic stuff, it is worth purchasing a better option, such as Premiere Elements, Pinnacle Studio or something similar in the consumer targeted market though.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you aren't on Windows, you could use OpenShot video editor which is available for Mac and Linux and should also be able to cover your needs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As Julian was kind enough to point out in his answer, there is also a list of open source video editors listed on Wikipedia's &lt;a href=&quot;http://en.wikipedia.org/wiki/List_of_video_editing_software#Free_and_open-source&quot; rel=&quot;nofollow&quot;&gt;List of Video Editors&lt;/a&gt;, though there is a very wide range in the usability of the products in that list, though most all of them should be able to address your fairly basic needs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From your comment, I noticed that you were doing some powerpoint slide stuff.  You can actually take an image of that and use it directly in the video editor as well, rather than having to output the video through PowerPoint.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-02-26T16:08:59.630" LastActivityDate="2014-02-26T16:08:59.630" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10304" PostTypeId="2" ParentId="10282" CreationDate="2014-02-26T17:59:48.577" Score="3" Body="&lt;p&gt;FCPX has currently no way to link Motion Projects to FCPX Projects. To place Motion Projects in another directory than the default one, you have to create symbolic links using Terminal (see below). Motion Projects can &lt;em&gt;only&lt;/em&gt; be used in FCPX as &lt;em&gt;Templates&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From Apple's &lt;a href=&quot;https://www.apple.com/final-cut-pro/docs/Media_Management.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;PDF&lt;/a&gt; &lt;em&gt;&quot;Managing Media with Final Cut Pro X Libraries&quot;&lt;/em&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Motion templates are not managed as assets within the library but are instead stored in ~/Movies/Motion Templates/. If a project is dependent on custom titles or other Motion templates, these must be handed off separately.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;h2&gt;I. Managing Motion Templates Manually&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;FCPX searches for Motion Templates in &lt;code&gt;~/Movies/Motion Templates/&lt;/code&gt;&lt;em&gt;&lt;code&gt;Type of effect&lt;/code&gt;&lt;/em&gt;&lt;code&gt;/&lt;/code&gt;&lt;em&gt;&lt;code&gt;Category&lt;/code&gt;&lt;/em&gt;&lt;code&gt;/&lt;/code&gt;&lt;em&gt;&lt;code&gt;Name of effect&lt;/code&gt;&lt;/em&gt;&lt;code&gt;/&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;&lt;code&gt;~/&lt;/code&gt;&lt;/strong&gt; means your home directory&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;&lt;code&gt;Type of effect&lt;/code&gt;&lt;/strong&gt; is one of: Compositions, Effects, Generators, Titles, Transitions.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;&lt;code&gt;Category&lt;/code&gt;&lt;/strong&gt;, &lt;strong&gt;&lt;code&gt;Name of effect&lt;/code&gt;&lt;/strong&gt;: the name and the category under which the effect will appear in FCPX. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Within Finder you can :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Change the names of categories and effects&lt;/li&gt;&#xA;&lt;li&gt;Create new categories and rearrange the effects inside them&lt;/li&gt;&#xA;&lt;li&gt;update: New templates are detected without restarting, removed templates will show as offline until restarted&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You can for example put all project-specific effects in a category named after that project. When you archive your project, you move the category's folder along and it will disappear in FCPX.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;II. Templates Outside Templates Folder (Requires Terminal)&lt;/h2&gt;&#xA;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;Find your Template (see above) and move it using Finder&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In the Terminal create a symbolic link to your Templates new location (while aliases from the Finder are not recognized, symbolic links created in the Terminal &lt;em&gt;are&lt;/em&gt;)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ln -s /Volumes/ExternalHDD/Untitled.fcpbundle/MyTitle.moti \&#xA;      ~/Movies/Motion\ Templates.localized/Titles.localized/MyCategory/&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Change the above folder names to reflect yours.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this example the Template is inside a Library on an external drive! See the next section on how to get it there.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;To use this drive on another Mac, repeat the Terminal command there.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h2&gt;III. Templates Inside Library&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;To make sure a Template stays with the project it belongs to, you can place it inside the project's .fcpbundle:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;In FCPX control-click on your library and choose Reveal in Finder&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/5wTt7.png&quot; alt=&quot;Reveal in Finder&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In Finder control-click on your library and choose Show Package Contents&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/oNuvo.png&quot; alt=&quot;Show Package Contents&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Find your Template (see I.) and place it here. Then create the symbolic link (see II.)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Credits for Terminal inspiration go to &lt;a href=&quot;http://youtu.be/hCXQmYgBxeI&quot; rel=&quot;nofollow noreferrer&quot;&gt;MacBreak Studio&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="5569" LastEditorUserId="5569" LastEditDate="2014-02-28T13:08:04.183" LastActivityDate="2014-02-28T13:08:04.183" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10305" PostTypeId="1" CreationDate="2014-02-26T21:06:17.453" Score="7" ViewCount="40249" Body="&lt;p&gt;I working on a project that I originally began in Premiere Pro CS6 on Windows, converted to CC, and am not editing in CC on Mac. I was making some minor tweaks to the video and getting ready to export, when I noticed some major differences in the color between the source monitor and the export preview (the actual exported file resembles or matches what you see in the export preview).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Jhh9J.jpg&quot; alt=&quot;Notice color differences on the external monitor&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The export seems to lose a lot of color, and even shade a bit purple.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm on a 2013 retina MacBook Pro with a NVIDIA GeForce GT 750M. I'm also working with a 30&quot; Dell external monitor via Thunderbolt. [Edit: Actually, I wonder if it's the external monitor that's throwing off my coloring. Here's a screenshot from the MBP screen:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ymrEO.png&quot; alt=&quot;MBP Screen&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And a screenshot of the rendered video in QuickTime (bottom) compared to the export preview (top). notice the QuickTime video is slightly washed out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/QTYwh.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some of the Googling I've done seems to suggest this is a problem with a gamma shift in Premiere (though I don't know how to fix that on export) or even a problem with the nVidia card (though I don't know of a way to look at that on a Mac).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any suggestions for how I can get the export to match what I see in the source monitor?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;UPDATE: After playing around with this some more, it seems like the problem might actually have to do with QuickTime, though I'm not sure where it fits into the various pieces in the puzzle. Here's a screenshot of the same video with QuickTime on top and VLC on the bottom:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/PgYFF.jpg&quot; alt=&quot;QT on Top with VLC on bottom&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thankfully, the video that I uploaded to Wistia preserves the color: &lt;a href=&quot;http://fogcreek.wistia.com/medias/p4eqf8u3vr&quot; rel=&quot;noreferrer&quot;&gt;http://fogcreek.wistia.com/medias/p4eqf8u3vr&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At this point, it seems to just be a QuickTime problem, so maybe just using VLC as my default video player is the way to go. Anyone with a Mac know any more about what might be going on? I'd still like to understand more.&lt;/p&gt;&#xA;" OwnerUserId="3661" LastEditorUserId="3661" LastEditDate="2014-02-26T22:25:53.333" LastActivityDate="2018-09-22T00:39:10.487" Title="Upon export in Premiere Pro, colors lose saturation when previewing in QuickTime" Tags="|premiere|mac|color-correction|" AnswerCount="5" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10306" PostTypeId="2" ParentId="10301" CreationDate="2014-02-26T21:33:32.323" Score="1" Body="&lt;p&gt;If you're on a Mac, iMovie is free.  I've been using it for years to do all my video editing (300+ YouTube videos and counting!).  It's got still frames, color correction, titles, voice-over, transitions, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;YouTube also has (or used to have) a built-in editor.  I believe you upload your footage and then YouTube allows you to edit it there.  That means you'd probably have to record and upload the voice over section separately, and then splice the two videos together within YouTube's editor.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-02-26T21:33:32.323" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10307" PostTypeId="2" ParentId="10299" CreationDate="2014-02-26T21:42:43.540" Score="1" Body="&lt;p&gt;This is do-able with the Flash player, or with Adobe AIR which is a great platform for desktop programs.  The video would have to be encoded with cuepoints that were accessible, somehow, to the user. Maybe via buttons that allowed the user to choose which scenes to show or not to show. How much work do you want to do?&lt;/p&gt;&#xA;" OwnerUserId="5600" LastActivityDate="2014-02-26T21:42:43.540" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10308" PostTypeId="2" ParentId="10305" CreationDate="2014-02-26T22:14:12.130" Score="1" Body="&lt;p&gt;It looks like it is probably something graphic driver related.  The Mac Book Pro Retina screen shots look almost identical to what I see on my color calibrated environment when I look at the video you have posted on your site.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looks like the playback screen is probably recognized as a video playback by whatever color corrections are going on on the Dell monitor but the export preview isn't (or maybe the other way around.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-26T22:14:12.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10309" PostTypeId="1" AcceptedAnswerId="10310" CreationDate="2014-02-27T17:40:13.410" Score="2" ViewCount="73" Body="&lt;p&gt;My laptop has a camera. Since it can obviously take video of me (a la Skyping), it should be easy to create a video of myself (I am going to create a short video for a Kickstarter project).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My laptop runs Windows 7 and 8.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All I'm going to do is stand or sit in front of it and talk for a couple of minutes. What is the easiest way to accomplish that using apps that come with Windows or something free that I can download?&lt;/p&gt;&#xA;" OwnerUserId="5629" LastEditorUserId="2836" LastEditDate="2014-02-27T18:49:27.960" LastActivityDate="2014-02-27T18:49:27.960" Title="What is the easiest, no-frills way to produce a simple video on Windows 8?" Tags="|software-recommendation|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10310" PostTypeId="2" ParentId="10309" CreationDate="2014-02-27T17:52:51.050" Score="2" Body="&lt;p&gt;If you're looking for super simple and free. The Windows 8 Camera App will allow you to record video files which it then saves to the Pictures-&gt;Camera Roll folder.  It's no frills but will do the trick in a pinch.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you open the Camera App there are two buttons one that looks like a video camera and one a still camera.  You click the video camera button and it starts recording immediately. When you're finished you click the button again and the video is saved to the location mentioned above.&lt;/p&gt;&#xA;" OwnerUserId="4677" LastActivityDate="2014-02-27T17:52:51.050" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10313" PostTypeId="1" AcceptedAnswerId="10314" CreationDate="2014-02-28T13:35:09.273" Score="1" ViewCount="2220" Body="&lt;p&gt;I've recently upgraded to After Effects CC from CS6 and I discovered that in the render queue, options for wmv and H.264 have been deprecated.  I know codecs come and go, but I'd like to understand the reasons why Adobe eliminated these options.  I know they're still available in Media Encoder CC, but why not After Effects CC?&lt;/p&gt;&#xA;" OwnerUserId="4957" LastActivityDate="2014-02-28T14:30:23.320" Title="reasons for After Effects CC deprecating wmv and H.264" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10314" PostTypeId="2" ParentId="10313" CreationDate="2014-02-28T14:30:23.320" Score="2" Body="&lt;p&gt;While I'm not aware of any release of the official reasons for this, I can offer a strong theory based on my knowledge of the way workflows are intended with After Effects.  After Effects is an effects and composition package, it is not designed to be placed at the end of a processing pipeline, but rather in the middle of it.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects is designed to work on clips that will be edited in to a finished product.  As such, it doesn't make a lot of sense to export from After Effects in a format that is targeted at end viewers, such as h.264 or WMV.  It makes much more sense to target high quality, low compression intermediate formats that will minimize iterative quality loss or simply to use embedded compositions directly in Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since it isn't a designed use case to be doing final output from After Effects, it doesn't make a lot of sense to put in extra development time maintaining a feature that is redundant and not part of the main intended work flow of the product.  If you want to do a final output in that format, you can still use Media Encoder to do it and then they only have to license and maintain the encoders for one application rather than two.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is unfortunate in the cases where you wanted to do a one off render of a clip, but that isn't their main use case that they are designing around.  They probably decided that maintaining that use case simply wasn't worth the cost of maintaining.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-28T14:30:23.320" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10315" PostTypeId="2" ParentId="10293" CreationDate="2014-02-28T15:18:24.243" Score="10" Body="&lt;p&gt;If you want to Preview Audio you need to use &lt;strong&gt;RAM Preview&lt;/strong&gt;... &lt;em&gt;Press &lt;kbd&gt;Numpad 0&lt;/kbd&gt;&lt;/em&gt; on the number pad (shortcut key for Ram Preview), then you can hear the audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Press &lt;kbd&gt;Numpad 0&lt;/kbd&gt; on the Numberpad.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZPfG8.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5466" LastEditorUserId="6685" LastEditDate="2015-06-29T07:43:55.070" LastActivityDate="2015-06-29T07:43:55.070" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10316" PostTypeId="2" ParentId="9161" CreationDate="2014-02-28T19:02:08.873" Score="2" Body="&lt;p&gt;I don't know about the specific format of mjpeg that you are working with, but it is certainly possible to handle interlaced video with mjpeg.  I believe the most common way is to do a jpeg per field, so you get half the vertical resolution and alternate between the odd and even fields.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-28T19:02:08.873" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10317" PostTypeId="2" ParentId="7542" CreationDate="2014-02-28T19:07:15.427" Score="1" Body="&lt;p&gt;It sounds like your probably correct about the pressure of the back panel activating it or possibly the conductance of the water that is around it.  It could be either depending on the type of touch screen they used.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-28T19:07:15.427" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10318" PostTypeId="2" ParentId="4912" CreationDate="2014-02-28T19:30:15.610" Score="1" Body="&lt;p&gt;h.264 always uses Y'CbCr as the color space.  Y'CbCr should be able to match the space pretty closely, but you might have to use a 4:4:4 instead of the simplified 4:2:2.  4:2:2, which is most commonly used, lacks a lot of the color resolution and might be why you are seeing the differences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't guarantee it will allow a perfect match, but it should get you much closer.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-28T19:30:15.610" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10319" PostTypeId="2" ParentId="4463" CreationDate="2014-02-28T19:39:18.053" Score="1" Body="&lt;p&gt;If the camera is following DCIM standards, then there should be a 4 digit ID number appended to the end of a 4 digit prefix to form the filename.  The standard is that when a folder is filled (the counter reaches 9999), a new folder is created and the counter starts over again at 1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While there does not appear to be a way to combine these folders on the camera itself, it should be possible for you to simply copy the files in to the same folder on your PC as long as the names don't overlap.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-28T19:39:18.053" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10320" PostTypeId="2" ParentId="2533" CreationDate="2014-02-28T19:42:42.673" Score="2" Body="&lt;p&gt;While I am pretty sure there are a few stand alone devices that can perform this process, they are effectively doing the same thing as you are doing by playing it back through the HD-SDI output of a computer.  RTMP is a very different type of signal than SDI and requires fairly complex translation to get it back to SDI.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-28T19:42:42.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10321" PostTypeId="2" ParentId="10256" CreationDate="2014-02-28T19:53:15.710" Score="3" Body="&lt;p&gt;It is going to depend on which of the two provides a higher quality resize option.  If imagemagick's convert is higher quality than the scale of your encoder, then it will do better, if not, then it will be the other way around.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The one exception to this will be if there is any resolution dependent alterations made to the content along the way.  If for example, you add text to the video, it would be much better to scale the images so that the you are creating new content at the native resolution of the finished video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anything you can avoid scaling you should and if the images are larger than the output, the earlier you can scale them down, the faster everything else will run anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So with that in mind, I would generally scale down the images initially, if it was necessary to have the video at native resolution already when encoding, though most decent editing software will make it irrelevant because they will use the full quality image and put any new content at the native resolution and still combine everything to the proper resolution when rendering out at the end.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-28T19:53:15.710" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10322" PostTypeId="2" ParentId="3262" CreationDate="2014-02-28T20:22:10.233" Score="1" Body="&lt;p&gt;At least for the resolution, the problem is one of data rate.  While it is easy enough for a camera to rapidly capture a few 12 megapixel images per second, video uses 24 or more frames per second.  The sensor and image processing hardware is simply not fast enough to deal with capturing 24 or more full resolution images per second.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Further, even if it was able to capture the higher resolution, there is nothing that can display that high of resolution.  4k screens are only about 8 megapixels in resolution and they are still fairly new (didn't exist at all at the time the D5000 was made).  1080p video would be nice, but that's still only using 2 megapixels of the sensor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, it is not possible to shoot video when not in LiveView.  When you are looking through the viewfinder, there is a mirror blocking the path of light reaching the sensor and instead directing it to the optical viewfinder.  Since the light isn't reaching the sensor, it isn't possible to record or capture anything.  This is why the viewfinder goes blank for an instant when you take a photo, because the mirror has to swing up out of the way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With LiveView, the sensor is left exposed and the image from the sensor is instead displayed on the screen so that you can see what you are doing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the aperture, shutter and ISO issues, those are limitations of the camera software.  It may be possible to overcome them with a third party hack for the camera, but I don't know if one is available for your particular camera model.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-28T20:22:10.233" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10323" PostTypeId="2" ParentId="4076" CreationDate="2014-02-28T20:37:09.703" Score="1" Body="&lt;p&gt;There are a few mistakes in your math.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, you are multiplying an entire group of pictures (7 frames) by 25, that would be 7 seconds of video, not one.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, you are not considering that the first I frame of one set is the last of the next, so it should be assumed that the sequence that would be used is IBBPBBIBBPBBIBBPBBIBBPBB...  It would make no sense at all to put two I frames together in a row, but sometimes the I is listed as an end.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Third, you are not considering the fact that a B frame is bi-directional and can not be processed until the next I or P frame is reached.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These three things significantly complicate the problem from the simple state you initially thought it was, though as this is an academic problem, I will leave the actual solving as an exercise for you.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-28T20:37:09.703" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10324" PostTypeId="2" ParentId="4853" CreationDate="2014-02-28T20:51:15.503" Score="1" Body="&lt;p&gt;It depends on the quality you want to achieve and where your skill set is.  The bigger difference between 2d and 3d animation isn't so much the time it consumes, but rather the skill set it requires.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The techniques for both are completely different (though there is a subset of 2d animation that is based on cell-shading or other specialized rendering of 3d models).  2D animation requires good vector and hand drawing skill with generally linear shading.  It can be either very fast for basic keyframe and bend work with simple vector geometries, or it can be a painstaking manual process involving rotoscoping changes for each individual frame of animation with elaborate hand drawn textures.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly, 3d can be very quick and simple when making things that don't need to be photoreal.  Textures can be more easily applied and don't have to be perfect for all contexts, lighting is far simpler to get close, though perfecting it is still very hard.  If you are doing things like 3d logo work and basic business effects (such as intro videos and some work for commercials) then you don't really need to be doing hyper realistic photoreal work and 3d animation can be pretty quick.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand, photo-realistic 3d animation is extremely painstaking, requires massive amount of processing power and a dedicated staff of specialists to get everything tweaked just right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, either approach can be done at a professional level with only a couple of people working on it.  Both are within the realm of what is financially viable for an individual to invest in, though 3D animation is much more expensive initially unless you start with Blender, which is free.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should decide on which you want to approach based on what best fits your interests.  Try some 2D animation with flash, try some rotoscoped, frame by frame animation with Photoshop, try some motion graphics with After Effects and try some 3d animation with Blender.  It might also be worth getting a trial copy of Maya, SoftImage or Cinema4D if you can as well and see how you like those higher end 3d graphics packages.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Choose whichever you enjoy the most and look for work that makes use of that type of animation.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-28T20:51:15.503" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10326" PostTypeId="2" ParentId="7136" CreationDate="2014-02-28T21:33:25.810" Score="4" Body="&lt;p&gt;While it is true that 720p video only has about half the data of a 1080p feed, the other thing you have to realize is that when you push the system beyond it's limit, it may spend a lot of time trying to process frames that it doesn't finish in time.  Depending on how the player is configured, it may give up and try to catch up rather than finish rendering the frame and get further behind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because of this, as soon as you get behind, you may now end up finding it is much harder for it to catch up.  You also run in to problems with keeping the data flowing quickly enough since the level of compression sounds like it may be higher (harder to decode) and the CPU is so busy that it can't be working on moving data up to be ready to read.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You probably should do a transcode of the video to a lower framerate and work with the transcoded copy to make editing decisions and then swap in the high framerate video only at the end.  After all, the only difference 120fps video will make on final output is anywhere that you end up doing a slow motion effect since you aren't going to have any display (including your computer screen) that can actually load 120 frames per second in to the image buffer.  Even 240hz screens are not displaying that many frames from a source.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-02-28T21:33:25.810" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10327" PostTypeId="2" ParentId="9405" CreationDate="2014-03-01T12:16:58.910" Score="1" Body="&lt;p&gt;If your editing software can produce motion from the still image you can just take the last frame of from the previous portion of the video and set the stationary and moving points (and if you are doing some 3D-like effect akin to rotating in the Z-axis also the depth values).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another approach is if you have a video that records the 'effect' and then you would replace the B-frame in that video with the previous frame of the last segment, but keep I-frames the same. I-frames are encoded in relation to the previous output... in fact that is what the effect tries to emulate i suppose, when B-frame becomes corrupted or just wasn't read, and you get that not only in GIF, but in many video codecs as well. However, for this approach some hackery is needed, as you have to know how to edit a stream that is already encoded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not aware of any tools that do that automatically for you. But good luck.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2014-03-01T12:16:58.910" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10328" PostTypeId="1" AcceptedAnswerId="10331" CreationDate="2014-03-01T14:45:42.593" Score="-1" ViewCount="36" Body="&lt;p&gt;The Export Settings Window does not appear when I am trying to export a project to Media Encoder. ANy solution?&lt;/p&gt;&#xA;" OwnerUserId="5635" LastActivityDate="2014-03-01T15:31:02.897" Title="After Effects - Export Settings Window" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10329" PostTypeId="1" AcceptedAnswerId="10330" CreationDate="2014-03-01T14:55:47.130" Score="1" ViewCount="25" Body="&lt;p&gt;I don't know much about the topic, but I recently saw a Canon 650D DSLR in action and its internal mic was really good. If I got a camcorder such as the Canon Legria R406 would it use the same internal mic components? &lt;/p&gt;&#xA;" OwnerUserId="5636" LastActivityDate="2014-03-01T15:19:19.877" Title="Do Canon DSLRs and Camcorders use the same internal mics?" Tags="|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10330" PostTypeId="2" ParentId="10329" CreationDate="2014-03-01T15:19:19.877" Score="2" Body="&lt;p&gt;The mics are not all the same across all Canon products.  I can't guarantee that the same mics aren't used in some different models, but I can guarantee they use more than one different mic.  Additionally, even if they do happen to use the same microphone, the placement of the mic within the device as well as amount of noise the mic makes and the quality of the analog to digital converter are going to make a big difference on how it sounds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words, internal sound quality is not directly comparable between devices, other than by actually recording and listening to how it sounds.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-01T15:19:19.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10331" PostTypeId="2" ParentId="10328" CreationDate="2014-03-01T15:31:02.897" Score="1" Body="&lt;p&gt;If you are talking about the quality settings, when exporting through Media Encoder, it appears that Adobe has dropped support for altering your render quality from After Effects.  You are only given options about the compression itself, presumably the high quality render settings are always used now since you can no longer specify them at all under the &quot;new, improved&quot; Adobe CC.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-01T15:31:02.897" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10332" PostTypeId="2" ParentId="8450" CreationDate="2014-03-02T09:46:10.853" Score="1" Body="&lt;p&gt;Create a .bat file containing:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;del &quot;C:\Program Files (x86)\Common Files\Adobe\SLCache\X19zbGNfZmVhdHVyZXNfXw==.slc&quot;&#xA;start &quot;AME&quot; &quot;C:\Program Files\Adobe\Adobe Media Encoder CC\Adobe Media Encoder.exe&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and just run AME with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could add Premiere Pro in as well so that AME get's started before Premiere Pro and all is good. Premiere will then be able to queue directly to AME.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;del &quot;C:\Program Files (x86)\Common Files\Adobe\SLCache\X19zbGNfZmVhdHVyZXNfXw==.slc&quot;&#xA;start &quot;AME&quot; &quot;C:\Program Files\Adobe\Adobe Media Encoder CC\Adobe Media Encoder.exe&quot;&#xA;start &quot;PremierePro&quot; &quot;C:\Program Files\Adobe\Adobe Premiere Pro CC\Adobe Premiere Pro.exe&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5638" LastEditorUserId="2178" LastEditDate="2014-03-20T19:07:55.327" LastActivityDate="2014-03-20T19:07:55.327" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10333" PostTypeId="1" AcceptedAnswerId="10334" CreationDate="2014-03-02T21:00:42.960" Score="5" ViewCount="601" Body="&lt;p&gt;In the days before LCDs and digital cameras, manually focusing an interchangeable lens still camera wasn't a whole lot different than it is today. In most designs, you had a mirror that gave the photographer a through-the-lens view, allowing them to accurately focus. When the shutter button was pressed, the mirror flipped out of the way, exposing the film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, this method is obviously not usable for the continuous focusing required by video camera operators. Modern cameras solve this problem by using Live View. How was this problem solved in the film days?&lt;/p&gt;&#xA;" OwnerUserId="5640" LastActivityDate="2014-03-08T07:24:00.020" Title="How did cameramen manually focus in the film days?" Tags="|camera|focus|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10334" PostTypeId="2" ParentId="10333" CreationDate="2014-03-02T22:15:12.233" Score="3" Body="&lt;p&gt;There are two main ways this was solved:&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;1. Measuring Focus&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;When using this method, the focus puller measures the distances at every point during the shot, and then pulls focus to these marks, at times making adjustments when an actor or grip misses their mark.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This still occurs today, however is becoming less prevalent due to the filmmaking styles being used (handheld, where the same marks are not hit each time).&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;2. Video Assist&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Using one of several methods, including half-silvered mirrors, CCD sensors behind the film negative, and telecine transfers, a video split is made. On modern productions shooting on film, this split is what is sent to 'Video Village', where the director sits.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;&lt;strike&gt;Telecine Transfer&lt;/strike&gt; (Not the correct term)&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I've never really understood how it worked, until now, so I present this lovely diagram from Wikipedia:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/FqiaC.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In essence, the light shines in and exposes the negative. After that, it passes through a series of half-silvered mirrors, each time being split into separate light components and recorded onto an imaging chip. These are them combined, and displayed in the viewfinder, or as a video-out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One side effect of this method, is the mechanical shutter is visible, as a black screen lasting 1/50th of a second, 25 times a second (whenever the negative itself is not exposed).&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;3. Parallel Sight&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Common throughout the 1950s and 60s, having a parallel sight (separate lens, like what you had on a cheap film point-and-shoot camera) allowed the operator to see approximately what was being exposed onto the negative.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;4. Half-Silvered Mirror&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update: Added from AJ Henderson's comment below.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As mentioned in the comment, a very cheap way of getting an image to a viewfinder was to simply use a half-silvered mirror, somewhere between the lens and the negative. In this way, half the light transmitted through the lens exposes the negative, and half is seen through the operator's viewfinder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This method does not allow for multiple viewfinders, monitors, or screens, unless another split is created.&lt;/p&gt;&#xA;" OwnerUserId="2598" LastEditorUserId="2598" LastEditDate="2014-03-08T07:24:00.020" LastActivityDate="2014-03-08T07:24:00.020" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10335" PostTypeId="2" ParentId="10333" CreationDate="2014-03-03T12:45:49.750" Score="5" Body="&lt;p&gt;Good quality film cameras have a reflex viewfinder system, where &quot;reflex&quot; means that you're viewing through the lens, and thus you can judge focus by eye. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To achieve this There are, er were, two basic strategies: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Split the beam of light from the lens with a prism or half silvered&#xA;    mirror, meaning that most of the light goes to the film, and a bit&#xA;    goes to the viewfinder.    &lt;strong&gt;Advantages&lt;/strong&gt;: no shutter flicker,&#xA;    cheaper. &lt;strong&gt;Disadvantages&lt;/strong&gt;: less light,    both for exposing the&#xA;    film, and a dimmer image in the viewfinder (in    low light&#xA;    situations it can make it difficult to focus or even see what's&#xA;    going on).    This is how my Bolex camera does it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/oJywi.jpg&quot; alt=&quot;promotional picture showing light path in a bolex camera&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Position a revolving mirror between the lens and the film plane. While the film is being pulled down by the sprockets the mirror&#xA;moves into place, bouncing the light into the viewfinder, and once&#xA;the film is ready to be exposed, the mirrors swings around and the&#xA;viewfinder goes temporarily black. It's basically what an SLR camera&#xA;does, but instead of flipping up the mirror is rotating.&#xA;&lt;strong&gt;Advantages&lt;/strong&gt;: more light for the film and the viewfinder, one less optical element in the light path, ability to vary the angle of the&#xA;shutter allowing for fine control over exposure without affecting&#xA;the depth of field. &lt;strong&gt;Disadvantages&lt;/strong&gt;: More complicated&#xA;(=expensive), flicker in viewfinder (actually I think this is&#xA;something of an advantage, because you always could tell when the&#xA;camera was running, and also when filming video displays you could&#xA;make sure that the balck bar was visible in the viewfinder, and&#xA;therefore not visible to the film), some degree of rolling shutter.This is how my CP16 does it, as well as pretty much all professional&#xA;cinema cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/2zcCc.jpg&quot; alt=&quot;rotating mirror in CP-16 camera&quot;&gt; the mirror is the thing that looks like a bow tie.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;As you can see, both methods allowed the operator to see through the lens while filming, allowing for on-the-fly focusing. Video splits also allowed a live video feed to be set up, meaning the focus puller (and director etc.) could have a monitor, but this was relatively late in the piece. A video split is basically a video camera bolted on to where the eyepiece goes, or sometimes with a separate beam-splitter. Until video splits came along the focus puller checked the focus points in the rehearsal, made marks on the floor with camera tape, consulted their cinematographer's manual for the depth-of-field charts, and eyeballed it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'n whippersnappers don't know how easy you gots it. Now get off my lawn!&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2014-03-04T12:21:46.033" LastActivityDate="2014-03-04T12:21:46.033" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10336" PostTypeId="2" ParentId="10305" CreationDate="2014-03-03T21:55:33.760" Score="7" Body="&lt;p&gt;This is a well-known bug when exporting to H.264. Unfortunately, I'm not clever enough to understand &lt;em&gt;why&lt;/em&gt; this happens, but it's a side effect of using the codec. I'll keep looking for an explanation I understand, however I wanted to get this answer out there.&lt;/p&gt;&#xA;&lt;p&gt;As a workaround for now, I suggest &lt;strike&gt;making a quick little eyeball adjustment to the comp's colour correction to compensate.&lt;/strike&gt; DO NOT DO THIS - SEE BELOW&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h1&gt;Update 1:&lt;/h1&gt;&#xA;&lt;p&gt;I did some more digging, and found this on Pro Video Coalition:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;QuickTime movies re-exported from applications such has QuickTime Player Pro using the H.264 codec (a common format for web content) appear brighter than the original in some contexts - such as inside QuickTime Player on the Mac, or on a web page viewed by Safari - but not in other contexts such as QuickTime Player on Windows, or the stripped-down QT Player inside After Effects.&lt;/p&gt;&#xA;&lt;p&gt;Many attribute this to &lt;strong&gt;a bug introduced by use of a hidden, optional &amp;quot;gamma&amp;quot; tag&lt;/strong&gt; (which is different than a full-blown color profile tag) inside QuickTime movies that is supposed to aid in cross-platform compatibility. Unfortunately, this tag is not exposed for the user to edit, and &lt;strong&gt;may be interpreted differently by different programs&lt;/strong&gt;. It has been the cause of much grief among After Effects users employing color management, and has spread into the realm of web video.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;- &lt;a href=&quot;http://provideocoalition.com/cmg_keyframes/story/brightness_issues_with_h264_quicktime_movies/&quot; rel=&quot;noreferrer&quot;&gt;Brightness Issues with H.264 QuickTime Movies&lt;/a&gt;, Pro Video Coalition&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;(Bolding is my doing)&lt;/p&gt;&#xA;&lt;p&gt;The article also lists a couple of suggestions:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Installing a semi-custom H.264 codec, that allows control of the gamma tag&lt;/li&gt;&#xA;&lt;li&gt;Do not compensate by darking the image. For players that ignore the gamma tag, suddenly your video is far too dark.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h1&gt;Update 2:&lt;/h1&gt;&#xA;&lt;p&gt;Fuel VFX, an Australian company (whoo!), provided a tool called  &lt;em&gt;QT Gamma Stripper&lt;/em&gt;. When they were bought out by Animal Logic, that tool all but disappeared, but it's still able to be found on the web. Here's &lt;a href=&quot;http://www.thedvshow.com/vault/detail.php?id=QT%20Gamma%20Stripper&quot; rel=&quot;noreferrer&quot;&gt;one site&lt;/a&gt; that reputedly is hosting a copy of this free tool.&lt;/p&gt;&#xA;" OwnerUserId="2598" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-09-03T22:43:10.663" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10337" PostTypeId="2" ParentId="9405" CreationDate="2014-03-04T10:21:38.140" Score="1" Body="&lt;p&gt;There's a good discussion of it – &quot;it&quot; being &quot;datamoshing&quot; &lt;a href=&quot;http://createdigitalmotion.com/2009/03/how-to-datamosh-with-free-video-tools-datamosh-is-the-wrong-word-david-oreilly-is-also-wrong/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;. Not just how it's done, but also why you probably should not do it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-03-04T10:21:38.140" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10338" PostTypeId="1" AcceptedAnswerId="10339" CreationDate="2014-03-04T18:08:24.360" Score="0" ViewCount="141" Body="&lt;p&gt;I am thinking of developing a software solution to send images from digital cameras to a mobile phone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have seen DVRs with 4-8 channels selling as kits. They allow remote access viewing via a mobile device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How are the images streamed from plugged in DVR to router to mobile?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this type of service reliable?  If we assume that the internet connection is OK are the images reliable to view in real-time on a mobile phone?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible for multiple users to access the same stream?&lt;/p&gt;&#xA;" OwnerUserId="4976" LastEditorUserId="2836" LastEditDate="2014-03-04T18:32:14.237" LastActivityDate="2014-03-04T18:44:18.230" Title="How Does Remote Streaming Work?" Tags="|streaming|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10339" PostTypeId="2" ParentId="10338" CreationDate="2014-03-04T18:44:18.230" Score="1" Body="&lt;p&gt;There are numerous different possible ways for a video stream to be done.  Generally video is streamed over a UDP streaming format such as RTMP or something similar.  It can also sometimes use a series of individual pictures (particularly common when refresh rate is not that high, such as IP security cameras.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the case of a home device acting as the source, a connection would have to be made between the client device and the home device, possibly using a third party server to help get across any firewalls or dynamic IPs.  The information would then be streamed the same way as any live stream technology.  The video would have to be encoded on the stream server and then passed to the client.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reliability of the service would depend entirely on Internet connection speed of both the client and the server.  Streaming video at any kind of significant quality is a very bandwidth intensive activity and most residential connections are not capable of the necessary upload speeds for high quality video, though standard definition may be possible.  Higher end connections can cover HD speeds though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for multiple users, within a local network, multicast can be used to distribute UDP packets of a stream to multiple users, however, across the public Internet, multicast is not possible.  An individual connection has to be made to each client and the content must be sent once for each client.  (Two clients takes twice the bandwidth requirement of one.)  With sufficient bandwidth, there is no reason the packets can't be independently streamed to both, but that goes beyond the limits of just about all consumer Internet connections.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-04T18:44:18.230" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10340" PostTypeId="1" CreationDate="2014-03-04T20:59:42.760" Score="0" ViewCount="168" Body="&lt;p&gt;Copyrights around video games videos are complex.  If I want to create and post tutorials for a video game on YouTube (specifically Minecraft), do I need to have a partnership with a YouTube Network?&lt;/p&gt;&#xA;" OwnerUserId="5650" LastEditorUserId="2836" LastEditDate="2014-03-05T21:28:57.197" LastActivityDate="2016-02-08T07:59:43.953" Title="YouTube Network Partnership Needed for Minecraft Tutorials?" Tags="|youtube|webvideos|video-game|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10341" PostTypeId="2" ParentId="10340" CreationDate="2014-03-05T21:26:53.610" Score="1" Body="&lt;p&gt;It depends entirely on the policies of the game manufacturer and what they tell Youtube to do.  Some game makers claim copyright over any content produced using their game.  Some do not allow any video to be posted, some allow only videos from certain networks, some allow videos from anyone as long as they aren't monetized and some allow anyone to post videos regardless of monetization.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We can't speak to the policy of any particular video game maker.  You would have to inquire with them what they consider to be allowed or you could simply make a video and post it and see if it gets a take down notice.  There is no blanket YouTube policy that I'm aware of though, they just take down content if a take down request is submitted.  (They also do have some automatic filters for detecting music in clips that have previously been taken down.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-05T21:26:53.610" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10344" PostTypeId="1" CreationDate="2014-03-07T00:23:01.610" Score="4" ViewCount="155" Body="&lt;h2&gt;Help me not look like an idiot who's schizophrenic about the date.&lt;/h2&gt;&#xA;&lt;p&gt;I am producing a series of videos recorded at a monthly event. The client webcasts the event live and wants to raise awareness of this fact. They also want to document the date on which the footage was recorded. To this end, they have requested a that &lt;em&gt;both the build in and the build out&lt;/em&gt; include the date in the copy. (Feel free to correct my terminology. I just mean a &amp;quot;slide&amp;quot; at the beginning and at the end.) Here's an example:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Originally live-streamed... on February 1, 2014.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I created the builds in Motion and set the text field as editable in FCP X and made sure to publish it. I have everything technical working, but I'm afraid that I'm going to forget to change the date on the build out. Is there a way to just input the date once in Final Cut Pro X and have it populate to 2 different Motion-made titles?&lt;/p&gt;&#xA;&lt;p&gt;Ideally, the date would be like a variable so that it could sit in line. My fantasy would be something like this:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Originally live-streamed... on $DATE.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;with only one input for $DATE. I would also accept&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;$DATE&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;so long as it populated into 2 different Motion-made titles. I could create one text element for the date field and another for the rest of the copy.&lt;/p&gt;&#xA;" OwnerUserId="5113" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2014-04-10T16:44:59.400" Title="Building smarter elements for Final Cut Pro X with Motion 5" Tags="|final-cut-pro-x|motion|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10346" PostTypeId="1" CreationDate="2014-03-07T01:18:50.413" Score="4" ViewCount="17924" Body="&lt;p&gt;I have an ffmpeg process which saves a stream from wowza server, but when the stream in wowza is interrupted for a second or so sometimes ffmpeg cycles in:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[segment @ 0x671a10] st:0 PTS: 9600015 DTS: 9600015 &amp;lt; 9629949 invalid, clipping&#xA;[segment @ 0x671a10] st:0 PTS: 9601935 DTS: 9601935 &amp;lt; 9629950 invalid, clipping&#xA;[segment @ 0x671a10] st:0 PTS: 9603855 DTS: 9603855 &amp;lt; 9629951 invalid, clipping&#xA;[segment @ 0x671a10] st:0 PTS: 9605775 DTS: 9605775 &amp;lt; 9629952 invalid, clipping&#xA;[segment @ 0x671a10] st:0 PTS: 9607695 DTS: 9607695 &amp;lt; 9629953 invalid, clipping&#xA;[segment @ 0x671a10] st:0 PTS: 9609615 DTS: 9609615 &amp;lt; 9629954 invalid, clipping&#xA;[segment @ 0x671a10] st:0 PTS: 9611535 DTS: 9611535 &amp;lt; 9629955 invalid, clipping&#xA;[segment @ 0x671a10] st:0 PTS: 9613455 DTS: 9613455 &amp;lt; 9629956 invalid, clipping&#xA;[segment @ 0x671a10] st:0 PTS: 9615375 DTS: 9615375 &amp;lt; 9629957 invalid, clipping&#xA;[segment @ 0x671a10] st:0 PTS: 9632160 DTS: 9614160 &amp;lt; 9649231 invalid, clipping&#xA;[segment @ 0x671a10] st:0 PTS: 9624960 DTS: 9617760 &amp;lt; 9649232 invalid, clipping&#xA;[segment @ 0x671a10] st:0 PTS: 9621360 DTS: 9621360 &amp;lt; 9649233 invalid, clipping&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It never survives, even when the source is healthy and missed only a few seconds. It would be great if the ffmpeg can exit or restart (It is enough to exit on error. I can execute it in an endless while.) My command is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -shortest -re -y -err_detect aggressive -i rtmp://127.0.0.1/movies/my.stream timeout=10 -codec copy -map 0 -bsf:v h264_mp4toannexb,dump_extra -f segment -segment_time 60 /video/my.stream#%09d.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have tested with -err_detect explode/careful/compliant/aggressive and on error in the input stream ffmpeg did not stop.  Sometimes it gets a timeout (because the timeout option I set for the rtmp), but some time it keep printing:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[segment @ 0x671a10] st:0 PTS: 9621360 DTS: 9621360 &amp;lt; 9649233 invalid, clipping&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It never survives - no exits, no output, so I have no saved stream until I manually restart the ffmpeg!&lt;/p&gt;&#xA;" OwnerUserId="5661" LastEditorUserId="2836" LastEditDate="2014-03-07T01:36:57.470" LastActivityDate="2020-04-05T11:11:48.983" Title="restart encoding with ffmpeg when bad source" Tags="|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10347" PostTypeId="1" CreationDate="2014-03-07T08:44:32.050" Score="2" ViewCount="654" Body="&lt;p&gt;So I have a bunch of home video files with my kids and family. I want to do some edits like text overlay, music backgrounds etc and also compress them using Photoshop CC. However, after compressing or exporting the video file, the original EXIF is lost. I don't have the capture date and time, the camera &amp;amp; lens used etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I make Photoshop keep this information? Or is there a way to copy the EXIF after the export?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried using ffmpeg, but it only copies the capture date and time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="5663" LastActivityDate="2014-03-12T13:21:57.847" Title="How to keep EXIF data in a DSLR video after editing / compressing with Photoshop CC?" Tags="|dslr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10348" PostTypeId="1" CreationDate="2014-03-07T19:49:38.240" Score="3" ViewCount="21910" Body="&lt;p&gt;I want to have multiple streams (up to 4) on one YouTube Live broadcast, Is that possible ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would be a news cast report with up to 4 reporters from separate locations discussing the weather.&lt;/p&gt;&#xA;" OwnerUserId="5664" LastActivityDate="2017-07-03T05:02:55.250" Title="I want to have multiple streams (up to 4) on one YouTube Live broadcast, Is that possible?" Tags="|youtube|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10349" PostTypeId="1" CreationDate="2014-03-08T16:13:21.433" Score="1" ViewCount="68" Body="&lt;p&gt;I am a 7th grader and in school I have to make a funny movie. In this movie we are going to film a close-up of a model train to make it look like a real train and show a man in the middle of the tracks about to get hit. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then we are going to zoom out and show the man getting hit by a model train and stubbing his toe. The video-editing software we use is iMovie. Anyone one know how can pull this off? especially the part where we make it look like a real train?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. the train is a model japanese bullet train or shinkansen&lt;/p&gt;&#xA;" OwnerUserId="5667" LastEditorUserId="5667" LastEditDate="2014-03-11T04:00:05.067" LastActivityDate="2014-03-11T04:00:05.067" Title="short Train movie for school" Tags="|digital-recording|imovie|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10350" PostTypeId="1" CreationDate="2014-03-08T18:52:27.330" Score="1" ViewCount="251" Body="&lt;p&gt;Over the years I collected many movies in different container formats (avi, mp4, mkv) and encoded with different codecs too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now want convert containers (or transcode them if absolutely necessary) to &quot;iPhone compatible&quot; movies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After spending long time on google, still didn't know exact answers to the next questions - so, please confirm them or please give the right answers&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;iPhone can play only mp4 container format - so the &lt;code&gt;mp4&lt;/code&gt; is the only usable container for iPhone movies&lt;/li&gt;&#xA;&lt;li&gt;In what codecs can be the streams? (video/audio and subtitles)&lt;/li&gt;&#xA;&lt;li&gt;Is possible embedd &quot;SOFT&quot; subtitles to mp4 container? (what i read - yes, but here is some pitfalls) - mean soft subtitles, so not &quot;burned them into the video stream&quot;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;What is the right logic to convert/transcode movies from different formats to wanted iPhone compatible format? My idea is roughly:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;fetch information from the current movie - e.g. from avi container&lt;/li&gt;&#xA;&lt;li&gt;if the &lt;code&gt;used codecs&lt;/code&gt; and the used &lt;code&gt;video resolution&lt;/code&gt; is compatible with iPhone (like h264), only change the container format, otherwise&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;transcode the movie, with:&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;if the current movie has smaller resolution, don't change - only transcode&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;if the current movie has higher resolution, change it's resolution proportionally to match the iPhone needs&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;All above want do from command line on Mac OS X - so, with ffmpeg or mencoder and like. (please, don't suggest me batch conversions with not-command line app)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The questions are mainly about the &lt;code&gt;whole workflow&lt;/code&gt;, what are the most common pitfalls, recommendations and etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would be happy with some external links to some good articles about the above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is my 1st question here, and I hope it is OK with &lt;a href=&quot;https://video.stackexchange.com/help/on-topic&quot;&gt;right-question-type&lt;/a&gt; on this site:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;post-production techniques&lt;/li&gt;&#xA;&lt;li&gt;asset management, media, and file formats&lt;/li&gt;&#xA;&lt;li&gt;installation, configuration, and operation of hardware or software&#xA;related to these topics&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5668" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-04-19T07:25:57.073" Title="Converting container or transcode movies to iPhone from command line (os x)" Tags="|file-formats|ffmpeg|conversion|transcoding|iphone|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10351" PostTypeId="2" ParentId="10349" CreationDate="2014-03-09T14:17:50.393" Score="1" Body="&lt;p&gt;The easiest way to make it look real would be to film a real train and then use a model of the same kind of train engine.  You could use a macro lens to try and get a good shot, but the camera elevation will likely be too high still (unless the track is elevated).  Putting the actual person on the tracks would be hard with iMovie as well since I don't know if it has much (if anything) in the way of keying ability.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may be able to simplify it a lot, including the comedic effect by using direct cuts rather than a zoom as well.  I'd recommend you consider building tension by cutting back and forth between the person standing on a track and a real train moving down the track.  Start with fairly slow cuts back and forth and then get faster and faster as the train gets closer.  Then at the last second, cut to a shot where the model train runs in to the persons foot (it should be the first shot that actually shows the train and person together.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will build anticipation as people worry about what will happen before the sudden comic reveal that it was just a model train.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-09T14:17:50.393" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10352" PostTypeId="2" ParentId="10349" CreationDate="2014-03-09T21:11:21.260" Score="1" Body="&lt;p&gt;I like Henderson's answer. I'll add two suggestions: consider using stock footage of the 'real' train. I don't think that would be cheating -- even pro filmmakers use stock footage frequently. The real art is in the editing; that's where the story- telling comes from.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you used stock footage of the train (one example: &lt;a href=&quot;http://footage.shutterstock.com/clip-7465-stock-footage-historic-steam-train-coming-straight-at-the-camera-camera-locked-down-original-ambient-sound.html&quot; rel=&quot;nofollow&quot;&gt;http://footage.shutterstock.com/clip-7465-stock-footage-historic-steam-train-coming-straight-at-the-camera-camera-locked-down-original-ambient-sound.html&lt;/a&gt;) it would be a lot less dangerous than shooting a real live train. And then you could concentrate on getting good scary close shots of the poor guy who's gonna get hit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could do that on real tracks when there's no train coming. Try to make the light match whatever stock shots you use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also when you cut, finally, to the model train, shoot the collision in a few different ways: long shot (train + the guy's leg from the knee down), medium shot (train + foot and ankle) and close shot ( train + foot), so that you can see which works best in your edit.  If you can put in a few model trees or anything else that helps the model shot match the stock shot -- extra points for that! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you DO end up using stock footage you should get that footage first, before shooting anything else. Do a rough edit, breaking up the stock train shot wherever you think one of your live shots should go. You could make rough drawings of the shots that you'll eventually put at those breaks and insert them into your rough edit. This is a form of 'storyboarding' your project and it'll give you a better sense of the dramatic timing of the whole edit. You'll also get better ideas, in this way, about how to shoot the live shots that you'll make later.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This, by the way, is how many grown-up filmmakers work so it's good practice in case you want to go further in movies.&lt;/p&gt;&#xA;" OwnerUserId="5600" LastEditorUserId="5600" LastEditDate="2014-03-09T21:26:23.907" LastActivityDate="2014-03-09T21:26:23.907" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10353" PostTypeId="2" ParentId="10348" CreationDate="2014-03-09T22:30:58.983" Score="3" Body="&lt;p&gt;you can use something like a M/E switcher with a multiviewer to do this. Just feed the program out into the computer you are streaming from using an input card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have not used youtube streaming, but I know that justin.tv or other streaming services can use something like OBS to switch between scenes which you can setup with different video inputs in different configurations on the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As these all rely on having external gear to get the camera feeds to the streaming location, the google hangout solution would be the best, as I am assuming you are on a low budget&lt;/p&gt;&#xA;" OwnerUserId="5671" LastActivityDate="2014-03-09T22:30:58.983" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10355" PostTypeId="1" CreationDate="2014-03-10T13:24:03.120" Score="1" ViewCount="1585" Body="&lt;p&gt;How can I achieve a trippy visual drifting effect like the image is breathing? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;http://www.disregardeverythingisay.com/post/9331287956/the-visual-components-of-a-psychedelic-experience&quot; rel=&quot;nofollow&quot;&gt;The Visual Components of a Psychedelic Experience&lt;/a&gt; - &lt;strong&gt;Visual drifting&lt;/strong&gt; section or more precisely &lt;a href=&quot;http://www.youtube.com/v/NaA7yzHh2as&amp;amp;start=91&amp;amp;end=114&amp;amp;version=3&quot; rel=&quot;nofollow&quot;&gt;this fragment of this video&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any software solution is fine, but I would be most thrilled with an implementation in Processing or Javascript&lt;/p&gt;&#xA;" OwnerUserId="5673" LastActivityDate="2014-07-18T14:11:55.367" Title="How to achieve trippy breathing effect (visual drifting) on static photo" Tags="|effects|post-production|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10356" PostTypeId="2" ParentId="10349" CreationDate="2014-03-10T18:46:17.353" Score="2" Body="&lt;p&gt;AJ Henderson and Craig have excellent answers. I'd just like to add my own knowledge about making miniatures look full-size. As far as I can tell, there are 4 factors that make a miniature look, well, miniature.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Lighting. If the train is supposed to look like it's outside, shoot it outside or next to a window that sun is coming through. Sunlight looks way different than indoor light because of color and the fact that it's one really bright light and a bunch of &quot;ambient&quot; light from the rest of the bright sky.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) &quot;Thickness&quot; of the air. If you look at faraway mountains or buildings or trees, they're always a little &quot;hazy&quot;, a little less colorful, than things next to you. So if a real train is 1/2 mile away, it will also appear a little bit hazy. A model train, which is probably a foot away or less, won't be hazy at all. The artists who did special effects on movies used to up a scrim (a tranparent but hazy sheet) in between the camera and the model to add fake haziness. It looked more &quot;real&quot; on film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Details. A real train has tiny, tiny details like bolts and screws. A model train won't have anything that tiny -- they would be nearly microscopic!! But the person watching the film / video will notice that they're missing, so the model will look more like a model.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) &quot;Depth of field&quot;. That's a photograph/film term that has to do with what is in focus: things that are close, things that are far away, or both. When you focus on something even 10 feet away, everything behind it is (usually) in focus. That's called having a big depth of field.  If you focus on something 1 foot away, everything behind it is (usually) out of focus. That means the depth of field is small. If you're focusing on the nearby model, and so you have a small depth of field, most people viewing the film/video will notice that and it will look like a miniature. One way around that is to have a fake background just a few feet away, behind the model, so it will still be in focus.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-03-10T18:46:17.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10357" PostTypeId="1" CreationDate="2014-03-11T01:24:43.013" Score="1" ViewCount="63" Body="&lt;p&gt;I'm having trouble understanding the settings I'm supposed to use to upload a video to Vimeo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm a total newbie to Final Cut Pro, so I might've chosen the wrong settings to edit..&#xA;Currently, my footage that I imported into final cut pro is all in widescreen. But my settings are under DV NTSC 48kHz. (probably wrong?) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are black bars at the top and bottom when I edit, and I'd like to keep it that way when I export to both Vimeo and Youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I took a chance out of impatience and uploaded the video to Vimeo.&#xA;I understand that Vimeo probably resized my video--because when I play it, the footage is centered in the frame, but now has black borders all around. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering if you can help me/have any advice. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video looks great on my iphone because it actually fits the whole frame, but for some reason when I go to vimeo.com and watch the video, the footage resizes into a smaller rectangle. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What settings should I have used from the beginning/can I use so that the video looks like it's in a standard widescreen format? &#xA;Any advice would be greatly appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks so much.&#xA;-Melissa &lt;/p&gt;&#xA;" OwnerUserId="5677" LastActivityDate="2014-03-11T03:00:09.160" Title="Exporting to Vimeo" Tags="|video|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10358" PostTypeId="2" ParentId="10357" CreationDate="2014-03-11T03:00:09.160" Score="1" Body="&lt;p&gt;First, the bars you are referring to are known as letter boxing and they are not a desired feature.  This is what happens when you force a widescreen video (16:9) video in to a 4:3 video.  Then you are seeing the video played back as a 4:3 video on a 16:9 device, which adds bars on both sides.  This full square of wasted space (along with the wasted data that has to be streamed, and thus reduces the quality of your video) is why you do not want to use letter boxing with your widescreen video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The DV NTSC format is a 720 by 480 format with non-square pixels.  Your video was likely shot at either 720P or 1080P both of which are substantially higher quality and use square pixels.  You should use the same resolution in final cut as your source videos were to make sure you get the highest quality edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for output to Vimeo, you will want to follow the standard recommendations for Vimeo.  Vimeo has a document published &lt;a href=&quot;http://vimeo.com/help/compression&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; that outlines the formats they recommend.  They do support 480p but prefer square pixels (640 by 480).  They also support wide screen HD formats which would be better for your purposes.  You should also export as h.264 video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-11T03:00:09.160" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10359" PostTypeId="1" CreationDate="2014-03-11T11:11:20.090" Score="2" ViewCount="1009" Body="&lt;p&gt;Just been reading an article on dpreview about the panasonic gh4. The newest hyrbid that almost seems like a crossover product between photography and videography. The 4k video sounds pretty cool. 30 still per second at 8MP! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It just seems to me that the two arts are becoming less divided. Is the record button going to become the new shutter button?&lt;/p&gt;&#xA;" OwnerUserId="5679" LastActivityDate="2014-03-14T15:26:54.737" Title="Line between photographer and video" Tags="|video|camera|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10361" PostTypeId="1" AcceptedAnswerId="10362" CreationDate="2014-03-11T18:53:22.663" Score="3" ViewCount="10160" Body="&lt;p&gt;Video in source preview is lagging but it plays fine in video players. What may cause this? Why premiere is not using standard codecs for source preview?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Specs:&#xA;Video is: h264 2704x1536 @29.97fps (GoPro footage)&#xA;System is: Core i7 2.3, 8GB RAM, GeForce GT 650M (MacBook Pro, bootcamp)&#xA;Adobe Premiere CS 6&lt;/p&gt;&#xA;" OwnerUserId="5682" LastEditorUserId="5682" LastEditDate="2014-03-11T19:04:04.373" LastActivityDate="2016-12-25T11:17:10.690" Title="Adobe premiere is lagging in preview window" Tags="|video|video-editor|premiere|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10362" PostTypeId="2" ParentId="10361" CreationDate="2014-03-11T19:49:21.897" Score="1" Body="&lt;p&gt;Premiere's preview isn't simply a viewer and can't make as much use of caching as it needs to be able to scrub quickly in any direction.  Interframe compression also trips it up for the same reason.  I believe it also processes the entire amount of data.  The video size you are using is pretty large and bandwidth intensive, so unless you are working from very fast disks (solid state) (or a fast CPU if it is heavily compressed) and have fast RAM to deal with the rate of uncompressed data, it is easy for the playback to fall behind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The related questions talk a bit more about methods of getting around this (such as letting Premiere finish generating conformed versions of the video or reducing the resolution of playback so that not all pixels have to be rendered).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-03-11T20:28:49.753" LastActivityDate="2014-03-11T20:28:49.753" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="10363" PostTypeId="2" ParentId="9963" CreationDate="2014-03-12T00:42:49.747" Score="1" Body="&lt;p&gt;I got it to work. The key is to update Events and Projects to Libraries (which, incidentally, contain Events and Projects) in stages:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Hide everything except the Events and Projects that belong together in the same Library. Event Manager X is a great tool for this, as Jason suggested in the comments. Whatever tool you use, just make sure that only the Events and Projects that belong together are in the folders &quot;Final Cut Events&quot; and &quot;Final Cut Projects&quot;.&lt;/li&gt;&#xA;&lt;li&gt;Next, open Final Cut Pro X.&lt;/li&gt;&#xA;&lt;li&gt;Go to File and click &quot;Update Projects and Events...&quot; near the bottom of the menu:&lt;img src=&quot;https://i.stack.imgur.com/WoZB7.png&quot; alt=&quot;Update Projects and Events&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;Click &quot;Update All&quot;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Final Cut Pro X will do its thing and you'll have a new library with just the Projects and Events you want inside of it.&lt;/p&gt;&#xA;" OwnerUserId="5113" LastActivityDate="2014-03-12T00:42:49.747" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10364" PostTypeId="2" ParentId="10361" CreationDate="2014-03-12T06:37:04.630" Score="0" Body="&lt;p&gt;I had this as well one time. Solution for me was to edit in the correct video mode and fps. Maybe you can try to create a sequence from a standard HD DSLR preset? Or first try to edit in that preset. Prem 6.0 was created with native h.264 support, so you shouldn't need any proxies. &lt;/p&gt;&#xA;" OwnerUserId="5683" LastActivityDate="2014-03-12T06:37:04.630" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10365" PostTypeId="2" ParentId="7459" CreationDate="2014-03-12T11:04:25.303" Score="3" Body="&lt;p&gt;While ffmpeg has editing capabilities it is not specifically designed for editing, and it does not work like an NLE; it takes input(s) and produces output(s), instead of doing non-destructive edits on multiple source files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.mltframework.org/bin/view/MLT/MltMelt&quot; rel=&quot;nofollow&quot;&gt;Melt&lt;/a&gt; however, based on the &lt;a href=&quot;http://www.mltframework.org/&quot; rel=&quot;nofollow&quot;&gt;mlt framework&lt;/a&gt; which powers &lt;a href=&quot;http://www.kdenlive.org/&quot; rel=&quot;nofollow&quot;&gt;kdenlive&lt;/a&gt;, is designed as a &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;powerful, if somewhat obscure, multitrack command line oriented video&#xA;  editor…&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;A melt command can do the same job as the timeline in a NLE. Here's an example from their website that plays an edited collection of shots from the source files a.dv, b.mpg and c.png:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ melt a.dv in=50 out=100 b.mpg out=500 c.png out=500&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There is also the capability add effects, and you can also create edits as XML files.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-03-12T11:04:25.303" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10366" PostTypeId="1" AcceptedAnswerId="10531" CreationDate="2014-03-12T12:45:45.703" Score="3" ViewCount="127" Body="&lt;p&gt;I'm currently shopping for Sony Vegas Pro 12 and I'm slightly confused at what I am finding. In addition to the standard Vegas Pro, I've found a &quot;Premium&quot; version that contains some upgrades (SoundForge 11, 180 days of support) but at a drastically reduced price (50% of the standard). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The premium version isn't even on Sony's website, so I'm guessing it was made for independent retailers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a difference between Vegas Pro 12 and Vegas Pro 12 Premium? Or is this just a great deal?&lt;/p&gt;&#xA;" OwnerUserId="5684" LastActivityDate="2014-04-02T17:01:05.483" Title="Vegas Pro 12 vs Vegas Pro 12 Premium" Tags="|software-recommendation|vegas-pro|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10367" PostTypeId="2" ParentId="10347" CreationDate="2014-03-12T13:21:57.847" Score="1" Body="&lt;p&gt;I don't think any video release format allows per-frame metadata. The best you can do is per-file metadata, which won't preserve the info from individual scenes in an edited piece.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's theoretically possible to construct a file in (say) AVI format which uses RIFF chunks. You could add text chunks at scene changes to tag the source. But AFAIK this is not something anyone has actually done -- you'd have to build it yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you might do is use an EDL to identify the shots by source and time, and use it to index a database that holds the extracted EXIF data from each source.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-03-12T13:21:57.847" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10368" PostTypeId="1" AcceptedAnswerId="12338" CreationDate="2014-03-12T20:53:02.617" Score="4" ViewCount="8200" Body="&lt;p&gt;I actually contributed to a bug report on this issue a year and a half ago ( &lt;a href=&quot;https://trac.ffmpeg.org/ticket/692#comment:15&quot; rel=&quot;nofollow&quot;&gt;https://trac.ffmpeg.org/ticket/692#comment:15&lt;/a&gt; ). Basically, the problem is that using &lt;code&gt;ffmpeg&lt;/code&gt; to record from a USB video capture device leaves the audio and video tracks out of sync. Depending on which input you list on the command line first, the sync problem will be different.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since contributing to that report, &lt;code&gt;ffmpeg&lt;/code&gt; has undergone many revisions, and the bug report has been updated to say that the problem was fixed by adding new command line options to the V4L2 indev (&lt;code&gt;-ts default|abs|mono2abs&lt;/code&gt;). However, I have no idea what these new options mean or how they're meant to be used. I tried again tonight using &lt;code&gt;ffmpeg&lt;/code&gt; to record from the video capture device. While the audio and video aren't as badly out of sync as they were 18 months ago, they're still out of sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Clearly, someone thinks this is fixed, leading me to think that I need more magic on the command line. Here's my latest incantation:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -f alsa -i hw:1  -f v4l2 -i /dev/video0  -acodec libfaac -b:a 128k -vcodec libx264 -b:v 12M -g 1 -preset ultrafast  SYNCTEST.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Adding various &lt;code&gt;-ts&lt;/code&gt; options to the line doesn't seem to accomplish anything. I'm using &lt;code&gt;ffmpeg&lt;/code&gt; version 2.1.4. Can anyone provide further insights?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Console Output:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg  -f alsa -i hw:1  -f v4l2 -i /dev/video0  -acodec libfaac -b:a 128k -vcodec libx264 -b:v 12M -g 1 -preset ultrafast  SYNCTEST.mp4&#xA;ffmpeg version 2.1.4 Copyright (c) 2000-2014 the FFmpeg developers&#xA;  built on Feb 24 2014 08:21:48 with gcc 4.8 (Debian 4.8.2-16)&#xA;  configuration: --prefix=/usr --extra-cflags='-g -O2 -fstack-protector --param=ssp-buffer-size=4 -Wformat -Werror=format-security ' --extra-ldflags='-Wl,-z,relro' --cc='ccache cc' --enable-shared --enable-libmp3lame --enable-gpl --enable-nonfree --enable-libvorbis --enable-pthreads --enable-libfaac --enable-libxvid --enable-postproc --enable-x11grab --enable-libgsm --enable-libtheora --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libx264 --enable-libspeex --enable-nonfree --disable-stripping --enable-libvpx --enable-libschroedinger --disable-encoder=libschroedinger --enable-version3 --enable-libopenjpeg --enable-librtmp --enable-avfilter --enable-libfreetype --enable-libvo-aacenc --disable-decoder=amrnb --enable-libvo-amrwbenc --enable-libaacplus --libdir=/usr/lib/x86_64-linux-gnu --disable-vda --enable-libbluray --enable-libcdio --enable-gnutls --enable-frei0r --enable-openssl --enable-libass --enable-libopus --enable-fontconfig --enable-libpulse --disable-mips32r2 --disable-mipsdspr1 --disable-mipsdspr2 --enable-libvidstab --enable-libzvbi --enable-avresample --enable-libiec61883 --enable-libfdk-aac --enable-vaapi --enable-libdc1394 --disable-altivec --disable-armv5te --disable-armv6 --disable-vis --shlibdir=/usr/lib/x86_64-linux-gnu&#xA;  libavutil      52. 48.101 / 52. 48.101&#xA;  libavcodec     55. 39.101 / 55. 39.101&#xA;  libavformat    55. 19.104 / 55. 19.104&#xA;  libavdevice    55.  5.100 / 55.  5.100&#xA;  libavfilter     3. 90.100 /  3. 90.100&#xA;  libavresample   1.  1.  0 /  1.  1.  0&#xA;  libswscale      2.  5.101 /  2.  5.101&#xA;  libswresample   0. 17.104 /  0. 17.104&#xA;  libpostproc    52.  3.100 / 52.  3.100&#xA;Guessed Channel Layout for  Input Stream #0.0 : stereo&#xA;Input #0, alsa, from 'hw:1':&#xA;  Duration: N/A, start: 1394670862.629223, bitrate: 1536 kb/s&#xA;    Stream #0:0: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s&#xA;Input #1, video4linux2,v4l2, from '/dev/video0':&#xA;  Duration: N/A, start: 575244.424820, bitrate: 165722 kb/s&#xA;    Stream #1:0: Video: rawvideo (YUY2 / 0x32595559), yuyv422, 720x480, 165722 kb/s, 29.97 fps, 29.97 tbr, 1000k tbn, 1000k tbc&#xA;No pixel format specified, yuv422p for H.264 encoding chosen.&#xA;Use -pix_fmt yuv420p for compatibility with outdated media players.&#xA;[libx264 @ 0x1d1b0a0] using cpu capabilities: MMX2 SSE2Slow SlowCTZ&#xA;[libx264 @ 0x1d1b0a0] profile High 4:2:2 Intra, level 3.0, 4:2:2 8-bit&#xA;[libx264 @ 0x1d1b0a0] 264 - core 142 - H.264/MPEG-4 AVC codec - Copyleft 2003-2014 - http://www.videolan.org/x264.html - options: cabac=0 ref=1 deblock=0:0:0 analyse=0:0 me=dia subme=0 psy=1 psy_rd=1.00:0.00 mixed_ref=0 me_range=16 chroma_me=1 trellis=0 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=0 threads=3 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=0 weightp=0 keyint=1 keyint_min=1 scenecut=0 intra_refresh=0 rc=abr mbtree=0 bitrate=12000 ratetol=1.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=0&#xA;Output #0, mp4, to 'SYNCTEST.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf55.19.104&#xA;    Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv422p, 720x480, q=-1--1, 12000 kb/s, 30k tbn, 29.97 tbc&#xA;    Stream #0:1: Audio: aac (libfaac) ([64][0][0][0] / 0x0040), 48000 Hz, stereo, s16, 128 kb/s&#xA;Stream mapping:&#xA;  Stream #1:0 -&amp;gt; #0:0 (rawvideo -&amp;gt; libx264)&#xA;  Stream #0:0 -&amp;gt; #0:1 (pcm_s16le -&amp;gt; libfaac)&#xA;Press [q] to stop, [?] for help&#xA;frame=  436 fps= 30 q=-1.0 Lsize=     706kB time=00:00:14.91 bitrate= 387.9kbits/s dup=0 drop=4    &#xA;video:448kB audio:240kB subtitle:0 global headers:0kB muxing overhead 2.682203%&#xA;[libx264 @ 0x1d1b0a0] frame I:436   Avg QP: 0.00  size:  1051&#xA;[libx264 @ 0x1d1b0a0] mb I  I16..4: 100.0%  0.0%  0.0%&#xA;[libx264 @ 0x1d1b0a0] final ratefactor: -25.57&#xA;[libx264 @ 0x1d1b0a0] coded y,uvDC,uvAC intra: 0.0% 0.0% 0.0%&#xA;[libx264 @ 0x1d1b0a0] i16 v,h,dc,p: 97%  0%  3%  0%&#xA;[libx264 @ 0x1d1b0a0] i8c dc,h,v,p: 100%  0%  0%  0%&#xA;[libx264 @ 0x1d1b0a0] kb/s:252.03&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5686" LastEditorUserId="5686" LastEditDate="2014-03-13T00:37:19.913" LastActivityDate="2014-08-07T16:15:33.250" Title="Video Capture using ffmpeg (V4L2 indev) Results in Bad A/V Sync" Tags="|ffmpeg|linux|" AnswerCount="1" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="10369" PostTypeId="1" CreationDate="2014-03-12T23:40:30.257" Score="1" ViewCount="295" Body="&lt;p&gt;Look at what I mean: &lt;a href=&quot;http://www.youtube.com/watch?v=9HUpYYJoA8Y&amp;amp;feature=youtu.be&quot; rel=&quot;nofollow&quot;&gt;Youtube link&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Titles slide to the center all choppy, laggy, like they are skipping frames... I tried with better quality 1920 etc... but all that does is enlarge my picture which isn't really helpful considering I have a small raster picture to start with and the animation is still sluggish. What gives?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are my Adobe Premiere Pro CS6 settings for exporting video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;format:h.264&#xA;w: 320, h: 240&#xA;frame rate: 30&#xA;aspect: D1/DV PAL (1.0940)&#xA;TV standard: NTSC&#xA;Profile: high&#xA;level: 1,3&#xA;render at maximum depth: &quot;checked&quot;&#xA;&#xA;bitrate encoding: VBR, 1 pass&#xA;target and maximum bitrate: 0,18&#xA;&#xA;use maximum render quality: &quot;checked&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;PS.: How can I improve quality of the video, setting it to 1920*1080 just enlarges my video, which pixelates my raster picture in the video.&lt;/p&gt;&#xA;" OwnerUserId="5687" LastActivityDate="2014-03-12T23:40:30.257" Title="Choppy slide titles animation in Premiere" Tags="|video|premiere|animation|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10370" PostTypeId="1" CreationDate="2014-03-13T00:15:24.437" Score="0" ViewCount="71" Body="&lt;p&gt;I am making a film promoting a health product. I want to use the words &quot;eat, sleep, rave&quot; as screened text throughout the film. This is the name of a Fat boy slim song. I also want to know if I can use this remix of the song as background music. It holds a creative commons license. But I am very ignorant towards copyright laws and what I can and can't do. Obviously the product is not related to the song, other than its use for rejuvenation after a late night. Here is the link to the creative common's remix. &lt;a href=&quot;https://soundcloud.com/riotten/eat-sleep&quot; rel=&quot;nofollow&quot;&gt;https://soundcloud.com/riotten/eat-sleep&lt;/a&gt;... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a link to the old promotional video- &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/8Wq_86ZNE7s?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="5688" LastEditorUserId="2836" LastEditDate="2014-03-15T20:23:15.193" LastActivityDate="2014-03-15T20:23:15.193" Title="Please tell me if i can use this song and it's title in my promotional film?" Tags="|copyright|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10371" PostTypeId="2" ParentId="10370" CreationDate="2014-03-13T03:36:07.597" Score="2" Body="&lt;p&gt;For this, you'll really need to see a lawyer to determine if the original re-mix has sufficient rights to the song to place their remix under Creative Commons in the first place.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If they do, then it depends what Creative Commons license they used.  As long as it allows commercial usage (not a NC license) then you would be ok as long as you followed the rest of the terms of the applicable Creative Commons license.  (For example, you would need to post the video under the same type of Creative Common's license.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-13T03:36:07.597" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10372" PostTypeId="1" CreationDate="2014-03-13T10:07:50.890" Score="2" ViewCount="7550" Body="&lt;p&gt;I am new to After Effects. When I set my first key frame on my image, it would move to that specific co-ordinates. Now I want it to stay there and then move again to the next. What I did was create a new key frame for that. Problem is, it goes to the first then straight away to the next. I want it to stay put on the first key frame for about 5 seconds then start moving on the next. How can I do that?&lt;/p&gt;&#xA;" OwnerDisplayName="SystemNetworks" LastEditorUserId="5155" LastEditDate="2014-03-13T17:51:25.123" LastActivityDate="2014-03-13T20:08:52.327" Title="How to stop and start a key frame on a specific time on After Effects?" Tags="|after-effects|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10373" PostTypeId="1" CreationDate="2014-03-13T13:42:30.360" Score="4" ViewCount="851" Body="&lt;p&gt;So I've been recording gameplay &amp;amp; posting it on YouTube for a few years now. Primarily using Sony Vegas as it always seemed to be the community standard. Never really had an issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I built my new PC about a year ago, which on all accounts is superior to my previous PC my video render time seems to have slowed down quite substantially. Granted, I am now rendering in 1080p. BUT - Would that actually make much of a difference, opposed to 720p? I can't confirm or deny whether I've tried rendering in 720p with the new machine as I honestly can't remember. However, I did render a 1080p video on my old PC and it didn't take anywhere near an hour! I've only rendered about 10/15 videos on my new PC over the past year, trying to get back into it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example:&#xA;- a 20 minute video used to take about 15-20 minutes to render on my old PC in 720p.&#xA;- A 20 minute video will take almost an hour to render on my new(ish) PC in 1080p&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could this be due to new hardware not being.... As good? In certain areas? Or should I be experiencing a faster video render? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;OLD PC:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Windows 7 Ultimate - 64bit&#xA;Asus P6TSE&#xA;Intel i7 920 @ 2.67GHz&#xA;6GB Corsair Dominator @ 1600MHz&#xA;Nvidia GTX 260 896Mb&#xA;1250w Cooler Master Real Power Pro&#xA;Western Digital 1TB HDD&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;NEW PC:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Windows 7 Ultimate - 64bit&#xA;Asus Rampage IV Extreme Intel X79 (Socket 2011) DDR3 Motherboard&#xA;Intel Core i7-3820 3.60GHz (Sandybridge-E) Socket LGA2011 Processor &#xA;Patriot Intel Extreme Masters 32GB (4x8GB) DDR3 PC3-14900C10 1866MHz Quad Channel Kit (PVI332G186C0QK)&#xA;Asus GeForce GTX 770 DirectCU OC 2048MB GDDR5 PCI-Express Graphics Card&#xA;Corsair Professional Series AX1200 High Performance 1200W Modular '80 Plus Gold' Power Supply (CMPSU-1200AXUK)&#xA;Kingston 240GB SSDNow V+200 Drive SATA 6Gb/s Solid State Hard Drive - (SVP200S37A/240G)&#xA;Western Digital Caviar Black 2TB SATA 6Gb/s 64MB Cache - OEM (WD2002FAEX) HDD&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any help is very much appreciated!!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!!&lt;/p&gt;&#xA;" OwnerUserId="5690" LastActivityDate="2014-04-16T13:57:51.217" Title="Slow Video Render? incl. New &amp; Old PC Specs" Tags="|after-effects|premiere|hardware|vegas-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10374" PostTypeId="2" ParentId="10373" CreationDate="2014-03-13T14:18:32.820" Score="1" Body="&lt;p&gt;A few possibilities I see.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, yes, 1080P really is that much larger and more complex than 720P.  720P is only 1280 by 720 or 921 thousand pixels per frame.  1080P on the other hand is 1920 by 1080 or over two million pixels of information per frame.  You have more than twice the data to process, so it would be expected to take more than twice the time on similar hardware.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, you didn't mention frame rate, but that can make a substantial difference as well.  If you were doing 24fps in 720 and are now doing 30 or 60fps, that would be massive.  Similarly to before, if you increased from 24 to 30, there would be more than 1/5 more time.  From 30 to 60 would be more than double.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Third, I don't know Vegas, but most decent editing systems support CUDA acceleration of rendering (using the GPU to render).  If your software doesn't have support for CUDA on your new graphics card, but did on your old, that would have a major impact on render performance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Forth, are you using similar bit-rates?  The bit-rate you use impacts the level of compression and the level of compression can have a major impact on speed.  The more you compress, the more it has to look for patterns, so moving from 720p to 1080p without also increasing the bit rate of the final video would result in a significant slow down as well.  (Same goes for if you are using quality based rendering/encoding and increased the quality level.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-13T14:18:32.820" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10375" PostTypeId="1" AcceptedAnswerId="10379" CreationDate="2014-03-13T14:24:20.557" Score="1" ViewCount="57" Body="&lt;p&gt;Using Adobe Premiere CS6, when I copy my old timeline to new sequence all the .gif and .jpeg background images including titles lose a lot of a resolution... Both sequences have the same settings, I only increased fps on a new one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/7UNuz.png&quot; alt=&quot;Comparison of previews&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/45etY.png&quot; alt=&quot;Sequence 1&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/vakAE.png&quot; alt=&quot;Sequence 2&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5687" LastEditorUserId="2836" LastEditDate="2014-03-14T02:09:17.237" LastActivityDate="2014-03-14T02:19:11.010" Title="Copying timeline to new sequence lowers resolution" Tags="|premiere|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="10376" PostTypeId="2" ParentId="10372" CreationDate="2014-03-13T14:53:55.320" Score="1" Body="&lt;p&gt;I understand your problem as follows:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are three timepoints: &lt;code&gt;T0&lt;/code&gt;, &lt;code&gt;T1&lt;/code&gt; and &lt;code&gt;T2&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At &lt;code&gt;T0&lt;/code&gt; you place the image in an initial position.&lt;br&gt;&#xA;At &lt;code&gt;T1&lt;/code&gt; you place the first keyframe (position: &lt;code&gt;x1, y1&lt;/code&gt;).&lt;br&gt;&#xA;And at &lt;code&gt;T2&lt;/code&gt; you have the second keyframe (position: &lt;code&gt;x2,y2&lt;/code&gt;).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You want it to stay at &lt;code&gt;T1&lt;/code&gt; for several seconds before moving on to &lt;code&gt;T2&lt;/code&gt;. The easiest way to achieve this is to make a new keyframe at a timepoint several seconds after &lt;code&gt;T1&lt;/code&gt;, but before &lt;code&gt;T2&lt;/code&gt;. Let's name it &lt;code&gt;T1a&lt;/code&gt;.&lt;br&gt;&#xA;Now the image will move to &lt;code&gt;x1,y1&lt;/code&gt;, stay there until keyframe &lt;code&gt;T1a&lt;/code&gt; and then move to position &lt;code&gt;x2,y2&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2014-03-13T14:53:55.320" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10377" PostTypeId="2" ParentId="10372" CreationDate="2014-03-13T14:54:16.907" Score="1" Body="&lt;p&gt;Simply select your first keyframe(s) in the timeline and copy them. Move to the correct position in your timeline (+5 seconds) and paste.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To avoid any confusion, when I refer to the 'first' keyframe, that is the one at the start of the desired 5 second hold. This would work anywhere in the timeline in that case. Select any keyframe you want to hold at and copy &amp;amp; paste it 5 seconds along in the timeline.&lt;/p&gt;&#xA;" OwnerUserId="4183" LastEditorUserId="4183" LastEditDate="2014-03-13T20:08:52.327" LastActivityDate="2014-03-13T20:08:52.327" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10378" PostTypeId="2" ParentId="10372" CreationDate="2014-03-13T15:56:31.750" Score="1" Body="&lt;p&gt;You can change the second keyframe to a hold type. This will cause the image to stay at position 1. At time 2 it will jump to the second position. No moving will be visible. If you want the movement to be visible you need to use the solution presented by the other answers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might want to research use of the velocity graph. Look up adobe TV. &lt;/p&gt;&#xA;" OwnerUserId="5591" LastActivityDate="2014-03-13T15:56:31.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10379" PostTypeId="2" ParentId="10375" CreationDate="2014-03-13T16:29:52.507" Score="1" Body="&lt;p&gt;It appears that your pixel aspect ratio and interlace/progressive choices differ between the two sequences.  What you are seeing is a combination of the interlacing and the change in pixel aspect ratio (which results in the image having to be scaled to a new set of pixels that aren't exactly like the original.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For playback on a TV that supports interlaced video, you won't notice a whole lot of difference, but on a computer or progressive display, it will look funny.  For best quality, you will want to use a progressive, square pixel sequence if you are outputting to PC or to a progressive display (such as 1080P or 720P TV).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The bad news is that it doesn't appear there is a good way to make any changes to the sequence that you need to make while there is content in it, but if you make a new sequence, you can go to the settings tab and specify everything the way that you need them specified.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-03-14T02:19:11.010" LastActivityDate="2014-03-14T02:19:11.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10380" PostTypeId="2" ParentId="10372" CreationDate="2014-03-13T17:56:37.107" Score="1" Body="&lt;p&gt;It sounds like your understanding of key frames is just slightly off, but almost there.  Key frames in After Effects (or any key frame based animation system for that matter) indicate that at a given time, the value of a given property (the key framed property) should be at the value you specify for that key frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have told After effects that you want it to start at a given value A, move to another value B and eventually move to another value C, but you haven't told it that you still want it to be B for a while.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You simply need to add an additional key frame at the end of the time period that you want the value to stay the same.  This way, the system knows that from the start of reaching the coordinates to the end of the time it spends at those coordinates, it won't move.  Then, after the second key frame for position B, it will start moving to C.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have A...B...C, but you need A...B....B....C.  In other words, rather than saying start at A, then move to B, then move to C, you want to say start at A, move to B, stay at B for a while, then move to C.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-13T17:56:37.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10381" PostTypeId="1" CreationDate="2014-03-13T22:26:23.220" Score="0" ViewCount="98" Body="&lt;p&gt;I recorded a conference with my Sony camcorder that saves files as MPEG2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I only had a single camera and the speaker didn't provide the PowerPoint slides afterwards, every time a slide was shown through the projectori, I had to move the camera from the speaker to the slides and back a few times during the talk.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So now I need to edit the file to get rid of those movements, and display the shots of the slides long enough each time so the video is steady; I don't know how it's called (&quot;video overlay&quot;?).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a newbie-friendly, free NLE that can do this, such as VirtualDub or AviDemux, or do I have to buy a commercial solution such as Sony Vegas Studio?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="2445" LastEditorUserId="2836" LastEditDate="2014-03-14T00:47:20.517" LastActivityDate="2014-05-13T17:49:15.550" Title="Insert Video Still onto MPEG2 video?" Tags="|video-editor|windows|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10382" PostTypeId="2" ParentId="10359" CreationDate="2014-03-14T01:41:55.037" Score="1" Body="&lt;p&gt;I guess both mediums are telling a story.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Photography has the added challenge of creating that story in a single image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whereas video is more forgiving in that additional context can be created/unravelled across multiple frames.&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2014-03-14T01:41:55.037" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10383" PostTypeId="1" AcceptedAnswerId="10631" CreationDate="2014-03-14T11:20:00.757" Score="3" ViewCount="4426" Body="&lt;p&gt;I have a few &lt;code&gt;.vob&lt;/code&gt; files with &quot;black frames&quot; (it seems that an issue during the acquisition from VHS did that).&lt;br&gt;&#xA;I can get where these black frames occur with the command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source.vob  -vf blackdetect=d=0:pic_th=0.70:pix_th=0.10 -an -f null - 2&amp;gt;&amp;amp;1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;which gives me &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[...]&#xA;[blackdetect @ 0x7fab5b40a3e0] black_start:137.68 black_end:137.72 black_duration:0.04&#xA;[blackdetect @ 0x7fab5b40a3e0] black_start:161 black_end:161.04 black_duration:0.04&#xA;[blackdetect @ 0x7fab5b40a3e0] black_start:181.96 black_end:182 black_duration:0.04&#xA;[...]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(black_duration is always 0.04s for some reason)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've built a script that cuts the parts between black frames and creates one file for each.&lt;br&gt;&#xA;basically, for the three lines above, it runs:  &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;/Users/simon/Documents/projects/encodage VHS/source.vob&quot; -ss 00:02:17.720 -t 23.28  -f avi -c:v libx264 -c:a libmp3lame -crf 0 -preset veryslow -vf &quot;setpts=PTS-STARTPTS&quot; 13.mpeg;&#xA;ffmpeg -i &quot;/Users/simon/Documents/projects/encodage VHS/source.vob&quot; -ss 00:02:41.040 -t 20.92  -f avi -c:v libx264 -c:a libmp3lame -crf 0 -preset veryslow -vf &quot;setpts=PTS-STARTPTS&quot; 14.mpeg;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;then I merge those files with the concat plugin of ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My issue is: I'm sure the values I use to cut are right, but running the blackdetect filter again, I can see black frames at the beginning of some fragments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know why I'm still getting those black frames ? Is there a better way to remove them than cut and concat? I'm using a Mac.&lt;/p&gt;&#xA;" OwnerUserId="5696" LastEditorUserId="2178" LastEditDate="2014-03-20T19:03:32.387" LastActivityDate="2016-01-26T21:57:26.583" Title="remove black frames from vob files with ffmpeg" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10384" PostTypeId="2" ParentId="10381" CreationDate="2014-03-14T13:11:39.783" Score="0" Body="&lt;p&gt;Even Windows Movie Maker could probably handle what you are looking at doing.  If you export a still of the slide from the video, just about any software can insert a still image in to a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also a number of other cheap video editing solutions targeted at consumers that would meet your newbie friendly requirement while still accomplishing your needs.  Most of the free options on Windows are a bit difficult to understand due to the very limited controls.  On the flip side, most professional software (Vegas Pro, Premiere Pro, etc) have so much complexity and power that they become overly difficult to use due to the breadth of controls and the number of options.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You really want something in the middle.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-14T13:11:39.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10385" PostTypeId="2" ParentId="10359" CreationDate="2014-03-14T15:26:54.737" Score="2" Body="&lt;p&gt;Having done both professional photography as well as professional videography, I have a lot of experience in both of these areas.  They have many similarities, but also many differences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The technical capabilities of the tools have already converged to some level and will continue to do so.  DSLRs are one of the more popular choices for shooting video now due to the low cost and high quality as well as interchangeable optics.  Major TV shows have actually been shot on DSLRs. (The last two episodes of House were shot on the Canon 5D Mark iii for example.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, the fields themselves are no closer to converging than they have ever been.  From the perspective of a photographer, capturing 30 images in a second is largely noise.  There are some environments where it is helpful, such as sports, but in general a photographer is looking for one perfect image while controlling as many variables of that moment as possible.  A videographer on the other hand is controlling the behavior of their camera to capture a scene as it unfolds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The language of the mediums, while similar in terms of composition and many techniques, such as lighting, is completely different when it comes to how emotion and story is communicated.  Photography cares about capturing the essence of a moment in crystal clarity while video is concerned with capturing the beauty of motion and telling the story through flow.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly, on a technical level, the quality of image we can capture at slower frame rates will be higher for quite some time still (until we are regularly hitting the diffraction limit for practical sensor sizes).  We will get burst capabilities that rival film much sooner, but they will be to large buffers that fill rapidly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just at the 35mm format, we need video to be in the upper 20s or low 30s of megapixels before we hit the diffraction limit reliably.  Until that point, the most quality for a photographer will come from shooting the moment rather than just capturing all moments.  Even when we can capture all moments, sorting out the perfect moment from among all the images would be more painstaking than simply capturing the one moment that is needed.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, trying to capture all moments well detracts from how well you can look for and capture that one perfect moment.  Photography requires focus on the moment while video requires focus on the whole time of the shot.  They are different mindsets with different technical goals and requirements that require a different use even when using the same tools.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-14T15:26:54.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10386" PostTypeId="2" ParentId="10383" CreationDate="2014-03-14T15:39:31.560" Score="1" Body="&lt;p&gt;What you experienced are called dropped frames.  These shouldn't be confused with drop frame video formats (such as 29.97fps NTSC video, which is otherwise known as 30 fps drop frame (because a frame is dropped to get 29.97 frames per second.) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Dropped frames occur when the system capturing is not able to keep up with the rate of playback.  They are duration .04 because it is a single frame, which works out to around .04 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Dropped frames are a relatively tricky issue to deal with as they interfere with the flow of the video and also the audio sync.  Even if you clip them out of the source material, it results in a spatial and auditory gap of .04 seconds that is often detectable by a viewer.  Due to this, the best practice is to re-capture if you experience dropped frames during capture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If re-capture isn't an option, your best bet is to interpolate a frame to fill the gap by averaging the preceding and proceeding frames of video.  This frame often doesn't come out super well, but it is still often less jarring than removing the frame entirely and allows the audio to continue normally (provided the audio didn't also cutout for the dropped frame).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a last resort, you can simply cut out the dropped frame, but as previously mentioned, this results in a .04 second gap in your footage and is non-ideal.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-14T15:39:31.560" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10387" PostTypeId="2" ParentId="10381" CreationDate="2014-03-14T16:47:03.480" Score="1" Body="&lt;p&gt;iMovie comes free with a Mac and can easily do what you want. Here's how I'd do it, for each section you want to replace with a freeze frame:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Decide where you want to start and stop the freeze frame.  Cut the video clip at each of those points (right-click and select &quot;Split&quot;).&lt;/li&gt;&#xA;&lt;li&gt;See how long (exactly) that section is.&lt;/li&gt;&#xA;&lt;li&gt;Within that section, click on the frame you want to use for the freeze frame.  Right-click it and select &quot;Freeze Frame&quot;.  That will create a 4-second freeze frame.&lt;/li&gt;&#xA;&lt;li&gt;Double-click the freeze frame and set its length to exactly the length of the clip you're replacing.&lt;/li&gt;&#xA;&lt;li&gt;With the freeze frame clip still selected, click on the &quot;Crop&quot; tool.  The crop will automatically apply animation (called &quot;Ken Burns&quot;).  I would change it to &quot;Fit&quot;.&lt;/li&gt;&#xA;&lt;li&gt;Right click on the first half of the clip you're replacing with the still frame.  Select &quot;Detatch Audio&quot;.  Drag that detatched audio over the first half of your freeze frame.  Select the now-silent clip and delete it.&lt;/li&gt;&#xA;&lt;li&gt;Do step 6 again for the second half of the clip you're replacing.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;That should do it! Let me know if you have any questions. (And please mark this question as &quot;The Answer&quot; if it's useful!)&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-03-14T16:47:03.480" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10388" PostTypeId="1" CreationDate="2014-03-15T02:02:00.900" Score="1" ViewCount="6340" Body="&lt;p&gt;After Effects is continuously giving the following error when I try to use the Puppet tool:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;After Effects error: zero denominator in ratio addition. (17::16)&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea what could be happening or how I can get around this issue?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I just restarted my After Effects. Now everything works Perfect!!! &lt;/p&gt;&#xA;" OwnerUserId="5466" LastEditorUserId="3295" LastEditDate="2015-03-11T17:13:07.337" LastActivityDate="2022-03-24T17:45:17.897" Title="After Effects Ratio Error When Using Puppet Tool" Tags="|after-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10389" PostTypeId="2" ParentId="10388" CreationDate="2014-03-15T03:10:51.130" Score="1" Body="&lt;p&gt;It's hard to tell for sure without more detail about your problem, but the final post in &lt;a href=&quot;http://forums.adobe.com/thread/830880&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; Adobe Community thread appears to be having the same problem.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It looks like they restarted After Effects and created a new Puppet Pin and Puppet effect and then copied over their animation keyframes.  Not sure why the problem would be happening, sounds like it is probably a bug to me.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-15T03:10:51.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10390" PostTypeId="1" AcceptedAnswerId="10393" CreationDate="2014-03-15T10:28:28.420" Score="5" ViewCount="76" Body="&lt;p&gt;I am applying to a scholarship, where I need to answer some questions in a one minute long video. I would like to push as much information as I can, but I wouldn't like to make it over-crowded... so what is an optimal speech / time ratio? (how many characters, or sentences, etc for one minute?)&#xA;Are there some statistics like that? What is it like at ads from tech companies?&lt;/p&gt;&#xA;" OwnerDisplayName="user5697" LastActivityDate="2014-03-17T22:53:29.930" Title="Optimal pace of speech" Tags="|video|filming|recommendation|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10391" PostTypeId="1" AcceptedAnswerId="10394" CreationDate="2014-03-15T14:56:48.233" Score="3" ViewCount="1492" Body="&lt;p&gt;I've come across &lt;a href=&quot;http://vimeo.com/88627743&quot; rel=&quot;nofollow&quot;&gt;this video&lt;/a&gt; and, as a total noob in video editing, I find it stunning. After watching it a couple of questions arise regarding masks and transitions:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The intro title &lt;em&gt;fills&lt;/em&gt; with a smoke-like mask. Where can I find a mask like that, if possible for free?&lt;/li&gt;&#xA;&lt;li&gt;The subtitle and the rest of the titles appear with each letter growing independently. I guess that could be done using a Stroke for each letter and animating it? Seems like a lot of work. Isn't there an automated process for that?&lt;/li&gt;&#xA;&lt;li&gt;The transitions in 0:16, 0:49 and 1:05. How are those done?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'd also appreciate any kind of basic tutorial about color correction to achieve the same looks as that video.&lt;/p&gt;&#xA;" OwnerUserId="5324" LastActivityDate="2014-03-15T20:23:38.570" Title="How to achieve this kind of masks and transitions" Tags="|after-effects|color-correction|transitions|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10392" PostTypeId="1" AcceptedAnswerId="10400" CreationDate="2014-03-15T16:29:46.957" Score="3" ViewCount="30948" Body="&lt;p&gt;My wife bought a GoPro Hero3 for some simple home video: kids, holidays, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that some videos are not playing very well on our old PCs.  We want to buy a new one for video editing. As far as I understood, such a computer should have as strong of a CPU as possible and plenty of RAM. It seems that the video card also has some role, but it's not as important as CPU/RAM in general. Is this assumption correct?&lt;/p&gt;&#xA;" OwnerUserId="5699" LastEditorUserId="2836" LastEditDate="2014-12-26T15:06:47.080" LastActivityDate="2015-03-11T21:20:03.040" Title="What are the key PC specs for best editing HD videos?" Tags="|editing|hardware|" AnswerCount="5" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10393" PostTypeId="2" ParentId="10390" CreationDate="2014-03-15T16:48:15.007" Score="6" Body="&lt;p&gt;You will generally get the following guidance if you take courses on presentation skills (this list from write-out-loud.com)&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Slow speech is usually regarded as less than 110 wpm, or words per minute.&lt;/li&gt;&#xA;&lt;li&gt;Conversational speech generally falls between 120 wpm at the slow end, to 150 - 200 wpm in the fast range.&lt;/li&gt;&#xA;&lt;li&gt;People who read books for radio or podcasts are often asked to speak at 150-160 wpm.&lt;/li&gt;&#xA;&lt;li&gt;Auctioneers or commentators who practice speed speech are usually in the 250 to 400 wpm range.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So you'll probably want to aim for that 150 wpm range to be able to get a reasonable amount across, but not sound like an auctioneer&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2014-03-15T16:48:15.007" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10394" PostTypeId="2" ParentId="10391" CreationDate="2014-03-15T19:56:07.497" Score="6" Body="&lt;p&gt;Let me start by saying what they did there is actually far, Far, FAR simpler than you think.  I'll try to break it down shot by shot what is going on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the title, there are three main elements.  The first element fades in on a time lapse of clouds moving across the mountain.  This appears to be the same time lapse they use a few seconds later for the first subtitle.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Superimposed over that are two elements.  The first and faintest is a fairly small image of a cloud.  It appears to simply be luma keyed or possibly additively blended (bright parts make bright, dark parts don't impact) and probably has a black background  It's quite probably a CG cloud using particle simulation.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The last element of this first shot is a title composed of white text.  The text is blended in using a gradient dissolve that bases the time it dissolves being driven by the luminance of an underlying image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a demonstration, lets start with &lt;a href=&quot;http://www.flickr.com/photos/41107941@N00/3457064913/in/photolist-6gumXt-6guohB-6guoSz-6gupCx-6gypPS-6gyuEf-6gywjA-6gyCcs-6uV2p1-6yggUd-6yp3cr-6ytc5N-6DdxdM-6DhFqC-6HkgLN-6MsbWQ-6Pt9aZ-6TZ3Mv-6VMB6T-6VRCQC-6XwcxD-77adrR-783nYh-79UJgB-7bfATD-7cS8sT-7m5PXk-7nL1wa-7weRvZ-7xYqP5-hTVxhW-e1TJrt-bCgBAv-drYF5S-bVDGTM-dPWAgT-dPWzYk-dzDbgz-aSrq4T-as7pHU-as7pNN-8UoJAp-8UoCt4-8UoCna-dn1pch-8UrGVs-bjipD6-fQwnYj-bv7uaZ-9cX4a9-ffZHWc&quot; rel=&quot;noreferrer&quot;&gt;this&lt;/a&gt; CC image from centophobia on flikr.  With some quick rotating and additive blending (Lighten) in Photoshop, applying a greyscale mode change and then using the curves to give us contrast more suitable to our purposes we get an image like this (after resizing and cropping to fit a 1080p video).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/mBD10.jpg&quot; alt=&quot;Title Dissolve Image&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now that we have an image to use for the base of our dissolve, we can actually do the title.  Here is a screenshot from doing this in Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/BjsaW.jpg&quot; alt=&quot;Screen shot of building the gradient title&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, I imported the image I created and then I made a basic title with plain white block letters.  I then added both of these to a sequence.  Note that the smoke layer should be in the sequence with the title, but it should not be visible.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next, I added a Gradient Dissolve to the title clip from the Transition Effects.  Set the Gradient Layer to the layer you put your gradient map on (the smoke image.)  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next, adjust the settings to add softness to the transition (this is what causes it to work through the gradient rather than having a hard line being exposed).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Set a keyframe on the transition completion at the beginning and end of where you want it to dissolve in (using the little stopwatch looking button) and set a keyframe at 100 for the beginning and 0 for the end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you run it you should get something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/RcR3foXldOE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now for the other titles, it does appear to clearly be working off the strokes of the characters, so there are a few different possibilities.  The most likely one would be to use a similar gradient dissolve, but build the mask based directly on the title.  Drawing a gradient on each character would allow for the control of the reveal to be precisely controlled and the Transition softness would be set to 0 or near 0 to keep a hard line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As an example, here's doing something for a large letter K.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/UkEWP.jpg&quot; alt=&quot;Gradient to reveal K&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They may have had a titling software that could generate the gradients for them.  Stroke animation is another option, but you'd have to use true vector shapes for the fonts then and a lot more manual work would have to be done to keyframe each different part of each stroke.  The gradient way isn't particularly quick, but it's probably less effort than stokes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final transition appears to just be a  highly motion blurred image flying across the frame really quickly and having the other clip after it clears the field.  Just take an image with a lot of horizontal blur, send it across within a few frames and cut to the other video the moment it completely obscures the scene.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-03-15T20:23:38.570" LastActivityDate="2014-03-15T20:23:38.570" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10395" PostTypeId="1" AcceptedAnswerId="10397" CreationDate="2014-03-15T20:34:46.963" Score="2" ViewCount="113" Body="&lt;p&gt;I am completing a school project on distributed computing. I have been granted access to a Blue Gene super computer to run an algorithm to create static Mandelbrot set images. I have the algorithm created and running. The image sizes are 800x600.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My project is to combine these images to create a video with a zooming effect. I am new to creating videos from still images and I am looking for some clarification on a few things.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;At what frame/rate should I be aiming for? I want it to be as smooth as possible.&lt;/li&gt;&#xA;&lt;li&gt;I want the zooming to be quite seamless, how quickly should I be zooming in with the images? My algorithm can be quite precise.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If someone could let me know or post some resources on the matter. I feel this should be similar to creating cartoon like zooming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mathew A&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/30qvmwvvdlqb9ds/image.bmp&quot; rel=&quot;nofollow&quot;&gt;An example image created with the algorithm&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5700" LastActivityDate="2014-03-29T14:24:12.830" Title="Video from still images - Zooming" Tags="|animation|framerate|animation-rendering|sampling-frequency|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10396" PostTypeId="1" AcceptedAnswerId="10401" CreationDate="2014-03-15T21:18:27.157" Score="18" ViewCount="29031" Body="&lt;p&gt;I have a long video with different scenes in it.&#xA;I want to extract and concatenate 2 scenes from the video (that do not start on an I-frame) using ffmpeg 2.1.4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For argument, say I want 5 seconds from 01:00 and 02:00.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can do this:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -ss 01:00 -i in.mkv -ss 02:00 -i in.mkv -filter_complex &quot;&#xA;  [0:v]select='lt(t,5)'[v0];&#xA;  [0:a]aselect='lt(t,5)'[a0];&#xA;  [v0][a0][1:v][1:a]concat=n=2:v=1:a=1&#xA;&quot; -c:a libvorbis -t 10 out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That gives me the movie I want, but select actually forces ffmpeg to decode the entire rest of the movie.  So, how do I tell it to truncate the first movie instead of decoding it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would prefer to do this with an ffmpeg complex filter, if possible.  I know that I can just use &lt;code&gt;-t&lt;/code&gt; to recode separate movies first, but the extra encoding step is very slow in my case and also loses a fair amount of quality for this video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't seem to find a filter that truncates the length of a steam.  Are there filter nodes that correspond to the &lt;code&gt;-t&lt;/code&gt; or &lt;code&gt;-ss&lt;/code&gt; parameters?&lt;/p&gt;&#xA;" OwnerUserId="5701" LastEditorUserId="6685" LastEditDate="2015-06-12T00:45:31.187" LastActivityDate="2019-08-28T08:14:35.523" Title="How to concatenate clips from the same video with ffmpeg" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10397" PostTypeId="2" ParentId="10395" CreationDate="2014-03-16T03:17:44.173" Score="1" Body="&lt;p&gt;Interesting question. First, here's a question for you: can your supercomputer actually calculate and render, in real time, an animated zoom on images so complex?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My guess (only a guess) is that it will need more than 1/30 sec. to complete each frame (let's assume 30 frames per second as a minimal frame rate in which to achieve a smooth zoom). If that's the case then you just need to spit out x number of images (bitmaps) that can be played back later, at 30 f.p.s., by any non-super computer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A zoom is just a scale change. Assuming that you don't have in mind a particular rate of change in scale -- in other words, that you don't need to get to a particular scale in a particular time -- try 1% of scale-increase per frame (I'll check this and post an update if you can do much better).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Satisfactory zooming will also involve easing at the head and tail of the zoom. If you need an easing algorithm, just ask. It probably won't be in the language you're using but you'll be able to figure it out.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;UPDATE -- I just read something about Blue Gene. Maybe it &lt;strong&gt;can&lt;/strong&gt; do 800x600 Mandlebrodt images @ 30 f.p.s.!  But the same rate-of-change applies -- smoothness is a human perception thing.&lt;/p&gt;&#xA;" OwnerUserId="5600" LastEditorUserId="5600" LastEditDate="2014-03-16T03:24:24.297" LastActivityDate="2014-03-16T03:24:24.297" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10399" PostTypeId="2" ParentId="10392" CreationDate="2014-03-16T14:08:50.027" Score="1" Body="&lt;p&gt;For playing and editing video I'd suggest the following criteria are the most important:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the graphics card is the single most important thing&lt;/li&gt;&#xA;&lt;li&gt;then CPU, but any recent processor will be fine&lt;/li&gt;&#xA;&lt;li&gt;then fast hard disks&lt;/li&gt;&#xA;&lt;li&gt;then RAM&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For particular needs you may vary this, but it's a pretty good list.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2014-03-16T14:08:50.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10400" PostTypeId="2" ParentId="10392" CreationDate="2014-03-16T19:05:18.150" Score="3" Body="&lt;p&gt;Dealing with HD video has two main components.  The first is the ability to decode the highly compressed video (which is computationally intensive) and then is the ability to deal with the large uncompressed data (which is bandwidth intensive).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The fastest encoders/decoders use the GPU on the graphics card to improve performance as a GPU is far more capable at attacking the problems related to rendering and compression than a traditional CPU is.  So if you have one of these, then the GPU is by far the most important piece.  If you don't however, then the CPU becomes by far the most important piece as encoding/decoding on a CPU is very, very intensive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as dealing with the uncompressed data, the relatively small compressed files will be decompressed into memory and then played out of memory, so it is important to have high speed RAM, but not necessarily the need for a lot of it for play back.  For editing on the other hand, quantity becomes a bigger factor since the more video that can be stored in memory, the smoother your editing experience will be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, you have the hard drives.  It is very helpful if these are quick for loading videos (particularly for editing) and also for working as scratch disk (where editing stores temporary files that don't fit in memory), however it is probably the least critical part.  This can change though if you start working with higher quality, less compressed video where the file sizes start getting larger.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, to summarize, GPU is highest priority if your software can use it, otherwise CPU and then speed of memory, quantity of memory and speed of hard drive in that order.  CPU is still second most important if you do have GPU processing support.  If you don't, then GPU is of almost no importance at all.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-16T19:05:18.150" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10401" PostTypeId="2" ParentId="10396" CreationDate="2014-03-17T01:09:45.547" Score="25" Body="&lt;h1&gt;concat filter&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;This method is best if you need to perform additional filtering:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#trim&quot;&gt;&lt;code&gt;trim&lt;/code&gt;&lt;/a&gt;, &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#atrim&quot;&gt;&lt;code&gt;atrim&lt;/code&gt;&lt;/a&gt;, &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#setpts_002c-asetpts&quot;&gt;&lt;code&gt;setpts&lt;/code&gt;&lt;/a&gt;, &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#setpts_002c-asetpts&quot;&gt;&lt;code&gt;asetpts&lt;/code&gt;&lt;/a&gt;, and &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#concat&quot;&gt;&lt;code&gt;concat&lt;/code&gt;&lt;/a&gt; filters:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i input -filter_complex \&#xA;&quot;[0:v]trim=60:65,setpts=PTS-STARTPTS[v0]; \&#xA; [0:a]atrim=60:65,asetpts=PTS-STARTPTS[a0]; \&#xA; [0:v]trim=120:125,setpts=PTS-STARTPTS[v1];&#xA; [0:a]atrim=120:125,asetpts=PTS-STARTPTS[a1]; \&#xA; [v0][a0][v1][a1]concat=n=2:v=1:a=1[out]&quot; \&#xA;-map &quot;[out]&quot; output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;setpts&lt;/code&gt; and &lt;code&gt;asetpts&lt;/code&gt; will prevent a jerky output due to presentation timestamp issues.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Make sure to use a recent version. See the &lt;a href=&quot;http://ffmpeg.org/download.html&quot;&gt;FFmpeg Download&lt;/a&gt; page for links to builds for Windows, OS X, and Linux.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;concat demuxer&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Another method is to to create the segments individually and &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Stream-copy&quot;&gt;stream copy&lt;/a&gt; them instead of re-encoding (to save time and quality), and join them with the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-formats.html#concat-1&quot;&gt;concat demuxer&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;$ ffmpeg -ss 60 -i input -t 5 -codec copy clip1.mkv&#xA;$ ffmpeg -ss 120 -i input -t 5 -codec copy clip2.mkv&#xA;$ echo &quot;file 'clip1.mkv'&quot; &amp;gt; concat.txt&#xA;$ echo &quot;file 'clip2.mkv'&quot; &amp;gt;&amp;gt; concat.txt&#xA;$ ffmpeg -f concat -i concat.txt -codec copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="6685" LastEditDate="2015-06-06T17:06:24.550" LastActivityDate="2015-06-06T17:06:24.550" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="10402" PostTypeId="1" AcceptedAnswerId="10403" CreationDate="2014-03-17T19:36:56.530" Score="1" ViewCount="2428" Body="&lt;p&gt;I have a recorded video in HD format with the source file being about 2GB for 30 minutes of footage. I added it as a new Video Shot in WireCast intending to edit it, however, I got two problems. First, the quality drop tremendously regardless of what kind of output options I use and second, the output video is lagging and that is of course recorded in the final version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I first tried to compress the video to reduce its size and I got it down to about 300MB but the results where exactly the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then tried to stream the video from another computer on the same network using Desktop Presenter to reduce the load on the one where Wirecast was actually working, however, I got exactly the same results, if not worse.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any tips on how I can deal with this issue?&lt;/p&gt;&#xA;" OwnerUserId="5463" LastActivityDate="2014-04-16T21:31:02.357" Title="Wirecast recording lagging from a video file source" Tags="|video|video-quality|video-recording|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10403" PostTypeId="2" ParentId="10402" CreationDate="2014-03-17T20:42:20.947" Score="0" Body="&lt;p&gt;It sounds like your input is too compressed.  Your current quality level is already below what Netflix uses for their full quality HD streaming and is right around Youtube's recommended settings for final output of video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is, this is already a very highly compressed level.  Both compressing and decompressing an h.264 file take a lot of processing power.  The more compressed the video, the more processing power it takes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since the file starts highly compressed, your CPU has to work hard to decode the video and then has to try to re-compress it for the stream.  If it can't keep up with the frame rate, then you start getting quality drop and lag as it does it's best to keep up with the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Further compressing the source video just amplified this problem, though if you have already pre-recorded the video, why not edit it offline and then export the video so that you can stream it without having to re-encode on the fly?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wirecast isn't designed for editing, it is designed for streaming.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-17T20:42:20.947" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10404" PostTypeId="1" AcceptedAnswerId="10725" CreationDate="2014-03-17T21:30:45.783" Score="3" ViewCount="146" Body="&lt;p&gt;A client gave me a file in Windows Media Video format. I need to edit it in Final Cut Pro X. The problem is that Final Cut Pro X can't read it. Neither can Apple Compressor. It has a Quicktime logo, suggesting that Quicktime can open it, but Quicktime cannot.&lt;/p&gt;&#xA;" OwnerUserId="5113" LastActivityDate="2014-12-16T03:59:55.203" Title="Convert .WMV to .MOV" Tags="|file-formats|final-cut-pro-x|mac|windows|quicktime|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10405" PostTypeId="2" ParentId="10404" CreationDate="2014-03-17T21:56:45.347" Score="2" Body="&lt;p&gt;The good news is I didn't just overlook something. Transcoding .WMV to .MOV is a real problem. The bad news is that it cost me $29 to solve it. I purchased the &quot;Player Pro&quot; license for &lt;a href=&quot;http://www.telestream.net/flip4mac/overview.htm&quot; rel=&quot;nofollow&quot;&gt;Flip4Mac by Telestream&lt;/a&gt; after reading this &lt;a href=&quot;http://support.apple.com/kb/ht3526&quot; rel=&quot;nofollow&quot;&gt;support article&lt;/a&gt; by Apple.&lt;/p&gt;&#xA;" OwnerUserId="5113" LastActivityDate="2014-03-17T21:56:45.347" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10406" PostTypeId="2" ParentId="10390" CreationDate="2014-03-17T22:53:29.930" Score="1" Body="&lt;p&gt;Do you have the option to display your answer in text on the screen as you're saying it? You could probably speak faster: The viewers would be reading along anyway, so if you were unintelligible for a few words, the viewers would still get the meaning.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I agree with @DrMayhem about speech speeds, but I think you can get away with 175-200 wpm and not sound too rushed. You would have to be focused, though, and it might require a few &quot;takes&quot; before all 175-200 words were clear. If you do try to squeeze in more than 150 words, make sure you vary your pitch (like a musical note) so you aren't just monotone. Energy drinks aren't out of the question. ;-)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After writing all this, I just realize how much of this is a learned skill/art. I've been in theater and on YouTube for years and years, using my voice like an instrument. If you don't use your voice that way normally, and you don't have a natural knack for it, you might want to aim for 150 words instead of 200.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-03-17T22:53:29.930" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10409" PostTypeId="1" CreationDate="2014-03-18T20:02:47.570" Score="0" ViewCount="897" Body="&lt;p&gt;I'm trying to draw some geometric shapes on a video as overlay, e.g. draw a box around a part of a video to emphasize. I've seen many videos on youtube that do this, and I'm sure I can do it using commercial packages such as Premiere or AVS video editor. I wonder if there is any free software that can do this?&lt;/p&gt;&#xA;" OwnerUserId="5708" LastActivityDate="2014-03-19T16:36:22.133" Title="Free Software for Drawing Overlays" Tags="|video|video-editor|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10410" PostTypeId="2" ParentId="10409" CreationDate="2014-03-18T21:00:17.167" Score="2" Body="&lt;p&gt;iMovie comes free with a Mac, and it allows &quot;Picture-In-Picture&quot; images. You can create art with a transparent background, using a free program such as GIMP, then save it in PNG format (not JPG) and then drop it over your video in iMovie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For emphasizing sections of your video, you can also create a whole image that is partially transparent (like a black image that is 30% transparent) and &quot;remove&quot; a section of it (so the transparency of the &quot;hole&quot; is 100%).  It will look like smoky glass with one perfectly clear part.  When you lay that over your video, it will look like the rest of the screen was darkened except for the part in the perfectly-clear &quot;window&quot;. Kind of a nice effect. :)&lt;/p&gt;&#xA;" OwnerUserId="5546" LastEditorUserId="5546" LastEditDate="2014-03-19T16:36:22.133" LastActivityDate="2014-03-19T16:36:22.133" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10411" PostTypeId="1" AcceptedAnswerId="10414" CreationDate="2014-03-19T02:05:33.067" Score="1" ViewCount="377" Body="&lt;p&gt;I'm trying to archive a laser disc as a digital file. My laser disc player (a Pioneer) has 2 video output options: RCA and a 15-pin port labelled &quot;interface connector&quot;. The 15 pins are arranged in 2 rows. After researching &lt;a href=&quot;http://en.wikipedia.org/wiki/List_of_video_connectors&quot; rel=&quot;nofollow&quot;&gt;video connectors&lt;/a&gt;, I think the 15-pin port is VGA. What would be the higher resolution output for creating a digital recording?&lt;/p&gt;&#xA;" OwnerUserId="5113" LastActivityDate="2014-03-19T03:32:37.563" Title="Does RCA or &quot;interface connector&quot; (VGA?) offer better video quality?" Tags="|conversion|connectors|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10412" PostTypeId="1" AcceptedAnswerId="10455" CreationDate="2014-03-19T02:28:23.513" Score="2" ViewCount="7259" Body="&lt;p&gt;I want to rip a LD to my Mac as a digital video file. I will create a DVD from this file eventually, but I'm primarily interested in playing it on my laptop. What video output from the Laserdisc player would you use? And what hardware and software would you use to import to a Mac? What settings (image resolution, audio sample rate) would capture the best quality—without going over the top? (Clearly 4k would be overdoing it for the analog LD, but MPEG-2 might introduce compression artifacts that I don't want to see unless I make a DVD.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An accepted answer will include: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Recommendation for video output from LD player&lt;/li&gt;&#xA;&lt;li&gt;Recommended capture hardware&lt;/li&gt;&#xA;&lt;li&gt;Recommended capture software&lt;/li&gt;&#xA;&lt;li&gt;Recommended file format&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5113" LastEditorUserId="674" LastEditDate="2014-08-21T08:36:21.310" LastActivityDate="2021-06-04T17:01:16.173" Title="What is the most lossless way to rip a laserdisc to a Mac?" Tags="|conversion|transcoding|osx|" AnswerCount="5" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10414" PostTypeId="2" ParentId="10411" CreationDate="2014-03-19T02:35:08.110" Score="3" Body="&lt;p&gt;The 'interface connector' is (almost certainly) a serial control port, not a video output. LVD stored composite analog video, so there are no chroma or difference signals available to assist in digitizing the video.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-03-19T02:35:08.110" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10416" PostTypeId="1" CreationDate="2014-03-19T13:54:50.280" Score="3" ViewCount="16679" Body="&lt;p&gt;I need to cut multiple fragments from one video. If I use IN and OUT markers, then I can't accomplish the task, because when I set second IN marker, previous one disappears.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to mark multiple fragments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to do that?&lt;/p&gt;&#xA;" OwnerUserId="2122" LastEditorUserId="2178" LastEditDate="2014-03-19T14:18:52.017" LastActivityDate="2022-07-20T17:56:05.143" Title="How to mark multiple ins and outs in Adobe Premiere?" Tags="|video-editor|premiere|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10417" PostTypeId="1" CreationDate="2014-03-19T20:29:08.107" Score="3" ViewCount="355" Body="&lt;p&gt;I have a video that fails to play in the QuickTime plugin in Internet Explorer on Windows 7, but it plays fine in the standalone QuickTime player. I suspect that this may be an encoding problem, and I wanted to ask the experts. I did not personally encode this video, but I am assigned to troubleshoot the problem. If it is, in fact, an encoding problem, I would like to be able to point to specific evidence. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The file: &lt;a href=&quot;https://ptgmedia.pearsoncmg.com/digital/video/9781587143991/ccent_icnd1_media/video/0_0_0_0_0_icnd1_video_intro.mp4&quot; rel=&quot;nofollow&quot;&gt;https://ptgmedia.pearsoncmg.com/digital/video/9781587143991/ccent_icnd1_media/video/0_0_0_0_0_icnd1_video_intro.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A file that works (if it helps): &lt;a href=&quot;https://ptgmedia.pearsoncmg.com/digital/video/9780321765147/9780321765147_01.mp4&quot; rel=&quot;nofollow&quot;&gt;https://ptgmedia.pearsoncmg.com/digital/video/9780321765147/9780321765147_01.mp4&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5713" LastActivityDate="2014-04-22T23:19:55.013" Title="Video fails to play in QT browser plugin. Encoding problem?" Tags="|file-formats|encoding|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="10418" PostTypeId="1" CreationDate="2014-03-19T20:43:56.547" Score="2" ViewCount="300" Body="&lt;p&gt;I've got recorded PowerPoint presentation (video podcast) - static slides, mainly texts, some static infographics with voice of the presenter (speech only). It lasts about 1 hour and encoded to .avi format using default parameters in Xvid occupies about 500 MB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to re-encode it so it occupies as less space as possible to publish it as online video. I presume that the size up to 100 MB should be achievable (static slides + 1 hour of mp3). Could you please advise which encoder should I use (preferably Windows command line) and what are the best settings to achieve that?&lt;/p&gt;&#xA;" OwnerUserId="5714" LastActivityDate="2014-05-18T23:23:47.897" Title="What is the optimal codec and encoding parameters to encode Video Podcast?" Tags="|video|encoding|podcast|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10419" PostTypeId="2" ParentId="10418" CreationDate="2014-03-19T21:47:23.323" Score="1" Body="&lt;p&gt;I would recommend the h264 codec as it produces reasonable quality at small size and it provides broad compatibility.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The open source encoder x264 is considered as the best one out there.&#xA;I can't recommend any command line parameters but there are several good programs that make use of the x264 encoder.&#xA;I like Vidcoder which is a fork of the popular Handbrake software.&#xA;You will see that even with the default settings you achieve a much smaller video size at comparable quality.&lt;/p&gt;&#xA;" OwnerUserId="1893" LastActivityDate="2014-03-19T21:47:23.323" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10420" PostTypeId="2" ParentId="10416" CreationDate="2014-03-19T21:53:39.557" Score="3" Body="&lt;p&gt;In and out markers are used for clip selection, however you have to put the clip somewhere once you select it.  You can either drag or insert it to a sequence or you can drag it to your Project window to have a copy of it saved with that in and out point.  You could later drag from that copy of it in the project to the timeline and it will use the in and out point you had set on it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason you can only select one clip at a time is because the in and out point are designed to be used as part of three point editing.  In three point editing, you specify any 3 of these four points... source in, source out, destination in, destination out.  Whichever one you have the beginning and end of defines the length of the edit and the beginning or end on the other tells it either where to pull the clip from or where to place it.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a traditional way of editing and is how linear systems were used back in the day. The practice carried over to NLEs (non-linear editors) because the process itself is actually pretty quick and easy to use and is what many editors were used to.  It is the least information you need to define an edit.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-19T21:53:39.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10421" PostTypeId="2" ParentId="10418" CreationDate="2014-03-19T22:20:40.677" Score="1" Body="&lt;p&gt;The best bet is either a slide show player or a variable frame rate video format.  Since your image doesn't actually change for large periods of time, formats that normally use a fixed frame rate are not going to produce nearly the quality of results of a VFR format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.handbrake.fr/wiki/VariableFrameRate&quot; rel=&quot;nofollow&quot;&gt;Handbrake&lt;/a&gt; is one option which appears to support using a VFR format.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-19T22:20:40.677" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10422" PostTypeId="2" ParentId="5160" CreationDate="2014-03-20T12:38:03.440" Score="2" Body="&lt;p&gt;I've just discovered &lt;a href=&quot;https://code.google.com/p/subler/&quot; rel=&quot;nofollow&quot;&gt;Subler&lt;/a&gt;, which makes it super easy to add subtitles to an existing m4v file, and then burn that.  &lt;/p&gt;&#xA;" OwnerUserId="5490" LastActivityDate="2014-03-20T12:38:03.440" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10423" PostTypeId="1" CreationDate="2014-03-20T12:42:06.257" Score="2" ViewCount="4039" Body="&lt;p&gt;I've added different language subtitles to individual m4v movies, and they show fine when selecting the subtitle track in both Quicktime and VLC. I would like to have them so that the subtitles display by default. Any way to do this?&lt;/p&gt;&#xA;" OwnerUserId="5490" LastActivityDate="2016-12-11T22:45:36.417" Title="Force subtitles to play as default" Tags="|quicktime|subtitles|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10424" PostTypeId="1" CreationDate="2014-03-20T15:43:39.337" Score="3" ViewCount="1614" Body="&lt;p&gt;I'm trying to figure out how I can remotely stop and start video from my Canon Rebel t3i.  Is this possible at all?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know there are shutter releases that will snap off pictures, but will the same work when in video mode?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerDisplayName="waynejohn" LastActivityDate="2014-03-22T03:22:24.663" Title="Will remote shutter releases stop and start video?" Tags="|video|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10425" PostTypeId="1" CreationDate="2014-03-20T17:16:24.333" Score="3" ViewCount="6754" Body="&lt;p&gt;I'm trying to bake a texture into a model, but the results are terrible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the way it should look:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/asekE.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But every time I bake it, it comes out looking like this:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/LCTqQ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I missing something?&lt;/p&gt;&#xA;" OwnerUserId="4561" LastActivityDate="2014-05-01T18:50:04.347" Title="How do I properly bake a texture in Cinema 4D?" Tags="|editing|3d|cinema4d|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10426" PostTypeId="2" ParentId="10424" CreationDate="2014-03-20T18:20:55.217" Score="2" Body="&lt;p&gt;I don't know much about physical trigger devices, so not sure if starting/stopping a video is possible with those.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, you can use a &quot;software&quot; trigger that is included in the modified &lt;a href=&quot;http://www.magiclantern.fm/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Magic Lantern&lt;/a&gt; firmware that is available for free for several Canon cameras (including the 550D).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After you install the ML firmware on an SD card you will have access to many video recording enhancements, so it might be helpful in general.&#xA;According to the manual you can trigger the start/stop of a video (or take a photo) by using the &lt;a href=&quot;http://wiki.magiclantern.fm/userguide#lcdsensor_remote&quot; rel=&quot;nofollow noreferrer&quot;&gt;LCD sensor or the built-in microphone&lt;/a&gt;.&#xA;From experience I know that the audio trigger is more reliable than the LCD sensor, but it requires that you set the trigger volume threshold according to the sounds in the environment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://photo.stackexchange.com/q/26695/9161&quot;&gt;Here's&lt;/a&gt; more information on the risks of using the custom firmware, and &lt;a href=&quot;http://www.magiclantern.fm/install.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here's&lt;/a&gt; &#xA;the Magic Lantern installation guide.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="-1" LastEditDate="2017-04-13T12:43:53.643" LastActivityDate="2014-03-20T18:20:55.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10427" PostTypeId="2" ParentId="9737" CreationDate="2014-03-20T19:33:00.013" Score="2" Body="&lt;p&gt;if you are going for a more profesional look, and have the budget look into pandoras box media servers. They have functionality to not only edge blend multiple projectors, but also map the image onto any 3d object. you might need two of them in order to run 8 projectors but they are much easier to sync up than 8 individual pcs&lt;/p&gt;&#xA;" OwnerUserId="5671" LastActivityDate="2014-03-20T19:33:00.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10428" PostTypeId="1" AcceptedAnswerId="10439" CreationDate="2014-03-21T09:31:10.403" Score="2" ViewCount="2339" Body="&lt;h1&gt;Background&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Recording a screen-cast (no audio) in Xubuntu Linux. The following image shows a side-by-side comparison of the video (left) versus the desktop (right):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/lSXXY.png&quot; alt=&quot;Lossless encoding&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The screen-cast is recorded using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 30 -f x11grab -s $WIN_GEO -i :0.0+$WIN_XY -vcodec huffyuv -preset ultrafast -qp 0 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here, &lt;code&gt;$WIN_GEO&lt;/code&gt; stores the browser dimensions (1030x794) and &lt;code&gt;$WIN_XY&lt;/code&gt; has the browser location (1020x221).&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ cat /etc/issue&#xA;Ubuntu Trusty Tahr (development branch) \n \l&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h1&gt;Problem&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;The colours in the video differ from the colours shown on the desktop, resulting in a slightly blurry playback. I have read that this could be due to conversion between RGB and YUV colours.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Question&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;How do you record a desktop video (screen-cast) that when played back (e.g., using mplayer, VLC, or ffplay) results in an &lt;em&gt;exact&lt;/em&gt; match to the original desktop colours and crispness?&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Related&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Relevant pages:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.unixuser.org/~euske/vnc2swf/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.unixuser.org/~euske/vnc2swf/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://technically.us/pictures/test.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://technically.us/pictures/test.html&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://ubuntuforums.org/showthread.php?t=1392026&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://ubuntuforums.org/showthread.php?t=1392026&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://askubuntu.com/questions/347574/how-to-do-screencasting-desktop-recording-with-high-quality-audio-and-video&quot;&gt;https://askubuntu.com/questions/347574/how-to-do-screencasting-desktop-recording-with-high-quality-audio-and-video&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://step4wd.com/2012/08/03/recording-screencast-in-ubuntu-linux/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://step4wd.com/2012/08/03/recording-screencast-in-ubuntu-linux/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://unix.stackexchange.com/questions/73622/how-to-get-near-perfect-screen-recording-quality&quot;&gt;https://unix.stackexchange.com/questions/73622/how-to-get-near-perfect-screen-recording-quality&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://unix.stackexchange.com/questions/65970/washed-out-colours-with-screencast-software-but-not-screenshot-on-ubuntu-all-ve&quot;&gt;https://unix.stackexchange.com/questions/65970/washed-out-colours-with-screencast-software-but-not-screenshot-on-ubuntu-all-ve&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/How%20to%20grab%20the%20desktop%20%28screen%29%20with%20FFmpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/How%20to%20grab%20the%20desktop%20%28screen%29%20with%20FFmpeg&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://rayslinux.blogspot.ca/2012/04/capturing-linux-desktop-via-command.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://rayslinux.blogspot.ca/2012/04/capturing-linux-desktop-via-command.html&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5715" LastEditorUserId="-1" LastEditDate="2017-04-13T12:37:07.827" LastActivityDate="2014-03-22T21:59:29.610" Title="How to get a crisp, exact color match for lossless screen-cast?" Tags="|ffmpeg|screen-casting|linux|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10429" PostTypeId="1" AcceptedAnswerId="10430" CreationDate="2014-03-21T21:13:29.723" Score="2" ViewCount="570" Body="&lt;p&gt;I've heard that all project assets should be stored on a separate &quot;scratch&quot; disk for the sake of increased performance. I'm wondering if that conventional wisdom holds even when your &quot;scratch&quot; disk is HDD and your internal disk is SSD. (I'm aware that the cost/capacity ratio is lower for HDDs. My question concerns performance issues, not capacity.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's how my question originated: I am experiencing lag using my mid-2012 MacBook Air (i5, 8GB RAM) to edit Final Cut Pro X. I'm wondering if re-arranging my assets would stand a change of improving performance. Here's where things are right now:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The application (the *.app file for Final Cut Pro X) is on my internal SSD.&lt;/li&gt;&#xA;&lt;li&gt;The library (the *.fcplibrary file) is on my thunderbolt-attached HDD.&lt;/li&gt;&#xA;&lt;li&gt;The digital assets (stills and video) are on the same external HDD.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;My library file merely references the digital assets; I am not copying them into the resource fork. For that reason, my library file is small enough that I could store it on my local drive. The new arrangement would be:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The application (the *.app file for Final Cut Pro X) is on my internal SSD.&lt;/li&gt;&#xA;&lt;li&gt;The library (the *.fcplibrary file) is &lt;em&gt;on my internal SSD.&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;The digital assets (stills and video) are on the same external HDD.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So, would I be breaking some law of the universe with this configuration? And where did the conventional wisdom on &quot;scratch&quot; disks come from, anyway? Does it still apply to SSDs? (Again, in terms of performance only please, not capacity.)&lt;/p&gt;&#xA;" OwnerUserId="5113" LastActivityDate="2014-03-21T22:14:48.573" Title="Do internal SSDs challenge the conventional wisdom of storing digital assets on external &quot;scratch&quot; disks?" Tags="|editing|hardware|final-cut-pro-x|ssd|thunderbolt|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10430" PostTypeId="2" ParentId="10429" CreationDate="2014-03-21T22:14:48.573" Score="1" Body="&lt;p&gt;Scratch disks should never be external.  I'm not sure where you heard that.  External drives can be used for long term asset storage, but it is best to move assets local to work on them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The point of scratch disks is to be the highest speed work area you have available to work from.  Scratch disks are used for data that needs to be moved in and out of memory quickly, so internal SSDs are the best bet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The one thing you don't want to do is you don't want assets and scratch disks on the same magnetic drive because of seek time.  This isn't a concern with SSDs though, so you can generally have them on the same drive.  If you are working with very large files, then there may be a bandwidth advantage to having them on different SSDs, but in order of importance you want memory to be the fastest possible, then scratch disk, then working asset storage, then long term asset storage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The point is to keep data supplied to the CPU and GPU as much as possible.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-21T22:14:48.573" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="10431" PostTypeId="2" ParentId="10424" CreationDate="2014-03-22T03:22:24.663" Score="2" Body="&lt;p&gt;It depends on what type of remote you are using. Pushing the button on a wired remote such as the RS60-E3, the RS80-N3, or any of their many generic equivalents will function &lt;em&gt;exactly&lt;/em&gt; the same as pushing the button on the camera's built in shutter release button. This applies to both half and full presses of the button. You can use the wired remote in any exposure mode, focus mode, drive mode, etc. &lt;strong&gt;It is exactly the same as if you were pressing the camera's shutter button.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are using a wireless remote such as the Canon RC-6 with a camera with a compatible infrared receiver, you are limited to shooting only in &quot;Self Timer&quot; mode.&lt;/p&gt;&#xA;" OwnerUserId="4089" LastActivityDate="2014-03-22T03:22:24.663" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10432" PostTypeId="1" CreationDate="2014-03-22T08:08:08.377" Score="2" ViewCount="811" Body="&lt;p&gt;I've never understood the post-production workflow Adobe has designed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I understand the steps from the editing stage onwards (assume this is a large enough production to require all steps):&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Premiere: Ingest footage into bins, assistant edit, possible assembly edit&lt;/li&gt;&#xA;&lt;li&gt;Premiere: Edit to picture lock-off&lt;/li&gt;&#xA;&lt;li&gt;After Effects: VFX/Grading&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Alternatively, use SpeedGrade for grading&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Audition: Sound Mix&lt;/li&gt;&#xA;&lt;li&gt;Premiere: Bring final grade, sound mix together&lt;/li&gt;&#xA;&lt;li&gt;Media Encoder: Render project&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;However, I don't understand the workflow of Adobe Story, Prelude, and how they enhance the established workflow.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;Update 1:&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;I should mention, I have done some research previously, but Adobe's site is delightfully dense and explanatory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;http://www.adobe.com/au/products/prelude.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe's site&lt;/a&gt;, Prelude is described as:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Metadata, megafast&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Work faster with smarter video ingest and logging.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;How does this help the workflow, what does it add to the process?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Under our &lt;a href=&quot;https://video.stackexchange.com/help/dont-ask&quot;&gt;rules for asking questions&lt;/a&gt; a constructive question that &quot;inspires answers that explain “why” and “how”&quot; is acceptable.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="2598" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-03-22T16:47:51.977" Title="Adobe CC Post-Production Workflow (Story, Prelude etc.)" Tags="|video-editor|editing|software|workflow|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10434" PostTypeId="2" ParentId="5771" CreationDate="2014-03-22T11:03:39.267" Score="3" Body="&lt;p&gt;I also bumped into this issue and couldn't find a way to create a true copy of a text layer that contains effects, etc. However, there is a way around this, it still adds 1 step to the process, but it's better than most solutions I found.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, duplicate your title, rename then go to the original title, choose it on the timeline, copy it. Then go back to the new title you just made, right click and choose &quot; paste attributes &quot; from the top of the list.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There, you have the same effects on a new line of text. Lemme know if you guys find an easier method.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;cheers&lt;/p&gt;&#xA;" OwnerUserId="5719" LastActivityDate="2014-03-22T11:03:39.267" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10435" PostTypeId="1" CreationDate="2014-03-22T12:51:47.540" Score="1" ViewCount="245" Body="&lt;p&gt;I'm starting a tutorial video podcast and have recorded a couple of episodes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've captioned them, and have the captions file in .srt format. However I haven't yet found a way to embed that file in the .mp4 video file that makes the captions optional for podcast viewers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can the captions be included with the podcast, so that viewers can turn them on only if they want them, but they will be off by default? I'm most interested in getting this working in the iTunes podcast section and the iOS Podcast app to start with (although a universal solution that works with all podcast clients would be great).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE 3rd April 2014:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No luck yet I'm afraid with solving this. Until something better comes along, in the podcast feed, for each &lt;code&gt;&amp;lt;item&amp;gt;&lt;/code&gt;, I set the &lt;code&gt;&amp;lt;link&amp;gt;&lt;/code&gt; element to a URL that hosts a version of the video with optional captions (captions are off by default), &lt;em&gt;and&lt;/em&gt; towards the end of the body of the &lt;code&gt;&amp;lt;description&amp;gt;&lt;/code&gt; element I repeat the same URL mentioning alongside it that subtitles are available there. See &lt;a href=&quot;http://a.webdevbreak.com/episodes&quot; rel=&quot;nofollow&quot;&gt;http://a.webdevbreak.com/episodes&lt;/a&gt; if you'd like to see an example.&lt;/p&gt;&#xA;" OwnerUserId="5720" LastEditorUserId="5720" LastEditDate="2014-04-03T17:38:09.267" LastActivityDate="2014-04-03T17:38:09.267" Title="How to add captions file to video podcast?" Tags="|mp4|screen-casting|subtitles|podcast|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10436" PostTypeId="2" ParentId="10432" CreationDate="2014-03-22T16:47:51.977" Score="1" Body="&lt;p&gt;Your workflow is a little off from how it is designed by Adobe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 1: Adobe Story: You build your script and can break it into shots that you need to capture before you even start shooting.  This can then work as the blueprint to plan out shooting of the project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 2: Adobe Prelude: I believe you can preconfigure a shot list that needs to be captured with meta data about the scenes.  Prelude can either be used for live capture or can be used to Ingest and organize footage on site during shooting.  Think of it a bit like Lightroom for Video.  It's intended to organize the shots so that they can more effectively be reviewed and pulled up during shooting and post production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 3: Premiere: Rough edit, start laying out clips and getting the flow of the piece together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 4/5: After Effects: any touch up or effects work that needs to be done on individual clips can be processed through After Effects and sent back to Premiere.  This could also be done before rough editing, but is probably easier after/during.  This may also include color grading or SpeedGrade may be used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 4/5: Audition: basically the same thing as After Effects, but on the sound track/audio side on a clip level.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 6: Premiere: Once assets are finalized, final edit can occur to produce the finished timings for the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 7/8: Audition: Mastering, finish the audio and sound-tracking for the entire finished video to make sure it flows well from one clip to another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 7/8: After Effects or Speed Grade: Perform final color grading to ensure the entire film flows well together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 9: Media Encoder or Encore: Prepare final output format, either encoding for the web or building a DVD and/or Blueray disk for release.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-22T16:47:51.977" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10437" PostTypeId="2" ParentId="10435" CreationDate="2014-03-22T18:26:50.060" Score="1" Body="&lt;p&gt;Ordinarily, I'd create an Adobe AIR or AIR-for-iOS app to solve this problem. You'd just sychronize your captions to cue points in the video and make 'em visible or invisible with a programmed-in button. You could easily have multiple languages in this way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are iTunes podcasts just flat-out mp4 movies? &lt;/p&gt;&#xA;" OwnerUserId="5600" LastActivityDate="2014-03-22T18:26:50.060" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10438" PostTypeId="1" CreationDate="2014-03-22T18:46:30.273" Score="1" ViewCount="193" Body="&lt;p&gt;a question from a a total non-expert in video/audio editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an MKV file (let's call it X) which contains an AC3 file which has some constant and unnecessary (for me) comments for visually impaired persons.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have extracted the AC3 stream from X but am totally unfamiliar with AC3 stream internals and was wondering if there would be a way to easily filter out these comments from the AC3 stream? My personal guess is 'no', as I suspect the comments and the 'real' audio payload have already been muxed to respective AC3 channels but in the off-chance that I am wrong....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been able to extract AAC stream from another lo-fi MKV (let's call that one Y) and add it to X and this approach works but I am unsatisfied with the quality of that particular AAC and would like to use the AC3 without having to search for yet another, separate MKV (let's call that one Z) which contains the proper AC3 which I would then include into X.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess there is also the possiblity of suppressing the audio altogether from X's AC3 with an appropriate band-pass filter and leaving voice-only from AAC stream with another band-pass filter and then &lt;em&gt;combining&lt;/em&gt; the two but that seems like an awful, complicated, clunky and forced solution which is really a last-resort measure (it's probably easier to just find another MKV and download it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any thoughts/suggestions are greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="5723" LastActivityDate="2014-03-22T18:46:30.273" Title="Filter commentary from AC3 stream in MKV" Tags="|video|editing|software-recommendation|audio|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10439" PostTypeId="2" ParentId="10428" CreationDate="2014-03-22T19:18:56.817" Score="1" Body="&lt;p&gt;Capturing the video frames in XWD format then converting to PNG yields results that are &lt;em&gt;almost&lt;/em&gt; pixel perfect when encoded with ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Install &lt;a href=&quot;http://xvidcap.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;xvidcap&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkdir -p $HOME/dev&#xA;cd $HOME/dev&#xA;svn checkout svn://svn.code.sf.net/p/xvidcap/code/trunk xvidcap-code&#xA;cd xvidcap*&#xA;./autogen.sh&#xA;LIBS=&quot;-ldl -lX11 -lXext&quot; ./configure --prefix=/usr/local&#xA;make &amp;amp;&amp;amp; sudo make install&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Capture stills at 25 frames per second:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkdir -p $HOME/video&#xA;cd $HOME/video&#xA;xvidcap --fps 25 --quality 100 --cap_geometry 1024x768+768+288 --file out%05d.xwd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This creates a series of X Windows capture files inside &lt;code&gt;$HOME/video&lt;/code&gt;. Convert the files to PNG format using &lt;a href=&quot;http://www.imagemagick.org/&quot; rel=&quot;nofollow&quot;&gt;ImageMagick&lt;/a&gt; then combine into a video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for i in out*.xwd; do convert -define png:color-type=2 $i $(basename $i .xwd).png; done&#xA;ffmpeg -i out%05d.png -c:v huffyuv -preset veryslow -qp 0 -qscale:v 0 output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;An example script:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;echo &quot;Click window to capture...&quot;&#xA;&#xA;INFO=$(xwininfo -frame)&#xA;WIN_GEO=$(echo $INFO | grep -oEe 'geometry [0-9]+x[0-9]+' | grep -oEe '[0-9]+x[0-9]+')&#xA;WIN_XY=$(echo $INFO | grep -oEe 'Corners:\s+\+[0-9]+\+[0-9]+' | grep -oEe '[0-9]+\+[0-9]+' | sed -e 's/\+/,/' )&#xA;&#xA;OUTPUT_DIR=$HOME/video&#xA;&#xA;echo Capturing to $OUTPUT_DIR...&#xA;rm -rf $OUTPUT_DIR&#xA;mkdir -p $OUTPUT_DIR&#xA;cd $OUTPUT_DIR&#xA;&#xA;WIN_XY=$(echo $WIN_XY | tr , +)&#xA;&#xA;xvidcap --fps 25 --quality 100 --cap_geometry $WIN_GEO+$WIN_XY --file out%05d.xwd&#xA;&#xA;# Convert captured images to PNG format&#xA;echo &quot;Converting XWD to PNG...&quot;&#xA;for i in out*.xwd; do convert -define png:color-type=2 $i $(basename $i .xwd).png; done&#xA;&#xA;ffmpeg -i out%05d.png -c:v huffyuv -preset veryslow -qp 0 -qscale:v 0 output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This creates a high-quality video that looks sharp with &lt;a href=&quot;http://www.videolan.org/vlc/index.html&quot; rel=&quot;nofollow&quot;&gt;VLC&lt;/a&gt;, can be edited in &lt;a href=&quot;http://www.openshotvideo.com/&quot; rel=&quot;nofollow&quot;&gt;OpenShot&lt;/a&gt;, and uploaded to various video hosts. Playback with MPlayer yields slightly fuzzy and off-coloured results.&lt;/p&gt;&#xA;" OwnerUserId="5715" LastEditorUserId="5715" LastEditDate="2014-03-22T21:59:29.610" LastActivityDate="2014-03-22T21:59:29.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10441" PostTypeId="1" AcceptedAnswerId="10442" CreationDate="2014-03-22T21:59:05.720" Score="1" ViewCount="3659" Body="&lt;p&gt;I am looking for a medium to high end graphics card that has SDI outputs. I have a home studio with a SDI matrix switch and I want to hook my Gaming Computer into this rig. I am planning on doing some gaming livestreams, and I want to use my studio m/e switch to control the stream. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My other idea was to use some DVI to SDI converter, but since I have multiple monitors, it would probably be cheaper to replace my graphics cards&lt;/p&gt;&#xA;" OwnerUserId="5671" LastActivityDate="2014-03-27T15:44:32.113" Title="Graphics Cards that have SDI outs" Tags="|conversion|hardware|sdi|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10442" PostTypeId="2" ParentId="10441" CreationDate="2014-03-23T00:03:25.187" Score="2" Body="&lt;p&gt;You are best off to convert from a supported format (DVI, HDMI, maybe even DisplayPort) to SDI.  SDI cards are not designed for gaming, they are designed for workstations and video.  You aren't going to get a good quality gaming graphics card with SDI outputs.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-03-27T15:44:32.113" LastActivityDate="2014-03-27T15:44:32.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10443" PostTypeId="1" CreationDate="2014-03-23T10:18:45.557" Score="3" ViewCount="1910" Body="&lt;p&gt;I have a scene with lots of highlights and some contrasting mountains. The problem is that the building (bottom-center) is too dark. When I try to fix shadows using curves the building becomes better but mountains lose contrast. Is there a way to fix the building without affecting dark mountain regions? This video is amateur so it is to tedious for me to use region-based filters method.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source frame&#xA;&lt;img src=&quot;https://i.stack.imgur.com/iOwSV.jpg&quot; alt=&quot;Source&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edited frame (building looks better but mountains look worse)&#xA;&lt;img src=&quot;https://i.stack.imgur.com/V39MN.jpg&quot; alt=&quot;Edited&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5682" LastEditorUserId="2836" LastEditDate="2014-03-23T18:37:37.137" LastActivityDate="2014-03-29T16:40:09.493" Title="How to correct shadows when parts are too bright and other parts too dark?" Tags="|after-effects|premiere|color-correction|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10445" PostTypeId="2" ParentId="10392" CreationDate="2014-03-24T01:09:07.353" Score="2" Body="&lt;p&gt;I'm using a GoPro Hero 3+ too&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even on my fast MacPro Westmere (mid-2012) setting your GoPro to resolutions above 1440 will slow playback and rendering. Going up to 2K and 4K might not even work at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if using the ProTune setting on your GoPro, make sure you utilise the free GoPro Studio conversion tool to get vastly improved picture quality from the native MP4 files GoPro creates; otherwise the videos can look a bit flat.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2014-03-24T01:09:07.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10446" PostTypeId="1" CreationDate="2014-03-24T15:01:05.057" Score="3" ViewCount="1750" Body="&lt;p&gt;I have a room with a number of objects inside it, many of which are duplicated, and I've managed to transfer the room as a single object into Nuke, and then attach its texture as a separate read node attached to the readGeo node, but any time I try to export more than one object, even if it's just another instance of the same object, the import fails to show all objects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I need to import every single object separately (around 30 objects total) or is there an easier way to do this that I'm overlooking?&lt;/p&gt;&#xA;" OwnerUserId="5666" LastEditorUserId="674" LastEditDate="2014-03-24T15:56:26.467" LastActivityDate="2014-03-24T16:54:53.307" Title="Is there an easy way to import textured 3D geometry from Maya into Nuke?" Tags="|3d|maya|nuke|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10447" PostTypeId="2" ParentId="10446" CreationDate="2014-03-24T16:54:53.307" Score="2" Body="&lt;p&gt;This still isn't as easy as it should be, but the way forward is to export your geometry as Alembic.  It supports many textured objects, and even animated sequences.  Depending on your version of Maya, you may need to install a plugin, but it is much better than dealing with OBJ and FBX as the interchange format in most cases.&lt;/p&gt;&#xA;" OwnerUserId="272" LastActivityDate="2014-03-24T16:54:53.307" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10448" PostTypeId="2" ParentId="10443" CreationDate="2014-03-24T17:38:05.260" Score="5" Body="&lt;p&gt;I can't give an After-Effects specific answer, but maybe this will help..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1 - If you want to color a specific part of the image, deal with &quot;region based filtering.&quot;  In DaVinci-speak, that's Power Windows.  Masks, Shapes, Roto.  However you phrase it.  That's how you tell the computer what part of the image you want to effect.  Tie the mask to a tracker so you don't have to hand-animate it.  Also, make the edges of the mask VERY soft.  Don't try to mask the building exactly.  Have a several hundred pixel soft edge on the mask, and even if the tracking isn't quite perfect, you can still get away with murder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2 - A Local Contrast Filter.  AKA &quot;Fake HDR Look.&quot;  Used sparingly, this sort of thing can be used without turning the whole image into a horrible fairy dreamland nonsense picture.  It will help &quot;pop&quot; some of the low contrast regions without doing global color shifts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3 - You may be able to gamma up the mids while leaving the lows dark.  This would reduce the contrast between the lit and shadowed snow, but leave the dark rocks.  If you have a really specific goal for what it is supposed to look like, it just won't be a 1-button process.&lt;/p&gt;&#xA;" OwnerUserId="272" LastActivityDate="2014-03-24T17:38:05.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10449" PostTypeId="2" ParentId="10412" CreationDate="2014-03-24T21:39:40.200" Score="-1" Body="&lt;p&gt;The capture format will be dictated by the abilities of your capture hardware. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many models of DV camcorders from the 2000's had a transcode capability - they will encode something sent to their analog inputs into the DV format, and send it over firewire to the computer, and you don't have to record to tape.  Different models had composite and s-video inputs, s-video would be a little sharper. I've done this with the original iMovie - it plays well with the cameras and decks from that time period. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A professional capture device would give you the ability to capture to less lossy and higher data rate formats, possibly Apple ProRes. This would be as good quality as could be managed in my opinion. LD is a nice stable digital source and outputs a very clean analog signal. Given the SD format's limitations, I would consider this option overkill.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I see no advantage to using a higher resolution than the source - there's only so much data in the signal. Adding resolution would increase storage and rendering requirements to absurd levels to no benefit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either way you would convert to H.264 for viewing later. &lt;/p&gt;&#xA;" OwnerUserId="3882" LastActivityDate="2014-03-24T21:39:40.200" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10450" PostTypeId="1" AcceptedAnswerId="15227" CreationDate="2014-03-25T15:31:15.593" Score="3" ViewCount="632" Body="&lt;p&gt;With the composite transition in kdenlive I am already able to let the the &lt;a href=&quot;http://en.wikipedia.org/wiki/Lower_third&quot; rel=&quot;nofollow&quot;&gt;lower third&lt;/a&gt; (with the name and a line of additional information, just like in the news) appear. Now I want it to fade in (or some other effect), but kdenlive only allows to add one transition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to avoid this dilemma?&lt;/p&gt;&#xA;" OwnerUserId="5738" LastEditorUserId="10597" LastEditDate="2015-04-03T16:23:06.517" LastActivityDate="2015-04-03T20:22:19.803" Title="How do I make a news-like lower third in kdenlive?" Tags="|video|editing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10451" PostTypeId="1" CreationDate="2014-03-25T15:40:09.480" Score="1" ViewCount="2685" Body="&lt;p&gt;I would like to capture audio with ffmpeg in .raw format. Here is what I do to capture in .mp3 format :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -t 10 -i audio=&quot;virtual-audio-capturer&quot; -y &quot;sound.mp3&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;note that I don't want to capture in .mp3 then convert in .raw&lt;/p&gt;&#xA;" OwnerUserId="5739" LastActivityDate="2015-02-25T06:26:10.173" Title="ffmpeg capture audio in raw format" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10452" PostTypeId="1" AcceptedAnswerId="10453" CreationDate="2014-03-25T18:20:49.907" Score="2" ViewCount="9314" Body="&lt;p&gt;I'm making videos while playing on my computer. Everything is working well, however 15 minutes of video consumes 50GB, which is too much space. I use Dxtory with Lagarith Lossless Codec.  If I use the default Codecs I get lag.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I reduce this 50GB without causing lag?&lt;/p&gt;&#xA;" OwnerUserId="5737" LastEditorUserId="2836" LastEditDate="2014-03-25T18:52:37.480" LastActivityDate="2014-03-25T22:24:57.580" Title="Reduce File Size of Dxtory Video Without Causing Lag" Tags="|video|video-quality|video-recording|screen-casting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10453" PostTypeId="2" ParentId="10452" CreationDate="2014-03-25T18:57:49.000" Score="1" Body="&lt;p&gt;The problem with compression is that it is a double edged sword. It can reduce the space required to store video, however it also takes processing time to perform the compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you are running a game, however, the CPU and GPU are already busy keeping the game running smoothly. In order to shrink the file size, you must either reduce the quality or increase the compression. If you increase the compression, the computer has to take more away from the game and you start seeing lag.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only ways around this are to:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a) reduce the resolution of the video you are recording.  Throwing&#xA;away information is free and will also make applying further&#xA;compression less processor intensive.  &lt;/li&gt;&#xA;&lt;li&gt;b) move the encoding to another system.  Some recorders can send the data to another computer and have that computer perform the encoding.  I am not sure if Dxtory supports this or not though.&lt;/li&gt;&#xA;&lt;li&gt;c) Continue to use the uncompressed files and transcode the video after you record a clip. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Of these options, c is probably the easiest way to maintain maximum quality.  You can use a program like &lt;strong&gt;Handbrake&lt;/strong&gt; to take the large file and compress it down to something of reasonable size, just so long as you don't have to record more than you have room for at a given time.  Note that this process can take quite some time depending on the quality level you choose and how fast your computer is.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="5737" LastEditDate="2014-03-25T22:24:57.580" LastActivityDate="2014-03-25T22:24:57.580" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10454" PostTypeId="2" ParentId="10435" CreationDate="2014-03-26T07:54:58.777" Score="1" Body="&lt;p&gt;Have you tried &lt;a href=&quot;http://dev.w3.org/html5/webvtt/&quot; rel=&quot;nofollow&quot;&gt;WebVTT&lt;/a&gt; for marking up the subtitles?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.w3.org/community/texttracks/2012/08/23/webvtt-support-in-browsers/&quot; rel=&quot;nofollow&quot;&gt;http://www.w3.org/community/texttracks/2012/08/23/webvtt-support-in-browsers/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://ie.microsoft.com/testdrive/Graphics/CaptionMaker/&quot; rel=&quot;nofollow&quot;&gt;http://ie.microsoft.com/testdrive/Graphics/CaptionMaker/&lt;/a&gt; is a surprisingly good tool for making captions. You could also cheat a bit and use Youtube's pretty good voice recognition to perhaps save time transcribing.&lt;/p&gt;&#xA;" OwnerUserId="5670" LastEditorUserId="5670" LastEditDate="2014-03-28T06:48:40.437" LastActivityDate="2014-03-28T06:48:40.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10455" PostTypeId="2" ParentId="10412" CreationDate="2014-03-26T15:58:47.353" Score="2" Body="&lt;p&gt;Generally, I would expect that just about any solution will work pretty well now.  The capabilities of even cheap modern hardware so far outpace the capability of laserdisc that you aren't likely to lose much.  Certainly a professional quality capture system similar to the ones Matrox sells would do a superb job, but I'd hazard that even a cheap $30 USB to composite capture device would do the job sufficiently well.  You should be able to use whatever software comes with the capture device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will want to capture using the composite output rather than the S-video output since the Laserdisc is natively Composite.  I would capture to a standard DV codec if you have the option for one.  If not, a basic h.264 file is also a fine option.  You may also want to run a 2 pass h.264 compression from your DV capture to minimize the file size while keeping quality high.  (DV files are rather space consuming, but they are very high quality SD files.)  You can use FFMPEG or Handbrake for the transcoding if you want a free option.  x264 is a highly popular h.264 codec available in both.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Truly the most lossless way would be to use an actual lossless format, but that is excessive given the highly limited quality of Laserdisc to begin with.  That's why I recommended DV as a balance of space and quality.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-26T15:58:47.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10456" PostTypeId="1" CreationDate="2014-03-26T17:42:08.553" Score="2" ViewCount="149" Body="&lt;p&gt;I am looking for software to create an animated video like this: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/S0UgTe2xml4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;strong&gt;or an even better:&lt;/strong&gt; &lt;a href=&quot;http://vimeo.com/63457188&quot; rel=&quot;nofollow&quot;&gt;http://vimeo.com/63457188&lt;/a&gt;. &#xA;It would be great if you could share more than one tips. Are there any such free apps out there?&lt;/p&gt;&#xA;" OwnerDisplayName="user5697" LastEditorDisplayName="user5697" LastEditDate="2014-03-26T17:50:02.890" LastActivityDate="2014-05-02T09:44:10.370" Title="What are some software to create animated videos?" Tags="|software-recommendation|animation|recommendation|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10459" PostTypeId="2" ParentId="10456" CreationDate="2014-03-26T19:09:47.307" Score="1" Body="&lt;p&gt;The animation that you refer to was probably made with Adobe After Effects. You can animate this kind of thing for 'free', if you don't value your time, using PhotoShop CS2 (free from Adobe) and the Quicktime player which will import image sequences and save them as movies. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But your hope for free software misses the point that the costly parts of animation are &lt;strong&gt;time&lt;/strong&gt; and &lt;strong&gt;skill&lt;/strong&gt;. More &lt;em&gt;expensive&lt;/em&gt; tools frequently have built-in time savers. After Effects is certainly one of those. It won't save you, however, from having to get skill.&lt;/p&gt;&#xA;" OwnerUserId="5600" LastEditorUserId="5600" LastEditDate="2014-03-27T04:18:06.683" LastActivityDate="2014-03-27T04:18:06.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10460" PostTypeId="2" ParentId="10456" CreationDate="2014-03-26T21:26:27.397" Score="0" Body="&lt;p&gt;This type of animation is known as motion graphics.  It is generally done with keyframe animation and vector graphics.  It unfortunately is not something that has many free tools available however and it does require developing a fair bit of experience and quite a lot of time to do well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As Craig mentioned, After Effects is really the ideal package for this kind of thing.  Flash is also useful.  You may also find yourself using Illustrator for actually building some of the vector graphics.  You can use raster graphics instead (Photoshop) but the quality of zooms and rotations and such is not as high with raster graphics as it is with vector.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-26T21:26:27.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10461" PostTypeId="1" AcceptedAnswerId="10472" CreationDate="2014-03-27T00:35:41.453" Score="17" ViewCount="88551" Body="&lt;p&gt;I have a video that has 4 up-down-left-right black borders of different sizes.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to get rid of these black borders so the exported file has the exact size of the cropped area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To do this, I used the &quot;crop&quot; effect (I would have preferred a tool that allows me to set the crop dimensions in pixels, but I guess that's not supported). But then I had a problem when exporting the video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to be able to keep a hand on the parameters of the exported video, and ensure that the video will have the exact resolution of the cropped area. But I could not accomplish this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone tell me how to do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt;&lt;br&gt;&#xA;My source video is 1002 x 720 (so it's in landscape mode)&#xA;It contains a 316 x 562 portion I want to extract  (so, portrait mode)&lt;br&gt;&#xA;The minimum I want is to be able to obtain a 316 x 562 video containing just the cropped section. The best I could obtain is a 632 x 1124 (or any other proportional scale) video on output.&lt;/p&gt;&#xA;" OwnerUserId="1571" LastEditorUserId="1871" LastEditDate="2015-10-27T16:19:16.077" LastActivityDate="2022-01-07T01:43:38.593" Title="Adobe Premiere Pro CC - Crop a video and export at the exact cropped size" Tags="|video|premiere|editing|post-production|adobe|" AnswerCount="7" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10462" PostTypeId="2" ParentId="10456" CreationDate="2014-03-27T07:05:36.783" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.synfig.org&quot; rel=&quot;nofollow&quot;&gt;Synfig Studio&lt;/a&gt; is a free option. It's a free 2d vector animation package, similar to Flash. I haven't used it, so I can't vouch for how easy it is to learn.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since Blender can pretty much do anything - provided you can work out how to use it - you could probably do this in &lt;a href=&quot;http://blender.org&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt;. Though it's not really purpose-built for 2d animation or motion graphics.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For some reason there aren't many other free / FOSS motion graphics tools out there. The &lt;a href=&quot;http://www.jahshaka.com/&quot; rel=&quot;nofollow&quot;&gt;Jah Shaka&lt;/a&gt; project was an attempt to get a FOSS tool similar to for After Effects off the ground, but the project went belly up. It may rise from the ashes some time in the future, they seem to have a comeback every few years and then disappear again, but you never know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A low-price option if you have a mac is &lt;a href=&quot;https://www.apple.com/final-cut-pro/motion/&quot; rel=&quot;nofollow&quot;&gt;Motion&lt;/a&gt;. Only low-price if you already have the mac though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any of these options will require weeks at least of learning time (I've been doing it twenty years and still learn something every day), so unless you want to pursue it as a career your cheapest option would be to hire a freelancer.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2014-03-27T07:41:01.597" LastActivityDate="2014-03-27T07:41:01.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10463" PostTypeId="1" CreationDate="2014-03-27T07:53:48.327" Score="4" ViewCount="3551" Body="&lt;p&gt;I'm doing an animation for a projection mapping that simulates the sun casting shadows on a structure as it moves through the sky. Basically it's just big flat areas of colour that change over about five minutes as the &quot;sun&quot; rises and sets (in another projection). It's played off a Brightsign playback gizmo, and I'm using h.264 main profile as the codec in an mp4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem I'm having is that the encoding isn't dealing very well with the content. Even though the colour is completely flat, when the pixels all change value over time I'm getting bands of noise and blocks appearing. They're subtle, but they're annoying.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any tuning I can do using libx264 to optimise it for large flat areas of colour where all the pixels simultaneously change over time? There is absolutely no movement in the frame, just the colour of the whole area changing, quite slowly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My current ffmpeg command is pretty generic:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpg -i input.mov -c:v libx264 -preset slow -profile main -crf 20 -pix_fmt yuv420p -an output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-08-29T09:44:01.373" Title="h264 settings for large flat areas of slowly changing colour" Tags="|ffmpeg|encoding|libx264|h.264|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10464" PostTypeId="1" CreationDate="2014-03-27T09:18:28.980" Score="0" ViewCount="18" Body="&lt;p&gt;I would like to shoot a small video in our organization using Pharrell William's 'Happy' song. What about IP issues, if any! We are trying to promote our company brand through it. But there wont be any mention in the song, as such! The song stays unmodified. We would mostly go for a small logo at some part in the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help me in DMR&lt;/p&gt;&#xA;" OwnerUserId="5741" LastActivityDate="2014-03-27T10:29:07.250" Title="Using Pharrell Willaim's 'Happy' song for Organizational Video" Tags="|copyright|" AnswerCount="0" CommentCount="0" FavoriteCount="0" ClosedDate="2014-03-27T14:03:24.083" ContentLicense="CC BY-SA 3.0" />
  <row Id="10465" PostTypeId="2" ParentId="2244" CreationDate="2014-03-27T10:29:07.250" Score="1" Body="&lt;p&gt;Advice on IP issues is worth what you pay for it. Here, it's free and worth every cent. (-:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general, you can't use copyrighted material without the permission of the holder. Since this is for a business, you'll likely have to pay something, maybe not a lot, for the use. Only the rights holder can say for sure, but to be legal you must ask, and probably pay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand, if this is for purely internal use and will never be seen outside the walls of your company, some people would play the odds. I don't recommend it, but it's certainly been done before.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is not legal advice, just two people chatting.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-03-27T10:29:07.250" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10466" PostTypeId="1" CreationDate="2014-03-27T12:03:52.100" Score="1" ViewCount="17719" Body="&lt;p&gt;I would like to start making some interviews at events and put them on our website. I was first thinking of using my iPhone and Windows Movie Maker, but I like to create professional-looking content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could you help out?&lt;/p&gt;&#xA;" OwnerUserId="5744" LastActivityDate="2014-04-21T16:54:01.150" Title="What Video Camera and Tool is best to Produce Interviews &amp; Small Docus for my Contruction Company?" Tags="|video-recording|" AnswerCount="4" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10467" PostTypeId="2" ParentId="10466" CreationDate="2014-03-27T14:32:52.113" Score="2" Body="&lt;p&gt;Max there are a myriad of camera out there that you can use to get the desired look but it all comes down to budget.  Also, getting a 'good' camera doesn't mean that your footage will look 'professional' and if you know how, you can create some good looking video with very little.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would say that the iphone can actually be a great solution.  As far as image quality you can get some stunning footage (post 4 ideally): &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://vimeo.com/83505519&quot; rel=&quot;nofollow&quot;&gt;http://vimeo.com/83505519&lt;/a&gt; (5s)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;--&lt;/p&gt;&#xA;&#xA;&lt;p&gt;its a simplistic answer but on a budget you can get your iphone video to look 'professional' by:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Recording audio separately&lt;/li&gt;&#xA;&lt;li&gt;Do some colour grading on your film (there are a myriad of plugins work like filters that you can put on your video ie. Magic Bullet)&lt;/li&gt;&#xA;&lt;li&gt;consider purchasing a lens adapter for your iphone (&lt;a href=&quot;http://vimeo.com/13475664&quot; rel=&quot;nofollow&quot;&gt;http://vimeo.com/13475664&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="5743" LastActivityDate="2014-03-27T14:32:52.113" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10468" PostTypeId="2" ParentId="10461" CreationDate="2014-03-27T15:01:57.783" Score="2" Body="&lt;p&gt;Oliver, have you tried changed your sequence settings to the new dimensions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also restrict/define dimensions in the export settings under 'Basic Video Settings'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="5743" LastActivityDate="2014-03-27T15:01:57.783" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10469" PostTypeId="2" ParentId="10441" CreationDate="2014-03-27T15:28:15.427" Score="2" Body="&lt;p&gt;Most current graphics cards will have HDMI output and a HDMI to SDI convertor might be cheaper solution than a DVI to SDI.  &lt;/p&gt;&#xA;" OwnerUserId="5743" LastActivityDate="2014-03-27T15:28:15.427" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10470" PostTypeId="2" ParentId="10466" CreationDate="2014-03-27T15:40:47.077" Score="6" Body="&lt;p&gt;This question is really super broad, possibly too much so, however I will try to offer some general tips for starting out in video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The most important thing with video is having a stable shot.  Whatever you do, you will want to &lt;strong&gt;use a tripod&lt;/strong&gt; when shooting.  If you don't have a stable shot, then no amount of equipment, editing or content is going to make up for it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next, you need good lighting.  If you don't have proper lighting, you can't have good composition.  To read up more on lighting, I suggest looking for basic information on &lt;strong&gt;three point lighting&lt;/strong&gt;.  It isn't a panacea, but it's a good starting point from which to build.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next, you need to make sure the shots are well composed.  This is a bit of an artistic call and while concepts like the &lt;strong&gt;rule of thirds&lt;/strong&gt; can be helpful guidelines, really, look at what other videos do and try to match the way they pose and position subjects within the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, of pretty much least significance is the gear itself.  In a pinch you can use a smartphone camera for shooting video.  It has been done and a skilled editor can make use of such footage.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Moving a step up from that, you have low cost, limited functionality but high quality cameras like the &lt;strong&gt;GoPro&lt;/strong&gt; which can capture great video, but are very limited in their range of functionality.  &lt;strong&gt;Camcorders&lt;/strong&gt; can also work if you need a little more functionality at a slight cost in image quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another step up from that, if budget allows, is to move in to &lt;strong&gt;DSLR cameras&lt;/strong&gt; to use for video.  It's important to be aware that &lt;em&gt;many DSLR options do not support auto-focus while shooting&lt;/em&gt;, though some newer ones do offer auto-focus during video.  DSLRs have the major advantage of larger sensors than camcorders and smartphones.  This means that they can get a much nicer depth of field and allow for background blur to be achieved much more easily.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Editing is an even more complex beast.  There is a wide range of editing software options available and the ones that do the best jobs are generally not the easiest to learn.  Additionally, &lt;strong&gt;editing is more than just understanding the software&lt;/strong&gt;, it involves understanding the language of video and how video is used to communicate ideas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/3018/what-beginner-video-editing-software-should-i-use&quot;&gt;This question&lt;/a&gt; already addresses video editing software from a beginner's perspective, so rather than elaborate here, I'd suggest checking the existing question that already covers that portion of your question.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-03-27T15:54:00.990" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10471" PostTypeId="1" CreationDate="2014-03-27T17:34:04.033" Score="10" ViewCount="3630" Body="&lt;p&gt;I have some old VHS home videos that I'd like to digitise to preserve them, and I'm looking for the &quot;best&quot; way to do that with my setup. The videos were recorded around 1990, in the USA. I'd say they are in NTSC format, but I've also heard that VHS don't have NTSC or PAL, so I'm not sure. They play on my PAL VHS device, even in color. I am guessing that it converts the video to PAL60 for playback. The colors are slightly dull, but I don't know whether this is a feature of the camera, the old tapes, or any conversion. Another issue is that there is a bit of clipping in very bright/dark areas, but I think nothing can be done about that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I have right now is the following: German (PAL) VHS with the old tapes, connected via SCART-&gt;white-red-yellow cables to  generic USB digitalization device, connected to the computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A couple of questions:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The documentation of the USB device says that a S-Video cable will improve the quality, should I use one?&lt;/li&gt;&#xA;&lt;li&gt;Would I get a big improvement from using a different VHS player? NTSC devices are hard to come by here and probably pretty expensive. I found that sometimes the USB device or its driver corrects the colors (that I assume suffer from the NTSC/PAL thing), but I'm not sure whats going on there.&lt;/li&gt;&#xA;&lt;li&gt;While I'm at it: the signal seems interlaced. I was planning on recording it via VirtualDub, and then possibly deinterlacing it. A test worked pretty well, and removed any jaggy artifacts. I can generate 60Hz, but I've read that I should either not deinterlace it or convert it to 30 Hz.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5745" LastEditorUserId="1950" LastEditDate="2015-02-04T23:41:01.347" LastActivityDate="2020-12-15T15:13:19.317" Title="How to digitise old NTSC home videos for highest quality (with PAL player)?" Tags="|video-quality|conversion|digitisation|" AnswerCount="4" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10472" PostTypeId="2" ParentId="10461" CreationDate="2014-03-27T19:20:59.960" Score="7" Body="&lt;p&gt;I would probably approach it by first measuring the size of the area that you want to crop to.  This can be done by exporting a frame of the image and cropping in another program (like Photoshop).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would then create a sequence based on the other settings of the video, but alter the resolution of the sequence to be that of the portion of the video you want.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After that, you should be able to bring in the video to the sequence.  By default, it will be come in at 100% of it's size.  It may not be perfectly centered in your frame though, so use the Motion settings under the effects control to position the actual video portion in the center of the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should then simply be able to export and the outside potions will be cropped off without any scaling.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This may seem a bit complicated, but it is the simplest way to do it since the default behavior is to fit the sequence to the size of the original clip and cropping doesn't do anything to change the sequence size.  That's why we have to start with the correct sequence size and when we have that, no crop effect is needed as only the content we want fits in the sequence.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-03-27T21:57:50.947" LastActivityDate="2014-03-27T21:57:50.947" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10473" PostTypeId="1" CreationDate="2014-03-27T23:56:14.173" Score="0" ViewCount="21" Body="&lt;p&gt;When organising visual assets for Video Production,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does it make a performance difference if an internal 3.5&quot; HD is paritioned (eg: VIDEO 2TB + PHOTO 2TB)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OR is it better to just have 1 parition and 2 folders?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance&lt;/p&gt;&#xA;" OwnerUserId="5347" LastEditorUserId="5347" LastEditDate="2014-03-30T22:40:20.233" LastActivityDate="2014-03-30T22:40:20.233" Title="HDD Partitioning" Tags="|storage|" AnswerCount="1" CommentCount="4" ClosedDate="2014-03-29T07:07:13.830" ContentLicense="CC BY-SA 3.0" />
  <row Id="10474" PostTypeId="2" ParentId="10473" CreationDate="2014-03-28T01:37:24.920" Score="1" Body="&lt;p&gt;I'm not sure this is on topic here, but...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unless you're doing a lot of simultaneous access to the partitions or folders, there should be no discernible performance difference. It's all head movement and caching.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-03-28T01:37:24.920" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="10475" PostTypeId="2" ParentId="10471" CreationDate="2014-03-28T03:04:50.813" Score="5" Body="&lt;p&gt;For VHS, the signal will be kept highest quality if you connect via s-video, so yes, you should use an s-video cable if your VCR has an s-video output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on how good your VCR is, you may get a significant improvement from a better deck.  Quality of the read heads on various VCRs can vary a fair bit and while the majority of the difference was in recording quality, there were difference in playback quality as well.  That said, finding a good VHS deck in good condition is probably difficult these days.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure about the color correction, most likely it is something specific to your capture device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The signal is most certainly interlaced.  Both NTSC and PAL were interlaced formats.  NTSC video should be 29.97 frames per second.  That is the NTSC standard.  The resolution should ideally be 720 by 480 using oval pixels with a .9 pixel compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You didn't ask about it specifically, but using a DV codec should give the maximum quality though it will also be quite large.  Once you have a DV codec capture of the VHS tape, then using a traditional 2 pass transcode to either h.264 (viewing on computer or blu-ray) or MPEG-2 (DVD) should work well.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-28T03:04:50.813" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="10477" PostTypeId="2" ParentId="9472" CreationDate="2014-03-28T06:50:04.397" Score="1" Body="&lt;p&gt;Mark In, Mark Out, Extract. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do not use the Razor tool. I've made the same newbie mistake as you. :)&lt;/p&gt;&#xA;" OwnerUserId="5670" LastActivityDate="2014-03-28T06:50:04.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10479" PostTypeId="2" ParentId="9506" CreationDate="2014-03-28T10:30:28.650" Score="2" Body="&lt;p&gt;bmargulies, There are few questions here:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Are you looking for a multicam setup?&lt;/strong&gt;  If so the two cameras are unlikely going to match unless you are willing to put in time to post production work. (fix it in post! &lt;a href=&quot;http://d3j5vwomefv46c.cloudfront.net/photos/large/639498971.jpg?1345259967&quot; rel=&quot;nofollow&quot;&gt;http://d3j5vwomefv46c.cloudfront.net/photos/large/639498971.jpg?1345259967&lt;/a&gt;)  &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;What is the purpose of this video&lt;/strong&gt; If its a 'creative' project (as in you are making a video about the event and not 'of' the event) then you should go for a camera that gives you some aesthetic flexibility which normally starts with a good eye and a good lens.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;What is the budget for the shoot?&lt;/strong&gt; If you have a budget then you should get the setup for the purpose.  If its a documentation then consider hiring a couple of cameras of the same model for a muticam setup.  If its creative then I would check how flexible your Nikon is to get the story/feeling/looks that you want to achieve - then see if you need to hire something better.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'll also touch on what you mentioned about light levels.  If you are working with low light then here you would have two options:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Use the budget camera:&lt;/strong&gt; DCR-SR68 and other off the shelf budget cameras will work well but at the cost of image quality (ie. the footage will look just like its budget)&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Add flexibility to lighting&lt;/strong&gt; - 1) get a LED Ring light, if you have a decent budget then you can hire out a Gekko George light.  2) You can also hire a lens that have a really low f-stop, just one stop can actually make enough of a difference. 3) Get a camera that can shoot RAW - RAW footage gives you more flexibility in post to push up the levels to brighten the footage and merry this with a decent noise reduction plugin and you will be looking at decent footage.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="5743" LastActivityDate="2014-03-28T10:30:28.650" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10480" PostTypeId="2" ParentId="9506" CreationDate="2014-03-28T15:30:43.877" Score="0" Body="&lt;p&gt;You're a photographer, so you think that this is all about the &lt;em&gt;pictures&lt;/em&gt;. But, although almost everyone &lt;em&gt;looks&lt;/em&gt; the same at all parties (Halloween excepted), sometimes someone says something new and clever. So sometimes &lt;em&gt;good&lt;/em&gt; sound is better than &lt;em&gt;great&lt;/em&gt; pictures, if you can't afford both.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If good sound is important at your event rent a decent external microphone and, at least, a pistol grip for it (a boom would be better) and someone to 'man' the mic.&#xA;Test, in advance. Your camera should, in any event, take an external audio input. The Sony that you mention does NOT take external inputs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, 5-15 minute takes are quite long for DSLRs, which tend to overheat in long takes and then just shut down when they do. A better, higher-end, consumer camcorder might be your best tool for this. .&lt;/p&gt;&#xA;" OwnerUserId="5600" LastActivityDate="2014-03-28T15:30:43.877" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10481" PostTypeId="1" CreationDate="2014-03-28T20:00:30.057" Score="2" ViewCount="123" Body="&lt;p&gt;I need a codec that outputs an absolute black.&#xA;Encoded some samples with .AVI no compression and the black background of my video is very dark. Contrary in other codecs like Apple ProRes or H264/MPEG4 the black background of the same video is dark gray.&#xA;Is there a codec that can show the same black that the uncompressed .AVI has?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Gracias.&lt;/p&gt;&#xA;" OwnerUserId="5751" LastEditorUserId="5751" LastEditDate="2014-03-28T20:06:30.123" LastActivityDate="2014-03-28T20:23:54.667" Title="What Codec Shows Absolute Black?" Tags="|codec|color-correction|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10483" PostTypeId="2" ParentId="10481" CreationDate="2014-03-28T20:23:54.667" Score="2" Body="&lt;p&gt;Vantolinomo - You might just be experiencing 'gamma shift' which can happen when you are exporting to H264 video.  You can find a tutorial to fix this here: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.videocopilot.net/blog/2008/06/fix-quicktime-gamma-shift/&quot; rel=&quot;nofollow&quot;&gt;http://www.videocopilot.net/blog/2008/06/fix-quicktime-gamma-shift/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5743" LastActivityDate="2014-03-28T20:23:54.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10484" PostTypeId="2" ParentId="1981" CreationDate="2014-03-28T20:26:40.473" Score="0" Body="&lt;p&gt;I'm also looking for a comprehensive resource on video/audio codecs.&#xA;Wikipedia article &lt;a href=&quot;https://en.wikipedia.org/wiki/Comparison_of_video_codecs&quot; rel=&quot;nofollow&quot;&gt;Comparison of video codecs&lt;/a&gt; is a good start.&lt;/p&gt;&#xA;" OwnerUserId="5751" LastActivityDate="2014-03-28T20:26:40.473" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10486" PostTypeId="2" ParentId="10466" CreationDate="2014-03-29T14:10:16.613" Score="1" Body="&lt;p&gt;The best overall setup for what you are trying to do on a small budget is going to be a DSLR camera. &#xA;You can get a Canon Rebel T3i for &lt;a href=&quot;http://amzn.com/B004J3V90Y&quot; rel=&quot;nofollow&quot;&gt;under $500&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you get a shotgun mic for $60-$100 you can get great quality audio without having to use a dedicated audio recorder. A dedicated audio recorder is the best method, however it can add additional editing time, create syncing problems for new users and be difficult. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using a better quality mic directly into your video recording is the best compromise since you will have better quality added directly to the footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best video editing program that is easy to learn and can generate professional results at low cost is Adobe Premiere Elements. It will also prepare you to eventually use Adobe Premiere Pro which is the professional grade version of the software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Elements will let you have multiple video and audio tracks, this means you can do voice overs, add background music and title effects if you want to. Premiere Elements is only $70. &lt;/p&gt;&#xA;" OwnerUserId="5753" LastEditorUserId="2178" LastEditDate="2014-04-02T22:45:26.057" LastActivityDate="2014-04-02T22:45:26.057" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10487" PostTypeId="2" ParentId="10443" CreationDate="2014-03-29T14:13:55.183" Score="1" Body="&lt;p&gt;You may be able to simply use an adjustment layer in Adobe Premiere Pro and use the Three Way Color corrector to deal with this. It is similar to editing a still in Adobe Photoshop. You will want to adjust the levels initially then the tonal range and possibly the curves.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that doesn't work, then the next step would be to try to incorporate masking. If you use masking  you can edit a singular area of the video while leaving the rest alone. This would allow you to use curves and levels to reduce the shadows in the building while keeping the contrast in the mountains intact. Try reviewing the following tutorials:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Z1xPcUZnZF8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/AFEBkcfPrp4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="5753" LastEditorUserId="2836" LastEditDate="2014-03-29T16:40:09.493" LastActivityDate="2014-03-29T16:40:09.493" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10488" PostTypeId="2" ParentId="10395" CreationDate="2014-03-29T14:24:12.830" Score="0" Body="&lt;p&gt;I'm going to suggest 24FPS due to the fact this is film framerate where as 30FPS is television. Alternatively you could try 48FPS and 60FPS as those have the benefit for feeling more &quot;real&quot; or &quot;hyperreal&quot; to the human eye.&lt;/p&gt;&#xA;" OwnerUserId="5753" LastActivityDate="2014-03-29T14:24:12.830" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10491" PostTypeId="1" AcceptedAnswerId="10492" CreationDate="2014-03-29T16:54:57.187" Score="4" ViewCount="4002" Body="&lt;p&gt;I just recorded a 2 minute long video clip with my Sony camera. The output is an .MTS file, which is ~450 MB. What is the reason for that? Could you please recommend a (preferably free) app that I could use to convert it to another file format resulting a much more reasonable file size?&lt;/p&gt;&#xA;" OwnerDisplayName="user5697" LastActivityDate="2018-05-11T08:05:51.853" Title="why is a video file with .mts extension so huge?" Tags="|file-formats|conversion|encoding|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10492" PostTypeId="2" ParentId="10491" CreationDate="2014-03-29T17:22:08.957" Score="3" Body="&lt;p&gt;HD video is very, very large at high quality.  450MB for two minutes isn't actually that bad.  To put it in perspective, assuming you were shooting 1080P and 24fps, if there was no compression applied, that same 2 minutes of video would be 6 gigabytes of information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason that videos you download or watch on bluray disks are so much smaller is that they are not source video, but rather highly compressed final output video.  When you compress video, a lot of quality is lost.  It isn't quality that the human eye can easily distinguish, but it is quality that impacts the quality of future encodings and the quality of edited results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For best quality, you want to take those high quality, large files you captured, edit them to whatever the final output should be and then do a one time compression down to a final output format.  That final output won't be suitable for editing, but it will be perfectly suitable for viewing at a much smaller size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have no desire to edit it and simply want the basic video to be smaller, using a free tool like Handbrake or FFMPEG will easily allow you to transcode to h.264 and a much, much smaller file size.  I recommend using two-pass VBR to maximize the quality you get for the size.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-29T17:22:08.957" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10493" PostTypeId="2" ParentId="10471" CreationDate="2014-03-30T03:52:19.347" Score="-1" Body="&lt;p&gt;Get the video into some kind of file (digitize) like avi or mpeg. Use DVD flick to burn it to dvd disk, its free and can convert NTSC and Pal playable disks. Honestech made a $10 box (Bought at BigLots) to usb converter that converts VHS to DVD it makes them fit a 4.7 gig single layer disk (new $79 USD). No brainer. Since VHS is 640 x 480 its low rez compared to most types today. I'm in the USA and convert to UK to send to relatives,never had an issue with either method.&lt;/p&gt;&#xA;" OwnerUserId="5755" LastActivityDate="2014-03-30T03:52:19.347" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10494" PostTypeId="1" AcceptedAnswerId="10496" CreationDate="2014-03-30T15:05:32.013" Score="8" ViewCount="21438" Body="&lt;p&gt;Essentially what I'm looking for is a way to make Adobe Premiere Pro CS6 go fullscreen. I do not mean the fullscreen preview of the video or fullscreen on a specific panel (like the timeline).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to get rid of the Windows taskbar and the window border. The same way that you would go fullscreen with a browser by pressing F11.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm surprised I haven't found any shortcut or any discussion online. I'm working on a 15&quot; laptop monitor and would like to maximize my workspace. I've tried to press F11, searched for it in the menus and the keyboard shortcut list but haven't found anything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As clarified in the comments on AJ's answer below, I am looking for something like pushing F in Photoshop or Lightroom, where the workspace is otherwise the same.  For example, this is how it looks in Lightroom.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/qgc8V.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be greatly appreciated!&lt;/p&gt;&#xA;" OwnerUserId="5757" LastEditorUserId="2836" LastEditDate="2014-07-06T22:58:22.310" LastActivityDate="2015-11-01T10:30:16.240" Title="Does Adobe Premiere Pro CS6 have a fullscreen mode?" Tags="|video-editor|premiere|editing|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10496" PostTypeId="2" ParentId="10494" CreationDate="2014-03-31T03:28:28.093" Score="3" Body="&lt;p&gt;I'm fairly certain there is no such mode.  It doesn't have the same kind of feature that lightroom does as the full screen video preview is really the closest in terms of being related functionality.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The full screen mode is helpful in Lightroom because it allows focusing on the photo with only basic controls.  Premiere is much more complex than LR and a significant portion of screen real-estate is taken up by those controls.  If you aren't purely focusing on the video, then the amount of lost and distracting space really isn't a big issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that if you really need every last scrap of screen real estate though, you can adjust the task bar so that you can make it only a small line on the bottom of the screen though.  You really are not practically losing any meaningful amount of screen real-estate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only functionality is the functionality that maximizes a particular panel or full screens the preview, but you already mentioned those are not what you are looking for.  That's the closest you are going to get though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-07-06T20:58:17.537" LastActivityDate="2014-07-06T20:58:17.537" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10497" PostTypeId="1" AcceptedAnswerId="10498" CreationDate="2014-03-31T03:55:54.100" Score="0" ViewCount="128" Body="&lt;p&gt;How do I create a video like &lt;a href=&quot;http://www.youtube.com/watch?v=ZysIbXxtzFI&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I want to create such videos, I want to know&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Type of instruments to be used(including camera, etc.) &lt;/li&gt;&#xA;&lt;li&gt;Light settings &lt;/li&gt;&#xA;&lt;li&gt;After effects&lt;/li&gt;&#xA;&lt;li&gt;Software suggestions if any&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5759" LastActivityDate="2014-03-31T04:25:40.377" Title="How to create a video like this?" Tags="|video|video-editor|after-effects|hardware|lighting|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10498" PostTypeId="2" ParentId="10497" CreationDate="2014-03-31T04:25:40.377" Score="3" Body="&lt;p&gt;As currently stated, the answer is, you can't.  The only thing special about that video is that it is very well planned out and coordinated with lots of lighting making it almost certainly outside your budget to reproduce something similar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video work itself is all actually fairly basic.  Any camera with a decent dynamic range and sharpness could capture the level of detail, though protecting it from the powder is always a fun trick.  It would need a decently fast frame rate for the shots that are slowed down, but 60fps would probably be sufficient.  They are also using a dolly or steadicam for the smooth shots that track across the scene (from one side to the other).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of what you see is simply lighting as shot that is then color graded to give it that look.  The color grading and speed adjustment is very basic and even a fairly simple non-linear editor could achieve it.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that the shots depend entirely on the content actually being shot and the way it was lit.  There is a ton of light on that scene.  There are three or four massive sport stadium/construction site style light arrays in the background and more light (possibly reflectors) in the front.  They all need to be properly aimed and setup to put the light where it is needed and this is a complex and costly operation that is drastically beyond the scope of what can be answered in a simple question and answer.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-31T04:25:40.377" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10499" PostTypeId="2" ParentId="10491" CreationDate="2014-03-31T04:51:28.560" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;The output is an .MTS file, which is ~450 MB. What is the reason for that?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It is desirable to record and master in the highest quality possible, and only convert to lower bitrates for delivery (if necessary) at the final stage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;450MB for two minutes is 30mbps.  That's not particularly high for a capture bitrate; it's a typical capture bitrate for low-cost consumer gear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a lower bitrate, even, than you may find on a movie available on blu-ray.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Could you please recommend a (preferably free) app that I could use to convert it to another file format resulting a much more reasonable file size?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You don't specify your target format or platform.  Do you simply want to share this with friends?  If so, uploading to YouTube will take care of all the conversions for you and save you from worrying about additional bandwidth of sharing it with others, as long as you can stand the upload bandwidth.  Putting on DVD?  I assume not as you would have said so, but the authoring software would be able to do this for you.  Converting to an MP4 or MKV for sharing with friends and playing back on the PC or on a mobile device?  Then you could use something like Handbrake.  However, doing video transcoding yourself when you don't know what you're doing can result in unwanted results - most transcoding tools, unless they're specifically designed for a particular target format or device, will require quite a lot of technical knowledge.&lt;/p&gt;&#xA;" OwnerUserId="5750" LastEditorUserId="5750" LastEditDate="2014-03-31T04:56:47.913" LastActivityDate="2014-03-31T04:56:47.913" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10500" PostTypeId="2" ParentId="10463" CreationDate="2014-03-31T05:04:19.703" Score="2" Body="&lt;p&gt;The bands you're referring to could well just be a limitation of the 8-bit colour space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In theory the way to solve this is to use 10- or 12-bit colour space through every stage from rendering, to editing and mastering, through to output and even in the screen or projector.  However your final output is probably going to be displayed in an 8 bits per channel space whether you like it or not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the practical way to do this is to render at 10- or 12-bit colour and dither down to 8-bit from the master.  The dithering will prevent the visual appearance of banding when displayed at 8 bits per channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that this is not a limitation of h.264 or any encoder but of the colour space used and the noise-free nature of the rendered animation; if real life was this noise-free it would also show this banding in 8-bit colour spaces.  There is unlikely to be any setting you could choose in your encoder in order to solve this.  To confirm, render to an uncompressed format and you will probably still see the banding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: dithering from a 10- or 12-bit render is not the same as just adding some noise to an existing 8-bit dither - while this may disguise the banding a little bit simply by making it less distinct it doesn't solve it.  But you could do it in a pinch.&lt;/p&gt;&#xA;" OwnerUserId="5750" LastActivityDate="2014-03-31T05:04:19.703" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10501" PostTypeId="1" AcceptedAnswerId="10503" CreationDate="2014-03-31T05:57:20.127" Score="3" ViewCount="868" Body="&lt;p&gt;In attempting to record in the highest quality on a JVC GC-PX100 camcorder, I've been recording 1080p video.  Unfortunately, viewing the video upon edit shows very strong compression artifacts, which affect quality to the point that burning to DVD and burning to Blu-Ray end up with roughly the same results.  The video was taken on a reasonable photo tripod, so the camera was definitely steady, and the bulk of the video was unmoving walls with detailed paintings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe Premiere Elements 11 is what I'm doing for editing, and I've just tried the Neat Video plugin.  Unfortunately, while the default settings reduce the artifacts/noise in flat areas (cheeks, walls), but not along all edges (faces).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Essentially, the video is &quot;crunchy&quot;, and that's visible on playback on a large TV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe Elements shows the .mts file from the camcorder is MPEG Movie, 1920x1080, frame rate 59.94, 48kHz audio, average data rate 3.3 MB/s (~34Mbit/s), pixel aspect ration 1.0.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VLC shows the .mts file from the camcorder is Codec H264 - MPEG-R AVC (part 10)(h264), 1920x1080, frame rate 59.940060, decoded format Planar 4:2:0 YUV, with A52 (aka AC3) 48kHz audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My goal is the highest quality result video, targeting Blu-Ray output.  My budget can handle a plugin fee, but not a new camcorder (spent too much on the add-on microphone).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my questions in particular are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Are there better settings to increase overall quality during recording?&lt;/li&gt;&#xA;&lt;li&gt;Are there better settings for Neat Video&lt;/li&gt;&#xA;&lt;li&gt;Is there another way to reduce compression artifacts in HD video taken by a good consumer camcorder?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;EDITED TO ADD:&#xA;AJ, Jim, thank you for your answers; they led me to the regrettable conclusion that my expectations are too high for any 1080p60 mode at 35Mbit, and no 1080p30/25/24 mode is available on my model.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even after the usual firmware update, and a factory reset as recommended by JVC Customer Support, the video is &quot;crunchier&quot; than I like.  There is no 1080p30 mode, unfortunately, and lesser modes have lesser bitrates as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After some experimentation, it appears that the AVCHD and MP4 1080p60 modes are more or less equivalent, with a possible slight edge to the AVCHD variant.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;NeatVideo needs to have the plugin expanded and the Temporal Radius increased, as well as going into the settings to profile the video clip in question.  Edges remain crunchy, and dedicated &quot;reference&quot; profile video appears necessary to get good results.&lt;/p&gt;&#xA;" OwnerUserId="5754" LastEditorUserId="5754" LastEditDate="2015-01-16T05:19:36.713" LastActivityDate="2015-01-16T05:19:36.713" Title="1080p60 recording has very strong compression artifacts, default Neat Video not reducing them much" Tags="|video-quality|compression|full-hd|avchd|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10502" PostTypeId="2" ParentId="10501" CreationDate="2014-03-31T10:30:34.107" Score="3" Body="&lt;p&gt;I assume the actual data rate is 3.3 Mb/s, not MB/s (bits, not bytes). This is very low for 1080p60, and artifacts are likely at such a low rate. You might consider capturing at at least double that rate. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively (or also), halving the frame rate to 29.97 would double the effective bit rate. You would be trading some motion artifacting for less visual artifacting, but the former is usually much less noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Considering that blu-ray can handle in the range of 40-50 Mb/s, your bit rate is way below the target for the delivery medium you've chosen.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-03-31T10:30:34.107" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10503" PostTypeId="2" ParentId="10501" CreationDate="2014-03-31T14:21:28.890" Score="2" Body="&lt;p&gt;There is no way around needing more data rate to capture that much video information.  It sounds like the camera probably isn't actually capable of delivering 1080P/60 but that they use a very low quality version so they can slap the label on the box.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Data rates are generally measured in Mb(bits)/sec rather than MB/s, but even if your suggested rate actually is in MB/sec, 3.3MB/s for the video you are describing is near uselessly small and strong artifacting would be expected (particularly for a real time encoding) as the compression algorithm breaks down.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need to use a mode that supports either a higher data rate or supplies less data to be encoded at that data rate.  There is no other real solution since there is no information there to actually use to fix the problem.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-03-31T14:21:28.890" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10505" PostTypeId="1" CreationDate="2014-03-31T23:15:51.703" Score="3" ViewCount="3418" Body="&lt;p&gt;I have created some time lapse animations using my Canon EOS camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I imported these sequences to premiere I noted small changes in luminosity between some frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to correct these changes inside premiere? Maybe something similar to camera stabilization but for luminosity? &lt;/p&gt;&#xA;" OwnerUserId="5761" LastEditorUserId="2836" LastEditDate="2014-07-14T17:05:53.773" LastActivityDate="2014-07-14T17:05:53.773" Title="How can I fix time-lapse image sequence exposure in Premiere?" Tags="|premiere|time-lapse|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10506" PostTypeId="1" AcceptedAnswerId="10507" CreationDate="2014-04-01T02:34:24.390" Score="4" ViewCount="1645" Body="&lt;p&gt;In some modern cartoons the animation of face, particularly mouth, is very realistic - most of vowels are mimicked correctly and on-time by mouth movements. (Particularly I'm talking about Family Guy episodes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My main question - what is created first - animation or sound recording? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How the process of combining those two looks like? I think it is a complicated task to match sound and animation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a software that recognizes words that actor have said and automatically simulates mouth movements? &lt;/p&gt;&#xA;" OwnerUserId="5762" LastActivityDate="2014-04-01T03:08:20.223" Title="In cartoons, what is created first - video or sounds?" Tags="|video|audio|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10507" PostTypeId="2" ParentId="10506" CreationDate="2014-04-01T03:08:20.223" Score="6" Body="&lt;p&gt;It depends on the exact studio's process, but generally either an animatic (basically a roughly animated storyboard) or the audio is done first.  In the case of Family Guy and American Dad specifically, it sounds like they work on the audio and the animatic first.  The advantage to doing an animatic first is it can help the voice actors visualize what will be happening, but that makes the process take a bit longer (which is particularly bad for TV).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once the final audio is done, the final animation can be done to match the sound.  It's actually fairly easy just looking at the wave file of an audio track to pick out where the syllables are, though there is also software that can be used to automatically identify the proper moments for different types of mouth movements with pretty decent accuracy.  Once you know all the key frames (the particular points in time that need to have a given mouth shape) it's pretty easy to animate in between them to get the proper facial movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I was researching American Dad's particular process for this question, I also stumbled across this video from the Wall Street Journal that I thought might be of interest relating to the question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/w6rrdNFaY_g?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-01T03:08:20.223" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10508" PostTypeId="2" ParentId="10505" CreationDate="2014-04-01T03:12:58.533" Score="2" Body="&lt;p&gt;There is no easy way I'm aware of. It's really important when shooting a timelapse to use fixed manual exposure so that you get consistent exposure from shot to shot.  It's a non-trivial task to get color to match from one image to the next if exposure doesn't match because you have to worry about not only the black point (darkest point) and white point (brightest point) but also the gamma or rate of change of colors in between.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally the actual light level may have changed while shooting and you don't want to cancel this out.  Also, depending on how you had the camera set, it is also possible the white balance may have been changed which would further complicate things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it is really, really far off, you could try doing a batch auto-level or auto-curves operation on all of the images in Photoshop and see if that gets a usable look or not, but if the exposure was calculated differently by the camera, then most likely the result from the auto-level and auto-curves will also differ.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-01T03:12:58.533" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10509" PostTypeId="1" CreationDate="2014-04-01T11:57:59.123" Score="13" ViewCount="16552" Body="&lt;p&gt;When I watched videos on &lt;a href=&quot;https://www.youtube.com/channel/UCqhnX4jA0A5paNd1v-zEysw&quot;&gt;GoPro's youtube profile&lt;/a&gt;, they seem to me almost perfectly stable. And when I attached my action cam to helmet and tried to record during skiing, the video was very shaky.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am aware, that videos on their profile are advertising videos made by pros. So my question is to pros - &lt;strong&gt;can you tell if the videos were stabilized with some software?&lt;/strong&gt; Do consumer products have such capabilities? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the videos were not stabilized, &lt;strong&gt;what can be done, to achieve more stable videos&lt;/strong&gt;, when recording from helmet or hand held (pole-mounted) camera?&lt;/p&gt;&#xA;" OwnerUserId="5416" LastEditorUserId="5416" LastEditDate="2014-04-01T17:30:30.643" LastActivityDate="2014-04-02T06:40:04.413" Title="Stabilizing GoPro videos" Tags="|stabilisation|action-cam|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10510" PostTypeId="2" ParentId="10509" CreationDate="2014-04-01T12:37:35.653" Score="9" Body="&lt;p&gt;Software that I know of:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Virtualdub with Deshaker plugin:&#xA;&lt;a href=&quot;http://www.guthspot.se/video/deshaker.htm&quot;&gt;http://www.guthspot.se/video/deshaker.htm&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Sony Vegas Pro since version 10 has a built-in stabilization plugin&lt;/li&gt;&#xA;&lt;li&gt;Depan for Avisynth - &lt;a href=&quot;http://avisynth.org.ru/depan/depan.html&quot;&gt;http://avisynth.org.ru/depan/depan.html&lt;/a&gt; - it can get quite complicated but there are sample scripts to help getting started.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Youtube can detect if the footage is shaky, though it's not always working so well and it applies to the whole video.&#xA;My personal favorite is the Virtualdub route. Just remember to save it to a lossless format if you plan on editing it further.&lt;/p&gt;&#xA;" OwnerUserId="5763" LastActivityDate="2014-04-01T12:37:35.653" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10511" PostTypeId="2" ParentId="10509" CreationDate="2014-04-01T13:46:27.597" Score="3" Body="&lt;p&gt;There is also &lt;a href=&quot;http://vegasaur.com/ProDRENALIN&quot; rel=&quot;nofollow&quot;&gt;Prodrenalin&lt;/a&gt; - PC based standalone tool for GoPro videos, includes stabilization and other features&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-04-01T13:46:27.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10512" PostTypeId="2" ParentId="10509" CreationDate="2014-04-01T13:54:11.293" Score="7" Body="&lt;p&gt;I would like to add that any software that can track points can be used for stabilisation. Biggest problem with software stabilisation is that you loose part of your frame. Personally i just use my 3d trackers solution as stabilisation  datasource because its by far the best solver i have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend physical stabilisation. For consumers the best way to stabilize things is to add more weight. Something that is moderately rigid and hard to rotate is a good choice. Like a pole with weight on relatively far below your grip is good. The innertia of the object makes the shot more stable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/GqjQ2.png&quot; alt=&quot;enter image description here&quot;&gt;&#xA;&lt;strong&gt;image 1:&lt;/strong&gt; Three types of planar noise. In three dimensions you have 2 more rotations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To better understand what to stabilize one has to look at how different noise affects the camera, this is illustrated in &lt;em&gt;Image 1&lt;/em&gt;. There are 2 kinds of noise noise due to rotational vibration and noise due to translational vibration. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The rotational vibration is much much worse than translational vibration because it grows the further you are from the camera. As a result you want to make the weight counter rotation as much as possible. It turns out that &lt;a href=&quot;http://en.wikipedia.org/wiki/Moment_of_inertia&quot; rel=&quot;nofollow noreferrer&quot;&gt;moment of inertia&lt;/a&gt; grows with the distance from pivot. So you need to put the weight as far as possible. Bust still not so far that pivoting the camera becomes impossible. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is also why gyro stabilization works as it turns out that you can store inertia in rotation so at big speeds even small masses have high moment of inertia. The gyro stabilization does nearly nothing to the translational noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The translational vibration is also something that the software stabilization is much better at removing. The same mass that's stabilizes the rotation will however also stabilize the translational noise. Mainly because you need more force to get the camera moving eliminating the highest frequencies of noise. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second thing to do is to ensure that your connection to a noise source is isolated. Heavy rubber pieces are good. You want the inertia to be able to filter the noise, too rigid connection makes it impossible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Physical stabilization also makes the results of software stabilization easier and much better in quality. Even very little stabilization helps a lot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;other resources:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://littlegreatideas.com/stabilizer/diy/&quot; rel=&quot;nofollow noreferrer&quot;&gt;14$ camera stabilizer&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5764" LastEditorUserId="5764" LastEditDate="2014-04-01T17:55:16.190" LastActivityDate="2014-04-01T17:55:16.190" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10513" PostTypeId="5" CreationDate="2014-04-01T15:16:17.373" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2014-04-01T15:16:17.373" LastActivityDate="2014-04-01T15:16:17.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10514" PostTypeId="4" CreationDate="2014-04-01T15:16:17.373" Score="0" Body="A maker of camera gear." OwnerUserId="5416" LastEditorUserId="2836" LastEditDate="2014-04-01T15:38:58.867" LastActivityDate="2014-04-01T15:38:58.867" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10515" PostTypeId="5" CreationDate="2014-04-01T15:16:48.780" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2014-04-01T15:16:48.780" LastActivityDate="2014-04-01T15:16:48.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10516" PostTypeId="4" CreationDate="2014-04-01T15:16:48.780" Score="0" Body="A particular brand of camera gear." OwnerUserId="5416" LastEditorUserId="2836" LastEditDate="2014-04-01T15:38:26.967" LastActivityDate="2014-04-01T15:38:26.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10517" PostTypeId="5" CreationDate="2014-04-01T15:19:34.407" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2014-04-01T15:19:34.407" LastActivityDate="2014-04-01T15:19:34.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10518" PostTypeId="4" CreationDate="2014-04-01T15:19:34.407" Score="0" Body="OS X is an operating system that is developed by Apple and used in Mac computers." OwnerUserId="5416" LastEditorUserId="5416" LastEditDate="2014-04-01T15:39:36.007" LastActivityDate="2014-04-01T15:39:36.007" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10519" PostTypeId="5" CreationDate="2014-04-01T15:24:48.187" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2014-04-01T15:24:48.187" LastActivityDate="2014-04-01T15:24:48.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10520" PostTypeId="4" CreationDate="2014-04-01T15:24:48.187" Score="0" Body="Recording or streaming output of a computer screen." OwnerUserId="5416" LastEditorUserId="2836" LastEditDate="2014-04-01T15:38:00.187" LastActivityDate="2014-04-01T15:38:00.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10521" PostTypeId="2" ParentId="8420" CreationDate="2014-04-01T16:00:28.187" Score="0" Body="&lt;p&gt;How would a partial sphere (mounted to a tripod and camera) react if contained in another sphere (3/4 round with a thin rubber seal) and floated on a pool of oil? Would that produce a steady picture during motion?&lt;/p&gt;&#xA;" OwnerUserId="5766" LastActivityDate="2014-04-01T16:00:28.187" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10523" PostTypeId="2" ParentId="8420" CreationDate="2014-04-01T16:59:53.663" Score="1" Body="&lt;p&gt;I would skip the wearing of rediculous hardwear on my head and just remove, or greatly lessen, the bounce using good image tracking software in post-production. Avid Media Composer handles this well. Adobe After Effects does it too. There a number of cheaper programs (including one offered by GoPro, I think) that may, or may not, do this well. Here's one: &lt;a href=&quot;http://www.guthspot.se/video/deshaker.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.guthspot.se/video/deshaker.htm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Experiment!&lt;/p&gt;&#xA;" OwnerUserId="5600" LastActivityDate="2014-04-01T16:59:53.663" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10524" PostTypeId="5" CreationDate="2014-04-01T17:24:48.590" Score="0" Body="&lt;p&gt;Action cameras are cameras designed to be mounted in the middle of action, such as on helmets or sports equipment.  This creates close or first-person view of athlete performing action sports or the activities themselves (eg. cycling, skiing, snowboarding, surfing, paragliding, motorsports, etc.). Action cameras include cameras like the GoPro Hero, JVC Adixxion, Contour and Sony Action Cam.&lt;/p&gt;&#xA;" OwnerUserId="5416" LastEditorUserId="2836" LastEditDate="2014-04-01T17:53:34.527" LastActivityDate="2014-04-01T17:53:34.527" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10525" PostTypeId="4" CreationDate="2014-04-01T17:24:48.590" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2014-04-01T17:24:48.590" LastActivityDate="2014-04-01T17:24:48.590" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10526" PostTypeId="2" ParentId="9506" CreationDate="2014-04-01T17:48:11.587" Score="1" Body="&lt;p&gt;I use my Nikon DSLR to record videos, so I'll share some pointers with you. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;DSLR are capable of producing very good video images. This is thanks to their sensor size and optics, compared to many handycams. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, since their primary use is not video, there are some things to keep in mind:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;I don't recommend using autofocus. It is slow (Nikon in Live View uses contrast detection, which is slower and AF will search back and forth for sharpest point) and noisy (rattling of lens motor is audible). &lt;br/&gt;&#xA;Set focus (with AF) before you start recording, then lock it (swith to MF) and continue with filming. &lt;br/&gt;&#xA;DSLR will be great with static scene, when you can put it on tripod, but if you need to use it hand-held... &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Low light - Nikon does well in low light. Maybe use fast lens and set a bit higher ISO. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Sound quality - built-in microphone has limited range. It is omnidirectional. In noisy surrounding it will pick up everything, but the person you want to record. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Pay attention to menu settings. You can select manual mode in menu, where you will set aperture, shutter speed and ISO, or you can leave that to camera. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Maximum framerate for Full-HD is only 25 fps.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5416" LastActivityDate="2014-04-01T17:48:11.587" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10527" PostTypeId="2" ParentId="10463" CreationDate="2014-04-01T19:23:46.310" Score="2" Body="&lt;p&gt;Depending how the content was made, the banding might be introduced when you're converting your content from RGB colorspace to YUV. You can try to make an h264 while keeping RGB colorspace, although I've read it's not easy. Are you able to use another codec?&lt;/p&gt;&#xA;" OwnerUserId="5226" LastActivityDate="2014-04-01T19:23:46.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10528" PostTypeId="2" ParentId="9918" CreationDate="2014-04-02T01:32:33.977" Score="1" Body="&lt;p&gt;If you have success some times, and then not others, one source can be spikes in the time to write.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some solutions are to make sure the card is recently formatted, thus all ready to write to, and no way near full, so there is plenty of space to lay down large chunks of data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do the above and never have success, it could be too low a class card, and/or a fake card. I've seen reports of people buying 'fake' SD cards, that are just long end cards re-stickered. To test that a tool like the others mentions would be the trick.&lt;/p&gt;&#xA;" OwnerUserId="5398" LastActivityDate="2014-04-02T01:32:33.977" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10529" PostTypeId="1" CreationDate="2014-04-02T02:36:42.813" Score="0" ViewCount="127" Body="&lt;p&gt;I was wondering if there is a Fraps alternative that records audio from different sources to different tracks. unless fraps has this capability??&lt;/p&gt;&#xA;" OwnerUserId="5768" LastActivityDate="2014-04-02T02:36:42.813" Title="Is There A Fraps Alternative That Records Different Audio Sources To Different Tracks" Tags="|software-recommendation|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10530" PostTypeId="2" ParentId="10509" CreationDate="2014-04-02T06:40:04.413" Score="0" Body="&lt;p&gt;A super simple solution for physical stabilization is the GoPro Floaty Backdoor.  It's a square piece of foam that goes on the back of the case.  You naturally hold your head stable so just bite into the foam and hold it in your teeth.  The best part is that it leaves both hands free.&lt;/p&gt;&#xA;" OwnerUserId="5769" LastActivityDate="2014-04-02T06:40:04.413" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10531" PostTypeId="2" ParentId="10366" CreationDate="2014-04-02T17:01:05.483" Score="1" Body="&lt;p&gt;After purchasing Sony Vegas Pro 12 Premium I can confirm that &lt;strong&gt;it DOES include the full version of Sony Vegas Pro 12!&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This really is a great deal as it also includes DVD Architect Pro 6.0, Sound Forge Pro 11.0, and CD Architect 5.2.&lt;/p&gt;&#xA;" OwnerUserId="5684" LastActivityDate="2014-04-02T17:01:05.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10532" PostTypeId="1" CreationDate="2014-04-04T04:38:01.223" Score="2" ViewCount="198" Body="&lt;p&gt;I've tried to create the short bursts similar to this gif but I can't seem to get the exact effect. I'm using particle world in after effects. Another problem I'm running into is the texture has some color overlay I can't get rid of.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/LUD8b.gif&quot; alt=&quot;gif&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5773" LastActivityDate="2014-06-03T23:07:40.023" Title="How to achieve the short particle bursts in this gif?" Tags="|after-effects|premiere|editing|effects|special-effects|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10533" PostTypeId="1" AcceptedAnswerId="10537" CreationDate="2014-04-04T06:16:22.047" Score="2" ViewCount="28731" Body="&lt;p&gt;Im a beginner to video editing, kindly help me to select (free select, as like in Adobe Photoshop) particular portion of a video, to merge with another video?&lt;/p&gt;&#xA;" OwnerUserId="5774" LastActivityDate="2017-10-20T11:21:51.433" Title="Is it possible to select particular portion of a video in adobe premiere pro?," Tags="|video-editor|premiere|adobe|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10534" PostTypeId="1" AcceptedAnswerId="10548" CreationDate="2014-04-04T16:13:32.293" Score="1" ViewCount="791" Body="&lt;p&gt;When I try to open this project, Final Cut Pro 7.0.3 running on Mavericks pops up an error box that says &quot;File Error: Wrong Type.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've fixed this in the past using the Project Repair tool in Digital Rebellion's great &lt;a href=&quot;http://www.digitalrebellion.com/promaintenance/&quot; rel=&quot;nofollow&quot;&gt;Pro Maintenance&lt;/a&gt; set of tools but I'd like to find a free option if possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen people discuss setting the file type and creator, possibly using a command line tool, SetFile, that is part of the OS X developer tools but none of them seemed to have complete instructions and there were a number of claims of it not working anyway.&lt;/p&gt;&#xA;" OwnerUserId="5420" LastActivityDate="2021-01-12T22:52:32.760" Title="How do I rescue a Final Cut 7 project that elicits &quot;File Error: Wrong Type&quot; when I try to open it in FCP?" Tags="|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10535" PostTypeId="2" ParentId="10533" CreationDate="2014-04-04T17:36:02.530" Score="2" Body="&lt;p&gt;If the element you need to put on the video doesn't move and the shot you are putting it in doesn't move, the best bet is to actually use Photoshop to extract the object you want to place in another video and put it in a file format that supports a transparent background (TGA, PSD, etc.)  You can then import it to Premiere and place the image wherever you want in the frame using the Motion effects settings to define the size and placement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the video you are placing it in is not stationary, then it will be necessary to perform motion tracking on the video you want to place the image within.  This is much more complicated and is generally done in something like After Effects.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-04T17:36:02.530" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10536" PostTypeId="2" ParentId="1981" CreationDate="2014-04-04T17:47:39.697" Score="1" Body="&lt;p&gt;If anyone else is interested, Coursera just started a &quot;Fundamentals of Digital Image and Video Processing&quot; in partnership with Northwestern University. From the syllabus, it looks like many relevant topics will be explored.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.coursera.org/course/digital&quot; rel=&quot;nofollow&quot;&gt;https://www.coursera.org/course/digital&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The course started on March 31, 2014. Here is the general course outline:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Introduction, Image and Video Processing vs Image and Video&#xA;Analysis vs Computer Vision, the electromagnetic spectrum,&#xA;applications of image and video processing&lt;/li&gt;&#xA;&lt;li&gt;2D and 3D signals and systems, linear and shift invariant systems (convolution) •    2D and 3D Fourier transform, 2D and 3D discrete-Fourier transform, uniform&#xA;sampling (rectangular, arbitrary geometry)&lt;/li&gt;&#xA;&lt;li&gt;Motion estimation and&#xA;its applications &lt;/li&gt;&#xA;&lt;li&gt;Image and video enhancement (e.g., edge detection,&#xA;noise filtering, histogram equalization, inpainting)&lt;/li&gt;&#xA;&lt;li&gt;Image recovery&#xA;(restoration, super-resolution)&lt;/li&gt;&#xA;&lt;li&gt;Video recovery (restoration,&#xA;super-resolution)&lt;/li&gt;&#xA;&lt;li&gt;Lossless compression&lt;/li&gt;&#xA;&lt;li&gt;Image compression&#xA;techniques and standards&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Video compression techniques and standards&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Image and video analysis (e.g., 2D and 3D segmentation, anomaly&#xA;detection, clustering)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;Sparsity-based advances in image and video&#xA;processing&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5142" LastEditorUserId="2598" LastEditDate="2014-04-05T19:35:43.430" LastActivityDate="2014-04-05T19:35:43.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10537" PostTypeId="2" ParentId="10533" CreationDate="2014-04-04T18:10:43.953" Score="2" Body="&lt;p&gt;To build on AJ's answer in a different direction, you may want to look at After Effects, which is a popular compositing tool. In After Effects, you can use the pen tool (somewhat like the lasso tool) to create a custom shape. With that shape, you can create a mask for the video. This mask can then show only the video inside of the shape.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Further, the mask can change over time with your video. If the subject of your first video moves, you can adjust the mask's shape as well. In other words, the mask can be animated, though this process can take a lot of time.&lt;/p&gt;&#xA;" OwnerUserId="5142" LastActivityDate="2014-04-04T18:10:43.953" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10538" PostTypeId="1" AcceptedAnswerId="10539" CreationDate="2014-04-04T21:51:55.237" Score="4" ViewCount="9460" Body="&lt;p&gt;I'm working with footages that are shot handheld. The shakes are not too aggressive but they're still noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the longest time ever I've been using Final Cut Pro's stabilization function to stabilize these types of footages, but the outcomes are always less than ideal. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's a good way to deal with this?&lt;/p&gt;&#xA;" OwnerDisplayName="user5775" LastActivityDate="2017-02-02T17:36:17.050" Title="Best way to stabilize footage?" Tags="|final-cut-pro-x|stabilisation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10539" PostTypeId="2" ParentId="10538" CreationDate="2014-04-04T22:32:28.960" Score="7" Body="&lt;p&gt;Because software stabilization methods cannot compensate for the shifting parallax of a shaking lens, they will always produce less than ideal results.  In my experience, FCPX's stabilization is just as good as other software packages (I have experience with Shake and After Effects as well), and they all basically work the same way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is probably not the answer you want to hear, but the best way to stabilize footage is to shoot stable footage in the first place.  Software stabilization is really just analogous to fine grit sandpaper; It's a good final step to add polish, but you'd never use it from the start.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Physically steadying a camera can be expensive, but that's why audiences have learned to appreciate stable shots -- they associate stability with quality.  But of course you know this, or you wouldn't be asking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But there are good, reasonably priced ways to physically steady a camera.  Where I work, we have dollys, sliders, shoulder mounts, tripods, brushless motor gimbals, camera cranes, clamps, arms, and pretty much you name it.  But in my experience, the most versatile, portable, practical, and cheap piece of kit that we routinely use is a monopod.  It doesn't allow for all of the fancy movements of the other stuff, but nice ones will at least let you do a fluid pan.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry this doesn't help with footage you've already shot, but I hope it helps with future projects.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-04-04T22:32:28.960" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10541" PostTypeId="2" ParentId="10097" CreationDate="2014-04-05T15:22:00.117" Score="2" Body="&lt;p&gt;Using FFMPEG the command would look something like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;lt;sourceVideoFile&amp;gt; -i &amp;lt;sourceAudioFile1&amp;gt; -i &amp;lt;sourceAudioFile2&amp;gt; -map 0:0 -map 0:1 -map 1:0 -map 2:0 -c:v copy -c:a copy &amp;lt;outputVideoFile&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Basically you're taking the source video file and multiple audio inputs, then mapping multiple audio files to the output's audio stream 0. Using -c:v copy and -c:a copy, you arent doing any encoding, so your file will keep its original quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That command was taken from the link below, which has more instructions:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://zoid.cc/ffmpeg-audio-video/&quot; rel=&quot;nofollow&quot;&gt;http://zoid.cc/ffmpeg-audio-video/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Forgot to mention the point about wanting to do it in batch. Use the link below to create a bat file in Windows that would target all the specific types like *.avi (or all types using &lt;em&gt;.&lt;/em&gt;). You'd want to replace the ffmpeg portion of their bat file with the above. Since you have one audio file, try something like:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;for %%a in (&quot;*.avi&quot;) do ffmpeg -i &quot;%%a&quot; -i  -map 0:0 -map 0:1 -map 1:0 -c:v copy -c:a copy &quot;%%a&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might want to back up your files and make a copy elsewhere before you process them, because the above will overwrite them I believe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Link to that below:&#xA;&lt;a href=&quot;http://forum.videohelp.com/threads/356314-How-to-batch-convert-multiplex-any-files-with-ffmpeg&quot; rel=&quot;nofollow&quot;&gt;http://forum.videohelp.com/threads/356314-How-to-batch-convert-multiplex-any-files-with-ffmpeg&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5226" LastEditorUserId="5226" LastEditDate="2014-04-06T06:42:23.160" LastActivityDate="2014-04-06T06:42:23.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10542" PostTypeId="1" AcceptedAnswerId="10543" CreationDate="2014-04-05T16:13:21.157" Score="8" ViewCount="3729" Body="&lt;p&gt;I'm shooting my first internet video tomorrow. It has a spaceship chasing and shooting at a superhero in it. With knowledge accumulated between ~a year ago and now and more focused research over the past week, my idea of post-production workflow for a VFX video in the style of FreddieW or Corridor Digital YouTube channels is something like this (prerequisite: I am talking about color correction as getting all shots into a uniform look color-wise, and color grading as getting the feeling you want from the color):&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Edit raw shots into a sequence, and lock them there.&lt;/li&gt;&#xA;&lt;li&gt;Do music, sound and VFX. Go through each shot in the video and add VFX elements, matching them to the shot's lighting, exposure, color, shadows, ...&lt;/li&gt;&#xA;&lt;li&gt;Go through each composited shot and color correct and grade it.&lt;/li&gt;&#xA;&lt;li&gt;Replace shots in locked edit with composited and color corrected and graded shots.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I have now these questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is this workflow &quot;correct&quot;? Are there many &quot;correct&quot;'s (is it mutable)?&lt;/li&gt;&#xA;&lt;li&gt;You're supposed to shoot in as low contrast and saturation as you can (this is called flat?) to make color correction easier, like you have a blank, unbiased canvas to &quot;pull&quot; the colors out of, right?&lt;/li&gt;&#xA;&lt;li&gt;This is the real core of my question: how can you match VFX elements to flat footage when there's no amplified color detail to work with? Can I color correct before VFX, and leave color grading where it is?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5777" LastEditorUserId="5777" LastEditDate="2014-04-07T15:41:53.940" LastActivityDate="2015-11-18T20:28:05.967" Title="Post-production workflow: VFX before color correction?" Tags="|effects|color-correction|post-production|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10543" PostTypeId="2" ParentId="10542" CreationDate="2014-04-05T19:55:39.483" Score="5" Body="&lt;p&gt;Any workflow that works for you is &quot;correct&quot;.  I don't see any obvious problems with your proposed workflow, though I would think you would want to do sound after VFX so that it can be properly timed to the VFX.  Depending on the software you are using, you may not have to lock the shots but may actually be able to move directly in to working on the shots.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as low contrast and low saturation, I would personally disagree with shooting for low contrast/low saturation.  This limits the depth of your available color space too much.  Your camera has a limited number of colors it can describe, if you ignore a large portion of that color space, then you can't describe as many colors and the resolution of your color after boosting the saturation and contrast will be very greatly reduced.  That said, if you have issues with lacking detail in your shadows, exposing it up in to mid-tones can help since your format doesn't actually support using that portion of the dynamic range anyway, so you wouldn't be losing anything meaningful.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The key is that you want to make strong use of the color space your camera can capture and encode that way you have the highest possible use of the color space as long as you are careful not to exceed the color space (color clipping needs to be avoided).  It is always easy to make colors more subdued and to lower contrast as this is moving from a high color resolution to a low one, but you can't move the other way because you don't have the detail to fill in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What flat means is not necessarily low contrast or low saturation, but rather that the colors are not heavily tinted and that details are well represented within the usable portion of the color space.  They can be fairly vibrant, but they have a neutral response and gamma.  In other words, you want it to evenly capture detail across the DR, but you also want the DR to be fully utilized.  Think of flat as the way the curve looks in the Photoshop curves tool.  Flat would be a straight line rather than a curved one.  It can still have very strong contrast and saturation since the DR is being fully used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the third part, it really doesn't matter.  Either you mix to subdued colors and boost everything or you mix to vibrant colors and bring it down.  Either way, as long as it fits at some point, it will fit when you adjust the color grade of the entire frame if it fit well before.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-07-18T16:06:08.007" LastActivityDate="2014-07-18T16:06:08.007" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10544" PostTypeId="2" ParentId="10542" CreationDate="2014-04-05T21:49:54.790" Score="1" Body="&lt;p&gt;I'll echo AJ on most of his response, but I would caution against doing color correction after compositing unless the elements are already fairly congruent. Ideally you would apply at least gross color correction to each layer or element.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The notion of shooting 'flat' or low contrast IMO is a holdover from film, where you could pull contrast from the negative in a subsequent transfer or interpositive step. It's really not wise in a pure video / digital workflow. You do want to avoid clipping on either end, or oversaturating, but otherwise, use the range you have available. You can always compress or clip later, but undoing premature work later can be tough or impossible.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-04-05T21:49:54.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10547" PostTypeId="1" CreationDate="2014-04-07T11:22:13.447" Score="1" ViewCount="1736" Body="&lt;p&gt;Do you know about any video processing software that can do chroma key of two video files, but run from command line as well?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have two static video files (let's say MP4, same length) - one with green bg and another to be used as background video. I need to do chroma key effect. And it doesn't have to be perfect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Two video files -&gt; [software] -&gt; one output video. Just so.&lt;/p&gt;&#xA;" OwnerUserId="5752" LastActivityDate="2014-05-07T15:06:44.033" Title="Chroma Key video software for command line" Tags="|greenscreen|chromakey|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10548" PostTypeId="2" ParentId="10534" CreationDate="2014-04-07T13:07:45.077" Score="1" Body="&lt;p&gt;After installing SetFile (instructions below), go to terminal and execute this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;setfile -c &amp;quot;KeyG&amp;quot; -t &amp;quot;FCPF&amp;quot; INSERT_FILENAME_HERE&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;According to SetFile's man page, &amp;quot;-c&amp;quot; sets the creator and &amp;quot;-t&amp;quot; sets the type.&lt;/p&gt;&#xA;&lt;p&gt;I found what the type and creator should be set to in Peppy's second post on this thread: &lt;a href=&quot;http://hintsforums.macworld.com/archive/index.php/t-16983.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://hintsforums.macworld.com/archive/index.php/t-16983.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;SetFile can be installed as part of the Xcode Command Line Tools by opening Terminal and typing:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;xcode-select --install&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But if I recall that sometimes fails so you might also try downloading it from the &lt;a href=&quot;https://developer.apple.com/downloads/index.action&quot; rel=&quot;nofollow noreferrer&quot;&gt;Apple Developer&lt;/a&gt; site.&lt;/p&gt;&#xA;" OwnerUserId="5420" LastEditorUserId="-1" LastEditDate="2021-01-12T22:52:32.760" LastActivityDate="2021-01-12T22:52:32.760" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="10549" PostTypeId="2" ParentId="10547" CreationDate="2014-04-07T14:51:51.527" Score="1" Body="&lt;p&gt;While not a direct solution, AVISynth supports creating a mask from a Chroma key using &lt;a href=&quot;http://avisynth.nl/index.php/Layer#ColorKeyMask&quot; rel=&quot;nofollow&quot;&gt;ColorKeyMask&lt;/a&gt;.  You can then use that mask to blend the two layers together by using Mask on the top layer and then Layering them together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could then just feed files in to the script and use FFMPEG or something similar to write out the frame stream from AVISynth.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that you will still need to adjust the color of the background and the tolerance if they lighting isn't really consistent between shots of the green background though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-07T14:51:51.527" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10550" PostTypeId="1" CreationDate="2014-04-07T19:40:42.077" Score="2" ViewCount="26580" Body="&lt;p&gt;This is what I would like to do.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;A Linux laptop has a webcam connected to it and captures video and audio in real time&lt;/li&gt;&#xA;&lt;li&gt;The laptop sends the live video and audio stream to another Linux server which has a better internet connection than the laptop, via RTSP or RTMP or something similar&lt;/li&gt;&#xA;&lt;li&gt;Any clients that wish to view the stream connect to the Linux server by means of some software such as VLC&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The steps 1 and 3 are not a problem, I think I know how to do them. But:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I configure the Linux server in step 2 so that it accepts an RTSP stream input and publishes it in some address such as rtsp://my.ip.address/stream.mp4 for example, which can be opened in VLC by any computer? Is crtmpserver the right tool for this? And how do I configure it? I've read like ten different web pages that explain some example configurations for crtmpserver but haven't really found what I was looking for.&lt;/p&gt;&#xA;" OwnerUserId="5787" LastActivityDate="2020-06-29T10:32:03.597" Title="How to configure crtmpserver for live streaming?" Tags="|streaming|live|rtmp|" AnswerCount="5" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10551" PostTypeId="1" AcceptedAnswerId="10554" CreationDate="2014-04-08T14:51:12.493" Score="1" ViewCount="846" Body="&lt;p&gt;I'm filming a wedding in a couple weekends and I'm double checking everything to make sure that I'm ready.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm going to be plugging directly into the RCA out of the DJ's mixer board at the reception to capture the audio for the speeches and toasts, but I'm curious as to whether or not I'll need an attenuation cable between the recorder and the RCA-to-3.5mm cable that goes into my Tascam DR-07 MkII. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thoughts? And if I do need one, do you have a recommendation as to which one I should buy? I already own a Sescom Tascam, male-to-male cable that goes from my recorder to my 5D MkII, so should I/could I use this with an RCA cable?&lt;/p&gt;&#xA;" OwnerUserId="1036" LastActivityDate="2014-04-16T20:04:36.153" Title="Do I need an attenuation cable between my audio recorder and the RCA out of a DJ's mixing board?" Tags="|audio|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10552" PostTypeId="1" CreationDate="2014-04-08T14:54:08.610" Score="2" ViewCount="1339" Body="&lt;p&gt;I am cutting out segments from a long mp4 file and then rejoining parts of them. However, since FFMPEG apparently keeps the same MOOV atom for the trimmed files as the original, it looks to FFMPEG that the trimmed videos are all identical since they all have the same MOOV atom, and therefore only uses the first segment when trying to join the videos. Is there a way around this? Unfortunately since FFMPEG is embedded in an Android app, I can only use version 0.11.&lt;/p&gt;&#xA;" OwnerUserId="5791" LastActivityDate="2015-08-02T17:45:39.137" Title="Unable to concatenate videos due to identical MOOV atoms" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10553" PostTypeId="2" ParentId="10550" CreationDate="2014-04-08T20:57:53.863" Score="1" Body="&lt;p&gt;It looks like it isn't particularly trivial, however crtmpserver have a tutorial on their wiki &lt;a href=&quot;http://wiki.rtmpd.com/tutorial_live_stream_file&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.  It looks like you have to configure a lua file and then doing a new cmake of the server.  (So very much non-trivial.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As an alternative, there are other servers that may do this for you more easily such as Red5 and also Adobe has a free offering mentioned in &lt;a href=&quot;https://video.stackexchange.com/questions/7681/how-do-i-set-up-an-rtmp-stream-server-and-url-endpoint/&quot;&gt;this question&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-04-08T20:57:53.863" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10554" PostTypeId="2" ParentId="10551" CreationDate="2014-04-09T16:54:24.670" Score="1" Body="&lt;p&gt;It depends entirely on the output of the board.  It is highly unlikely that it will be needed as it should most likely match up with the line input on your Tascam since both are professional devices, but stranger things have been known to happen.  Some boards do output to consumer level signal on the RCA connections rather than expecting a professional tape or CD deck, particularly on cheaper DJ equipment.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-09T16:54:24.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10555" PostTypeId="1" AcceptedAnswerId="13237" CreationDate="2014-04-09T18:15:46.470" Score="3" ViewCount="69" Body="&lt;p&gt;I work for a small graduate school producing 6-10 short documentaries each year. Most of these projects highlight some aspect of the student experience: classroom, office hours, socializing, internship, family life on our residential campus... So that I'm always ready, I have built up a large inventory of B-roll covering these various aspects of the stuent experience. Most of this content remains current from year to year. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Until recently, I organized all these B-roll clips into one library on a local HDD. This was excellent, because I could search one library for &quot;Dr. Jill Smith&quot; and find all clips titled or tagged &quot;Dr. Jill Smith&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But recently, I have found that Final Cut Pro X 10.0 Events and 10.1 Libraries alike struggle with handling a large number of clips. They are sluggish to load (into RAM?) and frequently give me the &quot;spinning beach ball&quot;. In response to this performance issue, I started a new B-roll library for 2014 (also on a local HDD). Its performance is better than my 2011-2013 B-roll library, which I attribute to its having fewer clips (does that sound right?). The result is that now my B-roll is split across multiple libraries. Furthermore, my keyword hierarchy isn't duplicated to my new 2014 B-roll library.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a problem for me because I need to be able to search all of my B-roll quickly. I'm considering moving my B-roll content to Lightroom, but evaluating that option, I want to give Final Cut Pro X a chance to be the only media management software I need. (Besides, I love being able to select a clip in one library, press &quot;Q&quot; to add it to my project, and have it consolidated into my project library automatically.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to increase performance of a library with a lot of clips in it? Is there another solution I should consider that would increase my speed of finding the clips I need? Is there a better overall media management strategy I should consider?&lt;/p&gt;&#xA;" OwnerUserId="5113" LastActivityDate="2014-12-10T17:26:50.943" Title="Library with LOTS of clips: Increasing performance" Tags="|final-cut-pro|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10556" PostTypeId="2" ParentId="10538" CreationDate="2014-04-09T18:27:12.183" Score="1" Body="&lt;p&gt;Motion 5 has more &lt;a href=&quot;https://help.apple.com/motion/mac/5.0/en/motion/usermanual/index.html#chapter=22%26section=9%26tasks=true&quot; rel=&quot;nofollow&quot;&gt;robust image stabilization tools&lt;/a&gt;. But ultimately, this issue is best fixed when you're shooting, not in post-production.&lt;/p&gt;&#xA;" OwnerUserId="5113" LastActivityDate="2014-04-09T18:27:12.183" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10558" PostTypeId="1" AcceptedAnswerId="10562" CreationDate="2014-04-10T07:16:03.210" Score="1" ViewCount="203" Body="&lt;p&gt;I would like to setup a remote camera in a training room to do HD recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I already have a standard HD video camera and a Blackmagic Intensity Shuttle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I would like is a camera which I can mount from a ceiling bracket. The ceiling bracket I have seems to be designed for CCTV cameras, so will only really support cameras with a screw hole in the top. So to use a video camera, it would have to be upside down as the screw hole is on the bottom of the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I use a standard video camera upside down and yet record the right way up, as it were?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, what are some options regarding remote HD recording cameras which can be controlled remotely? I have looked into HD CCTV cameras, but it seems that the color is not all that great.&lt;/p&gt;&#xA;" OwnerUserId="5540" LastEditorUserId="2836" LastEditDate="2014-04-10T15:06:39.507" LastActivityDate="2014-04-10T15:06:39.507" Title="Recording in a training room with upside camera mount from the top" Tags="|recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10559" PostTypeId="1" AcceptedAnswerId="17815" CreationDate="2014-04-10T07:32:14.597" Score="1" ViewCount="389" Body="&lt;p&gt;Sorry if my question is too noobish, this is my first question.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;What I have is:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;An mp4 movie with a video stream and an audio stream.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;What I want in the output:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Is an mp4 file containing: the same video stream + the same audio stream + &lt;strong&gt;the same video stream with a lower bit-rate&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone please tell me the appropriate &lt;strong&gt;ffmpeg command?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="5795" LastActivityDate="2016-03-02T12:36:47.553" Title="Putting a Lower bitrate of my video stream in my current mp4 container" Tags="|ffmpeg|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10560" PostTypeId="1" CreationDate="2014-04-10T09:45:58.863" Score="2" ViewCount="105" Body="&lt;p&gt;I have a bizarre sound synchronization problem which I am really puzzled with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recently recorded an interview with the video camera capturing the sound of the interviewed and an external sound sound capture for the interviewer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When editing it with &lt;code&gt;Adobe Premiere CS6&lt;/code&gt; I started by synchronizing the start of the interview since both recordings started a few seconds apart. So far so good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, one of the recordings was lagging and at the end of the recording (lasting around 25 minutes) where I found a delay of more than one second on one of the sound tracks. So I found a sync point and used the &lt;code&gt;rate stretch tool&lt;/code&gt; to adjust one of the tracks to match the other and since beginning and ending were synchronized (I checked) all was fine... Or at least so I thought.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I started editing further I realised that towards the middle of the recordings there was further de-synchronization. It is like the lagging and speed-up of sound is non linear; like an accordion...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone experienced this before? What causes it? How can it be corrected other than cutting everything in smaller chunks and adjusting them one by one?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for any help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: I have also posted this same &lt;a href=&quot;https://sound.stackexchange.com/questions/28138/sound-sync-problem&quot;&gt;question on Sound Design beta&lt;/a&gt; since I laster realised it relates more to sound than to video.&lt;/p&gt;&#xA;" OwnerUserId="5710" LastEditorUserId="-1" LastEditDate="2017-04-13T12:59:01.503" LastActivityDate="2014-05-10T14:29:26.033" Title="Sound sync problem" Tags="|premiere|audio|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10561" PostTypeId="1" AcceptedAnswerId="10564" CreationDate="2014-04-10T13:51:54.483" Score="2" ViewCount="58" Body="&lt;p&gt;If I use music, that is released under Creative Commons Share Alike license as background for my video, does that fact cause whole video to be derivative work, thus requiring it to be released also under CC-SA license?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can soundtrack and video be treated as two separate works (if they are contained and released as single file)? Can different license be attached to image and sound?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's obvious to me, that if soundtrack music is licensed under CC BY-NC-SA (Creative Commons, Attribution, Non-commercial, Share Alike), whole work cannot be used commercially, because that would break the Non-commercial clause of soundtrack. And then I would like to release video part with ND (No Derivatives) clause, so it could only be used unaltered.&lt;/p&gt;&#xA;" OwnerUserId="5416" LastEditorUserId="5416" LastEditDate="2014-04-10T14:29:27.643" LastActivityDate="2014-04-10T15:17:24.087" Title="Does music under CC-SA license require the same license for video?" Tags="|copyright|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10562" PostTypeId="2" ParentId="10558" CreationDate="2014-04-10T14:02:58.737" Score="1" Body="&lt;p&gt;You can record video upside down, and then flip it using PC software. Eg. Avidemux, which is freeware can flip videos. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For sports or action, GoPro Hero is very good camera. I can stream to PC or Mac. It also can record upside down. And there are a lot of accessories to mount it in many places. &lt;/p&gt;&#xA;" OwnerUserId="5416" LastActivityDate="2014-04-10T14:02:58.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10563" PostTypeId="2" ParentId="10560" CreationDate="2014-04-10T14:13:44.013" Score="1" Body="&lt;p&gt;The most common cause of this kind of asymmetric drift is dropped frames.  With older equipment, there were sometimes inconsistencies in the internal clocks that would result in issues that time didn't flow at a consistent rate between samples, but most decent modern hardware, while it may have slightly different rates, is inherently stable at that rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Dropped frames, however, upset this balance.  With a dropped frame, data is missing or delayed for an instance of time and that gap has to be absorbed.  Frequently, that is absorbed by simply pretending the frame didn't occur.  When this happens however, sync is lost with any other source that did not also drop a frame at that same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It can be quite a pain to deal with since you don't necessarily know where exactly the frames were dropped and need to resync on either side of a dropped frame.  This is why it is best to ensure your recording equipment has fast enough cards and processing to avoid dropped frames in the first place.  They are a major nuisance and even one dropped frame is often enough to cause a shot to be re-captured or re-shot if detected at a time when it is possible.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-10T14:13:44.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10564" PostTypeId="2" ParentId="10561" CreationDate="2014-04-10T15:17:24.087" Score="1" Body="&lt;p&gt;From the &lt;a href=&quot;http://creativecommons.org/licenses/by-sa/4.0/legalcode&quot; rel=&quot;nofollow&quot;&gt;by-sa legal terminology&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Section 1 – Definitions.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Adapted Material means material subject to Copyright and Similar Rights that is derived from or based upon the Licensed Material and in which the Licensed Material is translated, altered, arranged, transformed, or otherwise modified in a manner requiring permission under the Copyright and Similar Rights held by the Licensor. &lt;strong&gt;For purposes of this Public License, where the Licensed Material is a musical work, performance, or sound recording, &lt;em&gt;Adapted Material is always produced where the Licensed Material is synched in timed relation with a moving image.&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In other words, using it as a sound track in a video makes the video a derivative work and requires share-alike unless that provision of the license is unenforceable in your local jurisdiction.  (ie, still see a lawyer, but you most likely must share alike the video.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-10T15:17:24.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10565" PostTypeId="1" CreationDate="2014-04-11T02:07:32.417" Score="1" ViewCount="14" Body="&lt;p&gt;Opening a clip from the browser and ganging it with the Timeline, then playing the timeline, only results in the Viewer being updated when playback stops. The only real-time ganging you get is when you are scrubbing clips. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way around this, or is it just not possible and/or only possible with multicam clips?&lt;/p&gt;&#xA;" OwnerUserId="3875" LastActivityDate="2014-04-11T02:07:32.417" Title="In Final Cut Pro 7, is there a way to playback a Ganged Browser clip in real time with the Canvas/Timeline?" Tags="|final-cut-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10566" PostTypeId="1" CreationDate="2014-04-11T15:33:15.210" Score="1" ViewCount="139" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/sDsn4TyUDm0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I recreate the effect in the video above?  Having multiple camera frames blended together in a live stream  Preferably better.  I need some kind of video encoder that can stream to my FMS.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions would be greatly appreciated.  &lt;/p&gt;&#xA;" OwnerUserId="5788" LastEditorUserId="5788" LastEditDate="2014-04-11T19:59:30.927" LastActivityDate="2014-04-12T16:14:05.590" Title="What kind of video encoder can do this? Blend multiple video frames together live" Tags="|video-editor|software-recommendation|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10567" PostTypeId="1" CreationDate="2014-04-11T21:25:37.090" Score="2" ViewCount="386" Body="&lt;p&gt;I am using after effects and I want to place a drawing of a character behind a person in the video footage to make it look like the character is standing in the distance behind the person in the film. Is that possible? I have been thinking about masking but the video is treated as one object and not separate objects.&lt;/p&gt;&#xA;" OwnerUserId="5798" LastActivityDate="2014-05-12T14:39:51.077" Title="Superimposing 2d photoshop cartoon into video footage" Tags="|after-effects|editing|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10568" PostTypeId="1" CreationDate="2014-04-11T21:31:06.273" Score="1" ViewCount="4062" Body="&lt;p&gt;After I finish my project in Adobe After Effects I export the project to Adobe Media Encoder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I choose the default setting Youtube HD 1080p 29.97. After render all the video I get no sound on the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help?&lt;/p&gt;&#xA;" OwnerUserId="5799" LastActivityDate="2015-10-22T12:32:01.650" Title="Adobe Media Encoder CC - No output sound" Tags="|after-effects|adobe|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10569" PostTypeId="2" ParentId="10568" CreationDate="2014-04-12T01:48:12.313" Score="2" Body="&lt;p&gt;Often by default the Audio Output checkbox is not checked in After Effects.  When you go to add the composition to the render queue, make sure Audio Output is checked.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-12T01:48:12.313" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10570" PostTypeId="2" ParentId="10567" CreationDate="2014-04-12T14:22:23.487" Score="1" Body="&lt;p&gt;You will need to create 2 layers, one with the foreground person and one with the background, with the animation in between. Since you only have the one layer, you need to duplicate it, and send one copy to the front. You then have to remove everything except the foreground from the front copy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How you do this will depend on your footage. I'm assuming you haven't shot against a green screen, so just keying out the foreground character (using something like Keylight) isn't going to work, unless you're lucky enough that the character happens to be standing in front of a well-lit object of a flat contrasting colour. In that case you'll have to rotoscope.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, welcome to the world of rotoscoping, roto to its friends, except it doesn't have friends because it sucks. Basically rotoscoping means animated tracing of live footage. Disney pioneered it for their early hand drawn animation, but today it mostly means manually creating an animated matte.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have AE CS5+ you'll have the &lt;a href=&quot;http://tv.adobe.com/watch/after-effects-cs5-feature-tour/rotoscope-with-rotobrush/&quot; rel=&quot;nofollow&quot;&gt;roto brush&lt;/a&gt; tool, which is like the magic wand from Photoshop, but it follows movement over time. Often it can do the heavy lifting and get you a nice clean foreground and background plate. Here's a link for the &lt;a href=&quot;http://helpx.adobe.com/after-effects/using/roto-brush-refine-matte.html&quot; rel=&quot;nofollow&quot;&gt;CS6 version&lt;/a&gt;, and they've given it some more love for CC with it's own &lt;a href=&quot;https://helpx.adobe.com/creative-cloud/tutorials/videos/aftereffects-refine-edge-effects-cc.html?product=aftereffects&amp;amp;path=whats-new&quot; rel=&quot;nofollow&quot;&gt;refine edge tool&lt;/a&gt;. If you watch the Adobe videos it looks like a walk in the park, but unfortunately it doesn't always work like it says on the can. If your foreground and background are similar in colour, or are very detailed or grainy using roto brush might actually take longer than doing it by hand, because the matte will start to wander and it can be hard to convince it to go where you want it to go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So your plan C is doing it by hand, which is a whole bunch of fun. My advice: get comfortable. I always use a graphics tablet when I'm doing roto, at least make sure you've got a good mouse, and a well set up workstation. Get some music playing or listen to a podcast or the radio. This may help stop you going insane. Now the important stuff is organised it's time to get to work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, play through the action. Try to analyse the movement, breaking it down into separate parts. If the character is walking for example, you might want a separate mask for each leg, to avoid having to create and destroy masks and handles as the legs cross over each other. The same for arms and hands. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you need to start drawing your masks. Do NOT start tracing frame by frame, that way is the short road to pain. Draw the mask around the foreground element you're starting with at the start of the shot, and then jump to the end of the shot and move all the points in the mask so that they are match up to where they were at the beginning - for example if there's a point on the end of the character's nose n the first frame, try and put the same point on the end of the characters nose in the last shot. Wait - you did set a keyframe for that first mask didn't you? I forget at least once every roto session. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ok so if you play the shot back now you'll see that the mask starts out right, gets progressively wrong, and then goes back to being right. Find the point at which it is the &lt;em&gt;most&lt;/em&gt; wrong and correct it, creating a new keyframe. Sometimes you'll need to create new mask handles, don't worry, AE interpolates them well, though deleting handles can be problematic. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now play between your first and second keyframe, find where the mask is furthest out of whack, stop and add a keyframe there, and the same for the section between the second keyframe and last keyframe. And repeat, putting in-between keyframes where the mask is most out of line. You'll find that as you progress the mask will start getting closer and closer to where it needs to be, even on the in-between bits, until you're correcting very small errors. You may well have to keyframe every frame, depending on the shot, but doing it this way will mean that the computer is doing most of the work for you, compared to starting at the beginning and working frame by frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Remember that with AE if there is a single handle that has to be tweaked then it will create a new keyframe for the whole mask. So make sure the whole mask is right each time you make  anew keyframe. If you just concentrate on one bit and then realise after you've set keyframes for your whole shot that one handle is a couple of pixels off you'll have to edit each one of them again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another tip is to work in the layer window rather than the comp window. this will speed up the rendering, and avoid accidental clicks on other layers. I usually turn off the mask rendering (in the view options at the bottom of the layer window) because it lets me see what's happening outside the mask as well as speeding up display.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-04-12T14:22:23.487" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10571" PostTypeId="2" ParentId="10566" CreationDate="2014-04-12T16:14:05.590" Score="3" Body="&lt;p&gt;While there are video encoders that do this kind of thing, most commonly this is the work of a video switcher or mixer.  A video switcher is a device used for mixing live video from multiple sources.  The bad news is they generally aren't cheap.  An HD capable switcher is typically in the $6000+ range with the absolute cheapest one I know of  being the Black Magic Design Studio ATEM which is $1000 and requires use of a software interface to control it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The switcher then would output the final composite video that would go in to an encoder to be sent out, or in some newer cases, may even provide encoding functionality itself (such as the previously mentioned ATEM Studio).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, you probably can find software that will attempt to do the scaling and encoding operation on the fly, but it is going to require quite a beefy computer to pull it off and you'd likely end up spending more than the $1000 for the ATEM Studio to build a powerful enough system to handle it with any high level of quality.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-12T16:14:05.590" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10572" PostTypeId="1" CreationDate="2014-04-13T02:24:26.820" Score="3" ViewCount="363" Body="&lt;p&gt;In Photoshop, I have prepared a scene to be animated in FCPX. I just selected a part of the clouds and copied into a separate layer, with 10px feather to avoid rough edges. However, when I import the same PSD into FCPX, the feather becomes a black halo. Anyone know how to fix this?&#xA;See examples below:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/KpsoV.png&quot; alt=&quot;Photoshop&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/C9gtA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3486" LastActivityDate="2014-04-14T14:19:57.480" Title="Black halo / ghosting on transparent layered PSD file imported into FCPX" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10574" PostTypeId="2" ParentId="10572" CreationDate="2014-04-14T14:19:57.480" Score="2" Body="&lt;p&gt;As Final Cut Pro is not made by Adobe, it does not have the same exact processing engine for dealing with the effects in a PSD.  This appears to be an artifact of the difference in processing between the systems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To work around this, I would recommend exporting the components as TGA or some similar file format that has alpha support.  Simple alpha blending is far more likely to blend in a predictable manner between applications.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-14T14:19:57.480" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10575" PostTypeId="2" ParentId="10538" CreationDate="2014-04-15T01:58:50.943" Score="0" Body="&lt;p&gt;I don't have any indication from your post as to what subject matter you are recording and how much experience you have with video production. I'm going to assume that you are recording live action and from a distance. The best you can do is put the camera on a tripod as close to the action as you safely can, zoom it wide as possible, and keep the camera as steady as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The unfortunate truth is that ultimately the best way to get steady footage is to record steady footage. Beyond this, however, there are plugins in many non-linear editors to fine-tune the stabilization. I've had decent results with the stabilization plugin in Sony Vegas. Some folks use After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I do is I record lots of footage, use short clips where they're the most steady, throwing out pretty much all footage that's even slightly shaky. Usually, I can tell the story well enough without the shakier footage.&lt;/p&gt;&#xA;" OwnerUserId="5814" LastActivityDate="2014-04-15T01:58:50.943" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10577" PostTypeId="1" CreationDate="2014-04-15T12:46:53.027" Score="1" ViewCount="18" Body="&lt;p&gt;How can i apply ken burns to zoom in and out ? it can only either zoom in or out then move to the second clip &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to zoom into specific target then zoom back in to make it fit to the next clip&lt;/p&gt;&#xA;" OwnerUserId="5815" LastActivityDate="2014-04-15T14:40:47.743" Title="FCPX ken burns zoom in and out" Tags="|final-cut-pro|final-cut-pro-x|" AnswerCount="0" CommentCount="0" FavoriteCount="0" ClosedDate="2014-04-26T17:48:22.120" ContentLicense="CC BY-SA 3.0" />
  <row Id="10578" PostTypeId="2" ParentId="8651" CreationDate="2014-04-15T14:40:47.743" Score="4" Body="&lt;p&gt;Don't use the Ken burns effect.  Animate the transform controls, setting keyframes for scale and x/y position.  By default, the keyframes will ease in and ease out, giving you a Ken Burns like effect, but you'll be able to control it more precisely.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-04-15T14:40:47.743" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10579" PostTypeId="1" CreationDate="2014-04-16T03:11:18.867" Score="1" ViewCount="7471" Body="&lt;p&gt;I have a video of smoke shot against a black background. I would like to make the background transparent so the smoke shows over the video in the background. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I originally tried &lt;code&gt;Remove Matte&lt;/code&gt; but that didn't seem to have any effect on the smoke video. I then tried &lt;code&gt;Color Key&lt;/code&gt; and I was left with what you see below. (Original smoke is on left, the &quot;keyed&quot; version is on the right.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/9ORBX.jpg&quot; alt=&quot;Screenshot of Smoke&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using Adobe Premier Pro CC (v7.2.1). What is the best way to cleanly remove the black background while leaving the smoke. The goal is to have the smoke over the background video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am a novice at this so please use clear instructions. If an option is buried in a menu, please tell me which menu. What I have tried has come directly from the Premier's Effects Panel.&lt;/p&gt;&#xA;" OwnerUserId="3270" LastActivityDate="2014-04-22T16:26:07.117" Title="Keying Out Smoke Against a Black Background" Tags="|premiere|chromakey|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10580" PostTypeId="1" CreationDate="2014-04-16T13:27:29.473" Score="1" ViewCount="84" Body="&lt;p&gt;A DVD was given with a .nrd file alone on it (Nero was used to burn videos from a camcorder to the DVD).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to recover the video and convert to a mpeg format? Assume acquiring software is not a problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried using Nero Burning ROM 2014, but cannot see an option to convert to mpeg format.&lt;/p&gt;&#xA;" OwnerUserId="5820" LastActivityDate="2014-05-16T14:57:01.437" Title="DVD burned through Nero has only .nrd file" Tags="|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10581" PostTypeId="2" ParentId="10373" CreationDate="2014-04-16T13:52:48.133" Score="2" Body="&lt;p&gt;Rendering in 1080p takes up more resources than 720p, so it is normal that your render is slower than usual, even though your new hardware is superior. 1280x720 = 921600 pixels per frame, 1920x1080 = 2073600 pixels per frame. The software has to render 2.25x the amount of pixels per frame, so you can expect it to take about twice as long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the 770 GTX has 1536 CUDA Cores, the 260 GTX has 192, so your new graphics card is far superior for video rendering. In theory it should be a lot faster for video rendering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on your version of Sony Vegas, you can enable CUDA for your Nvidia graphics card, this should increase the speed. Go to Options &gt;&gt; Preferences... and go to the video tab. In version 12.0 there's a dropdown menu labeled &quot;GPU acceleration of video processing&quot;. Set the value of the dropdown value from &quot;Off&quot; to your Graphics Card (&quot;NVIDIA Corporation (GeForce GTX 770)&quot;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're not using 12.0, it comes down to selecting the right render settings in the Render As... menu. Since you're uploading to YouTube, I recommend rendering as Sony AVC (.m2ts) and selecting the template 'Internet 1920x1080-30p'. The ratio rendering time to video length should be about 1:1. Still, Sony Vegas 12 had a lot of updates regarding GPU acceleration and rendering in general, so consider upgrading.&lt;/p&gt;&#xA;" OwnerUserId="5821" LastEditorUserId="5821" LastEditDate="2014-04-16T13:57:51.217" LastActivityDate="2014-04-16T13:57:51.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10582" PostTypeId="2" ParentId="10580" CreationDate="2014-04-16T14:28:13.067" Score="1" Body="&lt;p&gt;I believe NRD is Nero's version of ISO.  Someone likely created the NRD file when authoring the DVD and rather than burning the NRD file to the disk, they burned the file itself on to a disk.  Try doing a burn image with Nero Burning Rom and select the NRD file as the image.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-16T14:28:13.067" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10583" PostTypeId="1" CreationDate="2014-04-16T15:46:13.400" Score="0" ViewCount="237" Body="&lt;p&gt;I would like to make a video showing a possible interaction with Google glass. I have worn it once and don't even have one. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I am thinking now is to use &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/i73-y4GxdDQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; an iphone 3d printed headmount attachment with gopro headmount&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want the video to be as natural as possible (that it looks like shot from a glass close to eyes)&#xA;example:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/m1QqenvfzZI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/-sSsRIhVYB4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/39W6CMpdGsM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your suggestions&lt;/p&gt;&#xA;" OwnerUserId="5822" LastActivityDate="2014-04-18T16:13:15.887" Title="Google glass sample video" Tags="|video-recording|" AnswerCount="2" CommentCount="3" ClosedDate="2015-02-24T23:01:15.883" ContentLicense="CC BY-SA 3.0" />
  <row Id="10584" PostTypeId="2" ParentId="10583" CreationDate="2014-04-16T16:46:21.707" Score="2" Body="&lt;p&gt;There's several techniques you can use to emulate Google Glass' eyesight videos. The next best thing would probably be to buy a pair of camera (sun-)glasses. Judging by what you're trying to achieve, your best option is to buy any camera from &lt;a href=&quot;http://pivothead.com/&quot; rel=&quot;nofollow&quot;&gt;pivothead&lt;/a&gt;, they all film full-HD 30fps video. Other options include the &lt;a href=&quot;http://sunnycamglasses.com/&quot; rel=&quot;nofollow&quot;&gt;SunnyCam Glasses&lt;/a&gt; and the &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B00CB25RCQ&quot; rel=&quot;nofollow&quot;&gt;iVUE Camera Glasses&lt;/a&gt;. There's also the &lt;a href=&quot;http://www.zealhd.com/&quot; rel=&quot;nofollow&quot;&gt;Zeal HD Goggles&lt;/a&gt;, but those are probably impractical in temperate environments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatives include the &lt;a href=&quot;http://gopro.com/cameras&quot; rel=&quot;nofollow&quot;&gt;GoPro Hero 3&lt;/a&gt; (Head-mounted camera, as you suggested), the &lt;a href=&quot;http://contour.com/products/contourroam2&quot; rel=&quot;nofollow&quot;&gt;ContourROAM2&lt;/a&gt; (Waterproof) and the &lt;a href=&quot;http://www.braun-phototechnik.de/en/products/detail/~id.908/BRAUN-SIXZERO-Digital-Video-Camera.html&quot; rel=&quot;nofollow&quot;&gt;Braun SixZero&lt;/a&gt; (or any other head/helmet-mounted camera). If you're on a tight budget you might want to manufacture some sort of head-mounted camera yourself.&lt;/p&gt;&#xA;" OwnerUserId="5821" LastActivityDate="2014-04-16T16:46:21.707" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10585" PostTypeId="2" ParentId="10579" CreationDate="2014-04-16T18:06:26.707" Score="4" Body="&lt;p&gt;First off, you would normally use After Effects for special effects such as Chroma Keying. That being said, Premiere Pro is capable of chroma keying quite decently. Here's an example using &lt;a href=&quot;https://www.youtube.com/watch?v=o3YC2h8RGI4&quot; rel=&quot;nofollow noreferrer&quot;&gt;free smoke effects by JohnnyFXEffects&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Set up your scene as you usually would, and then go to the 'Effects' tab. (1) From the 'Keying' folder, select the 'Chroma Key' option. (2) Simply drag and drop it onto your smoke video file. (3)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/QczeN.png&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next, select your smoke clip by clicking it, and go to the 'Effect Controls' tab in the upper left workspace. (1)  Expand 'Chroma Key' (2) and click the eyedropper icon in the same column as &quot;Color&quot;. (3) Next, select the color you want to chroma key away by clicking in an area of your video with that color. (4)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/BQ7xy.png&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keep fiddling with your Chroma Keying settings untill you get the desired result. I found that setting similarity to around 7,5% (1) and Cutoff to around 50,0% (2) gave me a decent result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/gIxAY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Optionally add a few more video effects untill you get the desired result.&lt;/p&gt;&#xA;" OwnerUserId="5821" LastActivityDate="2014-04-16T18:06:26.707" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10586" PostTypeId="2" ParentId="1959" CreationDate="2014-04-16T18:48:15.700" Score="3" Body="&lt;p&gt;The best rendering options greatly depend on what you're using the video footage for. Here's a few great options sorted by purpose:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;YouTube&lt;/strong&gt; - Videos uploaded to Youtube in 1080p&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Sony AVC with the template 'Internet 1920x1080-30p'&lt;/li&gt;&#xA;&lt;li&gt;MainConcept MPEG-2 with the template 'HDV 1080-24p'&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;NTSC Video&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;MainConcept MPEG-2 with the template 'DVD NTSC' (for burning to DVD)&lt;/li&gt;&#xA;&lt;li&gt;MainConcept MPEG-1 with the template 'VCD NTSC' (for Video CDs)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;PAL Video&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;MainConcept MPEG-2 with the template 'DVD PAL' (for burning to DVD)&lt;/li&gt;&#xA;&lt;li&gt;MainConcept MPEG-1 with the template 'VCD PAL' (for Video CDs)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Blu-Ray&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;MainConcept MPEG-2 with the template 'Blu-ray 1920x1080-24p, 25 Mbps video stream' (For better quality video)&lt;/li&gt;&#xA;&lt;li&gt;Sony AVC with the template 'Blu-ray 1920x1080-24p, 16 Mbps video stream' (For faster rendering)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Other&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video for Windows with the template 'HD 1080-24p YUV' (The most common file format for videos on Windows OS', but far less fast in rendering, and larger in filesize. I recommend using Sony AVC over this.)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;All of these options will render a 20 minute video well within 7 hours, even on sluggish hardware. MPEG-1, MPEG-2 and Sony AVC wil probably require a seperate codec. These codecs are included in Quicktime, but also in other codec packs such as &lt;a href=&quot;http://www.videolan.org/vlc/&quot; rel=&quot;nofollow&quot;&gt;VLC&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="5821" LastActivityDate="2014-04-16T18:48:15.700" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10587" PostTypeId="2" ParentId="10551" CreationDate="2014-04-16T20:04:36.153" Score="3" Body="&lt;p&gt;Copied from the Tascam manual:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Analog audio input/output ratings&#xA;MIC/EXT IN jacks (supporting plug-in power)&#xA;Connector: 1/8” (3.5 mm) stereo mini&#xA;Input impedance: 25 kΩ&#xA;Nominal input level: –20 dBV&#xA;Maximum input level: –4 dBV&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This Tascam doesn't even take nominal consumer level without distorting (-10dBV). &#xA;Most likely on an RCA output from a mixer you'll have -10dBV, so you'll need to pad the level by at least 10 dB (nearly 22dB if the DJ mixer outputs professional +4dBu).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, the Tascam lets you trim level before recording, so it looks like all the pad you need is in the Tascam itself.&#xA;Just make sure you set that beforehand to a level around the -12dB mark on the Tascam's meters and that you take out the Auto Gain, which always ruins levels. Check the manual which explains how to do these clearly.&lt;/p&gt;&#xA;" OwnerUserId="5826" LastActivityDate="2014-04-16T20:04:36.153" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10588" PostTypeId="2" ParentId="10579" CreationDate="2014-04-16T20:13:33.383" Score="5" Body="&lt;p&gt;While chroma-keying is a good technique for dealing with solids, it doesn't work so well when dealing with transparent or semi-transparent objects.  Because the difference can be very subtle, you want to copy the difference instead or blend off luminance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Premiere, you can use the Set Matte effect to set a track as a luminance matte.  In the case of the sample of smoke from mmphilips post, the luminance was a bit low so I put it in a separate sequence and used curves to boost the overall luminance.  I then placed the matte on Video 3 and made it invisible.  I then placed the Set Matte effect on Video 2, pointed it at Video 3 and specified that it should use Video 3 as the matte.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/fekDP.jpg&quot; alt=&quot;Premiere&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The same thing can be accomplished in After Effects in a similar manner.  Again two copies are placed on the composition and the top most is made invisible.  The modes option toggles is clicked to bring up the proper controls and luminance is chosen for the second layer so that the third layer is used as a matte.  As shown, I applied curves to the third layer directly to make it blend more naturally.  Note that in this screen shot I actually inverted the matte layer and thus used inverted luminance, but those steps aren't necessary, I just made an error while getting it working and didn't bother to correct it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/etGw2.jpg&quot; alt=&quot;After Effects&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note how this results in much smoother results than a luminance key or chroma key since a luma or chroma key makes a hard cut off and is not able to do alpha blending based on the intensity of the smoke.  Smoke however is somewhat transparent and you want to be able to see through it where it is darker.  That's why this blending technique works.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-04-17T03:04:56.597" LastActivityDate="2014-04-17T03:04:56.597" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10589" PostTypeId="1" CreationDate="2014-04-16T21:25:43.800" Score="0" ViewCount="7927" Body="&lt;p&gt;I have a pre-recorded video file of a sport game and I need to add a scoreboard on top of it. Imagine a basketball game where the score is changing dynamically and quite often so there are a lot of modifications that must be done on the scoreboard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to find a painless way to do it as using something like Adobe Premiere, for example, would require a creation of a separate title/label for each change in the score board and then a lot of back and forth deleting and adding new titles on the sequence line. It's doable but it takes a lot of time and I'd rather have a tool that would allow me to do it in real time while watching the video. Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="5463" LastActivityDate="2015-04-24T13:39:44.183" Title="How to add a scoreboard to a pre-recorded video file" Tags="|video|video-editor|subtitles|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10590" PostTypeId="1" CreationDate="2014-04-17T01:06:41.957" Score="2" ViewCount="401" Body="&lt;p&gt;I'm trying to set up a system where a presenter gives short presentations (typically 60 seconds) in front of a backdrop on a daily basis, with the files being ultimately destined for the web.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The limiting factor here though is that ideally the system should be operable by the presenter only - no technical or production staff will necessarily be available to help. So what I'd like is a way for the capture to be triggered remotely by the presenter standing in front of the camera (by a foot switch most likely, but I'm open to other options), and the take will then be recorded to file on the associated capture PC, and will stop after a pre-defined time (60 seconds, 90 seconds, etc). If it's not possible to set a timer, we do have the ability to use a hardware timer device which will send a serial signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The studio is all set up and ready, the only missing link is the actual capture solution. We were looking initially at the Aja Ki Pro Rack, but it doesn't make it particularly easy to get at the files - the device has to be put into a different mode, and the files have to be downloaded either through a web interface, or by removing the hard drives and copying the files to the PC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then we were looking at various BlackMagic devices, such as the H264 Pro Recorder, but I couldn't see how I could remotely trigger the capture using the bundled MediaExpress software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm open to using alternate software such as Final Cut or Premiere. Does anyone know of a solution that will let me trigger a remote capture with no human operator sitting at the PC, ideally with the ability to set a timer to stop the record as well?&lt;/p&gt;&#xA;" OwnerUserId="5827" LastActivityDate="2014-04-30T17:19:50.043" Title="Looking for a solution to remotely control timed video capture" Tags="|software-recommendation|full-hd|capturing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10591" PostTypeId="1" AcceptedAnswerId="10594" CreationDate="2014-04-17T08:40:01.277" Score="0" ViewCount="534" Body="&lt;p&gt;I am new to video editing. I have been using iMovie and there is a preset video intro with a space-theme that I like but i want to edit the intro itself which the iMovie software won't allow me to do. What steps can I take to create the intro myself?&lt;/p&gt;&#xA;" OwnerUserId="3813" LastActivityDate="2014-04-17T12:35:07.497" Title="How do I make a space themed video intro?" Tags="|video|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10592" PostTypeId="1" AcceptedAnswerId="10593" CreationDate="2014-04-17T11:30:27.167" Score="2" ViewCount="5373" Body="&lt;p&gt;I have my own YouTube channel that I am currently developing graphics for. I use Adobe Photoshop CC to create the graphics and I have been using a trial of Premiere Pro for video editing and I love it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I'm lucky enough to of got Photoshop on a year contract cheap from a special offer on Adobe but Premiere Pro will cost me twice as much each month for a year. I've seen Pinnacle Studio 17 Ultimate Movie Editor in a local store for £75 and that's a one-off cost.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is: would I be able to use Pinnacle Studio as well as I used Premiere Pro?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Needs:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Accepts video formats that Premiere Pro does including .MP4&lt;/li&gt;&#xA;&lt;li&gt;Multiple video &amp;amp; audio layers&lt;/li&gt;&#xA;&lt;li&gt;Adjust position and size of separate layers&lt;/li&gt;&#xA;&lt;li&gt;Chroma key&lt;/li&gt;&#xA;&lt;li&gt;Accept .psd files (if possible)&lt;/li&gt;&#xA;&lt;li&gt;Change audio layer volumes independently&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5829" LastEditorUserId="5821" LastEditDate="2015-09-17T12:08:27.420" LastActivityDate="2015-09-17T12:08:27.420" Title="Pinnacle Studio 17 vs Adobe Premiere Pro CC" Tags="|premiere|adobe|studio|pro|pinnacle|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10593" PostTypeId="2" ParentId="10592" CreationDate="2014-04-17T12:24:12.427" Score="2" Body="&lt;p&gt;Both Pinnacle Studio 17 and Premiere Pro CC will suit the needs you listed, but only Premiere Pro accepts .psd files, Pinnacle Studio does not. Furthermore, Premiere Pro has an option to directly export frames to Photoshop, edit them there, and import them back to Premiere Pro. That sounds like a feature you will find useful.&lt;/p&gt;&#xA;" OwnerUserId="5821" LastActivityDate="2014-04-17T12:24:12.427" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10594" PostTypeId="2" ParentId="10591" CreationDate="2014-04-17T12:35:07.497" Score="2" Body="&lt;p&gt;First up you'll have to upgrade to a different Video Editing program that has more support for the custom effects that you'll need to create an intro. For professional-looking video intros, I recommend using Adobe After Effects. Premiere Pro, Sony Vegas Pro and Pinnacle Studio are also viable options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you're new to video editing, I recommend looking for some tutorials on what you're trying to achieve. I found this tutorial on YouTube which seems to fit your description:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/1bVi4B_kZ24?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take what you learned from watching tutorials, and use it to create the intro you that suits you.&lt;/p&gt;&#xA;" OwnerUserId="5821" LastActivityDate="2014-04-17T12:35:07.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10595" PostTypeId="2" ParentId="10592" CreationDate="2014-04-17T13:50:42.777" Score="1" Body="&lt;p&gt;Both options will achieve most of what you need (possibly not PSDs, but you can use transparent TGAs exported from Photoshop), however Premiere Pro is a far more powerful and professional option.  If you don't like the idea of subscribing, I believe Premiere Pro CS6 is still available for one time purchase.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, Sony's Vegas Pro is also a highly capable professional level software NLE if you want to really maintain the feel and level of functionality of Premiere Pro without buying in to a platform that has moved to the rental model.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, I work with Adobe Premiere CS6 and plan to move to Vegas when it gets too old unless Adobe comes to their senses and allows me to buy software again.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-17T13:50:42.777" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10596" PostTypeId="1" AcceptedAnswerId="10597" CreationDate="2014-04-17T15:27:10.167" Score="2" ViewCount="127" Body="&lt;p&gt;I have been using an elderly iMac for FCPX and finally made the move to the new Mac Pro. However, the Mac Pro has pretty lame audio output, so I'm looking for a relatively inexpensive solution that can give me equal or better audio compared to the iMac.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have two fairly decent unpowered 8ohm speakers that I could add a subwoofer to for 2.1 audio monitoring.  Does anyone have suggestions for an amplifier that might take mini toslink jack input? I would like to keep the budget as low as possible.&lt;/p&gt;&#xA;" OwnerUserId="5830" LastEditorUserId="2836" LastEditDate="2014-04-17T15:34:11.077" LastActivityDate="2014-12-10T17:07:04.050" Title="Mac Pro audio for FCPX" Tags="|final-cut-pro-x|mac|monitors|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10597" PostTypeId="2" ParentId="10596" CreationDate="2014-04-17T15:40:58.123" Score="1" Body="&lt;p&gt;Since the speakers are un-powered you will certainly need either an amplifier or a receiver that can handle the Toslink.  Honestly, if you are trying to keep the cost as low as possible, you may have more luck buying new speakers that take digital input.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Toslink input on a receiver is a mid-range feature if not a high end one, so you probably aren't going to find a lot of cheap amps with it and depending on how good the speakers are, it might not cost that much to replace them with a purpose built system. (For example, Behringer makes &lt;a href=&quot;http://www.americanmusical.com/Item--i-BEH-MS40-LIST?src=Y0802G00SRCHCAPN&amp;amp;gclid=CJym5sLt570CFahlOgodZEoAMA&quot; rel=&quot;nofollow&quot;&gt;this set&lt;/a&gt;.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, you could go with a simple analog amp.  Toslink itself is more consumer targeted and probably isn't going to give you that huge of an advantage over an analog output unless the DAC in the MacPro is really poor, though even if it is, when you are working on a budget, you probably aren't going to get a substantially better DAC, so investing instead in a basic clean analog amp might get better overall results.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-17T15:40:58.123" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10599" PostTypeId="2" ParentId="10589" CreationDate="2014-04-17T23:56:46.150" Score="1" Body="&lt;p&gt;Have you ever heard the expression: 'Good, fast and cheap. Pick any two.'?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A good and fast way would be to hire a professional post-production studio capable of layering over the video a scorebdoard graphic, and layering over the graphic a character-generator input. You sit in the chair behind the editor and tell him what scores to input and when. The new edit master would have your scores popping on in sync with the action. This will not be cheap, but you didn't say that you want 'cheap.'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also use a programming environment like Flash to layer-on the scoreboard and add sequential cue-points to the video. Then you'd write some code that would insert the proper score at the proper points.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is, potentially, cheap and good. But you'll need to get some programming skills and that won't be fast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think that a better idea would be to realize that good video work, like all good craft, is NOT painless. Just do the work. And, by the way, Adobe After Effects would make this job almost fun.&lt;/p&gt;&#xA;" OwnerUserId="5600" LastActivityDate="2014-04-17T23:56:46.150" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10601" PostTypeId="2" ParentId="10589" CreationDate="2014-04-18T16:02:43.603" Score="1" Body="&lt;p&gt;Check out Derivative's TouchDesigner. Its a real-time compositing and rendering software that we use in our studios. It's used worldwide for really complex projects, so you could easily make a little patch in that where you could make 2 UI buttons and link those to some incrementing numbers, then composite the numbers onto the video and record it. Then you could watch the video, click the buttons, and have the output at the end when you're done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a visual programming language, so you get the benefits of being able to make simple programs without doing full on programming. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a little difficult to wrap your head around the first time you open it, but there's a very active community that could help you out, and a free, educational licensed version of the software you can use if you're not making any money on the project. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Link to software:&#xA;&lt;a href=&quot;http://www.derivative.ca/&quot; rel=&quot;nofollow&quot;&gt;http://www.derivative.ca/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Link to community forum:&#xA;&lt;a href=&quot;http://www.derivative.ca/Forum/&quot; rel=&quot;nofollow&quot;&gt;http://www.derivative.ca/Forum/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5226" LastActivityDate="2014-04-18T16:02:43.603" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10602" PostTypeId="2" ParentId="10583" CreationDate="2014-04-18T16:13:15.887" Score="1" Body="&lt;p&gt;I have Glass and the camera isn't that great, so you could probably just duct tape your iPhone (in a case so it doesnt get sticky junk all over it) straight the the plastic part of the gopro headmount, and you'd have a better camera. &lt;/p&gt;&#xA;" OwnerUserId="5226" LastActivityDate="2014-04-18T16:13:15.887" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10603" PostTypeId="2" ParentId="9245" CreationDate="2014-04-19T08:19:09.937" Score="2" Body="&lt;p&gt;This can also be accomplished if you have &lt;a href=&quot;http://virtualdubmod.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;VirtualDubMod&lt;/a&gt; and a TextSub provider installed such as &lt;a href=&quot;http://www.videohelp.com/tools/VobSub&quot; rel=&quot;nofollow&quot;&gt;VobSub&lt;/a&gt; or &lt;a href=&quot;http://www.videohelp.com/tools/VSFilter-DirectVobSub&quot; rel=&quot;nofollow&quot;&gt;VSFilter&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To use VobSub, during installation you &lt;strong&gt;must&lt;/strong&gt; select the &lt;strong&gt;Plugins -&gt; TextSub for VirtualDub and Avisynth&lt;/strong&gt; option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To use VSFilter, you must locate the &lt;code&gt;VSFilter.dll&lt;/code&gt; file in the installation directory and copy it to the &lt;code&gt;plugins&lt;/code&gt; folder with the extension changed to &lt;code&gt;.vdf&lt;/code&gt; (e.g. &lt;code&gt;VirtualDubMod\plugins\VSFilter.vdf&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you've installed one of them:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open the .avi file in VirtualDubMod&lt;/li&gt;&#xA;&lt;li&gt;Select &lt;strong&gt;Video -&gt; Filters&lt;/strong&gt; from the menu or press &lt;kbd&gt;Ctrl&lt;/kbd&gt; + &lt;kbd&gt;F&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;li&gt;Click &lt;strong&gt;Add&lt;/strong&gt; and select &lt;strong&gt;TextSub&lt;/strong&gt; from the filters list and press &lt;strong&gt;OK&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;A file navigator should have appeared, select the &lt;code&gt;.srt&lt;/code&gt; file.&lt;/li&gt;&#xA;&lt;li&gt;Optionally, at this point set up the compression under &lt;strong&gt;Video -&gt; Compression&lt;/strong&gt;. Save the merged file with &lt;strong&gt;File -&gt; Save as AVI&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5836" LastActivityDate="2014-04-19T08:19:09.937" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10604" PostTypeId="1" AcceptedAnswerId="10605" CreationDate="2014-04-20T14:28:03.053" Score="1" ViewCount="127" Body="&lt;p&gt;I am looking into a motorized tripod head to use with a standard camcorder and am wondering what people normally do for zoom?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera I am using is a &lt;a href=&quot;http://www.canon.co.uk/For_Home/Product_Finder/Camcorders/High_Definition_HD/LEGRIA_HF_R56/&quot; rel=&quot;nofollow&quot;&gt;Canon HF R56&lt;/a&gt;. (I am not interested in the CT-V1)&lt;/p&gt;&#xA;" OwnerUserId="5540" LastActivityDate="2014-04-20T16:22:30.293" Title="Motorized tripod head with zoom" Tags="|camcorder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10605" PostTypeId="2" ParentId="10604" CreationDate="2014-04-20T16:22:30.293" Score="1" Body="&lt;p&gt;Cameras which support external control of zoom, focus, and iris normally have a port for this purpose.  LANC is the most common, but it appears that your camera doesn't have a LANC port.  According to the documentation to which you linked, the camera supports &quot;remote control &amp;amp; streaming&quot; via WiFi.  If it is at all possible to control your camera's zoom remotely, then it seems that WiFi would be the most likely method.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-04-20T16:22:30.293" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10606" PostTypeId="1" AcceptedAnswerId="10609" CreationDate="2014-04-20T19:50:14.087" Score="1" ViewCount="555" Body="&lt;p&gt;Can someone please explain in detail the technique of encoding and decoding used in mkv video format and what is the major difference between mkv. and other video formats. It will be good if someone provide the link containing technical information regarding mkv video format  Thanks.&lt;/p&gt;&#xA;" OwnerUserId="5838" LastEditorUserId="5838" LastEditDate="2014-04-21T00:53:11.840" LastActivityDate="2014-04-21T00:56:22.433" Title="What is the technique behind mkv. video format?" Tags="|mkv|matroska|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10607" PostTypeId="1" CreationDate="2014-04-20T19:59:47.270" Score="2" ViewCount="923" Body="&lt;p&gt;I have several movie files in a &lt;code&gt;mkv&lt;/code&gt; container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i filename&lt;/code&gt; gives me the following output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0.0(eng): Video: h264 (High), yuv420p, 1280x720, PAR 1:1 DAR 16:9, 23.98 fps, 23.98 tbr, 1k tbn, 47.95 tbc (default)&#xA;Stream #0.1(eng): Audio: dca (DTS), 48000 Hz, 5.1, s16, 1536 kb/s (default)&#xA;Stream #0.2(eng): Subtitle: [0][0][0][0] / 0x0000 (default) (forced)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Unfortunately the file size is pretty big. I was wondering, if there is a way to reduce the file size percentage-wise? Something like: &quot;Reduce file size by 10%&quot;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would prefer command line tools, such as &lt;code&gt;ffmpeg/avconv&lt;/code&gt; or similar?&lt;/p&gt;&#xA;" OwnerUserId="5839" LastEditorUserId="2836" LastEditDate="2014-04-21T13:01:52.157" LastActivityDate="2014-04-21T16:14:39.390" Title="Reduce quality percentage wise" Tags="|ffmpeg|video-quality|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10608" PostTypeId="2" ParentId="8127" CreationDate="2014-04-20T22:16:05.393" Score="2" Body="&lt;p&gt;I'm currently following this tutorial&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/frXQxwMKh6c?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and at 12:44 i think i got the same problem as you did in this situation. When I turned on &quot;Accept lights&quot; my text turned white to my frustration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To fix it I tried experimenting with &quot;Light transmission&quot;. I think this was set to 100% without me knowing, so when i adjusted it, my problem got resolved.&lt;/p&gt;&#xA;" OwnerUserId="5840" LastEditorUserId="2836" LastEditDate="2014-04-21T01:05:08.813" LastActivityDate="2014-04-21T01:05:08.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10609" PostTypeId="2" ParentId="10606" CreationDate="2014-04-21T00:56:22.433" Score="1" Body="&lt;p&gt;This question is a bit nonsensical as Matroska is only a container format, however I think it does bring up a deeper question on how video files work in general.  Matroska doesn't actually define the way anything inside it is encoded or encrypted, it just stores the information that says what was used on the content so it can be decoded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While Matroska does support encrypted content streams, generally video and audio is encoded, not encrypted.  Encoding is when a format is used to store data in a more efficient manner than a simple representation of the data, such as MPEG2, h.264, etc.  Encryption is when a key is used to protect data from unauthorized access or tampering and uses algorithms like DES, 3DES, TwoFish, Blowfish or AES.  In the special cases where video is encrypted, it is also generally still encoded prior to encryption to make it a manageable file size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either way, it is kind of a moot point though, because matroska can use any of a large number of encoders and/or encryptors.  As an open standard, the details of the container format are publicly available on the Matroska website &lt;a href=&quot;http://www.matroska.org/technical/specs/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.  More precisely, &lt;a href=&quot;http://www.matroska.org/technical/specs/codecid/index.html&quot; rel=&quot;nofollow&quot;&gt;this page&lt;/a&gt; describes the different codec formats that are currently suppoted by the container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as the differences between Matroska and other formats, there isn't any meaningful difference.  It is a different way of storing the information about the streams, but the streams themselves are exactly the same as if they were in an AVI, MOV or m4v file (provided they are encoded in a codec that is supported in those containers.)  Transitioning between containers with appropriate tools is a lossless operation as the media stream itself is not materially altered.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-21T00:56:22.433" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10610" PostTypeId="1" CreationDate="2014-04-21T11:48:00.523" Score="5" ViewCount="9775" Body="&lt;p&gt;Shooting videos of Ninjutsu events. Top man insists that there are privacy issues as some of the participants don't want their faces to appear in the resulting video. Would really love to be able to solve this problem because I'm sitting on tons of video that I want to distribute!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Blurring all the faces in the video is not a good solution because first there are the instructors in the the video and second some of the participants would LOVE to see their faces in the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what I was thinking was to blur the faces of those participants who request that their faces be hidden (i.e. opt-out). This means I'd have to be able to tell the software that &quot;this is the face of Dick, Joe and Harry&quot; and have the software identify and blur all occurrences of those faces in the multiple clips of the event. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A less desirable alternative would be to somehow pixelate/blurr/remove everyone EXCEPT for the instructors (i.e. opt-in) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, my question is:&#xA;&lt;strong&gt;Do you know a solution to preserve the privacy of some of the participants in a video?&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a hobby, so preferably the solution would be inexpensive or even free ;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm totally pessimistic - can you surprise me? :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: I ran a test. I figured Google would have the best technology, because of Google Street View. So I uploaded a sample to YouTube and selected to blur all faces. This is a much easier problem than my problem description but the results were very disappointing. First, it was very disconcerting to see the blurred faces but even worse, the blurring was very &quot;temperamental&quot; - sometimes faces were blurred, sometimes they weren't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I figure that if Google can't do it, then  it isn't doable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, and here's the moral of the story: Returned to &quot;Top Man&quot; and mailed him that it can't be done. Return mail was a very surprised &quot;who told you this was an issue&quot;!?! So, the moral of the story is: &quot;Always recheck again and again with the client and re-verify the requirements&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As if we didn't know :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm leaving this question open for a few more days, to solicit answers, and then I'll award the &quot;solution&quot; to the best answer. Thanks for helping!&lt;/p&gt;&#xA;" OwnerUserId="1710" LastEditorUserId="1710" LastEditDate="2014-04-22T20:18:14.427" LastActivityDate="2015-06-30T02:27:30.220" Title="Selectively blur many but not all of the faces in a video" Tags="|video-editor|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10611" PostTypeId="2" ParentId="10607" CreationDate="2014-04-21T16:14:39.390" Score="1" Body="&lt;p&gt;There is no switch to set a file size in percentage but there is the &lt;code&gt;-fs&lt;/code&gt; switch.&#xA;This switch can bet set to let ffmpeg try to get to a specific target file size set in bytes (for example &lt;code&gt;-fs 52428800&lt;/code&gt; to get to 50MB).&#xA;You can write a script that takes the original file size and calculates your new desired file size depending on your specified percentage value and passes that calculated value to the -fs switch.&#xA;The resulting file wont be &lt;em&gt;exactly&lt;/em&gt; at that file size though, ffmpeg will try its best but depending on the source file and your desired file size it wont be possible to reach that file size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even with the worst possible bit rate you can't produce a 20byte sized 720p mkv with 1 hour runtime. You get the idea, there will always be a certain error margin with the resulting file size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you simply want to reduce the file size by a good portion I recommend just using presets. Generally using the normal preset for x264 will give you a lot smaller video with no or very little quality reduction.&#xA;Remuxed or encoded Blu-rays or camera recordings usually have a crazy bitrate which results in these huge file sizes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your case if you are not interested in 5.1 sound you could also convert the 5.1 DTS sound into stero AAC or MP3 sound which will reduce the file size quite a bit aswell without hearable quality loss (for most human beings) in the sound.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-04-21T16:14:39.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10612" PostTypeId="2" ParentId="10610" CreationDate="2014-04-21T16:36:19.277" Score="6" Body="&lt;p&gt;While its technically possible to have a program detect specific faces and apply a blur on that face. That would require a lot of programming work on your side, there is no free tool or low cost tool that does this automatically for you. This is possible with OpenCV but I highly doubt that this is a viable solution for you in any way, it's a quite complicated task and the result will not be 100% reliable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The general workflow of blurring out faces would be to semi automatically track the motion of the faces with a 2D tracker in each clip an apply a blur mask to them.&#xA;The usual go to software for that is Adobe After Effects or other Motion Graphics video applications like Apple Motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both are no free applications and I never heared of free software that implents 2D tracking together with a video editor. Though there are some really cheap amateur video editing suites out there that even implent face recognition but they all work pretty bad and unreliable without giving you much or no control over whats happening.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example: &lt;a href=&quot;http://www.wondershare.com/video-editing-tips/change-face.html&quot; rel=&quot;nofollow&quot;&gt;http://www.wondershare.com/video-editing-tips/change-face.html&lt;/a&gt;&#xA;I highly discourage using such software for any work that goes beyond your average random youtube video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While Adobe After Effects was always unaffordable for hobbyists, Adobe now switched to a subscription based model which makes it very affordable for small projects. You can use the program for free for 30 days (no commercial use) or a monthly subscription for ~30$ depending on the country you live in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recommend After Effects because there are ton of beginner tutorials out there for exactly what you want to do and the tracking workflow is quite straight forward. There is also Apple Motion like already mentioned and Nuke and quite a few other applications though After Effects is available for both Windows and Mac and is the easiest to grasp in my opinion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: I just found out that there is also an automatic face tracker in Adobe Premiere since CS6, this might not yield perfect results but should ease the workflow quite a bit.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-19T16:10:57.280" LastActivityDate="2014-06-19T16:10:57.280" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10613" PostTypeId="2" ParentId="10466" CreationDate="2014-04-21T16:54:01.150" Score="4" Body="&lt;p&gt;Don't underestimate the importance of sound. Viewers will tolerate visual mistakes much more than auditory ones. &lt;br&gt;&#xA;When someone is speaking, background noise needs to be minimized. Remember that background noise sounds much louder on a recording than it does in person. Use a shotgun mic or a lavalier to record dialogue very close to the person speaking. &lt;br&gt;&lt;/p&gt;&#xA;" OwnerUserId="5660" LastActivityDate="2014-04-21T16:54:01.150" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10614" PostTypeId="1" CreationDate="2014-04-22T07:20:13.963" Score="1" ViewCount="2308" Body="&lt;p&gt;I want to play around with slo-mo videos but don't have proper gear for it. Is there a way to get my D5100 to shoot at a high fps (maybe by reducing the video res)?&lt;/p&gt;&#xA;" OwnerUserId="5843" LastActivityDate="2014-04-22T23:06:47.250" Title="What is the max video fps Nikon D5100?" Tags="|video|video-recording|framerate|slowmotion|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10615" PostTypeId="2" ParentId="10614" CreationDate="2014-04-22T15:55:55.430" Score="2" Body="&lt;p&gt;I think you're out of luck. &#xA;Official specs say 30fps max, and I can't find any documentation of a possible hack. &lt;br&gt;&#xA;&lt;a href=&quot;http://www.nikonusa.com/en/Nikon-Products/Product/Digital-SLR-Cameras/25478/D5100.html&quot; rel=&quot;nofollow&quot;&gt;http://www.nikonusa.com/en/Nikon-Products/Product/Digital-SLR-Cameras/25478/D5100.html&lt;/a&gt;&lt;br&gt;&#xA;The most widely distributed slow-mo camera is probably the iPhone 5s-- I bet you could borrow one to play around with.&lt;/p&gt;&#xA;" OwnerUserId="5660" LastActivityDate="2014-04-22T15:55:55.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10616" PostTypeId="2" ParentId="10579" CreationDate="2014-04-22T16:26:07.117" Score="2" Body="&lt;p&gt;The simplest way would be to set the blending mode of the smoke clip to &quot;screen&quot;. You'll find this setting in the &quot;Effect Controls&quot; panel under Opacity. &lt;br&gt;&#xA;Screen basically ignores black. A better description is found on Adobe's site: &lt;a href=&quot;http://helpx.adobe.com/en/photoshop/using/blending-modes.html&quot; rel=&quot;nofollow&quot;&gt;http://helpx.adobe.com/en/photoshop/using/blending-modes.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5660" LastActivityDate="2014-04-22T16:26:07.117" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10617" PostTypeId="1" CreationDate="2014-04-22T16:59:40.173" Score="1" ViewCount="2894" Body="&lt;p&gt;Heres the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When exporting in Adobe Premiere CS5, there is an output tab. Once clicked it should show me what the video will look like when its exported but this is not the case and even when uploaded to youtube it isn't correct. Here are some screen shots to prove what I am talking about. I should add, when looking at the exported version. I have even checked off aspect correction to off and on then on and off. Also, matching sequence settings doesn't work either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ouput Tab&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/4Q2pv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Presets&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/KIKFS.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Clip Settings (Proves its actually in 480)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/GMVTb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally here it is after its exported, how do I fix this. Many suggestions would help. THANKS!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/44HuR.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5847" LastEditorUserId="5847" LastEditDate="2014-04-22T17:24:04.577" LastActivityDate="2014-04-22T23:24:21.507" Title="Vertical Black Bars, Aspect Ratio Problem. NEED A FIX" Tags="|premiere|adobe|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10618" PostTypeId="1" AcceptedAnswerId="10628" CreationDate="2014-04-22T17:19:37.313" Score="2" ViewCount="1935" Body="&lt;p&gt;As a quick demonstration, here's an illustration;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/cCGWr.jpg&quot; alt=&quot;Intersecting masks&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I have two shapes (2 and 3), which intersect (4). I want to animate the position (possibly also scale) of these two shapes, while having footage masked inside each numbered area. The shapes should move independently of the footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've gotten as far as masking the footage for 2 and 3, but the intersection is what makes me scratch my head. Is there a way to do this in After Effects CC without any hand-tooling for a mask for the intersecting area?&lt;/p&gt;&#xA;" OwnerUserId="1810" LastActivityDate="2014-04-22T23:50:47.217" Title="Intersecting animated masks" Tags="|after-effects|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10619" PostTypeId="2" ParentId="10610" CreationDate="2014-04-22T18:45:38.300" Score="2" Body="&lt;p&gt;I'd have to see your footage to come up with a perfect solution, but I do have some ideas that might help. (They're time-consuming. Sorry. At least they're free!)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First thing is to decide on a solution for each SHOT or even each section of a shot.  For example, you might have a shot that starts pretty stationary, then follows a particular person as they move around. For the start of the shot, you may be able to create a single image (using free downloadable software like GIMP) that is mostly transparent, but has black circles that would cover the faces of people that need to be hidding. Then you lay that over the top of that section of the footage, and those people are blocked out. Once the camera starts tracking the person as they move around, you could use free editing software (Mac computers all have iMovie; Windows computers all have Windows Movie Maker) to zoom in on the person, blocking out people behind them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may also find that you have some sections of some shots with nobody in the background! Or the people in the background all don't mind being on camera. Using your free editing software (iMovie or Movie Maker) you can cut those sections out of the shots and add them to your finished video without any further manipulation.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-04-22T18:45:38.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10620" PostTypeId="1" CreationDate="2014-04-22T19:07:53.293" Score="10" ViewCount="45466" Body="&lt;p&gt;I would like to make a YouTube video that has a music visualizer on it (like in Monstercat videos), but I don't want to have to pay for After Effects. Is there a free way to do it? I know I can get the trial, but I want to be able to use it more than 30 days from now. Also, I'm using OS X, so whatever it is can't be Windows only.&lt;/p&gt;&#xA;" OwnerUserId="5848" LastEditorUserId="2836" LastEditDate="2017-02-22T05:55:37.107" LastActivityDate="2022-09-13T10:44:05.227" Title="Graphic music visualizer without after effects?" Tags="|youtube|freeware|" AnswerCount="11" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10621" PostTypeId="2" ParentId="10620" CreationDate="2014-04-22T21:48:58.977" Score="1" Body="&lt;p&gt;According to the &lt;a href=&quot;http://neomam.com/infographics/9-awesome-music-visualizations/&quot; rel=&quot;nofollow&quot;&gt;this article&lt;/a&gt;, iTunes has a music visualizer. You would still need to get screen recording software (unless you want to point a camera at your monitor!). I'm sure that someone has asked about free screen recording software on this forum somewhere.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-04-22T21:48:58.977" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10622" PostTypeId="2" ParentId="10617" CreationDate="2014-04-22T22:50:52.447" Score="1" Body="&lt;p&gt;You have set the wrong pixel aspect ratio (that has nothing do with the aspect ratio of your video resolution). Notice how you're source footage (the mpg file) has a pixel aspect ratio of 1.21 but you export it with a pixel aspect ratio of 0.91. Also your sequence is set to a pixel aspect ratio of 0.91 (that value in parenthesis next to your resolution in the export settings where the source specs are listed).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Change your sequence settings to the same pixel aspect ratio as your source (1.21 or simple the widescreen setting in the drop down menu), aswell as in your export settings. Though your might wanna export with a square pixel aspect ratio of 1:1 which is what youtube prefers. You will have to change the resolution for that though.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-04-22T23:24:21.507" LastActivityDate="2014-04-22T23:24:21.507" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10623" PostTypeId="2" ParentId="10620" CreationDate="2014-04-22T22:58:49.830" Score="2" Body="&lt;p&gt;A free alternative for After Effects is &lt;a href=&quot;http://www.jahshaka.com/download/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Jashaka&lt;/a&gt;. It runs on every plattform and has some decent features. While it wont have the comfort of after effects for creating such an effect its certainly possible.&lt;/p&gt;&#xA;&lt;p&gt;If you just don't want to spend all that much but still willing to pay a small price you can go for Apple Motion which costs 50$ and is a fairly powerful tool for animation and motion graphics for the price.&#xA;&lt;a href=&quot;https://www.apple.com/final-cut-pro/motion/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.apple.com/final-cut-pro/motion/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Also here a tutorial on how make something react to music in Apple Motion: &lt;a href=&quot;http://www.larryjordan.biz/motion-5-make-audio-move-video/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.larryjordan.biz/motion-5-make-audio-move-video/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I personally have not worked in detail with both software so I can not give you guidance for actually creating the animation, expect for this tutorial.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2014-04-22T23:52:56.297" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10624" PostTypeId="2" ParentId="10614" CreationDate="2014-04-22T23:06:47.250" Score="0" Body="&lt;p&gt;The base limitation comes out to 30fps.  MagicLantern (for Canon) and the Lumix GH2 hacks are two of the most advanced hacks out there right now, and neither of them has been able to get faster sampling reliably working beyond what is normally possible.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It really comes down to a basic hardware limitation in terms of how fast data can be moved and how fast the sensor can be read, cleared and reset for the next frame.  If the sensor can't be cleared for the next shot more than 60 times a second, there is no way to get faster than that no matter how low bit rate you go.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-22T23:06:47.250" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10625" PostTypeId="2" ParentId="10417" CreationDate="2014-04-22T23:19:55.013" Score="1" Body="&lt;p&gt;Well the program that encoded the file that works was Apple QuickTime so not much of a suprise that it's working. QuickTime can be a little picky when it comes to mpeg4/h264 encoded files.&#xA;I looked at the files and possible factors are the encoding profile and maybe the GOP setting. Basline Profile Level 3.0 for the broken one and Main Profile Level 3.1 for the working one. GOP setting of M=1, N=120 and N=1 for the broken one. Could be that the Quicktime Plugin wasn't made to handle that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An easy fix would be to re-encode it with Quicktime Pro or the free and open source tool Handbrake &lt;a href=&quot;http://handbrake.fr/&quot; rel=&quot;nofollow&quot;&gt;http://handbrake.fr/&lt;/a&gt; and choose one of the Mobile presets for apple devices or simply the &quot;Normal&quot; preset.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-04-22T23:19:55.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10626" PostTypeId="2" ParentId="10617" CreationDate="2014-04-22T23:22:15.427" Score="0" Body="&lt;p&gt;It looks like you may have different aspect ratios on your various source files based on the appearance of the video.  You will need to adjust for this which will also mean needing to crop some of your video files to fit properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need to choose a target resolution.  I'd recommend starting with square pixels if you intend it for web distribution or the appropriate DV standard if you intend it for DVD (either NTSC Widescreen or regular).  You then need to interpret everything at the appropriate format so that it displays properly despite whatever scaling is applied and then apply positions as necessary to get it to fill the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is non-trivial and may take a bit of time to get right.  While it will reduce the quality some, you may also want to consider resizing and altering the pixel aspect ratio of each clip individually before editing as that may be easier overall to keep track of what you are doing.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-22T23:22:15.427" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10627" PostTypeId="2" ParentId="10620" CreationDate="2014-04-22T23:25:44.127" Score="1" Body="&lt;p&gt;Another idea would be to use something like Fraps or some other screen capture or screen casting utility to capture the playback of a visualizer in a music player of your choice.  The exact combinations of software to use would likely depend on your choices in music player though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know Fraps will only work with ones that are DirectX based.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-22T23:25:44.127" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10628" PostTypeId="2" ParentId="10618" CreationDate="2014-04-22T23:45:33.390" Score="4" Body="&lt;p&gt;Simply copy the two animated masks to the 4th footage file and set them to &quot;Intersect&quot; instead of &quot;Add&quot;. Then they will only reveal the footage that they are applied to when they intersect with another mask. Then put this footage files layer ontop of the others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here a screenshot as a reference.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/4FXJe.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-04-22T23:50:47.217" LastActivityDate="2014-04-22T23:50:47.217" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10630" PostTypeId="1" CreationDate="2014-04-24T00:45:12.980" Score="1" ViewCount="1047" Body="&lt;p&gt;I am using windows 7 and try to capture a video of my screen using camstudio 2.7. I am using camstudio lossless codec v1.5. The problem is that colors in my recorded video are inverted somehow. For example blue color is red. How I can repair this. I want just normal screen video.&lt;/p&gt;&#xA;" OwnerUserId="5851" LastActivityDate="2014-05-31T23:52:56.887" Title="Problem with colors of camstudio recorded video" Tags="|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10631" PostTypeId="2" ParentId="10383" CreationDate="2014-04-24T09:55:58.280" Score="0" Body="&lt;p&gt;This is the script I used to solve this.&#xA;1/ It finds black frames and put them in a file&#xA;2/ It reads the file and compute a (really long) command line which will remove those frame with the &quot;select&quot; filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's not beautiful, but it gets the job done!&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;$1&quot; -vf blackframe -an -f null - 2&amp;gt;&amp;amp;1 | ack  &quot;(?&amp;lt;=frame:)[0-9]*(?= )&quot; -oh &amp;gt; blacks.txt&#xA;&#xA;&#xA;printf &quot;ffmpeg -i \&quot;$1\&quot;&quot;&#xA;printf &quot; -f avi -c:v libx264 -c:a libmp3lame -crf 23 -preset veryslow&quot;&#xA;&#xA;printf &quot; -vf \&quot;select=&quot;&#xA;&#xA;cat blacks.txt | while read a; do&#xA;printf &quot;not(eq(n\,$a))*&quot;&#xA;done&#xA;printf &quot;\&quot;&quot;&#xA;printf &quot; &quot;&#xA;printf &quot;$2&quot;&#xA;printf &quot;\n&quot;&#xA;rm blacks.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5696" LastActivityDate="2014-04-24T09:55:58.280" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10632" PostTypeId="1" CreationDate="2014-04-24T10:44:14.980" Score="7" ViewCount="2177" Body="&lt;p&gt;I know that 24fps is the standard rate for movies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Presumably, if I want to shoot for a movie I should shoot at 24fps, however if I want to add slow motion effects in the movie I know that I need to record at higher framerates(50-60 fps.) When I convert that in to 24fps I get slow motion but then I don't have 24 fps for the rest of the clip since I only need slow motion for a few seconds in the middle of the clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know whether to record videos at 24fps for a movie look or at 60fps for  the slow motion look, or something else entirely.  I have to shoot one continuous shot so that I can have both normal and slow motion at different points without cutting.  What is the best way to accomplish this?&lt;/p&gt;&#xA;" OwnerUserId="5852" LastEditorUserId="2836" LastEditDate="2014-04-24T21:48:30.783" LastActivityDate="2015-06-26T02:13:21.940" Title="Handling Frame Rate for Movies with Slow Motion" Tags="|framerate|slowmotion|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10633" PostTypeId="2" ParentId="10632" CreationDate="2014-04-24T12:29:17.480" Score="3" Body="&lt;p&gt;You only need to overcrank the scenes you want to slow down in post. Editing and effects software make it easy to decimate from 60 (or higher) to 24 fps. You'll get better flexibility if you shoot your slomo scenes at a the highest exact multiple of the base rate that still gives acceptable exposure etc. So 96, 120 or 240 fps would be preferable if they work in your tests (and you must test), and if your camera supports the rate.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-04-24T12:29:17.480" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10634" PostTypeId="2" ParentId="10632" CreationDate="2014-04-24T15:17:54.523" Score="6" Body="&lt;p&gt;The reason we try to shoot at our target frame rate is because if we need to adjust the frame rate, the computer has to invent new frames to go in between our existing frames.  This can result in artifacts in the image and generally reduces the quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You are correct that 24fps is the standard for theater and also correct that you need to shoot a faster frame rate for slow motion.  In general, the best way to deal with a shot like the one you are talking about is to shoot at a multiple of the frame rate you want for normal action.  If you shoot at 48 or 72 fps, then the computer doesn't have to invent any new frames to reduce to 24fps, it can just drop every other or two out of every 3 frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is why you see a lot of 240hz TVs these days.  There isn't actually any content that works at that refresh rate, but 240hz TVs can properly display either 24 frames per second, 30 frames per second or 60 frames per second since they all evenly divide.  The same thing applies when shooting video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, most consumer cameras, and even some professional ones, don't support multiples of 24 for their high frame rate options.  There are some cameras, particularly some of those made by Lumix, that support 240 fps video, but the quality level is pretty highly reduced when shooting at that rate.  120 fps would also work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, you could give up on the 24fps and shoot 30fps instead.  30fps isn't the end of the world and there are existing pulldown options for converting to 24fps.  30fps was (roughly) the NTSC video standard and still works just fine if your main target will be playback on computer screens or TVs that support multiples of 30fps playback.  This is a nice even multiple of 60fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One final option to consider is interpolated slow motion.  Since many cameras reduce the video quality available at high FPS, the best result may be to shoot at a lower frame rate and have the slow motion interpolated from the frames you capture.  The results for this technique also vary greatly based on how good your software is, but there are several very good tools out there.  Twixtor is generally the best, but it is also expensive.  After Effects also includes TimeWarp which does a decent job.  This may be the best option for maintaining both maximum quality and minimal cost unless you have a pretty significant budget to work with or have other reasons to need to limit yourself to 720p or lower quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The ideal is to shoot the frame rate you need for the shot.&lt;/strong&gt; Do your homework, actually think through the flow of your film.  Shoot the slow motion shots by themselves and use the correct frame rate for each shot.  If you need to do slow motion mid-shot for some inexplicable reason, decide based on what will cause the least harm.  If most of the shot is slow motion, go with the higher frame rate and interpolate to 24, if most of the shot is normal speed, shoot 24 and interpolate for the slow motion.  &lt;strong&gt;&lt;em&gt;This should only be a last resort though!&lt;/em&gt; Shoot distinct shots at distinct speeds and use editing to blend them together properly.  That's the entire point of editing.&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-04-29T18:40:45.517" LastActivityDate="2014-04-29T18:40:45.517" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10636" PostTypeId="1" CreationDate="2014-04-25T03:08:50.680" Score="1" ViewCount="8493" Body="&lt;p&gt;I have a video with 60fps and I know that if I keep all the frames and play it at 24fps, then I get a slow motion effect. I want to know how to make it play at 24fps while still showing things in real time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would it be better if I record that video again in 24 fps?&lt;/p&gt;&#xA;" OwnerUserId="5852" LastEditorUserId="2836" LastEditDate="2014-04-25T03:46:11.407" LastActivityDate="2014-04-25T20:21:43.660" Title="How can I convert frame rates without changing speed?" Tags="|framerate|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10637" PostTypeId="2" ParentId="10636" CreationDate="2014-04-25T03:49:25.083" Score="4" Body="&lt;p&gt;In order to convert frame rates without impacting the speed of playback, you have to remove frames to decrease the frame rate or create new frames to speed it up.  If the frame rate is an even multiple, then this process can be done losslessly for reduction in frame rate since you simply drop every unneeded frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If they are not multiples or you are increasing the frame rate, then it is necessary to interpolate new frames.  Interpolation is a process by which the computer looks at the next and previous frames and invents one that looks like it would fit between them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you shoot at 60fps and drop it to 24fps, it is not an even multiple and frames have to be interpolated or taken at the wrong time in order to make up for the difference.  This results in a lower quality of video than shooting in 24fps to start.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-25T03:49:25.083" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10638" PostTypeId="1" CreationDate="2014-04-25T08:26:52.373" Score="1" ViewCount="15013" Body="&lt;p&gt;I have a title at the end of the movie with my website's URL.  I was using the expand Title effect on this title. As of the most recent update, when the text expands too much, the last letters go to the next line, e.g. video.stackexchange.com: as it grew a little, the m would go to next line, then the 'o', then the 'c', etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I disable that? I actually want the bounds of the text to go out of the screen. I had no problem doing that before this update.&lt;/p&gt;&#xA;" OwnerUserId="5859" LastEditorUserId="2836" LastEditDate="2014-04-25T13:44:17.677" LastActivityDate="2019-07-17T01:54:12.953" Title="Preventing letters from going to next line as title expands in iMovie" Tags="|imovie|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10640" PostTypeId="1" AcceptedAnswerId="10644" CreationDate="2014-04-25T18:03:23.113" Score="4" ViewCount="13927" Body="&lt;p&gt;I am trying to use FFmpeg to overlay one video on top of the other using an additive blend. One video is the actual video I want to transcode, the other is a ~10 second long video I want to put into one corner, sort of an animated watermark. The watermark video is some white animated stuff with a black background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far, I have tried something along these lines:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ /d/ffmpeg/ffmpeg.exe -i actualvideo.mkv -i myoverlay.mp4 \&#xA;-filter_complex &quot;[1:0] setsar=sar=1 [1sared]; [0:0][1sared] blend=all_mode='addition':repeatlast=1&quot; \&#xA;test.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;setsar&lt;/code&gt; seemed necessary as otherwise it would complain:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_blend_0 @ 00000000043e0e40] First input link top parameters (size 1280x720, SAR 1:1) do not match the corresponding second input link bottom parameters (1280x720, SAR 0:1)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With the &lt;code&gt;setsar&lt;/code&gt; there's no complaint, but the output video looks.. mostly pink. Both videos look fine when viewed on their own before I feed them into FFmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas? Am I doing something wrong?&lt;/p&gt;&#xA;" OwnerUserId="3459" LastActivityDate="2017-05-23T09:02:47.743" Title="FFmpeg overlaying and blending videos" Tags="|ffmpeg|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10641" PostTypeId="2" ParentId="10636" CreationDate="2014-04-25T20:21:43.660" Score="0" Body="&lt;p&gt;If you can easily record the video again natively in 24fps, that would be your best solution. However, you may also want to investigate a tool like Twixtor, which is built to interpolate frames for jobs exactly like this one.&lt;/p&gt;&#xA;" OwnerUserId="5142" LastActivityDate="2014-04-25T20:21:43.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10642" PostTypeId="1" AcceptedAnswerId="10662" CreationDate="2014-04-26T10:36:47.267" Score="0" ViewCount="906" Body="&lt;p&gt;My video is 1080p HD, shot with GoPro. Using GoPro Studio I have removed the fisheye effect and exported it in AVI format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using Pinnacle 17 (or another tool, but this one has to be free), I want to crop some part of the entire image, then zoom it (a little), then center it above another clip. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know how to do this. I've tried effects in &quot;media editor&quot; but so far I only ended with standalone pictures.&lt;/p&gt;&#xA;" OwnerUserId="5862" LastActivityDate="2014-04-29T09:42:09.937" Title="Crop then center and zoom" Tags="|video-editor|editing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10644" PostTypeId="2" ParentId="10640" CreationDate="2014-04-26T13:52:52.543" Score="7" Body="&lt;p&gt;I found a helpful post on stackoverflow that addresses this issue: &lt;a href=&quot;https://stackoverflow.com/a/21400416/377875&quot;&gt;https://stackoverflow.com/a/21400416/377875&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apparently, it's a problem with color space. Something like this works:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;$1&quot; -i &quot;$2&quot; \&#xA;-filter_complex &quot;[1:0] setsar=sar=1,format=rgba [1sared]; [0:0]format=rgba [0rgbd]; [0rgbd][1sared]blend=all_mode='addition':repeatlast=1:all_opacity=1,format=yuva422p10le&quot; \&#xA;-c:v libx264 -preset slow -tune film -crf 19 \&#xA;-c:a aac -strict -2 -ac 2 -b:a 256k \&#xA;-pix_fmt yuv420p &quot;$3&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(substitute &lt;code&gt;$1&lt;/code&gt; with your actual video, &lt;code&gt;$2&lt;/code&gt; with your overlay, and &lt;code&gt;$3&lt;/code&gt; with the output file name)&lt;/p&gt;&#xA;" OwnerUserId="3459" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2017-05-23T09:02:47.743" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10645" PostTypeId="2" ParentId="9476" CreationDate="2014-04-26T17:45:25.377" Score="1" Body="&lt;p&gt;Any software with keyframe support can do this.  &lt;a href=&quot;https://video.stackexchange.com/questions/8651/final-cut-pro-x-ken-burn-effect-on-video-clips-with-out-cutting-clip-apart&quot;&gt;This answer&lt;/a&gt; provides a rough walkthrough of how you can accomplish the look you are describing with just keyframes and positioning/scale keyframes.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-04-26T17:45:25.377" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10646" PostTypeId="5" CreationDate="2014-04-26T17:53:30.687" Score="0" Body="&lt;p&gt;Keyframes are points in time at which parameters should have certain values.  In keyframe animation, the animation or editing software will then blend between these values over time.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-04-26T17:53:30.687" LastActivityDate="2014-04-26T17:53:30.687" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10647" PostTypeId="4" CreationDate="2014-04-26T17:53:30.687" Score="0" Body="Keyframes are points in time at which parameters should have certain values.  In keyframe animation, the animation or editing software will then blend between these values over time." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-04-26T17:53:30.687" LastActivityDate="2014-04-26T17:53:30.687" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10648" PostTypeId="1" AcceptedAnswerId="10657" CreationDate="2014-04-26T20:03:56.607" Score="2" ViewCount="877" Body="&lt;p&gt;I want to create a youtube video based on the technique used in this video: &lt;a href=&quot;https://www.youtube.com/watch?v=m97O1dQAyhc&quot; rel=&quot;nofollow&quot;&gt;Interactive Trailer&lt;/a&gt;. How can I make annotation(spotlight) on youtube that will link to a video and start at various times.  (Like the buttons on the bottom of the video.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I click the spotlight 5 sec, then step the slider to 15 sec. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I click the spotlight 6 sec, then step the slider to 16 sec.&lt;/p&gt;&#xA;" OwnerUserId="5864" LastEditorUserId="2836" LastEditDate="2014-04-27T18:42:02.687" LastActivityDate="2014-04-28T18:07:20.323" Title="Interactive YouTube video navigation" Tags="|youtube|webvideos|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10649" PostTypeId="1" AcceptedAnswerId="10650" CreationDate="2014-04-26T20:29:30.497" Score="3" ViewCount="718" Body="&lt;p&gt;My understanding is that the vorbis algorithm uses a variable rate of encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, when encoding videos with audio in vorbis format, why does Handbrake ask me for a bitrate? What does Handbrake do when I choose a bitrate of 160, say, in the audio section?&lt;/p&gt;&#xA;" OwnerUserId="5865" LastEditorUserId="2836" LastEditDate="2014-04-27T06:10:02.593" LastActivityDate="2014-05-01T11:30:45.820" Title="Why does variable bitrate still have a bitrate specified?" Tags="|encoding|compression|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10650" PostTypeId="2" ParentId="10649" CreationDate="2014-04-26T21:40:47.687" Score="1" Body="&lt;p&gt;You can see the bitrate in this case as a quality target. It will not encode the audio strictly at that bit-rate but try to encode the audio in a way that it will always be &quot;near&quot; your specified bit-rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Usually you can translate certain bit-rates to a specific quality level which can be compared to lames &quot;V0&quot;, &quot;V2&quot; etc. VBR settings, these presets don't define a specific bit-rate but files encoded with these settings will always end up at certain &quot;bit-rate range&quot;. The encoder will encode the audio around a specific bit-rate but will go higher or lower within a certain threshold.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It doesn't make all that much sense to have bit-rats present instead of the Vorbis quality targets but I assume handbrake does this because all other codecs it offers use bit-rates. Most users are used to bit-rates and can associate it to a rough quality level. Unlike Vorbis own &quot;q5&quot; or &quot;q9&quot; which you can only translate to a relative quality difference between the different levels (if you are not used to using this codec) but you wont know what you actually end up with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wikipedia has a nice table for Vorbis quality levels/settings: &lt;a href=&quot;http://en.wikipedia.org/wiki/Vorbis#Technical_details&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/Vorbis#Technical_details&lt;/a&gt;&#xA;(on the right)&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Quality   Nominal Bitrate     Official Xiph.Org Foundation Vorbis     aoTuV&lt;br&gt;&#xA;  beta 3 and later&lt;/p&gt;&#xA;  &#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;-q-2   not available   32 kbit/s&lt;/li&gt;&#xA;  &lt;li&gt;-q-1   45 kbit/s   48 kbit/s&lt;/li&gt;&#xA;  &lt;li&gt;-q0    64 kbit/s&lt;/li&gt;&#xA;  &lt;li&gt;-q1    80 kbit/s&lt;/li&gt;&#xA;  &lt;li&gt;-q2   96 kbit/s&lt;/li&gt;&#xA;  &lt;li&gt;-q3   112 kbit/s&lt;/li&gt;&#xA;  &lt;li&gt;-q4   128 kbit/s&lt;/li&gt;&#xA;  &lt;li&gt;-q5   160 kbit/s&lt;/li&gt;&#xA;  &lt;li&gt;-q6    192 kbit/s&lt;/li&gt;&#xA;  &lt;li&gt;-q7   224 kbit/s&lt;/li&gt;&#xA;  &lt;li&gt;-q8   256 kbit/s&lt;/li&gt;&#xA;  &lt;li&gt;-q9   320 kbit/s&lt;/li&gt;&#xA;  &lt;li&gt;-q10  500 kbit/s&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-05-01T11:30:45.820" LastActivityDate="2014-05-01T11:30:45.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10651" PostTypeId="1" AcceptedAnswerId="10655" CreationDate="2014-04-27T05:08:10.460" Score="3" ViewCount="107" Body="&lt;p&gt;While watch a shot on YouTube at .25 normal speed, I noticed two distinct images of the rocket fired at the ship from (25-26s). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this an effect of the video, the film, or the result of a video that was filmed at regular speed with a regular camera and watching at .25 speed? My question is why is the missile visible in two different frames?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Link to the video: &lt;a href=&quot;https://www.youtube.com/watch?v=v5Z1OJcBrVU&quot; rel=&quot;nofollow&quot;&gt;Missile YouTube&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5867" LastActivityDate="2019-03-03T18:31:31.240" Title="In video, can previous frames effect results seen in subsequent shots?" Tags="|video|framerate|slowmotion|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10652" PostTypeId="2" ParentId="10649" CreationDate="2014-04-27T06:16:41.550" Score="2" Body="&lt;p&gt;For CBR encodings, the bitrate is always kept at the bitrate specified regardless of if it is needed.  For VBR encoding, the bitrate is an average target, however the media stream will use more or less data rate when it needs to but will try to average to the target.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is why you see 1 pass and 2 pass VBR.  2 pass VBR first makes a pass to estimate where more or less data will be needed and then makes a second pass to make best use of the available data rate.  1 pass does a lot more guessing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For an example of how this works, lets say we had a video that had 10 seconds of rapid action followed by 10 seconds of a still image.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With CBR, the same data rate would be used the entire time, the 10 seconds of still image would be crazy high quality since nothing is changing, but the action would then fall apart because it is changing too much.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With 1 pass VBR, the algorithm would adjust to use more data for the high level of action, but it might limit itself since the entire video might be like that.  Then, when it got to the still shot, it would use almost nothing, but wouldn't hit the average rate because it didn't need the storage space.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With 2 pass VBR, the first pass would discover that there is no movement at the end, so then during the second pass, a lot of data rate would be used to handle the motion really well and then very little would be used for the still image, the average data rate would be hit and the high movement portion of the video would have the highest quality of any of the encodings while the still portion wouldn't really suffer.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-27T06:16:41.550" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10653" PostTypeId="2" ParentId="10651" CreationDate="2014-04-27T17:24:45.727" Score="2" Body="&lt;p&gt;This type of problem is usually a side effect of the type of compression used. In order to minimise the bandwidth requirements, frames are simplified, reusing content from previous frames etc. And this can cause interesting video effects when key (whole) frames are corrupted or missed.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2014-04-27T17:24:45.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10655" PostTypeId="2" ParentId="10651" CreationDate="2014-04-27T20:54:59.700" Score="6" Body="&lt;p&gt;At a certain time you can see the rocket at two places at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/vPdcz.png&quot; alt=&quot;Rocket visible two times&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you are seeing has nothing to do with compression artifacts, but is frame-blending due to the slow motion effect applied (in the video)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say the video is recorded at 30 frames per second. You only have 30 'pictures' per second to capture the information. If you want to slow the video down (to be able to see the rocket more slowly) you could play these frames back at a lower speed, let's say 15fps. Each frame will be visible twice as long as when playing back at 30fps. (you could also duplicate all the frames, and play them back at 30fps to have the same effect). The footage will kind of look jittery when doing this, like it is stuttering to continue, which is not nice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead of just adding copies of the already existing frames, extra frames are calculated in between. The easiest way is to just calculate the average between the frame before and the frame after. This way all your frames will have different visual content and it will be a little more pleasant to the eye. The fact that you are seeing two rockets, is due to this averaging.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/w0FKO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/w0FKO.png&quot; alt=&quot;frame blending example&quot;&gt;&lt;/a&gt;&lt;br&gt;&#xA;&lt;sub&gt;(source: &lt;a href=&quot;https://documentation.apple.com/en/finalcutpro/usermanual/Art/L01/L0163_BlendedFrame.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;apple.com&lt;/a&gt;)&lt;/sub&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are other possibilities to generate new frames. Software like twixtor does some advanced calculations and will (try to) guess the rockets position on the frames in between. If configured correctly this is even more pleasant for the eye than the averaging method.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The obvious solution would be to shoot these kind of shots with a high framerate. If you shoot video at, let's say 1000 fps, you can slow it down to 30fps (33 times slower) without having to calculate values from in-between frames. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;These artifacts are probably coming from the original video itself, because if you watch closely you can also see it at the original speed. But it's always possible that youtube also uses averaging for it's slowdown feature, so that these artifacts are introduced by the player.&lt;/p&gt;&#xA;" OwnerUserId="5861" LastEditorUserId="17390" LastEditDate="2019-03-03T18:31:31.240" LastActivityDate="2019-03-03T18:31:31.240" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="10656" PostTypeId="2" ParentId="10651" CreationDate="2014-04-28T15:46:49.827" Score="1" Body="&lt;p&gt;It could also be caused by interlaced source material, where half the image is recorded at a time. Fast-moving objects would be recorded in two different locations. When the interlaced signal is converted to progressive, the two fields are merged to create one frame with two rockets. &lt;br&gt;&#xA;However, given that there don't appear to be other interlacing artifacts, I don't think that's what's happening here. &lt;/p&gt;&#xA;" OwnerUserId="5660" LastActivityDate="2014-04-28T15:46:49.827" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10657" PostTypeId="2" ParentId="10648" CreationDate="2014-04-28T18:07:20.323" Score="1" Body="&lt;p&gt;You'll need to make a separate spotlight for each different link.  So one spotlight goes from 5 seconds to 6 seconds, and another spotlight goes from 6 seconds to 7 seconds.  Each of them starts your linked video at a different point (15 seconds, 16 seconds, or whatever).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's easy to set the starting time within an annotation link.  When you create the annotation, and add the link URL, it will ask you about the starting point.  (The default is 0.00, the beginning of the video.) You just set it there before you publish your annotations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that annotations don't yet work on mobile devices (as far as I know).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://support.google.com/youtube/answer/92710?hl=en&quot; rel=&quot;nofollow&quot;&gt;Here's a useful page&lt;/a&gt; that instructs you how to create and use annotations, in case you need some more info.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-04-28T18:07:20.323" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10658" PostTypeId="2" ParentId="10620" CreationDate="2014-04-28T22:01:47.637" Score="2" Body="&lt;p&gt;Quartz Composer is free part of the apple developer kit. this can allow you to create music visualizers. In fact, the music visualizers that are defaulted in itunes are quartz composer files.&lt;/p&gt;&#xA;" OwnerUserId="5671" LastActivityDate="2014-04-28T22:01:47.637" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10659" PostTypeId="1" AcceptedAnswerId="10661" CreationDate="2014-04-28T22:33:21.277" Score="2" ViewCount="82" Body="&lt;p&gt;I have layered up multiple clips of the same event in FCPX on the same timeline and synced the audio between clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to view a certain layer at a certain point in the clip and select a few seconds of that clip to be visible, then switch to another layer, find another clip segment and make that visible. It would be very much like broadcasting live video where the director can select one or another camera and switch to that camera for broadcast.&lt;/p&gt;&#xA;" OwnerUserId="5830" LastEditorUserId="2836" LastEditDate="2014-04-29T02:06:31.397" LastActivityDate="2014-04-29T02:06:31.397" Title="How can I edit in FCPX like I would for a live event when I have multiple sync'd tracks of the same event?" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10660" PostTypeId="1" CreationDate="2014-04-28T23:11:43.377" Score="2" ViewCount="157" Body="&lt;p&gt;I've got 2 video sources and they don't line up perfectly to the second.  One is a fraction of a second behind the other.  When I click-and-drag one of the video tracks, it automatically snaps to the nearest full second mark.  I've tried unchecking the &quot;Snap To Grid&quot; option but it still snaps to the full second.&lt;/p&gt;&#xA;" OwnerUserId="5869" LastEditorUserId="2836" LastEditDate="2014-04-29T02:07:40.263" LastActivityDate="2014-05-10T13:04:13.243" Title="Is it possible to shift a video track a fraction of a second in Sony Vegas Pro 10?" Tags="|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10661" PostTypeId="2" ParentId="10659" CreationDate="2014-04-29T01:58:48.477" Score="3" Body="&lt;p&gt;Multicam clips do exactly what you're asking.  There's a good tutorial on how to use them &lt;a href=&quot;http://www.fcp.co/final-cut-pro/tutorials/1212-the-best-fcpx-multicam-demo-i-ve-ever-seen-ben-consoli-presents-at-the-the-boscpug&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-04-29T01:58:48.477" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10662" PostTypeId="2" ParentId="10642" CreationDate="2014-04-29T09:42:09.937" Score="1" Body="&lt;p&gt;I used Picture in Picture to display my orginal video, cropped, zoomed and where I want above another picture or video.&lt;/p&gt;&#xA;" OwnerUserId="5862" LastActivityDate="2014-04-29T09:42:09.937" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10663" PostTypeId="1" AcceptedAnswerId="10664" CreationDate="2014-04-29T14:50:00.323" Score="4" ViewCount="10081" Body="&lt;p&gt;I've been looking at a million resources and I can't find a definitive answer to this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking to do a small scale (max 50 viewers possibly), low quality live video stream, with nothing but my existing equipment (mac and firewire camera), a low end ubuntu vps and free software. Stream from the mac and host the stream on a website on the vps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't want to use services like justin.tv or ustream because the advertising is very intrusive, and I'd also like to learn how to do it myself. &#xA;I have some server admin skills, but this is a new world to me, and I can't make sense of how all the pieces fit together. I spent all night reading about rtmp, rec5, wowza, ffmpeg and now i don't understand anything at all. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone give me possible workflows to piece the 3 parts together?ie, streaming from local computer, receiving in vps, broadcasting on website. &lt;/p&gt;&#xA;" OwnerUserId="2125" LastActivityDate="2023-10-23T01:39:16.180" Title="How to do a video live stream through a VPS?" Tags="|ffmpeg|streaming|broadcasting|rtmp|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10664" PostTypeId="2" ParentId="10663" CreationDate="2014-04-29T15:33:56.623" Score="3" Body="&lt;p&gt;It varies a little from one server to another, but the basic components are an encoder/streaming client on the local client that takes input from the camera and turns it in to a stream that can be sent to the stream server on the VPS.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The job of the stream server (such as Red5) is then to provide a publishing point that relays the stream to viewers.  The streaming server can either pull from the client or the client can push to a target location on the stream server in order to provide content to the publishing point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each viewer then connects to the published RTMP stream on the streaming server and is provided with a copy of the stream that is being uploaded.  Note that every copy has to be sent out separately unless you are on a private network where you can use multicast, so bandwidth needs rise quickly, though it should be possible to do 50 SD or lower quality streams from a single VPS provided it has a reliable 100Mbps connection.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The website simply contains a viewer that hooks up to the RTMP (or similar) stream and is actually operating client side, not server side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;So to quickly recap, client uploads to back end of streaming server, streaming server replicates out to every viewer requesting to watch it and the web server simply gives users a client side viewer that connects to the video stream.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To briefly hit on what each one of the component you mentioned.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;RTMP&lt;/strong&gt; is real time media protocol, which is a common streaming protocol used for actually relaying the video stream content.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Red5&lt;/strong&gt; is a fairly popular free streaming media server software used for replicating out RTMP and similar media streams to clients.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Wowza&lt;/strong&gt; is another streaming media server software, however it is a commercial, paid software product.  If you are limited to free software, Wowza is not an option.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;FFMpeg&lt;/strong&gt; is a popular open source video encoder.  It runs on the client and can be configured to publish a stream that can be sent to Red5 or similar streaming media server.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Additionally, you will need an end-point viewer capable of consuming the stream.  Software like Windows Media Player or Quicktime should be able to view a stream, but it is often best to include an embedded cross platform player in the website that people are going to for the stream.  There are many options for this component with different strengths and weaknesses, but any should work for your purposes.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-04-29T15:33:56.623" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10667" PostTypeId="1" AcceptedAnswerId="10681" CreationDate="2014-04-29T22:11:59.457" Score="5" ViewCount="1466" Body="&lt;p&gt;I have to stitch various pieces of footage together, and the final result will be about 1–1.5 hour long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because of all the needed changes (blurring faces, inserting images and icons in certain places, synchronising the footage pieces among each other and fading them out\in with right timings etc), my project map starts to look like &lt;a href=&quot;https://i.stack.imgur.com/MWwZd.png&quot; rel=&quot;noreferrer&quot;&gt;this&lt;/a&gt;. The #3 and #4 tracks are just transitions from one piece to another. In tracks #1 and #2 is how most tutorials tell to deal with blurring\changing a screen area (duplicate the track above itself and then pan\crop the duplicate).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that in multiple places the video also has to be sped up\slowed down, and when I do it, the footage length changes like a fractal curve, and all the alignments get messed up. And besides &lt;em&gt;these&lt;/em&gt; speed changes, the whole eventual video has to be sped up again once more too (x1.5).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This looks like one of those things that I’ll be cursing myself about later, because a simple and overlooked mistake led to losing huge amounts of time\work, so I decided to just ask about it now: am I doing it wrong, and if so—what’s the more productive way of dealing with many playback speed changes in relatively big editing projects?&lt;/p&gt;&#xA;" OwnerUserId="5875" LastEditorUserId="5875" LastEditDate="2014-04-29T22:24:29.480" LastActivityDate="2014-05-09T23:42:22.797" Title="What is the productive way of doing multiple speed changes in a video editing project?" Tags="|vegas-pro|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10669" PostTypeId="1" CreationDate="2014-04-30T05:16:35.280" Score="1" ViewCount="654" Body="&lt;p&gt;Can a video recorded using Edmund optics camera in mp4 format be played and edited in GoPro studio? The video I have recorded can not be imported.&lt;/p&gt;&#xA;" OwnerUserId="5877" LastActivityDate="2014-05-01T14:37:03.613" Title="Video Format Compatibility with GoPro cine studio" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10670" PostTypeId="2" ParentId="10590" CreationDate="2014-04-30T10:51:31.437" Score="2" Body="&lt;p&gt;I have no practical experience, but you might take a look at using a (linux) computer with blackmagic decklink or intensity pro card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are command line tools like bmdtools which (should) allow you to interface the capture card. &#xA;&lt;a href=&quot;https://github.com/lu-zero/bmdtools&quot; rel=&quot;nofollow&quot;&gt;https://github.com/lu-zero/bmdtools&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could then pipe the video input to ffmpeg to record. &#xA;I don't know of a setting to provide to ffmpeg to limit the capture-duration, but you could maybe create a script starting and stopping both commands at the right time. &#xA;This might be helpful: &lt;a href=&quot;http://forum.blackmagicdesign.com/viewtopic.php?f=12&amp;amp;t=5109&quot; rel=&quot;nofollow&quot;&gt;http://forum.blackmagicdesign.com/viewtopic.php?f=12&amp;amp;t=5109&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are using such a setup with a computer, the next stages of your workflow could be scripted as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;edit: I can't really find any information about this, but if you can read/record the H264 stream which the BMD H264 recorder outputs in ffmpeg or vlc, It will be a lot less demanding for your system. The other two options mentioned above will have to do the encoding in software. &lt;/p&gt;&#xA;" OwnerUserId="5861" LastEditorUserId="5861" LastEditDate="2014-04-30T17:19:50.043" LastActivityDate="2014-04-30T17:19:50.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10672" PostTypeId="1" CreationDate="2014-04-30T22:58:55.187" Score="2" ViewCount="265" Body="&lt;p&gt;After installing Mavericks, Premiere has slowed to a crawl.&#xA;It seems to have the most trouble with AE comps imported through Dynamic Link. &lt;br&gt;&#xA;I believe this is related to the App Nap &quot;feature&quot;, but disabling App Nap on all Adobe programs hasn't cleared it up. &#xA;When a Dynamic Link clip need to be rendered, it will estimate 9 minutes or something ridiculous. The Energy tab in Activity monitor shows that App Nap is active on Aftereffects, even though it's supposed to be disabled. By clicking back and forth between Premiere and AE (not constantly), I can get the render time back to ~30sec like it should be.&lt;br&gt;&#xA;Any thoughts? Is there a background process that needs to have App Nap disabled? Could it be something else entirely?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mid 2011 iMac, 16 GB RAM, OSX Mavericks, Premiere Pro CC 7.2.2, Aftereffects CC 12.2.1.5&lt;/p&gt;&#xA;" OwnerUserId="5660" LastActivityDate="2014-04-30T22:58:55.187" Title="Slow Premiere performance after Mavericks upgrade" Tags="|premiere|performance|osx|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10673" PostTypeId="2" ParentId="10669" CreationDate="2014-05-01T14:37:03.613" Score="1" Body="&lt;p&gt;GoPro Studio allows constant frame rate H.264 .mp4 and .mov files. Your camera might use a variable bitrate which doesn't seem to be supported by GoPro Studio (&lt;a href=&quot;http://gopro.com/software-app/gopro-studio-edit-software#features&quot; rel=&quot;nofollow noreferrer&quot;&gt;Source&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can transcode the video to a constant frame rate video by using the tool &lt;a href=&quot;http://handbrake.fr/downloads.php&quot; rel=&quot;nofollow noreferrer&quot;&gt;Handbrake&lt;/a&gt; and choosing a constant frame rate in the &quot;Video&quot; tab. Choose the &quot;High Profile&quot; preset for a good quality encoding or choose your own quality settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might also want to force a certain framerate that comes close to your average frame rate instead of using &quot;Same as source&quot; if Handbrake makes a automated decision.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/FLLj4.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-05-01T14:37:03.613" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10674" PostTypeId="2" ParentId="4912" CreationDate="2014-05-01T18:37:09.887" Score="3" Body="&lt;p&gt;You are currently probably using the &lt;a href=&quot;http://en.wikipedia.org/wiki/CCIR_601&quot; rel=&quot;nofollow noreferrer&quot;&gt;Rec. 601&lt;/a&gt; color space for SD video. Encode your source footage in the &lt;a href=&quot;http://en.wikipedia.org/wiki/Rec._709&quot; rel=&quot;nofollow noreferrer&quot;&gt;Rec. 709&lt;/a&gt; color space.  It's the color space specified for HDTV and comes sRGB quite close.&#xA;If you need higher color accuracy you can use the &lt;a href=&quot;http://en.wikipedia.org/wiki/Rec._2020&quot; rel=&quot;nofollow noreferrer&quot;&gt;Rec. 2020&lt;/a&gt; color space which exceeds the sRGB color space by far. Though compatibility may not be given everywhere with this color space.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2017-03-08T17:44:06.850" LastActivityDate="2017-03-08T17:44:06.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10675" PostTypeId="1" CreationDate="2014-05-01T18:45:10.787" Score="2" ViewCount="57" Body="&lt;p&gt;I want to make a video with moving text and objects like in the youtube video link below.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/gWQyP-fgxHE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What options/tools should I explore? Only think i can think of is making animations in Powerpoint, recording the full screen as video and then later adding audio/music to it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any better options?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;newbie alert&lt;/em&gt; - I am a coder, so not very good with making videos - but willing to learn/explore all options.&lt;/p&gt;&#xA;" OwnerUserId="5881" LastActivityDate="2014-05-01T21:46:43.430" Title="How to make video with moving text and objects?" Tags="|video|youtube|animation|" AnswerCount="0" CommentCount="0" FavoriteCount="0" ClosedDate="2014-05-01T22:01:53.067" ContentLicense="CC BY-SA 3.0" />
  <row Id="10676" PostTypeId="2" ParentId="10425" CreationDate="2014-05-01T18:50:04.347" Score="1" Body="&lt;p&gt;When you bake an object in C4D you get several options which passes you want to be applied in the final baked texture. You might want to try to generate new UV's by not ticking the &quot;keep UVs&quot; setting. If you want to bake lightning you have to tick the luminance pass for that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also be aware that the baked object might look horrible in the viewport but will look perfectly fine when rendered. Thats just a thing of how the OpenGL viewport is interpreting the material.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though you're model does look a bit weird after baking. Are you sure this was a polygon object and not a nurbs object or a diffrent non poly object generated from a plugin and you are missing some interpolation? If thats the case you might want to turn it into a poly object first, maybe some subdivision setting differed for rendering and the viewport.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-05-01T18:50:04.347" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10677" PostTypeId="2" ParentId="3121" CreationDate="2014-05-01T19:28:25.817" Score="3" Body="&lt;p&gt;Adobe After Effects is probably the most common application for creating motion graphics.  There are plenty of books and tutorials out there to get your started.&lt;/p&gt;&#xA;" OwnerUserId="5579" LastActivityDate="2014-05-01T19:28:25.817" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10678" PostTypeId="2" ParentId="3121" CreationDate="2014-05-01T19:33:56.927" Score="1" Body="&lt;p&gt;Your example looks like it was made in Aftereffects. &lt;br&gt;&#xA;Apple Motion could do it as well, much more cheaply, and it may be relatively easy to learn if  Final Cut X is any indication.&lt;br&gt;&#xA;Photoshop also has rudimentary animation controls, but the lack of easing makes it nearly unusable for this type of project. &lt;br&gt;&#xA;Flash has many of the features that you need, and would certainly be better than Powerpoint, but the learning curve can be steep. &lt;/p&gt;&#xA;" OwnerUserId="5660" LastEditorUserId="5660" LastEditDate="2014-05-01T21:46:43.430" LastActivityDate="2014-05-01T21:46:43.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10679" PostTypeId="2" ParentId="10630" CreationDate="2014-05-01T22:57:07.790" Score="1" Body="&lt;p&gt;You might want to check the recording setting, maybe a non-standard color space is being used or the video is simply being interpreted falsely by your video player.&#xA;Try to play it with a different player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If thats not the issue you should double check the record setting you are using for this codec or maybe change the codec you are recording with.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-05-01T22:57:07.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10681" PostTypeId="2" ParentId="10667" CreationDate="2014-05-02T19:27:40.440" Score="1" Body="&lt;p&gt;It isn't a perfect solution, but you can use nested sequences in order to apply your edits separately from your speed changes.  This way the speed changes impact the final video instead of just one clip.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-02T19:27:40.440" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10682" PostTypeId="2" ParentId="10663" CreationDate="2014-05-03T12:21:47.883" Score="2" Body="&lt;p&gt;There's another free, more lightweight alternative to wowza and red5 - the nginx-rtmp-module, which frees you from messing around with java&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/arut/nginx-rtmp-module/&quot; rel=&quot;nofollow&quot;&gt;https://github.com/arut/nginx-rtmp-module/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and here's a guide to set it up with the free Open Broadcaster Software (which unfortunately is windows only)&#xA;&lt;a href=&quot;https://obsproject.com/forum/resources/how-to-set-up-your-own-private-rtmp-server-using-nginx.50/&quot; rel=&quot;nofollow&quot;&gt;https://obsproject.com/forum/resources/how-to-set-up-your-own-private-rtmp-server-using-nginx.50/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the streaming user end, the only decent free solution I've found for OSX is Adobe Flash Media Live Encoder. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, a free and relatively lightweight pipeline for streaming from osx would be&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Camtwist and Soundflower for capturing&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Adobe Flash Media Live Encoder for streaming RTMP to the vps (or Open Broadcaster Software on windows)&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;An ubuntu vps running nginx with the nginx-rtmp-module (needs to be built from source)&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Embed the stream on a website with something like JWPlayer&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="2125" LastEditorUserId="2125" LastEditDate="2014-05-03T12:42:11.967" LastActivityDate="2014-05-03T12:42:11.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10683" PostTypeId="1" AcceptedAnswerId="10688" CreationDate="2014-05-03T12:23:33.167" Score="3" ViewCount="947" Body="&lt;p&gt;What would yield better quality: camcorder pass-through or buying a more recent dedicated capture box?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a Canon Elura 65 that I've used in the past to capture video from VHS sources. It produces 480i AVI files. However, I lost the AV cable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, should I get a new cable from EBay or buy a dedicated capture box?&lt;/p&gt;&#xA;" OwnerUserId="5885" LastEditorUserId="5885" LastEditDate="2014-05-03T15:52:57.587" LastActivityDate="2017-02-13T00:32:51.660" Title="Camcorder pass-through or stand alone capture box for VHS source" Tags="|video-quality|capturing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10684" PostTypeId="1" AcceptedAnswerId="10689" CreationDate="2014-05-03T22:42:24.447" Score="4" ViewCount="200" Body="&lt;p&gt;I have my main story line and then I've added still frames of a presentation throughout. The images are displayed ontop of my video and the images don't cover the entire screen, so I can add a solid black generator under each image and it works great.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that I have 60+ images and I want to avoid to cut the video or add the generator manually for every image. Is there a way to paste a generator below every image? As you can see in the image, the duration of each image changes, so the brown boxes (solid black background) should match the duration of each connected image on top. Is there a way to automate this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/GUZ8f.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5886" LastEditorUserId="3295" LastEditDate="2014-05-04T13:35:34.530" LastActivityDate="2014-05-04T17:05:58.030" Title="How to duplicate a generator below connected media?" Tags="|final-cut-pro-x|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10685" PostTypeId="1" CreationDate="2014-05-03T23:54:03.990" Score="2" ViewCount="50" Body="&lt;p&gt;I see plenty of people online reviewing physical products and video games, but rarely ever plain old software. &lt;strong&gt;Is there a technical reason for this? Is it more difficult?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an interest in providing video reviews of desktop software and phone/tablet apps, but I saw there's very few people doing that online and don't want to jump into something just to find out there's a good reason no one's doing it.&lt;/p&gt;&#xA;" OwnerUserId="4548" LastEditorUserId="2836" LastEditDate="2014-05-04T04:25:17.670" LastActivityDate="2014-05-04T04:32:17.383" Title="Are there technical issues with doing video reviews of software?" Tags="|software|screen-casting|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10686" PostTypeId="2" ParentId="10685" CreationDate="2014-05-04T01:40:50.907" Score="2" Body="&lt;p&gt;I'd say fewer people may be interested in this than in fancy electronic gadgets but there is no technical reason not to review software. It's actually a lot easier as you don't have all the complications that come with shooting &quot;real-life&quot; footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are actually quite a few people reviewing mobile apps with huge success. I'd say mostly the general desktop app realm is something that isn't that much covered by video reviewers but again just because the audience doesn't seem as big with the rather recent up-rise of mobile devices.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-05-04T01:40:50.907" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10687" PostTypeId="2" ParentId="10685" CreationDate="2014-05-04T04:32:17.383" Score="3" Body="&lt;p&gt;I think it is mostly a structural thing.  Games generally involves simple interaction with a lot of similar content.  Hardware devices have a physical interface and while they can run lots of different software, the capabilities of the device are reasonably easy to describe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For general productivity software, the interactions are complex, but not so deep, thus it is harder to review in video form.  You see many video tutorials about how to do particular things, but a review is concerned with glancing over a lot of information about the product and doesn't give much interesting visual content to go along with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a game, you can show some gameplay while you talk about the review, but what do you put on the screen for a video review of say, Photoshop?  The main screen of Photoshop is the main screen of Photoshop.  You don't have enough time to show all the new stuff and if you don't have time to fully show it, then what do you put on screen while you mention the new things and how they work?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try it for yourself, read a software review sometime and think about what you would put on screen while reading it if you were to produce a video form of the review.  It's really hard to come up with visually interesting content that would fill the space.  Now you could simply have a video of you sitting there talking about it, but that is slower to consume than reading an article and so doesn't add a whole lot of value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There simply isn't really any interesting visual interaction that video can handle better than text and simple screen shots that can setup in advance and put into a written review do a better job of naturally showing how a new feature works in a concise manner than video could.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-04T04:32:17.383" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10688" PostTypeId="2" ParentId="10683" CreationDate="2014-05-04T08:01:21.400" Score="2" Body="&lt;p&gt;This is really going to depend on the quality of your camera and the quality of your VCR.  In general, the circuitry that is used to digitize an analog signal has grown by leaps and bounds in the past 10 to 15 years, but also VHS tapes and VCRs produce limited quality to begin with.   For maximum quality you will certainly want something with an S-Video input and a VCR deck with an S-video output to maximize quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as the line input goes, I'd probably favor the line input on a high quality camera from the end of the DV era over a cheap USB capture device, but a modern moderate or high quality capture device is going to do much better than even a high end in-camera analog to digital converter.  Even cheap USB devices now are most likely better than cheap camcorders or early camcorders in the DV era, but millage will vary depending on the specific device.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-04T08:01:21.400" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10689" PostTypeId="2" ParentId="10684" CreationDate="2014-05-04T13:14:02.940" Score="2" Body="&lt;p&gt;I got the answer from someone at &lt;a href=&quot;http://fcp.co&quot; rel=&quot;nofollow&quot;&gt;fcp.co&lt;/a&gt;. He made a video: &lt;a href=&quot;http://vimeo.com/93836074&quot; rel=&quot;nofollow&quot;&gt;vimeo.com/93836074&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;add the generator to the timeline (don't worry about setting the duration since you're going to delete it)&lt;/li&gt;&#xA;&lt;li&gt;turn it into a compound clip, delete it from the timeline (since it gets added to the event manager)&lt;/li&gt;&#xA;&lt;li&gt;copy the image frames and paste them with the playhead at the first image&lt;/li&gt;&#xA;&lt;li&gt;create a compound clip with all images (the ones in the bottom, so there's an actual image on top)&lt;/li&gt;&#xA;&lt;li&gt;right click to &lt;code&gt;open it in timeline&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;select the black compound clip in the event viewer and press &lt;code&gt;x&lt;/code&gt; then &lt;code&gt;d&lt;/code&gt; (black gets added)&lt;/li&gt;&#xA;&lt;li&gt;press &lt;code&gt;down arrow&lt;/code&gt; and repeat &lt;code&gt;x&lt;/code&gt; then &lt;code&gt;d&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Pretty slick&lt;/p&gt;&#xA;" OwnerUserId="5886" LastEditorUserId="5886" LastEditDate="2014-05-04T13:27:48.920" LastActivityDate="2014-05-04T13:27:48.920" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10690" PostTypeId="2" ParentId="10684" CreationDate="2014-05-04T17:05:58.030" Score="0" Body="&lt;p&gt;You could do this by altering the order of your layers. If you put the black on the bottom and razor away the main clip video when you want to go to slides it will work off a single generator. You just need to seperate the video and audio tracks. &lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-04T17:05:58.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10692" PostTypeId="2" ParentId="2158" CreationDate="2014-05-05T23:46:24.180" Score="1" Body="&lt;p&gt;If you're missing the presets (which is what it sounds like) I have a solution for it &lt;a href=&quot;http://azcorporatevideo.com/missing-sequence-presets-in-adobe-premiere-pro-cs6-fixed/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It involves uninstalling the CS suite, then reinstallling premiere as a standalone OR you can just click on help&gt;update (if that option is available for you). There are a few tools you need to download as well to clean it from your registry after uninstalling. The long answer is on my website, hope it helps!&lt;/p&gt;&#xA;" OwnerUserId="5890" LastEditorUserId="5890" LastEditDate="2014-05-06T16:21:08.730" LastActivityDate="2014-05-06T16:21:08.730" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10693" PostTypeId="1" AcceptedAnswerId="10695" CreationDate="2014-05-06T07:29:30.140" Score="3" ViewCount="808" Body="&lt;p&gt;All i've ever seen in Final Cut Pro is 2D Transform on a video clip. I know you can do that in After Effects but I want to stay within Final Cut Pro X to do the 3D transform.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any plugins that could allow me to set a video clip in 3D Space ?&lt;/p&gt;&#xA;" OwnerUserId="4109" LastActivityDate="2014-05-06T17:16:40.727" Title="Is it possible 3D Transform a video clip in Final Cut Pro X?" Tags="|final-cut-pro-x|plugins|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10694" PostTypeId="1" AcceptedAnswerId="10696" CreationDate="2014-05-06T13:57:34.523" Score="1" ViewCount="47" Body="&lt;p&gt;I'm building a 1 min tv-ad for a college assignment and I'm looking for a &quot;crescendo&quot; music... something like &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/u5FyRZbqfeM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; but not as easily recognized because I don't want to people focusing on &quot;where have i heard that before?!?&quot;...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Extra info: The plot for the video is a craftsman that walks into a dark room, turn the lights on, removes a sheet from his tools, and crafts a... ... ... guess what?!? piece of crap chair (&quot;anti-climax&quot;) that falls apart by itself, and i fade to a &quot;don't stop practicing, Bla classes for only 19,99&quot;...&lt;/p&gt;&#xA;" OwnerUserId="5891" LastActivityDate="2016-02-19T23:51:48.503" Title="Soundtrack recomendation" Tags="|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10695" PostTypeId="2" ParentId="10693" CreationDate="2014-05-06T17:16:40.727" Score="3" Body="&lt;p&gt;Apple Motion will let you create &quot;motion templates&quot; which are usable in FCPX.  You can apply 3D transforms with Motion, and publish to Final Cut.  This approach is easy to learn, but limited in scope.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-05-06T17:16:40.727" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10696" PostTypeId="2" ParentId="10694" CreationDate="2014-05-06T17:52:47.120" Score="2" Body="&lt;p&gt;That's a pretty funny idea! If you have $50 to spend, you can get royalty-free music from audiomicro.com. Incompetech.com also has royalty-free music; I don't know how much it costs.  And if you use iMovie (which comes free with every Mac), their FREE audio library might include something you could use.  You could even splice together several songs into one to get the effect you want.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-05-06T17:52:47.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10697" PostTypeId="1" CreationDate="2014-05-06T19:36:29.673" Score="2" ViewCount="525" Body="&lt;p&gt;How can I load setting from xml file in ATEM television studio automatically on launch?  For example, I may need to launch it in one mode and have one set of presets and click another icon to load it with a different set. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This can be done manually using the &quot;Restore&quot; button in the file menu, but I need it to be done automatically. I have one idea to parse xml with setting and set all parameters one by one, but maybe there is a way to do this automatically.&lt;/p&gt;&#xA;" OwnerUserId="5892" LastEditorUserId="2836" LastEditDate="2014-05-08T03:19:02.023" LastActivityDate="2014-05-08T03:19:02.023" Title="Automatically load Blackmagic ATEM preset on launch?" Tags="|software|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10698" PostTypeId="1" AcceptedAnswerId="10701" CreationDate="2014-05-07T03:13:50.610" Score="1" ViewCount="187" Body="&lt;p&gt;&lt;a href=&quot;http://vimeo.com/86969394&quot; rel=&quot;nofollow&quot;&gt;http://vimeo.com/86969394&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I like to know how to do this effect but I don't know what is the term/name for it. The video above around 10 - 12 seconds in with how the title seems fixed to a point in the video despite movement of the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also a similar effect if you had watched House of Cards the parts where they are displaying sms messages where the text appears above their phones and moves a bit according to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would be okay to just give me the name of the effect ... I'll do the rest searching for tutorial in YouTube. But a instruction video would also be nice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="5895" LastActivityDate="2014-05-07T07:40:56.723" Title="What is the Name of this effect" Tags="|effects|special-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10699" PostTypeId="1" CreationDate="2014-05-07T04:36:45.887" Score="1" ViewCount="257" Body="&lt;p&gt;i tried some DSLR but those have some video shoot limit like 20 minuets. please &#xA;help me for select good tools like (camera, light, microphone) in low budget.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;i want to shoot constantly 2hr interview.and my budget $1800 for all equipment.&lt;/p&gt;&#xA;" OwnerUserId="5888" LastEditorUserId="5888" LastEditDate="2014-05-08T11:32:16.560" LastActivityDate="2014-07-30T20:20:30.770" Title="which camera is best for conducting the interview constantly as one-man show?" Tags="|camera|lighting|microphone|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10700" PostTypeId="1" CreationDate="2014-05-07T05:24:21.867" Score="3" ViewCount="114" Body="&lt;p&gt;I am looking at buying a pair of black edition go pros and a 3d kit (mount with sync cable)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I read elsewhere online about some issues with earlier models with the firmware etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know if these issues have been addressed? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to hear if you have used the new hero 3 black edition models and any issues you may have had shooting 3d&lt;/p&gt;&#xA;" OwnerUserId="5896" LastEditorUserId="5896" LastEditDate="2014-05-07T07:30:13.277" LastActivityDate="2015-08-12T17:11:55.190" Title="Using gopro hero 3 white/black with 3d- anything to watch out for?" Tags="|camera|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10701" PostTypeId="2" ParentId="10698" CreationDate="2014-05-07T07:40:56.723" Score="5" Body="&lt;p&gt;Looks like text moving to a &quot;Motion Tracking&quot; effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically it finds and follows 1 or more points in a picture then moves the text accordingly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you use 2 or more points you can track the 3d angle also.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Examples:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2D position only&lt;/strong&gt;&lt;br&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/JA3-hO2co6s?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;3D position, scale and angle&lt;/strong&gt;&lt;br&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/E7oii6TCzI0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="5897" LastActivityDate="2014-05-07T07:40:56.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10702" PostTypeId="1" AcceptedAnswerId="10705" CreationDate="2014-05-07T17:06:05.197" Score="2" ViewCount="865" Body="&lt;p&gt;I've been doing green screen in iMovie (and it works surprisingly well!), but I'm downloading Adobe Creative Cloud tonight for my new PC. I'd appreciate any &quot;best practice&quot; suggestions for using the After Effects chromakey features, particularly with green-screen (rather than blue).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW, I'm trying After Effects because iMovie was having a problem with my actress's blue eyes and blonde hair, both of which became partially transparent.  (I think the scene was lit fine, so her hair shouldn't have had green reflecting off of it.)&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-05-07T19:00:24.453" Title="Chromakey (Green Screen) Best Practices in Adobe After Effects" Tags="|after-effects|greenscreen|chromakey|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10703" PostTypeId="2" ParentId="10699" CreationDate="2014-05-07T17:42:22.373" Score="0" Body="&lt;p&gt;Given a camera budget of $500, there are several handheld camcorders without recording time limits.  Before you choose one, here are some considerations:&lt;br&gt;&#xA;You'll want to be able to disable autofocus, since focus hunting is very distracting.&lt;br&gt;&#xA;Manual iris + exposure are a major plus for the same reason-- in an interview, you want a consistent image. Camcorders are designed to be handheld, and as such, they have hyperactive auto settings. &lt;br&gt;&#xA;You will probably want two cameras, a master medium shot and a close up. This allows you to edit for length and clarity by cutting between the two angles. &lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can record sound either in the camera or on an external recorder of some kind. Look into shotgun mics and lavalier mics. I prefer shotguns, as lavs can be a hassle. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For lighting, you can get really far by visiting a hardware store. Clip-on lights are cheap and preferable to halogen work lights for the quality of the shadows that they produce. &lt;br&gt;&#xA;Light can be softened by bouncing it off of opaque white surfaces like walls, ceilings, or foamcore. &lt;/p&gt;&#xA;" OwnerUserId="5660" LastEditorUserId="5660" LastEditDate="2014-05-07T18:08:07.460" LastActivityDate="2014-05-07T18:08:07.460" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10704" PostTypeId="1" CreationDate="2014-05-07T18:30:35.077" Score="3" ViewCount="310" Body="&lt;p&gt;I have some video files which were stored with the format headers in separate files.  Unfortunately, the disk crashed, and the header information has been lost.  I still have large chunks of stream data though.  Before I start writing brute-force code to figure out the parameters, are there any tools available for recovering this sort of thing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;update:  Further research and analysis indicates that this is multiple video streams multiplexed into a single file, with codec data hard-coded into the recording software.  As such, repair is likely impossible.  Software capable of scrounging such a file and extracting likely video frames might have some success, but I do not find any such software available. If anyone knows of any I would be happy to test it out and review it.  If this moves the question beyond the scope of this site, feel free to close it.&lt;/p&gt;&#xA;" OwnerUserId="5899" LastEditorUserId="5899" LastEditDate="2014-10-29T19:21:48.807" LastActivityDate="2014-10-29T19:21:48.807" Title="How does one recover a multiplexed video stream with missing headers?" Tags="|video|codec|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10705" PostTypeId="2" ParentId="10702" CreationDate="2014-05-07T18:51:43.970" Score="3" Body="&lt;p&gt;Assuming the lighting is solid, you should be in good shape. I haven't used the keying features of iMovie, but I can give you a few tips for After Effects. I'll defer to any power users of AE's keying functionality to chime in with more specific advice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, you'll probably want to start with the Keylight plugin (from The Foundry). It should come bundled with After Effects Creative Cloud. There are tons of tutorials, guides, etc. for Keylight on the web.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, know that you can create masks with After Effects. Not sure if you're already familiar with them, but masks are custom shapes that allow for specific areas of footage to be visible or modified. Masks allow you to create a &quot;junk matte&quot; around your subject, which can be helpful if lighting gets a little uneven or equipment is visible on the edge of the shot. Masks could also allow you to preserve the actor's eyes so that they are not being keyed (especially if the shot is relatively static). For example, you might want to duplicate the main video layer, mask around the actor's eyes, then pull the key on the duplicated background layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Third, if you're still having problems with the hair after firing up Keylight, you'll want to look into the &quot;Despill Bias&quot; option. With despill bias, you'll basically select a skin color to reduce the blue / green bleeding. It might take a little trial and error.&lt;/p&gt;&#xA;" OwnerUserId="5142" LastEditorUserId="5142" LastEditDate="2014-05-07T19:00:24.453" LastActivityDate="2014-05-07T19:00:24.453" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10706" PostTypeId="1" CreationDate="2014-05-08T01:44:11.230" Score="1" ViewCount="678" Body="&lt;p&gt;I specifically looking for a plugin or function in After effect that is similar to photoshop actions &quot; .atn&quot; that allow me to record and play sequence of editing i recorded to apply with a one click play like button in Photoshop.&lt;/p&gt;&#xA;" OwnerUserId="5903" OwnerDisplayName="ahmed amro" LastEditorUserId="2836" LastEditDate="2014-05-08T13:11:40.480" LastActivityDate="2014-05-10T06:43:25.343" Title="Is there any similar function of photoshop &quot; Actions .atn&quot; in adobe after effect?" Tags="|after-effects|automation|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10707" PostTypeId="2" ParentId="10706" CreationDate="2014-05-08T09:45:01.837" Score="1" Body="&lt;p&gt;There is no Action function in Adobe After Effects. You would have to write a script to do the sequence for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not versed enough to tell you if there's a Plugin or not.&lt;/p&gt;&#xA;" OwnerUserId="5206" OwnerDisplayName="Ryan" LastActivityDate="2014-05-08T09:45:01.837" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10708" PostTypeId="2" ParentId="10699" CreationDate="2014-05-08T13:21:06.393" Score="1" Body="&lt;p&gt;Let me start by saying that $1800 is a very, very small budget for this kind of a setup.  Bordering on impossible to get the kind of results you probably are hoping to get, if not over the line in to impossible.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video is sadly a rather expensive field to get in to and a professional quality camera the likes of what most popular YouTube shows are produced with runs more than your entire budget for one camera alone (often upwards of $5 or $6k per camera when including lenses and support/stabilization gear) and that's considered a fairly &quot;budget&quot; option by the wider video production industry (where broadcast and movie cameras are in the $60,000 or even $100,000+ range).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, you don't need the same quality they are using and thankfully lower end gear has come a long way, but even minimal costs run close to or over your budget and it will show in the final product, just so you know what you are getting in to.  It will still be much better than Uncle Bob's family home videos, but it won't look like a top YouTube production either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my approach to answering the question is basically to give you what I think the bear minimum is to have any chance of achieving the quality you are hoping for.  It makes sacrifices in areas I'd personally rather avoid sacrificing in, but it's the only way to give you a chance of accomplishing your goal in your budget.  If you could increase the budget to $3000, it becomes far simpler (or considering used gear could also do it, though that really depends if you have a reliable vendor of used gear in your area.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, I'd still look at DSLRs, particularly Canon DSLRs with Magic Lantern support.  With a remote, it's not a larger distraction than having to stop for re-takes which you will also likely need to do for a top quality end product.  The way you do it is that you have two or more different cameras running and you start them on an offset.  As long as you check every few minutes, you can restart one at your leisure because the other is filming.  It isn't hard or even something that noticeable to your interviewee.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, the best bet is to have both the quality of a larger sensor and better optics crossed with being able to record without interruption.  Using a camcorder in your price range is going to have a noticeable negative impact on the footage, but using a Canon DSLR that Magic Lantern supports, it is possible to bypass the 30 minute limitation and have the camera automatically start recording a new file when it reaches 30 minutes.  There might be a gap of a second or two, but it won't matter since the other camera will have a shot then and you just edit around the gap.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Magic Lantern is technically a bit of a hack, but it is a well established third party &quot;firmware&quot; (it isn't actually firmware technically) that offers a wide range of enhancements for Canon DSLRs and makes them far more powerful video platforms.  Alternately, I believe there is also a similar hack for Panasonic's Lumix GH2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another decent option, though again limited, is to go with GoPro cameras.  They will get you good quality sensors and video but they limit you to the built in fixed lens.  As long as you don't mind positioning the cameras carefully though, they are cheap, light and high quality, and they don't have the 30 minute recording limit of DSLRs.  They won't get quite the same quality, but it's probably the best quality you'll get in a non-DSLR for your price range (or anywhere close to it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Don't forget that you need tripods either.  At your budget, you won't be able to get tripods that are good for video, but since they are static shots, that shouldn't matter too much.  (A halfway decent video tripod is around $300 alone.)  For your purposes, go with the cheapest tripod that can hold your camera still, probably around $50 to $80 a piece.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for lighting and mics, $1800 budget is really not a whole lot to go on, even for cameras alone if you want solid quality.  You are pretty much looking at getting either a stand alone recorder like a Zoom h4n or, if you can have a PC present, a USB audio interface that accepts XLR inputs (would be a bit cheaper than the h4n) and a couple of basic Lavilear mics (the kind that clip on to your shirt) or perhaps shotgun mics with stands depending on how quiet the room will be.  The Lav's are honestly probably the best bet since you don't have anyone to monitor the audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lighting, you'll just need to use what little you have left to pick up some basic lights to fill out the kit.  We're probably talking home depot (hardware store) clip on light cheap with some home made diffusers and reflectors at that point because you will only have $100 to $150 left in your budget probably.  You might be able to squeeze in a really cheap quality lighting kit, but I don't have any direct experience using those to know if they would be substantially better than the home depot solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do have a reliable used gear vendor and don't mind going used, get used DSLRs (perhaps T2i cameras) and then use what that saves you to get a decent lighting kit and/or slightly higher end LAVs.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-07-30T20:20:30.770" LastActivityDate="2014-07-30T20:20:30.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10709" PostTypeId="1" AcceptedAnswerId="10711" CreationDate="2014-05-08T23:36:36.940" Score="1" ViewCount="259" Body="&lt;p&gt;I am thinking about using The Sims game or any of the similar kind to capture video and then I would use the recording to add my own audio input. My friend and I are trying to make a kind of comedy show that would be using animated video sequence, which I would like to look as visually realistic as possible - in particular clothes and skin textures would be most important.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Creating and recording video from a game engine isn't a problem. Problem is the editing / processing of the recorded video. &lt;/p&gt;&#xA;" OwnerUserId="5902" LastEditorUserId="5902" LastEditDate="2014-05-09T15:22:33.073" LastActivityDate="2014-05-09T15:31:51.240" Title="How to make a 3D animated video from video games as realistic as possible?" Tags="|video|animation|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="10711" PostTypeId="2" ParentId="10709" CreationDate="2014-05-09T15:16:23.813" Score="1" Body="&lt;p&gt;What you are talking about doing is an example of an art form known as Machinama.  It is where you use a video game engine to play out the actions of a script and voice over it to produce content.  One widely successful such project is Red vs Blue which is based around the game engines used in Halo.  There are also quite a few different examples of machinama based around the World of Warcraft engine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For your particular objectives, you would want something that makes it easy to setup camera positions and position actors.  Gary's Mod, while a bit dated, is one option for such a sand box.  There is also the slightly more advanced Source Filmmaker which is based on the same engine (Source) which is what Half Life 2 was based on.  It's a bit dated by today's standards, but both are pretty easy to use and might make a good introduction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you get comfortable with those, it would just be a matter of moving to a more up to date game engine that features realistic motion and rendering.  Crytek's engines are pretty well respected for their flexibility and I believe they have pretty good support for things like custom camera positions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If these turn out to be too complicated, using something with multiplayer and an observer mode can work as a camera as long as you can remove the UI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video editing itself is unfortunately a crap in/crap out kind of process.  You can't magically enhance the footage you get from the game and make it look more realistic.  You can do color grading (adjusting white balance, contrast, color balance, etc) to try and make more realistic tones, but if the textures and lighting and motion are inherently unrealistic, you aren't going to make them look significantly more realistic after the fact in post.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-05-09T15:31:51.240" LastActivityDate="2014-05-09T15:31:51.240" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10712" PostTypeId="2" ParentId="9760" CreationDate="2014-05-09T15:43:16.670" Score="1" Body="&lt;p&gt;It depends on how bad the aliasing is, but a very slight fast blur can sometimes smooth a layer that looks too digital. I most often use this on thin linework, but sometimes type as well. &lt;/p&gt;&#xA;" OwnerUserId="5660" LastActivityDate="2014-05-09T15:43:16.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10713" PostTypeId="2" ParentId="10667" CreationDate="2014-05-09T23:42:22.797" Score="2" Body="&lt;p&gt;Your screenshot does not have sufficient zoom to see how the checkpoints of &lt;em&gt;Velocity&lt;/em&gt; envelope behave. Let me assume they are all having Transition of &lt;em&gt;Hold&lt;/em&gt;, e.g. &lt;em&gt;velocity&lt;/em&gt; changes abruptly, &lt;strong&gt;not gradually&lt;/strong&gt;: &lt;code&gt;100%&lt;/code&gt; immediately to &lt;code&gt;150%&lt;/code&gt;, then immediately back to &lt;code&gt;100%&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Along the course of my experience with Vegas, I found &lt;em&gt;velocity&lt;/em&gt; envelope inefficient. Instead, I find splitting &lt;em&gt;Video Event&lt;/em&gt; into several ones more effective, and here's why.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Say, you have a video event of length &lt;code&gt;1 minute&lt;/code&gt;, as on Track 1. Say, you want the original timeline &lt;code&gt;0:20&lt;/code&gt; till &lt;code&gt;0:30&lt;/code&gt; to play at &lt;em&gt;Velocity&lt;/em&gt; of &lt;code&gt;200%&lt;/code&gt;, so that it took only &lt;code&gt;5 seconds&lt;/code&gt; instead of &lt;code&gt;10&lt;/code&gt; original.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/PE3uF.png&quot; alt=&quot;Vegas screenshot&quot;&gt;&lt;br&gt;&#xA;Full scale image &lt;a href=&quot;https://i.stack.imgur.com/PE3uF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you add a &lt;em&gt;Velocity&lt;/em&gt; envelope as in Track 2 (&lt;code&gt;200%&lt;/code&gt; at timecode &lt;code&gt;0:20&lt;/code&gt;), you would need to &lt;strong&gt;guess&lt;/strong&gt; at which point to put another control point for &lt;em&gt;Velocity&lt;/em&gt; so that playback continued at original speed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, the end marker of the video indicates that the actual timeline ends at approx. &lt;code&gt;0:54&lt;/code&gt; (and the rest is a repeat of the same video event from the beginning).&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;However, if you take another approach and &lt;strong&gt;split&lt;/strong&gt; your video as displayed on Track 3 and then &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;drag&lt;/kbd&gt; the end point of the middle &lt;em&gt;Event&lt;/em&gt;, it would work smoothly. You will be &lt;strong&gt;sure&lt;/strong&gt; that the third &lt;em&gt;Event&lt;/em&gt; starts at proper timecode (in original scale).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only thing you would need is dragging the 3rd &lt;em&gt;Event&lt;/em&gt; backwards, as shown in Track 4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Moreover. As soon as you &lt;em&gt;Group&lt;/em&gt; all three &lt;em&gt;Events&lt;/em&gt; by &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;clicking&lt;/kbd&gt; them and then pressing &lt;kbd&gt;G&lt;/kbd&gt;, you will be able to process them together. In Track 5, I have stretched all three events so the entire video played a bit slower.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note 1.&lt;/strong&gt; Most likely, you will need to overlap these three &lt;em&gt;Events&lt;/em&gt; somehow. This will let the stream to be smoother, without abrupt &lt;em&gt;Velocity&lt;/em&gt; changes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note 2.&lt;/strong&gt; Of course, all above applies to multi-track &lt;em&gt;Groups&lt;/em&gt; as well. You need not keep all &lt;em&gt;Events&lt;/em&gt; within the same &lt;em&gt;Track&lt;/em&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2365" LastActivityDate="2014-05-09T23:42:22.797" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10715" PostTypeId="2" ParentId="10660" CreationDate="2014-05-10T13:04:13.243" Score="1" Body="&lt;p&gt;&lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;dragging&lt;/kbd&gt; ignores grid, markers, fade-in/fade-out marks, and all other time points that otherwise would cause &quot;sticking&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The same applies to dragging the &lt;em&gt;Event&lt;/em&gt; entirely and its start/stop borders.&lt;/p&gt;&#xA;" OwnerUserId="2365" LastActivityDate="2014-05-10T13:04:13.243" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10716" PostTypeId="1" CreationDate="2014-05-10T13:32:03.283" Score="2" ViewCount="836" Body="&lt;p&gt;I'm dying to find out how this beautiful video was made - what program produces these semi-3D animated marketing pieces?  There are flat lines curving around text content in a fixed camera view...it looks very unlike 3D Studio Max or something, that would be using lighting and moving camera angles etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://vimeo.com/92630207&quot; rel=&quot;nofollow&quot;&gt;http://vimeo.com/92630207&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5909" LastActivityDate="2014-05-10T13:58:53.900" Title="How Was This Isometric Vector-looking Video Made?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10717" PostTypeId="2" ParentId="10716" CreationDate="2014-05-10T13:50:14.090" Score="5" Body="&lt;p&gt;As this is mostly hand drawn animated vector graphics you could do these kind of videos in most 2D animation software. Lighting in this case isn't rendered by the program but painted by the artist.&#xA;In most cases this would be done in Adobe After Effects as it offer very sophisticated timeline animation tools and works very well with vector graphics. There are also still quite a few people using Adobe Flash for these kind of animations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You are not limited to these two software options though, you can definitely do this in Apple Motion or Sony Vegas aswell.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An artist would draw the single elements for the video in a vector graphics program like Illustrator or Inkscape and then these would be animated in a 2D animation software package like mentioned above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might want to have a look at this article from the maker of this specific video, it explains the design process quite well: &lt;a href=&quot;https://www.behance.net/gallery/CBRE-Animated-Infographics/15921655&quot; rel=&quot;noreferrer&quot;&gt;https://www.behance.net/gallery/CBRE-Animated-Infographics/15921655&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-05-10T13:58:53.900" LastActivityDate="2014-05-10T13:58:53.900" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10718" PostTypeId="1" AcceptedAnswerId="10719" CreationDate="2014-05-10T13:52:30.287" Score="1" ViewCount="68" Body="&lt;p&gt;I was watching a video produced by local movie maker, on 13&quot; MacBook and it has lines! not sure why. I was thinking maybe the movie has rendered badly. How do I find out what's the resolution and frame rate. &lt;/p&gt;&#xA;" OwnerUserId="5910" LastActivityDate="2014-05-10T14:03:07.657" Title="How to find video frame rate and resolution" Tags="|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10719" PostTypeId="2" ParentId="10718" CreationDate="2014-05-10T14:03:07.657" Score="2" Body="&lt;p&gt;The lines may come from the fact that you have exported the video with interlacing. You should generally avoid interlacing for any digital end-user medium.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To find out about certain technical aspects of a video, the program &lt;a href=&quot;http://mediaarea.net/en/MediaInfo/Download&quot; rel=&quot;nofollow&quot;&gt;MediaInfo&lt;/a&gt; is a very handy tool that can tell you a lot about the specs of your video, including basics like video resolution and framerate. Though it's very unlikely that the root of your issue is the framerate or resolution. Medianinfo can also tell you if a video is using interlacing which is more likely the cause.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-05-10T14:03:07.657" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10722" PostTypeId="1" AcceptedAnswerId="10723" CreationDate="2014-05-11T03:42:31.047" Score="1" ViewCount="41" Body="&lt;p&gt;I just downloaded Premiere CC and am learning to use it. There's a big section in the sequence (I think that's what it's called?) that I'd like to get rid of.  In the screen shot below, I marked it with the white arrow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/onXRc.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see, my footage is a little over 2 minutes long.  However, the area I can scroll is over 12 minutes long.  How can I make the scrollable area a similar length as my footage?  I want to do that so the scroll bar isn't super-sensitive (and there's not ten useless minutes of empty space in that window). BTW, I know how to &quot;zoom in&quot; on that timeline. But then if you move the scroll bar a couple pixels, you've jumped several &quot;screens&quot; one way or the other.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-05-11T15:32:39.743" Title="adjusting the Premiere Creative Cloud sequence (newbie question)" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10723" PostTypeId="2" ParentId="10722" CreationDate="2014-05-11T15:32:39.743" Score="1" Body="&lt;p&gt;From what I can gather online, it appears that it is supposed to scale automatically and always extends 10 minutes beyond the end of the last clip in the sequence and there does not appear to be any way to change that.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-11T15:32:39.743" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10725" PostTypeId="2" ParentId="10404" CreationDate="2014-05-12T09:43:08.360" Score="3" Body="&lt;p&gt;I can recommend &lt;a href=&quot;http://www.macroplant.com/adapter/&quot; rel=&quot;nofollow&quot;&gt;Adapter&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is a Wrapper for the ffmpeg package and does its job pretty well. Because of its easy UI.&#xA;You could also use ffmpeg directly via macports, but I think that Adapter is far easier to control.&lt;/p&gt;&#xA;" OwnerUserId="5916" LastActivityDate="2014-05-12T09:43:08.360" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10726" PostTypeId="2" ParentId="8637" CreationDate="2014-05-12T11:24:34.047" Score="2" Body="&lt;p&gt;There actually are two films that I am aware of. One is 'Naught 5' and Plumiferos. You can easily Google to see the production websites.&lt;/p&gt;&#xA;" OwnerUserId="5918" LastEditorUserId="2836" LastEditDate="2014-05-12T15:33:28.123" LastActivityDate="2014-05-12T15:33:28.123" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10728" PostTypeId="1" AcceptedAnswerId="14636" CreationDate="2014-05-12T21:59:16.747" Score="5" ViewCount="2492" Body="&lt;p&gt;I'm new to After Effects and I might be asking about obvious stuff, but I searched this site and elsewhere and can't find an answer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically I want to orbit some points in a setup similar to the Sun - Earth - Moon (Sun is static, Earth goes around the Sun, and the Moon goes around the Earth), and I need each moving point to have its position change over time so that I can parent other stuff to them.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to animate this graphic:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0QPsW.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've got the epicycle (the small circle) to rotate around point T (Terre), while V (Venus) is rotating on the epicycle. I have a beam between T and the center of the epicycle (C), but I would also need to add a beam between C and Venus. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can get Venus to rotate on the epicycle either by making it an ellipse on it's own layer and then parenting it to the epicycle; or I can add it as another ellipse on the same shape layer as the epicycle, making V rotate with the epicycle. But in both cases the position of Venus remains invariable, so the beam can't follow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I make point V rotate on the epicycle such that its own position changes over time allowing me to add a beam between it and the center of the epicycle?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm confused by all the different Position parameters, if I create V as an ellipse on its own shape layer there'll be 3 different position parameters and none if them will change over time if V is parented to the epicycle. I've also tried alt-pick-whipping these 3 to the position of the epicycle with no luck. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/OjvYK.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5914" LastEditorUserId="5914" LastEditDate="2014-05-12T23:44:19.937" LastActivityDate="2015-01-21T15:08:59.283" Title="Orbits in After Effects" Tags="|after-effects|" AnswerCount="3" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10729" PostTypeId="1" AcceptedAnswerId="10865" CreationDate="2014-05-13T03:49:46.670" Score="2" ViewCount="7656" Body="&lt;p&gt;What features should I be looking for in a camera (typically found in cameras less than $1000) for shooting a high school basketball game?  The intent is to use the video for &quot;Game Film&quot; type analysis (so picture quality for rebroadcasting purposes is not as important).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some things I have noticed already (borrowing cameras from friends) &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Tripod is very helpful&lt;/li&gt;&#xA;&lt;li&gt;Most cameras wont cover the whole court (from top bleacher position) in a single shot. (Is there a feature of the camera or tripod that would make this less painful, wide angle?)&lt;/li&gt;&#xA;&lt;li&gt;Long battery life (1.5 hours)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5922" LastActivityDate="2016-01-07T20:19:24.053" Title="Camera features useful when recording a live high school basketball game?" Tags="|video|camera|field-recording|" AnswerCount="3" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="10730" PostTypeId="1" CreationDate="2014-05-13T04:56:14.897" Score="8" ViewCount="25278" Body="&lt;p&gt;Apple HLS streams MPEG-2 TS files containing video and audio data in packetized elementary stream format. These segments (&lt;code&gt;.ts&lt;/code&gt; files) can be joined in order to build final video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recent version of HLS can now produce segments with video data only in TS files, and audio data only in another TS files. This is used to serve multilanguages video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regardless of HLS itself, how can I process to remux TS files containing video data, and audio data, in one TS file? Joining TS files together doesn't work; I get data from first TS file combined with the same type of data from next TS files (only video or audio).&lt;/p&gt;&#xA;" OwnerUserId="5923" LastActivityDate="2016-04-21T17:51:44.440" Title="Combine video and audio TS segments coming from HLS stream" Tags="|streaming|transcoding|mpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10731" PostTypeId="2" ParentId="10728" CreationDate="2014-05-13T14:00:37.797" Score="3" Body="&lt;p&gt;I would probably start from the smallest orbit and work my way out.  If you adjust the anchor point for each object that is rotating, a simple rotation keyframe should make it rotate around the center.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have the smallest thing rotating, you include that composition in another composition and adjust the anchor point similarly to make it rotate around the center of the new composition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need oblong orbits, you can also use a path instead and animate it along the path.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can keep nesting them indefinitely for as many nestings as you need. It isn't a 100% accurate simulation since the actual orbital mechanics are a bit more complicated, but it gives a simple simulation of them and can easily support various periods for each part.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-13T14:00:37.797" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10732" PostTypeId="1" AcceptedAnswerId="10736" CreationDate="2014-05-13T17:43:39.740" Score="2" ViewCount="12269" Body="&lt;p&gt;I am a software developer. I understand the video concepts, but I am no expert.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a Sony Action Cam AS-15. It records ate 1080/60fps/25Kbitrate. The 60FPS videos just dont; play smooth maxemised on my pc, xbox, ps etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking for the best way to drop some bitrate, but keep decent video quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried numerous converters/settings, but I just cant get a decent quality video going... I can, for instance, in no way, get videos to look as good as the uploaded videos for the Action Cam, on the Sony action cam youtube channel, for instance. Not even to mention nearing in any way the gopro uploaded video quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Sony Youtube Video:&lt;/strong&gt; &#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/A3H-xgWfAg8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My Youtube Videos:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/hWuMZU8EOXg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/C60gBZk6TvQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;This Last upload was:&lt;/strong&gt; 13 minutes, 1GB, 720p, 30fps, 9259kbps, MP4 (Windows Movie Maker), Gopro Black, Sony Action Cam, Fuji xp-100 cameras&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The little AS-15 is not as good as the gopro, but the &quot;professional&quot; post videos uploaded to Sony's channel, look damn good. I am not talking about saturation, effects etc. I am talking purely about (pixelation/artefacts)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original 1080/60 videos look pretty good, but I cant keep them looking good in a more usable format... I would like to keep 60fps, but just lower the bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Any Video Converter Software, convert to 30fps/24kbitrate&lt;/li&gt;&#xA;&lt;li&gt;GoPro Studio (Best quality)&lt;/li&gt;&#xA;&lt;li&gt;Keep high original bitrate, converted to 720p&lt;/li&gt;&#xA;&lt;li&gt;.h264&lt;/li&gt;&#xA;&lt;li&gt;.mp4&lt;/li&gt;&#xA;&lt;li&gt;I don't really want to buy Vegas Pro, or Adobe premier, as this is a small hobby.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I see decent quality movie (feature films) encodes, running at 1080p, with only 2K bit-rate...? Which makes for a decent file size of 1.5gb/90 minutes. My encodes are 1GB for 15 minutes, and look just terrible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I missing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. I know from research, and observation, that the Sony AS-15 totally messes up with video compression. There are quite a lot of artefacts on very detailed scenes... Can this be the problem, that the source just isn't good enough to convert / work with?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this is the case, are there any software to keep the original file bit-rate and FPS, but just scale down to 720p, in order to keep the initial quality as it was recorded, but make it a bit more usable..&lt;/p&gt;&#xA;" OwnerUserId="5926" LastEditorUserId="5926" LastEditDate="2014-05-13T19:08:36.367" LastActivityDate="2023-04-11T07:17:44.797" Title="My converted videos look bad... what am I doing wrong?" Tags="|video-quality|conversion|compression|post-production|action-cam|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10733" PostTypeId="1" AcceptedAnswerId="10792" CreationDate="2014-05-13T19:27:50.890" Score="3" ViewCount="874" Body="&lt;p&gt;When I have audio and video tracks de-synchronized, is there a way to make them synchronous?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A workflow:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Add a video+audio track to a project;&lt;/li&gt;&#xA;&lt;li&gt;Crop a small &lt;em&gt;Event&lt;/em&gt; in the middle and remove the rest;&lt;/li&gt;&#xA;&lt;li&gt;Uncheck &lt;code&gt;Ignore event grouping&lt;/code&gt; option;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Drag one of the tracks sideways;&lt;br&gt;&#xA;&lt;strong&gt;Note&lt;/strong&gt; the audio track gets reddish background to indicate it is not synced to Video.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Resize Video and/or Audio &lt;em&gt;Events&lt;/em&gt; so that original start/end timestamps get lost;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Now I need to get Audio synced back to Video.&lt;br&gt;&#xA;Obviously, dragging Video or Audio will not work as I have resized both &lt;em&gt;Events&lt;/em&gt; individually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to get Audio back in sync, probably by losing cropping?&lt;br&gt;&#xA;&lt;em&gt;I'm aware about opening the Event in the Trimmer and re-dragging the Audio track from there.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="2365" LastActivityDate="2014-05-22T21:12:14.667" Title="Resynchronize Audio to Video" Tags="|vegas-pro|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10734" PostTypeId="2" ParentId="10728" CreationDate="2014-05-13T20:12:18.743" Score="3" Body="&lt;p&gt;You probably want to work with Motion Paths here.&#xA;Though for those to work you need beziere based shapes and not parametric shapes like you have right now. The differences is that parametric shapes (coming from the shape tool (rectangle, ellipse etc.)) are defined by numeric parameters (the part with the first position value in your image). Bezier shapes have points with handles to define the shape, what you get when you draw with the pen tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use the shape tool to make bezier based shapes and I would recommend that you redo the few shapes you have and simply copy over the settings and keyframes from you existing shapes.&#xA;To make a bezier shape with the shape tool simply hold down the &lt;code&gt;alt&lt;/code&gt; key while creating the shape.&#xA;Then simply click on the &quot;Path&quot; object in the &quot;Path x&quot; dropdown of your shape.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/0joG4.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then copy that with Ctrl+C and paste it onto the position of your Venus shape. Either the layers position (the one on the bottom of your screenshot) or the position of the shape itself (the middle one in your screenshot). That will create keyframes for the current outer path of your shape. Then parent the Venus shape to the epicycle shape and the Venus will rotate along the epicycle and move with it. If the Venus is a bit off you can offset the position with either the layer position or the shape position depending on which one you chose to paste the motion path on.&#xA;This will result in an animation like this:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/wgK7k.gif&quot; alt=&quot;enter image description here&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/rM4g3.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope thats what you were after.&#xA;If you want to extend the length of the motion path animation just select all the keyframes and drag the last one with the alt key pressed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make a connection between Venus and the Epicycle center you have to work with an expression. The easiest way would be to create a null that you parent to Venus and then move the Nulls Anchor Point to the center of the Venus (work from the start frame of the animation to make your life easier). Then apply this expression to one end of the beam effect: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;L = thisComp.layer(&quot;Null 1&quot;);&#xA;L.toWorld(L.anchorPoint)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&quot;Null 1&quot; being the name of you Null object. This expression gives you the actual global position of your null. If you just use the position value it wont move as these values aren't actually animated right now. We basically get what After Effects is doing in the background to the objects position when parenting an object to an animated layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then simply parent the position of the other end of the beam effect to the position of Epicycle (given that the Epicycle has its Anchor Point centered).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an After Effects example project to understand it more easily.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CS6: &lt;a href=&quot;http://www1.zippyshare.com/v/84425880/file.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www1.zippyshare.com/v/84425880/file.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CS5.5: &lt;a href=&quot;http://www19.zippyshare.com/v/13633271/file.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www19.zippyshare.com/v/13633271/file.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-05-18T23:33:47.853" LastActivityDate="2014-05-18T23:33:47.853" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="10735" PostTypeId="1" CreationDate="2014-05-14T00:24:38.683" Score="1" ViewCount="734" Body="&lt;p&gt;I have a Sony HDR-CX330 HandyCam which does a good job recording low light events for us. Now I would like to stream some of these events live.  The Camera has HDMI out, but I'm not sure how I get this into a MacBookPro.  I think I need some kind of capture device but I'm not sure which one or how to search for it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What do I need to get live video into the laptop?&lt;/p&gt;&#xA;" OwnerUserId="3144" LastActivityDate="2014-05-14T00:24:38.683" Title="Connect a Sony HandyCam to a MacBookPro for streaming" Tags="|streaming|mac|hdmi|video-capture|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10736" PostTypeId="2" ParentId="10732" CreationDate="2014-05-14T02:53:58.023" Score="2" Body="&lt;p&gt;Taking a closer look at the footage now that I'm at home, it's mostly the level of activity and motion in the shots.  Even in the Sony video, the quality absolutely falls apart any time that there is high motion and unstable video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The way video compression works, it depends on predictable and smooth motion to achieve good compression results, especially for on the fly recording like a camera has to do since it can't look forward in time and see how things are going to move any further than it can buffer, which is generally not going to be very far (probably sub-second).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two places you could get quality loss.  The first is in the recording itself.  If you aren't recording at sufficient data rates, then if there is too much motion, fine detail is going to get lost.  Uncompressed video is absolutely massive and even most video cameras record with moderate to heavy compression already applied.  If your source footage lacks detail (and isn't out of focus) then you need to work on stabilizing the camera to ensure it can better compress the video.  There are a number of different ways you can shock mount a camera to help provide some stabilization, though they also generally add weight.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the source footage is ok, then the problem lies in the final compression for web/end-user consumption.  The fundamental problem is still the same, but we now have the option of using digital video stabilization to help make movement less random.  We also can use VBR 2-pass compression since we can now look ahead and see how thing move in the future as well as the past, which allows for far more accurate compression and more efficient use of bandwidth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, some of the footage could use color grading to enhance the contrast.  Ideally footage should make full range of luminosity (brightness).  Your blacks should be dark black, but without obscuring detail in the shadows.  Your whites should be bright, but without fine detail bleeding in to pure white.  You can start with a white point and black point, but really, using something like curves is the best way to tweak the video to make the most use of the available range of luminosity.  This can also be quickly, but sloppily accomplished by increasing the contrast, but results often look far more artificial that way.  Color grading is best learned by doing it and it can vary throughout a clip.  It takes time and practice to get good at it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-14T02:53:58.023" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10737" PostTypeId="2" ParentId="10729" CreationDate="2014-05-14T02:57:49.470" Score="1" Body="&lt;p&gt;You may want to look at an action camera like the GoPro.  They are extremely limited in terms of versatility, but they are small, cheap (relatively speaking) and capture a wide field of view.  They wouldn't be suitable for broadcast use or making videos for fans, but they would be terrific at unattended capturing all the action from multiple angles to be able to review after the game to see what happened.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-14T02:57:49.470" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10738" PostTypeId="1" CreationDate="2014-05-14T11:16:19.570" Score="4" ViewCount="1622" Body="&lt;p&gt;So I shoot with my Nikon D5200 a lot, one problem that bothers me especially when shooting conferences etc is 20 minutes cap for single clip length.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't see any way to overcome it other than wait for new firmware or some third party hack like ML for Canons. But while looking into this issue I found numerous claims, that this max clip length cap is there to prevent camera's chip from overheating. Now that is what bothers me, I find it pretty hard to believe since I usually make just one second gap between clips and shoot like that for hours and my camera doesn't protest in any way. Wouldn't there be any additional fail-safe (like overheating alert) to prevent damage to the chip if this issue was so serious?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand I don't want to risk my camera so I would like to be sure that continuous video shooting poses no threat.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;So is this chip overheating just hoax? I've also heard that this&#xA;limit is there because of tax reasons.&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Or even if this overheating&#xA;    issue is real, does it create enough heat to damage the chip while&#xA;    shooting in continuous sequence of 20min clips?&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;(&lt;em&gt;I am talking about Nikon D5200, but I guess it applies to all DSLRs, by chip I mean CMOS photosensitive chip, to be clear&lt;/em&gt;)&lt;/p&gt;&#xA;" OwnerUserId="5928" LastActivityDate="2015-09-20T10:31:53.477" Title="DSLR chip overheating and max clip length" Tags="|dslr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10739" PostTypeId="1" CreationDate="2014-05-14T11:40:49.137" Score="2" ViewCount="690" Body="&lt;p&gt;I have two videos that need to fit these specs: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;The minimum frame size is 1280w X 720h pixels (either progressive or interlaced is acceptable).&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video A is: 480 × 640 [.mov]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&amp;amp;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video B is: 476 × 360 [.mp4]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible? &amp;amp; If so what program do I need to do it? Can this be done in Handbrake? (I use an iMac but have access to a PC at work)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;full specs required:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;RECOMMENDED QUALITY:&#xA;We recommend uploading HD quality video so it is easy for us to review. The preferred bit rate for your videos is 3000-5000kbps at a frame rate of 24 or 30 frames per second depending on how the material was shot. The minimum frame size is 1280w X 720h pixels (either progressive or interlaced is acceptable).&#xA;WHAT ENCODING MODE SHOULD I USE WHEN I SAVE AND UPLOAD MY VIDEOS?&#xA;We recommend you use the Best/Multi-pass/2-pass encoding mode optimized for &quot;download.&quot; &#xA;RECOMMENDED FILE SIZE:&#xA;Both videos should be under 3GB in size. &#xA;RECOMMENDED AUDIO FORMAT:&#xA;We would recommend encoding audio in the AAC format with a bit rate of between 128-256kbps. Alternatively, you can use 256kbps Video A and 96kbps for Video B.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-&#xA;FURTHER INFORMATION: [Mistakenly first added in a reply rather than an edit] &lt;/p&gt;&#xA;&#xA;&lt;p&gt;These videos are for a tv show idea submission. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;'video B' is my example of previous work so i cant just recreate it. it was originally shot on tape &amp;amp; i only have is this digital version. i was hoping to find a way to work with it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;'video A' is the show pitch &amp;amp; was shot recently w/an ipad &amp;amp; can be reshot. In the comments, AJ pointed out how it is 'portrait orientation' -oops. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also to AJ's point, it does say 'RECOMMENDED QUALITY' but it also says 'minimum frame size' &amp;amp; I read 'minimum' as a requirement vs a recommendation. It should be ok to submit 'Video B' w/out being HD, but i dont think i can submit it with less than the minimum frame size.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the frame size cant be increased, is it possible to add some black filler to the sides somehow to force 'Video B' to fit the specs like you can with a jpeg in photoshop? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I will have access to Sony Vegas Pro next week, can I use that?&lt;/p&gt;&#xA;" OwnerUserId="5929" LastEditorUserId="5929" LastEditDate="2014-05-17T13:36:35.503" LastActivityDate="2014-05-17T17:30:48.113" Title="Can video frame size be increased?" Tags="|video|editing|conversion|vegas-pro|osx|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10740" PostTypeId="2" ParentId="10738" CreationDate="2014-05-14T13:59:48.217" Score="3" Body="&lt;p&gt;First, while sensor temperature is a real thing that can result in elevated noise levels, I'm not aware of a sensor in recent history that had a heat related shutdown (outside of harsh conditions anyway) or that could accumulate enough heat to be a threat to the chip.  Most of the non-sense out there about sensor's overheating is completely uninformed rumors or based on older sensors where heat was more of an issue.  There may be some exceptions in specific models, but they are not a major issue in runtimes or live view itself wouldn't work regardless of recording.  (Live view uses the sensor just as much or more than video recording does.)  There are three main factors that can limit record time.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first is card speed.  If you have a memory card which is not fast enough to sustain writing at the data rate of the video you are recording, the buffer of the camera will slowly fill and when it runs out of space, there is no way for the camera to continue recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second is a limitation of the FAT file system used in many digital cameras.  Video files are very large and the FAT file system used in many cameras is simple and outdated.  It has a limit of 4GB per file and when you reach that limit, the file has to end or it will become unreadable.  In the case of your D5200, this is the reason for the 20 minute cut off.  Other cameras get around this either by using exFAT (a newer card format) or simply splitting the video between files.  (One file ends and a new file begins while the camera uses it's buffer to store frames.)  The later is, for example, how the Canon 5D Mark iii deals with 4GB file size limits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The third and largest limitation is that of import taxes that the EU imposes on &quot;video recording devices.&quot;  Video recording devices are defined as anything that can record more than 30 minutes of video and it is a 15% tax.  Thus, most manufacturers impose a completely artificial 29 minute 59 second time limit on video recording so that the device is not a video recording device.  Some manufacturers offer different versions in Europe than the rest of the world, but most just put the limit everywhere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Third party firmwares are often able to deal with both the second and third situation (both by file splitting methods normally), however the first situation can only be addressed by getting a new, faster memory card.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-05-14T16:07:27.527" LastActivityDate="2014-05-14T16:07:27.527" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10742" PostTypeId="1" AcceptedAnswerId="10743" CreationDate="2014-05-14T17:00:35.013" Score="4" ViewCount="124" Body="&lt;p&gt;As non-English speaker, the terms connected with camera movement are not always clear to me, and I believe that they are technical enough to be confusing even for some English speakers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please write what are the terms (eg. pan, tilt), what they mean and &lt;strong&gt;what is that specific movement used for&lt;/strong&gt; while shooting.&lt;/p&gt;&#xA;" OwnerUserId="5416" LastActivityDate="2014-05-14T19:24:56.957" Title="Terminology connected with camera movement" Tags="|filming|terminology|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10743" PostTypeId="2" ParentId="10742" CreationDate="2014-05-14T17:24:46.780" Score="4" Body="&lt;p&gt;For the three main rotations of the camera you have pan (rotation around the vertical axis), tilt (rotation around the axis passing left to right through the camera), roll (rotation through the axis passing through the center of the lens).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then there are the three main movements along those same axis.  Pedestal is a movement along the vertical axis.  Tracking, trucking and dolly shots are all roughly synonymous and refer to moving the camera along either horizontal axis (or both).  Tracking generally involves maintaining a constant distance from the subject. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A crane shot is a shot where the camera is on the end of a boom that is being rotated around one or more axis.  In other words, the camera is moving around the outside of a sphere created by a boom mounted on a central point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Follow shot is a shot that follows a subject at a set distance as they move.  Ie, the subject remains roughly stationary in frame but the rest of the surroundings move.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Dolly Zoom isn't exactly a specific kind of camera movement, but it involves doing a dolly shot at the same time as adjusting the zoom to keep the subject the same size.  This results in an exaggerated perspective shift while the subject remains the same size or roughly the same size.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-05-14T19:24:56.957" LastActivityDate="2014-05-14T19:24:56.957" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10747" PostTypeId="2" ParentId="10610" CreationDate="2014-05-15T11:28:44.687" Score="3" Body="&lt;p&gt;I do editing work for a Large Surveillance company in the UK who require faces of all Juveniles and Children to be Blurred out. Please be under no illusion there is no easy way to do this and I spent many many hours looking at ways to do it, don't waste your time on free progarmmes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Firstly I am not a professional Video Editor but have picked up a lot of bits and tips as I go along specifically related to what I do. I have tried many programmes (including demos/trials costing 5 - 10K and the only programme I find to do the task with high accuracy is After Effects.  I looked at AE with Mocha and AE on its on on the Motion Tracking( even for the high cost of CS6 it is still the most cost effective programme for the task and like someone mentioned there is a subscription service (which I will switch to soon). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Motion tracking is great if the subject (face) doesn't move out of view, once it does you loose the tracking and its grief.  The best way I  have found is AE using Motion tracking with keyframing which is simply moving the created Gaussian mask frame by frame. It is a laborious tack but as I have prograssed over the past 6 months I have discovered ways to speed up the process by say moving two or more masks at the same time and to split an adjustment layer which saves time creating a new layer which I found invaluable as it allows me to increase or decrease the size of the mask. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With CS6 it also has the added benefit of Dynamic Link which is brilliant for cross platform editing with Premier Pro or Encore etc. If you take a look at YouTube tutorials on the subject  you will see what I mean.  What ever the Professionals say Ae and PPro is really quite easy to get to grips with the basics and you will very soon add to your knowledge as you go along, there is always that 'wow' I didn't know I could do that with this programme. &lt;/p&gt;&#xA;" OwnerUserId="5933" LastEditorUserId="2836" LastEditDate="2014-05-15T14:23:24.013" LastActivityDate="2014-05-15T14:23:24.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10748" PostTypeId="1" AcceptedAnswerId="10750" CreationDate="2014-05-15T14:39:57.300" Score="4" ViewCount="3246" Body="&lt;p&gt;As we know that out brain can process at most 1/10th of a second then why we go beyond the 10 FPS as our brain should not be able to process more than the 10 FPS of a scene. whats is the logic behind ?&lt;/p&gt;&#xA;" OwnerUserId="5935" LastActivityDate="2014-05-15T21:26:26.930" Title="Why more than 10 FPS is needed" Tags="|framerate|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10749" PostTypeId="2" ParentId="10748" CreationDate="2014-05-15T14:56:55.867" Score="4" Body="&lt;p&gt;The logic of experience. All you have to do is watch 10fps or even 20fps video to realize that what you &quot;know&quot; to be true of the brain is wrong. Persistence of vision in the average human dictates a refresh rate of &gt; 25fps to avoid apparent flicker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The human visual system involves more than just what the brain can completely process.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-05-15T14:56:55.867" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10750" PostTypeId="2" ParentId="10748" CreationDate="2014-05-15T15:16:17.567" Score="8" Body="&lt;p&gt;The brain can process an image displayed for as little as 13 ms if the surrounding content is blank.  10 to 12 images per second is only the number of images that appear distinct to the eye.  Beyond 10 to 12 images a second,  the brain starts to try to piece them together, but it is doing a lot of work to make that go and the motion isn't as smooth as it could be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using higher frame rates means that the brain has to do less filling in the gaps and motion can appear more accurate and smoother since the brain is actually fully capable of processing images faster than 10 times a second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 12fps animation threshold is only a minimum to get the appearance of motion, not the maximum amount of information our brain can take in.  We can process far more images per second to determine motion, but require at least 10 to 12.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can test this for yourself if you want by taking a 30 fps video and inserting a black frame at random in the video.  You'll easily notice the distortion from the missed frame because it abruptly changes to something other than the expected image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically your brain knows what it expects to see and can recognize that it didn't see what it expected, it just can't recall exactly what it is that it saw that it didn't expect since it was taking a shortcut to reduce the amount of processing needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Wikipedia article on &lt;a href=&quot;http://en.wikipedia.org/wiki/Frame_rate&quot;&gt;frame rate&lt;/a&gt; is a good source of additional information on the topic.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-15T15:16:17.567" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10751" PostTypeId="1" CreationDate="2014-05-15T21:06:41.877" Score="1" ViewCount="105" Body="&lt;p&gt;I want to make a short movie from a holiday trip where I have taken many pictures and clips. I know the simple &quot;autofilm&quot;-feature of windows movie maker and it is quite useful. Because I switched to Kubuntu I am now looking for an open source video editing software which has compareable features:&#xA;- add many clips/pictures to time line&#xA;- create random transitions between all clips and pics&#xA;- create a Ken Burns effect (pan and zoom) for all pics&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course these automatically added adjustments should remain editable. I tried Kdenlive, here I do not find a &quot;add random transition for all clips/pics&quot; feature. In OpenShot I can only add a manually adjusted Ken Burns effect but fo 300 pictures this would be too time consumptive ;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you have any suggestions?&#xA;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="5940" LastActivityDate="2014-05-15T21:06:41.877" Title="Autofilm function / add many clips and transitions by one click. Which open source video editing software for linux suited?" Tags="|transitions|" AnswerCount="0" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10752" PostTypeId="2" ParentId="10748" CreationDate="2014-05-15T21:26:26.930" Score="3" Body="&lt;p&gt;If a person is shown consecutive pictures of a featureless circle at various places on a screen, the person may perceive independent circles appearing and disappearing, one circle which is making discrete (jerky) motions, or one circle which is moving smoothly.  Which perception dominates will be a function of both the rate at which the screens are shown and the ratio of the circle's size to the distance it moves between frames.  The higher the frame rate and the less the circle moves between frames, the less opportunity there will be for the eye or the brain to notice any difference between what a smoothly-moving circle would do and what the observed image is actually doing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If one goes beyond a featureless circle to more detailed objects, the analysis will become more complicated, but largely boil down to a key observation: the amount by which an object can move between consecutive frames without appearing jerky will correlate strongly with the size of the object's dominant features.  A 12fps or even 8fps rate is adequate when showing blurry objects, but even 30fps may be inadequate when the features of an object appear at substantially-non-overlapping positions on consecutive frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Incidentally, showing black between frames, rather than changing directly from one image to the next, will often improve the perceived smoothness of motion, but (except at high frame rates) at the expense of introducing flicker.  Essentially, during the time the image is black neither the brain nor the eye will be able to see anything that would be inconsistent with continuous motion.&lt;/p&gt;&#xA;" OwnerUserId="5941" LastActivityDate="2014-05-15T21:26:26.930" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10753" PostTypeId="1" CreationDate="2014-05-15T21:30:09.440" Score="1" ViewCount="243" Body="&lt;p&gt;I routinely have to take ProRes footage and break it up into twenty minute segments of both ProRes and h.264. The computer I'm currently using to do this does has Premiere but not FCP. Any ideas on how to automate this as much as possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's important that the edits are exact down to the frame; I've had problems in the past using Compressor 3.5 for this process where consecutive clips would not play seamlessly from one to the next.&lt;/p&gt;&#xA;" OwnerUserId="5420" LastActivityDate="2014-06-03T23:15:10.373" Title="Batch splitting ProRes into equal-length segments" Tags="|premiere|software-recommendation|workflow|prores|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10754" PostTypeId="2" ParentId="9161" CreationDate="2014-05-15T22:42:42.110" Score="0" Body="&lt;p&gt;I think VirtualDub will fix those headers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simply download VirtualDub from &lt;a href=&quot;http://virtualdub.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;, unzip it and drop the file into it. A popup is going to be showed telling you if you want that VirtualDub fixes it for you.&lt;/p&gt;&#xA;" OwnerUserId="5785" LastActivityDate="2014-05-15T22:42:42.110" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10755" PostTypeId="2" ParentId="7096" CreationDate="2014-05-16T05:56:55.997" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://www.videoscribe.co/&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;VideoScribe&lt;/strong&gt;&lt;/a&gt; : Open a svg &gt; select a hand [optional]. Thats all. Your animation is ready. But you cant provide motion animation as you can do in Flash. If you want to give painting, sketching, zooming in/out, camera move or erasing effect you can do all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.powtoon.com/&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;PowToon&lt;/strong&gt;&lt;/a&gt; : Good for animated presentations where you don't want instant sketching effect&lt;/p&gt;&#xA;" OwnerUserId="5946" LastActivityDate="2014-05-16T05:56:55.997" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10756" PostTypeId="2" ParentId="7178" CreationDate="2014-05-16T06:03:55.280" Score="0" Body="&lt;p&gt;Well!! I am surprised no one talked about &lt;strong&gt;VideoScribe&lt;/strong&gt; and &lt;strong&gt;PowToon&lt;/strong&gt;. See my answer &lt;a href=&quot;https://video.stackexchange.com/a/10755/5946&quot;&gt;here&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To give erasing effect you need to be more smarter in VideoScriber. For this;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;takes some blank &lt;a href=&quot;http://answers-uploads.s3.amazonaws.com/651-scribbleout.svg&quot; rel=&quot;nofollow noreferrer&quot;&gt;scribelout svgs&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;add it aanother picture in your picture.&lt;/li&gt;&#xA;&lt;li&gt;change hand style. pick some hand which is having eraser in hand.&lt;/li&gt;&#xA;&lt;li&gt;that's all&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5946" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-05-16T06:03:55.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10757" PostTypeId="2" ParentId="5312" CreationDate="2014-05-16T15:16:23.497" Score="0" Body="&lt;p&gt;Well!! This is my first video that I created through paper drawings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/hi7_o9v-Aw8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used 3d max for character animation, which took 1 day since rendering takes time. I snapped my drawings and highlighted their boundaries in Adobe flash.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I believe this process is bit length for people like me who are not professional in flash, photoshop etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I found another software &lt;strong&gt;VideoScribe&lt;/strong&gt;. You take snap of your drawings and import them in to video scribes thats all. It'll put sketching effect, coloring effects by its own. However, I still miss Flash since motion, animation are not possible with VedioScribe.&lt;/p&gt;&#xA;" OwnerUserId="5946" LastActivityDate="2014-05-16T15:16:23.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10758" PostTypeId="1" AcceptedAnswerId="10764" CreationDate="2014-05-16T17:10:17.613" Score="1" ViewCount="3492" Body="&lt;p&gt;I have watched videos from &lt;a href=&quot;http://www.youtube.com/user/AsapSCIENCE&quot; rel=&quot;nofollow&quot;&gt;AsapSCIENCE&lt;/a&gt;. These videos combine stop motion, whiteboard board animation (drawing effects) and real life scenes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found a whiteboard animation software, VideoScribe, that lets me achieve drawing like effects without any drawing knowledge, however it does not let me add any video or edit the video track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suppose I &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;draw a man -&gt; drag him -&gt; walking animation -&gt; draw a girl -&gt; drag and&#xA;  animate again -&gt; draw a dog jumping towards them -&gt; erase dog -&gt; drag&#xA;  both to come close -&gt; draw rain -&gt; raining -&gt; draw umbrella -&gt; ...&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I'll prefer to use videoscribe for drawing effect and flash for rest. But I need to adjust frames everytime. And if I later on realize that dog should look more cute. I would have to rework since It may again require adjusting scenes, platform and position of other elements.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering if Flash has some actionscript which can put sketch/drawing/painting effect to a SVG image then we at least combine video scribing with Flash only. It'll save a lot of time in importing/exporting and editing. Especially when we commit a mistake in past work. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any software or Action Script to achieve this without needing advanced knowledge?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any end-to-end &lt;strong&gt;tutorial&lt;/strong&gt; which can teach me how to make videos like this may also help me.&lt;/p&gt;&#xA;" OwnerUserId="5946" LastEditorUserId="5946" LastEditDate="2014-05-18T09:55:23.590" LastActivityDate="2014-05-18T09:55:23.590" Title="How can I combine whiteboard animation, stop motion and live video without massive import/export and adjustments?" Tags="|video-editor|animation|stop-motion|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10759" PostTypeId="1" CreationDate="2014-05-16T19:55:44.943" Score="2" ViewCount="288" Body="&lt;p&gt;I run a website that has offered downloadable instructional videos for 7 years. We have traditionally supported both mp4 and wmv formats. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to simplify my life by just offering one format if possible. Do I still need to support wmv format? Or is this still an issue?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I could support one format, which would it be?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="5949" LastActivityDate="2019-10-13T13:27:44.713" Title="What video formats should I support (as of 2014)?" Tags="|file-formats|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10760" PostTypeId="2" ParentId="10759" CreationDate="2014-05-16T20:07:07.593" Score="6" Body="&lt;p&gt;MP4/h264 is widely supported today. I'd even say it's the most supported video format since the existence of digital video (without having actual statistics to back that claim).&#xA;There is really no reason to deliver .wmv anymore when targeting a multi platform audience, the version of Windows Media Player that came with XP doesn't support MP4 but newer versions definitely do and the market share for that version should be very very low. Most users have adopted third-party players like VLC and even companies usually install at least one third-party video player on their computers that will very very likely support MP4. MP4/h264 has wide hardware playback support (unlike wmv and its possible codecs) and runs without any issues on any platform (unlike wmv).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So yes, in my opinion it's absolutely safe to only deliver MP4 videos as long as they are properly encoded. Using Level 3(.1) would be a safe bet, its supported by practically any software and hardware that is capable of playing MP4/h264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you deliver for web it is also a good practice to also deliver a .webm encode as well. If it only targets local playback I would still stick to mp4/h264. While we now have h265 it is very badly supported in comparison.&#xA;It will probably take another 8-10 years until we have the same rate of consumer adoption.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2019-10-13T13:27:44.713" LastActivityDate="2019-10-13T13:27:44.713" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="10761" PostTypeId="2" ParentId="10759" CreationDate="2014-05-16T21:26:24.470" Score="-3" Body="&lt;p&gt;Anything playing on an old iPad 1 will work on most probably any device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think &quot;main profile&quot; was important when encoding, check for details here:&#xA;&lt;a href=&quot;http://support.apple.com/kb/sp580&quot; rel=&quot;nofollow&quot;&gt;http://support.apple.com/kb/sp580&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And always try on a real device ;)&lt;/p&gt;&#xA;" OwnerUserId="5950" LastActivityDate="2014-05-16T21:26:24.470" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10762" PostTypeId="2" ParentId="10758" CreationDate="2014-05-16T23:11:44.827" Score="2" Body="&lt;p&gt;Well in that case you would export the video from VideoScribe and then edit it together with your other video material in an video editing program (also referred to as NLE).&#xA;Quite straight forward process, how you do this step by step depends on the video editing software you want to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is the free &lt;a href=&quot;http://www.lwks.com/&quot; rel=&quot;nofollow&quot;&gt;Lightworks&lt;/a&gt; and commercial solutions like &lt;a href=&quot;http://www.adobe.com/products/premiere.html&quot; rel=&quot;nofollow&quot;&gt;Adobe Premiere&lt;/a&gt;, &lt;a href=&quot;http://www.sonycreativesoftware.com/vegassoftware&quot; rel=&quot;nofollow&quot;&gt;Sony Vegas&lt;/a&gt; or &lt;a href=&quot;http://www.apple.com/final-cut-pro/&quot; rel=&quot;nofollow&quot;&gt;Apple Final Cut&lt;/a&gt; and &lt;a href=&quot;https://www.apple.com/mac/imovie/&quot; rel=&quot;nofollow&quot;&gt;Apple iMovie&lt;/a&gt;.&#xA;I'd suggest you look into a solution that looks like it appeals to you and then watch a tutorial on the basics of that program.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-05-16T23:11:44.827" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10763" PostTypeId="2" ParentId="9866" CreationDate="2014-05-17T00:19:23.960" Score="2" Body="&lt;p&gt;I would imagine it has something to do with the white point/primary chromaticities are Alexa Wide Gamut vs. Rec709.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.arri.com/camera/alexa/learn/log_c_and_rec_709_video&quot; rel=&quot;nofollow&quot;&gt;http://www.arri.com/camera/alexa/learn/log_c_and_rec_709_video&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5951" LastActivityDate="2014-05-17T00:19:23.960" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10764" PostTypeId="2" ParentId="10758" CreationDate="2014-05-17T02:22:17.303" Score="1" Body="&lt;p&gt;After Effects is probably the easiest all inclusive solution that could handle everything they do in those videos, but they are doing multiple things and there isn't really a good way to give a tutorial for all of them.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You would need to shoot the video on a green screen so that it can be extracted and layered in.  You can then animate the layer than those green screened clips and animate them with keyframe animation to make them move as needed on top of the white board.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The whiteboard itself can also be made using Write On effects or path animation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similar things can also be done with other decent NLEs like Premiere, Final Cut Pro, Vegas, Media Composer or Lightworks, but path animation and motion graphics (which this is a class of) are most easily done in After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects is to video what Flash is to Internet games and basic scripted animation.  It is primarily done without programing and through more traditional vector animation workflows.  It is probably the closest to what you are looking for if you like the behavior of flash but want it to support more video stuff and require less scripting.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-17T02:22:17.303" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10765" PostTypeId="1" CreationDate="2014-05-17T08:49:09.813" Score="4" ViewCount="13256" Body="&lt;p&gt;I took videos with my DSLR and then saw that there is a speck of dust in my sensor. With stills I can use Photoshop's or Lightroom's &quot;Spot removal tool&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there spot removal feature in video software? What is it? (Does Adobe Premiere have it?)&lt;/p&gt;&#xA;" OwnerUserId="5416" LastActivityDate="2014-05-17T22:50:49.723" Title="Spot removal tool" Tags="|post-production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10767" PostTypeId="1" AcceptedAnswerId="10768" CreationDate="2014-05-17T10:42:05.393" Score="2" ViewCount="1305" Body="&lt;p&gt;Suppose a high quality, uncompressed video is re-encoded twice, with almost identical encoding settings at a relatively low bitrate of 4mbps, but at different resolutions, first at 1080p, and then at 720p. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So we now have two videos: One is 1080p and the other one is 720p. Both have identical bitrates. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that 4mbps is considered a low bitrate for 1080p, and the video will look bad on a full-HD display due to the compression artifacts. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, during playback on a &lt;strong&gt;720p&lt;/strong&gt; display, the 1080p video will obviously be downscaled to 720p. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is: On the &lt;strong&gt;720p display&lt;/strong&gt;, will the 1080p video &lt;em&gt;(which is being downscaled to 720p in real time during playback)&lt;/em&gt; look as good as the 720p video &lt;em&gt;(which has the same bitrate)&lt;/em&gt;? Or will the 720p video &lt;em&gt;(which was downscaled from 1080p to 720p by the encoder)&lt;/em&gt; look better? Or will both of them look the same?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would run some tests to see this for myself, but my system isn't powerful enough for 1080p encoding. I'm looking for some expert views on this. &lt;/p&gt;&#xA;" OwnerUserId="1702" LastActivityDate="2014-05-17T13:15:40.020" Title="Playing back 1080p and 720p videos (same bitrate) on a 720p display" Tags="|video|encoding|compression|avchd|h.264|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10768" PostTypeId="2" ParentId="10767" CreationDate="2014-05-17T13:15:40.020" Score="2" Body="&lt;p&gt;When you ask how something will 'look' you're in the realm of the subjective. Things 'look' different to experienced professionals than they might to the average viewer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But still, the 1080p video will not be as good no matter what you view it on. When you encode at a low bit rate you aren't removing pixels, you're mostly removing high frequencies. Doing either will reduce the amount of information, but in different ways and with different visible effects and artifacts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The information you lose with very lossy encoding doesn't lie in the spaces that inevitably are discarded when you downscale. You'd lose in both domains. But how that 'looks' depends to some degree on who's looking.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-05-17T13:15:40.020" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10769" PostTypeId="2" ParentId="10739" CreationDate="2014-05-17T17:30:48.113" Score="3" Body="&lt;p&gt;There are a few problems here that need to be addressed.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;First, the pitch shot is vertically oriented or &quot;portrait&quot; (vs landscape).&lt;/strong&gt;  This is considered very, very bad practice.  This is a huge and constant amateur mistake because many amateurs now shoot video with their tablets and smartphones and hold the device the way they normally do, vertically, but this doesn't match up with the target format, which is generally either TV or even web video, which is generally displayed horizontally to make the most use of the space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should always shoot your video &quot;landscape&quot; or horizontal, just like you would see it on a TV so that it makes full use of the screen when being played back.  This orientation stems from the fact that we have a wider field of vision than we have tall, so a wide angle shot fill more of field of view and is more immersive.  A vertical or portrait shot does the opposite and doesn't fill well on a TV and barely scratches our field of view making it feel much less immersive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The second major issue is that of video quality.&lt;/strong&gt;  You can technically increase the number of pixels stored in the video by a process called upsampling or upscaling, but that doesn't increase the quality of your video (in fact, it generally decreases it further).  The easiest way to think about it is think about if you had 4 pixel image that had black square a white square and then on the next line a white square and a black square.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;XO&#xA;OX&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can increase the number of pixels by duplicating what is there, but it doesn't invent more resolution (actual meaningful detail).  Say we scale it up to 9 by 9, you end up with this.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;XXXXYOOOO&#xA;XXXXYOOOO&#xA;XXXXYOOOO&#xA;XXXXYOOOO&#xA;YYYYYYYYY&#xA;OOOOYXXXX&#xA;OOOOYXXXX&#xA;OOOOYXXXX&#xA;OOOOYXXXX&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that there isn't any more detail than there was before, and we actually lost some detail because the new image had to invent pixels to fill where there are Ys because the original didn't evenly break up in to the new size, so it had to average the pixels that should have been there and made new grey Y pixels.  This means the image is now even less clear than it was before, when we had sharply defined squares because now we have fuzzy ones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could technically upscale to an exact multiple of your original to avoid interpolating, such as scaling up to 1428 by 1080 which will make the format meet the file format requirement technically, but it still won't meet it in spirit because the image will still be a 360p image (substantially lower than SD), rather than the requested 720P HD image requested.  Additionally, it would still be another encoding and thus another generation of compression loss to re-encode to the upscaled video, which would further sacrifice quality on your already abysmally low resolution video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Third issue, though this one less major is that your aspect ratio is wrong.&lt;/strong&gt;  This isn't necessarily a problem, but the formats they are recommending are widescreen formats.  Your current file is 4:3 rather than 16:9.  This may or may not be a problem for them.  Normally, if you have sufficient resolution and shot planning to do 16:9 it's pretty easy to crop down the video to a 16:9 form factor, but if you made full use of the vertical space in a way that you can't crop the top and/or bottom, then you are pretty much stuck at 4:3.  You also don't have enough resolution to start with to be able to sacrifice anything, which makes this a bigger concern.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Overall, my recommendation would be to re-shoot the pitch/interview portion using high resolution and proper orientation and aspect ratio.  For the existing video sample that you can't reshoot.  Submit it as is and hope for the best.&lt;/strong&gt;  You can't meaningfully enhance it in a way that they are not going to see right through and probably dock you for trying to sneak around it.  &lt;strong&gt;Just explain the situation and why a higher quality version isn't available.  Either they'll go for it or they won't.&lt;/strong&gt;  Nothing you artificially do is going to change that.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-17T17:30:48.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10770" PostTypeId="2" ParentId="10765" CreationDate="2014-05-17T22:50:49.723" Score="1" Body="&lt;p&gt;There is not a spot heal tool in PremierePro, but there are a couple of things that you can try.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;If the spot is on a stationary portion of the video clip, you can...&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Export a frame using the frame export button &lt;img src=&quot;https://i.stack.imgur.com/bahzq.png&quot; alt=&quot;enter image description here&quot;&gt; located under the program monitor.&lt;/li&gt;&#xA;&lt;li&gt;Then clone the spot out in Photoshop using your retouch tool of choice.&lt;/li&gt;&#xA;&lt;li&gt;Erase all of the frame except for the area that has been retouched, and save as a transparent PNG or PSD&lt;/li&gt;&#xA;&lt;li&gt;Place your fixed frame (previously created PNG or PSD) over the portion of you video in your sequence.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;If the spot is in an area that has a lot of motion, you can...&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open the video in Photoshop and use the healing tool to frame by frame clone out the blemish.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2352" LastActivityDate="2014-05-17T22:50:49.723" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10771" PostTypeId="1" CreationDate="2014-05-18T02:40:57.997" Score="1" ViewCount="118" Body="&lt;p&gt;I do plenty of Macro and product photography (love the Tamron 60mm Macro). I have no idea what videographers who use DSLR like for lenses. Any advice and broadest usage appreciated. Assume camera in the 15 MPixel range plus or minus a few MPixels.&lt;/p&gt;&#xA;" OwnerUserId="5954" OwnerDisplayName="C. Towne Springer" LastEditorUserId="-1" LastEditDate="2014-05-21T15:26:20.653" LastActivityDate="2014-05-21T15:26:20.653" Title="What lenses are preferred for DSLR video?" Tags="|dslr|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10772" PostTypeId="1" CreationDate="2014-05-18T06:15:05.253" Score="2" ViewCount="2426" Body="&lt;p&gt;I loaded CHDK firmware on my old Canon IXUS 980IS and took 796 images, each&#xA;weighing in at:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;JPEG 4416x3312 4416x3312+0+0 8-bit sRGB 9.182MB 0.050u 0:00.049&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So I want to convert 796 images into a movie. Each still could be a frame in a 24fps movie, so:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;796 / 24 = 30 sec = half a minute video&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;FFMPEG fails with Killed&lt;/h2&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x264 [error]: malloc of size 83759040 failedime=00:00:00.-4 bitrate=N/A&#xA;Video encoding failed&#xA;Killed&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://ix.io/cmF&quot; rel=&quot;nofollow&quot;&gt;Complete log&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess the 4GB of RAM isn't enough memory. But why can't FFMPEG simply build the movie in a memory efficient manner?&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Gstreamer fails&lt;/h2&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ERROR: from element /GstPipeline:pipeline0/GstDecodeBin:decodebin0: Your GStreamer installation is missing a plug-in.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://ix.io/coC&quot; rel=&quot;nofollow&quot;&gt;Complete log&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5670" LastEditorUserId="5670" LastEditDate="2014-05-20T08:39:53.787" LastActivityDate="2014-05-20T08:39:53.787" Title="Why does FFMPEG fail when converting Intervalometer photos into a time lapse movie?" Tags="|ffmpeg|time-lapse|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="10773" PostTypeId="2" ParentId="10771" CreationDate="2014-05-18T07:12:06.587" Score="3" Body="&lt;p&gt;Properties that are desired in these lenses are quiet operation, image stabilization, zoom construction that usually cover wide to short tele focal lenght and that have a constant aperture across that range. A perfocal design is good when using a zoom. These are a couple of general characteristics but they may be different for special applications.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Quiet operation helps if you want to avoid focusing sounds appearing in your video. If you're using external microphones this is less of a problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Image stabilization makes everything (from static vieography to panning= appear a lot smoother.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To have a zoom lens gives a lot of nice possibilities and constant aperture is an important feature since the exposure won't change when zooming. A parfocal lens is a lens that maintains its focus when changing focal lenght (zooming) and is of course very useful. Also a zoom range from wide to short tele is usually enough and you probably don't want to go out of that range during video production unless you're looking to produce nature films and alike.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Look for for lenses with this kind of properties. Being a Canon user I'm most familiar with them and can recommend Canon EF 24-105/4,0 L IS USM having most of these features but if you're using another brand I can't help ypu more than this due to lack of experience with other brands.&lt;/p&gt;&#xA;" OwnerUserId="5952" LastActivityDate="2014-05-18T07:12:06.587" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10774" PostTypeId="1" CreationDate="2014-05-18T08:29:44.623" Score="2" ViewCount="750" Body="&lt;p&gt;I am very new to Premiere (CSD 5) and have put myself in a bit of a bind. I have four clips of footage I edited into one multicam clip. The clips are 720p; however, the sequence where I synced them up was 480p. I didn't notice this and so I nested that sequence inside another sequence so I could do the multicam editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The footage shows at the correct resolution in the multi-camera monitor, interestingly enough, but it's masked by black bars everywhere else (including when I try to export). Is there any way I can fix this without having to re-edit my entire 25 minute clip? Perhaps I could somehow make it so that all the references to the bad sequence are replaced with references to the same timestamp in a good sequence?&lt;/p&gt;&#xA;" OwnerUserId="5953" LastEditorUserId="5953" LastEditDate="2014-05-18T08:35:11.740" LastActivityDate="2014-05-18T16:39:58.860" Title="How can I fix a resolution discrepancy between nested sequences?" Tags="|premiere|cs5|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10775" PostTypeId="2" ParentId="10774" CreationDate="2014-05-18T16:39:58.860" Score="1" Body="&lt;p&gt;It's a bit hacky, but I found a solution that did the trick. I opened my .prproj file with a text editor and made these find-replace all changes:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;MZ.Sequence.PreviewFrameSizeHeight&amp;gt;480&#xA;changed to&#xA;&amp;lt;MZ.Sequence.PreviewFrameSizeHeight&amp;gt;720&#xA;&#xA;&amp;lt;MZ.Sequence.PreviewFrameSizeWidth&amp;gt;720&#xA;changed to&#xA;&amp;lt;MZ.Sequence.PreviewFrameSizeWidth&amp;gt;1280&#xA;&#xA;&amp;lt;FrameRect&amp;gt;0,0,720,480&amp;lt;/FrameRect&amp;gt;&#xA;changed to&#xA;&amp;lt;FrameRect&amp;gt;0,0,1280,720&amp;lt;/FrameRect&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If anyone else has this problem and is desperate for a fix, this should do it, although I recommend making a backup first.&lt;/p&gt;&#xA;" OwnerUserId="5953" LastActivityDate="2014-05-18T16:39:58.860" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10776" PostTypeId="2" ParentId="10772" CreationDate="2014-05-18T19:45:06.400" Score="1" Body="&lt;p&gt;The problem is that a sequence of images is not a video file.  In order to convert it to a video format such as h.264, it has to load an entire group of pictures (probably somewhere around 15 of them) and then perform a whole bunch of calculations to determine how the images are related to each other.  It then uses that information to determine what to actually store.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It doesn't store actual pictures, but rather it stores a couple of pictures (I frames) but then stores information about what changed from those frames to the next frames and what will change from those frames to the frames after (known as P and B frames).  This is a big part of why h.264 compression (and most other modern video formats) are able to fit so much video in to such small amounts of space compared to how much space the images take on their own.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you were to save it as something like an MJPEG where each image is actually stored on its own, then it would just be a matter of appending them together, but then the file size of the video would probably be unplayably huge.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-18T19:45:06.400" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10777" PostTypeId="2" ParentId="10772" CreationDate="2014-05-19T02:34:30.143" Score="1" Body="&lt;p&gt;I followed Henderson's advice and wrote a little script to resize the images:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ cat jpg2mp4.sh&#xA;test -d &quot;$1&quot; || exit&#xA;tmpdir=$(mktemp -d -p .)&#xA;counter=0&#xA;find $1 -iname '*.jpg' | while read jpg&#xA;do&#xA;        convert -resize 1440x1080 $jpg $tmpdir/IMG_$(printf &quot;%04d&quot; $counter).JPG&#xA;        counter=$((counter + 1))&#xA;done&#xA;echo ffmpeg -i $tmpdir/IMG_%4d.JPG test.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It does work! I still wish ffmpeg could handle the original images and I also wish gstreamer would work! For further tips to enlarge a photo or adjust time, see this &lt;a href=&quot;http://webconverger.org/screensaver/&quot; rel=&quot;nofollow&quot;&gt;tip&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="5670" LastActivityDate="2014-05-19T02:34:30.143" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10778" PostTypeId="1" CreationDate="2014-05-19T08:16:16.587" Score="1" ViewCount="1319" Body="&lt;p&gt;Hi there I googled for hours but no success to solve...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This code works for me&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;exec(&quot;ffmpeg -i $SourcePath -ar 22050 -ab 32 -f wemp -vf scale=500x400,setdar=16:9  $uploadpath1 2&amp;gt;&amp;amp;1&quot;);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but the output video will be stretch or squish...I don't want it...what can I to do?&lt;img src=&quot;https://i.stack.imgur.com/MBkf6.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5959" LastActivityDate="2014-05-19T08:16:16.587" Title="ffmpeg-php with fixed width and height and without stretch or squish" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="10779" PostTypeId="1" AcceptedAnswerId="10785" CreationDate="2014-05-19T08:52:18.260" Score="6" ViewCount="32221" Body="&lt;p&gt;I'm new to Resolve (free version). As a programmer I kind of assumed that unconnected nodes, being unconnected, wouldn't interact with the process in any way. Apparently I was wrong.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I'm trying to do here is find out an easy way to try out a completely different approach to grading the clip without losing the previous settings. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;In the screenshot:&lt;/strong&gt;&#xA;3 isolated nodes containing the previous grading and 1 new node for trying out alternative grading. Even though the new node has very visible adjustments, I only see the original clip in preview.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried removing all the previous nodes. Only then the new node begins to work, and as soon as I add another node that is of course initially unconnected, the preview returns to the clip's default state.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/LsM8C.png&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3980" LastActivityDate="2014-05-19T19:34:12.127" Title="How do I temporarily disable Davinci Resolve nodes?" Tags="|color-correction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10780" PostTypeId="1" CreationDate="2014-05-19T09:07:00.883" Score="1" ViewCount="266" Body="&lt;p&gt;my company wants to run some advertisements on Google AdWords. We made some animated Flash ads, however AdWords automatically converts the ads from Flash to HTML5 with some unintended changes. See below the difference between the two. It seems that when moving an image it's a lower quality than when it's finished moving.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Flash:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/YdeF7.gif&quot; alt=&quot;flash&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;HTML5: (pay attention to when the images stop moving)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tX6Vg.gif&quot; alt=&quot;html5&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone have an idea how to prevent that from happening? Made the individual vector images in Illustrator and imported them in Flash to make the animation. Only used a simple motion tween to move the image inside the screen.&lt;/p&gt;&#xA;" OwnerUserId="5958" LastEditorUserId="5958" LastEditDate="2014-05-20T08:18:57.623" LastActivityDate="2014-08-18T09:44:08.023" Title="Unintended change in AdWords Flash to HTML5 conversion" Tags="|editing|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10781" PostTypeId="1" CreationDate="2014-05-19T11:17:41.540" Score="1" ViewCount="1695" Body="&lt;p&gt;i am having problems exporting my project in Final Cut Pro 7.&#xA;All the clips i am working on are mov in h.264.&#xA;I want to export correctly a master file, that will be converted in web format, hd... with MPEG Streamclip.&#xA;But i am experiencing problems with frame freezes, and coding problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you suggest me a tutorial, a guide, a book, a video course where to learn the perfect workflow for video production with Final Cut Pro 7 on Maveriks?&#xA;Or do you have any suggestions to help me?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you guys.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Luca&lt;/p&gt;&#xA;" OwnerUserId="5147" LastActivityDate="2018-06-26T01:33:01.530" Title="Best file format workflow for Final Cut Pro 7 on Maveriks" Tags="|video|final-cut-pro|workflow|production|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10782" PostTypeId="1" AcceptedAnswerId="10783" CreationDate="2014-05-19T11:47:09.753" Score="2" ViewCount="1229" Body="&lt;p&gt;I am new to 3d animation. I have always wanted to make 3d animation shorts (cartoons) and have now made the plunge. Over the past few months I have learnt to model, rig and animate characters (Maya/zbrush). I want to take it a step further and learn lighting and rendering. After doing research for the past week, I have realised I have no choice but to ask here as several forum posts just mention that big studios use their own proprietary pipelines and softwares, while many indie-animators use all kinds of softwares from NUKE to after effects, V-ray to mental-ray. The thing is that people are using such software for all kind of VFX (like NUKE for live-action and v-ray for photo-realism). Can someone please guide me on the following questions:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For 3d/CGI animation shorts, what it the right lighting and rendering software to learn? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you recommend any tutorials out there that I can look at for those specific softwares? I do not want to be looking at a 10 hours video tutorial series on v-ray if they are teaching interior design lighting examples instead of how to light up a cartoon cgi animation. So unfortunately google has been unable to help me find specific tutorials on this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do not want to compromise on the quality so difficulty level and price of the software doesnt matter (not yet anyways).&lt;/p&gt;&#xA;" OwnerUserId="5955" LastEditorUserId="5955" LastEditDate="2014-05-19T11:57:31.673" LastActivityDate="2014-05-19T13:18:14.510" Title="What software to use for lighting and rendering 3d animation shorts?" Tags="|animation|lighting|3d|animation-rendering|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10783" PostTypeId="2" ParentId="10782" CreationDate="2014-05-19T13:18:14.510" Score="2" Body="&lt;p&gt;There seem to be a few basic misconceptions here.  For cartoons you don't need anything fancy as long as cell-shading is supported, which is typically a camera filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lighting is actually done in your 3d animation software.  The job of a render engine like Mental Ray or V-ray is simply to process the scene you build to generate the final image, but it takes the geometry, light sources, materials, and cameras that you have defined in your animation software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm personally a big fan of Mental Ray in general, but that's just because of the fact it is included with my 3d animation package of choice (SoftImage).  I thought it was included in most editions of Maya as well, but it might not still be.  I don't remember which render engines are included with Maya, but they should be more than sufficient for your purposes.  For cartoon rendering, you really don't need a hyper-accurate ray tracing engine that can do good physical simulation (which is the point of most of the third party render engines).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lighting and rendering is also a complex and broad topic that can't really be covered in a couple of simple tutorials.  The basics are very similar to building your model, you just choose the types of lights you want and place them throughout the scene and then place one or more cameras to allow you to render viewpoints.  Lights and cameras can also be animated, just like your characters and scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do your lighting in Maya and try rendering it out in Maya.  If you run in to any specific issues while working on trying to get the look you are going for, you can always post a screen shot here with a specific question and we should be able to offer more directed feedback about how to accomplish what you are trying to do.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-19T13:18:14.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10784" PostTypeId="2" ParentId="10780" CreationDate="2014-05-19T17:35:56.927" Score="1" Body="&lt;p&gt;I would recommend to export as HTML5 from Flash directly instead of relying on Googles conversion.&#xA;This has to do with how the Google conversion is animating this. It's probably based on an HTML5 canvas which can have Anti Aliasing disabled in certain events to improve performance.&#xA;Google maybe also enforce this to have a pleasant web performance for users. Flash has generally very poor performance because of things like that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might want to ask this on Stackoverflow instead, this is more a web programming question.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-05-19T17:35:56.927" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10785" PostTypeId="2" ParentId="10779" CreationDate="2014-05-19T19:34:12.127" Score="6" Body="&lt;p&gt;⌘-D will disable the currently selected node.  Resolve really doesn't like to have loose nodes floating around, so either disable them, or delete them.  But since you're talking about creating a new, experimental node structure, what you really want to do is create a new local version.  Right click on the clip thumbnail and select Local versions-&gt; create new version.  This basically creates a copy of your node structure that you can return to whenever you like.  After issuing the command, you'll see that the name of the new version appears under the thumbnail to let you know which one you're working on.  To revert to the original (or select from any number of alternate versions), right click the thumbnail again and choose &lt;em&gt;versionName&lt;/em&gt;-&gt;Load.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/74DcU.png&quot; alt=&quot;clip thumbnail contextual menu&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-05-19T19:34:12.127" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10786" PostTypeId="1" CreationDate="2014-05-20T12:49:36.610" Score="1" ViewCount="992" Body="&lt;p&gt;I am trying to solve this know gamma shift problem upon exporting from Adobe Premiere CC.&#xA;I have video recorded by GoPro Black edition.&#xA;The video quality is great but after compiling the video in a film by Premiere CC I loose&#xA;the quality of the color.&#xA;I have tried x264 but I still have this problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Probably I have not understood properly the reasons.&#xA;I do not think it is calibration problem, in fact (to my mind), if I open with vlc or quicktime, on the same computer (mac retina with maverick) the original video and the exported one I clearly notice the difference. &#xA;WHY?, same computer, same movie, same player the only thing is that I open the file with Premiere CC and then exported it. &#xA;I used the highest quality and I tried the H264 and x264 even with gamma correction of 2.2 the video does not look the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is extremely annoying especially for underwater movies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please any help?&#xA;I can't get out of this problem.&lt;/p&gt;&#xA;" OwnerUserId="5969" LastActivityDate="2014-09-01T14:51:26.837" Title="GoPro video lose color quality while exporting in Premiere CC" Tags="|premiere|" AnswerCount="1" CommentCount="2" ClosedDate="2014-09-01T16:45:54.773" ContentLicense="CC BY-SA 3.0" />
  <row Id="10787" PostTypeId="2" ParentId="10781" CreationDate="2014-05-21T00:24:47.963" Score="2" Body="&lt;p&gt;Likely your issues were stemming from trying to edit with H264 files.  This is something that FCP hates!  Convert all your h264 footage to ProRes before you start editing (using Compressor, MPEG Streamclip, or the awesome Magic Bullet Grinder) and then edit with the ProRes files.  Output your final 'Master File' as ProRes and then use Compressor to encode that file to various formats for delivery.&lt;/p&gt;&#xA;" OwnerUserId="5970" LastActivityDate="2014-05-21T00:24:47.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10788" PostTypeId="1" CreationDate="2014-05-21T15:33:07.470" Score="1" ViewCount="1249" Body="&lt;p&gt;I was recently involved in filming and one of the actors walked out partway though. She has since convinced the other actors to sign a document with her stating that no footage filmed involving them is to be used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The script was written by the producer and all of the cast and crew were hired on an expenses only agreement. While there is no official contract, the job listing and email correspondence back this up. I have looked up the copyright law in the uk and here is what it says:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to &lt;a href=&quot;http://www.ipo.gov.uk/types/copy/c-ownership/c-employer.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.ipo.gov.uk/types/copy/c-ownership/c-employer.htm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Where a written, theatrical, musical or artistic work, or a film, is made by an employee in the course of his employment, his employer is the first owner of any copyright in the work (subject to any agreement to the contrary).  In the course of employment is not defined by the Act but in settling disputes the courts have typically had to decide whether the employee was working under 'contract of service'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where a person works under a 'contract for services' he may be considered by the courts to be an independent contractor and his works may then be considered to be commissioned works.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Contracts for service are further defined here &lt;a href=&quot;http://www.ipo.gov.uk/types/copy/c-ownership/c-commissioned.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.ipo.gov.uk/types/copy/c-ownership/c-commissioned.htm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;When you ask or commission another person or organisation to create a copyright work for you, the first legal owner of copyright is the person or organisation that created the work and not you the commissioner, unless you otherwise agree it in writing.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given my understanding, the actors have no legal say in the footage, raw or otherwise, only the script writer/producer, director and cameraman have a stake. I guess you could argue their case if it was being used for something totally different, but all it's wanted for is to keep the project going. I'm pretty convinced that if I'm right, and the actors don't have a legal leg to stand on, that we could convince the others to come to the table and discuss terms for continuing the shoot. The actor who walked out is totally replaceable given that she only shot a couple of takes. I think that this is why she has worked so hard to try and stop us using footage of the other actors too -if she hadn't we would just shrug her off and recast the role.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone shed any light on this?&lt;/p&gt;&#xA;" OwnerUserId="5971" LastActivityDate="2014-05-23T14:14:53.703" Title="Do actors have rights over the footage?" Tags="|filming|copyright|" AnswerCount="1" CommentCount="3" ClosedDate="2014-05-21T21:45:47.210" ContentLicense="CC BY-SA 3.0" />
  <row Id="10789" PostTypeId="2" ParentId="10788" CreationDate="2014-05-21T16:24:58.913" Score="1" Body="&lt;p&gt;Actors certainly have no rights to the footage itself, without other agreement, that would belong to the cameraman shooting the footage, however, just because they don't have claim to the footage doesn't mean they don't have claim to the contents of the footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The writers most likely have copyright for the script content they produced, the director has copyright for the influence of their directing, the actors may have copyright for their likeness and performance.  The makeup artists have copyright for the makeup they do.  Everyone acting in a creative capacity that is copyrightable in your jurisdiction will generally be the owner of that copyright unless otherwise agreed upon.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thus, the actors have no claim on the footage itself, but they may possibly have a claim on their performance or use of their likeness.  They can't decide what is done with the footage without permission of the cameraman, but they can possibly restrict what can be done with their performances and image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It really depends on local law and that is going to require a local legal expert that can review the case and any applicable agreements in detail.  The specific details of your situation aren't some simple case that can just be answered on an internet Q/A site, as copyright is a tremendously complex thing on any collaborative project.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is also why it is important to do contracts for even relatively basic projects.  You don't want to ever have to rely on a contract, but problems do come up and it is important to be clear on who is responsible for what.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-05-23T14:14:53.703" LastActivityDate="2014-05-23T14:14:53.703" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10790" PostTypeId="1" CreationDate="2014-05-22T02:46:45.123" Score="4" ViewCount="1261" Body="&lt;p&gt;I have recently come into producing professional recording of stand-up comedy. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When it comes to capturing audio, I use two sources. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) a line directly off the mic to get the performer&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) a mic in the room to get the audience&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that the source capturing the audience gets a lot of the performer as well which sounds bad. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The performer's audio should be from the microphone line only. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How would one capture the audience without getting the sound of the performer from that source?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How is the sound captured on professional stand-up comedy shows?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="5974" LastEditorUserId="2836" LastEditDate="2014-05-22T03:20:43.087" LastActivityDate="2014-05-22T23:02:29.783" Title="Recording Audio for Stand-Up Comedy" Tags="|audio|audio-recording|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10792" PostTypeId="2" ParentId="10733" CreationDate="2014-05-22T21:12:14.667" Score="2" Body="&lt;p&gt;This does it for me (see the screenshots):&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Set the cursor to the beginning of the audio event.&lt;/li&gt;&#xA;&lt;li&gt;Drag the beginning of the audio event with the mouse to the beginning of the original clip (note: the cursor is still positioned at the cropped beginning) (screenshot 2)&lt;/li&gt;&#xA;&lt;li&gt;Cut the audio event at cursor position (press S)&lt;/li&gt;&#xA;&lt;li&gt;Repeat step 1 to 3 with the video event (screenshot 3)&lt;/li&gt;&#xA;&lt;li&gt;Now you can easily synchronize video and audio by aligning the events (screenshot 4)&lt;/li&gt;&#xA;&lt;li&gt;Delete the beginnings. (screenshot 5)&lt;img src=&quot;https://i.stack.imgur.com/OU6lv.jpg&quot; alt=&quot;synchronizing audio and video&quot;&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2014-05-22T21:12:14.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10793" PostTypeId="2" ParentId="10790" CreationDate="2014-05-22T23:02:29.783" Score="2" Body="&lt;p&gt;It depends on the environment, but generally, you want directional microphones that you can point at the audience from in front of the speakers.  In an auditorium designed to spread sound around though, you are always going to get some of the speaker in the sound.  Directional mics will focus the direction of sound they pick up towards the crowd, but some sound still bounces back.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another possibility, since crowd noise is generally fairly similar and non-distinct, it is entirely possible that they aren't using the crowd's actual sound.  They may just be using laugh tracks to emulate the audience.  This can get clean sound since there wasn't anything else going on when it was recorded.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-22T23:02:29.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10794" PostTypeId="1" AcceptedAnswerId="10800" CreationDate="2014-05-22T23:06:00.223" Score="3" ViewCount="554" Body="&lt;p&gt;I want to make a title screen thing that looks like this:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/whwhK.jpg&quot; alt=&quot;screen&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See how it's all anti-aliased and bloomy, and the font is sort of computery?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I want to make it slightly waver here and there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can use After Effects, Premiere, and Sony Vegas&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="5976" LastEditorUserId="17390" LastEditDate="2019-01-05T21:38:32.430" LastActivityDate="2019-01-05T21:38:32.430" Title="How should I go about making 80's style graphics?" Tags="|after-effects|premiere|vegas-pro|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="10795" PostTypeId="1" AcceptedAnswerId="10796" CreationDate="2014-05-23T10:05:45.477" Score="3" ViewCount="6410" Body="&lt;p&gt;Is it possible to start recording with a GoPro without the official app or from an unsupported device?&lt;/p&gt;&#xA;" OwnerUserId="5978" LastEditorUserId="2836" LastEditDate="2014-05-23T15:10:10.393" LastActivityDate="2015-03-14T11:29:53.533" Title="Is it possible to control GoPro recording without the official app?" Tags="|action-cam|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10796" PostTypeId="2" ParentId="10795" CreationDate="2014-05-23T11:50:11.290" Score="6" Body="&lt;p&gt;For the GoPros with wifi (Hero3, Hero3+ or HD Hero/HD Hero 2 with a wifi bacpac), yes it is possible. They essentially work as a web server, so you can connect to that, and control the camera. It seems this is not officially documented anywhere, but a number of people have figured out how it works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So turn on the wifi on the camera, then you can connect to it from your computer.&#xA;You can view the webserver by going to &lt;code&gt;http://10.5.5.9:8080&lt;/code&gt; in a browser. This will let you view photos or videos stored on the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To control the camera, you can send HTTP requests. eg to turn the camera on: &lt;code&gt;http://10.5.5.9/bacpac/PW?t=password&amp;amp;p=%01&lt;/code&gt; (where password is the GoPro wifi password). And to trigger the shutter: &lt;code&gt;http://10.5.5.9/bacpac/SH?t=password&amp;amp;p=%01&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All of the commands are listed in this Github: &lt;a href=&quot;https://github.com/KonradIT/goprowifihack&quot; rel=&quot;noreferrer&quot;&gt;KonradIT/goprowifihack&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also several unofficial apps for connecting to and controlling the GoPro, some of these are open source. eg &lt;a href=&quot;https://github.com/konradit/heroproapp&quot; rel=&quot;noreferrer&quot;&gt;KonradIT/HeroProApp&lt;/a&gt; or &lt;a href=&quot;https://github.com/moohtwo/Android-GoPro-Streaming&quot; rel=&quot;noreferrer&quot;&gt;moohtwo/Android-GoPro-Streaming&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4456" LastActivityDate="2014-05-23T11:50:11.290" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10800" PostTypeId="2" ParentId="10794" CreationDate="2014-05-24T03:49:59.887" Score="3" Body="&lt;p&gt;There are a few things you can do to get this look, first, use an artificially low resolution.  A lot of early graphics generators were done on things like the Amiga Video Toaster at 320 by 240 resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, you can get the background look by making a normal gradient in Photoshop and then reducing the color depth substantially.  You can either reduce to 8 bit color or simply use a GIF with dithering turned on and lower the number of colors until you get the desired result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use classic pixel fonts for the lettering.  There are literally hundreds of possibilities out there to choose from, so you best bet is to look through something like Google fonts until you see something you like.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, use interlaced video and run a couple interlaced to non-interlaced and back conversions to add the scan line related issues typical of old footage.  If you have an old VCR, try recording the video through a couple generations of VCR recording too and it will give it some nice analog degradation to really maximize the feel.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-24T03:49:59.887" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10801" PostTypeId="1" AcceptedAnswerId="12507" CreationDate="2014-05-25T09:08:28.797" Score="2" ViewCount="151" Body="&lt;p&gt;I've tried to make a Power Point presentation but I've to many videos and rendering inside so the presentation doesn't have a good portability and continuity. I would like to make directly a video, the problem is that in a video I can't go to the next or the previous slide (that in this case can be a piece of video or a conventional &quot;static&quot; slide with text...) like in a presentation. What software or tool can I use to have this feature in a video. Best solution would be: use the same command (right/left arrow, mouse click...) of the PP presentation to go to the next or previous video slide.  &lt;/p&gt;&#xA;" OwnerUserId="5982" LastActivityDate="2014-08-30T12:21:20.077" Title="How to make a video presentation with the possibility to go to the next or the previous &quot;video-slide&quot;?" Tags="|video-editor|presentation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10802" PostTypeId="1" CreationDate="2014-05-25T11:18:47.647" Score="2" ViewCount="5233" Body="&lt;p&gt;While looking into buying a new &lt;strong&gt;graphics card&lt;/strong&gt; for the &lt;strong&gt;editing, live playback and encoding of videos&lt;/strong&gt; in the new 64bit Premiere Pro CC, I was wondering about:   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1) how and when a graphics card's memory is utilised or loaded?&lt;/strong&gt;&lt;br&gt;&#xA;&lt;strong&gt;2) when would one benefit from the higher graphics card Memory?&lt;/strong&gt;&lt;br&gt;&#xA;Would I benefit during editing/live playback, or when encoding and exporting a video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As of summer 2014 the Nvidia GTX 770 seems a sweetspot in terms of price/performance that grasped my attention. This model is abvailable in 2GB and 4GB versions. I will be using some filters and will be using Magic Lantern RAW 1920x840 @ 24 fps footage timeline for short videos of around 4 minutes. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="200" LastEditorUserId="200" LastEditDate="2014-09-17T19:20:45.460" LastActivityDate="2014-09-17T19:20:45.460" Title="2GB vs 4GB Graphics card Memory for playback and encoding of Videos in Adobe Premiere CC" Tags="|video|premiere|hardware|encoding|" AnswerCount="0" CommentCount="0" FavoriteCount="0" ClosedDate="2014-12-01T16:01:08.710" ContentLicense="CC BY-SA 3.0" />
  <row Id="10803" PostTypeId="2" ParentId="10801" CreationDate="2014-05-25T13:43:32.710" Score="1" Body="&lt;p&gt;Video is not directly going to handle your needs. What you need is real presentation software. Power Point is a giant joke in the industry because it is horrible. Media sequencers and real presentation software are able to deal with your situation by playing back images, video, audio and text at will.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I mostly use software designed for churches for this kind of thing so I'm most familiar with products like MediaShout and ProPresenter. There are also similar products that don't have the church specific functionality, but these packages also handle the general cases well. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically you give it an order of file playback and configure your transitions and the software handles playing it back when you advance the &quot;slide&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as free options, you could probably use something like vlc, though I'm not sure if you could get rid of the on screen display and it won't be as easy as professional solutions. &lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-25T13:43:32.710" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10806" PostTypeId="2" ParentId="8757" CreationDate="2014-05-26T10:06:14.960" Score="1" Body="&lt;p&gt;I haven't seen any difference between 2GB and 4GB. My GTX680 2GB is practically the same as a friend's GTX680 4GB in terms of PP performance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if this is just on our systems, but even with a fast GPU PP just can't handle more than a couple of filters without dropping frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's kind of infuriating, really. My GPU can create beautiful landscapes with hundreds of filters from nothing in realtime but something simple like a few layers of text is too much for PP to handle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hint: try DaVinci Resolve Lite. It's free and benefits immensely from a good GPU!&lt;/p&gt;&#xA;" OwnerUserId="3980" LastActivityDate="2014-05-26T10:06:14.960" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10807" PostTypeId="1" AcceptedAnswerId="10813" CreationDate="2014-05-26T13:03:49.763" Score="4" ViewCount="113" Body="&lt;p&gt;I would like to know which software application did CERN use to create the LHC data processing animation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/jDC3-QSiLB4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have some ideas for demo 3D animations and would like to follow the style used by LHC video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="5985" LastActivityDate="2014-05-27T11:20:27.930" Title="Which software application did they use to create LHC data processing animation?" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10808" PostTypeId="1" CreationDate="2014-05-26T15:10:55.653" Score="0" ViewCount="63" Body="&lt;p&gt;The Setup&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sony Camcorder connected to IMAC via firewire And a PC via Component cable to HDMI on the PC&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Imac records Hd video using IMovie and a 2TB Harddrive&#xA;Pc Streams using DaCast to Flash encoder to the Genesis website&#xA;Audio coming from the Analog Sound board to the camera for the HDVideo on Imovie and to the PC for the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;WHat we do. We Record a conference in Hd Video using IMAC and I movie, at the sametime a Diff Pc connected to the Same camera we stream a conference in English and in Spanish to our website.&#xA;We use Dacast to broadcast. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question is. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone please give me some advise on how to improve this set up with the newest tech available?&lt;/p&gt;&#xA;" OwnerUserId="5986" LastEditorUserId="5986" LastEditDate="2014-05-27T13:50:50.260" LastActivityDate="2014-06-26T14:05:45.940" Title="Help with a Video streaming a Meeting and archiving it in HD using 1 camera" Tags="|video|streaming|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10809" PostTypeId="1" AcceptedAnswerId="10810" CreationDate="2014-05-26T16:10:28.830" Score="1" ViewCount="635" Body="&lt;p&gt;How can I examine a QuickTime file: is there a standard utility?  Or passable third party utilities?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to be able to try to debug these problems myself before resorting to &quot;randomly install all the codecs you can find.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Adobe Premiere (I'm on 5) and using OSX 10.8.5 .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example:&#xA;I'm having a problem similar to the (unanswered) one in &lt;a href=&quot;https://video.stackexchange.com/questions/8189/cant-import-some-mov-files-into-adobe-premiere-it-says-codec-missing-or-unav&quot;&gt;Can't import some .mov files into Adobe Premiere, it says “Codec missing or unavailable”&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Adobe Premiere 5 says &quot;codec missing or unavailable&quot; when trying to&#xA;  import a .mov file… but the .mov file plays fine in Quicktime.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="5987" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-05-26T20:02:50.240" Title="How can I examine Quicktime file internals?" Tags="|codec|quicktime|" AnswerCount="1" CommentCount="1" ClosedDate="2014-05-26T21:29:30.403" ContentLicense="CC BY-SA 3.0" />
  <row Id="10810" PostTypeId="2" ParentId="10809" CreationDate="2014-05-26T20:02:50.240" Score="0" Body="&lt;p&gt;The go-to tool of my choice is &lt;a href=&quot;http://mediaarea.net/en/MediaInfo/Download&quot; rel=&quot;nofollow&quot;&gt;MediaInfo&lt;/a&gt;. It's multi plattform, open-source and can analyze a big deal of formats out there, including QuickTime. So far I barley found an unsupported format. You'll get a lot of very usefull information for debugging format issues from this tool.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-05-26T20:02:50.240" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10813" PostTypeId="2" ParentId="10807" CreationDate="2014-05-26T22:23:09.923" Score="4" Body="&lt;p&gt;This can be achieved with almost any 3D suites out there.&#xA;Your options are 3Ds Studio Max, Cinema 4D, Blender (free and open source), Maya, Lightwave etc. etc.&#xA;These are all software suites that enable you to model, animate and render videos like this one.&#xA;Ontop of that they used a 2D animation software like After Effects for scenes like the earth overview animation at second 251.&#xA;Though the 3D scenes are very likely one single render without much post processing (except for the text overlay).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The style is simple, you have a rather flat shading without much reflections with Ambient Occlusion turned up a notch to get these shadows in the corners.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Going by these particle effects I'm rather convinced that they used Cinema 4D for the 3D animations, though they could have also made those with After Effects and a plugin called Particular from RedGiant Software, a very popular tool for particle animations.&#xA;Though Cinema 4D is very popular for motion graphic animations like this one, so it's likely they used that.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-05-27T11:20:27.930" LastActivityDate="2014-05-27T11:20:27.930" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10814" PostTypeId="1" CreationDate="2014-05-27T02:21:46.337" Score="3" ViewCount="2904" Body="&lt;p&gt;I am creating a training video on Calculus using my Mac, and I need to enter mathematical symbols such as integration and summation signs on my video. (The video is just a screen capture of me writing equations in sequence on the screen, until the solution is derived)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I bought a Wacom tablet thinking I would just hand-write everything on a graphics app and capture it in Camtasia. However it is difficult to draw a good looking symbol by hand using these devices&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So now I am thinking to use type, but then how do you type an integral between limits without a lot of preparation for each equation, to produce things that look like &lt;a href=&quot;https://encrypted-tbn2.gstatic.com/images?q=tbn%3aANd9GcRuxvG88JBzcamRUWGbmGYvsjzezn2puULrb0psphu2sAEuJYmj&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; or &lt;a href=&quot;https://encrypted-tbn1.gstatic.com/images?q=tbn%3aANd9GcT9uINXOOzEpEzj4awuTEYccFvSD3pThF0bd0uiwj6wYLkddZj8&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know of a good way to type math symbols directly onto a screen in real time (or very near)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MS Word has an equation editor,  but I would like to type character by character, and the equation editor forces you to set all of the characters and then renders them into a single image. &lt;/p&gt;&#xA;" OwnerUserId="5989" LastEditorUserId="5989" LastEditDate="2014-05-28T02:22:43.717" LastActivityDate="2021-04-26T08:52:04.297" Title="How do I create a video of typing math symbols" Tags="|video-recording|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10815" PostTypeId="2" ParentId="10814" CreationDate="2014-05-27T05:23:54.647" Score="3" Body="&lt;p&gt;You could be clearer about what 'on my video' means. Does that mean: composited with other moving pictures in your video; or does it mean: in a sequence all by itself that's edited into your video? Or something else? And what video tools can you use?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For compositing use a compositing tool like Adobe After Effects. After Effects would also be perfect for building the 'typing on' sequence of symbols that you want. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't have access to After Effects, why not build your sequence as a set of Photoshop layers which you can then export as an image sequence. Import that sequence into Quicktime (Pro), then re-export as a .mov using a codec that makes sense for you project. If you don't have access to Photoshop you can still do this with any cheap graphics software. Just 'manually' output identically sized images and name your output files sequentially. Tell Quicktime Pro to import them as a sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Another idea&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;create a single good image (similar to the ones that you provided links for) of the complete expression or equation that you want to 'type on' the screen.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;import into Adobe Illustrator or PhotoShop.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;create a series of white 'masks' (just rectangles) to cover each term in the expression or equation) and put each one on it's own layer, in the sequence in which you'll want them revealed. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;De-select the eyeball on each layer, in sequence, to hide the 'mask' for that layer and reveal each term in sequence. Run Camtasia as you do this and you'll have the 'typed-on' movie you're looking for. You could pre-record your audio so that you'd have a good sense of timing for the reveal of each term.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5600" LastEditorUserId="5600" LastEditDate="2014-05-27T20:08:03.253" LastActivityDate="2014-05-27T20:08:03.253" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10816" PostTypeId="1" AcceptedAnswerId="10819" CreationDate="2014-05-27T09:28:40.947" Score="3" ViewCount="159" Body="&lt;p&gt;What is the difference between slowing down the video in software compared to actual shooting at higher framerate?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, i have a camera that shoots at 60fps and want to slow it down to achieve the same effect as when shooting at 120fps. What would be the differences?&lt;/p&gt;&#xA;" OwnerUserId="5990" LastActivityDate="2014-05-27T11:08:46.633" Title="Slowing down video vs higher framerate recording" Tags="|framerate|slowmotion|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10817" PostTypeId="2" ParentId="8757" CreationDate="2014-05-27T10:32:24.783" Score="2" Body="&lt;p&gt;I have read that the extra ram (4 gb vs 2 gb) might be utilized when you are working with 4k footage, but there are a lot of other factors at play here (cpu / data throughput etc). This is a good article about choosing the right components for your editing pc (including graphics card): &lt;a href=&quot;http://ppbm7.com/index.php/tweakers-page/83-balanced-systems/94-balanced-systems&quot; rel=&quot;nofollow&quot;&gt;http://ppbm7.com/index.php/tweakers-page/83-balanced-systems/94-balanced-systems&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="5991" LastActivityDate="2014-05-27T10:32:24.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10818" PostTypeId="2" ParentId="3937" CreationDate="2014-05-27T11:00:10.170" Score="-1" Body="&lt;p&gt;Click on the line for the edit that you have done with the blade in order to select it and then press back space.&lt;/p&gt;&#xA;" OwnerUserId="5992" LastEditorUserId="2836" LastEditDate="2014-05-27T13:24:04.770" LastActivityDate="2014-05-27T13:24:04.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10819" PostTypeId="2" ParentId="10816" CreationDate="2014-05-27T11:08:46.633" Score="3" Body="&lt;p&gt;By shooting at higher frame rate, you can achieve great looking and &lt;strong&gt;frame accurate&lt;/strong&gt; slow motion. Interpolation is not going to happen. But if you want to slow down your footage beyond the frames you have, you can use the right tools in your video editor, or &lt;a href=&quot;http://www.revisionfx.com/products/twixtor/&quot; rel=&quot;nofollow&quot;&gt;Twixtor&lt;/a&gt; plugin, but of course it will not give you as good results as a dedicated high speed camera. Absent frames are &lt;strong&gt;digitally interpolated&lt;/strong&gt;. There are some more affordable Twixtor alternatives, such as &lt;a href=&quot;http://vegasaur.com/ReSpeedr&quot; rel=&quot;nofollow&quot;&gt;Respeeder&lt;/a&gt;. These tools will give your video a smooth, high-frame rate look.  &lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-05-27T11:08:46.633" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10820" PostTypeId="1" AcceptedAnswerId="10821" CreationDate="2014-05-27T11:30:25.903" Score="3" ViewCount="12946" Body="&lt;p&gt;I'm having this strange issue where I have created a title and when I try to update it (position or stroke) nothing happens. Either on or off the timeline, the title stays in its original position (off center) and it won't apply my changes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas what could be causing this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm running PP CC&lt;/p&gt;&#xA;" OwnerUserId="5993" LastActivityDate="2017-02-17T19:57:08.480" Title="Title not updating after creation in premiere pro" Tags="|premiere|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10821" PostTypeId="2" ParentId="10820" CreationDate="2014-05-27T11:36:01.673" Score="4" Body="&lt;p&gt;A simple restart did the trick. &lt;/p&gt;&#xA;" OwnerUserId="5993" LastActivityDate="2014-05-27T11:36:01.673" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10822" PostTypeId="2" ParentId="10808" CreationDate="2014-05-27T13:55:36.907" Score="1" Body="&lt;p&gt;It sounds like you need a video conferencing platform.  Platforms like WebEx, GoToMeeting, Microsoft Lync or Adobe Connect.  All these platforms are designed for handling video feeds from multiple locations along with screen sharing and most of them support reasonable to high quality recordings of the meetings as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Several of these platforms also support larger scale conference modes where you have a small number of presenters (that can be at remote locations) but a large number of spectators.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-27T13:55:36.907" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10823" PostTypeId="2" ParentId="10814" CreationDate="2014-05-27T14:07:05.433" Score="1" Body="&lt;p&gt;My personal advice, stick with your original plan and keep practicing with the tablet.  It's a little more time and effort initially, but most technical measures to do it with text are going to be far more elaborate and technical.  It is perfectly possible to make good looking hand-writing with a tablet once you get used to it and it will probably require less overall effort unless you are pretty technically inclined to begin with.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A similar option is LiveScribe pencasts.  LiveScribe makes an actual pen that you use with special paper you buy or print out.  It captures what you write as you write it and certain models can even be used as a non-pressure sensitive tablet.  This lets you see what you are writing, which makes it a lot more natural feeling compared to a digitizer tablet, even if the digitizer does a better job after you get used to it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-27T14:07:05.433" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10825" PostTypeId="1" AcceptedAnswerId="33572" CreationDate="2014-05-28T11:18:27.447" Score="13" ViewCount="18317" Body="&lt;p&gt;I'm cutting/converting some videos with ffmpeg.  What I'd really like is to be able to have the output hold the last frame for a few seconds (with silence for audio).  Is such a thing possible?  Or will I have to somehow get the last frame and make a new video from that?&lt;/p&gt;&#xA;" OwnerUserId="5998" LastActivityDate="2023-06-09T00:30:22.700" Title="How to hold the last frame when using ffmpeg" Tags="|ffmpeg|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10827" PostTypeId="1" AcceptedAnswerId="10839" CreationDate="2014-05-28T12:46:04.340" Score="1" ViewCount="298" Body="&lt;p&gt;I am trying to record a DVI Signal (SXGA) on a Mac (10.6.8). Do I need a scan converter for this ? If so, which hardware would be the best/easiest to use. Since it is 5:4, I also try to understand, if a scan converter is needed, to what resolution I can convert to, without loosing any information of the raw signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="5999" LastActivityDate="2014-05-30T13:58:53.400" Title="Record DVI Signal (SXGA)" Tags="|recording|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10828" PostTypeId="1" CreationDate="2014-05-28T12:46:46.323" Score="1" ViewCount="311" Body="&lt;p&gt;i want create a sound file on soundcloud and bring it to my youtube account.  How do i achieve this?&lt;/p&gt;&#xA;" OwnerUserId="6000" LastActivityDate="2015-06-13T08:02:10.690" Title="How to link an audio mp3 file created on soundcloud to your Youtube account" Tags="|streaming|audio|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10830" PostTypeId="2" ParentId="10825" CreationDate="2014-05-28T14:32:03.677" Score="0" Body="&lt;p&gt;I believe the answer to your question is &quot;yes&quot;.  I'm not super familiar with FFMPEG, but the easiest way I can see to accomplish your goal is to first extract the last frame to an image, make a video of a few seconds and then run an encode that concatenates the main video and your newly created video in one pass.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-28T14:32:03.677" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10831" PostTypeId="2" ParentId="10828" CreationDate="2014-05-28T14:44:05.027" Score="2" Body="&lt;p&gt;You may want to reupload the file to Youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Convert the audio file (preferably your original, uncompressed file) to video with &lt;code&gt;avconv -loop 1 -i cover.jpg -i original-track.wav -tune stillimage -r 1 -s 1280x720 -c:a flac -shortest -v error out-video.ogv&lt;/code&gt; (where cover.jpg is the still image you want to use for the video) or using a media converter like &lt;a href=&quot;http://winff.org/html_new/&quot; rel=&quot;nofollow&quot;&gt;WinFF&lt;/a&gt;, and upload it to your youtube account.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can place a link to the soundcloud page in your video description.&lt;/p&gt;&#xA;" OwnerUserId="5810" LastActivityDate="2014-05-28T14:44:05.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10832" PostTypeId="1" CreationDate="2014-05-28T16:01:23.853" Score="1" ViewCount="25" Body="&lt;p&gt;I am really trying to record/stream some footage from both computers and video consoles. The best solution wold be to use an Aver Media Capture Card, but seeing as that is out of reach financially, I was looking at the HD PVR 2. This allows for component and hdmi in with no delay pass through to a computer. Has anyone used this before, have any reviews or experience? How easy is it to get older systems on a 4:3 aspect ratio to work on it? I wouldn't think it would be too bad with the right adapter? Thanks for your thoughts.&lt;/p&gt;&#xA;" OwnerUserId="5994" LastActivityDate="2014-05-28T21:25:04.457" Title="HD PVR 2 GE, worth it, thoughts?" Tags="|hardware|hdmi|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10833" PostTypeId="2" ParentId="10825" CreationDate="2014-05-28T18:43:58.277" Score="10" Body="&lt;p&gt;One method is to use the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#overlay&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;overlay&lt;/code&gt; video filter&lt;/a&gt;. Assuming your video is 640x480, 30 seconds duration, 25 frame rate:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i nullsrc=s=640x480:d=35:r=25 -i video.mp4 -i audio.wav -filter_complex \&#xA;&quot;[0:v][1:v]overlay[video]&quot; -map &quot;[video]&quot; -map 2:a -codec:a copy -shortest output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;I set the duration of the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#color_002c-haldclutsrc_002c-nullsrc_002c-rgbtestsrc_002c-smptebars_002c-smptehdbars_002c-testsrc&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;nullsrc&lt;/code&gt; source filter&lt;/a&gt; to be 5 seconds longer than &lt;code&gt;input.mkv&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The default behavior of overlay is to repeat the last frame of the overlaid source. See the &lt;code&gt;eof_action&lt;/code&gt; option for other behaviors. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The audio in this example is being &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;noreferrer&quot;&gt;stream copied&lt;/a&gt; (re-muxed) instead of being re-encoded.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The downside is that this examples requires re-encoding since a filter is being used, but it may be simpler than other methods since it is just one command.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="11034" LastEditDate="2015-06-13T14:27:07.830" LastActivityDate="2015-06-13T14:27:07.830" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10834" PostTypeId="1" CreationDate="2014-05-28T18:56:29.217" Score="3" ViewCount="220" Body="&lt;p&gt;I am a long time photographer and have been doing more video work over the past few years. One constant source of angst when I need to correct the coloring of the video clips in FCPx. With photographs, I am used to very tight, quick and accurate control over the color and being able to match colors from a wide variety of sources and resulting output being able to look the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I am really looking for is the ability to the same kind of color correction as available in Lightroom, Adobe Bridge, or even Aperture from inside FCPx. For example, I would love to target a particular color and shift it (oranges shifted more magenta, blues a little less green, etc.) And for the rest: recovery, brightness, black, etc. would be marvelous to have the same control.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What FCPx gives me are these very broad-brush, difficult to use, inaccurate tools. I must click and drag a 'light', 'medium', 'dark' and 'overall' slider around to a particular color range and hope it's OK. It's very crude and has none of the finesse and accuracy I can get with Lightroom. There is no ability to target specific colors and work with them individually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any plug in, tool or &lt;em&gt;something&lt;/em&gt; that will enable me to have the same color mastery of video color correction that I now exercise over photography?&lt;/p&gt;&#xA;" OwnerUserId="5830" LastEditorUserId="5830" LastEditDate="2014-05-28T19:02:35.757" LastActivityDate="2015-11-20T23:19:52.527" Title="color correction in fcpx" Tags="|final-cut-pro-x|color-correction|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="10835" PostTypeId="2" ParentId="8757" CreationDate="2014-05-28T19:50:59.623" Score="5" Body="&lt;p&gt;&lt;strong&gt;1)&lt;/strong&gt; Everytime the GPU has to process something, it will load the necessary data (in that case your video frames) into the VRAM. Simple as that, the GPU cannot work with your system memory.&#xA;Though the GPU gets it's data from the system memory, so your system memory will act as a buffer and you don't need to load that much data at once into the VRAM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though programs which offer a real-time workflow will want to load as much data into the VRAM as possible. That's the reason why you can allocate a specific amount of VRAM in Adobe After Effects (not 100% sure if you can do the same in Premiere).&#xA;So every time you apply an effect in Premiere that is GPU accelerated, the GPU will have to request data into the VRAM to process the frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;New versions of OpenCL and CUDA are improving the way of how the GPU will get its data and reducing the overhead caused by the CPU which will reduce the amount of VRAM needed at a time but VRAM will always be a very important factor with the current PC architecture.&#xA;Current GPUs use GDDR5 which is A LOT faster than DDR3 system memory. This is needed as the memory speed is a very important performance factor in GPU computing. Overclocking your VRAM can give you quite a performance boost in memory intensive 3D rendering applications (though probably not in Premiere).&#xA;Current &lt;a href=&quot;http://en.wikipedia.org/wiki/GDDR5&quot; rel=&quot;nofollow&quot;&gt;GDDR5&lt;/a&gt; based GPUs like the &lt;a href=&quot;http://en.wikipedia.org/wiki/List_of_Nvidia_graphics_processing_units#GeForce_700_Series&quot; rel=&quot;nofollow&quot;&gt;GTX 780 Ti&lt;/a&gt; are capable of more than 300 GB/s (336 GB/s in this case). &lt;a href=&quot;http://en.wikipedia.org/wiki/Ddr3&quot; rel=&quot;nofollow&quot;&gt;DDR3&lt;/a&gt;-2133 is substantially slower with a peak bandwidth of 16,66 GB/s per module. Also 2133 is rather uncommon in OEM PCs, DDR3-1600 and 1300 is more common.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2)&lt;/strong&gt; So you will benefit from a large amount of VRAM everytime you work with very high resolution images or many videos at once aswell as with high-frame rate footage. Premieres rendering engine is utilizing the GPU for both the preview aswell as the final rendering if you chose so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In practice I'd say it's nonsense to have more than 2GB of VRAM for Premiere unless you work with other applications at the same time that utilize the GPU. Processing bitmaps doesn't require all that much data at once unless you work with crazy resolutions like 8k or 16k, the processing capability of your GPU will be the bottleneck before your VRAM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thats my opinion based on what I know about the Premiere video engine and GP-GPU. Premiere might do some other stuff in the background that requires more VRAM. So if you have a very specific use case I'd rather make a benchmark or search for one before making a purchase decision. If you just want to make a general guess this information should help you quite well to make a decision.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-05-29T15:27:59.597" LastActivityDate="2014-05-29T15:27:59.597" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10836" PostTypeId="2" ParentId="10832" CreationDate="2014-05-28T21:25:04.457" Score="1" Body="&lt;p&gt;There are a plethora of capture cards on the market in that general price range from numerous manufacturers.  There are two main things to worry about with these devices.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, for analog inputs, such as component video, you need to consider the quality of the analog to digital converters as well as what capabilities they have for scaling and format.  Not all converters can handle arbitrary analog resolutions (or digital for that matter).  You want the highest quality converters to digital you can get for the resolution you need.  For SD feeds, that may actually mean getting an older, cheaper device that has good converters, but doesn't support HD (and doesn't need as advanced of a hardware encoder.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, once you have a digital signal, the quality of the hardware encoder matters greatly.  HD video is very, very large in raw data, so heavy compression has to be applied to store it and make it playable.  This compression is generally a complex and time-consuming process, but specialized hardware can allow for real-time encoding that can keep up with a live feed.  The quality of the encoder will directly impact the quality and size of the end video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as comparing between one device and another, looking for reviews or video samples from each is probably your best bet.  As there are many devices out there, you are unlikely to find people who have used both and can compare them directly for you.  You might have more luck with finding people with first hand experience of popular devices like Matrox's MXO2 or BlackMagic Design's Intensity, but those are (slightly) more expensive professional devices.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-28T21:25:04.457" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="10837" PostTypeId="1" AcceptedAnswerId="10840" CreationDate="2014-05-28T22:37:58.037" Score="2" ViewCount="11534" Body="&lt;p&gt;I want to take a live video feed (say from a security camera) and overlay an image over the top of the live video. Is there hardware/software to do this realtime? I don't care about storing the data, and I can't store it to disk first, it needs to be live video in/out with overlay composited on top. Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="6002" LastActivityDate="2019-11-18T22:15:32.150" Title="Overlay an image onto live video feed" Tags="|video|software|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10838" PostTypeId="1" AcceptedAnswerId="10855" CreationDate="2014-05-29T11:49:01.510" Score="1" ViewCount="779" Body="&lt;p&gt;I have recorded video from Canon HFR 36 camera and recorded voice separately to computer using a clip on mic. (The video camera does not have mic input) Now I want a simple software to remove original audio from the video and add the recorded voice. When I make the edited file, the video quality should not be decreased dramatically.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using windows 8 Operating system. My video files are in MTS format (AVCHD). I recorded audio using windows voice recorder so that voice files are in wma format. &lt;/p&gt;&#xA;" OwnerUserId="6005" LastEditorUserId="674" LastEditDate="2014-05-29T22:32:13.887" LastActivityDate="2014-06-01T17:39:11.407" Title="Mix Voice to Video without losing video quality" Tags="|video-editor|video-quality|audio|audio-recording|mixing|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10839" PostTypeId="2" ParentId="10827" CreationDate="2014-05-29T13:44:37.677" Score="0" Body="&lt;p&gt;It sounds like what you need is a better DVI scaler.  A good scaler should resize your video in-line to a supported resolution for your AJA IO HD.  One example I found of the kind of thing you are looking for is &lt;a href=&quot;http://www.atlona.com/Atlona-DVI-UP-Down-Scaler-Converter.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.  I have no direct experience with that particular scaler, so double check that it will handle your exact needs, but the correct type of scaler will handle resizing your video feed to something that the AJA IO should be able to handle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also keep in mind if you are using DVI-A (analog) or DVI-D (digital) as it will impact both cost and quality of the scalers that are available as well as the type of input you use on the AJA IO.  I'd lean towards trying to keep a digital workflow, if you can, as it should preserve the highest overall quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as alternate capture devices, two of the main ones I normally consider (though I have no direct experience with the current generation) are the Black Magic Intensity and the Matrox MXO2.  I used to use Matrox capture stuff back in the day with great success, but have not used their newest stuff.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-05-30T13:58:53.400" LastActivityDate="2014-05-30T13:58:53.400" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10840" PostTypeId="2" ParentId="10837" CreationDate="2014-05-29T14:33:13.297" Score="3" Body="&lt;p&gt;Gstreamer offers the ability to overlay images on videos and has also excellent live streaming capabilities.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some useful links:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://coaxion.net/blog/2013/10/streaming-gstreamer-pipelines-via-http/&quot; rel=&quot;nofollow&quot;&gt;https://coaxion.net/blog/2013/10/streaming-gstreamer-pipelines-via-http/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://developer.ridgerun.com/wiki/index.php/Fast_GStreamer_overlay_element#Picture_overlay_examples&quot; rel=&quot;nofollow&quot;&gt;https://developer.ridgerun.com/wiki/index.php/Fast_GStreamer_overlay_element#Picture_overlay_examples&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-05-29T14:33:13.297" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10841" PostTypeId="2" ParentId="10837" CreationDate="2014-05-29T15:07:11.507" Score="3" Body="&lt;p&gt;If you are open to a hardware only solution (possibly cheaper than having a dedicated PC for the task and certainly far more reliable), then what you are looking for is a device called a &lt;a href=&quot;http://www.bhphotovideo.com/c/buy/Logo-Generators-Accessories/ci/8295/N/4028759389&quot; rel=&quot;nofollow&quot;&gt;logo generator/keyer&lt;/a&gt;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, the device constantly outputs a video of the logo you want to overlay and keys it on to the video stream being passed through.  The devices range in cost from around $800 to several grand, but the low end models should be cheaper than having a dedicated computer with sufficient power to do the processing all the time if this is for more than occasional use.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-05-29T15:12:26.277" LastActivityDate="2014-05-29T15:12:26.277" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10842" PostTypeId="1" AcceptedAnswerId="10846" CreationDate="2014-05-29T05:19:47.673" Score="2" ViewCount="20748" Body="&lt;p&gt;I was watching a you tube video on cropped sensor and they the author mentioned that for video it does not really matter whether you use cropped sensor or full frame? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does the sensor size matter for videography? What could be the physics behind this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&#xA;NN&lt;/p&gt;&#xA;" OwnerUserId="6007" OwnerDisplayName="Niranjan" LastActivityDate="2014-05-31T14:24:36.190" Title="Which sensor is better for video, cropped or full frame?" Tags="|video|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10843" PostTypeId="2" ParentId="10842" CreationDate="2014-05-29T08:26:11.313" Score="4" Body="&lt;p&gt;It depends.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;All of the questions at &lt;a href=&quot;http://photo.stackexchange.com&quot;&gt;http://photo.stackexchange.com&lt;/a&gt; regarding the relationship between sensor size and Depth of Field (DoF) apply to video as well.&lt;/strong&gt; (See, for example: &lt;a href=&quot;https://photo.stackexchange.com/q/12098/15871&quot;&gt;https://photo.stackexchange.com/q/12098/15871&lt;/a&gt;, &lt;a href=&quot;https://photo.stackexchange.com/questions/7904/how-does-background-blur-bokeh-relate-to-sensor-size&quot;&gt;https://photo.stackexchange.com/questions/7904/how-does-background-blur-bokeh-relate-to-sensor-size&lt;/a&gt;, and especially &lt;a href=&quot;https://photo.stackexchange.com/questions/3986/when-do-the-differences-between-aps-c-and-full-frame-sensors-matter-and-why&quot;&gt;https://photo.stackexchange.com/questions/3986/when-do-the-differences-between-aps-c-and-full-frame-sensors-matter-and-why&lt;/a&gt;)   If you want very shallow depth of field a FF will give you shallower DoF for the same subject distance, field of view (FoV), and aperture than a  cropped sensor will. This is because the FF camera must use a longer focal length than the crop sensor to achieve the same FoV from the same subject distance. If you want very large depth of field the cropped sensor will have the advantage over the FF camera with the same distance/FoV/aperture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I think what the comment you heard might have been addressing was the difference in resolution that once existed between most cropped sensor cameras and most full frame cameras.&lt;/strong&gt; Just a few years ago most APS-C cameras ranged from about 10-12MP while FF cameras where at around 18-20MP. This is not so much the case any more as improvements in sensor technology have allowed APS-C cameras in the 18-20MP range. Since 1920X1080 HD video is only about 2MP per frame, any camera in the 10MP+ range is going to downsize the output of the sensor to 1920X1080 so there is not much difference between a 12MP APS-C camera and a 20MP full frame camera in that regard.&lt;/p&gt;&#xA;" OwnerUserId="4089" OwnerDisplayName="Michael Clark" LastEditorUserId="-1" LastEditDate="2017-04-13T12:43:53.643" LastActivityDate="2014-05-29T22:07:58.157" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10844" PostTypeId="1" AcceptedAnswerId="10845" CreationDate="2014-05-29T16:45:52.673" Score="1" ViewCount="219" Body="&lt;p&gt;Imagine I have a video of a car moving from right to left, and that I want to add a graphic annotation in a specific frame at a certain time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like that this graphic annotation, after I have inserted it, move itself automatically along the timeline using only pixel analysis, looking for pixels similarity frame after frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some tool or software library that do it? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ub2yk.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6006" LastEditorDisplayName="user10383" LastEditDate="2017-06-04T06:12:29.453" LastActivityDate="2017-06-04T06:12:29.453" Title="A way to create a moving graphic annotation" Tags="|video|software-recommendation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10845" PostTypeId="2" ParentId="10844" CreationDate="2014-05-29T17:29:56.753" Score="3" Body="&lt;p&gt;That is usually called &quot;&lt;a href=&quot;http://en.wikipedia.org/wiki/Match_moving&quot; rel=&quot;nofollow&quot;&gt;tracking&lt;/a&gt;&quot; and there are several tools available to do that.&#xA;Many that are stand alone and export the data to be used in other software aswell as complete editing suites that enable you to do everything from the tracking of the video footage to the animation of the graphic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Popular examples are &lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;Adobe After Effects&lt;/a&gt;, &lt;a href=&quot;https://www.apple.com/final-cut-pro/motion/&quot; rel=&quot;nofollow&quot;&gt;Apple Motion&lt;/a&gt; and &lt;a href=&quot;http://www.thefoundry.co.uk/products/nuke-product-family/nuke/&quot; rel=&quot;nofollow&quot;&gt;Nuke&lt;/a&gt;.&#xA;The most popular being Adobe After Effects. It offers a fairly easy to use 2D tracker and is a very powerful animation tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though if you want to analyze the global position of the car on the racing track over the course of several different scene you wont be able to achieve that completely automated. Those tools will only analyze the motion for a particular scene and wont make any sense out of the &quot;global picture&quot;. While you can certainly track the position of a car in different scenes you will have to manually do that and tell the tracker in every scene what exactly you want to track.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-05-29T17:35:18.260" LastActivityDate="2014-05-29T17:35:18.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10846" PostTypeId="2" ParentId="10842" CreationDate="2014-05-29T17:40:20.920" Score="1" Body="&lt;p&gt;The video you were watching is simply wrong.  The size of the sensor makes every bit as much difference in video as it does in still photography.  Your depth of field and your light sensitivity are still largely determined by your sensor size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only thing that really doesn't apply for video is that diffraction limiting isn't a concern since video is so much lower resolution.  (1080p video is only around a 2MP image.)  This one thing makes crop bodies slightly closer to full frames for video, but still does nothing towards the other advantages that full frame has.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-05-29T17:40:20.920" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10847" PostTypeId="1" AcceptedAnswerId="10848" CreationDate="2014-05-30T09:51:13.987" Score="4" ViewCount="16704" Body="&lt;p&gt;I have some scripts which pass video into &lt;strong&gt;Handbrake&lt;/strong&gt; to transcode it for the web.&lt;br&gt;&#xA;What's the easiest way to apply additional filters for things like brightness/contrast?  (ie. things not covered by &lt;a href=&quot;https://trac.handbrake.fr/wiki/PictureSettings&quot; rel=&quot;nofollow&quot;&gt;the 5-6 built-in filters&lt;/a&gt;.) I'd prefer to avoid creating an intermediate file if possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So... should I look at:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Frameserving from VirtualDub or something?&lt;/li&gt;&#xA;&lt;li&gt;AviSynth scripts, which apparently are a little tricky to get working with Handbrake&lt;/li&gt;&#xA;&lt;li&gt;Replacing Handbrake with other tools - perhaps FFmpeg or AviDemux or something?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6009" LastActivityDate="2014-05-30T15:42:20.860" Title="Can I get Handbrake to apply additional filters such as brightness/contrast?" Tags="|transcoding|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10848" PostTypeId="2" ParentId="10847" CreationDate="2014-05-30T15:35:55.943" Score="2" Body="&lt;p&gt;Like you suggested yourself you might want to use FFmpeg instead. It can utilize x264 as well which is the library that Handbrake is using for encoding. While x264 itself can do some very limited color correction via color space conversion (which can be used in the Handbrake CLI) I wouldn't recommend it if you want advanced manipulation of the video look.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmpeg isn't hard to use and not all too different from the Handbrake CLI.&#xA;The advantage you have with FFmpeg is a lot more formats you can output to and read from and you have the option to use many advanced filters on your video aswell as audio:&lt;br&gt;&#xA;&lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#Video-Filters&quot; rel=&quot;nofollow&quot;&gt;http://ffmpeg.org/ffmpeg-filters.html#Video-Filters&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a very powerful tool for automated video editing and conversion.&#xA;The downside to FFmpeg is that you don't have all that many excellent presets but you should be able to use the x264 presets from Handbrake aswell.&#xA;&lt;a href=&quot;https://sites.google.com/site/linuxencoding/x264-ffmpeg-mapping&quot; rel=&quot;nofollow&quot;&gt;https://sites.google.com/site/linuxencoding/x264-ffmpeg-mapping&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-05-30T15:42:20.860" LastActivityDate="2014-05-30T15:42:20.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10849" PostTypeId="2" ParentId="2533" CreationDate="2014-05-30T21:06:48.417" Score="1" Body="&lt;p&gt;I could only think of a more automated solution but if this isn't happening every other day your solution is probably the cheapest and easiest method.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would only recommend to configure VLC a bit so you don't get any surprises while broadcasting. For example disable the interface showing when the player is in fullscreen so it cant pop up by accident and set it to exclusive fullscreen so another application isn't forcing it out of fullscreen.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-05-30T21:06:48.417" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10850" PostTypeId="2" ParentId="10842" CreationDate="2014-05-31T14:24:36.190" Score="2" Body="&lt;p&gt;One difference that wasn’t mentioned in other answers is frame downsampling. With a large sensor you have to downsample the image data read from the sensor to the final frame size – for example 1920✕1080 is just around 2 megapixels, whereas the full sensor output is easily ten times as much with recent full-frame cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem with downsampling is that the camera is usually not able to do it fast enough while keeping the quality high, it needs to cut corners. As an example, this is a quote from a &lt;a href=&quot;http://www.dpreview.com/reviews/sony-cybershot-dsc-rx10/7&quot; rel=&quot;nofollow&quot;&gt;review of Sony RX-10&lt;/a&gt;, a camera with a small 1&quot; sensor:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;One of the big selling points on the Cyber-shot DSC-RX10 is its movie&#xA;  mode. You wouldn't know it from looking at the already impressive spec&#xA;  sheet, but the way the RX10 creates its videos allows for much greater&#xA;  quality than most other cameras.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;The reason for the higher quality is how video is sampled. Since the&#xA;  sensors on the vast majority of cameras cannot be 'read out' quickly&#xA;  enough, they don't read the whole sensor when recording video. Instead&#xA;  they skip lines of pixels, which means that the amount of data used to&#xA;  generate is frame is reduced. The gaps between these lines reduce the&#xA;  resolution they can capture, and can introduce moiré.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;The RX10, on the other hand, samples the entire 1&quot;-type sensor, so no&#xA;  lines are skipped. The results are noticeable both in our test scene&#xA;  and real world samples.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In other words, smaller sensor can under some circumstances mean less downsampling artifacts and higher image quality.&lt;/p&gt;&#xA;" OwnerUserId="6010" LastActivityDate="2014-05-31T14:24:36.190" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10851" PostTypeId="1" CreationDate="2014-05-31T14:38:14.340" Score="1" ViewCount="114" Body="&lt;p&gt;I’d like to get a decent sound while recording a video interview (two people). What I have:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Panasonic GH3 camera&lt;/li&gt;&#xA;&lt;li&gt;Tascam DR-40 Mk II sound recorder&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What I’d like:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Get as close as possible and keep the noise down.&lt;/li&gt;&#xA;&lt;li&gt;Keep the number of devices down.&lt;/li&gt;&#xA;&lt;li&gt;Battery-operated is a plus.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;It looks like two lapel microphones are the way to go. But the recorder I have can’t record from two sources at once, should I get a mixer? Also, I’d love the microphones to be connected wirelessly, but a bundle of a wireless lapel mic and the receiving station looks quite expensive. What are my options?&lt;/p&gt;&#xA;" OwnerUserId="6010" LastActivityDate="2014-05-31T22:05:09.390" Title="How do I record decent sound during an interview?" Tags="|audio-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10852" PostTypeId="2" ParentId="10851" CreationDate="2014-05-31T22:05:09.390" Score="2" Body="&lt;p&gt;You should definitely get a mixer!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &quot;complete&quot; setup for audio would include:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a field mixer (like the PSC ProMix just for example) - needs XLR in/out&lt;/li&gt;&#xA;&lt;li&gt;lavolier microphones&lt;/li&gt;&#xA;&lt;li&gt;shotgun mic (or other very directional mic) with boom or pistol grip - this way you aren't stuck with the lavoliers all the time!&lt;/li&gt;&#xA;&lt;li&gt;cables connecting the microphones to the mixer&lt;/li&gt;&#xA;&lt;li&gt;your recording device&lt;/li&gt;&#xA;&lt;li&gt;cables connecting the recording device to the mixer&lt;/li&gt;&#xA;&lt;li&gt;headphones to monitor the sound coming in, and going out, of the mixer&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Note I say your recording device, because theoretically you could record to the camera (not recommended).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The monitoring part is pretty crucial, because you don't want to be surprised in postproduction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I prefer more directional microphones, because lavoliers can pick up some kinds of ambient noise.  Note however: a shotgun requires skill and endurance to use correctly!  Not to mention, an extra person on your crew.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would also avoid wireless if you can.  It seems cool, but there's always some unexpected source of interference, and it can potentially add a lot of time to your set-up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="5987" LastActivityDate="2014-05-31T22:05:09.390" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10853" PostTypeId="1" AcceptedAnswerId="10854" CreationDate="2014-06-01T14:18:32.543" Score="4" ViewCount="27238" Body="&lt;p&gt;I have a video (or audio, I think it is not important) stream/file which does not contain subtitles. But it has clean english speech. Is it possible to detect and extract words from it. I don't need 100% accuracy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there some services or applications for this case? Maybe some services gives API for this? Any ideas are welcome.&lt;/p&gt;&#xA;" OwnerUserId="6011" LastEditorUserId="-1" LastEditDate="2014-08-28T20:53:30.030" LastActivityDate="2020-03-10T01:10:58.583" Title="How to detect and extract words from audio/video stream online in a webpage itself?" Tags="|video|audio|subtitles|" AnswerCount="3" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10854" PostTypeId="2" ParentId="10853" CreationDate="2014-06-01T14:39:26.283" Score="4" Body="&lt;p&gt;If you work on a regular basis with the &quot;owner&quot; of the voice I can recommend Nuance's &lt;a href=&quot;http://www.nuance.com/dragon/index.htm&quot; rel=&quot;nofollow&quot;&gt;Dragon&lt;/a&gt; it offers very accurate speech to text with very few errors but it needs some &quot;calibration&quot; to a specific voice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if you can get your actor/narrator to read the calibration text you will have an easy time making transcripts and subtitles (though subs will require manual timing afterwards).&#xA;Nuance also offers a &lt;a href=&quot;http://www.nuance.com/for-developers/dragon/index.htm&quot; rel=&quot;nofollow&quot;&gt;developer SDK/API&lt;/a&gt; if you need that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However it will not help you in the case of interviews with random people on the street.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An alternative that doesn't need calibration and is also free to use is the Google Voice to Text service. There is a nice un-offical &quot;API&quot; for that on &lt;a href=&quot;https://github.com/gillesdemey/google-speech-v2&quot; rel=&quot;nofollow&quot;&gt;Github&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It will give you usable results in most cases and its fairly easy to use if you know a bit about programming and can use a command line.&#xA;Though be aware that I do not know the legal status of that, I'm not sure if that service is allowed to be used for commercial use. You might want to read into the &lt;a href=&quot;http://www.google.com/intl/en/policies/terms/&quot; rel=&quot;nofollow&quot;&gt;Google Terms of Service&lt;/a&gt; for that, they unified that about a year ago so it should apply for the Voice to Text service as well. Also a downside, it only accepts 15 seconds snippets but if you want to automate this anyway you can just split your audio file up with FFmpeg and upload them at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also another commercial alternative called &lt;a href=&quot;https://www.ispeech.org/developers&quot; rel=&quot;nofollow&quot;&gt;iSpeech&lt;/a&gt; which works on a pay per use model.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also there is a built-in speech recognition in Adobe Premiere which should be the easiest way to make subitles as it integrates into the complete video workflow and allows almost automatic adjustment of the timing. A nice how-to can be found &lt;a href=&quot;http://www.premiumbeat.com/blog/speech-analysis-premiere-pro/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-01T14:51:39.890" LastActivityDate="2014-06-01T14:51:39.890" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10855" PostTypeId="2" ParentId="10838" CreationDate="2014-06-01T17:39:11.407" Score="1" Body="&lt;p&gt;You can use &lt;a href=&quot;http://www.videohelp.com/tools/tsMuxeR&quot; rel=&quot;nofollow&quot;&gt;tsMuxer&lt;/a&gt; to simply switch out the audio in the MTS without re-encoding the video or audio. MTS is just a &lt;a href=&quot;http://en.wikipedia.org/wiki/Video_container&quot; rel=&quot;nofollow&quot;&gt;container format&lt;/a&gt;, it's the &quot;housing&quot; for the video and audio streams. Though your audio has to have the exact same length to be in sync with the video and the audio format has to be supported by the &lt;a href=&quot;http://en.wikipedia.org/wiki/.m2ts&quot; rel=&quot;nofollow&quot;&gt;M(2)TS file format&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-01T17:39:11.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10856" PostTypeId="1" AcceptedAnswerId="10857" CreationDate="2014-06-02T00:39:33.483" Score="1" ViewCount="606" Body="&lt;p&gt;I know that the project is already out and &lt;a href=&quot;https://bitbucket.org/multicoreware/x265/downloads&quot; rel=&quot;nofollow&quot;&gt;work has began on it&lt;/a&gt;.  However, realistically speaking, a large number of things have to happen before it is ready for prime time. (For example, given the encoding/decoding &lt;a href=&quot;http://www.cnet.com/news/what-is-hevc-high-efficiency-video-coding-h-265-and-4k-compression-explained/&quot; rel=&quot;nofollow&quot;&gt;challenges to overcome&lt;/a&gt;, decoders need to &quot;smarten up&quot; to the new encoding process.) What other things have to be accomplished before we can reasonably expect to see x265 in wide use?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any additional barriers to something like Handbrake being released?&lt;/p&gt;&#xA;" OwnerUserId="5865" LastEditorUserId="2836" LastEditDate="2014-06-02T13:46:00.533" LastActivityDate="2014-07-02T13:55:35.357" Title="What needs to happen before we expect x265 to be in wide use, along with encoders something like Handbrake available for it?" Tags="|encoding|h.265|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10857" PostTypeId="2" ParentId="10856" CreationDate="2014-06-02T01:15:59.533" Score="1" Body="&lt;p&gt;If you want to know when x265 is going to be in a usable state you will have to ask the developers about that. Though I'm pretty sure they don't know either.&#xA;If you want to know when h265/HEVC will be starting to get actually used I'd say earliest end of 2014 though more realistically in mid 2015. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why? At the moment the devices most profiting from this new codec are mobile handsets that operate on limited data plans and 4K TVs.&#xA;As Smart TVs often use the same SoCs as smartphones and tablets both will happen pretty much at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Qualcomm already released a preview of its Snapdragon 805 which will be a SoC with h265 hardware decoding support. Thats the most important step towards the widespread adoption of a new codec, without hardware support most smartphones will have a hard time with playing back h265 content. SoCs that also support hardware encoding will come out in 2015 (f.e. Snapdragon 810). At that point all important factors on the consumer sides are ready for a widespread adoption. Now we just need to wait until even the low-end SoCs have hardware playback support.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though that might go faster than expected with ARM v8 being around the corner at the same time. There might be some more rapid changes again in the Smartphone market.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something like Handbrake will come around pretty quickly, its not all to hard. In the end its just a good user interface and some good presets. You just have to come up with it.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-02T01:15:59.533" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10858" PostTypeId="1" CreationDate="2014-06-02T05:37:10.810" Score="2" ViewCount="2039" Body="&lt;p&gt;I have recorded interviews using a point and shoot camera for the video and my android phone with Smart Recorder. The camera records in MOV and is uncompress with mono audio. Then I use my smartphone to record myself and the interviewee, since the camera is far away to hear us. The audio is in .wav and I use Premiere Pro to align them. While it does work at the start, sometimes it magically gets out of sync all of the sudden, so I have to cut the audio so that I can catch up. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am puzzled, and would like to have your insights on how to keep this at a minimum if possible, eliminate it. My theory is that sampling rate is an issue. If this is incorrect, please advice otherwise.&lt;/p&gt;&#xA;" OwnerUserId="5895" LastActivityDate="2019-01-11T05:02:46.097" Title="Does the Sampling Rate affect the syncing process to a video source?" Tags="|video|video-editor|audio|sync|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="10859" PostTypeId="1" CreationDate="2014-06-02T09:22:52.257" Score="4" ViewCount="196" Body="&lt;p&gt;I have a 120 fps footage captured with a GoPro that I'd like to slow down with easing, like the slow motion playback functionality on iPhone 5s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is that possible without any extra plugins in Final Cut Pro X? I know how to slow down a footage, but I'd really like the effect from normal speed to slow motion.&lt;/p&gt;&#xA;" OwnerUserId="6013" LastActivityDate="2014-07-19T18:48:29.410" Title="Slowing down footage with easing (like iPhone 5s)" Tags="|final-cut-pro|final-cut-pro-x|slowmotion|iphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10860" PostTypeId="2" ParentId="10858" CreationDate="2014-06-02T14:04:01.823" Score="1" Body="&lt;p&gt;There are any number of possibilities, but the most likely ones all involve getting better equipment.  The most severe sync problems with phones tend to come from phones that use variable framerate video or tend to have cheap encoders that tend to drop or delay frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you are recording video, each frame has to be recorded more or less in real time.  There is a slight buffer available to store frames while they are processed, but if images are not processed at the rate they are shot, then eventually that buffer fills.  If a phone can't keep up, it has two options, either drop a frame outright and skip to the next one or use a file format that lets it alter the frame rate on the fly and record fewer frames per second when it has trouble.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both of these approaches often destroy any kind of audio sync.  The variable frame rate, if well implemented, should limit drift a bit more since the frames should still advance at a fairly consistent rate of time, but they may get delayed and become out of sync.  Dropped frames are generally far worse.  Since nothing exists for that frame, the next frame is simply used and a slice of time is lost in the video that isn't lost in a separate audio stream that didn't have the dropped frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both of these problems are unfortunately hardware dependent and there is no way to fix them on the hardware you have.  (You could try to reduce resolution to make the job easier for the encoder I suppose.)  If one of these is the source of the issue, getting another camera with a better encoder is the only other option you really have available if you want to maintain the resolution you are using.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another possible problem that is less common today, is that the internal timecode clock may simply be fast or slow.  For the most part frame timing is pretty consistent with modern technology, but if there is a problem, you can try syncing at the beginning and end of the video and adjust the audio speed accordingly.  Check a few times throughout the middle when you do this, because most modern problems will probably not be this simple and the middle will still be out of sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An even better solution is to use a camera that can accept an external audio input.  By syncing the audio to the video in real time while recording on the same device, you can ensure proper timing is maintained by the encoder.  It's still probably a good idea to do an external recording as well, since this will help detect if there were capture problems, but using an external audio input is far simpler than dealing with sync issues after the fact.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-02T14:04:01.823" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10862" PostTypeId="2" ParentId="10858" CreationDate="2014-06-02T18:07:07.610" Score="2" Body="&lt;p&gt;You can tell which one gets out of synch like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Set up your camera and your phone like you usually do. Put a clock that shows seconds right in front of the camera. Then, even though this sounds boring, record yourself counting off the seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Synchronize the video and audio in Premiere Pro like you usually do. When they get out of synch, check whether the video lost a second, or whether the audio lost a second. You should be able to tell based on the repetitive rhythm.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, as @AJHenderson pointed out, you should replace the piece of equipment that failed. I agree that a camera that can accept external audio input is probably the best option, though it's expensive.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-06-02T18:07:07.610" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="10863" PostTypeId="2" ParentId="8688" CreationDate="2014-06-02T20:24:10.560" Score="2" Body="&lt;p&gt;Have you tried to disable graphic card rendering? Incompatible graphic cards or drivers may cause the exact symptoms you describe. Preview may not use graphic card rendering, as this is controlled by another setting.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Select Options|Preferences &lt;/li&gt;&#xA;&lt;li&gt;Go to tab card &quot;Video&quot; &lt;/li&gt;&#xA;&lt;li&gt;Set &quot;GPU acceleration of video processing&quot; to &quot;Off&quot;&lt;/li&gt;&#xA;&lt;li&gt;When rendering: Open your render template and select Encode Mode:&#xA;Render using CPU only.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5074" LastEditorUserId="2836" LastEditDate="2014-06-02T21:12:44.133" LastActivityDate="2014-06-02T21:12:44.133" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10864" PostTypeId="1" AcceptedAnswerId="10866" CreationDate="2014-06-03T02:54:19.037" Score="2" ViewCount="5937" Body="&lt;p&gt;How can i import a simple .flac audio file to After Effects?&lt;/p&gt;&#xA;&lt;p&gt;I didn't find one single plugin/presets or answer at Adobe's site.&lt;/p&gt;&#xA;" OwnerUserId="6016" LastEditorUserId="4426" LastEditDate="2021-12-08T08:48:23.340" LastActivityDate="2021-12-08T08:48:23.340" Title="Import .flac to After Effects CS6" Tags="|after-effects|editing|audio|windows|adobe|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="10865" PostTypeId="2" ParentId="10729" CreationDate="2014-06-03T08:11:38.617" Score="1" Body="&lt;p&gt;Generally I see four options:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;DSLR / system cam (e.g. Canon EOS, Sony Alpha)&lt;/li&gt;&#xA;&lt;li&gt;Compact camera (e.g. Fuji Film)&lt;/li&gt;&#xA;&lt;li&gt;Action cam (e.g. GoPro)&lt;/li&gt;&#xA;&lt;li&gt;Camcorder (e.g. Samsung HMX or Sony HDR)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Before talking about solutions I would propose to think about the requirements. The following topics come to my mind:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Field of view&lt;/strong&gt; - Do you want to cover the whole field only, or do you also want to zoom in on single players? Camcorders and compact cams may be limited in wide angle but often offer great zoom. Action cams normally don't zoom at all. DSLR is most flexible with the right objectives, but zooming may not be as easy to operate as with camcorders. Some compact cams stop sound recording while zooming, if that's an issue.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Light&lt;/strong&gt; - I suspect it may be a little dark in the gym? So high ISO values and good quality at high ISO values may be important, especially when zooming in.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Unattended operation&lt;/strong&gt; - Do you need to leave the cam unattended? You'd probably wouldn't want to leave a DSLR unattended.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Recording time&lt;/strong&gt; - battery life time is helpfull, the option to record with power supply may be even better. Also some cams stop recording after some minutes (e.g. EOS 600D after 12 mins HD recording).&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Focus&lt;/strong&gt; - Many cameras focus on the nearest objects in their field of view. This could be the spectators, not the players. So the camera should offer a deep depth of focus, or the option to manually set the focus.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Quality&lt;/strong&gt; - Do you need still images? Which would require you to set a short shutter time. High ISO values would be even more important then.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Display&lt;/strong&gt; - Where do you want to watch the recordings? If directly from the camera, you'll need an HDMI output or something similiar. Some Camcorder even offer an integrated beamer, so you could watch the recording directly in the fitting room without any further equipment. And you'll probably don't want to show the whole game, just parts of it? So you might want convenient fast-forward/rewind features. Some cams even offer very limited postprocessing capabilities, so you could cut away the uninteresting parts of the game.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Accessories:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;A tripod may definitely be a good idea, but it needs its space. A smaller device to fix your camera to e.g. a fence may be even more appropriate (e.g. Gorilla pod). If you go for a tripod make sure it's high enough and strong enough to hold the weight of your cam.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Memory Card - it must be fast enough. If it's not, it may stop the recording in the middle of the game. How fast? Depends on the video format of your recording.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Replacement batteries&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Summary:&#xA;Assuming you don't want to zoom in and you want to leave the camera unattended somewhere, I tend to agree with AJ Henderson: An action cam might be the best way to go. Add a gorilla pod to fix the camera somewhere, get a big and fast memeory card and make sure the recording/battery life time fits your needs.&#xA;For more sophisticated use cases a Camcorder with integrated beamer, power supply, strong wide angle, high ISO plus a tripod may the right choice.&lt;/p&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2014-06-03T08:11:38.617" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10866" PostTypeId="2" ParentId="10864" CreationDate="2014-06-03T13:35:16.897" Score="2" Body="&lt;p&gt;Sadly Adobe doesn't support FLAC in any of their video products. The only Adobe product that supports it so far is Audition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though there is this &lt;a href=&quot;http://valion.net/flacimporter64/&quot; rel=&quot;nofollow&quot;&gt;great and open source plugin&lt;/a&gt; that works just fine with CS6 even though it was made for CS5. Plugins made for CS5 are usually compatible with CS6 and CC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For CS4 there is a 32bit version of the same plugin: &lt;a href=&quot;http://valion.net/flacimporter/&quot; rel=&quot;nofollow&quot;&gt;http://valion.net/flacimporter/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-03T17:29:15.577" LastActivityDate="2014-06-03T17:29:15.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10867" PostTypeId="2" ParentId="10786" CreationDate="2014-06-03T13:55:56.643" Score="0" Body="&lt;p&gt;This might indeed be a dupe of &lt;a href=&quot;https://video.stackexchange.com/questions/10305/upon-export-in-premiere-pro-colors-lose-saturation-when-previewing-in-quicktime&quot;&gt;Upon export in Premiere Pro, colors lose saturation when previewing in QuickTime&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are you using QuickTime .mov as your video container or MP4? If it's the former you will find your solution in the answer above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, this might just have to do with your settings when encoding to h264. Try to export in a lossless codec and see if you get the same result. Then try an application like Handbrake with High Profile and see if you still get the same issue. H264 is a lossy codec and with a low-bitrate you can get washed out colors.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-06-03T13:55:56.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10868" PostTypeId="1" CreationDate="2014-06-03T19:26:07.163" Score="1" ViewCount="95" Body="&lt;p&gt;I am editing multiple interviews of people and there is video, graphic and audio components that are shared between these different interviews.   Is it possible to have two edit sessions running at same time and how &lt;/p&gt;&#xA;" OwnerUserId="6021" LastActivityDate="2015-10-21T21:47:46.967" Title="Avid Media Composer 8 - is it possible to edit two video sessions at same time?" Tags="|avid|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10869" PostTypeId="2" ParentId="10704" CreationDate="2014-06-03T22:52:34.007" Score="1" Body="&lt;p&gt;There are no such tools to my knowledge. You will probably have to make these headers yourself. Usually you don't have all that much parameters to set in a format header. If all the streams have the same origin you will be able to use the same header for all streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just look into the format specification and edit a sample header in a way it could fit your stream data.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-03T22:52:34.007" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10870" PostTypeId="2" ParentId="8892" CreationDate="2014-06-03T23:00:39.927" Score="1" Body="&lt;p&gt;A player doesn't have to acknowledge the position of subtitles. So a user could re-position them if he wanted to.&#xA;Thats actually the standard way of doing it. What you have there is a custom tag. The .srt format doesn't include any position data for the subtitles. Some players can recognize this sort of custom data and use it but you can't expect that a player will understand it.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-03T23:00:39.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10871" PostTypeId="2" ParentId="10730" CreationDate="2014-06-03T23:03:39.180" Score="3" Body="&lt;p&gt;You can use &lt;a href=&quot;http://www.videohelp.com/tools/tsMuxeR&quot; rel=&quot;nofollow&quot;&gt;tsMuxer&lt;/a&gt; to add the audio stream from one .ts file into the .ts file containing the video or vice versa. This is called muxing and doesn't affect the quality of the audio or video in any way.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-03T23:03:39.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10872" PostTypeId="2" ParentId="10532" CreationDate="2014-06-03T23:07:40.023" Score="1" Body="&lt;p&gt;Generally its totally possible to achieve this with Particle World, just play around with gravity adn particle emission rate and animate them accordingly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need a more advanced particle system use a plugin called &lt;a href=&quot;http://www.redgiant.com/products/all/trapcode-particular/&quot; rel=&quot;nofollow&quot;&gt;Particular&lt;/a&gt; by Red Giant Software. Though its not free and costs money.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-03T23:07:40.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10873" PostTypeId="2" ParentId="8017" CreationDate="2014-06-03T23:12:04.290" Score="1" Body="&lt;p&gt;You can use ffmpeg to split them programmatically or use &lt;a href=&quot;http://www.lwks.com/&quot; rel=&quot;nofollow&quot;&gt;LightWorks&lt;/a&gt; to cut them manually with a GUI.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-03T23:12:04.290" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10874" PostTypeId="2" ParentId="10753" CreationDate="2014-06-03T23:15:10.373" Score="2" Body="&lt;p&gt;I would use &lt;a href=&quot;http://www.ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;. Just write a sript in any scripting language you prefer and tell ffmpeg to encode new files depending on the total duration of the source file and let it only encode a certain amount of time.&#xA;You can completely automate this sort of workflow with ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-03T23:15:10.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10875" PostTypeId="2" ParentId="10423" CreationDate="2014-06-03T23:23:03.183" Score="1" Body="&lt;p&gt;Afaik apart from Blu-ray's and DVD's only MKV supports forced subtitles.&#xA;If you want the subtitles to be &quot;burned&quot; into the video. Meaning they are part of the pixel frames you can use a tool like ffmpeg. A nice tutorial specific to mp4/m4v can be found here: &lt;a href=&quot;http://forum.videohelp.com/threads/277706-How-to-add-subtitles-permanently-to-existing-mp4-h-264-file?p=2305682&amp;amp;viewfull=1#post2305682&quot; rel=&quot;nofollow&quot;&gt;http://forum.videohelp.com/threads/277706-How-to-add-subtitles-permanently-to-existing-mp4-h-264-file?p=2305682&amp;amp;viewfull=1#post2305682&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MP4 definitely can not show forced subtitles in software. There might be another format other than MKV that supports forced subtitles that I don't know of but mp4 definitely doesn't have that in its specs.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="2836" LastEditDate="2014-11-01T18:29:17.127" LastActivityDate="2014-11-01T18:29:17.127" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10876" PostTypeId="1" AcceptedAnswerId="10879" CreationDate="2014-06-03T23:25:23.847" Score="1" ViewCount="260" Body="&lt;p&gt;Let's say, hypothetically, you really dislike Quicktime player and would rather not have it on your computer.  However, for a little project you decide you want to use Lightworks.  Upon installation, Lightworks says it needs QT7.7.  I'm assuming some thing here based on prior experience with video types and it is my guess that the Quicktime player is not what Lightworks needs, but rather some codecs that are included when you install QT.  Please forgive me if my wording is wrong, totally new to most of this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The actual question: Can I make Lightworks work with some kind of alternative install and not have Quicktime player on my computer?&lt;/p&gt;&#xA;" OwnerUserId="6024" LastActivityDate="2014-06-04T21:35:10.157" Title="Is it possible to install the Quicktime backend without getting the frontend?" Tags="|quicktime|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10877" PostTypeId="2" ParentId="2421" CreationDate="2014-06-03T23:39:30.080" Score="0" Body="&lt;p&gt;Like Volodya said its not the file but the player looking for files that have the same file name but a suffix that helps it to identify the correct order. In that case you have a number after the file name and the player knows file1 comes before file2. Many such players support alphabetic ordering aswell.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-03T23:39:30.080" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10878" PostTypeId="2" ParentId="7038" CreationDate="2014-06-03T23:54:11.360" Score="1" Body="&lt;p&gt;This is not possible with Premiere without plugins and I don't know of any that would do this.&#xA;I recommend doing this outside of premiere like explained in this question: &lt;a href=&quot;https://video.stackexchange.com/questions/5160/render-srt-subtitles-to-video&quot;&gt;Render srt subtitles to video?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-06-03T23:54:11.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10879" PostTypeId="2" ParentId="10876" CreationDate="2014-06-04T01:44:15.577" Score="1" Body="&lt;p&gt;Sadly there isn't really an alternative, many dll's coming with QuickTime are needed by programs like LightWorks or Premiere and After Effects.&#xA;You can probably delete a portion of the QuickTime installation but in the end why bother?&#xA;Just don't let it take over any of the file associations and disable the auto-updater so it doesn't nag you whenever there is an update to QuickTime or any other Apple product. Then it wont bother you in any way. You can also delete any icons and start menu entries if you dislike those aswell.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though generally its advised to have QuickTime installed when working with video even if your tools don't need it. Its a widely used player in the Apple Ecosystem and the .mov format is still very popular in video production even on Windows. While you don't need quicktime to check .mov files it's the most reliable solution there is.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-04T21:08:28.053" LastActivityDate="2014-06-04T21:08:28.053" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10880" PostTypeId="2" ParentId="10876" CreationDate="2014-06-04T07:37:49.087" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/QuickTime_Alternative&quot; rel=&quot;nofollow&quot;&gt;QuickTime Alternative&lt;/a&gt; is exactly what you need, but its development was discontinued.&lt;/p&gt;&#xA;" OwnerDisplayName="user6025" LastActivityDate="2014-06-04T07:37:49.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10881" PostTypeId="1" AcceptedAnswerId="12091" CreationDate="2014-06-04T10:20:57.897" Score="3" ViewCount="149" Body="&lt;p&gt;Does anyone have any experience using flying devices that you can mount a camera to? I would like to try this just as a side hobby and there are a lot of links and information that come up once you do a search on the Internet.&#xA;As I'm really beginner in the area, the concerns that I have right now are battery life and amount of time that it could spend in the air. The other interesting question is whether it would be better to buy a full equipped devices that comes with a camera or just a flying widget that you can use with your own camera. However, any information on the matter would be useful at this point.&#xA;Price range - as I said, hobby and I don't want to spend a lot of money on it but I don't want to make a compromise with quality either so just looking for the best available offer.&lt;/p&gt;&#xA;" OwnerUserId="5463" LastActivityDate="2015-08-05T12:16:34.327" Title="Recommendation for a flying camera device" Tags="|camera|" AnswerCount="2" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="10882" PostTypeId="1" AcceptedAnswerId="10883" CreationDate="2014-06-04T10:34:42.383" Score="4" ViewCount="11607" Body="&lt;p&gt;Does raw H264 data (&lt;a href=&quot;https://supportforums.cisco.com/blog/149421/general-replay-video-packet-capture&quot; rel=&quot;nofollow&quot;&gt;stripped from an RTP stream&lt;/a&gt;) contain information about the framerate?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or is the framerate derived either from RTP timestamps for stream reproduction or written the container files (avi, mkv...) when playing a video from a file?&lt;/p&gt;&#xA;" OwnerUserId="6026" LastActivityDate="2020-03-08T20:55:47.507" Title="H264 framerate information?" Tags="|video|framerate|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10883" PostTypeId="2" ParentId="10882" CreationDate="2014-06-04T12:13:18.270" Score="4" Body="&lt;p&gt;RTP is just a protocol for data transfer, it doesn't contain any specific information about the internals of the data transmitted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The information should be contained in the .h264 stream. The SPS (Sequence Parameter Set) is what you want to look at, it should contain all the meta information you need. Here is a very nice detailed look at how the SPS is set up: &lt;a href=&quot;https://www.cardinalpeak.com/the-h-264-sequence-parameter-set/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.cardinalpeak.com/the-h-264-sequence-parameter-set/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though in theory you should be able to just mux this into a mp4 and it should play fine.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="27616" LastEditDate="2020-03-08T20:55:47.507" LastActivityDate="2020-03-08T20:55:47.507" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="10884" PostTypeId="1" AcceptedAnswerId="10885" CreationDate="2014-06-04T15:15:30.813" Score="4" ViewCount="3006" Body="&lt;p&gt;I've got a 100x100px composition with a Mask containing a Stroke effect used to animate the drawing of a vector. The problem I'm having is when I drop this composition into a larger one and attempt to scale it up, the Brush Size in Stroke remains the same (e.g. the graphic is drawn with thin lines, instead of the thicker looking ones in the smaller comp). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm thinking some sort of expression magic might be the fix to this, but any input on how to maintain line thickness at any resolution/scale would be much appreciated. Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt; I've attached a small demo project showing the issue I'm running into below:&#xA;&lt;a href=&quot;http://hellocld.com/stuff/stroke-issue.aep&quot; rel=&quot;nofollow&quot;&gt;http://hellocld.com/stuff/stroke-issue.aep&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6027" LastEditorUserId="6027" LastEditDate="2014-06-04T17:23:08.490" LastActivityDate="2022-04-18T02:20:17.390" Title="Scaling &quot;Stroke&quot; Effect &quot;Brush Size&quot; while scaling composition?" Tags="|after-effects|after-effects-expressions|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="10885" PostTypeId="2" ParentId="10884" CreationDate="2014-06-04T17:31:04.353" Score="3" Body="&lt;p&gt;Easy fix, you see the small sun icon on the imported comp layer? Disable that, that basically means that the comp should act like the layers within it should act like they are in the parent comp. It negates the transformation your are applying to it and the effect will just keep its pixel value its supposed to have, you are not &quot;blowing it up&quot; like you would expect.&#xA;If you disable it the imported comp will act like a rendered video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have huge pixelation going on just go to full resolution in the preview and it will be fine, though the layer will not act like a vector, you will have a rasterized image so keep in mind to have a big enough resolution if you want to scale it up.&#xA;Better to have it bigger and scale it down than having not enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ned9M.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-04T17:31:04.353" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10887" PostTypeId="1" AcceptedAnswerId="10893" CreationDate="2014-06-04T21:15:43.820" Score="4" ViewCount="963" Body="&lt;p&gt;Yes, I know, H.264/AVC is here for everyone, and we're moving (slowly) towards H.265/HEVC, so why bother with these historic formats? Well, just because it's history. I admit my research has been limited to Google/forums/Wikipedia, but I haven't managed to get the relationship between these codecs straight.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/DivX&quot; rel=&quot;noreferrer&quot;&gt;Wikipedia DivX&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;There are two DivX codecs; the regular MPEG-4 Part 2 DivX codec and&#xA;  the H.264/MPEG-4 AVC DivX Plus HD codec.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Okay, the latter doesn't matter here, that's just their H.264 implementation. But this does seem to state that the first and famous DivX &lt;em&gt;is&lt;/em&gt; an MPEG-4 Part 2 implementation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/MPEG-4_Part_2&quot; rel=&quot;noreferrer&quot;&gt;Wikipedia MPEG-4 Part 2&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Several popular codecs including DivX, Xvid and Nero Digital implement this standard.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Okay, but wasn't DivX some kind of rogue development, decompiled Microsoft code, then modified, and even the Microsoft code being a modification of MPEG-4 Part 2?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/H.263&quot; rel=&quot;noreferrer&quot;&gt;Wikipedia H.263&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;MPEG-4 Part 2 is H.263 compatible in the sense that a basic H.263&#xA;  bitstream is correctly decoded by an MPEG-4 Video decoder.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So there's overlap between the two, but one is for movies and such (MPEG), the other for teleconferencing and such (ITU), so their specced out for different contexts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry for the confused question … guess what I'm looking for is a mental map of these codecs with their relationships and how they came about and in how far they are the same and/or different.&lt;/p&gt;&#xA;" OwnerUserId="6029" LastActivityDate="2014-06-07T22:28:56.427" Title="Codec genealogy / kinship: DivX, MPEG-4 Part 2, H.263" Tags="|codec|video-standards|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10888" PostTypeId="2" ParentId="10876" CreationDate="2014-06-04T21:35:10.157" Score="1" Body="&lt;p&gt;I don't know the Lightworks software, but it is possible to install just part of the QT software distro without the player, I've done this a couple months ago because I wanted the QT AAC encoder without the rest. IIRC, you download the EXE file, then you open it with 7zip, look at the contents, and extract just the library, a separate MSI, and install that. Done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just checked, it should still work this way:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;D:\&amp;gt;7z l MiluReloc\Spezialordner\Neu\QuickTimeInstaller.exe&#xA;&#xA;7-Zip [64] 9.20  Copyright (c) 1999-2010 Igor Pavlov  2010-11-18&#xA;…&#xA;   Date      Time    Attr         Size   Compressed  Name&#xA;------------------- ----- ------------ ------------  ------------------------&#xA;2014-02-07 02:47:08 ....A     28416000               QuickTime.msi&#xA;2014-01-17 19:23:26 ....A      2323456               AppleSoftwareUpdate.msi&#xA;2014-02-07 02:47:10 ....A        80216               QuickTimeInstallerAdmin.exe&#xA;2014-01-17 17:37:52 ....A     21402624               AppleApplicationSupport.msi&#xA;------------------- ----- ------------ ------------  ------------------------&#xA;                              52222296     41945432  4 files, 0 folders&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I installed just the &lt;code&gt;AppleApplicationSupport.msi&lt;/code&gt; for AAC. Don't know whether that gives you the right codecs for Lightworks, though.&lt;/p&gt;&#xA;" OwnerUserId="6029" LastActivityDate="2014-06-04T21:35:10.157" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10889" PostTypeId="1" CreationDate="2014-06-05T14:40:41.277" Score="2" ViewCount="547" Body="&lt;p&gt;We are looking for a video monitoring solution that is portable and used with the BlackMagic Design Camera. I found a link with devices that look great. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://blog.vincentlaforet.com/mygear/monitoring-viewing/&quot; rel=&quot;nofollow&quot;&gt;http://blog.vincentlaforet.com/mygear/monitoring-viewing/&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Was wondering if any of you have experience with any of these devices. And if you have any other recommendations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you for all your help.&lt;/p&gt;&#xA;" OwnerUserId="6030" LastActivityDate="2014-12-12T11:02:36.763" Title="What is a good wireless solution for video monitoring for BlackMagic Design Cinema Cameras?" Tags="|video|monitoring|wireless|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10890" PostTypeId="2" ParentId="10853" CreationDate="2014-06-05T22:10:47.583" Score="3" Body="&lt;p&gt;YouTube has several captioning options. At one time they had free computer generated captions which you could then download the results in a text file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;YouTube currently provides this list of &lt;a href=&quot;https://support.google.com/youtube/answer/100076?hl=en&amp;amp;ref_topic=3014331&quot; rel=&quot;nofollow&quot;&gt;caption software and services&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6031" LastActivityDate="2014-06-05T22:10:47.583" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10891" PostTypeId="1" CreationDate="2014-06-06T19:22:48.550" Score="1" ViewCount="2447" Body="&lt;p&gt;I'm looking for a free program with no watermarks, that allows PiP, and cutting/splicing. Before you recommend VSDC, I don't like that because there's only sound on the preview, so to know when to add a PiP you would have to go back and forth between the preview and timeline. Also, you can't cut and splice from the timeline, you have to have another window opened to cut/splice. Oh, yeah, I tried Filelab, and it doesn't work, either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So is there such a program that follows these rules? I hope there is. Thanks for reading.&lt;/p&gt;&#xA;" OwnerUserId="6034" LastActivityDate="2014-06-09T18:18:33.853" Title="Looking for free program that allows PiP, and cutting/splicing" Tags="|video-editor|" AnswerCount="3" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10892" PostTypeId="2" ParentId="10891" CreationDate="2014-06-06T19:59:52.580" Score="2" Body="&lt;p&gt;Every Mac comes with iMovie. Every PC comes with Windows Movie Maker.  Both of them do cutting &amp;amp; splicing. iMovie does one PIP at a time; you can't have more than one PIP onscreen simultaneously unless you do a workaround. I used iMovie for hundreds of short YouTube videos with LOTS of editing (and PIPs). I don't know whether Windows Movie Maker does PIP but I wouldn't be surprised if it did.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(edit)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just Googled &quot;Windows Movie Maker PIP&quot; and found out there are free add-ins that do PIP. (At least there were for the Windows Vista version. I bet the current O.S. has add-ins as well!)&lt;/p&gt;&#xA;" OwnerUserId="5546" LastEditorUserId="5546" LastEditDate="2014-06-09T18:18:33.853" LastActivityDate="2014-06-09T18:18:33.853" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10893" PostTypeId="2" ParentId="10887" CreationDate="2014-06-07T14:32:35.423" Score="2" Body="&lt;p&gt;H.263 was a sole development of the ITU but I wouldn't bother all too much with the specified use case of video conferencing. It's a codec with the main purpose of improving the compression compared to older codecs which of course is beneficial for video conferencing where bandwidth is a very limiting factor, especially at the time the codec got developed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The MPEG then developed MPEG4-Part 2 which is based upon H.263 and offers bit-stream compatibility to the base-line level of h.263, meaning there is a h.263 compatible bit-stream in an MPEG4-Part 2 encoded video that you could call the basis for the actual MPEG4-Part 2 video stream that extended the h.263 compatible stream. So MPEG4-Part 2 offers a few more features than h.263 but essentially they are very closely related.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With MPEG4-Part 2 started this weird age of many companies making their own implementation of these two codecs resulting in a few new container formats that were only used by these specific implementations f.e. RealMedia's .rmf/.rmvb or DivX's altered version of AVI, .divx.&#xA;RealMedia even made their own codec again based on h.263. A horrible age of a ton of different formats that needed their own browser plugins and players because they weren't fully compatible to each other, either because of their container or slight alterations to either h263 or MPEG-4 Part 2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which made this codec generation a bit special, while .MP4 was already present at the time in an early form it was barley used as the container format for MPEG4-Part 2. So h.263 and MPEG-4 Part 2 was found in a ton of different container formats unlike h.264 which has is also found in several container formats but with the intended container format MP4 being the defacto standard that is found everywhere. The most popular alternative being the open source Matroska container format (.mkv/.mka). Apple's QuickTime .mov also supports h.264 but even in the Apple Ecosystem MP4 is dominating. In my opinion the biggest reason why h.264 is such a huge success today.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DivX began as a reversed engineered version of Microsoft's MPEG4-Part 2 implementation. At that point there was no company behind DivX, it gained popularity because of its good compression at that time and also being free to use.&#xA;After DivX made it into a company they revamped the code for the codec as it was still based on some Microsoft code.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though it still was an MPEG4-Part 2 implementation after the rewrite and became a pretty popular codec that was supported by a lot of DVD players at the time. Some developers of DivX went on and made the open source version called Xivd (that used AVI instead of .divx) that gained a lot of popularity in the movie &quot;pirating&quot; scene and was their standard for encoding videos for several years until h.264 came along. Though even after h.264 was readily in use by consumers Xvid was still used for a few years because of it's good understanding in the scene. It became somewhat of an art to encode movies in Xvid because of all those sophisticated encoding options available in the Xvid encoder.&#xA;Xvid had a few advanced features that weren't implemented in DivX which made videos encoded with those feature in-compatible with DivX certified devices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since MPEG4-Part 2 the MPEG and ITU-T are jointly developing codecs, H.264 being their first co-operation. This is the reason why the codec is often referred to as h.264/MPEG4-4 AVC. MPEG-4 AVC being the MPEG's/ISO name for the standard and h.264 that of the ITU-T. Different names but identical standards. The same goes for h.265/HEVC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope that helped a bit clearing things up, though a lot of this is also knowledge taken from Wikipedia, so it might not be new to you but I tried to put it an order that made sense.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-07T22:28:56.427" LastActivityDate="2014-06-07T22:28:56.427" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="10894" PostTypeId="2" ParentId="8119" CreationDate="2014-06-08T13:09:40.477" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.videohelp.com/tools/tsMuxeR&quot; rel=&quot;nofollow&quot;&gt;tsMuxer&lt;/a&gt; should be capable of doing just that. It can handle pretty much any form of transport stream.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-08T13:09:40.477" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="10895" PostTypeId="2" ParentId="8714" CreationDate="2014-06-08T13:31:23.250" Score="1" Body="&lt;p&gt;Simply update your Cineform installation and maybe also Premiere, this was a bug with Cineform and got fixed about 2 years ago.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-08T13:31:23.250" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="10896" PostTypeId="2" ParentId="1067" CreationDate="2014-06-08T16:14:50.403" Score="2" Body="&lt;p&gt;I know this is a very old Q, but it should be pointed out that a 'negative timecode' makes no sense. The SMPTE frame before 00:00:00:00 is 23:59:59:29. The namespace for drop frame (and non-drop) codes is already well-defined -- no need to postulate negative values. If there are systems or programs that use this notation, they should be rethought.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-06-08T16:14:50.403" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11894" PostTypeId="1" CreationDate="2014-06-08T18:36:06.837" Score="2" ViewCount="1342" Body="&lt;p&gt;I've &lt;code&gt;FujiFilm Finepix S8500&lt;/code&gt;. It is capable of shooting high FPS videos. It works fine in broad daylight but when indoors, the video is always dark. What settings I can adjust to make the video brighter? I tried to adjust ISO and aperture but that does nothing. I also notice that the videos are darker if FPS is higher. I understand why this happens but is there anything to get a brighter video? &lt;/p&gt;&#xA;" OwnerUserId="5843" LastActivityDate="2014-07-23T13:24:54.547" Title="How can I adjust brightness when shooting high FPS video?" Tags="|slowmotion|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="11895" PostTypeId="2" ParentId="11894" CreationDate="2014-06-08T19:06:04.843" Score="0" Body="&lt;p&gt;Only with a larger aperture to let in more light if a higher ISO isn't helping. Though the camera probably already uses a very large aperture for this high frame rate mode.&#xA;The more FPS the less light per frame obviously.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your only other option would be to adjust the brightness in post which is a very limited option as it increases noise and can introduce artifacts but it might improve the footage a little bit. This usually works better if you can shoot in MJPEG instead of h.264/AVC. Try to shoot with the highest bitrate possible to have the biggest flexibility in post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Usually you want to shoot with plenty of light when filming with a high frame rate, especially in-doors.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-08T19:06:04.843" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="11896" PostTypeId="1" CreationDate="2014-06-08T19:49:56.263" Score="1" ViewCount="4574" Body="&lt;p&gt;I am a video amateur and have recently bought a Canon 600D, mostly for shooting. I have some photography background and the image quality of the 600D is far better than my old 350D, no problem with that.&#xA;But the video quality is simply horrible. I am not able to describe problems, but I saw smartphones with better video quality... It looks very bad, and the effect is more visible with low lights.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is two frames from my last shot :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Y8On2.png&quot; alt=&quot;&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/25SZM.png&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without mentioning the bad focusing and too high iso, anybody can provides some clues ?&lt;/p&gt;&#xA;" OwnerUserId="6036" LastActivityDate="2014-07-14T21:48:40.230" Title="Bad video quality on 600D" Tags="|video-quality|canon|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11897" PostTypeId="2" ParentId="11896" CreationDate="2014-06-08T21:03:04.890" Score="4" Body="&lt;p&gt;Should be mentioned that the 600D isn't exactly the best DSLR for video out there. The artifacts that you are experiencing in your footage are the result of high compression. Check your video settings if you can increase the bitrate or choose a different codec other than h.264/AVC if Canon offers one by now for their DSLRs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This thread might be interesting to read: &lt;a href=&quot;http://forums.creativecow.net/thread/280/8433&quot; rel=&quot;nofollow&quot;&gt;http://forums.creativecow.net/thread/280/8433&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also a possibility would be to install &lt;a href=&quot;http://magiclantern.wikia.com/wiki/Magic_Lantern_Firmware_Wiki&quot; rel=&quot;nofollow&quot;&gt;Magic Lantern&lt;/a&gt; on your camera. This enables HDMI output which you could capture (will have a LOT better quality than h.264 encoded footage) and you should have more options about the video codec. On the Canon 5D Mark II they even enabled raw video capture to the CF card but I'm not sure if this is available for other models yet.&#xA;Though apparently you loose audio capture at the moment, which might be neglect-able as the audio capture on DSLRs is usually pretty bad. If you capture with HDMI then you can use an HDMI audio injector which aren't expensive so you don't end up with a separate audio and video file that you have to synchronize.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-09T13:42:55.750" LastActivityDate="2014-06-09T13:42:55.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11898" PostTypeId="1" CreationDate="2014-06-09T04:56:34.983" Score="14" ViewCount="38763" Body="&lt;p&gt;I have two files, one is &lt;strong&gt;MP4&lt;/strong&gt; file with video only and another is &lt;strong&gt;M4A&lt;/strong&gt; audio file. What is the best and simpliest method of merging these two tracks in a single MP4 container? Is it possible to do this without transcoding (loosing quality)? Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open source and free software is my preference.&lt;/p&gt;&#xA;" OwnerUserId="6038" LastActivityDate="2020-01-06T17:28:06.107" Title="Merge MP4 with M4A" Tags="|software-recommendation|mp4|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="11899" PostTypeId="1" AcceptedAnswerId="11901" CreationDate="2014-06-09T09:33:49.643" Score="2" ViewCount="50" Body="&lt;p&gt;I'm about to introduce video in my podcast. There will be one main camera angle that show all the hosts as well as one angle for each of us. We are using individual microphones to be able to stereo separate us according to we're seated in the different angles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All in all we will have three audio tracks (one for each of us) and four camera angles available in Adobe Premiere Pro 6. We would like to define a separate stereo balance between the three tracks to each of the different angles and have it automatically switching when we change the camera angle.&lt;/p&gt;&#xA;" OwnerUserId="5952" LastActivityDate="2014-06-09T13:32:30.600" Title="Is automatic switching of audio stereo balance while cutting between camera angles possible?" Tags="|premiere|audio|stereo|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11900" PostTypeId="2" ParentId="8912" CreationDate="2014-06-09T09:39:15.727" Score="2" Body="&lt;p&gt;In the current version of Lightworks (11.5.1) you can change the Output framerate (and other formats) from the Project menu in the top right corner:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/wWj0l.png&quot; alt=&quot;Change output format&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Click on the menu arrow by &quot;Project &lt;em&gt;Name&lt;/em&gt;&quot;&lt;/li&gt;&#xA;&lt;li&gt;Select &quot;Video&quot;&lt;/li&gt;&#xA;&lt;li&gt;Click on the menu arrow for &quot;Output format&quot; and choose a different target FPS.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6040" LastActivityDate="2014-06-09T09:39:15.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11901" PostTypeId="2" ParentId="11899" CreationDate="2014-06-09T13:32:30.600" Score="5" Body="&lt;p&gt;Is it possible?  Sure, just setup each source clip as a sequence that has the audio feed you want for that shot and leave the tracks linked so that you cut between both video and audio.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it advisable?  Probably not.  People are far less used to changing of the audio scene they are watching.  Video creates kind of a disconnect between the scene we are seeing and the audio we are hearing and it may be a bit jarring and break continuity to try radically changing the audio image every time you make a cut.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go ahead and try it, I may be incorrect on how it will come off since I have not personally tried it, but in my experience with both video and audio, it doesn't seem like it will work well.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-09T13:32:30.600" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11902" PostTypeId="2" ParentId="11898" CreationDate="2014-06-09T13:53:14.877" Score="3" Body="&lt;p&gt;&lt;a href=&quot;http://www.videohelp.com/tools/MP4Muxer&quot; rel=&quot;nofollow&quot;&gt;MP4muxer&lt;/a&gt; will do the job, it even takes raw h264 streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This process is usually called &quot;muxing&quot; and can be done with virtually any container format.&#xA;Of course audio and video has to have the exact same length to have synchronized audio and video.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-09T14:26:46.367" LastActivityDate="2014-06-09T14:26:46.367" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11904" PostTypeId="1" CreationDate="2014-06-10T01:32:34.277" Score="2" ViewCount="618" Body="&lt;p&gt;How can I create a song information lower third title like those displayed on mtv videos? &#xA;I want to present the singer,album etc with a nice background and animation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there presets of it available? How do I create them in After Effects?&lt;/p&gt;&#xA;" OwnerUserId="6042" LastEditorUserId="2836" LastEditDate="2014-06-10T02:17:44.200" LastActivityDate="2014-06-10T15:09:22.003" Title="How do I create a lower third for a music video in After Effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="11905" PostTypeId="2" ParentId="11904" CreationDate="2014-06-10T02:20:53.237" Score="2" Body="&lt;p&gt;This is really just a typical title.  You can prepare it either in Photoshop, Illustrator or After Effects directly.  It can also be created in Premiere with a little work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At their most basic, an MTV style song information could just be text that you put in a layer that you fade in and fade out of the video.  Alternately, if you want a more complex one, you can use vector objects and animate them using keyframes in After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You would want to start with a vector graphic from Illustrator or a raster image with a transparent background from Photoshop.  Each keyframe will store the position and rotation of the image you want and the underlying video will be visible wherever it is transparent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The exact way to animate it depends on what kind of animation you want it to have, however there are a number of keyframe animation questions relating to After Effects that you can take a look at for some general ideas.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-10T02:20:53.237" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11906" PostTypeId="2" ParentId="10853" CreationDate="2014-06-10T05:21:45.960" Score="2" Body="&lt;p&gt;We use an online service to do our subtitling. It's not free, but it's pretty cheap, considering the amount of work it saves - it's certainly cheaper than paying post production staff to do it. There are lots of companies offering this service, with variations from completely machine-driven to completely human transcribed. Usually you want some sort of human intervention because the machines still don't do things 100%. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A &lt;a href=&quot;https://duckduckgo.com/?t=ffab&amp;amp;q=video%20transcription%20service&amp;amp;atb=v151-1&amp;amp;ia=web&quot; rel=&quot;nofollow noreferrer&quot;&gt;quick web search&lt;/a&gt; will turn up a long list of them.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-03-10T01:10:58.583" LastActivityDate="2020-03-10T01:10:58.583" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="11909" PostTypeId="2" ParentId="10283" CreationDate="2014-06-10T13:24:54.317" Score="5" Body="&lt;p&gt;Xudonax,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The preset Final Cut Pro XML Round-Trip renders the graded files in ProRes 422, but it uses an old XML file, not supported in FCPX. You need to go to the Edit (important!) section of DaVinci after rendering the project. Then you will be need to make File – Export AAF, XML... command and check the fcpxml version 1.3 type of file. It will be comfortable to save this five in the same folder used for rendered files in Deliver section.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After that you can do simple import of this FCPXML file in Final Cut Pro X, it will create new Event and Project in your current library with all your graded files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Be sure to make render before XML-export. If you will export FCPXML ver. 1.3 without delivering, you will make the FCPX-project with original (non-graded) files.&#xA;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="6044" LastActivityDate="2014-06-10T13:24:54.317" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="11911" PostTypeId="1" CreationDate="2014-06-10T17:51:29.570" Score="2" ViewCount="62" Body="&lt;p&gt;Is there a solution that bifurcates drives and camera bodies?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At first glance it seems feasible that camera bodies could be equipped with 802.11ac mimo and transmit the raw image data to a drive at a DIT workstation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any tech hurdle in making this happen?&lt;/p&gt;&#xA;" OwnerUserId="6046" LastActivityDate="2014-06-15T13:18:29.643" Title="Can modern cameras (BMCC, Red, Arri, etc) record to a drive over ad-hoc wifi?" Tags="|production|storage|wireless|red|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11912" PostTypeId="1" CreationDate="2014-06-10T18:05:57.813" Score="4" ViewCount="4757" Body="&lt;p&gt;Ι have an avi file that has different levels of audio. Is there a way to decrease and increase appropriately where needed the audio of my file using ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="6047" LastActivityDate="2016-02-18T18:26:26.440" Title="ffmpeg: Normalize audio in an avi file" Tags="|ffmpeg|audio|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="11913" PostTypeId="2" ParentId="11911" CreationDate="2014-06-10T18:19:54.740" Score="1" Body="&lt;p&gt;There is the Eyefi product line which basically wraps a small wifi chip together with a small arm SoC into an SD package with some limited internal storage.&#xA;&lt;a href=&quot;http://www.eyefi.com/products/prox2&quot; rel=&quot;nofollow&quot;&gt;http://www.eyefi.com/products/prox2&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They do work but the range is rather limited and you have to use their software in order to use them. Also only SD cards in their product line which aren't used in most mid/high-end DSLRs.&#xA;The SPI bus used by SD cards makes this whole thing quite a lot easier than with the old CompacFlash interface. Though the CompacFlash interface can act as a small form factor version of the old P-ATA.&#xA;&lt;a href=&quot;http://en.wikipedia.org/wiki/CompactFlash#Technical_details&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/CompactFlash#Technical_details&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In theory it's not all too hard to make and adapter with off the shelf parts, there is a huge discussion about this on this forum: &lt;a href=&quot;http://www.magiclantern.fm/forum/index.php?topic=5470.350&quot; rel=&quot;nofollow&quot;&gt;http://www.magiclantern.fm/forum/index.php?topic=5470.350&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems they never came to any solution but then again most of them are technology enthusiastic photographers. You will need some knowledge about electrical engineering to pull this off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: Seems there are adapters for SD to CF: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/vWaF1vePqUE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-10T18:28:07.723" LastActivityDate="2014-06-10T18:28:07.723" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="11914" PostTypeId="2" ParentId="11911" CreationDate="2014-06-10T18:24:24.513" Score="0" Body="&lt;p&gt;I believe the main concern would be reliability of the connection and lag.  The potential buffering issues could be a concern based on being a generic data connection.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are existing specialized solutions for sending uncompressed video data wirelessly though, so wireless data transmission is possible, wifi may not be the ideal technology to do it though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-10T18:24:24.513" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11915" PostTypeId="2" ParentId="11912" CreationDate="2014-06-10T18:32:14.597" Score="1" Body="&lt;p&gt;You can use FFmpeg to adjust the levels in your video files.&#xA;There is an answer on SU that explains how to do that: &lt;a href=&quot;https://superuser.com/questions/323119/how-can-i-normalize-audio-using-ffmpeg&quot;&gt;https://superuser.com/questions/323119/how-can-i-normalize-audio-using-ffmpeg&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2014-06-10T18:32:14.597" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="11916" PostTypeId="2" ParentId="11912" CreationDate="2014-06-10T19:06:05.897" Score="1" Body="&lt;p&gt;As AJ suggests, there may be ffmpeg commands to compress, but I suspect that in any case you'll need to separate the audio and video (demux), operate on the audio, and remux or re-encode. Ffmpeg, AviMux, and other tools can demux and remux most AVIs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there are defined sections with different levels, you can manually intervene using something like (free) Audacity to raise the levels of the quiet sections to match the louder ones. A final normalizing step, or even slight compression, could also help.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-06-10T19:06:05.897" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11917" PostTypeId="2" ParentId="4143" CreationDate="2014-06-10T22:11:14.070" Score="3" Body="&lt;p&gt;I'm no expert, but here's what I use. Right-click on the piece being edited. (I usually view them in Timeline rather than Sceneline.) Choose &quot;Show Properties.&quot; The important property for this purpose is Motion. Click on the little clock at the right end of the Motion heading. That will show you arrows where you can go forward and back, to see what keyframes you have set. (You can also right-click on the image and choose Show Clip Keyframes, but what you see is not necessarily very informative.) Add keyframes at the beginning and end of a clip, for Position, Scale, and Scale Width. (To add keyframes, click on the diamond, not the arrows, under the Motion clock.) If the little dot on the Timeline disappears (assuming you have selected Show Clip Keyframes), that means you turned the keyframe off, not on. Arrow back and forth to make sure your keyframes have been added for each of those three parameters. Now go somewhere in the middle of the clip and drag your image around in the viewing window and/or use the Motion sliders. Get your image where you want it and add those same three kinds of keyframes there too. Now, optionally, click on the camera picture, at the corner of the viewing window, and add a still image of your zoomed frame. Hope that helps.&lt;/p&gt;&#xA;" OwnerUserId="6048" LastActivityDate="2014-06-10T22:11:14.070" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11918" PostTypeId="2" ParentId="11912" CreationDate="2014-06-10T23:49:46.840" Score="6" Body="&lt;p&gt;You can use &lt;code&gt;ffmpeg&lt;/code&gt; with the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#compand&quot; rel=&quot;nofollow noreferrer&quot;&gt;compand audio filter&lt;/a&gt; (a port of &lt;code&gt;sox&lt;/code&gt; effect filter of same name) to &amp;quot;compress or expand the audio's dynamic range&amp;quot;, but admittedly this is one of the more complicated audio filters.&lt;/p&gt;&#xA;&lt;h3&gt;Example from the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#compand&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt;&lt;/h3&gt;&#xA;&lt;p&gt;Make music with both quiet and loud passages suitable for listening to in a noisy environment (whatever that means):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -filter_complex \&#xA;&amp;quot;[0:a]compand=.3|.3:1|1:-90/-60|-60/-40|-40/-30|-20/-20:6:0:-90:0.2[audio]&amp;quot; \&#xA;-map 0:v -map &amp;quot;[audio]&amp;quot; -codec:v copy output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The video is &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;nofollow noreferrer&quot;&gt;stream copied&lt;/a&gt; (re-muxed) in this example since you probably don't want to touch the video.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-02-18T18:26:26.440" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="11919" PostTypeId="1" AcceptedAnswerId="11925" CreationDate="2014-06-11T14:38:28.547" Score="0" ViewCount="4212" Body="&lt;p&gt;Are there any red filters to fit the SJ4000 camera? Is is possible to use one compatible with a gopro hero 3?&lt;/p&gt;&#xA;" OwnerUserId="6053" LastActivityDate="2014-09-19T17:23:50.493" Title="Are there any red filters that fit an SJ4000" Tags="|filter|action-cam|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="11920" PostTypeId="1" CreationDate="2014-06-11T16:58:32.453" Score="2" ViewCount="1606" Body="&lt;p&gt;I'm producing several versions of a clip (320x180 24 fps and aprox 2Mbps) compressed with h.264 with ffmpeg using Avanti. Each version has different framerate.&#xA;The video output has a slightly different duration than source:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;source - 24 fps - 01:52&#xA;10 fps - 01:53&#xA;5 fps - 01:53&#xA;1 fps - 01:56&#xA;0.5 fps - 02:04&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Results are the same if use Handbrake.&#xA;Why is this happening? I'm aware that there are several kind of frames in h.264, what is then ffmpeg doing when I set framerate? Is it setting keyframe interval?&lt;/p&gt;&#xA;" OwnerUserId="6054" LastActivityDate="2014-06-11T17:35:00.307" Title="Output file longer than source with ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="11921" PostTypeId="2" ParentId="11920" CreationDate="2014-06-11T17:35:00.307" Score="1" Body="&lt;p&gt;My best guess is that this is due to the length of a group of pictures.  h.264 streams are composed of 3 different types of frames.  I frames, which contain the full frame, P frames which contain the information that has changed since the previous frame and B frames which are bi-directional and contain information about the changes between previous and future frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These frames are used in a fixed order that is repeated.  That repeated set is known as a group of pictures.  Typical GOP lengths are generally somewhere around 15 frames.  At 15 or more FPS, you'll always finish your GOP within one second.  At half a frame per second though, it can take up to 7 seconds after your last normal frame for the GOP to finish.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That still doesn't seem to fully explain your 12 extra seconds, but it is possible you are using a longer GOP.  I can't think of any other potential causes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also worth noting that under the hood, Handbrake is just a UI for other encoding libraries, one of which is FFMPEG, so that may also help explain the consistent behavior as well.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-11T17:35:00.307" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="11922" PostTypeId="2" ParentId="8159" CreationDate="2014-06-11T22:05:44.120" Score="0" Body="&lt;p&gt;It is the video frame rate that VirtualDub can manipulate, and there is good reason for this. Recording involves encoding, which usually takes more processing power for video than for audio. Thus, video is more prone to glitches; you can better trust that the length of the audio stream is correct.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It also seems easier to manipulate video. VirtualDub can simply duplicate or delete the necessary number of frames, evenly distributed along the length of the recording, and the human eye won't notice these artefacts.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I would recommend finding a software that can change the frame rate of mp4 files.&lt;/p&gt;&#xA;" OwnerUserId="6055" LastActivityDate="2014-06-11T22:05:44.120" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="11924" PostTypeId="1" CreationDate="2014-06-12T06:32:25.400" Score="2" ViewCount="472" Body="&lt;p&gt;I wanted to make a family of videos like &#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/wYgG9MhV5Q0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;and I was wondering if there were any easy plugins/scripts to be able to create and increment the counter while watching a video. I envision something that operates like a little html/java script that increments on a keystroke as you run through the video, that you can later style something like CSS. I obviously am not saying it has to be exactly like this, but in essence I want to know if there are any bits bits of software like that. If not I might just try making it.&lt;/p&gt;&#xA;" OwnerUserId="6057" LastEditorUserId="6057" LastEditDate="2014-06-13T06:37:10.760" LastActivityDate="2014-06-13T12:24:28.977" Title="Easy script for making and overlaying video counters?" Tags="|video-editor|effects|subtitles|plugins|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="11925" PostTypeId="2" ParentId="11919" CreationDate="2014-06-12T13:13:31.070" Score="0" Body="&lt;p&gt;While I can't confirm it.  It appears that people online have had success with using GoPro filters of the type that just slide between the case and the lens.  You could also probably just order some appropriately shaded lighting gel or optical filter material and cut it to size yourself.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-12T13:13:31.070" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="11926" PostTypeId="1" CreationDate="2014-06-12T12:28:56.320" Score="1" ViewCount="421" Body="&lt;p&gt;Here is my use case: I want to record myself (sound and video) when I play the trumpet to a backtrack.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now if I didn't want the video I would simply:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;record the backtrack with a DAW&lt;/li&gt;&#xA;&lt;li&gt;record myself in another track while the DAW plays the backtrack&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;But I don't know how to add the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My guess is that I need either:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a DAW that also can record video stream (I have only a web cam for that)&lt;/li&gt;&#xA;&lt;li&gt;to record with a video stream recorder, but I'm not sure how to add, play back, and sync the backtrack.&lt;/li&gt;&#xA;&lt;li&gt;to record audio in my DAW, video in another program (movie maker?), and then sync audio and video with some kind of clap.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I am certainly not the first wanting to do that, the question is how can I achieve this? Other ways than the two above? Software recommendations?&lt;/p&gt;&#xA;" OwnerUserId="1469" OwnerDisplayName="Gauthier" LastActivityDate="2014-06-12T15:41:38.103" Title="Record video and sound with backtrack" Tags="|audio|recording|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11927" PostTypeId="2" ParentId="11926" CreationDate="2014-06-12T15:41:38.103" Score="1" Body="&lt;p&gt;This is really the same trick as what is needed for a music video.  There are two options for it.  If you want to record the actual performance, play the backtrack while recording the video and synchronize it after the fact.  You can either directly mic the instrument and play the backtrack aloud or you can use headphones or in-ear monitors to play the backtrack and split off a feed to go in to the camera for purposes of synchronization.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, you can do your audio recording completely separate from the video.  Record the audio in an ideal studio environment with clean trumpet while using headphones for the backtrack, produce the final audio and then playback the audio while recording the video.  This is the option that is generally closer to what a music video does and is what I would personally recommend for best overall quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In either case, you take the video track and the audio track (or tracks) and line them up after the fact in a traditional video NLE (non-linear editor).  You could accomplish it with something as basic as Windows Movie Maker, though personally, I'd use something like Adobe Premiere and maybe Audition for the audio (simply because Audition and Premiere integrate so nicely.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-12T15:41:38.103" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="11928" PostTypeId="1" AcceptedAnswerId="11931" CreationDate="2014-06-12T23:27:58.987" Score="4" ViewCount="609" Body="&lt;p&gt;I'm currently editing some video screen capture recordings I did under Linux using recordMyDesktop (basically OGG Theora video files).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since there's currently no way to import Theora video into After Effects CC, I first need to transcode the video files into an intermediate format. I first tried with the Huffyuv and Lagarith losless codecs, but the file sizes came up too big.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried transcoding to MP4 using ffmpeg with mixed results. It seems that After effects only likes a particular kind of MP4 encoded videos which I have yet to find. In my case, the footage would show intermittent &quot;video offline&quot; frames, which is undesirable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The My ideal codec would be something that:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Uses screen capture specific compression.&lt;/li&gt;&#xA;&lt;li&gt;Can be enumerated as a 64bit VFW codec inside Virtualdub 64.&lt;/li&gt;&#xA;&lt;li&gt;Runs in 64 bit mode (since I need to decode and edit inside After Effects).&lt;/li&gt;&#xA;&lt;li&gt;It's free (I'd pay for one, but first I'd like to exhaust my options).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Finally, I tried looking for VFW compatible screen capture codecs and here's what I found:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;TSCC codec - TechSmith: Not free. Free version does not allow me to encode video using Virtualdub. I think this one can run with 64-bit applications.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;inno Screen Capture Codec(iSCC): Not free. Don't know if runs in 64-bit mode.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;MSU Screen Capture Lossless Codec: Free. Compresses files fairly nice. I think it kind of messes with the framerate of the video. Unfortunately, I didn't find a 64-bit build of the codec, so the 32-bit codec encoded files get rejected by After Effects :(.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I also read about using ffmpeg to encode to Quicktime mov with an animation codec here &lt;a href=&quot;https://video.stackexchange.com/a/8315/6059&quot;&gt;https://video.stackexchange.com/a/8315/6059&lt;/a&gt;. So I'll give that a try. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So has anyone else done something like this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="6059" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-06-13T12:36:04.793" Title="Are there any recent 64-bit VFW screen capture codecs out there?" Tags="|after-effects|codec|screen-casting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11929" PostTypeId="2" ParentId="9720" CreationDate="2014-06-13T03:28:11.210" Score="-1" Body="&lt;p&gt;Poking around in the cache files, it appears that its ideal format is actually MP4. This matches my observations on CPU usage when using a non-mp4 format.&lt;/p&gt;&#xA;" OwnerUserId="5220" LastActivityDate="2014-06-13T03:28:11.210" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="11930" PostTypeId="2" ParentId="11924" CreationDate="2014-06-13T12:24:28.977" Score="1" Body="&lt;p&gt;In that case Adobe After Effects can do this easily, which probably also produced the effect in the video.&#xA;It's actually the only software where I know you can do this without too much manual labor. Other products usually only offer a timer effect which would be tedious to use for these kind of things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though if you want to do this based on just a single key press and don't want to set keyframes manually you will have to write a script for After Effects, this can be done either via Adobe ExtendScript which is a subset of JavaScript or alternatively Windows Batch and Apple Script. I'd suggest using ExtendScript, it has better documentation and is relativley easy to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Be advised that this won't be a task that you can finish in 1-2 days if you haven't worked with After Effects yet. Especially the scripting part. Do it manually first and then look how you can automate it via a script.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-13T12:24:28.977" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="11931" PostTypeId="2" ParentId="11928" CreationDate="2014-06-13T12:36:04.793" Score="1" Body="&lt;p&gt;You don't need a 64bit codec to use it in 64bit Software like VirtualDub or After Effects, a 32bit codec will work just fine.&#xA;For intermediate codecs I generally use either a QuickTime with &lt;code&gt;PhotoJPEG&lt;/code&gt; compression or &lt;code&gt;Animation&lt;/code&gt; like you suggested yourself. The latter is lossless and produces fairly big files, the former is lossy just like JPEG but offers visually lossless compression with a reasonable size and works very well in every software that supports QuickTime video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another alternative would be a &lt;code&gt;JPEG2000&lt;/code&gt; image sequence which can be be either lossless or lossy, though its a bit less fun to work with as you end up with thousands of files in a folder, though there are commercial &lt;code&gt;JPEG2000&lt;/code&gt; codecs out there that are 64bit native and integrate into Windows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another good (open source) alternative is &lt;a href=&quot;http://www.videohelp.com/tools/Ut-Video-Codec-Suite&quot; rel=&quot;nofollow&quot;&gt;Ut Video&lt;/a&gt;. It also features a native 64bit version of the codec and integrates into Windows aswell. It's completely lossless but produces files with reasonable size.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-13T12:36:04.793" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="11932" PostTypeId="1" CreationDate="2014-06-13T20:11:36.483" Score="2" ViewCount="1729" Body="&lt;p&gt;It would be a huge time saver to make the time &quot;line&quot; actively chase the end point dragging of events, so you can tell precisely where the event is compared to other tracks above and below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/QGyZJ.jpg&quot; alt=&quot;Explained&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="3845" LastEditorUserId="3845" LastEditDate="2014-06-16T17:29:30.030" LastActivityDate="2014-06-17T07:43:34.450" Title="Sony Vegas: Make timeline &quot;line&quot; follow event trimming?" Tags="|video-editor|editing|vegas-pro|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="11933" PostTypeId="1" CreationDate="2014-06-13T23:28:25.290" Score="4" ViewCount="3524" Body="&lt;p&gt;I am fairly new to video editing but I have a ton of video files that I need to add an intro and outro to. I do a lot of other print work and in photoshop I can batch file folders to repeat the same action to all the files in the folder. I would imagine there is some way of adding the intro and outro in the same manner with a video editing program like Adobe After Effects so I can select the folder and automates all the adding and publishing. Is this possible with any system??? &lt;/p&gt;&#xA;" OwnerUserId="6062" LastActivityDate="2014-06-15T18:06:36.007" Title="Add intro and outro to multiple files (batch)" Tags="|after-effects|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11934" PostTypeId="2" ParentId="11933" CreationDate="2014-06-14T13:17:32.713" Score="1" Body="&lt;p&gt;This is indeed possible with After Effects via its Scripting Interface, though this is a bit harder to use than Photoshop Actions. You will need to learn Adobe ExtendScript and how to use it in conjunction with After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this particular job I'd suggest a different approach using &lt;a href=&quot;http://www.ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt;. It's an open source video encoding and processing tool that is used for many video automation tasks in the industry.&#xA;You will have to write a script here aswell but that would be a LOT easier and shorter than digging into Adobe ExtendScript in conjunction with After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming you have an rendered video of your intro, outro and main media file in the same codec. You can then use the concat command in ffmpeg to mux the three file into one, which results in a joined video without any re-encoding of the source media.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a &lt;a href=&quot;http://trac.ffmpeg.org/wiki/How%20to%20concatenate%20%28join,%20merge%29%20media%20files&quot; rel=&quot;nofollow&quot;&gt;tutorial&lt;/a&gt; on how to do that in the Linux bash but you can do the same thing with AppleScript or Windows Batch script. You want to generate a filelist like shown in the tutorial:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file '/path/to/intro.mov'&#xA;file '/path/to/main.mov'&#xA;file '/path/to/outro.mov'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You would generate this filelist for every main media file and only change the path for your main media file for every &quot;export&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just for reference, this is the final command you would then use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i filelist.txt -c copy output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How the script part looks that comes before the FFmpeg command that generates the file list, completely depends on your operating system and or choice of scripting language.&#xA;Note that you don't have to use the source codec, instead of doing &lt;code&gt;copy&lt;/code&gt; you could also encode the output file into a different codec by specifying a codec with encode setting instead. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-c:v libx264 -preset medium -f mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-15T18:06:36.007" LastActivityDate="2014-06-15T18:06:36.007" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11935" PostTypeId="1" AcceptedAnswerId="11936" CreationDate="2014-06-14T19:16:50.917" Score="2" ViewCount="3184" Body="&lt;p&gt;I'd like to create basically a HUD (head up display) using simple animations.  The following are three different videos:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;animated checkmark&lt;/li&gt;&#xA;&lt;li&gt;animated circle&lt;/li&gt;&#xA;&lt;li&gt;animated underline&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Each video just draws out the symbol.  I'd like transparent backgrounds so these small videos can be used in other videos for effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As an example, in some video, I can introduce the animated checkmark.  You'll see the checkmark next to something I want to emphasize but everything under the checkmark (in the host video) is still visible (because of transparency in the checkmark video).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can this be done in AE?  I'm not sure how to create a checkmark that basically draws itself out.  Are there any tutorials (youtube) that show something like this?&lt;/p&gt;&#xA;" OwnerUserId="6064" LastActivityDate="2014-06-14T19:23:51.043" Title="How to create simple animation with transparent background?" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11936" PostTypeId="2" ParentId="11935" CreationDate="2014-06-14T19:23:51.043" Score="2" Body="&lt;p&gt;All of the animations you want to do there are achievable with masks and the &lt;code&gt;Stroke&lt;/code&gt; effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suggest you start to generally learn to use After Effects, these are very simple things you want to do there and you shouldn't need any tutorial once you understand the very basics of After Effects.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-14T19:23:51.043" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="11938" PostTypeId="2" ParentId="11911" CreationDate="2014-06-15T13:18:29.643" Score="2" Body="&lt;p&gt;Any camera with an HDMI or SDI output can can stream via wifi using a Teradek Cube (&lt;a href=&quot;http://teradek.com/pages/cube&quot; rel=&quot;nofollow&quot;&gt;http://teradek.com/pages/cube&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This setup will allow you to monitor and record via iOS or computer. It also supports remote recording over the internet (decoder needed). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In addition to WiFi, Terdek also supports 3G/4G/LTE cellular networks via a USB modem.&lt;/p&gt;&#xA;" OwnerUserId="6066" LastActivityDate="2014-06-15T13:18:29.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11940" PostTypeId="1" AcceptedAnswerId="11964" CreationDate="2014-06-15T17:48:40.990" Score="3" ViewCount="828" Body="&lt;p&gt;I have some footage from an action camera that has been affected by vibrations. The footage seems to have an affect that looks a bit like jelly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a word for that effect and is there anything in after fx I can use to help improve it?&lt;/p&gt;&#xA;" OwnerUserId="6053" LastActivityDate="2014-07-19T16:06:57.107" Title="What do you call it when the footage has a rippling effect?" Tags="|after-effects|editing|action-cam|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="11941" PostTypeId="2" ParentId="11933" CreationDate="2014-06-15T18:05:08.290" Score="0" Body="&lt;p&gt;This is also possible with AviSynth.  I recently built a tool that generates a quick AVI Synth script for a video file, an intro and an outro, encodes the newly created video and then uploads it to Youtube.  AviSynth has a bit of a learning curve, but if you have some basic development knowledge, it is pretty easy to get working.  Here is the script I generated out.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;videoMTS=&quot;G:\terra\video projects\camera dump may 2014\00016.MTS&quot;&#xA;ffindex(videoMTS)&#xA;videoFeed = Trim(Audiodub(FFvideosource(videoMTS, fpsnum=2997,fpsden=100), FFaudiosource(videoMTS)),120,1022)&#xA;&#xA;vidWidth = Width(videoFeed)&#xA;vidHeight = Height(videoFeed)&#xA;vidFPS = FrameRate(videoFeed)&#xA;&#xA;openImage=ImageSource(&quot;G:\terra\tool development\Proverbs---Opening-Picture.jpg&quot;, end=180, fps=vidFPS)&#xA;closeImage=ImageSource(&quot;G:\terra\tool development\Terra Nova - Closing Picture.jpg&quot;, end=180, fps=vidFPS)&#xA;&#xA;BlankAudio=BlankClip(clip=videoFeed,length=180)&#xA;&#xA;openImageAudio=AudioDub(openImage,BlankAudio)&#xA;closeImageAudio=AudioDub(closeImage,BlankAudio)&#xA;&#xA;openImageSized=ConvertToYV12(BicubicResize(openImageAudio, vidWidth, vidHeight, 0.0, 0.75))&#xA;closeImageSized=ConvertToYV12(BicubicResize(closeImageAudio, vidWidth, vidHeight, 0.0, 0.75))&#xA;&#xA;Dissolve(openImageSized,videoFeed,30)&#xA;Dissolve(last,closeImageSized,30)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It had a few tricks because I was working with an MTS file and two images, so I had to do some initial processing to make them work together.  They kay parts are getting the width and height and framerate of the main video, making sure it matches up with the clips being used as intro and outro and then scaling them appropriately.  I then add a dissolve for each with a 30 frame duration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This just goes in a file with an avs extension and can then be opened by FFMPEG or most other encoders as long as AVISynth is properly installed.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-15T18:05:08.290" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11942" PostTypeId="2" ParentId="11940" CreationDate="2014-06-15T18:15:08.307" Score="1" Body="&lt;p&gt;This sounds like the end result of image stabilization on heavily moving footage.  There is nothing that can really be done for it.  The source of the problem is that you have motion blur on the original footage thanks to the movement of the camera.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Software can track how things are moving and adjust the position of the frame such that objects remain in constant position, but that doesn't change the fact that there is motion blur in the original frame as a result of the movement.  Thus, when the objects stay still, you still see the associated motion blur moving around the objects and this is what causes that &quot;jelly&quot; look you described.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best way to avoid it is to use a stabilized camera or use a higher shutter speed when recording your video to limit the motion blur incurred by a moving camera.  If you still capture, say, 24 frames per second, but you capture each frame in 1/1000th of a second rather than 1/30th of a second, you end up with far less motion blur, but need far more light.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-06-15T18:24:24.817" LastActivityDate="2014-06-15T18:24:24.817" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="11943" PostTypeId="1" AcceptedAnswerId="11944" CreationDate="2014-06-15T21:40:15.083" Score="1" ViewCount="982" Body="&lt;p&gt;Whenever I try the command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -r 1 -i File01.jpg -c:v libx264 -tune stillimage -pix_fmt yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I get the failing result:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[swcaler @ 000000000347fe0] deprecated pixel format used, make sure you did set range correctly&#xA;[libx264 @ 0000000002da3c0] using SAR=1/1&#xA;[libx264 @ 0000000002da3c0] frame MP size (938x678) &amp;gt; level limit (36864)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and a corrupt file which cant be read.&#xA;Is there a maximum size of the resolution that can be created?&lt;/p&gt;&#xA;" OwnerUserId="6067" LastActivityDate="2014-06-15T22:17:11.997" Title="How can I convert large jpgs (15000 x 10840px) to video?" Tags="|ffmpeg|conversion|quicktime|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11944" PostTypeId="2" ParentId="11943" CreationDate="2014-06-15T21:56:23.103" Score="3" Body="&lt;p&gt;That's way more than h.264 can handle. The maximum resolution for h.264 is 4096×2304 with Level 5.1 or 5.2.&#xA;&lt;a href=&quot;http://en.wikipedia.org/wiki/H.264#Levels&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/H.264#Levels&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are lossless codecs who can theoretically handle this video resolution but it would make no sense to do this. There is no hardware capable of playing videos in this resolution at any acceptable frame rate.&#xA;Atleast none that is in any way affordable by a normal human being.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-15T22:17:11.997" LastActivityDate="2014-06-15T22:17:11.997" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="11945" PostTypeId="1" AcceptedAnswerId="11946" CreationDate="2014-06-16T01:11:21.713" Score="1" ViewCount="2739" Body="&lt;p&gt;I do not know this is the right forum to ask for help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I need help to speed up rendering with the software MeGUI 2500.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First I render to premiere with the help of CUDA.&lt;br/&gt;&#xA;&lt;em&gt;CUDA makes the video card also yield, speeding too.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I put the second video has already ended in &lt;strong&gt;MeGUI 2500 with AVS scriptcreator&lt;/strong&gt; decrease the size without affecting the quality too. Only in this software (MeGUI) did not find how to enable the video card to render.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;If you have no way someone could tell me other compression software that helps with the video card? Why premiere is not very good at it.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="6069" LastActivityDate="2014-06-16T04:50:35.407" Title="rendering with the video card in MeGUI" Tags="|video|premiere|video-quality|encoding|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11946" PostTypeId="2" ParentId="11945" CreationDate="2014-06-16T04:50:35.407" Score="0" Body="&lt;p&gt;If I understand you correctly, it sounds like you are trying to find a piece of software that can use hardware acceleration to encode video generated by AVISynth.  If that's the case, I'd suggest looking at Handbrake, which is capable of utilizing GPU acceleration and should handle AVISynth sources just fine.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-16T04:50:35.407" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="11949" PostTypeId="1" AcceptedAnswerId="11959" CreationDate="2014-06-16T11:40:18.653" Score="1" ViewCount="2894" Body="&lt;p&gt;I need to know the outer dimensions of the GoPro 3+ lens on the waterproof housing (The square black ring).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know where I can find them or does anyone have the camera themselves that they can measure?&lt;/p&gt;&#xA;" OwnerUserId="6053" LastActivityDate="2015-09-10T23:29:32.990" Title="What are the outer dimensions of the GoPro 3+ lens holder?" Tags="|action-cam|specifications|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11950" PostTypeId="1" CreationDate="2014-06-16T16:02:56.280" Score="1" ViewCount="14686" Body="&lt;p&gt;In VSDC, when making a PIP effect, it doesn't play any sound.  It has sound on the preview, but not while editing.  This makes it very challenging to make the PIP at the correct point.  Is there a way to fix this and get audio while editing rather than just previewing?&lt;/p&gt;&#xA;" OwnerUserId="6034" LastEditorUserId="2836" LastEditDate="2014-06-16T16:15:28.113" LastActivityDate="2017-01-03T09:53:01.600" Title="VSDC No audio when editing tracks?" Tags="|video-editor|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="11951" PostTypeId="1" CreationDate="2014-06-16T17:31:26.057" Score="4" ViewCount="1613" Body="&lt;p&gt;I have a project that's 1280X720 @25&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do have clips in the project that are various resolutions, but this hasnt seem to be a problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I render as the &quot;Match the Project Settings&quot; and everytime the video plays back much slower.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to fix?!&#xA;Also sometimes my project becomes off time. But if I restart Vegas it fixes itself. &lt;/p&gt;&#xA;" OwnerUserId="6072" LastActivityDate="2014-06-21T14:04:04.920" Title="Why is rendered playback slower than my project?" Tags="|vegas-pro|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="11952" PostTypeId="2" ParentId="11932" CreationDate="2014-06-16T19:12:04.023" Score="0" Body="&lt;p&gt;I don't know Vegas specifically, but does it have any kind of mark feature?  The traditional solution to this is to apply 3 point edit techniques and scrub to set your points.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you aren't familiar with 3 point editing, it consists of determining 3 out of 4 points, the beginning of your edit on the source, the end of your edit on the source, the beginning of your clip that you are bringing in and the end of the clip you are bringing in.  If you know 3 of these, you can determine the forth and complete your edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, with a subtitle, I would scrub the source video to find the start and end point of the subtitle.  I would place a marker at each of those frames and would then add the subtitle between the two markers.  This general technique should work with just about any reasonable editor and it sounds like it will address your workflow problem.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-16T19:12:04.023" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="11953" PostTypeId="1" AcceptedAnswerId="11954" CreationDate="2014-06-16T19:49:27.897" Score="3" ViewCount="4609" Body="&lt;p&gt;I am afraid this is a bit off topic but I really need to find a microphone recommendation to record home videos without background noise. If this site is not the place and there is a site for searching these specific microphones, please let me know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried &lt;a href=&quot;http://www.microsoft.com/hardware/en-us/p/lifechat-lx-3000&quot; rel=&quot;nofollow&quot;&gt;Microsoft LiveChat LX 3000 microphone&lt;/a&gt; but it is adding a wierd background noise into my video recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also if there is a known software that reduces background noise, please share its name.&lt;/p&gt;&#xA;" OwnerUserId="6073" LastActivityDate="2014-06-18T23:13:40.783" Title="Microphone suggestions or software to avoid background noise in audio" Tags="|audio|microphone|noise|" AnswerCount="3" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="11954" PostTypeId="2" ParentId="11953" CreationDate="2014-06-16T23:47:06.187" Score="3" Body="&lt;p&gt;Your most critical need is going to be a professional low noise analog to digital converter and pre-amp with a decent quality microphone to go with it.  There are a few options you can pursue for this depending on your interests.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you are currently working with a computer directly, you could go for any of a number of professional audio capture devices with XLR and phantom power capabilities, such as the X2U adapter from Shure that you were talking about or a device like an MAudio audio interface unit.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since these only provide inputs you would also need a microphone.  Depending on how close you mind the mic being, something as simple as an SM58 would produce nice clean audio for you, this has the added advantage of being usable really close to your mouth and focusing the pickup in a cardioid pattern that mostly picks up stuff in front of the microphone, thus it will pick up less background noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, you could use a condenser mic or shotgun mic that could be placed further away, however a condenser mic would pick up more of the room sound and a shotgun mic would require careful aiming in order to make sure it picks you up and not the room.  A Lapel mic or LAV is also an option.  A lapel mic is a type of condenser that can clip to your shirt and therefore pick up a little less noise, but will still be in the shot, though it is less obvious than a dynamic mic like an SM58.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yet another option to get additional flexibility is to go with a device like an H4n recorder.  This is what I use for my video work.  It is a stand alone recorder which can also be used as an audio interface for the PC and also has built in stereo condenser mics.  The device runs a little bit more expensive than an audio interface, but is normally a bit cheaper than an interface and a condenser mic pair.  It also can be used away from a computer for any project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, the H4n includes XLR and 1/4&quot; inputs so that it can be used with any of the mics you could use with an audio interface if you later decide to upgrade or change to a different kind of microphone for a particular recording task.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-16T23:47:06.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11955" PostTypeId="1" AcceptedAnswerId="11958" CreationDate="2014-06-17T06:35:36.730" Score="2" ViewCount="2496" Body="&lt;p&gt;I have been working on video conversion. So, to find out video parameters I used ffprobe. However, when I run the command on an mp4 video file, I observe this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/GHt7s.jpg&quot; alt=&quot;enter image description here&quot;&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Total bitrate: 3547 Kb/s &#xA;Video bitrate: 3512 Kb/s&#xA;Audio bitrate: 32 Kb/s&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why total bitrate is 3 Kb/s more than the sum of audio and video bitrates?&lt;/p&gt;&#xA;" OwnerUserId="6074" LastActivityDate="2014-06-17T13:29:43.990" Title="ffprobe - why total bitrate is greater than sum of video and audio bitrates?" Tags="|video|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11956" PostTypeId="2" ParentId="11932" CreationDate="2014-06-17T07:43:34.450" Score="2" Body="&lt;p&gt;I don't think it's possible in Vegas to move the &quot;timeline&quot; line (cursor) along with your edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can, however, set the cursor directly to where you want your event to end by just clicking to that position. Then drag your event to the cursor and let it snap magnetically to it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This way you dont have to manually set and delete any markers.&lt;/p&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2014-06-17T07:43:34.450" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11957" PostTypeId="2" ParentId="11955" CreationDate="2014-06-17T10:56:31.503" Score="1" Body="&lt;p&gt;I don't know for sure, but the total bitrate may be calculated as size / duration, which would include the container overhead. IOW the actual bit rate would be the sum of the two stream rates, with the container overhead shown as distributed over the entire length.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-06-17T10:56:31.503" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="11958" PostTypeId="2" ParentId="11955" CreationDate="2014-06-17T13:29:43.990" Score="2" Body="&lt;p&gt;There are a few possibilities.  MP4 is a container format and can contain more than just audio and video streams.  While not all necessarily supported by MP4 specifically, container formats can contain things like sub-titles, sync data, chapter markers, meta-data, etc.  They can also potentially contain more than one audio or video stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the level of detail provided, it isn't really possible to tell exactly what is taking the extra space, it may just be overhead of the format itself or it could be some additional data stream that is stored within the container.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-17T13:29:43.990" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11959" PostTypeId="2" ParentId="11949" CreationDate="2014-06-17T21:50:51.887" Score="3" Body="&lt;p&gt;I don't have the Hero 3+ but you can measure it with the help of a front picture of the cam and the dimensions of the camera.&#xA;Taking the dimensions from here: &lt;a href=&quot;http://www.dpreview.com/articles/8137555963/hands-on-with-The-gopro-hero-3-black-edition&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.dpreview.com/articles/8137555963/hands-on-with-The-gopro-hero-3-black-edition&lt;/a&gt;&#xA;(5.8 x 3.9 x 2 cm)&#xA;And using this picture:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/O2yeW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And measure how big the lens casing is compared to the size of the camera in pixels (for example with the Photoshop ruler tool)&#xA;We get 35.4 mm for the width for example. So I'd go with a solid 35mm (width).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I measured 537 for the camera and 327,5 for the black lens casing. So the Black Lens casing is 61% the size of the camera. 61% of 58mm is 35.38mm.&#xA;You can do the same with the other dimensions.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2015-09-10T23:28:48.440" LastActivityDate="2015-09-10T23:28:48.440" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11960" PostTypeId="1" AcceptedAnswerId="11961" CreationDate="2014-06-18T07:34:45.547" Score="0" ViewCount="4070" Body="&lt;p&gt;I am about to install Premiere Pro on a laptop with 500gb SSD and 750gb HDD, how can I optimise it in terms of where to install the OS, other apps and where to put the video files. I also have an external drive where I store footage, am not sure if that should come into the mix.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="6018" LastActivityDate="2014-06-18T13:19:59.517" Title="Setup for Premiere Pro on Laptop with SSD/HDD" Tags="|setup|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="11961" PostTypeId="2" ParentId="11960" CreationDate="2014-06-18T12:16:43.980" Score="1" Body="&lt;p&gt;The question is whether disk performance is critical in your normal workflow, in which case you'd want to place the footage on the SSD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a similiar setup with Sony Vegas and I observed that, disk performance is rather uncritical during rendering, because it's always the processor that's the bottle neck. But your situation may differ from that. Especially, if you have a very fast CPU and a very slow HDD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Alternative 1:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The following configuration works well for me:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;OS on SSD to have fast boot time&lt;/li&gt;&#xA;&lt;li&gt;Vegas/Premiere on SSD to have fast startup time&lt;/li&gt;&#xA;&lt;li&gt;Video footage on HDD to have all footage in a single location.&lt;/li&gt;&#xA;&lt;li&gt;External drive for backuping your footage&lt;/li&gt;&#xA;&lt;li&gt;All other stuff: where-ever there is room left. Just make sure there is enough storage for your videos on HDD. 750GB fill up very quickly with HD footage ;-)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Disadvantage&lt;/em&gt;: May be slow with fast CPU's and slow drives. Project opening times may be slow as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Advantage&lt;/em&gt;: Fast boot and programm start. All footage in one place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Alternative 2:&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, if OS+Premiere+Video fits to the SSD, put it there. This will give you the fastest experience. Plus the option to have a very fast backup to the HDD and a second slower backup to the external drive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Advantage&lt;/em&gt;: Fast. Double backup.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Disadvantage&lt;/em&gt;: Not much storage for footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Alternative 3&lt;/strong&gt;: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Put OS+Premiere to SSD and video to HDD. Place the one project that you're currently working on to SSD. This configuration is also very fast, but I sometimes experience issues with moving projects across the drives, so I try to avoid that. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Advantage&lt;/em&gt;: Fast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Disadvantage&lt;/em&gt;: Possibly issues with moving footage/projects around.&lt;/p&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2014-06-18T12:16:43.980" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="11962" PostTypeId="2" ParentId="11960" CreationDate="2014-06-18T13:19:59.517" Score="1" Body="&lt;p&gt;I personally run my OS off of my HDD (primarily from lack of room on my SSDs) and run my Adobe suite, temp files, swap files, project files and media files all off the SSD.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order of importance, I would say swap files, temp files, media files, project files, Adobe software, OS.  Put as many as you can on the SSDs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An SSD has no seek time, so multiple accesses from one don't really matter unless they are all accessing at the same time.  Super ideal would be to either link multiple SSDs in RAID0 to allow for higher throughput or simply split the files that will frequently be used at the same time across different SSDs.  For example, swap files on one and media files on another.  This split is only needed on relatively large files where lots of reads and writes will be preformed though since it only matters if you are able to max out the data rate of the drive.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-18T13:19:59.517" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="11963" PostTypeId="2" ParentId="11953" CreationDate="2014-06-18T17:21:52.210" Score="0" Body="&lt;p&gt;As far as affordability, portability, and quality audio I recommend the Zoom H1 because I own one. The H1 is the little brother to the H4n which is the industry standard in external audio recorders. It has high quality stereo mics on the front, an audio out so you can monitor while you're recording, and an audio in so you can plug in a lapel mic. Coming in at 99$ it's a solid bang for your buck. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as audio processing I have had success with Adobe Audition. There's some real nice tools in there to help you isolate the sound you want from the background noise. I recorded an interview on the street once and we used a shotgun mic but there was still tons of background noise. After spending some time with it in Audition, the background noise was very faint and the voice sounded much more full. Audition can't make miracles if you have poor audio, but it can clean up what you do have so the your end product sounds much more professional. &lt;/p&gt;&#xA;" OwnerUserId="6078" LastActivityDate="2014-06-18T17:21:52.210" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="11964" PostTypeId="2" ParentId="11940" CreationDate="2014-06-18T18:47:22.593" Score="4" Body="&lt;p&gt;They call this the &lt;strong&gt;rolling shutter effect&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also known as the jello or wobble effect and is caused by the side to side motion of cameras that have the CMOS sensor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The rolling shutter effect can be caused by:&lt;br&gt;&#xA;fast moving objects, &lt;br&gt;&#xA;moving or panning the camera quickly, or&lt;br&gt;&#xA;camera vibrations.&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why does this happen?&lt;br&gt;&#xA;The CMOS sensor on the camera reads information a line at a time, from top to bottom. Thus different parts of the image is recorded at &lt;strong&gt;DIFFERENT&lt;/strong&gt; times, thus creating the wobble effect. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cameras with the CCD sensor do NOT have this problem. This sensor records the whole image at once. Thus avoiding the rolling shutter effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are pros and cons for using different image sensors, however it looks like we are moving to a CMOS world. &#xA;This site below explains the differences between the sensors very nicely if you are curious.&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.bhphotovideo.com/c/find/newsLetter/Comparing-Image-Sensors.jsp&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/find/newsLetter/Comparing-Image-Sensors.jsp&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2014-07-19T16:06:57.107" LastActivityDate="2014-07-19T16:06:57.107" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="11965" PostTypeId="2" ParentId="11953" CreationDate="2014-06-18T22:59:15.183" Score="2" Body="&lt;p&gt;It sounds like you need a shotgun mic&#xA;Also known as a zoom mic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These microphones are designed to help isolate the sound you want originating from the subject while rejecting unwanted ambient noise. The pickup angle is slightly adjustable. To have a narrower cone, you need a longer mic. (see video below) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also to reduce wind noise pickup, you usually cover the mic with something akin to a dust cover called a wind screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as software to reduce the noise, I normally use adobe audition. It's much harder to fix unclean sound than it is images, so I would make sure I invest in a good mic first.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/6zoLU.jpg&quot; alt=&quot;sony zoom mic, shoe horn attachment&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/j3sp6.jpg&quot; alt=&quot;shotgun mic with wind screen&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;br&gt;&lt;br&gt;&#xA;Here is a good instructional video describing the uses of a shotgun mic&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/h3LSEnI3ko0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2014-06-18T23:13:40.783" LastActivityDate="2014-06-18T23:13:40.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11967" PostTypeId="1" CreationDate="2014-06-18T23:44:19.010" Score="2" ViewCount="618" Body="&lt;p&gt;Does a frame consist of audio and video or just video? I am trying to verify if this can be used for confirming both audio and video data were successfully sent or if I need to handle the audio separately.&lt;/p&gt;&#xA;" OwnerUserId="6081" LastEditorUserId="2836" LastEditDate="2014-06-19T15:39:28.663" LastActivityDate="2014-06-19T15:39:28.663" Title="ffmpeg framemd5 format explanation" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11968" PostTypeId="2" ParentId="11967" CreationDate="2014-06-19T00:31:21.727" Score="3" Body="&lt;p&gt;According to the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-formats.html#framemd5&quot; rel=&quot;nofollow&quot;&gt;framemd5 muxer documentation&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;This muxer computes and prints the MD5 hash for each audio and video&#xA;  packet. By default audio frames are converted to signed 16-bit raw&#xA;  audio and video frames to raw video before computing the hash.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;The output of the muxer consists of a line for each audio and video&#xA;  packet of the form:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;stream_index, packet_dts, packet_pts, packet_duration, packet_size, MD5&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;  &#xA;  &lt;p&gt;MD5 is a hexadecimal number representing the computed MD5 hash for the&#xA;  packet.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If you want to omit a particular stream or stream type use the &lt;code&gt;-map&lt;/code&gt; option. This example will only process the video stream while ignoring audio:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -map 0:v:0 -f framemd5 -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2014-06-19T00:31:21.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11969" PostTypeId="1" CreationDate="2014-06-19T11:34:43.293" Score="6" ViewCount="8236" Body="&lt;p&gt;I have tried to cut video with the following command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;Вспомнить все (Total Recall, 1990).avi&quot;  -ss 01:07:29 -to 01:08:05 fight.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, avi, from '╨Т╤Б╨┐╨╛╨╝╨╜╨╕╤В╤М ╨▓╤Б╨╡ (Total Recall, 1990).avi':&#xA;  Metadata:&#xA;    encoder         : VirtualDubMod 1.5.10.2 (build 2540/release)&#xA;    artist          : Menen&#xA;  Duration: 01:53:33.69, start: 0.000000, bitrate: 3660 kb/s&#xA;    Stream #0:0: Video: mpeg4 (Advanced Simple Profile) (XVID / 0x44495658), yuv420p, 704x384 [SAR 1:1 DAR 11:6], 2295 kb/s, 23.98 fps, 23.98 tbr, 23.&#xA;98 tbn, 23.98 tbc&#xA;    Stream #0:1: Audio: ac3 ([0] [0][0] / 0x2000), 48000 Hz, 5.1(side), fltp, 448 kb/s&#xA;    Stream #0:2: Audio: ac3 ([0] [0][0] / 0x2000), 48000 Hz, 5.1(side), fltp, 448 kb/s&#xA;    Stream #0:3: Audio: ac3 ([0] [0][0] / 0x2000), 48000 Hz, 5.1(side), fltp, 448 kb/s&#xA;File 'fight.avi' already exists. Overwrite ? [y/N] y&#xA;Output #0, avi, to 'fight.avi':&#xA;  Metadata:&#xA;    IART            : Menen&#xA;    ISFT            : Lavf55.43.100&#xA;    Stream #0:0: Video: mpeg4 (FMP4 / 0x34504D46), yuv420p, 704x384 [SAR 1:1 DAR 11:6], q=2-31, 200 kb/s, 23.98 fps, 23.98 tbn, 23.98 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc55.67.100 mpeg4&#xA;    Stream #0:1: Audio: mp3 (libmp3lame) (U[0][0][0] / 0x0055), 48000 Hz, stereo, fltp&#xA;    Metadata:&#xA;      encoder         : Lavc55.67.100 libmp3lame&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (mpeg4 (native) -&amp;gt; mpeg4 (native))&#xA;  Stream #0:1 -&amp;gt; #0:1 (ac3 (native) -&amp;gt; mp3 (libmp3lame))&#xA;Press [q] to stop, [?] for help&#xA;frame=  863 fps= 20 q=31.0 Lsize=    2690kB time=00:00:36.00 bitrate= 612.1kbits/s&#xA;video:2061kB audio:563kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 2.500957%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The resulting video has obviously worse quality, with apparent big MPEG squares visible&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/SzJGrE3ZCo0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to avoid?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even if re-encoding, then why so drastical change? Can we re-encode so that it will be nearly invisible degrading of quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE 2&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess if I use &lt;code&gt;-codec copy&lt;/code&gt; then I will be unable to cut at precise moment. Moment precision is a priority. So I agree with quality loss but it should not be so drastical.&lt;/p&gt;&#xA;" OwnerUserId="2122" LastEditorUserId="2122" LastEditDate="2014-06-19T17:06:41.543" LastActivityDate="2014-06-19T17:56:47.730" Title="Why does quality degrade so much if just cutting video with ffmpeg?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="11971" PostTypeId="2" ParentId="11969" CreationDate="2014-06-19T15:31:48.383" Score="3" Body="&lt;p&gt;You are re-encoding the video rather than cutting out a portion of the stream.  Any re-encode is going to produce quality loss, particularly when you cut the data rate to less than 1/11th of the original data rate.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to cut out a portion of the video, you need to use a tool like VirtualDUB to actually extract a portion of the actual video stream and put it in a new container without re-encoding.  Note that there will be limitations to where you can cut like this since you will need to start at the beginning of a group of pictures.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-19T15:31:48.383" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="11972" PostTypeId="2" ParentId="11969" CreationDate="2014-06-19T16:42:53.007" Score="10" Body="&lt;h1&gt;Re-muxing only&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Use &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;noreferrer&quot;&gt;stream copy&lt;/a&gt; mode to just re-mux instead of re-encode:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 01:07:29 -i input -codec copy -map 0 -to 01:08:05 fight.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Using &lt;code&gt;-ss&lt;/code&gt; as an input option can be faster than using it as an output option, but it may not be as accurate.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-codec copy&lt;/code&gt; will &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;noreferrer&quot;&gt;stream copy&lt;/a&gt; (no re-encoding). Default behavior, if &lt;code&gt;-codec copy&lt;/code&gt; is omitted, is to re-encode, and as you've noticed the default encoding settings for most encoders are not optimal (they used to be a decade ago).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Default &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Stream-selection&quot; rel=&quot;noreferrer&quot;&gt;stream selection&lt;/a&gt; is to select only one stream per stream type (video, audio, subtitles, data, etc). &lt;code&gt;-map 0&lt;/code&gt; will ensure all streams are copied in case there are multiples of each type. That being said, your input only has two different streams, so it is actually not needed here.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Development of &lt;code&gt;ffmpeg&lt;/code&gt; is very active, so it is important to use a recent build if possible. See the &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg Download&lt;/a&gt; page for several options.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;If you must re-encode&lt;/h1&gt;&#xA;&#xA;&lt;h2&gt;&lt;code&gt;-crf&lt;/code&gt;&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;You can target a &quot;visually lossless&quot; quality level using the encoder libx264 with the &lt;code&gt;-crf&lt;/code&gt; option. CRF is just about as close as you can get to a &quot;constant quality&quot; option: 0 is lossless (but usually results in huge files), ~18 is usually considered to be visually lossless or nearly so, 23 is the default, and 51 is worst.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;&lt;code&gt;-preset&lt;/code&gt;&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;The encoding speed to compression (quality per file size) ratio. Basically use the slowest preset you have patience for: &lt;code&gt;ultrafast&lt;/code&gt;, &lt;code&gt;superfast&lt;/code&gt;, &lt;code&gt;veryfast&lt;/code&gt;, &lt;code&gt;faster&lt;/code&gt;, &lt;code&gt;fast&lt;/code&gt;, &lt;code&gt;medium&lt;/code&gt;, &lt;code&gt;slow&lt;/code&gt;, &lt;code&gt;slower&lt;/code&gt;, &lt;code&gt;veryslow&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -codec:v libx264 -crf 23 -preset medium -ss 01:07:29 -to 01:08:05 output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;Also see&lt;/h1&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg H.264 Encoding Guide&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Seeking%20with%20FFmpeg&quot; rel=&quot;noreferrer&quot;&gt;Seeking with FFmpeg&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2014-06-19T17:56:47.730" LastActivityDate="2014-06-19T17:56:47.730" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11975" PostTypeId="1" CreationDate="2014-06-20T14:55:33.227" Score="2" ViewCount="90" Body="&lt;p&gt;I am looking for Motion Capture Systems that are actively used in the Movie Production Business.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am currently aware of Organic Motion and it's OpenStage2 which can easily cost about 40.000$.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know if there are any alternatives that are either in the same Price-League or maybe cheaper. Most important is that it is indeed used and that it is actively developed.&lt;/p&gt;&#xA;" OwnerUserId="5916" LastActivityDate="2014-06-20T16:38:13.317" Title="Actively Used and Developed Motion Capture Systems" Tags="|motion|video-capture|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11976" PostTypeId="2" ParentId="11975" CreationDate="2014-06-20T15:33:02.070" Score="2" Body="&lt;p&gt;We used the &lt;a href=&quot;https://www.naturalpoint.com/optitrack/products/s250e/&quot; rel=&quot;nofollow&quot;&gt;NaturalPoint OptiTrack S250e&lt;/a&gt; at my company for a big project that is still in active use today. We used it for a sort of game like exhibition on fairs. So it had to be quite robust and offer stable tracking in changing environments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is primarily used for movies and video games though. They offer quite a few different systems in price ranges &lt;a href=&quot;https://www.naturalpoint.com/optitrack/products/flex-3/&quot; rel=&quot;nofollow&quot;&gt;far below&lt;/a&gt; your 40.000$ and &lt;a href=&quot;https://www.naturalpoint.com/optitrack/products/prime-41/&quot; rel=&quot;nofollow&quot;&gt;far above&lt;/a&gt; that, depending on how many cameras you need and what precision you need. The prices are per camera.&#xA;They have a nice system configurator &lt;a href=&quot;http://www.naturalpoint.com/optitrack/systems/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;, which makes choosing camera count and camera system a bit easier.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some of their bigger customers can be found &lt;a href=&quot;https://www.naturalpoint.com/optitrack/about/customers/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;. Seems like they have been proven in many bigger productions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have not affiliation with NaturalPoint and it's the only MotionTracking system I had contact with. There might be better solutions that I don't know of but we used their products and the result were satisfying for our special requirements.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-20T15:56:31.920" LastActivityDate="2014-06-20T15:56:31.920" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="11977" PostTypeId="2" ParentId="11975" CreationDate="2014-06-20T16:38:13.317" Score="0" Body="&lt;p&gt;We use a really old Vicon system, but according to the company's &lt;a href=&quot;http://www.vicon.com/System/Bonita&quot; rel=&quot;nofollow&quot;&gt;website&lt;/a&gt;, new ones start at $12,500.  &lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-06-20T16:38:13.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11979" PostTypeId="2" ParentId="11951" CreationDate="2014-06-20T20:12:38.553" Score="3" Body="&lt;p&gt;This was resolved due to incorrect audio sample rate with my DAW. In Vegas I was editing in 24 bit 48,000Hz. After render, my systems was attempting to playback the video file at 16bit 41,000Hz which will cause this effect.&lt;/p&gt;&#xA;" OwnerUserId="6072" LastEditorUserId="2836" LastEditDate="2014-06-21T14:04:04.920" LastActivityDate="2014-06-21T14:04:04.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11980" PostTypeId="1" AcceptedAnswerId="14562" CreationDate="2014-06-21T23:13:11.800" Score="5" ViewCount="5571" Body="&lt;p&gt;I want to parse a large set of movie/advertisement mixture in one video file, i.e. some hours of video, and separate not only movie and advertisement, but also split/cut different advertisements into clips (I'm only interested in advertisement clips separated into different files). Is there a tool which allows to do such thing without interaction (most tools, e.g. &lt;code&gt;kdenlive&lt;/code&gt;, have great scene recognition, but only split the clips into logical units for editing in the GUI)? Of course, scene detection isn't deterministic and some clips will require cutting, but that shouldn't matter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The important thing is the separation of clips into files and the automatization (might be done within the program or on the console with Linux command pipes or an API for - lets say - &lt;code&gt;python&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The program should run on Linux and be FLOSS software.&lt;/p&gt;&#xA;" OwnerUserId="6095" LastEditorUserId="6095" LastEditDate="2019-02-18T10:30:57.277" LastActivityDate="2019-02-18T10:30:57.277" Title="Is there a program for automatic clip creation from scene detection/recognition result?" Tags="|automation|clipping|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="11981" PostTypeId="2" ParentId="11980" CreationDate="2014-06-22T14:52:20.470" Score="2" Body="&lt;p&gt;The only recent tool I know is a plugin for After Effects called &lt;a href=&quot;http://aescripts.com/magnum-the-edit-detector/&quot; rel=&quot;nofollow&quot;&gt;Magnum - The Edit Detector&lt;/a&gt;. While After Effects isn't exactly the most suited program for these kind of tasks it would do what you want with some sort of control over it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can export the resulting clips/layers in After Effects via a script like redefinery's &lt;a href=&quot;http://www.redefinery.com/ae/view.php?item=rd_RenderLayers&quot; rel=&quot;nofollow&quot;&gt;Layer Render script&lt;/a&gt; (seems the site is offline at the moment). You can also write your own scripts that suit your tasks in After Effects with the JavaScript based Adobe ExtendScript.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects is very &quot;batch&quot; friendly and allows you to automate a lot of things and many people made cool scripts for similar tasks, so in the automation regard After Effects is definitely a nice tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sadly After Effects isn't running on Linux, only Windows and OSX.&#xA;With Wine its running badly or not at all in the recent versions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also a very outdated tool called &lt;a href=&quot;http://www.scenalyzer.com/&quot; rel=&quot;nofollow&quot;&gt;ScenalyzerLive&lt;/a&gt;, maybe it does the job, I haven't really used it but it does auto scene detection and cutting based on that, not sure about mass exporting every scene to a file.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-22T14:52:20.470" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11982" PostTypeId="1" AcceptedAnswerId="11985" CreationDate="2014-06-22T18:25:40.413" Score="2" ViewCount="72" Body="&lt;p&gt;Most movies consist of short portions, within which a picture is changing smoothly, but between which picture changes drastically. May be camera point of view changes or entire scene  is replaced.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the name of such portions and their margins?&lt;/p&gt;&#xA;" OwnerUserId="2122" LastActivityDate="2014-06-23T14:06:59.623" Title="What is the name of a portion of video between camera changes?" Tags="|terminology|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11984" PostTypeId="2" ParentId="11982" CreationDate="2014-06-22T18:56:36.613" Score="1" Body="&lt;p&gt;It's take or shot (&quot;Einstellung&quot; in German) and cut (&quot;Schnitt&quot;)&lt;/p&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2014-06-22T18:56:36.613" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="11985" PostTypeId="2" ParentId="11982" CreationDate="2014-06-23T02:37:00.660" Score="2" Body="&lt;p&gt;It sounds like you are describing shots.  A scene is composed of one or more shots covering a consistent location and time.  Each separate clip within the scene is simply referred to as a shot.  The shot changes any time that the camera position is moved.  Technically, if you are on a close up shot and cut to a wide angle and then cut back to a close up, they would both be part of the same close up shot if they were from a continuous clip, but I've never heard any other term applied to the smallest unit of continuous video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the shots transition directly from one to the other without any interlude, this is referred to as a cut.  The term comes from the film days when one would cut the film and splice it together with the first frame of the next scene.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-06-23T14:06:59.623" LastActivityDate="2014-06-23T14:06:59.623" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11986" PostTypeId="1" CreationDate="2014-06-23T07:47:07.087" Score="1" ViewCount="508" Body="&lt;p&gt;I am having a issue i.e: Facebook deletes the video uploaded by me and says It contains copyright audio. It is &lt;code&gt;6min&lt;/code&gt; video so &lt;strong&gt;how could I know which part is being aborted by Facebook&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks a million.&lt;/p&gt;&#xA;" OwnerUserId="4285" LastActivityDate="2015-11-11T00:25:12.687" Title="How to detect which part of the video is using copyright audio on facebook" Tags="|video|audio|copyright|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="11987" PostTypeId="1" AcceptedAnswerId="18653" CreationDate="2014-06-23T10:35:36.373" Score="2" ViewCount="3817" Body="&lt;p&gt;What is the name of the device used in live action filming that includes information like scene, take and roll and has a part that can snap together?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It can also include information like production name, date, cameraman, director, timecode, etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Myiln.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="2122" LastEditorUserId="2836" LastEditDate="2014-06-23T14:11:40.833" LastActivityDate="2016-06-12T16:02:57.080" Title="What is the name of the device used in live action filming that includes information like scene, take and roll and has a part that can snap together?" Tags="|terminology|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11988" PostTypeId="2" ParentId="11987" CreationDate="2014-06-23T10:43:40.660" Score="5" Body="&lt;p&gt;It is clapperboard: &lt;a href=&quot;http://en.wikipedia.org/wiki/Clapperboard&quot;&gt;http://en.wikipedia.org/wiki/Clapperboard&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;used in filmmaking and video production to assist in the synchronizing of picture and sound, and to designate and mark particular scenes and takes recorded during a production&lt;/p&gt;&#xA;" OwnerUserId="2122" LastActivityDate="2014-06-23T10:43:40.660" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="11989" PostTypeId="1" AcceptedAnswerId="11992" CreationDate="2014-06-23T11:35:15.793" Score="3" ViewCount="460" Body="&lt;p&gt;When shooting video with my Canon 600D I get artefacts like the following in the pictures: (not throughout the whole video but only for a second and then its gone again, but comes back after a few seconds)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/dYxWN.jpg&quot; alt=&quot;video artefacts&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They are always in the bottom part of the image. (Although not visible on the LiveView Screen when viewed in camera)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to view the video on several devices and its always the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use a Class 10 SD Card, so this should not be an issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Searching on google for the problem had no success. &lt;/p&gt;&#xA;" OwnerUserId="5738" LastEditorUserId="2836" LastEditDate="2014-06-23T14:22:09.587" LastActivityDate="2014-06-23T14:22:09.587" Title="Blocky video artifact problem on Canon 600D" Tags="|video-quality|h.264|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="11990" PostTypeId="1" CreationDate="2014-06-23T12:57:16.633" Score="1" ViewCount="77" Body="&lt;p&gt;I'm working on a Grass Valley Infinity and for a specific application I need to know the image plane position (ie sensor position).&lt;img src=&quot;https://i.stack.imgur.com/j1VMP.jpg&quot; alt=&quot;Grass Valley Infinity&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I can't find the image plane mark like this :&#xA;&lt;img src=&quot;https://i.stack.imgur.com/AX6GW.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I have two question :&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is someone know any informations about this on the Grass Valley Infinity ?&lt;/li&gt;&#xA;&lt;li&gt;Is there always an image plane mark on a camera ? I thought it was a &quot;norm&quot; for professional cameras.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6098" LastActivityDate="2014-06-23T12:57:16.633" Title="Image plane mark on Grass Valley Infinity" Tags="|camera|image-sensors|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11991" PostTypeId="1" AcceptedAnswerId="11997" CreationDate="2014-06-23T14:18:51.500" Score="1" ViewCount="486" Body="&lt;p&gt;I'd like to use a GoPro Hero2 or 3+ black to record video continuously, but want it to store only the last N minutes (or megabytes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the manual, I believe no, but I probably am not the first user thinking about such a feature?&lt;/p&gt;&#xA;" OwnerUserId="980" LastActivityDate="2014-06-23T18:32:25.087" Title="Can i record continuously, keeping just the last N minutes?" Tags="|video-recording|digital-recording|recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11992" PostTypeId="2" ParentId="11989" CreationDate="2014-06-23T14:20:49.643" Score="2" Body="&lt;p&gt;This is dropped data.  It may be a problem with either your memory card or your camera itself.  h.264 data, which is the format your video is recorded in, works off of a concept known as Group of Pictures.  Basically, many of the frames of video don't store information about what they look like, but rather what they look like related to previous or future frames.  The entire group of pictures is then decoded together.  A group of pictures typically covers somewhere around half a second to 3/4 of a second of video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, image data is encoded in blocks within each frame.  When the data is encoded properly with sufficient bandwidth, these blocks blend seamlessly and you can't tell they are there.  If the data rate is too low or something gets corrupted, then they become obvious though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what has occurred in your video.  During the recording, some data was dropped, resulting in the remaining data being shifted over and thus when the video is decoded, the image blocks are given information that doesn't line up correctly, resulting in the blocky look you are seeing.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since full frames are only stored every 15 frames or so, the video can't recover from the error until the next full frame (I frame) is reached.  This is because the decoder only knows what changed from the neighboring frame for B (based on former and next frame) and P (based on previous frame) frames.  Thus, it works from the corrupt frame and produces further corrupt frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is possible that the camera is trying to record proper data, but the SD card is not bothering to write it down correctly.  It is also possible that the encoder within the camera is corrupting the data and that the SD card is writing the data it is given faithfully.  The best bet to troubleshoot is to try a different SD card and see if the problem continues in the same manner.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the SD card does not fix the problem, I would suggest contacting Canon's customer support for further assistance with getting your camera fixed.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-23T14:20:49.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11993" PostTypeId="1" CreationDate="2014-06-23T16:08:45.630" Score="3" ViewCount="456" Body="&lt;p&gt;What is the purpose of Media Atom 'flags' within the QuickTime videos, I see for the most part they are set to zero but what does this achieve?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Documentation I am reading is the following: &lt;a href=&quot;https://developer.apple.com/library/mac/documentation/QuickTime/qtff/QTFFChap2/qtff2.html&quot; rel=&quot;nofollow&quot;&gt;https://developer.apple.com/library/mac/documentation/QuickTime/qtff/QTFFChap2/qtff2.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6100" LastActivityDate="2014-06-24T04:19:29.927" Title="QuickTime File Format (Atoms &amp; Flags)" Tags="|video|mp4|quicktime|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11994" PostTypeId="1" AcceptedAnswerId="11996" CreationDate="2014-06-23T16:40:55.337" Score="4" ViewCount="331" Body="&lt;p&gt;I'm trying to achieve this kind of look on a video I'm shooting &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/0wBDDAZkNtk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &#xA;In particular the black and white shots. So far my results have been radically different; my video is way too crispy and does not have &quot;that&quot; look at all. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've made some observations on the video so far (always talking about the black and white shots):&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Either static (very stable) or on a slider, but not &quot;hand-held&quot; looking.&lt;/li&gt;&#xA;&lt;li&gt;Blacks and whites are blown out a lot of the times except on her face.&lt;/li&gt;&#xA;&lt;li&gt;The main light seems to be coming from a circular diffused source with small accents here and there.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Other than that I can't think of anything else. And of course there's the always sought after grainy look which I tried to achieve with different kinds of plugins to no avail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By the way, I'm shooting with a Canon 7D with a shoulder stabilizer and prime lenses. I'm also using a variable ND filter. The lenes are professional photography lenses. I'm shooting HD at 30fps always taking care of using the lowest possible ISO and the same shutter speed of 1/60. Of course I understand this might be somewhat irrelevant if I don't post my results as a way of comparison (which unfortunately I can't) so I understand if answers are not very precise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What things should I consider/do to get a result similar to that of the video?&lt;/p&gt;&#xA;" OwnerUserId="6101" LastActivityDate="2014-06-23T18:38:41.663" Title="Black and white DSLR video quality" Tags="|dslr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11995" PostTypeId="2" ParentId="11993" CreationDate="2014-06-23T17:25:30.183" Score="2" Body="&lt;p&gt;They are a type of metadata specific to the QuickTime container.&#xA;They can contain all kinds of extra information for the video player to read out and use.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;QuickTime movie atoms have an atom type of 'moov'. These atoms act as&#xA;  a container for the information that describes a movie’s data. This&#xA;  information, or metadata, is stored in a number of different types of&#xA;  atoms. Generally speaking, only metadata is stored in a movie atom.&#xA;  Sample data for the movie, such as audio or video samples, are&#xA;  referenced in the movie atom, but are not contained in it.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-23T17:25:30.183" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11996" PostTypeId="2" ParentId="11994" CreationDate="2014-06-23T17:59:07.410" Score="3" Body="&lt;p&gt;I can't help you with the set lighting but the look of the video is definitely achievable in post and in case of a modern camera you definitely have to do a lot in post to get a believable &quot;retro&quot; look. After Effects is recommendable due to many great plugins that help achieving specific looks but any editor that has good color tools on-board, a blur filter and a good grain filter will do the job to get the desired effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Punch the highlights, deepen the blacks, you generally want high contrast but don't just use a contrast effect in your editor, that won't get you very far. Level Curves are always a nice utility for these kind of things. Play around a bit.&#xA;Add a very slight blur, 0.5-2 pixel blur should be enough. Try different blurring algorithms if more than one is available to you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The shots are also out of focus a little in almost all scenes. If you can re-create that during the shoot you could possible spare the blur in post all-together and get an even more convincing look.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use a tool like &lt;a href=&quot;http://www.filmconvert.com/download/default.aspx&quot; rel=&quot;nofollow&quot;&gt;Filmconvert&lt;/a&gt; to add a subtle grain to the video. You can also use onboard tools in your editor though most plugins offer a more realistic film grain than the average simple noise generator.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Filmconvert offers also to match the colors to the colors of a certain &quot;old&quot; film camera, which might help you. An example of a B&amp;amp;W movie that used the plugin: &lt;a href=&quot;http://www.filmconvert.com/Videos/Video.aspx?id=224&amp;amp;order_by=staff_picks&amp;amp;page=6&quot; rel=&quot;nofollow&quot;&gt;http://www.filmconvert.com/Videos/Video.aspx?id=224&amp;amp;order_by=staff_picks&amp;amp;page=6&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keep in mind to not over do it, the border is thin between unrealistic and believable &quot;retro look&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If After Effects is available to you I can recommend the &lt;a href=&quot;http://www.redgiant.com/products/all/color-suite/&quot; rel=&quot;nofollow&quot;&gt;RedGiant Color Suite&lt;/a&gt; (many of these products also work in Premiere and other tools). Though you can also use Premiere with Speedgrade (which nicely integrates into Premiere now) which will bring you similar results with similar ease of use as with After Effects if After Effects isn't your thing. Though After Effects offers a huge amount of editing capabilities which help greatly creating very specific effects.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-23T18:38:41.663" LastActivityDate="2014-06-23T18:38:41.663" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11997" PostTypeId="2" ParentId="11991" CreationDate="2014-06-23T18:24:45.470" Score="2" Body="&lt;p&gt;Short answer: no.&#xA;Long answer, maybe. You have very limited scripting ability via the auto update function of the camera. You simply drop a text file called &quot;autoexec.sh&quot; on the SD card before turning the camera on and the camera will execute the script. Though I haven't seen a script that would do something like infinite recording by erasing the oldest part of the recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe you are able to delete certain files from the SD card via the scripting interface, in that case you wouldn't be able to do seamless infinite recordings but you could record in N minute intervals and delete the oldest file after x recordings when you know that you probably have nearly used up the sdcard space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might also be able to do this by doing said interval recordings and have the GoPro's wifi webserver monitored by a computer that deletes the oldest file on the camera once you reach critical storage space.&#xA;In case deleting via the camera script interface isn't doable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All needed info about this hack can be found &lt;a href=&quot;http://konradit.github.io/hack.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; (horrible site but lots of information) and some existing scripts &lt;a href=&quot;https://github.com/KonradIT/autoexechack&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-23T18:32:25.087" LastActivityDate="2014-06-23T18:32:25.087" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="11998" PostTypeId="1" CreationDate="2014-06-24T02:30:50.027" Score="1" ViewCount="1611" Body="&lt;p&gt;How do I fix Premiere CS6 hanging on ExporterAVI.prm after an upgrade from Vista 64bit SP2 to Windows 7?  It hangs indefinitely but was working fine before the OS upgrade.  No unusual CPU usage or memory usage, it just sits there forever.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2016-06-22T19:15:50.923" Title="Premiere CS6 hanging on ExporterAVI.prm after an upgrade from Vista 64bit SP2 to Windows 7" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="11999" PostTypeId="2" ParentId="11998" CreationDate="2014-06-24T02:30:50.027" Score="1" Body="&lt;p&gt;This is most likely related to an AVI codec not loading properly after the upgrade.  In my case, I had the Matrox VFW software codec installed.  Uninstalling it and installing the newest Windows 7 version fixed the problem.  Clean up your installed codecs and reinstall updated versions of the codecs you need and the problem should be resolved.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-24T02:30:50.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12000" PostTypeId="2" ParentId="11993" CreationDate="2014-06-24T04:19:29.927" Score="2" Body="&lt;p&gt;The Media Atom object does not have a Flags field, but the &lt;a href=&quot;https://developer.apple.com/library/mac/documentation/QuickTime/qtff/QTFFChap2/qtff2.html#//apple_ref/doc/uid/TP40000939-CH204-32999&quot; rel=&quot;nofollow&quot;&gt;Media Header Atoms&lt;/a&gt; does:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Flags - Three bytes of space for future movie header flags.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In which case it's basically say, these values are reserved for future use, and presently are just byte alignment packing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In most RFC's these area's are called Reserved as compared to flags.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would explain why they are zero, as by the spec, they should be set zero, so in the future none zero value can be interpreted to mean &quot;something&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I'm mistaken the section you refering let me know.&lt;/p&gt;&#xA;" OwnerUserId="5398" LastActivityDate="2014-06-24T04:19:29.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12002" PostTypeId="2" ParentId="8153" CreationDate="2014-06-24T06:34:08.477" Score="3" Body="&lt;p&gt;This is probably pretty obvious, but...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes the 'Remaining Time' indicator in AME jumps up at particularly intensive parts then drops back down when not processing stacked AU+AE+PR sections&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2014-06-24T06:34:08.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12005" PostTypeId="1" CreationDate="2014-06-24T08:58:04.930" Score="3" ViewCount="11370" Body="&lt;p&gt;I'm trying to encode clips with x264 in avidemux. Problems come when I set video length to 10 seconds while I resample output to 1 fps (without changing duration): avidemux report &quot;Too short&quot; error and produces an invalid file.&lt;br&gt;&#xA;There is no problem if I resample to 2fps or if select a clip 20 seconds long. I have also tried different GOP settings with no luck.&lt;br&gt;&#xA;Any idea of the reason of this error?&lt;/p&gt;&#xA;" OwnerUserId="6054" LastActivityDate="2014-06-30T14:10:08.247" Title="Avidemux &quot;too short&quot; error" Tags="|encoding|mp4|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12006" PostTypeId="1" AcceptedAnswerId="12009" CreationDate="2014-06-24T10:45:07.317" Score="2" ViewCount="283" Body="&lt;p&gt;MiniDV is using magnectic tape as storage and use the discrete cosine transformation compression technology. Does the use of magnectic digital tapes no more film?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/PnkmR.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5624" LastActivityDate="2014-06-24T13:45:03.960" Title="Are Mini DV and Digital 8 considered film?" Tags="|video|storage|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12008" PostTypeId="2" ParentId="12006" CreationDate="2014-06-24T11:02:10.420" Score="2" Body="&lt;p&gt;To answer the headline question, specifically about the medium: No. Tape is not film. It may substitute for or be notionally equivalent to film in a more general sense.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the body of your question makes it unclear exactly what you're asking. Could you edit it to make it more coherent?&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-06-24T11:02:10.420" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12009" PostTypeId="2" ParentId="12006" CreationDate="2014-06-24T13:45:03.960" Score="5" Body="&lt;p&gt;Film is specifically a medium in which each frame is photographically exposed to capture the image.  It comes in a variety of formats, but the key property is that it must photographically capture the image through photosensitive film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Magnetic media, regardless of being analog or digital, such as that used in MiniDV, Digital8, Hi-8 and even VHS tapes is not film.  It is tape.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly, modern cameras now often go direct to disk, using either memory cards, hard drives or in rare cases, optical media to record to, thus avoiding the need for tapes which require running it from beginning to end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The term filming is still often used when capturing video with these latter formats, however it does not make them film.  It just means that we reuse the common term even though the underlying technology has been replaced.  Technically it is video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-24T13:45:03.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12010" PostTypeId="1" CreationDate="2014-06-24T16:22:57.653" Score="1" ViewCount="363" Body="&lt;p&gt;I have a few small projectors for small rooms, but I'm finding that these do not work well for pushing light to a larger screen further from the point of projection. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In looking for possible upgrades, what key features do I need to evaluate in comparative shopping?  Is there a metric or feature I need to look for in a projector that will allow it to throw a bright, clear video projection from further away?  To clarify, I'm not needing to replicate what the local cinema's use - I'm only showing slides not video content.  &lt;/p&gt;&#xA;" OwnerUserId="2504" LastActivityDate="2014-06-24T18:19:05.017" Title="Projecting slides on a large screen from 40 feet" Tags="|projector|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12011" PostTypeId="2" ParentId="12010" CreationDate="2014-06-24T16:49:58.293" Score="1" Body="&lt;p&gt;The lumens of the projector is the primary indicator of how bright it is.  Contrast ratio is also significant for determining how dark the dark pixels will be when bright pixels are bright, but a lot of that also depends on the type of screen you are using.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The size a projector can project is determined by the overall amount of light it can throw.  As surface area increases, the amount of light that reaches it goes down according to the &lt;a href=&quot;http://en.wikipedia.org/wiki/Inverse-square_law&quot; rel=&quot;nofollow&quot;&gt;inverse square law&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This inherently makes sense when you think about it for a minute since you have a fixed amount of light coming out of the projector, but the larger the area you are trying to cover, the less light you have to cover it with per inch.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-24T16:49:58.293" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12012" PostTypeId="2" ParentId="12010" CreationDate="2014-06-24T16:56:17.983" Score="2" Body="&lt;p&gt;You'd probably want to look for the following characteristics:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Min and max projection distance (from the data sheet, make sure the projector can focus correctly for the desired distance)&lt;/li&gt;&#xA;&lt;li&gt;Lumen (some people recommend 500 lumen per square meter projection area, but of course, this also depends on your ambient lighting)&lt;/li&gt;&#xA;&lt;li&gt;Native image resolution (projecting on a large area the image may become blurry with low resolution)&lt;/li&gt;&#xA;&lt;li&gt;Diagonal image size (make sure the resulting image size fits your intended projection area)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5074" LastEditorUserId="2836" LastEditDate="2014-06-24T18:19:05.017" LastActivityDate="2014-06-24T18:19:05.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12013" PostTypeId="1" CreationDate="2014-06-24T18:37:45.537" Score="3" ViewCount="748" Body="&lt;p&gt;It seems, I'm in a catch-22 situation. I took a song from Free Music Archive website. I was careful to find a song which does not contain &lt;code&gt;No-Derivatives&lt;/code&gt; rule. The licence of the song says:&#xA;&lt;code&gt;Attribution-NonCommercial-ShareAlike 3.0 International License&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My video is not being used for commercial purposes, so as far as I understand, I'm good to go as long as I add the same licence to my video, right?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And here is the problem. When I uploaded my video, Youtube immediately recognized the correct author and title of the song and said that my video contains a song from a 3rd party, thus I might have trouble:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Your video has copyrighted audio that may affect its availability. You may be able to fix this by removing a copyright-claimed song below. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I decided to ignore it and just change the licence setting for my video from Standard Youtube Licence to Creative Common licence to comply with the Share-Alike rule of the soundtrack. Surprise! Youtube seemed to ignore the licence setting. When I looked for more info I found that I cannot change licence for videos which have been marked suspicious by Content ID:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;You cannot mark your video with the Creative Commons license if there&#xA;  is a Content ID claim on it.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This means, that I cannot mark my video with proper licence to comply with the song author's licence, thus I'm violating the licence because Content ID doesn't let me change it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What should I do? Is it enough to just add a note in the description: &quot;Please ignore the licence setting - this video is actually licensed under CC SA NC licence&quot;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, I could find another song, but what if Youtube Content ID will recognize every song from Free Music Archive and again mark my video as suspicious and prevent me from setting the correct licence for it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's even more strange is that Youtube says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Ads may appear on your video due to the presence of this song.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Hm, isn't Youtube itself then violating the NonCommercial rule of the song author's licence by adding ads to it?&lt;/p&gt;&#xA;" OwnerUserId="2583" LastEditorUserId="2583" LastEditDate="2014-06-24T19:21:58.860" LastActivityDate="2019-07-29T22:19:08.613" Title="Cannot mark my video with CC SA licence because Youtube Content ID found 3rd party soundtrack which itself is CC SA licensed" Tags="|audio|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12014" PostTypeId="2" ParentId="12013" CreationDate="2014-06-24T19:21:57.677" Score="1" Body="&lt;p&gt;This is hitting an automated filter.  There should be an option to contest the finding and it should then make it up to the copyright provider to identify if it actually is a violation (which is sounds like it shouldn't be).  I would also suggest adding a note in the description that it actually is CC SA NC since Youtube won't allow you to specify it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As NWSP pointed out, it may also be possible that the Youtube TOS may be incompatible with NC licensing.  It isn't 100% clear from checking around the internet and seems to be ambiguous.  Certainly monetizing is ruled out, but it may be possible that YouTube requires commercial use to be allowed by the upload policy in their TOS and I don't think that has been tested in court yet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the thing about displaying ads, that would go to the license holder.  Just because the copyright holder released it under a NC license doesn't mean THEY can't use it for commercial purposes.  They don't have a licensed copy, they own their work.  The trickier part would come from the fact that if you release your video under share-alike, then they can't derive commercial use from your work either, so display of ads would actually be in violation of your rights, unless you don't mind the original author getting some money for their efforts.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-06-25T14:41:32.057" LastActivityDate="2014-06-25T14:41:32.057" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12015" PostTypeId="1" AcceptedAnswerId="12016" CreationDate="2014-06-24T23:08:23.677" Score="1" ViewCount="533" Body="&lt;p&gt;I have some content recorded in hdv, which is anamorphic. I only recently came to understand what that means exactly. Concerning the video size, it is 1440 x 1080, but the pixels are not square; they are wide. The effect is that the video displays the same as full HD 1920 x 1080.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I currently don't have a need for these particular videos to be in HD. Standard DVD definition is suitable. I also prefer that they are cropped to full size frame, instead of widescreen. So I would like to convert them to 640 x 480.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have used handbrake to try and accomplish this but I am not sure how to make the best settings for this. Here's what I have come up with, but I am not sure what exactly I am getting out of it:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/4VwEm.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't necessarily mind if the video is anamorphic or not as long as it consistently displays 640 x 480. I don't know if it makes a difference, but this will be web videos in an HTML5 player. Currently, the player is designed to declare only the video width, so the height is whatever the ratio-correct number should be. I honestly don't know if this works for anamorphic videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All I really want here is the best settings to convert this HDV to an Mp4 that will be shown in an HTML5 player with the full screen aspect ratio at a maximum resolution of 640 x 480.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2014-06-25T01:18:37.660" Title="How to convert HDV to dvd full resolution 640 x 480?" Tags="|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12016" PostTypeId="2" ParentId="12015" CreationDate="2014-06-25T01:18:37.660" Score="1" Body="&lt;p&gt;Whenever you publish something to end-users you ALWAYS want square pixels, everything else WILL make problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So just convert your anamorphic video to a square pixel aspect ratio. Handbrake should automatically handle that, the settings you have right now should output a video with square pixel aspect ratio. Just add the vertical resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any reason why you would want to crop your video to 4:3? A down-scaled 16:9 square pixel resolution would equal to 640x360 for a &quot;SD&quot; resolution (bare in mind there are several different DVD standards) and I would suggest you to use that resolution and don't just crop your video unless you have an artistic reason for that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If handbrake is unable to handle the non-square pixels you will have to reside to use either a full fledged video editor or alternatively FFmpeg.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-25T01:18:37.660" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12017" PostTypeId="1" CreationDate="2014-06-25T02:10:33.273" Score="2" ViewCount="1366" Body="&lt;p&gt;Sample output &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_showinfo_0 @ 0x7f9a3b600000] n:0 pts:0 pts_time:0 pos:194408 fmt:yuvj420p sar:0/1 s:1920x1080 i:P iskey:1 type:I checksum:072007CF plane_checksum:[AAFB805D 153EE2B8 65C9A49C]&#xA;[Parsed_showinfo_0 @ 0x7f9a3b600000] n:1 pts:1001 pts_time:0.0417083 pos:366248 fmt:yuvj420p sar:0/1 s:1920x1080 i:P iskey:0 type:P checksum:C9D358B5 plane_checksum:[54D0A047 7C40CC7B 60D3EBD5]&#xA;[Parsed_showinfo_0 @ 0x7f9a3b600000] n:2 pts:2002 pts_time:0.0834167 pos:594116 fmt:yuvj420p sar:0/1 s:1920x1080 i:P iskey:0 type:P checksum:A05675B2 plane_checksum:[556FF30D 8CD9462B 0F3E3C6B]&#xA;[Parsed_showinfo_0 @ 0x7f9a3b600000] n:3 pts:3003 pts_time:0.125125 pos:779876 fmt:yuvj420p sar:0/1 s:1920x1080 i:P iskey:0 type:P checksum:B17CC362 plane_checksum:[AE090A39 337190E2 B6E52847]&#xA;[Parsed_showinfo_0 @ 0x7f9a3b600000] n:4 pts:4004 pts_time:0.166833 pos:952520 fmt:yuvj420p sar:0/1 s:1920x1080 i:P iskey:0 type:P checksum:F7C5D531 plane_checksum:[EA3F8FAF E109630D A582E266]&#xA;[Parsed_showinfo_0 @ 0x7f9a3b600000] n:5 pts:5005 pts_time:0.208542 pos:1107392 fmt:yuvj420p sar:0/1 s:1920x1080 i:P iskey:0 type:P checksum:CF48BDB1 plane_checksum:[C87B1176 03581F2B 70EC8D10]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The documents for the showinfo filter define position as&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;‘pos’ The position of the frame in the input stream, or -1 if this&#xA;  information is unavailable and/or meaningless (for example in case of&#xA;  synthetic video).&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Why does position not start at 0 ?&#xA;Why are the positions not sequential 1,2,3,4 etc &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I decompile videos into frames I am trying to label the resulting frames in an order that represents their position in the video to allow me to do things like take different sections of the video at different times but maintain their natural ordering . &lt;/p&gt;&#xA;" OwnerUserId="6081" LastActivityDate="2014-06-25T11:45:28.230" Title="FFmpeg clarification &quot;position of frame&quot;" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12018" PostTypeId="2" ParentId="12013" CreationDate="2014-06-25T07:22:21.833" Score="4" Body="&lt;p&gt;I am not a laywer, but my limited understanding of the situation is this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I see two issues here:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;When you upload a video to youtube you need to grant them certain rights. As Youtube is without any doubt a commercial plattform, beyond others you have to grant them the right to commercially use your video. &#xA;Unfortunately, as your soundtrack is CC NC, you didn't have the right to do so yourself. That's why Youtube is correct in complaining about the song.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&quot;SA&quot; means you have to share your work also as CC SA NC. As Youtube doesn't allow you to select that exact license, it's technically impossible for you to comply with that condition. &#xA;(When you select CC-BY in Youtube, an additional license claim anywhere else, e.g. in the video description, would probably not legally binding)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;So after all - if you want to upload a video to Youtube, it must contain only material that&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;has been created or licensed by you&lt;/li&gt;&#xA;&lt;li&gt;is under CC BY license&lt;/li&gt;&#xA;&lt;li&gt;is public domain or CC-0&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5074" LastEditorUserId="5074" LastEditDate="2014-06-25T07:33:53.807" LastActivityDate="2014-06-25T07:33:53.807" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12019" PostTypeId="1" AcceptedAnswerId="12021" CreationDate="2014-06-25T09:25:46.127" Score="3" ViewCount="4995" Body="&lt;p&gt;To smooth out shaky footage I want to know which of the following apps is the best: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Final cut Pro X&lt;/li&gt;&#xA;&lt;li&gt;Adobe Premiere Pro CS6&lt;/li&gt;&#xA;&lt;li&gt;Adobe After Effects CS6&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5624" LastEditorUserId="5624" LastEditDate="2015-09-17T08:01:49.807" LastActivityDate="2015-09-17T08:01:49.807" Title="Smoothcam filter vs Warp Stabilizer" Tags="|after-effects|premiere|software-recommendation|final-cut-pro|stabilisation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12020" PostTypeId="2" ParentId="12017" CreationDate="2014-06-25T11:45:28.230" Score="4" Body="&lt;p&gt;I can't say with authority, but it's likely that 'pos' is the byte offset into the file where the frame begins. IOW these aren't frame numbers. In the listing you show the sequence is monotonic, it just doesn't increase by single units. If it is byte offset, it wouldn't start at 0 because there are headers in the file before actual frame data.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-06-25T11:45:28.230" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12021" PostTypeId="2" ParentId="12019" CreationDate="2014-06-25T12:55:22.613" Score="2" Body="&lt;p&gt;I found this video comparing the adobe warp and Final cut: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/MW3qU6pXBtA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think warp stabilizer looks way better, but it might also be relative to the type of footage and the specific settings applied.&lt;/p&gt;&#xA;" OwnerUserId="5991" LastActivityDate="2014-06-25T12:55:22.613" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12022" PostTypeId="2" ParentId="12019" CreationDate="2014-06-25T14:19:54.507" Score="3" Body="&lt;p&gt;After Effects, especially with Mocha, has the most advanced motion tracking and stabilization capabilities of these 3 options, but they are also the most complicated to use if you want the best possible results.  (Note that AE also does offer simple options like Warp Stabilizer if you don't need super advanced stabilization.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The options in Final Cut Pro X and Premiere CS6 are far more limited, but both are still reasonably powerful.  I will deffer to Guus' answer for that comparison though since I don't have experience working with Final Cut's stabilization.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-06-25T14:51:52.557" LastActivityDate="2014-06-25T14:51:52.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12023" PostTypeId="1" AcceptedAnswerId="12035" CreationDate="2014-06-25T14:51:02.973" Score="1" ViewCount="754" Body="&lt;p&gt;I have a set of images that are in time stamped order ( the unit is seconds ) but not in a set interval &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;012.png&#xA;017.png&#xA;024.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I encode them so that each image is an Iframe at that given interval ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also possibly this is not what I want to do . I'm not sure if its mandatory to have videos have their Iframes at a fixed interval ( forgive my naivety about the subject )&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hopefully the images would interpolate between each other smoothly ( with a feel of motion ) . I can imagine a way to do it by just creating my own in-between images by interpolating in some way between two frames ( no chance I do as good a job as encoders already do ). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I feel like though that this is exactly what an encoder does and am trying to figure out if I can leverage it to do this frame generation work for me by handing it a list of Iframes with timestamps . &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this is something that needs to be done at a lower level c++ or by working directly with an encoder ( if thats the right term ) I would certainly be willing to work on that level . I am really unsure of the approach to take . &lt;/p&gt;&#xA;&#xA;&lt;p&gt;-------- Additional Information &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I took a look at&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://theora.org/doc/libtheora-1.0/group__encfuncs.html#gdbe7dd66b411c2d61ab8153c15308750&quot; rel=&quot;nofollow&quot;&gt;http://theora.org/doc/libtheora-1.0/group__encfuncs.html#gdbe7dd66b411c2d61ab8153c15308750&lt;/a&gt;&#xA;But there doesn't seem to be a way to insert a frame at a target position .&lt;/p&gt;&#xA;" OwnerUserId="6081" LastEditorUserId="6081" LastEditDate="2014-06-26T01:34:39.633" LastActivityDate="2014-06-26T14:08:34.777" Title="FFmpeg encod set of time stamped images as Iframes" Tags="|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12024" PostTypeId="2" ParentId="12019" CreationDate="2014-06-25T16:00:43.543" Score="1" Body="&lt;p&gt;Definitely the Warp Stabilizer its a very easy to use and powerful tool and I'd say the best tool for automatic stabilization out there.&#xA;When it comes to the more manual workflow, yes, After Effects together with Mocha is a lot harder to use but you can get very great results with a certain amount of experience.&#xA;Given that After Effects offers both I definitely go with AJ Henderson's recommendation and always go with After Effects (with optionally Mocha) when it comes to stabilization.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-25T16:00:43.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12025" PostTypeId="1" CreationDate="2014-06-25T16:50:12.317" Score="1" ViewCount="117" Body="&lt;p&gt;I'm currently enrolled in a coursera.org course which has the presenter standing in front of the camera with a completely black background behind them. While presenting, he would drop directly on the screen as if there's a transparent piece of glass in front of him as shown in the screenshot. I'm wondering how is this possible and what kind of software/hardware could allow this as I'm sure he is not typing backwards. Is the picture inverted and he's really drawing in a glass in front of him or there's another trick?&lt;img src=&quot;https://i.stack.imgur.com/bCEy4.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5463" LastActivityDate="2014-06-25T18:27:53.330" Title="Software to allow video presenter to draw directly on the screen" Tags="|video|video-recording|" AnswerCount="0" CommentCount="0" FavoriteCount="0" ClosedDate="2014-09-26T19:08:08.217" ContentLicense="CC BY-SA 3.0" />
  <row Id="12026" PostTypeId="2" ParentId="2255" CreationDate="2014-06-25T16:54:32.820" Score="1" Body="&lt;p&gt;Not sure if this was possible in Vegas 10 already, but in Vegas Pro 13 there is a transition called &quot;3D Fly In/Out&quot; which you could use to achive that effect. It probably much simpler than having to deal with pan/crop. As any transition it also offers the option to store your settings and re-apply them to other events.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3D Fly In/Out let's you determine &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the start position of your event in three coordinates (x, y and z, where z is the distance from the screen)&lt;/li&gt;&#xA;&lt;li&gt;the number of rotations in three dimensions&lt;/li&gt;&#xA;&lt;li&gt;an additional lighting effect&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You can apply the effect to the event by &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;adding a normal fade transition to the event&lt;/li&gt;&#xA;&lt;li&gt;right-clicking in the fade transition&lt;/li&gt;&#xA;&lt;li&gt;selecting Transition--&gt;Insert Other&lt;/li&gt;&#xA;&lt;li&gt;The PlugIn-Chooser-Transition Window opens. Select &quot;Sony 3D Fly In/Out&quot; &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2014-06-25T16:54:32.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12027" PostTypeId="2" ParentId="8850" CreationDate="2014-06-25T17:39:43.257" Score="5" Body="&lt;p&gt;The H.264 standard defines maximum bit rates for 1280x720@30fps as between 14.000 and 42.000 kbit/s, depending on the profile (baseline, main, high etc.). It's even higher for higher frame rates. (&lt;a href=&quot;http://en.wikipedia.org/wiki/H.264/MPEG-4_AVC&quot; rel=&quot;noreferrer&quot;&gt;http://en.wikipedia.org/wiki/H.264/MPEG-4_AVC&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sony Vegas standard rendering templates use bitrates between 2 and 16 Mbps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtube recommends bitrates between 5.000 and 30.000 kbps (&lt;a href=&quot;https://support.google.com/youtube/answer/1722171&quot; rel=&quot;noreferrer&quot;&gt;https://support.google.com/youtube/answer/1722171&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming your video is 700MB (MByte) in size, not 700Mb (MBit),  its video bitrate is less than 1.5 Mbps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the answer to your question is a definitive No. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your video is not too big. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's rather too small. With that low bitrate of yours you might get a better quality by rendering it to a lower resolution.&lt;/p&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2014-06-25T17:39:43.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12028" PostTypeId="2" ParentId="2488" CreationDate="2014-06-25T18:27:53.330" Score="5" Body="&lt;p&gt;The easiest bet is to actually draw on a piece of glass and there are actually boards made for just that purpose for the classroom.  It is probable one of those is being used here and the video reversed to make it readable from the other side.  This seems likely as the video shows the guy left handed and the buttons are on the wrong side of his shirt.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The same look can kind of be achieved using write-on effects and/or animation, but you would still need some prop for the speaker to interact with so that they position their hand in roughly the right area and it still wouldn't like up exactly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Doing this kind of shot practically is the best way to achieve it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-25T18:27:53.330" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12029" PostTypeId="2" ParentId="2500" CreationDate="2014-06-25T20:27:55.377" Score="1" Body="&lt;p&gt;There is one Youtube channel with tons of tutorials on simple, affordable filming techniques. I get most of my inspirations from there: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.youtube.com/user/filmriot&quot; rel=&quot;nofollow&quot;&gt;http://www.youtube.com/user/filmriot&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2014-06-25T20:27:55.377" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12030" PostTypeId="2" ParentId="3554" CreationDate="2014-06-25T20:52:47.810" Score="3" Body="&lt;p&gt;My personal and very subjective recommendation list:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;A sufficient number of SD cards, battery packs and backup drives&lt;/li&gt;&#xA;&lt;li&gt;Editing software (consumer SW like Sony Movie Studio will probably do)&lt;/li&gt;&#xA;&lt;li&gt;Tripod with fluid head to allow smooth tilts and pans&lt;/li&gt;&#xA;&lt;li&gt;At least one affordable objective with at least 2.8 aperture. E.g. Canon EF 50mm 1:1.8, Canon EF 85mm f/1,8 or Tamron SP AF 17-50mm 2,8 Di  (this allows you to create the typical cinematic impression with shallow depth of focus). &lt;/li&gt;&#xA;&lt;li&gt;Decent sound equipment (e.g. Zoom H4N). If you want, you can add a boom and an additional mic via XLR cable.&lt;/li&gt;&#xA;&lt;li&gt;An additional making-of-camera (Normally I enjoy my own making-of's much more than the actual movie)&lt;/li&gt;&#xA;&lt;li&gt;An extreme wide-angle objective, e.g. Tokina AF 11-16mm/2.8. &lt;/li&gt;&#xA;&lt;li&gt;A Steadycam to get some action into the film (alternatively: camera crane or shoulder rig)&lt;/li&gt;&#xA;&lt;li&gt;Lights. Professional ones may be insanely expensive, but you might DIY something from color proof fluorescent tubes (e.g. Philips TL-D Graphica 58 Watt 950)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5074" LastEditorUserId="5074" LastEditDate="2014-06-26T08:44:28.153" LastActivityDate="2014-06-26T08:44:28.153" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12031" PostTypeId="1" CreationDate="2014-06-25T22:18:36.420" Score="1" ViewCount="317" Body="&lt;p&gt;I've donwloaded some youtube videos that I want to join. I joined them with mkvmerge, but in the joined video, there are ~5 seconds skips (in VLC the second counter stops and then jumps 5 seconds) at the start of each video I joined (even at the start). Is there another way to join them so I won't have this problem?&lt;/p&gt;&#xA;" OwnerUserId="6108" LastActivityDate="2015-10-21T05:43:30.923" Title="Little skip in webm videos joined with mkvmerge" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12032" PostTypeId="1" CreationDate="2014-06-26T06:45:30.123" Score="1" ViewCount="771" Body="&lt;p&gt;Which software has been used to produce the Wildebeest animated short by Bird Box Studio?  It can be seen &lt;a href=&quot;https://www.youtube.com/watch?v=JMJXvsCLu6s&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6109" LastEditorUserId="2836" LastEditDate="2014-06-26T13:51:17.370" LastActivityDate="2014-06-30T16:02:21.203" Title="Name of the software used for the given animation" Tags="|software|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12033" PostTypeId="2" ParentId="12023" CreationDate="2014-06-26T10:44:34.180" Score="2" Body="&lt;p&gt;Your understanding of what an encoder does is incorrect. It doesn't make up images to fill in the time between I frames. It does somewhat the opposite: it takes a full series of complete images and decomposes them so that only the I frames and the differences between them remain.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you're asking for is, in animation terms, called &lt;a href=&quot;https://en.wikipedia.org/wiki/Inbetweening&quot; rel=&quot;nofollow&quot;&gt;tweening&lt;/a&gt;. The linked article will point you to some software that can do automated inbetweening, but it's usually not useful for real-life images over the durations you seem to have. For smaller intervals (a frame or two) the process is called &lt;strong&gt;interpolation&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-06-26T10:44:34.180" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12034" PostTypeId="2" ParentId="12032" CreationDate="2014-06-26T13:09:16.367" Score="1" Body="&lt;p&gt;Seems like a mixture of a few 3D renderings composted together with 2D Elements. The heads for example seem to be partially a 3D rendering, also the island they are standing on could be a 3D rendering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The rest seems to be a 2D &lt;a href=&quot;http://en.wikipedia.org/wiki/Compositing&quot; rel=&quot;nofollow&quot;&gt;compositing&lt;/a&gt;. This can be achieved with any 3D software suite out there like Cinema 4D, Autodesk 3Ds Max or the open source Blender.&#xA;Then a 2D animation/VFX suite is used, the most prominent one being Adobe After Effects but there is also Apple Motion and The Foundry's Nuke.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-26T13:09:16.367" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12035" PostTypeId="2" ParentId="12023" CreationDate="2014-06-26T14:08:34.777" Score="1" Body="&lt;p&gt;There are three options here.  One is to use a variable framerate format that can play back each frame for different lengths of time, however this would result in each frame jumping from one to the next which might not keep the illusion of motion if the frame rate is too low.  This would also be the smallest file size, but I'm not aware of any easily available encoders that would let you specify the length each frame is exposed.  (Granted, I haven't looked seriously for one.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second option is to simply place each frame on a timeline at the appropriate time in an editor and leave it up until the next frame is reached.  This can then use a traditional encoder, however it still requires a fair bit of manual work to layout the frames and results in a larger file than the first option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final option is to use interpolation software to interpolate objects out of the frame and generate between frames to smooth the motion.  This is by far the most complicated, but would also produce the smoothest results if done well.  If the gap is too wide, you will probably need to manually define objects in the scene with advanced interpolation software and have it generate the in between frames.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that, as Jim Mack said, this is NOT something an encoder does.  An encoder only encodes the frames it is given, it makes no attempt to interpolate.  The closest to interpolation that an encoder might come is adjusting framerate on the fly (typically using a fixed conversion) or applying a de-interlace filter, but they do not offer a complex or particularly high quality interpolation solution.  Certainly not enough to handle what you are talking about.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-26T14:08:34.777" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12036" PostTypeId="2" ParentId="12031" CreationDate="2014-06-26T15:23:41.643" Score="1" Body="&lt;p&gt;Try a video editor like &lt;a href=&quot;http://www.lwks.com/&quot; rel=&quot;nofollow&quot;&gt;Lightworks&lt;/a&gt; to join them into one video, there you can cut any black frames and won't have to deal with possible glitches introduced by muxing different videos into one stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your videos are indeed webm and not h264 you might need transcode them into another codec (f.e. with ffmpeg), a production codec like MJPEG or any lossless codec might be suitable as an intermediate codec so you don't loose much visual quality after exporting your finished video.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-26T15:23:41.643" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12037" PostTypeId="1" AcceptedAnswerId="12039" CreationDate="2014-06-26T19:51:49.107" Score="3" ViewCount="17100" Body="&lt;p&gt;I'm trying to edit a footage video with Premiere Pro CS6. The raw file is 1920x1080 HD shot with a wide lens camera. So I created a new project in Premiere Pro and I made a custom sequence using exactly the same numbers: 1920x1080&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the result is not what one would expect. The resultant sequence has two black stripes on both sides of the video. I verified both the properties of the video file and the sequence and they both say 1920x1080 but you can see the result on the screen shot. The sequence is on the right with the black stripes on both sides. On the left, you can see the preview raw footage window that looks just fine... Obviously if I render out the video, what goes out is the one on the right and I do not want to have the black stripes on both sides but I can't get rid of them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is why is this happening and how can I fix it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/xM5Yn.jpg&quot; alt=&quot;The problem that I have using Premiere Pro sequences&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5463" LastActivityDate="2016-09-14T17:23:26.763" Title="Premiere Pro sequence adds black stripes on both sides of the video" Tags="|premiere|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12039" PostTypeId="2" ParentId="12037" CreationDate="2014-06-27T06:32:09.523" Score="4" Body="&lt;p&gt;Aj Henderson is right.&#xA;Your pixel aspect ratio is different in each video.&#xA;You can see that from the pool table, the one on the left is stretched out, while the one on the right is squished, it almost almost like you have 16% black bars on either end of the video on the right. Pixel aspect ratio, anamorphic 1.333. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2 ways to fix it:&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;1) Square pixels&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;If you wish to keep the pixels square&#xA;Crop the video (scale in) until the crop lines disappear, but of course you will also crop out some content on the top and bottom of the video&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;2) Create new sequence&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Create a new sequence, I am assuming AVCHD, select 1080p folder and then select the item AVCHD 1080p24 Anamorphic (or the 25 frame one, dont know what video setting your source is at). Also note there is a little tab at the top called settings when creating a new sequence, you can click that to view your pixel aspect ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That should fix the issue.&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2014-06-27T06:32:09.523" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="12040" PostTypeId="2" ParentId="2500" CreationDate="2014-06-27T07:14:22.813" Score="4" Body="&lt;p&gt;Remember its all about the story. &#xA;How to tell the story. And the tools you use to tell it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Editing, lighting, special effects and &lt;strong&gt;sound&lt;/strong&gt; (are the tools used to tell your &lt;strong&gt;story&lt;/strong&gt;.)&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Remember: story, story, story.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Starting out:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;A good entry level camera to start filming with by Tom Antos.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Bi5lqrlNoHM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;br&gt;&#xA;(Note: The Sony Nex-5 is discontinued, Sony a6000 is its replacement, I have one and I love it.)&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Shot design:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Tom Antos again, explaining framing, coloring.&lt;br&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/IZA9r0iWbdw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;&#xA;&lt;h2&gt;101 Exposure and Lighting Effects:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Andrew Devis of creative cow using premiere pro to relight scenes in your movie clips.&lt;br&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/EsZOhSSvOfw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another great trainer is Maxim Jago of Lynda.com for premiere pro (this would require a monthly subscription to access the lessons)&#xA;&lt;a href=&quot;http://www.lynda.com/Premiere-Pro-tutorials/Premiere-Pro-CS6-Effects-Workshop/123547-2.html&quot; rel=&quot;nofollow&quot;&gt;http://www.lynda.com/Premiere-Pro-tutorials/Premiere-Pro-CS6-Effects-Workshop/123547-2.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Special Effects:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Post production work might be required and using tools like adobe after effects becomes a must. Evan Abrams is a great help to get you started.&#xA;Channel:&#xA;&lt;a href=&quot;https://www.youtube.com/channel/UCF5pdu3Z2Hk8bouDB_C3zFg&quot; rel=&quot;nofollow&quot;&gt;https://www.youtube.com/channel/UCF5pdu3Z2Hk8bouDB_C3zFg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Resources:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;For budding filmmakers&lt;br&gt;&#xA;&lt;a href=&quot;http://nofilmschool.com/&quot; rel=&quot;nofollow&quot;&gt;http://nofilmschool.com/&lt;/a&gt;&lt;br&gt;&#xA;&lt;a href=&quot;http://www.creativecow.net/&quot; rel=&quot;nofollow&quot;&gt;http://www.creativecow.net/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I am missing a ton of other resources, but this is just off the cuff to help you get started.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good Luck.&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2014-06-27T07:14:22.813" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12041" PostTypeId="1" AcceptedAnswerId="12042" CreationDate="2014-06-27T11:16:37.277" Score="2" ViewCount="153" Body="&lt;p&gt;Some lenses are build splashproof, while others aren't. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the least expensive method to make a lens splashproof which is not splashproof? &lt;/p&gt;&#xA;" OwnerUserId="5624" LastEditorUserId="3295" LastEditDate="2014-06-28T16:32:17.333" LastActivityDate="2014-06-28T16:32:17.333" Title="Making lenses (water and dust) splashproof?" Tags="|camera|lenses|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12042" PostTypeId="2" ParentId="12041" CreationDate="2014-06-27T15:06:07.010" Score="3" Body="&lt;p&gt;It depends on what you mean by splashproof.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.bhphotovideo.com/c/buy/Rain-Capes-Covers-Slickers/ci/3313/N/4075788778&quot; rel=&quot;nofollow&quot;&gt;Rain covers&lt;/a&gt; are the absolute cheapest form of protection (as little as $5 or as much as $70+), though they generally leave the front element exposed and provide only minimal protection since they are not sealed.  They also are somewhat clunky to use as you generally have to reach under them or through sleeves in order to get to controls and you have to look through a plastic window to see the camera controls.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The next level up is &lt;a href=&quot;http://www.bhphotovideo.com/c/search?atclk=Camera%20Type_SLR&amp;amp;ci=16477&amp;amp;Ns=p_PRICE_2%7C0&amp;amp;N=4185679681%204283022107%204283022103&quot; rel=&quot;nofollow&quot;&gt;water tight bags&lt;/a&gt;.  These cost more than rain covers on average ($60-$300), but they actually form a water tight seal around the camera.  This comes with a down side however.  With no way for water to get in, there is also no way for your hands to get in and you must try to operate the camera through the bag.  The objective is also covered, so it does reduce image quality, though models are available that provide an optical quality windows for the objective (though they cost more).  They are also limited to only a few inches to a few feet of water before the protection breaks down, though if you only care about dust and splash, they should do the job fairly well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The next level up are &lt;a href=&quot;http://www.liquideye-whs.com/&quot; rel=&quot;nofollow&quot;&gt;sports enclosures&lt;/a&gt; ($350 to $1000).  These are similar to underwater enclosures, but without some of the over-engineering that goes in to making it withstand depth.  They are designed to handle similar conditions to the watertight bags, but are far easier to use and almost always have optical grade objective covers.  They are bulky, but they allow easy access to controls and are far more reliable in terms of simply placing the camera in to it and closing and latching the door.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, the absolute best protection is the full blown &lt;a href=&quot;http://www.bhphotovideo.com/c/search?Ns=p_PRICE_2%7C1&amp;amp;ci=16477&amp;amp;setNs=p_PRICE_2%7C1&amp;amp;N=4185679681%204283022107%204283022103&amp;amp;srtclk=sort&quot; rel=&quot;nofollow&quot;&gt;underwater enclosure&lt;/a&gt;.  These units are extremely expensive ($1000 - $7000) and have to be assembled to a configuration specific to the lens and body being used (modular systems allow you to re-purpose it for different lenses by changing out parts of the enclosure).  They offer dedicated physical controls and optical grade objective covers.  They are engineered for even deep underwater and can often go 300 feet down or more.  They are probably overkill on land, but they will withstand just about anything you can throw at them without severely impacting your ability to shoot since they offer dedicated physical controls.  They are, however, not available for longer lenses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, the list wouldn't be complete without suggesting simply a weather sealed camera body and lens combination which would preclude most of this stuff being necessary.  Note that a weather sealed lens alone is not enough though and weather sealing.  The entire camera system (lens, body and battery grip if applicable) needs to be weather sealed and it is only as well sealed as the weakest component. Also, while professional weather sealing will handle light to moderate rain, it may not hold up to the worst of conditions.  I've done shots with my 5D Mark iii and 70-200 f/2.8 IS II in moderate to heavy rain, but had to promptly deal with some minor moisture issues after.  I suppose the cost of getting a 5D Mark iii and a 70-200 f/2.8 IS II is actually more than getting even a cheaper underwater enclosure, however you also get substantially better image quality from it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-06-27T15:11:28.927" LastActivityDate="2014-06-27T15:11:28.927" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12043" PostTypeId="1" CreationDate="2014-06-27T17:50:55.463" Score="5" ViewCount="10569" Body="&lt;p&gt;I have video clips from two cameras. They were recorded in AVCHD, which I've imported as .MTS in Adobe Premiere Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The clips taken from one camera works fine. The others don't play audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've investigated into the complimenting .xmp files, and realized the following string was missing from those without audio:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; xmpDM:audioSampleType=&quot;Compressed&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I open these AVCHD videos in Quicktime, they work perfectly fine with audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I fix this and make audios from the video clips play in Premiere Pro?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Here's what I got from MediaInfo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the video clip that plays audio:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;ID : 0 (0x0)&#xA;Complete name : /Volumes/LACIE 3TB/Film Projects/Anime Salon/001_clannadas/footage/front/AVCHD/BDMV/STREAM/00000.MTS&#xA;Format : BDAV&#xA;Format/Info : Blu-ray Video&#xA;File size : 73.4 MiB&#xA;Duration : 25s 491ms&#xA;Overall bit rate mode : Variable&#xA;Overall bit rate : 24.1 Mbps&#xA;Maximum Overall bit rate : 24.0 Mbps&#xA;&#xA;Video&#xA;ID : 4113 (0x1011)&#xA;Menu ID : 1 (0x1)&#xA;Format : AVC&#xA;Format/Info : Advanced Video Codec&#xA;Format profile : High@L4.0&#xA;Format settings, CABAC : Yes&#xA;Format settings, ReFrames : 2 frames&#xA;Format settings, GOP : M=2, N=15&#xA;Codec ID : 27&#xA;Duration : 25s 459ms&#xA;Bit rate mode : Variable&#xA;Bit rate : 21.6 Mbps&#xA;Maximum bit rate : 22.0 Mbps&#xA;Width : 1 920 pixels&#xA;Height : 1 080 pixels&#xA;Display aspect ratio : 16:9&#xA;Frame rate : 29.970 fps&#xA;Color space : YUV&#xA;Chroma subsampling : 4:2:0&#xA;Bit depth : 8 bits&#xA;Scan type : Interlaced&#xA;Scan order : Top Field First&#xA;Bits/(Pixel*Frame) : 0.348&#xA;Stream size : 65.5 MiB (89%)&#xA;&#xA;Audio&#xA;ID : 4352 (0x1100)&#xA;Menu ID : 1 (0x1)&#xA;Format : PCM&#xA;Format settings, Endianness : Big&#xA;Format settings, Sign : Signed&#xA;Muxing mode : Blu-ray&#xA;Codec ID : 128&#xA;Duration : 25s 525ms&#xA;Bit rate mode : Constant&#xA;Bit rate : 1 536 Kbps&#xA;Channel(s) : 2 channels&#xA;Channel positions : Front: L R&#xA;Sampling rate : 48.0 KHz&#xA;Bit depth : 16 bits&#xA;Stream size : 4.67 MiB (6%)&#xA;&#xA;Text&#xA;ID : 4608 (0x1200)&#xA;Menu ID : 1 (0x1)&#xA;Format : PGS&#xA;Codec ID : 144&#xA;Duration : 24s 960ms&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;From the video clip that doesn’t play audio:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;ID : 0 (0x0)&#xA;Complete name : /Volumes/LACIE 3TB/Film Projects/Anime Salon/001_clannadas/footage/closeup/AVCHD/BDMV/STREAM/00001.MTS&#xA;Format : BDAV&#xA;Format/Info : Blu-ray Video&#xA;File size : 131 MiB&#xA;Duration : 48s 967ms&#xA;Overall bit rate mode : Variable&#xA;Overall bit rate : 22.5 Mbps&#xA;Maximum Overall bit rate : 24.0 Mbps&#xA;&#xA;Video&#xA;ID : 4113 (0x1011)&#xA;Menu ID : 1 (0x1)&#xA;Format : AVC&#xA;Format/Info : Advanced Video Codec&#xA;Format profile : High@L4.0&#xA;Format settings, CABAC : Yes&#xA;Format settings, ReFrames : 2 frames&#xA;Format settings, GOP : M=2, N=15&#xA;Codec ID : 27&#xA;Duration : 48s 982ms&#xA;Bit rate mode : Variable&#xA;Bit rate : 21.3 Mbps&#xA;Maximum bit rate : 22.0 Mbps&#xA;Width : 1 920 pixels&#xA;Height : 1 080 pixels&#xA;Display aspect ratio : 16:9&#xA;Frame rate : 29.970 fps&#xA;Color space : YUV&#xA;Chroma subsampling : 4:2:0&#xA;Bit depth : 8 bits&#xA;Scan type : Interlaced&#xA;Scan order : Top Field First&#xA;Bits/(Pixel*Frame) : 0.343&#xA;Stream size : 124 MiB (95%)&#xA;&#xA;Audio&#xA;ID : 4352 (0x1100)&#xA;Menu ID : 1 (0x1)&#xA;Format : AC-3&#xA;Format/Info : Audio Coding 3&#xA;Mode extension : CM (complete main)&#xA;Format settings, Endianness : Big&#xA;Codec ID : 129&#xA;Duration : 49s 56ms&#xA;Bit rate mode : Constant&#xA;Bit rate : 256 Kbps&#xA;Channel(s) : 2 channels&#xA;Channel positions : Front: L R&#xA;Sampling rate : 48.0 KHz&#xA;Bit depth : 16 bits&#xA;Compression mode : Lossy&#xA;Stream size : 1.50 MiB (1%)&#xA;&#xA;Text&#xA;ID : 4608 (0x1200)&#xA;Menu ID : 1 (0x1)&#xA;Format : PGS&#xA;Codec ID : 144&#xA;Duration : 48s 483ms&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It appears that recording format is different, PCM (playing) vs AC-3 (not playing).&lt;/p&gt;&#xA;" OwnerUserId="6114" LastEditorUserId="2836" LastEditDate="2014-06-27T19:38:47.287" LastActivityDate="2014-06-28T14:17:50.780" Title="Premiere Pro doesn't play AC3 audio stream from .MTS file" Tags="|premiere|audio|avchd|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12044" PostTypeId="2" ParentId="12043" CreationDate="2014-06-27T19:37:31.570" Score="2" Body="&lt;p&gt;It sounds like there is a problem with your Dolby Decoder for the AC3 audio stream.  If you are on a trial or pirated copy then you may not have been able to activate the AC3 decoder that normally comes with Premiere. (Adobe has to pay Dolby for each copy used.)  If you are on a legit copy, something may have become corrupt with the Dolby decoder.  Try doing a deactivation of Premiere (Help...Deactivate) on your system and reactivate and see if it manages to activate the Dolby Decoder.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-27T19:37:31.570" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12046" PostTypeId="2" ParentId="12043" CreationDate="2014-06-28T14:17:50.780" Score="2" Body="&lt;p&gt;As AJ Henderson already said you can not use the Dolby codec in a trial version of Premiere due to licensing costs on Adobe's side.&#xA;What you can do to circumvent this is trancode the audio with a different tool like &lt;a href=&quot;https://www.ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt;.&#xA;With ffmpeg you can use this command below to transcode the audio to PCM but leave the video untouched. I chose avi for the container instead as its a more generic container that isn't so picky and usually well taken by premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To specify the TS format instead, encode with &lt;code&gt;-f mpegts&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mts -c:v copy -c:a pcm_s16le -f avi output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-06-28T14:17:50.780" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12047" PostTypeId="5" CreationDate="2014-06-28T16:35:39.170" Score="0" Body="" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-28T16:35:39.170" LastActivityDate="2014-06-28T16:35:39.170" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12048" PostTypeId="4" CreationDate="2014-06-28T16:35:39.170" Score="0" Body="A camera lens (also known as photographic lens or photographic objective) is an optical lens or assembly of lenses used in conjunction with a camera body and mechanism to make images of objects either on photographic film or on other media capable of storing an image chemically or electronically." OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-28T16:35:39.170" LastActivityDate="2014-06-28T16:35:39.170" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12049" PostTypeId="1" AcceptedAnswerId="12061" CreationDate="2014-06-28T16:43:58.673" Score="3" ViewCount="1788" Body="&lt;p&gt;I'd like to buy one of those two lenses for filming with a EOS 600D:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Tamron SP AF 28-75mm F/2.8 XR Di LD Aspherical [IF] MACRO&lt;/li&gt;&#xA;&lt;li&gt;Tamron SP 24-70mm F/2.8 Di VC USD&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I am aware of the following differencies of the two lenses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Advantages 28-75mm:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Some websites claim this lense to be parfocal, which might be interesting for filming.&lt;/li&gt;&#xA;&lt;li&gt;It's lighter (510g vs 825g)&lt;/li&gt;&#xA;&lt;li&gt;Slightly lower minimum object distance (33 vs 38cm)&lt;/li&gt;&#xA;&lt;li&gt;It costs less than half of the 24-70&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Advantages 24-70mm:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Vibration compensation (which I always switch off during filming)&lt;/li&gt;&#xA;&lt;li&gt;USD motor (which doesn't seem to be important for filming)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;From that the 28-75 clearly seems to be the better choice. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything I am missing? Are there any other points to consider?&lt;/p&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2014-06-30T16:00:13.913" Title="Differences Tamron f/2.8 28-75 / 24-70" Tags="|canon|lenses|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12050" PostTypeId="2" ParentId="12032" CreationDate="2014-06-28T21:10:41.423" Score="5" Body="&lt;p&gt;The short film, Wildebeest was rendered in Adobe After Effects and Flash.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the quote from an interview by the director Ant Blades.&#xA;&quot;The film is animated in Flash and AfterEffects. The main aim was to be funny. The secondary aim was to develop a style I hadn’t tried before.&quot;&#xA;Source:&lt;a href=&quot;http://filmmakermagazine.com/51143-filminute-filmmaker-ant-blades-wildebeest/&quot; rel=&quot;nofollow&quot;&gt;&quot;Filmmaker Ant Blades, Wildebeest&quot;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Workflow of Mr Blades is to first sketch in Adobe Flash. As he puts it, it is an easy way to sketch out an &quot;animatic&quot; of an idea. He then renders it with After Effects, I assume he would be using the plug-in Cinema 4D to render the 3D work but that is a guess on my part. A more complete interview and the process in how he creates his works for Bird Box Studio. &lt;a href=&quot;http://www.skwigly.co.uk/an-interview-ant-blades-birdbox-studio/&quot; rel=&quot;nofollow&quot;&gt;&quot;Interview Ant Blades, Bird Box Studio&quot;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2014-06-30T16:02:21.203" LastActivityDate="2014-06-30T16:02:21.203" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12051" PostTypeId="1" AcceptedAnswerId="12058" CreationDate="2014-06-29T02:23:22.800" Score="4" ViewCount="23858" Body="&lt;p&gt;Ok so I have a video made from dxtory. The video is using dxtory video codec and unknown audio codec. When I pop the file into avimux, I can clearly see two audio tracks/sources. I have successfully converted the video without loss of quality with the following.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;The Bunker.avi&quot; -vcodec h264 TheBunkerMix.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But, the resultant file only had one track/source. Basically I recorded game footage and the original file had both the in game sounds as well as the mic recording commentary on top. But, when I did the conversion my audio commentary track/source got lost in conversion. What other options can I include to get my audio tracks?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT 2:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've gotten close now, but still not right. I have used the following but again its seems to ignore the first -map option. If I flipped which map comes second, that is the stream that is audible in the output. How do I mux them together so they both play?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;The Bunker.avi&quot; -map 0:0 -map 0:1 -map 0:2 -vcodec h264 -acodec:0 mp&#xA; -acodec:1 mp3 TheBunkerNwMix.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is the stream mappings so I have no idea why it isn't mapping correctly?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (dxtory -&amp;gt; libx264)&#xA;  Stream #0:1 -&amp;gt; #0:1 (pcm_s16le -&amp;gt; libmp3lame)&#xA;  Stream #0:2 -&amp;gt; #0:2 (pcm_s16le -&amp;gt; libmp3lame)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5994" LastEditorUserId="5994" LastEditDate="2014-06-29T04:25:14.227" LastActivityDate="2021-02-11T08:40:00.023" Title="FFMPEG convert video with multiple audio streams?" Tags="|ffmpeg|conversion|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12052" PostTypeId="1" AcceptedAnswerId="12053" CreationDate="2014-06-25T21:43:39.167" Score="1" ViewCount="1305" Body="&lt;p&gt;I need to dispose some letters extruded with Element 3D plug-in in After Effects&#xA;Like in this fast example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UnE2r.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UnE2r.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm going crazy! Thank you in advance!&lt;/p&gt;&#xA;" OwnerUserId="6118" OwnerDisplayName="Necrodeathify" LastEditorUserId="6118" LastEditDate="2016-08-24T10:24:25.773" LastActivityDate="2021-02-16T17:40:43.837" Title="After Effects - Element 3D: Text arranged in a circle/ring form" Tags="|after-effects|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12053" PostTypeId="2" ParentId="12052" CreationDate="2014-06-28T15:53:46.387" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;Make some text&lt;/li&gt;&#xA;&lt;li&gt;Draw a circle mask within it and set mode to 'none'&lt;/li&gt;&#xA;&lt;li&gt;Go text's Path option and select mask You've created&lt;/li&gt;&#xA;&lt;li&gt;Adjust mask or/and font to get desirable result&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Continue to work with Element 3D as in this tutorial: &lt;a href=&quot;https://www.youtube.com/watch?v=x0p9gwKMSqk&quot; rel=&quot;nofollow&quot;&gt;https://www.youtube.com/watch?v=x0p9gwKMSqk&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="S-ed" LastActivityDate="2014-06-28T15:53:46.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12054" PostTypeId="1" AcceptedAnswerId="12055" CreationDate="2014-06-18T16:49:49.747" Score="1" ViewCount="5751" Body="&lt;p&gt;Is it possible to create one mask or track matte mask on a parent null layer that applies to all child layers? Only way I've figured out is to apply a track matte to every layer I want masked which seems very inefficient. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Y253B.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6123" OwnerDisplayName="user1676691" LastEditorUserId="6079" LastEditDate="2014-06-30T03:09:20.270" LastActivityDate="2014-06-30T22:19:06.117" Title="Can you mask a parent null object in Adobe After effects?" Tags="|after-effects|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12055" PostTypeId="2" ParentId="12054" CreationDate="2014-06-28T16:13:26.460" Score="2" Body="&lt;p&gt;Well, there a lot of ways to get result quicker, but each one depends on desirable result. =)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's one way:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Make desired null's mask&lt;/li&gt;&#xA;&lt;li&gt;Make any mask for it's child (it doesn't matter what there)&lt;/li&gt;&#xA;&lt;li&gt;Alt+click on child's mask path 'clock' icon (it'll open script settings)&lt;/li&gt;&#xA;&lt;li&gt;Clear edit field or select all the contents&lt;/li&gt;&#xA;&lt;li&gt;Drag 'link' icon (spiral) of mask path expression over Null's mask Path (it should add some kind of &quot;thisComp.layer(&quot;Null 1&quot;).mask(&quot;Mask 1&quot;).maskPath&quot; to expression field)&lt;/li&gt;&#xA;&lt;li&gt;Copy this new mask to all childs&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;p.s.: this way is just a start, since it's not includes shifts of child and parent layers, but if pivots aligned it'll work&lt;/p&gt;&#xA;" OwnerDisplayName="S-ed" LastActivityDate="2014-06-28T16:20:34.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12056" PostTypeId="2" ParentId="2500" CreationDate="2014-06-29T14:10:33.950" Score="2" Body="&lt;p&gt;Find some people IRL who share your interest and enthusiasm for filmmaking.  They don't have to be professionals, and you don't have to pay for a fancy film school, but opening a discussion with real people about technique is the best way to start learning.  Watch movies with these people, press the pause button when something grabs your attention, and talk about it.  How would you achieve something similar?  How would they go about it?  What could be done better, and how? That's step one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step two is the hard part.  Actually go out and film stuff.  Use your cell phone if that's all you got.  Actively try to emulate the shots, looks, edits, sounds and techniques that caught your interest in step 1.  Develop an audio/visual vocabulary.  Make up words if you have to.  Once you start to have more conversations with more people who have similar interests, your terminology and your expertise will begin to converge.  You'll know what a c-47 is, and how to use one, in no time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your &quot;spare&quot; time, the internet is a great place to supplement your knowledge.  Sites like this one are a great place to ask questions.  Bulletin boards, video hosting sites, and social media are great places to get feedback on your work.  Search engines are wonderful for fact-checking your intuitions.  But nothing beats real-world interaction with people who share your interests.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2014-06-29T14:18:36.580" LastActivityDate="2014-06-29T14:18:36.580" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12057" PostTypeId="2" ParentId="9306" CreationDate="2014-06-29T17:43:56.750" Score="4" Body="&lt;p&gt;I think this is probably less of a question for video production people as much as it is for Geographic Information Systems (GIS) people.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://gis.stackexchange.com&quot;&gt;GIS Forum on Stack Exchange&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While you might be able to find an After Effects (AE) wizard who knows some scripting tricks to make this happen, my guess is more folks over in a GIS forum know how to do this in something like ArcGIS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, laying out a million records is going to be an awful lot to ask of a program like AE or Motion, while that amount of detail is pretty much what ArcGIS exists to deal with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My guess is if this is a one-shot project, you could probably hire some college student to turn it around for you.  If it's going to be something on-going and constantly updated for your web site with a million plus data points, that might be also do-able, but a much bigger programming issue.&lt;/p&gt;&#xA;" OwnerUserId="6119" LastEditorUserId="6119" LastEditDate="2014-07-11T21:13:40.490" LastActivityDate="2014-07-11T21:13:40.490" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12058" PostTypeId="2" ParentId="12051" CreationDate="2014-06-29T22:02:37.903" Score="6" Body="&lt;p&gt;If you copied your command there then your issue is probably &lt;code&gt;-acodec:0 mp&lt;/code&gt;. That should be &lt;code&gt;-acodec:0 mp3&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can just use &lt;code&gt;-c:a mp3&lt;/code&gt; to apply the encoding options to all audio tracks at once, no need to apply them for each individually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other than that your mapping is correct and shouldn't be the issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: To conclude the discussion in the comments regarding the actual reason behind the question: When it comes to editing it is no problem to just transcode the video stream if the source codec makes problems and import the audio from the source file by either muxing the audio into a new container with the transcoded video stream or just importing the transcoded video and audio streams separately (by demuxing the source) into your editing program and skip on the container format.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-07-01T17:47:34.260" LastActivityDate="2014-07-01T17:47:34.260" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="12059" PostTypeId="2" ParentId="12005" CreationDate="2014-06-29T22:31:37.087" Score="3" Body="&lt;p&gt;That is way out of the h264 specs. According to Adobe After Effects the format constrains for h264 are at min. 10fps so even 2fps are (&lt;strong&gt;not&lt;/strong&gt;, see below) out of spec and could result in issues with some players. So Avidemux seems to allow out of spec settings, that 1 fps isn't possible, is very likely an internal issue with how h264 gets encoded in Avidemux.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: It seems this is indeed an Adobe only constrain and or constrain for MP4, when using the QuickTime format with h264 I can render with 1 FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Still, I recommend you interpolate your video to be longer instead of decreasing the FPS unless you have very specific technical reasons for encoding with 1 FPS.&#xA;Showing every frame multiple times per second instead of just once per second doesn't make a visual difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/9Fsvm.png&quot; alt=&quot;After Effects format warning&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-06-30T14:10:08.247" LastActivityDate="2014-06-30T14:10:08.247" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="12061" PostTypeId="2" ParentId="12049" CreationDate="2014-06-30T16:00:13.913" Score="3" Body="&lt;p&gt;Yes, there is a lot you are missing.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 24-70 has substantially better transmittance (more light makes it through the lens), slightly better sharpness, significantly less chromatic aberration, 2 more diaphragm blades (better, more round bokeh), full time manual focus (can auto-focus at the start of a shot but still adjust after starting shooting).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, image stabilization can be very helpful when shooting video.  If you are on a tripod you shouldn't, but if you are shooting free-hand, it is a good thing unless you need quick, lag free panning (which would be a problem due to your rolling shutter on a 600d anyway).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I don't recommend putting too much stock in the overall score that DXoMark produces, there individual discreet stat comparisons are generally reasonably good.  You can find the comparison for these two lenses on the 700D listed &lt;a href=&quot;http://www.dxomark.com/Lenses/Compare/Side-by-side/Tamron-SP-24-70mm-F28-Di-VC-USD-Canon-on-Canon-EOS-700D-versus-SP-AF28-75mm-f-2.8-XR-Di-LD-Aspherical-IF-Canon-on-Canon-EOS-700D___884_870_297_870&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.  (Sadly, they did not have data for the 600D specifically.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-06-30T16:00:13.913" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12062" PostTypeId="2" ParentId="12054" CreationDate="2014-06-30T17:41:08.053" Score="1" Body="&lt;p&gt;Like S-ed mentioned there are many ways.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would Pre-compose all the layers I want masked. &#xA;2 steps:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Select all layers you want masked, then click the menu item Layer -&gt; Pre-Compose (or shift-command-C).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Then apply your mask to the Pre-comp that you just created. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This keeps the workflow simple.&#xA;Keeping things simple would allow you to create more complex effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck with your project.&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2014-06-30T22:19:06.117" LastActivityDate="2014-06-30T22:19:06.117" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12063" PostTypeId="1" CreationDate="2014-06-30T23:28:47.090" Score="2" ViewCount="8107" Body="&lt;p&gt;Due to all the lights in the video the vehicle number is not visible. The video was captured by a CCTV camera. In the video the car comes close enough to be able to read the vehicle number if it were not for all the lights which make it completely unreadable. Not even the form of 1 letter or number can be guessed. Really nothing can be seen except light. Is there a way to edit this video so that the vehicle number becomes visible?&lt;/p&gt;&#xA;" OwnerUserId="6126" LastEditorUserId="2836" LastEditDate="2014-07-01T02:16:00.017" LastActivityDate="2022-07-06T20:46:45.643" Title="How to make a vehicle number visible?" Tags="|color-correction|post-production|clipping|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12064" PostTypeId="2" ParentId="12063" CreationDate="2014-07-01T00:18:00.253" Score="3" Body="&lt;p&gt;Depending on the fidelity of the video you can try to do a high pass filter on the video, in essence it will sharpen edges of the scene and help bring it out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The two steps I would do:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) De-noise it (I use the neat video plugin for after effects)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Run a high pass filter (photoshop has this, but not after effects).&lt;br&gt; &#xA;To emulate this:&lt;br&gt;&#xA;a) Create a duplicate of the video (command D)&lt;br&gt;&#xA;b) Drop the tint effect to turn it into black and white&lt;br&gt;&#xA;c) Add the find edges effect (only the black areas will be sharpened) &lt;br&gt;&#xA;d) Drop the levels effect onto it, adjust it to to bring in more black (to sharpened more) or bring in more white, to leave out areas not to sharpen.&lt;br&gt;&#xA;e) If the edges are to harsh you can always blur it to shoften or feather the sharpening effect.&lt;br&gt;&#xA;f) Add an adjustment layer, drop it below the duplicate layer&lt;br&gt;&#xA;g) Change mode track matte of the adjustment layer to luma inverted (it would hide the layer above when this is done automatically).&lt;br&gt;&#xA;h) Add unsharpen mask effect to the adjustment layer, put it 100, radius 2, adjust as needed.&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can already see that this type of work you can tweak a lot of things.&#xA;Hopefully this gets you going in the right direction&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All the best,&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2014-07-01T06:02:16.383" LastActivityDate="2014-07-01T06:02:16.383" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12065" PostTypeId="2" ParentId="12063" CreationDate="2014-07-01T00:36:42.057" Score="2" Body="&lt;p&gt;There isn't really a magic &quot;enhance&quot; button like on CSI.  If there isn't enough information to see even part of the numbers (at least a blur where they are) then it is impossible to tell what is there because the information simply was not captured.  It is most likely clipping, which means that everything in that area is the maximum possible whiteness and thus any detail that was beyond that is lost.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there is some detail, there are some options available.  There is forensics software that can analyse the data from various frames and interpolate what the numbers are.  It doesn't actually enhance the image, but from process of elimination it can tell what the license plate can't be and that lets it figure it out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The next best approach after that is to try something like what eLouai suggests to try to sharpen any details there and adjust the contrast of the image such that it increases the contrast of the near washed out portion to make any detail that is there more visible.  It won't be magical results, but it might be enough to get a slightly better idea as long as there is something there to work with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might find &lt;a href=&quot;https://photo.stackexchange.com/questions/17098/csi-image-resolution-enhance-how-real-is-it/17238#17238&quot;&gt;this related post&lt;/a&gt; on Photography.SE to be interesting as it is kind of related.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="-1" LastEditDate="2017-04-13T12:43:53.643" LastActivityDate="2014-07-01T02:19:42.867" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12066" PostTypeId="1" AcceptedAnswerId="14524" CreationDate="2014-07-01T04:44:43.667" Score="4" ViewCount="1098" Body="&lt;p&gt;I'm just now discovering ACES with Resolve version 11. I can get Sony S-Log2 footage to look good, but I'm having trouble with CinemaDNG from my 2.5kBMCC. I've seen &lt;a href=&quot;https://www.youtube.com/watch?v=B7DqtW7LB7g&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; tutorial on how to do it, but when I get to the step where you select an IDT, CinemaDNG is not available. Any thoughts on why this might be so? Is there something different I have to do in version 11 than what this guy's doing in 9.x? Here's the IDTs from which I have to choose, in case I'm just crazy.  &lt;img src=&quot;https://i.stack.imgur.com/0oCxc.png&quot; alt=&quot;available formats&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3295" LastEditDate="2014-07-01T19:06:33.950" LastActivityDate="2015-07-26T17:19:38.327" Title="How do I correctly use an ACES workflow with CinemaDNG footage in Davinci Resolve?" Tags="|color-correction|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12067" PostTypeId="1" AcceptedAnswerId="12070" CreationDate="2014-07-01T14:57:38.173" Score="5" ViewCount="45898" Body="&lt;p&gt;I would like to be able to position a still image using the mouse/pointer directly on the image, to be able to drag the whole image around or resize it by dragging one of its corners or sides.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sure I did this earlier but don't know which part of Adobe Premiere Pro CS6 does it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sure, there's the Effect Controls but this seems to only provide for indirectly resizing and positioning the image - i.e. I mouse drag on the numbers themselves and see the effect.&lt;/p&gt;&#xA;" OwnerUserId="1049" LastEditorUserId="2836" LastEditDate="2014-07-01T16:13:39.310" LastActivityDate="2019-07-10T10:02:47.200" Title="How to use mouse drag gesture to position &amp; size a still image in Premiere Pro CS6" Tags="|premiere|cs6|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12068" PostTypeId="5" CreationDate="2014-07-01T16:03:30.073" Score="0" Body="&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Fw0F0.jpg&quot; alt=&quot;Adobe Creative Suite 4&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Creative Suite 4 is the forth major version of the Adobe's multimedia software suite since it was renamed to Creative Suite.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Related Tags&lt;/h2&gt;&#xA;&#xA;&lt;h3&gt;Creative Suite: &lt;a href=&quot;/questions/tagged/after-effects&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;after-effects&amp;#39;&quot; rel=&quot;tag&quot;&gt;after-effects&lt;/a&gt; &lt;a href=&quot;/questions/tagged/premiere&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;premiere&amp;#39;&quot; rel=&quot;tag&quot;&gt;premiere&lt;/a&gt; &lt;a href=&quot;/questions/tagged/encore&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;encore&amp;#39;&quot; rel=&quot;tag&quot;&gt;encore&lt;/a&gt;&lt;/h3&gt;&#xA;&#xA;&lt;h3&gt;Newer Versions: &lt;a href=&quot;/questions/tagged/cc-2014&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cc-2014&amp;#39;&quot; rel=&quot;tag&quot;&gt;cc-2014&lt;/a&gt; &lt;a href=&quot;/questions/tagged/cc&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cc&amp;#39;&quot; rel=&quot;tag&quot;&gt;cc&lt;/a&gt; &lt;a href=&quot;/questions/tagged/cs6&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs6&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs6&lt;/a&gt; &lt;a href=&quot;/questions/tagged/cs5&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs5&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs5&lt;/a&gt;&lt;/h3&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-08-08T21:19:23.223" LastActivityDate="2014-08-08T21:19:23.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12069" PostTypeId="4" CreationDate="2014-07-01T16:03:30.073" Score="0" Body="Creative Suite 4 is the forth major version of the Adobe's multimedia software suite since it was renamed to Creative Suite." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-07-01T16:03:30.073" LastActivityDate="2014-07-01T16:03:30.073" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12070" PostTypeId="2" ParentId="12067" CreationDate="2014-07-01T16:09:01.290" Score="8" Body="&lt;p&gt;Simply double click the Sequence Preview and you get handles to resize the footage and you can drag the footage around in the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/CBTl1.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-07-01T16:09:01.290" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="12071" PostTypeId="5" CreationDate="2014-07-01T16:10:08.743" Score="0" Body="&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/cvCjv.png&quot; alt=&quot;Adobe Creative Suite 5&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Creative Suite 5 is the fifth major version of the Adobe's multimedia software suite since it was renamed to Creative Suite.  It additionally includes the semi-major intermediary release CS 5.5.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Newer Versions: &lt;a href=&quot;/questions/tagged/cc-2014&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cc-2014&amp;#39;&quot; rel=&quot;tag&quot;&gt;cc-2014&lt;/a&gt;&lt;a href=&quot;/questions/tagged/cc&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cc&amp;#39;&quot; rel=&quot;tag&quot;&gt;cc&lt;/a&gt;&lt;a href=&quot;/questions/tagged/cs6&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs6&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs6&lt;/a&gt;&lt;/h3&gt;&#xA;&#xA;&lt;h3&gt;Previous Versions:  &lt;a href=&quot;/questions/tagged/cs4&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs4&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs4&lt;/a&gt;&lt;a href=&quot;/questions/tagged/cs2&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs2&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs2&lt;/a&gt;&lt;a href=&quot;/questions/tagged/cs2&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs2&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs2&lt;/a&gt;&lt;a href=&quot;/questions/tagged/cs&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs&lt;/a&gt;&lt;/h3&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2352" LastEditDate="2014-08-08T21:14:39.487" LastActivityDate="2014-08-08T21:14:39.487" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12072" PostTypeId="4" CreationDate="2014-07-01T16:10:08.743" Score="0" Body="Creative Suite 5 is the fifth major version of the Adobe's multimedia software suite since it was renamed to Creative Suite." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-07-01T16:10:08.743" LastActivityDate="2014-07-01T16:10:08.743" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12073" PostTypeId="5" CreationDate="2014-07-01T16:12:54.123" Score="0" Body="&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/AbhEJ.png&quot; alt=&quot;Adobe CS6 Logo&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Creative Suite 6 is the sixth major version of the Adobe's multimedia software suite since it was renamed to Creative Suite.  It is the final version available for purchase prior to Adobe's move to subscription only licensing under the Creative Cloud (CC) brand.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Related Tags&lt;/h2&gt;&#xA;&#xA;&lt;h3&gt;Creative Suite: &lt;a href=&quot;/questions/tagged/after-effects&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;after-effects&amp;#39;&quot; rel=&quot;tag&quot;&gt;after-effects&lt;/a&gt; &lt;a href=&quot;/questions/tagged/premiere&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;premiere&amp;#39;&quot; rel=&quot;tag&quot;&gt;premiere&lt;/a&gt;&lt;a href=&quot;/questions/tagged/encore&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;encore&amp;#39;&quot; rel=&quot;tag&quot;&gt;encore&lt;/a&gt;&lt;a href=&quot;/questions/tagged/audition&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;audition&amp;#39;&quot; rel=&quot;tag&quot;&gt;audition&lt;/a&gt;&lt;/h3&gt;&#xA;&#xA;&lt;h3&gt;Previous Versions: &lt;a href=&quot;/questions/tagged/cs5&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs5&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs5&lt;/a&gt; &lt;a href=&quot;/questions/tagged/cs4&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs4&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs4&lt;/a&gt; &lt;a href=&quot;/questions/tagged/cs3&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs3&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs3&lt;/a&gt; &lt;a href=&quot;/questions/tagged/cs2&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs2&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs2&lt;/a&gt; &lt;a href=&quot;/questions/tagged/cs&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs&lt;/a&gt;&lt;/h3&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-08-08T21:14:16.980" LastActivityDate="2014-08-08T21:14:16.980" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12074" PostTypeId="4" CreationDate="2014-07-01T16:12:54.123" Score="0" Body="Creative Suite 6 is the sixth major version of the Adobe's multimedia software suite since it was renamed to Creative Suite." OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-07-01T16:12:54.123" LastActivityDate="2014-07-01T16:12:54.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12075" PostTypeId="1" AcceptedAnswerId="12077" CreationDate="2014-07-01T20:24:25.057" Score="2" ViewCount="1507" Body="&lt;p&gt;I am trying to convert an HDMI video signal (from my computer's graphic card) to SDI using an Ultrastudio 3D from Blackmagic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I successfully converted an HDMI signal from my Canon 5D camera, but it does not work when I send a signal from my graphics card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the difference between HDMI from a camera and HDMI from my GPU?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My goal is to send GPU generated content, not a film, so there should be no HDCP problems, am I right? So far I tried to sent my GPU output considering the Ultrastudio 3D as an extended desktop.&lt;/p&gt;&#xA;" OwnerUserId="6130" LastEditorUserId="3295" LastEditDate="2014-07-02T20:55:38.790" LastActivityDate="2014-07-02T20:55:38.790" Title="Cannot capture (HDMI) output of Graphics Card with BlackMagic UltraStudio" Tags="|hdmi|" AnswerCount="1" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="12076" PostTypeId="1" AcceptedAnswerId="12142" CreationDate="2014-07-01T21:14:22.427" Score="3" ViewCount="181" Body="&lt;p&gt;I've got 20 or so text items in my timeline, all using a text template called &lt;code&gt;Bookmark&lt;/code&gt; that I created in Motion. I want to modify the text template in Motion and have the changes propagate through to each of the text items that are already in the timeline. Is that possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Final Cut Pro 10.1.2 and Motion 5.1.1.&lt;/p&gt;&#xA;" OwnerUserId="6131" LastActivityDate="2014-07-11T03:42:07.157" Title="How can I update instances of a text template after changing the master template?" Tags="|final-cut-pro|final-cut-pro-x|motion|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12077" PostTypeId="2" ParentId="12075" CreationDate="2014-07-02T03:12:41.523" Score="2" Body="&lt;p&gt;&lt;strong&gt;What solved the problem:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check your capture software settings. All settings (your monitor/capture device settings, your hardware settings and the settings in your capture software) should be correct and equal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What can help track down similar issues:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Very likely a framerate issue. Only the 4K version of the Blackmagic Capture cards supports 60FPS and your monitor is or was probably set to 60Hz or 50Hz, though your capture card probably is only supporting 30FPS @ 1080p (assuming thats your resolution). (Edit: In this case not true, the UltraStudio (4k) does support 60fps even at 4k over SDI but if someone else has this issue, have a look at the specs of your capture card)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming your are using Windows go to the resolution settings and click on advanced settings after selecting the capture card &quot;display&quot; and then go to the &quot;Monitor&quot; tab and select a lower refresh rate like 30FPS or 25FPS. Then set the same refresh rate in your capture settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On a Mac you can use a tool called &lt;a href=&quot;http://www.madrau.com/index.html&quot; rel=&quot;nofollow&quot;&gt;SwitchResX&lt;/a&gt; to change your refreshrate or alternatively in your case simply set your capture settings to the output settings shown in the System Informations for the Capture Card &quot;display&quot;. So same resolution and refresh rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your really unlucky your Mac doesn't recognize the UltraStudio as a display or the Ultrastudio isn't sending any EDID information, though I somewhat doubt that's the case. I had this issue all the time with the 4K PCI-E capture card from Blackmagic, it always was a settings mismatch.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also make sure that if you want to capture a video that's playing back, it isn't protected by HDCP like Jim Mack suggested.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-07-02T20:52:53.240" LastActivityDate="2014-07-02T20:52:53.240" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="12078" PostTypeId="1" AcceptedAnswerId="12079" CreationDate="2014-07-02T11:07:47.613" Score="0" ViewCount="804" Body="&lt;p&gt;According to &lt;a href=&quot;http://gpac.wp.mines-telecom.fr/dashcast/&quot; rel=&quot;nofollow&quot;&gt;DashCast&lt;/a&gt;, we should provide a configuration file of several entries. The document demos some options:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[v1] &#xA;type=video &#xA;width=1280 &#xA;height=720 &#xA;bitrate=800000 &#xA;[v2]&#xA;type=video &#xA;width=640 &#xA;height=360 &#xA;bitrate=400000 &#xA;[a1]&#xA;type=audio&#xA;bitrate=128000&#xA;[a2]&#xA;type=audio&#xA;bitrate=256000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For my first run of DashCash, the configuration file would be automatically generated if it is not existing. Here is the autogenerated one:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[v1]&#xA;type=video&#xA;bitrate=2000000&#xA;framerate=24&#xA;width=1920&#xA;height=1080&#xA;crop_x=0&#xA;crop_y=0&#xA;codec=libx264&#xA;&#xA;[a1]&#xA;type=audio&#xA;bitrate=192000&#xA;samplerate=44100&#xA;channels=2&#xA;codec=aac&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm wondering where I can get a spec of options for this configuration file?&lt;/p&gt;&#xA;" OwnerUserId="5880" LastEditorUserId="5880" LastEditDate="2014-07-03T01:49:55.833" LastActivityDate="2014-07-03T17:07:07.277" Title="Spec for GPAC's DashCast configuration?" Tags="|mpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12079" PostTypeId="2" ParentId="12078" CreationDate="2014-07-02T13:58:30.027" Score="2" Body="&lt;p&gt;This is available on the page you linked to directly.  Look under the Configuration Files section.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Relevant details from the page:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A file &quot;-conf&quot; file.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[ID]        # The ID of the representation&#xA;type=T      # T can be &quot;audio&quot; or &quot;video&quot;&#xA;width=W     # if type is &quot;video&quot;, &#xA;            # W is the width of the representation&#xA;height=H    # if type is &quot;video&quot;, &#xA;            # H is the height of the representation&#xA;bitrate=B   # B is the bitrate (bps) of &quot;video&quot; or &quot;audio&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And a &quot;-switch-source&quot; file.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[ID]         # The ID of the source identification.&#xA;type=T       # T can be &quot;video&quot;&#xA;start=ST     # ST is the start time YYYY-MM-DD hh:mm:ss&#xA;end=ET       # ET is the end time YYYY-MM-DD hh:mm:ss&#xA;source=S     # S is the address of the source&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Additionally, from looking in the source itself, the configuration file is read in the cmd_data.c file starting on line 160 or so (depending on rev) in the dc_read_configuration method.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the conf file, video type can have codec, framerate, crop_x, crop_y and custom.  Audio types can have codec, samplerate, channels and custom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Custom appears to push the value assigned directly in to the libav codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the Switch source file, the type appears to actually be able to be video or audio.  Both only have the listed 4 options.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-07-03T17:07:07.277" LastActivityDate="2014-07-03T17:07:07.277" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12080" PostTypeId="1" CreationDate="2014-07-02T14:53:29.450" Score="2" ViewCount="2324" Body="&lt;p&gt;I have a flat layer in AE that is parented to another flat object in 3D space (both are &lt;code&gt;.ai&lt;/code&gt; files). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The trouble is when I export to Cinema 4D Lite, the motion of the parented object is not the same as it is in AE. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I expect this has something to do with translating the keyframes on export, so I'm wondering if there's a way in AE to un-parent an object, and add keyframes to retain its motion as if it were still parented. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: On further research, I've found the &lt;a href=&quot;http://aescripts.com/bake-parented-transform/&quot; rel=&quot;nofollow&quot;&gt;Bake Parented Transform&lt;/a&gt; script. Is there no built in way to do this?&lt;/p&gt;&#xA;" OwnerUserId="6134" OwnerDisplayName="Adam M Thompson" LastEditorUserId="6134" LastEditDate="2014-07-02T15:34:55.463" LastActivityDate="2014-07-02T17:42:15.053" Title="Simulate parenting, (or un-parent) in after effects" Tags="|after-effects|animation|cinema4d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12081" PostTypeId="2" ParentId="12080" CreationDate="2014-07-02T17:42:15.053" Score="1" Body="&lt;p&gt;The only solution to do this without an extra script/plugin is to use expressions and then convert the expression to keyframes via &lt;code&gt;Animation-&amp;gt;Keyframe Assistent-&amp;gt;Convert Expression to keyframes&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The big downside is that you have to &quot;build&quot; the parenting yourself, if you parent the position of one layer to another it will result in an expression like: &lt;code&gt;thisComp.layer(&quot;Black Solid 2&quot;).transform.position&lt;/code&gt;. You then have to manage your relative position manually by changing the anchor point which is tedious, then you have to basically parent each transform property manually if you want rotation, scale and opacity as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So unless you can't spend the 15$ or can't use plugins for any reason I would always go for the script solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/IjuHl.png&quot; alt=&quot;Alt-click on the stopwatch to get the expression menu, then use the whip similar to layer parenting&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-07-02T17:42:15.053" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12082" PostTypeId="1" AcceptedAnswerId="12083" CreationDate="2014-07-02T19:11:14.647" Score="-2" ViewCount="61" Body="&lt;p&gt;I heard that FCP (final cut pro - editing software by Apple) has stopped developing. Any editing software if not updated will become useless in short while. So FCP will not be of much help if they are not going to develop it. Is it true that they have stopped the development?&#xA;I have heard this especially from people who are working on Adobe. &lt;/p&gt;&#xA;" OwnerUserId="4744" LastActivityDate="2014-07-02T20:34:35.023" Title="FCP software development." Tags="|software|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12083" PostTypeId="2" ParentId="12082" CreationDate="2014-07-02T20:34:35.023" Score="2" Body="&lt;p&gt;Your question is simply mistaken on multiple levels.  To the best of my knowledge, there has been no announcement about an end of development of Final Cut Pro.  FCPX is the current version and still gets updates and it is still a very popular piece of software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, even if they stopped development today, your premise that editing software rapidly becomes obsolete without constant updates is also 100% incorrect.  Video formats change at a near glacial pace for the tech world.  Almost decade old software can still be used comfortably today and often is.  Outdated software results on missing out on some interesting new features like hardware acceleration and 64 bit support, but it still gets the job done just fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In fact, part of the reason that Adobe switched to their subscription model is because many users would make a habit of only upgrading every 2 to 5 versions of the software.  It is commonplace to use software that is 3 to 5 years old or more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All in all, it sounds like you are probably confused about what you are hearing and even if you are not, there is no reason to worry for some time yet.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-02T20:34:35.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12084" PostTypeId="1" CreationDate="2014-07-02T23:54:50.807" Score="3" ViewCount="1187" Body="&lt;p&gt;I'm looking at a new camera that has a mic in and audio control, but no headphones out. Is there a way to get live audio out of a camera using the HDMI port and plugging into headphones? I want to be portable, so plugging into a monitor and then from the monitor to the headphones is not practical.&lt;/p&gt;&#xA;" OwnerUserId="6136" LastActivityDate="2014-09-02T19:24:31.480" Title="Audio monitoring w/ headphones through HDMI port" Tags="|audio|camera|microphone|audio-quality|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12085" PostTypeId="2" ParentId="12084" CreationDate="2014-07-03T00:40:31.193" Score="2" Body="&lt;p&gt;What you want is generally called an &quot;HDMI audio extractor&quot;. There are several hardware products on the market that will extract the audio in the HDMI stream to an audio out connection and pass-through the video part.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A search on ebay gives you several results: &lt;a href=&quot;http://www.ebay.com/sch/i.html?_nkw=HDMI+audio+extractor&quot; rel=&quot;nofollow&quot;&gt;http://www.ebay.com/sch/i.html?_nkw=HDMI+audio+extractor&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though if you need very high quality audio you probably need a more professional product with a good built-in DAC (digital to analog converter). HDMI audio is digital so it needs to be converted to an analog signal and the hardware used in these products isn't meant for high fidelity audio production. Or buy a cheap one with an digital output and use an external DAC.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-08-27T21:03:09.027" LastActivityDate="2014-08-27T21:03:09.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12086" PostTypeId="1" CreationDate="2014-07-03T07:14:47.127" Score="4" ViewCount="254" Body="&lt;p&gt;We are building a 65ft x 30ft multi-sport court with 13ft walls all around (similar to the one pictured) and we would like to know what video camera equipment would be the most appropriate in order to get a live feed of the action 24/7.&lt;img src=&quot;https://i.stack.imgur.com/NQFuJ.jpg&quot; alt=&quot;Similar to this&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We would like the cameras to be up high, anywhere around or on top as needed. Fixed, unmanned. They also need to be able to withstand being hit by (tennis, basketballs, soccer balls, etc) and have HD quality of at least 720p. No need to be able to move it or zoom with it remotely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to my research, there are security cameras that could possible do the work, considering they can shoot HD, but would the video look smooth? Would fps be a limiting factor?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some other questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;What are some of the minimum specs I should be looking for in order to shoot live sports?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Would 2 cameras be enough? Or 4 be needed? Could a wider-angle camera replace the need for more than two cameras? We're aiming for &amp;lt;400$, per piece, is that realistic?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Would it be better to place them on (top of) two opposite corners or right on the middle at either end? Or maybe in the middle of the court facing opposite ends?&#xA;We want to have every inch of the court covered. And most be able to see up high for basketball goals and down low for small soccer goals.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I understand we should be looking for HD-SDI (over HDMI) able equipment as it would allow us to run longer cables as needed, correct?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With all cameras in place, where would all feeds converge? Would it require a tricaster/studio board or could it go directly into a video card/laptop? Trying to keep it as simple and cost effective as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main purpose of the live feed is to show it in screens for spectators outside, with streaming as a second priority.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, is there any software that would allow me to plot or draw the vision field of a camera? Or anything remotely similar using geometric and physical data? Not even sure if those are the proper technical terms but hopefully you get what I mean.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you very much.&lt;/p&gt;&#xA;" OwnerUserId="6139" LastActivityDate="2015-05-12T23:05:09.003" Title="Advice on how to determine right camera equipment and set up for multi-sport court?" Tags="|video|camera|hdmi|sdi|setup|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12087" PostTypeId="1" CreationDate="2014-07-03T08:34:06.907" Score="0" ViewCount="200" Body="&lt;p&gt;At present I have a software solution that involves 4 analogue cameras connected to an encoder that is plugged into my router. My application then reads the rtsp feed from the ip address from this connection.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem I have is that it seems difficult to get installers for my product for various reasons (based here in UK).  If I used wireless digital cameras then it would not need qualified electricians to install these analogue cameras.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, all the products I have seen for all this is that the wireless cameras uses it's own software to deal with rtsp feeds. I cannot seem to get access to the feed (I am using VLC).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any wireless cameras on the market that I could look in using?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additional&#xA;My C# Desktop app is looking for an rtsp feed from my video encoder that is just a black box that decodes analogue signal and encodes it to a digital output.  I am trying to create a product that will be easy to install but as the industry stands in the UK getting installers to install 4 analogue cameras is difficult. If I can remove the need for installers then that is a great step forward for me.&lt;/p&gt;&#xA;" OwnerUserId="4976" LastEditorUserId="4976" LastEditDate="2014-07-04T07:14:19.000" LastActivityDate="2014-12-02T15:01:21.157" Title="Wireless IP Camera" Tags="|video|wireless|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12088" PostTypeId="2" ParentId="12086" CreationDate="2014-07-03T14:44:19.683" Score="1" Body="&lt;p&gt;The &lt;a href=&quot;http://gopro.com/cameras/hd-hero3-black-edition&quot; rel=&quot;nofollow&quot;&gt;GoPro&lt;/a&gt; would be a perfect candidate for what you want.&#xA;It's a so called &quot;action camera&quot; and is a very robust (water tight with case) wide-angle camera that can shoot in very high frame rates with HD resolution (even more at lower frame rates).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suitable recording options for high speed sport events would 1080p @ 60FPS or 720p @ 120FPS.&#xA;The camera also has a live raw HDMI output, its very suitable for live monitoring and recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also the camera has in-offical &lt;a href=&quot;https://github.com/KonradIT/autoexechack/&quot; rel=&quot;nofollow&quot;&gt;scripting&lt;/a&gt; capabilities which makes it very easy to set the camera up for un-manned opertation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will only need to get a DC battery pack adaptor because the GoPro cannot be used without a battery inserted. It's a dummy battery that connects the camera to a DC power supply.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The GoPro Hero3+ Black, their best model, is available for 400$ or a bit less depending on the shop. There is also the Silver Edition for 300$ which should be enough for what you need, it also has HDMI out and 1080p @ 60fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regarding your question about Security Camera, most of them have a rather bad video quality (in comparison to film cameras) and usually low frame rates that aren't suitable for sport events. They are very specialized cameras that often directly record to files instead of giving you a live stream (atleast the cheaper ones).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The capturing on the other hand can get quite expensive, you can of course use a standard PC to capture a camera but you would one capture card per camera and capture cards that support 1080p @ 60 FPS are rather expensive in the 700-1500$ range.&#xA;There is also specialized studio equipment for these kind of things that handle multiple inputs but that again is also very expensive and will cost your around 10.000-15.000$&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd say with a GoPro in wide-angle mode about 2 cameras are enough to cover the whole court when you put them in opposite corners. 4 would probably offer nicer perspectives but that depends on your budget.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are on a really tight budget I recommend you opt for 30FPS, not as cool for sports but then again most users don't even have the bandwidth for 1080p@30FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you can opt for the even cheaper GoPro White Edition and use a lot cheaper capture card like a &lt;a href=&quot;http://www.blackmagicdesign.com/products/decklink/techspecs/W-DLK-06&quot; rel=&quot;nofollow&quot;&gt;BlackMagic DeckLink&lt;/a&gt; for 145$ in combination with a standard PC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When it comes to setting up streaming servers that handle the capture from the PCs and stream it to the web I recommend you hire a professional developer, this is not an easy task at all and can give you a lot of headaches if you have no experience with that matter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively you can opt for one &lt;a href=&quot;http://www.teradek.com/pages/vidiu&quot; rel=&quot;nofollow&quot;&gt;these things&lt;/a&gt;, they are rather in-expensive and are more compact and would spare you the hassle of a complicated server setup. It automatically streams to streaming services like ustream or YouTube, or have your own website integrate the RTMP stream that it produces.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would definitely be the cheapest solution, though 1080p @ 60FPS is not possible with this solution, when opting for this device I would go with the GoPro White Edition aswell.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though 720p@60FPS is possible with this solution, so that might be good alternative if resolution isn't as important as frame rate to you. I'd probably recommend the 720p@60FPS option, its the overall cheapest and high frame rates always win over high resolution when it comes to sport (in my opinion).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps you.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-07-03T17:35:44.763" LastActivityDate="2014-07-03T17:35:44.763" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12089" PostTypeId="1" AcceptedAnswerId="12090" CreationDate="2014-07-03T17:55:20.513" Score="1" ViewCount="491" Body="&lt;p&gt;I am trying to crop my video online, like it's done below. Any ideas? Thanks in advance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/NIm59.jpg&quot; alt=&quot;What I&amp;#39;m trying to do but this is on a program&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6141" LastEditorUserId="3295" LastEditDate="2014-07-03T22:41:15.487" LastActivityDate="2017-04-20T09:53:37.290" Title="I'm trying to crop the sides of a movie which are unwanted... Online" Tags="|video-editor|screen-casting|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12090" PostTypeId="2" ParentId="12089" CreationDate="2014-07-03T18:19:35.720" Score="2" Body="&lt;p&gt;BEFORE I would say&#xA;onetruemedia.com &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It HAD a great online video editor, but that was bought out by disney and then shut down. (Disney just wanted the tools in one of their software bundles)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I would say &#xA;videotoolbox.com&#xA;Not the most intuitive, actually a very poor user interface.&#xA;But it has the crop feature you are looking for, not easy to find.&#xA;But here is a little video on how to use the online tool&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/VksDI9r_jdM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2014-07-03T18:19:35.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12091" PostTypeId="2" ParentId="10881" CreationDate="2014-07-04T05:40:35.200" Score="2" Body="&lt;p&gt;The on board cameras you ask about I have found to be sub-par in resolution, so I would focus on models you can attach a camera to. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One of mine - the Parrot AR Drone 2 - I simply gaffer tape a gopro to - the obvious problem is any movement of the drone to cope with flight results in a camera shift - the onboard cameras have this issue too of course.  This can be stabilized out with good post-processing tools, but it's worth, budget allowing, to have a Gimbal for the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Having used a Phantom 2 Vision system with a remote control for the Gimbal with video feedback, this was absolutely a winner for a film production, as the director I could watch each run, in high winds which occupied the pilot.  This requires quite a bit of gear - the camera signal broadcast to a monitor (for us over wifi), the control of the gimbal, and the control of the drone.  The positive of this system was the Gimbal and Drone control was centralised, so each didn't need their own battery, broadcast, and control systems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if you want smooth shots that don't &quot;give away&quot; it's taken by a flying machine and have a smooth flight quality, it really is worth having the camera separate on a Gimbal of some sort.  The advantage of the prebuilt systems for this (We take XYZ camera) is they've 1. worked in the weight of the camera for that drone, and 2. figured out it's best positioning in terms of a balanced flight and drag, and tested it for that.  Eg. If I gaffer tape my gopro in the wrong place, the drone stabilisation software fights it and the footage ends up shakey.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck, it's all very very fun!&lt;/p&gt;&#xA;" OwnerUserId="5136" LastActivityDate="2014-07-04T05:40:35.200" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12092" PostTypeId="2" ParentId="6971" CreationDate="2014-07-04T09:47:13.440" Score="1" Body="&lt;p&gt;The price what you as a videographer can ask per hour depends on a supply demand market. You could ask at least more then the minimum wage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is how I calculate price per hour. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;equipment_costs = total_value_of_used_equipment/((8736/10)/3) &#xA;price_per_hour = (minimum_wage_per_hour + workexperience_in_years) + equipment_costs&#xA;&#xA;8763 is the total hours in one year&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5624" LastEditorUserId="5624" LastEditDate="2014-07-04T11:43:40.187" LastActivityDate="2014-07-04T11:43:40.187" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12093" PostTypeId="2" ParentId="4016" CreationDate="2014-07-04T15:06:52.297" Score="3" Body="&lt;p&gt;Guess the original poster found his way to do it - I found the following that worked for me, even though I followed a different procedure. I didn't want to convert the MTS files before importing them to iMovie into anything else and was missing too the additional index / descripition files. this is the source and works for Sony SW / Cams. Potentially with other HW / SW constellation a similar way is possible.&#xA;&lt;a href=&quot;http://www.mac-forums.com/forums/movies-video/263323-how-import-mts-files-into-imovie-have-been-archived.html&quot; rel=&quot;nofollow&quot;&gt;http://www.mac-forums.com/forums/movies-video/263323-how-import-mts-files-into-imovie-have-been-archived.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what I did:&#xA;1. I added the folder with my MTS files on my USB drive with the Sony PMB Picture Motion Browser - in fact I used the more recent Play Memories Home edition&#xA;2. Now I marked the MTS files from that source and exported them to an external USB drive - but you can use basically any medium (SDHC, maybe even DVD if you think that's better for archiving)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And now the new folders created can be either imported directly from the medium, copied to the Mac or other location from where you again can import them as archive in iMovie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="6144" LastActivityDate="2014-07-04T15:06:52.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12094" PostTypeId="2" ParentId="12087" CreationDate="2014-07-05T12:48:21.380" Score="1" Body="&lt;p&gt;Don't have any experience with Wifi Security Cameras but this one here would fit your specs, aswell as the other IP cameras from that company:&#xA;&lt;a href=&quot;http://foscam.us/wireless-ip-cameras/foscam-fi9805w-wireless-ip-camera.html&quot; rel=&quot;nofollow&quot;&gt;http://foscam.us/wireless-ip-cameras/foscam-fi9805w-wireless-ip-camera.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have not used their cameras and can't tell you if they are any good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Actually a lot IP enabled security cameras fit the specs. As long as they have a web interface they offer a stream usable by VLC, you just have to visit their web interface and get the url for the stream. VLC understands more than just RTSP, RTMP f.e. is much more used for web streaming nowadays.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-07-05T12:48:21.380" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12095" PostTypeId="2" ParentId="9276" CreationDate="2014-07-05T13:23:35.067" Score="2" Body="&lt;p&gt;We have over 30 video editing suites in our company. The majority currently have Avid Media Composer, and a few using Final Cut Pro. Both of these would be good to learn as they are widely used in video post-production around the world, and rather more commonly than the Adobe products.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe Media Composer is now available through monthly subscription, which is useful as it has always been a lot more expensive than Final Cut.&lt;/p&gt;&#xA;" OwnerUserId="6146" LastEditorUserId="6146" LastEditDate="2014-07-05T17:18:09.440" LastActivityDate="2014-07-05T17:18:09.440" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12096" PostTypeId="1" CreationDate="2014-07-05T13:58:50.013" Score="0" ViewCount="780" Body="&lt;p&gt;Does Windows-7 already have something that does this?&#xA;Or is there a free download that does it?&lt;/p&gt;&#xA;" OwnerUserId="6147" LastActivityDate="2015-01-05T03:02:41.180" Title="How to convert a .m4v video/audio file to .mp4 on Windows-7, for free" Tags="|software-recommendation|conversion|mp4|video-standards|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12097" PostTypeId="2" ParentId="12096" CreationDate="2014-07-05T14:29:27.330" Score="3" Body="&lt;p&gt;Somewhat of an duplicate of: &lt;a href=&quot;https://video.stackexchange.com/questions/4895/can-i-manually-change-an-mp4-to-m4v-by-changing-the-extension-in-the-finder-m&quot;&gt;Can I manually change an .mp4 to .m4v by changing the extension in the Finder (mac) or explorer (win)?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MP4 and M4V are essentially the exact same thing, M4V is usually used to indicate video only files but some sofware/companies are using it for standard MP4 files with video AND audio (lots of Apple software f.e.).&#xA;It's just a convention to indicate the type of content. An audio only MP4 f.e. would have the extension .m4a.&#xA;You can just rename the extension from .m4v to .mp4.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-08-06T12:46:11.507" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12098" PostTypeId="2" ParentId="9856" CreationDate="2014-07-05T21:10:21.047" Score="2" Body="&lt;p&gt;I faced a similar problem with a music video. Multiple scenes trying to keep every thing lined up and some lip scync toward the end.  Had a hell of a time trying to get it all to match up with the music- scene changes, action, and lip scync. As the audio was located in scene 1 I did not want to try to cut up the song and try to get it to play correctly over numberous scenes. since the audio disappears when you're working on a different scene it all becomes guesswork trying to estimate the number of frames required for every scene in order to come out where you need to be.&#xA;Then it accurred to me to use a line timer to solve the problem. Here is what I did and kept the scenes rather than moving at all to one timeline:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;If you are using music in your animation, determine the beat of the audio.  lets say in this case 14 frames per beat (Use an audio editor to determine beat rate.) &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Make sure your frame rate in flash is the same as your audio in the audio editor. My case was 29.97 fps&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Create a small graphic lets say a red square. Have it appear every 14 frames for a duration of 2 frames.  Repeate pattern until you reach the end of the scene. &lt;strong&gt;Always&#xA;make sure you end the pattern with it one frame short of repeating the marker&lt;/strong&gt;.  The rest of your scene layer/s should fall somewhere within this last timing pattern. Don't worry if they are not lined up yet. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Begin new scene. Start your timing pattern at the first frame with a timing marker. Repeat #3, as per need.  (Short cut: copy and paste timing layer using copy frames command by right clicking on layer. Note you will need to add 1 frame to the layer right after the first new timing mark per paste if your time line is longer than your intial paste &amp;amp; if you paste more than one time it will need to be done for each paste.) Saves a ton of time.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;5 Remove extra timing marks. End as you would in #3.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;6 Here is the tricky part and requirews a little thinking, but this will line every thing up and get it to run to the beat. Add or remove frames in the rest of your layers to the end of your marker frames but just before a new timeing marker appears.  in other words if your final timing marker in the scene is only 4 frames from the end of your current layer subtract the frames so the layer ends before the last timeing marker. so you now at some point need to add these frames back in.  You may be able to do this in the next scene. The way to keep track of this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;formula for tracking:&#xA;**&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;1. A# = added number of frames;&#xA;2. R# = removed number of frames;&#xA;3. NA# = need to add number of frames;&#xA;4. NR# = need to remove number of frames;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;**&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sample of how it gets used:&#xA;**&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;1. N0  Scene 1 R4  NA4;&#xA;2. NA4 Scene 2 A6  NR2;&#xA;3. NR2 Scene 3 R10 NA8;&#xA;4. NA8 Scene 4 A8  NR0;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;**&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Okay here is the logic behind this chart. Starting at the begining of frame 1 scene 1 you are at 0 &lt;strong&gt;(N0)**You do not need to add frames to the beginning of this scene. If you remove 4 frames to get to where you need to be in association with your timing marks&lt;/strong&gt;(R4)** Then you need to add them back in &lt;strong&gt;(NA4)&lt;/strong&gt;. Carry over the &lt;strong&gt;NA4&lt;/strong&gt; to the next line on the chart or scene (&lt;strong&gt;NA4 Scene 2&lt;/strong&gt;). next you had to add 6 frames in scene 2 &lt;strong&gt;(A6)&lt;/strong&gt; since you already needed to add 4 frames and you added 2 more than what you needed you now need to subract these 2 extra frames at some point Need to Remove 2 frames &lt;strong&gt;(NR2)&lt;/strong&gt;&#xA; hence &lt;strong&gt;(NA4 Scene 2 A6  NR2)&lt;/strong&gt;&#xA;next line:&#xA;&lt;strong&gt;NR2 Scene 3 R10 NA8&lt;/strong&gt; Needed to remove 2 frames in scene 3, you removed 10 frames you now need to add 8 frames back in.&#xA;next line:&#xA;&lt;strong&gt;NA8 Scene 4 A8  NR0&lt;/strong&gt; needed to add 8 frames in scene 4, you added 8 frames which just happens to end at the right spot on the timing marker layer.   Now everything is synced up you can add additional scenes making sure that you end your scene as described in number 3 of these instructions.  Everything should sync up perfectly.  If you have any problems you may have to adjust one or two frames either direction in previous scenes to make up for the lag that flash has.&#xA;you always want to get back to a 0 point or (N0)&#xA;Also now that the time markers are blinking during your animation you can also add lineup/sync other animations that occur within the scene to the beat of the music.&lt;/p&gt;&#xA;" OwnerUserId="6149" LastEditorUserId="6149" LastEditDate="2014-07-05T21:28:20.633" LastActivityDate="2014-07-05T21:28:20.633" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12100" PostTypeId="2" ParentId="6902" CreationDate="2014-07-06T15:56:15.960" Score="8" Body="&lt;p&gt;No most video formats (nearly all) do not allow custom ICC color profiles to be embedded. (Improvemet/correction: MP4s can have color profiles tagged in the metadata of a video file.) most video on the consumer end is intended for the REC.709 color space. sRGB is similar and uses the same primaries. transcoding (including compressing) will almost always result is a slight shift in color accuracy, saturation, gamma curve, or black and white level shift. This is made worse due to converting between RGB and YCbCr color spaces.&lt;/p&gt;&#xA;" OwnerUserId="6152" LastEditorUserId="-1" LastEditDate="2015-12-18T13:40:48.840" LastActivityDate="2015-12-18T13:40:48.840" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12102" PostTypeId="2" ParentId="9276" CreationDate="2014-07-06T17:36:53.417" Score="1" Body="&lt;p&gt;Ignore the tools, understand the techniques first&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a few books I can recommend.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Cut by Cut, 2nd edition&lt;/strong&gt;: Editing Your Film or Video &lt;em&gt;by Gael Chandler&lt;/em&gt;&lt;br&gt;&#xA;Covers all the basics for video editing and more. A wonderful overview of the edit workflow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How to Shoot Video That Doesn't Suck&lt;/strong&gt;: Advice to Make Any Amateur Look Like a Pro &lt;em&gt;by Steve Stockman&lt;/em&gt;&lt;br&gt;&#xA;Even though this is more geared towards shooting videos with your camera, it has wonderful little nuggets regarding editing the footage. For example did you realize that most cuts last no longer than 10 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps you&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2014-07-06T17:36:53.417" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12103" PostTypeId="1" CreationDate="2014-07-06T17:19:52.470" Score="3" ViewCount="10160" Body="&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/FsnMO.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What does the error &quot;After Effects error: invalid DICT array size (83::2)&quot; mean?&#xA;Is this a serious problem?&#xA;How can I fix it?&lt;/p&gt;&#xA;" OwnerDisplayName="user23154" LastEditorUserId="2836" LastEditDate="2014-07-07T03:17:45.547" LastActivityDate="2021-02-07T05:21:41.187" Title="Invalid DICT array size (83::2) in After Effects" Tags="|after-effects|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12104" PostTypeId="2" ParentId="12103" CreationDate="2014-07-06T20:14:26.837" Score="2" Body="&lt;p&gt;This in essence is a font system error.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your system was working fine and then after installing some fonts you are getting this error, I would uninstall the fonts in question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fonts that have special characters in their internal font names (not the fontfile name) like accents, umlauts or trademark signs will cause this issue and need to be removed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The update to After Effects CC 12.1 should fix this error. &lt;a href=&quot;http://blogs.adobe.com/aftereffects/2013/09/after-effects-cc-12-1-whats-new-and-changed.html&quot; rel=&quot;nofollow&quot;&gt;http://blogs.adobe.com/aftereffects/2013/09/after-effects-cc-12-1-whats-new-and-changed.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="2836" LastEditDate="2014-07-07T03:16:15.313" LastActivityDate="2014-07-07T03:16:15.313" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12105" PostTypeId="1" AcceptedAnswerId="12111" CreationDate="2014-07-07T08:38:22.253" Score="76" ViewCount="167884" Body="&lt;p&gt;I have many videos and I need to put an image in front of them for about 5 seconds, but adding it manually and rendering it each time would take really long, so I am asking if it is possible to do so via ffmpeg and if you could, please, help me out with it since I have no experience with ffmpeg. I've found some commands already but none of them worked.&#xA;This one for example.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -itsoffset 5 -i in.mp4 -r 25 -loop 1 -i intro.png -filter_complex &quot;[1:v] fade=out:125:25:alpha=1 [intro]; [0:v][intro] overlay [v]&quot; -map &quot;[v]&quot; -map 0:a -acodec copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6158" LastEditorUserId="3295" LastEditDate="2017-08-22T13:46:48.677" LastActivityDate="2021-10-20T17:37:30.377" Title="Add an image overlay in front of video using ffmpeg" Tags="|video|editing|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12106" PostTypeId="1" AcceptedAnswerId="12149" CreationDate="2014-07-07T18:11:57.323" Score="4" ViewCount="952" Body="&lt;p&gt;I want to know how to rig a 4-bank Kino to a gobo arm like this. I can tell they're using two arms, but I don't understand how it is attached to the first, nor do I know what mounting plate they have on the Kino. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://provideocoalition.com/images/uploads/fbm-makeoutpict.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;film set with Kino on C-stand http://provideocoalition.com/images/uploads/fbm-makeoutpict.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most photos I've seen just have the Kino with its own lollipop, right into a knuckle. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://tanklightsyouup.com/wp-content/uploads/2011/11/two-kinos.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Back of Kino Flo on C-Stand http://tanklightsyouup.com/wp-content/uploads/2011/11/two-kinos.jpg&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3875" LastActivityDate="2014-07-14T09:08:13.103" Title="How do I rig a Kino Flo to a gobo arm like this?" Tags="|lighting|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12107" PostTypeId="2" ParentId="12106" CreationDate="2014-07-07T21:26:47.680" Score="0" Body="&lt;p&gt;Get two or three Cardellini clamps (e.g: &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B0055V49F6&quot; rel=&quot;nofollow&quot;&gt;http://www.amazon.com/End-Jaw-2E-Cardellini-Clamp/dp/B0055V49F6&lt;/a&gt;.) Mini Cardellinis might be the right weight for Kinos. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll be able to attach anything to anything else! &lt;/p&gt;&#xA;" OwnerUserId="5600" LastActivityDate="2014-07-07T21:26:47.680" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12108" PostTypeId="1" CreationDate="2014-07-08T05:00:33.570" Score="1" ViewCount="172" Body="&lt;p&gt;I need just increase sound of my MTS video. But I'm very afraid to lose the quality of video because it is classical music and intonation is very important.&lt;/p&gt;&#xA;" OwnerUserId="6160" LastActivityDate="2014-07-17T16:11:34.163" Title="What is the best tool to increase sound of MTS video without need to re-encoding this video?" Tags="|audio|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12109" PostTypeId="2" ParentId="10881" CreationDate="2014-07-08T12:12:24.023" Score="2" Body="&lt;p&gt;For a different sort of flying device to lift a camera, consider a kite.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A suitable kite is probably much cheaper than a drone. Plus it doesn't require batteries, so can stay up in the air much longer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A range of cameras can be lifted with a kite. With a big enough kite, it is possible to lift a DSLR. Or a point and shoot or action camera can be lifted with a smaller kite.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though a kite does need suitable wind conditions. Most lifting kites have a fairly narrow range they will fly in, some are designed for light winds, some for stronger. And it takes a bit of practice and skills to get it flying nicely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a general guide, the &lt;a href=&quot;https://sites.google.com/site/kapwikipage/home&quot; rel=&quot;nofollow&quot;&gt;KAP Wiki&lt;/a&gt; is a good place to start.&lt;/p&gt;&#xA;" OwnerUserId="4456" LastActivityDate="2014-07-08T12:12:24.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12111" PostTypeId="2" ParentId="12105" CreationDate="2014-07-08T20:03:44.813" Score="108" Body="&lt;p&gt;You can do a simple image overlay using the following syntax:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -i image.png \&#xA;-filter_complex &amp;quot;[0:v][1:v] overlay=25:25:enable='between(t,0,20)'&amp;quot; \&#xA;-pix_fmt yuv420p -c:a copy \&#xA;output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;overlay=25:25&lt;/code&gt; means we want to position the image 25px to the right and 25px down, originating from the top left corner (0:0).&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;enable='between(t,0,20)'&lt;/code&gt; means we want the image to show between second 0 and 20.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;[0:v][1:v]&lt;/code&gt; means that we want the first video file we import with &lt;code&gt;-i&lt;/code&gt;, in our case input.mp4 or how ffmpeg sees it, video input file number 0, to be under video input file 1, in our case image.png. &lt;code&gt;:v&lt;/code&gt; just means we want the video track from these file sources. &lt;code&gt;[0:a]&lt;/code&gt; would mean we want the first imported audio track. Which would also come from input.mp4 but would point to the audio track instead of the video track in the mp4 file.&lt;/p&gt;&#xA;&lt;p&gt;If you want a certain image quality/settings and not the settings ffmpeg chooses, add the image and or audio encoding options you want to use. The default video encoder will be x264. Check the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;noreferrer&quot;&gt;H.264 encoding guide&lt;/a&gt; for possible settings.&lt;/p&gt;&#xA;&lt;p&gt;The &lt;code&gt;-acodec copy&lt;/code&gt; / &lt;code&gt;-c:a copy&lt;/code&gt; that you have in your command f.e. would simply re-use the audio from the source file. Though you can't do that with the video of course (in this case), that has to be transcoded because we are creating a new video source.&lt;/p&gt;&#xA;&lt;p&gt;If you want to transcode audio, remove the &lt;code&gt;-c:a copy&lt;/code&gt; part. You may have to explicitly specify an encoder, e.g. &lt;code&gt;-c:a aac -strict experimental&lt;/code&gt;. See the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/AAC&quot; rel=&quot;noreferrer&quot;&gt;AAC encoding guide&lt;/a&gt; for more info.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2021-10-20T17:37:30.377" LastActivityDate="2021-10-20T17:37:30.377" CommentCount="17" ContentLicense="CC BY-SA 4.0" />
  <row Id="12112" PostTypeId="1" AcceptedAnswerId="12219" CreationDate="2014-07-08T20:06:17.450" Score="0" ViewCount="2367" Body="&lt;p&gt;I want to make a movie that is a continuous loop. All images have white background.  When I make the movie with iMovie it starts and ends with a black background image.  This does not look good when the video loops.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do we control the basic background in iMovie?&lt;/p&gt;&#xA;" OwnerUserId="6163" LastActivityDate="2016-02-25T18:09:52.707" Title="iMovie 11 starts with a black screen. How can we make this a white screen?" Tags="|imovie|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12113" PostTypeId="2" ParentId="11894" CreationDate="2014-07-09T00:23:26.190" Score="1" Body="&lt;p&gt;Two ways&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Larger aperture (the lower the number the larger the aperture) letting in more light, but also narrowing your depth of field). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2)&#xA;I would suggest a higher ISO, don't understand why that does not work for you. The current crop of camera's now are absolutely amazing at capturing low light environments that you cannot see with the naked eye.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One of the best cameras for this is the Sony a7s, just released (s for sensitivity).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It needs to be seen to be believed.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/XgbUgNiHfXM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=XgbUgNiHfXM&quot; rel=&quot;nofollow&quot;&gt;Sony a7s high ISO video link&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2014-07-09T00:23:26.190" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12114" PostTypeId="1" AcceptedAnswerId="12116" CreationDate="2014-07-09T11:52:52.357" Score="3" ViewCount="6188" Body="&lt;p&gt;I am willing to make an educational guidance video. And since I want to make it using an &lt;a href=&quot;http://en.wikipedia.org/wiki/IPad&quot; rel=&quot;nofollow&quot;&gt;iPad&lt;/a&gt;, what things should I keep in mind?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And which specific camera app will be better over the inbuilt camera app? With that how could I improve audio quality of my video?&lt;/p&gt;&#xA;" OwnerUserId="6165" LastEditorUserId="6169" LastEditDate="2014-07-09T16:39:37.947" LastActivityDate="2014-09-08T18:47:37.793" Title="How can I make professional video using an iPad?" Tags="|video|video-quality|video-recording|ipad|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12115" PostTypeId="2" ParentId="12114" CreationDate="2014-07-09T13:46:21.767" Score="3" Body="&lt;p&gt;There are plenty of camera apps in the app store that will let you lock of the exposure and focus of the iPad's camera.  These are the features that I'd consider most important.  Locking focus and exposure keeps the camera's settings from &quot;breathing&quot;.  This forces you to think about focus and exposure before you start shooting.  This &lt;strong&gt;forethought is the single most important ingredient for producing quality video&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Improving the quality of your lighting will probably give you the highest Return on Investment.  Again, good lighting depends on pre-planning and forethought, but no one can tell you which kit is going to give you the magic results, especially without details about what you're shooting.  If you plan to shoot outdoors, you're going to need an entirely different setup than what you'd use indoors.  For outdoor lighting, look into scrims, diffusers, flags, bounce cards, and reflectors.  If you're shooting ENG style, you'd probably want a light attached to the camera.  If you're doing indoor interviews, you'll probably want to research &quot;three point lighting&quot;.  Whatever the case, it's likely that a nice soft light source should be one of your early investments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sound is the next area you can improve to make better quality video.  The first item on the sound chain is a microphone, and -- like choosing a light -- choosing the right mic for the job depends entirely on the job.  Professional recording environments usually have a huge selection of microphones just to get the right sound.  You'll probably want to invest in a lavalier or shotgun microphone early on.  Once you have room for more kit, consider mixers, preamps, and recorders.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camera stabilization is also very important for professional quality video.  Again, a little pre-planning will go a long way here.  Is your shot going to be static?  Propping your iPad on something stationary will eliminate the hand-held look.  Are you going to pan?  You're probably going to need a tripod or monopod for that.  Is the camera going to move?  You're going to want to increase the camera's rotational inertia somehow.  This can be as complicated and expensive as buying a stedicam or gimbal rig, or as simple as duct-taping your iPad to something more massive, like a heavy dictionary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, the best thing you can do is to research yourself into these areas and find which solutions work best for your situation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oh, but here's a gadget that you might find useful.  &lt;a href=&quot;http://thepadcaster.com/product/&quot; rel=&quot;nofollow&quot;&gt;padcaster&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2014-07-09T13:51:56.340" LastActivityDate="2014-07-09T13:51:56.340" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12116" PostTypeId="2" ParentId="12114" CreationDate="2014-07-09T13:47:03.847" Score="4" Body="&lt;p&gt;Trade in the iPad and buy a desktop or laptop that you can edit on.  You will not produce professional results entirely on an iPad.  I am not aware of any good video editing options for iPad, certainly none of the big names have a product available.  There simply isn't enough horsepower on a tablet to perform the hard, complex operations involved in video editing in a smooth and timely manner. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;(Minor correction: There is a version of iMovie available and Pinnacle does have a video editor available as well.  These are both makers of some of the better consumer focused stuff and could be considered big names, particularly since Pinnacle was previously held by Avid for a while, but I would still consider these cumbersome and limiting.  It probably &lt;strong&gt;IS&lt;/strong&gt; possible to produce a professional quality result, but you'd have to work really hard at it.)&lt;/em&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could use the iPad for shooting the video and get decent results with proper usage, but you will still need a lot of other equipment to compensate for the iPad's camera short comings.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lighting will be super important.  You will need lots of light, placed well so that there is sufficient light for the sensor and no shadows that the camera's dynamic range can't deal with.  This is also more than just having lamps, but also the stands to position them where you need them and modifiers to adjust the way the light falls on the scene to make good, even lighting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sound will also be another issue.  You will want an external mic.  People &lt;a href=&quot;http://www.bhphotovideo.com/explora/audio/tips-solutions/using-usb-microphone-ipad&quot; rel=&quot;nofollow&quot;&gt;have reported&lt;/a&gt; being able to use USB mics with the iPad Camera Connection Kit, but I couldn't find anything verifying if it would work with professional audio interfaces or a microphone more designed for video situations.  Another option (which is what you will commonly see in more professional productions) is to use a separate audio recorder, such as a Zoom h4n to record audio and sync it up in post production.  Even if you really wanted to stick with your plan to use the iPad for the editing, you could transfer the files off the SD card using the previously mentioned camera connection kit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will also need a stand and tripod that can hold the iPad securely.  There are numerous options available and I don't have any particular experience with any particular model, but being able to shoot stable smooth video is an absolutely critical aspect of any high quality video shoot.  If you shot is purely static, you might be able to prop it up like Jason suggested, though it also then runs the risk of slipping or more easily getting jostled, and as he points out, you won't be able to do a shot with any movement, so I'd highly recommend a tripod.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can handle those three things, that should allow for decent quality footage to be shot on the iPad, but you are probably looking at between $450 ($200 dirt cheap lighting, $50 tripod adapter, $50 dirt cheap tripod, $100 - $150 relatively cheap usb consumer audio mic) and $1300+ ($500 ok lighting, $250 basic pro audio recorder, $150-$200 decent video mic, $50 tripod adapter, $250-$350 ok tripod) of gear to supplement it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to emphasis that the $450 is about the cheapest you could possibly go while still calling it &quot;professional video&quot;.  You can make something that looks ok for a consumer project for less, but really pulling off professional video is unfortunately not particularly cheap even if costs have dropped like a rock in the last 10 to 15 years.  (You can now do for $15,000 what used to cost $150,000+.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, practice and experience is key.  There is more to producing professional results than the right equipment, you also need to know how to use it properly.  There is far too much to doing this to summarize in a single QA post, but pre-planning is really key.  If you know your shots and plan the video out before you shoot, you can make sure you get all the shots you need and make sure that they flow well from one to the next.  You can plan the angles to shoot from and what you want the end product to look for.  Even with hundreds of thousands of dollars of high end professional gear, the result will look like someone's home movies without planning and organization to accomplish a consistent vision for the video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-07-09T14:08:44.493" LastActivityDate="2014-07-09T14:08:44.493" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="12117" PostTypeId="2" ParentId="5658" CreationDate="2014-07-09T13:54:53.483" Score="4" Body="&lt;p&gt;As of now, Youtube doesn't allow multiple soundtracks other than adding a music-track.  So you'll need to create multiple videos with voice-over for different languages. Thankfully however this is already automated using a bash script.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=ud38LEKKY6k&quot; rel=&quot;nofollow&quot;&gt;Demo Video with Automatic voice-over translation from SRT subtitles using eSpeak&lt;/a&gt;&lt;br&gt;&#xA;&lt;a href=&quot;http://www.particio.com/downloads/voiceover-0.3&quot; rel=&quot;nofollow&quot;&gt;VoiceOver Script Version 0.3 to convert Subtitle file to Audio Track using eSpeak&lt;/a&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This solution works on Linux but I guess one can use Ubuntu Linux as a VM using virtualbox on windows.&lt;/p&gt;&#xA;" OwnerUserId="6166" LastActivityDate="2014-07-09T13:54:53.483" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12118" PostTypeId="1" AcceptedAnswerId="12273" CreationDate="2014-07-09T14:13:14.037" Score="3" ViewCount="8020" Body="&lt;p&gt;I have a set of files from which I would like to create a movie file with a certain frame rate. I can, however, not seem to find software that is able to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm working under Ubuntu Linux. Ideally the movie would maintain the vector graphics format from the pdf. But I do not know if software exists which makes this possible. If this is impossible, I could also convert the pdf files to a nonvector format and produce a movie from it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anybody have experience with this?&lt;/p&gt;&#xA;" OwnerUserId="6167" LastEditorUserId="6079" LastEditDate="2014-07-11T07:35:02.150" LastActivityDate="2017-08-08T15:38:21.137" Title="Create a movie file from a set of pdf files" Tags="|software-recommendation|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12119" PostTypeId="2" ParentId="12114" CreationDate="2014-07-09T14:22:51.010" Score="3" Body="&lt;p&gt;There are already 2 great answers, I just wanted to add some input that would be too much as a comment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Firstly it highly depends on which iPad you own, the camera in the first 2 generations were &quot;garbage&quot;. I think that changed a bit with the iPad 3 and iPad Air.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the quality of your iPad camera doesn't produce suitable material you can stop right there, a different app won't make it look any better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If we look at smartphone/tablet cameras in general, they have developed tremendously in the last 3 years and you can shoot very high quality videos with some extra equipment like a tripod and an external mic (usb or for the mic jack, doesn't matter really) plus some lightning equipment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you happen to have a rather recent &quot;high-end&quot; phone from last 2 years you might want to opt for that instead of the iPad and then only cut the footage on the iPad if you don't want to do that on a full fledged computer.&#xA;Generally the camera built into modern phones are quite a bit better than what gets built into tablets as most people don't really use their tablet for making photos or videos, they mostly just use it for the occasional snapshot when they happen to have their tablet in their hands. My totally not fact based guess would be that about 70-80% of all photos today are made with a smartphone, just because we have them on our hands nearly all the time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I own a Galaxy S4 for example and the videos I make with it during daylight have a quality of some 200-300€ FullHD camcorder from 3-4 years ago, even better I'd say. So I'd definitely say that professional video with smartphone technology is possible today, definitely not on a high-end level but definitely for low cost productions, granting some experience with video and some extra equipment as mentioned before.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And my phone is really just an example from my personal experience, it's not extraordinary, a lot of other phones from other manufactures like Apple or HTC have a very similar quality level. Especially the higher-end Nokia phones feature an absolutely impressive camera nowadays.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-07-09T14:43:56.143" LastActivityDate="2014-07-09T14:43:56.143" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="12120" PostTypeId="2" ParentId="12118" CreationDate="2014-07-09T15:02:25.643" Score="2" Body="&lt;p&gt;A tool to do that would be &lt;a href=&quot;https://www.ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; but unfortunately it does not support PDF decoding.&#xA;Though you can convert your pdf's to png's using &lt;a href=&quot;http://www.imagemagick.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;imagemagick&lt;/a&gt; (&lt;a href=&quot;https://askubuntu.com/questions/50170/how-to-convert-pdf-to-image&quot;&gt;relevant question&lt;/a&gt; on askUbuntu).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And then create a movie out of those PNG's with ffmpeg. &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Create%20a%20video%20slideshow%20from%20images&quot; rel=&quot;nofollow noreferrer&quot;&gt;This guide&lt;/a&gt; on the ffmpeg page explains how, here an example command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 1/5 -i img%03d.png -c:v libx264 -r 30 -pix_fmt yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This read images from the current folder with the prefix &quot;img&quot; and a following number of 3 digits and display them for 5 seconds (&lt;code&gt;-r 1/5&lt;/code&gt;) with a frame rate of 30 fps (&lt;code&gt;-r 30&lt;/code&gt;).&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="-1" LastEditDate="2017-04-13T12:22:54.683" LastActivityDate="2014-07-09T15:02:25.643" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12121" PostTypeId="2" ParentId="12118" CreationDate="2014-07-09T15:40:54.270" Score="2" Body="&lt;p&gt;Adobe Flash is designed to work with animating vector graphics and allowing playback of vector animations, but it requires that a user have Flash Player installed.  I know there are third party Flash authoring applications out there, but I don't know what, if any, exist on Linux, or if they are still maintained as Flash has been falling out of favor all over the place and is completely unsupported on most mobile platforms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Outside of that, video is generally a raster format, so you can't work directly with vector graphics without rasterizing them.  If you rasterize your PDFs to an image sequence, then many video players and/or encoders can work with an image sequence.  A lot will even automatically recognize it as a video if you name them the same with numbering.  (Such as &quot;myvideo00000.tga, myvideo00001.tga, myvideo00002.tga, etc.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As Professor Sparkles pointed out, imagemagick and FFMPEG is one such option, but any combination of a tool that can convert PDFs to images and then a tool that can play or convert a series of images in to a video would work fine.  (For example, in a pinch you could print the PDF to an image driver and then use Premiere or something similar to open the image sequence and output a video as well.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-07-09T15:49:52.367" LastActivityDate="2014-07-09T15:49:52.367" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12122" PostTypeId="1" AcceptedAnswerId="12134" CreationDate="2014-07-09T19:56:00.493" Score="3" ViewCount="171" Body="&lt;p&gt;I  was wondering if there is a generator, or something out on the web where you type a word, and it would create a video file of it being written out. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to embed the file on a site, so when you go there the first time, it's not just loaded, it autoplays the video, so it starts to write the word and finishes writing the word.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How could I get something like this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there is no generator, could I accomplish this in photoshop? I'm not sure what to search&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ermm Not sure Video Production is appropriate for this... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It can be done in flash,&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/UAjxtNd1wGw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please migrate back to graphic design.&lt;/p&gt;&#xA;" OwnerUserId="6171" OwnerDisplayName="Peege151" LastEditorUserId="6171" LastEditDate="2014-07-09T20:17:38.370" LastActivityDate="2014-07-10T19:32:29.387" Title="Create a Video File or PNG Sequence of Writing Out A Word" Tags="|video|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12124" PostTypeId="2" ParentId="12114" CreationDate="2014-07-10T02:50:24.617" Score="2" Body="&lt;p&gt;Wanted to chime in,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Did you know that Bentley Motors ad, was filmed using an iphone. Using an iphone 5s to sell their $300,000 car. You heard right. I was quite surprised. Below are the details.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the commercial (after 3:15 mark you see behind the scenes footage)&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/lyYhM0XIIwU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;the filmmakers used an iPad Air to assemble all of the footage, and edited the entire thing in the backseat.&quot;&#xA;The software they used was iMovie. A quit and dirty edit tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They used the beastgrip universal lens adapter for the iphone, costs around $75&#xA;&lt;img src=&quot;https://i.stack.imgur.com/CPxVb.jpg&quot; alt=&quot;beastgrip lens adapter&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To that they added a $37.50 fisheye lens&#xA;&lt;img src=&quot;https://i.stack.imgur.com/WeLqo.png&quot; alt=&quot;fisheye lens&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They added a Thunderbolt/HDMI split cable to add a field monitor to their iPhone rigs in order to monitor their shots. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also added a $4.99 iOS video app that helps turn your mobile device into more of a video camera &quot;FilmIC Pro&quot; ... “We used 24fps, 50mbs setting,” he says. “We always lock white balance and focus on every shot.”&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The big expense was the steadicam rig, by freefly Movi M5, $5000&#xA;&lt;img src=&quot;https://i.stack.imgur.com/EhJrH.png&quot; alt=&quot;steadicam&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reza (the director) did reveal that they used Final Cut Pro for finessing, adding titles and color timing. (So they did not just use iMovie).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, yeah. Much to my surprise, it looks like you can use your ipad/iphone to shoot commercial quality footage. If you have the right gear attachments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://reza.la/portfolio/bentley-intelligent-details/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://reza.la/portfolio/bentley-intelligent-details/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.hdvideopro.com/blog/editor/2014/06/intelligent-details-this-short-documentary-shot-with-an-iphone-5s-and-edited-on-an-ipad-air-will-blow-you-away.html#.U74WDo1dXfa&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.hdvideopro.com/blog/editor/2014/06/intelligent-details-this-short-documentary-shot-with-an-iphone-5s-and-edited-on-an-ipad-air-will-blow-you-away.html#.U74WDo1dXfa&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://appleinsider.com/articles/14/05/17/behind-the-scenes-of-bentleys-iphone-filmed-ipad-air-edited-ad&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://appleinsider.com/articles/14/05/17/behind-the-scenes-of-bentleys-iphone-filmed-ipad-air-edited-ad&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2014-07-10T14:40:01.287" LastActivityDate="2014-07-10T14:40:01.287" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="12125" PostTypeId="1" CreationDate="2014-07-10T06:28:31.627" Score="10" ViewCount="3334" Body="&lt;p&gt;Ok, so using the overlay filter, one can change the x/y location of a video over time by using the &amp;quot;t&amp;quot; variable. For example, &lt;code&gt;overlay=x='if(gte(t,2), -w+(t-2)*20, NAN)':y=0&lt;/code&gt; can be used to start sliding an overlayed element from the top left to top right, after 2 seconds has passed.&lt;/p&gt;&#xA;&lt;p&gt;What I want to do is to use a similar principle for scaling elements. I would like to be able to change the scale of a video over time by using an expression (like, &lt;code&gt;scale=w=iw*t&lt;/code&gt;, or something along that line).&lt;/p&gt;&#xA;&lt;p&gt;Is this possible?&lt;/p&gt;&#xA;&lt;p&gt;when I run that expression through -filter_complex, I get&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Error when evaluating the expression 'iw*t'.&lt;/p&gt;&#xA;&lt;p&gt;Maybe the expression for out_w:'iw*t' or for out_h:'-1' is self-referencing.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I'm feeling like there's a fair chance I'm going to need to patch FFMpeg if I want to get this functionality, but I thought I would ask first, to see if anyone would be in the know about this kind of thing!&lt;/p&gt;&#xA;&lt;p&gt;Does anyone know how such a task might be accomplished?&lt;/p&gt;&#xA;&lt;p&gt;Thanks for the help!&lt;/p&gt;&#xA;" OwnerUserId="6173" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2018-10-04T11:00:31.863" Title="Is it possible in FFMPEG to change scale over time?" Tags="|video|ffmpeg|effects|timecode|programming|" AnswerCount="1" CommentCount="16" ContentLicense="CC BY-SA 3.0" />
  <row Id="12126" PostTypeId="1" AcceptedAnswerId="12128" CreationDate="2014-07-10T11:23:37.777" Score="8" ViewCount="7768" Body="&lt;p&gt;Is a refresh rate higher than 100 Hz still noticeable for the human eye?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tv manufacturers are still taking these refresh rates to new heights, but is there really a noticeable difference between a refresh rate of 100 Hz and 200 Hz, Let alone 400 Hz?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any applications when a refresh rate should be as high as possible?&lt;/p&gt;&#xA;" OwnerUserId="1764" LastEditorUserId="1764" LastEditDate="2014-07-10T12:33:21.547" LastActivityDate="2014-07-12T19:58:47.793" Title="Screen refresh rate above 100 Hz noticeable?" Tags="|video|video-quality|hardware|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12127" PostTypeId="2" ParentId="12126" CreationDate="2014-07-10T12:24:39.800" Score="1" Body="&lt;p&gt;As per my knowledge television sets are clocked to 60 hz  refresh rate. As it goes on increasing like 120 Hz the pictures will look more smoother. but lets say for 200 performance will enhance a bit. But for 600 Hz or so our eyes will not feel much difference than 200 Hz.&#xA;So as per my opinion its not necessary to have refresh rate as high as possible in other hand it should be moderate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;check following link they have tried to explain it more clearly.:&#xA;&lt;a href=&quot;http://www.pcmag.com/article2/0,2817,2379206,00.asp&quot; rel=&quot;nofollow&quot;&gt;http://www.pcmag.com/article2/0,2817,2379206,00.asp&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;hope this will help you&lt;/p&gt;&#xA;" OwnerUserId="6165" LastActivityDate="2014-07-10T12:24:39.800" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="12128" PostTypeId="2" ParentId="12126" CreationDate="2014-07-10T14:09:39.973" Score="6" Body="&lt;p&gt;No, there is no practical limit that we know of yet to what would be best, there is however a practical limit to what we can capture and display.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In tests with airforce pilots, subjects were able to &lt;strong&gt;&lt;em&gt;identify&lt;/em&gt;&lt;/strong&gt; a plane from being shown a frame for only 1/220th of a second.&lt;a href=&quot;http://www.100fps.com/how_many_frames_can_humans_see.htm&quot;&gt;1&lt;/a&gt;  They eye is able to pull information out of extremely short periods of time, but unfortunately our eyes are also very good at concealing lack of information (which is actually why video works in the first place), so it is extremely hard (possibly impossible) to determine the actual point at which we wouldn't benefit from more information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either way, it is almost certainly upward of the current 1/600 mark and often theorized to be beyond the 1/1000 mark.  The problem comes not from how much information we present, but that we don't have enough information to present.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally videos are normally not played back faster than 48 frames per second at the fastest and video games normally don't go beyond actually displaying 120 or so.  This is due to a lack of being able to store sufficient data and stream it in an efficient enough manner to display in an affordable manner.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead, to make things appear more smoothly, the TV interpolates additional frames to fill the gaps.  It looks at where one frame is and where the next frame will be and generates frames in-between to smooth it out.  The problem is, not all motion is perfectly smooth and interpolation isn't a perfect process.  The result is that unnatural artifacts appear in the video which we can detect and end up being unsettling and eventually start causing more harm to the persistence of vision than the extra frames help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is why, when you move in to higher refresh rates it is sometimes better to use a lower setting without the interpolation.  Video is about simulating reality for your eyes.  In reality, there is no refresh rate, any time your eyes chose to process, they get whatever is there at the time.  Thus, higher and higher frame rates will more closely emulate reality as long as the information is actually based around reality rather than something invented by electronics on the fly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Eventually, we may exceed the &quot;refresh rate&quot; of the eye, but as of yet, we don't definitively know what that is and are pretty certain we haven't hit it yet.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-10T14:09:39.973" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12129" PostTypeId="1" AcceptedAnswerId="12130" CreationDate="2014-07-10T15:49:56.493" Score="6" ViewCount="10321" Body="&lt;p&gt;Cannot find a source to see market share or change for top video editing software tools used today.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The big three are:&lt;br&gt;&#xA;Avid&lt;br&gt;&#xA;Final Cut Pro&lt;br&gt;&#xA;Adobe Premiere Pro (after effects)&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know Avid is still used by large film and movie productions.&lt;br&gt;&#xA;But from the grass roots perspective, every day users, it seems to be overwhelmingly Adobe products. But this is based on my anecdotal personal perspective. Wanted something more concrete.&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2014-07-10T16:56:19.230" LastActivityDate="2015-08-02T01:44:16.730" Title="What is the Marketshare of the big three video editing (NLE) software packages?" Tags="|premiere|video-editor|final-cut-pro|avid|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12130" PostTypeId="2" ParentId="12129" CreationDate="2014-07-10T16:16:14.157" Score="4" Body="&lt;p&gt;This kind of data is actually remarkably hard to come by.  There are a few industry reports available for thousands of dollars, but the best free resource I could find when I was searching was an informal poll that Dave Dugdale did.  It was an imperfect test by his own admission because it allowed both voting up and voting down, but it gives at least some kind of an idea of the rough market share.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/5zgdYW6rh3o?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-10T16:16:14.157" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12131" PostTypeId="2" ParentId="12126" CreationDate="2014-07-10T16:57:56.093" Score="2" Body="&lt;p&gt;A similar question (except about 60Hz) was raised on &lt;a href=&quot;https://skeptics.stackexchange.com/questions/3348/can-the-human-eye-distinguish-frame-rates-above-60-hz/13767#13767&quot;&gt;Skeptics Stack Exchange&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The answers there discuss how the human eyes works differently to screens and cameras, and doesn't have a frame rate, and that being able to distinguish flicker and being to perceive that we distinguish it may be separate concepts.&lt;/p&gt;&#xA;" OwnerUserId="6177" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:46.107" LastActivityDate="2014-07-10T16:57:56.093" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12132" PostTypeId="2" ParentId="12126" CreationDate="2014-07-10T18:46:07.110" Score="4" Body="&lt;p&gt;The reason why modern TVs have been pushing higher framerates is not because people can see much beyond 30-60Hz, but because if the source framerate and the display framerate doesn't match exactly, then the display has to either drop frames, or add frames.  This mismatch is visible, particularly during panning scenes, for instance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It used to be that made-for-TV was captured at 30 interlaced frames per second.  Movies are shown at 24 frames per second.  When you want to show a 24 frame per second video on a 30 frame per second TV, what do you do? Well, they performed what's called a 3:2 pulldown, which converted the 24 frames per second into a reasonably acceptable 30 interlaced frames per second. This isn't perfect, though - there are still artifacts and visible differences between watching a film at 24 frames per second, and watching it on a TV with 3:2 pulldown.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So TV manufacturers starting increasing the refresh rate so that each frame could be shown onscreen the same amount of time as every other frame, leading to the ideal viewing given the capture frame rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The minimum frame rate this is possible for both TV (30 and 60 frames per second) and movies (24 frames per second) is 120Hz.  This display will show each 30fps frame four times, each 60fps frame twice, and each 24fps frame 5 times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Newer displays support 240Hz frame rate.  This is necessary for a seamless 3D experience when using active shutter type glasses.  It will allow the display to show 60fps, 120fps, and 48fps 3D images without any timing problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's little point to advertising anything lower than 120Hz, because what you're essentially saying is that you can't display either 30Hz or 24Hz material exactly as it was captured - there's no single framerate below 120Hz that is good for both. However, some display devices meant for serious gamers do advertise lower rates, such as 60Hz, because as gamers they simply want the highest content framerate, and aren't concerned about showing lower framerates exactly.&lt;/p&gt;&#xA;" OwnerUserId="4734" LastActivityDate="2014-07-10T18:46:07.110" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12133" PostTypeId="1" AcceptedAnswerId="12135" CreationDate="2014-07-10T19:31:26.610" Score="2" ViewCount="1929" Body="&lt;p&gt;I have problem to understand, how Twixtor works. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to use Twixtor plugin with my Adobe Premiere Pro. I can only change speed for whole sequence. Adobe has its own filter called &quot;Time remapping&quot;, but that does not change speed so smoothly, as I saw in some videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does Twixtor have keyframes? Where I can set start and end of slow down effect?&lt;/p&gt;&#xA;" OwnerUserId="5416" LastActivityDate="2014-07-10T21:26:07.523" Title="How to time-remap with Twixtor in Adobe Premiere?" Tags="|slowmotion|twixtor|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12134" PostTypeId="2" ParentId="12122" CreationDate="2014-07-10T19:32:29.387" Score="2" Body="&lt;p&gt;It depends on whether you need to to do this based on a raster image of a finished typeface design or if you are starting from scratch.&#xA;For both cases you can use flash like shown in the video you linked or you can use After Effects to have some more control over the look, doing this frame by frame is no that easy if you are after specific timing, instead you probably want to keyframe this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects is pretty great for this job, it has the so called &quot;Stroke&quot; effect where you can let After Effects draw a line based on a vector shape or &quot;Masks&quot; in After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You basically draw a vector path and the effect will draw along that path based on keyframes you set, you can also alter the line width of the &quot;pencil&quot; and have overall a much larger control of the look of the &quot;writing&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a small tutorial explaining the basics of the effect:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/3SkiQvE-dWE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-07-10T19:32:29.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12135" PostTypeId="2" ParentId="12133" CreationDate="2014-07-10T21:26:07.523" Score="2" Body="&lt;p&gt;Just like with any effect property you can animate it by clicking on the little stop watch on the left of the effect property name (see below).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can apply the effect to just a single clip, you don't have to use it on the entire sequence, just drag and drop the effect from the effect list onto the desired clip and then animate the speed of the video via keyframes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A screenshot from the &quot;Effects Control&quot; panel:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/K7ic8.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-07-10T21:26:07.523" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12136" PostTypeId="5" CreationDate="2014-07-10T21:26:41.673" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2014-07-10T21:26:41.673" LastActivityDate="2014-07-10T21:26:41.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12137" PostTypeId="4" CreationDate="2014-07-10T21:26:41.673" Score="0" Body="Twixtor is a software that allows to speed up or slow down video sequence" OwnerUserId="5416" LastEditorUserId="5416" LastEditDate="2014-07-11T15:15:12.150" LastActivityDate="2014-07-11T15:15:12.150" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12138" PostTypeId="5" CreationDate="2014-07-10T21:28:35.900" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2014-07-10T21:28:35.900" LastActivityDate="2014-07-10T21:28:35.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12139" PostTypeId="4" CreationDate="2014-07-10T21:28:35.900" Score="0" Body="Adobe Premiere is a timeline-based non-linear video editing software application." OwnerUserId="5416" LastEditorUserId="2836" LastEditDate="2014-07-11T15:15:32.990" LastActivityDate="2014-07-11T15:15:32.990" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12141" PostTypeId="2" ParentId="1734" CreationDate="2014-07-11T01:52:08.293" Score="5" Body="&lt;p&gt;The best results I've achieved were using a light grey cyc or background instead of actual white. They bring the exposure up to where it looks white but you don't have to use nearly as much light on the subject to make them expose properly. We just used kino's with diffusion on the cyc and kino's with less diffusion on the subject with a solid backlight. The 5D MkIII produced a fantastic and professional looking result.&lt;/p&gt;&#xA;" OwnerUserId="6183" LastActivityDate="2014-07-11T01:52:08.293" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12142" PostTypeId="2" ParentId="12076" CreationDate="2014-07-11T03:42:07.157" Score="3" Body="&lt;p&gt;Unfortunately, that isn't currently supported. Your text items will preserve the state from when they were first added. So you're stuck doing it manually. It's number 4 on the list of top requested features for the next update though and Apple seems to be aware of this site, or they've just been reading minds the last few updates- &lt;a href=&quot;http://fcpx.tv/top.html&quot; rel=&quot;nofollow&quot;&gt;http://fcpx.tv/top.html&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing that has helped me though is that you can drag your new Motion titles on top of the old ones already on your timeline, hit &quot;replace&quot;, and it should retain the original text of the old title. &lt;/p&gt;&#xA;" OwnerUserId="5948" LastActivityDate="2014-07-11T03:42:07.157" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12143" PostTypeId="2" ParentId="9690" CreationDate="2014-07-11T06:52:14.737" Score="1" Body="&lt;p&gt;On youtube, I would just contest the copyright holders.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For it to be fair use you need to be able to ask these 4 questions (not all 4 need to be good to be fair use):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1. What are you doing with the copyrighted content?&lt;/strong&gt; If you are doing something highly transformative with the content then you will have more room under the fair use doctrine.  You are more likely to be covered if you are saying something quite different from what the original creator was trying to say.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2. What is the nature of the copyrighted content you are using?&lt;/strong&gt; Use of creative or fictional content (for example, a film or cartoon) is less frequently allowed under fair use than less creative, non-fictional material.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;3. How much of the original content are you using?&lt;/strong&gt; You should be careful to use a reasonable amount.  Just use enough of the copyrighted content as you need to in order to get your point across.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;4. Will your work serve as a substitute for the original?&lt;/strong&gt; If your video will take away views or sales from the original then it is less likely to be covered under fair use.  Additionally, you shouldn’t create work that occupies markets that copyright owners are entitled to exploit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The thing you need to realize is EVEN if you are fair use, the copyright holders can still sue you and the courts will then need to decide if your usage of the material constitute fair use. Home movies are protected by fair use. Feel free to contest them, but again depending on length and use, see court case of a 29 second home video, &lt;a href=&quot;http://en.wikipedia.org/wiki/Lenz_v._Universal_Music_Corp.&quot; rel=&quot;nofollow&quot;&gt;Lenz vs Universal&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now the other issue is that contentID system was abused by the rights holders and there recently has been pushback by youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;YouTube also is noting that it had updated its ContentID tools to try to avoid some of the excessive takedowns associated with it. For one thing, it appears that &quot;certain rightsholders&quot; are being asked &quot;to perform in-depth audits of their references before they can make any new claims.&quot; Reading between the lines, that sounds like YouTube is hitting back at rightsholders who have abused ContentID. That sounds good, though we'll have to see how it plays out in practice. YouTube is also making it easier to pull out incidental audio in videos that might trigger a ContentID claim, improving the way MCNs can &quot;fast track&quot; a response to claims they think are bogus, and is promising to more aggressively investigate ContentID abuse.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source: &lt;a href=&quot;https://www.techdirt.com/articles/20140326/08003126688/youtube-finally-admits-it-totally-screwed-up-rolling-out-contentid-to-multi-channel-networks-trying-to-improve-tools.shtml&quot; rel=&quot;nofollow&quot;&gt;https://www.techdirt.com/articles/20140326/08003126688/youtube-finally-admits-it-totally-screwed-up-rolling-out-contentid-to-multi-channel-networks-trying-to-improve-tools.shtml&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2014-07-11T16:00:23.677" LastActivityDate="2014-07-11T16:00:23.677" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12145" PostTypeId="2" ParentId="9690" CreationDate="2014-07-11T13:55:23.457" Score="1" Body="&lt;p&gt;Vimeo seems to be more supportive of Fair Use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My video is private. It's a non-commercial home movie.&lt;/p&gt;&#xA;" OwnerUserId="5183" LastActivityDate="2014-07-11T13:55:23.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12146" PostTypeId="2" ParentId="12126" CreationDate="2014-07-11T14:05:45.470" Score="1" Body="&lt;p&gt;As a gamer, I notice a huge difference between a regular 60hz monitor and a 120/144hz one. The smoothness of fast movements is impressive!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BenQ L2420TE&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Asus VG248QE&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT - Televisions have input lag, so it doesn't feel as smooth as these monitors.&lt;/p&gt;&#xA;" OwnerUserId="6184" LastActivityDate="2014-07-11T14:05:45.470" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12147" PostTypeId="1" CreationDate="2014-07-11T17:18:59.593" Score="1" ViewCount="920" Body="&lt;p&gt;When I save the recording it produces an AVI. The AVI play perfectly on my computer. When I bring it into Premier though it gets extremely choppy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The AVI file also won't process on YouTube, I was going to post it for you all to compare.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure what could be causing the issue. The Screen Recorder is set to Frame rate of 30. It does have a Codec. I left it on the default Xvid MPEG-4 Codec. Here's a screenshot of the options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/fRvxZ.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would changing to one of the other Codec be a possible solution? Or what other options can I try?&lt;/p&gt;&#xA;" OwnerUserId="5206" LastActivityDate="2014-07-11T17:53:26.447" Title="Having trouble with an screen recording saved as AVI from Rylstim Screen Recorder" Tags="|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12148" PostTypeId="2" ParentId="12147" CreationDate="2014-07-11T17:53:26.447" Score="3" Body="&lt;p&gt;The video may look choppy because of the codec you're using. For fun, I recommend trying out your h.264 variant, x264vfw. I know that h.264 is almost ubiquitously used for internet content. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Playback in premiere is extremely variable when it comes to sequence settings, video preview settings, system preferences (such as scratch discs, and optimizing for memory consumption/performance) and also what type of hardware you have (Nvidia GPUs mercury playback v.s. AMDs OpenCL). I recommend checking out this guide on optimizing your premiere experience: &lt;a href=&quot;http://blogs.adobe.com/aftereffects/2011/02/optimizing-for-performance-adobe-premiere-pro-and-after-effects.html&quot; rel=&quot;nofollow&quot;&gt;http://blogs.adobe.com/aftereffects/2011/02/optimizing-for-performance-adobe-premiere-pro-and-after-effects.html&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2014-07-11T17:53:26.447" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12149" PostTypeId="2" ParentId="12106" CreationDate="2014-07-12T03:41:22.263" Score="5" Body="&lt;p&gt;The photo shows two grip heads, two arms and a c-stand. The kino would have its normal mounting plate (the one in the second photo).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The two grip arms are interlaced together; this makes them trombone-able (adjustable in length), stronger, and gives the gag a longer reach. One grip head attaches the arms to the c-stand, another attaches the kino to the arms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use this rig all the time; it works better if the stand is a junior stand and the grip arms are attached to the junior stand with a junior lolly-pop (much stronger).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cardellini clamps can indeed clamp a stud to many things, but they aren't the best tool for this rig: you want a 5/8&quot; female receiver for the Kino, not a 5/8&quot; stud.&lt;/p&gt;&#xA;" OwnerUserId="6182" LastEditorUserId="674" LastEditDate="2014-07-14T09:08:13.103" LastActivityDate="2014-07-14T09:08:13.103" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12150" PostTypeId="1" AcceptedAnswerId="12151" CreationDate="2014-07-12T06:44:51.423" Score="2" ViewCount="3511" Body="&lt;p&gt;I am converting .mp4 files to .flv using ffmpeg in centos. But the conversion time is extremely too slow! It takes about 1.5 hours to convert 500MB .mp4 file into .flv. I am using a linux vps with 2 GBs dedicated RAM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using the following code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source.mp4 -c:v libx264 -ar 22050 -crf 28 destination.flv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there any way I can fasten the conversion time? Any help/suggestions will be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="6186" LastActivityDate="2014-10-12T19:45:49.363" Title="FFmpeg MP4 to FLV too slow" Tags="|video|ffmpeg|conversion|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12151" PostTypeId="2" ParentId="12150" CreationDate="2014-07-12T10:55:40.723" Score="2" Body="&lt;p&gt;Given your are using a VPS this is no suprise (guessing you only have a single core with 1-3GHz) and you won't be able to crunch the conversion down to a few minutes. You can try using &lt;code&gt;-c:v libx264 -presets ultrafast&lt;/code&gt; but I'd guess it will still take you about 45-60 minutes to encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also remove the &lt;code&gt;-crf&lt;/code&gt; option when using a preset (they choose a default that produces a very good balance between speed and quality, I only recommend to modify that value when you know what it really does)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Be advised that the quality you get from that preset is not exactly great. If you NEED fast encoding speed over everything then go for it, if it's not THAT important I'd suggest using &lt;code&gt;fast&lt;/code&gt; oder &lt;code&gt;faster&lt;/code&gt; instead of the &lt;code&gt;ultrafast&lt;/code&gt; preset.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-10-12T19:45:49.363" LastActivityDate="2014-10-12T19:45:49.363" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12152" PostTypeId="2" ParentId="12150" CreationDate="2014-07-12T16:50:42.930" Score="1" Body="&lt;p&gt;RAM is not the critical part of a transcode, CPU is.  Since it is working stream to stream, fairly minimal memory actually has to be required if the encoder is operating efficiently.  The memory speed does matter for scratch space for the processor, but not so much the quantity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The CPU (or GPU if using GPU optimized encoding) is what does all the work and most likely your VPS has insufficient processing power.  Video encoding is &lt;em&gt;extremely&lt;/em&gt; intensive.  It is one of the primary reasons that video editing workstations tend to be large powerful computers, often with multiple graphics cards to spread the load to GPU processing or dedicated hardware encoding peripherals.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on the length of video represented by that 500mb file, this isn't at all surprising.   Even on my 2.9ghz quad core i7, it still takes roughly 2 to 3 times the length of the original video to complete a high quality 2 pass VBR encoding (and all 8 virtual cores are at 99% non-stop the entire time).  You may not be doing two pass, but you also likely don't have nearly as much processing power being thrown at it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-12T16:50:42.930" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12153" PostTypeId="2" ParentId="12126" CreationDate="2014-07-12T19:58:47.793" Score="1" Body="&lt;p&gt;Most topics have been very well discussed already, I just want to add a case were even more than 400hz is very much needed.&#xA;As previously stated by &lt;a href=&quot;https://video.stackexchange.com/a/12131/3295&quot;&gt;Oddthinking&lt;/a&gt;, the eye and human brain don't work like a TV or Camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This especially counts for cases where our other senses are involved. E.g. video games, high-frame rates of 60-120hz are very well perceived by most people in this case. Because our &quot;motoric senses&quot; are connected to what happens on the screens and we expect a certain action to occur on the screen within a given time frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This gets driven to the extreme with Virtual Reality which has been an increasingly hot topic over the past 2 years thanks to the &lt;a href=&quot;http://www.oculusvr.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Oculus Rift&lt;/a&gt;. When it comes to your head movement, even the slightest &quot;lag&quot; in our vision is perceived which puts VR infront of a big problem. Suddenly much more than 1000FPS become something very viable, though this isn't really possible in games at the moment without huge losses in graphical fidelity.&#xA;So they implement tricks like &lt;a href=&quot;http://www.cnet.com/news/black-frame-insertion-busting-blur-from-oculus-to-lcd-tvs/&quot; rel=&quot;nofollow noreferrer&quot;&gt;inserting black frames&lt;/a&gt; in between actual frames to trick out brain that it sees fluid motion.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-07-12T19:58:47.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12156" PostTypeId="1" CreationDate="2014-07-13T13:56:21.863" Score="20" ViewCount="47831" Body="&lt;p&gt;&lt;em&gt;Note: I posted same question to &lt;a href=&quot;https://stackoverflow.com/questions/24720063/how-can-i-convert-mts-file-avchd-to-mp4-by-ffmpeg-without-re-encoding-h264-v&quot;&gt;stackoverflow&lt;/a&gt; a short time before, when I have not found this comunity yet. I repost this since the question is more suitable to this community.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;1. What I tried&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;I have some &lt;strong&gt;.MTS (AVCHD format) files recoreded with my AVCHD camera&lt;/strong&gt;. Its specification is as shown below:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe 140612_Canon-00000.MTS &#xA;ffprobe version 2.2.1 Copyright (c) 2007-2014 the FFmpeg developers&#xA;(snip)&#xA;Input #0, mpegts, from '140612_Canon-00000.MTS':&#xA;  Duration: 00:48:58.40, start: 0.800300, bitrate: 5563 kb/s&#xA;  Program 1 &#xA;    Stream #0:0[0x1011]: Video: h264 (High) (HDMV / 0x564D4448), &#xA;      yuv420p, 1440x1080 [SAR 4:3 DAR 16:9], &#xA;      29.97 fps, 29.97 tbr, 90k tbn, 59.94 tbc&#xA;    Stream #0:1[0x1100]: Audio: ac3 (AC-3 / 0x332D4341), 48000 Hz, &#xA;      stereo, fltp, 256 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Pay attention to the part of framerate/timebase: &lt;strong&gt;29.97 fps, 29.97 tbr, 90k tbn, 59.94 tbc&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I’d like to &lt;strong&gt;convert this file to .mp4 file, without re-encoding H264 video stream&lt;/strong&gt;, on the other hand, with &lt;strong&gt;transcoding its audio stream to AAC&lt;/strong&gt;.&#xA;So I tried the following command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i 140612_Canon-00000.MTS -t 60 -y -vcodec copy -acodec libfaac -ab 128k 140612_Canon-00001.MTS.mp4&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;2. Result&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;and output file’s specification is as shown below:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe 140612_Canon-00000.MTS.mp4&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '140612_Canon-00000.MTS.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf55.33.100&#xA;&#xA;  Duration: 00:01:00.04, start: 0.021333, bitrate: 4590 kb/s&#xA;&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, &#xA;        1440x1080 [SAR 4:3 DAR 16:9], 4448 kb/s, &#xA;        59.94 fps, 59.94 tbr, 90k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;&#xA;    Stream #0:1(und): Audio: aac (mp4a / 0x6134706D), &#xA;        48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Look at the part of framerate/timebase: &lt;strong&gt;59.94 fps, 59.94 tbr, 90k tbn, 59.94 tbc&lt;/strong&gt;.&#xA;Although ffmpeg just copied the video stream, &lt;strong&gt;framerate and timebase has been changed to twice value&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, when I open and playback the output file with QuickTime Player or VLC Player,&#xA;the audio has no problem, however, the video stream is not played correctly.&#xA;The video is played back with having its frame forward and backward quiveringly repeatedly.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;3. Question&lt;/h2&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;How can I &lt;strong&gt;convert .MTS file (AVCHD) to .mp4 by ffmpeg without re-encoding H264 video stream correctly&lt;/strong&gt;?&lt;/li&gt;&#xA;&lt;li&gt;How can I &lt;strong&gt;keep the original framerate/timebase values (fps/tbr/tbn/tbc)&lt;/strong&gt; when I convert the container with &lt;code&gt;ffmpeg&lt;/code&gt; and its &lt;code&gt;-vcodec copy&lt;/code&gt; switch.&lt;/li&gt;&#xA;&lt;li&gt;How can I &lt;strong&gt;set framerate/timebase values (fps/tbr/tbn/tbc) by ffmpeg’s command line options&lt;/strong&gt; without re-encoding a video stream.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;4. Adding &lt;code&gt;-r 29.97&lt;/code&gt; option&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Professor Sparkles gave me an advice to add &lt;code&gt;-r 29.97&lt;/code&gt;. I tried that:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 140612_Canon-00001.MTS -t 60 -r 29.97 -y -vcodec copy -acodec libfaac -ab 128k 140612_Canon-00001.MTS.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, the output file has still wrong framerate/timebase:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, &#xA;1440x1080 [SAR 4:3 DAR 16:9], 4448 kb/s, &#xA;59.94 fps, 59.94 tbr, 11988 tbn, 59.94 tbc (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;5. Remux using MP4Box&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I tried demux and remux using MP4Box, according to Professor Sparkles’s advice.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;brew install mp4box&#xA;&#xA;ffmpeg -i 140612_Canon-00000.MTS -t 60 -y \&#xA;  -vcodec copy -an 140612_Canon-00000.MTS.h264&#xA;&#xA;ffmpeg -i 140612_Canon-00000.MTS -t 60 -y \&#xA;  -vn -acodec libfaac -ab 128k 140612_Canon-00000.MTS.aac&#xA;&#xA;mp4box -add 140612_Canon-00000.MTS.h264:fps=29.97 \&#xA;  -add 140612_Canon-00000.MTS.aac \&#xA;  -new 140612_Canon-00000.MTS.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and output was:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;$ ffprobe 140612_Canon-00000.MTS.mp4 &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '140612_Canon-00000.MTS.mp4':&#xA;(snip)&#xA;  Duration: 00:02:00.22, start: 0.000000, bitrate: 2293 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), &#xA;          yuv420p, 1440x1080 [SAR 4:3 DAR 16:9], 2228 kb/s, &#xA;          29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-07-14 00:38:23&#xA;      handler_name    : 140612_Canon-00000.MTS.h264:fps=29.97&#xA;       - Imported with GPAC 0.5.0-rev4065&#xA;&#xA;    Stream #0:1(und): Audio: aac (mp4a / 0x6134706D), 48000 Hz, &#xA;          stereo, fltp, 125 kb/s (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It looks a bit step forward.&#xA;Look at the part of framerate/timebase: &lt;strong&gt;29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc&lt;/strong&gt;.&#xA;Those are match to the original stream, &lt;strong&gt;except for &lt;code&gt;tbn&lt;/code&gt;&lt;/strong&gt; (timebase value from container).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I play back the output file with Quicktime Player or VLC, the &lt;strong&gt;video is play back at the half speed&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although the original file has &lt;code&gt;90k tbn&lt;/code&gt; (90000 ticks per second) and the new output file from MP4Box has &lt;code&gt;30k tbn&lt;/code&gt; which is just one-third value of original one, the output file is play back at the half speed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know the reason why.  But I think the rest issue is how I can adjust the &lt;code&gt;tbn&lt;/code&gt; value.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;5-b. MediaInfo's report on the output file&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;I also tried &lt;a href=&quot;http://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo tool&lt;/a&gt; on the output file generated by &lt;strong&gt;5. Remux using MP4Box&lt;/strong&gt;. The output is here: &lt;a href=&quot;https://gist.github.com/kaorukobo/c5ab9eaa413dff6cd26a&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gist.github.com/kaorukobo/c5ab9eaa413dff6cd26a&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;6. Trying avconv&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Volodya reported &lt;code&gt;avconv&lt;/code&gt; worked well. Also I prepared a short sample movie file (Canon-00006.MTS) recorded with the same camera. Okay, let's try:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;brew install avconv&#xA;avconv -i Canon-00006.MTS -c:a copy -c:v copy -y Canon-00006.MTS.mp4&#xA;ffprobe Canon-00006.MTS.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The output file's ffprobe information is here: &lt;a href=&quot;https://gist.github.com/kaorukobo/5b53244ade2632ff1211&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gist.github.com/kaorukobo/5b53244ade2632ff1211&lt;/a&gt;&#xA;and its framerate/timebase information is as the following: &lt;strong&gt;59.94 fps, 59.94 tbr, 90k tbn, 59.94 tbc&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The output file was &lt;strong&gt;played back well with VLC Player&lt;/strong&gt; as Volodya reported. However, opening it with Quicktime Player X, the video was play back at the normal speed but with having its frame backward quiveringly repeatedly.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;7. Why &quot;Free AVCHD to MOV&quot; app work?&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;As &lt;a href=&quot;https://video.stackexchange.com/questions/12156/how-can-i-convert-mts-file-avchd-to-mp4-by-ffmpeg-without-re-encoding-h264-v#comment14521_12157&quot;&gt;I mentioned in my previous comment&lt;/a&gt;, &lt;a href=&quot;https://itunes.apple.com/us/app/free-avchd-to-mov/id675103877?mt=12&quot; rel=&quot;nofollow noreferrer&quot;&gt;Free AVCHD to MOV&lt;/a&gt; app's &lt;strong&gt;&quot;rewrap to MOV&quot;&lt;/strong&gt; feature worked well, even though it makes not MP4 but MOV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The software calls its own ffmpeg (or avconv) program internally, and I saw what options are passed to it. It's as shown below:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/Applications/Free AVCHD to Mov.app/Contents/Resources/bin/com.geranium-soft.convert \&#xA;  -i /path/to/140710_Canon-00003.MTS \&#xA;  -map 0:0 -map 0:1 -c:a libfaac -vol 256 -b:a 128k -c:v copy \&#xA;  -sn -movflags faststart -threads 0 -pix_fmt yuv420p -y \&#xA;  /path/to/140710_Canon-00003.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried passing same options (Extractly same. I set the output container type to MOV and removed even &lt;code&gt;-t 60&lt;/code&gt; switch.) to ffmpeg program and converting. But &lt;strong&gt;the result was same as reported so far&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway that great app resolved my issue on &quot;How can I convert .MTS file (AVCHD) to .mp4 without re-encoding H264 video stream?&quot;, except at &quot;to .mp4&quot; and &quot;by ffmpeg&quot;. But I'm still interested in why that app do well but ffmpeg don't.&lt;/p&gt;&#xA;" OwnerUserId="6187" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2015-12-18T11:27:32.073" Title="How can I convert .MTS file (AVCHD) to .mp4 by ffmpeg without re-encoding H264 video stream?" Tags="|ffmpeg|avchd|h.264|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12157" PostTypeId="2" ParentId="12156" CreationDate="2014-07-13T14:47:52.080" Score="4" Body="&lt;p&gt;You might want to try to enforce the original frame rate by using &lt;code&gt;-r 29.97&lt;/code&gt;. FFmpeg is probably trying to adjust the framerate for some reason.&#xA;Your syntax is otherwise correct and shouldn't produce that error.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regarding your third question. Simply not possible.&#xA;You can omit frames when using codecs that encode frames individually but thats not the case with h264 but even with such a codec you still modify the video stream in some way.&#xA;The same goes for increasing frame rate, you have to either add calculated frames or duplicate some frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Regarding the additional info from the comment below. If you need to change the data written in the format header without writing a completely new file you probably want to do that in a hex editor. FFmpeg only has option to alter metadata which doesn't include the stream data.&#xA;How and where to make your changes in the file depends on the container format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option would be to demux the container and remux the video and audio stream into a new container with your options specified. How much you can specifiy again depends on the container format. The tool &lt;a href=&quot;http://www.videohelp.com/tools/MP4Box&quot; rel=&quot;nofollow&quot;&gt;MP4Box&lt;/a&gt; might be of help with that in this case, you can specify a framerate when muxing raw video streams into a new mp4 using the following syntax:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;MP4Box -add input.h264:fps=29.97 -new output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-07-13T16:53:25.533" LastActivityDate="2014-07-13T16:53:25.533" CommentCount="13" ContentLicense="CC BY-SA 3.0" />
  <row Id="12158" PostTypeId="1" CreationDate="2014-07-14T07:36:01.357" Score="0" ViewCount="19" Body="&lt;p&gt;I created timelapse sequence in Adobe Premiere Pro. Unfortunately, source images are not consistent in luminosity (shutter speed slightly differs), which results in &quot;flickering&quot; of the image. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does Premiere have an option to automatically &quot;fix&quot; this, by averaging luminosity between frames?&lt;/p&gt;&#xA;" OwnerUserId="5416" LastActivityDate="2014-07-14T07:36:01.357" Title="Automatically fix luminosity differences between frames" Tags="|time-lapse|premiere|" AnswerCount="0" CommentCount="3" ClosedDate="2014-07-14T17:04:45.470" ContentLicense="CC BY-SA 3.0" />
  <row Id="12159" PostTypeId="1" AcceptedAnswerId="12162" CreationDate="2014-07-14T20:44:48.597" Score="3" ViewCount="439" Body="&lt;p&gt;I am facing a common issue that I cannot find a term to describe: I have a few low quality VHS rips that were encoded with a certain Apple ProRes codec (irrelevant in the context of this particular question) and take up several GB of space. I know for sure that the video content is of such low quality that it shouldn't take up more space than say, an XDCAM EX 1080 HD file of longer length and higher visual quality. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly, how is it possible that one video file can become ten times larger without any gains in fidelity when encoded with a lossless codec or with a higher bitrate? I would guess that somehow the encoder is adding &quot;extra&quot; information as it re-encodes... but obviously it is impossible for a low fidelity file to gain quality when it is merely re-encoded with higher quality settings... so what is going on here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Is there a word to describe this phenomenon?&lt;/strong&gt; Also, how can I make sure my transcoding doesn't INCREASE the file size? I've been looking for tools that can measure the appropriate bitrate for files (like the low-fi VHS rips that somehow can take up to 10GB... which shoudln't happen) but I can't find any tools like this... What I want to do in this situation is to re-encode these massive files to an appropriate format with a reasonable file size without losing any visible quality...&lt;/p&gt;&#xA;" OwnerUserId="6189" LastActivityDate="2015-01-15T09:33:42.733" Title="Video Encoding - Wasting Space" Tags="|video|file-formats|encoding|transcoding|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12160" PostTypeId="2" ParentId="11896" CreationDate="2014-07-14T21:48:40.230" Score="3" Body="&lt;p&gt;Ok, I've found the problem. I have tested with another lens (Sigma DG 70-300 f/4 - 5.6 Macro), and the result is much much better than with default lens. But I am not able to explain this.&lt;/p&gt;&#xA;" OwnerUserId="6036" LastActivityDate="2014-07-14T21:48:40.230" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12161" PostTypeId="2" ParentId="12159" CreationDate="2014-07-14T22:58:06.757" Score="5" Body="&lt;p&gt;To understand this you need to understand how codecs actually work.&#xA;A plain uncompressed video frame e.g. a single picture is pretty large. I'm talking about a bitmap, not a lossless encoded video, no encoding at all, just plain pixel information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here simple example of a Full HD frame for some perspective:&#xA;We have a resolution of &lt;code&gt;1920x1080&lt;/code&gt; that equals to &lt;code&gt;2073600&lt;/code&gt; pixels. Now each pixels has three color values. That is usually an 8bit value per color (though it could also be 10/12/16 or 32bit). So we have &lt;code&gt;2073600*3*8&lt;/code&gt; which equals to &lt;code&gt;49766400 bits&lt;/code&gt;. To get bytes we have to divide by 8 and we get 6220800 Byte or 5.93MB.&#xA;So that's nearly 6MB per frame, for a 30FPS video that's &lt;strong&gt;178MB per second&lt;/strong&gt;!&#xA;A 10 minute video would be an insane 104GB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now luckily some really smart people developed all kinds of algorithms to define a frame in a smarter/shorter way while still containing the full information of the original bitmap. That's what we would call a lossless codec, just a different way to save the same information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So when you record your VHS you capture device is getting every frame as a bitmap that it will encode the way you tell it to. So even while VHS uses analog compression and has a overall bad quality you still end up with the same chunk of information as with a Blu-ray encoded to the same resolution and &lt;a href=&quot;http://en.wikipedia.org/wiki/Color_depth&quot; rel=&quot;nofollow&quot;&gt;bit-depth&lt;/a&gt; that your capture device is recording your VHS. &quot;Good quality&quot; is only determined by your perception of the picture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just keep in mind that when you decode a video file or capture something to play it back in your video player or to encode it with another codec (transcode) you always have this huge raw bitmap as the intermediate step, the &quot;raw&quot; information that you can use to describe it in a new way or simply display it on your monitor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now there is a limit to how well you can describe an image in a shorter/smaller way without discarding some information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Those are the so called lossy codecs like h264. These are even smarter and complex algorithm where a frame isn't just a frame anymore, the encoder looks at several frames and trys to estimate how frames in between of so called &quot;&lt;a href=&quot;http://en.wikipedia.org/wiki/Keyframe#Video_compression&quot; rel=&quot;nofollow&quot;&gt;keyframes&lt;/a&gt;&quot; will look like based of the information in those keyframes.&#xA;They also divide the image into several blocks of information and try to &quot;guess&quot; how they should look. Because we know how we guess information we just need a &quot;clue&quot; so when we decode our frame we can guess pretty accurately how this chunk of information would have looked like but its not a 100% accurate representation of the source information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thats why it can be so much smaller than our accurate representation with a lossless codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's also the reason why we had this blocking in heavily compressed MPEG2 encoded videos back in the earlier days of the internet, h.264 handles that in a lot smarter way, hence we don't really have this type of artifacts anymore but we get these weird distortion sometimes when the image smears in this &quot;blocky way&quot;, that happens when there is a decoding error and we missed a keyframe to decode the frames between the next keyframe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To answer your last bit. MP4 with h264 encoded video is generally good idea. Use a tool like &lt;a href=&quot;http://handbrake.fr/&quot; rel=&quot;nofollow&quot;&gt;Handbrake&lt;/a&gt;, it makes the task very easy and you still have a lot of control of the outcome. Either choose a preset or set the &quot;RF&quot; setting to 18 to get a visually lossless video. Meaning you wont see a visual quality difference.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-07-14T23:18:29.813" LastActivityDate="2014-07-14T23:18:29.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12162" PostTypeId="2" ParentId="12159" CreationDate="2014-07-14T23:01:42.750" Score="5" Body="&lt;p&gt;This isn't a phenomenon, this is compression.  It is simply how it works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Compression works by taking an input, runs it through some algorithms and then gets an output that matches up either exactly (lossless) or approximately (lossy) with the original input.  It is not stored like normal video data as a set of pixels, but rather some form of data that models the original set of pixels using less space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you decode a video, it works from the compressed format and generates out a stream of pixel values that can be played back as actual video.  When you transcode from one format to another, the video first goes through this decoding process to get a set of pixel color values and then goes through the encoding for the new format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you seem to be missing is that it does not matter how high quality the actual signal is that goes into the encoding, it will work off whatever you give it.  You could save a low quality, artifact riddled, grainy, nasty, noisy video as a lossless format and you would end up with a perfectly preserved low quality, artifact riddled, grainy, nasty, noisy video.  There would be no further degradation in quality, but you still have crappy video and it takes a huge amount of space because it is not storing an approximation of the crappy video, but rather the exact data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If instead you were to use a lossy compression that was &quot;similar&quot; to the quality level of the video, you would introduce even more bad artifacts and lose any semblance of actual signal that was left in the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This principal is also referred to as &lt;strong&gt;&lt;em&gt;generations of loss&lt;/em&gt;&lt;/strong&gt;.  It is mostly a carry over from the analog days when no copy was lossless and thus the numbers of generations of copies had to be kept to a minimum to preserve quality.  With the digital era, this problem was greatly alleviated since a digital file can be copied perfectly, however it still lives on in transcoding where there is generations of loss.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This point actually also explains why the SD video files are so much larger than you expect.  Most consumers are use to end-user compression formats with relatively small file sizes.  These file sizes are great for end users because they don't need to be edited with or re-encoded, however such formats rapidly fall apart when you try to encode them again because of their small file size and large amount of loss (even if it isn't readily obvious to a normal viewer.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Production quality DV video used a gigabyte or more of storage every 4.7 minutes or so, so it isn't at all unexpected that your high quality SD capture (even if the source itself was crap) is &quot;large&quot; by consumer standards.  If you don't need to edit the videos, it is perfectly fine to transcode them as finished videos to a low bit-rate consumption file size.  I'd recommend using 2 pass VBR encoding for this purpose, h.264 should do fine and you could use a low bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bit rates are ultimately what determine file size in compression.  The bit rate defines the amount of data that is allowed to be used to encode the video and roughly put, the compression algorithm will approximate the footage as best it can with the given bit-rate.  The lower the bitrate, the smaller the file, but the lower the quality and the less able you will be to re-encode the video in the future without catastrophic quality loss.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as what levels you can use without noticeable quality loss for a final output, that really depends on the content and is far too broad for a Q/A site without a sample of video to look at.  Compression is an incredibly complex field with lots of options and there are people who do nothing but handle doing compression for their entire living.  The colors, the amount of motion, the amount of noise, etc, all have an impact on how much data is actually required to store the video in a way that the end user won't notice artifacts.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-14T23:01:42.750" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12163" PostTypeId="1" CreationDate="2014-07-15T02:03:08.230" Score="2" ViewCount="6337" Body="&lt;p&gt;I'm using Premiere Pro CC 2014 trial to evaluate if I want to switch from Vegas Pro 2012 to the Adobe Suite. I'm editing a short video I made in Denver, CO this past summer that I shot with two cameras; the Canon 550D, and the DMC-LX5. After adding a few clips to the timeline (approximately 15 or more), every video after that does not have an audio track automatically added but does have a video track. I'm simply dragging and dropping videos to a single sequence. If you play the videos in the project window, they play with audio. What's going on? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe Newb&lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2016-03-18T02:48:39.503" Title="After Adding a few Clips to the timeline, audio is no longer imported?" Tags="|premiere|canon|" AnswerCount="2" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="12165" PostTypeId="1" CreationDate="2014-07-15T14:10:34.707" Score="2" ViewCount="694" Body="&lt;p&gt;Is there any way to produce output video at 1280x720 resolution using the &quot;Apple Devices HD (Most Compatible)&quot; setting in Compressor? When I specify a frame size of &quot;up to 1280x720&quot;, the output renders at 960x540. This screenshot shows what I'm talking about:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://api.monosnap.com/image/download?id=clG93aNBKUhwIqzH7v2sbCcoXGlcfH&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By contrast, if I specify a frame size of &lt;a href=&quot;http://monosnap.com/image/QylTioGPGK3LArmNRCFRMgWr0jDA7n&quot; rel=&quot;nofollow&quot;&gt;&quot;up to 1920x1080&quot;&lt;/a&gt; or &lt;a href=&quot;http://monosnap.com/image/HXqULC7PFUoxbJyPqeE5eoN8cQPetb&quot; rel=&quot;nofollow&quot;&gt;&quot;up to 960x540&quot;&lt;/a&gt;, Compressor produces output at the specified resolution. My source video is at 1920x1080 resolution. &lt;/p&gt;&#xA;" OwnerUserId="6131" LastEditorUserId="6131" LastEditDate="2014-07-16T17:23:32.603" LastActivityDate="2014-08-31T00:09:50.173" Title="Why does compressor output 960x540 when frame size is specified &quot;up to 1280x720&quot;?" Tags="|video|video-quality|codec|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12167" PostTypeId="1" AcceptedAnswerId="12168" CreationDate="2014-07-15T22:46:22.020" Score="2" ViewCount="2420" Body="&lt;p&gt;I'm looking for VfW codec to encode H264 and VP80.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I already found: &lt;a href=&quot;http://sourceforge.net/projects/x264vfw/&quot; rel=&quot;nofollow&quot;&gt;x264vfw&lt;/a&gt; &lt;/li&gt;&#xA;&lt;li&gt;And &lt;a href=&quot;http://www.videohelp.com/tools/VP8-VFW-Codec&quot; rel=&quot;nofollow&quot;&gt;VP80vfw&lt;/a&gt; &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The 1st is bugged and lost the start and the end. The 2nd do not install on Windows 8.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why VfW ? to use then in a C# sofware using EmguCV, recording frame by frame. I can't use ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any Idea ?&lt;/p&gt;&#xA;" OwnerUserId="6193" LastActivityDate="2014-07-16T12:33:09.010" Title="Video for Windows Codec x264 and VP80" Tags="|ffmpeg|codec|programming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12168" PostTypeId="2" ParentId="12167" CreationDate="2014-07-16T00:57:20.160" Score="1" Body="&lt;p&gt;There isn't really an alternative to x264vfw. Are you sure the error is with the codec and not your application? It's in wide use, such a major bug would definitely be found.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also be aware that h264 doesn't work in a frame by frame basis unless you encode only intra frames.&#xA;VP80 is NOT h264, just a similar codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need to develop an app you probably want to turn to a commercial h264 implementation like MainConcepts Codec SDK: &lt;a href=&quot;http://www.mainconcept.com/products/sdks/codec-sdk/video/h264avc.html&quot; rel=&quot;nofollow&quot;&gt;http://www.mainconcept.com/products/sdks/codec-sdk/video/h264avc.html&lt;/a&gt;&#xA;Should also come with a vfw codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively you can turn to GStreamer which offers C# bindings: &lt;a href=&quot;http://cgit.freedesktop.org/gstreamer/gstreamer-sharp&quot; rel=&quot;nofollow&quot;&gt;http://cgit.freedesktop.org/gstreamer/gstreamer-sharp&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option could may be &lt;a href=&quot;http://www.videohelp.com/tools/ffdshow&quot; rel=&quot;nofollow&quot;&gt;ffdshow&lt;/a&gt; it adds quite a few codecs to VfW and I believe also x264.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-07-16T12:33:09.010" LastActivityDate="2014-07-16T12:33:09.010" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12169" PostTypeId="1" AcceptedAnswerId="12170" CreationDate="2014-07-16T07:25:51.647" Score="2" ViewCount="77" Body="&lt;p&gt;I'm currently putting together a simple lyric video like in the link below, but am missing this one piece I can't seem to fix together. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the left side you'll notice the ball of light moving up and down, adding a nice dynamic effect. How would I go about doing the same? Any help is appreciated. Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=z9DKftwgGAI&quot; rel=&quot;nofollow&quot;&gt;VIDEO LINK: https://www.youtube.com/watch?v=z9DKftwgGAI&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6195" LastActivityDate="2019-12-22T06:13:41.793" Title="After Effects - Simple Lighting Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12170" PostTypeId="2" ParentId="12169" CreationDate="2014-07-16T14:26:48.660" Score="2" Body="&lt;p&gt;This is a simple animated lens flare. The specific lens flare they use is likely from a package of lens flares you pay for (a plugin) made by Andrew Kramer over at videocopilot, specifically: &lt;a href=&quot;https://www.videocopilot.net/products/opticalflares/&quot; rel=&quot;nofollow&quot;&gt;https://www.videocopilot.net/products/opticalflares/&lt;/a&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To create custom light flares without the need to pay for them, I'd recommend watching this video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/4pz6UMQ4P2E?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You simply create the object, the flare in this case, and animate its' position. Do you know how to do that? &lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2014-07-16T14:26:48.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12171" PostTypeId="1" AcceptedAnswerId="12173" CreationDate="2014-07-16T14:39:13.837" Score="3" ViewCount="2105" Body="&lt;p&gt;I have a lot of *.avi files with either 1 audio track or several. All of them are mp3 encoded. The video codec is xvid4. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I play these avi files I can choose between the audio tracks (if there is more than 1 audio track) but they are named &quot;audio track 1&quot;, &quot;audio track 2&quot; and so on. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's why I want to convert them into mkv files since they support audio track names. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would I loose any quality if I convert them?&lt;/p&gt;&#xA;" OwnerUserId="6197" LastActivityDate="2021-02-02T11:59:49.747" Title="Will I lose quality when converting avi to mkv?" Tags="|video|audio|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12173" PostTypeId="2" ParentId="12171" CreationDate="2014-07-16T15:27:48.607" Score="4" Body="&lt;p&gt;AVI and MKV are both containers, so in theory it should be possible to transfer your contents with no further loss. I can't say for certain if MKV can wrap xvid4, but it's very likely. You shouldn't need to decode / re-encode to transfer the contents, just demux / remux.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-07-16T15:27:48.607" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12174" PostTypeId="1" AcceptedAnswerId="12176" CreationDate="2014-07-16T16:00:06.647" Score="2" ViewCount="48" Body="&lt;p&gt;What are some good (&quot;Pro?&quot;) ways of storing videos so that a team of editors can work on them?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I currently work for an eLearning company that produces medium-large quantities of instructional videos (we go through about 100gb of storage per month).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Our typical workflow to this point has been to work locally on our hard drives and then back up to a shared network drive that is connected to our wireless router via USB. Obviously this workflow is slow and tedious. What could we improve?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently we are considering creating a dedicated RAID array that we could connect to via Firewire. The idea behind it is that ideally we would all be working off of the same storage system, rather than ever having different versions on different machines. We need to be able to connect up to 6 desktop machines at once.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With that as background, here are my specific questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Are there any good recommendations for large-ish storage systems? 10TB would most likely be adequate for the near future.&lt;/li&gt;&#xA;&lt;li&gt;How should we connect the computers? USB3? Firewire? Do we need special hardware to route 6+ cables to a raid array?&lt;/li&gt;&#xA;&lt;li&gt;Should we be considering software for version control and backups? We currently edit in PremierePro. So something that integrates well with Adobe would be ideal.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6198" LastEditorUserId="16039" LastEditDate="2016-07-03T20:37:57.407" LastActivityDate="2016-07-03T20:37:57.407" Title="What kind of hardware do I need for a multi-person editing team?" Tags="|workflow|storage|firewire|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12175" PostTypeId="2" ParentId="5819" CreationDate="2014-07-16T16:10:47.997" Score="1" Body="&lt;p&gt;Not all video formats use square pixels.  In this case, the pixel's are oval (anamorphic wide screen).  This comes indirectly from the film days when anamorphic lenses would condense a wide screen image on to a narrower strip of film.  The same concept was later applied to squeeze wide screen videos in to video formats that wouldn't normally support them.  The playback would occur at a normal resolution, but then the display could scale it out to make the proper aspect ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There may only be 640 by 480 pixels in the video (standard definition 4 by 3 video with square pixels) but since it is widescreen, each pixel represents a wider area.  The recommended display resolution is determined by resolving how that would map to actual square pixels based on the width of each of the 640 columns of pixel data.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-16T16:10:47.997" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12176" PostTypeId="2" ParentId="12174" CreationDate="2014-07-16T17:02:05.753" Score="1" Body="&lt;p&gt;The first thing is to separate your source assets from your projects.  Source assets are the biggest things and should never change.  They are generally best placed on a NAS RAID array on gigabit Ethernet or better (10G+ fiber links are nice if you can afford them, but not strictly needed).  Each editor can then pull down whatever source files they need locally (or possibly just work off the NAS, though I'd recommend local pull down).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Project files on the other hand could use things like versioning and locking to prevent conflicts from forming.  Project files change frequently since they store the actual editing decisions, but they are also much, much smaller than the static source files.  Personally, I back these up in a portion of the same directory structure on my external, but I don't have to worry about version control since I am not in a multi-user environment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any decent editor should be able to reasonably easily deal with wiring up to assets via relative paths and should be able to adjust for moving the project files around provided that similar directory structures are used on each editing system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I personally organize with a folder per project with a source folder and a project folder and a swap folder in each, though that can be switched around to have a source folder and a projects folder with sub-folders for each project within it if you prefer that organization.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know there are also more dedicated asset management systems out there, but I have never had need of playing with them beyond some light work with Adobe Vue which I don't think is still actively maintained and wasn't really designed for handling video as I understand it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-16T17:02:05.753" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12177" PostTypeId="1" CreationDate="2014-07-16T17:05:36.640" Score="0" ViewCount="37" Body="&lt;p&gt;So, I make videos, and I needed to make a PiP of a comment in the video. I made the PiP, but whenever I move it upwards far enough, it gets hidden, as if there was an invisible video wall. To help you guys better understand it, I took a picture of my wax setup: &lt;a href=&quot;https://i.stack.imgur.com/XEUve.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/XEUve.jpg&lt;/a&gt;&#xA;It's a bit hard to see, but you can see the top part hidden and such.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for reading, and thanks for trying to help :)&lt;/p&gt;&#xA;" OwnerUserId="6034" LastActivityDate="2014-07-16T17:05:36.640" Title="WAX - How do I make it so the PiP can go anywhere?" Tags="|video-editor|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12178" PostTypeId="1" CreationDate="2014-07-16T03:20:13.610" Score="5" ViewCount="4119" Body="&lt;p&gt;I'm trying to shoot low light video on my RX100 m3 and I want to make the best of it. So it would make sense that the ideal setting (in many cases) would be to open the shutter for as long as it can be open for that frame.&#xA;So if recording at 25 FPS video, then you would have the shutter open 1/25 seconds. That way you get max light in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However I notice my camera doesn't mind having the shutter way slower than that number, I guess that means that it actually spills same information onto several frames? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I set it to 1/25 does that mean absolute maximum. OR does the camera perhaps need a few milliseconds between each frame and therefor 1/25 for 25 fps video is too slow?&lt;/p&gt;&#xA;" OwnerDisplayName="PhotoMoto" LastEditorUserId="6079" LastEditDate="2014-07-18T09:07:03.953" LastActivityDate="2014-07-18T09:07:03.953" Title="Shutter slower than video FPS" Tags="|effects|framerate|shooting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12179" PostTypeId="1" CreationDate="2014-07-17T09:04:15.397" Score="2" ViewCount="93" Body="&lt;p&gt;Is there any service where I can describe stock footage that I need using human readable search terms and sentences and send out a search request to multiple footage archives at once, so I will not have to contact each one individually, that will then use real humans or otherwise search intelligently and send me a list of suggested and relevant footage clips?&lt;/p&gt;&#xA;" OwnerUserId="5089" LastActivityDate="2023-03-29T16:45:37.767" Title="Stock footage search service" Tags="|video|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12180" PostTypeId="2" ParentId="12178" CreationDate="2014-07-17T11:48:45.853" Score="1" Body="&lt;p&gt;I don't know this model, but in general video cameras don't use a physical shutter, but an electronic one. The aperture is always open and 'shuttering' means limiting the exposure time through blanking. So a setting less that the frame rate is effectively 'off'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for 'spilling the same info onto several frames', that's only true if there's no motion in the shot. If there is, adjacent frames capture different images -- different moments in time. What shuttering can do is limit the blur caused when there's motion during an exposure. It effectively freezes the action. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any case, assuming they're synchronized, lowering the shutter speed matters only until you reach the frame rate. After that it should have no effect.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-07-17T11:48:45.853" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12181" PostTypeId="1" CreationDate="2014-07-17T12:54:21.723" Score="5" ViewCount="8566" Body="&lt;p&gt;We are using a &lt;a href=&quot;http://www.moxa.com/product/VPort_P06-1MP-M12.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;streaming camera&lt;/a&gt; to record and to play back surveillance video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This camera sends a RTSP stream which will be recorded by our application as a H264 video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In our application, the H264 videos will be stored in a MP4 container and will be published on a HTTP-server (Apache2). The stored videos can now be watched with any HTML5 web browser. So far, so good! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Our problem is, that the camera sends his frames with a variable frame rate. This is not a problem as long we watch the stream live. But when we watch the recorded H264/MP4 videos the time begins to drift. This means because of the variable frame rate, sometimes the video will be played too fast and the time is not correct!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, does someone have experience with H264 videos with variable frame rate (VFR)? How can we play these VFR videos without time drift? Is it possible to convert VFR video to video with constant frame rate?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(All tested players like VLC seems to have the same problem...)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here the output of mediainfo:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Complete name                            : VIDEO_REPLICA_12.h264&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;File size                                : 249 MiB&#xA;Overall bit rate mode                    : Variable&#xA;&#xA;Video&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : High@L3.2&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 1 frame&#xA;Format settings, GOP                     : M=1, N=15&#xA;Bit rate mode                            : Variable&#xA;Maximum bit rate                         : 20.0 Mbps&#xA;Width                                    : 1 280 pixels&#xA;Height                                   : 800 pixels&#xA;Display aspect ratio                     : 1.600&#xA;Frame rate mode                          : Variable&#xA;Standard                                 : NTSC&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6202" LastEditorUserId="18155" LastEditDate="2019-03-24T18:36:13.933" LastActivityDate="2019-03-24T18:36:13.933" Title="Recording and playing video with variable frame rate" Tags="|video|framerate|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="12182" PostTypeId="1" CreationDate="2014-07-17T15:37:38.157" Score="4" ViewCount="11098" Body="&lt;p&gt;I need to film a piece that is supernatural in nature and has several characters that are ghosts. I've thought of numerous ways of accomplishing this but would like some suggestions on which would be the easiest and produce the best results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fortunately I am going to be shooting at a location and I would like to have several camera angles as well as a moving camera for some scenes. The problem is I have several characters that are ghosts. I've thought about planning every character's position carefully and then doing a lot of room shots, angles, and movements, and then putting up green screens and filming each character in the same position where they would be in the video so that I may make them transparent and give them a ghostly effect. That seems like it's very complicated though and it also seems like the editing will be a pain.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any easier or more effective way to give several characters a ghost effect without having to resort to green screening them? I have thought about make-up. Also, if green screening is the way to go, would it be wisest to take the green screen on location and put it over the backgrounds and run the camera through the same courses as I did when shooting the background?&lt;/p&gt;&#xA;" OwnerUserId="5549" LastActivityDate="2014-07-18T16:55:41.640" Title="How to create and film ghost special effects" Tags="|video|effects|music|" AnswerCount="5" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12183" PostTypeId="1" AcceptedAnswerId="12365" CreationDate="2014-07-17T15:44:38.923" Score="2" ViewCount="562" Body="&lt;p&gt;I was looking into some monopods to improve my on-the-run potential for some upcoming projects and I'd like to unify all my gear with one QR system so I can switch from a slider to tripod to monopod with relative ease (if needed). I'm interested in these monopods:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/945109-REG/manfrotto_mvm500a_pro_fluid_monopod_with.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/945109-REG/manfrotto_mvm500a_pro_fluid_monopod_with.html&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;http://www.bhphotovideo.com/bnh/controller/home?O=&amp;amp;sku=967703&amp;amp;gclid=CJ3B25_XzL8CFQYxaQodWxQA6Q&amp;amp;Q=&amp;amp;is=REG&amp;amp;A=details&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/bnh/controller/home?O=&amp;amp;sku=967703&amp;amp;gclid=CJ3B25_XzL8CFQYxaQodWxQA6Q&amp;amp;Q=&amp;amp;is=REG&amp;amp;A=details&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Quality and opinions aside, I'm trying to find out the QR system used for both. What I've found is that Benro ONLY sells the QR plate and not the mounting portion, and Manfrotto has a variety of different QR systems. Can you only adapt Benro products by buying compatible Benro heads (S4 in this case), and which Manfrotto QR system is compatible with the monopod I listed? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks! &lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2014-08-11T19:07:32.000" Title="Benro and Manfrotto Monopods - QR System" Tags="|video|dslr|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12184" PostTypeId="2" ParentId="12156" CreationDate="2014-07-17T15:46:29.370" Score="9" Body="&lt;p&gt;Seeing that in the text of your question you have started discussing other utilities, i will assume that you are not interested in sticking with ffmpeg, but rather in getting the job done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my experience with libav and MTS i have had no problems with the framerate, the files get remuxed perfectly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have just attempted the following with one of my files:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i 00174.MTS -c:a copy -c:v copy 00174.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The resulting MP4 file played correctly with VLC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My file is progressive MTS, i don't have any interlaced laying around, but if need be i can do more checking with that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Report about the file test&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The topic starter was able to provide a file, that was remuxed from MTS to MP4 and did not play on that person's machine with QuickTime Player (version unknown). It did, however, play with that individual's VLC player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do not have a Mac OS computer, but i have tried it with Ubuntu.&#xA;I have played it on Ubuntu on VLC (2.0.8) and GNOME Videos (used to be called Totem) (3.8.2); both play perfectly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then asked a friend of mine, who is on a Mac to play it. He is on Mavericks (10.9.4), and it played fine with QuickTime Player 10.3 (727.4).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At this time it appears to be a problem with the particular player or a problem with configuration settings on the computer. And it is probably best to attempt to update to the newest version of QTP, possibly with first removing the current version and completely wiping the old configuration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Another possibility&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When i have had an old machine i have had some high bitrate files play incorrectly in some players, and it was container specific. For example, VLC would refuse to play MTS file, it would show a frame, and then show the next one only in a second and a half. GNOME Videos played it fine. But when remuxing it to MKV, both players played it reasonably well. This maybe a question of something similar. A player maybe reading a particular container (MP4 in this case) in a way that requires just enough CPU time, that it begins to choke itself. The jerkiness effect can be then attributed to whatever subprocess takes up CPU finishing, and player dumping all of the frames that were lagging behind very rapidly, after that the bad subprocess again kicks in, and the cycle keeps on going.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this possibility, the best option is still to try to upgrade the software. With the current multicore processors it would be difficult to test the need to upgrade the hardware without actually getting it, but maybe it is possible to look at the CPU load during the QuickTime Player useage and compare it to VLC. If you see 100% for any one core with QTP, that maybe indicative of this.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="4943" LastEditDate="2014-07-21T14:54:44.437" LastActivityDate="2014-07-21T14:54:44.437" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="12185" PostTypeId="2" ParentId="12182" CreationDate="2014-07-17T15:51:48.640" Score="2" Body="&lt;p&gt;For fixed camera shots, if you plan the shot so that they don't pass over any other actors, you can simply shoot them on one plate and shoot the rest of the actors on another plate.  You then mask the one plate over the other so that they appear semi-transparent and possibly use a blurred difference mask for adding an edge glow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Greenscreening overall is probably the easiest, though it probably won't produce the best quality result possible.  As long as you plan your shots well (try to avoid wide shots where the movement around the scene may be awkward to match), then it shouldn't be too hard to put together.  Even lighting shouldn't particularly matter since ghosts are often depicted as self lighting and so the glow will remove any inconsistency the eye might see in how the subject is lit.  Note that the big caveat for this to work is you need to be applying color and lighting effects to the ghost that make it so that it shouldn't match the lighting of the scene it is shot in.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-07-17T19:50:14.283" LastActivityDate="2014-07-17T19:50:14.283" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12186" PostTypeId="2" ParentId="12182" CreationDate="2014-07-17T15:53:05.693" Score="4" Body="&lt;p&gt;If you ditch your plan to use moving shots you can do a simple background subtraction which will look a lot cleaner than greenscreen given this is a low cost production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This works by having a shot of your scene without any actor in it e.g. only the background and then film your scene with the actors without moving the camera, afterwards you can use a program like After Effects to do a background subtraction, so everything that is different to your previous background only shot will be usable as a mask or the inverse.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is pretty much the easiest way to achieve such an effect.&#xA;Though it is limited and you have to be very careful about what and how you shoot your scenes.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Do not move the camera in the slightest way during every scene, the background needs to as pixel exact as possible in both shots.&lt;/li&gt;&#xA;&lt;li&gt;Do not have a moving background behind any of the actors, you can have moving objects in the background but they can not intersect with the actor. You can later rough masks to remove moving parts in the background that don't intersect with the actor. It's still possible to have intersecting objects but you will have to reside to &lt;a href=&quot;http://en.wikipedia.org/wiki/Rotoscoping&quot; rel=&quot;nofollow&quot;&gt;rotoscoping&lt;/a&gt; which can be a pain in the ass.&lt;/li&gt;&#xA;&lt;li&gt;If the &quot;ghost effect&quot; you want to give your characters are meant to be visually different for every character you also do not want actors to touch each other or you have to reside to rotoscoping again which in that case can be even more difficult if you have to mask things like fingers for every frame.&lt;/li&gt;&#xA;&lt;li&gt;Avoid noise in your camera footage and do not change any setting in the cameras between the plane shot and the actual scene shot&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Greenscreen is not that hard to use but diffrences in camera angle, camera movement and focal length can make you characters look a bit funny and it will be very obvious that they were shot infront of a greenscreen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you decide to use greenscreen I suggest you use a motorized dolly for moving shots that can be programmed for specific movements. You can also mix both techniques and use greenscreen only for moving shots but if you want to do this with the least work possible I would not use moving shots and greenscreen at all.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-07-17T15:53:05.693" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12187" PostTypeId="2" ParentId="12182" CreationDate="2014-07-17T15:56:47.467" Score="3" Body="&lt;p&gt;A few good options to consider:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;If you disobey the 180 degree shutter rule, and shoot at a lower shutter speed, you'll get more motion blur in your shot. Whether or not this is what you're going for is up for debate (it'll produce a dream sequence - ghostly like effect), but it's worth trying out. Note that EVERYTHING in your shot with have increased motion blur, not just your actors. So, maybe make sure you plan out your shots to have a still background + just ghost characters. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;As opposed to green screening your subjects into your background (often looks superficial unless your super good at matching the RGB channel values for the foreground and background), you might consider rotoscoping the actors w/effects such as a slight glow, maybe a tint to make them less saturated, maybe track their movements and add some smoke particle effects, etc. While this is a pain in the butt, I think it'll look more realistic than the green screen route.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2014-07-17T15:56:47.467" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12188" PostTypeId="2" ParentId="12181" CreationDate="2014-07-17T16:01:08.467" Score="4" Body="&lt;p&gt;Are you sure the files your recorded have indeed a variable framerate? It sounds like you recorded with a constant framerate (even though you get a variable frame rate video feed) which introduced this &quot;artifact&quot; and the players then of course play it back with a constant frame rate even though they shouldn't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To properly convert variable frame rate footage into constant frame rate footage you can reside to &lt;a href=&quot;http://handbrake.fr/downloads.php&quot; rel=&quot;nofollow&quot;&gt;Handbrake&lt;/a&gt;. It's an easy to use tool for h264 encoding that lets you choose to convert your video to a constant frame rate.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-07-17T16:35:38.407" LastActivityDate="2014-07-17T16:35:38.407" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12189" PostTypeId="2" ParentId="12178" CreationDate="2014-07-17T16:01:37.580" Score="3" Body="&lt;p&gt;&quot;If I set it to 1/25 (shutter speed) does that mean absolute maximum (or lowest setting)?&quot;&#xA;Yes, if it was a non-digital video camera. This rule applied to the old non-digital (film) video cameras where you cannot set shutter speed lower than the frame rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Meaning that one celluloid was exposed for the full 1/25th of a second. Assuming 25fps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For digital video cameras each frame can be blended with the other. This technique allows you to film in low light situations at the expense of motion blur. It can be used to create what some called a dream like sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should just view this as another creative control that you have to managing low light situations or adding motion blur to your videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See example below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/l-z8XiteQWo?start=23&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2014-07-17T19:59:43.750" LastActivityDate="2014-07-17T19:59:43.750" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12190" PostTypeId="2" ParentId="12108" CreationDate="2014-07-17T16:11:34.163" Score="1" Body="&lt;p&gt;The setup that i use for something similar is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 1&lt;/strong&gt; - demux&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i in.mts -an -c:a copy video.mkv -c:a copy audio.ac3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 2&lt;/strong&gt; - audio editing&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this i just open my audio.ac3 in Audacity and normalise the sound. At this time it may be a good idea to try to remove the noise. I reencode into Vorbis, but it is up to you what you wish to do. Let's say you save into audio.oga&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 3&lt;/strong&gt; - mux&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i video.mkv -i audio.oga -c:v copy -c:a copy out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Notes&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Video was getting copied all the time. So no quality loss is possible from that.&lt;/li&gt;&#xA;&lt;li&gt;You can drop the video demuxing, and just grab it directly from the original in the third step. But i find it just makes the process much cleaner when you know where everything is.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2014-07-17T16:11:34.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12191" PostTypeId="2" ParentId="3187" CreationDate="2014-07-17T16:28:38.983" Score="1" Body="&lt;p&gt;Libav has the tool avconv, which allows you to do that with the video filter setpts=PTS-STARTPTS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't tried this, but the following should do the trick for you:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i in.vob -vf 'setpts=PTS-STARTPTS' -c:a copy -c:v copy out.vob&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For more information you can check out &lt;a href=&quot;http://manpages.ubuntu.com/manpages/precise/man1/avconv.1.html&quot; rel=&quot;nofollow&quot;&gt;http://manpages.ubuntu.com/manpages/precise/man1/avconv.1.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2014-07-17T16:28:38.983" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12192" PostTypeId="2" ParentId="12179" CreationDate="2014-07-17T17:46:54.683" Score="2" Body="&lt;p&gt;I don't know what you mean by human readable search terms, as opposed to keywords or tags?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But for a meta search directory service I would recommend (know of)&lt;br&gt;&#xA;&lt;a href=&quot;http://www.footage.net/&quot; rel=&quot;nofollow&quot;&gt;http://www.footage.net/&lt;/a&gt;&lt;br&gt;&#xA;(If anyone knows of any additional search engine stock video directories, I would love to know about it as well)&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise, ya, you would be going through each service looking for footage.&lt;br&gt;&#xA;These are the stock services that I am aware of:&lt;br&gt;&#xA;&lt;a href=&quot;http://www.shutterstock.com/video/&quot; rel=&quot;nofollow&quot;&gt;http://www.shutterstock.com/video/&lt;/a&gt;&lt;br&gt;&#xA;&lt;a href=&quot;http://www.gettyimages.ca/footage/&quot; rel=&quot;nofollow&quot;&gt;http://www.gettyimages.ca/footage/&lt;/a&gt; &amp;lt;- used by major media outlets&lt;br&gt;&#xA;&lt;a href=&quot;http://www.pond5.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.pond5.com/&lt;/a&gt;&lt;br&gt;&#xA;&lt;a href=&quot;http://www.alwayshd.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.alwayshd.com/&lt;/a&gt;&lt;br&gt;&#xA;&lt;a href=&quot;https://www.videocopilot.net/products/&quot; rel=&quot;nofollow&quot;&gt;https://www.videocopilot.net/products/&lt;/a&gt; &amp;lt;- geared more to adding effects to clips&lt;br&gt;&#xA;&lt;a href=&quot;http://www.footagesearch.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.footagesearch.com/&lt;/a&gt;&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And many more... I am sure others can chime in with their favorite sites.&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2014-07-17T17:46:54.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12193" PostTypeId="2" ParentId="12182" CreationDate="2014-07-17T18:03:38.030" Score="5" Body="&lt;p&gt;There are so many interesting ways to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One of the easiest ways (in-camera, no post production work) is to use a piece of glass. Film Riot did a tutorial on it, they explain it best, see below:&lt;br&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/El1Ei4oNIO0?start=324&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you could go with a bit of post production work, after effects being my go to tool that I use. Add a background video layer (without ghost), then add your ghostly image, same shot, but this time your ghostly image is brightly lit and everything else is dark. Then change the mode of the ghostly layer to 'add' (or other to create different effects) to create the ghostly effect. See tutorial below: &lt;br&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/H5LMyK03j6c?start=36&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps your ghostly scenes.&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2014-07-18T16:55:41.640" LastActivityDate="2014-07-18T16:55:41.640" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12194" PostTypeId="2" ParentId="12179" CreationDate="2014-07-17T19:57:33.963" Score="1" Body="&lt;p&gt;I use &lt;a href=&quot;http://videohive.net/popular_item/by_category?ref=altarvic&amp;amp;category=stock-footage&quot; rel=&quot;nofollow&quot;&gt;VideoHive&lt;/a&gt; - large collection of clips and affordable prices.&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-07-17T19:57:33.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12196" PostTypeId="2" ParentId="12182" CreationDate="2014-07-18T11:34:18.290" Score="3" Body="&lt;p&gt;If you don't mind using a computer. There is a great solution (for me at least) which is called Blender, if you don't know about it, it is a free sortware that lets you do 3D and mix 3D with video, but it also lets you do video editing and a lot more staff. Google for Blender.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With that you don't need to be very precise to record your ghosts, just record the people separately and in Blender create a plane with each of the ghosts in 3D, assign them the transparency factor you wish, do whatever special effects you might like to do in 3D or just visual, like halos around ghosts and that stuff, place those planes and ghost as you see fit your needs in the scene and render your video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This way, ghosts can walk in front of AND behind people on set (but for this you will need everybody, ghosts and not ghosts to be recorded using chroma).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are two images one from Blender's 3D view port and another one with the final result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have done a simple (without big halos and staff) example in Blender's compositor, you can see the nodes and the final result in the background. You can adjust transparency and apply more filters and effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/yFGMW.png&quot; alt=&quot;Belnder&amp;#39;s 3D view port&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/PVMAT.jpg&quot; alt=&quot;Final Result&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/Edual.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6210" LastEditorUserId="6210" LastEditDate="2014-07-18T16:34:33.653" LastActivityDate="2014-07-18T16:34:33.653" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12197" PostTypeId="2" ParentId="12171" CreationDate="2014-07-18T13:26:00.667" Score="4" Body="&lt;p&gt;As Jim Mack has correctly pointed out MKV (Matroska) and AVI are containers, and are both able to store many of the same streams without any change to the streams themselves, and thus the remuxing should be lossless.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But there is one time where data is lost when remuxing from AVI to MKV. The thing is that some poor encoders in the day of AVI have created technically playable AVI files which had some garbage data in one of the streams for part of the time. They used that rather than setting up timestamp offset.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most AVI-to-MKV remuxers (like mkvtools) will take such garbage data and assume that it can be converted into the offset, when such garbage happens in the beginning. However, in some rare cases this may not work, for example when the bitrate of the stream with garbage in it is variable. This causes timestamps to be badly shifted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the garbage occurs only in the beginning, the problem is easily resolved by editing the header of Matroska file, and changing the offset manually until the streams match. However, if the garbage occurs several times, then remuxer will just dump the garbage and the timestamps cannot be fixed that easily any longer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, this doesn't happen for most files, but some &quot;old school&quot; Whatever-to-AVI may produce such thing. And it is important to know, since even losing &quot;garbage&quot; is by definition lossy when it translates to metadata change.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="4943" LastEditDate="2014-07-18T17:49:15.353" LastActivityDate="2014-07-18T17:49:15.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12198" PostTypeId="2" ParentId="10355" CreationDate="2014-07-18T14:05:54.977" Score="2" Body="&lt;p&gt;You can achieve an effect like this with a couple of distortion filters from most video editing or motion graphics packages. For example in FCPX/Motion, you could apply a couple of Bulge distortion filters to the upper right and lower left and adjust the scale and radius as appropriate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of implementing it yourself, I agree that it's a question for StackOverflow (once you've attempted to write it yourself). The algorithm is fairly straightforward. For all the pixels within the radius, apply a mapping function along the vector from the center to the current point. For example (in pseudo code):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;distort (vec2 center, float radius, float amount)&#xA;{&#xA;    for (each pixel in the image)&#xA;    {&#xA;        vec2 dir = pixel.coord - center;&#xA;        float dist = dir.length()&#xA;        if (dist &amp;gt;= radius)&#xA;        {&#xA;            outPixel = pixel;&#xA;        }&#xA;        else&#xA;        {&#xA;            float percent = dist / radius;&#xA;            float newPos = pow(percent, amount);&#xA;            dir = dir / dist;&#xA;            vec2 newCoord = dir * newPos * radius;&#xA;            outPixel = getPixel(newCoord);&#xA;        }&#xA;    }&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6207" LastEditorUserId="6207" LastEditDate="2014-07-18T14:11:55.367" LastActivityDate="2014-07-18T14:11:55.367" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12199" PostTypeId="1" AcceptedAnswerId="12201" CreationDate="2014-07-18T14:32:24.083" Score="6" ViewCount="22594" Body="&lt;p&gt;I've read a bit about how it can be useful to use a &quot;flat&quot; profile for shooting video on a DSLR which produces only compressed video. For example as described in &lt;a href=&quot;http://prolost.com/flat/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this article&lt;/a&gt;. The reasoning is that most lossy compressors (like H.264) will do more compression in the darks, removing that data and making it impossible to adjust in post. (For example, if you brighten it, you'll get bright gray squares instead of whatever data was there before compression.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The author of the above seems reasonable. He worked at LucasFilm and has directed many music videos and feature film VFX shots. It doesn't seem like he's suggesting some fad, but is talking from experience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the answer to [&lt;a href=&quot;https://video.stackexchange.com/questions/10542/post-production-workflow-vfx-before-color-correction](Post-production&quot;&gt;Post-production workflow: VFX before color correction?&lt;/a&gt; workflow: VFX before color correction), this was included in the accepted answer:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;As far as low contrast and low saturation, I would disagree rather strongly with shooting for low contrast/low saturation. This is how you get noisy, low quality color. Your camera has a limited number of colors it can describe, if you ignore a large portion of that color space, then you can't describe as many colors and the resolution of your color after boosting the saturation and contrast will be very greatly reduced.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;These sound contradictory to me, but maybe I'm misunderstanding. Is the advice to shoot flat good advice for DSLRs with lossy compression or not?&lt;/p&gt;&#xA;" OwnerUserId="6207" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-07-18T15:54:04.763" Title="Should you shoot flat when shooting with a DSLR?" Tags="|color-correction|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12200" PostTypeId="2" ParentId="12199" CreationDate="2014-07-18T14:56:13.300" Score="5" Body="&lt;p&gt;There are two schools of thought on this topic but nothing I know has suggested that shooting with a flat profile is a bad thing. Here is what I understand:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) When shooting with Canon DSLRs, it's generally advised that you shoot with a flat profile (Technicolor cinestyle, Prolost, etc.) and over expose (but don't clip!!) and you get a picture with much more detail, specifically in the shadows. Here is a video showing this: &lt;a href=&quot;https://vimeo.com/73909925&quot; rel=&quot;noreferrer&quot;&gt;https://vimeo.com/73909925&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's rather long, but the entire series is good. In there he specifically shows the effects of shooting standard and exposing correctly v.s. shooting flat and over exposing. Lots of detail in the shadow is preserved when performing the latter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) A lot of more professional film makers (Shane Hurlbut, and Stillmotion) suggest that you should use a color profile that best matches your final color result. Less work is needed in post, and  you have a better feel for your film. I think I see this school of thought from professionals more often because the gear they own has high dynamic range and retains so much information anyways, so detail isn't something to worry about. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, I'm not a professional and I record with a Canon 550D but I use the Standard Profile when exposing my shot (aka, over exposing) and switch to technicolor cinestyle when I hit record to give me more color grading flexibility in post. &lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2014-07-18T14:56:13.300" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12201" PostTypeId="2" ParentId="12199" CreationDate="2014-07-18T15:54:04.763" Score="1" Body="&lt;p&gt;Neither viewpoint is wrong, they rather have different advantages.  It is a question of dynamic range vs compression noise.  My answer on the previous question may have been a little too strongly from my particular camp of thought (I was not aware of the compression related dark color issues at the time as I shoot high bit rate video primarily, which makes it much less of an issue.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are shooting non-raw and using a flat color space, you have fewer values to represent the range of colors in your shot.  You can get more detail on the brightest and darkest spots since they are exposed as mid-range colors, but you lose the depth of color since you have to artificially expand it later in post.  I'm not sure what I was thinking with the noisy bit, probably thinking about the loss of color detail from reducing your color space based on the surrounding explanation, but noise was a poor choice of term for that.  (I have updated accordingly.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The flip side of that is to get it mostly right in camera.  You have to be careful about your black point and make sure that you actually have sufficient detail in the shadows, but utilizing the full color space allows for far more colors to be described, even if it offers less ability to adjust after the fact.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is all a question of recovery.  When you deal with RAW, you have detail going all the way down to the darkest and all the way up to the brightest point from which you can work to pull out any details that the camera captured.  When you are dealing with an encoded video though, you are limited to whatever is displayed.  Using flat allows more recovery since you capture beyond the black and white point of the final video (and does reduce sensor noise in the darks since they are actually exposed as mid-tones) but it means much less color detail to work with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I prefer making full use of my color space and controlling shooting, others prefer to have extra control at the cost of color depth.  Neither is a wrong choice.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-18T15:54:04.763" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12203" PostTypeId="2" ParentId="4257" CreationDate="2014-07-19T14:55:32.137" Score="1" Body="&lt;p&gt;In addition to the AfterEffects plug-in API, there's also FxPlug, OpenFX, and AVX plug-ins. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;FxPlugs often work in real-time because they tend to utilize the GPU. They work in FCPX and Motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OpenFX plug-ins can work in a variety of hosts (sometimes requiring an adaptor), but as far as I know, they aren't real-time usually. They work in Sony Vegas and I think Nuke. There was an adaptor for After Effects at one time, but I don't know if it's still maintained.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AVX plug-ins are used by Avid systems. Again, I don't know if they meet your realtime requirements.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-07-19T14:55:32.137" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12204" PostTypeId="1" AcceptedAnswerId="12210" CreationDate="2014-07-19T16:12:19.387" Score="5" ViewCount="2296" Body="&lt;p&gt;I found a few interesting effects, which was labelled under the rolling shutter effect, however I was told that this was NOT an example of rolling shutter effect, what would you call this effect?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question is 3 fold: I heard they used this effect in movies, which ones, an example clip would be nice, what do they officially call it, and why does this happen? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are the examples I am referring to:&lt;br&gt;&#xA;&lt;strong&gt;REALLY interesting&lt;/strong&gt; effects:&lt;br&gt;&#xA;For example, the water looks like its static. [PetaPixel][1] explains it; &quot;by pressing a water tube against a speaker, bibio was able to control the vibration frequency of the water flowing through the tube. He then adjusted the pulses of the water to match up with the frame rate of his Canon 5D Mark II.&quot;&lt;br&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/_PkgQQqpH2M?start=13&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;br&gt;&#xA;&lt;br&gt;&#xA;Another example was the static helicopter:&lt;br&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/cxddi8m_mzk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2014-07-19T18:00:52.350" LastActivityDate="2014-07-21T06:41:16.523" Title="What do you call the video effect where water looks like it's standing still when filmed" Tags="|video|effects|special-effects|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12205" PostTypeId="2" ParentId="12204" CreationDate="2014-07-19T16:43:13.223" Score="1" Body="&lt;p&gt;I'm unsure if there is a specific &quot;official&quot; word for this effect. I guess I would call it frequency synchronisation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This effect appears whenever the framerate (e.g. frequency your camera takes a picture) of you camera matches the frequency of another recurring action.&#xA;It doesn't have to be the exact same frequency but a multiple of it. So if the rotor of the helicopter is turning at 50 rotations per seconds, filming this with 25 fps would theoretically be enough for the effect to appear (not accounting for motion blur and other artifacts when dealing with fast moving objects).&#xA;So the camera always captures a frame when the moving object completed a full movement giving the illusion that it doesn't move because we only capture it every time its at a specific position. Being slightly over or under the frequency of the object will make it look like its moving in slow motion forwards or backwards because we only increment in the position by tiny amounts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The movement has to be an exact recurring loop, otherwise this can not work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In movies you can see this in tire movement but usually its not a desired effect, I haven't seen a movie where is effect was deliberately used.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-07-19T18:05:03.767" LastActivityDate="2014-07-19T18:05:03.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12206" PostTypeId="2" ParentId="10859" CreationDate="2014-07-19T18:48:29.410" Score="2" Body="&lt;p&gt;You can do it by adding transitions between the speed changed clips as described in the documentation section titled &lt;a href=&quot;http://help.apple.com/finalcutpro/mac/10.1/#ver41a2cd3ae&quot; rel=&quot;nofollow&quot;&gt;Add Transitions Between Speed Segments&lt;/a&gt;. They say:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;When two adjacent speed segments are set to play at different speeds, you can control how smoothly the video switches between the playback speeds. When there’s no transition between the segments, playback shifts suddenly from one speed to another. By adding a transition between the segments, you can create a more gradual, or ramped, effect. You can also control how quickly that transition takes place.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-07-19T18:48:29.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12207" PostTypeId="2" ParentId="10292" CreationDate="2014-07-19T19:02:12.133" Score="2" Body="&lt;p&gt;You should be able to send it directly to FCPX using the &quot;Send To Final Cut Pro&quot; menu item. Per the &lt;a href=&quot;http://help.apple.com/imovie/mac/10.0/#movcbf7e2a3f&quot; rel=&quot;nofollow&quot;&gt;documentation&lt;/a&gt;, they say:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Do one of the following:&lt;/p&gt;&#xA;  &#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;Select the project in the browser, or double-click the project to open it.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;With the project open, click anywhere in the timeline.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Note:  If you can’t find the project you’re looking for, verify that the correct library is selected.&lt;/p&gt;&#xA;  &#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;Choose File &gt; Send Movie To Final Cut Pro.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;Final Cut Pro X opens. A new library appears in Final Cut Pro X with the name of your iMovie library, and a new event within that library contains the movie project you sent.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-07-19T19:02:12.133" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12208" PostTypeId="1" AcceptedAnswerId="12209" CreationDate="2014-07-19T20:10:38.833" Score="3" ViewCount="355" Body="&lt;p&gt;I plan to create some homemade video lectures and I am under Linux. Is there comfortable open-source tool that has the following abilities:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;to clear noise&lt;/li&gt;&#xA;&lt;li&gt;to have a few sound channels&lt;/li&gt;&#xA;&lt;li&gt;to allow adding a slide screen in part of the video screen&lt;/li&gt;&#xA;&lt;li&gt;to add titles and labels over the footage&lt;/li&gt;&#xA;&lt;li&gt;to have simple effects&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="6219" LastActivityDate="2014-07-21T06:38:39.083" Title="What is good software for video editing under Linux?" Tags="|software-recommendation|linux|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12209" PostTypeId="2" ParentId="12208" CreationDate="2014-07-19T20:21:32.367" Score="5" Body="&lt;p&gt;There are a lot of answers regarding open source on this answer: &lt;a href=&quot;https://video.stackexchange.com/questions/2274/good-open-source-video-editors&quot;&gt;Good open source Video Editors?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you specifically target Linux I'd suggest &lt;a href=&quot;http://www.lwks.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lightworks&lt;/a&gt; or &lt;a href=&quot;http://kdenlive.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Kdenlive&lt;/a&gt;. Lightworks isn't open source yet but is announced to be after the mac release is finished.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both a great option for video editing under Linux and fullfill your requirements. Lightworks has only one downside, that being you need to register it on the first start with a free Lightworks account. After that you don't have to connect to the internet again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If OpenSource is the most important factor I suggest to go with Kdenlive.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-07-20T16:06:19.410" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12210" PostTypeId="2" ParentId="12204" CreationDate="2014-07-19T22:07:55.673" Score="5" Body="&lt;p&gt;This is called &lt;a href=&quot;http://en.wikipedia.org/wiki/Stroboscopic_effect&quot;&gt;stroboscopic effect&lt;/a&gt;.  It refers to when the sample rate is synchronized or very slightly out of sync resulting in a much slower representation of the motion that results from taking a picture that is at the same point or slightly advanced point in a subsequent cycle of a higher frequency cyclic motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can actually do the same exact thing in real life for your own eyes by using a strobe light, which is the more common demonstration, though frame rate can be used too if you can adjust it closely enough.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-19T22:07:55.673" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12211" PostTypeId="1" CreationDate="2014-07-20T12:18:16.367" Score="0" ViewCount="246" Body="&lt;p&gt;I no longer have access to the original recordings and the weird excess of files that Sony likes to bundle with the video you actually need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/jQcmH.png&quot; alt=&quot;like so&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm running Windows 8.1 and Adobe After Effects CS6, and I've now got Sony's &quot;XDCAM EX ClipBrowser V2.6&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way around Sony's encryption or are my options limited to reshooting the whole project?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="5666" LastActivityDate="2014-07-20T18:47:55.720" Title="I only have the .mp4 files from a Sony XDCAM EX shoot, is there a way I can still convert them for use in AfterEffects on Windows?" Tags="|after-effects|software-recommendation|conversion|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12212" PostTypeId="1" AcceptedAnswerId="12213" CreationDate="2014-07-20T15:25:23.297" Score="3" ViewCount="10586" Body="&lt;p&gt;I have an mp4 movie, containing an &lt;code&gt;h264&lt;/code&gt; video stream (pixel format &lt;code&gt;yuv420p10le&lt;/code&gt;), and an &lt;code&gt;AAC&lt;/code&gt; audio stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My favorite player cannot read the &lt;code&gt;yuv420p10le&lt;/code&gt; pixel format. I was wondering if it is possible to convert losslessly the pixel format of the movie from &lt;code&gt;yuv420p10le&lt;/code&gt; to &lt;code&gt;yuv420p&lt;/code&gt;. More specifically, is it &lt;em&gt;possible&lt;/em&gt; (theoretically speaking), and if so, can any program do it and how?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried the following with &lt;code&gt;ffmpeg&lt;/code&gt;, but it does not work:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i super_movie.mp4 -vcodec copy -acodec copy -pix_fmt yuv420p super_movie_yuv420p.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for any help.&lt;/p&gt;&#xA;" OwnerUserId="6223" LastActivityDate="2015-01-15T11:44:20.813" Title="Lossless conversion of yuv420p10le to yuv420p" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12213" PostTypeId="2" ParentId="12212" CreationDate="2014-07-20T16:34:54.207" Score="7" Body="&lt;p&gt;No this is not possible. Looking at this theoretically disregarding the codec you can not take away information and call it lossless, thats already a terminology problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Applying a new color space without transcoding is also not possible&#xA;It's not so easy to say whether this is even possible with certain codecs other than h264, it really depends on how you define certain terminology.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regarding h264 its simply not possible in the way the codec works, color information is essential in how the codec encodes frames as its based on motion estimation and the color information between frames is what defines the in between frames that don't hold the information of a whole frame but only the differences between keyframes.&#xA;So just applying different color values to each existing pixel is not really possible. It would result in major artifacts.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-07-20T16:53:28.087" LastActivityDate="2014-07-20T16:53:28.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12214" PostTypeId="2" ParentId="7888" CreationDate="2014-07-20T18:29:49.620" Score="-2" Body="&lt;p&gt;try this its the latest device that's coming out that can get past a lot of issues you are having.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.evsonline.com/atomos-ninja-star-pocket-size-prores-recorder-deck.html&quot; rel=&quot;nofollow&quot;&gt;http://www.evsonline.com/atomos-ninja-star-pocket-size-prores-recorder-deck.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6224" LastActivityDate="2014-07-20T18:29:49.620" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12215" PostTypeId="2" ParentId="12211" CreationDate="2014-07-20T18:47:55.720" Score="1" Body="&lt;p&gt;MP4 files should be all you need.  There shouldn't be any encryption on the files.  It is possible you may need to download a codec.  MP4 files are just a container format, so different codecs could be used within it.  It is possible that you don't have the needed codec installed, but if you do, the files should just open in After Effects without issue.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-20T18:47:55.720" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12216" PostTypeId="2" ParentId="9909" CreationDate="2014-07-20T20:37:39.257" Score="2" Body="&lt;p&gt;One way you could deal with this is to try some tests where you move the color of the video towards green until you get something that looks right when uploaded. (You don't say which editor you're using, but you could use the color board in FCPX or use DaVinci Resolve Lite, or whatever works for your setup.) Green is going to be the opposite of pink on the color wheel. You might be able to figure out the right color transform by taking a screenshot of the pinkish video and seeing if you can correct that. Then apply that same correction to some footage before uploading it and see what happens.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-07-20T20:37:39.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12217" PostTypeId="1" AcceptedAnswerId="12221" CreationDate="2014-07-20T22:52:28.273" Score="2" ViewCount="215" Body="&lt;p&gt;I'm looking to create a very simple animation video, maybe 1-2 minutes long, with a 3D logo and text just kind of floating around and some lighting effects. I want to make something similar to this: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/tAF9CoBNEdE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What software is required to make this? Can something like Blender make this whole thing, or would I need a combo of tools like Maya and Sony Vegas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="6225" LastActivityDate="2014-07-23T07:26:41.563" Title="What software is required to make a simple animation clip like this?" Tags="|animation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12218" PostTypeId="2" ParentId="12217" CreationDate="2014-07-21T01:13:40.517" Score="4" Body="&lt;p&gt;This was most likely done in After Effects.  Simple 3D extrusions like this can be done by making a shape layer in After Effects and doing a 3D extrusion.  It then looks like they added a lens flare to it and then started positioning that layer in 3D while positioning the camera and other text layers around it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-21T01:13:40.517" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12219" PostTypeId="2" ParentId="12112" CreationDate="2014-07-21T04:00:30.993" Score="1" Body="&lt;p&gt;If there is an image with a white background at the start and end of the video, it should never export a black frame at either end.  (I've never seen it do that, and I've used iMovie '09 to edit hundreds of videos!)&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-07-21T04:00:30.993" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12220" PostTypeId="1" AcceptedAnswerId="12225" CreationDate="2014-07-21T04:07:32.073" Score="2" ViewCount="212" Body="&lt;p&gt;I have a Sony Handycam HDR-CX210, and I shot 10 minutes of footage continuously tonight. When I imported it into my PC, the Handycam's memory also included 80-ish JPG images that were stills from the video.  Is that a feature I turned on accidentally?  Or is that standard (to create periodic thumbnails or something)?  I don't need those stills, and they take up memory (1.5 MB each x 80 = 120 MB).&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-07-22T11:33:27.770" Title="Sony Handycam HDR-CX210 Creates JPGs Frequently While Shooting Video" Tags="|camera|video-recording|photos|memory|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12221" PostTypeId="2" ParentId="12217" CreationDate="2014-07-21T06:36:29.317" Score="3" Body="&lt;p&gt;I'd do it with &lt;a href=&quot;http://www.blender.org/&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt;. Free 3D, video editing, compositing, etc... software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Learning to use blender could be a daunting task, but it is absolutely worth your time. A rough explanation the way I can think of doing what you intend to do is get your logo as a background image for reference, create a plane, add vertex as needed and duplicate your reference logo. Then extrude that plane to create a 3D logo. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Blender has an option to create 3D text so you don't need to worry about that. Setup lights, materials, plan your camera trip, set the length of your video and render the whole thing. You might want to use the compositing tool within Blender to enhance your movie with glares.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a link with a video I've created &#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/T5fbyMUxEYE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA; it's not good (It is a hobby for me, I don't work on this area) but you can see the potential with the text created for the beginning &quot;El Hada Mapy&quot; and chroma (masking is poor I was in a hurry so please don't be too picky).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By the way, I didn't see your last question. Yes, you can do the whole thing with Blender, you don't need any other software since it brings all you need to do it. You have some examples of how to do it and what you get in the next links:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/0cyUupgsQl0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/B5g3UAilk94?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/WTUCW3QUDoc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="6210" LastEditorUserId="6210" LastEditDate="2014-07-21T20:36:53.277" LastActivityDate="2014-07-21T20:36:53.277" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12222" PostTypeId="2" ParentId="12208" CreationDate="2014-07-21T06:38:39.083" Score="3" Body="&lt;p&gt;&lt;a href=&quot;http://www.blender.org/&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt; has video editing options, and of course, it is free. Check it out.&lt;/p&gt;&#xA;" OwnerUserId="6210" LastActivityDate="2014-07-21T06:38:39.083" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12224" PostTypeId="1" AcceptedAnswerId="12226" CreationDate="2014-07-21T08:27:27.353" Score="3" ViewCount="23226" Body="&lt;p&gt;I use Linux(Mint Linux Petra) and will probably switch to Ubuntu 14 soon.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to record video with my camera on my laptop(imagine I use a web-camera for simplification) and I need to see real-time what I am shooting and record the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried &lt;code&gt;camera-app&lt;/code&gt; and &lt;code&gt;cheese&lt;/code&gt; but both fail on my distribution. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I plan to use external camera for better quality, any suggestions on interfaces, etc.? I prefer to see the stream directly on my laptop screen.&#xA;(If you want to know why - it will save me some time while editing.)&lt;/p&gt;&#xA;" OwnerUserId="6219" LastActivityDate="2021-05-04T16:57:00.857" Title="What is good software for camera recording under Linux?" Tags="|software-recommendation|camera|linux|" AnswerCount="5" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12225" PostTypeId="2" ParentId="12220" CreationDate="2014-07-21T09:43:54.693" Score="2" Body="&lt;p&gt;The only function which does this is called &lt;em&gt;Smile Shutter&lt;/em&gt;. Please have a look at the &lt;a href=&quot;https://docs.sony.com/release/HDR-CX190_CX200_CX210_PJ200_guide_EN.pdf&quot; rel=&quot;nofollow&quot;&gt;official manual&lt;/a&gt; at page 110.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can disable it under:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Menu &amp;gt; Camera/Mic &amp;gt; Face &amp;gt; Smile Shutter&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="2663" LastEditorUserId="2663" LastEditDate="2014-07-22T11:33:27.770" LastActivityDate="2014-07-22T11:33:27.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12226" PostTypeId="2" ParentId="12224" CreationDate="2014-07-21T11:10:29.163" Score="3" Body="&lt;p&gt;I was going to recommend &lt;a href=&quot;http://www.kinodv.org/&quot; rel=&quot;nofollow&quot;&gt;Kino&lt;/a&gt; which is the one I used when I needed to do that, but according to their web page the project is no longer mantained, so you can either use it the way it is or try the other software that is recommended on their web page:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shotcut, Kdenlive, Flowblade, OpenShot, PiTiVi, LiVES, and LightWorks.&lt;/p&gt;&#xA;" OwnerUserId="6210" LastActivityDate="2014-07-21T11:10:29.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12227" PostTypeId="1" AcceptedAnswerId="12229" CreationDate="2014-07-21T11:37:50.703" Score="2" ViewCount="2780" Body="&lt;p&gt;Is it possible to lossless clip out the video file (MPEG-4/H.264) that result chunks will be &lt;em&gt;equivalent&lt;/em&gt; to the same of raw footage? I want to reduce size of the source (raw) material by cutting off the unnecessary, but desire to have remaining clips in the same quality as initial video.&lt;/p&gt;&#xA;" OwnerUserId="4633" LastEditorUserId="3295" LastEditDate="2014-07-23T13:30:07.700" LastActivityDate="2021-05-05T22:11:59.473" Title="Lossless cutting video (MPEG-4)" Tags="|editing|software|mpeg|clipping|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12228" PostTypeId="2" ParentId="7888" CreationDate="2014-07-21T13:09:04.627" Score="1" Body="&lt;p&gt;Pretty simple actually--running the signal through most HDMI splitters seems to work just fine. I can't be sure if this is a feature of all splitters, but Iv'e got two different models/brands of HDMI splitter and I can record HDMI just fine with 'em.&lt;/p&gt;&#xA;" OwnerUserId="2210" LastActivityDate="2014-07-21T13:09:04.627" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12229" PostTypeId="2" ParentId="12227" CreationDate="2014-07-21T15:22:58.727" Score="3" Body="&lt;p&gt;Yes, it is generally possible, but with a few limitations.  h.264 uses what is known as a group of pictures.  A group of pictures groups multiple frames together in a way that allows for further compression, but the entire group of pictures has to be decoded together.  As such, it is only possible to cut a video stream in between groups of pictures. This is often around 15 frames, but length can vary based on encoding options that were used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As long as you are ok breaking it on a group of pictures, you can cut up the video to your hearts content and still use the same data stream.  At the end of the day, most video formats consist of some metadata that describes how the video is laid out and how it syncs with the audio.  It then contains one or more streams of video and one or more streams of audio.  When played back, this metadata is read and then the streams are used for playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Splitting the file simply means extracting part of the stream, broken up on a group of pictures, pulling out the relevant audio and then piecing the data back together in a new container that has metadata that corresponds to it.  As long as you break it at the points it is designed to break, then it ends up being two normal, otherwise unaltered streams.  There are numerous tools that can do this for you, including tools like FFMPEG, though I unfortunately do not have the exact command to perform the split as my FFMPEG skills are decidedly weaker than many others on here (though one of them will likely soon be able to post with the command line you need.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-21T15:22:58.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12230" PostTypeId="1" AcceptedAnswerId="12259" CreationDate="2014-07-21T18:02:47.217" Score="3" ViewCount="2343" Body="&lt;p&gt;Since installing Miraizon DNxHD / ProRes Codec I am not able to play my timeline in real-time. It gives me a few frames and then the video freezes and audio keeps playing. I changed from Performance mode to Memory mode and now it will play through, however if I stop and start a couple times. It reverts to the former behavior. Specs of my system and project below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have Premiere Pro CC 2014 on a Windows 8 PC i7-4930 16GB RAM. Drive structure: Win/Programs on 256GB SSD, Project/Media on 1TB SSD, Preview/DB on 5TB RAID 0 7200 Seagates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm working on a shortform project, basically 5 sequences comprising 18mins of a 22min show. Two streams of prores from from a 5D,6D 2 cam shoot, and I'm putting slides, stockfootage, and titles in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was able to play my timelines in real-time just fine (preview format DNx 115 1080p 23.976) until installing Miraizon DNxHD / ProRes codec. I got it because the editor putting the final show/QC together is on FCP7.. anyhow after installation I notice my preview files were gone -not surprising-. If I delete my preview files I get a couple clean playbacks (after they regenerate) and then the original behavior, same if I restart PPro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried running the QT installer and &quot;repairing&quot; that after someone suggested that the QT SDK might be the issue. No difference. Makes more sense to re-install DNxHD codec from avid probably- I'll do that next. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone had a similar issue or Can you suggest what might be going on?&lt;/p&gt;&#xA;" OwnerUserId="6226" LastActivityDate="2016-02-10T06:16:42.833" Title="Premiere Pro PC timeline only plays for a few frames and then no Audio after installing Miraizon DNxHD / ProRes Codec" Tags="|premiere|codec|prores|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12232" PostTypeId="2" ParentId="10814" CreationDate="2014-07-22T03:23:03.770" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Whiteboards can record anything you put on them (including commentary). Play them back on your PC and record via Camtasia? No good if you want to do it at home though.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Camtasia has a plug-in for Powerpoint. Not sure if you'd get the symbols you need though.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6227" LastActivityDate="2014-07-22T03:23:03.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12233" PostTypeId="1" CreationDate="2014-07-22T08:06:13.717" Score="8" ViewCount="5927" Body="&lt;p&gt;I'd like to record a very long video from webcam which will be mostly the same.&#xA;I'd like to drop intermediate frames that are very similar to each other to save on filesize and also make it easier to find &quot;interesting&quot; parts of the video later.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The frames will likely not be identical but should be similar (I imagine I'll have to experiment with thresholds)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am familiar with both mencoder and ffmpeg but have been unable to find any options to do what I need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd prefer to drop the unwanted frames at time of recording but if it must be done as a post-process that is ok however - the video needs to have a timestamp on it, obviously this will interfere with any similarity test so it either needs to be done at time of recording or the similarity test needs to ignore a predefined section of the video without dropping it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FYI this is the command I am using currently but without the desired framedropping.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f video4linux2 -s 800x600 -r 15 -i /dev/video1 -maxrate 800k -minrate 1k -bt 800k -bufsize 2M -filter drawtext='text=%{localtime }:fontfile=/usr/share/fonts/truetype/DejaVuSans-Bold.ttf'  -f h264  out.avi -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What are my options?&lt;/p&gt;&#xA;" OwnerUserId="6230" LastActivityDate="2019-11-22T09:25:23.857" Title="drop similar frames" Tags="|ffmpeg|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12234" PostTypeId="2" ParentId="12233" CreationDate="2014-07-22T08:54:11.207" Score="1" Body="&lt;p&gt;I found &lt;a href=&quot;http://forum.videohelp.com/threads/317866-Remove-Duplicate-Frames&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; thread. There you can see that Avisynth has a plugin (GetDups) which will allow you to do exactly what you want.&lt;/p&gt;&#xA;" OwnerUserId="6210" LastEditorUserId="6210" LastEditDate="2014-07-22T13:46:52.533" LastActivityDate="2014-07-22T13:46:52.533" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12235" PostTypeId="1" CreationDate="2014-07-22T17:48:01.103" Score="2" ViewCount="784" Body="&lt;p&gt;I would like to re-create an effect from the game Dishonored.&#xA;The FX happens when I teleport or when I slow down time, the screen gets some radial blur and a strange kind of distortion at the edges. While that happens, the game sounds also get pitched down slowly, depending on how much radial blur is on the screen. Here's a video showing the effect:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://youtu.be/gLvY3I7WF5M&quot; rel=&quot;nofollow&quot;&gt;Click me...&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an another video, showing the game slowly slowing down, and the radialblur&amp;amp;distortion increases, sound slowly pitches down.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://youtu.be/PuDjt7IZr2k?t=2m14s&quot; rel=&quot;nofollow&quot;&gt;Click me...&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6232" LastActivityDate="2014-07-23T01:19:56.317" Title="After Effects - Recreate a &quot;distortion&quot; or a special Radial Blur effect / Slowly pitch sound down" Tags="|after-effects|audio|effects|special-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12236" PostTypeId="2" ParentId="12235" CreationDate="2014-07-22T22:26:09.410" Score="1" Body="&lt;p&gt;You can recreate this effect with the &lt;code&gt;CC Radial Blur&lt;/code&gt; effect set to &quot;Fading Zoom&quot; together with the &lt;code&gt;Ripple&lt;/code&gt; effect or the &lt;code&gt;Turbulent Displacement&lt;/code&gt; effect.&#xA;Apply these effects to an Adjustment layer above your video layer and add a round mask in the middle with some feather to have the blur and distortion only on the sides of the screen. Use separate Adjustment Layers for each effect to fine tune the strength of both effects with separate masks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You also want to set the size wave size of the ripple effect to something like 60/30 to have it closer to the look in Dishonored and to not have it so uniform. Setting it to asymmetric might be a good ideas as well&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get even closer you can apply some other distortion effects available in After Effects, just play around a bit. The &lt;code&gt;Turbulent Displacement&lt;/code&gt; effect is also a great alternative to the Ripple effect, might even be closer to the look in the game. It has a far less uniform displacement.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-07-23T01:19:56.317" LastActivityDate="2014-07-23T01:19:56.317" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12237" PostTypeId="2" ParentId="9504" CreationDate="2014-07-22T22:31:09.923" Score="5" Body="&lt;p&gt;I will answer this in a few parts&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cameras:&#xA;I assume you are looking for some kind of a web release for what ever media you are recording and I assume you want to go high def. For this most if not all of the current DSLR's from the big makers (cannon, nikon, etc) will shoot in both 720 and 1080 (i and p depend on the camera but for what you are looking to do I would say either will suffice). When it comes to video my only requirement is that the camera has an external mic input (I know the Nikon D series has them). The on board mics on DSLR's are not that great and an external one is a must. This would be your main camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go Pros are GREAT and come with a wide variety of mounting options. They are also in waterproof cases (I have used mine in the pool a few times with good success) so I would think they could stand up to some puffs of steam although continuous steam will be an issue for any camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also troll ebay or tag sales etc. for used DSLR's for your overhead shots. You can usually find them cheap and be less worried about them breaking form steam/heat&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mounting:&#xA;Good tripods area easy to find. In this case I would look for something hefty but on the smaller side. I have a small Slik 504 that is small but really steady and has a smooth head. I also have a MeFoto for when Im on the road. These are much smaller than the Slik's but REALLY well made (all aluminum) and will not have a problem holding your DSLR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lights:&#xA;Theater/Video lights can be pricy as can their mounting hardware. For this I will offer a simple home brew hack. Go to home depot and pick up the double halogen with stand work light. They are constantly on sale and fit the bill really well. they are bright, cheap, and come mounted to a stand. They usually are capable of pivoting in all directions as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Steam solution:&#xA;I dont know much about this issue but one possibility is to mount a mirror over the stove and shoot the mirror. This puts the camera out of the line of steam and out of harms way. You can also get one of those shower mirrors that does not fog up in high steam environments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope This Helps...&lt;/p&gt;&#xA;" OwnerUserId="6233" LastActivityDate="2014-07-22T22:31:09.923" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12239" PostTypeId="2" ParentId="12217" CreationDate="2014-07-23T07:26:41.563" Score="0" Body="&lt;p&gt;&lt;strong&gt;SHORT ANSWER: PHOTOSHOP &amp;amp; KEYNOTE.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Like anything else, there are many ways to achieve an animation similar to this, however the fact that you are asking how to do or what software to use indicates to me that your experience/skill level in motion graphics, animation or even video editing w/ photoshop is still being developed; in other words, you're a beginner. (I do not say that as a put down at all, just as qualifier.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unless you are pursing a career in animation or motion gfx the Pro Apps you and others mentioned should not be considered. Any of the Pro Apps (AE, Maya, Cinema, even Motion) have learning curves of hundreds of hours. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However there are plenty of shortcuts to achieve something very similar, one of which being Photoshop and Keynote. Photoshop and Keynote will process will take you +/- 1 to 3 hours and will allow you to output an HD Quicktime file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The next level up in terms of complexity, control and learning curve would be to use Photoshop and Final Cut Pro (or any NLE that allowed you to keyframe).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Following that would be to purchase a template that you could use in Motion (or AE but I wouldn't recommend AE even for a template unless you really intend on committing yourself to a time investment).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Following that would be to actually make the whole thing in Motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All of my options can be achieved by a typical computer techy kinda guy who's creative and doesn't mind following some tutorials and applying themselves. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="6235" LastActivityDate="2014-07-23T07:26:41.563" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12240" PostTypeId="2" ParentId="12181" CreationDate="2014-07-23T07:41:51.500" Score="-2" Body="&lt;p&gt;&lt;strong&gt;Transcode Your Video First&lt;/strong&gt;&#xA;You need to transcode your video first using a &quot;real&quot; encoder like Apple Compressor or Adobe Media Encoder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Quicktime&#xA;MP4&#xA;29.97 or 30 frames per second&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure you use a standard resolution like 640x360,720x405,1280x720,1920x1080 or 640x360 for standard def 4x3.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also try using HandBrake, it may very well do the trick for you and be a lot easier.&lt;/p&gt;&#xA;" OwnerUserId="6235" LastActivityDate="2014-07-23T07:41:51.500" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12241" PostTypeId="1" CreationDate="2014-07-23T08:50:41.430" Score="5" ViewCount="1197" Body="&lt;p&gt;The TV show 'Utopia' has become renowned for its stylized visuals, including a type of saturation that is frequently described by reviews as &quot;Acid Burned&quot;...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/llSPf.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/L4EoC.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Director Marc Munden, who shot the first three episodes, set an incredible visual tone from the start with his use of &lt;em&gt;acid colours&lt;/em&gt; and startling symmetry.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;From the &lt;a href=&quot;http://www.theguardian.com/tv-and-radio/tvandradioblog/2013/dec/18/best-tv-2013-utopia-channel-4-dennis-kelly&quot; rel=&quot;nofollow noreferrer&quot;&gt;Guardian&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Channel 4's acid-toned paranoid thriller got off to a disappointing start ratings-wise, but soon built a detail-orientated fanbase whose obsessiveness was almost a match for the show's own graphic-novel nerds.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;From the &lt;a href=&quot;http://www.independent.co.uk/arts-entertainment/tv/reviews/utopia-channel-4--tv-review-dennis-kellys-returning-conspiracy-thriller-makes-the-perfect-start-9605918.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Independent.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;What this seems to translate to is incredibly rich and vibrant yellows and greens, with de-saturated blues and washed out darker shades.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is this achieved, and how could it be reproduced?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it entirely modified digitally in post production, or is a mixture of filmic techniques, lenses and post?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;The British adaptation of Wallander also prominently used this technique:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ff97F.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6236" LastActivityDate="2014-07-23T14:23:39.303" Title="How to achieve &quot;Acid Burn&quot; saturation?" Tags="|color-correction|post-production|filter|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12242" PostTypeId="2" ParentId="12241" CreationDate="2014-07-23T12:11:11.483" Score="4" Body="&lt;p&gt;I have not seen any movie that used any onset technqiuqes for this look. Of course you want the lighting to give away a certain mood to begin with but there are no special filters needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the post production workflow, there is a great plugin for several video tools like After Effects, Premiere and Final Cut from Red Giant called &lt;a href=&quot;http://www.redgiant.com/products/all/mojo/&quot; rel=&quot;nofollow&quot;&gt;Mojo&lt;/a&gt; that makes it extremely easy to achieve and fine tune such an effect. They also offer other tools to achieve specific filmic looks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't want to use a plugin or simply want to achieve a more &quot;unique look&quot;, you can play with contrast and the individual color channels. I recommend using a &quot;Levels&quot; effect not a &quot;contrast&quot; effect, you usually have greater control with that. Then punch the blue channel up a bit and the green channel aswell but not as much. For some scene you may want to work with masks to strengthen the effect in some areas without overdoing it in others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can also help even more to achieve the color distortion but is not available in every video editor is to apply a blue (or other color depending on your desired look) layer over your footage with a blend mode like &quot;Overlay&quot; or &quot;Vivid Light&quot; (that's how they are called in Adobe programs) and adjusting the transparency of the color layer. This tints the image nicely in a blueish dark look.&#xA;Play around with different blend modes, you can achieve very interesting effects with that technique. Your video software just needs to support blend modes for that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You also want a very sharp image, thats important for the effect to really shine and have this &quot;harsh&quot; feeling. Applying a very subtle sharpening effect could be benefical.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also add a vignette as used in your first set of screenshots.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-07-23T12:17:04.783" LastActivityDate="2014-07-23T12:17:04.783" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12243" PostTypeId="1" AcceptedAnswerId="12244" CreationDate="2014-07-22T22:55:25.777" Score="2" ViewCount="19545" Body="&lt;p&gt;I have a comp that I made that is a write-on effect.  I have selected the alpha channel toggle so in my view, I see the checkered background. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I queue to render, I select &lt;em&gt;lossless + alpha (I've also tried custom RGB + alpha)&lt;/em&gt; with &lt;strong&gt;quicktime&lt;/strong&gt; selected and it renders a &lt;strong&gt;white background instead of transparent one&lt;/strong&gt;. I had selected the white background, but transparency was toggled when I did the export, and so was the lossless + alpha. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help. &lt;/p&gt;&#xA;" OwnerUserId="6171" OwnerDisplayName="Peege151" LastEditorUserId="6685" LastEditDate="2015-04-25T20:27:10.623" LastActivityDate="2023-09-29T15:14:03.687" Title="After Effects Not Rendering Transparency (Quicktime Movie)" Tags="|video|after-effects|" AnswerCount="4" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12244" PostTypeId="2" ParentId="12243" CreationDate="2014-07-23T13:05:44.400" Score="1" Body="&lt;p&gt;Did you try re-importing the rendered video into After Effects? You should definitely have transperency with these settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you only tried to play this back as a webm video in chrome and safari you won't see transparency, neither browser is supporting webm with transparency right now. Only Googles Cannary project offers this future at the moment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As Joonas mentioned in the comments, the &lt;a href=&quot;https://github.com/m90/jquery-seeThru&quot; rel=&quot;nofollow&quot;&gt;jquery-seeThru&lt;/a&gt; project is offering a workaround for that.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-07-23T13:05:44.400" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12245" PostTypeId="2" ParentId="11894" CreationDate="2014-07-23T13:24:54.547" Score="1" Body="&lt;p&gt;The best way is to add more light, I see you mentioned not having the equipment to do so. There are a couple of home hacks to get around that. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Remove lamp shades and use the highest wattage bulb you can. I also prefer the clear glass bulbs sometimes with a diffuser over them. I find that tends to be brighter than the hazed bulbs but I have official evidence to prove this just experience. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) This is my favorite home light hack... Go to home depot and buy your self the the double halogen work light with stand. These work great for video as they are bright, easy to move around, come with a rotating head and are on a stand already, not to mention the best part, they are cheap!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Use halogen track lights in the room. This is also a way to get a nice light array for not a ton of money. Again they are super bright, easy to move around, just mount the track to a piece of 2x4 and you have a mini light array right there. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reasons not to use a higher ISO: &#xA;In all cases I avoid increasing the ISO unless absolutely necessary. A higher ISO will increase noise and there are no 2 ways about it. I always exhaust my other options first, aperture, exposure time and simply turning on a light if I can.    &lt;/p&gt;&#xA;" OwnerUserId="6233" LastActivityDate="2014-07-23T13:24:54.547" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12246" PostTypeId="2" ParentId="12227" CreationDate="2014-07-23T13:29:35.047" Score="7" Body="&lt;p&gt;This is possible with the &lt;a href=&quot;https://www.ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; command &lt;code&gt;ffmpeg -i input.mp4 -ss 0 -c copy -t 60 output.mp4&lt;/code&gt;. This would cut the video from the beginning &lt;code&gt;-ss 0&lt;/code&gt; to second 60 &lt;code&gt;-t 60&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Be aware that -ss is and offset which -t is based upon. So &lt;code&gt;-ss 10&lt;/code&gt; and &lt;code&gt;-t 60&lt;/code&gt; would result in cutting to second 70 and removing the first 10. You can use the &lt;code&gt;-to&lt;/code&gt; option to cut at a fixed time unrelated to &lt;code&gt;-ss&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not exactly sure how ffmpeg will handle GOPs but I think it will cut at the nearest GOP at the specified time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Relevant question on SU: &lt;a href=&quot;https://superuser.com/questions/138331/using-ffmpeg-to-cut-up-video&quot;&gt;https://superuser.com/questions/138331/using-ffmpeg-to-cut-up-video&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2014-07-23T13:35:35.827" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12247" PostTypeId="2" ParentId="12241" CreationDate="2014-07-23T14:23:39.303" Score="2" Body="&lt;p&gt;To add onto what Professor Sparkles said and to give more of a specific answer to your question, I believe this is done entirely in post (but I could be wrong because I have no experience on set). If anything, one could definitely reproduce this (or very close to it) in post by performing a few things:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Remove Noise&lt;/li&gt;&#xA;&lt;li&gt;Balance your R,B,G channels&lt;/li&gt;&#xA;&lt;li&gt;Juice the saturation, increase contrast, darken image(changing contrast and saturation can tend to have the same effect, so balance them appropriately favoring a higher saturation)&lt;/li&gt;&#xA;&lt;li&gt;Push your shadows to cooler temperatures, blues and teals &lt;/li&gt;&#xA;&lt;li&gt;Apply a vignette&lt;/li&gt;&#xA;&lt;li&gt;Apply slight sharpening&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2014-07-23T14:23:39.303" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12248" PostTypeId="2" ParentId="12243" CreationDate="2014-07-23T17:01:54.903" Score="3" Body="&lt;p&gt;There actually is no such thing as a &quot;transparent&quot; background in video.  Instead what you have is either 3 channel video (red, green and blue value for each pixel) or 4 channel (red, green, blue and alpha values for each pixel).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Alpha channel provides details about how opaque each pixel should be, however unless the video player playing the video file supports reading this extra channel of data, it won't actually do anything special.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally, unless the background image will actually be different for different users, your best bet may be to actually import the portion of the graphic that will be behind the video and actually record the video with the background behind it.  Then, when you position things together correctly, it will appear relatively seamless (though you have to be careful about the color encoding to make sure colors match.)  There is also some possibility that people's players will apply a color profile anyway and thus make the video frame have a slight color alteration from the normal background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise, the jquery-seeThru project that Professor Sparkle mentioned is probably the best bet.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-23T17:01:54.903" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12249" PostTypeId="1" CreationDate="2014-07-23T18:26:36.110" Score="3" ViewCount="4438" Body="&lt;p&gt;I'm trying to achieve a lossy JPEG 2000 output with FFMPEG, but no success so far.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using this command line:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.dpx -pix_fmt yuv420p -vcodec libopenjpeg output.jp2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As a result I get lossless output, which is a default setting for JPEG 2000. I tried -b:v and -q:v, but they both have no impact to the output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know a command that changes the quality/compress the output?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any kind of help is really appreciated. Thank you!&lt;/p&gt;&#xA;" OwnerUserId="6238" LastActivityDate="2015-06-01T10:34:31.733" Title="Lossy output with FFMPEG JPEG 2000" Tags="|ffmpeg|output|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12251" PostTypeId="2" ParentId="12249" CreationDate="2014-07-23T20:40:58.643" Score="4" Body="&lt;p&gt;Did you try using the &lt;code&gt;-compression_level&lt;/code&gt; flag? It takes an int from 0-100 afaik (maybe the range is even higher, the docs just say &quot;int&quot;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That should set a lossy compression strength.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also an interesting &lt;a href=&quot;http://www.michaelcinquin.com/library/ffmpeg&quot; rel=&quot;nofollow&quot;&gt;blog post&lt;/a&gt; about creating DCI compilant JPEG2000 encodes with FFMPEG for DCP's. Which require lossy encoded JPEG2000.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-07-23T20:40:58.643" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="12252" PostTypeId="1" AcceptedAnswerId="12253" CreationDate="2014-07-23T22:23:01.757" Score="1" ViewCount="102" Body="&lt;p&gt;My old Canon mv690 camera recorder got broken. It uses MiniDV casettes. To play many old recordings I bought a used Canon GL2 Mini DV 3ccd camera to play my old casettes, but the image is not displaying correctly. Does anyone know what the problem can be? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what my videos looks like on the GL2 Camera: &#xA;&lt;img src=&quot;https://i.stack.imgur.com/5UHIU.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6240" LastActivityDate="2014-07-24T02:06:54.710" Title="What is wrong with my &quot;new&quot; camera? My playback looks bad" Tags="|video|canon|video-standards|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12253" PostTypeId="2" ParentId="12252" CreationDate="2014-07-24T02:06:54.710" Score="1" Body="&lt;p&gt;I would try cleaning the playheads (there are special tapes you can put in for cleaning) and/or checking the playback speed.  Those are the two most common causes of that issue on my GL2.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-24T02:06:54.710" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12259" PostTypeId="2" ParentId="12230" CreationDate="2014-07-25T19:25:30.977" Score="1" Body="&lt;p&gt;According to Miraizon support this is a peculiarity in Premiere Pro handling of ProRes that causes it to interact &quot;very inefficiently&quot; with the the codec. There is an update forthcoming but until then they suggested this as a work-around: &#xA;Move the AppleProResDecoder.qtx from the /Quicktime/QTSystem/ folder to a temp folder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I still get some inconsistencies with various files under these circumstances such as &quot;Media Pending&quot; messages that aren't resolved and spotty playback.&#xA;This is currently working for me: &#xA;For editing:&#xA;Leave the AppleProResDecoder.qtx in /Quicktime/QTSystem/ and move the MProResCodec.qtx from the /Quicktime/QTComponents/ folder to a temp folder. Restart PPro.&lt;br&gt;&#xA;When I'm ready to export my ProRes:&#xA;Then when I'm ready to export to ProRes, I move the MProResCodec.qtx back to the /Quicktime/QTComponents/ folder and move the AppleProResDecoder.qtx into the temp folder.&#xA;Restart PPro.&lt;/p&gt;&#xA;" OwnerUserId="6226" LastActivityDate="2014-07-25T19:25:30.977" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12260" PostTypeId="1" AcceptedAnswerId="12261" CreationDate="2014-07-25T21:05:05.897" Score="1" ViewCount="49" Body="&lt;p&gt;I have recorded a 20 minutes game session from Minecraft using Kazam and saved the result as a 80 gig avi. When I try to open the file though only the first 8-9 minutes are played.&lt;br&gt;&#xA;Selecting it as a source in Handbrake shows the correct length at 19 min 49 sec but converting it to mkv for instance only results in a file that is 8 min 33 sec.&lt;br&gt;&#xA;Adding the file as a source in OpenShot it is playable up until 8 min mark but after that gets dark.&lt;br&gt;&#xA;Adding it in a track in the project and playing it produces a video with only the gui and the rest black.&lt;br&gt;&#xA;Are there anyway to save this file or should I just be happy that I at least got 9 minutes?&lt;/p&gt;&#xA;" OwnerUserId="6253" LastActivityDate="2014-07-25T21:43:11.900" Title="Large avi not playing to the end" Tags="|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12261" PostTypeId="2" ParentId="12260" CreationDate="2014-07-25T21:43:11.900" Score="2" Body="&lt;p&gt;It is hard to say without seeing the file itself, but my best guess is that an issue occurred causing the data stream to die but the meta data was still set &quot;properly&quot;.  Generally, the actual video data itself is not looked at for the length of the video.  Instead, there is header meta data in the file that holds the video stream which indicates how long the video is and how it is encoded.  It is possible that the video stream either had an error at around 9 minutes or perhaps it simply stopped recording around that time, however the timer kept going and the meta data for the length wasn't written until the end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would also explain why it goes dark, because the video stream player would try to play it, but the content isn't there, so it has nothing to play.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the file just has a corruption for a short while and then works again, you might be able to get around it by splitting the video stream in to multiple parts, but my guess is that the data was probably not encoded in the first place and your stream itself is probably truncated.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-25T21:43:11.900" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12262" PostTypeId="1" AcceptedAnswerId="12263" CreationDate="2014-07-26T11:37:29.513" Score="2" ViewCount="377" Body="&lt;p&gt;I'm using MP4Box (command line tool) to add subtitles to mp4 movies. The language of the subtitle seems to be set using ISO 639 codes. There's no differentiation between Simplified and Traditional Chinese in ISO 639 (as the difference is not in the language, but in the script).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is: Does the MP4 format allows making this differentiation, and if so, how?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for your answers.&lt;/p&gt;&#xA;" OwnerUserId="6223" LastActivityDate="2014-07-26T18:28:00.303" Title="How to Differentiate Subtitle Track Language Between Simplified and Traditional Chinese?" Tags="|mp4|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12263" PostTypeId="2" ParentId="12262" CreationDate="2014-07-26T18:28:00.303" Score="2" Body="&lt;p&gt;You should be able to define you own 3 character long language code for imported media using the option &lt;code&gt;:lang=LAN&lt;/code&gt; when specifying your media file for import. LAN being your own language code. So you could use something like SCN and TCN.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-07-26T18:28:00.303" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12264" PostTypeId="1" CreationDate="2014-07-27T14:19:43.783" Score="0" ViewCount="539" Body="&lt;p&gt;After experimental restauration of btrfs sparse file image, a lot of my video files have missing or added bytes, but only some (file sizes are identical to size of original except &amp;lt; 100 bytes). Is there a program which can &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;recognize the video container and encoding (could may also be done separately with a script)&lt;/li&gt;&#xA;&lt;li&gt;repair the video file based on eventually existing checksums (I have no idea how popular video formats work)&lt;/li&gt;&#xA;&lt;li&gt;recognize missing bytes causing the failure of rendering for single images/sequences and replace them with black images&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;(1. is optional, 2. and 3. alternatives for each other)?&lt;/p&gt;&#xA;" OwnerUserId="6095" LastActivityDate="2014-07-28T22:18:54.860" Title="Repair corrupted video files" Tags="|software-recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12265" PostTypeId="1" AcceptedAnswerId="12300" CreationDate="2014-07-27T15:22:58.337" Score="4" ViewCount="7238" Body="&lt;p&gt;I'm trying out Adobe Premiere Pro CC 2014 and I have a video with three audio tracks. The quality of each track is as follows (listed as the &quot;Source Audio Format&quot; in Premiere): &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;48,000 Hz 16-bit Mono &lt;/li&gt;&#xA;&lt;li&gt;16,000 Hz 16-bit Mono&lt;/li&gt;&#xA;&lt;li&gt;44100 Hz - compressed - Stereo&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The sequence settings for the audio is &quot;48,000 Hz, Stereo, and Audio Samples&quot;. When I render what I'm trying to use is h.264 and for audio my settings are &quot;AAC, 48,000 Hz, Stereo, High, 320 Kbps, Bitrate&quot;   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried numerous other settings as well, including different encodings, and whenever I render out the video the audio sounds thin and echoes a ton. It is really awful. The only way I'm able to get all three tracks to play together nicely, is if I render them as an uncompressed .wav file, but obviously I'll get no video then. Another strange thing is that all the other tracks (in camera audio, music track) sound completely fine, but the one that's really important, the narrative voice over sounds awful. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I doing wrong?! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: Here are some pictures of the settings&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Fa02c.png&quot; alt=&quot;Export Settings&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/ULtJe.png&quot; alt=&quot;Sequence settings&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/4tS1R.png&quot; alt=&quot;Track Settings&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6179" LastEditorUserId="6179" LastEditDate="2014-07-27T17:44:28.950" LastActivityDate="2020-02-18T06:54:55.597" Title="Awful Audio in Video post-render (Premiere Pro CC)" Tags="|premiere|audio|compression|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12266" PostTypeId="2" ParentId="12265" CreationDate="2014-07-27T16:37:21.653" Score="1" Body="&lt;p&gt;Do they playback properly in Premiere before you render? If they playback fine when you export them as uncompressed wav, try exporting them to wav, then import that single wav back into your project, mute the other 3 channels, and then export your single wav and single video.&lt;/p&gt;&#xA;" OwnerUserId="5226" LastActivityDate="2014-07-27T16:37:21.653" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12267" PostTypeId="1" AcceptedAnswerId="12269" CreationDate="2014-07-27T18:11:15.810" Score="2" ViewCount="325" Body="&lt;p&gt;I'm trying to create a video out of what's shown on the computer's screen. Unfortunately, I can't seem to get it in high quality, and since there are small fonts on the screen - the HQ is important.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Microsoft Expression Encoder 4. When I view the captured video before encoding (xesc) - it's fine. But after encoding - the encoded file (wmv) is not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried setting the size to &quot;source&quot; (doesn't help), simply renaming the file to &quot;.wmv&quot; (the text is clear but most of the screen is &quot;grayed out&quot;), and some other ideas. Nothing works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm open to using different screen video capture software. (Preferably free.) I've researched about video editing software such as Adobe Premiere Pro, but it seems not to include video screen capture.&lt;/p&gt;&#xA;" OwnerUserId="6255" LastActivityDate="2014-08-10T18:13:54.040" Title="HQ screen video capture" Tags="|video|editing|software-recommendation|video-quality|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12268" PostTypeId="1" AcceptedAnswerId="12272" CreationDate="2014-07-28T00:02:03.990" Score="3" ViewCount="188" Body="&lt;p&gt;I'm creating some basic advice videos, which are explicitly intended to be produced quickly.  I'm using a low-grade webcam to do video captures and don't have any special lighting.  I don't need my videos to be beautiful, and don't want to put too much effort into correcting them, however, I am annoyed by my 'digital jaundice'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for a simple and &lt;em&gt;free&lt;/em&gt; tool which can help me remove the yellow shade.  I don't need power, I'm not willing to pay anything, and I'm not willing to put in too much effort into correcting the color before I give up and post videos as a lost Simpson character :).  It seems like there should exist a simple open source tool for exactly this use case.  Can anyone recommend a free tool?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sorry if this is a repeat question.  I feel like I should be able to figure this out on my own without asking, but I've honestly spent time googling and looked through this site and haven't been able to find the information, perhaps because on this site everyone has way more domain knowledge, the one question i did find that seemed to address this question the answer went over my head lol.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:  It turns out I didn't need any tool.  Youtube has built in an ability to adjust your lighting after uploading a video.  It's not very fancy, but it's enough for my needs, simple to use, and most of all it's fast because it utilizes 'the cloud'.  Still, thank you for your feedback&lt;/p&gt;&#xA;" OwnerUserId="6256" LastEditorUserId="6256" LastEditDate="2014-07-29T02:35:24.450" LastActivityDate="2014-07-29T02:35:24.450" Title="free tool to do basic color correction?" Tags="|color-correction|freeware|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12269" PostTypeId="2" ParentId="12267" CreationDate="2014-07-28T02:11:59.387" Score="1" Body="&lt;p&gt;In order to get a near the high quality you require, you would have to use quite a high bit rate.  Unfortunately the number of pixels that the video decodes to and the actual effective resolution of a video are not the same thing.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Modern video compression will make the most effective use of the data rate you set the video to use, but the more you compress, the less fine detail can be stored, especially if it doesn't have much of a pattern to it or changes a lot from frame to frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first thing to try would be to increase the data rate of the video as far as you can and see if that improves it.  If not, then you could try another capture program.  I personally like FRAPS a lot, it isn't free, but it also isn't particularly expensive ($37).  It works really great assuming you have sufficiently fast drives to keep up with the recording, though the initial videos are massive.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-28T02:11:59.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12270" PostTypeId="2" ParentId="12268" CreationDate="2014-07-28T02:14:21.590" Score="5" Body="&lt;p&gt;The cheapest tool is to use a desk lamp and light the scene better to begin with and use the white balance setting in the webcam software itself.  It's a lot harder after the fact (if sufficient detail is even saved in the video to fix it at all).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also try DaVinci Resolve Lite, it's a professional color grading and correction package that also happens to be completely free, but the much better solution is to light and shoot correctly rather than trying to fix crappy footage in post.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-28T02:14:21.590" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12271" PostTypeId="2" ParentId="12267" CreationDate="2014-07-28T05:31:20.630" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://camstudio.org/&quot; rel=&quot;nofollow&quot;&gt;CamStudio&lt;/a&gt; is a well-known free screen capture software. I used it, but didn't like it. &lt;a href=&quot;http://movavi.org&quot; rel=&quot;nofollow&quot;&gt;Movavi&lt;/a&gt; suite has screen capture and video editing features, but it's not free.&#xA;To get best results, you should use quality screen capture codec, not resize your source videos, use good video converter or editing software. Adobe Premiere Pro is a professional video editor (the best choice to edit videos - if you can afford it) &lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-07-28T05:31:20.630" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12272" PostTypeId="2" ParentId="12268" CreationDate="2014-07-28T08:49:47.537" Score="3" Body="&lt;p&gt;Blender's compositor will do exactly what you want, just enter the compositor (on the right of the help button on the menu, change default to compositor) check nodes and backdrop, add your video as input (press shift+A on the the compositing window) you can remove the render node since you are not using 3D, press shift+CTRL+left_mouse_button on the input node and your movie will be displayed as background, now you can add color nodes to correct the colors of your image. Link nodes and you will see the color correction in the background image. When you are happy match the number of frames to those of your video and render the whole thing. &lt;/p&gt;&#xA;" OwnerUserId="6210" LastActivityDate="2014-07-28T08:49:47.537" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="12273" PostTypeId="2" ParentId="12118" CreationDate="2014-07-28T12:33:07.347" Score="1" Body="&lt;p&gt;Using the latex package &lt;code&gt;animate&lt;/code&gt;, a movie consisting of vector graphics can be made.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Construct a set of, for instance, pdf files with a base name &lt;code&gt;img-&lt;/code&gt; and construct the file &lt;code&gt;main.tex&lt;/code&gt; containing the code&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;\documentclass{standalone}&#xA;\usepackage{animate}&#xA;\begin{document}&#xA;    \animategraphics[controls,autoplay,loop]{10}{img-}{1}{20}&#xA;\end{document}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;. Compiling the &lt;code&gt;main.tex&lt;/code&gt; file produces a pdf file with an embedded vector graphics movie. For playback, either &lt;code&gt;Adobe Reader&lt;/code&gt; or &lt;code&gt;PDF-XChange Viewer&lt;/code&gt; is needed. For more details, consider the manual of the &lt;code&gt;animate&lt;/code&gt; package at &lt;a href=&quot;http://ctan.math.utah.edu/ctan/tex-archive/macros/latex/contrib/animate/animate.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;The animate Package&lt;/a&gt;. For Linux users, I believe only Adobe Reader is an option. Follow the instructions at &lt;a href=&quot;https://askubuntu.com/questions/89127/how-do-i-install-adobe-acrobat-reader&quot;&gt;How do I install Adobe Acrobat Reader?&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6167" LastEditorUserId="-1" LastEditDate="2017-04-13T12:22:54.683" LastActivityDate="2014-07-28T12:33:07.347" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12274" PostTypeId="1" AcceptedAnswerId="12277" CreationDate="2014-07-28T14:37:07.147" Score="2" ViewCount="117" Body="&lt;p&gt;I am wondering if there is a camcorder/video camera out there with a touchscreen viewfinder that is detachable and can be used remotely via a cable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to be able to control all features of the camera by this screen (zoom, focus, start recording, etc). Additionally a live view of what the camera is recording is needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that many DSLRs/Video can be controlled by smartphone/tablet but the features are limited and lag is a problem. I do not want wireless for this reason.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anybody know a camera that does this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not a professional so the price range has to be around £600-£1000 ($1019-$1700).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="6261" OwnerDisplayName="CalG" LastEditorUserId="6261" LastEditDate="2014-07-28T16:09:20.883" LastActivityDate="2014-07-28T16:39:44.510" Title="Video Camera with Detachable Viewfinder and Remote Control" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12275" PostTypeId="2" ParentId="5478" CreationDate="2014-07-28T16:05:11.670" Score="0" Body="&lt;p&gt;If your goal is to get better at coloring.. yes keep tinkering. If you want a push button possibility download try SpeedGrade and try some of the preset &quot;Looks&quot;. Ultimately, for any auto correction to look exactly like the Picasa one would be a piece of chance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am by no means a color guru, but I found these resources helpful in some recent projects:&#xA;&#xA;&lt;li&gt;&#xA;&lt;a href=&quot;http://www.hurlbutvisuals.com/blog/2012/01/7-tips-for-hd-color-correction-and-dslr-color-correction/&quot; rel=&quot;nofollow&quot;&gt;Some quick basics&lt;/a&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&#xA;&lt;a href=&quot;http://provideocoalition.com/pvcexclusive/story/answering-the-essential-color-correction-question&quot; rel=&quot;nofollow&quot;&gt;Kind-of Concept Overview but interesting&lt;/a&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&#xA;&lt;a href=&quot;http://www.lynda.com/Video-training-tutorials/78-0.html?previousCategory=1298&quot; rel=&quot;nofollow&quot;&gt;Color Correction Tutorials&lt;/a&gt;&#xA;&lt;/li&gt;&lt;/p&gt;&#xA;" OwnerUserId="6226" LastActivityDate="2014-07-28T16:05:11.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12276" PostTypeId="2" ParentId="5833" CreationDate="2014-07-28T16:38:58.250" Score="3" Body="&lt;p&gt;I struggled with a similar issue on Ubuntu 12.04.3 LTS. I fixed the problem using the static ffmpeg build which is available from &lt;a href=&quot;http://johnvansickle.com/ffmpeg/&quot; rel=&quot;nofollow&quot;&gt;http://johnvansickle.com/ffmpeg/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6260" LastEditorUserId="1760" LastEditDate="2015-08-04T18:26:31.183" LastActivityDate="2015-08-04T18:26:31.183" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12277" PostTypeId="2" ParentId="12274" CreationDate="2014-07-28T16:39:44.510" Score="0" Body="&lt;p&gt;It is probably pretty unlikely in your price range.  Remote monitors are a common feature on high end professional gear where different features of the camera are actually being controlled by multiple operators and reviewed by a director and cinematographer.  Having a removable, touch, control interface however, is an exceedingly rare need in the consumer market.  The closest you will likely come is a wireless, wifi based control that lets you control the camera and record to the camera itself (so minimal lag on the controls) even if there is slight lag in the video feed itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could look for cameras with a firewire interface and remote control software for a tablet.  That would be lower latency than wireless, but I'm not sure that many new cameras include that kind of support.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also consider the more limited option of an HDMI or SDI field monitor and a basic &lt;a href=&quot;http://www.bhphotovideo.com/c/buy/Zoom-Focus-Controls/ci/1889/N/4028759352&quot; rel=&quot;nofollow&quot;&gt;LANC&lt;/a&gt; controller or similar.  This would allow you to have a super low latency monitor and super low latency controls, but the controls would be more limited.  It would probably still end up pushing the edge of your price range though.  The monitor itself is generally $100 or more alone and can easily go upwards of $200 for a marginal quality one.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-28T16:39:44.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12278" PostTypeId="1" AcceptedAnswerId="12279" CreationDate="2014-07-28T21:52:46.327" Score="1" ViewCount="551" Body="&lt;p&gt;I'm doing some HTML5 video work; I'm taking uploaded video and using ffmpeg and related packages to convert the original videos (usually .mov, but whatever) into mp4, ogg and webm versions for presentation via video.js.  The ogg and webm encodings are both working nicely in Firefox across Windows, Mac, and Linux (the main reason for producing both, it seems); my question is whether, as a practical matter, I need to produce both ogg and webm versions.  Both seem to be working well; I'm asking out of an interest in not producing stuff that I don't really need.  Any thoughts?  Thanks!&lt;/p&gt;&#xA;" OwnerUserId="6263" LastActivityDate="2014-07-28T22:10:14.533" Title="Do I need to encode video in both ogg and webm?" Tags="|video|file-formats|webvideos|video-standards|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12279" PostTypeId="2" ParentId="12278" CreationDate="2014-07-28T22:10:14.533" Score="3" Body="&lt;p&gt;Probably better suited for Stackoverflow but I think its still a valid question for this SE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Producing theora(ogg) versions of your videos is actually redundant. Any browser version supporting ogg is also supporting webm.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For questions like these I recommend using &lt;a href=&quot;http://caniuse.com&quot; rel=&quot;nofollow&quot;&gt;caniuse.com&lt;/a&gt;.&#xA;If you compare &lt;a href=&quot;http://caniuse.com/webm&quot; rel=&quot;nofollow&quot;&gt;webm&lt;/a&gt; with &lt;a href=&quot;http://caniuse.com/ogv&quot; rel=&quot;nofollow&quot;&gt;ogg&lt;/a&gt; you quickly see that you cover the same browser versions and more with webm.&#xA;Unless you need to cover Firefox 3.5+.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-07-28T22:10:14.533" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12280" PostTypeId="2" ParentId="12264" CreationDate="2014-07-28T22:18:54.860" Score="1" Body="&lt;p&gt;Completely depends on the video codec and container format, there is no general tool to fix corrupted video files.&#xA;Regarding avis with missing headers there is a good answer on this &lt;a href=&quot;https://video.stackexchange.com/questions/4202/how-do-i-recover-truncated-avi-dv-video/4216#4216&quot;&gt;question&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The info there also helps with recovering other video formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To find more info about a certain file I recommend using &lt;a href=&quot;http://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt; in addition to &lt;a href=&quot;https://www.ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffprobe&lt;/a&gt;. It offers some more info about codecs and container properties than ffprobe and is easier to read.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If chunks in the video stream are corrupt it won't hinder playback of the stream you will just experience artifacts around these chunks.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-07-28T22:18:54.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12282" PostTypeId="2" ParentId="11919" CreationDate="2014-07-29T10:07:15.853" Score="1" Body="&lt;p&gt;there is a german speaking website that sells sj4000 fitting red and magenta filters if you are still searching:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.magic-filter.de/artikelliste/gruppe/id-004-produkte-fuer-qumox-sj4000.html&quot; rel=&quot;nofollow&quot;&gt;http://www.magic-filter.de/artikelliste/gruppe/id-004-produkte-fuer-qumox-sj4000.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6266" LastActivityDate="2014-07-29T10:07:15.853" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12283" PostTypeId="1" AcceptedAnswerId="12289" CreationDate="2014-07-29T15:52:01.380" Score="1" ViewCount="1250" Body="&lt;p&gt;I need to remove an object (in my case - a newspaper) that is being hold by a man who moves it a bit from side to side and sometimes it is hidden behind some other objects. How do I do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My idea is to use rotobrush in After Effects and somehow fill it using 'content aware fill', but I cannot find anything like 'content aware fill' option. I have seen some tutorials on web about how to  remove an object from a steady background, but this case is more complicated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS I don't want to mask it frame by frame in Photoshop.&lt;/p&gt;&#xA;" OwnerUserId="6267" LastActivityDate="2014-07-30T14:44:36.363" Title="How to remove an unwanted dynamic object from a dynamic footage" Tags="|after-effects|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12284" PostTypeId="2" ParentId="12283" CreationDate="2014-07-29T19:30:23.187" Score="1" Body="&lt;p&gt;This is not possible without doing some major 3D work. If you manually paint in missing parts or use content aware fill you will have a extremely poor result, this is not in any way comparable to object removal in stills.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will face heavy jitter and other artifacts if you don't have a ton of experience with this kind of work, with such big object you will have to rework the character in 3D which is also a very demanding task.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It will be a lot easier to just re-shoot the scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though as AJ Henderson said, if you really have absolute perfect conditions and are ok with some artifacts its possible to do with retouchting in 2D but going by the fact that the newspaper seems to be moved around a lot this will be daunting task and if you have any possibility to re-shoot the scene than do it. It will look better, be faster and also easier.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-07-30T14:32:57.383" LastActivityDate="2014-07-30T14:32:57.383" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12285" PostTypeId="1" AcceptedAnswerId="12290" CreationDate="2014-07-30T11:02:14.250" Score="7" ViewCount="2527" Body="&lt;p&gt;I'm converting a video with resolution 960x720p using HandBrake on Mac. When I convert two videos with exactly the same settings but with different resolutions, the file size is almost the same. Actually, the video with larger resolution (960x720p) is slightly smaller than the video with smaller resolution (720x540p). File size of the larger resolution video is 18,7 MB and the file size of the smaller resolution video is 19,1 MB. Like I said, the conversion settings are exactly the same, only resolution is different. I'm using H.264 codec with variable bitrate. Please check the settings from the attached screenshot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why the file size isn't smaller on the lower resolution video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/UGmXA.jpg&quot; alt=&quot;settings&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6271" LastActivityDate="2014-07-30T14:21:10.083" Title="Converting video with different resolutions slightly affects in file size, why?" Tags="|video|conversion|compression|h.264|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12286" PostTypeId="1" AcceptedAnswerId="12288" CreationDate="2014-07-30T13:33:34.773" Score="4" ViewCount="31239" Body="&lt;p&gt;I am working on some homemade lectures so I need good quality of sound, but unfortunately I do not have any budget so far(amateur stuff). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking for a camera that can shoot in Full HD and can have an external microphone attached. I do not need anything further than that, though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was considering &lt;code&gt;SONY HDR-CX240&lt;/code&gt; until I found out it cannot have external mic.&#xA;(What if it is a USB mic? It does have a USB slot.) So, should I quit this choice and buy a more expensive camera? Which one whould you recommend?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible that I record with the camera and external mic attached to my laptop at the same time?&lt;/p&gt;&#xA;" OwnerUserId="6219" LastActivityDate="2017-05-13T17:49:29.090" Title="What is the cheapest camera I can plug external microphone to?" Tags="|camera|microphone|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12287" PostTypeId="2" ParentId="12285" CreationDate="2014-07-30T13:37:30.120" Score="0" Body="&lt;p&gt;That has to do with choosing a variable bitrate aswell as how h264 essentially works. Some videos can be compressed better than others. If in one video for example you have a lot of &quot;still&quot; frames with not much moving the scene, h264 can compress that a lot better than a video with a lot of action.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;H.264 is doing motion estimation and works in so called Group of Picture where there are only a few frames that actually contain a full video frame and the in-between frames just contain information to calculate a full frame during playback. That's the reason why you sometimes get these smearing artifacts when playing a h264 video.&#xA;Also the reason why resolution doesn't necessarily affect the file size that much and a higher resolution video can sometimes be smaller than a lower resolution video, it depends on the content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That size difference should be less though if you encode both with constant quality.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-07-30T13:37:30.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12288" PostTypeId="2" ParentId="12286" CreationDate="2014-07-30T13:53:22.990" Score="6" Body="&lt;p&gt;Do you own a high-end smartphone? You can plug-in pretty much any microphone and have very decent audio quality. Some Android phones even support usb mics.&#xA;So you probably need a cheap adapter for standard stereo or mono mics to work with the 3 channel type headphone+mic jacks in modern phones. Something like this: &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B004SP0WAQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.amazon.com/StarTech-com-headsets-separate-headphone-microphone/dp/B004SP0WAQ/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It then only depends on the video quality of your phone. If that is satisfactory just get some sort of tripod adapter or other type of stand for phones and you're good to go. Definitely the cheapest solution if you already own a fitting phone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your phone is not an option I recommend you go with a webcam and USB microphone attached to your PC or Laptop. Most recording softwares have the option to choose a different audio source than your video recording device.&#xA;You can get a decent quality webcam for 20-30€ and a decent quality USB mic that can capture room audio for 15-20€.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2017-05-13T17:49:29.090" LastActivityDate="2017-05-13T17:49:29.090" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12289" PostTypeId="2" ParentId="12283" CreationDate="2014-07-30T14:08:19.787" Score="2" Body="&lt;p&gt;If the camera and background are both stationary (or perhaps very near stationary) you should be able to extrapolate a background plate from looking for frames where the man and paper are not blocking that part of the shot.  Once you have that background plate, you can mask the newspaper and expose the appropriate portion of the background plate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This works best if the camera isn't moving, though you may be able to do a camera tracking in the event of small camera movements and still get workable results by matching the position and angle of the background plate to the camera (though it will likely require far more advanced background plates to account for any perspective changes).  With anything more than minimal movement of the camera though, the perspective changes will become too severe to compensate for and you won't be able to build a background plate from previous/future frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At that point, you would actually have to build a model of the scene in order to be able to render out the background to fill in with perspective adjustments and that would be far more complicated than re-shooting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that this also does still require frame to frame adjustment of the mask and requires building the back plate by hand as well.  It is still non-trivial, but isn't quite masking frame by frame in Photoshop since the rotoscope tool should work for it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If shadows are visible on the background as well, then you may need to make some animated masks to emulate the shadows on the background plate as well.  Either way, we're talking about a pretty elaborate operation most likely depending on the quality you need.  If any shadows from the actor are visible though (particularly soft shadows against not flat objects) the quality level will drop like a rock and the complexity will go higher fast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do get hit with shadow issues or background movement issues (and reshooting really isn't an option) you may actually be served best by replacing the background entirely).  If you build a fixed background plate that doesn't have any shadows from the actors, people are not super likely to notice the lack of shadow compared to a gap in the shadow or a reconstructed shadow.  It would involve even further rotoscoping, but might be easier than trying to build a believable shadow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reshooting really is the best option, even in the ideal case though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-07-30T14:44:36.363" LastActivityDate="2014-07-30T14:44:36.363" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12290" PostTypeId="2" ParentId="12285" CreationDate="2014-07-30T14:21:10.083" Score="6" Body="&lt;p&gt;You are using the same bitrate for each video.  The bitrate determines how much data is used per second.  The resolution has nothing to do with how much data is used, it only impacts the number of points of data which are encoded (and thus determines part of the quality of the video output for a given bitrate).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you end up with is a lower resolution file that more faithfully reproduces the original format since it has more data storage allocated per pixel where as the higher resolution file produces more pixels in the output, but as it has less data available per pixel, it is a less faithful reproduction.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is a fluid question as to whether you lose more quality from the downscale or bitrate being used, so there is no preferred value to change.  In some situations the best overall quality will be to reduce the resolution and bitrate and in other cases the best result will be to keep the resolution the same but only reduce the bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you intend to make different resolutions for different connection speeds, you should decrease both the resolution and the bitrate.  This will result in a smaller file with similar relative quality, so long as you use similar compression ratios (the relationship between the size of the input and the file size).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, as a rough guideline, if a video is 1080p and takes 225MB in total, then you would want the 720p version to take around 100MB because there is a little under half the pixels in a 720p video than there is in the 1080p video.  The amount of data used to store each pixel is thus the same, so the amount of artifacts should be pretty similar.  (Though the loss of detail will make it slightly unpredictable, so it doesn't hold exactly.  I'm oversimplifying a bit since compression is actually a pretty complicated field.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-07-30T14:21:10.083" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12291" PostTypeId="2" ParentId="10699" CreationDate="2014-07-30T19:31:38.647" Score="0" Body="&lt;p&gt;Rather than enumerate how unrealistic the budget is for what you're trying to do.. Here's some thoughts towards making it, with the information you gave.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the $500 range we're talking about a camcorder (DSLR like a used t3i might be in this category, but he specifically asked for a camera without the &quot;shooting limit&quot;). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps one of these would foot the bill.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Canon Vixia R52&#xA;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/1023205-REG/canon_vixia_hf_r52_full.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/1023205-REG/canon_vixia_hf_r52_full.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or the Sony HDR XR160&#xA;&lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B004H8FN8K&quot; rel=&quot;nofollow&quot;&gt;http://www.amazon.com/Sony-HDR-XR160-High-Definition-Handycam-Camcorder/dp/B004H8FN8K/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are below the budget, have relatively &quot;long&quot; running batteries, mic inputs, etc..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is not an expensive or likely sturdy lighting package.. but it will work and with very little outlay you can experiment and find what you really use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B005FHZ2SI&quot; rel=&quot;nofollow&quot;&gt;http://www.amazon.com/exec/obidos/ASIN/B005FHZ2SI/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For sound: add a mic to one of those cameras or get a cheap external recorder like the zoom H2 which you can mount on the camera with a hot-shoe or on a tripod near the subject with/or without a lav mic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B000VBH2IG&quot; rel=&quot;nofollow&quot;&gt;http://www.amazon.com/Zoom-H2-Portable-Stereo-Recorder/dp/B000VBH2IG&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This whole package at the moment will run you less than $700 + tripod, extra batteries, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need more &quot;professional&quot; look maybe a Black Magic Pocket Cinema ($500 + lens)&#xA;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/964117-REG/blackmagic_design_blackmagic_pocket_cinema_camera.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/964117-REG/blackmagic_design_blackmagic_pocket_cinema_camera.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Will give you the run-time and with the proper lens and setup, better footage to work with.&lt;/p&gt;&#xA;" OwnerUserId="6226" LastActivityDate="2014-07-30T19:31:38.647" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12292" PostTypeId="1" AcceptedAnswerId="12364" CreationDate="2014-07-30T22:42:08.503" Score="3" ViewCount="601" Body="&lt;p&gt;I've worked with Premiere Pro for a while now and created my own workspace based on the panels I need most frequently. I have but one problem: I would like to have multiple instances of the Effect Cotrols Panel within my workspace. This is possible with the Project Panel, however I couldn't find an option to multiply other panels. Is there a way to accomplish this?&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2014-08-11T18:30:38.950" Title="Premiere Pro CC: Multiple instances of a panel in the workspace?" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12293" PostTypeId="2" ParentId="10146" CreationDate="2014-07-30T23:19:12.050" Score="2" Body="&lt;p&gt;I don't think there is a way to accomplish this, since you can apply effects on nested sequences as well as to single clips, which means the nested sequence might look different in the main sequence than it does in the nested one. My humble guess is that that is also the reason why Premiere does not use the existing preview files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A workaround would be to export the nested sequence and re-import the rendered file in your project, replacing the nested sequence. This of course means you won't be able to make changes to that part of your video anymore, as well as a slight loss in quality (unless you export the sequence using a visually lossless codec such as ProRes or DNxHD) ...&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2016-03-06T16:10:18.080" LastActivityDate="2016-03-06T16:10:18.080" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12296" PostTypeId="1" CreationDate="2014-07-31T22:17:10.333" Score="0" ViewCount="495" Body="&lt;p&gt;I am kind of new to video (1 year). When I import video footage into Premiere, I sometimes get duplicate clips. Only the long ones. I think I am not importing my footage correctly. Does it have to do with the clip, if it is long, is really spanning 2 clips? The video is HD, mostly those Canon MTS files. What is the correct way to import into Premiere, just started working with CC (2014) version?&lt;/p&gt;&#xA;" OwnerUserId="6277" LastActivityDate="2015-01-26T03:33:27.713" Title="mistake importing footage" Tags="|premiere|video-editor|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12297" PostTypeId="2" ParentId="12296" CreationDate="2014-08-01T01:46:41.870" Score="1" Body="&lt;p&gt;To import into Premiere Pro CC 2014 simply click on the Media Browser tab and select (or multi-select) the files you wish to import. Right-click and click import. Note if you double click on a file, default behavior is to open it for preview.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an adobe help on importing as well:&#xA;&lt;a href=&quot;http://helpx.adobe.com/premiere-pro/using/importing-assets-tapeless-formats.html&quot; rel=&quot;nofollow&quot;&gt;http://helpx.adobe.com/premiere-pro/using/importing-assets-tapeless-formats.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and a how-to video on importing:&#xA;&lt;a href=&quot;http://tv.adobe.com/watch/learn-premiere-pro-cc/import-video-and-audio/&quot; rel=&quot;nofollow&quot;&gt;http://tv.adobe.com/watch/learn-premiere-pro-cc/import-video-and-audio/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6226" LastActivityDate="2014-08-01T01:46:41.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12298" PostTypeId="2" ParentId="12296" CreationDate="2014-08-01T02:56:47.330" Score="2" Body="&lt;p&gt;It is possible that Premiere is detecting a spanned file and automatically connecting them.  If a file goes beyond 4GB, it may have to be split in to two files due to limitations of the file system used on some memory cards.  It is possible that when you load the file in to Premiere, it recognizes the file was split and puts them back together for both parts that you import.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-01T02:56:47.330" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12299" PostTypeId="1" CreationDate="2014-08-01T01:43:49.200" Score="0" ViewCount="25" Body="&lt;p&gt;How to motion track and put a 3d model on a video so it looks like it belongs there. I have a 3d sequence wolf that I am importing through element and once I get it into ae, how do I track the video and put the model on it so it looks like it belongs there? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="6312" OwnerDisplayName="Panda AB" LastEditorUserId="17390" LastEditDate="2018-09-23T21:39:19.403" LastActivityDate="2018-09-23T21:39:19.403" Title="how to motion track in after effects" Tags="|video|after-effects|animation|" AnswerCount="0" CommentCount="5" ClosedDate="2014-08-01T16:49:32.693" ContentLicense="CC BY-SA 3.0" />
  <row Id="12300" PostTypeId="2" ParentId="12265" CreationDate="2014-08-01T14:50:28.207" Score="1" Body="&lt;p&gt;OK, after using different encodings, recording in different modes, trying different field recorders, trying different NLEs, I refreshed my PC (Windows 8 Refresh), reinstalled my drivers, updated, reinstalled AE and PP and it works. So it was a confliction with some sort of 3rd party program, driver, or errant system file, etc. &lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2014-08-01T14:50:28.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12301" PostTypeId="2" ParentId="10550" CreationDate="2014-08-02T18:03:54.467" Score="2" Body="&lt;p&gt;&lt;a href=&quot;https://net7mma.codeplex.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://net7mma.codeplex.com&lt;/a&gt; has a server and client implementation which is compatible with VLC and was created for exactly the scenario you cite. From the website:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;This project's goal is to allow developers to deliver media to clients freely in less then 10 lines of code utilizing standards complaint protocol implementations. It also aims to provide a re-usable set of classes for working with Rtsp and Rtp/Rtcp and Sdp.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;There is a new download link if you wish to try this software out:&#xA;&lt;a href=&quot;https://github.com/juliusfriedman/net7mma&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/juliusfriedman/net7mma&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6284" LastEditorUserId="-1" LastEditDate="2020-06-29T10:32:03.597" LastActivityDate="2020-06-29T10:32:03.597" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="12303" PostTypeId="2" ParentId="12286" CreationDate="2014-08-02T21:43:03.823" Score="4" Body="&lt;p&gt;The Canon VIXIA HF R500 is the least expensive consumer camcorder (from a major brand) that I have been able to find. I own one and love it. It has an external microphone jack that is compatible with my wireless lapel mic receiver.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.usa.canon.com/cusa/consumer/products/camcorders/consumer_camcorders/consumer_camcorders/vixia_hf_r500&quot; rel=&quot;nofollow&quot;&gt;http://www.usa.canon.com/cusa/consumer/products/camcorders/consumer_camcorders/consumer_camcorders/vixia_hf_r500&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="50" LastActivityDate="2014-08-02T21:43:03.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12304" PostTypeId="1" CreationDate="2014-08-03T05:35:06.750" Score="4" ViewCount="7310" Body="&lt;p&gt;If I wanted to cut the first 10 seconds off of a handful of videos(12 videos), is there a program that will open all of the videos at once and let me trim the first 10 seconds off of them all at the same time and then export the changes made to those videos all at once?&#xA;Instead of having to open each individual video then trim then export and rinse and repeat 11 more times times. &lt;/p&gt;&#xA;" OwnerUserId="6285" LastActivityDate="2020-09-01T22:36:37.210" Title="Are there any video programs to trim and export multiple videos at once?" Tags="|video|editing|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12305" PostTypeId="1" CreationDate="2014-08-03T22:39:56.930" Score="2" ViewCount="2894" Body="&lt;p&gt;Which software for Windows/Mac/Linux allow me to connect a DSLR (any DSLR brand is fine) and see in realtime (and record) the result of passing the live video feed through a filter?&lt;/p&gt;&#xA;" OwnerUserId="867" LastActivityDate="2017-11-07T12:43:36.350" Title="Which PC software does live effects on video from a tethered camera?" Tags="|software-recommendation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12306" PostTypeId="1" CreationDate="2014-08-04T04:38:48.420" Score="0" ViewCount="58" Body="&lt;p&gt;I'm looking for switches that can take two VGA inputs, and an audio input from each, and switch between them to one VGA+audio output. Basically, I want to be able to go from one input to another without messing around with cables on the output itself; I just want to be able to flip a switch and be done with it. Somehow, I haven't found a lot of products online that do this. Any recommendations?&lt;/p&gt;&#xA;" OwnerUserId="6288" LastActivityDate="2014-10-09T23:54:24.513" Title="VGA Splitter Switch?" Tags="|projector|cable|output|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12307" PostTypeId="2" ParentId="12305" CreationDate="2014-08-04T04:50:33.523" Score="0" Body="&lt;p&gt;There isn't any single package to do this for most cameras.  On Canon DSLRs for example, you need EOS Utility to interface with the camera's LivePreview, then need another piece of software to adapt the EOS Utility's feed in to a live video stream that can be operated on by the operating system (such as a Windows Media Capture stream).  Then you need a piece of software to actually apply effects in real time to such a stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, the higher quality/higher budget option is to use something like an HDMI capture device or better yet, an ATEM video mixer to provide hardware assisted capture and alteration of the stream.  This is much more reliable and higher quality since video is pretty intense to work on in real time and specialized hardware does the best job of dealing with it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-04T04:50:33.523" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12308" PostTypeId="2" ParentId="12306" CreationDate="2014-08-04T04:53:11.780" Score="0" Body="&lt;p&gt;You are looking for a simple VGA switch.  For example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B00DRGDDX0&quot; rel=&quot;nofollow&quot;&gt;http://www.amazon.com/MT-VIKI-VGA-Splitter-Amplifier-MT-15-2AV/dp/B00DRGDDX0/ref=sr_1_7?s=electronics&amp;amp;ie=UTF8&amp;amp;qid=1407127908&amp;amp;sr=1-7&amp;amp;keywords=2-port+vga+switch&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-04T04:53:11.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12309" PostTypeId="1" AcceptedAnswerId="22551" CreationDate="2014-08-04T05:02:52.790" Score="1" ViewCount="1600" Body="&lt;p&gt;I'm wondering if I can just make every media segment files as a full MP4 file instead of fragmented MP4 for a DASH264-compliant player?&lt;/p&gt;&#xA;" OwnerUserId="5880" LastActivityDate="2017-10-08T11:14:27.770" Title="Each media segment file for MPEG-DASH is a full (.mp4) instead of fragment mp4 (.m4s)?" Tags="|mpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12311" PostTypeId="1" CreationDate="2014-08-04T08:58:16.933" Score="2" ViewCount="916" Body="&lt;p&gt;Bs''d&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hi!&#xA;I used to work with premiere pro CS4.1 now I'm working with CS6, I moved to project folder to        my new computer, but when open it I get an error &quot;damaged or un-supported file&quot;&#xA;The AVI file works fine in CS4(at the old computer) and in media player in my new computer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks you all for your answering :) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My old system works poorly so it not good idea to export in it. I'm not sure I want to use AME because I need a very good output and if I will do so I will lose generation and/or quality &lt;/p&gt;&#xA;&#xA;&lt;p&gt;here is some details:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the file codec is dvsd (DVC/DV Video)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Complete name                            : D:\Natural Health B 2 B.avi&#xA;Format                                   : AVI&#xA;Format/Info                              : Audio Video Interleave&#xA;Commercial name                          : DV&#xA;Format profile                           : OpenDML&#xA;File size                                : 12.4 GiB&#xA;Duration                                 : 1h 1mn&#xA;Overall bit rate mode                    : Constant&#xA;Overall bit rate                         : 28.9 Mbps&#xA;Recorded date                            : 2011-06-21 17:57:45.000&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ID                                       : 0&#xA;Format                                   : DV&#xA;Duration                                 : 1h 1mn&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 24.4 Mbps&#xA;Encoded bit rate                         : 28.8 Mbps&#xA;Width                                    : 720 pixels&#xA;Height                                   : 576 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 25.000 fps&#xA;Standard                                 : PAL&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Interlaced&#xA;Scan order                               : Bottom Field First&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel*Frame)                       : 2.357&#xA;Time code of first frame                 : 00:59:16:07&#xA;Time code source                         : Subcode time code&#xA;Stream size                              : 12.4 GiB (100%)&#xA;Encoding settings                        : ae mode=manual / wb mode=automatic / white balance= / fcm=manual focus&lt;/p&gt;&#xA;" OwnerUserId="6290" LastEditorUserId="6290" LastEditDate="2014-08-06T09:29:21.583" LastActivityDate="2019-07-19T06:57:33.313" Title="can't import AVI type 1 to premiere CS6" Tags="|premiere|editing|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12312" PostTypeId="1" CreationDate="2014-08-04T10:15:54.967" Score="6" ViewCount="9692" Body="&lt;p&gt;I am trying to capture stereo video with 2 Microsoft LifeCam Studio USB webcams.  Thus far, the best approach I've managed to come up with is my own tool written using OpenCV to capture video streams from the cameras in Ubuntu 14.04. I am using very simple VideoCapture code (&lt;a href=&quot;http://pastebin.com/siUbeqqB&quot; rel=&quot;nofollow noreferrer&quot;&gt;source here&lt;/a&gt;) and am trying to at least view two videos that are synchronized against each other.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used Android stopwatch apps (&lt;a href=&quot;https://play.google.com/store/apps/details?id=spinninghead.talkingstopwatchlite&quot; rel=&quot;nofollow noreferrer&quot;&gt;UltraChron Stopwatch Lite&lt;/a&gt; and &lt;a href=&quot;https://play.google.com/store/apps/details?id=com.hybrid.stopwatch&quot; rel=&quot;nofollow noreferrer&quot;&gt;Stopwatch Timer&lt;/a&gt;) on my Samsung Galaxy S3 mini to realize that my viewed images are out of sync (show different time on stopwatch).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The frames are synced maybe in 50% of the time. The frame time differences I get are from 0 to about 300ms with an average about 120ms. It seems that the amount of timeout used has very little effect on sync (same for 1000ms or 2000ms). I run in FullHD but lowering resolution to 640x480 had no effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to record stereo video with a low cost setup.  An ideal result would be a 100% synchronized stereo video stream that has about 10 FPS.  Are there any alternative approaches that would result in better synchronization?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;: In my search for low-cost hardware I fount that it is probably possible to do some commodity hardware hacking (&lt;a href=&quot;http://letsmakerobots.com/node/29869&quot; rel=&quot;nofollow noreferrer&quot;&gt;link here&lt;/a&gt;) and inject a single clock signal into multiple camera modules simultaneously to get the desired sync. The guy who did that seems to have developed his &lt;a href=&quot;http://letsmakerobots.com/blog/antennna/nerdcam1-something-i-have-been-waiting&quot; rel=&quot;nofollow noreferrer&quot;&gt;GENLOCKed camera board (called NerdCam1)&lt;/a&gt; and even a &lt;a href=&quot;http://www.themissinggear.eu/nerdcam3d-mk-1/&quot; rel=&quot;nofollow noreferrer&quot;&gt;synced stereo camera board&lt;/a&gt; that he now sells for about €200.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I have almost zero ability of hardware hacking. Also I am not sure if such clock injection is possible for resolutions above NTSC/PAL standard (as it seems to be an &quot;analog&quot; solution?). Also, I would prefer a variable baseline option where both cameras would not be soldered on a single board.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also found this related post: &lt;a href=&quot;https://video.stackexchange.com/questions/3983/cheap-solution-for-shooting-with-multiple-2-cameras-in-sync-genlock-or-lanc&quot;&gt;Cheap solution for shooting with multiple (&gt;2) cameras in sync&#xA;   (genlock or LANC?)&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6291" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-10-24T14:09:06.633" Title="Low cost frame synchronized (genlocked) 3D stereo camera" Tags="|video-recording|sync|stereo|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="12313" PostTypeId="2" ParentId="12312" CreationDate="2014-08-04T12:16:40.723" Score="3" Body="&lt;p&gt;You probably will not achieve a 100% perfect result with your setup. That you got them synced to a 1FPS accuracy is pretty amazing actually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Professional stereo setups use frame locking in hardware to ensure the cameras record in perfect sync.&#xA;This is not possible with ordinary webcams. If you fix the recorded video in post you can get to less than 1/RecordingFPS'th of a second accuracy which can be enough depending on your framerate. The higher your framerate the smaller the offset will be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the webcams offer some sort of low level api you might be able to improve the results even further but I doubt thats available, thats usually something you only get in (rather expensive) industrial cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; Regarding your edit, Genlocking is the way to go with pretty much any video application if you need 100% sync (or as close as possible to that, you will always have some nano/microsecond delay between frames).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Being it syncing videos displayed on a display wall (all these individual displays need to show the correct portion of the frame at the same time). Or recording with multiple cameras the same frame at the same time.&#xA;Resolution isn't a factor here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though price definitely is. Do you have a budget for this project or is this for hobby purposes? There are definitely (non-cinema) cameras that would support this though they are not exactly cheap as a webcam.&#xA;The cheapest solution I can think of is using the GoPro Stereo Rig. &lt;a href=&quot;http://gopro.com/camera-accessories/dual-hero-system&quot; rel=&quot;nofollow&quot;&gt;http://gopro.com/camera-accessories/dual-hero-system&lt;/a&gt;&#xA;This would put you at a budget of 1000$ in total (minus a few cents). Not exactly cheap but definitely affordable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And the GoPro is also a very flexible solution. You can shoot from 3840x2160@15FPS to 848x480@240FPS. It also supports raw HDMI output which can be helpful if color precision is desirable or live monitoring of your shoot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A downside is that the GoPro has a fish-eye lens. You can reduce the distortion by setting the camera viewing mode to narrow and using this &lt;a href=&quot;https://github.com/KonradIT/MagicLanternGoPro/tree/master/GoProHERO3%2BBlack/FisheyeRemoval&quot; rel=&quot;nofollow&quot;&gt;nifty software hack&lt;/a&gt; but you wont get fully rid of it unless you &lt;a href=&quot;http://peauproductions.com/store/index.php?main_page=index&amp;amp;cPath=124_126_127&quot; rel=&quot;nofollow&quot;&gt;replace the lens&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit 2:&lt;/strong&gt; If you go the &quot;build your own electronics route&quot; you should have a look at the ArduCam project. It's essentially a shield for the popular Arduino boards. It allows you to connect several cmos modules like the OV5642 which is a 5MP sensor that is also used in the Raspberry Pi camera module.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to &lt;a href=&quot;http://www.raspberrypi.org/forums/viewtopic.php?f=43&amp;amp;t=48238&quot; rel=&quot;nofollow&quot;&gt;this thread&lt;/a&gt; on the RaspberryPi forum these modules support genlocking.&#xA;While its not possible with the pins broken out on the PiCam module (though there are some ideas about how to do genlocking with it on the last page) you can order these modules cheap (25$) from ebay and use them with the ArduCam board. Even if you don't connect the modules to the same oscillator to do genlocking you should get some pretty good results as you work pretty close metal here also the Arduino plattform is very easy to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With such a setup you could potentially make a 1080p stereo 3D rig for around 125$.&#xA;50$ for the cmosm modules, ~16$ for 2 Arduino Uno clones and 60$ for 2 ArduCam shields. &lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-08-06T23:15:16.900" LastActivityDate="2014-08-06T23:15:16.900" CommentCount="17" ContentLicense="CC BY-SA 3.0" />
  <row Id="12314" PostTypeId="2" ParentId="12233" CreationDate="2014-08-04T23:19:13.027" Score="8" Body="&lt;p&gt;It is actually quite easy using a videofilter with select.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is quite sensitive to video changes:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf &quot;select=gt(scene\,0.0098)&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;whereas this is not so sensitive:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf &quot;select=gt(scene\,0.3)&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;EDIT (added your command)&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;so your command would look like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f video4linux2 -s 800x600 -r 15 -i /dev/video1 -maxrate 800k \ &#xA;-minrate 1k -bt 800k -bufsize 2M -filter \ &#xA;drawtext='text=%{localtime }:fontfile=/usr/share/fonts/truetype/DejaVuSans-Bold.ttf'  \&#xA;-vf &quot;select=gt(scene\,0.3)&quot; -shortest -c:v libx264 out.mp4 -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;P.S. You need to explicitly state the codec libx264 and not just tell it &lt;code&gt;-f h264&lt;/code&gt; and why on earth would you be using avi???&lt;/p&gt;&#xA;" OwnerUserId="6294" LastEditorUserId="6294" LastEditDate="2014-08-11T15:56:23.633" LastActivityDate="2014-08-11T15:56:23.633" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12315" PostTypeId="2" ParentId="12311" CreationDate="2014-08-05T02:08:27.563" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Without knowinf more about the specific codec used on the file we can't say much.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;One thing you can try is transcoding it with Adobe Media Encoder to another format that you know will work in CS6&lt;/p&gt;&#xA;" OwnerUserId="2352" LastEditorUserId="2352" LastEditDate="2015-03-08T17:09:50.453" LastActivityDate="2015-03-08T17:09:50.453" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12316" PostTypeId="2" ParentId="12304" CreationDate="2014-08-05T02:28:55.427" Score="4" Body="&lt;p&gt;I don't know of anything that allows you to specify something like trimming  a certain amount off in batch, but you can do all of the rest with Adobe Media Encoder.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Open AME and drag all of the clips that you'd like to trim into the Queue panel.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/zQl51.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Select all of the files in the queue and click on one of the preset links:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/3ZMUS.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Choose a format and preset in the screen that pops up:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/dhQyb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;When you're done, click &lt;kbd&gt;OK&lt;/kbd&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now click on the Preset link for each video and set the in point at 10sec and click &lt;kbd&gt;OK&lt;/kbd&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/KMUDB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Repeat the last step for each of the videos&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Click the run button &lt;img src=&quot;https://i.stack.imgur.com/fywnn.png&quot; alt=&quot;enter image description here&quot;&gt; and all of your videos will be processed while you sip coffee!&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2352" LastActivityDate="2014-08-05T02:28:55.427" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12317" PostTypeId="1" CreationDate="2014-08-05T13:17:36.220" Score="2" ViewCount="60" Body="&lt;p&gt;Yesterday, I'd been editing a film for work. I imported the footage from my camera and the clips looked perfectly fine. So I uploaded the clips to Google Drive and then downloaded on my computer and imported these footages to my Linux machine using KDENLive editor. The footage looks all pixelated and it has terrible resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there something I can do to fix it? I tried using Handbrake to convert it to another format but even that didn't work.&lt;/p&gt;&#xA;" OwnerUserId="6296" LastActivityDate="2014-08-06T13:39:50.210" Title="Poor Resolution Video &quot;.MOV&quot;" Tags="|video-editor|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12318" PostTypeId="2" ParentId="10094" CreationDate="2014-08-05T15:03:42.053" Score="7" Body="&lt;p&gt;The projector you have is for use with the Bell and Howell model 450 cassette recorder. This projector has no optical or magnetic means of playing or recording sound. IN this system, which is a &amp;quot;Double Sound System&amp;quot;, the sound is recorded on the 450 player/recorder via a special cable that goes between the camera and the recorder. The film itself has no magnetic or optical sound track on it. The recorder records both the audio from a microphone and sync information from the camera, hence the special cable running between camera and recorder. After the film is processed and returned, it threaded into the projector and then the cassette player/recorder is connected by means of another special cable to the projector, via the 2 jacks pointed out in your photo. The jack questioned is a size 3/32.&#xA;This special cable is used to deliver sync information that was originally recorded on the tape to the projector for lip sync sound reproduction&lt;/p&gt;&#xA;&lt;p&gt;I would like to add that the stop signal that stops the tape player between &amp;quot;TAKES&amp;quot; is generated from within the 450 player/ recorder. This signal is automatically recorded on the tape every time the camera activation switch is released after each take. F.Y.I. this signal is 1.6 KHZ. I do have tech info for anybody who might be interested in this old sync/sound system.&lt;/p&gt;&#xA;" OwnerUserId="6297" LastEditorUserId="674" LastEditDate="2022-11-20T12:00:25.210" LastActivityDate="2022-11-20T12:00:25.210" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="12319" PostTypeId="1" CreationDate="2014-08-05T16:52:22.387" Score="0" ViewCount="1132" Body="&lt;p&gt;My question is related to the technicality behind video overlaying. When a 3D object or an image is added to a video sequence as an overlay to render, does ffmpeg fully decode the original sequence to a raw file, then mix the object or image to the desired position and re-encode back to the desired format?. &#xA;I'd like to know if this is the process followed by the industry to mix 3D objects, images or other material with generic video contents. Or is there another approach to perform this task.&#xA;Your assistance is highly appreciated.&#xA;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="6298" LastActivityDate="2014-08-05T18:58:07.180" Title="Transcoding during ffmpeg overlay" Tags="|editing|ffmpeg|transcoding|mixing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12320" PostTypeId="2" ParentId="12319" CreationDate="2014-08-05T17:57:47.097" Score="0" Body="&lt;p&gt;Yes, compositing, as it is known in the industry, involves decoding two or more assets in to video streams and them combining those streams in some way.  The end result is then saved as a new file on render.  There is some variation in when rendering is done though.  Some software can put off rendering for a while to reduce the number of re-encodes required.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, if combining two layers of video in After Effects, you can embed the entire composition in to Premiere rather than re-encode the video to a lossy format.  This prevents further generations of loss without having to store the lossless render while working on the video (which would be very large).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, lossless file formats such as TGA sequences can be used for storing the result of a render without an additional generation of loss (since the render is preserved perfectly.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final render still uses the same basic process of using some blending algorithm to combine the pixel data from two or more video streams in to a single stream though and that stream eventually has to be stored again.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-05T17:57:47.097" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12321" PostTypeId="2" ParentId="12319" CreationDate="2014-08-05T18:58:07.180" Score="1" Body="&lt;p&gt;From &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Detailed-description&quot; rel=&quot;nofollow&quot;&gt;FFmpeg Documentation – Detailed Description&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;code&gt;ffmpeg&lt;/code&gt; calls the libavformat library (containing &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#Demuxers&quot; rel=&quot;nofollow&quot;&gt;demuxers&lt;/a&gt;) to&#xA;  read input files and get packets containing encoded data from them.&#xA;  When there are multiple input files, ffmpeg tries to keep them&#xA;  synchronized by tracking lowest timestamp on any active input stream.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Encoded packets are then passed to the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-codecs.html#Decoders&quot; rel=&quot;nofollow&quot;&gt;decoder&lt;/a&gt; (unless &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;nofollow&quot;&gt;stream&#xA;  copy&lt;/a&gt; is selected for the stream). The decoder produces&#xA;  uncompressed frames (raw video/PCM audio) which can be processed&#xA;  further by &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html&quot; rel=&quot;nofollow&quot;&gt;filtering&lt;/a&gt;. After filtering, the frames are passed to&#xA;  the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-codecs.html#Encoders&quot; rel=&quot;nofollow&quot;&gt;encoder&lt;/a&gt;, which encodes them and outputs encoded packets.&#xA;  Finally those are passed to the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#Muxers&quot; rel=&quot;nofollow&quot;&gt;muxer&lt;/a&gt;, which writes the encoded&#xA;  packets to the output file.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2014-08-05T18:58:07.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12322" PostTypeId="2" ParentId="12304" CreationDate="2014-08-05T20:31:19.807" Score="4" Body="&lt;p&gt;If all you're doing is trimming the video, you may want to consider the command line tool &lt;a href=&quot;http://ffmpeg.org&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The -ss flag will allow you to set the in point for your trim. You can also set an out point on with the -t flag.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, the following command will take &quot;name_of_movie.mp4&quot;, trim the first 10 seconds off, copy the audio and video codecs, and output the file as &quot;name_of_movie_trimmed.mp4&quot;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i name_of_movie.mp4 -vcodec copy -acodec copy -ss 00:00:10 name_of_movie_trimmed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This should work for any format that ffmpeg accepts, which is pretty much all of them. If you'd like to script it, here's a starting point that I use for this very purpose. Edit the extensions for the type of file you use, and for the time you want, put it in a directory with the files you want to trim, and let it get to work.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;for file in *.mp4; do&#xA;name=${file%%[.]*};&#xA;ffmpeg -i &quot;$file&quot; -vcodec copy -acodec copy -ss 00:00:10 &quot;$name trimmed.mp4&quot;&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There's a lot you can do with ffmpeg to automate some of the more tedious parts of working with video, so have a look around!&lt;/p&gt;&#xA;" OwnerUserId="1247" LastEditorUserId="-1" LastEditDate="2016-08-17T04:46:35.367" LastActivityDate="2016-08-17T04:46:35.367" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12324" PostTypeId="1" CreationDate="2014-08-06T12:58:16.707" Score="2" ViewCount="269" Body="&lt;p&gt;I am just beginning to put together some YouTube videos on Algebra tutorials (so I'm in front of a whiteboard, recording audio separately onto a portable recorder, and using a pretty low budget video recorder). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use a PC for editing (Windows 7, Intel Core i5 with 4 GB of RAM).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is regarding video editing software. Movie Maker is definitely not cutting it. The main problem is that I can't join a separate audio track with the video clip. So while editing, whatever small pieces I cut out (while I'm mumbling or drift off topic), I have to constantly re-sync the audio with the video - extremely tedious and error prone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what editing software do you recommend for a tight budget? I would like to have two features:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Ability to join audio and video (once you have it lined up, no lag between my lips moving and the audio track). Once joined, you can cut at will and not have to re-sync.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Ability to do a corner picture in picture to keep presenter visible while moving to diagrams or illustrations.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I'm sure this question has been asked many times, but since I'm limiting it to two specific features I thought it could stand on its own. I've heard Adobe Photoshop Elements 12 is a good starter-level program, but I haven't been able to tell if it has these two features.&lt;/p&gt;&#xA;" OwnerUserId="6304" LastEditorUserId="6304" LastEditDate="2014-08-06T15:47:32.480" LastActivityDate="2016-12-07T17:42:35.867" Title="Good Intro Editor that can Join Audio+Video, and Present Two Frames Simultaneously" Tags="|editing|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12325" PostTypeId="2" ParentId="12324" CreationDate="2014-08-06T13:19:56.127" Score="2" Body="&lt;p&gt;Possible duplicate of: &lt;a href=&quot;https://video.stackexchange.com/questions/3018/what-beginner-video-editing-software-should-i-use&quot;&gt;What Beginner Video Editing Software Should I Use?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though still valid on its own for requesting a specific feature set.&#xA;Even though pretty much any video editor will have your requested features.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I often recommend &lt;a href=&quot;http://www.lwks.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lightworks&lt;/a&gt; (also available for Linux and Mac) as its free and soon to be open sourced.&#xA;Here a &lt;a href=&quot;https://www.youtube.com/watch?v=6470ThPNX5w&quot; rel=&quot;nofollow noreferrer&quot;&gt;video tutorial&lt;/a&gt; on how to do a so called PIP (picture in picture) effect in Lightworks, he make a split-screen buts its essentially the same workflow, you just allign the videos differently.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Photoshop Elements has very limited video editing capabilities. Nice to have if you own it but if all you need is a video editor I recommend go with Lightworks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A professional software that is affordable if you work on a project to project basis and not all year long is Adobe &lt;a href=&quot;http://www.adobe.com/products/premiere.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Premiere&lt;/a&gt;, Adobe has a subscription model where you can rent software for 20$ per month or 30-40$ for a whole suite.&#xA;If you don't plan to work on a semi-professional level at some point I recommend you go with the free Lightworks, it has more than enough features to make professional videos, it's just not at convinient and fast as Premiere.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-08-06T13:51:30.037" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12327" PostTypeId="2" ParentId="12324" CreationDate="2014-08-06T13:39:43.573" Score="0" Body="&lt;p&gt;Another possibility if you don't want to learn a new work flow is to use a muxer/demuxer to split the video off of your camera stream and the audio out of your recorder, figure out the offset and then join them together in a lossless clip.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is a bit more difficult to do this particular step than it would be in a good editor, but it also has the advantage of being lossless and allowing you to use the tool you are familiar with for the actual editing since your editing needs are relatively basic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have coverage of how to use a muxer in several different answers, but I'd recommend starting &lt;a href=&quot;https://video.stackexchange.com/questions/11898/merge-mp4-with-m4a/11902#11902&quot;&gt;with this one.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-06T13:39:43.573" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12328" PostTypeId="2" ParentId="12317" CreationDate="2014-08-06T13:39:50.210" Score="2" Body="&lt;p&gt;It was my own fault -- when I had exported it, I didn't make sure to export it in full resolution because since it already was, I thought that step was automatic.&lt;/p&gt;&#xA;" OwnerUserId="6296" LastActivityDate="2014-08-06T13:39:50.210" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12329" PostTypeId="1" AcceptedAnswerId="12330" CreationDate="2014-08-06T13:55:11.100" Score="0" ViewCount="544" Body="&lt;p&gt;See where the cursor/line is? One of the cast members are still talking -- in the middle of a transition, how is that possible? Considering we see it END right before it fades to black? I have made it to fade out to black but still nothing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/aN0nC.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6296" LastActivityDate="2023-01-20T16:46:42.973" Title="iMovie Help: Transition still keeps the previous clips' audio" Tags="|audio|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12330" PostTypeId="2" ParentId="12329" CreationDate="2014-08-06T18:38:05.740" Score="1" Body="&lt;p&gt;Generally speaking, a transition will start before the end of a clip.  You need enough video to have something to play while the transition is occurring.  The video will normally keep running until the end of the transition and that also means that the audio will keep running until the transition finishes.  You would need to play with the volume adjustments to bring down the level of the track that you don't want to have keep playing.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-06T18:38:05.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12331" PostTypeId="2" ParentId="12286" CreationDate="2014-08-07T01:37:18.070" Score="1" Body="&lt;p&gt;Inspired by @Professor Sparkles♦'s answer, I decided to go for &lt;code&gt;Samsung Galaxy S4&lt;/code&gt;* and a &lt;a href=&quot;https://www.youtube.com/watch?v=fWjDl0e8YjQ&quot; rel=&quot;nofollow&quot;&gt;noise-reducing microphone with 3.5mm jack for Samsung (and other phones)&lt;/a&gt;. I will keep you posted if this combination works well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;* I was offered &lt;code&gt;Galaxy S4, S5&lt;/code&gt; and &lt;code&gt;LG G3&lt;/code&gt; as the best video producing smartphones currently in the reseller's catalogue. My choice was based on desired quality\price trade-off.&lt;/p&gt;&#xA;" OwnerUserId="6219" LastActivityDate="2014-08-07T01:37:18.070" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12332" PostTypeId="1" CreationDate="2014-08-07T11:16:47.333" Score="1" ViewCount="82" Body="&lt;p&gt;In our institution we need to record every class hours and upload it to our Matterhorn server with schedule recording, so i need a good video capture card which need to support a fixed camera and input device for mic and projector and a VGA option, If i'am i scheduled for a class it will automatically record the content and send to Matterhorn server and it will produce the video to other user interface to get watch could any one there to help me out to find a good capture card, asking here because you experts are in video production and you all sure know which card will provide the above requirements.   Thank you..&lt;/p&gt;&#xA;" OwnerUserId="6274" LastEditorUserId="2836" LastEditDate="2014-08-07T14:09:23.413" LastActivityDate="2014-08-07T14:09:23.413" Title="Help needed in choosing video production device for use with Matterhorn Capture Agent" Tags="|video|streaming|video-capture|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12333" PostTypeId="2" ParentId="2435" CreationDate="2014-08-07T11:26:21.257" Score="1" Body="&lt;p&gt;bandwith is the only expensive thing in this setup. Setting up a streamingserver like wowaza or nginx and stream the data there is no big deal. but if you expect a greater amount of viewers you might think of a &quot;small cdn&quot; setup to distribute it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;since you wrote it's for a charity I would suggest to ask some companies for a sponsoring or special rates.&lt;/p&gt;&#xA;" OwnerUserId="1932" LastActivityDate="2014-08-07T11:26:21.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12334" PostTypeId="2" ParentId="10552" CreationDate="2014-08-07T11:26:27.827" Score="1" Body="&lt;p&gt;Without knowing the exact details of your workflow it is hard to answer this question, so more information would be greatly helpful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One approach would be to use raw video during your &quot;joining&quot; phase of the algo to strip the moov atom. The final step would be to convert your concat'ed raw video back into mp4. &lt;/p&gt;&#xA;" OwnerUserId="6294" LastActivityDate="2014-08-07T11:26:27.827" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12335" PostTypeId="2" ParentId="10550" CreationDate="2014-08-07T11:32:42.777" Score="2" Body="&lt;p&gt;If you just want a plain RTMP stream, you might look at the &lt;a href=&quot;https://github.com/arut/nginx-rtmp-module&quot; rel=&quot;nofollow&quot;&gt;nginx-rtmp&lt;/a&gt; module which looks quite easier to set up than crtmpserver.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just a general suggestion: &lt;a href=&quot;http://en.wikipedia.org/wiki/H.264/MPEG-4_AVC&quot; rel=&quot;nofollow&quot;&gt;H.264&lt;/a&gt; compression is a bit CPU-intensive, so if your server is more powerful than your notebook and the server to notebook-connection is good, it might be an idea to stream just &quot;plain frames&quot; with nearly no encoding or compression to the server and let it handle the rest.&lt;/p&gt;&#xA;" OwnerUserId="1932" LastEditorUserId="6169" LastEditDate="2015-01-02T11:00:31.240" LastActivityDate="2015-01-02T11:00:31.240" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12336" PostTypeId="2" ParentId="12332" CreationDate="2014-08-07T14:08:55.597" Score="1" Body="&lt;p&gt;One of the best resources you will find for this is probably the Matterhorn documentation itself. The &lt;a href=&quot;https://opencast.jira.com/wiki/display/MHDOC/Capture+Agent+Hardware&quot; rel=&quot;nofollow&quot;&gt;Capture Agent Hardware page&lt;/a&gt; has samples of hardware that was used at a number of schools that have implemented capture agents for Matterhorn.  It appears that the Epiphan VGA2USB is the near universal standard for VGA capture.  There seems to be a wider range of video capture devices.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, I'd probably take a look at seeing if the Black Magic Intensity or Matrox MXO2 works with the capture agent, but there are also other listed devices there such as capture devices from Hauppauge or Bluecherry which have actually been used successfully already.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-07T14:08:55.597" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12337" PostTypeId="1" CreationDate="2014-08-07T15:46:25.310" Score="1" ViewCount="953" Body="&lt;p&gt;This is actually in reference to mp4 h264 avc shadowplay videos; I've tried avidemux but its buggy, and alternatively I like shotcut's interface but it doesn't have the specialized h264 in/out lossless cutting without encoding like avidemux.&lt;/p&gt;&#xA;" OwnerUserId="4587" LastActivityDate="2015-01-06T18:55:04.507" Title="What is a non-encoding lossless h.264 AVC editor? (other than avidemux which is buggy)" Tags="|editing|avchd|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12338" PostTypeId="2" ParentId="10368" CreationDate="2014-08-07T16:15:33.250" Score="3" Body="&lt;p&gt;The first thing that I noticed is that your camera is delivering &lt;code&gt;yuv422p&lt;/code&gt; - which isn't bad in and of itself, but you could try forcing it to yuv420 by adding &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt; to your command. (This is nice if you ever plan on displaying your video on anything that isn't linux.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second thing that I noticed is that the start times are wildly different - which can often be a signal that things are going to sync wrong.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the command line that I used  that was able to reproduce your lag.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f alsa -ac 2 -i hw:0,0 -f v4l2 -i /dev/video0 -r 25 \&#xA;       -acodec libfdk_aac -b:a 128k -pix_fmt yuv420p -vcodec libx264 SYNCTEST.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;by adding a &lt;code&gt;-force_key_frames 00:00:00.000&lt;/code&gt; I was able to sync them correctly.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f alsa -ac 2 -i hw:0,0 -f v4l2 -i /dev/video0 \ &#xA;       -force_key_frames 00:00:00.000 -r 25 -acodec libfdk_aac \ &#xA;       -b:a 128k -pix_fmt yuv420p -vcodec libx264 SYNCTEST.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6294" LastActivityDate="2014-08-07T16:15:33.250" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12339" PostTypeId="2" ParentId="12337" CreationDate="2014-08-07T17:04:08.950" Score="2" Body="&lt;p&gt;I know only &lt;a href=&quot;http://www.videoredo.com/en/index.htm&quot; rel=&quot;nofollow&quot;&gt;VideoReDo&lt;/a&gt; and &lt;a href=&quot;http://vegasaur.com/SolveigMM-Video-Splitter&quot; rel=&quot;nofollow&quot;&gt;SolveigMM Video Splitter&lt;/a&gt;, but they are not full-featured video editors. Both are not free.&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-08-07T17:04:08.950" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12340" PostTypeId="1" AcceptedAnswerId="12341" CreationDate="2014-08-07T21:38:27.527" Score="5" ViewCount="40371" Body="&lt;p&gt;Is there a better way to take a short video loop (in my case a video watermark) and duplicate it again and again down the full length of my sequence than my current workflow?&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Current Workflow&lt;/h1&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Place the clip in the sequence&lt;/li&gt;&#xA;&lt;li&gt;Hold &lt;kbd&gt;Alt&lt;/kbd&gt; down and drag a copy down the timeline&lt;/li&gt;&#xA;&lt;li&gt;Select the new copy and snap it back against the first one&lt;/li&gt;&#xA;&lt;li&gt;Select both clips&lt;/li&gt;&#xA;&lt;li&gt;Holding &lt;kbd&gt;Alt&lt;/kbd&gt;, drag a new copy of them down the line&lt;/li&gt;&#xA;&lt;li&gt;Select all clips and repeat step 5.&lt;/li&gt;&#xA;&lt;li&gt;Repeat 5 &amp;amp; 6 until the clip is looped down the full length of the sequence.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Any insight into a faster solution would be MUCH appreciated!&lt;/p&gt;&#xA;" OwnerUserId="2352" LastActivityDate="2017-08-24T02:11:55.740" Title="Repeat a clip down entire timeline" Tags="|premiere|cc-2014|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12341" PostTypeId="2" ParentId="12340" CreationDate="2014-08-07T22:39:38.450" Score="5" Body="&lt;p&gt;This is a fast way to copy the clips in succession.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Copy the video clip &lt;kbd&gt;CMD&lt;/kbd&gt;/&lt;kbd&gt;CTRL&lt;/kbd&gt; + &lt;kbd&gt;C&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;li&gt;Target ONLY the track that the loop will be on&lt;/li&gt;&#xA;&lt;li&gt;Then swiftly insert it multiple times by just holding down &lt;kbd&gt;CMD&lt;/kbd&gt;/&lt;kbd&gt;CTRL&lt;/kbd&gt; and pressing &lt;kbd&gt;V&lt;/kbd&gt; multiple times in a row&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="2352" LastEditDate="2014-08-07T23:47:54.963" LastActivityDate="2014-08-07T23:47:54.963" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12342" PostTypeId="2" ParentId="12340" CreationDate="2014-08-08T00:49:13.043" Score="2" Body="&lt;p&gt;Building on the cut/paste workflow. You could create the clip in AfterEffects and make it very long. Then just dynamic link to your project. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This way at least -every time you need to use it- you don't have to copy/paste over again. Just drop the one clip and size to need. Also can be useful if you need a varying opacity through the clip, since you don't have to adjust a bunch of clips separately.&lt;/p&gt;&#xA;" OwnerUserId="6226" LastActivityDate="2014-08-08T00:49:13.043" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12343" PostTypeId="1" CreationDate="2014-08-08T06:50:18.143" Score="0" ViewCount="28" Body="&lt;p&gt;I need edit SxS XDCAM footage for news, is there a full-Featured  broadcast-level open source video editor?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At last need unlinking different audio channels in timeline. &lt;/p&gt;&#xA;" OwnerUserId="6314" LastActivityDate="2014-08-08T06:50:18.143" Title="Full-Featured broadcast-level open source Video Editors?" Tags="|broadcasting|" AnswerCount="0" CommentCount="2" ClosedDate="2014-08-08T13:57:21.593" ContentLicense="CC BY-SA 3.0" />
  <row Id="12344" PostTypeId="5" CreationDate="2014-08-08T17:42:55.043" Score="0" Body="&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/dRAhf.jpg&quot; alt=&quot;Adobe Creative Cloud 2014&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe's second version of Creative Cloud, released in June 2014.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;Related Tags&lt;/h2&gt;&#xA;&#xA;&lt;h3&gt;Creative Suite: &lt;a href=&quot;/questions/tagged/after-effects&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;after-effects&amp;#39;&quot; rel=&quot;tag&quot;&gt;after-effects&lt;/a&gt; &lt;a href=&quot;/questions/tagged/premiere&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;premiere&amp;#39;&quot; rel=&quot;tag&quot;&gt;premiere&lt;/a&gt; &lt;a href=&quot;/questions/tagged/encore&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;encore&amp;#39;&quot; rel=&quot;tag&quot;&gt;encore&lt;/a&gt; &lt;a href=&quot;/questions/tagged/audition&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;audition&amp;#39;&quot; rel=&quot;tag&quot;&gt;audition&lt;/a&gt;&lt;/h3&gt;&#xA;&#xA;&lt;h3&gt;Previous Versions: &lt;a href=&quot;/questions/tagged/cc&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cc&amp;#39;&quot; rel=&quot;tag&quot;&gt;cc&lt;/a&gt; &lt;a href=&quot;/questions/tagged/cs6&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs6&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs6&lt;/a&gt; &lt;a href=&quot;/questions/tagged/cs5&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs5&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs5&lt;/a&gt; &lt;a href=&quot;/questions/tagged/cs4&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs4&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs4&lt;/a&gt; &lt;a href=&quot;/questions/tagged/cs3&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs3&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs3&lt;/a&gt; &lt;a href=&quot;/questions/tagged/cs2&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;cs2&amp;#39;&quot; rel=&quot;tag&quot;&gt;cs2&lt;/a&gt;&lt;/h3&gt;&#xA;" OwnerUserId="2352" LastEditorUserId="2836" LastEditDate="2014-08-08T21:17:37.223" LastActivityDate="2014-08-08T21:17:37.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12345" PostTypeId="4" CreationDate="2014-08-08T17:42:55.043" Score="0" Body="Questions that are specifically related to the 2014 Creative Cloud versions of Adobe's suite of software." OwnerUserId="2352" LastEditorUserId="2352" LastEditDate="2014-08-08T21:14:44.740" LastActivityDate="2014-08-08T21:14:44.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12346" PostTypeId="1" CreationDate="2014-08-09T09:43:27.283" Score="3" ViewCount="808" Body="&lt;p&gt;I need to shoot stereo video in perfect sync. I realized that GoPro offers &lt;a href=&quot;http://gopro.com/camera-accessories/dual-hero-system&quot; rel=&quot;nofollow&quot;&gt;Dual HERO System&lt;/a&gt; but they only list compatibility for HERO3+ Black Edition units. So I assume the currently selling cheaper HERO3 White Edition and HERO3+ Silver Edition models are not able to do frame synchronization for 3D even though they might have the same HW sync connector/socket as Black Edition on their bodies?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do not need the waterproof dual enclosure, I can connect bare camera units just with cable (because I need wider lens baseline). My main goal is to get stereo video in perfect synchronization only.&lt;/p&gt;&#xA;" OwnerUserId="6291" LastEditorUserId="6291" LastEditDate="2014-08-09T09:52:22.020" LastActivityDate="2014-08-09T10:40:54.287" Title="GoPro Dual HERO 3D stereo system only compatible with HERO3+ Black Edition units?" Tags="|video-recording|sync|stereo|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12347" PostTypeId="2" ParentId="12346" CreationDate="2014-08-09T10:11:44.987" Score="2" Body="&lt;p&gt;I probably could have done a quick google search before asking. HERO3+ Black Edition may be the only currently selling supported unit, but I found that following historical products are compatible with a &quot;3D HERO System&quot; (which may be different from &quot;Dual HERO System&quot;):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;HD HERO Original camera&lt;/li&gt;&#xA;&lt;li&gt;HD HERO2 camera&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Dont know whether &quot;3D HERO System&quot; has different sync cable than current DUAL System. Also, a guy called &quot;linuxluver&quot; said on &lt;a href=&quot;http://gopro.com/camera-accessories/3d-hero-system&quot; rel=&quot;nofollow&quot;&gt;this page&lt;/a&gt; that he is using his &quot;Hero3 Silver cams for 3D content&quot;. I am not sure if he uses the sync cable or not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Still, they list the &lt;a href=&quot;http://gopro.com/support/articles/dual-hero-system-requirements&quot; rel=&quot;nofollow&quot;&gt;HERO3+ BE as the only compatible with &quot;Dual HERO System&quot;&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6291" LastEditorUserId="6291" LastEditDate="2014-08-09T10:40:54.287" LastActivityDate="2014-08-09T10:40:54.287" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12348" PostTypeId="1" CreationDate="2014-08-09T19:27:48.567" Score="2" ViewCount="324" Body="&lt;p&gt;I have a video containing a single person facing the camera. I would like to black-out everything in this video except for a small rectangular box around the person's eyes. I'm sure there are many approaches that might work for this, but I'm having trouble figuring out where to even begin. Preferably it can be done using free software for OS X.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: To clarify, the person's head moves around significantly and unpredictably, so I'm asking how to do this with some sort of motion tracking.&lt;/p&gt;&#xA;" OwnerUserId="6316" LastEditorUserId="6316" LastEditDate="2014-08-10T00:10:34.290" LastActivityDate="2014-08-12T13:46:32.980" Title="How to mask everything except eyes?" Tags="|video|video-editor|editing|effects|tracking|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12349" PostTypeId="2" ParentId="12348" CreationDate="2014-08-09T22:28:31.197" Score="1" Body="&lt;p&gt;You can use &lt;a href=&quot;http://www.lwks.com/&quot; rel=&quot;nofollow&quot;&gt;Lightworks&lt;/a&gt; (multi-plattform) for that or alternatively iMovie. Both offer either masking and or cropping.&#xA;One of the most basic features in a video editor. Just watch one of the dozens of beginner tutorials for the tool that fits you the most.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you go with the cropping approach you just duplicate the video layer and crop each layer down to one of the eyes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; With motion tracking it gets much more complicated (in the sense of software complexity, motion tracking is super easy nowadays). You will have to reside to a paid tool in that case. I can't think of freeware that integrates all that in to a free package.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The go to tools for motion tracking and masking work are After Effects, Nuke and Apple Motion (not that much actually but just to name an prominent Apple tool). With After Effects being the most prominent one out there and with a shitload of tutorials available to get going.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-08-10T01:38:35.967" LastActivityDate="2014-08-10T01:38:35.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12350" PostTypeId="1" AcceptedAnswerId="12355" CreationDate="2014-08-09T22:45:13.607" Score="0" ViewCount="10310" Body="&lt;p&gt;On the Internet, I sometimes see lower resolution videos that have a larger file size than a higher resolution version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which of these should have a better apparent quality when displayed on a 50'' FHD TV?&#xA;A 4GB 480p or a 2GB 1080p ???&lt;/p&gt;&#xA;" OwnerUserId="6317" LastEditorUserId="2836" LastEditDate="2014-08-11T13:46:28.793" LastActivityDate="2014-08-11T13:46:28.793" Title="Which is better quality, a larger 480p video or a smaller 1080p video?" Tags="|video-quality|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12351" PostTypeId="2" ParentId="12350" CreationDate="2014-08-09T22:52:46.517" Score="0" Body="&lt;p&gt;That's &lt;em&gt;very&lt;/em&gt; strange. Normally, video files with higher resolutions have a bigger file size. That is, if the videos have approximately the same duration?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If they do, the only possibly explanation are &lt;em&gt;very&lt;/em&gt; strange bitrates, which might cause this. Even so, I would go with the 1080p file, since a high bitrate doesn't really result in better quality for 480p videos, and 1080p videos still look relatively good with low bitrates. (Also, you could literally count the pixels of the 480p video on a screen that big)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Might I ask where you got these strange video files?&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2014-08-09T22:52:46.517" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12352" PostTypeId="2" ParentId="12350" CreationDate="2014-08-10T15:49:06.447" Score="1" Body="&lt;p&gt;There is no concrete answer to this. It depends entirely on the content of the video. Video compression effectively looks for patterns in video. If lots of patterns can be found, then high compression can be achieved with high resolution and low but rate.   If the video is hard to find patterns though, then high compression results in altering the video to make patterns and this produces artifacts that distort the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reducing the resolution of the file in these cases allows for fewer artifacts since less alterations need to be made to the video to find a pattern. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm over simplifying here with some technical inaccuracies to make it more accessible, but that is the general idea for compression. If the hd video doesn't have artifacts then the hd video is better, but the sd file is far less likely to have artifacts if similar codecs were used for both. &lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-10T15:49:06.447" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12353" PostTypeId="1" CreationDate="2014-08-10T15:56:56.067" Score="1" ViewCount="12053" Body="&lt;p&gt;I'm a very new beginner to video editing, but I am trying to do the best job I can.  I saw this tutorial about &quot;slow-motion basic techniques&quot;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/aiQ5VSLx2IA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I learned the technique about &quot;changing the frame rate of your video in order to make a good basic slowmotion.&quot;  This tutorial was made using After Effects and I have some related questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;How can I see the framerate of the clip or sequence in Premiere? In After Effects it is sufficient to click on it and on the top left corner (near to the preview image) the info that you need is displayed (included the framerate).&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Usually, I use my GoPro in order to make videos. I use 60fps at 720p in order to make &quot;sufficiently good&quot; slow motion, but then I don't know what is the right &quot;Sequence Presets&quot; to choose (I usually use HDV 1080p30, but I don't know if it's the best/right choice) when I create a new sequence, so when I use a GoPro clip in some sequence it appears the message &quot;Clips Mismatch Warning&quot; and I have to choose the &quot;Change sequence settings&quot; option, but then I don't know what are the NEW sequence settings! I want to know what the NEW sequence settings are?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Here the most important question: I saw from the above tutorial that the a basic technique for slow motion is to change directly the frame rate of the clip from (for example) 59.94 to 29.97 (as in my case). But then I thought: how can I apply this technique &quot;locally&quot; on the clip? Or better gradually (so starting from 59.94 at a point of the clip and gradually decrease it until it reaches 29.97)? Is that possible in some way? I know that you can right click on the original clip-&gt;modify-&gt;interprete footage and change the frame rate, but that is for the WHOLE clips, not locally as I need!&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;Then, I had an idea: why they use &quot;change frame rate&quot; and Twixtor SEPERATELY? Why not first change frame rate AND THEN apply the Twxitor effects? I had this idea because I tried to obtain an extreme slow motion using only Twixtor, but the result was really bad! However when I combined the two techniques the results were pretty good.  What do you think about it? It is only an illusion (so I don't get something in the process, and there isn't any real improvement), or is it a good solution? &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;UPDATE: I uploaded this video on YouTube in order to proove that there is a quite difference between applying Twixtor without changing the frame rate and with it. On the left side video you can see the result applying the Twixtor effects, with a speed at 25%. On the right side video you can see the result after changing the fps from 60 to 30 and then applying Twixtor with a speed of 50%. As you can see, the right side video is really better then the left one: it is more &quot;smooth&quot;, don't you think?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/4R9HFdZzIOM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="6321" LastEditorUserId="6321" LastEditDate="2014-08-11T22:26:25.163" LastActivityDate="2014-11-09T23:36:25.683" Title="Working with Frame Rates &amp; Slow Motion in Adobe Premiere" Tags="|premiere|after-effects|slowmotion|adobe|twixtor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12354" PostTypeId="2" ParentId="12267" CreationDate="2014-08-10T18:13:54.040" Score="2" Body="&lt;p&gt;I would go with either jing ( &lt;a href=&quot;http://www.techsmith.com/jing.html&quot; rel=&quot;nofollow&quot;&gt;http://www.techsmith.com/jing.html&lt;/a&gt; ) free or Camtasia ( &lt;a href=&quot;http://www.techsmith.com/camtasia.html&quot; rel=&quot;nofollow&quot;&gt;http://www.techsmith.com/camtasia.html&lt;/a&gt; ) both from Techsmith. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camtasia allow you to zoom in on part of the screen after recording but before rendering. This basically solves your problem and is great when you need to create video to a resolution that is less than the recorded resolution.&lt;/p&gt;&#xA;" OwnerUserId="6324" LastActivityDate="2014-08-10T18:13:54.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12355" PostTypeId="2" ParentId="12350" CreationDate="2014-08-10T18:22:09.537" Score="1" Body="&lt;p&gt;Well you CAN make rough assumptions. For a live action film a bit-rate of 3-8 Mbit/s is very advisable at 1080p. At 3Mbit/s you will very likely have noticable artifacts, thats usually an advisable bitrate for 720p video.&#xA;A file at SD resolution 480p/567p that is around 4GB in size you probably deal with a DVD that wasn't trans-coded for archiving.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which is better is hard to say though, in case of a DVD encode you probably have MPEG2 or MPEG4-v2 encoded video and with HD/Blu-ray you will very likely have h264 which is more efficent than MPEG2/MPEG4-v2/Xvid (h264 is MPEG4-v10). So a low bitrate with h264 is not as bad as a low bitrate with MPEG2/MPEG4-v2/Xvid.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally I would probably go with the 1080p with less bitrate if its smaller in size, just because its smaller in size and its very likely that on a 1080p monitor/TV the video will not look worse than the upscaled DVD.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-08-10T18:22:09.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12356" PostTypeId="2" ParentId="12353" CreationDate="2014-08-10T20:00:38.550" Score="2" Body="&lt;p&gt;To answer your Questions in order:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;You can see the framerate of a clip or sequence by navigating to the metadata panel. It's usually one of the tabs in the upper left on the standard layout. If you don't see it, select Window -&gt; Metadata.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Generally, you should set sequences to match you source material. So if your camera records 720p @ 60 fps, stick to that. You can review and change the sequence settings under Sequence -&gt; Sequence settings. Some settings can't be changed later on though.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The best way to create a slowmotion effect is to use &quot;time remapping&quot;. You will find that under the effect settings that every clip has by default. There you will see that your clip has a standard speed of 100%. You can change the speed of the entire clip by altering that value. If you want the clip to gradually slow down over time, you'll have to use keyframes. You can set a keyframe by clicking on the square symbol in the effects panel next to the time remapping line.&#xA;In this case, you'll need to create two keyframes, one at the beginning and one at the end of the transition from fast to slow. Let the first keyframe at 100 % speed and set the second to your desired target value, for example 50 % and that's it.&#xA;I hope this was somewhat understandable. If not, it's futher detailed at the adobe help site: &lt;a href=&quot;http://helpx.adobe.com/premiere-pro/using/duration-speed.html&quot; rel=&quot;nofollow&quot;&gt;http://helpx.adobe.com/premiere-pro/using/duration-speed.html&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Can't really help you with that. If you're going for real &lt;em&gt;slow&lt;/em&gt; slowmotion, you can always right-click on the clip and activate frame blending, which might result in a smoother video.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I hope i could help :)&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2014-08-10T20:00:38.550" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12358" PostTypeId="2" ParentId="12348" CreationDate="2014-08-11T13:42:30.327" Score="2" Body="&lt;p&gt;Unfortunately, this requires motion tracking and there isn't much out there that can handle it for free.  (As Jason Conrad pointed out, DaVinci Resolve Lite can.)  Motion tracking is pretty elaborate because it has to use complex computer vision systems to identify objects within the image and track where they move from frame to frame.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects is probably the cheapest option on the list of tools that are often used for motion tracking, but it is still either several hundred dollars for a stand alone copy of the slightly older CS6 version or $20 a month to rent the newest version from Adobe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With such a motion tracking capable tool, you can track the motion of the scene and then either stabilize it such that the eyes remain stationary or you can use the tracking data to have a rectangular mask follow the eyes and only reveal the contents of the mask.  After Effects (or really any other program that supports this kind of tracking) is pretty advanced and gives lots of options for how to accomplish your goal, though you should also be aware that they are pretty advanced packages and there is a potentially significant learning curve.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-08-12T13:46:32.980" LastActivityDate="2014-08-12T13:46:32.980" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12359" PostTypeId="2" ParentId="12353" CreationDate="2014-08-11T14:10:02.433" Score="1" Body="&lt;p&gt;1) In addition to the meta-data panel that Gin-San mentions, you can also right click on a clip in the project explorer and hit properties to get details about the file, which I believe includes the frame rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) The new sequence settings are the settings that match your input video.  So if the video is a 60fps video, it will end up making the output of the sequence match the resolution and frame rate of the input.  In this particular case, you may very well not want to accept the alterations to the sequence settings.  You may actually want to use 30fps (or 29.97 if you are recording at 59.94) so that when you drop the frame rate in half, every frame of video still gets its own frame.  It is really up to you though, there isn't a right or wrong answer, though I do recommend evenly divisible intervals for best quality slow motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Gin-San's answer for this is 100% correct.  You need to use keyframes and adjust the playback speed via keyframe animation.  Keyframes will instruct the video editing software to make sure that the value of the parameter you are keyframing (playback speed in this case) is at the given value on the frame where you set the keyframe.  To get it there, it will start making adjustments right after the previous keyframe in order to make a smooth transition between the values of the neighboring key frames.  With advanced keyframing, you can also adjust the type of curve used to move between keyframes, making it either linear, logarithmic(changing fast at first but then slowing towards the keyframe) or exponential (starting slow, but changing faster and faster as it approaches the keyframe.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) There is no particular reason that changing the frame rate should be needed when using Twixtor.  Changing the frame rate doesn't alter the real frame data that is available to Twixtor, so I'm not sure why it should have made any difference.  I would guess more likely there was some subtle mistake in the way you used Twixtor that you corrected for in the other test without realizing.  Twixtor and changing the framerate to a non-evenly divisible multiple both require the invention of new frames and Twixtor is generally far better at motion estimation, so it should generally be best to use it alone.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-11T14:10:02.433" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12360" PostTypeId="1" AcceptedAnswerId="12361" CreationDate="2014-08-11T14:11:59.070" Score="2" ViewCount="1917" Body="&lt;p&gt;I've made a 1080P video using After Effects, and after it has been rendered the playback is a bit stutter-y. Now I am fairly certain that this stuttering is a result of the computer struggling with the playback, but I need to be able to prove this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was kinda hoping VLC has a way of displaying the FPS of the video being played, but as far as I can tell it has no such thing (only display the FPS of the rendering).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone point me in the direction of some software that will give me the Playback FPS of a video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many thanks!&lt;/p&gt;&#xA;" OwnerUserId="3612" LastActivityDate="2014-08-11T19:32:47.233" Title="Looking for an accurate Playback FPS from a video" Tags="|video|framerate|playback|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12361" PostTypeId="2" ParentId="12360" CreationDate="2014-08-11T14:36:06.400" Score="1" Body="&lt;p&gt;Personally, I use fraps. The only reason I use fraps is because I used to record desktop footage a ton. However, if you get the &lt;a href=&quot;http://www.fraps.com/download.php&quot; rel=&quot;nofollow&quot;&gt;free&lt;/a&gt; version of fraps, it should allow you to see the framerate of the video playing back while the program is open. &lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2014-08-11T14:36:06.400" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="12362" PostTypeId="7" CreationDate="2014-08-11T16:43:20.053" Score="0" Body="&lt;p&gt;&lt;b&gt;Video Production Stack Exchange&lt;/b&gt; is a question and answer site for videographers, producers, editors, and enthusiasts spanning the fields of video, and media creation. It's built and run &lt;i&gt;by you&lt;/i&gt; as part of the &lt;a href=&quot;https://stackexchange.com&quot;&gt;Stack Exchange&lt;/a&gt; network of Q&amp;amp;A sites. With your help, we're working together to build a library of detailed answers to every question about video recording and production.&lt;/p&gt;&#xA;" OwnerUserId="-1" LastEditorUserId="35600" LastEditDate="2021-07-13T11:30:08.067" LastActivityDate="2021-07-13T11:30:08.067" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="12364" PostTypeId="2" ParentId="12292" CreationDate="2014-08-11T18:30:38.950" Score="3" Body="&lt;p&gt;Unfortunately, there isn't a way to do this in Premiere in my experience. As far as I know, the only panels you can have multiple of are the Project and Sequence panels.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2014-08-11T18:30:38.950" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12365" PostTypeId="2" ParentId="12183" CreationDate="2014-08-11T18:37:54.250" Score="2" Body="&lt;p&gt;Have you considered buying an entirely separate set of QR plates to unify your entire setup? For instance, in our setup, we use a tripod, a monopod, and a GlideCam with various attachments for each of these (rail systems, teleprompters, etc.). By adding &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B0010SIAV2&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; (relatively) cheap QR plate to the top of each stabilization method, we can switch our cameras around all systems with ease, and the QR plate can go on any standard 3/8&quot; or 1/4&quot; screw.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2014-08-11T18:37:54.250" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="12366" PostTypeId="2" ParentId="12360" CreationDate="2014-08-11T18:47:53.683" Score="0" Body="&lt;p&gt;You can try transcoding to a lower quality format that would be easier to play back.  If the video itself is stuttering, then the lower quality will still stutter in the same way.  If you are limited by your playback speed, then the lower quality version should play smoothly.  If it plays smooth at lower quality, then you know that the original file is good.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-11T18:47:53.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12367" PostTypeId="2" ParentId="12183" CreationDate="2014-08-11T19:01:46.200" Score="0" Body="&lt;p&gt;The &lt;a href=&quot;http://www.manfrotto.com/product/8709.76909.76924.0.0/MVM500A/_/Aluminum_Fluid_Monopod_with_500_head&quot; rel=&quot;nofollow&quot;&gt;Manfrotto is a 500 series&lt;/a&gt;, so it uses the &lt;a href=&quot;http://www.manfrotto.us/video-camera-plate-500plong&quot; rel=&quot;nofollow&quot;&gt;Video Camera Plate&lt;/a&gt;.  I'm not sure what you mean about adapting Benro products.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-08-11T19:07:32.000" LastActivityDate="2014-08-11T19:07:32.000" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12368" PostTypeId="2" ParentId="12360" CreationDate="2014-08-11T19:32:47.233" Score="0" Body="&lt;p&gt;Sometimes videos straight out of After Effects can be slow, or &quot;stutter-y&quot;. What I've found is that bringing the video into Premiere Pro and exporting it from Premiere (essentially re-rendering the video in Premiere) can help with this significantly.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2014-08-11T19:32:47.233" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12369" PostTypeId="2" ParentId="9647" CreationDate="2014-08-11T20:15:03.753" Score="2" Body="&lt;p&gt;An incredibly easy way to cut this &quot;by hand&quot; would be to &lt;strong&gt;nest&lt;/strong&gt; your alternating clips and turn that nested sequence into a &lt;strong&gt;multicam sequence&lt;/strong&gt; by right-clicking the nested sequence and hitting &quot;Multicam &gt; Enable&quot;. Then, by going into the &lt;strong&gt;Multicam Editor&lt;/strong&gt; (Open this in your &quot;Windows&quot; or &quot;View&quot; menu), you can press play and hit &quot;1&quot; and &quot;2&quot; on your keyboard to cut between the clips in real time (supports up to 4 clips).&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2014-08-11T20:15:03.753" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12370" PostTypeId="2" ParentId="12348" CreationDate="2014-08-11T21:58:27.123" Score="1" Body="&lt;p&gt;I agree with the two previous answers:  You'll need paid motion-tracking software such as After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wanted to add that in addition to tracking the X-Y position in the frame, you will most likely need to track the &quot;rotation&quot; of the 2 eyes as well.  That is, a horizontal rectangular mask will work for the eyes of a person facing forward with his/her head upright, but if he/she tips his/her head to the left or right, the rectangle will have to similarly tip to the left or the right in order to expose both eyes (since one will be &quot;above&quot; the other in the frame at that point).&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-08-11T21:58:27.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12371" PostTypeId="2" ParentId="12348" CreationDate="2014-08-11T23:10:42.740" Score="3" Body="&lt;p&gt;Davinci Resolve lite is free, and it contains an excellent motion tracker.  By combining the motion tracker with a power window, and adding a color correction (to darken everything outside of the power window), you should be able to achieve the results you're after very quickly.  For tutorials on Davinci Resolve, search youtube for Alexis Van Hurkman.  He literally wrote the book on it (the instruction manual), and provides a generous amount of tutorials online for free.  Of course, he also has a complete course for sale through &lt;a href=&quot;http://www.rippletraining.com&quot; rel=&quot;nofollow&quot;&gt;ripple training&lt;/a&gt;.  You can download Resolve lite &lt;a href=&quot;https://www.blackmagicdesign.com/support&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.  &lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-08-11T23:10:42.740" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12372" PostTypeId="1" AcceptedAnswerId="12373" CreationDate="2014-08-12T09:01:01.620" Score="2" ViewCount="7150" Body="&lt;p&gt;I'm having playback issues with a video I've rendered in After Effects. I need to adjust the composition and all the content to a smaller size. However, when I adjust the comp size the footage stays the same. Is there a way to reduce the whole lot together?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="6332" LastEditorUserId="6330" LastEditDate="2014-08-18T10:26:09.157" LastActivityDate="2023-07-28T12:45:40.160" Title="Reducing the size of content within a composition in After Effects" Tags="|after-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12373" PostTypeId="2" ParentId="12372" CreationDate="2014-08-12T12:49:25.890" Score="3" Body="&lt;p&gt;You can scale down everything in your composition by pre-comping everything and then shrinking the size of that pre-comp. I'm not entirely sure what you mean by &quot;when I adjust the comp size the footage stays the same&quot;. If you mean that when you change the composition size, the footage extends beyond the new border of the comp, then pre-comping and scaling down the pre-comp should fix this.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2014-08-12T12:49:25.890" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12375" PostTypeId="1" CreationDate="2014-08-13T03:16:46.483" Score="3" ViewCount="5981" Body="&lt;p&gt;I'm relatively new to Premiere CC, and very new to multi-cam editing. Half an hour ago the &quot;multi-camera&quot; view disappeared. That's the view that shows my 2 camera angles, side by side, and one of them is bordered in yellow. It should be to the left of my &quot;composite&quot; image on the top-right, but now there's just a black rectangle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The footage I'm editing IS a multi-camera sequence.  I DO have &quot;Multi-Camera&quot; selected as the view.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So any ideas how I get it back?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Tb6vl.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2016-06-15T14:43:25.633" Title="Multi-Cam View Disappeared from Premiere CC" Tags="|premiere|multi-camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12376" PostTypeId="2" ParentId="12375" CreationDate="2014-08-13T03:28:37.403" Score="2" Body="&lt;p&gt;Never mind, I figured it out. Look at the timeline in the picture in my original question. Next to the multi-camera track, the &quot;V1&quot; is not selected. I selected that, and the multi-camera view came back. (I thought the &quot;V1&quot; just indicated which track a clip would be pasted to! Guess not.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/eFjTK.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-08-13T03:28:37.403" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12378" PostTypeId="1" CreationDate="2014-08-13T08:48:11.453" Score="0" ViewCount="1198" Body="&lt;p&gt;I am trying to get &lt;a href=&quot;https://video.stackexchange.com/questions/12312/creating-synchronized-stereo-videos-with-2-cameras-at-low-cost&quot;&gt;2 video streams into sync&lt;/a&gt; at low cost. I would like to visually measure how good can I synchronize my cameras by pointing them to a millisecond capable stopwatch.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know what is the refresh rate of an &quot;old style&quot; monochromatic LCD stopwatch (&lt;a href=&quot;https://commons.wikimedia.org/wiki/File:Leet_stopwatch.JPG&quot; rel=&quot;nofollow noreferrer&quot;&gt;example&lt;/a&gt;)? I don't have one so I haven't tried to capture these yet. &lt;a href=&quot;https://en.wikipedia.org/wiki/Liquid-crystal_display&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia says&lt;/a&gt; an LCD could have a refresh rate as high as 200Hz. If LCD is slow, &lt;a href=&quot;https://commons.wikimedia.org/wiki/File:LED_Digital_Display.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;LED&lt;/a&gt; probably would be faster depending on circuity used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I used online stopwatch, but these are limited by (usually) a 60Hz refresh rate of a computer LCD monitor. 60Hz lowers the resolution to about 16ms (1s/60Hz).&lt;/p&gt;&#xA;" OwnerUserId="6291" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-08-13T17:59:10.673" Title="Millisecond stopwatch for visual stereo video synchronization measurement" Tags="|video-recording|sync|stereo|" AnswerCount="2" CommentCount="3" ClosedDate="2014-08-13T17:56:28.593" ContentLicense="CC BY-SA 3.0" />
  <row Id="12379" PostTypeId="2" ParentId="12378" CreationDate="2014-08-13T12:07:57.347" Score="2" Body="&lt;p&gt;You can only sync video to an accuracy of a frame, or somewhere in the area of 15-40 mSec depending on frame rate. So as long as whatever you're shooting can update and refresh at least that quickly, it's not important to do much better. Even shooting a mechanical metronome will probably get you as close as anything else. The refresh rate of the display shouldn't be a factor, if you're examining both clips on the same screen.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-08-13T12:07:57.347" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="12380" PostTypeId="2" ParentId="12378" CreationDate="2014-08-13T12:26:14.147" Score="0" Body="&lt;p&gt;As Jim Mack said, you can only sync video to an accuracy of a frame, which can be pretty tricky. If your two video streams are half a frame off, for instance, there's really no way for you to correct this difference any further (this is the worst case scenario).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My suggestion would be to use some physical object or motion instead of a stopwatch. A &quot;slate&quot; or &quot;clapboard&quot; is a very common way of synchronizing audio and video and can easily be used to sync two cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this case, some other physical movement might be easier to use - maybe put both cameras on the ground, shooting a ball dropping in front of a ruler or something along those lines.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2014-08-13T12:26:14.147" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12381" PostTypeId="1" CreationDate="2014-08-13T15:27:37.537" Score="0" ViewCount="69" Body="&lt;p&gt;I'm looking for a solution that I can get a feed from video projectors' VGA output to a media station (at this moment it is a mac) where I'm capturing camera feed and presentation from the speaker. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a given prosumer equipments, I'm having a hdmi feed into Blackmagic mini recorder to thunberbolt output. The projector has only outputs to VGA and that is where I'm having the challenge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My another thought is to have hdmi cable that is long enough from the stage to the media station and using secondary Blackmagic mini recorder to output to Thunderbolt. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestion other than this?&lt;/p&gt;&#xA;" OwnerUserId="6335" LastActivityDate="2014-08-13T15:27:37.537" Title="What is the best way to convert VGA to digital feed efficiently?" Tags="|live-recording|mixing|" AnswerCount="0" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="12382" PostTypeId="1" AcceptedAnswerId="12392" CreationDate="2014-08-13T20:35:00.073" Score="2" ViewCount="2996" Body="&lt;p&gt;I've made a script that will loop through a (.txt) interchanging elements of a certain composition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Within the script, I add each changed composition to the render queue and output it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I pragmatically output the format in h.264 (.mp4) instead of it defaulting to (.avi).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've discovered that you can just change the default output module via edit -&gt; templates -&gt; output module, but still.. is there anyway of doing this via script?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="6341" LastActivityDate="2015-02-13T17:38:13.330" Title="Change output using a .jsx script for After Effects CS6" Tags="|video|after-effects|file-formats|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12383" PostTypeId="2" ParentId="12372" CreationDate="2014-08-14T00:35:31.650" Score="3" Body="&lt;p&gt;You can do it without the added complexity of precomposing. Look in the &lt;strong&gt;File&gt; Scripts&gt;&lt;/strong&gt; menu, there's a script there called &lt;strong&gt;scale Composition.jsx&lt;/strong&gt;. Run it, type in the new width, height or percentage and hit the button. Done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Scripts are a useful, but rather neglected part of the AE tool set.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-08-14T00:35:31.650" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12384" PostTypeId="1" CreationDate="2014-08-14T02:34:16.783" Score="9" ViewCount="26482" Body="&lt;p&gt;What is the best software for mac to convert video to ogv and webm versions with a high quality result?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have adobe media encoder, is there is a setting or plugin available to do so in there? or another software that lets me control the quality of the final video to get the best quality possible. Many of the conversion programs I have tried are not providing a good quality output. The video is mp4 or mov H.264 1920 x 1080 and over 10 mins in length. Thank you.&lt;/p&gt;&#xA;" OwnerUserId="6342" LastActivityDate="2018-03-09T00:45:17.650" Title="How to convert video to ogv and webm versions with a high quality result?" Tags="|adobe|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12386" PostTypeId="1" CreationDate="2014-08-14T09:50:22.233" Score="0" ViewCount="76" Body="&lt;p&gt;I want to make an animated video which shows what my mobile app can be used for. What are the most economically-conservative resources I can use? &lt;/p&gt;&#xA;" OwnerUserId="6344" LastEditorUserId="6330" LastEditDate="2014-08-15T15:27:19.350" LastActivityDate="2014-08-15T15:27:19.350" Title="How to make a whiteboard/flanelboard style promotional video for a mobile app?" Tags="|video|" AnswerCount="1" CommentCount="1" ClosedDate="2014-08-18T15:12:45.197" ContentLicense="CC BY-SA 3.0" />
  <row Id="12387" PostTypeId="2" ParentId="12386" CreationDate="2014-08-14T12:20:36.163" Score="0" Body="&lt;p&gt;I don't know exactly what kind of animations you're looking for, but &lt;strong&gt;Adobe After Effects&lt;/strong&gt; is very popular for animation. You can even get a free 30-day trial of the software. That being said, if you're not familiar with After Effects, there is quite a bit of a learning curve, but the good news is that there are a ton of online resources (videos/tutorials/etc.) to show you what you need to do to get great results.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2014-08-14T12:20:36.163" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12391" PostTypeId="1" CreationDate="2014-08-14T18:31:19.223" Score="2" ViewCount="175" Body="&lt;p&gt;seem too be able to find every other body part except a hand animation tutorial&lt;/p&gt;&#xA;&#xA;&lt;p&gt;im looking to create a vector animation of a hand performing a pinch and zoom action&lt;/p&gt;&#xA;" OwnerUserId="6348" LastActivityDate="2014-08-15T12:23:41.340" Title="Any tutorials on how to animate a vector hand" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12392" PostTypeId="2" ParentId="12382" CreationDate="2014-08-15T03:23:00.970" Score="4" Body="&lt;p&gt;So, the answer to your question is 'yes, but...'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's perfectly feasible, but you have to create an output module with the settings that you want, and then save it to your computer.  You can create this by going to Edit -&gt; Templates -&gt; Output Module.  Click on the 'New' button in the pop-up window, and then Edit it for the settings you need (quicktime, h.264, etc).  Save it as a useful name (&quot;H264HighQuality&quot; or something like that).  Save the output module, and you'll be able to access it from your scripts from there on out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to use it in your script, just use:&#xA;&lt;code&gt;app.project.renderQueue.items.add(myComp).applyTemplate(&quot;H264HighQuality&quot;);&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As long as you've &lt;em&gt;made&lt;/em&gt; the template first, you can access it in your scripts as many times as you want.  However, After Effects does NOT allow you to programmatically create Output Modules or alter them on the fly, unfortunately.  But you only need to make the template once -- as long as you have that template on the computer you're running the script, it should work just fine.&lt;/p&gt;&#xA;" OwnerUserId="6185" LastActivityDate="2014-08-15T03:23:00.970" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12393" PostTypeId="2" ParentId="12384" CreationDate="2014-08-15T08:04:52.543" Score="12" Body="&lt;p&gt;I have Premiere/Media Encoder plugins for &lt;a href=&quot;https://github.com/fnordware/AdobeWebM&quot;&gt;WebM&lt;/a&gt; and &lt;a href=&quot;https://github.com/fnordware/AdobeOgg&quot;&gt;Theora (OGV)&lt;/a&gt; on GitHub. Check the ReadMe for download links. They're currently in beta.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Brendan&lt;/p&gt;&#xA;" OwnerUserId="6350" LastActivityDate="2014-08-15T08:04:52.543" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12394" PostTypeId="2" ParentId="12391" CreationDate="2014-08-15T08:36:28.533" Score="3" Body="&lt;p&gt;I needed a similar animation recently and I gave up on creating the entire animation from scratch. This is what I did instead -&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used a green screen and captured my hand doing the animation on video. For this purpose, it doesn't need to be a production quality green screen setup, I just used a green cloth on a table, a camera on a tripod from above and few lighting sources I had at home. The whole setup took me about half an hour.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason this doesn't need to be super quality is because you won't be actually showing this footage, just using it as the base for the masks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, key the green background out as much as possible. If you're lucky and your green screen footage is relatively good, it will be easier and give you better lines to work with. Use various effects like blur, find edges, cartoon, extract and others to give you the lines you need. At worst case, you will be able to get only the contour of the hand, without the inner lines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use auto-trace on this to create your animated masks. These masks will be far from usable but it will give you a good base to work with. You now need to go through your composition, fixing the masks and adding the missing lines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is still a tedious work but for someone like me who has absolutely no background in animation, it gave pretty good results.&lt;/p&gt;&#xA;" OwnerUserId="2393" LastEditorUserId="2393" LastEditDate="2014-08-15T12:23:41.340" LastActivityDate="2014-08-15T12:23:41.340" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12396" PostTypeId="1" AcceptedAnswerId="12401" CreationDate="2014-08-15T21:11:21.480" Score="9" ViewCount="10585" Body="&lt;p&gt;There's a lot of advice on the internet on encoding settings to apply to your video before uploading to YouTube (&lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot;&gt;https://support.google.com/youtube/answer/1722171?hl=en&lt;/a&gt;, &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/2DuHhd3lwOs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;, ...). They say that not only will compression allow your video to upload faster but it will make it look better when played back on YouTube (an example of this is at 0:18 in the YouTube link above). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I also read is that YouTube re-encodes any video that you upload (example: &quot;Telestream Episode product manager Kevin Louden started by noting that YouTube re-encodes all video uploaded to the site&quot; - &lt;a href=&quot;http://www.streamingmedia.com/Articles/Editorial/Featured-Articles/Encoding-for-YouTube-How-to-Get-the-Best-Results-83876.aspx&quot;&gt;http://www.streamingmedia.com/Articles/Editorial/Featured-Articles/Encoding-for-YouTube-How-to-Get-the-Best-Results-83876.aspx&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the obvious question for me is if YouTube re-encodes anything that it's asked to upload, why should different codecs make a difference to final playback quality on YouTube? To get the best playback quality on YouTube, shouldn't I upload a lossless file and let YouTube compress it however it wants?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't care about upload time or file size, I just care about playback quality on YouTube.&lt;/p&gt;&#xA;" OwnerUserId="5777" LastActivityDate="2016-01-19T17:28:43.620" Title="YouTube Compression: Why?" Tags="|encoding|youtube|compression|quality|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12397" PostTypeId="1" CreationDate="2014-08-16T16:53:59.073" Score="1" ViewCount="500" Body="&lt;p&gt;I've taken pictures with a HD broadcast camcorder and a DSLR at the same event. When I get the still pics from camcorder footage, the image appears to be more professional/outstanding feeling than the DSLR's. That makes me almost give up on shooting still pics with a DSLR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why does the picture quality from the HD broadcast camcorder beat out DSLR? Even if the total pixel count is less?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(notice: broadcast camcorder means XDCAM HD or better)&lt;/p&gt;&#xA;" OwnerUserId="6314" LastEditorUserId="6314" LastEditDate="2014-08-20T05:46:22.087" LastActivityDate="2014-08-20T05:46:22.087" Title="Why HD broadcast camcorder still pictures quality (still frame from video) beat out DSLR?" Tags="|video-quality|dslr|camcorder|broadcasting|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="12398" PostTypeId="1" AcceptedAnswerId="12416" CreationDate="2014-08-17T10:30:19.843" Score="1" ViewCount="2171" Body="&lt;p&gt;A few days ago I watched Chris Nolan's Following and thought to myself &quot;I can do something like this&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found out that Nolan used Bolex for the film. He still uses film cameras and is against digital cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to create shots that are reminiscent of La Haine , Following and the older films like Death on the Nile etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found Canon 600D for about 550-600 dollars ( and various versions with different lenses) .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it good for a filmmaking beginner? I want to create old-film style setups. Maybe some car interior shots. Timelapses. 4:3 videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which lens should I use for old film looks? Do you recommend cheap tripod and external mics? I'm open to any help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also: Whats the difference between IS and DC lens. DS is much cheaper.&lt;/p&gt;&#xA;" OwnerDisplayName="user6353" LastActivityDate="2014-08-18T15:58:45.390" Title="Will Canon 600D be able to do these?" Tags="|canon|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12399" PostTypeId="1" CreationDate="2014-08-17T16:01:46.010" Score="2" ViewCount="315" Body="&lt;p&gt;We have a triplehead2go digital edition that we would like to use with a ATEM 1 M/E video mixer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We tried setting the th2g to 3x 720 50p and the ATEM to 720 50p, but it didn't work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This was our setup:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Computer -&amp;gt; TH2G -&amp;gt; Projector&#xA;                 -&amp;gt; ATEM -&amp;gt; Projector&#xA;                 -&amp;gt; Projector&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Connecting the ATEM directly to a computer with the 720 50p works, and the TH2G works also.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have anyone tried this?&lt;/p&gt;&#xA;" OwnerUserId="6142" LastEditorUserId="6142" LastEditDate="2014-08-18T13:08:51.620" LastActivityDate="2014-08-18T13:08:51.620" Title="Using triplehead2go with ATEM 1 M/E" Tags="|mixer|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12400" PostTypeId="2" ParentId="12398" CreationDate="2014-08-17T17:04:37.257" Score="1" Body="&lt;p&gt;The question reads like: how I get the best quality out of a given setup/financial scale. just keep in mind, that you get what you pay for - so don't expect fancy 4K-movies out of this ;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first two things I would suggest to buy are microphone and tripod. Why? If you want to do a silent film, you can use the internal mic - otherwise I would strongly suggest to use an external one, because the internal one might catch too much noise during quality and characteristics.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;holding the camera with your bare hands can always cause movements within the movie, so a cheap tripod is better than none. if you buy one, just keep in mind that you might move it during the shot, so it should be moved smoothly. &#xA;also don't forget that &lt;em&gt;Autofocus&lt;/em&gt; (as used in a DSLR) might not work during filming, so you've to pull the focus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would strongly oppose to use a certain lens for a certain style of picture - just try to get the best quality out of the setup and add the &quot;style&quot; in post processing. if you have motivation, passion or the faith not to change something of the style in post processing, than you might buy a lens/filter to archive this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if you consider buying a Canon EOS, you might have a look at &lt;a href=&quot;http://www.magiclantern.fm/&quot; rel=&quot;nofollow&quot;&gt;magic lantern&lt;/a&gt; for an alternative firmware with an movie making aspect.&lt;/p&gt;&#xA;" OwnerUserId="1932" LastEditorUserId="6249" LastEditDate="2014-08-17T18:57:29.457" LastActivityDate="2014-08-17T18:57:29.457" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12401" PostTypeId="2" ParentId="12396" CreationDate="2014-08-17T17:17:06.397" Score="6" Body="&lt;p&gt;I've answered a similar question some time ago. YouTube added a few codecs since then but all the info there still applys: &lt;a href=&quot;https://video.stackexchange.com/questions/5318/what-codec-will-my-youtube-uploads-be-output-in-and-what-codec-should-i-use-to-u/5715#5715&quot;&gt;How does YouTube encode my uploads and what codec should I use to upload?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Short answer: Yes if you are concerned about maximum quality a lossless codec or visually lossless codec is the way to go. Re-encoding always means loss of information if you re-encode with a lossy codec like h264.&#xA;Saying that videos will look better with compression is just a wrong statement.&#xA;Compression reduces file size, that's the only benefit you get from it. Best case you don't loose information with that compression but with most codecs like h264 you do because they discard information and re-arrange it in order to achieve a high compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though different codecs do have an affect on the outcome, encoding a video with MPEG2 or h264 makes a huge difference. The former will usually have way more compression artifacts depending on your encoding settings than an h264 encoded video with similar bitrate.&#xA;So if your source is already having artifacts the second encode from YouTube won't make it look any better but worse.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-08-17T17:17:06.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12402" PostTypeId="2" ParentId="12399" CreationDate="2014-08-17T17:21:44.443" Score="1" Body="&lt;p&gt;So you set the resolution of your TH2G to 720p50? In that case you don't get 720p on every output but 1/3 of that vertically. You have to set your th2g to 3840x720 so you get three 720p signals on your outputs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also recommend using the Matrox App for setting resolution modes instead of the windows/osx display manager.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-08-17T17:21:44.443" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12403" PostTypeId="1" AcceptedAnswerId="12404" CreationDate="2014-08-17T17:42:44.087" Score="3" ViewCount="471" Body="&lt;p&gt;I know there are apps like DslrDashboard and more but I would like to just get a real time monitor for my Nikon D5100. How is that possible?`&#xA;Of course connected wiyh a Hdmi-cable.&lt;/p&gt;&#xA;" OwnerUserId="2861" LastActivityDate="2014-08-18T11:48:08.530" Title="Using tablet/smartphone as external dslr monitor" Tags="|dslr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12404" PostTypeId="2" ParentId="12403" CreationDate="2014-08-17T17:49:52.363" Score="3" Body="&lt;p&gt;You can't do that. There is no tablet on the market (right now) that offers an HDMI input or any other physical display input. Your only option would be to stream compressed video over the USB (or Lightning on iPads) connection or Wifi to an app that displays that stream.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-08-18T11:48:08.530" LastActivityDate="2014-08-18T11:48:08.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12405" PostTypeId="1" AcceptedAnswerId="12407" CreationDate="2014-08-18T06:02:22.857" Score="3" ViewCount="1809" Body="&lt;p&gt;I want to render my After Effects projects on an EC2 Windows AMI for better performance, but they only allow Windows Server editions which are no supported by Adobe. Will it work if I install After Effects on Windows Server 2008? Thanks!&lt;/p&gt;&#xA;" OwnerUserId="6354" LastEditorUserId="3295" LastEditDate="2014-08-18T14:10:07.053" LastActivityDate="2014-08-18T14:10:07.053" Title="After Effects render on AWS EC2" Tags="|after-effects|animation-rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12406" PostTypeId="1" AcceptedAnswerId="12408" CreationDate="2014-08-18T14:01:23.483" Score="1" ViewCount="174" Body="&lt;p&gt;I'm getting a Canon 600 D. I will also get a 32 gb class 10 sd card. Do you think I shoujld get another card and install Magic Lantern into that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really want to create time lapses.&lt;/p&gt;&#xA;" OwnerDisplayName="user6353" LastEditorUserId="3295" LastEditDate="2014-08-18T14:30:47.343" LastActivityDate="2014-08-18T16:18:14.120" Title="Should I use Magic Lantern as a beginner?" Tags="|dslr|magic-lantern|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12407" PostTypeId="2" ParentId="12405" CreationDate="2014-08-18T14:09:00.757" Score="2" Body="&lt;p&gt;Windows Server is very much the same as the Desktop Windows regarding the core of the OS, there is just some stuff missing and other stuff added that is usefull for webservers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You shouldn't have any problems installing an After Effects render node, I used Windows Server 2008 R2 myself for an After Effects CS5 network render node.&#xA;Shouldn't have changed with newer versions of After Effects.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-08-18T14:09:00.757" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12408" PostTypeId="2" ParentId="12406" CreationDate="2014-08-18T14:27:07.923" Score="0" Body="&lt;p&gt;As someone who just went through the transition of using Canon firmware to Magic Lantern firmware, no. It depends ENTIRELY on what you know. For instance, do you know what shutter speed, ISO, and aperture are? Do you know what effect shooting &quot;wide open&quot; or with a high ISO has on your shot? Do you know how to correctly set your white balance and get correct exposure? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're a beginner and you're not familiar with these terms, you may at first be overwhelmed; that's totally normal and OK. But, it is my strong suggestion that you get to know these things and work with the standard Canon firmware before moving to Magic Lantern. Film making is hard enough as it is, no point in making it more difficult on yourself. Once you have a strong grasp of the basics, you can better appreciate/utilize the features that Magic Lantern gives you (recording formats, focus peaking, settings logs, RGB parade, hotkeys, wider range of ISO/aperture values, etc.).&lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2014-08-18T14:27:07.923" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12409" PostTypeId="5" CreationDate="2014-08-18T14:32:34.033" Score="0" Body="" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-08-18T14:32:34.033" LastActivityDate="2014-08-18T14:32:34.033" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12410" PostTypeId="4" CreationDate="2014-08-18T14:32:34.033" Score="0" Body="Magic Lantern is a free software add-on that runs from the SD/CF card and adds a host of new features to Canon EOS cameras that weren't included from the factory by Canon" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-08-18T14:32:34.033" LastActivityDate="2014-08-18T14:32:34.033" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12411" PostTypeId="1" AcceptedAnswerId="12414" CreationDate="2014-08-18T14:51:10.707" Score="0" ViewCount="352" Body="&lt;p&gt;I've been trying to find an affordable mic for 600d DSLR. There's Rode VideoMic Go and Zoom H1 . But I still find these a little above my budget.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is: Can I use something like this &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://gadgetgrocery.com/image/data/Sony%20Recorders/Sony%20Digital%20Voice%20Recorder%20PX333%205.jpg&quot; rel=&quot;nofollow&quot;&gt;http://gadgetgrocery.com/image/data/Sony%20Recorders/Sony%20Digital%20Voice%20Recorder%20PX333%205.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or a better one ( or even use ipad) to record audio then sync with video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I absolutely need to plug a proffesional mic into the camera?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: I will be using the camera for short film sequences. Some car interior scenes. I need an okay audio quality.&lt;/p&gt;&#xA;" OwnerDisplayName="user6353" LastEditorDisplayName="user6353" LastEditDate="2014-08-18T15:31:23.513" LastActivityDate="2014-08-18T16:38:07.493" Title="Can I use any audio recorder for filming?" Tags="|audio|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12412" PostTypeId="2" ParentId="12397" CreationDate="2014-08-18T15:26:32.150" Score="1" Body="&lt;p&gt;My guess, what you are seeing is most likely the result of the better color detection and processing with the sensor and image data and the better depth of field provided by a high quality professional lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is far, FAR more to image quality than simple resolution.  The color accuracy of the sensor, the dynamic range, shadow detail, vibrancy and contrast of the processed image, the reduced amount of aberrations as a result of better optics, the better quality of out of focus parts of the image due to better aperture designs, the extra background blur as a result of wider open apertures, etc, etc, all impact the image quality substantially, especially for viewing on a screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unless you are printing the image or zooming in on it, a 1080p HD camera has the same resolution as a DSLR when you are displaying it on a computer screen (since the computer screen itself likely doesn't display much more than 1080p, possibly even less).  So for looking on a screen, the other factors are the only thing that matter and any professional camera will far outweigh it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also note that a good DSLR will beat the pants off even a high end video camera in terms of image quality for still images, but you need to have a good quality DSLR and a good quality lens to beat a professional quality video camera (at the 1080p kind of resolution).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You shouldn't expect the image quality to be better on a camera which costs, in total, less than some of the batteries for the massively more expensive video camera, but I'd put the still image quality of my 5D Mark iii and 24-70 f/2.8 II optics ($6,000 total) up against any $100,000 camcorder you want to bring out.  Even for video, Arri cams will beat it, but shooting RAW footage, it's only a slightly noticeable difference to a professional eye between the RAW video that the 5D Mark iii ($3,500) can shoot versus footage from the $50,000 ARRI camera.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-18T15:26:32.150" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12413" PostTypeId="1" CreationDate="2014-08-18T15:37:30.823" Score="5" ViewCount="8819" Body="&lt;p&gt;I have a dozen 'main' comps which have a bunch of nested comps. I need to create about 30 versions of each main comp, with different colors.&#xA;The subcomps are animated shapes, which take their color from a color picker in the main comp.&#xA;I would love to avoid having to duplicate all the subcomps 30 times, so I don't have hundreds of copies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there ANY way to allow a nested comp to change based on the comp within which it is nested?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know there is no &quot;thisComp.parent&quot; option -- since a comp can be nested in many different parents -- but is there a way to &quot;push&quot; a property &quot;down&quot; into a subcomp? Or any clever workaround? Does this make sense?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;E.g., main comp &quot;M01&quot; has subcomps &quot;S01a&quot;, &quot;S01b&quot;, etc. The colors of shapes in S01a etc are based on a color picker in M01.&#xA;I want to duplicate M01 to M02, change the color picker value, and have S01a S01b pick up the new color value, without having to duplicate them to S02a, S02b, etc in order to reference M02.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using True Comp Duplicator, which is a lifesave with its 'update expressions' option ... but my project is over 50MB now, with hundreds of comps, and is unwieldly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I cannot use a 'change color' effect in the main comp; there are transparencies &amp;amp; blend modes that would get messed up.)&lt;/p&gt;&#xA;" OwnerUserId="2022" LastActivityDate="2021-03-03T09:25:11.277" Title="Any way to change properties of subcomp based on parent comp?" Tags="|after-effects|adobe|after-effects-expressions|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12414" PostTypeId="2" ParentId="12411" CreationDate="2014-08-18T15:54:30.533" Score="1" Body="&lt;p&gt;I guess it really depends on your production and how high of quality you want. You will hear countless times, if you stick with this hobby, that audio far outweighs video when it comes to importance. This is somewhat counter intuitive because the video is much more obvious an impact than the audio. For this reason, however, purchasing the best audio solutions one can afford is usually the best solution (depending on your scenario, of course). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recording inside a car is a whole new can of worms. They're incredibly noisy, especially while operating. For this reason, sound engineers will often entirely reconstruct car scenes specifically by recording sfx, foley and performing ADR with the actors. Hopefully you can think of some creative ways to use your car while it's not operating because it's incredibly difficult to capture usable audio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Essentially you're asking the question that every beginner videographer asks: &quot;what's the cheapest, all-around best audio solution I can get without having to think too much.&quot; It's a fair question, but one that doesn't have the best answer. I don't think a small palm recorder/ipad is a good idea. What I might recommend is a combo solution. I would pick up a wired lavalier mic (&lt;a href=&quot;http://www.bhphotovideo.com/c/product/1037063-REG/audio_technica_atr3350is_lavalier_mic_with_smartphone.html&quot; rel=&quot;nofollow&quot;&gt;atr-3350&lt;/a&gt;) for $20 dollars and plug that directly into your camera for portrait shots, and then I might pick up a camera mounted shot gun mic (&lt;a href=&quot;http://www.bhphotovideo.com/c/product/444022-REG/Azden_SMX_10_SMX_10_Stereo_Microphone.html&quot; rel=&quot;nofollow&quot;&gt;Azden SMX-10&lt;/a&gt;) for $80 for wider shots and you'd have a good universal, cheap solution. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's worth noting that plugging microphones directly into Canon cameras is often not the best audio solution because of the low quality preamps and AGC found on the camera which results in adding a &quot;hiss&quot; to your audio. You can clean this up in post but it does degrade the audio slightly. Something to look out for, and something that you can kind of fix with Magic Lantern software you asked about earlier.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you say &quot;exterior sounds&quot; I assume you mean dialogue (correct me if I'm wrong). For outside characters tend to be on the move, so having them attached to your camera (a la wired lavalier) is a bad idea. You never want to leash your actors to your camera for obvious reasons. Additionally, clothing will rub against the mic and create unusable audio. If you're not in motion, the only thing you need to worry about is wind. A few little &lt;a href=&quot;http://www.bhphotovideo.com/c/product/258926-REG/Rycote_065516_Furry_Lavalier_Windjammer.html&quot; rel=&quot;nofollow&quot;&gt;dead cats&lt;/a&gt; for your lavs should solve that problem (while making them more noticeable). However, the ultimate solution to outdoor dialogue is a shotgun microphone on a boom pole. But, that is probably out of your budget, so a cam mounted VideoPro mic will do &quot;well&quot; as long as you get it close to your subject.  &lt;/p&gt;&#xA;" OwnerUserId="6179" LastEditorUserId="6179" LastEditDate="2014-08-18T16:38:07.493" LastActivityDate="2014-08-18T16:38:07.493" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12415" PostTypeId="1" AcceptedAnswerId="12422" CreationDate="2014-08-18T15:57:57.050" Score="1" ViewCount="3042" Body="&lt;p&gt;Is there a script/plugin that will either (a) take layers from a comp and create separate render queue items for each layer; or (b) use markers in a comp to generate separate renders?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought there used to be one ... &quot;RenderLayers&quot; or something ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Essentially I need to split up a long comp into separate output files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks!&lt;/p&gt;&#xA;" OwnerUserId="2022" LastActivityDate="2014-08-18T18:25:39.020" Title="Auto split comp into separate render items?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12416" PostTypeId="2" ParentId="12398" CreationDate="2014-08-18T15:58:45.390" Score="1" Body="&lt;p&gt;Yes, DSLRs are a good starting point for doing movie type projects.  The use of interchangeable lenses and the shallower depth of field offered by larger sensors than found in most consumer video cameras allows for far more artistic options.  This is why DSLRs are very popular with the amateur film making community.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It should be noted, however, that they are not without their drawbacks.  All but the most recent DSLRs (including the 600d) lack auto-focus while shooting video, so you will have to either focus before shots or manually adjust your focus during the shot.  (If you move up to the 650d instead and use STM lenses, it IS able to auto focus when shooting video.)  Focus peaking can help with this by providing highlighting of the most in-focus points in the image, but it requires the use of custom firmware software like Magic Lantern.  (I've personally used ML, but it isn't without some small degree of risk to your camera.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, DSLRs suffer from something known as a rolling shutter.  On a high end video camera, the entire image for each frame is captured at the same time, thus quick pans look crisp.  On a DSLR however, the sensor is scanned line by line when shooting video, so fast pans result in a &quot;jello&quot; effect (which is well documented with numerous videos demonstrating the problem on Youtube).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also worth noting that you do still get what you pay for in quality.  A near bottom of the line consumer DSLR, particularly with a dirt cheap kit lens that comes with it is going to have much more marginal quality than anything professional.  Even a higher end entry level model like a t4i (650d) or better yet, a mid-range model like a 70d will have far superior quality.  Similarly, replacing the kit lens with something like a 50mm f/1.8 prime or other better quality lens will result in a substantial improvement in video quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It still won't be anything near Hollywood level though.  About the closest you can get to Hollywood quality for under $7,000 is a 5D Mark iii running ML and shooting RAW footage on high end L optics, but even at $3,500 for the camera body and $1,500 to $2,500 for the lens, the quality still ends up being noticeably lower (to the professional eye) than a professional video camera like an ARRI Alexa (which costs $50,000+), but it is close enough to raise eyebrows in the professional community.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That all said though, DSLRs (even the basic models) still offer more bang for the buck in terms of artistic control than almost any consumer level camera, just so long as you also realize they are harder to use for video than a consumer camera, which can handle more for you, but gives you less options.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-18T15:58:45.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12417" PostTypeId="2" ParentId="12413" CreationDate="2014-08-18T16:05:14.510" Score="2" Body="&lt;p&gt;You can link properties in different compositions by using an expression like this one.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;comp(&quot;Comp Name&quot;).layer(&quot;Layer Name&quot;)(&quot;Property e.g. Transform&quot;)(&quot;SubProperty e.g. Position&quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If the property is more nested you just add another &lt;code&gt;(&quot;sub property&quot;)&lt;/code&gt; until you reach the property you need, just as you would click through the drop down menus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also helpful: VideoCopilot recently released a great free script specializing in pre-comping 3D layers in exactly that way. &lt;a href=&quot;http://www.videocopilot.net/blog/2014/08/free-script-3d-pre-compose-tutorial/&quot; rel=&quot;nofollow&quot;&gt;http://www.videocopilot.net/blog/2014/08/free-script-3d-pre-compose-tutorial/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; Regarding the clarification in the comments about using relative selectors for comps.&#xA;Unfortunately not possible per se. You can do it with layers by specifying the index number but a comp doesn't really have a unique parent which makes this rather hard to have a generic selector for comps. If you have a unique procedural naming based on your comp &quot;depth&quot; this might be possible with some advanced expression or maybe script but if you just named them &quot;my cool comp&quot; and &quot;my other cool&quot; comp you can't really make a script for that.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-08-18T18:09:54.437" LastActivityDate="2014-08-18T18:09:54.437" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="12418" PostTypeId="2" ParentId="12406" CreationDate="2014-08-18T16:18:14.120" Score="0" Body="&lt;p&gt;I would disagree with Scott on this.  I think ML is great for starting out doing video for a beginner, but you need to be sure to read the ML forums to learn about the features it offers you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DSLR video is not easy.  It is far more complicated than shooting video on a consumer camera and getting good results requires skills you don't have yet.  Magic Lantern provides tools (such as focus peaking and zebra) that will help you considerably as you are learning to shoot video on your DSLR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, there are a TON of options in ML and so it can be easy to get overwhelmed, but that is why reading their tutorials and forums, and also why asking about the use of certain features here on Video Production is a great option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Particularly since you mentioned time lapse, Magic Lantern also provides intervolometer functionality for capturing time lapse sequences as well.&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-18T16:18:14.120" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12419" PostTypeId="2" ParentId="12411" CreationDate="2014-08-18T16:26:00.757" Score="1" Body="&lt;p&gt;There are two key things for audio when shooting video that you MUST have.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, you need to have good audio/video sync.  Whatever recorder you use, must be able to produce good, solid timecode that will match up properly with your video, otherwise you end up with drift, which can be very hard to adjust for if the clock is inconsistent on your audio recorder.  Sometimes cheaper audio devices may not have good clock sync as they aren't worried about exact pitch, but just general content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, you need the audio recorder to actually provide better audio than your DSLR.  A device with a cheap built in mic isn't going to provide substantially better audio than the DSLR.  It might be slightly more isolated from noises of you adjusting the camera, but it still is going to pick up lots of room noise and other artifacts that will be a general pain for you.  It is best to get a device with a better microphone than your DSLR has that can be placed in a better spot for picking up good quality audio without extraneous noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;External inputs aren't critical, but solid timecode and the ability to record clean, targeted audio without noise is.  External inputs make this easier to achieve and allow for more upgrades in the future, but if such products are outside your budget, you don't have to get them now.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-18T16:26:00.757" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12420" PostTypeId="2" ParentId="12415" CreationDate="2014-08-18T16:29:10.747" Score="0" Body="&lt;p&gt;The general way to do this now is to use nested compositions and export each composition separately.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-18T16:29:10.747" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12421" PostTypeId="1" CreationDate="2014-08-18T18:10:38.860" Score="4" ViewCount="5354" Body="&lt;p&gt;I have a video in webm format, and two files in webVTT format, chapters and subtitles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to embed this two webVTT file in the webm in order to get only one file ?&#xA;webm is a derivative of Matroska, so it's certainly possible. The real question is they will be handled by a program like VLC ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance !&lt;/p&gt;&#xA;" OwnerUserId="6356" LastActivityDate="2018-11-10T21:25:52.830" Title="Is it possible to embed VTT subtitles &amp; chapters in webm video?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12422" PostTypeId="2" ParentId="12415" CreationDate="2014-08-18T18:25:39.020" Score="1" Body="&lt;p&gt;There is a script called &quot;rd_RenderLayers&quot; from redefinery, maybe thats what you mean. It does exactly that, adding every layer to your render queue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately his website is on hiatus but the downloads still work, you can download the latest version &lt;a href=&quot;http://www.redefinery.com/xae/scripts/rd_RenderLayers_v3.1.zip&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-08-18T18:25:39.020" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12423" PostTypeId="1" CreationDate="2014-08-18T19:26:51.770" Score="2" ViewCount="75" Body="&lt;p&gt;In Scott Pilgrim VS The World there is this three frame sequence:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/xTHKp.jpg&quot; alt=&quot;Scott getting punched&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second frame seems to be actually lit much more, not just made brighter by an After Effects adjustment layer.&lt;br&gt;&#xA;How was this achieved? Is it a practical lighting effect? Was it shot in RAW and manipulated later?&lt;/p&gt;&#xA;" OwnerUserId="6357" LastActivityDate="2014-08-19T15:37:16.953" Title="One Frame Flash" Tags="|after-effects|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12424" PostTypeId="2" ParentId="12423" CreationDate="2014-08-18T19:49:35.043" Score="-1" Body="&lt;p&gt;This is most likely not a practical effect. In order to achieve this effect practically, one would need a light that is sync'd to the frame rate of the camera to turn on for 1/24 (depending on the framerate) of a second. It sounds...impractical (word jokes!). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can easily isolate a frame in After Effects by converting you time line to frame rate time signature as opposed to seconds. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you can use the hotkey (ctrl + right/left arrow) to create an animated color correction to do whatever you want. In this case, you would find the brightness/contrast effect, place it on your footage, press the animation icon on the effect, go to the spot you want to be bright, ctrl+right arrow back one frame, create a key frame, crtl+left arrow two frames forward, and create another key frame. You back up one keyframe to where you want the effect to be, crank the brightness and bang, your effect is done. Quite simple.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To answer your question about RAW, it was likely shot in RAW, but that has no impact on how this effect was achieved. You can do the same with heavily compressed h.264 footage.  &lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2014-08-18T19:49:35.043" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12425" PostTypeId="2" ParentId="10412" CreationDate="2014-08-18T21:28:54.483" Score="-1" Body="&lt;p&gt;Do not capture to DV.  NTSC DV has a 4:1:1 color space.  If LD has something better then you are losing information.  Vertical resolution is not the only resolution you should be concerned with. Consider depth also.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, why is your goal DVD with a relatively terrible MPEG2 compression?  These days we are approaching erasing the need to distinguish from mastering formats and delivery formats. MPEG2 is a lossy, delivery format. Since your source footage is only 425 lines why not store it near-losslessly for best presentation?  You can convert for VC-1 Advanced LC2 ad 20mb/s and get a near lossless compression and play that back on VLC/XBOX/PS3/PS4, etc.&lt;/p&gt;&#xA;" OwnerUserId="6359" LastActivityDate="2014-08-18T21:28:54.483" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12426" PostTypeId="2" ParentId="12421" CreationDate="2014-08-18T23:07:41.803" Score="3" Body="&lt;p&gt;Edit: It seems that WebM now supports VTT subtitles. See the link below for detailed information.&#xA;If you want to add subtitles to a video on a web page, have a look at the HTML5 'track' element. It allows adding subtitles without muxing them into the video container. More details here: &lt;a href=&quot;https://developer.mozilla.org/en-US/docs/Web/Apps/Fundamentals/Audio_and_video_delivery/Adding_captions_and_subtitles_to_HTML5_video&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://developer.mozilla.org/en-US/docs/Web/Apps/Fundamentals/Audio_and_video_delivery/Adding_captions_and_subtitles_to_HTML5_video&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;WebM doesn't support subtitles nor chapters right now so you won't be able to embed them without creating a WebM file that is out of specs.&#xA;You will probably want to remux your video into mkv and then convert your VTT subtitles to SRT and mux these into your mkv aswell.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;http://www.webmproject.org/docs/container/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.webmproject.org/docs/container/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Initial WebM release does not support subtitles.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;WHATWG / W3C RFC will release guidance on subtitles and other overlays in HTML5  in the near future. WebM intends to follow&#xA;  that guidance. Ref: WebVTT.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2018-11-10T21:25:52.830" LastActivityDate="2018-11-10T21:25:52.830" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="12427" PostTypeId="1" AcceptedAnswerId="12429" CreationDate="2014-08-19T00:14:39.380" Score="1" ViewCount="474" Body="&lt;p&gt;In the tutorial I am doing the instructor has their Composition Settings enabling them to input the amount of Frames they would like the Composition to be. Picture is a little faded, it says &quot;Frames @ 24 fps&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://assemblyx.net/Untitled-1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;image http://assemblyx.net/Untitled-1.png&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now my Composition Settings only allow me to set in time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://assemblyx.net/Untitled-2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;image http://assemblyx.net/Untitled-2.png&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I set in Frames?&lt;/p&gt;&#xA;" OwnerUserId="6347" LastActivityDate="2014-08-19T04:15:50.107" Title="How to switch New Composition Settings Duration from Base 25 (time) to Frames?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12428" PostTypeId="1" AcceptedAnswerId="12432" CreationDate="2014-08-19T02:14:13.000" Score="3" ViewCount="1266" Body="&lt;p&gt;I'm working on a giant project file that was obviously created by importing lots of other projects into one big one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many of the comps use many of the same precomps ... from projects that were copies of each other ... so there are many precomps that are probably identical, but each is used in a different master comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to (a) check if 2 comps are truly identical?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And (b) automatically replace all references to identical comps with references to just one copy, so that the project can then be properly reduced?&lt;/p&gt;&#xA;" OwnerUserId="2022" LastActivityDate="2016-02-02T11:06:59.730" Title="Find/replace duplicate comps?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12429" PostTypeId="2" ParentId="12427" CreationDate="2014-08-19T04:15:50.107" Score="2" Body="&lt;p&gt;Oddly enough, this has to be done in the composition window itself.  In the top left-hand corner of your timeline window, you know the little orange numbers that tell you the current timecode?  If you CMD + click on that (ctrl + click on windows), it'll switch to Frames instead of timecode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you hit CMD + K to bring up the composition settings again, you'll see that Duration and the other relevant categories are now shown as Frames instead of timecode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that this will shift your &lt;em&gt;whole&lt;/em&gt; timeline to Frames (including the markers on the timeline itself), which you may or may not want.  If you just want to have it for frames while you're editing the composition settings, though, you can always just CMD + click on the number in the upper lefthand corner of the timeline to switch it back to timecode.&lt;/p&gt;&#xA;" OwnerUserId="6185" LastActivityDate="2014-08-19T04:15:50.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12432" PostTypeId="2" ParentId="12428" CreationDate="2014-08-19T13:30:04.450" Score="2" Body="&lt;p&gt;I do not know of and couldn't find a script that does this already but it would be certainly possible to write one. After Effects doesn't have a functionality built-in for that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the help of ExtendScript you can write very powerful extensions for After Effects and its very easy to get going with it. Just open up the &quot;Adobe ExtenScript Toolkit&quot; that gets installed with every CS suite and load up an example for After Effects and have a look at the JavaScript documentation. While you can also script with AppleScript and Batch Script the documentation for the JavaScript version is a lot better.&#xA;You can access it under the &quot;Help&quot; menu. Most importantly look at the After Effects Scripting guide. It can be found for different CS/CC versions &lt;a href=&quot;http://www.adobe.com/devnet/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I would do is start to iterate through all your compositions, grab the current composition in your iteration, get an array of all the layer names in that composition and then iterate with that array through all compositions and compare the array with the array of all the other compositions. Best to not sort the arrays in case you used generic names for layers and unique layer ordering is important.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unless you have micro changes in your duplicate comps like changed property values and keyframes this approach would be effective.&#xA;If you do have micro changes you would, after having fetched all comps with duplicate layers, also have to access every layer in your array and compare every property with the corresponding layer in the other comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You then delete all true duplicates of a comp and while doing that replace them with a link of your now unique comp in all occurrences in other comps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shouldn't be much code but it could take some time to write if you have never used Adobe ExtendScript.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On another note, a very helpful plugin to keep the composition import madness at a minimum is &lt;a href=&quot;http://aescripts.com/bao-dynamic-comp/&quot; rel=&quot;nofollow&quot;&gt;BAO Dynamic Comp&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-08-19T13:30:04.450" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12433" PostTypeId="2" ParentId="12423" CreationDate="2014-08-19T15:37:16.953" Score="2" Body="&lt;p&gt;This is most likely a practical effect accomplished with a photographic flash.  It would just have to be fired on the action at the appropriate time.  Photographic flashes are extremely fast firing and completely discharge in a very small fraction of a second.  Since exposure is a cumulative effect, the majority of the exposure can be accomplished in a fraction of the time the shutter is open for capturing the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is actually how a particular type of high speed photography works.  In a dark room, the shutter can simply be left open and the exposure occurs during the extremely fast flash, thus achieving a shutter speed that would otherwise not be possible with the camera.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a similar kind of thing, but done in a lit seen to give the one frame extra lighting.  The additional highlighting on the shirt of the guy doing the punching is also indicative of the use of a photographic flash or strobe as the lighting on his shirt is completely different from the previous frame and the pattern of light seems to indicate an intensely bright light source (probably a fairly minimally diffused flash or strobe).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-19T15:37:16.953" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12438" PostTypeId="1" AcceptedAnswerId="12979" CreationDate="2014-08-20T08:26:53.097" Score="0" ViewCount="1244" Body="&lt;p&gt;I have a &lt;a href=&quot;http://www.canon.co.uk/For_Home/Product_Finder/Camcorders/High_Definition_HD/LEGRIA_HF_R56/index.aspx&quot; rel=&quot;nofollow&quot;&gt;Canon LEGRIA HF R56&lt;/a&gt; which only outputs &lt;code&gt;1080p@60&lt;/code&gt; from its HDMI port. Are there any methods to downscale this to &lt;code&gt;1080p@30&lt;/code&gt; or lower?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Googling this doesn't seem to throw up light. I guess I could use a HDMI capture device to downscale the signal, but then that would defeat the object of downscaling it, as I could just use that device to perform my capture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am doing this because my capture device, an &lt;a href=&quot;http://www.blackmagicdesign.com/products/intensity/&quot; rel=&quot;nofollow&quot;&gt;Intensity Shuttle&lt;/a&gt;, has a maximum input rate of &lt;code&gt;1080p@30&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From @ProfessorSparkles answer below, the HDMI output could be 1080p@50. I realize that my TV simply says 1080p as the input signal, rather than the framerate.&lt;/p&gt;&#xA;" OwnerUserId="5540" LastEditorUserId="5540" LastEditDate="2014-08-21T00:26:46.757" LastActivityDate="2014-11-09T08:48:08.980" Title="Simple way to downscale from 1080p@60 to 1080i@60" Tags="|hdmi|live-recording|" AnswerCount="2" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="12439" PostTypeId="1" CreationDate="2014-08-20T12:16:33.173" Score="0" ViewCount="374" Body="&lt;p&gt;I would like to set up a live class which may take place over a couple of days and I would like to stream it live.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, how do I set it up so it allows access to only people who have paid and registered and is there a way of doing it through Wordpress run website?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I came across a term called PayWalling while doing my research, not sure if that's got something to do with my requirement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks very much!&lt;/p&gt;&#xA;" OwnerUserId="6368" LastActivityDate="2014-09-09T05:06:33.103" Title="How to set up Paid Live Streaming event?" Tags="|video|streaming|live|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12440" PostTypeId="2" ParentId="12413" CreationDate="2014-08-20T13:31:36.987" Score="2" Body="&lt;p&gt;If I understand what your asking correctly there is a way of doing it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the subcomp layer in the main comp add a colour expression control effect (&lt;strong&gt;Effects &gt; Expression Controls &gt; Color&lt;/strong&gt;, then control it with an expression so that it's linked to the colour of the colour picker (use the pick whip).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now in the subcomp itself the colour will be available to expressions if you use the value &lt;code&gt;comp(&quot;M01&quot;).layer(thisComp.name).effect(&quot;Color Control&quot;)(1)&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously this will only work if your comps have unique names. Note that you can use regular &lt;a href=&quot;https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference&quot; rel=&quot;nofollow&quot;&gt;javascript string methods&lt;/a&gt; to handle text manipulation in expressions, so things like regular expressions and string.split and number.toString all work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that expressions, especially expressions that reference multiple comps can really slow AE down. I've often found that something that is technically possible with a gazillion expressions is practically unworkable because every time you move the time slider you get the beachball for half an hour. So where you can, try converting the expressions into keyframes, or pre-rendering.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-08-20T13:31:36.987" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12441" PostTypeId="2" ParentId="12439" CreationDate="2014-08-20T14:35:06.207" Score="1" Body="&lt;p&gt;It depends on the level of protection you want, but no, there isn't really a good way to do it with Wordpress.  You can paywall a portion of your Wordpress site, but a live stream isn't going to go over HTTP, it is going to run over an RTMP stream or something similar.  Paywalling your Wordpress site will make people pay to find out the name of the RTMP stream, but unless you have some type of authentication on the RTMP stream (or give each user a unique stream link), then you couldn't prevent sharing the link once one person pays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you really need is a stream server that provides either login to a stream (and only allows each user to access it once) or you need a stream server that can provide the same stream to multiple URIs and only allow one connection per URI. Both of these effectively do the same thing, they make it so that the connection details provided to a customer only work for that customer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, you could use a list of authorized IP addresses and have your website add the IP addresses of paid customers as authorized viewers so that they can access the stream from their location.  In this case, you should automatically update the IP address list whenever they log in.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-20T14:35:06.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12443" PostTypeId="1" AcceptedAnswerId="12445" CreationDate="2014-08-20T14:52:59.503" Score="0" ViewCount="43" Body="&lt;p&gt;I'm new to film making as I have just purchased Canon 600D.  I also have a tripod. What else do I need to get the low-key lightning often found in Noir films?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the film Whisperer in Darkness : &lt;a href=&quot;http://aleatoriclove.com/wp-content/uploads/2012/12/whisperer_in_darkness.jpg&quot; rel=&quot;nofollow&quot;&gt;http://aleatoriclove.com/wp-content/uploads/2012/12/whisperer_in_darkness.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://imagizer.imageshack.us/a/img42/8990/whisper3.png&quot; rel=&quot;nofollow&quot;&gt;http://imagizer.imageshack.us/a/img42/8990/whisper3.png&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I achieve this look?&lt;/p&gt;&#xA;" OwnerDisplayName="user6353" LastEditorDisplayName="user6353" LastEditDate="2014-08-20T15:14:02.907" LastActivityDate="2014-08-20T18:28:39.067" Title="What do I need for Noir lightning?" Tags="|lighting|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12444" PostTypeId="2" ParentId="12438" CreationDate="2014-08-20T15:10:55.923" Score="1" Body="&lt;p&gt;According to the specs on the Canon site your camera can record in 50i/p and 25p 1920x1080. Are you absolutely sure you can only get 60fps on the HDMI? Because that sounds rather weird that you get more FPS on the HDMI than the camera can actually record.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you set the recording option to 25FPS normally on canon cameras the FPS should also apply to the HDMI output.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-08-20T15:10:55.923" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12445" PostTypeId="2" ParentId="12443" CreationDate="2014-08-20T15:24:12.597" Score="0" Body="&lt;p&gt;The big thing is to use harsh direct lighting.  Normally in lighting, you are trying to diffuse light to soften shadows, but in this kind of look, hard and dark shadows is actually what you want.  On a budget, place a couple of unshaded lamp bulbs out to light the scene.  The brighter the lamps, the darker you can get the shadow.  Note that you will also want a room with fairly dark walls so that light isn't reflected in to the shadows or you may need to use guides to keep the light directed towards your scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want a slightly less dark look like the second link, you may also want a base of dim diffused soft light.  If you are using something to direct the direct lights towards the scene and away from the ceiling, you can accomplish the diffused lighting by pointing a light at the ceiling and blocking it from hitting the scene directly.  This gives you a large surface area for the light being reflected in to the scene which makes it very soft and should fill in the shadows just enough to keep detail in the darker parts of the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also highly recommend checking out the link Scott Walter posted in the comments on the main question as it is a fantastic tutorial that shows what you are getting from each light.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-08-20T18:28:39.067" LastActivityDate="2014-08-20T18:28:39.067" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12446" PostTypeId="1" CreationDate="2014-08-21T03:43:42.177" Score="1" ViewCount="191" Body="&lt;p&gt;My company produces some out door concerts that will have 15-18k people attend. I'd like to setup a video screen next to the stage that I can use to show a video feed of the concert. I don't have a lot to spend on it, but I would be reusing it for other things, so what do you think? I have a switcher that does hdmi and hd-sdi output, so a projector or system would need to use that. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to create something, similar to the picture attached. &lt;img src=&quot;https://i.stack.imgur.com/zkt4d.png&quot; alt=&quot;Video screen from A7X at Rock am Ring&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2014-08-23T17:34:42.883" Title="Whats the most affordable way to setup a large screen outdoors for live video" Tags="|video|output|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12447" PostTypeId="2" ParentId="12446" CreationDate="2014-08-21T07:01:23.547" Score="1" Body="&lt;p&gt;&quot;Most affordable&quot; makes this a very difficult question to answer. The way most festivals do it is by hiring large screens. You could try and do it with a projector, which can work okay at night, but not so good in daylight (like a drive-in cinema). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For bright displays there aren't really any shortcuts - &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Have a good video platform and desk&lt;/li&gt;&#xA;&lt;li&gt;Route signal&lt;/li&gt;&#xA;&lt;li&gt;Use good quality screens&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Technology-wise, it is very simple, as you aren't doing anything clever with video.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2014-08-21T07:01:23.547" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12448" PostTypeId="2" ParentId="12446" CreationDate="2014-08-21T17:20:16.830" Score="1" Body="&lt;p&gt;There isn't an &quot;affordable&quot; option here.  Either you use high intensity light screens or high intensity rear projection with an enclosure around the back side to keep out sunlight.  Either option is looking at tens of thousands of dollars per screen to buy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not particularly familiar with light screens because they tend to be a lot harder to move than the rear projection units, though if resolution isn't super critical, there are hanging displays that use basically strands of Christmas tree lights as pixels that are pretty portable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For rear projection, you are probably going to want something in the neighborhood of 15 to 30,000 lumens per screen which is around $30,000 to $60,000 worth of projector, plus the cost of the screen itself which is likely to be several grand as well and also the (relatively speaking cheap) box around it all to block out light from hitting the screen from behind.  These produce excellent quality images, but as you can see, they are anything but cheap.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may well end up using two or more projectors and stacking them so that the pixels light up.  It is an easy way to get more intensity and you could potentially use a whole rig of smaller projectors, but the more projectors you add, the more complexity you will have in aligning them all for a particular installation and keeping them all properly color balanced.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-08-23T17:34:42.883" LastActivityDate="2014-08-23T17:34:42.883" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12449" PostTypeId="1" CreationDate="2014-08-22T05:00:54.937" Score="6" ViewCount="3438" Body="&lt;p&gt;What algorithm does YouTube follow to convert between different formats?&#xA;Does YouTube store different videos (for different formats) on disk or store only 1 and convert from this to appropriate format as requested?&lt;/p&gt;&#xA;" OwnerUserId="6375" LastEditorUserId="4796" LastEditDate="2014-08-22T21:13:23.360" LastActivityDate="2018-12-30T18:02:44.953" Title="How does YouTube convert between different videos resolutions?" Tags="|video-quality|youtube|" AnswerCount="1" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12450" PostTypeId="2" ParentId="12449" CreationDate="2014-08-22T05:53:27.133" Score="4" Body="&lt;p&gt;Youtube stores whatever you upload and transcodes to other formats using their own versions of multiple compression formats including h.264 and webm.  All transcodes go from the same original file that you upload and are stored after transcoding.  Youtube may change the options used from time to time and save new encodes of the video.  Encodes are generally pre-rendered upon upload and then used from disk as far as I can tell.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-22T05:53:27.133" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12452" PostTypeId="1" AcceptedAnswerId="12453" CreationDate="2014-08-22T14:31:50.913" Score="2" ViewCount="2608" Body="&lt;p&gt;I have a 2D image layer that looks great as a 2D layer. Both &lt;code&gt;.png&lt;/code&gt; and &lt;code&gt;.eps&lt;/code&gt; files are (near) pixel perfect. However when I convert the layer to 3D, there is a massive loss in quality. Is there a setting somewhere that can improve the quality of the video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/T9olF.png&quot; height=&quot;500&quot;/&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2D&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Hxr8Y.png&quot; height=&quot;500&quot;/&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3D&lt;/p&gt;&#xA;" OwnerUserId="6134" LastActivityDate="2014-08-22T21:10:14.630" Title="Loss of quality in after effects 3D layer" Tags="|after-effects|video-quality|animation|3d|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12453" PostTypeId="2" ParentId="12452" CreationDate="2014-08-22T21:10:14.630" Score="3" Body="&lt;p&gt;Unless you need it make sure you are using the Classic 3D rendering mode and not the &quot;Ray-Traced 3D&quot; renderer. You can see and change the renderer in the top right corner of your comp view or just go into the composition settings menu through the top menu bar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are in need of using the RayTraced 3D renderer click on the options menu and increase the quality from 3 (standard) to a higher value like 6 or 8 and see if that fixes your issue.&#xA;You may also change your AntiAliasing mdoe to cubic instead of box.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also make sure your preview quality is not set to fast draft but to adaptive or final quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/vQ2AU.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-08-22T21:10:14.630" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12454" PostTypeId="1" AcceptedAnswerId="12455" CreationDate="2014-08-23T04:53:20.620" Score="0" ViewCount="86" Body="&lt;p&gt;I want to learn to make videos like &lt;a href=&quot;https://www.youtube.com/watch?v=kkGeOWYOFoA&quot; rel=&quot;nofollow&quot;&gt;this one&lt;/a&gt;, where should I start? And what tools I can use?&lt;/p&gt;&#xA;" OwnerUserId="6382" LastActivityDate="2014-08-23T12:55:20.503" Title="How to start making videos" Tags="|video-editor|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12455" PostTypeId="2" ParentId="12454" CreationDate="2014-08-23T12:48:50.003" Score="2" Body="&lt;p&gt;There are many different ways to accomplish this. You will have to pick an animation software like &lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;Adobe After Effects&lt;/a&gt;. There are many different 2D animation programs, all of which do certain things better and other things worse than the alternatives. Which you pick depends on your preferences and what you want to accomplish in detail. I would recommend After Effects, since it is very multilateral, however you should take a look at &lt;a href=&quot;http://en.wikipedia.org/wiki/List_of_2D_animation_software&quot; rel=&quot;nofollow&quot;&gt;this list&lt;/a&gt; to get an overview and decide by yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option is to start with 3D animation software, in this case you could start with Blender (freeware and relatively easy to learn), Cinema 4D (expensive and powerful) or Maya (free for students and used for professional works), or chose a program from &lt;a href=&quot;http://en.wikipedia.org/wiki/List_of_3D_animation_software&quot; rel=&quot;nofollow&quot;&gt;this list&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have to warn you though: 2D and 3D animation is very difficult. It will most likely take some time and effort for you to be able to create videos like the one you linked.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2014-08-23T12:55:20.503" LastActivityDate="2014-08-23T12:55:20.503" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12456" PostTypeId="1" AcceptedAnswerId="12458" CreationDate="2014-08-24T00:09:14.140" Score="2" ViewCount="314" Body="&lt;p&gt;We'll be receiving a media stream that will suffer varying time shifts, and we need a solution that will clock the video+audio out at a predictable rate. We can time stamp the input stream (assume SMPTE LTC) to aid in identifying the amount of shift that has occurred.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is basically what a TBC does, but these delays may be on the order of seconds, so the buffer would have to be quite large. Total delay through the system is not important, as long as the time jitter is ultimately removed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: This could also be thought of as a rate corrector. The incoming video will have a long-term average frame rate of (say) 30fps, but the short-term rate could vary +/- 10% from that. The goal is to buffer enough video so that the output rate can be exactly 30 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something that worked with encoded (say MP4 over RTSP) video would be ideal, but if we need to work in baseband (SDI etc) that's acceptable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone know of such a device or system?&lt;/p&gt;&#xA;" OwnerUserId="3908" LastEditorUserId="3908" LastEditDate="2014-08-24T11:26:08.030" LastActivityDate="2014-08-24T17:58:24.137" Title="Need a video/audio 'time base corrector' with a very large time buffer" Tags="|video|standards-converter|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12457" PostTypeId="1" CreationDate="2014-08-24T15:03:10.920" Score="2" ViewCount="2229" Body="&lt;p&gt;I have a telephone video recording I would like to edit to make it appear it was taken from further away than it was?&lt;/p&gt;&#xA;" OwnerUserId="6389" LastActivityDate="2014-08-27T22:11:35.393" Title="Make a video look like it was taken from further away" Tags="|video|after-effects|video-editor|effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12458" PostTypeId="2" ParentId="12456" CreationDate="2014-08-24T17:58:24.137" Score="3" Body="&lt;p&gt;You can do this with &lt;a href=&quot;http://gstreamer.freedesktop.org/&quot; rel=&quot;nofollow&quot;&gt;GStreamer&lt;/a&gt; and a plugin called &lt;a href=&quot;http://gstreamer.freedesktop.org/data/doc/gstreamer/head/gst-plugins-good-plugins/html/gst-plugins-good-plugins-rtpjitterbuffer.html&quot; rel=&quot;nofollow&quot;&gt;rtpjitterbuffer&lt;/a&gt;. There is an example usage on the bottom of that page with the gst-launch tool to do a simple desktop playback of an rtp stream with network errors.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;gst-launch-1.0 rtspsrc location=rtsp://192.168.1.133:8554/mpeg1or2AudioVideoTest ! rtpjitterbuffer ! rtpmpvdepay ! mpeg2dec ! xvimagesink&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can customize this to your need and set specific timeouts and also make a new network stream instead of doing desktop playback. You can do pretty much anything with gstreamer, you just have to read a bit into it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regarding hardware I don't know of any that does this but I'd guess its pretty expensive like it usually is with very specialized hardware.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-08-24T17:58:24.137" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12459" PostTypeId="1" AcceptedAnswerId="12460" CreationDate="2014-08-24T21:11:41.673" Score="10" ViewCount="11030" Body="&lt;p&gt;AFAIK, the bitrate is the number of bits &lt;em&gt;per second&lt;/em&gt;. So let's say I have two videos, both using the same codec, bitrate settings and resolution. If the first one has a framerate of 25fps, but the second one runs at 50fps, does that mean that the second one will have a drastically lower quality since the available bits for each second of the video have to be divided amongst twice as much frames?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or is this effect diminished by motion compensation (e.g. by having more P-frames and less I-frames) or something like that?&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2014-08-25T15:36:46.313" Title="Does raising the framerate while not changing the bitrate result in quality loss?" Tags="|video|framerate|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12460" PostTypeId="2" ParentId="12459" CreationDate="2014-08-24T22:47:15.327" Score="4" Body="&lt;p&gt;If the result of increasing the frame rate is that more pixels are displayed per second, then yes, keeping the bit rate the same will almost certainly mean a loss in overall quality. Not all such losses are objectionable or even necessarily noticeable. For example, if the bit rate is 30 Mb/s and you reduce it to 15 Mb/s, probably not many people would notice.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-08-24T22:47:15.327" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12461" PostTypeId="1" AcceptedAnswerId="12463" CreationDate="2014-08-25T08:20:11.510" Score="2" ViewCount="1162" Body="&lt;p&gt;I'm trying to get the old film look with Canon 600D, so I will be shooting in 640*480 25 fps. But what if I shoot in 16:9 at 24 fps, will I be able to get the same 4:3 after editing? (The reason I'm asking this is films are 24 fps, 600D doesn't have 4:3 at 24 fps)&lt;/p&gt;&#xA;" OwnerDisplayName="user6353" LastActivityDate="2014-08-25T15:49:13.033" Title="Can I shoot in 16:9 then change it to 4:3?" Tags="|framerate|aspect|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12462" PostTypeId="1" CreationDate="2014-08-25T10:16:05.177" Score="1" ViewCount="890" Body="&lt;p&gt;I have a match-moved camera track from Nuke but it's in the wrong place in my scene/environment, is it possible to select the camera's track and manipulate it without having to manually edit the 501 keyframes that make up its movement?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would it be easier to move the whole rest of the scene, or is there an option I missed when creating the track that would orient/position it correctly?&lt;/p&gt;&#xA;" OwnerUserId="5666" LastActivityDate="2015-11-28T14:39:46.327" Title="Can I move an imported camera track in Maya without manually changing 500+ keyframes?" Tags="|animation|3d|tracking|maya|nuke|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12463" PostTypeId="2" ParentId="12461" CreationDate="2014-08-25T11:11:11.827" Score="1" Body="&lt;p&gt;Of course you can set your project up so that it will output a 4:3 video. However, keep in mind that there are only two ways to achieve this:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Nr. 1 You crop the video, which means you will lose stripes of the video at both the left and the right side.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Here's an example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/jcBNn.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Nr. 2: You resize the 16:9 input video so that it fits in the 4:3 output video. I wouldn't recommend this though, since the video and everything in it will be deformed, which looks completely aweful.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So if this is your input:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/UZWrF.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It will result in this output:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/4Rz1Q.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both options result in a quality / information loss. How about shooting in 4:3 at a higher framerate? You could easily lower the framerate in editing to achieve your desired effect ...&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2014-08-25T11:17:04.200" LastActivityDate="2014-08-25T11:17:04.200" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12464" PostTypeId="2" ParentId="12457" CreationDate="2014-08-25T12:46:11.713" Score="5" Body="&lt;p&gt;When you shoot from further away you use a &quot;longer&quot; lens, in other words a lens with a longer focal length. This has a few effects, that you'll have to fake to make it look real.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, the perspective tends to get flattened with long lenses. You've probably seen this in the classic cinema trope of a &lt;a href=&quot;http://www.shutterstock.com/video/clip-1817864-stock-footage-telephoto-shot-with-a-backlit-crowd-of-people-on-a-wide-sidewalk-walking-in-slow-motion.html&quot; rel=&quot;nofollow&quot;&gt;long shot of a crowd walking along a footpath&lt;/a&gt;, where everyone seems to be about to step on the heels of the person in front. This is because the angle of view is very shallow, so someone in the foreground is not going to be much bigger than someone in the background. Conversely a wide angle shot has exaggerated perspective. See just about any Public Enemy video where Chuck D and Flavour Flav pop their heads into the camera and get massively bigger than the people in the background, just by moving a few feet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This perspective  compression is going to be very difficult to fake after the fact, unless you're really good at rotoscoping and compositing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you look at the long lens shot you'll also see that there's often a pretty shallow depth of field. This is often used by film makers, like Scorsese in &lt;a href=&quot;https://www.youtube.com/watch?v=FSfSACaxBbY&quot; rel=&quot;nofollow&quot;&gt;this clip from Taxi Driver&lt;/a&gt; to highlight the central character, by racking the focus to follow them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now a wide angle lens and a phone lens (for different reasons) have very deep depth of field. So you'll have to selectively blur the foreground and background. However if you do this without matching the geometry of a telephoto lens (the compressed perspective discussed earlier) it's going to look like it's actually &lt;a href=&quot;https://www.youtube.com/watch?v=Fk9EBOOAYiU&quot; rel=&quot;nofollow&quot;&gt;teeny-tiny&lt;/a&gt;, because it will look like another kind of lens with a shallow depth of field, a macro lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing that telephoto lenses do is magnify any camera movement, where small movements are magnified by the narrow field of view. You could fake this by reframing, using a wiggle expression to drive the movement, however it might not necessarily achieve the look you want: If you're shooting telephoto you're unlikely to hand-hold the camera because it would look awful, so you'd lock it down on a tripod - see the shutterstock and Scorsese examples.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So depending on what the subject of your video is, this could be quite a challenge. Of course if your phone has a 4K sensor, you could actually make a telephoto shot out of a wide by just cropping. Of course this reduces your resolution, so it will look pretty ugly on most phones, and obviously you have to compose the shot with all the action in the center.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2014-08-27T22:11:35.393" LastActivityDate="2014-08-27T22:11:35.393" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12465" PostTypeId="2" ParentId="12459" CreationDate="2014-08-25T15:25:42.270" Score="2" Body="&lt;p&gt;This is a complicated question that doesn't have an exact answer.  In general, yes, the quality will probably be lower but the higher frame rate is higher &quot;quality&quot; to begin with.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With video, you have to remember that temporal information is part of the quality.  If you double the frame rate, the quality of each individual frame will go down, but you will see twice as many of them and the impact of things like noise can average out amongst the frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, modern compression works by comparing one frame to neighboring frames.  When you increase the frame rate, the amount of change between frames is reduced, so the amount of data needed to store the change is also reduced, since less changes between frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Purely theoretically, what most matters in terms of quality is the amount of information being put in front of our eyes over time, so it may even be theoretically possible to make a higher frame rate version of a video that is higher overall quality at the same bitrate as a lower frame rate version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With a hypothetical perfect encoding and compression system, the rate of meaningful information presented to our hypothetical perfect eyes per second is what determines quality.  The problem is that such hypothetical don't exist.  Our eyes are unpredictably lossy in terms of what information they pay attention to over time, so in some cases higher frame rate provides a bigger boost in quality than others.  Similarly, compression and encoding isn't perfect either, so some types of content require more effort to encode and compress, with more overhead, and others produce more noise that is best accounted for through higher frame rates, while others may require lower frame rates but higher detail per frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Practically, the overhead of storing parts of the frame that can't compress easily generally overcome the advantages of the elevated frame rate resulting in a loss of quality when doubling frame rate without increasing bit rate, but it isn't anywhere near as significant of a quality loss as you would get if you cut the bitrate in half.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, the quality loss of the compressed version over the original is much higher for the higher frame rate, even if the relative quality between the lower and higher frame rate versions are much closer (since the lower frame rate video was much lower quality to begin with).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You only need to increase the bitrate enough to make up for the overhead lost by inefficiencies in the encoding and compression of the extra frame data.  As ProfessorSparkles pointed out, somewhere around 1/3 extra bitrate is probably a decent starting point for figuring out what you need to maintain subjective quality, but it will vary a lot based on the video content you are encoding and the codecs and data rates being used.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-08-25T15:36:46.313" LastActivityDate="2014-08-25T15:36:46.313" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12466" PostTypeId="2" ParentId="12462" CreationDate="2014-08-25T15:43:22.093" Score="0" Body="&lt;p&gt;My Maya is a bit rusty, but I know in SoftImage you can make a nested group and then animate or manipulate that group.  Things then animate as the sum total of the nested rotations and translations.  I'm pretty sure that Maya has a similar feature, but I haven't used it in about 10 years.  If you nest the animated camera in such a group, it should then just be a matter of moving that group to reposition the camera entirely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, you might also be able to try altering the anchor point position and orientation rather than the actual animated position parameters, though if you aren't careful this can throw off any rotations if you don't have independent anchor and center points or if there are any rotations around the anchor point output by the motion tracking.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-25T15:43:22.093" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12467" PostTypeId="2" ParentId="12461" CreationDate="2014-08-25T15:49:13.033" Score="0" Body="&lt;p&gt;When you shoot 4:3 on a DSLR, it simply crops off the edges for you at the time of filming so that you can save disk space by not capturing video that you are going to throw away.  There is no reason not to shoot in 16:9 and then crop in post.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shooting in 16:9 at the correct frame rate is the highest possible quality for your situation.  Adjusting frame rate in post results in a loss of quality if it isn't an exact multiple (and even then it can be argued it does due to the shutter speed used).  The one thing you have to keep in mind when shooting is where the edges will be when cropped though.  I recommend using the center.  You can either measure it out and place board tape on the screen (like masking tape, but less residue) or you can use something like Magic Lantern to overlay guidelines for you to use while shooting.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-25T15:49:13.033" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12468" PostTypeId="1" CreationDate="2014-08-25T15:51:54.473" Score="1" ViewCount="829" Body="&lt;p&gt;I've got a composition with only a video that was recorded at 100 fps. Apparently 100 fps is to much for AE, but it deals just fine with 99, which is OK to me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/2oHQM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The composition was set with exactly the same settings as the video. But when I render this, even choosing &lt;code&gt;Best Settings&lt;/code&gt; or &lt;code&gt;Current Settings&lt;/code&gt;, both with base 99 (&lt;code&gt;Use comp's frame rate&lt;/code&gt; option) it outputs a 60 fps video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I didn't even set 60 anywhere else, I do not know from where it is coming. But the thing is, I need to output it as 100/99 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;And if you think, &quot;Why can't you just stay with the original video?&quot; Because this is just a test, and for now it is failing&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="5811" LastActivityDate="2014-08-26T21:40:58.933" Title="After Effects rendering a video at base 99, but outputs as a 60 one" Tags="|after-effects|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="12469" PostTypeId="2" ParentId="12457" CreationDate="2014-08-25T15:57:55.590" Score="1" Body="&lt;p&gt;Practically you can't do this.  The best you can probably do is make it more shaky and grainy.  You could also drop the resolution to make it look like it had been digitally zoomed in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason you can't practically do it is because of perspective.  When you shoot video from close up, the angle of view is much closer.  A small difference in distance to the camera results in a much larger change in size.  People's noses look bigger, their ears look further back, cheeks look puffier and shadows fall differently because you see different angles of the person's face than you would see from further away.  You can't really fake this, you can try by photoshoping every frame extensively, but this would be massively time consuming and the result would still be substantially lower quality than actually using a long lens to shoot from a distance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason the alternative suggestions work is that they bring to mind other triggers people have for language in video that suggests something was taken from far away.  Adding noise or dropping resolution additionally makes it harder to see the perspective issues that say it was shot from up close.  Shaking makes it feel like it was a long lens since smaller movements are noticeable when shooting from further away.  Noise and drop in resolution are typical of digital zooms, which people are also used to seeing.  It won't fool someone who knows what they are looking for, but it will communicate it as a plot device pretty clearly still.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-25T15:57:55.590" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12470" PostTypeId="1" CreationDate="2014-08-25T21:15:34.183" Score="0" ViewCount="108" Body="&lt;p&gt;The question is - which stops (ND 0.6, ND 0.9.....) are the most frequently used?&#xA;I am currently choosing Tiffen ones and since there are plenty of different stops to choose from and I have nearly no experience in using ND filters  - your suggestions would be highly apreciated&lt;/p&gt;&#xA;" OwnerUserId="6393" LastActivityDate="2014-08-26T13:56:23.243" Title="&quot;A Must have&quot; ND filter stops for filming with Canon 5D Mk2?" Tags="|dslr|filming|filter|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12471" PostTypeId="1" CreationDate="2014-08-25T22:20:33.380" Score="3" ViewCount="3372" Body="&lt;p&gt;I have 2 clips. One (from an iPhone) was accidentally shot with a vertical aspect ratio. I want to make a multi-camera sequence from them. Adobe Premiere CC is giving the multicam sequence a vertical aspect ratio (1080 width X 1920 height) instead of landscape.  If I rotate the vertical clip in the timeline so it's horizontal, the sequence is still vertical and the left and right edges of the clip get cut off. I tried a few other things with no luck. (Can't remember where I found them.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas how to rotate the multi-cam sequence and that clip?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Fn2AK.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5546" LastEditorUserId="5546" LastEditDate="2014-08-25T22:49:34.943" LastActivityDate="2014-08-26T14:02:47.283" Title="Premiere CC uses vertical aspect ratio in multi-camera shot" Tags="|aspect|premiere|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12472" PostTypeId="2" ParentId="12471" CreationDate="2014-08-25T23:02:40.260" Score="1" Body="&lt;p&gt;You will have to rotate and transcode these videos before making your multi cam sequence.&#xA;You can either do that by making a 1920x1080 standard sequence, inserting the video there and rotating it by -90° and export it, then re-import the newly encoded video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If for some reason Premiere doesn't play along or you happen to do this automated because you have hundreds of video files like that (not the case here but maybe in the future). You can also use &lt;a href=&quot;https://www.ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt; to rotate the video.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vcodec mjpeg -vf &quot;transpose=2&quot; output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Transcoding to mjpeg here to not loose that much quality. You can also use a lossless codec like JPEG2000 by using &lt;code&gt;-vcodec j2k&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Transpose takes these options:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;0 = 90° CounterCLockwise and Vertical Flip&#xA;1 = 90° Clockwise&#xA;2 = 90° CounterClockwise&#xA;3 = 90° Clockwise and Vertical Flip&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-08-25T23:02:40.260" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12473" PostTypeId="2" ParentId="12468" CreationDate="2014-08-25T23:12:01.970" Score="1" Body="&lt;p&gt;Since your source is in h264 I'm guessing you are encoding to mp4/h264 again?&#xA;The format doesn't support a frame rate of 99, you will have to use a less constrained video codec like mjpeg in an avi or mov container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whenever you are violating certain video or audio specs After Effects will tell you that in your export settings like shown here (see the little warning triangle in the left corner). AME doesn't do that for some reason but will show the adjusted settings in the source output info field.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/xr9on.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-08-26T21:40:58.933" LastActivityDate="2014-08-26T21:40:58.933" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12474" PostTypeId="2" ParentId="12471" CreationDate="2014-08-26T00:18:40.350" Score="2" Body="&lt;p&gt;I have to thank @ProfessorSparkles for getting me to this solution, which doesn't require saving and reimporting, or making a duplicate of the source footage.  Here are the steps:&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;1) I started with the 2 clips I'm using in the same bin.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Drag the landscape-oriented clip to the timeline.  That creates a sequence with landscape orientation in the bin.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Select the clip in the timeline and delete it.  (The sequence is still in the bin.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) Select both of the clips within the bin.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5) Right-click and select &quot;Create multi-camera source sequence....&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;6) In that dialog box, click &quot;OK&quot;.  Premiere will synch up the 2 clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;7) When I first did this, it asked me a question before creating the sequence.  It was something like, &quot;The settings on this sequence don't match the existing sequence.  Do you want to keep the source sequence settings?&quot;  CLICK NO.  That will make your new sequence match the settings (landscape orientation) of the existing sequence!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;8) You can then select the blank sequence you created a minute ago and &quot;Clear&quot; (delete) it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;9) Drag the new sequence to the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;10) Hold down Ctrl or Cmd and double-click on the new sequence in the timeline.  A new sequence will be created that shows each clip separately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;11) In that new sequence, select the clip with portrait orientation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;12) Go over to &quot;Effects Controls&quot;.  In &quot;Motion&quot;, rotate the clip either 90 degrees or 270 degrees.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;What a relief it was to figure that out!!!&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-08-26T00:18:40.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12476" PostTypeId="2" ParentId="12470" CreationDate="2014-08-26T13:56:23.243" Score="1" Body="&lt;p&gt;There is no &quot;most used&quot;.  You use whatever is appropriate for the exposure conditions you have and the desired aperture and shutter speed (and ISO, though turning down ISO is almost always better than using an ND filter if it is an option).  The more light you have, the more wide open the aperture and the slower the shutter speed, the heavier the weight of the ND filter you need.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-26T13:56:23.243" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12477" PostTypeId="2" ParentId="12471" CreationDate="2014-08-26T14:02:47.283" Score="0" Body="&lt;p&gt;I believe this should only require setting up a landscape sequence for the vertical clip and rotating it in to place.  I believe you can then use the sequence rather than the original clip as the multi-cam source in your final sequence.  I haven't specifically tried it this way before, but I often use nested sequences for this general type of problem.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-26T14:02:47.283" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12478" PostTypeId="2" ParentId="12462" CreationDate="2014-08-27T00:12:15.007" Score="2" Body="&lt;p&gt;Select your camera, locators (if exported), and anything else from Nuke. Group them all together with &lt;kbd&gt;ctrl+g&lt;/kbd&gt; and modify that group as a whole.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can scale uniformly (but not independent axes), rotate, and translate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Often one trick is to snap the pivot point of the group to a specific reference point (hold down &lt;kbd&gt;d&lt;/kbd&gt; and &lt;kbd&gt;v&lt;/kbd&gt; then drag to the reference point, and then snap the group to the corresponding point in your scene (just hold &lt;kbd&gt;v&lt;/kbd&gt; while dragging). Then rotate and scale to align the rest of the group.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When finished, you can simply unparent anything not animated with &lt;kbd&gt;shift+p&lt;/kbd&gt;, but animated objects like your camera will need to be baked:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To bake the camera, duplicate it, unparent it, then parent-constrain it to the camera (Animation menu &gt; Constrain &gt; Parent Constraint). Then bake the keyframes (Edit &gt; Keys &gt; Bake Simulation) and you can then delete the constraint and the original camera.&lt;/p&gt;&#xA;" OwnerUserId="6391" LastActivityDate="2014-08-27T00:12:15.007" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12479" PostTypeId="1" CreationDate="2014-08-27T00:18:15.523" Score="2" ViewCount="3001" Body="&lt;p&gt;I'm trying to convert a HEVC bit stream to MPEG-2 TS using ffmpeg. However I can't seem to perform the task without a wrapper such as mp4. Here is the command I was trying.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i hevcBitstream.hevc -vcodec copy -acodec copy -vbsf h264_mp4toannexb output_file.ts&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What seems to be the problem with this?.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="6298" LastActivityDate="2016-01-04T05:04:24.843" Title="HEVC binary to MPEG 2TS" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12480" PostTypeId="1" CreationDate="2014-08-27T07:47:36.403" Score="3" ViewCount="1591" Body="&lt;p&gt;I'm shooting in a small apartment and I have had a lot of trouble setting up a back light because the subject is directly against a wall.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking at kits like &lt;a href=&quot;http://www.cowboystudio.com/product_p/vl-9004s-b6.htm&quot; rel=&quot;nofollow&quot;&gt;this one&lt;/a&gt;, but I was surprised that what I assume is intended to be a back light is a softbox!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it normal to use a softbox for a back light? It seems like it would diffuse the light too much and it wouldn't work as a backlight. Additionally, wouldn't it leak light onto the wall behind the subject? (Maybe those concerns can be addressed with the use of &lt;a href=&quot;http://www.cowboyestudio.com/product_p/vl-9004s-b6-grid.htm&quot; rel=&quot;nofollow&quot;&gt;grids&lt;/a&gt;?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought for a back light you needed to get a spotlight to shine a narrow beam. Would a softbox like the one above work if hung directly above the subject who has their back one or two feet from the wall? Would it be better to get a reflector light like &lt;a href=&quot;http://www.cowboystudio.com/product_p/803-sboom-26w-ps04.htm&quot; rel=&quot;nofollow&quot;&gt;this one&lt;/a&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If a &lt;code&gt;reflector&lt;/code&gt; light is better, why do most of the kits include light boxes on the booms instead of reflector lights? &lt;/p&gt;&#xA;" OwnerUserId="6398" LastEditorUserId="6398" LastEditDate="2014-08-27T14:28:51.557" LastActivityDate="2014-08-27T15:21:22.467" Title="Is using a softbox as a back light a good idea when shooting indoors?" Tags="|lighting|webvideos|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12481" PostTypeId="1" CreationDate="2014-08-27T09:27:05.947" Score="1" ViewCount="5103" Body="&lt;p&gt;In order to practice video montage and Sony Vegas Pro 13 as a hobby, I sometimes record online videogames matches I play so I can edit them and show them to my friends via YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used an Adobe Premiere Pro CC &quot;YouTube template&quot; for rendering one 30 minutes video and it weighed about 500 MB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With Sony Vegas Pro 13, I used the Sony AVC template &quot;Internet 1280x720-30p&quot; and a 12 minutes video weighed 1 GB, which is really impressive to me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for a great 720p rendering option for YouTube on Sony Vegas Pro 13 in order to be able to upload it quickly (I have a pretty bad connection speed). If possible, less than 400 MB for a ~12 min video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think 30 frames per seconds is enough for the video I do, 25 FPS may even be enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would you use ?&lt;/p&gt;&#xA;" OwnerUserId="6399" LastActivityDate="2014-11-25T14:43:09.470" Title="Best Sony Vegas Pro 13 videogame footage rendering options for YouTube" Tags="|file-formats|vegas-pro|youtube|video-game|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12482" PostTypeId="2" ParentId="12481" CreationDate="2014-08-27T12:43:13.227" Score="1" Body="&lt;p&gt;Some considerations for coding H.264 videos for Youtube. I've created my own Sony Vegas rendering templates following those guidelines:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Bitrate&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtube recommends a bitrate of at least 5.000kbps for standard, and 30,000kbps for high quality 720p video. 400MB into 12 min corresponds to 4,000kbps, which is close to youtube's minimum recommendation. Select variable bitrate to get the best possible quality. You can play and lower the bitrate as long as the resulting quality is OK for you. But below around 2,000kbps you may want to consider switching to a lower resolution (e.g. 480p)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Framerate&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The framerate should match that of your footage. I would not recommend rendering a 30fps video into 25fps or something like that, as the resulting quality will be rather poor. But you can rather safely cut the framerate in half, converting 50fps into 25fps or 60fps into 30fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Interlacing&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Interlacing is recommended to be off for youtube (&quot;Field order: None (Progressive scan)&quot;), but if your footage is interlaced, I would stick with the same setting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Profile&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using H.264 codec, youtube recommends using high profile (which improves quality a bit, but increases rendering time). It's OK to switch to &quot;main&quot; if you want to have faster rendering times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Codec&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally - you have to decide whether to use Sony AVC or Main Concept AVC. I use Main Concept for no specific reasons. You can find some discussions about that topic here: &lt;a href=&quot;http://www.sonycreativesoftware.com/Forums/ShowMessage.asp?Forum=4&amp;amp;MessageID=886487&quot; rel=&quot;nofollow&quot;&gt;http://www.sonycreativesoftware.com/Forums/ShowMessage.asp?Forum=4&amp;amp;MessageID=886487&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What Youtube says:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here you can find Youtube's encoding recommendations:&#xA;&lt;a href=&quot;https://support.google.com/youtube/answer/1722171&quot; rel=&quot;nofollow&quot;&gt;https://support.google.com/youtube/answer/1722171&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2014-08-27T12:43:13.227" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12483" PostTypeId="2" ParentId="10346" CreationDate="2014-08-27T13:13:34.157" Score="7" Body="&lt;p&gt;Although I am not sure if stderr will really help here because of the way that ffmpeg does its reporting, I can recommend the following pattern.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use the &lt;code&gt;-progress [url]&lt;/code&gt; flag and parse it with the tool of your choice every 100ms or so. Here is something to get you started that (with a little tweaking) might do what you want:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;touch /tmp/ffmpeg.log&#xA;&#xA;ffmpeg -shortest -re -y -err_detect aggressive -i \ &#xA;rtmp://127.0.0.1/movies/my.stream timeout=10 -codec copy \&#xA;-map 0 -bsf:v h264_mp4toannexb,dump_extra -f segment \&#xA;-segment_time 60 -progress /tmp/ffmpeg.log /video/my.stream#%09d.ts &amp;amp;&#xA;&#xA;pid=$!&#xA;&#xA;while true&#xA;    do&#xA;         # you'll might have to change &quot;invalid&quot; &#xA;         # for whatever is being put into the progress log&#xA;         # just look at /tmp/ffmpeg.log to figure out what&#xA;         # grep should try to find &#xA;         error=$(grep -n &quot;invalid&quot; /tmp/ffmpeg.log)&#xA;&#xA;         # is the length of the error more than 0 / did grep find it???&#xA;         if (( ${#error} &amp;gt; 0 ))&#xA;             then&#xA;                 kill -9 $pid&#xA;                 ffmpeg -shortest -re -y -err_detect aggressive -i \ &#xA;                 rtmp://127.0.0.1/movies/my.stream timeout=10 -codec copy \&#xA;                 -map 0 -bsf:v h264_mp4toannexb,dump_extra -f segment \&#xA;                 -segment_time 60 -progress /tmp/ffmpeg.log /video/my.stream#%09d.ts &amp;amp;&#xA;             pid=$!&#xA;         else&#xA;             usleep 100&#xA;         fi&#xA;    done&#xA;exit 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6294" LastEditorUserId="6294" LastEditDate="2014-08-28T10:07:11.283" LastActivityDate="2014-08-28T10:07:11.283" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12484" PostTypeId="1" CreationDate="2014-08-27T14:16:16.007" Score="4" ViewCount="80717" Body="&lt;p&gt;I've made a 2 minute video on After Effects CC.&#xA;There is no option to save using depreciated formats.&#xA;Other answers suggest going to:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Edit -&amp;gt; Preferences -&amp;gt; output -&amp;gt; enable Show Deprecated Formats&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;however I can't see this checkbox and I assume it has been removed completely now!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All I am looking to do is upload to YouTube but the rendered AVI video is 20GB!&#xA;If I set composition resolution to half, and the output also to half the original size I can save it as 5GB but this will still take over 3/4 hours to upload on my connection.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What settings should I be using to get a decent quality video at a small size so I can upload to YouTube??  I don't need HD, but I would like it to be somewhat good quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am also not too familiar with some of the other formats, so I'm a bit lost atm.&lt;/p&gt;&#xA;" OwnerUserId="6400" OwnerDisplayName="Patrick Keane" LastActivityDate="2015-01-09T13:37:02.043" Title="Can not render After Effects CC project as mp4 / h.264 any more?" Tags="|cc-2014|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12485" PostTypeId="2" ParentId="12480" CreationDate="2014-08-27T14:27:42.120" Score="3" Body="&lt;p&gt;&lt;strong&gt;Is it normal to use a softbox for a back light?&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It can be sometimes. With two softbox lights, one can very nicely, evenly light a background show &lt;a href=&quot;https://www.youtube.com/watch?v=HeRQFFIgp24&amp;amp;list=UU8Pksdbj37CdE00kmE7Z1dw&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;. Note in the video that the subject is much farther than 2ft from the background. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Wouldn't it leak light onto the wall behind the subject?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, it would, but not because it's a softbox. Softboxes only cause less harsher shadows. The reason it would spill light all over your scene is because the light inside of the software box is not directional at all, but rather an open-face bulb. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Maybe those concerns can be addressed with the use of grids?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The purpose of a grid is to shape light and contain it. So, with that in mid, a fabric grid would help reduce spill onto your subject and wherever else you don't want it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Would a softbox like the one above work if hung directly above the subject who has their back one or two feet from the wall?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It really depends on what kind of look you're going for. What color are your walls? If they're white, the light will likely reflect off of the wall and bounce back onto your subject creating a rim light around them and illuminating the back wall. It won't illuminate it evenly (a single softbox light), however, and will likely have a gradient from light to dark, top to bottom. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;If a reflector light is better, why do most of the kits include light boxes on the booms instead of reflector lights?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nothing is better, per say. Light is highly dependent upon the situation. You as the videographer need to figure out which lights are best for your situation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to take a moment to say that when it comes to light, the whole motto &quot;buy once, cry once&quot; i.e. get good quality lights, rings true. The kit you linked, while I've never had experience with, will likely not last you very long and be a poor investment. You should consider purchasing used, well known name brands, or rent until you can afford real lights (if budget is a concern). Again, I don't know what kind of production you're running, but this is the advice that I've come across time and time again. A good starter set for interview style set ups, is this &lt;a href=&quot;http://www.bhphotovideo.com/c/product/285886-REG/Lowel_LCP_944LB_Rifa_eX_44_Pro.html&quot; rel=&quot;nofollow&quot;&gt;guy&lt;/a&gt;. Additionally, tungsten lights are cheap and render skin tones very nicely. Some brands to find used Tungsten lights are Arri and Mole-Richardson. Try to stay away from off-brand LED lights. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is only scratching the surface. &lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2014-08-27T14:27:42.120" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="12486" PostTypeId="2" ParentId="12480" CreationDate="2014-08-27T15:21:22.467" Score="1" Body="&lt;p&gt;It may be a backlight, or it may be an overhead light for use in getting the noir look.  Either way, use of a softbox is fine.  It would actually have a narrowing impact on the category of the light rather than a widening influence.  The light itself in that kit radiates light in all directions, the inside edges of the soft box bounce that light forward, it then hits the diffuser and gets transmitted through the material, resulting in a kind of virtual light source that has a much larger surface area with light that is more directed than the original light was (but less so than if the diffuser panel had been left off or than if a grid was used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on how you use it, it shouldn't leak light on to the wall behind the subject as it is going to primarily throw light forward in a wide arc, but it will block light from going behind it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could use a grid to focus the light in a particular direction, but then using the soft box wouldn't make sense.  The entire point of a soft box is to diffuse the light so that each point in the scene is hit from multiple angles and makes shadows softer.  A grid is designed to do the opposite and ensure that each point in a scene is hit by the minimum amount of light sources.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as if it would work directly overhead, it could work directly overhead for some shots, though either slightly in front or, more ideally in most cases, slightly behind is preferable.  This is simply because a lot of your light is going to come from your key and fill for the front and directly down light will interact with the key and fill lights in a way that often isn't desired (making the tops of facial features brighter and recessed features like eyes darker.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A backlight doesn't have to be focused, what is important is that the shadows that fall on the backs of people get light and that you have light reflecting off of slightly reflective surfaces like hair and such to give things more pop.  A highly direct light will make parts of this effect stronger, but you get different qualities with a softer light.  Neither is wrong, just depends on what you are looking for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reflector lights aren't better, they are just different.  A reflector is a lot like a softbox without the front panel and some nicer kits actually have a softbox where the diffusion panel can be removed.  This way you can get the best of both worlds in a single kit.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-27T15:21:22.467" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12487" PostTypeId="1" AcceptedAnswerId="12490" CreationDate="2014-08-27T17:58:45.223" Score="2" ViewCount="3040" Body="&lt;p&gt;I watched a video and downloaded with idm in 720p. I don't like the resolution and I decided to download 1080p. But I saw 720p is nearly 21 MB but 1080p is 10 MB. And I opened the video(1080p) I saw it is better than 720p. Why?&lt;/p&gt;&#xA;" OwnerUserId="6402" LastActivityDate="2014-08-27T21:25:50.023" Title="Youtube 720p video has more MB than 1080p" Tags="|youtube|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12488" PostTypeId="2" ParentId="12484" CreationDate="2014-08-27T20:48:01.280" Score="3" Body="&lt;p&gt;You can convert a local AVI to .h264 or any other available codec using a program like &lt;a href=&quot;https://handbrake.fr/downloads.php&quot; rel=&quot;nofollow&quot;&gt;Handbrake&lt;/a&gt; or &lt;a href=&quot;http://www.any-video-converter.com/download/&quot; rel=&quot;nofollow&quot;&gt;AVC&lt;/a&gt;, or if you're comfortable at the command line, straight &lt;a href=&quot;https://www.ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-08-27T20:48:01.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12489" PostTypeId="2" ParentId="12484" CreationDate="2014-08-27T20:57:30.540" Score="8" Body="&lt;p&gt;All Adobe video products are intended to target consumer formats through Adobe Media Encoder since CC 2014, After Effects has almost only intermediate formats now in its internal renderer (which is essentially the exact same thing as the one in AME).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead of clicking on &quot;Add to Render Queue&quot; you click on &quot;Add to Media Encoder Queue&quot; and in AME you will have all the formats you had before and even a few more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This has the advantage that you can continue working on your project while AME is rendering your composition. No need anymore for a background render plugin.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2015-01-09T13:37:02.043" LastActivityDate="2015-01-09T13:37:02.043" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12490" PostTypeId="2" ParentId="12487" CreationDate="2014-08-27T21:25:50.023" Score="1" Body="&lt;p&gt;I tried this with the video provided in the comment.&#xA;The reason why the 1080p video is smaller is because it has a lower bit-rate (327 vs. ~207 Kbps). In the case of this type of content its likely that the bit-rate for the 720p version is too high. Same for the audio the 1080p version has 96 Kbps and the 720p version has 144-155 Kbps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A possible reason why this is the case, is how YouTube handles 720p and 1080p video. Unlike the 720p stream the 1080p stream isn't truly constant in it's bit-rate. For 1080p YouTube uses a protocol called &quot;&lt;a href=&quot;http://en.wikipedia.org/wiki/Dynamic_Adaptive_Streaming_over_HTTP&quot; rel=&quot;nofollow&quot;&gt;DASH&lt;/a&gt;&quot; which adapts the bitrate of the video on the fly to meet the bandwidth constrains of the user which might change during streaming. You get lots of video bits from the server which might differ in bit-rate depending on your current connection. So if you download the same video on a very slow connection it will probably be even smaller.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this case it saved you bandwidth while having better quality, in other cases the 1080p video could actually look worse than the 720p video, though DASH is pretty smart so usually you will probably end up with a better looking 1080p.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-08-27T21:25:50.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12493" PostTypeId="1" CreationDate="2014-08-28T04:35:09.833" Score="1" ViewCount="296" Body="&lt;p&gt;In Final Cut Pro, I drag the fade handle at the beginning of an audio clip to fade in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I want the audio to fade in Starting at -20 and fade up to 0. I don't want it to start from 0.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do this?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;If it helps, what I'm trying to do is increase the level of an audio clip several minutes in to it. The clip is playing at -20db because there is narration speaking above the level of the audio. Once the narrator is finished speaking, I want the clip to fade from -20 to 0.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I thought I would use the blade tool, split it into 2 audio clips, and on the second put the fade from -20 to 0. If there's a better way, I'm all ears.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="6403" LastActivityDate="2014-10-27T16:49:02.180" Title="Final Cut- How to start audio fade from higher than 0db?" Tags="|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12495" PostTypeId="2" ParentId="12493" CreationDate="2014-08-28T15:45:05.583" Score="2" Body="&lt;p&gt;You need to use keyframes.  It's been a few versions since I used Final Cut, but they are generally represented by a little diamond indicator.  If you add a keyframe at the point you want the level to start increasing and another at the point where you want it to stop increasing, you can then adjust the value at the later point and the volume adjustment should automatically be performed over the time in-between the two keyframes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More information on audio keyframes in FCPX is available from Apple &lt;a href=&quot;http://support.apple.com/kb/PH12583&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-28T15:45:05.583" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12496" PostTypeId="1" AcceptedAnswerId="12499" CreationDate="2014-08-28T18:31:21.380" Score="6" ViewCount="11132" Body="&lt;p&gt;Has anyone done or seen any tests comparing Apple ProRes 422 with high-bitrate H.264?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We use 422 as a delivery format to go to DCP for theatrical versions of trailers.&#xA;The bitrate is around 150mbps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We are wondering if it is possible to reach adequate quality with H.264. Say, with bitrates of 50-100mbps, and tweaking the GOP size/structure. (E.g., only using &quot;I&quot; frames.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming H264 is a more &quot;efficient&quot; codec, we are hoping to get smaller file sizes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or does H.264 just not have the color depth to compete?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would be great to see if someone has done some real-world testing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update 1:&lt;/strong&gt; I just did a quick test using 50mbps, GOP size 1, I-frames only ... and &quot;by eye&quot; I see no difference whatsoever. Same level of noise, same colors. The ProRes is 1.92GB, the H264 is 566MB. How would one &quot;test&quot; the difference technically? Or measure the color information?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update 2:&lt;/strong&gt; I did some more testing ... with Adobe Media Encoder, using MPEG2, and the &quot;4:2:2&quot; profile, the ProRes file went from &lt;strong&gt;1,920MB to 290MB&lt;/strong&gt;! And I would say, subjectively, that is is 99% as good. This is remarkable. (With H264 I was down to 500-700MB)&lt;/p&gt;&#xA;" OwnerUserId="2022" LastEditorUserId="2836" LastEditDate="2014-08-29T14:21:26.017" LastActivityDate="2015-03-04T03:21:33.230" Title="Can H264 achieve &quot;equivalence&quot; with ProRes 422?" Tags="|codec|compression|prores|h.264|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12497" PostTypeId="1" CreationDate="2014-08-28T19:20:34.047" Score="0" ViewCount="26" Body="&lt;p&gt;Okay, there are two brands I want to use in my short film project:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First one is Ford Focus. The car will be shown explicitly but I can cover the logo with something. Is it okay to film your own car and talk about its model like this : &quot; Yea, its a Focus.&quot; ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And theres another relatively unknown cologne  of one known market . Can I use these without worrying?&lt;/p&gt;&#xA;" OwnerDisplayName="user6353" LastActivityDate="2014-08-28T19:27:31.713" Title="Can I use brand names in my short film?" Tags="|copyright|" AnswerCount="0" CommentCount="0" FavoriteCount="0" ClosedDate="2014-08-28T20:55:20.950" ContentLicense="CC BY-SA 3.0" />
  <row Id="12498" PostTypeId="2" ParentId="8351" CreationDate="2014-08-28T19:27:31.713" Score="0" Body="&lt;p&gt;No one here can (or if they can, should) give you legal advice, but as long as you're not disparaging the brand, or associating it with negative themes, there should be no issues. Try contacting the product placement rep at Ford or their ad agency -- you might be surprised.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-08-28T19:27:31.713" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12499" PostTypeId="2" ParentId="12496" CreationDate="2014-08-28T19:34:01.987" Score="6" Body="&lt;p&gt;Well going by the numbers h264 has a lesser bit-depth and color accuracy than ProRes 422. PR422 has 10bit and 4:2:2 chroma sub-sampling, h264 has 8bit and 4:2:0 unless you encode in the Hi422P Intra profile which isn't very well supported in the wild but offers 10bit and 4:2:2.&#xA;So in that case I don't think you will have any difference what so ever between the two formats but a better compression ratio than with ProRes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;E: If you want to go real ape shit you can also encode in the 4:4:4 Intra Profile, that supports up to 14 bit of color depth. So technically superior to ProRes4444. Though you probably wont find any commercial application that supports it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On another note, I don't think content delivery for cinema should be done in h264 nor ProRes 422 especially when you plan to encode to a lossless codec (JPEG2000/DCP) afterwards. It just doesn't make much sense to do so, all you loose is quality even though there is no need to do so, you only save space until you encode your DCP. There are other good lossless codecs, that offer very good compression, to use before encoding the DCP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could for example go directly to DCP, the Adobe Media Encoder offers export to 2k DCP since CC 2014, you can skip an encoding step and have a lossless codec with very good compression ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another great intermediate codec is &lt;a href=&quot;http://www.videohelp.com/tools/Ut-Video-Codec-Suite&quot; rel=&quot;nofollow&quot;&gt;UtVideo&lt;/a&gt; aswell as &lt;a href=&quot;http://diracvideo.org/schrodinger-faq/&quot; rel=&quot;nofollow&quot;&gt;Schrödinger&lt;/a&gt; (an implementation of the Dirac codec from BBC, its available through &lt;a href=&quot;https://www.ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the end though theory always differs from practice and if you don't deliver for nation wide cinemas with excellent projectors and what not, that quality difference in your delivery chain will be neglectable.&#xA;The only thing that could be pitfall is that h264 is very complex an by that always prone for some weird visual defects, so final inspection is always a necessity with h264.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2015-03-03T11:48:35.103" LastActivityDate="2015-03-03T11:48:35.103" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="12501" PostTypeId="2" ParentId="10463" CreationDate="2014-08-29T09:44:01.373" Score="2" Body="&lt;p&gt;The first thing I would try is to add &lt;code&gt;-force_key_frames&lt;/code&gt; to your original command, drop the preset and lower the &lt;code&gt;-crf&lt;/code&gt; value. The following example sets a key frame every second.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpg -i input.mov -c:v libx264 -profile main \&#xA;    -force_key_frames expr:gte(t,n_forced*1) \&#xA;    -crf 15 -pix_fmt yuv420p -an output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As a second resort I would use a series of png images (instead of mov) as the input and use a very low crf. This way you can really make sure that there is no banding in your input and the highest quality in the end material. If you can't directly render to png, then convert the original material.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# turn the original into pngs&#xA;ffmpeg -i input.mov -f image2 -threads 0 /tmp/%05d.png&#xA;&#xA;# turn the pngs back into mp4 (assuming 25 fps)&#xA;ffmpeg -ar 48000 -ac 2 -f s16le -i /dev/zero -r 25/1 -f image2 \&#xA;  -i /tmp/%05d.png -c:a libfdk_aac -c:v libx264 \ &#xA;  -profile main -vf &quot;fps=fps=25&quot; -force_key_frames expr:gte(t,n_forced*1) \&#xA;  -crf 10 -threads 0 -pix_fmt yuv420p output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ps. You should get in the habit of including a silent audio track for media device playback because of syncing issues.&lt;/p&gt;&#xA;" OwnerUserId="6294" LastActivityDate="2014-08-29T09:44:01.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12504" PostTypeId="1" AcceptedAnswerId="12506" CreationDate="2014-08-29T14:23:57.523" Score="3" ViewCount="1188" Body="&lt;p&gt;We're looking at using MPEG2 as an alternative to ProRes 422 for delivery &amp;amp; archiving.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are many options in there which are beyond my knowledge; I would like to understand them and maybe get even better results. Is there a guide to these terms?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Macroblock quantization&lt;/li&gt;&#xA;&lt;li&gt;VBV buffer size&lt;/li&gt;&#xA;&lt;li&gt;Noise Control (Sensitivity/Reduction)&lt;/li&gt;&#xA;&lt;li&gt;Write SDE&lt;/li&gt;&#xA;&lt;li&gt;Intra DC Precision (8/9/10 bits) &lt;/li&gt;&#xA;&lt;li&gt;Ignore Frame Interval&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2022" LastEditorUserId="2022" LastEditDate="2014-08-29T14:32:06.730" LastActivityDate="2014-08-29T15:02:49.117" Title="Optimizing MPEG2 Encoder in Adobe Media Encoder" Tags="|compression|mpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12505" PostTypeId="2" ParentId="12504" CreationDate="2014-08-29T14:34:40.167" Score="1" Body="&lt;p&gt;After some deep Googling, I did find explanations for a few of these options:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;MPEG macroblock quantization level&lt;/strong&gt;. Valid values are from 2 to 31. Low&#xA;  values of this variable mean higher quality and higher bitrate, so 2&#xA;  is the highest quality and 31 is the lowest quality.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;VBV buffer size&lt;/strong&gt; in units of 16k bits. The meaning of this parameter is&#xA;  confusing because it is used to help predict if the MPEG decoder might&#xA;  suffer buffer overflows or underflows. VBV buffer over/under flows are&#xA;  more commonly a problem when in CBR mode. If significant artifacts are&#xA;  present in the generated movie, try increasing this parameter.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;(&lt;a href=&quot;http://vis.lbl.gov/NERSC/Software/express/help6.2/help/relnotes/mpeg.htm&quot; rel=&quot;nofollow&quot;&gt;http://vis.lbl.gov/NERSC/Software/express/help6.2/help/relnotes/mpeg.htm&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Intra DC Precision&lt;/strong&gt;: the MPEG-1 DC value is mandatory quantized to a&#xA;  precision of 8 bits. MPEG-2 introduced 9, 10, and 11 bit precision set&#xA;  on a picture basis to increase the accuracy of the DC component, which&#xA;  by very nature, has the most significant contribution towards picture&#xA;  quality. Particularly useful at high bit rates to reduce&#xA;  posterization. Main and Simple Profiles are limited to 8, 9, or 10&#xA;  bits of precision.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.gadegast.de/frank/mpegfaq/mpe1736.html&quot; rel=&quot;nofollow&quot;&gt;http://www.gadegast.de/frank/mpegfaq/mpe1736.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;In MPEG-2 video, &lt;strong&gt;Intra DC Precision&lt;/strong&gt; indicates the number of bits for&#xA;  quantized DC coefficients of intra-coded blocks; it takes one of the&#xA;  values of 8, 9, 10, or 11 bits. The more bits are used, the more&#xA;  precise quantization is achieved.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://avs.kddilabs.jp/mpeg/mpcs/faqe.html&quot; rel=&quot;nofollow&quot;&gt;http://avs.kddilabs.jp/mpeg/mpcs/faqe.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2022" LastActivityDate="2014-08-29T14:34:40.167" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12506" PostTypeId="2" ParentId="12504" CreationDate="2014-08-29T15:02:49.117" Score="0" Body="&lt;p&gt;MPEG-2 works by compressing in two different ways.  Within a frame, it looks at groups of pixels (blocks) and compresses them based on patterns it finds within them.  This is kind of similar to how JPEG compression work.  the Macroblock quantization level describes how loosely the encoded block can represent the original block.  The lower the number, the higher the quality but the more data required to represent the block since less error is accepted when trying to compress.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VBV Buffer Size is the size of the buffer required in order to maintain a constant frame rate.  Each frame of video in MPEG-2 requires different amounts of data from other frames.  Assuming the stream arrives at a constant data rate, a certain amount of buffer is needed to ensure that data continues to arrive in time to present a frame since the rate of arrival may sometimes be lower than the rate of data being consumed.  This value allows the player to judge how much data it needs to buffer in order to avoid running out of information to display to the viewer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Noise Control is a means of trying to avoid encoding inefficiencies from noise present in the video.  MPEG-2 and other predictive encoding schemes rely on the fact that video tends to not change from frame to frame.  Noise, however, is random and not able to be predicted.  This is a significant problem for high efficiency compression since it can't be predicted.  Reducing the noise before encoding results in better compression rates as the video is more predictable, but also results in some loss of detail as it is not possible to distinguish between noise and fine detail in many cases.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Write SDE writes out information about the vertical and horizontal size of the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Intra DC Precision is the number of bits used (thus the accuracy) of the DC coefficients.  It also impacts how accurately blocks are quantized.  Higher values mean more precision is used, but also that higher data rates are required.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ignore Frame Interval I'm not 100% sure on for that encoder, but generally it allows the encoder to adjust the keyframe interval as it deems necessary.  It may use more or less data as needed, low motion video will likely benefit as the keyframes can be further spread out, however high motion video is more likely to suffer if the interval becomes too long.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-08-29T15:02:49.117" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12507" PostTypeId="2" ParentId="10801" CreationDate="2014-08-30T12:21:20.077" Score="3" Body="&lt;p&gt;I recently saw this page:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://hacks.mozilla.org/2014/08/building-interactive-html5-videos/&quot; rel=&quot;nofollow&quot;&gt;https://hacks.mozilla.org/2014/08/building-interactive-html5-videos/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically it uses the track element within the video element to make clickable &quot;skip points&quot; in the video. Javascript and html5 (with video) are pretty much amazing these days and with a little bit of experimentation I am sure you can get what you want. (Like on skip event pause the video if playing etc.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the relevant code from that page modded to your needs:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  &amp;lt;video width=&quot;480&quot; height=&quot;204&quot; poster=&quot;assets/sintel.jpg&quot;&amp;gt;&#xA;    &amp;lt;source src=&quot;q1fx20VZ-kNspJqnJ.mp4&quot; type=&quot;video/mp4&quot;&amp;gt;&#xA;    &amp;lt;source src=&quot;q1fx20VZ-27m5HpIu.webm&quot; type=&quot;video/webm&quot;&amp;gt;&#xA;    &amp;lt;track src=&quot;assets/chapters.vtt&quot; kind=&quot;chapters&quot; default&amp;gt;&#xA;  &amp;lt;/video&amp;gt;&#xA;&#xA;  &amp;lt;div id=&quot;bar&quot;&amp;gt;&amp;lt;/div&amp;gt;&#xA;&#xA;&#xA;&amp;lt;script type=&quot;text/javascript&quot;&amp;gt;&#xA;  var v = document.querySelector(&quot;video&quot;);&#xA;  var t = document.querySelector(&quot;track&quot;);&#xA;  var b = document.querySelector(&quot;#bar&quot;);&#xA;&#xA;  v.addEventListener('click',play,false);&#xA;  v.addEventListener('timeupdate',update,false);&#xA;  t.addEventListener('loaded',render,false); &#xA;  t.addEventListener('load',render,false);&#xA;&#xA;  function play() {&#xA;    if(v.paused) { v.play(); } else { v.pause(); }&#xA;  }&#xA;&#xA;  function update() {&#xA;    var p = v.currentTime/v.duration*100;&#xA;    b.style.background = &quot;linear-gradient(to right, #500 &quot;+p+&quot;%, #000 &quot;+p+&quot;%)&quot;;&#xA;  }&#xA;&#xA;  function render() {&#xA;    var c = v.textTracks[0].cues;&#xA;    for (var i=0; i&amp;lt;c.length; i++) {&#xA;      var s = document.createElement(&quot;span&quot;);&#xA;      s.innerHTML = c[i].text;&#xA;      s.setAttribute('data-start',c[i].startTime);&#xA;      s.style.width = ((c[i].endTime-c[i].startTime)/888*480-7)+'px';&#xA;      s.addEventListener(&quot;click&quot;,seek);&#xA;      b.appendChild(s);&#xA;    }&#xA;  }&#xA;&#xA;  function seek(e) {&#xA;    v.currentTime = this.getAttribute('data-start');&#xA;    if(!v.paused) { v.pause(); }&#xA;  }&#xA;&#xA;&amp;lt;/script&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The contents of the vtt file look like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;WEBVTT&#xA;&#xA;1&#xA;00:00:00.000 --&amp;gt; 00:01:42.000&#xA;Opening credits&#xA;&#xA;2&#xA;00:01:42.000 --&amp;gt; 00:04:44.000&#xA;A dangerous quest&#xA;&#xA;3&#xA;00:04:44.000 --&amp;gt; 00:05:50.000&#xA;The attack&#xA;&#xA;4&#xA;00:05:50.000 --&amp;gt; 00:08:24.000&#xA;In pursuit&#xA;&#xA;5&#xA;00:08:24.000 --&amp;gt; 00:10:13.000&#xA;Cave Fight&#xA;&#xA;6&#xA;00:10:13.000 --&amp;gt; 00:12:24.000&#xA;Eye to eye&#xA;&#xA;7&#xA;00:12:24.000 --&amp;gt; 00:14:48.000&#xA;Ending Credits&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6294" LastActivityDate="2014-08-30T12:21:20.077" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12508" PostTypeId="1" AcceptedAnswerId="12509" CreationDate="2014-08-30T13:28:58.650" Score="5" ViewCount="1700" Body="&lt;p&gt;I'm converting a Flash vector animation to an mp4 video for the web. After trying and failing with &lt;a href=&quot;https://www.google.com/doubleclick/studio/swiffy/&quot; rel=&quot;nofollow&quot;&gt;Swiffy&lt;/a&gt;, it's the only way I have of preserving the work &quot;for posterity&quot;, once Flash is gone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When exporting a FLA to MOV, the frame rate changes. For example, an 18 fps FLA comes out as 9.6 fps in the MOV (according to the QT player properties).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because the animation is jittery, I used Handbrake to export the MOVs as h.264, with framerates of 24, 30 and 60. They look smoother. (I was surprised the time-length of the video doesn't change, I thought at higher framerates it'd speed up). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, an mp4 produced like this has the following properties (according to the QT player):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Format: H.264, 550 x 250, millions, AAC, Mono, 48 kHz&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;FPS: 24.00&lt;/li&gt;&#xA;&lt;li&gt;File size: 7.41 MB&lt;/li&gt;&#xA;&lt;li&gt;Data rate: 202.25 kbit/sec&lt;/li&gt;&#xA;&lt;li&gt;Length: 00:05:07.09&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;My newbie question is: can anyway tell me, at a glance, whether those properties are within the normal range for a video that is meant to be served from a dedicated web server or CDN? &lt;/p&gt;&#xA;" OwnerUserId="6414" LastEditorUserId="6414" LastEditDate="2014-08-31T06:09:02.623" LastActivityDate="2014-08-31T06:09:02.623" Title="Are the properties (bitrate, fps) of my h.264 video OK for the web?" Tags="|mp4|framerate|webvideos|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12509" PostTypeId="2" ParentId="12508" CreationDate="2014-08-30T13:56:10.990" Score="3" Body="&lt;p&gt;Sure - it seems ok. However, it is also a good idea to offer other types of video for browsers that do not support mp4 / h264. The usual best practice involves supplying mp4, webm and ogg as containers. &lt;a href=&quot;http://www.html5rocks.com/en/tutorials/video/basics/&quot; rel=&quot;nofollow&quot;&gt;This site is a good reference.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A back of the napkin calculation:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1000 viewers / month @ 7.4 MB = 7.4 GB / Month.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which is probably within the acceptable range for a generic server, just make sure the traffic allowed by your server provider can deal with it...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming your server has a gigabit uplink (which is generally a bit more expensive), you could &quot;theoretically&quot; serve this video to 5000 users concurrently, however this won't work with normal apache servers - and it is probably a good idea to host the media files at amazon AWS (or whatever) if you are expecting that kind of traffic.&lt;/p&gt;&#xA;" OwnerUserId="6294" LastEditorUserId="6294" LastEditDate="2014-08-30T17:08:16.763" LastActivityDate="2014-08-30T17:08:16.763" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="12510" PostTypeId="1" AcceptedAnswerId="12515" CreationDate="2014-08-30T14:46:37.613" Score="1" ViewCount="6015" Body="&lt;p&gt;I was working with a library, arranged all my clips, audio, etc. and had a great 6 minute long video ready to go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I closed the library, I shut my computer off. After I rebooted, I went to reopen the library and all of the files are still part of the library, but all of the clip arranging and everything I did to it- the entire timeline- is gone!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's just completely blank as if all I did was drop files into the library and never started working on anything from within the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What happened!? Is there any way to view all of my timeline? That's like 12 hours worth of work!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="6403" LastActivityDate="2014-08-31T00:36:17.330" Title="Final Cut Pro- Reopen Library and Entire Timeline is Gone!" Tags="|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12511" PostTypeId="2" ParentId="12508" CreationDate="2014-08-30T14:58:19.003" Score="1" Body="&lt;p&gt;I would try and see if you can't reduce the bitrate a little more even, you have a very low resolution here so you might be able to improve it even further. Just take it to a point where you can say the quality is still satisfiable, size matters on the web.&#xA;Handbrake has a lot of options available to tweak the video size. The RF slider being the most straight forward one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also like denjello suggested, you may want to offer other formats aswell, preferably webm.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-08-30T14:58:19.003" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12512" PostTypeId="1" AcceptedAnswerId="12513" CreationDate="2014-08-29T20:38:15.597" Score="3" ViewCount="8602" Body="&lt;p&gt;I have a Nikon D3100. It has a built in flash.  Can I use it as a light when filming videos?&lt;/p&gt;&#xA;" OwnerUserId="6413" OwnerDisplayName="Lasha Kheladze" LastEditorUserId="4456" LastEditDate="2014-09-01T16:27:36.777" LastActivityDate="2014-09-02T19:19:18.980" Title="Using a Flash to Light Video" Tags="|dslr|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12513" PostTypeId="2" ParentId="12512" CreationDate="2014-08-29T20:50:50.513" Score="6" Body="&lt;p&gt;Generally speaking, it is not possible to use a camera flash as a light for video.  A true flash is a high intensity discharge bulb which produces a very short (1/100 second or shorter), very bright burst of light.  It is not designed to be used for constant light output and has insufficient power, durability or cooling to be able to operate as a continuous light source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some devices, most often smartphones, use LED light sources as a &quot;flash&quot; but actually are not flashes, simply constant output lamps that can be used for video or as a low brightness &quot;flash&quot; for still images.  This is very rare to see with a point and shoot or DSLR.  When it is included with DSLR flashes, it is typically as a separate, distinct light on the same unit, such as the video light built in the Canon's 320EX flash.&lt;/p&gt;&#xA;" OwnerUserId="2836" OwnerDisplayName="AJ Henderson" LastActivityDate="2014-08-29T20:50:50.513" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12514" PostTypeId="2" ParentId="12165" CreationDate="2014-08-31T00:09:50.173" Score="3" Body="&lt;p&gt;The original AppleTV could only playback at 1280x720 at 24fps. Because your video is at 25fps, it has to use a slightly lower resolution. If you either lower the frame rate (probably not an option) or exclude the original AppleTV, it should export at the higher resolution. I believe there's another setting than the &quot;Most Compatible&quot; one which excludes the older AppleTVs.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-08-31T00:09:50.173" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12515" PostTypeId="2" ParentId="12510" CreationDate="2014-08-31T00:26:12.507" Score="1" Body="&lt;p&gt;The timeline for which you are looking is actually called a &quot;Project&quot;.  Projects are stored within events, which are in turn stored within a library.  Just opening a library (from within the finder, for instance) will not necessarily open your project.  To do that, you need to twirl down the disclosure triangle next to your Library in the event manager, select the event upon which you were working, and then double click the Project name to load it in the timeline.  Also, make sure that you are connected to any drives or network storage locations that you might have stored media to when you created the project.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2014-08-31T00:36:17.330" LastActivityDate="2014-08-31T00:36:17.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12516" PostTypeId="2" ParentId="12439" CreationDate="2014-08-31T03:25:12.797" Score="-1" Body="&lt;p&gt;After a bit of googling for 'paywall upstream' I came across this link. &lt;a href=&quot;http://publisher.tinypass.com/guide/archives/tipstrick/any-ovp&quot; rel=&quot;nofollow&quot;&gt;http://publisher.tinypass.com/guide/archives/tipstrick/any-ovp&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;it might work for you&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a company that provides a paywall service for streaming&lt;/p&gt;&#xA;" OwnerUserId="5671" LastEditorUserId="5671" LastEditDate="2014-09-09T05:06:33.103" LastActivityDate="2014-09-09T05:06:33.103" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12517" PostTypeId="1" AcceptedAnswerId="12518" CreationDate="2014-09-01T06:49:57.017" Score="2" ViewCount="208" Body="&lt;p&gt;I'm trying to figure out what is more important - the screen resolution or the source resolution?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OK, so a Full HD 1080p file might be able to be played on a small &lt;a href=&quot;http://www.gsmarena.com/htc_one_mini_2-6345.php&quot; rel=&quot;nofollow&quot;&gt;HTC One mini&lt;/a&gt; screen, but due the the screen only being HD (1280 x 720) is there any scaling back? Or is there no scaling back and it plays the normal file but can only actually see the 1280 x 720 resolution? (I guess it also depends on the playback application...?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On a screen that size, can anyone actually tell the difference between a 1280 x 720 HD and a 1920 x 1080 Full HD movie?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Further to this, what's the difference between a screen resolution of 1280 x 720 on a 4.5&quot; screen than to a 50&quot; screen? The pixels are bigger on a 50&quot; screen so it looks 'worse' (Or pixels are smaller on a 4.5&quot; so it looks 'better')?&lt;/p&gt;&#xA;" OwnerUserId="6420" LastEditorUserId="6207" LastEditDate="2014-09-02T06:15:36.517" LastActivityDate="2014-09-02T13:46:02.967" Title="Does the screen resolution override the source resolution?" Tags="|full-hd|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12518" PostTypeId="2" ParentId="12517" CreationDate="2014-09-01T10:46:16.710" Score="1" Body="&lt;p&gt;If you're &lt;strong&gt;only&lt;/strong&gt; delivering to the HTC One mini, then yes, screen resolution overrides source resolution, as you put it.  Your assumptions are correct about 1080p video either having to be scaled or cropped to fit the display, and you're right, whether the source media is scaled or cropped does depend on the playback application.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a general rule, you should try to match your final output to the format upon which it will be viewed.  In your case, because the HTC One mini is only capable of displaying 1280x720 (roughly 900,000 pixels), there's no need to send it 1920*1080 (about 2 million pixels).  Doing so is certainly a waste of bandwidth, and arguably a waste of CPU cycles and battery life.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But to be clear, this advice only applies when you know the video will never be displayed on any other device.  If your final output is 1280x720, then anything with a better display will have to scale the image UP, making it blurry or blocky.  By limiting your resolution to the HTC One, you'll notice sub-optimal performance on HD-TVs, for instance, or perhaps next year's model phone.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;On a screen that size, can anyone actually tell the difference between&#xA;  a 1280 x 720 HD and a 1920 x 7080 Full HD movie?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Probably not.  It depends on the quality of the phone's onboard scaling vs the quality of whatever application you'd use to scale from 1920x1080 to 1280x720.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Further to this, what's the difference between a screen resolution of&#xA;  1280 x 720 on a 4.5&quot; screen than to a 50&quot; screen? The pixels are&#xA;  bigger on a 50&quot; screen so looks 'worse' (Or pixels are smaller on a&#xA;  4.5&quot; so it looks 'better')?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yes. If you have the same number of pixels on a bigger screen, the pixels themselves will just have to be bigger.  But you have to remember that a 50&quot; screen isn't meant to be viewed at arm's length like your phone.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2014-09-01T11:03:17.720" LastActivityDate="2014-09-01T11:03:17.720" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12519" PostTypeId="2" ParentId="12517" CreationDate="2014-09-01T16:43:10.110" Score="2" Body="&lt;p&gt;They both matter.  What really matters is the combination of the two.  Scaling always produces a loss of quality unless you are using an even multiple of the resolution.  This is because interpolation must occur during a scaling operation that isn't an even multiple or divisor of the original resolution.  This is due to the fact that some pixels must contribute to two different new pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, it is even more complicated when deciding what to shoot with for your camera if it is coming from a camera.  The actual imaging sensor has a native resolution itself and will internally apply scaling to fit to whatever size you need.  In some cases, like DSLRs, all formats actually end up getting scaling applied since the actual sensor is much higher quality, but that also means the down-scaling can be more accurate if implemented properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you know that you will only ever use output in a given resolution, start with that resolution as early as possible to make use of any source side optimizations that may exist rather than going to an unnecessary intermediate format that will only be scaled again (resulting in another interpolation).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are targeting multiple output formats, then use whatever the highest quality format you can is (even if it exceeds the maximum format you intend to output) since the more information you have, the more accurately you can downscale later.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The exception to this would be if the majority of your usage will be on the highest quality format that you will be distributing, then go ahead and use that quality for source since you will gain a little quality at that level at a cost of a little quality on the lower end videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the side question about screen size, yes, it can make a difference, but angle of view is what matters.  A 50 foot screen two miles away is still going to have less visible resolution than a similar pixel count screen that is 4 inches across and 3 inches in front of your face.  I touch on this in a little more detail in &lt;a href=&quot;https://video.stackexchange.com/questions/8603/dslr-raw-video-1080p-or-720p/8607#8607&quot;&gt;this answer&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-09-02T13:46:02.967" LastActivityDate="2014-09-02T13:46:02.967" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12520" PostTypeId="1" AcceptedAnswerId="12522" CreationDate="2014-09-01T17:48:17.080" Score="1" ViewCount="2147" Body="&lt;p&gt;I try to create video with &lt;a href=&quot;http://code.google.com/p/gource/wiki/Videos&quot; rel=&quot;nofollow&quot;&gt;gource&lt;/a&gt;. I succeed with the following command line:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;gource $LOG_FILE --log-format custom --stop-at-end --caption-file ${FILENAME}_captions.log --caption-duration 3 --title $TITLE --seconds-per-day 0.7 --auto-skip-seconds 1 --date-format\&#xA; &quot;%d/%m/%y&quot; --hide &quot;mouse,progress&quot; --user-scale 0.6 --caption-size 20 -1380x950 -o - | ffmpeg -y -r 60 -f image2pipe -vcodec ppm -i - -vcodec libx264 -preset ultrafast -pix_fmt yuv420\&#xA;p -crf 1 -threads 4 -bf 0 $FILENAME.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But the video are too big, 9Go for 4 min. How can I reduce the size with ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Fedora.&lt;/p&gt;&#xA;" OwnerUserId="6421" LastActivityDate="2014-09-02T01:53:27.130" Title="gource and ffmpeg reduce video size" Tags="|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12521" PostTypeId="2" ParentId="12520" CreationDate="2014-09-01T18:22:11.373" Score="3" Body="&lt;p&gt;You specify a preset and a quality value at the same time and by that overriding the preset.&#xA;I would also recommend you don't encode with ffmpeg while capturing as this would be pretty slow on most PCs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &quot;error&quot; in your ffmpeg commandline is the option &lt;code&gt;-crf 1&lt;/code&gt;. &lt;code&gt;CRF&lt;/code&gt; is a quality setting of x264 and the lower the value the higher the bitrate of the video will be. Setting it to &lt;code&gt;1&lt;/code&gt; will make the video pretty much lossless. Just leave that command out and maybe use a preset like &lt;code&gt;medium&lt;/code&gt; or &lt;code&gt;slow&lt;/code&gt; and not &lt;code&gt;ultrafast&lt;/code&gt; like you have right now to get a decent quality.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-09-02T01:53:27.130" LastActivityDate="2014-09-02T01:53:27.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12522" PostTypeId="2" ParentId="12520" CreationDate="2014-09-02T01:50:30.483" Score="6" Body="&lt;h1&gt;&lt;code&gt;-preset&lt;/code&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Use the slowest preset that is fast enough that it does not drop frames. You can see if &lt;code&gt;ffmpeg&lt;/code&gt; is dropping frames in the console output (if I recall correctly). Presets are: ultrafast, superfast, veryfast, faster, fast, medium, slow, slower, veryslow.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;&lt;code&gt;-crf&lt;/code&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Use the highest &lt;code&gt;-crf&lt;/code&gt; value that still provides an acceptable quality level. Range is 0-51. 0 is lossless, 18 is generally considered to be visually lossless or nearly so, 23 is default, and 51 is worst quality. Using a value of 1 will likely result in a huge file.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Also see:&lt;/h3&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot;&gt;FFmpeg H.264 Video Encoding Guide&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2014-09-02T01:50:30.483" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12523" PostTypeId="1" CreationDate="2014-09-02T08:17:25.957" Score="1" ViewCount="2366" Body="&lt;p&gt;According to the documentation for libx264 (h264) encoding, we can use a preset of veryfast, faster, fast, medium, slow, etc.&#xA;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/H.264&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;...for constant quality encoding, you will simply save bitrate by&#xA;  choosing a slower preset.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So while using constant quality, a slower preset doesn't have any affect on video quality, but it can compress the file size smaller.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This theoretically means it should be possible to take a video compressed with preset &quot;veryfast&quot;, and recompress it with &quot;slow&quot;- resulting in a smaller file with no loss of video quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone ever done this or know how it can be done?&lt;/p&gt;&#xA;" OwnerUserId="6105" LastActivityDate="2014-09-03T13:50:49.277" Title="ffmpeg re-encode libx264 without quailty loss?" Tags="|ffmpeg|encoding|libx264|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12524" PostTypeId="2" ParentId="12523" CreationDate="2014-09-02T13:38:35.500" Score="1" Body="&lt;p&gt;You have a misunderstanding of how compression works.  In all but a few specialized types of lossy compression, when you compress something a second time, even in a much higher quality level than previous encodings, you still lose additional quality.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using a slower encoding from the same original source with constant quality will often produce a smaller file of similar quality, but if you encode the already compressed version over again, you will still always end up with a lower quality video due to second generation quality losses from compressing twice.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-02T13:38:35.500" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12525" PostTypeId="1" AcceptedAnswerId="12530" CreationDate="2014-09-02T14:10:14.413" Score="2" ViewCount="736" Body="&lt;p&gt;I've been scouring google to see if it's possible to record gameplay audio for consoles as well as live commentary from a microphone or headset. Most of what I come across, from either forums or product FAQs say that it's possible to do one but not both. On PCs, it's easy, but on consoles you can only do one. Or so I'm told.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I see quite a few videos on Youtube from consoles with both game audio and live commentary. So it must be possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone tell me how how it's possible to do both on a console? I know nothing about video editing and production so I'm curious what devices and programs are needed to accomplish this. Also, is it possible to record the console audio and live commentary as two separate tracks?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you for your time! I appreciate any help.&lt;/p&gt;&#xA;" OwnerUserId="6425" LastActivityDate="2014-09-02T18:05:37.307" Title="Console Audio and Commentary Capture - Is it possible to capture both?" Tags="|video-game|video-capture|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12526" PostTypeId="1" AcceptedAnswerId="12531" CreationDate="2014-09-02T14:10:20.363" Score="6" ViewCount="27879" Body="&lt;p&gt;Pretty new to after effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering if anyone could tell me how to scale an image contained inside a mask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similar to photoshop. In Photoshop you create a mask and if you want to scale the image you simply unlink the mask and scale your image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can this be done in after effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what I have going on.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video playing in background&lt;/li&gt;&#xA;&lt;li&gt;Created a new image layer in the bottom right position of the video to show a more in-depth example of what the person in the video is talking about.&lt;/li&gt;&#xA;&lt;li&gt;Want to add a scale effect to the image layer contained in the mask&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;When I try and scale the image it scales the mask. I only want the image to scale inside the mask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="6424" LastActivityDate="2014-09-02T19:06:27.133" Title="scale an image inside a mask" Tags="|after-effects|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12527" PostTypeId="2" ParentId="8061" CreationDate="2014-09-02T14:14:24.967" Score="1" Body="&lt;p&gt;This is a &quot;very&quot; old question, but there is a pretty &lt;strong&gt;simple&lt;/strong&gt; method to do this (and something that comes up surprisingly often). So if you landed here, I do hope you find this solution helpful. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Change the individual slides to pdf.&lt;/li&gt;&#xA;&lt;li&gt;Turn the pdf to jpg&lt;/li&gt;&#xA;&lt;li&gt;Turn the jpg's into a film.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;To do this I have used unoconv, ghostscript, graphicsmagick and ffmpeg. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First: Update your system.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; sudo apt-get update&#xA; sudo apt-get install unoconv gs graphicsmagick&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Because ffmpeg is pretty complicated for beginners to install correctly, there is a page here that shows you:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/CompilationGuide/Ubuntu&quot; rel=&quot;nofollow&quot;&gt;https://trac.ffmpeg.org/wiki/CompilationGuide/Ubuntu&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then the following console command will change the ppt into a pdf:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; unoconv -f pdf presentation.ppt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The following command will turn the pdf into a series of images:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; pageNum=$(gs -q -dNODISPLAY -c &quot;(presentation.pdf) (r) file runpdfbegin pdfpagecount = quit&quot;); gs -q -dNOPAUSE -dBATCH -sDEVICE=jpeg -dFirstPage=1 -dLastPage=$pageNum -sOutputFile=%09d.jpg -dJPEGQ=90 -r90 presentation.pdf -c quit  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And finally turn the images into a video where every frame is 15 seconds long.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -ar 48000 -ac 2 -f s16le -i /dev/zero -r 1/15 -f image2 -i %09d.jpg -c:a libfdk_aac -c:v libx264 -vf &quot;fps=fps=25&quot; -shortest presentation.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Of course if you are smart (and need to do this often) you'd turn it into a bash script. Good luck.&lt;/p&gt;&#xA;" OwnerUserId="6294" LastEditorUserId="6294" LastEditDate="2014-09-02T18:54:23.390" LastActivityDate="2014-09-02T18:54:23.390" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12529" PostTypeId="2" ParentId="12525" CreationDate="2014-09-02T15:55:40.783" Score="1" Body="&lt;p&gt;There are numerous ways to handle this and none are particularly difficult, though some are mildly technical.  The most direct is through use of a mixer or a capture device with multiple audio inputs.  Most input devices only take a single stereo audio stream to go with the video input, so without buying a specialized capture device, the most promising way to do it live is with a mixer.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To use a mixer, you would branch off the audio from the video, feed the audio from the console in to the mixer while also feeding a microphone in to the mixer for commentary.  The output of the mixer (most likely a tape out) would then go to the audio input for the capture device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mixers add a decent amount of cost in most cases though, so if you want to avoid that, the easiest way is to dub after the fact.  You can record the video from the console directly and then record a separate audio track once you have the video edited however you want it.  The nice things about this approach is that it has no additional cost, allows you to fine tune your commentary to your final video, and allows you to substitute different commentary tracks over the same gameplay footage.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-02T15:55:40.783" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12530" PostTypeId="2" ParentId="12525" CreationDate="2014-09-02T18:05:37.307" Score="1" Body="&lt;p&gt;As I understand it you want to record and not stream your gameplay live via twitch or other live streaming services?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In that case you just record your game video and audio with your desired method (f.e. a PC capture card) and then you just record you voice at the same time with your PC/Laptop/Smartphones microphone input. When you are done recording you just sync your commentary audio file with your game footage later on using a video editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something that could help to sync game footage and commentary would be to record a small bit of the game audio with your microphone over your speakers before starting your commentary, then you can easily sync your commentary by alligning it with the game audio manually. Thats how you usually sync multiple audio sources the cheap way when filming, another method would be to use a mixer like AJ Henderson suggested which will keep everything in sync for you but also costs money.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Popular video editors are Adobe Premiere and Apple Final Cut. A good free editor would be Lightworks.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-09-02T18:05:37.307" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12531" PostTypeId="2" ParentId="12526" CreationDate="2014-09-02T18:20:09.043" Score="3" Body="&lt;p&gt;After some serious Google time I found a solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the &lt;a href=&quot;http://forums.creativecow.net/thread/2/931763&quot; rel=&quot;nofollow&quot;&gt;link&lt;/a&gt;, but just in case is gets removed this is what they said to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You want to use a track matte.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Create a mask on a solid layer that lies on top of the layer you want to cut out. Then click on the TrkMatte dropdown menu on your footage layer, select Alpha Matte.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the layer order for you:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Masked solid&lt;/li&gt;&#xA;&lt;li&gt;Your footage / image - Apply Track matte and apply Alpha Matte&lt;/li&gt;&#xA;&lt;li&gt;Background (if used)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Now you can move your footage layer around and the mask won't move. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This worked like a charm.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If anyone has any better solutions, please let me know.&lt;/p&gt;&#xA;" OwnerUserId="6424" LastActivityDate="2014-09-02T18:20:09.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12532" PostTypeId="2" ParentId="12526" CreationDate="2014-09-02T18:29:59.237" Score="2" Body="&lt;p&gt;What you can do if you don't want to animate your layer unlinked from your mask (in that case use a track matte like you found out already), is to create a quick dummy layer like a solid, cut the mask(s) from your source layer and paste it to the dummy, scale the source layer and paste back the masks, they will keep their global position and scale throughout this process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Track mattes are nice but they can clutter your composition quite a bit if you have a lot layers with masks and don't need the mask to be independent of your layer or actually don't even want them to be independent and just want to adjust the scales once.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-09-02T18:29:59.237" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12533" PostTypeId="1" AcceptedAnswerId="12534" CreationDate="2014-09-02T18:32:40.063" Score="1" ViewCount="1434" Body="&lt;p&gt;I would like to grab images from multiple cameras under linux. I followed &lt;a href=&quot;http://linuxtv.org/downloads/presentations/summit_jun_2010/20100206-fosdem.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;this presentation&lt;/a&gt; used the code and enhanced it for my purpose. It works very well for 1 camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ORkXX.png&quot; alt=&quot;Saved image from the carema using v4l2 and libpng&quot;&gt;&#xA;Once I begin to grab images from multiple cameras (successively) I get corrupt images.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/u4DCQ.png&quot; alt=&quot;Corrupt image when grabbing picture from multiple cameras&quot;&gt;&#xA;The more cameras I sue the more artefacts/stripes in the images appear. It does not make any difference if I save the images as BMP using another code. So I assume the problem has nothing to do with the storing routine. The resolution is also right (744 * 480).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The result is the same on two different computers running Fedora and Debian. I am absolutely baffled and can not find any clue what is going wrong. Could me please someone give some hints ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my code&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;int main()&#xA;{&#xA;    /* #################### INIT #################### */&#xA;&#xA;    int numOfCameras = 1;&#xA;    int xRes = 744;&#xA;    int yRes = 480;&#xA;    int exposure = 2000;&#xA;    unsigned int timeBetweenSnapshots = 2; // in sec&#xA;    char fileName[sizeof &quot;./output/image 000 from camera 0.PNG&quot;];&#xA;&#xA;    static const char *devices[] = { &quot;/dev/video0&quot;, &quot;/dev/video1&quot;, &quot;/dev/video2&quot;, &quot;/dev/video3&quot;, &quot;/dev/video4&quot;, &quot;/dev/video5&quot;, &quot;/dev/video6&quot;, &quot;/dev/video7&quot; };&#xA;&#xA;    struct v4l2_capability cap[8];&#xA;    struct v4l2_control control[8];&#xA;    struct v4l2_format format[8];&#xA;    struct v4l2_requestbuffers req[8];&#xA;    struct v4l2_buffer buffer[8];&#xA;&#xA;    int type = V4L2_BUF_TYPE_VIDEO_CAPTURE; // had to declare the type here because of the loop&#xA;&#xA;    unsigned int i;&#xA;    unsigned int j;&#xA;    unsigned int k;&#xA;&#xA;    int fd[8];&#xA;    void **mem[8];&#xA;&#xA;    /* #################### OPEN DEVICE #################### */&#xA;&#xA;    for (j = 0; j &amp;lt; numOfCameras; ++j) {&#xA;&#xA;        fd[j] = open(devices[j], O_RDWR);&#xA;        ioctl(fd[j], VIDIOC_QUERYCAP, &amp;amp;cap[j]);&#xA;&#xA;&#xA;        /* #################### CAM CONTROLL #################### */&#xA;&#xA;        control[j].id = V4L2_CID_EXPOSURE_AUTO;&#xA;        control[j].value = V4L2_EXPOSURE_SHUTTER_PRIORITY;&#xA;        ioctl(fd[j], VIDIOC_S_CTRL, &amp;amp;control[j]);&#xA;&#xA;        control[j].id = V4L2_CID_EXPOSURE_ABSOLUTE;&#xA;        control[j].value = exposure;&#xA;        ioctl(fd[j], VIDIOC_S_CTRL, &amp;amp;control[j]);&#xA;&#xA;        /* #################### FORMAT #################### */&#xA;&#xA;        ioctl(fd[j], VIDIOC_G_FMT, &amp;amp;format[j]);&#xA;        format[j].type = V4L2_BUF_TYPE_VIDEO_CAPTURE;&#xA;        format[j].fmt.pix.width = xRes;&#xA;        format[j].fmt.pix.height = yRes;&#xA;        //format.fmt.pix.pixelformat = V4L2_PIX_FMT_YUYV;&#xA;        format[j].fmt.pix.pixelformat = V4L2_PIX_FMT_GREY;&#xA;        ioctl(fd[j], VIDIOC_S_FMT, &amp;amp;format[j]);&#xA;&#xA;        /* #################### REQ BUF #################### */&#xA;&#xA;        req[j].type = V4L2_BUF_TYPE_VIDEO_CAPTURE;&#xA;        req[j].count = 4;&#xA;        req[j].memory = V4L2_MEMORY_MMAP;&#xA;        ioctl(fd[j], VIDIOC_REQBUFS, &amp;amp;req[j]);&#xA;        mem[j] = malloc(req[j].count * sizeof(*mem));&#xA;&#xA;        /* #################### MMAP #################### */&#xA;&#xA;        for (i = 0; i &amp;lt; req[j].count; ++i) {&#xA;            buffer[j].type = V4L2_BUF_TYPE_VIDEO_CAPTURE;&#xA;            buffer[j].memory = V4L2_MEMORY_MMAP;&#xA;            buffer[j].index = i;&#xA;            ioctl(fd[j], VIDIOC_QUERYBUF, &amp;amp;buffer[j]);&#xA;            mem[j][i] = mmap(0, buffer[j].length,&#xA;                    PROT_READ|PROT_WRITE,&#xA;                    MAP_SHARED, fd[j], buffer[j].m.offset);&#xA;        }&#xA;&#xA;        /* #################### CREATE QUEUE #################### */&#xA;&#xA;        for (i = 0; i &amp;lt; req[j].count; ++i) {&#xA;            buffer[j].type = V4L2_BUF_TYPE_VIDEO_CAPTURE;&#xA;            buffer[j].memory = V4L2_MEMORY_MMAP;&#xA;            buffer[j].index = i;&#xA;            ioctl(fd[j], VIDIOC_QBUF, &amp;amp;buffer[j]);&#xA;        }&#xA;&#xA;    } /* ### ### end of camera init ### ### */&#xA;&#xA;    /* ##################### STREAM ON #################### */&#xA;    for (j = 0; j &amp;lt; numOfCameras; ++j) {&#xA;&#xA;        ioctl(fd[j], VIDIOC_STREAMON, &amp;amp;type);&#xA;    }&#xA;&#xA;&#xA;    /* ##################### GET FRAME ##################### */&#xA;&#xA;    k = 0;&#xA;    while (!kbhit()){&#xA;        k ++;&#xA;&#xA;        for (j = 0; j &amp;lt; numOfCameras; j++) {&#xA;&#xA;            buffer[j].type = V4L2_BUF_TYPE_VIDEO_CAPTURE;&#xA;            buffer[j].memory = V4L2_MEMORY_MMAP;&#xA;            usleep(100000);&#xA;            ioctl(fd[j], VIDIOC_DQBUF, &amp;amp;buffer[j]);&#xA;&#xA;            // create filename&#xA;            sprintf(fileName, &quot;./output/image %03d from camera %d.PNG&quot;, k, j);&#xA;            // save as PNG file&#xA;            saveToPng(mem[j][buffer[j].index], fileName, xRes, yRes);&#xA;&#xA;            ioctl(fd[j], VIDIOC_QBUF, &amp;amp;buffer[j]);&#xA;&#xA;            sleep(timeBetweenSnapshots);&#xA;        }&#xA;    }&#xA;&#xA;    /* ##################### STREAM OFF ##################### */&#xA;    for (j = 0; j &amp;lt; numOfCameras; ++j) {&#xA;&#xA;        ioctl(fd[j], VIDIOC_STREAMOFF, &amp;amp;type);&#xA;    }&#xA;&#xA;    /* ##################### CLEANUP ##################### */&#xA;&#xA;    for (j = 0; j &amp;lt; numOfCameras; ++j) {&#xA;&#xA;        close(fd[j]);&#xA;        free(mem[j]);&#xA;    }&#xA;&#xA;    return (0);&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6426" LastEditorUserId="6685" LastEditDate="2015-02-01T21:17:58.583" LastActivityDate="2016-07-01T15:31:47.157" Title="Corrupt images, when capturing from multiple cameras using the V4L2 API" Tags="|video|capturing|video-capture|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12534" PostTypeId="2" ParentId="12533" CreationDate="2014-09-02T18:41:32.383" Score="1" Body="&lt;p&gt;Your issue is probably that you don't have enough USB bandwidth available, if your webcams support it switch to MJPEG instead of uncompressed frames. Usually any webcam supports MJPEG encoding to deliver frames to your PC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here a similar question on SO &lt;a href=&quot;https://stackoverflow.com/questions/9781770/capturing-multiple-webcams-uvcvideo-with-opencv-on-linux&quot;&gt;https://stackoverflow.com/questions/9781770/capturing-multiple-webcams-uvcvideo-with-opencv-on-linux&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="-1" LastEditDate="2017-05-23T11:33:38.633" LastActivityDate="2014-09-02T18:41:32.383" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12535" PostTypeId="2" ParentId="12526" CreationDate="2014-09-02T19:06:27.133" Score="2" Body="&lt;p&gt;You could also pre-comp the second smaller layer, then apply the scale inside the comp.&#xA;Getting the timing on the keyframes would be harder, as you'd be inside another timeline, but if you position your time cursor at the point where you want to begin the scaling, then double click into the &quot;inner&quot; comp, the second timeline cursor will be in the right place.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-09-02T19:06:27.133" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12536" PostTypeId="2" ParentId="12512" CreationDate="2014-09-02T19:19:18.980" Score="0" Body="&lt;p&gt;As mentioned above, no. The bulb and circuitry is not set up for it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are looking for a cheap solution to home video lighting, go to a hardware store and buy a set of Double Halogen Work Lights With stand. It will run you like $40 and is just as good as any fancy video light for basic stuff. &lt;/p&gt;&#xA;" OwnerUserId="6233" LastActivityDate="2014-09-02T19:19:18.980" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12537" PostTypeId="2" ParentId="12084" CreationDate="2014-09-02T19:24:31.480" Score="1" Body="&lt;p&gt;What you can always do is intercept the signal before it goes into the camera. Buy a small mixer, plug the mic into it and use the headphone out of the mixer to monitor the mic. Then take the master stereo out of the mixer and run it into your camera. You should get on the camera what you hear on the phones. You may want one of the HDMI audio extractors to confirm it but once its been confirmed you can use the mixer as you wish. &lt;/p&gt;&#xA;" OwnerUserId="6233" LastActivityDate="2014-09-02T19:24:31.480" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12538" PostTypeId="1" CreationDate="2014-09-03T05:10:13.837" Score="2" ViewCount="1277" Body="&lt;p&gt;I am starting an art project that requires to create a program (running on my computer) that can be able to distort the image of the video projected according to the sound/noise that a mic captures live.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The distortion is supposed to respond to the duration and intensity of the sound, and I'm not looking for glitch art, I'm looking for a smoother distortion (but my biggest concern is not the way the distortion looks but the appropriate respond to the sound captured by the mic)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything like this? or do I have to create the program from scratch? &lt;/p&gt;&#xA;" OwnerUserId="6429" LastActivityDate="2014-09-05T01:07:37.327" Title="Distorting video with live sound" Tags="|video|video-editor|audio|distortion|" AnswerCount="3" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12540" PostTypeId="1" AcceptedAnswerId="12546" CreationDate="2014-09-03T13:25:09.647" Score="3" ViewCount="181" Body="&lt;p&gt;In &lt;strong&gt;FCPX&lt;/strong&gt;:&lt;br&gt;&#xA;If I have &lt;strong&gt;1080p&lt;/strong&gt; footage in a &lt;strong&gt;720p&lt;/strong&gt; project, will the keyer effect (chromakey) lose quality?&lt;br&gt;&#xA;To ask the question a different way:&lt;br&gt;&#xA;Should I have a project with the same dimensions/resolution as the original footage when I key it, and then export it at my desired resolution later? Or is FCPX doing that in the background anyway?&lt;/p&gt;&#xA;" OwnerUserId="5883" LastActivityDate="2014-09-03T16:54:01.853" Title="Does the project resolution affect the quality of a chromakey?" Tags="|final-cut-pro-x|chromakey|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12541" PostTypeId="2" ParentId="12523" CreationDate="2014-09-03T13:50:49.277" Score="1" Body="&lt;p&gt;Just to add a bit to AJ Henderson correct answer.&#xA;You do can compress in a lossless way with h264, this is the lossless predictive profile and is achieved by encoding with a CRF setting of 0.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though while you get lossless h264 compression that way you will endup with a larger file than your source file.&#xA;Lossy compression cant be done twice without loosing more information with each iteration, it already says that that in itself, its &quot;lossy&quot; it looses information every time you encode with it, hence only a lossless encoding will preserve all information and that is the CRF 0 setting (which produces huge files).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What your read as constant quality just means you will have a constant bit-rate and x264 wont alter the bitrate in order to preserve more information in certain frames or use less space where it doesn't need as much space to save the given information in the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said, if the encodes you have are of a high quality and there aren't any visible artifacts present, you might be fine with re-compressing it, if disk space is of the most importance here. Though you loose information that might be useful for possibly enhancing aspects of the video in the far future that aren't relevant right now.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-09-03T13:50:49.277" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12542" PostTypeId="2" ParentId="12305" CreationDate="2014-09-03T13:53:52.627" Score="2" Body="&lt;p&gt;If software is all you're interested in, here are a few options:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Quartz_Composer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Quartz Composer&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://pixelconduit.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Pixel Conduit&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://resolume.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Resolume&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://vidvox.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;VDMX&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.arkaos.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Arkaos&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.modul8.ch/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Modul8&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Personally I've only tried &lt;strong&gt;Quartz&lt;/strong&gt;. It's hugely powerful and free, but the learning curve can be quite steep. It's more of a node programming language for video graphics, that's what makes it so powerful.&#xA;Some downsides are that it's not actively developed anymore and that it only runs on OSX.&lt;br /&gt;&#xA;I'm excited to try &lt;strong&gt;Pixel Conduit&lt;/strong&gt; soon. It seems to be an attempt at a modern version of quartz, and the free version seems pretty powerful.&lt;/p&gt;&#xA;&lt;p&gt;If you want to record the video as well you might have to look at a separate program called &lt;a href=&quot;http://syphon.v002.info/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Syphon&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I used a &lt;a href=&quot;https://www.blackmagicdesign.com/products/intensity/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blackmagic Intensity Extreme box&lt;/a&gt; to get the live video from our Sony XDCAMs into my Macbook Pro. I had to use &lt;a href=&quot;http://vdmx.vidvox.net/blog/black-syphon&quot; rel=&quot;nofollow noreferrer&quot;&gt;Black Syphon&lt;/a&gt; to get the feed from the Blackmagic box and send it into Quartz for live processing.&lt;/p&gt;&#xA;&lt;h2&gt;UPDATE&lt;/h2&gt;&#xA;&lt;p&gt;I've been using &lt;strong&gt;Resolume&lt;/strong&gt; to do exactly that. It works really well and is way more user friendly than Quartz. Though you can also use Quartz in it. Resolume also can record the video to an output file out of the box.&lt;br /&gt;&#xA;&lt;strong&gt;Pixel Conduit&lt;/strong&gt; didn't seem to have gained much traction unfortunately. So I never used it in a production environment, I only played with it.&lt;/p&gt;&#xA;" OwnerUserId="5883" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-11-07T12:43:36.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12543" PostTypeId="2" ParentId="12305" CreationDate="2014-09-03T14:07:54.893" Score="2" Body="&lt;p&gt;A great tool that I personally work with is &lt;a href=&quot;http://vvvv.org/&quot; rel=&quot;nofollow&quot;&gt;vvvv&lt;/a&gt;. A very mighty visual programming toolkit somewhat comparable to Quartz Composer on Mac but available for Windows (only for Windows for now but future versions might be multi plattform according to the devs).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For getting started I highly recommend this cheat sheet &lt;a href=&quot;http://vvvv.org/sites/default/files/uploads/dontpanic_45beta25_1_0.pdf&quot; rel=&quot;nofollow&quot;&gt;http://vvvv.org/sites/default/files/uploads/dontpanic_45beta25_1_0.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nice thing is that you can capture video over USB with a few canon DSRLs and don't necessarily need an HDMI capture card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While you can capture frame with the &quot;Writer&quot; node, usually you would utilize &lt;a href=&quot;http://www.fraps.com/&quot; rel=&quot;nofollow&quot;&gt;Fraps&lt;/a&gt; for capturing the renderer (which can be lossless or in h264)&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-09-03T17:48:08.647" LastActivityDate="2014-09-03T17:48:08.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12544" PostTypeId="2" ParentId="12538" CreationDate="2014-09-03T14:17:14.210" Score="1" Body="&lt;p&gt;There are several programs available that allow you to do that.&#xA;One very popular tool in the live visual industry is &lt;a href=&quot;http://cycling74.com/products/max/&quot; rel=&quot;nofollow&quot;&gt;MAX&lt;/a&gt; (especially Max for Live).&#xA;Its a visual programming language to create visuals for live performances that also integrates into a few tools like Ableton Live.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A program that I personally use at work is called &lt;a href=&quot;http://vvvv.org/&quot; rel=&quot;nofollow&quot;&gt;vvvv&lt;/a&gt;, its a visual programming tool aswell that allows for very complex programs and is more &quot;multipurpose&quot; than MAX and offers a huge collection of add-ons to work with all kinds of peripherals and input devices.&#xA;For getting started I highly recommend having a look at this &lt;a href=&quot;http://vvvv.org/sites/default/files/uploads/dontpanic_45beta25_1_0.pdf&quot; rel=&quot;nofollow&quot;&gt;cheat sheet&lt;/a&gt;, vvvv has a VERY minimalistic GUI and heavily relies on shortcuts and hidden menus for more advanced settings and features.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately only available for Windows but unlike Max its absolutely free to use unless you want to use it commercially, then you have to buy a commercial license (no differnces to the free version, you still just download the same version but have permission to earn money with it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A also a free solution but only available on Mac would be Quartz Composer which is coming with Xcode. Its also a visual programming language that works in a similar fashion like vvvv and MAX.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;E: Another solution would be &lt;a href=&quot;http://www.madmapper.com/&quot; rel=&quot;nofollow&quot;&gt;MadMapper&lt;/a&gt;, its more meant for projection mapping but also does video with filters that can react to sound. In can also integrate into Live afaik.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-09-03T17:40:55.100" LastActivityDate="2014-09-03T17:40:55.100" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12545" PostTypeId="1" CreationDate="2014-09-03T14:45:19.033" Score="1" ViewCount="125" Body="&lt;p&gt;I have a Canon H680 Hi8 camcorder that fell off a shelf many years ago and hasn't been used since.  Now I want to use its optics in a low-budget live video system for my church.  Basically, I'm impressed with its ability to zoom way in, focus manually, then zoom out to frame the shot without losing focus.  I don't need to record with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I asked some local shops in Kansas City (USA), and I got a unanimous, &quot;Sorry, we don't work on those anymore&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What still works:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;It still powers on, using the original AC adapter.&lt;/li&gt;&#xA;&lt;li&gt;The viewfinder displays the text overlay clearly.&lt;/li&gt;&#xA;&lt;li&gt;All the buttons that I tried change the overlay as expected.&lt;/li&gt;&#xA;&lt;li&gt;The autofocus hunts around smoothly when enabled.  No gear grinding or other suspicious noises.&lt;/li&gt;&#xA;&lt;li&gt;The last time I could get a testable image (see below), the optics seemed to be okay, which is how I know their capabilities.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What doesn't work:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I can't get a decent picture in the viewfinder.  The closest I can get is a set of very garbled dots that change when I move the camera, but are not clear enough to recognize.  Sometimes I can't even get that, only solid black with some faint analog noise.  At one time, I could get a badly distorted but recognizable image, but not this time.&lt;/li&gt;&#xA;&lt;li&gt;The video output seems to be completely dead.  While I saw in the viewfinder that it was trying, the VCR that I had it hooked up to never showed anything.  This could be operator error.&lt;/li&gt;&#xA;&lt;li&gt;I suspect that the autofocus range sensor may also be damaged because its almost-opaque cover is broken off from the fall and it never settles down when enabled.  This isn't a deal-breaker though; I'd rather use manual focus anyway.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Anyone know how I can get this working?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Edit: The lens is indeed good, determined by taking it out and looking through it from the sensor end while wiggling the controls.  I still can't make the sensor work.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6428" LastEditorUserId="6428" LastEditDate="2014-09-07T06:18:19.093" LastActivityDate="2014-09-07T06:18:19.093" Title="Old Camcorder needs Repair" Tags="|canon|camcorder|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="12546" PostTypeId="2" ParentId="12540" CreationDate="2014-09-03T16:54:01.853" Score="2" Body="&lt;p&gt;There isn't a right or wrong answer here I don't think.  Both approaches have advantages.  Keying at 1080p will give you clearer detail when trying to find edges, but also will have more noise that could throw off a key.  Additionally, the downscale after the key will apply a slight blur to the image further disguising the edges to make the keying less obvious without having to do an additional blending on the 720p version.  That said, it will take additional processing effort as the image is larger and there is more area to process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the flip side, keying at 720p will reduce the amount of processing needed, but will not blend as well and will potentially have softer edges that don't key quite as easily.  The noise is reduced as mentioned before though, which makes the fill areas easier.  It also matches the native resolution of your final output so it may save some quality on the content being keyed in depending on what the source resolution of that content is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If both source and key are 1080p, I might consider doing it at 1080p and then downscaling the result, but if one of them is 720p to start with, I'd probably key at 720p and soften the edge a bit unless I ran in to problems.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-03T16:54:01.853" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12547" PostTypeId="1" AcceptedAnswerId="12548" CreationDate="2014-09-03T19:04:21.543" Score="1" ViewCount="1277" Body="&lt;p&gt;I own a GoPro Hero 3+ video camera which requires the following adapter to use an external microphone:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://shop.gopro.com/accessories/3.5mm-mic-adapter/AMCCC-301.html&quot; rel=&quot;nofollow&quot;&gt;http://shop.gopro.com/accessories/3.5mm-mic-adapter/AMCCC-301.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This makes mounting the microphone onto the GoPro difficult.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know of any secure mounts for this? - I can't find any.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What do professional filmmakers use?&lt;/p&gt;&#xA;" OwnerUserId="6261" LastActivityDate="2014-09-03T19:56:14.253" Title="GoPro Hero 3+ Microphone Mounting" Tags="|video|audio|action-cam|microphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12548" PostTypeId="2" ParentId="12547" CreationDate="2014-09-03T19:56:14.253" Score="1" Body="&lt;p&gt;Professional film makers generally use audio recorded separately from the video on dedicated recorders using professional mics (using XLR cables and the like).  3.5 mm audio connectors in particular are almost exclusively a consumer level connector.  So for a professional level, the answer is use something like a Zoom h4n, h5 or h6 and microphones of your choice (either headset, lapel or most likely for action footage, shotgun mics with boom operators).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to be able to do it in camera, then you will need to look in to rigging.  Many consumer/prosumerish mics that work via 3.5mm jacks are designed to mount on DSLR hot/cold shoes.  You can use video rigging to connect your GoPro on one mount point and a cold shoe mounted external mic on a cold shoe mount point on the same rig.  This will keep them together in an easily handleable form factor while keeping the mic securely attached to the same rig as the GoPro.  Note that building such rigs isn't particular cheap unless you build it yourself though.  &lt;a href=&quot;http://www.bhphotovideo.com/c/buy/Digital-SLR-Video-Stabilizers/ci/3926/N/3907816577&quot; rel=&quot;nofollow&quot;&gt;This link&lt;/a&gt; goes to B&amp;amp;H's selection of DSLR rigs to get you started.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-03T19:56:14.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12549" PostTypeId="1" CreationDate="2014-09-04T05:11:34.060" Score="0" ViewCount="6620" Body="&lt;p&gt;I have recorded some technical tutorial videos through screen capture. At certain points in these videos, I want to highlight buttons, text, etc. by circling them or putting arrows. An example effect can be seen here: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/0u2BpzrwG3s?start=63&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know there are paid software out there -- Adobe Premiere Pro, Camtasia Studio, and the like. Is there any freeware that can help me achieve the same?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Related question: &lt;a href=&quot;https://video.stackexchange.com/questions/5289/video-tutorials-how-to-add-labels-comments-arrows-etc&quot;&gt;Video tutorials: how to add labels, comments, arrows etc&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6434" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-08-23T02:58:34.537" Title="Free software for annotations (circles, arrows, etc.) in screen capture videos" Tags="|video-editor|screen-casting|freeware|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12550" PostTypeId="1" CreationDate="2014-09-04T10:23:33.730" Score="1" ViewCount="517" Body="&lt;p&gt;I create a lot of DVD image slideshows for people using basic programs like Windows live movie maker. The images used to create the video are very high resolution to begin with but when the DVD is played back on my TV screen they are very poor quality and feature ghosting to some good extent and pixelation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have looked into this before and was told that because a DVD is just in SD it will never look any better but then I have to wonder why all movie DVD's are so much higher quality than they ones I have made.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have used two programs to create the DVD's and the results are both similar:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Windows live movie maker- also has a function to export to a DVD, adding the menu etc. (currently using this).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cyberlink Powerdirector 12&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to try and find a resolution to this because the DVD's are embarrassing at the moment and I only have a 26&quot; TV. I can't begin to Imagen how they would look on anything bigger.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best way to make high quality DVD slideshows?&lt;/p&gt;&#xA;" OwnerUserId="6053" LastActivityDate="2014-09-04T13:50:11.670" Title="How can I make the best quality SD DVD's" Tags="|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12551" PostTypeId="2" ParentId="12550" CreationDate="2014-09-04T13:50:11.670" Score="1" Body="&lt;p&gt;There isn't one.  What you have been told in the past is correct, DVD resolution is very, very limited.  720 by 480 is barely even 1/3 of a megapixel of resolution, which is exceptionally low and will look poor on pretty much any HD display.  There is no solution for going higher quality than this on a DVD that is playable on normal DVD players.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason that it is not all that noticeable when you watch a video on DVD is that the information presented over time is not all the same and thus your brain is able to piece together a picture of what things would look like based on successive frames of video.  This makes it seem smoother and clearer than it actually is, but it relies on the content moving.  Static images present no new information in successive frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is possible that you are using a poor quality encoding or too low of a bitrate, but if you are getting very similar results from both programs, it sounds like it is probably just the limitation of SD formats.  (A poor quality encoder or too low of bitrate would result in artifacts being introduced to the image, but photos should require very little bitrate since they are static.)  If you can post a screenshot captured from playing back the DVD on your computer, that might help us better evaluate, but my best guess is that you are just noticing how poor quality DVD actually is.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-04T13:50:11.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12552" PostTypeId="2" ParentId="12549" CreationDate="2014-09-04T18:33:08.737" Score="1" Body="&lt;p&gt;There's CamStudio (GNU General Public License): &lt;a href=&quot;http://camstudio.org/&quot; rel=&quot;nofollow&quot;&gt;http://camstudio.org/&lt;/a&gt;&#xA;It has screen and video annotations tools.&lt;/p&gt;&#xA;" OwnerUserId="5751" LastActivityDate="2014-09-04T18:33:08.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12553" PostTypeId="2" ParentId="12538" CreationDate="2014-09-04T18:43:41.427" Score="1" Body="&lt;p&gt;I recommend &lt;a href=&quot;http://vvvv.org/&quot; rel=&quot;nofollow&quot;&gt;VVVV&lt;/a&gt; also.&#xA;You could make a patch that controls many video effects with levels from microphone input.&#xA;Take a look at &lt;a href=&quot;http://vvvv.org/contribution/video-effects-and-compositing-tutorials&quot; rel=&quot;nofollow&quot;&gt;Video Effects and Compositing Tutorials&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Basic tutorials and examples on how to use TextureFX nodes to work&#xA;  with the same tricks and techniques you could previously achieve only&#xA;  in Photoshop or After Effects. And what's best: everything can be&#xA;  animated in real-time.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="5751" LastActivityDate="2014-09-04T18:43:41.427" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12554" PostTypeId="1" CreationDate="2014-09-04T18:57:53.887" Score="2" ViewCount="206" Body="&lt;p&gt;Is it possible (and if yes, how) to create a transition using either Adobe Premiere or After Effects (and maybe import to Premiere then?) which zooms out of the first video displaying multiple videos next to each other (both vertical and horizontal) - like many tiles - and then it should zoom in to the next video. So I am looking for a transition where e.g. 30 videos are displayed (like a gallery) and it's zooming in to the next video until it's size is 100%. I've seen this transition a couple of times already (don't exactly know where) but I just don't know how it's called so I didn't find anything on the internet :/&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: not all videos have to be different every time, it's okay if all videos are fixed and only two are dynamic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any help!&lt;/p&gt;&#xA;" OwnerUserId="6439" LastActivityDate="2014-09-04T20:36:02.623" Title="Looking for a specific transition for Adobe Premiere" Tags="|premiere|after-effects|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12555" PostTypeId="2" ParentId="12554" CreationDate="2014-09-04T20:36:02.623" Score="2" Body="&lt;p&gt;This may get down-votes since it's so manual and doesn't have perfect video quality, but I'll offer it anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;CREATING THE GENERIC TRANSITION&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Bring 30 clips into a project.&lt;/li&gt;&#xA;&lt;li&gt;Shrink the scale of all of them.&lt;/li&gt;&#xA;&lt;li&gt;Drag them onto the timeline so they're all playing at the same time.&lt;/li&gt;&#xA;&lt;li&gt;Position them in a grid.&lt;/li&gt;&#xA;&lt;li&gt;Export that project in the best possible quality you can.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;CREATING THE SPECIFIC TRANSITION&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open the generic transition video in a new project. Place it on the timeline.&lt;/li&gt;&#xA;&lt;li&gt;Bring in the 2 videos you want to transition between.&lt;/li&gt;&#xA;&lt;li&gt;Shrink their scales, put them on the timeline, and position them over 2 of the existing videos.&lt;/li&gt;&#xA;&lt;li&gt;Export that project in the best possibly quality (matching the generic clip).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;USING THE SPECIFIC TRANSITION&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Import that specific transition into your project.&lt;/li&gt;&#xA;&lt;li&gt;At the end of the first clip, place the specific transition on the timeline.&lt;/li&gt;&#xA;&lt;li&gt;Animate the motion of the transition: Start with the scale zoomed in on the &quot;starting&quot; video. Scale back to 100% while moving the clip to center the &quot;ending&quot; video. Scale up (zoom in) on the &quot;ending&quot; video.&lt;/li&gt;&#xA;&lt;li&gt;When the &quot;ending&quot; video fills the screen, cut the specific transition.&lt;/li&gt;&#xA;&lt;li&gt;Add the actual &quot;ending&quot; video to the timeline. Trim the left end of the clip to match the right end (last frames) of the clip in the specific transition.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I haven't tried this but in my mind it should work really well.  The video quality will be a bit lower during the transition, but it may not be noticeable - especially in lower-quality environments (like web video) or if the transition is brief (1-2 seconds).&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-09-04T20:36:02.623" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12556" PostTypeId="2" ParentId="12538" CreationDate="2014-09-05T01:07:37.327" Score="0" Body="&lt;p&gt;There's a variety of software available for live video manipulation, from the minimalistic, developer-oriented &lt;strong&gt;vvvv&lt;/strong&gt; and &lt;strong&gt;pd&lt;/strong&gt;, to the more aesthetically pleasing &lt;strong&gt;Max/MSP&lt;/strong&gt; and &lt;strong&gt;Troikatronix Isadora&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've used each of these in some capacity, and personally I prefer Isadora, as it is more intuitive to use and get a basic patch up and running in a short time than the rest. MAX was originally developed as a modular audio manipulation engine, and MSP was later developed to add video functionality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;vvvv and pd are both very powerful tools, but more suited to procedural content generation or content analysis than direct video manipulation, and they can be considered lacking in terms of an interface. As a result, they have a comparably steep learning curve. However, they are more extensible and versatile than Isadora and Max, and are worth digging into if you can devote the time to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I often find that it's possible to play to the strengths of each of these paradigms - for example, there have been many occasions where I've used vvvv and Isadora in tandem; vvvv performing real-time live audio analysis, and sending sync data (in terms of pulses and BPM) via OSC to Isadora, which then performs the video manipulation using these data. This may be worth looking into, if you have the chance.&lt;/p&gt;&#xA;" OwnerUserId="5176" LastActivityDate="2014-09-05T01:07:37.327" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12557" PostTypeId="1" CreationDate="2014-09-05T04:36:34.620" Score="1" ViewCount="5262" Body="&lt;p&gt;I have a DVD of home video made from a VHS that I'm trying to rip so I can post it to YouTube. I've ripped a couple of videos using both Mac DVDRipper Pro and Handbrake to compare the output after I noticed some stuttering in my first rip. The videos from both apps have stutters in the same spots but the stuttering doesn't exist when I play the disc in DVD Player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's not often, sometimes every couple of minutes for just a moment. Other times it will go 5 to 8 minutes without any stutter. I've noticed momentary sound dropping out for these stutters in both QuickTime and in QuickLook, and also just now in VLC. It's nothing major but annoying and something I'd like to fix seeing as the source DVD doesn't have these playback issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could extracting the DVD as a disc image first and ripping that solve the stuttering playback?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm ripping from the optical drive in my 27&quot; iMac under Mavericks. Any help would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="6440" LastActivityDate="2024-02-26T10:03:52.173" Title="Ripped DVD Video Playback Stutters, original DVD does not" Tags="|conversion|transcoding|playback|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12558" PostTypeId="1" AcceptedAnswerId="12562" CreationDate="2014-09-05T05:59:51.167" Score="5" ViewCount="2164" Body="&lt;p&gt;I have started to learn about mp4 file format, and I just learned that mp4 is nothing but just a container that defines the structure of the video file, and that it has different codecs inside it for audio and video, as well as other data like metadata and subtitles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have been searching around for a while now but couldn't find so much on the basics of mp4 containers and the working and complete structure explanation of it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I have read &lt;a href=&quot;http://www.videomaker.com/article/15362-video-formats-explained&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; and &lt;a href=&quot;http://www.dr-lex.be/info-stuff/mediaformats.html&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt;, but there is not enough information specifically about mp4 container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are so many Audio/Video Codecs available which are used, but which Codecs are used with the mp4 container ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can we use any Codec with the mp4 container ? because there are like dozen different Codecs and how one would know which can be used with the mp4 container ?, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;and is there a book or a paper on Mp4 container structure and explanation ?&lt;/p&gt;&#xA;" OwnerUserId="6441" LastEditorUserId="6441" LastEditDate="2015-11-05T04:13:12.643" LastActivityDate="2015-11-05T04:13:12.643" Title="Mp4 Video Container and the Codecs use with it" Tags="|video|codec|mp4|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12559" PostTypeId="1" CreationDate="2014-09-05T10:40:40.207" Score="0" ViewCount="1031" Body="&lt;p&gt;I'm trying to export a video of Premiere CS6 and I am having some problems... My two cameras record in different size, and when I'm working with the clips on the program, everything looks great and works well, but when I export them, the clips that were for the Full HD camera doesn't looks like in the programe, they are kind of ampliated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If someone understands what I'm saying and can help me, I would be grateful!&#xA;Thanks!! &lt;/p&gt;&#xA;" OwnerUserId="6442" LastActivityDate="2024-04-01T20:08:46.097" Title="How can I mix a video in Full HD (1920 x 1080) with a vid in HD (1280 x 720)" Tags="|video|premiere|full-hd|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="12560" PostTypeId="1" AcceptedAnswerId="12561" CreationDate="2014-09-05T13:55:32.847" Score="3" ViewCount="19177" Body="&lt;p&gt;From my experience with programming I know that just throwing more memory against even a well paralized program will not speed it up after a certain limit due to various practical limitations (tasks can only be split in so many parts, waiting==processing or countless of other scenarios). Is there a limit at which which Adobe Premiere Pro doesn't speed up significantly anymore? Does it make sense to build a PC with 128GB or 512GB of memory? (My colleague is considering building a PC with 128GB and I am just a bit skeptical of this being... worth it, though I might be absolutely wrong as this really is not my area of expertise (and just for the record, I know that it's a 64-bit application and that it can address all available memory up to windows' limit, what I am asking is about the practical world)).&lt;/p&gt;&#xA;" OwnerUserId="6443" LastEditorUserId="6443" LastEditDate="2014-09-05T14:28:13.783" LastActivityDate="2014-09-05T18:42:25.047" Title="What is the maximum amount of memory Adobe Premiere Pro can efficiently utilize?" Tags="|premiere|memory|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12561" PostTypeId="2" ParentId="12560" CreationDate="2014-09-05T14:21:44.163" Score="2" Body="&lt;p&gt;That entirely depends on what kind of footage he work with and how long his average cuts are. If we are talking hour long movies a bigger amount of RAM can be worth it.&#xA;Though 128GB would be completely useless if he only uses Premiere it just doesn't use that much RAM.&#xA;We built a high-end workstation once for huge 3D renderings that has 64GB RAM, the only times we utilize that fully is when working with gigantic 3D scenes in Cinema 4D or 3Ds Max. After Effects barley goes beyond 20GB unless you need an hour long RAM previews for some reason and Premiere is usually around 5-7GB even when cutting 60min plus movies.&#xA;So if hes only using Premiere, 128GB would be a complete waste of money. I would not recommend anything more than 32GB on a video editing only workstation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When using Premiere a high-end GPU is a lot more worth performance wise, Premiere can render in realtime with a powerfull GPU making having a ton of system RAM a bit useless.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can recommend using gaming cards instead of workstation cards, the only difference is support and drivers, the gaming cards are much more powerful and a lot cheaper. I have never experienced any stability differences in Adobe software with a Workstation card compared to a gaming card. A good mixture of gaming GPU and workstation GPU is the GeForce GTX Titan, its meant for CUDA development and other CUDA usage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively in the latest Premiere version there is also full OpenCL support, so a high-end AMD card would also be a good choice.&#xA;F.e. The R9 290X or if he wants a workstation GPU for some reason the FirePro W9100 is currently the high-end model, though a waste of money in my opinion. You do not need 16GB Vram with Premiere. I would probably go for the W9000 or W8000.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; As AJ Henderson mentioned, footage gets almost never fully cached in RAM so a fast SSD or maybe an SSD array will be much more beneficial than more RAM aswell.&#xA;Going for fast disk I/O and a good GPU is a good combination nowadays. Having a high-end multi core CPU and lots of RAM is getting less and less important in the graphics world.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-09-05T17:55:09.423" LastActivityDate="2014-09-05T17:55:09.423" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12562" PostTypeId="2" ParentId="12558" CreationDate="2014-09-05T15:51:36.720" Score="3" Body="&lt;p&gt;The &lt;a href=&quot;http://en.wikipedia.org/wiki/MPEG-4&quot; rel=&quot;nofollow&quot;&gt;Wikipedia article&lt;/a&gt; on MPEG-4 is a great start as the MP4 file specification is part of the MPEG-4 spec.  Specifically version 2 of MP4 is &lt;a href=&quot;http://en.wikipedia.org/wiki/MPEG-4_Part_14&quot; rel=&quot;nofollow&quot;&gt;MPEG-4 Part 14&lt;/a&gt;. While not free, you can purchase copies of the ISO spec under &lt;a href=&quot;http://www.iso.org/iso/catalogue_detail.htm?csnumber=38538&quot; rel=&quot;nofollow&quot;&gt;ISO# 14496-14:2003&lt;/a&gt;.  A preview with some detail is available from the ISO &lt;a href=&quot;http://webstore.iec.ch/preview/info_isoiec14496-14%7Bed1.0%7Den.pdf&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is designed to contain any of the various MPEG video formats, including MPEG, MPEG-2, MPEG-4 Part 2 (generic MPEG-4) and, probably most commonly, MPEG-4 part 10 (H.264).  It can theoretically support almost any format of video stream, however those 4 are the most widely supported for the file type.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The full list of officially registered codec types is available from the MP4 Registration Authority &lt;a href=&quot;http://mp4ra.org/codecs.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-05T15:51:36.720" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12563" PostTypeId="2" ParentId="12560" CreationDate="2014-09-05T16:05:25.317" Score="1" Body="&lt;p&gt;As non-linear video editing is random access by definition (that's where non-linear comes from), you will benefit from more RAM at least until you can fit all of your source footage in memory. The more data you can leave cached in memory, the faster access you can have to the footage whenever you need it.  (I'm not sure exactly how Premiere handles this, but that is the only thing that would possibly benefit from insane amounts of RAM.  If it isn't able to cache it all, then you would only benefit for however much it would bother to cache.)  On the After Effects side of things, more RAM does mean more space for RAM previews.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Processing speed is really a very secondary concern when it comes to memory as things are a predictable and linear process at that point since the computer can anticipate what is coming and data access is not going to be the limiting factor at that point, but rather processor speed.  DMA can retrieve data from the hard drive in to RAM as processing occurs and the processing of individual frames and groups of pictures isn't going to require that much memory space.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some high memory consumption processing might benefit, but the primary use of RAM is going to be for holding assets in RAM for quick access while working with the footage.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-09-05T18:42:25.047" LastActivityDate="2014-09-05T18:42:25.047" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12564" PostTypeId="1" AcceptedAnswerId="12565" CreationDate="2014-09-05T16:07:21.807" Score="1" ViewCount="798" Body="&lt;p&gt;I have a H.264 (ex-MOV, ex-Flash) video of 550px x 250 px. In the HTML player (videojs), I can easily set its size to 640px x 290px and it still looks OK (only a 16.363636% increase in display size). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or should I increase it's size in &quot;real pixels&quot; by exporting it as H.264 from, say, Avanti or Handbrake at a bigger size? In Avanti, under &quot;Frame size&quot; I specified 640 x 290 and the file size increased by 8% and data rate from 200 kbps to 215.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the trade-offs - would enlarging via HTML be stressful for low-end CPUs? Is the 8% increase in file size and kbps worth it for the extra quality, if any?&lt;/p&gt;&#xA;" OwnerUserId="6414" LastActivityDate="2014-09-05T16:13:02.253" Title="Best way to increase the display size of a web video" Tags="|mp4|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12565" PostTypeId="2" ParentId="12564" CreationDate="2014-09-05T16:13:02.253" Score="2" Body="&lt;p&gt;If it is a flash source, then there is a good chance it has vector elements.  You should export at a higher resolution from the source rather than trying to upscale the mov file.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Working from the original will ensure accurate pixel data for any vector elements and produce a much higher quality upscale.  (This is actually one of the major reasons for Flash's early popularity.)  If that isn't an option or it was a raster format asset in Flash, then it is really a toss up between the two options depending on the quality of the original encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Encoding to a new size can do slower and more accurate upscaling that will produce fewer artifacts, but if the original source you are upscaling from is already pretty low quality, a second generation of encoding loss may very well exceed the amount of quality improvement you get from the rendered out upscale.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So in summary, the best option is to export from Flash at a higher resolution.  If you can't do that, re-encode if you can do it without another generation of loss or have a high enough quality source (200kbps is not high enough for a re-encode most likely).  Finally, if you don't have that, then stick with the re-size in the player on the fly.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-05T16:13:02.253" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12566" PostTypeId="1" AcceptedAnswerId="12574" CreationDate="2014-09-05T17:06:19.003" Score="25" ViewCount="6615" Body="&lt;p&gt;I'm a software developer and I'm also interested in photography (for four years) and video production (for a few months only).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;■ In software development, there is an important rule &lt;em&gt;every&lt;/em&gt; developer follows on &lt;em&gt;every&lt;/em&gt; project: &lt;strong&gt;everything should be under version control&lt;/strong&gt;: source code, configuration files, database schema, documentation—everything which enables building the project from scratch. This has two pleasant consequences:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;In an event of a disaster when you lose everything except the version control repository, you should be able to continue as if nothing happened.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In an event of some stupid change which negatively affects the project, the developer can come back to an earlier revision.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;■ In photography, &lt;strong&gt;every change I make to photos is stored forever in Lightroom catalog&lt;/strong&gt;, making it possible to revert to previous state at any moment. With virtual copies feature, Lightroom also enables to do what is called a &lt;em&gt;branch&lt;/em&gt; in version control: the ability to test something different, and either keep both results or remove one of them later.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The catalog doesn't store the RAW photos themselves, but they don't change anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;■ In video production, things seem different. I work with Premiere Pro, After Effects and Soundbooth.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;None seem to store history permanently: if I do an action by mistake and notice it only the next day, there is no way to recover the previous version.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Soundbooth also changes directly the WAV files, which requires an additional effort to keep separate the original recordings from the modified ones.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Version control is rarely mentioned, and I haven't found anyone telling how does he actually use version control in his workflow. Moreover, nobody mentions which version control should be used, and since most version control systems are optimized for text files, not binary ones, this creates an additional challenge.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Video.SE doesn't have &lt;a href=&quot;/questions/tagged/version-control&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;version-control&amp;#39;&quot; rel=&quot;tag&quot;&gt;version-control&lt;/a&gt; or &lt;a href=&quot;/questions/tagged/revisions&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;revisions&amp;#39;&quot; rel=&quot;tag&quot;&gt;revisions&lt;/a&gt; tags.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Thus, I have two questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Does version control have a part in the workflow of a person who works with video production? How is it integrated?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Would migrating to Adobe Creative Cloud help? Are there specific features which allow, in Creative Cloud, to track successive revisions of a Premiere Pro or After Effects project?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Remark: to avoid off-topic answers, I highlight that &lt;strong&gt;my question is unrelated to the backups&lt;/strong&gt;, and is specifically about storing successive revisions of my work, not having an on-site/off-site backup of the data.&lt;/p&gt;&#xA;" OwnerUserId="6250" LastEditorUserId="3295" LastEditDate="2014-09-06T15:02:45.943" LastActivityDate="2019-01-04T01:30:10.147" Title="Does version control have a part in the video production workflow?" Tags="|premiere|after-effects|workflow|" AnswerCount="7" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12567" PostTypeId="2" ParentId="12566" CreationDate="2014-09-05T17:44:18.717" Score="6" Body="&lt;p&gt;Version control doesn't really have as much of a place in video editing because it is by nature non-destructive.  At the core of any NLE(non-linear video editor), the output is actually something known as an Editing Decision List or EDL.  This is extremely analogous to the history in Lightroom as that history is a record of all changes that have been applied in order.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;NLEs work from source clips. They take beginning and end points of those clips to place them into a timeline and then effects can be applied to those assets in a given order (based on placement of the effects), however these are all editing decisions and are applied on the fly (or possibly rendered out to temporary preview files).  The final output render is the result of applying the entire EDL to the source clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could save a version of the project in order to be able to go back to a previous version of the EDL if you want, but this isn't generally needed unless you are very intentionally branching to try an alternate approach to editing a sequence (in which case a copy of that timeline is often a better choice anyway.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2016-07-01T13:35:11.530" LastActivityDate="2016-07-01T13:35:11.530" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12568" PostTypeId="1" CreationDate="2014-09-06T03:10:48.300" Score="4" ViewCount="742" Body="&lt;p&gt;I want to record a drum cover. I have three input sources: a camera, the output of my electronic drum kit (computer registers it as a microphone), and an existing audio file (the song). I want to record myself playing along with the song, and have the resulting audio&amp;amp;video sync up exactly as I was playing it. I'm thinking I want to have a program where I import the song and put it as an audio track, then the program lets me record audio &amp;amp; video while playing back the existing project (namely the audio track).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's a relatively cheap program that would allow me to do the above? As it is now I have to record the audio &amp;amp; video while I'm listening to the song, then edit the song file in a program to manually sync it with what I recorded, then import that modified song file into the program, which is too much of a pain.&lt;/p&gt;&#xA;" OwnerUserId="4369" LastActivityDate="2014-12-10T15:16:48.530" Title="How can I record audio &amp; video synced with another audio file?" Tags="|software-recommendation|video-recording|digital-recording|sync|audio-recording|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12569" PostTypeId="1" CreationDate="2014-09-06T04:03:35.410" Score="0" ViewCount="15" Body="&lt;p&gt;I've been taking photos for several years now, moving up from a point-and-shoot to a Sony NEX-5R and an iPhone 5s. I would like to branch out into making videos, but my photography skills exceed my videography skills.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know only some basics of videography such as trying to tell a story by making a video that has a defined beginning, middle and end. Or to pan very slowly, especially at higher resolutions such as 1080p. Or to not take vertical videos, in most cases.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like some tips on how to improve my videography. I'm looking for both creative and technical advice.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Creative advice such as: what makes a good subject, composition, pacing, how videography is different from photography, etc.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Technical advice such as: whether 720p at 120FPS results in better looking videos than 1080p at 30FPS.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Please keep in mind that I'll be using an iPhone 5s. I'm looking for tips that are specific to this camera, and also for tips that apply no matter what camera you're using.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Footnotes:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Note that I won't be carrying extra gear, such as a tripod, lighting and audio gear, and so on. I'll be using my iPhone and nothing else.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I also have a Sony NEX-5R, but in the interest of keeping this question focused, let's confine ourselves to the iPhone 5s. After all, the iPhone is the camera I have with me all the time.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I'm interested only in capturing video on the iPhone, not editing it. I'll edit it on a PC. This post is only about capturing video, not about editing it.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6050" LastEditorUserId="6050" LastEditDate="2014-09-06T05:15:01.430" LastActivityDate="2014-09-06T05:15:01.430" Title="What are some tips on taking great videos with the iPhone 5s?" Tags="|iphone|composing|" AnswerCount="0" CommentCount="6" ClosedDate="2014-09-06T04:34:48.853" ContentLicense="CC BY-SA 3.0" />
  <row Id="12570" PostTypeId="2" ParentId="12568" CreationDate="2014-09-06T04:40:20.757" Score="3" Body="&lt;p&gt;You are over thinking it.  Edit a quick beep in before the audio starts on the song, play the song aloud while you are recording the drums.  Hit one of your drums so that you can see and hear it quickly on the video as well.  Record the audio direct from your drums and have a third track that is the microphone for the camera.  The camera audio track will here both the drums and see the drum hit being used to sync.  Then align the song and the drum track based on those markers in the video editor of your choice.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-06T04:40:20.757" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12572" PostTypeId="1" AcceptedAnswerId="12575" CreationDate="2014-09-06T10:05:41.993" Score="2" ViewCount="321" Body="&lt;p&gt;I'm converting Flash movies to Mp4 (and webm) and having to learn lots about web video.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The process starts with MOVs exported from Flash. For example, I have a MOV of 640px x 290px, 1m 58s, 2843 frames, 24fps, 171 MB, 11 Mbps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Converting that to H.264 with Handbrake, with constant quality of 20 RF, I get a file of 3.45MB with - according to MediaInfo - &quot;overall bitrate mode: variable&quot;, and an &quot;overall bitrate&quot; of 240 kbps (video 79, audio 144 with max 170). Bitrate Viewer tells me the average bit rate (this might be video only) is 92 kbps, with a 1-second peak of 1019.     &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I tried Handbrake's variable bit rate, because (if I've understood its advantages correctly) there are 20 seconds with lots of motion, in the middle of the video, which might look better with a higher bit rate. With VBR 300, I get a 6.3 MB file with (MediaInfo) an overall bit rate of 440 kbps, video 300, audio 144. Bitrate Viewer has average 293 kbps, with that peak now at 3467. For about 65% of the video it is below 130 kbps. I've placed the Bitrate Viewer profiles here: &lt;a href=&quot;http://www.casedasole.it/bitrates.html&quot; rel=&quot;nofollow&quot;&gt;http://www.casedasole.it/bitrates.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With Flash, bytes per frame were important because, when streaming, you needed to have the browser download as much as possible in advance, so that particularly big chunks of bytes (like a big JPEG) were already loaded before the Flash player reached them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is: Is that the same principle with video bit rates? Looking at that peak bitrate of 3467 (converts to 433 kB), I think: &quot;That's OK, by then, the whole video will be loaded&quot;.  Or am I missing something?    &lt;/p&gt;&#xA;" OwnerUserId="6414" LastActivityDate="2014-09-06T19:03:22.597" Title="Are mp4 bit rates the same as Flash bytes per frame?" Tags="|video-quality|mp4|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12573" PostTypeId="2" ParentId="12566" CreationDate="2014-09-06T14:14:36.673" Score="3" Body="&lt;p&gt;If you enable it in the preferences After Effects and Premiere automatically make incremental saves of the project files. &#xA;&lt;img src=&quot;https://i.stack.imgur.com/nKj3Z.png&quot; alt=&quot;autosave preferences&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These incremental saves could be used to revert to previous versions, which is like a very basic implementation of version control (you might want to increase the number of versions from 5 though). FCP has a &quot;restore from previous version&quot; function built in, which is good for when it mangles your project files. After effects has (but Premiere doesn't have, go figure) the ability to incrementally save a project. I use this all the time when I'm making big changes to a project, and want to be able to revert to the main trunk, so to speak.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For added control, you could I imagine, use version control software to manage the folders where you keep your project files and auto-saves, so editors would checkout the current cut and commit changes, as long as all the media was centrally accessible or copied onto everyone's machines in the same relative path. It wouldn't let you fork and merge other people's edits, like you can with code – that would be an interesting feature (I'd say it could be implemented with Adobe's extendscript scripting, as long as your skills are up to re-writing Git or SVN in Javascript).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-09-06T14:14:36.673" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12574" PostTypeId="2" ParentId="12566" CreationDate="2014-09-06T15:19:37.197" Score="9" Body="&lt;p&gt;Version control in the sense of Git isn't very practical in the video world. You would need to make a specific version control tool for every audio and video tool out there as all work with their own project formats.&#xA;But being able to read these formats is just one thing, then you also need the render engine of that tool to show diff's.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though all of these tools work in a non-destructive way unless you pre-render some stuff (compare that to compiling a dll/lib of a piece of your code and work with that from now on), so you ususally can just go back to an old revision by doing ctrl+z or using the history tool in some programs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though saving sub versions is usually the way to go. Like stib described in his answer or by doing it manually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something I like to do and works well with every software is putting my project files (no source footage) into Dropbox. If you have a somewhat fast upload speed (~1 Mbit/s) and your project file isn't 100MB+, you can upload your project before you save the next time. An average Premiere/AE/FCP project is around 10-20MB so your recently saved files will be uploaded in 1-2 minutes. Even faster if you have more upload bandwidth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then if you have to go back you can access Dropbox's history of your files and download or restore to that revision. Dropbox saves file revisions forever* on a paid account (*atleast when they had the pack rat option, now its a year I think) and for 30 days on a free account. I'm sure that there are other cloud hosters that offer similar features.&#xA;It's a bit like using a super limited version of git that handles binary files very well and is headache free.&#xA;This has the advantage that you don't clutter the folder with tons of files and have a backup at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most cloud hosters also offer Team Memberships so you can work with multiple editors. Or you share the project folder with other team members.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2015-03-07T12:07:17.733" LastActivityDate="2015-03-07T12:07:17.733" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12575" PostTypeId="2" ParentId="12572" CreationDate="2014-09-06T15:27:58.500" Score="2" Body="&lt;p&gt;Comparable yes but unlike Flash you have a very consistent average size over the timeline of your content. So you don't need to download as much to show content but can actually just start right away to play the video if your bandwidth is equal to (in practice it should be a bit higher of course) the average bitrate of your video. You only need to pre-load a tiny bit to account for inconsistency in the download rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; What you have to consider when using looking at the graph you posted, you have quite a bit of very low bitrate frames, so the peak is not really that important, they somewhat cancel each other out. Whats important when streaming is the average bitrate as this is the bitrate that is needed to stream the video consistently without stopping to fill the buffer a bit more.&#xA;In reality you usually need a little more than the average to cope with very &quot;noisy&quot; bitrates that go up and down for long periods, your video is already a rather extreme example, usually you have a much smoother graph. It always depends on the complexity of your video to how well you can compress a frame.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-09-06T19:03:22.597" LastActivityDate="2014-09-06T19:03:22.597" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="12576" PostTypeId="1" CreationDate="2014-09-06T15:35:08.363" Score="3" ViewCount="7933" Body="&lt;p&gt;I have been looking around for commentary on this, but have not been successful. So, I hope you folks can point me in the right direction. Hopefully, this is the right forum for this kind of discussion, since there might not be 1 correct answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a while now, I've been using my canon 1D4 for most video production. It's ok for what it does. At times, I supplement with other video sources for multi angle shoots.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This past summer, I did an interview on the back of a truck with a fixed-mount camera (7D w/ 15mm due to tight geometry). Basically it looks great. However, we were going in and out from under trees and the lighting switched from kinda dark to very bright. Since I was also working B camera angle and audio for the interview (very crowded, no room for others) I was distracted and there are some very blown out sections of the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have seen reviews and samples on the bm(p)cc showing how blown out sections can be recovered using ProRes 422, much like raw photos can be recovered. Ditto for underexposed clips. Of course, my video was 420 and had no option to recover from either end of the histogram. What's done is done, much like a jpg image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So: need to work on resolving this issue. For a single-person 'team', I need equipment that is forgiving. been reading about shooting directly to 422 and getting a very wide exposure latitude. The Black Magic cameras (especially pocket) seem to fit the requirements. However, everyone is raving over the GH4 which, tho it shoots 4k, is 8bit 420 unless you record to outboard via 1080, which seems to defeat the 4k benefits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any discussion on this topic would be most welcome. &lt;/p&gt;&#xA;" OwnerUserId="5830" LastEditorUserId="6009" LastEditDate="2014-11-10T13:18:17.053" LastActivityDate="2014-11-10T13:18:17.053" Title="10 bit 422 vs 8 bit 420" Tags="|video-capture|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12577" PostTypeId="2" ParentId="12557" CreationDate="2014-09-06T15:40:36.433" Score="1" Body="&lt;p&gt;It sounds like the framerate of the rip doesn't match the framerate of the DVD. I would check if those match. The QuickTime Inspector can do this or a great tool called &lt;a href=&quot;http://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow&quot;&gt;MediaInfo&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-09-06T15:40:36.433" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12578" PostTypeId="2" ParentId="12576" CreationDate="2014-09-06T16:58:30.640" Score="7" Body="&lt;p&gt;420 vs 422 only really matters in terms of color accuracy.  The significant part is 8 bit vs 10 bit.  The reason RAW files give so much recover-ability is that they are typically 12, or in the case of your 1D mark 4, 14 bit files.  Every extra bit doubles the total number of possible values that can be stored.  Some of this goes in to having more detail within the typical 8 bit range, but some of this also goes in to holding additional headroom above white and below black for a typical 8 bit image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even better than shooting 10 bit is to try shooting pure RAW video.  You may be able to actually try this with your 1D by using high speed cards and the third party firmware hack Magic Lantern.  I've used it on my 5D Mark iii and the results are outstanding.  It can record full 1080p resolution with each frame being a 14 bit raw file that has full use of RAW image correction tools.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, you can help increase recover-ability in 8 bit video by keeping your image away from the black and white points by decreasing contrast.  This will result in a more subdued image without color correction after the fact and will result in fewer total colors after expansion, but it will buy you room to deal with blown highlights and shadows since they will still fall within the 8 bit range of values.  This technique is often referred to as recording a &quot;flat&quot; image.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-06T16:58:30.640" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12579" PostTypeId="2" ParentId="10392" CreationDate="2014-09-06T17:37:27.723" Score="-2" Body="&lt;p&gt;I have an old iMac that suffers badly with GoPro footage. I borrowed my wife's rMBP that has an i7 CPU, 16GB RAM, SSD, and a card reader. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This machine imported in an instant! Converting protune still took a little time, perhaps faster than 1:1 (meaning 10 minutes of footage was converted faster than 10 minutes) but you'll want to go eat a snack if you are working with an afternoon of GoPro footage. Editing (iMovie) was smooth and easy. No lag or stuttering at all. Exporting (rendering) was pretty quick. No snack needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The hardware accleration of the i7 was amazing. The rig I build will have the fastest i7 they make!! RAM is good but 16-32 should do it. SSD is expensive but essential!! A decent GPU is enough. &lt;/p&gt;&#xA;" OwnerUserId="6447" LastActivityDate="2014-09-06T17:37:27.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12582" PostTypeId="1" CreationDate="2014-09-07T19:34:50.430" Score="3" ViewCount="6039" Body="&lt;p&gt;I'm actually new to learning the use of After effects but there's a mistake that I did about the keyframes, I should have placed the last keyframe to the first one which I would like to reverse these keyframes simultaneously so that it can possibly do it quickly, is that possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry for the unclear words that I have spoken, here's a screenshot showing what I want to do:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/GuVmd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Like to place all of those keyframes horizontally reversed to the left so that the first layer will the first one to move.&#xA;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="6451" OwnerDisplayName="bretbardolees" LastActivityDate="2021-09-17T17:38:14.333" Title="How to reverse these keyframes in Adobe After Effects?" Tags="|animation|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12583" PostTypeId="1" CreationDate="2014-09-07T23:54:17.193" Score="0" ViewCount="15057" Body="&lt;p&gt;I made a screen recording using quicktime, but when I import the video into premier pro cc, the playback is choppy.  In on part of the video I have an object that fades in, when this is viewed in quicktime the fade is very gradual and smooth, but in premiere pro it is choppy as if I only get every other frame of the fade.&lt;/p&gt;&#xA;" OwnerUserId="6450" LastActivityDate="2021-04-27T11:25:27.530" Title=".mov file choppy when played back in premiere pro cc" Tags="|premiere|" AnswerCount="5" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12584" PostTypeId="1" CreationDate="2014-09-08T12:46:13.323" Score="5" ViewCount="326" Body="&lt;p&gt;I'm using MakeMKV to back up my DVD library to MKV files without re-encoding the video or audio streams (since space is cheap, and quality is top priority.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to know if there's a tool available (Linux or Windows), or a procedure using a collection of tools, that would allow me to rebuild the folder structure for, or even burn directly, a DVD player-playable DVD from these MKV files. I don't want to have to re-encode the video or audio streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="6452" LastActivityDate="2017-02-25T08:18:50.447" Title="How do I author a playable DVD from an MKV file containing MPEG2 video, audio, subtitle and chapter streams?" Tags="|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12585" PostTypeId="2" ParentId="12584" CreationDate="2014-09-08T14:09:47.137" Score="1" Body="&lt;p&gt;DVD requires more than just the video and audio data streams.  It also needs all the menu and table of contents data to instruct the player on how to play the stream.  As long as the stream is in an appropriate format, there is no reason that a DVD authoring package should have to re-encode the video.  It just needs to take in the stream and rebuild the menu and table of contents information that is needed to tell the DVD player how to play it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-08T14:09:47.137" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12586" PostTypeId="2" ParentId="12583" CreationDate="2014-09-08T14:14:00.457" Score="2" Body="&lt;p&gt;This is most likely related to glitchiness in the old embedded Quicktime player that was kind of hacked in to 64 bit Premiere.  It can sometimes result in the Quicktime engine grinding to a halt and even completely freeze Premiere.  This is due to the lack of 64 bit support provided for Quicktime for Windows by Apple.  I believe we have another answer that covers it in more detail, but I couldn't find it at the moment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either way, the best work around is generally to move the data stream out of the MOV container and move it in to a container that doesn't use the 32 bit Quicktime playback engine if you have problems.  (Not every file seems to have problems for some reason.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-08T14:14:00.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12587" PostTypeId="1" AcceptedAnswerId="12589" CreationDate="2014-09-08T18:42:16.177" Score="6" ViewCount="8873" Body="&lt;p&gt;Many people get really mad at filmers suffering from the &lt;a href=&quot;http://knowyourmeme.com/memes/vertical-video-syndrome&quot; rel=&quot;noreferrer&quot;&gt;Vertical Video Syndrome&lt;/a&gt; and I find it hard to disagree. Phone-shot videos filmed vertically are really annoying to watch. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But there's one thing I really don't get; why doesn't the phone correct that? The lens itself is always perfectly round and obviously doesn't really have an up- or downside. As far as I can imagine, shooting every video as if the phone was held horizontally would just be a formality in the software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any reason why that's never implemented? Is there any use in vertical filming? &lt;/p&gt;&#xA;" OwnerUserId="6456" LastActivityDate="2020-07-03T23:26:47.733" Title="Why don't phones correct vertical filming?" Tags="|video|" AnswerCount="8" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12589" PostTypeId="2" ParentId="12587" CreationDate="2014-09-08T19:10:16.610" Score="6" Body="&lt;p&gt;There is indeed no technical limitation that would prevent us from preventing vertical videos in software. The issue is more of an UX/usability problem.&#xA;While the sensor would allow us to capture virtually any part of it (video has usually always a lower resolution than the sensor can provide, when making videos the phone just records a small portion of the sensor area) we kind of don't want an auto correcting orientation as its rather unintuitive. The emphasize is on kind of.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your phone screen is 9:16 so in order to show 16:9 video on your phone screen you either need to turn your phone by 90° or show the video with giant black bars on the top and bottom, which would be very annoying when recording a video. It's quite unintuitive to record horizontally while in a vertical position, so from a UX design perspective you would say the user wants to shoot vertically when holding its phone vertically because thats what you would usually expect your phone to act like.&#xA;Hold it vertical you shoot vertical, hold it horizontal you shoot horizontal, a pretty intuitive concept.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though its still no reason to not at least implement an option to auto correct this and my guess why phone manufacturers aren't doing this is probably largely due to increased engineering costs in the camera module (afaik it can't be done purely in software, you would probably need to alter the functionality of your camera module a bit).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Users who shoot vertically don't really care about the fact that they have a horrible aspect ratio as they mostly just watch their video on a phone anyway. Vine is a good example for that, it really promotes doing vertical video because the aspect ratio of the device that your video will be watched on most of the time has the same vertical aspect ratio.&#xA;So the demand isn't really that huge so far to warrant such a feature but I'm certain we will see this at some point.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-09-08T22:14:36.990" LastActivityDate="2014-09-08T22:14:36.990" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12590" PostTypeId="2" ParentId="12587" CreationDate="2014-09-09T01:32:36.653" Score="2" Body="&lt;p&gt;While I mostly agree with what Professor Sparkles says above, note that Google is attempting to convince people not to film vertical video. In &lt;a href=&quot;http://www.youtube.com/watch?v=XiUPPU8wCZA&quot; rel=&quot;nofollow&quot;&gt;this YouTube video&lt;/a&gt; they show the new overlay that is displayed while filming vertically on Android phones, gently encouraging the user to turn their camera.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-09-09T01:32:36.653" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12591" PostTypeId="1" AcceptedAnswerId="12928" CreationDate="2014-09-09T05:13:04.800" Score="2" ViewCount="392" Body="&lt;p&gt;I have a 2 hour deadline and I'm literally having a mental break down over this piece of crap software. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First of all, it doesn't process MOV files. Why make a video editing software at all?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now after painstaking converting over 2000 MB of files into avi (over an extremely slow internet connection), the software refuses to center the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I first started it, the video was centered on the preview screen just as it should. I think I clicked on add title, and now the video is pinned to the upper left corner, leaving a black screen in the middle. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/KDc4v.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone ever experienced this issue? There seems to be little to no solution to be found online.&lt;/p&gt;&#xA;" OwnerUserId="6458" LastActivityDate="2014-11-01T13:31:06.393" Title="Microsoft Movie Maker Not Centering Video on Preview Screen" Tags="|windows-movie-maker|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12592" PostTypeId="2" ParentId="12587" CreationDate="2014-09-09T06:51:05.640" Score="-2" Body="&lt;p&gt;There might be a technical limitation: The CCD sensor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the CCD is not square, a mechanism needs to be created so that it is always stabilized to the ground level (something more elaborated but like the naval compasses that keep their horizontal level no matter the sea waves).&#xA;If it is not the CCD, then there should be a window that makes the 16:9 or whatever aspect ratio that the camera offers to limit the CCD sensor reception area, and in this case that window is what needs to move or part of the captured image is discarded to adjust that image to the aspect ratio. &#xA;The truth is that I'm more inclined to not squared CCD sensors, otherwise part of the CMOS memmory will be lost which is a waste of money, and in that case seems more logical to have a squared picture or movie that you can modify to the aspect ratio you like (being you the one that discards the part of the video to match the aspect ratio).&lt;/p&gt;&#xA;" OwnerUserId="6210" LastActivityDate="2014-09-09T06:51:05.640" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="12593" PostTypeId="2" ParentId="12566" CreationDate="2014-09-09T08:20:12.967" Score="8" Body="&lt;p&gt;&lt;p&gt;Just to add to the previous responses: While there's nothing quite like Git for the video world, there are Digital Asset Management/Media Asset Management tools that can more or less do the same thing - version control and permission/user management (they also do a lot more, as they're really built as libraries for your media). For years, I used Apple's Final Cut Server app (now obsolete) that integrated with the Final Cut Suite (Final Cut Pro 7, Soundtrack Pro, etc) in a small post facility. &lt;/p&gt;We used it for version control and branching on project files, which allowed multiple editors to work on a single project relatively seamlessly. Because this was an Apple product, it was designed to be used with Final Cut Pro and therefore could read and work with FCP project files very easily. Even given this, Final Cut Server's version control relied on saving previous versions of the entire project file, it didn't use diffs. I don't know of any DAM that does for the very reason that a previous answer already pointed out - there are way too many proprietary formats (even though, ironically, many of them now rely on XML as the backbone for those project file formats).&lt;/p&gt;&#xA;FCS was great because it was relatively affordable. There was never really anything analogous for Premiere Pro.&#xA;Nowadays, unfortunately, you'll need to hand out a nice chunk of change to get similar capabilities - mostly because these tools are really designed for post facilities, not a single editor. They also require potentially significant integration/setup. &lt;/p&gt;&#xA;Here are a few options (I have no relationships with any of these companies, this is based purely on my research looking for a similar solution):&lt;/p&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Cantemo: &lt;a href=&quot;http://www.cantemo.com/premiereprocs6.html&quot;&gt;http://www.cantemo.com/premiereprocs6.html&lt;/a&gt; &lt;/li&gt;&#xA;&lt;li&gt;CatDV:&#xA;&lt;a href=&quot;http://www.squarebox.com/&quot;&gt;http://www.squarebox.com/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6460" LastActivityDate="2014-09-09T08:20:12.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12594" PostTypeId="1" AcceptedAnswerId="12599" CreationDate="2014-09-09T08:24:29.130" Score="1" ViewCount="723" Body="&lt;p&gt;I currently have a bit of experience with Premiere Pro and Windows Movie Maker. What I'm looking for is a way to basically narrate a video in real time and pause it (hold the frame) whenever I want while narrating my way through it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/irB8eZJFc70?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is he manipulating the video while seemlessly narrating in real time like that?&lt;/p&gt;&#xA;" OwnerUserId="6459" LastActivityDate="2014-09-10T01:19:42.873" Title="Easiest way to narrate video with freeze frames etc.?" Tags="|video|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12595" PostTypeId="2" ParentId="12594" CreationDate="2014-09-09T11:41:12.183" Score="0" Body="&lt;p&gt;Thats not how you do it, you record a text and time your video cuts based on your voice over. Unless you stream live you dont do live editing while you do a voice over, its very impractical and makes your live a lot harder as you will not record a 5+ minute text in a single take and you will have to do everything over and over again instead of editing your video once.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-09-09T11:41:12.183" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12596" PostTypeId="1" AcceptedAnswerId="12605" CreationDate="2014-09-09T19:33:41.667" Score="2" ViewCount="150" Body="&lt;p&gt;I've read in several places that when shooting a video, white balance should be set manually (just like nearly every other parameter) on a DSLR which doesn't record videos in a raw format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While an histogram allows to determine with ease that exposure is set correctly, what about white balance? How can I be sure that it's correct?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Having a reference photo stored on a DSLR for comparison seems too overwhelming.&lt;/li&gt;&#xA;&lt;li&gt;Relying on my eyes (and a very reliable screen of my Nikon D7000) doesn't seem the ideal way to do it.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So how should it be done correctly?&lt;/p&gt;&#xA;" OwnerUserId="6250" LastEditorUserId="6250" LastEditDate="2014-09-10T21:37:48.343" LastActivityDate="2014-09-10T21:37:48.343" Title="How can I ensure the white balance is correct?" Tags="|dslr|color-correction|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12597" PostTypeId="1" AcceptedAnswerId="12604" CreationDate="2014-09-10T00:35:00.410" Score="3" ViewCount="157" Body="&lt;p&gt;I want to use an image under CC-ShareAlike in my video. The image has not been changed, however I have applied a slight zoom &amp;amp; pan motion to the image in the video. The video contains other images which either have expired copyright or are under CC but not share-alike. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use the image under CC-ShareAlike in my video, does that mean I have to make my video CC-SA as well?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks,&lt;/p&gt;&#xA;" OwnerUserId="6463" LastActivityDate="2017-10-04T03:22:39.733" Title="If an image under a CC-SA license gets used in video - must video be CC-SA?" Tags="|copyright|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12599" PostTypeId="2" ParentId="12594" CreationDate="2014-09-10T01:19:42.873" Score="0" Body="&lt;p&gt;Thunderf00t created that video in the following way;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;he wrote a script and then recorded his voice separately as a audio file&lt;/li&gt;&#xA;&lt;li&gt;After that, he probably edited that audio file to get rid of any mistakes, and mastered it to make it sound nice.&lt;/li&gt;&#xA;&lt;li&gt;He then imported that audio file to a video editor &lt;/li&gt;&#xA;&lt;li&gt;In the video editor he added 3rd party images and video to fit his voice over&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The video editing process is where the magic happens and is what makes the video so slinky. There are many how-to videos on youtube on the video editing proccess.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said, what you talk about in your question, reminds me of what TJ is doing on his drunken peasants channel/podcast where they play a video and pause it at curtain points to discuss whatever was in the video - all of this done in real time. In order to do that, you need to screen capture the video along with the audio of the video accompanied with your voice.&lt;/p&gt;&#xA;" OwnerUserId="6463" LastActivityDate="2014-09-10T01:19:42.873" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12600" PostTypeId="2" ParentId="12596" CreationDate="2014-09-10T03:14:09.083" Score="0" Body="&lt;p&gt;I will often shoot some short footage with a white, gray, and black card for reference. I then use my editor's color correction tools (the Color Board in FCPX, for example), to move the color of those cards to neutral.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-09-10T03:14:09.083" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12604" PostTypeId="2" ParentId="12597" CreationDate="2014-09-10T12:16:02.037" Score="3" Body="&lt;p&gt;Yes, that's the core condition of the CC-ShareAlike license. Any derivative or work that contains the image has to be distributed under the same license for the entire video. Even if you create a long video with only one image that is licensed under CC-SA, you will have to use the same license. Using a different license would be a violation to the terms of use. This makes it complicated to use videos and images that were distributed under diverse licences, which is the main disadvantage of the CC-SA license.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2014-09-10T12:16:02.037" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12605" PostTypeId="2" ParentId="12596" CreationDate="2014-09-10T16:33:23.627" Score="1" Body="&lt;p&gt;It depends on your camera.  Some cameras, like the Blackmagic cameras only let you guestimate.  In this case, you'll just have to know that the color temperature of an outdoor scene is closer to 5600K, warm tungsten light is closer to 3200K, etc.  Then, you'd adjust the image in post to make it more accurate.  Using an x-rite color chart with software like Davinci Resolve (free lite version) can speed, simplify, and improve your results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other Cameras, like the Canon 5D Mk II and III will let you place a white or grey card in front of the camera, snap a photo, and internally analyze the color.  I recommend consulting your camera's manual to see if it supports this functionality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if none of the above work for you, and you're looking for something like a histogram to analyze the color, you could look into &lt;a href=&quot;http://en.wikipedia.org/wiki/Vectorscope&quot; rel=&quot;nofollow&quot;&gt;vectorscopes&lt;/a&gt; and &lt;a href=&quot;http://en.wikipedia.org/wiki/Waveform_monitor&quot; rel=&quot;nofollow&quot;&gt;waveform monitors&lt;/a&gt;.  Hardware versions can be pricey, but cheap software versions are available.  &lt;a href=&quot;http://www.divergentmedia.com/scopebox&quot; rel=&quot;nofollow&quot;&gt;Scopebox&lt;/a&gt; is a good one for mac.  Maybe someone can comment on a good PC one.  With this solution, you will need a hardware device to convert your video signal to something your computer can read (HDMI to Firewire, SDI to Thunderbolt, Composite to PCIe, for example).  To be clear, this is just a &lt;em&gt;monitoring&lt;/em&gt; solution.  In other words, a vecrorscope/ waveform monitor won't change the color of the signal, but it will let you adjust it accurately at the camera, much like you would use your camera's histogram to set exposure.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2014-09-10T16:41:10.757" LastActivityDate="2014-09-10T16:41:10.757" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12606" PostTypeId="1" AcceptedAnswerId="12608" CreationDate="2014-09-10T22:40:29.213" Score="3" ViewCount="508" Body="&lt;p&gt;First of all, is the technique called &quot;resampling&quot; ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does youtube make live resampling for every user ? Isn't it too cpu costly ? So far what i know about codecs is that it has to go through many encoding steps ( compression, motion prediction etc etc ). All this things happens live ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or it encode and save different video files for different bitrate, so that when a user changes bitrate it servers that file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Isn't that a disk space destroyer too ?&lt;/p&gt;&#xA;" OwnerUserId="6470" LastActivityDate="2014-09-11T14:06:03.423" Title="Does youtube store different video files for different bit rate?" Tags="|video|codec|streaming|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12607" PostTypeId="1" CreationDate="2014-09-10T23:57:42.020" Score="2" ViewCount="75" Body="&lt;p&gt;I am a long time still photographer beginning to work in video. I understand lighting pretty well, but what i am having trouble getting a hold of is the output level (wattage?) I will need for shooting various projects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the most part, I am looking only to light smaller 'sets'. What I am faced with is figuring out how to gauge continuous lighting rigs so that I am not having to return items a few times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a small group of 5 or 6 people in a setting (couch and a few chairs) which I am shooting from a couple of fixed points about 5 or 6 feet from the subjects and a main shot from 10 or 12 feet away.  I need to keep the lighting out of the frame for the main camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a single key light, what kind of output would i need in order to achieve 'ordinary' video set lighting (ordinary meaning: not dramatic or artistic, just an 'expected' interview lighting level? &lt;/p&gt;&#xA;" OwnerUserId="5830" LastEditorUserId="2836" LastEditDate="2014-09-21T18:36:09.137" LastActivityDate="2014-09-21T18:47:32.580" Title="video lighting output levels" Tags="|video|lighting|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12608" PostTypeId="2" ParentId="12606" CreationDate="2014-09-11T01:58:32.907" Score="3" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Does youtube store different video files for different bit rate?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Yes&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;is the technique called &quot;resampling&quot; ?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;No&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Does youtube make live resampling for every user ?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;No&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;All this things happens live ?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;No, not on youtube. But Yes on twitch.tv&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Or it encode and save different video files for different bitrate, so&#xA;  that when a user changes bitrate it servers that file.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Yes&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Isn't that a disk space destroyer too ?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Yes&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="4169" LastEditorUserId="4169" LastEditDate="2014-09-11T02:39:09.860" LastActivityDate="2014-09-11T02:39:09.860" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12609" PostTypeId="1" AcceptedAnswerId="12610" CreationDate="2014-09-11T03:16:44.840" Score="1" ViewCount="3105" Body="&lt;p&gt;I want to casual shooting (family, travels etc.), but I do not want to sacrifice the quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I buy a camera equipped with 4K shooting? Is it the right time to buy a 4K camera or should I buy a 1080p now and may be after 2-3 years I will buy 4K.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From my perspective, 4K is still not evolved, it will take another 3-4 years to reach its peak and that's when I think more and more cameras will be available with affordable price.&lt;/p&gt;&#xA;" OwnerUserId="6007" LastEditorUserId="6250" LastEditDate="2014-09-30T21:05:39.280" LastActivityDate="2014-10-23T00:19:14.380" Title="Is it right time to buy 4K video camera?" Tags="|video|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12610" PostTypeId="2" ParentId="12609" CreationDate="2014-09-11T11:55:52.633" Score="4" Body="&lt;p&gt;You will pay substantially more for a good 4k camera right now than you would for a good 1080p camera. Quality =/= resolution, there are phones that can shoot in 4k but the videos will look a lot worse than a 1080p video from a dedicated 1080p camcorder/dslr, the image quality depends on a lot of factors.&#xA;A bigger sensor for example has the ability to capture a lot more light and have much more accurate colors than a tiny sensor that only captures very few photons per pixel.&#xA;The video compression used by the camera is also a big factor, even with h264 there can be huge quality differences between cameras depending on the encoding settings of the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question you should also ask yourself, what do you get from a 4k resolution when you mostly shoot things that are meant to be memories that you don't already get with 1080p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My advise would be to not think about 4k and look for a nice 1080p camera. Even in commercial video there is not that much to gain with 4k video right now and probably not even in the future, we are reaching resolutions that don't necessarily improve the image quality for every content. It really depends on what you shoot and most importantly how big your screen is and how far you sit away from it. Right now there are quite a few living room configurations where its already hard for a lot of people to tell the difference between 1080p and 720p.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-09-13T12:23:16.497" LastActivityDate="2014-09-13T12:23:16.497" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12611" PostTypeId="2" ParentId="12606" CreationDate="2014-09-11T14:06:03.423" Score="1" Body="&lt;p&gt;Just to add a little bit more info to SlimSCSI's straight up answer.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Does youtube store different video files for different bit rate?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yes and no, for the 1080p stream YouTube utilizes a technique called &lt;a href=&quot;http://en.wikipedia.org/wiki/Dynamic_Adaptive_Streaming_over_HTTP&quot; rel=&quot;nofollow&quot;&gt;DASH&lt;/a&gt;. This serves essentially a video that was encoded with several different bitrates (though its one file) and adapts the bitrate on the fly according to bandwidth capabilities on the user side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is not true for any other resolution lower than 1080p.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Isn't that a disk space destroyer too?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It does use up more disk space but disk space is very cheap nowadays.&#xA;Destroyer? No, the increase in size is not that huge as the higher bitrate streams can &quot;share&quot; information with the lower bitrate ones.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-09-11T14:06:03.423" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12613" PostTypeId="1" AcceptedAnswerId="12614" CreationDate="2014-09-11T22:44:37.433" Score="2" ViewCount="964" Body="&lt;p&gt;I've used a document camera for capturing handwritten lectures. To be more specific I solve exercises for my students by writing on a blank sheet of paper while explaining. So far I've been using an auditorium for this, but I'd like to do the same in my office. Thus, I need a webcam which I can mount above my desk. The biggest problem is budget, and that I work only on Macs (few webcams support OS 10.9. I've been searching for webcams and there are only a few 1080p HD cams available in nearby stores. But would a 720p HD camera be ok?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would the experts recommend?&lt;/p&gt;&#xA;" OwnerUserId="6475" LastActivityDate="2014-09-11T23:35:07.557" Title="Resolution for webcam for recording lectures when writing on paper?" Tags="|mac|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12614" PostTypeId="2" ParentId="12613" CreationDate="2014-09-11T23:35:07.557" Score="3" Body="&lt;p&gt;For online delivery and viewing on laptops/tablets, 720P should be sufficient for capturing the entire sheet in a legible way, but resolution isn't the only factor to consider...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A 1080P camera would capture higher-resolution images, but a 1-hr lecture at that size would probably result in a file size around 1GB. Assuming the intended delivery is online, the resolution/quality should probably be reduced anyway for ease of viewing/upload/download - the benefits of a better camera would likely be lost.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd also suggest that proper lighting &amp;amp; contrast are greater concerns than camera resolution. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A webcam may have issues if the room is too dark, or if the paper is too brightly illuminated (or not illuminated enough). Similarly, a black marker would be much more legible than, say, a ballpoint pen, but you can't fit as much writing on the page.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Exposure/contrast would also vary depending on if you only intend to include the white paper/writing in the frame, or yourself lecturing as well. This would be the 1 area where  resolution might matter - how much of the screen is actual writing? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd recommend buying the (presumably cheaper) 720p one at a store with a 30-day return policy &amp;amp; do some test lessons in the actual environment. Play with lighting, camera position, etc. If students are happy viewing them, you're all set. If not, try 1080p :)  &lt;/p&gt;&#xA;" OwnerUserId="6476" LastActivityDate="2014-09-11T23:35:07.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12615" PostTypeId="2" ParentId="12609" CreationDate="2014-09-12T00:24:55.813" Score="2" Body="&lt;p&gt;I agree with your assessment that 4K isn't ready (or affordable) yet. Consider what you want to shoot, and what you're willing to carry around to do so. Then find a 1080P camera within your budget. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As already stated, the total resolution isn't as important as the sensor size/quality, lens quality, in-camera compression (the less the better), and stability/ease of use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A benefit of 4K: you can zoom &amp;amp; crop a 4K wide shot to give you a close-up if you plan to output 1080p. Nice for commercial productions still outputting 1080p (capture establishing shot &amp;amp; zoomed shots simultaneously &amp;amp; blow things up w/o loss of quality)... But for family vacation movies &amp;amp; stuff it wouldn't serve much of a purpose unless you plan to edit the footage extensively.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also as alluded to in an earlier comment - what are you watching the video on? &#xA;There are very few 4K screens out there at the moment. You'd have to edit &amp;amp; reduce the resolution anyway in order to view it ... Or also buy a 4K TV and computer monitor in addition to the 4K camera. For that, you could buy a nice 1080p camera plus your kid's 1st semester of college :) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, capturing all the footage now &amp;amp; saving it until 4K is more widespread means having to store really large raw video files you can't watch at full-res in the meantime anyway. You'd also need to purchase more external hard drives, more memory cards, and probably a Blu-Ray burner with discs for backup. 3-4yrs from now that might not even be compatible technology.&lt;/p&gt;&#xA;" OwnerUserId="6476" LastActivityDate="2014-09-12T00:24:55.813" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12616" PostTypeId="1" AcceptedAnswerId="12617" CreationDate="2014-09-12T06:03:35.437" Score="3" ViewCount="1887" Body="&lt;p&gt;I am using Nikon D3200, I am trying to shoot a dark scene. The scene is so dark and there is minimal amount of light. I am shooting in manual mode and these are my settings. ISO 200, f/5.2, Shutter Speed 1/50.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With all these settings i am getting so much noise in the scene. Kindly tell me how to avoid noise in the Dark Scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Taha&lt;img src=&quot;https://i.stack.imgur.com/yGvJo.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6477" LastActivityDate="2014-09-13T11:31:54.160" Title="How to Record a Dark scene without any Noise?" Tags="|video|video-quality|dslr|video-recording|noise-reduction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12617" PostTypeId="2" ParentId="12616" CreationDate="2014-09-12T06:43:26.620" Score="7" Body="&lt;p&gt;With low light levels your brightest signal will be close to the noise floor, so you only really have three options:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a camera with better low light performance (although this can only take you so far)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;More expensive sensors can give a lower noise floor, allowing you to resolve more detail&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a faster lens&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;As Jason commented:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If the widest aperture on your kit lens is 4.0, then you could double the amount of light your camera sees by purchasing an f2.8. Every additional &quot;stop&quot; doubles the light, so if you could find an f1.0, you'd be getting 16 times the light that f4.0 allows.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;more light&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Your easiest option may be just to increase the illumination and then reduce brightness in post. Remember that if you do this, you also need to watch for shadows that look too sharp.&lt;/p&gt;&#xA;" OwnerUserId="674" LastEditorUserId="674" LastEditDate="2014-09-13T11:31:54.160" LastActivityDate="2014-09-13T11:31:54.160" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12618" PostTypeId="1" CreationDate="2014-09-12T09:03:09.843" Score="0" ViewCount="3892" Body="&lt;p&gt;My goal is to stream a dynamic playlist of video to Twitch.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is while I stream a file, I don't know which will be the next until the end of the current one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My playlist is a very simple queue in Redis.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My architecture is basically (pseudo code):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;loop&#xA;    $current = get_next_video_from_redis_queue()&#xA;    ffmpeg $current &amp;gt; twitch&#xA;end&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It works but my stream player stop/start/buffer between each video so I can't use it, I need to concat videos before streaming them but FFmpeg seems to not be able to do that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My new idea is to cheat:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg udp://127.0.0.1 &amp;gt; Twitch &amp;amp;&#xA;&#xA;loop&#xA;    $current = get_next_video_from_redis_queue()&#xA;    ffmpeg $current &amp;gt; udp://127.0.0.1&#xA;end&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It's seems to work but now I need a tons of tests and tunning to have something good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before I do that, there is a better way? Maybe with another software?&#xA;My only prerequisite is to create a software headless solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;--Nico&lt;/p&gt;&#xA;" OwnerUserId="6478" LastActivityDate="2022-11-16T13:54:29.013" Title="Stream a dynamic playlist to a RTMP server" Tags="|ffmpeg|streaming|rtmp|playlist|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12619" PostTypeId="1" CreationDate="2014-09-12T10:08:47.593" Score="1" ViewCount="627" Body="&lt;p&gt;I'm currently planning a live stream setup which has to include two commentators. This is a bit of a make shift / low budget production. Our setup will be&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Panasonic Mixer with 4 SD Inputs to pre-mix four cameras. The PGM will go into  &lt;/li&gt;&#xA;&lt;li&gt;Blackmagic TV Studio, for additional 2 Cameras + Titles&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The resulting PGM will go into the encoder to be streamed.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now those commentators need to hear the program audio, but not themselves. My first idea was to plug a de-embedder into the PGM output of the TV Studio, feed this audio to the commentators AND into an audio mixer to include the two microphones. The resulting audio will got to the encoder. But I'm pretty sure this will cause a delay through the mixers latency and audio will be out of sync, right?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best way to include the commentators AND get the &quot;clean&quot; audio for them? Remember the BM TV Studio has NO audio output. Only an audio input where I could feed the mics. But then I have no &quot;clean&quot; sound ...    &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone offer advice?     &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;br&gt;&#xA;thomas&lt;/p&gt;&#xA;" OwnerUserId="6479" LastActivityDate="2014-09-17T16:01:39.097" Title="Setup for including commentators in live stream (including monitoring)" Tags="|audio|live|latency|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12620" PostTypeId="2" ParentId="12619" CreationDate="2014-09-12T16:13:21.253" Score="2" Body="&lt;p&gt;When I first started doing this, I always thought it was better to give them &quot;clean&quot; audio as well. I've since figured out that they want to hear themselves. Also they want to hear each other, so really you do not want a separate feed for them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on what you are broadcasting, you may not even need the sound from the event.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only issue you're going to run in with a delay in the video to them commentating is if they are only using the video feed to do it, not the live event going on right there.&lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2014-09-12T16:13:21.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12621" PostTypeId="1" CreationDate="2014-09-12T23:41:10.627" Score="2" ViewCount="10129" Body="&lt;p&gt;I'm trying to use GoPro Studio to create a video that includes GoPro video as well as HD video from an iPhone.  GoPro Studio was not able to deal with the .MOV file from the iPhone (the audio was corrupted).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then used &lt;code&gt;avconv&lt;/code&gt; to convert the iPhone video to an .MP4 format file.  The audio now works properly, but GoPro Studio will not let me extract clips from it.  Specifically, the &quot;mark in&quot; and &quot;mark out&quot; buttons are disabled.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to convert iPhone videos into a format that's fully editable (and clippable) by GoPro Studio?  Or, is GoPro Studio (a free app) detecting the original source of the video, and only supporting videos from supported sources?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For additional info, here is the format of my converted file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avprobe version 9.16-6:9.16-0ubuntu0.14.04.1, Copyright (c) 2007-2014 the Libav developers&#xA;built on Aug 10 2014 18:16:02 with gcc 4.8 (Ubuntu 4.8.2-19ubuntu1)&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'IMG_0247.MP4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    creation_time   : 2014-09-01 23:25:15&#xA;    date            : 2014-09-01T19:25:15-0400&#xA;    encoder         : Lavf54.20.4&#xA;  Duration: 00:05:48.16, start: 0.000000, bitrate: 6423 kb/s&#xA;    Stream #0.0(und): Video: h264 (High), yuv420p, 1920x1080, 6243 kb/s, 29.98 fps, 29.98 tbr, 782775.00 tbn, 59.96 tbc&#xA;    Metadata:&#xA;      creation_time   : 2014-09-01 23:25:15&#xA;    Stream #0.1(und): Audio: aac, 44100 Hz, mono, fltp, 175 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2014-09-01 23:25:15&#xA;# avprobe output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6480" LastEditorUserId="636" LastEditDate="2020-07-12T20:31:53.657" LastActivityDate="2020-07-12T20:31:53.657" Title="Using GoPro Studio to edit non-GoPro videos" Tags="|video|mp4|software|gopro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12622" PostTypeId="1" AcceptedAnswerId="12623" CreationDate="2014-09-13T22:30:27.507" Score="0" ViewCount="271" Body="&lt;p&gt;I would like to videotape my professors' lectures much like others record the audio from the lectures. Of course I don't want to be a nuisance for my other classmates, so I'm wondering what my best bet would be for recording decent video from a small profile camera. I'm considering buying a friend's &quot;old&quot; iphone 4s but I have no idea how it would cope resolution-wise, lens-angle-wise (I suspect I will need a wide-angle lens converter) battery-wise and memory-wise. The total run time will be at most two continuous hours and then I will transfer it to my netbook and recharge the iphone for the next lecture. Any ideas/suggestions/other camera suggestions?&lt;/p&gt;&#xA;" OwnerUserId="6483" LastActivityDate="2014-09-14T00:20:26.420" Title="Small profile camera for recording a lecture (from a student's seat)" Tags="|camera|iphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12623" PostTypeId="2" ParentId="12622" CreationDate="2014-09-14T00:20:26.420" Score="0" Body="&lt;p&gt;Since your camera will have a fixed position and you will be filming under stable lighting conditions, you don't need a fancy camera. An iPhone will do fine, the results will be satisfactory. Since a lecture isn't really about beautiful pictures anyway, I wouldn't put to much thought into it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if you want to invest some money in a fair camera, I would probably go for a Sony Camcorder, e.g. the Sony HDR-CX330. Those offer a good compromise between usability, recording quality and price. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, what is really important is the micro. If you use the micro of the camera, the audio will completely suck, no matter which camera you chose. Make sure to get a decent micro, rather than an expansive camera!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And of course, although you are probably aware of that: You need to ask your professor for permission ;)&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2014-09-14T00:20:26.420" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12624" PostTypeId="1" AcceptedAnswerId="12633" CreationDate="2014-09-14T01:56:47.957" Score="0" ViewCount="124" Body="&lt;p&gt;I'm running an event next weekend and I'm in crunch time with planning. I've done dozens of these events but this is the first time I'm travelling so far to do it and with the clients equipment. I was thinking about purchasing a hyperdeck and a couple of 512mb ssds to record our event and make sure I've got a good high res version of the program feed. I've not used one and I'm wondering if I'm going to run in to any issues with recording in DNxHD on the device then editing on my win7 edit bay in premiere. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was thinking about taking my atem studio to use a mixer (we're doing 2 or 3 cams and they already have an edirol hd mixer) then running program out of it, in to the hyperdeck to record, out of that in to my computer for final edit with wirecast and archiving it there and also putting it up on the video screen. Final destination is the web.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I add the live audio to the hyperdeck feed to archive as well?&lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2014-09-15T21:12:58.657" Title="Blackmagic Hyperdeck Recorder?" Tags="|live-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12625" PostTypeId="1" CreationDate="2014-09-14T08:03:20.647" Score="1" ViewCount="90" Body="&lt;p&gt;I had this idea for an effect and I wanted to know if something like this has been done and if so how to do it:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Goal:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want a lighting effect for an action scene where I will have an area start lighting up, while I would like to simultaneously have another area start darkening in a similar manner, all in a (relatively) lit environment. I want an effect that looks basically in all ways like a light, but its something like a black-colored light that paints its surrounding black in a light-like way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Idea:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically I wanted to know if there is any way I can do some kind of post processing where I can use an LED as a green screen of sorts for the darkening effect. So wherever the LED is shining more or less maps to some kind of darkening effect/transformation.&lt;/p&gt;&#xA;" OwnerUserId="6057" LastActivityDate="2014-09-17T15:34:43.413" Title="Special effects/post processing to make a black-colored light" Tags="|lighting|special-effects|greenscreen|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12627" PostTypeId="1" AcceptedAnswerId="12692" CreationDate="2014-09-14T15:10:14.363" Score="2" ViewCount="2552" Body="&lt;p&gt;I'm building a new media site and I'm taking cues from YouTube for which video file formats I should offer for widespread usability among mobile and desktop clients.  I'm doing all transcoding using &lt;code&gt;ffmpeg&lt;/code&gt;.  My trouble is that YouTube's .3gp files have a Codec ID of &quot;3gp6&quot;, a Video Format of &quot;MPEG-4 Visual&quot;, and a Video Format Profile of &quot;Simple@L1&quot; (using &lt;code&gt;mediainfo&lt;/code&gt; to interrogate the files.) I can't figure out which &lt;code&gt;ffmpeg&lt;/code&gt; settings I can use to reproduce this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use &lt;code&gt;-vcodec libx264 -profile:v baseline -level 1&lt;/code&gt; in my &lt;code&gt;ffmpeg&lt;/code&gt; command, then the file comes out with the right Codec ID, but the Video Format is &quot;AVC&quot; and the Profile is &quot;Baseline@L1.0&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, if I use &lt;code&gt;-vcodec mpeg4 -profile 0 -level 1&lt;/code&gt;, then the Video Format and Profile are correct, but the Codec ID is &quot;3gp4&quot; instead of &quot;3gp6&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is, how can I use &lt;code&gt;ffmpeg&lt;/code&gt; to arrive at a Codec ID of 3gp6 along with a format of MPEG-4 Visual and a profile of Simple@L1?  I've been unsuccessfully Googling and experimenting on this for hours.&lt;/p&gt;&#xA;" OwnerUserId="6423" LastActivityDate="2014-09-25T19:04:43.330" Title="YouTube 3gp encoding settings" Tags="|ffmpeg|youtube|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12628" PostTypeId="2" ParentId="12627" CreationDate="2014-09-14T17:45:32.020" Score="4" Body="&lt;p&gt;Why would you want your videos in the .3gp container to begin with? Its a very irrelevant format nowadays, there is practically no device that supports the 3gp container but not MP4 at the same time. Its nothing but a close derivative of MP4, they are very similar container formats holding the same codec. If you want to support a lot of devices using h264 in the mp4 container opens your website up to the majority of mobile an desktop devices, in addition vp8/webm offers compatibility to open source software that can't afford h264 license or doesn't want to use h264. With these two formats you are covering every relevant market.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://caniuse.com/#feat=mpeg4&quot; rel=&quot;nofollow&quot;&gt;http://caniuse.com/#feat=mpeg4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://caniuse.com/#feat=webm&quot; rel=&quot;nofollow&quot;&gt;http://caniuse.com/#feat=webm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3gp is a depricated format for legacy phones, long before the Android and iOS era when YouTube was new and started to add a bit of mobile support and its nearly identical with MP4, some manufactures even name their 3gp files with the .mp4 extension (&lt;a href=&quot;http://en.wikipedia.org/wiki/3GP_and_3G2#Technical_details&quot; rel=&quot;nofollow&quot;&gt;wiki&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also note that having your files have the same meta information as those from YouTube is not an indicator if they are compatible or not, YouTube uses a different encoder than you and the encoder will write different information than x264 in ffmpeg. If your file meets the specs of a certain format than its compatible, easy as that.&#xA;If you want to go sure you don't use any fancy format features just use a low profile (e.g. baseline in the case of h264) to ensure compatibility with virtually any device, the lower the profile the less features are allowed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you REALLY need to use 3gp you can specify the container with the option &lt;code&gt;-f 3gp&lt;/code&gt;. Using the BaseLine 1 profile is absolutely suffice.&#xA;Using a ffmpeg commandline like the following will get you what need:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf scale=320:240 -vcodec mpeg4 -acodec aac -strict -2 -f&#xA;3gp output.3gp&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note the usage of &lt;code&gt;mpeg4&lt;/code&gt; instead of libx264. The &lt;code&gt;mpeg4&lt;/code&gt; encoder is the Mpeg4 Part 2 codec also known as h263. Again, extremely few devices nowadays do not support h264 and I can only advice to support h263 in the 3gp container when you are in dire need to do so or have an extremely large user base that ranks in the tens of millions of users.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Having 3gp6 instead of 3gp4 is irrelevant, you are targeting old devices so using the newest version of the standard doesn't make much sense. FFmpeg will use the 3gp6 container only when using the also newer codec h264 which release 6 is also meant for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here and excerpt from the 3gpp v6 standard:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Specific MBMS Rel-6 application codecs are introduced, like for example audio codecs Extended AMR-WB (AMR-WB+), Enhanced aacPlus and video codec H.264/AVC.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So unless you use h264, there is no need for using Release 6 and you can stick with Release 4 without running into any issues.&#xA;The opposite is actually the case, the older the version the more old devices you will support.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-09-14T20:19:10.257" LastActivityDate="2014-09-14T20:19:10.257" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12631" PostTypeId="1" CreationDate="2014-09-15T20:36:58.587" Score="1" ViewCount="314" Body="&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/59Qfo.png&quot; alt=&quot;Screenshot of button editing&quot;&gt;&#xA;Above is the Screenshot of the results of adding new buttons using the the Premiere CC button editor. For the life of me I cannot get these buttons to align to center or align to anything at all. It's just arbitrarily looking like crap.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any tips?&lt;/p&gt;&#xA;" OwnerUserId="6493" LastActivityDate="2014-09-15T21:01:40.680" Title="Premiere CC Button Editor Unaligned" Tags="|premiere|adobe|cc-2014|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12632" PostTypeId="2" ParentId="12631" CreationDate="2014-09-15T21:01:40.680" Score="1" Body="&lt;p&gt;Buttons will automatically allign to other button ontop or under existing buttons.&#xA;Right now they are not aligned because you are missing a spacer after the first two button in the bottom row. Or remove the spacer in the top row by dragging it into the editor window.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/U81ve.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-09-15T21:01:40.680" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12633" PostTypeId="2" ParentId="12624" CreationDate="2014-09-15T21:12:58.657" Score="0" Body="&lt;p&gt;As long as your audio is coming over HDMI/SDI with your video stream there is nothing you have to do to record audio aswell. If audio is coming in separately you will want to use an HDMI audio injector or a more expensive SDI audio injector depending on what you use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And no, there is nothing holding you back of using the hardware in the way you intend to. Though with every new hardware you take to live events, do a dry run before actually using it live and before driving to the event, or you can end up with a nasty surprise.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-09-15T21:12:58.657" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12634" PostTypeId="1" AcceptedAnswerId="12653" CreationDate="2014-09-15T21:22:40.963" Score="3" ViewCount="3000" Body="&lt;p&gt;I'm trying to come up with a workflow to take completed short films, and split them up into individual files based on where each shot that makes up the film starts and ends.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've used the scene detection feature in Adobe SpeedGrade to figure out where shots should start and end, but I'm having trouble taking that information and actually rendering out individual shots based on it. I had expected to be able to bring this info back into Premiere Pro using an EDL (Edit Decision List) but none of the &quot;cuts&quot; that SpeedGrade marked seem to be reflected when I try this. Either I'm doing something wrong or Premiere/SpeedGrade can't support this sort of workflow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also to keep in mind, this is expected to be a repetitive process, and I'm developing this workflow for people who may be inexperienced in video editing, so it really should be automated as much as possible. Manually entering the start and end times of each shot isn't really a viable option because it would be ridiculously time consuming, even after SpeedGrade determines these times. &lt;/p&gt;&#xA;" OwnerUserId="6494" LastEditorUserId="9268" LastEditDate="2015-03-09T10:01:02.367" LastActivityDate="2015-03-09T10:01:02.367" Title="Split one video file into small files made up of its scenes" Tags="|premiere|editing|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12635" PostTypeId="2" ParentId="12634" CreationDate="2014-09-15T21:30:41.763" Score="0" Body="&lt;p&gt;Check out the &lt;a href=&quot;http://stumaschwitz.com/store/dvrg&quot; rel=&quot;nofollow&quot;&gt;DV Rebel Tools&lt;/a&gt; by Stu Maschwitz. It comes with a script for AE to split a single video file into layers based on scene changes. From AE, you should be able to send this to premiere pro for mastering individual layers. &lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2014-09-15T21:30:41.763" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12637" PostTypeId="2" ParentId="12582" CreationDate="2014-09-16T15:52:27.680" Score="1" Body="&lt;p&gt;If I understand correctly, you don't want to change &quot;keyframes,&quot; you want to reverse the order of the images, so that the ones on the top of the stack appear first, followed by the ones below. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Easiest option: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Delete the images &amp;amp; comp&lt;/li&gt;&#xA;&lt;li&gt;Reimport by selecting only the 1st image, and make sure to check the box for &quot;image sequence&quot; this should grab all of them in the correct order &amp;amp; make a comp of the group.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Alternative to avoid reimporting: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select all the layers, from top to bottom. &lt;/li&gt;&#xA;&lt;li&gt;Hit &quot;Home&quot; to move the Current Time Indicator to 0:00:00&lt;/li&gt;&#xA;&lt;li&gt;Hit &quot;[&quot; to reset the start of all layers to 0:00:00&lt;/li&gt;&#xA;&lt;li&gt;With all layers still selected, Right-Click the timeline&lt;/li&gt;&#xA;&lt;li&gt;Choose &quot;Keyframe Assistant&quot;&lt;/li&gt;&#xA;&lt;li&gt;Choose &quot;Sequence Layers&quot;. Leave &quot;overlap&quot;unchecked. &lt;/li&gt;&#xA;&lt;li&gt;Hit Enter&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The layers should now be sequenced from top to bottom, the next one starting exactly where the previous one ends. &lt;/p&gt;&#xA;" OwnerUserId="6476" LastActivityDate="2014-09-16T15:52:27.680" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12638" PostTypeId="2" ParentId="12625" CreationDate="2014-09-16T20:00:01.337" Score="0" Body="&lt;p&gt;One option, similar to what you're describing: use a green spotlight. In post production, create a chromakey using that color green.  You can then replace it with black, dark gray, or any color you want. It will work best on white walls and clothes, and not very well when it's over something that changes its color (like a purple shirt or a vase of orange flowers). But even that might still produce a cool effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on the effect you want, you also might animate (in post production) a &quot;beam&quot; that leads to the patch of darkness.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastEditorUserId="5546" LastEditDate="2014-09-16T23:26:26.010" LastActivityDate="2014-09-16T23:26:26.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12640" PostTypeId="2" ParentId="12625" CreationDate="2014-09-16T23:25:08.303" Score="1" Body="&lt;p&gt;I've got another idea, but it's a little kooky.  You light the WHOLE SCENE with spotlights - the fewer the better.  On the key spotlight, you add a gel that has an opaque black circle on it.  Then as you move that around, that section of darkness will pass over parts of the set/props/actors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a more focused spot, you could use a bright digital projector to project the image of a black circle on a white field.  Focus it based on the parts of the scene you're moving it across.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-09-16T23:25:08.303" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12641" PostTypeId="2" ParentId="3230" CreationDate="2014-09-17T00:04:42.123" Score="-1" Body="&lt;p&gt;It might also be that your project is set at 16-bit, but your photography is in 8-bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can change the bit in project settings or at the bottom of the Project folder to the left of the UI.&lt;/p&gt;&#xA;" OwnerUserId="6498" LastActivityDate="2014-09-17T00:04:42.123" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12642" PostTypeId="2" ParentId="12625" CreationDate="2014-09-17T02:24:12.460" Score="1" Body="&lt;p&gt;What you're talking about is essentially a negative light. (There's a scene in the Simpson's where Moe doesn't want his fancy customers seeing Homer and the guys, so he unscrews a lightbulb and it casts negative light over them, leaving them in total blackness.) Unfortunately, they don't exist in real life. So your options are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Light things in such a way that the area you want to be black is not lit (either directly or by reflections)&lt;/li&gt;&#xA;&lt;li&gt;Use CGI for the various elements and use negative lights to light the &quot;black&quot; ones. I believe most 3D packages will allow this, even though there's no real-world analog&lt;/li&gt;&#xA;&lt;li&gt;Film the two parts separately and use post production compositing techniques to mix them together with the appropriate lighting&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-09-17T02:24:12.460" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12644" PostTypeId="2" ParentId="12625" CreationDate="2014-09-17T15:27:11.517" Score="1" Body="&lt;p&gt;Fake it.  Use your preferred compositing application to turn down the exposure value over a specified region.  For example, if you're talking about a round spotlight affecting a flat region, create an appropriately shaped ellipse, feather it to taste, and turn down the exposure.  If instead you're talking about volumetric lighting (like shining a light through fog or smoke), you'd use a cone shape, again feathered appropriately.  If your light/darkness cone intersects objects at various distances, you'll need to model those shapes in a 3d app, matchmove the camera, and use the volumetric light source from the 3d app as your exposure mask in your compositing app.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you'd rather not fake it, then you're limited to the real world behavior of light.  In real life, &quot;negative light&quot; is shadow.  So the trick is casting shadows where you want your negative light to appear.  If it's important that your negative light appears as a beam, you'll need to introduce particles such as fog or smoke into the atmosphere, and as brettfromLA pointed out, use a &quot;black circle&quot; to mask out your beam.  In lighting parlance, these optical elements are usually called &lt;a href=&quot;http://en.wikipedia.org/wiki/Gobo_(lighting)&quot; rel=&quot;nofollow&quot;&gt;gobos&lt;/a&gt;.  I would guess that a single diffuse light source with a gobo would work better than brettfromLA's suggestion, though.  Maybe a single china ball with a gobo, but this would definitely require some experimentation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Remember, darkness is just a relative lack of brightness.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2014-09-17T15:34:43.413" LastActivityDate="2014-09-17T15:34:43.413" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12645" PostTypeId="2" ParentId="12619" CreationDate="2014-09-17T16:01:39.097" Score="0" Body="&lt;p&gt;I would recommend to make some changes in your system:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;add some sound mixer to mix all the mics and create 'intersound'&#xA;signal  &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;add a commentators unit for 2-3 commentators and/or guest - it will&#xA;solve most of you problems, there are many models from Glensound,&#xA;Sonofex, CTP and others &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;combine intersound with commentators' mix to create 'program sound'&lt;br&gt;&#xA;using the same audio mixer&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;connect it to BM TV Studio audio input, analog-to AES converter may&#xA;be required because   BM's device has no analog audio inputs, only&#xA;unbalanced AES one.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Combined sound to be embedded into program output using built-in audio embedder. In the simplest case you just can mix sound from commentators unit with camera mics in BM TV Studio.&lt;/p&gt;&#xA;" OwnerUserId="2773" LastActivityDate="2014-09-17T16:01:39.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12646" PostTypeId="1" CreationDate="2014-09-17T17:31:05.260" Score="1" ViewCount="8967" Body="&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/6B2bJ.png&quot; alt=&quot;Time Ruler&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that &lt;kbd&gt;Cmd&lt;/kbd&gt; clicking on the &lt;strong&gt;time stamp&lt;/strong&gt; in the left corner alternates between frames and seconds, but why are my seconds displayed like this? every other screen of the app I've seen with other users (on youtube tut's) it's a much more understandable 01s...02s....03s etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks! &lt;/p&gt;&#xA;" OwnerUserId="6497" LastEditorUserId="6685" LastEditDate="2016-01-06T20:20:57.317" LastActivityDate="2017-11-21T19:07:04.460" Title="Why is my Time Ruler in After Effects displaying seconds like this?" Tags="|after-effects|timecode|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12647" PostTypeId="1" AcceptedAnswerId="12651" CreationDate="2014-09-17T19:30:59.047" Score="3" ViewCount="131" Body="&lt;p&gt;In &lt;em&gt;In the blink of an eye&lt;/em&gt; book (page 6), Walter Murch explains that displacements at the moment of the cut should be either &lt;em&gt;subtle&lt;/em&gt; or &lt;em&gt;total&lt;/em&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;What we &lt;em&gt;do&lt;/em&gt; seem to have difficulty accepting are the kind of displacements that are neither subtle nor total: Cutting from a full-figure master shot, for instance, to a slightly tighter shot that frames the actors from the ankles up. The new shot in this case is different enough to signal that &lt;em&gt;something&lt;/em&gt; has changed, but not different enough to make us re-evaluate its context: The displacement of the image is neither motion nor change of context, and the collision of these ideas produces a mental jarring—a jump—that is comparatively disturbing.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;As I understand it, all following cuts are total, right?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;A cut from a person walking down the street to the same person leaving the elevator and walking to the door of his flat,&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;A cut from a person walking down the street to the same person turning at the corner of the same street,&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;A cut from a person walking down the street with the camera showing him from the front to the same person on the same street with the camera from behind,&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;But then, what exactly is a subtle displacement? A displacement which is neither subtle nor total?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would a cut from a 35mm shot of a house with a person in front of it to a 50mm shot of the same house and the same person will be considered as a subtle displacement?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't recall seeing any subtle displacement in movies. Are they used at all? Are there any well-known examples of such cuts?&lt;/p&gt;&#xA;" OwnerUserId="6250" LastActivityDate="2014-09-18T01:21:23.843" Title="What is a subtle displacement at the moment of the cut?" Tags="|editing|post-production|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12648" PostTypeId="1" CreationDate="2014-09-17T23:11:07.597" Score="3" ViewCount="171" Body="&lt;p&gt;I am looking for a piece(s) of software that can cut bulk videos into pieces and compress them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So say I have 10 videos each 20 min, I would like to make a setting 5 min and the output would be  1 full compressed video and 4 cut compressed videos for each video for a total of 50 files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything out there that does this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: i forgot to mention that adding a watermark to them all would be great also.&lt;/p&gt;&#xA;" OwnerUserId="6501" LastEditorUserId="6501" LastEditDate="2014-09-17T23:16:49.200" LastActivityDate="2014-10-18T00:42:14.867" Title="Bulk cutting and compression" Tags="|editing|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12649" PostTypeId="2" ParentId="12648" CreationDate="2014-09-18T00:26:12.120" Score="2" Body="&lt;p&gt;You would use &lt;a href=&quot;https://www.ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; for that.&#xA;It requires that you are a bit familiar with using command line applications but even if you are not its really not complicated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The things you want to do have been covered in these questions (and probably others):&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/11969/why-does-quality-degrade-so-much-if-just-cutting-video-with-ffmpeg&quot;&gt;Why does quality degrade so much if just cutting video with ffmpeg?&lt;/a&gt; (different topic but the answer tells you exactly the two ways to cut in ffmpeg, the re-encoding one is the one you want).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/12105/add-an-image-in-front-of-video-using-ffmpeg/12111#12111&quot;&gt;Add an image in front of video using ffmpeg&lt;/a&gt; (watermark)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you want to do is make 5 separate ffmpeg commands, 4 for your 5 minutes segments and one for your complete video.&#xA;Put those into a batch/shell/apple script depending on your OS and loop over your files replacing the input file name for each command set iteration.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-09-18T00:26:12.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12650" PostTypeId="2" ParentId="12646" CreationDate="2014-09-18T00:30:29.833" Score="4" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;I know that &lt;kbd&gt;Cmd&lt;/kbd&gt; clicking on the time stamp in the left corner alternates between frames and seconds:&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Thats exactly whats happening here.You switched to frames so After Effects is showing the frame count instead of a second count. Do a &lt;kbd&gt;Ctrl&lt;/kbd&gt; / &lt;kbd&gt;Cmd&lt;/kbd&gt; click on the &lt;strong&gt;time stamp&lt;/strong&gt; and you will get seconds:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ajEKM.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ajEKM.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To see &lt;em&gt;all time values&lt;/em&gt; in the timeline simply drag the &lt;strong&gt;zoom slider to the right&lt;/strong&gt; &lt;em&gt;or&lt;/em&gt; use &lt;kbd&gt;Alt&lt;/kbd&gt; and the &lt;strong&gt;mousewheel&lt;/strong&gt; in order to 'zoom in':&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WOg7B.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WOg7B.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="6685" LastEditDate="2016-01-06T20:49:27.363" LastActivityDate="2016-01-06T20:49:27.363" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12651" PostTypeId="2" ParentId="12647" CreationDate="2014-09-18T01:21:23.843" Score="1" Body="&lt;p&gt;Subtle cuts are cuts that are blended such that you don't notice they are occurring.  They are the hardest type of cuts to pull off.  You can do them during a quick pan or if you have a near stationary scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The key point that Walter Murch is getting at is that jump cuts, cuts where the viewer is jarred in to noticing the cut, should generally be avoided as they break continuity.  As with any guideline, there are exceptions and in some situations you may want to intentionally jar the audience, but generally, you avoid it by either having a major change in context or angle or you blend it so smoothly that the cut is not noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a great example of a subtle cut, look at the boat sinking sequence used frequently in the TV show Arrow (available on Netflix).  There is a shot where they go from being in a cabin there is a whoosh of water as the girl is washed out of the boat and then we are looking at a shot from outside.  While there is no clear cut, a transition was made (though in this case it could also be a total cut as there is a context shift).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may also occasionally notice subtle cuts in documentaries when the editor is able to make a cut between takes where the speaker's head was positioned in the same spot and so you don't actually particularly notice that an edit was made.  These are only possible when the situation lends itself perfectly to such an edit, but it can sometimes be done.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-18T01:21:23.843" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12652" PostTypeId="1" AcceptedAnswerId="12654" CreationDate="2014-09-17T20:57:51.453" Score="3" ViewCount="904" Body="&lt;p&gt;I am trying to make something I've seen on the local new in the after effects. Now, let's say there's a large picture that has text on it &quot;WBC&quot; or something like that and those letters, when zoomed in are made of smaller pictures. I made the large image in Photoshop and it's pretty decent looking but I can't seem to figure out a way to create this tessellation animation that is probably simple since it revolves mainly around zooming in and moving around but I am a novice in After Effects so i need your help. Thanks ;)&lt;/p&gt;&#xA;" OwnerUserId="6515" OwnerDisplayName="Irrational" LastEditorUserId="2836" LastEditDate="2014-09-18T16:20:28.193" LastActivityDate="2014-10-07T21:31:03.010" Title="Tessellation-like animation in after effects" Tags="|after-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12653" PostTypeId="2" ParentId="12634" CreationDate="2014-09-18T14:12:46.480" Score="1" Body="&lt;p&gt;Here's the workflow I decided to use. It's a little slower than what I had hoped, but it seems to fit my needs.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Convert videos into MOV or AVI&lt;/li&gt;&#xA;&lt;li&gt;Import into SpeedGrade&lt;/li&gt;&#xA;&lt;li&gt;Run Scene Detect&lt;/li&gt;&#xA;&lt;li&gt;Manually confirm correct scene detection.&lt;/li&gt;&#xA;&lt;li&gt;Export each shot individually from Speed Grade&lt;/li&gt;&#xA;&lt;li&gt;Convert to a web-ready MP4 using Media Encoder (MP4 is required in my use case but it might not be in everyone's)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Some background--apparently EDL's with 'dumb cuts' (i.e. cuts where the video before and after the cut is from the same clip) aren't recognized in most video editors, so importing the EDL into premiere won't work for that reason.&lt;/p&gt;&#xA;" OwnerUserId="6494" LastActivityDate="2014-09-18T14:12:46.480" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12654" PostTypeId="2" ParentId="12652" CreationDate="2014-09-18T16:16:09.643" Score="2" Body="&lt;p&gt;The easiest way to do this is to sync the scaling and make a cross dissolve between them as you do the scaling.  You want it to fade fairly quickly as you work your way in.  One layer would be the many images in whatever arrangement you want, the other would be the overall logo.  This is also often the technique used for doing a smooth zoom in on a satellite image from a very high level to a lower level.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you time the fades right, it isn't that noticeable as you move to progressively more detailed images because the more detailed image is starting in while it is still small enough to not be distinguishable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To keep the sizes manageable, you may also have to do multiple images to transition through.  Don't bring one in to the timeline until the previous image is big enough that details of it will start being noticeable.  Also, be sure to remove the larger previous image from the timeline once the newer image completely covers it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-09-22T16:22:37.483" LastActivityDate="2014-09-22T16:22:37.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12656" PostTypeId="1" CreationDate="2014-09-18T16:38:01.380" Score="1" ViewCount="100" Body="&lt;p&gt;I know that man-hours are used as a unit to measure time in things like modelling and other work actually done by people, but I also hear man-hours used to refer to graphics rendering time.  How is that measured?  If a video takes 200 man-hours to render, for example, what is that measured against?  Obviously a person could not be expected to perform the mathematics necessary for rendering an image, but all definitions of 'man-hours' that I've been able to find refer to expected output of a human worker in an hour.  How is that measured for things like video rendering which simply can't be done by a human?&lt;/p&gt;&#xA;" OwnerUserId="6504" LastActivityDate="2014-09-18T16:56:05.490" Title="Video rendering time is measured in man-hours. How is that calculated?" Tags="|video|animation-rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12657" PostTypeId="2" ParentId="12656" CreationDate="2014-09-18T16:56:05.490" Score="1" Body="&lt;p&gt;I've never heard that term used for rendering before, but it is most likely referring to the number of hours of computation needed for a single CPU or GPU to process it.  In most video and 3d applications, it is possible to parallelize the rendering of the video itself (though not necessarily the encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thus, a job that would take 200 &quot;man hours&quot; (more often called CPU hours when I've heard it used) would only take 20 hours if you had 10 CPUs working on it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-18T16:56:05.490" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12660" PostTypeId="2" ParentId="9558" CreationDate="2014-09-19T19:13:46.563" Score="-3" Body="&lt;p&gt;My guess is that because you spent a lot of money for the 3d equipment, they know you ARE going to buy 3d products no matter what the cost. The companies include the 2d versions to lessen the pain of the cost giving you the illusion they are not screwing you. It is about how much money goes into their pockets, not about how much content goes in the packaging.&lt;/p&gt;&#xA;" OwnerUserId="6508" LastActivityDate="2014-09-19T19:13:46.563" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12662" PostTypeId="1" CreationDate="2014-09-20T10:24:44.430" Score="4" ViewCount="17190" Body="&lt;p&gt;I've used &lt;a href=&quot;http://www.maartenbaert.be/simplescreenrecorder/&quot; rel=&quot;nofollow noreferrer&quot;&gt;SimpleScreenRecorder&lt;/a&gt; for screencasting. The settings are shown below. This file is of very good quality. I've then added this clip to the Kdenlive project with the same settings as the video. To test the output, I rendered some 5 to 10 seconds of the video and the final result was not good as the source file. The bitrate and other settings during rendering are shown below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ToHzW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/4IAo4.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ya7eW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6511" LastEditorUserId="6511" LastEditDate="2014-09-20T21:24:05.810" LastActivityDate="2014-09-20T21:24:05.810" Title="Rendering without quality loss in Kdenlive" Tags="|video-quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12663" PostTypeId="2" ParentId="12662" CreationDate="2014-09-20T12:05:54.337" Score="2" Body="&lt;p&gt;To the command that kdenlive generates &quot;acodec=aac ar...&quot; add &lt;code&gt;preset=slow&lt;/code&gt;. I'm not sure if kdenlive honors that but these presets are available for x264 in ffmpeg and avconf. They are good presets and are the same that you could choose from when you recorded your video (&lt;code&gt;superfast&lt;/code&gt; in your case). &lt;code&gt;Slow&lt;/code&gt; is generally a good option if you want to avoid visual quality loss.&#xA;If adding that line didn't work you can try to generate a script instead and add &lt;code&gt;-preset slow&lt;/code&gt; after &lt;code&gt;-vcodec&lt;/code&gt; but before the output file.&#xA;You probably want to delete the &lt;code&gt;vb=%bitrate%&lt;/code&gt; bit, the preset will have its own value for that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to be really lossless in terms of video information you need to choose a lossless codec. I'm a bit puzzled that you have so few formats available. Maybe the &quot;Show all profiles&quot; checkbox gives you more options?&#xA;A recommendable codec for screen recordings would be QuickTime Animation or any other RLE based codec.&#xA;The Dirac codec from BBC is also a great lossless opensource codec, it can be found under the name &lt;code&gt;libschroedinger&lt;/code&gt; in ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-09-20T12:05:54.337" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12664" PostTypeId="1" CreationDate="2014-09-20T23:16:08.880" Score="5" ViewCount="595" Body="&lt;p&gt;How is a movie made to show selective colors. For instance, in &lt;a href=&quot;http://www.imdb.com/title/tt0120789/&quot; rel=&quot;noreferrer&quot;&gt;Pleasantville&lt;/a&gt; a sister and brother are transported to the universe of an old black and white TV show, and the movie switches to being B&amp;amp;W. Then, as the protagonists cause the inhabitants to have 'real' emotions, like fright, anger, or love, things (people, places, etc.) start having color. In the middle of the movie, many objects are still B&amp;amp;W, yet many more are now colorized.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.imdb.com/title/tt0401792/&quot; rel=&quot;noreferrer&quot;&gt;Sin City&lt;/a&gt; also used this effect (the whole film was initially shot in full color, and was converted to black-and-white. Colorization is used on certain subjects in a scene), for example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is this effect achieved? Is it post-production editing? What techniques might a director employ to do this?&lt;/p&gt;&#xA;" OwnerUserId="6512" LastActivityDate="2014-09-21T00:15:53.737" Title="How to make a film in black and white and add color to some objects?" Tags="|post-production|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12665" PostTypeId="2" ParentId="12664" CreationDate="2014-09-20T23:56:40.037" Score="4" Body="&lt;p&gt;As you suggest, the scenes are shot in color. There isn't much of a special task for the director, it's almost completely a post-production challenge. In some cases a high contrast take can be made to assist in masking. This would be unusual for scenes involving actors, since the high-con pass wouldn't be well registered. It may also be possible in some scenes to shoot green screen (chroma key) to aid in separating some objects or actors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The color portions are selectively revealed through masking, and possibly using some green screen and high-con elements. Using a combination of a full color layer and a mono layer derived from it, an artist paints masks that hide or reveal the appropriate layer(s) on a per-object basis. Computerized tracking and tracing can be a great help in this, but in the end it's up to the artist.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-09-20T23:56:40.037" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12666" PostTypeId="2" ParentId="12664" CreationDate="2014-09-21T00:15:53.737" Score="4" Body="&lt;p&gt;Jim Mack's answer hits on most of it, but you will also want to look at the term rotoscoping.  Generally speaking, this kind of thing is a highly manual effort to get best results.  If you can separate layers using green screen, then you can place distinct color elements in your black and white shot (or vice versa) but if they are all on the same shot, then someone generally has to go in and mask it out, frame by frame, by hand.  This is a time consuming, but not unheard of process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Movies like Waking Life also make heavy use of rotoscoping.  The one nice thing about rotoscoping is that good rotoscoping software allows you to make use of the same principal of video that any modern video compression also makes use of.  That is, one frame is most likely going to be very similar to the next frame.  Thus, the rotoscoping software can start out with the mask being placed the same way as the previous frame and the artist only has to make adjustments to the mask to account for movement.  Some amount of automation may be possible for following strongly defined edges, but this often needs to be verified by an artist to make sure the edge tracking is good.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-21T00:15:53.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12667" PostTypeId="1" CreationDate="2014-09-21T00:25:08.420" Score="6" ViewCount="1878" Body="&lt;p&gt;Is there a Linux command-line option to do lens correction on videos?  (Either as a tool, or a collection of tools)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Specifically, GoPro videos?  I know I can do correction in GoPro Studio, but I need something that I can incorporate into a batch process.&lt;/p&gt;&#xA;" OwnerUserId="6480" LastActivityDate="2016-04-15T21:06:04.620" Title="Linux command-line option to do video lens correction?" Tags="|editing|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12668" PostTypeId="1" CreationDate="2014-09-21T11:00:57.797" Score="1" ViewCount="283" Body="&lt;p&gt;I want to select a colour which the computer picks up on and then only allows that colour to be viewed on the video, hence turning the rest B&amp;amp;W.&#xA;(for example like Sin City) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best software to do color pass effect for a film?&lt;/p&gt;&#xA;" OwnerUserId="6512" LastActivityDate="2014-09-24T13:56:29.967" Title="What is the best software to do color pass effect for a film?" Tags="|post-production|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12669" PostTypeId="2" ParentId="12668" CreationDate="2014-09-21T13:25:35.150" Score="2" Body="&lt;p&gt;Mostly any commercial video editing software should be able to do this. Premiere Pro would be my go-to option, there are different ways to accomplish a color pass effect with it. You can set the color you want to be passed, the tolerance, chose if you want softened edges ... Premiere basically can do everything you can wish for regarding color pass. But then again, you should be able to do this with most prosumer-level editing programs.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2014-09-21T13:25:35.150" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12670" PostTypeId="2" ParentId="12607" CreationDate="2014-09-21T18:07:05.457" Score="3" Body="&lt;p&gt;You're going to need to do a little experimentation to find out what works best for you, but here are a few things to consider:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, the minimum amount of light you need depends on the performance of your camera and lens.  Stanley Kubrick shot parts of Barry Lyndon in candle light, but he used a f0.7 Zeiss prime which was built for NASA and customized to his specification. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, light falls off as a &lt;a href=&quot;http://en.wikipedia.org/wiki/Inverse-square_law&quot; rel=&quot;nofollow&quot;&gt;function of an inverse square&lt;/a&gt;.  So it really matters how close you can get your light to your talent.  A light that's 22 feet from its subject will appear twice as bright when placed 16 feet from the subject.  This doubling occurs at distance intervals which you'll be familiar with as a photographer:  22, 16, 11, 8, 5.6, 4, 2.8, 2, 1.4, 1.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, you probably don't want to put a 1K HMI right next to your subject because he or she might melt or catch fire.  This brings me to my third point:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not all lights are created equal.  Day by day, more efficient lights are available for film and video.  LEDs, fluorescents, and plasma now come in a variety of form factors.  These efficient lights are particularly useful because they can be placed close to your talent, without generating too much heat.  However, if you choose one of these kinds of lights, be sure to evaluate its color accuracy (&lt;a href=&quot;http://en.wikipedia.org/wiki/Color_rendering_index&quot; rel=&quot;nofollow&quot;&gt;color rendition index or CRI&lt;/a&gt;).  Tungsten lights output full-spectrum, 100 CRI.  Cheap fluorescents are notorious for having a greenish tinge.  The problem with poor color accuracy is that it's nearly impossible to fix.  A simple white balance won't work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, since you're talking about shooting interviews, you probably want your key light to be soft, so that it's more flattering.  LED panels or Kinos are great soft light sources, but the price you pay is versatility.  A hard source can be made soft (through diffusion or reflection), but a soft light can't be made hard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, if all I were looking for was a key light for a medium to close-up shot in an interview situation, I'd be prepared to spend around $1500 on a 2bank Kino fixture, bulbs, mount, extension cord, ballast, and c-stand.  [edit] But now that I re-read your question and see that you're talking about lighting 5-6 people, I'd probably expect to spend closer to $4000.  We just spent $6k on lights, giving us the capacity to strike 22 4'bulbs at once.  I think this would be slight overkill for your situation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A more objective answer might be that, according to Wikipedia, &lt;a href=&quot;http://en.wikipedia.org/wiki/Lux&quot; rel=&quot;nofollow&quot;&gt;1000 lux is typical for studio lighting&lt;/a&gt;.  ARRI has &lt;a href=&quot;http://calc.arri.de/calculator&quot; rel=&quot;nofollow&quot;&gt;a handy calculator&lt;/a&gt; to give you an idea of what you need to get your scene to this level.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2014-09-21T18:47:32.580" LastActivityDate="2014-09-21T18:47:32.580" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12671" PostTypeId="1" CreationDate="2014-09-21T22:18:55.083" Score="1" ViewCount="128" Body="&lt;p&gt;I'm trying to capture sony beta and sx tape into my iMac. I know I need a device between the deck and computer. I believe that device is the Canopus ADVC 110 converter (have yet to purchase this.)  Will I be able to cable from that converter directly to the thunderbolt port on the iMac? There are no firewire ports on my iMac. Pretty confused on this process. thanks!&lt;/p&gt;&#xA;" OwnerUserId="6514" LastActivityDate="2015-06-22T13:54:17.403" Title="Ingesting professional sony beta and sx tape into iMac thru Canopus ADVC 110" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12672" PostTypeId="2" ParentId="12671" CreationDate="2014-09-21T22:25:57.423" Score="1" Body="&lt;p&gt;If you have firwire device but no firewire port you need an adapter. Apple offers one:&#xA;&lt;a href=&quot;http://store.apple.com/us/product/MD464ZM/A/apple-thunderbolt-to-firewire-adapter&quot; rel=&quot;nofollow&quot;&gt;http://store.apple.com/us/product/MD464ZM/A/apple-thunderbolt-to-firewire-adapter&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you tape deck is offering an output that the Canopus supports you will be able to capture your tapes that way.&#xA;Alternatively you might want to look for a USB based solution that might be cheaper than using this device with an adapter.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-09-21T22:25:57.423" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12673" PostTypeId="1" CreationDate="2014-09-22T14:13:58.260" Score="3" ViewCount="171" Body="&lt;p&gt;I'm working on integrating a video recording functionality inside of a game, so that game footage can be &#xA;automatically encoded to video and shared online from within the game.&#xA;Currently I've integrated the libtheora codec, but it is too slow to be really functional(it can encode about 4 Full HD frames per second).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So now I'm looking for a faster video codec that should ideally also have the following requirements:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Output file shouldn't be too big (duration of video can go up to 30&#xA;minutes and needs to be shareable on-line). &lt;/li&gt;&#xA;&lt;li&gt;The codec should ideally work for Windows Mac and Linux. &lt;/li&gt;&#xA;&lt;li&gt;Has a license that is usable in a commercial game, so probably not GPL.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;paid options are also possible, I have a small budget available.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do any of you have a suggestion for an appropriate codec for my specific application?&#xA;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="6516" LastActivityDate="2014-09-23T23:45:34.123" Title="Looking for a suitable lossy video codec to quickly record video in-game" Tags="|encoding|compression|video-game|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12674" PostTypeId="2" ParentId="12673" CreationDate="2014-09-22T16:35:16.597" Score="1" Body="&lt;p&gt;There is a rule in compression, quality, size and speed, pick two of three.  Video compression is an incredibly complex process that requires a lot of resources on either the CPU, GPU or both.  You can get around that one of two ways, you can either reduce the level of compression (with lossless being the fullest extreme) or you can reduce the quality (making larger approximations means the video has more artifacts, but is simpler to compress).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, in the case of video games, this problem is compounded as the game itself requires the same resources that the video encoding requires.  This means that your best (and really only) option for high quality, high compression encoding of video games is to move the processing off the resources that the game is using.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most simply, this generally means using specialized real time encoding hardware that is optimized for making real time, high quality streams.  Such hardware is unfortunately not particularly cheap and generally runs around $100 on the low end to over $1000 on the high end, with $200 to $500 being around the point at which it becomes &quot;professional&quot; hardware, depending on the features of the device.  Unfortunately, this solution doesn't help your scenario at all other than suggesting that you may want to include support for some of the most popular real time encoders to be used with your game natively.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also try doing it by capturing uncompressed on one system and streaming that data over a really fast network connection to another computer and have that computer do the encoding.  This can be a bit cheaper if you already have a second powerful computer and a fast (gigabit or higher) network, but if you have to build a computer for it, the real time encoder is a better option as it is cheaper than a dedicated PC for the job and will do a better job anyway.  You might consider building your own client that could simplify this process for users.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing you can do is use the encoder support built in to some more recent graphics cards.  Some cards have started including their own consumer level encoding support for doing things like streaming.  If you tap in to this functionality, you would be able to make pretty good quality encodes on the fly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Overall, your best bet though, is probably to capture to a lossless or near-lossless quality file and then encode it after the fact.  You can include an encoder of your choice and batch things up to run during free cycles that the game isn't making use of.  After compression finishes, you can get rid of the full size file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd also suggest at looking at some of the codec options used by software like FRAPS to determine what might work well for that high quality, high speed codec that would make the files a bit smaller, but always keep in mind that the more compression you do, the more it will impact the performance of your game.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-22T16:35:16.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12675" PostTypeId="2" ParentId="12673" CreationDate="2014-09-22T17:29:49.230" Score="-1" Body="&lt;p&gt;You really only have one option. h.264. It is the only codec that can fulfill you needs here. And its the only codec that can play on mobile. You will have to pay licensing to MPEL LA, and probably to the software vendor (most likely core codec). You can also encode using some OS/Video card features (NVENC for example), and possibly save the software costs.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2014-09-22T17:29:49.230" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12676" PostTypeId="1" AcceptedAnswerId="12679" CreationDate="2014-09-22T20:35:36.997" Score="4" ViewCount="1503" Body="&lt;p&gt;I have imported a photo into one layer and I created an opaque solid on top of it.&#xA;I want to animate the solid with the Brush tool (Write on).&#xA;When I enter layer edit mode for the solid I can't see the photo layer underneath it, and hence can't use the photo as a guide for the Brush tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to increase layer transparency so I can temporarily see a guiding layer beneath it?&lt;/p&gt;&#xA;" OwnerUserId="6519" LastEditorUserId="2178" LastEditDate="2014-09-25T22:25:19.897" LastActivityDate="2014-09-26T17:38:23.897" Title="See layers beneath the solid I'm editing in After Effects" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12677" PostTypeId="1" AcceptedAnswerId="12696" CreationDate="2014-09-23T16:49:32.507" Score="3" ViewCount="6686" Body="&lt;p&gt;Unlike, for example, Zoom H5 which is shipped in a rock-solid plastic box, Rode VideoMic Pro is shipped in a cheap plastic piece which holds it in the box. The piece is much bigger than the microphone and is difficult to handle, since its only purpose is to be used during the original shipping.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I need to transport the microphone in my bag, one of the concerns is that I can't just put it directly in the bag together with lenses and camera, because it is too fragile for that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I have tried:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I went to nearly every supermarket in the town, searching for the box of appropriate size with no success.&lt;/li&gt;&#xA;&lt;li&gt;I searched on Rode website; they doesn't sell any boxes for their microphones.&lt;/li&gt;&#xA;&lt;li&gt;B&amp;amp;H accessories don't contain anything related to transport.&lt;/li&gt;&#xA;&lt;li&gt;A search on Amazon was also unsuccessful.&lt;/li&gt;&#xA;&lt;li&gt;Companies which make custom-sized boxes are mostly centered on large boxes for shipping or storage. There is &lt;a href=&quot;http://www.mycasebuilder.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MyCaseBuilder&lt;/a&gt; which is great, but I live in Europe, so $50 shipment plus taxes is too expensive.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I hardly doubt I'm the first one encountering this issue. How other people solved it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original packaging of Rode VideoMic Pro looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/DDvo5.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By comparison, here's a box for Zoom H5:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/mbi58.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6250" LastEditorUserId="6250" LastEditDate="2014-09-23T17:15:39.317" LastActivityDate="2015-12-03T22:48:44.063" Title="How to handle Rode VideoMic Pro during transport?" Tags="|microphone|" AnswerCount="5" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12678" PostTypeId="2" ParentId="12677" CreationDate="2014-09-23T19:07:06.490" Score="2" Body="&lt;p&gt;Why do you think that it isn't as durable as your camera or lens?  I don't have experience with that particular mic, but in general, professional quality mics are also built very solidly.  The wind cover might get a bit squished, but the microphone itself should be even more durable than your camera or optics are (since it should be able to resist damage from shakes that your camera won't survive).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are really concerned about it, any type of partitioned case should be sufficient.  Alternately, you can get a small road case for it.  But really, I'd probably just throw it in a heavy cloth bag and throw it in with the rest of your kit.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-23T19:07:06.490" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12679" PostTypeId="2" ParentId="12676" CreationDate="2014-09-23T20:28:14.670" Score="3" Body="&lt;p&gt;Don't apply the brush tool to the solid - apply it to your photo instead.  There is an option in the tool to choose whether to apply the brush over the image, or to reveal the image.  When you're drawing your brush strokes, set it to apply over the image.  When you're ready to animate the strokes, set it to reveal the image.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-09-23T20:28:14.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12681" PostTypeId="2" ParentId="12673" CreationDate="2014-09-23T23:45:34.123" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.videolan.org/developers/x264.html&quot; rel=&quot;nofollow&quot;&gt;x264&lt;/a&gt; would be a good option, its an extremely fast and efficient h264 encoder, probably the best on the market and its open source.&#xA;I has several good presets/profiles f.e. the &lt;code&gt;ultrafast&lt;/code&gt; profile which can encode FullHD with several 100FPS on a modern multi core cpu. I made good experiences with it regarding capturing real time rendering applications.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Its available as an either standalone encoder or through &lt;a href=&quot;https://www.ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;x264 is under the GPL but can be licensed under a commercial license. YouTube is using it aswell.&#xA;&lt;a href=&quot;http://x264licensing.com/&quot; rel=&quot;nofollow&quot;&gt;http://x264licensing.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-09-23T23:45:34.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12682" PostTypeId="1" AcceptedAnswerId="12684" CreationDate="2014-09-24T00:46:02.597" Score="6" ViewCount="18147" Body="&lt;p&gt;Is it smart to watch a 4k video on a 1080p monitor versus watching it in 1080p (especially on youtube)? Is there any difference for the human eye?&lt;/p&gt;&#xA;" OwnerUserId="6523" LastActivityDate="2019-03-25T00:34:57.117" Title="4k vs. 1080p on a 1080p monitor" Tags="|youtube|full-hd|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12683" PostTypeId="2" ParentId="12682" CreationDate="2014-09-24T04:20:13.387" Score="5" Body="&lt;p&gt;There's not a lot of point to it. You're using more network bandwidth to download it, and your computer is working harder to display it, but no, you get no additional visible quality from it. In fact, it's likely that you'll get lower quality because the computer has to downsample it before it can display it.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-09-24T04:20:13.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12684" PostTypeId="2" ParentId="12682" CreationDate="2014-09-24T04:27:49.867" Score="7" Body="&lt;p&gt;No, there is no difference to the human eye (or exceptionally minimal).  Your monitor can't display higher quality than it is capable of displaying.  The only advantage you would have is if you were to zoom in on part of the image, you would have more detail when you zoomed in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The exception to this is if the 4k stream uses enough extra bandwidth to reduce the number of artifacts present in the stream, but for a well configured stream this shouldn't be a significant factor.  For Youtube settings, that may or may not be noticeable depending on your sensitivity to artifacts and the type of content you are viewing.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2018-07-09T19:01:31.687" LastActivityDate="2018-07-09T19:01:31.687" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="12685" PostTypeId="2" ParentId="12668" CreationDate="2014-09-24T13:51:14.463" Score="2" Body="&lt;p&gt;&lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve&quot; rel=&quot;nofollow&quot;&gt;Davinci Resolve Lite&lt;/a&gt; (link at bottom of page) is a free, fully functional version of professional colorist software.  It runs on both Mac and PC.  The most notable restriction to the lite version is that it's limited to 1080p output, which should be fine for most folks looking to upload videos to youtube, or show them on a standard HD TV.  Because Resolve is purpose-built for color correction, it provides a toolset that standard video editing software can't match.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2014-09-24T13:56:29.967" LastActivityDate="2014-09-24T13:56:29.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12686" PostTypeId="2" ParentId="12676" CreationDate="2014-09-24T16:23:18.463" Score="3" Body="&lt;p&gt;The selected answer already addresses your question with this specific effect, but if you run into other similar situations where you want to see your results while editing, you can either add another Comp Viewer window, or lock the one you're using. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the top-left of the comp preview, there's a small dropdown where you can choose which comp to display, or open a new Comp Viewer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/aX0eP.png&quot; alt=&quot;New Comp Viewer in AE&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next to this dropdown is a small padlock icon. When unlocked, the Comp Viewer will switch to show whichever comp timeline is currently active. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When locked, the viewer will keep showing whichever comp you selected/locked, so you can change comp timelines, do whatever editing you want in the selected comp (effects, text, animation, etc), and view the results in the parent comp immediately. (Note that if you click to directly edit an image, solid, etc it opens a new &quot;Layer Viewer&quot; with the same padlock, so you could edit that layer in the same way while viewing the comp separately.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZqeFM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6476" LastEditorUserId="6476" LastEditDate="2014-09-26T17:38:23.897" LastActivityDate="2014-09-26T17:38:23.897" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12688" PostTypeId="1" AcceptedAnswerId="12691" CreationDate="2014-09-25T10:11:04.717" Score="1" ViewCount="4226" Body="&lt;p&gt;The internet is full to bursting with comparisons of noise on the 5D Mk3 at different ISOs, but there is next to nothing about how to reduce noise or work with it / around it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am experiencing noise across all ISO settings, but obviously worse the higher I go. I never shoot above 800 and try and stay as low as possible. I am careful not to underexpose, but I still get a fizzy noise in the midtones and shadows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I appreciate that the 5D is flawed when it comes to video and I don't need to be told how a dedicated video camera will achieve better results; I am a stills photographer and I don't want to buy a second camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;So given the known limitations of the 5D Mk3, how can I shoot to reduce the noise and what workflows are best for removing noise in post?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I am shooting Cinestyle and will soon be shooting RAW via Magic Lantern.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="6532" LastActivityDate="2019-12-16T15:03:36.230" Title="How Can I Reduce Noise On a 5D Mk3?" Tags="|canon|noise-reduction|noise|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12689" PostTypeId="1" AcceptedAnswerId="12690" CreationDate="2014-09-25T13:28:18.550" Score="1" ViewCount="402" Body="&lt;p&gt;I'm trying to generate a high quality .wav voice-over using Microsoft Speech API. What should be the values of following parameters (they are part of &lt;a href=&quot;http://msdn.microsoft.com/en-us/library/ms554219(v=vs.110).aspx&quot; rel=&quot;nofollow&quot;&gt;this constructor&lt;/a&gt;):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;int samplesPerSecond,&#xA;int bitsPerSample,&#xA;int channelCount,&#xA;int averageBytesPerSecond,&#xA;int blockAlign,&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;to guarantee high quality audio? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The .wav file will be used latter to feed FFmpeg, so audio will be re-encoded latter to a more compact form. My main goal is keep the voice as clear as I can, but I really don't know which values guarantee the best quality perceived by humans without waste resource for nothing.&lt;/p&gt;&#xA;" OwnerDisplayName="user4101" LastEditorDisplayName="user4101" LastEditDate="2014-09-25T14:30:33.383" LastActivityDate="2014-09-25T15:34:59.730" Title="What parameters should I select to get a high quality voice .wav file?" Tags="|ffmpeg|audio|encoding|audio-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12690" PostTypeId="2" ParentId="12689" CreationDate="2014-09-25T15:34:59.730" Score="1" Body="&lt;p&gt;A standard for WAV is 48K / 16 bit mono, or stereo if there's ambiance or presence you'd like to preserve. The last two parameters are a consequence of those choices and you can calculate them based on your selection. Then any compression you might apply afterward will have a good starting basis.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If all you're after is intelligibility, a lower sample rate may be just as good. 22K / 16 bit mono is good enough for many voice purposes. I personally wouldn't use a lower bit depth, but you can experiment with 8 bit to see if it's acceptable.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-09-25T15:34:59.730" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12691" PostTypeId="2" ParentId="12688" CreationDate="2014-09-25T17:31:31.223" Score="4" Body="&lt;p&gt;Certainly using RAW on ML will help.  With 14 bit color, your noise reduction options are a lot more advanced.  Traditional noise reduction that you are used to from photos can be used with video as well using either color grading software or editing software.  (With RAW video, it would be in the color grading software before mixing down to processed clips.)  Additionally, with RAW, you won't have the encoding artifact which you may be misinterpreting as noise as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, how bad of noise are you getting.  I'm in the reverse situation of you.  I started as a video guy and switched to photography and got the 5D Mark iii because of it's strengths in both areas.  You should not be getting significant noise issues below 800 ISO on your 5D Mark iii unless something is wrong.  The 5D Mark iii shoots outstanding video and with RAW is compared fairly closely (though still noticeably different from) much more expensive cameras like the C300 or even some lower end ARRI cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is generally applauded for it's high video quality and good low light video capability.  Can you post a sample that demonstrates the problem you are seeing?  I wonder if there might be some other issue causing your problems as my 5D Mark iii doesn't give what I would consider unreasonable noise levels on video even at ISOs like 3200 or even 6400 in some lighting conditions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ISO 3200 video frame grab&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/iHzmX.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is some noise, but it's pretty limited, particularly considering this is in the shadows under a desk, inside, with no other light other than what was coming in through the window above the table.  There are some newer cameras in the same or lower price range that have slightly improved on the capability, but the 5D mark iii is still one of the top contenders last time I looked around.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other than that, the easiest option, like Jason Conrad mentioned, is to use more light and lower numbered ISO.  &lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-09-26T02:56:44.460" LastActivityDate="2014-09-26T02:56:44.460" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12692" PostTypeId="2" ParentId="12627" CreationDate="2014-09-25T18:41:23.180" Score="1" Body="&lt;p&gt;I asked on the ffmpeg-users mailing list, and it was suggested that I add &lt;code&gt;-brand 3gp6&lt;/code&gt; to my encoding command.  This achieved the result in &lt;code&gt;mediainfo&lt;/code&gt; that I was looking for.  However, it remains to be seen whether this really reaches the same compatibility with older hardware that YouTube's 3GP files have.  I don't have any old hardware to test with, lol.  Anyway, as far as I'm concerned, problem solved for now!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If anyone is interested, here is the command I ended up with for reproducing YouTube's &quot;Format 36&quot;, which is a 360x180 3GP video with about 230 Kbps overall bitrate:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input-file.mov -vcodec mpeg4 -s 320x180 -qscale:v 20 -brand 3gp6 \&#xA;    -vf 'scale=iw*sar:ih,pad=max(iw\,ih*(16/9)):ow/(16/9):(ow-iw)/2:(oh-ih)/2' \&#xA;    -acodec libfaac -ar 22050 -ac 1 -qscale:a 70 output-file.3gp&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And here is what I came up with for reproducing its &quot;Format 17&quot;, which is a 176x144 3GP video with about 82 Kbps overall bitrate:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input-file.mov -vcodec mpeg4 -s 176x144 -qscale:v 12 -r 10 -level 8 -brand 3gp6 \&#xA;    -vf 'scale=iw*sar:ih,pad=max(iw\,ih*(11/9)):ow/(11/9):(ow-iw)/2:(oh-ih)/2' \&#xA;    acodec libfaac -ar 22050 -ac 1 -qscale:a 45 output-file.3gp&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In case you're wondering, that massive &quot;-vf&quot; argument automagically detects mismatches in aspect ratios between the input and output, and boxes the output if they differ.&lt;/p&gt;&#xA;" OwnerUserId="6423" LastEditorUserId="6423" LastEditDate="2014-09-25T19:04:43.330" LastActivityDate="2014-09-25T19:04:43.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12693" PostTypeId="1" AcceptedAnswerId="12694" CreationDate="2014-09-25T21:13:08.610" Score="1" ViewCount="967" Body="&lt;p&gt;Got handed a pile of stock footage downloaded from various sites. And found one clip is 4k ( 4096x2160)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I put it into AME to reexport it as DNx115 but when I set it to 1920x1080 23.976 I see letterboxing top and bottom. It says the source clip pixel ratio is 1 and mine is 1.. tried the others for kicks but none get rid of it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why am I getting letterbox for this conversion?&lt;/p&gt;&#xA;" OwnerUserId="6226" LastActivityDate="2014-09-25T21:20:52.530" Title="Letterbox when converting 4k to 1080p" Tags="|conversion|encoding|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12694" PostTypeId="2" ParentId="12693" CreationDate="2014-09-25T21:20:52.530" Score="1" Body="&lt;p&gt;Because 4096 / 1920 = 2.13333 and 2160/1080 = 2.  They are different aspect ratios, so yes, they end up letter boxing when you convert between them.  That is the expected result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 4K format you are using is a multiple of 2K and is not the same widescreen aspect ratio as 1080p.  You can't translate between them without letterboxing, though there are several different competing &quot;4k&quot; resolutions, so it won't hold true for all &quot;4k&quot; formats, but it does for the one you are working with.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-25T21:20:52.530" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12695" PostTypeId="2" ParentId="2488" CreationDate="2014-09-26T07:59:11.730" Score="3" Body="&lt;p&gt;After seeing something similar and wondering how it was done in a video with a guy, girl video looks edited.&#xA;I tried this, and think that he actually is writing on glass, is filmed from front, with mirrored letters. After filming just simply flip video horizontal, and text will be mirrored back to normal and guy will be mirrored. Just make sure there is no other text in shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Clue: guy on this video is writing with his left hand, but holds pen in right handed way.&lt;/p&gt;&#xA;" OwnerUserId="6537" LastActivityDate="2014-09-26T07:59:11.730" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12696" PostTypeId="2" ParentId="12677" CreationDate="2014-09-26T10:17:40.193" Score="4" Body="&lt;p&gt;I am owner of Rode VideoMic Pro and have to say I just throw it in my bag together with dslr and lens. Wind cover gets a bit deformed sometimes, but it gets into original shape in five minutes after taking it out of the bag. I have one of the cheaper Lowepro bags and I can fit in my Nikon D5200 with one lens on, second lens and said microphone just fine. Mic fits vertically to the corner of the bag next to the second lens. I have been carrying it like this around for almost a year and I haven't encountered any issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I would therefore suggest to just throw it in the bag nicely, if it wont wiggle and bump around during carrying, it will be just fine without any dedicated case.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="5928" LastActivityDate="2014-09-26T10:17:40.193" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12697" PostTypeId="1" AcceptedAnswerId="12699" CreationDate="2014-09-26T14:31:59.570" Score="1" ViewCount="999" Body="&lt;p&gt;I'm trying to record an indoor soccer game from the middle of the bleachers. However, I cannot backup enough to get the entire field in the recording area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought about fish-eye lenses but I'm guessing the video will be distorted near the edges where the goals are. I would like to avoid that if possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option is to try placing the camera near one of the edges of the field and backing up until the entire field is in the recording area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas? I have no experience with videography so simpler solutions are preferred.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/xqxSZ.jpg&quot; alt=&quot;The field&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6539" LastActivityDate="2016-01-08T12:36:05.867" Title="What to do when camcorder angle does not cover entire area to record?" Tags="|video-recording|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12698" PostTypeId="2" ParentId="12697" CreationDate="2014-09-26T19:18:48.970" Score="2" Body="&lt;p&gt;The problem you are running in to is that your field of view is not wide enough.  The field of view is determined by the sensor size and the focal length of the lens.  You can't change the sensor size, but you can sometimes use filters on the lens to impact the effective focal length of the lens.  The result is normally pretty shoddy for such filters, but it is about the best you can hope for unless you can find an angle that allows you to fit the entire scene within your widest field of view for the camera.  Also, as you suspected, filters that expand the field of view are generally not rectilinear which means that they distort the image and make it look kind of stretched.  This effect isn't limited just to the edges, but it is the most prominent there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you really want is a camera with a wider field of view.  If you have enough budget for it, an action cam, such as a GoPro is really ideal for this kind of situation because it is both small and has a naturally wide field of view for taking in a large scene like this.  Many such wide angle lenses will be rectilinear and should give you a much more natural looking projection of the scene onto a flat screen.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-26T19:18:48.970" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12699" PostTypeId="2" ParentId="12697" CreationDate="2014-09-26T21:05:45.220" Score="4" Body="&lt;p&gt;You're correct that you either need to place the camera farther away until the entire field is in view, or use a wide-angle lens adapter (not necessarily &quot;fisheye&quot; but wider). For indoor soccer, clearly you're limited by the walls. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Presumably, you want to hit &quot;record&quot; and enjoy watching the game, rather than having to actively pan the camera back &amp;amp; forth. Also, I'm presuming you only have 1 camera &amp;amp; 1 operator, and you don't really intend to edit the footage together later... If that's the case, look for a wide-angle adapter &amp;amp; put the camera as far away &amp;amp; as high up as possible (a GoPro or similar as suggested previously might be easier to stick high up on the wall :))&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For most basic consumer camcorders, you can get a wide-angle adapter to screw onto the front for about ~$40 (make sure the lens &amp;amp; screw threads are the same size or find one specifically compatible for your camera). That should give you ~20-30% wider field of view. It won't be perfect &amp;amp; might be slightly distorted, but it will capture more of the field than you would otherwise. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That still probably won't be enough to capture the entire game from mid-field, but it will get more of it. To fit the whole thing you'd likely need to be up on the ceiling or on a ladder at the top of the bleachers. Not safe, or easy to maneuver. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you watch professional soccer matches on TV, you'll notice that they don't capture the entire field either, but instead follow the action of the ball. This is because 1) that's the focal point of the game and 2) In order to really see the whole field the camera would have to be so far away you wouldn't really be able to tell what's going on anymore.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's little/no zooming (instead they cut between cameras). They tend to keep the player w/the ball just off-center, so there's room for them to run &amp;amp; not go out of frame. Mid-range or close-up shots are usually done w/separate cameras, often at field level along the sidelines. As you'd suggested, you could put a camera near the goal line &amp;amp; see the whole field, but then you're down low &amp;amp; will only capture what happens nearby in that half of the field.&lt;/p&gt;&#xA;" OwnerUserId="6476" LastActivityDate="2014-09-26T21:05:45.220" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12700" PostTypeId="1" CreationDate="2014-09-26T23:33:01.027" Score="-3" ViewCount="63" Body="&lt;p&gt;Is there any free software available for green-screening? I prefer Linux, but Windows is also fine. &lt;/p&gt;&#xA;" OwnerUserId="6542" LastEditorUserId="3592" LastEditDate="2014-10-05T14:10:40.847" LastActivityDate="2014-10-06T13:42:28.767" Title="How to have a non square video inside a video?" Tags="|greenscreen|" AnswerCount="2" CommentCount="3" ClosedDate="2014-10-06T15:45:36.823" ContentLicense="CC BY-SA 3.0" />
  <row Id="12701" PostTypeId="1" CreationDate="2014-09-27T10:58:11.177" Score="2" ViewCount="302" Body="&lt;p&gt;I've just synched a lot of clips using PluralEyes, and imported this in PPCC. Since I'm relatively new to this program (using Vegas earlier), I wanted to check if there is a way to automatically razor all clips in the timeline underneath my I/O selection?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I have to set the I/O points (or just go straigth to the razor tool), select the razor tool, hold shift and use the IO points as reference to cut all the clips underneath my mouse cursor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to find a way to quickly make rough selection and cut out all the surrounding stuff. It was quite easy in Vegas by just making lots of regions, and using a Vegas script to cut out all the surrounding stuff ... is there a workflow like that in PP?&lt;/p&gt;&#xA;" OwnerUserId="5117" LastActivityDate="2015-02-25T00:56:43.497" Title="Razor all clips in timeline underneath in/out points" Tags="|premiere|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12703" PostTypeId="2" ParentId="12677" CreationDate="2014-09-27T20:12:04.480" Score="3" Body="&lt;p&gt;I haven't worked with the VideoMic Pro, but I have worked with the RODE VideoMic, and I usually just put that straight into my camera bag with everything else, unprotected, and never had any issues. If you're bent on buying a case for it though, I would look at a Pelican case (the Pelican 1060 might be big enough: &lt;a href=&quot;http://www.pelican.com/cases_detail.php?Case=1060&quot; rel=&quot;nofollow&quot;&gt;http://www.pelican.com/cases_detail.php?Case=1060&lt;/a&gt;). I use a Pelican 1040 to house my TASCAM DR-40, and the case is super durable (and waterproof, too, I believe).&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2014-09-27T20:12:04.480" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12704" PostTypeId="1" AcceptedAnswerId="12705" CreationDate="2014-09-27T21:25:34.677" Score="2" ViewCount="5624" Body="&lt;p&gt;So I'm working on a video that I want to look a bit cooler. It was shot in a normally illuminated room (no special equipment, only normal light bulbs), it looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/rkqOF.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With a person sitting in front of the laptop. There are also over-the-shoulder shots with the laptop display being shown.&#xA;So, I want to make the video a bit darker and surreal. It does not have to look like it was actually shot in the dark, it would even benefit from looking a bit unnatural and obviously edited. To be more specific, I want the person sitting in front of the laptop (as well as the laptop itself) to be clearly visible, whilst the table, the chair, and everything in the background gets darker and unobstrusive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using the current version of Premiere Pro. What is the best approach to get that kind of effect?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And please, no lecture on good preparation and such. The recording was done in a rush and the whole video is kind of a last-minute thing. It doesn't have to look perfect, I'm open for suggestions ...&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2014-09-27T23:27:48.893" Title="Make video look like it was shot in a dark room" Tags="|premiere|editing|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12705" PostTypeId="2" ParentId="12704" CreationDate="2014-09-27T22:20:34.800" Score="1" Body="&lt;p&gt;You are lucky that you don't have extreme lighting conditions in your shot, also you're indoors. So it should definitely be possible to get the footage a bit darker looking without making it look weird.&#xA;I can recommend working in After Effects rather than Premiere, its far more suited for advanced lighting correction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would start by masking the already dark areas of your footage and make them even darker. Try to create a more focused looking light that's coming from the light bulb/screen or whatever light source you want to have. If you want to create new light sources you will also have to make some masks to emulate the way the light would shine on the surrounding objects.&#xA;The whole part behind the chair should be a lot darker.&#xA;Generally make everything that is already in a shadowy area even darker and lower the brightness of the image overall to a point that feels good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also something that should help is this (bit dated) tutorial by Andrem Kramer. Its not perfect but definitely a good help to figure out the workflow:&#xA;&lt;a href=&quot;http://www.videocopilot.net/tutorial/day_to_night_conversion/&quot; rel=&quot;nofollow&quot;&gt;http://www.videocopilot.net/tutorial/day_to_night_conversion/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-09-27T23:27:48.893" LastActivityDate="2014-09-27T23:27:48.893" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12706" PostTypeId="2" ParentId="12704" CreationDate="2014-09-27T23:18:31.870" Score="1" Body="&lt;p&gt;It's not that bad to convert from day to night if you just need to bring the overall levels down and you don't have any strong shadows or blown portions of the image.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately however, you are trying to do something much more complicated than that.  You need to actually alter not only the overall lighting of the scene, but make it seem like it had extra lighting on the area in front of the laptop that wasn't originally there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This complicates things considerably.  If it is a fixed shot and there is nobody in front of the light, then it might not be that bad, however, since you want the light to emit from the screen, you will need to make sure you track any motion of the screen in 3d (a tool like After Effects is probably best for this). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You then need to know the geometry of the scene around the laptop, including any actors.  This is because a laptop screen isn't just going to make light, but it is also going to make shadows on anything that is in line with it.  You need to be able to track these objects and update where the shadows should fall and try to simulate how the light should fall on them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In short, this is a massively time consuming and technically challenging process to do correctly.  Despite the fact you said not to lecture about good preparation, you are getting the lecture anyway.  Handling lighting in post is a major pain in the butt.  It interacts in complex ways that you can't replicate from a 2d image without major, extensive effort on a frame to frame basis.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are really in a jam, you can try just doing the motion tracking on the laptop and use a mask with faded edges to reduce the drop off in brightness of the shot to make an extremely primitive lighting effect, but the result is going to look more like a highlighter on your video than light coming from the laptop.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-27T23:18:31.870" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12707" PostTypeId="2" ParentId="12701" CreationDate="2014-09-27T23:29:21.077" Score="2" Body="&lt;p&gt;Don't even try to do it this way.  For what you are trying to do, take a look at the multi-camera editing mode.  It is designed for doing precisely the kind of thing you are trying to do in a much simpler way.  You can find more detail about the multi-cam features in Adobe's own documentation &lt;a href=&quot;http://helpx.adobe.com/premiere-pro/using/create-multi-camera-source-sequence.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-27T23:29:21.077" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12708" PostTypeId="2" ParentId="3859" CreationDate="2014-09-28T01:06:11.800" Score="1" Body="&lt;p&gt;I had a similar problem I solved differently. It depends on your volume and workflow whether it suits. I had a few files marked up with labels in Audacity and wanted to import those label markers into Adobe Audition as marked ranges. I have a simple but manual solution, and since exporting labels from Audacity only allowed for a text file of timecodes I chose not to use Tom's solution because it seemed like there would be many manual steps in any case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My solution:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Open the AUP project file in Audacity&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Choose to export the labels to a text file (file export labels)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Open the unmarked audio file in Audition&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Lay down the correct amount of markers (converting them to ranges in my case)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Copy and paste the time codes from the text file to the Audition marker window&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;That should do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think it's quicker than rolling an XMP file by hand and converting my source material to WAV and back again. However if there was a tool to convert the label/marker text file into an XMP file and I had a lot of cues to import then Tom's method sounds appealing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;p.s. &#xA;I'm using Audition CS6 on OSX. I find it much better than Audacity overall so that's why I'm switching. Too much destructive editing in Audacity. I like having my originals.&lt;/p&gt;&#xA;" OwnerUserId="6546" LastActivityDate="2014-09-28T01:06:11.800" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12710" PostTypeId="1" CreationDate="2014-09-28T09:52:43.220" Score="0" ViewCount="77" Body="&lt;p&gt;I am not sure if this is the right area for this but anyway: I want to hook my camera (Pentax K-R) to my computer to give me a live preview of what the camera sees. Then for the camera to save straight onto my hdd. Similar to PK tether.&lt;/p&gt;&#xA;" OwnerUserId="6542" LastActivityDate="2014-10-28T19:54:08.017" Title="Connecting camera to computer to film" Tags="|software-recommendation|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12711" PostTypeId="1" CreationDate="2014-09-28T15:58:21.200" Score="1" ViewCount="703" Body="&lt;p&gt;Is it possible to split long clips in several short clips?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I can open clip in timeline and edit, split, delete, rename parts of clip. But when I go back to project how can I use sub parts of this clip or how can I make separate clips?&lt;/p&gt;&#xA;" OwnerUserId="6550" LastActivityDate="2014-12-27T21:04:20.833" Title="Final Cut - split clip into separate clips" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12712" PostTypeId="1" CreationDate="2014-09-28T17:33:05.123" Score="1" ViewCount="4196" Body="&lt;p&gt;I need to recover some badly underexposed video. The video is virtually black with no detail at the moment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't need it to be perfect but I would like some ideas on a process I could follow to recover some of the image. It will be OK if it's grainy and I don't really mind if the white balance is off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It was shot on a DSLR using f11 ISO100.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If anyone could suggest a good program (free or trial) I could use and a process to recover something out of it then that would be fantastic.&lt;/p&gt;&#xA;" OwnerUserId="6053" LastActivityDate="2015-01-15T11:11:02.183" Title="Recovering severely underexposed video" Tags="|video|video-editor|dslr|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12713" PostTypeId="2" ParentId="12712" CreationDate="2014-09-28T18:20:58.760" Score="1" Body="&lt;p&gt;You could use the 30 days trial version of Premiere Pro (most editing programs will be able to perform the following options).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best way to make the video viewable depends on how badly the video is underexposed. If some areas are literally pitchblack, there is nothing you can do about it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, try to use the &lt;strong&gt;brightness and contrast&lt;/strong&gt; effect and raise the brightness till you see a difference. Play around with the contrast value as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that does not work, deactivate or delete the brightness and contrast effect and try adjusting the &lt;strong&gt;luminance curve&lt;/strong&gt;. Try raising the curve, so that minimal differences between the shades of gray (lol) will be increased to make them visible. That way, the video won't look really good, but it might be viewable at least.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try adjusting the luminance curve to something like this:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/IPTFs.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or maybe:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/z0uT3.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Not really sure if the second one would work as intended in this case, but it's worth a shot)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that still doesn't work, you could try playing around with &lt;strong&gt;RGB curves&lt;/strong&gt; and &lt;strong&gt;color corrections&lt;/strong&gt;. However, if you didn't see any improvement after performing those steps, I don't think you'll be able to perform these steps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If one of the above steps works, you might be able to even get some color in it using RGB curves and/or increased saturation, but I'm not sure if this will do anything if your material is really that highly underexposed.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2014-09-28T18:20:58.760" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12714" PostTypeId="2" ParentId="12710" CreationDate="2014-09-28T19:49:11.443" Score="1" Body="&lt;p&gt;Are you trying for photo of video.  For video, it seems likely that this functionality is not well supported.  I took a look at the code for Pentax K-R and it is simply grabbing a buffered image from the camera for display, but this doesn't work well for video as it a) doesn't have audio and b) doesn't have reliable frame rates or updates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you simply want to capture still images, then using PK Tether as it currently is would work fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want video, your best bet is likely going to be to use HDMI out if it has it available and capture that output on your computer using an HDMI capture device, such as the Matrox MXO2 or Black Magic Intensity.  Alternately, if quality isn't a major concern, you could us AV out functionality and capture a lower quality feed.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-28T19:49:11.443" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12715" PostTypeId="2" ParentId="12711" CreationDate="2014-09-28T19:54:19.653" Score="1" Body="&lt;p&gt;I'm not familiar with FCPX specifically, but on pretty much every NLE ever made, you either use the razor tool to split the long clip wherever you want or set in and out points on the source window and drag in the clips already shortened.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to be able to use a preset portion of a longer video as a source that you can just drag on, it will need its own timeline.  Put it in a timeline by itself along with any effects or anything you want to apply to it and then you can use a nested sequence in another timeline.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-28T19:54:19.653" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12716" PostTypeId="2" ParentId="12712" CreationDate="2014-09-28T19:59:17.860" Score="1" Body="&lt;p&gt;You are almost certainly up a creek with no paddle.  Since video is less than 8 bit color, what you see when you watch it is what is there.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there was some small amount of detail but it was just really dark, then you could alter the white point and get something minimally usable out of the darkest part of the image.  This can be done with any decent video tool, including most free ones as it is basically just a brightness boost (make everything medium grey) crossed with a contrast boost (make the darker greys black and the lighter greys white.) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If, however, it is almost solid black like you said your video looks, then there is no (or very, very minimal) detail to expand out.  There is no &quot;hidden details&quot; like you have in a 12 bit or 14 bit raw image that are hiding outside the visual range of the image.  This is also why color correction on video footage is so much more of a challenge.  It is also why the ability to shoot RAW video, which does capture 12 or 14 bit images for frames on cameras like the 5D Mark iii is such a big deal in the DSLR video world right now, because such functionality used to only be available on $30k+ cameras.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-28T19:59:17.860" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12718" PostTypeId="2" ParentId="12682" CreationDate="2014-09-29T08:54:42.390" Score="-1" Body="&lt;p&gt;On youtube? It depends.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtube recompresses video uploads to reduce space and store a version of the video which requires the least CPU to decompress. I've uploaded 1080p videos which later look horrible in the youtube version. And the same happens with 4k video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Having said that, it is very unlikely youtube will increase the quality of the video streams, which means 1080p video will always look as horrible as it looks now. So in a way, watching a 4k poorly compressed video stream on a 1080p monitor may look more pleasant if the video doesn't have much movement.&#xA;When the video is still, a 4k low bandwidth video will be able to provide a more detailed picture which scaled down will look better than a low bandwidth 1080p video. But if you are looking at action footage, 4k youtube is only going to bring you higher visual artefacts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A good example of how horrible youtube recompression is can be seen at &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/7OgN7fSbgxU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; which is a 4k video comparison of the Samsung Galaxy Alpha and Sony Xperia Z3 Compact. Watch the 4k youtube video and then download the raw 4k footage from the &lt;a href=&quot;https://www.mediafire.com/folder/0371l6b9kyf0u/vs_Galaxy_Alpha&quot; rel=&quot;nofollow&quot;&gt;provided mediafire links&lt;/a&gt;. The most noticeable artefacts are in the lower part of the screen representing the Sony Xperia version: the 4k youtube version shows terrible compression artefacts around the shadow of the cameraman, but the raw 4k version is smooth as silk and the soft shadows look gorgeous.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that doesn't convince you, think of it this way: the download size for the 4k youtube version is around 600MiB, the download size for the raw 4k video is 1.5GiB. So essentially anything you watch on youtube is one third the quality you get from the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As with the &lt;em&gt;general&lt;/em&gt; question of watching 4k on a 1080p monitor, yes, there is difference, there are comparisons of video between prosumer 1080p cameras and mobile 4k cameras and the 4k mobile version downscaled to 1080 looks better because it has sharper edges. But of course the difference is more notable on a 4k screen, and as other say, really good 1080p cameras are still much better than crappy 4k ones.&lt;/p&gt;&#xA;" OwnerUserId="6553" LastActivityDate="2014-09-29T08:54:42.390" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12719" PostTypeId="2" ParentId="12609" CreationDate="2014-09-29T09:13:29.243" Score="2" Body="&lt;p&gt;I'd argue that for casual shooting (family, travels etc) you are not going to carry an expensive bulky camera, you are likely not going to carry anything on you… except maybe your mobile phone. So I would look into buying a cheap mobile 4k device. Two good looking recent mobile phones able to record 4k are the Samsung Galaxy Alpha and the Sony Xperia Z3. You can see &lt;a href=&quot;http://www.youtube.com/watch?v=7OgN7fSbgxU&quot; rel=&quot;nofollow&quot;&gt;a comparison video of both&lt;/a&gt; but due to youtube recompression I would recommend &lt;a href=&quot;https://www.mediafire.com/folder/0371l6b9kyf0u/vs_Galaxy_Alpha&quot; rel=&quot;nofollow&quot;&gt;downloading the raw 4k footage from mediafire&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Compared to 1080p mobile cameras both of these 4k videos are great. But they are still far away from a good 1080p camera with nice optics. Still, for around 500$-700$ you get to experiment with a new resolution. It also allows you to prepare for a 4k video edition workflow. For instance, if you thought about using Apple's iMovie to edit the footage forget it, it's not supported. And you will need about four times the space to store and four times the time to edit/compress. It can be a good test to play with these mobile videos, maybe you find out that the real bottleneck is at your desktop in postproduction!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With regards to quality I'm sold on 4k. Youtube looks horrible on any resolution, but I've watched a few videos from cameramen posting torrents of their recordings and they are awesome. Unfortunately I agree with Professor Sparkles: for mass media 4k is still a long way. Heck, I still watch from time to time poorly compressed 1080p tv which looks worse than a DVD. And don't get me started on TV programs upscaling low resolution youtube videos… ugh, my eyes.&lt;/p&gt;&#xA;" OwnerUserId="6553" LastActivityDate="2014-09-29T09:13:29.243" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12720" PostTypeId="1" AcceptedAnswerId="12721" CreationDate="2014-09-29T17:03:16.447" Score="1" ViewCount="345" Body="&lt;p&gt;Given a video of a soccer/futbol match recorded from a single camcorder. Is there any way to create a highlights video that would only show the goals?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since the view is static, is it possible to say something like &quot;every time the ball is in either one of the goals, go back three 3 seconds create a clip of the goal&quot;. Do it for every goal scored and then merge those goal clips to create the goal highlights.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="6539" LastActivityDate="2014-09-29T17:15:54.747" Title="Is it possible to automatically generate highlights from video?" Tags="|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12721" PostTypeId="2" ParentId="12720" CreationDate="2014-09-29T17:14:24.657" Score="2" Body="&lt;p&gt;Theoretically, sure, it is probably possible to devise a computer program that could recognize the ball entering the goal and cut video around it, however this would have to be custom computer vision code and not something that would be generally available to the public.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It probably isn't as simple as just a motion trigger either since it needs to be something just the right size moving.  It would also be exceptionally hard to tell a goal attempt apart from a goal, though perhaps you could have it watch the net for movement using security camera software or something related assuming that the net is otherwise pretty static (and depending on your angle).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Overall, I wouldn't expect the greatest of results from such a system though.  It sounds problematic at best, even if you can get it working in the first place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can synchronize a clock with the start of the recording, your better bet may be to hit a button during the game to take note of the time each time a goal is made and then try feeding the list of times in to a scripting based video editor that can cut 15 seconds before the goal and a few seconds after from the video and put them all together.  It's probably less work to get configured and more reliable, but it still would be a fair bit of work to do.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-09-29T17:14:24.657" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12722" PostTypeId="2" ParentId="12720" CreationDate="2014-09-29T17:15:54.747" Score="2" Body="&lt;p&gt;Well, theoretically yes. You can do that with OpenCV but its not an easy task and as long as this isn't a commercial project that promises to give you a substantial amount of money, it's absolutely not worth the time effort.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no video editor that would let you do this in a short amount of time in a GUI.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-09-29T17:15:54.747" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12723" PostTypeId="1" AcceptedAnswerId="12726" CreationDate="2014-09-29T17:27:17.097" Score="2" ViewCount="2491" Body="&lt;p&gt;In Mission Impossible III, I notice very often that bokeh is not circular, but has a shape of an oval. For example, here are two images where such bokeh is noticeable:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/NKDdG.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/TeDjS.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does it necessarily mean that he was filmed using chroma key and the background was filmed separately and then resized using a different aspect ratio, or this is specific to the lens (maybe anamorphic lenses)? Is this made on purpose, or is just a side effect?&lt;/p&gt;&#xA;" OwnerUserId="6250" OwnerDisplayName="MainMa" LastEditorUserId="17390" LastEditDate="2018-07-15T08:22:11.013" LastActivityDate="2018-07-15T08:22:11.013" Title="Does oval-shaped bokeh indicates that the aspect ratio of the image was modified?" Tags="|effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12725" PostTypeId="2" ParentId="12723" CreationDate="2014-09-29T22:29:49.703" Score="6" Body="&lt;p&gt;This is likely the result of using an anamorphic lens: &lt;a href=&quot;http://www.red.com/learn/red-101/anamorphic-lenses&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.red.com/learn/red-101/anamorphic-lenses&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the page:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Standard Bokeh&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/5mPiF.jpg&quot; alt=&quot;Standard Bokeh&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anamorphic Bokeh&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0hPfd.jpg&quot; alt=&quot;Anamorphic Bokeh&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6557" LastActivityDate="2014-09-29T22:29:49.703" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12726" PostTypeId="2" ParentId="12723" CreationDate="2014-09-30T08:30:11.337" Score="4" Body="&lt;p&gt;It's the effect of using an anamorphic lens which squashes the image horizontally to fit a wide-screen image on conventional 35mm film. The image is then un-squashed by a similar lens on the projector when the film is screened (or by computer after the film is scanned in a digital post production environment).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bokeh appears elliptical because the front of the lens barrel which is circular, appears as an ellipse when viewed through the back of the lens. A regular lens with an elliptical opening at the front would generate exactly the same effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The film's director, J.J. Abrams is well known for using anamorphic lenses for the effects they generate, which also includes unique lens flare that manifests itself as strong horizontal blue lines.&lt;/p&gt;&#xA;" OwnerUserId="6559" LastEditorUserId="6559" LastEditDate="2014-09-30T08:36:36.843" LastActivityDate="2014-09-30T08:36:36.843" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12728" PostTypeId="2" ParentId="12712" CreationDate="2014-09-30T18:48:25.790" Score="5" Body="&lt;p&gt;The biggest problem you are facing is that a DSLR typically records to the H.264 codec. That codec tries to minimize the file size and the only way to achieve that is to throw out negligible information.&lt;br&gt;&#xA;Sadly human eyes are not sensitive to black parts of video, so dark areas are highly compressed. That means you will have a really hard time brightening your footage, since most information is simply lost.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Had you had access to a RAW or lossless recording codec, you might have been able to recover a reasonable amount of your footage, but that would have cost &lt;em&gt;much&lt;/em&gt; more storage space and meant more post production work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you would like to learn more about codecs, there is an &lt;a href=&quot;http://philipbloom.net/2014/09/02/everything-you-need-to-know-about-codecs/&quot; rel=&quot;nofollow&quot;&gt;in-depth explanation on Phillip Bloom's Blog&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6172" LastEditorUserId="6172" LastEditDate="2014-10-20T20:21:46.153" LastActivityDate="2014-10-20T20:21:46.153" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12729" PostTypeId="1" AcceptedAnswerId="12731" CreationDate="2014-09-30T20:33:09.823" Score="4" ViewCount="19142" Body="&lt;p&gt;I recently worked on an interview series that had the following contributors:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Producer&lt;/li&gt;&#xA;&lt;li&gt;Interviewer: Person who contacted and arranged the interviews&lt;/li&gt;&#xA;&lt;li&gt;Me, the &quot;predator&quot; (one-person film crew) who set up mics, selected angles and composed shots (one per interview for 8 interviews) like a Cinematographer/DP, operated the camera during the interviews, filmed B-roll, and edited the footage.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Now I'm filling in the credits and getting ready to suggest what to call me to the client. I was thinking of this (in which I am named as Cinematographer and Editor):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/mOH1z.jpg&quot; alt=&quot;Here&amp;#39;s what the credit&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Interviews by [name]&#xA;Cinematographer [me]&#xA;Editor [me]&#xA;Music by [name]&#xA;Producer [name]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Does this seem appropriate? Should I limit myself to one line in the credit role? Is there only a Cinematographer when that's a separate person from the camera operator? &lt;strong&gt;In other words, what title(s) should I be credited with?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My reasoning is this: I did the professional work of a DP/Cinematographer and also ran the camera. But I don't want to look back on this once I've been doing this longer and think, &quot;Wow, that was kind of pompous.&quot;&lt;/p&gt;&#xA;" OwnerUserId="5113" LastEditorUserId="5113" LastEditDate="2014-10-02T14:58:20.410" LastActivityDate="2014-10-02T18:58:00.530" Title="What title(s) should a one-person film crew receive in the credit role?" Tags="|post-production|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12730" PostTypeId="1" AcceptedAnswerId="12735" CreationDate="2014-09-30T21:29:06.907" Score="1" ViewCount="12346" Body="&lt;p&gt;Here is what I would like to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Get the cheapest GoPro camera(s) that will live stream events to YouTube without any other equipment. I would like to record the event to YouTube as it is happening.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The bandwidth is not great but I do not care about the quality of the livestream. I'm more concerned about highest quality video recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are my questions:&#xA;1) Which GoPro camera is appropriate for this job?&#xA;2) Is it possible to select some stream settings that will sacrifice the quality of the live stream for better quality recording?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.. &lt;/p&gt;&#xA;" OwnerUserId="6539" LastActivityDate="2016-10-29T19:41:52.710" Title="Live stream from GoPro to YouTube or another video service" Tags="|video-quality|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12731" PostTypeId="2" ParentId="12729" CreationDate="2014-09-30T23:13:36.457" Score="2" Body="&lt;p&gt;Sounds like you directed it. Would be simple to just put Director, I think one can assume you did everything then if there is no editor or DP credited.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The director is responsible for the overall vision of the flow of the piece.  They oversee filming and work with a cinematographer, if applicable, to determine the right look for the film, work with actors to get the right performance and then work with the editor to make sure it flows.  They are basically the person chiefly responsible for adapting the screenplay or concept of the film in to a finished movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For Example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you create a documentary completely by yourself, lets say you spend 20 days in Antarctica, you film everything you narrate, when you get back you edit it, and then do sound and music.  At the end of the day you directed that documentary, which for all intensive purposes is the highest credit you could receive, if the film ends and says directed by x.  People watching are not going to stand up and go &quot;Wait who shot this film?&quot; It is implied that you did it since you directed it and nobody was credited under you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another way this is sometimes credited to avoid confusion is simply doing created by&lt;/p&gt;&#xA;" OwnerUserId="2994" LastEditorUserId="2994" LastEditDate="2014-10-02T18:30:36.367" LastActivityDate="2014-10-02T18:30:36.367" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12732" PostTypeId="2" ParentId="12700" CreationDate="2014-09-30T23:19:08.387" Score="2" Body="&lt;p&gt;Depends on what your definition of good green screen is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of free software to do green screen well...Only one that I can even think of that does keying is Da Vinci Lite which is free from blackmagic's website.  It is pretty complex and pro based, but with a little searching around you might find what you want.  I am not sure if you can technically do green screen with it though.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastEditorUserId="2836" LastEditDate="2014-10-01T07:05:42.263" LastActivityDate="2014-10-01T07:05:42.263" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="12733" PostTypeId="2" ParentId="12688" CreationDate="2014-09-30T23:23:02.527" Score="1" Body="&lt;p&gt;Like it is said in a comment, use more light and dial the ISO down.  This is how filmmaking has been done for years and years.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My guess is on the MK3 5D if you are getting tons of noise, you are underexposing and maybe trying to correct it in post.  The MK3 is rpetty good and doesn't generate a lot of noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you absolutely have to shoot at a higher ISO that is giving you noise, my advice would be to check out neat video, they make an aftereffects plugin to reduce noise.  But it will in turn most likely becoming less sharp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another way many filmmakers deal with it is by adding film grain on top, that way it looks like it was shot on a real nice film stock, and the noise is hidden behind the grain.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2014-09-30T23:23:02.527" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12734" PostTypeId="1" CreationDate="2014-10-01T01:56:37.173" Score="0" ViewCount="121" Body="&lt;p&gt;I am new to Adobe Premiere Pro CC 2014. The source pane is in such a state:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Enk2Q.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and when I want to mark a new in point for a new clip, it will be like&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/3WLpx.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;which will erase one of the clips:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/xX1eL.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to exit this &quot;edit mode&quot;? Thank you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: if I right-click the source pane, I can see the &quot;Clear In&quot;, &quot;Clear Out&quot;, and &quot;Clear In and Out&quot; are greyed out.&lt;/p&gt;&#xA;" OwnerUserId="6561" LastEditorUserId="6561" LastEditDate="2014-10-01T14:14:29.713" LastActivityDate="2014-10-01T16:26:29.300" Title="Want to set the in/out points but modified the existing clip" Tags="|premiere|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12735" PostTypeId="2" ParentId="12730" CreationDate="2014-10-01T07:02:08.280" Score="1" Body="&lt;p&gt;No GoPro is appropriate for the job by itself.  Any of them (or even a basic webcam) could work as a camera, your problem is that you need something that can encode and send a stream by itself.  That is a specialized device and not something a GoPro can do.  You would want a either a device built for doing a direct stream (such as an IP camera) or you would want to have a camera with a clean HDMI (or other) output that can be fed in to a stand alone streaming device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the second half, recording quality and stream quality are completely and 100% independent of each other.  They are both two different captures of the same visual information, but the sensor is going to pick up maximum quality regardless of if you are recording in some low bandwidth format or not and the steam is going to run off the output which should be the high quality format regardless of what quality you are streaming at.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-01T07:02:08.280" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12736" PostTypeId="2" ParentId="12734" CreationDate="2014-10-01T16:26:29.300" Score="1" Body="&lt;p&gt;My best guess is they did some kind of ability to load a clip in to the source viewer to view the clip in it's entirety.  My expectation is that you need to load the clip from the project window in to the source window.  That should disassociate it from a particular edit.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-01T16:26:29.300" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12739" PostTypeId="2" ParentId="12729" CreationDate="2014-10-02T01:01:58.330" Score="2" Body="&lt;p&gt;I would take a look at some of tested.com's videos. They often have one guy do camera work and editing, and he is credited twice.&lt;/p&gt;&#xA;" OwnerUserId="5671" LastActivityDate="2014-10-02T01:01:58.330" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12741" PostTypeId="2" ParentId="10704" CreationDate="2014-10-02T09:35:25.583" Score="2" Body="&lt;p&gt;Try to extract header from other file (e.g. create a new one with that recording software) and prepend it to your stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On Windows you can use that command to concatenate files: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;copy /b header.hdr + stream.mov outputFile.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6568" LastActivityDate="2014-10-02T09:35:25.583" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12742" PostTypeId="2" ParentId="12568" CreationDate="2014-10-02T09:40:59.650" Score="0" Body="&lt;p&gt;There are a couple of software for sync audio and video files. Try out my freeware tool: &lt;a href=&quot;http://auxmic.com&quot; rel=&quot;nofollow&quot;&gt;http://auxmic.com&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6568" LastEditorUserId="6568" LastEditDate="2014-10-02T10:06:47.393" LastActivityDate="2014-10-02T10:06:47.393" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12743" PostTypeId="1" CreationDate="2014-10-02T12:07:52.443" Score="1" ViewCount="321" Body="&lt;p&gt;For my &lt;a href=&quot;http://auxmic.com&quot; rel=&quot;nofollow&quot;&gt;sound syncing tool&lt;/a&gt; I'd like to implement saving project to file which will be suitable for most modern non linear editors. I try to avoid looking into each proprietary format of major vendors, because some of them are closed binaries.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Surprisingly there is only Apple provides clear description of its &lt;a href=&quot;https://developer.apple.com/library/mac/documentation/FinalCutProX/Reference/FinalCutProXXMLFormat/Introduction/Introduction.html&quot; rel=&quot;nofollow&quot;&gt;XML-project format&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I know about these formats:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Advanced Authoring Format (AAF)&lt;/li&gt;&#xA;&lt;li&gt;Open Media Framework Interchange (OMFI/OMF)&lt;/li&gt;&#xA;&lt;li&gt;Edit decision list (EDL) - plaintext&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Are there any other common XML or plain-text based project formats to transfer between different software applications?&lt;/p&gt;&#xA;" OwnerUserId="6568" LastEditorUserId="2836" LastEditDate="2014-10-02T17:47:37.500" LastActivityDate="2014-12-01T18:53:35.470" Title="What are the most common project formats for modern NLE software?" Tags="|video-editor|file-formats|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12744" PostTypeId="2" ParentId="12729" CreationDate="2014-10-02T17:45:48.057" Score="1" Body="&lt;p&gt;As long as there are no union people on the job, it doesn't particularly matter how you do credits.  There are plenty examples of both multiple credits to the same person or just doing the most general job they did (such as simplifying the roles of cinematographer, editor and director in to one role).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've personally done both on different projects and primarily have used the length of the film and the number of people involved as a basis for the credits.  If it is short, I recommend using the shortened version since it would be awkward to do long credits on a short film (for example, the classic &lt;a href=&quot;https://www.youtube.com/watch?v=BXCUBVS4kfQ&quot; rel=&quot;nofollow&quot;&gt;Bambi Meets Godzilla&lt;/a&gt;).  Similarly, if there are only a couple people and it would just be the same names over and over again, a shortened form makes sense.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this particular case, if you opt for the limited list, I'd most likely go with Director or, with two options, director and editor.  The director generally oversees making sure that the story is told well and that the film flows, so it is most encompassing of the roles you did, with editor being the next biggest impact role.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there are a decent number of names (10+ maybe) and the film is more than a few minutes long, I'd probably switch over to multiple listings as roles are distinct enough and there are enough names it doesn't seem too artificially inflated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that if there are any union people involved, this guideline is likely to go out the window though as unions have their own rules about how crediting works and you will need to follow those guidelines to comply with union contracts.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-10-02T18:58:00.530" LastActivityDate="2014-10-02T18:58:00.530" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12745" PostTypeId="2" ParentId="12743" CreationDate="2014-10-02T18:35:04.580" Score="2" Body="&lt;p&gt;Those are the three that are industry standard, XML is a useful one to include though because Final Cut (which oddly is still highly utilized in the industry) uses it.  Also XML can easily talk between all Adobe applications and Da Vinci.&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2014-10-02T18:35:04.580" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12746" PostTypeId="1" CreationDate="2014-10-03T03:03:25.317" Score="0" ViewCount="129" Body="&lt;p&gt;I have added spotlight annotations to a Youtube video by using Youtube editor. I tried uploading it to Vimeo and the spotlights disappeared. Can someone please tell me how to get the annotations to show up in Vimeo after being made in Youtube? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="6573" LastActivityDate="2014-10-03T12:12:53.810" Title="How to get Youtube Editor spotlight annotations to show up once uploaded on Vimeo" Tags="|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12747" PostTypeId="1" AcceptedAnswerId="12748" CreationDate="2014-10-03T08:09:24.710" Score="2" ViewCount="119" Body="&lt;p&gt;So we have to make a short video (Less than 5 minutes) for a leadership course as part of our degree. (Engineering)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We're not really video people, so we've decided to simple slide show style video (Using something like Prezi, so that it at least looks and feels somewhat proffesional) with some voice-overs (which we've already recorded.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone offer any suggestions for a simple piece of video edition software that's free? I don't need anything too feature rich, just something that can let you mix visual with audio and is quick to learn?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Also, as a quick aside, can someone suggest background music that's generic and vaguely inspiring?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:&#xA;Posted my own answer, but still chose Vladislav's answer because it was good. Also, Youtube Audio Library was awesome. Best background music ever. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="6576" LastEditorUserId="6576" LastEditDate="2014-10-05T08:51:46.377" LastActivityDate="2014-10-05T08:51:46.377" Title="Good software for a simple, slide-show style video presentation?" Tags="|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12748" PostTypeId="2" ParentId="12747" CreationDate="2014-10-03T11:36:56.057" Score="1" Body="&lt;p&gt;Try out Google Picasa - it's not actually an video editor, but can combine pictures and sound to video: &lt;a href=&quot;https://support.google.com/picasa/answer/19533?hl=en&quot; rel=&quot;nofollow&quot;&gt;Creating a movie&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a videotutorial on Youtube: &lt;a href=&quot;http://www.youtube.com/watch?v=JrD4s5_fqgM&quot; rel=&quot;nofollow&quot;&gt;Creating a Movie with Photos and Music using Picasa&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also you can use Microsoft Power Point as presentation editor - it can save presentation as a video: &lt;a href=&quot;https://support.office.com/en-US/Article/Turn-your-presentation-into-a-video-c140551f-cb37-4818-b5d4-3e30815c3e83?ui=en-US&amp;amp;rs=en-US&amp;amp;ad=US&quot; rel=&quot;nofollow&quot;&gt;Turn your presentation into a video&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For background music it would be better to start new thread. Check &lt;a href=&quot;https://www.youtube.com/audiolibrary/music&quot; rel=&quot;nofollow&quot;&gt;Youtube Audio Library&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6568" LastEditorUserId="6568" LastEditDate="2014-10-03T11:43:30.850" LastActivityDate="2014-10-03T11:43:30.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12749" PostTypeId="2" ParentId="12746" CreationDate="2014-10-03T12:12:53.810" Score="2" Body="&lt;p&gt;You can't. Vimeo doesn't support such a feature like the YouTube annotations.&#xA;You also can't export your YouTube annotations, YouTube doesn't offer any method for that.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-10-03T12:12:53.810" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12750" PostTypeId="1" CreationDate="2014-10-03T13:06:43.847" Score="2" ViewCount="2473" Body="&lt;p&gt;Let me start by saying I'm not a video production guy. I am a programmer so I'm in over my head in certain areas. I've been trying to use ffmpeg to mess around with HEVC encoded video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was told it needs to be an HEVC encoded video, with the filetype of mkv, mov, avi, or something real common like that. I though mkv, mov, etc was their own encoding. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Can someone help me understand what's being asked for? If I use the command &lt;code&gt;ffmpeg command -i input.265 output.avi&lt;/code&gt;, won't it convert and encode it? I don't want that.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;How do I know what's an encoding and what a container?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;What commands or links can I look at so I can accomplish this task?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6578" LastEditorDisplayName="user10383" LastEditDate="2017-05-18T13:59:23.123" LastActivityDate="2017-05-18T13:59:23.123" Title="Using a 265 encoded video with a container" Tags="|ffmpeg|h.265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12751" PostTypeId="1" AcceptedAnswerId="15020" CreationDate="2014-10-03T13:31:08.650" Score="1" ViewCount="972" Body="&lt;p&gt;I have a video file and I want to play it to some people in a public place. Actually, some parts of the video are not suitable for the public display. As you might guess, it is not respectful to skip this parts manually in front of them and I want to play the video automatically, i.e., without any manual skipping (actually when I use my mouse or keyboard to skip it, I don’t know exactly to what frame should I click and that stresses me out).  I have neither enough time nor special knowledge how to cut the pieces and re-render it. I’m using K-Lite to play my videos files for some reasons such as loading subtitles. A friend of mine said that I can make a text file with the jump sequences included &lt;strong&gt;but I don’t know how to do it (and he is not sure either!).&lt;/strong&gt; My jump sequences are like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;00:00:00 – 00:07:03 -- jump – 00:07:54 -- 00:26:22 – jump – 00:28:12 -- so on&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Other techniques are also appreciated (without cutting and re-rendering the video file).&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="6579" LastEditorUserId="3295" LastEditDate="2014-12-02T18:18:36.187" LastActivityDate="2015-03-03T04:41:05.760" Title="Playing back a video file with an optional time sequence" Tags="|video|playback|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12752" PostTypeId="2" ParentId="12750" CreationDate="2014-10-03T13:34:47.640" Score="4" Body="&lt;p&gt;A container is what the name implies, a container for video data and audio data (and other misc. data).&#xA;This might go a little bit under your know-how but just to make it easy to understand:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A video is made up by frames which are made up by pixels. A codec like h265/HEVC is there to take this pixel information and process it in a way that makes it a lot smaller than the raw pixel array, this process is called encoding.&#xA;Most codecs do this in a lossy way which discards certain pixel information but trys to keep the image still look the same. The encoded image frame is mathematically not identical with the source but aims to look identical for the human eye.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The container is there to take this raw encoded stream and wrap it, many container formats provide extra meta information about the streams contained in it and support a variety of content other than video, like subtitles and audio information. The container is there to hold all this information, it doesn't alter the information like an encoder alters video or audio, it just holds on to them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to mux (the term used when you mean you want to put a audio or video stream into a container, muxing will give you a lot of google results) your video into a container with ffmpeg you just have to tell ffmpeg to copy the existing stream instead of encoding it (in your case you provided it with no further information and it will just encode it to h264 which is the standard codec in ffmpeg when nothing is provided).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You do that by using &lt;code&gt;-c copy&lt;/code&gt; which tells it to copy both audio and video from the source. You can also do &lt;code&gt;-vcodec copy&lt;/code&gt; or &lt;code&gt;-acodec copy&lt;/code&gt; to treat audio and video differently but this is more relevant to re-mux from an existing container which has audio and video data to another container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your case &lt;code&gt;-c copy&lt;/code&gt; does the job just fine. Just add that to your command line and it should mux an avi for you. Though mkv is favorable over avi for h265 as its already the supported h265 container that DIVX uses for their h265 implementation.&#xA;If just providing a filetype exension to your output file doesn't work like you expect you can also enforce a container by using &lt;code&gt;-f mkv&lt;/code&gt; or &lt;code&gt;-f avi&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This does what your client asked for, the h265 stream muxed into a container format without touching it.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-10-03T16:55:55.540" LastActivityDate="2014-10-03T16:55:55.540" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12753" PostTypeId="2" ParentId="12751" CreationDate="2014-10-03T17:21:55.110" Score="0" Body="&lt;p&gt;Cutting a video doesn't require more knowledge than what you are trying to do here. I'd even say it requires less knowledge.&#xA;Consider the free video editing tool Lightworks and this short video tutorial on how to cut videos with it:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Hbp13oZPsEQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-10-03T17:21:55.110" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12754" PostTypeId="1" CreationDate="2014-10-03T21:11:32.303" Score="1" ViewCount="2485" Body="&lt;p&gt;I have about 7 people and need to give the feel of 20. I'm using a long lens, any tips or solutions?&lt;/p&gt;&#xA;" OwnerUserId="6583" LastActivityDate="2014-10-05T17:03:11.893" Title="How to shoot a party scene with few people?" Tags="|production|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12755" PostTypeId="2" ParentId="12754" CreationDate="2014-10-03T22:45:34.713" Score="1" Body="&lt;p&gt;I have 3 possible options:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do this in post-production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, if you can keep a tight shot (ie head and shoulders of one or two foreground individuals) you can use your other cast members in the back/foreground - as layers. As long as you don't stray outside that area, you should be able to imply a few layers of party goers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And my preferred option - ask some folks to be extras. Round up a bunch of friends/acquaintances who may do it for free/couple of beers/small amounts of money.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2014-10-03T22:45:34.713" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12756" PostTypeId="2" ParentId="12754" CreationDate="2014-10-03T23:11:00.930" Score="2" Body="&lt;p&gt;I agree with @DrMayhem, but I have a few things to add.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You only need one or two establishing shots that show the whole group.  The audience will continue believing that you're in a room full of people after you show it to them once.  For the establishing shot(s), you can shoot the same people, wearing different clothes &amp;amp; accessories, in front of a green screen.  Make sure the lighting and the height of the camera will match with the lighting and camera height in your party setting.  When shooting the group in front of the green screen, position them closer to the camera.  Then shoot the same people again in the actual party setting, farther from the camera.  In post-production, layer the green screen footage of the people over the actual party setting, and it will give the impression of twice as many people.  You can also do 2 &quot;layers&quot; of green screen footage, with the same actors 5-10 feet farther away from the camera, in front of the green screen (and wearing different clothes, hats, glasses, wigs, etc.).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the rest of the scene, you can use medium and close-up shots.  Include people on the edges of the shot, and passing through the shot, and behind the main actors, to make the audience feel as though there's a whole party going on outside the frame they're looking at.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the end of the scene, you may want to show the establishing shot (green-screened) again, to &quot;bookend&quot; the scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The scene's audio will help &quot;sell&quot; the illusion. Layer additional voices (not more than the number of party-goers!) and various party noises.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did a cheaper version of the green screen trick in the middle of YouTube video, to make a conference room look full of people even though I only had 3 actors. The establishing shot only lasts for a second, and the action draws the viewer's eye away from the fact that the &quot;people&quot; in the chairs around the table are actually just still pictures I overlaid in post.  &lt;a href=&quot;http://youtu.be/EghBZprmH6o&quot; rel=&quot;nofollow&quot;&gt;Here's the link&lt;/a&gt; if you want to see the vid.  The effect shot comes shortly after the 32-second mark, but it's more convincing if you start watching at 0:32 (or at the beginning).&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-10-03T23:11:00.930" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12758" PostTypeId="1" CreationDate="2014-10-04T17:02:20.837" Score="3" ViewCount="14247" Body="&lt;p&gt;I desperately need step by step instructions on how to zoom into the child sitting in the window. This composition is an animation, I have a bunch of layers but I specifically want to zoom into the window as a track motion effect. I REALLY do not want to scale every layer larger one by one, because I have approx. 15 layers. Please help! I've extremely new to AE. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VklHc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VklHc.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6587" LastEditorUserId="17390" LastEditDate="2019-01-13T00:22:40.337" LastActivityDate="2019-01-13T00:22:40.337" Title="Zooming in on one layer in After Effects" Tags="|after-effects|tracking|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="12759" PostTypeId="2" ParentId="12758" CreationDate="2014-10-04T17:12:06.767" Score="3" Body="&lt;p&gt;Thats simple, pre-comp what you have right now and create a camera layer. Then make you composition layer 3D. The look of you layer will not change unless you add lights or rotate the camera. Then you can pan around and zoom in your picture with the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thats how you do every sort of zooming e.g. camera animation in after effects. Animating the scale of layers is just a mess like you already realized.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/8crDU.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-10-04T17:12:06.767" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12760" PostTypeId="1" CreationDate="2014-10-04T18:14:40.150" Score="0" ViewCount="111" Body="&lt;p&gt;Is there a simple way to make the background of an video transparent, removing the background where it is similar to the image? &#xA;Just like a green screen, except that the chroma key is an image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible in blender, or some other free/cheap mac programs? &lt;/p&gt;&#xA;" OwnerUserId="6588" LastActivityDate="2014-10-05T23:00:57.577" Title="Transparent video background from image" Tags="|video|video-recording|greenscreen|chromakey|blender|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12762" PostTypeId="1" AcceptedAnswerId="12764" CreationDate="2014-10-05T08:13:44.040" Score="8" ViewCount="13077" Body="&lt;p&gt;I have videos I want to split across multiple screens, so the solution I've found so far is to just crop the input video 4 times with ffmpeg (is this optimal? Is there some other way so I only need to use one command?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyways, in ffmpeg crop is a video filter, and it seems that I can't specify the video codec as copy when using a video filter. Why is this the case? It seems like nothing should change if I just remove some of the video. I should be perfectly capable of just copying the same video over, with just part of it removed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way for me to do a crop in ffmpeg without having to do a re-encode? The extra encoding time makes my processing times really long and the new bitrates caused by the re-encode makes the video parts out of sync and unable to be played properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="6591" LastActivityDate="2014-10-05T10:52:58.350" Title="Crop video in ffmpeg without re-encoding" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12763" PostTypeId="2" ParentId="12747" CreationDate="2014-10-05T08:50:06.947" Score="2" Body="&lt;p&gt;So, I ended up using Prezi to run a presentation and camtasia studio to record it and render it to the video file I needed. Both were 30 day free trials, so that worked out nicely. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I put all the audio in Prezi (It lets you add background music for the whole presentation as well as voice overs on a slide-by-slide basis) but I could have just easily have done it in camtasia.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I needed the voice overs for timing in the Prezi, which is why I did it that way, but there's nothing stopping you from just putting them in anyway, and removing the sound when it gets to camtasia, and putting them in as separate tracks. You'd probably have better control of volume, etc, that way.&lt;/p&gt;&#xA;" OwnerUserId="6576" LastActivityDate="2014-10-05T08:50:06.947" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12764" PostTypeId="2" ParentId="12762" CreationDate="2014-10-05T10:52:58.350" Score="15" Body="&lt;p&gt;A videofilter in ffmpeg always has to modify pixel information hence the reason why you need to re-encode.&#xA;It seems logical at first that you wouldn't have to do this when cropping but the way lossy video codecs work makes this pretty impossible without re-encoding everything.&#xA;They usually don't see an array of pixel information but a much more complex representation of pixel blobs that are described in a way that takes up less space than the original pixel blob, you can't really &quot;crop&quot; that encoding, to do a crop you would first need to decode the information to know what you are dealing with but then you need to re-encode to have it compressed again. Thats the main stepping stone.&#xA;Then they also use things like motion estimation that depends on information before and after certain frames, if that information changes all of the sudden the whole thing is screwed up and you end up with tons of artifacts when decoding the video during playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;tldr;&lt;/strong&gt; no its not possible to crop without re-encoding in any tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unless you deal with some very specific lossless non-consumer intermediate codecs that would enable it but in that case transcoding wouldn't be an issue.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-10-05T10:52:58.350" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12765" PostTypeId="2" ParentId="12758" CreationDate="2014-10-05T12:29:30.813" Score="3" Body="&lt;p&gt;As there's always at least two ways to do things in After Effects, another option to Professor Sparkles' answer is to &lt;strong&gt;parent&lt;/strong&gt; the layers to the one you're zooming in on. Parenting a layer means that any transformation you apply to the parent affects the child (but transformations to the child do not affect the parent).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ESv3G.png&quot; alt=&quot;parenting one layer to another&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So select all the layers in the comp, except the one you're zooming in on, and set their parent layer to the layer you're zooming in on. To set the parent either use the pick-whip (the spiral) or the drop down in the parent column of the timeline window (if the parent column is not visible right-click on the column titles in the timeline window). Now when you scale the parent layer, all the children will scale too.&#xA;&lt;hr&gt;&#xA;However, say you wanted to scale the background more slowly than the foreground, to give the sense of 3D depth, one way to do this would be to have a few sets of parents corresponding to the foreground, midground and background for example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you want 3D-style perspective you could make the composition actually have 3D depth, and use a camera layer to do the zooming. So here's yet another way to do it:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make the layers 3D by selecting them all and checking the little box on the far right of the switches panel on one. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/zW6Xx.png&quot; alt=&quot;3d switch&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then move the foreground layers forwards (decrease the value on the z axis, the third set of numbers that appears in the position property of a 3D layer), and the background layers backwards (increase the z axis). As you do that you'll see them move. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tu4lv.png&quot; alt=&quot;postion value of 3D layer.&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you can create a camera layer (layer&gt;new&gt;camera) and zoom in on the window by moving it, and the background will scale proportionally. If you want to see how everything is layed out in your 3D scene, switch the viewport from &quot;default Camera&quot; to &quot;Custom View&quot; or one of the other views.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/9G5DQ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And here's the city layed out in 3D (well, my two-layer approximation that I did in a couple of seconds, but you get the idea).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/KdgyU.png&quot; alt=&quot;custom view of the scene&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In custom view you can use the camera tool (hit 'c' on the keyboard) to orbit (left mouse button), pan (middle mouse button) and zoom (right mouse button) in the viewport. In the camera view using this tool will actually move the camera. You can use this to make your start and end keyframes for your camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's truckloads of 3D tutorials for AE on the web, here's a place to start, at Adobe's own &lt;a href=&quot;https://helpx.adobe.com/after-effects/how-to/intro-3d-working-layers-aftereffects.html?set=after-effects--fundamentals--intro-3d&quot; rel=&quot;nofollow noreferrer&quot;&gt;website&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-01-01T23:38:25.897" LastActivityDate="2017-01-01T23:38:25.897" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12766" PostTypeId="1" CreationDate="2014-10-05T14:00:58.757" Score="2" ViewCount="169" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/zYeIqZzmTKs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you watch the above video at 29seconds, there's a line that is drawn around the number 1. Many of these animations are littered throughout this video (again at ~1:02) and I'm wondering how I can create this effect in AE?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To be more specific, the main part of the animation I want to create is the &quot;trailing&quot; effect the line has. The tail tries to catch up with the head of the line, the tail doesn't just stay at the beginning, it follows the same path of the head of the line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there's a tutorial I can follow that'd be great. Sorry I don't know what this animations are called.&lt;/p&gt;&#xA;" OwnerUserId="6592" LastEditorUserId="6592" LastEditDate="2014-10-05T14:10:21.147" LastActivityDate="2014-10-07T18:32:13.160" Title="Line animations" Tags="|after-effects|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12767" PostTypeId="2" ParentId="12754" CreationDate="2014-10-05T17:03:11.893" Score="2" Body="&lt;p&gt;I came up with another idea. This works if there is one main character in the scene.  Let's call him/her Chris.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Start with an exterior shot of the house where the party is. Party sounds emanate from it (muffled of course). It sounds as though there are 20-30 people in the party.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Start in one room of the house, with the camera on Chris.  Chris walks through the other 5 people in that room who are busy partying, then passes through a doorway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) In another room (the kitchen?), Chris walks through 5 &quot;more&quot; people partying. It's actually the same 5 extras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) In the final room where the scene will take place, Chris pushes through 5 &quot;more&quot; people partying and finally starts the conversation with the other person in the scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In each of those rooms, the party-goers are disguised.  They're wearing different costumes, wigs, hats and glasses.  Some are on high heels; some are squatting to appear shorter.  The camera only catches the sides of faces and the backs of heads, so no full faces are recognizable from shot to shot.  And in each room, the audio is layered to sound like there are 4 times as many people in the room.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-10-05T17:03:11.893" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12768" PostTypeId="2" ParentId="12766" CreationDate="2014-10-05T17:31:53.900" Score="3" Body="&lt;p&gt;Create a mask on the layer you want to apply the effect to. In that case in the form of a circle but it can be any desired shape of course.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then apply the &quot;Stroke&quot; effect on the same layer and in the &quot;Path&quot; option of the effect you choose the circle mask you just created. The Stroke effect allows you to animate start and end point of your line individually, enabling you to create exactly this effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The grey area is just to visualize that this is the mask I drew.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/66DZE.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-10-07T18:32:13.160" LastActivityDate="2014-10-07T18:32:13.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12769" PostTypeId="2" ParentId="12760" CreationDate="2014-10-05T23:00:57.577" Score="1" Body="&lt;p&gt;What you're looking for is a difference matte. (Not to be confused with a Color Difference Key which is similar to regular chroma key.) It can certainly be done, though you should know that difference mattes are fairly temperamental.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The way it works is by finding the difference between an image and each frame of video, and removing anything that's the same, while leaving whatever's different. This means you need a locked-down camera when filming and you need a clean plate of the scene without any actors (or whatever you're trying to remove).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not knowledgable in Blender, so I don't know if it's possible there. I haven't used one in a long time, so don't know what the current landscape is for plug-ins or apps that do this.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-10-05T23:00:57.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12770" PostTypeId="1" AcceptedAnswerId="12774" CreationDate="2014-10-06T02:27:02.703" Score="0" ViewCount="85" Body="&lt;p&gt;I want to connect to my smartphone to cut down on the video production cost for my short films. The videos will be shot outside and inside.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an android smartphone. Is there any boom mic used in video production compatible with a smartphone?&lt;/p&gt;&#xA;" OwnerUserId="6594" LastActivityDate="2014-10-06T15:02:04.170" Title="What Boom mic is compatible with a smartphone?" Tags="|boom-pole|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12771" PostTypeId="2" ParentId="12700" CreationDate="2014-10-06T13:42:28.767" Score="0" Body="&lt;p&gt;If you don't mind learning there is a tool that has them all, green screen, video editing, 3D, compositing...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The name's &lt;a href=&quot;http://www.blender.org&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6210" LastActivityDate="2014-10-06T13:42:28.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12772" PostTypeId="2" ParentId="12758" CreationDate="2014-10-06T14:26:25.330" Score="0" Body="&lt;p&gt;It isn't clear to me if you are trying to zoom with perspective differences between the layers or not, but if you just want to zoom the viewpoint without altering the scene, you could use either of the previously mentioned methods or, for something even simpler, you could also include the composition as a source in another composition and simply scale it all together.  You might have to increase the resolution of the source composition for this to work best, but it depends on how your compositions are setup.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-06T14:26:25.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12773" PostTypeId="2" ParentId="12766" CreationDate="2014-10-06T14:53:33.983" Score="1" Body="&lt;p&gt;This can easily be achieved using a write on effect and altering the start and end point positions independently.  You make a path that you want the line to follow and you then have the start point of the line animate slightly more slowly than the end point, resulting in the end slowly catching up.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-06T14:53:33.983" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12774" PostTypeId="2" ParentId="12770" CreationDate="2014-10-06T15:02:04.170" Score="1" Body="&lt;p&gt;Most mics that are designed for DSLRs (such as many of those made by Rode) should be able to work with a smart phone as well (through the use of some adapters).  They just work on a standard line input like you have for a PC and through a splitter cable, most cellphones support the same kind of line input as a PC or DSLR has.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is actually even possible to plug a full blown ASIO audio interface in to many android handsets and do recording from phantom powered XLR booms, but that probably defeats the point of using your phone for recording.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-06T15:02:04.170" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12775" PostTypeId="1" CreationDate="2014-10-06T17:47:43.813" Score="1" ViewCount="1045" Body="&lt;p&gt;I have some white text that fades out on a red background (rgb (255,0,0)) in After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For some reason, in After Effects, the effect of the text fading out is a dark, almost 'black', animating with Opacity:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/h1INb.png&quot; alt=&quot;Screenshot - After Effects&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whereas in Photoshop, the red 'comes through' the text, resulting in a reddish, transluscent white:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/eCIeK.png&quot; alt=&quot;Screenshot - Photoshop&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I missing? I'm confused why a '20%' white Text Layer on a Red solid would end up being black/grey in After Effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;&#xA;This problem disappears when turning off the Layer Style, which is a simple Inner Shadow with the following settings:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Blend Mode: Multiply&#xA;Color: Black&#xA;Opacity: 75%&#xA;Use Global Light: Off&#xA;Angle: 0x+120,0°&#xA;Distance: 1,0&#xA;Choke: 0,0%&#xA;Size: 1,0&#xA;Noise: 0,0%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;--&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I suppose, why does a simple layer style cause everything to go black when reducing opacity of the text layer?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adding image to demonstrate:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/l5azG.gif&quot; alt=&quot;AE opacity issues&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="2940" LastEditorUserId="2940" LastEditDate="2014-10-07T15:01:21.077" LastActivityDate="2014-10-07T21:20:14.920" Title="After Effects Opacity behaving differently from Photoshop?" Tags="|after-effects|animation|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12776" PostTypeId="2" ParentId="12775" CreationDate="2014-10-06T18:38:13.820" Score="1" Body="&lt;p&gt;I think it seems like you have added layer style to the text in Photoshop. The text in the photoshop has &lt;code&gt;Bevels &amp;amp; Emboss&lt;/code&gt;. From this point, you may have some other effect added on this text layer. I tried myself with same red background and same white text, here is what on my computer:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/zPwDy.jpg&quot; alt=&quot;Test in Photoshop&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what it looks like in AE of 20% opacity:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/ajqw1.jpg&quot; alt=&quot;Test in After Effects(20%)&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And here is what it looks like in AE of 40% opacity:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/O3sCw.jpg&quot; alt=&quot;Test in After Effects(40%)&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I think, it's only about how the software distribute the percentage of opacity, in After Effects, you should assign a higher opacity to the layer. I don't think there is a wired problem that in AE that you got a dark layer as you stated. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this may help :)&lt;/p&gt;&#xA;" OwnerUserId="6598" LastActivityDate="2014-10-06T18:38:13.820" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12777" PostTypeId="1" AcceptedAnswerId="12814" CreationDate="2014-10-06T19:19:23.837" Score="2" ViewCount="430" Body="&lt;p&gt;Let's say there is a conference and there are several hour-long talks by speakers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to setup a stationary camera that will &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Record specific talks (say the talks that start at 8:00a, 10:00a, 1:00p and 4:00p)&lt;/li&gt;&#xA;&lt;li&gt;Upload to a video hosting service(YouTube, ustream, livestream etc.)&lt;/li&gt;&#xA;&lt;li&gt;Never run out of space (because it records/uploads and deletes after successful upload)?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Is it possible to schedule recording start/stop times?If not, one should be able to start/stop recordings with one of those cameras that have wifi enable remote controls right? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would live streaming be a better option since most video hosting services record the stream anyway?&lt;/p&gt;&#xA;" OwnerUserId="6539" LastEditorUserId="2836" LastEditDate="2014-10-06T19:55:12.617" LastActivityDate="2014-10-10T22:04:00.620" Title="How to capture / upload videos at scheduled times" Tags="|digital-recording|live|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12779" PostTypeId="2" ParentId="12150" CreationDate="2014-10-07T07:37:44.423" Score="2" Body="&lt;p&gt;An MP4 file normally contains H.264 video and AAC audio, both of which are compatible with the FLV container. You could simply copy over the streams:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c copy output.flv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Since you're copying the streams, this will be as close to instantaneous as you're going to get and will not result in any loss of quality.&lt;/p&gt;&#xA;" OwnerUserId="3476" LastActivityDate="2014-10-07T07:37:44.423" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12780" PostTypeId="1" AcceptedAnswerId="12782" CreationDate="2014-10-07T12:01:45.747" Score="0" ViewCount="223" Body="&lt;p&gt;I've recently started livestreaming, and during the test stream feedback was received that I tended to concentrate a fair amount on the game I was streaming, and not able to respond to commenters on the stream, despite my moderators' having a system to flag posts for my attention.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To resolve this, I started a Skype call with said moderators so they could participate in the stream too. However it was quickly noticed that their participation was limited to responding to comments and talking about the site that the stream was being hosted on (it's a YouTube stream embedded in my game site), because the stream output lags by about a minute.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To fix &lt;em&gt;that&lt;/em&gt;, I started sharing my screen on Skype, thus allowing the moderators on call to see my screen and therefore the stream with much less delay. However, this started causing problems because it made the video stream lag for the viewers, and I had to stop the Skype video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using XSplit Broadcaster, and during real streams I will be streaming to YouTube as well as to a local recording. XSplit is perfectly capable of broadcasting to multiple sources (and my bandwidth easily allows it - I get a minimum of 16Mbit upload and the stream quality I'm sending is 4.5Mbit), however I'm wondering if there's any way I can provide a live stream to my moderators, so they can see what I'm seeing and participate properly in real(-ish)time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any advice on this would be much appreciated!&lt;/p&gt;&#xA;" OwnerUserId="2367" LastActivityDate="2014-10-07T16:33:43.343" Title="Streaming live to co-hosts" Tags="|streaming|live|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12781" PostTypeId="2" ParentId="12775" CreationDate="2014-10-07T13:49:21.433" Score="0" Body="&lt;p&gt;Most likely the issue is one of resolution.  It is quite possible that your original photoshop layer was being displayed at much higher resolution, so a 1px border wasn't that noticeable, when changed to a layer on a low resolution video frame (1080p video is only 2 megapixels), 1px is suddenly a much more noticeable level of adjustment.  The entire surface of the text doesn't have to be dark, only the outside edge.  If we see a dark border, our eyes tend to automatically see the enclosed area as slightly darker, so that may explain it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, I don't know that the fine points of blending and layer styles are exactly identical between Photoshop and After Effects.  They are different programs with different features and optimizations.  Adobe tries to keep them pretty similar to allow for interfacing between applications easily, but it still isn't the same program.  Some aspects do actually use the other programs to use functions, but I'm not sure if layer blending and stlying is one of them.  I've occasionally noticed other layer blending issues changing slightly, so this isn't entirely unexpected when using advanced features like styling.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-07T13:49:21.433" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12782" PostTypeId="2" ParentId="12780" CreationDate="2014-10-07T16:33:43.343" Score="1" Body="&lt;p&gt;You need your own stream server.  The problem with services like YouTube and Twitch.TV is that your stream has to go through a lot of processing and content distribution on their end before it goes out to viewers.  That processing takes time and results in lag.  You can send the exact same stream to your own stream server and have it directly related with far FAR less delay (sub-second to a couple seconds), but are limited to the capabilities of your stream server to meet demand.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've only done this kind of thing with Windows Expression Encoder in the past using a Windows Media Streaming server which is pretty easy to use, but only works on WMV files and thus isn't really all that good of a modern solution for h.264 video in cross platform streams.  RED5 should theoretically be capable of relaying a stream for you and you could either set it up locally or preferably throw it up on a VPS somewhere that can do the relaying for you (as 16mbit will get consumed really fast sending a 4.5mbps stream to multiple people).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Streaming is unfortunately not particularly easy to get setup and going for yourself though and that is a big part of why services that simplify it, like Youtube and Twitch.TV, are so popular despite their massive lag times.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-07T16:33:43.343" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12783" PostTypeId="2" ParentId="12775" CreationDate="2014-10-07T21:20:14.920" Score="1" Body="&lt;p&gt;I think the layer styles cause AE to render slightly differently - they don't work with every plugin for example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have you tried precomping the text with the layer style, and doing the opacity adjustment in the outer comp?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also think it could be because the layer style you're using has a multiply function within it.  Maybe try switching the display mode in the layer style to Normal, and see if you can get the same effect..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, could it be something to do with working at full saturation red (255,0,0)?  When I render videos out, full reds tend to look pretty horrible as video files...&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-10-07T21:20:14.920" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12784" PostTypeId="2" ParentId="12652" CreationDate="2014-10-07T21:31:03.010" Score="1" Body="&lt;p&gt;Use the Form or Particular plugins made by Trapcode.  It's the quickest and easiest way to do it.  Make a comp with one image per frame consisting of all the small images.  Make sure the comp size is small - maybe 100x100 or an appropriate aspect ratio compared to your images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your main comp, make a text object with the text you want in large white letters.  Hide it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Create a solid layer.  Apply Trapcode Form to it.  In the Quick Layer styles, for particle opacity, choose your hidden text layer in the XY direction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is from memory, so may be a little hazy... Check the Form tutorials like this one:&#xA;&lt;a href=&quot;http://www.redgiant.com/videos/getting-started/item/76/&quot; rel=&quot;nofollow&quot;&gt;http://www.redgiant.com/videos/getting-started/item/76/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-10-07T21:31:03.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12785" PostTypeId="1" AcceptedAnswerId="12801" CreationDate="2014-10-07T22:08:13.680" Score="1" ViewCount="4946" Body="&lt;p&gt;I exported a Flash movie with a black background to MOV, and converted the MOV to mp4 (H.264). In Quicktime player, the background of the MOV and mp4 are black. In native players in Firefox and  Chrome (desktop) and Safari and Chrome (ipad), the background of the mp4 is black. In IE11... it's dark gray. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The actual gray is rgb 16 16 16, hex #101010. &#xA;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="6414" LastEditorUserId="6414" LastEditDate="2016-10-17T18:04:26.367" LastActivityDate="2016-10-17T18:04:26.367" Title="Why is MP4 black background gray in Internet Explorer 11?" Tags="|mp4|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12787" PostTypeId="2" ParentId="12785" CreationDate="2014-10-08T10:08:27.590" Score="1" Body="&lt;p&gt;The root cause is very likely the color space settings in your file. The video is also grey in Firefox on my machine but not in Chrome.&#xA;If you open your file in &lt;a href=&quot;http://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow&quot;&gt;MediaInfo&lt;/a&gt; you can see this at the bottom of the video stream:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Color primaries                          : BT.601 NTSC&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.601&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This should say BT.709 in all three categories. What is happening that the player is honoring the color spaces differently and mixing stuff up. This setting likely started out in the Flash export to mov. Handbrake shouldn't do that without explicitly giving it a command line option to do this.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-10-08T10:08:27.590" CommentCount="12" ContentLicense="CC BY-SA 3.0" />
  <row Id="12788" PostTypeId="1" AcceptedAnswerId="12790" CreationDate="2014-10-08T12:59:21.630" Score="1" ViewCount="407" Body="&lt;p&gt;I would like to show an animation of an transparent image being overlaid on top of another image, But have both images show on the screen at the same time.&#xA;The first image would be on the screen then the second image would come from the top of the screen and fit like a hand and a glove on top of the existing image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the moment the top image just covers up the bottom image, is there a way to overlay the top image on the bottom image so the to graph is transparent and they seamlessly fit together? PS: the image isn't to scale but hopefully you get the idea.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Image 1 is already on screen&#xA;&lt;img src=&quot;https://i.stack.imgur.com/JnrB4.jpg&quot; alt=&quot;Image1&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Image 2 comes down from top and is transparent and overlays on top of image 1&#xA;&lt;img src=&quot;https://i.stack.imgur.com/aMWnX.jpg&quot; alt=&quot;Image2&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Image 3 example of image 2 coming down from top of screen and overlaying on top of image 1&#xA;&lt;img src=&quot;https://i.stack.imgur.com/HSm5U.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: I'm using kdenlive and using Ubuntu,  However I can use any opensource app and I'm willing to learn it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this the right group for this question?  If not which one should I post it to?&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="6602" LastActivityDate="2014-10-08T13:43:08.437" Title="Overlaying Images on top of each other so they both show" Tags="|effects|animation|animation-rendering|blender|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12789" PostTypeId="1" AcceptedAnswerId="12791" CreationDate="2014-10-08T13:30:49.793" Score="1" ViewCount="5959" Body="&lt;p&gt;I want to take two video inputs say one from camera through hdmi/dvi etc and one through laptop(some presentation running in it). One, I want to mix these two video streams and take it out as a single video with both the videos running parallely. Videos running side by side or picture in picture format. Secondly how can I webcast this video?&lt;/p&gt;&#xA;" OwnerUserId="4577" LastActivityDate="2014-12-02T16:55:51.370" Title="Video mixer from multiple sources into one" Tags="|video|video-recording|screen-casting|webvideos|video-capture|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12790" PostTypeId="2" ParentId="12788" CreationDate="2014-10-08T13:43:08.437" Score="1" Body="&lt;p&gt;It sounds like the image isn't actually transparent.  I am not familiar with kdenlive, but any decent NLE should allow for transparent layers.  As long as the images actually have transparent backgrounds, it should just work to animate one layer coming in on the other.  I would try using GIMP to make sure to remove everything but the line itself from the second image and place the line in a transparency supporting image format (such as 32 bit TGA), then try again.  If it still doesn't work, maybe kdenlive doesn't work and you could try one of the other editors on the &lt;a href=&quot;https://video.stackexchange.com/questions/2274/good-open-source-video-editors&quot;&gt;open-source video editors question&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-08T13:43:08.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12791" PostTypeId="2" ParentId="12789" CreationDate="2014-10-08T13:48:01.363" Score="0" Body="&lt;p&gt;Your best bet for this is to use streaming software.  &lt;a href=&quot;http://obsproject.com&quot; rel=&quot;nofollow&quot;&gt;Open Broadcaster Software&lt;/a&gt; for example is able to take a video capture device input (such as using an HDMI capture device and an HDMI camera, or simply using a high end web cam) and combine it with a screen capture (built in feature) and turn it in to a video stream on the fly.  It can then relay this stream to a stream service of your choice, such as YouTube or you can use your own media server such as a RED 5 instance (though running your own server is far more complicated.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-08T13:48:01.363" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12792" PostTypeId="1" CreationDate="2014-10-08T13:56:06.677" Score="0" ViewCount="338" Body="&lt;p&gt;I'm a total amateur at this video stuff.  I'm actually a web developer trying to create a video for work and I've run into a problem.  Hoping those of you who know stuff about videography can help me out. All of this to say, I apologize for the ignorance that follows:  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have video/audio recorded as .wmv and another video recorded as .mov.  I'm trying to overlap the .wmv audio with the .mov video.  It syncs up at the beginning of the video, but a few minutes in and it's off.  I have not cut the video yet except to line it up at the beginning.  I've successfully made a couple of basic videos like this in the past but I suspect it has something to do with the two different formats. I'm using Adobe Premiere Pro.  Google has no advice for me.  Does anyone know what I can do to fix this?   &lt;/p&gt;&#xA;" OwnerUserId="6603" LastActivityDate="2019-01-11T04:56:42.310" Title=".wmv audio and .mov video out of sync" Tags="|sync|imovie|premiere|windows-movie-maker|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12793" PostTypeId="1" CreationDate="2014-10-08T15:57:40.313" Score="2" ViewCount="480" Body="&lt;p&gt;Is there any way to create an animation (a bubble for example, that rises up on the y axis and fades in from 0 to 100 opacity), that can be saved as an animation preset, then that can be added to another bubble (from animation preset) in another position, and to have it take the change in position into effect?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&#xA;Andy.&lt;/p&gt;&#xA;" OwnerUserId="6604" LastActivityDate="2014-10-10T01:17:32.570" Title="Relative Animation Presets" Tags="|after-effects|animation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12794" PostTypeId="2" ParentId="12792" CreationDate="2014-10-08T16:43:18.050" Score="1" Body="&lt;p&gt;There are several possibilities here.  It could be that one device or both dropped frames and thus ended up out of sync, it could be a difference in frame rate or it could simply be that one or both devices have inaccurate internal clocks for recording.  Your best bet is to identify a point at the beginning and at the end of each video that should be the same.  Figure out the offset and then do a speed adjustment to one of the clips to make it line up with the other.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After you do this, the beginning and end should both match up, but you still want to make sure to watch the entire video closely to make sure it stays lined up the entire way through.  If the loss of sync was due to dropped frames rather than a difference in clock speed, the rate adjustment will not fix the problem and you'll see sync issues emerge somewhere in the middle of your video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it is due to loss of frames, there isn't a lot you can easily do to recover from the problem because you are missing the information that should be in those frames.  If it is an internal clock rate issue or an FPS issue, then there is a decent chance that the rate adjustment should fix it for you.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-08T16:43:18.050" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12795" PostTypeId="2" ParentId="12793" CreationDate="2014-10-08T17:31:37.797" Score="1" Body="&lt;p&gt;If you need a relative position change I can only think of doing the animation in an expression. An expression can use the current value of a property as the starting point when being applied to the layer.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-10-08T17:31:37.797" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12796" PostTypeId="1" CreationDate="2014-10-08T21:32:21.620" Score="3" ViewCount="705" Body="&lt;p&gt;I just get my new canon 70d camera. I want to use it for recording online tutorial and publish it in YouTube. how can I flip from camera to screen recording and vise verse while recording? are there some programs for doing that?&lt;/p&gt;&#xA;" OwnerUserId="6606" LastActivityDate="2014-12-12T15:11:54.247" Title="how can I flip from camera to screen recording" Tags="|youtube|tutorial|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12797" PostTypeId="1" AcceptedAnswerId="12808" CreationDate="2014-10-09T02:03:31.310" Score="0" ViewCount="1673" Body="&lt;p&gt;&lt;strong&gt;Full Question:&lt;/strong&gt; How do I use the DoTA 2 map in Source Filmmaker? Every time I load it up, it crashes.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I've been trying to use the DoTA 2 map in Source Filmmaker, but every time I try to load it, the program crashes. I have the DoTA 2 assets extracted and mounted, but loading the map seem to be the thing that always cause it to crash.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can load all the models (ie. Couriers, Heroes, Gear, map props etc.) fine. But loading the DoTA 2 playing-field map doesn't work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;b&gt;These are two of the heroes/champions; Viper and Teemo* along with a bunch of other stuff, in the Counter-Strike: Global Offensive map de_nuke.&lt;/b&gt;&lt;br&gt;&#xA;Characters and models work. Not the map. Why? and how do I fix it?&#xA;&lt;img src=&quot;https://i.stack.imgur.com/0vB7y.jpg&quot; alt=&quot;These are two of the heroes/champions; Viper and Teemo* along with a bunch of other stuff, in the Counter-Strike: Global Offensive map de_nuke.&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note:&lt;i&gt;* Not from the game DoTA 2.&lt;/i&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;hr&gt;&#xA;Also, going &quot;File &gt; Load Map &gt; [Map name].bsp&quot; (or Ctrl-L) does not work.&lt;/p&gt;&#xA;" OwnerUserId="6607" LastEditorUserId="2836" LastEditDate="2014-10-09T02:53:03.893" LastActivityDate="2014-10-10T10:25:12.017" Title="How do I make the DoTA 2 map work in Source Filmmaker?" Tags="|software|animation|production|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12798" PostTypeId="1" AcceptedAnswerId="12810" CreationDate="2014-10-09T08:44:16.683" Score="4" ViewCount="8816" Body="&lt;p&gt;I have an icon I'm animating within it's own composition. I want the comp size to be comparable to the final size of the icon, so when I lay it down in other projects, I have a good understanding of where the icon will end up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As the icon animates in, it extends beyond the size of its composition. Can I set the composition to render display elements outside of its boundary box?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&#xA;Andy.&lt;/p&gt;&#xA;" OwnerUserId="6604" LastActivityDate="2017-03-29T20:36:52.633" Title="Display Contents Outside of Composition Boundary?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12799" PostTypeId="1" AcceptedAnswerId="12803" CreationDate="2014-10-09T10:53:27.460" Score="1" ViewCount="36" Body="&lt;p&gt;I have a comp with 20 windows (for a building), that I want to animate in a cascading manner (i.e. windows 1 though 20) with half a second in between each window animates in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way for me to define the animation once (i.e. scale from 0 to 100 and increase opacity from 0 to 100), then to apply it to all shapes with a defined space between each animation starting?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&#xA;Andy.&lt;/p&gt;&#xA;" OwnerUserId="6604" LastActivityDate="2014-10-09T21:05:56.120" Title="Defining animation once, then repeating across a selection of shapes in a cascading manner?" Tags="|after-effects|animation|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12800" PostTypeId="2" ParentId="12634" CreationDate="2014-10-09T11:47:57.753" Score="3" Body="&lt;p&gt;For AVI-Files there is a little program that can help you split your file into scenes: &lt;a href=&quot;http://www.avcutty.de/english/index.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.avcutty.de/english/index.htm&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6610" LastActivityDate="2014-10-09T11:47:57.753" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12801" PostTypeId="2" ParentId="12785" CreationDate="2014-10-09T14:05:46.483" Score="3" Body="&lt;p&gt;The solution was to turn off IE-11's &quot;hardware acceleration&quot; feature which (&lt;a href=&quot;http://support2.microsoft.com/kb/2528233&quot; rel=&quot;nofollow&quot;&gt;says here&lt;/a&gt;) &quot;lets Internet Explorer move all graphics and text rendering from the CPU to the Graphics Processing Unit (GPU)&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I disabled that under Tools -&gt; Internet Options-&gt; Advanced by selecting &quot;Use software rendering instead of GPU rendering&quot;.  &lt;a href=&quot;http://support2.microsoft.com/Library/Images/2685831.png&quot; rel=&quot;nofollow&quot;&gt;It's pictured here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, after obligatory re-start (of IE), all the grays were black and colors bright in IE-11. &#xA;Now, how I communicate this knowledge to IE users viewing my washed-out videos is a tough new question.&lt;/p&gt;&#xA;" OwnerUserId="6414" LastEditorUserId="6414" LastEditDate="2014-10-10T05:19:37.663" LastActivityDate="2014-10-10T05:19:37.663" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12802" PostTypeId="2" ParentId="12793" CreationDate="2014-10-09T20:43:22.217" Score="1" Body="&lt;p&gt;Do the animation of the position and opacity of your first drop, select the keyframes and any other property I-beams you want and create the animation preset. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now create your other drops, apply the preset and then offset them using their Anchor Points rather than their positions. This won't work if you're animating their scale or rotation however, because scale and rotation work around the anchor point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course there's always different ways to do thing in AE. You can create particle systems using expressions, as Prof. Sparkles said. Here's an expression that you can apply to the position property of each bubble. Use two nulls to control the start, lifespan and wiggly-ness of the bubbles. It's not quite up to the trapcode preset, but whadayawantforfree?:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;wigglespeed=1; //controls the frequency of the wiggles; change this to whatever you want&#xA;&#xA;seedRandom(index, timeless = true); //create static random numbers&#xA;&#xA;start=random(thisComp.layer(&quot;start&quot;).inPoint, thisComp.layer(&quot;start&quot;).outPoint); &#xA;//when the bubble starts, set by the in and out points of the start null&#xA;&#xA;//only do all the hooh-hah if it's time to start bubbling (saves processor cycles)&#xA;if (time&amp;gt;start) &#xA;{&#xA;    lifespan=random(thisComp.layer(&quot;stop&quot;).inPoint, thisComp.layer(&quot;stop&quot;).outPoint);&#xA;    //how long the bubble takes to go up, set by the stop null's in and out point&#xA;    posX=random(thisComp.width);&#xA;&#xA;    wiggleX=thisComp.layer(&quot;stop&quot;).effect(&quot;Point Control&quot;)(&quot;Point&quot;)[0];&#xA;    wiggleY=thisComp.layer(&quot;stop&quot;).effect(&quot;Point Control&quot;)(&quot;Point&quot;)[1];&#xA;    startY=thisComp.layer(&quot;start&quot;).transform.position[1];&#xA;    stopY=thisComp.layer(&quot;stop&quot;).transform.position[1];&#xA;&#xA;    wigglepoint=thisComp.layer(&quot;stop&quot;).transform.anchorPoint;&#xA;    //this should be [0,0] so that the wiggle doesn't introduce unweanted offset&#xA;&#xA;    posY=startY+(startY -stopY)*(start-time)/lifespan;&#xA;    pos=[posX, posY]+[wigglepoint.wiggle(wigglespeed, wiggleX)[0], wigglepoint.wiggle(wigglespeed,wiggleY)[1]]&#xA;} else { &#xA;    //not time to go yet&#xA;    thisComp.layer(&quot;start&quot;).transform.position&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For this expression to work you need two nulls called start and stop, and a point control effect (effect&gt;expression controls&gt;point control) applied to the start null. project file &lt;a href=&quot;https://onedrive.live.com/redir?resid=5408802B7CF7224B!12181&amp;amp;authkey=!ALpmF0zgZs5ASHc&amp;amp;ithint=file%2caep&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2014-10-10T01:17:32.570" LastActivityDate="2014-10-10T01:17:32.570" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12803" PostTypeId="2" ParentId="12799" CreationDate="2014-10-09T21:05:56.120" Score="2" Body="&lt;p&gt;Assuming the same thing happens in each window...&#xA;Make the action that will be inside the first window in its own comp.&#xA;Then duplicate the comp 19 times, and use something like the brilliant &lt;a href=&quot;http://aescripts.com/pt_shiftlayers/&quot; rel=&quot;nofollow&quot;&gt;pt_shiftlayers script&lt;/a&gt; to stagger each of the layers half second after the previous one.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-10-09T21:05:56.120" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12804" PostTypeId="2" ParentId="12793" CreationDate="2014-10-09T21:10:38.227" Score="2" Body="&lt;p&gt;If you're trying to make multiple bubbles rise up, you'd probably be better off designing a single bubble, then using it as a particle, inside a particle engine (AE has free particle engines like &quot;CC particle systems&quot; built in, but it's tricky to use).  Trapcode Particular is quicker and easier, but not free.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;e.g. &#xA;&lt;a href=&quot;http://people.redgiantsoftware.com/explore/presetdetail.aspx?presetid=831&quot; rel=&quot;nofollow&quot;&gt;http://people.redgiantsoftware.com/explore/presetdetail.aspx?presetid=831&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-10-09T21:10:38.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12805" PostTypeId="1" CreationDate="2014-10-09T21:42:30.217" Score="5" ViewCount="3327" Body="&lt;p&gt;Is there any way to swap out the audio track on a rendered H.264 MPEG-4 without having to re-render the entire video project? Can this be done with Premiere, MPEG Streamclip, ffmpeg, or some other tool that I'm not familiar with ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a long video project that took many hours to render, and I would like to swap out the audio (minor mixing changes) without having to re-render the entire video project. The new audio is exactly the same length.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this feasible? I'm primarily a Premiere user, but I'm happy to hear solutions for other tools.&lt;/p&gt;&#xA;" OwnerUserId="2247" LastEditorUserId="2247" LastEditDate="2014-10-10T14:05:39.970" LastActivityDate="2014-10-11T13:45:30.467" Title="How do I change the audio on a H.264 MP4 without re-rendering the file?" Tags="|premiere|audio|mp4|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12806" PostTypeId="2" ParentId="12306" CreationDate="2014-10-09T23:54:24.513" Score="1" Body="&lt;p&gt;You didn't specify keyboard, but sometimes it can be useful to switch USB along with the VGA signal. For this you'd want a &lt;a href=&quot;http://www.cablestogo.com/category/vga/vga-kvm-supplies/vga-kvm-switches&quot; rel=&quot;nofollow&quot;&gt;KVM&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2247" LastActivityDate="2014-10-09T23:54:24.513" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12807" PostTypeId="1" CreationDate="2014-10-10T02:37:37.513" Score="3" ViewCount="188" Body="&lt;p&gt;I'm using Sony Vegas Pro 10, and I have one track that I need to pixelate someone's face on.  There are 4 video tracks total.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I have one track where a Pixelation mask is applied.  Now I'm trying to make a Multicamera track (Tools/Multicamera/Create Multicamera Track) and it seems like it's losing the pixelation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have read that you can apply FX to a track in the media bin and it will stick when you create a multicamera track, but that seems to only apply to the whole track and not just a mask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this makes sense to someone, because I'm stuck!&lt;/p&gt;&#xA;" OwnerUserId="5869" LastActivityDate="2017-12-30T19:15:38.053" Title="How do you edit in multicamera mode if you have a mask on one track?" Tags="|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12808" PostTypeId="2" ParentId="12797" CreationDate="2014-10-10T10:25:12.017" Score="2" Body="&lt;p&gt;Its hard to say what exactly is the issue without an error message.&#xA;Maybe you haven't properly exported the maps and or setup SFM for Dota 2 content. There is a nice guide &lt;a href=&quot;http://steamcommunity.com/sharedfiles/filedetails/?id=313936526&amp;amp;insideModal=1&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; that goes through the whole process step by step.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You also want to check the cache and local file for both SFM and Dota 2, if an error gets detected re-export the Dota 2 content afterwards.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-10-10T10:25:12.017" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12809" PostTypeId="2" ParentId="12805" CreationDate="2014-10-10T10:25:48.573" Score="2" Body="&lt;p&gt;Yes, ffmpeg can do what you need, which is to demux the MP4 into audio and video components, then remux using the new audio. Actually, you can extract just the video since you don't need the existing audio. I'm not an expert in ffmpeg, but the demux command line would be something like &lt;strong&gt;&lt;em&gt;ffmpeg -i myfile.mp4 -vcodec copy myvideo.h264&lt;/em&gt;&lt;/strong&gt;. &lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-10-10T10:25:48.573" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12810" PostTypeId="2" ParentId="12798" CreationDate="2014-10-10T11:08:36.610" Score="3" Body="&lt;p&gt;Make the layers in the initial composition 3D layers. Then nest it in the other comp and make the layer it creates 3D, and turn on continuous rasterisation (the sun icon) for that layer. Now elements protruding beyond the edge of the nested comp will appear. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will not create any problems if your comp is 2D, but it might create problems if you're using 3D layers in either the nested comp or the final one. The other problem is that the bounding box shown in the comp window is dynamic for a continuously rasterised layer, so it will grow to suit the size of all the visible layers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A less kludgy way of achieving this result would be to make the nested comp big enough to fit all the action, and to add a layer to act as guide to show the size of the final frame. You could create a solid, or a shape layer with an outline or whatever you want. Unfortunately you could not use a proper guide layer, as they do not show up in nested compositions, only in the composition in which they reside. So you'd have to turn off the pseudo-guide layer before rendering.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2014-10-14T12:23:52.030" LastActivityDate="2014-10-14T12:23:52.030" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12811" PostTypeId="1" AcceptedAnswerId="12815" CreationDate="2014-10-10T18:14:26.203" Score="1" ViewCount="19296" Body="&lt;p&gt;Ok I know this might be very basic for many of you, but I couldn't quite figure out how to do this ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, in case I want something like a reverse color keying where everything &lt;em&gt;except&lt;/em&gt; one particular color is keyed out, what would be the easiest or, even better, most customizable way to do this in Premiere Pro?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to be able to manually set the tolerance level for similar colors as well as soft edges.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No answers starting with &quot;This is much easier with After Effects ...&quot; please!&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2014-10-10T18:49:57.340" LastActivityDate="2014-10-10T22:39:15.917" Title="Key out everything but one color?" Tags="|premiere|chromakey|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12812" PostTypeId="2" ParentId="12796" CreationDate="2014-10-10T19:05:46.987" Score="0" Body="&lt;p&gt;Not that I know of (does not mean its not out there), this would be very easy to do in Post production and since you have to pull the video of the camera card to upload it anyway just drop it in in post and keep the camera audio playing over it. &lt;/p&gt;&#xA;" OwnerUserId="6233" LastActivityDate="2014-10-10T19:05:46.987" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12813" PostTypeId="2" ParentId="12811" CreationDate="2014-10-10T21:24:02.730" Score="0" Body="&lt;p&gt;Not specific to Premiere, but the general technique is: Set up the key to drop out the color of choice, then invert the key. &lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-10-10T21:24:02.730" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12814" PostTypeId="2" ParentId="12777" CreationDate="2014-10-10T22:04:00.620" Score="1" Body="&lt;p&gt;The more I thought about my requirements the more I was convinced that I needed a wifi enabled &quot;security&quot; camera setup than an action cam setup.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm giving dropcam a try. It seems to satisfy all my requirements.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Broadcast without any additional equipment&lt;/li&gt;&#xA;&lt;li&gt;Schedule recording times remotely from anywhere&lt;/li&gt;&#xA;&lt;li&gt;Broadcast is automatically recorded in the cloud for 7 to 30 days (subscription req.)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I just hope the video quality is good enough.&lt;/p&gt;&#xA;" OwnerUserId="6539" LastActivityDate="2014-10-10T22:04:00.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12815" PostTypeId="2" ParentId="12811" CreationDate="2014-10-10T22:39:15.917" Score="2" Body="&lt;p&gt;This is quite simple.  Use any keyer of your choice that can give you a good mask for the layer, then place an &quot;Alpha Adjust&quot; layer below it in the Effects control and click the &quot;Invert Alpha&quot; checkbox.  This will invert the alpha channel produced by the keyer and reverse the effect the way you are looking for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/1motb.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-10T22:39:15.917" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12816" PostTypeId="1" AcceptedAnswerId="12817" CreationDate="2014-10-11T02:02:14.840" Score="1" ViewCount="53" Body="&lt;p&gt;i'm looking for a name of a certain video problem/artifact. it might be a child of the &quot;rolling shutter&quot; class, but something in my brain says there is a dedicated name for it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;how the create the effect:&lt;/strong&gt; set up a strobe and film the area around it with a mobilephone. on the screen there will be now the area with rolling black stripes on it (movement of stripes is related to frequency of strobe). it looks the same if you try to film an old CRT with an inappropriate shutter setting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;my question is: how is this problem named?&lt;/p&gt;&#xA;" OwnerUserId="1932" LastActivityDate="2014-10-11T05:16:33.940" Title="Looking for a name of a flickering problem" Tags="|video|video-quality|camera|filming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12817" PostTypeId="2" ParentId="12816" CreationDate="2014-10-11T05:16:33.940" Score="1" Body="&lt;p&gt;It is specifically a rolling shutter artifact combined with a &lt;a href=&quot;http://en.wikipedia.org/wiki/Wagon-wheel_effect&quot; rel=&quot;nofollow&quot;&gt;wagon wheel effect&lt;/a&gt;.  It is simply that the scene is only illuminated for a portion of the frame read.  You can actually observe the same thing in still photography when you take a flash photo above the sync speed of the camera (because the flash is not long enough to cover the full exposure and there is no time the shutter is fully open).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With a rolling shutter, the image is captured sequentially, line by line, rather than all at the same time.  If you had a global shutter, you would instead get a blinking due to some frames being completely unexposed and others being exposed.  With a rolling shutter, you get partially exposed frames instead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since this occurs at an offset from the frame rate and the rate of the strobe and the shutter are different, the position of the line will shift slightly over time.  This is known as the wagon wheel effect.  If the rate of the strobe is slightly faster, the lines will move opposite the direction of the sensor reading as the light will go on or off slightly before the camera gets to scanning the line from the previous time around.  If the frame rate is slightly faster, then it will move in the same direction as the scan as the lighting conditions will change on a slightly later read.  If you get them in sync (or sync with a multiple) then it will hold position.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The wagon wheel effect is the exact same effect that can make plane and helicopter propellers appear to change speed and direction while they are spinning up.  It is also the same effect used with a strobe for setting a timing belt on a car properly (by making a line on it stop moving up or down.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-11T05:16:33.940" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12818" PostTypeId="2" ParentId="12805" CreationDate="2014-10-11T07:23:15.093" Score="3" Body="&lt;p&gt;ffmpeg is a good choice for this task. You can do this with this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -i input_audio.aac -map 0:0 -map 1 -vcodec copy -acodec copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6615" LastEditorUserId="3295" LastEditDate="2014-10-11T13:45:30.467" LastActivityDate="2014-10-11T13:45:30.467" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12820" PostTypeId="1" AcceptedAnswerId="12823" CreationDate="2014-10-11T23:54:54.257" Score="1" ViewCount="2255" Body="&lt;p&gt;I am currently using ffmpeg to split videos into &lt;code&gt;10&lt;/code&gt; seconds segments. I have taken two approaches but neither seems to yield the desired results. Approach number one is using basic cutting with the -t and -ss options to get the segments. This gives close to accurate segments but  it has some issues with the frames in the ending of some videos. The second option is using segment: great and fast but it gives segments of not equal duration. Any idea how to get segments of the same duration and no issues in the frames? In other words if I play them in a list it should play smoothly&lt;/p&gt;&#xA;&#xA;&lt;p&gt;General way&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg – i input.mp4  -ss &amp;lt;start&amp;gt; -t &amp;lt;duration&amp;gt; -vcodec copy -acodec copy output%03d.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Using segment&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c copy -map 0 -segment_time 8 -f segment output%03d.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6618" LastActivityDate="2014-10-12T19:53:49.203" Title="Split video into equal duration segments" Tags="|video|video-editor|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12822" PostTypeId="1" AcceptedAnswerId="12824" CreationDate="2014-10-12T19:08:56.063" Score="0" ViewCount="937" Body="&lt;p&gt;Im a beginner in video editing industry, so I got one main question and few sub questions based on &lt;a href=&quot;http://www.youtube.com/watch?v=WpWBeSCSemg&quot; rel=&quot;nofollow&quot;&gt;this video&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Main question&lt;/strong&gt; - The intro title cover by smoke effect, when the smoke effect pass by then it reveal the text, after that it become a shape. How are those done? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Sub question&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;how the background been made? it is like a curtain and keep moving, is that made by After Effect or others software?&lt;/li&gt;&#xA;&lt;li&gt;at 0:04 when the food shown up, how is the small sparkling effect that surrounding the food?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6620" LastActivityDate="2014-10-12T21:48:52.193" Title="How to make the smoke become a mask layer?" Tags="|video|after-effects|video-editor|editing|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12823" PostTypeId="2" ParentId="12820" CreationDate="2014-10-12T19:53:49.203" Score="2" Body="&lt;p&gt;The issue with the frames are very likely the results of using h264 and not re-encoding the video. h264 usually doesn't have single frames (unless encoded with an intra profile) but groups of frames (GOPs), ffmpeg will cut at a keyframe position ie. at the end or beginning of a GOP. Or not in the case of your first approach, giving you issues with the affected GOPs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issue should be resolved by re-encoding (-vcodec libx264 -preset slow) or if that also yields errors transcode to a lossless codec like jpeg2000 (&lt;code&gt;-vcodec libopenjpeg&lt;/code&gt;) cut your video and then encode into h264 again (or any other codec you may prefer).&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-10-12T19:53:49.203" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12824" PostTypeId="2" ParentId="12822" CreationDate="2014-10-12T21:48:52.193" Score="2" Body="&lt;p&gt;Grab a pre-keyed smoke element from somewhere. Mask the smoke element as desired.&#xA;Copy that mask onto the text or you can parent the mask as an adjustment layer. Keyframe opacity of text, linear wipe with feather in a gradient/ramp solid for the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &quot;sparkling&quot; effects are lens flares (see JJ Abrams)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The curtain moving effect could be just another preset with the layer style set to overlay. Or you can generate your own layer like that using fractal noise.&lt;/p&gt;&#xA;" OwnerUserId="6621" LastActivityDate="2014-10-12T21:48:52.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12825" PostTypeId="1" CreationDate="2014-10-12T23:43:08.720" Score="1" ViewCount="8928" Body="&lt;p&gt;I am planning to buy GoPro 4 silver edition. Since they do not come with a microSD I need to choose one. BH video recommends the below one which has 50Mb/s writing speed and costs75$. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/945286-REG/sandisk_sdsdqx_064g_a46a_64gb_extreme_micro_sdxc_uhs_1.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/945286-REG/sandisk_sdsdqx_064g_a46a_64gb_extreme_micro_sdxc_uhs_1.html&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;the one with 30Mb/s writing speed is 40$.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/886007-REG/SanDisk_sdsdqui_064g_a11_64GB_microSDXC_Memory_Card.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/886007-REG/SanDisk_sdsdqui_064g_a11_64GB_microSDXC_Memory_Card.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;is 30Mb/s enough for me? Or should I go with the expensive one? How can I determine the required speed?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="6622" LastActivityDate="2017-01-04T14:23:01.780" Title="what should be the minimum write speed of microSD for 30fps 4K, 60 fps 1080p or 100fps 720p etc?" Tags="|video|quality|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12826" PostTypeId="2" ParentId="12825" CreationDate="2014-10-13T05:06:21.907" Score="1" Body="&lt;p&gt;You have to check the specification of your camera.  30Mb/s could be plenty for 60fps 4k or not enough for 24p SD, entirely depending on what format and data rate is being used.  Your camera should say the data rate of whatever you intend to record in.  Use that to determine the needed card speed.  Make sure that the write speed is actually what you need as well as read and write speeds can sometimes differ significantly on SD cards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to &lt;a href=&quot;https://gopro.com/support/articles/hero4-silver-recording-time-in-each-video-setting&quot; rel=&quot;nofollow noreferrer&quot;&gt;this page&lt;/a&gt;, the Hero4 Silver only supports 15fps 4k recording.  For that particular camera, the required data rate is 45 Mbps.  Note that memory cards are typically advertised for the READ speed which is faster than the write speed in almost all cases.  Verify that the WRITE speed exceeds 45Mbps as the camera needs to be able to catch up on writing if it falls behind.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2017-01-04T14:23:01.780" LastActivityDate="2017-01-04T14:23:01.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12827" PostTypeId="1" AcceptedAnswerId="12833" CreationDate="2014-10-13T11:06:10.607" Score="1" ViewCount="1768" Body="&lt;p&gt;I have two white shapes that overlap on a purple background, which are in a pre-comp. One in animated (an arm) and the other is not (the rest of the body).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I fade the pre-comp in, from 0 to 100 opacity, I can see the parts where the shape overlaps. This is made worse by having a motion blur, which seems to multiply the blur in that area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ce4sR.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know how to avoid this situation, and to have the two shapes behave as one.&lt;/p&gt;&#xA;" OwnerUserId="6604" LastEditorUserId="6604" LastEditDate="2014-10-13T11:15:30.697" LastActivityDate="2014-10-13T20:56:28.300" Title="Shapes overlapped in pre-comp, transparent fade in visibility" Tags="|after-effects|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12828" PostTypeId="2" ParentId="12796" CreationDate="2014-10-13T13:56:58.877" Score="2" Body="&lt;p&gt;You have two main options I can see, first one is to take a look at &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow&quot;&gt;Open Broadcaster Software Project&lt;/a&gt;.  This project is free and open source and is targeted at individuals trying to stream primarily, but it does have good support for both a video capture device and a screen capture.  I believe it is possible to configure a shortcut key for swapping sources and it does support local recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this option, you will also need a way to capture the video from the camera.  You can either use a webcam hack to pull the preview video from EOS Utility using some third party drivers (Covered in more detail &lt;a href=&quot;https://video.stackexchange.com/questions/8953/use-canon-t3i-as-a-hd-webcam&quot;&gt;here&lt;/a&gt;) or you can purchase an HDMI input device, such as a Matrox MXO2 or BlackMagic Intensity (not free or even particularly cheap, but necessary if you want to make use of the HDMI out of your camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, you can just use standard screen recording software and record the video independently.  You can then edit them together after the fact.  To avoid sync problems, you can start by showing the camera the screen and opening and closing a window to sync to later.  This is the cheapest option as it can be done without any additional investment using entirely free tools.  It is also the highest quality option as non-real time encoding and hardware assisted encoding (such as on the camera) does a far higher quality job than software based real time encoding.  It also allows you to be the most selective about when you switch sources and preserves feeds of both sources in case you want to make changes later on.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-13T13:56:58.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12830" PostTypeId="1" CreationDate="2014-10-13T15:22:33.790" Score="4" ViewCount="9134" Body="&lt;p&gt;I am getting collections of files of the types&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;A0123-random-name.RMD&#xA;A0123-random-name.R3D&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Googling tells me &lt;code&gt;R3D&lt;/code&gt; is a raw RED file and &lt;code&gt;RMD&lt;/code&gt; is Red Meta Data - data about the processing to be applied.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can &lt;code&gt;ffmpeg&lt;/code&gt; work with these combinations of files? If so, what is an example command line?&#xA;If not, what other software can I use to convert these files?&lt;/p&gt;&#xA;" OwnerUserId="5089" LastEditorUserId="5089" LastEditDate="2014-10-14T07:24:15.047" LastActivityDate="2021-01-10T20:58:33.170" Title="How to work with R3D and RMD files? FFMPEG?" Tags="|ffmpeg|red|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12831" PostTypeId="1" CreationDate="2014-10-13T17:22:39.120" Score="2" ViewCount="1922" Body="&lt;p&gt;I am trying to do some screen recordings and uploading them to YouTube. I have a terrible voice and frankly I cannot maintain a stream of speech meaning the the end product will end up being bad. I saw some videos online:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/4Fx1Kuq4D-E?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The uploader made use of text-to-speech (TTS) voices. Even though the voice is obviously terrible, the audio was perfectly synchronized with the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not asking for any sophisticated way of editing videos. All I want to know is a way I can easily add audio to my screen recordings. I have an old version of Camtasia and it doesn't provide a TTS engine meaning that I have to use another program, type what I want to be converted to speech, save as an audio file and import to Camtasia. The problem is that my videos are about 15 min long meaning that it will be an extremely tedious task to be using the two software simultaneously. In fact, what I'm most worried about is having to change some word and maintaining a good synchronicity between the video and audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I hope anyone with experience in creating such videos can direct me to the easiest way of doing it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="6626" LastEditorUserId="2836" LastEditDate="2014-10-13T22:43:07.290" LastActivityDate="2015-10-18T21:30:45.183" Title="Video editing with text to speech" Tags="|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12832" PostTypeId="2" ParentId="12831" CreationDate="2014-10-13T19:26:51.990" Score="1" Body="&lt;p&gt;You can do this, but why bother.  It is far faster and easier to record your dialog in multiple takes.  As long as you can naturally speak a sentence or two at a time, you can narrate your own video by carefully editing your dialog from multiple takes.  DAW tools will even play the video for you while you are dubbing over it and let you hear what happened before and after your take in order to give you context.  This is faster and will sound better than your text to speech solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you still really want to do text to speech, I would recommend taking the same kind of approach.  Make clips for each of the phrases you need and then move them in to the video and place them as needed.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-13T19:26:51.990" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12833" PostTypeId="2" ParentId="12827" CreationDate="2014-10-13T20:56:28.300" Score="0" Body="&lt;p&gt;Pretty sure this is due to the little sun icon - the &quot;collapse transformations&quot; icon.. &#xA;See more here: &lt;a href=&quot;http://helpx.adobe.com/after-effects/using/3d-layers.html&quot; rel=&quot;nofollow&quot;&gt;http://helpx.adobe.com/after-effects/using/3d-layers.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's to do with what order 3D comp layers are processed when they're precomped.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-10-13T20:56:28.300" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12834" PostTypeId="2" ParentId="12830" CreationDate="2014-10-14T15:22:26.263" Score="7" Body="&lt;p&gt;R3D files are essentially just a custom container that holds video encoded in JPEG2000 and PCM audio. Though ffmpeg only supports the RED container until version 3, &lt;strong&gt;not&lt;/strong&gt; the newer version 4 (&lt;a href=&quot;https://trac.ffmpeg.org/ticket/2690&quot; rel=&quot;noreferrer&quot;&gt;see this&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can convert RED version &lt;strong&gt;3&lt;/strong&gt; files the same way you would convert any other video with ffmpeg.&#xA;F.e. to h264 use the command below. Doesn't make much sense though to use h264 for further editing, you will have to use an intermediate codec and or container that your software supports:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.r3d -vcodec libx264 -preset slow output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The usual way though is to use the free REDCINE-X tool provided by RED:&#xA;&lt;a href=&quot;https://www.red.com/downloads?category=Software&amp;amp;release=final&quot; rel=&quot;noreferrer&quot;&gt;https://www.red.com/downloads?category=Software&amp;amp;release=final&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It allows you to transcode your r3d files into pretty much any desirable format as long as its supported by V4W (Video for Windows, e.g. all codecs installed on your system). Or QuickTime on Mac.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Redcine is also the only useful way to do something with the RMD files.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-10-14T17:27:49.893" LastActivityDate="2014-10-14T17:27:49.893" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12836" PostTypeId="1" CreationDate="2014-10-14T19:18:00.517" Score="0" ViewCount="90" Body="&lt;p&gt;I'm about to buy a Mac Pro, possibly an iMac instead, in a few days for extensive 3D and video work. I was able to try an online CPU stress test which renders complex video frames on the iMac but I need someone that has a Mac Pro. If you could go to the link below and click on the third bottom option &quot;Stress Test,&quot; and tell me exactly how many seconds it took to render the first frame. This would be greatly appreciated thank you!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://silver.urih.com/&quot; rel=&quot;nofollow&quot;&gt;http://silver.urih.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also let me know what your processor is/specs are. Thank you again!&lt;/p&gt;&#xA;" OwnerUserId="6630" LastActivityDate="2014-10-16T09:11:08.080" Title="Anyone with Mac Pro, please help for CPU advice" Tags="|after-effects|mac|cinema4d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12838" PostTypeId="1" CreationDate="2014-10-15T03:22:09.080" Score="2" ViewCount="345" Body="&lt;p&gt;&lt;a href=&quot;http://www.d3technologies.com/&quot; rel=&quot;nofollow&quot;&gt;D3 Technologies&lt;/a&gt; offers both a previz and a playout platform for video presentations. I'm interested only in the software part, for pre-visualization of complex, multi-screen presentations. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using their software you can import or construct a 3D model of a stage or venue, including display screens, and apply your video elements to the screens. You then use a virtual camera to view the set interactively to evaluate sight lines, projector and lighting placements, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any other software that is generally used for the same thing, like maybe MESH or FrameForge?&lt;/p&gt;&#xA;" OwnerUserId="3908" LastEditorUserId="2836" LastEditDate="2014-10-15T13:27:29.283" LastActivityDate="2018-04-27T17:41:25.793" Title="What software can be used for pre-visualizing video presentation environments?" Tags="|3d|post-production|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12839" PostTypeId="2" ParentId="12836" CreationDate="2014-10-16T09:11:08.080" Score="1" Body="&lt;p&gt;I have mid 2012 Mac Pro with two E5645 Xeon's and result is 01:10&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZdnD2.png&quot; alt=&quot;About this Mac&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I don't think that SilverBench is best benchmark. Guys who use Cinema 4D usually use Cinebench by Maxon. My results in Cinebench:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0rlwE.png&quot; alt=&quot;Cinebench R15 results&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6615" LastActivityDate="2014-10-16T09:11:08.080" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12840" PostTypeId="1" CreationDate="2014-10-16T09:45:57.140" Score="1" ViewCount="2228" Body="&lt;p&gt;So I had an idea. Almost everyone has smartphone equipped with gyroscope and accelerometer. It wouldn't seem too far fetched to me to strap this smartphone to DSLR and have some app record data from these sensors while shooting video. Then you would load both the video from DSLR and data from your smartphone into computer and use the sensor data to stabilise your footage. Of course you would have to time-sync your data and video and you would probably get just 720 stabilised video out of 1080 original footage because of cropping, but you would get stable video for good coin (if you already have both smartphone and dslr) and in very portable package (unlike 3axis brushless gimbals and seadicams).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I am pretty sure I am not first person to think of that. Is there any solution like this? or do you see some obstacle I've missed?&lt;/p&gt;&#xA;" OwnerUserId="5928" LastActivityDate="2021-04-08T23:05:54.887" Title="Using smartphone sensors to stabilise DSLR video in post" Tags="|dslr|" AnswerCount="3" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="12841" PostTypeId="1" CreationDate="2014-10-16T15:41:20.890" Score="1" ViewCount="232" Body="&lt;p&gt;How do you generate audio time code (LTC) tracks, if your platform doesn't offer them natively? Some editing platforms can generate auxiliary LTC tracks, but many don't. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audible time code may not be useful right in the editor, but it's needed in playout situations such as live venues, to drive lighting cues, effects devices, event triggers, sound sync etc.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-10-16T15:43:23.210" Title="Time code audio tracks in NLE?" Tags="|video-editor|timecode|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12842" PostTypeId="2" ParentId="12841" CreationDate="2014-10-16T15:43:23.210" Score="2" Body="&lt;p&gt;Various places I've worked have found different solutions. Some record the LTC from a broadcast video tape to an unused track. Some will reuse a track from an earlier project. The first is slow (1:1), and both are inflexible. Hardware TC generators are flexible, but it's still real-time creation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I offer a free 32-bit Windows utility that can generate an hour or more of SMPTE/EBU code as an audio track (WAV file) in a couple of seconds, at any common frame rate. No catch, it's free for any use, personal or pro. I only ask that you pass along &lt;a href=&quot;http://bit.ly/Esc_TcGen&quot; rel=&quot;nofollow&quot;&gt;This Link&lt;/a&gt;, and not copy/share the program directly. Enjoy, and please send comments or suggestions.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-10-16T15:43:23.210" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12843" PostTypeId="2" ParentId="12840" CreationDate="2014-10-16T16:11:06.510" Score="2" Body="&lt;p&gt;This doesn't work, at least not exclusively (more on that after some background).  With stabilization, there are two main ways to do it.  You can either stabilize during shooting by keeping the camera steady or after by taking unstable video, counteracting some of the motion and adjusting the image to account for other types of motion.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you stabilize during shooting, gyroscopes, gimbals and springs are used to cancel out forces trying to move the camera to actually keep it stable.  This works because the camera doesn't actually move.  Things like optical image stabilization and steadicams perform this function.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Correction after the fact is possible, but harder.  When a camera moves, the problem is that it changes what the shot looks like.  Both angular movement and perspective can vary based on the actual settings of the camera and not just the movement, so there isn't a direct mapping from movement to correction.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two main types of camera movement, the camera can move through space, which results in near objects appearing to move more than far away objects as the relative change is greater.  (Think of a block directly in front of the lens vs a mountain in the distance, the block can clear the screen entirely while the mountain doesn't appear to have moved.)  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other form of movement is rotation.  This makes the rate of change depend on how zoomed in we are (the focal length of our lens).  If we have a very wide shot, then slight vibrations don't make much difference.  If we zoom in a long ways to a tight shot however, even the smallest vibrations have a major impact on the shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;None of this information would be available to the data logging on the smartphone, so a lot still needs to be figured out by analyzing the footage.  You additionally would need to somehow keep the smartphone and camera together which a) adds weight, b) adds bulk and c) decreases the ergonomics.  The data really isn't that valuable as that information and all the other information we need can easily be gained simply from looking for high contrast areas of the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Stabilizing after the fact works by doing edge detection on each frame and looking at how the edges move from frame to frame.  These edges provide details about where things are in the scene and allow us to actually recreate the motions of the camera and the objects within the scene by looking at all the changes.  If they are consistent overtime with a stationary scene, we know they are static objects, if they don't, we know they are moving objects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, basically, the data the smartphone would gather isn't needed, isn't that helpful and adds too much disadvantage in trying to capture it to justify the gathering in the first place.  It could possibly save on some post processing load to simplify calculations from edges or provide improvements in cases where the footage lacks good trackable subjects, but generally, I wouldn't expect it to be worth much.  If it costs more than $100 or so, you are better off going with hardware stabilization that will provide far more benefit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more of an idea about what can be determined about video just from analysing the footage itself, I suggest taking a look at Microsoft Research's &lt;a href=&quot;http://research.microsoft.com/en-us/um/redmond/projects/hyperlapse/&quot; rel=&quot;nofollow&quot;&gt;Hyperlapse Project&lt;/a&gt;.  Pay particular attention to the path they are able to derive as that is the same thing a device lack this would provide the rotational and acceleration data would be helpful towards determining.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-10-16T20:18:07.097" LastActivityDate="2014-10-16T20:18:07.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12844" PostTypeId="2" ParentId="12840" CreationDate="2014-10-16T19:08:28.947" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://steadxp.com&quot; rel=&quot;nofollow&quot;&gt;SteadXp&lt;/a&gt; works like you describe, although it is still a product in development.  Also, it uses its own accelerometers, rather than using your cell phone's.  Presumably, this is simpler than relying on the myriad protocols of various cell phone manufacturers.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-10-16T19:08:28.947" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12846" PostTypeId="1" AcceptedAnswerId="12847" CreationDate="2014-10-17T14:53:51.113" Score="1" ViewCount="1708" Body="&lt;p&gt;I'm planning to send a Canon A1400 PowerShot to the edge of space with a weather balloon (we will figure out how to keep the temperature in our payload box suitable, so that is not a pertinent issue to the question). Unfortunately I believe it can only record 30 mins/4GB of 720p at a time. Our flight's duration is 3 hours and we want to capture all of that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I program the A1400 with CHDK to recursively capture video till the memory card fills up? That is, start recording another video (almost) right after the 30 mins/4GB design limit is reached. If so, I would appreciate a script for the same!&lt;/p&gt;&#xA;" OwnerUserId="6642" LastEditorUserId="6642" LastEditDate="2014-10-29T11:12:41.907" LastActivityDate="2014-10-29T11:12:41.907" Title="How do I record video for more than 30 minutes at a time with a Canon A1400 PowerShot?" Tags="|video|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12847" PostTypeId="2" ParentId="12846" CreationDate="2014-10-17T15:21:46.940" Score="1" Body="&lt;p&gt;Yes, CHDK should be able to do this.  There are actually scripts available on their &lt;a href=&quot;http://chdk.wikia.com/wiki/Continuous_Video_Scripts&quot; rel=&quot;nofollow&quot;&gt;wiki&lt;/a&gt; for this.  Basically, you have to tell it to press the video start button, wait a second or two for it to start, then begin polling to see if the get_movie_status has changed to the status for being done recording.  You then wait a second and repeat.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll also want to make sure you remove the 30 minute time limit with CHDK itself if available on your camera (under the video menu).  If it is, then you should only be limited by the 4gb file size limit and the script should restart the video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-17T15:21:46.940" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12848" PostTypeId="2" ParentId="10461" CreationDate="2014-10-17T17:40:41.237" Score="18" Body="&lt;p&gt;I found that using Adobe Media Encoder is much easier when just cropping.&#xA;Add the video to the queue and open the export settings.&#xA;On the source tab you can crop the video and there you can also enter how many pixels to remove at each side.&#xA;Remember to set the correct output size in the video tab on the right side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a screenshot showing how i did it:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/EGy8w.png&quot; alt=&quot;Here is a screenshot showing how i did it&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6643" LastActivityDate="2014-10-17T17:40:41.237" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12850" PostTypeId="1" CreationDate="2014-10-18T08:50:54.013" Score="3" ViewCount="3433" Body="&lt;p&gt;I'm looking for a way to display a timer to measure things happening during the movie, a swimming event for example. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I add a timer that will start once the race is started and displaying in MM:SS:MS?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have Adobe After Effects 2014 running on my Mac.&lt;/p&gt;&#xA;" OwnerUserId="6647" LastActivityDate="2017-05-24T17:58:31.090" Title="Adding a sport watch timer" Tags="|after-effects|timecode|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12852" PostTypeId="2" ParentId="12850" CreationDate="2014-10-18T14:28:28.173" Score="3" Body="&lt;p&gt;The Timecode effect (effects&gt;text&gt;timecode) will add a timecode, but it's measured in HH:MM:SS:FF rather than milliseconds. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could do it with an expression by adding a text layer, and applying an expression to the &lt;strong&gt;Source Text&lt;/strong&gt; property. Below is an expression that returns what you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To apply it, alt-click on the stop watch for the text layers &lt;strong&gt;Source Text&lt;/strong&gt; property and paste the expression in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/g2Kp6.png&quot; alt=&quot;alt click the stopwatch&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This expression includes an offset, because the &lt;strong&gt;time&lt;/strong&gt; constant in AE starts at 0, no matter what your comp's timecode. So if you wanted the time on the dispay to be 0 at 1 second ten frames in your comp you'd subract 1.4 seconds (at 25 fps) from &lt;strong&gt;time&lt;/strong&gt; on the first line. Or if you wanted to start the count at 1 second 234ms you'd add 1.234 seconds. Or you could precomp it if that's too hard. Here's the code to copy 'n paste:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;offsettime=time //&amp;lt;--subtract or add a time offset (in seconds) here&#xA;&#xA;//a hacky way to zero pad the end of the ms field to&#xA;//three digits, but easier than doing it numerically:&#xA;ms=((offsettime % 1)+&quot;000&quot;).substr(2,3);&#xA;&#xA;//zero pad the seconds if they're less than 10. &#xA;//&quot;%&quot; is the modulus operator, aka the remainder, so at 60s it rolls over:&#xA;s=Math.floor(offsettime % 60 );&#xA;ss=s&amp;gt;9 ? s : &quot;0&quot;+s;&#xA;&#xA;//and so on. Thank you ancient Mesopotamia for our weird time measurement system&#xA;m=Math.floor((offsettime / 60) % 60); &#xA;mm=(m&amp;gt;9) ? m : &quot;0&quot;+ m;&#xA;h=Math.floor( (offsettime / 3600) % 24);&#xA;hh=(h&amp;gt;9) ? h  : &quot;0&quot;+ h;&#xA;//if whatever it is runs longer than 24hrs you're on your own&#xA;&#xA;//now turn it all into a string:&#xA;hh + &quot;:&quot; + mm + &quot;:&quot; + ss + &quot;:&quot; + ms&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;note that the precision is limited by your comp's frame rate, so for 25fps the results will be just multiples of 40 ms. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here it is applied (the red background is just the comp bg). Use normal text formatting to change the font etc (a monospaced one will work best).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/YCVjf.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2014-10-18T14:35:42.577" LastActivityDate="2014-10-18T14:35:42.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12853" PostTypeId="1" CreationDate="2014-10-18T14:42:08.013" Score="1" ViewCount="170" Body="&lt;p&gt;I remember old times when I could just put a video on a layer and drag each corner individually to shape it as I want but it seems in premiere cc this easy to use feature is removed or replaced with some effects for achieve the same effect by entering many many values.&#xA;or there is some option in some menu that I can't find to re enable it. (please tell me this is the case)&#xA;can a pro enlighten me in this matter please?&lt;/p&gt;&#xA;" OwnerUserId="6649" LastActivityDate="2014-10-21T03:39:24.723" Title="adobe premiere cc / picture in picture / editing video shape by its corners removed?" Tags="|premiere|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12854" PostTypeId="1" CreationDate="2014-10-18T18:06:22.493" Score="2" ViewCount="1649" Body="&lt;p&gt;I saved my file, and later on it crashes. So, I re-opened the file on C4D and my objects turned black. I looked at a post that had a similar question but it didn't seem to help me. Any ideas? I'm kinda new to C4D by the way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a link to the picture: &lt;a href=&quot;http://gyazo.com/72d172984dbef3a12a3b864779308eeb&quot; rel=&quot;nofollow&quot;&gt;http://gyazo.com/72d172984dbef3a12a3b864779308eeb&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="6651" LastActivityDate="2014-12-18T00:48:59.373" Title="Cinema 4D Objects Turn Black" Tags="|cinema4d|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12855" PostTypeId="2" ParentId="12854" CreationDate="2014-10-18T21:05:28.043" Score="0" Body="&lt;p&gt;I don't know Cinema4d particularly, but it looks like the selected texture doesn't have a preview.  That may mean that something is broken with the material.  If the material is broken, then the renderer won't be able to render the geometry and will likely leave it as black.  Try altering the material and see if that fixes it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-18T21:05:28.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12856" PostTypeId="1" CreationDate="2014-10-19T09:05:27.567" Score="1" ViewCount="61" Body="&lt;p&gt;I am looking for a Windows tool for extracting photos from videos, taking advantage of similarity between subsequent frames to enhance the captured still images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There used to be a product for this, Topaz Moment, but this is no longer offered.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I’m interested in this, as I want to extract photos from my vacation video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="1710" LastActivityDate="2014-10-21T02:45:11.580" Title="Windows Tool for Extracting enhanced images from video" Tags="|capturing|photos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12857" PostTypeId="2" ParentId="10620" CreationDate="2014-10-19T11:47:11.957" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://processing.org&quot; rel=&quot;nofollow&quot;&gt;Processing&lt;/a&gt; can do it, if you're not afraid of Java. There's a demonstration processing sketch that comes included with the application that does a frequency spectrum bar graph. It's relatively easy to save the output of a processing sketch to a video file. And it's free.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-10-19T11:47:11.957" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12858" PostTypeId="2" ParentId="12853" CreationDate="2014-10-19T11:48:45.777" Score="3" Body="&lt;p&gt;Double click the layer in the program monitor (the sequence viewer) or click on the little icon in the source view next to the &lt;strong&gt;Motion&lt;/strong&gt; effect to bring up the drag handles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/piUOz.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2014-10-21T03:39:24.723" LastActivityDate="2014-10-21T03:39:24.723" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12859" PostTypeId="1" AcceptedAnswerId="12860" CreationDate="2014-10-19T15:15:07.213" Score="9" ViewCount="113199" Body="&lt;p&gt;On my machine, Adobe Media Encoder is very slow. It takes 12 hours to render 4 minutes of 1080p video for YouTube (the video is based on Adobe After Effects project with an original MOV file and four effects: curves, remove grain, unsharp mask and hue/saturation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Y0CVN.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I noticed that it doesn't use all the memory available, nor does it try to use as much CPU as possible. Here's the actual usage during the encoding process:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Zac98.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/lEpr2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to speed up the encoding process by convincing the application to use all CPU and all memory available?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;s&gt;As a side note, is it expected to be &lt;em&gt;that&lt;/em&gt; slow? I can't possibly imagine movie making companies using it to encode a movie which usually is slightly longer than 4 minutes and has slightly more than four basic effects, even with a whole data center.&lt;/s&gt; Removing &quot;remove grain&quot; effect speeds up the encoding from 12 hours to 3:30.&lt;/p&gt;&#xA;" OwnerUserId="6250" LastEditorUserId="6250" LastEditDate="2014-10-19T15:37:31.243" LastActivityDate="2023-06-05T01:12:40.840" Title="How to force Adobe Media Encoder to use 100% CPU and memory?" Tags="|encoding|performance|" AnswerCount="7" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12860" PostTypeId="2" ParentId="12859" CreationDate="2014-10-19T20:45:14.977" Score="6" Body="&lt;p&gt;There might not be a way.  Based on your description of the problem, it sounds like the processing is the slow part.  While the video encoder itself is able to do multi-threaded processing, the image processing you are doing may not be able to.  By default, Premiere has always done as much parallel processing as possible for me and I frequently see it hit 99% CPU usage on my hyper-threaded quad core desktop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is most likely that some of your effects require the result of the previous frame to begin processing on the next frame.  If this is the case, there isn't an easy way to break it down across multiple threads and that would make it impossible to hit 100% CPU usage on a multi-core computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly, RAM wouldn't be expected to cap on encoding as it is a stream operation.  There are some things that may need to be tracked over time, but for the most part, it is a stream operation with data going out as fast as it comes in, so there isn't much accumulation of data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two main things that can improve the performance.  The first is GPU processing.  General purpose CPUs aren't really ideal for many audio/video processing tasks.  They are designed for doing a wide variety of general purpose operations, but aren't super efficient at basic operations.  GPUs, on the other hand, are designed for doing simple operations very quickly.  They can often reduce video processing tasks quite a bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A further improvement can be found in purpose built hardware.  There are professional cards designed specifically for processing video and provide real time processing and encoding of video.  These are often included in high end professional video editing workstations, but the price can be quite high.  It isn't unheard of for a professional video editing workstation to be able to get up in the $15,000 to $20,000 range or even higher, just for hardware.  They can go for a lot less if you don't mind waiting for renders (I work on a $2,350 system for my video work) but they can also get very high.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-19T20:45:14.977" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12861" PostTypeId="1" CreationDate="2014-10-19T17:04:46.473" Score="0" ViewCount="143" Body="&lt;p&gt;I am trying to make a Telex MP 2002 interact with a Mumble client for a homegrown production intercom. However, when everything is hooked up, whenever something plays on the computer, it is instantly echoed back by the Telex. Is there any way around this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ok, so this is connected via the 9 pin program input port on the back(input on channel two, but that doesn't matter because the system is in combine). The output is taken from the PA output onto the line level input on the computer. The problem that we are seeing is that when we adjusted the volume on that computer and it made the noise to show what volume it is at, it started echoing that sound, getting progressively louder.&lt;/p&gt;&#xA;" OwnerUserId="6653" OwnerDisplayName="user3105700" LastEditorUserId="6653" LastEditDate="2014-10-19T21:08:42.527" LastActivityDate="2014-10-19T21:08:42.527" Title="Telex and Mumble" Tags="|wireless|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12862" PostTypeId="1" CreationDate="2014-10-19T19:40:06.737" Score="5" ViewCount="14319" Body="&lt;p&gt;I've seen &lt;a href=&quot;https://photo.stackexchange.com/questions/1455/what-is-raw-technically&quot;&gt;this post&lt;/a&gt; about what exactly &quot;RAW&quot; is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is about the &lt;a href=&quot;http://shop.gopro.com/hero4/hero4-black/CHDHX-401.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;GoPro Hero 4&lt;/a&gt;, which comes with the &lt;a href=&quot;http://gopro.com/support/articles/advanced-protune-controls-explained&quot; rel=&quot;nofollow noreferrer&quot;&gt;Protune&lt;/a&gt; option for &quot;advanced controls&quot;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is their &quot;Camera_Raw&quot; format a true RAW image format?&lt;/li&gt;&#xA;&lt;li&gt;Since it's probably proprietary, will I be able to access the image data using third-party software?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;In their description, GoPro uses the term &quot;less compression&quot;, but I was under the impression that RAW meant NO compression at all.&lt;/p&gt;&#xA;" OwnerUserId="6656" OwnerDisplayName="cppprog" LastEditorUserId="636" LastEditDate="2017-11-03T00:25:16.257" LastActivityDate="2017-11-03T00:25:16.257" Title="Is GoPro &quot;Cam_Raw&quot; a true RAW image format?" Tags="|action-cam|raw|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12863" PostTypeId="2" ParentId="12862" CreationDate="2014-10-19T22:33:19.710" Score="0" Body="&lt;p&gt;I believe the GoPro Hero 4 records in the h.264 format which is contained inside the MP4 Format.&#xA;This codec is a Compression format and dependant on the recording bitrates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;h.264 is a universally accepted format that Allows for very large files to be compressed with minimal loss to the original content. The compression is dependant on the bitrate used; the higher the bitrate, the larger the file, and the lower the bit rate, the smaller the file. Satellite TV channels, although 1080p @24 FPS, are of a fairly low bitrate as they need to fit the bandwidth available. However, even then, sometimes images come across as blocky.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A Raw Image at full Bitrate will definitely be larger than the MP4 Image and taking into consideration, you can't have a video camera that can only take a few minutes of Film, the bitrate needs to be reduced to allow for longer footage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the Hero 4 is as good as the Hero 3, the loss of quality will not be something that will be noticeable and as good as if no compression had taken place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regarding editing, h.264/MP4 is pretty much the choice of all editing packages now. You may be required to install the latest version of Quicktime to ensure you have the latest codecs.&lt;/p&gt;&#xA;" OwnerUserId="6657" OwnerDisplayName="anqphotography" LastActivityDate="2014-10-19T22:33:19.710" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12864" PostTypeId="2" ParentId="12862" CreationDate="2014-10-20T06:05:23.453" Score="1" Body="&lt;p&gt;Camera raw sounds like it is effectively similar to RAW because it is describing the light data without any corrections.  What comes in on the sensor is written out, but it does sound like it may be applying the filter, just using a mix of 1:1:1 for the color resolution.  It's theoretically possible to work backwards from this to the full colors, but you may lose some bit depth if it goes from more than 8 bit sensor read out to 8 bit color encoding.  Possibly even worse if it is encoding to 4:2:0 or 4:2:2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The net effect of shifting color on this kind of a recording would be that there would be fewer total colors described after applying your corrections since you discard a portion of the possible colors that could be described by the format.  (Where as your more traditional RAW doesn't discard any data, so you can be more selective about what you want to remove when you reduce the bit depth later in the process.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-20T06:05:23.453" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12865" PostTypeId="1" AcceptedAnswerId="12866" CreationDate="2014-10-20T12:17:39.907" Score="3" ViewCount="337" Body="&lt;p&gt;I have a music video I'd like to make with 4 quarter-circles at each of the four corners of the screen. I would like them all to to &quot;pop out&quot; together (in sync) along with the music, without any audio waves. How would I do that in After Effects?&lt;/p&gt;&#xA;" OwnerUserId="6658" LastActivityDate="2014-10-21T11:12:21.177" Title="After Effects - Audio Spectrum with Circles" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12866" PostTypeId="2" ParentId="12865" CreationDate="2014-10-20T12:43:58.243" Score="2" Body="&lt;p&gt;Import your audio and use the &lt;a href=&quot;http://helpx.adobe.com/after-effects/using/assorted-animation-tools.html#convert_audio_to_keyframes&quot; rel=&quot;nofollow noreferrer&quot;&gt;Convert audio to keyframes&lt;/a&gt; option on the layer (right-click-&gt;Keyframe Assistent).&#xA;Then create an expression for the value that you want to modify based on the audio spectrum. In that case you probably want the radius or scale to be affected.&#xA;The simplest way to do this is to use the &quot;expression pick whip&quot;. Just alt click the stop-watch icon to get the expression control menu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/GFe9v.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then click on the pick whip icon (marked above) and drag onto the left, right or center channel slider of your earlier generated &quot;Audio Amplitude&quot; layer. Now the values of the keyframes are 1:1 mapped to the chosen property of your circle object. Now you can do some math to the keyframes to amplify the animation or to reverse the direction.&#xA;F.e. you can do things like shown below, be aware that I chose to use the 2D size value as shown in the picture above, hence I have [temp, temp] at the end. If your property only has one value it will have only [temp] or with 3 values [temp,temp,temp]. You can also of course have separate values for each dimension.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Amplyify times 10:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;temp = thisComp.layer(&quot;Audio Amplitude&quot;).effect(&quot;Left Channel&quot;)(&quot;Slider&quot;)*10;&#xA;[temp, temp]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Amplyify non uniform:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;temp = thisComp.layer(&quot;Audio Amplitude&quot;).effect(&quot;Left Channel&quot;)(&quot;Slider&quot;);&#xA;[temp*5, temp*10]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Reverse direction:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;temp = thisComp.layer(&quot;Audio Amplitude&quot;).effect(&quot;Left Channel&quot;)(&quot;Slider&quot;)*-1;&#xA;[temp, temp]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Easy In:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;temp = easeIn(time, thisComp.layer(&quot;Audio Amplitude&quot;).effect(&quot;Left Channel&quot;)(&quot;Slider&quot;), thisComp.layer(&quot;Audio Amplitude&quot;).effect(&quot;Left Channel&quot;)(&quot;Slider&quot;));&#xA;[temp,temp]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The little &quot;play&quot; icon next to the whip offers you a lot of math expression functions to use here.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-10-21T11:12:21.177" LastActivityDate="2014-10-21T11:12:21.177" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12867" PostTypeId="1" AcceptedAnswerId="12868" CreationDate="2014-10-20T14:38:59.803" Score="14" ViewCount="18290" Body="&lt;p&gt;So I have multiple videos of the same scenery from different angles. These are stored as separate files. Can I combine these as multiple video streams within one file? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example I know this is possible with MKV, I just don't know how to &quot;join&quot; them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible using &lt;em&gt;ffmpeg&lt;/em&gt;? If so, which command sequence do I use?&#xA;If not, what other application would be able to do this?&lt;/p&gt;&#xA;" OwnerUserId="6659" LastEditorUserId="2178" LastEditDate="2014-10-20T15:41:13.777" LastActivityDate="2020-03-19T18:59:18.970" Title="Combine multiple videos as separate streams in one mkv file" Tags="|video|editing|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12868" PostTypeId="2" ParentId="12867" CreationDate="2014-10-20T15:43:56.437" Score="16" Body="&lt;p&gt;Yes, this is possible using ffmpeg and the &lt;code&gt;mkv&lt;/code&gt; container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example command sequence would be:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1 -i input2 -c copy -map 0 -map 1 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;sub&gt;&lt;a href=&quot;http://ffmpeg.gusari.org/viewtopic.php?f=12&amp;amp;t=828&quot;&gt;source&lt;/a&gt;&lt;/sub&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Breaking down the command:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-i input1&lt;/code&gt; This selects the first input file. Could be something like my &lt;code&gt;video_track1.mov&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-i input2&lt;/code&gt; Here you can specify the second input file. You can add another entry &lt;code&gt;-i input3&lt;/code&gt; if you have more input videos. I don't know what the maximum amount of videos is you can place in one &lt;code&gt;mkv&lt;/code&gt; container.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-c copy&lt;/code&gt; This copies all the streams (audio and video) in their original encoding.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-map 0&lt;/code&gt; This maps all the streams (audio and video) of the first input file to the first track of the output file.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-map 1&lt;/code&gt; This maps all the streams (audio and video) of the second input file to the second track of the output file.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;More information on the &lt;code&gt;-map&lt;/code&gt; option can be found &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Advanced-options&quot;&gt;in the documentation of ffmpeg&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="2178" LastEditDate="2014-10-20T15:53:10.687" LastActivityDate="2014-10-20T15:53:10.687" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12869" PostTypeId="1" CreationDate="2014-10-20T16:15:00.117" Score="1" ViewCount="122" Body="&lt;p&gt;I have to splice together some timelapse files from a new Brinno HD camera and add a title. Pretty simple. The Brinno cameras automatically produce AVI files. When I import the files into PremierePro, letting PremierePro create the sequence settings, the timeline shows frames and not timecode. Sequence settings showed a timebase of 10 frames per second and the timeline displays only frames and only frames is available for display in sequence settings. I changed the timebase to 24 fps and the other options become available and I can display timecode in the timeline. Also, the clips change from white to purple in the timeline. Is there anything wrong with doing this? I am pretty new to video and timelapse work.&lt;/p&gt;&#xA;" OwnerUserId="6660" LastActivityDate="2014-10-20T16:15:00.117" Title="timelapse avi video shows frames not timecode" Tags="|time-lapse|premiere|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12870" PostTypeId="1" CreationDate="2014-10-20T16:18:32.743" Score="2" ViewCount="619" Body="&lt;p&gt;I have a YouTube channel that I eventually hope to earn ad revenue from, however some of my videos use CC BY-NC licensed content. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realize monetizing those particular videos is off the table (obviously), but does having them prevent me from monetizing my videos that don't have such content (CC BY/royalty-free)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words, can one video with CC BY-NC content taint my entire channel? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm still new at this and I want to study up on the best practices for running my channel to avoid doing something I shouldn't. &lt;/p&gt;&#xA;" OwnerUserId="6662" LastActivityDate="2014-10-20T18:02:21.940" Title="Monetizing YouTube Channel with Videos Containing CC-Licensed Content" Tags="|video|youtube|copyright|music|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12871" PostTypeId="2" ParentId="10067" CreationDate="2014-10-20T16:43:17.493" Score="-1" Body="&lt;p&gt;Here is a list of equipments my film-making friends consider very useful.(I  own few of them). Budget is  $1800, excluding a good computer and post production software.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;A decent DSLR camera with kit lens. (eg: Canon t3i with 18-55mm lens - $500)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Prime lens for great image quality and shallow depth of field (Canon 50mm f1.8 - $100). Great for shooting interviews and close shots. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Wide angle lens to capture landscape and real estate (Tokina 11-16mm f2.8 - $500)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;A good audio recorder (Zoom h4n - $200)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;An image stabilisation device with a gimbal. These are extremely useful to get rid of shakes and obtain smooth, fluid video shots while moving your camera (Glidecam HD2000 is popular and costs $500).  A tripod is generally optional once you have this.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6661" LastEditorUserId="6661" LastEditDate="2014-10-20T16:50:57.680" LastActivityDate="2014-10-20T16:50:57.680" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12872" PostTypeId="2" ParentId="12870" CreationDate="2014-10-20T18:02:21.940" Score="3" Body="&lt;p&gt;No, one offending video won't taint your entire channel.  At my workplace, sometimes the youtube algorithms will mistakenly flag some music to which we own the rights as copyright protected.  When such an event occurs, the video is automatically un-monetized, and we are asked to demonstrate that we have rights to the music. The video still plays, we just don't make any money off of it. The rest of the channel is unaffected.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-10-20T18:02:21.940" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12873" PostTypeId="1" CreationDate="2014-10-20T19:01:36.520" Score="1" ViewCount="540" Body="&lt;p&gt;Who can make the best use of a weighted gimbal stabilizer such as a Glidecam HD2000? What are the pros and cons of using one?&lt;/p&gt;&#xA;" OwnerUserId="6661" LastEditorUserId="2836" LastEditDate="2014-10-20T20:41:01.457" LastActivityDate="2014-10-22T07:27:20.763" Title="Who should buy a Weighted Gimbal Stabilizer" Tags="|stabilisation|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12874" PostTypeId="2" ParentId="12873" CreationDate="2014-10-20T20:55:03.870" Score="1" Body="&lt;p&gt;The Glidecam HD2000 is a weighted gimbal stabilizer.  It uses inertia of a counter weight and a balanced gimbal to prevent rapid changes in orientation and to an extent position of a camera.  They are used for stabilizing footage when you need more stabilization than optical image stabilization can provide but less than a steadicam or gyroscope rig provides (or the cost or size of a steadicam or gyroscope unit is prohibitive).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unlike optical image stabilization, a weighted gimbal rig requires a fair bit of practice to master the use of as well as careful configuration and balancing to prevent the system from drifting.  A handle is attached to a near frictionless gimbal at the center of gravity so that the handle can move without the camera moving significantly.  It requires careful handling and manipulation to control the camera's angle while also requiring quite a bit of strength to hold the handle at the appropriate angle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main pro is that it provides far more stabilization than optical image stabilization, is relatively compact, light (roughly 50% heavier, though if you use monitors and such that can be used as counterweight ) and low cost (compared to more advanced stabilization systems.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main con is that it still adds quite a bit of weight to the camera rig.  They are difficult to use well and require careful movement and handling to get good results.  They also require far more physical exertion because of how you have to hold them (hard on your wrists.)  They also do not provide nearly the stabilization of more advanced systems such as a steadicam rig (chest support plus weighted gimbal) or a gyro-stabilized system (with high speed gyroscopes actually actively countering changes in orientation).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-20T20:55:03.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12875" PostTypeId="2" ParentId="12856" CreationDate="2014-10-21T02:45:11.580" Score="3" Body="&lt;p&gt;If your actually looking to produce a single image from a number of temporally-local frames,  then your probably looking at doing some kind of superresolution or drizzle integration. There are tools that do this. I use them for astrophotography myself, such as Registax and AutoStakkert!! 2. These are designed to generate astronomy images, such as planets, the moon, the sun, from video sequences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For these applications to work, they expect that the entire video sequence is generally going to be of an identical subject, and that only the quality of the contents differs. This implies that one has the ability to track or otherwise maintain identical subject framing. AS!2 is the one I use most, and it will sort the video frames by quality such that ones overpowered by seeing are dropped, and the best are kept and stacked. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The results can be quite stunning, detail can far surpass that of a single frame or even a high quality still.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not sure if this is what you are looking for, however it's the closest thing I can think of. Maybe the terms &lt;em&gt;super resolution&lt;/em&gt; and &lt;em&gt;drizzle&lt;/em&gt; might help in your search.&lt;/p&gt;&#xA;" OwnerUserId="6663" LastActivityDate="2014-10-21T02:45:11.580" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12876" PostTypeId="2" ParentId="6976" CreationDate="2014-10-21T12:43:09.367" Score="3" Body="&lt;p&gt;I am a little late in this topic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With a Creative Commons license, the Author wishing to use work of another author is typically permitted to use portions of the work, change, edit, recompile, or any other alteration except for specific items listed in the license document, with the caveats that; they include a clear path for the end user to obtain the included work in its original form including copyright notice, indicate clearly that it is a derivative work indicating and holding the author of the original work free from accountability for damages caused by the derivative work. The Author of the original work included in the new package retains minimal authority over the use of their work within the new work, and is typically not entitled to residual payment from benefits gained from the work that also includes their work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With a Standard Copyright License, a Derivative Author is entitled to perform the work either in a comparable manner to the original, incorporated into their own work, or in their own style, with the caveat that the original author is clearly identified and there is no attempt to claim the creation is your own, where only the your unique performance of that work would be your own. The original author retains &quot;some&quot; right to decline the works use by some people or prevent its use for topics that would be contrary to the opinions of the original author or would otherwise diminish the reputation of the work or its original creator. The Author of the original work is entitled to be financially compensated by any benefits realized from the performance of the derivative performer. Once the original work has been published, broadcast, or otherwise shared with the public, they no longer have complete control over who can perform their work, but to retain the right to reject the license to use from a specific individual, as alluded to above. To be clear, they can specifically deny an individual from performing their work, but they do not have a blanket license to deny that license to everyone, only the right to be compensated for it's use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the case of Audio or Video performances, a parody of an original work is considered an original work in itself by virtue that it includes primarily new content yet clearly indicates its original author and does not pretend to be an original work. As such it does not in itself constitute a performance of an original work and in many cases would serve as a mechanism to increase the fair use of the original work as well. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will not comment on how YouTube views the difference between a Creative Commons license and a Standard Copyright license, but wanted to point out that Copyright is not an assurance of the right to completely prevent the use of your work by others, it is simply a mechanism to ensure the creator is compensated for any gains made on the use of their work by others. Simply, if you want to ensure that nobody else can perform your work, do not publish, broadcast, or otherwise share it with anyone else.&lt;/p&gt;&#xA;" OwnerUserId="6666" LastEditorUserId="-1" LastEditDate="2017-08-14T13:28:02.847" LastActivityDate="2017-08-14T13:28:02.847" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12877" PostTypeId="2" ParentId="10067" CreationDate="2014-10-21T13:41:44.583" Score="1" Body="&lt;p&gt;I would suggest looking into the black magic pocket cinema camera (bmpcc). This camera has a very wide dynamic range which gives you the possibility to record footage that you can color grade. This is an important part of film making. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also the bmpcc has a 16mm sensor, this will allow you to buy very reasonably priced and very &quot;filmic&quot; looking 16mm lenses from ebay (make sure to always check reviews of a certain type of lens, not all of them work).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it is for hobby films look into DIY shoulder rigs sliders cranes and lighting, they will look crappy but will work, pvc is your friend!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For audio a zoom h1 will work (it is cheap and records nice stereo sound and clean mics via the input) h4n is the bigger better brother that allows you to record 4 channels instead of 2.&lt;/p&gt;&#xA;" OwnerUserId="5991" LastActivityDate="2014-10-21T13:41:44.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12878" PostTypeId="1" AcceptedAnswerId="12884" CreationDate="2014-10-21T21:29:36.797" Score="1" ViewCount="19011" Body="&lt;p&gt;If you have tried Splash Pro video player, you will see that it will play 30fps videos in 60 fps by using some kind of motion interpolation technology.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to somehow use that technology to process my 30fps videos to 60 or higher fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried Smooth Video Project(SVP) and I don't know what to do with it. It seems to only convert only Youtube videos. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I get this technology and apply it to my videos? Can I do it in Sony Vegas?&lt;/p&gt;&#xA;" OwnerUserId="6667" LastEditorUserId="6207" LastEditDate="2014-10-23T13:48:51.243" LastActivityDate="2021-03-09T02:15:06.367" Title="Program to convert videos by interpolating 30fps video to 60 fps similar to Splash Pro video player" Tags="|editing|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12879" PostTypeId="2" ParentId="12873" CreationDate="2014-10-22T07:27:20.763" Score="1" Body="&lt;p&gt;The only real reason to get the Glidecam is if you don't have the budget for a proper Steadicam. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With any type of camera, the weight from holding it in front of you (the gimbal prevents you holding it close) is incredibly tiring and after a very short space of time you will find it impossible to stabilise properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A Steadicam takes the weight and distributes it through a body harness so your hands and arms are just used for guiding the camera, not supporting it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The bottom end Steadicam rigs are only a couple of thousand pounds, so if you need a gimballed camera device, get one of these.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2014-10-22T07:27:20.763" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12880" PostTypeId="2" ParentId="10067" CreationDate="2014-10-23T00:07:40.290" Score="1" Body="&lt;p&gt;This depends on your budget. I'll assume you have an infinite budget and let you make decisions based on your actual budget.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first thing you want is a quality camcorder. Some people will recommend a DSLR, but those have issues with color accuracy in film. Get a quality camcorder and make sure it has an external microphone and headphone jack.  You may also want something with a hot seat if you want a light or mounted microphone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When it comes to audio, get a quality shotgun mic. They are very general purpose and work very well if you invest in quality one. The easiest way to record audio is through the microphone jack on the camcorder, but you can also use a separate audio reorder, but this means more work at editing. Some people will tell you to buy a clapboard, but just clapping has always worked fine for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Editing is a very important part of the video production process (but remember that doesn't substitute for skill.). Most problems created by cheaper equipment can be fixed more cheaply in editing than by upgrading equipment.  My personal favorite programs are Adobe Premiere, which can be expensive, and Lightworks which is slightly less expensive. I've also heard good things about Final Cut and Sony Vegas.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastEditorUserId="6671" LastEditDate="2014-10-23T16:51:49.673" LastActivityDate="2014-10-23T16:51:49.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12881" PostTypeId="2" ParentId="2293" CreationDate="2014-10-23T00:15:00.357" Score="-1" Body="&lt;p&gt;I don't know an incredible amount about video codecs, so I'll explain my top two and why I use them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The MP4 format is designed to take up a small amount of space, this makes it good for sharing online and recording on devices with limited storage. The drawback is that you lose an extensive amount of quality, especially in particularly dark footage.  The mpeg format is also proprietary, meaning if you edit on Linux you have to buy the codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AVI is a very nice format. It isn't proprietary and there is very little loss in quality. This means AVI files can be very large, but I always use the format whenever it's feasible because of the quality.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-10-23T00:15:00.357" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12882" PostTypeId="2" ParentId="12609" CreationDate="2014-10-23T00:19:14.380" Score="1" Body="&lt;p&gt;I would recommend waiting at least a few years. 4K technology isn't very integrated into technology yet. Most people can't enjoy 4K quality unless they have a several thousand dollar screen. 4K cameras are still very expensive compared to 1080p cameras. Wait for the technology to become more common and the price of 4K cameras will drop.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-10-23T00:19:14.380" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12883" PostTypeId="1" AcceptedAnswerId="12885" CreationDate="2014-10-23T03:01:37.720" Score="0" ViewCount="3024" Body="&lt;p&gt;I have edited a 640 x 360 clip into a sequence in Premiere CC. The sequence includes changes to the scale for different shots. Now I want to replace the 640 x 360 clip with a 1920 x 1080 version of the same clip. When I do that, the apparent scale increases by a factor of 3; a shot in the sequence that should have a scale of 100% now APPEARS to be at 300%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/9MtM9.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sure it's because the new clip is so much bigger.  But is there a workaround that lets me keep the APPARENT zoom level of the original, tiny clip?  That is, can I make this new clip LOOK like its scale is 100% when the original sequence had the scale set to 100%? Can they look the same?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW, I know I can set the scale of each shot manually in the timeline.  But I may have 50 or more edits so I'm looking for a global solution.  I was hoping there was like a &quot;master scale&quot; setting for clips in the media browser, but I didn't find one.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastEditorUserId="5546" LastEditDate="2014-10-24T04:12:44.420" LastActivityDate="2022-04-15T09:09:36.730" Title="replace a clip with a different size clip but keep the scale in Premiere CC" Tags="|premiere|scale|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12884" PostTypeId="2" ParentId="12878" CreationDate="2014-10-23T03:24:27.780" Score="2" Body="&lt;p&gt;If you're exporting your finished project to a 60 fps format, your editing or compressing software will generally do some sort of conversion for you. It's not usually necessary to conform all your clips before editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have different options for how to handle the conversion, using &quot;Optical Flow&quot; or &quot;Motion Estimation&quot; options will interpolate frames. Depending on how good the interpolation is and the nature of the footage, this may look perfectly acceptable or horrible. As mentioned, you can try frame blending, too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your software doesn't do the conform automatically, you could try 3rd party tools. I know many people who have had good success with &lt;a href=&quot;http://revisionfx.com/products/twixtor/&quot; rel=&quot;nofollow&quot;&gt;Twixtor&lt;/a&gt; from RE:Vision Effects. But there are others you can try as well depending on which application you're using.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-10-23T03:24:27.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12885" PostTypeId="2" ParentId="12883" CreationDate="2014-10-23T13:45:48.880" Score="1" Body="&lt;p&gt;After the fact, no I don't.  If you know before the fact in the future though, you can put the source on a timeline by itself and apply the scale there and make all the clips point at that timeline.  This is the same technique I use in After Effects whenever I am working with animating a base layer that I know I am going to need to change.  That way I can make a simple change to the source clip and not have it impact the overall sequence.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-23T13:45:48.880" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12886" PostTypeId="1" AcceptedAnswerId="14584" CreationDate="2014-10-23T21:13:02.470" Score="8" ViewCount="1295" Body="&lt;p&gt;I have several recordings of lectures, some with powerpoint slides, some with writing on a blackboard. They are several GBytes each. However most of the time the video is a still image (besides maybe some movements of people, occasional shaking/adjustment of the camera).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I compress the video effectively without loosing sharpness and the audio? I thought about making the frame rate super low (say 1fps, or even less). Even better would of course be something that analyzes the change in the image and only updates if the image changed by a certain amount.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The output format doesn't necessarily need to be a video, something like a html format or a ppt/libreoffice presentation would be fine too. However the Audio should be in sync with the images, and it should not require an exotic software to play it back.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think I could program something that does the job, but I would really prefer to just use an existing software, dump my video file into it and get the result out. Who has suggestions? Did anybody try something similar?&#xA;Cross-platform or Linux solutions are preferred :)&lt;/p&gt;&#xA;" OwnerUserId="6676" LastActivityDate="2015-01-15T14:53:19.263" Title="Recording of Lectures: Tips for compressing video with mostly still images" Tags="|compression|screen-casting|presentation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12887" PostTypeId="2" ParentId="12886" CreationDate="2014-10-23T21:36:39.127" Score="3" Body="&lt;p&gt;H264 is actually a pretty good codec for such content. Its based on motion vectors and you can define in which intervals the codec should encode a full frame, everything in between will be based on the last and next keyframe (simplifying here).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;x264 is probably the best h264 encoder out there and luckily open source. Probably the best way to use it is through &lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt; (open source, cross-plattform).&#xA;Here is a good general guide for x264 and ffmpeg:&#xA;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/H.264&lt;/a&gt;&#xA;Especially take a look at the -tune option, it has a preset for still images, so perfect for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And this guide shows some of the advanced options like keyframes/GOPs.&#xA;&lt;a href=&quot;https://sites.google.com/site/linuxencoding/x264-ffmpeg-mapping&quot; rel=&quot;nofollow&quot;&gt;https://sites.google.com/site/linuxencoding/x264-ffmpeg-mapping&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-10-24T14:36:57.287" LastActivityDate="2014-10-24T14:36:57.287" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12890" PostTypeId="1" CreationDate="2014-10-24T09:42:34.397" Score="4" ViewCount="2695" Body="&lt;p&gt;i will be filming a presenter in front of a 48&quot; TV with graphics on it. The presenter will be pointing at the graphics at times to explain certain things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We will be doing this in a tiny studio on a shoestring budget. Do you have any recommendations at all on how to light the presenter? Are there video lights or setups i can use, that will not blend or glare in the tv screen?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We will probably be using a consumer grade video camera and dump the video material into an editing suite afterwards. It's mainly the presenter and the TV what will be in the shot, i'd say a medium close up.&lt;/p&gt;&#xA;" OwnerUserId="6677" LastActivityDate="2014-10-26T17:01:18.807" Title="What lighting setup is recommended for filming a presenter in front of a TV screen?" Tags="|video|hardware|lighting|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12891" PostTypeId="2" ParentId="12890" CreationDate="2014-10-24T12:15:30.073" Score="3" Body="&lt;p&gt;If you can't use green-screen (the ideal), I'd recommend a couple of things. First, use a screen with a matte surface to reduce specular reflections and present more diffuse ones. These are somewhat rarer that glossy ones. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, angle the screen slightly top-forward, to deflect some reflections down and away from the camera. A slight parallax won't be too noticeable. Same goes for a slight off-axis view right-to-left&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Third, try a polarizer in front of the taking lens to dampen some reflections.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Last, use cutting flags on all fixtures to minimize the amount of light that actually touches the screen. If you keylight from two directions, you can help avoid hitting the screen. Diffuse fill light is much harder to flag effectively.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck. I'm sure others here will have more suggestions.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-10-24T12:15:30.073" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12892" PostTypeId="2" ParentId="12890" CreationDate="2014-10-24T14:01:27.640" Score="0" Body="&lt;p&gt;If you can, record the video going to the TV separately while recording the speaker.  Shoot the video from a stable tripod.  After shooting, overlay the feed from the TV directly over the TV.  This will replace any glare on the screen and ensure you have the highest possible quality looking screen and allow you to only have to worry about ideally lighting the speaker with no regards for glare on the TV.  This also removes many of the problems that can occur related to display flicker from display refresh mismatches as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do the same thing with a moving shot using motion tracking, but a tripod makes it a one and done kind of thing that requires less tweaking.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-24T14:01:27.640" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12893" PostTypeId="1" CreationDate="2014-10-25T06:41:36.447" Score="0" ViewCount="87" Body="&lt;p&gt;Okay so for some of you that may not know, there is a YouTuber named weedlion. He does minecraft advanced rigs and such. So I bought his advanced rig with moving teeth, a moving mouth, moving eyebrows, moving eys and such. So I bought his rig, in the right there are the tags. When I insert the rig into cinema 4d the tags come up great. They work fine (btw the tags, when I double click comes up in a new window and I can click on the picture and and select what body parts I want to move and such. But when I save it, close out, and reopen, the tags are gone. I can still open the window, but either way the tags are not there. Can someone help me figure out what's happening so I can import that rig into another project?&lt;/p&gt;&#xA;" OwnerUserId="6680" LastEditorUserId="3592" LastEditDate="2014-10-25T12:52:11.983" LastActivityDate="2014-10-25T13:24:38.610" Title="All of my tags from WeedlLon's paid rig are missing when I reopen the project" Tags="|software|cinema4d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12894" PostTypeId="2" ParentId="12893" CreationDate="2014-10-25T13:01:57.183" Score="1" Body="&lt;p&gt;Open the project that you want to insert the rig into.  Open the rig by using the &quot;Merge&quot; command under the file menu instead of the usual &quot;Open&quot; command.  This will place a copy of the content in the project upon which you are currently working.  For help with disappearing controls, I'd have to actually see the rig and how you're using it to know what's going on.  It sounds like maybe the HUD elements are only set to display under certain circumstances.  You can change this behavior by right-clicking on any HUD element and changing it's settings, but again, I'm only guessing that this might be your issue.  Any way you could upload some screenshots, or better yet, a video of how you're using the rig?  I could modify my answer to be more helpful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;*edit  I think the tag you're talking about is the Visual Selector Tool.  I found a video that might be helpful to you.  &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/jLATXILBUe8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2014-10-25T13:24:38.610" LastActivityDate="2014-10-25T13:24:38.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12895" PostTypeId="2" ParentId="12890" CreationDate="2014-10-25T17:07:57.483" Score="1" Body="&lt;p&gt;Ideally you would take care of the images on the screen in post-production, whether it be green-screening or motion-tracking. &lt;a href=&quot;https://obsproject.com&quot; rel=&quot;nofollow&quot;&gt;OBS&lt;/a&gt; is a free program that can do the green-screening for you, just ask the presenter for the images that will be on the screen.  You can also do motion tracking using something like After Effects, Boujou, or Smoke.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If none of that is an option, try to dim the overhead lights and light the speaker by reflecting your lights off of the ceiling and floor so that they are coming at angles that won't cause glares for the camera. Additionally, you can ask the presenter for the slides he will show and cut to those slides while the presenter discusses them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One other thing to remember is that audio is key to a presentation like this. You want a microphone as close to the speaker as possible, whether it be a lavaliere on the speaker or a shotgun sitting in the front row. Avoid using the mic on your camera if at all possible.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastEditorUserId="3592" LastEditDate="2014-10-26T17:01:18.807" LastActivityDate="2014-10-26T17:01:18.807" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12896" PostTypeId="2" ParentId="12883" CreationDate="2014-10-26T03:18:39.803" Score="1" Body="&lt;p&gt;Premiere CC lets you adjust the dimensions of the sequence.  It will keep the same scale changes (zoom in &amp;amp; out) in the timeline.  So increase the dimensions of the sequence to accommodate the larger clip, then replace the small clip with the large clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This isn't a perfect solution. For example, titles will appear very small, and will not be in the right positions, relative to the new larger clip. I'm pretty sure that any position changes of the clip will be reduced as well, since they're in pixels rather than percentages of the width/height of the sequence.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-10-26T03:18:39.803" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12897" PostTypeId="1" CreationDate="2014-10-26T09:48:40.367" Score="1" ViewCount="2359" Body="&lt;p&gt;I have several H.264 encoded MP4 files, as well as still images. From these I want to generate a single video stream that I can broadcast. The stream will be composed of alternating still images and video clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what I think could work:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;At any time, simultaneously play back two video streams using &lt;code&gt;ffmpeg -re&lt;/code&gt; (one of&#xA; the video streams is actually a looping still image).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use a H.264 video mixer to switch from one stream to another. The mixer is &#xA; controlled by a Unix command line script. A playlist wouldn't work since the&#xA; order of streams is not known in advance.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Pipe the resulting (mixed) H.264 stream into broadcasting software such as Wowza.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Is that the correct approach? Is there actually a H.264 video mixer that runs on Linux and that can be controlled from the command line?&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="4011" LastActivityDate="2014-10-26T09:48:40.367" Title="Switching between H.264 video streams on the fly?" Tags="|ffmpeg|mp4|linux|mixer|h.264|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12898" PostTypeId="1" CreationDate="2014-10-27T05:28:31.810" Score="3" ViewCount="30743" Body="&lt;p&gt;I was working on a project in FCPX. Suddenly it crashed. After that the library on which I was working is not opening.&#xA;Whenever I try to open it it crashes again. It was my 2 weeks of edit. How can I recover that lease help me ?? The error message I get is attached.&lt;img src=&quot;https://i.stack.imgur.com/fcKbN.png&quot; alt=&quot;Error message screenshot&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6688" LastActivityDate="2015-12-19T00:53:15.300" Title="FCPX Crashes again and again" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12901" PostTypeId="2" ParentId="12807" CreationDate="2014-10-27T12:50:20.870" Score="1" Body="&lt;p&gt;Here's what I ended up doing.  I created a mask the way you would normally create a mask, and the end result was that I had 2 video tracks.  Any tutorial on the Internet can show you how to do that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I got ready to create my multitrack edit, I included every video track &lt;strong&gt;except&lt;/strong&gt; the 2nd video track mentioned above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words, let's say I have 3 video tracks; V1, V2 and V3.  V2 is the camera angle where the person's face can be clearly seen, so I put a pixelated mask on the person's face for the whole clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I make my multicamera track I only highlight V1, V2 and V3,  This combines those 3 into one track, and V4 remains it's own separate track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now when you make the cuts and edits, that pixelation mask will still be on any shot where you use V2 as the source, but will not be on any shot where V1 or V3 is the source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just remember, when you render the video make sure the mask track, the one you &lt;em&gt;didn't&lt;/em&gt; add to the multicamera track, is &lt;strong&gt;above&lt;/strong&gt; the multicamera track in your track layout so it lays on top of that track instead of under it.&lt;/p&gt;&#xA;" OwnerUserId="5869" LastEditorUserId="5869" LastEditDate="2017-12-30T19:15:38.053" LastActivityDate="2017-12-30T19:15:38.053" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12902" PostTypeId="1" CreationDate="2014-10-27T14:37:10.373" Score="0" ViewCount="178" Body="&lt;p&gt;I'm trying to record a training session at work that requires me to capture the Projector screen as the lecturer is teaching. The light on my JVC 3CCD camera keeps on changing between Orange, blue and Yellow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help!&#xA;The training class starts in 1 day.&#xA;BM&lt;/p&gt;&#xA;" OwnerUserId="6691" LastActivityDate="2014-10-27T16:18:14.520" Title="JVC 3CCD camcoder light changes during capture!" Tags="|camcorder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12903" PostTypeId="1" CreationDate="2014-10-27T14:57:32.643" Score="1" ViewCount="17" Body="&lt;p&gt;Some time ago, I wondered about what this particular cinematographic technique is.  I figured out that what's happening is the camera is simultaneously moving away and closing its field of view (or moving toward and opening its field of view).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One example I can think of is in the shortfilm Big Buck Bunny right before&lt;/p&gt;&#xA;&#xA;&lt;blockquote class=&quot;spoiler&quot;&gt;&#xA;  &lt;p&gt; the flying squirrel gooshes the bunny's butterfly.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;(link starts at 3m 14s): &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/YE7VzlLtp-4?start=194&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera starts focusing on the bunny and then, &lt;em&gt;without much affecting the bunny&lt;/em&gt;, causes the background to distort.  In this case, the camera moves toward the bunny, while the field of view increases correspondingly so that the bunny doesn't actually appear any larger.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This example is not perfect (please edit if you have better ones).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is: &lt;strong&gt;what is this technique called?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="6692" LastActivityDate="2014-10-27T14:57:32.643" Title="What is This Zooming/Opening Cinematographic Technique Called?" Tags="|camera|special-effects|" AnswerCount="0" CommentCount="3" ClosedDate="2014-10-27T16:24:23.330" ContentLicense="CC BY-SA 3.0" />
  <row Id="12904" PostTypeId="2" ParentId="12902" CreationDate="2014-10-27T16:18:14.520" Score="2" Body="&lt;p&gt;For consistent performance with any camera, you will want to disable any automatic functionality that may change with shooting conditions.  White balance, shutter speed, gain/iso and aperture should all be set manually.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need the auto-exposure, you may still get okay results by just setting the WB to a custom white balance (and setting the custom white balance to a grey card help up under the lighting). There would still be the risk of fluctuations in lighting level, but if the light levels actually do change during shooting, it would adjust accordingly.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-27T16:18:14.520" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12905" PostTypeId="1" AcceptedAnswerId="12906" CreationDate="2014-10-27T18:22:50.133" Score="113" ViewCount="269111" Body="&lt;p&gt;I just want to loop a mp4 video with ffmpeg and keep the current settings and codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example if input.mp4 is 0:10 long, and I would want to loop it 4 times so output.mp4 is 0:40 long, how could I change the following command line to do that?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 4 -i input.mp4 -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;...but I get the error &quot;Option loop not found.&quot;&lt;/p&gt;&#xA;" OwnerUserId="6693" LastActivityDate="2022-07-14T21:15:31.527" Title="Repeat/loop Input Video with ffmpeg?" Tags="|ffmpeg|mp4|h.264|" AnswerCount="6" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12906" PostTypeId="2" ParentId="12905" CreationDate="2014-10-28T06:15:51.107" Score="150" Body="&lt;h1&gt;&lt;code&gt;-stream_loop&lt;/code&gt; option&lt;/h1&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -stream_loop 3 -i input.mp4 -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;This can avoid re-encoding because it can use &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;noreferrer&quot;&gt;stream copy&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;0&lt;/code&gt; means no loop, &lt;code&gt;-1&lt;/code&gt; means infinite loop.&lt;/li&gt;&#xA;&lt;li&gt;This may not work with anything older than FFmpeg 4.0.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h1&gt;concat demuxer&lt;/h1&gt;&#xA;&lt;p&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#concat&quot; rel=&quot;noreferrer&quot;&gt;concat demuxer&lt;/a&gt; allows you to loop an input without needing to re-encode because it can use &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;noreferrer&quot;&gt;stream copy&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Make a text file. Contents of an example text file to repeat 4 times.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; file 'input.mp4'&#xA; file 'input.mp4'&#xA; file 'input.mp4'&#xA; file 'input.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Then run &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -f concat -i list.txt -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;If you want to add additional inputs make sure they all have the same attributes.&lt;/p&gt;&#xA;&lt;h3&gt;Automatically make &lt;code&gt;list.txt&lt;/code&gt; in Linux/macOS&lt;/h3&gt;&#xA;&lt;p&gt;This example is the same as above but you don't have to manually make &lt;code&gt;list.txt&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for i in {1..4}; do printf &amp;quot;file '%s'\n&amp;quot; input.mp4 &amp;gt;&amp;gt; list.txt; done&#xA;ffmpeg -f concat -i list.txt -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;With most commonly-used modern shells, you can even avoid the creation of the &lt;code&gt;list.txt&lt;/code&gt; file entirely. For example, with bash:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i &amp;lt;(for i in {1..4}; do printf &amp;quot;file '%s'\n&amp;quot; input.mp4; done) -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h3&gt;Also see:&lt;/h3&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#concat&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg concat demuxer documentation&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg Wiki: Concatenate&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h1&gt;loop filter&lt;/h1&gt;&#xA;&lt;p&gt;Example using the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#loop&quot; rel=&quot;noreferrer&quot;&gt;loop filter&lt;/a&gt; to loop 4 times, each loop is 75 frames, each loop skips the first 25 frames of the input:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex &amp;quot;loop=loop=3:size=75:start=25&amp;quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Or use the shorthand: &lt;code&gt;loop=3:75:25&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Filtering requires re-encoding.&lt;/li&gt;&#xA;&lt;li&gt;This filter &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#movie&quot; rel=&quot;noreferrer&quot;&gt;places all frames into memory&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Using &lt;code&gt;loop=3&lt;/code&gt; will loop 4 times.&lt;/li&gt;&#xA;&lt;li&gt;To loop infinitely use &lt;code&gt;-1&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;You must list the number of frames to loop (shown as 75 in the example above). Max value is 32767.&lt;/li&gt;&#xA;&lt;li&gt;Also see &lt;code&gt;ffmpeg -h filter=loop&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h1&gt;movie filter&lt;/h1&gt;&#xA;&lt;p&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#movie&quot; rel=&quot;noreferrer&quot;&gt;movie&lt;/a&gt; and amovie filters have a loop option:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i &amp;quot;movie=filename=input.mp4:loop=4,setpts=N/FRAME_RATE/TB&amp;quot; -f lavfi -i &amp;quot;amovie=filename=input.mp4:loop=4,asetpts=N/SR/TB&amp;quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Filtering requires re-encoding.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;1&lt;/code&gt; means no loop, &lt;code&gt;0&lt;/code&gt; means infinite loop.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h1&gt;&lt;code&gt;-loop&lt;/code&gt; option&lt;/h1&gt;&#xA;&lt;p&gt;The &lt;code&gt;-loop&lt;/code&gt; option is specific to the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#image2-1&quot; rel=&quot;noreferrer&quot;&gt;image file demuxer&lt;/a&gt; and &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#gif-2&quot; rel=&quot;noreferrer&quot;&gt;gif muxer&lt;/a&gt;, so it can't be used for typical video files. But it can be used to infinitely loop a single image or a series of images.&lt;/p&gt;&#xA;&lt;h3&gt;single image&lt;/h3&gt;&#xA;&lt;p&gt;This example will loop a single image over and over but the &lt;code&gt;-t 30&lt;/code&gt; will limit the output duration to 30 seconds:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i input.png -t 30 -vf format=yuv420p output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;-vf format=yuv420p&lt;/code&gt; is for compatibility reasons.&lt;/p&gt;&#xA;&lt;h3&gt;series of images&lt;/h3&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i %03d.jpg -t 30 -vf format=yuv420p output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h3&gt;GIF output&lt;/h3&gt;&#xA;&lt;p&gt;Or to loop a GIF:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -loop 3 output.gif&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For GIF output also see &lt;a href=&quot;https://superuser.com/a/556031/&quot;&gt;How do I convert a video to GIF using ffmpeg, with reasonable quality?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="38507" LastEditDate="2022-07-14T21:15:31.527" LastActivityDate="2022-07-14T21:15:31.527" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="12907" PostTypeId="2" ParentId="12898" CreationDate="2014-10-28T10:33:46.013" Score="2" Body="&lt;p&gt;Hold down the option key while you open Final Cut in the Finder.  This will open a dialogue which asks you to select a library.  DO NOT select a library from the list.  Instead, click the &quot;new&quot; button, name it &quot;blank_Library&quot; or something, select a destination, and click &quot;OK&quot;.  This process should start Final Cut cleanly.  If FCPX has crashed at this point, then your problem is with the application itself, and you need to re-install.  If everything's OK at this point, you might have a corrupt library.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming that FCPX is running, now you'll want to try to open the project upon which you're currently working.  Go to File-&gt;Open Library.  You should see the library which contains your project in the list.  Click it.  If FCPX crashes on this step, you know there's a problem with the current library.  If it doesn't crash, it could have been another open library which was corrupt and causing your crash.  If everything works at this point, carry on with your day.  If not, proceed to the next step.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Option-double-click to start FCPX again.  From the dialogue, select the blank library that you created in the first step. Click &quot;OK&quot;.  Quit Final Cut.  This will ensure that the next time you try to open the program, it won't try to open the corrupt library.  Next, Spotlight search &quot;Final Cut Backups&quot;.  This folder contains backups of all of your projects.  If the library which contained your project was called &quot;Skateboarding_Kids&quot;, you'll see a folder called &quot;Skateboarding_Kids&quot;.  Open that.  Within, is an iterative list of backups sorted by date.  Open the most recent one.  Did Final Cut crash?  If not, carry on with your day.  If so, repeat the steps in this paragraph, but open the next-oldest-to-the-last-backup-you-just-opened.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If none of this works, then my guess is that you're running a NAS or a SAN, and it's a network problem that's causing the crash, but I don't know enough about your system to say.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2014-10-28T12:29:07.183" LastActivityDate="2014-10-28T12:29:07.183" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12909" PostTypeId="1" CreationDate="2014-10-28T13:55:16.800" Score="-1" ViewCount="24" Body="&lt;p&gt;With the firewire connected to the PC and camcorder there is no digital connection.  I'm using Windows XP and the video card, firewire and camcorder are all ten years old or so.  Is it something simple like drivers?&lt;/p&gt;&#xA;" OwnerUserId="6696" LastActivityDate="2014-10-28T14:20:04.537" Title="video capture problem" Tags="|capturing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12910" PostTypeId="1" CreationDate="2014-10-28T14:00:54.363" Score="6" ViewCount="3175" Body="&lt;p&gt;I need to create a menu for a video, which will be written onto a disk not in a DVD format, but as a single file (f.e. mp4). The problem is that programs such as Adobe Encore are not able (as far as I'm concerned) to create a 'standalone' menus (executable-like). What is the recommended way to do such a thing?&lt;/p&gt;&#xA;" OwnerUserId="6267" LastActivityDate="2015-03-27T19:11:51.830" Title="Creating menu for a video file (not for DVD)" Tags="|video|encoding|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12911" PostTypeId="2" ParentId="12909" CreationDate="2014-10-28T14:20:04.537" Score="3" Body="&lt;p&gt;What software are you using to capture?  The camera won't just show up in Windows.  Firewire is used to control playback of the device and the video stream is relayed over firewire, but you need a client program that is capable of controlling and capturing the footage sent over the line.  It isn't the same as something like USB where you just copy files off.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-28T14:20:04.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12912" PostTypeId="2" ParentId="12910" CreationDate="2014-10-28T17:20:12.347" Score="1" Body="&lt;p&gt;Looking at what Mr Henderson was saying, it appears you will need to have some basic programming skills to do what you want.  The system he provided a link to appears to be based off of a markup language (similar to HTML if you've used that).  If you aren't afraid to get your hands dirty with some basic programming that would be the way to go.&lt;br&gt;&#xA;(details here: &lt;a href=&quot;http://forum.doom9.org/showthread.php?s=&amp;amp;threadid=66583&quot; rel=&quot;nofollow&quot;&gt;http://forum.doom9.org/showthread.php?s=&amp;amp;threadid=66583&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively you could use Encore and create an image (ISO) of the DVD, but I'm not sure if it's possible to run a disk image independently of a disk.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will play around with Adobe Encore tomorrow and see if there is a way to export a standalone menu.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-10-28T17:20:12.347" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12913" PostTypeId="1" CreationDate="2014-10-28T19:18:55.137" Score="0" ViewCount="27" Body="&lt;p&gt;I am trying to record a screen recording from a medical imaging display (a box with output ports that can be plugged into a monitor), and I am unsure what is the best hardware to have the best chance at recording the video stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Specs&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video resolution: 1080i&lt;/li&gt;&#xA;&lt;li&gt;Video frame rate: unknown (proprietary to company) to  but likely not 29.97, 30, 59.94, or 60 fps&lt;/li&gt;&#xA;&lt;li&gt;Ports to record from: DVI or SDI&lt;/li&gt;&#xA;&lt;li&gt;Computer to record to: macbook pro early 2013 (Thunderbolt or HDMI ports will support this amount of data, but write to disk speed is likely not fast enough to support writing uncompressed video) &lt;/li&gt;&#xA;&lt;li&gt;Cost: Lowest possible...&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What I've tried&lt;/strong&gt;&#xA;I bought the &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B009D91314&quot; rel=&quot;nofollow&quot;&gt;Blackmagic Ultrastudio Mini Recorder&lt;/a&gt; and tried to record via the SDI port of the imaging display. However, one of the only parameters you can change is the video frame rate from a short list. None of these seemed to match the frame rate of the imaging system. The manufacturer of the imaging display said this value is proprietary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question&lt;/strong&gt;&#xA;&lt;br&gt; What hardware should I look at to be able to record this video stream with unknown frame rate.&lt;/p&gt;&#xA;" OwnerUserId="6697" LastActivityDate="2014-10-28T19:18:55.137" Title="Hardware suggestion for recording DVI on mac with unknown frame rate" Tags="|hardware|video-recording|screen-casting|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12914" PostTypeId="1" CreationDate="2014-10-29T00:10:36.580" Score="1" ViewCount="165" Body="&lt;p&gt;I need to know if there is a way for a camera to travel through a hole in a letter or something flashy like a portal in After Effects CC.&lt;/p&gt;&#xA;" OwnerUserId="6699" LastEditorUserId="6207" LastEditDate="2014-10-29T04:30:06.757" LastActivityDate="2014-10-29T22:50:41.450" Title="Making the camera travel through a hole in a letter" Tags="|after-effects|camera|animation|post-production|special-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12915" PostTypeId="1" CreationDate="2014-10-29T03:49:39.997" Score="1" ViewCount="191" Body="&lt;p&gt;Do we currently have true 3d animated holograms yet? Images that we can walk around and see as 3d? I'm pretty sure we have this for still objects but I've seen plenty of videos of animated concert holograms and they are only looking face on at the stage.&lt;/p&gt;&#xA;" OwnerUserId="6700" LastActivityDate="2014-10-29T22:33:24.813" Title="Can we produce true 3D holograms yet?" Tags="|video|animation|3d|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12916" PostTypeId="2" ParentId="12915" CreationDate="2014-10-29T04:45:09.283" Score="1" Body="&lt;p&gt;Not at a usable frame rate.  The fastest I'm aware of is one that updates every 2 seconds.  They are also not free floating in air, but rather projected within a block of material.  There is a nice article on discovery.com about the most advanced one I know of &lt;a href=&quot;http://news.discovery.com/tech/holographic-3d-tv.htm&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also vapor displays that can display a video floating in space, but those aren't actually 3d, just a 2d projection.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-29T04:45:09.283" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12917" PostTypeId="2" ParentId="12914" CreationDate="2014-10-29T22:08:57.723" Score="3" Body="&lt;p&gt;Here's one idea for the effect, which you can even do in Premiere:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Get a live-action camera shot where the camera is slowly trucking forward.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In post-production, create a title that has at least one letter with a hole in it (A, B, D, O, P, Q, etc.).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Lay the title over the top of the trucking-in shot.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Animate the scale and position of the title over several seconds, so that the title gets larger and larger, and the hole stretches towards the edges of the screen. Since this is happening while the camera in the live-action scene is trucking forward, it will appear that the title is hovering in the air within the live-action scene.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;When the hole in the letter is larger than the screen (because of the increasing scale), the animation is done.  At that point, it will appear as though the camera has traveled &quot;through&quot; the hole in the title, and is continuing to move forward.  (You can cut the title from the timeline at that point.)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5546" LastEditorUserId="5546" LastEditDate="2014-10-29T22:50:41.450" LastActivityDate="2014-10-29T22:50:41.450" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12918" PostTypeId="2" ParentId="12915" CreationDate="2014-10-29T22:33:24.813" Score="2" Body="&lt;p&gt;It depends what you regard as &quot;true 3d&quot; but there is a technique called &quot;Light Field Display&quot; which has been in development for some time now. Its essentially still a 2D screen but you can walk around and look at it from different angle as if it were an actual 3d object.&#xA;&lt;a href=&quot;http://gl.ict.usc.edu/Research/3DDisplay/&quot; rel=&quot;nofollow&quot;&gt;http://gl.ict.usc.edu/Research/3DDisplay/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-10-29T22:33:24.813" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12920" PostTypeId="1" AcceptedAnswerId="12921" CreationDate="2014-10-30T08:10:53.437" Score="3" ViewCount="3093" Body="&lt;p&gt;I want to shot some scenes using a tripod, and some others handheld (with an IS lens).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I mix both types of scenes in a short (4 minutes) movie, or is it unprofessional?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From what I've seen:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Many movies are shot handheld: it is barely noticeable, but in most scenes when it looks like the camera is on a tripod (for example a 10 seconds scene of a woman who talks to her husband in a restaurant), the background still moves a little all the time.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Short movies where tripod is used use it consistently: all scenes are shot with either a tripod or a slider. An example: Philip Bloom's &lt;a href=&quot;http://philipbloom.net/category/films/postcard-series/&quot; rel=&quot;nofollow&quot;&gt;Postcard series&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6250" LastActivityDate="2014-12-12T10:38:08.833" Title="Is it correct to mix tripod and handheld footage?" Tags="|stabilisation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12921" PostTypeId="2" ParentId="12920" CreationDate="2014-10-30T11:08:32.900" Score="7" Body="&lt;p&gt;You're asking for an opinion, because there's no rule book to consult here. So, IMO...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;'Pro' movies are shot with all manner and mixtures of techniques, including dolly, mount, rig, crane, Steadicam, fixed, zoom, drone etc. I think many people would find a short film that mixed tripod with deliberate &quot;shaky cam&quot; to be a bit jarring without a good cinematic justification, but just mixing IS handheld with tripod should be no sin. Story trumps technique anyway -- if your viewers are watching how the camera moves, your story isn't compelling -- or they're film students. (-:&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-10-30T11:08:32.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12922" PostTypeId="2" ParentId="12920" CreationDate="2014-10-30T14:08:04.887" Score="3" Body="&lt;p&gt;There is nothing at all wrong with crossing shots of different types and levels of stabilization.  It depends entirely on the look you are going for.  It is pretty rare for a shot to be truly &quot;hand held&quot; in the professional world though, at least in the way most consumers do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At a minimum, most professional camera rigs are setup to be shoulder mounted and pointed using hands.  Alternately, full body steadicam rigs may be used for stabilizing a shot when the cameraman needs to be able to move quickly and fluidly without having it jostle the camera.  Finally, many moving shots are done using a dolly rather than hand holding and thus achieve maximum stability.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are exceptions to this where the scene or style of a film calls for unsteady shooting.  (Blair Witch Project for example.)  The choice of how steady to make footage should be determined by what you need for the final piece to flow well.  It is generally jarring to go between stable and highly unstable shots, but in some cases, this may be a desirable thing.  If you are just doing a standard shot, you will probably want to heavily stabilize the handheld shot prior to use, but it isn't a one size fits all solution and isn't always what's best.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Use your editorial judgement and do what fits for your film.&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-30T14:08:04.887" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12923" PostTypeId="1" AcceptedAnswerId="12924" CreationDate="2014-10-30T15:01:13.953" Score="0" ViewCount="665" Body="&lt;p&gt;I have DVD  its open menu with moving parts of movie (chapters) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;each chapter keep moving like 3-5 second from movie &lt;/p&gt;&#xA;&#xA;&lt;p&gt;when i click on it , its open part of movie with length 10 min &lt;/p&gt;&#xA;&#xA;&lt;p&gt;what is the name of software can do that &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the screen shot of my DVD&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Nx0CD.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6703" LastActivityDate="2021-03-08T21:32:52.400" Title="How can i create DVD menu with moving scene" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12924" PostTypeId="2" ParentId="12923" CreationDate="2014-10-30T16:45:10.393" Score="3" Body="&lt;p&gt;You need DVD authoring software.  Any decent DVD authoring software should support this.  It uses video menus and chapter breakpoints to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe Encore (included with Premiere) does this in Adobe's product family.  DVD Studio Pro did this in Apple's product family, though it hasn't been updated since 2009.  There are also a number of over vendors who make DVD Authoring software capable of this functionality.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-10-30T16:45:10.393" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12925" PostTypeId="2" ParentId="12920" CreationDate="2014-10-30T17:11:22.887" Score="3" Body="&lt;p&gt;I agree with the other commenters that it's a stylistic decision.  I just want to mention a great way to transition from tripod to handheld. I can't remember what movie it was in; might have been James Cameron action flick. (Love his camera work!) The camera is static or moving smoothly, until there is an explosion that appears to jostle the camera. The next shot is handheld, as are subsequent shots.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen many movies where the camera work, and the editing, are designed to match what a viewer's eyes would do. They dart to interesting elements in the scene; they look at the person who is talking, or who has the most important emotion or reaction in a conversation. If you use a style like that, you could start increasing the pace of the cuts right before you move to the handheld shots. And to &quot;come out of&quot; the handheld section, you can slow down the shakiness, and use a character's emotional transition from erratic to calm to motivate the camera's transition from handheld to static.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I've been writing this, I realized that the camerawork (editing pace, tripod vs. dolly vs. handheld, etc.) can match the emotions of a character or the emotions of the scene, if you want. That will make the different camera styles &quot;feel&quot; right to the audience. But just like you don't want your actors to overact, you don't want your camerawork to be overdone either.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-10-30T17:11:22.887" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12926" PostTypeId="1" CreationDate="2014-10-31T11:13:19.187" Score="2" ViewCount="497" Body="&lt;p&gt;I don't understand why the framerate of the video should affect timestamps in SubRip (*.srt) subtitles.  If I am correct, when you convert a video from one framerate to another, the length of the video remains the same—the only thing which changes is the total number of frames. But tools which change the subtitle framerate seem to follow an equation like &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;timestamp_1 x framerate_1 = timestamp_2 x framerate_2.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Which seems to imply that the frame numbers are equal.  For instance, &lt;a href=&quot;http://www.dr-lex.be/software/srtlab.html#download&quot; rel=&quot;nofollow&quot;&gt;in the SRTLab documentation&lt;/a&gt;, in order to convert from PAL (25.000 fps) to NTSC (23.976 fps), it says that each timestamp should be scaled by a factor of 25.000/23.976.  I don't understand this.  This would make the subtitles appear after the same number of frames in both videos, which is not what we're after. Obviously, I'm not getting something right.&lt;/p&gt;&#xA;" OwnerUserId="6706" LastActivityDate="2023-12-20T19:01:25.143" Title="Framerate and timestamps in SubRip subtitles" Tags="|framerate|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12928" PostTypeId="2" ParentId="12591" CreationDate="2014-11-01T13:31:06.393" Score="1" Body="&lt;p&gt;Sorry this is a little late but but did you ever figure it out? I wouldn't recommend using windows movie maker for much of anything. The reason it doesn't accept .mov files is because it's windows movie maker, a Microsoft product using microsoft proprietary files .AVI and .WMV... .MOV is quicktime which is Apple. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You mentioned that you converted over 2000MB of files over an extremely slow internet connection so I'm assuming you didn't use software on your machine. I would start by blaming the converted file. It could possibly be that  movie maker can see the file but once you start adding effects everything goes to crap. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;windows movie maker has saved me in a last minute pinch when I needed to fix something for a powerpoint presentation and didn't have my studio with me, but other than that I would say purchase the correct software, hire a a pro, or don't take on 2 hour deadlines when you don't have the proper equipment.&lt;/p&gt;&#xA;" OwnerUserId="6708" LastActivityDate="2014-11-01T13:31:06.393" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12929" PostTypeId="1" AcceptedAnswerId="12931" CreationDate="2014-11-01T16:07:56.587" Score="3" ViewCount="233" Body="&lt;p&gt;I have imported the smartphone screen record in Premiere using the option &lt;code&gt;set to frame size&lt;/code&gt; to mantain video aspect ratio, with this option the video is centered with its aspect ratio, after that I have moved the video on &lt;strong&gt;V2 track&lt;/strong&gt; and have added a background image in &lt;strong&gt;V1 track&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that: unused area of scaled video results black. &#xA;How to crop the V2 track to show the previous level V1 track in the unused space?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/SFucq.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6711" LastEditorUserId="3295" LastEditDate="2014-11-01T18:56:20.227" LastActivityDate="2014-11-01T19:16:39.090" Title="How to scale video showing the underlying layer/track in the cropped area" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12930" PostTypeId="2" ParentId="12929" CreationDate="2014-11-01T16:14:30.017" Score="4" Body="&lt;p&gt;You imported the footage with the resolution set in your timeline by choosing &lt;code&gt;set to frame size&lt;/code&gt;. Thats not what you want in this case, it adds black bars wherever your footage doesn't fill the frame size set in for the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere would have kept the correct aspect ratio either way, it doesn't automatically stretch footage thats not the same resolution as the timeline, you would only see distortion if the &lt;a href=&quot;http://en.wikipedia.org/wiki/Pixel_aspect_ratio&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;pixel&lt;/strong&gt; aspect ratio&lt;/a&gt; would differ between timeline and source. Re-import the footage without the &lt;code&gt;set to frame size&lt;/code&gt; option and you should be fine.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-11-01T16:14:30.017" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12931" PostTypeId="2" ParentId="12929" CreationDate="2014-11-01T19:16:39.090" Score="3" Body="&lt;p&gt;With autoscaled video to center using &lt;code&gt;set to frame size&lt;/code&gt;, adding a &lt;code&gt;Crop&lt;/code&gt; Effect to crop the black area is enough to solve the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/TgKXN.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6711" LastActivityDate="2014-11-01T19:16:39.090" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12933" PostTypeId="1" CreationDate="2014-11-03T00:54:34.013" Score="0" ViewCount="20" Body="&lt;p&gt;Preferably free ones, but I'm willing to shell out some cash if it's well worth its value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a very limited video editing experience but I'm willing to learn, so here is the criteria that I'm looking for :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Picture In Picture feature (multiple videos side by side; no limit in max videos)&lt;/li&gt;&#xA;&lt;li&gt;Easy learning curve - or at least has a large community base so tutorials are vast&lt;/li&gt;&#xA;&lt;li&gt;Able to put audio in (I mean, what video editor can't anyway? Haha)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm going to be using it to make videos of me playing multiple instruments, so if there are any other things that I need to know about videos that I might not be seeing now, feel free to let me know with your answers.&lt;/p&gt;&#xA;" OwnerUserId="6713" LastActivityDate="2014-11-03T14:13:48.973" Title="Picture In Picture - Software recommendation" Tags="|software-recommendation|" AnswerCount="0" CommentCount="0" FavoriteCount="0" ClosedDate="2014-11-03T15:29:13.930" ContentLicense="CC BY-SA 3.0" />
  <row Id="12934" PostTypeId="1" CreationDate="2014-11-03T01:44:31.740" Score="2" ViewCount="388" Body="&lt;p&gt;&lt;br/&gt;&#xA;I want to blur some scenes with avconv&lt;br/&gt;&#xA;The ffmpeg command -find it &lt;a href=&quot;https://video.stackexchange.com/questions/8264/how-to-blur-a-short-scene-in-a-video&quot;&gt;here&lt;/a&gt;- is:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -i input.avi -vf &quot;boxblur=enable='between(t,22,113)'&quot; -codec:a copy output.avi&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;doesn't work with avconv  &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;avconv -i &quot;video_in&quot; -vf &quot;boxblur=10:1&quot; &quot;video_out&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;blur the whole video, what can I add to it to blur selected scenes. &lt;br/&gt;&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="6714" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2014-11-09T00:51:00.353" Title="avconv: How to blur scenes?" Tags="|video|libav|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12935" PostTypeId="2" ParentId="10891" CreationDate="2014-11-03T06:39:36.800" Score="1" Body="&lt;p&gt;Here's the rub: the cheaper the software the harder it is to do good work. Also asking for a 'easy learning curve' when it comes to a beginner editor is like asking for an easy time learning to play the organ. It ain't gonna happen. You may do better thinking about compositing with something like After Effects than with a full function editor. You may be able to find older versions of After Effects (anything around version 8 or 9, before the 'CS' series would work and can be found sometimes for less than $150). There are scads of online tutorials for this program.&lt;/p&gt;&#xA;" OwnerUserId="5600" LastActivityDate="2014-11-03T06:39:36.800" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12936" PostTypeId="1" CreationDate="2014-11-03T07:17:09.167" Score="1" ViewCount="112" Body="&lt;p&gt;I could always google lists and such but nothing can beat legitimate suggestions and reviews from video professionals. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking to produce music videos in the next months/years and I need a good video camera. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my criteria for a good video camera :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;720p/1080p videos&lt;/li&gt;&#xA;&lt;li&gt;Max budget is $1000 (but feel free to include cameras worth more if you think they are worthy of being included)&lt;/li&gt;&#xA;&lt;li&gt;Doesn't need to be waterproof&lt;/li&gt;&#xA;&lt;li&gt;Must be tripod-compatible (I'm a noob here, so I'm not sure if there are cameras that can't be attached to tripods)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I'm not sure if these types of questions fit in VP.SE but there are software-recommendation questions and I wondered why hardware-recommendations wouldn't work as well. Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="6713" LastActivityDate="2014-11-03T15:24:04.057" Title="Best value video cameras as of 2014?" Tags="|video|video-recording|camcorder|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12937" PostTypeId="1" CreationDate="2014-11-03T10:34:48.393" Score="0" ViewCount="948" Body="&lt;p&gt;I have multiple video files that have been taken on an iphone, put onto the PC and then deleted off the phone without being tested (yay colleagues!). None of these video files will work and I've tried everything I can think of/find to fix them and nothing has worked. The issue I'm having is that the files seem to have no information, when i click on properties there is no length/resolution/bit rate. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video properties &lt;a href=&quot;http://puu.sh/cBvBL/45128864ed.png&quot; rel=&quot;nofollow&quot;&gt;http://puu.sh/cBvBL/45128864ed.png&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The files are all .MOV but no programs seem to recognize them as such, VLC won't play any of them, and none of the repair programs will work as they don't recognize the files as .MOV's. The only success I've had with this issue is on mp4repair.org which has seemed to recognize the file as a video, but only recognizes 2 minutes of footage, when i know that the video is at least 10 minutes long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone have any ideas? I'm Stumped.&lt;/p&gt;&#xA;" OwnerUserId="6715" LastActivityDate="2020-12-09T10:35:28.060" Title="How do I fix my corrupt video files?" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12938" PostTypeId="1" AcceptedAnswerId="13006" CreationDate="2014-11-03T11:23:24.050" Score="1" ViewCount="1074" Body="&lt;p&gt;I am trying to create a dual-layer 8.5 GB DVD image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It consists of an MPEG multiplexed video with audio and Encore chapter markers created in Premiere Pro CS6 and does not require transcoding in Encore, occupying about 1.69 GB of space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also have ROM content where I have two HD video files, with one of them 5.63 GB in size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now when I run &lt;code&gt;Check Project&lt;/code&gt;, Encore does not show any warnings, however when I try to build the DVD image, it fails with the message&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;DualLayer: This disc requires a layer break&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have tried both the &lt;code&gt;Automatic&lt;/code&gt; and the &lt;code&gt;Manual&lt;/code&gt; layer break setting, and I do not see where and how I could set a manual break in Encore.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, my question is, how do I make this work, what are my options ?&lt;br&gt;&#xA;Is this issue because the 5.63 GB file cannot fit onto one layer (why would this even matter) ?&lt;/p&gt;&#xA;" OwnerUserId="6717" LastActivityDate="2014-11-13T11:11:14.087" Title="Encore CS6 &quot;DualLayer: This disc requires a layer break&quot;" Tags="|encore|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12939" PostTypeId="2" ParentId="12937" CreationDate="2014-11-03T13:15:00.617" Score="0" Body="&lt;p&gt;Have you tried transcoding them? It worked for me once, although I didn't have the same issues you had. I simply had a. .MOV file that was not being accepted into FCP and I transcoded it which seemed to fix it. I don't know if you'll have any luck since VLC and non of your repair programs will work but it's worth a shot.&lt;/p&gt;&#xA;" OwnerUserId="6708" LastActivityDate="2014-11-03T13:15:00.617" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12940" PostTypeId="2" ParentId="10891" CreationDate="2014-11-03T14:13:48.973" Score="1" Body="&lt;p&gt;For $100 you can buy a very &lt;a href=&quot;http://vegasaur.com/video-editing-software&quot; rel=&quot;nofollow&quot;&gt;good video editor&lt;/a&gt; that can do everything on your list.&#xA;I recommend Sony Movie Studio.&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-11-03T14:13:48.973" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12941" PostTypeId="2" ParentId="12936" CreationDate="2014-11-03T15:24:04.057" Score="2" Body="&lt;p&gt;At your price point, I'd have to recommend the Black Magic Pocket Cinema camera, though I don't believe it comes with a lens, so you would still need to buy a lens which would put you over your $1000 budget.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could get a basic PDAF (phase detect auto focus) enabled video recording DSLR like a T4i along with a semi-decent zoom lens or a fairly good prime for $1000 as well, though the cheaper DSLRs (T4i is only one or two steps above entry level) tend to have pretty strong rolling shutter, which will produce a &quot;jello&quot; effect when panning.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend staying away from any DSLR that doesn't have PDAF enabled video for a beginner because it would mean having to manually adjust focus while shooting, which is fairly challenging to do well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Lumix GH3 is also pretty well regarded in terms of video quality for the price, though the GH3 is a bit older.  I also don't recall for certain if it has the ability to auto-focus on video.  It does produce very nice video quality for the price though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One nice thing about shooting music videos is that the audio doesn't matter much.  You can use the recorded version of the song for the sound and don't have to worry about sound from the video shoot, so you don't need to worry about a multi-track recorder (which would make your $1000 budget almost completely infeasible.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will still additionally probably want to get some lights though as good lighting is also pretty key to shooting music videos, though if you only have a $1000 budget, you are probably best to put it all in to the camera and use whatever lights you can find for now and then buy good lights later when you can.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Overall, $1000 is still very much on the cheap side for getting a rig capable of really professional quality video.  Most people doing even fairly low end professional cinematography have multiple lenses that cost more than your entire camera budget, not to mention the cost of the actual camera.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-03T15:24:04.057" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12942" PostTypeId="1" AcceptedAnswerId="12943" CreationDate="2014-11-03T17:54:30.387" Score="3" ViewCount="68" Body="&lt;p&gt;My editor is moving from Los Angeles (where I live) to Canada. Is there a common, reliable, cheap way for me to supply large video files (up to 10 GB) to him? I don't have much of a budget, and I have just a standard DSL internet connection.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastEditorUserId="2836" LastEditDate="2014-11-03T18:01:28.350" LastActivityDate="2021-07-08T17:26:42.710" Title="supply video files to editor in another country" Tags="|post-production|production|producing|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12943" PostTypeId="2" ParentId="12942" CreationDate="2014-11-03T18:03:17.190" Score="2" Body="&lt;p&gt;Fedex has the highest bandwidth around... Mailing laptop hard drives, SSDs or USB sticks is probably your best bet and may well be cheaper than upgrading your Internet upload capabilities.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, if you need a way to handle it over the Internet, I'd actually recommend getting a virtual private server.  You might be able to find a file sharing service that will fit your needs, but often for larger files, it may actually be cheaper to run your own server.  Running your own server also allows for uploading in chunks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I need to transfer multiple gigabytes of data over my Internet connection, I use Total Commander (my file manager of choice) to split the large files in to multiple pieces (normally around 100MB each) and then upload them via FTP to my server.  Once they are up there, I re-combine the files in to their original form and run an MD5 verification of the file integrity.  Then, it is easy for someone to quickly download the files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've used this for transferring 10 to 20GB of files at a time to people and it took a number of hours to upload even over my 5mbps Internet connection, but if you give it enough time, it is a viable option at lower speed connections as well (as long as your ISP doesn't cap you).  You might want to use smaller file sizes though as my experience is that slower connections are more likely to corrupt a file and smaller file splits means less needs to be uploaded again if there is a failure.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-11-03T19:00:20.860" LastActivityDate="2014-11-03T19:00:20.860" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12944" PostTypeId="1" AcceptedAnswerId="12945" CreationDate="2014-11-03T20:31:15.193" Score="0" ViewCount="301" Body="&lt;p&gt;Can someone help me figure out why 1 system is rendering faster than the other.&#xA;System 1 specs &#xA;GPU Quadro K2000&#xA;CPU Intel® Xeon® processor E3-1245 v3 3.4 3.8 8 MB 1600 MHz 4&#xA;Ram 32 GB&#xA;OS Windows 7 64bit&#xA;Facilis Terrablock with Fiber connection (used to pull footage)&#xA;rendering to a 10k rpm dedicated drive in system.&#xA;Task manager say 85% of processor is being used&lt;/p&gt;&#xA;&#xA;&lt;p&gt;System 2 specs&#xA;GPU Quadro K600&#xA;CPU Intel® Xeon® Processor E5-2620 v2 2.1 15 MB 1600 MHz 6&#xA;Ram 16 GB&#xA;OS Windows 7 64bit&#xA;Facilis Terrablock with Fiber connection (used to pull footage)&#xA;rendering to a 10k rpm dedicated drive in system.&#xA;Task manager say 2% of processor is being used&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update with image&#xA;new project with new stats&#xA;The 2nd system renders this same project out in 1/2 to 1/3 the time but as the pic shows the GPU is barely being used. and system 2 uses almost not CPU still below 5%&#xA;&lt;img src=&quot;https://i.stack.imgur.com/1ZZoj.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6718" LastEditorUserId="6718" LastEditDate="2014-11-04T22:23:58.457" LastActivityDate="2014-11-04T22:23:58.457" Title="Trying to figure out why my systems render times are so different" Tags="|premiere|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="12945" PostTypeId="2" ParentId="12944" CreationDate="2014-11-03T20:46:26.797" Score="1" Body="&lt;p&gt;System 2 is using GPU acceleration, System 1 is using CPU rendering.  GPUs, especially Quadros run many rendering tasks FAR more efficiently than a general purpose CPU.  It could easily explain the difference of 83% CPU utilization and 40 minutes of render time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that while your system is showing only 14% CPU utilization in the screen shots, that is 100% of a single threaded process.  If the calculation isn't broken in to multiple threads, then it has to process on one core of the processor, which appears to be what is happening here.  That one core is completely maxed out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I see you have CUDA selected as the renderer in the second screen shot, however it is not being used based on the GPU usage information.  This is probably related to a driver issue preventing Media Encoder from being able to utilize the GPU hardware.  Try updating your graphics drivers and verify that your graphics card appears on the list of supported graphics cards for CUDA support.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-11-04T22:15:35.370" LastActivityDate="2014-11-04T22:15:35.370" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12950" PostTypeId="1" CreationDate="2014-11-05T09:50:46.667" Score="1" ViewCount="148" Body="&lt;p&gt;I am writing this topic in regard to a very interesting effect I've observed while watching tennis games. An example can be found on the Facebook page called &quot;Tennis Channel&quot;, e.g. the last posted video there with the shots of Grigor Dimitrov.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the video, one can see that there is an effect of a &quot;moving camera&quot; that moves to the left/right when the footage is paused on a particular frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/YesS4.png&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/S0AGS.png&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;During this simulated movement of the camera the audience gets slightly blurred so this appears to be some video simulation or similar? I am pretty sure that there is no hawk-eye involved here. In addition to that there are other effects of zooming in and some &quot;paint&quot; alike effects on the relevant parts of the court.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I create such an effect?&lt;/p&gt;&#xA;" OwnerUserId="6729" OwnerDisplayName="query_question" LastActivityDate="2014-11-08T00:34:31.737" Title="Achieve a video warping effect, where it appears like the camera was shifted" Tags="|video|camera|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12951" PostTypeId="1" CreationDate="2014-11-05T12:46:57.670" Score="1" ViewCount="406" Body="&lt;p&gt;Upon importing the template composition, the layout get successfully imported, however the text is changed to random exotic characters. Why?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/SKdED.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6727" LastActivityDate="2014-11-05T21:29:42.677" Title="Text templates made in after effects render gibberish characters in Premiere Pro" Tags="|premiere|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12952" PostTypeId="2" ParentId="12950" CreationDate="2014-11-05T17:31:44.903" Score="1" Body="&lt;p&gt;This particular effect couldn't be done without some pretty advanced computer vision algorithms and a whole lot of processing.  Based on the screen shot alone, it appears that it tries to identify flat surfaces and objects within that space so that it can alter the camera's perspective.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that this is quite imperfect as you have no material for the actual side of people's heads and such.  Additionally, you can see that the system they were using doesn't understand transparent objects well.  It saw the net as a wall and modified it differently from the court, which is why we end up seeing that disjointed line where the net is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not aware of any specific system that does this, but I wouldn't expect it to be cheap and I really, really wouldn't expect it to be free.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't care about cost, the fundamental start to it would probably be something along the lines of &lt;a href=&quot;http://www.ssontech.com/synovu.html&quot; rel=&quot;nofollow&quot;&gt;SynthEyes&lt;/a&gt;, as long as the camera does move some.  This can track where the camera actually moved and use that data to establish what depth things were at and what backgrounds looked like.  From that, it may be possible to create a virtual scene which you can effectively move the position of the camera in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the shot isn't moving, then I couldn't find any tools that would be helpful and your best bet might be to try contacting the company that produced the video directly to ask them what they used.  It appears to be something very specialized and not particularly well advertised as far as I can tell.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-11-07T14:53:57.610" LastActivityDate="2014-11-07T14:53:57.610" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12953" PostTypeId="2" ParentId="12951" CreationDate="2014-11-05T21:29:42.677" Score="2" Body="&lt;p&gt;Could be a text encoding problem. Is the original text using the Latin alphabet, or something more complex (accents, cedillas, or right to left languages)? If not, maybe try copying the text into a plaintext editor (like Notepad on a PC or TextEdit on the mac). Then copy it again, and paste back into AE? I haven't tried the premiere import yet, so these are guesses...&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-11-05T21:29:42.677" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12955" PostTypeId="1" CreationDate="2014-11-06T12:13:07.707" Score="1" ViewCount="89" Body="&lt;p&gt;I developed a Zapcode and &lt;a href=&quot;https://creator.zapcode.it/support/3/what-video-formats-are-supported/&quot; rel=&quot;nofollow&quot;&gt;follow the tactics to have a video with good resolution&lt;/a&gt;, I've done a video in MP4 and FLV, both rendered in the After Effects, but remains at low resolution. &lt;a href=&quot;http://cl.ly/image/1e0t2o1x0G0s&quot; rel=&quot;nofollow&quot;&gt;Here is my Zapcode&lt;/a&gt;. What can I do to fix this?&lt;/p&gt;&#xA;" OwnerUserId="6732" LastActivityDate="2014-11-19T12:14:37.150" Title="Why my Zapcode is with low resolution?" Tags="|video|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12956" PostTypeId="2" ParentId="5136" CreationDate="2014-11-06T18:17:03.440" Score="1" Body="&lt;p&gt;FYI, &lt;a href=&quot;http://vegasaur.com/Mercalli&quot; rel=&quot;nofollow&quot;&gt;Mercalli&lt;/a&gt; is a standalone tool for Windows that provides batch video stabilization&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-11-06T18:17:03.440" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12957" PostTypeId="1" AcceptedAnswerId="12994" CreationDate="2014-11-06T21:15:07.903" Score="2" ViewCount="47" Body="&lt;p&gt;I have an Ogg Theora file, but unfortunately the display ratio is incorrect on it. I know that it's possible to edit the metadata without reencoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What tool can do the job? Preferably something that can be run on *nix.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ogginfo&lt;/code&gt; from &lt;code&gt;vorbistools&lt;/code&gt; gives the metatada that i would like to edit, but that package doesn't provide anything to change the values, liboggz doesn't seem to do the trick either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have attempted to play around with the hexeditor, here's what i've found. Here is my theora packet:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; 00000000:  4f 67 67 53 00 02 00 00  00 00 00 00 00 00 00 00  OggS............&#xA; 00000010:  00 00 00 00 00 00 70 e4  97 9a 01 2a 80 74 68 65  ......p....*.the&#xA; 00000020:  6f 72 61 03 02 01 00 2d  00 24 00 02 d0 00 02 40  ora....-.$.....@&#xA; 00000030:  00 00 00 00 00 19 00 00  00 01 00 00 c9 00 00 6a  ...............j&#xA; 00000040:  00 03 0d 40 00 80 4f 67  67 53 00 02 00 00 00 00  ...@..OggS......&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;00 00 c9 00 00 6a&lt;/code&gt; block is where pixel aspect ratio is being stored, as i understand it the first 3 words are the numerator, and the second 3 denominator.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If i change the values only in the first packet, then &lt;code&gt;avprobe&lt;/code&gt; does return the changed values, but then all video players i've tried panic. Any hints on how to change the other packets so that they conform?&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="4943" LastEditDate="2014-11-07T11:30:19.667" LastActivityDate="2014-11-10T20:34:21.783" Title="How to change the display ratio of a Theora track inside Ogg?" Tags="|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12958" PostTypeId="1" AcceptedAnswerId="12996" CreationDate="2014-11-06T21:26:53.467" Score="3" ViewCount="116" Body="&lt;p&gt;I have been trying to make a script that will automatically apply an effect to the selected layer. So far, it looks like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var myLayer = app.project.activeItem.selectedLayers[0];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have seen &lt;a href=&quot;https://forums.creativecow.net/thread/227/12683#12690&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;http://omino.com/pixelblog/category/extendscript/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; the use of the &lt;code&gt;Effects&lt;/code&gt; attribute, which is used like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var myEffect = myLayer.Effects.addProperty(&quot;My Effect&quot;);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The only class I found in the &lt;a href=&quot;http://wwwimages.adobe.com/content/dam/Adobe/en/devnet/aftereffects/pdfs/aftereffectscs3_scripting_guide.pdf&quot; rel=&quot;nofollow&quot;&gt;CS3 scripting guide&lt;/a&gt; that has the &lt;code&gt;addProperty&lt;/code&gt; method was the &lt;code&gt;PropertyGroup&lt;/code&gt; object, found on page 147. There is no mention of &lt;code&gt;myLayer.Effects&lt;/code&gt;. In fact, I have not seen an attribute with a capitalized first letter before.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am going to use this to automate creating around 100 circles on a layer. (This effect is found under &lt;strong&gt;Effects &amp;amp; Presets&lt;/strong&gt; &gt; &lt;strong&gt;Generate&lt;/strong&gt; &gt; &lt;strong&gt;Circle&lt;/strong&gt;.) I want to be able to provide a list of X/Y coordinates and for each one generate a circle with this center and a fixed size. This list could come from a file or from a list of each null object on the same layer.&lt;/p&gt;&#xA;" OwnerUserId="6733" LastEditorUserId="1950" LastEditDate="2016-07-20T05:52:24.437" LastActivityDate="2016-07-20T12:36:19.633" Title="Scripting - Where is the documentation for the Layer#Effects attribute?" Tags="|after-effects|after-effects-expressions|extendscript|after-effects-scripting|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12959" PostTypeId="2" ParentId="12304" CreationDate="2014-11-06T21:26:58.540" Score="1" Body="&lt;p&gt;Other people have already given a very good way to do these things one video at the time. But if, for whatever reason, you definitely need to do everything at once, you can use libav to do that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the example command with 4 files:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -ss 10 -i 1.webm -ss 10 -i 2.webm -ss 10 -i 3.webm -ss 10 -i 4.webm \&#xA;  -map 0:0 -map 0:1 -c:a copy -c:v copy 1.mkv \&#xA;  -map 1:0 -map 1:1 -c:a copy -c:v copy 2.mkv \&#xA;  -map 2:0 -map 2:1 -c:a copy -c:v copy 3.mkv \&#xA;  -map 3:0 -map 3:1 -c:a copy -c:v copy 4.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This assumes that in your files the video and audio streams are always the first two. Since this is not always the case this command can fail if you do not check first.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2014-11-06T21:26:58.540" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12960" PostTypeId="1" CreationDate="2014-11-06T22:01:11.837" Score="-1" ViewCount="152" Body="&lt;p&gt;My wife is looking for video editor and therefore we have few unusual requirements on it.&#xA;First of all it's a first time she will use this type of software so, it shouldn't be difficult to use. &#xA;Second, it should have a relative short learning curve before she will get a finished product, otherwise it's a huge chance that she will abandon it.&#xA;Third, only Windows right now. We considering to buy Mac, but now it isn't an option. Btw, she tried to use Movie Maker but wasn't happy with it.&#xA;She doesn't want to make something complex, just a short movie from a bunch of photos + soundtrack + subtitles. But I know her, and she will want more if a first attempt will be successful and I absolutely interesting that it will be successful.&#xA;Thank you for you suggestions and h&lt;/p&gt;&#xA;" OwnerUserId="6734" LastActivityDate="2014-11-07T16:01:10.547" Title="Choosing video editor for my wife" Tags="|software-recommendation|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12961" PostTypeId="1" CreationDate="2014-11-07T04:42:19.483" Score="4" ViewCount="3686" Body="&lt;p&gt;I am using ffmpeg to capture a video recording device and would like to add an overlay to it .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have images being rendered on the fly and I would like to use them as the overlay . &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I take a set of Images as they are being rendered and use it as an overlay to a video stream ?&lt;/p&gt;&#xA;" OwnerUserId="6735" LastActivityDate="2017-02-05T15:19:54.740" Title="ffmpeg input from images stream out video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12962" PostTypeId="2" ParentId="12961" CreationDate="2014-11-07T07:00:30.890" Score="5" Body="&lt;p&gt;&lt;strong&gt;Couldn't wait! Figured it out:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I saved an image to the file &lt;code&gt;out.png&lt;/code&gt; at a fixed frame rate from processing.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Created a fifo:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkfifo fifo&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then in one terminal:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;tail -f out.png  &amp;gt; fifo&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then in another terminal:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cat fifo | ffmpeg  -f image2pipe -r 1 -i pipe:0 spo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Making sure to close tail first allowing &lt;code&gt;ffmpeg&lt;/code&gt; to write the last bit of the file.&lt;/p&gt;&#xA;" OwnerUserId="6735" LastEditorUserId="-1" LastEditDate="2017-02-05T15:19:54.740" LastActivityDate="2017-02-05T15:19:54.740" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12964" PostTypeId="1" CreationDate="2014-11-07T14:25:12.790" Score="0" ViewCount="461" Body="&lt;p&gt;&lt;a href=&quot;http://www.redsharknews.com/production/item/2155-the-panasonic-4k-lx100-is-a-lot-of-camera-for-the-price?utm_source=www.lwks.com+subscribers&amp;amp;utm_campaign=42f49e8a2f-RSN_Nov07_2014&amp;amp;utm_medium=email&amp;amp;utm_term=0_079aaa3026-42f49e8a2f-77397533&quot; rel=&quot;nofollow&quot;&gt;http://www.redsharknews.com/production/item/2155-the-panasonic-4k-lx100-is-a-lot-of-camera-for-the-price?utm_source=www.lwks.com+subscribers&amp;amp;utm_campaign=42f49e8a2f-RSN_Nov07_2014&amp;amp;utm_medium=email&amp;amp;utm_term=0_079aaa3026-42f49e8a2f-77397533&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera looks really good and it's really cheap for a 4k camera.  Unfortunately, it's a point and shoot so there's no hot shoe (or cold shoe) and no external mic jack.  Despite all this it still looks like a decent entry-level 4k camera.  I'm specifically interested in the focus and depth-of-field options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking to buy a new camera for filmmaking sometime in the next year.  The camera that I originally was looking at is the Canon EOS Rebel SL1 with a 18-55mm and 55-250mm STM Lens, but this new camera has me interested.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-12-08T15:45:37.200" Title="Does the new Panasonic 4k LUMIX LX100 seem like a good entry-level 4k camera?" Tags="|video|camera|filming|recommendation|shooting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12965" PostTypeId="2" ParentId="12960" CreationDate="2014-11-07T14:28:53.230" Score="0" Body="&lt;p&gt;EditShare Lightworks is a very good editor and one of my favorites.  It has a free version which will work fine as long as you don't need higher resolution than 720p.  Lightworks does have some weird ways of doing things which will take some getting used to, but overall it's much easier to use and more intuitive than, say, Adobe Premiere or Sony Vegas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.lwks.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.lwks.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-11-07T14:28:53.230" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12967" PostTypeId="2" ParentId="12964" CreationDate="2014-11-07T15:51:49.233" Score="0" Body="&lt;p&gt;It looks decently nice.  I couldn't find anything about how well it does or if it supports AF during video or not.  It's basically a miniaturized GH4 and the GH4 was a nice camera for the price to start with.  I certainly wouldn't say this isn't a good entry level 4k video camera.  It leaves a few things to be desired for sure, but for the price and size, it is a solid entry and even if you replace it, it still has a lot of utility due to the small size and (relatively) cheap price.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-07T15:51:49.233" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12968" PostTypeId="2" ParentId="12960" CreationDate="2014-11-07T16:01:10.547" Score="0" Body="&lt;p&gt;Honestly, Adobe Premiere is not hard to use at a basic level.  You import photos or videos, drag them from a bin on to your timeline, adjust their length and cut them on the timeline and then drag effects and transitions on to them.  There is a free trial so she can try before buying to see if it is too complex for her, but there are a wealth of tutorials available to help with most basic tasks.  The main concern she is likely to run in to is that if she is mixing assets of different sizes, she'll have to be careful on the import settings so that they fit the sequence, but it still isn't too hard, you just have to select the right options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it is too complication, there is also Premiere Elements which is a more user friendly video editor targeted at the consumer market.  It functions completely differently from Premiere and is far more limited, but it is also does a lot more hand holding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I generally would recommend staying away from most of the free offerings if complexity is a concern.  There are some very functional free offerings out there, but for the most part, they don't have the same level of time and money to spend on refining their UIs, so they tend to be more clunky to work with from the ones I've tried.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-07T16:01:10.547" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12969" PostTypeId="2" ParentId="12583" CreationDate="2014-11-07T19:18:30.353" Score="3" Body="&lt;p&gt;This could be a result of a very high resolution video and a slow computer. Try rendering the footage and see if it is still choppy&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-11-07T19:18:30.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12971" PostTypeId="2" ParentId="12950" CreationDate="2014-11-08T00:34:31.737" Score="1" Body="&lt;p&gt;To achieve this effect, all you do is re-project the 2d video onto 3d geometry, move the 3d camera to create a parallax displacement, and re-render.  I'm only familiar with the tools available in Maxon Cinema 4d, but I'm sure that Max, Maya, Modo, Blender, et al can do this too.  It should be relatively easy with something as geometrically simple as a tennis court.  Incidentally, the use of this technique is the reason you notice distortion in the paint on the tennis court, the audience, and the players.  The 3d geometry isn't detailed enough to move the pixels correctly.  Also, there's no foolproof way to automatically generate the textures of things behind things when the camera moves.  Chances are, for sporting events, broadcasters like this use an automatic solution akin to Photoshop's content-aware fill, which will never produce results as good as a human matte painter.  Google &quot;3d projection mapping&quot; to learn more about this technique.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-11-08T00:34:31.737" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12972" PostTypeId="1" CreationDate="2014-11-08T01:03:25.953" Score="3" ViewCount="645" Body="&lt;p&gt;A little confused here, I have a video file that's 720p @ 30.303 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Working on it in Premiere Pro CC 2014 and ready to encode the file and the options I get for h.264 Blu-ray under frame rate are 23.976, 24 or 59.94 fps, no 29.97 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I missing here?  I think I don't want to be choosing the frame rate that's double right?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="6742" LastActivityDate="2014-11-09T11:41:56.117" Title="Encoding 720p 29.97 fps video, options in Adobe Media Encoder are 23.976, 24 or 59.94 fps" Tags="|framerate|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12973" PostTypeId="2" ParentId="12972" CreationDate="2014-11-08T10:59:41.447" Score="3" Body="&lt;p&gt;The Blu-ray standard doesn't allow this framerate with this resolution.&#xA;&lt;a href=&quot;https://forums.adobe.com/thread/622722&quot; rel=&quot;nofollow&quot;&gt;https://forums.adobe.com/thread/622722&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your options are either upscale your resolution to 1080i/p or to change your framerate to 24fps.&#xA;The former will probably produces fewer artifacts.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-11-09T11:41:56.117" LastActivityDate="2014-11-09T11:41:56.117" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12974" PostTypeId="1" AcceptedAnswerId="12983" CreationDate="2014-11-08T21:59:03.917" Score="1" ViewCount="1870" Body="&lt;p&gt;I'm pretty new at this...  I captured my analog 8mm video tapes in .avi, planning to edit them with Premier.  But I need to make space in my external hard drive.  I have the Adobe Encoder, but I'm afraid I will loose quality in my videos if I use it!  Also, I see it will change my captured videos from .avi to .mp4.&#xA;My idea is to keep these external hard drives as a &quot;master&quot;.&lt;br&gt;&#xA;Should I use the Encoder to save space, or to get extra hard drives and leave it that way?&#xA;Thanks a lot!!!&lt;/p&gt;&#xA;" OwnerUserId="6744" LastActivityDate="2014-11-09T16:22:32.337" Title="Saving disk space, but not quality" Tags="|file-formats|codec|conversion|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12975" PostTypeId="1" CreationDate="2014-11-08T22:54:08.830" Score="1" ViewCount="31" Body="&lt;p&gt;Often there is a case where one has a series of the already muxed Matroska files, and they have a logical order. It may be desirable to chain them all together, giving a hint to the video player, that after finishing one of these files another one should start playing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although the standard permits prev-uid and next-uid metadata tags it can be quite difficult to set them up on all the files, doing it by hand will all but guarantee some human error in pasting, and is way too tidious anyhow.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2014-11-08T22:54:08.830" Title="Chaining Matroska files" Tags="|matroska|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12976" PostTypeId="2" ParentId="12975" CreationDate="2014-11-08T22:54:08.830" Score="1" Body="&lt;p&gt;The &lt;code&gt;mkvtools&lt;/code&gt; package provides a way to read and to edit the metadata of any Matroska file without the need to remux directly from the command line. This allows one to write a relatively simple bash script that does the job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In here the job is broken into three steps:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;UID of each file is read by &lt;code&gt;mkvinfo&lt;/code&gt;, cleaned, and recorded into the &lt;code&gt;.uid&lt;/code&gt; file. At the same time these files are copied to the previous and next file with the extensions &lt;code&gt;.nextuid&lt;/code&gt; and &lt;code&gt;.prevuid&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Option file is generated by taking data from &lt;code&gt;.nextuid&lt;/code&gt; and &lt;code&gt;.prevuid&lt;/code&gt; files where they exist, this option file is saved with &lt;code&gt;.seqtags&lt;/code&gt; extension.&lt;/li&gt;&#xA;&lt;li&gt;The tool &lt;code&gt;mkvpropedit&lt;/code&gt; is used to write the information, and the temp files are deleted.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The reason why it is not done in a single step is to allow the user to abort during the read process and to know that no files have yet been altered.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;mkvsequence.sh&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;# GPL3.0&#xA;SAVEIFS=$IFS&#xA;IFS=$(echo -en &quot;\n\b&quot;)&#xA;&#xA;FILES=$(ls *.mkv|sort)&#xA;&#xA;echo First reading all the information&#xA;for FILE in $FILES&#xA;do&#xA;    echo Processing $FILE&#xA;    exec mkvinfo &quot;${FILE}&quot; | grep &quot;Segment UID: &quot;  | sed &quot;s/^| *+ Segment UID: //g&quot; &amp;gt; &quot;${FILE}.uid&quot;&#xA;    if [ $PREVFILE ]&#xA;    then&#xA;        cp &quot;${FILE}.uid&quot; &quot;${PREVFILE}.nextuid&quot;&#xA;        cp &quot;${PREVFILE}.uid&quot; &quot;${FILE}.prevuid&quot;&#xA;    fi&#xA;    PREVFILE=$FILE&#xA;done&#xA;&#xA;echo Creating the necessary option files&#xA;for FILE in $FILES&#xA;do&#xA;    echo Processing $FILE&#xA;    if [ -f &quot;${FILE}.prevuid&quot; -o -f &quot;${FILE}.nextuid&quot; ]&#xA;    then&#xA;        echo $FILE &amp;gt; &quot;${FILE}.seqtags&quot;&#xA;        echo --edit &amp;gt;&amp;gt; &quot;${FILE}.seqtags&quot;&#xA;        echo info &amp;gt;&amp;gt; &quot;${FILE}.seqtags&quot;&#xA;&#xA;        if [ -f &quot;${FILE}.prevuid&quot; ]&#xA;        then&#xA;            echo --set &amp;gt;&amp;gt; &quot;${FILE}.seqtags&quot;&#xA;            echo prev-uid=$(cat &quot;${FILE}.prevuid&quot;) &amp;gt;&amp;gt; &quot;${FILE}.seqtags&quot;&#xA;        fi&#xA;&#xA;        if [ -f &quot;${FILE}.nextuid&quot; ]&#xA;        then&#xA;            echo --set &amp;gt;&amp;gt; &quot;${FILE}.seqtags&quot;&#xA;            echo next-uid=$(cat &quot;${FILE}.nextuid&quot;) &amp;gt;&amp;gt; &quot;${FILE}.seqtags&quot;&#xA;        fi&#xA;    fi&#xA;done&#xA;&#xA;echo Now writing all the data&#xA;for FILE in $FILES&#xA;do&#xA;    echo Processing $FILE&#xA;    mkvpropedit &quot;@${FILE}.seqtags&quot;&#xA;    rm &quot;${FILE}.uid&quot; &quot;${FILE}.prevuid&quot; &quot;${FILE}.nextuid&quot; &quot;${FILE}.seqtags&quot;&#xA;done&#xA;&#xA;IFS=$SAVEIFS&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2014-11-08T22:54:08.830" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12977" PostTypeId="2" ParentId="12597" CreationDate="2014-11-09T00:30:33.313" Score="1" Body="&lt;p&gt;No you do not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While in all practicality the answer is Yes; but there is a very important assumption that many people are making.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The condition of CC-SA licence is that if you distribute the derivative work you must distribute it under the terms compatible with this licence. Firstly this implies that there is a chance to find a different licence, which is compatible with it. Secondly, you can chose not to distribute the work and not to perform it to the public. This can be a family video that we are talking about here, that you intent to only watch yourself or with a close friends/family (which can be argued as not being &quot;performance&quot;). If that is the case, nobody is going to demand that you release the work to the public under any licence at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately i was unable to find the text for CC-SA licence on CC website, but here's what CC-BY-SA say:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Section 3 - License conditions&#xA;Your exercise of the Licensed Rights is expressly made subject to the following conditions.&#xA;&#xA;  a Attribution.&#xA;&#xA;    1. If You Share the Licensed Material (including in modified form), You must:&#xA;      ...&#xA;    2. You may satisfy the conditions in Section 3(a)(1) in any reasonable manner ...&#xA;    3. If requested by the Licensor, You must remove any of the information required by Section 3(a)(1)(A) to the extent reasonably practicable.&#xA;  b ShareAlike.&#xA;    In addition to the conditions in Section 3(a), if You Share Adapted Material You produce, the following conditions also apply.&#xA;&#xA;    1. The Adapter’s License You apply must be ...&#xA;    2. You must include the text of, or the URI or hyperlink to, the Adapter's License You apply...&#xA;    3. You may not offer or impose any additional or different terms or conditions on, or apply any Effective Technological Measures to, Adapted Material that restrict exercise of the rights granted under the Adapter's License You apply.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As you can see everywhere it talks about conditions on the distribution, and not the use of the work in question. That is because it is impossible to limit the use of the work by using copyright, since only the act of copying, exhibition, and broadcast can be limited. Otherwise you would be unable to sell a book that you've bought, having to get the licence to do so from the author/publisher.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="4943" LastEditDate="2014-11-09T17:01:38.500" LastActivityDate="2014-11-09T17:01:38.500" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12978" PostTypeId="1" AcceptedAnswerId="12984" CreationDate="2014-11-09T07:21:12.930" Score="1" ViewCount="519" Body="&lt;p&gt;I understand that 3D video works by showing two different perspectives of a scene to the eyes, separately, and the brain does the rest. Just like looking at a real life scene. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But for shooting 3D movies, I always assumed that they would just take the same picture, or perhaps a wider picture panned left and right for each eye. But I just saw something about shooting 3D being special.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Do movie makers shoot video from two different perspectives to create 3D movies?&lt;/strong&gt; If not, what's special about it?&lt;/p&gt;&#xA;" OwnerUserId="6746" LastActivityDate="2014-11-09T16:36:35.297" Title="Do movie makers shoot video from two different perspectives to create 3D movies?" Tags="|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12979" PostTypeId="2" ParentId="12438" CreationDate="2014-11-09T08:48:08.980" Score="1" Body="&lt;p&gt;Speaking to the Canon technical team, it seems that at the time of this writing, there is no way on this particular model of camera to change the resolution of the HDMI output.&lt;/p&gt;&#xA;" OwnerUserId="5540" LastActivityDate="2014-11-09T08:48:08.980" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12980" PostTypeId="1" AcceptedAnswerId="12982" CreationDate="2014-11-09T08:50:55.363" Score="11" ViewCount="48540" Body="&lt;p&gt;I can check the resolution of a video by &lt;code&gt;Right Clicking&lt;/code&gt; -&gt; &lt;code&gt;Properties&lt;/code&gt; -&gt; &lt;code&gt;Details&lt;/code&gt; -&gt; &lt;code&gt;Video&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to see if the video is progressive or interlaced?&lt;/p&gt;&#xA;" OwnerUserId="5540" LastActivityDate="2023-06-08T13:15:11.993" Title="How to see if a video file is progressive or interlaced?" Tags="|windows|" AnswerCount="6" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12981" PostTypeId="2" ParentId="12980" CreationDate="2014-11-09T13:03:23.497" Score="5" Body="&lt;p&gt;Windows won't help you with this. There are several file info programs available. I use &lt;a href=&quot;http://mediaarea.net/de/MediaInfo&quot; rel=&quot;noreferrer&quot;&gt;MediaInfo&lt;/a&gt;, which I like especially for the context menu entry &quot;MediaInfo&quot; that allows you to quickly open video files and view their meta data in the program. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It shows mostly anything there is to know about the video file. The information you are looking for will be found under &quot;scan type&quot;.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2014-11-09T13:03:23.497" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12982" PostTypeId="2" ParentId="12980" CreationDate="2014-11-09T15:15:34.527" Score="9" Body="&lt;p&gt;You should be able to tell just by looking at it.  When you watch for motion and see a comb-like horizontal pattern, the video is interlaced.  You could also try pausing the video at several points and looking for this pattern, but not every frame will look interlaced.  Pause the video at points where there is quick motion, and step forward one frame at a time.  Make sure the video is displayed at %100 zoom. If you find a frame which exhibits this pattern, the whole movie is interlaced.  Once you know what to look for, you'll recognize it instantly.  &lt;img src=&quot;https://i.stack.imgur.com/DnI7S.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-11-09T15:15:34.527" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12983" PostTypeId="2" ParentId="12974" CreationDate="2014-11-09T16:22:32.337" Score="1" Body="&lt;p&gt;There isn't a perfect answer to this problem.  AVI and MP4 are just container's for video streams, so without knowing more about the actual streams in the containers, it is impossible to tell how much quality loss there would be, but as a general rule of thumb, it isn't all that atypical for AVI to use far less efficient video compression algorithms than MP4 on average.  That doesn't always hold true, but it often is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, what you plan to do with the files also matters.  If these are a master intended for being a high quality copy you can come back and WATCH, then running a high quality h.264 encoding isn't such a bad thing.  You should likely be able to find a setting that will make the files quite a bit smaller and still be pretty high quality to watch.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem with this, however, is that while the compression may work well for watching the video, it doesn't work so well for editing and re-encoding the video later.  If you compress too much, the video will look great to a viewer now, but may look like crap after editing and re-encoding a final video later.  If you plan to edit the videos later, you will need to stick to a much higher file size and higher quality encoding.  This could still be h.264, or any of a number of other formats, but it would need to be a much larger file (such as all I frame h.264).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, I've always elected to keep my masters at their highest available capture resolution and fairly minimally compressed, but I also am in a financial situation where buying large amounts of external storage is not a problem.  (I personally have around 20 TB worth of storage, of which about 14TB is full, though some of that is providing redundancy.  That's primarily for video projects, photo projects and Steam downloads.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ultimately, however, it is a personal decision about the trade offs between cost and quality.  Every option has it's costs and only you can decide which costs are best for you.  I'd encourage you to buy more storage if you want to do editing with the videos later, but if you are only worried about playback, I'd recommend encoding it down to a quality that you find high enough by trial and error.  (Also, be sure to check the videos as the level of activity in a video will greatly impact the video quality unless you are using a quality based encoder.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-09T16:22:32.337" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12984" PostTypeId="2" ParentId="12978" CreationDate="2014-11-09T16:36:35.297" Score="3" Body="&lt;p&gt;Sometimes yes, sometimes no.  If it is shot &quot;for 3d&quot; then yes, they use either two cameras or a splitter to go through two optical assemblies to one camera.  Here are some sample rigs that have actually been used in large films.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/3ng00.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are, however, a number of films that are released in 3d despite having not been shot &quot;for 3d&quot;.  In these cases, the films were shot on conventional cameras with only one lens.  They are truly 2d, however, by the process of image analysis, effects artists go in and assign depths do different elements of the scenes.  This depth data is then used to invent two perspectives to be used for making a 3d effect.  It involves a lot of guess work and creating new content to fill in the gaps where actual footage doesn't have a given angle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some 3D TV's even have a basic level of this as an automated process where it will analyse the film in real-time and attempt to guess at depth information.  The only difference is that the 3d extraction done professionally is an offline process with more time and effort spent to fine toon the end result and fill in some gaps by hand.  The exact process and effort at each step depends on the individual project and budget, but the results are always sub-standard to actually shooting for 3D.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-09T16:36:35.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12985" PostTypeId="1" AcceptedAnswerId="13025" CreationDate="2014-11-09T16:42:38.703" Score="1" ViewCount="1473" Body="&lt;p&gt;I'm using &lt;strong&gt;videojs&lt;/strong&gt; in an HTML page to publish a video with VTT captions. Problem is: iPhones do not play the mp4 in the videojs player - it renders the full videojs player, but when you click the Play button, it opens the mp4 in it's native player (QT player, presumably). This is normal behaviour for video on iPhones - but at that point I lose my captions, which are inserted in the videojs player through css.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I ran the MP4s through Handbrake with imported .srt files. In my local VLC player, the captions appear. But when I put the same files (MP4 + SRT) in the same directory on my web server, the subtitles do not appear on the video in iPhones. In fact, the subtitles - or any subtitles option - also do not appear in the native players of desktop Firefox, Chrome or IE 11 (which uses a QT plugin for video). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's not a problem of coding (used UTF-8) or server configuration - if I insert two &lt;code&gt;&amp;lt;tracks&amp;gt;&lt;/code&gt; in the videojs &lt;code&gt;&amp;lt;video&amp;gt;&lt;/code&gt; element - one the vtt file, one the srt file - both play, together, in the videojs player.&lt;/p&gt;&#xA;" OwnerUserId="6414" LastEditorUserId="6414" LastEditDate="2014-12-01T23:17:36.500" LastActivityDate="2014-12-01T23:17:36.500" Title="Why do SRT subtitles fail to appear in my MP4 videos on iPhones?" Tags="|mp4|webvideos|subtitles|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12986" PostTypeId="1" CreationDate="2014-11-10T03:17:19.350" Score="2" ViewCount="975" Body="&lt;p&gt;Whenever I try to record gameplay with Dxtory (using the h.264 codec) my game will crash after a seemingly random amount of time, although it is usually after at least 30 minutes. Dxtory produces no error logs and there is no recording because I have to end the game's process to close it and this seems to make Dxtory just toss out the entire file... The game in question is Counter Strike: Global Offensive, but I don't know if that makes a difference. I am not sure if the codec is the source of the problem, but I was wondering if someone with a little more knowledge than me has any idea of what is wrong. These are my video settings:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/ySbxo.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/D2knS.png&quot; alt=&quot;enter image description here&quot;&gt;&#xA;&lt;br&gt;I have done 2 successful recordings with Dxtory so far, but I cannot remember if they were both using the default codec or if the second one was using H.264. Is this the fault of my settings or is it the codec that is malfunctioning?&lt;/p&gt;&#xA;" OwnerUserId="6749" LastEditorUserId="6749" LastEditDate="2014-11-10T03:46:16.707" LastActivityDate="2014-11-10T03:46:16.707" Title="Dxtory recording randomly crashing game" Tags="|video|codec|software|video-recording|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12987" PostTypeId="1" CreationDate="2014-11-10T08:31:29.400" Score="2" ViewCount="150" Body="&lt;p&gt;I have a long sequence (canon dslr and titles) (1hour) and as a&#xA;test export 1 minute at h264 Blu-ray pre-defined setting (pal 1920x1080, upper&#xA;field, low quality). This takes approx 1 minute to export. I then export the&#xA;entire sequence but rather than the expected 60mins to export it takes 3 hrs.&#xA;I'm running a i7,6Gig ddr3 ram, NVIDIA GeForce GTX 470, windows 7 64bit.&#xA;Exporting directly from premiere cc. I've also noticed sometimes the hard drive&#xA;gets thrashed when opening another program, could this be memory / page faults occurring&#xA;?&#xA;The question is why is export time not linear? and how can I&#xA;improve export time?&lt;/p&gt;&#xA;" OwnerUserId="6751" LastEditorUserId="2178" LastEditDate="2014-11-10T16:54:22.540" LastActivityDate="2014-11-10T16:54:22.540" Title="Why doesn't the duration of a Premiere Pro encoding scale linearly?" Tags="|video|encoding|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12988" PostTypeId="1" CreationDate="2014-11-10T08:41:25.963" Score="1" ViewCount="110" Body="&lt;p&gt;I would think that there should be a way to explain to &lt;code&gt;fifo&lt;/code&gt; filter to write to the same output stream. But when i test that hypothesis with the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i 01.webm -filter_complex 'split [s1][s2];[s1] fifo [f];[s2] fifo [f]; [f] copy' -c:v libtheora -an out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I get the error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Output pad &quot;default&quot; for the filter &quot;Parsed filter 1 fifo&quot; of type &quot;fifo&quot; not connected to any destination&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What i figure is that the second fifo grabs the [f] stream and it no longer is writeable by the first one. But would there be a trick or something to explain to the filter that it is in fact my intention for two filters to dump something into the same place?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. This is not a software choice request. I am trying to figure out how to do this with libav.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2014-11-10T08:41:25.963" Title="Can 'fifo' filter write to the same stream in avconv?" Tags="|avconv|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12989" PostTypeId="1" CreationDate="2014-11-10T08:52:17.693" Score="3" ViewCount="966" Body="&lt;p&gt;I recorded some videos using a JVC recorder.  Now I am trying to upload those videos to my PC, but the format it .ced.  How do I play/convert this file to a different format on my pc?&lt;/p&gt;&#xA;" OwnerUserId="6752" LastActivityDate="2019-08-22T11:01:15.130" Title="jvc recorder .ced file" Tags="|file-formats|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12990" PostTypeId="1" CreationDate="2014-11-10T09:01:18.530" Score="2" ViewCount="412" Body="&lt;p&gt;I'm trying to accomplish a smart rendering workflow using ffmpeg/x264. In short, get ffmpeg to segment the input file. Locate the segment(s) with changes to be made. Re-encode altered segments with same parameters as source. Concatenate altered + original segments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Problem: the resulting video turns garbage when it first traverses from an original to altered segment or vice-versa. Most likely, because the altered chunks and original chunks differ in some bitstream parameters, or possibly some GOP boundary issues are at play.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) is there a way to tell ffmpeg/x264 to generate a concat-with-source-compliant output?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2)If it's GOP related, what do I look for in the source and what do I tell the encoder?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Gyan &lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-03-20T23:52:30.217" Title="How to get ffmpeg/x264 to use same parameters as input?" Tags="|ffmpeg|encoding|mpeg|libx264|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12991" PostTypeId="2" ParentId="12989" CreationDate="2014-11-10T15:27:57.370" Score="2" Body="&lt;p&gt;According to &lt;a href=&quot;https://forums.adobe.com/thread/940771?tstart=0&quot; rel=&quot;nofollow&quot;&gt;this post&lt;/a&gt; on Adobe's forums, the CED file is an attempt by the camera to save a corrupted video file that occurs when the memory card is not formatted in a way it can write video correctly.  It may or may not actually contain a usable video stream depending on what went wrong.  I couldn't find any PC tools that would open it reliably, but JVC might have something if you check with them.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-10T15:27:57.370" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12992" PostTypeId="2" ParentId="12987" CreationDate="2014-11-10T16:38:48.347" Score="1" Body="&lt;p&gt;I doubt it is memory or page fault related.  Encoding is more of a stream operation, you load a frame, process the frame, hold the frame until you finish a group of pictures and then encode the group of pictures.  It is not a memory intensive process unless you are doing fancy effects that require memory to process.  It is a potentially HDD stream intensive process as it has to stream the video sources off the HDD and then record the output back to the HDD, which could involve lots of seeks potentially to move between reading and writing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The two things I would try would be to try CUDA acceleration first and see if you can offload the processing to your GPU.  If that doesn't get sufficient speed I would try making sure your system is defraged and if that doesn't give sufficient speed, I might try SSDs for processing to and from for better random access of assets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also possible that it is simply harder to encode later parts of your video though.  Depending on the exact settings you are using, changes in the content of the video can make a significant impact on how difficult it is to encode the video, so it may not even be unexpected that the encoding time changes between the first minute and the rest of the video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-10T16:38:48.347" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12993" PostTypeId="1" CreationDate="2014-11-10T19:32:43.893" Score="0" ViewCount="289" Body="&lt;p&gt;I'm interested in making perfectly-looping Vine videos of me playing guitar riffs. I'd like to shoot and edit these videos on my phone (iPhone 5, iOS 8.1), without using a desktop editor. &lt;strong&gt;Is there an app that allows you to hear audio while editing?....&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now that you can import videos created elsewhere into Vine, I thought this would be a pretty straightforward thing. However, in order to create a video of this type that loops the way I want it to, I'll need to be able to hear the audio while trimming the clip in order to set the start/end points correctly…and &lt;strong&gt;every video editing app I've found silences the audio when you're in editing mode.&lt;/strong&gt; Right? Am I crazy? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;iMovie&lt;/li&gt;&#xA;&lt;li&gt;Splice&lt;/li&gt;&#xA;&lt;li&gt;uh...a few others I can't remember right now&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If anyone knows of a video app that lets you hear audio while you're editing and could tell me about it, I'd be eternally grateful. I feel like I must be missing something here…&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="4887" LastActivityDate="2015-01-13T05:55:41.170" Title="iOS 8 Video Editing App That Lets You Hear The Audio While Trimming?" Tags="|editing|iphone|ios|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="12994" PostTypeId="2" ParentId="12957" CreationDate="2014-11-10T20:34:21.783" Score="2" Body="&lt;p&gt;The player panic you are experiencing might be due to the checksum in the ogg header. If you recalculate the checksum for the whole header with your new value you might get a valid file again.&#xA;&lt;a href=&quot;http://en.wikipedia.org/wiki/Ogg#Page_structure&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/Ogg#Page_structure&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though I dont know all too much about the ogg and vorbis specs. For this kind of low level work its always a good idea to read the specs.&#xA;&lt;a href=&quot;http://xiph.org/vorbis/doc/Vorbis_I_spec.html&quot; rel=&quot;nofollow&quot;&gt;http://xiph.org/vorbis/doc/Vorbis_I_spec.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-11-10T20:34:21.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12995" PostTypeId="1" AcceptedAnswerId="16531" CreationDate="2014-11-10T21:12:08.003" Score="6" ViewCount="16713" Body="&lt;p&gt;I have problems with my Premiere Pro. It is first time this has happened, and I cannot understand why. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am creating a timelapse from my images. When I want to export media, I choose format H.264 (not H.264 Blu-ray), dimensions 1920x1080. Output name is visible as &quot;Sequence02.mp4&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After export is finished, there is a file &quot;Sequence02.m4v&quot; on disk. &lt;strong&gt;Why?&lt;/strong&gt; What causes Premiere to change file format by itself? I used Premiere before and this never happened. Maybe I'm using some different setting, but what could cause this change?&lt;/p&gt;&#xA;" OwnerUserId="5416" LastActivityDate="2020-04-19T00:14:36.720" Title="Adobe Premiere saves m4v instead of mp4" Tags="|mp4|premiere|h.264|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12996" PostTypeId="2" ParentId="12958" CreationDate="2014-11-11T00:40:24.663" Score="3" Body="&lt;p&gt;I actually found the answer in the &lt;a href=&quot;http://wwwimages.adobe.com/content/dam/Adobe/en/devnet/aftereffects/pdfs/aftereffectscs3_scripting_guide.pdf&quot; rel=&quot;nofollow&quot;&gt;CS3 scripting guide&lt;/a&gt;. &lt;code&gt;CompItem#selectedLayers&lt;/code&gt; actually returns an array of &lt;code&gt;AVLayer&lt;/code&gt; objects. &lt;code&gt;AVLayer&lt;/code&gt; is a subclass of &lt;code&gt;Layer&lt;/code&gt; and has quite a few  attributes. Here are a few of them:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Masks&lt;/li&gt;&#xA;&lt;li&gt;Effects&lt;/li&gt;&#xA;&lt;li&gt;Anchor points&lt;/li&gt;&#xA;&lt;li&gt;Position&lt;/li&gt;&#xA;&lt;li&gt;Scale&lt;/li&gt;&#xA;&lt;li&gt;X Rotation&lt;/li&gt;&#xA;&lt;li&gt;Y Rotation&lt;/li&gt;&#xA;&lt;li&gt;Opacity&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Oddly enough, when calling these attributes you need to pay attention to if the attribute is one word or two. If it's one word, the first letter will be capitalized, but if it's two words the first letter will be lower case and the rest in camel case fasion. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, if you have an AVLayer instance called &lt;code&gt;myLayer&lt;/code&gt; and you want to get its list of effects you call &lt;code&gt;myLayer.Effects&lt;/code&gt;, but if you want to get its X rotation you call &lt;code&gt;myLayer.xRotation&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;As for my end goal of creating circles on a selected layer, this is what I came up with (works in CS5.5 although it also needs error checking to see if a layer is actually selected!):&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;function createCircle(layer, coords, radius) {&#xA;    var x = coords[0];&#xA;    var y = coords[1];&#xA;&#xA;    var circle = layer.Effects.addProperty(&quot;Circle&quot;);&#xA;    circle.Center.setValue([x, y]);&#xA;    circle.Radius.setValue(radius);&#xA;    return circle&#xA;}&#xA;&#xA;var myComp = app.project.activeItem;&#xA;var myLayer = myComp.selectedLayers[0];&#xA;var circles = [];&#xA;&#xA;//coordsList could come from an external file or another function&#xA;for (var i = 0; i &amp;lt; coordsList.length; i++) {&#xA;    circles.push(createCircle(myLayer, coordsList[i], 75));&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6733" LastEditorUserId="6685" LastEditDate="2016-07-20T12:36:19.633" LastActivityDate="2016-07-20T12:36:19.633" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12997" PostTypeId="2" ParentId="12995" CreationDate="2014-11-11T00:49:13.473" Score="3" Body="&lt;p&gt;The most likely cause for this are faulty multiplexer settings. In the export window, make sure both &quot;export video&quot; and &quot;export audio&quot; are checked (see screenshot). Then go to the multiplexer tab. The multiplexer gives you control about how your video and audio stream will be muxed (bundled) in one file. Make sure &quot;mp4&quot; ist selected, and the stream-compatibility (the second option) is set to &quot;standard&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;br&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/SlDim.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2014-11-11T00:49:13.473" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="12998" PostTypeId="2" ParentId="8305" CreationDate="2014-11-11T05:35:56.063" Score="2" Body="&lt;p&gt;On OS X, seems like &lt;a href=&quot;http://www.telestream.net/screenflow/overview.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;ScreenFlow&lt;/a&gt; can record in lossless (not by default, but this can be enabled in settings). Unfortunately, this application is not free. Still looking for free alternatives…&lt;/p&gt;&#xA;&lt;h2&gt;Important update!&lt;/h2&gt;&#xA;&lt;p&gt;This applies only to Screenflow 4.5.3 (and maybe some earlier versions). &lt;strong&gt;In Screenflow 5 this feature is gone.&lt;/strong&gt; They advertise like they can do lossless recording, but this is a blatant lie: the &amp;quot;lossless&amp;quot; mode is using Apple ProRes, which is not lossless (and I tested the output, it indeed has artifacts), and there's no way to select some other codec (in Screenflow 4.5.3 the lossless mode is achieved by using &amp;quot;Animation&amp;quot; codec, which is &lt;code&gt;qtrle&lt;/code&gt;, in Screenflow 5 there's no way to do this)&lt;/p&gt;&#xA;&lt;p&gt;So… good bye, sweet prince.&lt;/p&gt;&#xA;&lt;h2&gt;Update 2&lt;/h2&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Capture/Desktop&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; also can record the screen, if you learn how to use it properly.&lt;/p&gt;&#xA;" OwnerUserId="4710" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2018-04-29T07:52:56.677" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13001" PostTypeId="1" AcceptedAnswerId="13311" CreationDate="2014-11-12T04:52:37.923" Score="3" ViewCount="3951" Body="&lt;p&gt;I have a type effect that requires a couple of layers, one with the type, and another moving behind the letters as they appear (simulating the little text bubbles you get when typing on an iPhone). It's very tedious animating the position of the bottom layer to match the text, so I'm wondering if it's possible to use any javascript tools to measure the characters and drive the position value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I have an expression driving the opacity like this, to automatically turn the background off for spaces:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;theOffset=thisComp.layer(1).text.animator(&quot;Animator 1&quot;).selector(&quot;Range Selector 1&quot;).offset;&#xA;if (thisComp.layer(1).text.sourceText.substr(theOffset, 1) == &quot; &quot; ){0} else {100}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and another that folows the text animator range selector so that I can retime if I want without having to nudge keyframes till doomsday:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;theOffset=thisComp.layer(1).text.animator(&quot;Animator 1&quot;).selector(&quot;Range Selector 1&quot;).offset;&#xA;try {&#xA;    transform.position.key(theOffset + 1).value&#xA;}&#xA;catch(error){[-10000,0]}//effectively hide it on errors (like the index going out of bounds)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;…but this relies on me going through and creating keyframes to match the spacing of all the letters in the text, and frankly I'd rather be doing something else with the time that takes. so I'm trying to find a string method that I could use like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;xOffset = thisComp.layer(1).text.sourceText.substr(1, theOffset).getTextWidth()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but &lt;strong&gt;getTextWidth&lt;/strong&gt; obviously isn't a valid method. Is there a JS method that can get the size of a string on screen? There seems to be several solutions for this when the client is a web browser, but I can't find any that work for AE expressions.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2014-12-19T06:17:23.993" LastActivityDate="2014-12-19T06:17:23.993" Title="Can you measure the width of a character in an AE expression?" Tags="|after-effects|after-effects-expressions|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13002" PostTypeId="1" CreationDate="2014-11-12T19:12:35.130" Score="1" ViewCount="408" Body="&lt;p&gt;For a short film my friend has two Canon DSLR's available, one full-frame and one crop-frame camera (5D Mark II and 550D).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would it be very noticeable in the end result if footage from both cameras is used after one another?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can the difference be covered up in post so one can cut from one camera to the other without feeling that something is off?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I expect the difference caused by the sensor to be negligible compared to the change in footage that is caused by the use of different lenses and filming angles. However, I might be overlooking something.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2014-11-12T19:44:33.273" Title="Is the difference between full- and crop-frame DSLR footage noticeable and disrupting?" Tags="|editing|canon|filming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13003" PostTypeId="2" ParentId="13002" CreationDate="2014-11-12T19:44:33.273" Score="1" Body="&lt;p&gt;There are several sources of difference, but you should be able to handle them all with some work.  The first difference will be depth of field.  A full frame camera has a shallower depth of field at a given angle of view because it can achieve the same angle of view with a longer lens.  You can compensate for this by using a smaller aperture (higher f/value) for the full frame camera to make the full frame field of view wider, or you can simply ignore it as differences in depth of field between shots won't be that noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The next major issue will be color reproduction.  Different camera models will likely have a different feel in terms of their white balance.  If they are both balanced to the same grey target, it probably won't be that far off, but there will be some differences in shadow detail and the like, so you may need to do color grading of the footage to match the color of the footage.  This is typical anyway as color grading should be done to achieve the final look you want for the color.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, you will need to be mindful of the crop factor of the APS-c camera which will result in a smaller field of view for similar lenses.  You will also want to consider the relative quality level of the lenses being used on each camera.  These may have a noticeable impact on the overall quality of the final video as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, overall, there shouldn't be any issues that can't be adjusted for, but be aware of what you are doing and be prepared to make some basic corrections in post to adjust the footage to look similar.  You also want to make sure you use similar export frame rates and compression options so as to ensure similar file quality.  It is worth noting that most of these distinctions apply for any two different cameras though, not specifically crop vs ff.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-12T19:44:33.273" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13004" PostTypeId="1" AcceptedAnswerId="13010" CreationDate="2014-11-13T05:23:32.117" Score="4" ViewCount="2928" Body="&lt;p&gt;What is the difference between HDMI compressed and uncompressed modes? My understanding is that in compressed mode the TV handles the decoding. Is this right?&lt;/p&gt;&#xA;" OwnerUserId="6770" LastActivityDate="2014-11-13T15:25:25.857" Title="HDMI Compressed vs Uncompressed mode" Tags="|hdmi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13005" PostTypeId="1" CreationDate="2014-11-13T09:24:17.647" Score="1" ViewCount="628" Body="&lt;p&gt;I have a &lt;a href=&quot;http://www.bhphotovideo.com/c/product/1061358-REG/kino_flo_sys_4801_120u_4_single_bank_select_ve_system_120u.html&quot; rel=&quot;nofollow&quot;&gt;four-foot single bank kino fixture&lt;/a&gt; that I need to mount on the ceiling of our media lab.  It needs to be angled precisely because it's for lighting a green screen (currently, it's mounted on a low stand on the floor, but I'm trying to get it out of the way).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The ceiling is drop tile, hanging 20&quot; from the subfloor above.  Ideally, I'd like to fasten the light very securely to the subfloor via some type of hanger.  Telescoping hangers sound like a good way to get through the drop ceiling, but &lt;a href=&quot;http://www.bhphotovideo.com/c/search?Ntt=telescoping%20hanger&amp;amp;N=0&amp;amp;InitialSearch=yes&amp;amp;sts=ma&amp;amp;Top%20Nav-Search=&quot; rel=&quot;nofollow&quot;&gt;all the ones I've found&lt;/a&gt; are designed to clamp to a lighting truss, which we don't have.  I've seen &lt;a href=&quot;http://www.bhphotovideo.com/c/search?Ntt=scissor%20clips&amp;amp;N=0&amp;amp;InitialSearch=yes&amp;amp;sts=ma&amp;amp;Top%20Nav-Search=&quot; rel=&quot;nofollow&quot;&gt;drop ceiling scissor clips,&lt;/a&gt; but they don't look sturdy enough for a light of this size.  So far, the best thing I can come up with is an &lt;a href=&quot;http://www.bhphotovideo.com/c/product/264556-REG/Mole_Richardson_500764_Wall_Plate_with_Baby.html&quot; rel=&quot;nofollow&quot;&gt;18&quot; wall stud&lt;/a&gt; to &lt;a href=&quot;http://www.bhphotovideo.com/c/product/258327-REG/Kino_Flo_MTP_BL41_Twist_On_Mounting_Plate_w_Baby.html/prm/alsVwDtl&quot; rel=&quot;nofollow&quot;&gt;the lolipops we already use,&lt;/a&gt; but I don't know if it's safe or wise to use either of these upside-down.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would appreciate any insight from more experienced grips, links to more information, or ideas about better forums to ask.  Thank you very much.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-11-13T16:04:43.847" Title="How do I hang a kino flo from the ceiling?" Tags="|lighting|grip|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13006" PostTypeId="2" ParentId="12938" CreationDate="2014-11-13T11:11:14.087" Score="1" Body="&lt;p&gt;It looks like it is not possible to create a DVD DL with a ROM part that exceeds a layer's size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I created a 4 GB HD video (which also fits on a FAT32 file system) and created a DL disc with some GBs wasted space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to put another file onto the ROM part but this always fails as soon as the ROM part exceeds the layer limit, which is strange because DVD-ROM-only DL discs seem to work perfectly.&lt;/p&gt;&#xA;" OwnerUserId="6717" LastActivityDate="2014-11-13T11:11:14.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13007" PostTypeId="1" CreationDate="2014-11-13T09:37:43.190" Score="1" ViewCount="131" Body="&lt;p&gt;I have a video in which I want to remove part of an object in every frame and then render the video again. I have tried photoshop and after effect. Both of them work somehow, but they degrade video quality significantly. Is there any other options to do it with a good quality?&lt;/p&gt;&#xA;" OwnerDisplayName="M M" LastActivityDate="2014-11-13T11:44:27.880" Title="How to remove a part of a moving object from a video?" Tags="|video|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13008" PostTypeId="1" AcceptedAnswerId="13013" CreationDate="2014-11-13T11:55:52.420" Score="3" ViewCount="90" Body="&lt;p&gt;In Apple Motion I thought I'd be able to use a replicator to simulate grass using 'Randomize' on the element angle and then duplicating the individual 'blade' elements using a replicator with 'random fill'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Gfma7.png&quot; alt=&quot;desired look&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, every element ends up with identical movement - the randomize behaviour globally affects all the replicated elements, so I end up with something like this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/5VwrE.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to individually randomize the motion of replicated elements?&lt;/p&gt;&#xA;" OwnerUserId="4487" LastEditorUserId="4487" LastEditDate="2014-11-14T23:05:44.610" LastActivityDate="2014-11-14T23:05:44.610" Title="Simulate 'grass' using a replicator" Tags="|final-cut-pro-x|motion|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13009" PostTypeId="1" CreationDate="2014-11-13T14:26:28.643" Score="2" ViewCount="7982" Body="&lt;p&gt;In After Effect, I tracked a moving object in my Video with the Motion Tracker. There I got Keyframes, which I want to use.&#xA;Now, I would like to show the path of my object in the Video. I thought to use the stroke effect, to get one stroke that is builded when it &quot;follows&quot; my object. The goal is, that the stroke shows in the end the path of my object.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know how to accomplish this task? &#xA;I don't now how to modify the position keyframes from motion tracker that I can use them in &quot;stroke&quot;. (Thought also to interpolate them with bezier, but what's next?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your help!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Max&lt;/p&gt;&#xA;" OwnerUserId="6773" LastActivityDate="2018-03-12T13:51:06.983" Title="After Effect: Create Stroke from Motion Track Path" Tags="|after-effects|motion|tracking|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13010" PostTypeId="2" ParentId="13004" CreationDate="2014-11-13T15:25:25.857" Score="3" Body="&lt;p&gt;The TV still has to translate the color information and format, so there is, in effect, still some decoding on the TV.  The difference is that it is uncompressed.  The output from the device matches whatever the source captured, in whatever image format the source uses, but there is no loss of detail from applying compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Compressed requires vastly lower data rates and is easier to transfer to the TV, but the quality is substantially lower.  Uncompressed requires a high quality source and a very fast data connection, but also provides the highest possible quality as the signal is not compressed with lossy compression schemes.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-13T15:25:25.857" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13011" PostTypeId="2" ParentId="13005" CreationDate="2014-11-13T16:04:43.847" Score="2" Body="&lt;p&gt;I'd probably try the lollipop, just be sure to wire it to safeties (safety cables) anchored directly to the subfloor as well.  This will prevent it from falling in the event the lollipop fails.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd probably do some weight tests of the mount before putting it up as well to make sure it is strong enough to hold it in position well.  There is certainly no reason such a mount couldn't be strong enough, I just am not familiar with that particular one.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-13T16:04:43.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13012" PostTypeId="2" ParentId="13001" CreationDate="2014-11-13T17:05:49.043" Score="2" Body="&lt;p&gt;So you want the width of the whole text object no single characters?&#xA;In that case you could use this: &lt;a href=&quot;http://motionboutique.com/text-bounds-expresssion-580/&quot; rel=&quot;nofollow&quot;&gt;http://motionboutique.com/text-bounds-expresssion-580/&lt;/a&gt;&#xA;A tutorial plus sample project on how to get the bounding box of a text layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In case the link dies, here is the complete expression they use to determine the bounding box.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;step = 1.0; // higher values speed things up (2 means two times faster) but reduce precision&#xA;L = thisComp.layer(&quot;MyTextLayer&quot;); // text layer whose size must be evaluated&#xA;&#xA;w = thisComp.width;&#xA;h = thisComp.height;&#xA;halfW = w / 2;&#xA;halfH = h / 2;&#xA;halfStep = step / 2;&#xA;&#xA;left = w;&#xA;right = 0;&#xA;top = h;&#xA;bottom = 0;&#xA;&#xA;// find left&#xA;found = false;&#xA;for (x = 0; !found &amp;amp;&amp;amp; x &amp;lt; w; x+=step)&#xA;{&#xA;    if (L.sampleImage([x,halfH], [halfStep,halfH], true)[3] &amp;gt; 0)&#xA;    {&#xA;        found = true;&#xA;        if (x &amp;lt; left) &#xA;            left = x;&#xA;    }&#xA;}&#xA;// find right&#xA;found = false;&#xA;for (x = w; !found &amp;amp;&amp;amp; x &amp;gt;= 0; x-=step)&#xA;{&#xA;    if (L.sampleImage([x,halfH], [halfStep,halfH], true)[3] &amp;gt; 0)&#xA;    {&#xA;        found = true;&#xA;        if (x &amp;gt; right) &#xA;            right = x;&#xA;    }&#xA;}&#xA;// find top&#xA;found = false;&#xA;for (y = 0; !found &amp;amp;&amp;amp; y &amp;lt; h; y+=step)&#xA;{&#xA;    if (L.sampleImage([halfW,y], [halfW,halfStep], true)[3] &amp;gt; 0)&#xA;    {&#xA;        found = true;&#xA;        if (y &amp;lt; top) &#xA;            top = y;&#xA;    }&#xA;}&#xA;// find bottom&#xA;found = false;&#xA;for (y = h; !found &amp;amp;&amp;amp; y &amp;gt;= 0; y-=step)&#xA;{&#xA;    if (L.sampleImage([halfW,y], [halfW,halfStep], true)[3] &amp;gt; 0)&#xA;    {&#xA;        found = true;&#xA;        if (y &amp;gt; bottom) &#xA;            bottom = y;&#xA;    }&#xA;}&#xA;&#xA;/*&quot;Size of text\n&quot; + (right-left) + &quot;x&quot; + (bottom-top)*/&#xA;left + &quot;,&quot; + top + &quot;,&quot; + (right-left) + &quot;,&quot; + (bottom-top)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-11-13T17:05:49.043" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13013" PostTypeId="2" ParentId="13008" CreationDate="2014-11-13T19:47:53.513" Score="1" Body="&lt;p&gt;I went through all the library replicators and found one that used a Randomize behaviour on the cell's &lt;code&gt;Object.Angle Randomness.Angle Randomness&lt;/code&gt;. This looks okay. Everything is still kinda moving in sync if you look carefully but things go to different angles more naturally. I think overlaying a couple of these will look about right for my purposes. But I'd still rather each replicated element had parameters of its own.&lt;/p&gt;&#xA;" OwnerUserId="4487" LastActivityDate="2014-11-13T19:47:53.513" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13015" PostTypeId="1" AcceptedAnswerId="13021" CreationDate="2014-11-14T05:16:13.107" Score="1" ViewCount="11380" Body="&lt;p&gt;Is it possible to update the firmware of a camera (like Nikon D810) to enable 4K video? Or, such features are built into the hardware?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks, NN&lt;/p&gt;&#xA;" OwnerUserId="6007" LastActivityDate="2014-11-14T16:18:06.600" Title="Can a camera like Nikon D810 support 4K video with firmware update?" Tags="|video|nikon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13017" PostTypeId="1" AcceptedAnswerId="13023" CreationDate="2014-11-14T08:23:14.173" Score="1" ViewCount="4553" Body="&lt;p&gt;I have 60fps MP4 videos shot with a Canon G7x camera.  They playback find on my laptop, however I would like for the videos to be playable on TVs that have video file playback capability (such as my Samsung Smart LED TV.) I have tried converting to .MOV using QuickTime, but that format also does not work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to prepare such videos to allow them to play directly on TVs?&lt;/p&gt;&#xA;" OwnerUserId="6007" LastEditorUserId="2836" LastEditDate="2014-11-14T16:35:39.663" LastActivityDate="2016-06-06T08:00:01.340" Title="How to encode 60p MP4 video to play on TVs?" Tags="|video|full-hd|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13018" PostTypeId="1" CreationDate="2014-11-14T08:58:50.083" Score="1" ViewCount="104" Body="&lt;p&gt;I want to edit this &lt;a href=&quot;https://www.youtube.com/watch?v=gkNeQdLg6Nc&quot; rel=&quot;nofollow&quot;&gt;montage of James Bond Intros&lt;/a&gt;. What I want is remove the real james bond, as a beginner what will you suggest a good video editor for this kind of situation?&lt;/p&gt;&#xA;" OwnerUserId="6777" LastEditorUserId="2836" LastEditDate="2014-11-14T16:43:40.397" LastActivityDate="2016-01-08T12:00:15.213" Title="How can a beginner remove an actor from footage?" Tags="|video-editor|software-recommendation|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13019" PostTypeId="1" AcceptedAnswerId="13022" CreationDate="2014-11-14T14:34:06.673" Score="1" ViewCount="560" Body="&lt;p&gt;I have been asked to produce a time-lapse video from a construction site. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone suggest a setup and recommend equipment for the following requirements? :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Must operate outdoors in Scandinavian weather conditions (mixed precipitation, wind, temperatures below zero)&lt;/li&gt;&#xA;&lt;li&gt;Should take 1 picture every minute, during working hours (8 hours a day, Mon-Fri)&lt;/li&gt;&#xA;&lt;li&gt;Electricity will not be available permanently&lt;/li&gt;&#xA;&lt;li&gt;Camera must not be moved (meaning, charging periodically outside working hours could be an option, but without moving the camera)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I hope you have some good ideas :-)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sincerely,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Jesper&lt;/p&gt;&#xA;" OwnerUserId="6779" LastActivityDate="2023-09-09T02:31:49.717" Title="Producing a time-lapse video over 6 months or more" Tags="|video-recording|time-lapse|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13020" PostTypeId="2" ParentId="13009" CreationDate="2014-11-14T15:58:24.530" Score="1" Body="&lt;p&gt;Not sure how to do this with the stroke effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But you can use a particle generator set the movement and physics to  0  and link the particle source to the trackpoint. This will generate a stroke of particles, and if you ramp up the amount of particles you can make a solid line.&lt;/p&gt;&#xA;" OwnerUserId="5991" LastActivityDate="2014-11-14T15:58:24.530" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13021" PostTypeId="2" ParentId="13015" CreationDate="2014-11-14T16:18:06.600" Score="1" Body="&lt;p&gt;Yes and no.  Any camera with a sensor larger than 8mp (and the correct aspect ratio) is capable of recording 4k video frames.  Firmware can grab frames off the sensor as fast as the sensor can read out.  The ability to record video at a given frame rate is a limitation of the sensor's ability to read fast enough, the processor's ability to encode fast enough and the card reader that can write the data out fast enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Practically however, most cameras that don't have 4k are unlikely to have fast enough performance in all these areas to be able to hack 4k resolution in.  It's simply too much data to move and most cameras didn't design that kind of over-engineering to be able to deal with all 3 of those conditions.  Even the Canon 5D Mark iii, which is a high end professional DSLR which can be hacked to shoot RAW video at decent frame rates at 2 to 2.5k ends up having to be dropped down to around 12 or fewer FPS for trying to hack it in to shooting 3k or 4k video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is also partly compounded by the fact that most of the real time encoders are built for particular resolutions.  For example, the previously mentioned 5D Mark iii hack works by recording raw frames which takes a huge amount of data rate for storage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, in some cases, there may be ways to get some level of 4k support from a third party firmware, but for the most part, you are limited by what hardware was originally put in and often (most of the time) it simply isn't going to be possible to increase to 4k by third party hacks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the Nikon D810 specifically, I'm not aware of any highly developed third party firmwares for Nikon bodies that are similar to Magic Lantern, so I don't think there is anyone really exploring that in depth at this time for Nikon bodies.  That series is similar in spec to the 5D mark iii, so it may be possible to get low framerate 4k video on very fast cards, but that's purely speculation.  I wouldn't count on seeing it any time soon or having it be highly usable though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-14T16:18:06.600" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13022" PostTypeId="2" ParentId="13019" CreationDate="2014-11-14T16:30:46.393" Score="2" Body="&lt;p&gt;Finding specific models is outside the scope of this site as the ideal available models will change regularly, but you will probably want to look at a security camera to fill this roll.  Not a lot of cameras are designed to operate reliably in harsh conditions over long periods of time.  Outdoor security cameras are.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The next biggest problem is going to be the lack of power and the cold temperature.  Batteries do not work well at low temperature and if it is below freezing, you are going to see drastic reductions in battery efficiency making it difficult to keep the camera running.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might also try outdoor hunting webcams.  They tend to be used to take photos at a slower rate and have more battery powered options. These might also work for your purposes.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-14T16:30:46.393" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13023" PostTypeId="2" ParentId="13017" CreationDate="2014-11-14T16:38:00.903" Score="1" Body="&lt;p&gt;Unfortunately, smart TVs are still a relatively young market and the ability to play back video files is not yet uniform.  Each TV may support or not support a variety of formats, resolutions and frame rates.  Your best bet is likely to stick to formats used by popular services such as youtube and NetFlix as these platforms increase the likelihood that a manufacturer will support that specific format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, if you know what model TV you are targeting, you can look at the documentation for the TV for the specific codecs and frameratest that are supported by the TV and pick one of them to match.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-14T16:38:00.903" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13025" PostTypeId="2" ParentId="12985" CreationDate="2014-11-14T17:33:30.190" Score="1" Body="&lt;p&gt;&lt;strong&gt;Update with answer&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It can be done. Run your source files through Handbrake, after importing the subtitle files you want. Then export as Mp4. I've read (a) you should put the SRT file/s in the same folder as the Mp4 on your server, and (b) the SRT should have the same name as the mp4. But (a) is probably wrong (in a text-editor, you can see the subtitles have been coded into the mp4 by Handbrake) and (b) is definitely wrong - two different language SRT files will obviously have different file names.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Testing... On iPhone, a little speech bubble appeared on the right side of the QT player control bar when it loaded my MP4. Tapping that popped up the two subtitle language options. So, it worked. &lt;strong&gt;But it only worked because&lt;/strong&gt; first my tester had to enable &quot;closed captions&quot; in his iPhone's:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Settings &amp;gt; General &amp;gt; Accessibility &amp;gt; Subtitles &amp;amp; Captioning &amp;gt; Closed Captions + SDH&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In other words, an extra chore for users and the result is crappy-looking subtitles anyway. And all this because, unlike Samsungs and most other mobiles I've tested on, the iPhone overrides the videojs player and plays your videos in Apple's own Quicktime player. &lt;/p&gt;&#xA;" OwnerUserId="6414" LastEditorUserId="6414" LastEditDate="2014-11-17T10:41:10.667" LastActivityDate="2014-11-17T10:41:10.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13026" PostTypeId="1" AcceptedAnswerId="13048" CreationDate="2014-11-14T18:35:37.837" Score="1" ViewCount="2890" Body="&lt;p&gt;I hope everybody seen this &lt;strong&gt;amazing&lt;/strong&gt; trailer of upcoming Swedish masterpiece:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/rTx3x.jpg&quot; alt=&quot;KUNG FURY&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=72RqpItxd8M&quot; rel=&quot;nofollow noreferrer&quot;&gt;FULL HD TRAILER&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I wonder, how to achieve this cool video effect. Please, pay attention on the edges:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/SKTBh.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The image some kinda decomposes into 2 channels.&#xA;How to reproduce this?&lt;/p&gt;&#xA;" OwnerUserId="6782" LastEditorUserId="6782" LastEditDate="2014-11-17T19:16:22.913" LastActivityDate="2014-11-17T19:16:22.913" Title="Kung Fury VHS effect" Tags="|video|after-effects|filter|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="13027" PostTypeId="1" AcceptedAnswerId="13028" CreationDate="2014-11-14T21:31:06.363" Score="2" ViewCount="246" Body="&lt;p&gt;I would like to achieve a video with custom text pulled from a database or user input as the following : &#xA;&lt;a href=&quot;http://videopersonalization.net/kia.html&quot; rel=&quot;nofollow&quot;&gt;http://videopersonalization.net/kia.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can somebody shed some light on the process without using a third party please ?&lt;/p&gt;&#xA;" OwnerUserId="6783" LastActivityDate="2017-03-14T02:09:44.493" Title="Real Time personalized videos" Tags="|video|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13028" PostTypeId="2" ParentId="13027" CreationDate="2014-11-14T22:10:37.557" Score="1" Body="&lt;p&gt;This is effectively a streaming media server tied to a live renderer.  Rather than save a recorded video, when you make a request for the video, it accesses a live stream.  That live stream uses the contents of the request to run a template video and encode in real time.  That real time stream is then played for the user.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could probably manage to wire something like Red5 up to be able to do this with some alterations.  The big trick would be kicking off the live stream as part of the processes.  You also need sufficient rendering hardware to be able to generate a distinct live stream for each request.  You also need a real time video rendering system that can work with templates.  There is tech like this for video mixers, but I'm not sure of any particular software that does it in software in real time.  Some streaming oriented software may be able to do it though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-14T22:10:37.557" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13029" PostTypeId="1" CreationDate="2014-11-15T12:54:42.770" Score="2" ViewCount="359" Body="&lt;p&gt;I have a Canon T5i DSLR, and I take occasional videos in parties, family gatherings, kids playing, birthday parties, etc. The internal mic is really bad, especially in noisy environments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am thinking of buying a cheap microphone to connect to the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which one you would suggest for an amateurish/multipurpose use: Lavalier or cardioid shotgun? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Stuff I am looking for: ease of use, noise cancellation, and enhancement of the audio record quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks &lt;/p&gt;&#xA;" OwnerUserId="6785" LastActivityDate="2015-03-15T21:35:17.633" Title="Lavalier vs. cardioid mic for low-budget amateur DSLR video recording?" Tags="|dslr|audio-recording|microphone|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13031" PostTypeId="1" CreationDate="2014-11-15T14:22:15.087" Score="2" ViewCount="394" Body="&lt;p&gt;I haven't been able to figure out yet how I get stabilized footage from mocha Pro to After Effects.&lt;br&gt;&#xA;I start a new project, import my footage and am able within mocha Pro to get a nice motion tracking and stabilizing it, so it always remains centered in the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I get this data to After Effects so the motion tracking is centered as well? If I hit &lt;code&gt;Export Stabilized Tracking Data...&lt;/code&gt; and paste it to my footage layer, it isn't as stabilized as what mocha Pro is able to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason I want it back in After Effects is to increase the canvas size as mocha Pro crops the footage because it moves the footage around.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The idea is to make something like &lt;a href=&quot;http://gfycat.com/DapperSpicyAmericancrayfish&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; or &lt;a href=&quot;http://gfycat.com/ComplexNaiveAbyssiniancat&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a better way doing this than After Effects/mocha?&lt;/p&gt;&#xA;" OwnerUserId="6787" LastEditorUserId="6787" LastEditDate="2014-11-15T16:43:58.843" LastActivityDate="2014-11-15T16:43:58.843" Title="Centered motion tracking with Mocha AE/Pro and After Effects?" Tags="|after-effects|cc-2014|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13032" PostTypeId="1" AcceptedAnswerId="13034" CreationDate="2014-11-15T15:32:23.690" Score="2" ViewCount="1137" Body="&lt;p&gt;so with the new built-in masking option of the gaussian blur and similar effects in the CC version of Premiere Pro it's pretty easy to limit effect to a specific area of the video in order to e.g. blur a face. However, I'm searching for an easy and &lt;strong&gt;easily comprehensible&lt;/strong&gt; way to achieve this effect in CS6 without duplicating the clip to a second video layer (video lane?) and using the gaussian blur in combination with a track matte key (which is what I used to do in Premiere Pro CS6).&#xA;So, is there a way to blur a face without duplicating the clip to a second video layer in the CS6 version?&#xA;(Unfortunately, I only have the current CC version at my disposal right now, so I can't try it out myself at the moment.)&#xA;Thanks a lot!&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2014-11-15T17:33:05.380" Title="Blur a face using only one video layer with Premiere CS6?" Tags="|premiere|effects|cs6|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13033" PostTypeId="2" ParentId="13029" CreationDate="2014-11-15T17:19:36.233" Score="4" Body="&lt;p&gt;It depends no how far away you are shooting from and how centered your subject will be.  You definitely DO NOT want a lavalier mic for your situation.  They do offer very nice noise reduction while not requiring a boom operator, but they still require setup and distinct micing of each speaker.  This will not work at all in your use case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You absolutely want a shotgun mic, no question at all about it.  The question becomes, how focused of a shotgun mic do you want?  This is a trade off kind of thing.  The more focused the shotgun mic (moving from cardioid in to supercardioid and then hypercardioid on most mics, but some manufacturers label differently apparently).  The narrower the mic's sweet spot, the less noise you will get, but the closer your subjects will have to be to that sweet spot to be audible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are shooting from a long way away or shooting pointed directly at someone, then a hypercardioid mic is the way to go to get the least interference and focus in the most on that spot.  If, instead, you are going to have a lot of people, all over the frame, and right up next to the camera, then you want just a plain cardioid mic on top that can pick up a wide space of sound, but it will also pick up a lot more noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Look at pick up patterns and try to visualize where people will be.  You ideally want them to fall in the coverage circle for the microphone if you were looking top down on the scene.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-15T17:19:36.233" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13034" PostTypeId="2" ParentId="13032" CreationDate="2014-11-15T17:33:05.380" Score="2" Body="&lt;p&gt;Yes and no, you can do it without duplicating the clip, but not without a second layer.  Instead of using a second copy of the clip, you can use an adjustment layer.  You make a new adjustment layer by creating a New Item in the Project window.  You add that adjustment layer over top of the video you want to adjust and then you apply your masking to the adjustment layer and apply your effects to the adjustment layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The effects applied to the adjustment layer are then applied to the sum total of all the layers below the adjustment layer.  Effectively, the adjustment layer is a layer that is composed of a sub-render of everything below it and then has the set of effects applied to it applied to that sub-render.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It technically isn't adding two copies of the sequence, but practically it is still doing the same thing.  I'm not personally aware of any more straightforward technique than that for doing what you describe in CS6 though.  That doesn't necessarily mean much though as I normally do this kind of thing in AE anyway, so my experience doing it in Premiere is limited at best (bordering on non-existent.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-15T17:33:05.380" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13038" PostTypeId="1" CreationDate="2014-11-17T06:32:28.883" Score="2" ViewCount="115" Body="&lt;p&gt;I am newbie to this video world and have started using a Canon G7X to shoot video (I shoot casual video of my babies, family outings etc). Could someone help me find a good software which I can use to convert the video (codec, frame-rate, aspect ratio etc.).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why I need such a software? Because G7X allows me to shoot 60p video and my TV (Samsung smart TV) does not play anything beyond 30p. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also understand that I can shoot 30p video directly from camera; however, I would like to create some slo-mo videos as well. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I am planning to buy a Nikon D810 this holiday; so I will be taking good amount of video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use MacBook pro retina (15&quot;) laptop, so, kindly suggest Mac compatible softwares.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank, NN &lt;/p&gt;&#xA;" OwnerUserId="6007" LastActivityDate="2014-11-17T13:49:41.350" Title="Can someone suggest a software for video format conversion for Mac?" Tags="|video|canon|" AnswerCount="3" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13040" PostTypeId="2" ParentId="13038" CreationDate="2014-11-17T08:23:22.873" Score="1" Body="&lt;p&gt;Free: &lt;a href=&quot;http://www.squared5.com/&quot; rel=&quot;nofollow&quot;&gt;MPEG Streamclip&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Paid: &lt;a href=&quot;http://videoconvertermac.movavi.org&quot; rel=&quot;nofollow&quot;&gt;Movavi Converter&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-11-17T08:23:22.873" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13041" PostTypeId="1" CreationDate="2014-11-17T11:53:25.753" Score="1" ViewCount="1416" Body="&lt;p&gt;I created a movie with Adobe Premiere Pro CC 2014 and I have serious performance issues when it comes to export the movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first 10% renders pretty fast and takes 1 hour. Then it takes for every additional 1% about 4 hours! (never rendered it to finish so far, 14% max so far) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some facts that might help to isolate the problem:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Project:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Length:&lt;/strong&gt; 24 minutes in total, splitted into several sequences (up to 4 minutes) and arranged on a &quot;main-sequence&quot;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Input:&lt;/strong&gt; Cineform AVI files, 1080p, 59fps (I converted GoPro 3+ footage (3D!) using GoPro Studio to the Cineform format for further processing)&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Desired Output:&lt;/strong&gt; Same as input, preserving 3D (Render 3D Intermediate)&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Effects  used&lt;/strong&gt;: Warp-Stabilizer (default settings) and Auto-Color (smoothing 1-2 sec) on almost every clip.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Hardware / Software:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;i7-3770K @3.5 GHZ (Quadcore)&lt;/li&gt;&#xA;&lt;li&gt;16 GB RAM&lt;/li&gt;&#xA;&lt;li&gt;NVIDIA Geforce GTX 970 (also tried with a ATI Radeon R9 290X)&lt;/li&gt;&#xA;&lt;li&gt;Windows 8.1&lt;/li&gt;&#xA;&lt;li&gt;SSD for OS and programs, RAID 0 for media files and project, separate drive for rendering output.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Then I tried to render using AME using the same settings. The whole video rendered in about 14 hours what is acceptable in my case. There problem here is that the 3D gets lost, even if I selected &quot;Render 3D Intermediate&quot;. The picture for the left eye is the same as the one for the right eye.&#xA;This is not happening when I do a direct export. But the direct export get almost stuck at around 10%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is almost no difference in choosing Software-Rendering and GPU. Also, the GPU has almost no load. &#xA;Premiere Pro uses the CPU for about 45% (total usage 65%) and takes up 5-9 GB of memory (total usage 65%). Disk usage at around 14b/s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think there are two problems. One is that AME renders differently (no 3D) and the other is that the direct export takes way too long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone help me with any of these problems?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Martin&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update 18.11.2014&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did some additional research and found out, that the slow rendering happens with this combination:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Auto-Color using Temporal Smoothing&lt;/li&gt;&#xA;&lt;li&gt;Render 3D Intermediate&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Without rendering the 3D intermediate, Temporal Smoothing is not a problem. And without temporal smoothing, Rendering 3D Intermediate is not a problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Might this be a problem in the codec or in Premiere?&lt;/p&gt;&#xA;" OwnerUserId="6797" LastEditorUserId="6797" LastEditDate="2014-11-18T10:50:23.037" LastActivityDate="2015-01-17T23:36:53.857" Title="Premiere Pro CC 2014 renders incredibly slow / Cineform" Tags="|premiere|3d|performance|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13044" PostTypeId="1" CreationDate="2014-11-17T13:10:55.600" Score="0" ViewCount="169" Body="&lt;p&gt;I try make DVD of movie with Arabic translation I add my subtitle , But it doesn't look nice as supposed I try Every thing but I can't fix problem &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestion &#xA;Thank you in advance &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is screen  shot of my problem &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0Himt.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6703" LastEditorUserId="6703" LastEditDate="2014-11-19T10:27:06.927" LastActivityDate="2014-11-19T15:23:14.287" Title="Adobe Encore - I have problem with add Arabic subtitle to my project" Tags="|subtitles|adobe|encore|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13045" PostTypeId="2" ParentId="13009" CreationDate="2014-11-17T13:35:09.223" Score="3" Body="&lt;p&gt;Select the motion keyframes &amp;amp; copy. Now create a new mask on the layer on which you have the stroke effect, any old mask shape will do. Set its mode to none. Now select the mask's &lt;strong&gt;Mask Path&lt;/strong&gt; property and paste. The mask can now be used to provide the path for the stroke effect (it's the first property in the stroke effect). You have to directly select the &lt;strong&gt;Mask Path&lt;/strong&gt; property, just pasting it on the layer will paste it to the position property of the layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/FZQp7.png&quot; alt=&quot;paste on the mask path&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because there's always more than one way of doing things in AE:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also create a shape layer with the pen tool. Once you've done expand the new shape layer until you see the &lt;strong&gt;Contents&gt;Shape 1&gt;Path&lt;/strong&gt; property (it could be called Shape 2, 3 etc) and paste the motion path on to it. Then you can use it as a normal stroked shape layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/JI0YI.png&quot; alt=&quot;select this and paste&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note&lt;/strong&gt; As Alyssa points out below, when pasting a motion path to some other property you have to explicitly select that property, otherwise AE will just paste it on to the layer's position. &lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-03-12T13:51:06.983" LastActivityDate="2018-03-12T13:51:06.983" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13046" PostTypeId="2" ParentId="13038" CreationDate="2014-11-17T13:49:41.350" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://ffmpeg.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFMPEG&lt;/a&gt; which is like the Swiss army knife of video. If you don't know how to use command line, either try &lt;a href=&quot;http://freecode.com/projects/ffmpegx&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFMPEGX&lt;/a&gt;, or (better) &lt;a href=&quot;https://superuser.com/questions/13979/whats-the-best-way-to-learn-mac-os-x-command-line&quot;&gt;learn to use the command line&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2014-11-17T13:49:41.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13048" PostTypeId="2" ParentId="13026" CreationDate="2014-11-17T19:03:35.380" Score="2" Body="&lt;p&gt;Ok, after a research I found the &lt;em&gt;solution&lt;/em&gt;. &#xA;Watch this &lt;a href=&quot;https://www.youtube.com/watch?v=5PGkWjqAZ9s&quot; rel=&quot;nofollow noreferrer&quot;&gt;tutorial&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;At a glance:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create &lt;strong&gt;Adobe After Effects&lt;/strong&gt; project.&lt;/li&gt;&#xA;&lt;li&gt;Add &lt;strong&gt;&quot;Channel set&quot;&lt;/strong&gt; effect.&lt;/li&gt;&#xA;&lt;li&gt;Duplicate layer 3 times.&lt;/li&gt;&#xA;&lt;li&gt;Adjust each layer to show only one channel (Red/Green/Blue).&lt;/li&gt;&#xA;&lt;li&gt;Set &lt;strong&gt;Blending Mode&lt;/strong&gt; as &lt;strong&gt;Screen&lt;/strong&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Add transformation for each layer. Play with rotation/scale.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Voila! Check my example.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Original frame (sorry for low bitrate)&lt;/strong&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/SovkT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;RGB shifted&lt;/strong&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/2tukC.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think it's cool as hell!&lt;/p&gt;&#xA;" OwnerUserId="6782" LastActivityDate="2014-11-17T19:03:35.380" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13050" PostTypeId="1" CreationDate="2014-11-18T00:12:17.663" Score="0" ViewCount="118" Body="&lt;p&gt;I recently filmed some hunting footage of a hunter on a preserve hunt. I did not own the camera it was owned by the hunter. I did not get paid nor was there a contract drawn up between myself the hunter or myself and the preserve owner. This footage is now to air on a hunting show without any consent from myself. Do I have any right to this footage?&lt;/p&gt;&#xA;" OwnerUserId="6801" LastEditorUserId="2836" LastEditDate="2014-11-18T14:54:16.790" LastActivityDate="2014-11-18T14:56:51.920" Title="Who owns the rights to video footage?" Tags="|canon|" AnswerCount="1" CommentCount="1" ClosedDate="2014-11-18T15:02:16.437" ContentLicense="CC BY-SA 3.0" />
  <row Id="13051" PostTypeId="2" ParentId="13050" CreationDate="2014-11-18T02:28:58.507" Score="0" Body="&lt;p&gt;Ask a lawyer. It will depend on the jurisdiction. But my distinctly non-lawyerly opinion? You have no rights in the footage.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-11-18T02:28:58.507" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13052" PostTypeId="1" AcceptedAnswerId="13158" CreationDate="2014-11-18T11:05:05.427" Score="0" ViewCount="433" Body="&lt;p&gt;I am currently editing a video with Windows Movie Maker. I am trying to insert an overlay of my logo (which is transparent) on the upper right hand side of my video, but I don't know how to do that. If it is not possible (I heard of some comments saying it's not possible to add a logo in WMM), is there any software which can complete the task?&lt;/p&gt;&#xA;" OwnerUserId="6802" LastEditorUserId="6802" LastEditDate="2014-11-26T10:19:10.213" LastActivityDate="2014-12-02T16:04:33.920" Title="Logo overlay with Windows Movie Maker" Tags="|windows-movie-maker|" AnswerCount="1" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13053" PostTypeId="1" AcceptedAnswerId="13061" CreationDate="2014-11-18T11:55:58.510" Score="1" ViewCount="92" Body="&lt;p&gt;I have about 200 hours of footage I need to digitise. I have very little experience in the production side of video. What kind of kit do I need to digitise it, how does it work? and will it wear out my camera (sony A1) if I use that for digitising? I've got Adobe Premiere which I'm planning to use for capture.&#xA;I'm planning to use the footage for editing from to make a film.&lt;/p&gt;&#xA;" OwnerUserId="3813" LastEditorUserId="3813" LastEditDate="2014-11-23T14:28:43.337" LastActivityDate="2014-11-23T14:28:43.337" Title="I want to digitise footage from a lot of DV tapes - should I use my camera or buy a tape deck?" Tags="|digital|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13054" PostTypeId="1" AcceptedAnswerId="13059" CreationDate="2014-11-18T12:03:50.470" Score="0" ViewCount="2106" Body="&lt;p&gt;I want to digitize a lot of mini dv tape footage, shot on a Sony a1(HDV).  What format should I digitize the footage in? (and on a side note can you point me in the direction of what hardware I will need for this)?&lt;/p&gt;&#xA;" OwnerUserId="3813" LastEditorUserId="2836" LastEditDate="2014-11-18T15:31:44.410" LastActivityDate="2014-11-18T15:36:44.120" Title="What format should I digitize mini DV tapes with HDV footage in?" Tags="|digital|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13055" PostTypeId="2" ParentId="13053" CreationDate="2014-11-18T12:38:14.360" Score="3" Body="&lt;p&gt;Another option is to rent an appropriate deck from an equipment supplier. I don't know your local market so I can't recommend one, but I'm certain there are some in London. With a pro or semi-pro deck you should get advantages of speed and quality for much less cost than buying, and with no wear on your camera. You also retain the use of the camera if you need extra shots etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the 'how', that depends a bit on what software and hardware you plan to use. Maybe you could supply more details.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-11-18T12:38:14.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13056" PostTypeId="1" AcceptedAnswerId="13060" CreationDate="2014-11-18T13:39:22.693" Score="1" ViewCount="1765" Body="&lt;p&gt;Sooo, this may sound fairly stupid, especially for professional editors, but I'd like to know the role of the sequence settings in Premiere Pro. I know that the format of the preview files depends on the sequence settings, but apart from that, do they serve any purpose? I mean, regardless of the sequence settings, I can export my video to any format I want. So I'd e.g. like to know if it makes a great difference if I choose AVCHD 1080p25 or DSLR 1080p25 ...&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2014-11-18T17:30:50.633" Title="What exactly do the sequence settings do?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13057" PostTypeId="2" ParentId="4108" CreationDate="2014-11-18T13:41:56.333" Score="1" Body="&lt;p&gt;There is a tool for Sony Vegas Pro (&lt;strong&gt;not free&lt;/strong&gt;) that can grab the recording metadata and burn it on the movie. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://vegasaur.com/recorded-date-time-subtitles&quot; rel=&quot;nofollow&quot;&gt;Here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-11-18T13:41:56.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13059" PostTypeId="2" ParentId="13054" CreationDate="2014-11-18T15:15:59.197" Score="0" Body="&lt;p&gt;You have a few options for capturing Mini-DV tape.  The first and highest quality, but largest size, is to capture it in HDV format (HDV2 is used by most Sony cameras).  It is a form of MPEG-2 Part 2 video.  This is the same as the format actually stored on the tape.  Storing your files as HDV will preserve the quality of the recorded footage, but it will take quite a lot of space.  This is ideal for high quality archives and any footage that will be used as a source for editing.  It only requires a firewire port and DV capture software (which is also built in to most NLEs.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you only care about viewing, then your best option is probably to initially capture to HDV and then transcode to h.264.  h.264 is a high quality compression that you can tweak for the quality/size trade off you desire.  I'd personally recommend either a constant quality or a 2 pass VBR encoding for maximum quality to size.  This doesn't require any specialized hardware beyond the initial HDV capture and can be done entirely in software with free tools (which may even be able to leverage GPU acceleration depending on your video card.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-11-18T15:36:44.120" LastActivityDate="2014-11-18T15:36:44.120" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13060" PostTypeId="2" ParentId="13056" CreationDate="2014-11-18T15:19:01.850" Score="2" Body="&lt;p&gt;The entries for the creation of a new sequence are only presets.  They load things like pixel pitch, resolution, color depth, etc.  Many of these can be changed after creation, particularly if you haven't added anything to the timeline yet.  You can also make additional presets if you have frequent use of settings that there isn't already a preset for (or you can even manually select all the settings and not use a preset.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the actual sequence settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/UlueS.jpg&quot; alt=&quot;Sequence Settings&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see, the framerate(timebase), frame size, pixel pitch (aspect ratio), fields, display format, audio sample rate and audio display format make up the primary settings.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are additionally settings for how previews are rendered, which particularly matters if you intend to use previews in the rendering of final output, otherwise it just impacts what you see during editing (after preview renders have finished.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While you can export in different formats, that will result in scaling if the resolution differs.  The sequence settings determine how the video renders, the export settings determine how the rendered frames are saved in to a final output.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-11-18T17:30:50.633" LastActivityDate="2014-11-18T17:30:50.633" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13061" PostTypeId="2" ParentId="13053" CreationDate="2014-11-18T15:29:32.040" Score="1" Body="&lt;p&gt;There is no reason that your camera should have problems playing back 200 hours of tape and as the signal is digital and was presumably recorded on your camera, there shouldn't be much in the way of quality loss.  The video is either read correctly or not.  If you do get read issues (showing up as either dropped frames or blocky artifacts) then it might be worth getting your hands on a higher quality playback deck that might read the tape better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've never done a 200 hour project, but I've done multiple 10 to 50 hour projects on my Canon GL2 and never had a problem.  You can rent a tape deck if you are worried about wear and tear reducing the life of your A1, but I personally wouldn't worry too much about it.  They are often rated for 2000 hours or more (though I don't know what the A1's deck is rated for specifically.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One major advantage of getting a tape deck though, would be that if you have multiple computers, you could run captures on more than one system at a time, thus speeding your batch logging considerably.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-18T15:29:32.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13062" PostTypeId="1" CreationDate="2014-11-18T17:01:56.503" Score="2" ViewCount="353" Body="&lt;p&gt;My  gear is a Canon T5i DSLR, and I take home made videos in family gatherings, kids playing, birthday parties, etc. The internal mic is really bad, especially in noisy environments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am thinking of buying a cheap microphone to connect to the camera.&#xA;Which one you would suggest for an amateurish/multipurpose use: shotgun; RØDE VideoMic or Zoom H1 ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Stuff I am looking for: ease of use, noise cancellation, and enhancement of the audio record quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="6785" LastActivityDate="2015-05-17T20:53:22.293" Title="Which mic to buy for amatour dslr video shooting: RØDE VideoMic vs. Zoom H1?" Tags="|audio|dslr|microphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13063" PostTypeId="2" ParentId="13062" CreationDate="2014-11-18T17:38:49.990" Score="2" Body="&lt;p&gt;For the H1, X/Y micing is a good option for an improved stereo room mic, but isn't going to be as focused as a shotgun mic. The input is nice, but doesn't really buy you much over the built in 3.5mm jack that many DSLR's already have. 3.5mm also isn't a professional audio connection, so it greatly limits the selection of microphones available. It does give pretty decent sound quality, though I don't believe it is the best quality in the price range if memory serves (but I haven't looked in a while.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the Rode VideoMic, it is much more focused on what is directly in front of it.  It has pretty good quality (probably a little bit better than the H1) but it also won't pick up everything the H1 does (both noise and any actual sounds you want that are off to the sides).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ultimately, it primarily comes down to which picks up what you need to pick up.  If you want stereo, then the H1 wins hands down.  If you need to pick up the sound of the room overall, the H1 also wins hands down.  If you need to focus in on a particular subject in the middle of your frame or at a distance and need minimum background noise, the VideoMic wins hands down.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a mix of situations and needs, then the H1 is probably a little bit more versatile, but the VideoMic is probably a little bit easier to use as it is designed to plug directly in to the camera instead of being it's own recorder.  Additionally, with the VideoMic, more of your money is going in to the microphone itself since they don't have to worry about the audio recording hardware that has to be worked in to the H1.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-18T17:38:49.990" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13064" PostTypeId="1" AcceptedAnswerId="13076" CreationDate="2014-11-18T20:09:50.957" Score="1" ViewCount="82" Body="&lt;p&gt;I have an image sequence of DNG files. I have opened one of these files in Adobe Camera Raw (Photoshop CC) and tweaked it, saving the settings. I've then batch processed all the images in ACR using this setting. I can open any of the images and see the settings are applied.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However when I import the image sequence into Premiere CC, all the settings are ignored and the image is rendered as it was before it was tweaked.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is Premiere ignoring the DNG settings?&lt;/p&gt;&#xA;" OwnerUserId="6532" LastActivityDate="2014-11-19T21:58:00.707" Title="Premiere Ignoring DNG file grade" Tags="|adobe|premiere|magic-lantern|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13066" PostTypeId="1" AcceptedAnswerId="13069" CreationDate="2014-11-19T10:01:44.960" Score="31" ViewCount="137398" Body="&lt;p&gt;I have no knowledge whatsoever about video encoding, I have an application written in OpenGL and I am saving the frames it generated into &lt;code&gt;png&lt;/code&gt; images. The frames from my app are at 7 FPS and I am trying to create a video from those.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To that purpose I use ffmpeg like this&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -framerate 30 -i img%03d.png -c:v libx264 -r 30 -pix_fmt yuv420p out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;which was taken &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Create%20a%20video%20slideshow%20from%20images&quot;&gt;from this site&lt;/a&gt;, however I was wondering if it is possible to have a video that shows the animation at 30 FPS?&lt;/p&gt;&#xA;" OwnerUserId="6807" LastActivityDate="2021-05-25T23:02:43.053" Title="How to encode a video at 30 FPS from images taken at 7 FPS" Tags="|ffmpeg|" AnswerCount="5" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13067" PostTypeId="2" ParentId="12955" CreationDate="2014-11-19T12:14:37.150" Score="1" Body="&lt;p&gt;The Zapcode Creator compresses the video further in order to reduce download size of the video and so that it will run in an AR camera view on lower end devices. This means that it will be lower resolution than what you have uploaded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you like you can email us at support@zappar.com and we can take a look at your Zapcode and video to see if there's any specific suggestions we can give.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps!&lt;/p&gt;&#xA;" OwnerUserId="6808" LastActivityDate="2014-11-19T12:14:37.150" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13068" PostTypeId="1" AcceptedAnswerId="13070" CreationDate="2014-11-19T12:38:14.467" Score="2" ViewCount="46" Body="&lt;p&gt;I'm working in a compagny that starts working on 4k video footages. The person responsible for the video editing is complaining that working on those footage is really a pain.&#xA;So I'm wondering which part of its hardware configuration should be changed to make his life easier.&#xA;He's mainly working on Adobe Premiere Pro and Adobe After Effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any shared experiences&lt;/p&gt;&#xA;" OwnerUserId="6809" LastActivityDate="2014-11-19T18:03:07.927" Title="Which part of a computer is critic to work on 4k footage" Tags="|hardware|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13069" PostTypeId="2" ParentId="13066" CreationDate="2014-11-19T13:20:25.217" Score="30" Body="&lt;p&gt;I'm using the below code to do the same thing.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -i img%03d.png -c:v libx264 -pix_fmt yuv420p -crf 23 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Breaking down the command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg             &amp;lt;- call ffmpeg&#xA;  -framerate 30    &amp;lt;- set the input framerate to 30&#xA;  -i img%03d.png   &amp;lt;- read PNG images with filename img001, img002, img003, etc..&#xA;                     img can be changed to another prefix&#xA;                     %03d can be changed to %04d for 0001, %05d for 00001 formats, etc...&#xA;  -c:v libx264     &amp;lt;- Set the codec to libx264&#xA;  -pix_fmt yuv420p &amp;lt;- Set the pixel format to planar YUV 4:2:0, 12bpp&#xA;  -crf 23          &amp;lt;- set the Constant Rate Factor to 23 (default value)&#xA;  -output.mp4      &amp;lt;- the output filename&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This reads the input at 30 fps (the &lt;code&gt;-framerate 30&lt;/code&gt; option) and encodes it using the &lt;code&gt;libx264&lt;/code&gt; codec with &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264#crf&quot; rel=&quot;noreferrer&quot;&gt;constant rate factor&lt;/a&gt; of 23 (the &lt;code&gt;-crf 23&lt;/code&gt; option).&lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="2178" LastEditDate="2018-07-31T13:24:26.813" LastActivityDate="2018-07-31T13:24:26.813" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="13070" PostTypeId="2" ParentId="13068" CreationDate="2014-11-19T14:50:05.283" Score="1" Body="&lt;p&gt;The hard drive is usually the biggest factor when working with big footage files.&#xA;Upgrade his workstation with a reasonably sized SSD, I recommend atleast 500GB to ensure you can work on multiple projects without moving files around.&#xA;The SSD speed of course is the important factor that would speed up the workflow, so be sure to not buy a cheap but big SSD but one that has fast read and write speeds. Read speed being  more important than write speed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When working with Adobe Products, a mid-range GPU can help a lot aswell when doing a lot of color correction and other &quot;effects&quot; work. Many effects and plugins nowadays are GPU accelerated and will be even more in the future.&#xA;I recommend buying a mid-range consumer or &quot;gamer&quot; GPU instead of a so called workstation GPU. They are incredibly overpriced with nearly no additional stability and usually worse performance. You only benefit from them if you have very special needs (like 10bit displays or frame locking) and need certain warranties or support from the Manufacturer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also as AJ Henderson mentioned, you should have around 16GB RAM or 12GB on 3 channel CPUs. 8GB or less will perform horribly with modern Adobe Products, they use a lot more RAM to increase performance since they switched to 64bit.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-11-19T18:03:07.927" LastActivityDate="2014-11-19T18:03:07.927" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13071" PostTypeId="1" CreationDate="2014-11-19T15:52:00.510" Score="3" ViewCount="1098" Body="&lt;p&gt;I have a 5 second Video clip of our main Character smiling and when he opens his mouth we see that his tooth is gone. We have painted the whole tooth black but there is a shine on it and it doesn't look right. You can see that the hole up to his gum is black and probably should probably be more red.The shot itself is static.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering how to remove this tooth in after effects. Its the final shot of the film so is important to get right. I have after Effects CS5.5 and Motion. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If necessary we would shoot it again if anyone has any tips. Thanks! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks everyone that replied. Sorry for the delay in getting back. We had a bereavement in the family and everything was left. I think Rotoscoping is the way to go. Will update when i fix the problem. &lt;/p&gt;&#xA;" OwnerUserId="6810" LastEditorUserId="6810" LastEditDate="2015-01-18T16:31:44.243" LastActivityDate="2015-01-18T16:31:44.243" Title="How to remove an object (Tooth) in After Effects" Tags="|after-effects|" AnswerCount="4" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13072" PostTypeId="2" ParentId="13071" CreationDate="2014-11-19T16:29:32.147" Score="3" Body="&lt;p&gt;Unfortunately, the only answer is rotoscoping.  You have to remove the tooth from each frame manually.  Rotoscoping tools will help give a closer starting point, but that kind of object removal where both the object and the background behind it are changing and moving is nearly impossible to do without manual effort.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note, if everything in the mouth behind the teeth is black or basically the same color, then you have a lot more options as Brett outlined in his answer.  I was assuming that there was more detail in the mouth based on your description that would require background painting, but if you can avoid background painting for the mouth, then rotoscoping isn't needed.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-11-19T18:57:48.890" LastActivityDate="2014-11-19T18:57:48.890" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13073" PostTypeId="2" ParentId="13071" CreationDate="2014-11-19T18:07:02.143" Score="2" Body="&lt;p&gt;I have a couple options you might consider.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Create a small picture in Photoshop that looks like the &quot;hole&quot; you want.  Include a transparent (alpha channel) background, so it's really just the black or black+red color that you want, in the shape of his tooth.  Then in After Effects, or even Premiere, place that image in the right place.  Finally, animate it to follow any subtle movements of the actor's face.  (This probably won't work if the actor is talking or if his lip is moving at all.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) This one is a bit more dicey, but COULD work. Since you're willing to shoot the shot again, do a test where you cover someone's tooth with BRIGHT GREEN, with the same lighting conditions you'll use. Then use the After Effects chromakey (green screen) feature to see if you can replace that green area with a black or red-black color or image.  Using that technique will create a traveling mask FOR you, so you don't have to mask every frame yourself.  But as I suggested, do a test FIRST.  Since the actor's upper lip will create a shadow on the tooth, it might not work (or might not work very well).&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-11-19T18:07:02.143" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13074" PostTypeId="2" ParentId="13066" CreationDate="2014-11-19T19:02:01.517" Score="36" Body="&lt;h1&gt;Image inputs&lt;/h1&gt;&#xA;&lt;p&gt;Default frame rate for image inputs is 25. You can change it with the &lt;code&gt;-framerate&lt;/code&gt; input option. Example for 24 fps:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 24 -i input_%03d.jpg -vf format=yuv420p output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-vf format=yuv420p&lt;/code&gt; (or the legacy alias &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt;) will ensure compatible &lt;a href=&quot;https://en.wikipedia.org/wiki/Chroma_subsampling&quot; rel=&quot;noreferrer&quot;&gt;chroma subsampling&lt;/a&gt; for MP4. Otherwise, &lt;code&gt;ffmpeg&lt;/code&gt; will try to preserve color fidelity, but most players can't handle advanced chroma subsampling.&lt;/li&gt;&#xA;&lt;li&gt;The output will use the same frame rate as the input. So you do not need to set an output frame rate. But there are a few reasons to do so. See &lt;em&gt;Using a different frame rate for image inputs and video output&lt;/em&gt; below.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h1&gt;Video inputs&lt;/h1&gt;&#xA;&lt;p&gt;Use the &lt;code&gt;-r&lt;/code&gt; output option:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -r 25 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h2&gt;Using a different frame rate for image inputs and video output&lt;/h2&gt;&#xA;&lt;p&gt;Why? For example, you may want all images to be displayed for 1 second each (1 fps). But most players can't play very low frame rates (about 6 fps or lower). So you can make &lt;code&gt;ffmpeg&lt;/code&gt; use a different output frame rate. The output will look like 1 fps, but will actually be a normal frame rate, such as 25 fps.&lt;/p&gt;&#xA;&lt;p&gt;Example: input images at 1 fps, but make the output 25 fps.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 1 -i input_%03d.png -r 25 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Frames will be duplicated or dropped to match the desired output frame rate.&lt;/li&gt;&#xA;&lt;li&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#image2-1&quot; rel=&quot;noreferrer&quot;&gt;image demuxer&lt;/a&gt; uses &lt;code&gt;-framerate&lt;/code&gt;, while the output frame rate is set using &lt;code&gt;-r&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;Error: Option framerate not found&lt;/h3&gt;&#xA;&lt;p&gt;The &lt;code&gt;-framerate&lt;/code&gt; option:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is not a generic option. It doesn't work for everything.&lt;/li&gt;&#xA;&lt;li&gt;Is only an input option.&lt;/li&gt;&#xA;&lt;li&gt;Only works with certain &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html&quot; rel=&quot;noreferrer&quot;&gt;demuxers&lt;/a&gt; (including: images, x11grab, rawvideo).&lt;/li&gt;&#xA;&lt;li&gt;You probably only need to use the &lt;code&gt;-r&lt;/code&gt; output option. See the &lt;em&gt;Video inputs&lt;/em&gt; section above.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2021-04-01T22:29:25.117" LastActivityDate="2021-04-01T22:29:25.117" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="13075" PostTypeId="2" ParentId="13071" CreationDate="2014-11-19T19:45:28.167" Score="1" Body="&lt;p&gt;For such a short clip, just paint over each frame as needed using the brush tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This reminds me of &quot;The Hangover&quot;, but Ed Helms actually had his implant removed for the film. No effect needed there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it helps, everything I've ever seen where they just painted the tooth has been obvious to me. I think the audience is pretty forgiving here. Should be easy to at least remove the shine (&quot;specular highlights&quot; if we're being technical), and anything further that you do is just bonus.&lt;/p&gt;&#xA;" OwnerUserId="6812" LastActivityDate="2014-11-19T19:45:28.167" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13076" PostTypeId="2" ParentId="13064" CreationDate="2014-11-19T21:58:00.707" Score="1" Body="&lt;p&gt;It appears that this is the 'expected behaviour'. Certainly not what I expected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems that ACR doesn't play well with Premiere. So you can't pre-grade your footage before edit. Adobe expect you to use Speedgrade for your grading, despite the fact it isn't a patch on ACR. Your only option appears to be to bring the image sequence into After Effects which allows you to use ACR on import or by &lt;em&gt;editing original&lt;/em&gt; at any point. Of course you then lose the speedy rendering of Premiere and all the other good stuff.&lt;/p&gt;&#xA;" OwnerUserId="6532" LastActivityDate="2014-11-19T21:58:00.707" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13077" PostTypeId="1" CreationDate="2014-11-20T00:02:55.283" Score="2" ViewCount="629" Body="&lt;p&gt;Input file original.wav&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i original.wav&#xA;...&#xA;  Duration: 00:03:36.93, bitrate: 1411 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Convert wav to m4a with fdk-aac encoder:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i original.wav -c:a libfdk_aac -vbr 5 ffmpeg.m4a&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Check duration of resulting m4a:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ffmpeg.m4a&#xA;...&#xA;  Duration: 00:03:36.98, start: 0.046440, bitrate: 240 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So, ffmpeg adds ~2000 zero samples at beginning of resulting file. How to disable this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/hvxER.png&quot; alt=&quot;Waveforms&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I try few different codecs and all work fine, problem only with fdk-aac.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;ffmpeg versions: 2.2.10 and 2.4.3&lt;/li&gt;&#xA;&lt;li&gt;fdk-aac version: 0.1.1 and 0.1.3&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;UPD1: I try fdkaac and vlc (it also use fdk-aac library). Both produce correct file (no zero samples at begin). So problem only with ffmpeg+fdk.&lt;/p&gt;&#xA;" OwnerUserId="6813" LastEditorUserId="6871" LastEditDate="2014-12-01T18:50:11.337" LastActivityDate="2014-12-13T16:20:16.707" Title="ffmpeg adds unneeded zero samples at beginning of resulting m4a file" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13079" PostTypeId="1" CreationDate="2014-11-20T12:26:34.923" Score="0" ViewCount="65" Body="&lt;p&gt;&lt;a href=&quot;https://www.facebook.com/video.php?v=732070063514894&amp;amp;set=vb.410157642372806&amp;amp;type=3&amp;amp;theater&quot; rel=&quot;nofollow&quot;&gt;https://www.facebook.com/video.php?v=732070063514894&amp;amp;set=vb.410157642372806&amp;amp;type=3&amp;amp;theater&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have no experience with any video production softwares but I need to do something similar to that video. are there any specific softwares that can produce something like this?&lt;/p&gt;&#xA;" OwnerUserId="6814" LastActivityDate="2014-11-24T17:19:36.510" Title="What softwares are used to produce this video?" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13080" PostTypeId="2" ParentId="13079" CreationDate="2014-11-20T13:06:32.263" Score="1" Body="&lt;p&gt;You will need some kind of 2D animation program to do this. &lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;After Effects&lt;/a&gt; is one possibilty.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, these are advanced animations. Without any experience, it will take quite some time to learn how to do this and achieve similar effects. If you're not willing to put some time in it, you don't even have to start ...&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2014-11-20T13:06:32.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13081" PostTypeId="1" CreationDate="2014-11-19T17:31:22.253" Score="1" ViewCount="87" Body="&lt;p&gt;I know there are short cuts (Alt + ] or [) when creating a new layer in after effects that will trim the layer to either side of the Current Time Indicator. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question is, is there a better way to create a new layer and not have to manually trim it because by default it spans the entire comp. For example, can you create a new shape layer and trim it to the current Work Area? I am specifically looking for the most efficient method for trimming new layers. &lt;/p&gt;&#xA;" OwnerUserId="6819" OwnerDisplayName="Javi" LastEditorUserId="14523" LastEditDate="2018-07-19T00:30:53.870" LastActivityDate="2018-07-19T00:30:53.870" Title="How can you automatically trim a new layer in After Effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13082" PostTypeId="1" CreationDate="2014-11-20T15:07:24.910" Score="7" ViewCount="323" Body="&lt;p&gt;What are motion graphics?  What software can I use to create them?  What should someone trying to produce a video with motion graphics know?&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-20T15:07:24.910" Title="What are motion graphics?" Tags="|after-effects|animation|motion|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13083" PostTypeId="2" ParentId="13082" CreationDate="2014-11-20T15:07:24.910" Score="4" Body="&lt;p&gt;Motion graphics is a form of 2d or 3d animation based around moving graphics.  It can include such things as moving titles, animated presentations and graphs, animated background (motion backs), whiteboard animations, animated product demonstrations and more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It can range in complexity from relatively simple (such as basic moving titles) to extremely advanced multi-layered projects laid out in 3d using numerous interacting objects.  Software such as Adobe After Effects and Apple Motion are often used for producing motion graphics.  It is also possible to produce some motion graphics in Adobe Flash, though it is more designed for pure 2D animations.  At the time of this writing, there wasn't much in the way of good open-source motion graphic software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Motion graphics can be deceptive in the apparent simplicity when well done.  If you have no experience in the field, you should be prepared to encounter a lot of issues and challenges when trying to make a really good looking motion graphic.  It takes animation, graphic design and editing skills to produce a very high quality motion graphic and the tools themselves are complex beasts that can take a while just to learn the tool-set.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are looking for a professional looking motion graphic on a quick time table and you have no experience in the field, your best bet is likely to hire an experienced professional to do the work for you.  If you are looking to do it for your own purposes, it is an interesting field, but be sure not to set your bar too high.  Start simple and learn from there.  It is a field that can take months to years to get good in.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-20T15:07:24.910" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13084" PostTypeId="2" ParentId="13071" CreationDate="2014-11-20T19:07:03.857" Score="1" Body="&lt;p&gt;I came up with another option last night. It involves reshooting, and would cost some money. The idea is to get &quot;dentures&quot; for the actor that have a tooth missing.  The gumline of the &quot;dentures&quot; would be where the actor's real teeth are. The artificial teeth would extend beyond that, and of course one would be missing.  If the actor could position his lips so it looked natural, this would probably give the most believable effect since the tooth would actually be missing.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-11-20T19:07:03.857" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13085" PostTypeId="2" ParentId="8450" CreationDate="2014-11-21T08:54:22.087" Score="2" Body="&lt;p&gt;Solution #2 (as Eric Vinyard suggested):&#xA;1. Locate file: C:\Program Files (x86)\Common Files\Adobe\SLCache\X19zbGNfZmVhdHVyZXNf­Xw==.slc&#xA;2. Open it with a text editor (may need to open it as an admin as this is in Program Files directory)&#xA;3. Delete everything the file contains&#xA;4. Save and close&#xA;5. Set the 'Read Only' attribute for the file: Right Mouse - Preferences. On the first page that opens for you, look for Attributes at the bottom of this page and check 'Read Only'. Close with OK.&lt;/p&gt;&#xA;" OwnerUserId="6820" LastActivityDate="2014-11-21T08:54:22.087" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13086" PostTypeId="1" CreationDate="2014-11-21T17:16:34.957" Score="2" ViewCount="441" Body="&lt;p&gt;I am trying to find scripting code that allows me to open a CMD in Windows and lauch AE render of the current project queue in background. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if possible, to get the output back in that cmd window.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="6822" LastActivityDate="2014-11-21T18:11:39.390" Title="Launch a AfterEffects rendered in background with cmd update" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13087" PostTypeId="2" ParentId="13086" CreationDate="2014-11-21T17:46:13.793" Score="3" Body="&lt;p&gt;After Effects has a seperate executable for the render engine.&#xA;Have a look at this article from Adobe for some usage examples and an overview of the commands.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://helpx.adobe.com/after-effects/using/automated-rendering-network-rendering.html&quot; rel=&quot;nofollow&quot;&gt;http://helpx.adobe.com/after-effects/using/automated-rendering-network-rendering.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;aerender -project c:\projects\project_1.aep -comp &quot;Composition_1&quot; -output c :\output\project_1\project_1.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As you define the output file yourself you already have the path available. As soon as the command finished you know your file is done rendering and you can process it further.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-11-21T18:11:39.390" LastActivityDate="2014-11-21T18:11:39.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13088" PostTypeId="1" AcceptedAnswerId="13099" CreationDate="2014-11-22T13:19:30.353" Score="2" ViewCount="1015" Body="&lt;p&gt;What are the kinds of video camera stabilizers I could buy in the market? How are they different? What are the pros and cons of each?&lt;/p&gt;&#xA;" OwnerUserId="6099" LastActivityDate="2014-11-24T16:56:01.760" Title="How is each type of video camera stabilizer different?" Tags="|video|stabilisation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13090" PostTypeId="1" AcceptedAnswerId="13101" CreationDate="2014-11-23T00:54:40.150" Score="1" ViewCount="1481" Body="&lt;p&gt;I need help figuring out how to record while my computer is rendering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am very new to video editing, so this is my current workflow.  First, I record footage using Fraps (30 fps, 1080p, .avi). I usually get several hours worth.  Then I use Adobe Premiere CC and Media Encoder to cut the video into 20 minutes chunks. I queue all the videos up in Media Encoder (h.264, mp4, 1080p, 30fps).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each video takes about 30 minutes to render (intel 2600k. dual amd 6950s, 16 gb ram). My source video is on a 2 TB HDD and the destination is a separate 1 TB HDD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my problem.  While rendering, the computer can't be used for much else since my CPU usage is capped.  My GPU doesn't seem to be used at all (as I understand, h.264 encoding is almost all CPU based).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I change my setup so that I can record more video while the machine is rendering away? In addition to my PC, I have a NAS available, a Macbook Retina Pro (2012, 16gb ram), and two external HDD cages. I think I need to come up with a setup where I can record on one machine and render with the other, but I don't know if this is viable or which HDD to record video to in that situation (is recording to NAS common? or do I make the other computer's HDD a share drive? record to external drive and move it around?) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a lot of unknowns for me here and I would just like to know what a &quot;normal&quot; setup is for using one computer to record and another to render.  I am on a gigabit LAN with my NAS and laptop, but the laptop only has wireless connectivity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would just render my videos over-night, but that is when I upload to Youtube, as that takes many hours. &lt;/p&gt;&#xA;" OwnerUserId="6831" LastActivityDate="2022-07-02T01:21:48.953" Title="What setup do I need to record and render at the same time?" Tags="|encoding|hardware|workflow|premiere|performance|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13091" PostTypeId="2" ParentId="13090" CreationDate="2014-11-23T12:36:23.310" Score="1" Body="&lt;p&gt;I assume you record video game footage?&#xA;Recording and rendering on one machine is something I wouldn't recommend with a regular PC if you play modern games that take a lot of your CPU and GPU resources.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I usually recommend getting an SSD but in this case it seems you are heavily CPU limited.&#xA;You could theoretically encode on the GPU but I'm not sure if that will ease the workload all that much to be able to play games as you need your GPU to play games aswell and usually GPU encoding produces worse results than CPU encoding because of the way the codec is implemented for GPU encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I would do in your case is either render on your MacBook, rendering over the network shouldn't be too bad in this case as your MacBook will be CPU limited aswell.&#xA;Or you don't do the final encode of your videos with Premiere/AME but use a different h264 encoder called &lt;a href=&quot;http://www.videolan.org/developers/x264.html&quot; rel=&quot;nofollow&quot;&gt;x264&lt;/a&gt; which is a LOT easier on the CPU and with the right settings could potentially used while you play games. x264 is by far the fastest and most efficient h264 encoder today.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You would first render your cut videos in a lossless codec that doesn't takes very little CPU usage but be sure to not render to the disk that your game runs on, as a lossless codec will be very I/O heavy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively if all you do is cut your videos in to 20 min pieces without any other creative decisions other than splitting up your videos at every 20min interval you could automate everything and ditch Premiere all together and just use &lt;a href=&quot;https://www.ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt; which also integrates x264 so you can cut your videos automatically there and encode to h264 all at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could theoretically also upload automatically after rendering if you are bit into programming and do all at night without supervising anything. That would free your pc up for recording during day. That can of course only work if you don't already need all night to upload the encoded videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There might be more viable solutions to your problems but that would need a bit more info from you. What do you record? What are you doing in Premiere exactly to the videos other than cutting? What are the specs of your computer?&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-11-23T12:36:23.310" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13092" PostTypeId="1" AcceptedAnswerId="13093" CreationDate="2014-11-23T14:34:36.773" Score="1" ViewCount="444" Body="&lt;p&gt;I have a shoebox full of minidv tapes and I need to start capturing and logging them. Of course I want to get it right from the start. How should I log the footage? I'm talking more about technique and strategy as opposed to technical equipment. (I&quot;m planning on using my Sony HDR A1e to capture the footage onto my PC with Adobe Premiere). But I want to capture the story and events at the same time into a paper log. &lt;/p&gt;&#xA;" OwnerUserId="3813" LastEditorUserId="3813" LastEditDate="2014-11-23T14:50:01.633" LastActivityDate="2014-12-04T15:25:39.357" Title="How do I log footage correctly?" Tags="|capturing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13093" PostTypeId="2" ParentId="13092" CreationDate="2014-11-23T16:31:30.070" Score="1" Body="&lt;p&gt;There isn't an easy answer here. It depends on a lot of factors. If you have constant timecode on each tape then you can batch log. Batch logging allows you to go through abs document clips prior to capture and the run captures simply by running tapes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't have consistent time code then that option goes out the window as batch capture gets confused on broken timecode.&lt;br&gt;&#xA;At that point you will want to just capture the tapes manually and possibly use scene detection if your log tool provides it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even when manually logging, you can record details in the file meta data. Make sure to record the tape number or name and which piece of time code it is from. &lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-11-23T17:03:56.357" LastActivityDate="2014-11-23T17:03:56.357" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13094" PostTypeId="2" ParentId="13079" CreationDate="2014-11-23T18:00:35.063" Score="1" Body="&lt;p&gt;After effects could be a good place to start, and I'd say with little experience, if you did go down that route, would be to look for templates. Search around for things like &quot;infographics templates&quot; or &quot;motion charts&quot; or &quot;animated graph&quot; charts templates or tutorials, just to point you in the right direction but those are just words off the top of my head. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;--&#xA;update: with a 2 minute google search i found this, albeit far simpler tutorial on animating graphs in powerpoint &lt;a href=&quot;http://www.presentation-process.com/powerpoint-chart-animation.html#.VHIiIoepQVk&quot; rel=&quot;nofollow&quot;&gt;http://www.presentation-process.com/powerpoint-chart-animation.html#.VHIiIoepQVk&lt;/a&gt; and here's one that's a bit less colourful &lt;a href=&quot;http://www.ellenfinkelstein.com/pptblog/create-the-effect-of-a-line-drawing-itself/&quot; rel=&quot;nofollow&quot;&gt;http://www.ellenfinkelstein.com/pptblog/create-the-effect-of-a-line-drawing-itself/&lt;/a&gt; . basically google is probably your best friend at this point, with keywords like graph, animation, presentation, creator.&lt;/p&gt;&#xA;" OwnerUserId="6833" LastEditorUserId="2836" LastEditDate="2014-11-24T17:19:36.510" LastActivityDate="2014-11-24T17:19:36.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13095" PostTypeId="1" AcceptedAnswerId="14557" CreationDate="2014-11-23T18:07:43.770" Score="6" ViewCount="7627" Body="&lt;p&gt;How can I &lt;strong&gt;find the dimensions in pixels&lt;/strong&gt; of a layer in adobe after effects.&lt;/p&gt;&#xA;" OwnerUserId="6249" LastEditorUserId="3295" LastEditDate="2014-11-24T00:27:28.500" LastActivityDate="2016-05-02T12:43:49.463" Title="Layer dimensions in after effects" Tags="|after-effects|post-production|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13096" PostTypeId="2" ParentId="13095" CreationDate="2014-11-24T00:27:12.570" Score="3" Body="&lt;p&gt;You get the scale of the layer in the Transform property menu as seen below. The scale is in relation to the comp width and height if its solid or adjustment layer, for imported footage its in relation to the source width and height.&#xA;To get pixel values you just do a little math:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;(Comp or Footage width|height/100)*Scale = pixel dimension of layer&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When it comes to shape layer, the size of the shape is shown in the path menu unless its a custom shape, there is no easy built-in way to determine the bounding box of a custom path, you would need to write a script for that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/k5THc.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-11-24T02:09:41.370" LastActivityDate="2014-11-24T02:09:41.370" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13097" PostTypeId="1" CreationDate="2014-11-24T01:18:59.947" Score="2" ViewCount="815" Body="&lt;p&gt;I have a composition used to display current scores for a match on a tournament. It shows the two teams banners on both sides and their current scores underneath them. The scene also has various animations and effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The rounds are best of three so the different combinations of scores are 0-0, 1-0, 2-0, 0-1, 0-2, 1-1, 2-1, and 1-2. So the way I'm doing it now is: change the numbers, render composition, and repeat for all combinations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see, this can get tedious and time consuming as it has to be done for every combination of teams as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know if there is a way to automate this process or a more efficient way of carrying out these steps.&lt;/p&gt;&#xA;" OwnerUserId="6835" LastActivityDate="2014-12-03T15:21:36.507" Title="How to automate the rendering of all possible combinations of a composition in Adobe After Effects?" Tags="|video|after-effects|automation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13098" PostTypeId="1" AcceptedAnswerId="13193" CreationDate="2014-11-24T07:56:51.523" Score="3" ViewCount="5999" Body="&lt;p&gt;I am using ffmpeg to generate a segmented list of files in order to stream them to an iOS app. The list of files is generated fine but when it comes time to play them, the video needs to be downloaded in its entirety before playback starts. This behaviour seems to be the case on iOS, Safari and VLC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anybody know why this is happening and how I can improve the performance of playback? I have complete control over how the files are recorded in iOS, as well as how they are processed. Here is a sample stream:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.bytesizecreations.com/storie-test/hls.m3u8&quot; rel=&quot;nofollow&quot;&gt;http://www.bytesizecreations.com/storie-test/hls.m3u8&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are my ffmpeg commands to generate the segments from the file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i joined.ts -flags -global_header -vcodec copy -acodec copy -map 0 -f segment -segment_time 2 -segment_list hls.m3u8 -segment_list_size 999999 -segment_format mpegts out%03d.ts&#xA;Here is the output of ffprobe on the file:&#xA;&#xA;  libavutil      54.  7.100 / 54.  7.100&#xA;  libavcodec     56.  1.100 / 56.  1.100&#xA;  libavformat    56.  4.101 / 56.  4.101&#xA;  libavdevice    56.  0.100 / 56.  0.100&#xA;  libavfilter     5.  1.100 /  5.  1.100&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  0.100 /  3.  0.100&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  0.100 / 53.  0.100&#xA;Input #0, mpegts, from 'joined.ts':&#xA;  Duration: 00:00:07.96, start: 1.441667, bitrate: 3899 kb/s&#xA;  Program 1 &#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;    Stream #0:0[0x100]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p, 1280x720, 24 fps, 24 tbr, 90k tbn, 180k tbc&#xA;    Stream #0:1[0x101](und): Audio: aac ([15][0][0][0] / 0x000F), 44100 Hz, stereo, f&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6824" LastActivityDate="2016-06-27T17:10:57.790" Title="FFMpeg and HLS, videos need to load in their entirety before they start playing" Tags="|ffmpeg|streaming|ios|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13099" PostTypeId="2" ParentId="13088" CreationDate="2014-11-24T16:56:01.760" Score="4" Body="&lt;p&gt;There are a very wide and diverse range of different techniques for stabilization.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the most basic, you have pure software stabilization.  This uses no specialized hardware, but rather tracks objects within a scene and then clips the video such that it maintains a frame which it can keep more stable.  This has an apparent impact of subjects moving less, but often produces an awkward feeling wavy effect as motion blur is still present in the source footage and occurs while the subject doesn't visibly appear to be moving.  It can also be used in support of other physical techniques.  It can handle minor corrections, but isn't advisable for large scale correction if it can be avoided.  This can be applied either in post or directly during capture on the camera (electronic image stabilization.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the next level, we move up to optical image stabilization systems.  There are two main techniques here.  The first utilizes a motion correction element in the lens along with small gyroscopes in the lens to keep the orientation of the corrective element relatively static.  This results in a correction for shake in the lens' orientation, but doesn't correct for lateral movement.  A similar system can be accomplished in camera by moving the sensor itself to correct for movement of the camera.  Gyroscopes feed the data on how to move the sensor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Moving past that, the next big step up is a hand held gimbal stabilizer.  Gimbal stablizers work using inertia to offset movement rather than gyroscopic forces.  A typical handheld gimbal stabilizer consists of a rod with a free floating gimbal about 1/3 of the way along the length.  The camera is mounted on the top and a series of balancing weights are added to the bottom.  The inertia of the combined and properly balanced system results in orientation changes being absorbed at the gimbal as the inertia keeps the camera rig pointed in the same direction.  These provide far better stabilization for orientation and also provide a fair bit of stabilization for lateral movements, however they are considerably more expensive and more difficult to use well than an optical image stabilization system is.  It can also still be used with the previous mechanisms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The next step up from this is a steadicam like rig.  Steadicam utilizes a gimbal stabilizer, however, rather than hand hold the gimbal, it is mounted on a spring arm attached to the operator's chest.  The spring arm allows for much better weight support as well as better absorption of lateral movement, thus it is able to deal with situations such as an operator running while operating the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final upgrade is to move back in to active systems again.  The inertial systems are all passive and thus don't require independent power (the OIS systems are active, but the inertial ones are passive.)  By adding high powered gyroscopes to an inertial system, additional stabilization can be achieved by providing active counter-action to changes in orientation.  The upside is that these hybrids provide the absolute best possible stabilization, but the downside is they are generally heavy, expensive (thousands to tens of thousands of dollars), power hungry and complex.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-24T16:56:01.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13100" PostTypeId="2" ParentId="13097" CreationDate="2014-11-24T17:14:55.470" Score="1" Body="&lt;p&gt;I hope there is a better answer, but my similar case is making lower thirds where I have to change out the name.  In that case, I have a static composition with the title that I use as a source in other compositions.  I then create a text layer for each name, hide all but one, click through to the final render comp (using the parent/child links) and start a generation for each.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's still manual, but it is a relatively quick way to get them dumped out.  In your case, you could do one comp for the team logos and one for the scores (or just do two sets of layers in the same comp.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, you may be able to render the background blank and then render the text and graphics layer's being animated without the background render.  This can save time if the background animation is difficult to render and the composition allows for alpha blending to meet the needs.  I wouldn't generally bother with that added complexity unless the background being pre-rendered would save a lot of time though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-11-25T17:46:02.403" LastActivityDate="2014-11-25T17:46:02.403" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13101" PostTypeId="2" ParentId="13090" CreationDate="2014-11-24T17:25:46.180" Score="0" Body="&lt;p&gt;Don't, just don't.  File access is your primary problem.  You can offset this by using SSDs, but the much more practical solution is to either upgrade to gigabit connectivity between two systems or use high speed external drives to move content captured on one system to the other system and then run the encoding completely distinctly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Capturing footage on a system running a game is already a very difficult thing to do as both the file capture and the game engine put a lot of demand on the system.  Adding a third major demand of system resources is asking for trouble.  The main reason that files are so large from video game screen captures is that very little compression is applied.  Video games don't use much disk resources (outside of loading levels) but they do use a lot of CPU and GPU.  So screen capture tools for games put off CPU and GPU intensive tasks at a cost of disk utilization.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that encoding is going to make use of both disk utilization and CPU and GPU resources.  The CPU and GPU utilization will interfere with the game engine and the disk utilization will interfere with capture unless they are on a completely separate pool of resources on a different machine.  It is possible to segment resources off in some cases, but you'd still be substantially impacting the capability of your system and reducing the quality of capture and gameplay it could achieve.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-24T17:25:46.180" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13102" PostTypeId="1" CreationDate="2014-11-24T22:33:54.170" Score="1" ViewCount="61" Body="&lt;p&gt;I can get the captions if I stream the Quicktime file through a link on my webserver, but if I try to stream the file via Darwin Streaming Server, the audio and video come through, but no captions.  The QT browser plugin has no option to enable captions so the caption track just has to come from the server. Or is it the plugin's fault? Any thoughts?  Let me know if more info is needed.&lt;/p&gt;&#xA;" OwnerUserId="6838" LastActivityDate="2016-05-19T00:19:46.677" Title="Darwin Streaming Server 6.0.3 won't send Closed Caption track" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13104" PostTypeId="1" AcceptedAnswerId="13110" CreationDate="2014-11-25T07:13:44.187" Score="11" ViewCount="13506" Body="&lt;p&gt;I'm composing a video from set of 16bit tiff pictures. The pictures are very dark, and needs to be brightened. Currently I'm applying &lt;code&gt;-vf &quot;mp=eq2=1.0:1.0:0.3:1.0:1.0:1.0:1.0:1.0&quot;&lt;/code&gt;&#xA;filter to make pictures brighter, as said &lt;a href=&quot;http://www.mplayerhq.hu/DOCS/man/en/mplayer.1.html#VIDEO%20FILTERS&quot;&gt;here&lt;/a&gt;, but they becomes too &quot;faded&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used to rescale their histogram with &quot;levels adjustment&quot; operation in image editor to make them brighter, but now I need to make a video, not a single image file. Also, preffered way of applying such operations to image - is to applying it to each color band separatly, because they have different brightness attributes initialy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I do something similar with ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="6840" LastActivityDate="2015-11-01T20:24:07.877" Title="Similar to &quot;levels adjustment&quot; brightness improvement with ffmpeg" Tags="|ffmpeg|color-correction|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13105" PostTypeId="1" CreationDate="2014-11-25T09:32:21.570" Score="0" ViewCount="9784" Body="&lt;p&gt;I want to check is there any way to compare portion of video(video clip) with full video?&#xA;for example: if i have a particular video of scene in a movie and full movie video, how to check whether these clip belongs to that movie. if i have thousands of clips and thousands full movies, how can i find which clip belongs to which full video.&lt;/p&gt;&#xA;" OwnerUserId="6843" LastActivityDate="2016-07-12T18:48:01.763" Title="How to find clip of video belongs to full video?" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13106" PostTypeId="2" ParentId="11950" CreationDate="2014-11-25T15:58:19.730" Score="2" Body="&lt;ol&gt;&#xA;&lt;li&gt;Open your Projects Explorer Panel and Properties Panel&lt;/li&gt;&#xA;&lt;li&gt;Click on the Project that you are working on &lt;/li&gt;&#xA;&lt;li&gt;Make sure that the Audio settings for the project is set to Mono or Stero&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I have been struggling with this for a day now and just stumbled across my own mistake. When I initially started the project I set the sound to &quot;No Audio.&quot; I did not want the sound in the videos that I was merging. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;VSDC gives you independent control over video audio in each of the property windows of the specific video. The Project audio settings is a global sound control. Of course, if you set it to No Audio that's exactly what you get. &lt;/p&gt;&#xA;" OwnerUserId="6844" LastEditorUserId="2836" LastEditDate="2014-11-25T16:52:46.667" LastActivityDate="2014-11-25T16:52:46.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13107" PostTypeId="2" ParentId="13102" CreationDate="2014-11-25T16:18:54.310" Score="1" Body="&lt;p&gt;I have no direct experience with DSS, but it appears, from what I could find online, that DSS does not support streaming a text track.  Rather, you seem to need to reference a non-streamed version that has text data.  I unfortunately couldn't find much more on what the one place I found mentioning that intended, so I'm sorry that it isn't very clear, but it was the best I could find.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hopefully someone else has actual experience with DSS and can provide better guidance than I.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-25T16:18:54.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13108" PostTypeId="2" ParentId="13090" CreationDate="2014-11-25T16:44:09.113" Score="0" Body="&lt;p&gt;Blackmagic Design has solutions for this.  One is a live H.264 encoder ( &lt;a href=&quot;https://www.blackmagicdesign.com/products/h264prorecorder&quot; rel=&quot;nofollow&quot;&gt;https://www.blackmagicdesign.com/products/h264prorecorder&lt;/a&gt;).  This is commercial equipment though, so it's going to get expensive fast.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-11-25T16:44:09.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13109" PostTypeId="2" ParentId="7657" CreationDate="2014-11-25T19:04:28.113" Score="1" Body="&lt;p&gt;It works for me, but everything has a green tint and the higher the brightness the less any color but green is visible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using a sony trinitron.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/WO8mVMvSth8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="6845" LastActivityDate="2014-11-25T19:04:28.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13110" PostTypeId="2" ParentId="13104" CreationDate="2014-11-25T21:21:23.833" Score="20" Body="&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/yFWHf.jpg&quot; alt=&quot;original&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/x4sPP.jpg&quot; alt=&quot;with curves filter&quot;&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could possibly use the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#curves&quot;&gt;curves filter&lt;/a&gt;. It has a &lt;code&gt;lighter&lt;/code&gt; preset:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf curves=preset=lighter -c:a copy output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The red, green, and blue components can be adjusted separately. The following is the same as what the &lt;code&gt;lighter&lt;/code&gt; preset uses:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;curves=r='0.4/0.5':g='0.4/0.5':b='0.4/0.5'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Additionally you can make your own curves preset in Photoshop, export it as an &lt;code&gt;.acv&lt;/code&gt; file, and then the curves filter can utilize it:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;curves=psfile=/path/to/ps_curves_file.acv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2015-11-01T20:24:07.877" LastActivityDate="2015-11-01T20:24:07.877" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13111" PostTypeId="1" AcceptedAnswerId="13112" CreationDate="2014-11-26T04:40:18.990" Score="1" ViewCount="188" Body="&lt;p&gt;In order to practice animation (and as a side project with my son) I want to create some basic 2D children animations using Adobe After Effects. The animations will have backgrounds, characters, movement, and speech.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since my artistic ability is equivalent to that of a peanut, my artist friend will be providing the background and character files while I will be responsible for the animation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In what format should I instruct the artist to deliver these files? PSD, vector, other? Is there a specific format that works best in After Effects?&lt;/p&gt;&#xA;" OwnerUserId="6849" LastActivityDate="2014-11-26T15:14:12.783" Title="What image formats to use for basic 2d animation?" Tags="|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13112" PostTypeId="2" ParentId="13111" CreationDate="2014-11-26T12:44:13.000" Score="3" Body="&lt;p&gt;That depends on what kind of animations you're planning. I would ask the artist to give you the project files (.psd if he is working in Photoshop, .ai if he is working with Illustrator) so that you are not limited to one final image (of course in that case, you would need said programs on your computer. Consider that if the artist uses CC and you're using CS6 or older versions, project files might not be compatible). If he refuses to send you the project files (which, in my experience, many graphic designers won't do), I would probably ask for high-res .png files (since they support alpha channels) if the artist's work is pixel-based. If the work is vector-based, ask for some vector format like .svg.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2014-11-26T12:44:13.000" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13113" PostTypeId="1" AcceptedAnswerId="32676" CreationDate="2014-11-26T14:41:57.903" Score="0" ViewCount="888" Body="&lt;p&gt;Is there a way to work collaboratively on a Premiere Project when one person has e.g. Premiere Pro CC and the other one CS6?&#xA;If I open a Premiere Pro CS6 project file, I have to copy and convert it. If I do this, the person working with Premiere CS6 won't be able to open the project file I created. Of course I could use EDL files, but this isn't really effective when using effects and stuff in Premiere ... so, is there a way to make the projects backwards compatible? (In InDesign for example, you can save project files as IDML rather than INDD, allowing for other people working with CS4 or newer to open the project file)&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2020-11-19T17:35:37.770" Title="Exchange project files between different versions of Premiere Pro?" Tags="|premiere|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13114" PostTypeId="2" ParentId="13111" CreationDate="2014-11-26T15:14:12.783" Score="2" Body="&lt;p&gt;If it works with Photoshop or Illustrator, it will probably work fine with AE.  I'd probably go with AI files if your artist friend is up for doing vector art as this will hold quality best when animated, but anything sufficiently high resolution (twice the resolution of whatever space it will take up on screen) and with a transparent background should be fine.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-26T15:14:12.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13116" PostTypeId="1" AcceptedAnswerId="13117" CreationDate="2014-11-27T08:33:10.607" Score="1" ViewCount="664" Body="&lt;p&gt;Is there a video player that can play 2 or more clips simultaneously overlaying them ontop of each other. (ie just like a video editor does... but as a standalone video player where I dont have to encode the video)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would be useful for eg... when you have an animated logo or something you want to overlay... but you dont want to create/encode a whole new video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="6854" LastActivityDate="2014-11-27T16:04:13.680" Title="Video player (which can overlay 2 video streams)" Tags="|software-recommendation|software|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13117" PostTypeId="2" ParentId="13116" CreationDate="2014-11-27T16:04:13.680" Score="1" Body="&lt;p&gt;Yes, many professional sequencing and playback systems can easily handle playing multiple videos with alpha-blending, there are numerous options, but I don't know of any that are free.  There probably are some players that will handle it for free, but I've used commercial software and never had to dig in to it. (Update: There are free options, &lt;a href=&quot;http://www.casparcg.com/download&quot; rel=&quot;nofollow&quot;&gt;CasperCG&lt;/a&gt; was one quick option I found, but it looks like it has a rather involved list of requirements and setup.)  To help with the keywords, searching something like &quot;layering video player with alpha support&quot; should give you a pretty good set of results with current products.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recommend using alpha channel blending. While there are some real time chroma and luma key systems that run in software, the quality tends to be quite inferior to alpha blending or post produced keying.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, you can use two normal playbacks and a video mixer, though video mixers tend to be EXPENSIVE ($1000 for the cheapest HD one I know and $5000+ on average).  They tend to have the best quality and most capability though and can also work reliably over live video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-27T16:04:13.680" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13119" PostTypeId="1" CreationDate="2014-11-27T23:33:07.360" Score="0" ViewCount="364" Body="&lt;p&gt;I have been watching Zach King videos on YouTube (the Vine magic guy) and I'm curious how to edit two shots together so that body movements stay the same, yet an element is brought into the shot.  I'm ot even sure what the name for this is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example is in the link below.  In the first two Vine videos starting at 3:03, he clearly meshes two shots together somehow but the placement of his body stays consistent.  Immediately after, he makes it appear as if he pulled a cat out of his computer screen (again, obviously two shots) but his body movements stay consistent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/cii2JFHGpEk?start=183&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="6857" LastActivityDate="2014-12-03T15:04:31.460" Title="Blending Two Shots for Continuity" Tags="|after-effects|video-editor|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13120" PostTypeId="1" CreationDate="2014-11-28T02:16:40.407" Score="0" ViewCount="364" Body="&lt;p&gt;I am using the following script to convert my MTS video to an AVI video:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;for %%a in (&quot;*.mts&quot;) do ffmpeg.exe -i &quot;%%a&quot; -vcodec libxvid -s 848x480 -maxrate 4800k -b 4000k -qmin 3 -qmax 5 -bufsize 4096 -acodec libmp3lame -ac 2 -ab 160k -y &quot;%%~na_xvid.avi&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I have very little background in image editing - I found the above script through some google / forum searching, and it served my purposes quite well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, for the paper which I am writing, I have been asked to mention what degree of loss there was from the conversion, and whether that had any impact on my results. I know from the end result that there was no impact, however, I would still like to be able to mention in the paper a more accurate response as to what the percentage of loss was from the conversion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone help me out with this? Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="6858" LastActivityDate="2014-12-30T19:58:08.733" Title="Calculating loss when converting from MTS to AVI using FFMPEG" Tags="|ffmpeg|conversion|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13121" PostTypeId="2" ParentId="13119" CreationDate="2014-11-28T14:36:38.233" Score="2" Body="&lt;p&gt;Very easy to do, well theoretically.  On cut actor freezes his body, friends places the prop - in this instance the cat, on action the actor continues his movement.  The quicker and non intrusive the introduction of the prop, the less movement the actor will have and the more seamless the cut will look.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main thing to remember here is to be prepared to have a lot of takes.. it will take time to get it right.&lt;/p&gt;&#xA;" OwnerUserId="5743" LastActivityDate="2014-11-28T14:36:38.233" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13122" PostTypeId="1" AcceptedAnswerId="13123" CreationDate="2014-11-28T16:17:10.893" Score="2" ViewCount="418" Body="&lt;p&gt;I just tried the iMovie image stabilization feature for the first time. It seems to me that it adds some sort of shimmery artifact, but it's not so easy to tell. Most manipulations 'cost' something, what does this this one cost?&lt;/p&gt;&#xA;" OwnerUserId="5057" OwnerDisplayName="bmargulies" LastActivityDate="2014-12-01T10:48:34.703" Title="What artifacts result from image stabilization in iMovie?" Tags="|video|imovie|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13123" PostTypeId="2" ParentId="13122" CreationDate="2014-11-28T16:38:09.817" Score="2" Body="&lt;p&gt;What video stabilization usually does is to correct for camera shake by keeping the features in the video stable or moving smoothly. This &quot;transfers&quot; the shake to the video borders, so you should see black bands appear and disappear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you lose parts of the frame that are replaced by reciprocal black bands. If you want to remove these artifacts, you can crop but you lose some more of the frame. And you might lose quality if you interpolate to compensate the change in resolution.&lt;/p&gt;&#xA;" OwnerUserId="2146" OwnerDisplayName="clabacchio" LastActivityDate="2014-11-28T16:38:09.817" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13124" PostTypeId="2" ParentId="13122" CreationDate="2014-11-28T21:24:20.373" Score="3" Body="&lt;p&gt;clabacchio's answer is generally correct but the major artifact you get other than loosing a part of your frame is that no image stabilization is perfect. Especially iMovie doesn't do the greatest job in tracking the camera movement compared to Premiere, After Effects or Nuke. In order to stabilize a video you need to &quot;find&quot; the movement of the camera and move the video frame in the opposite direction, if the algorithm doesn't do its job very well you will end up with an even weirder camera shaking, especially if you have very high amplitude shakes for a few frames, the software has a hard time to account for those and has to blend movement to make it appear less abrupt, its a quite complicated process as its not possible to remove certain amplitudes of movement without loosing absolutely everything of your frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally if you have a lot of tilting going on you will have weird distortions in your video because obviously with a 2D video you can only correctly remove movement on the x and y axis e.g. panning of the camera.&#xA;These limitations are responsible for most artifacts in terms of picture distortion.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-12-01T10:48:34.703" LastActivityDate="2014-12-01T10:48:34.703" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13125" PostTypeId="1" CreationDate="2014-11-29T01:14:44.393" Score="1" ViewCount="548" Body="&lt;p&gt;I am running Adobe Audition CS6. Each time that I try to work in my project, it continues to crash due to a “fatal error”. I have reset the preferences, but it continues to crash. I am running windows 7 professional. Here is the Log, the last entry in the log looks to be the culprit.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; Ticks = 107781      &amp;lt;1556&amp;gt; &amp;lt;AuLog.Error&amp;gt; &amp;lt;5&amp;gt; Unhandled exception caught in aui:ErrorManager::ExecuteFunctionWithTopLevelExceptionHandler()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Thanks&#xA;J&lt;/p&gt;&#xA;" OwnerDisplayName="user6861" LastActivityDate="2014-11-29T20:26:03.147" Title="Adobe Audition CS6 Crashing" Tags="|audio|cs6|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13126" PostTypeId="1" AcceptedAnswerId="13130" CreationDate="2014-11-29T12:46:23.513" Score="3" ViewCount="1073" Body="&lt;p&gt;I'm using Nvidia's ShadowPlay to record some game footage, and I am trying to edit it in Lightworks. When I import it, it clips off the edges of the content. I have the project set at 1080p 30fps (I presume 16:9), exporting at 720p 30fps Youtube/MP4, and am importing 1366x768 (16:9?) footage. I'm using Lightworks 12.0.1 on 32bit Windows 7 (2/3GB ram but rest is restricted by 32bit). The variable framerate seems to play ok, I just set it to run at 60/30fps instead of 59.9/29.9fps. It exports fine but the edges are clipped. I tried to change the aspect ratio on one of the other clips using the filecard, but I can't get to it now, as the filecard in the bin says that it is 1366x768 PC display, and when I try to get the filecard up in the edit (e.g. right-clicking on the track), nothing happens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see how it's clipped off here, and it's the same in the export:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/5LZNc.png&quot; alt=&quot;FIFA 13 clipped footage&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see it in the player name tag at the right of the footage.&#xA;My recordings are at several different framerates, the first at 30fps and the last two at 60fps, but I think Lightworks makes them run at 30fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way I could get it to work? Do I need to transcode it in Handbrake or something? If not, I'll just have to use Windows Movie Maker...&lt;/p&gt;&#xA;" OwnerUserId="6863" LastActivityDate="2014-11-29T22:26:17.273" Title="Lightworks detects aspect ratio incorrectly and clips video from ShadowPlay" Tags="|video-editor|mp4|aspect|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13127" PostTypeId="1" AcceptedAnswerId="13140" CreationDate="2014-11-29T17:48:28.673" Score="2" ViewCount="62" Body="&lt;p&gt;I am an absolute amateur regarding directing, but have been reading up on the subject and been paying close attention to filmworks, both real and animated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The thing is, I have about one and a half minute of a single character speaking to the viewer(introduction and world story building). But I haven't encountered such scenes during other films so i'm not really sure how to pull it off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried looking for the fundamentals of lengthy and rather static scenes but have come up quite empty.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The scene in question looks a bit like :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/g7wyh.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And the scene itself:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/9ebwh.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I figure there should be plenty of room for different shots, but i'm unsure how to fill them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just to clarify, I guess I'm looking for perhaps a scene of a real film that has similar conditions to this or a technique explained which helps in directing a rather static scene.&lt;/p&gt;&#xA;" OwnerUserId="2444" LastEditorUserId="2836" LastEditDate="2014-11-30T19:13:19.177" LastActivityDate="2014-11-30T19:17:26.287" Title="Camera directing for lenghty single character scene talking" Tags="|filming|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13128" PostTypeId="2" ParentId="13125" CreationDate="2014-11-29T20:26:03.147" Score="1" Body="&lt;p&gt;An und handled execption is never a good sign. That means its either a bug in the application, in that case there is usually not much you can do other than sending Adobe a detailed report about the crash. Another possibility can be a malfunctioning driver or a hardware failure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe you have recently installed something or updated a driver? Reverse that installation and see if the problem persists.&#xA;Also check your RAM, something that is the cause for a lot of random crashes is corrupt RAM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can check the health of you RAM with a tool like &lt;a href=&quot;http://www.memtest.org/#downiso&quot; rel=&quot;nofollow&quot;&gt;memtest86+&lt;/a&gt;. Best to run it over night as it needs many iterations to really ensure healthy RAM.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-11-29T20:26:03.147" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13130" PostTypeId="2" ParentId="13126" CreationDate="2014-11-29T22:26:17.273" Score="1" Body="&lt;p&gt;No clue about Lightworks, but two possible (and possibly related) issues are that 1366x768 is not exactly 16:9, and 1366 is not evenly divisible by 8. Either or both could cause any editing software to use a different internal representation, and require an adjustment to its display.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1368x768 would be byte-aligned, but still not 16:9.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-11-29T22:26:17.273" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13131" PostTypeId="2" ParentId="13127" CreationDate="2014-11-29T23:36:47.810" Score="0" Body="&lt;p&gt;I think it all comes down to what this person is actually talking about and what the overall atmosphere of that movie should be. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not a professional director myself, but I can think of some ways to do this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Option one: Let this person do something. Have a look at the opening scene of Sergio Leone's Once upon a time in the west:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/fx15s_HAkgU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;Those guys weren't even talking. Just waiting for minutes. Use a lot of inserts / close shots of whatever is happening. (flies, water drops, drinking etc.) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Option two: Let something happen in the background. Let this interfere with the person. Think of some subtle jokes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Option three: Use flashbacks, if you like it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Option four: Make a dialog instead of a monologue. That easily gives you lots more creative freedom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Option five: Don't show the monologue in chronological order. Make it harder and more interesting for the viewer to figure out what is going on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Option six: Don't reveal too early, where that person is. Give some wrong hints, and keep the viewer busy figuring out, what the context of the monologue is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Surely, there are tons of other options. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am convinced - if the only thing that is interesting for the viewer is what the person actually says, it will be boring. You have to find something else that makes the scene visually appealing.&lt;/p&gt;&#xA;" OwnerUserId="5074" LastEditorUserId="5074" LastEditDate="2014-11-29T23:46:29.313" LastActivityDate="2014-11-29T23:46:29.313" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13134" PostTypeId="1" CreationDate="2014-11-30T10:50:36.710" Score="2" ViewCount="1459" Body="&lt;p&gt;How can we simulate a camera flash with Premiere Pro? I know the stroboscope effect but it's not very realistic.&lt;/p&gt;&#xA;" OwnerUserId="6867" LastActivityDate="2014-11-30T19:20:26.777" Title="Flash effect with Adobe Premiere" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13135" PostTypeId="1" CreationDate="2014-11-30T12:23:43.227" Score="0" ViewCount="11" Body="&lt;p&gt;I'm editing 'every day' videos with Adobe Premiere like holidays videos. Footages are taken from SLR cameras. I need to share those videos and of course compress it before.&#xA;Several years ago, i used to use Virtual Dub to do so but i remember that it wasn't trivial at all and i guess that other tools came up since. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this context, what's the best free tool for Mac which performs good enough compression without huge efforts of configuration? &lt;/p&gt;&#xA;" OwnerUserId="6867" LastActivityDate="2014-11-30T15:15:53.933" Title="Best free tool for video compression on Mac" Tags="|compression|mac|" AnswerCount="0" CommentCount="0" FavoriteCount="0" ClosedDate="2014-11-30T19:22:37.257" ContentLicense="CC BY-SA 3.0" />
  <row Id="13136" PostTypeId="1" CreationDate="2014-11-30T14:45:12.130" Score="2" ViewCount="2344" Body="&lt;p&gt;I need to blend an video with an semitransparent png like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;[1:0][0:0]blend=all_mode=average&lt;/code&gt;   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Seems like the transparency of png is ignored.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;What I missed? &lt;/li&gt;&#xA;&lt;li&gt;How to make the ffmpeg to respect the overlay`s alpha channel?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Full example of my settings:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-i background.mp4 \&#xA;-loop 1 -f image2 -i transparent-overlay.png \&#xA;-shortest -y \&#xA;-filter_complex &quot;[1:0][0:0]blend=all_mode=average&quot; \&#xA;overlay.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2.4.3- http://johnvansickle.com/ffmpeg/ Copyright (c) 2000-2014 the FFmpeg developers&#xA;built on Nov 4 2014 13:14:24 with gcc 4.8 (Debian 4.8.3-13)&#xA;configuration: --enable-gpl --enable-version3 --disable-shared --disable-debug --enable-runtime-cpudetect --enable-libmp3lame --enable-libx264 --enable-libx265 --enable-libwebp --enable-libspeex --enable-libvorbis --enable-libvpx --enable-libfreetype --enable-fontconfig --enable-libxvid --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libtheora --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-gray --enable-libopenjpeg --enable-libopus --disable-ffserver --enable-libass --enable-gnutls --cc=gcc-4.8&#xA;libavutil 54. 7.100 / 54. 7.100&#xA;libavcodec 56. 1.100 / 56. 1.100&#xA;libavformat 56. 4.101 / 56. 4.101&#xA;libavdevice 56. 0.100 / 56. 0.100&#xA;libavfilter 5. 1.100 / 5. 1.100&#xA;libswscale 3. 0.100 / 3. 0.100&#xA;libswresample 1. 1.100 / 1. 1.100&#xA;libpostproc 53. 0.100 / 53. 0.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'background.mp4':&#xA;Metadata:&#xA;major_brand : isom&#xA;minor_version : 512&#xA;compatible_brands: isomiso2avc1mp41&#xA;encoder : Lavf56.4.101&#xA;Duration: 00:01:36.40, start: 0.033333, bitrate: 1132 kb/s&#xA;Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 640x360 [SAR 1:1 DAR 16:9], 999 kb/s, 25 fps, 25 tbr, 12800 tbn, 50 tbc (default)&#xA;Metadata:&#xA;handler_name : VideoHandler&#xA;Stream #0:1(eng): Audio: aac (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;Metadata:&#xA;handler_name : SoundHandler&#xA;Input #1, image2, from 'transparent-overlay.png':&#xA;Duration: 00:00:00.04, start: 0.000000, bitrate: N/A&#xA;Stream #1:0: Video: png, rgba, 640x360 [SAR 2835:2835 DAR 16:9], 25 fps, 25 tbr, 25 tbn, 25 tbc&#xA;[libx264 @ 0x3580cc0] using SAR=1/1&#xA;[libx264 @ 0x3580cc0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;[libx264 @ 0x3580cc0] profile High, level 3.0&#xA;[libx264 @ 0x3580cc0] 264 - core 142 r50 dd79a61 - H.264/MPEG-4 AVC codec - Copyleft 2003-2014 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'overlay.mp4':&#xA;Metadata:&#xA;major_brand : isom&#xA;minor_version : 512&#xA;compatible_brands: isomiso2avc1mp41&#xA;encoder : Lavf56.4.101&#xA;Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 640x360 [SAR 1:1 DAR 16:9], q=-1--1, 25 fps, 12800 tbn, 25 tbc (default)&#xA;Metadata:&#xA;encoder : Lavc56.1.100 libx264&#xA;Stream #0:1(eng): Audio: aac (libvo_aacenc) ([64][0][0][0] / 0x0040), 48000 Hz, stereo, s16, 128 kb/s (default)&#xA;Metadata:&#xA;handler_name : SoundHandler&#xA;encoder : Lavc56.1.100 libvo_aacenc&#xA;Stream mapping:&#xA;Stream #0:0 (h264) -&amp;gt; blend:bottom (graph 0)&#xA;Stream #1:0 (png) -&amp;gt; blend:top (graph 0)&#xA;blend (graph 0) -&amp;gt; Stream #0:0 (libx264)&#xA;Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (libvo_aacenc))&#xA;Press [q] to stop, [?] for help&#xA;frame= 81 fps=0.0 q=28.0 size= 78kB time=00:00:03.52 bitrate= 180.7kbits&#xA;...&#xA;frame= 2468 fps=146 q=-1.0 Lsize= 7220kB time=00:01:38.64 bitrate= 599.6kbits/s&#xA;video:5643kB audio:1507kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.981916%&#xA;[libx264 @ 0x3580cc0] frame I:11 Avg QP:19.23 size: 16922&#xA;[libx264 @ 0x3580cc0] frame P:1104 Avg QP:21.09 size: 4387&#xA;[libx264 @ 0x3580cc0] frame B:1353 Avg QP:24.45 size: 553&#xA;[libx264 @ 0x3580cc0] consecutive B-frames: 25.4% 0.4% 12.6% 61.6%&#xA;[libx264 @ 0x3580cc0] mb I I16..4: 14.3% 65.2% 20.6%&#xA;[libx264 @ 0x3580cc0] mb P I16..4: 0.1% 0.9% 0.1% P16..4: 35.2% 17.4% 8.8% 0.0% 0.0% skip:37.4%&#xA;[libx264 @ 0x3580cc0] mb B I16..4: 0.0% 0.0% 0.0% B16..8: 31.4% 1.0% 0.2% direct: 0.6% skip:66.7% L0:31.0% L1:63.0% BI: 6.0%&#xA;[libx264 @ 0x3580cc0] 8x8 transform intra:72.5% inter:64.9%&#xA;[libx264 @ 0x3580cc0] coded y,uvDC,uvAC intra: 80.7% 54.2% 7.2% inter: 15.9% 6.9% 0.0%&#xA;[libx264 @ 0x3580cc0] i16 v,h,dc,p: 28% 43% 7% 22%&#xA;[libx264 @ 0x3580cc0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 9% 38% 14% 3% 6% 3% 15% 2% 10%&#xA;[libx264 @ 0x3580cc0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 9% 41% 11% 3% 7% 3% 15% 2% 10%&#xA;[libx264 @ 0x3580cc0] i8c dc,h,v,p: 51% 37% 9% 3%&#xA;[libx264 @ 0x3580cc0] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0x3580cc0] ref P L0: 69.3% 20.7% 8.2% 1.7%&#xA;[libx264 @ 0x3580cc0] ref B L0: 96.7% 2.9% 0.4%&#xA;[libx264 @ 0x3580cc0] ref B L1: 96.0% 4.0%&#xA;[libx264 @ 0x3580cc0] kb/s:468.21 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6868" LastEditorUserId="1760" LastEditDate="2014-11-30T23:55:49.480" LastActivityDate="2014-11-30T23:55:49.480" Title="The ffmpeg`s filter_complex blend respecting overlay`s alpha channel" Tags="|ffmpeg|composing|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13137" PostTypeId="2" ParentId="13038" CreationDate="2014-11-30T15:15:53.933" Score="1" Body="&lt;p&gt;I've used &lt;a href=&quot;https://handbrake.fr&quot; rel=&quot;nofollow&quot;&gt;Handbrake&lt;/a&gt; to compress things for my AppleTV and other situations. The interface is not great, but it has some common useful presets that work well.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-11-30T15:15:53.933" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13138" PostTypeId="2" ParentId="13120" CreationDate="2014-11-30T19:07:47.063" Score="1" Body="&lt;p&gt;Your paper is asking for an impossible data point unless you have some method of evaluation specified.  By definition, lossy compression results in a loss of data.  Modern lossy compression is very good at discarding data that is not visually meaningful to people, but it is still discarding data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The amount of data loss when related to a human viewer is thus very subjective and can't be measured.  There are specific methods for comparing the source and output videos for differences and determining loss mathematically, but you need a particular choice of method to apply and you simply apply it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-30T19:07:47.063" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13139" PostTypeId="2" ParentId="13119" CreationDate="2014-11-30T19:09:15.977" Score="0" Body="&lt;p&gt;Alternately, you can green-screen what the actor is interacting with and shoot as one continuous action of the actor or you can green screen the actor in to the rest of the shot.  Either option requires careful coordination and work, but it is another option in addition to the stop action approach that kaljack mentions.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-30T19:09:15.977" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13140" PostTypeId="2" ParentId="13127" CreationDate="2014-11-30T19:17:26.287" Score="1" Body="&lt;p&gt;There are two main things you want to do here.  First, use a lower camera angle for your main camera.  You are shooting from substantially above your speaker which makes them seem diminished and small, but you want them to be the focus of attention.  Shoot from eye level or slightly below eye level to give them a feeling of more importance in the scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, use multiple camera angles.  You can easily break up a long scene with one speaker by cutting between multiple angles of the same individual.  Be aware of the axis of action however.  You don't want to have your left and right sides get suddenly reversed, but cutting between a close up of them talking vs a wide shot or a mid shot from a different angle can help the video feel less static.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as an example of this in action, look at any kind of news or public speaking footage (such as political debates or church sermons).  You will see a variety of different camera angles to try and methods and timing of cuts to help make the footage feel less static from these kinds of sources.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-30T19:17:26.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13141" PostTypeId="2" ParentId="13134" CreationDate="2014-11-30T19:20:26.777" Score="1" Body="&lt;p&gt;Insert a single white frame and/or crank the brightness up very high for one frame.  A photo flash  is very fast (much, much less than a single frame) so the impact in video would only be for one frame of video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-11-30T19:20:26.777" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13142" PostTypeId="1" CreationDate="2014-11-30T20:25:34.157" Score="2" ViewCount="104" Body="&lt;p&gt;What techniques are used to colorise old black and white movies? Are there different techniques? How to choose the right technique?&lt;/p&gt;&#xA;" OwnerUserId="6869" LastActivityDate="2020-11-10T14:28:27.777" Title="How to colorise black and white movies?" Tags="|color-correction|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13143" PostTypeId="1" CreationDate="2014-11-30T20:31:37.003" Score="0" ViewCount="4089" Body="&lt;p&gt;I know that digital is used more than celluloid now. Still, I would like to know why celluloid film is still favored by some film makers. Only a few years ago celluloid was the standard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What was/is the technical advantage of celluloid film over digital that kept this technique to be the standard for so long?&lt;/p&gt;&#xA;" OwnerUserId="6869" LastEditorUserId="2836" LastEditDate="2014-12-01T15:19:03.867" LastActivityDate="2017-05-16T22:38:47.760" Title="What is the technical advantage of celluloid film over digital?" Tags="|filming|digital-recording|digital|analog|" AnswerCount="5" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13144" PostTypeId="2" ParentId="13143" CreationDate="2014-11-30T21:13:09.920" Score="3" Body="&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Film may have better long-term archival stability.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;For theatrical exhibition, 35mm film still has a more uniform distribution and exhibition system outside the US and Europe.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;People like Chris Nolan prefer to use film because there aren't any widely-available digital processess that can do an IMAX-style presentation, with a huge negative area and screen.  Digital solutions for these exist, but the exhibition systems for these are ad hoc; IMAX on the other hand is a really well-established brand and IMAX screens are everywhere and are a reliable, known quantity.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Digital cinema cameras still have some funny motion artifacts (ahem, Alexa and Panavision) and funny black levels (ahem, RED) that some filmmakers don't like.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Film still has a different look.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Once you're at the highest levels of production, and making studio features, the price difference is really a wash, particularly if you're shooting 3-perf 35mm and doing a DI.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6870" LastEditorUserId="6870" LastEditDate="2014-11-30T21:28:41.417" LastActivityDate="2014-11-30T21:28:41.417" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13145" PostTypeId="1" AcceptedAnswerId="13151" CreationDate="2014-11-30T21:20:14.150" Score="0" ViewCount="42" Body="&lt;p&gt;I have some old quicktime movies from a project I did in 2005.  The client came back recently and wants to do some changes and run off a new version, and since I've got all his media restored at the moment I think I'm going to reencode my workprint videos into something more standard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The movies I have are Miro DC30+ MJPEG quicktimes, 320x240, which at the time was pretty standard.  I'd like to reencode them as something that's liable to be readable in 5-10 years, I got lucky that the DC30 MJPEG was readable at all.  I was thinking Apple ProRes, since so much gear seems to read this nowadays... &lt;/p&gt;&#xA;" OwnerUserId="6870" LastActivityDate="2014-12-01T14:56:00.730" Title="Re-encoding Archival Movies" Tags="|video|file-formats|prores|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13146" PostTypeId="2" ParentId="13143" CreationDate="2014-11-30T21:27:23.607" Score="1" Body="&lt;p&gt;The digital chain has so many advantages unrelated to quality that as soon as it reached a 'good enough' level for capture the playing field tilted for good in its favor. And of course it didn't stop improving at 'good enough'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a taking medium, celluloid film still has the sort of hard-to-define characteristics that make some pine for vinyl music. But when everything else in the chain is digital, it becomes harder and harder to justify it, if only on pure economics.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course this is an opinion, not a definitive answer. (-:&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-11-30T21:27:23.607" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13147" PostTypeId="1" CreationDate="2014-11-30T21:27:51.633" Score="2" ViewCount="195" Body="&lt;p&gt;So, I've got the opportunity to buy some new piece of hardware for my PC. I do video rendering quite often, so, my question is - what piece of hardware should I replace to get a guaranteed rendering perfomance raise?&#xA;I render using my GPU.&#xA;Should I buy a better GPU (got GTX650Ti with 1 GB memory), or a better CPU (got Core i3 running at 3.3 Ghz), or may be more RAM (got 8 GB)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mostly I use Adobe Premier.&lt;/p&gt;&#xA;" OwnerUserId="4551" LastEditorUserId="4551" LastEditDate="2014-12-01T07:36:07.927" LastActivityDate="2014-12-01T17:36:46.877" Title="What new piece of hardware to get to increase video rendering performance?" Tags="|hardware|performance|" AnswerCount="2" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="13149" PostTypeId="1" CreationDate="2014-12-01T12:50:45.710" Score="1" ViewCount="2367" Body="&lt;p&gt;I exported a video that starts with fade in and it is transparent so when I put it in another project I won't need to add keyframes every time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that the video is &quot;jumping&quot; - watch video here (720p to see better):&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/zP6s1rY5LWI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I exported with QuickTime format, 32 bit depth and:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&quot;Animation&quot; video codec, 60 fps, Field order: &quot;Upper First&quot;, aspect: square pixels(1.0), quality: 100 and the rest as default.&lt;/li&gt;&#xA;&lt;li&gt;&quot;Animation&quot; video codec, 29.976 fps, Field order: &quot;Upper First&quot;, aspect: square pixels(1.0), quality: 100 and the rest as default.&lt;/li&gt;&#xA;&lt;li&gt;&quot;Animation&quot; video codec, 29.976 fps, Field order: &quot;Progressive&quot;, aspect: square pixels(1.0), quality: 100 and the rest as default.&lt;/li&gt;&#xA;&lt;li&gt;&quot;&lt;strong&gt;Apple ProRes 4444&lt;/strong&gt;&quot; video codec, 60 fps, Field order: &quot;Upper First&quot;, aspect: square pixels(1.0), quality: 100 and the rest as default.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I tried all of these export settings and the same problem with everything. Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="6545" LastActivityDate="2015-01-01T13:37:27.563" Title="Exporting with transparent background in premiere" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13150" PostTypeId="2" ParentId="13142" CreationDate="2014-12-01T14:44:15.673" Score="1" Body="&lt;p&gt;It is a largely manual and labor intensive process.  Each object is manually identified and assigned colors.  Computers can help by providing tracking of objects within a scene to apply some initial values for each frame, but it still comes down to manually picking the color of everything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that black and white footage only provides information about luminance and luminance on an object is highly variable as it moves through light and shadow.  There is no information at all to be able to determine the color, just how brightly the color would have been.  The colors have to be chosen based on what people would expect it to be (green grass, skin tones, blue sky, etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There isn't any software available to consumers for doing this that I can think of.  Might be able to find a plug in for After Effects or something, to make tracking masks and apply tints that way, but even that would be tricky.  There isn't really an easy way to do it since it effectively comes down to painting the old footage, even if a computer provides some basic assistance.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-01T14:44:15.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13151" PostTypeId="2" ParentId="13145" CreationDate="2014-12-01T14:56:00.730" Score="1" Body="&lt;p&gt;For such low quality footage (320 by 240 was quarter resolution even in the early 2000s), I'd probably go with DV format.  It's a major video standard that, while not used much anymore (though HDV is still used), was a major video standard and thus isn't going anywhere quickly (just look at how MPEG-1 has hung around).  It is designed for high quality video in SD formats and was one of the most common standards for that type of video even at the time of your project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many of the MJPEG formats were a pain even when they were new.  I know I had issues with my Matrox MJPEG format content not working without some level of difficulty even when it was current.  DV on the other hand, I've never had a problem with anywhere, including current systems.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-01T14:56:00.730" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13152" PostTypeId="2" ParentId="13143" CreationDate="2014-12-01T15:17:47.353" Score="1" Body="&lt;p&gt;Quite simply, the quality of digital only recently overtook film.  Film is capable of capturing both high resolution (due to it's large size) and high dynamic range (due to it's chemistry).  It allowed for very high quality images captured very quickly which was ideal for the film industry.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Early in the development of high end digital cameras, the primary reasons to shoot digital were cost and efficiency.  Filming on cellulose is expensive and logistically complex.  You need large quantities of film which must be developed before you can see if your shots came out the way you wanted.  This required either beam splitting to be able to use a lower quality video camera in conjunction with the film camera (which reduced light sensitivity), shooting with something that wasn't an exact duplicate of the shot footage or simply shooting from the hip and hoping you didn't have to reshoot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Digital didn't have either of these limitations.  It could be monitored in real time and while there were large data storage requirements for it, it was far, far cheaper than the cost of film.  In many cases, the cameras themselves could also be produced more cheaply as they involved fewer complex moving parts.  It also required less man power to operate as you didn't need as many people to load and process film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Eventually, as digital continued to develop, the technical disadvantages diminished while the cost savings stayed the same or even increased.  This increasingly made digital a strong draw for projects.  Now, in current day, digital sensors pretty much meet or exceed film's quality, range and sensitivity.  Digital is now arguably a technically superior choice in many situations now, however artistic reasons still end up factoring in, such as the desire for film grain or a particular film tint.  These can be applied as digital simulations, but some directors and cinematographers still prefer the natural grain and tint of film (and are willing to pay the premium to work with it.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As others have mentioned, the archival quality of film is also worth considering, though that can be used regardless of original shooting method as it is still quite common for cellulose prints to be made for films that are shot digitally so that they can be distributed to theaters that lack digital projection.  The same technique can be used for high quality archival film copies.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-12-04T16:01:14.790" LastActivityDate="2014-12-04T16:01:14.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13153" PostTypeId="2" ParentId="13147" CreationDate="2014-12-01T16:05:12.187" Score="0" Body="&lt;p&gt;Either buy a dedicated encoder or a better GPU (more or faster CUDA cores) if your effects and encoder support GPU acceleration (in which case the CPU will barely be used.)  Upgrade the CPU if you have effects that can't be offloaded to the GPU.  Don't bother upgrading memory beyond a base level unless you are hitting issues like not having enough room for RAM previews.  Working on video is largely a stream operation and thus does not often have major memory constraints.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-01T16:05:12.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13154" PostTypeId="2" ParentId="13147" CreationDate="2014-12-01T17:36:46.877" Score="1" Body="&lt;p&gt;A GPU will give you the best performance boost, but your rendering software has to be optimized to use the GPU; most is.  Upgrading the CPU is the best option if your software doesn't support GPU rendering.  Upgrading RAM won't give you a noticeable performance if you have 8 or more gigabytes.  You might see some slight increase in performance if you have less than 4 gigabytes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some notes on upgrading components.  With a CPU, higher clock speed isn't necessarily better.  Unlike gaming, rendering can make use of as many cores as are available, so get a quad-core at least.  Put your money in more cores rather than higher clocks (unless you game on the side).  An Intel Core i7 or Intel Xeon is ideal.  With a GPU, Nvidia is best.  Most rendering software takes advantage of CUDA which is specific to Nvidia GPUs.  There is immense amounts of information about 3D rendering times on different GPUs available online, use that to make your decision.  I recommend the GTX 660 or 760.  Quadro isn't worth the money unless you need weeks of nonstop uptime from your GPU.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-12-01T17:36:46.877" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="13155" PostTypeId="2" ParentId="13149" CreationDate="2014-12-01T22:35:33.500" Score="0" Body="&lt;p&gt;Depending what you are exporting for, whether it be later use in Premiere or transfer to another NLE like Final Cut, you can save your footage as an AAF or XML which will keep all the original timeline information unencoded.  You will still need access to the original footage for this.  This is probably a better solution than exporting with alpha and importing to a separate project.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-12-01T22:35:33.500" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="13156" PostTypeId="1" AcceptedAnswerId="13157" CreationDate="2014-12-01T22:50:14.147" Score="3" ViewCount="8605" Body="&lt;p&gt;I'm looking out to buy some storage for a session of logging a lot of tapes, and I want to guage how much space I will need. How much disk space does 1 mini DV tape digitised in HDV take?&lt;/p&gt;&#xA;" OwnerUserId="3813" LastEditorUserId="1950" LastEditDate="2015-02-04T23:45:52.410" LastActivityDate="2015-02-04T23:45:52.410" Title="How much disk space does 1 mini DV tape digitised in HDV take?" Tags="|storage|digitisation|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13157" PostTypeId="2" ParentId="13156" CreationDate="2014-12-02T11:22:49.527" Score="5" Body="&lt;p&gt;mini DV is already digital format. The bitrate is 25Mbps.&#xA;So, 1 hour occupies approximately 11 Gigabytes&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-12-02T11:22:49.527" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13158" PostTypeId="2" ParentId="13052" CreationDate="2014-12-02T16:04:33.920" Score="1" Body="&lt;p&gt;There is no way to do this with WMM, it doesn't support video compositing.  Filelab Video Editor is a free, online program that can do this for you.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-12-02T16:04:33.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13159" PostTypeId="1" CreationDate="2014-12-02T16:49:19.987" Score="1" ViewCount="2128" Body="&lt;p&gt;I'm trying to achieve complex effect with &lt;code&gt;ffmpeg&lt;/code&gt;, but I seem to be failing the syntax of &lt;code&gt;-filter_complex&lt;/code&gt; somewhere. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The goal is to capture part of the screen (with UScreenCapture direct show device) where I display two images side by side (called &lt;code&gt;[bg]&lt;/code&gt; and &lt;code&gt;[key&lt;/code&gt;], or &lt;code&gt;[rgb]&lt;/code&gt; and &lt;code&gt;[alpha]&lt;/code&gt; in the filter chain). On the left is the image itself, on the right its alpha channel, shown in black and white. Then I want to compose that on top of another input (some video input from a file or other capture device... but a file in this case, called &lt;code&gt;[video]&lt;/code&gt; in the filter chain). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To compose the three together, first I blend 'multiply' the alpha with the video, turning to black everything outside the white alpha(dumped into &lt;code&gt;[out1]&lt;/code&gt;), and blend 'multiply' the image background with the negative alpha (dumped into &lt;code&gt;[out2]&lt;/code&gt;). To end the chain I add the two outs with blend mode addition... and dump it to a pipe&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Theoretically it should work but it keeps complaining about stream specifier 'alpha' matching no stream:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -v debug -f dshow -i video=UScreenCapture -i chroma.mp4 -filter_complex \&#xA;&quot;[0:v]split[bg][key]; \&#xA; [bg]crop=720:576:0:0, format=gbrap,setsar=0:1[rgb]; \&#xA; [key]crop=720:576:720:0,format=gray8,setsar=0:1,scale=720:576[alpha]; \&#xA; [1:v]scale=720:576,format=yuv420p,setsar=0:1[video]; \&#xA; [alpha]negate[neg_alpha]; \&#xA; [video][neg_alpha]blend=all_mode='multiply':all_opacity=1[masked_video]; \&#xA; [rgb][alpha]blend=all_mode='multiply':all_opacity=1[masked_3d]; \&#xA; [masked_video][masked_3d]blend=all_mode='addition':all_opacity=1[out]&quot; \&#xA;-map &quot;[out]&quot;-c:v mpeg2video -f avi - | ffplay -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6875" LastEditorUserId="1760" LastEditDate="2014-12-02T18:17:09.813" LastActivityDate="2016-02-09T15:53:39.580" Title="ffmpeg filter_complex problem" Tags="|ffmpeg|effects|filter|video-capture|composing|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13160" PostTypeId="2" ParentId="12789" CreationDate="2014-12-02T16:55:51.370" Score="1" Body="&lt;p&gt;&lt;strong&gt;ffmpeg&lt;/strong&gt; will do everything you request. It can capture both the screen and the video input, compose that to a single image, and stream it... You should look at it... Its a command line utility, but very well documented&lt;/p&gt;&#xA;" OwnerUserId="6875" LastActivityDate="2014-12-02T16:55:51.370" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13161" PostTypeId="1" AcceptedAnswerId="13162" CreationDate="2014-12-02T22:57:01.657" Score="0" ViewCount="127" Body="&lt;p&gt;I've got a bunch of usb external hard drives, but I don't trust them for storing digitised footage. I will have potentially up to 3 TB of footage after digitising. USB can be slow for transferring large files. Is there a faster alternative? and how do I know what I buy is reliable? E.g. is it better to have 3 1 TB disks or 1 3 TB disk? Is it better to go for an internal hard drive in a PC or an external disk drive?&lt;/p&gt;&#xA;" OwnerUserId="3813" LastEditorUserId="1950" LastEditDate="2015-02-04T23:40:27.443" LastActivityDate="2015-02-04T23:40:27.443" Title="What kind of storage for digital footage?" Tags="|storage|digitisation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13162" PostTypeId="2" ParentId="13161" CreationDate="2014-12-02T23:41:39.593" Score="4" Body="&lt;p&gt;Don't trust any hard drive to be reliable! Always backup your footage, you can not trust any HDD, doesn't matter how reputable the manufacturer is. There are always monday batches. HDDs WILL fail at some point, so ALWAYS make backups.&#xA;Bear in mind that you might find a RAID solution nice to use but that's not a real backup, backup drives are disconnected and are not running with your &quot;live&quot; drive, otherwise you might end up with all your drives failing together, including your backups.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recommend going for at least 2x3TB drives, they have a lot better price per GB than 1TB drives. Though 1TB drives tend to last a tad longer on average but thats not worth the much higher price in my opinion. If you want to invest more for higher product life, don't buy standard desktop drives but instead a workstation or server HDD. For Western Digital (WD) that would be the Red/Black/Purple series. Seagate has a few 24/7 Surveilance HDDs that are also more reliable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of speed. I'm guessing you are using USB 2.0. An alternative is USB3.0, the speed of that exceeds the read and write speeds of any HDD. If you are a Mac user you also have Thunderbolt in most newer products but external HDD cases for that are a hell lot more expensive than USB 3.0 cases but they have the advantage of daisy chaining, which means you can connect many external drives to one port without a hub if you need multiple drives connected at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of what is better, external or internal. For HDDs that doesn't really matter anymore in terms of speed, as long as you get a case with a quality controller and dont use USB 2.0 or Firewire. It depends on what suits you better. A case is of course more portable but there are also hot swap cages for backups that are installed like DVD drives.&#xA;Choose what you prefer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And a general advice, never buy a complete solution where you buy a hard drive already enclosed in an external case. You do not know what you get and they are barely cheaper than getting your own case and installing the HDD yourself in a few seconds.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2015-01-19T12:25:25.450" LastActivityDate="2015-01-19T12:25:25.450" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13163" PostTypeId="2" ParentId="13161" CreationDate="2014-12-03T02:07:53.453" Score="2" Body="&lt;p&gt;Personally, I use a 12 TB RAID array composed of 5 3TB drives.  If any one of them fails, I don't lose any data, but if 2 or more fail at the same time, I am up a creak.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other plans can consist of RAID 6, which allows for 2 drives to fail, but at the cost of two drives worth of storage capacity rather than one (so 5 3TB drives would only give you 9TB of storage rather than 12).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, some people prefer either RAID 1, where files are stored on two different drives in full or simply drive mirroring where files are kept on two drives manually and one is moved off site.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Historically, I used to use optical media, and I still occasionally use BD-R disks for some specific backup scenarios, however, in general, the expectation is that HDDs should last longer than burnable optical media (though both do degrade over time.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It ultimately comes down to how much risk you are willing to live with and how much you can afford to spend on backups.  Really complex setups can include things like dual RAID 6 arrays, one kept on site, the other kept off site.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cloud archive storage is also an option where you pay to have your data massively replicated over diverse geographic regions so that no one disaster can wipe out your data, but this generally has a relatively high cost and has high bandwidth needs as well, rather than being a one time cost.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for connections, you can use eSATA, USB 3.0 or Thunderbolt for quick connections.  These will all keep up with the speed of most HDDs that you would want to use for archival purposes.  Size wise, smaller drives are likely more stable as they utilize larger size blocks, but you still want to make sure you go for high quality drives that have a focus on data longevity.  Most HDD manufacturers have drives intended for long term backups, though the amount of benefit you get from these drives is somewhat debated as quality of basic model HDDs has risen significantly in recent years compared to the low point.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-03T02:07:53.453" CommentCount="12" ContentLicense="CC BY-SA 3.0" />
  <row Id="13164" PostTypeId="1" AcceptedAnswerId="13166" CreationDate="2014-12-03T02:25:20.807" Score="16" ViewCount="59962" Body="&lt;p&gt;I believe that libx264 is now capable of doing 10-bit 4:2:2 encodings, but I can't seem to get it to work. I'm using ffmpeg (info below), and I've also tried the x264 encoder directly. I've tried &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i input.mov -c:v libx264 -profile:v high422 -crf 20 -pix_fmt yuv422p output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and that produces nice 4:2:2 output, but only at 8 bit depth,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[libx264 @ 00000000055a9de0] profile High 4:2:2, level 4.0, 4:2:2 8-bit&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and I've tried&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i input.mov -c:v libx264 -profile:v high10 -crf 20 -pix_fmt yuv422p output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and that gives me the error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x264 [error]: high10 profile doesn't support 4:2:2&#xA;[libx264 @ 00000000051ead60] Error setting profile high10.&#xA;[libx264 @ 00000000051ead60] Possible profiles: baseline main high high10 high422 high444&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In the x264 --fullhelp documentation I find:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  --profile &amp;lt;string&amp;gt;      Force the limits of an H.264 profile&#xA;                              Overrides all settings.&#xA;                              [...]&#xA;                              - high10:&#xA;                                No lossless.&#xA;                                Support for bit depth 8-10.&#xA;                              - high422:&#xA;                                No lossless.&#xA;                                Support for bit depth 8-10.&#xA;                                Support for 4:2:0/4:2:2 chroma subsampling.&#xA;                              - high444:&#xA;                                Support for bit depth 8-10.&#xA;                                Support for 4:2:0/4:2:2/4:4:4 chroma subsampling.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So it can do 4:2:2 at 10 bit depth, and even 4:4:4 at 10 bits apparently, but there's no indication of how to set the output bit depth. There is an option &lt;code&gt;--input-depth &amp;lt;integer&amp;gt; Specify input bit depth for raw input&lt;/code&gt; but nothing for output bit depth.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-07-10T14:17:01.993" Title="encoding 4:2:2 in 10-bit with libx264" Tags="|ffmpeg|h.264|libx264|x264|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13166" PostTypeId="2" ParentId="13164" CreationDate="2014-12-03T04:11:49.630" Score="17" Body="&lt;h1&gt;x264 supports both 8-bit and 10-bit outputs, and you don't have to do anything special.&lt;/h1&gt;&#xA;&#xA;&lt;h3&gt;&lt;code&gt;ffmpeg&lt;/code&gt;&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;If using &lt;code&gt;ffmpeg&lt;/code&gt; you can see what pixel formats and bit depths are supported by libx264:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -h encoder=libx264&#xA;  [...]&#xA;  Supported pixel formats: yuv420p yuvj420p yuv422p yuvj422p yuv444p yuvj444p nv12 nv16 nv21 yuv420p10le yuv422p10le yuv444p10le nv20le&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;10-bit pixel formats are: yuv420p10le, yuv422p10le, yuv444p10le.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;&lt;code&gt;x264&lt;/code&gt;&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;You can also check &lt;code&gt;x264&lt;/code&gt; for supported bit depths:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ x264 --help&#xA;  [...]&#xA;  Output bit depth: 8/10&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Previously you had to compile x264 with &lt;code&gt;--bit-depth=10&lt;/code&gt;, and then link your &lt;code&gt;ffmpeg&lt;/code&gt; to either an 8-bit or 10-bit libx264, but that is now unnecessary. See &lt;a href=&quot;https://git.videolan.org/?p=x264.git;a=commit;h=71ed44c7312438fac7c5c5301e45522e57127db4&quot; rel=&quot;noreferrer&quot;&gt;Unify 8-bit and 10-bit CLI and libraries&lt;/a&gt; for more info.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2018-11-29T19:23:12.177" LastActivityDate="2018-11-29T19:23:12.177" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="13167" PostTypeId="1" CreationDate="2014-12-03T05:11:20.310" Score="0" ViewCount="15" Body="&lt;p&gt;I've been making a DVD menu with DVDstyler, and I'm fairly happy with how it looks. However, since space is limited and I have 5 scenes on one page, I want to have a single text box at the bottom that contains the name of the scene that is currently in focus. This doesn't seem possible with DVDstyler. Or is it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, which other DVD authoring software should I acquire in order to have this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="6877" LastEditorUserId="6877" LastEditDate="2014-12-06T03:23:22.873" LastActivityDate="2014-12-06T03:23:22.873" Title="dvd menu with single text field that can change" Tags="|video|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13168" PostTypeId="1" AcceptedAnswerId="13172" CreationDate="2014-12-03T14:30:46.593" Score="0" ViewCount="43" Body="&lt;p&gt;What does the information on DSLR lenses such as the mm range and the f/stop mean in terms of filmmaking, specifically relating to depth-of-field.  Lenses are the only aspect of filmmaking I don't understand and I want to be able to make informed decisions about them.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-12-03T17:19:04.630" Title="What does the information on DSLR lenses mean in terms of filmmaking?" Tags="|dslr|filming|lenses|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13169" PostTypeId="2" ParentId="13119" CreationDate="2014-12-03T15:04:31.460" Score="1" Body="&lt;p&gt;There are cameras/apps that can overlay an image over the live viewer. You align yourself as perfect as possible to your old position and continue your movement. You don't necessarily need to stay still while someone dresses you with new props, the way kaljack describes it also doesn't work with scene changes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Its all a matter of making the right cut and being able to replicate your motions very well. If you would analyze the videos frame by frame you would be able to see a few flaws. Your eye misses a hell lot of details in videos, compared to looking at a still images. Just how regular magic tricks work, you just make everything fast and distracting enough.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-12-03T15:04:31.460" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13170" PostTypeId="2" ParentId="13097" CreationDate="2014-12-03T15:21:36.507" Score="1" Body="&lt;p&gt;To automate things like that you will have to write a script for After Effects. This isn't all that hard, it just requires a bit of programming knowledge. You can see them as more powerful type of expressions that can actually control the whole program not just your comp, so you can mage changes to your layer based on certain other aspects. For example you would make a simple for loop in your case that iterates 5-6 times depending on how many different versions you have and let it go through every possible score you have. You can probably automate it completely with a bit more math.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unless you haven't unticked it during installation you have the Adobe ExtendScript Toolkit installed, which is a code editor where you can write and launch scripts for various Adobe programs. The recommended language to use is Adobes own JavaScript flavor also called &quot;Extend Script&quot; but you can also write in OS specific scripting languages like Apple Script or Windows Batch script.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then take a look at the JavaScript documentation in the help menu and have a look at the After Effects specific scripting guide: &lt;a href=&quot;http://blogs.adobe.com/aftereffects/files/2012/06/After-Effects-CS6-Scripting-Guide.pdf&quot; rel=&quot;nofollow&quot;&gt;http://blogs.adobe.com/aftereffects/files/2012/06/After-Effects-CS6-Scripting-Guide.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some version specific changes and more info can be found here:&#xA;&lt;a href=&quot;http://www.adobe.com/devnet/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;http://www.adobe.com/devnet/aftereffects.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-12-03T15:21:36.507" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13172" PostTypeId="2" ParentId="13168" CreationDate="2014-12-03T17:05:47.067" Score="1" Body="&lt;p&gt;They mean the exact same thing they do in the photography context.  The mm measurement is the focal length.  It determines the angle of view the lens produces (ie, how &quot;zoomed in&quot; it appears.)  Lenses with a range are zoom lenses where the angle of view can be adjusted.  &quot;Zoom&quot; is otherwise not a meaningful thing.  Optically, zoom just means you can change the focal length.  The x numbers associated with consumer zoom lenses are meaningless as they just describe the relationship between the smallest and largest focal length, not how much magnification a lens provides.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;f/ numbers are measurements of how far the aperture of the lens can open.  The smaller the number, the more light the lens lets in and the smaller the depth of field is.  If there is a range of f/ numbers, it means that the lens' maximum aperture (the smallest number it can go to) changes over the focal length range of the lens.  Generally, the largest aperture (smallest f/ number) will be at the wide end (the smallest mm number) and the smallest (largest f/ number) will be at the telephoto end of the lens (largest mm number).  This can actually be a desirable feature to have on lenses used for video as it allows for smooth lighting and depth of field adjustments on the fly without needing to use third party firmwares to make smooth adjustments from the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On many modern lenses, the f/ selection is done on the camera and the aperture is electronically adjusted.  There are, however, lenses that include manual aperture rings that include both notched and unnotched aperture values (ie, they either move freely between different aperture values for smooth adjustments to aperture (sometimes called iris in video) or to be able to precisely select specific values.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that most photographic zoom lenses will not exactly hold focus as you zoom (parafocal), so that is also something to be aware of when zooming optically with a photographic lens.  This is also a big part of why cinema lenses (which are parafocal) cost so much more than similar quality photographic lenses.  You can do just fine using a good photographic lens that is nearly parafocal, you just need to remember to make focus adjustments along with your zooms.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-12-03T17:19:04.630" LastActivityDate="2014-12-03T17:19:04.630" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13173" PostTypeId="1" CreationDate="2014-12-03T20:51:05.833" Score="2" ViewCount="926" Body="&lt;p&gt;Our company has approximately 27,000 hours of video stored on 3/4&quot; video tapes. We have begun the process of converting the video digitally with the current setup:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Sony U-MATIC VO-5850 &amp;amp; Sony UVW-1800 Betacam&lt;/li&gt;&#xA;&lt;li&gt;AJA FS1 &amp;amp; AJA Io XT&lt;/li&gt;&#xA;&lt;li&gt;Macbook Pro&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;We are going through the process tape by tape and need to choose a vendor to assist us in the digital conversion process. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My questions are&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Does anyone have experience with or can recommend a service provider in the New York Metro area? &lt;/li&gt;&#xA;&lt;li&gt;Are there any recommended steps / equipment we should consider incorporating into our current and future process?&lt;/li&gt;&#xA;&lt;li&gt;Is there additional information we should incorporate that would help with selecting a Media Asset Management system?&lt;/li&gt;&#xA;&lt;li&gt;How should we go about storing the digital files inexpensively?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Any help is appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All the best,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Kevin&lt;/p&gt;&#xA;" OwnerUserId="6880" LastEditorUserId="1950" LastEditDate="2015-02-04T23:49:17.153" LastActivityDate="2016-12-30T22:23:10.490" Title="Converting from 3/4&quot; video to digital." Tags="|video|conversion|digital|digitisation|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13174" PostTypeId="1" CreationDate="2014-12-03T20:58:38.603" Score="2" ViewCount="7632" Body="&lt;p&gt;I've a bunch of videos from different sources that i need to export, i'm mainly using Sorenson Squeeze 9 for videos that i just want to transcode to another format or change bitrates, and Premiere Pro for editing and exporting videos, the problem is that both programs change the color of video, in other words, the exported file has a different color if compared to the original file. But i actually don't had touched any color parameters on both softwares. I  tried to compensate that difference with color effects but since i don't know nothing about color i reached no results.&#xA;Anyone have a clue why this is just happening?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Original File:&#xA;&lt;a href=&quot;https://images.creativecow.net/287027/originalfile.png&quot; rel=&quot;nofollow&quot;&gt;https://images.creativecow.net/287027/originalfile.png&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Exported File:&#xA;&lt;a href=&quot;http://images.creativecow.net/287027/exportedfile.png&quot; rel=&quot;nofollow&quot;&gt;http://images.creativecow.net/287027/exportedfile.png&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6881" LastActivityDate="2018-09-23T21:38:51.317" Title="Color shift after exporting!" Tags="|color-correction|premiere|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13175" PostTypeId="2" ParentId="13173" CreationDate="2014-12-03T21:09:36.720" Score="1" Body="&lt;p&gt;For that kind of quantity, you probably want to look in to a robotic solution that can load and transfer tapes unattended in to a cataloged system.  Doing a quick search showed &lt;a href=&quot;http://www.fpdigital.com/solutions/samma/sammarobot&quot; rel=&quot;nofollow&quot;&gt;SAMMA&lt;/a&gt; as one promising option.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't have any direct experience with this particular kind of problem, but I can't imagine that manual tape loading or buying an entire robotic system could be cheaper than hiring someone with a robot to handle it.  SAMMA does appear to have U-MATIC support.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-03T21:09:36.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13176" PostTypeId="2" ParentId="13143" CreationDate="2014-12-03T22:11:43.803" Score="3" Body="&lt;p&gt;The quality of the image is a big part of why film has been preferred for so long.  This Wikipedia article (&lt;a href=&quot;http://en.wikipedia.org/wiki/Digital_versus_film_photography&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/Digital_versus_film_photography&lt;/a&gt;) really outlines well the technical advantages.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, you asked about favoritism between the two formats. I think another consideration is cost, familiarity, and accessibility. When I got my bachelor's in film/video in the late 1990s, I focused on learning how to shoot video, rather than 16mm, because I knew eventually, digital video would supplant film. I thought something like this was going to happen: that digital imaging would make filmmaking far more accessible to everyone.  Since I was also a computer nerd and more of an early adopter than I then realized, I overestimated how quickly this transition would take place, both at my school (where only a favored few were given access to computers with the horsepower to render Adobe Premiere, or allowed to use our singular Avid editor) and in the world at large. Meanwhile, my classmates who were shooting traditional film were already able to produce a much, much better looking product, and over time some of them stuck with film, because that's simply how they were trained and most comfortable. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;By the same token, the time I've spent producing corporate video, taught me about the inertia that can crop up, when standardization of equipment plays a role. For instance, my former workplace only switched from SD to HD cameras about two years ago, and absolutely, we had the budget to make that change a lot earlier. Upgrading was a difficult decision that had to be planned out over years. Consider that it's one thing to pick a tool that allows you to edit either digitized film or digital video (FCP, Premiere, Avid), and invest in it; it's another thing to decide you're going to switch from traditional film cameras to digital film cameras. What will it cost you in terms of a learning curve for your production personnel? What other equipment might you have to replace? How will it change your workflow?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, I learned a ton from a former colleague that recently retired, in his mid-60s; he was a consumate cameraman who had been working in film and TV longer than I've been alive. He could and did handle change, and move from film to SD, to HD, but still, there were areas relating to digital video he just didn't care to delve into if he didn't have to. That doesn't make him an old fogey, but someone who carefully considered the payoff of investing his time in learning new things. Because he had so many years of experience, the vice-president of our organization considered him to be the most important decision-maker about the direction of our equipment; he was very conservative. Now transfer that to thousands of other workplaces where there's not a lot of discretionary cash to gamble on the next big thing.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And, as late as 7 years ago, copies of &quot;Film School Confidential&quot; were available, a book that outlined the atmosphere and equipment at the major film schools offering MFAs. Many schools were described as having a limited amount of film equipment that students would compete over; at some top schools, only a handful of students would create &quot;calling card&quot; films in the second or third years, with others relegated to crewing. I can't be sure, but I believe these schools had similar attitudes to the new technology, as my alma mater did: rather than burning the budget yearly or every other year on the newest digital cameras which would become obsolete rapidly, or didn't quite have the dynamic range users were wanting, many of these schools continued to stick with traditional film equipment - cameras, Moviolas, etc - for the vast majority of their students. Just as my former employers hung on with standard definition cameras as long as they could. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And inertia also plays a role when you consider the people who are training young filmmakers in more formal, traditional programs. I actually went to a less traditional program that emphasized documentary and experimental filmmaking, but some of my former professors apparently still prefer film, or only moved over to digital a few years ago, and that's not a surprise to me. Some folks decide they want to stick with what they know, and use that tool or format to refine their art. One of my old professors was at one time known for her &quot;cutting edge&quot; video art, but by the time I met her, I felt she was not at all open to new technology; the last I heard she was working on a documentary shot in the far more expensive, traditional film format, and she still has an AOL email address, for cripes' sake.  &lt;/p&gt;&#xA;" OwnerUserId="6817" LastActivityDate="2014-12-03T22:11:43.803" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13177" PostTypeId="1" CreationDate="2014-12-04T12:47:42.350" Score="1" ViewCount="3730" Body="&lt;p&gt;I want to change the height of a rectangle bottom - top from 0 to 1080px starting from position -1080 to 0. How do I do that? By default the transform does not have a size. It does have a scale but it's blurring out the edges when I'm trying to do the same with it.&lt;/p&gt;&#xA;" OwnerUserId="6883" LastActivityDate="2014-12-05T16:15:24.377" Title="How to animate the size (width and height) of a rectangle animation in after effects?" Tags="|after-effects|animation|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13178" PostTypeId="1" AcceptedAnswerId="13180" CreationDate="2014-12-04T14:09:42.180" Score="1" ViewCount="3979" Body="&lt;p&gt;I have an mp4 file that will not play video, only audio, on QuickTime (10.4 on Yosemite) - and by extension does not show the correct icon in Finder not will it play properly on iOS devices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Others play fine. Video encoding is H264, audio is AAC, so it &lt;em&gt;should&lt;/em&gt; work. I tried remuxing it with ffmpeg, no luck. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mac console shows &quot;QuickTime Player: ava error: fail in SeqAndPicParamSetFromCFDictionaryRef&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Happy to remux (prefer not to re-encode, but I will if I have to) using ffmpeg, mp4box, whatever.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below is file information:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA; * Movie Info *&#xA;    Timescale 600 - Duration 02:15:51.210&#xA;    Fragmented File no - 2 track(s)&#xA;    File Brand M4A  - version 0&#xA;    Created: GMT Sun Nov 27 14:25:55 2011&#xA;&#xA;File has root IOD&#xA;Scene PL 0xff - Graphics PL 0xff - OD PL 0xff&#xA;Visual PL: AVC/H264 Profile (0x15)&#xA;Audio PL: AAC Profile @ Level 2 (0x29)&#xA;No streams included in root OD&#xA;&#xA;Track # 1 Info - TrackID 1 - TimeScale 48000 - Duration 02:15:51.210&#xA;Media Info: Language &quot;Undetermined&quot; - Type &quot;soun:mp4a&quot; - 382088 samples&#xA;MPEG-4 Config: Audio Stream - ObjectTypeIndication 0x40&#xA;MPEG-4 Audio AAC LC - 2 Channel(s) - SampleRate 48000&#xA;Self-synchronized&#xA;&#xA;Track # 2 Info - TrackID 2 - TimeScale 24000 - Duration 02:15:51.143&#xA;Media Info: Language &quot;Undetermined&quot; - Type &quot;vide:avc1&quot; - 195432 samples&#xA;MPEG-4 Config: Visual Stream - ObjectTypeIndication 0x21&#xA;AVC/H264 Video - Visual Size 1216 x 544 - Profile High @ Level 4.1&#xA;NAL Unit length bits: 24&#xA;Pixel Aspect Ratio 1:1 - Indicated track size 1216 x 544&#xA;Synchronized on stream 1&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I cannot imagine it is the order of tracks, audio before video. I have a suspicion it has something to do with the ftyp, but unsure?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After the suggestion by #ProfessorSparkles below, I changed the Profile Level using subler... but it still doesn't work, same problem. Sound is fine, no video. Here is the updated mp4 info:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;* Movie Info *&#xA;    Timescale 600 - Duration 02:15:51.210&#xA;    Fragmented File no - 2 track(s)&#xA;    File Brand M4A  - version 0&#xA;    Created: GMT Sun Nov 27 14:25:55 2011&#xA;&#xA;File has root IOD&#xA;Scene PL 0xff - Graphics PL 0xff - OD PL 0xff&#xA;Visual PL: AVC/H264 Profile (0x15)&#xA;Audio PL: AAC Profile @ Level 2 (0x29)&#xA;No streams included in root OD&#xA;&#xA;Track # 1 Info - TrackID 1 - TimeScale 48000 - Duration 02:15:51.210&#xA;Media Info: Language &quot;Undetermined&quot; - Type &quot;soun:mp4a&quot; - 382088 samples&#xA;MPEG-4 Config: Audio Stream - ObjectTypeIndication 0x40&#xA;MPEG-4 Audio AAC LC - 2 Channel(s) - SampleRate 48000&#xA;Self-synchronized&#xA;Alternate Group ID 1&#xA;&#xA;Track # 2 Info - TrackID 2 - TimeScale 24000 - Duration 02:15:51.143&#xA;Media Info: Language &quot;Undetermined&quot; - Type &quot;vide:avc1&quot; - 195432 samples&#xA;MPEG-4 Config: Visual Stream - ObjectTypeIndication 0x21&#xA;AVC/H264 Video - Visual Size 1216 x 544 - Profile Main @ Level 3.1&#xA;NAL Unit length bits: 24&#xA;Pixel Aspect Ratio 1:1 - Indicated track size 1216 x 544&#xA;Synchronized on stream 1&#xA;&lt;/pre&gt;&#xA;" OwnerUserId="6884" LastEditorUserId="6884" LastEditDate="2014-12-04T15:13:03.047" LastActivityDate="2014-12-04T15:13:03.047" Title="mp4 file will not play video, only audio on quicktime, fine on VLC" Tags="|file-formats|mp4|quicktime|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13179" PostTypeId="1" CreationDate="2014-12-04T14:21:50.813" Score="1" ViewCount="653" Body="&lt;p&gt;My question is simple, is it possible to add images as highlights to buttons with Adobe Encore?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have just tried it and it appears a white box instead of my image when I hover buttons in my DVD menu. I've been searching around and didn't find any solution. Found some people with the same problem but I don't find anywhere a solution for this problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did my menu in Photoshop as named the image layer as &lt;code&gt;(=1) Hightlight&lt;/code&gt; so it would appear when I hover buttons and appears the white box instead of the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best regards.&lt;/p&gt;&#xA;" OwnerUserId="6885" LastActivityDate="2015-03-04T17:22:49.693" Title="Adobe encore - Highlight button with image" Tags="|adobe|encore|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13180" PostTypeId="2" ParentId="13178" CreationDate="2014-12-04T14:53:35.160" Score="2" Body="&lt;p&gt;You will have to re-encode or use a tool to change your h264 level, f.e. this one &lt;a href=&quot;http://coolsoft.altervista.org/en/h264leveleditor&quot; rel=&quot;nofollow&quot;&gt;http://coolsoft.altervista.org/en/h264leveleditor&lt;/a&gt; but its windows only, there might also be a Mac tool that does the same. Your video is encoded with High Profile Level 4.1. iOS only support Level 3.1 and probably the same with QuickTime on Yosemite.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-12-04T14:53:35.160" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="13181" PostTypeId="2" ParentId="13177" CreationDate="2014-12-04T15:19:55.077" Score="0" Body="&lt;p&gt;First it's important to know which version of After Effects you use. It might be different from one version to another. But in general all parameters of an element can be changed over time. If when you select an element there is a small stop-clock you can select to change this parameter for different positions in your timeline. When you activate the stop-clock you can change the position, height and so on for every point in you timeline.&#xA;It's very hard to explain this just by words. You can learn using AfterEffects best by watching some tutorials on YouTube ;)&lt;/p&gt;&#xA;" OwnerUserId="6888" LastActivityDate="2014-12-04T15:19:55.077" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13182" PostTypeId="2" ParentId="13092" CreationDate="2014-12-04T15:25:39.357" Score="1" Body="&lt;p&gt;I think the best tool for manual logging is Adobe Prelude. I'm not to deep into Prelude. But I guess as it is also integrated with Premiere you might capture your footage directly to Prelude and add keywords and marks there. Prelude is build to work completely with the keyboard, so you can go through the footage very fast. I guess this might be the best way to log your footage and add tags and information to it. You than can also easily import the footage to Premiere.&lt;/p&gt;&#xA;" OwnerUserId="6888" LastActivityDate="2014-12-04T15:25:39.357" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13183" PostTypeId="2" ParentId="13179" CreationDate="2014-12-04T16:08:10.347" Score="1" Body="&lt;p&gt;Sounds like it may be some kind of a processing glitch.  Menus don't actually do an overlay when you mouse over them, they display a different image.  If you export one button with highlight and one without, you can specifically set the hover image of the button to be the one with the highlight.  You specifically have options for selected, unselected and hover.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need more detail about how to do this specifically, I can put together some screenshots when I get to my editing workstation, but I seem to recall it being relatively easy to find in the properties of the button.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-04T16:08:10.347" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13185" PostTypeId="1" AcceptedAnswerId="13186" CreationDate="2014-12-04T19:28:19.330" Score="1" ViewCount="1033" Body="&lt;p&gt;&lt;strong&gt;Background information&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm going to create a audio/visual production with two camera's. One camera uses 1920 x 1080 with 25fps rate. The other camera is the GoPro camera. There are several video settings for the GoPro camera, these are: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;3840 x 2160 with 15 or 12.5fps&lt;/li&gt;&#xA;&lt;li&gt;2704 x 1520 with 30, 25, or 24fps&lt;/li&gt;&#xA;&lt;li&gt;1920 x 1440 with 48, 30, 25, or 24fps&lt;/li&gt;&#xA;&lt;li&gt;1920 x 1080 with 60, 50, 48, 30, 25, or 24fps&lt;/li&gt;&#xA;&lt;li&gt;1280 x 960  with 100, 60, or 50fps&lt;/li&gt;&#xA;&lt;li&gt;1280 x 720  with 120, 100, 60, 50, 30 or 25fps&lt;/li&gt;&#xA;&lt;li&gt;848 x 480  with 240fps &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;After recording I'm going to merge the recorded footage from both camera's together in Adobe Premiere Pro. The settings I will use for the project are 1920x1080, 25fps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My question&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which video setting would you recommend me for the GoPro? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could go for the 1920x1080 with 25fps rate. But than again I have the possibility to use 50fps. But than again, would the 50fps footage give the 25fps project somehow a quality loss?&lt;/p&gt;&#xA;" OwnerUserId="5624" LastActivityDate="2014-12-04T20:08:09.790" Title="Footage of different framerates in Adobe Premiere Pro" Tags="|premiere|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13186" PostTypeId="2" ParentId="13185" CreationDate="2014-12-04T20:08:09.790" Score="2" Body="&lt;p&gt;It depends on the shutter speed being used on the other camera.  If the shutter speed is faster than 1/50th of a second, then shooting at 50fps and discarding every other frame would be the same as shooting at 25fps, but it means that your shutter speed must be faster than 1/50th of a second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If light isn't an issue, then the faster frame rate won't have an impact, but if light may require a higher ISO and degrade the footage unnecessarily.  Similarly, if you aren't planning to need any slow motion shots, then there isn't really any great advantage to shooting at 50fps as you gain nothing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Overall, say go with 1080p and 25fps on the GoPro unless you need to do slow motion and have sufficient light, in which case go 50fps on the second camera (or better yet, do 25fps for all but the slow motion shots and move to 60fps for the slow motion shots since the frame rate will be altered anyway.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-04T20:08:09.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13188" PostTypeId="1" CreationDate="2014-12-05T04:28:23.327" Score="6" ViewCount="4441" Body="&lt;p&gt;I record footage with OBS and do voiceovers recorded in audacity. I process the audio in audacity, then sync the audio with the video. However, since I started doing it this way, the audio and video are not syncing up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It starts out fine with a definite sync point (countdown from 3 and then I do something like click on something) but as the video progresses, the video starts lagging behind the audio. near the end of a 20 minute video, the disparity is nearly 3 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Someone brought up framerate. the footage is 30 FPS and Lightworks lists the audio as 24 FPS. The mic is set to 44100 Hz as well, if that helps.&lt;/p&gt;&#xA;" OwnerUserId="6894" LastActivityDate="2015-01-11T13:09:20.890" Title="Video desyncs with the audio over time" Tags="|editing|audio|sync|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13189" PostTypeId="2" ParentId="13177" CreationDate="2014-12-05T07:49:47.540" Score="0" Body="&lt;p&gt;If you're working in an HD comp (1920x1080), and create a rectangle that fills the screen,then a horizontal scale of 100% equates to 1920, and a vertical scale equates to 1080. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think you might be having a problem with your anchor points. If you want to scale from one corner of a rectangle, then you need to move the shape's anchor point to a corner before you scale it up or down. Have a read about the &quot;pan behind&quot; tool. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-12-05T07:49:47.540" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13190" PostTypeId="2" ParentId="13188" CreationDate="2014-12-05T09:12:20.477" Score="1" Body="&lt;p&gt;Make sure the sample rates in both systems are the same. I don't know what OBS is, but if I was using Final Cut for video editing, I would make my project 48kHz, and make sure any external recordings were also at 48kHz. Even with the same sample rates, audio will drift over periods of more than a few minutes. Either sync it up manually in chunks, or use something like Pluralize to do it for you. (Or have a fixed sample clock  between all your devices when you record- probably not possible)&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-12-05T09:12:20.477" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13191" PostTypeId="2" ParentId="13188" CreationDate="2014-12-05T11:40:00.300" Score="1" Body="&lt;p&gt;Interesting that LW shows it as '24 fps' since audio technically doesn't have a frame rate, which is a video concept.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As @tomh suggests, make sure the sample rates for the project is 48K, and that you export a 48K WAV file from Audacity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that doesn't cure, you can use Audacity to 'pre-stretch' the audio by some percentage. Find sync points near the beginning and end of the piece (the longest stretch you can), then compute the difference as a ratio. Using 'Effect..Change Tempo', apply the inverse of that ratio. It's possible that this number will apply for everything you do, so write it down... (-:&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-12-05T11:40:00.300" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13192" PostTypeId="2" ParentId="13174" CreationDate="2014-12-05T14:28:20.013" Score="1" Body="&lt;p&gt;I think this could be to do with &quot;color space&quot;. I've had similar issues with exporting videos from After Effects. Exporting using &quot;REC 709&quot; Color space usually gives me the colours I expect. You can read more about how Adobe handle different Color spaces here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://wwwimages.adobe.com/content/dam/Adobe/en/devnet/aftereffects/articles/color_management_workflow/ae_color_mgmt_wkflow.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://wwwimages.adobe.com/content/dam/Adobe/en/devnet/aftereffects/articles/color_management_workflow/ae_color_mgmt_wkflow.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(PDF is offline, archived here: &lt;a href=&quot;https://web.archive.org/web/20170830000622/http://wwwimages.adobe.com/content/dam/Adobe/en/devnet/aftereffects/articles/color_management_workflow/ae_color_mgmt_wkflow.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://web.archive.org/web/20170830000622/http://wwwimages.adobe.com/content/dam/Adobe/en/devnet/aftereffects/articles/color_management_workflow/ae_color_mgmt_wkflow.pdf&lt;/a&gt; )&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="23234" LastEditDate="2018-09-23T21:38:51.317" LastActivityDate="2018-09-23T21:38:51.317" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="13193" PostTypeId="2" ParentId="13098" CreationDate="2014-12-05T15:13:57.993" Score="3" Body="&lt;p&gt;So it turns out after a lot of research that this is the desired behaviour for Apple's AVPlayer component. Basically, my Internet is so slow here where I live, the component waits until the video has fully downloaded before it starts playing. The best and recommended way around this, is to generate alternate streams for the video before trying to play it. Here is documentation on the m3u8 format and HLS streaming guidelines:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://developer.apple.com/library/ios/documentation/networkinginternet/conceptual/streamingmediaguide/Introduction/Introduction.html&quot; rel=&quot;nofollow&quot;&gt;https://developer.apple.com/library/ios/documentation/networkinginternet/conceptual/streamingmediaguide/Introduction/Introduction.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I followed the above and generated two extra streams from the original: a 200kbps, 400kbps, and playback now starts almost immediately. Your mileage may vary depending on the speed of your Internet connection.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, if you don't have to use something like HLS, you can use plain mp4 files. Make sure that they have &lt;code&gt;-faststart&lt;/code&gt; enabled if you are processing the file with ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt; To simplify this for other developers, I have released an SDK that is able to upload your mov or mp4 files to a cloud service and convert the file to an HLS compatible stream. The SDK can be installed via Cocoapods and you can access documentation and the framework here: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/Storie/StorieCloudSDK&quot; rel=&quot;nofollow&quot;&gt;https://github.com/Storie/StorieCloudSDK&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6824" LastEditorUserId="6824" LastEditDate="2016-06-27T17:10:57.790" LastActivityDate="2016-06-27T17:10:57.790" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13194" PostTypeId="2" ParentId="13177" CreationDate="2014-12-05T16:15:24.377" Score="1" Body="&lt;p&gt;Why not just start with a full screen square and simply position it off the bottom of the frame.  You can then simply animate it moving up.  Even if you have something on the square, it will generally look better to slide in than stretch in.  If there isn't anything on the square, it will look the same either sliding or stretching in if I understand your scenario correctly.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-05T16:15:24.377" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13195" PostTypeId="2" ParentId="13188" CreationDate="2014-12-05T16:21:10.957" Score="0" Body="&lt;p&gt;The other answers both cover the ideal case pretty well, but there is another less ideal case.  Depending on your type of video, it is possible you have either bad clock sync or dropped frames.  Bad clock sync will hopefully be corrected by the stretching method Jim Mack mentioned, but if the clock is irregular (pretty unlikely in this day) then you could have something pretty much unsalvageable without a lot of manual effort.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The more common issue that can be seen is dropped frames.  In the event that either the camera, or in the case of anything on tape, the transfer lagged, then frames can be dropped from the video.  In the event of dropped frames, audio can drift when the missing video information is skipped.  For these cases, you have to try to identify where the dropped frames are and drop audio from those points to stay consistent with the video.  Again, this is a pretty painstaking and manual process, so I hope that one of the other answers helps before you get stuck with one of these non-ideal scenarios.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-05T16:21:10.957" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13196" PostTypeId="1" CreationDate="2014-12-05T22:55:25.010" Score="4" ViewCount="11175" Body="&lt;p&gt;Suppose I have some footage at 30FPS that I'd like to have a copy at 60FPS with tween frames generated by interpolation (at this point I don't care too much about potential quality or artifacts.) And suppose I'm working on a tight budget, so I'd need stand-alone software that's free, or free plugins to other software that's free&lt;sup&gt;1&lt;/sup&gt;. What options are available at this (lack of) price point?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Through my own Googling, the only thing I've been able to find is: &lt;a href=&quot;http://www.spirton.com/convert-videos-to-60fps/&quot; rel=&quot;nofollow&quot;&gt;Convert videos to 60fps&lt;/a&gt;. Unfortunately the software doesn't work for me (after installation, it won't open! :D), and after tons of troubleshooting I'd rather look for a different method.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that there are things like Twixtor out there, but right now they're beyond my budget, so any suggestions would be appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;sup&gt;1. I'm willing to hear solutions that do involve money, but the cheaper the better!&lt;/sup&gt;&lt;/p&gt;&#xA;" OwnerUserId="6897" LastActivityDate="2015-07-09T07:12:28.290" Title="Are there any free ways to increase the framerate of a video?" Tags="|framerate|freeware|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13198" PostTypeId="1" CreationDate="2014-12-06T14:38:17.033" Score="0" ViewCount="120" Body="&lt;p&gt;I am planning to create a DIY &lt;a href=&quot;http://en.wikipedia.org/wiki/Clapperboard&quot; rel=&quot;nofollow&quot;&gt;slate/clapperboard&lt;/a&gt;. What would be the ideal wood for the clapper? I believe that the main qualities of the ideal wood would include, but not limited to, the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Toughness : the ability to withstand lots and lots of clapping.&lt;/li&gt;&#xA;&lt;li&gt;Sound : it should make the snappiest and loudest sound compared to other woods; although, I am not sure whether there is a major difference among the types of woods.&lt;/li&gt;&#xA;&lt;li&gt;Budget : Of course, we should always try to keep our costs as low as possible.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What type of wood I should be looking for?&lt;/p&gt;&#xA;" OwnerUserId="6099" LastActivityDate="2015-01-07T16:19:01.957" Title="The ideal wood for the DIY slate?" Tags="|diy|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="13200" PostTypeId="2" ParentId="12964" CreationDate="2014-12-07T23:17:32.043" Score="4" Body="&lt;p&gt;When I was first looking for a good portable camera, the LX100 was on the top of the list. When looking at research, the LX100 provides great IQ (at 4k) in a good compact device for the price.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have not already looked at these sites, I would suggest looking up TheCameraStore review on YouTube, CameraLabs, Dpreview, and EOSHD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;LX100 does also have many limitation. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;With a fixed lens system, your focal range is set to certain range. This may not be an issue initially, but can hamper longer term use of the camera.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Having a smaller camera brings up the issue ergonomics and vibrations during handling. In the efforts of compacting the size, there is no flippable screen.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If I remembered correctly, the LX100 has a clicky control ring. This may causes issues when your are trying to focus pull smoothly and cause background audio you will need to clean up. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;All the other issues you mentioned about no mic jack and limited picture profiles can be all a concern. (I do believe it has a hotshoe, because it comes with a separate flash unit).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Shallow DOF, while great for a camera this size, will be less than the Rebel with APC sized sensor. With the lack of a tele range for your lens, this will compound the limitations.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;My question for you; is 4k needed for your workflow? With the shift of displays going 4k, there is something to be said about future proofing your work. If you are just getting starting in videography, 4k maybe more trouble that its worth. If you want to output 4k content, you will needed a powerful computer for editing, 4k monitor, and good amount of storage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need the 4k (and want the lowest price), LX100 is a great choice. If you have more flexibility in your budget, I would also suggest looking at the Samsung NX1 and the Panasonic GH4.&lt;/p&gt;&#xA;" OwnerUserId="6901" LastEditorUserId="2836" LastEditDate="2014-12-08T15:45:37.200" LastActivityDate="2014-12-08T15:45:37.200" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13201" PostTypeId="1" AcceptedAnswerId="13209" CreationDate="2014-12-07T14:41:59.920" Score="1" ViewCount="88" Body="&lt;p&gt;I was reading about how slowly a lot of motion picture is transitioning to digital from film and the relative advantages &amp;amp; limitations of each medium etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering, are there directors who shoot mixed? Like some scenes in film and others digitally, essentially exploiting the best of each medium depending on what the conditions of the actual shot are?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or is the logistics of doing such a mix too complicated and not worth it. Is the post-processing flow amenable to mixing film and digital? &lt;/p&gt;&#xA;" OwnerUserId="6905" OwnerDisplayName="curious_cat" LastActivityDate="2014-12-08T16:08:46.973" Title="Commercial Movies: Film vs Digital" Tags="|video|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13202" PostTypeId="2" ParentId="13196" CreationDate="2014-12-08T02:33:35.017" Score="5" Body="&lt;p&gt;what about creating image sequences and then using somehting like &lt;a href=&quot;http://www.imagemagick.org/script/composite.php&quot; rel=&quot;nofollow&quot;&gt;ImageMagick&lt;/a&gt; to interpolate between the frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So (assuming bash, zsh or similar shell) this should work:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;mkdir tempdir&#xA;mkdir outputdir&#xA;ffmpeg -i input.mov -f image2 tempdir/temp_%06d.png #create a png sequence&#xA;len=$(ls -1 tempdir|wc -l) #count the files in temp dir&#xA;for f in {0..$len} &#xA;do&#xA;    old=printf %06d $f #number of current frame&#xA;    next=printf %06d $((f+1)) #number of next frame&#xA;    new=printf %06d $((f*2)) #number of output frame from current&#xA;    newInt=printf %06d $((new+1)) #number of output frame from interpolation&#xA;    convert -morph tempdir/temp_${old}.png tempdir/temp_${next}.png outputdir/output_${newInt}.png #create the intermediate frame with imagemagick&#xA;    mv tempdir/temp_${old}.png outputdir/output_${new}.png #rename the old frame with a new number and move it to the output dir&#xA;done&#xA;mv tempdir/temp_${next}.png outputdir/output_${new}.png #move the last frame&#xA;ffmpeg -i outputdir/output_%06d.png &amp;lt;&amp;lt;codec etc. options here&amp;gt;&amp;gt; output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;basically that creates a temp folder, makes a png image sequence from ffmpeg, creates an intermediate by morphing the two frames into each other using imagemagick, and turns the output image sequence into a movie. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this is too slow you could do a quick and dirty interpolation by just blending the two frames together. In that case you'd use &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;composite -dissolve 50 tempdir/temp_${old}.png tempdir/temp_${next}.png outputdir/output_${newInt}.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;in place of the &lt;code&gt;convert -morph...&lt;/code&gt; line&#xA;Obviously you'll need to have imagemagick and ffmpeg installed, and you have to substitute your input and output filenames and preferred output video file format and codec etc options.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="6685" LastEditDate="2015-07-09T07:12:28.290" LastActivityDate="2015-07-09T07:12:28.290" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13203" PostTypeId="2" ParentId="13173" CreationDate="2014-12-08T03:22:49.770" Score="2" Body="&lt;p&gt;There are lots of things to consider before committing to an operation of this size, but there is also an imperative to act quickly.  Given that it's SP Betacam and Umatic the tapes are probably beginning to reach the end of their playable life. In a decade they may all be paperweights.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A good place to start is the U.S. &lt;a href=&quot;http://www.digitizationguidelines.gov/&quot; rel=&quot;nofollow&quot;&gt;Federal Agencies Digitization Guidelines Initiative&lt;/a&gt; in particular this report on &lt;a href=&quot;http://www.digitizationguidelines.gov/guidelines/video_reformatting_compare.html&quot; rel=&quot;nofollow&quot;&gt;Digital File Formats for Videotape Reformatting&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In N.Y. I know of a consultancy called &lt;a href=&quot;http://www.media-matters.net/&quot; rel=&quot;nofollow&quot;&gt;Media Matters&lt;/a&gt;. We haven't used them, but we have used a report they produced as a guide in our digitisation process.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-12-08T03:22:49.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13205" PostTypeId="1" AcceptedAnswerId="13208" CreationDate="2014-12-08T11:58:32.207" Score="1" ViewCount="31" Body="&lt;p&gt;I'm logging some DV tapes. Currently literally just capturing into Premiere as AVI DV capture format, and writing what is happening and the timecode with pen and paper. I've got the feeling I'm going to have to go back and chop up the footage later. I've got 50 tapes so I want to streamline my workflow early on so I don't leave myself with mammoth tasks that I could have avoided. Plus I'm new to this ...&lt;/p&gt;&#xA;" OwnerUserId="3813" LastActivityDate="2014-12-08T16:02:16.900" Title="Should I cut footage into clips whilst I'm logging it?" Tags="|capturing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13206" PostTypeId="2" ParentId="13201" CreationDate="2014-12-08T12:58:31.787" Score="3" Body="&lt;p&gt;Not in modern terms, but the BBC did this for years. Many a series was shot multicam video on a sound stage, with any location footage shot 16mm, for portability. The blend was anything but seamless. My take on this was a mock scene from such a series... Woman: &quot;What's it like outdoors?&quot; Man, peering through window: &quot;Hmmm. It's a bit soft and quite grainy.&quot;&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-12-08T12:58:31.787" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13207" PostTypeId="2" ParentId="13198" CreationDate="2014-12-08T15:42:24.633" Score="2" Body="&lt;p&gt;I'm not really sure there is an ideal wood.  In fact, it really doesn't even need to be wood.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The entire point of a clapper is simply to make an audible sound that comes from an easily visible source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As long as the sound is loud, short and crisp you are fine.  If you wanted, you could have your three year old be the clapper instead and just give him two pots to bang together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The convention of a clapper is simply because it is a convenient device that also allows for indicating other meta data about the shot.  The clapper part is just included so that you can also capture the audio sync data without needing another device.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-08T15:42:24.633" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13208" PostTypeId="2" ParentId="13205" CreationDate="2014-12-08T16:02:16.900" Score="1" Body="&lt;p&gt;There is no right or wrong answer here.  I've done both before for projects of your scale.  There are factors that work in favor of both.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For recording whole tapes while you take notes by hand, the pros are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Least amount of calendar time to capture and edit.&lt;/li&gt;&#xA;&lt;li&gt;Technically simple.&lt;/li&gt;&#xA;&lt;li&gt;Requires detailed viewing and review of footage, which may catch issues earlier. (Note, you still CAN review footage in detail for clip logging, but you also don't have to.)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Cons are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Requires your attention for the entire length of capture to make sure you don't miss anything.&lt;/li&gt;&#xA;&lt;li&gt;Doesn't allow for as easy use of DV tapes as a backup mechanism. (You can save the start and stop time for the whole tape, but can't import a single clip.)&lt;/li&gt;&#xA;&lt;li&gt;Requires manual splitting of clips after, however this operation is fairly quick as you have a listing of time codes on which to split.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Conversely, for batch logging of individually logged clips the pros are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;You can fast forward through tapes to get the clip identification done more quickly that watching all the footage in real time during capture.&lt;/li&gt;&#xA;&lt;li&gt;Allows you to easily go back and double check a missed transition's time without interfering with capture.&lt;/li&gt;&#xA;&lt;li&gt;Requires only periodic presence during actual capture.&lt;/li&gt;&#xA;&lt;li&gt;Since meta data for clips is electronic and based on exact time code, DV tapes function as an additional backup.  Footage can be re-captured in a frame accurate manner in the future.&lt;/li&gt;&#xA;&lt;li&gt;Clips come out as distinct files with well documented meta data.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Cons of individual logging:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Requires more time overall.  You aren't actually capturing while you are identifying the clips and the extra time you spend up front is generally longer than you would have spent splitting clips after, both due to the seek time for tapes as well as the time to enter electronic meta data instead of simply writing it down during playback.&lt;/li&gt;&#xA;&lt;li&gt;More complicated technically.  You need to actually fill out the meta data for the files to make most effective use of this logging technique and it is more complicated/time consuming than simply writing it down on a pad of paper.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Overall, it really comes down to how organized you want the data to be and how much time you have.  If you need the project done in the minimum amount of calendar time, capture it all and log as you go.  You can alternately do scene breaks as you go as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you more calendar time, are sure of your captured footage, want some additional long term organization and don't want to have to supervise it attentively for 50+ hours, then use clip logging in advance and batch capture the tapes to fill out the clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've moved on to a file based workflow, but when I was shooting DV, I would almost exclusively capture tape at a time for live events (needed fast turn around) and batch log for anything that wasn't a live event (wanted the organization).  I'd also typically still setup a batch log even for the full tape capture, just to maintain the DV backup of the video, even if it then required capturing the entire tape if I needed to recover the footage.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-08T16:02:16.900" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13209" PostTypeId="2" ParentId="13201" CreationDate="2014-12-08T16:08:46.973" Score="1" Body="&lt;p&gt;Never say never, but in general, the big problem with mixing would be differences in the way the footage looks.  You can color grade a lot of that so it is less obvious, but it will still probably be noticeable to a trained eye.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In most cases, similar types of cameras, if not the same exact model, are used for at least every angle in a scene.  It might change between scenes entirely as that would mask a lot of the transition, but the more consistency the better is the general feeling unless cost or environmental factors prevent it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It takes a very compelling argument to take on the added complexities of mixing footage from different models of camera.  &quot;I like the way it looks&quot; may be a compelling enough argument for some or in some cases, but it generally isn't.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-08T16:08:46.973" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13210" PostTypeId="2" ParentId="12587" CreationDate="2014-12-08T18:17:16.477" Score="1" Body="&lt;p&gt;&lt;strong&gt;It is supposed to be that way&lt;/strong&gt;!!! It is recorded in vertical orientation and designed to be viewed in vertical orientation on a similar device to which it was recorded. This &quot;problem&quot; is not a technical limitation as has been pointed out, it is a user education issue. &lt;em&gt;You are watching it wrong,&lt;/em&gt; and the fact that it looks terrible is a reminder of your mistake.&lt;/p&gt;&#xA;" OwnerUserId="1156" LastActivityDate="2014-12-08T18:17:16.477" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13211" PostTypeId="2" ParentId="12587" CreationDate="2014-12-08T18:43:35.960" Score="3" Body="&lt;p&gt;To start answering a question like this you need to first look at why we shoot video horizontally.  Human vision is not a square, we see much wider than we see tall.  Early TV was more or less square due to limitations of technology at the time (it's hard to make an electron beam go really far to one side without lots of extra cost or space.)  Theater however didn't have this problem and so they stuck with something that more fits human vision to make the most use of our ability to see.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Portrait video doesn't make much use of the range of our vision, but it is used in portraiture because it more naturally captures the human form (though not normally in such a narrow 9 by 16 ratio.)  Thus, some people end up naturally holding their phone to shoot video in portrait since it is both how they hold a phone and how they are used to seeing photos of individual people.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To an extent, this even makes sense for videos that will be played back on the small device where the screen size is a bigger limitation than the visible area of our vision.  For a situation like a video conference for example, portrait video makes a lot more sense, but for anything that will be seen at a larger size, portrait doesn't make sense as it drastically limits the amount of visual field we can fill.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With that established, there are two things that could be done to help with not shooting portrait.  One, you could use the accelerometer to detect vertical filming and simply prevent it (or give a warning), but this is a frustrating artificial limitation to put on users, particularly since there are some situations where it could be valid.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second potential solution is to simply record a 16x9 image regardless of phone orientation when recording video.  Most modern smart phones have sufficient resolution to expose a 1920 pixel wide image in either direction since a 1080p image is really only a 2MP or so image.  The problem comes down to optimization.  In general, image sensors take a while to read out data from the sensor.  This is why, for example, a high end DSLR may be able to shoot 60p video but can't take more than 7 or 8 full resolution photos at a time.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get around this readout speed problem for video (which needs 24 or more frames per second), only a portion of the sensor is actually read.  This is often hooked up to special hardware that will only read the lines of the sensor that are needed for the video and skip the others.  In sensors of this type, it would need additional hardware to skip the appropriate lines in both orientations and would increase the cost and complexity of the sensor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, you then have a display problem.  If you are shooting a 1080p video while the camera is vertical, no phone that I am aware of has sufficient resolution for a 1:1 display of the captured video horizontally across the screen.  You could scale it down, but the aspect ratio of the phone would still make it use a very small portion of the screen when recording, making it hard to see what you are doing clearly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So there are a lot of factors why a phone can't simply shoot horizontally regardless of orientation, ranging from the fact there are some good reasons to use the camera for video in a portrait orientation on occasion, the sensor itself may not support it and the user interface when doing so would be limiting.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-08T18:43:35.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13213" PostTypeId="2" ParentId="12587" CreationDate="2014-12-08T23:33:55.893" Score="3" Body="&lt;p&gt;I think you need to think outside the (16x9) rectangle a bit. While a lot of video filmed in portrait mode on a phone looks rubbish, that doesn't mean that filming in portrait mode is necessarily wrong — after all a lot of landscape video filmed on a phone looks rubbish too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At my work we use 9x16 video a lot. While the format may not lend itself to the type of content you see in a cinema, there are times when portrait video works really well. For instance we have &lt;a href=&quot;http://museumvictoria.com.au/immigrationmuseum/discoverycentre/identity/welcome-lynette-wallworth/&quot; rel=&quot;nofollow&quot;&gt;an installation&lt;/a&gt; comprising a projection filling the rear wall of a corridor, where full-size standing figures react to the viewer as they walk toward the screen. We put a Red One on its side and filmed it portrait because it suited the content, and we were able to use the full resolution of the format by doing it that way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Internationally renown visual artist &lt;a href=&quot;http://www.billviola.com/&quot; rel=&quot;nofollow&quot;&gt;Bill Viola&lt;/a&gt; uses portrait mode video a lot, and his work is some of the most polished cinematography you'll see. A lot of his works again involve standing figures, so the ratio suits the content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While landscape mode matches the way humans see, we don't have to limit ourselves to trying to recreate reality. Using portrait mode video creates visual tension because of the narrow field of view. It allows a full body shot to be much closer than in landscape mode, allowing for more intimate portraits of standing figures. I'm sure there are countless other examples of good uses of portrait mode video, the point being that it's the content that determines whether the form is appropriate.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-12-08T23:33:55.893" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13214" PostTypeId="1" AcceptedAnswerId="13224" CreationDate="2014-12-09T08:01:41.477" Score="5" ViewCount="21204" Body="&lt;p&gt;I have Final Cut Pro X 10.1.4. I usually always use the &quot;share&quot; option to export my video and select whatever format I want to share with. Usually either &quot;Master File&quot; or &quot;YouTube&quot;. I also see the option to &quot;Send to Compressor&quot;. I researched Apple Compressor and I am trying to figure out if it is worth the money. Does it really export with better options than just what can be done with Final Cut Pro? Also, to convert to different formats I have used Miro Video converter and Handbrake. Does Apple Compressor have a much better system or output than either of these other video converters? Just want to know if it is really worth the $50 USD for Apple Compressor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any input.&lt;/p&gt;&#xA;" OwnerUserId="6913" LastActivityDate="2020-07-09T22:38:24.220" Title="What benefit would I get from using Apple Compressor instead of just exporting from Final Cut Pro X?" Tags="|final-cut-pro-x|compression|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13215" PostTypeId="2" ParentId="13173" CreationDate="2014-12-09T14:43:50.317" Score="3" Body="&lt;p&gt;Assuming DVD quality would be enough, you may consider archiving 720p mpeg-4 files with a bitrate of 2 Mbits, which would equate roughly to 1 hour = 1 GB data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That would mean 27,000 hours = 27,000 GB = 27 Terabytes.&#xA;So you need to consider a 50 TB storage system (including redundancy and overhead) and a tape backup system as well (LTO-6 has an uncompressed capacity of 2.4 TB per tape, so that would be relatively easy and cheap, the entire archive would fit into 13-14 tapes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Higher quality requirements would increase the bitrate, hence the GB/hour ratio, and all values should be adjusted accordingly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The tough part is the actual acquisition... analog video tapes have to be read at normal speed so 27,000 tapes, assuming 1 hour each, means 27,000 hours = 675 weeks = almost 10 YEARS... !!! To hope finishing this in a reasonable time (say 2 years), your company would need to set up at least 5 acquisition stations each with its own tape unit and computer (and operator). The operators, while saving, should monitor that there are not problems with the cassette and fill the metadata into the DAM system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DAM systems, there are many, also open source, the choice depends on the use that will be made of the resulting digital video archive.&lt;/p&gt;&#xA;" OwnerUserId="6915" LastActivityDate="2014-12-09T14:43:50.317" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13216" PostTypeId="1" CreationDate="2014-12-09T15:13:43.390" Score="3" ViewCount="5805" Body="&lt;p&gt;Has anyone seen this problem before? When I apply (and only when I apply) the warp stabilizer, it seems like only 1/10 of the video shows up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a screenshot:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/fNUMd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It works on older versions of Premiere for me, and it happens in the latest (CC 2014) no matter what I do or what clips I use from different sources. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="6916" LastActivityDate="2015-05-16T17:58:52.837" Title="Warp stabilizer in Premiere Pro cuts off most of the image" Tags="|premiere|stabilisation|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="13217" PostTypeId="1" CreationDate="2014-12-09T16:11:30.897" Score="1" ViewCount="47" Body="&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Record games&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;File size has to be small (fps doesn't need to be higher than 30, resolution is only 720×480)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Barely uses cpu&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The program does not lock the framerate or anything else that changes my gaming experience&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Paid or Free&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;No watermarks&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Note relating to file size: is it possible to record 10 hours and use 100gb or less?&lt;/p&gt;&#xA;" OwnerUserId="6919" LastActivityDate="2015-03-15T20:35:17.753" Title="Which (video game) recording program fits for these criteria?" Tags="|video|recording|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13219" PostTypeId="2" ParentId="13217" CreationDate="2014-12-09T16:56:21.877" Score="-1" Body="&lt;ul&gt;&#xA;&lt;li&gt;Free: &lt;a href=&quot;http://www.fraps.com/&quot; rel=&quot;nofollow&quot;&gt;Fraps&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Commercial: &lt;a href=&quot;http://gamecapture.movavi.org&quot; rel=&quot;nofollow&quot;&gt;Movavi Game Recorder&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;As for the output video format - choose H.264 in MP4 container. This provides a better quality and a small file size&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-12-09T16:56:21.877" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13220" PostTypeId="2" ParentId="13214" CreationDate="2014-12-09T17:52:39.837" Score="2" Body="&lt;p&gt;I use Compressor for final outputs of my films, it does give a better end result due to the compression techniques.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you use the &quot;Share&quot; option from FCPX it uses the basic Quicktime compression and exporting options which only give a a few export formats to choose, mainly designed to work with apple products.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Compressor does give you a lot more options to export out, if you were going to to build a DVD using a 3rd party app or wanted to export a full quality final master to send to tape or a production house compressor is the beast you need to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adding to this Compressor has the options and technology to use all the available resources in your Mac to chugg away at the video file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I find it is useful when I do Wedding Films as Ill do all my editing of the ceremony, speeches, first dance, short trailer etc then send them all to Compressor to export in DVD mpeg2, Ac3 audio (I think) Mp4 and final full quality, set it to export and walk away or go to bed, when I come back it is all done and Im ready to burn DVD's, upload to Vimeo or Youtube etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2014-12-09T17:52:39.837" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13221" PostTypeId="2" ParentId="13156" CreationDate="2014-12-09T21:09:41.583" Score="3" Body="&lt;p&gt;It is approximately 11GB per hour, though I do tend to round up a bit when I make my calculations. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Digital Rebellion has a handy &lt;a href=&quot;http://www.digitalrebellion.com/webapps/video_calc.html&quot; rel=&quot;nofollow&quot;&gt;Video Space Calculator&lt;/a&gt; on their website (also available as an iOS app). You can select the format, frame rate, and video length.&lt;/p&gt;&#xA;" OwnerUserId="6924" LastActivityDate="2014-12-09T21:09:41.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13223" PostTypeId="2" ParentId="13217" CreationDate="2014-12-09T21:34:02.633" Score="1" Body="&lt;p&gt;None.  If you want low CPU/GPU usage and small file size, you need a hardware encoder.  Period, end of story.  Games are CPU/GPU intensive and video compression is also exceedingly demanding on CPU/GPU.  Programs like FRAPS capture video smoothly by postponing the compression until later and instead save video as very large, minimally compressed files.  This works because most games do not make intensive use of the disk drives.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can either capture in large files with minimal impact and then batch transcode them to a smaller size or you can buy a dedicated hardware encoder that can take the load off the CPU and GPU. Those are your only two options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: If you only need 10 hours to fit within 100GB, then you might be ok for an SD feed.  It doesn't really have to be that highly compressed at that low of resolution.  It is still going to hit your CPU or GPU though, so gaming performance will be impacted, just not quite as badly as trying to do something like h.264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd probably start by trying something like a DV codec and see how your computer handles it.  Millage will vary based on how much your computer actually needs for the game.  Hardware encoders or software encoding after the fact are still the best option overall though, since they maximize the quality of the recording.  (Fast compression is not good compression unless it is specialized hardware.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-12-09T21:44:26.420" LastActivityDate="2014-12-09T21:44:26.420" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13224" PostTypeId="2" ParentId="13214" CreationDate="2014-12-09T22:15:34.523" Score="10" Body="&lt;p&gt;The export settings you are using in Final Cut Pro X are preset Compressor settings and the export itself is actually using the Compressor engine (but with no user control). Compressor allows you control over those settings and to save your own custom presets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For instance, you may want to export an MPEG2 file with a particular bitrate, letterbox 16:9 footage in a 4:3 file, export to Vimeo with custom settings, or any other number of possibilities. If you wanted all of these outputs, you could batch process them. These, and other, codec/compression options can be configured in Compressor and saved as custom presets. Those saved custom presets then appear as available Share options in FCPX.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Compressor allows for encoding without requiring FCPX to be open, or for converting files that don't originate from a FCPX project among other benefits. It also provides a preview window that allows you to compare your source video to processed video before committing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I still sometimes use Handbrake for h.264 files. It's very fast, clean, and free. In those cases, I will export a ProRes &quot;master file&quot; out of FCPX to bring into Handbrake.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Compressor is not a perfect program, but it is very useful. A lot of it depends on your workflow needs. If you like exporting directly from FCPX, but need custom share options, then Compressor is probably worth it  for you. If you are content with the presets or a workflow with other software, then perhaps not&lt;/p&gt;&#xA;" OwnerUserId="6924" LastEditorUserId="6924" LastEditDate="2014-12-10T15:32:23.657" LastActivityDate="2014-12-10T15:32:23.657" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13225" PostTypeId="2" ParentId="12682" CreationDate="2014-12-10T04:13:42.060" Score="-2" Body="&lt;p&gt;Everyone who says that it's useless to watch 4k video on a 1080p monitor is wrong.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/kIf9h2Gkm_U?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="6927" LastActivityDate="2014-12-10T04:13:42.060" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13226" PostTypeId="2" ParentId="10620" CreationDate="2014-12-10T05:14:43.307" Score="1" Body="&lt;p&gt;It's possible to screen record on macs for free using the program quick time. All you need to do is select File -&gt; New Screen Recording and then you're good. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use this with any normal full screen visualizer of your choice.&lt;/p&gt;&#xA;" OwnerUserId="6928" LastEditorUserId="2836" LastEditDate="2014-12-10T15:17:21.413" LastActivityDate="2014-12-10T15:17:21.413" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13227" PostTypeId="1" CreationDate="2014-12-10T11:29:39.417" Score="0" ViewCount="73" Body="&lt;p&gt;How can I calculate the depth of focus (Depth of field, DoF) for video recording?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are some tools around that calculate the DoF for different camera types depending on focal length, f-stop and subject distance, e.g.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.dofmaster.com/dofjs.html&quot; rel=&quot;nofollow&quot;&gt;http://www.dofmaster.com/dofjs.html&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.cambridgeincolour.com/tutorials/dof-calculator.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.cambridgeincolour.com/tutorials/dof-calculator.htm&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;My assumption is, that the DoF for video recording is bigger than that for photographs, because video is recorded with lower resolution, and therefore a higher degree of unsharpness can be accepted without visible effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My idea was to calculate the size of a single pixel and use this size as &quot;circle of confusion&quot; parameter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question: Are these assumptions and the example calculation below correct? What is a reasonable way to calculate DoF for video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Example:&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Canon EOS 600D / Rebel T3i&lt;/li&gt;&#xA;&lt;li&gt;f2.8&lt;/li&gt;&#xA;&lt;li&gt;16mm&lt;/li&gt;&#xA;&lt;li&gt;object distance 2m&lt;/li&gt;&#xA;&lt;li&gt;recording format 1080p&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;From the 600D's sensor size (22.3 mm x 14.8 mm) and video resolution (1920x1080) I calculate the pixel size to be 0.0116 mm x 0.0116 mm, or 0.016 mm in diagonal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Entering these numbers into dofmaster, I get 1.6 m as a result (1.48 m ... 3.08 m).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What surprises me is, that using the camera model directly instead of the CoC, the result is 2.02m, which is &lt;em&gt;bigger&lt;/em&gt; than that vor video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Accordingly, when calculating for a video resolution of 720x576, I get a DoF of 146m.&lt;/p&gt;&#xA;" OwnerUserId="5074" LastEditorUserId="17390" LastEditDate="2018-10-10T13:13:35.423" LastActivityDate="2018-10-10T13:13:35.423" Title="Depth of focus for video recording" Tags="|focus|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13228" PostTypeId="1" CreationDate="2014-12-10T12:21:30.613" Score="3" ViewCount="8736" Body="&lt;p&gt;So we are making a 2D animation. We have character assets in PSD. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have a &quot;Character&quot; Comp which contains the following: &quot;Eyes&quot; Comp, &quot;Mouth&quot; Comp and &quot;Body&quot; Comp.&#xA;&quot;Body&quot; has the 2-second walk-cycle of the character. Which is time-remapped to a loop in &quot;Character&quot;. But as character walks, its body goes in a wawy upwards and downwards motion.&#xA;The problem starts there: We have to sync &quot;Eyes&quot; and &quot;Mouth&quot; to body's up and down motion. Parenting the said layers' position to the body asset's position is not an option, because the body asset has only 2 seconds of animation. After that, &quot;Mouth&quot; and &quot;Eyes&quot; just stops wherever they were.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think there must be a way to do this with expressions. But since we are not a code-savvy studio, we can't sit down and write one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can we achieve such a goal?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for the help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:&#xA;You can download our comp from here: &lt;a href=&quot;http://www.mediafire.com/download/v255kgid7ej56m0/walk.zip&quot; rel=&quot;nofollow&quot;&gt;http://www.mediafire.com/download/v255kgid7ej56m0/walk.zip&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5032" LastEditorUserId="5032" LastEditDate="2014-12-10T15:22:03.573" LastActivityDate="2014-12-10T20:34:36.120" Title="How to Sync a Layer's Position, to a Layer in Another (Time Remapped) Comp" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13229" PostTypeId="1" CreationDate="2014-12-10T10:16:10.127" Score="2" ViewCount="98" Body="&lt;p&gt;I want to show a character in black and white but the background/environment he reside remains colorful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I heard that through rotoscoping it will be possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it correct? Could anyone please suggest techniques to achieve this.&lt;/p&gt;&#xA;" OwnerUserId="7942" OwnerDisplayName="daan" LastActivityDate="2014-12-10T14:13:32.967" Title="How to show a character in black and white mode with colorful background?" Tags="|editing|" AnswerCount="1" CommentCount="0" ClosedDate="2014-12-10T14:56:42.957" ContentLicense="CC BY-SA 3.0" />
  <row Id="13230" PostTypeId="2" ParentId="13229" CreationDate="2014-12-10T14:13:32.967" Score="2" Body="&lt;p&gt;Have you already filmed your scene? If not, then the easiest way is to film your character against a blue or green screen, key out the background, apply a monochrome filter to the character, and insert your other background. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have already filmed it, you can try using a color correction filter on the character, but it's very unlikely you'll be able to easily isolate the character properly with just a filter, unless the background is a solid color which doesn't appear anywhere on the character.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So your other option is rotoscoping which is very difficult and often tedious work to look good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What software are you using, by the way?&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-12-10T14:13:32.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13232" PostTypeId="2" ParentId="13228" CreationDate="2014-12-10T15:12:22.290" Score="3" Body="&lt;p&gt;If you want to link certain properties through several composition you can only do this with expressions. They are really not difficult though and its a matter of 1-2 lines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;F.e. to get the position of a layer in a different composition you can do this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;comp(&quot;Comp Name&quot;).layer(&quot;Layer Name&quot;).transform.position&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Just alt click the position stop watch of the layer you want to apply that position to and enter that command.&#xA;To break it down. This select first the comp you want by name and then selects the layer you want within that comp:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;comp(&quot;Comp Name&quot;).layer(&quot;Layer Name&quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This part says that you want a value from the &lt;code&gt;transform&lt;/code&gt; menu and the name of the value is &lt;code&gt;position&lt;/code&gt;. Position could also just be rotation or any other property:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;.transform.position&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that you often get multiple values at once. For example position can have 2 or 3 values depending on if the layer is 2D or 3D. This multiple values are given to you in something called an array or vector. What comes now is only needed if you want independent axis control and not the position value of all 2 or 3 axis's applied to your layer.&#xA;So in order to f.e. only get the position of the y axis you can do this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;y  = comp(&quot;Comp 1&quot;).layer(&quot;layer1&quot;).transform.position[1];&#xA;[transform.position[0],y]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The made-up variable name y in this case is getting the y-axis value of &lt;code&gt;layer1&lt;/code&gt; assigned. by adding &lt;code&gt;[1]&lt;/code&gt; at the end of &lt;code&gt;position&lt;/code&gt;. Using &lt;code&gt;[0]&lt;/code&gt; would give you x and &lt;code&gt;[2]&lt;/code&gt; would give you z.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This part is what you call the return value. You write it in the form of an array/vector. Meaning &lt;code&gt;[x-axis-value,y-axis-value]&lt;/code&gt; or &lt;code&gt;[x-axis,y-axis,z-axis]&lt;/code&gt;. &lt;code&gt;transform.position[0]&lt;/code&gt; just means I want the x value of THIS layer where I'm entering the expression in. So you can still control that axis manually.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[transform.position[0],y]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In order to account for the time remap you would need to apply the same remapping to comp2 that you applied to comp1.&#xA;If that's not what you are after I might have to see an example project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; So if you use time remap to loop layers and not to fine tune your animation you shouldn't use it in these situation. In order to retain a better control you should use a simple expression on the animated assets of your looping composition in order to loop you animation.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;loopOut(type = &quot;cycle&quot;, numKeyFrame = 0);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Add this to every layer property that is animated and make the comp length as long as you need, your 2 second animation will now repeat as long as your composition is, you just have to stretch your layers length to the new comp length. This solves your issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have more sub-comps in you sub-comp you will have to increase their length as well of course so you can stretch them to the end of their parent comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more information on this expression have a look at this: &lt;a href=&quot;http://provideocoalition.com/pvcexclusive/story/expression_shorts_-_loop&quot; rel=&quot;nofollow&quot;&gt;http://provideocoalition.com/pvcexclusive/story/expression_shorts_-_loop&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2014-12-10T20:34:36.120" LastActivityDate="2014-12-10T20:34:36.120" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="13233" PostTypeId="2" ParentId="13227" CreationDate="2014-12-10T15:13:02.843" Score="0" Body="&lt;p&gt;Your impression is incorrect.  Depth of field has nothing to do with resolution and everything to do with sensor size.  Depth of field does depend on viewing distance, but that is a little different from resolution and not particularly applicable in this case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For most online calculators that don't include a viewing distance, they are often assuming viewing the entire scene at once and that wouldn't make a big difference if it is a 2MP video image (particularly since the meaningful resolution of video is much higher due to blending) vs a DSLR.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-10T15:13:02.843" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="13234" PostTypeId="2" ParentId="12568" CreationDate="2014-12-10T15:16:48.530" Score="0" Body="&lt;p&gt;Basically what you are doing is how you would film a low budget music video.&#xA;2/3 sources&lt;/p&gt;&#xA;&#xA;&lt;p&gt;sound = band / musician playing live&#xA;camera = seeing the band playing live while recording sound all in camera&#xA;CD track = from studio or live track&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if you can get a sync point on all tracks it does help such as AJ Henderson said hit a drum that the camera can see&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I normally use PluralEyes so in my editor (Normally Final cut pro x) put the live video, cd track and recorded track on 3 different tracks in the timeline&lt;/p&gt;&#xA;&#xA;&lt;p&gt;export the XML&lt;/p&gt;&#xA;&#xA;&lt;p&gt;import into PE and sync, if all goes well it will sync it all up to the tracks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;export back to the editor and remove which ever audio track you dont want or bring the volume down of the track your overlaying etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope that makes a bit of sense. &lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2014-12-10T15:16:48.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13235" PostTypeId="2" ParentId="10781" CreationDate="2014-12-10T16:58:33.107" Score="1" Body="&lt;p&gt;In FCP7 when importing the files you should be using the &quot;log and transfer&quot; option, you need to change the import format to ProRes (As stated above), do all your editing and then exporting using FCP7 or Compressor to a Master ProRes or which ever other format you want to use. This is how I used to edit my Canon 7D files before FCPX&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can use FCPX you can natively edit the h.264 files and export directly, this is how I work currently with .MOV files from my Canon 7D&lt;/p&gt;&#xA;" OwnerUserId="6921" LastEditorUserId="6934" LastEditDate="2014-12-11T12:23:31.437" LastActivityDate="2014-12-11T12:23:31.437" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13236" PostTypeId="2" ParentId="10596" CreationDate="2014-12-10T17:07:04.050" Score="0" Body="&lt;p&gt;I would go for the option of some dedicated mid range PC speakers and if you can spare a few bucks go for a USB/Fire-wire sound-card and some powered speakers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using this setup to do my film work&lt;/p&gt;&#xA;&#xA;&lt;p&gt;either a MOTU 828 or a Edirol UA-25 with some M-Audio BX5 d2's &lt;/p&gt;&#xA;&#xA;&lt;p&gt;my previous setup was a set of mid ranged creative PC speakers which did a decent job&lt;/p&gt;&#xA;&#xA;&lt;p&gt;having good audio can make a difference between a average production or a great production specially if you have to do some  dialogue work&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2014-12-10T17:07:04.050" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13237" PostTypeId="2" ParentId="10555" CreationDate="2014-12-10T17:26:50.943" Score="3" Body="&lt;p&gt;Ideally having all your content and project files on a separate harddisk would give you some performance back, this could be a internal drive if your on a Apple Mac Pro or a external drive, USB3, Fire-wire, Thunderbolt etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you dont need to have the libraries open I would close them as they load up the files when you open FCPX.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other options are to increase your RAM in the Mac, FCPX likes a min of 4gb, I had 6gb in mine and it was running slow, I upped it to 16gb and now it runs so much better, I also made sure I was running the latest FCPX version and I closed some of my libraries down which I didnt need to have open all the time as you can just re-open them when you need to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I mainly do weddings where I shoot a lot of clips throughout the day 200+ sometimes so it shouldn't have an issue really. I do keep my projects in a very strict order and filing system&#xA;Library Name&#xA;--Event Name (normally one for RAW files, Audio, Titles etc etc)&#xA;--Project Names (normally one for each timeline)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can have 3/4 edits going at any one time, once I finish one I close it down and archive the whole library removing any render files, optimized media etc to keep the archive size down.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope something in this will help&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2014-12-10T17:26:50.943" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13238" PostTypeId="1" CreationDate="2014-12-10T19:52:00.940" Score="1" ViewCount="1563" Body="&lt;p&gt;I haven't been using Sony Vegas too much, but this has never happened to me before...&#xA;&lt;img src=&quot;https://i.stack.imgur.com/reZJF.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All my videos look like this.. I can playback no problem, but without sound. It's mp4.&#xA;What could be the issue?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="6932" LastActivityDate="2014-12-10T19:52:00.940" Title="no sound in mp4 Sony Vegas" Tags="|vegas-pro|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13239" PostTypeId="1" AcceptedAnswerId="13244" CreationDate="2014-12-11T05:48:17.287" Score="4" ViewCount="78" Body="&lt;p&gt;If I want to communicate to someone editing a video, how can I tell in an unambiguous way how I want the video to be resized.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1)&lt;/strong&gt; If I want the image to be cropped so that there are no black strips filling the area that has no image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2)&lt;/strong&gt; If I want the the video to be scaled down so that the image is not cropped, adding the two black strips filling the gaps where there is no image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/mZsFk.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3159" LastEditorUserId="2836" LastEditDate="2014-12-11T15:39:59.090" LastActivityDate="2014-12-11T15:39:59.090" Title="What are the names of different ways to fit video when the aspect ratios do not match?" Tags="|editing|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13241" PostTypeId="2" ParentId="13239" CreationDate="2014-12-11T12:50:37.947" Score="2" Body="&lt;p&gt;1) - Fit Height, often called Pillarbox&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) - Fit Width, usually called Letterbox&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Examples and explanation from &lt;a href=&quot;http://support.apple.com/en-us/HT2320&quot; rel=&quot;nofollow&quot;&gt;Apple&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-12-11T12:50:37.947" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13243" PostTypeId="2" ParentId="13239" CreationDate="2014-12-11T13:37:19.870" Score="2" Body="&lt;p&gt;its all about the aspect ratio&lt;/p&gt;&#xA;&#xA;&lt;p&gt;is you have a video that has black bars (pillar boxes) either on the sides or top and bottom, you can expand the video to fill the space but you will loose the sides or top/bottom depending on which ratio it is at.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;when I was shooting in 4.3 ratio i would plan my shots to have enough room top and bottom so that I could resize the video to fit a 16.9 ratio, when Im filming in 16.9 (widescreen) I do the same so that if I wanted to add the bars top and bottom I wont loose any of my frame (ie: heads of people, action etc etc)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This was an interesting link on how they came about through film history&#xA;&lt;a href=&quot;http://filmmakeriq.com/lessons/the-changing-shape-of-cinema-the-history-of-aspect-ratio/&quot; rel=&quot;nofollow&quot;&gt;http://filmmakeriq.com/lessons/the-changing-shape-of-cinema-the-history-of-aspect-ratio/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;hope that helps&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2014-12-11T13:37:19.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13244" PostTypeId="2" ParentId="13239" CreationDate="2014-12-11T15:38:37.327" Score="6" Body="&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Letter box&lt;/strong&gt; if you have bars on the top and bottom.  &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Pillar box&lt;/strong&gt; if you have them on the sides.  &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Stretch&lt;/strong&gt; (or possibly &lt;strong&gt;anamorphic&lt;/strong&gt;, depending on what the intended playback aspect ratio is)   if you are full screening it by stretching it out to fill the space.  &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Cropped&lt;/strong&gt; if you are making it full screen by cutting off the edges.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-11T15:38:37.327" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="13245" PostTypeId="2" ParentId="13227" CreationDate="2014-12-11T21:55:34.100" Score="1" Body="&lt;p&gt;Well, your calculations appear to be correct, but the only calculation that isn't exactly known is the pixel size of your camera sensor. Either your calculation of the camera's pixel size on the sensor (at least when filming 1080 video) is off, or their recorded circle of confusion of that sensor is off. Or both. Though I find it more likely that their stored CoC value for that sensor is based on what is &quot;reasonable focus loss&quot; not on the actual pixel size, and so they have a larger CoC value than what you consider to be reasonable, as your reasonable is that the CoC is no bigger than a pixel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either way, calculating the differences based on resolution shouldn't be an issue. In the spirit of better safe than sorry, use your own calculation of the pixel sizes (0.016mm with the DoF result ~1.31m) as a basis. If you're going to test for half the resolution of 1080 (being 540) then you'll double the pixel size calculation (0.032mm) resulting in ~4m DoF.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To calculate for 720x576 (which is 576 resolution, not 720 resolution. Careful with that) you'd do (1080/576)*0.013mm = 0.03 (new CoC for calculation resulting in 3.44m DoF).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure how you got 146m as a result though. Perhaps you input the wrong circle of confusion value?&lt;/p&gt;&#xA;" OwnerUserId="1220" LastEditorUserId="1220" LastEditDate="2014-12-11T22:04:31.090" LastActivityDate="2014-12-11T22:04:31.090" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13246" PostTypeId="1" AcceptedAnswerId="13253" CreationDate="2014-12-12T08:38:36.010" Score="0" ViewCount="1439" Body="&lt;p&gt;It's easy to mute one of the audio channels of a video, but I have to lower the second one with some dB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have searched in documentation about mapping the channels but I am still confised how to lower the volume of the specific channel. I have only two audio channels in my videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you for the help!&lt;/p&gt;&#xA;" OwnerUserId="4449" LastActivityDate="2014-12-12T19:33:59.563" Title="How to lower the volume of the second audio channel with FFMPEG" Tags="|video|ffmpeg|audio|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13249" PostTypeId="1" CreationDate="2014-12-11T20:06:03.430" Score="1" ViewCount="516" Body="&lt;p&gt;I'm using a Powershot S100 with CHDK.&#xA;The default video bitrate of the S100 is around 4 MByte/sec at the highest quality.&#xA;Using CHDK and the options &quot;Mode=Quality&quot; and &quot;Quality=99&quot;, you can get 14MByte/sec video.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just did a quick test with a low-light scene.&#xA;The noise leads to blocking in the 4MByte/sec version. In the 14MByte/sec version, the noise is much crisper, and the blocking is gone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wonder is there a sweet spot here? 14MByte/sec is clearly too much to store, but looks better than 4MByte. Is there a particular quality level I should choose?&lt;/p&gt;&#xA;" OwnerUserId="3043" OwnerDisplayName="LTR" LastEditorUserId="2836" LastEditDate="2014-12-12T14:50:15.730" LastActivityDate="2014-12-12T15:02:19.857" Title="CHDK on Canon Powershot S100: Is there a Video Bitrate sweet spot?" Tags="|video|compression|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13250" PostTypeId="1" AcceptedAnswerId="13252" CreationDate="2014-12-12T14:55:45.800" Score="2" ViewCount="6033" Body="&lt;p&gt;I created a .cdr file from a DVD and converted it to an .mp4 with &lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Handbrake&lt;/a&gt;. My only issue is Handbrake's default settings create a somewhat grainy picture. The file size went from 1.24Gb to ~100Mb so I assume that explains it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm unfamiliar with the determinants of frame image quality. Here's a screenshot of Handbrake's interface, might someone point me in the direction of the thing to toggle that might improve the .mp4 quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/WFO1X.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="7945" LastActivityDate="2014-12-12T15:16:11.790" Title="Improving frame/image quality on Handbrake?" Tags="|file-formats|conversion|framerate|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13251" PostTypeId="2" ParentId="13249" CreationDate="2014-12-12T15:02:19.857" Score="1" Body="&lt;p&gt;No, there is no sweet spot for compression, whether it is on a camera or in encoding after the fact.  The needed data rate depends heavily on the content being recorded and is a complex field, though the best bet to handle it simply is to try adjusting it and decide when it works for your needs.  You can eventually get an idea of the quality from each bitrate for your camera, but we can't really give you guidelines as both noise level and the particular encoder used by your camera will also impact the way things turn out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One important caveat to keep in mind when dealing with compression on a camera is that if you are going to edit the footage, you want to make sure you use a high enough quality that re-compressing after editing does not result in quality loss either.  With lossy compression, each additional compression results in further quality loss and a video that looks fine initially may fall apart when compressed for final output.  The larger your source videos are, the smaller you are likely to be able to compress your final video to.  You may also want to shoot All-I if it is an option because this format is far more efficient in editing software than compressions that are group of picture based (IPB), though they also take far more space to get good quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, you say that 14MBps is obviously too high, but I would challenge you that it is not obviously too high.  Uncompressed, 1080p video at 24fps would still take 150MBps or 1194mbps.  You are still compressing over 90% at 14MBps.  Bluray will often use in the neighborhood of 35 to 50mbps which is still up to almost half of the 112mbps data rate you quoted as the max.  Particularly if that is All-I, 112mbps is not an unexpectedly high value at all.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-12T15:02:19.857" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13252" PostTypeId="2" ParentId="13250" CreationDate="2014-12-12T15:16:11.790" Score="2" Body="&lt;p&gt;Under the video tab, you'll see two options. Video Codec, which is how the video is encoded (h.264 is the standard for .mp4 files), and Quality, which controls the level of video compression that occurs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's the Quality slider that you're mostly worried about if you want to keep it an mp4. Drag that slider to the right to improve the quality (this will also increase the file size) or to the left to decrease the file size (this will also decrease the quality). Or if you know exactly the size of file you want, divide the desired file size by the number of seconds and you can input the kb/s that you want the video to be compressed to (smaller file sizes means higher compression and lower quality, higher file sizes equals less compression and higher quality).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to test to make sure that you like your quality selection and file size, you can choose a single chapter of the film (if your cdr has that stored) and run that through the encoder and test the quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing that is available to choose is the video resolution, but in my experience with handbrake, it's quite temperamental, so I only recommend messing with that if you really need to.&lt;/p&gt;&#xA;" OwnerUserId="1220" LastActivityDate="2014-12-12T15:16:11.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13253" PostTypeId="2" ParentId="13246" CreationDate="2014-12-12T19:33:59.563" Score="1" Body="&lt;p&gt;After a few hours of searching, I was only able to find &lt;a href=&quot;https://superuser.com/questions/769168/ffmpeg-mixing-and-setting-each-volume-of-a-multi-audio-track-file&quot;&gt;this.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if that's kind of what you are looking for, or at least gives you the info you need to modify the channel volume.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope it helps!&lt;/p&gt;&#xA;" OwnerUserId="1220" LastEditorUserId="-1" LastEditDate="2017-03-20T10:04:28.637" LastActivityDate="2014-12-12T19:33:59.563" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13254" PostTypeId="2" ParentId="12831" CreationDate="2014-12-13T01:35:51.997" Score="0" Body="&lt;p&gt;Like AJ, I don't know of any built-in text-to-speech video editors, though MacOS supports speech reading of text in any app that uses standard text controls. (For example TextEdit.app.) I assume Windows has something similar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that's too much work, you could always &quot;hire talent&quot; (i.e. get a friend to do it) if you don't like your own voice. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;bakkelun's suggestion of using audio filters on your own voice is not at all unusual. There are many people on YouTube who have done this.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-12-13T01:35:51.997" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13256" PostTypeId="2" ParentId="13077" CreationDate="2014-12-13T16:20:16.707" Score="1" Body="&lt;p&gt;I have seen this also with libfdk_aac and x264 and am not sure what causes it but I have had success using the &lt;code&gt;itsoffset&lt;/code&gt; flag like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -itsoffset 0.046440 -i original.wav -c:a libfdk_aac -vbr 5 ffmpeg.m4a&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6294" LastActivityDate="2014-12-13T16:20:16.707" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13257" PostTypeId="1" CreationDate="2014-12-13T16:39:22.497" Score="0" ViewCount="1503" Body="&lt;p&gt;[edited to be more like a question.] &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have been producing video using a combination of ffmpeg, mencoder and graphicsmagick for several years. Mostly it is because of not only the sorry state of affairs of GUI editing tools on linux, but also since I prefer to use the command line and scripts more than clumsy crashy interfaces.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[/edit]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I investigated the MELT CLI after stumbling across &lt;a href=&quot;http://www.youtube.com/playlist?list=PLcUid3OP_4OWC-GJ6KfHK7dIK_yRKKn0e&quot; rel=&quot;nofollow&quot;&gt;a couple of youtube videos&lt;/a&gt; showing how it works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As opposed to ffmpeg, it is FRAME-PERFECT, allows for simple concatenation of files or even clips within multiple files, transitions are incredibly easy and the usage of video and sound filters is intuitive (once you have wrapped your head around the syntax). In fact, you can even script effects with html5! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an example that would provide both an audio and video transition between clip1 and clip2 and create an mp4.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ melt clip1.dv clip2.dv -mix 25 -mixer luma -mixer mix:-1 \&#xA;  -consumer avformat:clip1and2_mixed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;From their webpage regarding their system / plugins:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;FFmpeg for audio/video decoding and encoding&#xA;swfdec Flash decoder&#xA;WebVfx for HTML5-based graphics/animation generation&#xA;GTK+ and Qt for image loading and text rendering&#xA;LADSPA audio plugins&#xA;SoX audio effects&#xA;libsamplerate audio resampler&#xA;JACK audio routing&#xA;frei0r video plugins&#xA;SDL for desktop audio/video output &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note:&#xA;I am not knocking ffmpeg and I am not affiliated with MLT or MELT.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.mltframework.org/bin/view/MLT/Projects&quot; rel=&quot;nofollow&quot;&gt;http://www.mltframework.org/bin/view/MLT/Projects&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.mltframework.org/bin/view/MLT/MltMelt&quot; rel=&quot;nofollow&quot;&gt;http://www.mltframework.org/bin/view/MLT/MltMelt&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6294" LastEditorUserId="6294" LastEditDate="2014-12-18T03:35:39.480" LastActivityDate="2014-12-18T03:35:39.480" Title="What tools do you use for command line editing?" Tags="|linux|" AnswerCount="1" CommentCount="3" ClosedDate="2014-12-13T22:40:13.053" ContentLicense="CC BY-SA 3.0" />
  <row Id="13259" PostTypeId="2" ParentId="13257" CreationDate="2014-12-13T19:10:06.310" Score="2" Body="&lt;p&gt;Video editing is a very visual workflow, you need to see your result at all times, instantly, to be effective in your daily job.&#xA;Working with a CLI is rather counter intuitive and makes it hard to make creative decisions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frameworks like these are great to make programs on top of them and to automate video processing but are tedious to use in standard video production and animation workflows.&#xA;It's a matter of what you want to do, not whether its a powerful tool or not.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-12-13T19:10:06.310" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13261" PostTypeId="1" AcceptedAnswerId="13264" CreationDate="2014-12-13T23:15:05.820" Score="-1" ViewCount="1438" Body="&lt;p&gt;First the explanation: I just bought some workout DVDs. My wife and I have a room in our house where we exercise, but my wife also works out with friends she dances with at her studio. I'd like to work out at home, and she'd like to be able to work out at her studio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We could swap DVDs and try not to do the same workouts on the same days, but it would be easier if I could just copy the DVDs and she could just have those to herself. So my question is, how can I create an exact copy of the DVDs, complete with title menus, etc? I want the experience to be the exact same from the originals to the copies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've found a bunch of articles on this through Google, but they all seem to be centered on ripping. Furthermore, the few articles I've found about actually copying never mention whether the entire DVD will be copied (title menus, etc.. everything the same) or just the primary title (like the movie, but not extra features, etc.). I've messed around some with MakeMKV, and it seems to have ripped all the titles ok, but I don't know how to reconstruct them back into the original DVD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm willing to pay for software that can do it. I really just need to know if this is possible, particularly with encrypted, protected DVDs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="7949" LastActivityDate="2014-12-14T13:09:44.407" Title="How to create exact copy of protected DVD?" Tags="|video|conversion|mkv|" AnswerCount="1" CommentCount="3" ClosedDate="2014-12-15T17:37:24.007" ContentLicense="CC BY-SA 3.0" />
  <row Id="13263" PostTypeId="1" AcceptedAnswerId="13267" CreationDate="2014-12-14T03:13:20.913" Score="2" ViewCount="27462" Body="&lt;p&gt;How can I fill a shape, with an image in After effects? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, something like this:&#xA;&lt;a href=&quot;http://upload.wikimedia.org/wikipedia/commons/b/bc/Europe_flags.png&quot; rel=&quot;nofollow&quot;&gt;http://upload.wikimedia.org/wikipedia/commons/b/bc/Europe_flags.png&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found an answer somewhere that I need to create two layers, and texture layer to parent the shape layer, and use alpha matte. I cannot find alpha matte in my AE CC. but that does not seem to work &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any link to tutorial will be accepted.&lt;/p&gt;&#xA;" OwnerUserId="7950" LastEditorUserId="4426" LastEditDate="2014-12-25T04:58:16.917" LastActivityDate="2014-12-25T04:58:16.917" Title="Fill shape layer with an image (after effects)" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13264" PostTypeId="2" ParentId="13261" CreationDate="2014-12-14T13:09:44.407" Score="1" Body="&lt;p&gt;Since you don't seem to want to make any changes, just rip the whole DVD to an ISO image and then burn that to blank media. I recommend &lt;a href=&quot;http://www.imgburn.com/&quot; rel=&quot;nofollow&quot;&gt;Imgburn&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2014-12-14T13:09:44.407" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13265" PostTypeId="1" CreationDate="2014-12-14T14:14:09.890" Score="2" ViewCount="228" Body="&lt;p&gt;In two weeks, we have a live event for 7 days. Last year we bought Wirecast, but it looks like it has just a few features. They now integrated Twitter, but it's just weird how it's all made.&lt;/p&gt;&#xA;&lt;p&gt;We have a lot of experience in RSS, JSON, and XML, and we really want to put it at use for this livestream event.&lt;/p&gt;&#xA;&lt;p&gt;What we want to do is to create 2 separate RSS files (or JSON, XML). 1 for latest tweets and 1 for current audio track.&lt;/p&gt;&#xA;&lt;p&gt;Next we want to integrate those RSS files in our video stream. Twitter in some sort of newsticker and the current track every 3 minutes or something.&lt;/p&gt;&#xA;&lt;p&gt;Our problem, what software do we use? Wirecast looks like it isn't capable to handle our needs. Same for Xsplit and Media Encoder of course. Boinx looks like it has some features, but it's too expensive to just buy without knowledge.&lt;/p&gt;&#xA;&lt;p&gt;Does anybody have an idea for what software to use?&lt;/p&gt;&#xA;" OwnerUserId="7951" LastEditorUserId="17147" LastEditDate="2022-10-06T10:05:17.783" LastActivityDate="2022-10-06T10:05:17.783" Title="Live streaming with Twitter and RSS information" Tags="|video|streaming|live|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="13266" PostTypeId="1" CreationDate="2014-12-15T02:11:21.143" Score="4" ViewCount="12750" Body="&lt;p&gt;I had created an Adobe Illustrator animation/illustration file with 9 layers each depicting a drawing that progresses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to import the file to Adobe After Effects successfully, but the image/drawing doesn't show up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have recorded a video of it here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/KeZFu42NNss?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone know why? What can I do to have the illustrations show up on the Effects screen?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you,&#xA;Jae&lt;/p&gt;&#xA;" OwnerUserId="7954" LastActivityDate="2023-05-08T18:02:27.480" Title="How come my Adobe Illustrator file doesn't show up in After Effects?" Tags="|adobe|" AnswerCount="5" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13267" PostTypeId="2" ParentId="13263" CreationDate="2014-12-15T09:08:18.577" Score="4" Body="&lt;p&gt;If what you want to have as an end result is a flag texture inside a non-standard shape, can I suggest instead that you import the flag texture, and use a matte to change its shape? If you've already created a shape that you want to use, you could convert it into your matte by adding a key frame to the matte's path control, adding a keyframe to the shape, copying that key frame, and then pasting the key frame over the matte's path keyframe. &#xA;This is probably easier than using unnecessary alpha channels etc.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-12-15T09:08:18.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13268" PostTypeId="1" CreationDate="2014-12-15T09:43:29.207" Score="1" ViewCount="120" Body="&lt;p&gt;Phone Model I have: Nokia 808 PureView&#xA;fps available: 15, 24, 25 30&#xA;720p &amp;amp; 1080p videos can be recorded using this phone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to make videos using hand-held techniques. But whatever I shoot has an amateur feel attached to it. Any tips/techniques to shoot good professional looking videos.&lt;/p&gt;&#xA;" OwnerUserId="7955" LastActivityDate="2014-12-15T18:13:06.320" Title="Tips to make professional looking hand-held videos using smart phones?" Tags="|video-recording|filming|shooting|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13269" PostTypeId="1" CreationDate="2014-12-15T11:42:29.867" Score="5" ViewCount="2659" Body="&lt;p&gt;I have a video (.mpg) and currently it has the wrong aspect ratio (16:9).  I now want to change it to the correct aspect ratio (5:4).  How can I do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that on VLC player I can change the aspect ratio while the video is playing.  However, I am wondering if there is a permanent way of changing the aspect ratio, such that each time this video is played, it is in the correct aspect ratio?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="7956" LastActivityDate="2021-08-28T06:24:37.290" Title="Changing the aspect ratio of a video" Tags="|aspect|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13271" PostTypeId="2" ParentId="13268" CreationDate="2014-12-15T12:12:12.560" Score="1" Body="&lt;p&gt;getting a steadi-cam for the mobile phone can make a difference, they are not that expensive from the likes of eBay or Amazon and can take the hand shake out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if there is something particular that you are trying to achieve, maybe you could explain it a bit more with maybe a few images or example of what your getting and what you want&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2014-12-15T12:12:12.560" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13272" PostTypeId="1" AcceptedAnswerId="13274" CreationDate="2014-12-15T12:29:27.993" Score="0" ViewCount="57" Body="&lt;p&gt;I shot 40 hours of mini dv tape of cycling to India. I worked with a professional film company, who gave me some tuition beforehand. However, in the end the film company decided to produce the film about my mate who I was also travelling with and make a love story about it. However, I've got a bunch of footage out of which I think there is enough quality material to make a 1 hr film. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I craft this travel footage into a worthwhile product? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm currently logging a tape per day, with timecodes and paper notes, and keeping a record of clips I consider to be worthy of going into the film. What other methods can I add into my process to sort out my footage and what methods can I use to craft a story?&lt;/p&gt;&#xA;" OwnerUserId="3813" LastEditorUserId="3813" LastEditDate="2014-12-17T08:51:47.880" LastActivityDate="2014-12-17T08:51:47.880" Title="Process for crafting disparate travel footage" Tags="|video|editing|" AnswerCount="1" CommentCount="3" ClosedDate="2014-12-15T18:04:16.713" ContentLicense="CC BY-SA 3.0" />
  <row Id="13273" PostTypeId="1" CreationDate="2014-12-15T14:05:05.723" Score="1" ViewCount="19" Body="&lt;p&gt;I don't know if it's the right place to post this question or I should go to StackOverflow, but I'll give it a try.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've got my camera connected to PC. It works just fine. But sometimes, let's say every 10 minutes, it 're-connects' to the computer which makes a process of capturing a video from a tape impractical.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sure that the camera works fine by itself, because on the other computer everything works fine. I know that in order to find the core of the problem I should check if the cable is not damaged first or if there is something wrong with Firewire adapter card inside the computer, but I do not have access to a second cable or card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So is there any programmatical way to find out what the problem may be?&lt;/p&gt;&#xA;" OwnerUserId="6267" LastActivityDate="2015-04-14T20:56:33.393" Title="Camera randomly re-connects to PC" Tags="|camera|firewire|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13274" PostTypeId="2" ParentId="13272" CreationDate="2014-12-15T14:29:05.757" Score="2" Body="&lt;p&gt;If this was me, I would log all the tapes with notes and do a rough outline  (on paper) as to what I would like to have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would then go and do a rough cut (very rough tbh), putting all the content I want in a order that makes a bit of sense. you can then see how long it is, if its to long you know you can cut it down, if its to short then you might have to rethink your idea or find more footage to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would choose some music (if you are going to have some) for background, montages etc then do another cut to the music getting closer to your final time limit-ish&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sit back give it a week or so go back watch it through and see if you like the way it is being told but have a open mind while doing this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do another refined edit of things you didnt like when you watched it back, move things around, change up the flow etc etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Watch again and keep doing the last step till your happy with output and story, making sure it wont bore someone watching or confuse them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;get a focus group (Friends, family) to watch it and let them be critical about it to see if they like, understand etc get there feedback and do a final cut.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Final stages are getting the sound levels and colours looking good then let people watch it&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OR &lt;/p&gt;&#xA;&#xA;&lt;p&gt;get a editor who knows how to tell a good story and ask them if they will help you edit the footage down or get their help in the last stages to refine it all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a good course called Inside the Edit &lt;a href=&quot;https://insidetheedit.com/&quot; rel=&quot;nofollow&quot;&gt;https://insidetheedit.com/&lt;/a&gt; it is a little pricey but it will give you what you want I think, If I have the money I would do it but I just go with my feelings and the above&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2014-12-15T14:29:05.757" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13275" PostTypeId="2" ParentId="13268" CreationDate="2014-12-15T14:38:27.493" Score="1" Body="&lt;p&gt;The big issue when shooting with phones is not the resolution, it's the dynamic range.  Your videos will have low contrast and the colors won't be very vivid.  Although I've never seen reviews of the Nokia 808, I imagine it also suffers from noise in low light conditions.  To fix the issues with contrast and color, run your footage through a color correction program like Davinci Resolve Lite (free), Adobe Speedgrade (comes with CC), or Apple Color.  Davinci Resolve is my personal favorite, it is very intuitive and it will make your videos look much more professional.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't want to invest in a steadicam like Adam suggested, you can also use a stabilizing feature in a program like Adobe After Effects, The Foundry Nuke, or Autodesk Smoke.  Just keep in mind that stabilizing footage in post means you will lose some of the information around the edge of the shot and the resolution will lower slightly.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-12-15T14:38:27.493" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13276" PostTypeId="2" ParentId="13269" CreationDate="2014-12-15T14:41:53.260" Score="0" Body="&lt;p&gt;Probably the best way to go about this is to import the footage into an NLE like Premiere, Lightworks, Edius, or Final Cut, then export the footage with the correct aspect ratio.  I imagine there is also an FFmpeg command to do this, but I am not familiar enough with it to tell you.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-12-15T14:41:53.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13277" PostTypeId="2" ParentId="12682" CreationDate="2014-12-15T16:34:46.647" Score="1" Body="&lt;p&gt;Others have said the answer is simply no, but that's not entirely true. You can get some slight improvement from downscaling; errors and artifacts in the stream will be less visible, but this slight improvement usually isn't worth the increased bandwidth usage and CPU usage.  Effective downscaling also requires graphics which can manage it, Nvidia GTX GPUs can do this, I'm not sure about AMD or Intel graphics.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-12-15T16:34:46.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13278" PostTypeId="2" ParentId="13217" CreationDate="2014-12-15T17:36:52.083" Score="0" Body="&lt;p&gt;The best program that runs on the CPU is Open Broadcaster Software.  It can be complicated to use, but there are plenty of online tutorials and it uses almost no processing power.  You can change the settings to get the file size you want by adjusting the bitrate, quality, and resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have an Nvidia GTX GPU, the best option would be Geforce Shadowplay.  It is a completely free program provided by Nvidia with the Geforce Experience.  It runs entirely on the GPU, so it won't slow down your CPU at all.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-12-15T17:36:52.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13279" PostTypeId="2" ParentId="13029" CreationDate="2014-12-15T17:39:02.190" Score="0" Body="&lt;p&gt;I use the Rode Video Mic's for both my DSLR's when filming weddings and they give a good sound. around £50-70 they cost I think&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I normally have them attached at all times (when sound is needed) as it does give a fuller sound while getting some of the ambiance out of the picture.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2014-12-15T17:39:02.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13280" PostTypeId="2" ParentId="13265" CreationDate="2014-12-15T17:51:09.037" Score="0" Body="&lt;p&gt;This could probably be done using Open Broadcast Software and writing your own plugin for it, but the details of how to do that is more of a programing question than a video production question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I honestly don't think you are going to find anything out of the box that handles your specific needs.  You are going to have to do some development work to get it up and running I think.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-15T17:51:09.037" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13281" PostTypeId="2" ParentId="13266" CreationDate="2014-12-15T17:54:03.330" Score="1" Body="&lt;p&gt;Are you manually animating in illustrator and then bringing them in as individual frames in After Effects or are they independent assets?  After Effects treats Illustrator files as images that are displayed across multiple frames and the background is transparent.  You then animate them in After Effects itself by positioning and scaling and such.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have multiple layers in Illustrator, you also need to decide which layers are imported as your asset.  You can either flatten it or use individual layers when importing.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-15T17:54:03.330" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13282" PostTypeId="2" ParentId="13273" CreationDate="2014-12-15T17:58:27.820" Score="1" Body="&lt;p&gt;No, but if you have another computer entirely that it works on, then you know that the cable is good.  This means it must be the firewire card or drivers on the PC that isn't working that is messed up.  I'd first try uninstalling/reinstalling the firewire card and drivers and if that doesn't work, I'd try a new card.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-15T17:58:27.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13283" PostTypeId="2" ParentId="13268" CreationDate="2014-12-15T18:13:06.320" Score="2" Body="&lt;p&gt;Don't shoot handheld and don't use a phone.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Baring that, use stabilization such as a steadicam or steadicam jr (if using a tripod really isn't an option), use lots of well controlled lighting (phone cameras suck at low light) and plan your shots out very carefully.  Use external audio recording rather than the phone's built in mic and do a lot of grading of the color in post.  By the time all is said and done, getting a better camera is likely a cheaper option for the most bang for your buck, though any camera would benefit from the other mentioned options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is exceptionally hard to get a professional quality result out of using a phone camera.  There is a very valid reason that most decent video camera costs more than your average smartphone, and the camera in a smart phone is a very small portion of the actual cost of the phone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There have been projects where smartphones were used to produce professional results, but these have more been marketing gimmicks done by experienced professionals and it made their lives more challenging rather than easier.  Trying to get similar results without a lot of experience is going to be quite challenging.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-15T18:13:06.320" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13284" PostTypeId="2" ParentId="13269" CreationDate="2014-12-15T18:26:28.737" Score="0" Body="&lt;p&gt;Most video editors and encoding applications will allow you to specify the pixel pitch when running the video through them.  This does result in one more generation of loss, but would give the proper pixel pitch for the video.  (In Premiere for example, you use Interpret footage.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There may also be tools that can directly manipulate the pixel pitch listed in the video's meta-data, however I am not aware of any such tools off the top of my head and some brief searching didn't turn any up.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-15T18:26:28.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13287" PostTypeId="1" CreationDate="2014-12-16T17:18:54.930" Score="2" ViewCount="51" Body="&lt;p&gt;Been asked by client to export in MXF format. Never done that before (worked within PP with MXF, just never exported to that).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the end of the ad I've made a very simple after effects title/call to action. Simple black text over the final shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything fine when I exported h264 mp4. But when exporting MXF, the black title went green.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas why? Help appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/wqdfm.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="7964" LastActivityDate="2014-12-17T19:18:01.983" Title="Black title changes colour when exporting MXF ???" Tags="|after-effects|editing|file-formats|animation-rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13289" PostTypeId="2" ParentId="13265" CreationDate="2014-12-16T23:14:12.193" Score="1" Body="&lt;p&gt;You may want to look into &lt;a href=&quot;http://camtwiststudio.com&quot; rel=&quot;nofollow&quot;&gt;Camtwiststudio&lt;/a&gt; for the mac. I work with &lt;a href=&quot;http://desertbus.org&quot; rel=&quot;nofollow&quot;&gt;Desert Bus for Hope&lt;/a&gt; doing a weeklong stream as well and we use it for just the sort of thing you're talking about.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camtwist has built-in plugins for both Twitter and RSS, and can leverage quartz composer to make more complicated overlays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It outputs a video feed for other Mac OS X applications to see it like a QuickTime video source, so you can use wireless or Flash Media Live encoder to do the actual compression and streaming.&lt;/p&gt;&#xA;" OwnerUserId="1247" LastActivityDate="2014-12-16T23:14:12.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13290" PostTypeId="1" CreationDate="2014-12-17T09:35:45.650" Score="1" ViewCount="1405" Body="&lt;p&gt;I would like to add letterbox to the 1080p video I have shot. How can I add it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which software should I use? I have Premiere Pro and After Effects.&#xA;What technique should I use? &lt;/p&gt;&#xA;" OwnerUserId="7955" LastActivityDate="2015-03-17T10:49:01.713" Title="How to add Letterbox to the Video I have shot?" Tags="|video-editor|editing|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="13291" PostTypeId="2" ParentId="13290" CreationDate="2014-12-17T10:01:49.087" Score="1" Body="&lt;p&gt;There are various ways to add letterboxing in PP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some ways I have done are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;creating a Photoshop file (or finding one already made) and using an adjustment layer to apply it. ( I used this post &lt;a href=&quot;http://whoismatt.com/cinemascopetutorial/&quot; rel=&quot;nofollow&quot;&gt;http://whoismatt.com/cinemascopetutorial/&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;when exporting you can use the crop function to chop the top and bottom off&lt;/li&gt;&#xA;&lt;li&gt;using an adjustment layer again but cropping it in 132 from top and 132 from bottom ( believe)&lt;/li&gt;&#xA;&lt;li&gt;make a new Sequence, using Custom settings that's 1920 x 816.&lt;/li&gt;&#xA;&lt;li&gt;google has loads of sites if you do a quick search letterboxing in adobe premier&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I hope some of the above help in a way&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2014-12-17T10:01:49.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13292" PostTypeId="1" CreationDate="2014-12-17T11:06:53.713" Score="1" ViewCount="839" Body="&lt;p&gt;I use x265 to encode a video and the output is mp4. Unfortunately, this file is not playable by any program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The input video is yuv if that matters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know which the problem might be?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you in advance.&lt;/p&gt;&#xA;" OwnerUserId="6047" LastActivityDate="2021-07-15T03:48:14.077" Title="mp4 video exported from x265 does not play" Tags="|encoding|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13293" PostTypeId="2" ParentId="13292" CreationDate="2014-12-17T13:08:53.440" Score="2" Body="&lt;p&gt;It looks like the x265 codec needs to be installed for the App you are using to play the file with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VLC does support x265 with a dd on codec but it seems the link on there site is broken&#xA;&lt;a href=&quot;https://www.videolan.org/developers/x265.html&quot; rel=&quot;nofollow&quot;&gt;https://www.videolan.org/developers/x265.html&lt;/a&gt; which is not very useful right now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;there are some other players out there doing a quick Google brought up some results but I dont have a x265 file to play with to test them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if you exported the file, have you tried exporting it again to see if the same issue happens ?&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2014-12-17T13:08:53.440" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13294" PostTypeId="2" ParentId="13216" CreationDate="2014-12-17T19:11:26.873" Score="2" Body="&lt;p&gt;The root of the issue might be your footage. If you have high amplitude shakes in your video the stabilizer will try to stabilize those as well. That can result in such issues.&#xA;Try different settings, the default values don't work with every type of camera motion.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-12-17T19:11:26.873" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13295" PostTypeId="2" ParentId="13287" CreationDate="2014-12-17T19:18:01.983" Score="1" Body="&lt;p&gt;Might be an issue with the smart rendering option available for MXF in Premiere/AME.&#xA;Try disabling that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://blogs.adobe.com/kevinmonahan/2012/10/11/smart-rendering-in-premiere-pro-cs6-6-0-1-and-later/&quot; rel=&quot;nofollow&quot;&gt;http://blogs.adobe.com/kevinmonahan/2012/10/11/smart-rendering-in-premiere-pro-cs6-6-0-1-and-later/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that doesn't work. Render an intermediate and re-import and encode that to MXF.&#xA;Though keep in mind that MXF is just a container, you have different codecs available.&#xA;Make sure you choose the one suitable for your source footage and what your client requested.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-12-17T19:18:01.983" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13296" PostTypeId="1" CreationDate="2014-12-17T22:21:55.907" Score="2" ViewCount="48" Body="&lt;p&gt;I've extract audio from a mov file. The output (m4a) has the same length of the video, but it starts first.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/AcdR1.png&quot; alt=&quot;Audacity&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Starting first, audio has a silent space at the end. I tried many different audio/video converter(any video converter, avs, freemake) but the result it's always the same. Any suggestion?&lt;/p&gt;&#xA;" OwnerUserId="7971" LastActivityDate="2014-12-18T14:46:41.563" Title="Audio extraction from video issue" Tags="|video|audio|conversion|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13297" PostTypeId="2" ParentId="12854" CreationDate="2014-12-18T00:48:59.373" Score="1" Body="&lt;p&gt;Cinema 4D may have lost the texture file in the crash.  Check whatever the equivalent of the hypershade is in Cinema to make sure the object is still textured.  Also be sure to check the lights and whether you have hardware texturing enabled.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-12-18T00:48:59.373" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13298" PostTypeId="1" AcceptedAnswerId="13307" CreationDate="2014-12-18T09:58:45.243" Score="1" ViewCount="79" Body="&lt;p&gt;A friend of mine is being accused for theft and the only evidence for that is a video camera of a nearby shop where he just passed normally. The time on the video matches. He says it's a set up. The court needs evidence that a video with such low quality can be changed (the time in the corner of the video). Is this something that is easy to change and are there any reliable sources that talk about this?&lt;/p&gt;&#xA;" OwnerUserId="7974" LastEditorUserId="2836" LastEditDate="2014-12-18T15:03:38.257" LastActivityDate="2014-12-19T15:15:50.623" Title="Can low quality video be manipulated to change the displayed time without being detectable?" Tags="|video|editing|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13299" PostTypeId="1" CreationDate="2014-12-18T13:14:58.503" Score="0" ViewCount="129" Body="&lt;p&gt;I'm working on the RTMPT server. Seems, that all done correctly, tcpdump's logs shows no difference with Red5. Flash Flowplayer successfully passes handshake, creates and starts stream, initializes metaData, but playback doesn't starts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to sent exactly the same data as Red5 (dumped with tcpdump), but the result was the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How it can be? What am I doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just ask if you need more information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Dumps:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://79027.selcdn.com/stuff/capture_rtmpt_h264_live_red5_baseline.cap&quot; rel=&quot;nofollow&quot;&gt;http://79027.selcdn.com/stuff/capture_rtmpt_h264_live_red5_baseline.cap&lt;/a&gt; (working, red5)&#xA;&lt;a href=&quot;http://79027.selcdn.com/stuff/capture_rtmpt_proxy.cap&quot; rel=&quot;nofollow&quot;&gt;http://79027.selcdn.com/stuff/capture_rtmpt_proxy.cap&lt;/a&gt; (working, red5 through custom proxy)&#xA;&lt;a href=&quot;http://79027.selcdn.com/stuff/capture_problem.cap&quot; rel=&quot;nofollow&quot;&gt;http://79027.selcdn.com/stuff/capture_problem.cap&lt;/a&gt; (wrong; my implementation)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S.: video is in h264.&lt;/p&gt;&#xA;" OwnerUserId="7975" LastActivityDate="2014-12-18T13:14:58.503" Title="Problems while implementing RTMPT server" Tags="|rtmp|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="13300" PostTypeId="2" ParentId="13296" CreationDate="2014-12-18T14:46:41.563" Score="1" Body="&lt;p&gt;I'm not sure why they are not lining up, perhaps there is some problem with the audio track near the beginning that is causing truncation at the start.  Unless you have meaningful information there, my suggestion would be to remove the silence at the end of the audio file (since it is clear when it goes perfectly silent) and then end align rather than start align.  It appears that would likely give you proper sync.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-18T14:46:41.563" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13301" PostTypeId="1" AcceptedAnswerId="13302" CreationDate="2014-12-18T05:47:36.703" Score="3" ViewCount="29042" Body="&lt;p&gt;Is there a generic data recording rate for the different capture options on GoPro Heroes? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to determine what size of SD card I should buy for my GoPro and I'd like to get an approximation. Is there a grid somewhere that details this?&lt;/p&gt;&#xA;" OwnerUserId="667" OwnerDisplayName="Naftuli Tzvi Kay" LastEditorUserId="7976" LastEditDate="2014-12-18T20:10:52.553" LastActivityDate="2014-12-18T20:10:52.553" Title="How much recording time at 1080p30 on a 32GB card on a GoPro Hero (1)?" Tags="|video-recording|sd-card|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13302" PostTypeId="2" ParentId="13301" CreationDate="2014-12-18T09:48:10.290" Score="3" Body="&lt;p&gt;Have you try to go to the product web site and check?&#xA;&lt;a href=&quot;http://gopro.com/support/articles/recording-time-in-each-video-setting&quot; rel=&quot;nofollow&quot;&gt;http://gopro.com/support/articles/recording-time-in-each-video-setting&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know it is about Hero2, but i think the values will not change much. Be aware fully charged battery will power the camera for no more than 3 hours&lt;/p&gt;&#xA;" OwnerUserId="7976" OwnerDisplayName="Romeo Ninov" LastActivityDate="2014-12-18T09:48:10.290" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13303" PostTypeId="2" ParentId="13298" CreationDate="2014-12-18T14:59:36.247" Score="2" Body="&lt;p&gt;The easiest way would be to simply add a timecode to video that doesn't have one.  If you had a clean video, it's super trivial to add something to it.  It would be quite a bit harder to alter something if there was already timecode put there (unless cropping would work like BrettFromLA suggests), but it could also be argued that the clock was also simply wrong on the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your best bet is to have a video forensics guy look it over for signs of manipulation and have them act as an expert witness.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-12-19T15:15:50.623" LastActivityDate="2014-12-19T15:15:50.623" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13304" PostTypeId="1" AcceptedAnswerId="13305" CreationDate="2014-12-18T16:22:57.073" Score="19" ViewCount="14635" Body="&lt;p&gt;Is there a vector-based video type, preferably open-source, so that an animated clip could be produced using &quot;rules&quot; instead of pixel-compression?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would mean lossless resolution-independent video. If it does exist - a link to the specifications would be helpful.&lt;/p&gt;&#xA;" OwnerUserId="6255" LastActivityDate="2024-02-13T05:43:50.663" Title="Is there a video type for vector animation?" Tags="|video|file-formats|codec|" AnswerCount="6" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13305" PostTypeId="2" ParentId="13304" CreationDate="2014-12-18T16:27:10.857" Score="21" Body="&lt;p&gt;There was one, but it fell in to disuse and isn't used very often anymore, largely because of the lack of mobile support, but also due to security issues it created.  It was called Flash.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-18T16:27:10.857" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13306" PostTypeId="1" AcceptedAnswerId="13308" CreationDate="2014-12-18T18:27:32.110" Score="3" ViewCount="1231" Body="&lt;p&gt;I've exported a video within Premiere Pro &amp;amp; certain areas of the video produce wavy lines or it comes out distorted. What could be the cause of this and how can this be fixed?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See below for an example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Exported Video:&lt;/strong&gt; &lt;img src=&quot;https://i.stack.imgur.com/yD5Sh.jpg&quot; alt=&quot;enter image description here&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/ryB4n.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Same clip within Premiere Pro:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/KmjvT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="7977" LastActivityDate="2020-12-01T23:14:04.597" Title="Wavy video export in Premiere Pro" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13307" PostTypeId="2" ParentId="13298" CreationDate="2014-12-18T18:56:16.933" Score="2" Body="&lt;p&gt;I'll assume the time code is at the top or bottom of the video, and off to one side. In simple video-editing software (like Adobe Premiere or even the free Apple software iMovie), an editor could zoom in on the shot to crop out the timecode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/6hFFc.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At this point, though, the editor would have to create a fake timecode and lay it over the top of the video convincingly. Once that was done, the editor would save the video as a new file which would appear nearly the same as the original but with a new timecode.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2014-12-18T18:56:16.933" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13308" PostTypeId="2" ParentId="13306" CreationDate="2014-12-18T21:19:19.137" Score="6" Body="&lt;p&gt;Those are interlacing problems it looks like. In the editor, it displays 'deinterlaced' previews so you won't notice this in the editor. In the clip, select &quot;Field options&quot; and then &quot;Always deinterlace&quot; then render your video again, it should be fine then.&lt;/p&gt;&#xA;" OwnerUserId="1156" LastActivityDate="2014-12-18T21:19:19.137" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13309" PostTypeId="1" AcceptedAnswerId="13310" CreationDate="2014-12-19T01:29:49.523" Score="2" ViewCount="1165" Body="&lt;p&gt;I am very new to this video editing, so sorry,...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I actually want a transition that takes longer to undip from black than to dip to black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wanted to add two transitions, one at the end of the first clip and have the transition stop at 50% and then another one at the beginning of the next and have it start at 50% and then adjust the time the transitions take.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It turns out one can only have one transition between clips. Which makes sense, but does not explain how I should proceed.&lt;/p&gt;&#xA;" OwnerUserId="7980" LastActivityDate="2014-12-19T06:23:55.923" Title="How to add &quot;two&quot; transitions between clips in Premiere?" Tags="|premiere|transitions|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13310" PostTypeId="2" ParentId="13309" CreationDate="2014-12-19T03:38:13.920" Score="1" Body="&lt;p&gt;I am unclear on what you are asking. So you have 2 clips on your timeline and you want to have clip 1 dissolve but only halfway? That's your opacity. So just click on your clip in the timeline (next to the clip name I believe there's a twirly) and you should be able to select motion, or opacity. Click opacity. Then adjust it with keyframes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then go to your second clip and start your first keyframe at 50% and then further along the timeline take it back to 100% with another keyframe?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope that helps.&lt;/p&gt;&#xA;" OwnerUserId="6708" LastActivityDate="2014-12-19T03:38:13.920" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13311" PostTypeId="2" ParentId="13001" CreationDate="2014-12-19T06:16:04.410" Score="2" Body="&lt;p&gt;Looks like Adobe have come to the party on this one. A new update as of After Effects CC 2014.2 (13.2) has a sourceRectAtTime() method that does exactly what I'm wanting. To quote &lt;a href=&quot;http://blogs.adobe.com/aftereffects/2014/12/after-effects-cc-2014-2-13-2.html&quot; rel=&quot;nofollow&quot;&gt;their blur&lt;/a&gt;b:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;You can now read the rectangle bounds of a layer’s content, including&#xA;  the corrected bounds of a text layer, for any time in a composition.&#xA;  The sourceRectAtTime() method from the After Effects scripting API is&#xA;  now accessible in expressions as a read-only layer object attribute.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yee-hah!&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-12-19T06:16:04.410" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13312" PostTypeId="2" ParentId="13309" CreationDate="2014-12-19T06:23:55.923" Score="1" Body="&lt;p&gt;Jeremy's opacity method will work, but if you want to do it with transitions, just make a gap between the adjacent clips, apply the transitions to each clip separately and then trim them back together.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-12-19T06:23:55.923" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13313" PostTypeId="2" ParentId="13304" CreationDate="2014-12-19T06:41:07.570" Score="10" Body="&lt;p&gt;The University of Bath released a paper demonstrating a &lt;a href=&quot;http://www.bath.ac.uk/news/2012/12/11/pixel-die/&quot; rel=&quot;nofollow noreferrer&quot;&gt;vector-based video codec&lt;/a&gt; a couple of years ago, with a press release asking &amp;quot;&lt;em&gt;is the pixel about to die?&lt;/em&gt;&amp;quot;. Strangely since then the pixel hasn't died, in fact there are even more of them around than there used to be.&lt;/p&gt;&#xA;&lt;p&gt;You could argue that most video codecs do actually use vectors: &lt;a href=&quot;https://en.wikipedia.org/wiki/Discrete_cosine_transform&quot; rel=&quot;nofollow noreferrer&quot;&gt;DCT&lt;/a&gt; (or similar), - which is used in pretty much every video codec around - is based on the idea that you can represent any signal perfectly as the sum of several cosine waves, or in other words as a bunch of vectors added together.&lt;/p&gt;&#xA;&lt;p&gt;But that doesn't mean you can scale a standard definition DV movie up to 4K without any loss of sharpness. The reason for this is that even though a DCT encoded image is essentially a bunch of mathematical functions, and is therefore resolution independant, the signal that they encode is limited in bandwidth to the original data that was captured; the camera is a low-pass filter, filtering out any detail finer than the resolution of the sensor (it's probably more precise to say any detail finer than the Nyquist limit of the sensor ~= 1/2 the resolution). In other words, no codec can encode information that wasn't there in the first place.&lt;/p&gt;&#xA;&lt;p&gt;So even the University of Bath's codec can't do &lt;a href=&quot;https://www.youtube.com/watch?v=Vxq9yj2pVWk&quot; rel=&quot;nofollow noreferrer&quot;&gt;that thing they do&lt;/a&gt; in movies where you can infinitely enhance a low res, out-of-focus security camera shot until it looks like it came out of a Hasselblad.&lt;/p&gt;&#xA;&lt;p&gt;Flash animation as AJ Henderson mentions is a pure vector based format, but it is only for content that was created as vectors, and not to be confused with Flash video (flv container) which is a raster format where the pixels are encoded with Sorenson Spark or VP6 or good ol' h.264 (which uses DCT).&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt; Worth updating this answer with info about &lt;a href=&quot;https://lottiefiles.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lottie&lt;/a&gt;, which is software that makes it easy to use HTML5 vector animation. It's basically a modern replacement for flash. You can use After Effects for example to create animations directly for the web, without rendering. This is not a codec as such, it doesnt encode a raster (pixel based) image like you'd get out of a camera, that's still the job for codecs like h.264 etc.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2024-02-13T05:43:50.663" LastActivityDate="2024-02-13T05:43:50.663" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="13314" PostTypeId="1" AcceptedAnswerId="13315" CreationDate="2014-12-19T10:26:23.367" Score="3" ViewCount="331" Body="&lt;p&gt;Im shooting video using nikon D5200, just a man speaking in a green background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that at the beginning of video the man is more &quot;blue-ish&quot; and as video progresses he becomes more &quot;red-ish&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I noticed this at post-processing while trying to fix color levels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What happened? Is this a constant auto-balance of colors from the camera while shooting video? How can i disable this and have the same color balance through all the video?&lt;/p&gt;&#xA;" OwnerUserId="7982" LastActivityDate="2014-12-19T15:07:59.790" Title="D5200 Color levels change through video" Tags="|dslr|color-correction|nikon|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13315" PostTypeId="2" ParentId="13314" CreationDate="2014-12-19T15:07:25.373" Score="3" Body="&lt;p&gt;Don't use auto white balance and use manual exposure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Auto white balance will guess at what is white and may shift while you are running video on some cameras (which makes sense since often people may move from one room to another while shooting or lighting conditions could change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Manual exposure will preserve luminosity.  Auto exposure shouldn't change color temperature (which is what you are noticing) however it will change how bright things are and that can be just as much of an issue for trying to get accurate green screen footage.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-19T15:07:25.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13316" PostTypeId="2" ParentId="13314" CreationDate="2014-12-19T15:07:59.790" Score="3" Body="&lt;p&gt;For me it looks like you use Auto whitebalance. Try to set the whitebalance to one particular value depend of the light you shoot.&lt;/p&gt;&#xA;" OwnerUserId="7976" LastActivityDate="2014-12-19T15:07:59.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13317" PostTypeId="1" AcceptedAnswerId="13319" CreationDate="2014-12-19T15:58:45.823" Score="4" ViewCount="1168" Body="&lt;p&gt;I'm trying to get a whole bunch of videos on screen, playing at one time. The idea would be to slowly pan into the central video. Any ideas how this can be achieved? I'm using Sony Vegas Pro 9. I've attached these two pictures to illustrate what I'm trying to achieve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ey1bX.png&quot; alt=&quot;enter image description here&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/WKyfT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tim&lt;/p&gt;&#xA;" OwnerUserId="7983" LastActivityDate="2014-12-19T17:14:36.123" Title="Multiple Videos On Screen" Tags="|vegas-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13318" PostTypeId="2" ParentId="13317" CreationDate="2014-12-19T16:52:41.223" Score="1" Body="&lt;p&gt;Im would guess theres a plugin for SV that would do this but I would do the following which might be a bit long winded and not correct but it will do the job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming your using HD 1920 x 1080&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Get all 9 videos each on a different timeline (stacked one above the other)&#xA;Resize them all to the same size &#xA;&lt;br&gt;width = (1920 / 3 = 640 - 10px for the 2 borders)&#xA;&lt;br&gt;height = (1080 / 3 = 360 - 10px for the 2 borders)&#xA;&lt;br&gt;Then position the 3 central videos starting from the middle one and working up and down then left and right&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise what has just sprung into my head&#xA;&lt;br&gt;using something like photoshop make a quick template (ie the image above to mate the &lt;br&gt;output size assuming 1920 x 1080&#xA;&lt;br&gt;drop this on a timeline&#xA;&lt;br&gt;shrink all the videos to fit the boxes&#xA;&lt;br&gt;remove template from timeline&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2014-12-19T16:52:41.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13319" PostTypeId="2" ParentId="13317" CreationDate="2014-12-19T17:14:36.123" Score="3" Body="&lt;p&gt;Use Track Motion to create video wall - 9 tracks, each clip on its own track. There are tools that can help you to do it (I use Pan/Crop Assistant from &lt;a href=&quot;http://vegasaur.com/Vegasaur&quot; rel=&quot;nofollow&quot;&gt;Vegasaur toolkit&lt;/a&gt;).&#xA;Add another track (parent track) and make these 9 tracks composing childs of this parent track.&#xA;Use Parent Motion to create pan/zoom animation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Read in the Help about Track Motion...&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-12-19T17:14:36.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13320" PostTypeId="1" CreationDate="2014-12-20T03:30:53.350" Score="2" ViewCount="175" Body="&lt;p&gt;It's possible to produce mp4/webm videos without sound that loop seamlessly, but if you add sound to the video with matching length it adds a noticeable stutter at the end, even if the audio is slightly shorter than the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to produce a web friendly (mp4/webm) video with sound that is gapless?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Adobe products and ffmpeg to produce my videos, if that matters.&lt;/p&gt;&#xA;" OwnerUserId="6904" LastActivityDate="2014-12-20T16:36:05.940" Title="Gapless audio in video" Tags="|audio|adobe|production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13321" PostTypeId="2" ParentId="13320" CreationDate="2014-12-20T16:36:05.940" Score="1" Body="&lt;p&gt;This can happen if the GOP structure is unclosed at the end of the video. If you can assure that your video ends with an I frame, and that the audio is exactly the same length as the video, you stand a much better chance of getting a smooth recycle. Sorry, I don't know how to force that using ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2014-12-20T16:36:05.940" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13322" PostTypeId="1" AcceptedAnswerId="14742" CreationDate="2014-12-20T17:13:16.653" Score="14" ViewCount="18119" Body="&lt;p&gt;In modern digital video, can a video file be marked with any arbitrary frame rate? Or are only a few specific frame rates widely supported? By &quot;modern&quot; I mean software players like Quicktime, VLC, Roku, game consoles, etc. I'm curious both what the video standards themselves say are allowed frame rates and then what actually works in practice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I understand that 24 fps, 25 fps, 30 fps, 50 fps, and 60 fps are widely supported standards. HandBrake also offers 5, 10, and 15; are those standard options? Could I use any FPS number I want?  And what about the non-integer rates like 23.976 and 29.97; are they actually treated differently by software than 24 and 30? Also I see references to &quot;variable frame rate&quot; in H.264 streams; does that actually work and if so, what uses it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My specific question is what the best way is to encode some 8mm film scans. The source is 16 fps, the 8mm film standard. Right now I'm doubling every other frame to bring it up to 24 fps which works OK, but I'm wondering why I can't just mark the video as 16 fps. FWIW I've produced H.264 mp4 files with Handbrake at 15 fps and found they only played back correctly in VLC. Mac Quicktime played them too fast, probably 24 fps.&lt;/p&gt;&#xA;" OwnerUserId="7985" LastActivityDate="2020-10-01T21:21:56.843" Title="Are there only a few standard video frame rates?" Tags="|framerate|" AnswerCount="7" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13323" PostTypeId="2" ParentId="13322" CreationDate="2014-12-20T18:04:51.420" Score="3" Body="&lt;p&gt;By history 24 FPS come from kino (movies). The film was in phototape and the speed was selected to make movements smooth. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;25 FPS come from the frequency of power in Europe , 50 Hz (50 FPS is from same source, but actually double it). Actually TV in Europe was 50 FPS but half frames, they are interlaced&lt;/p&gt;&#xA;&#xA;&lt;p&gt;30 FPS come from the frequency of power in USA, 60 Hz (60 FPS is from same source, but actually double it). Actually TV in USA was 60 FPS but half frames, they are interlaced&lt;/p&gt;&#xA;&#xA;&lt;p&gt;16 FPS is not so wide spread as standard for professional purposes, so maybe thats the reason it is not in use in most of current software. Moreover such FPS will not &quot;smooth&quot; enough the fast movement. I have one crazy idea how you can make 16 FPS to match better 24. Juts get every even and odd frames and make something like average between them :)&lt;/p&gt;&#xA;" OwnerUserId="7976" LastEditorUserId="1950" LastEditDate="2015-01-30T13:33:36.473" LastActivityDate="2015-01-30T13:33:36.473" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13325" PostTypeId="2" ParentId="13322" CreationDate="2014-12-20T21:11:33.250" Score="-3" Body="&lt;p&gt;A few other notes.  First, 48 fps is becoming more popular and common thanks to The Hobbit and now YouTube's support for the framerate.  Secondly, 30 fps is usually actually 29.97 fps and 60 is usually about 59.94.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-12-20T21:11:33.250" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13326" PostTypeId="1" CreationDate="2014-12-20T23:40:08.813" Score="3" ViewCount="8260" Body="&lt;p&gt;When watching a video on YouTube in 1080p 60 FPS the video runs very smooth and looks nice. When I play games on my PC with more than 60 FPS it does not feel as nice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Is there a difference between YouTube's 60fps and 'actual' 60fps?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="7990" LastActivityDate="2015-02-23T03:49:07.663" Title="YouTube's 60fps runs smoother than games?" Tags="|video|webvideos|" AnswerCount="5" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13327" PostTypeId="2" ParentId="13326" CreationDate="2014-12-21T14:23:39.107" Score="1" Body="&lt;p&gt;If you're comparing PC games to Youtube video shot with a camera (as opposed to Youtube video of games captured via HDMI), then you're probably noticing the natural motion blur that cameras introduce.  Gaming hardware can't reproduce this effect very well because it either has to render intermediate frames and blur them together or perform &quot;optical flow&quot; or vector-based analysis in real time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are, however, asking about Youtube videos of video games (which presently comprise most of Youtube's 60p content), then my only suggestion is perhaps a performance difference between your machine and the ones in the videos.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2014-12-21T14:23:39.107" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13328" PostTypeId="1" CreationDate="2014-12-21T14:47:20.893" Score="0" ViewCount="1468" Body="&lt;p&gt;Using Premiere or After Effects, what is the best (or possible) way of stretching a section of footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically I have some talking head footage that is too central, and want to shift the talking head left, and stretch the righ hand BG area to fill the remaining BG.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/RATQ6.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/F6v0A.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many Thanks!&lt;/p&gt;&#xA;" OwnerUserId="7993" LastActivityDate="2022-08-16T05:59:46.603" Title="How best to stretch an area of video" Tags="|after-effects|adobe|premiere|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13329" PostTypeId="2" ParentId="13326" CreationDate="2014-12-21T23:56:58.970" Score="-2" Body="&lt;p&gt;60 fps videos on YouTube are progressive while many video games cheat with interlacing.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another potential cause is the refresh rate of your monitor.  Most monitors refresh at 60Hz, meaning 60 times a second.  But because of the way GPUs cycle when rendering video games, you need a 120Hz monitor to appreciate 60 fps.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastEditorUserId="6671" LastEditDate="2014-12-25T20:19:22.100" LastActivityDate="2014-12-25T20:19:22.100" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="13330" PostTypeId="1" AcceptedAnswerId="13335" CreationDate="2014-12-22T01:11:12.263" Score="-1" ViewCount="48" Body="&lt;p&gt;I'm working with a team, we make some review videos for automobile/cars. There are in-car shots with 3 way multi-cam scenario, sometimes 1 out-car shot may come.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have 3 producers. There is no strong work of compositing right now, just video editing. However editing is very complicated, sometimes there may be 10 cuts over 10 secs. It should also be managed by all producers, however the media is usually over 40 GBs. It is impossible to transfer this data via internet atm, I lastly found out proxy is intuitive for that kind of work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We need to figure out the best (at least, optimal) way with performance and time aspects, what do you prefer? Only one may render the final work, we have no issue with that. But there should be a way to preview our work (as a project file) to the director.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some tech stuff:&#xA;Videos are basically &lt;strong&gt;2 hours&lt;/strong&gt; before editing and &lt;strong&gt;the final video comes like 30 mins&lt;/strong&gt;, not more than 45 mins. There are two &lt;strong&gt;1080p&lt;/strong&gt; cameras and one &lt;strong&gt;720p&lt;/strong&gt; camera recording at 24.97, 60 fps and 29.97 fps, respectively. Audio is recorded at 16-bit 44100 Hz PCM mono. The audio channels of videos are deleted right after sync.&lt;/p&gt;&#xA;" OwnerUserId="7996" LastActivityDate="2014-12-22T16:52:54.650" Title="Way to share HD multi-cam long media files to preview edits" Tags="|premiere|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13331" PostTypeId="2" ParentId="13330" CreationDate="2014-12-22T09:41:44.177" Score="0" Body="&lt;p&gt;Sound like you nailed it there, I work on projects from my Mac Pro and MacBookPro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have all mead copied on both devices and backed up on a Extenral HDD&#xA;Using FCPX I start the edit on one machine and then DropBox or GoogleDrive the project file (As all the media is kept separate from the project)&#xA;I then can just drop it back into  the folder and it will be up to date.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I only work like this as I do most of my editing at home but use my MBP while on lunches at work etc&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would jsut pop all the media on a Ext USB HDD and mail the original files and project folder structure as long as this all stays the same it should be effort less, otherwise using some proxy files using a standard file and folder structure so it is all kept to this standard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;all my project use the same structure which means I always know where my files are and if anything happens I know where to look straight away&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2014-12-22T09:41:44.177" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13332" PostTypeId="1" AcceptedAnswerId="13337" CreationDate="2014-12-22T11:22:57.700" Score="1" ViewCount="72" Body="&lt;p&gt;What are the leading editing tools available that also have good textbooks for them? I'd like to learn making videos based on Fraps footage: manage multiple audio tracks, cut/move pieces of audio, possibly record and insert pieces of audio right on the spot, add text on top of video, add fade in/out effects between pieces of video, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I imagine there are several such products, so I'll try to be more specific: it should be modern, easy to use, not buggy, able to use all CPU cores for the rendering and have good tutorial to learn all its stuff.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="8001" LastActivityDate="2014-12-22T17:13:11.477" Title="Editing software with a good textbook (Windows)" Tags="|software-recommendation|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="13333" PostTypeId="2" ParentId="13322" CreationDate="2014-12-22T16:37:38.647" Score="2" Body="&lt;p&gt;There are set television and film video standards that most videos conform to.  A computer can often display video from multiple framerates, however some TVs may have trouble with odd-ball frame rates as they may use more specialized display circuitry.  Even on a computer, the frame rate actually displayed may not match up with that of the video file, depending on the supported refresh rates of the monitor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, the non-integer frame rates are displays differently.  They are known as drop frame and they exist primarily for legacy reasons.  When played back, one frame is dropped (from timecode) every so often in order to make up the time difference and the frames are spread at the proper rate to keep it smooth.  This more has to do with sync stuff in legacy formats though and preventing sync issues that are no longer relevant.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use non-standard frame rates and it should play back fine on PCs but it will not conform to standard video for things like Bluray and may not play back well on some TVs.  (And even on those it works on, it will likely do a pull down in real time to conform to a standard frame rate, where as a pulldown done in advance would likely result in better quality.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-12-22T17:03:46.187" LastActivityDate="2014-12-22T17:03:46.187" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13334" PostTypeId="2" ParentId="13326" CreationDate="2014-12-22T16:48:21.520" Score="1" Body="&lt;p&gt;My best guess is that your computer may be having trouble actually producing 60fps fast enough.  Try turning on triple buffering and see if that helps.  If the buffer doesn't fully fill before a frame goes to display, you will get an artifact known as screen tearing (some of the buffer has the current frame, some has the previous).  Triple buffering fixes this by fully pre-rendering a frame in advance but results in increased latency due to the extra processing delay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, if you are comparing videos from games that other people are running vs your own recordings, the game quality settings make a huge difference.  Things like Anti-aliasing are very demanding on computer hardware, but make edges look far smoother.  Motion blur and shadows are also rather processing intensive effects that make a big difference.  If your system isn't super, super powerful, keeping up with 60fps while also keeping those settings on all the way is quite hard.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-22T16:48:21.520" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13335" PostTypeId="2" ParentId="13330" CreationDate="2014-12-22T16:52:54.650" Score="1" Body="&lt;p&gt;With the other problems you have in your current pipeline, I would just transcode your source files to a low quality, low res intermediate proxy.  Have other editors work off the low quality, small size videos and simply replace the proxy in the final render.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There will be some minor losses in this process due to things like color changes and such from the compression on the proxies, but a final color grading pass will counteract that largely and either way, the problems you are going to get from the various frame rates and resolutions far overshadow the very minor issues you'll get from using the low quality proxies.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-22T16:52:54.650" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13336" PostTypeId="2" ParentId="13322" CreationDate="2014-12-22T16:59:43.870" Score="2" Body="&lt;p&gt;To answer your question - yes, you can generally encode a video file in any frame rate you'd like. (Though some software may choose to limit you to make the software simpler.) The question is will the delivery format you choose support it, and will the playback device support it? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have 8mm film at 16 fps, I'd encode it at 16 fps if I knew the playback devices I wanted to support could handle it. If not, I'd probably use software that supported optical flow (sometimes called motion estimation) to encode it at 24 fps, which is likely the nearest frame rate likely to be supported by encoding software, decoding software, and most playback hardware.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Software (or hardware) that supports optical flow will generate in-between frames based on the motion of objects in your video. Rather than either repeating a frame or even blending 2 frames, it generates a new frame that is usually pretty close to what would have actually been recorded had you recorded at the output frame rate.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-12-22T16:59:43.870" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13337" PostTypeId="2" ParentId="13332" CreationDate="2014-12-22T17:13:11.477" Score="2" Body="&lt;p&gt;Video editing software is a tool to do video editing.  Any decent textbook should teach video editing, not video editing software.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Conversely if you know how to edit, most NLEs (the technical term for video editing software) should be pretty intuitive.  I can sit down at any decent NLE you put in front of me and start editing without a manual, but I've been editing for 15+ years.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of NLE software with good documentation, Premiere has very nice documentation and is a very solid platform, but it also isn't the cheapest option out there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Overall, I would recommend not focusing on the NLE software and more on how to edit though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-22T17:13:11.477" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13338" PostTypeId="1" AcceptedAnswerId="13339" CreationDate="2014-12-23T01:35:48.527" Score="1" ViewCount="3390" Body="&lt;p&gt;My school's drama department wants to record their shows. As the school only has really old cameras, the recordings look like garbage. I have a Canon T3i but the recordings stop at 30 minutes. This is where the Blackmagic Design Intensity products come in. The Intensity products can record from an HDMI input. So, in theory, I can connect my T3i's HDMI out to this and record the show on the computer. My only concern is the time. Our shows are about 2 hours. Would this cause the camera to overheat? Would this even work at all?&lt;/p&gt;&#xA;" OwnerUserId="8003" LastActivityDate="2014-12-23T18:10:02.753" Title="Canon T3i with Blackmagic Design Intensity to record plays?" Tags="|canon|hdmi|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="13339" PostTypeId="2" ParentId="13338" CreationDate="2014-12-23T18:10:02.753" Score="1" Body="&lt;p&gt;The problem is that the HDMI output on your T3i is not clean.  You would still have all the UI from the camera interface placed on it.  Higher end cameras (like the 5D mark iii) and some other makes have a clean output option, but I don't believe the T3i does.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use the third party MagicLantern firmware to force the interface clean, but at that point you can also have it automatically start a second recording after the first ends and bypass the 30 minute limit altogether.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as sensor overheating, it really depends on the camera model and the temperature in the environment you are shooting and how fast it dissipates waste heat.  MagicLantern generally displays an indicator of the temperature of the sensor with some color coding as to how hot it actually is.  You could try using ML and see how your camera handles it, but it may very well run too hot when trying to do two hours at a time.  You won't know for sure until you try though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As others have noted, ML may or may not void your warantee.  It technically isn't a full third party firmware, but rather just runs on top of the underlying OS that is built in, but it can tweak settings that aren't normally tweaked internally.  There are plenty of cases of people getting warranty replacements on cameras that had had ML installed, but you should be aware that it is not a completely risk free process and in rare cases ML has caused cameras to become unresponsive (or even brick in exceptionally rare cases).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-23T18:10:02.753" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13340" PostTypeId="2" ParentId="13328" CreationDate="2014-12-24T09:02:58.097" Score="2" Body="&lt;p&gt;As Jason says, if the camera is stationary throughout, this is probably doable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, work out how much more scene you need to create, by opening the video in After Effects, and dragging it to one side until it looks right.  Export a frame from that comp as a still (something lossless like TIFF is best).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open the still in Photoshop, and build your &quot;clean plate&quot; - try using the &lt;a href=&quot;http://www.lightstalking.com/how-to-use-content-aware-fill-in-photoshop/&quot; rel=&quot;nofollow&quot;&gt;Content Aware fill&lt;/a&gt; tool.  It works suprisingly well sometimes.  Any dodgy bits, go over again with the Content Aware brush, then use a soft Clone Stamp to fill in any further bits that look wrong.  Save your new still image as a TIFF.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open the new TIFF file in AE, and put it behind your main video in the comp.&#xA;Draw a mask around your main video, and &lt;a href=&quot;https://library.creativecow.net/devis_andrew/AE-Basics-46-Feather-Mask-Tool/1&quot; rel=&quot;nofollow&quot;&gt;feather the mask&lt;/a&gt; until the edges start to go transparent.  Drag the edges of the mask, so that you have a nice gradual feathering gradient into your clean plate, but make sure the other edges of your video aren't becoming transparent (make the mask much bigger than the video on all sides except the side you're trying to fix).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, &lt;a href=&quot;http://helpx.adobe.com/after-effects/using/noise-grain-effects.html&quot; rel=&quot;nofollow&quot;&gt;add some noise or film grain&lt;/a&gt; to the still image layer - it will help &quot;sell&quot; the shot more, and make the still look more like video - don't overdo it - a little goes a long way.  &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-12-24T09:02:58.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13341" PostTypeId="1" AcceptedAnswerId="13342" CreationDate="2014-12-24T15:07:47.310" Score="2" ViewCount="1477" Body="&lt;p&gt;Background:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;A colleague had given me a large 33Gb .mov for use in a project, I&#xA;put this file on a backup drive.&lt;/li&gt;&#xA;&lt;li&gt;I made an identical copy of this 33Gb .mov file and placed it in a folder that I'd use to work on a Premiere Pro Project. &lt;/li&gt;&#xA;&lt;li&gt;I ran Adobe Premiere Pro CS6 and dragged in the 33Gb .mov file into the Sequence (imported it) &lt;/li&gt;&#xA;&lt;li&gt;Premiere Pro CS6 started conforming the file.&lt;/li&gt;&#xA;&lt;li&gt;After it had finished, I noticed that&#xA;it's Modified Date was just now i.e different to the Modified Date&#xA;on the original copy of the file on the backup drive (see step 1)&lt;/li&gt;&#xA;&lt;li&gt;I ran a BeyondCompare check between the .mov file on the backup drive&#xA;(see step 1) and the one that the Premiere Pro project was using&#xA;(step 2, 3) and Beyond Compare reported they were different.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I had initially thought it was unrelated file corruption of some kind, but I have checked this several times and got the same outcome, so it's definitely Premiere Pro deliberately modifying the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I am puzzled: these are supposed to be the same file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why would there be a need for Adobe Premiere Pro to modify the footage?&#xA;What does it do to the file?&#xA;Would it not be better to create a separate file if necessary?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can accept this if that's how it works and it's good to know that it was Premiere Pro deliberately modifying the files and not corruption (so my hardware ought to be healthy). But it makes more sense to me if Premiere Pro made separate modified copies for its own use. Modifying the file as it does hinders my process for checking the integrity of backups; if the original asset footage files were the same as earlier copies then it would be easy to know that the backups are OK.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thoughts?&lt;/p&gt;&#xA;" OwnerUserId="1049" LastActivityDate="2014-12-24T15:29:51.160" Title="Why does Adobe Premiere Pro modify original footage/asset files (e.g. mov)? (CS6)" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13342" PostTypeId="2" ParentId="13341" CreationDate="2014-12-24T15:18:21.970" Score="3" Body="&lt;p&gt;It's all about this setting, &quot;Write XMP ID To Files On Import&quot; - which confirms that Adobe Premiere Pro is deliberately modifying the .mov file: &lt;a href=&quot;http://helpx.adobe.com/premiere-pro/using/preferences.html#WSE3BD4A43-7022-4fe6-97F5-95313935347B&quot; rel=&quot;nofollow&quot;&gt;http://helpx.adobe.com/premiere-pro/using/preferences.html#WSE3BD4A43-7022-4fe6-97F5-95313935347B&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These posts give some background as to why having this setting enabled would be beneficial: one benefit being to be able to skip conforming files by matching the conformed file with the original using the embedded XMP tag :-&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;http://helpx.adobe.com/premiere-pro/using/preferences.html#WSE3BD4A43-7022-4fe6-97F5-95313935347B&quot; rel=&quot;nofollow&quot;&gt;http://helpx.adobe.com/premiere-pro/using/preferences.html#WSE3BD4A43-7022-4fe6-97F5-95313935347B&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;http://www.dvinfo.net/forum/adobe-creative-suite/498627-why-premiere-modifying-video-files.html&quot; rel=&quot;nofollow&quot;&gt;http://www.dvinfo.net/forum/adobe-creative-suite/498627-why-premiere-modifying-video-files.html&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://forums.creativecow.net/thread/205/876064&quot; rel=&quot;nofollow&quot;&gt;https://forums.creativecow.net/thread/205/876064&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;(Found using Google search term &quot;adobe premiere pro date modified&quot;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(will accept this answer, when 2 days has elapsed)&lt;/p&gt;&#xA;" OwnerUserId="1049" LastEditorUserId="1049" LastEditDate="2014-12-24T15:29:51.160" LastActivityDate="2014-12-24T15:29:51.160" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13343" PostTypeId="2" ParentId="8172" CreationDate="2014-12-24T22:31:32.653" Score="2" Body="&lt;p&gt;After Effects works better with codecs that compress each frame individually (intra-frame codecs).  FLV files compress across multiple frames (inter-frame), as do mp4 files.  If you can get your FLV successfully converted to a codec like ProRes, it should work correctly in After Effects.  FLV files are quite unreliable in conversion- there's a post here that might help - it seems most people use the (now deprecated) open source &lt;a href=&quot;http://www.perian.org/&quot; rel=&quot;nofollow&quot;&gt;Perian&lt;/a&gt; codecs to get this to work:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://forums.creativecow.net/thread/8/1038982&quot; rel=&quot;nofollow&quot;&gt;https://forums.creativecow.net/thread/8/1038982&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your best bet is probably to find source stock material in a format that is easier to work with (most videos on iStock are now mov/mp4 which should be easier to convert)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(NB - I'm not sure this is really an After Effects question.)&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-12-24T22:31:32.653" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13344" PostTypeId="2" ParentId="13326" CreationDate="2014-12-24T22:37:22.983" Score="1" Body="&lt;p&gt;It's very likely that your framerate drops below the refresh rate of your display while you have v-sync on which can produce a noticeable stuttering or input lag in that situation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Disabling vsync will probably give you a more &quot;fluid&quot; experience but can introduce screen tearing, which vsync is meant to prevent by locking the framerate to the refresh rate of your monitor, though if your pc doesnt render fast enough it waits for a short amount of time which you can notice in this lag/stuttering appearing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unlike games, the framerate of a youtube video in this case is consistent at 60fps and isn't depending as much (by far) on the rendering speed of your computer as a game does.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-12-24T22:37:22.983" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13345" PostTypeId="1" AcceptedAnswerId="13384" CreationDate="2014-12-25T07:48:30.260" Score="4" ViewCount="6517" Body="&lt;p&gt;I have a recording (a simple, unprocessed TS from my satellite receiver, not encrypted) that has uneccessary stuff at the beginning and the ending. I want to cut out the main feature now with ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I started with ffplay to get the timestamps for the beginning and the ending and crop detection:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -i &quot;recording_xyz.ts&quot; -vf &quot;cropdetect=24:16:0&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This was the output for the first and the last frame I need:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_cropdetect_0 @ 000000000625baa0] x1:0 x2:1279 y1:1 y2:718 w:1280 h:704 x:0 y:8 pts:7888683985 t:81953.624278 crop=1280:704:0:8&#xA;...&#xA;[Parsed_cropdetect_0 @ 000000000625baa0] x1:0 x2:1279 y1:1 y2:718 w:1280 h:704 x:0 y:8 pts:7888683985 t:87259.194348 crop=1280:704:0:8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The stream itself starts at timestamp &lt;code&gt;81825.820733&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Duration: 01:38:00.24, start: 81825.820733, bitrate: 12748 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With all that information, I tried to cut the desired part out (and also removing streams I don't need) and convert everything into an MKV. It turned out I don't need to crop, so I can simply copy everything:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;recording_xyz.ts&quot; -ss 81953.0 -to 87259.0 -c:v copy -c:a copy -c:s copy -map 0:0 -map 0:3 -avoid_negative_ts 1 -reset_timestamps 1 &quot;archive_file.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The result is an empty MKV file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would be the correct way to use ffmpeg to cut a specific scene identified by the timestamps out?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;For reference:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg version I'm using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-64477-g5864069 Copyright (c) 2000-2014 the FFmpeg developers&#xA;  built on Jul  6 2014 22:10:36 with gcc 4.8.3 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx--enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-decklink --enable-zlib&#xA;    libavutil      52. 90.101 / 52. 90.101&#xA;    libavcodec     55. 68.101 / 55. 68.101&#xA;    libavformat    55. 45.100 / 55. 45.100&#xA;    libavdevice    55. 13.101 / 55. 13.101&#xA;    libavfilter     4. 10.100 /  4. 10.100&#xA;    libswscale      2.  6.100 /  2.  6.100&#xA;    libswresample   0. 19.100 /  0. 19.100&#xA;    libpostproc    52.  3.100 / 52.  3.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ffmpeg's identification data for the original input stream:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpegts, from 'recording_xyz.ts':&#xA;  Duration: 01:38:00.24, start: 81825.820733, bitrate: 12748 kb/s&#xA;  Program 11110&#xA;  Program 11130&#xA;  Program 11140&#xA;    Stream #0:0[0x190a]: Video: h264 (Main) ([27][0][0][0] / 0x001B), yuv420p(tv, t709), 1280x720 [SAR 1:1 DAR 16:9], 50 fps, 50 tbr, 90k tbn, 100 tbc&#xA;    Stream #0:1[0x1914](deu): Audio: mp2 ([3][0][0][0] / 0x0003), 48000 Hz, stereo, s16p, 253 kb/s&#xA;    Stream #0:2[0x1915](mis): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 190 kb/s&#xA;    Stream #0:3[0x1916](deu): Audio: ac3 ([6][0][0][0] / 0x0006), 48000 Hz, stereo, fltp, 448 kb/s&#xA;    Stream #0:4[0x1917](mul): Audio: mp2 ([3][0][0][0] / 0x0003), 48000 Hz, stereo, s16p, 190 kb/s&#xA;    Stream #0:5[0x191e](deu): Subtitle: dvb_teletext ([6][0][0][0] / 0x0006)&#xA;    Stream #0:6[0x181a]: Unknown: none ([5][0][0][0] / 0x0005)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The things that appear on the console while trying to encode:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000002cb9c80] decode_slice_header error&#xA;[h264 @ 0000000002cb9c80] no frame!&#xA;[h264 @ 0000000002cb9c80] mmco: unref short failure&#xA;[mpegts @ 0000000002c784c0] PES packet size mismatch&#xA;    Last message repeated 3 times&#xA;[mpegts @ 0000000002c784c0] Could not find codec parameters for stream 6 (Unknown: none ([5][0][0][0] / 0x0005)): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;... stream identification data goes here (see above) ...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[matroska @ 00000000047c0980] Using AVStream.codec.time_base as a timebase hint to the muxer is deprecated. Set AVStream.time_base instead.&#xA;    Last message repeated 1 times&#xA;Output #0, matroska, to 'archive_file.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf55.45.100&#xA;    Stream #0:0: Video: h264 (H264 / 0x34363248), yuv420p, 1280x720 [SAR 1:1 DAR  16:9], q=2-31, 50 fps, 1k tbn, 90k tbc&#xA;    Stream #0:1(deu): Audio: ac3 ([0] [0][0] / 0x2000), 48000 Hz, stereo, 448 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:3 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame=    0 fps=0.0 q=-1.0 size=       1kB time=00:00:00.00 bitrate=N/A&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After some time, ffmpeg finishes:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;video:0kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="8009" LastActivityDate="2014-12-29T11:39:09.263" Title="Using ffmpeg to cut out a scene by original timestamp" Tags="|ffmpeg|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13346" PostTypeId="1" AcceptedAnswerId="13347" CreationDate="2014-12-25T16:53:49.920" Score="3" ViewCount="1448" Body="&lt;p&gt;Example: I have a clip of 2 mins in my timeline and I only want to add blur effect to certain length (say 45 seconds to 50 seconds) of the clip.&lt;/p&gt;&#xA;" OwnerUserId="8010" LastActivityDate="2014-12-26T14:43:16.860" Title="How do I add an effect on certain length of the original clip in Premiere Pro CS6 using Keyframes?" Tags="|video-editor|adobe|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13347" PostTypeId="2" ParentId="13346" CreationDate="2014-12-25T20:20:51.877" Score="3" Body="&lt;p&gt;The easiest way to do this would be to cut your clip where you want the blurring effect to start/end.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-12-25T20:20:51.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13348" PostTypeId="1" CreationDate="2014-12-26T02:31:43.883" Score="1" ViewCount="2848" Body="&lt;p&gt;I am trying to export an .mov video from premiere??? So i am doing this by going: File &gt; Export &gt; Media...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ok so I got Quicktime predefined in the dropdown then I select H264 from the drop down menu and viola all the settings that I need are here ready to go. See image below...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/pn8pu.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see my output name is &lt;strong&gt;duffy_fuck.mov&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when you queue it to Adobe Media Encode it outputs an .mxf file..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/rytiI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not even kidding, as an avid abobe user all I am doing it selecting quicktime as a format and encoding h264 I promise. I've tried outputting other files and they all pass through as the premiere output name..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Seriously WTF! &lt;/p&gt;&#xA;" OwnerUserId="8011" LastActivityDate="2016-08-02T23:02:33.953" Title="Exporting to .mov from premiere cc? queuing as .mxf?" Tags="|premiere|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13351" PostTypeId="2" ParentId="13346" CreationDate="2014-12-26T14:43:16.860" Score="1" Body="&lt;p&gt;In addition to KC McLaughlin's suggestion, for something like blur, you can keyframe the amount of blur to apply.  This allows you to do some interesting things like have something go from clear to blurry and then back to clear smoothly rather than suddenly being blurry.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also emulate what KC was saying by putting two keyframes one frame apart, but honestly, if you want it to just turn on and off instantly, cutting the clip up is probably the easiest approach unless you are going to be moving the clip around a lot.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-26T14:43:16.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13352" PostTypeId="2" ParentId="13345" CreationDate="2014-12-26T16:21:51.013" Score="3" Body="&lt;p&gt;Could have several causes. Cutting without re-encoding is always error prone.&#xA;Try to remux your ts first with &lt;a href=&quot;https://www.bunkus.org/videotools/mkvtoolnix/downloads.html&quot; rel=&quot;nofollow&quot;&gt;mkvmerge&lt;/a&gt; with the desired streams and then try cutting that mkv with FFmpeg again using a simpler command like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mkv -ss 81953 -to 87259 -c copy cut.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-12-26T16:21:51.013" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13353" PostTypeId="1" CreationDate="2014-12-26T17:59:00.053" Score="2" ViewCount="68" Body="&lt;p&gt;I'm making a travel documentary, and I'm missing a couple of shots of places which are quite touristy. E.g. Bikaner in India where there is a large red fort, the Nagour fort and Jodphur in the streets. Also the Delwari temple at Mount Abu.&#xA;I visited these places but they don't play a major part to my film, however, I would like to have a couple of shots of them if I can. Does anyone know of places to get stock open source footage, or contact people in those places who may be able to film for me - e.g. Couchsurfers?&lt;/p&gt;&#xA;" OwnerUserId="3813" LastActivityDate="2015-01-26T17:06:55.147" Title="Stock footage creative commons license" Tags="|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13354" PostTypeId="2" ParentId="13345" CreationDate="2014-12-26T19:54:09.407" Score="1" Body="&lt;p&gt;The total duration of the input is 5880 seconds long, but you are attempting to create an output starting at duration 81953 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg&lt;/code&gt; should provide a warning indicating this, but perhaps it did not, or maybe you trimmed it from your output. This is one reason to provide the complete console output and not just selected segments (multiple repeating lines may be trimmed).&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2014-12-26T19:54:09.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13356" PostTypeId="1" CreationDate="2014-12-27T09:04:39.100" Score="4" ViewCount="1425" Body="&lt;p&gt;I have a large .mp4 file (many hours long) and I want to split it into many 3 minute clips. How do I do that? Doing it manually with an editing software would take ages. Is there any automatic way to do it WITHOUT losing quality? Maybe there is a video editing software with this option? I use Windows.&lt;/p&gt;&#xA;" OwnerUserId="8016" LastEditorUserId="1871" LastEditDate="2016-01-02T13:42:33.110" LastActivityDate="2016-08-29T20:04:20.863" Title="How to automatically divide a large video file into smaller clips?" Tags="|editing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13357" PostTypeId="1" CreationDate="2014-12-27T12:45:13.860" Score="3" ViewCount="4757" Body="&lt;p&gt;I'd like to achieve certain approximate bitrate for video encoding. If I use higher resolution like 720p, I'll get more fine-grained image, but more encoding artifacts. If I use smaller resolution like 480p, I'll get less detail and more coarse image, but higher image quality. Naturally, if the resolution is too high or too low, the result will be bad. Is there any research or information based on experience, what's the optimum resolution, given a desired bitrate and codec (in my case libx264)?&lt;/p&gt;&#xA;" OwnerUserId="3762" LastActivityDate="2015-04-12T01:46:03.790" Title="For a given bitrate, what video resolution is perceived as the highest quality?" Tags="|video|video-quality|encoding|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13358" PostTypeId="2" ParentId="13357" CreationDate="2014-12-27T14:06:06.870" Score="2" Body="&lt;p&gt;In case of H.264 codec, you can use YouTube &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow&quot;&gt;recommendations&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's Vimeo &lt;a href=&quot;https://vimeo.com/help/compression&quot; rel=&quot;nofollow&quot;&gt;video compression guidelines&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2014-12-27T14:06:06.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13359" PostTypeId="1" AcceptedAnswerId="13360" CreationDate="2014-12-27T16:59:08.220" Score="2" ViewCount="1762" Body="&lt;p&gt;I want to make a footage video &quot;shine&quot; through a text, so that the letters serve as a mask and only what's inside from the footage will shine through. Also, 3D Camera movement should be possible afterwards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How could I do this? I know I can create masks from text, and then copy that letter masks on my footage clip. But that will only work for 2D. How could I achieve the same for 3D?&lt;/p&gt;&#xA;" OwnerUserId="8018" LastActivityDate="2014-12-27T18:14:10.673" Title="How to mask footage video with text?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13360" PostTypeId="2" ParentId="13359" CreationDate="2014-12-27T18:14:10.673" Score="2" Body="&lt;p&gt;Thats rather simple if I understand correctly what you want to achieve. One way to do it is to right click your text layer and choose the &quot;Create Masks from Text&quot; option. Then pre-comp your video layer and copy the masks your just created (AE creates a new solid that contains the masks) onto the video comp layer. Now make the video comp layer 3D and you can animate your camera however you want in your master comp and also go into your video comp and animate the camera there as well for some parallax effect.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-12-27T18:14:10.673" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13361" PostTypeId="1" AcceptedAnswerId="13412" CreationDate="2014-12-27T18:27:24.180" Score="0" ViewCount="70" Body="&lt;p&gt;I am trying to learn iMovie and I have a question. Does adding title at the start of a clip cuts the clip portion from there?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Scenario:&#xA;Let us assume that i have a 50 seconds clip and I want to display a 3 seconds title Before the actual clip starts. if i drag a title from the titles section of the iMovie to the start of the loaded clip, will the initial 3 seconds of my clip be removed or will the clip be extended   resulting a clip of 53 seconds (50+3) ?&lt;/p&gt;&#xA;" OwnerUserId="4297" LastActivityDate="2014-12-30T20:21:59.793" Title="in iMovie, does adding title at the start of a clip cuts the clip portion from there?" Tags="|imovie|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13362" PostTypeId="1" CreationDate="2014-12-27T19:00:12.817" Score="1" ViewCount="1142" Body="&lt;p&gt;&lt;a href=&quot;https://raspberrypi.stackexchange.com/questions/25962/sync-audio-video-from-pi-camera-usb-microphone&quot;&gt;Posted this in the Raspberry Pi community&lt;/a&gt;, but it got closed for being off topic. Reposting in the hopes that it is now in the right place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to stream low-quality audio &amp;amp; video from my Raspberry Pi to another device. I have a Raspberry Pi camera &amp;amp; a USB microphone. Both devices work separately but i cannot seem to get the audio &amp;amp; video to sync up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am running Raspbian. I began by compiling ffmpeg as described at &lt;a href=&quot;http://blog.giuseppeurso.net/raspberry-pi-streaming-webcam/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://blog.giuseppeurso.net/raspberry-pi-streaming-webcam/&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my ffmpeg info:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 1.0.10 Copyright (c) 2000-2014 the FFmpeg developers&#xA;  built on Oct 27 2014 00:14:25 with gcc 4.6 (Debian 4.6.3-14+rpi1)&#xA;  configuration: --enable-filter=movie --enable-filter=aresample --enable-avfilter&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Before i get streaming working, i want to just dump the audio &amp;amp; video to an MKV file. I wrote this script to dump audio &amp;amp; video to out.mkv until terminated.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;vpipe=/tmp/videopipe&#xA;apipe=/tmp/audiopipe&#xA;vw=320&#xA;vh=240&#xA;fps=15&#xA;&#xA;trap &quot;rm -r $vpipe&quot; EXIT&#xA;trap &quot;rm -r $apipe&quot; EXIT&#xA;&#xA;if [[ ! -p $vpipe ]]; then&#xA;    mkfifo $vpipe&#xA;fi&#xA;&#xA;if [[ ! -p $apipe ]]; then&#xA;    mkfifo $apipe&#xA;fi&#xA;&#xA;raspivid -t 0 -w $vw -h $vh -fps $fps -o - &amp;gt; $vpipe &amp;amp;&#xA;arecord -D plughw:1,0 -r 16000 &amp;gt; $apipe &amp;amp;&#xA;&#xA;ffmpeg \&#xA;    -y \&#xA;    -fflags nobuffer \&#xA;    -r $fps \&#xA;    -i $vpipe \&#xA;    -fflags nobuffer \&#xA;    -analyzeduration 0 \&#xA;    -i $apipe \&#xA;    -map 0:0 \&#xA;    -map 1:0 \&#xA;    -filter:a aresample=async=1 \&#xA;    -c:a copy \&#xA;    -c:v copy \&#xA;    out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The audio &amp;amp; video are grossly out of sync. I have tried changing the framerates on both raspivid &amp;amp; ffmpeg with no success. Not sure what piece of the puzzle i am missing. &lt;/p&gt;&#xA;" OwnerUserId="8020" LastEditorUserId="-1" LastEditDate="2017-04-13T12:56:29.167" LastActivityDate="2014-12-27T19:00:12.817" Title="FFMPEG Sync Audio &amp; Video From Pi Camera &amp; USB Microphone" Tags="|video|ffmpeg|audio|sync|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13363" PostTypeId="2" ParentId="10392" CreationDate="2014-12-28T02:11:29.763" Score="3" Body="&lt;p&gt;As you mentioned, there are three important components; ram, CPU, and GPU.  Another component worth considering is the hard drive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;RAM isn't incredibly important unless you intend to be doing intense visual effects.  In my opinion, 8 gigs is the sweet spot for cost right now.  If you want to do effects with something like After Effects, Smoke, or Nuke, 16 gigs is the sweet spot.  Video editing is largely a linear task so ram isn't as important as in other high performance tasks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The CPU is very important, but the requirements are very different from something like gaming.  Video rendering uses essentially as many cores are available, so an 8 core i7 with a low clock speed would outperform a super speedy dual-core i5.  I would recommend either a quad or octo-core Core i7 or, if you have the budget, a Xeon.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The GPU is by far the most critical component, but only if your software can take advantage of it.  I always recommend Nvidia because most professional programs use CUDA which is exclusive to Nvidia GPUs.  Usually your best option is a GeForce GTX, I would recommend the 660 or 760.  At a higher price range you have something like the Titan Z or the GTX 970.  Quadros aren't worth the cost for personal use because reliability and uptime isn't a major issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In addition to the three previously mentioned components, I would also recommend a 512 gig Intel SSD.  They will significantly increase the speed of your computer, especially when rendering.  I have seen dozens of articles listing SSDs as the most cost-effective upgrade for a computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing worth mentioning is that if you're looking to buy a machine out of the box, look for something marketed as a workstation.  Those will have the specs that you need.  The personal favorite manufacturers are Dell, HP, or Apple.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-12-28T02:11:29.763" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13364" PostTypeId="1" CreationDate="2014-12-28T02:50:26.260" Score="1" ViewCount="63" Body="&lt;p&gt;I ran into an expression a couple of months ago to describe videos which involve audio that is very present, as a way to heighten the senses. An example of this can be found here:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/hjhTbePvyXc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for the name of that expression... It was something like high sensory experience or something similar but I've looked up a bunch of different names and couldn't find it. Would anyone know what I am talking about? It's often used in the context of filming people who are working with their hands and I know there are playlists of these types of videos around on YouTube.&lt;/p&gt;&#xA;" OwnerUserId="8022" LastActivityDate="2014-12-29T22:09:07.123" Title="What is the name of this type of treatment in video/audio?" Tags="|audio-quality|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13365" PostTypeId="2" ParentId="13364" CreationDate="2014-12-28T03:05:02.553" Score="0" Body="&lt;p&gt;Well, I ended up finding it myself in the end:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Autonomous_sensory_meridian_response&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/Autonomous_sensory_meridian_response&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="8022" LastActivityDate="2014-12-28T03:05:02.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13366" PostTypeId="1" AcceptedAnswerId="13373" CreationDate="2014-12-28T07:04:55.633" Score="0" ViewCount="130" Body="&lt;p&gt;I asked this question &lt;a href=&quot;https://apple.stackexchange.com/questions/163818/how-can-i-get-my-videos-from-a-digital-camera-to-osx-and-iphone&quot;&gt;here&lt;/a&gt; but I find it is also relevant here. So let's take fresh: I have many videos in iPhone, many videos in Sony Nex 3N and I have Macbook Air laptop. My goal is to create training videos having video collages.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How can I combine the videos from iPhone and Sony to video collages easily?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="2221" LastEditorUserId="-1" LastEditDate="2017-04-13T12:45:28.897" LastActivityDate="2014-12-28T18:55:34.050" Title="How can I manage videos with OS X, iPhone and Sony Nex 3N?" Tags="|iphone|osx|" AnswerCount="1" CommentCount="6" ClosedDate="2014-12-29T16:21:43.337" ContentLicense="CC BY-SA 3.0" />
  <row Id="13367" PostTypeId="1" CreationDate="2014-12-28T11:58:30.557" Score="1" ViewCount="123" Body="&lt;p&gt;I want to create the typical light wall effect, that is often seen in music videos.&#xA;But not only the wall. I want to display text letters using those flash lights.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Probably I'm missing the right keywords as I did not find a tutorial on this yet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm aiming for something similar to this template:&#xA;&lt;a href=&quot;http://videohive.net/item/lights-flashing-3/5882600?WT.ac=item_more_thumb&amp;amp;WT.z_author=HK_graphic&quot; rel=&quot;nofollow&quot;&gt;http://videohive.net/item/lights-flashing-3/5882600?WT.ac=item_more_thumb&amp;amp;WT.z_author=HK_graphic&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course I could just buy it, but I especially want to learn while creating.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, should I create a layer mask from text, and let eg a flashlight wall footage shine through? Or could I as well create a single flashlight (or take footage), and arrange it in a way that it will form letters?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can this be done?&lt;/p&gt;&#xA;" OwnerUserId="8018" LastEditorUserId="2836" LastEditDate="2014-12-29T16:31:31.013" LastActivityDate="2015-01-28T17:18:43.000" Title="How to create light wall of letters?" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13369" PostTypeId="1" AcceptedAnswerId="13374" CreationDate="2014-12-28T15:37:48.320" Score="1" ViewCount="722" Body="&lt;p&gt;I'm evaluating an after effects plugin , which has an FX property &lt;code&gt;brightness&lt;/code&gt; and similar. I have several layers on top of each other, each letting a portion of the others shine through.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I want to animate these FX properties on each layer. Is it possible to create some kind of &quot;master&quot; keyframe control that then triggers the same FX property on all layers?&lt;/p&gt;&#xA;" OwnerUserId="8018" LastActivityDate="2014-12-28T19:24:34.273" Title="How to link an FX property of multiple layers?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13370" PostTypeId="1" CreationDate="2014-12-28T15:43:15.683" Score="1" ViewCount="170" Body="&lt;p&gt;Is it possible to &quot;distribute&quot; layers along a path?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to create lights along a text stroke path. I could of course align like 200 light layer elements on the path of the text letters manually. But maybe there are better ways to somehow automate this? Like stroking or filling the text letters/mask with the contents of another layer?&lt;/p&gt;&#xA;" OwnerUserId="8018" LastEditorUserId="2836" LastEditDate="2014-12-29T16:32:24.097" LastActivityDate="2014-12-29T16:32:24.097" Title="How to distribute layers along a path?" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13371" PostTypeId="1" CreationDate="2014-12-28T18:05:24.187" Score="6" ViewCount="13519" Body="&lt;p&gt;Lately, my friends have been prompting me to buy an external audio recorder. They said that the quality of the sound is way better. I have always been using the internal audio recorder of my DSLR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the gears, I own a prosumer Nikon DSLR and a 20 cm shotgun microphone with an XLR output. I don't think syncing would be a problem for me. I am thinking of the Zoom H4n as recommended by my friends. Is the audio quality of the audio that different? &lt;/p&gt;&#xA;" OwnerUserId="6099" LastActivityDate="2014-12-31T00:47:07.413" Title="What's the benefit of using an external audio recorder compared to an internal one?" Tags="|audio|audio-recording|audio-quality|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13372" PostTypeId="1" CreationDate="2014-12-28T18:23:38.047" Score="1" ViewCount="88" Body="&lt;p&gt;I added some point lights that form a letter. Then I added an optical flare (AE plugin FX) with source type &quot;track lights&quot; to get light dots from the light layers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This works fine and looks as follows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;optical flare layer FX&#xA;light layer1 (point)&#xA;light layer2 (point)&#xA;light layerN (point)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now I of course want to create several letters. Therefore I group the light layers each in a composition that represents a letter. Of course I do not want to dublicate the optical flare layer into all my compositions, but move it out and just have one flare layer that is FX for all lights:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[optical flare layer FX]&#xA;[light composition A]&#xA;[light composition B]&#xA;[light composition C]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Problem: As soon as I move the optical layer out of the light compositions, the FX is not applied anymore to the lights that are contained inside the multiple compositions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why? How can I let the light layers of my compositions &quot;shine through&quot; to the parent layer, and apply the flare FX there with only one single FX layer?&lt;/p&gt;&#xA;" OwnerUserId="8018" LastActivityDate="2014-12-28T18:23:38.047" Title="How to let the path of a composition shine to parent layer?" Tags="|after-effects|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13373" PostTypeId="2" ParentId="13366" CreationDate="2014-12-28T18:55:34.050" Score="1" Body="&lt;p&gt;Since you're a command-line user, you can use &lt;a href=&quot;http://ffmpeg.org&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt; to do the conversion for you. I suspect when you mount your Sony camera, it probably always gets the same volume name. (Probably something like /Volumes/SONY/ or /Volumes/DSC/ or something like that.) You could write a script that basically walks through the directory containing the movies, and converts them to a suitable format, saving them on your hard drive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking at iTunes in Automator.app, I see that it supports an &quot;Import Files Into iTunes&quot; function. You could probably make an Automator action that calls your ffmpeg script, then imports the results into iTunes. From there, you just sync your iPhone. (Not sure if it will auto-sync large videos via iCloud or not, but it might.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not the best at scripting or Automator, but you can probably get an answer to the specifics on either Ask Different or Super User.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2014-12-28T18:55:34.050" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13374" PostTypeId="2" ParentId="13369" CreationDate="2014-12-28T19:24:34.273" Score="2" Body="&lt;p&gt;I think so.  Add a Slider (in the Effects window) to one of your tracks, then use the pickwhip to parent the value of the slider to each of the other Brightness controls.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Examples here of using Sliders and pick whips:&#xA;&lt;a href=&quot;http://helpx.adobe.com/after-effects/using/expression-basics.html&quot; rel=&quot;nofollow&quot;&gt;http://helpx.adobe.com/after-effects/using/expression-basics.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-12-28T19:24:34.273" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13375" PostTypeId="2" ParentId="13367" CreationDate="2014-12-28T19:30:29.067" Score="1" Body="&lt;p&gt;I think Trapcode Form or Particular is probably the best way to do this.  It allows you to easily set up a grid of objects (in 2D or 3D).  In this case you'd make a 2D set of objects, then mask them with your text within the plugin settings.  &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-12-28T19:30:29.067" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13376" PostTypeId="2" ParentId="13371" CreationDate="2014-12-28T19:43:00.343" Score="4" Body="&lt;p&gt;Can't speak for the Nikon, but the Canon 5D and 7D both have terrible on-board audio, with no way to easily monitor the audio levels.  The Zoom will have a better mic pre-amp, and will let you monitor the levels easily and accurately.  You can also monitor the audio on headphones whilst filming, so you'll stand a better chance of spotting problems, like wind noise, obtrusive background sounds, etc.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-12-28T19:43:00.343" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13377" PostTypeId="2" ParentId="7371" CreationDate="2014-12-28T19:53:16.277" Score="1" Body="&lt;p&gt;You can use the speech recognition function within Adobe Premiere to (kind of) do this.  It will analyze a long piece of video, and attempt to create a text script of the speech within the video.  If you tick &quot;identify speakers&quot; before it begins, it will write &quot;[speaker 1], [speaker 2]&quot; etc each time it identifies a change in speaker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the success rate is not massively high.  Adobe claim about 75%, with high-quality audio, which seems about right, but is too low to make it a generally useful feature for most people.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a step by step guide on how to use it here:&#xA;&lt;a href=&quot;http://layersmagazine.com/powering-search-with-audio-metadata-using-premiere-pro.html&quot; rel=&quot;nofollow&quot;&gt;http://layersmagazine.com/powering-search-with-audio-metadata-using-premiere-pro.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-12-28T19:53:16.277" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13378" PostTypeId="2" ParentId="13081" CreationDate="2014-12-28T20:01:52.437" Score="1" Body="&lt;p&gt;I don't think it's possible to automatically trim layers as you import them.  You can trim a comp to your work area, if you've selected a beginning and end point on your timeline (using B and N), but this isn't really going to help you.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-12-28T20:01:52.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13379" PostTypeId="2" ParentId="13371" CreationDate="2014-12-28T20:22:30.793" Score="5" Body="&lt;p&gt;Yes, its way better. Being able to monitor the levels, and headphones, makes a huge difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, its not even just the quality of the mic or recording device its the location. Having an external recorder means you can separate the audio easily from the camera. Back in the day when I was a teen, and had more enthusiasm than money, we used mics from old telephones to capture the actors speak. It improved our recording quality immensely, granted we also had a sound boom and sound operators, even so having the mic there on person saved our sounds more than once. Point is even a lousy mic in a great location is better than a great mic in a lousy location. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So look at it this way now you have 2 sound sources.&lt;/p&gt;&#xA;" OwnerUserId="5764" LastActivityDate="2014-12-28T20:22:30.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13380" PostTypeId="1" AcceptedAnswerId="13410" CreationDate="2014-12-28T23:47:35.483" Score="1" ViewCount="36" Body="&lt;p&gt;I've got 40 hours of logged footage. I created a new project for each tape, captured the tape, logged it with pen and paper, wrote in some metadata for the file. Now I need to go back through and create clips from the good bits in the footage. How should I do this? Should I make  another new project, import all the avi files into it and mark clips from those (I don't know how to do this), creating new clips in the project library which I can then drag into the timeline and arrange? I've experimented a bit with this process but I'm not too sure. &lt;/p&gt;&#xA;" OwnerUserId="3813" LastEditorUserId="3813" LastEditDate="2014-12-29T22:19:12.150" LastActivityDate="2014-12-30T14:35:16.220" Title="From logged footage to clips" Tags="|premiere|editing|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13381" PostTypeId="2" ParentId="13371" CreationDate="2014-12-29T01:01:50.757" Score="8" Body="&lt;p&gt;There are a variety of reasons to have an external recorder depending on the size of your production.  A big advantage is the number of audio inputs and the ability to record each of those inputs as separate tracks, allowing you to do the mixing in post.  I'm not sure about the H4n, but I know the H5 and H6 support multiple inputs as well as interchangeable capsules.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another advantage is quality and control over quality.  Most audio devices have a switch for uncompressed .WAV or compressed .MP3.  You always want uncompressed audio unless you are tight on space.  External audio devices also give you better control over gain and have better support for audio monitoring.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final advantage I'll list here is portability.  When your mic is tied to your camera, you'll need to string cables from the mic to the camera.  This isn't an issue when the mic is sitting on the camera, but if you want a distance shot this becomes a problem.  External audio gives you much more freedom of movement to place your mic in the best position to pick up sound.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-12-29T01:01:50.757" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13382" PostTypeId="2" ParentId="13371" CreationDate="2014-12-29T01:47:42.290" Score="2" Body="&lt;p&gt;Getting the audio recording separated from the video recording is one of the best things you can do to improve your sound. What makes good camera placement doesn't always make for good audio placement. Also, your audio recorder can keep running while your camera isn't, so you don't miss anything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said however, the zoom h4n has some mediocre pre-amps, you start to hear a hiss once you set the volume past 60 or so.&lt;/p&gt;&#xA;" OwnerUserId="8027" LastActivityDate="2014-12-29T01:47:42.290" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13383" PostTypeId="1" AcceptedAnswerId="13396" CreationDate="2014-12-29T08:20:31.297" Score="1" ViewCount="273" Body="&lt;p&gt;Pardon my ignorance on the subject; I have recently bought Sony A6000 to take video of my new borns. I have a question related to uncompressed output from this camera through HDMI. I know we can output video through this HDMI to a recording device like ATOMOS Ninja (or similar), but can we do same thing (output video) to a laptop or a smartphone or tablet (like iPad)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried looking for similar question on StackExchange, but failed to find one which discusses on this exact matter. If there is any such discussion, could someone point me to that; I will try to understand from that discussion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks, NN&lt;/p&gt;&#xA;" OwnerUserId="6007" LastActivityDate="2014-12-29T17:01:34.447" Title="Can I output video from my DSLR to a smartphone or iPad or laptop?" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13384" PostTypeId="2" ParentId="13345" CreationDate="2014-12-29T10:27:50.600" Score="2" Body="&lt;p&gt;It turned out that it is quite easy to cut by the original timestamp. Let's stick with the example I've given in the question. &lt;code&gt;ffplay -i recording_xyz.ts -vf &quot;cropdetect=24:16:0&quot;&lt;/code&gt; gives you the following information about the stream:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpegts, from 'recording_xyz.ts':&#xA;  Duration: 01:38:00.24, start: 81825.820733, bitrate: 12748 kb/s&#xA;  Program 11110&#xA;  Program 11130&#xA;  Program 11140&#xA;    Stream #0:0[0x190a]: Video: h264 (Main) ([27][0][0][0] / 0x001B), yuv420p(tv, t709), 1280x720 [SAR 1:1 DAR 16:9], 50 fps, 50 tbr, 90k tbn, 100 tbc&#xA;    Stream #0:1[0x1914](deu): Audio: mp2 ([3][0][0][0] / 0x0003), 48000 Hz, stereo, s16p, 253 kb/s&#xA;    Stream #0:2[0x1915](mis): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 190 kb/s&#xA;    Stream #0:3[0x1916](deu): Audio: ac3 ([6][0][0][0] / 0x0006), 48000 Hz, stereo, fltp, 448 kb/s&#xA;    Stream #0:4[0x1917](mul): Audio: mp2 ([3][0][0][0] / 0x0003), 48000 Hz, stereo, s16p, 190 kb/s&#xA;    Stream #0:5[0x191e](deu): Subtitle: dvb_teletext ([6][0][0][0] / 0x0006)&#xA;    Stream #0:6[0x181a]: Unknown: none ([5][0][0][0] / 0x0005)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Most important here is the &lt;code&gt;start: 81824.820733&lt;/code&gt; information from the second line. Keep this number in mind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now we need our desired start and stop timestamps. &lt;code&gt;ffplay&lt;/code&gt; can be paused by the space key. Pause at the desired start and the desired end. You can &quot;navigate&quot; the stream by clicking with the mouse in the ffplay video window. The beginning of the stream is left, the end is at the right border of the window.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When paused, you can read the following on the console:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_cropdetect_0 @ 000000000625baa0] x1:0 x2:1279 y1:1 y2:718 w:1280 h:704 x:0 y:8 pts:7888683985 t:81953.624278 crop=1280:704:0:8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You see again a timestamp here, marked with &lt;code&gt;t:&lt;/code&gt;. In this example, the value is &lt;code&gt;81953.624278&lt;/code&gt;. Same goes for the desired end of the stream. In our example, this is &lt;code&gt;87259.194348&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With this information, you can easily calculate the values for ffmpeg's &lt;code&gt;-ss&lt;/code&gt; and &lt;code&gt;-to&lt;/code&gt; parameters:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Let &lt;code&gt;b&lt;/code&gt; be the stream start timestamp (here &lt;code&gt;81824.820733&lt;/code&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Let &lt;code&gt;s&lt;/code&gt; be the desired start timestamp (here &lt;code&gt;81953.624278&lt;/code&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Let &lt;code&gt;e&lt;/code&gt; be the desired end timestamp (here &lt;code&gt;87259.194348&lt;/code&gt;)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The relative starting point (in seconds) is &lt;code&gt;s - b = 81953.624278 - 81824.820733 = 128.803545&lt;/code&gt;. For the relative ending point (in seconds): &lt;code&gt;e - b = 87259.194348 - 81824.820733 = 5434.373615&lt;/code&gt;. Convert the seconds now to the format &lt;code&gt;hh:mm:ss.msec&lt;/code&gt;. For convenience, you might want to use this little Python script:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/env python3&#xA;&#xA;def ts_format(d: float) -&amp;gt; str:&#xA;    hrs = int(d)&#xA;    rest = float(d - hrs) * float(60)&#xA;    mins = int(rest)&#xA;    rest = float(rest - mins) * float(60)&#xA;    secs = int(rest)&#xA;    rest = float(rest - secs) * float(1000)&#xA;    msec = int(rest)&#xA;    return '{:02d}:{:02d}:{:02d}.{:03d}'.format(hrs, mins, secs, msec)&#xA;&#xA;&#xA;def main() -&amp;gt; bool:&#xA;    base = input('Base timestamp: ')&#xA;    starting = input('Desired start timestamp: ')&#xA;    ending = input('Desired end timestamp: ')&#xA;    start_hr = (float(starting) - float(base)) / float(3600)&#xA;    end_hr = (float(ending) - float(base)) / float(3600)&#xA;    print('Start: {:s} | End: {:s}'.format(ts_format(start_hr), ts_format(end_hr)))&#xA;&#xA;&#xA;if __name__ == '__main__':&#xA;    main()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With the example above, you'll receive the following output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Start: 00:02:08.803 | End: 01:30:34.373&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With this information, you can use ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i recording_xyz.ts -ss 00:02:08.803 -to 01:30:34.373 -c:v copy -c:a copy -c:s copy -map 0:0 -map 0:3 -avoid_negative_ts 1 -reset_timestamps 1 &quot;archive.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried this with several recordings, and it always worked well. It is also very easy to incorporate cropping if necessary:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i recording_xyz.ts -ss 00:02:08.803 -to 01:30:34.373 -c:v libx264 -crf 18 -preset fast -tune film -vf &quot;crop=1280:704:0:8&quot; -c:a copy -c:s copy -map 0:0 -map 0:3 -avoid_negative_ts 1 -reset_timestamps 1 &quot;archive.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Potential pitfalls&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If the recording goes over midnight, you might experience a lower timestamp at the end of the stream compared to the beginning timestamp. You need to find the timestamp values around the break: The highest one before the break, and the lowest after the break. For calculating the desired end, you need to add the value at the end, the distance between the stream start and the highest value before the break and the distance between the lowest value after the break and the desired ending timestamp.&lt;/li&gt;&#xA;&lt;li&gt;The method for finding your desired start and end point is very unprecise. In my humble opinion, this is OK for TV recordings.&lt;/li&gt;&#xA;&lt;li&gt;The method is not suitable for removing commercials.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="8009" LastEditorUserId="8009" LastEditDate="2014-12-29T11:39:09.263" LastActivityDate="2014-12-29T11:39:09.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13385" PostTypeId="1" CreationDate="2014-12-29T10:40:58.017" Score="2" ViewCount="1157" Body="&lt;p&gt;I have a video and I need to mask out the background for it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/2CZx9.jpg&quot; alt=&quot;Muppet Show number&quot;&gt;&lt;br&gt;&#xA;&lt;sup&gt;A screenshot from the original video, credits to The Muppets Studio&lt;/sup&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;https://www.youtube.com/watch?v=8N_tupPBtWQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;video&lt;/a&gt; has been shot with a &lt;strong&gt;still camera&lt;/strong&gt; on a steady background. &#xA;My goal is to mask out the background (e.g., everything not related to moving objects).&lt;br&gt;&#xA;I don't have the original sources, of course.&lt;br&gt;&#xA;It is also hard to recreate the background (I mean, to precisely match colors).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My approach, in theory, is the following:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Collect a series of screenshots where different parts of background are visible (when objects move away);&lt;/li&gt;&#xA;&lt;li&gt;Glue those parts into a background image &lt;em&gt;(see image below for a partial result)&lt;/em&gt;;&lt;/li&gt;&#xA;&lt;li&gt;Place the background into a layer and compute the &lt;strong&gt;color difference&lt;/strong&gt; between the original video and the background;&lt;/li&gt;&#xA;&lt;li&gt;Build a set of pixels for which:&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the difference is &lt;strong&gt;nearly zero&lt;/strong&gt; (within a certain color threshold occurring due to rounding/compression problems);&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;and&lt;/strong&gt; within a certain minimal area (so that individual pixels did not occasionally appear);&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Wrap those pixels into a key mask.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Still, I'm stuck with &lt;em&gt;building a proper structure of layers&lt;/em&gt; within Sony Vegas to accomplish my goal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How this can be done?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/TcsXe.jpg&quot; alt=&quot;background&quot;&gt;&lt;br&gt;&#xA;&lt;sup&gt;My backround attempt&lt;/sup&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My environment is:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Sony Vegas 12.0/x64, I'm not considering another software;&lt;/li&gt;&#xA;&lt;li&gt;Basic set of plugins/filters, but I will also appreciate references to 3rd-party plugins, even the commercial ones;&lt;/li&gt;&#xA;&lt;li&gt;Still, I would prefer a &quot;clean&quot; approach based on masking.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Thanks a lot!&lt;/p&gt;&#xA;" OwnerUserId="2365" LastActivityDate="2016-08-25T11:02:36.207" Title="Masking out the video background in Sony Vegas" Tags="|vegas-pro|chromakey|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13386" PostTypeId="1" AcceptedAnswerId="14493" CreationDate="2014-12-29T11:18:39.563" Score="0" ViewCount="1013" Body="&lt;p&gt;I want to create a wall of lights, that will be animated (on/off) by simple graphics in motion, similar to: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/rR2X9MbQSIw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I created the wall of lights using Optical Flare + AE point lights. I can also &quot;flash&quot; the full wall by animating the brightness of the optical flare FX.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BUT: how can I actually base the brightness of individual lights on eg a graphical arrow or any, as seen in the video linked above?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I somehow add a matte/mask to the optical flares FX layer, so that the optical flare FX will only pick the lights that apply to that mask, and change their brightness accordingly?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or maybe I'd have not to apply as matte animation on the FX, but on the 200 light layers somehow?&lt;/p&gt;&#xA;" OwnerUserId="8018" LastEditorUserId="6685" LastEditDate="2015-01-10T18:03:59.073" LastActivityDate="2015-01-10T18:03:59.073" Title="How to create a light wall in after effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13387" PostTypeId="2" ParentId="13383" CreationDate="2014-12-29T11:20:38.707" Score="2" Body="&lt;p&gt;You can to a laptop using an adapter (Blackmagic make some).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want something a bit more portable the Atmos Ninja (or similar) would be your best options.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2014-12-29T11:20:38.707" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13388" PostTypeId="1" AcceptedAnswerId="13389" CreationDate="2014-12-29T11:31:17.563" Score="3" ViewCount="179" Body="&lt;p&gt;when using &lt;a href=&quot;http://www.redgiant.com/products/all/magic-bullet-looks/&quot; rel=&quot;nofollow noreferrer&quot;&gt;magic bullet looks&lt;/a&gt; on a video it applies - alongside color corrections and such - a frame, some sort of wrapping mask thingy - a black outline for the video the gives the center a bit more focus. You can see it pretty clearly here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/rEX0z.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want a png of that. Just that. I am searching Google for all kinds of word combinations but nothing. &lt;strong&gt;What is this effect called??&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="8029" LastEditorUserId="18475" LastEditDate="2017-03-29T19:26:41.053" LastActivityDate="2017-03-29T19:26:41.053" Title="wrapping circular black frame for video - What is this effect called?" Tags="|post-production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13389" PostTypeId="2" ParentId="13388" CreationDate="2014-12-29T11:50:34.730" Score="4" Body="&lt;p&gt;it's a &lt;a href=&quot;https://en.wikipedia.org/wiki/Vignetting&quot; rel=&quot;nofollow&quot;&gt;vignette&lt;/a&gt;.&#xA;Here's a &lt;a href=&quot;https://www.youtube.com/watch?v=yHdJoUxJfyk&quot; rel=&quot;nofollow&quot;&gt;tutorial&lt;/a&gt; on how to do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you add a black solid layer to a comp, then feather the edges, and invert the mask, you'll get the basic effect.  Beyond that, some people used coloured solids (e.g. just off-black in one colour or another).  You can also apply a blur or defocus effect towards the edges of the image, if that's the look you're going for.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2014-12-30T08:43:52.917" LastActivityDate="2014-12-30T08:43:52.917" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13390" PostTypeId="1" AcceptedAnswerId="13391" CreationDate="2014-12-29T12:33:59.063" Score="2" ViewCount="10400" Body="&lt;p&gt;I want to create a track matte/mask that is applied to multiple layers.&#xA;The layers should not be precomposed!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How could I achieve this, that I can just change the matte shape and this is reflected to any of the layers. Because currently only the layer right below the matte is masked accordingly, other layers not.&lt;/p&gt;&#xA;" OwnerUserId="8018" LastActivityDate="2014-12-29T13:30:22.897" Title="How to apply track mattes to multiple layers?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13391" PostTypeId="2" ParentId="13390" CreationDate="2014-12-29T13:30:22.897" Score="3" Body="&lt;p&gt;You can use the &lt;strong&gt;silhouette alpha&lt;/strong&gt; or &lt;strong&gt;stencil alpha&lt;/strong&gt; modes on a matte layer, which will matte any layers below it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or if that doesn't work for the composition you can use expressions. Here's how:  make your first matte layer, with its mask, and then duplicate it and put it over another of the layers you want to matte. Now with both matte layers selected press &lt;strong&gt;m&lt;/strong&gt; to show the &lt;strong&gt;mask path&lt;/strong&gt; property for both. Select only the new layer, and while holding &lt;em&gt;alt/option&lt;/em&gt; click on the stopwatch next to the &lt;strong&gt;mask path&lt;/strong&gt; property to add an expression to it. You'll see a pick-whip (the spiral thing) next to the expression. Click and drag the pick-whip to the &lt;strong&gt;mask path&lt;/strong&gt; property of the original layer. It should say something like &lt;strong&gt;thisComp.layer(&quot;the name of the original matte layer&quot;).mask(&quot;mask1&quot;).maskPath&lt;/strong&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/6uGVI.png&quot; alt=&quot;expression linking mask shapes&quot;&gt;&#xA;To make those layers follow the original matte layer they shoul be parented to it as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course the simpler, faster to render way is to precompose the matte layer on its own and use copies of that comp as your matte layers. Why was it you don't want to precomp?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-12-29T13:30:22.897" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13392" PostTypeId="1" AcceptedAnswerId="13398" CreationDate="2014-12-29T15:21:39.983" Score="0" ViewCount="25" Body="&lt;p&gt;I have the following project layout:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[null]&#xA;[comp1]&#xA;  mask/matte&#xA;  texture&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I'm inside the comp1 I see the content correctly. But in my main project view, I just see the mask(!) (black/white) instead of the content! What might be wrong here?&lt;/p&gt;&#xA;" OwnerUserId="8018" LastActivityDate="2014-12-29T19:06:29.617" Title="Composition shows mask instead of content" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13393" PostTypeId="2" ParentId="13357" CreationDate="2014-12-29T15:50:29.593" Score="2" Body="&lt;p&gt;No, such a thing does not exist.  You can get some very rough guidelines in terms of things like suggested recording profiles for Youtube, Vimeo, or bitrates used by Netflix, Hulu and Amazon Instant Watch, but at the end of the day, the bitrate needed for a given resolution is entirely content dependent as well as dependent on how much time you can spend encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is a complex field and far too in depth to detail everything here, but in general, the slower you encode, the fewer noticeable artifacts you will have.  Additionally, the less motion (or more predictable motion) that your footage has, the less bitrate will be needed to display a high resolution image.  Conversely, if you are using fast software encoding options, there will be lots of artifacts or wasted bitrate for the level of quality you get. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video compression is a complex field and each video needs to be calibrated a bit for best results.  Alternately, you can use a quality based encoding which will vary the bitrate as necessary to preserve a given level of quality (lack of artifacts.)  This would then be independent of the resolution of the file, it would just impact how much bitrate is consumed.  More active videos would consume more bitrate and more static or predictable videos would use less.  Additionally, slower encodings would use lower bitrates while faster encodings would use higher bitrate.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-29T15:50:29.593" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13394" PostTypeId="2" ParentId="13371" CreationDate="2014-12-29T16:42:40.153" Score="2" Body="&lt;p&gt;I wouldn't recommend the h4n anymore.  It is still a huge step up from the on-board audio, but it generally isn't the best value anymore.  The H5n or H6n are both better options available now and generally better value unless you are getting a used H4n that someone is selling so they can buy the 5n or 6n.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, yes, you want an external audio recorder.  The &quot;internal audio recorder&quot; on your camera is nothing more than a consumer level audio jack with a minimal quality capture capability.  It lacks key features like phantom power and balanced audio as well as lacking a high quality audio interface.  Monitoring is limited, the audio is heavily compressed and the connection is not secure and has to be plugged in to your camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An external recorder, such as something in the Zoom H#n series or higher end devices with similar function provides much cleaner audio as well as the ability to work with a much wider variety of high quality microphones.  Additionally, you can still use the output from the external recorder and feed it in to your mic input on the DSLR if you want to have audio on your rough footage (though I still recommend using the actual audio files from the recorder for your final audio.)  You don't need to have it connected to your camera if your camera needs to be moving.  It can be operated by a separate sound engineer without bothering the camera operator.  It is just all around a smoother and much higher quality experience.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-12-29T16:48:08.677" LastActivityDate="2014-12-29T16:48:08.677" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13395" PostTypeId="1" CreationDate="2014-12-29T16:51:21.633" Score="1" ViewCount="568" Body="&lt;p&gt;I have lots of point light layers aligned as a vertical line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I'd like to distribute the 2D-light-layers along an ellipse into the 3D space (probably the z-axis).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How could I do this, without having to pic each of the (200) lights manually? How can I eg select the first few lights and rotate them based on the most left light into the z-axis? You know, so that the first light stays at this position, but all the others are moved into the back a bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could then repeat it with several bunch of lights so this could give me an approximated ellipse. But how can I set some kind of &quot;rotation point&quot; if I select multiple layers and want to rotate them?&lt;/p&gt;&#xA;" OwnerUserId="8018" LastActivityDate="2014-12-29T16:51:21.633" Title="How to rotate a group of 2D layers around the midpoint in one axis only?" Tags="|after-effects|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13396" PostTypeId="2" ParentId="13383" CreationDate="2014-12-29T17:01:34.447" Score="2" Body="&lt;p&gt;You need a relatively solid HDMI capture device to capture uncompressed HDMI output.  I'm not aware of any HDMI capture devices that will work with a phone or tablet, but there are options you could use with a laptop, such as the Black Magic Intensity, however, at that point, you are really probably better off going with a purpose built device such as the Black Magic HyperDeck Shuttle which takes a laptop SSD hard drive as media and records the uncompressed HDMI directly on to the drive for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Shuttle will be more reliable, consume less power and be more portable than options involving a laptop and an HDMI capture interface (as well as likely being cheaper overall).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-29T17:01:34.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13397" PostTypeId="1" CreationDate="2014-12-29T19:00:15.593" Score="1" ViewCount="9258" Body="&lt;p&gt;I took a break from video editing for a while, but then I decided to come back and start again. However, every time I rendered the video, the clips suddenly wouldn't follow up with the music correctly, but when I check them back in WMM, they're perfectly lined up. I don't know what's happening since I've never had any issue before. Does anyone know what to do?&#xA;PS: I'm using the newest version of Windows Movie Maker.&lt;/p&gt;&#xA;" OwnerUserId="8032" LastActivityDate="2015-09-16T21:19:44.433" Title="Lagging after render in Movie Maker?" Tags="|windows|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13398" PostTypeId="2" ParentId="13392" CreationDate="2014-12-29T19:06:29.617" Score="3" Body="&lt;p&gt;Check whether you have &lt;a href=&quot;http://www.digitalsandwich.net/portfolio/ae-quicktip-collapse-transformations/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Collapse Transformations&lt;/a&gt; enabled in your comp1.  It's a litte sun icon:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/fx4fq.png&quot; alt=&quot;Screenshot of a comp showing the collapse transformations icon&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-12-29T19:06:29.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13399" PostTypeId="2" ParentId="13364" CreationDate="2014-12-29T22:09:07.123" Score="2" Body="&lt;p&gt;It's also known as having an solid understanding of microphones and recording techniques, as well as sound audio editing principles. These types of videos are a great example of how awesome sound recording can enhance picture, and examples of the reason no filmmaker should skimp on sound. It's easier to mess up good sound for dramatic effect (say, adding EQ for distortion or making it quieter and adding reverb to make it sound farther away), but near impossible to clean messed up sound to make it usable.&lt;/p&gt;&#xA;" OwnerUserId="2106" LastActivityDate="2014-12-29T22:09:07.123" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13401" PostTypeId="1" AcceptedAnswerId="13408" CreationDate="2014-12-30T10:49:28.050" Score="1" ViewCount="9887" Body="&lt;p&gt;Is it possible to just move a layer along one axis, eg &lt;code&gt;x&lt;/code&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to move many layers individually in a 3D space, but only along one axis. It would be much quicker if I could lock all axis but one, and then move along that.&lt;/p&gt;&#xA;" OwnerUserId="8018" LastActivityDate="2022-07-12T14:46:24.263" Title="How to move a layer only in one direction?" Tags="|after-effects|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13402" PostTypeId="2" ParentId="13401" CreationDate="2014-12-30T11:33:33.153" Score="2" Body="&lt;p&gt;You can move any object by dragging on the Position coordinates in the object's timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/PPLJ2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you can constrain to a single dimension when moving an object in the canvas by putting your cursor over the appropriately coloured arrow (R, G, B, = x, y, z).  Wait for your cursor to show a letter next to it, then drag the object.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/NhHes.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2014-12-30T11:46:49.617" LastActivityDate="2014-12-30T11:46:49.617" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13403" PostTypeId="1" AcceptedAnswerId="13411" CreationDate="2014-12-30T11:43:51.730" Score="2" ViewCount="2854" Body="&lt;pre&gt;&lt;code&gt;Camera&#xA;[comp 3D]&#xA;  ellipse mask in z-axis&#xA;  layer1 2D&#xA;  layer2 2D&#xA;  layerN 2D&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The layers are aligned in the Z-axis along the ellipse, forming a 3D text by the layers.&#xA;When I'm inside the composition, I can actually see a aligned layers in the 3D space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I go to my main project view just seing the &quot;comp 3D&quot; layer, everything is plain 2D! Also moving the camera I can just see a plain 2D image, even though inside the comp it is 3D. Why?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/VTGGe.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are 3 lights being aligned differently in the z-axis (see TOP view).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I move a camera around inside the &quot;light comp&quot;, everything is fine and I can see also my lights moving.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I move the camera in my main layout, the lights are static! No movement is reflected to the light comp layer! I can just see the camera mask moving, not the comp content.&lt;/p&gt;&#xA;" OwnerUserId="8018" LastEditorUserId="8018" LastEditDate="2014-12-30T13:40:47.137" LastActivityDate="2020-05-04T05:52:46.637" Title="3D composition shows up as 2D in main project view?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13404" PostTypeId="2" ParentId="5431" CreationDate="2014-12-30T11:51:32.823" Score="1" Body="&lt;p&gt;You could also use the &lt;a href=&quot;http://www.redgiant.com/products/all/trapcode-echospace/&quot; rel=&quot;nofollow&quot;&gt;Trapcode Echospace&lt;/a&gt; plugin to achieve the same kind of thing&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-12-30T11:51:32.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13405" PostTypeId="2" ParentId="13403" CreationDate="2014-12-30T11:52:41.973" Score="3" Body="&lt;p&gt;You need to click the Collapse Transformations (sun icon) on your [Comp 3D] layer.&#xA;Otherwise your main comp will treat your other comp as a flat layer in a 3D space, if that makes sense?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/fx4fq.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2014-12-30T11:59:52.660" LastActivityDate="2014-12-30T11:59:52.660" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="13406" PostTypeId="1" CreationDate="2014-12-30T12:29:59.417" Score="1" ViewCount="671" Body="&lt;p&gt;I'm trying to compress video files using handbrake.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I'm managing to bring the video bit rate down, the audio bit rate is always at around 380kbps, no matter what I set in the audio settings tab. See below images for details.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Aea0u.png&quot; alt=&quot;handbrake audio settings&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/3zH4x.png&quot; alt=&quot;resulting file properties&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2021-11-04T16:52:34.523" Title="Can't change Handbrake audio bit rate" Tags="|audio|transcoding|handbrake|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13407" PostTypeId="2" ParentId="5431" CreationDate="2014-12-30T12:33:52.643" Score="6" Body="&lt;p&gt;Here's another trick worth knowing that will do the job without any third party software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To quickly duplicate your layers: first set the label colour to something you haven't used in your comp. duplicate it, and then click on the label and choose &lt;strong&gt;Select Layer Group&lt;/strong&gt;, duplicate the selected layers to create four layers. Repeat and you'll have eight, sixteen, thirty two, sixty four and so on. You'll end up with more layers than is feasible in no time at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To offset all your layers by &lt;em&gt;n&lt;/em&gt; frames: select them all and align their in-points to the same frame by hitting &lt;kbd&gt;[&lt;/kbd&gt; – if they're not already aligned. Now go to the &lt;em&gt;n&lt;/em&gt;th frame of the layers (e.g. to offset the layers by one go to the first frame), and hit &lt;strong&gt;&lt;kbd&gt;Alt/Option&lt;/kbd&gt;+&lt;kbd&gt;]&lt;/kbd&gt;&lt;/strong&gt; to make all the layers &lt;em&gt;n&lt;/em&gt; frames long. Now right-click (or from the &lt;em&gt;Animation&lt;/em&gt; menu) choose &lt;strong&gt;Keyframe Assistant&gt;Sequence Layers&lt;/strong&gt;. &lt;em&gt;Don't&lt;/em&gt; check the &lt;strong&gt;Overlap&lt;/strong&gt; box. Now all your layers will be offset by &lt;em&gt;n&lt;/em&gt; frames. You can then go to the end of the comp and hit &lt;kbd&gt;Alt/Option&lt;/kbd&gt;+&lt;kbd&gt;]&lt;/kbd&gt; to trim them all back to the full length again, or select them all and drag out their end points to the desired length.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="6685" LastEditDate="2015-09-07T07:06:04.910" LastActivityDate="2015-09-07T07:06:04.910" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13408" PostTypeId="2" ParentId="13401" CreationDate="2014-12-30T13:10:25.163" Score="2" Body="&lt;p&gt;It's easy to do with a quick expression:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;kbd&gt;Alt/Option&lt;/kbd&gt;-click the stop watch for the position property. You'll see the default expression &lt;strong&gt;&lt;em&gt;transform.position&lt;/em&gt;&lt;/strong&gt; is automatically inserted. The position property is an array – it contains the X, Y and Z value components. We want to lock it so that only one of the values can change. So we have to pick the array apart into its components, and then create a new array using some constant values.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So say we want to lock the layer to movement only on the X axis. We'll use the X component of the &lt;strong&gt;&lt;em&gt;transform.position&lt;/em&gt;&lt;/strong&gt; array and then put in a constant value for the Y and Z components. Say the layer's Y position is 123 and its Z position is 345. We'd use this expression:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[transform.position[0], 123, 345]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;note that the enclosing square brackets are part of the expression - they turn the three values back into an array. The bit where it says &lt;strong&gt;&lt;em&gt;transform.position[0]&lt;/em&gt;&lt;/strong&gt; selects just the first component of the array (just to be annoying, most computer languages &lt;a href=&quot;https://stackoverflow.com/questions/7320686/why-does-the-indexing-start-with-zero-in-c&quot;&gt;count array components from 0&lt;/a&gt;, so the first component is &lt;strong&gt;[0]&lt;/strong&gt;, the second &lt;strong&gt;[1]&lt;/strong&gt; and so on).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could refine this to make the layer easier to edit:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[transform.position[0], transform.position.valueAtTime(0)[1], transform.position.valueAtTime(0)[2]]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;here &lt;strong&gt;&lt;em&gt;transform.position.valueAtTime(n)&lt;/em&gt;&lt;/strong&gt; is a function that returns the value of the position property at time &lt;em&gt;n&lt;/em&gt;. The round brackets are the input to the function, in this case the start of the comp or 0. Then as we want just one part of the position, we then use the square brackets to stipulate which bit: &lt;strong&gt;&lt;em&gt;[1]&lt;/em&gt;&lt;/strong&gt; for Y and &lt;strong&gt;&lt;em&gt;[2]&lt;/em&gt;&lt;/strong&gt; for Z (remember &lt;strong&gt;&lt;em&gt;[1]&lt;/em&gt;&lt;/strong&gt; means the second value in the array and &lt;strong&gt;&lt;em&gt;[2]&lt;/em&gt;&lt;/strong&gt; means the third). So the layer will be locked to the Y and Z position it has at the start of the comp, and will be free to move on the X position.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To do the same with the Y position or the Z, or the scale, or rotation or whatevs, you just use the same form, but change the array index (the number in the square brackets). So to lock the movement to only the Y axis:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[transform.position.valueAtTime(0)[0], transform.position[1], transform.position.valueAtTime(0)[2]]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or Z axis:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[transform.position.valueAtTime(0)[0], transform.position.valueAtTime(0)[1], transform.position[2]]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;By now you should see the pattern.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that for 2D layers, the array only has two components, so you'd leave out the third part altogether, so to lock a 2D layer to the X axis you'd use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[transform.position[0], transform.position.valueAtTime(0)[1]]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Expressions are your friend!&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2014-12-31T01:20:23.933" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13409" PostTypeId="2" ParentId="13397" CreationDate="2014-12-30T14:28:32.930" Score="0" Body="&lt;p&gt;My best guess (and it is a total guess) is that things are actually lagging when you are viewing it unrendered. If the video is playing out on a delay from when the audio should actually be playing, you would have aligned it wrong and then when you output and if makes an accurate playback, you find that the audio is coming before the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most probably the issue is related to the video input.  If it is particularly large or difficult to read the video, WMM may not be able to keep up and will start lagging (you'd also probably notice a stutter when playing back, but maybe not).  I would try transcoding the videos to an easier to use format and try again or, preferably if possible, switch to something better than Windows Movie Maker that is worth exactly what you pay for it (nothing).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-30T14:28:32.930" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13410" PostTypeId="2" ParentId="13380" CreationDate="2014-12-30T14:35:16.220" Score="0" Body="&lt;p&gt;More recently I had moved to individual clip logging at the logging level and doing batch captures that would capture the individual clips.  With direct to disk systems, it also uses distinct files, so it's been a while since I did this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, what I did for going through long sets of bulk captured footage back in the day was to place the clips on V2 or V3 in my timeline approximately around where I expected to use them.  If I thought they were interesting but didn't know where they would be, I'd put them in another sequence as a set of B-roll shots to pull from.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then arranged them in to a rough cut, pulling in clips from my B-roll shots where needed.  This works best if you have a pretty decent familiarity with all your footage and a decent idea of your end result, but can also work (I'll be it kind of painfully) if you have less of an idea.  It just takes more culling passes to get it worked down and more video tracks to place clips on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also always shifted everything down as I built the rough cut and removed clips I wasn't going to use once I determined they weren't needed.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-30T14:35:16.220" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13411" PostTypeId="2" ParentId="13403" CreationDate="2014-12-30T14:52:23.760" Score="1" Body="&lt;p&gt;The issue could be Optical Flares, it doesn't fully integrate into AE's 3D space but has its own coordinate system. The usage of AE lights is somewhat of an workaround for that.&#xA;Have a look at this plugin/script, that could help:&#xA;&lt;a href=&quot;http://www.videocopilot.net/tutorials/3d_pre-compose_script/&quot; rel=&quot;nofollow&quot;&gt;http://www.videocopilot.net/tutorials/3d_pre-compose_script/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's exactly made for what you want to do.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2014-12-30T14:52:23.760" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13412" PostTypeId="2" ParentId="13361" CreationDate="2014-12-30T20:21:59.793" Score="0" Body="&lt;p&gt;If you put the title before the video and put the video after the title, it will extend the length.  If you put the title over the video, it will simply be placed over top of the first few seconds of video and the length will remain the same.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-30T20:21:59.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13414" PostTypeId="2" ParentId="13371" CreationDate="2014-12-31T00:47:07.413" Score="2" Body="&lt;p&gt;Apart from the other benefits mentioned - mic placement, quality of the pre-amps, ability to properly monitor levels, another advantage is that many of the good quality digital recorders (like the Zooms) will let you record 24 bit samples at up to 96kHz. To use a not completely accurate analogy, that's like recording raw video at 4K instead of 8-bit at 1080p.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2014-12-31T00:47:07.413" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13416" PostTypeId="1" CreationDate="2014-12-31T14:02:28.410" Score="2" ViewCount="31" Body="&lt;p&gt;I am currently editing a video, and I have three screen I'm testing the video with. One new and one older connected to my PC, and a larger 42&quot; LCD. The new has a good brightness and color reproduction, and the older one is slightly darker, but is good I think. But the video is slightly too dark on my 42&quot; LCD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is: what are the industry standards? Should I optimize for my PC screens (better and more correct result) or for my 42&quot; LCD (probably best for most users as a lot of people uses laptops and older darker screens)?&lt;/p&gt;&#xA;" OwnerUserId="4287" LastEditorUserId="4287" LastEditDate="2014-12-31T14:19:28.067" LastActivityDate="2014-12-31T18:22:05.537" Title="Optimal brightness for multiple screens" Tags="|video|video-quality|video-standards|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13417" PostTypeId="2" ParentId="13416" CreationDate="2014-12-31T15:00:59.690" Score="3" Body="&lt;p&gt;Generally, you want to mix color for ideal conditions, not the common situation.  It is up to people to do the best they can to adjust their systems to support a vivid and clear image.  If you mix to try to make it look the best on some &quot;average&quot;, not only will it look bad on any good displays, but it will also look bad on any well adjusted average displays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason for this is because of gamut.  The gamut of a display is the range of colors which it can produce.  A good display has a wide color gamut and can make use of more colors.  A display with a smaller gamut will have to make adjustments to bring colors within gamut or else colors will clip out and appear as the furthest color it can render (relative chromatic  vs perceptual correction).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You want to mix to the widest gamut that will be used so that adjustments don't need to be applied on that display because different lower quality displays will not all have the same gamut.  Some will display more on the blue side, some more on the red, etc.  If you have mixed for a gamut that includes both, both of these lesser displays can make full use of their gamuts.  If you instead mixed for some average in the middle, not only will they lose the colors they don't do from the average, but they will also lose some of the colors they are capable of displaying, further limiting an already limited display.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video is crap in, crap out.  You want to build the best possible input and then leave it up to the player to adjust.  The only exception to this is if you know the exact target conditions and want to customize for those conditions specifically.  You can always try to adjust visual information you can't display to look ok on your display, but you can't invent information that isn't there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, one important caveat to remember.  Just because one display is brighter doesn't necessarily mean it has better color reproduction, or even a wider color gamut.  Newer consumer displays use localized brightness adjustments to allow for higher contrast ratios and thus can go brighter overall, but this is dependent on the idea that bright areas tend to be bright everywhere.  The local contrast ratio may actually be very low, which means that while the screen may produced bright colors, it does not necessarily do well with sharp contrast or accurate color reproduction (such displays are also a major pita to calibrate for accurate color due to the display fighting you with its localized brightness adjustments.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally you want something like an S-IPS or S-PVA panel with low color distortion from viewing angle changes and a high static contrast ratio with little or no dynamic contrast adjustment (unless it does it at a per-pixel level).  For best results, you also want to make sure that you have accurate color response curves for the display.  To do this, you need either a colorometer (such as a Spyder or Colormunchi) or spectrometer that can analyze the actual output of your monitor and fine tune the output of your monitor for most accurate color.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2014-12-31T18:22:05.537" LastActivityDate="2014-12-31T18:22:05.537" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13418" PostTypeId="1" AcceptedAnswerId="13420" CreationDate="2014-12-31T20:32:28.537" Score="1" ViewCount="30" Body="&lt;p&gt;Basically my problem is I have footage which I need to manually key.  I need something like an unlimited point matte which would allow me to cut an actor out of a background by hand with no limits on the number of points in the matte.  Ideally this would be done in Premiere, but I have access to After Effects as well, I just don't like using it.  Also, if this is possible to do frame by frame as an image sequence in something like GIMP I can do that to.  I'm not sure if it's possible to import an alpha channel into Premiere though.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2014-12-31T21:23:08.623" Title="Is there such thing as an unlimited point matte in Premiere?" Tags="|after-effects|premiere|keyframes|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13419" PostTypeId="2" ParentId="13418" CreationDate="2014-12-31T20:52:30.313" Score="0" Body="&lt;p&gt;I'm fairly certain you can use alpha masking in Premiere.  Basically you make a black and white animated layer that provides the opacity for the footage in Premiere and the effect gets applied to combine the two layers.  I will double check when I get home to make sure I'm not accidentally thinking of After Effects though.  I sometimes cross the two in my head since I switch between them pretty readily.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2014-12-31T20:52:30.313" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13420" PostTypeId="2" ParentId="13418" CreationDate="2014-12-31T21:23:08.623" Score="1" Body="&lt;p&gt;I think you need to use the Rotobrush rotoscope tool in AE.. Good luck!  It will take a while...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tutorial link:&#xA;&lt;a href=&quot;https://library.creativecow.net/harrington_richard/after-effects-cs5-roto/1&quot; rel=&quot;nofollow&quot;&gt;https://library.creativecow.net/harrington_richard/after-effects-cs5-roto/1&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2014-12-31T21:23:08.623" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13421" PostTypeId="1" CreationDate="2015-01-01T00:15:49.737" Score="1" ViewCount="540" Body="&lt;p&gt;I wanted to do very crisp (maximum resolutions/MB) videos that uses a style similar to Khan Academy (blackboard style with several stroke colors throughout the video, maybe a few still pictures here and there) but needs to be lightweight in size. What's the best format to save these videos and how should they be compressed?&lt;/p&gt;&#xA;" OwnerUserId="6057" LastActivityDate="2015-01-01T14:42:08.963" Title="Best format (compression-wise) for Khan Academy Style video" Tags="|video-quality|compression|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13422" PostTypeId="2" ParentId="13421" CreationDate="2015-01-01T07:53:29.597" Score="2" Body="&lt;p&gt;Format doesn't really matter, I usually use something fairly common like .mov or .mp4.  The more important thing is the codec.  Usually when exporting for online upload, H.264 is the most common codec because of its balance of size and quality.  For resolution, either 1080p or 720p.  Most people can't tell the difference between the two, but 1080p is the standard so I generally stick with that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing to keep in consideration is color bit-depth.  I'm not sure if the H.264 codec or different programs allow you to export with different bit-depths, someone else can comment on that (or downvote, whatever).  Assuming you can control bit-depth, I would go with 10.  Most consumer grade cameras only shoot with 8 bit-depth, but you can get higher with the animation depending on what you generate it in and how you render.  The extra bit-depth will improve the overall crispness.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One last thing to keep in mind is how you render the animations.  I know you probably intend to create 2D, but I'll describe my process with Maya which is 3D, and hope all the information pretty much transfers over.  First, export at slightly higher than 1080p.  I'd go with something like 2K.  The downscaling will improve your quality and it's just nice in general knowing you have that extra space to work with.  Don't enable motion blur, or at least keep it to a minimum.  Other than that, just experiment with the render settings to get the effect you want.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-01-01T07:53:29.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13423" PostTypeId="1" AcceptedAnswerId="13424" CreationDate="2015-01-01T10:59:31.130" Score="3" ViewCount="1068" Body="&lt;p&gt;My video file has some blackish frames (it's almost black, but not exactly black, i.e. #000000), and I want to filter out them, replacing them with neighboring frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I can't find a simple way to do that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, I can extract all the frame images from the video file with FFmpeg:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i foo.mp4 -an -framerate 30 -s 1280x720 -f image2 foo-%05d.jpeg&lt;/code&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;and then list all the blackish images with some image tools, replace them with neighboring-numbered files, and merge them:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i foo.mp4 -vn -acodec copy foo.m4a&lt;/code&gt;&lt;br&gt;&#xA;&lt;code&gt;ffmpeg -i foo.m4a -f image2 -framerate 30 -i foo-%05d.jpeg -r 30 -s 1280x720 output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;but this will create over 10,000 intermediate image files and it is also time-consuming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any software or programming language that helps this work?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using Windows x64.&lt;/p&gt;&#xA;" OwnerUserId="8044" LastEditorUserId="8044" LastEditDate="2015-01-04T03:59:11.920" LastActivityDate="2015-01-04T03:59:11.920" Title="Any nice tool for replacing all black frames in a video with another frame" Tags="|video-editor|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13424" PostTypeId="2" ParentId="13423" CreationDate="2015-01-01T13:22:24.293" Score="3" Body="&lt;p&gt;You could do this in After Effects.  There are lots of examples online where people use Expressions to examine the average brightness of each frame, then act upon it.  For example, you could add a marker to each frame that fell below a certain threshold level. Or make the frame's opacity go to 0%, to allow another track to show through from behind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tutorial examples here:&#xA;&lt;a href=&quot;http://markos.co.nz/2012/05/after-effects-expression-use-the-luminance-of-one-layer-to-drive-another-layer/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://markos.co.nz/2012/05/after-effects-expression-use-the-luminance-of-one-layer-to-drive-another-layer/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://blogs.adobe.com/aftereffects/2009/07/color-sampler-using-sampleimag.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://blogs.adobe.com/aftereffects/2009/07/color-sampler-using-sampleimag.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an example expression I wrote based on the blog posts above -&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;threshold = 0.01;  // this is the threshold below which the track becomes transparent - black = 0.&#xA;driverLayer = thisComp.layer(&quot;Pre-comp 1&quot;);&#xA;samplePoint = [0,0]; // examine from the top left pixel&#xA;sampleSize = [640,360]; // examine the full comp size (in this case 640x360)&#xA;lightnessSample = driverLayer.sampleImage(samplePoint,sampleSize);  // this samples the image as rgb&#xA;driverLightness = rgbToHsl(lightnessSample)[2]; // converts to hue, saturation and lightness, then only takes lightness&#xA;if (driverLightness &amp;gt;=threshold) transform.opacity = 100 else 0; // tell opacity to be either 100 or zero depending upon the threshold point chosen in line 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I applied this to the opacity layer.  You would need to adjust the threshold value, and the size of your comp ( in my case 640x360). (the red solid below was to see whether the opacity change was working.  I guess you would put a copy of your video showing the previous frame here?  Will look as though the video got stuck though...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/wLUD5.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2015-01-01T14:17:58.993" LastActivityDate="2015-01-01T14:17:58.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13425" PostTypeId="2" ParentId="13149" CreationDate="2015-01-01T13:37:27.563" Score="1" Body="&lt;p&gt;Do you need to choose &quot;Millions of Colors+&quot; when you select Animation codec, to make sure it generates an alpha channel? Also if it's an animation, you probably want progressive, not interlaced (upper/lower field first = interlaced)&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-01-01T13:37:27.563" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13426" PostTypeId="2" ParentId="13421" CreationDate="2015-01-01T14:42:08.963" Score="1" Body="&lt;p&gt;As an example, &lt;a href=&quot;https://www.youtube.com/watch?v=Q_CljEweGOE&quot; rel=&quot;nofollow&quot;&gt;this Khan Academy video&lt;/a&gt; is uploaded as 720p to YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtube's &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en-GB&quot; rel=&quot;nofollow&quot;&gt;upload recommendations&lt;/a&gt; for 720p are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Standard quality:&#xA;Video Bit RateRate  Stereo Audio Bit Rate&#xA;5000 kbps&lt;br&gt;&#xA;Mono Audio Bit Rate: 128 kbps&lt;br&gt;&#xA;Stereo Audio bit rate:&#xA;384 kbps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;High quality:&#xA;720p    30,000 kbps 128 kbps    384 kbps    512 kbps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;resolution: 720 p: 1280x720&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-01-01T14:42:08.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13427" PostTypeId="1" AcceptedAnswerId="13437" CreationDate="2015-01-01T14:59:45.883" Score="2" ViewCount="1563" Body="&lt;p&gt;I have a 3D position property linked with another composition. I want the z-axis to have an offset in the linked expression. But how can I apply an offset just to one axis?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The current expression of the 3D position:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;comp(&quot;Main COMP&quot;).layer(&quot;text&quot;).transform.position&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="8018" LastActivityDate="2015-01-13T03:08:27.430" Title="How to apply an offset to one axis only in 3D space for linked expression position?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13428" PostTypeId="1" CreationDate="2015-01-01T17:39:15.220" Score="0" ViewCount="33" Body="&lt;p&gt;I would like to start a YouTube Channel, playing games and reviewing them, possibly also some web development tutorials. One of my favourite shows is &lt;a href=&quot;http://en.wikipedia.org/wiki/Citizen_Khan&quot; rel=&quot;nofollow noreferrer&quot;&gt;Citizen Khan&lt;/a&gt;, and, as he is a muslim character, he greets people by saying &amp;quot;&lt;a href=&quot;http://en.wikipedia.org/wiki/As-salamu_alaykum&quot; rel=&quot;nofollow noreferrer&quot;&gt;As-salamu alaykum&lt;/a&gt;&amp;quot;, an arabic greeting often used by Muslims. While not islamic myself, I wish to introduce my videos by saying &amp;quot;As-salamu alaykum&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Within the Asian community, doing so would not be even though about, let alone considered innaproriate, however the internet is a multicultural platform, and I do not wish to offend anybody.&lt;/p&gt;&#xA;&lt;p&gt;Would introducing myself in this way cause offense? Would it be considered inappropriate?&lt;/p&gt;&#xA;&lt;p&gt;(Sorry if this doesn't fit with this rooms guidelines, it's my first question here)&lt;/p&gt;&#xA;" OwnerUserId="8047" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-01-02T04:46:40.137" Title="Are introductions in other languages suitable for internet videos?" Tags="|youtube|" AnswerCount="1" CommentCount="0" ClosedDate="2015-01-05T08:05:01.550" ContentLicense="CC BY-SA 3.0" />
  <row Id="13429" PostTypeId="2" ParentId="3688" CreationDate="2015-01-02T01:43:11.363" Score="2" Body="&lt;p&gt;I was encountering audio sync issues when trying to do this with Avidemux, but I came upon a two-step process that keeps the audio in sync:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Concatenate files using &lt;a href=&quot;https://www.bunkus.org/videotools/mkvtoolnix/downloads.html&quot; rel=&quot;nofollow&quot;&gt;MKVToolNix&lt;/a&gt; (I used version 7.4.0 for Mac). This results in a Matroska video (.mkv) file.&lt;/li&gt;&#xA;&lt;li&gt;Remux the .mkv file to MP4 format using &lt;a href=&quot;http://fixounet.free.fr/avidemux/download.html&quot; rel=&quot;nofollow&quot;&gt;Avidemux&lt;/a&gt; (I used verison 2.6 for Mac). I chose the MP4v2muxer option in the Output Format section. This results in an MP4 file with audio and video in sync.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="8048" LastActivityDate="2015-01-02T01:43:11.363" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13430" PostTypeId="2" ParentId="13428" CreationDate="2015-01-02T04:46:40.137" Score="1" Body="&lt;p&gt;Firstly, I &lt;em&gt;don't&lt;/em&gt; know if this is on-topic or not; I'll leave it for others to decide.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simply, there are no rules. The question I would ask, is &quot;would you do this in person?&quot;. That should give you your answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It intrigues me, however, that you wish to use a phrase from a culture and religion you are not a part of - so you really need to be extremely careful that you understand the implications of the phrase, as well as if it is used within society by non-Muslims. Cultural appropriation can be a serious insult to a culture; or it can be seen as appreciative and continuing their history.&lt;/p&gt;&#xA;" OwnerUserId="2598" LastActivityDate="2015-01-02T04:46:40.137" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13431" PostTypeId="2" ParentId="3688" CreationDate="2015-01-02T11:34:57.613" Score="1" Body="&lt;p&gt;i think &lt;a href=&quot;http://www.squared5.com/&quot; rel=&quot;nofollow&quot;&gt;MPEG Streamclip&lt;/a&gt; can do this.  It's free on mac and pc.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-01-02T11:34:57.613" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13432" PostTypeId="2" ParentId="4693" CreationDate="2015-01-02T14:07:02.247" Score="0" Body="&lt;p&gt;I know this is old, but just in case anyone else comes along looking for differences like I did, there's a big one that no one touched upon - the Xenyx has a direct USB connection. This makes a difference to me as I'd like to do some recording. Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="8049" LastActivityDate="2015-01-02T14:07:02.247" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13433" PostTypeId="1" AcceptedAnswerId="13436" CreationDate="2015-01-02T14:11:58.627" Score="1" ViewCount="27870" Body="&lt;p&gt;I have a moving solid mask composition, which forms a white line that moves vertically from the middle to the left and back.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I now want to create a copy of that composition, mirror it and link the position. So that the mirrored comp will move from middle to right and back.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How could I achieve this? Setting the &lt;code&gt;width = -100%&lt;/code&gt; did not work.&lt;/p&gt;&#xA;" OwnerUserId="8018" LastActivityDate="2015-01-03T01:21:13.800" Title="How to mirror a composition?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13434" PostTypeId="2" ParentId="12937" CreationDate="2015-01-02T17:42:30.497" Score="1" Body="&lt;p&gt;If they are MOVs, the first thing I would do is find a computer with Quicktime correctly installed, to see whether they play on there.  If they do, it could be a codec issue on your machine.  Any Mac with Final Cut installed should do it.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-01-02T17:42:30.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13436" PostTypeId="2" ParentId="13433" CreationDate="2015-01-02T19:12:31.917" Score="1" Body="&lt;p&gt;Pre comp your layer, then apply the Mirror effect to the comp.  If your comps are 1920x1080, set the mirror centre to 960x540, and the reflection angle to 0.&lt;img src=&quot;https://i.stack.imgur.com/85RaD.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think your scaling to -100% didn't work because it's a masked layer.  You might have more luck using a shape layer to create your line, then you should be able to scale it as you suggested.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-01-02T19:12:31.917" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13437" PostTypeId="2" ParentId="13427" CreationDate="2015-01-03T00:49:59.827" Score="4" Body="&lt;p&gt;The position property is an array, which is a container with a number of components in it, in this case the three position values: x, y and z. To specify an array you use this notation &lt;code&gt;foo = [A,B,C]&lt;/code&gt; where A, B and C are the individual values – constants, variables, whatevs. &lt;strong&gt;TL;DR&lt;/strong&gt; to create an array you put a number of comma-separated values in square brackets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Conversely you can access any of the components of an array using this notation: &lt;code&gt;foo[n]&lt;/code&gt; where foo is the name of the variable, and &lt;code&gt;n&lt;/code&gt; is the &lt;em&gt;index&lt;/em&gt; of the component you want. &lt;strong&gt;Note that the index starts at 0&lt;/strong&gt;, so to get the first component of the array you would use &lt;code&gt;foo[0]&lt;/code&gt;, the second &lt;code&gt;foo[1]&lt;/code&gt; and so on. Arrays can also be multi-dimensional, so the address could be &lt;code&gt;foo[0][5][99]&lt;/code&gt; for a three dimensional array. But you probably don't need to worry about that at this point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your case you want just the third component to have the offset. So you need to unpick the original array using the &lt;code&gt;foo[0]&lt;/code&gt;, &lt;code&gt;foo[1]&lt;/code&gt;… notation and then put it back together as an array using the &lt;code&gt;[A,B,C]&lt;/code&gt; notation. Thus:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;thePos = comp(&quot;Main COMP&quot;).layer(&quot;text&quot;).transform.position;&#xA;[thePos[0], thePos[1], thePos[2]+offset]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;offset&lt;/code&gt; is whatever your offset is, obviously.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first line is just for convenience - it assigns the position property as the value of the variable myPos. You could do it all on one line, but it gets a bit hard to read:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[comp(&quot;Main COMP&quot;).layer(&quot;text&quot;).transform.position[0], comp(&quot;Main COMP&quot;).layer(&quot;text&quot;).transform.position[1], comp(&quot;Main COMP&quot;).layer(&quot;text&quot;).transform.position[2]+offset]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-01-13T03:08:27.430" LastActivityDate="2015-01-13T03:08:27.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13438" PostTypeId="2" ParentId="12677" CreationDate="2015-01-03T01:00:24.153" Score="2" Body="&lt;p&gt;Here's what I use: an Amazon Basics case for a 5-inch satnav. It's semi-rigid, and just the right size for the Videomic Pro, although it's a tight fit with a fluffy windjammer on, and even has an internal pocket where I store two extension cables and spare rubber bands for the shock-mount. Here's the link on AmazonUK: &lt;a href=&quot;http://www.amazon.co.uk/gp/product/B004I5BUSO?psc=1&amp;amp;redirect=true&amp;amp;ref_=oh_aui_detailpage_o08_s00&quot; rel=&quot;nofollow&quot;&gt;Amazon Basics SatNav Case&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="8054" LastEditorUserId="2836" LastEditDate="2015-01-04T18:01:39.213" LastActivityDate="2015-01-04T18:01:39.213" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13439" PostTypeId="2" ParentId="13433" CreationDate="2015-01-03T01:21:13.800" Score="1" Body="&lt;p&gt;Did you unlink the scale x and y before you set it? if you don't the &lt;strong&gt;y&lt;/strong&gt; will be set to &lt;strong&gt;-100&lt;/strong&gt; too. It's the little chain link next to the value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/yJt01.png&quot; alt=&quot;linked and unlinked scale&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you described should work, masks are transformed with their layers.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/zaBG3.png&quot; alt=&quot;mirrored layer&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a more convenient way of flipping a layer - by going to the &lt;strong&gt;Layer&lt;/strong&gt; menu and choosing &lt;code&gt;Layer&amp;gt;Transform&amp;gt;Flip Horizontal&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-01-03T01:21:13.800" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13440" PostTypeId="1" AcceptedAnswerId="13478" CreationDate="2015-01-03T12:43:37.620" Score="1" ViewCount="1946" Body="&lt;p&gt;I need to make an video for an advertising panel. The video is nothing special ( It's just a still image for 10 seconds ), but I don't just know how to make MP4 and MPG-2 720 x 1280 videos.&lt;/p&gt;&#xA;" OwnerUserId="8058" LastActivityDate="2015-01-06T14:38:32.493" Title="How to make MP4 and MPG-2 720 x 1280 videos? (aspect ratio 9:16)" Tags="|aspect|quality|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13441" PostTypeId="2" ParentId="13440" CreationDate="2015-01-03T14:19:19.020" Score="2" Body="&lt;p&gt;You need to make sure your artwork is at least 720x1280 in size.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then open a video editing package like Adobe Premiere, Final Cut, or an animation package like After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Create a project with a canvas of 720 x 1280 pixels, and drag your artwork into it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make the timeline 10 seconds in duration (set in and out points on your timeline).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Export your timeline either in a higher quality video format first (like Apple ProRes 422 if you're in Final Cut), or export straight into the format your want (not all editing software exports in these formats).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your software doesn't export in these formats, convert your ProRes file into the correct format using something like Adobe Media Encoder, Compressor, MPEG Streamclip, or Quicktime Pro 7.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure you know what bit rate, frame rate, and color depth the video should be encoded at - ask whoever you're delivering to.  Set these when you do the export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;NB - I'm assuming 9x16 isn't a typo - most displays are 16x9 (16 horizontally and 9 vertically).  But as you said advertising displays, these &lt;em&gt;are&lt;/em&gt; often in &quot;portrait&quot;, i.e 9x16 aspect ratio.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2015-01-03T15:55:12.480" LastActivityDate="2015-01-03T15:55:12.480" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13442" PostTypeId="1" AcceptedAnswerId="13446" CreationDate="2015-01-03T15:41:31.883" Score="1" ViewCount="3485" Body="&lt;p&gt;I found easier to teach some score by reading it with the student while playing, and I saw that many people online use this priciple on videos as well:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know how can I make that kind of karaoke-style animations for scores?&#xA;Is there a software better suited for it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For reference, I'll put here a link to a video with the goal I'd like to reach:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/NfnKwDNd6oY?start=76&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="8059" LastEditorUserId="8059" LastEditDate="2015-01-03T18:34:02.523" LastActivityDate="2015-01-03T20:09:50.270" Title="How to make a “follow the bouncing ball” video?" Tags="|software|music|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13443" PostTypeId="1" CreationDate="2015-01-03T17:36:37.557" Score="4" ViewCount="1176" Body="&lt;p&gt;I have a video that is stored in the YUV 4:2:0 colour space. Assuming I used a lossless video codec but set the output colour space to YUV 4:2:0, would this still be a lossless encode or would I have to use a 4:4:4 colour space to make the encode lossless?&lt;/p&gt;&#xA;" OwnerUserId="8060" LastEditorUserId="4426" LastEditDate="2015-01-03T20:13:02.603" LastActivityDate="2015-01-15T09:16:12.313" Title="Is reencoding a YUV 4:2:0 video in a 4:2:0 colour space lossless?" Tags="|encoding|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13444" PostTypeId="1" CreationDate="2015-01-03T18:54:30.097" Score="3" ViewCount="374" Body="&lt;p&gt;I want to use ffmpeg to create a 15 second looping video from images for posting to instagram. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For instance:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camera takes 3 pictures&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each image plays for 2 frames (3 images = 6 frames)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After 6 frames, video should loop until desired video length has been achieved&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Final output is 15 seconds long at 30fps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible??&lt;/p&gt;&#xA;" OwnerUserId="8061" LastActivityDate="2015-01-03T18:54:30.097" Title="Is there a way? multiple images to looping video via ffmpeg?" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13445" PostTypeId="2" ParentId="7903" CreationDate="2015-01-03T18:57:02.883" Score="14" Body="&lt;p&gt;This will output a lossless H.264 video where frames will use information from other frames&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f image2 -r 30 -i %09d.jpg -vcodec libx264 -profile:v high444 -refs 16 -crf 0 -preset ultrafast a.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Explanation of options:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-f image2&lt;/code&gt; - tells ffmpeg to select a group of images&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-r 30&lt;/code&gt; - tells ffmpeg to encode at 30 frames (or images) per second (change this to your desired framerate)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-i %09d.jpg&lt;/code&gt; - tells ffmpeg to use the images 000000000.jpg to 999999999.jpg as the input. Change the &lt;code&gt;9&lt;/code&gt; in &lt;code&gt;%09d.jpg&lt;/code&gt; to how many zeroes the names of your image sequence has. If your file names are, for example, img0001.jpg, then this would be expressed as img%04d.jpg&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-vcodec libx264&lt;/code&gt; - tells ffmpeg to output to a H.264 compliant file&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-profile:v high444&lt;/code&gt; - tells libx264 to use the High 4:4:4 Predictive Lossless profile, allowing lossless encoding&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-refs 16&lt;/code&gt; - tells libx264 to have 16 images stored in a buffer, so that they may be referenced by other images in the video&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-crf 0&lt;/code&gt; - tells libx264 to perform a lossless encode&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-preset ultrafast&lt;/code&gt; - tells libx264 to prioritise encoding speed over output file size&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;a.mp4&lt;/code&gt; - tells ffmpeg to save the output in an MP4 file called a.mp4. Change this to the file name and format that you wish to use&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="8060" LastActivityDate="2015-01-03T18:57:02.883" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="13446" PostTypeId="2" ParentId="13442" CreationDate="2015-01-03T20:09:50.270" Score="1" Body="&lt;p&gt;There's a tutorial on how to make a bouncing ball karaoke-style lyric follower using After Effects here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://aescripts.com/beat-assistant/&quot; rel=&quot;nofollow&quot;&gt;http://aescripts.com/beat-assistant/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The example you give should be simpler, as the ball only bounces on each quarter-note beat -there aren't any lyrics to worry about.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-01-03T20:09:50.270" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13447" PostTypeId="2" ParentId="13443" CreationDate="2015-01-03T20:54:32.747" Score="0" Body="&lt;p&gt;Some people could be more in depth about this, but my understanding is that it depends on how the color is compressed. Going to 4:4:4 would certainly be lossless, but not necessarily worth it.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-01-03T20:54:32.747" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13448" PostTypeId="2" ParentId="13443" CreationDate="2015-01-03T21:17:33.880" Score="1" Body="&lt;p&gt;Probably no loss, but there is more to it than just YUV420. You can need to make sure the same ITU-R Recommendation is used (BT.601, BT.708 or maybe even 2020) In addition make sure the same color ranges is used (0-255 vs 16-235)&lt;/p&gt;&#xA;" OwnerUserId="4169" LastEditorUserId="4169" LastEditDate="2015-01-08T05:23:54.167" LastActivityDate="2015-01-08T05:23:54.167" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13450" PostTypeId="1" CreationDate="2015-01-03T23:01:12.197" Score="1" ViewCount="275" Body="&lt;p&gt;I just recently purchased a Blue Snowball USB microphone and a Dragonpad Studio Mic Filter pad because I am interested in creating videos and podcasts. However, I am still experiencing excess background noise. Is there any way to reduce this using Audacity or any other freely available program?&lt;/p&gt;&#xA;" OwnerUserId="8063" LastActivityDate="2015-01-06T09:57:39.443" Title="Programs to improve audio quality?" Tags="|audio-quality|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13451" PostTypeId="2" ParentId="13450" CreationDate="2015-01-04T00:20:29.080" Score="1" Body="&lt;p&gt;I'm not sure if Audacity has this, but what you need is a compressor (actually an expander, but they're opposite things built into a tool referred to as a compressor). The compressor allows you to limit sound that is above a certain dB level, the expander limits sound under that level, called a gate.  You can set a gate with the compressor at a sound level, cutting out faint background noise but keeping your voice.  This will also cut out breathing noises you make at the beginning and end of syllables particularly Hs and Ss. This technique will not work if your voice is not considerably above the level of the background noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another tool which can help refine your voice, but not entirely solve the noise problem is an eq (equalizer).  Look specifically for a parametric eq; these are the most intuitive. Essentially the equalizer loudens or softens sound based on its frequency.  You can use this to raise the level of your voice, but also soften background noise.  This works particularly well if there's a hissing sound that fills up only a small area on the frequency spectrum.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of the recording environment, ideally you could build a sound proof room, but these are incredibly expensive.  Another slightly cheaper idea is to give your recording room an acoustic treatment, essentially coating the walls in acoustic foam.  This won't solve existing noise problems, but it will limit reverb.  Acoustic treatment is fairly cheap.  Generally you can coat a fairly large room at 50-75% coverage for under $100.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE: Audacity does have a compressor, but the GUI looks really ugly and unintuitive.  A parametric eq also requires an external plugin.  That said, it's still probably the best free program available.  Something paid and marketed as a DAW (digital audio workstation), would do the job much better.  Something like Adobe Audition, Apple Logic Pro, or Avid Pro Tools.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastEditorUserId="6671" LastEditDate="2015-01-04T01:37:55.180" LastActivityDate="2015-01-04T01:37:55.180" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13452" PostTypeId="1" CreationDate="2015-01-04T01:01:09.067" Score="6" ViewCount="8325" Body="&lt;p&gt;When I filter a shaky video through deshaking filter (that fixes frames positions and rotations), the resulting video looks &quot;wobbly&quot; (&lt;a href=&quot;http://defun.co/media/2014-10-16/CzsLN2GPRd.gif&quot; rel=&quot;noreferrer&quot;&gt;example gif&lt;/a&gt;), i.e. while there are no per-frame displacements or tilt, there is still per-frame deformation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is it called and how do I get rid of it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note: The question is not about motion blur, it is about geometrical deformation that is not rotation and moves.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt; I have experimented a bit with various videos and found out the case where the problem is visible the most.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If camera is held at right angle to the object (&lt;img src=&quot;https://i.stack.imgur.com/PNF0T.png&quot; alt=&quot;camera at right angle&quot;&gt;), I get only motion blur after deshaking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But of camera is held at angle to the surface (&lt;img src=&quot;https://i.stack.imgur.com/p7E1z.png&quot; alt=&quot;camera at angle&quot;&gt;), then I got this type of distorsion when moving the camera: &lt;img src=&quot;https://i.stack.imgur.com/RhxiH.png&quot; alt=&quot;distorsion&quot;&gt;.&lt;/p&gt;&#xA;" OwnerUserId="8062" LastEditorUserId="8062" LastEditDate="2015-01-06T09:33:41.437" LastActivityDate="2018-07-25T00:41:22.273" Title="Why deshaken video looks &quot;wobbly&quot; and how to fix it" Tags="|stabilisation|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13453" PostTypeId="2" ParentId="13452" CreationDate="2015-01-04T08:41:35.137" Score="1" Body="&lt;p&gt;When a camera is recording video, it takes many still photographs per second. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For each of these photographs, the camera opens its shutter (either mechanical or electronic), and allows light to hit the sensor for an amount of time. During this time, any object that moves, or any motion in the camera, is captured as motion blur. Imagine watching an athlete running - theirs legs, arms are blurred in the image. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Stabilising footage uses algorithms to detect and calculate the movement in the shot. It then moves and warps the image so the greatest amount possible doesn't move (I.e. The background - a &quot;steady&quot; shot). However, the motion blur captured in the image still exists - this creates the jitters and wobbles you are seeing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, it's also (to my professional knowledge) impossible to remove - it's part of the original, recorded image. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have manual control over the camera, you can try changing the shutter speed to a faster value (&lt;em&gt;1/big number&lt;/em&gt; or &lt;em&gt;small number°&lt;/em&gt;) to reduce the amount of motion blur recorded. However, this can introduce other problems, including strobing, from a severe lack of motion blur, and making it more difficult to get an exposure in dark scenes. &lt;/p&gt;&#xA;" OwnerUserId="2598" LastActivityDate="2015-01-04T08:41:35.137" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13455" PostTypeId="1" AcceptedAnswerId="13462" CreationDate="2015-01-04T09:12:54.943" Score="0" ViewCount="101" Body="&lt;p&gt;I've captured a lot of mini dv tape footage in adobe premiere which now sits in the library box in the bottom left. I've logged time in and out points of clips I want to keep with pen and paper. Should my next step be to do that by creating sub clips? Or is there another way?&lt;/p&gt;&#xA;" OwnerUserId="3813" LastActivityDate="2015-01-04T18:41:07.140" Title="Captured video in Adobe Premiere - is the next step to make subclips?" Tags="|premiere|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13456" PostTypeId="1" AcceptedAnswerId="13463" CreationDate="2015-01-04T11:07:32.463" Score="2" ViewCount="2117" Body="&lt;p&gt;I want to prepare my Magic Lantern Raw files for Nuke. I use Photoshop to convert DNG to a 16bit tiff and then re-encode them to a 16bit exr sequence. I wish I could directly save as exr.&#xA;I know i could use Davinci Resolve I just don't like the workflow with Davinci...&lt;/p&gt;&#xA;" OwnerUserId="8064" LastEditorUserId="2836" LastEditDate="2015-01-04T18:43:56.957" LastActivityDate="2015-01-04T21:41:42.767" Title="Is there a way to directly save DNG Sequences to 16bit exr Sequences in Photoshop or After Effects?" Tags="|after-effects|magic-lantern|raw|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13457" PostTypeId="1" AcceptedAnswerId="13471" CreationDate="2015-01-04T11:41:09.557" Score="3" ViewCount="783" Body="&lt;p&gt;I have a 3D Scene in Nuke with several cards behind each other in 3d space. Is there a way to multiply them on top of each other? Like with layer blending modes in After Effects but still keeping it a NUKE 3D scene?&lt;/p&gt;&#xA;" OwnerUserId="8064" LastEditorUserId="8064" LastEditDate="2015-01-04T22:01:25.277" LastActivityDate="2015-01-05T15:37:04.577" Title="Can I multiply 3D cards in a Nuke 3d scene on top of each other, like i can multiply layers in After Effects?" Tags="|after-effects|composing|nuke|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13458" PostTypeId="1" CreationDate="2015-01-04T11:46:26.233" Score="1" ViewCount="574" Body="&lt;p&gt;Rendering files to my After Effects project from the NAS does not work. Also importing DNG files is not working. After Effects seems to be not able to write on the disk. The NAS is connected in a MAC via AFP. The NAS is Visible to After Effects as a Network Drive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Error: After Effects error: File couldn't be opened for writing:&quot;/xxx.dng&quot;.(3::0)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects: CC2013 12.1.0.168&lt;/p&gt;&#xA;&#xA;&lt;p&gt;NAS: Thecus N5550 RAID 6 with 5x Western Digital WD30EFRX 5400rpm&lt;/p&gt;&#xA;&#xA;&lt;p&gt;NAS connection: tried AFP and SMB&lt;/p&gt;&#xA;" OwnerUserId="8064" LastEditorUserId="8064" LastEditDate="2015-01-05T04:18:06.107" LastActivityDate="2015-01-05T04:18:06.107" Title="I'm having trouble with using a NAS with After Effects" Tags="|after-effects|hardware|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13460" PostTypeId="2" ParentId="13450" CreationDate="2015-01-04T18:17:28.430" Score="0" Body="&lt;p&gt;You may find &lt;a href=&quot;https://sound.stackexchange.com/questions/22695/how-do-you-remove-white-noise-from-recordings&quot;&gt;this answer&lt;/a&gt; from our sister site Sound Design to be useful.  Basically, it depends on the kind of noise you are getting though.  If it is random background noise, then it may be fairly difficult to remove unless it is pretty regular frequencies.  Either way, most noise removal tools will listen to the noise and try to identify what they can remove.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your best bet is to prevent noise from occurring in the first place.  There are two main ways to do this, decreasing the noise itself and increasing the signal (and using less gain if needed).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For reducing the noise, your options are limited if the mic itself is noisy, however if there is any background noise in the room you are recording in (such as fans, power supplies, air conditioning or heating, etc) turning them off or recording in a quieter location will help considerably.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For increasing signal, get closer to the mic.  Make sure the mic has its gain set such that it is getting the strongest possible signal without cliping (maxing out the volume it can record).  This will result in a signal that is as strong as possible and keep the noise floor as low as possible.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="-1" LastEditDate="2017-04-13T12:59:01.503" LastActivityDate="2015-01-04T18:17:28.430" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13461" PostTypeId="2" ParentId="13452" CreationDate="2015-01-04T18:37:48.003" Score="4" Body="&lt;p&gt;The problem is that this is what the original footage looked like.  While you can stabilize the objects themselves by tracking, you still have motion blur from the movement because the objects moved within the time each frame was being captured.  Additionally, you also have perspective changes if the camera is moving in 3d space in addition to having the angle change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This motion blur appears regardless of the stabilization as the stabilization simply repositioned the video to keep objects in the same place, but you can't get rid of the motion blur without completely synthesizing the image to produce something that resembles what the frame would have looked like without any motion blur.  This is both exceedingly difficult and also extremely likely to introduce as many artifacts as it fixes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly, the perspective issues result in a shifting perspective without corresponding movement as the camera position changes are counteracted by providing a perspective correction, but the contents of the video are still viewing from the wrong angle, so what portion of the surface is visible changes very disconcertingly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is most obvious if we take a hypothetical situation where we have a camera looking at a dice.  We start looking straight down at two dots.  Then, after a few seconds, the camera suddenly gets jerked around to the front and we are looking at 4 dots.  To smooth that camera motion, we would need to make it look like the camera movement was smooth between the two positions, however, we don't actually know the 3d geometry of the dice, we just know that it shifted relative to other things in the scene.  We can't simply apply some distortion to each frame, because half of our frames only show the 2 dots and half our frames only show the 4 dots.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most image stabilization is limited to working with whatever detail is available in frame and warping and adjusting it (and in advanced cases, independently warping individual objects on screen).  We can shift the perspective of the image so it seems kind of like the camera is moving, but we'll still see the two dots until suddenly it changes to 4 dots.  The camera movement will feel a bit more smooth, but the perspective was telling us we were looking at half way between the side and the top while the number of dots shows us to be looking at the top.  This disjoint can't be fixed without synthesizing new data, which is super hard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best bet to avoid motion blur is to use the fastest possible shutter speed when capturing footage.  This will reduce the amount of motion blur present and help make stabilized footage look much better.  After the fact, it is exceedingly far more difficult to correct for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For perspective, there isn't much you can do other than trying to limit the amount of changes in position of the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are some interesting bits of research by organizations like &lt;a href=&quot;http://research.microsoft.com/en-us/um/redmond/projects/hyperlapse/&quot; rel=&quot;nofollow&quot;&gt;Microsoft Research&lt;/a&gt; (there is also an interesting tidbit they have &lt;a href=&quot;http://research.microsoft.com/en-us/um/redmond/projects/hyperlapse/igcomp/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; about what the currently available state of the art is) can build point clouds that can be used to correct for perspective issues if the video is complete enough, but such research is exceedingly ground breaking and mind numbingly complex, so you won't find it in the open source world yet (or even the commercial one quite yet.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2015-01-06T14:49:09.587" LastActivityDate="2015-01-06T14:49:09.587" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="13462" PostTypeId="2" ParentId="13455" CreationDate="2015-01-04T18:41:07.140" Score="1" Body="&lt;p&gt;Workflow is really up to whatever works for you.  Unfortunately, you kind of did things backwards from the workflow I would have used.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With mini-DV tapes, the fastest thing I've found is to do the clip logging with the batch capture tool and then run a batch capture to have each clip captured as an individual file. It does take a little bit of practice to get good at using the batch capture tool for logging, but it makes it easy to recapture a particular clip down the road and organizes clips much more easily for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After the fact, your best bet is probably just to drop each clip in its own sequence or simply insert them all on to your timeline and work from there if you have a decent idea of how you want the rough edit to look.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also split the clips if you wanted as long as you are using DV format which will not lose additional quality in each additional export.  It really comes down to whatever will be the easiest for you to work with though.  Everyone can be a bit different when it comes down to how they want to organize their stuff.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-04T18:41:07.140" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="13463" PostTypeId="2" ParentId="13456" CreationDate="2015-01-04T20:57:44.677" Score="2" Body="&lt;p&gt;Using After Effects this is not an issue. After Effects has CameraRAW support and by that also support importing DNG sequences.&#xA;You import them just as you would any other image sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then simply make the sequence into a composition and add it to the render queue.&#xA;AFAIK After Effects has the OpenEXR plugin integrated since CS5.5. In case I'm wrong you can get the great ProEXR plugin for Photoshop and After Effects from &lt;a href=&quot;http://www.fnordware.com/ProEXR/&quot; rel=&quot;nofollow noreferrer&quot;&gt;fnodware&lt;/a&gt; (I'm not affiliated). To do the same with a few more format options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/j95SV.png&quot; alt=&quot;render exr sequence in AE&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/7JHxA.png&quot; alt=&quot;exr settings&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="8064" LastEditDate="2015-01-04T21:41:42.767" LastActivityDate="2015-01-04T21:41:42.767" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13464" PostTypeId="1" AcceptedAnswerId="13472" CreationDate="2015-01-05T01:31:16.187" Score="1" ViewCount="81" Body="&lt;p&gt;Do they have to pay Adobe if they use Flash to animate? Do they have to give them money in production, broadcasting, or otherwise?&lt;/p&gt;&#xA;" OwnerUserId="8068" LastActivityDate="2015-01-05T16:39:48.093" Title="Do cartoon creators have to pay software owners?" Tags="|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13466" PostTypeId="2" ParentId="13464" CreationDate="2015-01-05T04:10:23.683" Score="2" Body="&lt;p&gt;Once you bought a license for the software you are good to go. In case of Adobe you simply subscribe to the &lt;a href=&quot;https://creative.adobe.com&quot; rel=&quot;nofollow&quot;&gt;Creative Cloud&lt;/a&gt;. There is no royalties for the usage of software, like for the usage of creative content like video or audio footage or images from other artists.&lt;/p&gt;&#xA;" OwnerUserId="8064" LastActivityDate="2015-01-05T04:10:23.683" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13467" PostTypeId="2" ParentId="1700" CreationDate="2015-01-05T04:46:12.337" Score="5" Body="&lt;p&gt;There are a zillion greenscreen tutorials on YouTube. The basics are simple.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.Pure green paint or fabric.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2.Even lighting on the green, good lighting technique on the subject. Avoid spills and shadows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3.Use the highest quality camera, lenses and compression you have available -- but don't freak out unless you're using a lot of translucent objects like smoke or water.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4.You often need to try more than one keying product to find the best for your situation. I primarily use Spectramatte and Keylight. There are many others. &lt;/p&gt;&#xA;" OwnerUserId="8071" LastActivityDate="2015-01-05T04:46:12.337" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13468" PostTypeId="2" ParentId="10550" CreationDate="2015-01-05T09:08:03.740" Score="3" Body="&lt;p&gt;I'm pretty sure you can use vlc to both stream and restream it. I use vlc to stream all my tv channels to all my devices(rtsp, mp4, html5).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Search for vlc media player streaming like &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.videolan.org/doc/streaming-howto/en/ch04.html&quot; rel=&quot;nofollow&quot;&gt;https://www.videolan.org/doc/streaming-howto/en/ch04.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="8071" LastActivityDate="2015-01-05T09:08:03.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13470" PostTypeId="1" AcceptedAnswerId="13474" CreationDate="2015-01-05T14:14:09.907" Score="1" ViewCount="320" Body="&lt;p&gt;I have an approx. 8s long video in Adobe After Effects CC, res. 200x200px. I need to export it so it has &amp;lt;= 50Kb, which format should I choose so it keeps the most quality but falls under these constraints?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-&gt; &lt;a href=&quot;https://www.dropbox.com/s/ygow4osue7ttogk/pravidla-tvorba-banneru.pdf?dl=0&quot; rel=&quot;nofollow&quot;&gt;here is the .pdf&lt;/a&gt;, but it's in Czech. The relevant info is translated lower:&#xA;-&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;format   size (px)  kB   length (s)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Square   200x200    50   unconstrained&lt;/p&gt;&#xA;" OwnerUserId="8073" LastEditorUserId="8073" LastEditDate="2015-01-05T17:52:19.470" LastActivityDate="2015-01-05T18:47:12.790" Title="Video format to get my comp to export under 50Kb" Tags="|after-effects|file-formats|codec|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="13471" PostTypeId="2" ParentId="13457" CreationDate="2015-01-05T15:37:04.577" Score="2" Body="&lt;p&gt;It is not possible to use  blending modes in a 3D scene. What can be done though, is to use several scenes or 3D objects with a scan line renderer and a cam. Each of those are merged with the blending mode of choice after the scan line renderer in 2d.&lt;/p&gt;&#xA;" OwnerUserId="8064" LastActivityDate="2015-01-05T15:37:04.577" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13472" PostTypeId="2" ParentId="13464" CreationDate="2015-01-05T16:39:48.093" Score="3" Body="&lt;p&gt;As a media creator, you pay for use of the tool, not for the use of the result from using the tool.  Different companies have different systems, but you either buy the software up front or pay a fixed subscription to have the tool available to you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It does not matter if you are using it for personal use (though sometimes educational copies will get you a discount for non-commercial use), making a video for your ad supported youtube channel or producing the super bowl.  The cost of the software remains the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's similar to buying any other tool (say a hammer).  You can either buy the hammer or rent it from a hardware store, but you don't pay for every house you sell that you build with the hammer, you just pay for the hammer.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-05T16:39:48.093" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13473" PostTypeId="2" ParentId="13470" CreationDate="2015-01-05T17:34:27.483" Score="0" Body="&lt;p&gt;At 200px by 200px, you are looking at extreme levels of limitation.  You may want to consider something like a gif at that point unless you also need audio.  Just audio alone for 8 seconds completely blows your 50KB bandwidth budget.  50KB is a mind numbingly small amount of data.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;At 8kbps, no raster video format will be usable, even at 10fps and 200 by 200 pixels with 256 color.  You might be able to use a swf animation to fit within that limitation, but even it would have to be stupidly highly optimized to fit within your limitation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are you sure you are reading the PDF correctly?  What you are talking about is virtually impossible.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2015-01-05T17:43:56.300" LastActivityDate="2015-01-05T17:43:56.300" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="13474" PostTypeId="2" ParentId="13470" CreationDate="2015-01-05T18:47:12.790" Score="1" Body="&lt;p&gt;After reviewing the PDF, I can confirm that you are misreading it.  They are looking for a flash animation, not a video.  You will not be able to use your After Effects assets at all.  You need to remake the ad as a flash animation in Adobe Flash using vector graphics in order to fit within their 50KB limitation.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-05T18:47:12.790" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13475" PostTypeId="1" CreationDate="2015-01-05T20:37:02.637" Score="1" ViewCount="57" Body="&lt;p&gt;Are there any video encoders that can monitor multiple video frames and display whichever frame is the most active?  I would use this during a live streaming event and it would be great to automate the process.&lt;/p&gt;&#xA;" OwnerUserId="5788" LastActivityDate="2015-01-06T19:50:44.897" Title="Video encoders that display frame with most movement" Tags="|video|video-editor|multi-camera|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13476" PostTypeId="2" ParentId="13475" CreationDate="2015-01-05T22:44:42.203" Score="1" Body="&lt;p&gt;I assume you have multiple inputs and want some kind of automatic editing that will switch which feed is live based on what has activity at the time.  Unfortunately, pure changes in pixel values aren't really a super ideal way to tell what is interesting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are systems which handle automatic selection of the speaker such as Microsoft's RoundTable system which is able to recognize who is speaking based on position of the audio source and this kind of triggering is pretty common for source selection in things like WebEx and other meeting platforms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might be able to find something along the lines of what you are looking for in security software as well as security systems would want to display the most active frame.  In general, it probably isn't something you will find in most streaming systems though.  It would require a relatively high level of development to do well and the nicer streaming systems are going to be more about allowing an editor to directly control things as any high end stream is going to have a dedicated editor manning the console.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-05T22:44:42.203" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13477" PostTypeId="2" ParentId="13269" CreationDate="2015-01-06T01:49:29.050" Score="2" Body="&lt;p&gt;It's easy to do this with FFmpeg which is run from the command line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Method 1&lt;/strong&gt; – this will size the video appropriately and encode the result in H.264 MP4 format:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i inputfile.mpg -vcodec h264 -s 720x576 -aspect 5:4 outputfile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Method 2&lt;/strong&gt; – this will set a hint in the file as to the size it should be displayed at (with no recompressing or quality loss). VLC should respect this although not all players/editors will:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i inputfile.mpg -vcodec copy -aspect 5:4 -acodec copy outputfile.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Method 3&lt;/strong&gt; – if you detect a decrease in the quality of the MPEG you can compress it at a high-bitrate MPEG-2:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i inputfile.mpg -vcodec mpeg2video -aspect 5:4 -acodec pcm_s16le -b 30000k outputfile.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="8075" LastEditorUserId="6009" LastEditDate="2019-09-13T17:50:09.880" LastActivityDate="2019-09-13T17:50:09.880" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="13478" PostTypeId="2" ParentId="13440" CreationDate="2015-01-06T02:15:10.280" Score="1" Body="&lt;p&gt;You can use the Free FFmpeg Mux/Demux...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Type onto ffmpeg/bin the following&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg.exe -i artwork.jpg -vcodec h264 -s 720x1280 -aspect 16:9 -ss 0 -t 10 -b 3072k outputvideo.mp4&lt;/p&gt;&#xA;" OwnerUserId="8075" LastEditorUserId="2836" LastEditDate="2015-01-06T14:38:32.493" LastActivityDate="2015-01-06T14:38:32.493" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13479" PostTypeId="1" CreationDate="2015-01-06T06:23:26.520" Score="3" ViewCount="1822" Body="&lt;p&gt;I'd like to convert a series of PNGs (in this case 180 in total) into an AVI movie using Avidemux. I've tried opening the first of these numbered PNGs (starting at 1I090001.png ending at 1I090180.png) in Avidemux and then clicking &lt;code&gt;File→Save&lt;/code&gt; and typing the AVIs name with the .avi extension at the end, but this created an unreadable avi (VLC gave an &quot;No suitable decoder modulate&quot; error). &lt;/p&gt;&#xA;" OwnerUserId="8078" LastEditorUserId="8078" LastEditDate="2015-01-06T09:46:18.217" LastActivityDate="2015-05-12T06:35:15.727" Title="How do I convert a series of PNGs into an AVI using Avidemux?" Tags="|conversion|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13480" PostTypeId="2" ParentId="13452" CreationDate="2015-01-06T08:23:39.447" Score="4" Body="&lt;p&gt;Since you've not accepted the other two answers (which I thought were very good) because they focus on motion blur and parallax/ perspective, I'm guessing that the &quot;wobble&quot; you're talking about due to the rolling shutter effect that CMOS sensors introduce to footage.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In a nutshell, CMOS sensors scan an each frame of an exposure very quickly from top to bottom.  While the entire exposure occurs within the 1/60th of a second it takes to capture a 30fps 180° shutter image, for example, the capture is not instantaneous.  This causes the image to skew temporally, an effect which is most visibly noticeable when the camera pans quickly or shakes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best way to avoid this problem is to use a camera with &quot;global shutter&quot;.  CCD sensors in old camcorders did not suffer from rolling shutter, but because CMOS outpaced the development of CCD and because not many people noticed rolling shutter, global shutter cameras are now a niche market.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Congratulations.  You fall squarely within this niche.  But consider yourself in good company.  One of the primary markets for global shutter cameras is the VFX industry.  This is because rolling shutter is A) particularly problematic in matchmoving software like Boujou and B) particularly noticeable after software stabilization.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The trouble with rolling shutter, is that it doesn't actually cause a perspective shift, although it may appear to.  For example, point your cell phone camera out the driver's side window of a moving car and snap a picture (while someone else is driving, obviously).  The image will slant in one direction.  Now snap a picture out the passenger window.  The image will slant in the opposite direction.  So while you could easily correct this &quot;slant&quot; in Photoshop with edit-&gt;transform-&gt;skew or edit-transform-&gt;perspective, there's no way for software to perform the correction automatically, because it doesn't know which window you were shooting from.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/tTOQb.jpg&quot; alt=&quot;car window cmos&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another example: Take a picture of a spinning propeller, and the blades will appear to curve, not slant.  Rolling shutter distorts images in ways that post software can't compensate because the variables include camera motion, scene motion, and direction of scan.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/UDPpW.jpg&quot; alt=&quot;spinning prop cmos&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realize this information doesn't help fix footage you've already shot, but hopefully it will help point you in the right direction.  I'm not too familiar with many software packages to fix this problem.  After Effects has a &quot;rolling shutter&quot; plugin which may be sufficient for your needs.  Perhaps someone can recommend some others.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2015-01-06T16:16:25.570" LastActivityDate="2015-01-06T16:16:25.570" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="13482" PostTypeId="2" ParentId="13450" CreationDate="2015-01-06T09:57:39.443" Score="1" Body="&lt;p&gt;Audacity has a compressor effect, however I found the &quot;Compress dynamics&quot; VST plugin generating better results, see more &lt;a href=&quot;http://audacity.sourceforge.net/download/plugins&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;. If you want better control over the compression parameters you should try &lt;a href=&quot;http://sox.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;SoX&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another approach is to try the Vocal Remover VST plugin for Audacity (it is in the same package as Compress dynamics), and if it succeeds in &lt;strong&gt;removing the vocals&lt;/strong&gt; then you can run the result through an inverter (in the VST pack too) and apply it to the original track.&lt;/p&gt;&#xA;" OwnerUserId="8079" LastActivityDate="2015-01-06T09:57:39.443" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13483" PostTypeId="1" AcceptedAnswerId="13494" CreationDate="2015-01-06T11:10:52.117" Score="3" ViewCount="2291" Body="&lt;p&gt;I want to feed a custom made NoOp node with a floating point slider with the maximum value of an animation curve from another node. What would be the right expression to do this?&lt;/p&gt;&#xA;" OwnerUserId="8064" LastActivityDate="2015-01-06T20:42:29.907" Title="I'm looking to make a Nuke expression: I want the maximum value of an animation curve of another node" Tags="|nuke|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13484" PostTypeId="1" AcceptedAnswerId="14521" CreationDate="2015-01-06T11:47:44.040" Score="3" ViewCount="2665" Body="&lt;p&gt;I want to move an object parallel to another object in Nuke. I managed to get the object to move to the same position as the other one. (Copy link paste absolute.) But I wasn't able to figure out how to move it relative to the other object. Copy link and paste relative did not work.&lt;/p&gt;&#xA;" OwnerUserId="8064" LastEditorUserId="8064" LastEditDate="2015-01-09T13:02:58.567" LastActivityDate="2015-01-09T15:59:29.430" Title="Is there a way to parent an objects position to another objects position in Nuke, so they move parallel to each other?" Tags="|nuke|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13486" PostTypeId="1" AcceptedAnswerId="14517" CreationDate="2015-01-06T13:11:48.450" Score="3" ViewCount="815" Body="&lt;p&gt;I have a Video of a face that I filmed with soft lighting and almost no shadows. The camera is a static portrait shot. Now I want a spot light to move slowly around the head. Is something like this possible in NUKE or After Effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/KqVPv.jpg&quot; alt=&quot;illustration&quot;&gt;&#xA;Note: Only the light should be done in post. The head should be real footage filmed by a static camera.&lt;/p&gt;&#xA;" OwnerUserId="8064" LastEditorUserId="8064" LastEditDate="2015-01-06T19:07:13.147" LastActivityDate="2016-02-01T22:40:22.887" Title="Is it possible to relight filmed footage with NUKE or After Effects?" Tags="|after-effects|nuke|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="13487" PostTypeId="1" AcceptedAnswerId="15955" CreationDate="2015-01-06T14:06:45.267" Score="1" ViewCount="672" Body="&lt;p&gt;I recorded my screen in VLC, and I saved that file as an .mp4 on my desktop. I can open and play the recording just fine, but I can't seem to import it properly into Premiere. Have you ever seen this error before?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/o5YzH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="8081" LastActivityDate="2015-07-11T01:12:00.547" Title="How do I get screen captures from VLC to import properly into Premiere?" Tags="|premiere|screen-casting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13488" PostTypeId="2" ParentId="13486" CreationDate="2015-01-06T15:09:43.173" Score="2" Body="&lt;p&gt;Yes, it is possible in either, but the difficulty level is going to depend on how complete of an illusion you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The easiest effect is to simply setup a soft circle as an adjustment mask and apply an exposure increase to it.  This will result in looking like there is extra light on the masked area of the shot.  The problem is that it won't produce shadows or respect facial geometry, so it would look a bit more like shining a light on a painting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can compensate for this by roughly modeling the facial geometry and applying an actual light source in 3d in order to generate the brightening, but this would require modeling the face and matching the movements to those in the scene.  Both Nuke and After Effects support calculating camera movements, but it is a complex thing to do, as is the modeling of the face and the animation of the face to fit the scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't have weeks to dedicate to the task, it probably isn't worth bothering to try the more accurate version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is one of those things that is far, far more practical to handle in camera than it is in post.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-06T15:09:43.173" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13489" PostTypeId="1" AcceptedAnswerId="14567" CreationDate="2015-01-06T17:38:14.143" Score="18" ViewCount="65476" Body="&lt;p&gt;Say I add a bunch of Audio/Video clips to a sequence, then delete all the audio (Alt-select it and delete); I work on it for some time, close Premiere, re-open.. etc.,&lt;br/&gt;&#xA;&lt;strong&gt;Is there any way to restore the audio to any of the clips that were deleted?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I can technically go through each clip, check its timeframe in the clip inspector (i.e. start-time, end-time), open the original clip, reselect that timeframe exactly, and then drag that over the original clip, but with over 30 clips, this is obviously very time consuming. Does anyone know if there's a built-in way in Premiere that allows you to restore the audio to the tracks again?&lt;/p&gt;&#xA;" OwnerUserId="8083" LastActivityDate="2018-07-18T04:02:20.977" Title="Adobe Premiere - Restore Audio to A/V Clip After Deleting" Tags="|premiere|audio|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13490" PostTypeId="2" ParentId="12337" CreationDate="2015-01-06T18:55:04.507" Score="0" Body="&lt;p&gt;You can run the encoding through &lt;code&gt;ffmpeg&lt;/code&gt; with &lt;code&gt;-crf 0&lt;/code&gt;, for Shotcut see instructions in the faq under &lt;a href=&quot;http://www.shotcut.org/bin/view/Shotcut/FrequentlyAskedQuestions#Where_are_the_log_presets_databa&quot; rel=&quot;nofollow&quot;&gt;Where are the log presets, database, and settings stored &lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="8079" LastActivityDate="2015-01-06T18:55:04.507" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13492" PostTypeId="2" ParentId="13475" CreationDate="2015-01-06T19:50:44.897" Score="2" Body="&lt;p&gt;This feature is called &quot;motion detection&quot; in the video surveillance jargon and can be found on most IP cameras and &lt;a href=&quot;http://en.wikipedia.org/wiki/Network_Video_Recorder&quot; rel=&quot;nofollow&quot;&gt;NVRs&lt;/a&gt;. There is a large variety of solutions out there depending on the level of accuracy that you need, the ability to divide the monitored perimeter into zones, whether the analytics run off a live or recorded feed, the OS that you use, and more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you look for something free and simple that just feeds you with XMLs then you might check &lt;a href=&quot;https://github.com/johmathe/Shotdetect&quot; rel=&quot;nofollow&quot;&gt;Shotdetect&lt;/a&gt;. If you look for more of a &quot;solution&quot; then check &lt;a href=&quot;http://www.lavrsen.dk/foswiki/bin/view/Motion/MotionGuide&quot; rel=&quot;nofollow&quot;&gt;motion&lt;/a&gt;, note that it is unix-specific.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also possible to use &lt;code&gt;ffmpeg&lt;/code&gt; to extract thumbnails from your feed and run SNR comparisons on the fly, if you extract only I-Frames then the overhead is minimal. You are bound though to a detection rate that depends on your keyframe rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try to provide some more detail regarding your operating system and overall use case for a more specific answer.&lt;/p&gt;&#xA;" OwnerUserId="8079" LastActivityDate="2015-01-06T19:50:44.897" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="13494" PostTypeId="2" ParentId="13483" CreationDate="2015-01-06T20:42:29.907" Score="3" Body="&lt;p&gt;There's not a built in method for that, but this Python expression will return the highest keyframe in an animation curve:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;max((key.y for key in nuke.toNode('Blur1')['size'].animation(0).keys()))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;Blur1&lt;/code&gt; is the node and &lt;code&gt;size&lt;/code&gt; is the knob.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Paste this into your expression editor, being sure to select the &lt;strong&gt;Py&lt;/strong&gt; toggle.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;This won't interpolate or extrapolate keys. It only iterates over every keyframe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No guarantees on the speed of this either. It might bog down the node if you have a keyframe on every frame or something.&lt;/p&gt;&#xA;" OwnerUserId="6391" LastActivityDate="2015-01-06T20:42:29.907" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14490" PostTypeId="1" AcceptedAnswerId="14491" CreationDate="2015-01-07T11:27:44.490" Score="0" ViewCount="76" Body="&lt;p&gt;Are there any (consumer) cameras, capable of shooting ~1000 frames per second? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Googling for high speed cameras I found that &lt;code&gt;GoPro&lt;/code&gt; is able to take 120 frames per second and some of &lt;code&gt;Photron&lt;/code&gt; or &lt;code&gt;Rapatronic&lt;/code&gt; cameras, capable to shot millions of frames per second and costing millions of dollars.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are the intermediate cameras?&lt;/p&gt;&#xA;" OwnerUserId="2122" LastEditorUserId="4426" LastEditDate="2015-01-07T14:18:21.070" LastActivityDate="2015-01-07T14:18:21.070" Title="Thousands of frames per second?" Tags="|camera|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14491" PostTypeId="2" ParentId="14490" CreationDate="2015-01-07T14:17:33.520" Score="3" Body="&lt;p&gt;The Casio EX-F1 can shoot upto 1200fps, but the resolution reduces as the frame rate gets higher.  They go on eBay for about £600.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.casio.com/products/archive/Digital_Cameras/High-Speed/EX-F1/&quot; rel=&quot;nofollow&quot;&gt;http://www.casio.com/products/archive/Digital_Cameras/High-Speed/EX-F1/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or the Casio Exilim FH20, for about £300 on Amazon, was used to make this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/m1xSa7gcYmU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More info on how it was made here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://straylight.co.uk/?p=120&quot; rel=&quot;nofollow&quot;&gt;http://straylight.co.uk/?p=120&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-01-07T14:17:33.520" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14493" PostTypeId="2" ParentId="13386" CreationDate="2015-01-07T17:57:53.333" Score="2" Body="&lt;p&gt;Most light walls in AE are made using a matrix of sorts, rather than individually creating many light layers.  Trapcode Form would allow you to create a 2D array of individual glowing particles, which can then be &quot;driven&quot; by another layer, to adjust the brightness of each individual particle.  A lamp image could be used for the particles, and additional glow effects can then be overlaid to make the effect more convincing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a page here listing lots of different ways of achieving the same effect:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://provideocoalition.com/ryoung/story/led_and_casino_text_effects_in_after_effects/&quot; rel=&quot;nofollow&quot;&gt;http://provideocoalition.com/ryoung/story/led_and_casino_text_effects_in_after_effects/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-01-07T17:57:53.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14494" PostTypeId="1" CreationDate="2015-01-07T05:08:11.440" Score="1" ViewCount="208" Body="&lt;p&gt;Is it considered bad practice to change the aperture while shooting a video clip?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best practice for shooting two different lighting conditions in the same shot? For example, when panning 180 degrees during sunset? Or is this simply to be avoided?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any relevant newbie resources would be much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="11035" OwnerDisplayName="bevanb" LastActivityDate="2015-01-07T19:37:38.260" Title="Changing aperture within a single video clip" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14496" PostTypeId="2" ParentId="14494" CreationDate="2015-01-07T19:37:38.260" Score="1" Body="&lt;p&gt;In video terms, aperture is often called iris as well and particularly in live video, it is fairly common to adjust the aperture to adjust light sensitivity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For both live and post produced video, it is also relatively common to use lenses with smoother apertures.  Most photo lenses have apertures that click in to set values, but video lenses will sometimes have aperture rings that will move smoothly through the aperture range to allow for very smooth transitions in aperture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Aperture is the preferred means of adjusting sensitivity to light if needed as changes in shutter speed have a more pronounced impact and until recently, smooth changes in ISO were not easily possible in most cases.  (Certainly not smooth as a smooth aperture ring.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adjusting aperture live with a click-in aperture is probably non-ideal, but if you have a smooth one, it should be fine and in a pinch you can still do click-in adjustment, it will just be rather obvious when it changes, but that's still better than whited out or blacked out video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-07T19:37:38.260" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14498" PostTypeId="1" AcceptedAnswerId="14499" CreationDate="2015-01-07T20:55:29.403" Score="1" ViewCount="205" Body="&lt;p&gt;In Nikox Coolpix compact camera there are two video modes for 1080/25p so they have the same number of pixels, aspect ratio and number of frames per seconds. The only difference is bitrate 15.7Mbps and 10.4Mbps. So what is the difference between that, what additional information is stored using 15.7Mbps?&lt;/p&gt;&#xA;" OwnerUserId="9085" LastActivityDate="2015-12-07T05:59:15.433" Title="1080/25p bitrate 15.7Mbps vs 10.4Mbps" Tags="|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14499" PostTypeId="2" ParentId="14498" CreationDate="2015-01-07T21:19:30.123" Score="3" Body="&lt;p&gt;The higher bitrate will store more detail in your video.  Most video cameras use file compression to throw away parts of the image that they think the viewer won't notice, in order to reduce the size of the file.  Even though both files would contain the same number of pixels, areas of low detail would be compressed more in the lower bit rate image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lossy compression of files is a trade-off between image quality and file size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wikipedia has a good example of what happens - the two files below are the same resolution, but one is much more heavily compressed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Compression_artifact&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://en.wikipedia.org/wiki/Compression_artifact&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/OYK8q.png&quot; alt=&quot;image compression artifacts&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-01-07T21:19:30.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14500" PostTypeId="1" CreationDate="2015-01-07T22:07:05.020" Score="3" ViewCount="1924" Body="&lt;p&gt;I have a Nikon s3300 and wish to take video at a concert however no matter what card I put in the available time says 8min and 11 seconds. Am I doing something wrong or is there a way to fix this. &lt;/p&gt;&#xA;" OwnerUserId="9086" LastEditorUserId="2836" LastEditDate="2015-01-08T15:16:48.547" LastActivityDate="2019-09-04T23:16:56.310" Title="Why does my still camera stop recording video on its own?" Tags="|video|video-recording|nikon|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14501" PostTypeId="2" ParentId="14500" CreationDate="2015-01-07T23:03:53.400" Score="0" Body="&lt;p&gt;Some cameras had an arbitrary recording time limit in order to avoid being classified as video cameras for tax purposes.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-01-07T23:03:53.400" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14502" PostTypeId="1" CreationDate="2015-01-07T23:37:10.890" Score="10" ViewCount="10182" Body="&lt;p&gt;I am receiving a stream over the network with the following ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i rtmp://server:port/input.stream -f flv rtmp://server2:port/output.stream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When the input stream stalls, I want to display a still image. When the input stream continues, I want to continue showing the input stream. I have tried this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i Error.png -i rtmp://server:port/input.stream -filter_complex &quot;[0:v][1:v] overlay=0:0&quot; -f flv rtmp://server2:port/output.stream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That works, except when the input video stream stalls, it keeps showing the last frame received from the stream. I want it to show the .png file  (i.e. the video input becomes transparent).&lt;/p&gt;&#xA;" OwnerUserId="9088" LastEditorUserId="2178" LastEditDate="2015-01-14T09:45:28.427" LastActivityDate="2019-12-20T20:34:10.083" Title="How to display static image if the input stream ends using ffmpeg?" Tags="|ffmpeg|streaming|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14503" PostTypeId="1" CreationDate="2015-01-08T04:01:49.703" Score="1" ViewCount="648" Body="&lt;p&gt;My goal is to optimize m2ts generated by ffmpeg for HLS because the generated m2ts has lots of structural overhead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The below is an example of the result analyzed by Apple Media Stream Validator:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Average segment duration: 4.95 seconds&#xA;Playlist target bitrate: 112.00kbits/sec &#xA;Segment bitrate: Average: 149.65 kbits/sec (exceeds target by 33.62 %), Max: 179.40 kbits/sec (exceeds target by 60.18 %) &#xA;Average segment structural overhead: 33.52 kbits/sec (22.40 %)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The m2ts is generated through the following ffmpeg command (for generating HLS):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i audio_p0.mp4 -i video_p0.mp4 -dn -sn -threads 0 -map 0:0 -map 1:0 -f ssegment -segment_time 5 -segment_list movie.m3u8 -segment_list_entry_prefix p0 -segment_format mpegts -c:v copy -c:a copy -vbsf h264_mp4toannexb -flags -global_header p0/stream_%04d.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The output of the above command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2.5.2 Copyright (c) 2000-2014 the FFmpeg developers&#xA;  built on Jan  7 2015 09:58:46 with Apple LLVM version 6.0 (clang-600.0.56) (based on LLVM 3.5svn)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/2.5.2 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-libx264 --enable-libfaac --enable-libmp3lame --enable-libxvid --enable-libfreetype --enable-libvpx --enable-libvo-aacenc --enable-libfdk-aac --enable-libx265 --enable-nonfree --enable-vda&#xA;  libavutil      54. 15.100 / 54. 15.100&#xA;  libavcodec     56. 13.100 / 56. 13.100&#xA;  libavformat    56. 15.102 / 56. 15.102&#xA;  libavdevice    56.  3.100 / 56.  3.100&#xA;  libavfilter     5.  2.103 /  5.  2.103&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'audio_p0.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2mp41&#xA;    encoder         : Lavf56.15.102&#xA;  Duration: 00:00:43.76, start: 0.046440, bitrate: 33 kb/s&#xA;    Stream #0:0(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 32 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;Input #1, mov,mp4,m4a,3gp,3g2,mj2, from 'video_p0.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf56.15.102&#xA;  Duration: 00:00:43.63, start: 0.000000, bitrate: 80 kb/s&#xA;    Stream #1:0(und): Video: h264 (Constrained Baseline) (avc1 / 0x31637661), yuv420p, 426x240 [SAR 640:639 DAR 16:9], 79 kb/s, 24 fps, 24 tbr, 12288 tbn, 48 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;Output #0, stream_segment,ssegment, to 'p0/stream_%04d.ts':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2mp41&#xA;    encoder         : Lavf56.15.102&#xA;    Stream #0:0(und): Audio: aac (mp4a / 0x6134706D), 44100 Hz, stereo, 32 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;    Stream #0:1(und): Video: h264 (avc1 / 0x31637661), yuv420p, 426x240 [SAR 640:639 DAR 16:9], q=2-31, 79 kb/s, 24 fps, 90k tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #1:0 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame= 1047 fps=0.0 q=-1.0 Lsize=N/A time=00:00:43.76 bitrate=N/A&#xA;video:427kB audio:172kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5880" LastEditorUserId="5880" LastEditDate="2015-01-11T09:57:40.677" LastActivityDate="2015-01-11T09:57:40.677" Title="Any m2ts optimizer under Linux?" Tags="|ffmpeg|linux|mpeg|" AnswerCount="0" CommentCount="3" ClosedDate="2015-02-15T22:09:45.847" ContentLicense="CC BY-SA 3.0" />
  <row Id="14507" PostTypeId="1" CreationDate="2015-01-08T11:00:06.557" Score="0" ViewCount="1642" Body="&lt;p&gt;When rendering my video in Adobe Media Encoder using either h.264 and mpeg-2 I get random flickering appearing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have rendered directly out of After Effects using a lossless codec. The video is fine, however the file size is obviously way too large.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The source DNG raw files are fine - they have no flicker whatsoever.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any advice for me so I can deliver a flicker free video to the client without a massive file size?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Andy&lt;/p&gt;&#xA;" OwnerUserId="9093" LastActivityDate="2015-01-12T16:36:13.220" Title="Adobe Media Encoder Flicker Issue" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14508" PostTypeId="1" CreationDate="2015-01-08T11:25:22.610" Score="2" ViewCount="8850" Body="&lt;p&gt;I currently have a problem with a video I'm editing, when I render it with Sony Vegas 13 (with the Sony AVC/MVC 1080p-30fps &quot;Internet&quot; preset), the resulting video is much darker than the preview (on the same screen), whatever player I use (VLC, Youtube, Windows Media Player).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is really annoying because I now have to export small chunks of the video to check the resulting luminosity without being able to preview it properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I already did dozens of video with the exact same process (same camera, same lighting setup...), except I was using version 12, and I currently can't try to revert back to previous version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea of what's happening ?&#xA;Any suggestion of what I can do to have a preview that matches the rendered video ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Some context :&lt;/strong&gt;&lt;br&gt;&#xA;The video is a man wearing black standing in front of a green screen. The green screen is keyed to a complete black screen.&#xA;In order to be able to see the man's body, I adjust the luminosity and contrast so that the clothes are slightly brighter than the background.&#xA;After rendering, everything is darker so the clothes are of the same color as the background and you just see a face with hands floating...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE&lt;/strong&gt;&lt;br&gt;&#xA;User altarvic suggested that I check the histograms of both videos and to do that I imported back the rendered video in Vegas. And there, the luminosity is correct in preview (the image is exactly what the preview displayed).&lt;br&gt;&#xA;So it seems that the luminosity is wrong on players (at least the ones I tried), but not in Vegas.&lt;br&gt;&#xA;Could it be a codec issue ? (Vegas using it's own, player using the machine's).&lt;br&gt;&#xA;Or the Vegas preview is not displaying properly the video (I checked I have no output effects applied).&lt;/p&gt;&#xA;" OwnerUserId="28" LastEditorUserId="28" LastEditDate="2015-01-08T19:40:37.927" LastActivityDate="2020-05-27T19:56:56.740" Title="Different luminosity between preview and render on Sony Vegas 13" Tags="|vegas-pro|" AnswerCount="2" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="14509" PostTypeId="1" CreationDate="2015-01-08T11:44:44.303" Score="3" ViewCount="4861" Body="&lt;p&gt;After a few videos, I think that now I manage pretty well chroma key on a green screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But in my last video, my subject handles items that are light blue / cyan, and I started to notice that those items shift color and become an unnatural blue, it looks like contrast has been pushed A LOT after applying the chroma key effect, I never noticed that before (probably because this color is quite greenish).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But this is not how I thought chroma key was working. I thought it was just removing the parts of the video that was matching the selected color (+some margin) and not touch the other parts/colors of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And indeed, testing it with several other tools (Adobe After Effects, Lightworks, and the NewBlueFX chroma key plugin), it does exactly what I expect : remove the background and doesn't touch the colors that doesn't match. Only the default chroma key plugin seem to do that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it a bug in the chroma key plugin (that seem to exist at least on version 12 and 13) ? (but it would be surprising as I guess a lot of people would be affected)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it a bug with my installation ? (keeping in mind that uninstalling Vegas 12 and installing Vegas 13 didn't fix it)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it some parameter or something I forgot somewhere that would affect the chroma key plugin ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update :&lt;/strong&gt;&#xA;Here is small parts of the video, with different effects applied :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The raw image&lt;/li&gt;&#xA;&lt;li&gt;The best I can do with the NewBlueFX Chroma Key plugin&lt;/li&gt;&#xA;&lt;li&gt;The best I can do with the default Vegas Chroma Key plugin (pretty ugly...)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/j0buR.jpg&quot; alt=&quot;Chroma Key demo&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Vegas Settings :&lt;br&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/NYKkO.png&quot; alt=&quot;Vegas settings&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;NewBlue Settings :&lt;br&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/S8oG2.png&quot; alt=&quot;NewBlue settings&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="28" LastEditorUserId="28" LastEditDate="2015-01-08T19:19:10.460" LastActivityDate="2020-10-03T11:01:26.717" Title="Sony Vegas default chroma key seem to shift blue colors" Tags="|vegas-pro|chromakey|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14510" PostTypeId="1" CreationDate="2015-01-08T14:10:45.010" Score="2" ViewCount="2965" Body="&lt;p&gt;I have a set of timed transcripts in a spreadsheet in the following form:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Timecode mm:ss:ff  |   Line of dialogue&#xA;01:02:25           |   This is some dialogue&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I would like to import them into &lt;a href=&quot;http://aegisub.org&quot; rel=&quot;nofollow&quot;&gt;Aegisub&lt;/a&gt;, running on Mac OSX.&#xA;Is there an easy way to do this?&#xA;Note that I do not have start &amp;amp; stop times for subtitles, only start times.&#xA;Ideally I would make each line of subtitles remain on screen until the next one was due to take over, then manually adjust them in Aegisub afterwards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that Aegisub can &lt;a href=&quot;http://docs.aegisub.org/manual/Editing_Subtitles&quot; rel=&quot;nofollow&quot;&gt;import plain text scripts&lt;/a&gt;, but this doesn't appear to include importing timecodes for some strange reason?  Am I missing something?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-01-09T07:18:40.300" Title="Import subtitles from spreadsheet into Aegisub?" Tags="|subtitles|.srt|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14511" PostTypeId="2" ParentId="14509" CreationDate="2015-01-08T14:36:39.240" Score="2" Body="&lt;p&gt;This might be an issue with the Vegas chroma key program removing green from all objects and making it transparent rather than finding only solid green and modifying that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Someone may know how to fix this in Vegas, but if all else fails you can run your keyed footage through a program like Davinci Resolve Lite (free) and correct the colors.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-01-08T14:36:39.240" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14513" PostTypeId="2" ParentId="14500" CreationDate="2015-01-08T15:16:10.527" Score="5" Body="&lt;p&gt;There are three main reasons that still cameras with video functionality have restrictions on the length of video they will shoot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first and most common, as tomh pointed out is tax purposes.  The European Union charges a 5% tax on any video recording device and sets the limit at any device capable of recording 30 minutes or more of video.  To avoid this 5% additional fee in the EU, the camera manufacturers limit recording length to 29 minutes and 59 seconds.  Most manufacturers don't bother making a non-EU model, so the rest of the world gets hit with the same limitation.  This reason, however, only applies to cameras with a 29 minute 59 second limit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second most common reason is that of file size.  The Fat32 system used by many cameras for the memory card (due to its simplicity and lack of patent encumbrance at this point) is limited to 4GB per single file.  While many cameras are capable of splitting across multiple files, it does involve a few challenges that not all camera manufacturers bother to deal with.  When they don't, it means that the video recording must end when the 4GB file size limit is reached.  This results in a fixed length limit for each quality level, but it will differ based on quality level, with lower video qualities being able to record longer.  You can easily verify if this is the reason by checking the file size of the videos.  Some cameras have third party firmwares and hacks to bypass this limitation, however I'm not aware of any for the Nikon S3300 specifically.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final reason, which used to be the most common, but is substantially less common with modern cameras, is that of heat.  When CMOS imaging sensors (found in most all modern still cameras) are used, they produce heat.  If the heat can not dissipate fast enough, it eventually results in the sensor overheating, which causes additional noise and eventually sensor damage.  To protect against this, one of two methods can be used.  The oldest is to simply put an arbitrary length limit on recordings that is considered a safe amount of time for the sensor to operate.  Many later systems monitor the temperature of the sensor and only shut down recording when they detect that the sensor is becoming too warm.  It is hard to tell for certain if this is the reason for the recording to be stopping, but in the later case, the time when the recording stops will not be exactly the same between instances, particular when light levels and ambient temperature differ significantly.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-08T15:16:10.527" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="14516" PostTypeId="2" ParentId="14509" CreationDate="2015-01-08T15:54:44.820" Score="1" Body="&lt;p&gt;I would guess that it is trying to correct for green highlights in the chromakeyed video and overdoing it.  It's relatively common for green screen footage to have greenish reflections due to light bouncing off the green wall back on to subjects.  The chroma-key effect may be attempting to automatically correct this and catching objects that have no such reflections in the crossfire.  I would expect it to be a setting that can be turned on and off, but I'm not familiar enough with Vegas to take a guess as to what it might be called there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Possibly something like &quot;bleed prevention&quot; or &quot;reflection correction&quot;, but those are just guesses.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-08T15:54:44.820" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14517" PostTypeId="2" ParentId="13486" CreationDate="2015-01-08T16:34:26.177" Score="3" Body="&lt;p&gt;I suggest build a real lighting rig and maybe stabilizing her neck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you decide to do it afterwards you have to:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Modeling the head and her hair (scan it if this is possible)&lt;/li&gt;&#xA;&lt;li&gt;Tracking the shots with blender or pftrack&lt;/li&gt;&#xA;&lt;li&gt;Replacing the head in your favourite package&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;There are some obstacles: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;To get realistic shadows and highlights you probably need a better rendering engine for nuke &lt;/li&gt;&#xA;&lt;li&gt;Detailed modeling is necessary to get the shadow right (espacially for the nose and the hair)&lt;/li&gt;&#xA;&lt;li&gt;Modeling her hair can be a very difficult task&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2016-02-01T22:40:22.887" LastActivityDate="2016-02-01T22:40:22.887" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14518" PostTypeId="2" ParentId="14510" CreationDate="2015-01-09T07:18:40.300" Score="1" Body="&lt;p&gt;I Couldn't find a way to import into Aegisub, but If the subtitles are in a standard spreadsheet such as Excel, I saved as other format and chose Tab delimited text. Copy all the data in this text file and paste into Subtitle Edit. Then adjust limits on times (Will not overlap the next start time). Then save in whatever format you'd like to use in Aegisub.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suggest you to use Subtitle Edit because of it's VERY simple sync feature with the video as well as these other abilities. At least it works and you can use Aegisub for your more familiar uses.&lt;/p&gt;&#xA;" OwnerUserId="9096" LastActivityDate="2015-01-09T07:18:40.300" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14519" PostTypeId="1" CreationDate="2015-01-09T10:42:07.300" Score="7" ViewCount="8878" Body="&lt;p&gt;I want to extend basic usage of watermark and put it under the video.&#xA;That means. I have input video 720x480 and image 720x20.&#xA;On output i want to have video 720x500 where video aspect is preserved and positioned to top and image is added to bottom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;input video&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;|--------------------------|&#xA;|                          |&#xA;|                          |&#xA;|                          |&#xA;|          720*480         |&#xA;|                          |&#xA;|                          |&#xA;|                          |&#xA;|--------------------------|&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;input image&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;|--------------------------|&#xA;|          720x20          |&#xA;|--------------------------|&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;output video&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;|--------------------------|&#xA;|                          |&#xA;|                          |&#xA;|                          |&#xA;|          720*480         |&#xA;|                          |&#xA;|                          |&#xA;|                          |&#xA;|--------------------------|&#xA;|          720x20          |&#xA;|--------------------------|&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="9097" LastEditorUserId="9097" LastEditDate="2015-01-09T16:03:43.247" LastActivityDate="2020-05-06T01:11:54.317" Title="Add image under the video with ffmepg" Tags="|ffmpeg|encoding|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14520" PostTypeId="1" CreationDate="2015-01-09T11:26:59.807" Score="3" ViewCount="652" Body="&lt;p&gt;I would like to stream a HTTP stream from VLC direct to Adobe Media Server 5, however I am unsure of the URL I should stream to. How can I determine the URL of the publishing point?&lt;/p&gt;&#xA;" OwnerUserId="9098" LastEditorUserId="2836" LastEditDate="2015-01-09T15:53:16.230" LastActivityDate="2015-07-08T18:51:30.133" Title="How can I determine the publishing point for streaming an HTTP stream to Adobe Media Server 5?" Tags="|streaming|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14521" PostTypeId="2" ParentId="13484" CreationDate="2015-01-09T15:31:26.590" Score="3" Body="&lt;p&gt;You can simply edit the expression values:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;create a new &lt;code&gt;Transform Node&lt;/code&gt; by hitting &lt;kbd&gt;T&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;drag and drop&lt;/code&gt; the translation values by holding &lt;kbd&gt;CTRL&lt;/kbd&gt; from &lt;strong&gt;original transform node to the new one&lt;/strong&gt; (this should create a green line between that nodes)&lt;/li&gt;&#xA;&lt;li&gt;right click the &lt;code&gt;translation curve icon&lt;/code&gt; of the new transform node to open up the &lt;code&gt;Edit Expressions&lt;/code&gt; Window &lt;/li&gt;&#xA;&lt;li&gt;in this window you can do some &lt;strong&gt;math with the existing y or x values&lt;/strong&gt; to move the the child node&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/elnPP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-01-09T15:59:29.430" LastActivityDate="2015-01-09T15:59:29.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14522" PostTypeId="2" ParentId="14520" CreationDate="2015-01-09T16:02:00.063" Score="1" Body="&lt;p&gt;From the &lt;a href=&quot;http://help.adobe.com/en_US/adobemediaserver/devguide/WSd391de4d9c7bd609-52e437a812a3725dfa0-8000.2.3.html&quot; rel=&quot;nofollow&quot;&gt;documentation&lt;/a&gt;, it appears that you need to use an rtmp capable encoder to send the stream to Adobe Media Server and that Adobe Media Server then shares it out as an HTTP stream based on the configuration of the publishing point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It appears that &lt;/p&gt;&#xA;&#xA;&lt;p&gt;rtmp://ams-ip-or-dns/livepkgr/livestream?adbe-live-event=&lt;em&gt;liveEventName&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;is the URL to stream to for a constant bit rate, but there are other options if you are using VBR or multi-rate streams.  You can get more details under the &lt;strong&gt;URLs for publishing and playing live streams over HTTP&lt;/strong&gt; section of the linked documentation.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-09T16:02:00.063" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14523" PostTypeId="1" AcceptedAnswerId="14525" CreationDate="2015-01-10T11:10:58.183" Score="4" ViewCount="3607" Body="&lt;p&gt;I have some Magic Lantern Raw footage that I want to convert to Prores 444 for use in this workflow&lt;a href=&quot;http://www.cineticstudios.com/blog/2014/08/the-easy-way-to-use-magic-lantern-raw-straight-to-prores.html&quot; rel=&quot;noreferrer&quot;&gt;enter link description here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I understand the process, other than the use of LUTs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the process, an application called &lt;a href=&quot;http://www.magiclantern.fm/forum/index.php?topic=9560.0&quot; rel=&quot;noreferrer&quot;&gt;MLRawViewer&lt;/a&gt; is used to convert .mlv files to ProRes444 files. In this conversions process, a LUT is selected. My confusion lies in the selection of the LUT. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want the ProRes file to be as flexible as possible for grading later in the process, and I have no desire to use a LUT to give the footage a particular look. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;So which LUT should I choose? What should inform this decision?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="6532" LastActivityDate="2015-01-10T16:23:12.660" Title="Converting MLV to Prores" Tags="|prores|magic-lantern|raw|" AnswerCount="1" CommentCount="3" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14524" PostTypeId="2" ParentId="12066" CreationDate="2015-01-10T14:16:41.320" Score="2" Body="&lt;p&gt;You should use BMD Film (Black Magic Design) This is the colorspace used by the Black Magic Cameras.&lt;/p&gt;&#xA;" OwnerUserId="8064" LastActivityDate="2015-01-10T14:16:41.320" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14525" PostTypeId="2" ParentId="14523" CreationDate="2015-01-10T16:23:12.660" Score="3" Body="&lt;p&gt;I'd pick something that looks flat and unsaturated.  Those are usually the ones designed to retain detail.  If you see clog or slog2, those are good.  Rec 709 will throw out info, so don't use that.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;What should inform this decision?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Trial and error.  A lut is really just a starting point for your grade.  Try some different ones out.  If it absolutely butchers the color, then it's probably not a good place to start.  If you see clipping or banding, then you've chosen a lut which was meant for a different situation.  As you try each one, look at the trace on a waveform monitor and vector scope.  If anything goes out of bounds, pick something else.  Do you notice any kind of granularity, banding, or stair-stepping in the traces?  Look for one that's more even.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-01-10T16:23:12.660" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14526" PostTypeId="2" ParentId="14519" CreationDate="2015-01-10T21:21:55.400" Score="5" Body="&lt;p&gt;I think it's probably easier to &lt;em&gt;combine (stack) a full dimension background image (720x500px) with your video&lt;/em&gt; in ffmpeg instead of adding the 20px footer to the video. You can simply use the &lt;code&gt;overlay filter&lt;/code&gt; for this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -loop 1 -i 720x500.jpg \&#xA;    -i 720x480.mp4 \&#xA;    -filter_complex overlay=0:0 \&#xA;    -t 0:01.48 \ &#xA;    out.m4v&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; In this example you have to set the duration of your output video manually with &lt;code&gt;-t&lt;/code&gt; parameter.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;If you &lt;em&gt;don't want to specify the duration&lt;/em&gt; you can use &lt;code&gt;shortest&lt;/code&gt; flag within the filter if you use &lt;code&gt;-loop 1&lt;/code&gt; as @LordNeckbeard mentioned in the comments below:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -loop 1 -i 720x500.jpg \&#xA;    -i 720x480.mp4 \&#xA;    -filter_complex &quot;overlay=0:0:shortest=1&quot; \&#xA;    out.m4v&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2016-07-20T12:34:47.410" LastActivityDate="2016-07-20T12:34:47.410" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14528" PostTypeId="1" CreationDate="2015-01-11T00:56:42.947" Score="0" ViewCount="207" Body="&lt;p&gt;So I'm trying to capture footage from my PS2 at a low resolution (720x576 if memory serves) through Virtual Dub. I'm on Windows 7 64 with an 8-core i7, 8GB RAM, 150G SSD and an EZCap capture card. When I start to capture, Virtual Dub says CPU usage is 80 - 120%, I've messed with the settings and got this down to around 40-60% usage, meanwhile Task Manager says I'm using around 10%. Because of this or some other reason I get lag and dropped frames every half-second or so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All I want is to be able to capture without lag with this or some other program. I've tried some other forums and people there were stumped. Can anyone help please?&lt;/p&gt;&#xA;" OwnerUserId="9104" LastActivityDate="2024-03-27T12:03:00.360" Title="Discrepancy between VirtualDub CPU usage and Task Manager, Lag resulting" Tags="|virtualdub|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14529" PostTypeId="1" CreationDate="2015-01-11T12:24:20.740" Score="6" ViewCount="4662" Body="&lt;p&gt;My use-case, in case the details help people understand what I'm looking for:&#xA;My brother needs some videos of him singing while playing the piano, to send in as an audition for a dinner theater.  For this job, he's already met the musical director, so this isn't a first impression, but obviously we want him to look and especially sound good.  I'm not picturing putting in any video effects or titles / credits.  (We figure metadata should be meta, like web page title or filename, and stored in the video container metadata, not burned into the video.)  So the target for these videos is to be watched on a computer, probably via youtube, not DVD or broadcast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We used a digital camera to record video, but the audio quality isn't good enough.  We recorded audio at the same time with an analog mic hooked up to his laptop (with Audacity), but it needs to be manually synced.  More details about the details at the bottom, for anyone that's curious.  &lt;strong&gt;The camera and laptop clocks don't quite agree on how long a second is&lt;/strong&gt;: the camera actually records at about 29.981 fps, when it thinks its recording at 30fps (with its audio staying in sync).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;So I have 4 videos, 7 to 22 mins long, and 4 audacity projects with better audio for each video (which I can just export to wav or flac), but not synced.  Desired output: one file per song, with audio from audacity mangled as little as possible&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;align the start of each external audio (wav or flac) with the synced but bad-sounding audio that comes in the same file as each vid&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;stretch the external-audio or a+v cam clip so they align at the end&lt;/strong&gt;, too&lt;/li&gt;&#xA;&lt;li&gt;discard the audio that came with the video file (or mute it and keep it around for reference so I can go back and fix the alignment if I notice a problem, without starting from scratch.)&lt;/li&gt;&#xA;&lt;li&gt;select the time range of the &quot;good take&quot; of each song.&lt;/li&gt;&#xA;&lt;li&gt;export these non-overlapping segments of my source videos, one output file per song.  (The longer source vids have multiple songs)&lt;/li&gt;&#xA;&lt;li&gt;encode each song with ffmpeg / x264 / libfdk-aac and upload to youtube, and/or stick on my website with an HTML5 video tag.  Export from the NLE in a lossless format that I can feed to ffmpeg is fine.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I know what I'm doing with ffmpeg / x264 / libfdk-aac / flac / libmp3lame / mp4 container to make final files to put on youtube and/or on my website; I don't need help with that part.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did the a/v sync part of the problem for the first video, as a proof-of-concept before recording more:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In audacity, I loaded the audio from the camera .MOV, and found I needed to shift the external-mic track left by 5.34563s to align with the camera track.  I did that, and cut off the part before zero secs.  Then at the end, I found the camera track had to be shifted right 0.43144s to align with the external-mic track at 11m:30s.  So I had to make the video 0.431 sec longer to stay synced with the audio.  I exported the shifted and clipped external-mic track to a .flac from audacity, after using the noise-reduction filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I fed that to ffmpeg:&#xA;&lt;code&gt;ffmpeg -i session2-shifted.flac -an -i P1000669-sess2.MOV   -shortest -c:a libmp3lame -q:a 1 -c:v libx264 -preset fast -crf 18 -filter:v &quot;setpts=690.43144*PTS/690,transpose=2:passthrough=portrait&quot; -r &quot;30 * 690 / 690.43144&quot; -movflags +faststart out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I only had ffmpeg's built-in not-very-good AAC encoder in the windows build of ffmpeg I put on my brother's laptop, hence the mp3 audio for a test-run.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my output is a 29.981 fps mp4, with A/V sync from start to finish.  (29.981 is close to NTSC 30/1.001 ~= 29.976, but that's just a coincidence.)  I should be able to re-run that with lossless output (or &lt;code&gt;-codec copy&lt;/code&gt;), and then chop out the sections I want.  Either with a NLE, or note a start/stop time, and use &lt;code&gt;ffmpeg -ss [start] -to [stop] -i session2-synced.mp4 -x264 -blah -blah song1.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I got my brother to clap at the start AND end of each video while the external sound was recording, so we have sync marks that should be visually obvious in the waveform for the last 3 vids.  (Aligning the first one was a bit tricky, glad I did one by hand before recording the rest).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I'm looking for recommendations for software to get all that done more quickly / easily than the manual process I used.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use GNU/Linux, my brother uses Windows.  Ideally, there's an NLE that's good for this use-case and is cross-platform, so I can show my brother how to cut segments out of a longer video that he records on his phone or something, with the same software I learn to use.  I'm only interested in open source software.  I'm not interested in investing time into learning my way around something that isn't open source.  (And not going to spend money on it when I can already do what I need with audacity and ffmpeg.)  Don't omit a good suggestion just for lack of cross-platform support, though, please.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are &lt;a href=&quot;http://xmodulo.com/good-video-editing-software-linux.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;many options on GNU/Linux&lt;/a&gt; and it's even been &lt;a href=&quot;https://askubuntu.com/questions/5911/video-editing-software-options&quot;&gt;asked on Ask Ubuntu&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know what a NLE is supposed to be able to do, but haven't used one before.  (Just ffmpeg / mencoder with start / stop times covered the minimal stuff I've done before.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm aware that usually people stretch and pitch-correct audio to fit video, but I trust the clock in the laptop more than the clock in the camera.  And I want to keep audio mangling to a minimum.  Although I already need some pretty serious denoising / 60Hz removal on the external-mic audio, so it's hardly pristine super-high-quality.  So I'm willing to consider a solution that stretches/pitch-corrects audio instead of making non-standard fps videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I already tried pitivi, but the audio waveform display wasn't very visible, so I'd probably still have to do the syncing in audacity.  As installed from the Ubuntu 14.04 package, it can't export with x264, and the only lossless codec is Dirac.  (no ffvhuff...)  Lossless dirac export is unacceptably slow, so that's another big downside.  (I love open source / patent-unencumbered codecs like VP9, but I don't want anyone to have any hassles playing the vids, so I'm going with H.264 video and high-bitrate AAC audio.  Or does youtube accept VP9 uploads?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've used avidemux, too, but IIRC it doesn't do well outputting to modern containers.  It def. doesn't like reading codecs with b frames from modern containers, so it's pretty much a dead end.  (h.264 in mkv or mp4, anyone?)  It can do audio from an external file, but doesn't show waveforms for syncing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This question is similar to others that have been asked before:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/12568/how-can-i-record-audio-video-synced-with-another-audio-file&quot;&gt;How can I record audio &amp;amp; video synced with another audio file?&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/4553/how-to-automatically-synchronize-two-recordings-of-the-same-event&quot;&gt;How to automatically synchronize two recordings of the same event?&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/9745/free-software-to-synchronize-audio-and-video-recorded-at-the-same-time&quot;&gt;Free software to synchronize audio and video recorded at the same time&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/2389/non-linear-video-editor-for-free-or-cheap-that-does-these-things&quot;&gt;Non-Linear Video Editor for Free or Cheap That Does These Things&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/13188/video-desyncs-with-the-audio-over-time&quot;&gt;Video desyncs with the audio over time&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The first question has one answer that is sort of what I'm looking for: &lt;a href=&quot;http://auxmic.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://auxmic.com/&lt;/a&gt;, but that's Windows only, and it doesn't say anything about how it handles clock drift in the input.  I might give it a try, since it's prob. simple enough to work fine with WINE in Linux.  I'd still need to use something else to cut out the good take of each song from the videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;None of the other answers have any useful suggestions, maybe because the questions weren't specific enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For those curious about what I actually used:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;camera was a Panasonic Lumix FZ28 on a tripod, maybe 2m from the subject, high enough to get a good view of the piano keys and his face.  It records 1280x720 or 640x480 MJPEG + 16kHz mono PCM in a MOV container, on SD cards.  Video quality is pretty good, given enough light.  At 720p, it can go for just under 12mins before hitting the 2GB max file size for FAT32, and stopping.  (22Mbit/s or so, obviously needs to be xcoded for final use.)  The video scaler in the camera is bad, and introduced some ugly banding from aliasing effects or something in the wall hanging behind my brother when we recorded in 640x480 (11Mb/s MJPEG).  We used 640x480 anyway to let the camera run longer, since each separate shot takes manual labour to A/V sync.  On top of the time to just select a start/end point and export a file.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;The mic was just a cheap Labtec computer desk mic we had lying around.  It picked up a lot of 60 Hz interference, even when its cord wasn't near the power cables for the lights and digital piano.  (Even with the laptop on battery power.)  Audacity's noise removal function does a good job of killing the 60Hz and background hiss.  Having the mic sitting right on top of the piano picked up a lot of the sound of physically hitting the piano keys.  If we'd had time before he was heading back to school, I would have used something for a mic stand to put the mic farther from the piano keys, and not in physical contact with the body of the digital piano.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;I made a separate project in Audacity for each video file, since the A/V offset would be different for each one.  I could have just made one big audacity project, but I don't think that would have helped with anything, except maybe being able to tweak noise-reduction / highpass (to maybe reduce the noise of piano keys being hit) filter settings and then apply it to everything at once.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2017-04-13T12:22:54.683" LastActivityDate="2024-01-02T01:20:25.380" Title="Sync separate audio to video+bad-camera-audio, free NLE recommendations" Tags="|editing|software-recommendation|windows|sync|linux|" AnswerCount="4" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14530" PostTypeId="2" ParentId="13188" CreationDate="2015-01-11T13:02:48.893" Score="1" Body="&lt;p&gt;In the question &lt;a href=&quot;https://video.stackexchange.com/questions/14529/sync-separate-audio-to-videobad-camera-audio-free-nle-recommendations&quot;&gt;Sync separate audio to video+bad-camera-audio, free NLE recommendations&lt;/a&gt; I detailed how I manually did A/V sync for audio recorded separately from the video, with audacity and ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;44.1kHz vs 48kHz has nothing to do with the drift.  The problem is that the camera's clock isn't exactly the same speed as the laptop's clock, so even though they both think they're recording 1 second per second, they drift relative to one another.  You need to stretch the video or the audio by 3 secs per 20mins, not just resample.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-01-11T13:09:20.890" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14531" PostTypeId="1" CreationDate="2015-01-11T19:27:26.973" Score="1" ViewCount="140" Body="&lt;p&gt;I need to edit some mlv footage that consists of a number of lengthy takes. Due to the nature of the subject matter, a lot of the footage is effectively unneeded and given the size of mlv files, I want to trim away as much as possible, leaving only relevant footage to work with. I'm not talking about editing the footage. I'm talking about trimming down the original footage, leaving much less source material to then edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How can I trim this footage down?&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If necessary, I can convert the mlv files to cdng files for trimming, though this is far from ideal.&lt;/p&gt;&#xA;" OwnerUserId="6532" LastActivityDate="2015-01-12T16:35:17.200" Title="Trimming MLV or CDNG Footage" Tags="|magic-lantern|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14532" PostTypeId="2" ParentId="14519" CreationDate="2015-01-11T19:36:56.690" Score="7" Body="&lt;p&gt;Use the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#vstack&quot; rel=&quot;nofollow noreferrer&quot;&gt;vstack filter&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/FuIdO.png&quot; alt=&quot;hstack&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i image.png -filter_complex vstack output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If the image is not the same width as the video then resize it with the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#scale&quot; rel=&quot;nofollow noreferrer&quot;&gt;scale filter&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i image.png -filter_complex &quot;[1:v]scale=320:-1[bottom];[0:v][bottom]vstack&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2016-07-23T05:15:14.997" LastActivityDate="2016-07-23T05:15:14.997" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14536" PostTypeId="1" CreationDate="2015-01-12T10:28:43.017" Score="0" ViewCount="348" Body="&lt;p&gt;I am currently filming interviews for a project and to date, a friend has kindly lent me the following sound equipment.  Unfortunately, I am going to have to give this equipment back very soon and need to replace it.  I don't however, have the budget to replace exactly like for like so wanted to know what was really essential and what cheaper options I could buy to achieve more or less the same effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The equipment that is currently on loan to me is:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Pair of HD201 Sennheiser headphones&lt;/li&gt;&#xA;&lt;li&gt;Alesis PalmTrack 24bit WAVE/MP3 Recorder &lt;/li&gt;&#xA;&lt;li&gt;2 x Levalier mics - ECM-77B Electret Condensor Microphones (SONY)&lt;/li&gt;&#xA;&lt;li&gt;1 Mixer - SignVideo ENG-44 (4 channel audio mixer)&lt;/li&gt;&#xA;&lt;li&gt;1 Cable to connect mixer to either MP3 recorder or to camera - jack to stereo XLR&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I would really appreciate if anyone can help me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="9111" LastActivityDate="2015-01-14T13:06:15.850" Title="Equipment needed to record sound when filming an interview with two people" Tags="|audio|filming|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14537" PostTypeId="2" ParentId="14536" CreationDate="2015-01-12T13:29:25.857" Score="3" Body="&lt;p&gt;You could simplify your costs and needs with this approach to your kit:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Get a similar unit to the Alesis PalmTrack to record your audio, preferably on 2 channels, or as a pair of Left and Right inputs from suitable microphones.&#xA;Monitor your Left &amp;amp; Right balance with suitable headphones to ensure the usual clean, distortion free audio.&#xA;Later, you could remix your balance levels in Audio Editing software between the 2 Mic inputs. &#xA;This would effectively eliminate the cost for the separate Audio Mixer, &amp;amp; the &quot;live&quot; audio mix.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another solution could eliminate the need for 2 separate mics:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For any interview between 2 people, a pair of mics is almost always necessary.&#xA;However, if the camera shot and setup allows, you could park your Audio recorder on the end of a &quot;fish pole&quot; or &quot;boom&quot; attachment, and hold this over your subjects, out of shot, to record the conversation. A bit of practise and skill is required for this to be successful. &#xA;You do have to avoid the noise of handling the boom, as you 'pan' or 'swing' the recorder mics in the direction of either speaker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another alternative would be to park the recorder above the 2 persons, just out of shot and record audio from there. Correct positioning and minimum body movement of the subjects for the duration of the recording would be critical, however. Best done by seating both at a table, or similar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A look online at some setup examples, like the searches below might help to visualise a rig:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.google.co.uk/search?q=Film+interview+audio+setups&amp;amp;tbm=isch&quot; rel=&quot;nofollow&quot;&gt;https://www.google.co.uk/search?q=Film+interview+audio+setups&amp;amp;tbm=isch&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.google.co.uk/search?q=Film+interview+setups&amp;amp;tbm=isch&quot; rel=&quot;nofollow&quot;&gt;https://www.google.co.uk/search?q=Film+interview+setups&amp;amp;tbm=isch&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="9113" LastEditorUserId="1950" LastEditDate="2015-01-14T13:06:15.850" LastActivityDate="2015-01-14T13:06:15.850" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14538" PostTypeId="2" ParentId="14529" CreationDate="2015-01-12T14:42:54.707" Score="1" Body="&lt;p&gt;Try Blender's Video Editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If Video and audio where recorded at the same time it will be easy to sync them, just be sure your video frame rate is correctly set in Blender and that you check synced in the video editor (at the bottom beside the time line and play, stop, etc... buttons.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Don't be scared by Blender's complexity, you are not going to use any of the others features, you are just going to use video editing and that is pretty straight forward.&lt;/p&gt;&#xA;" OwnerUserId="6210" LastActivityDate="2015-01-12T14:42:54.707" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="14539" PostTypeId="2" ParentId="13489" CreationDate="2015-01-12T16:31:12.903" Score="1" Body="&lt;p&gt;As far as I know, there is no quick way to bring the audio back into a sequence after deleting it. I learned this the hard way a while back, and now, I either drop the unneeded audio into a muted track or use subclips to store the audio/video together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you haven't done much trimming of your clips in the sequence, and the clips happen to come from separate files in your project panel, then you are in luck. Just right-click the clip in the sequence and select 'Reveal in Finder'. Your in/out points should still be defined in that file. You may have already figured this out though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have done a lot of trimming of your clips in the sequence, you will need to go back to the file and manually set the in/out points. I hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="6768" LastActivityDate="2015-01-12T16:31:12.903" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14540" PostTypeId="2" ParentId="14531" CreationDate="2015-01-12T16:35:17.200" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.magiclantern.fm/forum/index.php?topic=9560.0&quot; rel=&quot;nofollow&quot;&gt;MLRawViewer&lt;/a&gt; has functionality that allows a range of an MLV file to be exported as a CNG. There is no ui for it, but when scrubbed to the desired start-point, &lt;code&gt;i&lt;/code&gt; will set the in-point and when scrubbed to the desired end-point, 'o' will set the out-point.&lt;/p&gt;&#xA;" OwnerUserId="6532" LastActivityDate="2015-01-12T16:35:17.200" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14541" PostTypeId="2" ParentId="14507" CreationDate="2015-01-12T16:36:13.220" Score="1" Body="&lt;p&gt;Are you using a keying effect? Does your flicker look anything like the original images posted here?&#xA;&lt;a href=&quot;https://forums.adobe.com/message/5112063&quot; rel=&quot;nofollow&quot;&gt;https://forums.adobe.com/message/5112063&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If so, this issue has been around for a while, and we never seemed to get an accurate response from Adobe. However, there are some workarounds spelled out in that post.&lt;/p&gt;&#xA;" OwnerUserId="6768" LastActivityDate="2015-01-12T16:36:13.220" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14542" PostTypeId="1" AcceptedAnswerId="14544" CreationDate="2015-01-13T00:05:30.717" Score="1" ViewCount="361" Body="&lt;p&gt;First of all, sorry if I'm using the wrong term for the area you see in the screen. I need to select two specific files to merge them. Unfortunately I'm not able to find the corresponding shortcut. If I use Shift I can select multiple items in a row, but not the first and the third. Is there any way to accomplish this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ox6gp.png&quot; alt=&quot;a busy image&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="9114" LastActivityDate="2015-01-13T12:31:52.320" Title="Premiere Pro CC 2014: Select multiple items in media browser" Tags="|adobe|premiere|cc-2014|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14543" PostTypeId="1" CreationDate="2015-01-13T00:42:56.620" Score="3" ViewCount="3802" Body="&lt;p&gt;I know that Laserdiscs store video in an analog composite format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also know that CDs and DVDs store audio data as a digitally-encoded bitstream with the bits stored as pits and islands in the disc surface, which is simply read by the laser.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is the analog data physically stored on the laserdisc surface? If it's pits-and-islands, then the data is surely digital and not really &quot;analog&quot;, but if it's analog then it must be some kind of surface that has a continuous &quot;reflectivity&quot; which can store multiple channels of data (composite video in some kind of carrier and audio channels) in a single stream, how is this possible? Stereo vinyl discs store stereo information &lt;a href=&quot;http://www.vinylrecorder.com/stereo.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;in different dimensions&lt;/a&gt;, but you can't do that with a reflective surface.&lt;/p&gt;&#xA;" OwnerUserId="9115" LastEditorUserId="9115" LastEditDate="2020-01-05T01:04:17.183" LastActivityDate="2020-01-06T14:12:29.053" Title="How is laserdisc information physically stored on the disc?" Tags="|video|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="14544" PostTypeId="2" ParentId="14542" CreationDate="2015-01-13T01:05:19.360" Score="2" Body="&lt;p&gt;That's the project window (not to be confused with the media browser, which you can use to browse your computer and import media assets into your project). You can add or remove assets to your selection by holding down &lt;kbd&gt;CTRL&lt;/kbd&gt; / &lt;kbd&gt;CMD&lt;/kbd&gt; while clicking on them. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2015-01-13T12:31:52.320" LastActivityDate="2015-01-13T12:31:52.320" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14545" PostTypeId="2" ParentId="14543" CreationDate="2015-01-13T01:17:58.370" Score="3" Body="&lt;p&gt;Just about everything you'd like to know about LaserVision disks can be found in this &lt;a href=&quot;https://en.wikipedia.org/wiki/Laserdisc&quot; rel=&quot;nofollow&quot;&gt;Wikipedia page&lt;/a&gt;, including the details of how the composite analog video is stored in a series of pits and lands. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course it's not strictly analog because it's sampled and later re-integrated, but there is no digitization of the video as we think of it today with Blu-Ray etc.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-01-13T01:17:58.370" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14546" PostTypeId="2" ParentId="14528" CreationDate="2015-01-13T02:54:55.720" Score="0" Body="&lt;p&gt;EZ Cap is an extremely cheap capture device and may be dropping frames itself.  You may also want to check if things are spiking any.  Can it play back video without recording it and if so, is it still dropping frames?  If so, then it is likely a hardware problem.  If you are plugging it in to a non USB2.0 port, that could also cause problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend trying a low compression codec and see if that will work.  It will use lots of disk space but take a minimal amount of CPU.  You can then encode the intermediate format to a good quality high or moderate compression format to save on space.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-13T02:54:55.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14547" PostTypeId="2" ParentId="14536" CreationDate="2015-01-13T03:03:07.573" Score="0" Body="&lt;p&gt;You really want to have XLR input capability to use decent quality mics, but you can get that directly in a recorder for a little bit less than the cost of the field mixer.  Zoom makes a nice selection of products that are pretty popular for having XLR inputs at a cheap price.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You also don't need to use quite as expensive of mics.  Audio Technica, among others, makes relatively decent condenser mics for as cheap as $150 or less.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For monitoring, you don't really need anything fancy, so any old cheap headphones will do the trick as long as they provide you with decent isolation and relatively low noise so that you can be listening for noise problems and making sure you have clean signal.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-13T03:03:07.573" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14548" PostTypeId="2" ParentId="12993" CreationDate="2015-01-13T05:55:41.170" Score="1" Body="&lt;p&gt;There're many great video editing apps in the AppStore. Unfortunately, I'm not allowed to name a specific app according to the StackExchange policy (my previous answer was banned). Some of them play sound while you do video editing (trimming, applying video effects, etc.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For sure smartphones now have enough computational power to do very complex video editing, they have GPU for even better performance. As a such kind of apps developer I admit that only a tiny fraction of professional desktop video editing software features couldn't be implemented on a smartphone. The major limitation is the screen size. It is freaking hard to make an intuitive user interface and a great user experience on such a small screen.&lt;/p&gt;&#xA;" OwnerUserId="8080" LastActivityDate="2015-01-13T05:55:41.170" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14549" PostTypeId="2" ParentId="14529" CreationDate="2015-01-13T06:04:16.603" Score="5" Body="&lt;p&gt;I tried kdenlive, so I'll post my findings about it as an answer.  It didn't quite do the job, so I'm not going to mark this as the accepted solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;kdenlive easily imports my clips in mjpeg+pcm, and flac.  And looks like it can export through ffmpeg, which is what I want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It has a feature to &quot;set audio reference&quot;, and for other tracks, &quot;align audio to reference&quot;.  That's perfect, programmatically aligning audio is much nicer than manually dragging stuff to align waveforms by eye.  However, it doesn't seem to handle the clock drift at all.  In my 23min shot, it had perfect sync at about 4 mins.  It was a touch out of sync at the start, and maybe 0.5s out of sync at the 19 minute mark.  (I don't have a good sync point later than that, since that shot hit the 2GB file size limit, xD)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;KDENlive's timeline display is in &lt;code&gt;h:mm:ss.frames&lt;/code&gt;, not decimal fractions of a second, which confused me at first.  I was thinking that it had stretched one track, but no, it didn't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's easy to tell there's a problem by leaving both audio tracks unmuted, even though that will reveal problems too small to be noticed visually.  (In my longer tracks, like this one, the drift eventually gets big enough to be a problem for visual AV sync.)  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I checked manually in audacity:  With the start of both tracks aligned, they're about 0.68s apart at the same 19min sync mark.  So I &lt;em&gt;could&lt;/em&gt; do my aligning in kdenlive manually, but its automatic tool for doing it unfortunately doesn't support clock-drift correction by stretching.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;kdenlive does display the audio waveforms nicely, esp. if you go configure-&gt;timeline-&gt;track height: increase to 80 or 100pix.  Nice UI for zooming way in on the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I end up doing the AV sync in audacity before exporting, I might well use kdenlive for the rest of the process.  I'll have to see how easy it is to make multiple videos from segments of a single timeline.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-01-13T06:04:16.603" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14550" PostTypeId="1" AcceptedAnswerId="14571" CreationDate="2015-01-13T11:02:03.653" Score="3" ViewCount="1421" Body="&lt;p&gt;I created a sphere emitting particles in Nuke. Around that sphere is another sphere connected to a particle bounce which is set to kill the particles. Some particles seem to slip through though. Why is this, and how can I fix it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/SodjL.png&quot; alt=&quot;Nodes&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/RMLUT.jpg&quot; alt=&quot;Viewer with particle escaping&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    #! /Applications/Nuke9.0v3/Nuke9.0v3.app/Contents/MacOS//libnuke-9.0.3.dylib -nx&#xA;version 9.0 v3&#xA;define_window_layout_xml {&amp;lt;?xml version=&quot;1.0&quot; encoding=&quot;UTF-8&quot;?&amp;gt;&#xA;&amp;lt;layout version=&quot;1.0&quot;&amp;gt;&#xA;    &amp;lt;window x=&quot;0&quot; y=&quot;23&quot; w=&quot;1440&quot; h=&quot;873&quot; screen=&quot;0&quot;&amp;gt;&#xA;        &amp;lt;splitter orientation=&quot;1&quot;&amp;gt;&#xA;            &amp;lt;split size=&quot;910&quot;/&amp;gt;&#xA;            &amp;lt;splitter orientation=&quot;1&quot;&amp;gt;&#xA;                &amp;lt;split size=&quot;34&quot;/&amp;gt;&#xA;                &amp;lt;dock id=&quot;&quot; hideTitles=&quot;1&quot; activePageId=&quot;Toolbar.1&quot;&amp;gt;&#xA;                    &amp;lt;page id=&quot;Toolbar.1&quot;/&amp;gt;&#xA;                &amp;lt;/dock&amp;gt;&#xA;                &amp;lt;split size=&quot;872&quot;/&amp;gt;&#xA;                &amp;lt;splitter orientation=&quot;2&quot;&amp;gt;&#xA;                    &amp;lt;split size=&quot;497&quot;/&amp;gt;&#xA;                    &amp;lt;dock id=&quot;&quot; activePageId=&quot;Viewer.1&quot; focus=&quot;true&quot;&amp;gt;&#xA;                        &amp;lt;page id=&quot;Viewer.1&quot;/&amp;gt;&#xA;                    &amp;lt;/dock&amp;gt;&#xA;                    &amp;lt;split size=&quot;350&quot;/&amp;gt;&#xA;                    &amp;lt;dock id=&quot;&quot; activePageId=&quot;DAG.1&quot;&amp;gt;&#xA;                        &amp;lt;page id=&quot;DAG.1&quot;/&amp;gt;&#xA;                        &amp;lt;page id=&quot;Curve Editor.1&quot;/&amp;gt;&#xA;                        &amp;lt;page id=&quot;DopeSheet.1&quot;/&amp;gt;&#xA;                    &amp;lt;/dock&amp;gt;&#xA;                &amp;lt;/splitter&amp;gt;&#xA;            &amp;lt;/splitter&amp;gt;&#xA;            &amp;lt;split size=&quot;526&quot;/&amp;gt;&#xA;            &amp;lt;dock id=&quot;&quot; activePageId=&quot;Properties.1&quot;&amp;gt;&#xA;                &amp;lt;page id=&quot;Properties.1&quot;/&amp;gt;&#xA;            &amp;lt;/dock&amp;gt;&#xA;        &amp;lt;/splitter&amp;gt;&#xA;    &amp;lt;/window&amp;gt;&#xA;&amp;lt;/layout&amp;gt;&#xA;}&#xA;Root {&#xA; inputs 0&#xA; name /particle.nk&#xA; frame 47&#xA; format &quot;2048 1556 0 0 2048 1556 1 2K_Super_35(full-ap)&quot;&#xA; proxy_type scale&#xA; proxy_format &quot;1024 778 0 0 1024 778 1 1K_Super_35(full-ap)&quot;&#xA;}&#xA;Sphere {&#xA; inputs 0&#xA; display wireframe&#xA; render_mode off&#xA; radius 3&#xA; name Sphere1&#xA; xpos -417&#xA; ypos 81&#xA;}&#xA;Sphere {&#xA; inputs 0&#xA; name Sphere2&#xA; xpos -410&#xA; ypos -50&#xA;}&#xA;Sphere {&#xA; inputs 0&#xA; display wireframe&#xA; render_mode off&#xA; name Sphere3&#xA; xpos -266&#xA; ypos -144&#xA;}&#xA;push 0&#xA;ParticleEmitter {&#xA; inputs 3&#xA; name ParticleEmitter1&#xA; xpos -261&#xA; ypos -50&#xA;}&#xA;ParticleBounce {&#xA; inputs 2&#xA; out_bounce_mode kill&#xA; in_bounce_mode kill&#xA; object input&#xA; name ParticleBounce1&#xA; selected true&#xA; xpos -261&#xA; ypos 77&#xA;}&#xA;Viewer {&#xA; frame 47&#xA; frame_range 1-100&#xA; name Viewer1&#xA; xpos -261&#xA; ypos 176&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="8064" LastEditorUserId="6391" LastEditDate="2015-01-16T02:07:58.700" LastActivityDate="2015-01-26T22:27:43.910" Title="Nuke particles escaping bounce node with geometry input" Tags="|nuke|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14551" PostTypeId="1" CreationDate="2015-01-13T12:12:49.433" Score="2" ViewCount="582" Body="&lt;p&gt;hope this is the right place for this query&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am after some advice on authoring blu-ray discs on a Apple Mac, I normally use Apple DVD Studio Pro from the FCP studio package, but this does not offer BR authoring.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe Encore is not supported anymore and after reading some reviews didn't even really work that well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I mainly do Wedding DVD's so there is a basic menu (4/5 buttons) with a short video background so this is all im looking for, I have Toast but it doesn't offer the customization I need, going direct from FCPX only gives me the option for the current timeline which is no good as I have multiple videos to add.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a BR burner in the Mac and it does work with Toast so im just after the App to build the BR image and I can burn it with Toast, like I currently do with DVDSP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could run a Windows VM if needed but it would be come messy when trying to move the files back and forth and trying to get the right codecs/supported files etc, but if this is my only option I am willing to look into it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OR if anyone has any other options I would be open to suggestions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: preferably free or a low price but im willing to look at all avenues, baring in mind this is not a huge money making operation this will be a few BR discs per year&lt;/p&gt;&#xA;" OwnerUserId="6921" LastEditorUserId="6671" LastEditDate="2015-01-14T16:50:05.603" LastActivityDate="2018-07-10T02:53:52.223" Title="Blu-Ray authoring on an Apple Mac" Tags="|software-recommendation|final-cut-pro|final-cut-pro-x|bluray|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14552" PostTypeId="1" AcceptedAnswerId="14555" CreationDate="2015-01-13T15:36:42.647" Score="1" ViewCount="73" Body="&lt;p&gt;I've got a lot of footage logged from about 40 hours worth. I'm considering my next step with the aim towards getting a rough cut of the footage I've marked as being good and worthwhile of being in the film. &#xA;At this stage I've got a lot of clips that need organising and then seeing as there is limited horizontal space on the time line, whats the best way to go about lining up the clips. For example if I decide to change the sequence of clips, how do I get all the clips after it to take up the gap? I'm very new to editing. &#xA;Would it be a better idea to storyboard out as much as possible first on pen and paper before getting into Premiere in a big way. &#xA;My day job is already quite screen based, so I'm looking to minimise my time spent thinking AND at the computer.&lt;/p&gt;&#xA;" OwnerUserId="3813" LastEditorUserId="5546" LastEditDate="2015-01-13T21:46:10.870" LastActivityDate="2015-01-13T21:46:10.870" Title="big Premiere project with many clips - is it better to storyboard on paper first?" Tags="|editing|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14554" PostTypeId="1" AcceptedAnswerId="14711" CreationDate="2015-01-13T19:58:54.733" Score="4" ViewCount="3872" Body="&lt;p&gt;I've been creating screencasts lately (cut with real footage) with ActivePresenter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ActivePresenter allows one to add &quot;annotations&quot; and they can be in various formats including both audio and video clips. I would like to overlay a video clip onto my screencast, but my issue is, I cannot mute or remove the audio from the video clip in ActivePresenter. When accessing the video's properties, there is a volume slider there but it is disabled.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can remove the audio using a different tool, and then import into ActivePresenter, but I thought this would be pretty standard functionality. So, the question - is there a way to remove audio from a video annotation in ActivePresenter? The format of the video annotation is mp4 (I'll try with other various formats and see if there are formats which ActivePresenter will provide this as an option).&lt;/p&gt;&#xA;" OwnerUserId="9118" LastEditorUserId="2836" LastEditDate="2015-01-14T05:59:15.840" LastActivityDate="2020-07-14T03:25:12.490" Title="Remove audio from video annotation in ActivePresenter" Tags="|video-editor|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14555" PostTypeId="2" ParentId="14552" CreationDate="2015-01-13T20:55:33.353" Score="4" Body="&lt;p&gt;Storyboard first, then shoot, then edit.  A storyboard is a tool for organizing your thoughts before you even pick up a camera.  It's like a script, and usually follows from a script, but gives you a better idea of where to place and move the camera.  This is called &quot;shot blocking&quot;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The shotgun method of gathering footage with the hope of being able to string it together into a coherent story is a mistake made by many beginners.  There's nothing wrong with gathering lots of footage.  In cases like documentary work, it's often necessary.  But even when you shoot this way, you need to have an idea of what you're looking for, and how it's going to fit within your story before you sit down to edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the 40 hours of footage you already have, I'd say no, don't worry about drawing it out on paper now.  I guess you could use a whiteboard if that helps you organize your thoughts, but really you've got what you've got, and you're just going to be duplicating your effort when you sit down at premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's difficult for a one man operation to compartmentalize the processes to make good video, but you should look to the film industry for guidance.  After all, they have billions of man-hours of experience.  They've got it whittled down to a science.  Directors, cinematographers, gaffers, grips, editors, colorists, producers, writers, and everyone else you see in the credits all have their own job for very good reasons.  When you're trying to do it all yourself, it's best to wear one hat at a time.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-01-13T20:55:33.353" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14556" PostTypeId="1" CreationDate="2015-01-13T21:32:12.330" Score="2" ViewCount="1786" Body="&lt;p&gt;The original problem I had was to put an overlay (static image) on a video track. All guides/tutorials I found does this by putting the image into a separate video track. I would prefer attaching the image to the actually video clip instead, but fair enough, it works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I try to fade out the video + overlay, they do this at different &quot;pace&quot;. The video is recorded from gameplay, and I want to cover the chatbox with a black image. It works fine, and I can't see through the image at all. But when I fade out the video track and the image, I can pause in the fading and actually see the chat box. This is extremely frustrating, and not at all what I want of course.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried different things, fading out by dragging the right corner, and a composite level envelope, but it doesn't help. It doesn't matter if it transitions into another video clip or to black, same problem occurs anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an example of how it looks:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/f0L6K3Aoo6o?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="9119" LastEditorUserId="2836" LastEditDate="2015-01-14T06:02:46.560" LastActivityDate="2024-02-17T00:06:32.023" Title="Opaque overlay becomes transparent when fading out both video tracks in Sony Vegas" Tags="|vegas-pro|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14557" PostTypeId="2" ParentId="13095" CreationDate="2015-01-14T00:39:48.627" Score="3" Body="&lt;p&gt;To find the pixel dimensions of a layer you can use this expression:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;layer.sourceRectAtTime(t = time, includeExtents = false)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;t&lt;/strong&gt;: the time index, in seconds. A floating-point value.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;includeExtents&lt;/strong&gt;: true to include the extents, false otherwise. Extents apply to shape layers only, increasing the size of the layer&#xA;  bounds as necessary.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This is only for AE version &gt; 13.2 (CC 2014.2). See the announcement &lt;a href=&quot;http://blogs.adobe.com/aftereffects/2014/12/after-effects-cc-2014-2-13-2.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For earlier versions &lt;a href=&quot;https://video.stackexchange.com/questions/13001/can-you-measure-the-width-of-a-character-in-an-ae-expression&quot;&gt;this question&lt;/a&gt; is relevant, in the answers there is a link to an expression that achieves the same result, albeit a lot slower.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-01-14T12:20:27.057" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14558" PostTypeId="1" CreationDate="2015-01-14T03:22:26.117" Score="1" ViewCount="96" Body="&lt;p&gt;I have a weak computer (Atom N270 &amp;amp; onboard, 2006 Intel graphics) and it's super slow to do video editing on modern resolution videos, preferably 720p and up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering if I could manually do chroma keying without software to make it easier. Is it possible? Could I replicate what the software does manually, like, for example, painting sixty pixels into a square instead of using a fill brush in a single click? Chroma keying the entire video one frame at a time and composing a video format, or use some set algorithm to do it faster?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe everything made easier can be done manually in segments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I mean it's hard to sit and wait like 2 hours to chroma key a 10 second video on these weak specs. I need to see if there's a way to ease the chroma keying process on weaker hardware.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The modern chroma keying software features are too demanding for a 1.6 GHz Atom N270.&lt;/p&gt;&#xA;" OwnerDisplayName="Lester Bonar" LastActivityDate="2015-01-14T14:31:57.217" Title="Is it feasible to manually implement chroma keying?" Tags="|video|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14559" PostTypeId="1" CreationDate="2015-01-14T05:36:27.143" Score="2" ViewCount="326" Body="&lt;p&gt;I am doing some research in 3D stereo, particularly in 3D videos. I was successful creating 3D photos (using ordinary webcams) and viewing on a 3D laptop and 3D TV, but I've been reading that video recording is not so straightforward. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would be the cheapest way to build a 3D video camera set-up (Rigs, controllers, etc)? I live in India, so buying an expensive rig from abroad may not be possible at the moment. I'm also confused about using genlock cameras or a LANC controller for the video cameras. I currently don't have any video cameras, so which brands would be best to buy to have them in sync? My ultimate goal would be to film a scene 'live' in 3D (under 20 min).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help here would be very much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="9122" LastEditorUserId="6685" LastEditDate="2015-01-14T12:55:50.303" LastActivityDate="2015-06-22T20:39:00.667" Title="Film a 3D video using Genlock cameras or LANC?" Tags="|video|3d|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14560" PostTypeId="2" ParentId="14556" CreationDate="2015-01-14T06:23:58.240" Score="1" Body="&lt;p&gt;This is the expected behavior for fading two video tracks.  Video tracks are blended in order to build up what you see as an end result.  When you make the image mask (the overlay) for the chat pain start fading to transparent, it allows the images underneath to be seen.  So if it is at 70% transparent, it lets through 30% of the underlying layers, which in turn is letting through 30% of the layer under it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get around this, you need to fade the combined video rather than the individual videos.  The easiest way to do this in your case is going to be to use parent/child compositing relationships.  By telling Vegas that the two clips are related and should have effects applied to both, it should allow you to have an effect applied to the sum total of both tracks instead of needing to apply it to both individually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sony actually already has a pretty nice write up on the feature available &lt;a href=&quot;http://www.sonycreativesoftware.com/parent_child_track_relationship&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-14T06:23:58.240" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14561" PostTypeId="2" ParentId="14558" CreationDate="2015-01-14T06:30:24.123" Score="2" Body="&lt;p&gt;No, you couldn't do it faster than the software does it.  The software, if it is any good at all, should be much faster than you could possibly do it.  That's why people use the software.  If the software runs slow, then the same steps would be needed in your manual process and the manual process (whatever that is supposed to mean) would also be just as slow.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-14T06:30:24.123" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14562" PostTypeId="2" ParentId="11980" CreationDate="2015-01-14T06:34:27.833" Score="2" Body="&lt;p&gt;I found out about &lt;code&gt;melt&lt;/code&gt; and created &lt;a href=&quot;https://github.com/krichter722/video-splitter&quot; rel=&quot;nofollow&quot;&gt;video-splitter&lt;/a&gt; which is a command line wrapper around the former. There might even be a very elegant way to do everything in a command pipe with two or three commands or even everything with one &lt;code&gt;melt&lt;/code&gt; command.&lt;/p&gt;&#xA;" OwnerUserId="6095" LastActivityDate="2015-01-14T06:34:27.833" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14563" PostTypeId="2" ParentId="14559" CreationDate="2015-01-14T06:35:15.880" Score="1" Body="&lt;p&gt;Genlock would allow the capture of frames to be synchronized to a common external timecode.  It is only a feature on pretty high end cameras, so if you are trying to keep costs down, it really isn't an option.  The other question I linked to in the comment goes over a few possible ways to try to get usable sync for multiple cameras, but sadly, there aren't particularly good options for most cases.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a 3d kit for certain model GoPros that may be worth considering, but otherwise, you are probably best looking for a camera that supports lens splitting for 3d capture or purpose built consumer targeted cameras if you want things to remain fairly cheap.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-14T06:35:15.880" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14564" PostTypeId="2" ParentId="14558" CreationDate="2015-01-14T07:22:28.570" Score="3" Body="&lt;p&gt;No you wont be faster, but you could use a different method. As in a different application. Really it comes down to what your bottleneck is. If the bottleneck is the interplay between you and the computer then sure. What you can do is expand the video to frames as a prepass. This takes time but is essentially unsupervised. Likewise you could preprocess the mask somehow (use a half size proxy image for example), and use that as a basis.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that it might not be economically feasible. Since:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;you need to learn a new software, as well as find it. Test it etc.&lt;/li&gt;&#xA;&lt;li&gt;You may need to write portions of it yourself, atleast scripts.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You still dont get fast enough to get your investment back. I mean its still cheaper to buy new hardware, if you plan to do this more than 3 times in a row. I understand that your circumstances may be special and you havent got the money.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But on that note, we are actually doing what is essentially chroma keying on the graphics card of a raspberry Pi and it works at 15 frames per second on a full hd image. So i doubt its the hardware computation per see. Possibly its a IO problem. &lt;/p&gt;&#xA;" OwnerUserId="5764" LastActivityDate="2015-01-14T07:22:28.570" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14565" PostTypeId="2" ParentId="3792" CreationDate="2015-01-14T12:42:02.947" Score="2" Body="&lt;p&gt;Animating a shape layer with the pen tool is the same for 3D layers as it is for 2D. One problem is that if you're moving paths around on a layer that is not parallel with the view then you have pespective issues, or parts of your layer might go out of view.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get around this you can create a new camera that is parented to the shape layer - best to do this before transforming the shape layer. Then you can switch to that camera to get a straight-on view of the shape layer.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/l2fkX.png&quot; alt=&quot;two camera setup&quot;&gt;&#xA;Here we have the shape layer with animated paths and a camera called &quot;shape cam&quot; that is parented to it, as well as the scene camera called &quot;active cam&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If we switch to shape cam using the viewport control at the bottom of the comp window we see a flat-on view of the shape layer, for easy editing. A handy tip is that once you've switched from one view to another, to switch back to your original view you just hit &lt;kbd&gt;escape&lt;/kbd&gt;, so you can toggle back and forth with ease. &#xA;&lt;img src=&quot;https://i.stack.imgur.com/wtkOI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also set up another view (&lt;strong&gt;view &gt; new viewer&lt;/strong&gt;) and lock one on the shapeCam (the padlock in the view tab) and one on your scene camera, so you can edit your shape layer in one view in mock-2d and see it from your 3D camera at the same time. Here we see the shape layer at the next keyframe, where the paths have been edited, from both the shape cam view and the scene camera view.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/YrYBu.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An advantage of using shape layers is that they are not raster layers like an adjustment layer with the stroke effect. You can zoom right in on them without the pixels ever getting nasty&#xA;&lt;img src=&quot;https://i.stack.imgur.com/aTj7l.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-01-14T12:54:45.547" LastActivityDate="2015-01-14T12:54:45.547" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14566" PostTypeId="1" CreationDate="2015-01-14T12:50:29.230" Score="1" ViewCount="915" Body="&lt;p&gt;I want all particles that I emitted to settle down on a circle shape after animating them in space. What would be perfect is to be able to draw a circle shape which works as a particle attractor after a certain time.&lt;/p&gt;&#xA;" OwnerUserId="8064" LastEditorUserId="2836" LastEditDate="2015-01-15T22:37:14.637" LastActivityDate="2015-01-20T00:26:19.503" Title="How do I build a circle which serves as a particle attracter using After Effects Trapcode Particular?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14567" PostTypeId="2" ParentId="13489" CreationDate="2015-01-14T13:35:47.807" Score="23" Body="&lt;p&gt;There's a semi-automatic way to do this – semi automatic because it involves only typing three keystrokes over and over: &lt;kbd&gt;x&lt;/kbd&gt;&lt;kbd&gt;f&lt;/kbd&gt;&lt;kbd&gt;,&lt;/kbd&gt;, &lt;kbd&gt;x&lt;/kbd&gt;&lt;kbd&gt;f&lt;/kbd&gt;&lt;kbd&gt;,&lt;/kbd&gt;, &lt;kbd&gt;x&lt;/kbd&gt;&lt;kbd&gt;f&lt;/kbd&gt;&lt;kbd&gt;,&lt;/kbd&gt;… — you could train your cat to do it!&lt;/p&gt;&#xA;&lt;p&gt;Here's how it goes:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;make sure the audio is enabled for the tracks you want to restore (you only need to do this once)&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/8IhJJ.png&quot; alt=&quot;audio enabled&quot; /&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;park the playhead over one of the clips.&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/vsLUQ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;hit &lt;kbd&gt;x&lt;/kbd&gt; (for Mark Clip) to set the in and out point to match the start and end of the clip:&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Jx4le.png&quot; alt=&quot;in and out selected&quot; /&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;hit &lt;kbd&gt;f&lt;/kbd&gt; for Match Frame. This will display the current frame from the source clip in the viewer window – note that the in and out points will match those of the timeline clip&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/vMxU8.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;hit &lt;kbd&gt;,&lt;/kbd&gt; to overwrite the clip. Note that this will add the audio tracks as denoted by magic sparkles in the pic below. &lt;em&gt;The magic sparkles only appear if you really believe in them&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/TY46w.png&quot; alt=&quot;new clip&quot; /&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The playhead will now be parked at the start of the next clip. If it's one you want to reinstate the audio for, then repeat &lt;kbd&gt;x&lt;/kbd&gt;&lt;kbd&gt;f&lt;/kbd&gt;&lt;kbd&gt;,&lt;/kbd&gt; untill you're done, otherwise go to the next clip – &lt;kbd&gt;down arrow&lt;/kbd&gt; – and repeat.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;It looks a bit complicated but you can do it all by the keyboard just by typing &lt;kbd&gt;x&lt;/kbd&gt;&lt;kbd&gt;f&lt;/kbd&gt;&lt;kbd&gt;,&lt;/kbd&gt; (and optionally &lt;kbd&gt;down arrow&lt;/kbd&gt;) over and over. Note that you have to hit &lt;kbd&gt;x&lt;/kbd&gt; before you hit &lt;kbd&gt;f&lt;/kbd&gt; because once you hit &lt;kbd&gt;f&lt;/kbd&gt; it sets the focus to the viewer window (you can jump back to the timeline by hitting &lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;3&lt;/kbd&gt;).&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Note that this works with FCP too&lt;/strong&gt;, except you replace &lt;kbd&gt;,&lt;/kbd&gt; with &lt;kbd&gt;F10&lt;/kbd&gt;, and you have to press the down arrow each time.&#xA;My goal with all NLEs has always been to edit completely from the keyboard, using the mouse as little as possible.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-01-15T02:08:37.340" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="14568" PostTypeId="2" ParentId="14558" CreationDate="2015-01-14T14:31:57.217" Score="2" Body="&lt;p&gt;When you're talking about manually extracting a matte, you really should be looking at &quot;rotoscoping&quot; software, and not limiting yourself to chroma keying.  Mocha is built into after effects and is a good tool for this purpose, but if your machine's too old to run it, you should research whatever rotoscoping software was state of the art when your computer was new.  Rotoscoping is a tedious process, and it's nowhere near as convenient or quick as chroma keying, but sometimes (such as perhaps in your case) you don't have that option.  I'd recommend watching some tutorials on it to decide if that's a direction you really want to take.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-01-14T14:31:57.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14569" PostTypeId="1" CreationDate="2015-01-04T19:56:31.993" Score="4" ViewCount="616" Body="&lt;p&gt;I created a light in After Effects. My &lt;strong&gt;preview works&lt;/strong&gt; as expected:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/pvNpM.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if I render my composition as a mp4 file, I get these strange &lt;strong&gt;gradations errors&lt;/strong&gt;: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/rzD2s.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried every option in the comp settings, but the error still appears. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I can do to get rid of it?&lt;/p&gt;&#xA;" OwnerDisplayName="Maisara Abdulhaq" LastEditorUserId="6685" LastEditDate="2015-01-15T09:40:57.807" LastActivityDate="2015-01-15T09:40:57.807" Title="After Effects - How to avoid annoying gradations if I render a mp4?" Tags="|after-effects|animation-rendering|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14570" PostTypeId="2" ParentId="14569" CreationDate="2015-01-04T21:11:19.387" Score="5" Body="&lt;p&gt;That's called: Banding. About &lt;strong&gt;Color Banding&lt;/strong&gt; from &lt;a href=&quot;http://en.wikipedia.org/wiki/Colour_banding&quot;&gt;Wikipedia&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Colour banding is a problem of inaccurate colour presentation in computer graphics. In 24 bit colour modes, 8 bits per channel is usually considered sufficient to render images in Rec. 709 or sRGB. However, in some cases there is a risk of producing abrupt changes between shades of the same colour. For instance, displaying natural gradients (like sunsets, dawns or clear blue skies) can show minor banding.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In your case I assume that this is a compression issue. Movie containers like: mov, avi or mp4 only can have 8bit, but the preview is in 16bit or 32bit. If you render a &lt;strong&gt;image&lt;/strong&gt; format that supports 16bit or 32bit (preferably exr, tga, tiff) &lt;strong&gt;instead of a video&lt;/strong&gt; you should see no difference to your preview screenshot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The simplest way to avoid banding is to &lt;strong&gt;add grain&lt;/strong&gt; to your video. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;One option is to use &lt;strong&gt;generated grain&lt;/strong&gt; shipped by default with After Effects. Just typing &lt;code&gt;Add Grain&lt;/code&gt; in the &lt;code&gt;Effects &amp;amp; Presets window&lt;/code&gt; and apply this effect to your final comp. Note: A Intensity value of 0.37 or 0.4 should be enough to remove the banding and makes the effect not noticeable. &lt;/li&gt;&#xA;&lt;li&gt;Another option is to use scanned &lt;strong&gt;film grain&lt;/strong&gt; from real cameras &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6685" OwnerDisplayName="poor" LastActivityDate="2015-01-04T21:54:58.927" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="14571" PostTypeId="2" ParentId="14550" CreationDate="2015-01-15T02:33:28.917" Score="4" Body="&lt;p&gt;This looks like a bug in Nuke's &lt;code&gt;ParticleBounce&lt;/code&gt; node. The &lt;code&gt;geometry&lt;/code&gt; input is new to Nuke 9, which was released pretty recently.&lt;/p&gt;&#xA;&lt;p&gt;That said, the bug seems to manifest only in this idealized environment of two spheres. The first sphere (radius 1) emits the particles, and the second sphere (radius 3) kills them. It is likely because of the exact alignment between vertices that causes it to penetrate.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Rotating one of the two spheres 0.1 degrees on each axis solves the problem&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;In theory, the &amp;quot;real world&amp;quot; wouldn't see this bug as frequently, but I've submitted this bug report to The Foundry.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h2&gt;Response from The Foundry&lt;/h2&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Thanks very much for providing reproduction script, we can see the&#xA;problem easily. Your comments and script are logged:&lt;/p&gt;&#xA;&lt;p&gt;Bug 47417 - ParticleBounce - Leaks with static primitive geometry&#xA;input in some cases&lt;/p&gt;&#xA;&lt;p&gt;We recommend checking upcoming release notes for updates on this&#xA;issue.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="6391" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-01-26T22:27:43.910" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14572" PostTypeId="1" AcceptedAnswerId="14580" CreationDate="2015-01-15T07:22:50.977" Score="1" ViewCount="438" Body="&lt;p&gt;I am working on a project involving live streaming. My goal is to reach a data rate of no more than 200 - 267 kb/s when streaming. Is it possible to reach such low rate while keeping an acceptable fps and resolution? If so what would the fps and frame resolution?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, what compression method will I need to use? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="9128" LastEditorUserId="1950" LastEditDate="2015-01-19T13:05:21.100" LastActivityDate="2015-01-19T13:05:21.100" Title="Need to reach a low data rate of about 1.5 - 2 MB/min (200 - 267 kb/s)" Tags="|file-formats|compression|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="14573" PostTypeId="2" ParentId="13443" CreationDate="2015-01-15T09:16:12.313" Score="2" Body="&lt;p&gt;A lossless codec that can read/write yuv 4:2:0 samples is logically like zip for the bytes of video data.  You get literally identical (same md5 hash, byte-for-byte identical) output back after decompressing.  That is the definition of lossless.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See my answer to &lt;a href=&quot;https://superuser.com/questions/347433/how-to-create-an-uncompressed-avi-from-a-series-of-1000s-of-png-images-using-ff/864520#864520&quot;&gt;https://superuser.com/questions/347433/how-to-create-an-uncompressed-avi-from-a-series-of-1000s-of-png-images-using-ff/864520#864520&lt;/a&gt; for an example of compressing and then verifying losslessness with ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We all know converting between RGB and YUV is lossy, but even upsampling the chroma and then downsampling again is not necessarily lossless.  &lt;a href=&quot;http://forum.videohelp.com/threads/318382-Lagarith-or-x264-lossless?s=e30331c6a8beff0a6fe69b460f6388cb&amp;amp;p=1972486&amp;amp;viewfull=1#post1972486&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here's a post&lt;/a&gt; in a discussion about the lossyness of storing 4:2:0 video by upsampling to 4:2:2 for huffyuv.  Depending on the upsampling algorithm, downsampling again might round differently in the last bit.  (jagabo on that forum knows what he's talking about, not everyone else does.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So use &lt;code&gt;libx264 -qp 0 -preset ultrafast&lt;/code&gt;, or &lt;code&gt;utvideo&lt;/code&gt; for lossless tmp files, if you don't have a raid array of scratch space for uncompressed temporary files.  They both support all relevant pixel formats (rgb, 444, 422, and 420), and are fast.  IDK about higher bit-depth support in utvideo, but x264 does support it.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2017-03-20T10:04:28.637" LastActivityDate="2015-01-15T09:16:12.313" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14574" PostTypeId="2" ParentId="12159" CreationDate="2015-01-15T09:33:42.733" Score="2" Body="&lt;p&gt;It takes a lot of bits to accurately, or nearly-accurately reproduce the input pixels, regardless of what they contain.  The only exception is low-complexity stuff like a screen capture or animation, where big areas are EXACTLY the same colour, and/or at bit-for-bit identical from frame to frame.&lt;/p&gt;&#xA;&lt;p&gt;The difference between your intuition and real life comes from the fact that it's complexity as measured by a computer, not human-perceived visual complexity / quality, that codecs operate on.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Compressing the noise&lt;/strong&gt; is where all the bits are going.  A round trip through a lossy codec will actually decrease the compressibility of animation, because the blurring and especially blocking artifacts are then input that you're asking the next codec to reproduce.&lt;/p&gt;&#xA;&lt;p&gt;If there was a way to pick out just the image you want to see from the VHS noise and MPEG blocking artifacts on a typical capture, i.e. find just the complexity you want to keep, and throw away everything else, it would be the Holy Grail of computer video.  It would be by definition the perfect denoise filter, as well as something you could build a ridiculously efficient codec around.&lt;/p&gt;&#xA;&lt;p&gt;All we have now are rough approximations that try to guess what's important to keep based on DCT coefficients or wavelets, and similar measures.  (e.g. high energy in higher coefficients means there are probably some edges here, so it would be worse than usual to distort this 16x16 pixel block of the picture).&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-01-15T09:33:42.733" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14575" PostTypeId="2" ParentId="7903" CreationDate="2015-01-15T10:03:38.860" Score="5" Body="&lt;p&gt;To expand on LordNeckbeard's answer, yes, just mux the JPEG data into an MJPEG video stream.  That will be the smallest representation of the exact sequence of output images, even though MJPEG is a terribly inefficient codec by today's standards.  (no temporal redundancy, and not even any intra prediction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can make a variable-framerate MJPEG video to take advantage of the duplicate images in your input.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -i input%03d.jpg -vf mpdecimate -codec copy output.mkv  # doesn't work.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Hrm, this isn't going to work, since mpdecimate won't work on compressed data, and we can't let ffmpeg decode and then re-jpeg the image data without loss and CPU cost.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe if you replaced duplicate jpg source files with empty files with that sequence number, or something?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since this question isn't even recent, I'm not going to take the time to figure out how to do it unless someone replies to ask how.  But since MJPEG can go into an mkv container, I'm sure it's possible to have a file that doesn't duplicate the jpeg data for repeated frames, but instead just doesn't have an output frame to decode until the sequence of duplicates is over.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oh here's an idea:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate blah -input blah -vf mpdecimate -f mkvtimestamp_v2 mpdecimate.timestamps&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then remove (or move aside) all the jpegs for frames that mpdecimate wants to drop (probably it has some logging options?  Or -vf showinfo, and parse that, and move or hardlink only the frames that show up in its output, leaving behind the dropped JPEGs?).  mux that to a MJPEG.mkv, then do something with mkvmerge to replace the frame timestamps in that with the timestamps from &lt;code&gt;mpdecimate.timestamps&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you were xcoding, instead of just muxing jpeg data to MJPEG, this would be MUCH easier, since you'd just use my first command with mpdecimate and any codec other than &lt;code&gt;copy&lt;/code&gt;, and it would Just Work(tm).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't tried any of this, since this was an old question.  Also the reason I haven't filled in the gaps of how to actually filter your directory of jpegs based on mpdecimate output, or how to actually use the timestamp stream.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-01-15T10:03:38.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14576" PostTypeId="2" ParentId="4642" CreationDate="2015-01-15T10:25:05.330" Score="2" Body="&lt;p&gt;In the special case of jpeg input, you can do it losslessly by just muxing the data into an MJPEG stream, saving huge amounts of CPU time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/7903/ffmpeg-how-to-losslessly-encode-many-jpg-images-to-a-video/14575#14575&quot;&gt;How to losslessly encode a jpg image sequence to a video in ffmpeg?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You're probably doing some kind of video editting on the results, so don't skimp on the quality of the files you make.  Prob. best to use lossless x264 (&lt;code&gt;ffmpeg -i input -c:v libx264rgb -preset ultrafast -qp 0&lt;/code&gt;), or utvideo, for your non-jpeg inputs.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-01-15T10:25:05.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14578" PostTypeId="2" ParentId="12712" CreationDate="2015-01-15T11:11:02.183" Score="1" Body="&lt;p&gt;Like others have said, just load your video in anything and play with the brightness effects.  Even a gamma curve could do the trick.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or save a frame of the video where you can see anything at all, and play with that in a still-image program like imview, and play with the brightness / contrast / gamma to see if there's anything still there worth looking at.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-01-15T11:11:02.183" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14579" PostTypeId="2" ParentId="12212" CreationDate="2015-01-15T11:44:20.813" Score="2" Body="&lt;p&gt;If you don't have a high-bit-depth video card and monitor, you then you can just make a temporary lossless file for viewing that will put the same pixels on your monitor:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -codec copy -pix_fmt yuv420p -c:v libx264 -qp 0 -preset ultrafast -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or &lt;code&gt;-c:v utvideo&lt;/code&gt; might be faster to encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or if you have a fast enough storage setup, &lt;code&gt;-c:v yuv4&lt;/code&gt; (raw yuv420 planar).  You may need to put that in an mkv container, if ffmpeg can't mux that into an mp4.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-01-15T11:44:20.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14580" PostTypeId="2" ParentId="14572" CreationDate="2015-01-15T13:06:07.693" Score="2" Body="&lt;p&gt;summary: yes, depending on content, with a good encoder h.264 can look pretty good at 240kib/s video bitrate, at NTSC 720x480p30.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With modern codecs, you don't need to downscale the rez too far.  If there isn't a lot of noise in your source, you're just putting the same complexity into fewer pixels.  You shouldn't encode 1080p at 270kb/s, though :P.  There is overhead to having more macroblocks, and diluting the complexity across too many pixels probably means worse results from quantizing the DCT coefficients.  Lower resolution lets you turn up the CPU-usage knob on your codec while still being realtime, though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a test encode, I have a lossless source of the &lt;a href=&quot;https://www.youtube.com/watch?v=JHVkegpW_ok&quot; rel=&quot;nofollow&quot;&gt;sintel trailer&lt;/a&gt;.  (3D animation with fades between scenes, and significant amount of changeless).  So it's probably actually a really bad test case...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i sintel.y4m -pix_fmt yuv420p -vf crop=1920:816:0:132,scale=640:-1 -ssim 1 -psnr -tune animation -preset slow -b:v 270k 640x272.x264.270k.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That does quite well, with an average QP of 18.03(I) / 23.44(P) / 24.93(B).  SSIM Mean Y:0.9852979, PSNR Global:44.801 at 231.37 kib/s.  (a still section at the end leaves x264 undershooting the target bitrate for one-pass).  I left psy optimizations enabled, so x264 is trying to do what looks best, not what scores highest on SSIM or PSNR.  Just useful as a ballpark figure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a live-action source that's not too noisy.  I picked a portion that just has one actor moving around on stage, everyone else standing still, and no camera motion.  So it might be similar in compressibility to a someone talking while looking at a webcam, in front of a mostly-constant background.  (stuff like this matters a LOT for compressibility).  About 1/3 of the screen is black background.  (so black the encoder knows you can't see anything, and hardly spends any bits, I assume.)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 2410 -t 30 -i vid.yadif3.1,mcdeint3.1.10.ffvhuff.mkv -c:a opus -b:a 32k -pix_fmt yuv420p -r 30 -vf framestep=2 -ssim 1 -psnr  -preset slow -b:v 240k  2410+30.slow.opus.230k.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Source is 60p deinterlace output, from NTSC DV or something.  Anyway, with those ffmpeg options, it stays as 720x480@30p (with non-square pixels, display aspect ratio = 16:9).  Output looks pretty darn good considering the bitrate, and the singing sounds good, but has some artifacts.  (audio source is not noisy, and there's no accompaniment, just soloist + chorus.)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frame=  900 fps= 35 q=-1.0 LPSNR=Y:inf U:inf V:inf *:inf size=     990kB time=00:00:30.01 bitrate= 270.3kbits/s&#xA;video:854kB audio:120kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.635424%&#xA;[libx264 @ 0x2400360] frame I:4     Avg QP:22.63  size: 23294  PSNR Mean Y:44.02 U:48.68 V:47.86 Avg:45.00 Global:42.71&#xA;[libx264 @ 0x2400360] frame P:239   Avg QP:22.23  size:  2492  PSNR Mean Y:43.64 U:48.67 V:47.52 Avg:44.67 Global:44.47&#xA;[libx264 @ 0x2400360] frame B:657   Avg QP:24.97  size:   282  PSNR Mean Y:43.38 U:48.52 V:47.37 Avg:44.43 Global:44.24&#xA;[libx264 @ 0x2400360] consecutive B-frames:  0.6%  0.0% 19.0% 80.4%&#xA;[libx264 @ 0x2400360] mb I  I16..4: 27.0% 58.0% 15.0%&#xA;[libx264 @ 0x2400360] mb P  I16..4:  0.2%  0.4%  0.1%  P16..4: 22.1%  5.1%  6.7%  0.0%  0.0%    skip:65.4%&#xA;[libx264 @ 0x2400360] mb B  I16..4:  0.0%  0.0%  0.0%  B16..8: 12.5%  0.4%  0.1%  direct: 0.1%  skip:87.0%  L0:23.6% L1:74.4% BI: 2.1%&#xA;[libx264 @ 0x2400360] final ratefactor: 22.98&#xA;[libx264 @ 0x2400360] 8x8 transform intra:59.0% inter:71.2%&#xA;[libx264 @ 0x2400360] direct mvs  spatial:99.7% temporal:0.3%&#xA;[libx264 @ 0x2400360] coded y,uvDC,uvAC intra: 50.7% 48.1% 24.7% inter: 2.8% 5.1% 0.2%&#xA;[libx264 @ 0x2400360] i16 v,h,dc,p: 36% 38%  7% 19%&#xA;[libx264 @ 0x2400360] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 15%  4% 22%  8% 12% 11% 12%  8%  8%&#xA;[libx264 @ 0x2400360] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 14%  3%  5% 12% 15% 16% 12% 12% 10%&#xA;[libx264 @ 0x2400360] i8c dc,h,v,p: 48% 27% 18%  7%&#xA;[libx264 @ 0x2400360] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0x2400360] ref P L0: 66.9%  8.4% 14.9%  3.5%  4.6%  1.6%&#xA;[libx264 @ 0x2400360] ref B L0: 85.5% 10.8%  2.9%  0.8%&#xA;[libx264 @ 0x2400360] ref B L1: 92.3%  7.7%&#xA;[libx264 @ 0x2400360] SSIM Mean Y:0.9730952 (15.702db)&#xA;[libx264 @ 0x2400360] PSNR Mean Y:43.450 U:48.564 V:47.412 Avg:44.498 Global:44.292 kb/s:232.89&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And 35fps on my E6600 (2.4GHz dual core first-gen c2duo) is not bad.  If you're trying to live-stream from a phone, you're going to be much more constrained, though.  You could use lower rez or lower framerate (25 fps, or 24, or 20?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was actually surprised at how well x264 did with &lt;code&gt;-preset veryfast&lt;/code&gt;.  I guess on this content, even &lt;code&gt;veryfast&lt;/code&gt; finds most of the same redundancy to eliminate.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frame=  900 fps= 90 q=-1.0 LPSNR=Y:inf U:inf V:inf *:inf size=     994kB time=00:00:30.01 bitrate= 271.5kbits/s    &#xA;video:859kB audio:120kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.612045%&#xA;[libx264 @ 0x37b6420] frame I:4     Avg QP:21.51  size: 24840  PSNR Mean Y:44.16 U:48.09 V:47.20 Avg:44.99 Global:42.15&#xA;[libx264 @ 0x37b6420] frame P:227   Avg QP:21.22  size:  2649  PSNR Mean Y:43.57 U:48.08 V:46.72 Avg:44.50 Global:44.26&#xA;[libx264 @ 0x37b6420] frame B:669   Avg QP:22.30  size:   267  PSNR Mean Y:43.32 U:48.04 V:46.67 Avg:44.29 Global:44.02&#xA;[libx264 @ 0x37b6420] consecutive B-frames:  0.9%  0.0%  0.0% 99.1%&#xA;[libx264 @ 0x37b6420] mb I  I16..4: 24.0% 45.9% 30.1%&#xA;[libx264 @ 0x37b6420] mb P  I16..4:  1.4%  2.8%  0.1%  P16..4: 20.9%  4.2%  3.1%  0.0%  0.0%    skip:67.5%&#xA;[libx264 @ 0x37b6420] mb B  I16..4:  0.1%  0.2%  0.0%  B16..8:  1.7%  0.6%  0.1%  direct: 2.1%  skip:95.2%  L0:23.9% L1:45.7% BI:30.3%&#xA;[libx264 @ 0x37b6420] final ratefactor: 20.78&#xA;[libx264 @ 0x37b6420] 8x8 transform intra:60.6% inter:38.4%&#xA;[libx264 @ 0x37b6420] coded y,uvDC,uvAC intra: 39.1% 40.2% 10.5% inter: 2.7% 3.1% 0.1%&#xA;[libx264 @ 0x37b6420] i16 v,h,dc,p: 73% 11% 13%  3%&#xA;[libx264 @ 0x37b6420] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 12%  7% 73%  1%  1%  1%  2%  1%  1%&#xA;[libx264 @ 0x37b6420] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 31% 13% 14%  5%  8%  9%  8%  6%  6%&#xA;[libx264 @ 0x37b6420] i8c dc,h,v,p: 76%  8% 15%  1%&#xA;[libx264 @ 0x37b6420] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0x37b6420] SSIM Mean Y:0.9737951 (15.816db)&#xA;[libx264 @ 0x37b6420] PSNR Mean Y:43.390 U:48.047 V:46.685 Avg:44.343 Global:44.068 kb/s:234.13&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;bitrate ended up 2kib/s higher, with about the same PSNR, and higher SSIM.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With &lt;code&gt;-tune ssim&lt;/code&gt; to disable psychovisual optimizations (don't do this for real use),&lt;br&gt;&#xA;veryfast gets: Y-SSIM: 15.891db, PSNR Global:44.294, kb/s:233.26.&lt;br&gt;&#xA;slow gets: Y-SSIM: 16.097db, PSNR Global:44.752, kb/s:232.86&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So that's what x264 can do with h.264 High@L3.0 profile, at 0.023 bits/pixel/frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;tested x265:&lt;br&gt;&#xA;&lt;code&gt;ffmpeg -ss 2410 -t 30 -i vid.yadif3.1,mcdeint3.1.10.ffvhuff.mkv -c:a opus -b:a 32k -pix_fmt yuv420p -r 30 -vf framestep=2 -ssim 1 -psnr -c:v libx265 -preset slow -b:v 240k -aspect 16:9 x265.2410+30.slow.opus.230k.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-68044-gb9dd809 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built on Jan 14 2015 23:21:08 with gcc 4.8 (Ubuntu 4.8.2-19ubuntu1)&#xA;  configuration: --enable-gpl --enable-version3 --enable-nonfree --disable-doc --disable-ffserver --enable-libbluray --enable-libschroedinger --enable-libtheora --enable-libx264 --enable-libx265 --enable-libmp3lame --enable-libopus --enable-libwebp --enable-libvpx --disable-outdev=oss --disable-indev=oss --disable-encoder=vorbis --enable-libvorbis --enable-libfdk-aac --disable-encoder=aac --disable-decoder=jpeg2000 --enable-libvidstab&#xA;  libavutil      54. 16.100 / 54. 16.100&#xA;  libavcodec     56. 20.100 / 56. 20.100&#xA;  libavformat    56. 18.101 / 56. 18.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5.  7.101 /  5.  7.101&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, matroska,webm, from 'vid.yadif3.1,mcdeint3.1.10.ffvhuff.mkv':&#xA;  Metadata:&#xA;    ENCODER         : Lavf56.15.102&#xA;  Duration: 01:22:11.94, start: 0.000000, bitrate: 95843 kb/s&#xA;    Stream #0:0: Video: ffvhuff (FFVH / 0x48564646), yuv420p, 720x480, SAR 186:157 DAR 279:157, 59.94 fps, 59.94 tbr, 1k tbn, 1k tbc (default)&#xA;    Metadata:&#xA;      ENCODER         : Lavc56.14.100 ffvhuff&#xA;    Stream #0:1: Audio: ac3, 48000 Hz, stereo, fltp, 192 kb/s (default)&#xA;Codec AVOption ssim (Calculate and print SSIM stats.) specified for output file #0 (x265.2410+30.veryfast.opus.230k.mkv) has not been used for any stream. The most likely reason is either wrong type (e.g. a video option with no video streams) or that it is a private option of some encoder which was not actually used for any stream.&#xA;x265 [info]: HEVC encoder version 1.4+286-a12080554342&#xA;x265 [info]: build info [Linux][GCC 4.8.2][64 bit] 8bpp&#xA;x265 [info]: using cpu capabilities: MMX2 SSE2Fast SSSE3 Cache64 SlowShuffle&#xA;x265 [warning]: --psnr used with AQ on: results will be invalid!&#xA;x265 [warning]: --tune psnr should be used if attempting to benchmark psnr!&#xA;x265 [info]: Main profile, Level-3 (Main tier)&#xA;x265 [info]: WPP streams / frame threads / pool  : 15 / 1 / 2&#xA;x265 [info]: CTU size / RQT depth inter / intra  : 32 / 1 / 1&#xA;x265 [info]: ME / range / subpel / merge         : hex / 57 / 1 / 2&#xA;x265 [info]: Keyframe min / max / scenecut       : 25 / 250 / 40&#xA;x265 [info]: Lookahead / bframes / badapt        : 15 / 4 / 0&#xA;x265 [info]: b-pyramid / weightp / weightb / refs: 1 / 1 / 0 / 1&#xA;x265 [info]: Rate Control / AQ-Strength / CUTree : ABR-240 kbps / 1.0 / 0&#xA;x265 [info]: tools: rd=2 early-skip deblock sao signhide fast-intra tmvp &#xA;Output #0, matroska, to 'x265.2410+30.veryfast.opus.230k.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf56.18.101&#xA;    Stream #0:0: Video: hevc (libx265), yuv420p, 720x480 [SAR 32:27 DAR 16:9], q=2-31, 240 kb/s, 30 fps, 1k tbn, 30 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc56.20.100 libx265&#xA;    Stream #0:1: Audio: opus (libopus) ([255][255][255][255] / 0xFFFFFFFF), 48000 Hz, stereo, flt, 32 kb/s (default)&#xA;    Metadata:&#xA;      encoder         : Lavc56.20.100 libopus&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (ffvhuff (native) -&amp;gt; hevc (libx265))&#xA;  Stream #0:1 -&amp;gt; #0:1 (ac3 (native) -&amp;gt; opus (libopus))&#xA;Press [q] to stop, [?] for help&#xA;frame=  900 fps= 24 q=0.0 LPSNR=Y:inf U:inf V:inf *:inf size=     998kB time=00:00:30.01 bitrate= 272.4kbits/s    &#xA;video:861kB audio:120kB subtitle:0kB other streams:0kB global headers:1kB muxing overhead: 1.713292%&#xA;x265 [info]: frame I:      4, Avg QP:21.87  kb/s: 5097.48   PSNR Mean: Y:43.899 U:48.345 V:47.187  SSIM Mean: 0.968502 (15.017dB)&#xA;x265 [info]: frame P:    177, Avg QP:18.74  kb/s: 710.27    PSNR Mean: Y:43.347 U:48.274 V:47.041  SSIM Mean: 0.973469 (15.763dB)&#xA;x265 [info]: frame B:    719, Avg QP:20.83  kb/s: 89.99     PSNR Mean: Y:43.113 U:48.231 V:47.010  SSIM Mean: 0.972552 (15.615dB)&#xA;x265 [info]: global :    900, Avg QP:20.42  kb/s: 234.24    PSNR Mean: Y:43.163 U:48.240 V:47.017  SSIM Mean: 0.972714 (15.641dB)&#xA;x265 [info]: Weighted P-Frames: Y:0.0% UV:0.0%&#xA;x265 [info]: consecutive B-frames: 0.6% 0.0% 0.0% 0.6% 98.9% &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(Note that I needed &lt;code&gt;-x265-params ssim=1&lt;/code&gt;, because the ffmpeg libx265 interface doesn't pick up a lot of the commandline options.)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    slow: 253.245kbit/s fps=1.7  Y PSNR:44.228 unknown SSIM, forgot to turn it on&#xA;veryfast: 244.347kbit/s fps= 24  Y PSNR:43.163 15.641dB SSIM.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;perceptually, the x265 veryfast output has less blocking than the x264 slow output.  I think x265 looks better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;x264 and x265 both from the git / hg repos, updated Jan 10th.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-01-15T13:34:04.737" LastActivityDate="2015-01-15T13:34:04.737" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="14582" PostTypeId="1" CreationDate="2015-01-15T14:48:12.307" Score="3" ViewCount="4476" Body="&lt;p&gt;I recorded two tutorial videos using Hypercam, and then edited them with Windows Live Movie Maker, both of which exported &quot;For High Definition Display&quot;(or something like that), but when I uploaded them to YouTube, for some reason, one of them has HD up to 1080p, but one of them has no HD and only goes up to 360p, why is that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;NOTE: The video file itself, the one I uploaded to youtube, is in HD, so why isn't in HD on YouTube?&lt;/p&gt;&#xA;" OwnerUserId="9130" LastEditorUserId="2836" LastEditDate="2015-01-15T22:33:36.643" LastActivityDate="2015-01-15T22:34:09.830" Title="Why are some of my videos I just uploaded to Youtube in HD and some aren't?" Tags="|video|youtube|screen-casting|full-hd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14583" PostTypeId="2" ParentId="14582" CreationDate="2015-01-15T14:51:43.860" Score="2" Body="&lt;p&gt;Apparently Youtube took some extra time to process the HD. Both are showing in HD now.&lt;/p&gt;&#xA;" OwnerUserId="9130" LastEditorUserId="2836" LastEditDate="2015-01-15T22:34:09.830" LastActivityDate="2015-01-15T22:34:09.830" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14584" PostTypeId="2" ParentId="12886" CreationDate="2015-01-15T14:53:19.263" Score="4" Body="&lt;p&gt;Modern video codecs are already very good at dealing with temporal redundancy.  You probably don't need to do anything extra unless you're targetting an extremely low bitrate.  You could probably go down to 10fps without having things look bad, and that should help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess you want to leave the resolution fairly high, so it's easy to read the chalk board.  Downscale to maybe 720p or even 480p.  Unless you have a really fancy camera, there will probably be noise in the images, and the noise is input data that a video codec will try to faithfully reproduce, costing more bitrate.  So downscale as much as you can without starting to lose useful detail, to minimize the non-useful detail in the input.  e.g. &lt;code&gt;-vf scale=-1:480&lt;/code&gt; to scale to 480 pixels high, with width to keep aspect ratio the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Capture something high bitrate / high quality, then take it home and&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mp4  -c:a opus -b:a 40k -pix_fmt yuv420p -c:v libx264 -preset slower -x264-params keyint=1000:nr=200 -crf 25  output.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(links to docs in Professor Sparkles' answer.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use a higher crf for less quality / smaller files.  Using a denoise filter on the input before feeding it to x264 could help, too, or just use x264's builtin noise reduction.  (which is done in a way that will help compression the most).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adjust the target bitrate for opus if you want more audio quality.  40kib/s should be ok for speech.  If your video player will only seek to keyframes (instead of decoding to the seek target from the previous keyframe), you might find &lt;code&gt;keyint=1000&lt;/code&gt; is a bit too high.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could play around with &lt;code&gt;-vf mpdecimate&lt;/code&gt; to make VFR video and not even send similar frames to the encoder, that doesn't save much unless you turn up the similarity threshold to the point where the video would look like it got stuck for a sec.  Or if motion smoothness isn't important, you could use &lt;code&gt;-vf framestep=2&lt;/code&gt; to drop every other frame.  And then I think you need to use -r 15 if your input was 30fps, or ffmpeg will be confused.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;x265 takes way more CPU to encode and play back, but looks even better than x264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VP9 is also an option.  I was just looking at it, and there's a &lt;code&gt;--enable-vp9-temporal-denoising&lt;/code&gt; build option.  That might help vp9 decide that the differences between frames in much of the picture are just noise, and not encode them at all.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-01-15T14:53:19.263" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14585" PostTypeId="2" ParentId="1730" CreationDate="2015-01-15T15:16:27.750" Score="2" Body="&lt;p&gt;Lossless requires such high bitrates that I have more trouble playing back lossless video than 5Mib/s lossy h.264, on my C2Duo (first gen) E6600, 2.4GHz.  lossy 5Mib/s 1080p h.264 at 24fps plays perfectly without even having to use mplayer's &lt;code&gt;-lavdopts threads=2&lt;/code&gt; option.  (single-threaded software decoding is enough.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My system isn't fast enough to play lossless h.264 RGB, or RGB utvideo.  It actually can just barely play back the directory of PNG files of the Sintel trailer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;raw video takes even more space than losslessly-compressed.  If your SSD or raid array can read fast enough to play it back in realtime, great.  Otherwise, only useful for things like feeding a slower-than-realtime video encoding or filtering job that's CPU limited, and you don't want to use any CPU time decoding the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd imagine you'd have better luck just feeding your mkv sources into your NLE, unless you want to accept some lossyness.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-01-15T15:16:27.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14586" PostTypeId="2" ParentId="7350" CreationDate="2015-01-15T15:27:09.740" Score="0" Body="&lt;p&gt;Use ffmpeg's concat filter to concatenate multiple &lt;code&gt;-i dir/foo%d.png&lt;/code&gt; input sources into a single output video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Old question so not taking time to dig up links or write more.  Just google.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-01-15T15:27:09.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14587" PostTypeId="2" ParentId="6902" CreationDate="2015-01-15T15:59:14.350" Score="4" Body="&lt;p&gt;h.264 supports various color info in the bitstream.  From &lt;code&gt;x264 --fullhelp&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;--range &amp;lt;string&amp;gt;        Specify color range [&quot;auto&quot;]&#xA;                      - auto, tv, pc.&#xA;--colorprim &amp;lt;string&amp;gt;    Specify color primaries [&quot;undef&quot;]&#xA;                      - undef, bt709, bt470m, bt470bg, smpte170m,&#xA;                        smpte240m, film, bt2020.&#xA;--transfer &amp;lt;string&amp;gt;     Specify transfer characteristics [&quot;undef&quot;]&#xA;                      - undef, bt709, bt470m, bt470bg, smpte170m,&#xA;                        smpte240m, linear, log100, log316,&#xA;                        iec61966-2-4, bt1361e, iec61966-2-1,&#xA;                        bt2020-10, bt2020-12.&#xA;--colormatrix &amp;lt;string&amp;gt;  Specify color matrix setting [&quot;???&quot;]&#xA;                      - undef, bt709, fcc, bt470bg, smpte170m,&#xA;                        smpte240m, GBR, YCgCo, bt2020nc, bt2020c.&#xA;--chromaloc &amp;lt;integer&amp;gt;   Specify chroma sample location (0 to 5) [0].&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So I don't think you can embed a custom color profile, but you can indicate which standard one the decoder should use to produce RGB pixel values.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought some container formats could hold info on colorspaces, too, but maybe not.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="17929" LastEditDate="2017-02-03T14:42:25.837" LastActivityDate="2017-02-03T14:42:25.837" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14589" PostTypeId="1" CreationDate="2015-01-15T19:42:43.947" Score="7" ViewCount="1536" Body="&lt;p&gt;My machines are a few Android tablets (not the newest, but not too old either) as well as a Mac running OS X 10.9.5 (not about to upgrade the OS - long and &lt;em&gt;irrelevant&lt;/em&gt; story why). Sometimes I do a presentation where I record separately the video track and the audio track - and then selectively speed-and-slow parts of the video track to sync with the audio --- thereby producing something &lt;em&gt;similar&lt;/em&gt; to whiteboard animation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's my question. The current way I do the speeding-up and slowing-down is through iMovie -- where I load the video, strip the audio that comes with me (which is just the sounds that are in the room at the time) load the audio that it is meant to &lt;em&gt;go&lt;/em&gt; with --- and then I split the video clip at the right places, and for each segment, adjust the speed manually, thereby getting the video to sync with the audio. It's a slightly tedious process --- and I'd like something a tad more efficient. Say, something that would allow me to select key points where I map the audio track to a corresponding key point in the video track -- and maybe let the program then automatically speed-up and slow-down the video segments &lt;em&gt;between&lt;/em&gt; those key-points so that things sync. Would make the process much less tedious.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the thing though -- I am on a very limited budget -- and therefore, if the only options for something like this are too expensive, I probably will then just go on doing it the way I'm currently doing it through iMovie (which is tedious - but gets the job done). I can spend a &lt;em&gt;little&lt;/em&gt; money, but something &lt;em&gt;expensive&lt;/em&gt; is just out-of-the-question for me - and will remain so for a while it looks like. I'd like to have more money to spend on expensive tools (and if I had such money, I would have been using FinalCut Pro rather than iMovie for example) but the reality of the situation is that I &lt;em&gt;don't&lt;/em&gt; have much money to spend.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So --- any suggestions what tool I can use to more-easily speed-slow the segments of the video track to sync with the audio track?&lt;/p&gt;&#xA;" OwnerUserId="9132" LastActivityDate="2018-11-04T23:00:25.630" Title="Most-efficient inexpensive way to speed/slow video track to sync with audio track?" Tags="|editing|audio|software-recommendation|software|sync|" AnswerCount="5" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14590" PostTypeId="1" AcceptedAnswerId="14593" CreationDate="2015-01-15T19:31:27.067" Score="2" ViewCount="128" Body="&lt;p&gt;What economy equipment is needed to record an educational event being presented in a classroom under florescent lighting with no exterior windows?   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am envisioning two hd-camcorders, each tripod mounted with one pointed at the podium and the other at the projected screen where supporting presentations may be shown.  I hope to capture two streams of the event simultaneously so that I can switch between speaker and stream during post-production.  I am also considering capturing a separate audio track using a digital voice recorder sitting on the podium.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm more interested in the clarity of the captured image than the color balance under florescence.  The screen contents may include small text that should be readable in the final HD video.  My only other consideration is that the camcorders have removable batteries and recording media (sdram, etc.) so that I can record multiple one hour events during the course of the day.&lt;/p&gt;&#xA;" OwnerUserId="9133" OwnerDisplayName="Henry Taylor" LastEditorUserId="9133" LastEditDate="2015-01-15T20:38:20.087" LastActivityDate="2015-01-16T17:36:48.180" Title="Equipment for video recording in a florescent lighted classroom" Tags="|lighting|camcorder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14592" PostTypeId="1" CreationDate="2015-01-15T20:45:08.427" Score="5" ViewCount="2338" Body="&lt;p&gt;I'm after a very specific effect and I haven't found an effective way to accomplish it.  Basically, I want dots to appear along a path and disappear over time.  The dots should not move after they're born, only fade out via alpha channel.  It's important that this is an actual alpha transformation, not just a color blend, because I plan to overlay this graphic on different source videos.  The paths also need to be easily editable and there will be hundreds of dots, so individual layers for each dot is out of the question.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best way I can describe the effect I'm after is: Imagine a person walking through the snow, the footprints appear instantly, and fade out over time.  I've seen plenty of tutorials on creating a series of elements which follow each other, as if you're dragging a string of pearls, but this is &lt;strong&gt;not&lt;/strong&gt; what I'm after.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried After Effects, and it's easy enough to make a dotted line with a shape layer, but a gradient stroke doesn't follow the path, or give me control over start position, end position, or offset.  (here's an illustration of the problem)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/7Tjtt.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've also tried using Cinema 4D and mograph, but keep running into similar problems.  I basically can't get a graduated shader effector to follow a spline.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any solutions which use C4D or AE are preferred.  All are welcome.  Thanks.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-01-21T04:26:39.907" Title="Footprint or breadcrumb animation" Tags="|after-effects|animation|cinema4d|" AnswerCount="3" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="14593" PostTypeId="2" ParentId="14590" CreationDate="2015-01-15T22:21:10.463" Score="3" Body="&lt;p&gt;I have done this with cheap camcorders and they work great! Currently, I use a Sony camcorder, and a Panasonic, and the only major difference is the brightness of the screen, which only bothers me outside in full sun. However, you are not going to be happy with footage of a presentation screen. There will be moire effects and other problems, and you are way better off getting a digital copy of the presentation PowerPoint or photos or whatever they are using, then editing those originals into your video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my experience doing this though, many speakers are incredibly boring to watch, and audio of what was said is way more important than video of the talking head. Your video cameras won't capture production-quality audio, but you can capture that separately by patching into the PA system. You'll obviously need to coordinate with the sound guy for that. They may be able to just give a recording, or you might need to bring your own equipment. ASK first, because some sound guys really don't like you messing with their equipment, and some are happy to hand you a patch cable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, sounds like you're planning to do this for a conference? Many conferences already do very good quality recordings. Unless you're the guy doing that, you might ask about that - I prefer not to make videos when I can buy them :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am reluctant to suggest specific equipment because it will be out of date as soon as I submit my answer. I can confirm that &lt;em&gt;many&lt;/em&gt; cheap camcorders do fine with business presentations, but I'm reluctant to suggest any specific models. Just look for the removable memory and batteries feature and get whatever seems like a good deal. Sony and Panasonic both have excellent imaging quality, but I prefer the Sony (it is one year newer which is probably the only difference).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's two pretty lousy examples:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/wrDRhGizof0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; - A presentation about 2.4GHz radio control systems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/VA2oP2SZprg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; - John Penny speaks about piloting the Rare Bear Reno Racer plane.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what you can acheive with cheap camcorders and no setup at all. If you have time to do setup, you could improve on this, but as you can see, video of the screen and the speaker aren't going to work together. I have also done video recording at a conference, but those are private. It came out better because I only recorded the speaker, and I had access to all the PowerPoint slides, which we edited into the video later at full quality. If you plan to do that, get a really smooth tripod and follow the speaker, or ask them to stay within your frame. Some speakers are really animated and they cover the entire front of the room walking around. That's going to be a problem for fixed shots. Tape on the ground can help the speakers stay in frame.&lt;/p&gt;&#xA;" OwnerUserId="1156" LastEditorUserId="1156" LastEditDate="2015-01-16T17:36:48.180" LastActivityDate="2015-01-16T17:36:48.180" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="14594" PostTypeId="2" ParentId="13164" CreationDate="2015-01-16T06:31:08.800" Score="7" Body="&lt;p&gt;edit: I successfully made a 10bit encode of &lt;a href=&quot;http://forum.doom9.org/showthread.php?t=135034&quot; rel=&quot;noreferrer&quot;&gt;Ducks Take Off&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;First way: I built a 10bit x264 binary that statically links libx264.&lt;/h2&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cp -al x264-git x264-10bit  # instead of changing my normal git checkout&#xA;cd x264-10bit&#xA;./configure --extra-cflags=-march=native --enable-static --disable-interlaced --bit-depth=10&#xA;make -j2&#xA;sudo install x264 /usr/local/bin/x264-10bit&#xA;&#xA;mkfifo pipe.y4m&#xA;ffmpeg -v verbose -i in -pix_fmt yuv420p10le -strict experimental -f yuv4mpegpipe pipe.y4m&#xA;   (open another shell window / tab / screen(1) window):&#xA;x264 pipe.y4m --crf 30 --preset ultrafast -o 10bit-420.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(ultrafast and low quality because it's a proof of concept, not a quality test.)&#xA;I didn't compile it with swscale.  (It was unhappy about an RGB pix fmt in libavutil or something).  It errors out if the input colorspace doesn't match &lt;code&gt;--output-csp i444&lt;/code&gt;, which is actually nice if you don't want to accidentally have x264 downsample the chroma.  It worked fine when I fed it a few frames of &lt;code&gt;yuv444p14le.y4m&lt;/code&gt;, producing 10bit output.  (It can truncate bit depth, but not downsample chroma without swscale.)&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Second way: use &lt;code&gt;LD_LIBRARY_PATH&lt;/code&gt; to select a 10bit libx264.so&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;You can use the same ffmpeg dynamic-linked binary for everything.  &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cp -al x264-git x264-10bit  # instead of changing my normal git checkout&#xA;cd x264-10bit&#xA;./configure  --extra-cflags=-march=native '--libdir=/usr/local/lib/high-bit-depth-codec' '--includedir=/usr/local/lib/high-bit-depth-codec/include' --disable-cli --enable-shared --disable-interlaced --bit-depth=10&#xA;make -j2&#xA;sudo make install-lib-shared  # this Makefile target depends on install-lib-dev, hence setting --includedir&#xA;&#xA;alias highdepth-ffmpeg='LD_LIBRARY_PATH=/usr/local/lib/high-bit-depth-codec ffmpeg'&#xA;&#xA;highdepth-ffmpeg -v verbose -framerate 50 -f image2 \&#xA;-pattern_type glob -i ./3_DucksTakeOff_720p50_CgrLevels_SINC_FILTER_SVTdec05_/'*'.sgi \&#xA;-pix_fmt yuv420p10le -crf 30 -preset ultrafast \&#xA;-sws_flags +accurate_rnd+print_info  \&#xA;with_ld_path.420p10.accurate_rnd.mkv&#xA;ffmpeg version N-68044-gb9dd809 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built on Jan 14 2015 23:21:08 with gcc 4.8 (Ubuntu 4.8.2-19ubuntu1)&#xA;  configuration: --enable-gpl --enable-version3 --enable-nonfree --disable-doc --disable-ffserver --enable-libbluray --enable-libschroedinger --enable-libtheora --enable-libx264 --enable-libx265 --enable-libmp3lame --enable-libopus --enable-libwebp --enable-libvpx --disable-outdev=oss --disable-indev=oss --disable-encoder=vorbis --enable-libvorbis --enable-libfdk-aac --disable-encoder=aac --disable-decoder=jpeg2000 --enable-libvidstab&#xA;  libavutil      54. 16.100 / 54. 16.100&#xA;  libavcodec     56. 20.100 / 56. 20.100&#xA;  libavformat    56. 18.101 / 56. 18.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5.  7.101 /  5.  7.101&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, image2, from './3_DucksTakeOff_720p50_CgrLevels_SINC_FILTER_SVTdec05_/*.sgi':&#xA;  Duration: 00:00:10.00, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: sgi, rgb48be, 1280x720, 50 tbr, 50 tbn, 50 tbc&#xA;[graph 0 input from stream 0:0 @ 0x1b6d8c0] w:1280 h:720 pixfmt:rgb48be tb:1/50 fr:50/1 sar:0/1 sws_param:flags=2&#xA;[auto-inserted scaler 0 @ 0x1b7dae0] w:iw h:ih flags:'0x41004' interl:0&#xA;[format @ 0x1b7e940] auto-inserting filter 'auto-inserted scaler 0' between the filter 'Parsed_null_0' and the filter 'format'&#xA;SwScaler: reducing / aligning filtersize 1 -&amp;gt; 4&#xA;    Last message repeated 1 times&#xA;SwScaler: reducing / aligning filtersize 1 -&amp;gt; 1&#xA;SwScaler: reducing / aligning filtersize 9 -&amp;gt; 8&#xA;[swscaler @ 0x1b500c0] bicubic scaler, from rgb48be to yuv420p10le using MMXEXT&#xA;[swscaler @ 0x1b500c0] 1280x720 -&amp;gt; 1280x720&#xA;[auto-inserted scaler 0 @ 0x1b7dae0] w:1280 h:720 fmt:rgb48be sar:0/1 -&amp;gt; w:1280 h:720 fmt:yuv420p10le sar:0/1 flags:0x41004&#xA;[libx264 @ 0x1b78da0] using cpu capabilities: MMX2 SSE2Fast SSSE3 Cache64 SlowShuffle&#xA;[libx264 @ 0x1b78da0] profile High 10, level 3.2, 4:2:0 10-bit&#xA;[libx264 @ 0x1b78da0] 264 - core 144 r2525+2 6a4fca8 - H.264/MPEG-4 AVC codec - Copyleft 2003-2014 - http://www.videolan.org/x264.html - options: cabac=0 ref=1 deblock=0:0:0 analyse=0:0 me=dia subme=0 psy=1 psy_rd=1.00:0.00 mixed_ref=0 me_range=16 chroma_me=1 trellis=0 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=0 threads=3 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=0 weightp=0 keyint=250 keyint_min=25 scenecut=0 intra_refresh=0 rc=crf mbtree=0 crf=30.0 qcomp=0.60 qpmin=0 qpmax=81 qpstep=4 ip_ratio=1.40 aq=0&#xA;Output #0, matroska, to 'with_ld_path.420p10.accurate_rnd.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf56.18.101&#xA;    Stream #0:0: Video: h264 (libx264) (H264 / 0x34363248), yuv420p10le, 1280x720, q=-1--1, 50 fps, 1k tbn, 50 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc56.20.100 libx264&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (sgi (native) -&amp;gt; h264 (libx264))&#xA;Press [q] to stop, [?] for help&#xA;No more output streams to write to, finishing.e=00:00:09.84 bitrate=12060.2kbits/s    &#xA;frame=  500 fps= 14 q=-1.0 Lsize=   14714kB time=00:00:10.00 bitrate=12053.5kbits/s    &#xA;video:14709kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.031423%&#xA;Input file #0 (./3_DucksTakeOff_720p50_CgrLevels_SINC_FILTER_SVTdec05_/*.sgi):&#xA;  Input stream #0:0 (video): 500 packets read (2765056000 bytes); 500 frames decoded; &#xA;  Total: 500 packets (2765056000 bytes) demuxed&#xA;Output file #0 (with_ld_path.420p10.accurate_rnd.mkv):&#xA;  Output stream #0:0 (video): 500 frames encoded; 500 packets muxed (15062147 bytes); &#xA;  Total: 500 packets (15062147 bytes) muxed&#xA;[libx264 @ 0x1b78da0] frame I:2     Avg QP:43.00  size:144760&#xA;[libx264 @ 0x1b78da0] frame P:498   Avg QP:49.83  size: 29663&#xA;[libx264 @ 0x1b78da0] mb I  I16..4: 100.0%  0.0%  0.0%&#xA;[libx264 @ 0x1b78da0] mb P  I16..4:  5.1%  0.0%  0.0%  P16..4: 79.3%  0.0%  0.0%  0.0%  0.0%    skip:15.6%&#xA;[libx264 @ 0x1b78da0] coded y,uvDC,uvAC intra: 67.8% 60.5% 41.9% inter: 50.1% 16.3% 2.8%&#xA;[libx264 @ 0x1b78da0] i16 v,h,dc,p:  5% 54% 33%  8%&#xA;[libx264 @ 0x1b78da0] i8c dc,h,v,p: 53% 39%  6%  3%&#xA;[libx264 @ 0x1b78da0] kb/s:12049.24&#xA;(same bitrate and stats as with the y4m pipe,&#xA;so it behaves the same with the same input data... good.)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I obviously didn't try to see anything visually with those quality settings.  I just wanted it to run fast, and not waste a bunch of disk space since I always end up making lots of output files when trying variations on things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not piping the massive y4m data to a separate x264 process made it go 14 fps instead of 12, so a decent speedup for ultrafast.  Slower encodes will dwarf that overhead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My source is 48bit RGB.  I found that accurate_rnd had no effect on the output mkv. (bit-identical results with no &lt;code&gt;-sws_flags&lt;/code&gt;, with &lt;code&gt;-sws_flags +accurate_rnd&lt;/code&gt;, and &lt;code&gt;-vf scale=flags=accurate_rnd&lt;/code&gt;, except for a few bits in the mkv header, probably the randomized mkv UUID.  Even with &lt;code&gt;-qp 0&lt;/code&gt;, so I wasn't losing it to rounding error.  &lt;code&gt;cmp -l f1 f2 | less&lt;/code&gt; to compare binary files that might be the same after some initial difference.  Or &lt;code&gt;ssdeep -p&lt;/code&gt;.  Maybe &lt;code&gt;accurate_rnd&lt;/code&gt; is the default now?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is one ffmpeg swscaler flag that matters, if you're letting ffmpeg downsample your chroma:  lanczos instead of the default bicubic.  (I assume lanczos is still regarded as the best choice for high quality?  Haven't read up for a while.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;highdepth-ffmpeg -i in -pix_fmt yuv420p10le ...encode...opts...&lt;br&gt;&#xA;-vf scale=flags=lanczos -sws_flags +accurate_rnd+print_info  with_ld_path.420p10.accurate_rnd.lanczos.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adding &lt;code&gt;+lanczos&lt;/code&gt; to &lt;code&gt;-sws_flags&lt;/code&gt; doesn't work:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[format @ 0x28e4940] auto-inserting filter 'auto-inserted scaler 0' between the filter 'Parsed_null_0' and the filter 'format'&#xA;[swscaler @ 0x28b60c0] Exactly one scaler algorithm must be chosen, got 204&#xA;[auto-inserted scaler 0 @ 0x28e3ae0] Failed to configure output pad on auto-inserted scaler 0&#xA;Error opening filters!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you try to feed it input deeper than 10 bits, ffmpeg refuses.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;highdepth-ffmpeg ... -pix_fmt yuv444p14le&#xA;[graph 0 input from stream 0:0 @ 0x36ec9c0] w:1280 h:720 pixfmt:rgb48be tb:1/50 fr:50/1 sar:0/1 sws_param:flags=2&#xA;Incompatible pixel format 'yuv444p14le' for codec 'libx264', auto-selecting format 'yuv444p10le'&#xA;[Parsed_scale_0 @ 0x36e2a00] w:1280 h:720 fmt:rgb48be sar:0/1 -&amp;gt; w:1280 h:720 fmt:yuv444p10le sar:0/1 flags:0x200&#xA;[libx264 @ 0x3701d80] using cpu capabilities: MMX2 SSE2Fast SSSE3 Cache64 SlowShuffle&#xA;[libx264 @ 0x3701d80] profile High 4:4:4 Predictive, level 3.2, 4:4:4 10-bit&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Actually, ffmpeg's libx264 driver always insists on feeding x264 exactly the bit-depth it's compiled for.  e.g. with &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Incompatible pixel format 'yuv420p' for codec 'libx264', auto-selecting format 'yuv420p10le'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;x264.h says:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/* x264_bit_depth:&#xA; *      Specifies the number of bits per pixel that x264 uses. This is also the&#xA; *      bit depth that x264 encodes in. If this value is &amp;gt; 8, x264 will read&#xA; *      two bytes of input data for each pixel sample, and expect the upper&#xA; *      (16-x264_bit_depth) bits to be zero.&#xA; *      Note: The flag X264_CSP_HIGH_DEPTH must be used to specify the&#xA; *      colorspace depth as well. */&#xA;X264_API extern const int x264_bit_depth;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I think internally x264 (the CLI) always has to up-convert pixel formats, the code doesn't have 8bit input, 10bit output versions of every function.  And also, I &lt;em&gt;think&lt;/em&gt; the accepting of various input bit depths is just in the x264 CLI, not the library API.  I'm curious what happens when you feed the API input where there are higher bits set...  (ffpeg doesn't allow you to do this without hacking the code, so this isn't something anyone needs to worry about avoiding.)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frame.c:370:  So this is why ffmpeg can't give 8-bit input to libx264&#xA;#if HIGH_BIT_DEPTH&#xA;    if( !(src-&amp;gt;img.i_csp &amp;amp; X264_CSP_HIGH_DEPTH) )&#xA;    {&#xA;        x264_log( h, X264_LOG_ERROR, &quot;This build of x264 requires high depth input. Rebuild to support 8-bit input.\n&quot; );&#xA;        return -1;&#xA;    }&#xA;#else&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With no pix_fmt specified, ffmpeg chooses &lt;code&gt;yuv444p10le&lt;/code&gt; when given rgb input.  Or with &lt;code&gt;libx264rgb&lt;/code&gt;, it feeds 8bit rgb to functions that are expecting 16bit (10 of which are significant), and segfaults &gt;.&amp;lt;.  I'll go report that upstream...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; highdepth-ffmpeg -v verbose -framerate 50 -f image2 -pattern_type glob -i ./3_DucksTakeOff_720p50_CgrLevels_SINC_FILTER_SVTdec05_/'*'.sgi  -qp 0 -preset ultrafast -sws_flags print_info+accurate_rnd -frames 2  -c:v libx264rgb lossless.rgb.mkv&#xA;ffmpeg version N-68044-gb9dd809 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built on Jan 14 2015 23:21:08 with gcc 4.8 (Ubuntu 4.8.2-19ubuntu1)&#xA;  configuration: --enable-gpl --enable-version3 --enable-nonfree --disable-doc --disable-ffserver --enable-libbluray --enable-libschroedinger --enable-libtheora --enable-libx264 --enable-libx265 --enable-libmp3lame --enable-libopus --enable-libwebp --enable-libvpx --disable-outdev=oss --disable-indev=oss --disable-encoder=vorbis --enable-libvorbis --enable-libfdk-aac --disable-encoder=aac --disable-decoder=jpeg2000 --enable-libvidstab&#xA;  libavutil      54. 16.100 / 54. 16.100&#xA;  libavcodec     56. 20.100 / 56. 20.100&#xA;  libavformat    56. 18.101 / 56. 18.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5.  7.101 /  5.  7.101&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, image2, from './3_DucksTakeOff_720p50_CgrLevels_SINC_FILTER_SVTdec05_/*.sgi':&#xA;  Duration: 00:00:10.00, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: sgi, rgb48be, 1280x720, 50 tbr, 50 tbn, 50 tbc&#xA;[graph 0 input from stream 0:0 @ 0x1eb9660] w:1280 h:720 pixfmt:rgb48be tb:1/50 fr:50/1 sar:0/1 sws_param:flags=2&#xA;[auto-inserted scaler 0 @ 0x1eba120] w:iw h:ih flags:'0x41000' interl:0&#xA;[format @ 0x1eb94c0] auto-inserting filter 'auto-inserted scaler 0' between the filter 'Parsed_null_0' and the filter 'format'&#xA;SwScaler: reducing / aligning filtersize 1 -&amp;gt; 4&#xA;    Last message repeated 1 times&#xA;SwScaler: reducing / aligning filtersize 1 -&amp;gt; 1&#xA;    Last message repeated 1 times&#xA;[swscaler @ 0x1eba480] bicubic scaler, from rgb48be to rgb24 using MMXEXT&#xA;[swscaler @ 0x1eba480] 1280x720 -&amp;gt; 1280x720&#xA;[auto-inserted scaler 0 @ 0x1eba120] w:1280 h:720 fmt:rgb48be sar:0/1 -&amp;gt; w:1280 h:720 fmt:rgb24 sar:0/1 flags:0x41000&#xA;No pixel format specified, rgb24 for H.264 encoding chosen.&#xA;Use -pix_fmt yuv420p for compatibility with outdated media players.&#xA;[libx264rgb @ 0x1ecf020] using cpu capabilities: MMX2 SSE2Fast SSSE3 Cache64 SlowShuffle&#xA;[libx264rgb @ 0x1ecf020] profile High 4:4:4 Predictive, level 3.2, 4:4:4 10-bit&#xA;[libx264rgb @ 0x1ecf020] 264 - core 144 r2525+2 6a4fca8 - H.264/MPEG-4 AVC codec - Copyleft 2003-2014 - http://www.videolan.org/x264.html - options: cabac=0 ref=1 deblock=0:0:0 analyse=0:0 me=dia subme=0 psy=0 mixed_ref=0 me_range=16 chroma_me=1 trellis=0 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=0 chroma_qp_offset=0 threads=3 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=0 weightp=0 keyint=250 keyint_min=25 scenecut=0 intra_refresh=0 rc=cqp mbtree=0 qp=0&#xA;Output #0, matroska, to 'lossless.rgb.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf56.18.101&#xA;    Stream #0:0: Video: h264 (libx264rgb) (H264 / 0x34363248), rgb24, 1280x720, q=-1--1, 50 fps, 1k tbn, 50 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc56.20.100 libx264rgb&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (sgi (native) -&amp;gt; h264 (libx264rgb))&#xA;Press [q] to stop, [?] for help&#xA;No more output streams to write to, finishing.&#xA;Segmentation fault (core dumped)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'll report that upstream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, it turns out it was pretty darn easy to build myself a dual-bit-depth environment for ffmpeg, or any other program you want to run with high-bit-depth-compiled versions of libx264, libx265, and anything else you want.  (That's why I called it &quot;highdepth&quot;, not just &quot;10bit&quot; for a shorter name.)&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;end of edit: below here are my ramblings without recompiling.  And a good bit about how to cross-compile ffmpeg for win64&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Tried this myself, since you didn't try with a cmdline that tried to feed high bit depth input to x264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg pixel format names (&lt;code&gt;ffmpeg -pix_fmts&lt;/code&gt;) don't just specify an arrangement, they map to an exact bit arrangement, and thus each format+bit-depth combo has a different name.  I think you were expecting &lt;code&gt;-pix_fmt yuv422p&lt;/code&gt; to mean &quot;convert to 422 in the same bit depth as my input&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/H.264/MPEG-4_AVC&quot; rel=&quot;noreferrer&quot;&gt;wikipedia&lt;/a&gt; says h.264 supports 8-14 bit depth only with Hi444PP, others are only up to 10bit.  Hi444PP is the only profile that supports predictive lossless coding, which x264 uses for &lt;code&gt;-qp 0&lt;/code&gt; or &lt;code&gt;-crf 0&lt;/code&gt;.  edit: AFAICT, x264 still only supports being compiled for 8, 9, or 10bits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, here's a bunch of useless output from a command that doesn't work because I didn't recompile my local x264.  (But it should work with recompiled x264.  I might edit this answer if I want to play with it myself.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -v verbose -framerate 50 -f image2 -pattern_type glob -i ./3_DucksTakeOff_720p50_CgrLevels_SINC_FILTER_SVTdec05_/'*'.sgi -c:v libx264 -pix_fmt yuv420p10le -profile high10 yuv-high.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-68044-gb9dd809 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built on Jan 14 2015 23:21:08 with gcc 4.8 (Ubuntu 4.8.2-19ubuntu1)&#xA;  configuration: --enable-gpl --enable-version3 --enable-nonfree --disable-doc --disable-ffserver --enable-libbluray --enable-libschroedinger --enable-libtheora --enable-libx264 --enable-libx265 --enable-libmp3lame --enable-libopus --enable-libwebp --enable-libvpx --disable-outdev=oss --disable-indev=oss --disable-encoder=vorbis --enable-libvorbis --enable-libfdk-aac --disable-encoder=aac --disable-decoder=jpeg2000 --enable-libvidstab&#xA;  libavutil      54. 16.100 / 54. 16.100&#xA;  libavcodec     56. 20.100 / 56. 20.100&#xA;  libavformat    56. 18.101 / 56. 18.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5.  7.101 /  5.  7.101&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, image2, from './3_DucksTakeOff_720p50_CgrLevels_SINC_FILTER_SVTdec05_/*.sgi':&#xA;  Duration: 00:00:10.00, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: sgi, rgb48be, 1280x720, 50 tbr, 50 tbn, 50 tbc&#xA;Please use -profile:a or -profile:v, -profile is ambiguous&#xA;File 'yuv-high.mkv' already exists. Overwrite ? [y/N] y&#xA;[graph 0 input from stream 0:0 @ 0x24797e0] w:1280 h:720 pixfmt:rgb48be tb:1/50 fr:50/1 sar:0/1 sws_param:flags=2&#xA;Incompatible pixel format 'yuv420p10le' for codec 'libx264', auto-selecting format 'yuv420p'&#xA;[auto-inserted scaler 0 @ 0x24938c0] w:iw h:ih flags:'0x4' interl:0&#xA;[format @ 0x2494680] auto-inserting filter 'auto-inserted scaler 0' between the filter 'Parsed_null_0' and the filter 'format'&#xA;[auto-inserted scaler 0 @ 0x24938c0] w:1280 h:720 fmt:rgb48be sar:0/1 -&amp;gt; w:1280 h:720 fmt:yuv420p sar:0/1 flags:0x4&#xA;[libx264 @ 0x248eda0] using cpu capabilities: MMX2 SSE2Fast SSSE3 Cache64 SlowShuffle&#xA;[libx264 @ 0x248eda0] profile High, level 3.2&#xA;[libx264 @ 0x248eda0] 264 - core 144 r2525+2 6a4fca8 - H.264/MPEG-4 AVC codec - Copyleft 2003-2014 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=3 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, matroska, to 'yuv-high.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf56.18.101&#xA;    Stream #0:0: Video: h264 (libx264) (H264 / 0x34363248), yuv420p, 1280x720, q=-1--1, 50 fps, 1k tbn, 50 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc56.20.100 libx264&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (sgi (native) -&amp;gt; h264 (libx264))&#xA;Press [q] to stop, [?] for help&#xA;No more output streams to write to, finishing.e=00:00:09.02 bitrate=18034.6kbits/s    &#xA;frame=  500 fps=6.6 q=-1.0 Lsize=   21568kB time=00:00:09.96 bitrate=17739.6kbits/s    &#xA;video:21564kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.020773%&#xA;Input file #0 (./3_DucksTakeOff_720p50_CgrLevels_SINC_FILTER_SVTdec05_/*.sgi):&#xA;  Input stream #0:0 (video): 500 packets read (2765056000 bytes); 500 frames decoded; &#xA;  Total: 500 packets (2765056000 bytes) demuxed&#xA;Output file #0 (yuv-high.mkv):&#xA;  Output stream #0:0 (video): 500 frames encoded; 500 packets muxed (22081186 bytes); &#xA;  Total: 500 packets (22081186 bytes) muxed&#xA;[libx264 @ 0x248eda0] frame I:2     Avg QP:29.33  size:131874&#xA;[libx264 @ 0x248eda0] frame P:257   Avg QP:31.07  size: 75444&#xA;[libx264 @ 0x248eda0] frame B:241   Avg QP:33.54  size: 10073&#xA;[libx264 @ 0x248eda0] consecutive B-frames:  3.6% 96.4%  0.0%  0.0%&#xA;[libx264 @ 0x248eda0] mb I  I16..4:  0.1% 71.9% 28.0%&#xA;[libx264 @ 0x248eda0] mb P  I16..4:  0.0%  4.5%  1.1%  P16..4: 36.1% 37.6% 19.6%  0.0%  0.0%    skip: 1.0%&#xA;[libx264 @ 0x248eda0] mb B  I16..4:  0.0%  0.2%  0.1%  B16..8: 34.3%  2.6%  1.1%  direct: 9.6%  skip:52.2%  L0: 6.2% L1:46.6% BI:47.2%&#xA;[libx264 @ 0x248eda0] 8x8 transform intra:78.4% inter:60.4%&#xA;[libx264 @ 0x248eda0] coded y,uvDC,uvAC intra: 98.3% 95.3% 85.9% inter: 51.7% 34.8% 12.8%&#xA;[libx264 @ 0x248eda0] i16 v,h,dc,p:  5% 77%  4% 14%&#xA;[libx264 @ 0x248eda0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu:  2% 43% 11%  3%  5%  2% 16%  2% 16%&#xA;[libx264 @ 0x248eda0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu:  3% 40%  9%  4%  6%  3% 17%  2% 16%&#xA;[libx264 @ 0x248eda0] i8c dc,h,v,p: 47% 40%  6%  7%&#xA;[libx264 @ 0x248eda0] Weighted P-Frames: Y:1.2% UV:0.4%&#xA;[libx264 @ 0x248eda0] ref P L0: 70.9% 26.5%  1.8%  0.7%  0.0%&#xA;[libx264 @ 0x248eda0] ref B L0: 99.5%  0.5%&#xA;[libx264 @ 0x248eda0] kb/s:17664.40&#xA;&#xA;$ x264 --fullhelp | less&#xA;...&#xA;Output bit depth: 8 (configured at compile time)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note the &lt;code&gt;Incompatible pixel format 'yuv420p10le' for codec 'libx264', auto-selecting format 'yuv420p'&lt;/code&gt; line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Probably I didn't need &lt;code&gt;-profile&lt;/code&gt;, and with a high-bit-depth x264, it would just work.  (and potentially pick 444 10bit, which ffmpeg calls &lt;code&gt;yuva444p10le&lt;/code&gt;.)  I &lt;em&gt;think&lt;/em&gt; high bit depth x264 could accept &lt;code&gt;yuv444p14le&lt;/code&gt;, but would still only produce 10bit h.264.  The cmdline &lt;code&gt;x264 --fullhelp&lt;/code&gt; is pretty explicit about output bit depth from 8 to 10, not higher.  Weird that &lt;code&gt;-profile high10&lt;/code&gt; is just silently ignored by 8bit x264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Internally, x264 compiled for high bit depth uses 16bpp for storing any 10bit data, so it probably does motion search and so on with 16bit values.  And might DCT higher 16bit rather than 10bit, unless there's speed to be gained from ignoring 6 bits.  This could produce slightly different DCT coefficients than if you rounded down to 10bit before DCT.  (So you potentially get different output from converting down to 10bit before feeding to x264, vs. giving it 12, 14, or 16bit.)  I should prob. look at the code or try it before making stuff up, though.  Don't trust this paragraph. :P&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(edit: ffmpeg won't feed x264-10bit anything more than 10bits per component.  It will use swscale to reduce the bit depth itself.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wonder how hard it would be to patch x264 and x265 to use different names for global variables and API functions, when compiled for high-bit-depth.  Then you could build both versions at once, and have ffmpeg linked against both of them.  The ffmpeg &lt;code&gt;libx264&lt;/code&gt; and &lt;code&gt;libx264rgb&lt;/code&gt; wrappers could take care of calling the appropriate version of the api depending on the input stream.  (Otherwise you'd need &lt;code&gt;-c:v libx264-deep&lt;/code&gt; or &lt;code&gt;libx264rgb-deep&lt;/code&gt;, for a total of 4 different x264 &quot;codecs&quot; in ffmpeg.)&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;How to cross compile ffmpeg for windows&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;edit: For windows, I don't think there's anything as convenient as &lt;code&gt;LD_LIBRARY_PATH&lt;/code&gt; for a libx264 DLL, so your best bet is still to build a high-bit-depth static binary, and another one for normal use.  High-depth libx264 CAN'T output normal depth h.264 at all.  Not just a speed penalty, it just can't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The easiest way to compile your own ffmpeg (static binary) for windows is with &lt;a href=&quot;https://github.com/rdp/ffmpeg-windows-build-helpers&quot; rel=&quot;noreferrer&quot;&gt;https://github.com/rdp/ffmpeg-windows-build-helpers&lt;/a&gt;.  git clone the repo on a Linux machine (or maybe another system with a working gcc, like OS X?), then run&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;./cross_compile_ffmpeg.sh --high-bitdepth=y --disable-nonfree=n --build-choice=win64&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This took about 8 hours for the first run, since it built mingw-cross-compile GCC from source, along with everything else.  (gcc defaults to rebuilding itself several times to bootstrap, in case you were originally compiling it with a bad compiler.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can update the build script with &lt;code&gt;git pull&lt;/code&gt;, and re-running it will pull the latest git updates for ffmpeg, x264, x265, and maybe some of the other projects it compiles from source.  (For most it just downloads tarballs.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My Linux desktop is showing its age.  I have a wintendo I mostly use for games.  Since I started messing around with video encoding, I find its quad-core Sandybridge pretty useful for that, too, esp. for x265.  Probably some of x265's functions only have asm versions for AVX/SSE4, so it's falling back to C on my SSSE3 Linux machine (Conroe).  That or it's more noticable at 1fps...&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-01-17T21:56:21.093" LastActivityDate="2015-01-17T21:56:21.093" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14595" PostTypeId="2" ParentId="14592" CreationDate="2015-01-16T13:21:36.143" Score="5" Body="&lt;p&gt;A simple way in blender or any other 3d package would be to use a boolean modifier, if you want to &lt;strong&gt;subtract real geometry&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/sZLmG.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;use a &lt;strong&gt;array modifier&lt;/strong&gt; to duplicate your shape&lt;/li&gt;&#xA;&lt;li&gt;create a path and &lt;strong&gt;aligning the objects&lt;/strong&gt; on it&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;animate the object count&lt;/strong&gt; of the array modifier&lt;/li&gt;&#xA;&lt;li&gt;create a &lt;strong&gt;simple geometry for subtracting the path objects&lt;/strong&gt; at the beginning&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;add a boolean modifier&lt;/strong&gt; to your base object&lt;/li&gt;&#xA;&lt;li&gt;animate the &lt;strong&gt;position of the boolean object&lt;/strong&gt; to subtract the shape objects&lt;/li&gt;&#xA;&lt;li&gt;make the &lt;strong&gt;boolean object invisible&lt;/strong&gt; to the camera (e.g. with a transparent material)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/wlDKH.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.pasteall.org/blend/33840&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;.blend file&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Edit: To get a &lt;strong&gt;soft transition&lt;/strong&gt; you can render the bool object seperatly, blur the &lt;strong&gt;alpha channel&lt;/strong&gt; and subract it from the another alpha. Or simply use a &lt;strong&gt;roto mask&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/alShv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZHmif.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.pasteall.org/blend/33845&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;.blend&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-01-18T10:38:57.950" LastActivityDate="2015-01-18T10:38:57.950" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14596" PostTypeId="2" ParentId="14592" CreationDate="2015-01-16T21:23:20.247" Score="1" Body="&lt;p&gt;I tried to accomplish a similar effect and used the 'Vegas' and 'Echo' (or a similar) effect in AE to create an alpha matte.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem with the 'Vegas' effect is that when you set your line to be right before the beginning of the path, it appears at the end of it (try it out, you'll quickly notice what I mean).&lt;br&gt;&#xA;My solution was to only use a little dot in the 'Vegas' effect but duplicate and fade it over time using an 'Echo' effect (or another of that sort).&lt;br&gt;&#xA;The 'Echo' effect controls the length and falloff of the stroke, the color and width are controlled by 'Vegas'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's not very pleasingly clean, but it might get the job done.&lt;/p&gt;&#xA;" OwnerUserId="6172" LastActivityDate="2015-01-16T21:23:20.247" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14597" PostTypeId="1" AcceptedAnswerId="14598" CreationDate="2015-01-16T22:43:33.373" Score="4" ViewCount="186" Body="&lt;p&gt;I'm new to editing. I'm from a photography background, using Lightroom. I've a set workflow for processing my images there, taking them from initially applying metadata, through triaging into folders and then preparing for display.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for a workflow process for premiere. I'm aware of how to capture my footage, but then what? In brief please summarise your Adobe Premiere workflow. I'm not asking how to do each step but rather indicators of steps I can then go and research myself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm asking about 'workflow' process in the vein of &lt;a href=&quot;http://ericscouten.com/blog/2012/03/05/lightroom-technique-how-i-organize-my-catalog-and-why-2012-edition&quot; rel=&quot;nofollow&quot;&gt;http://ericscouten.com/blog/2012/03/05/lightroom-technique-how-i-organize-my-catalog-and-why-2012-edition&lt;/a&gt; - not the full details just the steps.&lt;/p&gt;&#xA;" OwnerUserId="3813" LastEditorUserId="16850" LastEditDate="2016-11-09T08:48:51.650" LastActivityDate="2016-11-09T08:48:51.650" Title="Workflow for Adobe Premiere?" Tags="|premiere|workflow|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="14598" PostTypeId="2" ParentId="14597" CreationDate="2015-01-17T09:22:42.987" Score="5" Body="&lt;p&gt;It depends on the type of production. If it's say, a documentary where you have hours of unscripted footage; a drama where the shots are organised by scene, shot and take and you are working to a script; or a short-form piece like a TVC where you are cutting a small amount of footage down to 30 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, the process of editing is basically one of organisation, and it involves getting to know your footage, and then making decisions about what helps the story and what doesn't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Getting to know your footage can involve any or all of these steps: logging - actually going through and taking notes of what happens when in the footage, choosing good or NG takes and marking them up in your project, sorting into bins, and even just naming your clips in the project. Actually, I find that naming your clips is one of the best things you can do to get your edit started. The more time you spend watching and organising your rushes the easier it is to cut them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From there you need to start deciding what's in or out. An assembly edit is the first step – where you put in all the shots in rough story order, without worrying too much about matching cuts or sound or any finesse. At the end of the assembly you'll have a good idea of what your coverage is like, and this can sometimes be the point where you decide to shoot more footage if you can. At this stage the timeline is usually way longer than the final cut.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then it's a process of finessing the cut, starting with the rough cut. This is where you focus on what shots are needed to tell the story. You may go back to your rushes to find extra angles, or cut-ins and cut-aways to help the cuts work or to improve the storytelling. You won't be doing any sound or colour tweaking, titles, effects or any other malarky at this stage. You may be using placeholders for effects shots etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From there it's a matter of making the editing seamless; making good motivated cuts, watching the pacing and rhythm. This is your fine cut, and it's the last stage before you lock down your edit and start doing the online stuff. If you're cutting to a set time this is when you might be making hard decisions about what's not absolutely necessary, and tightening up the cuts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &quot;online stuff&quot; includes adding graphics and effects, titles, music, and lastly colour grade and sound mix. Colour grading is where you firstly balance the colours between shots, and then give your shots the look that you want. Sound mixing is similar: you try to make the sound seamless between shots in a scene first, and then add other sound elements like sound effects atmos and music.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In reality there's really not hard division between the assembly, rough and fine cuts, they flow into each other. The trick is not to start worrying about getting a cut exactly right in the assembly edit because you might want to lose the shot altogether later on, so you'll be wasting your time. The idea of the assembly and the rough cuts is to focus on the whole piece without getting bogged down into individual shots. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I find that non-linear editing does make it very easy to get sidetracked into doing fine cutting too soon (when you cut on film you didn't want to cut scenes too short too soon, because it was a damn nightmare finding those one-frame trims in your trim bin and sticky-taping them back on).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There &lt;em&gt;is&lt;/em&gt; usually a boundary between editing and stages like colour grading. You want to have your shots &quot;locked off&quot; before you start grading or you'll waste a whole lot of time going back and forth. Though recently colour grading packages have started to have the ability to dynamically respect edits that you make after starting the grade, so you now have the option of grading and cutting in parallel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Effects too will often require the edit to be locked off, so that you don't waste time doing work on parts of shots that aren't used. But again, you may have to do a bit of to-and-fro between effects and edit. Packages like After Effects and Premiere work well together: if you have shots in your sequence that require effects work you can export them from the timeline via dynamic linking, so that you can watch the effect in your edit without having to render out to file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no set-in-stone way of doing this, everyone and every project needs an individual approach, but this should give you a general idea of the way &lt;em&gt;I&lt;/em&gt; like to do things.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-01-17T09:31:50.693" LastActivityDate="2015-01-17T09:31:50.693" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14600" PostTypeId="1" CreationDate="2015-01-17T13:52:12.910" Score="5" ViewCount="3040" Body="&lt;p&gt;I want to build a &lt;strong&gt;camera rig with 3 canon 60d's&lt;/strong&gt; to get some kind of panorama video. To verify my idea before building the real rig, I've implemented the setup in &lt;a href=&quot;http://www.blender.org/&quot; rel=&quot;noreferrer&quot;&gt;Blender&lt;/a&gt;  to test all possible cases:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/60whu.png&quot; alt=&quot;enter image description here&quot;&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately I don't have much experience to &lt;strong&gt;stitch the images/videos correctly. How can I achieve that?&lt;/strong&gt; Which software is suitable for that? How far the images of the cameras should overlap to get the best results? Besides the lens distortion, &lt;strong&gt;is there still something to consider?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-01-18T13:54:00.557" LastActivityDate="2015-06-11T20:29:49.980" Title="How to stitch images from DIY panorama video rig with 3 canon 60d's?" Tags="|software-recommendation|camera|post-production|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14602" PostTypeId="1" AcceptedAnswerId="14682" CreationDate="2015-01-18T12:39:49.427" Score="1" ViewCount="368" Body="&lt;p&gt;After some study and research, now I know that AVI and MP4 are video 'container' formats. They are also called 'video file formats'. The actual video data format for the video data in these formats can be encoded in any related format for example H.264 or MPEG-4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was trying to copy a AVI video file (H.264 encoded) from my computer to my tablet and the iTunes gave me error that this specific video cannot be played on this iPad. Then I tried copying another video file, this time a MP4 file, and it was copied correctly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I searched on Apple website and came to know that IPad Air supports the below three videos and their formats.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;H.264 video up to 1080p, 60 frames per second, High Profile level 4.2    with AAC-LC audio up to 160 Kbps, 48kHz, stereo audio in .m4v, .mp4,    and .mov file formats;   &lt;/li&gt;&#xA;  &lt;li&gt;MPEG-4 video up to 2.5 Mbps, 640 by 480    pixels, 30 frames per second, Simple Profile with AAC-LC audio up to    160 Kbps per&#xA;  channel, 48kHz, stereo audio in .m4v, .mp4, and .mov    file formats; &lt;/li&gt;&#xA;  &lt;li&gt;Motion JPEG (M-JPEG) up to 35 Mbps, 1280 by 720 pixels, 30 frames per    second, audio in ulaw, PCM stereo audio in .avi file format;&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Now I want to convert the existing video AVI file to MP4 format and try to copy again. I do not want to re-encode the video again in H.264 format to avoid quality loss. Is there any solution for my problem. I have access to both, Mac OS X and Windows machines so I am open to any solution. Please help.&lt;/p&gt;&#xA;" OwnerUserId="4297" LastEditorUserId="4297" LastEditDate="2015-02-03T15:47:31.963" LastActivityDate="2021-07-18T00:54:44.100" Title="how to convert container format for a video file without re-encoding" Tags="|ipad|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="14603" PostTypeId="1" AcceptedAnswerId="17944" CreationDate="2015-01-18T17:42:23.993" Score="13" ViewCount="16553" Body="&lt;p&gt;Looking at the documentation about filters there seems to be a &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-filters.html#curves-1&quot; rel=&quot;noreferrer&quot;&gt;curve&lt;/a&gt; filter to manipulate color with the following presets:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;color_negative&lt;/li&gt;&#xA;&lt;li&gt;cross_process&lt;/li&gt;&#xA;&lt;li&gt;darker&lt;/li&gt;&#xA;&lt;li&gt;increase_contrast&lt;/li&gt;&#xA;&lt;li&gt;lighter&lt;/li&gt;&#xA;&lt;li&gt;linear_contrast&lt;/li&gt;&#xA;&lt;li&gt;medium_contrast&lt;/li&gt;&#xA;&lt;li&gt;negative&lt;/li&gt;&#xA;&lt;li&gt;strong_contrast&lt;/li&gt;&#xA;&lt;li&gt;vintage&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Unfortunately the documentation doesn't mention what these presets do or what their parameters are. I'm looking for a simple option to take a video and auto level colors for all the frames. Does any of these presets do that?&lt;/p&gt;&#xA;" OwnerUserId="6553" LastEditorUserId="6553" LastEditDate="2016-03-18T15:17:21.410" LastActivityDate="2016-03-18T15:17:21.410" Title="What is the ffmpeg filter equivalent of &quot;Automatic levels&quot; for colors?" Tags="|ffmpeg|color-correction|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14606" PostTypeId="2" ParentId="14600" CreationDate="2015-01-19T12:12:50.070" Score="0" Body="&lt;p&gt;I would guess you would need to make a canvas size in your NLE to match the full width of the video ie: 3*1920=5760 with a height of 1080, I would assume this would work as long as your NLE and PC/Mac can handle the throughput of playing 3 videos simultaneously. baring in mind as well, who is going to be able to play this back at this resolution.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2015-01-19T12:12:50.070" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14607" PostTypeId="1" CreationDate="2015-01-19T15:23:18.130" Score="0" ViewCount="435" Body="&lt;p&gt;When I import &lt;code&gt;VTS_01_1.VOB&lt;/code&gt; into VirtualDub or Avidemux or try to play it with Media Player Classic, it plays in dimensions 352x576 (squeezed) which should clearly be 576x352. But when I play the file in VLC, it plays in the correct dimensions and it looks like it should, so I know the frames are in 576x352, it's just that they're being misinterpreted by VirtualDub and Avidemux. Furthermore when I try to convert it with VLC, the result is 352x576 even though VLC plays it correctly in 576x352.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I fix this? I just want to import the file into VirtualDub or Avidemux so I can edit it.&lt;/p&gt;&#xA;" OwnerUserId="9157" LastActivityDate="2015-01-20T06:39:08.167" Title="Importing VOB from DVD results in squeezed image" Tags="|video|mpeg|virtualdub|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14608" PostTypeId="2" ParentId="14600" CreationDate="2015-01-19T22:01:12.837" Score="2" Body="&lt;p&gt;You could try if &lt;a href=&quot;http://www.kolor.com/360-video/autopano-video-360-video-stitcher.html&quot; rel=&quot;nofollow&quot;&gt;kolor&lt;/a&gt; works for you. It's not free but it's made for your exact needs. Check out the gallery for what they did. Or you can do it manually as Adam explains.&lt;/p&gt;&#xA;" OwnerUserId="9158" LastActivityDate="2015-01-19T22:01:12.837" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14609" PostTypeId="2" ParentId="14566" CreationDate="2015-01-20T00:26:19.503" Score="2" Body="&lt;p&gt;I would recommend you use a different plugin, use the shatter plugin.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Follow the steps in this tutorial&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.macprovideo.com/hub/after-effects/after-effects-text-that-blows-away-like-sand&quot; rel=&quot;nofollow&quot;&gt;http://www.macprovideo.com/hub/after-effects/after-effects-text-that-blows-away-like-sand&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will let you break apart your circle into particles. Then when done the composition, simply pre-comp the layer and use the time/time-reverse layer to let the particles come into a circle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While it seems a little backwards(literally) to do it this way, I think this is the best way to accomplish what you are trying to do. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You won't be able to get a particle attractor or other advanced functions like that unless you are working in cinema 4d or other 3 rendering software.&lt;/p&gt;&#xA;" OwnerUserId="9161" LastActivityDate="2015-01-20T00:26:19.503" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14610" PostTypeId="2" ParentId="14597" CreationDate="2015-01-20T00:45:57.317" Score="2" Body="&lt;p&gt;My video editing process is actually kind of similar to my photo editing process.  First I scan quickly through my footage to find interesting images or clips which I think may be useful.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next, I make a finer toothed path to verify more carefully that the clips will work for my needs and make basic corrections like rough color and sound work that may be needed to get a good rough cut.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then work on a rough cut that positions clips approximately where they should be in the finished video, but without much concern to transitions between them or fine tuning the flow.  This may either be following a pre-determined plan if shooting an organized video or may be determined based on the available clips for montage or event work where a script wasn't possible to work from.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next, after a rough idea of the video has come together, I make a pass to work on blending the clips together and putting more post production touches in as needed to make the clips fit the needs of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, I make a finishing pass through the video to make sure it is consistent from start to finish.  This may involve additional steps like final color grading and sound work, or those steps may have been handled in the previous step depending on how much work there was to do and how critical it was in my editing process.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-20T00:45:57.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14612" PostTypeId="1" CreationDate="2015-01-20T01:25:23.460" Score="1" ViewCount="925" Body="&lt;p&gt;I was just wondering what would be the best professional Video Camera for shooting weddings and documentaries? I have a Canon 6D but want to invest in a prosumer camera that I can move around and keep focus. I find it awkward that you cant digitally zoom in to check focus on the 6D when its recording. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was looking at the Canon C100 but its not very ergonomically designed for run and gun shooting. That said with the Atmos Ninja it can be every bit as good as its big brother the C500. Has anyone used this for weddings. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything in particular that would be a deal breaker on a camera. Ie no XLR's, a noisy internal zoom. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I invest in gear that can shoot 4K? I want to steer clear of Mini DV and i have a macbook pro with 16 gb RAM and an i7 processor.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm thinking of spending between 3000 - 3500 Euro on it as it'll need to last me for years. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd really appreciate any information you can give. Thanks! &lt;/p&gt;&#xA;" OwnerUserId="6810" LastActivityDate="2015-01-20T10:51:59.640" Title="Whats the best video camera for shooting weddings and Docs?" Tags="|video-recording|" AnswerCount="2" CommentCount="2" ClosedDate="2015-01-21T02:35:41.263" ContentLicense="CC BY-SA 3.0" />
  <row Id="14613" PostTypeId="2" ParentId="14592" CreationDate="2015-01-20T02:37:29.523" Score="5" Body="&lt;p&gt;here's a solution that I've used. It can be used to reveal a shape path, or as a way to add a smooth fade-out on the stroke effect as-is:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Create your dotted path using the pen tool (or whatever you like),&#xA;then use the path to create a mask on a new adjustment layer. I use&#xA;an expression so that I can dynamically change the path - just&#xA;alt-click the stopwatch on the &lt;strong&gt;Mask Path&lt;/strong&gt; property and drag the&#xA;pick-whip to the shape path:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/RGZOJ.png&quot; alt=&quot;using pick-whip to synchronise paths&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Apply the stroke effect to the mask path on the adjustment layer.&#xA;We'll be using the adjustment layer as an alpha matte for your&#xA;dotted line layer, but best to do that later so you can see what&#xA;you're doing. Set the &lt;strong&gt;Brush Size&lt;/strong&gt; property so that the brush&#xA;covers the dotted line layer. Set the &lt;strong&gt;Paint Style&lt;/strong&gt; property to&#xA;&lt;em&gt;On Transparent&lt;/em&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Animate the &lt;strong&gt;Start&lt;/strong&gt; and / or &lt;strong&gt;End&lt;/strong&gt; property for the stroke&#xA;effect to animate the reveal / disappearance of your stroke. Now&#xA;this creates a hard start and end, so what you have to do is apply&#xA;the &lt;strong&gt;Echo&lt;/strong&gt; effect — &lt;em&gt;Effects&gt;Time&gt;Echo&lt;/em&gt;. set the decay to&#xA;something less than 1. You may want to increase the &lt;strong&gt;Number of&#xA;Echos&lt;/strong&gt; and decrease the &lt;strong&gt;Echo Time&lt;/strong&gt; to make the fade&#xA;in/out/smooth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/iPCQp.png&quot; alt=&quot;stroke effect fading smoothly&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now set your alpha matte on the shape layer &lt;em&gt;et Voila!&lt;/em&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/BIEdC.png&quot; alt=&quot;final result&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If you want the stroke to fade in as well as out, you'll need to add another echo, but with the echo time set to a positive value (or is it negative) so that you're echoing from the future. You thought it was slow with just one echo effect applied? You're in for a world of waiting now! The reason it's so slow is that it has to compute the value for the previous frames for each of the echos, so for every frame you're rendering ten, twenty frames. That's why you might want to only ramp up the number of echos when it's time to send it off to the render.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Caveat: if the stroke crosses itself the alpha matte will reveal areas out of sequence. You can manually mask the offending areas out, or split the stroke path up into separate layers, this works, but it's a world of tediousness, I know from experience - I used it on an animation that featured hand-written text slowly fading in. Also &lt;strong&gt;Echo&lt;/strong&gt; is dog slow, so you may want to ramp the settings up to final quality only once you done everything else you want to in the comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/vKoRW.png&quot; alt=&quot;uh oh&quot;&gt;&#xA;out-of sequence image appearing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can mitigate this by making sure that your brush size is as small as possible:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/muUG2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if that's still a problem you can spit the stroke: add an extra point somewhere between the overlapping parts of the stroke&#xA;&lt;img src=&quot;https://i.stack.imgur.com/woyVZ.png&quot; alt=&quot;enter image description here&quot;&gt;&#xA;Now duplicate the shape layer and the adjustment layer (note that I've coloured the duplicated shape layer yellow)&#xA;&lt;img src=&quot;https://i.stack.imgur.com/gySub.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you delete the points at either side of the point you created on each layer&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/4ytoF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;one side&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/bIFOy.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and the other. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure you adjust the expression in your duplicated adjustment layer to reflect the name of the new stroke layer - if it was &lt;code&gt;thisComp.layer(&quot;Shape Layer **1**&quot;).content(&quot;Shape 1&quot;).content(&quot;Path 1&quot;).path&lt;/code&gt; you'll have to use the pick-whip or manually correct it to &lt;code&gt;thisComp.layer(&quot;Shape Layer **2**&quot;).content(&quot;Shape 1&quot;).content(&quot;Path 1&quot;).path&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you just have to offset the keyframes in your adjustment layer so that one starts when the last one stops. You might need to juggle the position of the middle keyframes to deal with the echoes.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/opFCA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and you have a correctly revealing crossing:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/YTCJU.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-01-21T04:26:39.907" LastActivityDate="2015-01-21T04:26:39.907" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14614" PostTypeId="2" ParentId="10071" CreationDate="2015-01-20T06:28:07.660" Score="1" Body="&lt;p&gt;h.264 + aac in .mp4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Google up an x264 settings guide.  (or use &lt;code&gt;-preset slower&lt;/code&gt;).  If you're doing something that the MPEG-LA would charge patent royalties for, screw them and use VP8 or VP9, with maybe a fallback to Theora if that helps compat.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Old question, but check the quality at the start of the video if using x264.  If it's not good, use 2-pass.  I forget if it's only 1pass ABR (average bitrate) mode that does this, or if it also happens sometimes with CFR (constant quality regardless of source resolution or complexity, normally the go-to choice for one pass).&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-01-20T06:28:07.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14615" PostTypeId="2" ParentId="14607" CreationDate="2015-01-20T06:39:08.167" Score="2" Body="&lt;p&gt;Sounds like thoses apps aren't respecting the &lt;a href=&quot;http://en.wikipedia.org/wiki/Pixel_aspect_ratio&quot; rel=&quot;nofollow&quot;&gt;Pixel Aspect Ratio (PAR) flag.&lt;/a&gt;  Widescreen DVD movies aren't usually made of more pixels, they have a setting in the metadata telling the player to stretch the pixels from squares into rectangles to make the picture look right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VLC is reading the PAR flag and playing the pixels back in their correct aspect ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A possible solution that has worked for me in some situations is to use &lt;a href=&quot;https://handbrake.fr&quot; rel=&quot;nofollow&quot;&gt;HandBrake&lt;/a&gt; to convert from stretched pixels with a PAR flag to more pixels that are square.  You can do this in Handbrake by previewing the movie in Anamorphic PAR mode, noting the image dimensions listed, then turning off Anamorphic and the PAR, and typing the dimensions in by hand.  The resulting render will have square pixels (PAR 1.0) but the image will be properly stretched.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps.&lt;/p&gt;&#xA;" OwnerUserId="9163" LastActivityDate="2015-01-20T06:39:08.167" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14616" PostTypeId="2" ParentId="14612" CreationDate="2015-01-20T06:46:09.640" Score="-1" Body="&lt;p&gt;&quot;Best&quot; is kind of a vague request.  Based on what you wrote about your shooting,  maybe you should look at the Canon 5dmkIII, or the Sony A7S.  Both have superior video, and are well-suited for run-and-gun.&lt;/p&gt;&#xA;" OwnerUserId="9163" LastActivityDate="2015-01-20T06:46:09.640" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14617" PostTypeId="5" CreationDate="2015-01-20T06:58:35.710" Score="0" Body="&lt;p&gt;When video, audio and other data is represented as a digital file, the methods used to store the analogue and digital data is the &lt;em&gt;Encoding&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This can include &lt;a href=&quot;/questions/tagged/compression&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged 'compression'&quot; rel=&quot;tag&quot;&gt;compression&lt;/a&gt; to decrease the size of the digital file and &lt;a href=&quot;/questions/tagged/encryption&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged 'encryption'&quot; rel=&quot;tag&quot;&gt;encryption&lt;/a&gt; to make the file harder to read without a password.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Encoding is both a noun, meaning the method used, and a verb meaning the process of creating an encoded file.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-01-21T11:18:33.123" LastActivityDate="2015-01-21T11:18:33.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14618" PostTypeId="4" CreationDate="2015-01-20T06:58:35.710" Score="0" Body="The process and techniques used when storing moving images, sound, metadata and other streams as a digital file." OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-01-21T11:19:16.500" LastActivityDate="2015-01-21T11:19:16.500" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14619" PostTypeId="5" CreationDate="2015-01-20T07:16:42.823" Score="0" Body="&lt;p&gt;MP4 is a shortening of MPEG-4 Part 14, a digital multimedia container format most commonly used to store video and audio, but which can also be used to store other data such as subtitles and still images. The term MPEG stands for the &lt;a href=&quot;https://en.wikipedia.org/wiki/Moving_Picture_Experts_Group&quot; rel=&quot;nofollow&quot;&gt;Moving Picture Experts Group&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While MP4 is a container format, it is commonly confused with MPEG4 part 2 - MPEG-Visual which is a video codec, often used inside MP4 files, along with a later and more ubiquitous codec &lt;a href=&quot;/questions/tagged/h.264&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged 'h.264'&quot; rel=&quot;tag&quot;&gt;h.264&lt;/a&gt; (MPEG-4 Part 10, Advanced Video Coding or MPEG-4 AVC) . &lt;/p&gt;&#xA;&#xA;&lt;p&gt;While h.264 is very common in MP4 video files, MP4 files can contain other codecs and different media:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video: MPEG-4 Part 10 (H.264) and MPEG-4 Part 2&lt;/li&gt;&#xA;&lt;li&gt;Other compression formats are less used: MPEG-2 and MPEG-1&lt;/li&gt;&#xA;&lt;li&gt;Audio: Advanced Audio Coding, also MPEG-4 Part 3 audio objects, such as Audio Lossless Coding (ALS), Scalable Lossless Coding (SLS), MP3, MPEG-1 Audio Layer II(MP2), MPEG-1 Audio Layer I (MP1), CELP, HVXC (speech), TwinVQ, Text To Speech Interface (TTSI) and Structured Audio Orchestra Language (SAOL) and Apple Lossless&lt;/li&gt;&#xA;&lt;li&gt;Subtitles: MPEG-4 Timed Text (also known as 3GPP Timed Text). Nero Digital uses DVD Video subtitles in MP4 files&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-01-21T11:19:10.853" LastActivityDate="2015-01-21T11:19:10.853" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14620" PostTypeId="4" CreationDate="2015-01-20T07:16:42.823" Score="0" Body="A digital multimedia container format most commonly used to store video and audio, but which can also be used to store other data such as subtitles and still images." OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-01-21T11:19:13.633" LastActivityDate="2015-01-21T11:19:13.633" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14622" PostTypeId="2" ParentId="14612" CreationDate="2015-01-20T10:51:59.640" Score="1" Body="&lt;p&gt;I shoot weddings and currently use a Canon 7D with a Zoom lens, it is all up to how you shoot and feel when shooting, I like the 7D as it is small and doesnt look to intrusive, I would like to upgrade to the Canon C100 as it would give me better options but still stay in the small form.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is all down to personal preference in the end, You could just hire a few out and see if you like to feel, form factor etc as some people would say go ARRI and others would be DSLR route&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2015-01-20T10:51:59.640" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14623" PostTypeId="1" AcceptedAnswerId="14625" CreationDate="2015-01-20T15:17:52.580" Score="3" ViewCount="1323" Body="&lt;p&gt;We have a recurring shoot where we continue to run into the same two issues. Our set consists of a medical exam table sitting on top of a green screen. The talent sits on the exam table and we record 'Doctor/Patient interviews'. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;ISSUE 1: When the talent is on the taller side, their feet hang down past the bottom of the exam table and create really harsh shadows on the green screen, making the footage very difficult to key.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ISSUE 2: The dark area on the front of the exam table, behind the talent's legs, is very noisy. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe these two issues are linked and both have to do with lighting. However, I have yet to find a permanent solution to either one of them. I am currently setting a small LED light in front of the camera that helps with the shadows, but it still isn't solving the problem. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Our camera is a Panasonic HMC150 and I use the 'Keylight' effect in After Effects to key the footage. Keying is very difficult around the feet shadows and some of the green reflection shows on the exam table, which in turn, ends up being keyed slightly creating a lot of noise. I use the 'Remove Grain' effect to help remove the noise.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any advice on a different lighting setup, keying solution, or anything else that could help this situation is greatly appreciated. I've attached images demonstrating the issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/TWQZp.png&quot; alt=&quot;enter image description here&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/IVXw3.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6768" LastEditorUserId="6768" LastEditDate="2015-01-20T15:27:29.440" LastActivityDate="2015-01-21T09:39:20.423" Title="Video noise and harsh shadows on green screen caused by feet" Tags="|after-effects|lighting|greenscreen|production|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14625" PostTypeId="2" ParentId="14623" CreationDate="2015-01-20T18:05:56.757" Score="4" Body="&lt;p&gt;To reduce or eliminate the greenish reflection on the front of the table, you can buy some dark gray or black construction paper, or something equally non-reflective, cut it to size, and tape it over the 2 dark rectangles on the front of the table.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have 3 different solutions for the foot-shadows on the floor.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;You could point a semi-dim spotlight directly on that section of the green screen. Make sure to mask it so it doesn't hit the dark rectangles on the front of the table too much.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If the camera is always stationary, you could lower the camera slightly so the talent's feet never extend past the dark rectangle on the front of the table and into the green (as the tip of her left shoe does in the pictures you included). Then you can mask out that part of the shot instead of relying on the Keylight effect.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You could just move the camera about a foot closer to the talent so you crop out the bottom of the table (and the green in front of it). You can also do this by cropping the shot during post production.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;(Or, obviously, just get shorter talent.)&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-01-20T18:05:56.757" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="14627" PostTypeId="1" AcceptedAnswerId="14633" CreationDate="2015-01-20T19:42:17.850" Score="2" ViewCount="1115" Body="&lt;p&gt;I have a handheld Zoom H5 recorder and just ordered a lav mic (&lt;a href=&quot;http://www.vt-switzerland.com/en/vt401-omni-lavalier-microphone&quot; rel=&quot;nofollow&quot;&gt;Voice Technologies VT4001&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;http://www.zoom.co.jp/products/h5/spec/&quot; rel=&quot;nofollow&quot;&gt;Zoom's spec sheet&lt;/a&gt; lists its inputs as 2 &quot;XLR/TRS combo jacks&quot; capable of providing phantom power at +12V, +24V and +48V.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will be using the lav wired.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Question: which is the simplest way to connect and power this mic from this recorder? Do I need some sort of adapter or will a simple mic jack &amp;lt;=&gt; TRS cable do?&lt;/p&gt;&#xA;" OwnerUserId="9169" LastActivityDate="2015-01-21T03:13:13.293" Title="Power for lav mic plugged into a Zoom H5?" Tags="|audio-recording|microphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14628" PostTypeId="1" AcceptedAnswerId="14630" CreationDate="2015-01-20T19:59:26.307" Score="1" ViewCount="125" Body="&lt;p&gt;I want to create a video as in the link below, the effect I want to create is that of a camera moving over a collection still photos and briefly pausing on each one:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=QMtediFgRaU&quot; rel=&quot;nofollow&quot;&gt;Youtube Link to video - iit Madras saarang teser 2009 - India&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone suggest me which tool I can use to create such video??&#xA;I have some images only. How can I achieve this kind of path navigation effect? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: Provide some video links created by those tools you are suggesting, so that I can close this Question based on that (and upvotes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATED : QUERY ON AN EFFECT IN ABOVE LINKED VIDEO&lt;/strong&gt;&#xA;Hi all thanks for the help. I am good with after effects, its nice. In between I want to know one more thing how can I create an effect as in the above video (39th sec to 41st sec), transition from one plane to another, is there any special name for these kind of effect??&lt;/p&gt;&#xA;" OwnerUserId="9170" LastEditorUserId="9170" LastEditDate="2015-01-25T18:16:38.283" LastActivityDate="2015-01-25T18:16:38.283" Title="Please tell me which tool I have to use to create a video?" Tags="|video|video-editor|animation|compositing|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="14630" PostTypeId="2" ParentId="14628" CreationDate="2015-01-20T22:31:06.533" Score="6" Body="&lt;p&gt;After Effects could certainly do what you want, as could Apple Motion (only for Macs though). If you're on a budget you might want to look at something lower cost - or free:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://natron.inria.fr/&quot; rel=&quot;nofollow&quot;&gt;Natron&lt;/a&gt; is an open source free compositor, that will be able to do that effect&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.blenderguru.com/tutorials/introduction-to-the-compositor/&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt; - as well as being a 3D animation package it has a compositor too &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;/questions/tagged/compositing&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged 'compositing'&quot; rel=&quot;tag&quot;&gt;compositing&lt;/a&gt; is the technique of combining images and video, so if you want to research more, what you need to search for is compositing software.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-01-21T00:52:43.633" LastActivityDate="2015-01-21T00:52:43.633" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14631" PostTypeId="2" ParentId="14628" CreationDate="2015-01-20T23:30:02.557" Score="3" Body="&lt;p&gt;After Effects is a good, reasonably priced solution. If you're not on a tight schedule and on a tight budget, The Foundry is releasing a noncommercial version of their Nuke compositing platform, which is much more powerful than After Effects, sometime soon.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-01-20T23:30:02.557" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14632" PostTypeId="2" ParentId="14623" CreationDate="2015-01-21T03:00:09.473" Score="1" Body="&lt;p&gt;The best bet is probably a combination of more light and using a flatter exposure.  h.264 in particular does very bad with noise levels in shadow as do many CMOS sensors.  If you are near the dark end of what the camera can capture, you are going to get lots of noise.  The obvious solution is to keep things away from the dark end of what you can capture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This can be done either by tweaking exposure settings (if the dynamic range of the scene is narrow enough) or by adjusting lighting to be more even.  I'd personally go for trying to use a low down and fairly powerful light with a barn door on it to fill the bottom of the table and provide more even lighting underneath as this will also look better in the finished product.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, as Brett suggested, positioning the actor such that you can mask the area is another option (but would still have a harsh shadow and noise in the dark portions of the video.)  Probably best to prevent the dark areas in the first place.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-21T03:00:09.473" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14633" PostTypeId="2" ParentId="14627" CreationDate="2015-01-21T03:13:13.293" Score="1" Body="&lt;p&gt;You will need an electret power supply that accepts phantom power and then will hook it up via a standard XLR cable to the H5.  If you have the bare wire version, you will also need a connector to put on the bare wire so that it can tie in to the electret power supply.  You will also need to make sure that +48v phantom power is turned on on the H5.  (Alternately you could use a battery powered electret power supply, but I'd recommend sticking to using phantom since it is available.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-21T03:13:13.293" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14634" PostTypeId="2" ParentId="14623" CreationDate="2015-01-21T09:39:20.423" Score="1" Body="&lt;p&gt;I don't know if this might be an option or even work but, couldn't you get a dark piece of paper or card and create a linear curve from the bottom under the seat to extend to the floor creating a curve just at the end so it looks like part of the chair.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2015-01-21T09:39:20.423" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14635" PostTypeId="2" ParentId="10610" CreationDate="2015-01-21T09:45:25.380" Score="1" Body="&lt;p&gt;I just created a video tutorial about how to blur videos with 4 ways. I think you may pick up any of them to solve your problem. &#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/JvmdRnHzYW4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4954" LastActivityDate="2015-01-21T09:45:25.380" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14636" PostTypeId="2" ParentId="10728" CreationDate="2015-01-21T15:08:59.283" Score="2" Body="&lt;p&gt;Ok, it's relatively straightforward using some expressions. But then again isn't everything?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming you've got your original rotating beam layer, your epicycle layer which is parented to the original beam, and your Venus layer parented to that. You need to find the co-ordinates of the center of the Venus layer, relative to the Composition, in order to draw a beam to it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Well you could work it out trigonometrically I'm sure, but it's way too late and I've been into the Irish Single Malt, so I'm not going to go there. Luckily there's a handy expression that does the job: &lt;code&gt;toComp(point)&lt;/code&gt;. What it does is find the composition co-ordinates of a point on a layer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First we apply a &lt;strong&gt;Point Control&lt;/strong&gt; effect &lt;em&gt;Effects&gt;Expression Controls&gt;Point Control&lt;/em&gt; to the Venus layer, we'll use the &lt;code&gt;toComp&lt;/code&gt; expression to set its value. But before that, make sure the &lt;strong&gt;Anchor Point&lt;/strong&gt; property of the Venus layer is showing – we'll need it in a second. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now to apply an expression to the point control &lt;kbd&gt;alt/opt&lt;/kbd&gt;-click the stopwatch on the &lt;strong&gt;Point&lt;/strong&gt; property of that effect. In the expressions editor that opens up type &lt;code&gt;toComp(&lt;/code&gt; and then drag the expression pick-whip to the &lt;strong&gt;Anchor Point&lt;/strong&gt; property to fill in the value &lt;code&gt;Transfrom.AnchorPoint&lt;/code&gt;. You can type it, but it's case sensitive and not at all forgiving of typos. Then close the brackets: &lt;code&gt;)&lt;/code&gt; it should now read &lt;code&gt;toComp(transform.anchorPoint)&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/KNJV8.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So now you have a point that tells you where exactly the Venus Layer's anchor point is in the comp. Using an expression you could plug this straight into the &lt;strong&gt;End Point&lt;/strong&gt; property of the &lt;strong&gt;Beam&lt;/strong&gt; effect, but I'm allergic to the beam effect, I prefer to use shape layers, because vectors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I make a new rectangular shape layer with the stroke I want, and no fill, and I set all the transforms to 0. The size of the rectangle path is going to be the length between the start of the original beam, and the value of the &lt;strong&gt;Point Control&lt;/strong&gt; point, AKA the position of Venus. You can do this by getting the square root of the sum of the squares of the X and Y offsets, but that's a bit 6th century BC, instead we'll use the handy expression &lt;code&gt;length(point1, point2)&lt;/code&gt;. And we'll set the height to 0, so that it draws a line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So on the rectangle shape layer, in the &lt;strong&gt;Contents&gt;Rectangle 1&gt;Rectangle Path 1&lt;/strong&gt; Property we'll use this expression:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;origin=thisComp.layer(&quot;origin&quot;);&#xA;venus=thisComp.layer(&quot;venus&quot;)&#xA;beamlength=length(origin.transform.position, venus.effect(&quot;Point Control&quot;)(&quot;Point&quot;));&#xA;[beamlength,0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;layer &lt;em&gt;origin&lt;/em&gt; is the original beam. You could do it all on one line, but it would be hella ugly:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[length(thisComp.layer(&quot;origin&quot;).transform.position,thisComp.layer(&quot;venus&quot;).effect(&quot;Point Control&quot;)(&quot;Point&quot;)),0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Beauty is truth. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/hEReD.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since by default the rectangle tool draws rectangles around a central point we need to offset it. In the &lt;strong&gt;Contents&gt;Rectangle 1&gt;Rectangle Path 1&gt;Position&lt;/strong&gt; Property (not the layer's position property, that should be the same as the original beam, or the shape's &lt;strong&gt;Contents&gt;Rectangle 1&gt;Transform: Rectangle 1&gt;position&lt;/strong&gt; property, that should be 0,0) we offset it by half the width, so that the rectangle's left edge is always at the origin, thus : &lt;code&gt;content(&quot;Rectangle 1&quot;).content(&quot;Rectangle Path 1&quot;).size/2&lt;/code&gt; (did you notice that we're dividing a vector by a scalar? 100 Nerd points to you if you did.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now we've got a beam that is the right length, but we need to rotate it. Thank you and good night Pythagoras, hello Mr Aryabhata. Since we know the rise and the run, we can find the angle using Atan(rise/run). But there's some problems: when the run is negative Atan will return a positive value, and whenever the run is 0 the expression will crash. And lastly &lt;code&gt;Math.atan&lt;/code&gt; returns a result in Radians, so we need to convert it to degrees. So we have to turn a relatively simple expression into this monster, which goes on the &lt;strong&gt;Contents&gt;Rectangle 1&gt;Transform: Rectangle 1&gt;Rotation&lt;/strong&gt; Property:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;s=thisComp.layer(&quot;venus&quot;).effect(&quot;Point Control&quot;)(&quot;Point&quot;);&#xA;o=thisComp.layer(&quot;origin&quot;).transform.position;&#xA;run=s[0]-o[0];&#xA;rise=s[1]-o[1];   &#xA;if (run==0){&#xA; if (rise&amp;gt;0) //pointing straight up&#xA;  {-90;}&#xA; else //pointing straight down&#xA;  {90;}&#xA;} else{&#xA; if (run&amp;gt;0){&#xA;    radiansToDegrees(Math.atan(rise/run));&#xA;  } else {&#xA;    180+radiansToDegrees(Math.atan(rise/run));&#xA;  }&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;this is how my beam layer looks:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/SiWGv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and below is the whole comp. I've used shape layers for everything and driven them all by expressions as is my wont, if you want to have a look at it, it's &lt;a href=&quot;http://adobe.ly/1xy8D30&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/MWjw8.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-01-21T15:08:59.283" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14637" PostTypeId="1" AcceptedAnswerId="14639" CreationDate="2015-01-21T18:50:02.313" Score="1" ViewCount="3400" Body="&lt;p&gt;I am using After Effects, i am zooming an image using two keyframes and the scale setting, but as i zoom in, the image gets bigger. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want the image to have the zoom-in but keep its assigned size. So i want something like &quot;crop&quot; on top of the zoom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to do this?&lt;/p&gt;&#xA;" OwnerUserId="7982" LastActivityDate="2015-01-22T12:37:29.380" Title="after effects how to Zoom-in but keep same size (zooming and cropping)" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14638" PostTypeId="1" CreationDate="2015-01-22T01:44:35.673" Score="1" ViewCount="945" Body="&lt;p&gt;I'm trying to simulate water filling up a closed sphere, but I'm having trouble getting Newton to recognize that my box is empty on the inside but has borders. It only sees my box as a solid object and I am unable to put anything else inside of it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried removing the fill and playing around with the box's properties but it doesn't seem to be affecting anything. I know it's possible because I've seen a few videos using the technique, but not a single one explaining how to do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In short, I want to be able to create a &quot;hollow&quot; box that Newton can see and that I can fill with a bunch of tiny balls.&lt;/p&gt;&#xA;" OwnerUserId="9184" LastActivityDate="2018-10-22T09:14:15.487" Title="Closed shapes with Newton 2" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14639" PostTypeId="2" ParentId="14637" CreationDate="2015-01-22T06:12:10.643" Score="3" Body="&lt;p&gt;There are a couple of ways to achieve this:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Use a &lt;strong&gt;track matte&lt;/strong&gt;. Create a layer with the desired size / shape and put it above the zooming layer. You can use masks to create any shape you want, or use an image that has an alpha channel, or even just a copy of the original layer without the animated scale. On the zooming layer go to the Tack matte / mode panel (you may have to hit &lt;kbd&gt;f4&lt;/kbd&gt; to toggle between switches and modes), and choose &lt;strong&gt;Alpha Matte &quot;layer name&quot;&lt;/strong&gt;. This will turn off visibility for the top layer, and apply its transparency to the layer below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/20E2J.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use a layer with the &lt;em&gt;stencil alpha&lt;/em&gt; transfer mode above your original layer. This does a similar thing to a track matte, but it's not just for one layer, it's for every layer below the matte layer. And the visibility for the matte layer has to be on for it to work.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use a preComp. Pre-comping replaces the original layer (or layers) with a composition containing just that layer(s). So you want to pre-comp the layer with the animated &lt;strong&gt;Scale&lt;/strong&gt; property – select it and hit &lt;kbd&gt;shift&lt;/kbd&gt;-&lt;kbd&gt;cmd/ctrl&lt;/kbd&gt;-&lt;kbd&gt;c&lt;/kbd&gt; or choose &lt;strong&gt;Layer&gt;Pre-Compose&lt;/strong&gt; from the menu. In the dialogue that appears choose &lt;em&gt;move all attributes into the new composition&lt;/em&gt;. Now you can add a mask to the pre-comp to crop off the scaled edges of the layer. A pre-comp is similar to what you'd get if you rendered the layer as a movie and then brought that back into your comp (but with a few advantages). As the pre-comp is not zooming, just its contents, the mask will crop the edges as the contents get bigger.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/cGasI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-01-22T12:37:29.380" LastActivityDate="2015-01-22T12:37:29.380" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14640" PostTypeId="1" AcceptedAnswerId="14648" CreationDate="2015-01-22T07:52:31.870" Score="2" ViewCount="1020" Body="&lt;p&gt;I'm using Motion to create text overlays for a video that I'm editing in Final Cut Pro X. Each time an overlay appears on the video, it uses a transition to slide into view and to slide out again when finished. I've created a custom title in Motion that behaves as follows: the text is visible for 7 seconds, with a transition lasting 10 frames at the start and end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's my problem: sometimes I want the text to be visible for a different duration. If I add my custom title to the FCPX timeline, then change the duration of the title from 7 seconds to 14 seconds, the transitions take twice as long to complete. It looks silly! Is there any way that I can make a title whose start/end animation takes place over a fixed duration, but where the total duration of the title can be customized freely?&lt;/p&gt;&#xA;" OwnerUserId="6131" LastActivityDate="2015-01-23T04:53:04.610" Title="How can I create Motion titles with fixed-length transitions?" Tags="|final-cut-pro-x|motion|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14641" PostTypeId="1" CreationDate="2015-01-22T09:08:44.693" Score="6" ViewCount="336" Body="&lt;p&gt;We are a community TV station, looking to improve our video archive. Currently we archive our master files on external drives. But to make the archive easier to access, both for saving and re-using, we are looking into a network-based solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have a gigabit network and currently use about 18.5 TB (our exported files for broadcast already reside on another NAS). But we likely will need at least 30TB for now (we have about 34TB worth of disks available).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, how to we best set up this archive, to make it available over LAN? RAID5? Do we need a RAID controller or can we get away with some kind of software/motherboard/PCIe RAID, as it's only for archiving? Is it better to buy a dedicated NAS solution, or to set up our own server with a good amount of swap drive slots? Or would we even need a SAN?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;About six editing computers will on a more or less regular basis archive/backup to this archive server.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Our budget is pretty tight, so we're looking for a cheap, yet efficient solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although we currently use Google Spreadsheets to track what's on each disk, a media asset management solution would probably be a nice addition to this as well :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="6918" LastActivityDate="2015-04-26T19:25:26.213" Title="Video archive solution" Tags="|video|hardware|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14642" PostTypeId="1" CreationDate="2015-01-22T09:41:18.877" Score="3" ViewCount="4138" Body="&lt;p&gt;I am new to after effects and I am having &lt;strong&gt;trouble understanding scaling shapes&lt;/strong&gt;. I have an initial shape ( image 1 ) that I wish to expand and animate to a wider shape ( image 2 ). But as you can see, the grey stoke also widens when I expand it when I want it to remain the same stroke width as the previous image and just have the shape widen. &lt;strong&gt;Basically I want image 1 to animate to a wider shape and look just like image 3 without the stoke becoming thicker.&lt;/strong&gt; Hope that makes sense.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/TzGOj.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help will be most appreciated.&lt;/p&gt;&#xA;" OwnerUserId="9185" LastEditorUserId="3592" LastEditDate="2015-01-22T10:02:03.017" LastActivityDate="2015-01-22T12:34:30.673" Title="I'm having trouble scaling strokes in After Effects" Tags="|after-effects|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14643" PostTypeId="2" ParentId="14642" CreationDate="2015-01-22T10:25:38.067" Score="5" Body="&lt;p&gt;If you created the shape with the rounded rectangle tool, then you won't initially have the same control over the transform as you would if you'd made the shape with the pen tool.  But there's a simple fix.  Just right-click on &quot;Rectangle Path X&quot; and convert to bezier path.  Now you'll be able to use the selection tool to draw a marquis around the individual corner points and animate them however you like (just tick the stopwatch next to &quot;path&quot; to create keyframes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just to be clear, don't animate the &quot;Scale&quot; transform property x value.  This will distort the lines, even after they're converted to a bezier curve.  Instead, animate the actual corners of the path.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/8HPFU.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-01-22T10:25:38.067" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14644" PostTypeId="2" ParentId="14642" CreationDate="2015-01-22T10:54:40.977" Score="3" Body="&lt;p&gt;Animate the x value of the &lt;strong&gt;Size&lt;/strong&gt; property of the rounded rectangle path, rather than the &lt;strong&gt;Scale&lt;/strong&gt; to leave your strokes the same width. This will let you change the size of the rectangle without affecting the stroke size, or indeed the size of the corner radius.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/xiwpa.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However the down side is that you can't just drag the corners in the comp window, this will affect the scale, rather than the size property, so you have to use the numbers in the properties panel. If that's not the way you work, convert them to Beziers as @Jason Conrad suggested. The down side of that approach is that with a rounded rectangle you're now dealing with eight bezier points and sixteen handles, rather than two numbers. The up side is that you can work with them in the comp window.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-01-22T12:34:30.673" LastActivityDate="2015-01-22T12:34:30.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14645" PostTypeId="1" CreationDate="2015-01-22T14:58:30.530" Score="3" ViewCount="5666" Body="&lt;p&gt;I am downscaling an HD movie from 1920x1080 to 720x576 and want to make sure the color conversion is done correctly, which with my current settings I am sure it is not. I am coming from an HD Prores HQ, going to an SD Prores HQ.&#xA;With my current command (below) it is introducing a very faint green pattern / interference, I can see this when zooming into the video. If I remove the &lt;code&gt;colormatrix=bt709:bt601&lt;/code&gt; altogether then the very faint green pattern / interference goes. &#xA;So my question is do I need any color conversion (is ffmpeg already doing this for me) and if I do, what would be the correct way to apply this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my current command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/Users/kevinw/Desktop/Python/ffmpeg/ffmpeg -r 25 -i &quot;/Volumes/Kevs_GRAID/Downconvert_Tests/TestInput.mov&quot; -loglevel debug -af atempo=1.04166666667 -map 0:0 -vf scale=720:576,colormatrix=bt709:bt601 -map 0:1 -map 0:2 -map 0:3 -map 0:4 -map 0:5 -map 0:6 -map 0:7 -vcodec prores -profile:v 3 -c:a pcm_s16le -y &quot;/Volumes/Kevs_GRAID/Downconvert_Tests/TestOutput.mov&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;UPDATE:&#xA;Here is another output with -loglevel debug which gives more info:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/Users/kevinw/Desktop/Python/ffmpeg/ffmpeg -r 25 -i &quot;/Volumes/Kevs_GRAID/Downconvert_Tests/TestInput.mov&quot; -loglevel debug -af atempo=1.04166666667 -map 0:0 -vf scale=720:576,colormatrix=bt709:bt601 -map 0:1 -map 0:2 -map 0:3 -map 0:4 -map 0:5 -map 0:6 -map 0:7 -vcodec prores -profile:v 3 -c:a pcm_s16le -y &quot;/Volumes/Kevs_GRAID/Downconvert_Tests/TestOutput.mov&quot;&#xA;ffmpeg version 2.5.3-tessus Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built on Jan 10 2015 01:19:50 with Apple LLVM version 6.0 (clang-600.0.56) (based on LLVM 3.5svn)&#xA;  configuration: --cc=/usr/bin/clang --prefix=/Users/tessus/data/ext/ffmpeg/sw --as=yasm --extra-version=tessus --disable-shared --enable-static --disable-ffplay --enable-gpl --enable-pthreads --enable-postproc --enable-libmp3lame --enable-libtheora --enable-libvorbis --enable-libx264 --enable-libx265 --enable-libxvid --enable-libspeex --enable-bzlib --enable-zlib --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libxavs --enable-libsoxr --enable-libwavpack --enable-version3 --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvpx --enable-libgsm --enable-libopus --enable-libmodplug --enable-fontconfig --enable-libfreetype --enable-libass --enable-libbluray --enable-filters --disable-indev=qtkit --disable-indev=x11grab_xcb --enable-runtime-cpudetect&#xA;  libavutil      54. 15.100 / 54. 15.100&#xA;  libavcodec     56. 13.100 / 56. 13.100&#xA;  libavformat    56. 15.102 / 56. 15.102&#xA;  libavdevice    56.  3.100 / 56.  3.100&#xA;  libavfilter     5.  2.103 /  5.  2.103&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Splitting the commandline.&#xA;Reading option '-r' ... matched as option 'r' (set frame rate (Hz value, fraction or abbreviation)) with argument '25'.&#xA;Reading option '-i' ... matched as input file with argument '/Volumes/Kevs_GRAID/Downconvert_Tests/TestInput.mov'.&#xA;Reading option '-loglevel' ... matched as option 'loglevel' (set logging level) with argument 'debug'.&#xA;Reading option '-af' ... matched as option 'af' (set audio filters) with argument 'atempo=1.04166666667'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '0:0'.&#xA;Reading option '-vf' ... matched as option 'vf' (set video filters) with argument 'scale=720:576,colormatrix=bt709:bt601'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '0:1'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '0:2'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '0:3'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '0:4'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '0:5'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '0:6'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '0:7'.&#xA;Reading option '-vcodec' ... matched as option 'vcodec' (force video codec ('copy' to copy stream)) with argument 'prores'.&#xA;Reading option '-profile:v' ... matched as option 'profile' (set profile) with argument '3'.&#xA;Reading option '-c:a' ... matched as option 'c' (codec name) with argument 'pcm_s16le'.&#xA;Reading option '-y' ... matched as option 'y' (overwrite output files) with argument '1'.&#xA;Reading option '/Volumes/Kevs_GRAID/Downconvert_Tests/TestOutput.mov' ... matched as output file.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option loglevel (set logging level) with argument debug.&#xA;Applying option y (overwrite output files) with argument 1.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input file /Volumes/Kevs_GRAID/Downconvert_Tests/TestInput.mov.&#xA;Applying option r (set frame rate (Hz value, fraction or abbreviation)) with argument 25.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: /Volumes/Kevs_GRAID/Downconvert_Tests/TestInput.mov.&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fa3db01bc00] Format mov,mp4,m4a,3gp,3g2,mj2 probed with size=2048 and score=100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fa3db01bc00] ISO: File Type Major Brand: qt  &#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fa3db01bc00] Before avformat_find_stream_info() pos: 11833 bytes read:65536 seeks:2&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fa3db01bc00] All info found&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fa3db01bc00] Ignoring outlier non primary stream starttime -445.249969&#xA;    Last message repeated 1 times&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fa3db01bc00] After avformat_find_stream_info() pos: 2059945 bytes read:2146400 seeks:4 frames:338&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/Volumes/Kevs_GRAID/Downconvert_Tests/TestInput.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    creation_time   : 2015-01-24 14:13:11&#xA;  Duration: 00:00:05.96, start: 0.000000, bitrate: 178365 kb/s&#xA;    Stream #0:0(eng), 1, 1/24: Video: prores (apch / 0x68637061), yuv422p10le(bt709), 1920x1080, 1/24, 169133 kb/s, SAR 1:1 DAR 16:9, 24 fps, 24 tbr, 24 tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Apple ProRes 422 HQ&#xA;      timecode        : 00:00:00:00&#xA;    Stream #0:1(eng), 48, 1/48000: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (FL), s32 (24 bit), 1152 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:2(eng), 48, 1/48000: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (FR), s32 (24 bit), 1152 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:3(eng), 48, 1/48000: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, mono, s32 (24 bit), 1152 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:4(eng), 48, 1/48000: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (LFE), s32 (24 bit), 1152 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:5(eng), 48, 1/48000: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (BL), s32 (24 bit), 1152 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:6(eng), 48, 1/48000: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (BR), s32 (24 bit), 1152 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:7(eng), 48, 1/48000: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, downmix, s32 (24 bit), 2304 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:8(eng), 1, 1/24: Data: none (tmcd / 0x64636D74), 1/24 (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:00:00:00&#xA;Successfully opened the file.&#xA;Parsing a group of options: output file /Volumes/Kevs_GRAID/Downconvert_Tests/TestOutput.mov.&#xA;Applying option af (set audio filters) with argument atempo=1.04166666667.&#xA;Applying option map (set input stream mapping) with argument 0:0.&#xA;Applying option vf (set video filters) with argument scale=720:576,colormatrix=bt709:bt601.&#xA;Applying option map (set input stream mapping) with argument 0:1.&#xA;Applying option map (set input stream mapping) with argument 0:2.&#xA;Applying option map (set input stream mapping) with argument 0:3.&#xA;Applying option map (set input stream mapping) with argument 0:4.&#xA;Applying option map (set input stream mapping) with argument 0:5.&#xA;Applying option map (set input stream mapping) with argument 0:6.&#xA;Applying option map (set input stream mapping) with argument 0:7.&#xA;Applying option vcodec (force video codec ('copy' to copy stream)) with argument prores.&#xA;Applying option profile:v (set profile) with argument 3.&#xA;Applying option c:a (codec name) with argument pcm_s16le.&#xA;Successfully parsed a group of options.&#xA;Opening an output file: /Volumes/Kevs_GRAID/Downconvert_Tests/TestOutput.mov.&#xA;Successfully opened the file.&#xA;detected 8 logical cores&#xA;[Parsed_scale_0 @ 0x7fa3d9d24020] Setting 'w' to value '720'&#xA;[Parsed_scale_0 @ 0x7fa3d9d24020] Setting 'h' to value '576'&#xA;[Parsed_scale_0 @ 0x7fa3d9d24020] Setting 'flags' to value '0x4'&#xA;[Parsed_scale_0 @ 0x7fa3d9d24020] w:720 h:576 flags:'0x4' interl:0&#xA;[Parsed_colormatrix_1 @ 0x7fa3d9c005e0] Setting 'src' to value 'bt709'&#xA;[Parsed_colormatrix_1 @ 0x7fa3d9c005e0] Setting 'dst' to value 'bt601'&#xA;[graph 0 input from stream 0:0 @ 0x7fa3d9c00f20] Setting 'video_size' to value '1920x1080'&#xA;[graph 0 input from stream 0:0 @ 0x7fa3d9c00f20] Setting 'pix_fmt' to value '74'&#xA;[graph 0 input from stream 0:0 @ 0x7fa3d9c00f20] Setting 'time_base' to value '1/25'&#xA;[graph 0 input from stream 0:0 @ 0x7fa3d9c00f20] Setting 'pixel_aspect' to value '1/1'&#xA;[graph 0 input from stream 0:0 @ 0x7fa3d9c00f20] Setting 'sws_param' to value 'flags=2'&#xA;[graph 0 input from stream 0:0 @ 0x7fa3d9c00f20] Setting 'frame_rate' to value '25/1'&#xA;[graph 0 input from stream 0:0 @ 0x7fa3d9c00f20] w:1920 h:1080 pixfmt:yuv422p10le tb:1/25 fr:25/1 sar:1/1 sws_param:flags=2&#xA;[force CFR for input from stream 0:0 @ 0x7fa3d9c01040] Setting 'expr' to value 'N'&#xA;[format @ 0x7fa3d9c018c0] compat: called with args=[yuv422p10le]&#xA;[format @ 0x7fa3d9c018c0] Setting 'pix_fmts' to value 'yuv422p10le'&#xA;[auto-inserted scaler 0 @ 0x7fa3d9c02160] Setting 'flags' to value '0x4'&#xA;[auto-inserted scaler 0 @ 0x7fa3d9c02160] w:iw h:ih flags:'0x4' interl:0&#xA;[format @ 0x7fa3d9c018c0] auto-inserting filter 'auto-inserted scaler 0' between the filter 'Parsed_colormatrix_1' and the filter 'format'&#xA;[AVFilterGraph @ 0x7fa3d9d20900] query_formats: 6 queried, 4 merged, 1 already done, 0 delayed&#xA;[Parsed_scale_0 @ 0x7fa3d9d24020] picking yuv422p out of 3 ref:yuv422p10le alpha:0&#xA;[graph 0 input from stream 0:0 @ 0x7fa3d9c00f20] TB:0.040000 FRAME_RATE:25.000000 SAMPLE_RATE:nan&#xA;[Parsed_scale_0 @ 0x7fa3d9d24020] w:1920 h:1080 fmt:yuv422p10le sar:1/1 -&amp;gt; w:720 h:576 fmt:yuv422p sar:64/45 flags:0x4&#xA;[Parsed_colormatrix_1 @ 0x7fa3d9c005e0] bt709 -&amp;gt; bt601&#xA;[auto-inserted scaler 0 @ 0x7fa3d9c02160] w:720 h:576 fmt:yuv422p sar:64/45 -&amp;gt; w:720 h:576 fmt:yuv422p10le sar:64/45 flags:0x4&#xA;[Parsed_atempo_0 @ 0x7fa3d9d24680] Setting 'tempo' to value '1.04166666667'&#xA;[graph 1 input from stream 0:1 @ 0x7fa3d9f02ec0] Setting 'time_base' to value '1/48000'&#xA;[graph 1 input from stream 0:1 @ 0x7fa3d9f02ec0] Setting 'sample_rate' to value '48000'&#xA;[graph 1 input from stream 0:1 @ 0x7fa3d9f02ec0] Setting 'sample_fmt' to value 's32'&#xA;[graph 1 input from stream 0:1 @ 0x7fa3d9f02ec0] Setting 'channel_layout' to value '0x1'&#xA;[graph 1 input from stream 0:1 @ 0x7fa3d9f02ec0] tb:1/48000 samplefmt:s32 samplerate:48000 chlayout:0x1&#xA;[audio format for output stream 0:1 @ 0x7fa3d9f03320] Setting 'sample_fmts' to value 's16'&#xA;[audio format for output stream 0:1 @ 0x7fa3d9f03320] auto-inserting filter 'auto-inserted resampler 0' between the filter 'Parsed_atempo_0' and the filter 'audio format for output stream 0:1'&#xA;[AVFilterGraph @ 0x7fa3d9d24420] query_formats: 4 queried, 6 merged, 3 already done, 0 delayed&#xA;[auto-inserted resampler 0 @ 0x7fa3d9f03800] ch:1 chl:1 channels (FL) fmt:s32 r:48000Hz -&amp;gt; ch:1 chl:1 channels (FL) fmt:s16 r:48000Hz&#xA;[Parsed_atempo_0 @ 0x7fa3d9f03e20] Setting 'tempo' to value '1.04166666667'&#xA;[graph 2 input from stream 0:2 @ 0x7fa3d9f04200] Setting 'time_base' to value '1/48000'&#xA;[graph 2 input from stream 0:2 @ 0x7fa3d9f04200] Setting 'sample_rate' to value '48000'&#xA;[graph 2 input from stream 0:2 @ 0x7fa3d9f04200] Setting 'sample_fmt' to value 's32'&#xA;[graph 2 input from stream 0:2 @ 0x7fa3d9f04200] Setting 'channel_layout' to value '0x2'&#xA;[graph 2 input from stream 0:2 @ 0x7fa3d9f04200] tb:1/48000 samplefmt:s32 samplerate:48000 chlayout:0x2&#xA;[audio format for output stream 0:2 @ 0x7fa3d9f04740] Setting 'sample_fmts' to value 's16'&#xA;[audio format for output stream 0:2 @ 0x7fa3d9f04740] auto-inserting filter 'auto-inserted resampler 0' between the filter 'Parsed_atempo_0' and the filter 'audio format for output stream 0:2'&#xA;[AVFilterGraph @ 0x7fa3d9f03bc0] query_formats: 4 queried, 6 merged, 3 already done, 0 delayed&#xA;[auto-inserted resampler 0 @ 0x7fa3d9f04ec0] ch:1 chl:1 channels (FR) fmt:s32 r:48000Hz -&amp;gt; ch:1 chl:1 channels (FR) fmt:s16 r:48000Hz&#xA;[Parsed_atempo_0 @ 0x7fa3d9c01ec0] Setting 'tempo' to value '1.04166666667'&#xA;[graph 3 input from stream 0:3 @ 0x7fa3d9c02660] Setting 'time_base' to value '1/48000'&#xA;[graph 3 input from stream 0:3 @ 0x7fa3d9c02660] Setting 'sample_rate' to value '48000'&#xA;[graph 3 input from stream 0:3 @ 0x7fa3d9c02660] Setting 'sample_fmt' to value 's32'&#xA;[graph 3 input from stream 0:3 @ 0x7fa3d9c02660] Setting 'channel_layout' to value '0x4'&#xA;[graph 3 input from stream 0:3 @ 0x7fa3d9c02660] tb:1/48000 samplefmt:s32 samplerate:48000 chlayout:0x4&#xA;[audio format for output stream 0:3 @ 0x7fa3d9c02ae0] Setting 'sample_fmts' to value 's16'&#xA;[audio format for output stream 0:3 @ 0x7fa3d9c02ae0] auto-inserting filter 'auto-inserted resampler 0' between the filter 'Parsed_atempo_0' and the filter 'audio format for output stream 0:3'&#xA;[AVFilterGraph @ 0x7fa3d9f05220] query_formats: 4 queried, 6 merged, 3 already done, 0 delayed&#xA;[auto-inserted resampler 0 @ 0x7fa3d9c18300] ch:1 chl:mono fmt:s32 r:48000Hz -&amp;gt; ch:1 chl:mono fmt:s16 r:48000Hz&#xA;[Parsed_atempo_0 @ 0x7fa3dc000000] Setting 'tempo' to value '1.04166666667'&#xA;[graph 4 input from stream 0:4 @ 0x7fa3d9e00340] Setting 'time_base' to value '1/48000'&#xA;[graph 4 input from stream 0:4 @ 0x7fa3d9e00340] Setting 'sample_rate' to value '48000'&#xA;[graph 4 input from stream 0:4 @ 0x7fa3d9e00340] Setting 'sample_fmt' to value 's32'&#xA;[graph 4 input from stream 0:4 @ 0x7fa3d9e00340] Setting 'channel_layout' to value '0x8'&#xA;[graph 4 input from stream 0:4 @ 0x7fa3d9e00340] tb:1/48000 samplefmt:s32 samplerate:48000 chlayout:0x8&#xA;[audio format for output stream 0:4 @ 0x7fa3d9e008a0] Setting 'sample_fmts' to value 's16'&#xA;[audio format for output stream 0:4 @ 0x7fa3d9e008a0] auto-inserting filter 'auto-inserted resampler 0' between the filter 'Parsed_atempo_0' and the filter 'audio format for output stream 0:4'&#xA;[AVFilterGraph @ 0x7fa3d9e01820] query_formats: 4 queried, 6 merged, 3 already done, 0 delayed&#xA;[auto-inserted resampler 0 @ 0x7fa3d9e010a0] ch:1 chl:1 channels (LFE) fmt:s32 r:48000Hz -&amp;gt; ch:1 chl:1 channels (LFE) fmt:s16 r:48000Hz&#xA;[Parsed_atempo_0 @ 0x7fa3d9c02ee0] Setting 'tempo' to value '1.04166666667'&#xA;[graph 5 input from stream 0:5 @ 0x7fa3d9c187a0] Setting 'time_base' to value '1/48000'&#xA;[graph 5 input from stream 0:5 @ 0x7fa3d9c187a0] Setting 'sample_rate' to value '48000'&#xA;[graph 5 input from stream 0:5 @ 0x7fa3d9c187a0] Setting 'sample_fmt' to value 's32'&#xA;[graph 5 input from stream 0:5 @ 0x7fa3d9c187a0] Setting 'channel_layout' to value '0x10'&#xA;[graph 5 input from stream 0:5 @ 0x7fa3d9c187a0] tb:1/48000 samplefmt:s32 samplerate:48000 chlayout:0x10&#xA;[audio format for output stream 0:5 @ 0x7fa3d9c18b80] Setting 'sample_fmts' to value 's16'&#xA;[audio format for output stream 0:5 @ 0x7fa3d9c18b80] auto-inserting filter 'auto-inserted resampler 0' between the filter 'Parsed_atempo_0' and the filter 'audio format for output stream 0:5'&#xA;[AVFilterGraph @ 0x7fa3dc1001c0] query_formats: 4 queried, 6 merged, 3 already done, 0 delayed&#xA;[auto-inserted resampler 0 @ 0x7fa3d9c19280] ch:1 chl:1 channels (BL) fmt:s32 r:48000Hz -&amp;gt; ch:1 chl:1 channels (BL) fmt:s16 r:48000Hz&#xA;[Parsed_atempo_0 @ 0x7fa3d9e03ce0] Setting 'tempo' to value '1.04166666667'&#xA;[graph 6 input from stream 0:6 @ 0x7fa3d9e040a0] Setting 'time_base' to value '1/48000'&#xA;[graph 6 input from stream 0:6 @ 0x7fa3d9e040a0] Setting 'sample_rate' to value '48000'&#xA;[graph 6 input from stream 0:6 @ 0x7fa3d9e040a0] Setting 'sample_fmt' to value 's32'&#xA;[graph 6 input from stream 0:6 @ 0x7fa3d9e040a0] Setting 'channel_layout' to value '0x20'&#xA;[graph 6 input from stream 0:6 @ 0x7fa3d9e040a0] tb:1/48000 samplefmt:s32 samplerate:48000 chlayout:0x20&#xA;[audio format for output stream 0:6 @ 0x7fa3d9e045a0] Setting 'sample_fmts' to value 's16'&#xA;[audio format for output stream 0:6 @ 0x7fa3d9e045a0] auto-inserting filter 'auto-inserted resampler 0' between the filter 'Parsed_atempo_0' and the filter 'audio format for output stream 0:6'&#xA;[AVFilterGraph @ 0x7fa3d9e013a0] query_formats: 4 queried, 6 merged, 3 already done, 0 delayed&#xA;[auto-inserted resampler 0 @ 0x7fa3d9e04d20] ch:1 chl:1 channels (BR) fmt:s32 r:48000Hz -&amp;gt; ch:1 chl:1 channels (BR) fmt:s16 r:48000Hz&#xA;[Parsed_atempo_0 @ 0x7fa3d9e04b80] Setting 'tempo' to value '1.04166666667'&#xA;[graph 7 input from stream 0:7 @ 0x7fa3d9e05300] Setting 'time_base' to value '1/48000'&#xA;[graph 7 input from stream 0:7 @ 0x7fa3d9e05300] Setting 'sample_rate' to value '48000'&#xA;[graph 7 input from stream 0:7 @ 0x7fa3d9e05300] Setting 'sample_fmt' to value 's32'&#xA;[graph 7 input from stream 0:7 @ 0x7fa3d9e05300] Setting 'channel_layout' to value '0x60000000'&#xA;[graph 7 input from stream 0:7 @ 0x7fa3d9e05300] tb:1/48000 samplefmt:s32 samplerate:48000 chlayout:0x60000000&#xA;[audio format for output stream 0:7 @ 0x7fa3d9e057e0] Setting 'sample_fmts' to value 's16'&#xA;[audio format for output stream 0:7 @ 0x7fa3d9e057e0] auto-inserting filter 'auto-inserted resampler 0' between the filter 'Parsed_atempo_0' and the filter 'audio format for output stream 0:7'&#xA;[AVFilterGraph @ 0x7fa3d9d24b40] query_formats: 4 queried, 6 merged, 3 already done, 0 delayed&#xA;[auto-inserted resampler 0 @ 0x7fa3d9e05d40] ch:2 chl:downmix fmt:s32 r:48000Hz -&amp;gt; ch:2 chl:downmix fmt:s16 r:48000Hz&#xA;Output #0, mov, to '/Volumes/Kevs_GRAID/Downconvert_Tests/TestOutput.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf56.15.102&#xA;    Stream #0:0(eng), 0, 1/12800: Video: prores (apch) (apch / 0x68637061), yuv422p10le, 720x576 [SAR 64:45 DAR 16:9], 1/25, q=2-31, 200 kb/s, 25 fps, 12800 tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:00:00:00&#xA;      encoder         : Lavc56.13.100 prores&#xA;    Stream #0:1(eng), 0, 1/48000: Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, 1 channels (FL), s16 (24 bit), 768 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc56.13.100 pcm_s16le&#xA;    Stream #0:2(eng), 0, 1/48000: Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, 1 channels (FR), s16 (24 bit), 768 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc56.13.100 pcm_s16le&#xA;    Stream #0:3(eng), 0, 1/48000: Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, mono, s16 (24 bit), 768 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc56.13.100 pcm_s16le&#xA;    Stream #0:4(eng), 0, 1/48000: Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, 1 channels (LFE), s16 (24 bit), 768 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc56.13.100 pcm_s16le&#xA;    Stream #0:5(eng), 0, 1/48000: Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, 1 channels (BL), s16 (24 bit), 768 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc56.13.100 pcm_s16le&#xA;    Stream #0:6(eng), 0, 1/48000: Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, 1 channels (BR), s16 (24 bit), 768 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc56.13.100 pcm_s16le&#xA;    Stream #0:7(eng), 0, 1/48000: Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, downmix, s16 (24 bit), 1536 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-01-24 14:13:11&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc56.13.100 pcm_s16le&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (prores (native) -&amp;gt; prores (native))&#xA;  Stream #0:1 -&amp;gt; #0:1 (pcm_s24le (native) -&amp;gt; pcm_s16le (native))&#xA;  Stream #0:2 -&amp;gt; #0:2 (pcm_s24le (native) -&amp;gt; pcm_s16le (native))&#xA;  Stream #0:3 -&amp;gt; #0:3 (pcm_s24le (native) -&amp;gt; pcm_s16le (native))&#xA;  Stream #0:4 -&amp;gt; #0:4 (pcm_s24le (native) -&amp;gt; pcm_s16le (native))&#xA;  Stream #0:5 -&amp;gt; #0:5 (pcm_s24le (native) -&amp;gt; pcm_s16le (native))&#xA;  Stream #0:6 -&amp;gt; #0:6 (pcm_s24le (native) -&amp;gt; pcm_s16le (native))&#xA;  Stream #0:7 -&amp;gt; #0:7 (pcm_s24le (native) -&amp;gt; pcm_s16le (native))&#xA;Press [q] to stop, [?] for help&#xA;[output stream 0:0 @ 0x7fa3d9c01620] EOF on sink link output stream 0:0:default.s    &#xA;[output stream 0:6 @ 0x7fa3d9e04420] EOF on sink link output stream 0:6:default.&#xA;[output stream 0:4 @ 0x7fa3d9e00680] EOF on sink link output stream 0:4:default.&#xA;[output stream 0:5 @ 0x7fa3d9c18a40] EOF on sink link output stream 0:5:default.&#xA;[output stream 0:7 @ 0x7fa3d9e05660] EOF on sink link output stream 0:7:default.&#xA;[output stream 0:1 @ 0x7fa3d9f031e0] EOF on sink link output stream 0:1:default.&#xA;[output stream 0:2 @ 0x7fa3d9f045e0] EOF on sink link output stream 0:2:default.&#xA;[output stream 0:3 @ 0x7fa3d9c02960] EOF on sink link output stream 0:3:default.&#xA;No more output streams to write to, finishing.&#xA;frame=  143 fps= 80 q=0.0 Lsize=   41605kB time=00:00:05.73 bitrate=59405.7kbits/s    &#xA;video:37293kB audio:4297kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.035538%&#xA;Input file #0 (/Volumes/Kevs_GRAID/Downconvert_Tests/TestInput.mov):&#xA;  Input stream #0:0 (video): 143 packets read (125969472 bytes); 143 frames decoded; &#xA;  Input stream #0:1 (audio): 286 packets read (858000 bytes); 286 frames decoded (286000 samples); &#xA;  Input stream #0:2 (audio): 286 packets read (858000 bytes); 286 frames decoded (286000 samples); &#xA;  Input stream #0:3 (audio): 286 packets read (858000 bytes); 286 frames decoded (286000 samples); &#xA;  Input stream #0:4 (audio): 286 packets read (858000 bytes); 286 frames decoded (286000 samples); &#xA;  Input stream #0:5 (audio): 286 packets read (858000 bytes); 286 frames decoded (286000 samples); &#xA;  Input stream #0:6 (audio): 286 packets read (858000 bytes); 286 frames decoded (286000 samples); &#xA;  Input stream #0:7 (audio): 286 packets read (1716000 bytes); 286 frames decoded (286000 samples); &#xA;  Input stream #0:8 (data): 1 packets read (4 bytes); &#xA;  Total: 2146 packets (132833476 bytes) demuxed&#xA;Output file #0 (/Volumes/Kevs_GRAID/Downconvert_Tests/TestOutput.mov):&#xA;  Output stream #0:0 (video): 143 frames encoded; 143 packets muxed (38188456 bytes); &#xA;  Output stream #0:1 (audio): 288 frames encoded (275222 samples); 288 packets muxed (550444 bytes); &#xA;  Output stream #0:2 (audio): 287 frames encoded (275391 samples); 287 packets muxed (550782 bytes); &#xA;  Output stream #0:3 (audio): 285 frames encoded (275353 samples); 285 packets muxed (550706 bytes); &#xA;  Output stream #0:4 (audio): 285 frames encoded (273541 samples); 285 packets muxed (547082 bytes); &#xA;  Output stream #0:5 (audio): 285 frames encoded (275235 samples); 285 packets muxed (550470 bytes); &#xA;  Output stream #0:6 (audio): 290 frames encoded (275244 samples); 290 packets muxed (550488 bytes); &#xA;  Output stream #0:7 (audio): 284 frames encoded (275022 samples); 284 packets muxed (1100088 bytes); &#xA;  Total: 2147 packets (42588516 bytes) muxed&#xA;2145 frames successfully decoded, 0 decoding errors&#xA;[AVIOContext @ 0x7fa3d9d23860] Statistics: 260 seeks, 3475 writeouts&#xA;[AVIOContext @ 0x7fa3d9f00000] Statistics: 132931780 bytes read, 4 seeks&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="9187" LastEditorUserId="9187" LastEditDate="2015-01-24T14:33:58.813" LastActivityDate="2015-03-25T23:57:10.653" Title="ffmpeg Color conversion - 709 to 601" Tags="|ffmpeg|conversion|standards-converter|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14646" PostTypeId="2" ParentId="14640" CreationDate="2015-01-22T16:44:30.507" Score="0" Body="&lt;p&gt;If the text stays in the same place in between the transitions, you can just freeze frame one of the middle frames for as long as you need. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise, you should probably re-render your title from Motion without the transitions. Then re-create the transitions in FCP as needed.&lt;/p&gt;&#xA;" OwnerUserId="6768" LastActivityDate="2015-01-22T16:44:30.507" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14647" PostTypeId="1" AcceptedAnswerId="14795" CreationDate="2015-01-23T04:42:34.603" Score="1" ViewCount="2005" Body="&lt;p&gt;When I import my Photoshop file into After Effects, the blending options I used on the layers (like drop shadow, stroke, etc) disappear, but they do show up when I view the composition file. I know I could apply each blending option permanently in Photoshop, but is there another way to just make it show up in After Effects? Thanks!&lt;/p&gt;&#xA;" OwnerUserId="9193" LastActivityDate="2015-02-05T20:21:34.973" Title="Photoshop Layer Blending Goes Away When Imported into After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14648" PostTypeId="2" ParentId="14640" CreationDate="2015-01-23T04:53:04.610" Score="2" Body="&lt;p&gt;You can use &lt;a href=&quot;https://help.apple.com/motion/mac/5.0/en/motion/usermanual/index.html#chapter=11%26section=17%26tasks=true&quot; rel=&quot;nofollow&quot;&gt;&lt;em&gt;Build-In&lt;/em&gt; and &lt;em&gt;Build-Out&lt;/em&gt; markers&lt;/a&gt;. If you right click (or control-click) on the top of the timeline, you'll get a pop-up menu with an option to add a marker. When you add it, you'll get a green timeline marker. Double-click it to edit it and choose whether it's a mandatory or optional build-in marker. Everything before that should play at the same speed in FCPX as it does in Motion. The area between the build-in and build-out markers will stretch to fit, and everything after the build-out marker will play as it does in Motion.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-01-23T04:53:04.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14649" PostTypeId="1" CreationDate="2015-01-23T15:18:56.127" Score="0" ViewCount="1863" Body="&lt;p&gt;I'm on a windows PC and have two files of a movie that's been split into those two pieces. I also have a subtitle file, but it's in one whole piece. Is there a way, using Subtitle Workshop(what I have now) or any other free program to split that one subtitle file into two pieces such that the subtitles end at the same time the video does, and it's cut at the beginning?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can already split it so they start at the same point and split at the end, but is there any way to do to the opposite? I'd usually just split it at the end of the first video so that the second one should already line up correctly, but I think there's an extra intermission/credits/etc. somewhere that the subtitles don't account for, so that wouldn't work. Also, the files are .ogm's, which I have converted into .mp4's of the same length, but they're of terrible quality. VLC player can play ogm's, so I figure if I can split them like this using another format I can then apply the subtitles tot the .ogm's, right?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, all help is appreciated.&lt;/p&gt;&#xA;" OwnerUserId="9130" LastActivityDate="2017-02-03T18:45:46.447" Title="Split subtitles to line up ends of files?" Tags="|editing|windows|subtitles|.srt|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14650" PostTypeId="1" AcceptedAnswerId="14652" CreationDate="2015-01-23T19:41:00.523" Score="3" ViewCount="416" Body="&lt;p&gt;I have a GoPro4 video, came out in mp4. If I try and trim in GoPro studio, not only have to jump through hoops but I then have to export - choose an encoding etc...itsends up being a .mov file (i assume for further editing) but  is larger than the original, even after being trimmed. If I compress I lose quality !!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now if I use quicktime trim feature - it really does seem to trim it and leave it I'm its exact same format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is quicktime doing this? Why doesn't GoPro studio, nor iMovie, Nor Final CutPro X seem to be able to do a simple trim ???&lt;/p&gt;&#xA;" OwnerUserId="9196" LastActivityDate="2015-02-06T05:55:12.830" Title="Trimming mp4 videos" Tags="|final-cut-pro-x|quicktime|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14651" PostTypeId="1" CreationDate="2015-01-23T19:44:15.297" Score="1" ViewCount="965" Body="&lt;p&gt;I am working on a Premiere project that will be exported for YouTube. At the end, there is a screen with two boxes in which I've placed clips of my previous videos. These will be annotations on YouTube. The background of this end screen is a timelapse video that I took of a white board drawing being created. So, in order to 'cut out' the boxes where the annotation video clips will play, I used garbage masks. Everything looks great in Premiere. But when I render it, the background white board video disappears. It's just the two smaller annotation video clips on a black background. What am I doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TLDR: The clip on which I've placed my garbage mask is rendering black when I export it.&lt;/p&gt;&#xA;" OwnerUserId="9195" LastActivityDate="2015-01-23T19:44:15.297" Title="Premiere Garbage Mask Not Rendering Correctly" Tags="|premiere|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14652" PostTypeId="2" ParentId="14650" CreationDate="2015-01-23T22:48:37.717" Score="5" Body="&lt;p&gt;Cutting a video at a keyframe, without the slow and lossy process of decoding and re-encoding it, is only possible in the special case where you aren't applying any effects, overlays, rescaling, or anything.  And where you're happy with bitrate and decoder requirements of the input.  (e.g. h.264 High Profile, Level 4.0)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps fancier editting software thinks it's beneath them to detect that special case, and copy a subsection of the h.264 video and AAC audio bitstreams to a different file?  (in either the same or a different container format.  e.g. you could remux to mkv, or m2ts.)  Or maybe you just need to look in a menu somewhere to activate that special case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using ffmpeg, you can do what I think you're saying Quicktime's trim is doing:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss start_offset_seconds -t length_seconds -i input.mp4  -shortest -codec copy -movflags faststart trimmed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That runs about as fast as your hard drive can copy, since it's not re-encoding the video.  (codec = copy, not libx264).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To more directly answer your &quot;how is it doing this?&quot;, google up remuxing.  &quot;mux&quot; (short for multiplex) is the term for putting multiple streams into a single output stream/file.  (1 video + 1 audio + 0 subtitles is the usual case.)&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-02-06T05:55:12.830" LastActivityDate="2015-02-06T05:55:12.830" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14653" PostTypeId="2" ParentId="14641" CreationDate="2015-01-23T23:36:12.057" Score="3" Body="&lt;p&gt;I haven't ever done exactly what you're trying to do, but I think I know how I could do it.  Hopefully this answer is useful, or at least starts some discussion from people that do have more concrete experience.&lt;/p&gt;&#xA;&lt;p&gt;One of the important factors in your choice is going to be buying something that someone knows how to admin.  I think you'd be fine with a commodity fileserver appliance, where you admin it through a web interface or something, and just plug in hard drives + ethernet + power, and set it up to mail you when a drive dies.&lt;/p&gt;&#xA;&lt;p&gt;If you use a normal PC, running Linux (with Linux's very excellent software RAID), and samba and/or NFS to share the files, you can easily stuff 6 hard drives in.  With any cheap PCIe SATA card, you can add another however many.  Your server will have lots of CPU time to spare, too, so you can have it do video encoding or something if you want.  Or just go really cheap on the CPU.  (Don't get slow RAM, though.  Copying around and checksumming data will potentially bottleneck on memory bandwidth.)&lt;/p&gt;&#xA;&lt;p&gt;RAID6 is more CPU intensive, since the parity info has to use fancy modulo arithmetic, instead of just XOR, but again, with gigE as your bottleneck, and where you don't need the machine to have a lot of CPU time left over for anything else, it's fine.  You don't need an expensive RAID card, since cost per TB is more important for you than maybe 10% speed.  RAID cards often come with software to monitor them and send email when a drive needs replacing.  smartd from smartmontools, and/or mdadm can send email, too, if you set them up to do so.&lt;/p&gt;&#xA;&lt;p&gt;gigabit ethernet is going to be by far the biggest bottleneck (100MB/s).  If you get a server with multiple gige ports, you could bond them (multiple cables all connected to the same switch), so multiple clients at once could read and write 100MB/s.&lt;/p&gt;&#xA;&lt;p&gt;Since you're mostly going to be using this over gigE, and for video (big files read and written sequentially), something like WD Green hard drives would be most appropriate.  Lower idle and max power means you can more easily pack a lot of HDs into a case without overheating.  You'll have to shop for cases that can hold a lot of HDs, preferably with them accessible from the front for hotswapping.  Maybe a rackmount server case, esp. if you already have a rack.  I haven't ever looked into cases for boatloads of HDs, so there's probably stuff I'm missing here.&lt;/p&gt;&#xA;&lt;p&gt;I think there are external chassis (with their own PS) for holding extra HDs, and they may even have SATA port multipliers.  If so, then you might be able to hook it all up to your mobo onboard SATA ports, since you'd have 4 or more hard drives on each of the 6 SATA connectors on your mobo.  I'm not sure this is how things work, so better read up.  (even sequential reads on current drives don't use the full bandwidth of 6Gb/s SATA, so the interface would be a bottleneck with 3 or more drives on a single SATA port.  But gigE is a bigger bottleneck.  And anyway, 6 mobo sata ports all running flat out would be helluva fast.)&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;edit: apparently not all SATA controllers support port multipliers&lt;/strong&gt;.  e.g. a &lt;a href=&quot;http://www.newegg.ca/Product/Product.aspx?Item=N82E16817182280&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.newegg.ca/Product/Product.aspx?Item=N82E16817182280&lt;/a&gt; I was looking at for my own use has a manufacturer reply that mobo SATA ports often don't support port multipliers.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;edit&lt;/strong&gt;: The &lt;a href=&quot;https://forums.freenas.org/index.php?threads/hardware-recommendations-read-this-first.23069/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FreeNAS HW recommendations&lt;/a&gt; advise caution with SATA port multipliers.  Apparently they can eat your data.  That FreeNAS guide is exactly what you should look at for getting specific about hardware.  (But if you don't use ZFS, then tons of RAM is not very important.  Linux instead of FreeBSD will also probably have somewhat better hardware compatibility.  Remote management IPMI will be very valuable if anything goes wrong, other than disk HW failure.  Or even then, for determining which disk is failed.)&lt;/p&gt;&#xA;&lt;p&gt;As for details of the RAID setup, yes, I'd suggest RAID5 is probably a good bet.  If you can afford to have at least a 2nd copy of your data somewhere, as a backup, then you don't need to be too paranoid about the reliability of either the main archive or the backup.  If not, well then you should probably go RAID6.&lt;/p&gt;&#xA;&lt;p&gt;Even RAID6 still doesn't help you if someone accidentally deletes or overwrites the wrong directory on the shared server, or if a CPU or RAM failure leads to filesystem corruption.  RAID only helps you read back the data that was written.  If other errors lead to the wrong data being written, you are in trouble.&lt;/p&gt;&#xA;&lt;p&gt;ZFS might be a good choice, for extra checksumming to detect corruption.  You can set it up to give RAID5 levels of redundancy (RAID-Z), or RAID6 (z2).  Linux BTRFS does basically the same stuff as ZFS, but its built-in RAID5/6 isn't mature yet.&lt;/p&gt;&#xA;&lt;p&gt;If you end up using more than maybe 16 drives, you might want to think about breaking them into 2 smaller RAID5 or RAID6 arrays.&lt;/p&gt;&#xA;&lt;p&gt;Off-site backups, updated at least weekly from your main storage server, are a really good idea.  For this special case of backing up video, maybe use the CPU time on your NAS to transcode your videos to lower bitrates for off-site backup, so you don't need so much space off-site.  Then if you lose everything, you have whatever you can pull off people's workstations that they had copied there, plus the lower-quality videos from your offsite backup.  Hopefully you never have to use it.&lt;/p&gt;&#xA;&lt;p&gt;Oh, another idea.  The costs of having that much storage available online all the time is a bit of a factor (having to buy a server).  Possibly useful to use external hard drives as a 2nd copy.  Or even &amp;quot;internal&amp;quot; hard drives that you stick into a docking station.  (looks like a toaster, but takes SATA HDs instead of bread.)  Insert HD, sync some data to the drive, take it home for safe keeping.  Then if your studio burns down, someone has the data at home.  This might be easier than finding somewhere off-site to put a backup server for your archive.&lt;/p&gt;&#xA;&lt;p&gt;Or just pay for cloud backups of your archive.  That might actually make the most sense, if your Internet connection can handle it.  (you could use the lower-bitrate off-site backup idea with cloud backups, too.)&lt;/p&gt;&#xA;&lt;p&gt;This is all pretty theoretical, since my job as a sysadmin for some small Linux beowulf clusters was several years ago.&lt;/p&gt;&#xA;&lt;p&gt;Anyway, remember that someone will have to admin this thing.  Being the admin probably won't mean any hours a week babysitting it, but you need someone that understands the setup and knows what to do if there's a problem.  Swapping a drive usually requires poking at the admin UI, not just physically changing hardware.&lt;/p&gt;&#xA;&lt;p&gt;Have a spare HD ready to pop in to replace a failed one, so your data isn't going unprotected for long.  Probably you'd want a failed-drive email to go to multiple people, so whoever's around can replace a failed drive with the spare.  (If you have the drive in the NAS PC or appliance, then it's a hot spare and can get used automatically.)&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-04-26T19:25:26.213" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14654" PostTypeId="2" ParentId="14649" CreationDate="2015-01-24T00:04:36.547" Score="1" Body="&lt;p&gt;Don't transcode your video, there shouldn't be any need to do that.  You might be able to concat the two ogm videos into a single ogm, or mkv, without transcoding, just remuxing.  (e.g. with ffmpeg's concat filter, and &lt;code&gt;-codec copy&lt;/code&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.nikse.dk/SubtitleEdit&quot; rel=&quot;nofollow&quot;&gt;http://www.nikse.dk/SubtitleEdit&lt;/a&gt; has a split feature.  You'll have to edit the 2nd file after splitting, since the split dialog box doesn't have anywhere to add in a gap.  But it's easy to apply the same time-shift to all subs in a file, with it.  I haven't actually used that editor much, I think last time I had to mess around with subs I used gaupol or ksubtile, forget which, (on GNU/Linux) to stretch the timecodes in a .srt to correct for a 25fps / 23.976fps speed difference.  But anyway, I think Subtitle Edit is good, and it's cross-platform.  (Runs on GNU/Linux under WINE, with mono.)&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-01-24T00:04:36.547" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14655" PostTypeId="2" ParentId="9909" CreationDate="2015-01-24T00:56:23.980" Score="1" Body="&lt;p&gt;Have you tried transcoding locally with no modifications, and uploading that?  Maybe your camera's h.264 encoder is producing streams that trigger a bug in youtube's h.264 decoder?  Or maybe one of their h.264 colorspace flags is set to something that makes youtube think it needs to do a colorspace conversion?  mediainfo can report on this, I think.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But yeah, I'd try uploading a 10 sec test clip (&lt;code&gt;-t 10&lt;/code&gt;) transcoded with ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -t 20  -vf scale=-1:480 -acodec copy -vcodec libx264 -crf 24 -preset faster -movflags faststart  downscaled.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The same cmdline should work with avconv, too.  IDK, maybe have to use &lt;code&gt;-a:c&lt;/code&gt; instead of -acodec, I forget how avconv differs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pick a test clip that will make it easy to see what you're looking for, and preferably low motion for a smaller output file in CRF target-quality mode.  Use a lower crf value if you think compression artifacts will interfere with seeing the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that works, then try without downscaling (take out &lt;code&gt;-vf scale=...&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it still has the glitch, then try cutting the frame rate down to 25.  &lt;code&gt;-vf framestep=2:scale=-1:480 -r 25&lt;/code&gt;.  Your ffmpeg output will then be bog-standard h.264 high profile 480p25 just like tons of people upload all the time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If running it through x264 makes it work, you could always do that in future, with &lt;code&gt;-crf 16&lt;/code&gt; or something, and &lt;code&gt;-preset medium&lt;/code&gt;, before uploading.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apparently Youtube is going to xcode it regardless;  I don't think it will use your h.264 stream untouched for the 1080p player, even if it's already at the right bitrate, GOP size, and everything else that it will xcode to.  (point being, don't spend a ton of CPU time making a really rate-distortion-optimal encode before uploading, unless your bandwidth is very precious.)&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-01-24T00:56:23.980" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14656" PostTypeId="1" AcceptedAnswerId="14657" CreationDate="2015-01-24T00:59:43.700" Score="19" ViewCount="64901" Body="&lt;p&gt;I was reading this &lt;a href=&quot;https://ericolon.wordpress.com/2013/01/06/the-secrets-of-yify-and-high-quality-and-small-file-sizes-are-not-so-secret-after-all-encoding-high-quality-low-bitrate-videos-in-handbrake-for-any-device/&quot; rel=&quot;noreferrer&quot;&gt;article&lt;/a&gt; and I saw that a CPU is better for video compression than a GPU.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The article only says that happens because the processor can handle more complex algorithms than the GPU, but I want a more technical explanation, I did some search's on internet but I didn't find anything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, anyone know to explain or link a site to I had a more deep explanation of this?&lt;/p&gt;&#xA;" OwnerUserId="9198" LastEditorUserId="9105" LastEditDate="2015-01-26T21:21:19.040" LastActivityDate="2017-08-18T10:33:49.360" Title="Why processor is &quot;better&quot; for encoding than GPU?" Tags="|video|encoding|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14657" PostTypeId="2" ParentId="14656" CreationDate="2015-01-24T03:07:39.547" Score="29" Body="&lt;p&gt;The article you linked is not very good.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Normally, single pass bitrate encodings convert your bitrate into a RF&#xA;value with a maximum bitrate limit and takes it from there.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;x264's one-pass ABR ratecontrol is not implemented as CRF + limit.  He's right that 2pass is by far the best way to hit a target bitrate, though.&lt;/p&gt;&#xA;&lt;p&gt;And he apparently doesn't realize that he could start x264 with threads=3 or something, to leave some CPU time free for other tasks.  Or set x264's priority to verylow, so it only gets CPU time that no other task wants.&lt;/p&gt;&#xA;&lt;p&gt;He also mixes up threads=1 with using CUDA, or something.  No wonder you have questions, because that article has a TERRIBLE explanation.  The whole article basically boils down to: use &lt;code&gt;x264 --preset veryslow --tune film --crf 26 in.m2ts --out out.mkv&lt;/code&gt;, or maybe use some light filtering with an input AviSynth script.  He actually recommends &amp;quot;placebo&amp;quot;.  That's hilarious.  I've never seen a pirated file encoded with placebo.  (you can tell from &lt;code&gt;me=esa&lt;/code&gt; or &lt;code&gt;me=tesa&lt;/code&gt;, instead of &lt;code&gt;me=umh&lt;/code&gt; for all the good quality presets, right up to &lt;code&gt;veryslow&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;He also doesn't mention using 10bit color depth.  Slower to encode and decode, but even after downconverting back to 8bit, you get better 8-bit SSIM.  Having more precision for motion vectors apparently helps.  Also, not having to round off to exactly a whole 8 bit value helps.  You can think of 8-bit per component as a speed-hack; quantizing in the frequency-domain and then compressing that with CABAC means that higher bit-depth coefficients don't have to take more space.&lt;/p&gt;&#xA;&lt;p&gt;(BTW, h.265 gets less benefit from 10-bit encodes for 8-bit video because it already has more precision for motion vectors.  If there is a benefit to using 10-bit x265 for 8-bit video inputs, it's smaller than with x264.  So it's less likely that the speed penalty will be worth it.)&lt;/p&gt;&#xA;&lt;h2&gt;To answer your actual question:&lt;/h2&gt;&#xA;&lt;p&gt;edit: doom9 is up again now, so I'll tidy up the link.  Go to it for proper quoting of who said what.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;http://forum.doom9.org/showthread.php?p=1135399#post1135399&quot; rel=&quot;noreferrer&quot;&gt;http://forum.doom9.org/showthread.php?p=1135399#post1135399&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;google only caches the stupid print version which doesn't properly show the quoting.  I'm not quite sure which parts of these messages are quotes, and which are attributed to the person themselves.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Highly irregular branching patterns (skip modes) and bit manipulation (quantization/entropy coding) don't suit present GPUs. IMO the only really good application at the moment are full search ME algorithms, in the end though accelerated full search is still slow even if it's faster than on the CPU.&lt;br /&gt;&#xA;-- MfA&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Actually, basically everything can be reasonably done on the GPU except CABAC (which could be done, it just couldn't be parallelized).&lt;/p&gt;&#xA;&lt;p&gt;x264 CUDA will implement a fullpel and subpel ME algorithm initially; later on we could do something like RDO with a bit-cost approximation instead of CABAC.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Because it has to do everything at single precision floating point&lt;br /&gt;&#xA;-- MfA&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Wrong, CUDA supports integer math.&lt;/p&gt;&#xA;&lt;p&gt;-- Dark Shikari&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Dark Shikari is the x264 maintainer, and developer of most of the features since 2007 or so.&lt;/p&gt;&#xA;&lt;p&gt;AFAIK, this CUDA project didn't pan out.  There is support for using OpenCL to offload some work from the lookahead thread (quick I/P/B decision, not a high quality final encode of the frame).&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;My understanding&lt;/strong&gt; is that the search space for video encoding is SO big that smart heuristics for early-termination of search paths on CPUs beat the brute-force GPUs bring to the table, at least for high quality encoding.  It's only compared to &lt;code&gt;-preset ultrafast&lt;/code&gt; where you might reasonably choose HW encoding over x264, esp. if you have a slow CPU (like laptop with dual core and no hyperthreading).  On a fast CPU (i7 quad core with hyperthreading), x264 &lt;code&gt;superfast&lt;/code&gt; is probably going to be as fast, and look better (at the same bitrate).&lt;/p&gt;&#xA;&lt;p&gt;If you're making an encode where rate-distortion (quality per file size) matters at all, you should use x264 &lt;code&gt;-preset medium&lt;/code&gt; or slower.  If you're archiving something, spending a bit more CPU time now will save bytes for as long as you're keeping that file around.&lt;/p&gt;&#xA;&lt;p&gt;side note, if you ever see messages from deadrats on a video forum, it's not going to be helpful.  He's been wrong about most stuff he's talking about in every thread I've ever seen.  His posts turned up in a couple threads I googled about x264 GPU encoding.  Apparently he doesn't understand why it isn't easy, and has posted several times to tell the x264 developers why they're dumb...&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-06-05T00:56:25.003" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14658" PostTypeId="1" CreationDate="2015-01-24T03:58:03.973" Score="1" ViewCount="293" Body="&lt;p&gt;If I use a program like ASVtoDVD or ConvertXToDVD to convert a .mkv to a .dvd, and the .mkv has multiple audio tracks/subtitle, will the produced .dvd only have one of those, or will it retain more or less everything the .mkv had? Also, how would I choose which is used if I'd use DVDFlick or ImgBurn to burn those to the disc once it's actually in the player? If you happen to know, while we're discussing ASVtoDVD/similar programs, can the convert .ogm files as well?&lt;/p&gt;&#xA;" OwnerUserId="9130" LastActivityDate="2015-01-24T03:58:03.973" Title="Burn .mkv to a .dvd for playback on DVD player while retaining multiple tracks?" Tags="|conversion|subtitles|playback|mkv|tracks|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14659" PostTypeId="1" CreationDate="2015-01-24T05:50:40.133" Score="2" ViewCount="121" Body="&lt;p&gt;I recently went on vacation with my family, and while capturing pictures I took some in sequence like in burst mode, for example, I took 4 pictures while the person turned his head from left to right. When I view then in sequence it looks like stop motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The real question is, how can I make use of those expressions of the person and synchronize it to music, it should look like he is shaking his head back and forth  reacting to the music. &lt;/p&gt;&#xA;" OwnerUserId="9199" LastEditorUserId="674" LastEditDate="2015-01-27T11:34:48.637" LastActivityDate="2015-02-26T12:16:20.740" Title="what software &amp; How to Synchronize sequence pictures with audio and make it a video just like gif image" Tags="|audio|software|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14660" PostTypeId="2" ParentId="14656" CreationDate="2015-01-24T06:19:03.180" Score="3" Body="&lt;p&gt;To elaborate a little further on what Peter says, in general using multiple processors helps in cases where you have several independent tasks that all need to be done but don't have dependencies on each other, or one task where you're performing the same math on massive amounts of data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If, however, you need to the output of calculation A as the input of calculation B, and the output of calculation B as the input to calculation C, then you can't speed it up by having a different core work on each task (A, B, or C) because one can't start until the other finishes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, even in the above case, you may be able to parallelize it another way. If you can break your input data into chunks, you may have one core work on doing A, then B, then C with one chunk of data, while another core works on doing A, then B, then C on a different chunk of data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are other considerations, too. Maybe you could find a way to parallelize the calculations, but just reading the data from disk, or over the network, or sending it to the GPU will take longer than doing the calculations. In that case, it doesn't make sense to parallelize it because just getting the data into memory takes longer than the amount of time you save by doing the calculation in parallel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words, it's as much an art as it is a science.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-01-24T06:19:03.180" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14661" PostTypeId="1" CreationDate="2015-01-24T14:47:27.013" Score="3" ViewCount="171" Body="&lt;p&gt;I have got 90 pictures of a building site (one per work day), and I would like to get about 10 seconds of video.&#xA;So, I would like to know how to generate image between my images on after effects (CS6) to get a smoother time lapse video ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thx in advance !&lt;/p&gt;&#xA;" OwnerUserId="9201" LastEditorUserId="4426" LastEditDate="2015-01-26T21:35:47.583" LastActivityDate="2015-01-28T17:02:01.267" Title="Timelapse on after effects" Tags="|after-effects|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14663" PostTypeId="2" ParentId="14661" CreationDate="2015-01-24T16:39:46.767" Score="4" Body="&lt;p&gt;The most-recommended way to do this is with &lt;a href=&quot;http://www.revisionfx.com/products/twixtor/downloads/&quot; rel=&quot;nofollow&quot;&gt;Twixtor&lt;/a&gt;, a pricey plugin for AE and other platforms. They offer a watermarked free trial. There are some free alternatives out there but I haven't used them so I can't say for sure they'll suit your need. One is &lt;a href=&quot;http://slowmovideo.granjow.net/&quot; rel=&quot;nofollow&quot;&gt;SloMoVideo&lt;/a&gt; and if you google that you'll see videos from people who've tried it.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-01-24T16:39:46.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14664" PostTypeId="1" CreationDate="2015-01-24T18:29:00.977" Score="5" ViewCount="2230" Body="&lt;p&gt;Any idea as to why an embedded HD video would get fuzzy at full screen, but looks fine at Vimeo using the same full screen icon. Using the full screen icon on the video player window on this site,&lt;a href=&quot;http://southplattebasin.com/&quot;&gt;http://southplattebasin.com/&lt;/a&gt;. Seems to happen on some larger monitors. The only difference is that the HD video is embedded vs not embedded. TIA&lt;/p&gt;&#xA;" OwnerUserId="9202" LastActivityDate="2015-09-30T22:52:55.577" Title="Embedded HD video looks fuzzy on full screen but fine at Vimeo" Tags="|video|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14665" PostTypeId="1" AcceptedAnswerId="14670" CreationDate="2015-01-24T21:57:18.510" Score="2" ViewCount="6118" Body="&lt;p&gt;I'm editing a video using Adobe Premiere CC, I need to put subtitle. What is the best font properties?&#xA;I'm using: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Font Family- &lt;strong&gt;Arial Rounded MT&lt;/strong&gt;;&#xA;Font Size- &lt;strong&gt;15&lt;/strong&gt;;&#xA;Color- &lt;strong&gt;#FFF600&lt;/strong&gt;;&#xA;Strokes &gt; Inner Strokes- color &lt;strong&gt;#000000&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this the correct way?&lt;/p&gt;&#xA;" OwnerUserId="9205" LastEditorUserId="3295" LastEditDate="2015-01-25T16:12:03.590" LastActivityDate="2015-01-27T03:17:33.240" Title="Correct font properties for subtitles" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14666" PostTypeId="2" ParentId="14645" CreationDate="2015-01-24T22:50:42.090" Score="2" Body="&lt;p&gt;Thanks for posting &lt;code&gt;-v debug&lt;/code&gt; output.  From that, I see the &lt;code&gt;colormatrix&lt;/code&gt; filter doesn't support high-bit-depth inputs.  There's an auto-inserted scale filter downsampling to &lt;code&gt;yuv422p&lt;/code&gt; (which means 8bit), before it.   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might as well compress the output with an 8-bit-per-component codec, if you need ffmpeg's colormatrix anyway, since ffmpeg already downsampled it.  (some codecs, like libx264, get somewhat better compression efficiency operating in high-bit-depth mode, but x264 runs slower that way.  If you're encoding to prores, clearly CPU time is more important than bitrate per quality.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The behaviour you see with the colormatrix filter might actually be due to this &lt;a href=&quot;https://trac.ffmpeg.org/ticket/3345#no1&quot; rel=&quot;nofollow&quot;&gt;known bug in ffmpeg's swscale&lt;/a&gt;.  The bug only refers to the unscaled special case, but possible it's happening while downscaling too?  More likely that &lt;code&gt;colormatrix&lt;/code&gt;'s modifications to your data are what causes the tint, and the output video is still being converted back to RGB (by the player) with bt709 coefficients.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you get correct looking results without the colormatrix filter, then I guess don't use it?  Maybe google up whether prores bitstreams, or the containers they go in, have bits to signal the color properties of the YUV data.  And how players decide which coefficients to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whether any of the open source players do it correctly, according to whatever specs there are for the format, is a separate issue.  Don't assume that all / any players bother to look at color matrix info in the input file.  Probably they feed YUV video to the GPU for scaling / RGB-conversion.  Presumably the color coefficients are programmable in most YUV-input video APIs, but IDK, not something I've looked in to, except mplayer's opengl output (which does allow variable coefficients).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So it's possible that VLC or whatever other player might show always assume bt709 for prores input, while your NLE might make a different choice.  So you can at least test that with the current version of what you're using, you have a process that doesn't bias your colors.  Either because it all works right, or because multiple things assume bt709 when they shouldn't -profile:v 3, and your setup would break if one part started obeying the standards.  (That's always the danger with just experimental testing that something works now.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have no use for prores myself, so I'll leave the detailed digging into it for you.  If you find something useful, you could post an answer to your own question.  Hopefully this points you in the right direction, though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;re: prores:  I assume ffmpeg's implementation of prores is just not very optimized, because on the Sintel trailer, it's no faster than lossless x264.  And x264 &lt;code&gt;-crf 1&lt;/code&gt; or &lt;code&gt;-crf 5&lt;/code&gt; should get bitrates down to prores levels, while being only slightly lossy.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-01-24T22:50:42.090" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14667" PostTypeId="1" CreationDate="2015-01-25T05:06:40.637" Score="5" ViewCount="3178" Body="&lt;p&gt;How can I add a video title, in the start of a video, without re-encoding the actual video and losing the quality? is it possible in iMovie or Adobe Premiere Pro ? or even any Windows software?&#xA;is it even possible theoretically?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt;&#xA;What I want is this. When I start the video file, first of all a title appears on the blank screen for 2 seconds, then the actual video starts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What if I create an empty Title video, with the same codec, container and the resolution, comprising only the title. Then using 'ffmepg' join this newly created video at the start of the existing video ( for which I am creating this title).&lt;/p&gt;&#xA;" OwnerUserId="4297" LastEditorUserId="4297" LastEditDate="2015-01-28T10:31:52.923" LastActivityDate="2015-01-30T04:05:35.603" Title="how to add video title without re-encoding the video" Tags="|encoding|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14668" PostTypeId="1" AcceptedAnswerId="14806" CreationDate="2015-01-25T05:58:05.150" Score="3" ViewCount="126" Body="&lt;p&gt;&lt;strong&gt;How are lens flares akin to that in shows like Battlestar Galactica, SGU, etc. achieved?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/EXSUx.jpg&quot; alt=&quot;Lens Flare Example&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="9207" LastActivityDate="2015-02-07T03:21:21.740" Title="Battlestar Galactica Style Lens Flare?" Tags="|video|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14669" PostTypeId="2" ParentId="14668" CreationDate="2015-01-25T09:57:16.620" Score="1" Body="&lt;p&gt;All the main editing packages have lens flare as an option, so this is incredibly easy in post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To do it live is less controllable, but is still simple - in fact avoiding lens flare is one of the challenges, as many lens configurations give unpleasant flare when shooting anywhere near the sun.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2015-01-25T09:57:16.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14670" PostTypeId="2" ParentId="14665" CreationDate="2015-01-25T11:58:54.333" Score="5" Body="&lt;p&gt;For some reason the default subtitle colour often seems to be yellow; I can't find any definitive reason why though. I hate yellow subtitles with a passion, they always look hideous and distracting, so I always make mine white. To separate them from light coloured backgrounds I use a soft black drop shadow if possible, or otherwise a black border. As you can see below they are readable even over light backgrounds.&lt;/p&gt;&#xA;&lt;p&gt;The size depends on the viewing medium. The one below looks a bit wee in the size it's displayed on this page (on a retina screen on a 15&amp;quot; laptop), so if I was doing subtitles for handheld devices where it might be displayed at this size I'd make it larger, but on a TV it's plenty big enough. In a cinema it might be a bit too large. Resolution is a factor, too. If this was going to standard definition I'd have to bump up the font size a bit too.&lt;/p&gt;&#xA;&lt;p&gt;Sans-serif is my default choice, usually Arial because it's so bland, so it doesn't distract from the art direction. Serif fonts are also a problem if the video is ever going to be displayed on interlaced screens (which applies if it is to be broadcast, at least until all the old interlaced TVs have gone to the verge), because the thin horizontal lines flicker between fields. Also at low resolutions the thin parts of the letters get lost. So while serif fonts generally have greater readability they might not be the best choice just yet.&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/FhjDd.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-01-27T03:17:33.240" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14671" PostTypeId="2" ParentId="14661" CreationDate="2015-01-25T12:47:09.647" Score="3" Body="&lt;p&gt;Another thing to try before shelling out for Twixtor is the default frame interpolation built-in to AE. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll see the frame-blending checkbox in the timeline window, click it once and you get the the frame mix mode, where one frame is dissolved into the next to create the interpolated frames. this is fast-n-easy, but it probably won't produce great results for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/7sPss.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Click it twice to get the &quot;pixel motion&quot; mode which does some sort of motion analysis, and basically morphs one frame to the next. This can work really well, but it can sometimes also create weird artefacts, depending on your footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Hze7a.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To see the frame blending in action in the comp window turn it on in the switch at the top of the timeline panel. You'll have to check that frame blending is on in your render settings too (in Best Quality it defaults to &quot;On for checked layers&quot; which is generally what you want).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/LkYBp.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-01-25T12:47:09.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14672" PostTypeId="1" AcceptedAnswerId="14700" CreationDate="2015-01-25T17:16:22.210" Score="1" ViewCount="121" Body="&lt;p&gt;This question is a consequence of :&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/12664/how-to-make-a-film-in-black-and-white-and-add-color-to-some-objects&quot;&gt;How to make a film in black and white and add color to some objects?&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/13229/how-to-show-a-character-in-black-and-white-mode-with-colorful-background&quot;&gt;How to show a character in black and white mode with colorful background?&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This is just for my personal culture. Using gimp + path + transform, I can do it in one 2D image, but I was trying to understand how you guys would make a character in black and white in a colored scene, if the movie is already done. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the previous answers, I understand that the key word is this case is &lt;code&gt;rotoscoping&lt;/code&gt;.&#xA;But, I don't understand the principle !&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it some kind of dynamic path with the time ?&#xA;What software would you use to do it ?&#xA;Have you got a link to explain that to a guy without video processing culture like me ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for reading,&lt;/p&gt;&#xA;" OwnerUserId="9211" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-01-27T02:07:08.933" Title="Black and white moving character in a color video" Tags="|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14674" PostTypeId="1" AcceptedAnswerId="14675" CreationDate="2015-01-25T19:25:09.653" Score="0" ViewCount="85" Body="&lt;p&gt;I'm considering buying this pc for editing my HD videos.&#xA;Do you think it will be powerfull enough for editing and rendering? &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Intel® Core™  i7-4790 processor&lt;/li&gt;&#xA;&lt;li&gt;16 GB Dual Channel DDR3L 1.600 MHz&lt;/li&gt;&#xA;&lt;li&gt;2 TB HDD (7.200 rpm) + 32 GB mSATA Solid State-HD&lt;/li&gt;&#xA;&lt;li&gt;NVIDIA GeForce GTX 750Ti 2GB DDR5&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.dell.com/be/p/xps-8700/pd?oc=cdx8718&amp;amp;model_id=xps-8700#overrides=cdx8718:5~736438&quot; rel=&quot;nofollow&quot;&gt;http://www.dell.com/be/p/xps-8700/pd?oc=cdx8718&amp;amp;model_id=xps-8700#overrides=cdx8718:5~736438&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thx&lt;/p&gt;&#xA;" OwnerUserId="9213" LastActivityDate="2015-01-25T20:02:20.077" Title="Configuration sufficient for HD video editing" Tags="|video|editing|hardware|" AnswerCount="1" CommentCount="0" ClosedDate="2015-02-15T22:08:34.543" ContentLicense="CC BY-SA 3.0" />
  <row Id="14675" PostTypeId="2" ParentId="14674" CreationDate="2015-01-25T20:02:20.077" Score="1" Body="&lt;p&gt;Short answer: Yes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This machine is sufficient in all aspects. You will certainly benefit from the i7-CPU and the additional SSD, the available RAM. Also you'll have access to graphic acceleration using the CUDA technology of the NVIDIA GPU, which will greatly reduce the time required for rendering.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-01-25T20:02:20.077" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14677" PostTypeId="1" CreationDate="2015-01-25T23:45:52.583" Score="1" ViewCount="13407" Body="&lt;p&gt;Adobe Premiere 5.5&#xA;OSX&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I have a project I've been working on for a while, which has become &lt;strong&gt;huge&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;It has some Adobe After Effects embedded segments in it, as &quot;Dynamic Links.&quot;&lt;/li&gt;&#xA;&lt;li&gt;At some point I had a filter in one of the segments (QuickLooksLimited)&lt;/li&gt;&#xA;&lt;li&gt;Later on, I changed machines… and didn't reinstall QuickLooksLimited (I think)?&lt;/li&gt;&#xA;&lt;li&gt;I've removed some of the AE clips which used this filter, but there may be more&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;When the project opens, I see the popup message :&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;hr&gt;&#xA;  &#xA;  &lt;p&gt;/Volumes/PATH_DIR/PROJECT_NAME.prproj&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Video Filter missing:  AE.MB QuickLooksLimited&lt;/p&gt;&#xA;  &#xA;  &lt;hr&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;(the PATH_DIR and PROJECT_NAME are additions for this post)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question(s) are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;how do I find the clip where this darn filter is?&lt;/li&gt;&#xA;&lt;li&gt;how do I figure out if the filter is still installed somewhere?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5987" LastActivityDate="2016-06-27T18:26:09.660" Title="&quot;Video Filter missing&quot; in Adobe Premiere" Tags="|after-effects|premiere|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14678" PostTypeId="2" ParentId="10858" CreationDate="2015-01-26T02:39:57.770" Score="0" Body="&lt;p&gt;A/V sync problems are noticeable at about +/- 0.1 sec.  The samplerate clock in your phone and camera would have to be exactly the same speed to within 0.1 sec over 10 mins, or however long your clips are, for you to be able align at only one point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;0.1 / (10 * 60) = .0001&lt;/code&gt;.  That's about 1 part in 10k.  &lt;a href=&quot;https://en.wikipedia.org/wiki/Quartz_clock&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia&lt;/a&gt; says quartz clocks are often as good as 6 parts per million stability.  The stuff I skimmed in that and &lt;a href=&quot;https://en.wikipedia.org/wiki/Crystal_oscillator#Stability_and_aging&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; indicate that it probably costs a bit extra to get the clock frequency that close out of the factory.  (and the 6ppm is the kind of long-term drift you can expect around the starting point, not the absolute accuracy of typical gear.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keep in mind, most cameras, esp. ones primarily made for still-image photography, don't need a clock as accurate as a wristwatch, so they probably don't have one.  Because that would cost extra.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I saw exactly this kind of drift between the audio from my Panasonic Lumix and audio recorded at the same time on a Dell laptop.  See &lt;a href=&quot;https://video.stackexchange.com/questions/14529/sync-separate-audio-to-videobad-camera-audio-free-nle-recommendations/14549&quot;&gt;Sync separate audio to video+bad-camera-audio, free NLE recommendations&lt;/a&gt;, where I describe a slow way to manually sync clips, and ask for a quicker automated way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, this lack of clock sync didn't surprise me at all.  It's nothing to do with frame dropping, or bad quality gear.  It should work fine to assume that both clocks involved each run at a constant speed, just not at the SAME speed.  So you can correct a clip with a linear 2-parameter correction: offset + stretch.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I agree with AJ Henderson's suggestion that it's probably the camera's clock that's less likely to be right.  Phones have GPS receivers for timekeeping, and may or may not use that accurate timesource as the clock for their audio input samplerate.  And also as AJ points out, need to do wifi, which probably requires calibrated clock sources, unless they can just lock on to a received frequency.  Not sure how big a deal accurate clocks are with modern wifi modulations, but probably a big deal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would have expected issues recording on any two devices that don't derive their sample clock from the same timesource.  Until portable GPS receivers were available, &lt;a href=&quot;https://en.wikipedia.org/wiki/SMPTE_timecode#Studio_operations_and_master_clocks&quot; rel=&quot;nofollow noreferrer&quot;&gt;movie studios&lt;/a&gt; had a master clock that distributed time to all A/V recording devices, so 1 real hour of footage from one camera would have exactly as many frames as 1 real hour of footage from another camera.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-01-26T02:39:57.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14679" PostTypeId="2" ParentId="12296" CreationDate="2015-01-26T03:33:27.713" Score="0" Body="&lt;p&gt;Not paying attention...I was importing the whole card folder by dragging instead of the actual clip files! Some of the clips were long and must have been too big for the filesystem on the card?  When I import the actual clip files through the media browser - Presto - no duplicates and now I see skips in the numerical sequences of the clips - e.g. MTS0000, MTS0001, MTS0004, MTS0007. And the spanned files were always the longest ones.&lt;/p&gt;&#xA;" OwnerUserId="6277" LastActivityDate="2015-01-26T03:33:27.713" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14682" PostTypeId="2" ParentId="14602" CreationDate="2015-01-26T12:41:32.080" Score="0" Body="&lt;p&gt;I achieved this using &lt;strong&gt;ffmpeg&lt;/strong&gt;, a free and open source command line tool. &lt;a href=&quot;http://superuser.com/questions/472420/handbrake-settings-to-convert-mkv-to-mp4-while-retaining-the-original-quality&quot;&gt;This question&lt;/a&gt; guided me towards the exact command.&lt;/p&gt;&#xA;" OwnerUserId="4297" LastEditorUserId="4297" LastEditDate="2021-07-18T00:54:44.100" LastActivityDate="2021-07-18T00:54:44.100" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="14683" PostTypeId="1" CreationDate="2015-01-26T13:20:24.907" Score="1" ViewCount="549" Body="&lt;p&gt;I wanted to experiment with creating YouTube video's, but Windows Movie Maker or Apple iMovie just don't cut it. Camtasia Studio looks like something that much more suits my needs, but is a little too pricy at this stage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found Wondershare's video editor, which has a more acceptable price, but was unsure whether it is good enough quality at a comparable level to Camtasia Studio (Windows). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;An easy-to-use, time-saving interface&lt;/li&gt;&#xA;&lt;li&gt;Switching, embedding and manipulating content like videos, images, texts. &lt;/li&gt;&#xA;&lt;li&gt;Transitional effects. &lt;/li&gt;&#xA;&lt;li&gt;Captions. &lt;/li&gt;&#xA;&lt;li&gt;High quality screen capture. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="8045" LastEditorUserId="8045" LastEditDate="2015-01-26T15:57:38.107" LastActivityDate="2015-12-30T10:08:17.513" Title="Is WonderShare's video editor a viable alternative to Camtasia Studio?" Tags="|video-editor|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14684" PostTypeId="1" CreationDate="2015-01-26T14:29:53.997" Score="2" ViewCount="176" Body="&lt;p&gt;I have a one single video file captured by GoPro camera having 1 hour of duration. I would like to make sub-clips out of it from here and there for about 15-30 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First I can open a source clip in the preview window and use the In and Out points to choose just the part of the clip and export them as individual sub-clips in mp4 files. Then I can import these sub clips back to the timeline for combining them. I have seen some pros doing this (GoPro Media Proffessionals) and some products which only does this, but I'm a little worried about the quality, because I will be rendering/encoding for twice the same clip, which I may encounter a loss of quality. (I assume using a lossy codec)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Indeed, I used to open the source clip in the preview window and use the In and Out points to choose just the part of the clip and then assemble clips together in the timeline without exporting them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is what should I do for the best results? If I need to export sub clips which video codec should I use?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Adobe Creative Cloud, with GoPro Sudio as a footnote.&lt;/p&gt;&#xA;" OwnerUserId="2830" LastEditorUserId="1950" LastEditDate="2015-01-27T01:40:09.040" LastActivityDate="2015-01-27T01:40:09.040" Title="Video editing workflow : Shall I export small sub clips as individual files from the main clip before final output?" Tags="|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14685" PostTypeId="2" ParentId="14684" CreationDate="2015-01-26T14:36:49.373" Score="2" Body="&lt;p&gt;I've never used GoPro Studio, but there's no reason you should have to export out the sub-clips individually to use them in your timeline. It may make sense for you to do that if you want to send the individual files to other editors, but even then, you could just send the raw footage with the project file. Another reason could be if you only wanted to work with a few minutes of the footage. You could export out a sub-clip of what you will work on so that you don't have to work with such a large file. However, if you are taking sub-clips from many different spots in the raw file, just work with sub-clips of the raw file in your timeline. &lt;/p&gt;&#xA;" OwnerUserId="6768" LastActivityDate="2015-01-26T14:36:49.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14686" PostTypeId="2" ParentId="14677" CreationDate="2015-01-26T15:28:38.520" Score="1" Body="&lt;p&gt;There's one way I know of to find the clip that is using the filter. Inside the timeline, you will see a small badge with the letters 'fx' on your clips. If it it grayed out, there is no effect applied. If it is colored purple, yellow, green, or red, then you have an effect on the clip. You can read about that more here...&#xA;&lt;a href=&quot;http://helpx.adobe.com/premiere-pro/using/applying-removing-finding-organizing-effects.html&quot; rel=&quot;nofollow&quot;&gt;http://helpx.adobe.com/premiere-pro/using/applying-removing-finding-organizing-effects.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can find the plugin file in your After Effects folder. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Windows - Program Files\Adobe\Adobe After Effects\Plug-ins&lt;/li&gt;&#xA;&lt;li&gt;Mac - Applications/Adobe After Effects/Plug-ins&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6768" LastActivityDate="2015-01-26T15:28:38.520" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14687" PostTypeId="1" AcceptedAnswerId="14697" CreationDate="2015-01-26T15:33:45.293" Score="6" ViewCount="6172" Body="&lt;p&gt;I'm trying to do the following:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;At 0;00;00;00 orange triangle is offscreen and begins to move towards the center.&lt;/li&gt;&#xA;&lt;li&gt;At 0;00;03;00 orange triangle arrives at position 243, 135.&lt;/li&gt;&#xA;&lt;li&gt;At 0;00;03;00 orange triangle begins to move to the left.&lt;/li&gt;&#xA;&lt;li&gt;At 0;00;07;00 orange triangle arrives at position 137, 135.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;From 0;00;03;00 to 0;00;03;05 the object begins sliding to the right, reaching the position 246, 135. I didn't tell it to do that, nor to even go in that direction. Any idea why it's happening? I've attached a video and a picture below that hopefully should help explain.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/IbTqJ.png&quot; alt=&quot;Graph Editor view showing weird position&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/117806531&quot; rel=&quot;noreferrer&quot;&gt;Vimeo link&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any help.&lt;/p&gt;&#xA;" OwnerUserId="9220" LastEditorUserId="9220" LastEditDate="2015-01-26T15:44:40.950" LastActivityDate="2015-01-26T21:33:58.030" Title="Object moving to a position I didn't specify" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14688" PostTypeId="1" AcceptedAnswerId="14709" CreationDate="2015-01-26T16:00:47.280" Score="5" ViewCount="532" Body="&lt;p&gt;I might have an unusual problem for this site; among other duties, I manage the wireless network for a large corporate campus.  As part of an upgrade to our wireless access-points, I used a metal bracket to mount an AP on a rail about 10 feet off the ground.  When it was mounted, the bottom part of the access-point was parallel with the floor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A week later, our cabling technicians noticed that someone had bent the AP about 70 degrees upward; given the strength of the bracket, it took a lot of force to do this.  We have a security camera about 90 feet away from this AP, but the relevant area I care about is about 3% of the camera's image area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Due to the fuzziness and small area in the video, our security team said it would take about 30 man-hours to search the video (one person watching it for 3.5 days... given restrictions in playback, they can't zoom in during fast forward); as such, they weren't interested in going farther.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;QUESTION&lt;/em&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems like there might be some way to build a list of candidate time slots in the video, where this 3% area drastically changed from normal for a given time-frame... let's say at least 20-seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TBH, the bracket is only $30; however, since our old-crusty security guy swore it couldn't be automated, I took it as a point of curiosity to see whether that's true.  Obviously there are commercial solutions... I'm looking for &quot;free&quot; in linux.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The file would be about 6GB.  Is there a linux CLI solution to this problem?  I just need to reduce the times we look at to something manageable.  Even if I had to use a python image analytics library like &lt;a href=&quot;http://opencv-python-tutroals.readthedocs.org/en/latest/py_tutorials/py_video/py_table_of_contents_video/py_table_of_contents_video.html&quot; rel=&quot;noreferrer&quot;&gt;OpenCV-python&lt;/a&gt;, that's a possibility but I'm hoping to (ab)use something like &lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;ffmpeg&lt;/code&gt;&lt;/a&gt; for this purpose.  If there isn't such a tool, which &lt;a href=&quot;http://docs.opencv.org/trunk/modules/video/doc/video.html&quot; rel=&quot;noreferrer&quot;&gt;Open-CV&lt;/a&gt; function would be best for this job?&lt;/p&gt;&#xA;" OwnerUserId="4601" LastEditorUserId="4601" LastEditDate="2015-01-26T16:18:18.877" LastActivityDate="2015-01-28T12:18:06.753" Title="Search mpeg / avi frames in linux" Tags="|video|post-production|filter|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14689" PostTypeId="2" ParentId="13353" CreationDate="2015-01-26T16:23:26.013" Score="2" Body="&lt;p&gt;I think you should try &lt;a href=&quot;http://search.creativecommons.org/&quot; rel=&quot;nofollow&quot;&gt;CC-Search&lt;/a&gt;, however use this wisely as some sites that are linked, do not always upload non-copyright footage, though you should be good for the most part.&lt;/p&gt;&#xA;" OwnerUserId="9221" LastEditorUserId="2836" LastEditDate="2015-01-26T17:06:55.147" LastActivityDate="2015-01-26T17:06:55.147" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14691" PostTypeId="2" ParentId="13397" CreationDate="2015-01-26T16:46:24.233" Score="1" Body="&lt;p&gt;Could you tell me your input specifics. Because if the input was 60fps, there may be some problems if you render with standard settings, I once had this problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to solve that, just click on save movie and scroll down till you see &quot;create custom settings&quot;, then set the frame rate to 30fps, or whatever you want.&lt;/p&gt;&#xA;" OwnerUserId="9221" LastEditorUserId="2836" LastEditDate="2015-01-26T17:06:11.553" LastActivityDate="2015-01-26T17:06:11.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14692" PostTypeId="2" ParentId="14667" CreationDate="2015-01-26T17:03:14.327" Score="2" Body="&lt;p&gt;Unfortunately, because of the fact that most modern video compression algorithms don't work on single pixels, but rather groups of pixels (often called blocks), it will not be possible to change the values of select pixels (such as by adding a title) without re-encoding the video or using a format that supports an overlay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For simply re-encoding, if size is not an issue, you can re-encode at a much higher quality level (or even losslessly) to reduce or remove any additional generations of loss, but you will be stuck with a much larger file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, you could possibly use a playback system that is capable of overlays and use that to apply the title to the video.  It might be possible through a format or play back engine with advanced sub-titling capability, just as an example, but that would also depend on the format that your video is currently in and if it could be moved to a container or player that supports overlays.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-26T17:03:14.327" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14693" PostTypeId="2" ParentId="14672" CreationDate="2015-01-26T18:27:51.957" Score="0" Body="&lt;p&gt;The concept is simple, but it's time-consuming to implement and requires a lot of attention to detail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) In each frame, using video editing software, you mask off a certain part of the image. In this case, you create a mask that exactly outlines the character you want to make black and white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Then, you tell the video editing software to desaturate (make b&amp;amp;w) everything inside the mask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you do that for the next frame.  And the next.  And so on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There must be existing software that can help automate much of the process, and I'm sure that another person on the forum can recommend some for you.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-01-26T18:27:51.957" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14694" PostTypeId="1" AcceptedAnswerId="14699" CreationDate="2015-01-26T19:38:21.073" Score="34" ViewCount="28740" Body="&lt;p&gt;I know this is not a legal forum but I'm assuming this is a daily issue for most people on this site since h.264 video (AVC / MPEG4 part10) is so ubiquitous (and there &lt;em&gt;is&lt;/em&gt; a &lt;code&gt;legal&lt;/code&gt; tag here).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've read about patent issues with h.264 video, but am a bit confused about it. Is there any problem with creating a video (using ffmpeg or any other tool) for commercial use? Or is the problem only for anybody writing software that creates this video type?&lt;/p&gt;&#xA;" OwnerUserId="6255" LastEditorUserId="9105" LastEditDate="2015-01-28T08:25:11.760" LastActivityDate="2020-11-16T02:20:57.950" Title="MP4 / h.264 patent issues?" Tags="|mp4|h.264|legal|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14696" PostTypeId="1" CreationDate="2015-01-26T21:07:43.927" Score="1" ViewCount="30" Body="&lt;p&gt;I have made a number of videos in Final Cut Pro and would like to make some short clips of these as demos in my website. What is the best way to do this? What is the best export format? I have a Weebly template website/ &lt;/p&gt;&#xA;" OwnerUserId="9222" LastActivityDate="2015-01-26T21:07:43.927" Title="I wish to make short clips for my website from existing Final Cut shows" Tags="|final-cut-pro|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14697" PostTypeId="2" ParentId="14687" CreationDate="2015-01-26T21:33:58.030" Score="7" Body="&lt;p&gt;It's because of Spatial Interpolation.&#xA;You need the spatial interpolation to be set to linear, and by default it is set to Auto Bezier.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right click on the keyframe at 3'00, and select &lt;a href=&quot;http://helpx.adobe.com/after-effects/using/keyframe-interpolation.html&quot;&gt;Keyframe Interpolation&lt;/a&gt;.  Change the Spatial Interpolation to linear, and it should solve the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's happening:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead of drawing straight lines (linear lines) between your positions on the screen, after effects is drawing curves (bezier curves).  When you tell your object to &quot;double back&quot; on itself, AE tries to draw a curve to this effect, causing a little knot or bounce forward at the 3'00 mark.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can choose how AE interprets changes in space, as described, but you can also choose how it interpolates time too (Temporal interpolation).  Setting temporal interpolation to bezier often produces nicer results than linear, as it allows objects to slowly come to a stop, rather than suddenly stopping at a keyframe, which is how objects in the real world respond (due to weight, friction, gravity etc).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-01-26T21:33:58.030" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14698" PostTypeId="2" ParentId="14661" CreationDate="2015-01-26T21:42:35.700" Score="4" Body="&lt;p&gt;Here's the math(s):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;90 images to make a 10 second video at a frame rate of 25 frames per second (fps) (in the UK) = &lt;/p&gt;&#xA;&#xA;&lt;p&gt;25 fps * 10 seconds = 250 frames&lt;/p&gt;&#xA;&#xA;&lt;p&gt;250 frames / 90 images = 2.778 frames per image&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So each frame would need to be onscreen for just under three frames, which wouldn't look particularly smooth - for smooth motion you'd ideally have 25 images per second:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;90 images / 25 frames per second = would only give you a total duration of 3.6 seconds of video, but it would be smooth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would look a lot smoother, but give you a shorter video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Twixtor would attempt to interpolate between the frames, but works best on higher framerates than this - I suspect the results would look a bit unnatural (objects morphing out of nowhere).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The frame blending suggestion would probably look more natural, as it is just crossfading between each frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2015-01-28T17:02:01.267" LastActivityDate="2015-01-28T17:02:01.267" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14699" PostTypeId="2" ParentId="14694" CreationDate="2015-01-27T01:33:45.813" Score="24" Body="&lt;p&gt;&lt;strong&gt;IANAL&lt;/strong&gt;, but as far as I understand it, if you're charging viewers for h.264 / MPEG-4 AVC content you &lt;em&gt;may&lt;/em&gt; need to pay license fees. Even though x264 / ffmpeg are Free with a big F, they are just software libraries for encoding video streams into the H.264/MPEG-4 AVC format, which &lt;em&gt;is&lt;/em&gt; covered by the MPEG patent. But the threshold for when fees are applicable is fairly high.&lt;/p&gt;&#xA;&lt;p&gt;According to &lt;a href=&quot;https://en.wikipedia.org/wiki/MPEG_LA&quot; rel=&quot;noreferrer&quot;&gt;MPEG-LA&lt;/a&gt;, the license holders for H.264 / MPEG-4 AVC, the &lt;a href=&quot;https://www.mpegla.com/wp-content/uploads/avcweb.pdf&quot; rel=&quot;noreferrer&quot;&gt;license fees applicable&lt;/a&gt; are:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;Where End User pays for AVC Video:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Subscription (not limited by title)&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;100,000 or fewer subscribers/yr = no royalty;&lt;/li&gt;&#xA;&lt;li&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;100,000 to 250,000 subscribers/yr = $25,000;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;250,000 to 500,000 subscribers/yr = $50,000;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;500,000 to 1M subscribers/yr = $75,000;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;1M subscribers/yr = $100,000&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;Title by Title&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;12 minutes or less = no royalty;&lt;/li&gt;&#xA;&lt;li&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;12 minutes in length = lower of (a) 2% or (b) $0.02 per title&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;Enterprise cap:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;$3.5M/yr 2006 - 07,&lt;/li&gt;&#xA;&lt;li&gt;$4.25M/yr 2008 - 09,&lt;/li&gt;&#xA;&lt;li&gt;$5M/yr 2010,&lt;/li&gt;&#xA;&lt;li&gt;$6.5 million per year 2011 - 2015&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;They also stated that they:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;…will continue not to charge royalties for Internet Video that is free to end users (known as “Internet Broadcast AVC Video”) during the entire life of this License.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So if you're putting it on the internet free you don't need to pay them license fees, ever.&lt;/p&gt;&#xA;&lt;p&gt;There's other fee schedules for software developers (though Cisco have released free source code and binary implementations of h.264 encoding software and have said they will &lt;a href=&quot;https://community.cisco.com/t5/collaboration-voice-and-video/open-sourced-h-264-removes-barriers-to-webrtc/ba-p/3098994&quot; rel=&quot;noreferrer&quot;&gt;not pass on&lt;/a&gt; any licensing charges for it).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-11-16T02:20:57.950" LastActivityDate="2020-11-16T02:20:57.950" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="14700" PostTypeId="2" ParentId="14672" CreationDate="2015-01-27T02:02:01.213" Score="1" Body="&lt;p&gt;You'd achieve the effect by masking one part of the image and applying a desaturation effect to it. The hard part is masking off one part of the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In software such as After Effects and Nuke you can mask off an area of the image with bezier splines, and the shape of the masks can be animated. Tracing and animating these masks is what is called rotoscoping (it was invented by animator Max Fleischer in 1915, where he hand traced frames of film projected onto paper). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects does come with an automatic rotoscoping tool called &quot;&lt;a href=&quot;https://helpx.adobe.com/after-effects/how-to/aftereffects-roto-brush-cc.html&quot; rel=&quot;nofollow&quot;&gt;Roto Brush&lt;/a&gt;&quot; that works a bit like the magic wand in Photoshop, except that it changes shape over time. This can take a lot of the work out of rotoscoping, but it is far from infallible.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-01-27T02:07:08.933" LastActivityDate="2015-01-27T02:07:08.933" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14703" PostTypeId="2" ParentId="14659" CreationDate="2015-01-27T11:32:15.983" Score="1" Body="&lt;p&gt;You can use pretty much any movie editor that allows the import of single frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First line up your audio, work out where you want the key frames to be (eg for reversing the movement when shaking the head) and then fill in the other frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your editor allows interpolation between frames, then you can use this to make the movie less jerky.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you can use one of the free online gif creators to join your images into a gif and then import that into a video editor - slightly more effort, but not much.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2015-01-27T11:32:15.983" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14704" PostTypeId="2" ParentId="14667" CreationDate="2015-01-27T12:48:43.533" Score="3" Body="&lt;p&gt;It depends a bit on your file format. But it is possible; if you create a title as a separate video you &lt;em&gt;can&lt;/em&gt; concatenate (join) the title and the original video usng tools such as ffmpeg. Generally this will work best if they are the same codec with the same settings. For concatenation using ffmpeg see the &lt;a href=&quot;http://ffmpeg.org/faq.html#How-can-I-concatenate-video-files&quot; rel=&quot;nofollow&quot;&gt;FAQ&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some formats, like MPEG2 program streams (like you get on DVDs) can actually be concatenated by simply adding the second file to the end of the first, eg. by using &lt;code&gt;cat file1.mpg file2.mpg &amp;gt; newfile.mpg&lt;/code&gt; on the command line.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-01-27T12:48:43.533" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14705" PostTypeId="1" CreationDate="2015-01-27T18:15:42.133" Score="7" ViewCount="244" Body="&lt;p&gt;I'm wondering what's a good place to look for background music for our video productions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not asking for a free one, but for any good place with a good categorization of soundtracks and songs for our videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried the ones listed in &lt;a href=&quot;http://creativecommons.org/legalmusicforvideos&quot;&gt;&quot;Legal Music for Videos&quot;&lt;/a&gt; but I was wondering where do pro people get their sound tracks from.&lt;/p&gt;&#xA;" OwnerUserId="8013" LastActivityDate="2016-04-06T09:45:56.130" Title="Places to look for sound tracks for videos" Tags="|video|editing|audio|music|" AnswerCount="9" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14706" PostTypeId="2" ParentId="14694" CreationDate="2015-01-27T18:41:37.513" Score="8" Body="&lt;p&gt;&lt;strong&gt;Edit: I should probably remove some of the worrying conclusions about using x264 / ffmpeg that I now believe are unfounded.  I put a section at the end to clear it up.  For now I'm going to leave the whole mess here.  Don't panic, x264 and ffh264 appear to be fine, legally, even for producing commercial videos at the standard royalty rates.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Just to clear up some terminology:  mp4 (the container format) may be covered by some patents, but nobody charges license fees for software or content.&lt;/p&gt;&#xA;&lt;p&gt;h.264, aka AVC aka MPEG-4 part10 is heavily patented, and software or hardware for encoding/decoding h.264 video streams needs a license from the MPEG Licensing Authority &lt;a href=&quot;https://en.wikipedia.org/wiki/MPEG_LA&quot; rel=&quot;noreferrer&quot;&gt;(MPEG LA)&lt;/a&gt;.  Content also needs a license.  (free and automatic for content that's given away for free.)&lt;/p&gt;&#xA;&lt;p&gt;h.265, aka HEVC (next gen video codec successor to h.264) has about the same patent licensing as h.264, also through the MPEG LA.&lt;/p&gt;&#xA;&lt;p&gt;wikipedia says the MPEG LA also licenses MPEG2, VC-1, and for some reason IEEE-1394 (firewire).&lt;/p&gt;&#xA;&lt;p&gt;AAC audio, aka MPEG-4 something something, also needs a license (from via licensing, not the MPEG LA) for implementations in software or hardware.  IDK about AAC content.&lt;/p&gt;&#xA;&lt;p&gt;To answer the question raised by epiclapser's comment about royalties for software / hardware that can create h.264 video, software that can create or decode h.264 needs a license for implementing the patented algorithms that are part of the codec.  For commercial software, this is paid by the software authors / distributors to the MPEG LA, so it's legal for people to use the software they buy.&lt;/p&gt;&#xA;&lt;p&gt;Most distributors of Free software, like x264 and ffmpeg, don't pay, so people that download x264 aren't legally allowed to use it without paying a patent royalty.  People use it anyway without actually getting sued, as long as they're not a big target.  For personal use, I don't think there's any reason to worry.&lt;/p&gt;&#xA;&lt;p&gt;I haven't looked, but I haven't heard about anyone ever getting sued for using ffmpeg's h.264 decoder or x264's h.264 encoder.  x264 users are &lt;a href=&quot;http://x264licensing.com/faq&quot; rel=&quot;noreferrer&quot;&gt;recommended&lt;/a&gt; to obtain a license for its use directly from the MPEG LA.  (x264licensing.com is for people that want to buy a non-GPL license for x264.  Using it unmodified through ffmpeg, the x264 CLI, or anything else the GPL allows, doesn't require you to pay the x264 &lt;em&gt;copyright&lt;/em&gt; holders.  I linked it because their FAQ clarifies that they can't sell you a license to use the h.264 patents, you still need that separately.)  I have no idea how many small-budget users just fly under the radar and don't do anything about patents.&lt;/p&gt;&#xA;&lt;p&gt;I don't expect you'd have a problem selling access to h.264 video as long as you paid the content royalties stib described, even if you created those streams with x264.  (Which you should, because it gets better quality per bitrate than any other h.264 encoder, esp. if you give it lots of CPU time to do a rate-distortion optimal encode, with the &lt;code&gt;slower&lt;/code&gt; or even &lt;code&gt;veryslow&lt;/code&gt; preset.  Spend CPU time once when encoding, save bandwidth every time someone downloads.)&lt;/p&gt;&#xA;&lt;p&gt;In an attempt to provide royalty-paid binaries for an h.264 encoder/decoder library to enable better interoperability, Cisco released &lt;a href=&quot;https://en.wikipedia.org/wiki/OpenH264&quot; rel=&quot;noreferrer&quot;&gt;Open H264&lt;/a&gt;.  It's compiled from BSD-licensed source code.  Unfortunately, it isn't actually much use for most applications because both the encoder and decoder are limited to Baseline profile.  And it's not changed very much from the reference implementation, so the encoder quality is bad compared to x264, and the decoder probably isn't fast.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://brendaneich.com/2013/12/openh264-on-github/&quot; rel=&quot;noreferrer&quot;&gt;This blog&lt;/a&gt; post has some interesting comments about the royalty setup for h.264 software implementations.&lt;/p&gt;&#xA;&lt;p&gt;If the MPEG LA started seriously harassing Free software users / distributors, people would probably take advantage of Cisco's royalty-paid binaries.  Until then, nobody wants to let software patents force them to use worse software.&lt;/p&gt;&#xA;&lt;p&gt;If you think these patent licensing issues are a load of crap for something that's supposed to be interoperable and a worldwide standard, use &lt;a href=&quot;http://en.wikipedia.org/wiki/VP9&quot; rel=&quot;noreferrer&quot;&gt;VP9&lt;/a&gt; video and &lt;a href=&quot;http://en.wikipedia.org/wiki/Opus_%28audio_format%29&quot; rel=&quot;noreferrer&quot;&gt;Opus&lt;/a&gt; audio.  VP9's current encoder equals or beats x264 on most content.  Last I saw, &lt;a href=&quot;http://www.opus-codec.org/comparison/&quot; rel=&quot;noreferrer&quot;&gt;a blind listening test&lt;/a&gt; found Opus was at least as good as anything else (including Apple HE-AAC) at 64kb/s.  Web browser support for it is still weak, outside of Google Chrome, though.  IDK what's wrong with firefox being so slow to add an open-source audio decoder library.&lt;/p&gt;&#xA;&lt;h2&gt;edit:&lt;/h2&gt;&#xA;&lt;p&gt;I may be misinterpreting things.  This &lt;a href=&quot;http://forum.doom9.org/showthread.php?t=138648&quot; rel=&quot;noreferrer&quot;&gt;discussion of how to license x264 for use in the US&lt;/a&gt; (with replies from Dark Shikari, x264 maintainer) seems to only focus on use by broadcasting corporations.  I still can't figure out why Firefox would be on the hook for 5M$ for including an h.264 decoder other than Cisco's openh264, but somehow x264 and ffmpeg are distributed for free.  I mplayer (and I think ffmpeg) still have their website hosted in Hungary (&lt;a href=&quot;http://www.mplayerhq.hu&quot; rel=&quot;noreferrer&quot;&gt;http://www.mplayerhq.hu&lt;/a&gt;), I think for reasons of US Patent, DMCA, and similar sillyness.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.engadget.com/2010/05/04/know-your-rights-h-264-patent-licensing-and-you/&quot; rel=&quot;noreferrer&quot;&gt;This article&lt;/a&gt; makes me think that the MPEG LA only wants money from people distributing implementations.  I didn't find anything about how to license your personal copy of x264 to be legal for personal or non-profit use.  (&lt;a href=&quot;http://bemasc.net/wordpress/2010/02/02/no-you-cant-do-that-with-h264/&quot; rel=&quot;noreferrer&quot;&gt;mixed opinions&lt;/a&gt; in the comments thread on the exact meaning  of the non-commercial use clause in Final Cut Pro, for example.  I tend to believe the interpretation that it's only intended to stop you from running a stream through it as a broadcaster, or similar.)&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;edit2&lt;/strong&gt;: Distributing source code doesn't count as distributing a &amp;quot;product&amp;quot;, which is why pre-built binaries of x264 and ffmpeg are hosted outside the US, in countries with less restrictive laws.  There is much discussion about this exact issue &lt;a href=&quot;http://forum.doom9.org/showthread.php?t=156599&quot; rel=&quot;noreferrer&quot;&gt;in a thread on doom9&lt;/a&gt; that I wish I'd found yesterday.  &amp;gt;.&amp;lt;  At least one guy on that thread actually did get a reply from his lawyer, for his x264 GUI.&lt;/p&gt;&#xA;&lt;p&gt;It's probably not a bad idea to ask the MPEG LA if you need to pay extra for using x264 / ffmpeg, as well as selling the output h.264 content, if you're talking to them anyway.  I guess compiling your own copy of x264 counts as making only a single instance of a &amp;quot;product&amp;quot;.  Under 100k units, there are no royalty fees for h.264.  Otherwise you might be safer downloading a binary, so if anyone's on the hook, it's not you.  But that's just silly.  I am NOT a lawyer.&lt;/p&gt;&#xA;&lt;p&gt;I'd love to see a comment from anyone that can shed some light on whether you had to pay extra to the MPEG LA if you were using x264 to make your for-pay content, vs. a commercial royalty-paid encoder.&lt;/p&gt;&#xA;&lt;h2&gt;EDIT3:&lt;/h2&gt;&#xA;&lt;p&gt;I think I've made sense of this now.  There was never a need for a patent license to &lt;strong&gt;operate&lt;/strong&gt; an h.264 decoder/encoder, just to &lt;strong&gt;distribute&lt;/strong&gt;.  That was the confusion that led to this post.&lt;/p&gt;&#xA;&lt;p&gt;So if you have a copy of x264 and ffmpeg, you're fine.  &lt;strong&gt;You can use them just as you would use any commercial software&lt;/strong&gt;.  (With fewer restrictions, too, since some commercial software is only licensed for distribution to non-commercial &lt;em&gt;users&lt;/em&gt;.  Don't panic about this, they say their EULAs are over-broad to make sure they don't leave loopholes...)&lt;/p&gt;&#xA;&lt;p&gt;And if you downloaded them as source, or binaries from a server in a country without annoying software-patent laws, the people you downloaded it from are also fine.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-02-06T05:53:36.487" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="14707" PostTypeId="2" ParentId="14705" CreationDate="2015-01-27T18:48:58.987" Score="4" Body="&lt;p&gt;I've used &lt;a href=&quot;http://AudioMicro.com&quot; rel=&quot;nofollow&quot;&gt;AudioMicro.com&lt;/a&gt; and like a lot of their music. I hear good things about &lt;a href=&quot;http://incompetech.com&quot; rel=&quot;nofollow&quot;&gt;incompetech.com&lt;/a&gt;.  You can also just Google &quot;royalty-free music sites&quot; and you'll find several, each with different terms and prices.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastEditorUserId="3561" LastEditDate="2015-10-13T12:17:44.680" LastActivityDate="2015-10-13T12:17:44.680" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14708" PostTypeId="2" ParentId="14705" CreationDate="2015-01-27T20:21:40.470" Score="3" Body="&lt;p&gt;My favorites:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://premiumbeat.com&quot; rel=&quot;nofollow&quot;&gt;Premiumbeat&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://audiojungle.net/?ref=altarvic&quot; rel=&quot;nofollow&quot;&gt;AudioJungle&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2015-01-27T20:21:40.470" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14709" PostTypeId="2" ParentId="14688" CreationDate="2015-01-28T00:56:33.883" Score="4" Body="&lt;p&gt;FFMPEG doesn't really have the tools to do motion detection out of the box. You can certainly do the cropping using the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;nofollow&quot;&gt;crop filter&lt;/a&gt;: &lt;code&gt;-vf crop=w:h:x:y&lt;/code&gt; where &lt;code&gt;w:h&lt;/code&gt; is the size of your cropped area and &lt;code&gt;x:y&lt;/code&gt; its coordinates in the original image. So your ffmpeg script might look like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -c:v libx264 -crf 20 -vf crop=123:45:67:89 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then you could find a frame of the output that contains no movement, export it to a still image, invert it and add it back to the video using &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#overlay-1&quot; rel=&quot;nofollow&quot;&gt;overlay&lt;/a&gt; so that only parts of frames that are different would show up. Then use the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#blackdetect&quot; rel=&quot;nofollow&quot;&gt;blackdetect&lt;/a&gt; filter to find frames that are black. Then you could use some shell-fu to delete those parts of the video and finally concatenate the remainder into one clip. Whew.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;…or you could use openCV. Here's a ready-rolled script that does motion detection: &lt;a href=&quot;https://github.com/RobinDavid/Motion-detection-OpenCV&quot; rel=&quot;nofollow&quot;&gt;https://github.com/RobinDavid/Motion-detection-OpenCV&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-01-28T12:18:06.753" LastActivityDate="2015-01-28T12:18:06.753" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14710" PostTypeId="2" ParentId="14705" CreationDate="2015-01-28T09:41:18.167" Score="4" Body="&lt;p&gt;I know for a fact GoPro gets its music from extrememusic.com, and I personally use Night3x from youtube for electronic music, and RFGB for orchestral music. &#xA;AudioJungle offers some great services to.&#xA;Another source is CC-Mixter, straight from the creative commons, but I myself do not think that the library present is too good.&#xA;If you are looking for audio (eg. wind noise, etc.) then check out freesound.org, but check to make sure that you can use the track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps :)&lt;/p&gt;&#xA;" OwnerUserId="9221" LastEditorUserId="9221" LastEditDate="2015-01-28T16:41:37.103" LastActivityDate="2015-01-28T16:41:37.103" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14711" PostTypeId="2" ParentId="14554" CreationDate="2015-01-28T09:47:58.097" Score="4" Body="&lt;p&gt;Yes, you can remove audio from any video in ActivePresenter. To do that, please follow the &lt;a href=&quot;http://atomisystems.com/community/4508/how-to-i-cut-sound-out-of-a-video-i-import-into-software&quot; rel=&quot;nofollow&quot;&gt;instruction in ActivePresenter's community&lt;/a&gt;: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;You just need to select the video, click Adjust Volume tool on the&#xA;  Timeline, and select Mute checkbox.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="9233" LastEditorUserId="6685" LastEditDate="2015-07-27T14:37:44.573" LastActivityDate="2015-07-27T14:37:44.573" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14712" PostTypeId="1" AcceptedAnswerId="14715" CreationDate="2015-01-28T11:06:24.150" Score="20" ViewCount="38816" Body="&lt;p&gt;Is it also possible to encode video with Apple ProRes on Windows and Linux?&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="525" LastEditDate="2018-12-20T20:25:57.467" LastActivityDate="2021-07-20T23:26:34.123" Title="How to encode Apple ProRes on Windows or Linux?" Tags="|encoding|codec|windows|linux|prores|" AnswerCount="5" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="14713" PostTypeId="2" ParentId="14712" CreationDate="2015-01-28T11:17:20.423" Score="0" Body="&lt;p&gt;You can try &lt;a href=&quot;https://code.google.com/p/ffmbc/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmbc&lt;/a&gt; - a customized version of FFmpeg. Unfortunately there are no builds for linux or windows at the moment so you have compile it yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Related: &lt;a href=&quot;https://video.stackexchange.com/questions/14727/what-is-the-difference-between-ffmpeg-and-ffmbc-now&quot;&gt;What is the difference between ffmpeg and ffmbc now?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-04-10T12:11:42.567" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14714" PostTypeId="1" AcceptedAnswerId="14735" CreationDate="2015-01-28T12:09:08.193" Score="1" ViewCount="95" Body="&lt;p&gt;Isn't there a quick way to create a DVD movie with menus and everything in Adobe Encore or Premier? I mean like for instance the old iDVD on Macs where you could choose a preexisting theme and iDVD would do the rest for you (once you've chosen the chapters etc). &lt;/p&gt;&#xA;" OwnerUserId="9234" LastEditorUserId="9234" LastEditDate="2015-01-28T13:00:07.053" LastActivityDate="2015-03-23T03:08:21.737" Title="Adobe Encore/Premier quick and dirty/shortcut to make DVD" Tags="|video|premiere|encore|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14715" PostTypeId="2" ParentId="14712" CreationDate="2015-01-28T12:24:32.600" Score="31" Body="&lt;p&gt;As of December 2018, Adobe Creative Cloud aps, such as Premier, &lt;a href=&quot;https://helpx.adobe.com/after-effects/kb/export-h264.html#main-pars_header_0&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strike&gt;After Effects and&lt;/strike&gt;&lt;/a&gt; Adobe Media Encoder give you the ability to &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/whats-new.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;encode in ProRes&lt;/a&gt; without any &lt;em&gt;post-hoc&lt;/em&gt; conversion.&lt;/p&gt;&#xA;&lt;p&gt;If you don't use Adobe CC aps or want a free, open source tool, &lt;code&gt;ffmpeg&lt;/code&gt; can encode video using ProRes, and runs cross-platform. &lt;code&gt;ffmpeg&lt;/code&gt; is a command line tool, which means that it can be automated.&lt;/p&gt;&#xA;&lt;p&gt;There are a plethora of &lt;a href=&quot;https://duckduckgo.com/?q=foss+gui+for+ffmpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;free GUIs for ffmpeg&lt;/a&gt; for those unfamiliar with the command line.&lt;/p&gt;&#xA;&lt;p&gt;This &lt;code&gt;ffmpeg&lt;/code&gt; command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -c:v prores -profile:v 3 -c:a pcm_s16le output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;will do the trick.&lt;/p&gt;&#xA;&lt;p&gt;The &lt;code&gt;-profile&lt;/code&gt; switch takes an integer from -1 to 5 to match the ProRes profiles:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;-1: &lt;code&gt;auto&lt;/code&gt; (default)&lt;/li&gt;&#xA;&lt;li&gt;0: &lt;code&gt;proxy&lt;/code&gt; ≈ 45Mbps YUV 4:2:2&lt;/li&gt;&#xA;&lt;li&gt;1: &lt;code&gt;lt&lt;/code&gt; ≈ 102Mbps YUV 4:2:2&lt;/li&gt;&#xA;&lt;li&gt;2: &lt;code&gt;standard&lt;/code&gt; ≈ 147Mbps YUV 4:2:2&lt;/li&gt;&#xA;&lt;li&gt;3: &lt;code&gt;hq&lt;/code&gt; ≈ 220Mbps YUV 4:2:2&lt;/li&gt;&#xA;&lt;li&gt;4: &lt;code&gt;4444&lt;/code&gt;≈ 330Mbps YUVA 4:4:4:4&lt;/li&gt;&#xA;&lt;li&gt;5: &lt;code&gt;4444xq&lt;/code&gt; ≈ 500Mbps YUVA 4:4:4:4&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;The approximate bit-rates are for 1920×1080p footage. All of the profiles are progressive, 10-bit, and little-endian (byte order).&lt;/p&gt;&#xA;&lt;p&gt;The profiles are explained on the &lt;a href=&quot;https://support.apple.com/en-us/HT202410&quot; rel=&quot;nofollow noreferrer&quot;&gt;Apple website&lt;/a&gt;. There doesn't as yet seem to be support for RGBA encoding in 4444 and 444xq which the official Apple codec supports.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strike&gt;You may also use &lt;code&gt;prores&lt;/code&gt; instead of &lt;code&gt;prores_ks&lt;/code&gt;, which may be a little faster, but does not offer the 4444 profiles. For more background, please read &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/VFX#Prores&quot; rel=&quot;nofollow noreferrer&quot;&gt;this FFmpeg Wiki article&lt;/a&gt;&lt;/strike&gt;. The prores_ks encoder is now default, and you only need to specify &lt;code&gt;prores&lt;/code&gt; in the command, even when encoding prores 4444.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2021-07-20T23:26:34.123" LastActivityDate="2021-07-20T23:26:34.123" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="14716" PostTypeId="2" ParentId="14712" CreationDate="2015-01-28T13:53:02.090" Score="3" Body="&lt;p&gt;On Windows, I recommend &lt;a href=&quot;http://vegasaur.com/FootageStudio4k&quot; rel=&quot;nofollow&quot;&gt;FootageStudio 4K&lt;/a&gt;. It is a commercial converter (not cheap) that supports many professional formats, including ProRes.&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2015-01-28T13:53:02.090" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14717" PostTypeId="1" AcceptedAnswerId="17722" CreationDate="2015-01-28T14:34:17.377" Score="10" ViewCount="13723" Body="&lt;p&gt;My target is to build a single static FFmpeg binary with libfdkaac and x264 support for OSX and Linux. First, I tried to build one on OSX, I follow the instruction on FFmpeg web:&#xA;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/CompilationGuide/MacOSX&quot; rel=&quot;noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/CompilationGuide/MacOSX&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Here is the configuration settings I applied to build a static binary:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;./configure pkg_config='pkg-config --static' --prefix=/usr/local --extra-version=ntd_20150126 --disable-shared --enable-static --enable-gpl --enable-pthreads --enable-nonfree --enable-fontconfig --enable-libfreetype --enable-libass --enable-libfdk-aac  --enable-libmp3lame --enable-libopus --enable-libtheora --enable-libvorbis --enable-libvpx --enable-libx264 --enable-filters --enable-runtime-cpudetect&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After build process, FFmpeg is around 14Mb, which means that it doesn't include the third party libraries. In fact, it requires to link to dynamic libraries located at &lt;code&gt;/usr/local/lib&lt;/code&gt;. If I removed those dynamic libs, the FFmpeg will show an error like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;dyld: Library not loaded: /usr/local/lib/libSDL-1.2.0.dylib&#xA;Referenced from: /usr/local/bin/ffmpeg&#xA;Reason: image not found&#xA;Trace/BPT trap: 5&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is it the right way to make all external libraries into single static binary?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would be really appreciate for your help!&lt;/p&gt;&#xA;" OwnerUserId="9236" LastActivityDate="2016-02-20T08:03:55.610" Title="How to compile FFmpeg with libfdkaac into a single static binary?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="7" ClosedDate="2017-09-04T14:46:36.540" ContentLicense="CC BY-SA 3.0" />
  <row Id="14718" PostTypeId="1" CreationDate="2015-01-28T16:20:30.170" Score="1" ViewCount="3268" Body="&lt;ul&gt;&#xA;&lt;li&gt;I wish to change just the framerate of a VP9 encoded webm file.&lt;/li&gt;&#xA;&lt;li&gt;The source file has a framerate of 1000 FPS, and I'd like to change it to 30 FPS, without affecting the video/audio in any other way.&lt;/li&gt;&#xA;&lt;li&gt;I'm a completely blank slate at video encoding/editing. No prior experience/knowledge&lt;/li&gt;&#xA;&lt;li&gt;Google had no answers for me&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is there a way to do it? I'm using Ubuntu 14.04&lt;/li&gt;&#xA;&lt;li&gt;Will lowering the framerate mean lowered CPU usage?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerDisplayName="user9239" LastActivityDate="2015-01-29T07:57:01.183" Title="How do I alter just the framerate of a VP9 webm without affecting anything else?" Tags="|video|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14719" PostTypeId="1" AcceptedAnswerId="14721" CreationDate="2015-01-28T21:59:50.820" Score="2" ViewCount="170" Body="&lt;p&gt;In &lt;a href=&quot;http://vimeo.com/109646378&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; music video, there are some images of famous artists in the view that are animated and look alive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://vimeo.com/109646378&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://vimeo.com/109646378&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/8fRHg.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By which technique it can be achieved?&#xA;is it a frame-by-frame editing of photos and then apply the resulted 2d animations into the video?&lt;/p&gt;&#xA;" OwnerUserId="9242" LastEditorUserId="9242" LastEditDate="2015-01-28T22:06:25.890" LastActivityDate="2015-01-29T02:26:16.530" Title="How to animate a solid face in a video" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14720" PostTypeId="1" CreationDate="2015-01-29T00:13:15.440" Score="0" ViewCount="979" Body="&lt;p&gt;This is my first time using Lightworks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have some video I recorded of some gameplay that I am trying to edit. While the audio itself sounds fine in other programs, every time I play it in Lightsworks it almost sounds like it is skipping but I'm pretty sure it is in sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is odd is that when I tried to mute the audio I could still hear the noise.  I tried then to mute the audio and replace it with a copy of it and it still won't work.  Does anyone have any advice?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;audio copy is in .wav and video in .avi&lt;/li&gt;&#xA;&lt;li&gt;was recorded using Bandicam&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="9243" LastEditorUserId="9105" LastEditDate="2015-01-30T15:37:26.257" LastActivityDate="2022-09-26T15:33:12.930" Title="Audio Sounds Like It's Skipping in Lightworks" Tags="|audio|audio-quality|lightworks|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14721" PostTypeId="2" ParentId="14719" CreationDate="2015-01-29T02:26:16.530" Score="2" Body="&lt;p&gt;The VFX breakdown is right in the link in the video that you provide. &#xA;They break it down for you in the youtube video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/mOCKLua-F24?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Its masking, feathering, desaturation or levels adjustment. If moving they also key it in 3D space so the images scale properly to objects in space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Very well done piece.&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2015-01-29T02:26:16.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14722" PostTypeId="2" ParentId="14717" CreationDate="2015-01-29T03:39:21.280" Score="11" Body="&lt;p&gt;Thanks for stib's suggestion. I leave my answer here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmepg build process take higher priority to use dynamic library even if static libraries are ready. Therefore, I first removed some external libraries support from build configuration and make sure all external libraries are only static (remove *.dylib from prefix /usr/local/lib). Then rebuild it with the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;./configure --pkg-config-flags=&quot;--static&quot; --libdir=/usr/local/lib --extra-version=ntd_20150128 --disable-shared --enable-static --enable-gpl --enable-pthreads --enable-nonfree  --enable-libass --enable-libfdk-aac  --enable-libmp3lame  --enable-libx264 --enable-filters --enable-runtime-cpudetect&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Remember to define &lt;code&gt;--pkg-config-flags=&quot;--static&quot;&lt;/code&gt;, asking build process to use static library. Then, we will get a single executable FFmpeg binary!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S.: I removed the &lt;strong&gt;libass&lt;/strong&gt; support from the configuration, because libass depends on Fontconfig lib which I only have dynamic library available. I'll put the libass support back once I figured out how to make a static library of fontconfig.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="9236" LastActivityDate="2015-01-29T03:39:21.280" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14723" PostTypeId="1" CreationDate="2015-01-29T05:04:06.343" Score="1" ViewCount="345" Body="&lt;p&gt;Is there a tool that can play multiple videos while displaying a histogram of each video simultaneously?&lt;/p&gt;&#xA;" OwnerUserId="9245" LastActivityDate="2015-06-04T18:57:47.367" Title="Multivideo player with histograms?" Tags="|software-recommendation|video-quality|software|color-correction|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="14724" PostTypeId="1" AcceptedAnswerId="14725" CreationDate="2015-01-28T19:56:12.330" Score="3" ViewCount="423" Body="&lt;p&gt;I'm searching for a solution to synchronize multiple camera video recordings. Is there a simple way to hack the camera trigger? I also thought about sound solutions, but trigger all cameras at once would be most elegant of course.&lt;/p&gt;&#xA;" OwnerUserId="6685" OwnerDisplayName="poor" LastActivityDate="2015-01-29T07:50:55.130" Title="How to trigger multiple canon cameras at the same time?" Tags="|canon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14725" PostTypeId="2" ParentId="14724" CreationDate="2015-01-28T21:37:42.283" Score="4" Body="&lt;p&gt;I've done this to combine the video onboard an aircraft with the video shot from the ground, and if both of my cameras were good quality, it worked pretty well. I tried to merge the videos using time codes, but that doesn't work even though they both had GPS- things with identical time-codes just weren't happening at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, here's what I do now... (and this is only valid for video for obvious reasons)&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Start all the cameras&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Before the scene starts, use a clapperboard or your hands to record a sharp, short sound.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;a. It is important to be equidistant from the cameras for this to work&lt;/p&gt;&#xA;&#xA;&lt;p&gt;b. If all the cameras can also &quot;see&quot; the clapperboard, that's better&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;After the scene ends, clap it again! This is very important! You may also want to create syncing sounds during the scene if it's a long one.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The last part is to deal with the fact that not all video plays at the correct speed. For example, when I mixed clips shot at 29.97 with clips shot at 30, they didn't line up after a few minutes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The over-arching point here is, you will need to use something physically &quot;in the video&quot; to sync with, and in my experience syncing time codes or trying to start the cameras simultaneously just doesn't work.&lt;/p&gt;&#xA;" OwnerUserId="1156" OwnerDisplayName="jasmine2501" LastActivityDate="2015-01-28T21:37:42.283" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14726" PostTypeId="2" ParentId="14718" CreationDate="2015-01-29T07:57:01.183" Score="1" Body="&lt;p&gt;This has come up before for other codecs / containers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/How%20to%20speed%20up%20/%20slow%20down%20a%20video&quot; rel=&quot;nofollow&quot;&gt;This DOESN'T&lt;/a&gt; work in ffmpeg without transcoding, since ffmpeg unfortunately isn't set up for messing with timestamps on non-decoded frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I &lt;em&gt;think&lt;/em&gt; you should be able to do it with this (untested):&lt;br&gt;&#xA;&lt;code&gt;mkvmerge --default-duration 0:30fps  in.webm -o out.webm&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where &lt;code&gt;0&lt;/code&gt; is the track-id of the video track.  Check the man page for mkvmerge for more details.  Note that it says that &lt;code&gt;--fix-bitstream-timing-information&lt;/code&gt; is only implemented for h.264 currently, so your output will have a vp9 stream that probably still says it's 1000 fps, but the container will have frame timestamps at 30fps.  Players almost always use container presentation-timestamps, though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there is audio with the video, I assume it's the right length for the video being 30fps?  Otherwise that's a big stretch needed...&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-01-29T07:57:01.183" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="14727" PostTypeId="1" AcceptedAnswerId="14748" CreationDate="2015-01-29T10:17:50.423" Score="9" ViewCount="11304" Body="&lt;p&gt;Two years ago I've used ffmbc to encode videos to prores, but nowadays ffmpeg also supports &lt;a href=&quot;http://en.wikipedia.org/wiki/Apple_ProRes&quot;&gt;prores&lt;/a&gt; and &lt;a href=&quot;http://de.wikipedia.org/wiki/Advanced_Video_Codec_High_Definition&quot;&gt;avchd&lt;/a&gt;. What is the difference between &lt;a href=&quot;http://www.ffmpeg.org/&quot;&gt;ffmpeg&lt;/a&gt; and &lt;a href=&quot;https://code.google.com/p/ffmbc/&quot;&gt;ffmbc&lt;/a&gt; now?&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-01-29T10:36:06.477" LastActivityDate="2016-03-15T16:43:09.880" Title="What is the difference between ffmpeg and ffmbc now?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14728" PostTypeId="1" AcceptedAnswerId="14730" CreationDate="2015-01-29T11:26:46.517" Score="18" ViewCount="55527" Body="&lt;p&gt;I want to create a website with a HTML5 video background. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a short 1080p mp4 clip that I want to use (20s). I intend to run the video in a letterbox format (5:2 ish), full screen behind the page content (for an example see Paypal's website: &lt;a href=&quot;https://www.paypal.com/uk/webapps/mpp/home&quot;&gt;https://www.paypal.com/uk/webapps/mpp/home&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would the best export settings in Premiere CC for this purpose?&lt;/p&gt;&#xA;" OwnerUserId="3358" LastEditorUserId="6685" LastEditDate="2015-01-29T11:39:49.227" LastActivityDate="2020-03-16T22:15:48.623" Title="Encode settings for HTML5 background video" Tags="|premiere|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14729" PostTypeId="2" ParentId="14727" CreationDate="2015-01-29T11:43:16.313" Score="4" Body="&lt;p&gt;One difference at least :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-target xdcamhd422&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;is supported by FFmbc but not by FFmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Very useful in a professional broadcast environment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the &lt;code&gt;-target&lt;/code&gt; option allows to specify several parameters at once. The &lt;code&gt;-target&lt;/code&gt; option value must be one supported by FFm**. In the case of the &lt;code&gt;xdcamhd422&lt;/code&gt; value, it specifies the video codec to be used (&lt;code&gt;mpeg2video&lt;/code&gt;), the frame size (1920 x 1080), and other parameters in order to have an output file conform to the XDCam HD standard.&lt;/p&gt;&#xA;" OwnerUserId="9147" LastEditorUserId="9147" LastEditDate="2015-01-30T13:21:30.160" LastActivityDate="2015-01-30T13:21:30.160" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14730" PostTypeId="2" ParentId="14728" CreationDate="2015-01-29T11:58:06.780" Score="19" Body="&lt;p&gt;You should export multiple versions to accommodate for different browsers. With HTML5, you can offer different versions of the video and the browser will automatically pick the first one that's supported. For example, take a look at the source code of the paypal website you refered to:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;video autoplay=&quot;autoplay&quot; muted=&quot;muted&quot; poster=&quot;none&quot;&amp;gt;&#xA;    &amp;lt;source src=&quot;https://www.paypalobjects.com/webstatic/mktg/wright/videos/send-money.mp4&quot; type=&quot;video/mp4&quot;&amp;gt;&#xA;    &amp;lt;source src=&quot;https://www.paypalobjects.com/webstatic/mktg/wright/videos/send-money.webm&quot; type=&quot;video/webm&quot;&amp;gt;&#xA;&amp;lt;/video&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As you can see, they offer both a mp4 (H264 codec) and a webm version of the video. Those would be good options for you as well. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Furthermore, you should try to keep the videos as small as possible, so that site visitors with slow internet will also be able to watch it. For that purpose, you should export the video with 720p instead of 1080p (nobody will see the difference, especially if the video is in the background) and aim for a bitrate below 1 Mbit/s. For example, the paypal video uses a bitrate of about 700 Kbit/s. If you don't need the audio, you could export without audio or with a low audio bitrate, i.e. 96 Kbit/s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also save the video from the website to your computer and check the codec, bitrate and other parameters e.g. with &lt;a href=&quot;http://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt; or similar programs.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Update November 2018&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Since this question is still getting a lot of views, I wanted to add some up-to-date information. By now, &lt;a href=&quot;https://caniuse.com/#feat=mpeg4&quot; rel=&quot;nofollow noreferrer&quot;&gt;all modern browsers support MP4&lt;/a&gt; (MPEG-4/H.264), and have been for a long enough time that you will be fine offering only MP4 for most projects. Check the link above for a browser compatibity table to make sure all browsers your project needs to support can play MP4. Keep in mind to use AAC for the audio track, not MP3, since it's supported by fewer browsers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Still, you can and should offer a WebM video as the first &lt;code&gt;&amp;lt;source&amp;gt;&lt;/code&gt;, since it features better compression, so users on a limited data plan will thank you. I just wanted to add that if you are limited in terms of disk space, render time or some other variable that makes it difficult to offer WebM, MP4 is all you need by now. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, since my original answer included something about audio, one additional takeaway that's not strictly related: Browser vendors are cracking down on autoplay videos (video that start playing automatically after loading the page, without a user interaction), especially if the video contains audio. For example, &lt;a href=&quot;https://webkit.org/blog/6784/new-video-policies-for-ios/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Safari will only allow autoplay videos if the video contains no audio track, or the video is muted&lt;/a&gt; (using the corresponding attribute on the &lt;code&gt;&amp;lt;video&amp;gt;&lt;/code&gt; element). So if you don't need the audio track, export your video without one (autoplaying videos with audio are obnoxious UX anyway). And if you do need the audio, keep in mind that some browsers will block the autoplay, so make sure to include a placeholder image using the &lt;a href=&quot;https://developer.mozilla.org/en-US/docs/Learn/HTML/Multimedia_and_embedding/Video_and_audio_content#Other_%3Cvideo%3E_features&quot; rel=&quot;nofollow noreferrer&quot;&gt;poster&lt;/a&gt; attribute.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2018-11-26T19:55:51.583" LastActivityDate="2018-11-26T19:55:51.583" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="14731" PostTypeId="1" CreationDate="2015-01-29T11:58:09.467" Score="2" ViewCount="115" Body="&lt;p&gt;I have two (rgb) jpeg sequences one with the alpha information (black and white) the other one with the green screen footage. I keyed them with Keylight and they look perfect in AE before exporting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/VMFA8.png&quot; alt=&quot;key&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I import the jpeg sequences back in AE and apply the alpha, I get a green hallow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Wwa89.png&quot; alt=&quot;premult&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems to be some premultiplication issue. What did I do wrong exporting / importing the jpeg sequences?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tRnCV.jpg&quot; alt=&quot;greenscreen&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/Vi6eM.jpg&quot; alt=&quot;alpha&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="8064" LastEditorUserId="8064" LastEditDate="2015-01-29T12:31:57.977" LastActivityDate="2015-01-31T12:43:14.727" Title="Premultiplication issue with two jpeg sequences" Tags="|after-effects|greenscreen|chromakey|" AnswerCount="2" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="14733" PostTypeId="1" AcceptedAnswerId="14734" CreationDate="2015-01-29T19:26:08.123" Score="3" ViewCount="3498" Body="&lt;p&gt;I had an image in my After Effect Composition. I want to rotate the image by time with out any disorder in its shape.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I am trying to rotate image a shearing effect is happening. How to resolve this issue, so that there will not be any shearing to image while rotating.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below I have attached what happening now when I am trying to rotate. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Default Image : 0 degree rotation.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/dCqdM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;li&gt;Transformed image : 42 degree rotation.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/40Svu.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="9170" LastEditorUserId="9170" LastEditDate="2015-01-29T20:09:28.087" LastActivityDate="2022-06-05T11:29:58.533" Title="How to resolve Shearing issue while rotating image in Adobe After Effects?" Tags="|after-effects|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14734" PostTypeId="2" ParentId="14733" CreationDate="2015-01-29T19:57:19.353" Score="7" Body="&lt;p&gt;Make sure &lt;code&gt;scale&lt;/code&gt; values are locked and set both to &lt;strong&gt;100%&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZyMH4.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-01-29T20:12:02.070" LastActivityDate="2015-01-29T20:12:02.070" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14735" PostTypeId="2" ParentId="14714" CreationDate="2015-01-29T22:59:54.813" Score="2" Body="&lt;p&gt;Starting with Adobe CC, Adobe removed a program from their Premiere suite called &lt;em&gt;Encore&lt;/em&gt;. Encore had all the same benefits of Dynamic Link - you didn't need to render your project, just add your project file, and boom - transcoded to DVD in one step, without an intermediate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, for CC users, you still have a licence for CS6, and can downloaded Encore still, through the Creative Cloud launcher.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you do have to do, is first make an intermediate render. You've got two basic choices:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Render a Master copy, full res, full quality, with no or very little compression (ProRes, DNxHD etc.)&lt;/li&gt;&#xA;&lt;li&gt;Render a DVD-ready MPEG2, that will not need transcoding in Encore. There are presets for this in Media Encoder.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Adobe has the information you'll need to download Encore in their &lt;a href=&quot;https://helpx.adobe.com/encore/kb/encore-cs6-installed-cc.html&quot; rel=&quot;nofollow&quot;&gt;Help Documentation&lt;/a&gt;. Summarised, you install Premiere CS6, which also installs Encore CS6. Then, uninstalling &lt;em&gt;only&lt;/em&gt; Premiere will leave you with Encore CS6, as well as all your regular Adobe CC apps.&lt;/p&gt;&#xA;" OwnerUserId="2598" LastEditorUserId="2598" LastEditDate="2015-03-23T03:08:21.737" LastActivityDate="2015-03-23T03:08:21.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14736" PostTypeId="1" CreationDate="2015-01-29T23:18:15.837" Score="3" ViewCount="5177" Body="&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/3AjMm.png&quot; alt=&quot;Soccer field cropped&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to record the indoor soccer games without having to do post-editing if possible.&#xA;One camera cannot capture the entire field and goals on each side are cropped as you can see above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use two cameras (each one recording half of the field), would it be possible to stitch those videos into one that covers the entire field?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, any other ideas that would allow recording the entire field with one camera and without a cameraperson would be appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks... &lt;/p&gt;&#xA;" OwnerUserId="6539" LastActivityDate="2015-01-30T18:22:00.207" Title="Stitching 2 videos into one (like panoramic photos)" Tags="|video-recording|" AnswerCount="2" CommentCount="1" ClosedDate="2015-01-31T00:04:18.010" ContentLicense="CC BY-SA 3.0" />
  <row Id="14737" PostTypeId="2" ParentId="14736" CreationDate="2015-01-30T01:11:57.917" Score="1" Body="&lt;p&gt;Yes, that is what's called compositing. You can do what you want in any NLE; Premiere, Final Cut X, Lightworks, Media Composer, Vegas, just to name a few. You could also do it in a compositing tool like After Effects or Nuke, but I would stick with a standard NLE for so simple a task.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to do the task live, you could look into a capture card like the Blackmagic Intensity and software like Open Broadcaster Software. Those will allow you to connect your camera to a computer through HDMI and do the compositing live.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-01-30T01:11:57.917" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="14738" PostTypeId="2" ParentId="14733" CreationDate="2015-01-30T02:12:16.210" Score="3" Body="&lt;p&gt;Is that composition a 16:9 composition with non-square pixels? looks like it. Check your composition settings, particularly the &lt;strong&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Pixel_aspect_ratio&quot; rel=&quot;nofollow noreferrer&quot;&gt;pixel aspect ratio&lt;/a&gt;&lt;/strong&gt; setting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/wcVz3.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your pixel aspect ratio is not &lt;strong&gt;Sqare Pixels&lt;/strong&gt; then the comp is set up to display correctly only when it is stretched. This is the way DV video and DVDs do 16:9 while still having the same pixel resolution as 4:3 video. When you render and play it in a player there is metadata in the file that tells the player to play back with the stretching, so that it looks ok. But AE displays it without the stretching unless you turn on &lt;strong&gt;Pixel Aspect Ratio Correction&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can turn &lt;strong&gt;Pixel Aspect Ratio Correction&lt;/strong&gt; on in the composition display window with the little icon at the bottom of the composition window&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/MDN2f.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or from the menu &lt;strong&gt;View &gt; View Options…&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/YRbXx.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What it looks you're doing is stretching the individual elements in the comp to make them look right. This won't work if you then render out with non-square pixels, or as you've noticed if you rotate them.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-01-30T02:12:16.210" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14739" PostTypeId="1" CreationDate="2015-01-30T03:26:36.397" Score="2" ViewCount="58" Body="&lt;p&gt;I've recorded a few Minecraft videos using bandicam before without this problem, but yesterday I went to record it was all going good until out of nowhere my FPS went from like 60-100 to 0-2 for like half a second. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought it might be because of me changing my screen resolution from 1360 x 1024@60hz to 1440 x 900@75hz. So I switched it back it didn't change anything I tried recording using ultra high 60fps settings again it records fine then out of no where fps goes to 0 usually I have music playing over the in-game audio I turned that off. I even tried the low-end settings and I still got FPS lag although it was smaller it was still there. I switched the drive that it outputs on also to no avail. I don't have a bad setup its pretty new and shouldn't have any problems running this:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Dell Optiplex 780&lt;/li&gt;&#xA;&lt;li&gt;Windows 7 Pro 64-Bit&lt;/li&gt;&#xA;&lt;li&gt;Intel Core 2 Duo@3.00Ghz&lt;/li&gt;&#xA;&lt;li&gt;8 GB Samsung PCI-8500F(533Mhz) RAM&lt;/li&gt;&#xA;&lt;li&gt;ATI Radeon HD 4670 PCI-Express x16 graphics card 1GB memory&lt;/li&gt;&#xA;&lt;li&gt;1 TB Western Digital HDD&lt;/li&gt;&#xA;&lt;li&gt;320 GB Samsung HM321HI HDD&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Also when I playback these recordings they skip sometimes and they speed up almost like I'm watching them at increased speeds. If need be I'll upload one of them so you can see what I'm talking about.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=cEmcS-31snQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;This is a video that I recorded&lt;/a&gt; like 2 weeks ago so you know my computer is capable of capturing, I also use the default settings in bandicam (Free Version).&lt;/p&gt;&#xA;" OwnerUserId="9249" LastEditorDisplayName="user10383" LastEditDate="2017-05-29T17:42:42.417" LastActivityDate="2017-05-29T17:42:42.417" Title="Sharp drop in FPS while recording" Tags="|video|framerate|hardware|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14740" PostTypeId="2" ParentId="14739" CreationDate="2015-01-30T03:48:08.400" Score="2" Body="&lt;p&gt;Most screen capture applications are pulling video from the video card down to main memory to compress it and write it to disk. Most video games are uploading textures and geometry to the video card to display it to you. It's possible to get into a situation where more memory is needed on the card to run the game and record the video than you have available. That's usually when you see frames dropping. Depending on the game, it might happen when more characters or scenery is visible (such as when viewing a scene from high up, and it's all in frame). The memory on the card is limited, and the ability to move data around in the computer is also limited. It sounds like you're hitting those limits.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-01-30T03:48:08.400" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="14741" PostTypeId="2" ParentId="14667" CreationDate="2015-01-30T04:05:35.603" Score="0" Body="&lt;p&gt;I really don't see what the problem is?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In adobe premiere pro, I had done a rough cut of my niece having tea. I added the title screen after, so I just shifted the clips along the timeline to give some extra space at the beginning of the video. The source clips were all .mts file formats, no need to re-encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see the result here.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/dVVrpyoaEZU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2015-01-30T04:05:35.603" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14742" PostTypeId="2" ParentId="13322" CreationDate="2015-01-30T05:21:35.980" Score="13" Body="&lt;p&gt;There are several &quot;standard&quot; frame rates, but there are getting to be so many that supporting arbitrary framerates is easier than specifically supporting many specific ones.  This is especially true for software players, like VLC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More and more support exists for VARIABLE fps.  (VFR, variable frame rate).  This is where the interval between frames within the same video isn't a constant.  Many video container file formats (like Matroska (&lt;code&gt;.mkv&lt;/code&gt;) or MPEG-4 (&lt;code&gt;.mp4&lt;/code&gt;, closely related to Apple's &lt;code&gt;.mov&lt;/code&gt;)) don't even store a FPS number, but rather a time base (e.g. 1/30th of a second), and then each frame has a timestamp as a multiple of that time base.  It just so happens that the interval between each frame is one or a small integer number of units of the time base in a CFR (constant frame rate) video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Security-camera footage with near-duplicate frames dropped would be an obvious use-case for VFR.  Even moreso if it's being compressed with a simplistic video codec that doesn't take good advantage of temporal redundancy (with inter (p and b) frames).  (play around with &lt;code&gt;ffmpeg -vf mpdecimate&lt;/code&gt; to drop near-dup frames.  Use &lt;code&gt;-vsync 2&lt;/code&gt; if outputting to mp4, because for some reason it isn't the default for that muxer, but it is for mkv.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another case is modern smartphones.  For example, my brother's Moto G (2nd gen) records VFR videos.  It lowers the frame rate when the sensor needs more light.  Some of the output from running mediainfo on an mp4 created by the phone's software, recorded indoors:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Bit rate                                 : 9 999 Kbps&#xA;Width                                    : 1 280 pixels&#xA;Height                                   : 720 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Rotation                                 : 90°&#xA;Frame rate mode                          : Variable&#xA;Frame rate                               : 16.587 fps&#xA;Minimum frame rate                       : 14.985 fps&#xA;Maximum frame rate                       : 30.030 fps&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Playback of a single VFR video stream is not hard.  The software just gets the next frame ready to display, sleeps until it should be displayed, then wakes up and displays it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Things get a bit more complicated when you take into account the fact that humans can only see video frames when a monitor displays them.  VFR monitors exist, but are still rare.  (google for g-sync freesync).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Changing the displayed image while it's being scanned out to the monitor results in ugly tearing of the video (commonly seen when playing a game with vsync off).  This limits a player to changing the displayed image at 50 or 60Hz.  (CRTs support arbitrary vrefresh rates, within a range, but it's complicated to cook up modes with all the timings correct, so most people just used a few fixed refresh rates.  And now people have LCDs which only support a fixed refresh rate anyway.  Until freesync monitors are more widespread anyway.  I'm really looking forward to that. :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So with video frame rates that aren't a multiple or a factor of the monitor refresh rate, some frames will be displayed for 3 monitor refreshes, and some for 2, for example, even if the video is meant to be at a constant 25FPS (on a 60Hz monitor).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Things get more complicated when you want to work with multiple clips and fade between them, or picture-in-picture, or various other effects.  It's a LOT easier to write video editting software if you can assume that all the clips have a new frame at the same time.  (They force clip alignment to snap to whole frames).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is why NLEs (like kdenlive or pitivi, to pick random Free software examples), are more likely to force you to a fixed FPS, and drop/duplicate frames from your clips to make them match that frame rate.  The CFR you choose can be arbitrary, but it typically has to be constant for the whole &quot;project&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Do any NLEs fully work with VFR clips, and produce VFR output in that case?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So in summary, once we have variable-sync monitors and OSes, the only thing holding us back will be video editting, I guess.  And broadcasting, since apparently CFR is a big deal for that, too?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In case you're wondering, the 29.970 (actually 30000/1001) and 23.976 (actually 24000/1001, from telecining) annoying non-integer frame rates are the fault of color NTSC.  &lt;a href=&quot;https://en.wikipedia.org/wiki/NTSC&quot; rel=&quot;noreferrer&quot;&gt;search for 1.001&lt;/a&gt;.  If only they'd been willing to risk a few B&amp;amp;W sets not being able to handle an extra 0.1% frequency for the audio subcarrier, the world would have been spared this nonsense.  (I think I saw another article somewhere that made it sound more like many sets would have been fine, but they weren't sure about perfect compat.  Wikipedia makes it sound like no sets would have handle a 0.1% higher audio subcarrier.  IDK the facts.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Annoying frame rates are one of the lesser sins of broadcasting, though.  It's really interlacing that's been the bane of video quality on modern (all pixels lit at once) screens, and that wouldn't have changed.  I still don't get why interlacing was kept around for HDTV.  Why was 1080i60 was ever defined, instead of using 720p60 to get the same temporal resolution for sports and stuff?  It's similar to 1920x540p60, but with a stupid vertical offset between odd and even fields that requires a lot of computation on the receiving end to make it not look horrible.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;edit:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;For your use-case, I'd absolutely suggest archiving at the native FPS.  Don't throw away any information by dropping frames.  Don't dup frames and make your files bigger (or make your h.264 encoder spend more time noticing the duplicates and outputting a frame full of skip macroblocks that only takes 20 bytes for the whole frame).   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the future when we hopefully all have freesync displays that can play any framerate, you'll want to undo your pullup to 24fps so your video plays more smoothly!  Or if freesync somehow doesn't catch on, or the display that comes after LCDs is CFR, then rate conversion is probably best done at playback time anyway.  It's not like 24fps even plays perfectly on a 60Hz monitor.  (I don't visually notice the fact that some frames are displayed for 3 * 1/60th while some are displayed for 2 * 1/60th, but it's true).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're having problems with Quicktime, then IDK.  Maybe make sure Handbrake is making files with the right framerate set in the h.264 bitstream, as well as the container.  (Yes, h.264 headers can apparently store a frame rate, separate from what the container says.  See the docs for &lt;code&gt;mkvmerge --fix-bitstream-timing-information&lt;/code&gt;.  And try using it with &lt;code&gt;--default-duration 16fps&lt;/code&gt; to make an mkv file.  Then mux that back to mp4 and see if that fixes quicktime?)  Or maybe there's a way to do it with mp4 tools in the first place.  See for example: &lt;a href=&quot;https://askubuntu.com/questions/370692/how-to-change-the-framerate-of-a-video-without-reencoding&quot;&gt;https://askubuntu.com/questions/370692/how-to-change-the-framerate-of-a-video-without-reencoding&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can guarantee that arbitrary frame rate mp4 is valid, and even variable framerate mp4 is valid.  If Quicktime plays it wrong, it could well be Quicktime's fault.  Or maybe Handbrake's fault for making the file wrong.  I usually just use ffmpeg directly, because I'm a command line ninja.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2017-04-13T12:22:54.683" LastActivityDate="2015-01-30T05:42:42.707" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14743" PostTypeId="2" ParentId="14683" CreationDate="2015-01-30T07:05:53.030" Score="1" Body="&lt;p&gt;If you are looking for software for windows then:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;.Lightworks (free but you need an account)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;.Jahashaka&lt;/p&gt;&#xA;&#xA;&lt;p&gt;.If you do not want to use either of those, use Windows Live, Blender, slowmoVideo, and GoPro Studio together in your workflow.&#xA;  Typically what I do is import the file using GoPro studio(which can be used on most video formats) and color correct the video, then either using GoPro studio or slowmoVideo I add slow motion effects if needed, and Blender can be use to add CG (something I've never done) or maybe camera movement. The final edit of clips, i.e syncing it to music, etc. is done in Windows Live Movie Maker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are uploading to YouTube I highly recomend you check out GoPro studio.&lt;/p&gt;&#xA;" OwnerUserId="9221" LastEditorUserId="9221" LastEditDate="2015-01-30T17:28:29.560" LastActivityDate="2015-01-30T17:28:29.560" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14744" PostTypeId="2" ParentId="14720" CreationDate="2015-01-30T16:33:57.830" Score="2" Body="&lt;p&gt;&lt;strong&gt;Get a better computer.&lt;/strong&gt; The fact that the audio sounds fine in other apps means it was recorded fine, and the file represents the audio correctly. When you open it in your editor though, that's a much more complex operation than simply &lt;em&gt;playing&lt;/em&gt; the video in an optimized player. So, I think this is a performance issue. I've had this problem myself with cheaper computers, and back when I switched to HD, I had to buy a new machine.&lt;/p&gt;&#xA;" OwnerUserId="1156" LastActivityDate="2015-01-30T16:33:57.830" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14745" PostTypeId="2" ParentId="14736" CreationDate="2015-01-30T18:22:00.207" Score="2" Body="&lt;p&gt;If you are looking to NOT do any post editing.&#xA;And be able to see the whole field with one camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would suggest the gopro.&#xA;A bit of a fishbowl effect, but it can work&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see how it would look like, here is a school baseball game:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/at_v0m7KFmg?start=49&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2015-01-30T18:22:00.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14746" PostTypeId="1" AcceptedAnswerId="14753" CreationDate="2015-01-30T20:10:54.977" Score="2" ViewCount="69" Body="&lt;p&gt;I have an image in After Effects that is slowly growing. After 5 seconds, I want the image to quickly grow. When I do this however, using 2 transition effects, the 'joint' at which the 2 transition animations connect looks a bit odd, because there is this sudden change in the velocity of the speed it's growing at. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to have it interpolate between these 2 effects so it seems like the transition/scaling has a smooth increase in speed? &lt;/p&gt;&#xA;" OwnerUserId="9252" LastActivityDate="2015-01-31T00:19:01.917" Title="Interpolate Effects in After Effects" Tags="|after-effects|effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14747" PostTypeId="1" CreationDate="2015-01-30T20:39:35.597" Score="3" ViewCount="3603" Body="&lt;p&gt;Does anyone know how to do lossless conversion from *.mpeg/mpg to mov?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was asked to extract video from DVDs and do editings in FCPX, however FCPX cannot edit *.mpeg/mpg file natively, therefore I need a way to convert it from mpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I have tried two applications to convert mpeg files:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;a) &lt;strong&gt;FFmpeg:&lt;/strong&gt; I used &lt;code&gt;c:v copy&lt;/code&gt; to do file wrapping to Mov file, but the conversion was failed, each frame of converted video file is jittering. Looks like there're some information missed in Mov header. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i {input_file}.vob -c:v copy -copyts -threads 8 -sn -y {output_file}.mov&#xA;&#xA;ffmpeg started on 2015-01-30 at 16:48:48&#xA;Report written to &quot;ffmpeg-20150130-164848.log&quot;&#xA;Command line:&#xA;ffmpeg -i /Users/yusizhang/Movies/DVDRemaster/dvd_1/track003.vob -c:v copy -sn -t 30 -report -y /Users/yusizhang/Movies/vod2Mov.mov&#xA;ffmpeg version 2.5.2 Copyright (c) 2000-2014 the FFmpeg developers&#xA;  built on Jan  1 2015 20:24:48 with llvm-gcc 4.2.1 (LLVM build 2336.11.00)&#xA;  configuration: --prefix=/Volumes/tempdisk/sw --as=yasm --enable-gpl --enable-pthreads --disable-ffplay --disable-ffserver --disable-shared --enable-static --enable-libvpx --disable-decoder=libvpx --enable-libmp3lame --enable-libopus --enable-libtheora --enable-libvorbis --enable-libx264 --enable-libx265 --enable-libxvid --enable-zlib --enable-avfilter --enable-fontconfig --enable-libfreetype --enable-libass --enable-libutvideo --enable-filters --enable-postproc --enable-runtime-cpudetect&#xA;  libavutil      54. 15.100 / 54. 15.100&#xA;  libavcodec     56. 13.100 / 56. 13.100&#xA;  libavformat    56. 15.102 / 56. 15.102&#xA;  libavdevice    56.  3.100 / 56.  3.100&#xA;  libavfilter     5.  2.103 /  5.  2.103&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Splitting the commandline.&#xA;Reading option '-i' ... matched as input file with argument '/Users/yusizhang/Movies/DVDRemaster/dvd_1/track003.vob'.&#xA;Reading option '-c:v' ... matched as option 'c' (codec name) with argument 'copy'.&#xA;Reading option '-sn' ... matched as option 'sn' (disable subtitle) with argument '1'.&#xA;Reading option '-t' ... matched as option 't' (record or transcode &quot;duration&quot; seconds of audio/video) with argument '30'.&#xA;Reading option '-report' ... matched as option 'report' (generate a report) with argument '1'.&#xA;Reading option '-y' ... matched as option 'y' (overwrite output files) with argument '1'.&#xA;Reading option '/Users/yusizhang/Movies/vod2Mov.mov' ... matched as output file.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option report (generate a report) with argument 1.&#xA;Applying option y (overwrite output files) with argument 1.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input file /Users/yusizhang/Movies/DVDRemaster/dvd_1/track003.vob.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: /Users/yusizhang/Movies/DVDRemaster/dvd_1/track003.vob.&#xA;[mpeg @ 0x7fbc5201dc00] Format mpeg probed with size=8192 and score=52&#xA;[mpeg @ 0x7fbc5201dc00] Before avformat_find_stream_info() pos: 0 bytes read:32768 seeks:0&#xA;[mpeg @ 0x7fbc5201dc00] probing stream 0 pp:2500&#xA;[mpeg @ 0x7fbc5201dc00] Probe with size=2012, packets=1 detected mpegvideo with score=25&#xA;[mpeg @ 0x7fbc5201dc00] probed stream 0&#xA;[mpeg @ 0x7fbc5201dc00] max_analyze_duration 5000000 reached at 5005000 microseconds&#xA;[mpeg @ 0x7fbc5201dc00] After avformat_find_stream_info() pos: 0 bytes read:4542608 seeks:2 frames:466&#xA;Input #0, mpeg, from '/Users/yusizhang/Movies/DVDRemaster/dvd_1/track003.vob':&#xA;  Duration: 00:58:50.56, start: 0.233567, bitrate: 2887 kb/s&#xA;    Stream #0:0[0x1e0], 152, 1/90000: Video: mpeg2video (Main), yuv420p(tv), 720x480 [SAR 8:9 DAR 4:3], 8000 kb/s, 29.97 fps, 29.97 tbr, 90k tbn, 59.94 tbc&#xA;    Stream #0:1[0x80], 157, 1/90000: Audio: ac3, 48000 Hz, stereo, fltp, 128 kb/s&#xA;    Stream #0:2[0x81], 157, 1/90000: Audio: ac3, 48000 Hz, stereo, fltp, 128 kb/s&#xA;Successfully opened the file.&#xA;Parsing a group of options: output file /Users/yusizhang/Movies/vod2Mov.mov.&#xA;Applying option c:v (codec name) with argument copy.&#xA;Applying option sn (disable subtitle) with argument 1.&#xA;Applying option t (record or transcode &quot;duration&quot; seconds of audio/video) with argument 30.&#xA;Successfully parsed a group of options.&#xA;Opening an output file: /Users/yusizhang/Movies/vod2Mov.mov.&#xA;Successfully opened the file.&#xA;detected 8 logical cores&#xA;[graph 0 input from stream 0:1 @ 0x7fbc51501240] Setting 'time_base' to value '1/48000'&#xA;[graph 0 input from stream 0:1 @ 0x7fbc51501240] Setting 'sample_rate' to value '48000'&#xA;[graph 0 input from stream 0:1 @ 0x7fbc51501240] Setting 'sample_fmt' to value 'fltp'&#xA;[graph 0 input from stream 0:1 @ 0x7fbc51501240] Setting 'channel_layout' to value '0x3'&#xA;[graph 0 input from stream 0:1 @ 0x7fbc51501240] tb:1/48000 samplefmt:fltp samplerate:48000 chlayout:0x3&#xA;[audio format for output stream 0:1 @ 0x7fbc515008e0] Setting 'sample_fmts' to value 'fltp'&#xA;[audio format for output stream 0:1 @ 0x7fbc515008e0] Setting 'sample_rates' to value '96000|88200|64000|48000|44100|32000|24000|22050|16000|12000|11025|8000|7350'&#xA;[AVFilterGraph @ 0x7fbc51501880] query_formats: 5 queried, 12 merged, 0 already done, 0 delayed&#xA;[aac @ 0x7fbc52022000] The encoder 'aac' is experimental but experimental codecs are not enabled, add '-strict -2' if you want to use it.&#xA;[AVIOContext @ 0x7fbc5154cb80] Statistics: 0 seeks, 0 writeouts&#xA;[AVIOContext @ 0x7fbc51501b20] Statistics: 4542608 bytes read, 2 seeks&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;b) &lt;strong&gt;Qucktime X:&lt;/strong&gt; I use Quicktime x to open mpeg files and &quot;Save&quot; it into another file. I thought it would be a lossless conversion, but the color was shifting and I saw the bitrate of video was drop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any good mpeg/mpg to mov wrapper tool which can do the &quot;wrapping&quot; lossless? Or is there a suggested conversion method?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="9236" LastEditorUserId="10558" LastEditDate="2023-04-23T03:57:50.117" LastActivityDate="2023-04-23T03:57:50.117" Title="How to do mpeg/mpg to mov lossless conversion?" Tags="|ffmpeg|mpeg|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="14748" PostTypeId="2" ParentId="14727" CreationDate="2015-01-30T20:56:02.477" Score="8" Body="&lt;h1&gt;Usage differences&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;sub&gt;Note: &lt;code&gt;ffmbc&lt;/code&gt;/&lt;code&gt;ffmpeg&lt;/code&gt; will refer to the tools, while FFmbc/FFmpeg will refer to the projects themselves and/or each whole collection of tools and libraries.&lt;/sub&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;There are syntax differences including:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;ffmbc&lt;/code&gt; uses the old, confusing &lt;code&gt;-newaudio&lt;/code&gt; option while &lt;code&gt;ffmpeg&lt;/code&gt; can just use &lt;code&gt;-map&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;ffmbc&lt;/code&gt; does not support &lt;code&gt;-codec&lt;/code&gt; or &lt;code&gt;-c&lt;/code&gt;, so instead all stream types must be explicitly defined if you do not want to rely on the defaults. For example &lt;code&gt;-vcodec copy -acodec copy -scodec copy&lt;/code&gt; vs just &lt;code&gt;-c copy&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Probably lots more that I didn't think of. Feel free to edit answer and add more.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;ffmbc&lt;/code&gt; will automatically relocate some data after encoding to MOV, MP4, etc while &lt;code&gt;ffmpeg&lt;/code&gt; requires the &lt;code&gt;-movflags +faststart&lt;/code&gt; option.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;ffmbc&lt;/code&gt; does not support &lt;code&gt;-filter_complex&lt;/code&gt; so filtering is different. For example, using the overlay video filter:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmbc&lt;/code&gt;: &lt;code&gt;-i video.mp4 -vf &quot;movie='overlay.png' [movie]; [in][movie] overlay [out]&quot;&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg&lt;/code&gt;: &lt;code&gt;-i video.mp4 -i image.png -filter_complex &quot;[0:v][1:v]overlay&quot;&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;FFmbc seems to support more broadcast formats.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;FFmpeg has more features and filters.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;FFmbc dropped &lt;code&gt;ffplay&lt;/code&gt; and &lt;code&gt;ffserver&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h1&gt;Development differences&lt;/h1&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;FFmbc is GPL, and FFmpeg is mostly LGPL which makes porting features from FFmbc to FFmpeg more difficult.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;FFmbc is basically the project of a former FFmpeg developer with a few contributions from others. FFmpeg has many developers and contributors.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;FFmpeg often merges things form Libav, while FFmbc ignores Libav. Libav cherry-picks occasionally from FFmpeg, but ignores most stuff from FFmpeg (Libav is often joked to have &quot;&lt;a href=&quot;http://en.wikipedia.org/wiki/Not_invented_here&quot; rel=&quot;nofollow&quot;&gt;NIH syndrome&lt;/a&gt;&quot;).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="525" LastEditDate="2016-03-15T16:43:09.880" LastActivityDate="2016-03-15T16:43:09.880" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14749" PostTypeId="1" CreationDate="2015-01-30T23:17:17.347" Score="12" ViewCount="170878" Body="&lt;p&gt;Every time I search this problem in Google the only options are how to link audio clips to video or how to sync audio to video clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to combine/link/merge a picture to a video clip, so that if I edit one the same thing happens to the other clip, like merging layers in Photoshop.&lt;/p&gt;&#xA;" OwnerUserId="9253" OwnerDisplayName="BigBeanie" LastEditorUserId="1950" LastEditDate="2015-01-31T12:53:06.683" LastActivityDate="2018-04-07T01:53:48.643" Title="How can I merge/link two video clips in Premiere?" Tags="|video|premiere|" AnswerCount="5" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14750" PostTypeId="2" ParentId="14749" CreationDate="2015-01-30T23:26:02.387" Score="1" Body="&lt;p&gt;I am not sure if what you're asking is possible but here are some ideas that might help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Linking the groups&lt;/strong&gt;: Well you can group the 2 files together Clip &gt; Group. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Applying a effect to multiple video clips&lt;/strong&gt;: If you want to copy the effects you can select the affected clip, copy the effect in the Effect Controls clip preview panel and simply paste it to the clips individually or select all the clips and ctrl+V or if your original clip has only that one effect (no opacity key framing etc) you can copy the clip and in the drop down panel (right click) select paste attributes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also save the effect setting as an effect preset and then apply the new effect preset to other clips.&lt;/p&gt;&#xA;" OwnerUserId="10564" OwnerDisplayName="AndrewH" LastActivityDate="2015-01-30T23:26:02.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14751" PostTypeId="2" ParentId="14731" CreationDate="2015-01-30T23:55:59.993" Score="1" Body="&lt;p&gt;Part of it may be the fact you are using JPEG sequences.  JPEG isn't a pixel accurate format and you are going to have some differences in block quantization that could potentially result in mismatches.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't think that is the only issue since it is a bit too regular for it to be the only issue, but I'd try to use an intermediate format that is a bit more lossless for doing things that need to be pixel accurate match up.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-01-30T23:55:59.993" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14752" PostTypeId="2" ParentId="14747" CreationDate="2015-01-30T23:56:32.147" Score="5" Body="&lt;p&gt;I found a way to resolve this jittering issue. The root cause is that mpeg file doesn't have full PTS info. There's a closed ticket of FFmpeg talking about exactly this problem:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/ticket/974&quot; rel=&quot;nofollow&quot;&gt;FFmpeg ticket #974&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to solve this problem, add &lt;code&gt;-fflags +genpts&lt;/code&gt; before the input file. Here is a sample FFmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -fflags +genpts -i /Users/yusizhang/Movies/DVDRemaster/dvd_1/track003.vob -c:a copy -c:v copy -threads 8 -sn -y /Users/yusizhang/Movies/vod2Mov_clean/Episode1_clean.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="9236" LastEditorUserId="6685" LastEditDate="2015-01-31T23:19:13.583" LastActivityDate="2015-01-31T23:19:13.583" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14753" PostTypeId="2" ParentId="14746" CreationDate="2015-01-31T00:12:11.180" Score="4" Body="&lt;p&gt;Yes, do it as one effect and use the graph editor to use a non-linear curve.  You can alter the curve to respond however you'd like then.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/4Gr2d.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simply click on the graph looking icon next to your parameter that you are keying on so that it will appear in the graph editor.  Then open the graph editor (icon closest to the timeline on the top (looks like a graph).  Select an option such as Auto Bezier or Auto Ease In or Auto Ease Out as you desire.  Auto Bezier will give you more control over how the curve responds by dragging the bezier anchors (the ones that appear off to the side of the end points.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, don't use a transition effect, use a scale with keyframes.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2015-01-31T00:19:01.917" LastActivityDate="2015-01-31T00:19:01.917" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14754" PostTypeId="2" ParentId="14749" CreationDate="2015-01-31T00:21:33.240" Score="2" Body="&lt;p&gt;I ended up replacing the video clip with a after effects composition. then i added the picture to the clipping after effects and it was there in premiere as one clip. &lt;/p&gt;&#xA;" OwnerUserId="9253" LastActivityDate="2015-01-31T00:21:33.240" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14756" PostTypeId="2" ParentId="14749" CreationDate="2015-01-31T01:02:40.370" Score="9" Body="&lt;p&gt;&lt;strong&gt;MERGING VIDEO CLIPS&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To combine video clips there is something called Nested Sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A very powerful technique.&#xA;When adding clips to a timeline you are working in what is called a sequence (normally named Sequence 01), drop your two clips into your timeline and rename your sequence 01 to something like 'My day trip to the market'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select a different video clip and drag and drop it onto the 'new item' button. Bottom right of the Project window.&#xA;That would create ANOTHER sequence which you can rename as your 'master sequence' from what would probably be called 'sequence 02'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you can drag and drop your original sequence like a clip INTO your master sequence. And tada. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The wonderful thing about nested sequences is you can go back and re-edit it and it would update in all your other sequences where you use it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;MERGING AUDIO AND VIDEO&lt;/strong&gt; (original answer regarding merging audio and video)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Import your clips into the project.&#xA;Select your video and audio clips (so they are both selected)&#xA;Right click and 'Merge Clips...'&#xA;It will ask to sync on in (start of audio and video) or out (end of audio and video).&#xA;Click ok and you would now have a merge file of both your video and audio clips that you can manipulate as a single clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps.&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2015-01-31T02:02:39.270" LastActivityDate="2015-01-31T02:02:39.270" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14757" PostTypeId="2" ParentId="14731" CreationDate="2015-01-31T12:43:14.727" Score="1" Body="&lt;p&gt;The problem is that my alpha Mask has a feather. Which results in greeen peaking through the Mask. So the only solutions are export an alpha mask with no feather or export the original image with a black or desaturated background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/iLSod.png&quot; alt=&quot;Feather&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="8064" LastActivityDate="2015-01-31T12:43:14.727" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14758" PostTypeId="1" AcceptedAnswerId="14761" CreationDate="2015-01-31T17:32:17.977" Score="3" ViewCount="1095" Body="&lt;p&gt;Edit decision lists are integrated in every pipeline nowadays. I've seen different types of it, but &lt;a href=&quot;http://en.wikipedia.org/wiki/Edit_decision_list&quot; rel=&quot;nofollow&quot;&gt;wikipedia&lt;/a&gt; only knows CMX 3600 EDL and a xml modification. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which other formats exist and what are the differences of it? Is there a standard type which supported by all editing systems? Which open type has most features?&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-02-01T14:18:30.660" LastActivityDate="2015-02-01T14:18:30.660" Title="Which different EDL types exist?" Tags="|editing|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14759" PostTypeId="1" AcceptedAnswerId="17089" CreationDate="2015-01-31T18:21:09.513" Score="6" ViewCount="16244" Body="&lt;p&gt;I use Photoshop / ACR a lot and I'm well used to they way they handle conversion from black and white. I have control over reds, greens, blues, yellows, cyan and magentas, which allows a huge flexibility in conversion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to transfer this knowledge to Resolve, but I'm struggling to find a comparable workflow. The Saturation setting in the Primary settings doesn't give any such control, so I'm assuming I need to break the footage in it's RGB components and work on each separately, however I can't find a way to split and recombine them so that I end up with a monochrome image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can find almost nothing relating to grading colour footage to black and white in resolve, so what is the most flexible approach?&lt;/p&gt;&#xA;" OwnerUserId="6532" LastEditorUserId="6685" LastEditDate="2015-12-07T18:46:11.570" LastActivityDate="2015-12-07T18:46:11.570" Title="Grading Colour To Black And White In Davinci Resolve" Tags="|post-production|color-grading|davinci-resolve|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14760" PostTypeId="2" ParentId="14728" CreationDate="2015-01-31T21:21:21.277" Score="3" Body="&lt;p&gt;I pretty much agree with everything that &lt;a href=&quot;https://video.stackexchange.com/a/14730/6273&quot;&gt;MoritzLost is saying&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just wanted to add screen shot of the export window settings to help with setting the values on premiere pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I usually press command-M (Mac) to bring up the export screen&#xA;And I would set it like you see below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The important setting to note is the Bitrate settings, I would set it to 1Mbps VBR, and allow to as high as 2.4 for scenes that get a lot of activity at a particular time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try to aim for a 1MB file size. (Paypal's sendmoney video was 1.2MB for 13 seconds, no audio)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/6Wiuo.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6273" LastEditDate="2018-01-31T09:45:11.133" LastActivityDate="2018-01-31T09:45:11.133" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14761" PostTypeId="2" ParentId="14758" CreationDate="2015-01-31T21:23:49.750" Score="3" Body="&lt;p&gt;CMX 3600 (or earlier 340) is very common and understood by many systems. GVG (Grass Valley Group) format is almost as common. For simple cuts, dissolves and keys the two are highly compatible, but for more complex edits, including speed changes, there are significant differences. Neither deals well with multiple layers or multiple sources in one event.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many other companies use proprietary formats that are often only slightly different from basic CMX/GVG. Things like the size and contents of the source ID, the use of notes for special effects, and so on, may change from version to version as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To list the specifications would take a very long post. If you have specific questions about what each can handle, try asking here. But in general, for interchange you'll probably find XML-based EDLs to be most flexible, and CMX/GVG will be understood by the most different systems, within their limitations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Google &quot;EDL XML AAF&quot; for a lot more information on the topic.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-01-31T21:23:49.750" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14762" PostTypeId="2" ParentId="14759" CreationDate="2015-01-31T22:51:29.390" Score="-1" Body="&lt;p&gt;Assuming I'm reading your suggestion correctly, I would recommend making a node for color management, then adding a node after that which changes your footage to black and white. You'll be able to edit the node before the black and white in full color and then re-enable the black and white node to finish the effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&#xA;As I've said, I'm not entirely sure I understand what you want. One thing you can do is make three separate nodes for the R, G, and B channels. They can either be sequential or parallel, assuming you do it correctly it shouldn't matter. You can use each node with a color picker to separate the color channels. This probably won't work exactly how you expect because the color picker will only select objects that have an output of solid color, not separate the colors. You can also use the standard color tools which will give you full color control. The idea is that you have a node with color that you can edit before the desaturating node.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastEditorUserId="6671" LastEditDate="2015-02-02T14:17:34.567" LastActivityDate="2015-02-02T14:17:34.567" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14764" PostTypeId="1" CreationDate="2015-02-01T07:43:29.897" Score="2" ViewCount="392" Body="&lt;p&gt;I want to to stream from my laptop to lessen the stress on my desktop but I don't know how to share my desktop screen with my laptop to be able to stream my face as well as my game-play but I don't know how to do so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help is appreciated.&lt;/p&gt;&#xA;" OwnerUserId="9257" LastActivityDate="2015-02-01T11:31:49.813" Title="share desktop to laptop to stream from laptop" Tags="|live-recording|laptop|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14765" PostTypeId="2" ParentId="14600" CreationDate="2015-02-01T07:56:14.897" Score="1" Body="&lt;p&gt;From the &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-all.html#framepack&quot; rel=&quot;nofollow&quot;&gt;ffmpeg docs&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i LEFT -i RIGHT -filter_complex framepack=sbs OUTPUT&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;framepack only works with 2 inputs, but you could merge 3 with a more complex filtergraph.  &lt;code&gt;sbs&lt;/code&gt; means side-by-side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This doesn't correct for perspective or handle the overlap or anything else needed for it to look good, and the word &quot;panorama&quot; doesn't appear in the ffmpeg docs.  If it's possible to do it properly with ffmpeg, it will require non-standard video filters.  (And by properly, I mean without manually finding how many pixels to crop from the inputs before feeding them to framepack).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just posting in case people were wondering if ffmpeg did this.  Turns out the answer seems to be no.  It does have filters called &quot;perspective&quot; and &quot;lenscorrection&quot;, but nothing for smart-stitching panoramas that I can see.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;edit:&#xA; After further questions from poor, I googled for ffmpeg panoramic, and found &lt;a href=&quot;http://krpano.com/&quot; rel=&quot;nofollow&quot;&gt;http://krpano.com/&lt;/a&gt;.  It says it can do panoramic video, but I'm not exactly sure WHAT it can do with it.  It doesn't list any video formats as input formats, but maybe it can work with image-per-frame PNGs or JPEGs or something.  Ok, no nvm, &lt;a href=&quot;http://comments.gmane.org/gmane.comp.misc.ptx/24263&quot; rel=&quot;nofollow&quot;&gt;http://comments.gmane.org/gmane.comp.misc.ptx/24263&lt;/a&gt; says krpano can play back / &quot;explore&quot; panoramic video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other google hits were from people trying to make a panoramic single image from multiple frames of a panning shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hmm, this looks interesting.  Says it uses ffmpeg and pano tools.&#xA;&lt;a href=&quot;http://webuser.hs-furtwangen.de/~dersch/mp/MotionPanoramas.html&quot; rel=&quot;nofollow&quot;&gt;http://webuser.hs-furtwangen.de/~dersch/mp/MotionPanoramas.html&lt;/a&gt;&#xA;Not sure it can actually stitch, though.  Might just correct fisheye-&gt;panorama.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe this one:&#xA;&lt;a href=&quot;https://groups.google.com/forum/#!topic/hugin-ptx/NroNAfQTz-8&quot; rel=&quot;nofollow&quot;&gt;https://groups.google.com/forum/#!topic/hugin-ptx/NroNAfQTz-8&lt;/a&gt;&#xA;mentions &lt;a href=&quot;http://www.video-stitch.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.video-stitch.com/&lt;/a&gt;.  Commercial software with a free version that watermarks videos larger than 1024x768, but does have a download for Linux.  (presumably a statically linked x86 32bit binary.  It might use NVidia CUDA, at least on Windows.)&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-02-02T08:41:54.427" LastActivityDate="2015-02-02T08:41:54.427" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="14767" PostTypeId="1" CreationDate="2015-02-01T09:36:50.227" Score="3" ViewCount="5825" Body="&lt;p&gt;Youtube recommend &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; encoding setting for videos. I'm is not an expert of encoding, I just use avidedmux to sync external audio with video, and compress the mix. There are a lot of options in &quot;MPEG4 AVC&quot; and I can't match it with the youtube's recommendations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What options should I select in avidemux (for video and audio) to match youtube's recommendations?&lt;/p&gt;&#xA;" OwnerDisplayName="user9259" LastActivityDate="2015-02-01T16:27:25.867" Title="Avidemux output to youtube" Tags="|youtube|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14768" PostTypeId="2" ParentId="14728" CreationDate="2015-02-01T10:58:48.180" Score="8" Body="&lt;p&gt;As &lt;a href=&quot;https://video.stackexchange.com/a/14730/6273&quot;&gt;MoritzLost says&lt;/a&gt;, downscale.  Maybe put a link somewhere to the full-quality version for people that are interested.  Lower rez will also lower resource usage on the client side.  Even downscaling to 640p, 576p, or even 480p might be good, depending on the content, and how visible it will still be behind the text of your page.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, since EVERYONE that visits your site will be loading this video, it's worth taking extra trouble to make sure you squeeze out as much quality per bitrate as you can.  Esp. if you're not planning to change the video very often.  For h.264, that means feeding a lossless source to &lt;a href=&quot;http://www.videolan.org/developers/x264.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;x264&lt;/a&gt; with preset = &lt;code&gt;veryslow&lt;/code&gt;, &lt;code&gt;crf = 26&lt;/code&gt; (or 2-pass bitrate target).  x264 is the best h.264 encoder.  (independent testing of various h.264 encoders has confirmed this.)  It has a lot of really clever algorithms for finding ways to make a really small file that looks good, given enough CPU time.  (And can run fast if you need it to, but encode time isn't really relevant for this use-case: encode once, download and play MANY times.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do NOT play audio by default when your page loads.  Hopefully sane people already know this, but MoritzLost was talking about audio.  Pages that auto-play audio are widely loathed and regarded as evil.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a link to a full-quality version of the video, you could include audio with that.  96kb/s is enough for AAC stereo to sound excellent.  64kb/s will still sound good.  (as long as you don't use a bad encoder, e.g. anything in ffmpeg other than &lt;code&gt;libfdk-aac&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;edit:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I had a look at paypal's video.  (view page info -&gt; media -&gt; find the video -&gt; save as).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;mediainfo&lt;/code&gt; output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : /f/p/home-signup.mp4&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media / Version 2&#xA;Codec ID                                 : mp42&#xA;File size                                : 10.9 MiB&#xA;Duration                                 : 1mn 11s&#xA;Overall bit rate                         : 1 276 Kbps&#xA;Movie name                               : Homepage SignUp - Alan Version&#xA;Album/Performer                          : Sorgel, Chase(AWF)&#xA;Composer                                 : Sorgel, Chase(AWF)&#xA;Description                              : This video is about Homepage SignUp - Alan Version&#xA;Encoded date                             : UTC 2014-03-13 16:26:17&#xA;Tagged date                              : UTC 2014-03-13 16:26:29&#xA;Writing application                      : HandBrake 0.9.9 2013051800&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Main@L4.0&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 4 frames&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 1mn 11s&#xA;Bit rate                                 : 1 273 Kbps&#xA;Width                                    : 1 280 pixels&#xA;Height                                   : 720 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 30.000 fps&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.046&#xA;Stream size                              : 10.9 MiB (100%)&#xA;Writing library                          : x264 core 130 r2273 b3065e6&#xA;Encoding settings                        : cabac=1 / ref=1 / deblock=1:0:0 / analyse=0x1:0x111 / me=hex / subme=2 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=0 / me_range=16 / chroma_me=1 / trellis=0 / 8x8dct=0 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=0 / threads=12 / lookahead_threads=4 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=2 / b_adapt=1 / b_bias=0 / direct=1 / weightb=1 / open_gop=0 / weightp=1 / keyint=300 / keyint_min=30 / scenecut=40 / intra_refresh=0 / rc_lookahead=10 / rc=crf / mbtree=1 / crf=23.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / vbv_maxrate=20000 / vbv_bufsize=25000 / crf_max=0.0 / nal_hrd=none / ip_ratio=1.40 / aq=1:1.00&#xA;Encoded date                             : UTC 2014-03-13 16:26:17&#xA;Tagged date                              : UTC 2014-03-13 16:26:29&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.709&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So they used x264 via Handbrake, but they suck at choosing an appropriate CPU-time vs. rate-distortion tradeoff.  &lt;code&gt;ref=1,me=hex,subme=2&lt;/code&gt; looks like the &lt;code&gt;veryfast&lt;/code&gt; preset.  (&lt;code&gt;x264 --fullhelp&lt;/code&gt; to see how each preset differs from &lt;code&gt;medium&lt;/code&gt;, which uses the default settings for everything.)  Luckily for them, the default &lt;code&gt;crf 23&lt;/code&gt; quality setting is about right for their use case.  They could have saved I'd guess another 20% bitrate from the 1273kb/s they got from crf23 by using better settings, like &lt;code&gt;veryslow&lt;/code&gt;, or even just &lt;code&gt;medium&lt;/code&gt; or &lt;code&gt;slow&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They also decided to limit themselves to h.264 Main profile, for compat with some older Android / iOS devices, which is sadly still a good idea, I guess.  (&lt;code&gt;--profile Main&lt;/code&gt;).  Video that uses more bitrate than needed for the quality is kind of a pet peeve, so it really annoys me that people still distribute Baseline profile encodes.  Main profile can't use 8x8dct, which hurts quite a bit, too, but at least it can use CABAC to save about 15% bitrate vs. CAVLC, regardless of absolute rez / bitrate / any other settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;IDK if it's possible with HTML5 video to have a Baseline, Main, and High profile stream available.  I know you can have mp4 and webm alternatives, but those are just containers.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="6273" LastEditDate="2018-01-31T09:44:07.890" LastActivityDate="2018-01-31T09:44:07.890" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14769" PostTypeId="2" ParentId="14764" CreationDate="2015-02-01T11:17:12.187" Score="1" Body="&lt;p&gt;Well, you could use the normal tools to get video off your desktop.  Instead of having it go to twitch (or whatever), it would go to your laptop.  You'd use a high quality / bitrate, with minimal CPU usage settings.  x264 is probably still the best codec, since ethernet driver CPU time will start to matter if data rates are TOO high.  So you need a lossy codec, and &lt;code&gt;x264 --preset superfast --no-cabac --crf 15&lt;/code&gt; is probably the way to go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On your laptop, you'd have something set up to receive the stream and feed it through ffmpeg, with the output of THAT going to twitch (I assume).  So you'd have your laptop set up to decode the stream from your desktop, run it through x264 with the best quality setting it can manage in realtime.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could maybe use something like inetdto listen on a socket and run ffmpeg when a connection is received, with ffmpeg's stdin and stdout connected to that socket.  (You'd actually need a wrapper script I guess, to get ffmpeg's output directed to twitch, or whatever you're streaming to.)  Also, instead of full-blown inetd, you could use a single-socket simpler program like maybe just netcat.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your laptop isn't running Linux or OS X, this probably still works with a Windows build of netcat, but you'd have to be careful that piping that much data around doesn't cause performance problems on Windows ports of Unix tools.  (don't use cygwin).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get your face in a corner of the video, attach a camera to your laptop, and have ffmpeg read from it, as a 2nd input stream.  Use some combination of &lt;code&gt;-filter_complex scale,overlay&lt;/code&gt; to combine your streams.  (get the filters worked out by testing with file inputs, like 10 sec clips of 2 different videos.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as other ways to get video off your desktop for encoding somewhere else, VNC exists, but it's probably not viable for actual video.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-02-01T11:31:49.813" LastActivityDate="2015-02-01T11:31:49.813" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14771" PostTypeId="2" ParentId="14767" CreationDate="2015-02-01T16:27:25.867" Score="3" Body="&lt;p&gt;avidemux's dialog box for x264 settings is pretty bad.  It's been years since x264 added presets from &lt;code&gt;ultrafast&lt;/code&gt; to &lt;code&gt;veryslow&lt;/code&gt;, but avidemux still makes you manually choose all the cpu-time vs. quality options.  It doesn't even have a checkbox for more recent (but essential) options like mb-tree, or psycho-visual optimizations (AQ and psy-rd).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I honestly can't recommend avidemux (2.5.4 in Ubuntu 14.04) as a frontend for x264.  It's pretty essential to have something with a slider for slow to fast presets.  I made a test encode, and the important settings default to on, which is good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It doesn't matter too much what you use for youtube, as long as you use enough bitrate for it to look good.  (CRF 18 is usually visually transparent, you could go CRF 16 to be on the safe side.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There aren't any settings that will make youtube use your encode untouched for even one of its standard resolutions, instead of doing a transcode.  The encoding guidelines, are all stuff that's on by default in avidemux.  Except the GOP of half the framerate, which makes no sense anyway, and is a horrible idea.  They're going to xcode the whole video anyway, so using a 1/2 second GOP size is just going to hurt compression.  Same for only 2 b frames.  I'm sure their decoder can handle the max consecutive B frames h.264 allows.  (which is probably 16, since that's what x264 allows.)  x264's default setting of 3 b frames is apparently good.  I think with that one, they're just making sure that mis-informed people don't disable b-frames and worsen the rate-distortion (quality vs. filesize) tradeoff of their encode.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-02-01T16:27:25.867" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14772" PostTypeId="1" CreationDate="2015-02-01T17:05:08.570" Score="7" ViewCount="6037" Body="&lt;p&gt;It seems to be possible to correct lens distortion with ffmpeg. According to the &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-all.html#lenscorrection&quot; rel=&quot;noreferrer&quot;&gt;manual&lt;/a&gt; you can adjust K1 and K2 values. What this means? &lt;strong&gt;How to use it correctly?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/PnJvG.jpg&quot; alt=&quot;enter image description here&quot;&gt;&#xA;&lt;em&gt;Example still image - captured with a canon 60D and a focal length of 18mm (EFS 18-55mm zoom lens)&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-02-04T16:35:18.970" LastActivityDate="2020-03-25T09:49:06.717" Title="Correct lens distortion with ffmpeg" Tags="|ffmpeg|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14774" PostTypeId="2" ParentId="13216" CreationDate="2015-02-02T00:30:20.550" Score="2" Body="&lt;p&gt;To fix extreme crops when using the warp stabilizer effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First try the settings&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Modify settings:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Click on the advanced settings, and choose the following settings:&#xA;Reduce either the smoothness OR &#xA;Crop Less and Smooth more which is a better option to try first since it does not require a restabilization phase.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(on a side note)&#xA;If you are getting a wobbly effect then that is down to the rolling shutter effect of the camera and to fix that you would need to set Advanced &gt; Rolling Shutter Ripple to Enhanced Reduction.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;For extreme crops:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Another way I resolve those issues is to 'razor tool' around the area where the biggest 'shakes' occur causing the warp stabilizer to crop drastically.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then redo the warp stabilizer effect for those two side clips separately, leaving the middle one untouched.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can now choose to remove the middle clip or employ a different transition effect.&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2015-02-02T00:30:20.550" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14775" PostTypeId="1" AcceptedAnswerId="14776" CreationDate="2015-02-02T01:04:28.377" Score="11" ViewCount="28956" Body="&lt;p&gt;OK, so at first it might sound like a stupid question but I'm trying to get my head around all these definitions...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems that they don't have a specific resolution, but they do at the same time. It's as they have their own resolution but also are part of a group of resolutions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Display_resolution#Televisions&quot;&gt;Wiki says:&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;HD&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;720i&lt;/li&gt;&#xA;&lt;li&gt;1080i&lt;/li&gt;&#xA;&lt;li&gt;1080p&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;UHD&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;2160p&lt;/li&gt;&#xA;&lt;li&gt;4320p&lt;/li&gt;&#xA;&lt;li&gt;8640p&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;But generally we say that 1080i is HD and 1080p is FULLHD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UHD has resolution 3840 x 2160 and 4K is 4096 x 2160 but 4K is UHD. Same vertical resolution (2160) but different aspect ratio, making the horizontal slightly longer by 256 pixels. And it also includes 8K...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is UHD a resolution, a group of resolutions or both? If it's both, why?&lt;/p&gt;&#xA;" OwnerUserId="6420" LastActivityDate="2016-08-02T04:09:58.243" Title="How is &quot;definition&quot; (SD, HD, UHD) actually defined?" Tags="|full-hd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14776" PostTypeId="2" ParentId="14775" CreationDate="2015-02-02T06:40:10.683" Score="14" Body="&lt;p&gt;The problem is that definitions such as HD, UHD and 4k etc. are partly hype. Marketers for AV equipment like to be rather elastic with the truth, hence the rather rubbery definitions. They're not standards such as &lt;a href=&quot;https://en.wikipedia.org/wiki/Broadcast_television_systems#ATSC&quot; rel=&quot;noreferrer&quot;&gt;ATSC&lt;/a&gt; or DVB, or &lt;a href=&quot;https://en.wikipedia.org/wiki/Graphics_display_resolution&quot; rel=&quot;noreferrer&quot;&gt;graphic display resolutions&lt;/a&gt; such as VGA, WXGA etc., they're really just buzzwords.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are other complications - like the different broadcast standards for SD — so that SD PAL is 576 visible lines and SD NTSC is 480 lines — or &lt;a href=&quot;https://en.wikipedia.org/wiki/Pixel_aspect_ratio&quot; rel=&quot;noreferrer&quot;&gt;non-square pixels&lt;/a&gt; in digital video meaning that even a 16:9 HD 1080p image can be either 1440x1080 or 1920x1080*. So it's pretty understandable that you're confused.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For what it's worth, the general consensus is that:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;SD&lt;/strong&gt; refers to 576i / 480i (with the unusual &lt;a href=&quot;https://en.wikipedia.org/wiki/Enhanced-definition_television&quot; rel=&quot;noreferrer&quot;&gt;&lt;strong&gt;EDTV&lt;/strong&gt;&lt;/a&gt; variant being 576p and 480p). Display resolution is 768 × 576 PAL or 720 × 534 NTSC, often the actual pixel resolution is reduced, as in the case of DV: 720 × 576 PAL or 720 × 480 NTSC, with non-square pixels&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;HD&lt;/strong&gt; refers to 720p and 1080i / 1080p. The display resolution is 1280 × 720 or 1920 × 1080, but sometimes the horizontal pixel resolution is reduced, e.g. HDV which is 1440 × 1080 with non-square pixels. You could also say that resolutions higher than this are also High Definition. So in one sense it's anything that isn't standard definition. Note that there is no 720i.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Full HD&lt;/strong&gt; or &lt;strong&gt;FHD&lt;/strong&gt; means the 1080 flavour of HD (either interlaced or progressive)&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;2K&lt;/strong&gt; describes the Digital Cinema Initiative resolution of 2048 × 1080, this resolution is based on the historical resolution of scanned super 35mm film. As with 4K it is a little slippery, and can sometimes be used to describe FHD. As the wikipedia article states it describes content &lt;em&gt;&quot;having horizontal resolution &lt;strong&gt;on the order of&lt;/strong&gt; 2,000 pixels&quot;&lt;/em&gt;. So in other words: near enough is good enough.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;QHD&lt;/strong&gt; or &lt;strong&gt;Quad HD&lt;/strong&gt; - 2560 × 1440 is a whacky one, it's twice the resolution of 720p. The &quot;quad&quot; refers to there being four times the pixels of a 720p frame. Not to be confused with QFHD - see below.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;UHD&lt;/strong&gt; refers to 3840 × 2160, and like HD also sometimes to higher resolutions like &lt;strong&gt;4K&lt;/strong&gt; and &lt;strong&gt;UHD 8K&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;QFHD&lt;/strong&gt; is 3840 x 2160 &quot;Quad Full HD&quot;, the quad referring to the fact that it has four times the pixels of a FHD frame, which sounds better than saying it has twice the horizontal and vertical resolution. QFHD = UHD&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;UHD 4K&lt;/strong&gt; - 3840 × 2160, is double the HD 1080 frame size, and is also sometimes called &lt;strong&gt;4K&lt;/strong&gt;, even though the horizontal resolution is less than 4000 pixels. UHD 4K = UHD&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;UHD 8K&lt;/strong&gt; or &lt;strong&gt;FUHD&lt;/strong&gt; is 7680 × 4320. I'm guessing that as the FUHD sets hit the shops they'll be called &quot;8K&quot; by the salespeople.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;4K&lt;/strong&gt; usually refers to Digital Cinema Initiatives 4K which is 4096 × 2160 but the term is sometimes used to refer to &lt;strong&gt;UHD 4K&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Similarly &lt;strong&gt;8K&lt;/strong&gt; should properly refer to 8192 × 4320 but is also applied to &lt;strong&gt;FUHD&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Note that there are cameras such as the Red cameras that shoot in-between resolutions such as 3K, 5K and 6K. But that's just for production, the finished media will usually be cropped / scaled to a more standard resolution for display or broadcast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;TL;DR&lt;/strong&gt; If you're trying to define anything in technical terms and want to be unambiguous just give the pixel dimensions; terms like HD, UHD etc are really &lt;a href=&quot;https://en.wikipedia.org/wiki/Fear,_uncertainty_and_doubt&quot; rel=&quot;noreferrer&quot;&gt;FUD&lt;/a&gt;. They're more for marketing than anything else.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Here's a handy chart:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/BBTL1.png&quot; alt=&quot;here&amp;#39;s a handy chart&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;pdf version available &lt;a href=&quot;http://blob.pureandapplied.com.au/i-can-haz-all-the-resolutions/&quot; rel=&quot;noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-08-02T04:09:58.243" LastActivityDate="2016-08-02T04:09:58.243" CommentCount="13" ContentLicense="CC BY-SA 3.0" />
  <row Id="14777" PostTypeId="1" CreationDate="2015-02-02T12:37:44.050" Score="2" ViewCount="4271" Body="&lt;p&gt;I can add my composition to Adobe Media Encoder Queue using below command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;app.executeCommand(3800);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now how i can render it from Adobe Media Encoder using render command like this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;aerender -project /path/to/project/  -comp &quot;Composition&quot;  -v &quot;ERRORS_AND_PROGRESS&quot; -output output.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="9281" OwnerDisplayName="LaL XaDa" LastEditorUserId="1950" LastEditDate="2015-02-04T01:01:29.197" LastActivityDate="2017-04-05T12:56:26.367" Title="How to render MP4 using After Effects Script with Adobe Media Encoder" Tags="|video|after-effects|adobe-media-encoder|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="14778" PostTypeId="1" CreationDate="2015-02-01T07:09:34.460" Score="3" ViewCount="2441" Body="&lt;p&gt;I use normally: &lt;code&gt;loopOut('cycle')&lt;/code&gt; expression to loop a movement. But sometimes I want to loop an animation like this: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1-3 frames -&gt; rotation 30deg&lt;/li&gt;&#xA;&lt;li&gt;3x loop a full rotation &lt;/li&gt;&#xA;&lt;li&gt;after looping -&gt; add 10 other frames and &lt;/li&gt;&#xA;&lt;li&gt;make rotation 120deg&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;How is it possible to loop between this actions and not using copy+paste?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a link &lt;a href=&quot;https://drive.google.com/file/d/0B_kLMfuXxp5ELVF5Ykxvc2FXTDA/view?usp=sharing&quot; rel=&quot;nofollow&quot;&gt;to my work&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I loop the arms motion, but as you see in the first frames the left arm has to wait until the right arm does the first half of the motion. If I add a half motion to the left arm I can't loop it. I would have to avoid copy+paste because I want to loop it 40 times. At the end of my animation I also need a different motion with the right or left because the swimmer has to touch the wall with two hands. I hope, I was clear. &lt;/p&gt;&#xA;" OwnerUserId="9269" OwnerDisplayName="jeki88" LastEditorUserId="3295" LastEditDate="2015-02-02T16:23:52.977" LastActivityDate="2015-02-03T08:26:41.743" Title="How can loop animations with a different start and end point in after effects?" Tags="|animation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14780" PostTypeId="2" ParentId="14778" CreationDate="2015-02-03T08:26:41.743" Score="2" Body="&lt;p&gt;Using time remapping could be a solution. You animate one full circle of the animation and precompose this. Then you time remap that layer and use loopOut('cycle').&lt;/p&gt;&#xA;" OwnerUserId="8064" LastActivityDate="2015-02-03T08:26:41.743" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14781" PostTypeId="1" CreationDate="2015-02-03T12:56:55.260" Score="3" ViewCount="1586" Body="&lt;p&gt;I have footage of me sitting in a boat filming a friend that is riding a wakeboard. The footage is very shaky and as the boat turns around 180° every now and then, the background is constantly changing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to set the motion tracking point at my friend's head but the point is just flying all over the place. How can I track the motion in this shot?&lt;/p&gt;&#xA;" OwnerUserId="9271" LastEditorUserId="1950" LastEditDate="2015-02-04T00:18:08.563" LastActivityDate="2015-02-07T00:35:47.543" Title="Motion tracking in very shaky footage?" Tags="|after-effects|" AnswerCount="2" CommentCount="13" ContentLicense="CC BY-SA 3.0" />
  <row Id="14782" PostTypeId="1" AcceptedAnswerId="14789" CreationDate="2015-02-03T14:34:21.917" Score="4" ViewCount="2331" Body="&lt;p&gt;I have a video with a man speaking (very stable, motion tracking on his eyes works perfectly)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is each eye has reflections of 4 light sources, so each eye looks like it has 4 white pupils inside the iris. The black pupil suffers from these reflections too. &lt;s&gt;I hope you can understand what i mean.&lt;/s&gt; See the following photo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What effect i need to apply to remove these light reflections and make his iris look natural brown (his original color)? Tried lowering brightness, but his eyes became like big black eyes of a shark. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What to do? Do i need some sort of effect and an artificial black pupil on top?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm asking this question hoping this is a somewhat common problem so maybe there is a solution already for that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what it looks like&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/lWP1F.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="7982" LastEditorUserId="7982" LastEditDate="2015-02-04T12:50:42.590" LastActivityDate="2015-02-04T12:52:20.377" Title="Remove light reflection from eyes" Tags="|after-effects|post-production|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14783" PostTypeId="2" ParentId="14781" CreationDate="2015-02-03T17:33:07.957" Score="1" Body="&lt;p&gt;If you have access to adobe premiere pro CS6+ or after effects CS5.5+.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try using the warp stabilizer effect and see how well it handles it.&#xA;It would automatically attempt to stabilize the footage (and rolling shutter).&#xA;This is probably the easiest thing to try first before doing manual frame by frame tracking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see a video by adobe giving a quick overview of it here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://tv.adobe.com/embed/902/12454/&quot; rel=&quot;nofollow&quot;&gt;http://tv.adobe.com/embed/902/12454/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2015-02-04T02:03:23.030" LastActivityDate="2015-02-04T02:03:23.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14785" PostTypeId="2" ParentId="9040" CreationDate="2015-02-03T21:17:50.573" Score="0" Body="&lt;p&gt;After going through all the settings and trying all kinds of options, I stumbled on the magic combination to fix this.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Go to Edit &gt; Preferences &gt; Memory - change setting for &quot;Optimize rendering for:&quot; to &quot;Memory&quot;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Go to Sequence &gt; Sequence Settings - add checks to &quot;Maximum Bit Depth&quot; and &quot;Maximum Render Quality&quot;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;So if I understand this correctly, you DO NOT want your sequence to render. You want a red line instead of a green above your footage and this audio drop out will stop.  Before you make this change, watch when the audio drop out occurs.  You open your project.  You see the red line above your footage.  The second it turns green you start having the audio drop out problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="9275" LastActivityDate="2015-02-03T21:17:50.573" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14786" PostTypeId="2" ParentId="12557" CreationDate="2015-02-04T00:53:46.833" Score="1" Body="&lt;p&gt;Something you could try is to copy the VOB files from the DVD and concatenate them all into one MPEG file, then you can see if the original file is corrupted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's how:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;open your DVD in Finder, and navigate to the VIDEO_TS folder. Inside will be all the DVD files .BUP, IFS and VOB. The VOB files are the video objects, they're what you want. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now find which VOB files are your actual content. Look at the file sizes, it will be the larger ones. For each title on the DVD there is a set of &lt;strong&gt;VTS_&lt;em&gt;&lt;/strong&gt; &lt;strong&gt;x_y&lt;/em&gt;&lt;/strong&gt;.&lt;strong&gt;VOB&lt;/strong&gt; files where &lt;strong&gt;x&lt;/strong&gt; is the title number, like 01, 02, 03, and &lt;strong&gt;y&lt;/strong&gt; is the part number. Each title will be composed of one or more VOB files, so for VTS_01 there will be&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;VTS_01_0.VOB&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;VTS_01_1.VOB&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;VTS_01_2.VOB&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;and so on. You want to join these together (excluding the one numbered zero).&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;You can use the cat command to copy them to a new file and join them together. Open the Terminal and type &lt;code&gt;cat&lt;/code&gt; (make sure you type a space after cat). Then drag the VOB files for each title onto the terminal window, starting at number one - so excluding number 0. It will fill in the path for you. it should look like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;cat /Volumes/DVD_name/VIDEO_TS/VTS_01_1.VOB /Volumes/DVD_name/VIDEO_TS/VTS_01_2.VOB /Volumes/DVD_name/VIDEO_TS/VTS_01_3.VOB&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;now we want to send them all to a new file, using the redirection operator &lt;code&gt;&amp;gt;&lt;/code&gt;. Type &lt;kbd&gt;&gt;&lt;/kbd&gt; (the greater than symbol) after the list of VOB files and then type the name of the file you want to create, with a &lt;code&gt;.mpg&lt;/code&gt; suffix, eg &lt;code&gt;newvideofile.mpg&lt;/code&gt;. By default terminal opens in your home folder, if you want it to write the file somewhere else you have to type in the path. For example to write it to your desktop use &lt;code&gt;~/Desktop/my_new_video_file.mpg&lt;/code&gt; &lt;strong&gt;Don't use spaces&lt;/strong&gt; in the file name, or if you do make sure you put quotes around it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;cat /Volumes/DVD_name/VIDEO_TS/VTS_01_1.VOB /Volumes/DVD_name/VIDEO_TS/VTS_01_2.VOB /Volumes/DVD_name/VIDEO_TS/VTS_01_3.VOB &amp;gt; mynewvideofile.mpg&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;This will take a while, depending on how large your video files are and how fast your DVD drive is. Once it's done you'll have an mpg file which you can view or transcode.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-08-04T00:13:26.727" LastActivityDate="2015-08-04T00:13:26.727" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14787" PostTypeId="1" AcceptedAnswerId="14788" CreationDate="2015-02-04T01:44:50.407" Score="3" ViewCount="140" Body="&lt;p&gt;I'm a software developer who has a video that has been pulled from a livestream event in which attendees commented on the video as it was running. I've got the data on when each comment was made and the text and am wondering if anyone is aware of software that I can 'push' text into the video in an automated manner with?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More precisely I'd like to use some sort of command line tool to be able to pass some text (maybe font and font size as well), a frame/time to display the text, a frame/time to remove the text, and I'm guessing some sort of coordinate rectangle (being able to transition the text to a new location over time would be amazing but not necessary) and have it rendered into the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this makes sense, happy to clarify anything further.&lt;/p&gt;&#xA;" OwnerUserId="9276" LastActivityDate="2015-02-04T09:58:23.660" Title="Post production automated addition of text" Tags="|software-recommendation|post-production|automation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14788" PostTypeId="2" ParentId="14787" CreationDate="2015-02-04T05:03:50.380" Score="4" Body="&lt;p&gt;You could do this by making subtitles from your data streams and then either playing them back on a media player that can display subtitles, or rendering them into the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most subtitle formats are very simple ascii files — to demonstrate, here's an srt subtitle file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;1&#xA;00:00:01,046 --&amp;gt; 00:00:02,540&#xA;This is my home.&#xA;&#xA;2&#xA;00:00:03,560 --&amp;gt; 00:00:05,110&#xA;I'm living here.&#xA;&#xA;3&#xA;00:00:05,110 --&amp;gt; 00:00:08,640&#xA;My name's Nickel&#xA;Mundabi Ngadwa Nickel.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It is pretty easy to generate them from any data source, as long as you have start [and finish] times. You can then insert them into a video file as a subtitle stream using ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inputvideo.mp4 -i inputsubtitles.srt -c:v copy -c:a copy -c:s mov_text outfile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any player that is capable of displaying subtitles will be able to display them. SRT subtitles like these don't have formatting info though, so the format will depend on your player's settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other subtitle formats have more formatting capabilities. Here is an &lt;a href=&quot;http://www.matroska.org/technical/specs/subtitles/ssa.html&quot; rel=&quot;nofollow&quot;&gt;Advanced Substation Alpha&lt;/a&gt; subtitle file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Script Info]&#xA;ScriptType: v4.00+&#xA;PlayResX: 1920&#xA;PlayResY: 1080&#xA;&#xA;[V4+ Styles]&#xA;Format: Name, Fontname, Fontsize, PrimaryColour, SecondaryColour, OutlineColour, BackColour, Bold, Italic, Underline, BorderStyle, Outline, Shadow, Alignment, MarginL, MarginR, MarginV, AlphaLevel, Encoding&#xA;Style: Default,Univers,56,&amp;amp;Hffffff,&amp;amp;Hffffff,&amp;amp;H0,&amp;amp;H0,0,0,0,1,2,0,2,10,10,16,0,0&#xA;&#xA;[Events]&#xA;Format: Layer, Start, End, Style, Text&#xA;Dialogue: 0,0:00:01.05,0:00:02.54,Default,This is my home.&#xA;Dialogue: 0,0:00:03.56,0:00:05.11,Default,I'm living here.&#xA;Dialogue: 0,0:00:05.11,0:00:08.64,Default,My name's Nickel\NMundabi Ngadwa Nickel.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;so basically you have the style definitions in the [V4+ Styles] section and the content in the [Events] section, with timing info for each bit of text. You can define multiple styles, and you can &lt;a href=&quot;http://docs.aegisub.org/3.1/ASS_Tags/&quot; rel=&quot;nofollow&quot;&gt;add effects and inline formatting&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can insert them into a video file (you'll need to use the Matroska video container because mp4 doesn't support &lt;code&gt;.ass&lt;/code&gt; subtitles),&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inputvideo.mp4 -i inputsubtitles.ass -c:v copy -c:a copy -c:s mov_text outfile.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or you can &quot;burn them in&quot; by rendering them into the video stream thusly:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inputvideofile.mp4 -c:v libx264 -crf 20 -vf ass=&quot;inputsubtitlefile.ass&quot; -c:a copy outputvideofile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So you can see it's not beyond the capabilities of a fairly simple shell script to do it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="2178" LastEditDate="2015-02-04T09:58:23.660" LastActivityDate="2015-02-04T09:58:23.660" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14789" PostTypeId="2" ParentId="14782" CreationDate="2015-02-04T12:44:31.430" Score="2" Body="&lt;p&gt;I solved my problem using 1) motion tracking and 2) a good picture of an eye.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;With adobe after effects i managed to track the motion of the problematic iris. The result was a very precise motion path of the iris for the whole video. Great.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Then i used a good picture of brown eyes (google images) from which i cropped a circular selection which had &quot;some&quot; iris and the pupil. I made that circular selection a little transparent around the edges and finally had this result:&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/kogz1.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;Using that image (2) on the motion path (1), the result was excellent. I had to play a bit with the colors to make the new iris blend with the original iris which &quot;embraced&quot; the new one.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;(Fortunately, person wasn't blinking.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;p.s. More answers are welcome!&lt;/p&gt;&#xA;" OwnerUserId="7982" LastEditorUserId="7982" LastEditDate="2015-02-04T12:52:20.377" LastActivityDate="2015-02-04T12:52:20.377" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14790" PostTypeId="1" CreationDate="2015-02-04T16:26:46.487" Score="6" ViewCount="1755" Body="&lt;p&gt;We have a Lumix GH-4 camera, which can shoot in 4K with 4:2:2 color space.&#xA;I'd like to be able to convert the footage to 1080p 4:4:4 color space.&#xA;I've read that there some ways of doing this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.dvxuser.com/V6/showthread.php?330608-GH4-Downsample-4K-to-1080p-10-bit-4-4-4&quot; rel=&quot;nofollow&quot;&gt;http://www.dvxuser.com/V6/showthread.php?330608-GH4-Downsample-4K-to-1080p-10-bit-4-4-4&lt;/a&gt;&#xA;&lt;a href=&quot;https://forums.adobe.com/thread/1483696&quot; rel=&quot;nofollow&quot;&gt;https://forums.adobe.com/thread/1483696&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I can't find a definitive step by step way of doing this.&lt;br&gt;&#xA;I have the following tools:  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe CS6 After Effects &amp;amp; Premiere.&lt;br&gt;&#xA;Final Cut X or 7.&lt;br&gt;&#xA;Davinci Resolve v10&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2015-02-06T10:05:59.207" LastActivityDate="2015-11-03T15:42:18.410" Title="Downsampling 4K footage for an increase in chroma sub-sampling" Tags="|4k|color|colorspace|gh4|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14791" PostTypeId="2" ParentId="14723" CreationDate="2015-02-04T18:40:52.230" Score="1" Body="&lt;p&gt;IDK how well this would work. Prob. not at all for vids with differing GOPs, but you could try using something to mirror your keystrokes to multiple windows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Autohotkey can do that on Windows.  On GNU/Linux, Terminator can send keystrokes to multiple gnome-terminal tabs at once, so you could control mplayer that way (since it reads the tty as well as accepting keystrokes to its windows.)  I'm sure there's a way to dual-box games on GNU/Linux by mirroring keystrokes to arbitrary windows, I've just never had occasion to go looking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If any open-source player has the kind of histogram you're looking for, and an existing API for writing GUI frontends, then in theory it shouldn't be too hard to (pay a coder to) hack something up that sends seek-to-a-position commands to multiple instances of a player.  This could solve loss of sync problems after seeking, if you get that with blindly driving multiple players.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg has a histogram filter. From an &lt;a href=&quot;http://ffmpeg.org/ffmpeg-all.html#Examples-80&quot; rel=&quot;nofollow&quot;&gt;example in the ffmpeg docs&lt;/a&gt;: play a vid with a filtered version side-by-side: &lt;code&gt;-vf 'split[a][b]; [a]pad=iw*2:ih[src]; [b]histogram[filt]; [src][filt]overlay=w'&lt;/code&gt;. I just changed &lt;code&gt;deshake&lt;/code&gt; to &lt;code&gt;histogram&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-02-04T18:40:52.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14792" PostTypeId="1" AcceptedAnswerId="14794" CreationDate="2015-02-04T19:04:21.193" Score="1" ViewCount="407" Body="&lt;p&gt;I record a lot of tutorial videos for my work. I don't use background music or sound effects, just a voice over a screen recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing I have noticed is each of my videos (so far) has a different overall volume. If people were to listen to the videos in succession, they would be constantly adjusting the volume level. I want to normalize the audio so that it is all at the same level.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is I can't seem to find a standard anywhere for a general decibel level to normalize all my videos to. &lt;strong&gt;Is there an ideal audio level that plays at exactly the level a typical viewer would expect for their volume setting?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words, if a viewer was just watching, say, a professionally made movie, and then watched my video, ideally they should not have to adjust the audio setting on their computer when switching to my video.&lt;/p&gt;&#xA;" OwnerUserId="4662" LastEditorUserId="4662" LastEditDate="2015-02-04T19:51:28.277" LastActivityDate="2015-02-05T17:27:51.227" Title="Is there a standard target level for spoken audio in a tutorial video?" Tags="|audio|audio-quality|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14793" PostTypeId="2" ParentId="10471" CreationDate="2015-02-04T20:13:29.250" Score="4" Body="&lt;p&gt;As far as deinterlacing: With a good deinterlacer (QTGMC, or at least ffmpeg's &lt;code&gt;yadif=3,mcdeint=2&lt;/code&gt;), you can get smooth video at 60000/1001 (NTSC) fps.  If your source has quick motions that you'd like to look smooth, even in slo-mo, then deinterlace 640x480i60 -&gt; 640x480p60.  If you really need small files, you can drop every other frame of the deinterlaced output to go 640x480i60 -&gt; 640x480p30.  Check if your capture is top-field-first or bottom-field-first before deinterlacing, as yadif -&gt; mcdeint needs to be told.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With a higher frame rate, each frame has more similarity with the previous frame, so it takes less than twice the bitrate to get the same image quality from a good lossy codec like x264.  I got very good results from deinterlacing a NTSC DV recording of a musical theatre show my brother was in, making the final output 720x480p60.  (actually 60/1.001, thanks NTSC...)  I used &lt;code&gt;ffmpeg -i vid.ts -vf yadif=3:1,mcdeint=3:1:10 -c:a copy -c:v libx264 -qp 0 -preset ultrafast deint.lossless.mkv&lt;/code&gt; to do the slow deinterlace to a lossless scratch file, and from there I could play around with &lt;code&gt;-vf framestep=2&lt;/code&gt; to go from 60p to 30p, and with various bitrates and encode settings to make a final encode.  I settled on a 60p encode at crf=25, nr=250.  (x264's built-in noise reduction is nothing fancy, but my source didn't need much since it wasn't an old VHS tape :P)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you aren't 100% happy with the deinterlace, you could always keep the original capture as an archive, along with the command you used to deinterlace, so you can redo it again without change if you don't have any better ideas next time you want to work with it.  Something like x264 in interlaced mode (since you'll feed it 60i content packed as 2 fields per frame, 30fps).  crf = somewhere between 10 and 14 or something should be far enough beyond visually transparent that you'll still get good results deinterlacing that.  But still with a low enough bitrate that it's not too hard to keep forever.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-02-04T20:13:29.250" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14794" PostTypeId="2" ParentId="14792" CreationDate="2015-02-05T16:38:11.187" Score="2" Body="&lt;p&gt;There's no single answer - it's a series of trade-offs:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you record your voice, it should be as loud as possible, but making sure never to go over the maximum level that can be recorded.  This is known as &lt;a href=&quot;https://en.wikipedia.org/wiki/Clipping_(audio)&quot; rel=&quot;nofollow&quot;&gt;clipping&lt;/a&gt;, and sounds distorted.  Too quiet, and your audio will be hissy relative to the &lt;a href=&quot;https://en.wikipedia.org/wiki/Noise_floor&quot; rel=&quot;nofollow&quot;&gt;noise floor&lt;/a&gt; of your setup - too loud and it will clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to smooth out the overall levels, you can &lt;a href=&quot;https://en.wikipedia.org/wiki/Dynamic_range_compression&quot; rel=&quot;nofollow&quot;&gt;dynamically compress&lt;/a&gt; your audio (this is not the same as &lt;a href=&quot;https://en.wikipedia.org/wiki/Data_compression#Audio&quot; rel=&quot;nofollow&quot;&gt;data compression&lt;/a&gt;), either before it is recorded (between the mic and recorder) or after it has been recorded.  This is effectively like having an automatic volume control, where levels over a certain threshold are turned down, so that the overall effect is smoother.  Too much compression can sound pumping and aggressive - like an FM talk-radio host.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2015-02-05T17:27:51.227" LastActivityDate="2015-02-05T17:27:51.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14795" PostTypeId="2" ParentId="14647" CreationDate="2015-02-05T20:21:34.973" Score="1" Body="&lt;p&gt;If you want to be able to edit your layer styles from Photoshop inside After Effects, you need to do the following:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Save your photoshop project as a .PSD file. &lt;/li&gt;&#xA;&lt;li&gt;Import it into After Effects with the following options- &lt;/li&gt;&#xA;&lt;li&gt;Choose &quot;Import Kind: Composition (retain layer sizes if you wish) &lt;/li&gt;&#xA;&lt;li&gt;Set Layer Options - Editable Layer Styles&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/NTXXw.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Double click on the comp that is created.  You'll see a series of layers in your timeline, which should correspond to your layers in Photoshop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you pop open the triangles next to the relevant layer, you should see the layer styles, as shown below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/I7dKM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-02-05T20:21:34.973" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14797" PostTypeId="2" ParentId="14712" CreationDate="2015-02-06T04:59:25.387" Score="4" Body="&lt;p&gt;I've tried a bunch of front ends for ffmpeg and finally settled on &lt;strong&gt;&lt;a href=&quot;http://tencoder.sourceforge.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Tencoder&lt;/a&gt;&lt;/strong&gt;. Widows only. It has a preset for ProRes and is very easy to customize so you can crete setting for often used formats or settings.&#xA;It is multithreaded and allows you to do batch processing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/OJz2p.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="9284" LastActivityDate="2015-02-06T04:59:25.387" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14798" PostTypeId="2" ParentId="14772" CreationDate="2015-02-06T05:39:48.027" Score="5" Body="&lt;p&gt;In the manual it says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;To use opencv use the calibration sample (under samples/cpp) from the&#xA;  opencv sources and extract the k1 and k2 coefficients from the&#xA;  resulting matrix.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If you go to the opencv website there's a sample source code for a lens correction program, written in c++, &lt;a href=&quot;http://docs.opencv.org/doc/tutorials/calib3d/camera_calibration/camera_calibration.html&quot; rel=&quot;noreferrer&quot;&gt;here.&lt;/a&gt; You'll have to compile it yourself, after installing OpenCV (sounds like you better put on a pot of coffee).&#xA;When you run it it will spit out an xml file containing the values for k1 and k2, which you can then use as inputs to the filter.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-02-06T05:39:48.027" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14799" PostTypeId="1" CreationDate="2015-02-06T05:58:41.117" Score="1" ViewCount="161" Body="&lt;p&gt;Are there special equipment to fix a camera in a top down view?&lt;/p&gt;&#xA;" OwnerUserId="9285" LastEditorUserId="1950" LastEditDate="2015-02-07T12:07:26.543" LastActivityDate="2015-02-07T12:07:26.543" Title="What's the best way to video chess/go/baduk/weiqi board from above (i.e. top down view)?" Tags="|camera|grip|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14800" PostTypeId="2" ParentId="14790" CreationDate="2015-02-06T07:01:17.333" Score="1" Body="&lt;p&gt;As I understand it, ffmpeg creates a raw image buffer with the input files it is given, then applies effects such as scaling and then encodes. So if you use ffmpeg to do the scaling and encoding to a 4:4:4 codec it should do what you want:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;my_gh4_422_4k.mov&quot; -vf scale=1920:1080 -c:v prores -profile:v 4 -c:a copy &quot;my_prores_444_1080.mov&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It would be interesting to test this, but I don't have any 4:2:2 4k footage on hand. I believe ffmpeg also does dnxhd 444, but I can't find any documentation on how to specify it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-02-06T07:01:17.333" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="14802" PostTypeId="1" AcceptedAnswerId="14804" CreationDate="2015-02-06T15:13:30.490" Score="47" ViewCount="52729" Body="&lt;p&gt;Not sure if I am correct posting my question here and I will of course delete this question if appropriate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a C# desktop app using FFmpeg.&lt;br&gt;&#xA;I have a web service using FFmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I sell both products.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to know — can I distribute my desktop app with FFmpeg without paying a fee to FFmpeg people and without releasing my source code?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also want to know whether I can use FFmpeg on my server for users to convert images to a video file to be emailed them.  This service is also a payable product.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have read the links to the FFmpeg licensing info and I read many questions here on these boards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The closet I have got to an answer is that I can use it on my web server because I am not distributing it to client PCs and I can use FFmpeg on my desktop app if I only use certain features of FFmpeg — whatever they are.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, this is not definitive enough for me and I cannot afford a lawyer and you would think this question/dilemma would have been resolved somewhere by someone considered how popular FFmpeg is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="4976" LastEditorUserId="18155" LastEditDate="2020-02-21T20:19:08.563" LastActivityDate="2021-09-29T20:29:00.970" Title="Can I use FFmpeg in a commercial product?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="15" ClosedDate="2015-02-07T00:30:53.780" ContentLicense="CC BY-SA 4.0" />
  <row Id="14804" PostTypeId="2" ParentId="14802" CreationDate="2015-02-06T19:11:46.443" Score="62" Body="&lt;h1&gt;Yes, you can use FFmpeg in a commercial product&lt;/h1&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;FFmpeg is licensed under the &lt;strong&gt;GNU Lesser General Public License (LGPL) version 2.1 or later&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;It is also available under the &lt;strong&gt;General Public License (GPL) version 2 or later&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Some features, external libraries (libx264 and libx265 for example), and various filters, require GPL. If those parts get used the GPL applies to &lt;strong&gt;all&lt;/strong&gt; of FFmpeg.&lt;/li&gt;&#xA;&lt;li&gt;See &lt;code&gt;LICENSE.md&lt;/code&gt; in the source for a list of GPL parts of FFmpeg and which external libraries require GPL.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The (L)GPL, and therefore FFmpeg, does not restrict commercial usage. You only need to properly comply with the license.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;FFmpeg is not available under any other licensing terms. There is no commercial license available (but see the x264 &amp;amp; x265 commercial license info below). FFmpeg does not accept or charge any fees.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h1&gt;…but the (L)GPL is copyleft&lt;/h1&gt;&#xA;&lt;p&gt;If you include FFmpeg in your software, under the General Public License (GPL) version 2 or later, &lt;strong&gt;you may be required to make available the source code of your software to anyone requesting it&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Make sure your software license is compatible with the (L)GPL. This is an important and often confusing aspect of the (L)GPL. I can only suggest that you carefully read the license, the &lt;a href=&quot;https://www.gnu.org/licenses/gpl-faq.html&quot; rel=&quot;noreferrer&quot;&gt;FAQ&lt;/a&gt;, and contact a lawyer or your legal department if you need counsel.&lt;/p&gt;&#xA;&lt;h1&gt;What if I am only using FFmpeg but not distributing it?&lt;/h1&gt;&#xA;&lt;p&gt;You do not have to do anything if you are not distributing anything from FFmpeg.&lt;/p&gt;&#xA;&lt;h1&gt;What about the x264 &amp;amp; x265 commercial licenses?&lt;/h1&gt;&#xA;&lt;p&gt;x264 and x265 are available under the GPL for free or a commercial license that you have to pay for. The commercial licenses are LGPL compatible. FFmpeg does not have an option that disables the GPL requirement for these commercial licenses so you have to do that manually. Therefore, if you purchase a commercial license from &lt;a href=&quot;https://licensing.x264.org/&quot; rel=&quot;noreferrer&quot;&gt;x264 licensing&lt;/a&gt; or &lt;a href=&quot;https://x265.com/about/license-x265-and-uhdcode-for-your-product-or-service/&quot; rel=&quot;noreferrer&quot;&gt;x265 licensing&lt;/a&gt; then you are permitted to:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Compile x264/x265 with &lt;code&gt;--disable-gpl&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Modify the &lt;code&gt;configure&lt;/code&gt; file in the FFmpeg source code to move libx264/libx265 from &lt;code&gt;EXTERNAL_LIBRARY_GPL_LIST&lt;/code&gt; to &lt;code&gt;EXTERNAL_LIBRARY_LIST&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Compile ffmpeg &lt;strong&gt;without&lt;/strong&gt; &lt;code&gt;--enable-gpl&lt;/code&gt; and link to your x264/x265 that has been compiled &lt;strong&gt;with&lt;/strong&gt; &lt;code&gt;--disable-gpl&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Don't forget to document and provide these changes with the FFmpeg source code that you are making available.&lt;/p&gt;&#xA;&lt;h2&gt;Do I need a commercial license from x264/x265?&lt;/h2&gt;&#xA;&lt;p&gt;You do if your application is not GPL compatible and is being distributed with linked x264/x265. See &lt;a href=&quot;https://mailman.videolan.org/pipermail/x264-devel/2010-July/007508.html&quot; rel=&quot;noreferrer&quot;&gt;[x264-devel] Announcing commercial licensing for x264&lt;/a&gt; for additional details specific to x264.&lt;/p&gt;&#xA;&lt;h1&gt;Also see&lt;/h1&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.org/legal.html&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg License and Legal Considerations&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.gnu.org/licenses/old-licenses/lgpl-2.1.html&quot; rel=&quot;noreferrer&quot;&gt;GNU Lesser General Public License, version 2.1&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.gnu.org/licenses/old-licenses/gpl-2.0.html&quot; rel=&quot;noreferrer&quot;&gt;GNU General Public License, version 2&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.gnu.org/licenses/gpl-faq.html&quot; rel=&quot;noreferrer&quot;&gt;Frequently Asked Questions about the GNU Licenses&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2021-09-29T20:29:00.970" LastActivityDate="2021-09-29T20:29:00.970" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="14805" PostTypeId="2" ParentId="14799" CreationDate="2015-02-06T19:34:00.063" Score="3" Body="&lt;p&gt;&lt;em&gt;(This is an alternative to mounting a camera above a game board.)&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it proves difficult to mount and operate a camera above the board, consider using a mirror as an alternative.  The camera can be placed on a normal tripod, and a mirror can be mounted above the board on a 45-degree angle.  The camera then shoots the image in the mirror.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/qqs1z.png&quot; alt=&quot;mirror over game board&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The image will need to be flipped vertically in post-production to avoid showing a mirror image of the board.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-02-06T19:34:00.063" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14806" PostTypeId="2" ParentId="14668" CreationDate="2015-02-06T23:38:41.063" Score="4" Body="&lt;p&gt;I think the type of lens flare you're looking for is anamorphic lens flare.&lt;/p&gt;&#xA;" OwnerUserId="9287" LastActivityDate="2015-02-06T23:38:41.063" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14807" PostTypeId="1" CreationDate="2015-02-06T23:53:49.417" Score="1" ViewCount="2042" Body="&lt;p&gt;How do you add a picture on top of a video in Windows Movie Maker? I only know how to add text on top of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to use an image to block a person's face in the video. How can I do that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that isn't possible, how can I blur the face out?&lt;/p&gt;&#xA;" OwnerUserId="9289" LastEditorUserId="2836" LastEditDate="2015-02-07T00:27:11.913" LastActivityDate="2019-10-15T23:28:16.977" Title="Overlay a photo in Windows Movie Maker" Tags="|windows-movie-maker|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14808" PostTypeId="2" ParentId="14781" CreationDate="2015-02-07T00:35:47.543" Score="1" Body="&lt;p&gt;Sadly, your options are really still the same as any other footage.  You run the stabilizers and they will do the best they can, but if it is way too unstable, there is nothing that can be done as you don't have details of a consistent shot.  Some higher end commercial software will try to rebuild what is missing, but the results are not generally very good, particularly if you are on a moving vehicle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Likely you are simply out of luck.  You really needed a physical stabilization rig at time of shooting for something that extreme.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-02-07T00:35:47.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14809" PostTypeId="1" AcceptedAnswerId="14817" CreationDate="2015-02-07T02:55:55.217" Score="0" ViewCount="1577" Body="&lt;p&gt;I am attempting to transfer some Video 8 tapes to my computer with ffmpeg and Audacity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg captures a &lt;code&gt;rawvideo&lt;/code&gt; stream from an EasyCap dongle, and Audacity records from the line-in audio jack.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With ffmpeg's frame rate parameter set to 29.97, the output video ends up being shorter than the audio recording.  At 25 frames per second, the video is significantly longer than the audio.  Audacity's settings are simply default.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shouldn't the parameters match up with NTSC's; 29.97 fps?  Do you think ffmpeg or Audacity are on the wrong time scale, or both?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;rawvideo&lt;/code&gt; stream is sourced from the &lt;code&gt;somagic-capture&lt;/code&gt; utility, shown in the script below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Relevant line:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -pixel_format uyvy422 -s:v 720x480 -framerate 29.97 -f rawvideo \ &#xA;-i $PIPE  -vf scale=w=720:h=540 -vcodec libx264 -preset ultrafast \&#xA;-c:a libfdk_aac -b:a 128k $OUTFILE &amp;gt; $FFMPEG_LOG 2&amp;gt;&amp;amp;1 &amp;amp; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I've also tried to record the audio stream with ffmpeg.  This solves the sync problem, but is unreliable.  The script for that attempt and the details are here: &lt;a href=&quot;https://stackoverflow.com/questions/28359855/forcing-ffmpeg-to-capture-unreliable-alsa-audio-stream&quot;&gt;https://stackoverflow.com/questions/28359855/forcing-ffmpeg-to-capture-unreliable-alsa-audio-stream&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Script for recording video, without audio, in ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/sh&#xA;&#xA;PIPE=/tmp/somagic-pipe&#xA;OUTFILEDIR=~/easycap/Videos/&#xA;LOGDIR=~/.somagic-log/&#xA;NOW=`date +&quot;%m_%d_%Y_%H_%M_%S&quot;`&#xA;&#xA;OUTFILE=${OUTFILEDIR}fpv_video_${NOW}.mp4&#xA;&#xA;mkdir $LOGDIR&#xA;&#xA;FFMPEG_LOG=${LOGDIR}ffmpeg.log&#xA;SOMAGIC_LOG=${LOGDIR}somagic.log&#xA;MPLAYER_LOG=${LOGDIR}mplayer.log&#xA;&#xA;rm $PIPE &amp;gt;/dev/null 2&amp;gt;&amp;amp;1&#xA;rm $OUTFILE &amp;gt;/dev/null 2&amp;gt;&amp;amp;1&#xA;&#xA;rm $FFMPEG_LOG&#xA;rm $SOMAGIC_LOG&#xA;rm $MPLAYER_LOG&#xA;&#xA;mkfifo $PIPE &amp;gt;/dev/null 2&amp;gt;&amp;amp;1&#xA;&#xA;ffmpeg -pixel_format uyvy422 -s:v 720x480 -framerate 29.97 -f rawvideo \ &#xA;-i $PIPE  -vf scale=w=720:h=540 -vcodec libx264 -preset ultrafast \&#xA;-c:a libfdk_aac -b:a 128k $OUTFILE &amp;gt; $FFMPEG_LOG 2&amp;gt;&amp;amp;1 &amp;amp; &#xA;&#xA;somagic-capture --ntsc -c --luminance=2 --lum-aperture=3 2&amp;gt; $SOMAGIC_LOG | \&#xA;tee $PIPE | \&#xA;mplayer -vf yadif,screenshot -demuxer rawvideo -rawvideo    \&#xA;&quot;ntsc:format=uyvy:fps=30000/1001&quot; -aspect 4:3 - 2&amp;gt; $MPLAYER_LOG&#xA;&#xA;rm $PIPE &amp;gt;/dev/null 2&amp;gt;&amp;amp;1 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Modified from this script:  &lt;a href=&quot;https://gist.github.com/Brick85/0b327ac2d3d45e23ed33&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gist.github.com/Brick85/0b327ac2d3d45e23ed33&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;As suggested by stib, here's the output of &lt;code&gt;ffprobe&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the audio file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;peterbecich@Sirius:~/easycap$ ffprobe snapping.m4a &#xA;ffprobe version 2.5.3 Copyright (c) 2007-2015 the FFmpeg developers&#xA;  built on Jan 11 2015 17:53:45 with gcc 4.8 (Ubuntu 4.8.2-19ubuntu1)&#xA;  configuration: --extra-libs=-ldl --prefix=/opt/ffmpeg --enable-avresample --disable-debug --enable-nonfree --enable-gpl --enable-version3 --enable-libpulse --enable-libopencore-amrnb --enable-libopencore-amrwb --disable-decoder=amrnb --disable-decoder=amrwb --enable-libx264 --enable-libx265 --enable-libfdk-aac --enable-libvorbis --enable-libmp3lame --enable-libopus --enable-libvpx --enable-libspeex --enable-libass --enable-avisynth --enable-libsoxr --enable-libxvid --enable-libvo-aacenc --enable-libvidstab&#xA;  libavutil      54. 15.100 / 54. 15.100&#xA;  libavcodec     56. 13.100 / 56. 13.100&#xA;  libavformat    56. 15.102 / 56. 15.102&#xA;  libavdevice    56.  3.100 / 56.  3.100&#xA;  libavfilter     5.  2.103 /  5.  2.103&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'snapping.m4a':&#xA;  Metadata:&#xA;    major_brand     : M4A &#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2&#xA;    encoder         : Lavf54.20.4&#xA;  Duration: 00:19:06.78, start: 0.000000, bitrate: 189 kb/s&#xA;    Stream #0:0(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 186 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;On the video file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;peterbecich@Sirius:~/easycap$ ffprobe Videos/fpv_video_02_06_2015_16_34_09.mp4 &#xA;ffprobe version 2.5.3 Copyright (c) 2007-2015 the FFmpeg developers&#xA;  built on Jan 11 2015 17:53:45 with gcc 4.8 (Ubuntu 4.8.2-19ubuntu1)&#xA;  configuration: --extra-libs=-ldl --prefix=/opt/ffmpeg --enable-avresample --disable-debug --enable-nonfree --enable-gpl --enable-version3 --enable-libpulse --enable-libopencore-amrnb --enable-libopencore-amrwb --disable-decoder=amrnb --disable-decoder=amrwb --enable-libx264 --enable-libx265 --enable-libfdk-aac --enable-libvorbis --enable-libmp3lame --enable-libopus --enable-libvpx --enable-libspeex --enable-libass --enable-avisynth --enable-libsoxr --enable-libxvid --enable-libvo-aacenc --enable-libvidstab&#xA;  libavutil      54. 15.100 / 54. 15.100&#xA;  libavcodec     56. 13.100 / 56. 13.100&#xA;  libavformat    56. 15.102 / 56. 15.102&#xA;  libavdevice    56.  3.100 / 56.  3.100&#xA;  libavfilter     5.  2.103 /  5.  2.103&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'Videos/fpv_video_02_06_2015_16_34_09.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf56.15.102&#xA;  Duration: 00:19:08.08, start: 0.000000, bitrate: 5352 kb/s&#xA;    Stream #0:0(und): Video: h264 (High 4:2:2) (avc1 / 0x31637661), yuv422p, 720x540, 5351 kb/s, 29.97 fps, 29.97 tbr, 11988 tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="2692" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2015-03-25T03:54:44.843" Title="Sync up ffmpeg `rawvideo` recording and Audacity ALSA recording" Tags="|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14810" PostTypeId="2" ParentId="14668" CreationDate="2015-02-07T03:21:21.740" Score="0" Body="&lt;p&gt;If you have an editing package, you can see if any of the popular lens flare plug-ins are available for it. For example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.motionvfx.com/mplugs-1.html&quot; rel=&quot;nofollow&quot;&gt;mFlare&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.redgiant.com/products/knoll-light-factory/&quot; rel=&quot;nofollow&quot;&gt;Knoll Light Factory&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that Motion has a built-in lens flare generator. I'd assume most other packages do, too.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-02-07T03:21:21.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14811" PostTypeId="2" ParentId="14807" CreationDate="2015-02-07T08:42:08.907" Score="1" Body="&lt;p&gt;As Windows Movie Maker don't support multi track editing, I don't think it is possible to overlay images onto the main video. Similarly, I don't think it has the required features to blur a specific area. &#xA;If you are looking for a software recommendation, Sony Movie Studio can do both of these things (£60), and so can Blender (free, but very hard to learn) &#xA;Sorry not to have been more helpful. &lt;/p&gt;&#xA;" OwnerUserId="8000" LastActivityDate="2015-02-07T08:42:08.907" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14813" PostTypeId="1" CreationDate="2015-02-07T14:32:16.997" Score="2" ViewCount="1860" Body="&lt;h2&gt;Synopsis&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I use Compressor to export my FCPX project to h264 .mp4 files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Playing the file I exported today, &lt;strong&gt;the audio quality was bad&lt;/strong&gt; (sounds muffled). This problem appears only in the output via Compressor.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Playing on the FCPX timeline -&gt; OK&lt;/li&gt;&#xA;&lt;li&gt;Playing the output exported via &quot;Share&quot; feature and &quot;Apple Devices 720p&quot; setting -&gt; OK&lt;/li&gt;&#xA;&lt;li&gt;Playing &lt;strong&gt;the output exported via Compressor -&gt; NG&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;There were no problem two months ago. I don't make any changes in the export settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas or solutions?&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Environment&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Mac OS X 10.9.5 (Marvericks)&lt;/li&gt;&#xA;&lt;li&gt;Final Cut Pro X 10.1.4&lt;/li&gt;&#xA;&lt;li&gt;Compressor 4.1.3&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h2&gt;Setting of Compressor&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/eXTvZ.jpg&quot; alt=&quot;setting&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Output of ffprobe&lt;/h2&gt;&#xA;&#xA;&lt;h3&gt;audio of previous output (good quality)&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Stream #0:0(jpn): Audio: aac (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 63 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-11-29 10:42:07&#xA;      handler_name    : Core Media Audio&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;audio track of this time output (bad quality)&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Stream #0:0(jpn): Audio: aac (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 44 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-02-07 14:28:54&#xA;      handler_name    : Core Media Audio&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking at bitrate above, it's less than one of the previous output. &#xA;I retried the encoding with setting the audio bitrate to 128kbps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Stream #0:0(jpn): Audio: aac (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 86 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-02-07 13:15:43&#xA;      handler_name    : Core Media Audio&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However the problem was not solved.&lt;/p&gt;&#xA;" OwnerUserId="6187" LastEditorUserId="1950" LastEditDate="2015-02-08T12:35:28.077" LastActivityDate="2015-04-13T05:54:12.880" Title="Output via Compressor comes with bad quality audio (no problem via Share of FCPX)" Tags="|audio|final-cut-pro-x|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14817" PostTypeId="2" ParentId="14809" CreationDate="2015-02-07T22:23:36.410" Score="1" Body="&lt;p&gt;I can't say what's going wrong or if there's a change to the ffmpeg scripts that would help, but from a practical POV I can offer some advice on how to deal with what you have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the difference is due to drift, the fix is relatively simple. If it's due to dropped video frames or audio dropouts, it's probably not going to be fixable without a good bit of work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 'drift' scenario is this: you know they're out of sync at the end because you can see / hear the difference. Something near the end doesn't match up. So find that thing and identify its exact time relative to the start, in both the picture and sound. Reduce these times to absolute frames -- in this case numbers will be around 34000 or so at 30fps. Find the &lt;strong&gt;&lt;em&gt;ratio&lt;/em&gt;&lt;/strong&gt; of these two values and apply it in Audacity as a speed change percentage (with constant pitch, usually). Check that the audio event now occurs at the same time as the matching video event you noted. If you got it wrong, invert the ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If after doing this you find places in the middle that are still out of sync, you're forced to apply this same technique in multiple segments, or to cut / move / blend the audio in sections. I don't envy you this task.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-02-07T22:23:36.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14818" PostTypeId="2" ParentId="12311" CreationDate="2015-02-08T11:08:07.697" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;the file codec is dvsd (DVC/DV Video)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Usually DirectX comes with a DirectShow DVSD decoder. But maybe this decoder has some issue with your file(s).&#xA;Could it be you've had at some time software by Pinnacle, Sony, MainConcept, etc on your old system installed, whose DVSD decoder could have been used by Premiere Pro instead?&lt;/p&gt;&#xA;" OwnerUserId="9291" LastActivityDate="2015-02-08T11:08:07.697" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14819" PostTypeId="1" CreationDate="2015-02-08T17:54:35.140" Score="0" ViewCount="628" Body="&lt;p&gt;After effects 10.5 (CS 5.5)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have two clips&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a layer with a smoke wisp curling up, much bigger than it will appear&lt;/li&gt;&#xA;&lt;li&gt;a layer with some slightly shaky footage of a broken machine just sitting there&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I want to make the smoke wisp curl up from the machine, scaled to the footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The current set up:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the footage with the machine is the main footage&lt;/li&gt;&#xA;&lt;li&gt;I've made a Tracker in that layer tracking the machine… the positions look right&lt;/li&gt;&#xA;&lt;li&gt;the Tracker targets the smoke&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The problem is:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;if the smoke clip is scaled properly, the tracking motion on the smoke is not visible&lt;/li&gt;&#xA;&lt;li&gt;I discovered this is because the tracking is applied before the scale - so the differences in position become tiny&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I speculate a solution might involve having the Tracking information applied to the smoke layer AFTER it's been scaled.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;QUESTION(s):&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;how do I get the Tracking information applied to the smoke layer&#xA;AFTER it's been scaled?&lt;/li&gt;&#xA;&lt;li&gt;…or am I doing this wrong?  If so, how would I achieve this effect?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5987" LastActivityDate="2015-02-08T17:54:35.140" Title="After Effects: Apply motion tracking to a scaled layer" Tags="|after-effects|tracking|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14820" PostTypeId="1" CreationDate="2015-02-09T08:57:22.427" Score="11" ViewCount="2225" Body="&lt;p&gt;I'm looking for a free video editing application that works on windows that must have the following requirements:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Must be able to take segments (cuts) of videos and add them together. &lt;/li&gt;&#xA;&lt;li&gt;Remove audio from the clips and add in a single song for the whole video.&lt;/li&gt;&#xA;&lt;li&gt;Add in text that can show/hide at specific points in time. &lt;/li&gt;&#xA;&lt;li&gt;Has no horrible watermarks that make the video un-viewable.&lt;/li&gt;&#xA;&lt;li&gt;Is free since it is only for fan video use (so not corporate whatsoever).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Cheers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similar Questions: &lt;a href=&quot;https://video.stackexchange.com/questions/4233/simple-video-editing-tool&quot;&gt;Simple Video Editing Tool?&lt;/a&gt; and &lt;a href=&quot;https://video.stackexchange.com/questions/3018/what-beginner-video-editing-software-should-i-use&quot;&gt;What Beginner Video Editing Software Should I Use?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="9294" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2020-06-26T00:00:38.710" Title="Free video editing software" Tags="|video-editor|editing|software-recommendation|" AnswerCount="8" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14821" PostTypeId="2" ParentId="14820" CreationDate="2015-02-09T09:41:46.303" Score="5" Body="&lt;p&gt;First off there would be &lt;a href=&quot;http://www.lwks.com/&quot; rel=&quot;noreferrer&quot;&gt;Lightworks&lt;/a&gt;, which is free with some limitations. It's a pure abomination and needs a lot of learning an rethinking if you're used to usual NLE software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, what most people don't think of, there would be &lt;a href=&quot;http://www.blender.org/&quot; rel=&quot;noreferrer&quot;&gt;Blender&lt;/a&gt;. Actually a 3D rendering software, but also a very good, free/open source video editor. Like all software, it has a learning curve, but there are some really nice tutorials. Just search on YouTube for &quot;blender video editing&quot;.&lt;/p&gt;&#xA;" OwnerUserId="9291" LastActivityDate="2015-02-09T09:41:46.303" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14822" PostTypeId="2" ParentId="14820" CreationDate="2015-02-09T10:47:10.037" Score="8" Body="&lt;p&gt;Have a look into the new Blackmagic Davinci Resolve, which includes an NLE and color correction tool. it is free and can output a maximum resolution of 3840x2160.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastEditorUserId="3592" LastEditDate="2020-06-18T04:56:53.097" LastActivityDate="2020-06-18T04:56:53.097" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="14824" PostTypeId="2" ParentId="14820" CreationDate="2015-02-09T14:33:53.713" Score="4" Body="&lt;p&gt;Virtualdub is very good software. Maybe it not cover all the requirements. And it's not exactly &quot;visual&quot; managed as the other, but it'd good and very flexible&lt;/p&gt;&#xA;" OwnerUserId="7976" LastActivityDate="2015-02-09T14:33:53.713" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14825" PostTypeId="1" AcceptedAnswerId="14837" CreationDate="2015-02-09T14:49:47.617" Score="2" ViewCount="113" Body="&lt;p&gt;I am looking for a way to make analog video effects like those:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;You may want to turn the volume down a bit&lt;/em&gt;:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Ooq23i-QGBM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there's no convinient way to do it i can head to electronics stackexchange for instructions on how to make some effect adding PCB's&lt;/p&gt;&#xA;" OwnerUserId="9295" LastActivityDate="2015-02-11T07:34:42.057" Title="Linux - looking for a way to produce analog effects for video" Tags="|video|linux|analog|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14826" PostTypeId="1" CreationDate="2015-02-09T16:28:26.960" Score="2" ViewCount="2863" Body="&lt;p&gt;I record a video step-by-step using Microsoft Expression Encoder 4, encode the file with 'Best Quality' preset, the result info in file its:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ID                                       : 2&#xA;Format                                   : VC-1&#xA;Format profile                           : Advanced@L3&#xA;Codec ID                                 : WVC1&#xA;Codec ID/Hint                            : Microsoft&#xA;Description of the codec                 : VC-1 - VC-1 Advanced Profile&#xA;Duration                                 : 8mn 43s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 1 045 Kbps&#xA;Width                                    : 1 440 pixels&#xA;Height                                   : 900 pixels&#xA;Display aspect ratio                     : 16:10&#xA;Frame rate mode                          : Variable&#xA;Frame rate                               : 15.000 fps&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel*Frame)                       : 0.054&#xA;Stream size                              : 65.2 MiB&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I play the video in VLC the quality its perfect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/PiKOJ.jpg&quot; alt=&quot;It´s a printscreen of video playing vlc&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After import the video in premiere and export sequence the video loss quality. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The printscreen above its the quality of exported video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0KX8P.png&quot; alt=&quot;the exported image&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Main@L5.0&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 3 frames&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 5mn 53s&#xA;Bit rate                                 : 1 708 Kbps&#xA;Width                                    : 1 440 pixels&#xA;Height                                   : 900 pixels&#xA;Display aspect ratio                     : 16:10&#xA;Original display aspect ratio            : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 15.000 fps&#xA;Standard                                 : NTSC&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.088&#xA;Stream size                              : 72.0 MiB (90%)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When activating the option to export in Premiere , I have customized with the maximum possible quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Exporting in Adobe Premiere , using the same or better quality to the source video that was imported ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you all,&lt;/p&gt;&#xA;" OwnerUserId="9296" LastActivityDate="2017-11-20T17:36:26.310" Title="Poor and low quality on import/render Adobe Premiere" Tags="|premiere|video-editor|video-quality|codec|compression|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14827" PostTypeId="1" CreationDate="2015-02-09T21:26:24.890" Score="1" ViewCount="869" Body="&lt;p&gt;So I've been looking for a certain effect to add to videos for my channel, and in doing so I can safely say that the internet is filled with useless and endless templates for simple audio visualizations or ungodly expensive suites that can't do what I actually want to do. (or at least similar)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are three videos below, I believe them to have been rendered in After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ZlFJoDVDj1w?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/OWPZO8Qzhyw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;this one is why I know it to be After Effects,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/VzAV71fUbkc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The uploader says to have been using javascript math expressions, alas I can not find anything where I could learn how to do anything close to that. Particles or no particles.  I'm more looking at trying to find something I can learn from rather than &quot;can someone do this.&quot;  If there is any free resources out there I could possibly use?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The channel I linked has long been abandoned.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: I can't even add the tags to this post of &quot;Particles&quot; or &quot;Visualizer&quot;&lt;/p&gt;&#xA;" OwnerUserId="9298" LastEditorUserId="1950" LastEditDate="2015-02-12T01:23:19.693" LastActivityDate="2015-06-27T09:13:29.347" Title="Is there any method to create an audio visualizer as seen in video below" Tags="|audio|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14828" PostTypeId="1" AcceptedAnswerId="14985" CreationDate="2015-02-09T22:12:51.070" Score="2" ViewCount="148" Body="&lt;p&gt;Is there an alternative to the automatic motion blur in After Effects for Adobe Premiere, Sony Vegas or Final Cut?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use it mainly to sync text/image animations with sound cues, however After Effects is not a real-time editor and is difficult to work with several layers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible?&lt;/p&gt;&#xA;" OwnerUserId="3845" LastActivityDate="2015-02-27T06:41:42.453" Title="Automatic motion blur in video editor?" Tags="|after-effects|premiere|final-cut-pro|vegas-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14830" PostTypeId="2" ParentId="14828" CreationDate="2015-02-10T02:02:25.007" Score="1" Body="&lt;p&gt;Motion from Apple has a setting for Motion Blur on all projects. &lt;a href=&quot;https://help.apple.com/motion/mac/5.0/en/motion/usermanual/#chapter=6%26section=2%26hash=apple_ref:doc:uid:Motion-UserManual-90915BMP-1013584&quot; rel=&quot;nofollow&quot;&gt;This section&lt;/a&gt; of the documentation explains how to set it (in the project settings). (It's under &quot;Motion Blur and Reflection Settings&quot;.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once the project setting is set, you may also need to turn it on in the canvas to see it while editing. &lt;a href=&quot;https://help.apple.com/motion/mac/5.0/en/motion/usermanual/#chapter=2%26section=8%26hash=apple_ref:doc:uid:Motion-UserManual-90915GUI-1018983&quot; rel=&quot;nofollow&quot;&gt;See here&lt;/a&gt; for information on turning it on in the Canvas. (It's under the section named &quot;Render pop-up menu.&quot;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Motion renders a lot of stuff in real time, though turning on Motion Blur will slow it down. You can always set the number of samples to something low-ish (like 4 or 8) while working and turn it up for renders.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe that if you're using a Motion template in FCP that it will render the Motion Blur if you set the canvas to &quot;Better Quality&quot; playback.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-02-10T02:02:25.007" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14831" PostTypeId="1" AcceptedAnswerId="14832" CreationDate="2015-02-10T04:29:23.843" Score="1" ViewCount="306" Body="&lt;p&gt;With a DSLR's HDMI-out feeding into a Mac, what's the minimum necessary software to do a live web broadcast from a conference?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;UStream is $99/month and up.&lt;/li&gt;&#xA;&lt;li&gt;YouTube has a live streaming service, but it's tough to (a) trust Google and (b) trust a free product. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Other than the stream service, is there other software that I would need to get? If so, what's the cost?&lt;/p&gt;&#xA;" OwnerUserId="5113" LastActivityDate="2015-07-15T12:21:28.940" Title="What's the minimum software for reliably live-streaming a conference?" Tags="|dslr|streaming|live|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14832" PostTypeId="2" ParentId="14831" CreationDate="2015-02-10T05:44:42.180" Score="4" Body="&lt;p&gt;The minimum software is hardware.  You want specialized hardware for doing top quality live streaming encoding reliably.  You could use something like the Black Magic ATEM television studio which includes 4 inputs and real time stream encoding capability to produce the conference really well or could use a cheaper stream encoder device that simply produces a direct stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You then need a CDN to handle distribution of the stream.  You can either use advertising supported options like Youtube or you can use commercial ones you pay for, such as UStream or any number of other services.  That's fairly independent of the streaming hardware you use.  Your end point just produces the stream, which just needs to be reliable and high quality, preferably specialized hardware.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-02-10T05:44:42.180" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="14833" PostTypeId="1" CreationDate="2015-02-10T06:44:58.200" Score="1" ViewCount="59" Body="&lt;p&gt;I have a bit of a crappy set for my Youtube stuff and, recently, I had a small windfall of sorts and was able to buy some lightbulbs and clamp lights. No, I couldn't buy a proper lighting kit, (it was only $50). I was hoping to get some recommendations on lighting my set.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, here's what I have:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;5 5000k 800 Lumen CFLs bulbs&lt;/li&gt;&#xA;&lt;li&gt;5 6000k 1050 Lumen LED bulbs (accidentally ordered the wrong temp :(  )&lt;/li&gt;&#xA;&lt;li&gt;a 3 light rail above my set for lighting the background.&lt;/li&gt;&#xA;&lt;li&gt;a ceiling mount bar for clamping clamp lights to far away from the&#xA;set. It currently has 3 clamp lights on it.&lt;/li&gt;&#xA;&lt;li&gt;4 unused clap lights.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Below is a rough sketch of my current setup. &lt;a href=&quot;https://i.stack.imgur.com/0tK5V.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here is a picture of it as well.&lt;/a&gt; The rectangles on the walls are both two shelves above another at 5' and 6'5&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My lighting setup feels uneven I'm trying to light as flatly as I can and I don't know where I should place those additional clamp lights. I'd really just like to make the most of my lights so I can reduce the ISO to get less noise. Also, I don't know how I should place these different temps so that I get a consistent coloring across the set (so that my white balance calibration will be consistent, that is).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I currently shoot at 30fps, 3.5 FStop, at 640 ISO on my Samsung NX300. &lt;a href=&quot;https://www.youtube.com/watch?v=t-mHVF0kIYA&quot; rel=&quot;nofollow noreferrer&quot;&gt;For reference: here is a video shot on my current lighting configuration.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/hIZ2P.jpg&quot; alt=&quot;http://i.imgur.com/qFPwNBU.jpg&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5073" LastActivityDate="2015-02-10T06:44:58.200" Title="Looking for advice on lighting my set" Tags="|lighting|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14834" PostTypeId="1" CreationDate="2015-02-10T13:47:57.343" Score="1" ViewCount="993" Body="&lt;p&gt;Let's say I have two video clips in Premiere Pro:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;a) A clip with people talking - sound is recorded a bit low&lt;/p&gt;&#xA;&#xA;&lt;p&gt;b) A clip with people talking and a loud sound (eg. a gunshot) in the middle&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I match the audio levels so that the people talk at the same volume in both clips?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Normalize&quot; doesn't work because the gunshot in the middle of (2) wrecks it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems like a very basic requirement for video editing but I can't find a way to do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Doing it manually is very time consuming and error-prone (human ears aren't good at matching volume levels across hundreds of clips).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: I'm willing to use different software if needed. All I need is to string a bunch of clips together, match the audio across clips and export. Maybe overlay an image every now and again. That's it.&lt;/p&gt;&#xA;" OwnerUserId="9302" LastEditorUserId="9302" LastEditDate="2015-02-10T14:09:38.123" LastActivityDate="2015-02-11T17:11:34.160" Title="Matching audio levels across multiple clips" Tags="|editing|audio|software|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14835" PostTypeId="2" ParentId="14834" CreationDate="2015-02-10T23:38:59.780" Score="1" Body="&lt;p&gt;Export just the audio as WAV and use an app called &lt;a href=&quot;https://auphonic.com/&quot; rel=&quot;nofollow&quot;&gt;Auphonic&lt;/a&gt; - it will level out, not just normalise, the audio. I use it often and it makes everything sound much nicer.&lt;/p&gt;&#xA;" OwnerUserId="1725" LastActivityDate="2015-02-10T23:38:59.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14836" PostTypeId="1" CreationDate="2015-02-11T02:11:51.500" Score="5" ViewCount="1899" Body="&lt;p&gt;I'm considering purchase of the &lt;a href=&quot;http://www.bhphotovideo.com/c/product/1023345-REG/panasonic_hc_v250_full_hd_camcorder.html&quot; rel=&quot;noreferrer&quot;&gt;Panasonic HC-V250&lt;/a&gt;, but my primary use case is recording directly to a folder on my computer. (I do a lot of post-production editing, so I need all the files on my computer.) The HC-V250 can stream via UStream, but I don't know if this means that it's also capable of recording to a computer. (I'd assume not.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For reference, I'm using a Windows 8.1 computer. This detail also does not appear to be stated in the manual or any reviews on various sites I've found this product on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to use the HC-V250 to record directly to a computer, or do I have to record to the memory card and then (painfully) transfer the files?&lt;/p&gt;&#xA;" OwnerUserId="9303" LastActivityDate="2024-03-31T17:05:25.593" Title="Can I record directly to a computer with the HC-V250?" Tags="|camera|digital-recording|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14837" PostTypeId="2" ParentId="14825" CreationDate="2015-02-11T07:34:42.057" Score="3" Body="&lt;p&gt;Have you tried compositing it with Blender? I think you can achieve pretty much what you want with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Look for tutorials but &lt;a href=&quot;https://www.youtube.com/watch?v=h1C92wiIkNI&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; is an example. &lt;a href=&quot;http://blenderdiplom.com/en/tutorials/354-tutorial-a-2d-hologram-in-blender-part-1.html&quot; rel=&quot;nofollow&quot;&gt;This&lt;/a&gt; is a tutorial for creating a hologram, but you can take the part on how to create the horizontal lines from the cathodic ray TVs.&lt;/p&gt;&#xA;" OwnerUserId="6210" LastActivityDate="2015-02-11T07:34:42.057" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14838" PostTypeId="1" CreationDate="2015-02-11T15:58:15.473" Score="0" ViewCount="95" Body="&lt;p&gt;I have two mask layers, each whose 'Parent' is a type layer. When I change the Scale of the type layer, the mask layer adjusts its size proportionately, but when I change the size of the type using the Source Text parameter the mask does not react. Is it possible for the mask to change size at the same time the size of the Source Text does?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any help.&lt;/p&gt;&#xA;" OwnerUserId="9220" LastEditorUserId="9220" LastEditDate="2015-02-11T16:04:29.973" LastActivityDate="2015-02-11T16:04:29.973" Title="No change to mask when parent's source text size changes" Tags="|after-effects|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14839" PostTypeId="2" ParentId="14834" CreationDate="2015-02-11T17:11:34.160" Score="0" Body="&lt;p&gt;The answer is to use Cyberlink PowerDirector instead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Much easier to use and you can achieve this with a couple of mouse clicks (right click on the audio and do &quot;Normalize this audio track...&quot;)&lt;/p&gt;&#xA;" OwnerUserId="9302" LastActivityDate="2015-02-11T17:11:34.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14841" PostTypeId="1" CreationDate="2015-02-12T03:12:04.053" Score="2" ViewCount="25213" Body="&lt;p&gt;So, someone asked me this question today, and I am very curious about the answer. This person wants to put up a video on a website, and wants it to be viewable on both the iPad and on PCs. They don't mind providing two links, but they seemed to lean slightly more to the idea of having one link. Plus, I am very curious to the answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, they were telling me how when they go to YouTube to view a video, they can view it regardless of accessing the video from their iPad or a computer. I told them that this is because YouTube has multiple versions / formats of a video and shows you the format best suitable for your device. &lt;strong&gt;Was that answer correct?&lt;/strong&gt; And being that one video on YouTube can be accessed / viewed regardless of device, I am not sure if this person has any kind of opposition to posting the video on YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming they do though, I have these questions:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) If I were to put a direct link to a video on a website for people to view (using whatever default player is available on their device to play videos) or download, and I want that one video to be viewable regardless of the device accessing it, what's the best video format / extension to use--flv, mp4, etc.?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) If I wanted to go a step further and use my own embedded video player, what's the best one to use, best in the sense that it can be viewed on as many platforms as possible, especially the iPad and personal computers? I see the jw player used on lots of sites. I don't have an iPad though, so I can't test it.&lt;/p&gt;&#xA;" OwnerUserId="9311" LastActivityDate="2017-03-22T08:23:10.677" Title="What is the best universal video format / extension so that it can be viewed on iPad and PCs" Tags="|file-formats|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14842" PostTypeId="2" ParentId="14813" CreationDate="2015-02-12T04:07:11.083" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;FCPX project -&gt; Play through timeline = &lt;strong&gt;OK&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;FCPX project -&gt; Compressor -&gt; ProRes422 = NG (muffled sound)&lt;/li&gt;&#xA;&lt;li&gt;FCPX project -&gt; Compressor -&gt; AAC Mono = NG (muffled sound)&lt;/li&gt;&#xA;&lt;li&gt;FCPX project -&gt; Compressor -&gt; AAC Stereo = NG (muffled sound)&lt;/li&gt;&#xA;&lt;li&gt;FCPX project -&gt; &quot;Share&quot; -&gt; Master (h264) = &lt;strong&gt;OK&lt;/strong&gt; (but the size is too large)&lt;/li&gt;&#xA;&lt;li&gt;FCPX project -&gt; &quot;Share&quot; -&gt; Master (h264) -&gt; Compressor -&gt; AAC Mono = &lt;strong&gt;OK&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;These are sum-up of results in my trial and error.&#xA;The 6th trial resolved my problem, although it is not a perfect solution.&lt;/p&gt;&#xA;" OwnerUserId="6187" LastActivityDate="2015-02-12T04:07:11.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14844" PostTypeId="2" ParentId="14836" CreationDate="2015-02-12T23:24:48.770" Score="-1" Body="&lt;p&gt;I don't have a definitive answer, but I can offer a suggestion. If the camera can generate a stream, try a stream recorder. In fact, doesn't UStream offer a stream recorder of its own?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, google &quot;record video stream&quot; for several offering, some free. I use &lt;a href=&quot;http://www.any-video-converter.com/products/for_video_ultimate/&quot; rel=&quot;nofollow&quot;&gt;AVC Ultimate&lt;/a&gt; (not free) but I don't know if it will capture UStream output. They have a trial version but it may not cover the stream capture feature.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-02-12T23:24:48.770" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14845" PostTypeId="2" ParentId="9299" CreationDate="2015-02-13T04:04:06.730" Score="-1" Body="&lt;p&gt;How about ScreenFlow from &lt;a href=&quot;http://www.telestream.net/screenflow/overview.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.telestream.net/screenflow/overview.htm&lt;/a&gt;? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using it right now, but don't know you like it or not or any other software that has good features than this. &lt;/p&gt;&#xA;" OwnerUserId="9315" LastActivityDate="2015-02-13T04:04:06.730" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14846" PostTypeId="2" ParentId="9299" CreationDate="2015-02-13T10:26:05.387" Score="0" Body="&lt;p&gt;You could always try PluralEyes by red giant as long as there is some sound it should work, I don't know what your footage is so its a bit hard to say.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PP should work fine same for FCPX.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I normally put them all in my timelines in FCPX export to Pluraleyes do the sync then back into FCPX, baring in mind most of the time mine is between 2-4 cameras tho&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2015-02-13T10:26:05.387" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14847" PostTypeId="1" AcceptedAnswerId="14968" CreationDate="2015-02-13T14:57:05.927" Score="1" ViewCount="790" Body="&lt;p&gt;I've losslessly extracted 30m from a ~1.5h long video using the following &lt;code&gt;ffmpeg&lt;/code&gt; command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 0 -t 00:30:00 -i in.mp4 -acodec copy -vcodec copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The split was successful and &lt;code&gt;out.mp4&lt;/code&gt; was created with the first 30m.&lt;br&gt;&#xA;However... even though the video stops after 30m, video players such as VLC and Windows Media Player show the video length as still being ~1.5h long, and so does Windows Explorer when the file is selected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How come the video length shown is different than the actual video length?&lt;br&gt;&#xA;How can I adjust it so they will match?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm on Win7 using ffmpeg 64bit static from Feb 10th 2015.&lt;br&gt;&#xA;Also, here is the output of the process:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-69672-g078be09 Copyright (c) 2000-2015 the FFmpeg developers&#xA; 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   Metadata:&#xA;      title           : Chapter 5&#xA;    Chapter #0:5: start 1501.040000, end 1800.560000&#xA;    Metadata:&#xA;      title           : Chapter 6&#xA;    Chapter #0:6: start 1800.560000, end 2101.040000&#xA;    Metadata:&#xA;      title           : Chapter 7&#xA;    Chapter #0:7: start 2101.040000, end 2400.560000&#xA;    Metadata:&#xA;      title           : Chapter 8&#xA;    Chapter #0:8: start 2400.560000, end 2701.040000&#xA;    Metadata:&#xA;      title           : Chapter 9&#xA;    Chapter #0:9: start 2701.040000, end 3000.560000&#xA;    Metadata:&#xA;      title           : Chapter 10&#xA;    Chapter #0:10: start 3000.560000, end 3301.040000&#xA;    Metadata:&#xA;      title           : Chapter 11&#xA;    Chapter #0:11: start 3301.040000, end 3600.560000&#xA;    Metadata:&#xA;      title           : Chapter 12&#xA;    Chapter #0:12: start 3600.560000, end 3901.040000&#xA;    Metadata:&#xA;      title           : Chapter 13&#xA;    Chapter #0:13: start 3901.040000, end 4200.560000&#xA;    Metadata:&#xA;      title           : Chapter 14&#xA;    Chapter #0:14: start 4200.560000, end 4501.040000&#xA;    Metadata:&#xA;      title           : Chapter 15&#xA;    Chapter #0:15: start 4501.040000, end 4800.560000&#xA;    Metadata:&#xA;      title           : Chapter 16&#xA;    Chapter #0:16: start 4800.560000, end 5101.040000&#xA;    Metadata:&#xA;      title           : Chapter 17&#xA;    Chapter #0:17: start 5101.040000, end 5400.560000&#xA;    Metadata:&#xA;      title           : Chapter 18&#xA;    Chapter #0:18: start 5400.560000, end 5626.640000&#xA;    Metadata:&#xA;      title           : Chapter 19&#xA;    Stream #0:0(und): Video: h264 ([33][0][0][0] / 0x0021), yuv420p, 720x576 [SAR 768:715 DAR 192:143], q=2-31, 2391 kb/s, 25 fps, 25 tbr, 90k tbn, 90&#xA;k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-02-11 15:31:12&#xA;      encoder         : JVT/AVC Coding&#xA;    Stream #0:1(und): Audio: aac ([64][0][0][0] / 0x0040), 48000 Hz, stereo, 159 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-02-11 15:31:12&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame=45000 fps=5763 q=-1.0 Lsize=  590048kB time=00:30:00.00 bitrate=2685.4kbits/s&#xA;video:553577kB audio:35153kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.223870%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here's the output of &lt;code&gt;ffmpeg -i out.mp4&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-69672-g078be09 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 4.9.2 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnu&#xA;tls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-&#xA;libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-l&#xA;ibrtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --&#xA;enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --ena&#xA;ble-libxvid --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      54. 18.100 / 54. 18.100&#xA;  libavcodec     56. 21.102 / 56. 21.102&#xA;  libavformat    56. 19.100 / 56. 19.100&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5.  9.104 /  5.  9.104&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'out.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf56.19.100&#xA;  Duration: 01:33:46.64, start: 0.000000, bitrate: 859 kb/s&#xA;    Chapter #0:0: start 0.000000, end 301.040000&#xA;    Metadata:&#xA;      title           : Chapter 1&#xA;    Chapter #0:1: start 301.040000, end 600.560000&#xA;    Metadata:&#xA;      title           : Chapter 2&#xA;    Chapter #0:2: start 600.560000, end 901.040000&#xA;    Metadata:&#xA;      title           : Chapter 3&#xA;    Chapter #0:3: start 901.040000, end 1200.560000&#xA;    Metadata:&#xA;      title           : Chapter 4&#xA;    Chapter #0:4: start 1200.560000, end 1501.040000&#xA;    Metadata:&#xA;      title           : Chapter 5&#xA;    Chapter #0:5: start 1501.040000, end 1800.560000&#xA;    Metadata:&#xA;      title           : Chapter 6&#xA;    Chapter #0:6: start 1800.560000, end 2101.040000&#xA;    Metadata:&#xA;      title           : Chapter 7&#xA;    Chapter #0:7: start 2101.040000, end 2400.560000&#xA;    Metadata:&#xA;      title           : Chapter 8&#xA;    Chapter #0:8: start 2400.560000, end 2701.040000&#xA;    Metadata:&#xA;      title           : Chapter 9&#xA;    Chapter #0:9: start 2701.040000, end 3000.560000&#xA;    Metadata:&#xA;      title           : Chapter 10&#xA;    Chapter #0:10: start 3000.560000, end 3301.040000&#xA;    Metadata:&#xA;      title           : Chapter 11&#xA;    Chapter #0:11: start 3301.040000, end 3600.560000&#xA;    Metadata:&#xA;      title           : Chapter 12&#xA;    Chapter #0:12: start 3600.560000, end 3901.040000&#xA;    Metadata:&#xA;      title           : Chapter 13&#xA;    Chapter #0:13: start 3901.040000, end 4200.560000&#xA;    Metadata:&#xA;      title           : Chapter 14&#xA;    Chapter #0:14: start 4200.560000, end 4501.040000&#xA;    Metadata:&#xA;      title           : Chapter 15&#xA;    Chapter #0:15: start 4501.040000, end 4800.560000&#xA;    Metadata:&#xA;      title           : Chapter 16&#xA;    Chapter #0:16: start 4800.560000, end 5101.040000&#xA;    Metadata:&#xA;      title           : Chapter 17&#xA;    Chapter #0:17: start 5101.040000, end 5400.560000&#xA;    Metadata:&#xA;      title           : Chapter 18&#xA;    Chapter #0:18: start 5400.560000, end 5626.640000&#xA;    Metadata:&#xA;      title           : Chapter 19&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, smpte170m/smpte170m/bt709), 720x576 [SAR 768:715 DAR 192:143], 2519 kb/s, 25&#xA; fps, 25 tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 159 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;    Stream #0:2(eng): Subtitle: mov_text (text / 0x74786574)&#xA;    Metadata:&#xA;      handler_name    : SubtitleHandler&#xA;At least one output file must be specified&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="9317" LastEditorUserId="9317" LastEditDate="2015-02-15T07:05:10.407" LastActivityDate="2015-02-25T20:17:53.203" Title="ffmpeg split file retains original length" Tags="|ffmpeg|mp4|mpeg|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="14848" PostTypeId="2" ParentId="12382" CreationDate="2015-02-13T17:38:13.330" Score="2" Body="&lt;p&gt;To update @MBrizzle answer, this functionality was added to After Effects CC 2014. There are 4 new methods:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;RenderQueueItem object getSetting, setSetting methods &lt;/li&gt;&#xA;&lt;li&gt;OutputModule object getSetting, setSetting methods&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You can find more about them at &lt;a href=&quot;http://blogs.adobe.com/aftereffects/2014/04/new-changed-after-effects-cc-2014.html&quot; rel=&quot;nofollow&quot;&gt;http://blogs.adobe.com/aftereffects/2014/04/new-changed-after-effects-cc-2014.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="9319" LastActivityDate="2015-02-13T17:38:13.330" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14852" PostTypeId="1" AcceptedAnswerId="14857" CreationDate="2015-02-15T00:35:14.107" Score="3" ViewCount="4338" Body="&lt;p&gt;I'm shooting a short film and there is a scene I'd like to film where a guy is biking and the camera follows him through his bike ride. All I have to film on is a Sony a3000 camera, I don't own anything fancy. How can I film this scene without buying any expensive equipment?&lt;/p&gt;&#xA;" OwnerUserId="9323" LastActivityDate="2015-03-10T21:33:23.640" Title="How to shoot a scene of someone riding a bike?" Tags="|filming|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14853" PostTypeId="2" ParentId="14705" CreationDate="2015-02-15T04:05:52.580" Score="0" Body="&lt;p&gt;I've used Adrenalin Sounds before and they have a great selection of music and an easy search system. If you can't be bothered going through a heap of tracks they will create a playlist for you, which I have found helpful in the past.&lt;/p&gt;&#xA;" OwnerUserId="9324" LastActivityDate="2015-02-15T04:05:52.580" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14854" PostTypeId="1" CreationDate="2015-02-15T07:50:51.233" Score="2" ViewCount="1392" Body="&lt;p&gt;I have a long video and wish to cut pauses and unneeded places from it. Currently I know how to select mark ins and mark outs&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/QDR9C.png&quot; alt=&quot;enter image description here&quot;&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, this does not allow to have multiple ins and outs in single clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I cut multiple clips from one video, then will probably loose a sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to accomplish the task?&lt;/p&gt;&#xA;" OwnerUserId="2122" LastActivityDate="2015-02-15T17:57:05.507" Title="How to cut out pauses and unneeded places from video in Adobe Premiere?" Tags="|premiere|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14855" PostTypeId="2" ParentId="14854" CreationDate="2015-02-15T12:58:35.273" Score="1" Body="&lt;p&gt;You need to create a &lt;strong&gt;sequence&lt;/strong&gt;. If you're not familiar with video codecs, the easiest way to do so is to right-click on your clip in the project panel and select &lt;strong&gt;New sequence from clip ...&lt;/strong&gt;, which will create a sequence using the resolution and framerate from your clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you've created the sequence, it should appear as a timeline in the lower right area of your screen. If you have not yet set an in- and outpoint, your video will be in the sequence as a whole. Make sure to delete that (right-click on the video in the timeline and select &lt;strong&gt;Clear&lt;/strong&gt;), so that you get an empty timeline to start with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you can start putting your video together. Set the in- and outpoint for the first scene from your video that you want to use and then &lt;strong&gt;drag&lt;/strong&gt; the clip from the project panel into the timeline (alternatively, you can push &lt;strong&gt;insert&lt;/strong&gt; (shortcut &lt;kbd&gt;,&lt;/kbd&gt;) or &lt;strong&gt;overwrite&lt;/strong&gt; (shortcut &lt;kbd&gt;.&lt;/kbd&gt;)). Move on to the next scene in your video, again set in- and outpoint and insert the clip into the timeline, and so on. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have everything arranged in your sequence, you can export the sequence as a whole via &lt;strong&gt;File&lt;/strong&gt; -&gt; &lt;strong&gt;Export&lt;/strong&gt; -&gt; &lt;strong&gt;Media ...&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-02-15T12:58:35.273" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="14856" PostTypeId="2" ParentId="14705" CreationDate="2015-02-15T16:51:37.267" Score="2" Body="&lt;p&gt;Well there is a source I have used a lot in the past. Very popular, a lot of others have used as well. Its free, legal and good quality. but I tend to pay a token fee for stuff I use ($5) though there is no obligation to do so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Its called &lt;a href=&quot;http://incompetech.com&quot; rel=&quot;nofollow&quot;&gt;http://incompetech.com&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Kevin MacLeod. He is an American musical and sound track composer. He has a large volume of tracks one can use as well as a breakdown of the track. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other commercial sites.&#xA;JewelBeat - more music than all of the free sources combined.&#xA;SmartSound - customize music mixes and lengths.&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2016-04-05T20:46:32.303" LastActivityDate="2016-04-05T20:46:32.303" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14857" PostTypeId="2" ParentId="14852" CreationDate="2015-02-15T17:04:20.197" Score="2" Body="&lt;p&gt;Well, its a bit of a generic question.&#xA;Almost like asking how to take a movie like shot using your camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The answer is equally generic.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Lighting, to prevent blowout or shadows take the shot when its cloudy, or near sunrise or sunset. (Unless you wanted a grunge harsh hot feel and maybe over exposed is the effect you are after, so take it at noon).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Make sure the light is behind you so you capture the image flush.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Make sure you take shots in scenes. A closeup of peddling (running alongside with a macro lens can work). Take a closeup shot. Take a shot that first places them in the scene (unless you are adding mystery and sometimes you place that scene at the end).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Tell a story, have an element in the foreground like a thumbs up to hitch a ride, out of focus is the rider coming up, then comes into focus the thumb is blurred. Then cut reaction shot, or maybe maybe headphones not seeing shot. etc, I mean just go with the story, and tell the story with your shots.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I guess I could also go with settings, I am a big fan of large apertures (low f stops) like f2.0 - f4.0. And high shutter speed 1/125th or higher to minimize blur on fast moving objects, again depending how you want the end result to look, all these rules can be broken. Large apertures (low f stops)  tends to create a bokeh effect (out of focus the background if focus is on subject) making it obvious to the audience what is the focus of the story.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2015-02-16T17:23:54.120" LastActivityDate="2015-02-16T17:23:54.120" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14858" PostTypeId="2" ParentId="14854" CreationDate="2015-02-15T17:57:05.507" Score="0" Body="&lt;p&gt;You cannot have multiple marks in and out on clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you would do is you would mark a clip and drop it in a sequence (the timeline).&#xA;Mark another clip and drop it in the timeline. Son on and so forth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issue you would have is the sound just clips as it jumps from clip to clip in the sequence. The quickest way to fix that is just right click in the timeline on two clips that are joined and you get the option to add a transition. Adding the default tranistion fades/overlapes the sound of the two tracks. Also it does the same to the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to prevent the video from doing a crossfade, what I do is first right click on the clip on the timeline and 'unlink' so the audio and video is not linked and THEN I do the transistion on the audio only.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;GL&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2015-02-15T17:57:05.507" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14859" PostTypeId="2" ParentId="14705" CreationDate="2015-02-15T18:22:50.683" Score="2" Body="&lt;p&gt;&lt;a href=&quot;https://www.musicbed.com&quot; rel=&quot;nofollow&quot;&gt;musicbed.com&lt;/a&gt; is probably the best quality I've heard from these types of sites.  Of course, it's a little more expensive.  But when you need quality, you should be prepared to pay for it.  They have tons of good stuff already, but you can also actually commission them to write custom music for your project.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-02-15T18:22:50.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14861" PostTypeId="1" AcceptedAnswerId="14872" CreationDate="2015-02-15T20:18:59.717" Score="3" ViewCount="990" Body="&lt;p&gt;I would like to use h.264 as the codec inside .mp4 container for my user uploaded videos for my website. But I saw somewhere that h.264 is non free. I am unsure whether I can use this technology or not. My question whether I can use it to compress my user uploaded videos in my website? If yes, then its great. And if no, what other solution can I go with? Thank you.&lt;/p&gt;&#xA;" OwnerUserId="9328" LastActivityDate="2015-02-17T00:34:01.020" Title="Can I use h.264 codec inside .mp4 container for my website" Tags="|ffmpeg|h.264|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14862" PostTypeId="1" CreationDate="2015-02-15T20:58:13.047" Score="1" ViewCount="63" Body="&lt;p&gt;&lt;strong&gt;Background:&lt;/strong&gt; I've created a multi-cam sequence with three cameras in Adobe Premier Pro CC, which was working fine. I then came to add an additional camera, using CMD + Double Clicking on the Multicam Sequence, it's opened up as a sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Problem:&lt;/strong&gt; I want to synchronise the new footage against the existing master audio track. So I select both, right click and choose synchronise. However, instead of repositioning the new track, it moves the master audio track. Which obviously offsets the other three cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Beyond recreating the entire MovieCam Sequence, it feels like I'm missing a button somewhere!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in anticipation!&lt;/p&gt;&#xA;" OwnerUserId="9330" LastActivityDate="2016-03-01T17:54:23.993" Title="Synchronise in Premier Pro" Tags="|premiere|multi-camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14863" PostTypeId="2" ParentId="10837" CreationDate="2015-02-15T20:59:45.073" Score="2" Body="&lt;p&gt;there is an other nice on-the-fly &lt;a href=&quot;https://wowzatoolbox.com/clamp&quot; rel=&quot;nofollow&quot;&gt;video overlay software called Clamp&lt;/a&gt;, which is a commercial add-on for Wowza Streaming Engine. This can read overlay instructions during a live event from a text file or from database and apply them on the live stream at specified times.&lt;/p&gt;&#xA;" OwnerUserId="2703" LastActivityDate="2015-02-15T20:59:45.073" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14864" PostTypeId="2" ParentId="4491" CreationDate="2015-02-15T21:03:48.587" Score="1" Body="&lt;p&gt;Use Sony Vegas. It can merge the stereo inputs and renders the output file as the format you need.&lt;/p&gt;&#xA;" OwnerUserId="9331" LastActivityDate="2015-02-15T21:03:48.587" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14865" PostTypeId="2" ParentId="14861" CreationDate="2015-02-15T21:09:36.360" Score="0" Body="&lt;p&gt;If I am right, HTML5 supports H.264 codec with mp4 container. In this case the company which developed the browser has paid it's license.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also use video servers for VOD playing, like Wowza Streaming Engine.&lt;/p&gt;&#xA;" OwnerUserId="9331" LastActivityDate="2015-02-15T21:09:36.360" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14868" PostTypeId="2" ParentId="14831" CreationDate="2015-02-15T21:41:45.067" Score="0" Body="&lt;p&gt;You can use several streaming servers for free with limitations. My favourite is Wowza Streaming Engine. Flash Media Server is also a solution. Hardware requireiments are increasing as fast as the number of users.&lt;/p&gt;&#xA;" OwnerUserId="9331" LastActivityDate="2015-02-15T21:41:45.067" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14869" PostTypeId="1" CreationDate="2015-02-15T23:20:02.047" Score="2" ViewCount="1415" Body="&lt;p&gt;Hi I'm having issues with my MXF files in Premiere Pro cs5. When I bring my mxf files into my project its only playing back audio, i can't even see video. It's like its only reading it as audio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I play the mxf file outside of Preimere in VLC I am able to see the video and audio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an extension I need or something? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere Pro cs5&#xA;Mac OSX Yosemite 10.10.2 &#xA;Shot on Cannon c300&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="4971" LastActivityDate="2020-11-13T02:59:59.763" Title="MXF files in Premiere Pro cs5 mac only playing/dispaying audio" Tags="|premiere|cs5|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14870" PostTypeId="1" CreationDate="2015-02-15T23:25:02.403" Score="1" ViewCount="959" Body="&lt;p&gt;Does anyone know of a program, or feature in VLC, that allows you to skip smoothly from frame to frame when dragging the progress bar? Right now, when I drag it in VLC, it jumps several frames.&lt;/p&gt;&#xA;" OwnerUserId="9332" LastActivityDate="2015-03-25T04:48:46.300" Title="Looking for a Video Program/Feature that allows smooth frame-to-frame skipping (when moving progress bar)" Tags="|video|video-editor|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14871" PostTypeId="2" ParentId="14861" CreationDate="2015-02-16T03:44:42.563" Score="6" Body="&lt;p&gt;Use it. Nothing else can provide the the same quality per bitrate as x264 (the top-class H.264 encoder) while not taking 10,000 years to encode (x265 'n VP9).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some tips:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Use a recent &lt;code&gt;ffmpeg&lt;/code&gt; build since development is so active. &lt;a href=&quot;http://johnvansickle.com/ffmpeg/&quot;&gt;Static builds&lt;/a&gt; are available and easy.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Add &lt;code&gt;-movflags +faststart&lt;/code&gt; to your command. Once encoding is finished this option will relocate the &lt;code&gt;moov&lt;/code&gt; atom to the beginning of the file allowing playback to begin for your viewer before the file is completely downloaded.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Because &lt;code&gt;ffmpeg&lt;/code&gt; attempts to avoid chroma subsampling using &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt; is recommended to ensure a widely compatible pixel format.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Some devices may require you to use a more restrictive profile and level. You can do this with the &lt;code&gt;-profile:v&lt;/code&gt; and &lt;code&gt;-level&lt;/code&gt; options. Be aware of attempting to force a specific level on outputs that will not conform (such as trying to force &lt;code&gt;-level 3&lt;/code&gt; on a 1920x1080 video). &lt;code&gt;ffmpeg&lt;/code&gt; will give &lt;em&gt;level limit&lt;/em&gt; warnings in the console output if this is the case.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;See the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot;&gt;H.264&lt;/a&gt; and &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/AAC&quot;&gt;AAC&lt;/a&gt; encoding guides for more info.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2015-02-16T03:44:42.563" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14872" PostTypeId="2" ParentId="14861" CreationDate="2015-02-16T03:59:54.280" Score="6" Body="&lt;p&gt;You are correct: h.264 is non-free and content producers as well as developers are obliged to pay royalties to MPEGLA for its use - but &lt;strong&gt;only&lt;/strong&gt; if they are charging for their content, &lt;strong&gt;and&lt;/strong&gt; the volume goes over the threshold MPEGLA sets (which is in the order of 100,000 paying subscribers or &gt; 12 minutes in length if charging title-by-title). Thjey have also said that they will &lt;em&gt;never&lt;/em&gt; charge for h.264 video that is freely distributed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://video.stackexchange.com/questions/14694/mp4-h-264-patent-issues/14699#14699&quot;&gt;MP4 / h.264 patent issues?&lt;/a&gt;&#xA;for more info.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;TL;DR&lt;/strong&gt; if your video is free to view, then h.264 is free for you to use, and as @LordNeckbeard points out, it's a ripper of a codec, so knock yourself out.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-02-17T00:34:01.020" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14874" PostTypeId="1" CreationDate="2015-02-16T17:01:04.010" Score="3" ViewCount="35082" Body="&lt;p&gt;We are using two-step encoding with ffmpeg to encode raw .mov files to multiple .mp4 encodings ready for streaming over the Internet. Some of the videos are interlaced and we are using yadif to deinterlace them with the following options: yadif=1:-1:0. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without yadif, regular 2 hour videos take about 3 hours to encode into 6 different .mp4 files (different resolution and bitrates mostly). When adding yadif, encoding takes 6-10 hours. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Our knowledge with videos is limited, so we are wondering can we make the deinterlacing faster? What if first deinterlace the source .mov file into new .mov file and use that as a source for mp4s, will that be faster?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="9337" LastActivityDate="2015-02-23T05:55:12.407" Title="Faster deinterlacing with ffmpeg and yadif" Tags="|ffmpeg|encoding|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14875" PostTypeId="2" ParentId="14852" CreationDate="2015-02-16T17:58:05.267" Score="1" Body="&lt;p&gt;Wow broad question, do you have anything to narrow it down, only want wide, closeup, POV (from front or back), moving with the actor etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;what is the context of the film or story does it need the shots (Storyboard)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it was me, using a wheelchair could produce some nice shots from behind, if it is on a road/street you could film out the back of a cars boot or pickup (consult H&amp;amp;S first), &lt;em&gt;We did some shots like this of a car behind us and someone running behind a car being chased&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;could go really simple and just have the rider scoot across the screen (left to right / right to left) without panning and static on a tripod, or the rider could ride up to you ans pass you as you follow through (handheld or tripod)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;{EDIT}&#xA;beg, borrow some go-pros and mount them in all places to get some action shots&lt;/p&gt;&#xA;&#xA;&lt;p&gt;SOOOO many options depending on what you want out of it in the end, good to have a storyboard of basic visuals first then work off those&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2015-02-16T17:58:05.267" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14876" PostTypeId="2" ParentId="14869" CreationDate="2015-02-16T18:07:53.387" Score="0" Body="&lt;p&gt;This is a know bug of adobe premiere pro&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See:&#xA;&lt;a href=&quot;http://forums.adobe.com/thread/1022632?tstart=0&quot; rel=&quot;nofollow&quot;&gt;http://forums.adobe.com/thread/1022632?tstart=0&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Workarounds:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Use the Canon XF Utility to create a single MXF file of your spanned clips.&#xA;Import the new file into the project. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2)&#xA;The problem you are facing is that you are probably just copying a single subclip over.&#xA;What you need to do is copy the WHOLE folder over.&#xA;Then use the media browser to find the clip.&#xA;Then import it into your premiere pro and that should work.&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2015-02-16T18:07:53.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14877" PostTypeId="2" ParentId="14841" CreationDate="2015-02-16T18:13:17.730" Score="5" Body="&lt;p&gt;h.264 is very widely supported and can be found in multiple different types of container formats.  mp4 or m4v are probably the most widely used extensions, but particular support for files varies based on what players are installed on devices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MP4 is the official MPEG 4 standard container format.  M4V is an originally Apple based container which also added AVC support, but is still a bit more open than MOV.  Most players will also interchangeably play a file regardless of an M4V or MP4 extension provided that they support reading both file formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MP4 probably has slightly better overall compatibility while M4V probably has slightly better compatibility on Apple devices, but that is also subject to change and is hard to measure accurately.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-02-16T18:13:17.730" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14878" PostTypeId="1" CreationDate="2015-02-16T19:27:55.903" Score="1" ViewCount="173" Body="&lt;p&gt;i'm facing the challenge of creating a &quot;TV-Show&quot;. To understand why i do this i will explain it in detail, but summarize it in the end, for the ones who just want to know what my problem is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;LONG VERSION:&#xA;At my school we have a something call a 'graduation prank'. When every a class is leaving the school at the end of a year, they plan something where they do something funny. This is different every year.&#xA;This year we are going to leave the school. Your idea is it to produce a &quot;TV-Show&quot;. We want to stream it over your pretty fast local network (we have wifi in the wholes school connection [so the speed intern will not be a problem i think]). We will pre-produce some sketchs and short clips but also want to do live things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PROBLEM:&#xA;I need hardware and software to produce and stream a videostream to a local network. I search the web a lot and came up with a few ideas.&#xA;The main part is a &quot;BlackMagic ATEM Television Switch&quot;. It will switch our HDMI/SDI cameras (we have them). The ATEM needs to be bought. To get the video into a PC (i think of two MacBook Pro Retina late 2014 with nVidea [we have them too])  i would like to use the &quot;BlackMagic Design UltraStudio Mini Recorder&quot;.&#xA;Hardware ok. But what software could i use? Wirecast, Adobe Flash thingi?! I downloaded a few but are they able to stream to a local network? I only saw things like Twitch and Youtube (thins wont work, we have no good up/down-link, only intern a lot of speed).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So: Is here someone who knows a program with what i can stream to a local network. Use capterd video data and play pre-made clips? Maybe even some Chroma-Keying?&#xA;And: How does my Hardware setup sounds to you?&lt;/p&gt;&#xA;" OwnerUserId="9340" LastActivityDate="2015-02-16T19:27:55.903" Title="Producing and streaming to a local Network" Tags="|video|streaming|live|broadcasting|live-performance|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14880" PostTypeId="2" ParentId="4032" CreationDate="2015-02-17T01:30:29.273" Score="-1" Body="&lt;p&gt;The only success I've had in AE with regard to rendering a video that has a transparent background is to render it as an FLV file. The other outputs I tried (various MPEGs, MOV, AVI) always pulled a background into the export regardless of the fact I had the transparent background toggle on. (Reminder: also render as RGB+Alpha).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There should be a toggle button to click as to whether or not you want the original video to be in the background of an effect or on top.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With regard to creating a PNG sequence, you'll end up with a PNG image for every frame in your sequence......just sayin' I tried it once.....but only once......I ended up with THOUSANDS of PNG images. I deleted them all and started over because there was no way I was going to assemble all of those. augh!)&lt;/p&gt;&#xA;" OwnerUserId="9343" LastActivityDate="2015-02-17T01:30:29.273" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14883" PostTypeId="1" CreationDate="2015-02-17T14:24:45.717" Score="2" ViewCount="1647" Body="&lt;p&gt;I am going to be working on a video project that needs closed captioning. The requirement we got from the client says....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Closed Captioning&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Embedded Timed Text subtitle track (ISO/IEC 14496-17)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;After doing some research I haven't been able to find anything that would let you embed a Timed Text file into a video. Is that even possible? What would be the process for accomplishing this? I am using Adobe Premiere.&lt;/p&gt;&#xA;" OwnerUserId="10345" LastActivityDate="2015-03-03T05:31:10.497" Title="Embedded Timed Text for closed-captioning? Is that possible?" Tags="|subtitles|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14884" PostTypeId="1" CreationDate="2015-02-17T16:50:21.827" Score="1" ViewCount="244" Body="&lt;p&gt;I have imported one project into another in Premier. After that I got all clips I had in old project visible in new one, at left. But I need only some of them. Unfortunately, when I am trying to delete clips, I get a message:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/BtL2M.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;which makes me think, that if I agree, I will delete clip from both project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I don't want to touch old project. How to import clips leaving old project intact?&lt;/p&gt;&#xA;" OwnerUserId="2122" LastActivityDate="2015-04-18T18:23:43.297" Title="How to import clips from one project into another in Adobe Premiere?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14885" PostTypeId="1" AcceptedAnswerId="14887" CreationDate="2015-02-17T17:17:22.890" Score="1" ViewCount="808" Body="&lt;p&gt;I edited a project in Premiere CC and my client owns Premiere CS 5.5, how can I save the project file so he can use it too?&lt;/p&gt;&#xA;" OwnerUserId="6545" LastActivityDate="2015-02-17T17:31:59.277" Title="How can I save the project for premiere cs 5.5?" Tags="|premiere|cs5|cc-2014|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14886" PostTypeId="2" ParentId="14884" CreationDate="2015-02-17T17:19:19.407" Score="1" Body="&lt;p&gt;If you only need one of the clips you used in the old project, you should only import that one and don't even use the old project file. Locate the clip on your hard drive and import it into premiere, e.g. by dragging it onto the project panel. If you have trouble finding it, open the old project, find the clip in the project panel and right-click -&gt; &lt;strong&gt;Reveal in Explorer...&lt;/strong&gt;. That should show you it's location on your hard drive.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-02-17T17:19:19.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14887" PostTypeId="2" ParentId="14885" CreationDate="2015-02-17T17:26:49.487" Score="1" Body="&lt;p&gt;Short answer: You can't. Unfortunately, there is no way to save a project so that it can be used in older versions of the program. That's a major downside of Premiere Pro, especially since this &lt;strong&gt;is&lt;/strong&gt; possible with most other programs of the Adobe Creative Cloud (InDesign, Illustrator, Photoshop, ...). But at the moment, you can't do that with Premiere Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You &lt;strong&gt;could&lt;/strong&gt; use EDL files (Editing decision list). From Wikipedia:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;An edit decision list or EDL is used in the post-production process of&#xA;  film editing and video editing. The list contains an ordered list of&#xA;  reel and timecode data representing where each video clip can be&#xA;  obtained in order to conform the final cut.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;However, only the order and timecodes of the clips in your sequence will be carried over. All effects and other settings you already put in place will be lost.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2015-02-17T17:31:59.277" LastActivityDate="2015-02-17T17:31:59.277" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14888" PostTypeId="1" AcceptedAnswerId="14894" CreationDate="2015-02-17T21:33:31.517" Score="1" ViewCount="87" Body="&lt;p&gt;Sorry for noob question or a possible duplicate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We got a .mov inside a AE project. What we are trying to do is change the tempo of this so duration isn't 4 sec for example, but instead cause our audio is 6 seconds we would like it to simply scale in time so it becomes 6 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to do it?&#xA;&lt;img src=&quot;https://i.stack.imgur.com/4bkU0.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="10346" LastEditorUserId="10346" LastEditDate="2015-02-17T22:06:46.150" LastActivityDate="2015-02-19T00:16:28.483" Title="How to change the pace of imported mov video clip in after effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14890" PostTypeId="1" CreationDate="2015-02-17T23:12:43.240" Score="1" ViewCount="10835" Body="&lt;p&gt;I have a Nikon D3200 and I want to take pictures/record video from my mac, I mean use the nikon like a web cam or something, I use Final Cut Pro X and Adobe Premiere Pro for editing if that could work. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="10347" LastActivityDate="2015-03-20T01:06:38.417" Title="How to live feed video from a Nikon D3200 to a Mac?" Tags="|video-recording|nikon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14891" PostTypeId="2" ParentId="14890" CreationDate="2015-02-18T00:10:05.580" Score="1" Body="&lt;p&gt;Since your camera supports NTSC and PAL video over HDMI, recording video from a mac won't be much of a problem.  You'll just need a small conversion box to get the video in.  For our macs with thunderbolt, we use an &lt;a href=&quot;http://www.bhphotovideo.com/c/product/892453-REG/Blackmagic_Design_bdlkulsdzminrec_Ultrastudio_Mini_Recorder.html&quot; rel=&quot;nofollow&quot;&gt;Ultra Studio Mini Recorder&lt;/a&gt;.  If you don't have thunderbolt, Grass Valley has &lt;a href=&quot;http://www.bhphotovideo.com/c/search?Ntt=ADVC-HD50&amp;amp;N=0&amp;amp;InitialSearch=yes&amp;amp;sts=ma&amp;amp;Top%20Nav-Search=&quot; rel=&quot;nofollow&quot;&gt;a product&lt;/a&gt; that works over firewire.  Once the feed's connected, you can capture from within Final Cut.  Just open the import window (cmd-i) and you'll see a list of cameras at the top left.  In fact you can probably try this out now, because if your monitor has a camera in it, it'll be listed as a facetime camera.  Select the facetime camera or ultra studio or whatever your input source is, and click import.  When you're done, click stop import.  The recording will show up in your events browser.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as taking pictures from your mac, I know there's an app for Cannon cameras that lets you adjust settings, trigger the shutter, and download the image over USB.  Nikon probably has one too, but I don't know for sure.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-02-18T00:10:05.580" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14892" PostTypeId="1" AcceptedAnswerId="14909" CreationDate="2015-02-18T05:37:50.437" Score="5" ViewCount="10092" Body="&lt;p&gt;Is there a method in After Effects of animating the outlines of text as seen in the example below?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/9gIXZ.gif&quot; alt=&quot;Outlines&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="9220" LastActivityDate="2022-11-21T18:51:54.173" Title="How to animate the outlines of text (After Effects)" Tags="|after-effects|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14893" PostTypeId="2" ParentId="10350" CreationDate="2015-02-18T06:22:21.957" Score="1" Body="&lt;p&gt;You can use ffprobe (which comes with ffmpeg) to give you info about your movie files from the command line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may require some shell-fu to convert the output of ffprobe into something you can use though. I've done this in the past; basically I pipe the output of ffprobe to sed or awk to grab the bits of info I need, then use this to drive the parameters of ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-02-18T06:22:21.957" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14894" PostTypeId="2" ParentId="14888" CreationDate="2015-02-18T06:50:26.137" Score="4" Body="&lt;h3&gt;Method 1&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;The Last column on the right — in your pic it says &lt;strong&gt;растягиваться&lt;/strong&gt; but in the English version of AE it's called &lt;strong&gt;Stretch&lt;/strong&gt; — that's the one you need to modify Click on the number that says &lt;strong&gt;100%&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, select the layer and from the &lt;strong&gt;Layer&lt;/strong&gt; menu choose &lt;strong&gt;Time&gt;Time Stretch…&lt;/strong&gt; (I'm not sure what it is in Russian).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you'll get a dialog that lets you choose the duration you want, or a stretch factor if you want to choose the playback speed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ilja0.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Method 2:&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;Apply Time Remapping to the layer (choose &lt;strong&gt;Layer&lt;/strong&gt; from the menu or Right-Click the layer and then choose &lt;strong&gt;Time&gt;Enable Time Remapping&lt;/strong&gt; or hit &lt;kbd&gt;cmd/ctrl&lt;/kbd&gt;&lt;kbd&gt;alt/option&lt;/kbd&gt;&lt;kbd&gt;T&lt;/kbd&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will create a keyframe at the start and end of the layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Drag the last keyframe to the point where you want the layer to end.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Method 3&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;Park the playhead at the time you want the layer to end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the layer selected hit &lt;kbd&gt;ctrl/command&lt;/kbd&gt;&lt;kbd&gt;alt/option&lt;/kbd&gt;&lt;kbd&gt;,&lt;/kbd&gt;, which will stretch the out point to the current time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do the same with the in point using &lt;kbd&gt;ctrl/command&lt;/kbd&gt;&lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;,&lt;/kbd&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-02-19T00:16:28.483" LastActivityDate="2015-02-19T00:16:28.483" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14895" PostTypeId="2" ParentId="8637" CreationDate="2015-02-18T15:09:43.173" Score="0" Body="&lt;p&gt;Blender is now in the actual version of 2.73 a huge competitor to all the big proprietary animation programs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is not even the software, but the budget for employing scriptwriters (most important, because the story is number one of the list for a successful movie), voice actors, designers, matte painters, rigging specialists, animators, musicians, compositors ... you would need a budget of several millions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have seen a movie done entirely in 3DS Max Studio. The &quot;uberector&quot; (that is the name for a person who makes a movie entirely alone), has switched now to Blender 3D because it's becoming better and better and reaching a point where you don't even think about to use Maya or Lightwave or whatever is on the market.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the main problem remains always the same: Do you have a story for a full featured movie? Yes? Ok, then have you draw a storyboard for the 80 minutes of movie? Have you already the music? And have you asked you're friends and neighbors if they are willed to play a role as voice actors? If yes I guess you have spend the last 3 years only on this part of the movie making process. ... Only now comes the part of 3D animation, compositing, modelling, rigging, ... it's hard work indeed.&lt;/p&gt;&#xA;" OwnerUserId="10349" LastActivityDate="2015-02-18T15:09:43.173" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14897" PostTypeId="2" ParentId="14892" CreationDate="2015-02-18T21:22:50.317" Score="0" Body="&lt;p&gt;This process is mostly manual, but it shouldn't take long to accomplish.  I'll assume the background of your finished video is going to be a solid color, as it is in your example.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create your text.  Make the &quot;body&quot; of each letter either transparent or matching the background color.  Add a stroke (outline) around all the text.  (This can be done in Photoshop; I'm not sure about After Effects.)&lt;/li&gt;&#xA;&lt;li&gt;As a separate file, create a small circle or other shape that matches the background color.  (This can be done in Photoshop or even in MS Paint.)&lt;/li&gt;&#xA;&lt;li&gt;In After Effects or Premiere, place your text.  Also place several instances of the small circles/shapes, which should be impossible to see unless they are over a text stroke.&lt;/li&gt;&#xA;&lt;li&gt;Animate the small circles/shapes so they travel around the text strokes.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-02-18T21:22:50.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14899" PostTypeId="1" CreationDate="2015-02-19T04:07:56.927" Score="1" ViewCount="1773" Body="&lt;p&gt;I am working on my fight premiere video. I do have a really expensive high end computer. First I only used 16 gb of ram and when it would use the 16gb adobe would freeze and it would kind of get stuck. Now I plugged in 32 additional gigs and I have 48 gigs of ram. However my computer isn't using more then 31 GB. At first I had issues because the standby ram wasn't being reduced and there would be no free ram. I downloaded microsoft's utility to free stanby ram.  Now I have 17 gigs free. &lt;img src=&quot;https://i.stack.imgur.com/n4Kxv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It still refuses to allocate more ram to premiere. &#xA;Is this because premiere isn't used to have 48 gigs? can I lift this ram cap somewhere? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;it hits a ceiling of 31 gigs of ram and refuses to allocate further. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/cwWoi.png&quot; alt=&quot;http://i.gyazo.com/6bdcbbd7535a6ffede9002d824b9e164.png&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I upgraded from premiere cs6 to 2014.1 cc pro and pro started using almost all the ram at times. However that didn't solve issues for me.&lt;/p&gt;&#xA;" OwnerUserId="10352" LastEditorUserId="3295" LastEditDate="2015-02-19T14:41:53.983" LastActivityDate="2016-07-01T20:56:38.373" Title="lift adobe premiere ram allocation limit?" Tags="|premiere|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14902" PostTypeId="1" CreationDate="2015-02-19T08:02:14.997" Score="1" ViewCount="353" Body="&lt;p&gt;Using Encoder 2014.2 for mp4 file encoding in 4 different resolutions&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2 different HW systems - Windows 8.1 64, Intel i7, SSD, Nvidia GTX 780x2 SLI&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Configured Watched Folders with 4 different presets&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Around 20 mp4 moved to watched folder and waited caching to be finished&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After encoding first 2-3 files are OK (in all 4 resolutions) but rest have only 1/3 of audio&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cleared cache, moved to other disc - no luck, the same problem - renderd video files missing 2/3 of audio&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It might be related to cache.problems?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fully encoded files have onle one pair of .pek and .cfa files&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Partial audio encoded files have 4-8 .pek .cfa files with _1 _2 _3 extension&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tried this one:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Launched AME Moved 20 files to watched folder&lt;/li&gt;&#xA;&lt;li&gt;Waited until conforming is done &lt;/li&gt;&#xA;&lt;li&gt;Delete all files ending _1 _2 and _3 &lt;/li&gt;&#xA;&lt;li&gt;Start encoding &lt;/li&gt;&#xA;&lt;li&gt;Before each rendering AME still conforming each file, but creating only one new pair of files ending _1 &lt;/li&gt;&#xA;&lt;li&gt;Seems problem is gone&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Any clues about reason?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the list of initial caching list (size of _1 _2 _3 files are similar to initial file)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;•   Directory of C:\Temp_Adobe\Media Cache Files&lt;/p&gt;&#xA;&#xA;&lt;p&gt;•   19.02.2015.  09:04       631ÿ242ÿ752 Video_file-035.mp4 48000.cfa&#xA;•   19.02.2015.  09:04         2ÿ465ÿ860 Video_file-035.mp4 48000.pek&#xA;•   19.02.2015.  09:04       613ÿ941ÿ248 Video_file-036.mp4 48000.cfa&#xA;•   19.02.2015.  09:04         2ÿ398ÿ276 Video_file-036.mp4 48000.pek&#xA;•   19.02.2015.  09:04       613ÿ941ÿ248 Video_file-036.mp4 48000_1.cfa&#xA;•   19.02.2015.  09:04         2ÿ398ÿ276 Video_file-036.mp4 48000_1.pek&#xA;•   19.02.2015.  09:03       631ÿ242ÿ752 Video_file-037.mp4 48000.cfa&#xA;•   19.02.2015.  09:03         2ÿ465ÿ860 Video_file-037.mp4 48000.pek&#xA;•   19.02.2015.  09:04       561ÿ512ÿ448 Video_file-038.mp4 48000.cfa&#xA;•   19.02.2015.  09:04         2ÿ193ÿ476 Video_file-038.mp4 48000.pek&#xA;•   19.02.2015.  09:04       561ÿ512ÿ448 Video_file-038.mp4 48000_1.cfa&#xA;•   19.02.2015.  09:04         2ÿ193ÿ476 Video_file-038.mp4 48000_1.pek&#xA;•   19.02.2015.  09:04       561ÿ512ÿ448 Video_file-038.mp4 48000_2.cfa&#xA;•   19.02.2015.  09:04         2ÿ193ÿ476 Video_file-038.mp4 48000_2.pek&#xA;•   19.02.2015.  09:04       585ÿ629ÿ696 Video_file-039.mp4 48000.cfa&#xA;•   19.02.2015.  09:04         2ÿ287ÿ684 Video_file-039.mp4 48000.pek&#xA;•   19.02.2015.  09:04       585ÿ629ÿ696 Video_file-039.mp4 48000_1.cfa&#xA;•   19.02.2015.  09:04         2ÿ287ÿ684 Video_file-039.mp4 48000_1.pek&#xA;•   19.02.2015.  09:04       585ÿ629ÿ696 Video_file-039.mp4 48000_2.cfa&#xA;•   19.02.2015.  09:04         2ÿ287ÿ684 Video_file-039.mp4 48000_2.pek&#xA;•   19.02.2015.  09:05       593ÿ494ÿ016 Video_file-040.mp4 48000.cfa&#xA;•   19.02.2015.  09:05         2ÿ318ÿ404 Video_file-040.mp4 48000.pek&#xA;•   19.02.2015.  09:05       593ÿ494ÿ016 Video_file-040.mp4 48000_1.cfa&#xA;•   19.02.2015.  09:05         2ÿ318ÿ404 Video_file-040.mp4 48000_1.pek&#xA;•   19.02.2015.  09:05       593ÿ494ÿ016 Video_file-040.mp4 48000_2.cfa&#xA;•   19.02.2015.  09:05         2ÿ318ÿ404 Video_file-040.mp4 48000_2.pek&#xA;•   19.02.2015.  09:05       519ÿ045ÿ120 Video_file-041.mp4 48000.cfa&#xA;•   19.02.2015.  09:05         2ÿ027ÿ588 Video_file-041.mp4 48000.pek&#xA;•   19.02.2015.  09:05       519ÿ045ÿ120 Video_file-041.mp4 48000_1.cfa&#xA;•   19.02.2015.  09:05         2ÿ027ÿ588 Video_file-041.mp4 48000_1.pek&#xA;•   19.02.2015.  09:05       519ÿ045ÿ120 Video_file-041.mp4 48000_2.cfa&#xA;•   19.02.2015.  09:05         2ÿ027ÿ588 Video_file-041.mp4 48000_2.pek&#xA;•   19.02.2015.  09:05       519ÿ045ÿ120 Video_file-041.mp4 48000_3.cfa&#xA;•   19.02.2015.  09:05         2ÿ027ÿ588 Video_file-041.mp4 48000_3.pek&#xA;•   19.02.2015.  09:05       602ÿ931ÿ200 Video_file-042.mp4 48000.cfa&#xA;•   19.02.2015.  09:05         2ÿ355ÿ268 Video_file-042.mp4 48000.pek&#xA;•   19.02.2015.  09:05       602ÿ931ÿ200 Video_file-042.mp4 48000_1.cfa&#xA;•   19.02.2015.  09:05         2ÿ355ÿ268 Video_file-042.mp4 48000_1.pek&#xA;•   19.02.2015.  09:05       602ÿ931ÿ200 Video_file-042.mp4 48000_2.cfa&#xA;•   19.02.2015.  09:05         2ÿ355ÿ268 Video_file-042.mp4 48000_2.pek&#xA;•   19.02.2015.  09:05       602ÿ931ÿ200 Video_file-042.mp4 48000_3.cfa&#xA;•   19.02.2015.  09:05         2ÿ355ÿ268 Video_file-042.mp4 48000_3.pek&#xA;•   19.02.2015.  09:05       595ÿ066ÿ880 Video_file-043.mp4 48000.cfa&#xA;•   19.02.2015.  09:05         2ÿ324ÿ548 Video_file-043.mp4 48000.pek&#xA;•   19.02.2015.  09:05       595ÿ066ÿ880 Video_file-043.mp4 48000_1.cfa&#xA;•   19.02.2015.  09:05         2ÿ324ÿ548 Video_file-043.mp4 48000_1.pek&#xA;•   19.02.2015.  09:05       595ÿ066ÿ880 Video_file-043.mp4 48000_2.cfa&#xA;•   19.02.2015.  09:05         2ÿ324ÿ548 Video_file-043.mp4 48000_2.pek&#xA;•   19.02.2015.  09:05       557ÿ842ÿ432 Video_file-044.mp4 48000.cfa&#xA;•   19.02.2015.  09:05         2ÿ179ÿ140 Video_file-044.mp4 48000.pek&#xA;•   19.02.2015.  09:05       557ÿ842ÿ432 Video_file-044.mp4 48000_1.cfa&#xA;•   19.02.2015.  09:05         2ÿ179ÿ140 Video_file-044.mp4 48000_1.pek&#xA;•   19.02.2015.  09:05       557ÿ842ÿ432 Video_file-044.mp4 48000_2.cfa&#xA;•   19.02.2015.  09:05         2ÿ179ÿ140 Video_file-044.mp4 48000_2.pek&#xA;•   19.02.2015.  09:06       557ÿ842ÿ432 Video_file-044.mp4 48000_3.cfa&#xA;•   19.02.2015.  09:06         2ÿ179ÿ140 Video_file-044.mp4 48000_3.pek&#xA;•   19.02.2015.  09:06       613ÿ416ÿ960 Video_file-045.mp4 48000.cfa&#xA;•   19.02.2015.  09:06         2ÿ396ÿ228 Video_file-045.mp4 48000.pek&#xA;•   19.02.2015.  09:06       613ÿ416ÿ960 Video_file-045.mp4 48000_1.cfa&#xA;•   19.02.2015.  09:06         2ÿ396ÿ228 Video_file-045.mp4 48000_1.pek&#xA;•   19.02.2015.  09:06       613ÿ416ÿ960 Video_file-045.mp4 48000_2.cfa&#xA;•   19.02.2015.  09:06         2ÿ396ÿ228 Video_file-045.mp4 48000_2.pek&#xA;•   19.02.2015.  09:06       613ÿ416ÿ960 Video_file-045.mp4 48000_3.cfa&#xA;•   19.02.2015.  09:06         2ÿ396ÿ228 Video_file-045.mp4 48000_3.pek&#xA;•   19.02.2015.  09:06       619ÿ184ÿ128 Video_file-046.mp4 48000.cfa&#xA;•   19.02.2015.  09:06         2ÿ418ÿ756 Video_file-046.mp4 48000.pek&#xA;•   19.02.2015.  09:06       619ÿ184ÿ128 Video_file-046.mp4 48000_1.cfa&#xA;•   19.02.2015.  09:06         2ÿ418ÿ756 Video_file-046.mp4 48000_1.pek&#xA;•   19.02.2015.  09:06       619ÿ184ÿ128 Video_file-046.mp4 48000_2.cfa&#xA;•   19.02.2015.  09:06         2ÿ418ÿ756 Video_file-046.mp4 48000_2.pek&#xA;•   19.02.2015.  09:06       619ÿ184ÿ128 Video_file-046.mp4 48000_3.cfa&#xA;•   19.02.2015.  09:06         2ÿ418ÿ756 Video_file-046.mp4 48000_3.pek&#xA;•   19.02.2015.  09:06       601ÿ358ÿ336 Video_file-047.mp4 48000.cfa&#xA;•   19.02.2015.  09:06         2ÿ349ÿ124 Video_file-047.mp4 48000.pek&#xA;•   19.02.2015.  09:06       601ÿ358ÿ336 Video_file-047.mp4 48000_1.cfa&#xA;•   19.02.2015.  09:06         2ÿ349ÿ124 Video_file-047.mp4 48000_1.pek&#xA;•   19.02.2015.  09:06       601ÿ358ÿ336 Video_file-047.mp4 48000_2.cfa&#xA;•   19.02.2015.  09:06         2ÿ349ÿ124 Video_file-047.mp4 48000_2.pek&#xA;•   19.02.2015.  09:06       601ÿ358ÿ336 Video_file-047.mp4 48000_3.cfa&#xA;•   19.02.2015.  09:06         2ÿ349ÿ124 Video_file-047.mp4 48000_3.pek&#xA;•   19.02.2015.  09:07       618ÿ135ÿ552 Video_file-048.mp4 48000.cfa&#xA;•   19.02.2015.  09:07         2ÿ414ÿ660 Video_file-048.mp4 48000.pek&#xA;•   19.02.2015.  09:07       618ÿ135ÿ552 Video_file-048.mp4 48000_1.cfa&#xA;•   19.02.2015.  09:07         2ÿ414ÿ660 Video_file-048.mp4 48000_1.pek&#xA;•   19.02.2015.  09:07       618ÿ135ÿ552 Video_file-048.mp4 48000_2.cfa&#xA;•   19.02.2015.  09:07         2ÿ414ÿ660 Video_file-048.mp4 48000_2.pek&#xA;•   19.02.2015.  09:07       618ÿ135ÿ552 Video_file-048.mp4 48000_3.cfa&#xA;•   19.02.2015.  09:07         2ÿ414ÿ660 Video_file-048.mp4 48000_3.pek&#xA;•   19.02.2015.  09:07       619ÿ708ÿ416 Video_file-049.mp4 48000.cfa&#xA;•   19.02.2015.  09:07         2ÿ420ÿ804 Video_file-049.mp4 48000.pek&#xA;•   19.02.2015.  09:07       619ÿ708ÿ416 Video_file-049.mp4 48000_1.cfa&#xA;•   19.02.2015.  09:07         2ÿ420ÿ804 Video_file-049.mp4 48000_1.pek&#xA;•   19.02.2015.  09:07       619ÿ708ÿ416 Video_file-049.mp4 48000_2.cfa&#xA;•   19.02.2015.  09:07         2ÿ420ÿ804 Video_file-049.mp4 48000_2.pek&#xA;•   19.02.2015.  09:07       619ÿ708ÿ416 Video_file-049.mp4 48000_3.cfa&#xA;•   19.02.2015.  09:07         2ÿ420ÿ804 Video_file-049.mp4 48000_3.pek&#xA;•   19.02.2015.  09:07       597ÿ164ÿ032 Video_file-050.mp4 48000.cfa&#xA;•   19.02.2015.  09:07         2ÿ332ÿ740 Video_file-050.mp4 48000.pek&#xA;•   19.02.2015.  09:07       597ÿ164ÿ032 Video_file-050.mp4 48000_1.cfa&#xA;•   19.02.2015.  09:07         2ÿ332ÿ740 Video_file-050.mp4 48000_1.pek&#xA;•   19.02.2015.  09:07       597ÿ164ÿ032 Video_file-050.mp4 48000_2.cfa&#xA;•   19.02.2015.  09:07         2ÿ332ÿ740 Video_file-050.mp4 48000_2.pek&#xA;•   19.02.2015.  09:07       597ÿ164ÿ032 Video_file-050.mp4 48000_3.cfa&#xA;•   19.02.2015.  09:07         2ÿ332ÿ740 Video_file-050.mp4 48000_3.pek&lt;/p&gt;&#xA;" OwnerUserId="10353" LastActivityDate="2015-04-25T14:08:17.193" Title="Adobe Media Encoder 2014.2 Part of audio missing in mp4 AAC rendered files - cache problem?" Tags="|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14903" PostTypeId="1" CreationDate="2015-02-19T10:21:15.863" Score="2" ViewCount="62" Body="&lt;p&gt;I'm wondering if there is a maximum length for an exr image sequence or an image sequence in general. In After Effects I'm having trouble to load long exr image sequences&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Image sequence is loading fine to a certain length and then it doesn't load the following frames it either shows them like the footage is not connected (colored test screen) or it shows the last frame that was successfully loaded.&lt;/p&gt;&#xA;" OwnerUserId="8064" LastEditorUserId="8064" LastEditDate="2015-02-19T11:16:22.333" LastActivityDate="2015-02-19T11:33:47.867" Title="How long should the maximum length of an exr sequence be?" Tags="|after-effects|formats|" AnswerCount="1" CommentCount="10" ClosedDate="2015-02-20T08:31:21.473" ContentLicense="CC BY-SA 3.0" />
  <row Id="14905" PostTypeId="1" CreationDate="2015-02-19T10:59:59.587" Score="0" ViewCount="142" Body="&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/k4y36.png&quot; alt=&quot;enter image description here&quot;&gt;&#xA;In this screenshot you can see it using 20 gigs of ram, without using any gpu or cpu, while the render window being open for 5 minutes without any progress. Gpu cuda setting is enabled, 3 gigs are allowed for the rest of the computer. There are 27 free gigs that premiere could be using but refuses to use, the cpu is mostly idling. It's frozen. for no reason at all. It just freezes and sits on its ass.&#xA;I managed to edit the first half of my footage, but when working with the second half, I can't even play the preview playback thing. I press play and nothing even happens. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right now I am trying to export what I have edited and maybe use a different program to finish editing, or maybe export it into a file and import it back as a single file, however when I try yo export it just sits at encoding sequence 01 at 0% doing absolutely nothing.&lt;/p&gt;&#xA;" OwnerUserId="10352" LastActivityDate="2015-03-23T04:16:04.977" Title="Why does premiere perform so badly when it shouldn't?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14906" PostTypeId="2" ParentId="14903" CreationDate="2015-02-19T11:33:47.867" Score="0" Body="&lt;p&gt;Maybe check the frame after it stops loading, it could be a corrupt file that causes After Effects to stop loading the rest of the files.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2015-02-19T11:33:47.867" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14907" PostTypeId="1" AcceptedAnswerId="14913" CreationDate="2015-02-19T19:24:06.767" Score="51" ViewCount="110573" Body="&lt;p&gt;I have some 4K 3840x2160 footage in MP4 format that I need to bring down to 1080p. I tried running &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i orig.mp4 -vf scale=1920:1080 smaller.mp4  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but the result is very poor quality, with the entire image being composed of square &quot;tiles&quot; as if I was magnifying 4:1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the output of running this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'origs/P1000003.MP4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 1&#xA;    compatible_brands: mp42avc1&#xA;    creation_time   : 2015-02-19 17:10:38&#xA;  Duration: 00:05:14.48, start: 0.000000, bitrate: 95903 kb/s&#xA;    Stream #0.0(und): Video: h264 (High), yuvj420p, 3840x2160 [PAR 1:1 DAR 16:9], 95792 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Metadata:&#xA;      creation_time   : 2015-02-19 17:10:38&#xA;    Stream #0.1(und): Audio: aac, 48000 Hz, stereo, s16, 125 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2015-02-19 17:10:38&#xA;Incompatible pixel format 'yuvj420p' for codec 'mpeg4', auto-selecting format 'yuv420p'&#xA;[buffer @ 0x22a3420] w:3840 h:2160 pixfmt:yuvj420p&#xA;[scale @ 0x22a3ce0] w:3840 h:2160 fmt:yuvj420p -&amp;gt; w:1920 h:1080 fmt:yuv420p flags:0x4&#xA;Output #0, mp4, to '1-short.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 1&#xA;    compatible_brands: mp42avc1&#xA;    creation_time   : 2015-02-19 17:10:38&#xA;    encoder         : Lavf53.21.1&#xA;    Stream #0.0(und): Video: mpeg4, yuv420p, 1920x1080 [PAR 1:1 DAR 16:9], q=2-31, 200 kb/s, 25 tbn, 25 tbc&#xA;    Metadata:&#xA;      creation_time   : 2015-02-19 17:10:38&#xA;    Stream #0.1(und): Audio: libvo_aacenc, 48000 Hz, stereo, s16, 200 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2015-02-19 17:10:38&#xA;Stream mapping:&#xA;  Stream #0.0 -&amp;gt; #0.0&#xA;  Stream #0.1 -&amp;gt; #0.1&#xA;Press ctrl-c to stop encoding&#xA;frame=  125 fps=  6 q=31.0 Lsize=     968kB time=5.00 bitrate=1586.7kbits/s    &#xA;video:842kB audio:123kB global headers:0kB muxing overhead 0.421047%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I know from experience that ffmpeg is an excellent tool, so I must be screwing up the options/parameters somehow...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do this? &lt;/p&gt;&#xA;" OwnerUserId="9169" LastEditorUserId="2178" LastEditDate="2015-02-20T09:17:21.927" LastActivityDate="2021-09-24T13:49:05.393" Title="How to downsample 4k to 1080p using ffmpeg while maintaining the quality?" Tags="|ffmpeg|file-formats|conversion|full-hd|4k|" AnswerCount="3" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="14908" PostTypeId="1" AcceptedAnswerId="14910" CreationDate="2015-02-19T21:28:25.477" Score="2" ViewCount="2983" Body="&lt;p&gt;Could anyone provide some insight on how to go about animating a vector flag (such as the one pictured below) to wave in the wind. Simultaneously, how could also animate what's &quot;printed&quot; on the flag to match? (Another example below). Thanks for any help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/EEfpp.png&quot; alt=&quot;Vector flag&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Xd18b.gif&quot; alt=&quot;Waving flag&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="9220" LastActivityDate="2015-02-19T23:16:31.317" Title="Waving flag in After Effects from vector" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14909" PostTypeId="2" ParentId="14892" CreationDate="2015-02-19T21:51:03.823" Score="2" Body="&lt;p&gt;Simplest way is to use the &lt;code&gt;Stroke&lt;/code&gt; Effect on a solid layer with separate letters as masks.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Create a new solid&lt;/li&gt;&#xA;&lt;li&gt;Write your text in Illustrator&lt;/li&gt;&#xA;&lt;li&gt;Convert it to a path&lt;/li&gt;&#xA;&lt;li&gt;Separate all letters  with the path finder or ungroup it&lt;/li&gt;&#xA;&lt;li&gt;Setup same document size as in After Effects&lt;/li&gt;&#xA;&lt;li&gt;Import your paths into after effects, pasting should also work with &lt;kbd&gt;CTRL&lt;/kbd&gt;+&lt;kbd&gt;V&lt;/kbd&gt;. Requirement is to have all of your &lt;strong&gt;paths from Illustrator as separate masks on the solid&lt;/strong&gt; in After Effects.&lt;/li&gt;&#xA;&lt;li&gt;Note: you can create separate paths from an image of letters within After Effects with the &lt;code&gt;auto trace&lt;/code&gt; option &lt;em&gt;(Layer &amp;gt; Auto Trace)&lt;/em&gt; - use black and white option and set it to the current frame &lt;em&gt;(Note: Tracing letters isn't really accurate)&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Apply the stroke effect to the solid layer which should be full of masks now&lt;/li&gt;&#xA;&lt;li&gt;Tick &lt;code&gt;All Masks&lt;/code&gt; option to make use of all masks&lt;/li&gt;&#xA;&lt;li&gt;Set the paint style to &lt;code&gt;transparent&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Go to your &lt;strong&gt;first frame&lt;/strong&gt; and set the &lt;code&gt;End&lt;/code&gt; value of the effect to &lt;code&gt;0%&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Click the stop watch of it to enable animation&lt;/li&gt;&#xA;&lt;li&gt;Go to your &lt;strong&gt;last frame&lt;/strong&gt; and set the &lt;code&gt;End&lt;/code&gt; value to &lt;code&gt;100%&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;You can play with the settings of the effect, but in general this should do what you want to achieve.&lt;/p&gt;&#xA;&lt;p&gt;Note: The order of masks determines the order of the animation. To reverse the effect simply duplicate the first keyframe and move it behind the second one.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="17147" LastEditDate="2022-11-21T18:51:54.173" LastActivityDate="2022-11-21T18:51:54.173" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="14910" PostTypeId="2" ParentId="14908" CreationDate="2015-02-19T22:43:06.607" Score="3" Body="&lt;p&gt;The simplest way would be: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Create your flag in Illustrator&lt;/li&gt;&#xA;&lt;li&gt;Think about or simply test how many frames/steps are key for animation&lt;/li&gt;&#xA;&lt;li&gt;Draw your &lt;em&gt;frames/steps&lt;/em&gt; on seperate Illustrator layers in to get the same position for all of it&lt;/li&gt;&#xA;&lt;li&gt;Paste your &lt;em&gt;frame/path&lt;/em&gt; with &lt;kbd&gt;CTRL&lt;/kbd&gt;+&lt;kbd&gt;V&lt;/kbd&gt; on &lt;strong&gt;1 solid layer&lt;/strong&gt; every 4-20 frames by switching between After Effects and Illustrator back and forth - time depends on your animation&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Explanation:&lt;/strong&gt; Through pasting the masks at a different time, After Effects automatically creates keyframes of the mask shape property. All copied shapes become interpolated keyframes like a roto shape animation to get soft transitions. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; The only limitation is that the number of anchor points &lt;em&gt;per vector image&lt;/em&gt; should remains the same to get soft interpolation between the &lt;em&gt;shape keys&lt;/em&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-02-19T23:16:31.317" LastActivityDate="2015-02-19T23:16:31.317" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="14911" PostTypeId="1" CreationDate="2015-02-20T00:41:47.387" Score="1" ViewCount="1238" Body="&lt;p&gt;I want the titles to look like they are actually there moving with other objects in the room&lt;/p&gt;&#xA;" OwnerUserId="10359" LastActivityDate="2015-02-20T01:30:18.643" Title="How do I make titles look like they are in the room as an object?" Tags="|final-cut-pro-x|post-production|adobe|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14912" PostTypeId="2" ParentId="14911" CreationDate="2015-02-20T01:23:12.390" Score="4" Body="&lt;p&gt;The technique you are looking for is called &quot;motion tracking&quot;.  Currently, FCPX doesn't have the ability to do this on its own, but you could use Apple Motion or Adobe After Effects to accomplish what you're after.  Motion tracking, in general, follows patterns of pixels as they move around the scene.  Depending on the effect you're after, and the demands of your scene, you may be able to get away with just using this x-y coordinate data.  If, for instance, you wanted to replace the text on a moving truck, you could just track the corners of the truck and &quot;corner-pin&quot; the new text over top of it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more advanced projects, you need to actually reconstruct the camera's position in space.  This technique is called &quot;3D camera tracking&quot;.  It's possible in After Effects (I don't remember if Motion has it though), and there are other apps which are purpose-built for this task, including: Boujou, Syntheyes and PFtrack.  Cinema 4D and Nuke also have this capability, but they do other stuff too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, 3D Motion tracking on its own is not enough to make your titles appear to actually be in the room.  You'll also need to composite the titles well, if you're going for &lt;em&gt;trompe-l'œil&lt;/em&gt; realism.  And if you want any of the objects in the room to pass in front of the text, to give the scene more depth and realism, you'll also need to research a technique called &quot;rotoscoping&quot;.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2015-02-20T01:30:18.643" LastActivityDate="2015-02-20T01:30:18.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14913" PostTypeId="2" ParentId="14907" CreationDate="2015-02-20T07:17:43.867" Score="37" Body="&lt;p&gt;&lt;strike&gt;The default settings for ffmpeg are very low quality, and since you don't specify any codec or quality parameters it's just using the defaults (I don't know why the devs don't fix that because it generates a lot of questions on forums everywhere).&lt;/strike&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;&lt;strong&gt;Edit&lt;/strong&gt;: the defaults are now quite sane. With a recent (as in later than 2017) build of ffmpeg you don't need to specify anything more than input and output files to achieve good useable results. You can, of course tweak to your heart's desire.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;Try adding &lt;strike&gt;&lt;code&gt;-c:v libx264&lt;/code&gt;&lt;/strike&gt; &lt;code&gt;-crf 20 -preset slow&lt;/code&gt; to the command.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strike&gt;&lt;code&gt;-c:v libx264&lt;/code&gt; tells it to use the libx264 encoder,&lt;/strike&gt; this is the default now, no need to specify it&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;crf 20&lt;/code&gt; uses the Constant Rate Factor quantiser (which paradoxially means variable bit rate, but constant quality) with a value of 20 (pretty good quality; lower is better quality / larger files, higher is crappier / smaller)—default is 23,&lt;/li&gt;&#xA;&lt;li&gt;the &lt;code&gt;slow&lt;/code&gt; preset is a shortcut for a bunch of encoder settings that means it puts a bit more effort into it than the default (medium). Note that the speed presets don't change the quality of the encoded file, just the efficiency, meaning a slower encode will result in a smaller file of the same quality and a faster encode will mean a larger file of the same quality.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;You can tweak these settings, see the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;noreferrer&quot;&gt;h.264 encoding guide&lt;/a&gt; for instructions on what knobs to twiddle.&lt;/p&gt;&#xA;&lt;p&gt;And if you're using the audio as-is, add &lt;code&gt;c:a copy&lt;/code&gt;. That will do a straight copy of the audio stream without re-encoding.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2021-04-09T05:11:26.587" LastActivityDate="2021-04-09T05:11:26.587" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="14915" PostTypeId="1" AcceptedAnswerId="14937" CreationDate="2015-02-20T11:34:31.770" Score="2" ViewCount="239" Body="&lt;p&gt;I need to build a ntsc dvd from a 25p movie. I've read about different solutions:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Using &lt;a href=&quot;https://forums.creativecow.net/thread/69/854628&quot; rel=&quot;nofollow&quot;&gt;twixtor to get ntsc&lt;/a&gt; framerate&lt;/li&gt;&#xA;&lt;li&gt;Using &lt;a href=&quot;http://neuron2.net/dgpulldown/dgpulldown.html&quot; rel=&quot;nofollow&quot;&gt;DGPulldown&lt;/a&gt; to flag it up to 29.97fps&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What is the most professional way without loosing any information? &lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-02-23T13:51:27.103" LastActivityDate="2015-02-23T13:51:27.103" Title="How to convert 25p to ntsc dvd?" Tags="|video|framerate|transcoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14916" PostTypeId="2" ParentId="14915" CreationDate="2015-02-20T12:41:35.113" Score="1" Body="&lt;p&gt;I personally would use media encoder and let it do the conversion. Convert it to a mpeg2-dvd format and pick a preset, you can adjust the preset to your liking. ME would do most of the heavy lifting. At this point I trust them to do the best job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I find that nothing beats actually trying it though, you're not really out anything but time. And very little time at that. It's not like your encoding each frame by hand. :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alex&lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2015-02-20T12:41:35.113" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14917" PostTypeId="2" ParentId="14905" CreationDate="2015-02-20T12:51:53.110" Score="1" Body="&lt;p&gt;Not sure if this was meant as rhetorical or not, but ..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think your problem is the WMV. Premiere never works well with it. I don't know if its the way its encoded or what. Can you not capture in something more universal?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It looks like you're making minecraft videos, try using fraps or something that captures in avi or mp4. Those would probably give you better performance also if youre greenscreening, its better to used an uncompressed format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your video card could be an expensive, awesome gaming card but still not adobe-certified for gpu acceleration. Using one that is can help with this issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/system-requirements.html&quot; rel=&quot;nofollow&quot;&gt;https://helpx.adobe.com/premiere-pro/system-requirements.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alex&lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2015-02-20T12:51:53.110" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14918" PostTypeId="2" ParentId="14902" CreationDate="2015-02-20T12:55:41.047" Score="1" Body="&lt;p&gt;I would do check on your ram to make sure its not having issues. You can do that with a number of utilities.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are running windows there is a built in util called MdSched.exe that will do this for you. Just type it in the search box after hitting the windows key.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also boot to a usb or dvd/cd and test it with memtest86. Get it at memtest86.com. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alex&lt;/p&gt;&#xA;" OwnerUserId="6369" LastEditorUserId="6369" LastEditDate="2015-02-24T13:43:52.987" LastActivityDate="2015-02-24T13:43:52.987" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14919" PostTypeId="1" CreationDate="2015-02-20T12:59:54.173" Score="0" ViewCount="156" Body="&lt;p&gt;I've been looking at some of the Marshall Video gear to be used with my BlackMagic ATEM TV Studio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering if anyone else has used any of these? Specifically the CV550-CS/B&#xA;&lt;a href=&quot;http://www.marshall-usa.com/optical/cameras/2-megapixel-miniature/CV550-CS-CSB.php&quot; rel=&quot;nofollow&quot;&gt;http://www.marshall-usa.com/optical/cameras/2-megapixel-miniature/CV550-CS-CSB.php&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to give them a shot but I'm confused on which one I need. I pretty sure the atem only uses 59.94 cameras but I know my go pros only put out 30p output and thats what I use currently. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also does anyone have any experience with the Marshall cameras?&lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2015-02-20T12:59:54.173" Title="Marshall Video Cameras and BMD ATEM" Tags="|video|camera|production|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14920" PostTypeId="1" CreationDate="2015-02-20T16:15:04.647" Score="3" ViewCount="2427" Body="&lt;p&gt;I have quite some hours of footage stored on disc. It's all static video of a bird's nest.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is anybody aware of an application that makes it easy to automatically scan these files and to jump ahead to the next sequence in which motion is detected?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you very much, &#xA;J.&lt;/p&gt;&#xA;" OwnerUserId="10362" LastActivityDate="2015-02-23T11:40:17.553" Title="Automatic Motion Detection in existing GoPro video files" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14922" PostTypeId="1" CreationDate="2015-02-20T18:39:29.937" Score="2" ViewCount="99" Body="&lt;p&gt;Why do digital cinema cameras, e.g., BlackMagic, Canon C series, etc. focus on using prime lenses over zoom lenses? Bear in mind that by &quot;zoom lenses&quot; I am referring to lenses with variable focal lengths, not telephoto lenses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A range of prime lenses that cover the most common range of focal lengths would cost you tens of thousands of dollars at least (for good ones anyway), meanwhile, a single zoom lens that covers the same range of focal lengths would cost under $1,000.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, why are prime lenses so prevalent in digital cinema?&lt;/p&gt;&#xA;" OwnerUserId="9207" LastActivityDate="2015-04-03T17:11:36.717" Title="Why does digital cinema focus on prime lenses?" Tags="|lenses|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14923" PostTypeId="2" ParentId="14922" CreationDate="2015-02-20T19:34:23.893" Score="0" Body="&lt;p&gt;For one, prime lenses aren't encumbered by all of the physical mechanisms required to make a zoom lens work.  They're simpler, and the loss of that bulk translates into a wider maximum aperture.  Less glass makes them more transmissive.  But also, each lens can be much more carefully crafted for a specific focal length, since it only covers one.  Zoom lenses, on the other hand, may have &quot;sweet spots&quot; where the lens performs best through a given focal range, but doesn't perform optimally throughout its entire range.  Since most seasoned cinematographers don't zoom during a shot, they often opt for quality over versatility.  But for an aspiring filmmaker on a budget, a zoom lens is often a good place to start.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As an additional note, certain lenses contain a manual iris control.  These are often called &quot;cine&quot; lenses, and are crucial for smooth exposure adjustment when shooting with certain cameras, including DSLRs and the Black Magic Cinema Camera.  Since still photographers do not require this functionality, the lenses are tailored to a much smaller audience, and are therefore more expensive.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2015-02-20T19:46:56.200" LastActivityDate="2015-02-20T19:46:56.200" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="14924" PostTypeId="1" AcceptedAnswerId="16939" CreationDate="2015-02-20T21:10:57.547" Score="3" ViewCount="6537" Body="&lt;p&gt;I'm trying to create a transparent box with some text in it and then overlay that onto a (bigger) existing video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I can do the text directly over the video, but I need the text bounded inside an invisible box.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is that the transparent box ( color=#00000000:size=400x100 ) causes the text that I put in it to be transparent too, no matter what fontcolor or shadowcolor or boxcolor (with opaque alpha) I try to give it. Is this a bug or am I doing it wrong (TM)? Is there an alternative way?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA; -i &quot;capture2.mkv&quot; -t 5 \&#xA; -filter_complex &quot;&#xA;   color=Blue:size=400x100 [canvas];&#xA;   [canvas]drawtext='&#xA;             :fontcolor=Red&#xA;             :fontsize=30&#xA;             :fontfile=/usr/share/fonts/dejavu/DejaVuSerif.ttf&#xA;             :text=Header blabla (long text should be clipped)&#xA;             ' [text];&#xA;   [0:v][text] overlay=&#xA;  &quot; -strict -2 -y output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The above works fine: blue box with red text on it. But as soon as I try to make the blue box transparent, the text starts fading too. The 2nd screenshot shows Blue@0.3&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/t6CIt.png&quot; alt=&quot;Blue box with text&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/vzikT.png&quot; alt=&quot;Blue@0.3 box with faded text&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Complete output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2.4.6 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built on Feb  1 2015 02:48:47 with gcc 4.9.2 (GCC) 20141101 (Red Hat 4.9.2-1)&#xA;  configuration: --prefix=/usr --bindir=/usr/bin --datadir=/usr/share/ffmpeg --incdir=/usr/include/ffmpeg --libdir=/usr/lib64 --mandir=/usr/share/man --arch=x86_64 --optflags='-O2 -g -pipe -Wall -Werror=format-security -Wp,-D_FORTIFY_SOURCE=2 -fexceptions -fstack-protector-strong --param=ssp-buffer-size=4 -grecord-gcc-switches -m64 -mtune=generic' --enable-bzlib --disable-crystalhd --enable-frei0r --enable-gnutls --enable-libass --enable-libcdio --enable-libdc1394 --disable-indev=jack --enable-libfreetype --enable-libgsm --enable-libmp3lame --enable-openal --enable-opencl --enable-libopencv --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libvorbis --enable-libv4l2 --enable-libvpx --enable-libx264 --enable-libx265 --enable-libxvid --enable-x11grab --enable-avfilter --enable-avresample --enable-postproc --enable-pthreads --disable-static --enable-shared --enable-gpl --disable-debug --disable-stripping --shlibdir=/usr/lib64 --enable-runtime-cpudetect&#xA;  libavutil      54.  7.100 / 54.  7.100&#xA;  libavcodec     56.  1.100 / 56.  1.100&#xA;  libavformat    56.  4.101 / 56.  4.101&#xA;  libavdevice    56.  0.100 / 56.  0.100&#xA;  libavfilter     5.  1.100 /  5.  1.100&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  0.100 /  3.  0.100&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  0.100 / 53.  0.100&#xA;Input #0, matroska,webm, from 'capture2.mkv':&#xA;  Metadata:&#xA;    ENCODER         : Lavf56.4.101&#xA;  Duration: 00:58:11.53, start: 0.000000, bitrate: 764 kb/s&#xA;    Stream #0:0: Video: h264 (High 4:4:4 Predictive), yuv444p, 1024x768, SAR 1:1 DAR 4:3, 30 fps, 30 tbr, 1k tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      ENCODER         : Lavc56.1.100 libx264&#xA;No pixel format specified, yuv444p for H.264 encoding chosen.&#xA;Use -pix_fmt yuv420p for compatibility with outdated media players.&#xA;[libx264 @ 0x1508840] using SAR=1/1&#xA;[libx264 @ 0x1508840] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.1 Cache64&#xA;[libx264 @ 0x1508840] profile High 4:4:4 Predictive, level 3.1, 4:4:4 8-bit&#xA;[libx264 @ 0x1508840] 264 - core 142 r2495 6a301b6 - H.264/MPEG-4 AVC codec - Copyleft 2003-2014 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=4 threads=3 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, matroska, to 'output.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf56.4.101&#xA;    Stream #0:0: Video: h264 (libx264) (H264 / 0x34363248), yuv444p, 1024x768 [SAR 1:1 DAR 4:3], q=-1--1, 30 fps, 1k tbn, 30 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc56.1.100 libx264&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; drawtext&#xA;  drawtext -&amp;gt; Stream #0:0 (libx264)&#xA;Press [q] to stop, [?] for help&#xA;frame=  150 fps= 46 q=-1.0 Lsize=      41kB time=00:00:04.93 bitrate=  67.8kbits/s    &#xA;video:39kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 3.940397%&#xA;[libx264 @ 0x1508840] frame I:1     Avg QP:18.30  size: 30586&#xA;[libx264 @ 0x1508840] frame P:38    Avg QP:23.35  size:    71&#xA;[libx264 @ 0x1508840] frame B:111   Avg QP:34.33  size:    56&#xA;[libx264 @ 0x1508840] consecutive B-frames:  1.3%  0.0%  0.0% 98.7%&#xA;[libx264 @ 0x1508840] mb I  I16..4: 35.1% 49.7% 15.2%&#xA;[libx264 @ 0x1508840] mb P  I16..4:  0.1%  0.1%  0.0%  P16..4:  0.1%  0.0%  0.0%  0.0%  0.0%    skip:99.6%&#xA;[libx264 @ 0x1508840] mb B  I16..4:  0.0%  0.2%  0.0%  B16..8:  0.4%  0.0%  0.0%  direct: 0.0%  skip:99.4%  L0:58.3% L1:41.7% BI: 0.0%&#xA;[libx264 @ 0x1508840] 8x8 transform intra:58.4% inter:46.2%&#xA;[libx264 @ 0x1508840] coded y,u,v intra: 7.6% 7.0% 6.9% inter: 0.0% 0.0% 0.0%&#xA;[libx264 @ 0x1508840] i16 v,h,dc,p: 76% 21%  4%  0%&#xA;[libx264 @ 0x1508840] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 25% 12% 64%  0%  0%  0%  0%  0%  0%&#xA;[libx264 @ 0x1508840] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 43% 20% 10%  4%  5%  5%  4%  4%  4%&#xA;[libx264 @ 0x1508840] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0x1508840] ref P L0: 41.0%  8.3% 42.0%  8.7%&#xA;[libx264 @ 0x1508840] ref B L0: 51.9% 46.4%  1.6%&#xA;[libx264 @ 0x1508840] ref B L1: 97.0%  3.0%&#xA;[libx264 @ 0x1508840] kb/s:63.22&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="9274" LastEditorUserId="9105" LastEditDate="2015-02-24T07:42:47.617" LastActivityDate="2015-12-18T19:19:24.347" Title="ffmpeg drawtext clipping to a bounding box" Tags="|ffmpeg|" AnswerCount="1" CommentCount="15" ContentLicense="CC BY-SA 3.0" />
  <row Id="14925" PostTypeId="2" ParentId="14922" CreationDate="2015-02-20T23:27:33.430" Score="2" Body="&lt;p&gt;You seem to have a serious misunderstanding of cinema lenses.  Primes are almost always cheaper to cover the same range than zoom lenses.  Comparing prime lenses that cost thousands of dollars a piece to a $1000 zoom lens is not a valid comparison.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a $2400 Canon 24-70 f/2.8 II.  It is the single best zoom lens Canon has ever made for under $50,000, yet it is only comparable in sharpness to the $300 - $400 f/1.4 lenses and barely exceeds the sharpness of the $100 f/1.8 primes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, sharpness is only one factor to consider, you also have speed.  Long exposures aren't an option with video, so if you want good low light performance, you need a fast lens.  Prime lenses are much, much faster than zooms and thus provide much better low light performance while keeping shutter speeds quick enough to avoid too much motion blur.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, even high end photography lenses are not parafocal, meaning that as you change the focal length, the focus shifts as well, making them undesirable for any kind of push or pull shot (though you can work around it by following focus carefully.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The cinema lenses help with this problem (though they don't solve it entirely), however, the Canon prime lenses are $20,000 a piece while the zoom lenses are $55,000 a piece the last time I looked at their pricing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So in short, primes are the cheaper and higher quality option on a budget.  You only really want zoom lenses when you need the flexibility on the fly or need to execute a pull or push shot.  Given the difficultly of pulling off a good pull or push with photography lenses, it isn't that common to bother with them unless the camera is also used for photography.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-02-20T23:27:33.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14926" PostTypeId="1" CreationDate="2015-02-21T08:52:50.623" Score="3" ViewCount="2175" Body="&lt;p&gt;I have filmed a small rock concert with 4 cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One of the cameras was filming short sequences (about 3 mins Clips), then paused for a few minutes and than resumed. Now it is quite a lot of work to synchronize These Clips. I'm using Premiere Pro and synchronizing by Audio is not working for those short Clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To solve this Problem I want to try to set the timecode of each Clip to the file creation date, which should be more or less relyable - and then do the fine Tuning Clip by Clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use right click on a Clip, Modify&gt;Timecode. But there I can only set the timecode at the beginning of the Clip (requires some calculation for each Clip).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know an easy method to synchronize These Videos? Can Premere Pro 8.2 automatically set the timecode relative to the file creation date? How can I set the timecode at the END of a Clip?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;edit:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used this CygWin script to get file creation Dates:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;stat -c '%W %n' *.MOV | sort -k1n &amp;gt; creation-times.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and converted the timestamps in Excel with this formula:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;= A1 / 86400 + 25569&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then I used this CygWin script to get Video Durations:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for f in *.MOV&#xA;do&#xA;  echo -n &quot;$f;&quot;&#xA;  /cygdrive/c/Path/MediaInfo_CLI_0.7.72_Windows_x64/MediaInfo.exe &quot;$f&quot; | awk -F: '/Duration/ { print $2; exit}'&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Afterwards I used standard excel formulas to calculate the start-timecodes of those clips.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.cygwin.com/&quot; rel=&quot;nofollow&quot;&gt;https://www.cygwin.com/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://mediaarea.net/en/MediaInfo/Download/Windows&quot; rel=&quot;nofollow&quot;&gt;http://mediaarea.net/en/MediaInfo/Download/Windows&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="10367" LastEditorUserId="-1" LastEditDate="2015-03-03T10:46:45.590" LastActivityDate="2024-03-24T01:03:10.360" Title="Setting timecode in Premiere Pro by using file creation date of clips" Tags="|premiere|sync|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14927" PostTypeId="1" AcceptedAnswerId="15240" CreationDate="2015-02-21T13:53:23.613" Score="3" ViewCount="2556" Body="&lt;p&gt;Audacity's noise reduction filter is pretty good.  Before I use it, though, I want to know if I'm missing out on any fundamentally different approaches that may work better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have some recordings of my brother singing and playing piano.  It's pretty good as-is, but there's noticeable white noise.  There's also a 60Hz signal that's audible (but not really objectionable) during quieter portions of the recording.  Audacity does a pretty good job of getting rid of them.  So I'll almost certainly just use that, esp. since very recent audacity changes apparently have improved the noise-reduction filter.  (or maybe just the config UI?  I didn't look at the diffs).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The comments at the &lt;a href=&quot;https://code.google.com/p/audacity/source/browse/audacity-src/trunk/src/effects/NoiseReduction.cpp&quot; rel=&quot;nofollow&quot;&gt;start of the file&lt;/a&gt; describes the design pretty well, and what the settings sliders mean (esp. the frequency smoothing was a mystery until I thought to check the source, and found it had a great comment describing the design.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It gets a profile of the kind of noise you want to remove from a clip of only noise.  For the main pass, it FFTs the input, and silences every frequency bin that is below a threshold.  So it's a bandpass filter that adapts to only let through frequencies with signals above the noise level for that bin.  (Thresholds established from the noise profile.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is, are there other designs for noise filters that work any better?  Mostly out of curiosity, since audacity works very well for my application.  (noise energy distributed over a wide frequency range, signal I want to keep made up of fairly narrow frequencies.)&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-04-05T13:57:07.510" Title="Audio noise reduction: how does audacity compare to other options?" Tags="|audio|noise-reduction|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14928" PostTypeId="1" CreationDate="2015-02-22T02:18:23.277" Score="5" ViewCount="12527" Body="&lt;p&gt;I want to burn timestamp from the video meta data on to the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm having great difficulty in finding a good tool that does that. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a video editing tool out there that allows timestamp to be inserted and change the font of it? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am editing HD videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also is there a tool out there that allows changing the timestamp on the meta data for correction?&lt;/p&gt;&#xA;" OwnerUserId="10369" LastEditorUserId="1950" LastEditDate="2015-02-23T05:31:00.397" LastActivityDate="2018-09-12T14:58:34.680" Title="How to burn timestamp onto video?" Tags="|video-editor|timecode|premiere-elements|" AnswerCount="4" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14930" PostTypeId="2" ParentId="12671" CreationDate="2015-02-22T12:20:25.060" Score="1" Body="&lt;p&gt;I would suggest looking for an interface that offers SDI inputs (as I suppose both your SP and SX players have SDI outputs) with which you will have better results than with a composite inputs as is on the Canopus product.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;SDI interface will allow syncing your interface with the player, and get embedded audio directly in the SDI stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example of such interfaces is &lt;a href=&quot;https://www.blackmagicdesign.com/products/ultrastudiousb3&quot; rel=&quot;nofollow&quot;&gt;https://www.blackmagicdesign.com/products/ultrastudiousb3&lt;/a&gt;, other products might exist.&lt;/p&gt;&#xA;" OwnerUserId="9147" LastActivityDate="2015-02-22T12:20:25.060" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14931" PostTypeId="1" CreationDate="2015-02-22T14:44:52.217" Score="2" ViewCount="93" Body="&lt;p&gt;I will be traveling to India in a few weeks and I want to document the journey. Now I'm looking for the right equipment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two constraints: First, the amount of work I want to put into shooting should be just short of dominating the journey. In other words, I want to take my camera everywhere but it should be small enough to not be in the way when I want to enjoy the moment and put it away (I guess everyone has this problem). We will be backpacking and moving around a lot, so I'm not looking for studio equipment or anything too heavy. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: I would like to make three kinds of shots: 1) some well-thought-out tripod shots of scenery 2) to take my camera into town on some occasions to get relatively stable footage of everyday life and of my travel partner 3) shots on the go, which can be of the Go Pro cam sort. Instead of making the filming itself less elaborate, I just cut down on the times I pick up my camera. Are these 3 kinds of shots going to give me footage for a travel documentary which isn't just interesting to watch because there's me in it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At this moment I have a Canon 650D with a 28-105mm L and a 50mm 1.4 lens, plus a good fluid tripod. I would like to improve my footage as much as possible within the space constraint outlined above. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second constraint is that I don't want to spend more than 500€ (absolute limit 800€).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have already considered buying a Rode Videomic shotgun mic to improve audio. What are your thoughts?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have been in the same situation before, you can probably help me best. What's your experience?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best,&#xA;Appletree&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: Help me improve my question. I don't know what information you need to give me a good answer.&#xA;PS2: I have already read &quot;&lt;a href=&quot;https://video.stackexchange.com/questions/10067/what-equipment-should-i-get-for-starting-out-making-professional-quality-films&quot;&gt;What equipment should I get for starting out making professional quality films?&lt;/a&gt;&quot; which helped me somewhat but was too unspecific for my situation.&lt;/p&gt;&#xA;" OwnerUserId="10373" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-02-22T20:52:05.277" Title="Equipment for documenting an adventure journey" Tags="|video-recording|canon|filming|shooting|capturing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14932" PostTypeId="2" ParentId="14928" CreationDate="2015-02-22T16:17:55.433" Score="4" Body="&lt;p&gt;Video editing software usually DOES come with this ability.  After Effects, Premiere, Vegas, etc, all support doing this very simply.  Some of them add their own time code rather than time code from meta, so you may have to adjust the start point to match your actual time code, but the end result should still be the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, in Premiere, the following screen shot shows the effect under Video Effects/Video/Timecode as well as the options associated with it.&#xA;&lt;img src=&quot;https://i.stack.imgur.com/PxONu.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is worth mentioning that in Premiere, it does appear that the font is fixed on arial, though size and position can be adjusted.  After Effects, however, will allow for font of your choosing.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2015-02-22T21:19:17.793" LastActivityDate="2015-02-22T21:19:17.793" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14933" PostTypeId="2" ParentId="14931" CreationDate="2015-02-22T16:26:18.647" Score="4" Body="&lt;p&gt;I hate to burst your bubble, but if you are expecting video to be a similar level of intrusiveness to photography, you are almost certainly mistaken.  Video is a much more work intensive process as it requires constant attention to make sure you are getting smooth usable shots instead of the occasional random thought that &quot;I'd like a photo of this.&quot;  It is going to take significantly more work and effort to get usable video footage that is stable and well composed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, the amount of effort required varies greatly on what you are hoping to accomplish.  If a &quot;reality cam&quot; style video shot from a GoPro mounted to your pack or helmet and stabilized in post (will still be jumpy and move a lot) is sufficient, then buy a GoPro, a mount, some extra batteries and go to town.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want something that more captures the feel of where you are with documentary like footage to make something that isn't a pure &quot;action shots&quot; montage, you will need considerably more effort to setup tripods, capture proper shots, more planning of the shots, plus the longer time it takes to get the shots.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio quality is also something to be mindful of in that situation, as shooting outdoors you are likely to have wind noise and will need to carefully monitor your audio while recording as well and getting decent quality footage might require multiple attempts at the shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can update your question with a bit more detail as to what you are trying to accomplish, we can probably refine the answer a bit more for your specific situation, but the key thing to know is that it sounds like your expectations of the effort required for a particular type of product may not be grounded in reality at the moment.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-02-22T16:26:18.647" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14934" PostTypeId="1" AcceptedAnswerId="14940" CreationDate="2015-02-22T21:32:42.083" Score="1" ViewCount="3514" Body="&lt;p&gt;I am trying to animate a series of drawings. I have 10 drawings of 10 states of an object and I would like to have a crossfade between each states and this repeated for about 2 min back and forth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using After effects and I have imported the image sequence, made a composition (30fps, 2 min long) changed the time remapping so each drawing is displayed during 15 frames (0.5 seconds). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My issue is that the change between drawings snaps and I need a crossfade between them. The other option I can think of to is create a composition with all the drawings and manualy create key images for opacity but this is going to be very long as it has to go on for 2 minutes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to crossfade each drawing into the next one in Affter effects?&lt;/p&gt;&#xA;" OwnerUserId="5357" LastEditorUserId="5357" LastEditDate="2015-02-22T21:40:50.793" LastActivityDate="2015-02-23T05:29:41.833" Title="repeat crossfade in a sequence of images" Tags="|after-effects|editing|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14935" PostTypeId="2" ParentId="12031" CreationDate="2015-02-23T01:56:48.720" Score="1" Body="&lt;p&gt;Maybe try a different tool for muxing your files all into one?  Like ffmpeg's &lt;code&gt;concat&lt;/code&gt; meta-demuxer.  (the concat filter (&lt;code&gt;-vf concat&lt;/code&gt;) doesn't work with &lt;code&gt;-codec copy&lt;/code&gt;, but &lt;code&gt;-f concat&lt;/code&gt; for the input does.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow&quot;&gt;https://trac.ffmpeg.org/wiki/Concatenate&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Probably your pauses in the concatenated video are from a timestamp glitch in the merged file.  The &lt;code&gt;mkvmerge&lt;/code&gt; &lt;a href=&quot;https://www.bunkus.org/videotools/mkvtoolnix/doc/mkvmerge.html&quot; rel=&quot;nofollow&quot;&gt;manual&lt;/a&gt; sheds some light on how it does timestamps for the resulting file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could check the frame pts values in your merged file with &lt;code&gt;ffplay -vf showinfo&lt;/code&gt; (from ffmpeg).  (or &lt;code&gt;ffmpeg -i merged.mkv -vf showinfo -f null -&lt;/code&gt; to not show the video.)  If there are big gaps in the pts (presentation timestamp) of frames on the merge boundaries, then that's why the player is pausing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using a different tool to concat (like ffmpeg) might solve it.  Or you can do what Prof. Sparkles suggested, but without actually encoding to lossy mjpeg, and then back to lossy h.264.  Tell ffmpeg that the input frames should be considered 24000/1001 fps CFR, and that it should generate new PTS values, ignoring the input timestamps.  (old question, so not digging up the details on how to do it.  check the ffmpeg manual.)&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-02-23T01:56:48.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14936" PostTypeId="2" ParentId="14928" CreationDate="2015-02-23T02:36:30.497" Score="4" Body="&lt;p&gt;FFmpeg's &lt;code&gt;drawtext&lt;/code&gt; filter can burn timecodes into frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;edit: I misread the docs before.  I saw the &lt;code&gt;timecode&lt;/code&gt; option to the filter, and missed seeing that there was a &lt;code&gt;pts&lt;/code&gt; available for text expansion.  See the edit history for the longer-and-less-useful answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I eventually got around to trying it, and here's the command line I cobbled together from pasting and tweaking some examples:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i /f/p/moto-g\ camera/VID_20141225_140557099.mp4 -filter_complex &quot;drawtext=fontfile=/usr/share/fonts/truetype/freefont/FreeSerif.ttf: text='frame %{n}\\: %{pict_type}\\: pts=%{pts \\: hms}': x=100: y=50: fontsize=24: fontcolor=yellow@0.8: box=1: boxcolor=blue@0.9&quot; -c:a copy -c:v libx264 -preset veryfast -crf 16 -x264-params keyint=60 -map 0 foo.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note the actual text to be printed needs a lot of escaping, to protect it from the shell, then from ffmpeg's arg-to-&lt;code&gt;drawtext&lt;/code&gt;.  To modify it, change the &lt;code&gt;text='frame %{n}\\: %{pict_type}\\: pts=%{pts \\: hms}'&lt;/code&gt; part of that ffmpeg command.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;example output: &quot;frame 0: I: pts=00:00:00.0000&quot;  (I/B/P are frame types, from &lt;code&gt;%{pict_type}&lt;/code&gt;.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Modify &lt;code&gt;x&lt;/code&gt; and &lt;code&gt;y&lt;/code&gt; to put it somewhere else in the frame.  (you can use &lt;code&gt;x=iw/2&lt;/code&gt; to put it horizontally in the middle.  &lt;code&gt;iw&lt;/code&gt; = input width.  (anchor = top left corner of the text, I think?))  Modify other params to change colors or whatnot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This works even with VFR video.  I checked with video from the camera in a Moto G phone, which makes variable frame-rate video.  The first second has 30 frames.  A later 1-sec interval in the video has 17 frames.  (Indoors, not very well lit, so I think it's lower FPS to get more light, not because it can't write to flash storage fast enough.)  The timestamps it puts in the MP4 container are correct, so it plays fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The encode parameters &lt;code&gt;-c:a copy -c:v libx264 -preset faster -crf 16 -x264-params keyint=60&lt;/code&gt; are my suggestion for what you might want for scratch files with timestamps burned in: you just want it to encode fast, and don't care much about filesize since you're just going to use it locally, since it has timestamps scribbled all over it.  (There's even a superfast.  Don't use ultrafast except for lossless mode, though.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;keyint=60&lt;/code&gt; will make sure there's an I frame at least as often as every 60 frames, for efficient scrubbing.  Leave it out if you don't need to be able to efficiently framestep backwards; lower it if you want high-rez seeking to be faster.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use &lt;code&gt;-map 0&lt;/code&gt; if you want multiple audio and metadata streams copied into the output, instead of just the first audio and first video tracks (and no e.g. chapter metadata).&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-02-23T14:38:50.503" LastActivityDate="2015-02-23T14:38:50.503" CommentCount="14" ContentLicense="CC BY-SA 3.0" />
  <row Id="14937" PostTypeId="2" ParentId="14915" CreationDate="2015-02-23T03:06:35.203" Score="1" Body="&lt;p&gt;The least-lossy way should be to just stretch time, so your 25p becomes 24000/1001p.  Then your video can go on a NTSC dvd with soft-telecining.  The audio needs to be stretched to match, using a pitch-preserving method.  (Soft TC means stored as progressive frames on the disc, with flags set to tell the player to apply a 3:2 pulldown if it needs to make 60i output (instead of 24p or 60p digital output)).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what British TV shows and movies typically do for their North American DVD releases.  It changes the run-time of the show by 1.04%, which is annoying.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This soft-telecining (25p-&gt;24p) is what is described on that forum link you found about twixtor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The alternative is to butcher your video frames into interlaced fields that are going to have to get put back together again into progressive frames if they're not going to look horrible on a non-CRT display.  (This is the 25p-&gt;60i pulldown that Shin mentions.  IDK the details either.  And I wouldn't think it would ACTUALLY make motion look any smoother, because there's no motion-interpolation going on.  You still only have a temporal resolution of 25p, which is what you'll get from a deinterlacer / pullup filter that can figure out how to reverse a hard 25p-&gt;60i pulldown.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think I remember reading that concert-recording DVDs (and other stuff where stretching the timescale is worse than bad video) might do something other than the usual 25p-&gt;24p.  (like 25p-&gt;60i pulldown).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're making a Blu-Ray, it's worth researching if you can just put 25p content on a disc have have it play ok with North American equipment.  Instead of dropping a frame every second on playback, you'd probably just get one frame shown for a different length of time than others.  (Because the video output can be 60p, not 24p, even if the data on disc is 24 or 25p.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm also not sure about DVDs, like what a North American dvd player would do with a 720x480p25 disc.  (And it might be different for different players, and maybe only good for HDMI out, but bad for analog NTSC output).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, I'm really hoping it's possible for the world to stop stretching / squishing video when sending it across the Atlantic.  I know UK blu-ray releases of North American stuff are usually still 25p, though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, whatever you decide to do, just be aware that one of these things is probably what actually happened.  Have a look at the NTSC version you produce, with an eye for any problems that could have caused.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-02-23T03:06:35.203" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14938" PostTypeId="2" ParentId="13326" CreationDate="2015-02-23T03:49:07.663" Score="0" Body="&lt;p&gt;Do you play your game with v-sync on?  If no, your frames don't line up with when the video card actually sends an update to the monitor, so you get tearing.  This can and does make things look less smooth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe the videos you're watching were made by people that had vsync on at 60Hz, to avoid any tearing in any of the captured frames?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check out this &lt;a href=&quot;http://www.forbes.com/sites/jasonevangelho/2013/12/12/for-gaming-industry-nvidias-g-sync-technology-is-truly-next-gen/&quot; rel=&quot;nofollow&quot;&gt;article on g-sync / freesync&lt;/a&gt;, aka variable sync / variable frame-rate monitors.  The author does a good job explaining v-sync, input lag, and all that.  With diagrams even.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(And as an update since that article came out, AMD now does have their own version of this.  And variable-refresh-rate is optional in the &lt;a href=&quot;https://en.wikipedia.org/wiki/DisplayPort#1.2a&quot; rel=&quot;nofollow&quot;&gt;VESA DisplayPort 1.2a spec&lt;/a&gt;, so it's &lt;a href=&quot;http://www.anandtech.com/show/8008/vesa-adds-adaptivesync-to-displayport-12a-standard-variable-refresh-monitors-move-forward&quot; rel=&quot;nofollow&quot;&gt;on the road to&lt;/a&gt; becoming an industry-standard feature.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adaptive sync gives you the same (or even better) smoothness you'd get with a game that stayed pegged at 60Hz with vsync on.  But it's still smooth with settings pushed up so high that you get occasional dips below 60FPS, so you can crank the settings up and have your game look awesome, while still being smooth with minimal lag between keyboard/mouse input and screen output.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-02-23T03:49:07.663" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14939" PostTypeId="2" ParentId="14870" CreationDate="2015-02-23T04:42:49.533" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://mpv.io/&quot; rel=&quot;nofollow&quot;&gt;mpv&lt;/a&gt; has very good real-time scrubbing using the mouse on the on-screen controls.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It also has seek-while-paused, and accurate-seek (decode-from-prev-keyframe) for seeking backward by 1sec.  Also frame-step backward and forward.  (controls: &lt;code&gt;,&lt;/code&gt; and &lt;code&gt;.&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It also has an A/B loop keybind, where you can easily get it looping over a part of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So basically it has a lot of features that are great for reviewing a video frame-by-frame looking for problems, or stuff like that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's still in active development, make sure you get an up-to-date version for the most features and bugfixes.  I've only used it on GNU/Linux, but I understand it works on Windows and OS X, too.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-02-23T04:42:49.533" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="14940" PostTypeId="2" ParentId="14934" CreationDate="2015-02-23T05:29:41.833" Score="1" Body="&lt;p&gt;There's always more than one way to do things in AE:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Method1&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Import the drawings as separate source files, rather than as an image sequence (in the import dialog uncheck the image sequence checkbox). Once you've got all your images imported select them all and drag them into a new composition. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;They will appear as a stack of layers with only the top layer visible, but don't fret. Next step is to trim them to the length you need. The easiest way to do this is to select them all and move the playhead to the last frame you want (frame 15 in your case) and hit &lt;kbd&gt;alt/option&lt;/kbd&gt;&lt;kbd&gt;]&lt;/kbd&gt; which is the shortcut for trimming the end of a layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now right click one of the selected layers and from the contextual menu choose &lt;strong&gt;Keyframe Assistant &gt; Sequence Layers…&lt;/strong&gt;. To get a crossfade you need to check the overlap box, and use the &lt;strong&gt;Dissolve Front Layer&lt;/strong&gt; transition (I have never been able to work out why you would &lt;em&gt;ever&lt;/em&gt; use the &lt;strong&gt;Dissolve front and back layers&lt;/strong&gt; option, because it means that halfway through both layers will be 50% transparent, meaning that the background will show through). You might have to go back and add extra frames to your layers to allow for the overlap, so if you want a 5 frame overlap on a 15 frame layer you'll need to make it 20 frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/XivGC.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the built-in tool for doing exactly what you want to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Method 2&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do what you're doing, but make sure that frame blending is turned on for your image sequences. It's the little filmstrip icon in the switches column (you may have to hit &lt;kbd&gt;f4&lt;/kbd&gt; to toggle the visibility. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/l6xLd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two values for frame blending, you want the first one, which is basically dissolving between frames — the second one does a kind of morph between successive frames which can do a good job in some circumstances, but can look very weird in others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now because frame blending is a bit computationally expensive, AE doesn't show it in the comp window by default. You'll have to turn it on to see it, and you do that by hitting the filmstrip button at the top of the layers area in your timeline:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/fHwDu.png&quot; alt=&quot;enter image description here&quot;&gt;&#xA;Click it and it will go blue, and you'll see your frames blending.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although this might be easier to set up, it does have the disadvantage that the frames are going to be constantly dissolving, with only one frame each where they are 100% from the individual drawing.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-02-23T05:29:41.833" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14941" PostTypeId="2" ParentId="14874" CreationDate="2015-02-23T05:55:12.407" Score="6" Body="&lt;p&gt;Yes, you have the right idea.  If stib's suggestion of making multiple outputs in parallel with the same ffmpeg commandline doesn't quite do the trick, then use a temp file to hold a lossless copy of the output of any slow filtering:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i src.mkv -vf yadif=3:1,mcdeint=2:1 -c:a copy -c:v libx264 -preset ultrafast -qp 0 deinterlaced.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(never use &lt;code&gt;ultrafast&lt;/code&gt; except with lossless, it's WAY worse than &lt;code&gt;superfast -x264-params cabac=0&lt;/code&gt;, and not much faster.)  CABAC takes most of the CPU time at lossless bitrates, but it does save 15% bitrate vs. CAVLC.  If you have a ton of scratch space to work with, you could use an uncompressed output file.  Lossless x264 is about as fast to decode as &lt;code&gt;ffvhuff&lt;/code&gt;, if not faster, but half the file size.  I think it's your best bet for scratch files (pretty good CPU usage, ASM-optimized decoders, and one of the best as far as compression ratio).  Simpler codecs like ffvhuff might have a place if you need to frame-step backwards without taking seconds per frame, or you could just lower &lt;code&gt;keyint&lt;/code&gt; in x264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then do whatever you normally do, but with &lt;code&gt;deinterlaced.mkv&lt;/code&gt; as your source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think I remember reading about someone having added support to x264 for making multiple encodes at different bitrates at the same time.  So motion-search, frame-type decision, and a bunch of other analysis only has to be done once.  I'm not sure if that was just for google's internal use, and it never got merged, or what.  Neither the vanilla x264 cli frontend, nor the ffmpeg libx264 wrapper, have options to activate a feature like this.  I'm pretty sure I would have noticed that in &lt;code&gt;x264 --fullhelp&lt;/code&gt; output at some point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have to do a lot of encoding, it'd be worth searching around to see if there's any way to get your hands on a publicly available implementation of this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is different from having ffmpeg feed the decoded/filtered video to multiple instances of libx264 in parallel, since each instance would still need to do all the analysis independently.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do use stib's suggestion of multiple outputs from the same ffmpeg, reduce x264's number of threads.  By default, each separate output file will auto-detect the number of CPUs in the whole machine, so you'll have 6 times the number of worker threads needed to saturate your CPU cores.  Maybe use 2 or 3 threads for the HD outputs, and single-threaded for the lower-rez outputs, since you want to balance things so all your available CPU time gets used, without having more threads than needed causing extra context-switching overhead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For HD video with a lot of reference frames, each libx264 instance would take a good chunk of RAM, too.  Reducing thread count doesn't help with this much, since all the threads are reading the same data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;6 instances of libx264 at the same time, instead of multiple threads from the same libx264, will be competing for memory bandwidth / cache space.  They'll each have their own copy of the frames, instead of getting cache hits from each other.  This might or might not be an issue on your hardware.  If this or the RAM-size is an issue, use a temp file and do 3 outputs from one run, and 3 outputs from the next.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;yadif (and mcdeint) are not multithreaded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you could deinterlace and output to lossless + some of your desired output rezzes, then generate the rest of your rezzes in another pass of the lossless file.  If you don't have multiple videos queued up to process, this would let you pipeline things to get max use out of all your cores while still not doing all the encodes at once.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do have multiple videos to process, you could have a video deinterlacing while you encode another, if you think setting that up is simpler than multiple outputs + lossless from the ffmpeg that runs the deinterlace.  Run the encodes with &lt;code&gt;nice -19&lt;/code&gt; or something, so they don't take CPU away from the &lt;code&gt;ffmpeg&lt;/code&gt; process doing the deinterlace.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-02-23T05:55:12.407" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14942" PostTypeId="1" AcceptedAnswerId="14946" CreationDate="2015-02-23T09:21:13.153" Score="2" ViewCount="75" Body="&lt;p&gt;I am using Premiere Pro CS6 to produce a short film and have some questions about the levels video effect.&#xA;Is it generally considered good practice to make adjustments to the RGB levels throughout a clip? For example, I have a single take clip where the scene changes drastically over a few seconds from an environment with heavy reds to an environment with heavy greens and blues. Trying to even out the scope at only 1 of these points means that I'm clipping the highlights at the other unless I make some changes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously this is an extreme scenario but I'm thinking about perhaps scenes where a character walks across the shot wearing brightly coloured clothing that causes one or more channels to clip. Should you adjust the levels dynamically then or just set them so that they won't clip at the highest points so as to avoid strange color casts during that short period. Or should it even be more involved with something like rotoscoping to create a mask over the object and adjust that separately?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know these are pretty loose examples but I'm just trying to avoid getting into bad practices if there's generally a &lt;em&gt;right&lt;/em&gt; way to go about things like this.&lt;/p&gt;&#xA;" OwnerUserId="10377" LastActivityDate="2015-02-23T12:34:53.603" Title="Acceptable to adjust colour levels dynamically" Tags="|premiere|color-correction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14943" PostTypeId="2" ParentId="14926" CreationDate="2015-02-23T11:21:23.813" Score="0" Body="&lt;p&gt;I'm not sure about how to set the timecode of the clip from the datestamp of the file but Red Giant have a fantastic plugin called Plural Eyes which does a great job of syncing multiple clips most of the time if the audio is even half decent. &lt;/p&gt;&#xA;" OwnerUserId="10377" LastActivityDate="2015-02-23T11:21:23.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14944" PostTypeId="2" ParentId="14920" CreationDate="2015-02-23T11:40:17.553" Score="2" Body="&lt;p&gt;&lt;a href=&quot;http://www.ispyconnect.com/&quot; rel=&quot;nofollow&quot; title=&quot;iSpy Connect&quot;&gt;iSpy Connect&lt;/a&gt; may be able to help you here. I've haven't played about it with it much but I know you can load an existing video file into it and it will detect motion.&lt;/p&gt;&#xA;" OwnerUserId="10377" LastActivityDate="2015-02-23T11:40:17.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14945" PostTypeId="1" CreationDate="2015-02-23T12:14:16.237" Score="1" ViewCount="843" Body="&lt;p&gt;I would like to use a simple transition throughout a project in a large number of places.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The default Dip to Black transition gets me almost there, with one missing feature - there appears to be no way alter the duration of the out and in phases - I can set the duration of the transition, but what I need to do is to control the speeds individually. What I need is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Clip 1 fades to black in 8 frames.&#xA;Clip 2 fades up from black in 16 frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So given that the included Dip To Black doesn't offer this kind of control, what are my options?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously I could individually set opacity with keyframes for every single clip, but given the number of places I need this transition, this seems like a great deal more work than using a transition (that i could copy/paste) would be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As an added complication, I will be round tripping to Resolve for grading, so anything too non-standard will no doubt cause issues.&lt;/p&gt;&#xA;" OwnerUserId="6532" LastActivityDate="2015-02-24T05:59:15.543" Title="Premiere Custom Dip To Black Transition" Tags="|premiere|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14946" PostTypeId="2" ParentId="14942" CreationDate="2015-02-23T12:34:53.603" Score="3" Body="&lt;p&gt;What you're describing is color grading / color correction and yes, it's perfectly acceptable, almost mandatory for a good presentation. Usually it's done scene by scene, but it's not at all unusual to correct within a single shot, or even different areas within a shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To do it well you should explore a dedicated grading tool like DaVinci Resolve Lite.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-02-23T12:34:53.603" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14947" PostTypeId="1" CreationDate="2015-02-23T16:13:25.917" Score="2" ViewCount="540" Body="&lt;p&gt;Is it possible to lower the H.264 video quality and bitrate without fully decoding and encoding it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there H.264-specific algoritmhs that can create a video with higher QP based on encoded video with lower QP? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What conversions are in general available for H.264 content? Is there a tool for lossless conversions like &lt;code&gt;jpegtran&lt;/code&gt; for JPEG?&lt;/p&gt;&#xA;" OwnerUserId="8062" LastActivityDate="2015-02-24T11:52:50.783" Title="Is it possible to raise H.264's QP without fully re-encoding the video?" Tags="|transcoding|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14948" PostTypeId="1" CreationDate="2015-02-23T18:08:28.220" Score="1" ViewCount="425" Body="&lt;p&gt;I don't want to get FCP just yet but I still want effects from motion.&lt;/p&gt;&#xA;" OwnerUserId="10359" LastActivityDate="2015-03-31T16:54:53.440" Title="Even though Apple Motion is used with FCP could I still use it with iMovie?" Tags="|post-production|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14949" PostTypeId="1" AcceptedAnswerId="15505" CreationDate="2015-02-24T00:58:32.880" Score="2" ViewCount="551" Body="&lt;p&gt;Does anyone know of a way to record video clips of a set duration on a set interval? I am wanting to record a 1 minute video every 15 minutes automatically. I am using a Sony HDR-HC9 camcorder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I have figured that I can connect the camcorder to my computer with a FireWire cable and get a live view. Then I hope I can program the computer to record the screen on my set duration and interval. The only downside with this is that I'll be losing the HD quality video from the camcorder for the resolution of the screen I'm recording on (13&quot; laptop)...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there software to do this for me already?&#xA;Is there a way to capture the full quality of the camcorder's recording on my computer?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="10381" LastActivityDate="2016-08-09T02:46:13.950" Title="How can I record video clips on intervals automatically?" Tags="|video-recording|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14950" PostTypeId="2" ParentId="14947" CreationDate="2015-02-24T02:55:47.843" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://superuser.com/q/589390/20798&quot;&gt;A similar question came up before&lt;/a&gt;.  I posted some of the same thing in my answer there.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Is it possible to lower the H.264 video quality and bitrate without&#xA;  fully decoding and encoding it?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;H.264 B and P macroblocks reference frames that have already been processed by the deblocking filter.  The deblocking strength is adaptive to the QP.  I'm not sure, but I think this would lead to problems if you just re-quantized the DCT coefficients.  In any case, I think it would just be a speed-hack that gives worse quality than full decoding + encoding.  And I'm not aware of any implementations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nobody's even implemented a bitstream filter to losslessly convert h.264 Baseline to CABAC.  :(  &lt;a href=&quot;http://forum.doom9.org/showthread.php?t=104619&quot; rel=&quot;nofollow noreferrer&quot;&gt;It has been talked about, though&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, &lt;a href=&quot;http://www.academia.edu/929361/Real_time_data_hiding_by_exploiting_the_IPCM_macroblocks_in_H._264_AVC_streams&quot; rel=&quot;nofollow noreferrer&quot;&gt;this paper&lt;/a&gt; does have an implementation that partially decodes h.264, modifies it (for data-hiding), and re-encodes it.  IDK what software he started with for the implementation, but his code, if available and appropriately licensed, might be a good starting point for other bitstream filters.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;What conversions are in general available for H.264 content? Is there&#xA;  a tool for lossless conversions like jpegtran for JPEG?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;jpegtran&lt;/code&gt; only works because each DCT coefficient block is completely independent of all others.  Even  h.264 I frames predict from other blocks within the same frame.  (Intra prediction, as opposed to inter prediction in P and B macroblocks).  Lossless rotation or flipping probably isn't possible.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Although phone cameras for example can just indicate with metadata that the player should rotate the video on playback, if they are held vertically while recording video.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg has a bitstream filter for h.264 that does something about converting how the h.264 stream is stored, or maybe something about the headers?  IDK, I haven't had to use it, or read up.  From the docs:&lt;br&gt;&#xA;&lt;code&gt;ffmpeg -i h264.mp4 -c:v copy -bsf:v h264_mp4toannexb -an out.h264&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This isn't anything like what you're asking, though.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2015-02-24T11:52:50.783" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14951" PostTypeId="2" ParentId="14945" CreationDate="2015-02-24T03:50:41.763" Score="2" Body="&lt;p&gt;This is a surprisingly tricky question, as Premiere doesn't let you edit transitions like, say FCP does.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One way of doing it is to use presets:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First create a preset for your fade in. Set two opacity keyframes for your fade-in then in the &lt;strong&gt;Effect Control&lt;/strong&gt; panel right click on the &lt;strong&gt;Opacity&lt;/strong&gt; effect and choose &lt;strong&gt;Save Preset&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/9VJU9.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;call it fade-in or whatever and choose &lt;strong&gt;Anchor to In Point&lt;/strong&gt;, so that it will apply it to the start of the clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/4EYdh.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then on a fresh clip with no keyframes do the same for your fade out, choosing &lt;strong&gt;Anchor to Out Point&lt;/strong&gt; in the dialog.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you can apply both your presets to your clips to create your fade out / in, and the good thing is that the presets will add new keyframes without deleting the existing ones, so the fade in won't overwrite the keyframes of the fade out. &lt;strong&gt;Tip&lt;/strong&gt;: you can select both presets in the Presets folder in your effects window by holding down &lt;kbd&gt;Command / Control&lt;/kbd&gt;, then you can drag them both to a clip at the same time.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-02-24T05:59:15.543" LastActivityDate="2015-02-24T05:59:15.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14952" PostTypeId="1" CreationDate="2015-02-24T08:19:27.623" Score="0" ViewCount="2812" Body="&lt;p&gt;I want to burn embedded ASS subtitle onto MKV, but I'm completely clueless when it comes to video converting. I want to keep the same quality, file size and everything else but the subtitle hardcoded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you recommend me any programs/settings to achieve this? I heard that Handbrake can do this but I have no idea what settings to use. Thank you.&lt;/p&gt;&#xA;" OwnerUserId="10382" LastActivityDate="2018-07-31T06:49:19.153" Title="Burn ASS subtitle onto MKV without any quality loss" Tags="|conversion|subtitles|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14953" PostTypeId="2" ParentId="14949" CreationDate="2015-02-24T08:36:13.447" Score="1" Body="&lt;p&gt;Ultimately if you want to keep HD quality then interval record at the camera. Hardware option is to use something like a Sony HVR-A1E that has this function built in. These are on eBay for 3-400 quid. Expensive solution!&lt;/p&gt;&#xA;" OwnerUserId="10384" LastActivityDate="2015-02-24T08:36:13.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14954" PostTypeId="1" CreationDate="2015-02-24T14:01:37.613" Score="1" ViewCount="69" Body="&lt;p&gt;I bought movie(s) from ITunes,&#xA;and I would like to share short clips from the movies to my friends on Facebook/Line,&#xA;and maybe publicly on Twitter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I know whether my short clips usage falls within fair use or not ?&lt;/p&gt;&#xA;" OwnerUserId="10387" LastActivityDate="2015-03-27T16:11:51.203" Title="Fair use of short clips from movie that I bought" Tags="|copyright|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14955" PostTypeId="1" CreationDate="2015-02-24T15:21:23.153" Score="1" ViewCount="1845" Body="&lt;p&gt;I'm building presets for our users to convert the videos into an appropriate format for our online video repository. Since it's been awhile since I've built something like this from scratch, I've been looking at what others recommend, and notice that a lot of them specifically recommend variable bitrate encoding. For example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow&quot;&gt;https://support.google.com/youtube/answer/1722171?hl=en&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even with progressive or pseudo-streaming, wouldn't that just introduce pausing and stuttering in playback once you hit a segment with a high bitrate? It just seems odd as a general recommendation when that's likely to create a poor playback experience. Or am I just overestimating the problems since it's been some years since I last looked into it. Do you generally use a variable bitrate for online delivery these days?&lt;/p&gt;&#xA;" OwnerUserId="10388" LastActivityDate="2015-02-26T03:56:41.820" Title="Variable Bitrates for Streaming?" Tags="|encoding|webvideos|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14956" PostTypeId="1" CreationDate="2015-02-24T17:09:56.963" Score="2" ViewCount="1833" Body="&lt;p&gt;I'm trying encode a video stream using HEVC with ffmpeg and create a MPEG-TS file. I need to be able to insert IDR frames to certain locations in the stream. I came across the flag &lt;code&gt;-force_key_frames&lt;/code&gt; under ffmpeg documentation, but it doesn't seem to work for me. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the command I tried:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -s:v 1280x720 -i input.yuv -c:v libx265 -x265-params crf=20:keyint=25:fps=25:preset=ultrafast -force_key_frames 1,12,30,111 -f mpegts out.ts&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help me to sort out this issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="6298" LastEditorUserId="9105" LastEditDate="2015-02-26T10:33:33.703" LastActivityDate="2015-04-27T11:32:18.273" Title="using -force_key_frames in ffmpeg with libx265" Tags="|ffmpeg|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14958" PostTypeId="1" CreationDate="2015-02-24T20:21:43.237" Score="1" ViewCount="45" Body="&lt;p&gt;Me and my friends are doing a video cast and we're recording our screens in addition to Skype audio. The problem is recording Skype separately from other system audio. This is so we can switch perspectives and have the audio come over correctly. We've tried both recording the call, but its kind of disorienting because the Skype audio is different from each of our audios. Our recording program doesn't let us record only one program's audio, so we're in a bit of a dilemma.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't been able to figure out a solution to this, so I came here, because somebody is bound to know. Has anyone created a work around for this? I have an extra computer that I can use if there is a solution that involves that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="10390" LastActivityDate="2015-02-27T05:53:24.323" Title="Recording Screens From Multiple Perspectives With Voices and Computer Audio" Tags="|audio|recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14959" PostTypeId="1" CreationDate="2015-02-24T20:33:14.183" Score="6" ViewCount="4294" Body="&lt;p&gt;I'm trying to merge two transparent webm videos together while keeping their transparency using ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Main video: &#xA;&lt;a href=&quot;https://s3.amazonaws.com/medlike/logo.webm&quot; rel=&quot;nofollow&quot;&gt;https://s3.amazonaws.com/medlike/logo.webm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Overlay video:&#xA;&lt;a href=&quot;https://s3.amazonaws.com/medlike/cortina.webm&quot; rel=&quot;nofollow&quot;&gt;https://s3.amazonaws.com/medlike/cortina.webm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reading trough ffmpeg wiki and some stackexchange answers I made this: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i logo.webm -i cortina.webm -filter_complex 'overlay=format=rgb' -vcodec libvpx output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The result:&#xA;&lt;a href=&quot;https://s3.amazonaws.com/medlike/output.webm&quot; rel=&quot;nofollow&quot;&gt;https://s3.amazonaws.com/medlike/output.webm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The desired output should look like this: &lt;a href=&quot;https://s3.amazonaws.com/medlike/vinheta-completa.webm&quot; rel=&quot;nofollow&quot;&gt;https://s3.amazonaws.com/medlike/vinheta-completa.webm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2.5.2 Copyright (c) 2000-2014 the FFmpeg developers&#xA;  built on Feb 15 2015 22:16:36 with Apple LLVM version 6.0 (clang-600.0.56) (based on LLVM 3.5svn)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/2.5.2 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-libx264 --enable-libmp3lame --enable-libvo-aacenc --enable-libxvid --enable-libfreetype --enable-libvorbis --enable-libvpx --enable-libass --enable-ffplay --enable-libfdk-aac --enable-libopus --enable-libquvi --enable-libx265 --enable-nonfree --enable-vda&#xA;  libavutil      54. 15.100 / 54. 15.100&#xA;  libavcodec     56. 13.100 / 56. 13.100&#xA;  libavformat    56. 15.102 / 56. 15.102&#xA;  libavdevice    56.  3.100 / 56.  3.100&#xA;  libavfilter     5.  2.103 /  5.  2.103&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, matroska,webm, from 'logo.webm':&#xA;  Metadata:&#xA;    encoder         : Lavf56.19.101&#xA;  Duration: 00:00:09.80, start: 0.000000, bitrate: 712 kb/s&#xA;    Stream #0:0: Video: vp8, yuv420p, 960x540, SAR 1:1 DAR 16:9, 25 fps, 25 tbr, 1k tbn, 1k tbc (default)&#xA;    Metadata:&#xA;      alpha_mode      : 1&#xA;Input #1, matroska,webm, from 'cortina.webm':&#xA;  Metadata:&#xA;    encoder         : Lavf56.19.101&#xA;  Duration: 00:00:09.80, start: 0.000000, bitrate: 436 kb/s&#xA;    Stream #1:0: Video: vp8, yuv420p, 960x540, SAR 1:1 DAR 16:9, 25 fps, 25 tbr, 1k tbn, 1k tbc (default)&#xA;    Metadata:&#xA;      alpha_mode      : 1&#xA;[swscaler @ 0x7f9512006800] No accelerated colorspace conversion found from yuv420p to argb.&#xA;[libvpx @ 0x7f9511827000] v1.3.0&#xA;Output #0, webm, to 'output.webm':&#xA;  Metadata:&#xA;    encoder         : Lavf56.15.102&#xA;    Stream #0:0: Video: vp8 (libvpx), yuv420p, 960x540 [SAR 1:1 DAR 16:9], q=-1--1, 200 kb/s, 25 fps, 1k tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc56.13.100 libvpx&#xA;Stream mapping:&#xA;  Stream #0:0 (vp8) -&amp;gt; overlay:main&#xA;  Stream #1:0 (vp8) -&amp;gt; overlay:overlay&#xA;  overlay -&amp;gt; Stream #0:0 (libvpx)&#xA;Press [q] to stop, [?] for help&#xA;frame=  245 fps=6.3 q=0.0 Lsize=     114kB time=00:00:09.80 bitrate=  95.6kbits/s    &#xA;video:112kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.853043%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="9319" LastEditorUserId="16483" LastEditDate="2016-08-25T10:09:14.693" LastActivityDate="2017-09-19T16:03:36.183" Title="Merge two transparent webm videos with FFmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="14960" PostTypeId="1" CreationDate="2015-02-24T21:39:19.797" Score="1" ViewCount="149" Body="&lt;p&gt;Is there a quick way to copy the current timecode position of the timeline cursor to the clipboard in FCP 7?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-02-24T21:39:19.797" Title="How to copy current timecode to clipboard in Final Cut Pro 7?" Tags="|final-cut-pro|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14961" PostTypeId="2" ParentId="14956" CreationDate="2015-02-25T04:42:49.893" Score="1" Body="&lt;p&gt;ffmpeg's &lt;code&gt;libx265&lt;/code&gt; wrapper is very minimal, and doesn't pass on very many settings.  e.g. &lt;code&gt;-pass 1&lt;/code&gt; requires manually setting &lt;code&gt;-x265-params pass=1&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if x265 is anything like x264, don't use ultrafast except for lossless or for testing things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;sorry for not taking the time to dig this up myself, but have a look and see if you can get your desired I frame locations into x265-params.  Probably not, though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to hack some C code, have a look at &lt;code&gt;libx264.c&lt;/code&gt; and &lt;code&gt;libx265.c&lt;/code&gt;, and maybe you can see how to ffmpeg sends frame-type requests to x264.  And maybe you can port that to the libx265 wrapper.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-02-25T04:42:49.893" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14962" PostTypeId="2" ParentId="10451" CreationDate="2015-02-25T04:50:05.677" Score="1" Body="&lt;p&gt;Use &lt;code&gt;sound.wav&lt;/code&gt; as your output, instead of &lt;code&gt;sound.mp3&lt;/code&gt;.  Or if you literally mean raw PCM data with no headers, not just uncompressed, then try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -t 10 -i audio=&quot;virtual-audio-capturer&quot; -f s16le -y &quot;sound.pcm&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Play it back with&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -channels 2 -f s16le -i sound.pcm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Unless you really need headerless, I'd suggest WAV files for ease of use.  Sample format, rate, and number of channels stored in the file is a Good Thing.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="1760" LastEditDate="2015-02-25T06:26:10.173" LastActivityDate="2015-02-25T06:26:10.173" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14963" PostTypeId="2" ParentId="14955" CreationDate="2015-02-25T05:12:14.130" Score="3" Body="&lt;p&gt;Players buffer streams.  The bigger the buffer size, the longer window the encoder has to use higher bitrates for hard content, and then fewer bits earlier or later on easy content, to achieve similar quality for the whole video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll assume you're going to use h.264 (aka AVC) as a codec, as it's the de-facto standard for streaming video on the Internet.  VP8 is not as good quality.  VP9 can look better than h.264, but support is limited.  HEVC (h.265) is also better than h.264, but again player support is limited.  (And hardware decode acceleration won't be widespread for years.  This matters, because HEVC is very cpu-intensive to decode, more than AVC.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The quality comparisons I'm talking about are with the best available encoders for each codec.  x264 for AVC, Google's VPx for VP8/VP9, and x265 for HEVC.  All with settings cranked up nearly all the way.  x265 will start to get into seconds-per-frame instead of frames-per-second for 1080p with settings that slow, though.  (x264 orders of magnitude faster, since it's been essentially mature for a couple years now, with few new speedups or quality gains being found.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All these encoders are free open-source software.  It's nice that you don't have to pay anything to get world-class quality codecs these days.  :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A random google hit on x264 vbv for streaming:&#xA;&lt;a href=&quot;http://forum.doom9.org/showthread.php?t=147460&quot; rel=&quot;nofollow&quot;&gt;http://forum.doom9.org/showthread.php?t=147460&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example from &lt;code&gt;x264 --fullhelp&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  Constant bitrate at 1000kbps with a 2 second-buffer:&#xA;        x264 --vbv-bufsize 2000 --bitrate 1000 -o &amp;lt;output&amp;gt; &amp;lt;input&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(don't actually use one-pass target-bitrate mode, though.  Either 2pass if you have a specific target bitrate, or crf with a target quality.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;edit: &lt;a href=&quot;https://mailman.videolan.org/pipermail/x264-devel/2010-February/006945.html&quot; rel=&quot;nofollow&quot;&gt;recommended usage&lt;/a&gt; for streaming, according to the x264 lead developer (Jason Garrett-Glaser), is quality target (CRF) mode with VBV-constrained bitrate.  e.g.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x264 --vbv-bufsize 2000 --vbv-maxrate 1000 --crf 22 -preset slower -o &amp;lt;output&amp;gt; &amp;lt;input&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;vbv-maxrate&lt;/code&gt; is the max speed the buffer can fill at.  (i.e. the max network bandwidth).  &lt;code&gt;vbv-bufsize&lt;/code&gt; is of course the size of the buffer, which allows for non-sustained bitrate peaks higher than &lt;code&gt;vbv-maxrate&lt;/code&gt;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And of course, if you're encoding once to create a file which will be streamed many times, throw as much CPU time at it as you can.  Encode time is of little importance compared to getting the most quality per bitrate (rate-distortion tradeoff, aka RD).  The encode only happens once, and any bits you can save (while maintaining the same quality) are saved for every download.  e.g. Use x264 with &lt;code&gt;--preset veryslow&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-02-26T03:56:41.820" LastActivityDate="2015-02-26T03:56:41.820" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14964" PostTypeId="2" ParentId="14952" CreationDate="2015-02-25T05:40:57.843" Score="2" Body="&lt;p&gt;The only way to do it with literally zero mathematical quality loss is to make a gigantic output file with a lossless codec.  (e.g. utvideo, FFV1, or x264 in lossless mode (&lt;code&gt;--qp 0&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A better solutions that would achieve the same thing is:&lt;br&gt;&#xA;mux the subtitle file into the mkv, with mkvmerge.  You set a flag so it either plays by default or doesn't.  Then you'd have an output file with an untouched video stream, so there's no quality loss.  Also, anyone who doesn't need the subtitles can turn them off.  And you can move them around on playback, or use a different font or font size.  e.g. You could move them down into the letterbox black bar that appears when playing a 16:9 video on a 16:10 screen, so they don't hide any of the movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you really want to use the bad solution of drawing them on the video, you'd just going to have to accept the quality loss that you get from another generation of lossy encoding.  Google an example for ffmpeg.  It shouldn't take more than a minute to find a recipe.  I'm not googling for you because I think it's a terrible idea to ever do this, unless you maybe have a hardware player that doesn't support any subtitle formats at all.  (If it supports any subtitle format, converting your ASS subs to that format would be better.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, use &lt;code&gt;-c:v libx264 -preset slower -crf 20&lt;/code&gt; as a starting point for your encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The ffmpeg full manual is: &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-all.html&quot; rel=&quot;nofollow&quot;&gt;http://www.ffmpeg.org/ffmpeg-all.html&lt;/a&gt;  But there's also a wiki with usage examples on their site.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-02-25T05:40:57.843" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14965" PostTypeId="1" AcceptedAnswerId="14970" CreationDate="2015-02-25T10:04:54.210" Score="2" ViewCount="2238" Body="&lt;p&gt;Is it possible to play video online that's made of two or more video files?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what I mean.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My site is hosted on Linux/Apache/PHP server. I have video files in FLV/F4V format. I can also convert them to other available formats if necessary. All videos have same aspect ratio and other video parameters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want is to have online video player that plays video composed of multiple video files concatenated together in real-time, i.e. when user clicks to see a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, user sees video titled &quot;Welcome&quot; available to play. When he/she clicks to play that video, I take video files &quot;Opening.f4v&quot;, &quot;Welcome.f4v&quot; and &quot;Ending.f4v&quot; and join/merge/concatenate them one after another to create one continuous video on the fly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Resulting video looks like one video, with no visual clues, lags or even smallest observable delay between video parts. Basically what is done is some form of on-the-fly editing or pre-editing, and user sees the result. This resulting video is not saved on the server, it's just composed and played real-time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if possible, user shouldn't be made to wait for this merging to be over before he/she sees resulting video, but to be able to get first part of the video playing immediately, while merging is done simultaneously.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible with flash/actionscript, ffmpeg, html5 or some other online technology? I don't need explanation how it's possible, just a nod that it's possible and some links to further investigate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if one option is to use flash, what are alternatives for making this work when site is visited from iphone/ipad?&lt;/p&gt;&#xA;" OwnerUserId="10395" LastEditorUserId="10395" LastEditDate="2015-02-25T10:13:22.677" LastActivityDate="2015-02-26T03:07:25.800" Title="Is it possible to merge two or more videos in real-time like this?" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14966" PostTypeId="2" ParentId="14954" CreationDate="2015-02-25T15:39:53.113" Score="1" Body="&lt;p&gt;IANAL, but I'd guess that if you have to circumvent any DRM just to copy clips of the movie (which you probably do), then it's probably not OK.  Try taking a screenshot of the movie playing in iTunes (ctrl-shift-3 or ctrl-shift-4 on mac).  If it shows up black on your desktop, or if you get an error message, then you probably don't have rights to share it.  But like I said, I'm just guessing.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-02-25T15:39:53.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14968" PostTypeId="2" ParentId="14847" CreationDate="2015-02-25T20:17:53.203" Score="2" Body="&lt;p&gt;As @LordNeckbeard wrote in the comments, moving the &lt;code&gt;-t&lt;/code&gt; flag to after the &lt;code&gt;-i&lt;/code&gt; flag works:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 0 -i in.mp4 -t 00:30:00 -acodec copy -vcodec copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="9317" LastActivityDate="2015-02-25T20:17:53.203" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14969" PostTypeId="1" AcceptedAnswerId="14975" CreationDate="2015-02-26T00:16:22.640" Score="3" ViewCount="7163" Body="&lt;p&gt;I'm trying to achieve the following: I have a short movie clip that I want to loop for an indefinite amount of time. However, as of now, it doesn't particularly good every time the clip starts over (it just sort of jitters back to the starting point without any form of smooth transition), so I would need a cross-dissolve effect to be applied to it in realtime.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any (preferably free) software solution that could help me accomplish what I want to do here? Preferably, I'd like some kind of free solution that works both across Windows and OS X, but tips relating to the platforms individually are appreciated as well. I don't care whether I need some stand alone software to achieve this (as opposed to using some kind of plug-in for a program that I'm already using, like VLC).&lt;/p&gt;&#xA;" OwnerUserId="1236" LastEditorUserId="1236" LastEditDate="2015-02-26T15:09:53.040" LastActivityDate="2015-12-09T15:26:52.600" Title="Cross-dissolve in real time between end and start point of looping clip" Tags="|video|" AnswerCount="4" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14970" PostTypeId="2" ParentId="14965" CreationDate="2015-02-26T03:07:25.800" Score="0" Body="&lt;p&gt;DASH HTML5 video streaming already works by getting the player to load video in chunks that are usually about 10 seconds long.  You should be able to cook something up that gets the player to display your segment seamlessly, by giving it a DASH-like list of videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might need to remux your video segments into .mp4, if some web browsers choke on the flv container format.  (assuming that's the container for f4v, which I've never seen before.)&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-02-26T03:07:25.800" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14971" PostTypeId="2" ParentId="9441" CreationDate="2015-02-26T03:27:10.807" Score="1" Body="&lt;p&gt;So you have a client computer with a camera, and want to stream video from it to a server where it's archived and accessible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;client runs:&#xA;&lt;code&gt;ffmpeg -i some_kind_of_input  -vf mpdecimate -c:v libx264 -preset medium -crf 25  some_kind_of_output&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Choose an appropriate framerate to capture.  mpdecimate will run constantly at that framerate.  libx264 with your chosen preset will have to keep up with realtime to avoid dropped frames when there is motion going on, so mpdecimate isn't dropping any duplicate frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The output from that should be buffered somehow so upload to the server can lag behind the bitrate of the output when there is a burst of data (because of motion).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your output will be VFR video.  There will be continuous 10fps or w/e bits, and other bits with 1 frame per hour or something.  x264 doesn't care, and most container formats have no trouble storing timestamps for each frame.  (e.g. mkv or mp4 are probably both ok choices.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The server receives this video stream, and breaks it into 1 minute or 1 hour chunks or something.  (or maybe it's easier to break into chunks on the client side, and upload a chunk after it's done being written.  That would stop you from getting a realtime feed from your cam though.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or server just decodes it and stores jpg images with timestamps for filenames.  I'm not sure what kind of support ffmpeg has for VFR output to the &lt;code&gt;image2&lt;/code&gt; muxer (that's the &quot;directory of image files&quot; with &lt;code&gt;%04d.jpg&lt;/code&gt; filenames, or w/e.  AFAIK, the &lt;code&gt;%04d&lt;/code&gt; can only substitute frame numbers, not timestamps.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, I just made all this up.  I'm sure you'll find lots of stuff if you google on motion detection security video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;IDK why this was on the recent-activity questions list, but since I read it, I figured I'd post an answer.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-02-26T03:27:10.807" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="14972" PostTypeId="1" CreationDate="2015-02-26T07:57:07.103" Score="1" ViewCount="1054" Body="&lt;p&gt;I want to start doing some Twitch.tv streaming, but don't have a webcam. I have a gaming PC desktop and an OSX laptop with eyesight webcam built in. I was wondering if it is possible to stream the webcam feed over the network to my desktop and add it to my desktop stream as you would normally on OBS or similar.&lt;/p&gt;&#xA;" OwnerUserId="10402" LastActivityDate="2015-05-27T23:38:47.180" Title="Stream Screen from one machine and webcam from another" Tags="|streaming|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14973" PostTypeId="1" CreationDate="2015-02-26T18:41:30.053" Score="3" ViewCount="11358" Body="&lt;p&gt;I am absolutely new to VFX designing and I have tried my hands on Blender, which I find quite useful. I tried After Effects, but couldn't do anything due to its complexity. I want to know about a program with which I can do simple editing cool stuff like say, create a virtual light-saber, or an action movie effect like plane crash etc. in my videos.&#xA;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="10405" LastEditorUserId="6685" LastEditDate="2015-11-18T21:23:44.547" LastActivityDate="2020-04-13T07:28:07.280" Title="Which would be the best VFX software for an absolute beginner?" Tags="|software-recommendation|effects|blender|visual-effects|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14974" PostTypeId="1" CreationDate="2015-02-26T19:14:23.263" Score="4" ViewCount="425" Body="&lt;p&gt;I would simply ask a way to get a better &quot;sense of timing&quot; in motion graphics... It's not about a software specific question: do you know a good online course that teaches motion graphics fundamentals, regardless you have to work with after effects or a 3d software?&lt;/p&gt;&#xA;" OwnerUserId="10406" LastActivityDate="2015-02-27T12:27:49.880" Title="How to improve sense of timing in motion graphics" Tags="|after-effects|motion|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14975" PostTypeId="2" ParentId="14969" CreationDate="2015-02-26T20:20:32.567" Score="4" Body="&lt;p&gt;You can't seamlessly loop a clip that wasn't designed to loop. Some suggestions below, but all require video editing software. No plugin for a player that I know of.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Option 1: Clip has a distinctive/necessary beginning &amp;amp; end that have to be seen, or has audio/narration that cannot be edited or shortened&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;The best option in this case would be to edit the clip to fade-in from and fade-out to black (and/or an identical image) at the beginning &amp;amp; end. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now when it loops it at least appears the same (even if the player hiccups slightly). Black works well since most players go to black after finishing a clip.  &lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Option 2: No audio, the clip's start/end location doesn't matter &amp;amp; you want a seamless loop&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;In this case you could try the following, using whatever software - iMovie, Premiere, After Effects, MovieMaker etc...&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Place the entire clip on a timeline.&lt;/li&gt;&#xA;&lt;li&gt;Duplicate the clip.&lt;/li&gt;&#xA;&lt;li&gt;Find a point in the clip that has as little motion/change as possible.&lt;/li&gt;&#xA;&lt;li&gt;On the top copy of the clip, move 1 frame to the &lt;em&gt;left&lt;/em&gt; and trim everything &lt;em&gt;after&lt;/em&gt; this point.&lt;/li&gt;&#xA;&lt;li&gt;On the bottom copy, go back to the chosen frame and trim everything &lt;em&gt;before&lt;/em&gt; this point.&lt;/li&gt;&#xA;&lt;li&gt;Move the &lt;em&gt;bottom&lt;/em&gt; copy left so it starts at the beginning of the timeline &#xA;&lt;ul&gt;&#xA;&lt;li&gt;Your chosen point now starts at 0:00:00 &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Shift the top copy to the right until it only overlaps slightly with the bottom copy.&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The original start/end points are now overlapping somewhere in the middle&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Add a cross-dissolve to the beginning of the top copy&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The original end point will be obscured by the dissolve. &lt;/li&gt;&#xA;&lt;li&gt;Experiment w/the length and location of overlap/dissolve to find a suitable result. It could work w/just a few frames, or might require a longer overlap to not look jumpy. How well it works depends on how different the original start/end frames are. &lt;/li&gt;&#xA;&lt;li&gt;Ensure the dissolve only occurs during overlapping frames or else you'll see clips jumping on &amp;amp; off screen. &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Trim the end of the timeline so it stops exactly at the last frame of the top clip.&lt;br&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Your edited video will be shorter by the length of the dissolve.&lt;/li&gt;&#xA;&lt;li&gt;The new last frame is now exactly 1 frame &lt;em&gt;before&lt;/em&gt; the new first frame at the beginning. &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Export timeline to your required format  &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The result of this process is that the beginning and end now only  differ by a single frame, making a loop with minimal jump when you restart playback. The cross-dissolve in the middle takes care of the smooth transition that you don't currently have, at the expense of ~1 second of original length.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also flip the directions around so the top clip shows the original &quot;end&quot; point clearly &amp;amp; fades to the &quot;start&quot; of the bottom clip. Either way works...  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There still may be a slight stutter no matter what, depending on the delivery platform. VLC is decent about looping, but iTunes and WMP have a noticeable gap even in a clip that should be seamless. If your clip is for DVD there might be a slight pause, but visually it would look the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the video is for web or mobile use, it'll depend on the platform. iOS and Android are horrible about looping videos natively (there's always a noticeable gap while it restarts, if looping is allowed at all). With HTML5 video or Flash you could code it to seek to the beginning immediately before it reaches the end, hopefully preventing much stutter and avoiding the need to go to all this editing hassle...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this helps!  &lt;/p&gt;&#xA;" OwnerUserId="6476" LastActivityDate="2015-02-26T20:20:32.567" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14976" PostTypeId="2" ParentId="14973" CreationDate="2015-02-26T20:46:00.770" Score="1" Body="&lt;p&gt;After Effects is probably the easiest if those are the types of effects you want. &#xA;It's not free, but I'm pretty sure it's cheaper than most alternatives for effects or compositing &amp;amp; has tons of online resources to learn with. Premiere Pro has some similar features (masks, shape layers, animation w/keyframes, etc), but not as robust or easy to use. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also look into Apple Motion - it's geared toward FCP X users and motion graphics. Not sure about effects &amp;amp; compositing (I haven't used it). It's also not free &amp;amp; doesn't seem to have as much community support, but it is cheaper than AE. Blender's the only decent free 3D program I know of. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're a student, look into the Autodesk Education Community - they have free education versions of Maya, 3DS Max, and most other tools. Adobe also has discounted education versions. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For AE, start here: &lt;a href=&quot;http://www.videocopilot.net/basic/&quot; rel=&quot;nofollow&quot;&gt;http://www.videocopilot.net/basic/&lt;/a&gt;&#xA;It's maybe a bit outdated, but the concepts are good, and VideoCopilot is a really great (free) resource for learning AE. &#xA;He has about 120 detailed tutorials covering all sorts of topics: &lt;a href=&quot;http://www.videocopilot.net/tutorials/&quot; rel=&quot;nofollow&quot;&gt;http://www.videocopilot.net/tutorials/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before bothering w/software, consider how you might create or shoot those effects w/just a camera &amp;amp; props if you had no computer at all. You mentioned that you're already making videos - do you consider (and keep detailed notes about) how you stage them? Where the camera goes and how it moves? Where the light comes from &amp;amp; how it affects the scene? What makes a shot look dramatic, or soothing, or creepy? How a person moves when they use a normal sword? What happens to dirt when you drop something heavy on it (if not a plane, then a big rock)? You don't have to actually DO all of that, but at least think through it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's really easy to learn a software program's interface and follow tutorials, but you're stuck being a copycat unless you have a grasp of basic filmmaking &amp;amp; some real-world equivalents. If you haven't already, look into books/websites about cameras work, lighting, physics &amp;amp; motion, and practical special effects.  &lt;/p&gt;&#xA;" OwnerUserId="6476" LastEditorUserId="6476" LastEditDate="2015-02-26T20:53:14.527" LastActivityDate="2015-02-26T20:53:14.527" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14977" PostTypeId="1" AcceptedAnswerId="15024" CreationDate="2015-02-26T21:09:13.000" Score="1" ViewCount="3127" Body="&lt;p&gt;For example, I know that HDMI cables explicitly do not send a CC signal to the TV, even if the source and TV both support it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I assume that coax cable does support it since I can use a digital antenna and receive CC on my TV from digital over the air broadcasts (in the US).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any other cabling that will carry the actual CC signal for the TV to decode?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am currently sending a DVI signal to projectors in an auditorium and I am sending the same image by VGA over CAT5 to HDTVs in our lobby. We may need to add Closed Captioning to the lobby feed only so I do not want to change the image going to the projectors in the auditorium.&lt;/p&gt;&#xA;" OwnerUserId="10407" LastEditorUserId="10407" LastEditDate="2015-02-27T22:07:08.443" LastActivityDate="2020-01-08T15:58:19.860" Title="What types of cables support closed captioning?" Tags="|broadcasting|" AnswerCount="4" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="14978" PostTypeId="1" CreationDate="2015-02-26T21:27:54.273" Score="2" ViewCount="855" Body="&lt;p&gt;This is a continuation of a &lt;a href=&quot;https://video.stackexchange.com/questions/14908/waving-flag-in-after-effects-from-vector/&quot;&gt;previous question&lt;/a&gt; where I asked how to animate a waving flag drawn in Illustrator. I received a really useful answer from @poor and I've followed it as closely as I could in addition to a useful tutorial by Adobe titled '&lt;a href=&quot;http://tv.adobe.com/watch/no-stupid-questions-with-colin-smith/creating-organic-animations-using-illustrator-paths-in-after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Animating Organic Illustrator Paths in After Effects&lt;/a&gt;'. I'm not sure if my drawing is too complicated for this process but I am near to getting the result I want, with just one last problem. I'll explain below and any help is greatly appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've drawn each 'keyframe' of the flag waving and would like to smoothly transition in between them. This is what each stage of the flag looks like (each one is a different layer):&#xA;&lt;img src=&quot;https://i.stack.imgur.com/x8Fs1.png&quot; alt=&quot;Flags&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each flag ends up being composed of 6 masks when I paste them into the Path value of Mask in After Effects (because they aren't entirely closed). I paste the first flag, keyframe all 6 masks, then with the 6 masks highlighted paste the next flag in, and keyframe it:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/KBGvk.png&quot; alt=&quot;6 Masks&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I play this as is, it does a really weird maneuver. I've tried setting the 'First Vertex' with no luck either:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/uW7Y9.gif&quot; alt=&quot;Flag animation&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even the pole, which is consistent throughout, changes shape a little. Is what I'm trying to accomplish possible, or perhaps are the 'organic shapes' a little too complicated for smooth transitions between? Thanks a lot for any input or advice.&lt;/p&gt;&#xA;" OwnerUserId="9220" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2020-09-30T18:10:17.683" Title="Animating between mask paths in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="14979" PostTypeId="2" ParentId="14972" CreationDate="2015-02-26T22:09:25.390" Score="1" Body="&lt;p&gt;Looks a lot like  &lt;a href=&quot;https://video.stackexchange.com/questions/14764/share-desktop-to-laptop-to-stream-from-laptop/14769#14769&quot;&gt;share desktop to laptop to stream from laptop&lt;/a&gt;  (that guy's goal was lower CPU load on his desktop, but same solution.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use the usual streaming setup on your desktop, but with high bitrate.  stream to laptop, decode there.  overlay webcam, encode for normal streaming, send that output to Twitch.tv.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;IDK what it takes to send streams to twitch, or to receive streams from desktop streaming software.  Assuming you can get ffmpeg to do it, and read from your webcam, use the &lt;code&gt;overlay&lt;/code&gt; filter to combine the streams, and &lt;code&gt;-c:v libx264 -preset medium&lt;/code&gt; to encode to h.264.  Not sure what you'd need to do to get ffmpeg's output to go to Twitch.tv.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-02-26T22:09:25.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14980" PostTypeId="2" ParentId="14969" CreationDate="2015-02-27T00:40:13.560" Score="1" Body="&lt;p&gt;I upvoted mc01's answer. But I also want to suggest a couple of alternatives (which is something I do a lot on this forum!).&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;If possible, you could shoot a new ending and beginning that utilize the skip/jump. It could be a gunshot or part of a quick earthquake.  Or a character could mention that there might be a power outage, or a ripple in the space-time continuum (if something like that fits with the tone of the video). Then, when it occurred, the skip/jump would actually appear as an intentional part of the video.&lt;/li&gt;&#xA;&lt;li&gt;You mentioned that the clip is short.  Let's assume for this example that it's 3 minutes long. You could make a new edit of the video, where you loop the footage 20 times so it takes up an hour. Each time the footage starts again, you could have complete control over the smoothness of the transition. After outputting it, when you played the footage as a loop, 19 of the transitions would be smooth and flawless; every hour there would be one brief hiccup when the footage restarted at the beginning.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-02-27T00:40:13.560" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="14981" PostTypeId="2" ParentId="14974" CreationDate="2015-02-27T02:58:08.530" Score="2" Body="&lt;p&gt;You could begin by reading or watching videos about the &quot;&lt;a href=&quot;http://minyos.its.rmit.edu.au/aim/a_notes/anim_principles.html&quot; rel=&quot;nofollow&quot;&gt;12 Principles of Animation&lt;/a&gt;&quot;, which are usually cited as a set of rules or building blocks for life-like animations and aren't in any way software-specific. Examples of videos can be found &lt;a href=&quot;https://vimeo.com/87095612&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;, or &lt;a href=&quot;https://vimeo.com/93206523&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="9220" LastActivityDate="2015-02-27T02:58:08.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14983" PostTypeId="2" ParentId="14958" CreationDate="2015-02-27T05:53:24.323" Score="1" Body="&lt;p&gt;You could both record your individual screens and microphone inputs. In after effects (or another program of choice) you have the ability to separate the audio and visual so it is possible to change perspectives without affecting the audio. This would probably require a little manual adjustment of one of the audio layers given the lag of skype.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="10410" LastActivityDate="2015-02-27T05:53:24.323" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14984" PostTypeId="2" ParentId="14827" CreationDate="2015-02-27T06:38:43.013" Score="1" Body="&lt;p&gt;Audio Spectrum effect that comes with After Effects. Just apply the effect to a solid layer and there will be a dropdown of the layers in the current composition, select the audio layer.&lt;/p&gt;&#xA;" OwnerUserId="10410" LastActivityDate="2015-02-27T06:38:43.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14985" PostTypeId="2" ParentId="14828" CreationDate="2015-02-27T06:41:42.453" Score="1" Body="&lt;p&gt;Google: RSMB (Real Smart Motion Blur)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know it is available for after effects and Sony Vegas, not sure about final cut.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: It dramatically increases your render time, but it is definitely worth it&lt;/p&gt;&#xA;" OwnerUserId="10410" LastActivityDate="2015-02-27T06:41:42.453" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14989" PostTypeId="2" ParentId="14973" CreationDate="2015-02-27T11:44:27.597" Score="7" Body="&lt;p&gt;&lt;strong&gt;In general you can't create visual effects within a single application&lt;/strong&gt;, because there are too many different departments like:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Match_moving&quot; rel=&quot;noreferrer&quot;&gt;Match moving&lt;/a&gt; &lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Compositing&quot; rel=&quot;noreferrer&quot;&gt;Keying&lt;/a&gt; / &lt;a href=&quot;http://en.wikipedia.org/wiki/Rotoscoping&quot; rel=&quot;noreferrer&quot;&gt;Rotoscoping&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/3D_modeling&quot; rel=&quot;noreferrer&quot;&gt;Modeling&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Texture_mapping&quot; rel=&quot;noreferrer&quot;&gt;Texturing&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Computer_animation&quot; rel=&quot;noreferrer&quot;&gt;Animation&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Simulation&quot; rel=&quot;noreferrer&quot;&gt;Simulation&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Computer_graphics_lighting&quot; rel=&quot;noreferrer&quot;&gt;Lighting&lt;/a&gt; / &lt;a href=&quot;http://en.wikipedia.org/wiki/Rendering_%28computer_graphics%29&quot; rel=&quot;noreferrer&quot;&gt;Rendering&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Compositing&quot; rel=&quot;noreferrer&quot;&gt;Compositing&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Some of them are more artistic and other very technical tasks. For every task there are 2+ specific applications to solve the issue, because in order &lt;strong&gt;to achieve best results in the predetermined time it's key to use a confortable application with no or less limitation to complete a task&lt;/strong&gt;. To connect the work of all departments the industry hires technical directors. In most cases these are computer scientist, trying to built so called pipelines for a solid studio environment.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The idea of &lt;a href=&quot;http://www.blender.org/&quot; rel=&quot;noreferrer&quot;&gt;Blender&lt;/a&gt; is to do everything in it, but Blender also has known limitations like:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Scene Assembly - &lt;em&gt;Issues to display large amounts of geometry&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Compositing - &lt;em&gt;Compositor is quite slow, missing nodes like denoise or deep compositing&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Rendering - &lt;em&gt;Cycles is not very good at rendering caustics at the moment&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Simulation - &lt;em&gt;Bullet Engine is not fully integrated at the moment&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;These are very special and more professional cases - therefore, I think it is a very good idea to dive into visual effects with blender and learn about your interests.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Related:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Sean Kennedy - &lt;a href=&quot;https://www.youtube.com/watch?v=XOWzn64bOU8&quot; rel=&quot;noreferrer&quot;&gt;Using Blender for VFX in Hollywood&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Tears Of Steel - &lt;a href=&quot;https://www.youtube.com/watch?v=nawbpZOKpD8&quot; rel=&quot;noreferrer&quot;&gt;Official VFX Breakdown&lt;/a&gt; &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-11-18T20:37:34.860" LastActivityDate="2015-11-18T20:37:34.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14990" PostTypeId="2" ParentId="14974" CreationDate="2015-02-27T12:27:49.880" Score="2" Body="&lt;p&gt;The book &quot;The Illusion of Life&quot; &lt;a href=&quot;http://www.amazon.co.uk/The-Illusion-Life-Animation-Editions/dp/0786860707&quot; rel=&quot;nofollow&quot;&gt;amazon link&lt;/a&gt; is also really good for thinking about animation timings, from a stop-motion perspective.  Much of it is highly relevant to motion graphics, and it's a beautiful book.  There are some scanned PDFs of it in the darker corners of the internet, but buying the book is worth it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're thinking more about timings of text for readability in motion graphics, I find one of the best ways is to show your work to a few people who haven't seen it yet, and then ask them which bits they missed.  I find it's often tempting to cram too much into a text-heavy motion graphic.  Judging timings by re-watching it yourself becomes tricky because your eye-brain combination already knows what's coming next.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-02-27T12:27:49.880" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14991" PostTypeId="2" ParentId="14969" CreationDate="2015-02-27T12:33:13.680" Score="1" Body="&lt;p&gt;The issue could be primarily technical or mainly aesthetic. Assuming that the clip is designed to be loopable, it's a technical issue. But if you edit two copies of the clip end-to-start and the transition still looks bad, it's more aesthetic. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the technical side, I've had success with Windows Media Player looping WMV and FLV clips. This depends somewhat on the bitrate: high bitrates tax the cache and may cause a slight hitch at the transition (usually a freeze on the last frame). But the clip has to be designed to loop, either with matching frames or a good-looking cut.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it's not technical, you could trim the end of the clip so that it A) ends on a full GOP and B) matches or complements the start of the clip as noted above. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;An alternate approach is to create a transition-only clip, like the dissolve you mention, add it to a playlist, and put the playlist on repeat. WMP usually handles playlists seamlessly.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-02-27T12:33:13.680" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14994" PostTypeId="1" AcceptedAnswerId="15002" CreationDate="2015-02-27T21:21:10.177" Score="4" ViewCount="2990" Body="&lt;p&gt;I have large video files of screen recordings which I created with Camtasia Recorder. The content I am recording only updates once per minute (1/60 fps), however Camtasia appears to require at least 1 fps for recording (quite silly, really). So that's what I did, and then I tried looking in Camtasia Studio to cut out the extra frames but it seems the only way to reduce the file size without compressing to a lossy format is to manually cut by hand 1 second segments throughout the entire file, but these files are too long to do this by hand (3 files, one of which is 24 hrs and the shortest is 8 hrs).&lt;/p&gt;&#xA;&lt;h3&gt;How would I cut all but 1 frame every 60 seconds from a video file?&lt;/h3&gt;&#xA;&lt;p&gt;Note that while the file is currently in the CamRec format, I can convert it to other formats if need be.&lt;/p&gt;&#xA;&lt;h3&gt;Attempts at using mpdecimate:&lt;/h3&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;I have a 479mb &amp;quot;test.avi&amp;quot; video (you can download it &lt;a href=&quot;http://www.filedropper.com/test_71&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;) which is 35 second uncompressed avi file of me moving some windows around on my desktop.&lt;/p&gt;&#xA;&lt;p&gt;The first command I ran was:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test.avi -vf mpdecimate test-out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The &lt;a href=&quot;http://www.filedropper.com/test-out&quot; rel=&quot;nofollow noreferrer&quot;&gt;resulting file&lt;/a&gt; (714kb) has 5-6 seconds of black, then the rest of the input video unaltered (but it is compressed).&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Then I tried:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test.avi -vf mpdecimate -vsync 2 test-out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Which output &lt;a href=&quot;http://www.filedropper.com/test-out2&quot; rel=&quot;nofollow noreferrer&quot;&gt;a file&lt;/a&gt; (716kb) with seemingly the same results.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-70358-g047fd98 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 4.9.2 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnu&#xA;tls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-&#xA;libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-l&#xA;ibrtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --&#xA;enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --ena&#xA;ble-libxvid --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      54. 19.100 / 54. 19.100&#xA;  libavcodec     56. 26.100 / 56. 26.100&#xA;  libavformat    56. 23.106 / 56. 23.106&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 11.102 /  5. 11.102&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, avi, from 'test.avi':&#xA;  Duration: 00:00:34.87, start: 0.000000, bitrate: 115403 kb/s&#xA;    Stream #0:0: Video: rawvideo, bgr24, 572x280, 115425 kb/s, 30 fps, 30 tbr, 30 tbn, 30 tbc&#xA;File 'test-out2.mp4' already exists. Overwrite ? [y/N] y&#xA;No pixel format specified, yuv444p for H.264 encoding chosen.&#xA;Use -pix_fmt yuv420p for compatibility with outdated media players.&#xA;[libx264 @ 0000000003047200] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;[libx264 @ 0000000003047200] profile High 4:4:4 Predictive, level 2.1, 4:4:4 8-bit&#xA;[libx264 @ 0000000003047200] 264 - core 144 r2525 40bb568 - H.264/MPEG-4 AVC codec - Copyleft 2003-2014 - http://www.videolan.org/x264.html - options:&#xA; cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 dead&#xA;zone=21,11 fast_pskip=1 chroma_qp_offset=4 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_in&#xA;tra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahe&#xA;ad=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'test-out2.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf56.23.106&#xA;    Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv444p, 572x280, q=-1--1, 30 fps, 10000k tbn, 30 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc56.26.100 libx264&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; h264 (libx264))&#xA;Press [q] to stop, [?] for help&#xA;[swscaler @ 0000000003017fe0] Warning: data is not aligned! This can lead to a speedloss&#xA;frame=  406 fps= 50 q=-1.0 Lsize=     715kB time=00:00:34.06 bitrate= 171.9kbits/s&#xA;video:711kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.578083%&#xA;[libx264 @ 0000000003047200] frame I:4     Avg QP:20.40  size: 18550&#xA;[libx264 @ 0000000003047200] frame P:342   Avg QP:21.60  size:  1878&#xA;[libx264 @ 0000000003047200] frame B:60    Avg QP:19.97  size:   176&#xA;[libx264 @ 0000000003047200] consecutive B-frames: 75.9% 12.8%  1.5%  9.9%&#xA;[libx264 @ 0000000003047200] mb I  I16..4: 40.3% 25.6% 34.1%&#xA;[libx264 @ 0000000003047200] mb P  I16..4: 10.2%  4.6%  4.8%  P16..4:  7.6%  2.0%  0.6%  0.0%  0.0%    skip:70.1%&#xA;[libx264 @ 0000000003047200] mb B  I16..4:  0.6%  0.1%  0.3%  B16..8:  7.8%  0.4%  0.0%  direct: 0.1%  skip:90.7%  L0:42.8% L1:56.3% BI: 1.0%&#xA;[libx264 @ 0000000003047200] 8x8 transform intra:23.3% inter:53.3%&#xA;[libx264 @ 0000000003047200] coded y,u,v intra: 17.3% 7.5% 7.2% inter: 1.9% 0.4% 0.4%&#xA;[libx264 @ 0000000003047200] i16 v,h,dc,p: 20% 76%  3%  1%&#xA;[libx264 @ 0000000003047200] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 23% 18% 57%  0%  0%  0%  1%  0%  1%&#xA;[libx264 @ 0000000003047200] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 26% 45% 16%  1%  2%  2%  2%  2%  3%&#xA;[libx264 @ 0000000003047200] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0000000003047200] ref P L0: 62.9% 10.7% 14.1% 12.3%&#xA;[libx264 @ 0000000003047200] ref B L0: 85.2% 14.2%  0.6%&#xA;[libx264 @ 0000000003047200] ref B L1: 99.1%  0.9%&#xA;[libx264 @ 0000000003047200] kb/s:163.69&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Then I tried:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test.avi -vf mpdecimate=hi=64*12:lo=64*2:frac=0.1,showinfo -vsync 2 test-out2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;with the same results (in terms of how the video file appeared).&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;frame=  411 fps=221 q=-1.0 Lsize=     716kB time=00:00:34.06 bitrate= 172.3kbits/s&#xA;video:712kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.589478%&#xA;[libx264 @ 0000000004e66b40] frame I:4     Avg QP:20.26  size: 18595&#xA;[libx264 @ 0000000004e66b40] frame P:343   Avg QP:21.49  size:  1876&#xA;[libx264 @ 0000000004e66b40] frame B:64    Avg QP:19.52  size:   170&#xA;[libx264 @ 0000000004e66b40] consecutive B-frames: 74.7% 13.1%  1.5% 10.7%&#xA;[libx264 @ 0000000004e66b40] mb I  I16..4: 41.6% 24.6% 33.8%&#xA;[libx264 @ 0000000004e66b40] mb P  I16..4: 10.2%  4.5%  4.8%  P16..4:  7.6%  2.0%  0.6%  0.0%  0.0%    skip:70.3%&#xA;[libx264 @ 0000000004e66b40] mb B  I16..4:  0.6%  0.1%  0.3%  B16..8:  7.5%  0.4%  0.0%  direct: 0.0%  skip:91.0%  L0:43.4% L1:55.6% BI: 0.9%&#xA;[libx264 @ 0000000004e66b40] 8x8 transform intra:23.1% inter:53.7%&#xA;[libx264 @ 0000000004e66b40] coded y,u,v intra: 17.4% 7.5% 7.2% inter: 1.9% 0.4% 0.4%&#xA;[libx264 @ 0000000004e66b40] i16 v,h,dc,p: 21% 75%  3%  1%&#xA;[libx264 @ 0000000004e66b40] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 23% 17% 58%  0%  0%  0%  1%  0%  1%&#xA;[libx264 @ 0000000004e66b40] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 26% 45% 16%  1%  2%  2%  2%  2%  3%&#xA;[libx264 @ 0000000004e66b40] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0000000004e66b40] ref P L0: 62.9% 10.6% 14.2% 12.3%&#xA;[libx264 @ 0000000004e66b40] ref B L0: 86.0% 13.3%  0.6%&#xA;[libx264 @ 0000000004e66b40] ref B L1: 99.1%  0.9%&#xA;[libx264 @ 0000000004e66b40] kb/s:164.04&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10415" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-03-04T20:36:57.203" Title="How would I remove a specific pattern (say, every n-n+59th frame) of frames from a lengthy video file?" Tags="|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14995" PostTypeId="1" CreationDate="2015-02-27T22:30:03.947" Score="1" ViewCount="51" Body="&lt;p&gt;Excluding other computer components, which timeline editor is better optimized for timeline editing for Intel i7 CPU (4790k) in Windows 8.1 64 bit?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: Timeline editing is important (Not render speed).&lt;/p&gt;&#xA;" OwnerUserId="3845" LastActivityDate="2015-02-27T22:30:03.947" Title="Premiere vs Vegas performance in i7 CPU?" Tags="|video|premiere|editing|vegas-pro|windows|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14996" PostTypeId="1" CreationDate="2015-02-27T23:44:42.200" Score="0" ViewCount="160" Body="&lt;p&gt;I am 17 and I want to start a freelance video editing company, using Motion and Final Cut Pro X.  Only problem is, I have no idea how to go about starting it.  Where are some good places to begin?&lt;/p&gt;&#xA;" OwnerUserId="10416" LastActivityDate="2015-03-02T18:42:30.340" Title="How to start a freelance editing company?" Tags="|editing|filming|production|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14997" PostTypeId="2" ParentId="14996" CreationDate="2015-02-28T00:09:36.747" Score="1" Body="&lt;p&gt;Depending on where you live, there will be some specific steps you need to take in order to start up your own business (which you'll ultimately want to do if you want to start charging people for your services).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other than that, I'd recommend that you start out by collaborating with some kind of non-profit organisation, if you can find one that have a need for the kind of work that you offer. This way, you'll get some exposure, you have something concrete to show to potential clients, and you start to build a network. Next thing, try to land a job where you at least get paid something; to get paid, even if it's just a really small amount, is a big step if you've never received payment for your work before.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From there, just try to increment the amount you're getting payed every time you take on a new job. As long as the increment is small enough, you should improve fast enough to justify the new pay-grade.&lt;/p&gt;&#xA;" OwnerUserId="1236" LastActivityDate="2015-02-28T00:09:36.747" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14998" PostTypeId="2" ParentId="14927" CreationDate="2015-02-28T04:44:48.457" Score="3" Body="&lt;p&gt;After a bit of searching, I found &lt;a href=&quot;http://www.sonicscoop.com/2013/05/30/the-best-noise-reduction-plugins-on-the-market/&quot; rel=&quot;nofollow noreferrer&quot;&gt;an article&lt;/a&gt; surveying some of the commercial software noise reduction options.  For hiss/hum type noise removal (as opposed to crackles and pops), no approach other than noise-gates in multiple frequency bands was mentioned.  The differences between implementations are in the default settings, the control knobs available, and things like that.  (and whether the a noise sample is used to get a profile.  Apparently there are faster implementations that do well without needing a noise sample to build a tailored profile of the noise to remove.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So AFAICT, Audacity's noise reduction plugin works the same way as commercial software implementations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(For pops and crackles, Audacity allows making rectangular selections on the spectrum plot.  It might not have as sophisticated algorithms for filling in deleted glitches with similar-sounding audio from nearby, compared to some commercial software.  IDK, I haven't tried that.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other thing I was interested in was what's up with recent development activity in Audacity's Noise Reduction filter:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Following the svn history of &lt;code&gt;NoiseReduction.cpp&lt;/code&gt;, there are really only changes to the GUI for setting parameters, from it's appearance in SVN r13591 (Nov 10, 2014) up to latest change in r13895 (Jan 24, 2015).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It replaces the over-optimistically-titled &lt;code&gt;NoiseRemoval.cpp&lt;/code&gt;.  It appears to be a rewrite of the same basic design.  The intro comment describing the design is only slightly changed, and some of the same comments are kicking around in the code.  However, almost every line of code is different, and it's 1.9k lines of code instead of 870.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So it's probably not critical to get a pre-release build of Audacity 2.1 for noise removal.  If you get chimes / dropouts where you don't want them, or otherwise have problems, then go for a new version.  It looks at more data to decide if something is noise or not, as detailed below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One critical part of the new filter now has several methods to choose from.  (&lt;code&gt;OLD_METHOD_AVAILABLE&lt;/code&gt; is not enabled by default.  And &lt;code&gt;DM_DEFAULT_METHOD = DM_SECOND_GREATEST&lt;/code&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(The code is well-commented.  I mostly just read the comments, on the assumption that the code matches well enough.)&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-cpp prettyprint-override&quot;&gt;&lt;code&gt;//***** NoiseReduction.cpp:1079&#xA;// Return true iff the given band of the &quot;center&quot; window looks like noise.&#xA;// Examine the band in a few neighboring windows to decide.&#xA;inline&#xA;bool EffectNoiseReduction::Worker::Classify(const Statistics &amp;amp;statistics, int band)&#xA;{&#xA;   switch (mMethod) {&#xA;#ifdef OLD_METHOD_AVAILABLE&#xA;   case DM_OLD_METHOD:&#xA;      {&#xA;         float min = mQueue[0]-&amp;gt;mSpectrums[band];&#xA;         for (int ii = 1; ii &amp;lt; mNWindowsToExamine; ++ii)&#xA;            min = std::min(min, mQueue[ii]-&amp;gt;mSpectrums[band]);&#xA;         return min &amp;lt;= mOldSensitivityFactor * statistics.mNoiseThreshold[band];&#xA;      }&#xA;   // New methods suppose an exponential distribution of power values&#xA;   // in the noise; new sensitivity is meant to be log of probability&#xA;   // that noise strays above the threshold.  Call that probability&#xA;   // 1 - F.  The quantile function of an exponential distribution is&#xA;   // log (1 - F) * mean.  Thus simply multiply mean by sensitivity&#xA;   // to get the threshold.&#xA;   case DM_MEDIAN:&#xA;      // This method examines the window and all windows&#xA;      // that partly overlap it, and takes a median, to&#xA;      // avoid being fooled by up and down excursions into&#xA;      // either the mistake of classifying noise as not noise&#xA;      // (leaving a musical noise chime), or the opposite&#xA;      // (distorting the signal with a drop out). &#xA;      if (mNWindowsToExamine == 3)&#xA;         // No different from second greatest.&#xA;         goto secondGreatest;&#xA;      else if (mNWindowsToExamine == 5)&#xA;      {&#xA;         float greatest = 0.0, second = 0.0, third = 0.0;&#xA;         for (int ii = 0; ii &amp;lt; mNWindowsToExamine; ++ii) {&#xA;            const float power = mQueue[ii]-&amp;gt;mSpectrums[band];&#xA;            if (power &amp;gt;= greatest)&#xA;               third = second, second = greatest, greatest = power;&#xA;            else if (power &amp;gt;= second)&#xA;               third = second, second = power;&#xA;            else if (power &amp;gt;= third)&#xA;               third = power;&#xA;         }&#xA;         return third &amp;lt;= mNewSensitivity * statistics.mMeans[band];&#xA;      }&#xA;      else {&#xA;         wxASSERT(false);&#xA;         return true;&#xA;      }&#xA;   secondGreatest:&#xA;   case DM_SECOND_GREATEST:&#xA;      {&#xA;         // This method just throws out the high outlier.  It&#xA;         // should be less prone to distortions and more prone to&#xA;         // chimes.&#xA;         float greatest = 0.0, second = 0.0;&#xA;         for (int ii = 0; ii &amp;lt; mNWindowsToExamine; ++ii) {&#xA;            const float power = mQueue[ii]-&amp;gt;mSpectrums[band];&#xA;            if (power &amp;gt;= greatest)&#xA;               second = greatest, greatest = power;&#xA;            else if (power &amp;gt;= second)&#xA;               second = power;&#xA;         }&#xA;         return second &amp;lt;= mNewSensitivity * statistics.mMeans[band];&#xA;      }&#xA;   default:&#xA;      wxASSERT(false);&#xA;      return true;&#xA;   }&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(why isn't &lt;a href=&quot;https://meta.stackexchange.com/questions/184108/what-is-syntax-highlighting-and-how-does-it-work&quot;&gt;syntax highlighting&lt;/a&gt; working?  I put &lt;code&gt;&amp;lt;!-- language: lang-cpp --&amp;gt;&lt;/code&gt; before the code block :/)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm probably going to build audacity from this SVN checkout I already have, but I'm not planning to compare noise reduction between the latest dev build and the stable 2.0.6 release.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2017-03-20T10:32:30.783" LastActivityDate="2015-02-28T04:44:48.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="14999" PostTypeId="2" ParentId="8133" CreationDate="2015-02-28T05:12:48.010" Score="1" Body="&lt;p&gt;I used to get stuck with this problem. I finally solved it by changing the &quot;video playback settings&quot; from &quot;the sequence settings&quot; in the &quot;sequence&quot; menu. The default resolution is 1920 x 1080. I changed it to 640 x 360, and after that playback was always 100% smooth, even while using a mixture of .mts and .mvi full HD files, with contrast and brightness effects on them, without even having to render at all, even while the bar is red.&lt;/p&gt;&#xA;" OwnerUserId="10418" LastActivityDate="2015-02-28T05:12:48.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15000" PostTypeId="2" ParentId="14996" CreationDate="2015-02-28T13:47:26.397" Score="0" Body="&lt;p&gt;One good place to start would be the &lt;a href=&quot;https://www.sba.gov/category/navigation-structure/starting-managing-business/starting-business/obtain-business-licenses-&quot; rel=&quot;nofollow&quot;&gt;US Small Business Administration&lt;/a&gt;.  You're going to have to file for a business license, pay taxes, learn about the law, consider hiring employees, etc.  This website has information on all of those topics and more.  You also might want to look into small business classes at your local community college.  &lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-02-28T13:47:26.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15001" PostTypeId="1" CreationDate="2015-02-28T20:50:21.030" Score="1" ViewCount="3042" Body="&lt;p&gt;My camera does simple time-lapse but it makes the videos in a 20fps format. I just want to change it to 30fps and yes I want to make the video play faster as a result. I do not want to only change the frames per second, I actually want all the frames to play faster! So it seems like this would be extremely simple, yet I can't find any help on google. I just want a cheap way of changing the frame rate. Thanks&lt;/p&gt;&#xA;" OwnerUserId="10420" LastActivityDate="2015-03-01T11:37:37.900" Title="Changing playback speed by changing frame rate" Tags="|framerate|playback|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15002" PostTypeId="2" ParentId="14994" CreationDate="2015-03-01T02:00:01.127" Score="2" Body="&lt;p&gt;FFmpeg has a &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-all.html#framestep&quot; rel=&quot;nofollow&quot;&gt;framestep&lt;/a&gt; filter to take every &lt;code&gt;n&lt;/code&gt;th frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's also &lt;code&gt;mpdecimate&lt;/code&gt;, which outputs a frame whenever the input frame is different enough from the previous frame.  (so if exactly every 60th frame isn't perfect, you could use &lt;code&gt;mpdecimate&lt;/code&gt; instead to detect the changes, and make a potentially VFR video.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I didn't test this command; post a comment if I screwed it up:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i in.camrec -vf framestep=60 -r 1/60 -codec copy -map 0 -c:v libx264 -preset medium -crf 16 -movflags +faststart -vsync 2 out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or use &lt;code&gt;out.mkv&lt;/code&gt; if you like matroska better than the mp4 container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;copy&lt;/code&gt; (stream copy) won't work while dropping frames, I think even for an intra-only codec.  So your output has to be encoded to some codec.  My example uses lossy h.264, but with the quality cranked so high it should be transparent.  You could use lossless h.264 (&lt;code&gt;-preset ultrafast -qp 0&lt;/code&gt;), &lt;code&gt;-c:v utvideo&lt;/code&gt;, or whatever else you like.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-vsync 2&lt;/code&gt; turns on VFR output mode, which for some reason isn't the default in mp4.  (but it is in mkv).  You'll want that if you use &lt;code&gt;mpdecimate&lt;/code&gt;, but you won't need it for &lt;code&gt;framestep&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A quick google didn't tell me if camrec is already lossy or not.  If it's lossy, then there's no way to get a file as small but with the same quality as just keeping every 60th CamRec frame without decoding them.  (assuming there's an intra-only frame at the point you want one, if the format has any non-intra frames.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With mjpeg, you can turn a video into a directory of images without decoding, and select whichever ones you want, and mux them up again.  Since camrec frames probably aren't a stand-alone image format, it's unlikely there's something similar, so you just have to use video tools.  Like I said, don't think ffmpeg can do clever things like frame dropping without decompressing, even for intra-only codecs.  Other tools might exist that can do that, for some codecs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it's lossless, then it just takes more CPU time to decode / re-encode to a new lossless format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;edit: more about mpdecimate:&#xA;As noted in the comments, I added some stats logging to mpdecimate.&lt;br&gt;&#xA;&lt;code&gt;git pull https://github.com/pcordes/FFmpeg.git mpdecimate&lt;/code&gt;&lt;br&gt;&#xA;and then build ffmpeg as usual.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then run &lt;code&gt;ffmpeg -v debug ...&lt;/code&gt;.&lt;br&gt;&#xA;Or &lt;code&gt;ffplav -v debug -vf mpdecimate  input.avi&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Testing mpdecimate threshold settings with ffplay is a lot faster than making an encode.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-03-03T03:28:01.740" LastActivityDate="2015-03-03T03:28:01.740" CommentCount="16" ContentLicense="CC BY-SA 3.0" />
  <row Id="15003" PostTypeId="2" ParentId="15001" CreationDate="2015-03-01T03:09:48.617" Score="1" Body="&lt;p&gt;So you want an output video with the same frames in the same order, but with just the timing changed.  No problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg &lt;a href=&quot;https://trac.ffmpeg.org/wiki/How%20to%20speed%20up%20/%20slow%20down%20a%20video&quot; rel=&quot;nofollow noreferrer&quot;&gt;can't do it without transcoding&lt;/a&gt;, unfortunately.  So you'll need a program that can muck around with the timing info in the container.  mkvmerge can do it, and so can MP4Box.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I knew I'd seen an answer to this when I googled on it before:&#xA;&lt;a href=&quot;https://askubuntu.com/questions/370692/how-to-change-the-framerate-of-a-video-without-reencoding&quot;&gt;https://askubuntu.com/questions/370692/how-to-change-the-framerate-of-a-video-without-reencoding&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From there: the guy eventually found the right MP4Box command line (since he was working with MP4.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;MP4Box -add test_track1.h264:fps=30 -new dest.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(where &lt;code&gt;test_track1.h264&lt;/code&gt; is the raw h.264 stream he demuxed from his source.mp4)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If a Matroska container works for you, there's also the option of:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;mkvmerge -o out.mkv  --default-duration 0:30fps --fix-bitstream-timing-information 0 in.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2017-04-13T12:22:54.683" LastActivityDate="2015-03-01T03:09:48.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15004" PostTypeId="2" ParentId="15001" CreationDate="2015-03-01T11:37:37.900" Score="0" Body="&lt;p&gt;In after effects you simply drag the clip to the new composition button, change composition frame rate to 30, enable time remap on clip, and drag the end time remap keyframe to 2/3rds in. It is cheap if you have after effects downloaded already, which is common.&lt;/p&gt;&#xA;" OwnerUserId="10410" LastActivityDate="2015-03-01T11:37:37.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15005" PostTypeId="1" AcceptedAnswerId="15006" CreationDate="2015-03-01T12:31:30.360" Score="2" ViewCount="2588" Body="&lt;p&gt;(I decided to post this here because it doesn't fit very well into the Gaming category, but it is a gaming question.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had the idea to try streaming video to Twitch one on computer and to record it with VLC on another, using Livestreamer. The result is a TS file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I wanted to upload it to YouTube, how would I convert it to mp4 (Or is there a better format?) without loosing quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I hear people talk about rendering their video. I understand that when a video is first recorded it is in 'raw' format. What does rendering entail?&lt;/p&gt;&#xA;" OwnerUserId="10423" LastActivityDate="2017-04-09T10:08:47.473" Title="I have a TS file. How do I render it?" Tags="|video|video-quality|file-formats|" AnswerCount="2" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="15006" PostTypeId="2" ParentId="15005" CreationDate="2015-03-01T13:20:19.223" Score="3" Body="&lt;p&gt;&quot;Raw&quot; ususally refers to uncompressed video (though this is &lt;em&gt;technically&lt;/em&gt; wrong), meaning you probably have a very large file. Rendering is the process of re-encoding the video using another codec, usually to reduce file-size while maintaining a decent enough video quality. The reason that .mp4-files with the H264-codec are widely used is that they offer a very good filesize-quality-ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your case, a very compressed file is &lt;strong&gt;not&lt;/strong&gt; what you might want, since Youtube reencodes your video when you upload it. Every reencoding reduces the video quality, so the double reencoding will result in poor quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you cant upload the .ts-file directly (I don't think Youtube allows this), you could reencode it to an mp4 or avi (imho, the latter is better in this case, though getting the encoding settings right is a bit tougher for beginners). The key is to chose a very &lt;strong&gt;high bitrate&lt;/strong&gt; and the &lt;strong&gt;same framerate and resolution&lt;/strong&gt; as the original video. Using a high bitrate, the quality-loss resulting from the reencoding can be minimized. However, this will result in very large files (espacially if you choose avi), which depending on your internet connection might take very long to upload.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a range of free encoding programs out there. I'd recommend &lt;a href=&quot;http://www.xmedia-recode.de/en/index.html&quot; rel=&quot;nofollow&quot;&gt;XMedia-Recode&lt;/a&gt;, but you could also try &lt;a href=&quot;http://www.xilisoft.com/&quot; rel=&quot;nofollow&quot;&gt;Xilisoft Video Converter&lt;/a&gt; or &lt;a href=&quot;http://www.pcfreetime.com/&quot; rel=&quot;nofollow&quot;&gt;Format Factory&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; If you want to &lt;strong&gt;cut&lt;/strong&gt; your video (i.e. add an intro and an outro, put different videos together, remove unwanted parts, ...), you'll need a video editing program. There are some freeware programs for this (none of which are as good as professional, paid programs), you can find a &lt;a href=&quot;http://en.wikipedia.org/wiki/List_of_video_editing_software&quot; rel=&quot;nofollow&quot;&gt;list of video editing software at wikipedia&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2015-03-01T13:30:07.210" LastActivityDate="2015-03-01T13:30:07.210" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15007" PostTypeId="1" CreationDate="2015-03-01T15:49:33.270" Score="0" ViewCount="2395" Body="&lt;p&gt;Suppose I have two files called &lt;code&gt;foo.mp4&lt;/code&gt; and &lt;code&gt;foo.srt&lt;/code&gt;. The mp4 file doesn't have subtitles, and I want to add subtitles from the &lt;code&gt;foo.srt&lt;/code&gt; file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The utility &lt;code&gt;mencoder&lt;/code&gt; is frequently recommended in this context. I tried using, for example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mencoder foo.mp4 -sub foo.srt -ovc lavc -oac copy -o foo.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This worked for me before. However, here I get&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Audio format 0x4134504d is incompatible with '-oac copy', please try '-oac pcm' instead or use '-fafmttag' to override it.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I don't know what this means. Running &lt;code&gt;mediainfo&lt;/code&gt; on this file gives the following information for the &lt;code&gt;audio&lt;/code&gt; stream.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC&#xA;Format/Info                              : Advanced Audio Codec&#xA;Format profile                           : LC&#xA;Codec ID                                 : 40&#xA;Duration                                 : 1h 47mn&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 93.7 Kbps&#xA;Maximum bit rate                         : 110 Kbps&#xA;Channel(s)                               : 2 channels&#xA;Channel positions                        : Front: L R&#xA;Sampling rate                            : 48.0 KHz&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 71.8 MiB (9%)&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2014-11-19 03:58:38&#xA;Tagged date                              : UTC 2014-11-19 03:58:40&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Trying&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mencoder foo.mp4 -sub foo.srt -ovc lavc -oac pcm -o foo.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;works, but produces a video that is visibly worse with regard to quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suppose &lt;code&gt;ffmpeg&lt;/code&gt; could also be an option, but I've not figured out how to use it to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Debian wheezy. The versions of &lt;code&gt;mencoder&lt;/code&gt; and &lt;code&gt;ffmpeg&lt;/code&gt; that ship with wheezy are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2:1.0~rc4.dfsg1+svn34540-1+deb7u1 (mencoder)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;6:0.8.16-1 (ffmpeg)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I managed to backport a newer version of &lt;code&gt;ffmpeg&lt;/code&gt; from unstable,&#xA;namely: &lt;code&gt;7:2.5.1-1&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="10422" LastEditorUserId="18155" LastEditDate="2020-03-15T18:32:20.853" LastActivityDate="2020-03-15T18:32:20.853" Title="Merging mp4 video stream with subtitles for use in creating DVD" Tags="|ffmpeg|subtitles|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="15008" PostTypeId="2" ParentId="14948" CreationDate="2015-03-01T16:00:12.037" Score="2" Body="&lt;p&gt;You can use Motion to create video that you would import into iMovie. That video could be things like lower thirds, titles, or other graphics with a transparent background, where you place it over other video. But Motion templates you create aren't seen or used by iMovie the way they are in Final Cut Pro.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-03-01T16:00:12.037" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15011" PostTypeId="2" ParentId="15007" CreationDate="2015-03-01T21:43:05.457" Score="2" Body="&lt;p&gt;Use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#subtitles-1&quot; rel=&quot;nofollow&quot;&gt;&lt;code&gt;subtitles&lt;/code&gt;&lt;/a&gt; filter to create hardsubs (&quot;burnt-in&quot; subtitles):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf subtitles=subs.srt -target pal-dvd output.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-target pal-dvd&lt;/code&gt; will make the output have a frame rate of 25 and a frame size of 720x576. If you want NTSC output instead for a frame rate of 30000/1001 and frame size of 720x480, then use &lt;code&gt;-target ntsc-dvd&lt;/code&gt;. For a frame rate of 24000/1001 and 720x480 frame size use &lt;code&gt;-target film-dvd&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The old, so-called &quot;&lt;code&gt;ffmpeg&lt;/code&gt;&quot; version 0.8.16 in the repo is a counterfeit from a fork that lacks the &lt;code&gt;subtitles&lt;/code&gt; filter. If you need the real thing you can simply &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;download a static build&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I do not believe &lt;code&gt;ffmpeg&lt;/code&gt; can convert the text-based SRT to the bitmap-based dvdsub/vobsub, but there are probably other tools that can do so. This will allow you to use standard DVD subtitles which can be turned on or off by the viewer.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2015-03-01T21:43:05.457" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="15012" PostTypeId="1" CreationDate="2015-03-02T03:16:10.530" Score="4" ViewCount="5265" Body="&lt;p&gt;Is there a way of specifying a quality setting for h.264 that is not software dependant?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to help a colleague create a specification for outside contractors when they deliver video to us for use on our website as h.264-compressed mp4 files. We can specify a bitrate, but that doesn't work so well if we want variable bitrate / constant quality (CRF) compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I knew they would be using libx264 to do the compression I could give them a range for the &lt;code&gt;-crf&lt;/code&gt; setting, but they'll be using all sorts of software to do the compression. So how do I specify quality, except by saying something vague like &quot;visually lossless&quot; or &quot;good quality&quot;?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-03-04T00:41:34.050" LastActivityDate="2015-03-04T00:41:34.050" Title="How to specify CRF quality settings for different encoding software" Tags="|ffmpeg|encoding|compression|h.264|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="15013" PostTypeId="1" CreationDate="2015-03-02T13:52:07.343" Score="5" ViewCount="1898" Body="&lt;p&gt;I'm a newbie in video editing on linux and am trying to rotate a video I took with my phone using AVCONV on an Ubuntu 12.04 machine.  It all seems to go honky dory except the output is losing quality.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original video is 1920 x 1080 - 30fps - 1:47 long - 270MB&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I initially attempted converting by running:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&lt;b&gt;avconv -i in.mp4 -strict experimental -vf transpose=1 out.mp4&lt;/b&gt;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After seeing poor results I enforced frame rate, frame size and compression:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&lt;b&gt;avconv -i in.mp4 -strict experimental -vf transpose=1 -r 30 -s hd1080 -qcomp 1 out.mp4&lt;/b&gt;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the resulting video compresses down to 45MB (from 270MB) and is really pixelated.  Can you tell me how to avoid this and maintain the original quality of the video? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what the converter spits out:&#xA;&lt;code&gt;&#xA;avconv version 0.8.16-4:0.8.16-0ubuntu0.12.04.1, Copyright (c) 2000-2014 the Libav developers&#xA;  built on Sep 16 2014 18:33:49 with gcc 4.6.3&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'tractor_powered_cable-car.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 0&#xA;    compatible_brands: isom3gp4&#xA;    creation_time   : 2015-01-01 10:28:17&#xA;  Duration: 00:01:47.34, start: 0.000000, bitrate: 20145 kb/s&#xA;    Stream #0.0(eng): Video: h264 (High), yuv420p, 1920x1080, 19974 kb/s, PAR 65536:65536 DAR 16:9, 29.99 fps, 90k tbr, 90k tbn, 180k tbc&#xA;    Metadata:&#xA;      creation_time   : 2015-01-01 10:28:17&#xA;    Stream #0.1(eng): Audio: aac, 48000 Hz, stereo, s16, 155 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2015-01-01 10:28:17&#xA;File 'out.mp4' already exists. Overwrite ? [y/N] Y&#xA;[buffer @ 0x21940e0] w:1920 h:1080 pixfmt:yuv420p&#xA;[transpose @ 0x218dcc0] w:1920 h:1080 dir:1 -&gt; w:1080 h:1920 rotation:clockwise vflip:0&#xA;Output #0, mp4, to 'out.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 0&#xA;    compatible_brands: isom3gp4&#xA;    creation_time   : 2015-01-01 10:28:17&#xA;    encoder         : Lavf53.21.1&#xA;    Stream #0.0(eng): Video: mpeg4, yuv420p, 1080x1920 [PAR 1:1 DAR 9:16], q=2-31, 200 kb/s, 30 tbn, 30 tbc&#xA;    Metadata:&#xA;      creation_time   : 2015-01-01 10:28:17&#xA;    Stream #0.1(eng): Audio: aac, 48000 Hz, stereo, s16, 200 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2015-01-01 10:28:17&#xA;Stream mapping:&#xA;  Stream #0:0 -&gt; #0:0 (h264 -&gt; mpeg4)&#xA;  Stream #0:1 -&gt; #0:1 (aac -&gt; aac)&#xA;Press ctrl-c to stop encoding&#xA;frame= 3218 fps= 46 q=31.0 Lsize=   44341kB time=107.27 bitrate=3386.3kbits/s dup=1 drop=0&lt;br&gt;&#xA;video:41833kB audio:2441kB global headers:0kB muxing overhead 0.150674%&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&#xA;Shakus&lt;/p&gt;&#xA;" OwnerUserId="10426" LastActivityDate="2019-01-09T16:37:19.853" Title="Avconv rotating mpeg4 - video loses quality" Tags="|video-quality|mp4|avconv|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15014" PostTypeId="1" AcceptedAnswerId="15015" CreationDate="2015-03-02T17:29:17.420" Score="2" ViewCount="60" Body="&lt;p&gt;Suppose you have person A in one room, placing a phone call to person B in another room. How would you show the resulting phone conversation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can think of two ways: One is to split the screen, so person A is shown on the left side, and person B on the right side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other way, is to have alternating &quot;full shots&quot; switching back and forth between persons A and B.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are these video techniques called? Are there other techniques that I've overlooked?&lt;/p&gt;&#xA;" OwnerUserId="2604" LastActivityDate="2015-03-02T18:38:12.550" Title="What are ways to show phone conversations?" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15015" PostTypeId="2" ParentId="15014" CreationDate="2015-03-02T18:38:12.550" Score="2" Body="&lt;p&gt;I like to think of alternate ways to do things, so here are a few.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;One variation of the split screen is a picture-in-picture layout, where Caller B is in a small (often rectangular) box overlaid on the main shot of Caller A.  &lt;/li&gt;&#xA;&lt;li&gt;Another variation of the split screen is a &quot;cloudy&quot; picture-in-picture, where Caller B appears as a cloud-shaped image with fuzzy edges overlaid on the main shot of Caller A, usually floating above Caller A's head. This is sometimes used to make it look as though Person A is thinking of Person B, but I'm pretty sure I've seen it as a phone call too.&lt;/li&gt;&#xA;&lt;li&gt;If the call occurs in present day, a video call on a computer screen can show Caller A and Caller B in a variety of layouts.  It could even include Callers C, D, E, etc.&lt;/li&gt;&#xA;&lt;li&gt;Some scenes only show Caller A, and Caller B is heard without being seen.&lt;/li&gt;&#xA;&lt;li&gt;In the movie The Player, there is a creepy scene in which Tim Robbins calls a woman he's attracted to / stalking.  He's on his cell phone, outside of her house, at night. She can't see him but he is looking in through her windows while they talk. So there are some 2-shots that show both of them on the phone simultaneously. (It's briefly included in &lt;a href=&quot;http://youtu.be/JdnKpF9fq78?t=1m10s&quot; rel=&quot;nofollow&quot;&gt;the trailer&lt;/a&gt; at 1:10.)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-03-02T18:38:12.550" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15016" PostTypeId="2" ParentId="14996" CreationDate="2015-03-02T18:42:30.340" Score="0" Body="&lt;p&gt;I'd recommend posting this same questions on the &lt;a href=&quot;https://startups.stackexchange.com/&quot;&gt;Startups Stack Exchange&lt;/a&gt;. There are a lot of people on that forum who will have great business advice for you!&lt;/p&gt;&#xA;" OwnerUserId="5546" LastEditorUserId="-1" LastEditDate="2017-04-13T12:51:27.340" LastActivityDate="2015-03-02T18:42:30.340" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15017" PostTypeId="2" ParentId="14973" CreationDate="2015-03-02T18:52:07.757" Score="0" Body="&lt;p&gt;Sometime soon The Foundry will be releasing a free non-commercial version of their Nuke VFX software. The program is fairly intuitive for beginners and will let you get started with learning visual effects right away.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-03-02T18:52:07.757" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15018" PostTypeId="2" ParentId="14883" CreationDate="2015-03-02T20:01:52.040" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/MPEG-4_Part_17&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/MPEG-4_Part_17&lt;/a&gt;&#xA;&quot;Timed Text&quot; Format comes in many flavors&lt;/p&gt;&#xA;&#xA;&lt;p&gt;example tools would be ffmpeg, subler, mp4box&lt;/p&gt;&#xA;" OwnerUserId="10428" LastActivityDate="2015-03-02T20:01:52.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15019" PostTypeId="1" AcceptedAnswerId="17407" CreationDate="2015-03-02T20:33:18.143" Score="2" ViewCount="410" Body="&lt;p&gt;Premiere CC 2014 is unable to read marker data in a wave file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm migrating from Vegas Pro, and this program is able to read markers from the start.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Vegas Pro&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/DA8i7.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Premiere Pro&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/cBL8A.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to make Premiere read marker/region data?&lt;/p&gt;&#xA;" OwnerUserId="3845" LastEditorUserId="3845" LastEditDate="2016-01-16T16:00:47.570" LastActivityDate="2016-01-16T16:00:47.570" Title="Read audio Markers/Regions in Premiere?" Tags="|premiere|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15020" PostTypeId="2" ParentId="12751" CreationDate="2015-03-03T04:30:11.777" Score="2" Body="&lt;p&gt;I'd agree with Dr Mayhem's comment that it's risky to have a file with content you don't want public sitting there on your laptop hooked up to a projector.  &lt;code&gt;mkvmerge&lt;/code&gt;, or another remuxing tool, will be able to chop up your video.  I think avidemux might do well for this, since you can use the GUI to find edit points, and it supports remuxing instead of transcoding.  (IDK if any full-fledged video editors can just remux if you're only making timeline changes, and cutting on keyframes.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just tried avidemux.  It still doesn't have proper support for B frames, so tt's stuck in the dark ages.  It did seem to work for cutting some segments out of an MP4(h.264/aac) and saving to an mkv.  It did warn about using it's workaround mode for B frames, on loading the file, though.  I wouldn't use it for encoding (its x264 config dialog is terrible), but it does appear to work for remuxing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But anyway, if you're confident that un-authorized users won't be poking at your laptop and playing files you want to keep private, I do have a proper answer for your question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://mpv.io/&quot; rel=&quot;nofollow&quot;&gt;mpv&lt;/a&gt; supports &quot;edit decision lists&quot; in a similar format to what mplayer uses.  (It's a fork of mplayer that drops some old drivers, and focuses on new features, like better colorspace defaults.  mplayer is mostly focused on being stable / backwards compatible, which prevents some kinds of changes.)  It runs on all 3 major desktop OSes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The EDL format is similar to mplayer's, but mplayer takes an EDL as an option while playing a different file.  Mpv instead has an EDL demuxer, so an EDL is an input file that references other files.  (mpv can thus play multiple files as if they were one long seamless file, for the purposes of seeking.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, mpv's &lt;a href=&quot;https://github.com/mpv-player/mpv/blob/master/DOCS/edl-mpv.rst&quot; rel=&quot;nofollow&quot;&gt;EDL format&lt;/a&gt; uses &lt;code&gt;filename,start,length&lt;/code&gt; tuples.  (note: length not end point):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# mpv EDL v0&#xA;input.mkv,5,13&#xA;input.mkv,42,10&#xA;input.mkv,60,10&#xA;input.mkv,112.2,3.2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then you run mpv on that file (&lt;code&gt;mpv my-segments.edl&lt;/code&gt;, or double click or whatever).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;edl://&lt;/code&gt; syntax is for putting the contents of the edl on the command line, without using a separate file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This appears to be fairly robust.  Even with the seek controls, I can't play parts of the file outside the virtual stream created by the EDL.  Chapter seeks go to EDL segment boundaries.  (I haven't tried it on an mkv with chapters, or a DVD.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Actually, you CAN escape the EDL virtual stream, but only by 2 seconds into the part of the file before the first segment.  So there's no issue if your first segment starts at the beginning of a file.  (Accurate-seek by 1 sec backwards, and frame-step-backwards, are the commands that can take you to negative 2 seconds into the stream.)  If that's an issue, unbind those keys in an &lt;code&gt;mpv.conf&lt;/code&gt; file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your file has chapters, you can use those instead of seconds.  (see the end of the edl-mpv.rst doc I linked).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your edit points are far from a previous keyframe, mpv will pause briefly while it decodes from the seekable I frame up to the exact frame you told it to start on.  This could be noticeable with a slow CPU and HD content, if it has to decode hundreds of frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was surprised how well mpv does at being seamless with this, with seeks back and forth across an edit point being really fast.  And even frame-step backwards obeys the edit list (except when you go off the beginning by up to 2 secs.)&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-03-03T04:41:05.760" LastActivityDate="2015-03-03T04:41:05.760" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15021" PostTypeId="2" ParentId="15013" CreationDate="2015-03-03T04:58:56.110" Score="4" Body="&lt;p&gt;There's no way to do this losslessly, other than setting a meta-data flag and depending on players to rotate the video.  (This is what cell-phone cameras do).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With avconv / ffmpeg, what you're doing is using your decoded -&gt; transposed video as a source to encode with x264.  See &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/H.264&lt;/a&gt; for how to do this.  IDK where you found a suggestion to use &lt;code&gt;-qcomp 1&lt;/code&gt;, but changing the quantizer compression curve to an extreme is usually not what you want with x264&lt;sup&gt;1&lt;/sup&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You shouldn't need to enforce framerate, either.  Phone cam videos are sometimes variable frame rate, so you should use &lt;code&gt;-vsync 2&lt;/code&gt; if you're outputting to mp4.  (vsync 2 is the default for mkv).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, this should work:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i in.mp4 -codec copy -map 0 -movflags +faststart -vf transpose=1 -c:v libx264 -preset slower -crf 22  -vsync 2 out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(also include &lt;code&gt;-metadata:s:v rotate=&quot;&quot;&lt;/code&gt; if needed, see LordNeckBeard's comment.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See the encode guide for details on how to choose crf and preset.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-map 0&lt;/code&gt; maps any extra metadata streams, like chapters, into the output file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-codec copy&lt;/code&gt; copies the audio untouched, instead of decoding and re-encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you're re-encoding anyway, you might want to stabilize your video with vid.stab.  See &lt;a href=&quot;https://askubuntu.com/questions/405244/deshaking-videos-using-script&quot;&gt;https://askubuntu.com/questions/405244/deshaking-videos-using-script&lt;/a&gt; for instructions (and a note on avconv vs. ffmpeg).  The command I posted works with avconv as well as ffmpeg, but Ubuntu's avconv isn't built with vid.stab.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Footnote 1:   &lt;code&gt;-qcomp 1&lt;/code&gt; is pure constant quality (or constant-something, maybe quantization, which isn't exactly the same thing as quality).  i.e. not reducing quality in high-complexity scenes at all.  (So you potentially spend a lot of bits in a few short scenes / shots / segments which make up a small fraction of the total time of the video, leaving less bitrate for the stuff where those bits gain you more quality.  &lt;code&gt;-qcomp 0&lt;/code&gt; is basically CBR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The default 0.6 is often a good choice, but some people like to boost it some, maybe to 0.7 or 0.8, to get closer to constant-QP.  &lt;code&gt;-tune grain&lt;/code&gt; (try to preserve film-grain instead of smoothing it out) sets qcomp=0.8, among many other psy settings.  (most importantly &lt;code&gt;-psy-rd &amp;lt;unset&amp;gt;:0.25&lt;/code&gt; to favour more energy, even if it doesn't match the source.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;qcomp Anywhere in the middle smooths out the bitrate curve some.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2019-01-09T16:37:19.853" LastActivityDate="2019-01-09T16:37:19.853" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="15022" PostTypeId="2" ParentId="14883" CreationDate="2015-03-03T05:12:22.910" Score="1" Body="&lt;p&gt;If you can use mkv instead of mp4 as your container format, there is widespread player and muxer support for various subtitle formats in &lt;a href=&quot;http://www.matroska.org/&quot; rel=&quot;nofollow&quot;&gt;matroska&lt;/a&gt;.  (widespread throughout free / open source software.  I can't comment on other players.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you can use SRT, ASS, and many other text subtitle formats.  You can even use bitmap sub formats like VOBSUB (dvd) or PGS (blu-ray).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Subtitle_%28captioning%29#For_software_video_players&quot; rel=&quot;nofollow&quot;&gt;wikipedia&lt;/a&gt; has an interesting table of subtitle formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To properly answer your question, though, I just tried muxing SRT subs into an mp4.  It doesn't work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i in.mkv -i in.srt -c copy /var/tmp/out.mkv&lt;/code&gt;  # works&lt;br&gt;&#xA;&lt;code&gt;ffmpeg -i in.mkv -i in.srt -c copy /var/tmp/out.mp4&lt;/code&gt;  # just timestamps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The mp4 has a &lt;code&gt;mov_text&lt;/code&gt; stream, but displaying it in &lt;a href=&quot;http://mpv.io/&quot; rel=&quot;nofollow&quot;&gt;mpv&lt;/a&gt; just shows &quot;00:00:00.000&quot; or some other timestamp, with no text.  Ok, apparently ffmpeg doesn't get it right unless you specifically use &lt;code&gt;-c:s mov_text&lt;/code&gt;.  If you use &lt;code&gt;-map 0 -map 1&lt;/code&gt;, I get &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  Stream #1:0 -&amp;gt; #0:2 (subrip (srt) -&amp;gt; ? (?))&#xA;Encoder (codec none) not found for output stream #0:2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(My subs are in a separate file, not muxed in the mkv, so I need a -map for each to make sure I take all streams from all files.  Otherwise ffmpeg just takes the first a, v, and sub stream it finds.  And without &lt;code&gt;-map 1&lt;/code&gt;, it doesn't try to use the srt input at all, for some reason.  Like I said, it makes a mov_text stream, though.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, I left in my mis-steps in case they're helpful when you're trying to figure out this stuff yourself.  This works and plays with subs in mpv:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mkv -i in.srt -codec copy -c:s mov_text /var/tmp/out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The key line in the output is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  Stream #1:0 -&amp;gt; #0:2 (subrip (srt) -&amp;gt; mov_text (native))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For editting your subtitles, you can use anything that can produce a subtitle format that ffmpeg can read.  (It should be able to convert any text-based format to mov_text.)  &lt;a href=&quot;http://www.nikse.dk/subtitleedit/&quot; rel=&quot;nofollow&quot;&gt;Subtitle Edit&lt;/a&gt; is one of the newer better-maintained GUIs, and runs on Windows and Linux at least.  IDK about OS X.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-03-03T05:31:10.497" LastActivityDate="2015-03-03T05:31:10.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15023" PostTypeId="2" ParentId="15012" CreationDate="2015-03-03T06:22:24.520" Score="3" Body="&lt;p&gt;Any decent encoder can hit a target bitrate (with 2pass), but still spend the bits intelligently to achieve similar quality throughout the file.  x264 2pass figures out what CRF will give the desired bitrate (pass1), and then uses it (pass2).  (source: Dark Shikari.  cf. the links I dug up for my answer on &lt;a href=&quot;https://video.stackexchange.com/questions/14955/variable-bitrates-for-streaming&quot;&gt;this question about VBR streaming&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You only get CBR with x264 if &lt;code&gt;vbv-maxrate&lt;/code&gt; = &lt;code&gt;bitrate&lt;/code&gt;, and even then it's can be VBR within the buffer size.  (h.264 is never going to be strictly CBR like mp3 or something, unless your I frames look HORRIBLE :P)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, you probably meant variable-across-clips, rather than the usual within-one-file meaning, because CFR as a quality target is clearly much better than blindly setting a target bitrate for many different sources.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Is there a word for this?  flexible bitrate?  Other than target-quality, as opposed to target-bitrate.  CRF targets a heuristic for quality, not strictly a quality target.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, in that case, I have no idea what other encoders support.  Lossless h.264 is probably the best format for sending files around.  It's significantly smaller than huffyuv or utvideo, and can support up to 10bit.  (actually, I think FFmpeg can decode higher bit depths, but x264 can only produce files up to 10bit.)  Or I guess you could get them to send you slightly-lossy pro-res files, if that's a lot easier for your workflows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;LordNeckBeard brings up the question of whether you're delivering these files directly to clients.  If that's the case, you should probably require that they encode with x264 with at least preset=slower, so you can just give them a crf value if you're already requiring x264.  The rate-distortion tradeoff matters for final files that you're going to stream many times.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-03-03T06:22:24.520" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="15024" PostTypeId="2" ParentId="14977" CreationDate="2015-03-03T11:31:48.130" Score="1" Body="&lt;p&gt;Your question was initially confusing because you had focused on &quot;cables&quot; which is not the correct way of looking at this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you've decoded a video signal to components, the &lt;strong&gt;&lt;em&gt;closed&lt;/em&gt;&lt;/strong&gt; captions are no longer available. If they were not inserted as &lt;strong&gt;&lt;em&gt;open&lt;/em&gt;&lt;/strong&gt; captions (aka subtitles) then they're simply not there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So any transport that removes the Line 21 caption data or the digital caption packets eliminates your ability to defer captioning at the distant end -- you must insert the captions / subtitles before transport. That's the case with DVI / VGA / HDMI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you must allow the ability to choose a captioned or non-captioned display at the distant end, you would have to send two component feeds (e.g. two CAT5s), one captioned and one plain, and A/B switch them at that end.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-03-03T11:31:48.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15025" PostTypeId="1" AcceptedAnswerId="15039" CreationDate="2015-03-03T19:06:42.773" Score="2" ViewCount="200" Body="&#xA;&#xA;&lt;p&gt;I am recording my computer screen which updates once a minute. I want to record for around 8-12 hours uninterrupted, and I would prefer not to compress the video because the details are very fine and any grainy pixelation would potentially make the video unreadable. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any (preferably free) software I can use which records at 1/60fps and can output a lossless (or very close to that) format?&lt;/p&gt;&#xA;" OwnerUserId="10415" LastActivityDate="2015-03-05T12:00:43.713" Title="What software is available for recording in 1/60 FPS?" Tags="|screen-casting|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15026" PostTypeId="1" CreationDate="2015-03-03T20:07:22.833" Score="3" ViewCount="171" Body="&lt;p&gt;This is a scheme of my room for a Soreal short movie:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Zyipn.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wonder about lights. The atmosphere is warm, soft, without shadows. So what do you advice me to use as my light source and where to put them?&lt;/p&gt;&#xA;" OwnerUserId="9242" LastActivityDate="2017-04-10T05:47:56.693" Title="What is the best arrangement of lights to create a warm atmosphere in a small room?" Tags="|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15027" PostTypeId="2" ParentId="15026" CreationDate="2015-03-03T20:20:22.263" Score="5" Body="&lt;p&gt;To get a soft look, you can use:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;lights pointed at the walls and ceiling, to reflect and diffuse the light&lt;/li&gt;&#xA;&lt;li&gt;lights with a large surface area, like fluorescent tubes (which I use) or standard movie lights with big diffusers in front of them&lt;/li&gt;&#xA;&lt;li&gt;lots of little lights, though these may create lots of little shadows&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You'll still want at least a key light and a fill light -- that is, one light source that is the primary light source for your subjects, and another light source to one side that emphasizes that side of each actor (or object).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also add &quot;warmth&quot; in post production by color-correcting towards red or orange.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-03-03T20:20:22.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15028" PostTypeId="2" ParentId="15025" CreationDate="2015-03-03T21:02:41.100" Score="2" Body="&lt;p&gt;&lt;a href=&quot;http://www.wisdom-soft.com/products/autoscreenrecorder_free.htm&quot; rel=&quot;nofollow&quot;&gt;AutoScreenRecorder&lt;/a&gt; (currently version 3.1) appears to allow you to record as low as 1 frame per minute in the Pro version only (the free version does not allow altering the framerate).&lt;/p&gt;&#xA;" OwnerUserId="10415" LastEditorUserId="10415" LastEditDate="2015-03-04T22:43:28.027" LastActivityDate="2015-03-04T22:43:28.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15029" PostTypeId="2" ParentId="12496" CreationDate="2015-03-03T23:17:30.677" Score="7" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Has anyone done or seen any tests comparing Apple ProRes 422 with high-bitrate H.264?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;No, but I can tell you that x264 can get as close to lossless as you want (or even mathematically lossless, with &lt;code&gt;-qp 0&lt;/code&gt;).  x264 can produce h.264 streams in 4:2:0, 4:2:2, or 4:4:4 YUV colorspaces, at 8 or 10 bits per component.  (It can also do RGB, but unless you're doing lossless, you'll probably get better quality per bitrate from YUV.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Decoder support for anything other than 4:2:0 8bit isn't as widespread.  (e.g. video cards have hardware decoders that can only accelerate 4:2:0 8bit).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that x264 has to be compiled for either 8 or 10bit output.  You need a separate build of libx264 (or a whole separate static build of ffmpeg) for 8bit and 10bit.  Either can handle any input bit depth you want to throw at it, but will always output the bit depth it was compiled for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;https://en.wikipedia.org/wiki/H.264/MPEG-4_AVC#Profiles&quot; rel=&quot;nofollow noreferrer&quot;&gt;Hi444PP&lt;/a&gt; h.264 profile supports up to 14bit depth for lossy or lossless operation, but x264 still only supports 8 or 10bit.  (Also 9bit, if you compile it with bit depth = 9, but there's really no point in doing that.  The speed hit comes as soon as you go beyond 8)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW, even if your input is 8bit and your final display is 8bit RGB, 10bit h.264 looks better for the same bitrate.  8bit h.264 is a speed vs. quality tradeoff.  (and obviously decoder compat.)  Google should find some threads on doom9, and a PDF from ateme, to back up this assertion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To understand it, remember that lossy codecs aren't trying to reproduce all the input bits, just something that looks similar.  10bit allows more internal precision for motion prediction, and lets the encoder tweak the least-significant bits for better CABAC efficiency (trellis) without producing a visible difference.  So you get less banding of gradients.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;We are wondering if it is possible to reach adequate quality with&#xA;  H.264. Say, with bitrates of 50-100mbps, and tweaking the GOP&#xA;  size/structure. (E.g., only using &quot;I&quot; frames.)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Forcing more I frames, or I frames only, does NOT increase quality.  h.264 encoders &quot;know&quot; how their output differs from their input, and will use I macroblocks where they're a better choice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Short GOPs are useful for seeking, or error recovery in realtime streaming use cases.  For video production, a short GOP lets you frame step backwards without having to decode very many frames from the previous keyframe.  So you can scrub with more precision.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If seeking isn't a concern at all, you could set keyint=1000, and then x264 could use almost as long a GOP as it wanted.  (Scenecut detection is on in every preset except ultrafast, so x264 will use an IDR (key frame) every time a scene cut makes an I frame a good idea anyway.)&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Update 2: I did some more testing ... with Adobe Media Encoder, using&#xA;  MPEG2, and the &quot;4:2:2&quot; profile, the ProRes file went from 1,920MB to&#xA;  290MB! And I would say, subjectively, that is is 99% as good. This is&#xA;  remarkable. (With H264 I was down to 500-700MB)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If you got results that good with MPEG2, you should easily get even smaller files with a decent h.264 encoder.  Your content probably compresses pretty well (low grain, some areas with lots of similarity).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have your input in a file that ffmpeg can read (i.e. almost any format),&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -c:a copy -c:v libx264 -preset medium -tune film -crf 10 -movflags +faststart out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;CRF 10 is way beyond visually lossless.  ffmpeg defaults to the same colorspace as the input, if the output codec supports it.  If your input is 4:4:4, but you want to subsample your chroma, use something like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in ... -sws-flags lanczos+print_info -pix_fmt yuv422p  out&#xA;...&#xA;[swscaler @ 0x33be0c0] Lanczos scaler, from rgb24 to yuv422p using MMXEXT&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Update 1: How would one &quot;test&quot; the difference technically? Or measure&#xA;  the color information?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Measure the output color depth?  maybe with &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;mediainfo&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To compare quality of different encodes of the same source, measure the SSIM or PSNR of each encode relative to the source.  x264 can measure both those metrics during the encode process.  There are other tools for comparing two already-made video files, to measure those quality metrics, but I haven't used them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For ffmpeg, use &lt;code&gt;-ssim 1  -psnr -tune ssim&lt;/code&gt;.  (Don't use &lt;code&gt;-tune ssim&lt;/code&gt; except when benchmarking that metric.  It defaults to enabling psychovisual optimizations that produce output that looks better to humans, but is mathematically less similar according to that metric.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;SSIM and PSNR are about the only thing you can use when you're working with bitrates that go way beyond visually transparent.  Google on these for more info.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To test losslessness, you can use ffmpeg's &lt;code&gt;-f framemd5&lt;/code&gt; codec to make sure the h.264 decodes bit-identically to the input.  (see &lt;a href=&quot;https://video.stackexchange.com/questions/7903/how-to-losslessly-encode-a-jpg-image-sequence-to-a-video-in-ffmpeg&quot;&gt;this question&lt;/a&gt; for an example.  Make sure you use the same -pix_fmt for all tests, because different decoders might pack the same data differently.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oh, just read Prof Sparkles' answer.  Didn't realize that you were eventually outputting to lossless.  You're just shooting yourself in the foot if you use any lossy codecs along the way.  The lossless codec will have to encode all the invisible blocking / ringing artifacts left by the lossy codecs, so you'll typically get bigger files from your lossless codec if you feed it input that's been through a lossy codec, instead of the original source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if you want to use h.264, use lossless.  (&lt;code&gt;ffmpeg -i in -preset ultrafast -qp 0 out&lt;/code&gt;).  (slower presets give only a tiny compression improvement for lossless.  Never use ultrafast for anything except lossless, though.)&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-03-04T03:21:33.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15030" PostTypeId="1" CreationDate="2015-03-04T15:01:55.523" Score="3" ViewCount="688" Body="&lt;p&gt;Does anyone know how to create text/graphics from a data feed?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm streaming live events and need to take a text data, (mainly CSV files) containing names, clubs, points and position data and transform it into on-screen graphics. I'm struggling to find software that will do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have been using Imagine Infocaster, but it has many drawbacks and uses a USB dongle that couldn't be replaced if damaged. I've also tried CasparCG which is far too complicated and has no useful tutorials.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wirecast looked promising, but the scoreboard feature is far too basic and doesn't support live data feeds or customisation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anything that could do this task and send the result to a Blackmagic Decklink card or Ultrastudio would be magic.&lt;/p&gt;&#xA;" OwnerUserId="10433" LastEditorUserId="10433" LastEditDate="2015-03-04T15:19:00.260" LastActivityDate="2015-03-09T04:06:45.583" Title="Creating text graphics from a data feed" Tags="|streaming|live|broadcasting|automation|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15031" PostTypeId="1" AcceptedAnswerId="15036" CreationDate="2015-03-04T17:06:38.233" Score="1" ViewCount="1937" Body="&lt;p&gt;The composition I'm working with has a 3D object I created in Cinema 4D Lite, as well as another layer which is controlled in After Effects (the content on the screen):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/leQM1.png&quot; alt=&quot;Layers&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I zoom in using the Camera layer the only thing affected by the zoom is the layer in After Effects, and the 3D layers stay in place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Normal zoom:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Eg0T6.png&quot; alt=&quot;Normal zoom&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Increased zoom:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/UmxcM.png&quot; alt=&quot;Increased zoom&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way that I can zoom in/out of the entire composition, including the 3D layer? I'd like to begin zoomed in entirely on the screen, and at one point zoom out and make it apparent that it's all taking place on the computer screen, which is 3D because it eventually rotates. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any help.&lt;/p&gt;&#xA;" OwnerUserId="9220" LastActivityDate="2015-03-04T21:48:50.287" Title="3D layers not affected by camera zoom in After Effects" Tags="|after-effects|cinema4d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15032" PostTypeId="1" AcceptedAnswerId="15057" CreationDate="2015-03-04T17:45:20.600" Score="2" ViewCount="491" Body="&lt;p&gt;Hi I was hoping any experienced video producer could tell me how an animation like the one showing at ~0:29-0:50 on the left side of this video is done?:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/633CHC6TTYY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and is it possible to convert such an animation to separate transparent .png frames?&lt;/p&gt;&#xA;" OwnerUserId="10434" LastActivityDate="2015-09-12T13:50:37.773" Title="How was this magic smoke animation done?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15035" PostTypeId="1" AcceptedAnswerId="15060" CreationDate="2015-03-04T21:37:54.020" Score="3" ViewCount="824" Body="&lt;p&gt;How safe are H.264 streams from exploits? More exactly, are the consumer-grade H.264 codes generally &quot;safe&quot;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am currently gratuitously transcoding A/V files to avoid being exposed to possible exploits. This was after I noticed that some older video files will have very curious errors in them, errors that make me wonder if they are indeed exploit attempts (&quot;strange, why's there a STRING in the middle of the stream?&quot;). I do know that in some older formats/codecs, there were indeed past exploits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since H.264 codecs are a bit more modern than some of the older ones, I would like to know if such an elementary stream is safe in the &quot;usual suspect&quot; players: Windows Media, VLC, Quicktime and the major browsers (I use Chrome and Firefox, but should include Safari and InternetExploder just in case).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In that case, if the video is an H.264 elementary stream, I would not need to do a sanitization transcode step, and just create a new MP4 container. This would at least remove any container-based exploits. In other words:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;lt;file&amp;gt; -c copy newcontainer.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(or -c:v copy, and transcode the audio, etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Clearly, white room safety would require transcoding everything, but that's getting all Felix Unger.&lt;/p&gt;&#xA;" OwnerUserId="10438" LastEditorUserId="10438" LastEditDate="2015-03-04T21:43:42.070" LastActivityDate="2015-03-14T18:41:55.407" Title="Is H.264 subject to exploits / are some H.264 codecs subject to exploits?" Tags="|ffmpeg|windows|mac|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15036" PostTypeId="2" ParentId="15031" CreationDate="2015-03-04T21:48:50.287" Score="1" Body="&lt;p&gt;In After Effects, make sure your Cineware effect on the Cinema4D track has the Project Settings --&gt; Camera set to Comp Camera, as shown below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tL67o.png&quot; alt=&quot;screenshot&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This setting means that the camera in your After Effects comp will control the viewpoint of the object, instead of any camera in your Cinema 4D project (I think C4D creates a camera by default, even though you can't see it in the Objects panel, otherwise nothing would render).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-03-04T21:48:50.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15037" PostTypeId="1" CreationDate="2015-03-05T04:26:58.587" Score="1" ViewCount="90" Body="&lt;p&gt;these days we usually have to export our videos to multiple delivery formats - HD  variants for projection, and we tend to have different settings for vimeo, youtube, and the other versions we might need them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To handle this i've tended to export a MASSIVE lossless version of my video from my editor (Premiere or FCX usually, but sometimes aftereffects for small projects) and then reduce it using preset profiles in Compressor on OSX.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I mentioned this to a in-industry-yet less-techy friend and he said this isn't usually the way, but couldn't articulate why, but it roused my interest.&lt;br&gt;&#xA;For me a locked lossless export as the &quot;master&quot; then from the master you do your specific formats makes workflow sense.  It also means you have the same process regardless of your editor, and don't have to worry about editors not supporting some formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So i'm curious what people think of the 2 choices - pro/con/opionions.  Do we use our editor to handle multiple delivery formats, or export a single master and then handle specific formats from there?&lt;/p&gt;&#xA;" OwnerUserId="5136" LastActivityDate="2015-03-05T10:48:28.177" Title="Exporting to multiple formats" Tags="|video-editor|encoding|workflow|formats|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15038" PostTypeId="1" CreationDate="2015-03-05T08:36:13.710" Score="0" ViewCount="74" Body="&lt;p&gt;Adobe Premiere has had some new and changed features, including new ways to use nested sequences.  I've not used Premiere in a long time, and I'm wondering what the best way to handle this kind of workflow would be?  There might be very new (December 2014) feature details that affect the approach or even change everything on how you would go about doing it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would think this is a common idea: record an evening's activities using multiple cameras and audio sources, with clips having no relation to the natural break up into performance Acts.  That in itself I have OK: set a timeline with actual clock time and load up all the source material.  Breaking that up into Acts is also no problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The interesting wrinkle is how to make first-draft videos for individual Acts (with different cuts of the same material, as well), &lt;strong&gt;and then&lt;/strong&gt; add new tracks to the Master, then continue editing the Acts videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The sticking point is that of adding new tracks.  More video will come in (from other people in attendance), and the continuous audio track will be cleaned up with noise reduction etc.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Added tracks should be lined up on the Master Real-Time timeline, and then be available correctly synched with the various Acts videos, which can then be edited some more to produce a final version.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;A detailed walk-through follows in case that's not clear, and to avoid the X-for-Y problem.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Example for Planning Workflow:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My Master Real-Time Timeline contains&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;⋯ blahblah ⋯ [1111112222333333444444555555] ⋯ blahblah ⋯&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;with several tracks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 1&lt;/strong&gt;: Copy the labeled range (between the &lt;code&gt;[⋯]&lt;/code&gt;) to a new timeline, which I'll call Act7ver1.  Then, edit it&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;iii2223334444445ooo&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;adding clips for intro and outtro, and &lt;em&gt;cutting parts out&lt;/em&gt; of the original,&lt;/li&gt;&#xA;&lt;li&gt;choose which tracks to switch between and what times,&lt;/li&gt;&#xA;&lt;li&gt;add any effects.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If this were a nested timeline, it would show up the edited way in the Master as well.  Not what I intend!  I think what works is to use the nested timeline in another empty timeline and edit &lt;em&gt;that&lt;/em&gt;, so the nested timeline doesn't change.  So we're OK.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 2&lt;/strong&gt;: Receive additional video clips and add them to the Master, and add a new audio track that cleans up the original audio.  The Master Timeline doesn't show anything anymore except a string of nested timelines.  &lt;em&gt;How do I get the new material cut at the same places and pushed into the nested timeline?&lt;/em&gt;  I think that is the real question, unless it's an X-for-Y situation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 2b&lt;/strong&gt;: Revisit Act7ver1.  I'll want to use the new audio track, and decide if I want to cut in any of the new video angles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 3&lt;/strong&gt;: Copy the same labeled range(between the &lt;code&gt;[⋯]&lt;/code&gt;) again to a new timeline, which for sake of the example I'll call Act7ver&lt;a href=&quot;https://en.wiktionary.org/wiki/%E4%BA%8C&quot; rel=&quot;nofollow&quot;&gt;二&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;It will contain the entire unchanged range, not the cut-up version from ver1.&lt;/li&gt;&#xA;&lt;li&gt;I'll edit it differently, keeping more of the talking between the music, which are exactly those parts cut out of ver1.&lt;/li&gt;&#xA;&lt;li&gt;Different intro, etc.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If the mechanism of editing another use of the nested timeline rather than the nested timeline itself is done properly, this should work just fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 4&lt;/strong&gt;: Some time later, I'll copy a part of the range to a new project.  Since this is a tutorial, I'll switch between the different mic, mix, and edited sound tracks to illustrate the difference.  That is, &lt;strong&gt;all the tracks are available&lt;/strong&gt;, not just the normal presentation copy used normally.  I don't expect to be changing the original anymore, but I like to keep the option of having the various uses see the updated version or keep the original, which is a special case of seeing new tracks present and synced.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I save over the source file, all uses see the new content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I &quot;replace clip&quot;, and the replacement is not a complete length of the original (the audio is original is 97 minutes, but I only remix one 8 minute act) it won't line up.  Putting the new mix on the Master Real-Time is my solution, especially in light of (4) showing the before/after as part of the script.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So ideally I want the &quot;smart object&quot; I pasted in the first place to see whatever is currently in the Master at the position it refers to, including tracks that were not present before.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's with the new Nest feature?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I see a new feature highlight discussing source-edit mode and acting like a copy/paste so all the tracks show up.  But I don't know if this is indeed just a cut/paste or a smart object that still allows updates to the definition (of the timeline being nested) to show up in this usage.  It sounds difficult to reconcile changes to what's on the various tracks.  Anyone explored this new feature and have more than a superficial review posted?  (What I've seen just shows that the tracks show up &quot;like a copy/paste&quot; but does not explore changing the referenced timeline or limitations of editing the &quot;pasted&quot; track’s content.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My Question:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the existing features don't do this easily, &lt;strong&gt;is it possible to use a script that can generate a new timeline from a marked range, across all tracks that might be present?&lt;/strong&gt;  Then it can be re-run just as easily if the Master changes, and I don't need them to automatically follow any changes: I'll push changes explicitly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The underlying issue&lt;/strong&gt; is getting new content into the various projects, synced up at the proper position, even if I have to explicitly grab it while editing the project.  The new track has to line up properly with the clips being used.&lt;/p&gt;&#xA;" OwnerUserId="9268" LastEditorUserId="674" LastEditDate="2015-03-06T14:38:11.050" LastActivityDate="2015-03-06T14:39:38.390" Title="What is best practice to manage “all evening” recording to allow improvements to propagate into different videos using it?" Tags="|premiere|editing|workflow|" AnswerCount="0" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="15039" PostTypeId="2" ParentId="15025" CreationDate="2015-03-05T10:41:31.503" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://obsproject.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS&lt;/a&gt; is what I use to record my screen. It is mainly for streaming to websites like twitch but they put a functionality of recording the stream as its going that records in lossless. Also you don't need to be streaming to record. Better than any program I have ever used, it's free, and you can change the frame rate!&#xA;&lt;img src=&quot;https://i.stack.imgur.com/J7pg6.jpg&quot; alt=&quot;Picture I found on google of the frame rate highlighted&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: look up on YouTube how to setup your desktop for capture&lt;/p&gt;&#xA;" OwnerUserId="10410" LastEditorUserId="10410" LastEditDate="2015-03-05T10:51:02.950" LastActivityDate="2015-03-05T10:51:02.950" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15040" PostTypeId="2" ParentId="15037" CreationDate="2015-03-05T10:48:28.177" Score="1" Body="&lt;p&gt;With Adobe you can render most things through Adobe Media Encoder. AME has the ability to render one project file as different formats and you can actually create somewhat of a list and it will treat it as a queue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tGk3y.jpg&quot; alt=&quot;5 project files with multiple formats under each&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="10410" LastActivityDate="2015-03-05T10:48:28.177" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15041" PostTypeId="2" ParentId="15025" CreationDate="2015-03-05T12:00:43.713" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.fraps.com/download.php&quot; rel=&quot;nofollow&quot;&gt;Fraps&lt;/a&gt; also allows you to record at any frame rate you want.&#xA;Though the free version has watermarks in its recordings.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2015-03-05T12:00:43.713" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15042" PostTypeId="1" AcceptedAnswerId="15044" CreationDate="2015-03-05T15:45:26.827" Score="1" ViewCount="643" Body="&lt;p&gt;I am trying to get the HB CLI to run this command removing the framerate (as the default ATV2 is 30fps and in the UK that looks rubbish, I want it to use the source fps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;./HandBrakeCLI -i DVD -o ~/Movies/movie.mp4 -e x264  -q 20.0 -a 1,1 -E faac,copy:ac3 -B 160,160 -6 dpl2,none -R Auto,Auto -D 0.0,0.0 --audio-copy-mask aac,ac3,dtshd,dts,mp3 --audio-fallback ffac3 -f mp4 -4 -X 1280 -Y 720 --loose-anamorphic --modulus 2 -m --x264-preset medium --h264-profile high --h264-level 3.1&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the default I changed the &lt;strong&gt;Bold&lt;/strong&gt; well removed it&lt;/p&gt;&#xA;&#xA;&lt;p&gt;./HandBrakeCLI -i DVD -o ~/Movies/movie.mp4 -e x264  -q 20.0 &lt;strong&gt;-r 30 --pfr&lt;/strong&gt;  -a 1,1 -E faac,copy:ac3 -B 160,160 -6 dpl2,none -R Auto,Auto -D 0.0,0.0 --audio-copy-mask aac,ac3,dtshd,dts,mp3 --audio-fallback ffac3 -f mp4 -4 -X 1280 -Y 720 --loose-anamorphic --modulus 2 -m --x264-preset medium --h264-profile high --h264-level 3.1&lt;/p&gt;&#xA;&#xA;&lt;p&gt;but it doesn't seem to work, I don't know if I have missed something, any help would be useful&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2015-04-04T17:25:38.113" Title="Handbrake CLI command not working" Tags="|handbrake|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15043" PostTypeId="1" AcceptedAnswerId="15047" CreationDate="2015-03-05T16:33:35.753" Score="1" ViewCount="397" Body="&lt;p&gt;What portion of a video file is audio information? I have a large number of m2t video files where the audio is worthless to me. I'm curious if removing the audio portion from these files will notably decrease the file size. Could someone give me a ballpark estimate of how much this will decrease file size? For example, how much will a 5 GB m2t video file be reduced?&lt;/p&gt;&#xA;" OwnerUserId="10381" LastActivityDate="2015-03-11T11:22:11.603" Title="What portion of m2t video file size is audio?" Tags="|audio|file-formats|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15044" PostTypeId="2" ParentId="15042" CreationDate="2015-03-05T16:37:25.027" Score="1" Body="&lt;p&gt;figured it out by the looks of it&lt;/p&gt;&#xA;&#xA;&lt;p&gt;{{{&#xA;   ./HandBrakeCLI -i DVD -o ~/Movies/movie.mp4 -e x264  -q 20.0 -a 1,1 -E faac,copy:ac3 -B 160,160 -6 dpl2,none -R Auto,Auto -D 0.0,0.0 --audio-copy-mask aac,ac3,dtshd,dts,mp3 --audio-fallback ffac3 -f mp4 -4  -4 -X 1280 -Y 720 --decomb --loose-anamorphic --modulus 2 -m --x264-preset medium --h264-profile high --h264-level 4.1&#xA;}}}&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was missing the {{{ }}} which there was nothing about in the manual unless I missed it&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2015-03-05T16:37:25.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15046" PostTypeId="2" ParentId="15043" CreationDate="2015-03-05T19:50:25.530" Score="1" Body="&lt;p&gt;There are variables you don't mention, but you can make a quick estimate based on the video bit rate and the audio bit rate. With (say) 4800Kb/s video and 48Kb/s audio, the audio represents 1% of the file.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-03-05T19:50:25.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15047" PostTypeId="2" ParentId="15043" CreationDate="2015-03-05T19:54:37.477" Score="1" Body="&lt;p&gt;You can check that with &lt;a href=&quot;https://mediaarea.net/de/MediaInfo&quot; rel=&quot;nofollow&quot;&gt;MediaInfo&lt;/a&gt;. It will tell you exactly how much space each stream (in your case, the video and the audio stream) of a video takes up and give both the absolute and the relative (i.e. percentage) value! To get the average proportions of the audio stream, just check a few of your videos and calculate ...&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-03-05T19:54:37.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15051" PostTypeId="1" CreationDate="2015-03-06T20:23:11.473" Score="2" ViewCount="1131" Body="&lt;p&gt;I'm thinking of purchasing a MacPro and I'm wondering what the performance differences would be (in a Pr/Ae workflow) between one with the 3.0GHz 8-Core processor and Dual D500 graphics cards vs. one with the 3.5 6-Core and Dual D700. I'm only editing HD footage from my DSLRs, so no RAW or 4K.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering if one would be better for editing and the other for rendering, or one is better for both. I appreciate any advice!&lt;/p&gt;&#xA;" OwnerUserId="2352" LastActivityDate="2015-03-06T21:19:06.597" Title="CPU vs. GPU in a MacPro" Tags="|after-effects|premiere|mac|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15052" PostTypeId="2" ParentId="12566" CreationDate="2015-03-06T20:36:45.560" Score="2" Body="&lt;p&gt;I had the same question, also being a software engineer by trade, thinking of photoshop work. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;we can tell the video editing program &quot;revert to version 2.5&quot;, edit a bit, then tell it &quot;revert to version 7&quot; and it is able to do that?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I found that Photoshop it lets me set a named version in the history, and I think that's saved in the file...?  For revisions (entries in the history list) that are not named, the nodes are lost from the display when an edit is made to a previous place (branching) and there is no reflog exposed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;New versions of Premiere seem to have a similar history log and I'm guessing is evolving toward the same internal architecture, where each change is another copy of the project that shares most of the statenwithmthe previous. If the history has checkpoints that are saved, it is very much like a git store: each version contains (shared) references to underlying elements on down to the Segment definitions. As the video itself is not in the file, it lends itself well to growing more and more versions with little increase in size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I saw a seminar where someone on the Photoshop development team explained the architecture. It looks like the history entries you see are analogous to git versions, like gitk displays.  Naming the version is the same as a git tag. You can reset to any visible revision by pointing to it, and reset &lt;em&gt;back&lt;/em&gt; too. But making any change that is itself put in history is like doing a full refresh (shift or ctrl F5)&amp;mdash; you lose whatever is not chained down to from the current branch head or named tag (but I &lt;em&gt;think&lt;/em&gt; things like clone-source references still point to the now-unseen version).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But that's not what I'm writing to suggest. I set the NAS volume where my project resides to make a snapshot every 3 hours.  Windows has a checkpoint mechanism but I think it's not configurable; Mac Time Machine does something similar. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general, &lt;strong&gt;you can archive all saved versions of the file&lt;/strong&gt;, and in Premiere that is not containing all the imported (constant) assets, so it is reasonable to save them all, even without being able to use deltas to save only what changed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just re-learning Premiere and getting more agressive with trying things, I'm confidant that I can revert if next time I work on it I regret what I did, or found a better way and want to do it again.  That is an effective revision versioning system.  Doing it on the NAS, I'm also protected against a BSOD trashing the entire project when saving. :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;update&lt;/strong&gt; the history is a short length, defaults to 32 entries. It is empty when the project is loaded.  However, the auto-save doesn't just save over the same file like we see in most programs; rather it numbers them and keeps them.  So, I can see the file timestamps and load an older copy, which gives me a version history of 15-minute checkpoints.  In my case, each file is 44K, which is &lt;em&gt;nothing&lt;/em&gt; compared to the asset size&amp;mdash; it's the size of 76 milliseconds of audio, or 1/7th of a frame of &lt;em&gt;class 10&lt;/em&gt; SD card footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have the presence on mind to keep a checkpoint with a meaningful name, just Save copy As. But the autosave, set to a high frequency, can be used to revisit any state (to that time granulatity) without advance planning, with little effort.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A note to those non-engineers who are not familiar with version control: Besides the ability to backtrack your work in the obvious way, I also often use it to check what I &lt;em&gt;just&lt;/em&gt; changed, or compare with the state of before beginning the current task, or compare with the last verson that's been shared with the group.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since Premeire now supports opening multiple projects in the workspace, it would be feasible to have a window arrangement workspace setting for comparing two timelines.  That is, make more effective use of &lt;em&gt;having&lt;/em&gt; those versions, not just for backup.  I often tell programmers who don't use git how it becomes a general purpose tool, like a text editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wonder how professional filmmakers handle version control, if anything more than ad-hoc? The autosave design seemsmquite purposful, and the integrated script-writing groupware tool does have explicit visible revision tracking.&lt;/p&gt;&#xA;" OwnerUserId="9268" LastEditorUserId="9268" LastEditDate="2015-03-07T02:23:06.523" LastActivityDate="2015-03-07T02:23:06.523" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15053" PostTypeId="1" CreationDate="2015-03-06T20:55:14.050" Score="1" ViewCount="490" Body="&lt;p&gt;I bought a Canon EOS M to shoot video, mostly talking heads stuff so I simply set to the camera to AF Face tracking and had no problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recently purchased the DSLR lens adapter and the cheap Canon f/1.8 50mm to use with the camera and the results are terrible. It just refuses to stay in focus for more than a second, even with someone sat still and not moving. It hunts none stop, creating a lot of off putting noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I understand that an STM lens will reduce the noise and the jerky movement, but do they affect AF as well? Is the lack of STM why I can't get solid AF?&lt;/p&gt;&#xA;" OwnerUserId="10452" LastActivityDate="2015-07-15T12:21:53.870" Title="Do I need an STM lens for face detection live video with Canon?" Tags="|canon|lenses|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15054" PostTypeId="2" ParentId="15051" CreationDate="2015-03-06T21:12:17.733" Score="2" Body="&lt;p&gt;8 cores is nice but unnecessary. Adobe products rarely utilize all the cores unless you have multiprocessing enabling, which if you don't know: multiple frames are being rendered at the same time using different cores for each frame. But even at that I doubt you could get all 8 cores on board to do that because you need more ram dedicated to each cores processes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An addition of .5Ghz for a sacrifice of 2 cores sounds like a deal to me! Plus if you choose to multiprocess you can utilize almost all of your cores, given you get the 16gb upgrade.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now the video card is simply an upgrade according to benchmarks. With the +.5ghz on the CPU and an upgrade to the D700 it basically makes it render at an equivalent speed of a 8core 3.0ghz &amp;amp; D500&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know you didn't ask this but I think it changes everything: get an SSD (Solid State Drive). I have one in my PC and the boot up time is 5 seconds, I can only imagine the boot time with a light weight operating system like OSX. Applications open just as fast and finding files in your project/loading your project in a second. Not going to ramble on because I don't actually know too much about SSD's other than first hand experience. I do however recommend you go to &lt;a href=&quot;http://ocz.com/consumer/ssd-guide/ssd-vs-hdd&quot; rel=&quot;nofollow&quot;&gt;this article&lt;/a&gt;, it has great visuals and explanations on SSD vs HDD!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In conclusion: I would get the 3.5ghz w/ Dual D700 and if possible, a solid state drive (ssd). &lt;/p&gt;&#xA;" OwnerUserId="10410" LastEditorUserId="10410" LastEditDate="2015-03-06T21:19:06.597" LastActivityDate="2015-03-06T21:19:06.597" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15055" PostTypeId="1" AcceptedAnswerId="15058" CreationDate="2015-03-07T02:39:54.490" Score="1" ViewCount="4774" Body="&lt;p&gt;I am working on a school project, and it starts off with a 5 second count up that takes up the full screen. I am using the prebuilt &lt;em&gt;insert timecode&lt;/em&gt; effect built into Premiere. What I have done is cropped all but the minutes and seconds out of the view.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I would like to do next is to transition it to the bottom right corner while shrinking it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help/advice would be welcome. If theres another program that does it easier, then feel free to let me know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what I have:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/N4mCo.png&quot; alt=&quot;Cropped Big Version&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is it without the crop:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/nIqgd.png&quot; alt=&quot;Non-Cropped Big Version&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what I would like to have the timer transition to:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/xOz85.png&quot; alt=&quot;Cropped Small Version&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the non-cropped version of the smaller timestamp:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/rySiy.png&quot; alt=&quot;Non-Cropped Small Version&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="10453" LastEditorUserId="10453" LastEditDate="2015-03-07T15:17:35.383" LastActivityDate="2015-03-07T15:39:02.610" Title="How to keyframe a crop in Premiere Pro CC" Tags="|premiere|timecode|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15056" PostTypeId="2" ParentId="15032" CreationDate="2015-03-07T07:18:16.933" Score="2" Body="&lt;p&gt;As Professor Sparkles pointed out, After Effects can generate smoke with its particle simulation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, you &lt;a href=&quot;http://youtu.be/yc2AGBoJoNk&quot; rel=&quot;nofollow&quot;&gt;blur the particles&lt;/a&gt; and reduce their opacity and add shadowlets  (apparently requires &lt;a href=&quot;http://www.trapcode.com/&quot; rel=&quot;nofollow&quot;&gt;Trapcode plugin&lt;/a&gt;) and lighting to make them &lt;a href=&quot;http://youtu.be/WE2-OPofJXI&quot; rel=&quot;nofollow&quot;&gt;look more volumetric&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe you can nicely ask the makers of that video how they did it, because anything you create yourself might look much different, unless you know all parameters involved.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But then again, you probably shouldn't copy others' work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can generate smoke visuals with Blender (see e.g. &lt;a href=&quot;http://youtu.be/lYTVOdcgyP8&quot; rel=&quot;nofollow&quot;&gt;this video&lt;/a&gt;) or other renderers with smoke/fluid simulation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are probably some costly dedicated generators out there, I guess&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://http.developer.nvidia.com/GPUGems3/gpugems3_ch30.html&quot; rel=&quot;nofollow&quot;&gt;nVidia also has programming samples&lt;/a&gt; for its graphics cards, including one that generate smoke, so if you're a developer, you could take that, adapt it and record the output and import into AE.&lt;/p&gt;&#xA;" OwnerUserId="6717" LastEditorUserId="6717" LastEditDate="2015-03-07T14:57:01.570" LastActivityDate="2015-03-07T14:57:01.570" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15057" PostTypeId="2" ParentId="15032" CreationDate="2015-03-07T12:02:17.633" Score="3" Body="&lt;p&gt;If you want to do this from scratch you would need a software that has a &lt;a href=&quot;https://en.wikipedia.org/wiki/Particle_system&quot; rel=&quot;nofollow&quot;&gt;particle simulation system&lt;/a&gt;. A popular tool for that is &lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;After Effects&lt;/a&gt; in conjunction with the plugin &lt;a href=&quot;http://www.redgiant.com/products/trapcode-particular/&quot; rel=&quot;nofollow&quot;&gt;Particular&lt;/a&gt; from Red Giant. Its rather easy to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want even more realistic results you probably want to go with a more sophisticated solution often found in 3D packages like &lt;a href=&quot;http://www.autodesk.com/products/3ds-max/overview-dts?s_tnt=69291:1:0&quot; rel=&quot;nofollow&quot;&gt;3Ds Max&lt;/a&gt;, &lt;a href=&quot;http://www.maxon.net/products/cinema-4d-studio/who-should-use-it.html&quot; rel=&quot;nofollow&quot;&gt;Cinema 4D&lt;/a&gt; or the the free and open source &lt;a href=&quot;https://www.blender.org/features/&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you dont want to render something yourself you can also buy stock-footage. A popular package is the &lt;a href=&quot;https://www.videocopilot.net/products/action2/&quot; rel=&quot;nofollow&quot;&gt;Action Essentials 2&lt;/a&gt; from Video Copilot. It offers pre-keyed (e.g. with transparency) footage from real smoke and fire and other misc. effects. You can easily colorize these to your liking and export them as a transparent png sequence.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="6685" LastEditDate="2015-09-12T13:50:37.773" LastActivityDate="2015-09-12T13:50:37.773" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15058" PostTypeId="2" ParentId="15055" CreationDate="2015-03-07T15:39:02.610" Score="1" Body="&lt;p&gt;Before I start I'd like to mention that this would be much easier in After Effects. If you plan on doing this more often, you should consider learning AE to be able to do things like that faster.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, to follow your approach I created a transparent layer, put the timecode effect on it and cropped it using the crop effect. It looks like this right now:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Q8DAs.png&quot; alt=&quot;stage 1&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you want to resize and move it, you'll need to activate the animation for two parameters in the effects panel: The &quot;size&quot; parameter of the timecode effect and the &quot;position&quot; parameter under the motion effect (which is applied to each clip by default). You can do this by clicking the clock symbol next to the parameters name (see the next image). Make sure that your playhead (in the timeline) is at position 00:00, since activating the animation will create a keyframe at the current position.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/AgaRV.png&quot; alt=&quot;stage2&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, move the playhead to the point where you want the animation to end (i.e. the timecode has arrived at your desired position and size). First, alter the percentage value of the &quot;size&quot; parameter of the Timecode effect. A keyframe will automatically be created (see the small diamond shape in the timeline next to the effect settings panel). Then, adjust the &quot;position&quot; parameter of the motion effect. Again, a keyframe will automatically created. Adjust both parameters until you're happy with size and position. Then you're basically done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/QBncX.png&quot; alt=&quot;stage 3&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-03-07T15:39:02.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15059" PostTypeId="2" ParentId="10559" CreationDate="2015-03-07T21:21:12.573" Score="0" Body="&lt;p&gt;Not sure off the top of my head how to do it on the fly (with multiple different video codec settings for different video streams going into the same output container).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, with 2 input files, this should work to mux all streams from multiple input file into a single output file.  (parallel streams / multiple &quot;programs&quot;, NOT concatenated.)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in1.mp4 -i in2.mp4 -map 0 -map 1 -codec copy -movflags +faststart out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-03-07T21:21:12.573" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15060" PostTypeId="2" ParentId="15035" CreationDate="2015-03-07T22:14:07.163" Score="4" Body="&lt;p&gt;All anyone might be able to say is that there are no &lt;strong&gt;known&lt;/strong&gt; holes in the various players.  (I don't know if that's true, just that it's impossible to know that there are no undiscovered bugs in a complex piece of code.)  H.264 streams are complex enough to have lots of corner cases.  They're parsed with speed-optimized code written in C and assembly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You're quite correct that this is a HUGE attack surface, esp. when you allow arbitrary input formats, including ones with crufty old demuxers / decoders written by some random guy a long time ago, who might or might not have had security in mind.  &lt;a href=&quot;http://googleonlinesecurity.blogspot.ca/2014/01/ffmpeg-and-thousand-fixes.html&quot; rel=&quot;nofollow&quot;&gt;This article&lt;/a&gt; about ffmpeg security fixes is quite interesting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;re: ascii strings inside video files.  That's not uncommon at all.  x264 output embeds a string like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x264 - core 142 r2455 021c0dc - H.264/MPEG-4 AVC codec - Copyleft 2003-2014 - http://www.videolan.org/x264.html - options: cabac=1 ref=6 deblock=1:2:2 analyse=0x3:0x133 me=umh subme=10 psy=1 psy_rd=1.00:0.50 mixed_ref=1 me_range=24 chroma_me=1 trellis=2 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-4 threads=6 lookahead_threads=1 sliced_threads=0 nr=200 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=6 b_pyramid=2 b_adapt=2 b_bias=0 direct=3 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=60 rc=crf mbtree=1 crf=25.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:0.50&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And of course &lt;code&gt;strings&lt;/code&gt; will find lots of sequences of characters in the ascii range, just by random chance.  Some containers use sequences of ascii characters as the magic values to indicate what type of object something is.  e.g. mp4 has &quot;moov&quot;, &quot;mdat&quot;, and other atoms.  If you can pick any sequence of 4 bytes for your format, you might as well pick ASCII characters to make things easier to debug.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think transcoding all incoming video would incur a HUGE quality / CPU / storage overhead.  Transcoding with nightly builds of ffmpeg would potentially shield you from known bugs in the typically old version of ffmpeg in VLC stable releases, and whatever bugs are in closed source stuff from Microsoft and Apple.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Remuxing is not a bad compromise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's also a balance between destroying metadata vs. passing through more potentially harmful stuff.  (e.g. chapters, subtitles, ...)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I were actually doing this, I'd probably store my output in mkv files.  Using a different container is maybe better insurance against any weirdness from an input mp4 getting passed on to an output mp4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if you're actually doing this, I guess you'd run ffmpeg (or MP4Box for just mp4-&gt;mp4 remuxing) in a sandbox chroot or vm, or even just as an un-privileged user, so successful exploits are contained.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-03-14T18:41:55.407" LastActivityDate="2015-03-14T18:41:55.407" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15061" PostTypeId="2" ParentId="15030" CreationDate="2015-03-07T22:34:10.520" Score="3" Body="&lt;p&gt;The obligatory ffmpeg answer (not a very good one, other answers still needed):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could feed your video through &lt;code&gt;ffmpeg -vf drawtext=textfile=onscreen.txt:reload=1&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With whatever other &lt;a href=&quot;https://www.ffmpeg.org/ffmpeg-all.html#drawtext-1&quot; rel=&quot;nofollow&quot;&gt;drawtext&lt;/a&gt; options you need to put your text where you want it, with the font you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;reload=1&lt;/code&gt; makes it check the text file for changes every frame, but doesn't give you a way to update the formatting, screen position, or anything else on the fly.  (and you'd have to build your own custom thing to render your data into line-wrapped text.  You could maybe control the on-screen position with leading spaces and newlines.)  And &lt;code&gt;-vf drawtext&lt;/code&gt; isn't very nice to use anyway.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-03-07T22:34:10.520" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15062" PostTypeId="1" CreationDate="2015-03-07T22:51:39.840" Score="4" ViewCount="2782" Body="&lt;p&gt;Apple Mac OS X includes Photo Booth, an application for taking photos and videos with the built-in camera (if available, of course). Photo Booth can also add effects while taking a picture or video. In the recent version (Yosemite), Photo Booth is able to detect faces and adds the effect to every face detected in the image/video, see this example I found on YouTube:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/RmBWmNNi9X8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Photo Booth applies effects in real time and cannot add effects to already recorded footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Is there any video editing software or video effects software available which can do this, i.e., add an effect similar to Photo Booths face detection based effects to existing video?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="10455" LastEditorUserId="10455" LastEditDate="2015-03-12T18:09:46.310" LastActivityDate="2016-12-03T21:58:23.563" Title="Video software to add video effects similar to Apple's Photo Booth" Tags="|video|effects|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15063" PostTypeId="2" ParentId="15062" CreationDate="2015-03-08T05:58:58.583" Score="0" Body="&lt;p&gt;Apple's Motion has a variety of distortion effects that you can apply to existing video. For example, you could use the &quot;Poke&quot; filter from the &quot;Distortion&quot; category to do something similar to the above video.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-03-08T05:58:58.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15064" PostTypeId="1" AcceptedAnswerId="15066" CreationDate="2015-03-08T21:43:26.840" Score="2" ViewCount="107" Body="&lt;p&gt;Suppose I have a 1080p video of a static shot with minimal motion and little change in lighting, and a higher res (~ 18 megapixels) still photograph of the same setup.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How would I go best about using the extra resolution of the photo if I wanted an ever higher res video output (say, 4K)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My naive idea would be to scale up the 1080p video in an AF composition and use a blending mode for it to influence the still photograph below. I'd have to do rotoscoping to isolate the moving parts and put them on top (upscaled)..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a better way?&lt;/p&gt;&#xA;" OwnerUserId="10458" LastActivityDate="2015-03-09T14:26:44.123" Title="Combining high res photo with low res video in a static shot" Tags="|after-effects|raw|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15066" PostTypeId="2" ParentId="15064" CreationDate="2015-03-09T00:33:12.893" Score="1" Body="&lt;p&gt;To extract the moving things, I'd try a difference matte. &lt;a href=&quot;http://motionworks.net/after-effects-difference-matte/&quot; rel=&quot;nofollow&quot;&gt;There's a tutorial on doing it in After Effects here&lt;/a&gt; and &lt;a href=&quot;http://www.motion-graphics-exchange.com/after-effects/Difference-Matte-Effect-Tutorial/474f283e66ac2&quot; rel=&quot;nofollow&quot;&gt;another one here&lt;/a&gt;. You'll need to somehow extract the static background, probably by averaging a few (or several) frames of it together. Then use the techniques described above to subtract out the static stuff from the moving stuff. (Maybe a combo of garbage mattes and difference matte could do it? Depends on the footage.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you've done that, combining the moving matted footage over the hi-res image (probably using a &quot;Normal&quot; blend mode) should get you what you want. I'd be interested to know how it looks in the end. I've seen composites that looked bad because the composited object had a different amount or type of grain from the background. I suspect being at a different resolution may be just as bad, given that the grain will be huge compared with the background, but since I've never done it, I can't say for sure. Good luck!&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-03-09T00:33:12.893" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15067" PostTypeId="1" CreationDate="2015-03-09T02:59:08.013" Score="2" ViewCount="193" Body="&lt;p&gt;I work for a nonprofit (which rules out consultants or big packages) and I’ve been tasked with setting up the a/v for one of our large training rooms. I’ve got about a dozen events over the next year that will need to be live streamed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I’m wondering if i could get a little guidance in what you think the essential elements of a livestream kit should be. I’m looking for something that is decent but also doesn’t require a seasoned producer to run. At least until I have staff dedicated to this, I’d be running it myself with minimal technical assistance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some of the decisions I’m wrestling with:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Standalone device like a tricaster vs. software (wirecast) vs. a digital A/V mixer (perhaps coupled with Wirecast)? If I go just with software, do I need two machines? What’s the benefit there?&#xA;The best way to handle 2 video feeds if I don’t go with a tricaster or a/v mixer (which have multiple video inputs). Blackmagic intensity shuttle vs Ultrastudio mini recorder vs something else?&#xA;PTZ setup (X2) or HD cameras on a soloshot or a camranger?&#xA;I’m having a tough time figuring out what kind of LED panel setup for ceiling mounting, and if that’s the way to go. I’ve got a relatively low ceiling, but I was wondering if I could have those in scoops or some sort of recessed fixtures in the drop ceiling in front of the presenter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I’d love any thoughts you’d be willing to share. One added challenge is that each individual piece of hardware has to be under $5k. Total budget is ~$10-15k (recognizing that it is permanently installed so no need for portable gear).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for any thoughts you have.&lt;/p&gt;&#xA;" OwnerUserId="10460" LastActivityDate="2015-04-08T11:27:24.520" Title="What are the essentials for a livestream training room?" Tags="|streaming|production|live-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15071" PostTypeId="2" ParentId="15067" CreationDate="2015-03-09T11:21:13.180" Score="2" Body="&lt;p&gt;Use &lt;a href=&quot;https://obsproject.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS&lt;/a&gt; for the streaming, it can handle multiple inputs and is better than most softwares I have used for live streaming. Might require some time on YouTube watching tutorials but once it is set up you will be good to go.&lt;/p&gt;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="10410" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-03-09T11:21:13.180" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15072" PostTypeId="1" CreationDate="2015-03-09T11:28:22.367" Score="0" ViewCount="88" Body="&lt;p&gt;I'm curious if anyone knows of a good tutorial on color correcting and/or color grading in After Effects(original effects, magic bullet looks, or any other program). Preferably, but not limited to, on YouTube due to its seemingly long process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just want to learn more so anything you have to add on the topic is appreciated.&lt;/p&gt;&#xA;" OwnerUserId="10410" LastActivityDate="2019-12-27T21:16:29.847" Title="Color Correcting &amp; Color Grading" Tags="|color-correction|tutorial|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15073" PostTypeId="1" CreationDate="2015-03-09T13:03:43.960" Score="0" ViewCount="1457" Body="&lt;p&gt;I'm new to live streaming and it's quite hard to find good information for beginners. Could anyone recommend resources to HLS besides Apple's documentation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to make an app similar to LiveStream where videos can be broadcasted to multiple users in real-time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've run into some services like encoding.com, heywatchencoding.com, and wowza, but I'm having difficulties with what each platform provides as the documentations for each seem to be for more intermediate/experienced users.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By any chance, do anyone of you guys know if I can use wowza with Parse.com services?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="10464" LastEditorUserId="10464" LastEditDate="2015-03-09T13:16:26.393" LastActivityDate="2016-10-20T08:33:09.917" Title="Http Live Streaming for beginners" Tags="|video|streaming|live|broadcasting|ios|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15074" PostTypeId="2" ParentId="15072" CreationDate="2015-03-09T14:11:01.513" Score="2" Body="&lt;p&gt;I found the free (and paid) tutorials at &lt;a href=&quot;http://www.colorgradingcentral.com/&quot; rel=&quot;nofollow&quot;&gt;Color Grading Central&lt;/a&gt; very helpful.  Using a dedicated color grading application is (in my opinion) usually the way to go.  The basic version of &lt;a href=&quot;https://www.blackmagicdesign.com/uk/products/davinciresolve&quot; rel=&quot;nofollow&quot;&gt;Davinci Resolve&lt;/a&gt; is free, incredibly powerful, and offers a lot more control than grading in After Effects with plugins, in my experience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more on the theory of color grading, &lt;a href=&quot;https://vimeo.com/13521399&quot; rel=&quot;nofollow&quot;&gt;the Tao of Color Grading&lt;/a&gt; is a useful video on vimeo, (although the lighting is terrible). (part two is &lt;a href=&quot;https://vimeo.com/13526945&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-03-09T14:11:01.513" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15075" PostTypeId="2" ParentId="15064" CreationDate="2015-03-09T14:26:44.123" Score="0" Body="&lt;p&gt;It's an interesting idea, and I'd also like to see the results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My first thought is that it would probably look very odd.  My feeling is that the eye is drawn to movement first, and detail second.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For instance, if your example is a locked-off interview shot, where everything is 4K resolution, except for the interesting part - e.g. the talking head, the viewer is barely going to notice that the background is higher quality, because all their attention is going to be drawn to the part of the image which is lower resolution.  Does that make any kind of sense?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-03-09T14:26:44.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15077" PostTypeId="1" CreationDate="2015-03-09T18:39:46.410" Score="1" ViewCount="35" Body="&lt;p&gt;I'm looking for an intuitive, user-friendly software that will allow me to cut sections from videos downloaded on Youtube, combine them into a single video, and insert still pictures between some of these videos that will be displayed for 1, 3, 5 or 25 seconds.  The end of the video will include 10 pictures, each displayed for about 3-5 seconds. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a Mac and have iMovie but haven't had much luck with it so far.  It doesn't even show the time for the clips when you put the cursor somewhere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I'm looking for a program that would allow any idiot to make they type of video I described above.  I'm a neuroscientist, not a video editor!! haha &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many thanks in advance&lt;/p&gt;&#xA;" OwnerUserId="10466" LastActivityDate="2015-03-09T18:39:46.410" Title="Free software for creating fMRI film paradigm" Tags="|video-editor|editing|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15078" PostTypeId="1" CreationDate="2015-03-09T20:39:45.810" Score="2" ViewCount="9944" Body="&lt;p&gt;I have a volume license for Premier Pro CS6 whereby I can run it on Mac OS and Windows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I run it on Windows, I get this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/pB7zL.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But on MacOS it is fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video is HDV 1440x1080i MPEG4 QuickTime.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know why this happens?&lt;/p&gt;&#xA;" OwnerUserId="1049" LastEditorUserId="1049" LastEditDate="2015-03-09T20:46:10.940" LastActivityDate="2024-03-29T14:06:40.863" Title="Corrupted video (Green/pink) on Premiere Pro CS6 in Win8.1 Pro 64bit but not on Mac OS Yosemite" Tags="|video|premiere|windows|mac|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15079" PostTypeId="1" CreationDate="2015-03-09T21:10:10.843" Score="2" ViewCount="722" Body="&lt;p&gt;I'm interested in &lt;strong&gt;making YouTube videos&lt;/strong&gt;. I’m new to the whole video editing process. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know which video editing software provides:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;music&lt;/li&gt;&#xA;&lt;li&gt;cloning&lt;/li&gt;&#xA;&lt;li&gt;animations &lt;/li&gt;&#xA;&lt;li&gt;special effects&lt;/li&gt;&#xA;&lt;li&gt;transitions&lt;/li&gt;&#xA;&lt;li&gt;text editing&lt;/li&gt;&#xA;&lt;li&gt;and others&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For filming, I have intentions to use a digital camera, my iphone 5 and a webcam. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to ensure that my video quality is decent and not fuzzy or pixilated. As far as my computer operating system, I have two laptops (Windows 7 &amp;amp; 8). Basically, I need video editing software that provides excellent video quality and contains the features above. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is: &lt;strong&gt;What affordable video editing software provides excellent video quality?&lt;/strong&gt; I would like to sing, dance, make music videos and do all sorts of silly skits on my youtube channel.&lt;/p&gt;&#xA;" OwnerUserId="10469" LastEditorUserId="6685" LastEditDate="2015-03-11T05:21:14.530" LastActivityDate="2015-03-11T11:05:51.327" Title="Which video editing software should I use for youtube videos?" Tags="|video|video-editor|software-recommendation|video-quality|software|" AnswerCount="2" CommentCount="1" ClosedDate="2015-03-11T17:28:08.563" ContentLicense="CC BY-SA 3.0" />
  <row Id="15080" PostTypeId="1" AcceptedAnswerId="15121" CreationDate="2015-03-09T23:23:24.860" Score="7" ViewCount="21970" Body="&lt;p&gt;Can one &quot;dump&quot;/extract the MOOV atom from an MP4 file? If so, how? Hoping for an obscure FFMPEG command.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to be able to process/play a stream without searching for the MOOV atom over and over again. For very long streams, this can run into several megabytes of data. It's rather strange, I don't think the MOOV atom is huge, I just think that it is scattered thruout the first N megabytes (i.e. toplevel data at the begnning, with references to further atoms that are later in the stream).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thus, it would make sense for me to extract the MOOV atom out of the file, keep it &lt;/p&gt;&#xA;" OwnerUserId="10438" LastEditorUserId="10438" LastEditDate="2015-03-10T01:26:17.483" LastActivityDate="2019-10-23T11:52:40.857" Title="How to extract MOOV atom/metadata from MP4 file?" Tags="|ffmpeg|mp4|quicktime|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15081" PostTypeId="2" ParentId="15079" CreationDate="2015-03-10T00:16:22.667" Score="0" Body="&lt;p&gt;I've been making YouTube videos for 8 years.  At first I was using iMovie, which came free with my Mac laptop.  It's a solid piece of basic editing software.  I did very precise editing, added music, transitions, and some special effects on about 300 videos with it.  (They're on &lt;a href=&quot;http://YouTube.com/CreatedByBrett&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube.com/CreatedByBrett&lt;/a&gt; if you want to see the quality.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;But you're using PC's.&lt;/strong&gt;  Six months ago I switched to a PC laptop and Adobe Premiere + Adobe After Effects.  The system requirements for After Effects are pretty steep, so if you decide to use Adobe software, see if you can do what you need to with Premiere itself.  Premiere lets you do some animation, maintains great video quality, includes tons of special effects and transitions, and has a built-in title creator.  It also has a decent chromakey (green screen) feature.  I like the pricing plan, which is just $20 a month for a &quot;subscription&quot;, which allows you to get any upgrades they put out.  It's better than hundreds of dollars up front!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Windows comes with free video editing software. It's called Windows Movie Maker.  I haven't used it, but from what I've heard it isn't very &quot;feature rich&quot;.  (For example, doing a picture-in-picture effect isn't possible without a plugin.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;YouTube also has its own free editing software online.  That has even fewer features than Windows Movie Maker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You mentioned that the video quality is important to you. If you have an HD camera with a decent lens, you'll be in good shape for YouTube videos.  I've shot several on my iPhone, though I usually use a Sony Handycam HD.  (It lets you set exposure, focus, and white balance manually, which is why I bought it!)  The next thing to be aware of is your lighting.  I use &quot;daylight&quot; colored bulbs for my shoots.  I also use a 2-point light setup:  one key light mostly in front of me, and an extra-bright fill light to one side of me, to make my face appear more rounded on camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ldBBs.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I didn't spend much on my lights either.  They're just fluorescent tubes, so the light is more diffuse.  Single-point lights can cause harsh shadows.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-03-10T00:16:22.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15082" PostTypeId="2" ParentId="15079" CreationDate="2015-03-10T08:44:22.650" Score="0" Body="&lt;p&gt;If you actually plan to follow through with getting into video editing then I would fork out a few bucks to get &lt;a href=&quot;https://creative.adobe.com/planshttps://creative.adobe.com/plans?single_app=aftereffects&quot; rel=&quot;nofollow&quot;&gt;Adobe After Effects&lt;/a&gt;, currently it costs $20/month. It is relatively cheap and there are thousands of amazing (and free) AE tutorials on YouTube.&lt;/p&gt;&#xA;" OwnerUserId="10410" LastActivityDate="2015-03-10T08:44:22.650" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15083" PostTypeId="1" AcceptedAnswerId="15084" CreationDate="2015-03-10T13:09:20.660" Score="0" ViewCount="2895" Body="&lt;p&gt;Suppose there is a movie set in early 1991, around the time of the Persian Gulf War. The camera pans on a film clip of President Bush declaring war on Iraq, and then a month later (in movie time), there is a another film clip of General Schwartzkopf reporting on the outcome.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is this technique called and how is it effected?&lt;/p&gt;&#xA;" OwnerUserId="2604" LastActivityDate="2015-03-10T15:02:22.820" Title="What happens when there is a &quot;movie within a movie&quot; or a &quot;film within a film.&quot;" Tags="|filming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15084" PostTypeId="2" ParentId="15083" CreationDate="2015-03-10T15:02:22.820" Score="1" Body="&lt;p&gt;It's usually just called &quot;film-within-a-film,&quot; &quot;movie-within-a-movie,&quot; &quot;play-within-a-play,&quot; &quot;play-within-a-movie,&quot; or whatever's most appropriate to the situation.  There's a french term which describes it (&lt;a href=&quot;https://en.wikipedia.org/wiki/Mise_en_abyme&quot; rel=&quot;nofollow&quot;&gt;&lt;em&gt;mise en abyme&lt;/em&gt;&lt;/a&gt;), but as an english speaker, it's often more practical just to describe the technique however it appears.  The Wikipedia entrance on &lt;a href=&quot;https://en.wikipedia.org/wiki/Story_within_a_story&quot; rel=&quot;nofollow&quot;&gt;story within a story&lt;/a&gt; gives many examples from film, theater, and literature.  The first example that comes to my mind is &lt;a href=&quot;https://www.youtube.com/watch?v=ojB5fpoeQ2c&quot; rel=&quot;nofollow&quot;&gt;&lt;em&gt;Nation's Pride&lt;/em&gt;&lt;/a&gt;, the film within Quentin Tarantino's &lt;a href=&quot;http://en.wikipedia.org/wiki/Inglourious_Basterds&quot; rel=&quot;nofollow&quot;&gt;&lt;em&gt;Inglorious Basterds&lt;/em&gt;&lt;/a&gt;.  Personally, I would call &lt;em&gt;Nation's Pride&lt;/em&gt; a film-within-a-film, and I think many other writers would too.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-03-10T15:02:22.820" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15085" PostTypeId="1" CreationDate="2015-03-10T18:15:04.997" Score="2" ViewCount="183" Body="&lt;p&gt;Let me try to explain the project I'm working on. I'm a volunteer for a high school engineering competition, and the past couple of years I've produced a pro bono commemorative video to show at the competition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This year I want to use the audio from JFK's &quot;go to the moon&quot; speech as a voiceover track, but it would be weird to include references to soviets and war interspersed in the parts of the speech I want to use. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, my question is: is it &quot;ok&quot; to selectively edit out the parts that aren't relevant to today's society (as in, taking artistic license), or is this considered inappropriate?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video won't be shown outside the event, but I don't want to do something considered &quot;wrong.&quot;&lt;/p&gt;&#xA;" OwnerUserId="10474" LastActivityDate="2017-03-30T20:34:49.177" Title="Is it ok to edit a public domain speech?" Tags="|video|editing|copyright|vocal|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15086" PostTypeId="2" ParentId="15085" CreationDate="2015-03-10T19:43:12.753" Score="0" Body="&lt;p&gt;I think it would make perfect sense to take out the time relevant sentences that are about the soviets, war, etc. Just make sure you don't take things out of context and you quote the text you do use. Good luck!&lt;/p&gt;&#xA;" OwnerUserId="10410" LastActivityDate="2015-03-10T19:43:12.753" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15087" PostTypeId="2" ParentId="15085" CreationDate="2015-03-10T20:40:32.813" Score="2" Body="&lt;p&gt;Public domain material isn't subject to any restrictions -- legally you can do anything you like with it. It would be respectful (but not required) to honor the intent of the material and not distort its meaning, and to credit the source.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-03-10T20:40:32.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15088" PostTypeId="2" ParentId="15085" CreationDate="2015-03-10T21:01:22.293" Score="0" Body="&lt;p&gt;I checked the 2-minute clip of JFK's speech on YouTube and see no problem in using it. There was no reference to cold war politics and the context is so well known that people will understand his reference to &quot;within this decade&quot; relates to when he spoke in 1962. &lt;/p&gt;&#xA;" OwnerUserId="10475" LastActivityDate="2015-03-10T21:01:22.293" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15094" PostTypeId="2" ParentId="9617" CreationDate="2015-03-11T11:33:51.673" Score="3" Body="&lt;p&gt;As &lt;a href=&quot;https://video.stackexchange.com/users/3295/professor-sparkles&quot;&gt;Professor Sparkles&lt;/a&gt; has correctly pointed out (I've just checked and confirm) — the &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt; tool can extract some metadata from these files. Here is a sample output from one of mine:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : /Volumes/CAM_SD/PRIVATE/AVCHD/BDMV/CLIPINF/00119.CPI&#xA;Format                                   : Blu-ray Clip info&#xA;File size                                : 502 Bytes&#xA;&#xA;Video&#xA;ID                                       : 4113 (0x1011)&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Width                                    : 1 920 pixels&#xA;Height                                   : 1 080 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate                               : 50.000 fps&#xA;&#xA;Audio&#xA;ID                                       : 4352 (0x1100)&#xA;Format                                   : AC-3&#xA;Format/Info                              : Audio Coding 3&#xA;Channel(s)                               : 2 channels&#xA;Sampling rate                            : 48.0 KHz&#xA;Compression mode                         : Lossy&#xA;Language                                 : English&#xA;&#xA;Text&#xA;ID                                       : 4608 (0x1200)&#xA;Format                                   : PGS&#xA;Language                                 : English&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(But note that it can output more details in the --full mode.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, it may be helpful to note that the AVCHD standard is proprietary and its spec is not publicly available. Attempts to reverse-engineer its components exist, and one of them is in this forum thread (from 2008): &lt;a href=&quot;http://forum.doom9.org/showthread.php?t=141361&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://forum.doom9.org/showthread.php?t=141361&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10468" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-03-11T11:33:51.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15095" PostTypeId="1" CreationDate="2015-03-11T12:10:22.987" Score="2" ViewCount="6968" Body="&lt;p&gt;This is really annoying. I've heard a lot about how Apple have removed a lot of different codec uses including the most needed Quicktime RGB+Alpha one in After Effects. I can no longer import videos with an alpha channel into Premiere. I've tried ProRes 4444 but that didn't work either. All I get is &quot;The importer reported a generic error.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried restarting the project, restarting my computer, reinstalling premiere and so on. This is absolutely crucial to my business and must be fixed soon. Does anyone have a work around to this? &lt;/p&gt;&#xA;" OwnerDisplayName="user10479" LastActivityDate="2015-05-18T15:56:48.447" Title="Can't Import Video with Alpha to Premiere" Tags="|premiere|codec|quicktime|prores|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15096" PostTypeId="1" AcceptedAnswerId="15097" CreationDate="2015-03-11T15:02:13.570" Score="5" ViewCount="17605" Body="&lt;p&gt;I am new to AE and following a Lynda.com essentials course.  In the course, the video in the composition panel stays sharp during scrubbing, as below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/N2hzu.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iCc1s.png&quot; title=&quot;source: imgur.com&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But in my AE application, it shows as pixelated during scrubbing, as below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jovwM.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Lfq4M.png&quot; title=&quot;source: imgur.com&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My AE CC 2014.0 installation is brand new, without any configuration tweaks.  I am on Windows 8.1, using an Acer V5-571 laptop (i5).&lt;/p&gt;&#xA;" OwnerUserId="10481" LastActivityDate="2017-10-26T06:23:25.390" Title="Video in After Effects composition panel is pixelated during scrubbing" Tags="|after-effects|windows|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15097" PostTypeId="2" ParentId="15096" CreationDate="2015-03-11T15:22:10.563" Score="6" Body="&lt;p&gt;It's because you're using Adaptive Resolution, where AE will attempt to let you scrub through quickly, by reducing the resolution it shows in the viewer.  Higher powered computers will be able to show higher resolution in the viewer more quickly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's an explanation in Adobe's help here:&#xA;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/previewing.html&quot; rel=&quot;noreferrer&quot;&gt;https://helpx.adobe.com/after-effects/using/previewing.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also many things you can do to adjust the quality of your preview, depending upon what you're working on.. For example, if you're checking the movement of something, maybe you don't need as high resolution an image but full frame rate... Whereas if you're checking the pixel-perfect quality of a matte, maybe you don't need as high frame rate during preview.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also bear in mind that there are different render engines in AE now - if you're using the 3D raytrace renderer for 3D work, previews will be very slow unless using a super-fast machine.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-03-11T15:22:10.563" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="15098" PostTypeId="2" ParentId="2188" CreationDate="2015-03-11T16:23:18.880" Score="-1" Body="&lt;p&gt;I used the Quicktime screen recorder to record some full-screen video art, and I noticed that it is very compressed, and I didn't see any options to change settings. The rich color of the art was squished into a smaller color space, and there were visible compression artifacts. But I'm sure it is fine for recording tutorials and such.&lt;/p&gt;&#xA;" OwnerUserId="10482" LastActivityDate="2015-03-11T16:23:18.880" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15100" PostTypeId="1" AcceptedAnswerId="15101" CreationDate="2015-03-12T08:30:27.183" Score="0" ViewCount="159" Body="&lt;p&gt;Looking at buying a MacBook Pro with this Spec:-&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2.2GHz Quad-core Intel Core i7, Turbo Boost up to 3.4GHz&#xA;16GB 1600MHz DDR3L SDRAM&#xA;256GB PCIe-based Flash Storage&#xA;Intel Iris Pro Graphics&#xA;Backlit Keyboard (British) &amp;amp; User's Guide (English)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Will this run the studio without any glitches etc etc. Thanks For your help Will&lt;/p&gt;&#xA;" OwnerUserId="10485" LastActivityDate="2015-03-12T12:30:39.703" Title="GoPro Studio Editing HD Videos" Tags="|video-editor|performance|studio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15101" PostTypeId="2" ParentId="15100" CreationDate="2015-03-12T12:30:39.703" Score="0" Body="&lt;p&gt;if this meets the minimum spec for the software then that would be your answer, reading the min spec it will be fine to run the software&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mac OS X 10.8 or later&#xA;Intel® Dual Core™ &#xA;  Recommended: Intel Quad Core™ i7 or better&#xA;Any graphics card shipped with Intel® Dual Core™ Macs or better &#xA;Recommended for 4K editing and playback: Intel HD4000 or better&#xA;4GB&#xA;Minimum: 5400 RPM internal drive&#xA;Recommended: 7200 RPM drive. &#xA;If external, use Thunderbolt, USB 3.0, Firewire or eSATA &#xA;Version 7.6 or greater&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if there is something more specific you would like to know we would need the specifics then&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2015-03-12T12:30:39.703" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15102" PostTypeId="1" CreationDate="2015-03-12T12:38:16.217" Score="1" ViewCount="249" Body="&lt;p&gt;I have a compound clip with a flip transition in it, which I want to comp on the main timeline, while still showing the footage underneath.&#xA;(think flipping card composed on top of footage).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've created a Compound Clip with the flip transition inside it, but the transition has a background colour set, so doesn't comp while transitioning (has a black background instead).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried setting blend modes on the main timeline, but it just messes up the colour of the actual graphic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas? Why can't the flip have a transparent background?&lt;/p&gt;&#xA;" OwnerUserId="10486" LastActivityDate="2015-03-12T12:38:16.217" Title="Compositing a compound clip with transitions in FCP X" Tags="|final-cut-pro-x|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15103" PostTypeId="1" AcceptedAnswerId="15108" CreationDate="2015-03-12T12:58:28.040" Score="1" ViewCount="114" Body="&lt;p&gt;Quick question, how can I get a transition effect on an image (CC light wipe) to fill the composition?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an easy way to do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;img src=&quot;https://i.stack.imgur.com/rwn1L.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using Adobe CC 2014&lt;/p&gt;&#xA;" OwnerUserId="10487" LastActivityDate="2015-04-27T04:49:01.940" Title="Get effect to overcome image size [After Effects]" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15104" PostTypeId="1" CreationDate="2015-03-12T17:26:55.050" Score="0" ViewCount="725" Body="&lt;p&gt;We have videos in row format (.mov) that are 4:3 (768x576) and 5:4 (720x576). We have a recommended preset for streaming over DASH to HTML5 and Silverlight players (this is the second pass):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -an -vcodec libx264 -profile:v main -pass 2 \&#xA;-vf scale=320:180 -pix_fmt yuv420p -g 75 -keyint_min 25 -b:v 384k \&#xA;-maxrate 384k -bufsize 384k -passlogfile passlogfile_fp output_320x180_384.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;with 5 more, but different resolution and bitrate:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;480:270 -b:v 700k&lt;/li&gt;&#xA;&lt;li&gt;800:450 -b:v 1300k&lt;/li&gt;&#xA;&lt;li&gt;960:540 -b:v 1300k&lt;/li&gt;&#xA;&lt;li&gt;1280:720 -b:v 3500k&lt;/li&gt;&#xA;&lt;li&gt;1920:1080 -b:v 5000k&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;With the 4:3 source videos we are happy with the result - the image doesn't get stretched, but players add black border to fit the width. Although we are not sure if this preset is suitable for these source videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the 5:4 we are not really happy, because the image is stretched for 16:9 display. How can we achieve the same effect as with the 4:3 source videos? Are these presets suitable at all for these video formats or should we be looking for something else?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Appreciate your help. Our knowledge about encoding is pretty limited. &lt;/p&gt;&#xA;" OwnerUserId="9337" LastEditorUserId="1760" LastEditDate="2015-03-21T18:13:11.210" LastActivityDate="2015-03-21T18:13:11.210" Title="Best presets to scale legacy 4:3 and 5:4 videos using ffmpeg" Tags="|ffmpeg|streaming|presets|scale|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15105" PostTypeId="1" AcceptedAnswerId="15109" CreationDate="2015-03-12T23:58:55.563" Score="2" ViewCount="62" Body="&lt;p&gt;I need to do a transition that puts random circles that expand over a video but each circle needs to start at random times. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know the best way to achieve this?&lt;/p&gt;&#xA;" OwnerUserId="10492" LastActivityDate="2015-03-13T17:20:11.453" Title="After affects transition help" Tags="|after-effects|transitions|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15106" PostTypeId="2" ParentId="15105" CreationDate="2015-03-13T00:52:39.600" Score="1" Body="&lt;p&gt;One way to do this would be to construct a matte layer out of white circles expanding as needed, then key one video layer over the other using the matte to reveal. You can animate graphic circles for the matte, as many as you like.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-03-13T00:52:39.600" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15107" PostTypeId="1" CreationDate="2015-03-13T10:06:26.887" Score="2" ViewCount="66" Body="&lt;p&gt;Lately, I've been getting a weird issue with my Media Encoder exports.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I usually import 2 files through After Affects CC: an &quot;intro&quot; one and the main movie, both at lossless quality, and export the result to an YouTube-compliant format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are their format:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;File 1&lt;/em&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Format                      : RGB&#xA;Codec ID                    : 0x00000000&#xA;Codec ID/Info               : Basic Windows bitmap format. 1, 4 and 8 bpp versions are palettised. 16, 24 and 32bpp contain raw RGB samples&#xA;Duration                    : 12s 12ms&#xA;Bit rate                    : 663 Mbps&#xA;Width                       : 1 280 pixels&#xA;Height                      : 720 pixels&#xA;Display aspect ratio        : 16:9&#xA;Frame rate                  : 29.970 fps&#xA;Bit depth                   : 8 bits&#xA;Bits/(Pixel*Frame)          : 24.000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;File 2&lt;/em&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Format                      : Lagarith&#xA;Codec ID                    : LAGS&#xA;Duration                    : 9mn 20s&#xA;Bit rate                    : 106 Mbps&#xA;Width                       : 1 280 pixels&#xA;Height                      : 720 pixels&#xA;Display aspect ratio        : 16:9&#xA;Frame rate                  : 29.970 fps&#xA;Color space                 : YUV&#xA;Chroma subsampling          : 4:2:0&#xA;Bit depth                   : 8 bits&#xA;Bits/(Pixel*Frame)          : 3.847&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Once the composition is finished, I export the result through Media Encoder using this preset: &lt;strong&gt;YouTube HD 720p 29,97&lt;/strong&gt;. And it works. At least it used to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, I can clearly see ME still processing something at the end of the first-pass, even though everything's been done.&#xA;And the result after the second-pass is a video with a proper framerate that looks like it was encoded with a wrong one as the video plays faster than it should (I can clearly tell as it is out-of-sync with the audio), despite me using settings that look like correct.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something goes wrong during the encoding, but I don't know what. Haven't tweaked the preset and I'm doing the exact same process as before.&lt;/p&gt;&#xA;" OwnerUserId="10497" LastActivityDate="2015-03-13T10:06:26.887" Title="Bad yet good framerate after exporting through Media Encoder" Tags="|after-effects|framerate|adobe-media-encoder|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15108" PostTypeId="2" ParentId="15103" CreationDate="2015-03-13T11:00:41.350" Score="1" Body="&lt;p&gt;If you are applying the light wipe to an image which is smaller than your full comp size, then the light wipe effect will only fill the size of the image, not the full screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To overcome this, you could add a full screen solid behind your image, and pre comp the image and the solid.  Then add the light-wipe to the comp, not the individual images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you could try putting an adjustment layer between your two images, and applying the light wipe to that.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-03-13T11:00:41.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15109" PostTypeId="2" ParentId="15105" CreationDate="2015-03-13T14:38:53.087" Score="2" Body="&lt;p&gt;You could use the particle engine CC Particle World.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Set the particles to be shaded spheres, adjust the X&amp;amp;Y radius of the producer to fill the screen, adjust the birth rate to produce particles at the rate you need, turn off gravity and velocity.  set the end size to be so big that they fill the screen.  Set the Particle Transfer Mode to &quot;black matte&quot;, and you'll get something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/GnEYu.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;then precomp the particle layer, moving everything inside the comp&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now add your two layers (the files for before &amp;amp; after the transition). Put the &quot;before&quot; layer at the bottom, then the &quot;after&quot; layer, then the &quot;particle&quot; comp layer.&#xA;Turn of the particle layer by clicking the eyeball.&#xA;In the example below, I'm using a pink and blue layer for the before and after.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Add a &quot;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/channel-effects.html#set_matte_effect&quot; rel=&quot;nofollow noreferrer&quot;&gt;Set Matte&lt;/a&gt;&quot; to the &quot;after&quot; layer, and set the &quot;Take matte from layer&quot; setting to your particle layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you drag through the comp, your &quot;before&quot; layer should reveal the &quot;after&quot; layer via your circles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/sr3mk.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2015-03-13T17:20:11.453" LastActivityDate="2015-03-13T17:20:11.453" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15110" PostTypeId="1" CreationDate="2015-03-13T16:21:44.763" Score="2" ViewCount="1332" Body="&lt;p&gt;I've seen this before, but I want to get to the bottom of it (I hope) so I can prevent it from happening again. I have a video with a few dozen stabilized clips. Looks good, though I want cross dissolves between each clip. That works fine, but sometimes going in or out of the transition causes a jump, as if the stabilization settings were different for the transition. For an example, take a look at this video... especially the start and end of the clip that runs from 00:31-00:43. &#xA;&lt;a href=&quot;http://dangoodspeed.com/shared/12n-downtown-schenectady-fire&quot; rel=&quot;nofollow&quot;&gt;http://dangoodspeed.com/shared/12n-downtown-schenectady-fire&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10499" LastActivityDate="2016-02-01T16:40:51.683" Title="FCPX Cross dissolve sometimes causes jump on stabilized video" Tags="|final-cut-pro|final-cut-pro-x|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15114" PostTypeId="1" CreationDate="2015-03-14T12:25:13.597" Score="3" ViewCount="3600" Body="&lt;p&gt;I am trying to exrtact key frame information from a mp4 video using ffprobe with the command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -select_streams v -show_frames FILE_NAME  2&amp;gt;/dev/null&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I am getting the list of all frames. From these, I searched for frames with pict_type=I to recognise I-frames. However, there were about 10 of the total 700 I frames which had&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;media_type=video&#xA;key_frame=0&#xA;pict_type=I&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What are these frames? If these are I-frames what makes them not a key_frame?&lt;/p&gt;&#xA;" OwnerUserId="10502" LastActivityDate="2021-02-23T17:25:48.600" Title="Frames with pict_type=I yet key_frame=0" Tags="|ffmpeg|keyframes|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15115" PostTypeId="1" CreationDate="2015-03-14T16:50:51.067" Score="1" ViewCount="362" Body="&lt;p&gt;Cutting videoclips in GoPro studio is pretty easy:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Press &lt;code&gt;I&lt;/code&gt; for Mark In, &lt;code&gt;O&lt;/code&gt; for Mark Out and &lt;code&gt;Space&lt;/code&gt; for pause/continue. Editing a video would be pretty much faster, if a keyboard shortcut could be also used to add a videoclip to the conversion list, instead of clicking the button with mouse. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a shortcut for the &quot;Add clip to a conversion list&quot;, or is it possible to somehow make one? The answer can include usage of third-party programs such as Autohotkey etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My operating system is Windows 7.&lt;/p&gt;&#xA;" OwnerUserId="10503" LastEditorUserId="10503" LastEditDate="2015-03-14T17:07:18.397" LastActivityDate="2015-03-22T09:34:03.510" Title="Keyboard shortcut for &quot;Add clip to conversion list&quot; in GoPro Studio?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15116" PostTypeId="1" CreationDate="2015-03-14T22:06:13.907" Score="0" ViewCount="691" Body="&lt;p&gt;I have a local video file from a past Twitch stream (which I failed to archive), broadcast and recorded through OBS. My goal is to re-stream it to Twitch so that it feels as close as reasonably possible to a normal archived stream, in terms of quality, aspect ratio, position, sound, etc. The OBS Video Source Plugin has been recommended for this task. The original recorded file was in .flv format. I have since converted to .mp4, and cut a bit from the beginning with VideoPad Video Editor (I still have the original .flv file).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Will the outcome look and sound just as authentic using the converted and cut video file, assuming said file plays just as well on my local machine, or is it better to re-stream the original and cut it again using the Twitch highlight function?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) What Video Source Settings should I use when adding the video file as a source via the plugin? Should the height and width always match the recorded video settings (pre-downscale, according to my understanding)? Is it better to select to stretch the image, which presumably overrides the entered height and width? What about &quot;Deinterlacing&quot; and &quot;Apply Video Filters&quot;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Finally, in the Video Source Settings, what is the default volume (which is the full 100), the volume at which OBS normally streams, or should this be adjusted?&lt;/p&gt;&#xA;" OwnerUserId="10505" LastActivityDate="2015-06-01T06:42:39.760" Title="What is the least noticable way to re-stream a video to Twitch?" Tags="|video|streaming|setup|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15117" PostTypeId="2" ParentId="10533" CreationDate="2015-03-15T05:48:36.140" Score="1" Body="&lt;p&gt;Unless I'm misunderstanding your question, I would try a &lt;code&gt;Garbage Matte&lt;/code&gt; effect (either 4, 8, or 16-point).  Stack the two video clips on the timeline (e.g. one video clip on track V1 and the other on V2).  Drag n Drop the &lt;code&gt;Garbage Matte&lt;/code&gt; effect (8-point is a good starting point) on to the top video clip.  Activate the &lt;code&gt;Garbage Matte&lt;/code&gt; effect in the Effect Controls window and then drag the points to select the portion of the top clip video that you want.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Only the part of the top clips video that lies within the bounds of garbage matte markers will show through.  The rest of the video will be the bottom video clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is reasonable video on the subject. He basically merges two video clips of the same scene with different exposure levels to get a single video with good exposure throughout:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/PC4tSpbb7M0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Search youtube for Garbage Matte premiere and you will find several helpful videos on it.&lt;/p&gt;&#xA;" OwnerUserId="6543" LastActivityDate="2015-03-15T05:48:36.140" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15118" PostTypeId="2" ParentId="15095" CreationDate="2015-03-15T19:29:21.333" Score="1" Body="&lt;p&gt;&lt;strong&gt;Only Prores 4444 supports alpha channels&lt;/strong&gt;, see the &lt;a href=&quot;https://documentation.apple.com/en/finalcutpro/professionalformatsandworkflows/index.html#chapter=10%26section=2%26tasks=true&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;manual&lt;/strong&gt;&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The Apple ProRes 4444 codec offers the utmost possible quality for&#xA;  4:4:4 sources and for workflows involving alpha channels.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It seems to work for me, using the &lt;strong&gt;Animation codec&lt;/strong&gt; with &quot;Millions of Colors+&quot;. I'm on a Mac using Adobe CC. Here are the steps I took:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Export your AE comp using Quicktime Animation codec with Millions of Colors+ selected.&lt;/li&gt;&#xA;&lt;li&gt;Import the file into Premiere CC&lt;/li&gt;&#xA;&lt;li&gt;Right click on your footage and select &lt;em&gt;Modify &gt; Interpret Footage&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Select Conform Alpha PreMultiplication to: &lt;strong&gt;Premultiplied Alpha&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Press &lt;strong&gt;OK&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Drag your clip into the timeline&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;With this you should be able to drag another clip beneath it, and see it through your original clip, as shown below (Intepret Footage settings are also shown):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0mGoT.png&quot; alt=&quot;enter image description here&quot;&gt; &lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="6685" LastEditDate="2015-05-18T15:56:48.447" LastActivityDate="2015-05-18T15:56:48.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15119" PostTypeId="1" AcceptedAnswerId="15120" CreationDate="2015-03-16T17:37:22.877" Score="0" ViewCount="38" Body="&lt;p&gt;Here, I'm talking about a &amp;quot;news article&amp;quot; regarding the events of the movie, and not about a generic article such as &amp;quot;Japan Bombs Pearl Harbor&amp;quot; or &amp;quot;U.S. Invades Iraq.&amp;quot;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Since this is an &amp;quot;inverview,&amp;quot; one way is to have the reporter and source orally read their respective lines. &lt;br&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Since they are discussing the hero and heroine, another way is to have one &amp;quot;read&amp;quot; the article to the other. &lt;br&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In theory, the article could be posted on the screen so the audience can read it, but that seems like the worst alternative. Unless it was combined with either 1) or 2).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Which of these, or other methods are used?&lt;/p&gt;&#xA;" OwnerUserId="2604" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-03-16T19:16:23.837" Title="How does one &quot;convey&quot; a news article in a movie?" Tags="|video|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15120" PostTypeId="2" ParentId="15119" CreationDate="2015-03-16T19:16:23.837" Score="1" Body="&lt;p&gt;If you don't need the interview to be conveyed verbatim, you can have two characters discussing (or arguing about) points from the article.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The people discussing the article could even be the hero and heroine, without having them read it aloud verbatim. &quot;Did you really say that?&quot; &quot;I think the author took that out of context.  What I meant was ______.&quot;&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-03-16T19:16:23.837" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15121" PostTypeId="2" ParentId="15080" CreationDate="2015-03-16T23:25:23.663" Score="6" Body="&lt;p&gt;You can use &lt;a href=&quot;http://atomicparsley.sourceforge.net/&quot; rel=&quot;noreferrer&quot;&gt;AtomicParsley&lt;/a&gt; to parse the metadata of a MP4-file. For example&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; AtomicParsley /path/to.mp4 -T 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;will print the whole atom tree.&lt;/p&gt;&#xA;" OwnerUserId="10507" LastActivityDate="2015-03-16T23:25:23.663" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15122" PostTypeId="1" CreationDate="2015-03-16T23:33:38.397" Score="4" ViewCount="9920" Body="&lt;p&gt;Couple of last times I rendered with Premiere Pro I notified that aspect ratio is stretched by height. I'm rendering 1280x720 at 1.333 aspect, and it worked fine every time till now, I didn't change any settings or anything, video previews are looking normal, and only output is stretched. I'm getting really frustrated here, any help? Here are images of sequence settings and export settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/A1scD.png&quot; alt=&quot;sequence settings&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/cw7DD.jpg&quot; alt=&quot;export settings&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="10508" LastEditorUserId="10508" LastEditDate="2015-03-22T00:34:40.453" LastActivityDate="2024-03-22T01:02:10.237" Title="Adobe Premiere Pro CC aspect ratio streched" Tags="|premiere|aspect|" AnswerCount="2" CommentCount="12" ContentLicense="CC BY-SA 3.0" />
  <row Id="15123" PostTypeId="1" AcceptedAnswerId="15125" CreationDate="2015-03-16T23:55:09.950" Score="2" ViewCount="307" Body="&lt;p&gt;&lt;strong&gt;My Question:&lt;/strong&gt; I made a screencast with &lt;a href=&quot;http://recordmydesktop.sourceforge.net/news.php&quot; rel=&quot;nofollow&quot;&gt;recordmydesktop&lt;/a&gt; (Version 0.3.8.1). When I investigate the rendered file with &lt;a href=&quot;https://duckduckgo.com/l/?kh=-1&amp;amp;uddg=https%3A%2F%2Flibav.org%2Favprobe.html&quot; rel=&quot;nofollow&quot;&gt;&lt;code&gt;avprobe&lt;/code&gt;&lt;/a&gt; I see, that there is &lt;code&gt;Stream #0.0: Data: skeleton&lt;/code&gt; in the produced file. I guess &lt;code&gt;ffprobe&lt;/code&gt; will produce the same results...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is &quot;Data: Skeleton&quot;? What is stored inside such a stream? Is it necessary to play the media file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What I did:&lt;/strong&gt; First I record a part of my screen via&lt;/p&gt;&#xA;&#xA;&lt;p&gt;recordmydesktop --height 10 --width 10 -y 50&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I run &lt;code&gt;avprobe out.ogv&lt;/code&gt; an I get as a result&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avprobe version 9.16-6:9.16-0ubuntu0.14.04.1, Copyright (c) 2007-2014 the Libav developers&#xA;  built on Aug 10 2014 18:19:26 with gcc 4.8 (Ubuntu 4.8.2-19ubuntu1)&#xA;[ogg @ 0x93aa700] Multiple fisbone for the same stream is not implemented. Update your Libav version to the newest one from Git. If the problem still occurs, it means that your file has a feature which has not been implemented.&#xA;[ogg @ 0x93aa700] 22 bytes of comment header remain&#xA;[ogg @ 0x93aa700] truncated comment header, 1 comments not found&#xA;[ogg @ 0x93aa700] max_analyze_duration reached&#xA;Input #0, ogg, from 'out.ogv':&#xA;  Duration: 00:00:06.93, start: 0.000000, bitrate: 9 kb/s&#xA;    Stream #0.0: Data: skeleton&#xA;    Stream #0.1: Video: theora, yuv420p, 16x16 [PAR 1:1 DAR 1:1], 15 tbn, 15 tbc&#xA;    Stream #0.2: Audio: vorbis, 22050 Hz, mono, fltp, 89 kb/s&#xA;Unsupported codec with id 0 for input stream 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When you want to investigate the video file by yourself, you can download it at &lt;a href=&quot;http://www38.zippyshare.com/d/BaItXEdB/2145/out.ogv&quot; rel=&quot;nofollow&quot;&gt;http://www38.zippyshare.com/d/BaItXEdB/2145/out.ogv&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10507" LastActivityDate="2015-03-17T03:13:13.127" Title="What means &quot;Data: Skeleton&quot; in an .ogv file?" Tags="|ffmpeg|codec|avconv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15124" PostTypeId="1" CreationDate="2015-03-17T02:40:38.790" Score="2" ViewCount="910" Body="&lt;p&gt;I'm doing a full page background video and I'm trying to convert the original mp4 to an webm. The background will not have any audio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm currently using ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i INPUT.mp4 -b 614400 -s 960x540 -aspect 16:9 OUTPUT.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My question is what are the optimal settings to convert an mp4 to an webm file that will be used as a background video on a website?&lt;/p&gt;&#xA;" OwnerUserId="10509" LastActivityDate="2015-05-12T02:59:31.513" Title="HTML5 background video encoding settings" Tags="|ffmpeg|webvideos|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15125" PostTypeId="2" ParentId="15123" CreationDate="2015-03-17T03:07:35.783" Score="2" Body="&lt;h1&gt;What is Ogg Skeleton?&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;http://wiki.xiph.org/Ogg_Skeleton_4&quot; rel=&quot;nofollow&quot;&gt;Ogg Skeleton 4&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Ogg Skeleton provides structuring information for multitrack Ogg&#xA;  files. It is compatible with Ogg Theora and provides extra clues for&#xA;  synchronization and content negotiation such as language selection.&#xA;  The latest version of Skeleton, version 4.0, also provides keyframe&#xA;  indexes to enable optimal seeking over high-latency connections, such&#xA;  as the internet.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So basically the Ogg container can support multiple tracks of multiple track types types. However:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Ogg does not know anything about the content it carries and leaves it&#xA;  to the media mapping of each codec to declare and describe itself.&#xA;  There is no meta information available at the Ogg level about the&#xA;  content tracks encapsulated within an Ogg physical bitstream.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Ogg Skeleton attempts to deal with these issues by providing information about the other streams that allows parsing and (de)muxing &lt;strong&gt;without having to decode&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;What is stored inside such a stream?&lt;/h1&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Ogg Skeleton is a logical bitstream within an Ogg stream that contains&#xA;  information about the other encapsulated logical bitstreams. For each&#xA;  logical bitstream it provides information such as its media type, and&#xA;  explains the way the granulepos field in Ogg pages is mapped to time.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;http://svn.annodex.net/standards/draft-pfeiffer-oggskeleton-current.txt&quot; rel=&quot;nofollow&quot;&gt;The &quot;skeleton&quot; meta information track for Ogg&lt;/a&gt; for more details.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Is it necessary to play the media file?&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Continuing from the second quoted paragraph:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;This is particularly a problem if you don't have all the decoder&#xA;  libraries available and just want to parse an Ogg file (such as with &lt;code&gt;file&lt;/code&gt;)  to find out what type of data it encapsulates.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;For playback &lt;strong&gt;you are decoding&lt;/strong&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You're using (libogg/libvorbis/libtheora and) the FFmpeg cli tools (or should be; I don't recommend Libav) to demux and decode. You have the various decoder libraries available. You can &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;download a recent build of &lt;code&gt;ffmpeg&lt;/code&gt;&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Your file is not complicated. It just contains one video stream, one video stream, and one data stream (the Ogg Skeleton). It does not contain multiple streams of video, audio, subtitles, etc.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Ogg Skeleton 4.0 can index keyframes for seeking in high latency situations. Given the information you (did not) provide I'm going to assume this does not apply to you.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So the answer here is: &lt;strong&gt;Ogg Skeleton is not necessary to play this media file&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can test this by remuxing the file while excluding the data stream with a negative mapping:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.ogv -map 0 -map -0:d -c copy output.ogv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now try playing it.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2015-03-17T03:13:13.127" LastActivityDate="2015-03-17T03:13:13.127" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15126" PostTypeId="1" CreationDate="2015-03-17T06:07:39.957" Score="1" ViewCount="185" Body="&lt;p&gt;What is the least painful way to achieve this?:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Video and audio recording on a HD video camera (NOT a security camera) in XP quality, with 1 HDMI output and WIFI capability&lt;/strong&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Somehow connect the camera to a laptop and send the signal live to the Internet&lt;/strong&gt; (the distance between laptop and camera is not a problem so I would prefer using HDMI over WIFI because of the problems involving WIFI)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Destination: a remote server, which will be web streaming the signal to clients&lt;/strong&gt; (I'm not in charge of the streaming part, just until the signal reaches the server)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;My trade is computers (I have no problem with the computer part) but I have almost no idea how video and audio recording works, so I would really appreciate basic information or sources. I have tried looking for information and tutorials on this subject but EVERYTHING I can find is related to IP surveillance video cameras, instead of a personal video camera sending the signal to a non-surveillance server.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My plan so far is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-Record the signal&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-Send it to the laptop (I would require a HDMI capture device because the laptop only have 1 HDMI output and not input)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-Establish a VPN (virtual private network) between the laptop and the server over the Internet&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-Send the signal from the laptop to the server and store it on a shared folder&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a better way? I'm totally open to software and hardware suggestions. Thank you.&lt;/p&gt;&#xA;" OwnerUserId="10510" LastEditorUserId="1950" LastEditDate="2015-03-18T01:26:35.367" LastActivityDate="2015-08-14T16:03:06.433" Title="Live video and sound recording (NOT from a security camera) sent to a remote server" Tags="|digital-recording|live|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15129" PostTypeId="2" ParentId="9552" CreationDate="2015-03-17T23:33:04.603" Score="12" Body="&lt;p&gt;I work as an assistant editor on feature films, and use ffmpeg all the time, primarily for two purposes:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Transcoding files to be uploaded for producers to view on digital dailies systems (Dax, PIX, etc). I've written up shell scripts that accept property-of and recipient strings as command line input, along with target bitrate, and then generate the desired files with a watermark made from those inputs. It's convenient, faster than AME, and more stable than a Compressor cluster. When I figure out how to do SMPTE timecode and feet+frames burn-ins with ffmpeg, my use of the application will expand further. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Transcoding files for editorial whose original video or audio are in codecs or formats not supported by AME or Compressor. For example, clips needed for temp can be pulled from BDR or DVDR video discs, ingested into an mkv file, and then from there transcoded with ffmpeg to editorial-ready DnxHD or Prores.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I don't use ffmpeg for any sort of final or critical output, and I only use it in a few limited ways that I've extensively tested. But in answer to the original question - I do use ffmpeg a ton on both film and TV work, and think it's a great tool that helps me get through many of my regular tasks quickly and well. I couldn't guess how many other people in features or TV are using it. I frequently recommend ffmpeg to other AE's, but most folk have a command-line aversion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg's use in professional film and broadcast settings is probably also limited by the learning curve of not just the application's own syntax(es) but also the exposed complexity of video formats. Sometimes in ffmpeg a user has to know a ton about source and target codec in order to get things done. Use Compressor or AME to transcode from one codec to another and you'll never have to deal with perusing a long list of different YUV pixel formats, or having to make sure that your target file's height is divisible by 2 to avoid an x264 error. Those of us who enjoy learning arcana and carving our way to solutions are probably silently using ffmpeg at work. &lt;/p&gt;&#xA;" OwnerUserId="10516" LastActivityDate="2015-03-17T23:33:04.603" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15130" PostTypeId="1" CreationDate="2015-03-18T00:52:37.580" Score="2" ViewCount="67" Body="&lt;p&gt;Hardware: MacPro (mid-2012)&#xA;Software: OS X 10.1 and FCPX 10.1.4.&#xA;Camera: XF100&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I import from CF card a single continuous 100min video interview (50mbps/1080/25p) into FCPX it imports as a single MXF file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I import the same file from the same CF card to an identical MacPro offsite the single MXF is broken into smaller files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone explain this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking to just import the 1 larger file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many thanks for any input.&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2024-03-15T20:03:50.433" Title="FCPX - Large MXF being broken into smaller files" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15131" PostTypeId="1" AcceptedAnswerId="15142" CreationDate="2015-03-18T01:12:02.650" Score="1" ViewCount="133" Body="&lt;p&gt;I've been watching the feed from a webcam (Foscam 8910).  When the scene is bright (lit with sunshine) the video feed is approx. 350 kBytes/sec.  When I view the same scene lit very dully with just a dim bulb, the feed comes at approx. 50 kBytes/sec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I understand it, the video feed only transmits the changes between frames.  Once the image has been transmitting for a few seconds, and there is no change whatsoever in the scene, the feed should settle down.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is there a seven fold difference in network traffic between light and dark scenes?  Shouldn't they be identical?&lt;/p&gt;&#xA;" OwnerUserId="10524" OwnerDisplayName="user288121" LastActivityDate="2015-03-20T23:07:02.980" Title="Why does a bright video feed send more data than a dark one?" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15132" PostTypeId="2" ParentId="15131" CreationDate="2015-03-18T03:24:29.857" Score="1" Body="&lt;p&gt;Our eyes and brains are more sensitive to data in the bright areas so compression schemes generally throw out more of the data in the dark areas. If the video is mostly dark, then it compresses very well because they can throw out more data and you don't notice. But when it's bright (assuming it's not overexposed), less data can be crunched down without you noticing it.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-03-18T03:24:29.857" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15133" PostTypeId="2" ParentId="5307" CreationDate="2015-03-19T00:23:12.770" Score="-1" Body="&lt;p&gt;Similar images - &lt;a href=&quot;https://tn123.org/simimages/&quot; rel=&quot;nofollow&quot;&gt;https://tn123.org/simimages/&lt;/a&gt; is a bit old, but still functional.&lt;/p&gt;&#xA;" OwnerUserId="10520" LastActivityDate="2015-03-19T00:23:12.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15135" PostTypeId="1" CreationDate="2015-03-19T12:21:43.697" Score="0" ViewCount="990" Body="&lt;p&gt;Recently, a video has been posted about a politician named Varoufakis sticking his &lt;a href=&quot;https://youtu.be/MEUWxNifJJ8?t=40m47s&quot; rel=&quot;nofollow&quot;&gt;middle finger&lt;/a&gt; to Germany.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Later, a German TV host admitted faking Varoufakis 'middle finger' video on &lt;a href=&quot;https://www.youtube.com/watch?v=Vx-1LQu6mAE&quot; rel=&quot;nofollow&quot;&gt;YouTube&lt;/a&gt;, showing some smart germans editing it using a software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a skeptic person, I'm not sure which one is the real one (statements of authority, videos uploaded do not really make me believe anything).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I only believe in evidence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I know or basically prove (or be 99.999%) sure that a video is faked or staged using a software? What would be the methods or procedures? I would appreciate if a video professional would help me.&lt;/p&gt;&#xA;" OwnerUserId="10523" LastActivityDate="2015-03-19T16:53:49.907" Title="How can I know if a video has been manipulated/staged/faked?" Tags="|editing|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15137" PostTypeId="2" ParentId="15135" CreationDate="2015-03-19T16:53:49.907" Score="3" Body="&lt;p&gt;Authenticity in video is dead.  It's been dead in photography for a long time.  It's just something we're all going to have to get used to.  Professional forensic analysis might sometimes disprove a video's authenticity, but it will never be able to conclusively prove it.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-03-19T16:53:49.907" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15138" PostTypeId="1" CreationDate="2015-03-19T21:09:03.713" Score="1" ViewCount="463" Body="&lt;p&gt;I can't get my video footage to sync with my audio in PluralEyes 3. Here's what I tried...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I shot some interviews today using a Sony a7s and Atomos Shogun. I recorded almost everything through the Shogun but then my battery died on me and I recorded the last few clips just through the Sony. For audio, I recorded from a Sennheiser boom through a Zoom H4n.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I imported everything into Premiere Pro and made 2 sequences: one for the Shogun footage and one for the clips just recorded on the Sony. I sent the Sony sequence to PluralEyes 3 and it synced fine. But when I sent the Shogun footage to PluralEyes 3, it wouldn't sync. I tried importing the footage straight to PluralEyes (instead of sending it from Premiere) and that also didn't work. It won't sync at all; all the clips are red.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I double-checked that the Shogun recorded audio and it did. It recorded 4 channels, but 2 of them are silent. The H4n recorded in stereo (just in the left channel though).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone else experienced this problem? Any suggestions on how to sync my footage?&lt;/p&gt;&#xA;" OwnerUserId="9195" LastActivityDate="2015-09-10T17:16:01.190" Title="Syncing Shogun Footage with PluralEyes?" Tags="|premiere|audio|sync|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15140" PostTypeId="1" CreationDate="2015-03-20T16:11:47.823" Score="1" ViewCount="645" Body="&lt;p&gt;Is there a way to do this? For example i want to have a single projector displaying a live feed from a camera and a video playing from a laptop. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Its sort of like any overlay of 2 videos playing at the same time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far all searches have either return a splitter or a switch. Neither which is what i want&lt;/p&gt;&#xA;" OwnerUserId="10530" LastActivityDate="2015-04-21T14:44:41.317" Title="Merging 2 video input source into 1 output" Tags="|live|output|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15141" PostTypeId="1" AcceptedAnswerId="15145" CreationDate="2015-03-20T10:46:44.490" Score="2" ViewCount="151" Body="&lt;p&gt;How Can we measure each of these Parameters for 2 videos ? and the reason behind it is to make a comparison ?&lt;/p&gt;&#xA;" OwnerUserId="10555" OwnerDisplayName="Farah Manna" LastActivityDate="2015-03-21T12:17:30.897" Title="Color Temperature, Contrast, Brightness, and Saturation" Tags="|software|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15142" PostTypeId="2" ParentId="15131" CreationDate="2015-03-20T23:07:02.980" Score="1" Body="&lt;p&gt;Based on neuhaus' comment, I've confirmed that the Foscam uses MJPEG compression.  Thus it's clear how a brighter (hence more detailed) scene would generate higher bit rates by repeatedly sending complete full frames.  I thought that it would be smarter than that.&lt;/p&gt;&#xA;" OwnerUserId="10524" LastActivityDate="2015-03-20T23:07:02.980" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15143" PostTypeId="2" ParentId="15104" CreationDate="2015-03-21T05:19:22.250" Score="2" Body="&lt;p&gt;In order to maintain the aspect ratio of the source movie through FFMpeg's scaler, you have to specify a scale with an unknown:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -an -vcodec libx264 -profile:v main \&#xA;  -pass 2 -vf scale=-1:180 -pix_fmt (etc...)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &quot;-1&quot; will tell the scaler to make the output 180px high, and however many pixels wide the output must be to preserve it's original aspect ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would give you movies with the old aspect ratio, you need a way of forcing the original movie into an arbitrary rectangle.  The &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Scaling%20(resizing)%20with%20ffmpeg&quot; rel=&quot;nofollow&quot;&gt;documentation&lt;/a&gt; give an example of how you do this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf scale=&quot;'if(gt(a,4/3),320,-1)':'if(gt(a,4/3),-1,240)'&quot;  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This example will create a movie that is 320x240, and preserves the original pixel aspect ratio, whatever that may be.  The output will be positioned against the upper-left corner (I think) so you'll have to do a filter to repo it.&lt;/p&gt;&#xA;" OwnerUserId="6870" LastActivityDate="2015-03-21T05:19:22.250" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15144" PostTypeId="1" CreationDate="2015-03-21T05:37:21.103" Score="1" ViewCount="1433" Body="&lt;p&gt;Does anyone have experience using PTZ Optics (20x-IP) cameras with the Black Magic ATEM (Studio 4k)? I can get video on a television and over IP, but for some reason I can't get it to show at all on the Black Magic ATEM switcher. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm running video through SDI onto Cat6 cable. Is there any chance that something about the signal would work on a TV but not on the video switcher?&lt;/p&gt;&#xA;" OwnerUserId="10460" LastActivityDate="2015-09-22T04:30:08.743" Title="Using PTZ Optics 20x-IP with BlackMagic ATEM Studio 4k" Tags="|production|video-standards|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15145" PostTypeId="2" ParentId="15141" CreationDate="2015-03-21T12:17:30.897" Score="2" Body="&lt;p&gt;Most prosumer-level (or higher) video editing software has monitor panels which show you information about color distribution, luminace, levels and the likes. Premiere Pro for example offers a &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/using-waveform-monitors-vectorscope.html#yc_waveform&quot; rel=&quot;nofollow&quot;&gt;range of reference monitors&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Contrary to photo editing, you can't get one measurement of those parameters for the entire video, because they of course vary from frame to frame (I guess you could calculate the average values, but that would be utterly useless). So you can't really compare two videos numerically accurate in that manner.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-03-21T12:17:30.897" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15146" PostTypeId="1" CreationDate="2015-03-21T19:55:18.560" Score="2" ViewCount="66" Body="&lt;p&gt;Sorry if this is a bit of a vague question. But does anyone know a piece of software that will take one or preferably multiple videos and turn them into multiple formats and quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So video.mp4 would result in:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;video.mp4 compressed 1080p&#xA;video.mp4 compressed 720p&#xA;video.wmv compressed 1080p&#xA;video.wmv compressed 720p&#xA;video.avi compressed 1080p&#xA;video.avi compressed 720p&lt;/p&gt;&#xA;&#xA;&lt;p&gt;etc&lt;/p&gt;&#xA;" OwnerUserId="6501" LastActivityDate="2015-04-25T12:23:53.623" Title="Software that exports into multiple formats and sizes?" Tags="|conversion|compression|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15147" PostTypeId="2" ParentId="15146" CreationDate="2015-03-21T19:59:08.217" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;nofollow&quot;&gt;Ffmpeg&lt;/a&gt; does that. Depending on what you're trying to do there are several other programs that come with an easy-to-use GUI (&lt;a href=&quot;http://www.xmedia-recode.de/en/&quot; rel=&quot;nofollow&quot;&gt;XMedia Recode&lt;/a&gt;, for instance).&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-03-21T19:59:08.217" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="15148" PostTypeId="1" CreationDate="2015-03-22T01:36:14.287" Score="-1" ViewCount="255" Body="&lt;p&gt;I was recently given a hero hd 960 gopro camera with only usb cable.which cable do I need for these two ports I wish to setup but without a live feed mounting this is next to impossible. &lt;img src=&quot;https://i.stack.imgur.com/esbpZ.jpg&quot; alt=&quot;&quot;&gt;&#xA;Which cable do I need for the hd/tv ports as seen on top right photo.&lt;/p&gt;&#xA;" OwnerUserId="10535" LastActivityDate="2015-03-23T04:10:17.817" Title="gopro hd/tv out cable" Tags="|hardware|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15151" PostTypeId="2" ParentId="15115" CreationDate="2015-03-22T09:34:03.510" Score="-1" Body="&lt;p&gt;If you google GoPro Keyboard Cover there is a skin with all the shortcuts on it - from GoCam Accessories I think it's called. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Just realised I could paste a link:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.gocamaccessories.com/shop/gopro-studio-keyboard-cover-for-macs/&quot; rel=&quot;nofollow&quot;&gt;http://www.gocamaccessories.com/shop/gopro-studio-keyboard-cover-for-macs/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10538" LastActivityDate="2015-03-22T09:34:03.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15152" PostTypeId="1" CreationDate="2015-03-22T12:14:50.380" Score="2" ViewCount="365" Body="&lt;p&gt;I recorded myself using my camera (canon ixus 117hs, 23.98fps) and also recorded my LG G3 using AZrecorder (records the screen at 55.58fps). I tried to sync both videos (using premiere pro cc) and at some point they go out of sync, maybe because of the difference in the fps? and if so, what can I do with it? Thank you.&lt;/p&gt;&#xA;" OwnerUserId="6545" LastActivityDate="2015-04-21T15:44:41.500" Title="2 videos out of sync" Tags="|framerate|sync|" AnswerCount="1" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15153" PostTypeId="2" ParentId="15140" CreationDate="2015-03-22T13:45:41.623" Score="1" Body="&lt;p&gt;You need to edit it using an editing software like Premimere, Sony Vegas or any other.&#xA;I don't know how you do it in Sony Vegas but in Premiere you just place both videos in the sequence and resize them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's pretty basic editing, try to search for the best editing software that works best for you and search for tutorial about that software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need it for live broadcasting then you need a professional live video broadcasting software or use what you got in the platform you're broadcasting in.&lt;/p&gt;&#xA;" OwnerUserId="6545" LastActivityDate="2015-03-22T13:45:41.623" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15154" PostTypeId="2" ParentId="15152" CreationDate="2015-03-22T15:07:35.933" Score="1" Body="&lt;p&gt;55.58 is not a standard frame rate so it's the one that should be changed. Using the 23.98 video as a reference, pick a point late into the video where you can determine how many frames (at 23.98 fps) it's out of sync with the 56 fps video. Compute the ratio of the length in frames up to that point, to the number of frames out of sync. Then time stretch the entire 56 fps video --  either shorter of longer as needed -- using that ratio. &lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-03-22T15:07:35.933" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15155" PostTypeId="1" AcceptedAnswerId="15157" CreationDate="2015-03-22T18:42:15.280" Score="3" ViewCount="277" Body="&lt;p&gt;I've found these low-end but non-free programs and can't decide with which to go. They all seem to be around $50-$80 (One time. Not subscription). My question - are they all comparable, or are some very different than others (such as Adobe After Effects being different than Adobe Premiere Pro)? &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Sony Movie Studio&lt;/li&gt;&#xA;&lt;li&gt;Adobe Premiere Elements&lt;/li&gt;&#xA;&lt;li&gt;Cyberlink PowerDirector Deluxe&lt;/li&gt;&#xA;&lt;li&gt;Corel VideoStudio Pro&lt;/li&gt;&#xA;&lt;li&gt;MAGIX Movie Edit Pro&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;sub&gt;Also, I'm assuming an amateur video &lt;em&gt;can&lt;/em&gt; be created with all of these. If I'm wrong, or if there are any other &lt;em&gt;serious&lt;/em&gt; drawback I should be aware of, I'd like to know. This is - other than being more limited than the more expensive version, of course. I mean something like not being able to export the finished video to h.264 for example. (As far as I know, this is not the case. I'm bringing this to show what I mean by a &lt;em&gt;serious&lt;/em&gt; limitation.)&lt;/sub&gt;&lt;/p&gt;&#xA;" OwnerUserId="6255" LastEditorUserId="6255" LastEditDate="2015-11-04T06:42:31.297" LastActivityDate="2015-11-04T06:42:31.297" Title="Are these beginner's paid-for programs comparable?" Tags="|video|premiere|software-recommendation|vegas-pro|premiere-elements|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15156" PostTypeId="1" AcceptedAnswerId="15158" CreationDate="2015-03-22T18:45:36.367" Score="1" ViewCount="3986" Body="&lt;p&gt;As a beginner, I would like to know how important it is which software I decide to start out with. (Currently eyeing Adobe Premiere Elements and Sony Movie Studio 13).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realize that whichever one I'll use, if I decide to switch application, I'll need to learn the other's interface and terminology. However, I was wondering about something else - Can I transfer a project from one to the other. Say I want to make a change to a video I created in one application, and obviously I don't want to input the created video (both because I lose resolution, and because I want each sound track separate etc.) - is it possible to transfer the video to other video editors, or will this project be &quot;stuck&quot; to this editor?&lt;/p&gt;&#xA;" OwnerUserId="6255" LastActivityDate="2015-03-22T21:46:28.720" Title="Transfer project from one application to another" Tags="|video|video-editor|editing|software|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15157" PostTypeId="2" ParentId="15155" CreationDate="2015-03-22T18:46:53.070" Score="4" Body="&lt;p&gt;With consumer targeted software, there is less of a standard of how to do things.  For professional software, there are pretty standardized workflows that editors follow and so tools are pretty similar.  For beginner software, while the basic concepts are still similar, the way in which they simplify them is not.  The end results that are possible are still pretty similar, but the way you get there is not necessarily.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best bet when comparing entry level beginner video editing is to try trials of them and fine the one that relates best to the way you think about video editing.  Don't forget to look at some of the free options out there like Lightworks or Resolve too if you want something that is more professional oriented, but without the price tag.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-03-22T18:46:53.070" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="15158" PostTypeId="2" ParentId="15156" CreationDate="2015-03-22T21:46:28.720" Score="2" Body="&lt;p&gt;There are ways to transfer projects between different video editing programs, but they are &lt;strong&gt;very&lt;/strong&gt; limited. Take a look at &lt;a href=&quot;https://video.stackexchange.com/questions/14885/how-can-i-save-the-project-for-premiere-cs-5-5/14887#14887&quot;&gt;my answer here&lt;/a&gt;; this question is about transfering projects between different versions of Premiere Pro, but the answer is basically the same. You can export a project as an &lt;a href=&quot;http://en.wikipedia.org/wiki/Edit_decision_list&quot; rel=&quot;nofollow noreferrer&quot;&gt;Edit Decision List (EDL)&lt;/a&gt;, however this will only contain the arrangement of the clips in the timeline (namely your &lt;em&gt;edit decisions&lt;/em&gt;, hence the name), any effects, e.g. color-grading, will be lost. Another format that does basically the same is &lt;a href=&quot;http://en.wikipedia.org/wiki/Advanced_Authoring_Format&quot; rel=&quot;nofollow noreferrer&quot;&gt;AAF&lt;/a&gt;. I'm not sure about the differences between both formats, but either way, most of your post-production efforts will be lost when transfering the project to a different program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, this applies to prosumer-/production-level software. I'm not sure whether &quot;low-end&quot; software supports importing and exporting EDL-files. If I remember correctly, it's not possible with Premiere Elements; don't know about the Sony programs (you should be able to find that out over the developer's websites and/or Google).&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-03-22T21:46:28.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15159" PostTypeId="2" ParentId="15148" CreationDate="2015-03-23T04:10:17.817" Score="1" Body="&lt;p&gt;I believe the cable you are looking for is &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B00I4CMTHI&quot; rel=&quot;nofollow&quot;&gt;this one&lt;/a&gt; on Amazon.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is a 2.5mm TRRS jack to 3x RCA component cable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, this is a very old model of GoPro, and could be hard to find manufacturer's original cables. &lt;/p&gt;&#xA;" OwnerUserId="2598" LastActivityDate="2015-03-23T04:10:17.817" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15160" PostTypeId="2" ParentId="14905" CreationDate="2015-03-23T04:16:04.977" Score="1" Body="&lt;p&gt;Whilst I think @ahackney's answer is also a valid issue that is slowing down Premiere, the lack of CPU usage indicated to me there is a data bottleneck - that is, your HDD is too slow to send data to Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason Premiere (or any editing software) needs its footage on a fast, dedicated hard drive is because editing requires data to be read from any part of a file, at any time. It can skip between files, between parts of the same file, and Premiere needs to read ahead of the current play time to 'prepare' the footage to be previewed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I find a good starting point is a 7200rpm drive with a SATA 6Gbps (or equivalent!). However, this needs to be a &lt;em&gt;dedicated&lt;/em&gt; drive - you can't have any other programs reading or writing to this drive, as that consumed valuable bandwidth that Premiere needs.&lt;/p&gt;&#xA;" OwnerUserId="2598" LastActivityDate="2015-03-23T04:16:04.977" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15163" PostTypeId="1" CreationDate="2015-03-24T23:19:22.163" Score="1" ViewCount="942" Body="&lt;p&gt;I have been experimenting with some ffmpeg options and I could not figure out, why the resulting files had been in a format I did not want. After further combing through the man pages, I realized that i used &lt;code&gt;cropdetect=24:16:0&lt;/code&gt; in my video filters. This was a result of googling and copy-pasting. After reading the man page, I changed the values to &lt;code&gt;cropdetect=24:2:0&lt;/code&gt;, which got me to the results I expected (video of 720x540, SAR 1/1, DAR 4/3).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Sadly&quot;, the man pages states:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;round:&#xA;  The value which the width/height should be divisible by. It defaults to 16. The offset is automatically adjusted to center the video. Use 2 to get only even dimensions (needed for 4:2:2 video). 16 is best when encoding to most video codecs.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I cannot find information, why 16 should/could be &quot;best&quot; for &quot;most video codecs&quot;. Can you give me a hint? Do I do anything severely wrong, if I use '2' instead of '16'?&lt;/p&gt;&#xA;" OwnerUserId="10550" LastEditorUserId="10550" LastEditDate="2015-03-25T07:28:04.283" LastActivityDate="2015-03-25T07:28:04.283" Title="Why does parameter round in ffmpeg's cropdetect default to 16?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15164" PostTypeId="2" ParentId="14809" CreationDate="2015-03-25T03:54:44.843" Score="0" Body="&lt;p&gt;The issue is apparently that ffmpeg cuts out dead space from captured video, and Audacity does not do likewise for audio.  I've now noticed that ffmpeg's frame count stops incrementing over blank video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe this problem also happens when using two separate ffmpeg processes to capture video and ALSA audio.&lt;/p&gt;&#xA;" OwnerUserId="2692" LastActivityDate="2015-03-25T03:54:44.843" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15165" PostTypeId="1" AcceptedAnswerId="15177" CreationDate="2015-03-25T08:44:53.743" Score="4" ViewCount="7563" Body="&lt;p&gt;I am just struggling with a simple expression thing I guess.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a camera looking at an Object in 3D Space. Actually The Object is at [0,0,0]. The Camera's position is at [29,-1637,-2248].&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I am trying to do is, to move the camera. For a better workflow I want to parent the camera's position to the position of a Null-Object, also at [0,0,0]. The thing is the camera has to keep its offset from [0,0,0] and just move parallel with the null at [0,0,0].&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can somebody help me?&#xA;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2015-03-26T16:30:43.780" Title="After Effects: Parent a Camera's position to a Null-Object with specific Off-Set" Tags="|after-effects|camera|3d|after-effects-expressions|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15166" PostTypeId="1" CreationDate="2015-03-25T12:59:35.520" Score="1" ViewCount="35" Body="&lt;p&gt;I want to compare a video that is transfered through a Device and the original video by connecting them to a monitor or to a device that can measure everything for me and give us a full complete list of the differences so we can know how to improve our device in a way that give us the same result as the Original Video, and if you have any other methods to do so it would be really helpful and appreciated.&lt;/p&gt;&#xA;" OwnerUserId="10555" LastEditorUserId="5113" LastEditDate="2015-03-26T09:42:47.910" LastActivityDate="2015-03-26T09:42:47.910" Title="A device or a method for comparing original and transferred video" Tags="|video|video-quality|software|hardware|electronics|" AnswerCount="0" CommentCount="0" FavoriteCount="0" ClosedDate="2015-04-09T22:28:30.060" ContentLicense="CC BY-SA 3.0" />
  <row Id="15167" PostTypeId="2" ParentId="14649" CreationDate="2015-03-25T14:58:15.633" Score="1" Body="&lt;p&gt;Is there any reason to have two separate files? From my point of view, merging both parts of the video and editing the subtitle would be the easier way. You could split the file afterwards as you like and the subtitle would still be in sync if you mux it with the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend &lt;a href=&quot;https://www.bunkus.org/blog/&quot; rel=&quot;nofollow&quot;&gt;mmg/mkvmerge&lt;/a&gt; to make a single mkv (the function is called &lt;em&gt;append&lt;/em&gt; and requires that all streams have the same properties) then shift the times where necessary in &lt;a href=&quot;http://www.aegisub.org/&quot; rel=&quot;nofollow&quot;&gt;Aegisub&lt;/a&gt;. It is recommended to use the graph of the audio track in Aegisub for syncing/&lt;a href=&quot;http://docs.aegisub.org/3.2/Timing/&quot; rel=&quot;nofollow&quot;&gt;timing&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you are done with that you can mux the subtitle into the mkv too and check again that everything is as you like. Only after you are satisfied with this project you just created should you choose the target format, which is a completely different topic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could use simple tools like Handbrake or go with VLCs built in conversion functionality or ffmpeg. It should be obivous that using some random tool with unknown parameters for conversion of an almost unknown file and content is likely to turn out sub-optimal or incompatible with the target playback device. &lt;a href=&quot;http://sourceforge.net/projects/mediainfo/&quot; rel=&quot;nofollow&quot;&gt;Mediainfo&lt;/a&gt; is another useful tool in the toolbox to read detailed meta information from media files, which I prefer along with mkvmerge, ffmpeg, and Aegisub as all of them are cross-platform and FOSS.&lt;/p&gt;&#xA;" OwnerUserId="10541" LastEditorUserId="10541" LastEditDate="2015-03-25T16:21:01.583" LastActivityDate="2015-03-25T16:21:01.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15168" PostTypeId="1" CreationDate="2015-03-25T15:13:22.353" Score="5" ViewCount="469" Body="&lt;p&gt;I bought a &lt;a href=&quot;http://www.amazon.co.uk/Video-2-PC-Capture-Windows-Camcorder-Transfer/dp/B0049BE3TA/ref=sr_1_5?ie=UTF8&amp;amp;qid=1427295715&amp;amp;sr=8-5&amp;amp;keywords=vhs%20converter&quot; rel=&quot;noreferrer&quot;&gt;Video-2-PC DIY Video Capture Kit&lt;/a&gt; which includes a copy of ArcSoft Showbiz 3.5, which I found to be too restrictive and low quality, and VirtualDub 1.9.11.0, which I eventually got to grips with and started using after many viewings of the included tutorial.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the longer the capture the more the video and audio are out of sync and I have not been able to resolve this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone recommend some software that can capture, deinterlace, and compress video from an input source (a VHS player, in my case) while accounting for and correcting blemishes (audio sync problems, in my case)?&lt;/p&gt;&#xA;" OwnerUserId="1929" LastActivityDate="2022-09-30T04:44:12.960" Title="Capturing VHS tapes" Tags="|software-recommendation|sync|video-capture|tape|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15169" PostTypeId="1" CreationDate="2015-03-25T18:29:56.190" Score="1" ViewCount="772" Body="&lt;p&gt;Is there any plugin or extension for After Effects for generating the entire audio waveform seekbar? I've heard about the audio spectrum visualizer plugins for After Effects, but I haven't heard anything about the waveform seekbar generators. Perhaps this feature is already in After Effects, since I'm not very experienced in working with it. I'm interested in waveform seekbar similar to the soundcloud player or nulloy music player. Otherwise, this may be a simple waveform seekbar: black and white, solid. Plugins can be paid or free, although free is of course better. &lt;/p&gt;&#xA;" OwnerUserId="10557" LastActivityDate="2015-03-26T10:10:49.717" Title="Plugin for generating the entire audio waveform seekbar?" Tags="|after-effects|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="15170" PostTypeId="1" AcceptedAnswerId="15375" CreationDate="2015-03-25T20:19:10.773" Score="6" ViewCount="19293" Body="&lt;p&gt;I need to set up a three-screen HD video installation with sound for a friend's art exhibition. The videos will likely be provided as separate video files, each with a different video but exactly the same length and intended to be played synchronously. I'm looking for advice on how to set up the installation so that the three screens will be synchronised correctly and played on an endless loop. What's the best way to achieve this with consumer-grade equipment?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can hopefully borrow three HD (720p) projectors - not sure yet which model, I'll hopefully find that out soon - or can possibly purchase three cheaper projectors specifically for this. I've been told it's important to have the same model (&amp;amp; year?) to ensure the color will be effectively matched.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can borrow a laptop or mac mini to drive the video or could purchase one or more cheap devices if needed. I can also borrow blu-ray players if that's any use. Again, I need advice about what device to borrow/buy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sound is two-track stereo, so can be played from just one of the videos. That should be the easy bit. &lt;/p&gt;&#xA;" OwnerUserId="10559" LastEditorUserId="10559" LastEditDate="2015-03-28T15:29:49.423" LastActivityDate="2022-06-21T17:21:01.533" Title="How to set up a 3-screen video installation to sync correctly?" Tags="|hardware|playback|" AnswerCount="6" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15171" PostTypeId="1" CreationDate="2015-03-25T21:47:26.837" Score="3" ViewCount="3158" Body="&lt;h2&gt;Dropped Frames and Latency Woes&lt;/h2&gt;&#xA;&lt;p&gt;I recently switched from Final Cut Pro X to Premiere Pro, and I've run into a performance issue. To be clear, I've seen several questions about Premiere's &lt;em&gt;rendering&lt;/em&gt; performance, but none about its &lt;em&gt;editing&lt;/em&gt; performance. Since I started adding clips to the timeline, it has started dropping way more frames than I'm seeing during playback. And its latency for &amp;quot;play&amp;quot; and &amp;quot;pause&amp;quot; when I hit the spacebar has become very noticeable. None of these issues were present when I was sub-clipping.&lt;/p&gt;&#xA;&lt;h2&gt;Storage&lt;/h2&gt;&#xA;&lt;p&gt;All of the footage is located on my 1 TB SSD boot drive, where the application is installed. I realize this would be a problem if I was using an HDD, but with my SSD, I'm not sure it is. Full hardware specifications below.&lt;/p&gt;&#xA;&lt;h2&gt;The Question&lt;/h2&gt;&#xA;&lt;p&gt;What are the best practices for increasing Premiere's performance while editing and playing back in the application?&lt;/p&gt;&#xA;&lt;h2&gt;Hardware&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Model Name: MacBook Pro&lt;/li&gt;&#xA;&lt;li&gt;Model Identifier:   MacBookPro11,3&lt;/li&gt;&#xA;&lt;li&gt;Memory: 16 GB&lt;/li&gt;&#xA;&lt;li&gt;Graphics: NVIDIA GeForce GT 750M 2048 MB&lt;/li&gt;&#xA;&lt;li&gt;Memory: 16 GB 1600 MHz DDR3&lt;/li&gt;&#xA;&lt;li&gt;Storage: 1 TB SSD (55% full)&lt;/li&gt;&#xA;&lt;li&gt;Processor Name: Intel Core i7&lt;/li&gt;&#xA;&lt;li&gt;Processor Speed:    2.6 GHz&lt;/li&gt;&#xA;&lt;li&gt;Number of Processors:   1&lt;/li&gt;&#xA;&lt;li&gt;Total Number of Cores:  4&lt;/li&gt;&#xA;&lt;li&gt;L2 Cache (per Core):    256 KB&lt;/li&gt;&#xA;&lt;li&gt;L3 Cache:   6 MB&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5113" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-08-10T05:48:11.560" Title="Adobe Premiere Pro CC editing/playback performance" Tags="|premiere|editing|playback|performance|latency|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15172" PostTypeId="1" CreationDate="2015-03-25T23:01:53.227" Score="2" ViewCount="636" Body="&lt;p&gt;I have around 300 music videos and i need to add the usual text (animation or whatever) to all of them. (Just like MTV for example, each video has this text on them lasting for first few seconds of the video so ppl can read what they are listening too).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Song title:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Release year:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Album title: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;etc...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to batch process this amount of videos with any kind of software ? Basicly, only the text changes on each video, position and everything else would remain exacly the same.&lt;/p&gt;&#xA;" OwnerUserId="10560" LastActivityDate="2015-03-28T15:22:56.247" Title="Bulk adding text to videos" Tags="|premiere|video-editor|editing|final-cut-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15174" PostTypeId="1" AcceptedAnswerId="15182" CreationDate="2015-03-26T07:33:09.987" Score="3" ViewCount="4815" Body="&lt;p&gt;I like Vimeo, but I rather host a player and video myself. So I was wondering if someone knows how to get the closest result to Vimeo quality, but from FFMPEG?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems that Vimeo uses 1280 pixels width for it's HD videos, but I'm wondering if there are presets or settings out in the wild that can specify bitrate, quality etc for FFMPEG?&lt;/p&gt;&#xA;" OwnerUserId="5117" LastActivityDate="2021-04-17T17:45:09.167" Title="How to get FFMPEG output the same quality as Vimeo?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15175" PostTypeId="2" ParentId="15172" CreationDate="2015-03-26T09:49:47.540" Score="1" Body="&lt;p&gt;With Adobe After Effects and a script such as PT_TextEdit, you'd be able to do something like this.  You create the text styles you want to use, add all the text to a spreadsheet or google sheet, then run it through PT-TextEdit, which will generate a load of different comps for you with the different names.  You can then batch export all the comps.&#xA;&lt;a href=&quot;http://aescripts.com/pt_textedit/&quot; rel=&quot;nofollow&quot;&gt;http://aescripts.com/pt_textedit/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-03-26T09:49:47.540" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15176" PostTypeId="2" ParentId="15169" CreationDate="2015-03-26T10:10:49.717" Score="2" Body="&lt;p&gt;I think if I was going to do this quickly as a one-off, I'd cheat.  I'd open the audio file in an audio editor, like Audition or Audacity, grab a screenshot, then modify that screenshot in Photoshop &amp;amp; AE until I got the look I wanted in After Effects.  If you need a scrolling line through it as it plays, just position a line at the beginning of the waveform, then add some linear position keyframes to move it through the waveform at the right rate. &#xA;It's an ugly hack but for a one-off, it's probably the quickest solution.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-03-26T10:10:49.717" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15177" PostTypeId="2" ParentId="15165" CreationDate="2015-03-26T15:01:48.470" Score="4" Body="&lt;p&gt;To drive an animation by another layer use the pick whip or the selection list to &lt;strong&gt;parent&lt;/strong&gt; it. In the following example the &lt;code&gt;Camera (layer)&lt;/code&gt; adopts all animation properties of the &lt;code&gt;Null&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/6WZW1.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: &lt;code&gt;Camera&lt;/code&gt; is a 3d layer in your case, make sure &lt;strong&gt;3d layer toggle&lt;/strong&gt; is enabled for the &lt;code&gt;Null&lt;/code&gt; too.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-03-26T16:30:43.780" LastActivityDate="2015-03-26T16:30:43.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15178" PostTypeId="2" ParentId="15172" CreationDate="2015-03-26T15:04:45.523" Score="1" Body="&lt;p&gt;You can do it in &lt;a href=&quot;http://www.sonycreativesoftware.com/vegasproedit&quot; rel=&quot;nofollow&quot;&gt;Sony Vegas Pro&lt;/a&gt; using &lt;a href=&quot;http://vegasaur.com/text-generation-wizard&quot; rel=&quot;nofollow&quot;&gt;this plugin&lt;/a&gt; (Text Wizard)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In a nutshell:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Prepare your text and copy it to the clipboard (see below)  &lt;/li&gt;&#xA;&lt;li&gt;Add your clips to the timeline &lt;/li&gt;&#xA;&lt;li&gt;Run &lt;em&gt;Text Wizard&lt;/em&gt; and choose &lt;em&gt;Create text at events&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Import text from the clipboard&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Your text should be in the following format:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Song title:&#xA;Release year:&#xA;Album title:&#xA;(empty line)&#xA;Song title:&#xA;Release year:&#xA;Album title:&#xA;(empty line)&#xA;etc.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3029" LastEditorUserId="3029" LastEditDate="2015-03-28T15:22:56.247" LastActivityDate="2015-03-28T15:22:56.247" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15180" PostTypeId="1" CreationDate="2015-03-26T20:45:25.067" Score="2" ViewCount="2620" Body="&lt;p&gt;I'm running Adobe Premiere Pro on a Mac, and after benching a project for a while and now coming back to it, some of the nested sequences will play just fine in their timeline, but show up as audio with video blacked out in the master sequence timeline. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what the nested sequence looks like playing from its own timeline:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/dzopc.png&quot; alt=&quot;Nested Sequence Plays Fine from Its Own Timeline&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now here is what it looks like when used in the master sequence:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/oK1RU.png&quot; alt=&quot;Nested Sequence Shows Up as All Black in Master Sequence&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Notice how it appears as all black both in the source monitor and in the program monitor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What is this and how do I fix it?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="10566" LastActivityDate="2017-02-01T06:40:03.883" Title="Nested Sequence that plays fine alone shows up as entirely black in Master Sequence" Tags="|video|premiere|video-editor|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15182" PostTypeId="2" ParentId="15174" CreationDate="2015-03-27T03:18:54.023" Score="5" Body="&lt;h1&gt;&lt;code&gt;ffmpeg&lt;/code&gt; example&lt;/h1&gt;&#xA;&lt;p&gt;&lt;strong&gt;tl;dr:&lt;/strong&gt; The important options are &lt;code&gt;-preset slow&lt;/code&gt; and &lt;code&gt;-crf 20&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c:v libx264 -preset slow -crf 20 -vf format=yuv420p -c:a aac -ac 2 -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The other options are to ensure compatibility.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h1&gt;How to find out what Vimeo uses&lt;/h1&gt;&#xA;&lt;h2&gt;1. Download video using &lt;code&gt;youtube-dl&lt;/code&gt;:&lt;/h2&gt;&#xA;&lt;pre&gt;&lt;code&gt;youtube-dl https://vimeo.com/123456789&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h2&gt;2. Get encoding info&lt;/h2&gt;&#xA;&lt;p&gt;Assuming x264 is used to encode, and the encoding settings weren't stripped out, you can see what version was used and view the encoding settings.&lt;/p&gt;&#xA;&lt;h3&gt;Using &lt;code&gt;mediainfo&lt;/code&gt;&lt;/h3&gt;&#xA;&lt;p&gt;Refer to the &amp;quot;Encoding settings&amp;quot; line.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mediainfo input.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h3&gt;Using &lt;code&gt;strings&lt;/code&gt; (Linux or macOS)&lt;/h3&gt;&#xA;&lt;pre&gt;&lt;code&gt;strings input.mp4 | grep x264&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h3&gt;Example output&lt;/h3&gt;&#xA;&lt;p&gt;&lt;code&gt;x264 - core 157 r10 d4099dd - H.264/MPEG-4 AVC codec - Copyleft 2003-2019 - http://www.videolan.org/x264.html - options: cabac=1 ref=5 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=8 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=2 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=34 lookahead_threads=5 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 stitchable=1 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=2 b_bias=0 direct=3 weightb=1 open_gop=0 weightp=2 keyint=infinite keyint_min=23 scenecut=40 intra_refresh=0 rc_lookahead=50 rc=crf mbtree=1 crf=20.0 qcomp=0.60 qpmin=5 qpmax=69 qpstep=4 vbv_maxrate=5500 vbv_bufsize=15000 crf_max=0.0 nal_hrd=none filler=0 ip_ratio=1.40 aq=1:1.00&lt;/code&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;This shows that &lt;code&gt;-preset slow&lt;/code&gt; and &lt;code&gt;-crf 20&lt;/code&gt; were used. The options are set by &lt;code&gt;-preset&lt;/code&gt;, so &lt;strong&gt;there is no need to manually attempt to set each option&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;VBV is enabled for streaming. In &lt;code&gt;ffmpeg&lt;/code&gt; this is set with &lt;code&gt;-maxrate 5500k&lt;/code&gt; and &lt;code&gt;-bufsize 15000k&lt;/code&gt;. I just used the values shown in the encoding settings above.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Thanks to Vimeo for not stripping the SEI (they certainly could have like YouTube) and allowing us to see what they used. Perhaps they wanted to show that they appreciate the open source tools they use.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h1&gt;Also see&lt;/h1&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki: H.264 Video Encoding Guide&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/AAC&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki: AAC Audio Encoding Guide&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2021-04-15T18:53:36.867" LastActivityDate="2021-04-15T18:53:36.867" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="15184" PostTypeId="1" CreationDate="2015-03-27T10:31:44.757" Score="2" ViewCount="101" Body="&lt;p&gt;The video is taking place in a night.&#xA;I want the beginning of the hall to be purple lighted and a fade to black, at the end of the hall.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/EjrXv.jpg&quot; alt=&quot;Location&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Left photo, is the location when regular lights are on, and the Right one, is the what I want to achieve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it enough to use a 800w - or 1000w - light on the ceiling with color filters to achieve this atmosphere?&lt;/p&gt;&#xA;" OwnerUserId="9242" LastActivityDate="2015-04-28T23:06:41.160" Title="What lighting setup is recommended to achieve a purple atmosphere in an indoor hall" Tags="|lighting|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15185" PostTypeId="2" ParentId="15180" CreationDate="2015-03-27T13:34:11.960" Score="1" Body="&lt;p&gt;Have you tried clearing all rendered caches? That would be my first guess. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-03-27T13:34:11.960" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15186" PostTypeId="1" CreationDate="2015-03-27T13:42:41.753" Score="1" ViewCount="25" Body="&lt;p&gt;anyone knows if there is any video composing software cheap or free like, final cut pro, avid; to work in pair with after effect ?&lt;/p&gt;&#xA;" OwnerUserId="10447" LastActivityDate="2015-03-27T13:42:41.753" Title="Any free or cheap soft for video composing" Tags="|software-recommendation|" AnswerCount="0" CommentCount="3" ClosedDate="2015-03-27T14:21:35.343" ContentLicense="CC BY-SA 3.0" />
  <row Id="15187" PostTypeId="1" CreationDate="2015-03-27T18:20:50.907" Score="7" ViewCount="18736" Body="&lt;p&gt;I have set the clip playback speed to 4.000 (to run at 4x the orginial speed) as show below. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/qniL6.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is as high as the software allows. I would like to go further, perhaps as much as 12x as fast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am aware that the Pro version of this software includes the ability to use 'velocity envelopes' to increase the speed.&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2019-11-16T14:40:23.043" Title="Is it possible to speed up footage by more than 4x in Sony Vegas Movie Studio?" Tags="|video-editor|vegas-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15188" PostTypeId="2" ParentId="15187" CreationDate="2015-03-27T18:20:50.907" Score="4" Body="&lt;p&gt;The only workaround I know of is to:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Speed up the footage by the desired amount (in this case 4X)&lt;/li&gt;&#xA;&lt;li&gt;Render the clip.&lt;/li&gt;&#xA;&lt;li&gt;Import the clip&lt;/li&gt;&#xA;&lt;li&gt;Repeat steps 1-3 until satisfied.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This isn't ideal as repetitively rendering the clip repeatedly is fairly time consuming.  &lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2015-03-27T18:20:50.907" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15189" PostTypeId="1" AcceptedAnswerId="15199" CreationDate="2015-03-27T18:33:59.860" Score="4" ViewCount="95" Body="&lt;p&gt;We finally finished our amazing professional full-length film. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whew! Long work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The thing is everything was done by our team, as in no contracts with major companies, distributors, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any ways we can distribute our film to cinemas or stores? What are some steps to follow? Does a representative go to each theatre and present the film, or...?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="10546" LastActivityDate="2015-03-29T22:03:43.380" Title="I Finished My Film. How to Get It to Theatres?" Tags="|theater|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15190" PostTypeId="1" AcceptedAnswerId="15191" CreationDate="2015-03-27T18:46:46.430" Score="1" ViewCount="46" Body="&lt;p&gt;I'm an independent indie film-maker with a strong ambition to advance onward, and I have no contracts whatsoever. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it better for me to create a feature film, short film, series, or a web series? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;(This isn't exactly a question about opinions or one's thoughts.)&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which is more likely to be more successful, beneficiary, have a fan-base, and has a bigger revenue model, or which one is more valuable?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The thing I have in mind is a long story. Thus, I would perhaps want to eliminate the option of short film from my list.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How difficult is convincing a channel to broadcast a series with directors they do not know or have never heard of, or from another non-English speaking country.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="10546" LastActivityDate="2015-03-27T19:19:15.120" Title="What to make: a film, short film, series, web series?" Tags="|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15191" PostTypeId="2" ParentId="15190" CreationDate="2015-03-27T19:19:15.120" Score="4" Body="&lt;p&gt;One advantage to a web series is the absence of a gatekeeper. That is, you can upload (pretty much) anything you want to YouTube. You don't need to convince the website owner to include your work; you don't need to convince a TV station or movie studio to invest. In addition, sites like YouTube and Vimeo have built-in audiences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get a significant number of views, you would still need to do a lot of online promotion of your work by contacting bloggers, contacting &quot;aggregation&quot; sites that feature work like yours, posting on Twitter / Facebook / Reddit, and so forth.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-03-27T19:19:15.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15192" PostTypeId="1" AcceptedAnswerId="15193" CreationDate="2015-03-28T07:42:06.930" Score="1" ViewCount="107" Body="&lt;p&gt;I have just upgraded from Premier Elements to Premier Pr CC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premier Elements had a slider under the video playback area that allowed you to playback the video at different speeds or backwards. I found this really useful for looking for a certain bit in the video. It allowed you to quickly zoom to roughly the right bit of the video and then find the specific frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does such a thing exist in Premier Pro? I've not been able to find it anywhere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="10577" LastActivityDate="2015-03-28T11:00:22.143" Title="Premier Elements &quot;Time Slider&quot; in Premier Pro" Tags="|premiere|premiere-elements|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15193" PostTypeId="2" ParentId="15192" CreationDate="2015-03-28T11:00:22.143" Score="0" Body="&lt;p&gt;The UI part you are looking for is called (depending on your locale, and local film industry) the shuttle, or jogger.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if Premiere supports the exact same graphical control.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;However&lt;/strong&gt; using the [J] [K] and [L] keys on your keyboard lets you:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[J] / [L] move backward / forward (moves fast for each press of the same button; moves slower in the same direction when pressing the opposite)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[K] Stops playback&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using these keys, you can shuttle around footage in the same manner as you previously used your mouse the the GUI interface.&lt;/p&gt;&#xA;" OwnerUserId="2598" LastActivityDate="2015-03-28T11:00:22.143" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15194" PostTypeId="2" ParentId="15170" CreationDate="2015-03-28T16:06:51.727" Score="2" Body="&lt;p&gt;As you want to play three &lt;em&gt;different&lt;/em&gt; videos, daisy-chaining projectors or copying the signal using an amplifier is not viable.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Machine&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;While you can get one machine to play to three different projectors I think it will be quite expensive and prone to errors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Average laptops/desktops are not equipped to output a video signal to three screens. You will need a modern GPU or an external video card, which can be quite expensive. Additionally the hard disk and CPU should be able to play three videos simultaneously. Lower end machines might stutter and syncing will be very hard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Therefore I suggest you borrow/buy three average laptops. Nowadays almost any laptop can play an HD video and connect to a projector without a problem. Try to get three laptops with the same OS, as that makes live easier.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For sound, just connect one of the laptops to a sound system using the line-out/headphone jack.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Software&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;VLC seems to have several ways to sync videos over the network. A Google search for &lt;code&gt;vlc sync different machines network&lt;/code&gt; yielded results involving &lt;a href=&quot;https://superuser.com/q/172529/141595&quot;&gt;multicast&lt;/a&gt; and the third party tool &lt;a href=&quot;http://syncplay.pl&quot; rel=&quot;nofollow noreferrer&quot;&gt;Syncplay&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Other hardware&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;When using projectors they need to be calibrated. Simply calibrating one and copying the settings to the other two might yield unsatisfactory results. &#xA;Proper calibration is done using a colorimeter, but you can also calibrate by eye if precision is not very important.&lt;br&gt;&#xA;I've only calibrated a projector by eye several times, so I can not tell you more about colorimeter calibration. This subject might also be suitable for a separate question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To connect the machines you'll need a router or switch. Wired connections are more reliable than wireless connections.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Rough Bill of Materials&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;3 x laptop&#xA;3 x projector&#xA;3 x video cable (VGA, DVI, HDMI, whatever the projector needs)&#xA;1 x 3.5mm audio jack cable&#xA;1 x sound system (2.1 amp/speaker combo is easiest)&#xA;1 x network switch or router with min. 3 LAN ports&#xA;3 x ethernet cables&#xA;2 x 4 port power strip (to balance load if needed)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2015-03-28T17:06:54.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15195" PostTypeId="2" ParentId="15170" CreationDate="2015-03-28T21:54:57.367" Score="1" Body="&lt;p&gt;Using three random laptops for this is likely to be problematic. You may find that the players get out of sync fairly quickly. If you require frame-accurate sync (or better) over a video of any length, you usually need a single computer with a triple-headed graphics card (like Matrox) playing a single video comprising all three parts. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know Syncplay (recommended in another answer), but it's worth a try if it can keep continuous sync. Often such solutions don't maintain absolute frame sync over time. And depending on internal factors, &quot;frame sync&quot; may not be good enough to prevent disruptions at scene changes - you also need vertical genlock.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-03-28T21:54:57.367" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15196" PostTypeId="1" AcceptedAnswerId="15950" CreationDate="2015-03-29T08:19:46.187" Score="4" ViewCount="1378" Body="&lt;p&gt;I have raw video file named GP010661.MP4, which seems to be taken with GoPro. Is there a way to detect the exact GoPro camera model and mode used for this video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the the output of ExifTool:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ExifTool Version Number         : 9.46&#xA;File Name                       : GP010661.MP4&#xA;Directory                       : .&#xA;File Size                       : 3753 MB&#xA;File Modification Date/Time     : 2014:11:27 09:37:20+03:00&#xA;File Access Date/Time           : 2015:02:19 09:22:46+03:00&#xA;File Inode Change Date/Time     : 2015:02:19 09:22:46+03:00&#xA;File Permissions                : rw-r--r--&#xA;File Type                       : MP4&#xA;MIME Type                       : video/mp4&#xA;Major Brand                     : MP4 Base w/ AVC ext [ISO 14496-12:2005]&#xA;Minor Version                   : 0.0.0&#xA;Compatible Brands               : avc1, isom&#xA;Movie Header Version            : 0&#xA;Create Date                     : 2014:11:27 11:19:55&#xA;Modify Date                     : 2014:11:27 11:19:55&#xA;Time Scale                      : 90000&#xA;Duration                        : 0:17:25&#xA;Preferred Rate                  : 1&#xA;Preferred Volume                : 100.00%&#xA;Preview Time                    : 0 s&#xA;Preview Duration                : 0 s&#xA;Poster Time                     : 0 s&#xA;Selection Time                  : 0 s&#xA;Selection Duration              : 0 s&#xA;Current Time                    : 0 s&#xA;Next Track ID                   : 3&#xA;Track Header Version            : 0&#xA;Track Create Date               : 2014:11:27 11:19:55&#xA;Track Modify Date               : 2014:11:27 11:19:55&#xA;Track ID                        : 1&#xA;Track Duration                  : 0:17:25&#xA;Track Layer                     : 0&#xA;Track Volume                    : 0.00%&#xA;Image Width                     : 1920&#xA;Image Height                    : 1080&#xA;Graphics Mode                   : srcCopy&#xA;Op Color                        : 0 0 0&#xA;Compressor ID                   : avc1&#xA;Source Image Width              : 1920&#xA;Source Image Height             : 1080&#xA;X Resolution                    : 72&#xA;Y Resolution                    : 72&#xA;Compressor Name                 : .GoPro AVC encoder&#xA;Bit Depth                       : 24&#xA;Color Representation            : nclc 1 1 1&#xA;Gamma                           : 2.2&#xA;Video Frame Rate                : 59.94&#xA;Matrix Structure                : 1 0 0 0 1 0 0 0 1&#xA;Media Header Version            : 0&#xA;Media Create Date               : 2014:11:27 11:19:55&#xA;Media Modify Date               : 2014:11:27 11:19:55&#xA;Media Time Scale                : 48000&#xA;Media Duration                  : 0:17:25&#xA;Handler Type                    : Audio Track&#xA;Handler Description             : .GoPro AAC&#xA;Balance                         : 0&#xA;Audio Format                    : mp4a&#xA;Audio Channels                  : 2&#xA;Audio Bits Per Sample           : 16&#xA;Audio Sample Rate               : 48000&#xA;Movie Data Size                 : 3933436091&#xA;Movie Data Offset               : 1474560&#xA;Avg Bitrate                     : 30.1 Mbps&#xA;Image Size                      : 1920x1080&#xA;Rotation                        : 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The reason I need it, is that file chokes on my Ubuntu 14.04 with VLC and I couldn't even watch it. It took few days to recode the videos, and I do not want to run into the same problem again. If I know the camcoder model and mode, I can to ask people to use different camera or settings.&lt;/p&gt;&#xA;" OwnerUserId="10371" LastEditorUserId="10371" LastEditDate="2015-03-29T08:32:14.393" LastActivityDate="2019-04-25T03:49:56.093" Title="Detect GoPro camera model from MP4" Tags="|action-cam|" AnswerCount="5" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="15197" PostTypeId="1" AcceptedAnswerId="15198" CreationDate="2015-03-29T17:31:52.510" Score="4" ViewCount="15148" Body="&lt;p&gt;I know that its not possible to create an non-perspective camera in after effects. But I read about a way to fake the effect of an isometric camera in after effects. I just didn't find something useful in the web so far so I wanted to post the Question about how to create an isometric camera in after effects here so you guys can share your ideas on how to realize this problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just cant get over the fact that its not possible in a mighty program like After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your sharing your opinions and ideas in advance!&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2020-06-12T11:55:18.763" Title="After Effects: Create an isometric/orthographic Camera" Tags="|after-effects|camera|3d|after-effects-expressions|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15198" PostTypeId="2" ParentId="15197" CreationDate="2015-03-29T18:19:04.870" Score="2" Body="&lt;p&gt;Use a camera with a long focal length.  The longer the focal length, the closer to isometric.  Just back the camera far enough away to frame the shot.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-03-29T18:19:04.870" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15199" PostTypeId="2" ParentId="15189" CreationDate="2015-03-29T22:03:43.380" Score="6" Body="&lt;p&gt;It seems odd that you'd put in the time, money and effort needed for a 'professional' film with no idea what to do when you're done. In any case, one route would be through the festival circuit, where several successful films have found distributors. Your film needs exposure now, and you won't get it unless you explore every avenue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And you will need a distributor: no significant theater or group will take on your film without one. An agent can help you get to distributors. It isn't unusual for a professionally produced film to spend almost as much on promotion and distribution as on initial production. If you can't afford it, you have to make a deal with someone who can.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the very least you'll need to create a DCP (digital cinema package) and DVD screener copies for any festivals or agents you contact. Check the web sites of the major and minor festivals to see their submission requirements. Good luck.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-03-29T22:03:43.380" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15200" PostTypeId="2" ParentId="15184" CreationDate="2015-03-29T22:34:32.030" Score="1" Body="&lt;p&gt;The biggest issue with having only one powerful light source for the whole hall might be the foreground being too bright and the fall-off to dark being to fast. You may compensate for this by placing the light way behind the camera, if this doesn't cast any camera/crew shadows inside the frame. This setup will give you a much smoother fall-off, but will also make the scene darker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The scientific reason is the 'inverse square law' described here: &lt;a href=&quot;http://www.usefulphototips.com/2012/04/10/controlling-light-falloff/&quot; rel=&quot;nofollow&quot;&gt;http://www.usefulphototips.com/2012/04/10/controlling-light-falloff/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I have another suggestion: Why don't you keep the lighting as shown on the left, and just turn some lights off at the far end of the hall. For achieving the pink effect you then use a color gel in front of the lens. And for having some more colors than just pink in the frame, you can add one or two red light sources distributed in the hall.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2015-03-29T22:34:32.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15202" PostTypeId="1" AcceptedAnswerId="15208" CreationDate="2015-03-30T08:43:28.510" Score="1" ViewCount="807" Body="&lt;p&gt;On &lt;a href=&quot;https://gist.github.com/KonradIT/ee685aee15ba1c3c44b4#file-convert-multiple-files-md&quot; rel=&quot;nofollow&quot;&gt;this page&lt;/a&gt; author reencodes MP4 from GoPro to MOV for &quot;easy post processing&quot;. Why the processing becomes easier after that? The author also uses &lt;code&gt;-sameq&lt;/code&gt; flag which is gone from &lt;code&gt;ffmpeg&lt;/code&gt; without the explanation about what it did for H.264 blocks.&lt;/p&gt;&#xA;" OwnerUserId="10371" LastActivityDate="2015-03-31T05:34:38.663" Title="Why reencode MP4 to MOV for &quot;easy post processing&quot;?" Tags="|ffmpeg|mp4|h.264|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15204" PostTypeId="2" ParentId="15202" CreationDate="2015-03-30T18:17:00.037" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;On this page author reencodes MP4 from GoPro to MOV for &quot;easy post processing&quot;. Why the processing becomes easier after that?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The author provides no explanation and does not go into any detail of what he means by &quot;post processing&quot;. What we know:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The author's &lt;code&gt;ffmpeg&lt;/code&gt; command is using the encoder &lt;code&gt;mpeg4&lt;/code&gt; which will output MPEG-4 Part 2 video (like the old Xvid video).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The format of the GoPro video is probably H.264.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;We must assume that the author believes H.264 is slower to decode than MPEG-4 Part 2 video, but that is not necessarily true. Or perhaps he believes that MOV container has some advantage over MP4 container when used with these formats; I can't guess what the supposed advantages would be since the containers are so similar.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The author also uses -sameq flag which is gone from ffmpeg without the explanation about what it did for H.264 blocks.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-sameq&lt;/code&gt; does not mean &quot;same quality&quot; (&lt;a href=&quot;http://ffmpeg.org/faq.html#Why-was-the-ffmpeg-_002dsameq-option-removed_003f-What-to-use-instead_003f&quot; rel=&quot;nofollow noreferrer&quot;&gt;1&lt;/a&gt;)(&lt;a href=&quot;https://superuser.com/a/478550/110524&quot;&gt;2&lt;/a&gt;). &lt;strong&gt;The author's prodigious use of &lt;code&gt;-sameq&lt;/code&gt; indicates that he doesn't really know what he is doing.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For H.264 specifically, when this option was still around (ages ago) it should have never been used when outputting H.264 because the option was designed for the &quot;MPEG&quot; quantizer scale which is not used by x264. Also, this option may have been ignored completely by libx264 at some time, but I can't recall exact details.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="-1" LastEditDate="2017-03-20T10:04:28.637" LastActivityDate="2015-03-30T18:17:00.037" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15205" PostTypeId="2" ParentId="7604" CreationDate="2015-03-30T23:33:56.807" Score="3" Body="&lt;p&gt;I don't know if you ever found a solution, but FCPX does have a Graduated Mask that works.&lt;/p&gt;&#xA;&lt;p&gt;To use it:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Position clip1 over clip2 on the timeline.&lt;/li&gt;&#xA;&lt;li&gt;Add the &amp;quot;Graduate Mask&amp;quot; filter to clip1.&lt;/li&gt;&#xA;&lt;li&gt;Animate both &amp;quot;Center&amp;quot; and &amp;quot;Target&amp;quot; properties of the effect to move left to right.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="10589" LastEditorUserId="30134" LastEditDate="2021-06-29T15:13:03.453" LastActivityDate="2021-06-29T15:13:03.453" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="15207" PostTypeId="1" CreationDate="2015-03-31T01:53:52.533" Score="1" ViewCount="62" Body="&lt;p&gt;I need to create a &lt;strong&gt;portable setup for events&lt;/strong&gt; built around a &lt;strong&gt;video bridge&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The performer is abroad the audience &amp;amp; presenters are in-house&lt;/li&gt;&#xA;&lt;li&gt;The performer needs to see the audience &amp;amp; presenters on screen&lt;/li&gt;&#xA;&lt;li&gt;The performer will be on screen in-house, visible to the audience &amp;amp; presenters&lt;/li&gt;&#xA;&lt;li&gt;The event needs to be broadcasted over the internet simultaneously&lt;/li&gt;&#xA;&lt;li&gt;we also need to have the separate video &amp;amp; audio from the audience, presenters and performer feeds recorded for later editing&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;So the questions are:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;What video equipment makes sense? What cameras, in particular?&lt;/li&gt;&#xA;&lt;li&gt;What sound equipment makes sense? What mikes - and what board... and what else?&lt;/li&gt;&#xA;&lt;li&gt;I'm presuming a dedicated computer for this. What computer makes sense? What other equipment along those lines?&lt;/li&gt;&#xA;&lt;li&gt;What software makes sense? In particular, should we stick with skype to bring the performer in? Google hangouts? Is there something better?&lt;/li&gt;&#xA;&lt;li&gt;Any other advice, recommendations, etc.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="10591" LastEditorUserId="6685" LastEditDate="2015-04-13T01:48:30.730" LastActivityDate="2015-04-13T01:48:30.730" Title="Equipment &amp; Software for video bridge (video link) event" Tags="|video|audio|webvideos|broadcasting|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="15208" PostTypeId="2" ParentId="15202" CreationDate="2015-03-31T05:28:50.100" Score="1" Body="&lt;p&gt;LordNeckbeard explained in his answer, why the given ffmpeg command line does not provide any known advantage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But what - in general - could be reasons to transcode?&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Available input codecs/containers of your NLE (video editing software)&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;There are hundreds of codec/container combinations out there, and maybe your NLE has just problems with the one that you have on your disk. Ex- and importing on different computers/NLEs/operating systems may introduce more unsupported combinations. &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Playback speed on the timeline&#xA;&lt;ul&gt;&#xA;&lt;li&gt;This is about inter-frame vs. intra-frame codecs. The article &lt;a href=&quot;http://www.batchframe.com/quick-tips/tip.php?t=3&quot; rel=&quot;nofollow&quot; title=&quot;Inter-frame vs Intra-frame | BatchFrame.com&quot;&gt;&quot;Inter-frame vs Intra-frame&quot;&lt;/a&gt; has a short explanation:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Basically, inter-frame encoding [...] means that a video file contains sets of grouped frames that reference each other in order to produce an image. [...]&#xA;  Intra-frame compression means that each frame is individual and contains all of its own information. The file size will be bigger, but the computer doesn't have to look around to find what it needs.&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;  Examples of inter-frame codecs are the H.264/mpeg family, while Apple ProRes and Avid DNxHD are intra-frame. GoPro Cineform may also be an intra-frame codec, but I couldn't find enough info to verify it.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;But to make it short, you only have to consider transcoding, if your playback speed on the timeline is not smooth.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Special filters that should be applied before working with the NLE&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;This may be the case, if you have some filters/effects that your transcoding software can apply, but not your NLE. Or your NLE sometimes forgets these effects.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;In conclusion, there are some good reasons to transcode, but you should know, if they apply in your case and are worth the effort. Then choose a high quality intra-frame codec, but not mpeg.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastEditorUserId="3481" LastEditDate="2015-03-31T05:34:38.663" LastActivityDate="2015-03-31T05:34:38.663" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15209" PostTypeId="1" CreationDate="2015-03-31T22:54:22.203" Score="0" ViewCount="49" Body="&lt;p&gt;I am new to After Effects. Just did my first real project - lots of fun. I am not that happy with my encoding output quality. Is it true that having a CUDA video card - i.e. rendering in hardware - improves QUALITY of output as well as speed? How much of a difference does it make?&lt;/p&gt;&#xA;" OwnerUserId="6277" LastActivityDate="2015-03-31T22:54:22.203" Title="CUDA video card" Tags="|after-effects|video-editor|video-quality|hardware|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15210" PostTypeId="1" AcceptedAnswerId="18782" CreationDate="2015-04-01T03:53:21.837" Score="9" ViewCount="7144" Body="&lt;p&gt;I have large MPEG-TS file that I am converting to MP4 using the below command.  If I seek to the same time in the video in both the MP4 and the TS file,  the MP4 will be a few frames behind the TS file.  This get progressively worse the further into the video I seek. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;c:\&amp;gt;ffmpeg -y -r 30 -i full-ts.ts -c:v copy -r 30 -an full.mp4&#xA;ffmpeg version N-69040-gb23a866 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built on Jan 12 2015 22:02:37 with gcc 4.9.2 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --&#xA;enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinge&#xA;r --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-&#xA;libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      54. 16.100 / 54. 16.100&#xA;  libavcodec     56. 20.100 / 56. 20.100&#xA;  libavformat    56. 18.101 / 56. 18.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5.  7.100 /  5.  7.100&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mpegts, from 'full-ts.ts':&#xA;  Duration: 00:11:25.75, start: 1.424000, bitrate: 3407 kb/s&#xA;  Program 1&#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;    Stream #0:0[0x100]: Video: h264 (Main) ([27][0][0][0] / 0x001B), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 30 fps, 30 tbr, 90k tbn, 60 tbc&#xA;    Stream #0:1[0x101]: Audio: aac (LC) ([15][0][0][0] / 0x000F), 48000 Hz, stereo, fltp, 125 kb/s&#xA;Output #0, mp4, to 'full.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf56.18.101&#xA;    Stream #0:0: Video: h264 ([33][0][0][0] / 0x0021), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], q=2-31, 30 fps, 30 tbr, 15360 tbn, 30 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame=20419 fps=0.0 q=-1.0 Lsize=  251660kB time=00:11:25.59 bitrate=3007.0kbits/s&#xA;video:251446kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.084929%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm confused why the TBN is so large in the output stream.  I've tried -copyts,  -copytb, all the -vsynch options,  but I cannot get seek times to match up on the MP4.   Also,  the MP4 shows a frame rate of 29.78,  whereas the TS file is solid 30/1 using ffprobe.  &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -v error -of flat=s=_ -select_streams v:0 -show_entries stream=avg_frame_rate full.mp4&#xA;streams_stream_0_avg_frame_rate=&quot;5227264/175529&quot;&#xA;&#xA;ffprobe -v error -of flat=s=_ -select_streams v:0 -show_entries stream=avg_frame_rate full-ts.ts&#xA;programs_program_0_streams_stream_0_avg_frame_rate=&quot;30/1&quot;&#xA;streams_stream_0_avg_frame_rate=&quot;30/1&quot; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any idea how I can get the seeking on the both containers to show the same frame?  Please help!&lt;/p&gt;&#xA;" OwnerUserId="10600" LastEditorUserId="10600" LastEditDate="2015-04-01T04:04:18.383" LastActivityDate="2017-04-10T11:27:10.977" Title="Copying h.264 video from TS into MP4 changes frame rate and time" Tags="|ffmpeg|mp4|h.264|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="15211" PostTypeId="1" AcceptedAnswerId="15212" CreationDate="2015-04-01T05:15:25.723" Score="2" ViewCount="1522" Body="&lt;p&gt;The scenario is this: I have a standard HD resolution sequence, which I drop a 4k clip into. Later I decide I want to use Warp Stabilizer on that clip in the sequence, but I get an error message saying I need to nest the 4k clip in order to use stabilizer.  The easiest thing to do then is right click the clip and choose Nest...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that the newly created nest sequence uses the resolution of the original sequence, instead of matching itself to the 4k clip resolution. This means the Warp Stabilizer still won't work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can get a nested 4k sequence manually with a lot of steps, but is there a better way to achieve what I want?&lt;/p&gt;&#xA;" OwnerUserId="6110" LastActivityDate="2018-06-12T18:28:05.057" Title="When nesting clip, how to make new sequence same resolution as clip instead of original sequence?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15212" PostTypeId="2" ParentId="15211" CreationDate="2015-04-01T10:11:13.553" Score="1" Body="&lt;p&gt;You can automatically create a sequence from a clip by right-clicking on it in the project panel and selecting &quot;New Sequence From Clip&quot;. This will create a sequence matching the resolution and framerate of the clip and put the clip in it. You can drop the newly created sequence in your original sequence like any other asset in the project panel.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-04-01T10:11:13.553" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15213" PostTypeId="1" AcceptedAnswerId="15250" CreationDate="2015-04-01T10:22:59.983" Score="3" ViewCount="711" Body="&lt;p&gt;My question is about what aspects of hardware performance would best prevent sluggish UI and 'beachballing' in FCPX.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I am running on a Macbook Air Core i7 2.0ghz, 8GB RAM and Intel HD4000 graphics.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am editing 1080p only. The project files are on a Drobo 5D raid-style Thunderbolt drive connected via Caldigit Thunderbolt dock.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally the edits are not complicated, just one layer of video with some colour correction basic filter and transitions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realise my current system is underpowered, and at times I suffer from unresponsive UI. My question is what upgrade would give the most benefit:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;quad core i7?  (currently dual core)&lt;/li&gt;&#xA;&lt;li&gt;16GB RAM or more?&lt;/li&gt;&#xA;&lt;li&gt;discrete GPU?  or more recent Intel Iris would be enough?&lt;/li&gt;&#xA;&lt;li&gt;if GPU, is available video RAM more important than processing power?&lt;/li&gt;&#xA;&lt;li&gt;the current HDD should be fast enough?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I want to stress that, for the purposes of this question, I do not care about rendering times - only to avoid unresponsive UI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have proxy and optimised media for all my projects, and I have the proxy media playback option selected:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/rzYUv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="2538" LastEditorUserId="2538" LastEditDate="2015-04-01T19:27:48.743" LastActivityDate="2016-06-15T05:24:36.183" Title="How to avoid sluggish UI in FCPX - more CPU, GPU, RAM or what?" Tags="|hardware|final-cut-pro-x|mac|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15214" PostTypeId="1" CreationDate="2015-04-01T15:56:14.610" Score="1" ViewCount="36" Body="&lt;p&gt;Using an iPhone 5s to film short talks, I run the video files thru Handbrake to settle sync issues that arise when I upload videos into Premiere Pro Cs6. Unfortunately, this does not fix the problem, it simply minimizes it. Suggestions?&lt;/p&gt;&#xA;" OwnerUserId="10605" LastActivityDate="2015-04-01T15:56:14.610" Title="iPhone 5s and Premiere Pro Cs6" Tags="|youtube|sync|adobe|iphone|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15215" PostTypeId="1" CreationDate="2015-04-01T18:48:25.033" Score="1" ViewCount="768" Body="&lt;p&gt;I'm working on a church project and I'm not too familiar with video equipment all too much.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We need to stream a lecture to other sides of a building (at least two tv's). &#xA;I was playing around with some ideas with IP cameras and connecting it via an Apple TV / Roku device but I can't find any combinations or guides on that working.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I'm just gathering some information and advice into this&lt;/p&gt;&#xA;" OwnerUserId="10607" LastActivityDate="2015-06-06T22:21:54.650" Title="Record a live lecture from one room and stream it live to two other televisions" Tags="|video|audio|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15216" PostTypeId="1" CreationDate="2015-04-01T20:26:23.603" Score="1" ViewCount="39" Body="&lt;p&gt;I just installed Motion 5 but I've already run into a weird frustration. In the Library inspector I found a list of gradients. I clicked the &lt;code&gt;+&lt;/code&gt; button at the bottom of the panel and discovered it creates folders. Ok. But now I have ended up with two folders I don't want and &lt;em&gt;I can't find any way to delete them&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/eYxq7.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;right-clicking (no menu)&lt;/li&gt;&#xA;&lt;li&gt;selecting with mouse then &lt;code&gt;delete&lt;/code&gt; or &lt;code&gt;backspace&lt;/code&gt; keys&lt;/li&gt;&#xA;&lt;li&gt;looked through all the menus&lt;/li&gt;&#xA;&lt;li&gt;right-clicked on an actual gradient from the 'All' folder and revealed in finder... the folders do not show up in finder though&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2538" LastActivityDate="2015-05-07T23:23:46.700" Title="How to delete folders from Library &gt; Gradients in Motion 5" Tags="|motion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15217" PostTypeId="1" AcceptedAnswerId="15219" CreationDate="2015-04-02T04:52:22.673" Score="2" ViewCount="238" Body="&lt;p&gt;So I came across this website &lt;a href=&quot;http://www.dissolve.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.dissolve.com/&lt;/a&gt; and they provide 3 free Royalty free stock footage every month.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering if there are any other websites where I can get Free Royalty free stock footage? &lt;/p&gt;&#xA;" OwnerUserId="10372" LastActivityDate="2015-04-02T08:41:35.560" Title="Free Royalty Free Stock Footage" Tags="|video|" AnswerCount="1" CommentCount="2" ClosedDate="2015-04-27T04:47:21.643" ContentLicense="CC BY-SA 3.0" />
  <row Id="15218" PostTypeId="1" CreationDate="2015-04-02T07:15:17.063" Score="0" ViewCount="1356" Body="&lt;p&gt;How can we monitor audio of subject using headphone while recording video using iphone or samsung galaxy s4?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to monitor audio while recording video using smartphone &lt;/p&gt;&#xA;" OwnerUserId="10610" LastActivityDate="2015-06-04T15:57:47.187" Title="How can we monitor audio of subject using headphone while recording video using iphone or samsung galaxy s4?" Tags="|video-recording|audio-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15219" PostTypeId="2" ParentId="15217" CreationDate="2015-04-02T08:41:35.560" Score="2" Body="&lt;p&gt;There are several websites that do that. For example, &lt;a href=&quot;http://allthefreestock.com/&quot; rel=&quot;nofollow&quot; title=&quot;allthefreestock.com&quot;&gt;this one&lt;/a&gt; accumulates free stock photos and there's also a video section. However, your best bet is to use a designated search engine like the &lt;a href=&quot;http://search.creativecommons.org/&quot; rel=&quot;nofollow&quot;&gt;creative commons search site&lt;/a&gt;, which will allow you to find material distributed under &lt;a href=&quot;http://creativecommons.org/&quot; rel=&quot;nofollow&quot;&gt;creative commons licenses&lt;/a&gt;. Before you use any of the found material, make sure to check which license it's using - some of them only allow non-commercial usage or require you to share any derivatives under the same license.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-04-02T08:41:35.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15220" PostTypeId="1" CreationDate="2015-04-02T22:19:37.327" Score="1" ViewCount="73" Body="&lt;p&gt;I'd like to take 1 Hz and sub-second timelapse videos with my Canon 7D. I've tried both &lt;a href=&quot;https://play.google.com/store/apps/details?id=com.dslr.dashboard&quot; rel=&quot;nofollow noreferrer&quot;&gt;DslrDashboard&lt;/a&gt; and &lt;a href=&quot;http://www.magiclantern.fm/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Magic Lantern&lt;/a&gt;, and couldn't figure out how to set the timelapse any faster than that. Worse, &lt;em&gt;both&lt;/em&gt; of them ended up taking photos at such a jittery rate that I could &lt;em&gt;hear&lt;/em&gt; it was completely off kilter. The camera would take one photo, then wait for a couple seconds before taking two in less than half a second, and so on, making the result unusable for video making. I was using manual mode, and shutter time, f-stop and ISO were &lt;em&gt;all&lt;/em&gt; set to static values.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera is otherwise perfectly capable of taking many photos per second, even at RAW quality. Is there some fundamental issue with the timing used when remote controlling (and even when using custom firmware) causing this, or did I miss an important setting to make it all work? If this is simply an issue with both these products, are there other software products (preferably FOSS) which will reliably take 1 Hz or faster time lapse series?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(&lt;a href=&quot;https://photo.stackexchange.com/questions/61528/how-to-do-1-hz-timelapse-photography-with-canon-7d&quot;&gt;Repost from photo.SE&lt;/a&gt; after suggestion.)&lt;/p&gt;&#xA;" OwnerUserId="10612" LastEditorUserId="-1" LastEditDate="2017-04-13T12:43:53.643" LastActivityDate="2015-04-03T14:04:11.207" Title="How to do &lt;=1 Hz timelapse photography with Canon 7D?" Tags="|canon|time-lapse|magic-lantern|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15221" PostTypeId="1" AcceptedAnswerId="15229" CreationDate="2015-04-02T23:27:56.723" Score="3" ViewCount="194" Body="&lt;p&gt;I'm not a video producer or anything but I always noticed the different&#xA;of the image from a movie vs a regular video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm curious, re they shot on different camera types or it's just post-production effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ggWeR.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/ggWeR.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is an example. If you take a look at the colors you will obviously&#xA;notice which one is the movie&lt;/p&gt;&#xA;" OwnerUserId="10613" LastEditorUserId="10613" LastEditDate="2015-04-03T23:59:35.277" LastActivityDate="2018-01-19T09:23:57.027" Title="why movie video is different from other videos (sports, news, or other)" Tags="|video|video-quality|color|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15222" PostTypeId="2" ParentId="3149" CreationDate="2015-04-03T03:17:16.527" Score="1" Body="&lt;p&gt;After Effects works differently than normal video editors.&#xA;To play audio on a composition (your video project), press &lt;kbd&gt;0&lt;/kbd&gt; on the numeric keypad (or &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;0&lt;/kbd&gt;) to start the RAM preview.&#xA;This way, After Effects loads the audio through the RAM. If you skip to parts of the video that are not in the green bar below your composition preview, you have to wait for AE to render it.&lt;/p&gt;&#xA;" OwnerUserId="10615" LastEditorUserId="6685" LastEditDate="2015-08-30T15:49:14.840" LastActivityDate="2015-08-30T15:49:14.840" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15223" PostTypeId="1" CreationDate="2015-04-03T12:34:06.997" Score="0" ViewCount="531" Body="&lt;p&gt;I have some clip from which I want to cut out tiny fragment. It is in WMV format. Unfortunately, AP apparently plans to totally reconstruct the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to force it not to do this thing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I checked &quot;Match Seuqence Settings&quot; and got pure correspondence:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/nZeQE.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you see, output parameters are totally different from input: frame size is different, frame rate is different, compression is different and so on.&lt;/p&gt;&#xA;" OwnerUserId="2122" LastActivityDate="2015-04-03T15:40:06.100" Title="How to match output parameters with input ones in Adobe Premiere?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15224" PostTypeId="2" ParentId="15220" CreationDate="2015-04-03T14:04:11.207" Score="1" Body="&lt;p&gt;The problem isn't the remote timing, it's the rate at which data can be written to the SD or CF card.  The camera can shoot a bunch of images quickly in burst mode because it stores them in an internal buffer for a short while before it writes them to memory.  However, this pace of data acquisition is not sustainable for long periods of time because the buffer will fill up before it can offload to the card.  The best thing you can do is make sure you're using cards with the fastest &lt;strong&gt;write speed&lt;/strong&gt; possible.  Shooting jpeg only might also help, depending on how quickly the camera converts RAW to jpeg.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-04-03T14:04:11.207" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15225" PostTypeId="2" ParentId="15223" CreationDate="2015-04-03T15:40:06.100" Score="1" Body="&lt;p&gt;The option you are talking about matches the export settings to the sequence settings, not to the source material. So my guess is that your sequence does not match your material. You can create a sequence that conforms your source clip by right-clicking on the clip in the project panel and selecting &quot;New Sequence From Clip&quot;. Then the export should work as intended.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, keep in mind that this will reencode your entire video, which will always result in quality loss. If you want to cut out a piece of your video while leaving the rest untouched, you could &lt;em&gt;probably&lt;/em&gt; do that with ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-04-03T15:40:06.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15226" PostTypeId="1" CreationDate="2015-04-03T17:57:26.470" Score="2" ViewCount="1077" Body="&lt;p&gt;I LOVE the multicamera magic in Premier Pro CC but I can't quite figure out how to do a picture in picture shot like at the start of this video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/E6X45ZR7I8o?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The multi camera sequence allows switching between different cameras but I can't figure out how to have more than one camera visible at a time? Is this possible? So far I have just dragged 2 of the multi-camera sequences onto the stage but then I need to synchronize those. That seems silly when they are already synchronized.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="10577" LastActivityDate="2015-11-02T16:05:57.470" Title="How to do picture in picture with Premier Pro Multicamera" Tags="|premiere|multi-camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15227" PostTypeId="2" ParentId="10450" CreationDate="2015-04-03T18:33:51.360" Score="2" Body="&lt;p&gt;Just use an affine transform for the title &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create a title with the text&lt;/li&gt;&#xA;&lt;li&gt;Put the video on track 2&lt;/li&gt;&#xA;&lt;li&gt;Put the title on track 1&lt;/li&gt;&#xA;&lt;li&gt;Combine them with an affine transformation&lt;/li&gt;&#xA;&lt;li&gt;On the affine transformation, add 4 key frames for a title of 5 seconds, at 0 / 1 / 4 / 5 seconds&lt;/li&gt;&#xA;&lt;li&gt;Set the opacity for keyframe at second 0 and second 5 to 0. Keyframes at second 1 and 4 keep 100% opacity&lt;/li&gt;&#xA;&lt;li&gt;Play. The title fades in for a second, stays for 3 seconds and fades out for a second.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Screencast: &lt;a href=&quot;http://cweiske.de/tagebuch/kdenlive-lower-third.htm&quot; rel=&quot;nofollow&quot;&gt;http://cweiske.de/tagebuch/kdenlive-lower-third.htm&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10597" LastEditorUserId="10597" LastEditDate="2015-04-03T20:22:19.803" LastActivityDate="2015-04-03T20:22:19.803" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15228" PostTypeId="1" CreationDate="2015-04-04T03:57:05.243" Score="1" ViewCount="192" Body="&lt;p&gt;I am looking for a scripting language that can handle cutting together 50+ mp4 files.  In addition to this I'd also like it if I can provide a text file with the date of each video and make some sort of slightly opaque box containing the date that I can burn over the video.  Is there a good tool out there for this?  Most of the stuff I've found only works on avi files.&lt;/p&gt;&#xA;" OwnerUserId="10616" LastActivityDate="2015-04-05T11:30:23.500" Title="Automated/Scripted Video Editing" Tags="|editing|automation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15229" PostTypeId="2" ParentId="15221" CreationDate="2015-04-04T15:03:31.010" Score="8" Body="&lt;p&gt;Movies have certain &quot;looks&quot; to arouse certain moods. The lightning and color depends on the intention of the movie and each individual scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's take the picture you linked as an example:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/ggWeR.jpg&quot; alt=&quot;https://i.stack.imgur.com/ggWeR.jpg&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The footballer is lit by the floodlights in the stadium. He is lit from every side so that you can see as much as possible, there is little shadow and contrast. The movie scene with the delightful workers is very different: There is a leading light coming from the left, with shadows on the right side. It may look like sunlight, but this was most likely achieved with a set of spotlights. At the very least, you usually use three different lights coming from different directions. This is called &lt;a href=&quot;http://en.wikipedia.org/wiki/Three-point_lighting&quot; rel=&quot;nofollow noreferrer&quot;&gt;three-point lightning&lt;/a&gt;. From Wikipedia:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The key light, as the name suggests, shines directly upon the subject and serves as its principal illuminator; more than anything else, the strength, color and angle of the key determines the shot's overall lighting design. [...]&#xA;  The fill light also shines on the subject, but from a side angle relative to the key and is often placed at a lower position than the key (about at the level of the subject's face). It balances the key by illuminating shaded surfaces, and lessening or eliminating chiaroscuro effects, such as the shadow cast by a person's nose upon the rest of the face. It is usually softer and less bright than the key light (up to half), and more to a flood. [...]&#xA;  The back light (a.k.a. the rim, hair, or shoulder light) shines on the subject from behind, often (but not necessarily) to one side or the other. It gives the subject a rim of light, serving to separate the subject from the background and highlighting contours.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Of course, aside from the lightning, the garments, stage props and the likes are also picked carefully. Imagine how you would react to a shiny red plastic bag in Bilbo Baggins' Hobbit-Hole ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then there is post-production, which has a huge role in creating a movie's look. Color-grading is the process of deciding upon a desired look for each scene and then adjusting the colors in this scene to have a coherent appearance. Take a look at &lt;a href=&quot;http://moviesincolor.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;movies in color&lt;/a&gt;, a great website that analyses movies and creates color palettes to show which colors are dominant in a movie. For example, this is the color palette of Sherlock Holmes: A Game of Shadows, which uses mostly blue-grey colors: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/bDO47.jpg&quot; alt=&quot;Game of shadows color palette&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More palpable, this is a collection of ordered stills from James Bond: Quantum of Solace:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/J6go8.jpg&quot; alt=&quot;Bond, James Bond&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see, each scene has a specific color range that is used to convey certain moods. The color-grading process is very difficult, there are people who do nothing but that for a living ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tl;dr: The speficic look of a movie is achieved through a combination of sophisticated lightning techniques, the choice of stage props and post-production efforts. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2018-01-19T09:23:57.027" LastActivityDate="2018-01-19T09:23:57.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15230" PostTypeId="1" AcceptedAnswerId="15232" CreationDate="2015-04-04T15:55:14.090" Score="1" ViewCount="791" Body="&lt;p&gt;I have multiple shape layers, and I want to add &lt;code&gt;Wiggle Paths&lt;/code&gt; to all of them.&lt;br&gt;&#xA;One way of course is to manually add to each of them.&lt;br&gt;&#xA;Is there a way to add it to all of them at once? Specially is there a way to control them all in one place? so if I wanted to change the Wiggle parameters (like size, speed, correlation ...) I can change them all at once?&lt;/p&gt;&#xA;" OwnerUserId="1856" LastActivityDate="2015-08-26T14:58:33.853" Title="Add path operation to multiple shape layers" Tags="|after-effects|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15231" PostTypeId="1" AcceptedAnswerId="15267" CreationDate="2015-04-04T16:17:45.407" Score="4" ViewCount="6936" Body="&lt;p&gt;I am looking for an open-source solution for automatically pulling films/TV shows informations. I've found MetaX (Windows only) and Subler (MacOSX only) from a post &lt;a href=&quot;https://apple.stackexchange.com/questions/91790/adding-metadata-for-films-tv-shows-in-itunes&quot;&gt;here&lt;/a&gt;. Apparently metadata sources can be found from: TVDB, TheMovieDB, Amazon, and tagChimp, as well as IMDB, ref &lt;a href=&quot;http://www.danhinsley.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I can use &lt;a href=&quot;http://gpac.wp.mines-telecom.fr/mp4box/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MP4Box&lt;/a&gt; (or libav/ffmpeg) to easily add metadata (including Cover Art), but really what I would like is a script and/or GUI to easily &lt;strong&gt;retrieve&lt;/strong&gt; metadata (plot summary, cast and crew, genre, release data, Cover Art as JPEG...).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some people suggested using &lt;a href=&quot;http://www.tweaking4all.com/home-theatre/adding-movie-information-metadata-to-mp4-m4v/#linux_vlc&quot; rel=&quot;nofollow noreferrer&quot;&gt;VLC&lt;/a&gt; on Linux. But I cannot get anything to work over here (using debian/jessie amd64). Neither the &lt;em&gt;“Download Cover Art”&lt;/em&gt;, nor the &lt;em&gt;“Add Cover Art”&lt;/em&gt; seems to work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ciiFR.png&quot; alt=&quot;VLC Screenshot&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first one does nothing, the second one print this on the console:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[00007f3fc4567d38] taglib meta writer error: File /tmp/big_buck_bunny_480p_h264.mov can't be opened for tag writing&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Bonus point: if this could be integrated to &lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Handbrake&lt;/a&gt;, that would be awesome.&lt;/p&gt;&#xA;" OwnerUserId="10558" LastEditorUserId="-1" LastEditDate="2017-04-13T12:45:28.897" LastActivityDate="2015-04-08T10:21:24.410" Title="Adding metadata for films/TV shows on Linux" Tags="|mp4|linux|handbrake|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15232" PostTypeId="2" ParentId="15230" CreationDate="2015-04-04T16:36:56.800" Score="2" Body="&lt;p&gt;Use Expression Slider Controls to drive &lt;strong&gt;multiple Shape Layer Wiggle Path Values&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an example of driving &lt;code&gt;Size&lt;/code&gt; and &lt;code&gt;Detail&lt;/code&gt; values of the &lt;code&gt;Wiggle Path Property&lt;/code&gt; on &lt;strong&gt;6 Shape Layers&lt;/strong&gt; with 2 created &lt;strong&gt;Slider Controls&lt;/strong&gt; on a seperate &lt;code&gt;Null Layer&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/iPOCJ.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: To save time, it's a good idea to create &lt;strong&gt;one shape layer first&lt;/strong&gt;, set it up as described below and &lt;strong&gt;duplicate it afterwards&lt;/strong&gt; to maintain the expression links.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/DPZKs.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create a &lt;code&gt;Shape Layer&lt;/code&gt; and a &lt;code&gt;Null Object&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Add &lt;code&gt;Wiggle Path Property&lt;/code&gt; to the &lt;code&gt;Shape Layer&lt;/code&gt; &lt;/li&gt;&#xA;&lt;li&gt;Add a &lt;code&gt;Slider Control&lt;/code&gt; to the &lt;code&gt;Null&lt;/code&gt; &lt;strong&gt;for every value&lt;/strong&gt; you need for animation &lt;em&gt;(size, speed, correlation ...)&lt;/em&gt; and name it like these for a better organization&lt;/li&gt;&#xA;&lt;li&gt;Select the &lt;code&gt;Null&lt;/code&gt; and go to &lt;em&gt;Effect &gt; Expression Control &gt; Slider Control&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Open up the &lt;strong&gt;properties of the both layers&lt;/strong&gt; by clicking on the small arrow &lt;kbd&gt; &gt; &lt;/kbd&gt; right beside the layer's name to see the values of the &lt;code&gt;Wiggle Path&lt;/code&gt; and the newly created &lt;code&gt;slider control&lt;/code&gt; at the same time&lt;/li&gt;&#xA;&lt;li&gt;Holding down &lt;kbd&gt;Alt&lt;/kbd&gt; while clicking on the &lt;strong&gt;stop watch&lt;/strong&gt; of a &lt;code&gt;Wiggle Path Value&lt;/code&gt; like the &lt;code&gt;Size&lt;/code&gt; or &lt;code&gt;Detail&lt;/code&gt;, this automatically will insert an &lt;strong&gt;expression&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Use the &lt;strong&gt;expression pick whip&lt;/strong&gt; and drag it onto the predefined Slider Control of the &lt;code&gt;Null&lt;/code&gt; before to link/parent it, for e.g. the &lt;strong&gt;Size of Wiggle Paths&lt;/strong&gt;, this should create something like: &lt;code&gt;thisComp.layer(&quot;Name of the Null&quot;).effect(&quot;Size&quot;)(&quot;Name of Slider Control&quot;)&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Repeat the process of parenting&lt;/strong&gt; the &lt;code&gt;Wiggle Path Values&lt;/code&gt; to the &lt;code&gt;Sliders&lt;/code&gt; as long as all needed values are parented to slider controls correctly &lt;/li&gt;&#xA;&lt;li&gt;If you duplicate the &lt;code&gt;Shape Layer&lt;/code&gt; with &lt;kbd&gt;CTRL&lt;/kbd&gt;+&lt;kbd&gt;D&lt;/kbd&gt; now, &lt;strong&gt;all expressions will retained&lt;/strong&gt; for the duplicated layers&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-08-26T14:58:33.853" LastActivityDate="2015-08-26T14:58:33.853" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15233" PostTypeId="1" AcceptedAnswerId="16780" CreationDate="2015-04-04T17:48:12.650" Score="1" ViewCount="1244" Body="&lt;p&gt;I was wondering if there is any way I can sync a script in plain text to a video automatically. I just want software that will take the transcript and sync with the finished video. I use adobe creative cloud and right now for captions I use camtasia and moviecaptioner. Any automation will help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you in advance for your help&lt;/p&gt;&#xA;" OwnerUserId="10618" LastActivityDate="2015-11-02T15:55:16.280" Title="Automatically sync text to video for subtitles" Tags="|video-editor|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15234" PostTypeId="1" CreationDate="2015-04-04T20:54:39.000" Score="4" ViewCount="174" Body="&lt;p&gt;I film a lot with the Canon C100, I've noticed that when a lot of flashes are going off I get a lot of image issues (which I think is due to how CMOS exposes line by line) (see picture), the effects are more pronounced in slow motion (the c100 only shoots interlaced).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a few questions:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;whats the technical name of this 'effect'/issue&lt;/p&gt;&#xA;&#xA;&lt;p&gt;why is it more pronounced in slow motion (does interlacing effect this?) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;and is there anything I can do with regards to shutter/speeds or utilizing 'clear scan' in the c100 to reduce this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/HbbFm.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2015-05-14T15:20:02.830" Title="camera flashing in film" Tags="|canon|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="15237" PostTypeId="1" AcceptedAnswerId="15260" CreationDate="2015-04-05T11:12:10.210" Score="3" ViewCount="7146" Body="&lt;p&gt;I have a shape, in a shape layer, let's say a triangle. I apply a repeater to the shape, and I get lots of them. I can change the distance between them and their rotation ...&lt;br&gt;&#xA;My question is: Is there a way to change their color? I mean to control what fill or stroke color each of the cloned ones have? either a random color or even specified color for each?  &lt;/p&gt;&#xA;" OwnerUserId="1856" LastActivityDate="2015-04-13T07:05:24.673" Title="vary the color of repeated shape in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15238" PostTypeId="2" ParentId="15228" CreationDate="2015-04-05T11:30:23.500" Score="1" Body="&lt;p&gt;Consider the following technologies:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;ffmpeg + command line &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Adobe After Effects + ExtendScript language (based on JavaScript) &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Sony Vegas Pro + C# language (or any other Microsoft .NET language)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2015-04-05T11:30:23.500" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15239" PostTypeId="2" ParentId="14928" CreationDate="2015-04-05T12:55:16.553" Score="0" Body="&lt;p&gt;Another option is Sony Vegas Pro + Vegasaur extension.&#xA;Using this extension, you can &lt;a href=&quot;http://vegasaur.com/recorded-date-time-subtitles&quot; rel=&quot;nofollow noreferrer&quot;&gt;extract recorded date/time information&lt;/a&gt; from video files and burn it onto video. Font, color, size etc. - fully customizable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/J9nhI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2015-04-05T12:55:16.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15240" PostTypeId="2" ParentId="14927" CreationDate="2015-04-05T13:57:07.510" Score="3" Body="&lt;p&gt;I am the author of the code you are reading.  It appears you were an alpha user of Audacity 2.1.0 in advance of its release, which was only days ago.  You have a version of the noise reduction effect with many experimental optional controls exposed to the user that are not in the release version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may be interested in what I wrote here about the inadequacies of the previous version of the effect that I tried to remedy with this rewrite.  But the overall procedure remains unchanged.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://wiki.audacityteam.org/wiki/Proposal_Noise_Removal#Critique_of_current_Audacity_Noise_Removal_by_Paul_Licameli&quot; rel=&quot;nofollow&quot;&gt;http://wiki.audacityteam.org/wiki/Proposal_Noise_Removal#Critique_of_current_Audacity_Noise_Removal_by_Paul_Licameli&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10623" LastActivityDate="2015-04-05T13:57:07.510" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15241" PostTypeId="2" ParentId="15218" CreationDate="2015-04-05T15:12:38.450" Score="1" Body="&lt;p&gt;You could use an &lt;a href=&quot;http://www.bhphotovideo.com/bnh/controller/home?O=&amp;amp;sku=765531&amp;amp;gclid=CjwKEAjwuoOpBRCSy6yQm66J1g8SJABrXW481DvXRpCNNzYNEDvuQmE7jkfKqaEc7wMJji9HRVbVoBoCVrjw_wcB&amp;amp;Q=&amp;amp;is=REG&amp;amp;A=details&quot; rel=&quot;nofollow&quot;&gt;adapter&lt;/a&gt; to split the cell phone jack into XLR &amp;amp; 3.5mm.  Then just plug in your XLR mic and headphones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you could record &lt;a href=&quot;http://en.wikipedia.org/wiki/Double-system_recording&quot; rel=&quot;nofollow&quot;&gt;double-system audio&lt;/a&gt;.  Get a second, purpose-built audio recording device like a &lt;a href=&quot;http://www.bhphotovideo.com/c/product/699403-REG/Zoom_H1_H1_Ultra_Portable_Digital_Audio.html&quot; rel=&quot;nofollow&quot;&gt;Zoom&lt;/a&gt;, and monitor that while you shoot with your cell phone.  It's super easy to match up the audio again in most editing software nowadays.  &lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-04-05T15:12:38.450" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15242" PostTypeId="1" CreationDate="2015-04-05T16:42:57.847" Score="1" ViewCount="369" Body="&lt;p&gt;I'm thinking...&#xA;Import my video of me playing guitar and singing, into Garageband.&#xA;And then add new Garageband audio track with my backing vocal harmony.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Will this work?&lt;/p&gt;&#xA;" OwnerUserId="10625" LastActivityDate="2016-04-06T21:33:43.353" Title="Can I use Garageband on Mac to add harmony audio to a video?" Tags="|video|audio|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15243" PostTypeId="1" AcceptedAnswerId="15245" CreationDate="2015-04-05T18:33:00.143" Score="3" ViewCount="290" Body="&lt;p&gt;Can you specify a custom &quot;Movie rec. size&quot; on Canon Rebel?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an SL1, and I'm trying to record at 1280x720 with 30fps.  When I go the &quot;Menu&quot; screen I see that you can set &quot;Movie rec. size.&quot; It gives me four preset options. At 1080p, it records at 30fps and at 720p it records at 60fps, without an apparent ability to set them independently.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do see however that changing the Video system to PAL takes it down to 50fps, but I'd like to stick with the NTSC standard of 30fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible? --to set a custom &quot;movie rec size&quot; on my Canon SL1 to 1280x720 with a fps of 30?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="9279" LastActivityDate="2015-04-30T00:54:24.753" Title="Specify a custom &quot;Movie rec. size&quot; on Canon Rebel" Tags="|canon|framerate|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15244" PostTypeId="1" CreationDate="2015-04-06T01:08:41.360" Score="1" ViewCount="8092" Body="&lt;p&gt;I've just started to do some video editing with Blender (Linux) and I can't tell what function it has and how it affect the final quality. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've searched about it but I didn't find any explanation behind the value it should take. So:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) What is the function of buffer size?&lt;br&gt;&#xA;2) What value should it have?&lt;/p&gt;&#xA;" OwnerUserId="10626" LastActivityDate="2015-04-11T12:12:27.800" Title="What is the function of buffer size and what value should it have?" Tags="|video-quality|blender|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15245" PostTypeId="2" ParentId="15243" CreationDate="2015-04-06T02:50:06.200" Score="2" Body="&lt;p&gt;Short answer: no. The presets you get are what you are stuck with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can do 1920x1080 at 30fps, it's easy enough to use a video editor or converter to go down to 1280x720 with minimal loss.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I frequently would record at 1080p on a Canon DSLR, and then finish and render at 720p (with the same framerate).&lt;/p&gt;&#xA;" OwnerUserId="10571" LastActivityDate="2015-04-06T02:50:06.200" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15247" PostTypeId="2" ParentId="15242" CreationDate="2015-04-06T17:01:30.843" Score="2" Body="&lt;p&gt;If you're singing on the new track(s) you've added, definitely!  I've done it myself. You can even pan the new track(s) left or right to give your song more &quot;space&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you were thinking you'd duplicate your audio track in Garageband, and change the pitch of the new track, it's harder. Your harmonies probably won't stay the same number of half steps away from the main melody, so you'll have to adjust the pitch change on most notes. (As far as I know.)&lt;/p&gt;&#xA;" OwnerUserId="5546" LastEditorUserId="5546" LastEditDate="2016-04-06T21:33:43.353" LastActivityDate="2016-04-06T21:33:43.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15248" PostTypeId="2" ParentId="15244" CreationDate="2015-04-06T19:14:08.317" Score="1" Body="&lt;p&gt;According to the blender documentation found &lt;a href=&quot;http://wiki.blender.org/index.php/Doc:2.6/Manual/Render/Output/Video&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;Rate&lt;/strong&gt;&#xA;The bitrate control also includes a Minimum and a Maximum.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Buffer&lt;/strong&gt;&#xA;The decoder bitstream buffer size.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;the buffer size is related to streaming video. The link in the manual takes you to &lt;a href=&quot;http://en.wikipedia.org/wiki/Video_buffering_verifier&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; article which describes what the buffer is. It sounds like you are editing for web streaming in which case your buffer size should be based on your target internet connection and the quality of the video you are delivering.&lt;/p&gt;&#xA;&lt;p&gt;If you are referring to a different buffer setting in blender please elaborate.&lt;/p&gt;&#xA;" OwnerUserId="6233" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-04-06T19:14:08.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15249" PostTypeId="1" AcceptedAnswerId="15251" CreationDate="2015-04-06T19:36:42.393" Score="1" ViewCount="3480" Body="&lt;p&gt;I am using ffmpeg built from source at &lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/commit/a66dcfeedc68c080965cf78e1e0694967acef5af&quot; rel=&quot;nofollow&quot;&gt;this revision&lt;/a&gt; in Fedora 20.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am able to record audio &lt;strong&gt;perfectly fine&lt;/strong&gt; with the command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;FFmpeg/ffmpeg -f alsa -ac 2 -i pulse -- output.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, when I try both screen capture and audio, like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;FFmpeg/ffmpeg -video_size 800x600 -framerate 25 -ac 2 -f x11grab -i :0.0+0,0 -ac 2 -f alsa -i pulse -ac 2 -acodec copy output.mpeg -ac 2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm getting a video with 0 audio channels, which I can check running &lt;code&gt;FFmpeg/ffplay output.mpeg&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpeg, from 'output.mpeg':&#xA;  Duration: 00:00:09.44, start: 0.540000, bitrate: 2743 kb/s&#xA;    Stream #0:0[0x1e0]: Video: mpeg1video, yuv420p(tv), 800x600 [SAR 1:1 DAR 4:3], 104857 kb/s, 25 fps, 25 tbr, 90k tbn, 25 tbc&#xA;    Stream #0:1[0x1c0]: Audio: mp2, 0 channels, s16p&#xA;   7.26 M-V:  0.000 fd=   0 aq=    0KB vq=   33KB sq=    0B f=0/0   &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and no audible sound is played. The position of &lt;code&gt;-ac 2&lt;/code&gt; doesn't change the behaviour, nor does repeating it only once. This is despite ffmpeg claims to record the audio with 2 channels, here is the input:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-71312-ga66dcfe Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 4.8.3 (GCC) 20140911 (Red Hat 4.8.3-7)&#xA;  configuration: &#xA;  libavutil      54. 22.100 / 54. 22.100&#xA;  libavcodec     56. 34.100 / 56. 34.100&#xA;  libavformat    56. 29.100 / 56. 29.100&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 13.101 /  5. 13.101&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;Trailing options were found on the commandline.&#xA;Input #0, x11grab, from ':0.0+0,0':&#xA;  Duration: N/A, start: 1428348285.201679, bitrate: N/A&#xA;    Stream #0:0: Video: rawvideo (BGR[0] / 0x524742), bgr0, 800x600, 25 fps, 25 tbr, 1000k tbn, 25 tbc&#xA;Guessed Channel Layout for  Input Stream #1.0 : stereo&#xA;Input #1, alsa, from 'pulse':&#xA;  Duration: N/A, start: 1428348285.225901, bitrate: 1536 kb/s&#xA;    Stream #1:0: Audio: pcm_s16le, 48000 Hz, 2 channels, s16, 1536 kb/s&#xA; File 'output.mpeg' already exists. Overwrite ? [y/N] y&#xA;[mpeg @ 0x2d079a0] VBV buffer size not set, using default size of 130KB&#xA;If you want the mpeg file to be compliant to some specification&#xA;Like DVD, VCD or others, make sure you set the correct buffer size&#xA;Output #0, mpeg, to 'output.mpeg':&#xA;  Metadata:&#xA;    encoder         : Lavf56.29.100&#xA;    Stream #0:0: Video: mpeg1video, yuv420p, 800x600, q=2-31, 200     kb/s, 25 fps, 90k tbn, 25 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc56.34.100 mpeg1video&#xA;    Stream #0:1: Audio: pcm_s16le, 48000 Hz, stereo, 1536 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; mpeg1video (native))&#xA;  Stream #1:0 -&amp;gt; #0:1 (copy)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm clueless. If anybody can tell me how to get this to work by either:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;fixing my mistakes in the command line flags&lt;/li&gt;&#xA;&lt;li&gt;if it's a regression, which revision to build from.&lt;/li&gt;&#xA;&lt;li&gt;any other way&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'll buy him/her a pint.&lt;/p&gt;&#xA;" OwnerUserId="10629" LastEditorUserId="10629" LastEditDate="2015-04-06T19:44:27.637" LastActivityDate="2015-04-06T20:52:33.623" Title="Screen capture AND audio recording in ffmpeg" Tags="|ffmpeg|audio|screen-casting|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15250" PostTypeId="2" ParentId="15213" CreationDate="2015-04-06T20:18:23.973" Score="1" Body="&lt;p&gt;Your hardware is NOT underpowered. I can run FCPX on a old MacBook Air using proxy media, with only 4GB if memory. That machine is much slower than yours. So it's not the MacBook that's the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have you tried to copy your media to a local drive just to see if you have issues with your raid system?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing to check is running the Activity Monitor utility and see if your CPU is busy when you get the beach ball. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before we know why you are having these issues it's hard to give a recommendation on what parts to upgrade.&lt;/p&gt;&#xA;" OwnerUserId="10580" LastActivityDate="2015-04-06T20:18:23.973" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15251" PostTypeId="2" ParentId="15249" CreationDate="2015-04-06T20:52:33.623" Score="1" Body="&lt;p&gt;The solution seems to be to use both a different video and audio encoder. This line works:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;FFmpeg/ffmpeg -video_size 1024x768 -framerate 25 -f x11grab -i :0.0+0,0 -f alsa -ac 2 -i pulse -acodec aac -strict experimental output.flv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I couldn't get it to work without &lt;code&gt;-acodec aac -strict experimental&lt;/code&gt;, contrary to the HOWTO on &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Capture/Desktop&quot; rel=&quot;nofollow&quot;&gt;ffmpeg wiki&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The error message I'm getting is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Output #0, flv, to 'output.flv':&#xA;    Stream #0:0: Video: flv1 (flv), yuv420p, 1024x768, q=2-31, 200 kb/s, 25 fps, 25 tbn, 25 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc56.34.100 flv&#xA;    Stream #0:1: Audio: adpcm_swf, 0 channels&#xA;    Metadata:&#xA;      encoder         : Lavc56.34.100 adpcm_swf&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; flv1 (flv))&#xA;  Stream #1:0 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; adpcm_swf (native))&#xA;Error while opening encoder for output stream #0:1 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Neither could I get this to work using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;FFmpeg/ffmpeg -video_size 1024x768 -framerate 25 -f x11grab -i :0.0+0,0 -f alsa -ac 2 -i pulse -acodec copy output.mpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;which contains &lt;code&gt;-ac 2&lt;/code&gt; probably in the right place. The error I'm getting repeatedly is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;[mp2 @ 0x7faffc007da0] Header missing&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This most likely is a bug/regression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To sum up, I've found a probable bug in both ffmpeg and on ffmpeg's wiki. And it looks like I'll have to buy the promised beer for myself ;)&lt;/p&gt;&#xA;" OwnerUserId="10629" LastActivityDate="2015-04-06T20:52:33.623" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15253" PostTypeId="1" AcceptedAnswerId="15263" CreationDate="2015-04-07T14:02:07.247" Score="2" ViewCount="1009" Body="&lt;p&gt;I just purchased a Panasonic HC-X1000 but now having second thoughts because I only now learned that the image sensor, being a tiny 1/2.3&quot; sensor, is no better than that in a compact camcorder or gopro 3. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The fact is, I bought this camera to produce for tv. I don't mind that this is not the best camera or the biggest sensor. My real question is, will the video produced by the camera be &lt;strong&gt;&lt;em&gt;good enough&lt;/em&gt;&lt;/strong&gt; to be used/licensed by networks (assuming that the content is good enough as well lol).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, I think I'll be returning this and going for something like the Panasonic GH4.&lt;/p&gt;&#xA;" OwnerUserId="10632" LastEditorUserId="10632" LastEditDate="2015-04-07T14:47:36.813" LastActivityDate="2017-11-24T15:44:01.850" Title="Is a 1/2.3&quot; sensor good enough for tv?" Tags="|camera|broadcasting|image-sensors|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15254" PostTypeId="1" CreationDate="2015-04-07T16:11:54.080" Score="1" ViewCount="31" Body="&lt;p&gt;I'm using Adobe Premiere to add some graphics that go along with a video we made. The original video was made by someone else, is 2 min long and very HQ and plays well. But once I imported it and worked on it for two days, I didn't realize how slow the frames play in the updated video. It's like the speed of the actors mouths don't move as fast as the audio you hear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anyway to get the speed back and not drop frames? It does this on my boss's Mac and my laptop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My graphics aren't very heavy or anything. Just some transparent png images with a few effects.&lt;/p&gt;&#xA;" OwnerUserId="10633" LastActivityDate="2015-04-08T15:58:11.687" Title="Newbie Question - speed of footage lags in Premier" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15255" PostTypeId="1" CreationDate="2015-04-07T17:30:52.070" Score="0" ViewCount="4974" Body="&lt;p&gt;Can video clips be combined or merged in Corel Video studio pro 7? Can anyone describe how it could be done.  I am using Windows 7 home edition.  I have already examined the that may have already have your answer&gt; &lt;/p&gt;&#xA;" OwnerUserId="10634" LastActivityDate="2020-04-16T12:59:08.010" Title="how can video clips be merged in Corel Video Studio Pro x7?" Tags="|video-editor|" AnswerCount="2" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="15256" PostTypeId="1" AcceptedAnswerId="15265" CreationDate="2015-04-07T19:24:06.087" Score="0" ViewCount="251" Body="&lt;p&gt;I'd like to play an AVI on my &lt;strong&gt;Sony BDP-S186&lt;/strong&gt;. &#xA;The user manual states: Supported Codecs and File Types: including &lt;strong&gt;Xvid (.avi)&lt;/strong&gt; (&lt;a href=&quot;http://pdf.crse.com/manuals/4290282312.pdf&quot; rel=&quot;nofollow&quot;&gt;http://pdf.crse.com/manuals/4290282312.pdf&lt;/a&gt; - in German).&#xA;I'm trying to play the file from an USB stick. &#xA;The video file's codec is &lt;strong&gt;MPEG-4 Video (XVID)&lt;/strong&gt;. &#xA;The device says &quot;Die Datei ist verfälscht oder unbestätigt,&quot; which means that the file is corrupted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes it works for AVI files, sometimes it doesn't and I actually do not know what's the reason for the issue. The issue seems to be well known by the internet, but I didn't find an appropriate solution for now.&#xA;This forum deals also the issue: &lt;a href=&quot;http://www.cczwei-forum.de/cc2/thread.php?threadid=6317&quot; rel=&quot;nofollow&quot;&gt;http://www.cczwei-forum.de/cc2/thread.php?threadid=6317&lt;/a&gt; (in German) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm buying the capability of playing files with that format/compression and not the capability of not playing them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would also be interested in the legal side of this issue. I don't think the cause for not playing specific videos is caused by copyright protection or anything related, even if Sony qualified themselves always for being a bad example of copyright protection guards. &lt;/p&gt;&#xA;" OwnerUserId="10635" LastEditorUserId="10635" LastEditDate="2015-04-10T08:12:04.053" LastActivityDate="2015-04-10T08:12:21.950" Title="Problem with video playback of AVI (Xvid) on Sony BDP-S186 [solved]" Tags="|playback|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15257" PostTypeId="2" ParentId="15215" CreationDate="2015-04-07T21:20:17.410" Score="1" Body="&lt;p&gt;Get a camera with HDMI output and plug it in to a Blackmagic Intensity PCIe card or USB/Thunderbolt unit. Then use Adobe Flash Media Encoder to take that input and encode it into an RTMP/RTSP stream that a computer can easily play on the other via the network, plugged in to a projector or TV.&lt;/p&gt;&#xA;" OwnerUserId="1725" LastActivityDate="2015-04-07T21:20:17.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15258" PostTypeId="1" CreationDate="2015-04-07T22:25:46.817" Score="1" ViewCount="1547" Body="&lt;p&gt;Still learning a little bit about converting formats, fps, etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a Sony A6000 and have the option to record in 1080 at 60fps. This is perfect for me because I absolutely love the smoothness of it. However, when I import it into my Macbook using PlayMemories Mobile, it imports the .MTS file (perfectly fine) and converts it into MP4. The problem is that the MP4 file looks pretty crappy compared to the original one. Very choppy, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any better way that I can handle this? How do other people record 1080 at 60fps and upload videos to YouTube? I'd like to be able to accomplish the same goal, but have no idea how to. I hope this all makes sense, although I'm sure I'm misunderstanding something here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd love to maintain 60fps if possible during the conversion.&lt;/p&gt;&#xA;" OwnerUserId="10638" LastEditorUserId="10638" LastEditDate="2015-04-07T22:37:27.743" LastActivityDate="2016-01-06T20:09:53.953" Title="Convert MTS 1080/60p to MP4 1080/60p" Tags="|video-quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15259" PostTypeId="2" ParentId="15216" CreationDate="2015-04-07T22:51:52.603" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;Select the Folder&lt;/li&gt;&#xA;&lt;li&gt;In the Motion Menu (at the top) go under &quot;Edit&quot; then select delete.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="10639" LastActivityDate="2015-04-07T22:51:52.603" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15260" PostTypeId="2" ParentId="15237" CreationDate="2015-04-08T04:28:35.130" Score="3" Body="&lt;p&gt;I don't think it's possible with repeater. You could do this with expressions and multiple duplicates of the shape however.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an example I came up with:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/wilKM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And here's how I did it:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Firstly make your initial shape. Now duplicate that shape (with the shape selected hit&lt;br&gt;&#xA;&lt;kbd&gt;ctrl / ⌘&lt;/kbd&gt;+&lt;kbd&gt;D&lt;/kbd&gt;). You should see this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/spxW8.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that we'll be making as many copies as we want later, but for the moment only make one, and get it set up so that we can duplicate it and not have to apply expressions to dozens of copies individually.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;For each of the properties you want to alter with every repetition we'll add an &lt;strong&gt;Expression Control&lt;/strong&gt; effect, as a handy way to be able to control the whole thing from a single slider.&lt;br&gt;&#xA;Say we wanted to alter the position, scale and rotation: we'd add a &lt;strong&gt;Point Control&lt;/strong&gt; effect to control position another for scale, and an &lt;strong&gt;Angle Control&lt;/strong&gt; for rotation. Expression controls are in &lt;strong&gt;Effects&gt;Expression Controls&gt;&lt;/strong&gt;&lt;br&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/7pCNy.png&quot; alt=&quot;effect controls&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;For ease of use rename each effect suitably. I've changed &lt;em&gt;&quot;Point Control&quot;&lt;/em&gt; to &lt;em&gt;&quot;offset&quot;&lt;/em&gt; and &lt;em&gt;&quot;scale ctrl&quot;&lt;/em&gt;, and changed &lt;em&gt;&quot;Angle Control&quot;&lt;/em&gt; to &lt;em&gt;&quot;rotation&quot;&lt;/em&gt;:&lt;br&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/XxZ2H.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;We're going to add expressions to control the &lt;strong&gt;transform&gt;Position&lt;/strong&gt; property, the &lt;strong&gt;Transform&gt;Rotation&lt;/strong&gt; property and the &lt;strong&gt;Transform&gt;Scale&lt;/strong&gt; property of each shape object. Note that this is the property inside the shape, not the Transform properties for the layer.&lt;br&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/me1yb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In order to increment the rotation and scale etc. for each duplicate of the Polystar shape we have to find its index, or its serial number so to speak. With layers this is relatively easy, each layer has an &lt;strong&gt;index&lt;/strong&gt; property, but shapes within a layer are layer sub-objects so we have to use a bit of magic to get the index of each. &lt;a href=&quot;https://forums.creativecow.net/thread/227/25458&quot; rel=&quot;nofollow noreferrer&quot;&gt;This thread&lt;/a&gt; is where I got the info I needed to work it out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the key bit of the expression you need is this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;shapeIndex=thisProperty.propertyGroup(2).name.split(&quot; &quot;)[1]-1;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The variable shapeIndex now gives you a unique index for each duplicate that you create. This index can then drive the value of the various properties.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;em&gt;Skip this section if you're not interested in how it works&lt;/em&gt;  &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;The expression &lt;code&gt;propertyGroup(2)&lt;/code&gt; returns the string &lt;code&gt;&quot;Polystar 2&quot;&lt;/code&gt; and we&#xA;  use javascript string function &lt;code&gt;split()&lt;/code&gt; to split it on the space&#xA;  which returns an array &lt;code&gt;[&quot;Polystar&quot;, &quot;2&quot;]&lt;/code&gt;.&lt;br&gt;&#xA;  We select the second member&#xA;  of that array (or member[1], since javascript numbers arrays starting&#xA;  at 0) which returns &lt;code&gt;&quot;1&quot;&lt;/code&gt;. If javascript wasn't so sloppy with types we'd have to&#xA;  explicitly convert the string &lt;code&gt;&quot;1&quot;&lt;/code&gt; into the integer &lt;code&gt;1&lt;/code&gt;, but it does the&#xA;  conversion without even being told. Yay Javascript!&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;So to add an offset to each duplicated shape layer we then use the shapeIndex variable and the expression control. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Firstly we'll add an expression to the shape's &lt;strong&gt;Transform&gt;Position&lt;/strong&gt; property. &lt;kbd&gt;alt&lt;/kbd&gt;-click on the stopwatch next to the property to set an expression for that property. It will look like this:&lt;br&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/2EEKH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Delete what is there by default and paste in the shapeIndex variable definition mentioned above:&lt;br&gt;&#xA;&lt;code&gt;shapeIndex=thisProperty.propertyGroup(2).name.split(&quot; &quot;)[1]-1;&lt;/code&gt;&lt;br&gt;&#xA;hit &lt;kbd&gt;return&lt;/kbd&gt; (not &lt;kbd&gt;enter&lt;/kbd&gt;) to start a new line&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now use the pickwhip to get the value of the Expression Control Effect that we created for the offset:&lt;br&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/MvTmH.png&quot; alt=&quot;don&amp;#39;t spare the pickwhip&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now we multiply that offset by the shapeIndex variable. The expression should now look like this:  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;shapeIndex=thisProperty.propertyGroup(2).name.split(&quot; &quot;)[1]-1;&lt;/code&gt;&lt;br&gt;&#xA;&lt;code&gt;effect(&quot;offset&quot;)(&quot;Point&quot;)*shapeIndex&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if your offset is [20, 20], then the fist duplicate will have an offset of [20,20], the next [20,20]*2 which is [40, 40], then [60, 60] and so on. You'll be able to change the value of this point control and have the duplicates update as you do it, without having to type any more code.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The same applies to rotation:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;shapeIndex=thisProperty.propertyGroup(2).name.split(&quot; &quot;)[1]-1;&lt;/code&gt;&lt;br&gt;&#xA;&lt;code&gt;effect(&quot;rotation&quot;)(&quot;Angle&quot;)*shapeIndex;&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;And scale. Scale is a bit different because we want to increment the difference between 100 and the value of the controll - if the control is 110% we want to add 10% to the scale. And once we start adding vectors and scalars it gets more complicated - we have to unpack the array, and the integer and pack it up again. So we use this expression:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;shapeIndex=thisProperty.propertyGroup(2).name.split(&quot; &quot;)[1]-1;&lt;/code&gt;&lt;br&gt;&#xA;&lt;code&gt;[100+ (effect(&quot;scale ctrl&quot;)(&quot;Point&quot;)[0]-100)*shapeIndex, 100+ (effect(&quot;scale ctrl&quot;)(&quot;Point&quot;)[1]-100)*shapeIndex];&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If we only wanted uniform scale we could use a slider Expression Control effect, and the the same sort of expression we use for rotation:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;shapeIndex=thisProperty.propertyGroup(2).name.split(&quot; &quot;)[1]-1;&lt;/code&gt;&lt;br&gt;&#xA;&lt;code&gt;(effect(&quot;scale ctrl&quot;)(&quot;Slider&quot;)/100)*shapeIndex;&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Lastly we want to control the colour. Colour in AE is a four-element array [R, G, B, Alpha]. The individual components of the array are decimals from 0 to 1, where 1 is full on and 0 is off. So red is [1,0,0], yellow is [1,1,0] and mid grey is [0.5, 0.5, 0.5]. What you want to do with colour is up to you, but here's a demo. It fades out from red to green, with random variation on the blue channel. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that the shapeIndex definition in this expression is different. That's because the &lt;code&gt;color&lt;/code&gt; property is nested down a level inside the &lt;code&gt;fill&lt;/code&gt; property, so we have to use &lt;code&gt;propertyGroup(3)&lt;/code&gt; instead of &lt;code&gt;propertyGroup(2)&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;shapeIndex=thisProperty.propertyGroup(3).name.split(&quot; &quot;)[1]-1;&lt;/code&gt;&lt;br&gt;&#xA;&lt;code&gt;seedRandom(shapeIndex, timeless = true);&lt;/code&gt;&lt;br&gt;&#xA;&lt;code&gt;r=value[0]-shapeIndex/25.6;&lt;/code&gt;&lt;br&gt;&#xA;&lt;code&gt;g=value[1]+shapeIndex/25.6;&lt;/code&gt;&lt;br&gt;&#xA;&lt;code&gt;b=random()&lt;/code&gt;&lt;br&gt;&#xA;&lt;code&gt;[r , g, b, 255]&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;seedRandom&lt;/code&gt; function creates a new, unchanging random number for each copy. If the &lt;code&gt;timeless=true&lt;/code&gt; part is changed to &lt;code&gt;timeless=false&lt;/code&gt; the random number will change with every frame. Another randomising function is the &lt;code&gt;wiggle&lt;/code&gt; function, that softly changes values over time.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;So now your shape layer should have two shape objects in it, and the second one will have expressions like this:&lt;br&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/cB29y.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Here's where the magic happens&lt;/strong&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;Now duplicate that second shape. If all goes well you should see new copies with offset, rotation and scale controlled by the expression control effects (make sure you have sane amounts for these values - the offset for example will default to half the width of the comp, which will move your duplicates out of sight. Try setting it to something like 50, 50 to start with). It should look something like the image at the start. Below is how the layer looks. &#xA;&lt;img src=&quot;https://i.stack.imgur.com/0H7ID.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;One of the cool things about doing it this way is that the expression is actually based on the name of the shape object. So the layer order doesn't matter. As you can see here, the copies are in front of the original, I can move them around so that they're behind, or individually move them up or down. Using the name is a little bit kludgy though. If I rename one of the shapes I might break all the expressions that control it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that's all too hard to read, &lt;a href=&quot;https://onedrive.live.com/redir?resid=5408802B7CF7224B!47711&amp;amp;authkey=!ACkuHMqDVQ6SPYA&amp;amp;ithint=file%2Czip&quot; rel=&quot;nofollow noreferrer&quot;&gt;here's the project&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-04-13T07:05:24.673" LastActivityDate="2015-04-13T07:05:24.673" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15262" PostTypeId="1" AcceptedAnswerId="15272" CreationDate="2015-04-08T05:48:12.410" Score="1" ViewCount="169" Body="&lt;p&gt;Does anyone know what this strange effect is in my video?  It's almost as if something is causing the video to &quot;pulse&quot; and reset somehow.  At first, I thought perhaps my own heartbeat was causing a slight vibration resulting in this but the first video was taken with the phone on a stand:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/JR9ReZcPF48?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Uh6JxWv21dQ?start=705&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may have to watch kind of closely to see it but I think it's pretty pronounced in the grass, trees, and cherry blossoms at HD and full screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems like the video is alternating between sharp and soft so I guess it's just an artifact of the compression but I haven't noticed the effect being so bad in other videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything I can do to fix this?&lt;/p&gt;&#xA;" OwnerUserId="10641" LastEditorUserId="10641" LastEditDate="2015-04-08T15:39:07.273" LastActivityDate="2015-04-08T16:21:57.270" Title="iPhone 6 Video Pulse" Tags="|iphone|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15263" PostTypeId="2" ParentId="15253" CreationDate="2015-04-08T06:17:15.203" Score="1" Body="&lt;p&gt;Small sensor means two things: increased depth of field (everything is in focus, no soft backgrounds) and more noise in low-light conditions. If either of these are a deal-breaker then consider changing. Here's why maybe you shouldn't:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get a large sensor camera with the ease of use and ergonomics of this camera you'll be looking at cameras like the &lt;a href=&quot;http://www.bhphotovideo.com/c/product/1082825-REG/sony_pxw_fs7_compact_4k_xdcam_with.html&quot; rel=&quot;nofollow&quot;&gt;Sony FS7&lt;/a&gt; which with lenses is going to be around the $8k mark, maybe close to $10K all up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise if you do go down the DSLR route you'll find that simply getting a GH4 probably won't be enough for broadcast work. You'll also need a good on-camera monitor because the built in monitors are way too low res to be able to judge focus critically, probably an external sound recorder, maybe also an external video recorder if you want to record raw or proRes, maybe a follow focus handle, maybe a matte box, and—since you'll have all these extra bits to carry—a rig to put it all on. At this point it will weigh about as much as a family sized refrigerator and look like something from Mad Max. I know, because I've lived it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You won't have motor zoom, and unless you get a cinema lens (eyewateringly expensive) you'll have to put up with stills lenses: no manual iris control on the lens, focus measurements are very approximate and usually go something like 1ft, 2 ft, infinity, and there's no parfocal zooming—meaning that focus changes as you zoom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The shorter depth of field also means that you have to really stay on top of your focus. When I first started shooting with DSLRs (5DII) I was going gung-ho with wide open lenses, and discovering that when I looked at the footage in the edit suite that if the subject moved at all they'd go completely soft. It wasn't until I got an external monitor that I could reliably get useable footage from the thing. For documentary shooting, although you can get beautiful results when conditions are right, it really isn't the right camera for run-'n-gun.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If beautiful bokeh is worth it to you, then go DSLR, but if getting the shot is more important then go with something with good ergonomics, that is first and foremost built as a video camera.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-04-08T06:17:15.203" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15264" PostTypeId="1" AcceptedAnswerId="15758" CreationDate="2015-04-08T07:03:02.350" Score="1" ViewCount="724" Body="&lt;p&gt;I keep reading that for proper sound you should use an external recorder like the Zoom H1 or H4N with your DSLR. Until now, I was only using an external microphone, namely the Takstar SGC-598, without an extra recorder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My question is, how do you mount both the mic and the recorder on the DSLR which has only one hot shoe.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recently, I've been shooting my first documentary video, holding the camera just like that with no steadycam, shoulder rig etc. Also, I was on my own so there was nobody to hold the microphone (and potentially a recorder) separately. Therefore I had to attach it directly to the camera.&#xA;Having only the camera with little extra gear made the shooting very dynamic which I liked.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I looked at a few Hot Shoe Y-Adapters but none really convinced me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you have any experience with a setup like this? How do you mount mic and recorder on the camera?&lt;/p&gt;&#xA;" OwnerUserId="10643" LastActivityDate="2015-07-15T10:10:18.110" Title="How to mount microphone and recorder on the DSLR?" Tags="|dslr|microphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15265" PostTypeId="2" ParentId="15256" CreationDate="2015-04-08T08:02:24.333" Score="-1" Body="&lt;p&gt;I changed the file system on the USB stick from FAT32 to NTFS. The video playback works now.&lt;/p&gt;&#xA;" OwnerUserId="10635" LastEditorUserId="10635" LastEditDate="2015-04-10T08:12:21.950" LastActivityDate="2015-04-10T08:12:21.950" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15266" PostTypeId="1" AcceptedAnswerId="15373" CreationDate="2015-04-08T09:06:41.130" Score="2" ViewCount="887" Body="&lt;p&gt;Can one dump/extract the &lt;code&gt;Xtra&lt;/code&gt; atom from an MP4 file ? I am looking for a solution on a linux system (debian/jessie if possible).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apparently this atom is used by WMP, as per &lt;a href=&quot;http://www.ventismedia.com/mantis/view.php?id=12017&quot; rel=&quot;nofollow&quot;&gt;link&lt;/a&gt;. I'd like to be able to use such information (rating, publisher or leveling inf) and pass that to my DLNA server (minidlna).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently all I see using &lt;code&gt;AtomicParsley&lt;/code&gt; is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[...]&#xA;                     Atom data @ 678585 of size: 529, ends @ 679114&#xA;         Atom Xtra @ 679114 of size: 206, ends @ 679320 ~&#xA;Atom free @ 679320 of size: 48, ends @ 679368&#xA;Atom mdat @ 679368 of size: 248835382, ends @ 249514750&#xA;&#xA; ~ denotes an unknown atom&#xA;[...]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And same thing with &lt;code&gt;MP4Box&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; &amp;lt;UDTARecord Type=&quot;Xtra&quot;&amp;gt;&#xA; &amp;lt;UnknownBox&amp;gt;&#xA; &amp;lt;BoxInfo Size=&quot;206&quot; Type=&quot;Xtra&quot;/&amp;gt;&#xA; &amp;lt;/UnknownBox&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Which cannot be used/parsed.&lt;/p&gt;&#xA;" OwnerUserId="10558" LastActivityDate="2015-04-20T07:41:22.703" Title="How to extract Xtra atom from MP4 file?" Tags="|ffmpeg|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15267" PostTypeId="2" ParentId="15231" CreationDate="2015-04-08T09:20:02.840" Score="3" Body="&lt;p&gt;After some research, I discover this &lt;a href=&quot;https://stackoverflow.com/questions/1966503/does-imdb-provide-an-api&quot;&gt;post&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far the API for &lt;a href=&quot;http://www.omdbapi.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.omdbapi.com&lt;/a&gt; has proven to be exactly what I wanted. For completeness, I found those command line tools helpful:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://github.com/xbgmsharp/allocine&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/xbgmsharp/allocine&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://github.com/bgr/imdb-cli&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/bgr/imdb-cli&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;And on debian:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ sudo apt-get install python-imdbp&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10558" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2015-04-08T10:21:24.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15268" PostTypeId="1" CreationDate="2015-04-08T09:57:16.633" Score="1" ViewCount="940" Body="&lt;p&gt;I currently running one photo studio in my hometown. I want to introduced new future in my business. So, i would like to start video editing on my biz. i ask to my friends circle &quot;Which application is smart for video editing?&quot;. They suggest final cut pro, primer and scene cut pro like this. The Linux users suggest to blender is nice one. am also Linux user and know little bit about blender. My question is, blender is professionally good for video editing field? what is the different between blender and final cut pro? of course i know well blender is open source others are premium. I want know more other information about quality, support, run time and etc... Please clear my doubts. I was confused to choose my application.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-Thanks&lt;/p&gt;&#xA;" OwnerUserId="10644" LastActivityDate="2015-04-08T09:57:16.633" Title="Is Blender smarter than final cut pro?" Tags="|video-editor|final-cut-pro|blender|" AnswerCount="0" CommentCount="10" ClosedDate="2015-04-27T04:48:18.943" ContentLicense="CC BY-SA 3.0" />
  <row Id="15269" PostTypeId="1" AcceptedAnswerId="15302" CreationDate="2015-04-08T11:35:35.767" Score="3" ViewCount="900" Body="&lt;p&gt;I want to compare an original video with the same video but transferred through a device. How can I do that? I want to compare them to improve the transferred video quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video is transferred through a device that controls video cameras in  operation rooms. It's connected to the monitor through HDMI and so whenever a surgent is doing an endoscopy surgery it'll be shown on the monitor but first transfered from this device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We want to improve the quality of the video if it's not at it's highest quality. To know that, we should compare it with the original video that is directly connected to the monitor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have some parameters in mind like brightness, contrast, frame rate, blurriness,... and many other parameters that can affect the video quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I measure this?&lt;/p&gt;&#xA;" OwnerUserId="10555" LastEditorUserId="525" LastEditDate="2015-04-09T13:06:34.633" LastActivityDate="2015-04-11T11:13:30.337" Title="Compare an original video with a transferred video?" Tags="|video|video-quality|software|video-recording|" AnswerCount="2" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="15270" PostTypeId="1" CreationDate="2015-04-08T15:54:37.073" Score="1" ViewCount="347" Body="&lt;p&gt;Why is the top left corner of the screen considered to be (0,0) and not the bottom left like in a graph?&lt;/p&gt;&#xA;" OwnerDisplayName="user10646" LastActivityDate="2015-04-12T01:16:11.407" Title="Why does video rendering begin at the top left corner of the screen?" Tags="|screen-casting|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15271" PostTypeId="2" ParentId="15254" CreationDate="2015-04-08T15:58:11.687" Score="1" Body="&lt;p&gt;Problem solved. The video was edited originally in Movie Maker and for some reason destroyed the quality. After I re-did everything all over again and only using Premiere, it cleared it all up. &lt;/p&gt;&#xA;" OwnerUserId="10633" LastActivityDate="2015-04-08T15:58:11.687" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15272" PostTypeId="2" ParentId="15262" CreationDate="2015-04-08T16:21:57.270" Score="1" Body="&lt;p&gt;It looks like its the iPhone auto focus, try finding an app that doesn't use the auto focus&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2015-04-08T16:21:57.270" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15273" PostTypeId="1" CreationDate="2015-04-08T18:55:57.060" Score="1" ViewCount="573" Body="&lt;p&gt;I have a project in Premier Pro that is basically just stitching together a series of videos from a helmet camera into one video that is 4 hours 30 long. In Premier pro all looks good and I can watch the video in the preview window no problem at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The exported video is different though. It is fine up to about 3:26 but then it doesn't play. In windows media player I get an error if I try to move the play head past this point. The video was uploaded to youTube here: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/bTDuNp7WNMg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and you can see that it just removed the end of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some sort of limit on H.264 video length? I highly doubt that!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can I do to start debugging what is going on here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="10577" LastActivityDate="2015-04-13T01:48:22.967" Title="Premier Pro producing a 4 hour video that's corrupted" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15274" PostTypeId="1" CreationDate="2015-04-08T19:23:27.813" Score="0" ViewCount="172" Body="&lt;p&gt;Since a few days I have a new computer. Here my specifications:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;GTX 980&lt;/li&gt;&#xA;&lt;li&gt;I7 5820k&lt;/li&gt;&#xA;&lt;li&gt;Windows 8.1&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm trying to stream with Open Broadcast Software (OBS), but when I try to preview I already get frame lagg. When I disable encoding while previewing, the frame lagg is gone. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can I prevent this or what is the problem with this? I talked already with a lot of people about this, but no one really knows a solution. I hope someone here has an idea how to encode x264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="10647" LastEditorUserId="6685" LastEditDate="2015-04-11T14:19:57.787" LastActivityDate="2017-09-13T23:00:09.900" Title="OBS (Encoding X264) fails" Tags="|streaming|live-recording|x264|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15275" PostTypeId="2" ParentId="15273" CreationDate="2015-04-09T10:00:37.763" Score="2" Body="&lt;p&gt;The first place I would look would be in the encoder log files. If you used Adobe Media Encoder you will find the log files here:&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Windows 7 &amp;amp; 8:&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\[user]\Documents\Adobe\Adobe Media Encoder\8.0\AMEEncodingLog.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;Mac OS:&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/Users/[user]/Documents/Adobe/Adobe Media Encoder/8.0/AMEEncodingLog.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To view the log file, choose File &gt; Show Log or press &lt;kbd&gt;CTRL&lt;/kbd&gt; + &lt;kbd&gt;L&lt;/kbd&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;There are two log files:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;AMEEncodingLog.txt - &lt;em&gt;for successfully encoded jobs&lt;/em&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;AMEEncodingErrorLog.txt - &lt;em&gt;for jobs that failed, or were stopped by the user&lt;/em&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;See the help: &lt;a href=&quot;https://helpx.adobe.com/media-encoder/using/log-files.html&quot; rel=&quot;nofollow&quot;&gt;https://helpx.adobe.com/media-encoder/using/log-files.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Check the last entry in each log file and see if your video was encoded correctly.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If the log file points to an encoding error, investigate that&lt;/li&gt;&#xA;&lt;li&gt;If the log file indicates no error then attempt to play the video in a different media player and see if the problem still persists  &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I use VLC media player because I've found it to be most reliable.  There is also a debugging console in VLC that can be useful.&lt;/p&gt;&#xA;" OwnerUserId="10553" LastEditorUserId="6685" LastEditDate="2015-04-13T01:48:22.967" LastActivityDate="2015-04-13T01:48:22.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15276" PostTypeId="1" AcceptedAnswerId="15285" CreationDate="2015-04-09T11:00:08.940" Score="3" ViewCount="1492" Body="&lt;p&gt;I recently was at friends birthday with a few musical performances and this friend asked me to film the event. Unfortunately, it was really badly lit (I did notice it, but I couldn't do anything about it). So I had a bad feeling, but I shot as much footage as I could anyway. So, this is how it turned out:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ilghj.jpg&quot; alt=&quot;original still&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With a luma curve adjustment, raised saturation and an orange-ish color-grading, it looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/60f7U.jpg&quot; alt=&quot;still with corrections&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I lighten it up even more, it becomes even more grainy. Also, the missing color informations become more obvious: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/xPqev.jpg&quot; alt=&quot;still with corrections, lighter&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, my question; should I rather sacrifice some visibility so that it looks not totally grainy (2nd picture) or lighten it up even more at the cost of strange-looking colors and very grainy scenes (3rd picture)? And, using either variant as a starting point, how could I further increase the quality of the result? Especially bring more color into it while maintaining a natural look and reduce the noise. I'm working with Premiere Pro CC. I've tried the &lt;em&gt;remove grain&lt;/em&gt; effect in After Effects, but that didn't yield great results (I'm not sure if I got the settings right though, I'll try it again later). I also found the &lt;a href=&quot;http://www.neatvideo.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Neat Video&lt;/a&gt; Plugin for PP and AE, but I'm not making any money from this, so I'm not so keen on spending money on it ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; As requested, here are some &lt;a href=&quot;https://www.dropbox.com/sh/7q73qgz5e013r0u/AAApYTMX0Kc7FAzMoN_SK4Yka?dl=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;uncompressed stills&lt;/a&gt; (directly exported frames from Premiere). I've decided to go with the 'middle ground' option (uncompressed_graded.bmp).&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2015-04-10T11:49:36.123" LastActivityDate="2015-04-10T11:49:36.123" Title="How to deal with this heavily underexposed footage" Tags="|premiere|color-correction|post-production|noise-reduction|" AnswerCount="1" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="15277" PostTypeId="2" ParentId="15269" CreationDate="2015-04-09T11:37:35.760" Score="5" Body="&lt;p&gt;There are quite a few programs that do so-called &quot;full reference&quot; measurement, i.e. comparing an original against a degraded signal:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.acceptv.com/en/products_vqa.php&quot; rel=&quot;noreferrer&quot;&gt;http://www.acceptv.com/en/products_vqa.php&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://compression.ru/video/quality_measure/index_en.html&quot; rel=&quot;noreferrer&quot;&gt;http://compression.ru/video/quality_measure/index_en.html&lt;/a&gt; (commercial)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.its.bldrdoc.gov/resources/video-quality-research/guides-and-tutorials/description-of-vqm-tools.aspx&quot; rel=&quot;noreferrer&quot;&gt;http://www.its.bldrdoc.gov/resources/video-quality-research/guides-and-tutorials/description-of-vqm-tools.aspx&lt;/a&gt; (free to use, gives results on a 0-1 scale)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://mmspg.epfl.ch/vqmt&quot; rel=&quot;noreferrer&quot;&gt;http://mmspg.epfl.ch/vqmt&lt;/a&gt; (free to use, calculates various metrics)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;These are all outputting some value that you can use to objectively compare different systems. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, keep in mind that the results you get from such a software may not correspond exactly to what humans would rate. These metrics have been trained on natural images and movie sequences and the results may not be valid for medical purposes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would suggest you try VQM (it is standardized by the ITU) and image metrics like SSIM. They perform very good, in principle. Then check whether the results are what you would expect when looking at the videos yourself. You could do a small test with a few experts and let them rate a few sequences, then compare the results with the objective values you obtained from the software.&lt;/p&gt;&#xA;" OwnerUserId="525" LastActivityDate="2015-04-09T11:37:35.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15278" PostTypeId="1" AcceptedAnswerId="15281" CreationDate="2015-04-09T15:20:58.967" Score="2" ViewCount="2327" Body="&lt;p&gt;I work for a small library. We have a collection of VHS tapes that we have recorded to DVD using a Magnavox VHS HQ DVD recorder. &lt;del&gt;They came in as .ogg&lt;/del&gt;, They came in a a set of files including some .VOB which I can play by changing the file extension to .mp4. How much quality have I lost in this conversion? Is there a way to convert VHS to digital with higher fidelity?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The collection has historical value, so there is some debate on whether we need to save the original VHS tapes as opposed to just keeping the videos in electronic format (on a server that is backed up nightly). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt;&#xA;A bit of new information:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used &lt;a href=&quot;http://www.headbands.com/gspot/&quot; rel=&quot;nofollow&quot;&gt;GSpot&lt;/a&gt; to determine the codec (I don't have admin/install rights on my computer, so that is the only program I could use), and it says mpeg2. Does any of this information help with the original question?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit2:&lt;/strong&gt;&#xA;I'm such a dumb dumb. I had all these people trying to figure out why my files were .OGG. They weren't. They were .VOB. What was on the DVDs is exactly what Perter Cordes described below. Now that I've sent people on a wild goose chase...&lt;/p&gt;&#xA;" OwnerUserId="10652" LastEditorUserId="10652" LastEditDate="2015-04-14T21:48:57.700" LastActivityDate="2015-04-14T21:48:57.700" Title="Quality of VHS converted to DVD" Tags="|video-quality|conversion|mp4|dvd|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15279" PostTypeId="1" CreationDate="2015-04-09T15:27:15.537" Score="0" ViewCount="58" Body="&lt;p&gt;I did a short corporate composition that used alot of stills. I animated alot of the stills by zooming in and out and panning across. Pretty basic. I have trouble with unexpected movements when I animate both scale and position of the image. These are little sudden changes of position of that happen at the end of the movement. How can I control these animations better? I will try to post a sample of what I mean if this question is not clear.&lt;/p&gt;&#xA;" OwnerUserId="6277" LastActivityDate="2019-08-27T00:52:22.293" Title="Animating stills in After Effects" Tags="|video|after-effects|animation|motion|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15280" PostTypeId="1" CreationDate="2015-04-09T15:49:22.340" Score="1" ViewCount="73" Body="&lt;p&gt;Looking to edit a blip out of the beginning of a video/audio file...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone know why this doesn't work as expected?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i ~/Downloads/in.mov -vcodec copy -af volume=enable='between(t,0,3)':volume=0 ~/Downloads/out2.mov&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_volume_0 @ 0x7fa8a8d01680] [Eval @ 0x7fff5544ebe0] Missing ')' or too many args in 'between(t'&#xA;[Parsed_volume_0 @ 0x7fa8a8d01680] Error when evaluating the volume expression 'between(t'&#xA;[AVFilterGraph @ 0x7fa8a8d01440] Error initializing filter 'volume' with args 'between(t'&#xA;Error opening filters!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10653" LastActivityDate="2015-04-11T13:20:18.430" Title="ffmpeg mute specific time" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" FavoriteCount="0" ClosedDate="2015-04-14T17:46:34.427" ContentLicense="CC BY-SA 3.0" />
  <row Id="15281" PostTypeId="2" ParentId="15278" CreationDate="2015-04-09T15:53:30.157" Score="1" Body="&lt;p&gt;The best way to conserve the VHS's would be to scan each frame in at the highest quality possible and export to a video file, this would be a very long process and would require some expensive kit or a professional service. If they are historical value and you want the best it would be worth spending the money and getting it done by a pro but that cost is your choice in the end but it can be expensive as I looked into it myself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VHS quality is the best it would ever be without spending huge amounts of time and money as above. what your getting on your DVD is going to be as the content going in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have done this myself a few times from VHS and no matter what settings I chose and no matter how big the bit rate, file size, up-scaling options etc the quality was always the same, the phrase &quot;rubbish in, rubbish out&quot; comes to mind.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2015-04-09T15:53:30.157" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15282" PostTypeId="2" ParentId="15278" CreationDate="2015-04-09T16:50:34.440" Score="5" Body="&lt;p&gt;One big loss in converting VHS to DVD arises from going through the composite domain. Both VHS and MPEG2 use a separated chroma paradigm -- on the VHS tape are two signals, essentially luma and bandwidth-limited chroma. MPEG2 (the standard for DVD) also uses separate luma and chroma. But the standard output from a VHS player combines the signals in a way that means the MPEG2 encoder must do a rather imperfect job of unmixing them again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One solution, such as it is, would be to use a VHS player that has separate luma and chroma outputs, called &lt;a href=&quot;http://en.wikipedia.org/wiki/S-Video&quot; rel=&quot;noreferrer&quot;&gt;S-Video&lt;/a&gt;, and an encoder that can work directly with S-Video components.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not saying you'll get beautiful results, because nothing about VHS is beautiful to begin with. But you would be sure of getting a conversion that doesn't suffer unnecessary losses.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-04-09T16:50:34.440" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15283" PostTypeId="1" CreationDate="2015-04-09T17:15:39.067" Score="1" ViewCount="156" Body="&lt;p&gt;I currently have 16 Analog cameras hooked up to a &lt;a href=&quot;http://www.vonnic.com/proddetail.asp?prod=DVR-K4016SE&quot; rel=&quot;nofollow&quot; title=&quot;Vonnic DVR-K4016SE 16CH H.264 DVR System&quot;&gt;Vonnic DVR-K4016SE 16CH H.264 DVR System&lt;/a&gt;. I would like to make live streams available on my website of some of these cameras. Using the DVR is optional.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible to do while keeping my costs under $500? I imagine there are a lot of ways to do this. I am open to doing the technical work myself but would have to have detailed or easy to implement procedures.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently customers use the MicroCam app to see the cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="10654" LastActivityDate="2015-04-09T17:15:39.067" Title="Live Video on Website from Analog cameras" Tags="|streaming|analog|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15285" PostTypeId="2" ParentId="15276" CreationDate="2015-04-09T21:46:39.947" Score="1" Body="&lt;p&gt;If this is no raw material, there is no additional pixel information to balance your colors and achieve a natural look. Only chance you have is to denoise your video and desaturate the colors. Try to find a good relationship between brightness and noise to get an acceptable result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately there is no good, free, build-in or open source solution at the moment. Denoising a video requires very complex algorithms, not only because every camera produces different noise types. Currently best approach are &lt;a href=&quot;http://cs.haifa.ac.il/hagit/courses/seminars/wavelets/Presentations/Lecture09_Denoising.pdf&quot; rel=&quot;nofollow&quot;&gt;wavelet algorithms&lt;/a&gt;, but there are only 2 tools which use it:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.neatvideo.com/&quot; rel=&quot;nofollow&quot;&gt;Neat Video&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://vimeo.com/26571727&quot; rel=&quot;nofollow&quot;&gt;Nuke's Denoiser&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Note: In my experience Neat Video does a very good job and in some cases you are able to denoise the video twice without getting an &lt;em&gt;over blurred image&lt;/em&gt;. &lt;/p&gt;&#xA;" OwnerUserId="6685" LastActivityDate="2015-04-09T21:46:39.947" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15286" PostTypeId="1" CreationDate="2015-04-10T01:10:32.043" Score="4" ViewCount="3504" Body="&lt;h3&gt;Circumstances&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;I recently started to extract frames from videos (GoPro) for underwater photography. I'm currently using Adobe Premiere Pro to do so, which works, but when I imported these new photos into Lightroom, I realized that the date/time metadata of the pictures don't match with the video's metadata (they have the date and time of when I extracted them, for obvious reasons).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is really not convenient, since I need to manually re-adjust the time for each of these new pictures (I want all of my pictures to have accurate date/time metadata, since I often look back and want to know when I took these pictures).&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Question&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;How can I extract a frame from a movie file and store the date/time metadata from the video to the frame? If this is possible, how can I store the time difference between the location of the frame and the start of the video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you very much.&lt;/p&gt;&#xA;" OwnerUserId="10657" LastEditorUserId="6685" LastEditDate="2015-04-13T01:48:02.697" LastActivityDate="2015-05-27T20:54:54.657" Title="Keeping metadata (time/date) when extracting frames from video" Tags="|video|video-editor|software-recommendation|photos|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="15287" PostTypeId="1" AcceptedAnswerId="15311" CreationDate="2015-04-10T04:23:54.250" Score="1" ViewCount="1283" Body="&lt;p&gt;Few days ago, at early morning I saw something falling in a slop in the sky. It wasn't a plane but something with a color of fire and so bright! I wonder what it could be, so I recorded it on my mobile. But as my mobile camera resolution is really very low, it wasn't that clear to understand. While I show it to someone, then they don't understand the exact thing that I saw. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I'd like to know that is there any way to increase the resolution of the mobile clip?&lt;/p&gt;&#xA;" OwnerUserId="10659" LastActivityDate="2015-04-12T01:30:56.333" Title="How can I increase the resolution of a mobile clip?" Tags="|video-quality|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15288" PostTypeId="2" ParentId="15287" CreationDate="2015-04-10T10:13:45.170" Score="1" Body="&lt;p&gt;Unfortunately, no. Increasing the resolution of a video after recording is impossible. You can upscale the video, but that will simply copy the pixels and maybe interpolate a bit, but the result won't look any better than the original. If, as I presume, whatever you saw there is just a bunch of colored pixels in your video, there's nothing you can do to change that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whatever you saw there, maybe it was just not meant to be caught on tape ... &lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-04-10T10:13:45.170" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15289" PostTypeId="1" CreationDate="2015-04-10T12:57:20.183" Score="3" ViewCount="99" Body="&lt;p&gt;Does anyone know a Framegrabber / capture device that works for all HMDI, VGA, DVI, SDI ?&lt;/p&gt;&#xA;" OwnerUserId="10555" LastEditorUserId="9105" LastEditDate="2015-04-13T05:11:08.073" LastActivityDate="2015-11-30T04:50:17.290" Title="HDMI/DVI capture/recording hardware?" Tags="|hardware|video-recording|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15290" PostTypeId="1" CreationDate="2015-04-10T14:55:38.513" Score="2" ViewCount="422" Body="&lt;p&gt;Is there a way to see other project elements when working in a composition to be able to align and synchronized the elements of the animation one with the others? When I open up a composition to adjust my elements I don't see all my elements in others composition and main project.&lt;/p&gt;&#xA;" OwnerUserId="10447" LastEditorUserId="6685" LastEditDate="2015-04-16T08:21:24.813" LastActivityDate="2015-06-17T12:17:11.623" Title="How to view my project elements while working in a composition?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15291" PostTypeId="2" ParentId="15290" CreationDate="2015-04-10T16:00:50.313" Score="0" Body="&lt;p&gt;The idea of After Effects is to work with &lt;strong&gt;nested compositions&lt;/strong&gt;.  The only opportunity is to use the &lt;strong&gt;flow chart diagram&lt;/strong&gt; to get some kind of orientation:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/KSDbn.jpg&quot; alt=&quot;click&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZfGh7.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It really depends on what you want to achieve. &lt;strong&gt;If you need to work in 1 Composition&lt;/strong&gt;, I suggest you to create &lt;strong&gt;Adjustment Layers&lt;/strong&gt; &lt;em&gt;(not visible in the viewer and also not visible in the render)&lt;/em&gt; in order to facilitate the work. Thus it's possible to separate the content &lt;em&gt;(the layers)&lt;/em&gt; visually, &lt;strong&gt;if they are well labeled&lt;/strong&gt; like:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/02TZY.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As alternative use a &lt;a href=&quot;http://en.wikipedia.org/wiki/Digital_compositing#Node-based_and_layer-based_compositing&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;node based compositor&lt;/strong&gt;&lt;/a&gt; like Fusion, Nuke, Natron or Blender &lt;strong&gt;to see everything at once, but as I said this really depends on the task and your requirements&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-05-18T11:30:47.317" LastActivityDate="2015-05-18T11:30:47.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15292" PostTypeId="1" AcceptedAnswerId="15294" CreationDate="2015-04-10T16:31:51.310" Score="2" ViewCount="5262" Body="&lt;p&gt;I shoot TMZ-type webisodes, where multiple people are throwing jokes around a news room.  I'm considering buying 4 lavaliere mics for my 4 performers so I can isolate their audio during editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to keep the 4 audio tracks synched with the video track as I cut and rearrange the footage. Using Premiere CC, how would I link the multiple audio tracks to the single video track?&lt;/p&gt;&#xA;" OwnerUserId="5546" LastEditorUserId="5546" LastEditDate="2015-04-10T16:50:25.553" LastActivityDate="2015-04-10T18:26:17.090" Title="link multiple audio tracks to one video track in Premiere CC" Tags="|video|premiere|audio|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15293" PostTypeId="1" AcceptedAnswerId="15318" CreationDate="2015-04-10T17:29:47.080" Score="1" ViewCount="75" Body="&lt;p&gt;I'd like to buy 4 lavaliere mics for my video recording, and I need some education about lav setups.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I imagine that wireless mics would be easier to manage, but they probably cost more. I imagine I would need the wireless mics, and a receiver for each.  I'd also need a 4-track digital recorder. Or does each lav mic include a digital recorder? Finally, I'd need a way to transfer the audio files to my computer as either MP3 or WAV files. (Synching them with video should be simple; I'll use a clapperboard.)&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-04-16T03:47:45.813" Title="what are the elements of a lavaliere mic system?" Tags="|audio-recording|microphone|lavaliere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15294" PostTypeId="2" ParentId="15292" CreationDate="2015-04-10T18:26:17.090" Score="2" Body="&lt;p&gt;You can link multiple clips as you would link two clips. First, put all the audio and video tracks you want in your timeline and arrange them using the timecodes, manual adjustments or however you prefer to align the individual recordings (I'm assuming you have a method for that, since you removed that part of the question in the last edit). Then select all clips that you want to link, right-click on one of them and select &quot;link&quot; (if some of them are already linked, you will only see an &quot;unlink&quot; option, in that case unlink them, select them again and then link them alltogether). You could also choose to group them, which yields a slightly different effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check the &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/editing-audio-timeline-panel.html#link_and_unlink_video_and_audio_clips&quot; rel=&quot;nofollow&quot;&gt;Premiere Pro Support Page&lt;/a&gt; for more information on linking clips, as well as &lt;a href=&quot;https://helpx.adobe.com/premiere-elements/using/grouping-linking-disabling-clips.html&quot; rel=&quot;nofollow&quot;&gt;this page&lt;/a&gt; on linking and grouping clips in Premiere Elements (it's works quite similar in Premiere Pro).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One more tip: In the program preferences under &quot;Generel&quot;, you have the option &quot;Display out of sync indicators for unlinked clips&quot;, which will show you when clips you linked at some point are out of sync even if you unlinked them later on. This might be helpful for an editing process with several independent audio clips.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-04-10T18:26:17.090" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15295" PostTypeId="1" AcceptedAnswerId="15339" CreationDate="2015-04-10T18:34:58.517" Score="1" ViewCount="1179" Body="&lt;p&gt;I'm shooting a scene for a film where the actor will be placed in front of a computer monitor. I want to use the monitor to light the actor, but I want to be able to adjust the color temperature to get the look I want. I have F.lux (&lt;a href=&quot;https://justgetflux.com/&quot; rel=&quot;nofollow&quot;&gt;https://justgetflux.com/&lt;/a&gt;), so I know changing monitor color temperature is possible, but I want to be able to control it. Preferably the program would be free, and I would be able to adjust the temperature in real time.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-04-15T13:22:44.883" Title="Is there a program that can change monitor color temperature for lighting?" Tags="|software-recommendation|software|lighting|color|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15296" PostTypeId="1" AcceptedAnswerId="15317" CreationDate="2015-04-10T19:06:26.450" Score="1" ViewCount="82" Body="&lt;p&gt;I want to produce many playable DVDs using a few burners (setting up a computer lab with each computer having an image of the same) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have close to no budget for this and am curious if a standard CD (the kind that have around 700mb) can be formatted as a DVD, and then played in standard DVD players? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously it would have to be a short and or low bitrate encoded video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But will this work? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(This is based on the idea that bulk CDs being an older technology can be obtained in bulk for less money than the same of DVD-5s) &lt;/p&gt;&#xA;" OwnerUserId="10662" LastEditorUserId="9105" LastEditDate="2015-04-13T01:47:48.393" LastActivityDate="2015-04-13T01:47:48.393" Title="Player support for video DVD stored on a CD-R?" Tags="|encoding|dvd|" AnswerCount="1" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15297" PostTypeId="2" ParentId="15295" CreationDate="2015-04-10T19:59:59.823" Score="2" Body="&lt;p&gt;Here is a hack. You can use Blender and the &lt;a href=&quot;https://www.blender.org/manual/render/cycles/nodes/more.html?highlight=blackbody#blackbody&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blackbody Node&lt;/a&gt; of &lt;em&gt;Cycles Render Engine&lt;/em&gt;. Following example shows a &lt;strong&gt;realtime viewport animation&lt;/strong&gt; of the color temperature in kelvin:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/aYvG9.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Create some geometry (e.g. a plane) as &lt;strong&gt;light emitter&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Setup an &lt;strong&gt;Emission shader&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Create a &lt;strong&gt;Blackbody node&lt;/strong&gt; and plug it into the &lt;strong&gt;Emission Color&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Position your camera&lt;/li&gt;&#xA;&lt;li&gt;Switch your Camera by pressing &lt;kbd&gt;Numpad 0&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;li&gt;Set the &lt;strong&gt;Viewport Shading to Rendered&lt;/strong&gt; or press &lt;kbd&gt;F12&lt;/kbd&gt; to render the image&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/mnMHm.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.pasteall.org/blend/35540&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;blend file&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;Renderings&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/rCtnT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;2000K&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/q1nR9.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;4000K&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/EZWAh.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;6000K&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-04-15T11:07:06.407" LastActivityDate="2015-04-15T11:07:06.407" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15298" PostTypeId="2" ParentId="15279" CreationDate="2015-04-10T22:23:21.280" Score="1" Body="&lt;p&gt;From my experience all unexpected movements when keyframing are fixed by editing bezier curves of those keyframes, make them linear or something.&lt;/p&gt;&#xA;" OwnerUserId="10508" LastActivityDate="2015-04-10T22:23:21.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15299" PostTypeId="1" CreationDate="2015-04-11T01:16:10.727" Score="2" ViewCount="883" Body="&lt;p&gt;I took over the editing for a project recently and I wasn't given the raw files. All I was given was the partially completed MP4 file. I used Final Cut Pro 7 to complete the project edits. When I exported the file, I exported using Quicktime Conversion to create a .mov file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issue is that this file must be broadcast quality and it just failed QC because parts of it are pixilated. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering, is there a way to export the file - which looks perfect on my end - so that it isn't pixilated and it passes QC?&lt;/p&gt;&#xA;" OwnerUserId="10663" LastEditorUserId="674" LastEditDate="2015-04-15T13:55:09.563" LastActivityDate="2015-04-15T13:55:09.563" Title="How to get the highest possible quality out of a MP4 file" Tags="|final-cut-pro|quicktime|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15301" PostTypeId="2" ParentId="15299" CreationDate="2015-04-11T10:42:54.840" Score="1" Body="&lt;p&gt;If the pixelation wasn't in the sources you had, then it was probably introduced by the video encoder you used to export.  (Presumably Apple's h.264 encoder, creating a .mov with an h.264 video stream, as opposed to one of the many other video codecs that the mov container can hold.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video encoding always trades off CPU time vs. bitrate vs. quality.  Using more CPU time can get better quality at the same file size.  Different encoders (x264 vs. mainconcept vs. apple vs. IDK what else) will have worse or better achievable tradeoffs.  &lt;a href=&quot;http://www.videolan.org/developers/x264.html&quot; rel=&quot;nofollow&quot;&gt;x264&lt;/a&gt; is the best H.264 encoder for pretty much everything, esp. if you care most about final quality per file size.  It's free and open source, so there's no reason not to use it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Look for a slider to turn up the CPU usage and/or bitrate until the resulting encode is high enough quality.  I'm not going to go into any more detail, just google for video encoding guides to find out more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;edit:&lt;/strong&gt; As stib points out, you might well be in a situation where your output file is going to be transcoded before broadcast, in which case you should just turn up the bitrate as high as is reasonable, to minimize generation loss.  Prores has no advantage over h.264 for this purpose, though.  Your file will be decoded once, at full rez, in order.  Prores is intra-only, and can decode faster at reduced rez, but gives up quality per bitrate in order to gain those features.  h.264 and prores both support bit depths higher than 8bit per component (subject to encoder/decoder support), which may be relevant if the TV station that will broadcast it wants to mess with the colors during transcode.  If they won't, then the small compression advantage of 10bit h.264 is of low value, given how much slower x264 is when encoding at higher than 8bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;prores is (slightly) lossy, but as far as I know, h.264 at the same very high bitrate will be even less lossy.  You can even use x264 to produce lossless h.264, if the people you're sending it to can decode it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you were sending it to people that were going to do something and save that as prores themselves, then using prores yourself might make sense.  I &lt;em&gt;think&lt;/em&gt; I read that prores is designed to stop losing quality for multiple generations of transcoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're going to permanently archive the output file, spending some more CPU time (and using x264) to get good quality per bitrate might still be useful.  But if you're instead archiving the FCP project and sources, then that doesn't matter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;end of edit&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't want to set up x264 for Final Cut Pro, or export lossless and feed that to x264, then similar controls for the h.264 encoder that comes with FCP probably exist.  I don't use FCP, but this is really a video-encode-quality question, so I'm answering anyway.  An answer from a FCP user would probably still be useful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW, one case where x264 isn't the best choice is encoding a movie for your mobile device or something where you're only going to watch it once, and large filesize doesn't matter.  Then a GPU encoder like Intel quicksync can throw enough bitrate at the video for it to look good enough on a tablet or phone, but be smaller than the dvd or blu-ray source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're doing &quot;encode once -&gt; watch many&quot;, like for broadcast, it makes sense to use as much CPU time as you can, to get the best quality for your target filesize (2pass mode).  Or to get the smallest filesize for your target quality (CRF mode).&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-04-13T06:12:52.053" LastActivityDate="2015-04-13T06:12:52.053" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="15302" PostTypeId="2" ParentId="15269" CreationDate="2015-04-11T11:13:30.337" Score="2" Body="&lt;p&gt;Like slhck says, you can compare 2 digital video files with metrics like SSIM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your question also asked about brightness and contrast, and other things which will depend on the physical monitor that the video is displayed on.  If you want to be sure that the right photons come out of the screen, given the pixels it was sent, then you need to calibrate your display.  Google that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You mentioned using HDMI to carry video signals.  You can relax here: HDMI is literally lossless (no compression at all, and digital, not analog).    8bit is the standard color depth for video, so you're not losing anything here.  It carries at least 8 bits per component (red/green/blue), at resolutions and frame rates high enough for almost any display.  (There are different versions of HDMI.  Almost all monitors support an HDMI version recent enough to drive them at 60Hz or greater, at their native resolution.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question isn't really clear about where in the chain from camera to monitor the 2 different video signals are extracted.  Is your &quot;device that controls video cameras&quot; something like a splitter / relay / output duplicator?  (not sure what the proper term would be for one-input, several-output-copies device would be, but probably splitter.)  If it's just an HDMI splitter, it's almost certainly perfectly lossless.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-04-11T11:13:30.337" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15303" PostTypeId="2" ParentId="15085" CreationDate="2015-04-11T11:46:10.943" Score="1" Body="&lt;p&gt;Something is only properly called &amp;quot;public domain&amp;quot; if the copyright has expired, and there aren't any patents or trademarks applicable either.  Many old books are now in the public domain, so it's legal to grab whole paragraphs from them without attribution.&lt;/p&gt;&#xA;&lt;p&gt;It would still be plagiarism to claim that you wrote it yourself, though.  (Not that you're doing this, I'm making a related point for contrast.)  Shakespeare's descendants can't sue you if you copy whole monologues in your own play.  But you'd still be in deep trouble.  Plagiarism isn't a crime against the original author, it's a separate issue from copyright.  (It might not be against the law either, I'm not sure.  So the police won't come after you, but your reputation would be sunk.)&lt;/p&gt;&#xA;&lt;p&gt;As I understand it, you can legally do literally anything with public domain content (unless the result is hate speech, libel, or slander, or probably some other things).&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;I'm not sure if JFK's speeches are literally in the public domain.  His estate and heirs may have some legal control over their use.&lt;/p&gt;&#xA;&lt;p&gt;Morally and ethically, use your own judgement.  Making someone look bad by leaving out some important words or sentences might not be cool.  Associating a historical figure with something they probably wouldn't support if they were alive today would also not be cool.  People are going to recognize JFK from his voice and the words, so you don't really need to worry about making sure the full context is there for people to identify the exact source.&lt;/p&gt;&#xA;&lt;p&gt;In the general case, even stuff that's legally public domain still morally has ties to the wishes of the creator's heirs.  Some artists care more than others about annoying people, or on purpose doing things that the heirs won't like.  (Your case sounds like something none of the Kennedy's would would have a problem with.)&lt;/p&gt;&#xA;&lt;p&gt;In your specific case, I don't think there's anything stopping you from putting together any snippets you want from JFK's speeches, even to the point of making it sound like he said something he didn't (by cutting mid-sentence) unless you got your source material from a news organization that still has a copyright on the material.  JFK is so famous and well known that distortions of his speeches would be seen as parodies or something, because people aren't going to suddenly start believing bad things about him based on some high school kid's project that had his voice in it.  (I know that's not your intention, just making up examples to show that even this wouldn't be pushing the boundaries.)  Now, if making what you were claiming was a factual documentary, then it'd be a problem if you left out some key words.  Otherwise hey, if you want JFK's voice saying stuff for your project, you can probably get away with it if aren't ever implying that he ever said what you're having him say.  So again, the boundaries are WAY beyond what you're asking about.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-03-30T20:34:49.177" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15304" PostTypeId="2" ParentId="15244" CreationDate="2015-04-11T12:12:27.800" Score="0" Body="&lt;p&gt;To add an answer to part1 of the question, the reason for telling the video encoder how much data the player will buffer is so it can constrain its VBR rate-control to not underflow the player's buffer (video pauses and user sees &quot;buffering&quot;) in complex portions of the video where it wants to spend a lot of bits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Within the limits of the VBV buffer size, the encoder can use a really high bitrate for a few seconds, as long as the bitrate before and after is low enough for the player to catch up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without VBV-aware rate control, the encoder could hit the target file size, but have a bitrate higher than the target streaming bandwidth for an extended period of time.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-04-11T12:12:27.800" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15305" PostTypeId="2" ParentId="15323" CreationDate="2015-04-11T12:40:24.280" Score="2" Body="&lt;p&gt;Looks like ffmpeg needs to see the quotes around the parens, so you need to protect them from the shell with another layer of quotes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i ~/Downloads/in.mov -vcodec copy -af &quot;volume=enable='between(t,0,3)':volume=0&quot; ~/Downloads/out2.mov&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, don't forget to specify something about the audio codec.  ffmpeg's default AAC encoder is bad compared to libfdkaac.  And you're not specifying an audio bitrate or quality.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-04-11T13:20:18.430" LastActivityDate="2015-04-11T13:20:18.430" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15306" PostTypeId="2" ParentId="15278" CreationDate="2015-04-11T13:18:40.320" Score="2" Body="&lt;p&gt;They came in as .ogg??  I thought you converted to dvd?  Are you talking about then ripping the DVD video with HandBrake or something?&lt;/p&gt;&#xA;&lt;p&gt;Also, you're doing something wrong, or at least have your file extension -&amp;gt; &amp;quot;open with&amp;quot; settings screwed up if renaming a .ogg to a .mp4 is necessary.  Maybe it opens with a different player then, and only the player associated with .mp4 is actually working on your computer?  (.ogm is the usual extension for ogg video;  Maybe you have .ogg associated with an audio-only player?)&lt;/p&gt;&#xA;&lt;p&gt;Anyway, you're doing several steps here:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;capture a digital version of the video signal from your VCR&lt;/li&gt;&#xA;&lt;li&gt;encode that to MPEG2 dvd&lt;/li&gt;&#xA;&lt;li&gt;transcode the lossy MPEG2 to something a video codec that can go in a .ogg container.  &lt;strong&gt;edit&lt;/strong&gt; (apparently just remux, not xcode, so no quality loss at this step after all).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The achievable quality of step 1 is fairly limited, since the representation stored on the magnetic VHS tapes is of limited quality.&lt;/p&gt;&#xA;&lt;p&gt;Because of the limited quality of the source, you're probably not losing much quality from having a lossy intermediate codec.  Obviously it would be better to go directly from capture -&amp;gt; final, with only lossless steps in between (e.g. capture card in a computer, capture to a lossless file.  Or encode in realtime to the final format.)&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;: turns out you're just remuxing the dvd-video into an ogg container, not transcoding.  I didn't think ogm could hold mpeg2, but I guess it can, and for some reason you're using some software that defaults to muxing into an ogg container.&lt;/p&gt;&#xA;&lt;p&gt;You ARE probably losing quality if your final output is going into an ogg container, though.  It's probably Theora video, which is obsolete (and has a much worse quality vs. bitrate tradeoff than VP8 or x264).&lt;/p&gt;&#xA;&lt;p&gt;A player like VLC or &lt;a href=&quot;http://mpv.io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;mpv&lt;/a&gt; will let you see the codec details of your video.  Or just use &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;mediainfo&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Unless you're archiving in a lossless format (50x the filesize of visually-indistinguishable lossy), you might want to apply some filtering to clean up the video from the VHS tapes before encoding.  Depending on the condition of the tapes, they might have significant chroma noise that a denoise filter could help with.  This will require some playing around.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;edit&lt;/strong&gt;: if you're going to stick with a capture device that doesn't give access to the digital video except after it encodes to MPEG2 (and makes a trivial menu to make a complete DVD-VIDEO), xcoding the MPEG2 to lossless would only be useful if you wanted to apply some filtering.  Never xcode a lossy codec to lossless.  You'll increase the filesize by a LOT.  The lossy encode is the most compact representation of that exact decoded bitstream, so just save it instead of a lossless representation of decoding the lossy encode.&lt;/p&gt;&#xA;&lt;p&gt;So, if you can get deinterlace/denoise filtering to work well enough &amp;quot;on-the-fly&amp;quot; in realtime, then you can use dvd images straight from the Magnavox as your archival masters.  In 10 or 20 years, there might be smarter filters that will do a better job, so it's best to keep the source, as long as it's in a state that's usable in realtime.&lt;/p&gt;&#xA;&lt;p&gt;If you can't get the necessary filtering to run well on-the-fly on at least your library computers, then you should probably deinterlace and maybe even denoise now, and make either lossless h.264, FFv1, or something lossy.  mcdeint is slow, but does a good job.  (don't just use yadif for master copies.)  You'd need to decide whether to archive at 720x480p60, or throw away half the temporal resolution and deinterlace 720x480i60 -&amp;gt; 720x480p30.  The decision is somewhat content-dependent, but if you're using a codec with inter-prediction (P and B frames), like h.264, then higher fps means frames are more similar to each other, so it takes much less than twice as much space to compress twice the FPS at the same quality.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;http://linux.goeszen.com/digitising-vhs-tapes-on-linux.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://linux.goeszen.com/digitising-vhs-tapes-on-linux.html&lt;/a&gt; has some stuff to say about it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;http://ubuntuforums.org/showthread.php?t=2091899&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://ubuntuforums.org/showthread.php?t=2091899&lt;/a&gt; suggests hqdn3d as a denoise filter.  That sounds right; I would have tried that one first over any of ffmpeg's other postprocessing filters, if I was trying to do this myself.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;end of edit&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;You'll want to read up on video codecs to make a decision on which one to use for archival storage. VP8 and VP9 are free from patent royalties.  h.264 and h.265 aren't, but patents don't live forever, and h.264 is the current playable-by-everything standard for video.  You'll want to check up on the patent royalty situation, but as long as you aren't selling access to h.264 video, you shouldn't owe any fees.  The best h.264 encoder in the world is x264, which is free and open source, and very mature and well optimized.&lt;/p&gt;&#xA;&lt;p&gt;h.265 is next-gen, and x265 is still very slow, but can get better quality at the same bitrates as x264.  Google's VP9 encoder is somewhat better than x264 for quality-per-bitrate, but takes at least 10x longer to encode.  VP8 is not bad, but I think it's a bit worse quality-per-bitrate (aka rate-distortion) compared to x264.  (both with near-maxed CPU-usage settings).&lt;/p&gt;&#xA;&lt;p&gt;If you want library patrons to play files on their own devices right now, I'd suggest going with h.264 because of the massive compatibility advantage over any other format.  If we're only talking about playback on library-owned computers, I might play around with VP9.&lt;/p&gt;&#xA;&lt;p&gt;For future-proofing, every player for the next 50 years at least will support h.264, I'd guess.  I think H.264 for video will be like mp3 for audio: people will still be using it LONG after it's obsolete, because it's the first format that doesn't completely suck, and that has widespread player support for everything from streaming to files to videoconferencing.&lt;/p&gt;&#xA;&lt;p&gt;edit: keeping the original VHS is of limited value.  They will continue to degrade, but digital files won't.  If you can afford the space in temp-controlled storage, it won't HURT to keep them, but the sooner you get them capped with high-quality analog equipment the better.  I'd keep them for at least a couple years after doing the initial digital conversion, in case you discover a problem or error with the digital setup and need to redo it!&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-04-14T17:33:11.783" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="15307" PostTypeId="2" ParentId="15295" CreationDate="2015-04-11T13:26:32.720" Score="2" Body="&lt;p&gt;If you can't adjust the monitor, then send it something other than pure white. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;@poor already posted an answer to do this with Blender, but that seems like HUGE overkill.  I would have just booted Linux, logged in remotely, and done &lt;code&gt;DISPLAY=:0 xsetroot -solid '#fff'&lt;/code&gt; to set a solid white background, or any other color I wanted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And there's probably something you could run to open a fullscreen window with a color of your choice, to save the trouble of switching to a window manager that didn't clutter up the screen borders with stuff.  Maybe a screensaver type of program?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't think off the top of my head what would give you a GUI color adjuster that would change most of the screen in realtime.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-04-11T13:26:32.720" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15308" PostTypeId="2" ParentId="15270" CreationDate="2015-04-11T13:34:13.680" Score="2" Body="&lt;p&gt;Probably because TV and CRTs scanned from the top left.  Video cards store the screen buffer in this order, too, so scan-out from the screen buffer in left-to-right, top-to-bottom reads sequentially increasing memory addresses.  Addressing video RAM as a 2-dimensional array&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;extern int32_t screenbuf[480][640];&#xA;screenbuf[0][0] = RED;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;would modify the top-left pixel.  My theory is that this led to graphics APIs using coordinate systems with 0,0 at the top left, even device-independent APIs (not 640x480 or whatever), because that choice mirrors direct addressing of video RAM.  (and saves one subtraction every time a Y coordinate has to get mapped to a memory address.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As some comment point out, not ALL graphical coordinate systems have the origin at the top left, but it is extremely common for graphics APIs as well as UIs, and for example window coordinates in the X Window System.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-04-12T01:16:11.407" LastActivityDate="2015-04-12T01:16:11.407" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15310" PostTypeId="2" ParentId="12785" CreationDate="2015-04-12T01:22:46.550" Score="1" Body="&lt;p&gt;I had this issue for a very long time in pretty much every program I played MP4 videos in. It turns out that by default, the Nvidia drivers don't actually have the full dynamic range enabled. I changed it, and tested it just to confirm that it really worked. Just open up the control panel, and change the dynamic range to &quot;Full&quot;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/yceUE.png&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Regarding the &lt;a href=&quot;//video.stackexchange.com/a/12801/10669&quot;&gt;current accepted answer&lt;/a&gt;: it doesn't seem to regard the fact that there will almost certainly be a large performance hit when disabling hardware acceleration, and is not a proper solution as a result. If it resolved the problem for you, it's pretty likely that just changing the driver settings (my answer) is far better than outright disabling hardware acceleration.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="10669" LastActivityDate="2015-04-12T01:22:46.550" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15311" PostTypeId="2" ParentId="15287" CreationDate="2015-04-12T01:30:56.333" Score="1" Body="&lt;p&gt;You can't recover information that isn't present in the data you have.  Sometimes there's useful information hidden by noise, and filtering can help.  However, esp. in the case of downscaling/upscaling, information is just gone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These wiki links are way too general and mathy to be specifically helpful, but this is the theory behind why you can't recover quality once it's gone:&#xA;&lt;a href=&quot;http://en.wikipedia.org/wiki/Information_theory&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/Information_theory&lt;/a&gt;&#xA;&lt;a href=&quot;http://en.wikipedia.org/wiki/Algorithmic_information_theory&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/Algorithmic_information_theory&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Think of it this way: if you could somehow increase the quality of a video, we'd just use that procedure on 100x100 pixel videos to upscale them to beautiful 4k displays, and fit HD movies on floppy disks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Same deal if you compress the hell out of a JPEG image:  it'll be all blurry and blocky, and the details of the source are gone.  If they were recoverable from a tiny JPEG, then we could compress anything as much as we wanted and still have great-looking images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These things are as impossible as perpetual motion machines.  Sorry to dash your hopes. :/&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All that said, it's possible you could do some smoothing or filtering on an upscaled version to produce something that looks to a human eye more like what you saw.  With the aid of words, you might have some luck getting your point across.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-04-12T01:30:56.333" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15312" PostTypeId="2" ParentId="13357" CreationDate="2015-04-12T01:46:03.790" Score="1" Body="&lt;p&gt;You're right, at some point it visually looks better to downscale and have a lower rez but less artifacty video.  The bitrate where this happens depends strongly on how compressible your content is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One way to judge this for x264 might be to look at the rate-factor.  For 2-pass, the x264 output includes the rate-factor.  For CRF mode, the CRF value you set IS the rate-factor.  Just guessing off the top of my head, a rate-factor of maybe 30 or higher might be the point where you would be better off downscaling.  That might still be content dependent; e.g. if you have some very detailed but very static backgrounds, you might prefer to have the moving parts of the picture blocked/blurred, but the background high rez and crisp.  (IIRC, play around with AQ strength and/or psy-rd to control distribution of bits between long-displayed static parts of the image vs. parts that are changing.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the extreme case of using way too high a rez for your bitrate, a lot of the bits are just per-macroblock overhead (headers and so on), with little room for motion vectors and DCT coefficients.  Newer codecs like h.265 have bigger macroblocks (coding units in h.265 terminology), and also just higher coding efficiency (better rate-distortion tradeoff), so they push down the point at which you should start downscaling.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Visually, modern codecs will start to blur things themselves when there aren't enough bits to look sharp.  So once things start to blur as much as they would if you just downscaled, you might as well downscale.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more discussion about encoding stuff, look around on forums.doom9.org.  Especially &lt;a href=&quot;http://forum.doom9.org/showthread.php?p=1691228#post1691228&quot; rel=&quot;nofollow&quot;&gt;http://forum.doom9.org/showthread.php?p=1691228#post1691228&lt;/a&gt;, which is the discussion I was thinking of when writing this.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-04-12T01:46:03.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15313" PostTypeId="2" ParentId="15124" CreationDate="2015-04-12T02:41:10.127" Score="1" Body="&lt;p&gt;There shouldn't be anything special about making a video for HTML5 video, so just look for any video encoding guide to learn about choosing how to trade off CPU time vs. bitrate vs. quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hint: encode once, display many is a use case where it makes sense to spend as much CPU time as possible on the encode, to get the quality you want in as small a download as possible.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-04-12T02:41:10.127" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15314" PostTypeId="2" ParentId="13479" CreationDate="2015-04-12T03:03:15.950" Score="1" Body="&lt;p&gt;Use ffmpeg instead, e.g.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg audio.mp4 -framerate 50 -pattern_type glob -i 3_DucksTakeOff_720p50_CgrLevels_SINC_FILTER_SVTdec05_/'*'.sgi -sws_flags lanczos+print_info -c:a copy -c:v libx264 -preset slow -crf 22 -pix_fmt yuv420p output.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;adjust the input file naming as necessary.  ffmpeg can read png just fine.  If there are other PNGs in the same dir that you don't want to include, use&#xA;&lt;code&gt;-start_number 090001 -i dir/1I%06d.png  -frames 180&lt;/code&gt;.  (Note that it matters what goes before -i input, and what goes after.  Stuff before is input options, stuff after is output options.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;leave out the audio file if you don't have an audio track to mux.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Decrease the CRF to get higher quality at higher bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Increase the preset to slower or veryslow to get higher quality at similar bitrate but slower encode time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Leave out the &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt; to not force ffmpeg to subsample the chroma after converting from RGB (PNG's color format) to YUV.  (Most hardware players will only have hardware decoding for 8-bit 4:2:0 h.264, unfortunately.  Same for GPU-accelerated decoding on PCs.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hmm, I'm not sure whether ffmpeg defaults to the bt.709 or bt.601 color matrix for RGB -&gt; YUV conversion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you really need to make an AVI (with a DIVX / MPEG4-ASP video stream, I assume) for compatibility with an old hardware player, then see &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/MPEG-4&quot; rel=&quot;nofollow&quot;&gt;the guide&lt;/a&gt;.  With avidemux, did you make a non-standard AVI, like h.264 in AVI?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I highly recommend against avidemux for video encoding.  Its x264 options dialog is ancient and terrible.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-04-12T03:03:15.950" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15315" PostTypeId="1" CreationDate="2015-04-12T05:12:09.917" Score="2" ViewCount="76" Body="&lt;p&gt;Below I've included a link to a video demonstrating my problem. The audio sounds fine until I put it into lightworks with another audio track and begin editing. The first clip is both audio tracks together, the second is the top audio track, the third is the bottom audio track, and the last is what it's supposed to sound like.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/dRcSa59iNSI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="6894" LastActivityDate="2016-06-29T05:23:03.447" Title="MP4s skip when put into lightworks" Tags="|lightworks|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15316" PostTypeId="1" AcceptedAnswerId="26242" CreationDate="2015-04-12T21:47:05.087" Score="6" ViewCount="5764" Body="&lt;p&gt;I really like the editing process, how it's possible to bring a vision you've had to life, by timing things just right, etc. It's a great art.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately I am super un-productive at it. This has been a pattern for me for a long time. Editing always takes the longest time and it a huge dread for me. I have several projects that I failed to complete once they got into the editing stage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Often I am quite excited at first, piecing together one sequence that's viewable pretty fast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From there it's downhill. I lose all kinds of motivation, excitement, or passion, and the process is tiring me out. Trimming the 150th cut, fixing the 96th issue, finding just the right 3 seconds from a 4 minute clip... It just becomes sooo dreadful and overwhelming. Even if I made it through putting potentially usable clips, which I pre-trimmed, in a somewhat useful order, it becomes tiring to go through the footage again, and yet again find just the right frame in the 200 frame clip... phew. Another thing that always frustrates me is when my material just isn't any good. I am missing important shots or angles or whatever, or the existing ones have giant mistakes in them, which makes the clip hard or impossible to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Overall my output is pretty good after the first session (after I piece together the first usable bit) but for the rest of the project things just take forever and drag out endlessly. As I said, I have some projects that are still not completely edited.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I mean generally this sounds like any project you could do (not just video related) : At first the motivation is high, but then it steadily declines and things become a dread. Perseverance makes or brakes success. For me personally though, editing is extremely affected by this problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone had this issue, too, and found good ways to overcome it? Are there any techniques I could use that are rewarding, or at least help me stay productive? Any guidelines or &quot;recipes&quot; I could follow that give me a different perspective? Has anyone ever successfully applied Scrum to editing? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/F8EBT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/F8EBT.png&quot; alt=&quot;graph illustrating my problem&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10672" LastEditorUserId="10672" LastEditDate="2019-03-15T16:37:44.940" LastActivityDate="2019-03-16T14:03:31.573" Title="How can I stay motivated and become more productive as a video editor?" Tags="|video-editor|editing|post-production|workflow|" AnswerCount="4" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="15317" PostTypeId="2" ParentId="15296" CreationDate="2015-04-13T01:33:17.633" Score="0" Body="&lt;p&gt;If you're authoring DVDs to be played on DVD players, then this won't work. I checked it out way back when there &lt;em&gt;was&lt;/em&gt; a significant price difference between CD and DVD media.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the end users are all going to be playing on computers you could send them instructions on how to open the DVD media folders, but realistically what you'd save (if anything) on media costs would be eaten up in time spent answering queries from disgruntled users who can't get it to play.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just for reference - the first site I saw when I searched for &quot;bulk DVD CD media&quot; has &lt;a href=&quot;http://www.mediasupply.com/media-pro-blank-dvds.html&quot; rel=&quot;nofollow&quot;&gt;100 DVDs for $19.90&lt;/a&gt; and &lt;a href=&quot;http://www.mediasupply.com/media-pro-blank-cds.html&quot; rel=&quot;nofollow&quot;&gt;100 CDs for $18.90&lt;/a&gt;. So the difference in price is 1¢ per disk. &lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-04-13T01:38:42.717" LastActivityDate="2015-04-13T01:38:42.717" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15318" PostTypeId="2" ParentId="15293" CreationDate="2015-04-13T06:44:12.320" Score="2" Body="&lt;p&gt;Most wireless lavalier microphones for video recording use are sold as single receiver + transmitter packages. I believe you can get receivers that take more than one input, but they are designed for AV production use (e.g. stage shows and so on) and are mains-powered and &lt;a href=&quot;http://en-us.sennheiser.com/wireless-microphone-receiver-module-system-em-1046&quot; rel=&quot;nofollow&quot;&gt;expensive&lt;/a&gt;. So if you want wireless you'll probably have to buy four transmitter + receiver sets. Wired microphones are certainly cheaper, but lapel mics and cables are problematic if your subjects want to move around. If they're not moving around, then maybe you don't need lapel mics.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt; Someone has recently sent me a link to these Sony &lt;a href=&quot;http://www.sony.com.au/product/ecm-aw4&quot; rel=&quot;nofollow&quot;&gt;Bluetooth microphones&lt;/a&gt;, which look like a great low-budget option. You'd use them just like normal wireless transmitter / receiver units. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio recorders usually come with built-in microphones, but microphones don't usually come with recorders, if that makes sense. Given that digital recorders are fairly cheap these days it is tempting to use four recorders worn by each of the subjects with a wired Lavallier microphone, rather than four wireless sets, but the downside to that is that you can't set levels or monitor the input, so if there are problems you won't know until you get to the edit suite. And given that lapel mics are prone to such things as clothing noise or the subject accidentally hitting them you could end up with problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as your recorder goes, you could either get a four track recorder, such as a zoom H6, or a mixer to mix the four tracks into a stereo signal which then gets sent to a stereo recorder. Recording four discrete channels gives you the advantage of being able to re-mix the audio at a later date, and to edit around overlapping dialogue, but obviously it's going to cost more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the recorder transferring to the computer is trivial, most record onto CF cards or such like, and the recordings can be transferred via a card reader or often via USB. Synching is also easy, even without the clapper board: editing software such as Final Cut Pro X and Adobe Premiere can synch audio tracks automatically.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-04-16T03:47:45.813" LastActivityDate="2015-04-16T03:47:45.813" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15319" PostTypeId="1" CreationDate="2015-04-13T09:41:17.107" Score="3" ViewCount="3109" Body="&lt;p&gt;I am working on a series of animations which have elements that are timed to the beat of the background track in AE. It's crucial that they are lined up perfectly to the audio (they are DJ training videos).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm used to Premiere, but am pretty new to After Effects. In Premiere you can preview the audio by pressing space, and then press space again to stop the preview. In After Effects, when you do this there is no audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way I've been able to get a preview with audio is to use the RAM preview, but when I press space to stop it, it goes back to the beginning of the timeline / render area. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to be able to listen to the audio, and then stop it on a beat so the timeline marker is in the right place for an effect / keyframe. Is there any way I can do this?&lt;/p&gt;&#xA;" OwnerUserId="10673" LastActivityDate="2017-02-08T21:28:44.087" Title="How can I preview with audio in After Effects and be able to pause / resume the preview?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15320" PostTypeId="1" CreationDate="2015-04-13T10:18:01.450" Score="1" ViewCount="71" Body="&lt;p&gt;BSD&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Platform: Adobe Creative Cloud CC (premiere, ae, etc.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically I have a shot that I would want to do practically. The shot should look like one shot, static, and we see a  guy (profile-medium) talking then stops...and smoke gently comes out of his mouth. Now the source of the smoke is not a cigarette in the shot but I could use a cigarette to get the smoke look. My reason for going practical is because I cant find a realistic AE effect and this is a realistic video. So the way I originally wanted to go about it was like this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Have him stand in the profile and talk until the point that I would cut (between him talking and the smoke), have him stand in the exact same position then have him drag a cig, keep his face in that position and then let the smoke come out. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Are there any special Adobe techniques to make this as fluid and unnoticeable (the cut) as possible.?&#xA;thanks and sorry for the verbosity. &lt;/p&gt;&#xA;" OwnerUserId="10674" LastActivityDate="2015-04-14T00:29:43.370" Title="How do i do this shot?" Tags="|premiere|editing|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15321" PostTypeId="2" ParentId="15319" CreationDate="2015-04-13T10:27:10.270" Score="3" Body="&lt;p&gt;To enable the audio playback, only way is to use the &lt;strong&gt;RAM-Preview&lt;/strong&gt;. Press &lt;kbd&gt;Numpad 0&lt;/kbd&gt; or the associated &lt;kbd&gt;|||&gt;&lt;/kbd&gt; in the &lt;strong&gt;Preview Panel&lt;/strong&gt; to start the preview rendering process:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/USoqw.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Press &lt;kbd&gt;Numpad 0&lt;/kbd&gt; &lt;strong&gt;again&lt;/strong&gt; to stop it&lt;/li&gt;&#xA;&lt;li&gt;Press &lt;kbd&gt;Numpad 0&lt;/kbd&gt; &lt;strong&gt;twice&lt;/strong&gt; to stop and playback the previously rendered (green) frames&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;In terms of correct audio playback:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Set the &lt;em&gt;Frame Rate&lt;/em&gt; to the composition settings&lt;/li&gt;&#xA;&lt;li&gt;Enable &lt;em&gt;From Current Time&lt;/em&gt; option&lt;/li&gt;&#xA;&lt;li&gt;Enable &lt;em&gt;Sound Preview&lt;/em&gt; (6th button in the first row)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;In order to facilitate the work:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Set the &lt;strong&gt;rendering resolution&lt;/strong&gt; of the view to a lower value for e.g. to &lt;strong&gt;half&lt;/strong&gt; or &lt;strong&gt;quarter&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Limit the &lt;strong&gt;work area&lt;/strong&gt; in your timeline, press &lt;kbd&gt;B&lt;/kbd&gt; to set the start render point (Begin), press &lt;kbd&gt;N&lt;/kbd&gt; to set the end point (End) &lt;/li&gt;&#xA;&lt;li&gt;Enable &lt;strong&gt;Loop&lt;/strong&gt; preview (7th button) to repeat the preview of the current work area &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; As @Emir Dupovac mentioned, also check your waveform:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0NQVB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See this related answer: &lt;a href=&quot;https://video.stackexchange.com/questions/15330/ae-composition-video-file-layer-missing-audio/15332#15332&quot;&gt;AE - Composition video file/layer missing audio&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-04-20T09:08:58.027" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15323" PostTypeId="1" CreationDate="2015-04-08T20:03:08.053" Score="4" ViewCount="4485" Body="&lt;p&gt;Looking to edit a blip out of the beginning of a video/audio file:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;How can I use &lt;code&gt;ffmpeg&lt;/code&gt; to only edit the first two seconds of the clip so that there's no longer that blip in the audio?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;How do I ensure that all 7 audio tracks are affected by the audio filter?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;How do I ensure that all 7 are also present in my output file in the same input specs?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Complete output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ~/Downloads/in.mov  -vcodec copy -acodec pcm_s24le -q:a 0 -af &quot;volume=enable='between(t,0,3)':volume=0&quot;  ~/Downloads/out2.mov&#xA;ffmpeg version 2.6.1 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with Apple LLVM version 6.0 (clang-600.0.57) (based on LLVM 3.5svn)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/2.6.1 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-libx264 --enable-libmp3lame --enable-libvo-aacenc --enable-libxvid --enable-vda&#xA;  libavutil      54. 20.100 / 54. 20.100&#xA;  libavcodec     56. 26.100 / 56. 26.100&#xA;  libavformat    56. 25.101 / 56. 25.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 11.102 /  5. 11.102&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Guessed Channel Layout for  Input Stream #0.1 : mono&#xA;Guessed Channel Layout for  Input Stream #0.2 : mono&#xA;Guessed Channel Layout for  Input Stream #0.3 : mono&#xA;Guessed Channel Layout for  Input Stream #0.4 : mono&#xA;Guessed Channel Layout for  Input Stream #0.5 : mono&#xA;Guessed Channel Layout for  Input Stream #0.6 : mono&#xA;Guessed Channel Layout for  Input Stream #0.7 : stereo&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '~/Downloads/in.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    creation_time   : 2014-01-16 18:02:27&#xA;  Duration: 00:00:06.44, start: 0.000000, bitrate: 119128 kb/s&#xA;    Stream #0:0(eng): Video: prores (apch / 0x68637061), yuv422p10le(bt709), 1920x1080, 109843 kb/s, SAR 1:1 DAR 16:9, 29.97 fps, 29.97 tbr, 2997 tbn, 2997 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-01-16 18:02:27&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Apple ProRes 422 (HQ)&#xA;      timecode        : 01:00:00;00&#xA;    Stream #0:1(eng): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-01-16 18:02:27&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:2(eng): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-01-16 18:02:27&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:3(eng): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-01-16 18:02:27&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:4(eng): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-01-16 18:02:27&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:5(eng): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-01-16 18:02:27&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:6(eng): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-01-16 18:02:27&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:7(eng): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 2 channels, s32 (24 bit), 2304 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-01-16 18:02:27&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:8(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-01-16 18:02:28&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 01:00:00;00&#xA;File '~/Downloads/out2.mov' already exists. Overwrite ? [y/N] y&#xA;Output #0, mov, to '~/Downloads/out2.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf56.25.101&#xA;    Stream #0:0(eng): Video: prores (apch / 0x68637061), yuv422p10le, 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 109843 kb/s, 29.97 fps, 29.97 tbr, 11988 tbn, 2997 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-01-16 18:02:27&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Apple ProRes 422 (HQ)&#xA;      timecode        : 01:00:00;00&#xA;    Stream #0:1(eng): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, stereo, s32 (24 bit), 2304 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-01-16 18:02:27&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc56.26.100 pcm_s24le&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:7 -&amp;gt; #0:1 (pcm_s24le (native) -&amp;gt; pcm_s24le (native))&#xA;Press [q] to stop, [?] for help&#xA;frame=  193 fps=109 q=-1.0 Lsize=   88166kB time=00:00:06.43 bitrate=112155.7kbits/s    &#xA;video:86349kB audio:1811kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.006946%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10653" OwnerDisplayName="Tony" LastActivityDate="2015-04-13T18:10:53.623" Title="ffmpeg: mute first 2 seconds in all audio streams" Tags="|audio|ffmpeg|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="15324" PostTypeId="2" ParentId="15323" CreationDate="2015-04-09T21:14:39.767" Score="1" Body="&lt;p&gt;If you want to mute the first 3 seconds of each audio stream then you have to filter each one:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -filter_complex \&#xA;&quot;[0:a:0]volume=enable='between(t,0,3)':volume=0[a0]; \&#xA; [0:a:0]volume=enable='between(t,0,3)':volume=0[a1]; \&#xA; [0:a:0]volume=enable='between(t,0,3)':volume=0[a2]; \&#xA; [0:a:0]volume=enable='between(t,0,3)':volume=0[a3]; \&#xA; [0:a:0]volume=enable='between(t,0,3)':volume=0[a4]; \&#xA; [0:a:0]volume=enable='between(t,0,3)':volume=0[a5]; \&#xA; [0:a:0]volume=enable='between(t,0,3)':volume=0[a6]&quot; \&#xA;-map 0:v -map &quot;[a0]&quot; -map &quot;[a1]&quot; -map &quot;[a2]&quot; -map &quot;[a3]&quot; \&#xA;-map &quot;[a4]&quot; -map &quot;[a5]&quot; -map &quot;[a6]&quot; -map 0:d -c copy -c:a pcm_s24le output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you prefer to merge all of the channels into a single, multichannel stream, then use &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#amerge&quot; rel=&quot;nofollow&quot;&gt;&lt;code&gt;amerge&lt;/code&gt;&lt;/a&gt; first:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -filter_complex \&#xA;&quot;[0:a:0][0:a:1][0:a:2][0:a:3][0:a:4][0:a:5][0:a:6]amerge=inputs=6,volume=enable='between(t,0,3)':volume=0[a]; \&#xA;-map 0:v -map &quot;[a]&quot; -map 0:d -c copy -c:a pcm_s24le output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I didn't test these examples since I do not have a similar input file and I was too lazy to make one.&lt;/p&gt;&#xA;" OwnerUserId="1760" OwnerDisplayName="LordNeckbeard" LastActivityDate="2015-04-10T18:08:08.963" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15325" PostTypeId="2" ParentId="15320" CreationDate="2015-04-13T18:26:34.460" Score="2" Body="&lt;p&gt;I like your idea. You might be able to make a convincing smoke element to superimpose on your shot like this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;get a black sheet or piece of posterboard&lt;/li&gt;&#xA;&lt;li&gt;cut a small, mouth-sized hole in the posterboard&lt;/li&gt;&#xA;&lt;li&gt;paint the actor's lips black&lt;/li&gt;&#xA;&lt;li&gt;have the actor stand behind the black posterboard, and blow smoke through the hole&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The lighting would be pretty tricky. The best bet would be to have a light directly overhead, not on the black posterboard at all. The light would (hopefully) catch the smoke but keep the posterboard exceptionally dark.  It could be darkened more in After Effects when you're superimposing it (probably as a chromakey where the key color is black). In addition, you could create a traveling mask over the shape of the smoke.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-04-13T18:26:34.460" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15326" PostTypeId="2" ParentId="15320" CreationDate="2015-04-13T18:28:54.667" Score="0" Body="&lt;p&gt;It might be possible to create a small, breakable container of powdered sugar that the actor would keep in his mouth while talking. At the key moment, the actor could subtly inhale, break the container, and blow the powdered sugar out. It should look a lot like smoke (though the smoke would have to be blown rather than drifting out of the actor's mouth).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you test this, be careful since inhaled powdered sugar can make you choke &amp;amp; cough.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-04-13T18:28:54.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15327" PostTypeId="2" ParentId="15320" CreationDate="2015-04-14T00:29:43.370" Score="0" Body="&lt;p&gt;Rather than cut you could consider compositing the shot, with the face coming from the first (talking shot) and the smoke coming from the second. Or as @BrettFromLA suggested, shoot the smoke against black, matching the angle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either way, do some tests before you shoot.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-04-14T00:29:43.370" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15328" PostTypeId="1" CreationDate="2015-04-14T00:45:37.743" Score="1" ViewCount="81" Body="&lt;p&gt;I'm trying to show a demo walkthrough of our iPhone app in a Keynote presentation. Ideally, the video would play for a while and then stop at preset break points. Button press resumes the video until the next breaking point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the best way to do this? Do you recommend going about this differently altogether? &lt;/p&gt;&#xA;" OwnerUserId="10676" LastActivityDate="2015-04-14T00:45:37.743" Title="Video with breakpoints for Keynote presentation" Tags="|presentation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15329" PostTypeId="1" CreationDate="2015-04-14T05:06:03.453" Score="3" ViewCount="2948" Body="&lt;p&gt;It is believed that anime is made at resolutions below 1080p.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;most anime are [made in 720p].&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;http://www.reddit.com/r/anime/comments/2jbe6s/just_a_quick_question_is_1080p_always_better_than/cla3oqq&quot; rel=&quot;nofollow noreferrer&quot;&gt;Very few anime series are produced in native 1080p.&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Yet if anime is sold on Blu-Ray, it is (usually) in a 1080p format. One can assume that it is upscaled from its original mastering resolution, or perhaps even a lower resolution than the master. (Ex. mastered at 900p, resized to 720p for distribution to TV networks, then those 720p versions are upscaled to 1080p for the Blu-Ray.)&lt;/p&gt;&#xA;&lt;p&gt;How can one tell that the video has been upscaled? Is it something only a human can do, or could a computer be made to follow an algorithm and determine whether or not an image has been upscaled?&lt;/p&gt;&#xA;&lt;p&gt;This problem comes up in video games as well, with groups like Eurogamer's &lt;a href=&quot;http://www.eurogamer.net/articles/digitalfoundry-2015-battlefield-hardline-face-off&quot; rel=&quot;nofollow noreferrer&quot;&gt;Digital Foundry&lt;/a&gt; explaining the original resolution of certain material.&lt;/p&gt;&#xA;&lt;p&gt;Does the process vary depending on the source?&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Film that was scanned into a digital format&lt;/li&gt;&#xA;&lt;li&gt;Digital-only live-action&lt;/li&gt;&#xA;&lt;li&gt;Digital-only animation&lt;/li&gt;&#xA;&lt;li&gt;Video games&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="10675" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2021-06-06T07:46:43.707" Title="Determining original resolution of an upscaled digital image?" Tags="|video|video-quality|animation|digital-recording|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15330" PostTypeId="1" AcceptedAnswerId="15344" CreationDate="2015-04-14T06:17:52.877" Score="1" ViewCount="928" Body="&lt;p&gt;In my case, I'm working with a file that does have audio, confirmed in the RAM preview and other checks mentioned above, however, I noticed after rendering, the first video file ha no audio (not even in the RAM preview any longer, the video layer is like my other imported video layers and still has the little audio icon with it). I had a audio fade-in on it but it worked before in the RAM preview and my audio fade-out on the last video still works fine. Some little option somewhere got toggled and yeah.... somewhere in there in those many great options AE provides...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The link to my .aep and project files on Google Drive:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://goo.gl/PJI2nz&quot; rel=&quot;nofollow&quot;&gt;http://goo.gl/PJI2nz&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;and to my audio fade-out working, but no audio in the first half of the video:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;https://youtu.be/pMf5JLBIPQk?t=1h35m22s&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Thanks for any help.  :)&lt;/p&gt;&#xA;" OwnerUserId="10655" LastEditorUserId="10655" LastEditDate="2015-04-21T16:35:43.597" LastActivityDate="2015-04-21T16:35:43.597" Title="AE - Composition video file/layer missing audio" Tags="|after-effects|adobe|adobe-media-encoder|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15331" PostTypeId="1" AcceptedAnswerId="15335" CreationDate="2015-04-14T06:57:03.200" Score="3" ViewCount="148" Body="&lt;p&gt;I am teacher , I am teaching web technologies and programming languages ,sometimes i need explain some technologies by some animation .&#xA;here is an example &lt;a href=&quot;https://vimeo.com/113530912&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/113530912&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;i wants know what techniques used in this like video and what best way to start.&lt;/p&gt;&#xA;" OwnerUserId="10678" LastActivityDate="2015-04-14T18:14:06.887" Title="Simple video animation for teaching purpose" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15332" PostTypeId="2" ParentId="15330" CreationDate="2015-04-14T08:04:16.750" Score="0" Body="&lt;p&gt;Make sure the &lt;strong&gt;sound icon of the layer is enabled&lt;/strong&gt; and check the &lt;strong&gt;audio waveform of the layer&lt;/strong&gt; in your composition at this time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0NQVB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For &lt;strong&gt;RAM Audio Preview&lt;/strong&gt; see this answer: &lt;a href=&quot;https://video.stackexchange.com/questions/15319/how-can-i-preview-with-audio-in-after-effects-and-be-able-to-pause-resume-the/15321#15321&quot;&gt;How can I preview with audio in After Effects and be able to pause / resume the preview?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-04-14T15:12:53.203" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="15334" PostTypeId="1" CreationDate="2015-04-14T09:39:39.663" Score="2" ViewCount="437" Body="&lt;p&gt;So, I am looking into recording 2 HD video streams, as reference for our mocap studio. The thing is that I don't know much about video gear, and it must be fairly cheap. I have asked Vicon (mocap vendor) and others for a solution, but they end up costing 10k $ or more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to have everything triggered when I launch the mocap recording, so genlock and time code.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Am I right that only pro cameras have genlock? No comsumer cameras or similar priced?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) is there other ways of syncing (LANC?) that is compatible with genlock if needed?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) What kind of video card would I need?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) I would need some kind of genlock sync generator or master clock to send the signal to all devices. I am not sure how the vicon ultranet switch (mocap system) handles genlock, other than you can buy a Vicon MX Control switch which sends a signal to all devices connected to it(Ultranet and video cams). Does anyone know another way?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone help me with this? and am I missing something?`&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance,&#xA;Seb&lt;/p&gt;&#xA;" OwnerUserId="10680" LastActivityDate="2015-04-14T09:39:39.663" Title="recording multiple video feed with timecode/genlock in sync with motion capture system" Tags="|sync|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15335" PostTypeId="2" ParentId="15331" CreationDate="2015-04-14T12:17:27.953" Score="1" Body="&lt;p&gt;In the example given, &lt;a href=&quot;http://en.wikipedia.org/wiki/Motion_graphics&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;motion graphics&lt;/strong&gt;&lt;/a&gt; techniques are used. Motion graphics consists of &lt;em&gt;Graphic Design&lt;/em&gt; and &lt;em&gt;Animation&lt;/em&gt;, of course. In order to create something like that, you need a tool which includes &lt;strong&gt;typography, color and animation features&lt;/strong&gt;, but actually it's key to handle and process all of your &lt;strong&gt;design assets&lt;/strong&gt;, like flow charts, icons, images or backdrops, which created in &lt;strong&gt;other applications&lt;/strong&gt; with animation in mind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;In general you can do this in many &lt;a href=&quot;http://en.wikipedia.org/wiki/List_of_2D_animation_software&quot; rel=&quot;nofollow&quot;&gt;2D animation&lt;/a&gt; tools&lt;/strong&gt;, but In terms of flexibility and speed, I suggest you to use Adobe After Effects in combination with Illustrator or Photoshop. Almost every image and &lt;strong&gt;vector format&lt;/strong&gt; is supported, so in this you don't have to deal with technical limitations. Also It's layer based and for this reason easy to learn for this kind of animation work.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-04-14T18:14:06.887" LastActivityDate="2015-04-14T18:14:06.887" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15336" PostTypeId="1" CreationDate="2015-04-15T02:52:59.823" Score="2" ViewCount="211" Body="&lt;p&gt;I'm beginning production on a film in the next few weeks, and I need an explosion in one of the scenes. It's not super complicated, just one shot a few seconds long with an explosion coming off the top of a building. The shot is from below on the ground, so no building damage will be visible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've looked into a lot of ways to do this, but I can't find one that fits my needs. I want to simulate the explosion, not use stock footage so I can adjust it to get the look I want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When it comes to software, it doesn't really matter. I have access to Maya, Nuke, After Effects, Fusion, Blender, and I'm familiar with all of them. I'm just looking for a fairly easy way to simulate a mid-scale building explosion.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-04-15T20:45:07.893" Title="What are some ways to simulate an explosion?" Tags="|effects|post-production|visual-effects|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15337" PostTypeId="1" CreationDate="2015-04-15T06:50:22.480" Score="1" ViewCount="98" Body="&lt;p&gt;I am not sure if this is the place to post this type of question. If it is not I will delete.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At present I have 4 analogue cameras 'talking' to my DVR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to unplug 1 of these cameras from the DVR and connect it directly to my PC.&#xA;Is there a typical analogue to digital converter I can use?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The analogue cables endpoint is a balun.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this is not the correct forum then I would be grateful to be told what is the correct forum?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="4976" LastActivityDate="2015-05-24T20:10:31.233" Title="Convert Analogue signal to digital" Tags="|digital|analog|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15338" PostTypeId="1" CreationDate="2015-04-15T11:18:07.617" Score="0" ViewCount="2635" Body="&lt;p&gt;I have a camera that states this under the video output specification.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ive tried finding out what it means but can't does anyknow know ?&lt;/p&gt;&#xA;" OwnerDisplayName="user10686" LastActivityDate="2015-04-15T17:16:52.310" Title="BT.1120 Video Standard Specifications?" Tags="|video-quality|video-standards|specifications|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15339" PostTypeId="2" ParentId="15295" CreationDate="2015-04-15T13:22:44.883" Score="0" Body="&lt;p&gt;Thanks for the other good answers. Here is what I ended up doing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I created a blank white html page and made it fullscreen, and then used f.lux to adjust the color temperature. It worked for me, but I should point out to anyone looking to use this solution in the future that it isn't perfect. F.lux doesn't give a very broad range of color temperatures. They were enough for my purposes, but someone looking for a very warm or very cool look might not be satisfied. In addition, f.lux changes the color temperature for the entire desktop on all monitors, so if you have something color-sensitive running during the shoot, like using the computer as a monitor, your colors will be off on that as well.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-04-15T13:22:44.883" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15340" PostTypeId="2" ParentId="12980" CreationDate="2015-04-15T16:49:13.610" Score="4" Body="&lt;p&gt;I use VLC Media Player.  It will play most any format and will play DVD straight from the disc. Play the video and slow it way down during a motion sequence using the little double arrows next to the time line. It will clearly show the interlace if it is present.&lt;/p&gt;&#xA;" OwnerUserId="10690" LastActivityDate="2015-04-15T16:49:13.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15341" PostTypeId="2" ParentId="15338" CreationDate="2015-04-15T17:16:52.310" Score="1" Body="&lt;p&gt;This is a document from the ITU :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.itu.int/rec/R-REC-BT.1120-8-201201-I/en&quot; rel=&quot;nofollow&quot;&gt;http://www.itu.int/rec/R-REC-BT.1120-8-201201-I/en&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;that specifies Digital interfaces for HDTV studio signals.&#xA;This kind of signal is commonly carried on an HD-SDI physical layer.&lt;/p&gt;&#xA;" OwnerUserId="9147" LastActivityDate="2015-04-15T17:16:52.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15342" PostTypeId="2" ParentId="15336" CreationDate="2015-04-15T20:45:07.893" Score="1" Body="&lt;p&gt;If you're looking for a fireball explosion, you could download a visual effect of an explosion that's already green screened for you, and just composite that on top of your footage. (That could also be &quot;borrowed&quot; from an existing film and each frame masked by hand. But you didn't hear it from me.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The building and anything nearby will need to be lit up temporarily by the brightness of the explosion, especially since the front of the building will be in shadow (with the sun behind the building, as you described in the comments to your answer).  I would recommend doing that as a practical effect with actual lights covered by actual orange gels at the actual location.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To help sell the effect, there should also be a blast wave (wind) that blows trees, bushes, people's clothing &amp;amp; hair, nearby litter, etc.  You might show that with insert shots. The camera could also shake for an instant (even in post production) to show that the impact of the explosion even affected the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd also include some bits of debris landing near the camera or in the scene to underscore that the explosion is happening in the same environment as the camera (and possibly characters).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the explosion noise, lots of sound libraries have explosions and destruction sounds you can layer together. I like using a clean, fiery &quot;boom&quot; along with breaking glass and splintering wood, followed by staccato showering debris.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-04-15T20:45:07.893" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15343" PostTypeId="2" ParentId="15319" CreationDate="2015-04-15T23:34:38.877" Score="2" Body="&lt;p&gt;You can hold &lt;kbd&gt;CTRL&lt;/kbd&gt; and &lt;strong&gt;drag timeline marker&lt;/strong&gt; which will play audio, its not perfect, but maybe it will help. And also you can select audio and double tap key &lt;kbd&gt;L&lt;/kbd&gt; which will open &lt;strong&gt;waveform&lt;/strong&gt; so you can see the beats.&lt;/p&gt;&#xA;" OwnerUserId="10508" LastEditorUserId="6685" LastEditDate="2015-04-18T22:56:21.323" LastActivityDate="2015-04-18T22:56:21.323" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15344" PostTypeId="2" ParentId="15330" CreationDate="2015-04-16T00:02:50.450" Score="0" Body="&lt;p&gt;Make sure that audio is on in your output module. In versions prior to CC you had two choices: on and off, recently they've added an automatic function that turns on audio rendering if the comp has audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the render queue you'll see this if you twirl down the output module triangle:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/8CFYs.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And you can set audio rendering in the output module window:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/sv3eu.png&quot; alt=&quot;output module&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that the output module is what determines whether audio gets rendered. It can be on when you do a RAM preview, but if it aint on in the output module, you aint gettin' it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-04-16T00:02:50.450" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15345" PostTypeId="2" ParentId="15290" CreationDate="2015-04-16T00:25:19.180" Score="1" Body="&lt;p&gt;&lt;strong&gt;Short answer:&lt;/strong&gt; yes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Say you have a subcomp which you want to work on and you want to see how this affects the composition in which it is nested. This is easily done; you just need to open up a new viewer. You can have as many viewers open as you like (until your graphics card catches fire), this will let you see any number of linked compositions at once.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To do it from the menu go to &lt;strong&gt;View&gt;New Viewer&lt;/strong&gt; or hit &lt;kbd&gt;Ctrl/Cmd&lt;/kbd&gt;&lt;kbd&gt;alt&lt;/kbd&gt;&lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;N&lt;/kbd&gt; or right-click in your comp window and choose &lt;strong&gt;New&gt;Viewer&lt;/strong&gt; from the contextual menu. &lt;img src=&quot;https://i.stack.imgur.com/bI3qi.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By default (?) this viewer will show the current composition (this is useful when working in 3D because you can set it to a different perspective), and it will switch when you change comps, so we have to lock it. That's what that little padlock icon is at the top of the comp window.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/JOvfX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;br&gt;&#xA;&lt;em&gt;(I just noticed when taking this screen shot that the icon was already locked. Adobe may have changed the default behaviour of new viewers).&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With this padlock locked the viewer will stay on whatever comp you set it to, so you can hop over to a child comp, make changes and see it update in the parent. You can drag your timeline to a new frame by dragging the tab, meaning you can see both timelines and compositions concurrently. Below is an example where you can see both a pre-comp and the composition it is used in, to allow for editing and live updating without switching tabs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/igyRA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-04-17T03:38:21.343" LastActivityDate="2015-04-17T03:38:21.343" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15346" PostTypeId="1" CreationDate="2015-04-16T09:11:51.443" Score="1" ViewCount="222" Body="&lt;p&gt;My goal is to encode several videos from SD PAL captured in ProRes(HQ) 422 10bit through AJA Kona 3 to H264 with Hi422p profile in .mp4 container. I work on Mac OSX 9.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I try the last x264 10bit binaries from Videolan.&#xA;It as the ability to encode in the correct profile but is not compiled with GPAC nor l-smash.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I struggle to understand (I’m  a novice) how to complete a clean install of libav/lsmash/x264 with all the good configuration option, in the correct order…. since at least a week.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My last try was to clean my &lt;code&gt;/usr/local&lt;/code&gt; folder where there was too many dirty things after all, install libav and x264 using this link : &lt;a href=&quot;http://www.xin.at/x264/x264-guide-macosx-en.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.xin.at/x264/x264-guide-macosx-en.htm&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But it seems that :&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;a lot of warning during the make process of libav&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;e.g first one :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;**libavfilter/avfilter.c:292:20: warning: returning 'const AVFilter *' (aka 'const struct AVFilter *') from a function with result type 'AVFilter *' (aka 'struct AVFilter *') discards&#xA;      qualifiers [-Wincompatible-pointer-types-discards-qualifiers]&#xA;            return f;**&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;at the end of the make install, it’s appear that nothing is installed neither in &lt;code&gt;usr/local/lib&lt;/code&gt; or &lt;code&gt;usr/local/bin&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;So when i try to do a &lt;code&gt;./configure&lt;/code&gt; on x264 I got a&lt;br&gt;&#xA;&lt;code&gt;« libav: no »&lt;/code&gt;&lt;br&gt;&#xA;but as l-smash is installed I got&lt;br&gt;&#xA;&lt;code&gt;« mp4:lsmash »&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="10693" LastEditorUserId="1760" LastEditDate="2015-04-18T01:29:13.007" LastActivityDate="2015-04-18T01:29:13.007" Title="Libav/ X264 failed to compile with Hi422p profile and mp4 container support" Tags="|libav|x264|" AnswerCount="0" CommentCount="6" ClosedDate="2017-09-04T14:46:20.807" ContentLicense="CC BY-SA 3.0" />
  <row Id="15347" PostTypeId="1" AcceptedAnswerId="15348" CreationDate="2015-04-16T09:20:56.517" Score="1" ViewCount="57843" Body="&lt;p&gt;I am animating a volume meter, and have done the &quot;tricky bit&quot; of getting the volume value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I want to apply the volume value to a mask , so that as the music moves, the mask is exposed in time to the beat.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried two ways, the first by scaling the mask. However, I can't get it to scale in one direction only (i.e. it scales around a center point.) Even if I move the pan anchor it still doesn't pin the base of the shape.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other way I tried was using a linear wipe. However, this was no good either, as the whole wipe effect is completed at 38% (i.e. if I move the slider the object vanishes totally at 38%, not 100% as I would expect.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a better way to do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Seems simple, but has me stumped.&lt;/p&gt;&#xA;" OwnerUserId="10673" LastActivityDate="2021-11-09T18:54:42.743" Title="How do I scale an object in only one direction?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15348" PostTypeId="2" ParentId="15347" CreationDate="2015-04-16T10:53:45.110" Score="0" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Set the &lt;em&gt;Anchor Point&lt;/em&gt; to the &lt;strong&gt;bottom&lt;/strong&gt; of the asset by using the &lt;em&gt;Anchor Point&lt;/em&gt; tool (&lt;kbd&gt;Y&lt;/kbd&gt;)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nP5xd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nP5xd.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt; &lt;em&gt;Tool icon in CC versions&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/65jz5.jpg&quot; alt=&quot;enter image description here&quot; /&gt; &lt;em&gt;Tool icon in versions pre CC&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/xRPvl.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Disable &lt;strong&gt;proportional scaling&lt;/strong&gt; of that layer &lt;img src=&quot;https://i.stack.imgur.com/lB9Gz.jpg&quot; alt=&quot;enter image description here&quot; /&gt; and set the desired keyframes&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;strong&gt;Demo in AE 22.0.0&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/54Pcr.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/54Pcr.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Notes&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The shape also can be used as &lt;strong&gt;track matte&lt;/strong&gt;, just set the layer below to &lt;code&gt;Alpha&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Consider&lt;/em&gt; to add a &lt;strong&gt;slider control&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;As alternative you could use a trim path on a shape layer as track matte, see this answer: &lt;a href=&quot;https://graphicdesign.stackexchange.com/questions/49643/how-to-use-after-effects-trim-path-with-an-illustrator-path/49975#49975&quot;&gt;https://graphicdesign.stackexchange.com/questions/49643/how-to-use-after-effects-trim-path-with-an-illustrator-path/49975#49975&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2021-11-09T18:54:42.743" LastActivityDate="2021-11-09T18:54:42.743" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="15349" PostTypeId="1" AcceptedAnswerId="15350" CreationDate="2015-04-16T14:00:50.020" Score="3" ViewCount="67020" Body="&lt;p&gt;I'm using After Effects to create a Motion graphic and I would like to make the animation zoom in on a specific point, do something and then zoom out again. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To clarify what I exactly try to achieve: I'm animating a browser and I would like to zoom in on the URL bar, type an URL and then zoom out and work on just like before zooming. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One option is to scale all the visible layers, so it looks zoomed, but that's a strange way to achieve the zooming effect, I think.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's your advice?&lt;/p&gt;&#xA;" OwnerUserId="10696" LastActivityDate="2015-07-30T07:40:22.497" Title="How do you zoom in (animated) on a portion of your canvas?" Tags="|after-effects|animation|focus|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15350" PostTypeId="2" ParentId="15349" CreationDate="2015-04-16T17:11:42.137" Score="5" Body="&lt;p&gt;Here's what I would do...&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Create a camera&lt;/li&gt;&#xA;&lt;li&gt;Create a null object&lt;/li&gt;&#xA;&lt;li&gt;Set the parent of the null object to be the camera&lt;/li&gt;&#xA;&lt;li&gt;Make the null object a '3D' object&lt;/li&gt;&#xA;&lt;li&gt;Use the null object's properties to zoom and move the camera around, e.g. use the 'z' position to zoom&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You could do this with the camera by itself, but the null object is sometimes easier to deal with. Ease in and out of the keyframes for a smooth animation. I hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="6768" LastActivityDate="2015-04-16T17:11:42.137" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15351" PostTypeId="2" ParentId="15349" CreationDate="2015-04-16T19:47:34.143" Score="3" Body="&lt;p&gt;You can simply &lt;strong&gt;scale the layer (or a null object)&lt;/strong&gt; to get something like:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/GogUC.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Click on the &lt;strong&gt;stop watch&lt;/strong&gt; of the &lt;strong&gt;position&lt;/strong&gt; and &lt;strong&gt;scale&lt;/strong&gt; properties of the layer at the first frame (to enable the properties: &lt;em&gt;select the layer&lt;/em&gt;, &lt;em&gt;hit&lt;/em&gt; &lt;kbd&gt;S&lt;/kbd&gt; &lt;em&gt;followed by&lt;/em&gt; &lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;P&lt;/kbd&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Move 10-20 &lt;strong&gt;frames ahead&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Scale&lt;/strong&gt; your layer&lt;/li&gt;&#xA;&lt;li&gt;Edit the position property or simply dragging the layer in the viewer to set the &lt;strong&gt;desired end position value&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Sharpen&lt;/strong&gt; the layer (&lt;em&gt;Effect Panel &gt; Sharpen&lt;/em&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Optional: Enable &lt;strong&gt;Motion Blur&lt;/strong&gt; (for the layer and the composition property) &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/ipzwgeth6j62xz4/Unbenanntes%20Projekt.zip?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;Project file&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; Also check if your OS supports &lt;strong&gt;&lt;a href=&quot;https://wiki.archlinux.org/index.php/HiDPI&quot; rel=&quot;nofollow noreferrer&quot;&gt;HiDPI mode&lt;/a&gt;&lt;/strong&gt; for a better screenshot:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;HiDPI on Linux: &lt;a href=&quot;https://blogs.gnome.org/alexl/2013/06/28/hidpi-support-in-gnome/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://blogs.gnome.org/alexl/2013/06/28/hidpi-support-in-gnome/&lt;/a&gt; &lt;br/&gt;&lt;/li&gt;&#xA;&lt;li&gt;HiDPI on OSX: &lt;a href=&quot;https://apple.stackexchange.com/questions/48433/enable-hidpi-on-23-imac&quot;&gt;https://apple.stackexchange.com/questions/48433/enable-hidpi-on-23-imac&lt;/a&gt;&lt;br/&gt;&lt;/li&gt;&#xA;&lt;li&gt;HiDPI on Win: &lt;a href=&quot;http://www.tekrevue.com/tip/chrome-high-dpi-mode/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.tekrevue.com/tip/chrome-high-dpi-mode/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="-1" LastEditDate="2017-04-13T12:45:28.897" LastActivityDate="2015-07-30T07:40:22.497" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15352" PostTypeId="1" AcceptedAnswerId="15356" CreationDate="2015-04-16T19:49:32.630" Score="1" ViewCount="74" Body="&lt;p&gt;I am looking to turn my stories into YouTube videos. We have images set for the backgrounds. They currently aren't as PowerPoint files. They were going to be HTML pages however it would be easier for us to host these on YouTube as we have some issues loading sounds and the javascript scrolling at the same time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Already Tried&lt;/strong&gt; : using the YouTube video editor however I cannot fill the screen enough. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Requirement&lt;/strong&gt; : Cheaply create video files using background images, simple transitions and adding sound.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My Experience level&lt;/strong&gt; : Not expert, not done since a long time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the easiest/most cost effective way of doing this? &lt;/p&gt;&#xA;" OwnerUserId="10698" LastEditorUserId="27660" LastEditDate="2020-02-20T15:16:57.250" LastActivityDate="2020-02-21T18:35:52.447" Title="Easiest way to turn something a powerpoint into a video file" Tags="|video|youtube|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="15353" PostTypeId="2" ParentId="15352" CreationDate="2015-04-16T20:22:03.530" Score="3" Body="&lt;p&gt;Not sure, which version you're using and I didn't use PowerPoint recently, but as far as I can remember, there is a &lt;a href=&quot;https://support.office.com/en-au/article/Turn-your-presentation-into-a-video-c140551f-cb37-4818-b5d4-3e30815c3e83&quot; rel=&quot;nofollow&quot;&gt;video export function built in&lt;/a&gt;. Might be worth a try.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also there's a list with &lt;a href=&quot;http://en.wikipedia.org/wiki/List_of_video_editing_software&quot; rel=&quot;nofollow&quot;&gt;free video software on Wikipedia&lt;/a&gt;, which you can take a look at. Many of them should work for your purpose.&lt;/p&gt;&#xA;" OwnerUserId="10424" LastEditorUserId="10424" LastEditDate="2015-04-16T20:28:04.590" LastActivityDate="2015-04-16T20:28:04.590" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15354" PostTypeId="1" CreationDate="2015-04-16T21:53:23.797" Score="1" ViewCount="48" Body="&lt;p&gt;Coming from a node based editor, I am trying to find the best way to export multiple outputs from a single AE comp. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, in my comp, I have 3-4 different masks that's applied to overall comp. I want to export seperate sequences , each with the unique mask applied to the image. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the fastest way to accomplish this in AE ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks!&lt;/p&gt;&#xA;" OwnerUserId="10700" LastActivityDate="2015-04-29T15:01:16.590" Title="Different outputs from one comp" Tags="|after-effects|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15356" PostTypeId="2" ParentId="15352" CreationDate="2015-04-16T22:53:03.473" Score="0" Body="&lt;p&gt;iMovie comes free on Mac computers, and it includes all of the features you're looking for. It's also very simple to use.  (I used it to make about 300 videos over the last 5 years.)&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-04-16T22:53:03.473" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15357" PostTypeId="1" CreationDate="2015-04-17T09:32:10.870" Score="2" ViewCount="139" Body="&lt;p&gt;After a break of a few years I have started doing video editing again. So I bought Sony Vegas and later upgraded it to the latest version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this particular project my source files was created by two different devices: A Samsung Galaxy S2 mobile phone (mp4) and a Sony Cybershot camera (also mp4). The files from the Sony camera cannot be read directly by Vegas, so I have had to transcode them (they are still mp4).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wanted to produce a DVD of this event (a birthday party), but when I render the project (to be used by DVD Architect) Vegas crashes for me halfway through the process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have of course reported this to Sony, but i don't expect any solution soon, so I was wondering if I was doing this the wrong way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this case - when the source is mp4 (and in a higher resolution than DVD) - would you suggest another workflow? Would it be better to transcode the files before I add them to the Vegas project?&lt;/p&gt;&#xA;" OwnerUserId="10702" LastActivityDate="2015-04-17T13:33:51.920" Title="MP4 to DVD - suggestion for workflow" Tags="|mp4|vegas-pro|workflow|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15359" PostTypeId="2" ParentId="15357" CreationDate="2015-04-17T13:33:51.920" Score="1" Body="&lt;p&gt;It's never a bad idea to have resolution and bit depth to spare during post but if you don't need the extras -- higher bit depth for cleaner effects / color grading, higher res for crop and blowup and so on -- then you can reduce the originals to the final output values with no loss of fidelity.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-04-17T13:33:51.920" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15360" PostTypeId="2" ParentId="15316" CreationDate="2015-04-17T15:14:24.350" Score="2" Body="&lt;p&gt;Do you drink coffee?  That's my solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More seriously though - For me, it helps to jump from project to project, setting individual goals each time I move to a different project, e.g. for project 'x', finish creating sub-clips from raw footage before I stop editing.  It also helps to alternate between tasks that are boring and tasks that are more exciting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In reality, you often don't have the luxury of moving away from a project or boring tasks.  That's when you have to just power through it.  In the end, if you're proud of what you have done, it's always worth it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It can be extremely frustrating to work with bad material or to have to work in projects with missing shots.  Again, with these situations, there is no secret sauce.  You edit what you can, and do your best to prevent the situation next time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this helps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Calvin&lt;/p&gt;&#xA;" OwnerUserId="6768" LastActivityDate="2015-04-17T15:14:24.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15361" PostTypeId="1" CreationDate="2015-04-17T19:19:05.810" Score="1" ViewCount="16966" Body="&lt;p&gt;I just reopened my project and in all compositions that have 3D layers the preview is gone: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/nkxr7.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It looks like a bug to me but maybe I'm missing something?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ps: don't mind the lack of timeline, it's on a second display.&lt;/p&gt;&#xA;" OwnerUserId="10703" LastEditorUserId="6685" LastEditDate="2015-04-21T03:50:25.057" LastActivityDate="2015-04-21T03:50:25.057" Title="After Effects - No preview window after reopening my project" Tags="|after-effects|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="15363" PostTypeId="1" AcceptedAnswerId="15369" CreationDate="2015-04-17T21:13:19.247" Score="2" ViewCount="11077" Body="&lt;p&gt;I have got this error message when using ffmpeg&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_drawtext_0 @ 03bdc300] Could not load font &quot;/Library/Fonts/DroidSansMono.ttf&quot;: cannot open resource&#xA;Fontconfig error: Cannot load default config file&#xA;[Parsed_drawtext_0 @ 03bdc300] impossible to init fontconfig&#xA;[AVFilterGraph @ 03d9b840] Error initializing filter 'drawtext' with args 'fontsize=15:fontfile=/Lib&#xA;rary/Fonts/DroidSansMono.ttf:timecode=00\:00\:00\:00:rate=25:text=TCR\::fontsize=72:fontcolor=white:&#xA;boxcolor=0x000000AA:box=1:x=860-text_w/2:y=960'&#xA;Error opening filters!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Does anyone know how can I resolve this issue?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using ffmpeg on Windows 7. I've downloaded ffmpeg from ffmpeg.zeranoe.com/builds&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what I entered and what came up:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;c:\ffmpeg\bin&amp;gt;ffmpeg -i in.mts -vf &quot;drawtext=fontfile=/usr/share/fonts/truetype/DroidSans.ttf: timec&#xA;ode='09\:57\:00\:00': r=25: \x=(w-tw)/2: y=h-(2*lh): fontcolor=white: box=1: boxcolor=0x00000000@1&quot;&#xA;-an -y out.avi&#xA;ffmpeg version N-70634-g3bedc99 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 4.9.2 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzli&#xA;b --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libblu&#xA;ray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-&#xA;libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrw&#xA;b --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr -&#xA;-enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --&#xA;enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enab&#xA;le-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-decklink --enab&#xA;le-zlib&#xA;  libavutil      54. 20.100 / 54. 20.100&#xA;  libavcodec     56. 26.100 / 56. 26.100&#xA;  libavformat    56. 25.101 / 56. 25.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 12.100 /  5. 12.100&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mpegts, from 'in.mts':&#xA;  Duration: 00:00:23.42, start: 1.040000, bitrate: 9937 kb/s&#xA;  Program 1&#xA;    Stream #0:0[0x1011]: Video: h264 (High) (HDMV / 0x564D4448), yuv420p, 1440x1080 [SAR 4:3 DAR 16:&#xA;9], 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:1[0x1100]: Audio: ac3 (AC-3 / 0x332D4341), 48000 Hz, stereo, fltp, 256 kb/s&#xA;    Stream #0:2[0x1200]: Subtitle: hdmv_pgs_subtitle ([144][0][0][0] / 0x0090), 1920x1080&#xA;[Parsed_drawtext_0 @ 02ac2f20] Could not load font &quot;/usr/share/fonts/truetype/DroidSans.ttf&quot;: cannot&#xA; open resource&#xA;Fontconfig error: Cannot load default config file&#xA;[Parsed_drawtext_0 @ 02ac2f20] impossible to init fontconfig&#xA;[AVFilterGraph @ 03cdb840] Error initializing filter 'drawtext' with args 'fontfile=/usr/share/fonts&#xA;/truetype/DroidSans.ttf: timecode=09\:57\:00\:00: r=25: x=(w-tw)/2: y=h-(2*lh): fontcolor=white: box&#xA;=1: boxcolor=0x00000000@1'&#xA;Error opening filters!&#xA;&#xA;c:\ffmpeg\bin&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10369" LastEditorUserId="10369" LastEditDate="2015-04-19T00:50:49.750" LastActivityDate="2015-12-31T19:42:35.383" Title="How to resolve ffmpeg error cannot load default config file?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15367" PostTypeId="1" AcceptedAnswerId="15414" CreationDate="2015-04-19T08:38:23.413" Score="2" ViewCount="2683" Body="&lt;p&gt;I have got a video clip and a 100% accurate text file (containing subtitles). Is there any way where I can convert the text file into a timed SRT subtitle file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you very much.&lt;/p&gt;&#xA;" OwnerUserId="10714" LastActivityDate="2015-04-24T16:40:56.027" Title="Automated Timing for Video Subtitles" Tags="|subtitles|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15368" PostTypeId="1" AcceptedAnswerId="16764" CreationDate="2015-04-19T10:24:38.593" Score="2" ViewCount="15913" Body="&lt;p&gt;I would like to know what is the size in MB for 1 minute video captured in the following format:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1920 x 1080 (60 fps) AVCHD&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1920 x 1080 (60 fps) MPEG-4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;with peak data rate of 24Mbit/sec&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to calculate it?&lt;/p&gt;&#xA;" OwnerUserId="10715" LastActivityDate="2019-12-20T20:46:58.117" Title="What is the size of 1 minute video at 1920 x 1080 (60 fps)?" Tags="|file-formats|video-recording|mpeg|avchd|formats|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15369" PostTypeId="2" ParentId="15363" CreationDate="2015-04-19T12:23:52.010" Score="4" Body="&lt;p&gt;Got it. The error is cuased by the font location in the command is of a Linux computer. The font location need to be different for windows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The error caused by this line in the command: &lt;code&gt;drawtext=fontfile=/usr/share/fonts/truetype/DroidSans.ttf&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The above line does not work in Windows. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For windows change to: &lt;code&gt;drawtext=fontfile=/Windows/Fonts/arial.ttf&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="10369" LastActivityDate="2015-04-19T12:23:52.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15371" PostTypeId="1" AcceptedAnswerId="15706" CreationDate="2015-04-19T17:18:21.403" Score="1" ViewCount="1337" Body="&lt;p&gt;I shot some video at an event last night with an ATEM TV Studio and recorded it via USB to my computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The files themselves play fine with VLC or Windows Media, but when I import them into Premiere the audio is out of sync with the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;These files were captured with Media Express on 1080i5994. Capture format says AVI 8bitYUV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any thoughts or suggestions?&lt;/p&gt;&#xA;" OwnerUserId="6369" LastEditorUserId="6671" LastEditDate="2015-04-27T04:44:40.543" LastActivityDate="2019-01-11T04:36:41.393" Title="h.264 Audio Out of Sync in Premiere" Tags="|video|premiere|audio|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15372" PostTypeId="1" CreationDate="2015-04-19T19:29:26.077" Score="1" ViewCount="922" Body="&lt;p&gt;I use Adobe Premiere and I would like to crop some of clip. When I'm setting all on preview mode everything looks good, but after rendering more area is cut off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/AK7fe.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tCkqm.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="10717" LastEditorUserId="1950" LastEditDate="2015-04-21T06:34:39.633" LastActivityDate="2015-04-21T06:34:39.633" Title="After rendering, the 'Crop' effect cuts off more than I chose" Tags="|premiere|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15373" PostTypeId="2" ParentId="15266" CreationDate="2015-04-20T07:41:22.703" Score="1" Body="&lt;p&gt;I've reported the issue on Debian bug tracker &lt;a href=&quot;https://bugs.debian.org/cgi-bin/bugreport.cgi?bug=782124&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;, as well as upstream &lt;a href=&quot;https://bitbucket.org/wez/atomicparsley/issue/45&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Really the only available reference implementation can be found &lt;a href=&quot;http://code.google.com/p/mp4v2/issues/detail?id=113&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="10558" LastActivityDate="2015-04-20T07:41:22.703" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15374" PostTypeId="1" CreationDate="2015-04-20T12:55:46.737" Score="4" ViewCount="3832" Body="&lt;p&gt;I'd like to use FFmpeg on the Mac Terminal command line to convert a .WMV file. I'm familiar with the syntax:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /path/OriginalMovieFile.wmv /path/NewMovieFile.???&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, my recent attempt to convert a 38 MB .WMV file to .MP4 resulted in an 800 MB file that wouldn't play. Perhaps there is a mistake in my syntax above. Or maybe I need to install a special package for handling .WMV. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I convert .WMV files using FFmpeg from the Mac Terminal command line?&lt;/p&gt;&#xA;" OwnerUserId="5113" LastActivityDate="2016-05-23T23:05:29.613" Title="Convert .WMV using FFmpeg" Tags="|ffmpeg|mac|transcoding|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15375" PostTypeId="2" ParentId="15170" CreationDate="2015-04-20T16:18:12.873" Score="4" Body="&lt;p&gt;The Matrox graphics card is probably the easiest and most versatile approach. I use the TripleHead2Go, which as you'd assume sends a signal(s) to up to three monitors/projectors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Multiple computers will never stay in sync. I found this out the hard way the night of an event.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of software, if you're on OS X check out &lt;a href=&quot;https://vidvox.net/&quot; rel=&quot;nofollow&quot;&gt;VDMX&lt;/a&gt;. There's a fully functional demo that you can grab. Setting it up for your needs would be fairly trivial after a quick search for the right approach.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS. I would have just commented on the other answers, but I'm new here and don't have the credentials.&lt;/p&gt;&#xA;" OwnerUserId="10722" LastActivityDate="2015-04-20T16:18:12.873" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15376" PostTypeId="1" CreationDate="2015-04-20T17:36:25.473" Score="2" ViewCount="7071" Body="&lt;p&gt;I've got a short video that I'd like to export as an mp4 and use in a seamless loop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The content of the video is very abstract so it doesn't really matter where the loop occurs/what parts of the clip are butting against each other. In practice with the same file, within editors and elsewhere, edits are always seamless.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While working within both Premiere CS6 and After Effects CS6 the clip loops seamlessly. It's when I export and view the media that the short pause/stutter is visible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried to output the video in many file formats (H.264, Quicktime, MPEG4, etc.) using various export settings. The resulting file always has a short pause at the beginning of the loop when viewed on OS X Quicktime and VLC, as well as when embedded as HTML5 video (but don't get distracted by the web component.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example mp4 file is embedded here: &lt;a href=&quot;http://mechaneyes.com/vid/&quot; rel=&quot;nofollow&quot;&gt;http://mechaneyes.com/vid/&lt;/a&gt; . It's slight, but the video is 2 seconds long, so you'll repeatedly see the hiccup. If needed you can right click on the video and save it to view elsewhere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for any assist you can give!&lt;/p&gt;&#xA;" OwnerUserId="10722" LastActivityDate="2019-12-08T00:04:42.090" Title="'Seamless' loop hangs/pauses at beginning of clip" Tags="|after-effects|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15377" PostTypeId="1" CreationDate="2015-04-20T17:48:11.640" Score="1" ViewCount="169" Body="&lt;p&gt;Yes, I know I should update my copy of Vegas, but it's not in the budget right now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a copy of Vegas Pro 10 that I've been running on WinXP without problems.  Now I just got a new PC and it has Win8 on it.  Since VP10 is a 32-bit program, and Win8 is a 64-bit OS, I'm just curious if anyone has experienced any issues with running it on Win8?  Just things I should look out for, tips/workarounds I might need?  Or does it run as expected without any tweaking necessary?&lt;/p&gt;&#xA;" OwnerUserId="5869" LastActivityDate="2015-04-20T17:48:11.640" Title="32-bit Vegas Pro 10 on 64-bit Windows 8 - Any issues with this?" Tags="|vegas-pro|windows|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15378" PostTypeId="2" ParentId="15376" CreationDate="2015-04-20T18:08:22.013" Score="2" Body="&lt;p&gt;Within an editor each frame is complete in itself, but in the output formats you mention, the video is almost always compressed in such a way that only certain frames (called I-frames) are complete and independent. The rest are 'difference' frames that rely on information from surrounding frames. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;At a loop point there's often a need for the player to start over, to refill its buffers and prime the engine. You can often help out by ending your segment with a I-frame. But the only sure way to replicate what you see in the editor is to output only I-frames. MJPEG is an example of a codec that always does this, but there are other codecs that can be instructed to. The downside is that the video will be considerably larger. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try MJPEG and see if it does what you need.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-04-20T18:08:22.013" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15379" PostTypeId="1" CreationDate="2015-04-20T19:18:39.037" Score="2" ViewCount="1063" Body="&lt;p&gt;My work has a green screen that my boss purchased with no knowledge of green screens or how to use or what to do with them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;in Sept. 2014 he gave me the task to create employee introduction / interview videos to explain how some of our procedures work, and I used my knowledge of greenscreens and chroma-keying to do my best. I managed to create a couple of workable videos, where all of the green was easily edited out and the desired effect was achieved without much hassle. &lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recently my boss has asked me to create some product spotlight videos utilizing the green screen to place the item on a background of his choice. And here's where the trouble started. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;The &lt;strong&gt;Setup&lt;/strong&gt; consists of:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;em&gt;2-flood lights&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;The screen&lt;/em&gt; and a stand for it&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I have been using the lights to illuminate the screen &lt;strong&gt;and using the ambient light from the warehouse to light the object&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have the object sitting on a black leather stool while it rotates (desired effect as requested by my boss) sitting about &lt;strong&gt;2-3 feet away from the screen&lt;/strong&gt; (this is the furthest away I can pull the object away before the screen edges are visible) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problems arise in editing, when I try to key out the green and add our background in. The black leather and the top of the product reflects so much that the keying eliminates it completely as the color technically matches that of the shadows in the screen its self, and BAM! The item is half transparent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Modifying the key's parameters do nothing&lt;/strong&gt; to help and my boss does not want to invest anything except my time and efforts into this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After researching across the web, I have come to these conclusions:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Lighting is key&lt;/strong&gt;, but we can not get more/better/more practical&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Distance helps&lt;/strong&gt;, but I can not move it much further because of screen size is too small to go further away and setting up in a warehouse&lt;/li&gt;&#xA;&lt;li&gt;Reflective surfaces will be a pain anyways so make sure &lt;strong&gt;lighting is perfect&lt;/strong&gt; and i can't get more lights. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I have tried every idea I can think of to reduce reflection in photographs, but because it is not a static shot, there is much I am missing...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What else can I try?&lt;/p&gt;&#xA;" OwnerUserId="10723" LastEditorUserId="6685" LastEditDate="2015-04-25T20:27:57.700" LastActivityDate="2015-04-25T20:27:57.700" Title="Remove Greenscreen Reflections?" Tags="|video|editing|lighting|greenscreen|chromakey|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15380" PostTypeId="1" CreationDate="2015-04-20T19:51:07.367" Score="1" ViewCount="2229" Body="&lt;p&gt;I wonder about the following problem:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The usual orientation of a smartphone is portrait.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/TV6sD.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;The usual orientation of a movie/video is landscape.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/EX7yy.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;When I have a lot of portrait pictures I can easily watch them on my smartphone holding it upright:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/O1wOq.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;4&quot;&gt;&#xA;&lt;li&gt;When I make a stop motion video out of these pictures, the video is usually forced to be landscape, e.g. 4:3 or 16:9. Watching this video on an upright held smartphone results in:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tC17m.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;5&quot;&gt;&#xA;&lt;li&gt;Even when I rotate my smartphone I still get something like this:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ps5Je.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;which is not satisfactory.&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;6&quot;&gt;&#xA;&lt;li&gt;I'd like to see my stop motion video like this:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/541of.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;How do I &lt;strong&gt;produce&lt;/strong&gt; portrait orientation videos (in format 3:4 or 9:16) that are&#xA;  naturally displayed on upright held smartphones?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I am looking for specific advices concerning specific video-producing software, preferably Windows MovieMaker and MAGIX Video. &lt;/p&gt;&#xA;" OwnerUserId="10724" LastEditorUserId="1950" LastEditDate="2015-04-21T06:31:34.070" LastActivityDate="2015-04-21T19:41:59.937" Title="Producing Portrait orientation stop motion videos" Tags="|formats|stop-motion|windows-movie-maker|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15381" PostTypeId="2" ParentId="15379" CreationDate="2015-04-20T21:37:52.373" Score="4" Body="&lt;p&gt;You don't say what you're using to edit these videos, but there may be a better chromakey plugin for your platform than what comes natively. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, again depending on your platform, most editors will allow you to crop the key area (garbage matte) so that the green screen doesn't have to cover the entire raster, just enough to back the product you're shooting, so you could put the screen as far away as you like.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-04-20T21:37:52.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15382" PostTypeId="2" ParentId="15379" CreationDate="2015-04-21T02:54:52.170" Score="2" Body="&lt;p&gt;I have a couple of suggestions that could be of help:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Use a polarizer to reduce reflections. You say your boss won't spring for anything else, but you can pick one up fairly cheaply (like &lt;a href=&quot;http://www.amazon.com/s/ref=nb_sb_noss_1/185-7304232-8414121?url=search-alias%3Daps&amp;amp;field-keywords=polarized+lens+filter&quot; rel=&quot;nofollow&quot;&gt;under $20&lt;/a&gt; on amazon). If that's really not an option, you can try using some polarized sunglasses in front of the lens, at least to see if it eliminates the reflections. If so, maybe you can convince him it's worth $20.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Use a garbage matte or some sort of mask to remove the chroma keyer effect from the area of the leather that's reflecting. You'll end up with green-tinted leather, but it won't be transparent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Find something black and matte to put on top of the leather so it doesn't reflect in the first place. (It's not clear to me whether the object is reflecting or just the stand it's on - sorry if I'm misunderstanding.)&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-04-21T02:54:52.170" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15383" PostTypeId="1" CreationDate="2015-04-21T07:50:49.357" Score="-3" ViewCount="128" Body="&lt;p&gt;Here is what I have so far . I just dont know how to add plughw:1,0 into the command . &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tested that recording does work on plughw:1,0 .&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;function stream {&#xA;&#xA;ffmpeg -r 10  -threads 2 \&#xA; -f x11grab -video_size 1600x900 -framerate 10 -i :0.0 \&#xA;tasta-f v4l2 -video_size 320x240 -framerate 10 -i /dev/video0 \&#xA; -f alsa -ac 2 -i pulse                          \&#xA; -filter_complex &quot; \&#xA;[1:v]scale=170:-1,setpts=PTS-STARTPTS[fg]; \&#xA;[0:v]scale=1000:-1,setpts=PTS-STARTPTS[bg];  \&#xA;[bg][fg]overlay=W-w-10:10,format=yuv420p[out]; \&#xA;[out]crop=in_w:in_h-20:0:20[out]&quot;\&#xA; -map &quot;[out]&quot; \&#xA; -map &quot;2:a&quot;  \&#xA; -vcodec libx264 -preset veryfast -pix_fmt yuv420p -g 2 \&#xA; -b:v 1500k -minrate 1500k -maxrate 1500k -bufsize 3200k \&#xA; -acodec libmp3lame -ar 44100 -b:a 256 \&#xA; -ac 2 -f flv out.flv&#xA;&#xA;&#xA;  #-f alsa -i plughw:1,0&#xA;&#xA;  #'rtmp://live-jfk.twitch.tv/app/'&quot;$key&quot;&#xA;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6081" LastActivityDate="2015-04-21T08:01:54.017" Title="FFMPEG 2 audio track input" Tags="|ffmpeg|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="15384" PostTypeId="2" ParentId="15383" CreationDate="2015-04-21T08:01:54.017" Score="1" Body="&lt;p&gt;The trick was to use amix=inputs=2&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My error was thinking that I wanted to add another output stream to the track and the solution was to mix down the two tracks into one &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;function stream {&#xA;&#xA;ffmpeg -r 10  -threads 2 \&#xA; -f x11grab -video_size 1600x900 -framerate 10 -i :0.0 \&#xA; -f v4l2 -video_size 320x240 -framerate 10 -i /dev/video0 \&#xA; -f alsa -ac 2 -i pulse                          \&#xA; -f alsa -i plughw:1,0 \&#xA; -filter_complex &quot; \&#xA;amix=inputs=2;&#xA;[1:v]scale=170:-1,setpts=PTS-STARTPTS[fg]; \&#xA;[0:v]scale=1000:-1,setpts=PTS-STARTPTS[bg];  \&#xA;[bg][fg]overlay=W-w-10:10,format=yuv420p[out]; \&#xA;[out]crop=in_w:in_h-20:0:20[out]&quot;\&#xA; -map &quot;[out]&quot; \&#xA; -map &quot;2:a&quot;  \&#xA; -vcodec libx264 -preset veryfast -pix_fmt yuv420p -g 2 \&#xA; -b:v 1500k -minrate 1500k -maxrate 1500k -bufsize 3200k \&#xA; -acodec libmp3lame -ar 44100 -b:a 256 \&#xA; -ac 2 -f flv out.flv&#xA;&#xA;&#xA;  #-f alsa -i plughw:1,0&#xA;  #'rtmp://live-jfk.twitch.tv/app/'&quot;$key&quot;&#xA;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6081" LastActivityDate="2015-04-21T08:01:54.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15385" PostTypeId="2" ParentId="12243" CreationDate="2015-04-21T12:02:57.087" Score="3" Body="&lt;p&gt;To get a transparent Quicktime Video:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;select the composition&lt;/li&gt;&#xA;&lt;li&gt;press &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;M&lt;/kbd&gt; to add it to the render queue, &lt;/li&gt;&#xA;&lt;li&gt;click on &lt;em&gt;Output Module&lt;/em&gt; to choose the &lt;em&gt;File Format&lt;/em&gt;, &lt;/li&gt;&#xA;&lt;li&gt;select &lt;em&gt;Quicktime Container Format&lt;/em&gt; for Video Output,&lt;/li&gt;&#xA;&lt;li&gt;select &lt;em&gt;RGB+A&lt;/em&gt; to render RGB and Alpha channel&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="10726" LastEditorUserId="6685" LastEditDate="2015-04-25T20:26:33.543" LastActivityDate="2015-04-25T20:26:33.543" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15386" PostTypeId="2" ParentId="15379" CreationDate="2015-04-21T17:41:18.557" Score="2" Body="&lt;p&gt;Even a typical lamp with a &quot;daylight&quot;-colored bulb in it can act as a lighting source for your product. I'm sure your boss could spring for one light bulb!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you shoot again with the new lighting, or even without the new lighting, play around with the angle of your product / camera / stool to minimize the reflections.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-04-21T17:41:18.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15387" PostTypeId="1" AcceptedAnswerId="15389" CreationDate="2015-04-21T18:02:01.517" Score="5" ViewCount="21271" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;ATTENTION:&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;THIS QUESTION IS ABOUT DISABLING--NOT REMOVING SUBTITLE TRACKS FROM MKV FILES FROM THE COMMAND LINE. PERIOD.&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;It IS NOT about REMOVING subtitles by REMUXING with &lt;code&gt;mkvmerge&lt;/code&gt; or any other tool. There are literally thousands of threads about removal by remuxing. That's precisely why I started this thread about DISABLING NOT REMOVING subtiles. I could not find a single thread about that.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;It is NOT about GLOBALLY DISABLING subtitles in any PLAYER. That is obviously trivial and doesn't need any explanation. I don't need/want to do that and, if I did, I obviously wouldn't have taken the time to research the topic at hand and publish my findings in this thread.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;I shouldn't have to add this disclaimer but there have been a number of, in most cases demeaning, 'answers' that reveal a distinct misunderstanding of the OP, suggesting irrelevant 'solutions', and/or criticizing this hack as being 'O-h-h-h-so-difficult' if you want to re-enable the subtitle track at a later date. As I pointed out numerous times, anyone who can understand my answer and who knows how to use the command line will find this task trivial. Those who don't SHOULD NOT ATTEMPT this hack.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;The answer has already been given as this is the entire point of this thread. So any new answers are either superfluous or, in SOME cases, irrelevant. I will no longer respond to irrelevant 'answers' or comments or demeaning remarks by users who, judging by their reputations, should know better. Any such abuse will be flagged accordingly.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;I welcome any CONSTRUCTIVE suggestions that ADHERE TO THE TOPIC, in a COMMENT, but any 'answers' or negative comments will be unanswered and flagged as inappropriate.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Now that THAT is out of the way, let us begin…&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I couldn't find out how to do this anywhere so I thought I'd share this hack with others who, like me, want to &lt;strong&gt;DISABLE&lt;/strong&gt;, NOT REMOVE, subtitles in MKV files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;There are times when you don't want the subtitles that are embedded in a file and you don't want to have to disable subtitles every time you play such a file or globally disable subtitles in every player you happen to have. Or you may want to automatically use a subtitle (&lt;code&gt;srt&lt;/code&gt;) file that is preferable.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sure, you can completely REMOVE subtitles with &lt;code&gt;mkvmerge&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkvmerge --no-subtitles &quot;inputfile.mkv&quot; -o &quot;outputfile.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this is heavy-handed and a real pain if you have a bunch of multi-GB files. It takes lots of time and disk space to de- and re-mux every file. So I turned to &lt;code&gt;mkvpropedit&lt;/code&gt; which edits the properties of the subtitle track header in milliseconds. Note that this tool is installed when you install  &lt;a href=&quot;https://www.bunkus.org/videotools/mkvtoolnix/&quot; rel=&quot;nofollow&quot;&gt;MKVToolNix&lt;/a&gt;. Unfortunately, it is not at all obvious how to use this wonderful tool for the task at hand. Here's an example of the properties of a subtitle track as given by &lt;code&gt;mkvinfo&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;| + A track&#xA;|  + Track number: 4 (track ID for mkvmerge &amp;amp; mkvextract: 3)&#xA;|  + Track UID: 11363869179551629452&#xA;|  + Track type: subtitles&#xA;|  + Default flag: 0&#xA;|  + Lacing flag: 0&#xA;|  + Codec ID: S_TEXT/UTF8&#xA;|  + Name: CC&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Despite the &lt;code&gt;default flag&lt;/code&gt; setting &lt;code&gt;0&lt;/code&gt; (false), the subtitle track is still active by default in players. I later read in the &lt;code&gt;mkvmerge&lt;/code&gt; documentation &quot;&lt;em&gt;If no track is set to be the default track then mkvmerge will promote the first track of each type that it finds to be the default track. This is consistent with the behavior of various media players.&lt;/em&gt;&quot; I'm not sure if this means that it sets the &lt;code&gt;default flag&lt;/code&gt; to &lt;code&gt;1&lt;/code&gt; or somehow otherwise arranges for the track to be the default, but it seems maybe the latter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried adding the &lt;code&gt;track enabled&lt;/code&gt; property set to false but it didn't work.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkvpropedit --edit track:4 --set flag-enabled=0 &quot;inputfile.mkv&quot;&#xA;&#xA;| + A track&#xA;|  + Track number: 4 (track ID for mkvmerge &amp;amp; mkvextract: 3)&#xA;|  + Track UID: 11363869179551629452&#xA;|  + Track type: subtitles&#xA;|  + Default flag: 0&#xA;|  + Lacing flag: 0&#xA;|  + Codec ID: S_TEXT/UTF8&#xA;|  + Name: CC&#xA;|  + Enabled: 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10727" LastEditorUserId="10727" LastEditDate="2015-04-29T00:58:08.503" LastActivityDate="2016-01-12T05:46:21.503" Title="How to DISABLE--NOT REMOVE subtitle tracks from an MKV file from the command line?" Tags="|subtitles|mkv|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15388" PostTypeId="2" ParentId="15380" CreationDate="2015-04-21T18:51:46.883" Score="1" Body="&lt;p&gt;This is most likely a problem related to the app you are using to create/view these stop-motion videos. If you have portrait-orientated pictures, creating a video accordingly is simply a matter of setting the right video dimensions (i.e. video width and height in pixels); basically every video editing software allows you to set this manually or choose from a number of presets. If your smartphone displays it like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tC17m.png&quot; alt=&quot;wrong orientation&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the video was probably exported with incorrect settings, e.g. a widescreen preset; in that case, the video might contain black borders at both sides, which might be why your phone is displaying the video like this. How did you create this stop-motion video in the first place? Your questions sounds a bit like you used some smartphone app, which leads to all kinds of problems, including the video dimension and orientation issues you get when you can't set custom video parameters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Since you used the windows-movie-maker tag, I should mention that this is the single most useless video editing program in all known and unknown universes, dimensions and planes of existance. The best solution to any problem related to Windows Movie Maker is switching to another program that actually does anything of what it's supposed to do.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2015-04-21T19:41:59.937" LastActivityDate="2015-04-21T19:41:59.937" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15389" PostTypeId="2" ParentId="15387" CreationDate="2015-04-21T21:34:59.130" Score="9" Body="&lt;p&gt;I gave up and contacted the author of &lt;code&gt;mkvpropedit&lt;/code&gt; to ask if it was possible to do what I wanted to do. The first answer I got was 'No'. But I persevered and asked if there was any setting that will trick the player into not recognizing a subtitle track? The response was to set the Codec ID to something the player doesn't support. Eureka!&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkvpropedit --edit track:4 --set codec-id=DISABLED &quot;inputfile.mkv&quot;&#xA;&#xA;| + A track&#xA;|  + Track number: 4 (track ID for mkvmerge &amp;amp; mkvextract: 3)&#xA;|  + Track UID: 11363869179551629452&#xA;|  + Track type: subtitles&#xA;|  + Default flag: 0&#xA;|  + Lacing flag: 0&#xA;|  + Codec ID: DISABLED&#xA;|  + Name: CC&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This worked! The player doesn't recognize any subtitle track. In milliseconds I have achieved my goal. No time-consuming remux. Nice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The procedure for doing this hack is as follows:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Get track number of the subtitle track&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkvinfo &quot;inputfile.mkv&quot;&#xA;…&#xA;| + A track&#xA;|  + Track number: 4 (track ID for mkvmerge &amp;amp; mkvextract: 3)&#xA;|  + Track UID: 11363869179551629452&#xA;|  + Track type: subtitles&#xA;|  + Default flag: 0&#xA;|  + Lacing flag: 0&#xA;|  + Codec ID: S_TEXT/UTF8&#xA;|  + Name: CC&#xA;…&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;OR&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkvmerge --identify &quot;inpufile.mkv&quot; | grep subtitles &#xA;Track ID 3: subtitles (SubRip/SRT)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that &lt;code&gt;mkvinfo&lt;/code&gt; gives the proper 1-indexed track number that &lt;code&gt;mkvpropedit&lt;/code&gt; uses, BUT &lt;strong&gt;&lt;code&gt;mkvmerge&lt;/code&gt; gives a 0-indexed number so you have to add &lt;code&gt;1&lt;/code&gt;.  Be sure to do this or you'll mess up the wrong track!&lt;/strong&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Change the &lt;code&gt;Codec ID&lt;/code&gt; to some nonsense name so the track is not recognized as a subtitle track. (In this case the track number is 4 but it will be different for other files.)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkvpropedit --edit track:4 --set codec-id=DISABLED &quot;inputfile.mkv&quot;&#xA;&#xA;| + A track&#xA;|  + Track number: 4 (track ID for mkvmerge &amp;amp; mkvextract: 3)&#xA;|  + Track UID: 11363869179551629452&#xA;|  + Track type: subtitles&#xA;|  + Default flag: 0&#xA;|  + Lacing flag: 0&#xA;|  + Codec ID: DISABLED&#xA;|  + Name: CC&#xA;&#xA;Track ID 3: subtitles (DISABLED)&#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If you think you may at some time want to enable the track, keep a copy of the original &lt;code&gt;Codec ID&lt;/code&gt;. As suggested by Jim Mack, it would be expedient to just add an obvious character to the existing &lt;code&gt;Codec ID&lt;/code&gt;, thus preserving the original ID.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This hack works on files that have multiple subtitle tracks. Just repeat the renaming procedure for each track.&lt;/p&gt;&#xA;" OwnerUserId="10727" LastActivityDate="2015-04-21T21:34:59.130" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15390" PostTypeId="1" AcceptedAnswerId="15411" CreationDate="2015-04-21T22:56:50.420" Score="10" ViewCount="5936" Body="&lt;p&gt;I have approximately 3000 short video clips, each about 3 seconds in duration. I need to rotate each of them 90 degrees. What is the best way to do this? I have Adobe Creative Cloud subscription, as well as access to both Windows and Mac machines. Looking for the easiest solution to automate/batch process the rotation of so many videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you were wondering - the videos are part of an e-learning course on lumber. The learner views each randomly selected video, which is just a short clip of a piece of lumber rotating. The videos were shot so that the lumber (2x4s, etc.) were horizontal. But now the client wants the lumber to be vertical in the clips.&lt;/p&gt;&#xA;" OwnerUserId="10731" LastActivityDate="2023-02-06T17:00:57.560" Title="Best way to batch rotate 3000+ h.264 videos?" Tags="|video|" AnswerCount="4" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15391" PostTypeId="1" CreationDate="2015-04-22T12:54:13.580" Score="2" ViewCount="250" Body="&lt;p&gt;I am jsut working on a new After Effects Project. I have a bunch of images I am working with and I just wondered, why the edges of images are so blurry. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First I thought it might have something to do with the fact that sometimes, images don't lay on whole pixel. So I used an expression to keep them on whole rounded pixels. BUT! even when they are laying on whole pixels, they have unsharp edges.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My Question is, is there any Opportunity to fix that and in case you know how, could you please tell me?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2016-01-23T17:13:44.190" Title="After Effects: Images on whole pixel still blurry edges" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15392" PostTypeId="1" CreationDate="2015-04-22T13:59:30.083" Score="1" ViewCount="228" Body="&lt;p&gt;Personally I really dont like to ask such questions, but unfortunately this is where I am completely ignorant. I suppose to construct a live streaming server with DashCast over Apache Server. Presently, I setup DashCast but I do not know how to serve it through a web server Server. I guess after I deal with the server, I need to get it video by a Dash capable Javascript Client from the browser.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would you suggest me any reference, pathway or anything for this problem? Any help is appreciated.&lt;/p&gt;&#xA;" OwnerUserId="10735" LastActivityDate="2015-04-22T13:59:30.083" Title="Could you guide me to setup Live Http Steaming server with DashCast?" Tags="|streaming|" AnswerCount="0" CommentCount="0" ClosedDate="2015-05-11T09:24:23.670" ContentLicense="CC BY-SA 3.0" />
  <row Id="15393" PostTypeId="1" CreationDate="2015-04-22T14:34:24.780" Score="5" ViewCount="249" Body="&lt;p&gt;I'm creating a promotion video that has to be uploaded to YouTube and Vimeo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In post-production (using Final Cut), I've added a noise for aesthetic purposes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This noise looks really bad on YouTube and Vimeo because these sites compress the video's you upload to them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that (pseudo-)random noise is very hard to compress (almost by definition), so I was wondering if there exist noise filters that visually &#xA;seem random but are in fact not random, making compression on them easier and hopefully improving Youtube and Vimeo quality?&lt;/p&gt;&#xA;" OwnerUserId="10736" LastActivityDate="2015-04-24T04:37:49.003" Title="Add noise to video while maintaining compressibility" Tags="|compression|filter|noise|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15395" PostTypeId="1" CreationDate="2015-04-22T23:09:17.373" Score="2" ViewCount="3921" Body="&lt;p&gt;At UNIX command line, I use the &lt;code&gt;mkvmerge&lt;/code&gt; command in &lt;a href=&quot;https://www.bunkus.org/videotools/mkvtoolnix/&quot; rel=&quot;nofollow&quot;&gt;MkvToolNix&lt;/a&gt; to split the large multi-GB *.mkv file into several parts:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkvmerge -o out.mkv --split 1990M large.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It generated &lt;code&gt;out-001.mkv&lt;/code&gt;, &lt;code&gt;out-002.mkv&lt;/code&gt;, &lt;code&gt;out-003.mkv&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also a subtitle file &lt;code&gt;large.srt&lt;/code&gt;.  Now I do I separate it into parts that will work properly with those smaller mkv files?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another related question: how to incorporate large.srt into large.mkv first, and then split the resultant mkv file into smaller parts retaining the subtitles?&lt;/p&gt;&#xA;" OwnerUserId="10738" LastActivityDate="2015-04-24T13:59:40.137" Title="How to split a large mkv file into parts with the *.srt subtitle file separated accordingly?" Tags="|video-editor|editing|file-formats|software|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15396" PostTypeId="1" CreationDate="2015-04-23T05:26:31.473" Score="2" ViewCount="72" Body="&lt;p&gt;My wife is using her Panasonic lumix to shoot video. She gets great shots of wildlife. The issue is that shots of flying birds, ducks or eagles or whatever is happening, appear to have 4 wings. Most shots are well lit. ISO is set to 100. Is there a setting to fix this problem?&lt;/p&gt;&#xA;" OwnerUserId="10739" LastActivityDate="2015-04-24T04:31:21.020" Title="video artifacts" Tags="|video|dslr|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15397" PostTypeId="2" ParentId="15391" CreationDate="2015-04-23T07:29:53.707" Score="3" Body="&lt;p&gt;So, I figured it out by myself. The problem was the anchorpoint. My images were on even pixels but the anchorpoint was odd.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the solution is to use following expressions:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;// Position&#xA;newX = Math.round(transform.position[0]);&#xA;newY = Math.round(transform.position[1]);&#xA;[newX, newY]&#xA;&#xA;// Anchorpoint&#xA;newX = Math.round(transform.anchorpoint[0]);&#xA;newY = Math.round(transform.anchorpoint[1]);&#xA;[newX, newY]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;UPDATE 2&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I use this expression everytime now I am animating motion graphics, I thought it would be cool to make an actual after effects script of it. You can purchase it here:&#xA;&lt;a href=&quot;http://videohive.net/item/fixl-snap-layers-to-pixel/14403309&quot; rel=&quot;nofollow&quot;&gt;FIXL -Snap Layers to Pixel&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you try to animate layers with these expressions, it comes to rough animations. That's why I wrote a new expression that only applies if a keyframe is set. So its safe that whenever an image or layer is resting on the same position for a longer time, it will stay on even pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Add this Expression to the position property of your layer:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;n = transform.position.numKeys&#xA;t = time;&#xA;timeOfKeyframe = null;&#xA;&#xA;for(i=1; i &amp;lt;= n; i++){&#xA;    if ( t == transform.position.key(i).time ){&#xA;        timeOfKeyframe = transform.position.key(i).time;&#xA;    }&#xA;    else{&#xA;        value;&#xA;    }&#xA;}&#xA;&#xA;if (t == timeOfKeyframe) {&#xA;    keyValue = transform.position.valueAtTime(timeOfKeyframe);&#xA;    roundedValue = [Math.round(keyValue[0]),Math.round(keyValue[1])];&#xA;}&#xA;else{&#xA;    value;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="9154" LastEditorUserId="6685" LastEditDate="2016-01-23T17:13:44.190" LastActivityDate="2016-01-23T17:13:44.190" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15398" PostTypeId="1" AcceptedAnswerId="15431" CreationDate="2015-04-23T08:02:51.727" Score="2" ViewCount="292" Body="&lt;p&gt;After screen capturing a video and editing it with Premiere CS3*, I'd like some help optimizing the Quicktime filesize. I was wondering if I can get the ratio back to 1:1 at least. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried to best match my project settings to my original video type, but when I export my edit, the filesize increases from 55mb (10min) to 963mb (7min).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Original video Settings&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;H.264 Codec / AAC 44.1khz, 448kbps Audio&lt;/li&gt;&#xA;&lt;li&gt;1280*720 @ 25fps&lt;/li&gt;&#xA;&lt;li&gt;VBR Bitrate (many still frames are present), High quality, High Profile&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Premiere Project Settings&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;HDV 720p Preset&lt;/li&gt;&#xA;&lt;li&gt;1280*720, 25fps&lt;/li&gt;&#xA;&lt;li&gt;No fields (Progressive scan)&lt;/li&gt;&#xA;&lt;li&gt;Video Rendering Setting: &lt;em&gt;Maximum Bit Depth (unchecked),&lt;/em&gt; Optimize Stills (checked)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Movie Export Settings&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;H.264&lt;/li&gt;&#xA;&lt;li&gt;1280*720, 25fps&lt;/li&gt;&#xA;&lt;li&gt;Millions of Colours&lt;/li&gt;&#xA;&lt;li&gt;Quality 86% (don't understand!)&lt;/li&gt;&#xA;&lt;li&gt;Data Rate: Recompress - Always (checked) &lt;em&gt;or Maintain Data Rate (unchecked)&lt;/em&gt;&#xA;&lt;em&gt;Limit Data Rate: (unavailable)&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Keyframe and Rendering: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Bit Depth: Use Project Settings (checked)/ &lt;em&gt;8-bit (unchecked)/ Maximum (unchecked)&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Fields: No Fields (Progressive Scan)/ &lt;em&gt;Lower Field First (unchecked)/ Upper Field First (unchecked)&lt;/em&gt;&#xA;&lt;em&gt;- De-interlace Video Footage (unchecked)&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Optimize Stills (checked).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;*Apologies for using outdated software.&lt;/p&gt;&#xA;" OwnerUserId="10740" LastActivityDate="2015-04-27T07:22:31.520" Title="Optimize Filesize export from Premiere CS3" Tags="|premiere|compression|quicktime|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15399" PostTypeId="1" CreationDate="2015-04-23T09:49:20.740" Score="0" ViewCount="1155" Body="&lt;p&gt;I found this annotation effect that I really like. and would like to recreate in After Effects. Does anyone know how to do it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/42220418&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/42220418&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="10741" LastActivityDate="2015-05-27T13:33:25.570" Title="How do I recreate this Annotation effect In After Effects?" Tags="|after-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15400" PostTypeId="1" CreationDate="2015-04-23T10:49:03.407" Score="2" ViewCount="1172" Body="&lt;p&gt;So, I have this animated watermark (MOV w/alpha) that I want to overlay on top of a video. I want to do it multiple times, so once in the beginning, once in the middle and finally towards the end. I'd like to use ffmpeg. Issue is, I believe, that in the complex filtergraph I'd have to use, there will be multiple intermediates formed, leading to quality loss. Is there a way to do this in one-pass?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-04-23T10:49:03.407" Title="Overlay animated watermark multiple times" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15401" PostTypeId="1" CreationDate="2015-04-23T12:33:54.027" Score="1" ViewCount="1477" Body="&lt;p&gt;I want to animate a representation digital counter. It is a segmented circle, and each time the counter increments it should move one step forward.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/gwmas.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My plan is to start with a graphic with all the segments visible, and then use a mask to block out the &quot;selected&quot; segment - it should look like a digital sweep around the circle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can do this with rotation quite easily, but it will be &quot;analogue&quot;, in that it will reveal parts of the segment rather than make a discrete change. How can I make an object rotate snappily by x degrees every second, rather than smoothly rotating?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Only way I can think is to use expressions, and set a stepped value, but is there a better (simpler) way?&lt;/p&gt;&#xA;" OwnerUserId="10673" LastActivityDate="2015-04-23T14:34:40.140" Title="How can I rotate in steps with After Effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15402" PostTypeId="2" ParentId="15401" CreationDate="2015-04-23T14:28:14.740" Score="2" Body="&lt;p&gt;Figured out how to do it with expressions. You need to know the time taken for a full rotation and the number of degrees you want to increment.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;degrees = 6; // Number of degrees to rotate by&#xA;fullRotationTime = 60000; // Number of milliseconds to complete a full 360 degree rotation&#xA;&#xA;steps = 360/degrees; // Number of steps in one rotation  &#xA;divisor = fullRotationTime / steps; &#xA;&#xA;ms = 1000*time; // Milliseconds since start&#xA;degrees*(Math.floor(((ms)/divisor)%steps))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This example will &quot;tick&quot; once a second for 60 seconds. &lt;/p&gt;&#xA;" OwnerUserId="10673" LastEditorUserId="10673" LastEditDate="2015-04-23T14:34:40.140" LastActivityDate="2015-04-23T14:34:40.140" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15403" PostTypeId="2" ParentId="15395" CreationDate="2015-04-23T16:38:42.147" Score="1" Body="&lt;p&gt;Add the subtitles to your large mkv file first. Then mkvmerge will split the file with the subtitles automatically.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To add the subtitles, the easiest is to use mkvmerge-GUI. It will also show you the command-line it uses. Or you can try something like this directly:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;video=&quot;your_large_video.mkv&quot;&#xA;st_en=&quot;english.srt&quot;&#xA;st_fr=&quot;french.srt&quot;&#xA;out=&quot;large_video-st_en_fr.mkv&quot;&#xA;&#xA;mkvmerge -o &quot;$out&quot; &quot;$video&quot; --language 0:eng &quot;$st_en&quot; --language 0:fre &quot;$st_fr&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After that, splitting works fine and includes correct subtitles. I just tried it, and splitted by size and by duration. I'm not sure, but maybe the subtitle timing was preserved more exactly when splitting by duration (&lt;code&gt;--split 1800s&lt;/code&gt; or similar instead of &lt;code&gt;--split 500M&lt;/code&gt;).&lt;/p&gt;&#xA;" OwnerUserId="3138" LastEditorUserId="3138" LastEditDate="2015-04-24T13:59:40.137" LastActivityDate="2015-04-24T13:59:40.137" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="15404" PostTypeId="2" ParentId="15387" CreationDate="2015-04-23T17:33:54.993" Score="7" Body="&lt;p&gt;What player are you using?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unless you have the &quot;forced&quot; flag set, &lt;strong&gt;it's a player option&lt;/strong&gt; whether subtitles are displayed automatically or not and in which language if you have several subtitle tracks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, set the &quot;default-flag&quot; to false:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkvpropedit video.mkv --edit track:s1 --set flag-default=0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then lookup your player preferences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In VLC (2.0.8), I had to follow &lt;a href=&quot;https://wiki.videolan.org/Documentation:Subtitles/&quot; rel=&quot;noreferrer&quot;&gt;these instructions&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;To disable subtitles by default, select &quot;Preferences&quot;, then &quot;Show&#xA;  All&quot;. Select &quot;Input/Codecs&quot;. On the &quot;Subtitle Track ID&quot; selection&#xA;  window, change the value to &quot;-1&quot;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;and also set the preferred language to &quot;none&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In SMplayer, uncheck Preferences / Subtitles / &quot;Select first available subtitle&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once your &quot;default&quot; flag is set to false for all subtitle tracks, it only depends on your player preferences.&lt;/p&gt;&#xA;" OwnerUserId="3138" LastActivityDate="2015-04-23T17:33:54.993" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15405" PostTypeId="2" ParentId="15390" CreationDate="2015-04-23T17:37:52.023" Score="1" Body="&lt;p&gt;Based on &lt;a href=&quot;https://stackoverflow.com/questions/3937387/rotating-videos-with-ffmpeg&quot;&gt;this answer&lt;/a&gt; you can use ffmpeg with following commands to rotate a video: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf transpose=2 output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To Batch process a folder of movies you can use a programming language of your choice and iterate through the files. I've used linux with python 2.7+ here. You only have to edit &lt;code&gt;folder_movies&lt;/code&gt; path, &lt;code&gt;path_to_ffmpeg&lt;/code&gt; and set&#xA;your movie &lt;code&gt;extension&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-py prettyprint-override&quot;&gt;&lt;code&gt;import os # import os module&#xA;import subprocess # import subprocess module&#xA;&#xA;# set the path to your video folder&#xA;folder_movies = '/home/user/Desktop/test/'&#xA;&#xA;# set ffmpeg path&#xA;path_to_ffmpeg = &quot;/opt/ffmpeg/ffmpeg&quot;&#xA;&#xA;# set file extension&#xA;ext = &quot;.mp4&quot;&#xA;&#xA;# collect all videos in folder_movies&#xA;movie_files = [f for f in os.listdir(folder_movies) if f.endswith(ext)] &#xA;&#xA;# iterate through the files&#xA;for i in movie_files:&#xA;&#xA;    # setup correct filepath for mov's&#xA;    file_path = os.path.join(folder_movies,i)&#xA;&#xA;    # generate new file path&#xA;    new_path = os.path.splitext(file_path)[0] + '_rotated_90' + ext&#xA;&#xA;    # call ffmpeg with the correct arguments&#xA;    # command: ffmpeg -i input -vf transpose=2 output&#xA;    subprocess.call([path_to_ffmpeg, &quot;-i&quot;,  file_path, &quot;-vf&quot;, &quot;transpose=2&quot;, &quot;-c:a&quot;, &quot;copy&quot;, new_path])&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Afterwards your movie folder should looks like:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tpl0h.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The advantage of using python is that the code runs &lt;strong&gt;cross platform&lt;/strong&gt;. The only thing you need to consider are the paths to the directory and the ffmpeg executable. In order to run this on a &lt;strong&gt;windows machine&lt;/strong&gt; you only have to replace the paths to something like:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-py prettyprint-override&quot;&gt;&lt;code&gt;# folder_movies = '/home/user/Desktop/test/' # linux or osx&#xA;folder_movies = r'c:\some\directory\test'    # windows, the r is important&#xA;folder_movies = 'c:/some/directory\test'     # windows (alternative)&#xA;&#xA;# path_to_ffmpeg = '/opt/ffmpeg/ffmpeg'            # linux or osx&#xA;path_to_ffmpeg = r'c:\Program Files\ffmpeg\ffmpeg' # windows, the r is important&#xA;path_to_ffmpeg = 'c:/Program Files/ffmpeg\ffmpeg'  # windows (alternative)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; I'm not a ffmpeg expert, maybe there is a way to batch process with it directly.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2015-06-05T11:48:57.117" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="15406" PostTypeId="1" AcceptedAnswerId="15407" CreationDate="2015-04-23T18:26:06.767" Score="1" ViewCount="86" Body="&lt;p&gt;I love this short 15 second video. I'm a beginner (have mercy), but how did they do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/3lEPOA9EHQI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="10743" LastActivityDate="2017-10-28T00:09:57.407" Title="Creating a stop motion vieo?" Tags="|youtube|stop-motion|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15407" PostTypeId="2" ParentId="15406" CreationDate="2015-04-23T18:50:06.837" Score="2" Body="&lt;p&gt;One frame at a time. Many film cameras (as opposed to video cameras) will allow the creator to shoot a single frame of film. The camera is set up on a tripod, pointing at countertop with the Quest Bar, strawberries, and peanuts on it. The filmmaker shoots one frame of film. Then he/she moves the Quest Bar a couple millimeters to the right. Then shoots another frame. Moves the Quest Bar a couple more millimeters. Shoots another frame. And so on, until the Quest Bar is in the middle of the shot. Then he/she opens the end of the wrapper a bit, and shoots another frame of film. Opens the wrapper a little more, shoots another frame. Slides the wrapper a couple millimeters to the left, shoots another frame.  And so on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is standard &quot;clay animation&quot; or &quot;Claymation&quot;. &lt;a href=&quot;http://en.wikipedia.org/wiki/Clay_animation&quot; rel=&quot;nofollow&quot;&gt;You can read more about it here.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-04-23T18:50:06.837" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="15408" PostTypeId="2" ParentId="15396" CreationDate="2015-04-24T04:31:21.020" Score="1" Body="&lt;p&gt;It sounds like you're seeing motion blur. For stills you would increase the shutter speed. For video, you need to decrease the &lt;a href=&quot;http://www.surfacedstudio.com/tutorials/shutter-angle-tutorial&quot; rel=&quot;nofollow&quot;&gt;shutter angle&lt;/a&gt;. Essentially, the shutter angle determines how long the shutter is open for each frame of video. So for video at 30fps, it can never be slower than 1/30th of a second. But it can be faster! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example at 30fps, if you set the shutter angle to 360°, you'll get 1/30th of a second for each frame of video. If you set it to 180°, you'll get 1/60th of a second, and so on.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-04-24T04:31:21.020" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15409" PostTypeId="2" ParentId="15393" CreationDate="2015-04-24T04:37:49.003" Score="3" Body="&lt;p&gt;As you say, noise by definition doesn't compress well. You can try different types of noise in FCP. The Add Noise filter has several choices - Gaussian is a reasonable simulation of film grain, but you can try the other choices, too. They might compress better (or worse). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But your best bet is to increase the data rate of the resulting file. I don't know the limitations of YouTube or Vimeo, and your content may make it difficult to stay within their limits, but that's probably going to get you better results than trying to find some form of noise that isn't (as) affected by compression.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-04-24T04:37:49.003" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15411" PostTypeId="2" ParentId="15390" CreationDate="2015-04-24T15:09:08.047" Score="11" Body="&lt;p&gt;Use &lt;code&gt;ffmpeg&lt;/code&gt; and the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#transpose&quot; rel=&quot;nofollow noreferrer&quot;&gt;&quot;transpose&quot; filter&lt;/a&gt; as &lt;a href=&quot;https://video.stackexchange.com/a/15405/3138&quot;&gt;&quot;poor&quot; suggested&lt;/a&gt;. For example, if your files are mp4 and are in the current directory:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;mkdir -p rotated&#xA;for f in *.mp4; do ffmpeg -i &quot;$f&quot; -vf transpose=2 -c:a copy -metadata:s:v rotate=&quot;&quot; rotated/&quot;$f&quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The transpose value can be &quot;1&quot; or &quot;clock&quot; for clockwise rotation, &quot;2&quot; or &quot;cclock&quot; for counter-clockwise rotation. There are other values which will also apply a flip.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The audio will be &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;nofollow noreferrer&quot;&gt;stream copied&lt;/a&gt; to avoid unnecessary re-encoding.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The video stream rotation metadata is cleared in this example. Otherwise &lt;code&gt;ffmpeg&lt;/code&gt; will copy it from the input to the output resulting in an incorrect rotation for players that pay attention to this metadata (some do, and some don't).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Another example, more verbose and flexible, and which keeps the rotated file in the same directory with a new name:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ext=mp4&#xA;for f in /some/dir/*.$ext; do&#xA;    new=${f/%.$ext/-rotated.$ext};&#xA;    ffmpeg -i &quot;$f&quot; -vf transpose=2 -c:a copy -metadata:s:v rotate=&quot;&quot; &quot;$new&quot;&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3138" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-05-13T00:01:56.163" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15412" PostTypeId="1" CreationDate="2015-04-24T15:10:08.950" Score="1" ViewCount="477" Body="&lt;p&gt;This is potentially the wrong exchange for this, but here goes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Trying to put scenes together in AvsP, and for some reason it isn't allowing me to splice, saying the frame size's don't match, even though I've used LanczosResize to ensure that all the scenes are 320x240.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fired a bit below to look at.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Title screen clip&#xA;Title=&quot;C:...\Untitled.jpg&quot;&#xA;TitleClip=ImageReader(Title, fps=25, end=74)&#xA;CroppedTitle=Crop(TitleClip,664-320,475-240,320,240)&#xA;TitleAndText=Subtitle(CroppedTitle,&quot;Computer-supported Cooperative Work&quot;,&#xA;\160,120,1,size=17,text_color=color_crimson, align=5)&#xA;TitleAndText&#xA;LanczosResize(320, 240)&#xA;&#xA;First scene of full matrix&#xA;Matrix=&quot;C:...\scene1.jpg&quot;&#xA;MatrixClip=ImageReader(Matrix, end=149, fps=25)&#xA;MatrixClip&#xA;LanczosResize(320, 240)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And then when I try to put them togehter:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Opening=TitleAndText+MatrixClip&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This line is throwing the error. What am I missing?&lt;/p&gt;&#xA;" OwnerUserId="10749" LastActivityDate="2015-04-24T15:10:08.950" Title="AvsP - Frame sizes don't match" Tags="|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15413" PostTypeId="1" CreationDate="2015-04-24T15:58:31.237" Score="-1" ViewCount="136" Body="&lt;p&gt;Didn't find any relevant question here, except for &lt;a href=&quot;https://video.stackexchange.com/questions/4547/errors-in-windows-movie-maker&quot;&gt;this&lt;/a&gt; one - the answer highlights what I already suspected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, several people online complain about the errors Windows Movie Maker / Live Movie Maker has. I personally have experienced the following, and I have  a modern computer:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Program freezes and on reloading loses all links/cuts/effects on the videos&lt;/li&gt;&#xA;&lt;li&gt;Adding a new video to the timeline causes program freeze (and above issues)&lt;/li&gt;&#xA;&lt;li&gt;Trying to recover the .wlmp file is fruitless, and on my case wasted around 4h of editing on a specific video (15GB of Gopro footage)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm a technical person, and I got lost in the several tips&amp;amp;tricks websites...and eventually gave up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really don't need any sophisticated editing suite. I only perform cuts and add background music....really the bottom end of the video editing food chain.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a specific hardware platform that they're targeting, are they having trouble supporting big HD files? Why is a basic modern product from one of the top software companies in the world so flawed?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope I'm not being unfair.&lt;/p&gt;&#xA;" OwnerUserId="1474" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-04-27T14:10:32.460" Title="Windows Movie Maker - why is it a disaster?" Tags="|software|windows|windows-movie-maker|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15414" PostTypeId="2" ParentId="15367" CreationDate="2015-04-24T16:40:56.027" Score="2" Body="&lt;p&gt;There is no professional tool that does this, as far as I know. It is never done, presumably because it would not be good enough and would need to be corrected by a human anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are of course many subtitling applications into which you can import your transcript and then do the spotting by hand. And they have varying features to make it easier/faster/more precise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, Youtube does offer &lt;a href=&quot;https://support.google.com/youtube/answer/2734799?hl=en&quot; rel=&quot;nofollow&quot;&gt;automatic timing of transcripts&lt;/a&gt;. You may want to try it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using that, you could:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;upload your video to youtube&lt;/li&gt;&#xA;&lt;li&gt;upload your transcript&lt;/li&gt;&#xA;&lt;li&gt;wait for their software to do the automatic timing&lt;/li&gt;&#xA;&lt;li&gt;download the youtube captions &lt;/li&gt;&#xA;&lt;li&gt;... then probably still do manual corrections.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3138" LastActivityDate="2015-04-24T16:40:56.027" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15415" PostTypeId="1" AcceptedAnswerId="15429" CreationDate="2015-04-24T19:35:25.393" Score="0" ViewCount="118" Body="&lt;p&gt;I have recently been working with a trial of Boinx TV, but would like to go pro. I am trying to create a live overlay with a logo, weather, and some live RSS feeds. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance. &lt;/p&gt;&#xA;" OwnerUserId="9174" LastActivityDate="2017-07-25T18:10:49.683" Title="Software for Live Video Overlays" Tags="|video-editor|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15416" PostTypeId="2" ParentId="15337" CreationDate="2015-04-24T19:37:19.793" Score="1" Body="&lt;p&gt;You need a &lt;a href=&quot;https://www.google.com/search?q=video%20capture%20device&quot; rel=&quot;nofollow&quot;&gt;video capture device&lt;/a&gt; or a &lt;a href=&quot;https://www.google.com/search?q=video%20capture%20card&quot; rel=&quot;nofollow&quot;&gt;capture card&lt;/a&gt;. It will encode the analog video and audio into digital codecs (like H264 for video and AAC for audio, or other codecs depending on your needs and price range).&lt;/p&gt;&#xA;" OwnerUserId="3138" LastActivityDate="2015-04-24T19:37:19.793" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15417" PostTypeId="1" CreationDate="2015-04-24T20:21:49.440" Score="11" ViewCount="7120" Body="&lt;p&gt;I have an HD video of a speaker giving a lecture.  I would like to resize the video by cropping each frame, but the cropping rectangle needs to be centered on the speaker's head as he moves around the stage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I &lt;strong&gt;can&lt;/strong&gt; generate a file that contains the cropping rectangle's X, Y, Width, &amp;amp; Height for each frame in the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the best way to apply this moving crop to the video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It should work if I..&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Use ffmpeg to extract each frame to a folder&lt;/li&gt;&#xA;&lt;li&gt;Use another program to crop each image file&lt;/li&gt;&#xA;&lt;li&gt;Use ffmpeg to rebuild the video using the cropped image files&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Is there a better way to do this?&lt;/p&gt;&#xA;" OwnerUserId="10751" LastActivityDate="2019-12-31T18:25:25.830" Title="Moving Crop in Video" Tags="|ffmpeg|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15419" PostTypeId="1" CreationDate="2015-04-24T21:32:03.650" Score="3" ViewCount="5416" Body="&lt;p&gt;I am doing some tests with the FFMPEG concat filter (DASH experiments), and am seeing that I start losing lipsync after a few concatenations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it expected that one can concatenate independent MP4-boxed streams?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This seems curious that loss of sync should happen, as I am doing the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Transcoding all sources into the same bitrate, frame rate, GOP size,&#xA;   dimensions and codec.&lt;/li&gt;&#xA;&lt;li&gt;Using MP4Box to create a set of small N-second&#xA;   slices, each being a single GOP.&lt;/li&gt;&#xA;&lt;li&gt;Interleaving the slices with the&#xA;   concat codec from each asset (v1,slice 1;v2,slice 1;v1,slice2...)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Because I am very careful to precondition all the sources to be &quot;in sync&quot;, I would expect that concatenating these files should not cause any audio presentation issues, and should look just like a DASH asset (the actual purpose of this test).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE: I am starting to wonder if it has something to do with some kind of presentation time stamp not being updated correctly, either on the cut or the reassemble side. It always seems that the audio is cutting before the video, and always for the same amount, regardless of the GOP size (being careful of course to make the GOP size a whole fraction of the overall slice size).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As per Mulvya's request, here are the steps I am performing:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that I am purposely setting it to one GOP per slice, on the theory that a GOP size smaller than a segment size might be causing the problem. Didn't seem to be the issue.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 360a.mp4 &#xA;       -vf scale=640:360,setsar=1/1 -r 30 -b:v 1000k&#xA;       -c:v libx264 -x264opts keyint=300:min-keyint=300:scenecut=-1&#xA;       -c:a aac -strict -2 &#xA;       360a-a.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(&lt;em&gt;-strict -2&lt;/em&gt;: as you can see, I'm using the stock release built on a Mac, which seems to scream about AAC a lot. Could this be the issue?)&#xA;Note that using the &lt;em&gt;copy&lt;/em&gt; codec for audio didn't make a difference.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4box -split 10 360a-a.mp4&#xA;&#xA;ffmpeg -i 360b.mp4 &#xA;       -vf scale=640:360,setsar=1/1 -r 30 -b:v 1000k&#xA;       -c:v libx264 -x264opts keyint=300:min-keyint=300:scenecut=-1&#xA;       -c:a aac -strict -2&#xA;       360b-a.mp4&#xA;&#xA;mp4box -split 10 360b-a.mp4&#xA;&#xA;mp4box -cat 360a-a_001.mp4 -cat 360b-a_001.mp4&#xA;       -cat 360a-a_002.mp4 -cat 360b-a_002.mp4&#xA;       ...&#xA;       -new output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I also tried two forms of the concat operation:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i files-18516 -movflags +faststart  -strict -2 -c:v libx264 -c:a aac/copy abc.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And the &quot;complex&quot; version (that word REALLY fits!  :-)  ):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 360a_001.mp4 -i 360b_001.mp4 -i 360a_002.mp4 -i 360b_002.mp4 -i 360a_003.mp4 -i 360b_003.mp4 -i 360a_004.mp4 -i 360b_004.mp4 -filter_complex  [0:0] [0:1]  [1:0] [1:1]  [2:0] [2:1]  [3:0] [3:1]  [4:0] [4:1]  [5:0] [5:1]  [6:0] [6:1]  [7:0] [7:1] concat=n=8:v=1:a=1 [v] [a] -map [v] -map [a] -strict -2 -c:v libx264 -c:a aac/copy abc.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And here are the input and common output formats as reported by FFMPEG. As you can see, the two files were already pretty similar. The extra step is to handle files with different aspect ratios, etc. Note that the video might get stretched...the point here is to test audio issues, not really the video, so I didn't bother padding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;File 360a.mp4:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '360a.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf55.50.100&#xA;  Duration: 00:00:30.53, start: 0.033333, bitrate: 1169 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 640x360, 1033 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 125 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;File 360b.mp4:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '360b.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf55.50.100&#xA;  Duration: 00:00:31.43, start: 0.033333, bitrate: 1120 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 640x360, 981 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Common Output Format:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Output #0, mp4, to '360a/b-a.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf55.48.100&#xA;    Stream #0:0(und): Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 640x360 [SAR 1:1 DAR 16:9], q=-1--1, 1000 kb/s, 30 fps, 15360 tbn, 30 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      encoder         : Lavc55.69.100 libx264&#xA;    Stream #0:1(und): Audio: aac ([64][0][0][0] / 0x0040), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      encoder         : Lavc55.69.100 aac&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Each slice looks essentially like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '360a-a_001.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 1&#xA;    compatible_brands: isom&#xA;    creation_time   : 2015-04-26 19:23:40&#xA;  Duration: 00:00:10.00, start: 0.000000, bitrate: 1183 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 640x360 [SAR 1:1 DAR 16:9], 1046 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 129 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10438" LastEditorUserId="10438" LastEditDate="2015-04-27T17:07:14.123" LastActivityDate="2021-03-18T15:55:19.247" Title="FFMPEG: Why does the concat filter cause loss of a/v sync/lipsync?" Tags="|ffmpeg|filter|" AnswerCount="1" CommentCount="16" ContentLicense="CC BY-SA 3.0" />
  <row Id="15420" PostTypeId="1" CreationDate="2015-04-25T03:02:22.470" Score="1" ViewCount="186" Body="&lt;p&gt;So I'm trying to run Deshaker on some video straight from a Canon 60D in MOV format. I followed the steps in &lt;a href=&quot;https://www.youtube.com/watch?v=NK8kyiDNTSo&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt; to enable MOV support in VirtualDub. Sems to work well, but I keep getting this error about two-thirds of the way through Deshaker's first pass:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/bmGwo.png&quot; alt=&quot;VirtualDub Deshaker Error&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really have no clue what to do. I did some research, but can't find anything useful. Any help would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="10754" LastActivityDate="2015-09-13T18:05:54.957" Title="VirtualDub Deshaker Error" Tags="|virtualdub|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15421" PostTypeId="2" ParentId="15146" CreationDate="2015-04-25T12:23:53.623" Score="1" Body="&lt;p&gt;If you are looking something that can do that at the same time and is reasonably well developed, then you are probably looking at &lt;code&gt;avconv&lt;/code&gt;. It has the same base as &lt;code&gt;ffmpeg&lt;/code&gt;, which has already been mentioned, but currently doesn't have a GUI (to the best of my knowledge, i've not gone looking, since i have no need for it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's look at an example of how you would go to create a file format that you have described there.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i video.mp4 \&#xA; -c:a libmp3lame -q:a 3 -c:v libxvid -s hd720 -q:v 7 video720.avi \&#xA; -c:a libmp3lame -q:a 3 -c:v libxvid -s hd1080 -q:v 7 video1080.avi \&#xA; ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can just go on and on adding bits, and it will do encoding in parallel (which is much more efficient approach than sequential encoding on the modern multicore systems).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I didn't give you an example of encoding into WMV, simply because i've never done that, and i have actually recompiled my &lt;code&gt;avconv&lt;/code&gt; to disable this, but it is possible if you feel that it is important for your system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on your operating system the installation process will be different. On Debian and Ubuntu GNU/Linux you do that by just typing:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;sudo apt-get install libav-tools&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But it may be necessary for you to build your own binaries. To do so you need to get the original source code from libav.org and then run:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;./configure --prefix=/home/USERNAME/.local --bindir=/home/USERNAME/bin \&#xA;  --enable-gpl --enable-version3 \&#xA;  --enable-encoder=ENCODER&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;USERNAME is your username, and you can change bindir if you don't have bin in your execution path. You can also enable any encoder that you will need by checking which ones are available and adding them via &lt;code&gt;--enable-encoder&lt;/code&gt;. To check available ones, just run:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;./configure --list-encoders&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But in all likelihood you will have no need to recompile unless you are doing something strange.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2015-04-25T12:23:53.623" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15422" PostTypeId="1" CreationDate="2015-04-25T14:29:25.270" Score="3" ViewCount="6582" Body="&lt;p&gt;I filmed a short interview with 2 cameras. one shots in 25 fps and the other in 30 fps. When I open the sequence in Premiere I have to choose one frame rate and then one of the clips is out of sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use the sound only from one camera and have problems with the sync. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I fix this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Jonathan&lt;/p&gt;&#xA;" OwnerUserId="10755" LastEditorUserId="1950" LastEditDate="2015-04-29T02:09:24.697" LastActivityDate="2015-04-29T02:23:41.953" Title="25 frames per seconds and 30 frames per seconds footage in one seq" Tags="|premiere|framerate|adobe|" AnswerCount="2" CommentCount="5" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15423" PostTypeId="1" CreationDate="2015-04-26T02:23:52.897" Score="4" ViewCount="9093" Body="&lt;p&gt;What software is needed to do video capture from a Canon EOS M?&#xA;How can I use the Canon EOS M as a Webcam?&#xA;Thank you,&lt;/p&gt;&#xA;" OwnerUserId="10757" LastEditorUserId="3908" LastEditDate="2015-04-26T11:26:33.880" LastActivityDate="2016-10-02T00:05:17.563" Title="How to do video streaming with a canon EOS M?" Tags="|streaming|canon|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15424" PostTypeId="1" AcceptedAnswerId="15425" CreationDate="2015-04-26T07:29:41.847" Score="1" ViewCount="1493" Body="&lt;p&gt;I tried to change the Meta data of a video file. &#xA;My system runs on Windows. So I tried to change meta data through rightclicking on the file and going to the properties &gt; details. After chaning some information and saving this error occured: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/04t8I.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What happend next is that the video file couldn't be played in a videoplayer anymore. This is the error message in Windows Media Player: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/VsoO0.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have to re-render my video file. But my question is: what is the best method for adding meta data to a video file? What is the best Tag editor application on Windows?&lt;/p&gt;&#xA;" OwnerUserId="5624" LastEditorUserId="5624" LastEditDate="2015-04-26T07:58:08.193" LastActivityDate="2015-04-26T11:25:46.057" Title="How to add meta data to a video file" Tags="|copyright|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15425" PostTypeId="2" ParentId="15424" CreationDate="2015-04-26T11:25:46.057" Score="1" Body="&lt;p&gt;Googling for &quot;mp4 metadata editor&quot; brings up lots of candidates. Many of these will search online databases for tagging DVD movie rips, a feature I don't think you're looking for, but they also let you add and edit tags in most common container formats like MP4. Two you might look at are &lt;strong&gt;MP3Tag&lt;/strong&gt; (yes, MP3) and &lt;strong&gt;MetaX/MetaZ&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-04-26T11:25:46.057" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15426" PostTypeId="2" ParentId="15422" CreationDate="2015-04-26T11:36:11.897" Score="1" Body="&lt;p&gt;The surest way to make this work is to convert one set of material so the two have matching frame rates. No frame rate conversion is perfect, but moving from 25 to 30 is more likely to look better because no frames need to be dropped. Instead you'll get interpolated or repeated frames. Be sure that your &quot;30 fps&quot; is really 30.00 and not 29.97 before you start. Premiere should tell you, but you can also use &lt;a href=&quot;https://mediaarea.net/&quot; rel=&quot;nofollow&quot;&gt;MediaInfo&lt;/a&gt; or other standalone tool&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If Premiere can do rate conversion use it; otherwise try &lt;strong&gt;ffmpeg&lt;/strong&gt; or similar.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-04-26T11:36:11.897" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15427" PostTypeId="2" ParentId="15423" CreationDate="2015-04-26T16:32:10.350" Score="1" Body="&lt;p&gt;There's a couple ways I know of to do this that might work depending on what you need.  The first way would be to use an HDMI capture card like the Blackmagic Intensity.  The second way would be to use the Canon EOS utility over USB.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-04-26T16:32:10.350" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15428" PostTypeId="2" ParentId="15420" CreationDate="2015-04-26T16:35:45.953" Score="1" Body="&lt;p&gt;That looks like a software error. Your best bet would probably be to get a clean version of VirtualDub and retry the steps to enable .MOV support. Alternatively, you could also convert the .MOV to another format such as jpg sequence.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-04-26T16:35:45.953" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15429" PostTypeId="2" ParentId="15415" CreationDate="2015-04-27T01:37:36.410" Score="0" Body="&lt;p&gt;I would look into Open Broadcaster Software. You may need some third-party plugins to get all the features you want, but it's a great place to start looking.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-04-27T01:37:36.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15430" PostTypeId="2" ParentId="15399" CreationDate="2015-04-27T01:40:24.647" Score="1" Body="&lt;p&gt;That's fairly simple. Just create the text, arrows, and other stuff. Animate them to create the effect you want (I can't give you details here, you'll have to ask someone else). Then track the points where you want the annotations to be so they'll follow them.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-04-27T01:40:24.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15431" PostTypeId="2" ParentId="15398" CreationDate="2015-04-27T07:22:31.520" Score="1" Body="&lt;p&gt;I've now solved this problem. I was using Export &gt; Movie, when I needed to go to Adobe Media Encoder to find more extensive options. I kept most settings the same, but believe turning 'Bitrate' off may have decreased the data rate. I got the filesize down to around 120mb, which is much better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This &lt;a href=&quot;https://www.youtube.com/watch?v=wpbCnsyqT9E&amp;amp;index=1&amp;amp;list=LLH33Qv2Js0HzGcLnTYIWkNw&quot; rel=&quot;nofollow&quot;&gt;video&lt;/a&gt; helped me find the Adobe Media Encoder.&lt;/p&gt;&#xA;" OwnerUserId="10740" LastActivityDate="2015-04-27T07:22:31.520" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15432" PostTypeId="2" ParentId="15417" CreationDate="2015-04-27T10:43:41.860" Score="1" Body="&lt;p&gt;I have already changed to &lt;code&gt;avconv&lt;/code&gt;, so i apologise if the answer may be a little different in the classic ffmpeg, but i believe that not much difference should be there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can have a moving crop if you can create some sort of formula between the frame number and the position of the crop; but there are no analytic tools available to do that. This means that if the the speaker moves in a predictable way you could theoretically do that without an external application.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's assume, for example, that the speaker is moving from top-left to bottom-right in the picture. You could do something along the lines of:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i input.ogv -vf 'crop=200:100:n:n' -c:v libtheora output.ogv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In here i'm moving 1 pixel per frame, which is very unlikely how somebody would move.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keep in mind that there are quite a lot of math functions that are provided by the filter interface of avconv (and i'm sure ffmpeg is similar).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So let's imagine that you want to move 1 pixel per frame, but only from 200 to 350 frame. You can then do&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;min(max(n,200)-200, 150)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For the frames &amp;lt;200, &lt;code&gt;max(n,200)&lt;/code&gt; would generate 200, then we take away 200 to make it 0, and then &lt;code&gt;min&lt;/code&gt; will return the first part up until 350 frame, where that result would become more than 150 and the constant will begin to be returned.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although writing such formula by hand would be quite tedious, maybe it will be helpful in some cases as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Having said all that, if i were to have an option of having access to the software that is able to work on images frame by frame, i would go that route.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="4943" LastEditDate="2015-04-27T16:22:29.227" LastActivityDate="2015-04-27T16:22:29.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15433" PostTypeId="2" ParentId="15390" CreationDate="2015-04-27T11:07:44.840" Score="1" Body="&lt;p&gt;You have specified that you are interested in working on a huge number of videos, if you have a multicore machine and you will use a normal &lt;code&gt;for&lt;/code&gt; loop provided by your shell, you will have one of your cores running hot, while others are doing absolutely nothing. This is &lt;em&gt;not&lt;/em&gt; ideal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you should be doing for such a job is using &lt;code&gt;parallel&lt;/code&gt;, a tool that allows you to start several jobs at once, and it can do everything that a for-loop can, but better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will not write about all the features of this tool, but will concentrate on your specific task.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One way to start all these jobs would be:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;parallel avconv -i &quot;{}&quot; -vf transpose=2 &quot;{.}[rotated].mp4&quot; ::: *.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In here &lt;code&gt;{}&lt;/code&gt; replaces each filename, and &lt;code&gt;{.}&lt;/code&gt; replaces filename without an extension.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will suggest that you will start as many jobs as you have cores, take away one. The reason for that is so your operating system will still remain useable, and also this will save you in case if you are using harddisk encryption (which will be using processing power to read/write data). To do this simply add &lt;code&gt;--jobs -1&lt;/code&gt; to your command line, and you will limit the number of jobs.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;parallel --jobs -1 avconv -i &quot;{}&quot; -vf transpose=2 &quot;{.}[rotated].mp4&quot; ::: *.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Please keep in mind that no output will be given until each encoding completes. So you will not see just how much of each of your video is done.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="4943" LastEditDate="2015-04-27T11:17:11.060" LastActivityDate="2015-04-27T11:17:11.060" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15434" PostTypeId="2" ParentId="15374" CreationDate="2015-04-27T11:34:29.017" Score="0" Body="&lt;p&gt;Both &lt;code&gt;avconv&lt;/code&gt; and &lt;code&gt;ffmpeg&lt;/code&gt; suffer from the poorly chosen defaults for each container and codec. Therefore you should not simply give the command in the format as you have presented, but also tell it what to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use &lt;code&gt;avconv&lt;/code&gt;, but if you are still using &lt;code&gt;ffmpeg&lt;/code&gt; then the format is rather similar, so you should be able to follow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will need to specify the audio settings. In many cases you will want to copy your audio without actually reencoding. This is done via &lt;code&gt;-c:a copy&lt;/code&gt;. For example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i video.wmv -c:a copy (...) video.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This wasn't a complete line, so don't yet try it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also chose to reencode your audio, in that case rather than &lt;code&gt;copy&lt;/code&gt; you should use the name of the codec (or for some reason often the library that does the encoding). For example, you can write:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i video.wmv -c:a libvorbis (...) video.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this will not produce good results, because we didn't give any parameters for the audio conversion. Let's just give it a quality setting, and then we will be all set with audio:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i video.wmv -c:a libvorbis -q:a 3 (...) video.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now the video. We can often just copy that one as well, but this is rarely what we want. If you want to just remux the file (meaning you want to change the format, but not codecs), then you can do:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i video.wmv -c:a copy -c:v copy video.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As you see we have copied both video and audio, and we put them in the new file that is of Matroska format. This command line already will work, and you can give it a try.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should keep in mind that not each format can take every possible codec, some of them are more picky than others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say you now want to reencode the video into something. Personally i prefer libtheora, due to the fact that it is a free codec, but you can have different preferences. I will let you decide for yourself which one you use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So we can have something like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i video.wmv -c:a copy -c:v libtheora -q:v 8 video.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In there i have asked &lt;code&gt;avconv&lt;/code&gt; to copy the audio, but to reencode the video with the library &lt;code&gt;libtheora&lt;/code&gt; and video quality of 8. The entire thing will be saved inside video.mkv, which means it's a Matroska file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can play around with settings, but you should very rarely use default presets. And keep in mind, that even if the file format is the same for output as for the input, &lt;code&gt;avconv&lt;/code&gt; &lt;em&gt;will&lt;/em&gt; reencode it by default. If you want to copy streams, you should specify it manually.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2015-04-27T11:34:29.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15435" PostTypeId="1" CreationDate="2015-04-27T12:41:38.547" Score="1" ViewCount="70" Body="&lt;p&gt;In 2002-2005 I collected approx 280000 jpegs from a webcam that updated every 5 minutes, with pictures of a construction job in my local town. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My goal is to make a youtube-video with optimal quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I do this with free software? How many fps should I have? What codec? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are two consecutive original images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://trondal.com/a.jpg&quot; rel=&quot;nofollow&quot;&gt;trondal.com/a.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://trondal.com/b.jpg&quot; rel=&quot;nofollow&quot;&gt;trondal.com/b.jpg&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10759" LastActivityDate="2015-04-28T02:57:09.507" Title="How to assemble timelapse" Tags="|time-lapse|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15436" PostTypeId="2" ParentId="15413" CreationDate="2015-04-27T14:10:32.460" Score="0" Body="&lt;p&gt;Simply put, because you are using it for more than it was intended.  Movie Maker is not designed to be used for making much more than super, super simply videos.  They didn't put a lot of resources in to it as it is an extra added for free to another product.  Asking why it has issues is a bit like asking why you can't use MS Paint for photo manipulation, it simply is not what it is designed to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;WMM is fine for making simple family videos with somewhat low to moderate quality video being fed in with a couple of simple transitions and a title or two, but beyond that, it pretty much falls apart because that is all it was designed to handle.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-04-27T14:10:32.460" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15437" PostTypeId="2" ParentId="15435" CreationDate="2015-04-27T15:19:37.100" Score="2" Body="&lt;p&gt;Assuming these have, or can be given, consecutively numbered file names you can do this easily using ffmpeg, avconv and similar utilities. Most have builds for Mac, Windows and Linux.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The choice of frame rate is up to you, and really affects only the total length of the output file (at 30fps, 280000 frames is 2.6 hours; at 24 fps it's 3.24 hours). If you have a target device or platform that needs a specific rate, use that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may want to decimate the source stack -- that's a lot of pictures and it's unlikely to be interesting for the entire length. I would convert to 30 fps, then edit the result to eliminate long unchanging sections (nights, etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-04-27T15:19:37.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15438" PostTypeId="1" AcceptedAnswerId="15441" CreationDate="2015-04-27T16:12:45.090" Score="0" ViewCount="8167" Body="&lt;p&gt;After a hard time getting my Premiere Pro CC to work correctly,&lt;br&gt;&#xA;I stumbled upon a new problem.&lt;/p&gt;&#xA;&lt;p&gt;In the image below, you can see how the frame is about 200% zoomed in the preview window, and normal in the &amp;quot;source&amp;quot;-window. I've checked the magnification level, but it's ok. Resolution is set to &amp;quot;Full&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;The preview was a square and zoomed at first, so I created a new sequence, but now it's widescreen and zoomed.&lt;/p&gt;&#xA;&lt;p&gt;How do I make the preview normal again?&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/r4Zk8.png&quot; alt=&quot;Weird zooming&quot; /&gt;&lt;/p&gt;&#xA;" OwnerUserId="10760" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-07-26T18:34:50.223" Title="Weird zooming in Premiere Pro preview-window" Tags="|video|premiere|video-editor|adobe|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15439" PostTypeId="1" CreationDate="2015-04-27T16:43:16.633" Score="1" ViewCount="110" Body="&lt;p&gt;I'm trying to use Adobe Premiere CC's built-in Vimeo uploader.&lt;br&gt;&#xA;I saw a progress bar as the h264 file was being encoded... I can't see any way of telling how long the upload is going to take... Am I missing something?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2015-04-28T11:03:52.030" LastActivityDate="2015-12-02T17:54:23.793" Title="Can you see vimeo upload progress in Premiere CC?" Tags="|premiere|adobe|cc|vimeo|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15440" PostTypeId="2" ParentId="15438" CreationDate="2015-04-27T17:10:49.967" Score="0" Body="&lt;p&gt;It's hard to read the text in the screenshot, but it appears that the scale drop-down in the two windows is different. The one of the left appears to say &quot;1,3&quot;, and the one on the right appears to say &quot;Full&quot; (which is what you said). That may not be THE answer, but it's something I noticed.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-04-27T17:10:49.967" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15441" PostTypeId="2" ParentId="15438" CreationDate="2015-04-27T17:28:06.913" Score="2" Body="&lt;p&gt;Make sure the resolution in the sequence is the same as the resolution of your clip. Otherwise you'll need to scale the video to fit correctly.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-04-27T17:28:06.913" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15442" PostTypeId="1" CreationDate="2015-04-27T19:24:41.233" Score="2" ViewCount="206" Body="&lt;p&gt;Same curiosity applies for 24 and 23.976.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My primary concern is loss of quality. I want to work exclusively in 30.000 frames per second; if I understand correctly, some software defaults to 29.97, and some recording devices use 30 implying 29.97, and some screen capture software use exactly 30 as it should be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm just concerned with recording 30.000 1080p RGB video with my Canon 60D and editing it at 30.000 1080p RGB (not YCK or whatever) in Premiere Pro, so I'd like to understand how these standards work with each other, how they convert, and how they play back.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there dropped frames or interpolated frames? If I convert a video from 30 to 29.97 and back and forth many many many times, will video quality degrade? What codecs and file formats should I work in to ensure 1080p or UHD support at exactly 30fps or 60fps RGB?&lt;/p&gt;&#xA;" OwnerUserId="10592" LastEditorUserId="1950" LastEditDate="2015-04-29T01:58:37.930" LastActivityDate="2015-05-02T08:19:36.693" Title="What is the proper workflow for slightly different framerates, i.e. 30, 29.97, 29.976?" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15444" PostTypeId="2" ParentId="15435" CreationDate="2015-04-28T02:57:09.507" Score="1" Body="&lt;p&gt;I've done this a couple times. My software choice is VirtualDub (free), and then After Effects for some cleanup (stabilization). The stabilization can be done by YouTube if you don't own After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically just download VirtualDub, then import the image sequence into it. It'll automatically import all the photos after you select the first one. Make sure to change the frame rate to something higher, VirtualDub defaults to 10. I'd pick either 24 or 30. Once you've done that, just save as an AVI from the file menu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you can upload straight to YouTube, or take it into After Effects and use warp stabilizer to stabilize.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-04-28T02:57:09.507" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15445" PostTypeId="2" ParentId="15419" CreationDate="2015-04-28T08:02:28.273" Score="4" Body="&lt;p&gt;Split using &lt;code&gt;-f segment -segment_time 10&lt;/code&gt; and end with &lt;code&gt;360a-a%03d.mp4&lt;/code&gt;. Then create a text file with one entry on each line like &lt;code&gt;file '360a-a001.mp4&lt;/code&gt;, interleaving the entries in the correct order. Then join using &lt;code&gt;-f concat -i text.txt&lt;/code&gt; and also with &lt;code&gt;-fflags +genpts -async 1 &lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;The &lt;code&gt;-fflags +genpts -async 1&lt;/code&gt; is necessary to ensure that the concatenated audio segments will switch over at the same time as the video segment.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="20528" LastEditDate="2021-03-18T15:55:19.247" LastActivityDate="2021-03-18T15:55:19.247" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="15446" PostTypeId="2" ParentId="15387" CreationDate="2015-04-28T08:15:52.827" Score="6" Body="&lt;p&gt;While your self-selected answer will work, it requires modifying the file again when you do want the subtitles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why not just create an empty but syntactically valid SRT file and mux that as the first subtitle stream (leaving the original as a secondary stream)? Even if the player is set to display subs, nothing will show up. No need to mess with ID strings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And when you do want to see subtitles, you should be able to switch to the (populated) secondary subtitle stream, from within the player. No need to modify the file.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="2836" LastEditDate="2015-04-29T05:52:56.793" LastActivityDate="2015-04-29T05:52:56.793" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15447" PostTypeId="1" CreationDate="2015-04-28T15:41:32.183" Score="1" ViewCount="3552" Body="&lt;p&gt;I have an MJPEG test source (local business has publicly available source) that I’m trying to transcode to an RTSP stream for consumption by Evostream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried with and without the -vcodec copy parameter, but I cannot seem to get it to stream properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my streaming command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#avconv -f mjpeg -i http://sics.com:9001/mjpeg.cgi -vcodec copy -f rtsp -muxdelay 0.1 -metadata streamName=mjpStream rtsp://127.0.0.1:5544/&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And the resulting output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv version 0.8.17-4:0.8.17-0ubuntu0.12.04.1, Copyright (c) 2000-2014 the Libav developers&#xA;  built on Mar 16 2015 13:26:50 with gcc 4.6.3&#xA;[mjpeg @ 0x20ae9e0] max_analyze_duration reached&#xA;[mjpeg @ 0x20ae9e0] Estimating duration from bitrate, this may be inaccurate&#xA;Input #0, mjpeg, from 'http://sics.com:9001/mjpeg.cgi':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #0.0: Video: mjpeg, yuvj422p, 320x240, 25 fps, 25 tbr, 1200k tbn, 1200k tbc&#xA;Output #0, rtsp, to 'rtsp://127.0.0.1:5544/':&#xA;  Metadata:&#xA;    streamName      : mjpStream&#xA;    encoder         : Lavf53.21.1&#xA;    Stream #0.0: Video: mjpeg, yuvj422p, 320x240, q=2-31, 90k tbn, 1200k tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;Could not write header for output file #0 (incorrect codec parameters ?)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10763" LastActivityDate="2017-01-16T17:31:59.110" Title="AVCONV to transcode MJPEG to RTSP" Tags="|streaming|avconv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15448" PostTypeId="1" AcceptedAnswerId="15504" CreationDate="2015-04-28T17:47:16.040" Score="1" ViewCount="786" Body="&lt;p&gt;Has anybody used the new DJI Ronin-M and compared it to the Letus Helix Jr.?&#xA;I'm considering a gimbal purchase for my DSLR videography and haven't seen anything that tells me why the Helix is twice the price of the Ronin-M.&lt;/p&gt;&#xA;" OwnerUserId="2352" LastActivityDate="2015-05-07T21:59:54.297" Title="Ronin M vs. Helix Jr" Tags="|stabilisation|gear|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15449" PostTypeId="2" ParentId="15422" CreationDate="2015-04-29T02:23:41.953" Score="1" Body="&lt;p&gt;Premiere should be able to deal with source material that has different frame rates in the same sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your project window, right click the footage and choose &lt;code&gt;Modify&amp;gt;Interpret Footage&lt;/code&gt;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/LXjAX.png&quot; alt=&quot;enter image description here&quot;&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the dialogue that appears you should be able to &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/organizing-assets-project-panel.html#change_the_frame_rate_of_a_clip&quot; rel=&quot;nofollow noreferrer&quot;&gt;specify a frame rate&lt;/a&gt; for the material. If this is set correctly Premiere will interpolate the footage to match the frame rate of any sequence it is cut into, without slowing it down or speeding it up, so theoretically the sound should stay in sync. In the best of all possible worlds, that is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/F2N1m.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-04-29T02:23:41.953" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15450" PostTypeId="1" CreationDate="2015-04-29T03:13:48.977" Score="1" ViewCount="1067" Body="&lt;p&gt;I'm trying to recreate the effect of an error window that duplicates itself as it's dragged along, similar to this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/1gveU.png&quot; alt=&quot;Example&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like the layer to leave a trace/a copy of itself as I move it around (via Position). I've tried using the Echo Effect, in addition to a few expressions with no luck. Could anyone recommend a method of accomplishing this?&lt;/p&gt;&#xA;" OwnerUserId="9220" LastActivityDate="2015-09-30T08:38:50.693" Title="Motion trail for a layer as it moves" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15453" PostTypeId="1" CreationDate="2015-04-29T11:49:10.660" Score="1" ViewCount="261" Body="&lt;p&gt;I have a show with the original audio, XviD encoded with mp3 in a .avi. The local TV has started broadcasting the show with the dubbed audio. I captured some of the shows off of the TV broadcast, demuxed them and got .mp2 of the dubbed audio. Now I want to include this dubbed audio within the original files I previously had. I know how to include it as the second audio stream within the .avi, But first I need to sync the dubbed audio with the original video as it was a bit different when broadcast by TV, i.e. there were some censored, cut parts in it so the dubbed audio needs to have some editing (the ads were also recorded) etc. and not just some delay to get in sync with the video. On the other hand, the original video comes in 23.976 fps whereas the dubbed audio was extracted from the TV broadcast which is 25.000 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So is there any application to see the video with while editing the dubbed audio at the same time so that I can get it in sync, delete some parts, etc. And how can I change the fps of the dubbed audio or the original file (whichever would be more reasonable to do) to have them both in the same fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would be great if I could do all these without any quality loss as the audio is of bad quality as it is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd be very grateful if you could help me with this.&lt;/p&gt;&#xA;" OwnerUserId="10767" LastActivityDate="2015-04-29T11:49:10.660" Title="How to sync the dubbed audio to make a dual audio .avi" Tags="|audio|sync|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15455" PostTypeId="2" ParentId="15442" CreationDate="2015-04-29T15:27:46.727" Score="1" Body="&lt;p&gt;From a software point of view, 30 are 29.97 are effectively the same frame rate, rounded for simplification. The same is true of 24fps and 23.976 where 23.976 is simply the precise video compatible version of 24fps.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In pure software environments the distinction should be ignored by the software and the more precise references are often omitted to avoid confusion. I always specify the precise rate when possible, but it should be unnecessary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All video electronics run at 29.97 precisely so the distinction can be important in field production and playback when synchronization of electronic devices is critical. &lt;/p&gt;&#xA;" OwnerUserId="10769" LastActivityDate="2015-04-29T15:27:46.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15456" PostTypeId="2" ParentId="9287" CreationDate="2015-04-29T15:46:28.530" Score="2" Body="&lt;p&gt;Refresh rate is the frequency at which an image in a moving picture system is redrawn on screen. In modern video systems, for instance, the screen is redrawn 59.97 times per second. The refresh rate is 59.97. Motion picture projections flash a new image at 48 times per second. Film projectors flash each frame of film twice, which is how you get from 24 frames per second to a 48 image per second refresh rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Flicker rate refers to how rapidly images must be presented to in order that a human viewer does not perceive a &quot;flicker&quot; between images. It is a threshold number. Presentations above the &quot;flicker rate&quot; appear continuous while those below the flicker rate appear to flicker on and off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The actual flicker rate varies with circumstances but the &quot;flicker rate&quot; is historically agreed to be 48 presentations per second, plus or minus. This is why projectors flash each frame twice, turning the 24 frames per second into 48 flashes per second to hide the flicker, and why old films, shot at 16-18fps flicker noticeably on screen.&lt;/p&gt;&#xA;" OwnerUserId="10769" LastActivityDate="2015-04-29T15:46:28.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15457" PostTypeId="1" CreationDate="2015-04-29T18:55:12.970" Score="3" ViewCount="138" Body="&lt;p&gt;Does filming in 30p as opposed to 60p provide a brighter video? Would it be better to film at perhaps 24p in darker circumstances?&lt;/p&gt;&#xA;" OwnerUserId="10771" LastActivityDate="2015-04-29T23:26:12.813" Title="Does filming in 30p as opposed to 60p provide a brighter video?" Tags="|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15458" PostTypeId="2" ParentId="15457" CreationDate="2015-04-29T23:26:12.813" Score="2" Body="&lt;p&gt;Yes and no.  Shutter speed is what determines how long light is gathered for and is not the same as frame rate.  Frame rate does place a logical limit on your shutter speed as you need at least one exposure per frame in most cases, but there is nothing preventing you from using much faster shutter speeds than your frame rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some video cameras will even allow for shutter speeds slower than the frame rate and will simply record the same image on more than one frame, though this arguably lowers the meaningful framerate (though faster frame rates will result in a closer match up to the exposure time).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a general rule of thumb, it's best to use a shutter speed at least twice that of your frame rate, so you would use 1/60 exposure or faster for 30fps and 1/120 exposures for 60fps.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is partially a throw back to old mechanical film cameras where the film advanced during the time that the shutter was not open.  They used a rotating plate and when the plate was over the lens, the film moved forward.  This is why you will see shutter speeds on some professional cameras measured in degrees.  This corresponds to the number of degrees of the circle that were open.  ie, a 180 degree shutter speed means that the shutter speed is twice that of the frame rate.  90 degree shutter speed would be 4 times the frame rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As long as the shutter is timed properly to the frame capture, there is no reason you can't use longer shutter speeds, but it may increase the appearance of motion blur and give an odd feeling to the footage unless that is what you are going for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reasons to use slower shutter speeds are to let in more light or to increase motion blur, reasons to use faster shutter speeds are to let in less light or decrease motion blur.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reasons to use lower frame rates are to save space and to give a more film like quality.  Reasons for higher frame rates are for smoother motion and more video data to work with (better slow motion, stabilization, etc).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-04-29T23:26:12.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15460" PostTypeId="2" ParentId="15243" CreationDate="2015-04-30T00:54:24.753" Score="1" Body="&lt;p&gt;You need to turn the &quot;wheel&quot; located between the ISO button and the shutter release. There is an icon on the screen that looks like a rising sun. &lt;/p&gt;&#xA;" OwnerUserId="10774" LastActivityDate="2015-04-30T00:54:24.753" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15463" PostTypeId="1" AcceptedAnswerId="15464" CreationDate="2015-05-01T10:49:04.663" Score="1" ViewCount="1071" Body="&lt;p&gt;I just wanted to work through the DaVinci Lite's manual. It says, the library browser should display all available volumes (Fixed, network and removable).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It displays, however, only one empty, cryptic &quot;c:\vol0&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea how I can access my footage?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Re-Installing the package didn't help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using version 11.3.0lite004 on Windows 8.1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/LIBsS.jpg&quot; alt=&quot;Empty Library Browser&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5074" LastEditorUserId="6685" LastEditDate="2015-12-07T18:46:29.477" LastActivityDate="2015-12-07T18:46:29.477" Title="Empty library in DaVinci Resolve" Tags="|color-grading|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15464" PostTypeId="2" ParentId="15463" CreationDate="2015-05-01T15:03:10.057" Score="2" Body="&lt;p&gt;I've just received an answer on another forum:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select &quot;DaVinci Resolve&quot; from the main menu, select &quot;Preferences&quot;&lt;/li&gt;&#xA;&lt;li&gt;In the media storage tab press &quot;+&quot; and select the desired folder / drive.&lt;/li&gt;&#xA;&lt;li&gt;Press OK and restart DaVinci.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;OK, this software is definitely not intuitive, and one should not read the first 100 pages of the manual too fast!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/XbbgD.jpg&quot; alt=&quot;Select desired folder in DaVinci&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5074" LastEditorUserId="5074" LastEditDate="2015-05-01T16:50:54.823" LastActivityDate="2015-05-01T16:50:54.823" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15465" PostTypeId="2" ParentId="15417" CreationDate="2015-05-02T01:57:46.293" Score="2" Body="&lt;p&gt;As I'm working on the exact same challenge, I'm currently thinking of abusing the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#vidstabtransform-1&quot; rel=&quot;nofollow&quot;&gt;ffmpeg vidstabtransform&lt;/a&gt; filter with a generated trf file. But I have not worked out the details yet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/georgmartius/vid.stab/blob/master/src/serialize.c&quot; rel=&quot;nofollow&quot;&gt;Info on the trf file format.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="9274" LastActivityDate="2015-05-02T01:57:46.293" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15466" PostTypeId="2" ParentId="15442" CreationDate="2015-05-02T08:19:36.693" Score="2" Body="&lt;p&gt;First off, you are correct in your assumption that 23.98 and 24 are indeed different. They are not effectively the same, and they are not &quot;rounded up&quot;. Sometimes 24p means 23.98, and sometimes it means 24. They are both separate and it can be quite problematic to treat them the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But in practicality, you don't need to worry about the quality, especially if you are using something like Premiere, which is very good about matching your sequence settings with those of your footage (and warning you if they aren't the same).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your 60D does indeed shoot in 23.98, and modern editing software will know the difference. You can make a 23.98 sequence yourself if you wish; your footage will suffer no quality loss, as no conversion is actually occurring.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thankfully, the reason we have to distinguish between 23.98 and 24 is that we are moving on from the standards and hurdles that lead to drop-frame frame rates. Plenty of new cameras (such as the RED) can shoot 24fps, &lt;em&gt;and they actually mean 24&lt;/em&gt;. And doing exactly that can be quite nice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So yeah, don't worry about it. Just always match settings with your footage, but newer versions of Premiere do this without fail, faster and accurately.&lt;/p&gt;&#xA;" OwnerUserId="10784" LastActivityDate="2015-05-02T08:19:36.693" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15467" PostTypeId="1" CreationDate="2015-05-02T09:29:51.483" Score="1" ViewCount="7513" Body="&lt;p&gt;My main uses for getting a DSLR for Video would be the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;HDR (Video/Audio)&lt;/li&gt;&#xA;&lt;li&gt;Panoramas&lt;/li&gt;&#xA;&lt;li&gt;Slow Motion&lt;/li&gt;&#xA;&lt;li&gt;Excellent Live View&lt;/li&gt;&#xA;&lt;li&gt;Good RAW Support&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Any other pro-features for &lt;strong&gt;&lt;em&gt;videography&lt;/em&gt;&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="10785" LastActivityDate="2016-04-17T15:01:49.243" Title="Is Nikon D750 a good choice vs. Canon 5D Mark III for avid Videographer?Edit" Tags="|video|dslr|canon|recommendation|nikon|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15468" PostTypeId="1" AcceptedAnswerId="15478" CreationDate="2015-05-02T10:33:21.757" Score="34" ViewCount="77490" Body="&lt;p&gt;After running this command &lt;code&gt;ffmpeg -f concat -i mylist.txt -c copy output.mp4&lt;/code&gt; - I'm getting corrupted &lt;code&gt;output.mp4&lt;/code&gt; file and this message:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i mylist.txt -c copy output.mp4&#xA;ffmpeg version 2.6.2 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with Apple LLVM version 6.1.0 (clang-602.0.49) (based on LLVM 3.6.0svn)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/2.6.2 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-libx264 --enable-libmp3lame --enable-libvo-aacenc --enable-libxvid --enable-vda&#xA;  libavutil      54. 20.100 / 54. 20.100&#xA;  libavcodec     56. 26.100 / 56. 26.100&#xA;  libavformat    56. 25.101 / 56. 25.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 11.102 /  5. 11.102&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, concat, from 'mylist.txt':&#xA;  Duration: N/A, start: 0.000000, bitrate: 829 kb/s&#xA;    Stream #0:0: Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1440x900, 701 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc&#xA;    Stream #0:1: Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s&#xA;Output #0, mp4, to 'output.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf56.25.101&#xA;    Stream #0:0: Video: h264 ([33][0][0][0] / 0x0021), yuv420p, 1440x900, q=2-31, 701 kb/s, 30 fps, 30 tbr, 15360 tbn, 15360 tbc&#xA;    Stream #0:1: Audio: aac ([64][0][0][0] / 0x0040), 44100 Hz, stereo, 128 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[mp4 @ 0x7f897a01bc00] Non-monotonous DTS in output stream 0:0; previous: 598061, current: 467644; changing to 598062. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7f897a01bc00] Non-monotonous DTS in output stream 0:0; previous: 598062, current: 468044; changing to 598063. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7f897a01bc00] Non-monotonous DTS in output stream 0:0; previous: 598063, current: 468444; changing to 598064. This may result in incorrect timestamps in the output file.&#xA;...&#xA;[mp4 @ 0x7f897a01bc00] Non-monotonous DTS in output stream 0:0; previous: 598362, current: 588044; changing to 598363. This may result in incorrect timestamps in the output file.&#xA;frame= 1472 fps=0.0 q=-1.0 Lsize=    5825kB time=00:00:49.04 bitrate= 973.0kbits/s&#xA;video:4903kB audio:877kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.776358%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Content of &lt;code&gt;mylist.txt&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'cut.mp4'&#xA;file 'cut2.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;cut.mp4 output from ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i cut.mp4&#xA;ffmpeg version 2.6.2 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with Apple LLVM version 6.1.0 (clang-602.0.49) (based on LLVM 3.6.0svn)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/2.6.2 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-libx264 --enable-libmp3lame --enable-libvo-aacenc --enable-libxvid --enable-vda&#xA;  libavutil      54. 20.100 / 54. 20.100&#xA;  libavcodec     56. 26.100 / 56. 26.100&#xA;  libavformat    56. 25.101 / 56. 25.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 11.102 /  5. 11.102&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'cut.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf56.25.101&#xA;  Duration: 00:00:39.04, start: 0.036281, bitrate: 837 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1440x900, 701 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;cut2.mp4 output from ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i cut2.mp4&#xA;ffmpeg version 2.6.2 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with Apple LLVM version 6.1.0 (clang-602.0.49) (based on LLVM 3.6.0svn)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/2.6.2 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-libx264 --enable-libmp3lame --enable-libvo-aacenc --enable-libxvid --enable-vda&#xA;  libavutil      54. 20.100 / 54. 20.100&#xA;  libavcodec     56. 26.100 / 56. 26.100&#xA;  libavformat    56. 25.101 / 56. 25.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 11.102 /  5. 11.102&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'cut2.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf56.25.101&#xA;  Duration: 00:00:10.07, start: 0.000000, bitrate: 1498 kb/s&#xA;    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 1440x900, 1271 kb/s, 30 fps, 30 tbr, 12k tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 218 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;cut.mp4&lt;/code&gt; I got by this command &lt;code&gt;ffmpeg -ss 00:00:11 -i myfile.mp4 -to 00:00:39 -vf 'drawbox= : x=0 : y=0 : color=invert' cut.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;cut2.mp4&lt;/code&gt; I got by this command &lt;code&gt;ffmpeg -ss 00:00:00 -i myfile.mp4 -to 00:00:10 -c copy cut2.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I searched a lot - didn't find any solution, maybe, someone can help me out  with this one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;output.mp4&lt;/code&gt; is playable, but looks weird.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/qLCHA.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="10779" LastEditorUserId="10779" LastEditDate="2015-05-04T02:20:49.150" LastActivityDate="2021-09-21T01:36:37.873" Title="Non-Monotonous DTS on concat (ffmpeg)" Tags="|video|ffmpeg|" AnswerCount="6" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="15469" PostTypeId="1" CreationDate="2015-05-02T07:44:51.517" Score="1" ViewCount="94" Body="&lt;p&gt;I was disappointed with the short duration of the standard battery in my GoPro.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to be able to shoot for a full day, without interruption. I researched external battery power banks, but I am confused. Does the powerbank 'override' the battery, allowing for continuous shooting, or does it only re-charge the battery, then switch off? (which seems to be implied in some posts)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an alternative to the power bank?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Appreciate any advice.&lt;/p&gt;&#xA;" OwnerUserId="10789" OwnerDisplayName="David" LastEditorUserId="6273" LastEditDate="2015-05-03T14:30:59.560" LastActivityDate="2015-05-03T14:30:59.560" Title="Functioning of battery banks for GoPro 4 Silver" Tags="|action-cam|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15470" PostTypeId="2" ParentId="15467" CreationDate="2015-05-02T15:13:29.673" Score="3" Body="&lt;p&gt;No, the D750 is not a good alternative for an avid videographer, at least not if you want the advantages Magic Lantern offers.  ML isn't available for Nikon.  The reason has nothing to do with the technical advantages of either platform, you can get models of camera that are fairly close in that regard.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that Nikon does not have anything like Magic Lantern.  The majority of your high end professional video features, such as RAW video and HDR video, are not actually supported by either make on it's own.  They are added by a third party firmware hack called Magic Lantern and it is only available on select models of Canon camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you aren't looking to use a hack, the D750 may make a decent enough option (I haven't looked at it that closely since I already have a 5D Mark iii), however it won't have many of the features you are looking for, just like a stock 5D Mark iii wouldn't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other key features you would be missing are things like focus peaking and adjustable zebras.  The scope support is also much less advanced, though either camera can support uncompressed HDMI output which means you could use an external scope and even external focus peaking if you had the right hardware, but that's more to buy and offsets a lot of your cost savings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update:&#xA;I did some more reading on the D750 due to some of the comments and I still stand by the majority of my comparison.  This is a low light comparison of the two cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/cPhUr6aKGJI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note in the high ISO video that the 5D Mark iii absolutely destroys the low light performance of the D750 on video.  The one thing that is noteworthy about the video is that one native feature the D750 offers is flat color profile.  On the clip where it shows a flat profile, the Nikon will appear better because it isn't using any shadow detail, however the color depth will suffer in that mode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do flat color with 5D Mark iii as well, but it requires either some careful custom adjustment or use of ML to do so.  Additionally, the 5D Mark iii with ML offers true raw shooting which blows flat profile shooting out of the water since you maintain color depth while still having the ability to adjust color and luminance response.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The dynamic range available in video shot with ML is much higher as it can be set to change ISO every other frame and then, with some post processing, do an HDR blend for each frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The timelapse feature on the D750 may be nice to have, but it saves relatively low quality and ML provides this feature on the 5D Mark iii with full raw support and extensive options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note however, none of that is to say that the D750 isn't an excellent camera.  It's easily one of the best, if not the best video feature set that Nikon has made yet.  It's a solid camera, but it can't hold a candle to the capabilities of the 5D Mark iii in the video space when running ML and still has some significant short comings even if you don't run a 5D Mark iii on ML.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2015-05-03T19:14:21.503" LastActivityDate="2015-05-03T19:14:21.503" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15471" PostTypeId="2" ParentId="15289" CreationDate="2015-05-03T08:49:31.323" Score="1" Body="&lt;p&gt;Foresight Imaging cards support all types at HD and up to 60/sec&lt;/p&gt;&#xA;" OwnerUserId="10790" LastActivityDate="2015-05-03T08:49:31.323" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15472" PostTypeId="1" CreationDate="2015-05-03T18:56:36.987" Score="6" ViewCount="21472" Body="&lt;p&gt;I'm trying to make a &lt;strong&gt;loop from an animated mask&lt;/strong&gt;, but each time I introduce my loop expression: &lt;code&gt;loopOut (type=&quot;cycle&quot;, numKeyframes = 0)&lt;/code&gt;, After Effects is telling me that:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;Expression is deactivated, because of line 1 and that the layer doesn't allow loop&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I have tried to use the &lt;strong&gt;pre-expressions&lt;/strong&gt; from the application, but it still doesn't work:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/mo9XA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I'm doing wrong or what else can I do to loop the mask?&lt;/p&gt;&#xA;" OwnerUserId="10793" LastEditorUserId="6685" LastEditDate="2015-05-07T10:02:01.787" LastActivityDate="2017-01-17T22:32:48.460" Title="How to loop an animated mask?" Tags="|after-effects|after-effects-expressions|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15474" PostTypeId="1" AcceptedAnswerId="15475" CreationDate="2015-05-03T20:43:05.730" Score="1" ViewCount="846" Body="&lt;p&gt;I am creating a slide show in premiere pro and the slideshow contains few portrait images and few box images. which give a black letterbox. I want the letterbox to show the same image blurred as background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0O2KM.jpg&quot; alt=&quot;example&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or this youtube video: (I dont want to add links)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;https://www.youtube.com/watch?v=0Qm07MUkgiA&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10795" LastActivityDate="2015-05-03T22:19:04.107" Title="video letterboxing in premiere pro with the same image as background" Tags="|video|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15475" PostTypeId="2" ParentId="15474" CreationDate="2015-05-03T21:31:38.643" Score="2" Body="&lt;p&gt;Copy the picture into a second video track. Then, zoom in the picture on the lower track (i.e. increase it's size in the effect settings panel). Then, apply a gaussian blur from the effects panel and raise the blur factor in the effect settings panel until you are satisfied with the result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need more detailed instructions, please provide some additional info on how you set up your project in Premiere Pro, what you have tried to achieve this and why it didn't work.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2015-05-03T22:19:04.107" LastActivityDate="2015-05-03T22:19:04.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15476" PostTypeId="1" CreationDate="2015-05-04T00:43:32.923" Score="2" ViewCount="99" Body="&lt;p&gt;I have recorded some video tutorials for our programming team. These consist of &quot;live coding&quot; exercises; basically, videos of me coding stuff. Thus, the video track is a screencast, and the audio track is consists of either my voice, or long periods of silence and/or clacking keys.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I would like to do is to automatically speed up the silent and key-clacky portions of the video, while leaving the parts with voice intact. Unfortunately, I am a video editing novice. So, is there some well-known way to do that ? If not, is there some Python library (or C#/Java library even, I'm not married to Python) that can get me at least part of the way there ? &lt;/p&gt;&#xA;" OwnerUserId="10796" LastActivityDate="2016-01-02T16:54:41.420" Title="Automatically speed up video portions with no voice" Tags="|video|editing|software|framerate|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15477" PostTypeId="1" AcceptedAnswerId="15479" CreationDate="2015-05-04T02:41:30.247" Score="2" ViewCount="4505" Body="&lt;p&gt;I used this command &lt;code&gt;ffmpeg -i thevideo.mp4 -c:a copy -vf 'drawbox= : x=0 : y=0 : color=invert:enable=between(t\,11\,39)' output.mp4&lt;/code&gt; but it runs very slow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I took another approach, I copy first and last part and run &quot;drawbox&quot; only on selected length, and then adding them all together.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i thevideo.mp4 -ss 00:00:00 -to 00:00:10 -c copy cut.mp4&#xA;&#xA;ffmpeg -i thevideo.mp4 -ss 00:00:11 -to 00:00:39 -c:a copy -vf 'drawbox= : x=0 : y=0 : color=invert' cut2.mp4&#xA;&#xA;ffmpeg -i thevideo.mp4 -ss 00:00:40 -c copy cut3.mp4&#xA;&#xA;ffmpeg -f concat -i mylist.txt -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;content of &lt;code&gt;mylist.txt:&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'cut1.mp4'&#xA;file 'cut2.mp4'&#xA;file 'cut3.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Can I run it in one command and have the same speed or even faster but without cutting and concatenating the parts of the video?&lt;/p&gt;&#xA;" OwnerUserId="10779" LastEditorUserId="10779" LastEditDate="2015-05-04T04:51:51.657" LastActivityDate="2015-05-04T06:58:03.250" Title="Can I run this in one command line (ffmpeg)" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15478" PostTypeId="2" ParentId="15468" CreationDate="2015-05-04T03:28:49.123" Score="11" Body="&lt;h1&gt;Using the latest &lt;code&gt;ffmpeg&lt;/code&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;General users should always use &lt;code&gt;ffmpeg&lt;/code&gt; from the current git master branch (the latest code available):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;When encountering an issue the first thing to do is check to see if you are using a build from git master.&lt;/li&gt;&#xA;&lt;li&gt;It is considered stable.&lt;/li&gt;&#xA;&lt;li&gt;It will have more bug fixes and features.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://git.videolan.org/?p=ffmpeg.git;a=shortlog&quot;&gt;FFmpeg development is very active&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;If you want to get support from official help resources you must use git master.&lt;/li&gt;&#xA;&lt;li&gt;Releases are for distributors.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;See the &lt;a href=&quot;https://ffmpeg.org/download.html&quot;&gt;FFmpeg Download&lt;/a&gt; page for various options, or refer to &lt;a href=&quot;https://trac.ffmpeg.org/wiki/CompilationGuide&quot;&gt;FFmpeg Wiki: Compile Guides&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Other stuff&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;In your command with &lt;code&gt;drawbox&lt;/code&gt; you can &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-copy&quot;&gt;steam copy&lt;/a&gt; the audio with &lt;code&gt;-c:a copy&lt;/code&gt; instead of re-encoding it.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;When using &lt;code&gt;-ss&lt;/code&gt;, &lt;code&gt;-to&lt;/code&gt; only works as expected if &lt;code&gt;-ss&lt;/code&gt; is used as an output option.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2015-05-04T03:28:49.123" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15479" PostTypeId="2" ParentId="15477" CreationDate="2015-05-04T06:58:03.250" Score="5" Body="&lt;p&gt;Your current method using the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#concat-1&quot; rel=&quot;noreferrer&quot;&gt;concat demuxer&lt;/a&gt; while &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;noreferrer&quot;&gt;stream copying&lt;/a&gt; is probably the fastest (I'm just counting the &lt;code&gt;ffmpeg&lt;/code&gt; time and not any time you take to enter the additional commands). Unfortunately, you have to perform several steps, but the advantage is that your non-filtered segments are not being re-encoded which preserves quality and results in fast processing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is possible to do it all in one command with the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#trim&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;trim&lt;/code&gt;&lt;/a&gt;, &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#atrim&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;atrim&lt;/code&gt;&lt;/a&gt;, and &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#concat&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;concat&lt;/code&gt;&lt;/a&gt; filters, but this will re-encode everything and possibly be slower. You will have to test. However, it may create a more &quot;stable&quot; output if you find your current method to be problematic (which would likely be fairly obvious upon playback). The filter is generally used instead of the demuxer when all streams are being filtered.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Example using &lt;code&gt;concat&lt;/code&gt; filter:&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex \&#xA;&quot;[0:v]trim=end=10[v0]; \&#xA; [0:a]atrim=end=10[a0]; \&#xA; [0:v]trim=10:40,drawbox=color=invert[v1]; \&#xA; [0:a]atrim=10:40[a1]; \&#xA; [0:v]trim=start=40[v2]; \&#xA; [0:a]atrim=start=40[a2]; \&#xA; [v0][a0][v1][a1][v2][a2]concat=n=3:v=1:a=1[v][a]&quot; \&#xA;-map &quot;[v]&quot; -map &quot;[a]&quot; -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;Notes&lt;/h3&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;If you get a weird output refer to the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#setpts&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;setpts, asetpts&lt;/code&gt;&lt;/a&gt; filters (search for &lt;code&gt;PTS-STARTPTS&lt;/code&gt;).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If it is still too slow use a faster x264 preset. See &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg Wiki: H.264 Video Encoding Guide&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I assume you're using OS X with the &quot;tessus&quot; build of &lt;code&gt;ffmpeg&lt;/code&gt; from your previous FFmpeg question. The default AAC encoder for the tessus build is &lt;code&gt;libvo_aacenc&lt;/code&gt;. The native FFmpeg AAC encoder is generally regarded as being slightly better. If you want to use it add &lt;code&gt;-c:a aac -strict experimental&lt;/code&gt;. If you want the best supported AAC encoder, &lt;code&gt;libfdk_aac&lt;/code&gt;, then use &lt;a href=&quot;https://trac.ffmpeg.org/wiki/CompilationGuide/MacOSX&quot; rel=&quot;noreferrer&quot;&gt;homebrew to compile &lt;code&gt;ffmpeg&lt;/code&gt;&lt;/a&gt;. See &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/AAC&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg Wiki: AAC Encoding Guide&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2015-05-04T06:58:03.250" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15480" PostTypeId="1" CreationDate="2015-05-04T09:24:40.350" Score="0" ViewCount="25" Body="&lt;p&gt;I need a Converter from DVI, VGA, and CVBS to SDI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The most important thing is that this converter don't change the signals informations, I want it just to convert the signal.&#xA;Is that even possible ?&lt;/p&gt;&#xA;" OwnerUserId="10555" LastActivityDate="2015-05-06T08:02:21.073" Title="SDI Converters from Many other Forms" Tags="|video|video-quality|standards-converter|signal-processing|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15481" PostTypeId="1" CreationDate="2015-05-04T12:43:17.187" Score="4" ViewCount="1558" Body="&lt;p&gt;I created a video in my cellphone holding the phone in portrait mode. The video is 720p and it looks perfectly fine in cell phone. I copied it on computer and when viewing it, the video looks 90 degrees anti-clockwise rotated. It is confusing for me that why it happened. How can I rotate the copied video back to 90-degrees without re-enconding the video.&lt;/p&gt;&#xA;" OwnerUserId="4297" LastActivityDate="2015-09-07T07:16:31.537" Title="how to Rotate a 3gp video without re-encoding" Tags="|encoding|" AnswerCount="1" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="15483" PostTypeId="2" ParentId="15472" CreationDate="2015-05-04T19:21:41.233" Score="5" Body="&lt;p&gt;This expression is &lt;strong&gt;not supported for Mask Path Property&lt;/strong&gt;, because it's a &lt;em&gt;User Defined Property&lt;/em&gt;, see the note of the error message. &lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Workaround&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0byVw.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Mask Path animation once&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;Precompose your layer&lt;/strong&gt; an with the animated mask (one time) by &lt;em&gt;Selecting the Layer &gt; Right Click &gt; Precompose&lt;/em&gt; (and move all attributes in the new composition)&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Enable Time Remapping&lt;/strong&gt; on your new created composition &lt;em&gt;(Right Click on the composition &gt; Time &gt; Time Remapping)&lt;/em&gt;, this extends the length of the layer to infinity&lt;/li&gt;&#xA;&lt;li&gt;Add &lt;code&gt;loopOut(type=&quot;cycle&quot;)&lt;/code&gt; expression to the &lt;strong&gt;Time Remapping Property&lt;/strong&gt; by holding &lt;kbd&gt;Alt&lt;/kbd&gt; and clicking the stop watch left beside the properties name&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/XDAG9.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Time Remapping enabled on the new composition and expresssion applied&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Example&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/XGyhx.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Example using 3 keyframes (third is same as first) and using &lt;code&gt;loopOut()&lt;/code&gt; only&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-05-04T20:17:33.223" LastActivityDate="2015-05-04T20:17:33.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15484" PostTypeId="1" CreationDate="2015-05-04T21:08:27.237" Score="1" ViewCount="149" Body="&lt;p&gt;I'm editing a pre-rendered photo gallery template in Premiere Pro CC 2014.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The entire photo gallery clip is a single video clip, which I have cut in many places to make some changes. I have made several edits to this include speed changes, perspective correction, etc..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I have a second set of photo gallery &lt;strong&gt;exactly same&lt;/strong&gt; as the first one with different set of photos and wish to keep the same edits as the first one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to replace the second set with first set edit.&#xA;I'm aware of the Replace Clip from Bin feature. But it always sets the In point to the beginning of the clip. Is there any way to replace the clip as well as sync the mark in and out points?&lt;/p&gt;&#xA;" OwnerUserId="10799" LastActivityDate="2015-05-04T23:03:36.287" Title="Replace the video edit with another video keeping the in and out timings" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15485" PostTypeId="2" ParentId="15484" CreationDate="2015-05-04T23:03:36.287" Score="1" Body="&lt;p&gt;A possible workaround:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Open the new clip in its own project.&lt;/li&gt;&#xA;&lt;li&gt;Set the &quot;in&quot; point and the &quot;out&quot; point.&lt;/li&gt;&#xA;&lt;li&gt;Export that as a new clip (with lossless video quality, if you can pull that off).&lt;/li&gt;&#xA;&lt;li&gt;Open your other project.&lt;/li&gt;&#xA;&lt;li&gt;Use Replace Clip from Bin, and replace it with the clip you just exported.  In the new clip, the &quot;in&quot; point &lt;em&gt;is&lt;/em&gt; the beginning of the clip!&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-05-04T23:03:36.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15487" PostTypeId="1" AcceptedAnswerId="15490" CreationDate="2015-05-05T03:54:47.060" Score="1" ViewCount="90" Body="&lt;p&gt;What are all the software and hardware needed to produce a video of this kind?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/43Wg3Vz3lX0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="10801" LastEditorUserId="6273" LastEditDate="2016-03-09T12:10:08.227" LastActivityDate="2016-03-09T12:10:08.227" Title="Producing Video Lectures" Tags="|video-editor|software-recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15488" PostTypeId="2" ParentId="15467" CreationDate="2015-05-05T06:30:07.843" Score="4" Body="&lt;p&gt;You should consider other options than Nikon/Canon. Even if they have proven DSLR can do &lt;em&gt;really&lt;/em&gt; good video, thanks to 5D Mark II/III and Magic Lantern, they do not compete well against Panasonic and Sony.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you compare 5D Mark III against a Sony A7S, you're going to have a much better video quality on A7S, thanks to its far superior sensor. Much higher dynamic range, better low noise performance, 4K, and so on. Watch the 5DIII vs A7S:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/loOC87Ni4x8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The mind-blowing low noise performance on A7S:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/99893160&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/99893160&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, 5D III is left behind Panasonic GH4. The last one is far less expensive, and offer 4K resolution. Even if low noise is not really well performed on it, because of its 4/3 sensor, it's still a good competitor regarding of its price.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nikon and Canon seem to be left behind nowadays. They provide the best DSLR for stills, but for video, you can find better, and often with less money.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Wake up Canon!&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="10802" LastEditorUserId="10802" LastEditDate="2015-05-09T18:26:23.820" LastActivityDate="2015-05-09T18:26:23.820" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15489" PostTypeId="1" CreationDate="2015-05-05T07:14:21.953" Score="0" ViewCount="50" Body="&lt;p&gt;I try to edit a video clip, like a steady cam and slow motion, using a mask and Time Warp in after effect. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, whenever i select any effect in Effect menu of a menu bar, the mask is not working. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can i use a mask and effect at the same time? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;or, i have to use pre-composition where effect is applied, and then mask, such pre-comp?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;plz help me.&lt;/p&gt;&#xA;" OwnerUserId="10803" LastActivityDate="2015-05-05T07:14:21.953" Title="In affter effect cs 6, I don't know why i cannot use mask with effects" Tags="|after-effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15490" PostTypeId="2" ParentId="15487" CreationDate="2015-05-05T08:50:04.793" Score="2" Body="&lt;p&gt;This looks like she used a graphics drawing pen tablet (e.g. a &lt;a href=&quot;http://www.wacom.com/en-us/products/pen-tablets&quot; rel=&quot;nofollow&quot;&gt;Wacom Pen Tablet&lt;/a&gt;) and recorded her screen with a screencapture software such as &lt;a href=&quot;http://www.fraps.com/&quot; rel=&quot;nofollow&quot;&gt;Fraps&lt;/a&gt;. To have the person appear in the lower right like this, you will need a well-lit &lt;a href=&quot;http://en.wikipedia.org/wiki/Chroma_key&quot; rel=&quot;nofollow&quot;&gt;greenscreen&lt;/a&gt; to key out the background. To produce the video from your recordings, you will need &lt;a href=&quot;http://en.wikipedia.org/wiki/List_of_video_editing_software&quot; rel=&quot;nofollow&quot;&gt;NLE software&lt;/a&gt;. Since there aren't any special effects in this video, you don't need a professional program; the only requirement would be the greenscreen processing capability.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you could also create the screen writing effects completely digitally with an animation/SFX program like &lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;After Effects&lt;/a&gt;. However, this is pretty difficult and it will certainly take some time to learn the required skills to produce a video like this.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-05-05T08:50:04.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15492" PostTypeId="1" CreationDate="2015-05-05T11:41:47.723" Score="2" ViewCount="480" Body="&lt;p&gt;Hello to all here is my burning question: I came from Europe with all my equipment and worked for 3 months for a client. Prior to my coming there I send my terms for working and the agreed price and no complicated contract, just saying that a down payment will be needed of 30% and that food and lodging, airplane ticket and expensive s as such is not included on the price we agreed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now until today the client did not pay me anything and they claim I must hand over all RAW footage to them. I don't know about the USA federal law but here in Europe the video maker and in my case also photos in raw is the owner before a agreement for handing off is made.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;During my stay there one of my camera's a ProHD JVC went broken the fire-wire board needs to be replaced and it will cost me over $1K&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And I am more than willing to give them all the footage, including audio and photos in the case they pay. I think I am in my right.&lt;/p&gt;&#xA;" OwnerUserId="10804" LastEditorUserId="10804" LastEditDate="2015-05-05T12:08:01.680" LastActivityDate="2015-05-05T17:15:29.330" Title="Who owns the RAW video, audio and photo footage in case the client does not pay the agreed price?" Tags="|video|video-recording|copyright|raw|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15493" PostTypeId="2" ParentId="15492" CreationDate="2015-05-05T17:15:29.330" Score="3" Body="&lt;p&gt;Copyright law here says that the person who shoots the footage owns the footage. The only way to change this is if you sign a work for hire contract which says that the production company owns the copyright and that they'll pay you in exchange for your work and copyright. If they didn't pay you then they breached their contract. If there was no contract then you own the footage and don't have to give them anything. Something as simple as an email could be considered a legally binding contract though. I suggest you contact a lawyer who knows entertainment law in the US.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Save everything, emails, phone call records, written notes, receipts, plane tickets, reservations, anything that demonstrates your working relationship with this company and how much they have paid you and how much they owe you or should have paid you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry this sort of thing happens. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;See here:&#xA;&lt;a href=&quot;http://en.wikipedia.org/wiki/Work_for_hire&quot; rel=&quot;nofollow&quot;&gt;http://en.wikipedia.org/wiki/Work_for_hire&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10805" LastActivityDate="2015-05-05T17:15:29.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15494" PostTypeId="2" ParentId="15472" CreationDate="2015-05-06T03:36:19.160" Score="4" Body="&lt;p&gt;Another option if you don't want to create a pre-comp:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make your mask and set the keyframes and apply this expression to the mask path property:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;valueAtTime(time % key(numKeys).time)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is basically an implementation of the loopOut function, but it works for all properties, including custom ones like mask shapes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tarzg.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How it works&lt;/strong&gt;: &lt;code&gt;valueAtTime&lt;/code&gt; returns the value of the property at a given time, so to loop the property we need a value that goes from 0 and rises until the playhead gets to the last keyframe and then the value loops back to 0. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The expression &lt;code&gt;key(numKeys).time&lt;/code&gt; returns the time of the last key (e.g. if there are 3 keys it will be &lt;code&gt;key(3).time&lt;/code&gt;). The &lt;code&gt;%&lt;/code&gt; operator is the modulus operator, which gives you the remainder when you divide the first term by the second. So if you find the remainder when dividing the current time (&lt;code&gt;time&lt;/code&gt;) by the time of the last keyframe it will return a value that starts at 0 and rises in synch with &lt;code&gt;time&lt;/code&gt; until the playhead reaches the last keyframe at which point the current time will divide exactly into the time of the last keyframe, so the remainder will go back to 0 then start rising in synch with the playhead, rinse, repeat. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A useful feature of this expression is that you can speed it up and down by multiplying &lt;code&gt;time&lt;/code&gt; by another factor, e.g. &lt;code&gt;time * 2 % key(numKeys).time&lt;/code&gt; would play back the animation in double speed.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-11-01T13:02:44.260" LastActivityDate="2015-11-01T13:02:44.260" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15495" PostTypeId="1" CreationDate="2015-05-06T05:53:38.080" Score="1" ViewCount="115" Body="&lt;p&gt;I've got a &lt;a href=&quot;http://www.flipkart.com/canon-powershot-sx520-hs-with-8-gb-sd-card-camera-bag/p/itmefwhqzpskgefr?pid=CAMEFWHQFNFSSH5M&quot; rel=&quot;nofollow&quot;&gt;canon powershot&lt;/a&gt;. It has an inbuilt mic. I usually take interview-type videos, mostly indoors. The audio quality is poor as far as the purpose is concerned. I use &lt;a href=&quot;http://www.pitivi.org/&quot; rel=&quot;nofollow&quot;&gt;pitvi&lt;/a&gt; as my editing software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question I have is...how easy is it going to be to record audio from another device and merge that with the video using pitvi?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also would want to know about audio recording devices which support a lapel or a collar microphone.&lt;/p&gt;&#xA;" OwnerUserId="10807" LastActivityDate="2018-04-10T04:31:01.830" Title="audio recording and video editing software" Tags="|editing|software-recommendation|audio-recording|microphone|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15497" PostTypeId="2" ParentId="15495" CreationDate="2015-05-06T13:49:00.970" Score="1" Body="&lt;p&gt;I don't know Pitivi but in general it's not hard to do what you need, just sometimes a little time consuming. Use a digital audio recorder that can record 48K at 16 bits at a solid fixed rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this case since you already have sync audio from the camera, you can use it as a reference track to find and check sync with the separate track. It helps to use a clapper at the beginning and end of each scene, but since you have both tracks you might not need a visual clap, just a recognizable audio clap. If possible announce the scene and take so that it's audible on both.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the sep sound drifts out of sync you can use those start and end claps to find the exact frame duration and adjust the rate of the sep sound to match. If Pitivi does this, great, but you can also use a free tool like Audacity.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-05-06T13:49:00.970" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15498" PostTypeId="1" AcceptedAnswerId="15501" CreationDate="2015-05-06T15:54:47.227" Score="2" ViewCount="1375" Body="&lt;p&gt;I have an animation in After Effects where I am animating a slider to move up and down at certain points. The slider should be mainly stationary, but moves occasionally in line with other actions on the project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/sK56t.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I am finding though, is the slider is moving a small amount even when the keyframes are set such that it should be static. E.g. the following two keyframes are the same (Y position = 524.6) but if I move the marker in between, you'll see the value deviates from this. (As a result the slider moves.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1st Keyframe (Y Position = 524.6):&#xA;&lt;img src=&quot;https://i.stack.imgur.com/yZrVb.png&quot; alt=&quot;1st Keyframe&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2nd Keyframe (Y Position = 524.6):&#xA;&lt;img src=&quot;https://i.stack.imgur.com/5EJFt.png&quot; alt=&quot;2nd Keyframe&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In between (Y position varies, up to 525.4):&#xA;&lt;img src=&quot;https://i.stack.imgur.com/ihVtB.png&quot; alt=&quot;In between&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is driving me nuts! As far as I can see the anchor point does not move, so I don't understand why this should happen.&lt;/p&gt;&#xA;" OwnerUserId="10673" LastActivityDate="2015-05-07T09:58:41.070" Title="Ghost position keyframes in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="3" ClosedDate="2015-05-07T20:24:26.520" ContentLicense="CC BY-SA 3.0" />
  <row Id="15499" PostTypeId="2" ParentId="15495" CreationDate="2015-05-06T19:53:14.467" Score="0" Body="&lt;p&gt;You can do it with any decent video editor (I use openshot -&lt;a href=&quot;http://www.openshot.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.openshot.org/&lt;/a&gt;) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The process is as Jim Mack says. You clap your hands 3 times in front of the camera and then you combine the video track and external sound usings these claps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regarding audio, your best and cheapest solution is the Zoom H1 (recorder) and the Audio Technica 3350 (lapel microphone)&lt;/p&gt;&#xA;" OwnerUserId="10689" LastEditorUserId="5747" LastEditDate="2018-04-10T04:31:01.830" LastActivityDate="2018-04-10T04:31:01.830" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15500" PostTypeId="1" CreationDate="2015-05-07T06:17:16.727" Score="1" ViewCount="880" Body="&lt;p&gt;Looking for a way to use ffmpeg dshow to open a tv capture card within windows. I have tried running the list devices command and my usb capture does not show. If it is a device limitation, Im happy to get one that does support this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The station I want is on DVB-T.&lt;/p&gt;&#xA;" OwnerUserId="10687" LastActivityDate="2015-05-07T06:17:16.727" Title="DVB capture into ffmpeg in windows?" Tags="|ffmpeg|windows|video-capture|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15501" PostTypeId="2" ParentId="15498" CreationDate="2015-05-07T09:58:41.070" Score="2" Body="&lt;p&gt;It's because of spatial interpolation.  Here's a previous answer:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/14687/object-moving-to-a-position-i-didnt-specify/14697#14697&quot;&gt;Object moving to a position I didn&amp;#39;t specify&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-05-07T09:58:41.070" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15502" PostTypeId="1" CreationDate="2015-05-07T10:04:29.313" Score="1" ViewCount="447" Body="&lt;p&gt;I would like to record video lectures using a light board scenario which is a transparent board on which one can draw as if one is drawing on the screen/camera itself. For those of you interested, here's how you can create such a set up:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/FYwXOLU4TKk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a similar set up of the light board itself but I have the following two issues that I would like to have some feedback on:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;For the initial tests we used a Sony-DCR-SX65E camera. The quality of the video was tremendously bad but the more evident problem was the fact that we didn't have a proper lighting so it was very hard to distinguish the writings on the board. Obviously a better camera is needed but would the camera itself be sufficient if it has good enough configuration options or we have to consider additional lights as well? I'm curious if we can fit around 1000-1500$ budget to have a professional looking video?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;A bit off topic, but the bluetooth headset microphone that we used also produced horrible audio quality. Any idea of easy to use portable microphone that we can use? Audio quality is of most importance but it would be a nice bonus to be able to easily use the microphone i.e. plug it in directly via USB instead of needing additional audio interface to use it?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5463" LastActivityDate="2015-05-07T10:04:29.313" Title="Producing Video Lectures similar to Coursera/EDX" Tags="|video|video-quality|video-recording|audio-recording|audio-quality|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15503" PostTypeId="1" CreationDate="2015-05-07T15:26:29.320" Score="2" ViewCount="628" Body="&lt;p&gt;I have a set of videos created in Premiere Pro C6 and currently I am encoding them in h264 for YT upload. The raws were taken using a Canon 700D @ 720p60.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering what is the best encoding settings that is available in Premiere Pro that I can use to encode them that is suitable for archive. I would like them to be somewhere along the same size as if it was taken by the 700D. I tried doing a lossless format and my 5min video balloon to 70GB. That's way over the size of the raw file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I appreciate the help so that I can just store the archive copy in my glacier and delete the rest of the footage in my hard drive rather than uploading every footage I have in the cloud.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what VLC sees on my RAW file if it helps. &lt;a href=&quot;http://prntscr.com/72kvgb&quot; rel=&quot;nofollow&quot;&gt;http://prntscr.com/72kvgb&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5895" LastActivityDate="2015-05-13T22:55:40.310" Title="Encoding Video For Archiving Using Premiere Pro CS6" Tags="|video-quality|encoding|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15504" PostTypeId="2" ParentId="15448" CreationDate="2015-05-07T21:59:54.297" Score="2" Body="&lt;p&gt;For half the price and DSLRs only, the Ronin M probably makes more sense. The Helix Jr. makes sense for more. It can hold up to 12 lb of stuff vs the M's 8 lb (which is kind of crazy, considering that it's even lighter), and the fact that it's naturally at heart-ish level as opposed to belt level means a lot for good framing and the ability to hold it at a good frame for an extended period of time. You can get it to eye level for more easily than the Ronin, even in Upright mode (or whatever it's called), because it flips the camera upside down. (They both have briefcase mode for very low shots.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want a second person with total control, the Ronin is absolutely the way to go. But if you're a one-man band and can afford the premium, the Helix is probably the better option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source: I have demoed both.&lt;/p&gt;&#xA;" OwnerUserId="10812" LastActivityDate="2015-05-07T21:59:54.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15505" PostTypeId="2" ParentId="14949" CreationDate="2015-05-08T17:05:49.320" Score="1" Body="&lt;p&gt;Here's what I came up with to solve this problem:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cd \Users\Seibel\Documents\WinSendKeys&#xA;&#xA;start WinSendKeys.exe&#xA;WinSendKeys -x &quot;C:\Program Files\Sony\PlayMemories Home\TapeImporter\PMBTapeImporter.exe&quot; -xd 10000 -w PMBTapeImporter.exe {TAB}{TAB}{TAB}{TAB}{TAB}&#xA;set cmd=&quot;dir *.m2t /b/a-d | find /v /c &quot;Users\Seibel\Desktop\Squid videos - Birk\Pcrit&quot;&quot;&#xA;for /f %%i in (' %cmd% ') do set n_videos_pre=%%i&#xA;echo %n_videos_pre%&#xA;WinSendKeys -w PMBTapeImporter.exe {SPACE}&#xA;FOR /L %%A IN (1,1,1000) DO (&#xA;&#xA;    timeout 60 /nobreak&#xA;    WinSendKeys -m &quot;Import from Tape&quot; #%%,100,10&#xA;    WinSendKeys -w PMBTapeImporter.exe {SPACE}&#xA;    timeout 1800 /nobreak&#xA;    WinSendKeys -m &quot;Import from Tape&quot; #%%,100,10&#xA;&#xA;    WinSendKeys -w PMBTapeImporter.exe {SPACE}&#xA;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It is a batch file that uses the default software for the Sony camcorder (PlayMemories Tape Importer) and a command line controlled button pressing program (WinSendKeys) to record my desired time at my desired intervals automatically.&lt;/p&gt;&#xA;" OwnerUserId="10381" LastEditorUserId="10381" LastEditDate="2016-08-09T02:46:13.950" LastActivityDate="2016-08-09T02:46:13.950" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15506" PostTypeId="1" AcceptedAnswerId="15507" CreationDate="2015-05-08T19:04:22.767" Score="3" ViewCount="2748" Body="&lt;p&gt;I am really confused between the meaning of motion graphics and compositing. Is motion graphics mean using still image to create illusion of moving object and compositing is combining 2 or more clips together in the same frame?&lt;/p&gt;&#xA;" OwnerUserId="10819" LastActivityDate="2021-01-22T07:01:55.523" Title="Motion graphics vs compositing" Tags="|video|compositing|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15507" PostTypeId="2" ParentId="15506" CreationDate="2015-05-08T20:56:23.150" Score="2" Body="&lt;p&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Motion_graphics&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;Motion graphics&lt;/strong&gt;&lt;/a&gt; consists of &lt;em&gt;Graphic Design&lt;/em&gt; and &lt;em&gt;Animation&lt;/em&gt;. Main focus is to deal with &lt;strong&gt;images, typography, color and illustrations&lt;/strong&gt;, also it's key to work with &lt;strong&gt;design assets&lt;/strong&gt;, like flow charts, icons, images or backdrops, which created with animation in mind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However &lt;a href=&quot;http://en.wikipedia.org/wiki/Compositing&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;Compositing&lt;/strong&gt;&lt;/a&gt; consists of &lt;em&gt;Animation&lt;/em&gt;, &lt;em&gt;Mathematics&lt;/em&gt; and &lt;em&gt;Rating Pictures&lt;/em&gt; (eyeballing). Main focus is &lt;strong&gt;digital image manipulation&lt;/strong&gt; - it's the art and science to combine (matching) images from multiple sources like &lt;strong&gt;film, photographs or 3d renderings&lt;/strong&gt; into &lt;em&gt;new (blended) images&lt;/em&gt; to create a &lt;strong&gt;perfect illusion&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-05-13T09:23:58.083" LastActivityDate="2015-05-13T09:23:58.083" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15508" PostTypeId="2" ParentId="15506" CreationDate="2015-05-09T01:36:32.540" Score="1" Body="&lt;p&gt;In addition to what @poor said, there are many applications which do both. For example, &lt;a href=&quot;https://www.apple.com/final-cut-pro/motion/&quot; rel=&quot;nofollow&quot;&gt;Apple Motion&lt;/a&gt;, &lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;Adobe After Effects&lt;/a&gt;, or &lt;a href=&quot;http://www.autodesk.com&quot; rel=&quot;nofollow&quot;&gt;Autodesk Combustion&lt;/a&gt;. Each one can do some combination of animating stills, drawing shapes, displaying text, and each also comes with tools for doing compositing (keyers, masks, matte manipulation tools, etc.).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In fact, motion graphics often involves compositing. For example, if you think of the &lt;a href=&quot;https://www.youtube.com/results?search_query=james+bond+opening+sequence&amp;amp;spfreload=10&quot; rel=&quot;nofollow&quot;&gt;title sequence of most James Bond movies&lt;/a&gt;, they often involve a combination of silhouettes of people (usually women), hand or computer-drawn graphics, and text. This is a perfect example of how motion graphics involves both graphic design and compositing.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-05-09T01:36:32.540" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15509" PostTypeId="2" ParentId="15506" CreationDate="2015-05-09T03:06:17.387" Score="2" Body="&lt;p&gt;Composition involves layering of multiple provided elements, such as live action footage, matte paintings, and special effects. Skills include keying, color correction, and integration. Compositing is often seamless and invisible, with the intent of making the shot appear to have been captured entirely in camera. All special effects in movies for instance have compositing as a final step to integrate the work of the other disciplines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Motion graphics on the other hand is an extension of graphic design, but animated. The purpose of motion graphics is to tell a story, sell a product, or add visual interest. It does not produce a seamless photo-real image.&lt;/p&gt;&#xA;" OwnerUserId="6391" LastActivityDate="2015-05-09T03:06:17.387" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15510" PostTypeId="1" CreationDate="2015-05-09T06:32:39.210" Score="5" ViewCount="10788" Body="&lt;p&gt;In Adobe Premiere there are shortcut keys to play a clip right from the &lt;strong&gt;In mark to Out mark&lt;/strong&gt;. Shortcut on a PC  is &lt;kbd&gt;Ctrl&lt;/kbd&gt; + &lt;kbd&gt;Shift&lt;/kbd&gt; + &lt;kbd&gt;Space&lt;/kbd&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;However, how can I play a clip only till my Out mark?&lt;/strong&gt; Not my full selection from In to Out, but from an arbitrary point of a selection only to my Out mark? It should stop playing on my Out mark.&lt;/p&gt;&#xA;" OwnerUserId="10820" LastEditorUserId="10820" LastEditDate="2015-05-11T06:26:01.127" LastActivityDate="2019-12-20T18:11:59.073" Title="How to play a clip only till an Out mark in Adobe Premiere?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15511" PostTypeId="2" ParentId="15510" CreationDate="2015-05-09T14:49:14.863" Score="2" Body="&lt;p&gt;I don't think this is possible. &lt;strong&gt;Edit:&lt;/strong&gt; Turns out I was wrong. As Green mentions, &lt;kbd&gt;CTRL&lt;/kbd&gt;+&lt;kbd&gt;Spacebar&lt;/kbd&gt; will do exactly what you asked for. I'll leave the rest of my answer as alternatives to that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option is the &lt;strong&gt;Play Around&lt;/strong&gt; Shortcut, &lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;K&lt;/kbd&gt;, which will start playback a couple of seconds before your current timemarker position and stop a couple of seconds behind it. You can customize the &lt;strong&gt;Preroll&lt;/strong&gt; and &lt;strong&gt;Postroll seconds&lt;/strong&gt; under &lt;strong&gt;Preferences&lt;/strong&gt; → &lt;strong&gt;Playback&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2015-05-11T13:45:30.583" LastActivityDate="2015-05-11T13:45:30.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15512" PostTypeId="1" CreationDate="2015-05-09T18:46:40.387" Score="3" ViewCount="491" Body="&lt;p&gt;I record audio separately using an audio recorder and video separately and they usually sync up later in the NLE painlessly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But there's one particular old digital camera I have that always seems to play back (both its audio and video) a bit slower than the audio I record with my audio recorder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I must underline the fact that the audio and video streams of the digital camera themselves are always in sync. It's just that the audio (and video which is in sync with the camera's video) from the digital camera is never in sync with the audio I record with my digital recorder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Even when I sync them up manually, for a good first few minutes, the streams from both the media playback in sync, but as time passes, the digitam camera playback starts to lag behind in both audio and video. The audio from the H1 Zoom outraces it.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I sync up sound (and video) from my video file from this digital camera with that of my audio file from the H1 Zoom?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am listing the codecs of both the audio and video streams in both the media.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Properties of video recorded with my old digital camera&#xA;*Video Stream*&#xA;Codec: Motion JPEG Video (MJPG)&#xA;Frame rate: 29.970029&#xA;Decoded format: Planar 4:2:2 YUV full scale&#xA;&#xA;*Audio Stream*&#xA;Codec: PCM MU-LAW (mlaw)&#xA;Sample rate: 11025 Hz&#xA;Bits per sample: 8&#xA;&#xA;Properties of audio recorded using my H1 Zoom&#xA;File Format: WAV&#xA;Codec: PCM S24 LE (araw)&#xA;Sample rate: 48000 Hz&#xA;Bits per sample: 24&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I am guessing it has to do with the higher bit rate of the latter. But how do I fix this?&lt;/p&gt;&#xA;" OwnerUserId="956" LastActivityDate="2015-05-13T03:46:44.270" Title="How do I match the audio and video streams in my video file with the audio I recorded separately?" Tags="|editing|audio|sync|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15513" PostTypeId="2" ParentId="15503" CreationDate="2015-05-09T19:33:27.603" Score="1" Body="&lt;p&gt;The thing is, whatever you do you will still have to re-render your files, they have to be re-encoded. Some small amount of quality degradation/compression, however miniscule, is inevitable. My best advice would simply be to try and match you sequence and render settings as close to the original files as possible, find a file size–quality ratio you feel comfortable with and just go with that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To give a more practical answer for you specifically: I'd choose &quot;Quicktime&quot; under &quot;Format&quot;, &quot;MPEG-4 Video&quot; under &quot;Video&quot; &gt; &quot;Video Codec&quot;, click &quot;Match Source&quot; and also drag the &quot;Quality&quot; slider to a 100%. Don't forget to uncheck &quot;Limit data rate...&quot; under &quot;Bitrate settings&quot;. Audio settings should be pretty straight-forward.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Remember, these settings are mostly a guess based on the information you've given and some tests I ran on my Mac using Premiere Pro CC 2014 with the codecs I have installed on it. Hopefully someone with more knowledge of codecs/video encoding will pop in and give a more fleshed out answer eventually; but for now I think this is your best bet.&lt;/p&gt;&#xA;" OwnerUserId="1910" LastActivityDate="2015-05-09T19:33:27.603" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15514" PostTypeId="2" ParentId="15512" CreationDate="2015-05-09T20:01:04.630" Score="3" Body="&lt;p&gt;You could try processing the audio first to get it to the same speed as the video playback. Using (for example) &lt;a href=&quot;http://www.fosshub.com/Audacity.html&quot; rel=&quot;nofollow&quot;&gt;Audacity&lt;/a&gt; you can apply a speed change of -0.1% (1000/1001) which is very likely the amount you're drifting by. You can change the rate without changing pitch, but if you can tolerate the very slight pitch shift you'll get slightly better results by just changing speed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that isn't the correct rate, then you need to determine the change needed by measuring the exact length of the audio tracks between two points near the beginning and end. Once you know them you can compute the ratio and apply that.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-05-09T20:01:04.630" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15516" PostTypeId="1" AcceptedAnswerId="15519" CreationDate="2015-05-11T05:46:20.693" Score="2" ViewCount="3621" Body="&lt;p&gt;I am currently fiddling with ffmpeg to achieve a &lt;code&gt;freeze frame effect&lt;/code&gt; and so far have been unsuccessful. I have been able to do this with adobe after effects shown &lt;a href=&quot;https://www.youtube.com/watch?v=2wUZdNkiVw4&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;. However I would like to achieve a freeze frame effect(of 5 seconds duration) at the beginning of the video. How can I achieve this in ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;em&gt;EDIT&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;/media/test/test.mp4&quot; -loop 1 -i &quot;/media/sf_linux_sandbox/hashtag_pull/video-downloads/test/test.png&quot; -an \&#xA;-filter_complex &quot;[1:v]trim=start=0:end=5[ol];[0:v]setpts=125+PTS[nv];[nv][ol]overlay=eof_action=pass[final]&quot; \&#xA;-map '[final]' -c:a copy -c:v libx264 -q 1 &quot;/media/test/out.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6618" LastEditorUserId="6618" LastEditDate="2015-05-11T22:16:32.943" LastActivityDate="2015-05-12T12:41:05.227" Title="Freeze frame effect with ffmpeg" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15517" PostTypeId="2" ParentId="15510" CreationDate="2015-05-11T06:25:28.930" Score="6" Body="&lt;p&gt;To &quot;Play from Playhead to Out Point&quot;:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;PC: &lt;kbd&gt;Ctrl&lt;/kbd&gt; + &lt;kbd&gt;Spacebar&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;li&gt;Mac: &lt;kbd&gt;Ctrl&lt;/kbd&gt; + &lt;kbd&gt;Spacebar&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;To &quot;Play In to Out&quot;: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;PC: &lt;kbd&gt;Ctrl&lt;/kbd&gt; + &lt;kbd&gt;Shift&lt;/kbd&gt; + &lt;kbd&gt;Spacebar&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;li&gt;Mac: &lt;kbd&gt;Opt&lt;/kbd&gt; + &lt;kbd&gt;K&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;from: &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/keyboard-shortcuts.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/using/keyboard-shortcuts.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10820" LastEditorUserId="26881" LastEditDate="2019-12-20T18:11:59.073" LastActivityDate="2019-12-20T18:11:59.073" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="15518" PostTypeId="1" AcceptedAnswerId="15520" CreationDate="2015-05-11T08:37:32.803" Score="3" ViewCount="552" Body="&lt;p&gt;How do you rate a series of takes in Premiere?&#xA;I'd like to be able to look at a series of takes, and quickly mark each one out of 5 or 10, using the keyboard more than the mouse... Is there a good way to do this?&#xA;Thanks..&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-05-11T11:13:19.300" Title="Quickest way to rate takes in Premiere?" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15519" PostTypeId="2" ParentId="15516" CreationDate="2015-05-11T10:40:19.493" Score="2" Body="&lt;p&gt;First you need to extract the frame that you wish to freeze. This is easy:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i test.webm -vf &quot;select='eq(n,1)'&quot; out.jpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then you want to put that frame for the appropriate time interval.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i test.webm -loop 1 -i out.jpeg -an \&#xA;-filter_complex &quot;[1:v]trim=start=0:end=5[ol];[0:v]setpts=125+PTS[nv];[nv][ol]overlay=eof_action=pass[final]&quot; \&#xA;-map '[final]' -c:v libtheora -q:v 8 outtest.ogv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Firstly you will see that i didn't want to mess with audio, but if you'll find it too difficult, let me know and i will look into the quick way to align it as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now what i'm doing here consists of several strange things. Firstly i am taking that frame that was generated before and i am creating a continuous loop video from it. And afterwards i cut first 5 seconds of it with the first filter &lt;code&gt;trim&lt;/code&gt;. Then i do a quick and dirty move of all the timestamps of the main video by 5 seconds (125 frames). And finally comes an overlay filter, which places the grabbed frame entirely over the blank screen that was generated by shifting the video 5 seconds into the future.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tested with avconv version v12_dev0-680-g3a724a7 built on Jan 22 2015 18:13:02&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to build &lt;code&gt;avconv&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;In terminal go to any directory where you are comfortable to place libav's code&lt;/li&gt;&#xA;&lt;li&gt;run &lt;code&gt;git clone git://git.libav.org/libav.git libav&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;enter into libav direcotry&lt;/li&gt;&#xA;&lt;li&gt;run &lt;code&gt;--enable-gpl --enable-version3 --disable-encoders --enable-encoder=mjpeg --enable-encoder=flac --enable-encoder=ffvhuff --enable-encoder=libspeex --enable-encoder=libtheora --enable-encoder=libvorbis --enable-encoder=libxvid --enable-encoder=libopenjpeg --enable-libschroedinger --enable-libopenjpeg --enable-libopus --enable-libspeex --enable-libtheora --enable-libvorbis --enable-libxvid --bindir=/home/USERNAME/bin&lt;/code&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Note that here i am assuming that you have ~/bin directory, that is added to your execution PATH. If you don't just remove that option&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Run &lt;code&gt;make&lt;/code&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;It is possible that you will not have some libraries, if you encounter such errors either install them or remove &quot;enable&quot; options for those libs. Keep in mind that removing those options can make it impossible to generate files with some codecs.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Run &lt;code&gt;make install&lt;/code&gt; (or if you chose to not place binary within your user directory, &lt;code&gt;sudo make install&lt;/code&gt;).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Edit: Unfortunately due to a bug, video becomes shorter than it should have been. I have reported it &lt;a href=&quot;https://bugzilla.libav.org/show_bug.cgi?id=858&quot; rel=&quot;nofollow&quot;&gt;https://bugzilla.libav.org/show_bug.cgi?id=858&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="4943" LastEditDate="2015-05-12T12:41:05.227" LastActivityDate="2015-05-12T12:41:05.227" CommentCount="13" ContentLicense="CC BY-SA 3.0" />
  <row Id="15520" PostTypeId="2" ParentId="15518" CreationDate="2015-05-11T11:13:19.300" Score="3" Body="&lt;p&gt;First, you need to adjust the metadata display. In the panel menu of the project panel, select the option &lt;strong&gt;Metadata display&lt;/strong&gt;. In the Metadata Display window, activate the &lt;strong&gt;Rating&lt;/strong&gt; display under &lt;strong&gt;Basic&lt;/strong&gt;. This way, you get your five-star rating system right in the project panel (you can change the position of the rating column using drag-and-drop). Unfortunately, I haven't found a way to assign shortcuts to this star rating system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option, if you are dead set on primarily working with the keyboard, are label colors. You can change the available label colors in the program preferences. You could, for example, use a color code as your rating system (e.g. green → blue → yellow → orange → red). Then, you can assign shortcuts to these colors: Press &lt;kbd&gt;CTRL&lt;/kbd&gt;+&lt;kbd&gt;ALT&lt;/kbd&gt;+&lt;kbd&gt;K&lt;/kbd&gt; to bring up the Keyboard Shortcuts window. The color shortcuts can be found under &lt;strong&gt;Edit&lt;/strong&gt; → &lt;strong&gt;Label&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-05-11T11:13:19.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15524" PostTypeId="1" CreationDate="2015-05-11T19:31:29.043" Score="1" ViewCount="278" Body="&lt;p&gt;I just got a Panasonic Gh4 camera and recorded some 4k footage with it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For editing I have a Mac pro1,1 (2007):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Dual-Core Intel Xeon - 2,66 GHz&lt;/li&gt;&#xA;&lt;li&gt;NVIDIA GeForce 7300 GT - VRAM:32768 MB&lt;/li&gt;&#xA;&lt;li&gt;15 GB memory&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I can´t even see the footage move correctly in order to see what I´ve got and start editing.&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don´t know much about hardware and before I start spending money trying to upgrade my old computer I´d like to know if it is going to work. If I could see it in real time I could then create proxis and work with them. apparently only 512 mbts Cards are compatible with my computer, these are the ones I know about:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Ati radeon HD 4870 512 mbts&lt;/li&gt;&#xA;&lt;li&gt;Gforce-gt 120 512 mbts&lt;/li&gt;&#xA;&lt;li&gt;Gforce 8800 gt 512 mbts&lt;/li&gt;&#xA;&lt;li&gt;and Ati radeon 5770 1 GB (but I´m not sure if this one will work)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My question is:&lt;/strong&gt; will buying one of these and some more Ram make a difference?&#xA;I would truly apreciate some advice on this since I´m completely lost and my budget is very tight...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you very much.&lt;/p&gt;&#xA;" OwnerUserId="10833" LastEditorUserId="6685" LastEditDate="2015-05-19T15:08:05.450" LastActivityDate="2015-05-19T15:08:05.450" Title="editing 4k and 3840 × 2160 video with a Mac pro1,1" Tags="|video|hardware|4k|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15525" PostTypeId="1" CreationDate="2015-05-12T00:21:46.970" Score="0" ViewCount="659" Body="&lt;p&gt;Trying to figure out whether I can live stream a music performance at StageIt, Ustream, Livestream, etc. without buying any new hardware. Here's what I've got: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Panasonic DMC GF6 camera w/HDMI and Mini USB out (&lt;a href=&quot;http://www.expertreviews.co.uk/digital-cameras/compact-system-cameras/52987/panasonic-lumix-dmc-gf6-review&quot; rel=&quot;nofollow&quot;&gt;http://www.expertreviews.co.uk/digital-cameras/compact-system-cameras/52987/panasonic-lumix-dmc-gf6-review&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;2012 Mac Mini w/HDMI, Thunderbolt, and 4xUSB connections&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Is it absolutely necessary to have a hardware converter in the chain, or is there software (ManyCam, FMLE) that will handle that for me?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Very confused by conflicting info elsewhere on the net, so hoping someone here has an answer. Thx!&lt;/p&gt;&#xA;" OwnerUserId="4887" LastActivityDate="2016-03-16T03:32:37.753" Title="Panasonic DMC Gf6 w/HDMI output: can I connect directly to Mac Mini w/o converter?" Tags="|webvideos|live|hdmi|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15526" PostTypeId="1" AcceptedAnswerId="15528" CreationDate="2015-05-12T01:05:41.557" Score="3" ViewCount="64" Body="&lt;p&gt;It's easier to explain my question using an example. Imagine you filmed a few short videos and want to combine them together in a sequence (probably with transitions and etc.). However, for some of this videos you also want to apply some video stabilization, color corrections and so on. So, first you edit these videos one-by-one to apply some stabilization/corrections and render them (first encoding). Then you use these edited videos to make a sequence and render a resulting clip (second encoding). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since most video encoding formats are lossy, it seems very inefficient to basically double-encode videos, so I'm wondering if there is any common approach for this issue (apart from using lossless compression formats).&lt;/p&gt;&#xA;" OwnerUserId="10834" LastActivityDate="2015-05-12T03:10:55.043" Title="Multiple video encoding loss" Tags="|video-editor|encoding|blender|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15527" PostTypeId="2" ParentId="15503" CreationDate="2015-05-12T01:20:33.157" Score="1" Body="&lt;p&gt;If you are archiving the video you're not going to get better quality than the original files. So why not just save those and a copy of the project?&lt;/p&gt;&#xA;&lt;p&gt;To make it easier you can use the project manager &lt;strong&gt;File&amp;gt;Project Manager&amp;gt;&lt;/strong&gt; to save just the media you use in your project (or you can transcode and trim the clips if you wish). Saving the original clips means you can just re-create the project without any generation loss at all, and without the overhead of transcoding.&lt;/p&gt;&#xA;&lt;p&gt;I'd also save an uncompressed or high quality compressed copy (h.264 at a high data rate or one of the production codecs like ProRes or DNxHD) of the final master for convenience.&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Zqqql.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you are talking about long-term archival, as in decades or hundreds of years, then there's a different set of questions to ask regarding the readability of the codec/container in the future, as well as the ability to protect against bitrot and transcription errors, but that's another can of worms.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-05-12T01:20:33.157" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15528" PostTypeId="2" ParentId="15526" CreationDate="2015-05-12T03:10:55.043" Score="1" Body="&lt;p&gt;If you must encode at each step, use a lossless codec, or at least at a high bit rate and bit depth. But it's unusual and inefficient to perform intermediate encodings. A decent NLE will let you apply the needed transforms on separate segments or layers and only encode as a final step. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And note that &lt;em&gt;rendering&lt;/em&gt; doesn't imply &lt;em&gt;encoding&lt;/em&gt; in the final format. It may mean only performing some actions in the internal NLE format. If your layers can't be played out for preview because of hardware limitations, a render may permit that. But it doesn't commit you. You would still encode using the original elements in a final render.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-05-12T03:10:55.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15529" PostTypeId="2" ParentId="13479" CreationDate="2015-05-12T06:35:15.727" Score="1" Body="&lt;p&gt;This did it for me:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avidemux --nogui --load 1.png `for i in {2..15}; do echo &quot;--append $i.png&quot;; done` --no-audio --fps 5 --video-codec Xvid --save-ogm out.ogm --quit&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I only tried with 15 images, but you can increase the total number if you want. For whatever reason for me it messed up colours a little bit, and i was unable to save into AVI, but hopefully it will get you started on the right track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do all of this manually, in fact every part of this command is a manual action (just automated). So let's take it apart:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;--nogui&lt;/code&gt;, should theoretically tell the program to not show gui at all (although on my machine i still saw some windows popping up).&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;--load 1.png&lt;/code&gt; is equivalent to opening 1.png.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;--append _.png&lt;/code&gt; appends a file to the end of the video. Since we need to do this several times, it's easiest to do this via a command line.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;--no-audio&lt;/code&gt; turns off the audio (you can do that in the menu)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;--fps 5&lt;/code&gt; sets 5 frames per second. Since images don't have such a setting automatically, you should do it manually.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;--video-codec Xvid&lt;/code&gt; selects Xvid as a video codec, other codecs are Divx, FFmpeg4, VCD, SVCD, DVD, XVCD, XSVCD, and COPY.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;--save-ogm filename&lt;/code&gt; saves the OGM file. &lt;code&gt;--save&lt;/code&gt; is there to save an AVI, but unfortunately you don't have others built in.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;--quit&lt;/code&gt; this one quits the program at the end.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Now, if you wish to load all the files into AVIDemux, but not to encode them automatically, nor quit the program (you will be able to play in graphical environment with settings as you are used to) you can do the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avidemux --load 090001.png `for i in {090002..090180}; do echo &quot;--append $i.png&quot;; done` --no-audio&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you get an unreadable file when you save into AVI it can be because of the following reasons:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Width is not divisible by 8. Actually it's best if your width is divisible by 16, especially when you deal with such an old container as AVI. If this is your problem, try resizing the video, it can be done via video filters; resize or crop or border are your friends. Filters will actually warn you if your result is not divisible by the good value.&lt;/li&gt;&#xA;&lt;li&gt;You have selected a codec that is not suitable for AVI.&lt;/li&gt;&#xA;&lt;li&gt;You have forgotten to explain to AVIDemux that there is no audio in your output (that is why i have added &lt;code&gt;--no-audio&lt;/code&gt; for you already).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Having said all that. I recommend that you give &lt;code&gt;avconv&lt;/code&gt; a try. It will make many jobs much easier.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2015-05-12T06:35:15.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15530" PostTypeId="1" CreationDate="2015-05-12T10:52:17.523" Score="2" ViewCount="246" Body="&lt;p&gt;When I open a bin containing video files in Premiere CC on a Mac, if I want to view the video files as thumbnails, I have to wait quite a few seconds every time.  Is there a setting so that I can cache these thumbnail views somewhere?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-01-01T20:41:26.050" Title="Maintaining thumbnails in Premiere CC" Tags="|premiere|cc|thumbnails|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15531" PostTypeId="1" CreationDate="2015-05-12T11:49:28.737" Score="1" ViewCount="476" Body="&lt;p&gt;The video rendered at a normal speed before seen here (it just is missing audio in the first half): &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/pMf5JLBIPQk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now that I got the audio working in the first half (&lt;a href=&quot;https://video.stackexchange.com/questions/15330/ae-composition-video-file-layer-missing-audio/15344?noredirect=1#comment20861_15344&quot;&gt;AE - Composition video file/layer missing audio&lt;/a&gt;) it's rendering at 2x speed. Not sure if this is happening after the After Effects render or at the Adobe Media Encoder render (can't tell because I render the After Effect render at best quality and it's too slow to playback on any local video player software, Windows Media Player, VLC, ect.., so I can't determine if this is when it first gets rendered at 2x speed).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I saw this question here on StackExchange (&lt;a href=&quot;https://video.stackexchange.com/questions/6987/how-to-force-after-effects-to-interpret-footage-at-a-specific-framerate&quot;&gt;How to force After Effects to interpret footage at a specific framerate?&lt;/a&gt;), but I checked the local raw video file's properties for their framerate and it says 29, same as it being rendered in both places. I render from Adobe AfterEffects with &quot;best &amp;amp; lossless&quot; quality settings and then from Adobe Media Encoder with H.264 YouTube 1080p HD, both say rendering at 29 framerate. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what my &quot;composition Settings&quot; looks like:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/yJpiE.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and render settings:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/aT0FE.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any input. :)&lt;/p&gt;&#xA;" OwnerUserId="10655" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-05-18T02:38:55.533" Title="Video Rendering at 2x Speed" Tags="|after-effects|adobe-media-encoder|" AnswerCount="0" CommentCount="6" ClosedDate="2015-05-26T14:24:08.663" ContentLicense="CC BY-SA 3.0" />
  <row Id="15532" PostTypeId="1" CreationDate="2015-05-12T13:40:13.433" Score="4" ViewCount="202" Body="&lt;p&gt;I have some video files with a reasonably static background and the occasional movement in the scene.  I would like to edit down the footage to just the sections with movement in.  As there are several hours of footage I would rather not do it by hand.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hoped to find a script or utility that I could pipe the media into and get segments with motion out the other side.  My limited searching has not suggested anything that could do this, unless I can get VLC to use its motion filter somehow to tag things.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would rather use a free or FOS system, as I am cheap.  If that is not an option then I will consider paying.  I am happy for the software to be Windows or Linux based.  I would rather not dump all the frames as stills, run a diff and re-encode but if that is the only way then I can probably work with that.  I can do coding in C, C++, Ruby and a couple of other scripting languages if pushed.  I don't mind spending a bit of time to write something if nothing is available and others might find it helpful.  I don't have a background in media processing though, so although I understand the concepts I would be rather lost at picking libraries to use as a starting point and so on.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video is of a bird feeder with a hedge and fence behind it.  There is some slow shadow travel as the sun moves but otherwise the background seems stable.  I think about 5% of the frame will be filled by the movement I need to pick up on.  I only mention that because I have setup ZoneMinder motion capture in the past so I am familiar with its filter settings.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even if someone cannot give me a complete answer, I would be grateful to some hints, suggestions and keywords that help me carry this forward.  &lt;/p&gt;&#xA;" OwnerUserId="10839" LastActivityDate="2023-12-21T14:05:50.700" Title="Is there an automated process to split a video into sections with motion?" Tags="|video-editor|editing|software-recommendation|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15533" PostTypeId="2" ParentId="12980" CreationDate="2015-05-12T15:44:15.000" Score="3" Body="&lt;p&gt;If you have ffmpeg installed you can use the idet tool. Here is a guide on how to use it: &lt;a href=&quot;http://www.aktau.be/2013/09/22/detecting-interlaced-video-with-ffmpeg/&quot; rel=&quot;nofollow&quot;&gt;http://www.aktau.be/2013/09/22/detecting-interlaced-video-with-ffmpeg/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10841" LastActivityDate="2015-05-12T15:44:15.000" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15534" PostTypeId="2" ParentId="12086" CreationDate="2015-05-12T23:05:09.003" Score="1" Body="&lt;p&gt;Instead of the Teradek unit, &lt;a href=&quot;http://www.epiphan.com/products/pearl/&quot; rel=&quot;nofollow&quot;&gt;I would try the new Epiphan Pearl&lt;/a&gt;, which can stream and record to/from multiple sources.&lt;/p&gt;&#xA;" OwnerUserId="10842" LastActivityDate="2015-05-12T23:05:09.003" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15535" PostTypeId="2" ParentId="15512" CreationDate="2015-05-13T03:46:44.270" Score="0" Body="&lt;p&gt;We use Red Giant's PluralEyes software to achieve this task. This software is one of our most important tools and we love it. It makes the sync between a lots of video clips and a lots of different audio tracks a really really easy tasks. You just drop your videos there and then your audios, press sync button and it syncs all automagically! Also it creates a timeline that you can import into premiere pro. It's perfect.&lt;/p&gt;&#xA;" OwnerUserId="5785" LastActivityDate="2015-05-13T03:46:44.270" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15537" PostTypeId="1" CreationDate="2015-05-13T14:02:23.513" Score="1" ViewCount="387" Body="&lt;p&gt;im looking for a software (free ideally) and user friendly to be able to import .stl format and anim them,then import them in after effect to add logo, typo and other stuff. Now im using open slipper to convert .stl in .3ds, then passing in photoshop to create a 3d layer so that i can import them in after effect cs5 to anim them and adding others elements (logo, typo ext). but photoshop crash often on some piece that i import in 3d layer, and anim the 3d objects in after effect to really easy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;tks&lt;/p&gt;&#xA;" OwnerUserId="10447" LastActivityDate="2015-05-13T14:02:23.513" Title="sofware to anim .stl before importing movie in after effect cs5" Tags="|3d|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15538" PostTypeId="1" CreationDate="2015-05-13T16:35:52.560" Score="2" ViewCount="653" Body="&lt;p&gt;In Sony Vegas Pro 10 I've placed an &lt;code&gt;.mp3&lt;/code&gt; file (about &lt;strong&gt;3MB&lt;/strong&gt; file size), then I've cut it slightly at the end to &lt;strong&gt;shorten the length&lt;/strong&gt;. I've tried to encode it with following settings:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;File - Render As  &#xA;Save As Type: MP3 Audio  &#xA;Template: Default Template  &#xA;Description: Audio: 256 Kbps, 44,100 Hz, 16 Bit, Stereo, MP3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The encoded file is about &lt;strong&gt;6MB&lt;/strong&gt; and it seems that the resulting file is the same quality as original.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I render &lt;code&gt;.mp3&lt;/code&gt; without getting a larger file size than the original?&lt;/p&gt;&#xA;" OwnerUserId="10848" LastEditorUserId="3908" LastEditDate="2015-05-19T15:06:23.050" LastActivityDate="2015-05-19T15:06:23.050" Title="Rendered mp3 file is much larger than original" Tags="|vegas-pro|compression|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15540" PostTypeId="1" CreationDate="2015-05-14T01:14:47.447" Score="1" ViewCount="48" Body="&lt;p&gt;Adding to this, assuming all of this is being done on a 32GB 120MB/S SandDisk card, how many minutes would it take before the entire card is filled up? &lt;/p&gt;&#xA;" OwnerUserId="10824" LastActivityDate="2015-05-17T06:46:39.770" Title="At what resolution can the 5D Mark 2 record at least over a minute of ML RAW video at 24 fps?" Tags="|magic-lantern|raw|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15541" PostTypeId="1" CreationDate="2015-05-14T08:56:31.190" Score="1" ViewCount="2860" Body="&lt;p&gt;I have a VOB file that I want to convert to h264 using x264. I used:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 01.VOB -f mp4  -c:v libx264  -profile:v baseline -crf 17  -c:a toolame -vbr 3  prehratelne.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;which gave me this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpeg, from '01.VOB':&#xA;  Duration: 01:22:01.44, start: 0.360000, bitrate: 6395 kb/s&#xA;    Stream #0:0[0x1bf]: Data: dvd_nav_packet&#xA;    Stream #0:1[0x1e0]: Video: mpeg2video (Main), yuv420p(tv, smpte170m/bt470bg/bt470bg), 720x576 [SAR 64:45 DAR 16:9], max. 7700 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:2[0x80]: Audio: ac3, 48000 Hz, stereo, fltp, 192 kb/s&#xA;[libx264 @ 0x1567ae0] using SAR=64/45&#xA;[libx264 @ 0x1567ae0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;[libx264 @ 0x1567ae0] profile Constrained Baseline, level 3.0&#xA;[libx264 @ 0x1567ae0] 264 - core 142 r2495 6a301b6 - H.264/MPEG-4 AVC codec - Copyleft 2003-2014 - http://www.videolan.org/x264.html - options: cabac=0 ref=3 deblock=1:0:0 analyse=0x1:0x111 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=0 weightp=0 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=17.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'a.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf56.15.102&#xA;    Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 720x576 [SAR 64:45 DAR 16:9], q=-1--1, 25 fps, 12800 tbn, 25 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc56.13.100 libx264&#xA;    Stream #0:1: Audio: mp3 (libmp3lame) (i[0][0][0] / 0x0069), 48000 Hz, stereo, fltp&#xA;    Metadata:&#xA;      encoder         : Lavc56.13.100 libmp3lame&#xA;Stream mapping:&#xA;  Stream #0:1 -&amp;gt; #0:0 (mpeg2video (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:2 -&amp;gt; #0:1 (ac3 (native) -&amp;gt; mp3 (libmp3lame))&#xA;Press [q] to stop, [?] for help&#xA;frame=  107 fps=0.0 q=22.0 size=     379kB time=00:00:03.91 bitrate= 794.0kbits/frame=  178 fps=178 q=22.0 size=     773kB time=00:00:06.64 bitrate= 952.7kbits/frame=  247 fps=164 q=22.0 size=    1131kB time=00:00:09.45 bitrate= 979.9kbits/frame=  289 fps=139 q=-1.0 Lsize=    1620kB time=00:00:11.56 bitrate=1148.3kbits/s    &#xA;video:1569kB audio:45kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.425711%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, the resulting files have a difference in length and start of about 80 miliseconds:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i *.VOB 2&amp;gt;&amp;amp;1 | grep Duration&#xA;  Duration: 01:22:01.44, start: 0.360000, bitrate: 6395 kb/s&#xA;ffmpeg -i prehratelne.mp4 2&amp;gt;&amp;amp;1 | grep Duration&#xA;  Duration: 01:22:01.53, start: 0.023021, bitrate: 4737 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Why is that, can it be somehow fixed? Ideally, I would have files that correspond frame by frame.&lt;/p&gt;&#xA;" OwnerUserId="10853" LastActivityDate="2015-05-14T08:56:31.190" Title="Converting VOB to mp4 (h264) using ffmpeg results in a different length (bya few frames)" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15542" PostTypeId="2" ParentId="14820" CreationDate="2015-05-14T11:38:09.240" Score="2" Body="&lt;p&gt;There is &lt;a href=&quot;http://windows.microsoft.com/en-gb/windows-live/movie-maker&quot; rel=&quot;nofollow&quot;&gt;Microsoft Movie Maker&lt;/a&gt; that comes free with Windows.  It is part of the Windows Essentials package that is available for the recent versions of Windows.  I have found it is quite simple to use and able to perform the simple set of tasks you list.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a few online help guides and YouTube videos about using it.  The nice thing is that as it is quite a simple too it is not so complicated to pick up the basics.  I have used it for down car and motorcycle DVR footage.  &lt;/p&gt;&#xA;" OwnerUserId="10839" LastActivityDate="2015-05-14T11:38:09.240" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="15543" PostTypeId="2" ParentId="3018" CreationDate="2015-05-14T13:04:49.870" Score="1" Body="&lt;p&gt;I started to use &lt;a href=&quot;http://www.sonycreativesoftware.com/moviestudio&quot; rel=&quot;nofollow&quot;&gt;Sony Movie Studio&lt;/a&gt; and have found it easy to get to grips with after watching an excellent set of tutorial videos titled &quot;&lt;a href=&quot;https://www.youtube.com/playlist?list=PL5BR7rj3fwgL5FCoLuoOW9P1ejDMAPLKf&quot; rel=&quot;nofollow&quot;&gt;Video Editing Basics for Vloggers&lt;/a&gt;&quot; by &lt;a href=&quot;https://www.youtube.com/channel/UCrLfoBeFpkwCXA1I4Cj8fbA&quot; rel=&quot;nofollow&quot;&gt;CalmBiker&lt;/a&gt; on YouTube.  It is more capable than Movie Maker and definitely includes all the features you have asked for.  The tutorials include details of how to perform &lt;a href=&quot;https://www.youtube.com/watch?v=aiY-pyYgvGI&amp;amp;list=PL5BR7rj3fwgL5FCoLuoOW9P1ejDMAPLKf&amp;amp;index=9&quot; rel=&quot;nofollow&quot;&gt;pan &amp;amp; zoom&lt;/a&gt;, &lt;a href=&quot;https://www.youtube.com/watch?v=ixfJ6JNEntI&amp;amp;list=PL5BR7rj3fwgL5FCoLuoOW9P1ejDMAPLKf&amp;amp;index=16&quot; rel=&quot;nofollow&quot;&gt;Adding Text&lt;/a&gt; and &lt;a href=&quot;https://www.youtube.com/watch?v=2FPCZhJaaOs&amp;amp;list=PL5BR7rj3fwgL5FCoLuoOW9P1ejDMAPLKf&amp;amp;index=18&quot; rel=&quot;nofollow&quot;&gt;Picture in Picture&lt;/a&gt;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend getting version 12 or older if you want the interface to closely match that of the video.  In version 13 they changed the interface to work better on tablets, so it looks more like the recent versions of Microsoft Office with the ribbon across the top.   &lt;/p&gt;&#xA;" OwnerUserId="10839" LastActivityDate="2015-05-14T13:04:49.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15544" PostTypeId="2" ParentId="7617" CreationDate="2015-05-14T13:42:46.523" Score="0" Body="&lt;p&gt;Yes, that should work. Be sure you adjust your interface for the lowest latency without audio dropouts. You will need to measure and compensate for the latency in your audio interface.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you know the latency value, you can easily adjust the A/V sync in the video editor. Good luck!&lt;/p&gt;&#xA;" OwnerUserId="10855" LastActivityDate="2015-05-14T13:42:46.523" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15545" PostTypeId="1" AcceptedAnswerId="15580" CreationDate="2015-05-14T14:18:50.223" Score="2" ViewCount="6168" Body="&lt;p&gt;Trying to make following character's body wiggle a bit, using the &lt;strong&gt;puppet tool&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/HTdIg.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The face and arms are on separate layers as they will need to move independently. When the body moves via the puppet pins, the face and arms stay in their original positions. &lt;strong&gt;How can I 'attach' them to their assigned positions on the body?&lt;/strong&gt; &lt;/p&gt;&#xA;" OwnerUserId="10856" LastEditorUserId="6685" LastEditDate="2015-05-19T15:07:05.303" LastActivityDate="2015-05-25T01:47:58.690" Title="Puppet tool - how do I make the arms stay attached to the same points on the body?" Tags="|after-effects|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15546" PostTypeId="2" ParentId="15234" CreationDate="2015-05-14T15:20:02.830" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;whats the technical name of this 'effect'/issue?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The horizontal lines are likely caused by an effect called &lt;em&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/Rolling_shutter&quot; rel=&quot;nofollow&quot;&gt;Rolling Shutter&lt;/a&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;why is it more pronounced in slow motion (does interlacing effect this)?&#xA;  I would have expected interlacing to reduce the visibility of the effect iff it was done on a line of pixels at a time.  However, if bands of pixels are read during the interlacing, that might make the effect worse.  That would provide a stripe of pixels at a similar exposure level and a step change when the next stripe was read.  &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;is there anything I can do with regards to shutter/speeds or utilizing 'clear scan' in the c100 to reduce this?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I don't believe so.  It is usually related to lower light levels so anything you can do to get more light into the camera would help.  You might find that reducing the exposure time (faster shutter speed) might help as it would force the camera to complete all the scan in less time.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Seems a bit unsporting to use some of the question comments as an answer but they matched and expanded on what I knew.)&lt;/p&gt;&#xA;" OwnerUserId="10839" LastActivityDate="2015-05-14T15:20:02.830" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15547" PostTypeId="2" ParentId="10700" CreationDate="2015-05-14T15:34:50.430" Score="1" Body="&lt;p&gt;Ensure that you purchase the 3D kit for the current generation of GoPro Black Edition.  There was a 3D kit for the older GoPro HD (and they have a terrible set of similar names for all their products).  I take it you are thinking of the Hero3 Black, Hero3 Silver or Hero3 White and not the Hero3+ Black or Silver?  These are different products and it looks like the &lt;a href=&quot;http://shop.gopro.com/EMEA/accessories/dual-hero-system/AHD3D-301.html&quot; rel=&quot;nofollow&quot;&gt;(more recent) Dual Hero System&lt;/a&gt; is designed for the Hero3+ products and not the Hero3 ones.  You should be careful not to purchase the &lt;a href=&quot;http://shop.gopro.com/EMEA/accessories/3d-hero-system/AHD3D-001.html#/start=1&quot; rel=&quot;nofollow&quot;&gt;older 3D Hero System&lt;/a&gt;, which works with the HD HERO2 &amp;amp; the Original HD HERO, but not the newer cameras.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have only read reviews on using the older 3D system.  They mostly concluded that the 3D software was good and produced reasonable results in a reliable way.  It was observed that the cameras seem to start with a small offset (1 frame I think) and the reviewer summarised that the software might be designed to deal with this difference.  If you choose not to use the bundled software, you might want to check the timing of the two video sources carefully as you might need to take steps to synch them.  &lt;/p&gt;&#xA;" OwnerUserId="10839" LastActivityDate="2015-05-14T15:34:50.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15548" PostTypeId="2" ParentId="15538" CreationDate="2015-05-14T18:58:53.570" Score="1" Body="&lt;p&gt;The settings say Stereo. The doubling of file size might indicate that the original file was mono.&lt;/p&gt;&#xA;" OwnerUserId="3882" LastActivityDate="2015-05-14T18:58:53.570" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15549" PostTypeId="2" ParentId="15144" CreationDate="2015-05-15T07:48:38.407" Score="1" Body="&lt;p&gt;Robert,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I too am thinking about buying this camera to use with my ATEM switcher. The ATEM can be quite finicky regarding compatibility. Have you tried it with straight SDI into the ATEM? If this does not work try adding a cheap sdi splitter from Kanex etc to the line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera needs to be set to the exact right settings to work, for example 1080i. The PTX Optics manual says that &quot;After changing the switch, you need to restart the camera to take effect&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can check the compatibility of your Cat 6 conversion equipment at &lt;a href=&quot;http://www.atemuser.com/CompatibleEquipment&quot; rel=&quot;nofollow&quot;&gt;atemuser forum&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and share your results. &lt;/p&gt;&#xA;" OwnerUserId="10860" LastActivityDate="2015-05-15T07:48:38.407" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15550" PostTypeId="1" CreationDate="2015-05-15T20:35:00.717" Score="1" ViewCount="48" Body="&lt;p&gt;Whilst filming a flypast, a stray piece of material flew onto my camera, wrapping around the lens, and appearing in some frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can this string be edited out of the video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I can sort the audio etc... as I made a separate recording of the audio. It's just editing out the string I am bothered about)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many thanks.&lt;/p&gt;&#xA;" OwnerUserId="10863" LastActivityDate="2015-05-16T03:34:01.600" Title="Editing objects out of a video" Tags="|video|editing|cleaning|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15551" PostTypeId="1" AcceptedAnswerId="15554" CreationDate="2015-05-16T00:22:38.137" Score="15" ViewCount="46785" Body="&lt;p&gt;I am currently working with the &lt;code&gt;drawtext&lt;/code&gt; filter. So far I have only been successful with &lt;code&gt;drawtext&lt;/code&gt; option configurations to use the right font and place the text horizontally centered. How could i get &lt;code&gt;drawtext&lt;/code&gt; to display text on a video as shown below?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;/media/test/test.mp4&quot; -vf drawtext=&quot;fontfile=/usr/share/fonts/truetype/open-sans/OpenSans-Regular.ttf:text='Title of this Video':x=(w-tw)/2:y=(h-th)/2&quot;  /media/test_edited.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6618" LastEditorUserId="6618" LastEditDate="2015-05-17T22:35:11.037" LastActivityDate="2018-07-21T17:08:20.373" Title="ffmpeg drawtext filter - create transparent background with text" Tags="|video|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15552" PostTypeId="2" ParentId="15144" CreationDate="2015-05-16T02:54:05.890" Score="1" Body="&lt;p&gt;After lots of problem-solving and testing of different combinations (including two versions of black magic video switchers, the studio 4K, and the television studio), I got rid of the black magic. it was the best decision I made in a month. It turns out that this is a very common problem with the black magic, along with constant software crashing.&#xA;Now I'm using black magic ultra studio video encoders and they work like a charm.&lt;/p&gt;&#xA;" OwnerUserId="10460" LastActivityDate="2015-05-16T02:54:05.890" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15553" PostTypeId="2" ParentId="15550" CreationDate="2015-05-16T03:34:01.600" Score="1" Body="&lt;p&gt;In relatively static scenes it's not too tough (just tedious) to either paint out the offender or 'clone brush' using nearby frames. When you have fast motion it gets more difficult. In any case it's usually a frame-by-frame process a la rotoscoping. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a budget, investigate the plugins variously called wire-removal, rig-removal, 'no-strings' etc. which can help automate this.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-05-16T03:34:01.600" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15554" PostTypeId="2" ParentId="15551" CreationDate="2015-05-16T07:21:34.433" Score="27" Body="&lt;p&gt;Use &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#drawbox&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;drawbox&lt;/code&gt;&lt;/a&gt; for the box, and &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#drawtext&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;drawtext&lt;/code&gt;&lt;/a&gt; for the text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Bhs0u.jpg&quot; alt=&quot;Red beetle&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf \&#xA;&quot;format=yuv444p, \&#xA; drawbox=y=ih/PHI:color=black@0.4:width=iw:height=48:t=fill, \&#xA; drawtext=fontfile=OpenSans-Regular.ttf:text='Title of this Video':fontcolor=white:fontsize=24:x=(w-tw)/2:y=(h/PHI)+th, \&#xA; format=yuv420p&quot; \&#xA;-c:v libx264 -c:a copy -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;drawtext&lt;/code&gt; has a &lt;code&gt;box&lt;/code&gt; option, but as far as I can tell it can't be an arbitrary width and is relative to the text size, so that is why &lt;code&gt;drawbox&lt;/code&gt; is used instead.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#format&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;format&lt;/code&gt;&lt;/a&gt; filter is used to improve the color of the &lt;code&gt;drawbox&lt;/code&gt; area; otherwise, depending on your input and output formats, the area could look de-saturated or monochrome. The &lt;code&gt;format&lt;/code&gt; filter is then used again to ensure that the pixel format of the output file is compatible with all players.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The audio is being &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;noreferrer&quot;&gt;stream copied&lt;/a&gt; in this example because you may not want to needlessly re-encode it.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Old &lt;code&gt;ffmpeg&lt;/code&gt; users will have to use &lt;code&gt;t=max&lt;/code&gt; instead of &lt;code&gt;t=fill&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2018-07-21T17:08:20.373" LastActivityDate="2018-07-21T17:08:20.373" CommentCount="14" ContentLicense="CC BY-SA 4.0" />
  <row Id="15556" PostTypeId="1" AcceptedAnswerId="15562" CreationDate="2015-05-16T09:22:42.890" Score="6" ViewCount="9320" Body="&lt;p&gt;I am currently working with the &lt;code&gt;drawtext&lt;/code&gt; and &lt;code&gt;drawbox&lt;/code&gt; filters to recreate a similar video appearance to what is shown below in the image. I am trying to see of a possible ways to add a count down timer to display video duration. The timer could either be placed in the upper left or right hand corners.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am able to generate a test video showing a timer this way: &lt;code&gt;ffplay -f lavfi -i testsrc&lt;/code&gt; OR  &lt;code&gt;ffmpeg -f lavfi -i testsrc -vf crop=29:52:256:94 -t 10 timer1.mp4&lt;/code&gt;. However, how can I display a timer?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;drawbox/drawtext filter settings&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;/media/test/test.mp4&quot; -vf drawtext=&quot;fontfile=/usr/share/fonts/truetype/open-sans/OpenSans-Regular.ttf:text='Title of this Video':x=(w-tw)/2:y=(h-th)/2&quot;  /media/test_edited.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;desired output&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/DmScO.png&quot; alt=&quot;Desired output&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6618" LastEditorUserId="20575" LastEditDate="2018-12-30T13:13:02.930" LastActivityDate="2018-12-30T13:13:02.930" Title="ffmpeg - video with timer" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="15557" PostTypeId="1" CreationDate="2015-05-16T14:09:08.360" Score="0" ViewCount="188" Body="&lt;p&gt;sorry if this sounds a little off topic but it actually has to do with video editing. I made once a logo image as a transparent png to use in virtualdub but since virtualdub logo plugin doesnt allow png I had to convert it to PNG and make an alpha image to use along with it in order to make it look transparent on the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I need that original image but I lost it and I have only the 2 BMPs. Is there any way to get a transparent png out of those?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you. &lt;/p&gt;&#xA;" OwnerUserId="10868" LastActivityDate="2015-05-16T14:09:08.360" Title="Getting a transparent image from a bmp with alpha" Tags="|video|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15558" PostTypeId="1" CreationDate="2015-05-16T17:05:47.930" Score="6" ViewCount="11742" Body="&lt;p&gt;I'm wondering if &lt;strong&gt;filming with a 4K camera, possibly downsizing to Full HD, will give better detail than filming with a Full HD camera&lt;/strong&gt; (other parameters being equals).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sub-question (maybe I should make it a different question?):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I have some more experience and better equipement for photography (Canon 6D),&lt;/li&gt;&#xA;&lt;li&gt;I want my video camera to behave well in low light in moving environments,&lt;/li&gt;&#xA;&lt;li&gt;I'm often filming moving things/people, I don't want much bokeh/focus loss (I never really remember if that means more or less depth or field).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I currently own a Sony Cybershot RX-100 M2.&lt;/strong&gt; Very unimpressive body size, but makes excellent 1920x1080x50p videos. I am thinking about an upgrade anyway, max budget for an outstanding camera would be 2000 EUR, but I am not sure if I want to put money in it right now since 4K market is still evolving fast, and so far I cannot really decide because other devices I got info about seem to be very similar or trade-off one advantage for another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example compared to &lt;strong&gt;Sony RX-100&lt;/strong&gt;, &lt;strong&gt;Sony FDR-AX33&lt;/strong&gt; has a smaller sensor. Sony &lt;strong&gt;FDR-AX100&lt;/strong&gt; only opens at f/2.8 and I use for a wider aperture, so has far as I know RX-100 would have a better low light score than both those cameras. &lt;strong&gt;GH4&lt;/strong&gt; has more bokeh and seems kind of grainy in low light, ... and yet no camcorder in my budget has more than 30p with 4K.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suggetions would be welcome, because I cannot really tell what would be a serious upgrade or just wasted money.&lt;/p&gt;&#xA;" OwnerUserId="10869" LastEditorUserId="6685" LastEditDate="2015-05-19T19:33:07.780" LastActivityDate="2016-05-20T16:53:21.787" Title="Does 4K impact quality when filming in low light? (other parameters being equal)" Tags="|video|camera|4k|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15560" PostTypeId="2" ParentId="15558" CreationDate="2015-05-16T18:02:00.490" Score="6" Body="&lt;p&gt;There are three key factors in your cameras low light performace:&lt;/p&gt;&#xA;&lt;h1&gt;1. Lens (Aperture)&lt;/h1&gt;&#xA;&lt;p&gt;The &lt;em&gt;lower&lt;/em&gt; your f-stop, the more light gets through to the sensor, you will also have a very shallow (narrow) Depth of Field. Often this is a requirement at night, since cutting off most of your light is generally a bad idea. When looking at any camera, see what lenses are available to suit your needs.&lt;/p&gt;&#xA;&lt;h1&gt;2. &amp;quot;Pixel&amp;quot; Size&lt;/h1&gt;&#xA;&lt;p&gt;Each little diode on your sensor collects light, the size of each diode directly effects low-light performance. There are two significant factors in the size of diode: sensor size and resolution. If you have 1920 pixels across your sensor and your sensor is an inch wide each diode will be about 1/1920 of an inch across if you sensor is 3840 pixels across your diode will be about 1/3840 of an inch across, much much smaller, and therefor able to collect less light.&lt;/p&gt;&#xA;&lt;h1&gt;3. Sensitivity&lt;/h1&gt;&#xA;&lt;p&gt;The sensitivity of a sensor can be controlled with ISO. The max ISO is very important for low light capture. Some &lt;a href=&quot;https://www.blackmagicdesign.com/products/cinemacameras&quot; rel=&quot;nofollow noreferrer&quot;&gt;excellent cameras&lt;/a&gt; in other regards have very low max ISO's, and are therefor unable to shoot in low light. Some cameras have very high max ISO's, and are designed for low light. Such cameras are the Canon C-Hundreds series, and the spectacular Sony A7s. The A7s has a relatively low resolution sensor and very high resolution.&lt;/p&gt;&#xA;&lt;p&gt;The simple answer is yes, 4K will negatively effect low light performance, &lt;em&gt;but&lt;/em&gt; most cameras already have a 4k-sized sensor that they simply fail to utilize (the canon 6D suffers equally from small diode size as the A7s for example). In your case, no 4K will have no effect, but if you're going to get a 4K camera for low light, buy the A7s and an &lt;a href=&quot;http://www.bhphotovideo.com/c/product/1046387-REG/atomos_atomshogun_shogun_7_4k_hdmi.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;external recorder&lt;/a&gt;. Out of it you will get 4K raw. For about $3k. It will put your 6D's performance to shame. Some people have lit A7s shots with &lt;a href=&quot;https://vimeo.com/105690274&quot; rel=&quot;nofollow noreferrer&quot;&gt;moonlight&lt;/a&gt;/&lt;a href=&quot;https://youtu.be/gDprjGU9U64?t=8m14s&quot; rel=&quot;nofollow noreferrer&quot;&gt;an iphone&lt;/a&gt;. Gulp.. did you see that last one, it out did the C300..... :O!&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;PS:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I first mentioned lenses for a reason. The sony A7s takes Sony E mount lenses. In my opinion they are some of the worst selection of lenses on the market. (Some are good glass, but there are no versatile zooms). Be wary of the lenses, they are half the key to getting your night shot. Also you HD will look amazing with a good lens, they've shot Hollywood features in HD (like Scorsese's Hugo), utilizing the power of $30k lenses.&lt;/p&gt;&#xA;" OwnerUserId="6249" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-05-20T16:53:21.787" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="15561" PostTypeId="2" ParentId="15558" CreationDate="2015-05-16T18:24:27.300" Score="5" Body="&lt;p&gt;Yes, if you record a video in 4K, then downsize to 1080p, the image will look much clearer than if you shot the video on a 1080p camera. You can also zoom in up to 200% and still retain the quality in a 1080p time line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why it may look better is because most sensors these days use chroma subsampling. On most consumer 1080p video camera products, the camera records in 4:2:0. Meaning that each pixel actually shares it's color value with 3 similar surrounding pixels, but every pixel does get its own luminosity value (Y'). This looses 50% of the  information captured by 4:4:4, in which each pixel gets its own color value and luminosity value, but the size of the clips produced are 50% more. This is more expensive, and data-hogging.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But now in 4k video, every 1080p pixel now gets 4 individual pixels (it's still being recorded in 4:2:0 though), in which color values are still being shared however, when you downscale to 1080p, every pixel now gets its own individual color and luminosity value! This is called 4:4:4, which not to long ago, costed upwards of $10,000.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This video can explain this visually: &lt;a href=&quot;https://www.youtube.com/watch?v=kIf9h2Gkm_U&quot; rel=&quot;nofollow&quot;&gt;Youtube: Why Does 4K Look Better on 1080p Monitors &lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As to your &lt;strong&gt;sub-question&lt;/strong&gt; about low-light performance, I am not sure if an identical spec camera (besides pixel count, of course) would give you better low-light performance or not, because that usually depends on the sensor size, aperture of the lens (assuming we're talking about DSLRs), and max ISO. If you just want a good low-light camera, check out the Sony A7S, as GiantCowFilms pointed out in his answer.&lt;/p&gt;&#xA;" OwnerUserId="10866" LastEditorUserId="9102" LastEditDate="2015-05-26T14:22:49.320" LastActivityDate="2015-05-26T14:22:49.320" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15562" PostTypeId="2" ParentId="15556" CreationDate="2015-05-16T18:52:23.530" Score="10" Body="&lt;p&gt;This is possible but will require scripting. &lt;code&gt;ffprobe&lt;/code&gt; will be used to determine the duration of the input, then the countdown and background box will be created by the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#drawtext&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;drawtext&lt;/code&gt;&lt;/a&gt; filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/84Gwd.jpg&quot; alt=&quot;reverse duration countdown timer&quot;&gt;&lt;br&gt;&#xA;&lt;sub&gt;A 30 second input will start from 30 and count down to 0.&lt;/sub&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;input=input.mp4&#xA;duration=$(ffprobe -loglevel error -show_entries format=duration -of default=nw=1:nk=1 &quot;$input&quot;)&#xA;ffmpeg -i &quot;$input&quot; -vf &quot;drawtext=fontfile=OpenSans-Regular.ttf:text='%{eif\:$duration-t\:d}':fontcolor=white:fontsize=24:x=w-tw-20:y=th:box=1:boxcolor=black@0.5:boxborderw=10,format=yuv420p&quot; -c:v libx264 -c:a copy -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;If you prefer rounded corners you may be able to make a PNG file with alpha, and then place it in your desired location using the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#overlay&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;overlay&lt;/code&gt;&lt;/a&gt; filter. Doesn't seem worth it to me though.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you find the duration from &lt;code&gt;ffprobe&lt;/code&gt; to be inaccurate then you will have to completely decode the file to get the actual duration and then parse the console output. One method would be: &lt;code&gt;ffmpeg -i input -f null -&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;This may be possible to do without &lt;code&gt;ffprobe&lt;/code&gt; but I don't have an alternative method at the moment.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You can combine this filterchain with the one from &lt;a href=&quot;https://video.stackexchange.com/a/15554/1760&quot;&gt;ffmpeg drawtext filter - create transparent background with text&lt;/a&gt; to get exactly what you want. An oversimplified command could then look like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf &quot;format,drawbox,drawtext,drawtext,format&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-05-16T22:47:34.000" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="15563" PostTypeId="1" CreationDate="2015-05-17T07:40:22.460" Score="2" ViewCount="63" Body="&lt;p&gt;I recorded myself using my LG G3 smartphone. Now I see that one video is 28.97 fps, another video is 28.81 fps according to the QuickTime Player stats.&#xA;When I edit the videos in Premiere, the sound sometimes don't match to the video and when I sync the audio and the video, it loses the sync again after a while.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible that the fps is changing during the record?&lt;/p&gt;&#xA;" OwnerUserId="6545" LastActivityDate="2015-05-17T15:06:29.310" Title="fps changes during the record" Tags="|premiere|editing|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15564" PostTypeId="2" ParentId="15563" CreationDate="2015-05-17T15:06:29.310" Score="3" Body="&lt;p&gt;It is possible that the device is dropping frames when recording. If there are a lot of apps running or the device is running low on memory. I would try rebooting the phone then try to record video and see if you experience the same problem.&lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2015-05-17T15:06:29.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15565" PostTypeId="1" CreationDate="2015-05-17T15:34:35.697" Score="0" ViewCount="110" Body="&lt;p&gt;I have seen a lot of comparison about which microSD card I should take if I own a GoPro Hero 3/4 but none of thoses articles mension the original GoPro HD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So is it worth buying an expensive one (30-40€ - 32 Go) or just a normal one (class 10 etc... at 16-20€ - 32 Go) is perfectly enough for filming in 1080p without having any downgrade in quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you in advance :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS : I know there is a list of SD cards on GoPro website, but they may link overpriced SD card for the Original HD, that's what my question is about :)&lt;/p&gt;&#xA;" OwnerUserId="10873" LastActivityDate="2015-05-28T12:26:49.927" Title="SD Card - GoPro Hero HD" Tags="|sd-card|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15567" PostTypeId="1" CreationDate="2015-05-18T07:57:48.130" Score="1" ViewCount="40" Body="&lt;p&gt;Say I want to overlap another video on top of the one already playing. How do I do this? There seems to be no option to do so in the actual menus.&lt;/p&gt;&#xA;" OwnerUserId="10880" LastActivityDate="2015-05-28T12:24:07.887" Title="How can I overlap content in Windows Movie Maker?" Tags="|windows-movie-maker|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15568" PostTypeId="1" CreationDate="2015-05-18T16:14:49.143" Score="3" ViewCount="82" Body="&lt;p&gt;Sometimes I'm viewing a clip in the Source window, in Premiere.  Then I open a different clip in the Source window.  Is there a way to quickly get back to the previous clip, without having to burrow through the Project folders again?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-08-31T06:34:45.937" Title="Quick way to view previous clip in Premiere's Source window?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15569" PostTypeId="2" ParentId="15545" CreationDate="2015-05-18T16:19:03.667" Score="1" Body="&lt;p&gt;The puppet pin tool is designed to let you wiggle the limbs around on a single layer.  You place pins at the points where the joints meet, and at the ends of the limbs, then move the pins around using keyframes.  AE warps the image to make it look as though you've animated the whole image... Not always brilliantly..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have the limbs on different layers, you need to look at using a character rig instead of the puppet tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://lesterbanks.com/2011/03/rigging-multi-layered-characters-in-after-effects/&quot; rel=&quot;nofollow&quot;&gt;http://lesterbanks.com/2011/03/rigging-multi-layered-characters-in-after-effects/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-05-18T16:19:03.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15570" PostTypeId="1" CreationDate="2015-05-18T17:44:25.497" Score="2" ViewCount="1992" Body="&lt;p&gt;I record mobile games and have my phone screen, but around the edge of the video it adds a black border which I don't want. Does anyone know how to remove it?&#xA;&lt;img src=&quot;https://i.gyazo.com/bc102c83873882df7f6b0834a9df676e.png&quot; alt=&quot;a busy cat&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="10884" LastEditorUserId="-1" LastEditDate="2017-03-10T09:42:47.777" LastActivityDate="2015-05-28T11:15:25.050" Title="How do I cut out black space on a video?" Tags="|video-editor|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15572" PostTypeId="2" ParentId="15570" CreationDate="2015-05-18T19:28:45.267" Score="2" Body="&lt;p&gt;When you view a portrait-oriented video on a landscape-oriented display, &lt;em&gt;something&lt;/em&gt; has to occupy the otherwise unused raster. In this case it's black.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-05-18T19:28:45.267" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15573" PostTypeId="1" CreationDate="2015-05-18T20:43:17.763" Score="1" ViewCount="1830" Body="&lt;p&gt;I have a video that has been recorded at 7 FPS. I noticed that in the Windows properties of the video file, it is tagged as 25 FPS, and I see that the recorder has inserted each second fake frames (copies of the 7 frames shot in beetween these 7 images) to reach 25 FPS in the recorded video file.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to convert it to a real 30 FPS video, without changing its duration, letting the software create missing images or replacing fake static ones (with newly interpolated images) to have a smoother play, even if it's not as perfect as what I could obtain with a native 25 FPS record.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a quick try, I have tried to put 2 effects one after the other, one to accelerate the video at 300%, to make the fake images disapear, and another to reduce the speed at 33%, to force the soft to create interpolated images, all of this in a 25 FPS (for a try at 25) composition in AE, with no success.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know how I can do this ? All tutorials I find on the Web talks about accelerating or reducing speed for slow motion, but for my own I want to keep the speed, just make the whole thing smoother.&lt;/p&gt;&#xA;" OwnerUserId="1571" LastEditorUserId="1571" LastEditDate="2015-05-19T10:57:12.537" LastActivityDate="2015-06-14T15:30:47.630" Title="How to get a higher FPS without changing speed video through Adobe After Effects or Premiere Pro CC2014 letting the software create the missing images" Tags="|after-effects|premiere|conversion|framerate|adobe|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="15575" PostTypeId="2" ParentId="15570" CreationDate="2015-05-19T03:01:45.373" Score="3" Body="&lt;p&gt;If you are playing a portrait oriented game, as Jim Mack said, &lt;em&gt;something&lt;/em&gt; has to be in the empty space, that's where the black pixels come from. Unless...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use &lt;strong&gt;After Effects&lt;/strong&gt; here. Duplicate the video clip, take the video behind the front one, which you won't touch, then scale it up so that the sides meet the sides of the composition, and add a gausian blur, or any blur, really, to the back layer. Here is what I'm talking about:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Duplicate the first layer&lt;/strong&gt; (press &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;D&lt;/kbd&gt; or go to &lt;em&gt;Layer &gt; Duplicate&lt;/em&gt;):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ziDfT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Scale up the second layer&lt;/strong&gt; (open up the layer properties by clicking on the arrow &lt;kbd&gt;&gt;&lt;/kbd&gt; left beside the layers name or select the layer and hit &lt;kbd&gt;S&lt;/kbd&gt; to open up scale property only):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/8VsHR.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Add a Blur Effect to the second layer&lt;/strong&gt; (&lt;em&gt;Select the Layer&lt;/em&gt; and go to &lt;em&gt;Effects &gt; Blur and Sharpen &gt; Gaussian Blur&lt;/em&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/FJ4Ui.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: In order to render faster, use a &lt;strong&gt;Fast Blur&lt;/strong&gt; and enable &lt;strong&gt;repeat edge pixels&lt;/strong&gt; to blur the entire image.&lt;/p&gt;&#xA;" OwnerUserId="10866" LastEditorUserId="6685" LastEditDate="2015-05-25T21:21:59.820" LastActivityDate="2015-05-25T21:21:59.820" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15576" PostTypeId="1" CreationDate="2015-05-19T03:44:24.577" Score="1" ViewCount="475" Body="&lt;p&gt;This may be the simplest question because I am very new in video editing. Basically I have a video of 640x1080 dimension (I recorded iPhone 6 screen with QuickTime). To I just want to add some text and sound to it. I know how to do the jobs; however, the problem is, when I created a new project in iMovie, I can only choose project of size 4:3 or 16:9. After importing, editing my video, and exporting, I will have a video with black borders at 2 sides. How can I preserve the original dimension?&lt;/p&gt;&#xA;" OwnerUserId="10886" LastActivityDate="2015-06-21T04:45:31.550" Title="How to edit my video with iMoviewithout losing original dimensions" Tags="|imovie|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15577" PostTypeId="1" CreationDate="2015-05-19T13:37:45.490" Score="1" ViewCount="476" Body="&lt;p&gt;I have a Canon 1100D and a 50mm f/1.8 lens. Seems like the camera insists on shooting at default aperture, but I won't have it, since that results in a mostly blurred video. How can I adjust the aperture?&lt;/p&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2015-10-02T11:39:23.580" Title="Close aperture on Canon 1100D" Tags="|video|dslr|canon|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15578" PostTypeId="1" AcceptedAnswerId="15579" CreationDate="2015-05-19T17:51:52.480" Score="1" ViewCount="73" Body="&lt;p&gt;I have been editing a video which has rendered fine up until recently, I had it in a .mp4 format on a windows machine editing using wevideo, and I sent it to my friend who edited it on a mac, I think using aftereffects, and converted it to a .mov and now it has this strange effect, but only when I download it to the local machine (by the way the black bars are fine, what I am confused about are the horizontal lines):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;before:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/0c8na.jpg&quot; alt=&quot;Before:&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;on my phone after:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0HNKL.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;on my computer after:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/WcG6j.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What could be going on and how should I fix it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks!&lt;/p&gt;&#xA;" OwnerUserId="10890" LastActivityDate="2015-05-19T18:39:19.273" Title="video renders well on mac, but has bizarre effect on windows" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15579" PostTypeId="2" ParentId="15578" CreationDate="2015-05-19T18:34:17.417" Score="4" Body="&lt;p&gt;Those horizontal lines you're seeing are what you would call &lt;code&gt;Interlacing&lt;/code&gt; and it's usually done in an attempt to increase a video's frame rate without using more bandwidth (in other words, make it play smoother and take up less space).  You can easily get rid of this by running your video through a program like &lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow&quot;&gt;Handbrake&lt;/a&gt; and using their &quot;Decomb&quot; filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are other, more advanced methods to clean this up as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I personally use &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve&quot; rel=&quot;nofollow&quot;&gt;Davinci Resolve&lt;/a&gt; and I've read that you can even do it in &lt;a href=&quot;http://www.videolan.org/vlc/index.html&quot; rel=&quot;nofollow&quot;&gt;VLC Media Player&lt;/a&gt;, but I think handbrake is the quickest and easiest way to accomplish deinterlacing your video.&lt;/p&gt;&#xA;" OwnerUserId="10892" LastEditorUserId="10892" LastEditDate="2015-05-19T18:39:19.273" LastActivityDate="2015-05-19T18:39:19.273" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15580" PostTypeId="2" ParentId="15545" CreationDate="2015-05-20T08:16:43.163" Score="3" Body="&lt;p&gt;If you put a puppet pin at the point where the arms attach, then you can tie the position of the arm layer to the position of the puppet pin using an expression. This will attach the layer to the puppet pin, allowing you to move the pin and the layer it is on and have the arm follow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's easy to do, with no knowledge of scripting really required.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/QgB9y.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So say your body layer is called &lt;code&gt;&quot;Body&quot;&lt;/code&gt; and it has a puppet pin called &lt;code&gt;&quot;L_Shoulder&quot;&lt;/code&gt;, which is on the body at the point where you want to attach the left arm. The left arm layer should have its anchor point at the point that you want it to pivot on, which coresponds to the &lt;code&gt;L_Shoulder&lt;/code&gt; on the body layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/g81hW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what you do:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;First, make the arm layer a child of the body.&lt;/li&gt;&#xA;&lt;li&gt;Now apply an expression to its position property (hit &lt;kbd&gt;alt/opt&lt;/kbd&gt; and click on the stopwatch). &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The expression we want is this:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;thisComp.layer(&quot;Body&quot;).effect(&quot;Puppet&quot;).arap.mesh(&quot;Mesh 1&quot;).deform(&quot;L_Shoulder&quot;).position&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This looks very difficult to type, but fortunately we don't have to. Next to the expression editor text box is a pickwhip, that we can use to select properties and values. After you &lt;kbd&gt;alt/option&lt;/kbd&gt;-click the stopwatch, drag the pickwhip to the position property of the puppet pin, and it will fill it all in for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/j88bh.png&quot; alt=&quot;pickwhip&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because the puppet pin positions are relative to the layer this works well. As the arm is a parent of the child, setting its position relative to the body layer is exactly what you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the arm is not a child of the body it gets much more complicated: you have to use the &lt;code&gt;toComp&lt;/code&gt; method of the body layer to get the relative position of the pin to the composition space, and then you have to apply expressions to link the other transformation properties of the body layer, but it can be done.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-05-25T01:47:58.690" LastActivityDate="2015-05-25T01:47:58.690" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15581" PostTypeId="1" AcceptedAnswerId="15591" CreationDate="2015-05-20T11:26:06.413" Score="11" ViewCount="19423" Body="&lt;p&gt;I convert videos using FFMPEG. My goal is to convert them to the MP4 container format (&lt;em&gt;MPEG-4 Part 14&lt;/em&gt;) with &lt;em&gt;AAC&lt;/em&gt;-encoded audio stream and &lt;em&gt;MPEG-4 part 10&lt;/em&gt;-encoded video stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use the following line to convert the videos:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i &quot;{inputFile}&quot; &quot;{outputFile}&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The converted video looks fine, however the duration of streams in the converted file and the input file doesn't always match.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've made some experiments and the difference in the duration is undoubtedly there, however, it is not that much - anyway I'm testing with small videos.&#xA;Here are my results:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;| InputFile  | InputAudio | InputVideo | OutputAudio | OutputVideo  |&#xA;|------------|------------|------------|-------------|--------------|&#xA;| h.avi      | 3s 631ms   | 3s 567ms   | 3s 668ms    | 3s 567ms     |&#xA;| h.flv      | 3s 631ms   | 3s 558ms   | 3s 668ms    | 3s 567ms     |&#xA;| h.mov      | 3s 532ms   | 3s 533ms   | 3s 682ms    | 3s 534ms     |&#xA;| h.mp4      | 3s 605ms   | 3s 534ms   | 3s 682ms    | 3s 567ms     |&#xA;| h.mpg      | 3s 605ms   | 3s 533ms   | 3s 563ms    | 3s 534ms     |&#xA;| h.wmv      | 3s 620ms   | 3s 633ms   | 3s 659ms    | 3s 567ms     |&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Since I would build a software on the top of FFMPEG, I would be happier if I could at least understand the reason of this difference. Is it because of some unnecessary transcoding?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this case, can I turn this transcoding off to prevent FFMPEG to resample my input video file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I cannot turn it off, how can I be sure (besides testing) that this difference is not proportional to the size of the video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I convert for example a 10-hour video, a difference of multiple seconds or even minutes is not suitable for me.&lt;/p&gt;&#xA;" OwnerUserId="10895" LastActivityDate="2015-05-22T11:19:56.727" Title="Video converted by FFMPEG has a different duration, why?" Tags="|video|ffmpeg|conversion|mp4|transcoding|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15582" PostTypeId="2" ParentId="15573" CreationDate="2015-05-20T15:17:42.473" Score="2" Body="&lt;p&gt;I can't give you specific commands but since these are fairly short I'd extract the individual frames into a TIFF stack (or similar), then import them at the correct (7fps) frame rate into your editor. Then I would apply &lt;strong&gt;&lt;a href=&quot;http://www.revisionfx.com/products/twixtor/&quot; rel=&quot;nofollow&quot;&gt;twixtor&lt;/a&gt;&lt;/strong&gt; or an open-source equivalent to raise the frame rate. How well those work depends somewhat on the amount of motion. 7 fps to 30 fps is asking a lot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may find ffmpeg / avconv assistance in extracting only the frames that are actually different -- that is, removing the extra inserted duplicate frames.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-05-20T15:17:42.473" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15583" PostTypeId="1" CreationDate="2015-05-20T18:18:57.887" Score="1" ViewCount="118" Body="&lt;p&gt;I have a movie in after effects. I created a &lt;em&gt;color key, applied a simple choker&lt;/em&gt; and then added a &lt;strong&gt;mask&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I move the mask point, it is offset by the simple choker value - so I thought I would precompose the whole thing, so I can apply a second mask that isn't affected by the simple choker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I do that - the mask that was applied to the movie is not moved &quot;inside&quot; the precomp. It gets moved outside the precomp, and is &lt;strong&gt;still affected by the simple choker&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I solve this?&lt;/p&gt;&#xA;" OwnerUserId="5117" LastActivityDate="2015-05-20T18:28:13.753" Title="Move mask inside precomposition in After Effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15584" PostTypeId="2" ParentId="15583" CreationDate="2015-05-20T18:28:13.753" Score="1" Body="&lt;p&gt;So, it was a simple thing: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead of &quot;Leave all attributes&quot; when pre-composing, I needed to switch to &quot;&lt;strong&gt;Move all attributes&lt;/strong&gt;&quot;. &lt;/p&gt;&#xA;" OwnerUserId="5117" LastActivityDate="2015-05-20T18:28:13.753" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15587" PostTypeId="2" ParentId="10412" CreationDate="2015-05-21T05:10:53.127" Score="3" Body="&lt;p&gt;A lot of these answers seem somewhat misleading unfortunately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Forget about getting a capture card.  Practically every one has AGC.  AGC is very similar to macrovision, except it's superimposed onto any video source.  It's impossible to disable unless you use Linux and know your way around hacking drivers.  Some cards on Windows have third party tools to disable AGC, but the quality is extremely questionable and they all seem to use scaling and sub-sampling.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Think your best choice is finding an external device like a Panasonic DMR DVD recorder (these have a very decent comb filter).  If you could somehow find an external device with USB or firewire, I think this is your best bet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think 4:1:1 subsampling should be kept away.  I think 4:2:0 is actually better.  4:2:0 is most compatible and least problematic with transcoding and quality loss.  If you get a device with 4:2:0 chroma, make sure it oversamples before subsampling; these seem to give the least quality loss after subsampling, and might be considered transparent sometimes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a laserdisc player it's hard for me to answer.  You could stick with a player that doesn't split the composite or audio signal.  These will have a single composite and audio output, with no RF or additional svideo or second composite/audio outputs.  These also have missing features like digital still mode on CLV discs, and probably more common as very simplistic industrial players.  People may recommend something like the HLDX0 or similar, but these are very expensive and actually pass the composite video through various noise filtering and splitting stages; these players are so huge and expensive I think because splitting analog signals introduces immediate quality degradations, which these players supposedly avoid according to their owners.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Avoid scaling at all costs.  You'll get scaling artifacts immediately which isn't usually noticeable.  Instead of 4k output, you should stick with whatever native resolution your capture device uses (usually 720x480).  Let your software or hardware scale later, instead of the encoding and capturing.  Same thing with audio.  If you capture audio, make sure it's bit perfect digital stereo (LD calls for 44050khz according to wiki).  Analog audio should be captured at 192khz 32-bit float at least, and can be compressed later.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Laserdisc video is actually pure analog AFAICT.  RF is passed to a custom modulator and cut-off filters, which send the result to a TBC.  TBC produces the composite video which is an analog signal.  The composite signal can be routed directly to a composite video jack, but almost every player will split this into UHF, comb filter with svideo, and/or secondary composite output.  The only players that avoid that are like those I mentioned previously (LD-V4200 I believe is one, and with a strong signal, albeit with noise).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Laserdisc video quality is a love or hate thing IMO.  The quality is actually very high and with a high end system can be considered better along with its sound, vs DVD.  Only LD's that may seem inferior are widescreen, or those improperly mastered.  Quality is basically 425 TVL always with good chroma.  DVD by comparison is considered 525 TVL before MPEG2 compression.  Unfortunately MPEG2 reduces DVD video quality considerably, and the only advantage DVD has in this situation is a pure digital path with consistent quality (no analog difficulties like noise and interference).  MPEG2 reduces DVD TVL resolution to a variable of maybe 250 to 500 TVL lines at best with considerably less chroma by comparison.  Mpeg2 quality greatly varies depending on the movie, and the movie length unfortunately.  Only exceptions might be &quot;Superbit&quot; DVD releases which are very small in number.  See a DVD and downscaled HD-TV source for resolution and chroma comparison here: [url]&lt;a href=&quot;http://www.cornbread.org/FOTRCompare/[/url]&quot; rel=&quot;nofollow&quot;&gt;http://www.cornbread.org/FOTRCompare/[/url]&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope I may have been of some help.  I think your best bet may be an external device with firewire or usb.  AGC is the biggest problem you'll have to avoid, especially with computer capture devices (USB, PCI, PCI-e, etc).&lt;/p&gt;&#xA;" OwnerUserId="10900" LastActivityDate="2015-05-21T05:10:53.127" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15588" PostTypeId="1" CreationDate="2015-05-22T00:36:24.137" Score="1" ViewCount="47" Body="&lt;p&gt;Can anyone explain the reason behind the Alexa's immense popularity among feature films? I see that it is the significant favorite over the Red Epic which is its closest competitor. Why is this? Is is the brand name? Please excuse my technical ignorance but doesn't the red epic dragon shoot 6K and the Alexa 3.2K? Shouldn't this just make the Red epic dragon the go-to camera rather than the Alexa?&lt;/p&gt;&#xA;" OwnerUserId="10824" LastActivityDate="2015-05-22T00:36:24.137" Title="Popularity of Alexa?" Tags="|red|" AnswerCount="0" CommentCount="3" ClosedDate="2015-05-23T00:11:27.620" ContentLicense="CC BY-SA 3.0" />
  <row Id="15589" PostTypeId="1" AcceptedAnswerId="15604" CreationDate="2015-05-22T02:48:00.763" Score="3" ViewCount="1859" Body="&lt;p&gt;I am in the middle of editing a TV spot we create bi-weekly and therefore on a tight timeline. I am using Premiere Pro CC (2014) just upadted last week on Win8.1, 4790k, 16GB, OS SSD 256GB, Project Drive 1TB SSD, Export and Preview Drive 3TB Seagate 7200. They shot this particular spot in a studio with different cameras.  So I recieved files in: XDCAM HD 1080 422 i60 50mb CBR 1920x1080 - 1888x1062  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My understanding is that XDCAM is supported natively in PPro, however, when I try to import into Premiere or add to Media Encoder I recieve error: &quot;Codec missing or unavailable&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I asked a friend to re-encode it as ProRes rather than spend time figuring out -what I assumed was a codec issue. But the ProRes 422 LT that he exported&#xA;I get error: &quot;The importer reported a generic error&quot;. I'll say that I've been using prores on this same system a bunch of times, however it was a different possibly less savey person who did this transcode and so it is possibly still suspect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These files were live edited on some box so the file is over an hour long.. could it be a RAM issue? I've jogged my page file up to a static 120GB..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am able to play the prores files on a second laptop that has no adobe suite installed.. but still cannot export them from quicktime as something else. I get an error.&lt;/p&gt;&#xA;" OwnerUserId="6226" LastActivityDate="2016-08-29T14:48:28.610" Title="Troubleshooting XDCAM import into Premirere Pro CC 2014" Tags="|premiere|windows|transcoding|prores|" AnswerCount="1" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="15590" PostTypeId="2" ParentId="15576" CreationDate="2015-05-22T04:40:49.863" Score="1" Body="&lt;p&gt;iMovie does not support any aspect ratios besides 4:3 and 16:9.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-05-22T04:40:49.863" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15591" PostTypeId="2" ParentId="15581" CreationDate="2015-05-22T11:19:56.727" Score="8" Body="&lt;p&gt;Hope this explanation is what you're looking for:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;When you transcode to an encoding such as H.264 (MPEG-4 part 10) you necessarily also resample the video, that's part of H.264 compression technique. Nontheless, I doubt if this is the reason you experience a timing gap since the resampling doesn't necessarily influence the clock rate of the media. So, I wouldn't worry too much about resampling, it can cause some variance, but probably very marginal.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The container formats you listed are kinda irrelevant, because they define how the compressed stream is packaged, whereas the the source of the timing difference is the compression itself. The &lt;code&gt;.flv&lt;/code&gt; file, for example, may contain a stream encoded by the legacy Flash Sorenson codec or the newer H.264. In the first case you would be transcoding the video stream, but in the latter it is possible the you're not - depending on the audio codec used. The &lt;code&gt;.avi&lt;/code&gt; and &lt;code&gt;.wmv&lt;/code&gt; containers are codec agnostic, so there's no way of even guessing their content's encoding.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You didn't mention how the duration was tested. Note that ffmpeg by default shows you the duration that appears in the file's &lt;strong&gt;metadata&lt;/strong&gt; and not a computed value. If your list is based on the data that ffmpeg dumps as part of its splash notices then you should note that this is explicitly &lt;strong&gt;metadata&lt;/strong&gt; and not an actual measured value.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The delta in the durations you presented are within the range of one or two frames in a 25 or 30 fps range. It is reasonable for codecs to pad-with or strip-from streams blank frames according to their algorithm (or developer's tidiness...). It shouldn't influence timestamping when you properly concatenate streams.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;There are only two reasons I can think of that can substantially change your media's duration, neither applicable in your specific case:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Re-encoding at a different target speed. Sometimes this happens unintentionally due to bad metadata in the input file. But not in your case, which, as noted above, correspond with a single frame dropped or gained.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;When you apply a codec that recreates either stream. Examples include ad-stripping, silence detection, noise cleansing, etc.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Bottom line, if you are concerned what's gonna happen with a 10-hour video - just run an actual test. If you run into trouble and seek assistance then keep in mind to post the input file's codec details and the method that you measured the stream duration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="8079" LastActivityDate="2015-05-22T11:19:56.727" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15592" PostTypeId="2" ParentId="10494" CreationDate="2015-05-22T13:33:04.523" Score="-3" Body="&lt;p&gt;Another option is to press &lt;kbd&gt;Ctrl&lt;/kbd&gt;&lt;kbd&gt;+&lt;/kbd&gt; to get &lt;strong&gt;full screen preview&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="10907" LastEditorUserId="6685" LastEditDate="2015-05-25T05:15:16.110" LastActivityDate="2015-05-25T05:15:16.110" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15594" PostTypeId="1" CreationDate="2015-05-23T08:22:12.730" Score="1" ViewCount="255" Body="&lt;p&gt;I have a few animations that I need to do with some frequency, the steps are as follows:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Generate the image from an external program from a template.&lt;/li&gt;&#xA;&lt;li&gt;Add the image to the second nest in a doubly-nested sequence.&lt;/li&gt;&#xA;&lt;li&gt;Determine how long the image should play and apply two animation (motion) presets I made, clamped to the in and out of the image. The animation presets are the same, but since they depend on the in and out I have to determine the length first. (Scaling messes up some of the intermediate keys).&lt;/li&gt;&#xA;&lt;li&gt;Add some audio at the beginning and end of the image (same audio, but clamped to the in and out).&lt;/li&gt;&#xA;&lt;li&gt;Add a matte image (same every time) to the first nest, and apply a track matte effect on the second nest referring to it (same every time).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The image is always of the same resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is very time consuming and I have to do it 5-10 times per video I make. Is there any way I can build some sort of macro that does this (except part 1, obviously)? Preferably it would automate as much as possible. Ideally, I could give it an image and a length parameter and it would generate the whole thing, but even automating just the nesting and track matte would save a lot of time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I make a macro/preset that I can use across projects that does this? I don't have any experience with the Premiere API, but I have programming experience if this would be really straightforward by writing a plugin.&lt;/p&gt;&#xA;" OwnerUserId="10911" LastEditorUserId="10911" LastEditDate="2015-05-23T11:28:50.340" LastActivityDate="2016-08-19T00:48:01.370" Title="Preset/macro for complicated nested effect" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15596" PostTypeId="2" ParentId="5270" CreationDate="2015-05-23T19:31:39.577" Score="3" Body="&lt;p&gt;If you're using Ubuntu or any other Linux distribution, I'd recommend &lt;code&gt;recordmydesktop&lt;/code&gt;. You can install it in Ubuntu:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;sudo apt-get install recordmydesktop&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Afterwards, run it from a terminal, using the desired filename as an argument:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;recordmydesktop tutorial23.ogv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Stop recording by pressing &lt;kbd&gt;Ctrl&lt;/kbd&gt; + &lt;kbd&gt;C&lt;/kbd&gt; in the terminal.&lt;/p&gt;&#xA;" OwnerUserId="4984" LastActivityDate="2015-05-23T19:31:39.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15597" PostTypeId="1" CreationDate="2015-05-24T01:31:08.377" Score="11" ViewCount="7591" Body="&lt;p&gt;I wish to stream a video with dynamic metadata. I know I could just steam the video and metadata separately, but ideally I'd like them to be bound permanently. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an existing protocol / encoding / format that does this? I could store the data in each frame using steganography, but this is not an ideal solution and is rather hacky.&lt;/p&gt;&#xA;" OwnerUserId="10917" LastActivityDate="2015-05-28T10:55:36.063" Title="Is there an existing video format that records per-frame metadata?" Tags="|streaming|encoding|formats|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15598" PostTypeId="1" AcceptedAnswerId="15612" CreationDate="2015-05-24T02:52:20.743" Score="1" ViewCount="568" Body="&lt;p&gt;How do you view a list or in some way know that a plugin was loaded in Cinema 4D? A friend of mine sent me a plugin he made and wanted me to try it, but I can't tell if it's even loaded. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not sure if this is the right place for this question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="10830" LastActivityDate="2015-05-26T07:53:06.700" Title="View list of installed plugins in Cinema 4D" Tags="|cinema4d|plugins|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15599" PostTypeId="2" ParentId="5270" CreationDate="2015-05-24T04:27:43.267" Score="2" Body="&lt;p&gt;If you have a Mac, give &lt;a href=&quot;http://www.telestream.net/screenflow/overview.htm&quot; rel=&quot;nofollow&quot;&gt;ScreenFlow&lt;/a&gt; a try. It offers lossless screen recording which can be exported for use in Premiere or other NLE's and it's inbuilt editing is pretty good too for quick edits.&lt;/p&gt;&#xA;" OwnerUserId="10918" LastEditorUserId="6685" LastEditDate="2015-05-26T14:22:15.753" LastActivityDate="2015-05-26T14:22:15.753" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15600" PostTypeId="2" ParentId="15597" CreationDate="2015-05-24T13:09:46.863" Score="2" Body="&lt;p&gt;I'm not sure how this fits into a streaming strategy, but the DPX file format includes per-frame metadata (potentially a great deal of it). This &lt;a href=&quot;http://en.wikipedia.org/wiki/Digital_Picture_Exchange&quot; rel=&quot;nofollow&quot;&gt;Wikipedia&lt;/a&gt; article has the basic info.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm also not clear on what you mean by 'bound permanently'. In the AVI file container the &quot;I&quot; stands for &quot;Interleaved&quot;, where video and audio packets (roughly) alternate in the file. This is true for almost all container formats. The streams can be separated, but they natively co-exist in one meta-stream.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-05-24T13:09:46.863" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15601" PostTypeId="1" AcceptedAnswerId="15614" CreationDate="2015-05-24T14:41:33.640" Score="2" ViewCount="2053" Body="&lt;p&gt;Our church wants to install a video camera to record services and sermons, nothing fancy - here's what I'm thinking:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Mount a remote-control pan/tilt head on the wall or railing of the balcony&lt;/li&gt;&#xA;&lt;li&gt;During the service, attach a video camera that has remote-control zoom/start/stop control&lt;/li&gt;&#xA;&lt;li&gt;Have software that lets the operator hit buttons that say &quot;pan/tilt/zoom so the camera is pointing at the pulpit&quot; or &quot;pan/tilt/zoom so the camera shows the entire altar area&quot;.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The challenge, of course, is that we don't have $5000 to spend on one of the fancy commercial systems (nor do we need something that sophisticated).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have a Canon VIXIA HF-R52 that you can control remotely (zoom/start/stop), and I'm considering the Panasonic CTR-1 Remote Pan Tilt Cradle, what I can't tell is whether the controls for either let you say &quot;go to zoom level 8.3, pan 20 degrees from center and 30 degrees down from horizontal&quot; (which is what I would need, in order to give the operator a button for &quot;pan/tilt/zoom to the altar&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW, I don't want the system that follows motion, or requires everyone to carry a special tag that the PT head detects and follows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a low-cost solution that gives me what I need?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I saw this question: &lt;a href=&quot;https://video.stackexchange.com/questions/9835/remote-pan-tilt-zoom-cameras-that-arent-expensive&quot;&gt;Remote pan/tilt/zoom cameras that aren't expensive&lt;/a&gt; which is similar, but didn't go far enough.  As far as I can tell, the low-end pan/tilt heads let you say &quot;pan to the left&quot; but they don't let you say &quot;pan to 30 degrees left&quot; which is what I am looking for.&lt;/p&gt;&#xA;" OwnerUserId="10919" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-05-26T13:53:29.057" Title="Is there a low-cost automated pan/tilt/zoom system?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15602" PostTypeId="1" CreationDate="2015-05-24T15:38:25.120" Score="2" ViewCount="578" Body="&lt;p&gt;I have a few old VHS tapes that are in PAL/SECAM format, and I live in Canada. I was wondering what would be the best way to back-up/play these tapes?&lt;/p&gt;&#xA;&lt;p&gt;Hunt for a PAL/Secam VHS player? (Could be expensive) Or ask for a service that does it for you?&lt;/p&gt;&#xA;" OwnerUserId="10922" OwnerDisplayName="stross_relief" LastEditorUserId="26274" LastEditDate="2020-10-22T07:38:41.563" LastActivityDate="2020-10-22T07:38:41.563" Title="How to play/back-up PAL/SECAM VHS tapes?" Tags="|digitisation|vhs|videotape|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="15603" PostTypeId="1" AcceptedAnswerId="15730" CreationDate="2015-05-24T17:51:51.403" Score="3" ViewCount="2766" Body="&lt;p&gt;I'm trying to import some clips into a &lt;code&gt;Vegas 13&lt;/code&gt; project, but they &quot;flicker&quot;: some frames are all black (even in the preview), even though the files play perfectly in &lt;code&gt;mplayer&lt;/code&gt; and &lt;code&gt;VLC&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The clips are recorded from a videogame using &lt;code&gt;fraps&lt;/code&gt;, and then reencoded in H.264 with &lt;code&gt;mencoder&lt;/code&gt; with the settings: &lt;code&gt;-x264encopts preset=slow:keyint=200:crf=19:level_idc=31:colormatrix=bt709&lt;/code&gt; (I don't have the originals anymore, I deleted them to gain disk space. Stupid mistake, I know).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Gspot tells me this about the files:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/5rrVb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried a lot of different options:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;disabling using the GPU for rendering&lt;/li&gt;&#xA;&lt;li&gt;setting the switch to &quot;smart resample&quot;, &quot;force resample&quot;, and &quot;no resample&quot;&lt;/li&gt;&#xA;&lt;li&gt;changing the frame rate&lt;/li&gt;&#xA;&lt;li&gt;using constant and variable bitrates&lt;/li&gt;&#xA;&lt;li&gt;using the &quot;deinterlace&quot; settings &quot;blend&quot; and &quot;interpolate&quot; (pretty sure this does nothing in my case ^^)&lt;/li&gt;&#xA;&lt;li&gt;checking/unchecking &quot;adjust source media&quot;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="4153" LastActivityDate="2015-06-09T08:03:20.430" Title="Video in Sony Vegas flickers and is full of black frames" Tags="|vegas-pro|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15604" PostTypeId="2" ParentId="15589" CreationDate="2015-05-24T22:32:36.773" Score="1" Body="&lt;p&gt;&lt;strong&gt;Since Adobe CS5 XDCAM files are supported natively&lt;/strong&gt;, make sure the folder structure is the same like on your SXS Card, open up the &lt;a href=&quot;https://pro.sony.com/bbsc/ssr/micro-xdcam/resource.downloads.bbsccms-assets-micro-xdcam-downloads-XDZP1TC.shtml&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;Sony Clip Browser&lt;/strong&gt;&lt;/a&gt; and try to load up the files - this should work immediately. If you can't see the files, there must be an encoding error or the files are corrupt.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-12-07T19:05:07.687" LastActivityDate="2015-12-07T19:05:07.687" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15605" PostTypeId="2" ParentId="15602" CreationDate="2015-05-25T02:17:08.420" Score="2" Body="&lt;p&gt;The answer to this question will depend on your priorities to some extent — what sort of quality are you looking for in the transfer, how important the content of the tapes are to you / the world, what sort of budget you have, how much time you want to spend on the project — as well as other variables such as what condition are the tapes are in, and whether you want to play them in domestic equipment and risk destroying them if something goes wrong (e.g. if they've got &lt;a href=&quot;https://en.wikipedia.org/wiki/Sticky-shed_syndrome%5C&quot; rel=&quot;nofollow&quot;&gt;sticky-shed&lt;/a&gt; they could end up being chewed).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, you could probably pick up a VHS player for nothing if you ask and look around enough — ask on social media, or get your friends to ask their parents, there are still plenty out there. You won't have much control over the quality of the machine, and so you probably won't get one with such things as a &lt;a href=&quot;https://en.wikipedia.org/wiki/Time_base_correction&quot; rel=&quot;nofollow&quot;&gt;timebase corrector&lt;/a&gt; that you get on professional machines (or later model high quality domestic machines). An old VHS machine from someone's lounge room may also not be in the best condition, so the output may be less than optimal. However, if you aren't concerned with getting the absolute best possible transfer, and are happy if it just plays the tapes so you can see a picture this is probably the way to go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you've got a machine that plays them you should digitise them on the first viewing — if they are fragile they will lose quality every time they are played. You'll need a video capture card and software to run it. There is a huge range from cheap and cheerful USB gadgets that cost less than $20 on ebay to broadcast level cards that cost a &lt;a href=&quot;http://www.digistor.com.au/blackmagic-decklink-4k-extreme-12g.html&quot; rel=&quot;nofollow&quot;&gt;couple of thousand&lt;/a&gt;. Once again, your priorities and budget determine what you need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the tapes are really valuable to you you could investigate getting an agency to transfer them. If you are concerned that the tapes might be in poor condition and they are irreplaceable you might want to find someone who deals with archival transfers. You could talk to the state film archives for your region if they exist, they may have advice for you. The Australian National Film and Sound Archive have a good page of advice here: &lt;a href=&quot;http://www.nfsa.gov.au/preservation/care/caring-for-video/&quot; rel=&quot;nofollow&quot;&gt;http://www.nfsa.gov.au/preservation/care/caring-for-video/&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-05-25T02:17:08.420" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15606" PostTypeId="1" AcceptedAnswerId="15617" CreationDate="2015-05-25T05:15:12.320" Score="0" ViewCount="1723" Body="&lt;p&gt;How can I convert an MP3 file to MIDI on Windows?  Since MP3 is &lt;a href=&quot;http://en.wikipedia.org/wiki/Lossless_compression#Audio&quot; rel=&quot;nofollow noreferrer&quot;&gt;not losssless&lt;/a&gt;, is it possible to get MIDI out of a MP3 file?&lt;/p&gt;&#xA;" OwnerUserId="10738" LastEditorUserId="14523" LastEditDate="2019-01-15T04:49:19.180" LastActivityDate="2021-01-13T10:09:39.350" Title="How to convert an MP3 file to MIDI on Windows?" Tags="|audio|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="15607" PostTypeId="2" ParentId="15606" CreationDate="2015-05-25T09:03:50.220" Score="2" Body="&lt;p&gt;That is not possible because MIDI is not an audio file format. It's a &lt;a href=&quot;http://en.m.wikipedia.org/wiki/MIDI&quot; rel=&quot;nofollow&quot;&gt;description on how to create music&lt;/a&gt;. Think of a midi file as a sheet music for a piece of music, whereas an mp3 would be a recording of someone playing the piece. So in order to create a midi file from audio recordings, you'd need some kind of score recognition program, which - to my knowledge - doesn't exist. A quick google search brought up a website and some software claiming to do that, but I wouldn't trust any of them. You can try it if you really want to, but even if they work at all the results will most likely be terrible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need a midi file for a given piece of music, try to find the original score / sheet music! It's quite easy to create a midi version if you have the sheets.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-05-25T09:03:50.220" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15608" PostTypeId="1" CreationDate="2015-05-25T12:38:39.680" Score="2" ViewCount="8926" Body="&lt;p&gt;I have a layer called Blue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I applied CC Particular World to a ShapeLayer with an animated separated X Position (with 3 keyframes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The thing is that the effect doesn't move along with the shape.&#xA;So either I animate the Producer features &quot;Position X&quot; with keyframes or I would parent this feature to xPosition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just don't know if this is possible and if so how?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I invented this script...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    thisComp.layer(&quot;Blue&quot;).effect(&quot;CC Particle World&quot;)(&quot;Position X&quot;).transform(&quot;xPosition&quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;it results in error!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you for your help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;H.&lt;/p&gt;&#xA;" OwnerUserId="10923" LastActivityDate="2015-05-28T03:48:23.220" Title="Parent a Position X from Particular World to it's own transform xPosition" Tags="|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15609" PostTypeId="1" AcceptedAnswerId="15616" CreationDate="2015-05-25T18:15:57.320" Score="2" ViewCount="163" Body="&lt;p&gt;I've been looking around for open source software I can use to quickly edit some of my projects when I'm away from home on my Linux laptop and the best I've found so far is Blender.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone else have any recommendations for open source software? FX software recommendations would also be welcome.&lt;/p&gt;&#xA;" OwnerUserId="10921" LastActivityDate="2015-05-30T08:17:15.973" Title="Open source video editing software compatible with Linux" Tags="|editing|software-recommendation|effects|special-effects|" AnswerCount="1" CommentCount="1" ClosedDate="2015-05-26T14:23:41.100" ContentLicense="CC BY-SA 3.0" />
  <row Id="15610" PostTypeId="1" AcceptedAnswerId="15636" CreationDate="2015-05-25T21:17:08.323" Score="1" ViewCount="177" Body="&lt;p&gt;I've recently been experimenting with the video feature of my D5200 and noticed this issue with the sharpness of the recordings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2x video crop screenshot:&lt;/strong&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/NFLEX.jpg&quot; alt=&quot;video crop&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2x photo crop screenshot&lt;/strong&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/ps13P.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As image width is limited on stackexchange you may want to look at the screenshots in an extra tab for the full resolution. Both shots were taken using the exact same camera settings. I scaled the photo to match the video and I don't think it was sharpened while downscaling. Oh and by the way, I am using the 40mbps firmware patch, but I don't think that should decrease video sharpness.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anybody got an idea why this is?&lt;/p&gt;&#xA;" OwnerUserId="10912" LastEditorUserId="10912" LastEditDate="2015-05-25T21:23:52.667" LastActivityDate="2015-05-28T12:20:08.783" Title="Nikon D5200 sharpness issue" Tags="|video-quality|nikon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15611" PostTypeId="1" AcceptedAnswerId="15618" CreationDate="2015-05-26T06:33:31.923" Score="0" ViewCount="201" Body="&lt;p&gt;i'm curently in the 30 days trail of Premiere CC (and own Premiere Elements 12), and i try to produce iOS like (partial) slowmotion with easing between the different speeds. I already slowed down a entire clip using &quot;Speed/Duration&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I get a transition between the different speeds?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example in FCP: &lt;a href=&quot;http://help.apple.com/finalcutpro/mac/10.1/#ver41a2cd3ae&quot; rel=&quot;nofollow&quot;&gt;http://help.apple.com/finalcutpro/mac/10.1/#ver41a2cd3ae&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10924" LastActivityDate="2015-05-27T13:20:19.613" Title="iOS like (partial) slowmotion with easing in Premiere CC" Tags="|premiere|slowmotion|iphone|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15612" PostTypeId="2" ParentId="15598" CreationDate="2015-05-26T07:53:06.700" Score="1" Body="&lt;p&gt;There is a &lt;code&gt;plugins&lt;/code&gt; folder in your &lt;strong&gt;installation directory&lt;/strong&gt;. Whether you are on mac or a windows machine, all installed plugins are listed there. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Search for a tutorial, the manual or some images to identify in which area or viewport it's used.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastActivityDate="2015-05-26T07:53:06.700" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15613" PostTypeId="2" ParentId="15608" CreationDate="2015-05-26T13:41:26.603" Score="3" Body="&lt;p&gt;There's no property called &lt;code&gt;xPosition&lt;/code&gt;, and &lt;code&gt;transform&lt;/code&gt; is a property of a layer, not a method, but you're on the right track. The expression has to return an array of two values [x, y], and the components of the position are stored in an array like that too. The expression you want — if you're applying it to the layer position property — is this:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;xpos=thisComp.layer(&quot;Blue&quot;).effect(&quot;CC Particle World&quot;)(&quot;Position X&quot;);&#xA;ypos=transform.position[1];&#xA;[xpos, ypos]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That will apply the value of the &lt;code&gt;Position X&lt;/code&gt; property of the effect to the &lt;strong&gt;X&lt;/strong&gt; position of the layer, and the current &lt;strong&gt;Y&lt;/strong&gt; value of the layer to the &lt;strong&gt;Y&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're trying to use the layer's &lt;strong&gt;X&lt;/strong&gt; position on the effect's Position &lt;strong&gt;X&lt;/strong&gt; property then you need to use:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;thisComp.layer(&quot;Blue&quot;).transform.position[0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;you only need one value for this property.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Pro Tip&lt;/strong&gt; a great way to learn how properties are accessed in expressions, as well as being a super quick and typo-free way of&#xA;  creating them is to use the pickwhip. Next to the expression box&#xA;  you'll see a curly icon. Click that and drag it to the property you&#xA;  want to reference in your expression. So in the second case you could&#xA;  drag it to the number for the &lt;strong&gt;X&lt;/strong&gt; value of the layer's position and it&#xA;  would give you the correct syntax for accessing it.  &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Z19IM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;A good place to learn more about expressions is Dan Ebbert's page: &lt;a href=&quot;http://motionscript.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://motionscript.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-05-28T03:48:23.220" LastActivityDate="2015-05-28T03:48:23.220" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15614" PostTypeId="2" ParentId="15601" CreationDate="2015-05-26T13:53:29.057" Score="1" Body="&lt;p&gt;What you look for is probably a combination of the Bescor / Hague MP360 motorized pan tilt head with the CamRanger controller. CamRanger are selling the combo under their label, you can see some nice video explanations at &lt;a href=&quot;http://camranger.com/camranger-pan-tilt/&quot; rel=&quot;nofollow&quot;&gt;their web site&lt;/a&gt;. If you don't need the extra pizzaz then you can look at just the MP360, or even the lower-end &lt;a href=&quot;http://www.bhphotovideo.com/c/product/64399-REG/Bescor_MP101_MP_101_Motorized_Pan_Head.html&quot; rel=&quot;nofollow&quot;&gt;MP101&lt;/a&gt; which is a great product too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that these heads have a tilt limit of 30deg, so, depending on your setting, you may have to throw in a correction plate.&lt;/p&gt;&#xA;" OwnerUserId="8079" LastActivityDate="2015-05-26T13:53:29.057" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15615" PostTypeId="2" ParentId="15594" CreationDate="2015-05-26T13:55:03.877" Score="0" Body="&lt;p&gt;Unfortunately the Premiere API seems to be almost completely undocumented by Adobe, except for &lt;a href=&quot;https://github.com/Adobe-CEP/Samples/blob/master/PProPanel/payloads/PPro_Panel_QuickStart_Guide.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;this pdf on Github&lt;/a&gt; I don't understand why. There's lots of info out there on scripting After Effects using the Extendscript Toolox (based on javascript), and a lot of it is similar for premiere. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However if you use the ExtendScript ToolBox's data browser you can see all the objects and methods there (you have to have Premiere running and choose Premiere from the drop-down in the top left as your target).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/CcFqD.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm still dipping my toe in the water as far as scripting premiere goes, so that's as far as I can help you.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-05-26T13:55:03.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15616" PostTypeId="2" ParentId="15609" CreationDate="2015-05-26T14:15:35.820" Score="0" Body="&lt;p&gt;Light Works is supposed to be pretty good. It's been used on some pretty big budget projects so it's definitely worth a look. I have tried it myself though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.lwks.com/&quot; rel=&quot;nofollow&quot;&gt;https://www.lwks.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt; &#xA;This is &lt;em&gt;not&lt;/em&gt; open source software but it &lt;em&gt;is&lt;/em&gt; freely available.&lt;/p&gt;&#xA;" OwnerUserId="10377" LastEditorUserId="10377" LastEditDate="2015-05-30T08:17:15.973" LastActivityDate="2015-05-30T08:17:15.973" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15617" PostTypeId="2" ParentId="15606" CreationDate="2015-05-26T14:20:49.993" Score="2" Body="&lt;p&gt;There are several tools out there. The free but rather dated &lt;a href=&quot;http://www.pluto.dti.ne.jp/~araki/amazingmidi/&quot; rel=&quot;nofollow&quot;&gt;AmazingMIDI&lt;/a&gt; which takes in &lt;code&gt;.wav&lt;/code&gt; files and generates the corresponding MIDI. You can convert to &lt;code&gt;.wav&lt;/code&gt; from &lt;code&gt;.mp3&lt;/code&gt; using &lt;a href=&quot;http://web.audacityteam.org/&quot; rel=&quot;nofollow&quot;&gt;Audacity&lt;/a&gt; or ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then there are a few commercial products such as &lt;a href=&quot;http://www.athtek.com/digiband.html&quot; rel=&quot;nofollow&quot;&gt;AthTek DigiBand&lt;/a&gt;, &lt;a href=&quot;http://www.widisoft.com&quot; rel=&quot;nofollow&quot;&gt;WidiSoft&lt;/a&gt;, and others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that figuring the tune from the recording can be done only as an approximation, and the resulting accuracy depends on the sound profile of the audio content. So don't expect a 100% accuracy, you'll have to try several tools and find the one that yields the better result for your specific case.&lt;/p&gt;&#xA;" OwnerUserId="8079" LastActivityDate="2015-05-26T14:20:49.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15618" PostTypeId="2" ParentId="15611" CreationDate="2015-05-27T13:20:19.613" Score="2" Body="&lt;p&gt;You can use the Time Remapping effect, and just use keyframes to ease in/out of different speeds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/duration-speed.html&quot; rel=&quot;nofollow&quot;&gt;https://helpx.adobe.com/premiere-pro/using/duration-speed.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2015-05-27T13:20:19.613" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15619" PostTypeId="2" ParentId="15399" CreationDate="2015-05-27T13:33:25.570" Score="0" Body="&lt;p&gt;The easiest way to do that is to use the camera tracker to track the position of the camera in the shot. With the layer selected, go to &lt;strong&gt;Animation&gt;Track Camera&lt;/strong&gt;. That will start the analysis of the layer which you can monitor in the effect controls window. Once it has done the analysis (it can take a very long time) the &lt;strong&gt;Create Camera&lt;/strong&gt; button will be activated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/1cZdF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hit that button, and a 3D camera will be created. This camera matches the position of the camera that took the shot (in theory). So now if you add your graphic elements as 3D layers, the 3D camera will record them as if they were part of the original scene being recorded by the original camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that the video layer stays as a 2D layer in the background, because it already has the 3D camera's movement in it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-05-27T13:33:25.570" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15620" PostTypeId="2" ParentId="15568" CreationDate="2015-05-27T13:46:28.013" Score="0" Body="&lt;p&gt;Unfortunately, I'm pretty sure Premiere doesn't have the capability you described. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way I know to make searching through the project folders a bit easier is to use Prelude (assuming you have access to it as a part of Creative Cloud) to rename all your files easily. Prelude can add an incrementing number to the front or back of the name of each clip, which can make it easier to find out which clip you just viewed (if you're watching Clip 005, then Clip 004 was the one before it). &lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2015-05-27T13:46:28.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15621" PostTypeId="1" AcceptedAnswerId="15632" CreationDate="2015-05-27T16:19:03.007" Score="1" ViewCount="1760" Body="&lt;p&gt;The library I work at has been converting VHS tapes to DVDs. They used a &lt;a href=&quot;http://www.magnavox.com/product/product.php?id=118&quot; rel=&quot;nofollow&quot;&gt;Magnavox ZV427MG9&lt;/a&gt;. The DVDs play in Windows Media Player, but the seek bar doesn't work. It works fine in VLC Player. It is essential that they play in WMP, because that is the supported institutional standard here. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would it take to re-encode the DVDs so that the seek bar works? Can it be done in a lossless way, or would the VHS tapes need to be transferred again using a different method?&lt;/p&gt;&#xA;" OwnerUserId="10652" LastActivityDate="2015-05-28T10:22:55.043" Title="Change codec so seek bar works in Windows Media Player" Tags="|codec|windows|dvd|vhs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15622" PostTypeId="2" ParentId="15558" CreationDate="2015-05-27T17:47:06.397" Score="2" Body="&lt;p&gt;Short answer: no, 4K down-scaled to 1080p is not necessarily going to give you a better result than filming with a FullHD camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The SONY A7S is the hands-down best low-light video camera for less than $34,000.  (The Panasonic Varicam S35 and the Alexa can shoot better images, albeit at much higher costs).  Here's a surf video shot entirely by moonlight, which is just nuts: &lt;a href=&quot;https://vimeo.com/108613669&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/108613669&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But beware: often people say they want lowlight capabilities because they really just don't want to be bothered with lighting.  Most times, that means boring, flat-looking video.  Good lighting is what gives images depth and makes scenes pop.  If you blow off lighting, you cannot blame the camera for mediocre results.  Even dark scenes in movies are often very well lit: &lt;a href=&quot;https://www.royalholloway.ac.uk/mediaarts/documents/pdf/lightingfordarkness.pdf&quot; rel=&quot;nofollow&quot;&gt;https://www.royalholloway.ac.uk/mediaarts/documents/pdf/lightingfordarkness.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not all FullHD cameras are created equal.  Canon's Cinema line (C100, C300, C500) have none of the pixel-skipping nonsense of the EOS5D3.  Their FullHD images are going to look much, much better than those that come from Canon DSLRs.  And of course, there are 4K (and up) cameras that are so excellent that yes, they will beat a FullHD camera all day long, because they are just plain better (and usually much more expensive).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For your pricepoint (2000 Euros), a good 4K camera will give you some nice footage that allows you to pull a decent still from the stream and post it as an image.  A good FullHD camera will likely give you better sensitivity, and thus theoretical better low-light performance.  But chances are those benefits are in the noise compared to all the other things you cannot do for 2000 EUR, such as proper lighting.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-05-27T17:47:06.397" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15623" PostTypeId="2" ParentId="12163" CreationDate="2015-05-27T18:57:54.713" Score="1" Body="&lt;p&gt;Adobe has this concept of &quot;target tracks&quot; in the sequence window.  On the left side of the media locked/unlocked icon is the &quot;source patching for inserts and overwrites&quot;.  On the right side of the media locked/unlocked icon is the &quot;toggle track targeting for this track&quot;.  When off, the track name (such as V1 or V2 or A1 or A2) is gray and when on, it's blue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Chances are good that you left those targeting features well enough alone, and the Adobe defaults are to indeed enable track targeting for your tracks.  When track targeting is blue for only empty tracks, inserting a new video clip does just what you'd expect: it puts the new video and audio into unused tracks.  However, if targeting is on for tracks that already have audio, then when you go to insert the new clip does what you might not expect: it just overwrites the audio clip of the targeted track and that's that.  It does not create a new track for your audio.  If you've inserted 15 clips, it's quite possible that you have audio only from the last clip you added, and that it overwrote the 14th clip's audio track which overwrote the 13th clip's audio track, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's an answer on VP as to how to restore the lost audio clips (&lt;a href=&quot;https://video.stackexchange.com/questions/13489/adobe-premiere-restore-audio-to-a-v-clip-after-deleting&quot;&gt;Adobe Premiere - Restore Audio to A/V Clip After Deleting&lt;/a&gt;).  My answer explains how to not do that in the first place.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-05-27T18:57:54.713" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15624" PostTypeId="2" ParentId="15286" CreationDate="2015-05-27T20:54:54.657" Score="1" Body="&lt;p&gt;If you are saving frames from PP using the snapshot tool, then by default it's saving a file that's of the form SEQUENCENAME_TIMECODE.  If you know the date/time of the start of the sequence, you can compute frame-accurate metadata by adding the timecode of the image to the adjusted datetime of the sequence start.  (By adjusted datetime, I mean that if your sequence starts at 01:00:00:00 and your actual clip was 16:20:25:15 on Apr 1, 2014, then you need to subtract one hour from the clip time to account for the SMPTE offset).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for programming languages that will do what you want, look at bash (the Bourne Again Shell), Python, and/or Perl.  Perl is wicked cool in how it can slice and dice strings, do math, and put the strings back together.  But it is also wicked hard to learn idiomatically.  Python may be the best starting point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EXIFtool is a great way to embed correct metadata into image files: &lt;a href=&quot;http://www.sno.phy.queensu.ca/~phil/exiftool/&quot; rel=&quot;nofollow&quot;&gt;http://www.sno.phy.queensu.ca/~phil/exiftool/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And it's a way to learn some Perl while you are at it.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-05-27T20:54:54.657" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15625" PostTypeId="1" CreationDate="2015-05-27T22:25:00.293" Score="1" ViewCount="298" Body="&lt;p&gt;I am a beginner AE user and a much more proficient Ps user.  Can I somehow duplicate the comp and lower opacity of the top one and move the bottom one on the timeline to manually line up frames so that I can find a great start and end of the loop ( these are videos of people for example)?  I am willing to go any extra mile so that there is no &quot;jump&quot; whatsoever.  Can I use a transform tool to line them up?  I just have no idea how to do this and would love some advice.  I would think there would be a tried and true way to create a true seamless loop with no jump whatsoever or evidence of a cross fade? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you for taking the time to answer!  Lisa&lt;/p&gt;&#xA;" OwnerUserId="10934" LastActivityDate="2015-05-27T22:25:00.293" Title="How to create a seamless loop in AE without a dissolve or crossfade?" Tags="|after-effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15626" PostTypeId="1" CreationDate="2015-05-28T00:38:22.850" Score="1" ViewCount="1767" Body="&lt;p&gt;If I save Adobe Premier Pro (CS6) projects under different names as I go along to mark my progress, are the preview files in the associated folder no longer used?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, if I save a project as: &quot;video v1.prj&quot;, and then render some video in the edit window, and then save it under a different name as &quot;video v2.prj&quot; does premier use any pre-rendered files in the old directories?  Or can I delete those pre-rendered files if I'm no longer using that version of the project without causing any data loss other than any pre-rendering for that particular project version?&lt;/p&gt;&#xA;" OwnerUserId="10935" LastActivityDate="2015-10-01T07:27:14.710" Title="Saving/renaming a project and preview files" Tags="|premiere|preview|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15627" PostTypeId="1" CreationDate="2015-05-28T00:50:45.870" Score="2" ViewCount="891" Body="&lt;p&gt;I have an older Mac Pro, and I am not able to run Final Cut Pro X because of graphics card limitations.  However, because I have it installed, it seems like the codecs are present that are required for iMovie.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We are capturing video on a Hyperdeck Studio Pro 2 and using the Apple ProRes encoding. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I can do an import, and iMovie will import the file. However, this takes so long that I can only assume it is converting the ProRes file into something else, and it's very disruptive to the workflow. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Besides the massive wait time to import the files, iMovie seems fine for our editing process, which involves trimming the video, adding an intro slide at the beginning, and exporting to Vimeo. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some way in iMovie to edit the ProRes file directly so that I can skip the import step?  I feel like I should just be able to open it in iMovie, and start editing right away.  &lt;/p&gt;&#xA;" OwnerUserId="10933" LastActivityDate="2017-10-25T09:03:28.203" Title="Can you edit Apple ProRes in iMovie '11?" Tags="|imovie|prores|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15629" PostTypeId="1" AcceptedAnswerId="15630" CreationDate="2015-05-28T01:05:38.627" Score="1" ViewCount="562" Body="&lt;p&gt;Is there a way to connect a Hyperdeck Studio Pro 2 directly to a computer, and edit the video files directly? It has a Thunderbolt connection, but it says that it's for &quot;capture of video and audio&quot; which sounds like you would be capturing to a file on the computer, rather than reading the previously captured file on the SSD. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.blackmagicdesign.com/products/hyperdeckstudio/techspecs/W-HYD-03&quot; rel=&quot;nofollow&quot;&gt;https://www.blackmagicdesign.com/products/hyperdeckstudio/techspecs/W-HYD-03&lt;/a&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently our process involves removing the two SSD's from Hyperdeck, and putting them into an SSD Dock.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That introduces several adverse variables into the workflow:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The video capture person may forget to remove them and dock them at the computer. This matters because the editing person works remotely, and logs into the editing computer. &lt;/li&gt;&#xA;&lt;li&gt;The dock connections are fiddly, and I can see over time that the SSD's SATA connectors will be stressed and become a point of failure. &lt;/li&gt;&#xA;&lt;li&gt;It seems unnecessary.  It would be better to just read the files directly off the deck so that the drives can stay where they are. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="10933" LastActivityDate="2015-09-25T09:01:31.750" Title="Can you read video files off a HyperDeck Studio Pro 2?" Tags="|video|ssd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15630" PostTypeId="2" ParentId="15629" CreationDate="2015-05-28T06:23:53.730" Score="1" Body="&lt;p&gt;As the &lt;a href=&quot;http://documents.blackmagicdesign.com/HyperDeck/HyperDeck_Manual_2015-01-19.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;HyperDeck manual mentions&lt;/a&gt; :&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Accessing Your Clips&#xA;To access your clips, simply connect the SSD to&#xA;your computer using an SSD dock. You can either drag the files from&#xA;the SSD directly to a local hard drive, or you can work directly from&#xA;the SSD.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;There's no mention of reading the clips via the Thunderbolt interface.&lt;/p&gt;&#xA;" OwnerUserId="9147" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-05-28T06:23:53.730" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15631" PostTypeId="1" AcceptedAnswerId="15655" CreationDate="2015-05-28T07:01:42.493" Score="2" ViewCount="245" Body="&lt;p&gt;This is probably a dumb question but bear with me. If my raw video file size is smaller, will that speed up rendering time? Let's say I have a 500 mb video clip, and one that is 250 mb, but the same length. Will the 250 mb one render faster on the same settings?&lt;/p&gt;&#xA;" OwnerUserId="10937" LastActivityDate="2015-06-29T13:37:40.373" Title="Does file size affect render speed in Sony Vegas?" Tags="|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15632" PostTypeId="2" ParentId="15621" CreationDate="2015-05-28T10:22:55.043" Score="1" Body="&lt;p&gt;The problem is probably not WMP but the Microsoft MPEG-1 codec. The straight forward solution other than using a decent player is to use a better codec pack - &lt;a href=&quot;http://ffdshow-tryout.sourceforge.net/&quot; rel=&quot;nofollow&quot;&gt;ffdshow&lt;/a&gt;, it feeds WMP through the operating system level. Besides the seek issue you'll probably get better playback performance, and it doesn't require any end-user involvement - they continue to use WMP as usual.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If touching the end-user's machine is entirely out of the question then you'll have to transcode the video to something else. You'll probably get the best results (file size, quality, compatibility) by transcoding to H.264/AAC (mp4), although the encoding process is heavier/longer than alternatives such as MPEG2. You'll need for that &lt;a href=&quot;http://ffmpeg.org/&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt; and start with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i mpeg1filename outputfilename.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There are &lt;em&gt;tons&lt;/em&gt; of options that will affect the transcoding quality and speed, and much of your success will depend on trial and error with your specific footage. All that said, your first choice should be to install ffdshow on the end-user machine.&lt;/p&gt;&#xA;" OwnerUserId="8079" LastActivityDate="2015-05-28T10:22:55.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15633" PostTypeId="2" ParentId="15602" CreationDate="2015-05-28T10:36:19.203" Score="0" Body="&lt;p&gt;You can buy a VHS Player, it will be much cheaper than an agency and there are plenty of PAL/SECAM units on &lt;a href=&quot;http://www.ebay.com/bhp/pal-vhs-player&quot; rel=&quot;nofollow&quot;&gt;ebay&lt;/a&gt;, most if not all will ship to Canada. Some are brand new. Check for the voltage - you might need a 220V to 120V transformer. Any analog TV card should be able to convert the VCR output to USB - AFAIK they all support PAL, NTSC and SECAM. The whole thing should cost less than $100 CAD.&lt;/p&gt;&#xA;" OwnerUserId="8079" LastActivityDate="2015-05-28T10:36:19.203" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15634" PostTypeId="2" ParentId="15597" CreationDate="2015-05-28T10:55:36.063" Score="7" Body="&lt;p&gt;If the frame-rate is not too high and you can associate a frame with a precise timestamp then the easiest would be to add the metadata as textual subtitles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other option is to mux the metadata as standard headers in &lt;code&gt;.mp4&lt;/code&gt; or similar container format. &lt;code&gt;.mp4&lt;/code&gt; can be broken down into multiple fragments, each one with its own header, and theoretically this can be done per frame. However, doing that for more than a few frames is extremely inefficient in terms of file size and performance. A variation of this method would be to extract every frame as an image (e.g. JEPG), and set its metadata.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yet another option is to use stenography without any hacking, you just encode the metadata into a separate stream which is timestamp-synced with the main video stream. Most modern container formats, including &lt;code&gt;.mp4&lt;/code&gt;, can accommodate multiple video streams in the same container (e.g., you can label the encoded metadata stream as the same content but in another language).&lt;/p&gt;&#xA;" OwnerUserId="8079" LastActivityDate="2015-05-28T10:55:36.063" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15635" PostTypeId="2" ParentId="15570" CreationDate="2015-05-28T11:15:25.050" Score="1" Body="&lt;p&gt;Run the video through the ffmpeg &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;nofollow&quot;&gt;crop&lt;/a&gt; filter, the link I gave has the full description with examples.&lt;/p&gt;&#xA;" OwnerUserId="8079" LastActivityDate="2015-05-28T11:15:25.050" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15636" PostTypeId="2" ParentId="15610" CreationDate="2015-05-28T12:20:08.783" Score="1" Body="&lt;p&gt;My guess is that it's simply because the photo was shot in a much higher resolution than the video. Even though they were downscaled to the same resolution, a (previously) higher-resolution image will look better in this situation in the same way that a clip shot in 4K will look better on a 1080p monitor than a clip shot in 1080p on the same monitor.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2015-05-28T12:20:08.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15637" PostTypeId="2" ParentId="15567" CreationDate="2015-05-28T12:24:07.887" Score="1" Body="&lt;p&gt;There's no native support for any sort of &quot;Picture-in-Picture&quot; functionality in Windows Movie Maker, so unfortunately, what you are asking cannot be done in WMM.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2015-05-28T12:24:07.887" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15638" PostTypeId="2" ParentId="15565" CreationDate="2015-05-28T12:26:49.927" Score="1" Body="&lt;p&gt;You shouldn't notice in major downgrades in quality from a slower card (which I'm assuming is the main difference between the &quot;expensive&quot; cards and &quot;normal&quot; cards you mention). Higher speeds are required for newer cameras (like the more recent GoPros) that shoot in a much higher resolution and/or frame rate that need to be able to write a lot of information very quickly to the card. You should be more than fine with a class 10 card for the original GoPro HD.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2015-05-28T12:26:49.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15639" PostTypeId="1" CreationDate="2015-05-28T14:04:06.223" Score="1" ViewCount="35" Body="&lt;p&gt;Here's the thing:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We wish to display the same browser window (with 3 html5 canvas), on a wall, however, it needs to be masket only on certain points of that wall.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, in between the wall, there will be some objects that we wish NOT to have the projector to project, like so:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;------------------------------ WALL --------------------------&lt;/p&gt;&#xA;&#xA;&lt;p&gt;|&lt;strong&gt;(canvas1)&lt;/strong&gt;| real flower |&lt;strong&gt;(canvas2)&lt;/strong&gt;| real flower |&lt;strong&gt;(canvas3)&lt;/strong&gt;|&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We can connect a PC, with a graphic card with 3 outputs, OR we can have 3 graphic cards, with 3 projectors, and perhaps that will work but, does anyone know a way for doing this otherwise? For example, using one single projector?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you in advance&lt;/p&gt;&#xA;" OwnerUserId="10938" LastActivityDate="2015-07-28T11:52:33.437" Title="How to display a video on different wall sections only?" Tags="|projector|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15641" PostTypeId="1" CreationDate="2015-05-28T17:30:45.387" Score="3" ViewCount="2047" Body="&lt;p&gt;I want to create reusable video projects and merge them with other projects. For example - create an ending with a copyright notice, a website url, and some more information, and then use that as the ending for multiple videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course this can be done by simply merging the video &lt;em&gt;output&lt;/em&gt; (as I've seen suggested on several threads), but that would reduce the quality. Is there any way to merge a project into another project so as to preserve the quality?&lt;/p&gt;&#xA;" OwnerUserId="6255" LastActivityDate="2021-07-30T18:00:08.300" Title="Merge a Premiere-Elements project into another project" Tags="|premiere-elements|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15642" PostTypeId="2" ParentId="15641" CreationDate="2015-05-28T19:37:33.290" Score="1" Body="&lt;p&gt;I'm not sure if that can be done in Premiere Elements. In Premiere Pro, you can import sequences from other projects, which would accomplish what you're asking for, but as far as I know, you can't do that in Premiere Elements.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2015-05-28T19:37:33.290" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15643" PostTypeId="1" CreationDate="2015-05-28T20:11:04.820" Score="1" ViewCount="40" Body="&lt;p&gt;I have hundreds of high quality films with transcriptions that need to be cut into short video clips per transcription line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I need one video clip per one transcription line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;video_clip_home_0023.mp4&lt;/li&gt;&#xA;&lt;li&gt;video_clip_home_0023.srt&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;It would be even better to also have an image thumbnail for each clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would be the best way to do it?&lt;/p&gt;&#xA;" OwnerUserId="10941" LastActivityDate="2015-05-28T20:11:04.820" Title="Cut Video Clips Per Transcription Line" Tags="|video|video-editor|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15644" PostTypeId="2" ParentId="15116" CreationDate="2015-05-28T21:49:10.213" Score="1" Body="&lt;p&gt;You should try &lt;a href=&quot;http://www.ffsplit.com/&quot; rel=&quot;nofollow&quot;&gt;FFsplit&lt;/a&gt;, is easy to use and free. With proper settings you should loose few or no data at all.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Setup the encoder to match the quality (bitrate and aspect ratio) of the original file.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Add a new layer of window capturing, and adjust width, height and origin (x,y) to capture only the region of the video&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Setup hotkeys on ffsplit so you can start the streaming when the video player is on focus&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Start your stream first then play you video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Find a quick-start guide here on &lt;a href=&quot;http://help.twitch.tv/customer/portal/articles/1279750-ffsplit-broadcasting&quot; rel=&quot;nofollow&quot;&gt;twitch.tv help&lt;/a&gt;, althoug this an old document, the new version of ffplist has few, but nice changes&lt;/p&gt;&#xA;" OwnerUserId="10943" LastEditorUserId="6685" LastEditDate="2015-06-01T06:42:39.760" LastActivityDate="2015-06-01T06:42:39.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15645" PostTypeId="1" CreationDate="2015-05-29T02:07:17.097" Score="5" ViewCount="316" Body="&lt;p&gt;I'm am doing a short Product demo for our company, intended as a give-away on Dvd (for the moment only burned Discs, no pressed ones).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The whole filming and editing is done in 1080p and since the video is less than 10 minutes long, I wondered whether it's possible to author a hybrid type of disc? I am aware that there exists a thing called &quot;hybrid bluray/dvd&quot; from Pony/Canon which basically consists of two entirely separated disc-structures on different layers (&lt;a href=&quot;http://www.readwriteweb.com/archives/hybrid_blu-ray_dvd_disc_announ.php&quot;&gt;see here&lt;/a&gt;) however, that is not what I am looking for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I try to find out if a disc-structure can be created where the DVD &quot;VIDEO_TS&quot;-folder is on the same UDF-filesystem as the &quot;AVCHD&quot;-Bluray folder. When the Disc is inserted in a DVD-Player, it just ignores the Bluray-content. The tricky bit probably is to get a Bluray-player to read the HD-content rather than to fall back into DVD-compatibility mode, I guess.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anybody know of such a technology and possibly how this can be achieved?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="10944" LastActivityDate="2020-12-07T09:27:25.313" Title="Is it possible to create a hybrid Dvd/Bluray?" Tags="|bluray|dvd|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15647" PostTypeId="1" AcceptedAnswerId="15648" CreationDate="2015-05-29T06:04:02.403" Score="0" ViewCount="90" Body="&lt;p&gt;I'm wondering if there is a quick and easy way to synchronize a video of a conference speaker with the slides that the speaker shows without having to manually edit them in Premiere or Final Cut. The result should look something like this: https://youtu.be/o12-90Dm-Qs?t=699&#xA;Also I want to avoid another camera just to record the presentation.&lt;/p&gt;&#xA;" OwnerUserId="8064" LastActivityDate="2015-05-29T06:32:40.857" Title="Sync presentation with video of the speaker" Tags="|video|premiere|final-cut-pro|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15648" PostTypeId="2" ParentId="15647" CreationDate="2015-05-29T06:32:40.857" Score="1" Body="&lt;p&gt;Without having to do anything? No, that's probably impossible. How would the computer know when to switch to the next slide? What you could to is capture a video of the screen of the computer used to show the presentation using some software like &lt;a href=&quot;http://www.fraps.com/&quot; rel=&quot;nofollow&quot;&gt;fraps&lt;/a&gt; and synchronize the screen capture and the camera recording. However, this has two downsides; screen capture software tends to produce very large video files, which could fill up a the hard-drive of a normal laptop really quick. Also, your video quality would be far from perfect. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I would probably do to minimize working hourse is capture a small (i.e. SD) version of the presentation and use that to insert the slides manually in Premiere (or whatever you're using). If you have the screen capture as an indicator as to when each slide was shown, inserting the original ones in another video track at the right times should be a matter of minutes ...&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-05-29T06:32:40.857" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15649" PostTypeId="2" ParentId="15639" CreationDate="2015-05-29T10:33:25.393" Score="1" Body="&lt;p&gt;With even the most simple projector, if part of the image is black, then nothing will be projected at that point, so why not set up your image to be: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;|(canvas1)| blank space |(canvas2)| blank space |(canvas3)|&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Deciding whether that space should be black, white or some other colour is down to you - do you want your real flowers lit? If so, make it a white space&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2015-05-29T10:33:25.393" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15651" PostTypeId="1" CreationDate="2015-05-29T13:47:01.120" Score="1" ViewCount="9073" Body="&lt;p&gt;Is it possible to capture the screen (video) with Movie Studio Platinum 13 ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if yes , where do I do that ?&lt;/p&gt;&#xA;" OwnerUserId="5058" LastActivityDate="2016-08-15T19:26:05.193" Title="Is it possible to capture the screen (video) with Movie Studio Platinum 13?" Tags="|vegas-pro|video-capture|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15653" PostTypeId="1" CreationDate="2015-05-29T17:30:54.053" Score="3" ViewCount="275" Body="&lt;p&gt;I understand from reading youtube api tos that selling youtube content is prohibited.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But here's how my business works:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I sell a physical product, let's say CDs.&lt;/li&gt;&#xA;&lt;li&gt;On the cover of the CD is a QR code and a serial number, when you scan the QR code you will download my app.&lt;/li&gt;&#xA;&lt;li&gt;Inside the app there are a few unlisted youtube videos, but they are locked.&lt;/li&gt;&#xA;&lt;li&gt;In order to unlock it, you need to put the unique serial number that is on the back of the CD.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Why I make this model is to make sure that the people who watch my video have bought my CD. Now does this model break the youtube api tos or not?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://developers.google.com/youtube/terms&quot; rel=&quot;nofollow&quot;&gt;https://developers.google.com/youtube/terms&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="10949" LastEditorUserId="6685" LastEditDate="2015-06-01T06:42:43.617" LastActivityDate="2015-07-01T14:59:41.060" Title="Does My Business Model Break Youtube API TOS?" Tags="|youtube|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15654" PostTypeId="1" CreationDate="2015-05-30T12:09:10.840" Score="2" ViewCount="690" Body="&lt;p&gt;I tend to take quite a lot of video screencasts to illustrate bugs and features to 3rd parties during web development projects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To achieve this is I use Quicktime on my Mac and then go to &quot;File &gt; New screen recording&quot;, record the video and press &quot;Stop&quot;. Then it asks me to save the video which I do, but it always comes out as a very large file, for instance a 30 second video depending on how much I scroll on the screen can be 50mb (not the best for sharing).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the moment to get around this before I share the videos on email or in Trello (project management tool) I setup a queue in Handbrake and run all the videos through there in the 'normal setting'. This reduces them to about 7mb each with as near which makes no noticable difference. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only issue is that as a workflow this is a bit of pain. Is there a way I can save lower size videos direct from Quicktime? I've researched saving at 720p which does very little for the file size and 480p which gives me an iphone sized video which is too small to use.&lt;/p&gt;&#xA;" OwnerUserId="2394" LastEditorUserId="16039" LastEditDate="2016-07-01T19:27:57.617" LastActivityDate="2016-07-01T19:27:57.617" Title="Screencasts from quicktime are too large to share" Tags="|screen-casting|quicktime|handbrake|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="15655" PostTypeId="2" ParentId="15631" CreationDate="2015-05-30T13:00:26.180" Score="1" Body="&lt;p&gt;It depends of codec/frame size in these files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;H.265 will render slower then H.264&#xA;FullHD will render slower then SD&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More information about source files needed.&lt;/p&gt;&#xA;" OwnerUserId="6615" LastActivityDate="2015-05-30T13:00:26.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15656" PostTypeId="2" ParentId="15653" CreationDate="2015-05-30T19:27:59.667" Score="1" Body="&lt;p&gt;It is probably okay, see section 2 (bolding is mine):&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;The following commercial uses are &lt;strong&gt;permitted&lt;/strong&gt; provided that You comply with all other terms and conditions of this Agreement:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the sale of an API Client&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;To get a definitive answer you should consult a professional legal counsel, so that the counseling that you get is backed by professional liability.&lt;/p&gt;&#xA;" OwnerUserId="8079" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-05-30T19:27:59.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15657" PostTypeId="1" AcceptedAnswerId="15662" CreationDate="2015-05-31T03:41:49.170" Score="4" ViewCount="152" Body="&lt;p&gt;What is the recommended way to copy AVCHD data from SD card to a hard drive for later processing? My video camera would be going on an extended trip and the post-processing will be done after the trip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should the whole top level folder (&quot;/private&quot; in my camera SD Card&quot;) be copied to individual folder on the hard drive? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or is there a better method so that post-processing would be easier?&lt;/p&gt;&#xA;" OwnerUserId="10955" LastActivityDate="2015-06-07T17:48:53.660" Title="Archiving AVCHD from camera for later processing" Tags="|post-production|avchd|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15658" PostTypeId="1" AcceptedAnswerId="15668" CreationDate="2015-05-31T19:32:35.200" Score="0" ViewCount="437" Body="&lt;p&gt;I am using Recordmydesktop to record skype conversations. After an important recording, I went to the linux terminal where the recording was supposed to be taking place and all I could see was:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Segmentation fault (core dumped)&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recordmydesktop does to me this kind of thing sometimes, usually it happens with the most important recordings. Please provide a working alternative desktop recording software for linux.&lt;/p&gt;&#xA;" OwnerUserId="4658" LastEditorUserId="4658" LastEditDate="2015-06-15T04:51:29.887" LastActivityDate="2015-06-15T04:51:29.887" Title="Alternatives to recordmydesktop?" Tags="|video-recording|video-capture|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15659" PostTypeId="1" CreationDate="2015-05-31T22:55:45.493" Score="2" ViewCount="1365" Body="&lt;p&gt;I want to make videos for youtube, and I want to encode my videos in MPEG-4, but the PowerDirector 10 says that I need to activate the video codification by hardware and I activated it in the preferences, but I can't activate it in the produce tab. I searched how to solve this and I didn't find anything useful. I downloaded K-lite mega codec pack and I downloaded the VLC H264 encoder, but i can't install the VLC H264 because I dont know how and I didn't find any tutorials about this.&#xA;So if someone could help me, I would appreciate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;NOTE:&lt;/strong&gt; I don't know much about these codecs and stuff, but im not a noob at PC.&lt;/p&gt;&#xA;" OwnerUserId="10794" LastActivityDate="2015-06-05T19:29:23.630" Title="H.264 encoding in PowerDirector 10" Tags="|video-editor|codec|encoding|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15660" PostTypeId="1" AcceptedAnswerId="15664" CreationDate="2015-06-01T03:02:39.677" Score="3" ViewCount="2565" Body="&lt;p&gt;I have a wmv video file that was recorded using widows media encoder. However, while recording, the computer lost power and the video is was not &quot;completed&quot;. The video will play in most player, however, it reads that it is 0:00:00 minutes long. So when I try to seek the video the player either freaks out and crashes or it won't do anything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried loading the video in Vegas Pro, but it didn't work. Vegas Pro sees it as an infinitely small clip, rather than the whole thing. So I can't edit it either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was able to convert it to an Mp4 in handbrake, but now that I have to do some editing on &lt;em&gt;that&lt;/em&gt;, I'm going to lose significant quality. I would rather not have to do this and just be able to find the index file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can I do about this? Is there a program or feature in some program that can reanalyze the video and give it a proper time index (if that's what this is called)?&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2015-06-01T03:54:17.667" LastActivityDate="2015-06-01T10:57:31.107" Title="How to recover a video that has no time index?" Tags="|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15661" PostTypeId="1" AcceptedAnswerId="15786" CreationDate="2015-06-01T07:20:43.147" Score="3" ViewCount="1766" Body="&lt;p&gt;I am in the middle of making of a short movie. I have tried dubbing in ordinary mike and later clearing the noise in adobe auditions. But it is not working for me. Can I know the best trick to dub clear voice without using any expensive gadgets. Your advice will help me in my low budget short. Thank you :)&lt;/p&gt;&#xA;" OwnerUserId="10947" LastActivityDate="2015-06-17T00:08:02.960" Title="Best way to dub the voice in a very low budget or no budget film" Tags="|post-production|audio-recording|microphone|audio-quality|noise-reduction|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15662" PostTypeId="2" ParentId="15657" CreationDate="2015-06-01T09:42:30.710" Score="2" Body="&lt;p&gt;the way I do this from my Canon 7D / 100D is pop the CF or SD card into my Mac and copy the whole card to a folder with a very simple structure&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Project_Name_Date&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;RAW_Cards&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Camera_Name_Card00x      &lt;/li&gt;&#xA;&lt;li&gt;Camera_Name_Card00x      &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If I would add in a DATE Folder under the Poject_Name for multiple days/Dates, When I get back to the studio to start editing I can then just ingest these into my system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You probably find the same system will work on a Windows PC as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other alternative would be to use a card copy application to do all of this but might make it to complex for the user in the middle.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastEditorUserId="6685" LastEditDate="2015-06-07T17:48:53.660" LastActivityDate="2015-06-07T17:48:53.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15664" PostTypeId="2" ParentId="15660" CreationDate="2015-06-01T10:57:31.107" Score="1" Body="&lt;p&gt;I've had some success with &lt;a href=&quot;http://www.videohelp.com/software/ASFTools&quot; rel=&quot;nofollow&quot;&gt;ASFTools&lt;/a&gt; and &lt;a href=&quot;http://www.videohelp.com/software/Steeper&quot; rel=&quot;nofollow&quot;&gt;Steeper WMV Repair&lt;/a&gt;. Both of these are older tools (Steeper is from 2005) so may not be able to handle later versions of WMV, but they're worth a try.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-06-01T10:57:31.107" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15665" PostTypeId="1" CreationDate="2015-06-01T14:20:33.483" Score="1" ViewCount="284" Body="&lt;p&gt;I'm sorry if this question has been asked before but the search showed up nill for me. It could be I'm wording this wrong to be honest but I appreciate and help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Essentially I have a shape that I have moving from one side of the screen to the other but instead of the animation moving at a linear speed, I want it to have an acceleration aspect to it (so it moves slower at first then speeds to full by the end)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Normally I do this by positioning and adding keyframes manually to make that effect, but it gets a bit time intensive. I'm wondering is there any effect or thing I can do to automatically add that in or make my life easier then doing it key frame by key frame?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I appreciate any help!&lt;/p&gt;&#xA;" OwnerUserId="10962" LastActivityDate="2015-06-01T16:27:28.980" Title="Changing acceleration of animation path" Tags="|after-effects|animation|motion|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15666" PostTypeId="2" ParentId="15665" CreationDate="2015-06-01T16:27:28.980" Score="1" Body="&lt;p&gt;Keyframe interpolation is essentially what you're looking for here. One really easy way to achieve this is by using modifying your &quot;keyframe velocity&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This article explains it better than I could:&#xA;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/speed.html&quot; rel=&quot;nofollow&quot;&gt;https://helpx.adobe.com/after-effects/using/speed.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2015-06-01T16:27:28.980" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15667" PostTypeId="1" AcceptedAnswerId="15669" CreationDate="2015-06-01T16:35:02.717" Score="1" ViewCount="321" Body="&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/15660/how-to-recover-a-video-that-has-no-time-index&quot;&gt;I recently had an unseekable WMV file&lt;/a&gt;. ASFTools fixed it using the &quot;Lost Chunks&quot; feature which was suggested in the selected answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What does the &quot;Lost Chunks&quot; function do? What did it fix? What are &quot;chunks&quot;? I originally tried the &quot;Make Seekable&quot; function, but that did &lt;em&gt;not&lt;/em&gt; work, so what is the difference between the two?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm very much interested in the technicalities so don't be afraid to get detailed if the answer requires it.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-06-01T17:54:24.467" Title="What was technically wrong with this unseekable wmv?" Tags="|terminology|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15668" PostTypeId="2" ParentId="15658" CreationDate="2015-06-01T17:21:23.743" Score="1" Body="&lt;p&gt;I've used both Simple Screen Recorder and Open Broadcaster Software. SSP is really simple and easy to use, and I believe it's in the Ubuntu app store. OBS requires a command line installation and the installation of ffmpeg as well, which often has to be compiled. OBS is a little more complex to use and might be overkill for your needs, but it is very powerful.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-06-01T17:21:23.743" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15669" PostTypeId="2" ParentId="15667" CreationDate="2015-06-01T17:39:43.170" Score="2" Body="&lt;p&gt;WMV is really just another name for ASF. That format, like many multimedia formats, contains its data in pieces of various types. Some formats call these packets, some call them segments. ASF, like RIFF before it, calls them &lt;em&gt;chunks&lt;/em&gt;. There are several types of chunks, the main one being the data chunk, which holds the encoded streams. There may be several data chunks in the file, mixed in with other chunk types.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other chunks can contain metadata, DRM info, text data and so on. WMV includes one called (I believe) the &lt;em&gt;index chunk&lt;/em&gt; which holds information about where the data chunks are located in the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the index chunk is corrupted or missing the file can usually be played but perhaps not seeked, or may seek randomly into the middle of GOPs. Programs like ASFTools and Steeper attempt to re-index the file by locating the data chunks and building a new index chunk if they can't locate a misplaced one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Chunks of various types begin with unique identifying headers -- byte sequences called tags -- that can be found by scanning the file. This allows a repair program to potentially reconstruct a minimally playable file from a partially corrupt one by examining the full set of chunks.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastEditorUserId="3908" LastEditDate="2015-06-01T17:54:24.467" LastActivityDate="2015-06-01T17:54:24.467" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15670" PostTypeId="1" AcceptedAnswerId="15672" CreationDate="2015-06-01T18:40:26.793" Score="1" ViewCount="164" Body="&lt;p&gt;So I'm trying to recreate an effect that was used quite a bit in the first Hulk movie. I've seen it other places, but Hulk sticks in my mind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the concept is that there are two cameras, one recording a relatively wide angle, capturing two subjects and a bit of background, and another camera recording a closer crop of one subject.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/LF9wt.png&quot; alt=&quot;Diagram&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a common setup, but what I'm focusing on is the transition between these two cameras. Normally, something as simple as a dissolve is used, but I've also seen a transition which looks like a fast zoom, but is actually a transition. This is what I'd like to know how to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I can find an example, I'll edit this post. Thank you!&lt;/p&gt;&#xA;" OwnerUserId="10754" LastActivityDate="2015-06-02T04:56:59.717" Title="Fast Zoom Effect to New Camera" Tags="|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15671" PostTypeId="2" ParentId="15568" CreationDate="2015-06-02T04:12:06.017" Score="1" Body="&lt;p&gt;I just found it by accident. Hit &lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;2&lt;/kbd&gt; to go to the source viewer window, and hit it again to cycle through the previously opened clips. There's no display to tell you which clips are in the queue, other than right-clicking on the viewer tab, and the order seems to be alphabetical rather than chronological, so you might have to hit the shortcut a number of times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Tb4Fx.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-06-02T04:12:06.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15672" PostTypeId="2" ParentId="15670" CreationDate="2015-06-02T04:56:59.717" Score="2" Body="&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;On the outgoing footage add a qucick zoom at the end, on the incoming&#xA;footage add a quick zoom at the beginning (animate the scale of the&#xA;clips using whatever tools your NLE has for this). If the outgoing&#xA;zoom is a zoom in, then zoom out, and vice-versa.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Add a dissolve between the two clips that is the same length as the&#xA;zoom. The whole thing needs to be very quick, 12 frames or so tops.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;A radial blur can help as well to simulate motion blur.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I wrote a FCP (version 7 or lower) plugin that did this as a transition effect. I can dig it out if you want it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-06-02T04:56:59.717" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15673" PostTypeId="1" AcceptedAnswerId="15675" CreationDate="2015-06-02T08:13:39.900" Score="4" ViewCount="970" Body="&lt;p&gt;I just want to have a Full shot at first and then a Medium full shot next in my video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/1Bs6O.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible if there's just one camera? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;*My camera shoot on Full HD, and the video composition in the editing software is set on Full HD too, so it's not possible to scale the video to achieve the Medium shot out of the Full.&lt;/p&gt;&#xA;" OwnerUserId="9242" LastEditorUserId="9242" LastEditDate="2015-06-02T08:32:52.913" LastActivityDate="2015-06-02T11:18:25.643" Title="How to make multiple shots when there's just one camera?" Tags="|shooting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15675" PostTypeId="2" ParentId="15673" CreationDate="2015-06-02T11:18:25.643" Score="7" Body="&lt;p&gt;This is basic film making, you would do this in multiple takes.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Take your wide shot running the whole scene you want with this shot&lt;/li&gt;&#xA;&lt;li&gt;Take you scene back to the start point, adjust the camera to the new shot and run through the scene again&lt;/li&gt;&#xA;&lt;li&gt;Rinse and repeat until you have all the shots needed to make your scene. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;You would/should have already made a shot list knowing what needs to be shot with the different camera angles, sometimes only have to act parts of scenes over and over again to get the sections of the shots needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other option would be to get a 4k/5k/6k camera and be able to punch in the shots during editing but this could cause further issues in post with file sizes, performaces, converting, encoding etc etc&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2015-06-02T11:18:25.643" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15676" PostTypeId="1" AcceptedAnswerId="15898" CreationDate="2015-06-02T11:55:49.660" Score="1" ViewCount="852" Body="&lt;p&gt;I’m looking to start recording sporting events, specifically professional wrestling and mixed martial arts (MMA) events. Initially these will be recorded for DVD, but one of the events will be self-produced and I’d like it to be of good quality that I could potentially sell it to a local TV station.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What should I look for in a HD camcorder for recording such fast-paced events?&lt;/p&gt;&#xA;" OwnerUserId="9179" LastActivityDate="2017-02-08T12:13:37.180" Title="Best HD camcorder for recording sports" Tags="|camcorder|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="15677" PostTypeId="2" ParentId="12156" CreationDate="2015-06-02T12:23:27.987" Score="2" Body="&lt;p&gt;I know this is an old question, but it just popped up again in the feed so it's new to me. (-:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing I don't see mentioned is field order. This is an interlaced file, so that's a consideration. The OP mentions the frames &quot;quivering back and forth&quot; which is always a flag for incorrect field order. If the video is otherwise OK except for the 'quivering', try adding whatever ffmpeg needs to force &quot;top field first&quot;, then the opposite if that's still wrong. I'm not familiar enough with ffmpeg details to give the exact flags for that.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-06-02T12:23:27.987" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15678" PostTypeId="1" AcceptedAnswerId="15697" CreationDate="2015-06-02T12:47:13.730" Score="0" ViewCount="5619" Body="&lt;p&gt;I have a movie on an mkv file, the movie has video, audio and the subtitles all in the mkv file but I cannot find a way to burn it to dvd including the subtitles. I need to get VIDEO_TS and AUDIO_TS files out of the mkv file so I can burn those on dvd with a program like ImgBurn.&lt;/p&gt;&#xA;&lt;p&gt;Please tell me which program I can use to get those VIDEO_TS and AUDIO_TS files (including working subtitles) out of my MKV file, I would like to keep the quality the MKV file has, and I need a program that is 100% free, I don't want a free trial.&lt;/p&gt;&#xA;&lt;p&gt;I am using Windows 8.1&lt;/p&gt;&#xA;" OwnerUserId="10965" LastEditorUserId="674" LastEditDate="2021-08-22T15:40:13.650" LastActivityDate="2021-08-22T15:40:13.650" Title="Burn MKV with subtitles on a DVD" Tags="|mkv|freeware|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="15679" PostTypeId="1" AcceptedAnswerId="15686" CreationDate="2015-06-02T14:02:19.410" Score="2" ViewCount="823" Body="&lt;p&gt;So, I've a bunch of objects inside a composition and my ideia is the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to create an expression in one of them that will change the opacity of that object to &lt;code&gt;0&lt;/code&gt; after a random time. Then I'm planning to apply this to all objects creating the effect of the objects disappearing at random.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was looking on the web, and trying to play with this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;maxOffset = 20&#xA;seedRandom(index,true);&#xA;offset = framesToTime(random(maxOffset));&#xA;valueAtTime(time-offset)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But I can't make it work the way I described. What should happen is:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Generate a random frame number between 0 and value of &lt;code&gt;maxOffset&lt;/code&gt;;&lt;/li&gt;&#xA;&lt;li&gt;When the random frame number matches current time change object&#xA;opacity to zero;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="10966" LastActivityDate="2015-06-12T00:45:22.907" Title="AE: Hide object after random time" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15681" PostTypeId="1" CreationDate="2015-06-02T15:44:12.323" Score="0" ViewCount="21" Body="&lt;p&gt;A while ago I made a short test animation. It was a red circle on a white background. Every time I create a new project or composition, there is always a picture of that red circle. The only time it doesn't show is when the video I am trying to edit is playing. I tried resetting my preferences and that didn't help. &lt;/p&gt;&#xA;" OwnerUserId="10967" LastActivityDate="2015-06-02T15:44:12.323" Title="Old layer shows up when playing the timeline without video" Tags="|after-effects|adobe|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15682" PostTypeId="1" CreationDate="2015-06-02T20:52:20.510" Score="1" ViewCount="64" Body="&lt;p&gt;I always get a brownish-green hue around me when I edit out the green screen in after effects. Is the problem the lighting, green screen editing, etc. Can someone please help.&lt;/p&gt;&#xA;" OwnerUserId="10967" LastEditorUserId="10967" LastEditDate="2016-09-05T02:50:54.717" LastActivityDate="2016-09-12T17:17:51.300" Title="I keep on getting a brownish-green hue around me" Tags="|after-effects|adobe|greenscreen|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15683" PostTypeId="1" CreationDate="2015-06-02T23:34:53.423" Score="2" ViewCount="367" Body="&lt;p&gt;I'm recording with a Sony camera that records with the AVCHD codec. Unfortunately, as others have also observed, this format is choppy when trying to edit in Adobe Premiere Pro CS6.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best codec to transcode to that will ensure the highest quality video with no choppiness in the editor?&lt;/p&gt;&#xA;" OwnerUserId="10969" LastActivityDate="2015-06-03T05:42:05.120" Title="Transcoding AVCHD To Something That Isn't Choppy In Adobe Premiere Pro CS6" Tags="|premiere|editing|transcoding|avchd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15684" PostTypeId="2" ParentId="15626" CreationDate="2015-06-03T05:25:44.990" Score="1" Body="&lt;p&gt;If you rename a project it continues to link to the old preview files. Any new preview files Premiere creates are saved in a new folder with the updated project name. So you'd be using media from two different folders at that point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you delete the old preview files then Premiere will just re-render them when needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tested this by creating a project called &lt;strong&gt;test&lt;/strong&gt;, adding some clips and applying effects and rendering. Render files were created on my scratch disk in a folder called &lt;strong&gt;test.PRV&lt;/strong&gt;. Then I saved the project as &lt;strong&gt;test-rename&lt;/strong&gt;. When I closed and reopened it the clips I had rendered still had the green bar above them, and played back fine, though at this point there was no &lt;strong&gt;test-rename.PRV&lt;/strong&gt; folder in my preview folders.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I moved the original render file from the &lt;strong&gt;test.PRV&lt;/strong&gt; folder and re-opened the &lt;strong&gt;test-rename&lt;/strong&gt; project the bar went red. When I rendered it the resulting file was saved in a new &lt;strong&gt;test-rename.PRV&lt;/strong&gt; folder. QED.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that Premiere gets confused if you remove the render files while the project is open. It doesn't realise that the preview files are missing, and behaves erratically.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-06-03T05:25:44.990" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15685" PostTypeId="2" ParentId="15683" CreationDate="2015-06-03T05:42:05.120" Score="1" Body="&lt;p&gt;What you can do is create an &quot;offline&quot; version of your footage, and then once the edit is complete do an &quot;online&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pick a codec that is good to edit in, e.g all I-frame mpeg, or proRes / DNxHD or even HDV. The quality isn't actually too important, because before you make your master you delete the transcoded copies, and re-link to your camera footage. Then you can master off the original footage with zero quality loss.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that doesn't work for you, then the first three codecs I mentioned will be an acceptable compromise. ProRes and DNxHD have the advantage of greater colour depth, at the cost of greater storage size, though since AVCHD is only 8-bit to start off with the advantage might be negligible. Whatever you choose, you want something that is all I-frame for editing.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-06-03T05:42:05.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15686" PostTypeId="2" ParentId="15679" CreationDate="2015-06-03T05:56:17.730" Score="2" Body="&lt;p&gt;I'm not sure what the &lt;code&gt;valueAtTime&lt;/code&gt; function is trying to achieve. That takes the value of the property at the given time. In the script you wrote it would sample the value of the opacity at a point a random number of seconds in the past, some time between the current time and maxOffset seconds ago. Unless the opacity changes during that time it won't do anything at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Expressions are Javascript, so you can use all the Javascript language elements, including &lt;code&gt;if&lt;/code&gt; and &lt;code&gt;else&lt;/code&gt;. Thus:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;maxOffset = 20;&#xA;minOffset = 1;&#xA;seedRandom(index,timeless=true);&#xA;if (time&amp;gt;random(minOffset, maxOffset)){0}else{value}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will turn off the layer at some time between 1 and 20 seconds for each layer. If the opacity channel is already animated it will use the animated value up until the time it turns off. To change this so that it is 100% on until it turns off, substitute &lt;code&gt;{100}&lt;/code&gt; for &lt;code&gt;{value}&lt;/code&gt; in the last line&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="6685" LastEditDate="2015-06-12T00:45:22.907" LastActivityDate="2015-06-12T00:45:22.907" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15688" PostTypeId="2" ParentId="15682" CreationDate="2015-06-03T13:15:08.110" Score="1" Body="&lt;p&gt;Lighting could definitely be part of the problem here. Typically, for green screen work, it helps to have a light between yourself and your green screen to get rid of those shadows behind you (sort of like a backlight).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To fix your current footage, I'd increase the sensitivity of your chroma key in After Effects, since it looks like AE is essentially leaving a thin outline of the screen around you. If you increase your tolerance, you should see that outline shrink a bit. Feathering the edges of your image can help with this, too.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2015-06-03T13:15:08.110" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15690" PostTypeId="1" CreationDate="2015-06-03T18:52:01.840" Score="2" ViewCount="2526" Body="&lt;p&gt;I read that it is better to extract from vob H264 files within a .ts to have a lossless and more accurate sample, easy to cut, is that correct ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used these commands :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i VTS_01_1.VOB  -acodec libfaac -aq 100 -ac 2 -vol 2048 -vcodec libx264 -preset veryslow -crf 18 -threads 2 manu1.mp4&#xA;&#xA;ffmpeg -i manu1.mp4 -c copy -bsf:v h264_mp4toannexb -f mpegts intermediate1.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I did extract two video samples from the intermediate .ts file with that kind of command : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 43 -i intermediate1.ts -vcodec copy -vframes 1400 -acodec copy 1-manubus.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;if I play separately this .ts files in vlc, they are both completely decoded, no frames are missing&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finalization :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -analyzeduration 200M -probesize 150M -i &quot;concat:1-manubus.ts|2-manuchoisit.ts&quot; -c:v libx264 -crf 18 -preset slow -bsf:a aac_adtstoasc -force_key_frames 0 1990-Manu_Redpants.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But then, When I play the final file, the first 6 sec are a frozen frame and then comes the audio and video streams perfectly synchro until the end. If I play the first part 1-manubus.ts, the 6 first seconds exists and are not missing, what's happening ? Something related to first frame not being the I-frames ?&lt;/p&gt;&#xA;" OwnerUserId="10979" LastActivityDate="2015-06-12T00:45:26.997" Title="VOB editing with FFMPEG" Tags="|editing|ffmpeg|dvd|libx264|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15692" PostTypeId="1" CreationDate="2015-06-03T19:30:56.663" Score="1" ViewCount="107" Body="&lt;p&gt;I am interested in making films, movies or documentaries but for several years I believed that I needed to watch a lot of movies and documentaries from all around the world. I am 23 and watched apprx. 480 productions (movies and documentaries) with paying attention to the style of different directors in making movies.&lt;/p&gt;&#xA;&lt;p&gt;I am from Turkey and as a start I want to educate myself in film making then make a project about the education system in some local universities in our country. I want this project, which will be sort of documentary, to be good quality by cinematography, sound, shooting techniques, edit, music. Not to mention it will be a non-profit work.&lt;/p&gt;&#xA;&lt;h3&gt;Question:&lt;/h3&gt;&#xA;&lt;p&gt;I found a local film making school which requires around $300 for 2 weeks education for directing and film making course. Since I will finance the project and desire to direct it with my poor technical knowledge at present. Since, I want to attend a school like this. Is this a useful start and what is your advice? I hope my question is not going to seem foolish.&lt;/p&gt;&#xA;" OwnerUserId="10981" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-06-04T15:12:19.387" Title="How To Start to Educate Yourself in Film Making?" Tags="|recommendation|" AnswerCount="0" CommentCount="2" ClosedDate="2015-06-03T21:22:58.747" ContentLicense="CC BY-SA 3.0" />
  <row Id="15693" PostTypeId="1" CreationDate="2015-06-03T21:13:14.563" Score="2" ViewCount="2687" Body="&lt;p&gt;I work on a Mac and I need to send a Premiere Pro CS6 project file to someone who works on Windows. He has QuickTime Pro 7 installed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The project contains the following types of clip assets:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Apple Animation (with alpha transparency) - .mov&lt;/li&gt;&#xA;&lt;li&gt;H.264 - .mov&lt;/li&gt;&#xA;&lt;li&gt;H.264 MPEG - .mp4&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;All sequences in the project have the following settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/6OMbd.png&quot; alt=&quot;Sequence settings&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When he tries to open the project in Windows, he gets the following error:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;This project contained a sequence that could not be opened. No sequence preview preset file or codec could be associated with this sequence type. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Could someone help me understand this error, and perhaps help in resolving this issue? Is it caused by missing codecs for the actual assets (I suspect the Apple Animation file) or simply by some settings in my project?&lt;/p&gt;&#xA;" OwnerUserId="5459" LastEditorUserId="5459" LastEditDate="2015-06-04T07:06:34.030" LastActivityDate="2016-04-30T08:10:32.407" Title="Making Premiere Pro Project Codecs Cross-Platform Compatible (Windows &amp; Mac)" Tags="|premiere|codec|windows|mac|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15695" PostTypeId="2" ParentId="15371" CreationDate="2015-06-04T08:14:27.457" Score="1" Body="&lt;p&gt;If the audio differs by the video at a constant offset, you can just unlink them in Premiere and then move the audio in the correct segment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the audio differs at a variable offset, then process the audio with adobe audition or something similar and make it match the video.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastEditorUserId="6685" LastEditDate="2015-06-04T12:29:27.457" LastActivityDate="2015-06-04T12:29:27.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15696" PostTypeId="2" ParentId="14589" CreationDate="2015-06-04T08:27:55.410" Score="0" Body="&lt;p&gt;Checkout:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Hitfilm 3 Express (free after registration)&lt;/li&gt;&#xA;&lt;li&gt;Lightworks (free with some limitations) &lt;/li&gt;&#xA;&lt;li&gt;Adobe Premiere elements (about 100$) &lt;/li&gt;&#xA;&lt;li&gt;Blackmagic da-vinci resolve (free - but with steep&#xA;learning curve and heavy systems requirements)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="10689" LastEditorUserId="10689" LastEditDate="2015-10-16T11:19:37.360" LastActivityDate="2015-10-16T11:19:37.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15697" PostTypeId="2" ParentId="15678" CreationDate="2015-06-04T11:06:47.757" Score="0" Body="&lt;p&gt;Use &lt;a href=&quot;http://www.freemake.com/free_video_converter/&quot; rel=&quot;nofollow&quot;&gt;Freemake Video Converter&lt;/a&gt;, it's 100% free and you can just burn MKV files on dvd, on the dvd, the subtitles also work if you set that up properly in the &lt;a href=&quot;http://www.freemake.com/free_video_converter/&quot; rel=&quot;nofollow&quot;&gt;Freemake Video Converter&lt;/a&gt; program.&lt;/p&gt;&#xA;" OwnerUserId="10965" LastActivityDate="2015-06-04T11:06:47.757" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15698" PostTypeId="2" ParentId="15690" CreationDate="2015-06-04T11:30:28.460" Score="2" Body="&lt;p&gt;In the first step you are doing a lossy conversion, you transcode from vob to mp4, and then to ts. For a lossless re-mux you should just re-mux, better to specify both video and audio:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i VTS_01_1.VOB -c:v copy -c:a copy -bsf:v h264_mp4toannexb -f mpegts intermediate1.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, if you re-mux for the purpose of slicing then you should be aware that with this method it is possible only on exact keyframe boundary, so you might want to reconsider whether you want to do it this way. For a detailed explanation please see in &lt;a href=&quot;https://superuser.com/questions/921066/how-to-cut-unwanted-video-parts-and-join-the-rest-ones-into-one-video-using-ffmp/921680#921680&quot;&gt;this answer&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="8079" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2015-06-12T00:45:06.270" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15699" PostTypeId="2" ParentId="15532" CreationDate="2015-06-04T15:26:34.830" Score="0" Body="&lt;p&gt;There is a similar question in stack overflow&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://stackoverflow.com/questions/28320004/detect-if-video-file-contains-movement&quot;&gt;https://stackoverflow.com/questions/28320004/detect-if-video-file-contains-movement&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apart from OpenCV they also suggest SimpleCV &lt;a href=&quot;http://simplecv.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://simplecv.org/&lt;/a&gt;&#xA;and &quot;Motion&quot; &lt;a href=&quot;http://www.lavrsen.dk/foswiki/bin/view/Motion/WebHome&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.lavrsen.dk/foswiki/bin/view/Motion/WebHome&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10689" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2015-06-04T15:26:34.830" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15700" PostTypeId="2" ParentId="15690" CreationDate="2015-06-04T16:03:24.270" Score="2" Body="&lt;p&gt;I finally made it work in splicing directly the VOB files with the commands below :&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i VTS_01_2.VOB -ss 463 -c copy -vframes 325 2-manuchoisit.vob&#xA;&#xA;ffmpeg -i VTS_01_2.VOB -ss 353 -t 16 -c copy 3-manutombe.vob&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then concat the extracts and convert with&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -analyzeduration 200M -probesize 150M -i &quot;concat:1-manubus.vob|2-manuchoisit.vob|3-manutombe.vob&quot; -vcodec libx264 -preset veryslow -crf 18 -acodec libfaac -aq 100 -ac 2 -vol 2048 1990-Manu_Redpants.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;No frames lost, precise cuts.&lt;/p&gt;&#xA;" OwnerUserId="10979" LastEditorUserId="6685" LastEditDate="2015-06-12T00:45:26.997" LastActivityDate="2015-06-12T00:45:26.997" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15701" PostTypeId="2" ParentId="10396" CreationDate="2015-06-04T16:55:17.697" Score="8" Body="&lt;p&gt;This should work faster...&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -ss 1:00 -t 5 -i in.mkv -ss 2:00 -t 5 -i in.mkv \&#xA;  -filter_complex &quot;[0][1]concat=n=2:v=1:a=1&quot; \ &#xA;  out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There's no need to specify -t on the output.  There's no need to split the audio and video before the concat.&lt;/p&gt;&#xA;" OwnerUserId="10983" LastEditorUserId="6685" LastEditDate="2015-06-12T00:45:19.833" LastActivityDate="2015-06-12T00:45:19.833" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15702" PostTypeId="1" CreationDate="2015-06-04T22:14:46.193" Score="2" ViewCount="183" Body="&lt;p&gt;Check the following screenshot to understand what's my goal:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/VQYxl.jpg&quot; alt=&quot;Croma key&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't figure out how can I crop chroma key-recorded video, use a blend effect to make the chroma key part absolutely transparent (excepting me!), and then let the background layers (either video and images) fill the transparent part.&lt;/p&gt;&#xA;" OwnerUserId="10986" LastActivityDate="2015-06-04T22:14:46.193" Title="Chroma key with cropped video on top and background images/videos with alpha blending" Tags="|chromakey|lightworks|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15703" PostTypeId="1" CreationDate="2015-06-04T23:52:37.677" Score="4" ViewCount="654" Body="&lt;p&gt;The new DSLR camera released by Canon, 760D, has capability of recording HDR movie. My question is how does this work? In still photography, when setting the camera to HDR, the camera will take 3 shots (the mirror will flip 3 times), with different shutter speed to adjust the exposure and then process it to combine into 1 picture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For movie, definitely the mirror will need to be flipped all the time while simultaneously need to record at different exposure level. So how does the camera manage to handle this? &lt;/p&gt;&#xA;" OwnerUserId="12289" OwnerDisplayName="rcs" LastEditorUserId="1950" LastEditDate="2015-06-05T01:47:04.240" LastActivityDate="2015-06-05T13:26:58.247" Title="How does HDR movie work?" Tags="|dslr|hdr|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15705" PostTypeId="1" AcceptedAnswerId="15708" CreationDate="2015-06-05T10:25:47.787" Score="1" ViewCount="482" Body="&lt;p&gt;Depending on the project and the camera of course I often have to work with ProRes or AVCHD codecs without any thoughts. I assume that the code and the compression algorithm certainly is very different. Therefore I would like to know &lt;strong&gt;what is the difference between AVCHD and ProRes in terms of quality for a solid workflow&lt;/strong&gt;?&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-06-16T13:15:14.693" LastActivityDate="2015-06-16T13:15:14.693" Title="What is the difference between AVCHD and ProRes in terms of quality?" Tags="|video-quality|codec|encoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15706" PostTypeId="2" ParentId="15371" CreationDate="2015-06-05T12:55:57.900" Score="1" Body="&lt;p&gt;No that wouldnt work because the frame rate was being interpreted incorrectly causing the video to be half the length of the audio. And trying to fix the interpretation of the video only slowed down the audio. It was weird. I had to reencode the files and then edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For future reference in Media Express make sure the capture format is set to progressive. &lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2015-06-05T12:55:57.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15707" PostTypeId="2" ParentId="15703" CreationDate="2015-06-05T13:26:58.247" Score="2" Body="&lt;p&gt;At a guess, it will be a similar technology to HDRx from RED or Magic Lantern - 2 frames instead of one recorded for every single video frame.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Reference 1: &lt;a href=&quot;http://www.red.com/learn/red-101/hdrx-high-dynamic-range-video&quot; rel=&quot;nofollow&quot;&gt;http://www.red.com/learn/red-101/hdrx-high-dynamic-range-video&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Reference 2: &lt;a href=&quot;http://cgi.tutsplus.com/tutorials/a-simple-way-to-shoot-hdr-video-footage-using-magic-lantern--ae-20993&quot; rel=&quot;nofollow&quot;&gt;http://cgi.tutsplus.com/tutorials/a-simple-way-to-shoot-hdr-video-footage-using-magic-lantern--ae-20993&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;In Magic Lantern every frame is recorded at 2 ISO values, in the case of the RED camera, two frames are captured instead of one with different shutter speeds with the second frame &quot;2-6 stops faster&quot;.&#xA;The selection of ISO/&quot;stops faster&quot; is carried out by the user in both case prior to recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All that has to be done then, is to blend the resulting &quot;dual frames&quot; into a single video frame for an HDR video.&#xA;Also, keep in mind that you do not need 3 frames for an HDR - you just want to cover a greater range than a single exposure can cover, this can be 2 frames or 200 frames. For video it is 2.&lt;/p&gt;&#xA;" OwnerUserId="5614" LastActivityDate="2015-06-05T13:26:58.247" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15708" PostTypeId="2" ParentId="15705" CreationDate="2015-06-05T14:10:42.000" Score="1" Body="&lt;p&gt;You focus on quality in your question, so the answer is clear: ProRes (in various flavors) offers superior quality. There are other reasons you might choose AVCHD, but they don't relate to quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AVCHD is generally speaking a distribution format, while ProRes is more an acquisition and intermediate format (it uses all I-frames). ProRes also comes in a 4:2:2 /10 bit flavor, where AVCHD is 4:2:0 / 8 bit.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-06-05T14:10:42.000" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15709" PostTypeId="1" CreationDate="2015-06-05T16:34:26.850" Score="3" ViewCount="972" Body="&lt;p&gt;I often use &lt;a href=&quot;https://en.wikipedia.org/wiki/Apple_ProRes&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;ProRes&lt;/strong&gt;&lt;/a&gt; or &lt;a href=&quot;https://en.wikipedia.org/wiki/DNxHD_codec&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;DNxHD&lt;/strong&gt;&lt;/a&gt; codec without any thoughts, because the quality is very similar, even though the code and the compression algorithm certainly is very different.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know &lt;strong&gt;in which real world scenarios it makes more sense to use ProRes or DNxHD technically&lt;/strong&gt; to achieve the best quality?&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-07-30T09:53:28.683" LastActivityDate="2015-08-03T00:31:02.710" Title="Reasons for using DNxHD instead of ProRes?" Tags="|video-quality|codec|encoding|compression|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15710" PostTypeId="2" ParentId="7395" CreationDate="2015-06-05T18:55:10.783" Score="2" Body="&lt;p&gt;Yes, some encoders allow changing parameters (like target quality or bitrate, or psychovisual tuning options (x264's &lt;code&gt;aq&lt;/code&gt; and &lt;code&gt;psy-rd&lt;/code&gt; options).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;x264&lt;/code&gt;, the stand-alone command-line frontend for the library, has a &lt;code&gt;--zones&lt;/code&gt; parameter to give more bitrate to some parts of the video.  So you could for example reduce the quality for the credits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The actual x264 library supports changing many parameters on the fly, but I don't know if ffmpeg has a way to specify option changes for ranges of the video.  You could get nearly the same result by segmenting your video, and encoding the different segments with different options, then combining them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally nobody actually does this, because it's a HUGE amount of work, and it's really hard to know which settings are going to help just by looking at a scene.  Usually if you want more quality, you just spend more CPU time on the encode, and that improves everything across the board. (&lt;code&gt;--preset veryslow&lt;/code&gt;).  I could imagine getting some benefit out of tweaking AQ settings, though, maybe to address banding in one scene, but changing it for other scenes where that wasn't an issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Still, bits are essentially never precious enough for it to be worth paying a human to save them, instead of just electricity and CPU time.  This is more of a hobby thing / thought experiment to see what different codec settings do, IMO.  Maybe when we need to stream video to / from a mars colony, bits will be that precious...&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-06-05T18:55:10.783" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="15711" PostTypeId="2" ParentId="15705" CreationDate="2015-06-05T19:06:14.810" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/AVCHD&quot; rel=&quot;nofollow&quot;&gt;AVCHD&lt;/a&gt; appears to just be h.264 with some constraints.  Mainly on framerate and resolution.  It looks from the wikipedia page that early versions mostly favoured interlaced encoding, unless you drop down to 720p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The wiki page doesn't say, but I assume it's H.264 4:2:0 8-bit, not Hi10 profile or something.  I also have no idea what quality the hardware encoders in camcorders usually manage.  If you're generating AVCHD video on a computer, you could do it with &lt;a href=&quot;https://en.wikipedia.org/wiki/X264&quot; rel=&quot;nofollow&quot;&gt;x264&lt;/a&gt; and get better quality per bitrate than ProRes.  (if 4:2:0 8bit is sufficient).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This might be a poor choice if you need fast random access to non-keyframes, since a lot of the compression advantage of h.264 is from inter-frame compression.  If you're just going to decode it in-order, then it's not an issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; AVC is h.264. (just like HEVC is another name for h.265). As always, a bad h.264 encoder can be standards-compliant but make your video look like crap, which is why I always make a point of recommending x264 for encoding.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="6685" LastEditDate="2015-06-08T08:01:19.183" LastActivityDate="2015-06-08T08:01:19.183" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15712" PostTypeId="2" ParentId="15659" CreationDate="2015-06-05T19:29:23.630" Score="1" Body="&lt;p&gt;I think &lt;a href=&quot;https://sourceforge.net/projects/megui/&quot; rel=&quot;nofollow&quot;&gt;MeGUI&lt;/a&gt; is supposed to be a good front-end for x264 encoding.  (&lt;a href=&quot;http://www.videolan.org/developers/x264.html&quot; rel=&quot;nofollow&quot;&gt;x264&lt;/a&gt; is the same h.264 encoder that VLC uses.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know anything about powerdirector, so all I can say is that x264 is the best h.264 encoder (best quality vs. bitrate vs. cpu time tradeoff), and it's free.  It's what you should use to make files for upload to youtube.  (Use lots of bitrate, because youtube will decode and re-encode your video regardless of what you do.)&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-06-05T19:29:23.630" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15713" PostTypeId="1" CreationDate="2015-06-05T23:54:20.640" Score="2" ViewCount="87" Body="&lt;p&gt;I need some advises and opinions on how to get better manual focus while shooting video on Canon DSLR's ex. T2i, T3i, etc. Since these haven't got any focus indicators or anything like, like for example GH4 with focus peaking while shooting, although it is possible to get that with Magic lantern, I'm interested in native way. The problem is that you have to go from the eye and assume that focus is right, and I often find after importing videos on PC that focus is way off. How can I improve my workflow, and get better focus?&lt;/p&gt;&#xA;" OwnerUserId="10508" LastActivityDate="2015-06-08T14:21:08.090" Title="Get better focus on Canon DSLR's" Tags="|canon|focus|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15714" PostTypeId="2" ParentId="8637" CreationDate="2015-06-06T23:00:00.213" Score="0" Body="&lt;p&gt;I have recently finished and released my third animated feature that I created entirely by myself, aside from the talent of my voice actors,  Cold Dark Mirror, which I created using Blender.  &lt;a href=&quot;http://originalsineproductions.com/ColdDarkMirror.html&quot; rel=&quot;nofollow&quot;&gt;http://originalsineproductions.com/ColdDarkMirror.html&lt;/a&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other Uberectors working in blender:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Spooktergeist, who is working on his film &quot;River of Dried Blood&quot;  &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/q_0rBEp9j8I?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Klaus TehKurious, with &quot;City of Dying Head&quot; &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/2tFQpvMxG8Y?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="10992" LastActivityDate="2015-06-06T23:00:00.213" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15716" PostTypeId="1" CreationDate="2015-06-07T10:22:36.830" Score="2" ViewCount="159" Body="&lt;p&gt;Im trying to figure out the most clean way to put custom content (being text or picture for branding) over standard tv signal for a business that want to show their logos and such in the tv´s they have in their place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far, the most promising solution involves taking a single source for tv to a capture device and stream it with a regular broadcaster software (something like OBS) through the internal network or to the same machine and distribute the feed over coax or whatever.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thw downside (or upside, depending on how you look at it) of this approach is that all tvs will have the same channel on the screen, and I was looking for a way to make it more flexible and transparent, without having to actually put a computer with a capture device (maybe a Raspberry Pi + a cheap card would do the trick, but I think that´s just overkill, and really a waste of energy) in the middle of the tv and the sat/cable box.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you know of any way to add text or image in front of a tv stream, whatever that may be that doesn´t involve what I´ve just described? Maybe a tv model that will allow to load text or bmp/jpegs/etc from a thumbstick; or a settop box, DVR, magic little device that allows to load content to put in front of the signal? It´s a pretty trivial stuff, and I´m a bit surprised I haven´t been able to find something like this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers,&lt;/p&gt;&#xA;" OwnerUserId="10995" LastActivityDate="2016-03-07T13:04:53.280" Title="Put branding over tv signal" Tags="|video|streaming|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15718" PostTypeId="1" CreationDate="2015-06-07T23:19:41.907" Score="4" ViewCount="31804" Body="&lt;p&gt;Is there a way to add a “wiggle” to a keyframable value in Adobe Premiere Pro (CC)? For example, if I wanted an image to jitter back and forth, I could apply such an effect to the rotation value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is such an effect in Adobe After Effects: by adding an expression to a value, and typing &lt;code&gt;wiggle(frequency, amplitude, octaves, amplitude multiplier, time)&lt;/code&gt; (with numbers instead of the arguments), the value will randomly shift up and down over time depending on what arguments you entered.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;tl;dr:&lt;/strong&gt; Is there a way to produce an effect in Premiere akin to the wiggle() expression in After Effects?&lt;/p&gt;&#xA;" OwnerUserId="10997" LastEditorUserId="18155" LastEditDate="2019-07-01T01:10:10.270" LastActivityDate="2021-11-26T21:06:46.557" Title="Wobble/Wiggle effect in Adobe Premiere Pro CC" Tags="|premiere|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="15719" PostTypeId="1" CreationDate="2015-06-08T02:23:23.123" Score="1" ViewCount="579" Body="&lt;p&gt;I have a project I'm producing where the source clips are generated from Quicktime doing a screen recording. The dimensions are 2880 x 1800, 60fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The source dimensions are a little unusual, but Quicktime saves as mp4 and offers no option to change the recording dimensions. This is not ideal to be re-rendering mp4 but I have no option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I render to 1080p, it seems the scaling is causing some mild blurring. I've used Maximum Render Quality and Render at Maximum Depth but still get blurring. Bitrate is fixed at 8mbs, but I have also tried up to 16mbs with the same result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've also tried doing 50% renders at 1440x900 with the same options but again, the there is slight blurring. My thoughts were that with double the data available at 50%, there would be little to no blurring.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any ideas about what I can do here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit 2 days later with more steps I've tried:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Created a new sequence at the clip native resolution of 2880x1800. I rendered out using h264, mp4, Max Render Quality and Maxium Depth enabled, 16mbs. Still showed blurring.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Created a sequence at half the native resolution, 1440x900 using the same previous settings. I then scaled the clip to the frame. Still showed blurring after rendering.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I installed Apple's Pro Res codecs and tried both 1 &amp;amp; 2 scenarios again. I got blurring with each codec &lt;em&gt;except&lt;/em&gt; for the very highest bitrate one, and only at native resolution of 2880x1800. A 10 second clip was about 500mb, so that made it an infeasible attempt.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I then found that Apple has a 30 day trial of Final Cut Pro so I installed that. I took me a little bit of experimentation but I was able to do a test render at full resolution that came out perfectly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then recut the entire project in Final Cut and was able to export it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;FCP is ok, but it was a huge cpu hog during the editing process where Premiere seems to perform a lot better overall. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd still like to figure out this problem with Premiere if possible.&lt;/p&gt;&#xA;" OwnerUserId="11000" LastEditorUserId="11000" LastEditDate="2015-06-10T22:17:57.800" LastActivityDate="2015-06-10T22:17:57.800" Title="Trouble scaling 2880x1800 to 1080p without blurring in Premiere Pro" Tags="|premiere|quicktime|scale|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15720" PostTypeId="2" ParentId="15713" CreationDate="2015-06-08T08:12:19.930" Score="2" Body="&lt;p&gt;Probably the best thing you can do is get an external monitor. the electronic viewfinders on most DSLRs are too low resolution to be able to judge focus critically. Many of these monitors have built in edge peaking, or focus detection tools as well to make it even easier. Unfortunately to get a decent high resolution external monitor is going to cost the price of the camera again.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-06-08T08:12:19.930" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15721" PostTypeId="1" CreationDate="2015-06-08T13:48:33.547" Score="0" ViewCount="91" Body="&lt;p&gt;On my desktop version of After Effects (not Laptop) I can only sometimes grab handles and béziers—clicking and dragging sometimes works and sometimes doesn't. Usually I keep trying until something happens or select other points and go back to the one I wanted to edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/gdygxqvyy58xe3w/AE.mov?dl=0&quot; rel=&quot;nofollow&quot;&gt;https://www.dropbox.com/s/gdygxqvyy58xe3w/AE.mov?dl=0&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This issue seems specific to my desktop (iMac with an attached Cinema Display) as it doesn't happen on my Laptop (a Macbook Pro). The After Effects file is the same file between the two platforms.&lt;/p&gt;&#xA;" OwnerUserId="11004" LastActivityDate="2015-06-08T13:48:33.547" Title="Cannot Grab Graph Editor Handles Intermittently in After Effects" Tags="|after-effects|animation|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15722" PostTypeId="2" ParentId="15713" CreationDate="2015-06-08T14:21:08.090" Score="0" Body="&lt;p&gt;I agree with stib's idea of getting an external monitor, and I would also add that getting a follow focus system can help with focus pulling. A good system like &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B0067MQ4I2&quot; rel=&quot;nofollow&quot;&gt;this one&lt;/a&gt; will allow you to mark certain spots on the &quot;marking disk&quot; (it's a whiteboard-type material, so you can use dry-erase markers over and over again). I usually mark my focus points on the disk before I start shooting (the T2i and T3i both allow you to zoom in digitally to check focus when you're not recording) and then I can just make sure I move the follow focus from mark to mark to nail the focus each time. It's designed to work with cine lenses, but the one I linked to comes with an adapter for regular lenses as well. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a considerably cheaper method than getting an external monitor (and can result in smoother focus pulls), but requires a bit more work and a rail system.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2015-06-08T14:21:08.090" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15723" PostTypeId="1" CreationDate="2015-06-08T16:58:14.770" Score="3" ViewCount="9598" Body="&lt;p&gt;So, the Blade Speed retiming tool in FCPX is half-awesome.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But once I have put a blade marker in I can't work out how to:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;remove it (apart from immediate undo, i.e. later on)&lt;/li&gt;&#xA;&lt;li&gt;move its position in relation to the src clip, i.e. I put the blade point in the wrong place, I want to move it without adjusting the retiming either side of the point&lt;/li&gt;&#xA;&lt;li&gt;join adjacent retimed segments... related to above, if I put in a new blade point in the correct position I can't remove the wrong one (1) or see a way to join/merge the adjacent retiming segments &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2538" LastActivityDate="2018-02-18T03:42:14.177" Title="How to move/remove/join adjacent Blade Speed points in FCPX" Tags="|final-cut-pro-x|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15724" PostTypeId="1" CreationDate="2015-06-08T20:12:59.737" Score="1" ViewCount="49" Body="&lt;p&gt;I'm working on a video incorporating Flash animation into Premiere Pro to then upload to YouTube. When I upload it to YouTube however the diagonal lines are terribly distorted:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtube:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/WtUYx.jpg&quot; alt=&quot;laser on youtube&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Flash:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/MWtRZ.jpg&quot; alt=&quot;laser on flash&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What should I be checking for either in Flash or Premiere to ensure those lines are crisp when published on YouTube?&lt;/p&gt;&#xA;" OwnerUserId="5206" LastActivityDate="2015-06-08T20:12:59.737" Title="How to get a better quality diagonal line from Flash to YouTube?" Tags="|youtube|animation-rendering|flash|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15725" PostTypeId="1" AcceptedAnswerId="15729" CreationDate="2015-06-08T22:35:39.050" Score="1" ViewCount="7249" Body="&lt;p&gt;How to make the &quot;wipe&quot; transition with vertical line dividing the image during transition in Premiere pro cs6? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Transitions like that is most often used in the demoreels, showing process of creating shots &quot;in layers&quot;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="11007" LastActivityDate="2015-06-09T21:59:39.520" Title="How to make the &quot;wipe&quot; transition with vertical line in Premiere pro cs6?" Tags="|premiere|adobe|transitions|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15726" PostTypeId="1" CreationDate="2015-06-09T01:25:20.250" Score="1" ViewCount="214" Body="&lt;p&gt;i want to know how to improvee the performance of video streaming (in the client side), like raise the cache of the browser or use a vpn (to hide the video traffic so the isp don't do traffic shapping).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Well, feel free to edit this question to add more examples.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thx :)&lt;/p&gt;&#xA;" OwnerUserId="11008" LastActivityDate="2015-06-16T01:38:48.107" Title="How get a better quality of streaming?" Tags="|video|streaming|performance|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15727" PostTypeId="1" AcceptedAnswerId="15728" CreationDate="2015-06-09T02:13:43.660" Score="1" ViewCount="1855" Body="&lt;p&gt;Little context is offered when this chart:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/BWQ5y.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;is linked. What does it mean?&lt;/p&gt;&#xA;" OwnerUserId="10675" LastEditorUserId="6685" LastEditDate="2015-06-10T16:18:19.837" LastActivityDate="2015-06-10T16:18:19.837" Title="What is the significance of this &quot;RED, Digital, and Film Format Size Chart&quot;?" Tags="|camera|filming|digital-recording|lenses|4k|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15728" PostTypeId="2" ParentId="15727" CreationDate="2015-06-09T07:06:49.410" Score="1" Body="&lt;p&gt;Based on this illustration, you are able to compare the &lt;a href=&quot;http://en.wikipedia.org/wiki/Image_sensor_format&quot; rel=&quot;nofollow&quot;&gt;sensor sizes&lt;/a&gt; of red cameras with film formats like &lt;a href=&quot;http://en.wikipedia.org/wiki/16_mm_film&quot; rel=&quot;nofollow&quot;&gt;16mm&lt;/a&gt;, &lt;a href=&quot;http://en.wikipedia.org/wiki/35_mm_film&quot; rel=&quot;nofollow&quot;&gt;35mm&lt;/a&gt; or &lt;a href=&quot;http://en.wikipedia.org/wiki/70_mm_film&quot; rel=&quot;nofollow&quot;&gt;70mm&lt;/a&gt; imax and so on.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastActivityDate="2015-06-09T07:06:49.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15729" PostTypeId="2" ParentId="15725" CreationDate="2015-06-09T07:34:05.690" Score="2" Body="&lt;p&gt;Depends on your idea. Simplest way is using a &lt;strong&gt;Linear Wipe&lt;/strong&gt; Effect (on the strip above). For more complex transitions I'd suggest to animate a &lt;strong&gt;rectangular mask path&lt;/strong&gt; in order to get most control, see the manual: &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/masking-tracking.html&quot; rel=&quot;nofollow&quot;&gt;https://helpx.adobe.com/premiere-pro/using/masking-tracking.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastActivityDate="2015-06-09T07:34:05.690" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15730" PostTypeId="2" ParentId="15603" CreationDate="2015-06-09T08:03:20.430" Score="1" Body="&lt;p&gt;While I wasn't able to fix the problem, I was able to go around it, by converting my input file into &lt;code&gt;xvid&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't have any black frames anymore, but the video freezes for a few seconds at some point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I was recording and playing the game on the same PC, I'm guessing that there's been a problem at some point and &lt;code&gt;fraps&lt;/code&gt; had to drop the framerate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any case, I suspect some other bug in my video editing setup, since &lt;code&gt;Vegas&lt;/code&gt; was adding black frames in other parts of the video, that play fine once converted to &lt;code&gt;xvid&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4153" LastActivityDate="2015-06-09T08:03:20.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15731" PostTypeId="2" ParentId="15723" CreationDate="2015-06-09T18:39:02.250" Score="2" Body="&lt;p&gt;Partial answer...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I still don't know how to remove a single blade speed point.  It is possible to remove &lt;em&gt;all&lt;/em&gt; speed points for a clip by selecting the clip and choosing a new speed (eg Normal 100%) from the Retiming menu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I still don't know how to join adjacent segments (kind of same thing as above).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Found out how to move the blade speed point relative to the clip itself without retiming:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;double-click the blade speed centre handle and click the 'Edit' button&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/elXZK.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;You get this icon you can drag in the timeline:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/q89Tb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(classic bit of Apple &quot;hidden UI&quot; gotcha)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are zoomed in and you have a big speed differential either side of the centre point then it may not be at all obvious that you really are moving the src frame (fooled me before) because the preview changes are complex. But with Normal speed both sides it is clear this does what I wanted.&lt;/p&gt;&#xA;" OwnerUserId="2538" LastEditorUserId="2538" LastEditDate="2015-06-10T19:24:58.767" LastActivityDate="2015-06-10T19:24:58.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15732" PostTypeId="2" ParentId="15725" CreationDate="2015-06-09T21:59:39.520" Score="1" Body="&lt;p&gt;If you double-click on transition &quot;wipe&quot;, in the timeline,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/7iZom.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;at the &quot;source window&quot; will appear settings of the transition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There you can adjust the width and color of the border, which will be visible as a vertical strip on the border of the transition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/P1Jlu.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="11007" LastActivityDate="2015-06-09T21:59:39.520" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15733" PostTypeId="1" CreationDate="2015-06-10T13:55:06.140" Score="1" ViewCount="69" Body="&lt;p&gt;I'm playing around with audio reaction in After Effects and I'm trying to create an audio spectrum, that acts as a particle emitter. So the bars not only jump up when that frequency is present, but also emit an amount of particles representing the amount that frequency is present.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now my question: How do I link my audio spectrum with my particle generator (I do own the Trapcode Particular suite)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks, nxt191 aka Marc&lt;/p&gt;&#xA;" OwnerUserId="11015" LastActivityDate="2015-06-10T13:55:06.140" Title="Audium spectrum as particel emitter - After Effects" Tags="|after-effects|" AnswerCount="0" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15734" PostTypeId="1" CreationDate="2015-06-10T14:30:28.263" Score="0" ViewCount="1644" Body="&lt;p&gt;I've been spending all day trying to achieve everything in my question. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only solution I've found being to encode the subs onto a green matte and then key out the green in premiere and change the screen position and size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The tricky part is scale and screen placement issue&lt;/strong&gt;, I've tried handbrake, subler and ffmpeg, but without success.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any free software suggestions are welcome. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="11016" LastEditorUserId="6685" LastEditDate="2015-06-16T00:29:04.840" LastActivityDate="2015-06-16T00:29:04.840" Title="Mac Hardcode Subtitles from SRT to MP4 &amp; adjust size and screen position" Tags="|subtitles|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15737" PostTypeId="1" CreationDate="2015-06-11T09:04:25.310" Score="1" ViewCount="148" Body="&lt;p&gt;I have a Canon SX50 HS Powershot and recently I discovered that when I play videos on my SD card on my computer using the Windows Media Player, the video quality itself is much more pixelated and tinted in darker colors. I have other videos which are much higher quality when I play them on my computer so this has raised me to ask you the question of whether or not the problem is to do with the computer itself, my camera which plays videos very high quality on its LCD screen or the SD card I use (Sandisk microSD 8Gb).&lt;/p&gt;&#xA;" OwnerUserId="11022" LastActivityDate="2015-06-11T09:04:25.310" Title="Problem with external playback on Canon SX50 HS Powershot" Tags="|video|video-quality|video-recording|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15738" PostTypeId="2" ParentId="15716" CreationDate="2015-06-11T10:07:18.033" Score="1" Body="&lt;p&gt;In &lt;a href=&quot;http://www.videolan.org/&quot; rel=&quot;nofollow&quot;&gt;VLC&lt;/a&gt; you have an overlay feature among the out-of-the-box effects (Tools-&gt;Effects and Filters-&gt;Video Effects-&gt;Overlay). The overlay can be a logo, de-logo eraser, or text. You can run VLC centrally and restream the TV channel, or you can run it in a Linux settop box and control it centrally via its internal built-in web server, via telnet, or via the Lua interface. You can also make more complex overlays such as PIP (picture in picture) but that requires some mastering of the VLC command syntax.&lt;/p&gt;&#xA;" OwnerUserId="8079" LastActivityDate="2015-06-11T10:07:18.033" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15740" PostTypeId="1" AcceptedAnswerId="16618" CreationDate="2015-06-11T18:00:27.520" Score="2" ViewCount="1766" Body="&lt;p&gt;The html5 video tag has a loop attribute. When playing a video in a continuous loop, it doesn't do this seamlessly. I hear cracks and pops at the beginning. With ffmpeg I am able to trim &lt;code&gt;.05&lt;/code&gt; seconds from the start and end to make audio and video uniform. That helped a lot but still not fully smooth when played in a loop. Then crossfade came into question. How can I gradually lower the volume at the end of video and gradually raise the volume at the beginning?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg &lt;code&gt;.05&lt;/code&gt; seconds from the start and end&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for f in *.mp4; do&#xA;    duration=$(ffmpeg -i &quot;$f&quot; 2&amp;gt;&amp;amp;1 | grep &quot;Duration&quot;| cut -d ' ' -f 4 | sed s/,//)&#xA;    length=$(echo &quot;$duration&quot; | awk '{ split($1, A, &quot;:&quot;); print 3600*A[1] + 60*A[2] + A[3] }' )&#xA;    trim_start=.05&#xA;    trim_end=$(echo &quot;$length&quot; - .05 - &quot;$trim_start&quot; | bc)&#xA;    echo ffmpeg -ss &quot;$trim_start&quot; -i &quot;$f&quot; -c copy -map 0 -t &quot;$trim_end&quot; &quot;${f%.mp4}-trimmed.mp4&quot;&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6618" LastActivityDate="2015-10-13T15:16:10.240" Title="Crossfading audio at beginning and ending of video" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15741" PostTypeId="2" ParentId="14600" CreationDate="2015-06-11T20:29:49.980" Score="2" Body="&lt;p&gt;Here's a labor intensive solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://punkoryan.com/2011/02/08/shooting-360-degree-video-with-four-gopro-hd-hero-cameras&quot; rel=&quot;nofollow&quot;&gt;http://punkoryan.com/2011/02/08/shooting-360-degree-video-with-four-gopro-hd-hero-cameras&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Post if you have found another solution.&lt;br&gt;&#xA;I have some 3 camera video panoramas from the 1980's I want to stitch.&#xA;thnks&#xA;chris&lt;/p&gt;&#xA;" OwnerUserId="11026" LastActivityDate="2015-06-11T20:29:49.980" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15742" PostTypeId="2" ParentId="3998" CreationDate="2015-06-11T20:45:17.987" Score="1" Body="&lt;p&gt;You can export your clips using one of the lossless options (e.g. Quicktime/PNG or Quicktime/Animation).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Notice that this will result in very large files so make sure that you have enough space.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-06-11T20:45:17.987" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15743" PostTypeId="2" ParentId="14826" CreationDate="2015-06-11T20:49:00.513" Score="1" Body="&lt;p&gt;When exporting from Premiere there is a checkbox that says &quot;match sequence settings&quot; which will use the same format as your source video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &quot;best quality&quot; checkbox is Premiere does not refer to the codec, but to the internal scaling algorithms.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastEditorUserId="6685" LastEditDate="2015-06-12T09:36:26.003" LastActivityDate="2015-06-12T09:36:26.003" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15744" PostTypeId="2" ParentId="15734" CreationDate="2015-06-12T00:38:57.240" Score="2" Body="&lt;p&gt;If you convert the .srt files to .ass, then you can have a lot more control over how the subtitles appear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To convert use ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.srt output.ass&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will give you an .ass subtitle file. You'll see in the header of that file that there will be details about font, size, placement colour and so on. Here's an example from Wikipedia: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[V4+ Styles]&#xA;   Format: Name, Fontname, Fontsize, PrimaryColour, SecondaryColour, OutlineColour, BackColour, Bold, Italic, Underline, StrikeOut, ScaleX, ScaleY, Spacing, Angle, BorderStyle, Outline, Shadow, Alignment, MarginL, MarginR, MarginV, Encoding&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Style: Default,&#xA;  Arial,28,&amp;amp;H00B4FCFC,&amp;amp;H00B4FCFC,&amp;amp;H00000008,&amp;amp;H80000008,-1,0,0,0,100,100,0.00,0.00,1,1.00,2.00,2,30,30,30,0&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The first line lists all the settings, and the second lists the values for each style.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can edit the header by hand to get the size and placement you want, and then burn it in using ffmpeg again:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -vf ass=&quot;output.ass&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You may want to add encoding settings etc, but that's basically it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-06-12T00:38:57.240" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15746" PostTypeId="1" AcceptedAnswerId="15771" CreationDate="2015-06-13T00:21:23.577" Score="3" ViewCount="1472" Body="&lt;p&gt;My skin tone is reddish and pale.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems even moreso in front of a video camera, where I'm recording some lectures in front of two lights and a black backdrop. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also whereas looking in a mirror it doesn't look like I have acne, in front of a camera my skin looks very blotchy, see:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tKvku.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can I do to reduce that?&lt;/p&gt;&#xA;" OwnerUserId="9279" LastEditorUserId="6685" LastEditDate="2015-06-13T06:31:10.027" LastActivityDate="2015-07-12T19:00:42.837" Title="Blotchy, pale, reddish skin" Tags="|video-recording|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15748" PostTypeId="1" AcceptedAnswerId="16851" CreationDate="2015-06-13T13:49:21.557" Score="4" ViewCount="14084" Body="&lt;p&gt;I can't browse the Photos library from within FCPX. It just says &quot;Open Photos to see your photos in this list&quot;. Yes, I've closed and reopened both Photos and FCPX.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had everything working, but now I'm using a different Photos library on a different harddrive, and it has stopped working as before.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="11035" LastActivityDate="2018-11-29T10:10:33.863" Title="Can't browse Photos library in Final Cut Pro X" Tags="|final-cut-pro|final-cut-pro-x|photos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15749" PostTypeId="1" AcceptedAnswerId="15752" CreationDate="2015-06-13T15:10:56.897" Score="-1" ViewCount="545" Body="&lt;p&gt;I want to merge two comps in after effects so, when I play contents from both layers shows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the current time the upper composition dont allow the lower composition to display its contents.&lt;/p&gt;&#xA;" OwnerUserId="11036" LastActivityDate="2015-06-14T06:36:36.063" Title="Merging two Comps, Adobe After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15750" PostTypeId="1" CreationDate="2015-06-13T18:15:31.573" Score="5" ViewCount="1520" Body="&lt;p&gt;I was wondering, is upscaling from the videoplayer worse then upscaling the video during encode?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, consider the original source of a video is 640 x 480. Which of the following will produce better quality on a 800 x 600 display:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Encode video &gt; play in full screen&lt;/li&gt;&#xA;&lt;li&gt;Resize video to 800 x 600 &gt; encode &gt; play in full screen&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My assumption is that a lower quality resizing algoritm is chosen during video playback to save cpu. Am I right?&lt;/p&gt;&#xA;" OwnerUserId="11037" LastEditorUserId="11037" LastEditDate="2015-06-13T20:04:00.990" LastActivityDate="2015-07-16T02:22:01.600" Title="Upscaling or downscaling videos" Tags="|encoding|scale|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15752" PostTypeId="2" ParentId="15749" CreationDate="2015-06-14T06:36:36.063" Score="1" Body="&lt;p&gt;If you mean that you have two compositions in one main composition, and you want both to show their contents on &lt;strong&gt;top&lt;/strong&gt; of each other, then I can help you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure that you click on &quot;Toggle Switches / Modes&quot;,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/92Bco.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;so that you have the &quot;Mode&quot; option available.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/51fnT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now set the top composition to either &quot;Screen&quot;, &quot;Add&quot;, or &quot;Lighten&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ljtpp.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure that the top composition has at least some transparent part in it, if it's just a full solid black layer, nothing's going to show through be default, unless you lower the opacity down.&lt;/p&gt;&#xA;" OwnerUserId="10866" LastActivityDate="2015-06-14T06:36:36.063" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15753" PostTypeId="2" ParentId="15750" CreationDate="2015-06-14T08:31:09.083" Score="1" Body="&lt;p&gt;This depends on how much resources you are willing to invest into upscaling content. The default setting for libswscale in VLC seems to be bicubic, if you intend to use more sophisticated resizing filters and a particular target resolution then you should upscale the video during encode this way you also don't have to rely on the capabilities and customizing options of the player device or software.&lt;/p&gt;&#xA;" OwnerUserId="10541" LastActivityDate="2015-06-14T08:31:09.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15754" PostTypeId="1" CreationDate="2015-06-14T14:27:26.893" Score="2" ViewCount="105" Body="&lt;p&gt;I'm currently using Blender on Ubuntu for video editing. It's not that easy to drag videos and put it close to another, one by one when there are many separate videos. Is there any easy method to do this other than dragging each and every one of these?&lt;/p&gt;&#xA;&lt;p&gt;Consider number of videos like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/kcThW.png&quot; alt=&quot;many videos in a grid&quot; /&gt;&lt;/p&gt;&#xA;" OwnerUserId="11040" LastEditorUserId="17147" LastEditDate="2022-11-24T11:48:07.960" LastActivityDate="2022-11-24T11:48:07.960" Title="what is the easiest way to put multiple separate videos one after another in Blender" Tags="|video-editor|blender|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="15757" PostTypeId="1" CreationDate="2015-06-14T23:40:02.910" Score="1" ViewCount="95" Body="&lt;p&gt;Recently I took a video in a remote cave. Thanks to my 320 lumen headlamp there was a reasonable amount of continuous light for my DSLR, but the shaking is just too strong. The image stabilization in iMovie was not enough to smooth it out. Does anyone know of an especially small and light stabilizer? I suppose the answer is to bring a light camera, such as a GoPro, which has lighter stabilizers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or any other ideas about how to take stable videos while walking or crawling in a rugged cave? These are remote places, so ultralight equipment is a must.&lt;/p&gt;&#xA;" OwnerUserId="11041" LastActivityDate="2015-07-16T01:22:01.737" Title="Ultralight image stabilizer" Tags="|video-recording|stabilisation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15758" PostTypeId="2" ParentId="15264" CreationDate="2015-06-15T08:39:45.597" Score="1" Body="&lt;p&gt;There are multiple answers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The easiest and cheaper solution is to get a shoe extender.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The more professional way is to get an external recorder specifically designed for DSLR mounting. Look at the products of BeachTek and JuiceLink for examples.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-06-15T08:39:45.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15759" PostTypeId="2" ParentId="15746" CreationDate="2015-06-15T08:44:30.173" Score="2" Body="&lt;p&gt;Possible solutions&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Check your White balance settings on the camera. &lt;/li&gt;&#xA;&lt;li&gt;Change your camera settings to reduce contrast and introduce&#xA;softness in the video (search for a &quot;portrait&quot; color profile if you&#xA;have a dslr) &lt;/li&gt;&#xA;&lt;li&gt;Edit the final video and perform color&#xA;correction/grading&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;or a combination of those.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastEditorUserId="10689" LastEditDate="2015-06-15T09:45:49.717" LastActivityDate="2015-06-15T09:45:49.717" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15760" PostTypeId="2" ParentId="14836" CreationDate="2015-06-15T08:46:48.510" Score="0" Body="&lt;p&gt;I have the same camera. As far as I can remember it can be used in &quot;web cam&quot; mode where it records straight to the computer.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-06-15T08:46:48.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15761" PostTypeId="1" CreationDate="2015-06-15T10:30:12.690" Score="2" ViewCount="1005" Body="&lt;p&gt;I use Adobe Premiere for editing and rendering videos which is a windows based software and then I use ffmpeg for converting those video clips into different qualities.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you may know rendering process can be done faster on a linux OS. Fortunately I've got a linux based server but the problem is for some reasons (I mean work related reasons and not technical) I can't do the editing job on linux which means I'm stuck on Premier or any other Windows based software like Edius,etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to do the editing on windows (by Premier or Edius or other softwares) and do the rendering process on a linux OS? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advanced.&lt;/p&gt;&#xA;" OwnerUserId="11042" LastEditorUserId="11042" LastEditDate="2015-06-15T11:03:15.913" LastActivityDate="2015-06-15T11:03:15.913" Title="Rendering edit on linux" Tags="|premiere|video-editor|editing|windows|linux|" AnswerCount="0" CommentCount="10" ClosedDate="2015-06-25T18:11:53.667" ContentLicense="CC BY-SA 3.0" />
  <row Id="15762" PostTypeId="2" ParentId="15053" CreationDate="2015-06-15T11:57:48.207" Score="1" Body="&lt;p&gt;The AF subsystem is part of the camera. It is not affected by the lens.&#xA;Face detection is also part of the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;STM only affects the speed of focus for a lens (assuming that the camera feeds it with correct information.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So yes, STM lenses are better for video when coupled with a camera that has fast focus on its own. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For your problem there are two solutions&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1)Deactivate automatic focus and select a big aperture (like 11) so that everything is in focus&#xA;2)Deactivate automatic focus and manually focus the lens on your own.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All hollywood movies, tv broadcasts, commercials etc use manual focus.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-06-15T11:57:48.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15763" PostTypeId="2" ParentId="4000" CreationDate="2015-06-15T12:06:33.830" Score="0" Body="&lt;p&gt;Most newer camcorders can be controlled via wifi from a mobile phone or tablet. So the easiest solution would be to have 5 mobiles phones in front of you. Press record  on all of them and you are done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using the same technique you can also obtain their video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you could connect the cameras to 5 laptops and then have a screen sharing program where you see all 5 laptops on a single computer.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-06-15T12:06:33.830" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15764" PostTypeId="2" ParentId="15126" CreationDate="2015-06-15T12:10:26.757" Score="1" Body="&lt;p&gt;All newer camcarders have wifi and can stream directly to a computer or even the internet. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a simple example&#xA;&lt;a href=&quot;http://shop.panasonic.com/support-only/HC-V250K.html&quot; rel=&quot;nofollow&quot;&gt;http://shop.panasonic.com/support-only/HC-V250K.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;scroll down to Real Time Broadcasting, Remote Shooting / Remote View&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-06-15T12:10:26.757" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15765" PostTypeId="1" CreationDate="2015-06-15T13:12:41.330" Score="1" ViewCount="171" Body="&lt;p&gt;I have tried so many PCs but didn't find any reasonable PC for video editing. I want to Edit video on &lt;strong&gt;Adobe Premiere Cs6&lt;/strong&gt; for which I need a good PC Can any one guide me what will be the configuration to run the &lt;strong&gt;Adobe Premiere&lt;/strong&gt; Smoothly without any trouble or Slow rendering. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="4285" LastActivityDate="2015-06-15T19:41:53.083" Title="Best PC configuration to render Mid level Videos" Tags="|premiere|video-editor|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15766" PostTypeId="1" CreationDate="2015-06-15T13:19:50.967" Score="1" ViewCount="41" Body="&lt;p&gt;&lt;strong&gt;Camera : Canon 650 D&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am having some difficulties while using &lt;code&gt;Manual Mode&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Sometime face become so &lt;code&gt;Dark&lt;/code&gt; as I don't know what should be the aperture.&lt;/li&gt;&#xA;&lt;li&gt;In night shots, Grains appears if I set ISO to low it becomes dark video If i set it to &lt;code&gt;High ISO&lt;/code&gt; Grains Appears.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So can anyone guide me what will be the global settings or anyone can differentiate about the aperture &amp;amp; focal length.&lt;/p&gt;&#xA;" OwnerUserId="4285" LastActivityDate="2015-06-16T04:47:10.030" Title="diffculties using Manual mode with Canon DSLR 650D" Tags="|premiere|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15767" PostTypeId="1" AcceptedAnswerId="15787" CreationDate="2015-06-15T18:22:07.823" Score="2" ViewCount="25884" Body="&lt;p&gt;I want to copy the whole settings of the composition to the other, all keyframes, transition points, 3d layer etc. In Adobe After Effects&lt;/p&gt;&#xA;" OwnerUserId="11036" LastActivityDate="2016-01-12T15:31:01.547" Title="Copying All Settings Of One Composition in AE" Tags="|after-effects|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15768" PostTypeId="1" CreationDate="2015-06-15T19:15:18.837" Score="2" ViewCount="208" Body="&lt;p&gt;I am looking for suggestions on software to help catalog my growing video library of GoPro MP4 and other (iPhone, dSLR video) files.  This software would be similar to Adobe Bridge or Lightroom - neither of which will write out XMP files for video files to make them portable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The end result, I hope, is that when I import GoPro footage from a MTB ride where there's a crash, I'm able to keyword &amp;amp; describe the file so I can search the library for MTB, Crash.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm on Mac, but ideally the app should be cross platform with Windows.&lt;/p&gt;&#xA;" OwnerUserId="4994" LastActivityDate="2015-10-16T04:34:59.190" Title="Video Keywording, captioning and sorting software" Tags="|video|software-recommendation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15769" PostTypeId="2" ParentId="15765" CreationDate="2015-06-15T19:41:53.083" Score="1" Body="&lt;p&gt;There's lots of things to consider for a video editing machine, and the program you're using isn't everything, there's also what you're editing. For example, you'll benefit from a more powerful GPU for playback and rendering of high resolution files, and more ram for larger video files. That said, I have a Dell XPS 8700 with an i7-4790 processor for editing short films and some vfx and animation, and it runs fantastic, and it's only a $700 computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When looking at specs you'll want at least a quad-core i7 processor, at least 8GB of ram, and some kind of dedicated graphics if only something like a GT 720. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When looking at a processor, go for more cores over a faster clock. An Intel Xeon might he a good choice at the more expensive end. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;RAM is easy to upgrade, so I'd start with 8GB and add more if you find yourself running out. I personally never have suffered with 8GB. Clock on the ram doesn't matter that much, just get the cheapest stuff you can.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the GPU you want an Nvidia GPU. More CUDA cores is what you want. Baseline you've got a GT 720 or 730. A little more and you've got a GTX 750ti. Want to be the fancy kid on the block, get a GTX 960. If you really want to show off, get a GTX Titan X.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-06-15T19:41:53.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15770" PostTypeId="2" ParentId="15768" CreationDate="2015-06-15T19:43:00.900" Score="1" Body="&lt;p&gt;Since you mention Adobe software, what about Prelude and Prelude Live Logger?  It's my understanding that these apps are tailored to ingest, logging, and metadata entry.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-06-15T19:43:00.900" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15771" PostTypeId="2" ParentId="15746" CreationDate="2015-06-15T20:57:05.100" Score="4" Body="&lt;p&gt;I'm not being flip, but consider that not every problem has or needs a technical solution. Stage makeup can make you look any way you want to look on camera. No professional video host would go on air in his/her plain skin.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-06-15T20:57:05.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15772" PostTypeId="1" AcceptedAnswerId="15773" CreationDate="2015-06-15T21:27:41.850" Score="0" ViewCount="728" Body="&lt;p&gt;I have a movie and I want to burn it on a DVD, but I don't know how I do it and what the best options are. I want the DVD be able to play on PlayStation 4.&#xA;I have a movie in MP4 format and the subtitles are in SRT format. Are you able to tell me what the best programs are? I have installed Nero 2015, but I can't figure out how to work with it.&lt;/p&gt;&#xA;" OwnerUserId="11046" LastActivityDate="2018-04-10T06:27:34.403" Title="Burn a MP4 file with SRT subtitles" Tags="|video|mp4|dvd|.srt|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15773" PostTypeId="2" ParentId="15772" CreationDate="2015-06-16T00:31:44.163" Score="1" Body="&lt;p&gt;I think most HW players that can play mp4/avi/mkv/etc files-in-a-directory will load external-file subtitles if you just put them in the same directory as the video.  Burn it to a data DVD, or put it on a USB stick, and you're done.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-06-16T00:31:44.163" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15774" PostTypeId="2" ParentId="15757" CreationDate="2015-06-16T00:37:36.467" Score="1" Body="&lt;p&gt;Is there blurring in most frames?  (i.e. if you pause it, do most of the still frames that make up the video look ok on their own?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the shaking didn't blur out your image too badly, you might be able to recover something usable with ffmpeg's &lt;a href=&quot;http://public.hronopik.de/vid.stab/&quot; rel=&quot;nofollow&quot;&gt;&lt;code&gt;vid.stab&lt;/code&gt;&lt;/a&gt; filter.  It has some parameters, like speed of camera moves to not count as shake.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;IDK how it compares to what iMovie has, but if your video keeps some of what you want in-frame most of the time, and isn't blurred to hell, software should be able to give you something.  (cropped to contain just the part that the camera kept in-shot for most of the frames).&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-06-16T00:37:36.467" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15775" PostTypeId="2" ParentId="15750" CreationDate="2015-06-16T01:28:49.073" Score="1" Body="&lt;p&gt;Upscaling at playback time is done by graphics hardware, not the CPU, so your assumption turns out to be false.  Good software players will feed the video through high-quality hardware scaling (e.g. &lt;a href=&quot;http://mpv.io/&quot; rel=&quot;nofollow&quot;&gt;mpv&lt;/a&gt;'s opengl-hq video-out).  HW upscaling might still default to bilinear, though, so it's worth thinking about this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Upscaling before encode spreads the detail information over more pixels, making more work for the codec.  However, there's no new information, and as long as you use a HQ upscaling algo, you aren't adding new detail.  (stair-stepping / aliasing artifacts from low quality upscaling looks like detail that a codec has to spend bits to preserve, at the cost of the details you want.)  I would guess that you'd get better perceptual visual quality for method 1 (encode,decode,fullscale) than 2 (hq-scale,encode,decode,fullscale).  Both relative to source-&gt;fullscale, or to source-&gt;hq-fullscale.  Given the same bitrate for both options, of course.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, &lt;a href=&quot;http://forum.doom9.org/showthread.php?p=1607083#post1607083&quot; rel=&quot;nofollow&quot;&gt;this post&lt;/a&gt; in a doom9 discussion about upscaling or not before encoding a dvd backup indicates that this guy got better results from upscaling before encode.  (At least when targetting low-qual playback upscalers.)  Anamorphic = non-square pixels, in this context.  e.g. a 16:9 image stored in 720x480 (square-pixel upscaling would give 853.333:480).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I play back all the video I watch using high quality opengl upscaling, but the question is more about making it look good for people using the default video player in Windows and Mac.  IDK what kind of video scaling quality you get out of the box.  I hope it's pretty good these days, since AMD and NVidia have made their video pipeline a selling point of their graphics hardware.  (e.g. HW image postprocessing / high quality stuff).  I think Intel does ok too...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm also not sure that HQ scaling to an intermediate resolution would even help, if the final upscaler is lower quality.  Does anyone have any data on that?  The question is whether the quality of the output of a bilinear upscaler gets worse or not depending on how much it has to upscale.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The codec having to work harder to pull out just the information needed to recreate most of the detail could well be overshadowed by the benefit of using a good upscale to a medium rez.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you wanted to try it out, and have access to a mix of Windows and/or Mac computers with AMD/NVidia/Intel video hardware, then you could experiment just by first comparing a HQ software upscale to fullscreen with what you get from the hw video scaler.  Then try a SW upscale to mid rez.  Don't bother encoding, or encode to a fast lossless format for a short clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Probably if you're expecting people will mostly play back your video on computers (rather than blu-ray &amp;amp; dvd players / other set-top boxes), then not upscaling is probably the way to go.  Upscaling a bit to a medium rez is possibly helpful for some HW players, but that might only be when the source doesn't have square pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Upscaling before encoding will increase the encode time.  If encoding-time is limited (i.e. you'd have to use lower settings with a higher rez), then probably don't upscale.  Better quality at the same bitrate from spending more CPU time per pixel on the encode might be a bigger factor.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-06-16T02:07:51.657" LastActivityDate="2015-06-16T02:07:51.657" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15776" PostTypeId="2" ParentId="15726" CreationDate="2015-06-16T01:38:48.107" Score="2" Body="&lt;p&gt;I think browsers usually don't have configurable buffer sizes for streaming.  If you can get the video URL out of the browser, you could stream with &lt;a href=&quot;http://mpv.io/&quot; rel=&quot;nofollow&quot;&gt;mpv&lt;/a&gt; or something.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mpv --cache-secs=15 http://example.org/video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;mpv has several other cache-tuning options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as using a VPN: your ISP still sees the traffic.  It just doesn't see that it's an HTTP request, and even deep packet inspection won't be able to tell that it's streaming video.  I think most ISPs, if they do any QoS-based traffic shaping, would prioritize streaming audio/video to prevent annoyances when realtime matters, unlike torrent downloads.  So putting your traffic inside a VPN would if anything make it worse, in most cases, I'd expect.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-06-16T01:38:48.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15777" PostTypeId="2" ParentId="13292" CreationDate="2015-06-16T02:14:05.413" Score="0" Body="&lt;p&gt;VLC is usually quite slow to update their version of ffmpeg.  A recent build of &lt;a href=&quot;http://mpv.io/&quot; rel=&quot;nofollow&quot;&gt;mpv&lt;/a&gt; should do well.  It's been playing h.265 for me since well before this question was asked.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also note that Adam's answer is not quite right.  x265 is an encoder, and doesn't include a decoder.  FFMpeg's hevc decoder (in libavcodec, aka lavc) is the main Free Software implementation that everything uses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;IDK if VLC's current release plays h.265 (at all / well), or if you need a nightly build.  (assuming you want to use VLC, and not mpv / mplayer2 / mplayer).&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-06-16T02:14:05.413" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15778" PostTypeId="1" CreationDate="2015-06-16T02:59:41.730" Score="1" ViewCount="375" Body="&lt;p&gt;I try to compile vlc, but I always get this syntax error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Unterminated quoted string&#xA;&#xA;make: *** [.a52] error 2&#xA;&#xA;contribs:make failed&#xA;&#xA;cd a52dec &amp;amp;&amp;amp; CC=&quot;arm-linux-androideabi-gcc --sysroot=/home/timliu/test/android-ndk-r10e/platforms/android-9/arch-arm&quot; CXX=&quot;arm-linux-androideabi-g++ --sysroot=/home/timliu/test/android-ndk-r10e/platforms/android-9/arch-arm&quot; LD=&quot;arm-linux-androideabi-ld&quot; AR=&quot;arm-linux-androideabi-ar&quot; CCAS=&quot;arm-linux-androideabi-gcc --sysroot=/home/timliu/test/android-ndk-r10e/platforms/android-9/arch-arm -c&quot; RANLIB=&quot;arm-linux-androideabi-ranlib&quot; STRIP=&quot;arm-linux-androideabi-strip&quot; PATH=&quot;/home/timliu/net/android/vlc/contrib/arm-linux-androideabi/bin:/home/timliu/net/android/vlc/extras/tools/build/bin:/home/timliu/net/android/vlc/extras/tools/build/bin:/home/timliu/test/android-ndk-r10e/toolchains/arm-linux-androideabi-4.8/prebuilt/linux-x86/bin:/usr/local/sbin:/usr/local/bin:/usr/sbin:/usr/bin:/sbin:/bin:/usr/games:/usr/local/games:/usr/lib/jvm/java-1.7.0-openjdk-i386/bin&quot;&#xA;:/home/timliu/net/android/vlc/contrib/contrib-android-arm-linux-androideabi/../arm-linux-androideabi/bin&quot; CPPFLAGS=&quot; -g -mfpu=vfpv3-d16 -mcpu=cortex-a8 -mthumb -mfloat-abi=softfp -I/home/timliu/test/android-ndk-r10e/sources/cxx-stl/gnu-libstdc++/4.8/include -I/home/timliu/test/android-ndk-r10e/sources/cxx-stl/gnu-libstdc++/4.8/libs/armeabi-v7a/include -I/home/timliu/net/android/vlc/contrib/arm-linux-androideabi/include&quot; CFLAGS=&quot; -g -mfpu=vfpv3-d16 -mcpu=cortex-a8 -mthumb -mfloat-abi=softfp -I/home/timliu/test/android-ndk-r10e/sources/cxx-stl/gnu-libstdc++/4.8/include -I/home/timliu/test/android-ndk-r10e/sources/cxx-stl/gnu-libstdc++/4.8/libs/armeabi-v7a/include -I/home/timliu/net/android/vlc/contrib/arm-linux-androideabi/include -g&quot; CXXFLAGS=&quot; -g -mfpu=vfpv3-d16 -mcpu=cortex-a8 -mthumb -mfloat-abi=softfp -I/home/timliu/test/android-ndk-r10e/sources/cxx-stl/gnu-libstdc++/4.8/include -I/home/timliu/test/android-ndk-r10e/sources/cxx-stl/gnu-libstdc++/4.8/libs/armeabi-v7a/include -I/home/timliu/net/android/vlc/contrib/arm-linux-androideabi/include -g&quot; LDFLAGS=&quot; -L/home/timliu/test/android-ndk-r10e/sources/cxx-stl/gnu-libstdc++/4.8/libs/armeabi-v7a -lgnustl_static -L/home/timliu/net/android/vlc/contrib/arm-linux-androideabi/lib&quot; ./configure --prefix=&quot;/home/timliu/net/android/vlc/contrib/arm-linux-androideabi&quot; --datarootdir=&quot;/home/timliu/net/android/vlc/contrib/arm-linux-androideabi/share&quot; --includedir=&quot;/home/timliu/net/android/vlc/contrib/arm-linux-androideabi/include&quot; --libdir=&quot;/home/timliu/net/android/vlc/contrib/arm-linux-androideabi/lib&quot; --build=&quot;i686-linux-gnu&quot; --host=&quot;arm-linux-androideabi&quot; --target=&quot;arm-linux-androideabi&quot; --program-prefix=&quot;&quot; --enable-static --disable-shared --disable-dependency-tracking --with-pic&#xA;contribs: make failed&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My specifications:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;OS: (Ubuntu 14.04 32bit) linux ubuntu 3.13.0-32 generic 2014 i686&lt;/li&gt;&#xA;&lt;li&gt;NDK: android-ndk-r10e&lt;/li&gt;&#xA;&lt;li&gt;JDK: adt-bundle-linux-x86-20140702 32bit&lt;/li&gt;&#xA;&lt;li&gt;java-version: &quot;1.7.0-79&quot; | &#xA;OpenJDK runtime Environment (IcedTea 2.5.5) (7u79-2.5.5-Oubuntu0.14.04.2)&lt;/li&gt;&#xA;&lt;li&gt;vlc: &#xA;git clone git://git.videolan.org/vlc-ports/android.git&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11047" LastEditorUserId="6685" LastEditDate="2015-06-19T14:42:30.327" LastActivityDate="2015-06-20T10:16:18.197" Title="Syntax error when compiling vlc media player" Tags="|video|" AnswerCount="1" CommentCount="4" ClosedDate="2015-06-25T18:08:45.550" ContentLicense="CC BY-SA 3.0" />
  <row Id="15779" PostTypeId="2" ParentId="15766" CreationDate="2015-06-16T04:47:10.030" Score="2" Body="&lt;p&gt;There is no global setting that works in all these conditions. The solution is to light properly and expose properly for the conditions. It's hard to give specific advice because you don't say what you're shooting in these low light conditions or what venue you're shooting in. Here are the general solutions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Do you have the option to increase the lighting? If so, that's you're best bet. Note that you may not need to buy more lights - reflectors can do wonders and are very cheap.&lt;/li&gt;&#xA;&lt;li&gt;If you can't increase the lighting, the next best thing is to open the aperture. However, that causes your depth of field to become more shallow, meaning it's harder to focus on your subject and keep them in focus, particularly if they're moving.&lt;/li&gt;&#xA;&lt;li&gt;Decrease the shutter speed. In video, it may be called the &quot;shutter angle&quot; and it may be in degrees. 360° is the entire length of a single frame (1/24th, 1/30th, etc.). 180° would be half that (1/48th at 24fps, 1/60th at 30fps, etc.). You can only increase it so much, though, as a frame can't be longer than 1/30th of a second (if you're shooting 30 fps, for example), so that's the upper limit.&lt;/li&gt;&#xA;&lt;li&gt;Increase the ISO. As you've noticed, this causes more grain in the image.&lt;/li&gt;&#xA;&lt;li&gt;Use a camera with a better sensor for low light conditions. Since you're into Canon gear, the 5D is known for its large sensor size. In general, larger sensors (that is sensors with larger pixels) will gather more light and produce less grain. There may be cheaper options. You can rent better gear much more cheaply than buying it in most parts of the world.&lt;/li&gt;&#xA;&lt;li&gt;Use noise reduction software in post. There are lots of plug-ins available for the major editing applications. I've seen people use &lt;a href=&quot;http://neatvideo.com&quot; rel=&quot;nofollow&quot;&gt;Neat Video&lt;/a&gt;, &lt;a href=&quot;http://revisionfx.com/products/denoise/&quot; rel=&quot;nofollow&quot;&gt;De:Noise&lt;/a&gt;, and other similar products.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If you describe what you're shooting and where, we may be able to come up with more specific suggestions.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-06-16T04:47:10.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15780" PostTypeId="1" CreationDate="2015-06-16T11:10:34.497" Score="4" ViewCount="7881" Body="&lt;p&gt;&lt;em&gt;Please forgive the noob question, I'm new here. I've looked for an answer on this forum but not found one so far. I've also tried the BMXlib forum.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to convert small video files that have been digitally generated as &lt;strong&gt;DNxHD QuickTime MOV's&lt;/strong&gt; (via FFmpeg, and not sourced from a camera) &lt;strong&gt;into DNxHD MXF files&lt;/strong&gt; that I can import into Avid Media Composer using the Media Tool. I'm on MC 8.3.1. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are video-only files, there's no audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using FFmpeg to generate a raw &lt;strong&gt;.dnx file&lt;/strong&gt;: &lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i [input-file] -vcodec dnxhd -f rawvideo -b:v 185M -flags +ildct -y [intermediate-file]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then using &lt;strong&gt;raw2bmx&lt;/strong&gt; to wrap that as an MXF:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;raw2bmx -t avid -o [output-file-prefix] -f 25 --vc3_1080p_1238 [intermediate-file]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There are no errors that I can see in the resultant outputs. The resultant file is an MXF file which the Media Tool will recognise. The file size seems right (just a few K more than the original file). The duration and video format are correctly recognised, so it appears to be fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I try to play back the clip, it won't play. In the source window I get a long and apparently incomplete error message:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;HagridBase: Err: 0 | -1979514218 | lk_interruptobject.cpp | 1152 | Error Code: kLPKerr_CodecFatalDecodeError Msg: &quot;Card2:Decode:Pip1DecodeError&quot;, Err: 0 | -1979514218 | lk_interruptobject.cpp | 1157 | Error Code: kLPKerr_CodecFatalDecodeError Msg: &quot;Ca&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Has anyone got any suggestions where I might be going wrong? I'm new to BMX so I may be making a simple mistake.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;Console Output&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;When using FFmpeg to convert from the MOV to the raw .dnx, this is the console output:&#xA;~~~&#xA;Reached BMX.B.&#xA;secondParameters:&#xA;-i &quot;C:\Users\animator\Documents\Renumbers\900-0002_stage1_GHRs.mov&quot; -vcodec dnxhd -f rawvideo -b:v 185M -flags +ildct -y &quot;C:\Users\animator\Documents\Renumbers\900-0002_stage2_GHRs.dnx&quot;&#xA;ffmpeg version N-70520-g9d7e42e Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 4.9.2 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      54. 20.100 / 54. 20.100&#xA;  libavcodec     56. 26.100 / 56. 26.100&#xA;  libavformat    56. 25.101 / 56. 25.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 12.100 /  5. 12.100&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\Users\animator\Documents\Renumbers\900-0002_stage1_GHRs.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 512&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf56.25.101&#xA;  Duration: 00:00:10.00, start: 0.000000, bitrate: 183502 kb/s&#xA;    Stream #0:0(eng): Video: dnxhd (AVdn / 0x6E645641), yuv422p(tv), 1920x1080, 183500 kb/s, 25 fps, 25 tbr, 12800 tbn, 12800 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : DataHandler&#xA;      encoder         : Lavc56.26.100 dnxhd&#xA;Output #0, rawvideo, to 'C:\Users\animator\Documents\Renumbers\900-0002_stage2_GHRs.dnx':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 512&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf56.25.101&#xA;    Stream #0:0(eng): Video: dnxhd, yuv422p, 1920x1080, q=2-1024, 185000 kb/s, 25 fps, 25 tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : DataHandler&#xA;      encoder         : Lavc56.26.100 dnxhd&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (dnxhd (native) -&amp;gt; dnxhd (native))&#xA;Press [q] to stop, [?] for help&#xA;frame=   47 fps=0.0 q=1.0 size=   42112kB time=00:00:01.88 bitrate=183500.8kbits/s    &#xA;frame=   96 fps= 94 q=1.0 size=   86016kB time=00:00:03.84 bitrate=183500.8kbits/s    &#xA;frame=  130 fps= 86 q=1.0 size=  116480kB time=00:00:05.20 bitrate=183500.8kbits/s    &#xA;frame=  180 fps= 89 q=1.0 size=  161280kB time=00:00:07.20 bitrate=183500.8kbits/s    &#xA;frame=  229 fps= 90 q=1.0 size=  205184kB time=00:00:09.16 bitrate=183500.8kbits/s    &#xA;frame=  250 fps= 91 q=1.0 Lsize=  224000kB time=00:00:10.00 bitrate=183500.8kbits/s    &#xA;video:224000kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.000000%&#xA;~~~&#xA;&#xA;When I run raw2bmx, I'm not seeing any console output so I can't see anything to paste.&#xA;&#xA;Running FFprobe on the resulting MXF file gives this information:&#xA;~~~&#xA;[STREAM]&#xA;index=0&#xA;codec_name=dnxhd&#xA;codec_long_name=VC3/DNxHD&#xA;profile=unknown&#xA;codec_type=video&#xA;codec_time_base=1/25&#xA;codec_tag_string=[0][0][0][0]&#xA;codec_tag=0x0000&#xA;width=1920&#xA;height=1080&#xA;has_b_frames=0&#xA;sample_aspect_ratio=1:1&#xA;display_aspect_ratio=16:9&#xA;pix_fmt=yuv422p&#xA;level=-99&#xA;color_range=N/A&#xA;color_space=unknown&#xA;color_transfer=unknown&#xA;color_primaries=unknown&#xA;chroma_location=unspecified&#xA;timecode=N/A&#xA;refs=1&#xA;id=N/A&#xA;r_frame_rate=25/1&#xA;avg_frame_rate=25/1&#xA;time_base=1/25&#xA;start_pts=0&#xA;start_time=0.000000&#xA;duration_ts=250&#xA;duration=10.000000&#xA;bit_rate=N/A&#xA;max_bit_rate=N/A&#xA;bits_per_raw_sample=8&#xA;nb_frames=N/A&#xA;nb_read_frames=N/A&#xA;nb_read_packets=N/A&#xA;DISPOSITION:default=0&#xA;DISPOSITION:dub=0&#xA;DISPOSITION:original=0&#xA;DISPOSITION:comment=0&#xA;DISPOSITION:lyrics=0&#xA;DISPOSITION:karaoke=0&#xA;DISPOSITION:forced=0&#xA;DISPOSITION:hearing_impaired=0&#xA;DISPOSITION:visual_impaired=0&#xA;DISPOSITION:clean_effects=0&#xA;DISPOSITION:attached_pic=0&#xA;TAG:file_package_umid=0x060A2B340101010101010F00130000005580237EF2BE012E060E2B347F7F2A80&#xA;[/STREAM]&#xA;~~~&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any suggestions would be very welcome.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can provide more of the console output or possibly a couple of example files if it would help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="11048" LastEditorUserId="6685" LastEditDate="2015-06-17T19:50:09.113" LastActivityDate="2015-06-17T19:50:09.113" Title="Converting files to Avid-friendly DNxHD MXF" Tags="|ffmpeg|avid|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15781" PostTypeId="1" CreationDate="2015-06-16T13:30:12.433" Score="5" ViewCount="5208" Body="&lt;p&gt;&lt;em&gt;I'm looking for a way to render Premiere or Edius projects on linux via command line.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you may know, there are a lot of render managers like &lt;em&gt;Deadline&lt;/em&gt;, &lt;em&gt;Render Pal&lt;/em&gt; or &lt;em&gt;Smedge&lt;/em&gt; in order to build a custom render farm for all kind of creative applications or 3d renderers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These render managers mostly support all of the major platforms (Windows, OSX and Linux), but film editing software like Adobe Premiere (along with After Effects) or Edius don't support linux OS at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I use a render manager to render a Premiere, After Effetcts or even a Edius project on Linux?&lt;/p&gt;&#xA;" OwnerUserId="11042" LastEditorUserId="2836" LastEditDate="2015-06-17T19:49:50.970" LastActivityDate="2015-06-17T19:49:50.970" Title="Can you render Adobe Premiere or After Effects projects on Linux using a render manager?" Tags="|after-effects|premiere|linux|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15782" PostTypeId="2" ParentId="15781" CreationDate="2015-06-16T13:55:15.380" Score="3" Body="&lt;p&gt;No. Unfortunately Adobe only supports win or osx. Official &lt;a href=&quot;https://forums.adobe.com/thread/569519&quot; rel=&quot;nofollow&quot;&gt;forum post&lt;/a&gt; about &lt;a href=&quot;http://www.thinkboxsoftware.com/deadline/&quot; rel=&quot;nofollow&quot;&gt;Deadline:&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Deadline itself is a cross-platform application, but it can only render on  operating systems that the rendering software itself supports. So AE and  C4D will only work on Windows and OSX.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Also see the manual: &lt;a href=&quot;http://docs.thinkboxsoftware.com/products/deadline/7.1/1_User%20Manual/&quot; rel=&quot;nofollow&quot;&gt;http://docs.thinkboxsoftware.com/products/deadline/7.1/1_User%20Manual/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Thus it depends on the &lt;strong&gt;main application&lt;/strong&gt;, if you are able to build a render farm on linux. In the case of adobe, the only remaining option is using a &lt;a href=&quot;https://en.wikipedia.org/wiki/Virtual_machine&quot; rel=&quot;nofollow&quot;&gt;Virtual Machine&lt;/a&gt; for now.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-06-17T11:15:58.317" LastActivityDate="2015-06-17T11:15:58.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15783" PostTypeId="2" ParentId="15780" CreationDate="2015-06-16T14:15:19.410" Score="2" Body="&lt;p&gt;&lt;em&gt;In the end I have discovered what the problem was here, to an extent, and thanks to a post on the BMXlib forum:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By changing the option in raw2bmx from &lt;code&gt;--vc3_1080p_1238&lt;/code&gt; to simply &lt;code&gt;--vc3&lt;/code&gt;, this forced raw2bmx to look at the data to determine what video format it was - and it turns out that in this case, &lt;strong&gt;it wasn't vc3_1080p_1238&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="11048" LastEditorUserId="6685" LastEditDate="2015-06-17T18:22:14.273" LastActivityDate="2015-06-17T18:22:14.273" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15784" PostTypeId="2" ParentId="3835" CreationDate="2015-06-16T14:22:34.963" Score="1" Body="&lt;p&gt;I have two screen set up and I record everything live using a blue yeti and the record feature in key note..i use the &quot;show presenter note&quot;  to write the script for the various slides using RED to signify when to click on the advance arrow to trigger an animation - text replace .. etc..  with two screens keynote shows a &quot;live&quot; view and a &quot;preview&quot; view with the notes showing... once its recorded.. i export to imovie for final adjustments. I have been doing it this way for years and I have produced hundreds of hours of video this way...&lt;/p&gt;&#xA;" OwnerUserId="11049" LastActivityDate="2015-06-16T14:22:34.963" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15785" PostTypeId="1" CreationDate="2015-06-16T22:57:14.347" Score="2" ViewCount="318" Body="&lt;p&gt;I've recorded my over 2h presentation using HyperCam2 but output video is totally out of sync with audio. It looks like video is 2x faster than audio so I have 'Thanks for watching' slide in the middle of it while audio keeps playing till the end.&#xA;I've tried slowing down video with ffmpeg using this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -filter:v &quot;setpts=2*PTS&quot; output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but there is out of bound error at about 80%:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[msvideo1 @ 00000000044a9840]  MS Video-1 warning: stream_ptr out of bounds (7310 &amp;gt;= 7306)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;so my video has not been 100% properly processed, but anyway I'm closer than before. Now audio stream ends before video at 2:03:22. &#xA;My streams looks like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe.exe -i input.avi&#xA;ffprobe version N-71497-gedbb9b5 Copyright (c) 2007-2015 the FFmpeg developers&#xA;  built with gcc 4.9.2 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfi&#xA;g --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --&#xA;enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libm&#xA;p3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --en&#xA;able-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --ena&#xA;ble-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enabl&#xA;e-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      54. 22.101 / 54. 22.101&#xA;  libavcodec     56. 34.100 / 56. 34.100&#xA;  libavformat    56. 30.100 / 56. 30.100&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 14.100 /  5. 14.100&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;[avi @ 0000000002d15920] non-interleaved AVI&#xA;Input #0, avi, from input.avi:&#xA;  Duration: 01:06:52.40, start: 0.000000, bitrate: 28193 kb/s&#xA;    Stream #0:0: Video: msvideo1 (CRAM / 0x4D415243), rgb555le, 1920x1080, 26873 kb/s, 10 fps, 10 tbr, 10 tbn, 10 tbc&#xA;    Stream #0:1: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 22050 Hz, 2 channels, s16, 705 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So my question is &lt;strong&gt;how can I fix my video so audio and video is synced&lt;/strong&gt;?&lt;/p&gt;&#xA;" OwnerUserId="11051" LastEditorUserId="11051" LastEditDate="2015-06-17T19:44:25.263" LastActivityDate="2015-06-17T19:44:25.263" Title="HyperCam2 video out of sync, ffmpeg throws video out of bounds" Tags="|ffmpeg|video-recording|sync|audio-recording|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15786" PostTypeId="2" ParentId="15661" CreationDate="2015-06-17T00:01:56.073" Score="2" Body="&lt;p&gt;It sounds like you are using your laptop's microphone, and that your main problem is the lack of a quality mic. If you own an iPhone, especially iPhone 5 or later, I would recommend you use the voice recorder app, and email the audio files to yourself using the Share button. The iPhone's microphone is surprisingly good for audio. High end Android phones also tend to have good mics. Using your phone means you don't have to purchase any additional equipment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it helps, &lt;a href=&quot;http://blog.faberacoustical.com/2009/ios/iphone/iphone-microphone-frequency-response-comparison/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this guy&lt;/a&gt; measured the frequency response of the iPhone 3GS back in 2009, and it's a pretty safe bet that the newer models use mics of either the same or better quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0FPmA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fun fact, the iPhone 5 actually has three microphones. The voice recorder app only takes input from the mic along the bottom edge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/xc2mD.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also make sure you're recording in a very still, closed-off room. If you are editing in Adobe Premiere Pro, syncing the audio to the video afterwards shouldn't be a huge problem!&lt;/p&gt;&#xA;" OwnerUserId="11052" LastEditorUserId="11052" LastEditDate="2015-06-17T00:08:02.960" LastActivityDate="2015-06-17T00:08:02.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15787" PostTypeId="2" ParentId="15767" CreationDate="2015-06-17T08:03:58.030" Score="1" Body="&lt;p&gt;This is not possible to do in one step, it is only possible to &lt;strong&gt;duplicate compositions&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Select the composition (&lt;em&gt;Import Footage Panel&lt;/em&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Press &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;D&lt;/kbd&gt; (or go to &lt;em&gt;Composition &gt; Duplicate Composition&lt;/em&gt;)&lt;/li&gt;&#xA;&lt;li&gt;As (almost) everywhere in AE, hit &lt;kbd&gt;Enter&lt;/kbd&gt; on the selected composition to &lt;em&gt;rename the duplicate&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;When you need to &lt;strong&gt;copy the properties of a layer&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Select the &lt;em&gt;Layer&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Click on the tiny Triangle &lt;kbd&gt;&gt;&lt;/kbd&gt; left beside the layers name to open up the properties&lt;/li&gt;&#xA;&lt;li&gt;Select &lt;em&gt;Transform, Effects or Mask&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Press &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;C&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;li&gt;Switch to the &lt;em&gt;Second Composition&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Select the &lt;em&gt;Layer&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Set the &lt;em&gt;playhead&lt;/em&gt; to the animation &lt;em&gt;start frame&lt;/em&gt; (first keyframe)   &lt;/li&gt;&#xA;&lt;li&gt;Press &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;V&lt;/kbd&gt; to &lt;em&gt;overwrite all properties&lt;/em&gt; and &lt;em&gt;insert all copied keyframes&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;To check the result, press &lt;kbd&gt;U&lt;/kbd&gt; on the &lt;em&gt;Layer&lt;/em&gt;, this will open up all animated properties of the layer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: Copying the &lt;strong&gt;same properties of different layers&lt;/strong&gt; is also possible by &lt;em&gt;selecting multiple layers&lt;/em&gt;, &lt;em&gt;open up the properties simultaneously&lt;/em&gt;, and select them by &lt;em&gt;holding down&lt;/em&gt; &lt;kbd&gt;Ctrl&lt;/kbd&gt; or &lt;kbd&gt;Shift&lt;/kbd&gt;. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Related: &lt;a href=&quot;https://video.stackexchange.com/questions/17326/after-effects-shortcut-for-showing-all-transforming-properties-of-a-layer&quot;&gt;After Effects: Shortcut for showing all transforming properties of a layer&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-01-12T15:31:01.547" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15789" PostTypeId="1" CreationDate="2015-06-17T14:32:52.117" Score="2" ViewCount="80" Body="&lt;p&gt;I switched to a different Photos library (on a different hard drive), and all of a sudden FCPX doesn't let me browse that library when I'm trying to import video. It instead says &quot;Open Photos to see your photos in this list&quot; (it's already open).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems FCPX still thinks I'm using the old library (some of my events/vids use clips from the old library, which are now marked as missing). How can I fix this? I'm tried uninstalling/reinstalling FCPX according to the official instructions, but no luck.&lt;/p&gt;&#xA;" OwnerUserId="11035" LastActivityDate="2015-11-09T22:03:03.597" Title="Make FCPX forget where the old iPhoto library is" Tags="|final-cut-pro|final-cut-pro-x|photos|" AnswerCount="0" CommentCount="0" ClosedDate="2015-11-10T20:20:17.433" ContentLicense="CC BY-SA 3.0" />
  <row Id="15790" PostTypeId="1" AcceptedAnswerId="16807" CreationDate="2015-06-17T15:41:41.883" Score="5" ViewCount="280" Body="&lt;p&gt;I have a sample recorded with half speed at 60fps (for better quality later on), which is my video track.&lt;br&gt;&#xA;Then I seperately recorded the audio track at normal speed.&lt;br&gt;&#xA;I imported the video track into SVP13 and in its Properties I set the playback rate to 2.0000&#xA;When syncing the video to the audio at one point, it is out of sync a few moments later, as the audio and the video track don't match in there playbackrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to set multiple anchors on the audio and video track and let SV sync these anchors together (with the priority on the audio track, so the sound does not get distorted and the video get adapted)?&lt;/p&gt;&#xA;" OwnerUserId="11056" LastActivityDate="2015-11-04T07:16:42.393" Title="Sync Video to Audio in SonyVegasPro13 with multiple anchors" Tags="|vegas-pro|sync|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15792" PostTypeId="1" AcceptedAnswerId="15843" CreationDate="2015-06-17T19:00:06.910" Score="2" ViewCount="3764" Body="&lt;p&gt;I have potentially millions of HLS streaming videos to create from cover art and mp3s.  Obviously, I'd like to keep the resulting bandwidth to a minimum.  I tried various ffmpeg flags specifically suggested for this task and even some on the apple media segmenter that claimed to put a cover art in each segment(meta-file/meta-type).  I had a lot of problems getting chrome to display the cover art when playing back using HTML5 despite it working in VLC.  I ended up with a working command line like this.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i 1k_image.jpg -i song_219kbs.mp3 -c:v libx264 -pix_fmt yuv420p  -profile:v baseline -c:a aac -strict experimental -b:a 64k -r 1 -shortest song_64k_2fps_baseline.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;-pix_fmt&lt;/code&gt; and baseline profile seemed to be key.  Can you see anything I am doing that is unnecessary?  Is there a better way of achieving my goal?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I look at several of the commercial cloud transcoding solutions and didn't see how to configure one to do this.  Did I miss the options?&lt;/p&gt;&#xA;" OwnerUserId="11058" LastEditorUserId="6685" LastEditDate="2015-06-20T10:16:30.443" LastActivityDate="2015-06-25T13:04:55.400" Title="ffmpeg stream options for mp3, cover art of mp4" Tags="|video|ffmpeg|transcoding|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15793" PostTypeId="1" CreationDate="2015-06-17T20:28:55.503" Score="1" ViewCount="59" Body="&lt;p&gt;Not sure if this is the right place for such a question, but not able to find a more fitting place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for some solid and simple video playback hardware, for playing video continously for a long time. I'd rather not use a full computer, as experience shows that it creates more problems than a dedicated video/media player. I've previously used the &lt;a href=&quot;http://www.akman.com/product/AMA1080p.html&quot; rel=&quot;nofollow&quot;&gt;Akman AMA 1080p&lt;/a&gt; which works great. But the problem now is that I wan't to create a secondary display (iPad or similar) that shows the remaining time of the movie being shown. So I would need some sort of signal output from the player with the current timecode of the video. Do anyone know of such a player? The output can be in any format, I can program the display solution myself. I can do this with the video played by a computer, but would rather not use this method as it's more unstable. &lt;/p&gt;&#xA;" OwnerUserId="11060" LastActivityDate="2015-06-17T20:28:55.503" Title="Hardware for exhibition video playback (long period) with timecode output" Tags="|video|hardware|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15794" PostTypeId="1" CreationDate="2015-06-17T20:53:13.800" Score="2" ViewCount="4870" Body="&lt;p&gt;I recorded a video from an android phone and turned it from portrait to landscape within the first 5 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I noticed if I play the video in Windows Media Player - it shows up portrait then turns to a 90 degree angle on its' side. However in VLC player, it shows up in portrait and when the film rotates, the position stays fixed so the video always looks correct, I guess because VLC reads the meta data of the film for the rotation angle and adjusts automatically during playback ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However I need to save this into the actual video... so that it &quot;automatically&quot; turns for other players or for YouTube etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have no idea how to do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:&#xA;What I mean is that the metadata for current rotation needs to be read and a video saved using this information so that the actual video stays stable when the part in the video where the phone is rotated while filming. Does that make more sense?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try it out by filming something with your smartphone and then rotate the phone while recording from landscape to portrait or vice versa. Save the video to your PC and play with latest VLC, it stays stable but view in Windows Player and you end up with a rotated video (either it's on the side or something)&lt;/p&gt;&#xA;" OwnerUserId="4987" LastEditorUserId="4987" LastEditDate="2015-06-26T05:49:18.167" LastActivityDate="2015-06-26T05:49:18.167" Title="How to save the phone rotation into a video?" Tags="|video|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15795" PostTypeId="1" CreationDate="2015-06-18T00:26:10.177" Score="0" ViewCount="1216" Body="&lt;p&gt;I'm looking for a way to projection map onto a low poly 3d model, I would like to use &lt;a href=&quot;http://www.madmapper.com/&quot; rel=&quot;nofollow&quot;&gt;mad mapper&lt;/a&gt;, but I can seem to figure out if there is a way to load the 3d model into madmapper rather than sit there an draw the surfaces in the program by hand.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to load a 3d geometry into it?&lt;/p&gt;&#xA;" OwnerUserId="2828" LastEditorUserId="6685" LastEditDate="2015-06-20T10:13:53.727" LastActivityDate="2015-06-20T10:13:53.727" Title="Can Import A 3D Model into madmapper" Tags="|3d|projector|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15797" PostTypeId="2" ParentId="15794" CreationDate="2015-06-18T04:49:26.583" Score="3" Body="&lt;p&gt;I may not be able to answer this as fully as someone else, but I'd do the following:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open the video file in (most) any video editor. (something as basic as Windows Movie Maker will suffice)&lt;/li&gt;&#xA;&lt;li&gt;Split the clip at the point where the device rotates.&lt;/li&gt;&#xA;&lt;li&gt;Rotate the newly-created second clip to suit your needs.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="10754" LastActivityDate="2015-06-18T04:49:26.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15798" PostTypeId="1" AcceptedAnswerId="15799" CreationDate="2015-06-18T10:16:14.080" Score="2" ViewCount="13370" Body="&lt;p&gt;I edit my videos on Adobe Premiere (or even Edius) and I want to build a linux based render farm for rendering my projects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The concepts I've found in my research are 'render manager' and 'frame serving' which won't do a cross platform stuff in the way I desire or please tell me that I'm mistaken!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I set up a render farm for this task?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Note that I have a linux server which means it doesn't have a Graphical User Interface.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="11042" LastEditorUserId="674" LastEditDate="2015-06-20T10:15:22.810" LastActivityDate="2017-07-10T02:14:44.840" Title="Build linux render farm in order to render adobe premiere projects" Tags="|premiere|video-editor|adobe|linux|" AnswerCount="1" CommentCount="2" ClosedDate="2015-06-25T18:10:19.107" ContentLicense="CC BY-SA 3.0" />
  <row Id="15799" PostTypeId="2" ParentId="15798" CreationDate="2015-06-18T14:43:37.760" Score="3" Body="&lt;p&gt;You can do this by using ffmpeg. Here are the steps:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;First do steps of the second method (&quot;Use a frameserver&quot;) &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/PremierePro&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Beginning this step you should be streaming your Premier timeline through Debugmode and Avisynth on a specific IP and port. Now open a command line and run this ffmpeg command:&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i frameserver.avs -f mpegts  tcp://[IP address of your server]:[open port on your server]&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By running this command, you are sending the Avisynth output (streaming) to a destination machine (your Linux server) through ffmpeg.&#xA;After this step all you have to do on the client server (where you edit your videos) is done. Next, set up the server side.&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;On the server (your Linux server), make sure you have ffmpeg installed and run the following command:&#xA;&lt;code&gt;ffmpeg -i tcp://[your server IP]:[The same port you entered in step 2]?listen -c:v libx264 -preset medium -crf 23 -pix_fmt yuv420p -c:a libfdk_aac -vbr 4 output2.mp4&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Through this command, ffmpeg will be listening on a specified IP and port and receiving sent packets and encode them with your favorite options!&lt;/p&gt;&#xA;" OwnerUserId="11063" LastEditorUserId="14523" LastEditDate="2017-07-10T02:14:44.840" LastActivityDate="2017-07-10T02:14:44.840" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15800" PostTypeId="1" CreationDate="2015-06-18T15:58:27.753" Score="3" ViewCount="4285" Body="&lt;p&gt;I'd like to try to do some datamoshing like &lt;a href=&quot;http://www.reddit.com/r/brokenanimegifs/wiki/tutorial&quot; rel=&quot;nofollow&quot;&gt;this tutorial&lt;/a&gt;.  But I'd like to be able to do it programatically, so instead of vdub and avidemux, I'd like to figure out how to do as many parts of this process as I can with ffmpeg and/or other command-line tools.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first problem I am having is that when I use the &lt;a href=&quot;http://www.videohelp.com/software/ffdshow/old-versions&quot; rel=&quot;nofollow&quot;&gt;ffdshow codec rev 3556&lt;/a&gt; with VDub it just outputs a broken video.  I feel like I got close to getting &lt;strong&gt;what I want, which is frame 0 as an I-frame and all the rest as P-frames with the following command&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -force_key_frames 00:00:00.000 output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There are a couple of problems with this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;I get B-frames too, which don't work with that type of data-moshing&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;There's still I-frames every 10 or so frames&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I feel like the problem is that I need to use a certain codec to encode the video in and also that &lt;code&gt;-force_key_frames&lt;/code&gt; probably just enforces the addition of extra keyframe(I-frames) but doesn't prevent other I-frames from being created.&lt;/p&gt;&#xA;" OwnerUserId="350" LastEditorUserId="6685" LastEditDate="2015-06-19T10:04:32.133" LastActivityDate="2015-06-26T06:12:01.870" Title="How can I set the first frame of a video to an I-frame and the rest to P-frames (preferably with ffmpeg)?" Tags="|ffmpeg|codec|keyframes|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15801" PostTypeId="1" CreationDate="2015-06-18T18:25:13.693" Score="1" ViewCount="73" Body="&lt;p&gt;Would a late (2013), retina display, 16 GB RAM, 256 GB HD, 2.6 GHz Intel Core i5, MacBook Pro be suitable for editing video?&lt;/p&gt;&#xA;" OwnerUserId="10359" LastActivityDate="2016-03-01T18:55:44.760" Title="What would be a good video editing computer?" Tags="|recommendation|" AnswerCount="1" CommentCount="4" ClosedDate="2016-03-05T23:32:44.153" ContentLicense="CC BY-SA 3.0" />
  <row Id="15803" PostTypeId="2" ParentId="15800" CreationDate="2015-06-18T22:12:33.763" Score="2" Body="&lt;p&gt;What you want is a very long GOP or I-frame interval. I believe the ffmpeg option &lt;code&gt;-g nnnn&lt;/code&gt; will do that, where &lt;code&gt;nnnn&lt;/code&gt; is the length of your video in frames. I don't know how to specify &quot;no B-frames&quot;, and this will certainly all be codec-dependent. Give it a try.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-06-18T22:12:33.763" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15804" PostTypeId="2" ParentId="15778" CreationDate="2015-06-19T04:01:40.393" Score="1" Body="&lt;p&gt;I have solved this problem. An error happens due to environment variables.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I added :&lt;code&gt;/usr/lib/jvm/java-1.7.0-openjdk-i386&lt;/code&gt; to &lt;code&gt;etc/profile&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;export JAHA_HOME=/usr/lib/jvm/java-1.7.0-openjdk-i386&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now , I can compile libvlc, but new problem arises:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;libvlc:compileReleaseJava FAILED&#xA;*what went wrong:&#xA;Execution failed for task 'libvlc:compileReleaseJAVA'.&#xA;&amp;gt; Cannot find System Java Compiler. Ensure that you have installed a JDK (not just a JRE) and config used your JAVA_HOME system variable to point to the according dirctory.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11047" LastEditorUserId="4943" LastEditDate="2015-06-20T10:16:18.197" LastActivityDate="2015-06-20T10:16:18.197" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15805" PostTypeId="1" AcceptedAnswerId="15806" CreationDate="2015-06-19T06:41:57.463" Score="3" ViewCount="220" Body="&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;There's a video of a man, drawing something.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;There's a violin symphony music.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I want to sync the video, I mean the movements of hand with the symphony.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, I want the hand to move fast, when the music rate is fast, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I have to look for to achieve this?&lt;/p&gt;&#xA;" OwnerUserId="9242" LastActivityDate="2015-06-19T09:50:09.283" Title="How to sync motion and music in After Effects" Tags="|after-effects|sync|motion|music|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15806" PostTypeId="2" ParentId="15805" CreationDate="2015-06-19T07:51:22.280" Score="2" Body="&lt;p&gt;Depends on &lt;strong&gt;how much time stretch is key&lt;/strong&gt; to synchronize the shot. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;In order to increase the speed of the whole layer use the &lt;strong&gt;Time Stretch&lt;/strong&gt; feature (&lt;em&gt;Right Click the Layer &gt; Time &gt; Time Stretch&lt;/em&gt;) &lt;em&gt;Note: values below 100 increase the speed. Values above 110 often results in bad quality. To solve this, see motion calculation (3.)&lt;/em&gt;   &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;To vary the speed of a layer, it's ok in most cases to use the standard &lt;strong&gt;Time Remapping&lt;/strong&gt; feature (&lt;em&gt;Right Click the Layer &gt; Time &gt; Enable Time Remapping&lt;/em&gt;) This makes it possible to keyframe the time/speed of your layer.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In some situations, especially for generating slow motion shots you need to &lt;strong&gt;calculate the motion in between the frames&lt;/strong&gt; with &lt;a href=&quot;http://en.wikipedia.org/wiki/Optical_flow&quot; rel=&quot;nofollow noreferrer&quot;&gt;optical flow&lt;/a&gt; technology like &lt;a href=&quot;http://www.revisionfx.com/products/twixtor/&quot; rel=&quot;nofollow noreferrer&quot;&gt;twixtor&lt;/a&gt;. You can also play with &lt;a href=&quot;https://github.com/slowmoVideo/slowmoVideo/&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;SlomoVideo&lt;/strong&gt;&lt;/a&gt; as an open source alternative. For further information, see this article: &lt;a href=&quot;http://www.fxguide.com/featured/art_of_optical_flow/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.fxguide.com/featured/art_of_optical_flow/&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;For &lt;strong&gt;audio preview workflow&lt;/strong&gt;, see: &lt;a href=&quot;https://video.stackexchange.com/questions/15319/how-can-i-preview-with-audio-in-after-effects-and-be-able-to-pause-resume-the/15321#15321&quot;&gt;How can I preview with audio in After Effects and be able to pause / resume the preview?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-06-19T09:50:09.283" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15808" PostTypeId="1" AcceptedAnswerId="15809" CreationDate="2015-06-20T10:08:17.833" Score="1" ViewCount="284" Body="&lt;p&gt;Can I shake a transparent .png image in 3D?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Fkvxx.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Fkvxx.gif&quot; alt=&quot;Preview&quot; /&gt;&lt;/a&gt;&lt;br /&gt;&#xA;&lt;sub&gt;(source: &lt;a href=&quot;https://yt3.ggpht.com/-x_OUuSU9y5g/U9AL1oZo4uI/AAAAAAAAAds/IXXz10WDaeY/w1060-fcrop64=1,00005a57ffffa5a8-nd/abc.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;ggpht.com&lt;/a&gt;)&lt;/sub&gt;&lt;/p&gt;&#xA;" OwnerUserId="11075" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-03-13T20:37:42.117" Title="Vegas Pro 13 - Shaking Image - Including Preview" Tags="|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="15809" PostTypeId="2" ParentId="15808" CreationDate="2015-06-20T19:12:38.860" Score="1" Body="&lt;p&gt;Yes. In a nutshell:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;place an image on the timeline (set Alpha Channel in media properties if needed)&lt;/li&gt;&#xA;&lt;li&gt;click 'Track Motion' button in the track header&lt;/li&gt;&#xA;&lt;li&gt;select '3D Source Alpha' compositing mode&lt;/li&gt;&#xA;&lt;li&gt;use keyframes to create animation&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2015-06-20T19:12:38.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15810" PostTypeId="1" AcceptedAnswerId="15811" CreationDate="2015-06-20T22:31:14.290" Score="0" ViewCount="151" Body="&lt;p&gt;Resolution is obviously better in 4K but can anyone give some insight as to whether other factors of video quality are being compromised? If so, does it make sense to record in 1080?&lt;/p&gt;&#xA;" OwnerUserId="11076" LastActivityDate="2015-06-21T01:59:08.970" Title="Is 4K good enough to choose for special footage such as weddings?" Tags="|video-quality|4k|color|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15811" PostTypeId="2" ParentId="15810" CreationDate="2015-06-21T01:59:08.970" Score="3" Body="&lt;p&gt;Where are you planning on exhibiting the footage? In my experience, the average consumer has a low-quality TV they bought because of the price, and they have the factory settings that look awful because they don't even know that they would want to change them, let alone how that would happen. In my opinion you're wasting your time because your client probably won't be able to tell the difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the creation side, you're multiplying the amount of data captured by 4. That increases the cost of filming (more memory cards to save it), storage (more hard drives to use while editing), and editing (need a better graphics card, more RAM, and likely more time). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have clients who will truly benefit from 4K, by all means, use it. But if you're doing typical videos for the web, corporate or home televisions, it's probably not worth it. If you're creating content for large outside displays that actually reach above HD, or for professional projection in a theater, then it could be worth it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FWIW, most television shows are shot in HD, and even some feature films. I've never heard anyone complain about the quality because of the lower resolution. If I recall, parts of the first Captain America movie were shot on a Canon 7D, which only does HD. I know of nobody who said those parts were terrible or even noticed them. (&lt;a href=&quot;http://www.usa.canon.com/cusa/about_canon/newsroom?pageKeyCode=pressreldetail&amp;amp;docId=0901e0248055b504&quot; rel=&quot;nofollow&quot;&gt;Here's an article about it on Canon's web site&lt;/a&gt;.)&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-06-21T01:59:08.970" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="15812" PostTypeId="1" CreationDate="2015-06-21T09:50:54.677" Score="2" ViewCount="77" Body="&lt;p&gt;What software do you use to type in live subtitles to help translate a speaker while filming him...the subtitles would be outputted to a projector screen with the live video feed behind it&lt;/p&gt;&#xA;" OwnerUserId="11080" LastActivityDate="2015-06-21T09:50:54.677" Title="Adding effects to live video feed like subtitles" Tags="|video-editor|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15813" PostTypeId="1" AcceptedAnswerId="15816" CreationDate="2015-06-21T12:11:14.833" Score="3" ViewCount="33597" Body="&lt;p&gt;Please have a look at my website &lt;a href=&quot;http://www.solstice.co.il&quot; rel=&quot;nofollow noreferrer&quot;&gt;solstice.co.il&lt;/a&gt; on a chrome browser.  On the left you see a looping movie of the tree wobbling around. This was made by tweening the evolution filter of the turbulent displace filter in After Affects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/OAl5X.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that because of the fractal nature of the effect, I could not find a way to seamless loop the animation, which led me to resort in an ugly cross-dissolve. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I create a more pleasing seamless loop with this effect?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;update&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've redone the animation manually using the puppet tool, which is closer to what I wanted but not perfect, so the question still stands. The old animation for reference can be found here:&#xA;&lt;a href=&quot;http://solstice.co.il/videos/tree_old.webm&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://solstice.co.il/videos/tree_old.webm&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3363" LastEditorUserId="3363" LastEditDate="2015-06-21T20:21:13.197" LastActivityDate="2017-12-27T09:01:08.310" Title="How can I seamlessly loop with turbulent displace filter in AE?" Tags="|after-effects|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15814" PostTypeId="1" CreationDate="2015-06-21T20:52:26.227" Score="7" ViewCount="2996" Body="&lt;p&gt;If I have a .wav audio file, put it in a video file, say a .wmv, as, if I'm not mistaken, that format basically just uses .wav for its audio, and upload said .wmv file to YouTube, will the compression or format of that audio change?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words if I have a certain sequence of bytes present in the original audio file and I upload a video containing it to YouTube, if somebody downloads a copy of the isolated audio from that video, will that sequence of bytes be present? I couldn't find a definitive answer anywhere, and hoping someone on SE can help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, I'm asking about only the audio, not the video.&lt;/p&gt;&#xA;" OwnerUserId="9130" LastActivityDate="2015-06-21T21:55:11.450" Title="Will Compression/Format of Audio Change when Uploaded to YouTube?" Tags="|audio|youtube|compression|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15815" PostTypeId="2" ParentId="15814" CreationDate="2015-06-21T21:55:11.450" Score="5" Body="&lt;p&gt;Youtube generally reencodes &lt;strong&gt;all&lt;/strong&gt; videos you upload to youtube to ensure compatibility across various platforms and to provide smaller versions of the videos for users with slow internet connections. So yes, both the video and the audio stream of your video file will be compressed and reencoded when you upload it. If someone uses a third party tool to download the video from Youtube, they will only be able to grab that reencoded file, never the original upload. Because Youtube compresses the video very heavily to reduce file size, there will be a noticable quality drop in both video and audio, which is a complaint many video editors have about youtube (though there isn't really a well-known alternative that doesn't reencode videos on upload). Youtubes will reencode the audio to m4a and aac files in various bitrates, as well as some low-quality ogg files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want people to be able to download the unaltered original, you should provide a download-link via a file hosting service such as Dropbox or Google Drive. I believe if you have a Vimeo Pro Membership, you also have the option to allow people to download the original video, but I'm not sure about that.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-06-21T21:55:11.450" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15816" PostTypeId="2" ParentId="15813" CreationDate="2015-06-22T11:04:07.957" Score="4" Body="&lt;p&gt;In order to get a fluid and seamless loop, it's key to &lt;strong&gt;enable Cycle Evolution&lt;/strong&gt; and &lt;strong&gt;move the last keyframe 1 frame beyond the end&lt;/strong&gt; of the composition.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Add the &lt;strong&gt;Turbulent Displace&lt;/strong&gt; Effect onto the footage&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Open up &lt;strong&gt;Evolution Options&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Enable &lt;strong&gt;Cycle Evolution&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Go to the &lt;strong&gt;first frame&lt;/strong&gt; in the timeline&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Click on the stop watch of the &lt;strong&gt;Evolution value&lt;/strong&gt;:&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0nxoM.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Go to the &lt;strong&gt;last frame&lt;/strong&gt; in the timeline and set the &lt;strong&gt;Evolution Times&lt;/strong&gt; value to &lt;code&gt;1x&lt;/code&gt;, this is equal to 360 degree (one revolution)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Move the second keyframe &lt;strong&gt;1 frame beyond the end&lt;/strong&gt; of the composition:&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/47sEr.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;h3&gt;Example&lt;/h3&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/jsS5Z.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Composition length: &lt;code&gt;51&lt;/code&gt; frames&lt;/li&gt;&#xA;&lt;li&gt;First evolution keyframe value: &lt;code&gt;0x&lt;/code&gt; at frame &lt;code&gt;0&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Second evolution keyframe value: &lt;code&gt;1x&lt;/code&gt; at frame &lt;code&gt;51&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; This seems to work with all fractal effects.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-06-23T09:57:29.367" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15818" PostTypeId="2" ParentId="14559" CreationDate="2015-06-22T20:39:00.667" Score="1" Body="&lt;p&gt;Gopro 3 black + has a kit with sync cable for genlock.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are sony cameras with dual lens dual sensor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also there are genloc syncers based on Lan C for regular Hd sony cameras sincing in the microsecond range.&lt;/p&gt;&#xA;" OwnerUserId="11089" LastActivityDate="2015-06-22T20:39:00.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15820" PostTypeId="1" AcceptedAnswerId="15822" CreationDate="2015-06-23T16:17:01.283" Score="2" ViewCount="2200" Body="&lt;p&gt;When I create a new Event and Project within it, I don't see a way to avoid copying imported media to the FCPX folder (apparently there used to be an option when creating a new Event to not copy imported media, but it doesn't appear to be there any longer).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do that? By the way, I'm importing from the Photos library browser within FCPX if that makes any difference.&lt;/p&gt;&#xA;" OwnerUserId="11035" LastActivityDate="2015-06-23T20:05:16.773" Title="How to not import/duplicate media in FCPX?" Tags="|final-cut-pro|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15821" PostTypeId="1" AcceptedAnswerId="15824" CreationDate="2015-06-23T18:14:40.470" Score="4" ViewCount="3996" Body="&lt;p&gt;So far I have been guessing my way through the types of audio/video streams and getting them mixed up with containers. For example, I have had a friend tell me that a video file which won't play on my TV will work if I can change the file extension to &lt;code&gt;.avi&lt;/code&gt;/&lt;code&gt;.mpg&lt;/code&gt; for example - which worked. However, when I have had the problem since, I have tried the same but with no luck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could someone explain which are containers and how you can have different types of audio/video files/steams within a container file?&lt;/p&gt;&#xA;" OwnerUserId="11076" LastActivityDate="2015-06-23T20:26:55.313" Title="How are video and audio streams placed in 'container' files and what interrelations do they have?" Tags="|video|file-formats|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15822" PostTypeId="2" ParentId="15820" CreationDate="2015-06-23T20:05:16.773" Score="1" Body="&lt;p&gt;For FCPX 10.1 and later:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open preferences&#xA;Select the import tab&#xA;Choose to either leave Files in Place or Copy to Storage Library Location.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To set the Storage Library Location:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select the library. &#xA;Open the inspector.&#xA;Select Modify Settings in the inspector to choose where your generated files go.&lt;/p&gt;&#xA;" OwnerUserId="8027" LastActivityDate="2015-06-23T20:05:16.773" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15823" PostTypeId="2" ParentId="10834" CreationDate="2015-06-23T20:12:52.640" Score="1" Body="&lt;p&gt;I second using Resolve, but there are a few &quot;hidden&quot; color tools you can access if you have Motion, or know someone who does.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Motion allows you to publish effects for use in FCPX and can be transferred from one machine to another. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;See this post from creativecow for a downloadable zip which includes &#xA;Brightness,&#xA;Channel Mixer,&#xA;Color Balance,&#xA;Colorize,&#xA;Contrast,&#xA;Gamma, and&#xA;Hue/Saturation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://forums.creativecow.net/thread/344/14335&quot; rel=&quot;nofollow&quot;&gt;https://forums.creativecow.net/thread/344/14335&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="8027" LastActivityDate="2015-06-23T20:12:52.640" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15824" PostTypeId="2" ParentId="15821" CreationDate="2015-06-23T20:26:55.313" Score="6" Body="&lt;p&gt;The basics of that are actually not that complicated (while there is definitely more to know about that topic than would fit in this answer).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take a look at that graphic you can find on the &lt;a href=&quot;http://w3.org&quot; rel=&quot;noreferrer&quot;&gt;w3c-website&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tAdMw.png&quot; alt=&quot;Containers and file formats graphic&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see, the container is exactly that: a container that can contain different types of media, most notably video and audio, but also captions and metadata about the file. When you speak about a &quot;file format&quot;, you're normally talking about the container format, after which the file extension for normal video files is named. This is why you've probably seen many video files with file extensions such as &lt;code&gt;.avi&lt;/code&gt;, &lt;code&gt;.mp4&lt;/code&gt;, &lt;code&gt;.mkv&lt;/code&gt; and the likes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you look at the contents of this container, you will normally have at least one video and one audio track, those are referred to as &quot;streams&quot;. Streams can be encoded using different codecs. A codec is, in layman's terms, an algorithm (or rather a set of algorithms) which is used to compress a (video or audio) stream. The more efficient the codec, the better the ratio of (video/audio) quality to file size. Two very common codecs are the H.264 (MPEG-4/AVC) codec for video and the AAC codec for audio. Those are popular because they are very efficient, thus you can have very small files with (relatively) good quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So to sum this up, the container is some sort of &quot;wrapper&quot; that contains the actual media streams. Different container formats allow for different kinds of streams. For example, the &lt;code&gt;.avi&lt;/code&gt;-container is very limited, you can only have one audio stream and one video stream. The &lt;a href=&quot;http://www.matroska.org/&quot; rel=&quot;noreferrer&quot;&gt;matroska-container&lt;/a&gt; (&lt;code&gt;.mkv&lt;/code&gt; files) is a good alternative if you need more than that. Matroska is a very flexible container that allows for multiple audio streams (e.g. for different languages), subtitles and more. However, many devices (e.g. most TVs with a USB port) don't support that standard. This is where the &lt;code&gt;.mp4&lt;/code&gt;-container (MP4 being the standard-container for the &lt;a href=&quot;https://de.wikipedia.org/wiki/MPEG-4&quot; rel=&quot;noreferrer&quot;&gt;MPEG-4-standard&lt;/a&gt;, which is a huge topic on it's own) comes in handy, because nearly all devices can playback files that use this container format along with the H264 &amp;amp; AAC codecs. This combination is the most common approach for easily interchangable video files, which for example is used by most video hosting platforms such as Youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Changing the file extension is generally a stupid idea. If you change an &lt;code&gt;.avi&lt;/code&gt; file to something like &lt;code&gt;.mp4&lt;/code&gt;, it might work on your TV in some instances, but that is just because your TV is stupid (i.e. it knows the codecs of the streams, but doesn't even try to play them if it doesn't recognise the file extension or something like that). Container format's don't behave like text-files, you can't just change the extension and expect the container format to somehow magically change as well. If you can't open a specific video file, use the &lt;a href=&quot;http://www.videolan.org/vlc/&quot; rel=&quot;noreferrer&quot;&gt;VLC video player&lt;/a&gt;, it supports most commonly used file formats and codecs. If you want/need to watch it on a specific device such as your TV which doesn't support the codec, you can re-encode it (not a good idea, because that means quality loss) or remux it, i.e. take the individual streams and put them in different containers (which is a bit more complicated but yields better results).&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-06-23T20:26:55.313" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15825" PostTypeId="1" CreationDate="2015-06-23T20:32:44.707" Score="1" ViewCount="77" Body="&lt;p&gt;I am doing a video project now where one of my goals is to learn proper video editing. I will make some effects in After Effects, but will doing the cut in Premiere. I know these softwares will be a good synergy, but I have a question about the process. Should I fix all the clips with different effects (some keyframe animations etc.) in After Effects first, and then import into Premiere? Or should I do everything in Premiere first, and then do the rest in After Effects? What would be the best approach for this?&lt;/p&gt;&#xA;" OwnerUserId="4287" LastActivityDate="2015-06-23T20:56:14.930" Title="Working with Premiere and After Effects" Tags="|after-effects|premiere|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15826" PostTypeId="2" ParentId="15825" CreationDate="2015-06-23T20:56:14.930" Score="2" Body="&lt;p&gt;Use &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/dynamic-link.html&quot; rel=&quot;nofollow&quot;&gt;Dynamic Link&lt;/a&gt;. This feature has been introduced by Adobe speficically to make it easiert to work with Premiere Pro and After Effects in combination. With dynamic link, you can replace clips in Premiere Pro with After Effects compositions and have them updated in the Premiere Pro project whenever you make changes to the composition in After Effects. You can also import existing After Effects compositions from After Effects project files or create a new one from within Premiere Pro and use them as assets in your Premiere Pro project, in the same way you can work with media assets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Note: I'm assuming you have a Creative Cloud subscription. If you use older versions of the programs, dynamic link might not be available.)&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-06-23T20:56:14.930" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15827" PostTypeId="1" CreationDate="2015-06-24T01:04:30.893" Score="4" ViewCount="285" Body="&lt;p&gt;I'm using my GoPro Hero3 White as a dashcam.&#xA;Setting it to overwrite files, I encountered 2 strange things:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;5min settings give me 1min files, and 20min settings give 5min files.&lt;/li&gt;&#xA;&lt;li&gt;The counter stops at 05:00 / 20:00 even though it goes on filming.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Can anyone help me understand why is this happening and how can I change it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks, Ronen.&lt;/p&gt;&#xA;" OwnerUserId="11097" LastEditorUserId="636" LastEditDate="2020-07-12T20:31:58.630" LastActivityDate="2024-03-24T04:09:31.253" Title="GoPro looping settings" Tags="|video|gopro|setup|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15828" PostTypeId="1" CreationDate="2015-06-24T07:30:20.947" Score="1" ViewCount="869" Body="&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tHsD6.png&quot; alt=&quot;animation on film&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a specific name for this technique? so I can search for tutorials about it.&lt;/p&gt;&#xA;" OwnerUserId="9242" LastEditorUserId="6685" LastEditDate="2015-06-24T08:16:10.303" LastActivityDate="2015-06-24T13:08:17.170" Title="How to paint on video?" Tags="|animation|effects|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15829" PostTypeId="1" CreationDate="2015-06-24T10:24:11.343" Score="1" ViewCount="162" Body="&lt;p&gt;The Oscar winning movie &lt;a href=&quot;https://en.m.wikipedia.org/wiki/Titanic_(1997_film)&quot; rel=&quot;nofollow&quot;&gt;Titanic&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;which was picturized  in 2D format and released in 1997 . It was again released in 3D format in 2012.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I wonder that how 2D to 3D conversion of movie frames is performed. So can anybody explain about it? What factors (like depth ) should be taken into consideration for 2D to 3D  conversion?&lt;/p&gt;&#xA;" OwnerUserId="11098" LastActivityDate="2015-06-25T11:04:05.617" Title="How 2D to 3D conversion is performed?" Tags="|video|editing|effects|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15830" PostTypeId="2" ParentId="15829" CreationDate="2015-06-24T10:47:54.473" Score="2" Body="&lt;p&gt;They've done it via &lt;a href=&quot;https://en.wikipedia.org/wiki/Rotoscoping&quot; rel=&quot;nofollow&quot;&gt;rotoscoping&lt;/a&gt; techniques in order to create depth information. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;From fxguide.com about &lt;a href=&quot;http://www.fxguide.com/featured/art-of-stereo-conversion-2d-to-3d-2012/&quot; rel=&quot;nofollow&quot;&gt;Titanic 3d Conversion&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The team at &lt;a href=&quot;http://www.stereodllc.com/&quot; rel=&quot;nofollow&quot;&gt;Stereo D&lt;/a&gt; used no projection or automated solutions. The team isolated with multiple layers of roto each of the key elements of the scene, often many per person in the foreground and then these were used to derive a depth map. From the depth map normally a new left and right eye was created. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Also see the wikipedia article about &lt;a href=&quot;https://en.wikipedia.org/wiki/2D_to_3D_conversion&quot; rel=&quot;nofollow&quot;&gt;3d Stereo Conversion&lt;/a&gt; and &lt;a href=&quot;http://www.fxguide.com/featured/art-of-stereo-conversion-2d-to-3d-2012/&quot; rel=&quot;nofollow&quot;&gt;The Art of Stereo Conversion&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-06-25T11:04:05.617" LastActivityDate="2015-06-25T11:04:05.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15832" PostTypeId="1" AcceptedAnswerId="15834" CreationDate="2015-06-24T12:48:58.413" Score="1" ViewCount="852" Body="&lt;p&gt;I'm really impressed by &lt;a href=&quot;https://vimeo.com/101053847&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/11ugG.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to produce this no-shadow effect?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How many lights do you think are required?&lt;/strong&gt; What kind of light? Would some classical bulbs that I have at home work?&lt;/p&gt;&#xA;" OwnerUserId="6407" LastActivityDate="2015-06-24T19:19:40.543" Title="Lighting for &quot;no-shadow&quot; effect" Tags="|video|lighting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15833" PostTypeId="2" ParentId="15828" CreationDate="2015-06-24T13:08:17.170" Score="1" Body="&lt;p&gt;The technique is classically called &lt;a href=&quot;https://en.wikipedia.org/wiki/Rotoscoping&quot; rel=&quot;nofollow&quot;&gt;rotoscoping&lt;/a&gt; after the original process done using projected film. If you google &lt;strong&gt;&lt;em&gt;rotoscoping in after effects&lt;/em&gt;&lt;/strong&gt; you should find lots of samples and tutorials.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-06-24T13:08:17.170" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15834" PostTypeId="2" ParentId="15832" CreationDate="2015-06-24T19:19:40.543" Score="3" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;How to produce this no-shadow effect?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Some examples will explain this best.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/2mPxh.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;br&gt;&#xA;&lt;sub&gt;Lighting with a soft box makes the shadow soft and unobtrusive.&lt;/sub&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/2wwUA.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;br&gt;&#xA;&lt;sub&gt;When close to a subject, the light rays from a large light source strike the subject from many angles. The closer the light is, the softer its shadows are.&lt;/sub&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/4h056.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;br&gt;&#xA;&lt;sub&gt;Results of the lighting setup. A fill card was used to lighten the front of the gourd by reflecting some light from the overhead soft box.&lt;/sub&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Images and captions from &lt;em&gt;Light – Science &amp;amp; Magic: An Introduction to Photographic Lighting&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;How many lights do you think are required?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This could be done with one light, but it should be a large light source relative to the object. This doesn't mean the light itself was large, but the area the the light is being emitted from was large enough to cause scattered, soft light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is often done by placing diffuse material between the light source and the subject such as a soft box attached to the light, a diffusion panel from a cheap collapsible reflector, a light shed/tent that you can make yourself, or even some tissue paper (make sure it doesn't catch on fire). This results in a light quality similar to an overcast sky.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Would some classical bulbs that I have at home work?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I don't know what a classical bulb is, but sure, you could possibly use typical household bulbs if they provide enough light for your camera and if you properly setup the scene. Don't forget to set the white balance. Use the same type of bulbs; don't mix types due to the potential differences in color temperature.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2015-06-24T19:19:40.543" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15835" PostTypeId="1" AcceptedAnswerId="15836" CreationDate="2015-06-24T19:49:18.660" Score="1" ViewCount="59" Body="&lt;p&gt;I have two audio tracks, one contains vocals and has background instrumental music. I also have a second audio track which contains just the straight background music. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know (if it is possible) how to extract the vocals from the first track. Possibly by comparing it with that of the second and extracting the perhaps by finding differences in pitch/tone from the first track. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a subscription to Adobe CC master collection, so I have access to Adobe Audition CC, I'm hoping there's a way to do this using that program, but I can purchase another program if it can only be done in another one. &lt;/p&gt;&#xA;" OwnerUserId="11104" LastActivityDate="2015-06-24T20:03:06.810" Title="If I have the music track and a music+vocals track, is it possible to seperate the vocals?" Tags="|audio|audition|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15836" PostTypeId="2" ParentId="15835" CreationDate="2015-06-24T20:03:06.810" Score="2" Body="&lt;p&gt;If the music track is identical to the music in the vocal+music track, then you could invert the phase of the music track and mix it with the combined track, which (algebraically, at least) is the same as subtracting it from the v+m track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may find that some additional compression, level shifting or EQ was done to the v+m track, which would make the subtraction less than perfect.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-06-24T20:03:06.810" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15837" PostTypeId="1" CreationDate="2015-06-25T01:38:21.617" Score="2" ViewCount="127" Body="&lt;p&gt;Why do I only have these formats in my output?  Where's Windows Media Format?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Di32Y.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="11105" LastEditorUserId="6685" LastEditDate="2015-06-25T11:10:16.350" LastActivityDate="2015-07-25T11:15:48.620" Title="After Effects - output formats" Tags="|after-effects|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15838" PostTypeId="2" ParentId="15837" CreationDate="2015-06-25T04:01:20.780" Score="1" Body="&lt;p&gt;WMV is not lossless. As all distribution formats, it's highly compressed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An AVI file can of course be uncompressed, but on the Mac version of AE, AVI is only available as a Quicktime export component (ie, it appears in File &gt; Export) which is really not a recommended path to export video files from After Effects. Same for Flip4Mac.&#xA;So, yes, exporting a lossless Quicktime file and feeding that to an encoding application is a good idea.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adolfo Rozenfeld · Adobe&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://forums.creativecow.net/thread/2/957757&quot; rel=&quot;nofollow&quot;&gt;https://forums.creativecow.net/thread/2/957757&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user11106" LastActivityDate="2015-06-25T04:01:20.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15840" PostTypeId="2" ParentId="15794" CreationDate="2015-06-25T12:31:43.320" Score="0" Body="&lt;p&gt;You have to get Rotation below ways-&#xA;1)MediaMetadataRetriever class  in android.Check below link&#xA;&lt;a href=&quot;http://developer.android.com/reference/android/media/MediaMetadataRetriever.html&quot; rel=&quot;nofollow&quot;&gt;http://developer.android.com/reference/android/media/MediaMetadataRetriever.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This class in Orientation tag supported in Api Level 17(4.2+).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2)&#xA;Another way FFMPEG Metadataretrival library import and get rotation.&lt;/p&gt;&#xA;" OwnerUserId="11109" LastActivityDate="2015-06-25T12:31:43.320" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15841" PostTypeId="1" AcceptedAnswerId="15842" CreationDate="2015-06-25T12:52:53.963" Score="2" ViewCount="7023" Body="&lt;p&gt;I've tried to import &lt;strong&gt;.eps&lt;/strong&gt; and &lt;strong&gt;.ai&lt;/strong&gt; files unsuccessfully. Are there any vector formats supported by FCPX?&lt;/p&gt;&#xA;" OwnerUserId="5883" LastActivityDate="2020-08-28T16:11:43.560" Title="Can FCPX work with vector graphics?" Tags="|final-cut-pro-x|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15842" PostTypeId="2" ParentId="15841" CreationDate="2015-06-25T12:52:53.963" Score="3" Body="&lt;p&gt;No.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or at least not yet. According to this post:&#xA;&lt;a href=&quot;https://discussions.apple.com/thread/2323932&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://discussions.apple.com/thread/2323932&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt;&#xA;Here's the &lt;a href=&quot;https://support.apple.com/kb/PH12754?locale=en_ZA&quot; rel=&quot;nofollow noreferrer&quot;&gt;offical supported media formats for FCPX&lt;/a&gt; from the Apple support site. It shows that those formats are not supported.&lt;/p&gt;&#xA;" OwnerUserId="5883" LastEditorUserId="5883" LastEditDate="2016-11-25T08:31:01.330" LastActivityDate="2016-11-25T08:31:01.330" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15843" PostTypeId="2" ParentId="15792" CreationDate="2015-06-25T13:04:55.400" Score="3" Body="&lt;p&gt;If you just want to embed a cover you might consider keeping the result as mp3, for example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i original.mp3 -i cover.png -map 0:0 -map 1:0 -metadata:s:v title=&quot;Album cover&quot; -metadata:s:v comment=&quot;Cover (Front)&quot; -id3v2_version 3 -write_id3v1 1 result.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you are creating mp4's, e.g. for YouTube, then I suggest to split the process to two steps - first create the video movie with no audio track, duration somewhat &lt;em&gt;longer&lt;/em&gt; than that of the audio. Then mux the video and audio together with the &lt;code&gt;-shortest&lt;/code&gt; option which will truncate the video to the exact duration of audio. In terms of time these two steps will take a tidbit longer than a single pass but your whole workflow will be much simpler and more manageable.&lt;/p&gt;&#xA;" OwnerUserId="8079" LastActivityDate="2015-06-25T13:04:55.400" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15844" PostTypeId="2" ParentId="14820" CreationDate="2015-06-25T13:11:55.943" Score="2" Body="&lt;p&gt;You can use VSDC Video editor. It is free. You can add clips, delete a portion of a clip, add text wherever you want, move the text from one place to another, PIP (Picture in picture) is possible.&#xA;You can save in many formnats. This SW (VSDC) also works as convertor to convert the videos from one format to another.&#xA;This accepts images, videos, audios, etc.&#xA;You can also add, delete an audio at any portion of the video&lt;/p&gt;&#xA;&#xA;&lt;p&gt;C Nagaraj, Pune, India &lt;/p&gt;&#xA;" OwnerUserId="11110" LastActivityDate="2015-06-25T13:11:55.943" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15845" PostTypeId="1" AcceptedAnswerId="15846" CreationDate="2015-06-25T17:31:59.223" Score="0" ViewCount="62" Body="&lt;p&gt;I currently work as a web developer, but have recently set up a small production company on the side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've secured my first project and sourced a crew. Before the project begins, I need to create a contract between myself and the client. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm finding it difficult to source a good general contract for video production that I can amend. Can you recommend where I can find such a contract or whether I should write one from scratch? I'm happy to pay for this. &lt;/p&gt;&#xA;" OwnerUserId="11113" LastActivityDate="2015-06-25T18:01:24.987" Title="Video production client contract" Tags="|production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15846" PostTypeId="2" ParentId="15845" CreationDate="2015-06-25T18:01:24.987" Score="1" Body="&lt;p&gt;Writing one yourself is never a good idea. If you're willing to pay, why not hire a lawyer? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are places on the net where you can find boilerplate, for example &lt;a href=&quot;http://www.filmcontracts.net/&quot; rel=&quot;nofollow&quot;&gt;FilmContracts&lt;/a&gt; and &lt;a href=&quot;http://filmmakeriq.com/2009/04/588-free-film-contracts-and-forms/&quot; rel=&quot;nofollow&quot;&gt;FilmMakerIQ&lt;/a&gt;, but if there's real money involved your smartest move is to get local legal advice.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-06-25T18:01:24.987" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15849" PostTypeId="2" ParentId="15800" CreationDate="2015-06-26T05:50:40.757" Score="2" Body="&lt;p&gt;The first frame of a video from any codec will always be an &lt;code&gt;I&lt;/code&gt; frame.  There is no previous picture for other frame types to use as a reference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;B&lt;/code&gt; frames might still work.  The video will start to distort ahead of the cut point, too, if any &lt;code&gt;B&lt;/code&gt; frames are trying to reference a future frame that's not there anymore.  Actually, with &lt;code&gt;B&lt;/code&gt; frames present, display order differs from decode order, and the h.264 stream is always stored in decode order.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway &lt;code&gt;-x264opts bframes=0:keyint_min=250&lt;/code&gt; would force the minimum GOP size to 250 frames, and disallow use of &lt;code&gt;B&lt;/code&gt; frames.  &lt;code&gt;keyint&lt;/code&gt; sets the max GOP size.  (By default, x264 does scenecut detection for placing &lt;code&gt;I&lt;/code&gt; frames, so if you want &lt;code&gt;I&lt;/code&gt; frames at scenecuts, you might do well to leave it as-is.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Err, is that tutorial using ffmpeg's MPEG4-part2 encoder?  (the same format as divx/xvid).  In that case, nvm.  My instructions were for &lt;code&gt;-c:v libx264&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Look at the output of &lt;code&gt;ffmpeg -h encoder=mpeg4 | less&lt;/code&gt;, and search for stuff you want to set.  There will be command line options for most everything.  e.g. &lt;code&gt;-bf 0&lt;/code&gt; to set no &lt;code&gt;B&lt;/code&gt; frames.  &lt;code&gt;ffmpeg -codecs&lt;/code&gt; for a list of codecs, or even &lt;code&gt;ffmpeg -h full&lt;/code&gt;.  Also google / check the &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html&quot; rel=&quot;nofollow&quot;&gt;manual&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2015-06-26T06:12:01.870" LastActivityDate="2015-06-26T06:12:01.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15850" PostTypeId="1" CreationDate="2015-06-26T06:10:29.533" Score="1" ViewCount="796" Body="&lt;p&gt;I am trying to create an HLS playlist with multiple audio streams. I have the following files:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;videoHD.mp4&lt;/li&gt;&#xA;&lt;li&gt;videoSD.mp4&lt;/li&gt;&#xA;&lt;li&gt;audioEN.mp4&lt;/li&gt;&#xA;&lt;li&gt;audioFR.mp4&lt;/li&gt;&#xA;&lt;li&gt;audioIT.mp4&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;How would I transmux these all together in an ffmpeg command to create an HLS playlist?&lt;/p&gt;&#xA;" OwnerUserId="11116" LastEditorUserId="6685" LastEditDate="2015-06-29T08:23:06.707" LastActivityDate="2015-06-29T08:23:06.707" Title="How to transcode HLS with multiple audio tracks" Tags="|video|ffmpeg|audio|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15851" PostTypeId="1" AcceptedAnswerId="15852" CreationDate="2015-06-26T14:58:15.933" Score="2" ViewCount="85" Body="&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/8HQKI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In some 'making of' green screening videos, I saw these black tapes on the actors. What are these for? &lt;/p&gt;&#xA;" OwnerUserId="9242" LastEditorUserId="6685" LastEditDate="2015-11-18T19:43:37.730" LastActivityDate="2015-11-18T19:43:37.730" Title="What are these black tapes in green screening?" Tags="|greenscreen|tracking|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15852" PostTypeId="2" ParentId="15851" CreationDate="2015-06-26T16:39:50.030" Score="5" Body="&lt;p&gt;I assume these are &lt;em&gt;home made motion markers&lt;/em&gt; in order to track the motion of the head in the shot. This is useful for adding other objects (or images) to the object, therefore the technique is called &lt;strong&gt;object tracking&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; The example given is only useful for 2d tracking, because most 3d solvers needs a minumium of 8 tracking markers around the object (in each frame).&lt;/p&gt;&#xA;" OwnerUserId="6685" LastActivityDate="2015-06-26T16:39:50.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15853" PostTypeId="1" AcceptedAnswerId="15884" CreationDate="2015-06-26T21:25:46.193" Score="3" ViewCount="152" Body="&lt;p&gt;I am making a language learning website. One of the features I want on the website is a collection of videos that talk about various topics in the taught language, so that the members get to practice listening. These could be historical or factual topics, like World War 2 or chinese cuisine, or pop culture topics, like James Bond, Michael Jackson or Super Mario.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These videos would be of an informative nature, but their main function would obviously be to serve as material for language practice. To what degree could I defend the usage of copyrighted material, for example movie footage, in such videos as fair use? And would it affect the situation whether access to the videos was free or not?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: The website is operated from Norway.&lt;/p&gt;&#xA;" OwnerUserId="11122" LastEditorUserId="11122" LastEditDate="2015-06-28T15:14:27.157" LastActivityDate="2015-06-30T20:07:48.113" Title="fair use of copyrighted footage in language learning context" Tags="|copyright|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15855" PostTypeId="1" CreationDate="2015-06-27T10:02:43.247" Score="1" ViewCount="20" Body="&lt;p&gt;When I paste attributes (color correction), it has the desired effect, but then when I click on the clip I pasted to, the inspector does not show that the attribute has been pasted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, I color correct clip A by increasing midtone exposure by 20 points. When I paste the &quot;color correction 1&quot; attribute on clip B, that clip will have the desired look, but in the inspector it will have midtone exposure at &quot;0&quot;, rather than &quot;20&quot;. Why is that?&lt;/p&gt;&#xA;" OwnerUserId="11035" LastActivityDate="2015-06-27T10:02:43.247" Title="Pasting attributes in FCPX- succeeds, but does not list pasted attributes for new clip?" Tags="|final-cut-pro|final-cut-pro-x|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15856" PostTypeId="1" AcceptedAnswerId="15863" CreationDate="2015-06-27T10:14:26.680" Score="1" ViewCount="87" Body="&lt;p&gt;I'm editing a short movie, and there are clips that I'm considering cutting that I want to keep in place but not necessarily use. How can I deactivate a clip such that it doesn't occupy the storyline, but stays in place?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;disabling&quot; a clip (pressing &lt;kbd&gt;V&lt;/kbd&gt;) doesn't do that- it still remains a blank part of the timeline. &quot;Lift from timeline&quot; doesn't seem to accomplish that either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally, I could just leave the clips in place and disable them in a way that makes the playhead skip ahead when it reaches those clips, so that I can easily see what the movie looks like with those optional clips and without them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any advice is much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="11035" LastEditorUserId="6685" LastEditDate="2015-06-29T06:48:16.640" LastActivityDate="2015-09-15T21:58:04.540" Title="How to move a clip aside for possible future use in FCPX?" Tags="|final-cut-pro|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15857" PostTypeId="1" AcceptedAnswerId="15860" CreationDate="2015-06-27T11:03:01.360" Score="4" ViewCount="9578" Body="&lt;p&gt;There is a 60 FPS video clip, with 1 Second total duration (So it has 60 frames, each 1/60s duration)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I make it 2× faster. So it's has a 0.5s total duration. How about frames? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How many frames are in my 0.5s video? &lt;strong&gt;60 frames each 1/120s, or 30 each 1/60s?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In a tutorial the author says: &quot;I recorded those images at 60 frames a second and time remapped the video to about 2-3x getting about 120-180 frames to work with.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just wonder if speeding up (in this case time remapping) the video clip for 2x will result in removal of half of the frames, how the tutorial is saying it give you 120 frames to work with? &lt;/p&gt;&#xA;" OwnerUserId="9242" LastEditorUserId="9242" LastEditDate="2015-06-27T17:26:13.373" LastActivityDate="2019-03-12T07:58:12.857" Title="What happens to frames when you speed up a video clip?" Tags="|framerate|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15858" PostTypeId="1" AcceptedAnswerId="15859" CreationDate="2015-06-27T11:37:38.120" Score="2" ViewCount="90" Body="&lt;p&gt;I'm creating a series of videos that have subtitles that appear one word at a time. My workflow gets me through about 1 minute of subtitles every 45 minutes, and I feel like there could be a faster way. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My general approach is to set the opacity of the last X words of the sentence to 0, and such that X equals  N (the # of words in the sentence) when the sentence starts and then X equals 0 when the sentence hits the final word. Here's what I'm doing:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Using the audio waveform and lots of &quot;Ctrl-.&quot; (audio preview) I find the beginning of the sentence I'm creating subtitles for. I then move back six frames (to allow for an opening fade).&lt;/li&gt;&#xA;&lt;li&gt;I add a &quot;Source text&quot; keyframe and a keyframe to the &quot;Offset&quot; property with the value -1.&lt;/li&gt;&#xA;&lt;li&gt;Jumping forward six keyframes, I make another &quot;Offset&quot; keyframe with value 0 (this displays just the first word when the sentence begins)&lt;/li&gt;&#xA;&lt;li&gt;Finally, I search the waveform and audio for the beginning of the last word in the sentence. I put one more &quot;Offset&quot; keyframe there set to N–1, and then use the keyboard shortcut to make it &quot;hold&quot; its value until the next sentence starts.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This works just fine, it's just slow. All I've been able to do to speed things up is to copy and paste the set of 4 keyframes from one sentence to another, but that still involves finding the beginning and end of each sentence, changing the source text, and setting the final keyframe based on the number of words in that particular sentence. If this is the best approach, that's OK, but if there's a better way, I'd love to know. Thanks for reading!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One final thing: I'm using all the keyboard shortcuts I know, which has sped things up a fair bit. The only areas where additional shortcuts would be handy are a) entering editing mode for the text field (I use Command-Enter to exit editing mode), and b) selecting the keyframe at the current time (so I don't need to move to the trackpad and click it manually every time). But I haven't discovered shortcuts for these things yet.&lt;/p&gt;&#xA;" OwnerUserId="11124" LastActivityDate="2015-06-27T12:51:59.680" Title="Speeding up workflow for creating subtitles" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15859" PostTypeId="2" ParentId="15858" CreationDate="2015-06-27T12:51:59.680" Score="2" Body="&lt;p&gt;My suggestion is only going to be useful if you have several minutes of subtitling to do like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Build the subtitles first using something like Aegisub. Export them as .srt files. Import them into the pt_import_subtitles from aescripts.com&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will generate all your text files for you with the lines appearing at the correct time. Then use your workflow for going through to correct the times when you'd like each word to appear. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-06-27T12:51:59.680" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15860" PostTypeId="2" ParentId="15857" CreationDate="2015-06-27T13:28:08.160" Score="4" Body="&lt;p&gt;In the simplest case, half the frames -- every second frame, or all the even (or odd) numbered original frames -- are just gone, discarded. The frame rate of the resulting video does not change, it's still 60 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's possible to create a video where each new frame is a blend of two original frames but this is unusual and often not effective. Or in a field-based system where each original frame is composed of two distinct half vertical resolution images, you can discard half the fields instead of half the frames. But still, the result will be 60 fps.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you were working in a 60 fps environment and imported a 30 fps clip, you could effectively double the frame rate of the original clip, but that isn't what you asked about.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-06-27T13:28:08.160" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15861" PostTypeId="1" CreationDate="2015-06-27T15:22:43.247" Score="2" ViewCount="69" Body="&lt;p&gt;I am looking at upgrading our camera equipment and am trying to work out, to 4k or to not 4k?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We need a relatively compact camera in size and weight for our productions specifically.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For generic video productions companies, do they want 4k?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is 4k valuable at 8 bit, 24fps, or do they really want 60fps?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would they prefer us shooting high quality HD (1080p) footage upto 60fps (i.e. 12 bit, 13 stops, raw)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We are having real trouble making a choice, as picking lower end 4k seems to have some big caveats. So is it worth it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have had some tell us, 'YES GO 4K!' And others, 'don't bother'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any tips would be much appreciated, thanks.&lt;/p&gt;&#xA;" OwnerUserId="11125" LastActivityDate="2015-06-30T17:59:46.527" Title="Do Film Makers Want 4k?" Tags="|camera|4k|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15862" PostTypeId="2" ParentId="15861" CreationDate="2015-06-27T17:54:41.603" Score="3" Body="&lt;p&gt;In my opinion, the market for 4k delivery is still very small, but that doesn't mean its useless.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shooting at a higher resolution than the delivery resolution allows you to recompose shots without any quality loss. If you shoot a talking head in 4k but deliver in 720p, you can get a wide, medium, and closeup from the same shot. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my experience clients nearly always want video delivered in 24/25/30fps. Higher frame rates should only be used to achieve slow mo. That being said, everyone loves slow-mo, so the ability to be able to shoot at 60fps or higher is valuable. &lt;/p&gt;&#xA;" OwnerUserId="8027" LastActivityDate="2015-06-27T17:54:41.603" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15863" PostTypeId="2" ParentId="15856" CreationDate="2015-06-27T17:57:55.773" Score="1" Body="&lt;p&gt;I'd lift the clip from the story line and then disable it with &lt;kbd&gt;V&lt;/kbd&gt;. There's no other way to keep a clip in the timeline near the edit point without leaving empty space or affecting the timing of the cut.&lt;/p&gt;&#xA;" OwnerUserId="8027" LastEditorUserId="8027" LastEditDate="2015-09-15T21:58:04.540" LastActivityDate="2015-09-15T21:58:04.540" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15865" PostTypeId="1" AcceptedAnswerId="15874" CreationDate="2015-06-27T20:09:59.393" Score="2" ViewCount="129" Body="&lt;p&gt;I'm editing a screen cast in fcpx. I imported the media and made a project with lots of cuts send transitions. Now I need to blur some text so it's not visible on the final version. I opened the source media in timeline  and applied my changes, but the project is not showing my changes. How can I update the project?&lt;/p&gt;&#xA;" OwnerUserId="11127" LastActivityDate="2015-06-29T06:52:01.060" Title="In fcpx, Can I edit source media in time line and have the changes be reflected in the project?" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15866" PostTypeId="1" CreationDate="2015-06-27T21:14:58.667" Score="0" ViewCount="599" Body="&lt;p&gt;So updated to the new release this week and after spending a few days getting the damn thing to work with my previous projects and having to uninstall and reinstall my graphics card and enable CUDA the new Premier is simply unusable! Ever ajustment takes at least 2-3 seconds to appear in the monitor, you can't preview the timeline without having to render in/out first and the render times have gone from 3-4 minutes to about 4-5 hours!! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;CC 2014 worked absolutely fine. On the same projects/footage. My rig is pretty up to date; Intel i7, 16gb Ram, NVidia GeForce 860 GPU. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is anyone else having issues? I'd roll back to the earlier version but I'd lose all this weeks work (as I've been making use of the great lumetri colour ajustments).   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance?  &lt;/p&gt;&#xA;" OwnerUserId="11130" LastActivityDate="2015-07-07T02:06:46.200" Title="Premier Pro CC 2015 Lag Issues!" Tags="|video|premiere|editing|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15867" PostTypeId="1" CreationDate="2015-06-28T04:28:46.807" Score="1" ViewCount="414" Body="&lt;p&gt;I have been shooting both video and stills with my canon 7D for the last 6 years and I am looking to upgrade my kit. My initial thought was to get the 5D Mk III and use it with magic lantern to record video in raw but after researching I have seen that a lot of people are transitioning to the Sony A7s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am seduced by the smaller size of the A7s and the apparently simpler post-production process for video (smaller files that don't require conversion) but I have always loved the look of Canon and I know it will also be great for stills. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does someone have experience using both? Is one superior to the other?&lt;/p&gt;&#xA;" OwnerUserId="11131" LastEditorUserId="11131" LastEditDate="2015-06-28T15:04:47.770" LastActivityDate="2015-08-27T18:48:53.687" Title="Canon 5D mk III vs Sony A7s" Tags="|video|camera|dslr|canon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15868" PostTypeId="1" CreationDate="2015-06-28T13:30:19.017" Score="3" ViewCount="2235" Body="&lt;p&gt;I have English movie Die hard in English having total length for example 1hour 30minute original time and dubbed movie length 1hour 28minute.how to equalize both audio.apparently it is impossible. how can i cut original English movie so that i can equalize one video .I can cut but it is difficult to find out from which scene i cut the movie.i want to make dual audio movie.is there any software that can do this?&lt;/p&gt;&#xA;" OwnerUserId="10767" LastActivityDate="2023-02-27T02:46:37.773" Title="How to sync the dubbed audio to original video?" Tags="|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15870" PostTypeId="2" ParentId="15374" CreationDate="2015-06-28T15:40:19.840" Score="1" Body="&lt;p&gt;wmv is often detected as 90k FPS by ffmpeg.  (That's a placeholder value since the demuxer doesn't look into the stream right away, to see the intervals between the first few frames).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg's default for mp4 output is CFR mode, hard-duplicating frames to bring the framerate up (to 90000FPS in this case).  Even the most efficient codecs take a few bytes to code a frame that's an exact duplicate of the one before.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-vsync vfr&lt;/code&gt; (same as &lt;code&gt;-vsync 2&lt;/code&gt;) on the command line should fix the problem (by letting ffmpeg not drop or duplicate any frames, but instead just use the input timestamps for the output frames).  It goes after the input file but before the output file, as it's an output option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other than that, see &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/H.264&lt;/a&gt; for example for how to choose settings appropriate for what you're doing.  (e.g. &lt;code&gt;-preset veryslow&lt;/code&gt; to spend lots of CPU time for an encode-once task where the quality-per-filesize gain will benefit lots of times.)&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-06-28T15:40:19.840" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15871" PostTypeId="1" AcceptedAnswerId="15877" CreationDate="2015-06-29T00:43:14.477" Score="2" ViewCount="98" Body="&lt;p&gt;I'm a complete video novice, who's only ever shot anything with his parent's handicam. I want to make a video for a Kickstarter project, and I want to do a good job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video will be very simple, with the camera completely still and only a couple of shots, likely all of them indoors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been looking into renting a &lt;a href=&quot;http://www.borrowlenses.com/product/Nikon-D7200-Digital-SLR-Camera&quot; rel=&quot;nofollow&quot;&gt;video capable Nikon DSLR&lt;/a&gt; for a couple of days, and I'm wondering, &lt;strong&gt;do I even need an externally attached lens? Will the camera be fine without one? What are the consequences of not using one?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I do need a lens, what should I look for?&lt;/p&gt;&#xA;" OwnerUserId="11138" LastEditorUserId="11138" LastEditDate="2015-06-29T22:27:04.383" LastActivityDate="2015-06-30T17:39:21.363" Title="Low action Kickstarter video with Nikon DSLR: do I need an external lens?" Tags="|dslr|lenses|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15872" PostTypeId="1" CreationDate="2015-06-29T02:41:24.673" Score="1" ViewCount="4307" Body="&lt;p&gt;&lt;strong&gt;The Need:&lt;/strong&gt; In our small church, we have an &quot;overflow&quot; room right across the hall from the main room where the pastor speaks. We're already getting sound into the overflow room separately, but we need to get video into there, too. We don't need recording capabilities, just a live video feed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Some challenges:&lt;/strong&gt; We did have a setup using a camcorder in the main room, and running an HDMI cable from the camcorder to a TV in the overflow room, which worked ok, but the camcorder recently broke. We could just buy a new camcorder, though it seems overkill to buy a camcorder with all its functions, when all we need is a live video feed. At the same time it would be nice to have something I can move and zoom with a remote (sometimes we need to switch views when there's a baptism, for example).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I even thought about using a cell phone or ipad with google hangouts or face-time, or chromecast. But I don't think I want to rely on wifi; plus, there will probably be a delay that then wouldn't sink with the sound that we're piping in separately. I was looking for closed circuit cameras online, but most of the stuff I found was either bad video quality (like some security cameras), or had all these bells and whistles that I don't need, like infrared night-vision, motion-detectors, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, here's a detailed list of needs/wants for the setup:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Live video feed to a separate room (no recording necessary, no sound necessary)&lt;/li&gt;&#xA;&lt;li&gt;Decent video quality (not like some security cameras)&lt;/li&gt;&#xA;&lt;li&gt;Remote move/zoom control&lt;/li&gt;&#xA;&lt;li&gt;Ideally &amp;lt; $500&lt;/li&gt;&#xA;&lt;li&gt;(optional) Wireless (nice to have, but NOT necessary)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="11139" LastEditorUserId="11139" LastEditDate="2015-10-30T15:49:48.540" LastActivityDate="2015-12-30T03:01:06.477" Title="Need ideas for simple closed circuit tv for church overflow room" Tags="|video|video-recording|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15873" PostTypeId="2" ParentId="15872" CreationDate="2015-06-29T04:34:39.413" Score="0" Body="&lt;p&gt;How about a wireless AV Transmitter?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B00BUKK8QA&quot; rel=&quot;nofollow&quot;&gt;http://www.amazon.com/gp/product/B00BUKK8QA&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="8027" LastEditorUserId="8027" LastEditDate="2015-06-30T20:41:09.797" LastActivityDate="2015-06-30T20:41:09.797" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15874" PostTypeId="2" ParentId="15865" CreationDate="2015-06-29T04:44:07.303" Score="1" Body="&lt;p&gt;Once you have placed a clip in a project, it &quot;breaks&quot; the relationship with the original clip. I suppose this is so you don't make a change to a source clip and inadvertently change it in a project where you didn't intend to change it. I'm not sure that it's useful like that, but its the way it is. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is an exception, multicam clips. If you make a change inside a multicam clip, the change will carry through all of the edits. But that won't help you now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your blur is in the same spot for the entire clip, there are a few easy ways to fix it. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Blur your text in one of the clips. Copy the clip. Select all of the rest of the clips. &lt;kbd&gt;Command&lt;/kbd&gt;+&lt;kbd&gt;Alt&lt;/kbd&gt;+&lt;kbd&gt;V&lt;/kbd&gt; to paste attributes, and the blur will be applied to all of the clips at once. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Download &lt;a href=&quot;http://blog.alex4d.com/2012/03/19/adjustment-layer-fcpx-effect/&quot; rel=&quot;nofollow&quot;&gt;Alex4d's Adjustment Layer title effect.&lt;/a&gt; Connect the title clip to your project so that it covers every clip that you want to apply the blur to. Now make your blur. This is nice because you can tweak the effect without having to remove the effect from all the clips and reapplying the clip.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The long way. If you were going to use the exact same setup and want to blur out the same text in the same spot across projects, create an effect with just the blur in Motion and publish it to FCPX. Probably not helpful in this particular situation unless you will use this a lot.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="8027" LastEditorUserId="6685" LastEditDate="2015-06-29T06:52:01.060" LastActivityDate="2015-06-29T06:52:01.060" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15875" PostTypeId="1" CreationDate="2015-06-29T12:26:44.537" Score="2" ViewCount="1189" Body="&lt;p&gt;I have an upcoming shoot where I will need to capture a restaurant scene in first person point-of-view.  It seems pretty straight-forward, but I want to make sure it truly looks like the subject's point-of-view.  At first, I thought a steadicam would do the trick, but wasn't sure if that would actually look like first person point-of-view.  Then I thought about mounting the camera to a helmet, similar to the one here...&#xA;&lt;a href=&quot;https://www.journalism.co.uk/news/new-approaches-to-online-video-at-the-wall-street-journal-/s2/a553636/&quot; rel=&quot;nofollow&quot;&gt;https://www.journalism.co.uk/news/new-approaches-to-online-video-at-the-wall-street-journal-/s2/a553636/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have experience with these kinds of shots?  How did you capture them?  What camera and lens did you use?  I'd like to be able to get as much as the scene in the shot as possible, so going wide would be ideal.  However, I don't want to go too wide if it doesn't look as if we are viewing the scene through the subject's eyes. Any advice? &lt;/p&gt;&#xA;" OwnerUserId="6768" LastActivityDate="2015-06-30T08:36:13.730" Title="Advice on shooting 1st Person POV restaurant scene" Tags="|dslr|production|producing|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15876" PostTypeId="2" ParentId="15875" CreationDate="2015-06-29T22:24:12.607" Score="1" Body="&lt;p&gt;A lot of it depends on your budget.  Are you a low budget film or do you have some money to work with.  Even renting can get expensive if it's a multi-day shoot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A dolly shot or stedicam seems to be the most obvious because you don't want the up-and-down motion that comes with walking with a camera (unless you are going for the hand-held style).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A lot depends of the actor that you are trying to replicate.  Are they short, tall, hyper, depressed, drunk etc.?  Choose your lighting and lens to reflect the mood. There is no single answer for that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for getting the shot... if you don't have a budget then I can give you some suggestions for what has worked for us as far as getting great POV shots.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If filming the POV of a child, put your DP or cameraman into a wheelchair and have a PA push him.  If it's a medium size adult put an apple crate onto the wheelchair seat and have them sit on that.  Makes for a surprisingly smooth shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need more height, put your DP into a shopping cart.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We've even had the DP stand on a skateboard while he was carefully held and pushed when we needed a POV of a drug addict that was high. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just keep in mind... Larger wheels like a wheelchair will give you a smoother shot than smaller wheels like a skateboard.&lt;/p&gt;&#xA;" OwnerUserId="11142" LastActivityDate="2015-06-29T22:24:12.607" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15877" PostTypeId="2" ParentId="15871" CreationDate="2015-06-29T22:35:14.607" Score="3" Body="&lt;p&gt;I just finished working with a company that has had several very successful Kickstarters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;IMHO, lighting and audio are more important than camera type for this type of video, as long as you have a pro-sumer camera that shoots decent 1080p HD.  Many successful campaigns have been shot on a DSLR with a stock lens.  If you want to buy an additional lens then your first lens should be a &quot;nifty-fifty&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An external microphone is way more important than camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the one piece of advice that was given to me by someone that has run mutltiple multi-million dollar Kickstarters.  Don't let someone that is dry and boring be the spokesperson for the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course the owner/CEO of the video wants to be in the video, but that's not always the best choice to be the talking head.  Instead use them in action scenes, Like at a workbench or a design table.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&#xA;I re-read your post.  I assumed it came with a kit lens and you were wanting to know if you should upgrade the lens.  The poster above is correct, you have to have a lens. But what I don't understand is why are you going with such a high-end DSLR?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera you are looking at, the Nikon D7200D, is a great camera.  But it's also an overkill for what you need.  It's a 24MP camera that can shoot video at 60FPS.  HD video is only 1.8 MegaPixels and you only need 30FPS. For almost the same price as the rental of the body and lens you could buy an older model (refurbished or used) DSLR with a 50mm lens and own it.  This would give you time to learn how the lens AND the camera work since they are two different beasts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also because a DSLR is not primarily a video camera, it's actually a little bit more complex to setup for video.  Not ideal for a beginner.  A Pro-sumer HD video camera would be a better choice but it costs more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I would actually recommended, for a beginner, a camera with a built in lens.  Something like a Nikon Coolpix that shoots full 1080p.  You can definitely get one of those (factory refurbished) for less than what you would pay to rent the Nikon D7200D with a lens.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I'll probably get criticized for that recommendation.  But if you don't know how to use the D7200D, then you probably won't shoot anything better than would with a Coolpix.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now all you need to do is learn 3 point lighting.  If you put a key-light on the back of your subjects head, then you will shoot something better than most other kickstarters.&lt;/p&gt;&#xA;" OwnerUserId="11142" LastEditorUserId="11142" LastEditDate="2015-06-30T06:08:20.723" LastActivityDate="2015-06-30T06:08:20.723" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="15879" PostTypeId="2" ParentId="15875" CreationDate="2015-06-30T08:36:13.730" Score="1" Body="&lt;p&gt;If it was me, I would do some testing, first I would try putting a &quot;action cam&quot; like a GoPro or similar (eBay do some knock offs which are like £35) and attach it to a helmet or head strap to see if this is what is expected as this way the &quot;actor&quot; can act normally (looking around, shaking their heads, nodding etc) but in the end you might not like this style and opt for trying a different way.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2015-06-30T08:36:13.730" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15880" PostTypeId="2" ParentId="15871" CreationDate="2015-06-30T17:33:01.697" Score="1" Body="&lt;p&gt;To use a DSLR for video, a lens is a requirement.  A DSLR body is only a sensor and control circuitry, with absolutely nothing that will focus light on to the sensor.  If you could even get it to record without a lens attached, you would simply have a large colored square recorded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, for what you are trying to do, a DSLR is probably not what you want to use anyway.  DSLRs are popular in video circles because they allow you to use a variety of lenses and accomplish high quality video effects that can't be done with comparably expensive video cameras, however they are not user friendly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They require far better knowledge of photographic principals and video shooting technique to produce quality results.  They are more difficult to use than video cameras and without practice and training, you are likely to get a far better quality of video using a decent normal video camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, as others have mentioned, the sound and lighting is also highly critical to getting ideal results.  Stay away from renting  a DSLR for shooting the video unless you have someone familiar with using DSLRs for the purpose.  They would also be able to determine which lenses you needed for the shots you are planning.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do still want to rent a better camera, instead rent a prosumer video camera, such as the Black Magic Cinema Pocket (still needs a lens) or something like the Canon XC10 that is on that same site you were looking at.  It costs a bit more than the body only for the Nikon you were looking at, but it is cheaper than the cost of additionally renting lenses.  It really probably isn't necessary as long as the camcorder you have shoots decent quality HD video though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2015-06-30T17:39:21.363" LastActivityDate="2015-06-30T17:39:21.363" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15881" PostTypeId="2" ParentId="15868" CreationDate="2015-06-30T17:36:55.347" Score="2" Body="&lt;p&gt;I've had the same problem where the video and audio were compressed separately and came out with as two different lengths.  Even just a half second difference will mean that the audio at the end of the video will be out of sync a half second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know what editor you are using, but I'm using Sony Vegas.  So I'll give you the steps for it then just adjust for your editor.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;First un-group the audio and video files if they are grouped by pressing U.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Synch up the first sound or word in the video with the audio.  It will be out of sych at the end, but that's okay for now.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Convert the length of the video into seconds and the actual length of the audio into seconds.  For your example you said it was a 90 minute video (5400 seconds) and an 88 minute (5280 second) audio.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now divide the larger file by the smaller file.  5400/5280 = 1.022727&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now you know that the audio has somehow become 2.2727% shorter somehow.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now you can right click on the video in your timeline and set the playback rate to .977  - This will shrink your video down to match your audio.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="11142" LastActivityDate="2015-06-30T17:36:55.347" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15882" PostTypeId="2" ParentId="15853" CreationDate="2015-06-30T17:51:41.463" Score="1" Body="&lt;p&gt;According to &lt;a href=&quot;http://www.culturalpolicies.net/web/norway.php?aid=517&quot; rel=&quot;nofollow&quot;&gt;this site&lt;/a&gt;, Norway does allow exceptions to author's rights for educational purposes, but it does not expand on what said requirements are.  You should probably talk to a lawyer in your jurisdiction for up to date information on your local jurisdiction.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-06-30T17:51:41.463" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15883" PostTypeId="2" ParentId="15861" CreationDate="2015-06-30T17:59:46.527" Score="2" Body="&lt;p&gt;We shot one of the first indie HD films back in the day when the prosumer HD cameras first came out.  Because we were one of the first feature films to shoot in HD we secured a national theatrical release.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I was shooting a feature film today, I would do it in 4K.  Because at some point in the near future theaters, NetFlix, Cable Networks, etc. will be acquiring all the 4K content they can get their hands on to please the millions that own 4K TVs.  We aren't there yet... but it's coming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for online, 60FPS is hard to handle with the bandwidth most people have today, but that will soon change.  YouTube just announced plans for supporting 4K with 60FPS.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I knew a photographer 15 years ago that shot a lot of stock images.  He shot and saved everything at a resolution of 320x240 because hard drive space was &quot;expensive&quot; and that was a decent resolution for the time.  Against my advice of shooting and saving at the highest resolution possible, He said those files sizes were big enough because they filled half his screen.  Fast forward a few years later and monitor sizes have increased and his &quot;big&quot; pictures now look like thumbnails.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thousands of his images and pictures are now obsolete because he didn't look towards the future.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But it depends on your clients.  Are they shooting feature films, online content, or corporate stuff that will be shown once then never again?  &lt;/p&gt;&#xA;" OwnerUserId="11142" LastActivityDate="2015-06-30T17:59:46.527" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15884" PostTypeId="2" ParentId="15853" CreationDate="2015-06-30T18:30:58.543" Score="1" Body="&lt;p&gt;First let's cover the Norway Part...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just because you are in Norway doesn't give you protection.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In 2007 Norway signed the TRIPS agreement which is comprehensive multilateral agreement on intellectual property. This agreement basically extended the powers of the Berne Convention treaty that established a basic standard of copyright protection. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Norway is covered under the European Unions Copyright Doctrine.  You can read more about it here in an article titled &quot;Copyright exceptions for teaching purposes in Europe&quot;:&#xA;&lt;a href=&quot;http://www.uoc.edu/in3/dt/eng/20418/20418.pdf&quot; rel=&quot;nofollow&quot;&gt;http://www.uoc.edu/in3/dt/eng/20418/20418.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your video is getting views in the U.S. then technically you are breaking U.S. copyright laws (unless you can prove fair use).  It all comes down to whether a company or the government wants to go after you.  But different international treaties allow other countries to sue (and/or arrest) copyright infringes in the U.S. and in turns allows the U.S. to go after foreign copyright infringements.&#xA;&lt;a href=&quot;http://www.ip-watch.org/2012/03/15/more-foreigners-find-themselves-targets-of-us-copyright-law/&quot; rel=&quot;nofollow&quot;&gt;http://www.ip-watch.org/2012/03/15/more-foreigners-find-themselves-targets-of-us-copyright-law/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This power is used everyday by adult film companies going after small foreign owned web servers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now let's cover Fair Use...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fair use is tricky.  Just because it's an educational site doesn't mean you automatically fall under fair use.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fair use is in Section 107 of the U.S. Copyright Act.  It uses 4 factors to determine fair use. These factors are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;the purpose and character of the use,&lt;/li&gt;&#xA;&lt;li&gt;the nature of the copyrighted work,&lt;/li&gt;&#xA;&lt;li&gt;the amount and substantiality of the portion used, and&lt;/li&gt;&#xA;&lt;li&gt;the effect of the use on the potential market for or value of the copyrighted work.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Don't fall for bad advice that's all over the internet like &quot;It it's educational it's legal&quot; or &quot;If it's a parady then it's legal.&quot;  Not all parodies or educational products fall under fair use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, courts in different jurisdictions have ruled opposite of each other for almost the exact same cases of fair use claims.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are many nuances to Fair Use that only a lawyer can answer after seeing the finished product. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And don't forget that Fair Use won't stop you from getting a cease and desist letter or a lawsuit.  It's only a defense.  You may have to still prove your case in court and answer like &lt;em&gt;&quot;The content you used, was it the best image/video for your curriculum or did you choose it because it's popular and will increase your sales?&quot;&lt;/em&gt;, or &lt;em&gt;&quot;Did you use the minimum amount of copyrighted content to make your point, or did you let it run on to get more content into your product?&quot;&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bottom line, it's up to the company that owns the copyright as to whether or not they want to pursue you.  For instance, J.K. Rowling let a man run a website that was a Harry Potter Encyclopedia.  She even said she liked the site.  However when the man tried to turn it into a book, he lawyers came out claiming copyright infringement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Final piece of advice... &lt;strong&gt;Stay away from using Mario Brothers&lt;/strong&gt;.  Nintendo is infamous for going after anyone using their content.  They even go after people putting up positive reviews of their games on YouTube.  Which is stupid because 90% of gamers make their buying decisions based off of YouTube videos.  So Nintendo is suing people giving them free advertising.&#xA;&lt;a href=&quot;https://www.plagiarismtoday.com/2015/04/09/nintendos-copyright-blunder/&quot; rel=&quot;nofollow&quot;&gt;https://www.plagiarismtoday.com/2015/04/09/nintendos-copyright-blunder/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11142" LastEditorUserId="11142" LastEditDate="2015-06-30T20:07:48.113" LastActivityDate="2015-06-30T20:07:48.113" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="15885" PostTypeId="1" CreationDate="2015-06-30T20:22:50.020" Score="1" ViewCount="43" Body="&lt;p&gt;I recorded a video on my phone using a different camera app and it ended like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/owHIc.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It feels like the video got split in to two if you can understand what i'm trying to say. Is there a way to remedy this using software?&lt;/p&gt;&#xA;" OwnerUserId="11148" LastEditorUserId="6685" LastEditDate="2015-07-17T13:14:31.827" LastActivityDate="2015-07-17T13:14:31.827" Title="is there a way to fix this through video editting?" Tags="|video|playback|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15886" PostTypeId="1" CreationDate="2015-06-30T22:22:20.903" Score="1" ViewCount="15" Body="&lt;p&gt;I was told that adapters exist that allow you to mount an additional lens on a non-threaded camcorder.  Are these adapters worth it?  How common are they?&lt;/p&gt;&#xA;" OwnerUserId="5264" LastEditorUserId="2836" LastEditDate="2015-07-01T15:04:50.253" LastActivityDate="2015-07-01T15:06:48.263" Title="Are adapters that allowing lens change on cheap camcorders worth it?" Tags="|lenses|adapter|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15887" PostTypeId="2" ParentId="15653" CreationDate="2015-07-01T14:59:41.060" Score="1" Body="&lt;p&gt;It probably wouldn't hurt to double check with them, but it doesn't seem like it would be an issue.  It sounds like their main concern is they don't want people selling other people's content.  Since you are the rights holder of the videos you are linking to, there should probably be no problem there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From a practical perspective, Youtube still gets their advertising revenue either way and nobody is having their rights violated, so I'm not sure what they would have against it.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-07-01T14:59:41.060" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15888" PostTypeId="2" ParentId="15886" CreationDate="2015-07-01T15:06:48.263" Score="1" Body="&lt;p&gt;Such devices do exist a reasonable amount of the time, but they rarely produce much in the way of quality.  There are exceptions, but they are fairly rare.  They do have their uses, but be aware that the results are most often marginal.  Your best bet to find them is generally looking around the various smaller NY/NJ photo/video shops that carry a variety of knock off products from around the world.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure you are aware of what you are getting yourself in to with them.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-07-01T15:06:48.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15889" PostTypeId="2" ParentId="10128" CreationDate="2015-07-01T15:13:35.710" Score="-2" Body="&lt;p&gt;This is because youtube uses its own compression. When you upload, that videos is a compressed mp4 or wmv ,quicktime or something. Youtube's process compress it much more. You lose details in the corners of your movie. You lose many data when a frame makes a decent change comparing to the previous frame. And even lose quality on very dark regions and very bright regions. Youtube cannot handle contrast rate wich is bigger then the average. I tried to upload many different ways and didn't have any luck.&lt;/p&gt;&#xA;" OwnerUserId="11150" LastEditorUserId="2836" LastEditDate="2015-07-01T15:18:39.490" LastActivityDate="2015-07-01T15:18:39.490" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15890" PostTypeId="2" ParentId="15885" CreationDate="2015-07-01T15:14:40.970" Score="1" Body="&lt;p&gt;I can't tell for sure from the single frame there and not knowing what the source was, but it appears that you were using an HDR video application.  The result of such an application is that you get frames with two different exposure settings that are designed to be combined to form video with frames that have a higher dynamic range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that conclusion is correct, then yes, you should be able to split the video in half, merge the two parts of the frame back together and produce an HDR video from that data.  You will need to control how you merge them back together using a typical HDR technique, which you can find many details about how to do online from photo resources.  The process for video is the same, it just gets bulk applied to all the pairs of frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is worth noting that the overall resolution of the video may have suffered as a result of splitting the frame like that and there won't be any way to get back any lost resolution, but you should at least be able to get it reduced to a single video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I'm wrong in those assumptions though and the video frames are not individually correct, then there may be more complex blending that needs to be done and it may be specific to that application.  Does the application have an option to export the video after processing?  Whatever the application was, that seems like a very odd final output unless it is either expecting only basic processing to need to be done or it is expecting that that file is only an intermediate stage.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-07-01T15:14:40.970" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15893" PostTypeId="1" CreationDate="2015-07-01T21:02:43.583" Score="2" ViewCount="579" Body="&lt;p&gt;I recorded a video using Camtasia software trial version. I produced the video in MP4 HD. The video quality is very good when I play it on my desktop. When I uploaded the video to Youtube, the video on Youtube had less quality than it has at my desktop. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So can you help me have the very good quality (supoorts HD) at Youtube or at least having the same quality as it has at my desktop?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="11153" LastActivityDate="2017-08-16T08:32:01.977" Title="I got less quality video when I uploaded it on Youtube" Tags="|video|video-quality|video-recording|youtube|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15894" PostTypeId="2" ParentId="15893" CreationDate="2015-07-01T21:49:48.757" Score="3" Body="&lt;p&gt;It's impossible to maintain the original quality when you upload a video to youtube since youtube reencodes &lt;strong&gt;all&lt;/strong&gt; videos. For a detailed explanation of why it does that, check &lt;a href=&quot;https://video.stackexchange.com/questions/15814/will-compression-format-of-audio-change-when-uploaded-to-youtube/15815#15815&quot;&gt;my answer here&lt;/a&gt;. To minimise quality loss, export your video with a high bitrate.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-07-01T21:49:48.757" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15897" PostTypeId="1" CreationDate="2015-07-02T01:56:37.383" Score="2" ViewCount="795" Body="&lt;p&gt;I'm trying to export a scene to composite in Nuke.  When I &quot;render current frame&quot; and save the image from there, I get an image with an alpha channel, but when I batch render the images don't have the alpha channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/myJnQ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/qAubM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2016-03-29T00:54:48.667" Title="Maya batch render missing alpha channel" Tags="|animation-rendering|nuke|compositing|maya|alpha|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15898" PostTypeId="2" ParentId="15676" CreationDate="2015-07-02T14:41:49.677" Score="3" Body="&lt;p&gt;Nothing really. All recent camcorders are more than enough for what you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Two things to look: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;That shutter speed can change so that you can define how smooth motion you want&lt;/li&gt;&#xA;&lt;li&gt;That they offer fast zoom/focus capabilities for sports.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Any recent cam-corder from major companies already covers this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want quality sound you should also look for a camcorder that has an external mic jack so that you can connect your own microphone. This raises the budget a lot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unless you are a professional I would stay away from using a DSLR for sports filming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I personally own a panasonic-v250. I also bought it for sports filming.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastEditorUserId="6685" LastEditDate="2015-07-03T11:26:28.753" LastActivityDate="2015-07-03T11:26:28.753" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15899" PostTypeId="2" ParentId="15577" CreationDate="2015-07-02T14:43:34.040" Score="0" Body="&lt;p&gt;Blurriness is also affected by focus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apart from the aperture make sure that you have focused on your subject. (Again read the manual on how to do this)&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-07-02T14:43:34.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15900" PostTypeId="2" ParentId="3230" CreationDate="2015-07-02T16:00:08.020" Score="-1" Body="&lt;p&gt;I found a way to raytrace 3d work. it turned out that the company has not updated adobe lib optix. in the parts that comes with the after effect is version 3.0.0 in August 2013. It is not present in the card support on the architecture &quot;maxwell&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I downloaded from the site Nvidia optix version 3.8 and simply replace the file optix.1.dll. and lo and behold I have on my card earned ray-trace 3d.&#xA;I checked today at work on a gtx 970 and bonded 2x gtx 980 all worked fine&lt;/p&gt;&#xA;&#xA;&lt;p&gt;mini guide&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Download &lt;a href=&quot;https://www.sendspace.com/file/lt8trf&quot; rel=&quot;nofollow&quot;&gt;https://www.sendspace.com/file/lt8trf&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;create one backup c: \ Program Files \ Adobe \ Adobe After Effects CC 2014 \ Support Files \ optix.1.dll I just renamed optix.1.dll in optix.1_bak.dll&lt;/li&gt;&#xA;&lt;li&gt;Copy the downloaded file in the c: \ Program Files \ Adobe \ Adobe After Effects CC 2014 \ Support Files \&lt;/li&gt;&#xA;&lt;li&gt;In the after effect turn &quot;Enable untested, unsupported CPU for CUDA acceleration or ray-traced 3D renderer&quot; or you can add your card in the c: \ Program Files \ Adobe \ Adobe After Effects CC 2014 \ Support Files \ raytracer_supported_cards.txt&lt;/li&gt;&#xA;&lt;li&gt;Profit&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Screenshots&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.sendspace.com/filegroup/zJxzSUA%2BuKBdr0L0Gtea6Q&quot; rel=&quot;nofollow&quot;&gt;http://www.sendspace.com/filegroup/zJxzSUA%2BuKBdr0L0Gtea6Q&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;GPU work:gtx 750 ti, gtx 970, gtx 980, gtx 980 ti, gtx titan X. A few mobile gpu from 8xxm series.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wrote on the forum adobe. but this instruction and criticism towards their company, they are removed&lt;/p&gt;&#xA;" OwnerUserId="11157" LastActivityDate="2015-07-02T16:00:08.020" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15901" PostTypeId="1" CreationDate="2015-07-02T16:21:59.973" Score="2" ViewCount="119" Body="&lt;p&gt;I'm analysing a  dashcam video clip (avi format) frame by frame. According to media information when I open this video file, the frame rate is 30 fps. However I noticed that every sixth frame is actually a repeat of the fifth frame, like as if it is 25 fps. What the reason why and how I can I get rid of the duplicate frames? Was it actually 25 fps but saved as 30 fps? Any tips? Thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Michael &lt;/p&gt;&#xA;" OwnerUserId="11158" LastActivityDate="2015-07-02T16:21:59.973" Title="The sixth frame is a repeat of the fifth frame" Tags="|framerate|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15903" PostTypeId="1" CreationDate="2015-07-02T19:43:26.057" Score="2" ViewCount="775" Body="&lt;p&gt;Can anyone point me to where I can find something like this?  I have a Smartview 4K monitor, and I'd like a good way to carry it around.  It seems like all of the other boxes I've looked at open on the small side and don't have the hinge.  This image came from the &lt;a href=&quot;https://www.blackmagicdesign.com/products/smartview4k/workflow&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blackmagic design website&lt;/a&gt;.&lt;br&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/QLcM4.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2018-12-19T17:06:30.367" Title="Please help identify this rack-mount case" Tags="|production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15904" PostTypeId="2" ParentId="15897" CreationDate="2015-07-02T20:06:29.927" Score="1" Body="&lt;p&gt;I solved my own problem after some more trial and error. For awhile it looked like the fact that I was using Mental Ray shaders combined with general shaders was the problem, but that didn't really make sense so I kept tweaking. It turns out that an image plane I had tied to my camera was the problem. The image on the plane never rendered out, so I assumed the plane wasn't affecting the rendering, but it turns out it was showing up as a black plane when rendered. I deleted the plane for my render and it works fine now.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-07-02T20:06:29.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15905" PostTypeId="1" AcceptedAnswerId="16755" CreationDate="2015-07-03T13:00:49.540" Score="5" ViewCount="2024" Body="&lt;p&gt;In Adobe Premiere Pro 2015, you cannot sub-clip a multi-camera source clip, which is a shame, because sub-clipping is the most useful way I've found in Premiere for organizing segments of an extended interview. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a 2-hour multi-camera clip from an interview for a mini-documentary. My normal mini-doc/corporate workflow is:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;import footage&lt;/li&gt;&#xA;&lt;li&gt;watch and tag (sub-clip) footage&lt;/li&gt;&#xA;&lt;li&gt;create rough cut by adding sub-clips to a sequence and fine-tuning&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Now that I've got a multicam interview, I want to preserve this workflow or find an alternative. I've considered creating a sequence for each interview segment, but that requires a lot more interaction with the UI, slowing down the workflow. Yet it's important to organize these clips, because this interview may get used in multiple productions over the next several months, and I only want to watch and tag it once.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question:&lt;/strong&gt; Is there a way to tag multicam clips in Premiere that achieves the same organizational goal as sub-clipping?&lt;/p&gt;&#xA;" OwnerUserId="5113" LastActivityDate="2017-04-14T00:05:59.267" Title="Organizing a Multicam Clip in Premiere" Tags="|premiere|editing|multi-camera|" AnswerCount="2" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="15906" PostTypeId="1" CreationDate="2015-07-03T14:11:46.733" Score="3" ViewCount="39" Body="&lt;p&gt;I have some videos (MP4 or MPV format) that contain muliple language audio tracks (English, French and Spanish). &lt;strong&gt;I want to cut out some clips&lt;/strong&gt; (usually 15-60 seconds at a time) that I feel are inappropriate for my young children, &lt;strong&gt;but I want to retain the multiple audio tracks&lt;/strong&gt;, since I try to immerse my kids in these three languages.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only commercial video editor I have is Camtasia Studio, but it seems to support only one language track (please correct me if I'm mistaken). I don't want to pay for another video editor just to do this one task. I'm looking for a solution that a free editor can do. I run Windows 8.1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would appreciate any pointers. I don't need step-by-step instructions; a recommendation for a suitable editor plus just very high-level instructions should be sufficient. I am willing to convert the video format if necessary to do the job (e.g. using Handbrake).&lt;/p&gt;&#xA;" OwnerUserId="11162" LastActivityDate="2015-07-03T14:11:46.733" Title="Delete clips from a video while retaining multiple audio tracks" Tags="|video-editor|editing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15907" PostTypeId="1" CreationDate="2015-07-03T15:27:12.187" Score="1" ViewCount="101" Body="&lt;p&gt;I'm an industrial designer, using 3D CAD software to create my designs and Photoshop, Illustrator and inDesign, to create sketches &amp;amp; graphics, edit images, build presentations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that most of these tools are +/- static. It's difficult to create &amp;amp; visualise interactions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;E.g. I would like to take a sketch/screenshot of the product I'm designing; sketch a hand; animate the hand so that it manipulates the product (e.g. push a button) and then animate what happens with the product (lights blinking, etc.); add comments, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My main target is not to make very fancy presentation movies, but more &quot;animated sketches&quot;, storyboards.&#xA;Which software would you recomend to do this. I've explored the animation function of photoshop and that was ok, but a little too basic (e.g. I could make the hand move from A to B at a constant speed, but I couldn't make it follow a curve in a more dynamic way).&lt;/p&gt;&#xA;" OwnerUserId="11163" LastEditorUserId="6685" LastEditDate="2015-07-17T13:21:58.540" LastActivityDate="2015-07-20T06:37:15.607" Title="Software advice to create animated sketches" Tags="|software-recommendation|animation|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15908" PostTypeId="2" ParentId="15907" CreationDate="2015-07-03T18:42:00.277" Score="1" Body="&lt;p&gt;You would want to use after effects if you want to animate sketches and graphics in flexible ways.&lt;/p&gt;&#xA;" OwnerUserId="11164" LastActivityDate="2015-07-03T18:42:00.277" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15909" PostTypeId="2" ParentId="15577" CreationDate="2015-07-04T10:44:41.957" Score="1" Body="&lt;p&gt;Okay, so it turns out that the shutter change is &lt;em&gt;automatic&lt;/em&gt; depending on the amount of light available. You cannot alter the shutter manually. What this means in practical terms is that, with room lightning you are 99% guaranteed that you're shooting wide open, which just blurs everything and makes the video mode pretty much unusable. Thanks Canon.&lt;/p&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2015-07-04T10:44:41.957" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15915" PostTypeId="1" AcceptedAnswerId="15927" CreationDate="2015-07-06T13:45:55.707" Score="4" ViewCount="75" Body="&lt;p&gt;Years ago, I transferred a video tape of a live band performance to DVD (using a Sony VHS/DVD RW machine that I no longer own). Yesterday, I edited an 8-minute clip from the DVD. The audio/video sync appeared fine inside Premiere, but when I exported to YouTube, the audio and video are completely out of sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I didn't touch the alignment of either audio or video tracks while editing)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All I did was add titles to the beginning and end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I prevent this from happening in the future?&lt;/p&gt;&#xA;" OwnerUserId="9254" LastActivityDate="2019-01-11T04:53:53.130" Title="Premiere CC 2015 and DVD conversion audio sync issue" Tags="|premiere|audio|sync|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15916" PostTypeId="2" ParentId="15915" CreationDate="2015-07-06T17:58:40.160" Score="2" Body="&lt;p&gt;Make sure your video has the same fps as the original video, usually it's 25/29fps. It could also be the format that you're exporting it to.&lt;/p&gt;&#xA;" OwnerUserId="11164" LastActivityDate="2015-07-06T17:58:40.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15918" PostTypeId="1" CreationDate="2015-07-07T08:35:13.170" Score="2" ViewCount="11227" Body="&lt;p&gt;I'm using iMovie 10.0.8 and like to display some text with a transparent background over the clip. Can this somehow be done?&#xA;The titles view only lists titles on a black, white and color bar, but color bar does not allow to set an alpha value for the background...&#xA;Any ideas how text with transparent background can be added to a clip are welcome,&#xA;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="11177" LastActivityDate="2019-06-16T11:05:39.613" Title="How to add a title with a transparent background in iMovie?" Tags="|imovie|" AnswerCount="3" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15919" PostTypeId="2" ParentId="15196" CreationDate="2015-07-07T08:37:12.140" Score="1" Body="&lt;p&gt;Perhaps your VLC installation has a problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you try with an alternative player it might work! (like mplayer or xine)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your system is powerful enough to handle GoPro videos.&#xA;Perhaps try installing the windows codecs in mplayer and also make sure that X-Windows has the xvideo extension enabled (any any other video related extensions)&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-07-07T08:37:12.140" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15921" PostTypeId="1" AcceptedAnswerId="15922" CreationDate="2015-07-07T12:10:05.027" Score="3" ViewCount="711" Body="&lt;p&gt;Even if I set up a custom white balance in my software (with the traditional way to do it, using a &lt;em&gt;grey card&lt;/em&gt; or &lt;em&gt;white balance card&lt;/em&gt;, etc.), sometimes the colors are not exactly like I would like.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to be able to :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;shoot a color chart with &lt;strong&gt;normalized colors&lt;/strong&gt; (example: &lt;a href=&quot;http://www.ephotozine.com/articles/Kodak-EasyShare-V803-8mp-5253/images/kodak_V803_colour_chart.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;GretagMacbeth&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;import this video in Premiere (or any other software), and match all colors between left and right panel :&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/7AobZ.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then the colors would be really calibrated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Does such a tool exist?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="6407" LastActivityDate="2015-07-09T06:13:14.603" Title="Color calibration with a color chart" Tags="|color-correction|color|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15922" PostTypeId="2" ParentId="15921" CreationDate="2015-07-07T15:18:11.910" Score="4" Body="&lt;p&gt;I'm not aware of any that work directly in Premiere, however I can use my Spyder Checkr24 to either adjust my videos in Adobe Lightroom or DaVinci Resolve.  For Lightroom, I use the software that came with my Spyder Checkr to make a preset I can apply.  In Resolve, there is actually built in native support for working with the swatches.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also other third party tools available that I haven't really looked in to, so I can't say for certain that there isn't a way to do it directly in Premiere with a third party tool, but the way I've been doing it has worked well enough that I have not bothered to look any further in to doing it directly in Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more details on how things work in Resolve, you can check out &lt;a href=&quot;https://www.youtube.com/watch?v=onom8tpiof8&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt; or if you have a decent idea about how to use Resolve already, take note of the steps in this screenshot.  Start with 0 by choosing the target you are using on the Color workspace.  Then select the color match grid tool on the preview screen(1).  Position the grid over your color target during a portion of the clip that has the target visible (2).  Finally, hit Match(3) in order to have it generate the color correction profile for the clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/zwLGA.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2015-07-09T06:13:14.603" LastActivityDate="2015-07-09T06:13:14.603" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15923" PostTypeId="2" ParentId="15196" CreationDate="2015-07-07T15:22:40.497" Score="1" Body="&lt;p&gt;None of the data provided seems to be useful in identifying the camera model.  The best bet would probably be to ask the people who shot the footage about it.  They may remember which camera they used for the shoot.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-07-07T15:22:40.497" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15924" PostTypeId="1" AcceptedAnswerId="15926" CreationDate="2015-07-07T20:07:08.793" Score="2" ViewCount="1049" Body="&lt;p&gt;I've noticed that when comparing video camera specifications, higher frame rates usually require a lowered resolution.  For example, the GoPro Hero4 Silver can get 15fps at 4k, 60fps at 1080p, 120fps at 720p, and 240fps at vga.  I would think that the resolution of the individual frames would be independent of the rate of capture.  Is this because of bitrate capabilities of internal cables, or an encoding limit on the internal circuitry?  Thanks for your help.&lt;/p&gt;&#xA;" OwnerUserId="11180" LastActivityDate="2015-07-08T01:36:36.243" Title="Why do higher frame rates require lower resolution?" Tags="|video-quality|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15925" PostTypeId="1" CreationDate="2015-07-08T01:33:24.290" Score="0" ViewCount="42" Body="&lt;p&gt;I am wondering what software is used to produce video like this ? note it contains animation , sound effects, graphics, etc.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/l9jOJk30eQs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best reagrds&lt;/p&gt;&#xA;" OwnerUserId="11182" LastActivityDate="2015-07-08T01:33:24.290" Title="What software is used to produce this videos?" Tags="|software|animation|" AnswerCount="0" CommentCount="5" ClosedDate="2015-07-18T14:26:14.053" ContentLicense="CC BY-SA 3.0" />
  <row Id="15926" PostTypeId="2" ParentId="15924" CreationDate="2015-07-08T01:36:36.243" Score="2" Body="&lt;p&gt;I am not an engineer, but I think you've answered your own question. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a bit of an oversimplification, but if &lt;strong&gt;t&lt;/strong&gt; is the time it takes to record, process and store a pixel from a frame consisting of &lt;strong&gt;p&lt;/strong&gt; pixels, then 1/(&lt;strong&gt;t&lt;/strong&gt; * &lt;strong&gt;p&lt;/strong&gt;) is your maximum frame rate. So if you increase the framerate above the maximum you need to decrease either &lt;strong&gt;t&lt;/strong&gt; or &lt;strong&gt;p&lt;/strong&gt;. And since &lt;strong&gt;t&lt;/strong&gt; is fixed you have to decrease &lt;strong&gt;p&lt;/strong&gt; - the number of pixels.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-07-08T01:36:36.243" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15927" PostTypeId="2" ParentId="15915" CreationDate="2015-07-08T02:11:47.870" Score="2" Body="&lt;p&gt;Based on your comment feedback, and as I suspected, it looks as if the main audio has 'slipped under' the new title video. An easy way to avoid this is to marry the titles with a silent audio track.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-07-08T02:11:47.870" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15929" PostTypeId="1" CreationDate="2015-07-08T07:37:26.847" Score="5" ViewCount="2243" Body="&lt;p&gt;Motivation: I would like to seek the frame, then take high quality and exact time screenshots (images) from a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video is length is 00:48:43.71 and 23.98 fps (we can think it is 24 fps, isn't it?).&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;With reference from this webpage: &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Create%20a%20thumbnail%20image%20every%20X%20seconds%20of%20the%20video&quot; rel=&quot;noreferrer&quot;&gt;Create a thumbnail image every X seconds of the video&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wrote some commands that grab a frame every hour, every minute, and every second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After exterminating the images, the screenshots are in fact taken from the &lt;strong&gt;half&lt;/strong&gt; hour, &lt;strong&gt;half&lt;/strong&gt; minute, and &lt;strong&gt;half&lt;/strong&gt; second. You will understand shortly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, the command to grab a frame every minute, it is in fact extracting the frame &lt;strong&gt;at the half minute&lt;/strong&gt;, which means the 00:00:30 , 00:01:30 , 00:02:30 , and so on. That is why I name to filename as follow:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;video.mp4&quot; -start_number 0 -vf fps=1/60 &quot;B 00-%02d-30.000.png&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(adding the &quot;B&quot; prefix is to prevent overwriting by different commands.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, to grab a frame every second from 00:03:00 to 00:04:00, the commend is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;video.mp4&quot; -start_number 0 -vf fps=1 -ss 00:03:00 -to 00:04:00 &quot;C 00-03-%02d.500.png&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To verify them, we can extract all the frames from 00:03:29 to 00:03:31 :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -copyts -ss 00:03:29 -i &quot;video.mp4&quot; -start_number 0 -to 00:03:31 &quot;D 00-03-29.%03d.png&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;We may check the following image files are identical:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;D 00:03:29.012.png&lt;/code&gt; is identical to &lt;code&gt;C 00:03:29.500.png&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;D 00:03:29.024.png&lt;/code&gt; is identical to &lt;code&gt;B 00:03:30.000.png&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;D 00:03:29.036.png&lt;/code&gt; is identical to &lt;code&gt;C 00:03:30.500.png&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Those are my findings from trials and errors this morning. Here comes my question:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's take &quot;extract a frame at exactly every minute&quot; as an example, how can we get / what is the command to get the frames 00:00:00.000 , 00:00:01.000, 00:00:02.000 , and so on?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have just heard of &lt;code&gt;ffmpeg&lt;/code&gt; this morning. I still do not know what &lt;code&gt;-copyts&lt;/code&gt; means (after reading the &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html&quot; rel=&quot;noreferrer&quot;&gt;docs&lt;/a&gt;) and when I need to put &lt;code&gt;-ss position&lt;/code&gt; before &lt;code&gt;-i&lt;/code&gt; and when to put it at the output part. So please &lt;strong&gt;do correct me&lt;/strong&gt; if I am using the wrong commands.&lt;/p&gt;&#xA;" OwnerUserId="11184" LastActivityDate="2024-03-08T17:37:03.267" Title="Extract the frame (in image format) at exactly every minute (or second) from a video (by ffmpeg)" Tags="|ffmpeg|framerate|timecode|video-capture|output|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15930" PostTypeId="1" AcceptedAnswerId="15931" CreationDate="2015-07-08T08:53:14.503" Score="3" ViewCount="1524" Body="&lt;p&gt;I want to remove little camera movements from a video. Is this possible?&#xA;I tried virtualdub with deshaker plugin, but it only works for shaking.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Shooting position: bridge&lt;/li&gt;&#xA;&lt;li&gt;Weather: strong wind&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Example shot on &lt;a href=&quot;http://www.youtube.com/watch?v=w49zCnAzZ4k&quot; rel=&quot;nofollow&quot;&gt;youtube&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="11185" LastEditorUserId="6685" LastEditDate="2015-07-14T11:31:06.153" LastActivityDate="2016-09-20T10:39:05.360" Title="How to remove little camera movements" Tags="|video|software-recommendation|stabilisation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15931" PostTypeId="2" ParentId="15930" CreationDate="2015-07-08T13:13:10.320" Score="2" Body="&lt;p&gt;Adobe premiere and After effects have a stabilizer plugin with a &quot;no motion&quot; setting that does what you want. These are commercial applications.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The free Da vinci resolve lite also has a &quot;stabilize option&quot; (but I have never tried it personally)&lt;/p&gt;&#xA;" OwnerUserId="10689" LastEditorUserId="10689" LastEditDate="2016-09-20T10:39:05.360" LastActivityDate="2016-09-20T10:39:05.360" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15932" PostTypeId="2" ParentId="15930" CreationDate="2015-07-08T14:35:39.487" Score="0" Body="&lt;p&gt;Another option to try is &lt;a href=&quot;http://vegasaur.com/Mercalli&quot; rel=&quot;nofollow&quot;&gt;Prodad Mercalli&lt;/a&gt; - a standalone application with some very cool features, such as CMOS correction. Contains many built-in presets for action cameras. Not cheap, though.&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2015-07-08T14:35:39.487" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15933" PostTypeId="2" ParentId="13196" CreationDate="2015-07-08T16:05:04.443" Score="1" Body="&lt;p&gt;You can have a look at slowmovideo:&#xA;&lt;a href=&quot;http://slowmovideo.granjow.net/&quot; rel=&quot;nofollow&quot;&gt;http://slowmovideo.granjow.net/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11186" LastActivityDate="2015-07-08T16:05:04.443" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15934" PostTypeId="1" AcceptedAnswerId="15948" CreationDate="2015-07-08T16:39:13.843" Score="3" ViewCount="1915" Body="&lt;p&gt;I own a &lt;a href=&quot;http://goo.gl/mCkbQA&quot; rel=&quot;nofollow&quot;&gt;Panasonic HC-V130&lt;/a&gt;. Recently I've read an article about image stabilisation in a computing magazine. Can this be achieved without a special camera? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using too much zoom to hold the camera still - causing the image to bounce up and down. Can I correct some of this shaking using software after? If possible can anyone suggest a few pieces of software that can achieve this - if possible a free one. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I use windows 8.1 and Ubuntu 14.04 (Linux).&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user11187" LastEditorUserId="6685" LastEditDate="2015-07-14T11:22:40.700" LastActivityDate="2015-08-03T09:49:49.713" Title="Post processing - image stabilisation" Tags="|software-recommendation|windows|camcorder|linux|stabilisation|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15935" PostTypeId="1" CreationDate="2015-07-08T18:55:21.280" Score="1" ViewCount="412" Body="&lt;p&gt;I have some DVDs I want to save MP4s from. The video files are VOB files. I can play them if I change the extension to .mp4, but I can't use the seek bar in Windows Media Player. Also, the files are very large. I'm using ffmpeg to re-encode them with h.264 and compress. The video is coming out fine, but I'm losing the audio. The command I'm using is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loglevel panic -i &amp;lt;input file&amp;gt; -c:v libx264 -preset slow -crf 24 -c:a copy -y &amp;lt;output file&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I can only seem to capture the tail end of the output, but here it is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frame= 6504 fps= 76 q=30.0 size=   31114kB time=00:03:36.86 bitrate=1175.3kbits/&#xA;frame= 6543 fps= 76 q=30.0 size=   31289kB time=00:03:38.20 bitrate=1174.7kbits/&#xA;frame= 6582 fps= 76 q=30.0 size=   31447kB time=00:03:39.55 bitrate=1173.4kbits/&#xA;frame= 6617 fps= 76 q=30.0 size=   31616kB time=00:03:40.73 bitrate=1173.3kbits/&#xA;frame= 6656 fps= 76 q=30.0 size=   31849kB time=00:03:41.95 bitrate=1175.5kbits/&#xA;frame= 6690 fps= 76 q=30.0 size=   32024kB time=00:03:43.10 bitrate=1175.9kbits/&#xA;frame= 6724 fps= 76 q=30.0 size=   32194kB time=00:03:44.22 bitrate=1176.2kbits/&#xA;frame= 6761 fps= 76 q=30.0 size=   32367kB time=00:03:45.47 bitrate=1176.0kbits/&#xA;frame= 6797 fps= 76 q=30.0 size=   32551kB time=00:03:46.62 bitrate=1176.6kbits/&#xA;frame= 6832 fps= 76 q=30.0 size=   32745kB time=00:03:47.80 bitrate=1177.5kbits/&#xA;frame= 6868 fps= 76 q=30.0 size=   32936kB time=00:03:49.02 bitrate=1178.1kbits/&#xA;frame= 6909 fps= 76 q=30.0 size=   33157kB time=00:03:50.40 bitrate=1178.9kbits/&#xA;frame= 6951 fps= 76 q=30.0 size=   33353kB time=00:03:51.80 bitrate=1178.7kbits/&#xA;frame= 6990 fps= 76 q=30.0 size=   33545kB time=00:03:53.08 bitrate=1179.0kbits/&#xA;frame= 7028 fps= 76 q=30.0 size=   33739kB time=00:03:54.36 bitrate=1179.3kbits/&#xA;frame= 7068 fps= 76 q=30.0 size=   33944kB time=00:03:55.71 bitrate=1179.7kbits/&#xA;frame= 7108 fps= 76 q=30.0 size=   34125kB time=00:03:56.99 bitrate=1179.6kbits/&#xA;frame= 7149 fps= 76 q=30.0 size=   34348kB time=00:03:58.43 bitrate=1180.1kbits/&#xA;frame= 7188 fps= 76 q=30.0 size=   34538kB time=00:03:59.74 bitrate=1180.1kbits/&#xA;frame= 7222 fps= 76 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bitrate=1186.8kbits/&#xA;frame= 7677 fps= 76 q=30.0 size=   37113kB time=00:04:16.00 bitrate=1187.6kbits/&#xA;frame= 7711 fps= 76 q=30.0 size=   37317kB time=00:04:17.21 bitrate=1188.5kbits/&#xA;frame= 7747 fps= 76 q=30.0 size=   37574kB time=00:04:18.36 bitrate=1191.3kbits/&#xA;frame= 7782 fps= 76 q=30.0 size=   37780kB time=00:04:19.52 bitrate=1192.6kbits/&#xA;frame= 7814 fps= 76 q=30.0 size=   37985kB time=00:04:20.64 bitrate=1193.9kbits/&#xA;frame= 7848 fps= 76 q=30.0 size=   38207kB time=00:04:21.76 bitrate=1195.7kbits/&#xA;frame= 7885 fps= 76 q=30.0 size=   38423kB time=00:04:22.91 bitrate=1197.2kbits/&#xA;frame= 7924 fps= 76 q=30.0 size=   38615kB time=00:04:24.32 bitrate=1196.8kbits/&#xA;frame= 7961 fps= 76 q=30.0 size=   38821kB time=00:04:25.50 bitrate=1197.8kbits/&#xA;frame= 7998 fps= 76 q=30.0 size=   39067kB time=00:04:26.72 bitrate=1199.9kbits/&#xA;frame= 8034 fps= 76 q=30.0 size=   39290kB time=00:04:27.90 bitrate=1201.4kbits/&#xA;frame= 8073 fps= 76 q=30.0 size=   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fps= 75 q=30.0 size=   80861kB time=00:09:05.31 bitrate=1214.7kbits/&#xA;frame=16376 fps= 75 q=30.0 size=   81043kB time=00:09:06.24 bitrate=1215.4kbits/&#xA;frame=16407 fps= 75 q=30.0 size=   81229kB time=00:09:07.32 bitrate=1215.8kbits/&#xA;frame=16439 fps= 75 q=30.0 size=   81413kB time=00:09:08.38 bitrate=1216.2kbits/&#xA;frame=16469 fps= 74 q=30.0 size=   81588kB time=00:09:09.37 bitrate=1216.6kbits/&#xA;frame=16503 fps= 74 q=30.0 size=   81787kB time=00:09:10.17 bitrate=1217.8kbits/&#xA;frame=16515 fps= 74 q=-1.0 Lsize=   82483kB time=00:09:10.98 bitrate=1226.4kbits&#xA;/s&#xA;video:56333kB audio:25809kB subtitle:0kB other streams:0kB global headers:0kB mu&#xA;xing overhead: 0.414423%&#xA;[libx264 @ 044828a0] frame I:74    Avg QP:23.62  size: 31695&#xA;[libx264 @ 044828a0] frame P:4215  Avg QP:26.02  size:  8043&#xA;[libx264 @ 044828a0] frame B:12226 Avg QP:28.60  size:  1753&#xA;[libx264 @ 044828a0] consecutive B-frames:  0.5%  0.4%  5.7% 93.4%&#xA;[libx264 @ 044828a0] mb I  I16..4: 17.7% 65.8% 16.4%&#xA;[libx264 @ 044828a0] mb P  I16..4:  0.6%  1.3%  0.2%  P16..4: 47.6% 13.8% 10.1%&#xA; 0.0%  0.0%    skip:26.4%&#xA;[libx264 @ 044828a0] mb B  I16..4:  0.1%  0.1%  0.0%  B16..8: 39.1%  2.6%  0.6%&#xA; direct: 1.3%  skip:56.3%  L0:49.5% L1:46.9% BI: 3.5%&#xA;[libx264 @ 044828a0] 8x8 transform intra:61.7% inter:77.0%&#xA;[libx264 @ 044828a0] direct mvs  spatial:100.0% temporal:0.0%&#xA;[libx264 @ 044828a0] coded y,uvDC,uvAC intra: 68.2% 68.4% 23.7% inter: 12.8% 17.&#xA;0% 1.0%&#xA;[libx264 @ 044828a0] i16 v,h,dc,p: 24% 42%  6% 28%&#xA;[libx264 @ 044828a0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 12%  8%  9%  9% 14% 11% 13%&#xA; 9% 14%&#xA;[libx264 @ 044828a0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 10% 23%  6%  7% 10%  8% 12%&#xA; 9% 15%&#xA;[libx264 @ 044828a0] i8c dc,h,v,p: 32% 33% 18% 17%&#xA;[libx264 @ 044828a0] Weighted P-Frames: Y:1.2% UV:0.2%&#xA;[libx264 @ 044828a0] ref P L0: 37.6% 12.0% 27.8%  8.4% 13.5%  0.8%  0.0%&#xA;[libx264 @ 044828a0] ref B L0: 54.4% 29.2% 12.4%  3.9%&#xA;[libx264 @ 044828a0] ref B L1: 88.2% 11.8%&#xA;[libx264 @ 044828a0] kb/s:837.45&#xA;&#xA;H:\HHVL\Scripts&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10652" LastEditorUserId="10652" LastEditDate="2015-07-08T20:58:34.457" LastActivityDate="2015-07-08T20:58:34.457" Title="Losing audio in re-encoding with ffmpeg" Tags="|video|ffmpeg|audio|mp4|h.264|" AnswerCount="0" CommentCount="12" ContentLicense="CC BY-SA 3.0" />
  <row Id="15937" PostTypeId="1" AcceptedAnswerId="17628" CreationDate="2015-07-09T13:28:57.483" Score="4" ViewCount="1876" Body="&lt;p&gt;I have a file that has one video stream and one audio stream with 8 channels. I want to create a new file that will only contain the first 2 channels of the audio stream (no video). I can do this using the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#pan&quot; rel=&quot;nofollow&quot;&gt;pan filter&lt;/a&gt;. I also want to clip the file. I can do this using the &lt;a href=&quot;https://www.ffmpeg.org/ffmpeg.html#toc-Main-options&quot; rel=&quot;nofollow&quot;&gt;-ss and -t options&lt;/a&gt;. However, when I try to do both together, I get an error.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, if I run:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i a.mov -filter_complex &quot;[0:1]pan=2c|c0=c0|c1=c1[stereo]&quot; -map &quot;[stereo]&quot; &quot;a.audio.mov&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It works fine - I get the audio file with the correct channels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I run:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i a.mov -filter_complex &quot;[0:1]pan=2c|c0=c0|c1=c1[stereo]&quot; -map &quot;[stereo]&quot; -ss 00:00:01 &quot;a.audio.mov&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I get the following error&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[trim for output stream 0:0 @ 0000000002145720] Cannot select channel&#xA;  layout for the link between filters trim for output stream 0:0 and&#xA;  output stream 0:0.&lt;br&gt;&#xA;  [trim for output stream 0:0 @ 0000000002145720] &#xA;  Unknown channel layouts not supported, try specifying a channel layout&#xA;  using 'aformat=channel_layouts=something'.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Anyone have any ideas what I'm doing wrong and how to fix it?&lt;/p&gt;&#xA;" OwnerUserId="11191" LastEditorUserId="9105" LastEditDate="2015-07-13T23:27:43.037" LastActivityDate="2016-02-09T16:00:20.853" Title="FFmpeg pan filter and clipping" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15938" PostTypeId="1" CreationDate="2015-07-09T13:43:12.923" Score="2" ViewCount="55" Body="&lt;p&gt;im using presentation software on my pc which is connected to a projecter to add effects to my live video, our cameras are connected to a hardware video switcher, and i need to receive that live video feed to my pc so i can add effects to it and output to my projector, so i need to know to receive that live video feed.&lt;/p&gt;&#xA;" OwnerUserId="11080" LastActivityDate="2015-08-08T20:30:27.253" Title="How can i receive video feed from my hardware video switcher to my pc live" Tags="|video|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15940" PostTypeId="1" AcceptedAnswerId="15941" CreationDate="2015-07-09T19:28:17.343" Score="4" ViewCount="2201" Body="&lt;p&gt;Okay, so I'm a young A/V tech, and I'm looking into picking up some equipment for video recording. The guy who is mentoring me said that for the kind of work I do, which is primarily speaking events indoors, with varied lighting, I want a camera with at least ½&quot; sensor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Canon XA20 Professional Camcorder seemed to be the best choice for the money, but then I got thinking, phones have come a long way, so when I looked it up, the Samsung Galaxy S6 has a ½&quot; sensor and is capable of shooting 2160p@30fps or 1080p@60fps video, which compared to the camcorders 1080 @ 59.94p seems like it's pretty good, minus the fact that you can't get the same zoom on the phone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for the same price of the camcorder, I could pick up two S6s plus accessories and ask for roughly the same price or less that the camcorder with no accessories.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I missing anything here? Would love to hear what I'm missing being an amateur and all. If anyone would have a better suggestion on how to maximise our invest my money, I'd love to hear them. Thanks in advance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit 1:&#xA;Okay, so to add some clarity, I was just asking about video. My experience is almost completely in audio, and I always use separate equipment for that.&#xA;Also, when I'm talking about speaking events, I'm currently only dealing with small groups under 75 people, so I can get the cameras pretty close to the speakers without intruding on the group's attention. My only major issue to date is lack of lighting.&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="11197" LastEditorUserId="11197" LastEditDate="2015-07-11T18:33:16.537" LastActivityDate="2015-07-11T18:33:16.537" Title="Smartphone vs camcorder" Tags="|video-quality|video-recording|camcorder|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15941" PostTypeId="2" ParentId="15940" CreationDate="2015-07-09T20:10:17.477" Score="6" Body="&lt;p&gt;There are a few things you are missing, and a few more you just aren't fully appreciating how much of a difference the things you mentioned make.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, the S6 sensor is not over 1/2 inch, it is 1/2.6 inch, which is substantially smaller than a 1/2 inch sensor, particularly since sensors are measured diagonally.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, lenses matter a lot more than the sensor.  The inability to zoom optically is a deal breaker for what you are trying to do with covering speaking events.  Typically, video is a secondary concern to a live audience and camera positions will be far off to avoid impacting visibility.  Without strong optics, you will not be able to get the footage you need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Third, most (all?) cellphones do not use a global shutter, while most camcorders do.  Global shutters ensure that an entire frame is captured at the same time instead of scanning line by line while the frame is exposing.  The lack of a global shutter results in the &quot;jello&quot; effect that you can see when you pan a camera quickly.  Global shutter is a bit less of a concern for fixed camera position shooting at a relatively static target, but it is still work mentioning.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Forth, reliability.  Smartphones are more likely to crash than a stand alone video camera, they are subject to recording length limits that may interfere with your recordings.  They will have lower battery life while shooting which may also cause issues and the S6 in particular does not have a replaceable battery at all, so when you are out of juice, you are done unless you have an external battery pack that can keep up with sufficient juice.  Even then, it's a disadvantage to the much more compact battery placement directly on a camcorder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fifth, stability.  While you can get tripod mounts for a smartphone, camcorders are built from the ground up to support tripod mounting in a secure way.  You can work around that on the smart phone with complicated cases and mounting systems, but those also drive up the cost.  When shooting off a tripod, camcorders also still have a stability advantage.  You can hold them up to your eye and form a 3 point support that is easily held steady.  Accomplishing the same with a phone would require expensive rigging running up in to hundreds or possibly over $1000 unless you want to try to do custom fabrication yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are probably a few other things I'm missing too as I've just been writing these from what has come to mind as I go.  Smartphones are up to the point where they can make a pretty decent (though less durable and more expensive) alternative to a go pro, but they are really not an alternative for a camcorder by any stretch of the imagination.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-07-09T20:10:17.477" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15942" PostTypeId="2" ParentId="15938" CreationDate="2015-07-09T20:12:41.397" Score="1" Body="&lt;p&gt;You're doing it wrong.  Key from your effects source on to your live video with the switcher.  You will get much lower latency and better performance.  Alpha keying is ideal if your switcher supports it, but depending on what you are doing, luma keying (or less likely chroma keying) may also work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a select few situations that may actually merit running the video through the computer as a filter, but they are pretty few and far between and most likely don't apply here.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-07-09T20:12:41.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15943" PostTypeId="1" CreationDate="2015-07-10T02:24:10.743" Score="5" ViewCount="494" Body="&lt;p&gt;I was recently given a 27-year-old VHS tape to transfer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I'm happy that most of the tape is transferring smoothly (right now), the beginning of the tape is inaccessible.  The player's auto-rewind stops before reaching the beginning of the spool.  I naively attempted to rewind the tape manually (unlocking it first), and either the player or I stretched part of the tape.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it true that an old tape will &quot;fuse&quot; at the ends?  What do you think has happened here?  While the stretched part is probably destroyed, I wonder if the bit ahead of it is salvageable, by a professional service or me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your advice! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Gl6pa.jpg&quot; alt=&quot;stretched tape&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="2692" LastActivityDate="2016-05-03T21:07:18.133" Title="beginning of old VHS tape unreachable" Tags="|vhs|videotape|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15944" PostTypeId="1" CreationDate="2015-07-10T04:36:04.297" Score="3" ViewCount="70" Body="&lt;p&gt;I need to start learning about video stitching. I have studied about this and have some knowledge that the video should be converted into image sequences, then image alignment is done [geometric and photometric correction], and feature matching is used to match two video frames which are then blended together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know whether this is correct and I need to know if this process is correct and is there anything I missed? Is there anything I need to learn? Also I need to learn from basics. I want some knowledge about this.&lt;/p&gt;&#xA;" OwnerUserId="11200" LastEditorUserId="6207" LastEditDate="2015-07-11T06:15:18.190" LastActivityDate="2015-07-14T08:18:06.923" Title="Need to learn about Video stitching" Tags="|video|video-editor|signal-processing|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="15945" PostTypeId="2" ParentId="13098" CreationDate="2015-07-10T09:14:16.297" Score="1" Body="&lt;p&gt;Simplest solution is to use -movflags +faststart in your command while transcoding video file. It will move all metadata to the beginning of the file to be played. Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="11201" LastActivityDate="2015-07-10T09:14:16.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15946" PostTypeId="1" AcceptedAnswerId="15957" CreationDate="2015-07-10T09:21:55.493" Score="0" ViewCount="5014" Body="&lt;p&gt;This is my first post here. I am in a situation where my original file is of profile High and transcoding profile is High10. I am suspecting that this is the cause my video is not getting played in jwplayer. I have also tried to set profile to &lt;code&gt;-profile:v high&lt;/code&gt;&#xA;but no help . I am using ffmpeg version &lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg version 2.6.2&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;No pixel format specified, yuv420p10le for H.264 encoding chosen.&#xA;Use -pix_fmt yuv420p for compatibility with outdated media players.&#xA;x264 [error]: high profile doesn't support a bit depth of 10&#xA;[libx264 @ 0x350d960] Error setting profile high.&#xA;[libx264 @ 0x350d960] Possible profiles: baseline main high high10 high422 high444&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Please help me.&lt;/p&gt;&#xA;" OwnerUserId="11201" LastEditorUserId="9105" LastEditDate="2015-07-13T23:11:34.520" LastActivityDate="2015-12-18T02:06:34.217" Title="How to encode video to profile high using ffmpeg?" Tags="|ffmpeg|mp4|" AnswerCount="1" CommentCount="13" ContentLicense="CC BY-SA 3.0" />
  <row Id="15947" PostTypeId="1" CreationDate="2015-07-10T15:04:54.787" Score="1" ViewCount="3551" Body="&lt;p&gt;A legal friend of mine received a file from a colleague with a .g64 file extension that she needs to view.  My searching indicates that the .64 file extension is some form of proprietary security video format but I can't determine the exact software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I checked VLC but it doesn't look like there is any native support for it, and I couldn't find any addon codecs for it.  Other references to download player software for it look like they are probably just click-bait scams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas what I can use to play the video?&lt;/p&gt;&#xA;" OwnerUserId="11204" LastActivityDate="2024-01-02T20:04:45.677" Title="Play a .g64 file extension" Tags="|file-formats|windows|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15948" PostTypeId="2" ParentId="15934" CreationDate="2015-07-10T16:09:04.643" Score="0" Body="&lt;p&gt;Adobe premiere and After effects have a stabilizer plugin with that does what you want. These are commercial applications.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The free Da vinci resolve lite also has a &quot;stabilize option&quot; (but I have never tried personally)&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-07-10T16:09:04.643" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15950" PostTypeId="2" ParentId="15196" CreationDate="2015-07-10T16:11:44.063" Score="3" Body="&lt;p&gt;MP4 files don't have as much data as .JPEG or .CR2 files so there is probally no way to know. Your cpu is that fast and GoPro footage is hard for the computer to play. &lt;/p&gt;&#xA;" OwnerUserId="11205" LastActivityDate="2015-07-10T16:11:44.063" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15951" PostTypeId="2" ParentId="15940" CreationDate="2015-07-10T16:11:54.387" Score="1" Body="&lt;p&gt;Apart from all the reasons mentioned already by Henderson, the sound quality from the mobile phone will be awful compared to a professional video camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Attempting to record speaking events with a mobile phone is a very difficult decision.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can get for about 500 dollars a tripod, a camcorder and a lavalier microphone which is ok for a speaking event.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-07-10T16:11:54.387" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15952" PostTypeId="1" AcceptedAnswerId="15965" CreationDate="2015-07-10T17:13:21.520" Score="1" ViewCount="189" Body="&lt;p&gt;Working on a caption animation and after rotating my arrow it left a strange fragment, almost like a stroke that got left behind. I'm looking at the white line on the top arrow:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZQBvJ.png&quot; alt=&quot;Barrier Arm Fragment&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried finding it with selection thinking maybe it really is a stroke left behind but couldn't:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ocmgi.png&quot; alt=&quot;Barrier Arm Fragment&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I proceeded with my AE Composition, brought it into Premiere, and just did an Export hoping it was just a memory issue. It doesn't appear to be the case however because its showing up all the way through to my .mp4 file. It appears to be transparent since instead of looking white it looks like the background its atop:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/AqNNb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas why this occurs and how to fix it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I adjust one of the Arrow's Paths you can see even more of this strange line / mask thing:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/MBKqF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, at least as a beginner I don't see anything in the layers that would create this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried enlarging the rectangular portion instead and it didn't reveal the mask:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/cANcR.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Changed layer order and still nothing:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/1Rbim.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="5206" LastEditorUserId="5206" LastEditDate="2015-07-10T20:03:05.790" LastActivityDate="2015-07-13T13:19:19.767" Title="How to fix fragmentation when rotating a shape in AE?" Tags="|after-effects|shape|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="15953" PostTypeId="1" CreationDate="2015-07-10T21:22:53.840" Score="1" ViewCount="384" Body="&lt;p&gt;is there any way in a one line of command i convert mp4 file to ts ,but with 3 different quality as output files ? for example 480p 720p 1080p ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regards,&lt;/p&gt;&#xA;" OwnerUserId="11206" LastActivityDate="2015-07-11T01:01:02.843" Title="ffmpeg multi quality conversion?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15954" PostTypeId="2" ParentId="15953" CreationDate="2015-07-11T01:01:02.843" Score="2" Body="&lt;p&gt;See here, specifically &quot;Same filtering for all outputs&quot;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Creating%20multiple%20outputs&quot; rel=&quot;nofollow&quot;&gt;https://trac.ffmpeg.org/wiki/Creating%20multiple%20outputs&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2692" LastActivityDate="2015-07-11T01:01:02.843" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15955" PostTypeId="2" ParentId="13487" CreationDate="2015-07-11T01:12:00.547" Score="0" Body="&lt;p&gt;Looks like a codec that Premiere is unable to read.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I encountered a similar issue with Final Cut when trying to import an MP4 file encoded with H264.  Then came across this advice:  &quot;H.264 is a delivery format, not a production format. You need to convert the media into a suitable format. What that is depends on what the files are and what their frame size is.&quot; &lt;a href=&quot;https://forums.creativecow.net/thread/8/986671&quot; rel=&quot;nofollow&quot;&gt;https://forums.creativecow.net/thread/8/986671&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if you can't recapture with a suitable codec, you'll have to decompress your H264 MP4 file into something Premiere can import.&lt;/p&gt;&#xA;" OwnerUserId="2692" LastActivityDate="2015-07-11T01:12:00.547" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15957" PostTypeId="2" ParentId="15946" CreationDate="2015-07-11T18:07:38.930" Score="1" Body="&lt;p&gt;The ffmpeg build you have uses libx264 compiled for 10-bit. Apparently one can only build with support for either 8-bit OR 10-bit. So, you'll need a build where libx264 supports 8-bit.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-07-11T18:07:38.930" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15960" PostTypeId="1" AcceptedAnswerId="15964" CreationDate="2015-07-12T13:24:54.857" Score="5" ViewCount="2154" Body="&lt;p&gt;I have a few video that i made with my olympus though and i made the mistake of not setting my white balance to sunny (or auto)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;it was set to incandescent while being outdoor scenes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;now I got a few blueish videos&lt;/p&gt;&#xA;&#xA;&lt;p&gt;what is the best way to fix this? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;can it be done with a free / opensource product?&lt;/p&gt;&#xA;" OwnerUserId="11213" LastActivityDate="2015-08-04T22:17:49.810" Title="fix a few videos with bad white balance?" Tags="|video|video-editor|color-correction|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15961" PostTypeId="2" ParentId="15746" CreationDate="2015-07-12T19:00:42.837" Score="2" Body="&lt;p&gt;When politicians cannot control the cameras, the lighting, the post processing, then they are pancaked in makeup. You can use this but you have more control:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lighting: A wide diffused lighting source is more flattering for imperfections but may not help you with colour blotchiness. Some LEDs may not play nicely with your camera sensor and have green spikes in some parts of the spectrum that can make you seem jaundiced. Tungsten light that throws off more infrared can be good with some cameras but worse with others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camera choice: some cameras are kinder in rendering skin tones thanks to their processing of reds. From the sensor's response including the reds outside of our usual visible spectrum, through to the onboard matrixing or combination of the sensor data into a usable signal. Flattering caucasian skin tones is done at the expense of being able to differentiate subtle shades of red more accurately. Canon are anecdotally liked for their skin tones, but more orange reds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edge enhancement: Cameras have a &quot;detail&quot; circuit to artificially enhance the edges of contrasting areas to make a camera sharper. Some will have the ability to selectively not apply this to areas that are of a pinkish skin tone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In post-production various &quot;Beauty&quot; plugins allow for a selection of the skin tone range and then will apply diffusion or colour evenness to that area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can a achieve a similar result to this yourself in a free colour grading system such as DaVinci Resolve Light with this method: &#xA;1. Add a serial node and use the colour picker to &quot;grab&quot; your skin tones. Widen the selection in the colour, saturation or luminance sections to get as much of your face as possible while not grabbing other parts of the picture. Blur the key selection somewhat. &#xA;2. Now in the midtones colour wheel, push the whole range into a red/orange direction. This will make you look like an Oompa Loompa. &#xA;3. Reduce the saturation on this node till you look more natural but you will now have an even tone in the range you selected. You can also add a slight blur to this node to soften imperfections. If the overall effect is too false, selectively mix this processed face back in with the original to taste.&lt;/p&gt;&#xA;" OwnerUserId="11215" LastActivityDate="2015-07-12T19:00:42.837" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15962" PostTypeId="1" CreationDate="2015-07-13T01:03:58.673" Score="5" ViewCount="1412" Body="&lt;p&gt;I am wondering if there is a possibility to do custom video transitions or filters. Like the video spiraling out, little squares appearing, circling out or something like that. Wiping the video out sideways, sliding it over like a page. Stuff like that. Adding a semi transparent image as filter over the video. Applying instagram style filters. Is there a tool that supports that at all?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a tool with a manifold of transitions or filters?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;best would be it works from command line in linux. But anything helps.&lt;/p&gt;&#xA;" OwnerUserId="11218" LastEditorUserId="11218" LastEditDate="2015-07-13T01:15:03.863" LastActivityDate="2016-10-01T18:38:58.390" Title="Video transitions and filters - how to create custom ones?" Tags="|ffmpeg|conversion|linux|filter|transitions|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15963" PostTypeId="1" CreationDate="2015-07-13T09:21:10.133" Score="1" ViewCount="23" Body="&lt;p&gt;I'm pretty new to video production and I'm doing a few music videos for an underground rapper and he wanted me to recreate an effect seen in &lt;a href=&quot;http://www.worldstarhiphop.com/videos/video.php?v=wshhS7W8CRRW0xUz5t0S&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; video, a good example is from around 1:09 to 1:11. As you can see, the shot is basically cut and the cut-out is panned up, but the video 'repeats' on the X axis, showing the top of the shot at the bottom if that makes sense. My approach to this is creating two duplicate tracks, using the cookie cutter effect on one of them and panning the other, but that doesn't produce the 'repetition' seen in the example. Can anyone point me in the right direction? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="11221" LastActivityDate="2015-07-13T09:21:10.133" Title="Sony Vegas - Repeat a shot on an axis when panning" Tags="|vegas-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15964" PostTypeId="2" ParentId="15960" CreationDate="2015-07-13T10:43:19.993" Score="2" Body="&lt;p&gt;I have used virtualdub with avisynth &lt;code&gt;ColorYUV(autowhite=true)&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;it seem to have done an &quot;ok&quot; job&lt;/p&gt;&#xA;" OwnerUserId="11213" LastEditorUserId="11213" LastEditDate="2015-08-04T22:17:49.810" LastActivityDate="2015-08-04T22:17:49.810" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15965" PostTypeId="2" ParentId="15952" CreationDate="2015-07-13T13:19:19.767" Score="1" Body="&lt;p&gt;I found it through the Layers Panel. There was a Puppet Pin modifier. I have no idea WHY the Puppet Pin caused this to occur but removing it solved my issue.&lt;/p&gt;&#xA;" OwnerUserId="5206" LastActivityDate="2015-07-13T13:19:19.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15966" PostTypeId="1" AcceptedAnswerId="15975" CreationDate="2015-07-13T13:39:30.977" Score="1" ViewCount="1686" Body="&lt;p&gt;I wanted to live stream different views from 4 cameras at the same time on a flat screen TV or monitor. What materials would I need for such a project. I have seen home security surveillance setups in which 4 cameras are streamed live to a monitor, however two things that are very important to this project are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.) live stream quality&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2.) monitor size (need ~50inch display)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3.) placement of stream views on display&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there are surveillance packages that accomplish these goals (especially flexible positioning of the 4 live stream views), feel free to point me to them. Also, I am new to this website so If this question is not a good fit for this thread, then where would it be a good fit? Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="11222" LastEditorUserId="11222" LastEditDate="2015-07-13T13:54:30.963" LastActivityDate="2015-07-14T22:18:18.840" Title="How to live stream 4 cameras to a flat screen TV" Tags="|video|streaming|monitors|electronics|engineering|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15967" PostTypeId="1" CreationDate="2015-07-13T16:00:52.947" Score="0" ViewCount="286" Body="&lt;p&gt;I've recently purchased a Ronin-M and have been shooting a good bit of run-n-gun projects with it. But the biggest limitation I've found with it is focusing, so I've started looking around for wireless focus systems, but the best deal that I can find is more than the gimbal itself (the RedRock MicroRemote). Does anyone know of any (-$1000) system for one-man focusing on a small gimbal?&lt;/p&gt;&#xA;" OwnerUserId="2352" LastActivityDate="2015-07-15T10:20:58.690" Title="Wireless focus for the Ronin-M" Tags="|video|focus|gear|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15968" PostTypeId="1" CreationDate="2015-07-13T22:52:02.623" Score="0" ViewCount="35" Body="&lt;p&gt;I have a large amount of photo and video kit, and have always enjoyed casual photography and videography. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really want to make a short film, just for the sake of it, for the enjoyment of the process etc. &#xA;But I have no Idea what I want to produce. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where should I look for inspiration? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One caveat:&#xA;I live in a small but dull town, and don't really have many friends here, so it would need to be mostly non people-based.&lt;/p&gt;&#xA;" OwnerUserId="3358" LastActivityDate="2015-07-13T22:52:02.623" Title="Getting inspiration for a first short film" Tags="|video|short|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15969" PostTypeId="2" ParentId="8740" CreationDate="2015-07-13T23:06:49.507" Score="2" Body="&lt;p&gt;I've played around with turning a bunch of still photos into a h.264 slideshow, mostly to compare the compression efficiency of JPG vs. h.264.  I got &lt;a href=&quot;http://forum.doom9.org/showthread.php?t=145005&quot; rel=&quot;nofollow noreferrer&quot;&gt;some useful replies about the technical implications of this&lt;/a&gt; from x264 devs on doom9.  e.g. force x264 to not use B frames for this, because not-very-related images will need a lot of I macroblocks, and coding them in B frames is more expensive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Software player behaviour with low-fps video isn't ideal, in the past.  I think one older player only checked for keyboard input when it displayed a frame.  So there was lag between user input and player response.  mplayer2 and mpv don't have this problem.  Also, players that can only seek to keyframes will seek in really large chunks (2 minutes or so!) if you don't reduce the keyframe interval.  x264 won't insert IDR (GOP boundaries) all over the place if the images are somewhat related to each other.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use &lt;code&gt;x264 -tune stillimage&lt;/code&gt;.  It &lt;a href=&quot;http://forum.doom9.org/showthread.php?p=1488646#post1488646&quot; rel=&quot;nofollow noreferrer&quot;&gt;cranks up the psy optimizations&lt;/a&gt;, because temporal stability isn't an issue for this use-case.  Further search results: &lt;a href=&quot;https://www.google.ca/search?q=x264%20stillimage%20site:forum.doom9.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;from google&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd agree with other suggestions to have some duplicated frames, to bring the FPS up to at least 5 or something, just in case of bad players.  However, smartphones / tablets should have no problem playing variable-FPS video, since they usually record that way when light levels drop.  Since variable-FPS videos from phones are now out there, hardware player support for them should be expected.  I wouldn't &lt;em&gt;expect&lt;/em&gt; problems, but I also wouldn't be surprised if there at least some old hardware players that don't handle it well. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A frame of all &quot;skip&quot; macroblocks only takes about 20bytes at 1080p, IIRC.  One reason I don't like duplicated frames, though, is that it interferes with single-stepping to go through the images manually.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;There is a compression downside to duplicating frames, though&lt;/strong&gt;: If there is much redundancy between the different images (i.e. it's still a video, not a slideshow), padding with identical images will make it harder for the encoder to find and exploit that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on encoding settings, the encoder will only keep some number of old frames as possible references for new frames, and can only search within a GOP (e.g. default 250 frames for x264).  If all those candidates are the same image, that doesn't give it multiple options to find a better reference for each block.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;e.g. After a foreground object moves in front of some background detail, the encoder can save bits by referencing what it looked like in an older frame before it was obscured.  h.264 can choose reference frames on a per-block basis.  This is a relatively small effect; good h.264 encoders do ok with only 1 reference frame, but it's still somewhat harmful to compression efficiency, and &lt;strong&gt;a waste of power / battery life / CPU time on the decompression side to copy memory around decoding and displaying extra frames.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;Recovering VFR after an NLE forces all your clips to some high frame rate:&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;FFmpeg has an &lt;code&gt;mpdecimate&lt;/code&gt; filter that drops similar frames.  You can set limits on how many frames in a row it can drop.  With a tight similarity threshold, you should get it to only drop actual duplicates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;e.g. &lt;code&gt;ffmpeg -i input.mp4 -vf mpdecimate=max=9:hi=400 -c:a copy -c:v libx264 -preset veryslow -tune film output_vfr.mkv&lt;/code&gt; drops up to 9 frames in a row, and only if the most-different block was different under &quot;400&quot;, and (defaults): no more than 33% of the blocks were different by &quot;320&quot; units.  IIRC, it's basically an 8x8 SAD on pixel components.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(FFmpeg defaults to CFR for &lt;code&gt;.mp4&lt;/code&gt; outputs, though, so &lt;strong&gt;use &lt;code&gt;-vsync 2&lt;/code&gt; for variable-frame-rate &lt;code&gt;.mp4&lt;/code&gt; output&lt;/strong&gt;.  I &lt;em&gt;think&lt;/em&gt; that's safe: &lt;a href=&quot;https://superuser.com/questions/602950/problems-with-frame-rate-on-video-conversion-using-ffmpeg-with-libx264&quot;&gt;Problems with frame rate on video conversion using ffmpeg with libx264&lt;/a&gt;)&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2019-04-18T09:01:11.107" LastActivityDate="2019-04-18T09:01:11.107" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="15970" PostTypeId="2" ParentId="15934" CreationDate="2015-07-13T23:20:23.077" Score="1" Body="&lt;p&gt;FFMpeg's &lt;a href=&quot;http://public.hronopik.de/vid.stab/&quot; rel=&quot;nofollow&quot;&gt;&lt;code&gt;vid.stab&lt;/code&gt; filter&lt;/a&gt; works well.  You have to run it as a 2-pass process: detect, and then stabilize.  If you're going to do more with the video later, after stabilizing, output to a lossless format and then point your other tools at that.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-07-13T23:20:23.077" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15971" PostTypeId="2" ParentId="15930" CreationDate="2015-07-13T23:22:35.207" Score="3" Body="&lt;p&gt;FFMpeg's &lt;a href=&quot;http://public.hronopik.de/vid.stab/&quot; rel=&quot;nofollow&quot;&gt;&lt;code&gt;vid.stab&lt;/code&gt; filter&lt;/a&gt; is configurable.  Crank up the time-scale and even slow global motion should get stabilized.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have to run it as a 2-pass process: detect, and then stabilize.  If you're going to do more with the video later, after stabilizing, output to a lossless format and then point your other tools at that.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-07-13T23:22:35.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15972" PostTypeId="1" CreationDate="2015-07-14T06:15:18.823" Score="1" ViewCount="294" Body="&lt;p&gt;I'd like to stream WebM videos to browsers that don't support it (like Safari/IE). I have no problem in converting the video to a supportable format (like MP4), but the encoding should be on-demand, that is, the server should stream the MP4 content while it's being converted from Web (WebM -&gt; MP4). I've seen a few solutions like &lt;a href=&quot;http://wiki.webmproject.org/adaptive-streaming/instructions-to-playback-adaptive-webm-using-dash&quot; rel=&quot;nofollow&quot;&gt;Dash&lt;/a&gt; and &lt;a href=&quot;https://github.com/vbence/stream-m&quot; rel=&quot;nofollow&quot;&gt;Stream-M&lt;/a&gt;, but all these seem to do it the other way around (MP4 -&gt; WebM). Is there a solution that already exists for my problem? Or do I need to build my own hack? And also is this solution the only way to stream WebM content onto Safari/IE?&lt;/p&gt;&#xA;" OwnerUserId="11226" LastActivityDate="2015-07-14T06:15:18.823" Title="Streaming WebM on unsupported platforms (Safari, IE, etc)" Tags="|ffmpeg|streaming|transcoding|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15973" PostTypeId="2" ParentId="15944" CreationDate="2015-07-14T08:18:06.923" Score="2" Body="&lt;p&gt;I've found 2 useful references:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;LEVIN, A., ZOMET, A., PELEG, S., AND WEISS, Y. 2004. &lt;a href=&quot;http://www.wisdom.weizmann.ac.il/~levina/papers/eccv04-blending.pdf&quot; rel=&quot;nofollow&quot;&gt;Seamless image stitching in the gradient domain.&lt;/a&gt; In European Conference on Computer Vision, 377–389.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PÉREZ, P., GANGNET, M., AND BLAKE, A. 2003. &lt;a href=&quot;http://www.cs.jhu.edu/~misha/Fall07/Papers/Perez03.pdf&quot; rel=&quot;nofollow&quot;&gt;Poisson image editing.&lt;/a&gt; ACM Transactions on Graphics (SIGGRAPH ’03), 313– 318.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-07-14T08:18:06.923" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15974" PostTypeId="1" CreationDate="2015-07-14T17:52:27.943" Score="2" ViewCount="11836" Body="&lt;p&gt;Let's say that I have a webm of XMB, and I want to resize it to 2MB in order too upload it to some websites. How can I do it?&#xA;Is there a website? Can I downsize them in mass?&lt;/p&gt;&#xA;" OwnerUserId="11230" LastActivityDate="2015-07-17T13:26:07.817" Title="How can I reduce the size of a webm to 2MB?" Tags="|video|conversion|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15975" PostTypeId="2" ParentId="15966" CreationDate="2015-07-14T22:18:18.840" Score="1" Body="&lt;p&gt;You need something like the Blackmagic Multiview: &lt;a href=&quot;https://www.blackmagicdesign.com/products/multiview&quot; rel=&quot;nofollow&quot;&gt;https://www.blackmagicdesign.com/products/multiview&lt;/a&gt; or Matrox Quad-Split &lt;a href=&quot;http://www.matrox.com/video/en/products/microquad/&quot; rel=&quot;nofollow&quot;&gt;http://www.matrox.com/video/en/products/microquad/&lt;/a&gt; or Decimator MD-QUAD &lt;a href=&quot;http://decimator.com/Products/MultiViewers/MD-QUAD%20Quad-Split%20MultiViewer/MD_Quad.html&quot; rel=&quot;nofollow&quot;&gt;http://decimator.com/Products/MultiViewers/MD-QUAD%20Quad-Split%20MultiViewer/MD_Quad.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These units take HD-SDI input and can then display it on a HDMI (or SDI) display however you like.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So grab as many cameras as you need - you can decide what quality camera suits your needs. Get cameras with with SDI output for long cable runs. If they don't have SDI, you can get HDMI to SDI converters. If an SDI cable isn't long enough, you can get SDI/HDMI to Fibre converters that let you run fibre optic cable between your cameras and a multiview. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any half decent multiview will let you use a computer to re-arrange the placement of the images on the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="1725" LastActivityDate="2015-07-14T22:18:18.840" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="15976" PostTypeId="1" CreationDate="2015-07-15T03:19:42.410" Score="-1" ViewCount="80" Body="&lt;p&gt;I have a high res video where I'm trying to get the license plate off a black range rover that was used for a robbery.  If anyone has special skills that could get some digits from the plate, it would be greatly appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://drive.google.com/open?id=0B15KCVlLS-cPWTNrQU85c3RLdzg&quot; rel=&quot;nofollow&quot;&gt;https://drive.google.com/open?id=0B15KCVlLS-cPWTNrQU85c3RLdzg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="11231" LastActivityDate="2015-07-15T14:14:29.750" Title="License Plate enhancement from video" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15977" PostTypeId="1" CreationDate="2015-07-15T05:56:15.267" Score="2" ViewCount="752" Body="&lt;p&gt;My current laptop isn't handling PrPro 2015. Its brand new i7, 12GB RAM, but its not playing video smoothly in the editing process. Looking at buying something more substantial. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it true that High performance GPU is better than massive amounts of RAM?  Dose PrPro only take advantage of 10-12GB of Ram and the rest is essentially useless?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The price of some of the high performance gaming desktops I was looking at is between $2000 and $4000, really hoping for some advise before spending so much. As an example; will the specs of the desktop below help me? Will it make the program work faster and not freeze up and skip in the editing process? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are you guys running? Any recommendations?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Clarissa&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CyberpowerPC Desktop | Intel Core i7 | 2GB Graphics | Windows 8.1 Professional | Liquid Cooled&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Processor &amp;amp; Memory:&#xA;◦Intel Core i7-5820K Processor 3.3GHz&#xA;◦64GB DDR4 RAM&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Drives: &#xA;◦2TB 7200RPM SATA3 Hard Drive + 120GB Solid State Drive&#xA;◦DVD-RW (Writes to DVD/CD)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Operating System: &#xA;◦Microsoft® Windows 8.1 Professional (64-bit)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Graphics &amp;amp; Video: &#xA;◦2GB NVIDIA GeForce GTX 960 Graphics&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Communications:&lt;br&gt;&#xA;◦10/100/1000 Gigabit Ethernet LAN&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio: &#xA;◦Integrated High Definition 7.1 Channel Audio Processing&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keyboard &amp;amp; Mouse: &#xA;◦USB Keyboard&#xA;◦USB Mouse&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Expandability (Total Slots):&lt;br&gt;&#xA;◦2x 5.25&quot; External&#xA;◦1x 3.5&quot; External&#xA;◦7X 3.5 Internal&#xA;◦1x 2.5&quot; Internal&#xA;◦4x PCI-E x16&#xA;◦2x PCI-E x1&#xA;◦8x DIMM 240-pin&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I/O Ports &amp;amp; Slots:&#xA;◦1x PS/2 Style&#xA;◦9x USB 3.0&#xA;◦4x USB 2.0&#xA;◦1x Optical SPDIF Port&#xA;◦1x DVI&#xA;◦1x HDMI&#xA;◦1x Display Port&#xA;◦1x RJ-45&#xA;◦5x Audio Jacks (2x Front, 3x Rear)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additional Information: &#xA;•Power Supply: 800 Watt&#xA;•Cooling: Liquid Cooled&#xA;•Dimensions : 7.5” x 16.7” x 19.3”&lt;/p&gt;&#xA;" OwnerUserId="11233" LastActivityDate="2015-08-10T06:01:04.507" Title="What computer to buy for PrPro 2015? More GPU than RAM?" Tags="|premiere|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15978" PostTypeId="2" ParentId="15967" CreationDate="2015-07-15T10:20:58.690" Score="1" Body="&lt;p&gt;Depends on the type of mount your camera has. This is a good solution for the A7S or A7R and was recently shown at NAB: The Aputure DEC. They also have one for MFT.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.bhphotovideo.com/c/search?ci=23192&amp;amp;N=3989452947&amp;amp;mnp=0&amp;amp;mxp=1000&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/search?ci=23192&amp;amp;N=3989452947&amp;amp;mnp=0&amp;amp;mxp=1000&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And this should be available soon!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.kickstarter.com/projects/1608311032/lenzhound-wireless-lens-motor-control-system/&quot; rel=&quot;nofollow&quot;&gt;https://www.kickstarter.com/projects/1608311032/lenzhound-wireless-lens-motor-control-system/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2015-07-15T10:20:58.690" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15979" PostTypeId="1" CreationDate="2015-07-15T11:29:55.613" Score="2" ViewCount="1337" Body="&lt;p&gt;I am using following command to encode my video to h264 and aac audio codec : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i sample.mp4 -codec:v libx264 -profile:v high -level:v 4.0 -codec:a libvo_aacenc -b:a 128k output_file.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Following is a trace of the error i am getting at the console.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpegts, from 'sample.mp4':&#xA;  Duration: 00:00:58.08, start: 1.000033, bitrate: 17290 kb/s&#xA;  Program 1&#xA;    Stream #0:0[0x1011]: Video: h264 (High) (HDMV / 0x564D4448), yuv420p, 1920x1&#xA;080 [SAR 1:1 DAR 16:9], 29.97 fps, 59.94 tbr, 90k tbn, 59.94 tbc&#xA;    Stream #0:1[0x1100]: Audio: ac3 (AC-3 / 0x332D4341), 48000 Hz, 5.1(side), fl&#xA;tp, 448 kb/s&#xA;    Stream #0:2[0x1200]: Subtitle: hdmv_pgs_subtitle ([144][0][0][0] / 0x0090)&#xA;[libx264 @ 003dc660] using SAR=1/1&#xA;[libx264 @ 003dc660] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;[libx264 @ 003dc660] profile High, level 4.0&#xA;[libx264 @ 003dc660] 264 - core 130 r2274 c832fe9 - H.264/MPEG-4 AVC codec - Cop&#xA;yright 2003-2013 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 de&#xA;block=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1&#xA;me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chr&#xA;oma_qp_offset=-2 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1&#xA; interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=&#xA;1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scen&#xA;ecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmi&#xA;n=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;[libvo_aacenc @ 03c3c640] Unable to set encoding parameters&#xA;Output #0, mp4, to 'output_file.mp4':&#xA;    Stream #0:0: Video: h264, yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], q=-1--1, 90&#xA;k tbn, 29.97 tbc&#xA;    Stream #0:1: Audio: aac, 48000 Hz, 5.1(side), s16, 128 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 -&amp;gt; libx264)&#xA;  Stream #0:1 -&amp;gt; #0:1 (ac3 -&amp;gt; libvo_aacenc)&#xA;Error while opening encoder for output stream #0:1 - maybe incorrect parameters&#xA;such as bit_rate, rate, width or height&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I am really not able to find what possibly could be wrong. I dont want to copy audio codec , i wish to encode it from &lt;strong&gt;ac3&lt;/strong&gt; to &lt;strong&gt;aac&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also any suggestion to make it &lt;strong&gt;lossless&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="11235" LastEditorUserId="11235" LastEditDate="2015-07-15T11:37:03.130" LastActivityDate="2015-08-18T18:22:43.500" Title="FFmpeg : Error occurred while encoding audio stream from ac3 to aac" Tags="|ffmpeg|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="15980" PostTypeId="2" ParentId="14831" CreationDate="2015-07-15T12:21:28.940" Score="1" Body="&lt;p&gt;I use Streaming Video Provider - they give me the platform to broadcast live and a live chat integrated to it, while streaming, so that I can chat with my viewers while lecturing. I highly recommend their service:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.streamingvideoprovider.com/video-cdn-live-streaming-cdn.html&quot; rel=&quot;nofollow&quot;&gt;http://www.streamingvideoprovider.com/video-cdn-live-streaming-cdn.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11237" LastActivityDate="2015-07-15T12:21:28.940" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15981" PostTypeId="1" CreationDate="2015-07-15T13:31:38.453" Score="2" ViewCount="844" Body="&lt;p&gt;Ive got c.50 videos in &lt;code&gt;QuickTime movie&lt;/code&gt; format. These video sit all in one folder on my computer. In the past when Ive had 5 or so files, ive imported them each into Handbrake, then saved them to the queue and run the queue. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But this is quite a tedious process as each one takes c. 1 min to import and save to que. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to be able to point Handbrake (or any other video compression software) to a folder and tell it to compress all videos in that folder. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Im only tying to compress the videos, dont need to run any other processes on them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Im doing this on a 2.7gz, 16gb ram macbook pro, but i also have Bootcamp so if the solution is only available on Windows i could run it there. &lt;/p&gt;&#xA;" OwnerUserId="2394" LastActivityDate="2015-10-13T15:11:03.210" Title="Batch compress a folder of videos using handbrake (or other) - Without manually loading each video into the queue" Tags="|compression|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15982" PostTypeId="2" ParentId="15981" CreationDate="2015-07-15T13:56:13.427" Score="1" Body="&lt;p&gt;I use HandBrakeBatch for doing the same thing on Tv series or shows that have been downloaded, quite easy to use and can point it to a folder which has folder inside and it will batch them all choosing a preset of your choice&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.osomac.com/apps/osx/handbrake-batch/&quot; rel=&quot;nofollow&quot;&gt;http://www.osomac.com/apps/osx/handbrake-batch/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2015-07-15T13:56:13.427" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15983" PostTypeId="2" ParentId="15976" CreationDate="2015-07-15T14:14:29.750" Score="1" Body="&lt;p&gt;I'm no expert and I'm not in USA so not familiar with the US plate system, but I've just used VLC player (free download available) with a crop adjustment made top and bottom to allow me to view the center of the video double sized on my monitor, then found a few frames where the plate looks clearest and taken a screen grab and into photoshop to zoom in. Looks to me like the first digit is a 5 and possibly the ending is Z1. It is somewhat fuzzy though, but there do seem to be a few frames where it's a bit clearer. I'd say there are some Cs in the middle or perhaps zeros.&lt;/p&gt;&#xA;" OwnerUserId="11238" LastActivityDate="2015-07-15T14:14:29.750" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15984" PostTypeId="2" ParentId="15126" CreationDate="2015-07-15T15:50:45.303" Score="0" Body="&lt;p&gt;Your project requires :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a PC with a video ingest card&lt;/li&gt;&#xA;&lt;li&gt;a software to transcode/mux the video data to an appropriate network format&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Have a look at &lt;a href=&quot;http://www.videolan.org/vlc/streaming.html&quot; rel=&quot;nofollow&quot;&gt;VLC&lt;/a&gt; for the software. depending on the bandwidth available between the camera site and the remote server, you need to determine which bitrate and codec is appropriate.&lt;/p&gt;&#xA;" OwnerUserId="9147" LastActivityDate="2015-07-15T15:50:45.303" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15985" PostTypeId="1" CreationDate="2015-07-15T17:19:31.860" Score="4" ViewCount="10119" Body="&lt;p&gt;I shot some footage on a Sony a7s at 59.94 fps so that I could slow it down in post to achieve a smoother camera movement. But when I interpret it to 23.976 fps in Premiere, it looks like it's dropping frames. It looks super glichy and terrible. When I scrub through the interpreted clip frame by frame, it looks like it has duplicated every frame. Each frame is held for the length of two frames. What can I do to slow the footage down so that it looks smooth?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am especially confused because I've used this technique in the past with footage shot on a Canon Mark III and footage recorded through a Shogun. When I interpret that footage to 23.976, it looks perfectly smooth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Things I have tried with the Sony footage, none of which worked:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Interpreting to 23.976&lt;/li&gt;&#xA;&lt;li&gt;Dragging 59.94 clip to 23.976 sequence and slowing it down to 50%&lt;/li&gt;&#xA;&lt;li&gt;Frame blending&lt;/li&gt;&#xA;&lt;li&gt;Opening the clip in After Effects and interpreting to 23.976&lt;/li&gt;&#xA;&lt;li&gt;Selecting &quot;Pixel Motion Blur&quot; on the interpreted AE clip&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I am using Premiere Pro CC 2015. Any help would be much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="9195" LastActivityDate="2017-01-12T22:10:36.903" Title="Interpreting 60fps to 24fps in Premiere Pro" Tags="|premiere|editing|framerate|slowmotion|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15987" PostTypeId="1" CreationDate="2015-07-16T10:47:44.517" Score="1" ViewCount="736" Body="&lt;p&gt;I have an animated circle shape layer with trim paths applied to it and the end percent animated from 0% to 100%. But half way through the animation, the circle path seems to close itself. How can i fix this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;if the circle animation is somehow not visible here, here is the link to imgur:&lt;/code&gt; &lt;a href=&quot;https://i.stack.imgur.com/7zszj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/7zszj.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ndk1j.gif&quot; alt=&quot;circle shape with trim paths&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="11245" LastEditorUserId="6685" LastEditDate="2015-07-16T12:35:50.533" LastActivityDate="2015-07-16T18:48:42.007" Title="after effects - circular trim path" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15988" PostTypeId="2" ParentId="15985" CreationDate="2015-07-16T12:34:19.330" Score="1" Body="&lt;p&gt;Since this has worked with Canon footage in the past, my best suggestion would be to import your a7s footage into a 59.94 fps sequence in Premiere, export that sequence (in 59.94) in a universal format like H.264, then re-import that clip to Premiere and try slowing it down to 23.976. My guess is that Premiere isn't playing nice with whatever codec/format the a7s footage was shot in.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2015-07-16T12:34:19.330" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15989" PostTypeId="2" ParentId="15985" CreationDate="2015-07-16T16:17:15.183" Score="4" Body="&lt;p&gt;I figured out the problem. My shutter speed was set too low. Turns out it needs to be double the frame rate in order to achieve a smooth motion when interpreted to 24 fps. Should have thought of that before I shot. Oh well. Lesson learned.&lt;/p&gt;&#xA;" OwnerUserId="9195" LastActivityDate="2015-07-16T16:17:15.183" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15990" PostTypeId="2" ParentId="15960" CreationDate="2015-07-16T18:15:36.993" Score="1" Body="&lt;p&gt;On a Windows Based System you can use the Sony Vegas PRO and Sony Vegas Movie Studio, which has several plugins which you can apply in a per-track and/or per-event basis.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &quot;per-track&quot; option may allow you to place a bunch of video clips in the same track on your timeline so that the same color correction preset or customised parameters will be applied to every event in the timeline, after which you can run individual rendering for each instance or a finished one-clip movie made with all the events.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The next links provides a quick view on certain useful plugins and their corresponding usage for such tasks. Remember that the same plugins may appear in both the Movie Studio and the Professional edition of Sony Vegas if the installation for both software was made using the same Shared Folder for Plugins.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/82UqS.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Easy color correction and white balance in Sony Vegas Movie Studio&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/r_enCuFQZiM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Sony Vegas Pro Tutorial / white balance using NEW BLUE color fixer plus&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/-bF3NUNQrfw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are using a Linux based distribution you have good chances to try KDENlive, which says it can do color correction like the one shown in the next video/picture:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/OzR8e.jpg&quot; alt=&quot;enter image description here&quot;&gt;&#xA;Kdenlive Effects - White Balance &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/foPVqzBV_vM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have made some color correction in the past, both with Sony Vegas and KDENlive but I can't provide at this very moment some personal illustrations, so I got some from the web.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The same as in Sony Vegas, KDENlive will allow you to do this task for a per-track/event basis. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="2587" LastActivityDate="2015-07-16T18:15:36.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15991" PostTypeId="2" ParentId="15987" CreationDate="2015-07-16T18:48:42.007" Score="2" Body="&lt;p&gt;I can't reproduce your issue on my end, but I can offer an alternative method. Another way to create the circle example you've provided is to use a &lt;em&gt;Radial Wipe effect&lt;/em&gt; on the shape layer:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Effect &amp;gt; Transition &amp;gt; Radial Wipe&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Just animate transition completion from 0 to 100 percent. If your shape layer is moving, you may also need to pickwhip expression the &lt;em&gt;Wipe Center&lt;/em&gt; parameter to your position parameter:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;transform.position&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I hope this helps you out. Good luck!&lt;/p&gt;&#xA;" OwnerUserId="3161" LastActivityDate="2015-07-16T18:48:42.007" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15992" PostTypeId="2" ParentId="15974" CreationDate="2015-07-17T05:04:05.040" Score="3" Body="&lt;p&gt;Use &lt;a href=&quot;http://avanti.arrozcru.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Avanti&lt;/a&gt; with &lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;. The former has a job control manager where you drop in multiple files at once and go. You can find webm encoding guide for ffmpeg here: &lt;a href=&quot;http://trac.ffmpeg.org/wiki/Encode/VP8&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://trac.ffmpeg.org/wiki/Encode/VP8&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use crf mode encoding and experiment till you get desired size. Set &lt;code&gt;b:v&lt;/code&gt; high like &lt;code&gt;10M&lt;/code&gt; and tweak &lt;code&gt;CRF value&lt;/code&gt; and if you have no audio, use &lt;code&gt;-an&lt;/code&gt; in place of &lt;code&gt;-c:a libvorbis&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your Avanti GUI should look like this: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/TcHUo.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Change the crf number (30 in that pic) till you get the size you want.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="6685" LastEditDate="2015-07-17T13:26:07.817" LastActivityDate="2015-07-17T13:26:07.817" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="15993" PostTypeId="2" ParentId="5020" CreationDate="2015-07-17T09:53:26.733" Score="4" Body="&lt;p&gt;&lt;strong&gt;MoviePy&lt;/strong&gt; looks less intimidating than other scripting languages. It may be easier to script your time tag cutting tool with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/9XP1g.jpg&quot; alt=&quot;MoviePy + IPython&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://zulko.github.io/moviepy/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://zulko.github.io/moviepy/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10371" LastEditorUserId="10371" LastEditDate="2015-07-17T14:35:12.297" LastActivityDate="2015-07-17T14:35:12.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15994" PostTypeId="1" CreationDate="2015-07-17T11:29:46.923" Score="2" ViewCount="85" Body="&lt;p&gt;I noticed a problem with my Pentax K-R video where the film is very grainy - I assume this is because it shoots with a high ISO setting which is set automatically. So, I want to manually set the ISO with an auto exposure lock in P mode, then film in video mode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried this with an automatic and a manual lens (though I really only care about results for the manual lens).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using the manual lens (1.7/50mm SMC), I lock the exposure in P mode. I then switch to video mode and the lock remains (asterisk is showing). The preview looks fine, just like in P mode. I begin filming and immediately, the live view drops to almost completely black (I can very vaguely see it is filming but it is so dark that it is virtually black). It seems like there's some sort of auto EV adjustment that kills the exposure? Typically, I lock it at 1/60 shutter speed and 200 ISO (though I've tried it with 1600 - same result).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using the auto lens, I lock the exposure in P mode. I then switch to video mode but here, the lock does not remain. So, I reset the exposure lock simply while in video mode, then begin filming. The exposure does not dip to black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think this is an auto vs. manual lens issue. Any ideas on how to fix this EV adjustment? Thanks! I can post a video if necessary of what happens&lt;/p&gt;&#xA;" OwnerUserId="11252" LastActivityDate="2015-07-17T11:29:46.923" Title="Pentax K-R AE-L auto exposure lock not working manual and auto lens" Tags="|filming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15995" PostTypeId="1" CreationDate="2015-07-17T10:20:03.207" Score="1" ViewCount="1009" Body="&lt;p&gt;I want to trim a composition b/w the two &lt;em&gt;Composition marker (1)&lt;/em&gt; and &lt;em&gt;Composition marker (2)&lt;/em&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/rQa5p.png&quot; alt=&quot;After Effects screenshot&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You see there are many layers with different key frames and I want to trim everything which lies in the selection area. So the rest of the part of the composition (left and right of the two &lt;em&gt;Composition marker (1)&lt;/em&gt; and &lt;em&gt;Composition marker (2)&lt;/em&gt;) combines and becomes a complete composition.&lt;/p&gt;&#xA;" OwnerUserId="11267" OwnerDisplayName="prateek" LastEditorUserId="6685" LastEditDate="2015-07-22T09:49:13.590" LastActivityDate="2015-07-22T09:56:03.087" Title="Trim the part of composition in After Effects along with its key frames" Tags="|after-effects|workflow|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="15996" PostTypeId="1" AcceptedAnswerId="16004" CreationDate="2015-07-17T16:13:47.403" Score="13" ViewCount="35296" Body="&lt;p&gt;We have developed an application to transcode source .mov files into .ogg, .mp4 and .webm output. It is currently running on AWS EC2 instance g2.8xlarge. It is working (yay!).&lt;/p&gt;&#xA;&lt;p&gt;My question: Even though I am passing in &lt;code&gt;-threads 0&lt;/code&gt; to the ffmpeg command (actually setting &lt;code&gt;ffmpeg.threads&lt;/code&gt; configuration in &lt;a href=&quot;https://github.com/PHP-FFMpeg/PHP-FFMpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;php-ffmpeg&lt;/a&gt;),  the running process is sometimes only being executed on a single core. Why is this happening?  See below output from &lt;code&gt;htop&lt;/code&gt; command:&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/hrJm8.png&quot; alt=&quot;htop output&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you can see, Core #21 is maxed out.  In a few seconds, it's going to switch to another one, rather than max out all of them like I would like and greatly speed up my encoding process.  The situation is transient; during some runs all of the processors &lt;em&gt;are&lt;/em&gt; maxed out, but during others they are not and we only get use of the one processor.  A colleague mentioned that perhaps the codec we're using for some of the formats don't support multi-threaded execution during encoding, though I can't verify that is the behavior I'm observing yet.&lt;/p&gt;&#xA;&lt;p&gt;Is this the case?  If so, what codecs for the formats above will allow us to transcode into these target formats while taking advantage of all of our available hardware?  The default codecs set for php-ffmpeg are below;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;         Video        Audio&#xA;Ogg    libtheora    libvorbis&#xA;WebM   libvpx       libvorbis&#xA;X264   libx264      libfaac&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Looking at the running processes, below is what winds up being the ffmpeg command that is run for an MP4 (currently saturating all 32 cores):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y \&#xA;  -i my-video.mov \&#xA;  -async 1 \&#xA;  -metadata:s:v:0 start_time=0 \&#xA;  -async 1 \&#xA;  -metadata:s:v:0 \&#xA;  -async 1 \&#xA;  -metadata:s:v:0 start_time=0 \&#xA;  -async 1 \&#xA;  -metadata:s:v:0 start_time=0 \&#xA;  -s 1920x1080 \&#xA;  -s 1920x1080 \&#xA;  -s 1280x720 \&#xA;  -threads 0 \&#xA;  -vcodec libx264 \&#xA;  -acodec libfaac \&#xA;  -b:v 1200k \&#xA;  -refs 6 \&#xA;  -coder 1 \&#xA;  -sc_threshold 40 \&#xA;  -flags +loop \&#xA;  -me_range 16 \&#xA;  -subq 7 \&#xA;  -i_qfactor 0.71 \&#xA;  -qcomp 0.6 \&#xA;  -qdiff 4 \&#xA;  -trellis 1 \&#xA;  -b:a 128k \&#xA;  -pass 2 \&#xA;  -passlogfile /tmp-ffmpeg-passes55ad0d0233f711zdrg/pass-44ad0d02340a8 \&#xA;  my-video-1200.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm not actually building this command directly, &lt;code&gt;php-ffmpeg&lt;/code&gt; is, though I do believe I have at least a modest amount of control over what goes in to it (for instance, I have no idea why there's multiple &lt;code&gt;-metadata:s:v:0&lt;/code&gt; entries at the beginning)&lt;/p&gt;&#xA;" OwnerUserId="11253" LastEditorUserId="38911" LastEditDate="2022-07-23T02:20:19.937" LastActivityDate="2022-07-23T02:20:19.937" Title="FFMpeg Encoding and Core Usage" Tags="|ffmpeg|transcoding|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="15997" PostTypeId="1" AcceptedAnswerId="16000" CreationDate="2015-07-17T16:15:44.937" Score="2" ViewCount="66" Body="&lt;p&gt;I'm fairly familiar with Adobe Premier... done a few small projects in it.  Recently my father-in-law gave me a corporate training video, on DVD, that was done for his company back in 2008.  The people that did the video are no longer available.  He asked me to make a few edits. I'm not sure how to extract the video from the DVD and import it into Premier.  When I look at the DVD in the finder (Mac OS), this is what I see...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/HXXyo.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="11255" LastActivityDate="2015-07-23T18:15:29.193" Title="Taking video from a DVD &amp; Making it Editable" Tags="|premiere|dvd|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15998" PostTypeId="2" ParentId="15960" CreationDate="2015-07-17T17:52:35.777" Score="1" Body="&lt;p&gt;It can be, basically you need a program with some sort of color corrector. In Premiere its called the three-way color corrector/fast color corrector, in vegas, its secondary color corrector I believe. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In PP, using three-way color corrector/fast color corrector, all you have to do is select an area that should be white in the frame using 'white level' and it will figure it out for you. Alternatively, you can go to the midtones section, and drag the color pin in the opposite direction. So for you, the video is too blueish, and thus you need to add some warmth or yellow/orange. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/qkBkf.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The above is a picture from Sony's color corrector (same principles apply as in PP). Basically, in the 'mid' section (its always the center color wheel), you want to move the dot between the Red and the Yellow areas or between 90 deg and 180 deg until you feel you have compensated enough for the white balance mistake. Bare in mind, if the white balance is really off, this will also change the dynamics of the other colors and may look weird, so experiment with the highs and lows as well by compensating for this effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use rgb scopes and vectorscopes to determine if you are doing things correctly. In your case you have a spike in the blues right now, and not enough red, so the closer those spikes get to each other within reason the better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have skintones this can be complicated. But generally, you want the vectorscope to show a line of 'data' around 120 degrees (the skin tone line - seen below).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/QoC2T.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2015-07-17T17:52:35.777" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="15999" PostTypeId="2" ParentId="15977" CreationDate="2015-07-17T18:08:38.830" Score="1" Body="&lt;p&gt;My setup: I am running a GTX 760 4gb RAM, i7 3930k overclocked to 4.2ghz (very stable), Sabertooth x79, 800 watt corsair PSU&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I once read a really good article and I wish I could find it again to link it, but it basically talked about bottlenecks in an editing system and was supported by actual builds and real world tests. But the just of it was, that unless you are running dual Xenon processors with 64gb RAM the added benefits of a 900+ nvidia gpu was marginal at best. The recommend specs were thus an i7, around 16-32 gb of RAM, SSD's, and GTX 700 series. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This setup works pretty well for me, and I can recommend it. Instead of forking out extra money for the 900 series GPU, get one with more memory and more CUDA cores (something PP really utilizes especially with 3rd party plugins) in the 700 series. Cap the RAM at 32gb unless your going Xenon. But at that point your going to need a GeForce Titan to remove the bottleneck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found that the mercury playback engine with cuda is considerably better at processing frames especially with effects, than the 'program mode' processing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For reference I can play 85mbps DNX 1080p at full ress with magic bullet looks on with no lag. If I'm running of an external hdd, it takes some time to start the play head once its stopped (less than a second, but enough to annoy). SSD's are a must.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2015-07-17T18:08:38.830" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16000" PostTypeId="2" ParentId="15997" CreationDate="2015-07-17T23:10:40.767" Score="1" Body="&lt;p&gt;I ended up spending $30 to buy MacX DVD Ripper.  Worked great. Easily converted the video files on the DVD to an MP4 file, which loaded right into Premier.&lt;/p&gt;&#xA;" OwnerUserId="11255" LastActivityDate="2015-07-17T23:10:40.767" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16001" PostTypeId="2" ParentId="15996" CreationDate="2015-07-18T14:46:46.740" Score="5" Body="&lt;p&gt;libtheora is single threaded. There is a multithreaded experimental build, but is not maintained. I would suggest running it in parallel with the other encodes. Also if possible use libfdk-aac over libfaac. Much higher audio fidelity at the same bitrate.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2015-07-18T14:46:46.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16002" PostTypeId="1" CreationDate="2015-07-18T17:12:48.053" Score="-1" ViewCount="340" Body="&lt;p&gt;I have a 42 inc LG (42LG70). I have a kodi box and need to make the setting into 720; I believe the TV works on 1080. How do I make the TV to switch to 720?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My TV works but from time to time the screen goes back for a couple of seconds...I've been told it is due to the 1080/720 resolution issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any tips please?Thanks.&lt;/p&gt;&#xA;" OwnerUserId="11261" LastActivityDate="2015-07-19T19:31:11.207" Title="1080 TV (LG) but need to watch under 720 - how I switch?" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16004" PostTypeId="2" ParentId="15996" CreationDate="2015-07-19T17:45:39.363" Score="9" Body="&lt;p&gt;BTW, this question might be better on stackoverflow, or maybe unix.stackexchange, or maybe serverfault.  This site is I think less focused on questions that don't involve decisions based on creative merit or at least perceptual video / audio quality.  However, I'm all about the tech details, so I'll answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmpeg uses multi-threading by default, so you prob. don't need &lt;code&gt;-threads 0&lt;/code&gt;.  If your encode is bottlenecked on a single-threaded filter or decoder, you'll see full load on one core, and light load on many other cores.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing you can do is check mediainfo of your output video.  x264 leaves its settings in an ASCII string in the h.264 header.  So either &lt;code&gt;strings -n20&lt;/code&gt; or &lt;code&gt;mediainfo&lt;/code&gt; to get:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.051&#xA;Stream size                              : 455 MiB (89%)&#xA;Writing library                          : x264 core 146 r2538+1 d48ec67&#xA;Encoding settings                        : cabac=1 / ref=6 / deblock=1:0:0 / analyse=0x3:0x133 / me=umh / subme=10 / psy=1 / psy_rd=0.70:0.10 / mixed_ref=1 / me_range=24 / chroma_me=1 / trellis=2 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-3 / threads=4 / lookahead_threads=1 / sliced_threads=0 / nr=50 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=5 / b_pyramid=2 / b_adapt=2 / b_bias=0 / direct=3 / weightb=1 / open_gop=0 / weightp=2 / keyint=250 / keyint_min=25 / scenecut=40 / intra_refresh=0 / rc_lookahead=60 / rc=crf / mbtree=1 / crf=22.5 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / ip_ratio=1.40 / aq=3:0.60&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.709&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note the &quot;threads=4&quot; in there.  I think I manually set that on my quad core i5 2500k, instead of letting x264 use the default CPUs * 1.5, since I had a CPU-intensive filters (hqdn3d and lanczos-downscale) running.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, libx264 with a preset like &lt;code&gt;slower&lt;/code&gt; should have &lt;em&gt;no&lt;/em&gt; trouble keeping a lot of cores busy.  There are some parts of encoding that are inherently serial (e.g. the CABAC encode of the final bitstream), so a high-bitrate video that doesn't spend a lot of CPU-time refining references (high &lt;code&gt;subme&lt;/code&gt;) to multiple frames (high &lt;code&gt;ref&lt;/code&gt;) might show a load pattern like yours (one thread using 100% CPU, others not).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not 100% sure about faster presets being less parallel, but I know CABAC is serial.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get massively parallel, libx264 could use a boatload of RAM to keep frames around, and keep doing lookahead for 2 or more GOPs, and encode those independently.  It doesn't have an option to operate that way, though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One way to make use of MANY cores is to run multiple separate encodes in parallel, instead of just a series of single encode using all cores.  This only works if you have multiple input files that you want encoded separately.  You're trading off threading overhead vs. more memory capacity and bandwidth (with an impact on caching, unless this is on a multi-socket system with separate L3 and DRAM for each cluster of CPUs, &lt;em&gt;and&lt;/em&gt; you have the processes pinned to cores so one encode is using the cores in one socket, and the other the other).&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-07-19T17:45:39.363" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="16005" PostTypeId="2" ParentId="15979" CreationDate="2015-07-19T18:00:23.523" Score="1" Body="&lt;p&gt;You're using an ffmpeg with a 2-year-old version of &lt;code&gt;libx264&lt;/code&gt;.  It's been mostly feature-complete for a while now, but there are still small improvements and fixes happening.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As Mulvya says, get one built with &lt;code&gt;libfdk_aac&lt;/code&gt;, since you should update your ffmpeg for libx264 anyway.  Your current ffmpeg is trying to use the VisualOn aac encoder.  That's a &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/AAC&quot; rel=&quot;nofollow&quot;&gt;terrible choice&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check the video encoding guide on ffmpeg's Trac wiki, too.  You should probably use &lt;code&gt;-preset slow&lt;/code&gt; at least, to get more quality per bitrate. &lt;code&gt;-crf 23&lt;/code&gt; is the default target-quality, which might be more or less than you want.&lt;/p&gt;&#xA;" OwnerUserId="9105" LastActivityDate="2015-07-19T18:00:23.523" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16006" PostTypeId="2" ParentId="16002" CreationDate="2015-07-19T19:31:11.207" Score="1" Body="&lt;p&gt;If your tv says that it is 1080p, it should be able to display 1080p and anything below, including 720p.  If your kodi box outputs 720p, any TV rated at 1080 or higher should have no problem displaying it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There isn't really a way to &quot;switch&quot; your TV to 720p mode, it should just display at whatever resolution it's fed by your kodi box.  I would guess that something else is causing the issue, such as a loose cable or a faulty kodi box or something.&lt;/p&gt;&#xA;" OwnerUserId="11180" LastActivityDate="2015-07-19T19:31:11.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16007" PostTypeId="1" CreationDate="2015-07-19T20:44:33.993" Score="2" ViewCount="406" Body="&lt;p&gt;Office lens straightens pictures of flat, boards very, very nicely. Here's an example. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/G9SJH.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say I am teaching a class and I want to record what I write on the whiteboard as I explain it. Is there software to apply this straightening effect for a video? Doing it in real time for a live video feed would be even better. The camera would be stationary so the same distortion algorithm would be applied to every frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, does anyone know of some good libraries/source code of the algorithms used for this type of document straightening? I would be interested in trying to write my own implementation of this for video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="11265" LastActivityDate="2015-07-19T20:44:33.993" Title="Real time document straighener similar to Microsoft Office Lens or CamScanner but for video?" Tags="|software-recommendation|streaming|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16008" PostTypeId="2" ParentId="15907" CreationDate="2015-07-20T06:37:15.607" Score="1" Body="&lt;p&gt;If you don't mind learning, Blender is a free open source project that you can use to create 3D animation, special effects, tracking, non linear video editing, compositing, etc... I haven't used After Effects as suggested before, but I'm sure Blender can accomplish the same and it's free.&lt;/p&gt;&#xA;" OwnerUserId="6210" LastActivityDate="2015-07-20T06:37:15.607" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16009" PostTypeId="1" CreationDate="2015-07-20T13:02:46.753" Score="2" ViewCount="3735" Body="&lt;p&gt;In After Effects I am trying to apply the Stroke effects to characters as described in this video:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/MJpJfBtsGrw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My Screen:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/6eyPt.png&quot; alt=&quot;my AE&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although as you can see even just going at the middle of the effect with the two start and end keyframes it seems to not be doing / applying anything, my logo/characters are entirely shown. They should show up &quot;progressively&quot; like in the Youtube tutorial.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea what is happening here?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Also asked at graphicdesign.stackexchange.com: &lt;a href=&quot;https://graphicdesign.stackexchange.com/questions/56737/after-effects-stroke-effect-doesnt-play/56738#56738&quot;&gt;https://graphicdesign.stackexchange.com/questions/56737/after-effects-stroke-effect-doesnt-play/56738#56738&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As it turns out I went so insane that I removed AE and re installed the CS Cloud latest version as a trial, and now it works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess my old AE version wasn't playing well with Windows 10 or whatever.&lt;/p&gt;&#xA;" OwnerUserId="11269" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:12.617" LastActivityDate="2015-07-22T20:50:49.223" Title="After Effects stroke effect doesn't play" Tags="|after-effects|effects|adobe|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16010" PostTypeId="1" AcceptedAnswerId="16069" CreationDate="2015-07-20T17:47:21.850" Score="1" ViewCount="93" Body="&lt;p&gt;I've been searching for a hardware or software product that can stream up at least 17 time stamped video recordings, all at the same point in time.  If I had 17 separate recordings of 17 different flight simulations for example, I would like the ability to fast forward/rewind to a given point in time and have these channels all stream the recordings from that point in time.  Any products I've come across so far can only work with a small number of channels.&lt;/p&gt;&#xA;" OwnerUserId="11272" LastEditorUserId="6685" LastEditDate="2015-07-24T11:54:31.997" LastActivityDate="2015-07-27T11:34:36.207" Title="Is there a product(s) to stream recorded videos, all at same given point in time" Tags="|software-recommendation|streaming|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16011" PostTypeId="2" ParentId="16009" CreationDate="2015-07-20T17:50:53.327" Score="2" Body="&lt;p&gt;It looks like you're changing both the &lt;em&gt;Start&lt;/em&gt; and &lt;em&gt;End&lt;/em&gt; of the &lt;em&gt;Stroke effect&lt;/em&gt;. If you want the text to write on completely, you need to use just one or the other. Which one you use will determine the direction the Stroke is animated in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The effect will have to be activated and set to &quot;Reveal Original Image&quot; in order to see the animation demonstrated in the YouTube video (which, by the way, is a horrible masking example. I recommend watching some tutorials on using the Pen tool in order to create better masks).&lt;/p&gt;&#xA;" OwnerUserId="11271" LastEditorUserId="6685" LastEditDate="2015-07-22T09:38:08.307" LastActivityDate="2015-07-22T09:38:08.307" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16012" PostTypeId="2" ParentId="15995" CreationDate="2015-07-20T17:55:21.847" Score="2" Body="&lt;p&gt;As Alex suggested, &lt;em&gt;precomping&lt;/em&gt; is the answer to your question. There is no other way to have two separate compositions within one composition. Precomping is a normal part of the After Effects workflow, and is in fact necessary for many effects to work properly with nested elements.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It need not be messy – just organize your project well and label everything clearly. Learning to navigate between your &lt;em&gt;comps&lt;/em&gt; with the &lt;kbd&gt;Tab&lt;/kbd&gt; key will help you to use this workflow efficiently.&lt;/p&gt;&#xA;" OwnerUserId="11271" LastEditorUserId="6685" LastEditDate="2015-07-22T09:56:03.087" LastActivityDate="2015-07-22T09:56:03.087" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16013" PostTypeId="2" ParentId="16009" CreationDate="2015-07-20T18:23:32.143" Score="2" Body="&lt;p&gt;This should be a quick fix:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unselect the &quot;end&quot; keyframe selection. Only use either, the &quot;start&quot; or the &quot;end&quot;, don't use both simultaneously. The &quot;Start&quot; keyframe with &lt;code&gt;0%&lt;/code&gt; opacity should end with another &quot;start&quot; keyframe with &lt;code&gt;100%&lt;/code&gt; opacity.&lt;/p&gt;&#xA;" OwnerUserId="11270" LastEditorUserId="6685" LastEditDate="2015-07-22T09:36:44.223" LastActivityDate="2015-07-22T09:36:44.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16015" PostTypeId="1" CreationDate="2015-07-21T01:41:50.150" Score="5" ViewCount="3581" Body="&lt;p&gt;I want to know how to use the scale filter to take an image that is 2154x1136 and scale it down exactly 89.04% such that the image sits in a 1920x1080 frame, with full image left and right and black letterboxing top and bottom.  Using &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;vf scale=1920:-1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;gets me close.   But the resulting file is 1920x1013 and I need to add black pixels top and bottom to fill it out to 1920x1080.   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have other issues including how to feed ffmpeg a dpx sequence and get back an Avid-ready MXF while applying a shot specific cdl file and a show specific display lut, but I need to walk before I can run so a bit of help with this first puzzle is what I'm asking for now.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you in advance.  &lt;/p&gt;&#xA;" OwnerUserId="11274" LastEditorUserId="6685" LastEditDate="2015-07-24T11:57:17.233" LastActivityDate="2015-08-23T12:31:05.923" Title="ffmpeg - resize and crop" Tags="|ffmpeg|scale|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16016" PostTypeId="2" ParentId="16015" CreationDate="2015-07-21T07:06:59.987" Score="6" Body="&lt;p&gt;Use this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf &quot;scale=iw*min(1920/iw\,1080/ih):ih*min(1920/iw\,1080/ih), pad=1920:1080:(1920-iw*min(1920/iw\,1080/ih))/2:(1080-ih*min(1920/iw\,1080/ih))/2&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This code evaluates which ratio to apply for scaling, then scales it and finally applys the requisite amount of padding.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-07-21T07:06:59.987" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16017" PostTypeId="1" CreationDate="2015-07-21T09:45:56.623" Score="1" ViewCount="1043" Body="&lt;p&gt;I want to upload few sets of videos on my server and later play them in the HTML5 video tag. But some of them are not playing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I checked the audio stream and video stream of the video, they have &lt;strong&gt;AAC&lt;/strong&gt; and &lt;strong&gt;H264&lt;/strong&gt; codec respectively.So nothing seems wrong to me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I tried re-encoding it, i got the following message:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;malformated aac bitstream, use -absf aac_adtstoasc&#xA;av_interleaved_write_frame(): Operation not permitted&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However I don't want to encode the videos before upload and &lt;strong&gt;just need to check&lt;/strong&gt; if video has a malformed aac or h264 bitsream.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;PS. Users are limited and will be provided with videos h264 and aac&#xA;  encoded for the upload.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="11235" LastActivityDate="2015-07-21T09:45:56.623" Title="FFmpeg : Check if the aac bitstream is malformed or not" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16018" PostTypeId="2" ParentId="16010" CreationDate="2015-07-21T15:01:47.410" Score="0" Body="&lt;p&gt;Adobe Premiere and Final Cut Pro X can. Final Cut is particularly good at this. Look up multicam FCPX for some demos.&lt;/p&gt;&#xA;" OwnerUserId="8027" LastActivityDate="2015-07-21T15:01:47.410" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16019" PostTypeId="1" CreationDate="2015-07-21T16:13:03.353" Score="4" ViewCount="1946" Body="&lt;p&gt;I have a file that has the following format (note the number of tracks and channels within each track):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'a.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt&#xA;    creation_time   : 2015-05-13 12:07:36&#xA;    encoder         : Lavf56.15.102&#xA;  Duration: 00:01:02.04, start: 0.000000, bitrate: 29083 kb/s&#xA;    Stream #0:0(eng): Video: prores (apch / 0x68637061), yuv422p10le, 1920x1080, 19872 kb/s, 25 fps, 25 tbr, 12800 tbn, 12800 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-05-13 12:07:36&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc56.1.100 prores&#xA;    Stream #0:1(eng): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 8 channels (FL+FR+FC+LFE+BL+BR+DL+DR), s32 (24 bit), 9216 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-05-13 12:07:36&#xA;      handler_name    : Apple Alias Data Handler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I want to create 2 files from that - one with the video, and one with the audio. I also want the audio file to have 7 tracks - one with the first 2 channels, and another 6 with each of the remaining channels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use the following command, &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i &quot;a.mov&quot; -an -dn -sn -y &quot;a.video.mp4&quot; -map 0:1 -map_channel 0.1.0:0.0.0 -map_channel 0.1.1:0.0.1 -map 0:1 -map_channel 0.1.2:0.1.0 -map 0:1 -map_channel 0.1.3:0.2.0 -map 0:1 -map_channel 0.1.4:0.3.0 -map 0:1 -map_channel 0.1.5:0.4.0 -map 0:1 -map_channel 0.1.6:0.5.0 -map 0:1 -map_channel 0.1.7:0.6.0 -acodec pcm_s16le -ar 48000 -y &quot;a.audio.mov&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;...I get the correct video file but the audio file contains 7 tracks, each one containing 8 channels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if I skip the video part and do:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;a.mov&quot; -map 0:1 -map_channel 0.1.0:0.0.0 -map_channel 0.1.1:0.0.1 -map 0:1 -map_channel 0.1.2:0.1.0 -map 0:1 -map_channel 0.1.3:0.2.0 -map 0:1 -map_channel 0.1.4:0.3.0 -map 0:1 -map_channel 0.1.5:0.4.0 -map 0:1 -map_channel 0.1.6:0.5.0 -map 0:1 -map_channel 0.1.7:0.6.0 -acodec pcm_s16le -ar 48000 -y -ss 00:00:00 -t 00:01:02.0400000 &quot;a.audio.mov&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I get the audio I'm expecting. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A workaround could be to call FFmpeg twice, one for video and one for audio, but I'd ideally like to avoid that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I doing something wrong? Is map_channel not meant to work like that or is it a bug?&lt;/p&gt;&#xA;" OwnerUserId="11191" LastActivityDate="2015-07-21T16:13:03.353" Title="FFmpeg map_channel and video" Tags="|ffmpeg|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16021" PostTypeId="1" CreationDate="2015-07-22T16:57:40.653" Score="2" ViewCount="1383" Body="&lt;p&gt;I have this linux command line app called &lt;a href=&quot;http://libav.org/avconv.html&quot; rel=&quot;nofollow&quot;&gt;avcon&lt;/a&gt;. It is used to converting files. For instance if I have a file called video.mp4 I can run &lt;code&gt;avconv -i video.mp4 video.ogg&lt;/code&gt; and it will convert this &lt;code&gt;video.mp4&lt;/code&gt; to &lt;code&gt;video.ogg&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my problem(question):&#xA;Whenever it converts any file the output file's quality is super bad compared to the original video (the input video). How can I get around with that? I mean how can I convert the file and still get the same quality?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this is not possible using this app. Can anybody suggest anything else for converting video files using the command line?&lt;/p&gt;&#xA;" OwnerUserId="11285" LastActivityDate="2015-08-13T22:20:48.027" Title="avconv converting videos in really bad quality" Tags="|video|ffmpeg|avconv|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16022" PostTypeId="1" CreationDate="2015-07-23T11:36:14.970" Score="2" ViewCount="17428" Body="&lt;p&gt;I recently bought a Canon C100 mk1 after lots of comparing, specs etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I have a question which I cannot really find a final answer for on the interweb.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Canon C100 can record in either AVCHD or MP4. Which one is better to use? &#xA;AVCHD is a single wrapped file with all the clips in&#xA;MP4 is just all the clips (Currently like my Canon 7D)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most people seem to use the AVCHD, but I have seen screenshots or images of the cameras that are set to MP4, and I am unable to find a reason why people choose one over the other.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I shot a wedding in AVCHD and edited it with FCPX (not the most recent version), and I have done all the options of trans-coding, changing the 50i to progressive, etc. that others have recommended online, but some of my shots are still giving me interlacing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would shooting in MP4 eliminate these issues? &lt;em&gt;When I shoot on my Canon 7D, it is not there - only a bit of jello.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The most I can find is a comparison between AVCHD and MP4 for quality (to which I cannot see much difference) or a comparison between the mk1 and the mk2 which is not really answering my question. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a wedding coming up next weekend and would like to shoot with the best option. I don't think I'm going to have enough spare time to do a test using both codecs.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastEditorUserId="6921" LastEditDate="2015-07-23T13:10:28.087" LastActivityDate="2015-10-03T01:11:52.390" Title="Canon C100 mk1 AVCHD vs MP4" Tags="|codec|video-recording|mp4|canon|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16023" PostTypeId="1" AcceptedAnswerId="16064" CreationDate="2015-07-23T13:39:47.617" Score="2" ViewCount="708" Body="&lt;p&gt;If I have a locked-off camera filming an athlete moving through the frame, how could I stack the frames so that every new frame of movement was layered on top of the next?  Assuming the background remains static throughout, is there a clever way to do it without tonnes of rotoscoping?&lt;/p&gt;&#xA;&lt;p&gt;For example, here's a (famous) sequence of a horse running:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/um3qn.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/um3qn.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And here's the kind of effect I'd like to be able to achieve, without keying/rotoscoping etc:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nlRQV.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nlRQV.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Note that I made this with a simple luma key, because the background is mostly white.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-07-29T00:17:21.333" Title="Frame stacking effect in After Effects" Tags="|after-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16024" PostTypeId="1" CreationDate="2015-07-23T14:59:51.640" Score="1" ViewCount="27" Body="&lt;p&gt;I'm using avconv to convert some videos, using the following commands (replacing {{inFile}} and {{outFile}}&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -xerror  -v fatal -i {{inFile}} -vcodec libx264 -pix_fmt yuv420p -profile:v baseline -preset slower -crf 18 -strict experimental -vf &quot;scale=trunc(oh*a/2)*2:360&quot; {{outFile}}&#xA;avconv -xerror  -v fatal -i {{inFile}} -vcodec libx264 -pix_fmt yuv420p -profile:v baseline -preset slower -crf 18 -strict experimental -vf &quot;scale=trunc(oh*a/2)*2:480&quot; {{outFile}}&#xA;avconv -xerror  -v fatal -i {{inFile}} -vcodec libx264 -pix_fmt yuv420p -profile:v baseline -preset slower -crf 18 -strict experimental -vf &quot;scale=trunc(oh*a/2)*2:720&quot; {{outFile}}&#xA;avconv -xerror  -v fatal -i {{inFile}} -vcodec libx264 -pix_fmt yuv420p -profile:v baseline -preset slower -crf 18 -strict experimental -vf &quot;scale=trunc(oh*a/2)*2:1080&quot; {{outFile}}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm just doing some testing on the performance, and here's some results I got.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;157mb 5 minute mp4 - 58 minutes&lt;/li&gt;&#xA;&lt;li&gt;70mb 5 minute mp4 - 26 minutes.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This is the first time I've done anything with encoding, and I'm just wondering if those times seem about right. There being encoded on a ubuntu VM, with 2 GB of RAM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need any other info, just let me know and I'll add it.&lt;/p&gt;&#xA;" OwnerUserId="11287" LastActivityDate="2015-07-23T14:59:51.640" Title="Do these encoding times seem about correct?" Tags="|avconv|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16025" PostTypeId="2" ParentId="16023" CreationDate="2015-07-23T16:02:29.797" Score="1" Body="&lt;p&gt;I'm not sure I get exactly what you're asking, but if you're looking for a sort of stroboscopic motion effect, you can set up multiple layers, say 4 or 5, containing the same clip but offset in time by one or more frames. Then set the transparency of each (level of dissolve) in ratio to the number of layers (4 layers, each 25%, 5 layers each 20% etc). Experiment with the transparency and offset to get the look you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't do AE, but there may already be an effect or plugin that does this for you.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-07-23T16:02:29.797" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16026" PostTypeId="1" AcceptedAnswerId="16030" CreationDate="2015-07-23T16:08:27.827" Score="1" ViewCount="326" Body="&lt;p&gt;I currently use a video camera and a Sennheiser G3 system for recording conference-type events. The G3 is attached to the speaker, and it works great.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, there are two situations where it doesn't work so well, namely:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;When someone in the audience asks a question (rooms aren't big, so they have no mic), the camera doesn't pick it up.&lt;/li&gt;&#xA;&lt;li&gt;When we do 'round table' style discussions, there's obviously not enough G3s to go round (or record). Right now I place a lavalier mic on the table and hope for the best.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So I'm looking for advice on what is the best type of mic that would pick up sound in the room. I'm looking for a 360-degree type solution. The camera I use right now is Canon XA20 (with the handle).&lt;/p&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2015-07-27T08:42:53.817" Title="Capturing room audio (audience questions/comments)" Tags="|audio|microphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16027" PostTypeId="1" CreationDate="2015-07-23T16:56:11.787" Score="5" ViewCount="289" Body="&lt;p&gt;I need to record a skype conversation and upload it to youtube (it's a live conference and the other party asked for it). &#xA;Can I record a skype conversation? What would be the best way in terms of quality? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have different systems available (Windows xp | 7 | 8, Debian 7 or Ubuntu 14.04 LTS), I'll use the one that suits the job better.&lt;/p&gt;&#xA;" OwnerUserId="11068" LastEditorUserId="11068" LastEditDate="2015-07-24T01:42:01.427" LastActivityDate="2016-04-29T05:53:18.530" Title="What's the best way to record a skype conversation?" Tags="|video-quality|streaming|video-recording|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16029" PostTypeId="2" ParentId="15997" CreationDate="2015-07-23T18:15:29.193" Score="2" Body="&lt;p&gt;A musician family member who edited video on his Apple PowerBook G4, swore by Handbrake. Handbrake is now available cross platform OSX, Linux, and Windows (through Windows 10). Much this musician's work in later years was ripping and repackaging DVD footage - and what he particularly liked was that Handbrake was &quot;bulletproof.&quot; It even ripped mini-DVD AVCHD video from my Panasonic hand-held, before we were calling it H.264. Downloads available here: &lt;a href=&quot;https://handbrake.fr/downloads.php&quot; rel=&quot;nofollow&quot;&gt;Handbrake Downloads&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11289" LastActivityDate="2015-07-23T18:15:29.193" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16030" PostTypeId="2" ParentId="16026" CreationDate="2015-07-23T20:44:53.957" Score="1" Body="&lt;p&gt;Audience questions : there's not much alternative than to have another mic (probably a hand-held one) ready to be used by the audience. If the room is really small, possibly a cardioid microphone on a stand pointed toward the audience could do the job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Round table : have one or two hand-held mics that the speakers take when they want to speak. That's a constraint on them obviously. You can also try a &lt;a href=&quot;https://en.wikipedia.org/wiki/Boundary_microphone&quot; rel=&quot;nofollow&quot;&gt;boundary microphone&lt;/a&gt; on the table.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Notice also @stib good suggestion below to have a boom operator for audience questions.&lt;/p&gt;&#xA;" OwnerUserId="9147" LastEditorUserId="9147" LastEditDate="2015-07-27T08:42:53.817" LastActivityDate="2015-07-27T08:42:53.817" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16032" PostTypeId="1" AcceptedAnswerId="16040" CreationDate="2015-07-23T23:11:09.580" Score="2" ViewCount="1523" Body="&lt;p&gt;I have set up a server to upload and play videos. I used django/python as the scripting language, and nginx and gunicorn as the webserver. I am using &lt;a href=&quot;http://www.videojs.com/&quot; rel=&quot;nofollow&quot;&gt;videojs&lt;/a&gt; as the video player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For h264 mp4 I tried this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inputfile.avi -codec:v libx264 -profile:v baseline -preset slow -b:v 250k -maxrate 250k -bufsize 500k -vf scale=-1:360 -threads 0 -codec:a libfdk_aac -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But its only playing on desktop browsers and not on mobile browsers (except only on firefox android browser).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some points that I gathered along the way:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Some of the videos which I downloaded from youtube and uploaded it on the server without encoding are playing nicely on all the browsers.&lt;/li&gt;&#xA;&lt;li&gt;However if I encode the same video (youtube video) and upload it on the server, it does not play on the mobile devices but only on desktop browsers.&lt;/li&gt;&#xA;&lt;li&gt;Videos which I took from my mobile (samsung s4 and iphone 6), and encode it with ffmpeg are not playing on the mobile browsers, only on desktop browsers.&lt;/li&gt;&#xA;&lt;li&gt;But, the url of the same videos (which I took from mobile) which are hosted on amazon s3 are playing nicely on all the browsers (even the non encoded videos).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;What am I missing? I was really hoping if you could guide me and help me to solve the problem. Thank you.&lt;/p&gt;&#xA;" OwnerUserId="9328" LastActivityDate="2015-07-25T08:22:57.733" Title="ffmpeg encoded videos are not playing on mobile browser" Tags="|ffmpeg|transcoding|webvideos|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16034" PostTypeId="2" ParentId="16022" CreationDate="2015-07-24T06:27:50.430" Score="0" Body="&lt;p&gt;Avchd has better audio and MP4 is easier to work with and will play on more devices without transcoding. If you can edit Avchd easily use it. They use the same codec so quality will be about the same(you wouldn't notice it in use)&lt;/p&gt;&#xA;" OwnerUserId="11205" LastActivityDate="2015-07-24T06:27:50.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16035" PostTypeId="2" ParentId="2527" CreationDate="2015-07-24T08:25:32.253" Score="1" Body="&lt;p&gt;From the &lt;a href=&quot;https://wiki.xiph.org/Main_Page&quot; rel=&quot;nofollow&quot;&gt;Xiph Wiki&lt;/a&gt;, it doesn't look to me as if such an editor exists.  I would use something like the free &lt;a href=&quot;http://www.aegisub.org/&quot; rel=&quot;nofollow&quot;&gt;Aegisub subtitles editor&lt;/a&gt; to enter the metadata text at the correct timings, but enter them as subtitles.  Then export from Aegisub as an .srt file, then perform some search &amp;amp; replace funtions on the .srt file (which is a human-readable text file) to generate the metadata strings you need &lt;a href=&quot;https://wiki.xiph.org/OggKate#Metadata&quot; rel=&quot;nofollow&quot;&gt;based on this definition&lt;/a&gt;.  Once you have the metadata in the correct format, you should be able to add it to an Ogg file using &lt;a href=&quot;http://manpages.ubuntu.com/manpages/utopic/man1/KateDJ.1.html&quot; rel=&quot;nofollow&quot;&gt;KateDJ&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-07-24T08:25:32.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16037" PostTypeId="1" CreationDate="2015-07-24T15:00:08.397" Score="5" ViewCount="2397" Body="&lt;p&gt;I have After Effects project file 25 fps, 29 seconds duration long. After exporting i get 725 png files - looks normal so far. But then i merge it to mp4 using Adobe Encoder, I get total 24 seconds duration instead of 29.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Math:&#xA;725 frames,  25 fps  -  29 s&#xA;725 frames,  30 fps  -  24 s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The strange thing in mp4 file properties - 25 fps and 24s duration which doesn't make sense, it doesn't match math. Please any ideas what i'm doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;&lt;a href=&quot;https://i.stack.imgur.com/Bil3b.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Bil3b.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;EDIT:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I find out in AE Preferences &gt; Import image sequence footage fps by default was set to 30. After changing it to 25 imported image sequence looks good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eN9Le.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eN9Le.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;Unfortunately I couldn't find it in Adobe Encoder preferences - there is no such settings, and by default it loads 30fps sequence.&lt;/p&gt;&#xA;" OwnerUserId="11295" LastEditorUserId="11295" LastEditDate="2015-07-27T09:31:43.493" LastActivityDate="2016-01-26T19:13:50.227" Title="Adobe Encoder fps and duration doesn't match" Tags="|after-effects|encoding|framerate|adobe-media-encoder|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16038" PostTypeId="1" CreationDate="2015-07-24T17:31:39.940" Score="0" ViewCount="1589" Body="&lt;p&gt;So I am trying to connect 4 security cameras to a TV using a quad splitter. I am using one camera right now to test the connections. Here is my set up:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a security camera with with an SDI output connected by male-male BNC to a quad splitter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/856b8.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/856b8.jpg&quot; alt=&quot;Here is the security camera&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video1 connection on the splitter is to the camera. The video out connection is to the SDI to HDMI converter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Wv6AI.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Wv6AI.jpg&quot; alt=&quot;This is the Quadsplitter&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The HDMI output from the converter connects to a SAMSUNG flatscreen TV. However when a connection is established between the converter and a source, the source button lights up. However the button does not light up green on the converter and the TV displays a &quot;No Signal Message&quot; (not a no cable connected message). I know all the power sources are connected (there is no indication on the camera however to let me know whether it is on or off when connected to DC12V supply, but the quad splitter should produce some feed itself from what I've seen). What am I doing wrong? Sorry this is a long question, thank you for all your help in advance!&lt;/p&gt;&#xA;" OwnerUserId="11222" LastActivityDate="2015-07-24T17:31:39.940" Title="No Signal with SDI to HDMI Converter" Tags="|video|streaming|hdmi|sdi|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="16040" PostTypeId="2" ParentId="16032" CreationDate="2015-07-24T20:45:53.663" Score="0" Body="&lt;p&gt;Unfortunately due to patent/licensing issues&lt;sup&gt;1&lt;/sup&gt;, MP4 playback is not supported natively in all browsers. That's where file format redundancy comes into play; if one file format is not able to be natively loaded by a system a backup version may be able to work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found that certain browsers will be able to run files encoded with the .webm container using VP8 plus Vorbis for audio and video, respectively, out of the box while using HTML5 players.&lt;sup&gt;2&lt;/sup&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Citations&lt;/p&gt;&#xA;&#xA;&lt;hr /&gt;&#xA;&#xA;&lt;p&gt;&lt;sup&gt;1&lt;/sup&gt; &lt;a href=&quot;https://developer.mozilla.org/en-US/docs/Web/HTML/Supported_media_formats#Browser_compatibility&quot; rel=&quot;nofollow&quot;&gt;https://developer.mozilla.org/en-US/docs/Web/HTML/Supported_media_formats#Browser_compatibility&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;sup&gt;2&lt;/sup&gt; &lt;a href=&quot;https://en.wikipedia.org/wiki/HTML5_video#Multiple_sources&quot; rel=&quot;nofollow&quot;&gt;https://en.wikipedia.org/wiki/HTML5_video#Multiple_sources&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11297" LastActivityDate="2015-07-24T20:45:53.663" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16041" PostTypeId="1" CreationDate="2015-07-24T23:42:37.053" Score="2" ViewCount="843" Body="&lt;p&gt;I've just set up the latest versions of VirtualDub and the Deshaker plugin (both 64-bit versions in Windows 8.1 64-bit), and was able to follow the official Deshaker instructions to stabilise a video. However, I have several dozens videos to stabilise, so I'd like to batch process them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know VirtualDub has the Job Control window to prepare batch jobs, but the problem is that the Deshaker plugin requires two passes for each video file, and the first pass &lt;em&gt;does not&lt;/em&gt; produce an output video file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Internet searches did not reveal a way to batch Deshake videos. Does anyone here have instructions on how to achieve this with relative ease??? Thank you!&lt;/p&gt;&#xA;" OwnerUserId="11299" LastActivityDate="2018-01-27T21:48:34.703" Title="How to batch process videos through Deshaker in VirtualDub?" Tags="|stabilisation|virtualdub|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16042" PostTypeId="1" CreationDate="2015-07-25T04:45:07.660" Score="2" ViewCount="56" Body="&lt;p&gt;I am developing an iPhone app that has a background video at the login screen. Everything works, but the video is small because the iphone crops it down.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eyisn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eyisn.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess my question is. Is it possible to make a video &quot;cropped&quot;? I would like to make this video fullscreen while the iphone is in portrait mode.&lt;/p&gt;&#xA;" OwnerUserId="11300" LastActivityDate="2015-09-10T23:18:42.990" Title="iPhone Background Video" Tags="|video|conversion|iphone|" AnswerCount="1" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16043" PostTypeId="1" AcceptedAnswerId="16068" CreationDate="2015-07-25T07:35:31.690" Score="1" ViewCount="186" Body="&lt;p&gt;I try to display higher resolution images (2400x1600) on my smaller 1366x768 monitor. I've noticed in 'normal view' (without zoom), it looks like &lt;em&gt;some details are washed out&lt;/em&gt;, however when I zoom into a certain extent I notice that these details appear very clearly. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe that there are missing pixels, which not displayed properly on my monitor because of the difference between the pixel scale of the image and the monitor...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would this 2400x1600 image look better on a monitor of the same pixel scale?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance to all your help!&lt;/p&gt;&#xA;" OwnerUserId="11302" LastEditorUserId="6685" LastEditDate="2015-07-27T19:49:40.423" LastActivityDate="2015-07-27T19:49:40.423" Title="how do 4k or 1080 images look like on a 720p monitor?" Tags="|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16045" PostTypeId="1" AcceptedAnswerId="16048" CreationDate="2015-07-25T10:42:58.873" Score="2" ViewCount="1253" Body="&lt;p&gt;The news channel in my country is using a nice bouncy/slide effect. Now I'm trying to recreate that in After Effects. I tried many effects and expressions, Googled a lot and watched many tutorials. But none fit to my expecting result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does someone know how to recreate those effects? With expressions or maybe a nice plugin?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RF2rW.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RF2rW.gif&quot; alt=&quot;Animation&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Look very close to the end of the bar. Its bouncing a little bit.&lt;/p&gt;&#xA;" OwnerUserId="11304" LastActivityDate="2015-07-26T09:35:08.577" Title="How do I create this slide/bouncy effect in After Effects?" Tags="|after-effects|animation|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16046" PostTypeId="1" AcceptedAnswerId="16047" CreationDate="2015-07-25T10:59:41.737" Score="2" ViewCount="238" Body="&lt;p&gt;I'm going to use Green screen on the floor in a sunny day outdoor shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the shadows of characters reserved, I'm going to change the Green screen background to a stony texture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've found in some resources that for an outdoor shoot the Blue is a better option. But still I'm not sure. Any assurance?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8acQd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8acQd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="9242" LastActivityDate="2015-07-25T13:03:14.843" Title="Is Blue screen a better choice than Green when shooting outdoor to reserve shadows?" Tags="|greenscreen|bluescreen|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16047" PostTypeId="2" ParentId="16046" CreationDate="2015-07-25T13:03:14.843" Score="3" Body="&lt;p&gt;With a good keyer it doesn't matter as much as it may have in the past, but in most cases green is the better choice. Which you choose depends more on where and with what content you do your keying. If you're using equal-band capture, recording and processing -- 4:4:4 for instance -- then it can be a tossup. But any encoding that limits chroma bandwidth -- 4:2:0, 4:1:1 etc, will favor green because there's more green in the highest bandwidth channel (luma consists of more than 50% green). More resolution + less noise = better keying.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think using blue outdoors might be favored because natural light is much bluer than typical studio lighting, which reduces the noise in the blue signal. But I doubt there's a significant advantage, because noise is only one factor.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-07-25T13:03:14.843" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16048" PostTypeId="2" ParentId="16045" CreationDate="2015-07-25T18:42:29.500" Score="1" Body="&lt;p&gt;Key is creating 2 additional keyframes after the last one (one copy of the last one 5-10 frames ahead and another one in between). The keyframe in between is for shifting the position slightly into the opposite direction. In order to get a non linear animation ease all the keyframes at the end.        &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gf5Ha.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gf5Ha.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;Instructions&lt;/h3&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create a new composition and a new solid layer with the dimensions of the gauge&lt;/li&gt;&#xA;&lt;li&gt;Click the solid layer and create a mask (double click the rectangular mask path icon to create new mask with the dimensions of the solid layer)&lt;/li&gt;&#xA;&lt;li&gt;Open up the mask properties of the solid / gauge layer &lt;kbd&gt;M&lt;/kbd&gt;&lt;kbd&gt;M&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;li&gt;Go to the end of the composition and add a keyframe by clicking on the stop watch of the mask path property&lt;/li&gt;&#xA;&lt;li&gt;Go to the first frame of the composition and drag both right mask bezier points to the left (this will automatically insert a new keyframe)&lt;/li&gt;&#xA;&lt;li&gt;Copy the last keyframe 5-10 frames ahead and another one in between&lt;/li&gt;&#xA;&lt;li&gt;With the cursor on the keyframe in between, drag both bezier points on the right side of the rectangle slightly to the left&lt;/li&gt;&#xA;&lt;li&gt;Select the last 3 keyframes&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Right Click &gt; Keyframe Assistant &gt; Easy Ease&lt;/em&gt; or simply hit &lt;kbd&gt;F9&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h3&gt;Examples&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Bounce to the right&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eydZS.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eydZS.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Bounce to the left&lt;/em&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/I94Cq.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/I94Cq.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/gvocdxhqcxi5xsp/gauge.aep.zip?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;Project File Download&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-07-26T09:35:08.577" LastActivityDate="2015-07-26T09:35:08.577" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="16049" PostTypeId="2" ParentId="12066" CreationDate="2015-07-25T19:15:50.203" Score="2" Body="&lt;p&gt;Currently there isn't a means to create an IDT for cinemaDNG footage in resolve.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;cinemaDNG is a container and contains camera RAW data so it's precisely the kind of footage one would want to convert to ACES.  The problem is the IDT needs to be built with knowledge of the specific camera.  Theoretically this camera characterization data is included in the DNG tags, but there isn't currently a means to convert those tags into a useable IDT. &lt;/p&gt;&#xA;" OwnerUserId="11305" LastEditorUserId="11305" LastEditDate="2015-07-26T17:19:38.327" LastActivityDate="2015-07-26T17:19:38.327" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16050" PostTypeId="1" AcceptedAnswerId="16052" CreationDate="2015-07-25T19:18:55.737" Score="1" ViewCount="5275" Body="&lt;p&gt;I'm teaching myself After Effects CC while trying to make a music video. I use the spacebar or the 0 on the numeric keypad to preview my work. When I press one of those keys a second time to stop the preview, After Effects often ignores me and continues playback. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's very frustrating to carefully time a spacebar press to place the Current Time Indicator exactly where I want it and have my input be blithely ignored by the software. What can I do to ensure that After Effects CC will always respond to keyboard commands?&lt;/p&gt;&#xA;" OwnerUserId="11306" LastEditorUserId="6685" LastEditDate="2015-07-28T18:08:22.397" LastActivityDate="2020-12-20T03:55:52.673" Title="After Effects won't consistently stop previewing video when I ask it to" Tags="|after-effects|performance|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16051" PostTypeId="1" AcceptedAnswerId="16056" CreationDate="2015-07-26T02:57:45.937" Score="2" ViewCount="1303" Body="&lt;p&gt;I exported two videos from Adobe Premiere. Same length, same quality settings, but one was 4K (the original footage was 4k) and one was 1080p. I was trying to put these on Facebook so I was trying to crunch file size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But with the exact same settings they were both 24.4MB. How can this be? The 4K one should be much much larger. Quality stayed the same so when the resolution changed file size should have changed, but it didn't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Side note: This was done with variable bitrate, might that have been the reason?&lt;/p&gt;&#xA;" OwnerUserId="11308" LastActivityDate="2015-07-26T13:00:54.770" Title="Rendered two videos from Adobe Premiere with the same settings but different resolution and they're the same file size" Tags="|premiere|video-quality|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16052" PostTypeId="2" ParentId="16050" CreationDate="2015-07-26T08:56:01.600" Score="3" Body="&lt;p&gt;When you press &lt;kbd&gt;space bar&lt;/kbd&gt;, After Effects &lt;strong&gt;tries to playback the composition out of the current playhead position instantly&lt;/strong&gt;. Theoretically the playback depends on your machine, but an instant playback of a  composition (in real time) is a very computing-intensive process and with conventional computers not possible at the moment. This also is the simple reason why After Effects sometimes does not respond. Also see the official &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/improve-performance.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Improve performance&lt;/a&gt; manual.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;For correct playback (25fps) use the &lt;strong&gt;RAM-Preview&lt;/strong&gt; instead of the &lt;kbd&gt;space bar&lt;/kbd&gt;. Press &lt;kbd&gt;Numpad 0&lt;/kbd&gt; or the associated &lt;kbd&gt;|||&gt;&lt;/kbd&gt; in the &lt;strong&gt;Preview Panel&lt;/strong&gt; to start the preview rendering process:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/USoqw.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Press &lt;kbd&gt;Numpad 0&lt;/kbd&gt; &lt;strong&gt;again&lt;/strong&gt; to stop it&lt;/li&gt;&#xA;&lt;li&gt;Press &lt;kbd&gt;Numpad 0&lt;/kbd&gt; &lt;strong&gt;twice&lt;/strong&gt; to stop and playback the previously rendered (green) frames&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;In order to facilitate the work:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Set the &lt;strong&gt;rendering resolution&lt;/strong&gt; of the view to a lower value for e.g. to &lt;strong&gt;half&lt;/strong&gt; or &lt;strong&gt;quarter&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Limit the &lt;strong&gt;work area&lt;/strong&gt; in your timeline, press &lt;kbd&gt;B&lt;/kbd&gt; to set the start render point (Begin), press &lt;kbd&gt;N&lt;/kbd&gt; to set the end point (End) &lt;/li&gt;&#xA;&lt;li&gt;Enable &lt;strong&gt;loop&lt;/strong&gt; preview (7th button) to repeat the preview of the current work area&lt;/li&gt;&#xA;&lt;li&gt;Press &lt;kbd&gt;Numpad , &lt;/kbd&gt; for &lt;strong&gt;audio preview&lt;/strong&gt; only&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-08-06T18:56:04.837" LastActivityDate="2015-08-06T18:56:04.837" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16053" PostTypeId="1" AcceptedAnswerId="16282" CreationDate="2015-07-26T09:30:41.847" Score="2" ViewCount="7860" Body="&lt;p&gt;I used standard webm settings in VLC player 2.2.1 (the latest) to convert a 4-minute mp4 made in Handbrake. In the conversion panel it says &quot;Streaming 04:00&quot; but the end result is &quot;03:49:15&quot; and, on two further attempts, &quot;03:56:28&quot; and &quot;04:04:23&quot;. The file size is almost the same as the mp4 (4MB).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The length of the webm video - i.e. more than 4 hours - is confirmed by MediaInfo and by Firefox native player, videojs player, and VLC player. In VLC player, I tried clicking on the progress bar to explore exactly what takes up 4 hours, but on-click it closes the video. In Firefox, the same test returns the video to frame 1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update (30 August)&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did a test on this &quot;generic mp4&quot;: &lt;a href=&quot;http://download.wavetlan.com/SVV/Media/HTTP/H264/Talkinghead_Media/H264_test1_Talkinghead_mp4_480x360.mp4&quot; rel=&quot;nofollow&quot;&gt;http://download.wavetlan.com/SVV/Media/HTTP/H264/Talkinghead_Media/H264_test1_Talkinghead_mp4_480x360.mp4&lt;/a&gt;. Do not know if it was done with Handbrake. Then converted it to webm, using default settings, with VLC 2.2.1. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Results: The mp4 is 00:00:14s, the webm is 22:40:00s. But the webm is not &lt;em&gt;really&lt;/em&gt; 22 hours long, it plays for 14s just like the mp4. However, in a html5 player, Firefox and Chrome native players and VLC player, the progress bar gives the length as 22:40:00. &lt;/p&gt;&#xA;" OwnerUserId="6414" LastEditorUserId="6414" LastEditDate="2015-08-30T05:18:02.430" LastActivityDate="2015-08-30T06:01:03.040" Title="Why does VLC player convert a 4-minute mp4 to a 4-hour webm?" Tags="|conversion|mp4|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16054" PostTypeId="1" CreationDate="2015-07-26T11:28:33.743" Score="2" ViewCount="81" Body="&lt;p&gt;I need to compress some videos about laboratory experiments which contain motions of some objects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since in analysis time intervalls on the video are needed as accurate as the camera captured them, it is important that the conversation doesn't introduce any time stretching, shifting or any other inaccuraries.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using &lt;code&gt;ffmpeg&lt;/code&gt; (or &lt;code&gt;avconv&lt;/code&gt;) for conversion and &lt;code&gt;vp8&lt;/code&gt; or &lt;code&gt;h264&lt;/code&gt; as video codec. Audo is irrelevant in my case. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I am not a video expert, my first question is, if there are any problems regarding time accuracy to expect at all. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If so, my second question is, what I should have in mind to bypass those problems when compressing a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make it more concrete, my first attempts where:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;avconv -i input{.MP4,webm}&lt;/code&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -vcodec h264 -i input{.MP4,mp4}&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="11310" LastActivityDate="2015-07-26T11:28:33.743" Title="Converting videos and time accuracy; pitfalls and solutions" Tags="|ffmpeg|codec|avconv|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16056" PostTypeId="2" ParentId="16051" CreationDate="2015-07-26T13:00:54.770" Score="4" Body="&lt;p&gt;Well you've kinda answered your own question: Both videos have the same size because you used the same settings, specifically the settings for &lt;strong&gt;target bitrate&lt;/strong&gt; and &lt;strong&gt;maximum bitrate&lt;/strong&gt; (assuming you're using the H264 codec, other codecs might only have an &lt;strong&gt;average bitrate&lt;/strong&gt; setting available). If you use identical bitrate settings, videos of the same length will always have the same size, regardless of it's resolution and framerate. This is because the bitrate is exactly that: The (average) &lt;strong&gt;amount of bits per second&lt;/strong&gt;. If you have a 10 second video with a bitrate of 10 Mbit/s, it's size will be about 100 Mbit, simple math.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To elaborate on how this is possible with videos with different resolutions: Most commonly used video codecs (as well as image formats) use highly efficient compressing algorithms that can use different levels of compression, where a higher compression level yields smaller video files at the cost of some video quality loss. For example, a JPG image will combine nearly monochrome chunks of the image to one block of information. The higher the compression, the higher the tolerance for similar pixels, resulting in compression artifacts:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mhk7W.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mhk7W.jpg&quot; alt=&quot;jpg compression&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(&lt;a href=&quot;http://www.shutha.org/sites/default/files//uploads/3_Courses/3_Digital_Imaging/05%20TIFF3b.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Source&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what does that mean for your video? To accommodate for the higher resolution of your 4k video, you will need to use a higher bitrate in order to yield better quality, as there is much more information in a 4k video. If you use the same bitrate, the 4k video might actually look worse because there are more compression artifacts.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-07-26T13:00:54.770" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16057" PostTypeId="1" AcceptedAnswerId="16081" CreationDate="2015-07-26T15:40:26.413" Score="1" ViewCount="68" Body="&lt;p&gt;I am working on a project to create trailers for some footage that we are given, (approx. 2.3 hrs long) and was wondering what was the best way to go through the footage and take out small splits for me to use later. My goal is to harvest as many small segments as possible for each main scene and run them by my colleagues to see which ones best articulate the film. I am working on a Mac and have access to most video editing softwares though I could not find a way to split the footage into segments and save them all as individual files. Is there some trick that I don't know of or a software that expediates the process, since there would be numerous clips (ie. a batch way of saving them all)? Thanks&lt;/p&gt;&#xA;" OwnerUserId="11312" LastActivityDate="2015-07-29T05:05:32.007" Title="Video Splitting" Tags="|video|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16058" PostTypeId="1" CreationDate="2015-07-26T18:43:48.440" Score="4" ViewCount="3260" Body="&lt;p&gt;I just did:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i inputfile -r 30 -vcodec libx264 -an -s hd480 output_30.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i inputfile -vcodec libx264 -an -s hd480 output_60.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;on a 60fps file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is the second file 27 MB and the first file 49 MB despite the fact that the first file contains only every second frame?&lt;/p&gt;&#xA;" OwnerUserId="11310" LastActivityDate="2015-08-10T18:58:27.430" Title="ffmpeg reducing 60fps to 30fps, but file size is larger" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16059" PostTypeId="1" AcceptedAnswerId="16063" CreationDate="2015-07-27T00:33:19.780" Score="2" ViewCount="1398" Body="&lt;p&gt;I shoot video in H.264. I assume that my footage is forever compressed really small and that exporting to ProRes in FCPX would do nothing but make my file bigger. Is this true? Or am I missing something? Would exporting in ProRes give me better quality than I started with?&lt;/p&gt;&#xA;" OwnerUserId="11315" LastActivityDate="2015-07-27T06:19:17.953" Title="If I shoot in H.264 is it worth it to export the product in ProRes?" Tags="|final-cut-pro-x|h.264|prores|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16061" PostTypeId="1" CreationDate="2015-07-27T03:09:21.167" Score="1" ViewCount="404" Body="&lt;p&gt;I'm trying to make a video by panning through cells in a webcomic. First I tried Kdenlive, but that seems to only support linear panning, so you can't do it smoothly. I found someone complaining about it that said Cinlerra can do it, but I downloaded and tried that out and the camera seems to stop at every waypoint. Is there software that lets me continuously and smoothly move the camera? Or if Cinlerra does it, can someone link me to something that says how?&lt;/p&gt;&#xA;" OwnerUserId="11317" LastActivityDate="2016-04-02T19:11:14.233" Title="Free video editing software that supports panning with Bezier curves" Tags="|video-editor|editing|software-recommendation|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16062" PostTypeId="2" ParentId="16059" CreationDate="2015-07-27T05:38:50.487" Score="0" Body="&lt;p&gt;The 2 formats have different uses. H.264 is mainly good as a playback format. It's supported widely, compresses very well, and can be decompressed by relatively low-powered devices easily. It's also supported in some video cards making it hardware accelerated on those devices. While it is possible to edit with H.264, it's not ideal as it's a Long-GOP format. GOP here is an acronym for &quot;Group of Pictures&quot;. Typically, Long-GOP formats contain 1 keyframe followed by several frames that are differences from the keyframes every so many seconds. So if you want to cut on a frame other than a keyframe, you need to decode the keyframe and all frames from the keyframe up to the frame you want to cut on, making it slower to edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ProRes, on the other hand, is intended to ensure the fidelity of the frame through numerous edits. While its compression is good, it focuses more on quality so the amount of compression is less than that of H.264. (In fact, in ProRes 4:4:4(:4) you can have lossless compression with ProRes.) Many devices will not playback ProRes because there's no codec written for them. I think that it's also a higher bit-depth than H.264. (There are higher bit-depth versions of H.264, but I don't know how widely supported they are.) It's also an intra-frame compression scheme, meaning that you don't need any previous frames to decode a given frame. That makes the compression less, but makes it easier to decode any given frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So ProRes is better for editing because it preserves fidelity, is faster to decode frames, and offers higher bit depths (or at least offers them more consistently). H.264 is better for playback because it's supported on more devices, and the compression ratio is higher.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can think of it similarly to audio sample rates. For playback, nothing over 44.1 kHz can make any audible difference to humans (despite what marketing may tell you). But for the purposes of editing, working at 96 kHz can be useful for preserving fidelity through the addition of effects, various mix downs, and mastering.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-07-27T05:38:50.487" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16063" PostTypeId="2" ParentId="16059" CreationDate="2015-07-27T06:19:17.953" Score="0" Body="&lt;p&gt;Your source sets the quality ceiling, so transcoding to ProRes won't improve the video quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most likely, the H264 files generated by your camera will be constrained baseline profile i.e. I- and P-frames only, and on a modern machine, decoding shouldn't be an issue. I edit H264 (baseline or main profile) all the time on my i7 and occasionally i5 with nVidia CUDA-enabled GPUs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ProRes is useful when your shoot is in some exotic or heavier-duty codec because of bitrate or compression complexity. Or you need to collaborate with someone using FCP and they prefer to receive ProRes.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-07-27T06:19:17.953" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16064" PostTypeId="2" ParentId="16023" CreationDate="2015-07-27T07:16:35.140" Score="2" Body="&lt;p&gt;Think about what you're asking. When you did the horse you used a luma key to isolate just the horse. If the horse was running through trees or down a racetrack what would you want to happen to the trees and other stuff in the background? Would they go over the horse from the layer underneath? If so, &lt;em&gt;how are you going to see&lt;/em&gt; the layer underneath?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's no way of overlaying frames without the front layer being partially transparent - either transparent in part of the frame (masks or roto), transparent depending on their pixel values (transfer mode, or key) or with an overall opacity of less than 100%. If it's not transparent then you can't see the background, it's that simple.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can, shoot against a green screen and key out your foreground. This will let you layer it up to create a visual echo as you show in your example. That's the best way to do this, even though it's &quot;cheating&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If chroma keying is not possible, and if only part of your frame is moving, you might be able to use a &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/keying-effects.html#difference_matte_effect&quot; rel=&quot;nofollow&quot;&gt;difference matte&lt;/a&gt;. Get an empty shot of your background and use that to matte out only the parts of the frame that have changed. This will work best with locked-off shots.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Failing that, have a play with various transfer modes. They're basically pixel level keys that work depending on the value of the foreground and background colour. I worked with a visual artist who produced &lt;a href=&quot;https://www.youtube.com/watch?v=3y2xl2lHVnQ&quot; rel=&quot;nofollow&quot;&gt;some lovely dance videos&lt;/a&gt; using time-delayed layering kind of technique. She filmed the dancers against black, and rather than pulling a key we just used the &lt;strong&gt;lighten&lt;/strong&gt; transfer mode - which is basically a way of keying parts of your image that are darker than the layers below (we were using hundred of layers in each comp, I did some scripting work to make the whole process a lot easier).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise, if transfer modes, chroma / luma keys or difference keys don't work, put on a pot of tea, turn up the music and get stuck in to the roto.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-07-29T00:17:21.333" LastActivityDate="2015-07-29T00:17:21.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16065" PostTypeId="2" ParentId="9340" CreationDate="2015-07-27T07:36:15.347" Score="0" Body="&lt;p&gt;Try using the Transform effect (&lt;strong&gt;effects&gt;distort&gt;transform&lt;/strong&gt; IIRC), and use the skew setting to achieve the same thing. It always works reliably for me.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-07-27T07:36:15.347" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16066" PostTypeId="1" CreationDate="2015-07-27T08:23:48.190" Score="1" ViewCount="2270" Body="&lt;p&gt;I've been masking all day today and everything has worked perfectly up until now. I did my usual mask and then rendered it but upon render everything screwed up. I have tried it multiple times and I've even gone as far as to re-import the clip and mask it all over again. The results were different but only in the pattern of the glitch. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Im busy uploading the clips of the glitch right now so I'll just have to explain it for now. Basically everything looks perfectly fine in the ram preview window but when I render it, it separates the video around and the mask is completely messed up. Can someone please help me with this? It's incredibly frustrating when everything else today has gone smoothly. I'm using After Effects CC&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ram Preview Window: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fOEw1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fOEw1.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Render: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lzg8M.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lzg8M.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11318" LastEditorUserId="6685" LastEditDate="2015-07-27T14:28:53.563" LastActivityDate="2019-07-31T10:01:15.180" Title="Masking messes up in after effects after rendering" Tags="|after-effects|animation-rendering|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16068" PostTypeId="2" ParentId="16043" CreationDate="2015-07-27T09:16:59.310" Score="3" Body="&lt;p&gt;When displaying an image whose pixel sizes are larger than your monitor, you loose some information and your graphic card is doing some processing to fit the large image in a smaller screen. You will get the best result when watching the image on a monitor whose native pixel sizes are equal to the image pixel sizes.&lt;/p&gt;&#xA;" OwnerUserId="9147" LastActivityDate="2015-07-27T09:16:59.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16069" PostTypeId="2" ParentId="16010" CreationDate="2015-07-27T11:34:36.207" Score="1" Body="&lt;p&gt;I did find a product called Calypso by Haivision&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.haivision.com/products/record-stream/calypso&quot; rel=&quot;nofollow&quot;&gt;http://www.haivision.com/products/record-stream/calypso&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've spoken with their tech support and they claim it can do the time sync functionality I desire.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recognize this product will be out of the price range for some looking for the same sort of thing.  The multiscreener app screaming drills mentions above looks promising, as does some other software products that website mentions.  I just do not have the time to check them out.&lt;/p&gt;&#xA;" OwnerUserId="11272" LastActivityDate="2015-07-27T11:34:36.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16070" PostTypeId="1" CreationDate="2015-07-27T12:03:38.460" Score="1" ViewCount="41" Body="&lt;p&gt;Using Sony Vegas Pro 12 and i am rendering a video. However the rendered video hasn't got any audio and some video parts are black. I am using a some transitions and i am currently trying to fix the video however the audio isn't there completely.&lt;/p&gt;&#xA;" OwnerUserId="11322" LastActivityDate="2015-07-27T12:03:38.460" Title="Sony Vegas 12 Not Rendering Parts Of Video" Tags="|video|audio|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16071" PostTypeId="1" CreationDate="2015-07-27T12:55:52.343" Score="4" ViewCount="3079" Body="&lt;p&gt;Is there a direct relationship between higher video bit depth (10-bit vs 8-bit, for example) and higher dynamic range, i.e. HDR?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm somewhat confused regarding this particular aspect of bit depth. I know that more bits allows us to capture and recreate more colors and their shades, but where exactly does dynamic range come in?&lt;/p&gt;&#xA;" OwnerUserId="11323" LastActivityDate="2015-08-03T12:46:51.473" Title="Relationship between bit depth and dynamic range?" Tags="|color|hdr|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16072" PostTypeId="1" CreationDate="2015-07-27T14:14:09.553" Score="1" ViewCount="4606" Body="&lt;p&gt;I am having an issue with a video that I am adding effects to. The video is clear when I import it, but when I drag it on to a composition, it gets blurry. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RSeaV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RSeaV.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11324" LastEditorUserId="6685" LastEditDate="2015-07-27T14:39:58.157" LastActivityDate="2019-08-18T22:23:27.657" Title="Video blurry after dragging it to composition" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16073" PostTypeId="2" ParentId="16072" CreationDate="2015-07-27T14:33:33.563" Score="4" Body="&lt;ol&gt;&#xA;&lt;li&gt;Your resolution is on a third&lt;/li&gt;&#xA;&lt;li&gt;But most importantly, your video is 720 x 480 resolution but on a 1920 x 1080 timeline (so it seems), so you are scaling it to fit (you can't make up for a lack of resolution but upscaling your footage).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;To get the right comp size, you can: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Drag your video file onto the little film icon&lt;/strong&gt; to the immediate left of the 8 bpc selector below your footage tree &lt;/li&gt;&#xA;&lt;li&gt;Or &lt;strong&gt;create a new composition based on the dimensions of your footage&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;There is no real point in making 480 footage 1080, it will not increase the quality.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="10619" LastEditorUserId="6685" LastEditDate="2015-07-27T14:51:21.910" LastActivityDate="2015-07-27T14:51:21.910" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16074" PostTypeId="1" CreationDate="2015-07-27T15:12:51.980" Score="2" ViewCount="101" Body="&lt;p&gt;I m working with two different footages dv 4:3 and dv 16:9. I wanted to make the project in 16:9 and upscale the 4:3 footages in 16:9 .. Is there any plugin or method that can be done without loosing its quality. I tried putting sharpen, bit and of saturation and antiflicker but its not helping, there is a pixlet vissible because of upscale of clip. Can somebody help me on this ...&lt;/p&gt;&#xA;" OwnerUserId="11320" LastActivityDate="2015-07-27T16:52:14.587" Title="How to upscale the dv 4:3 to dv 16:9 and maintain its quality while scaling" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16075" PostTypeId="2" ParentId="16074" CreationDate="2015-07-27T16:52:14.587" Score="1" Body="&lt;p&gt;I will say this. Most people who use 4:3 footage in a 16:9 project will only scale up until the clip is even with the top and bottom of the screen. The sides will maintain an even distance from either side of the 16:9 frame. The blank sides will usually be filled in with another layer of video. This background layer will sometimes be graphics and information or even an upscaled, blurred version of the original footage played back in sync. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check out this link: &lt;a href=&quot;https://forums.creativecow.net/thread/8/1153004&quot; rel=&quot;nofollow&quot;&gt;https://forums.creativecow.net/thread/8/1153004&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't believe there is a way to convert your 4:3 footage into 16:9 without loosing any quality. I suggest a hardware upgrade. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good Luck, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;ND&lt;/p&gt;&#xA;" OwnerUserId="11270" LastActivityDate="2015-07-27T16:52:14.587" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16078" PostTypeId="1" CreationDate="2015-07-27T19:23:56.320" Score="2" ViewCount="751" Body="&lt;p&gt;I am trying to edit video filmed by Hero4 Black in VirtualDub. So far I opened video in GoPro Studio and converted it to mpeg file. However when trying to open it in VirtualDub with Mpeg4 plugin I am getting error about audiocodec 00ff. I installed ac3acm codec and x264vfw but still have the same error. Anything else I'm missing?&lt;/p&gt;&#xA;" OwnerUserId="11329" LastActivityDate="2017-02-24T09:17:03.310" Title="Edit gopro 4k videos in virtualdub" Tags="|virtualdub|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16079" PostTypeId="1" CreationDate="2015-07-27T21:11:50.210" Score="2" ViewCount="432" Body="&lt;p&gt;I am using ffmpeg to cut out the intro in my video and replace it with a new intro. I run into a buffer underflow error when I try this. The commands I'm using are:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i LegalFinancialPlanning.mpg -ss 00:00:05.8 -c copy legalcut.mpg    &#xA;ffmpeg -f concat -i list.txt -c copy legalfinal.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I am able to cut the video, however it does not concatenate properly. The error I get is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[vob @ 0x7fd08c058200] packet too large, ignoring buffer limits to mux it&#xA;[vob @ 0x7fd08c058200] buffer underflow st=1 bufi=5673 size=11229&#xA;[vob @ 0x7fd08c058200] buffer underflow st=1 bufi=7697 size=11229&#xA;[vob @ 0x7fd08c058200] packet too large, ignoring buffer limits to mux it&#xA;[vob @ 0x7fd08c058200] buffer underflow st=1 bufi=7697 size=11229&#xA;[vob @ 0x7fd08c058200] buffer underflow st=1 bufi=9721 size=11229&#xA;[vob @ 0x7fd08c058200] packet too large, ignoring buffer limits to mux it&#xA;[vob @ 0x7fd08c058200] buffer underflow st=1 bufi=9721 size=11229&#xA;[vob @ 0x7fd08c058200] buffer underflow st=1 bufi=511 size=1957&#xA;[vob @ 0x7fd08c058200] buffer underflow st=1 bufi=573 size=2633&#xA;[vob @ 0x7fd08c058200] buffer underflow st=1 bufi=2597 size=2633&#xA;[vob @ 0x7fd08c058200] packet too large, ignoring buffer limits to mux it&#xA;[vob @ 0x7fd08c058200] buffer underflow st=1 bufi=2597 size=2633&#xA;[vob @ 0x7fd08c058200] buffer underflow st=1 bufi=1983 size=11161&#xA;[vob @ 0x7fd08c058200] buffer underflow st=1 bufi=4007 size=11161&#xA;[vob @ 0x7fd08c058200] packet too large, ignoring buffer limits to mux it&#xA;[vob @ 0x7fd08c058200] buffer underflow st=1 bufi=4007 size=11161&#xA;[vob @ 0x7fd08c058200] buffer underflow st=1 bufi=6031 size=11161&#xA;[vob @ 0x7fd08c058200] packet too large, ignoring buffer limits to mux it&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Eventually I want to write a bash script so I can replace the intro/outro in multiple videos at once, which is why I'm using ffmpeg. Does anyone have insight on what I'm doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="11332" LastActivityDate="2015-07-27T21:11:50.210" Title="ffmpeg to cut intro and replace with new intro" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16080" PostTypeId="2" ParentId="15641" CreationDate="2015-07-28T11:14:47.903" Score="1" Body="&lt;p&gt;You can render the ending with a lossless format (e.g. Animation/PNG) and then just append that to all your other videos.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-07-28T11:14:47.903" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16081" PostTypeId="2" ParentId="16057" CreationDate="2015-07-28T11:20:41.330" Score="0" Body="&lt;p&gt;Premiere pro supports the creation of &quot;subclips&quot; which are smaller clips as you describe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can then show them to your team from inside premiere or render them to individual videos with the adobe encoder utility.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-07-28T11:20:41.330" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16082" PostTypeId="2" ParentId="16022" CreationDate="2015-07-28T11:25:52.233" Score="0" Body="&lt;p&gt;Quality wise they are the same&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;AVCHD = great for in-camera editing, and very flexible. Limited&#xA;compatibility with devices/softare&lt;/li&gt;&#xA;&lt;li&gt;MP4 = great compatibility, can only be edited with&#xA;external software on computer&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you have experience with editing, and your editing software supports avchd then choose that (as you already have done)&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-07-28T11:25:52.233" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16083" PostTypeId="1" CreationDate="2015-07-28T14:16:46.540" Score="1" ViewCount="527" Body="&lt;p&gt;How to add white borders to cropped video?  I have 4:3 video. Want to convert it to 1:1 with white borders. How to change border color?&lt;/p&gt;&#xA;" OwnerUserId="11185" LastActivityDate="2015-07-28T14:16:46.540" Title="Davinci resolve 11 lite. Add white borders" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16084" PostTypeId="2" ParentId="15867" CreationDate="2015-07-28T17:55:57.397" Score="1" Body="&lt;p&gt;Forward thinking the A7s is capable of 4k (with external recorder, e.g. atomos shogun) which is trendy and can shoot at a higher fps (120 fps) and in S-log which for me is three major selling points over the 5D. Not to mention the picture is a lot sharper. The 5D in my opinion is not something I would want to use given the option of the A7s, the image is soft and muddled in comparison. I have used both.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said, if you are not concerned with taking pictures, and strictly want to get into video may I suggest buying a C100 MK I. On ebay they are in roughly the same price range, and the camera, although not out performing the A7 in terms of resolution and frame rates, has a beautiful Canon look out of the box, professional video controls + form factor, and many people prefer C-log over S-log.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said, if I were to get a B-cam to my C100 MK II, I would get the A7S. Sure it might take some work to match the Sony green-cast to the generally more neutral Canon image, but the pros far outweigh the cons.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2015-07-28T17:55:57.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16085" PostTypeId="2" ParentId="10305" CreationDate="2015-07-28T19:41:10.613" Score="3" Body="&lt;p&gt;I was seeing the same thing. Exported video when played in QT was washed out compared to what my preview was in Premiere. When I looked at the same rendered file in VLC it matched. so evidently the problem was in QT. I opened pref and found a dialog box that said. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7Iw8p.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7Iw8p.png&quot; alt=&quot;QT Pref&quot;&gt;&lt;/a&gt;&quot; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Enable Final Cut Studio color compatibility. When enabled video is not displayed using ColorSync.&quot; So that is apparently the culprit. When I enable my color now matches PPro and VLC much closer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Premiere Pro CC now so not sure if that QT preference is an artifact from when I used to use FinalCut Pro and if all MAC QT users have it but I did and when I enabled fixed it. downside is my audience probably won't know to enable this so they will still see washed out. Although most view through Youtube/Vimeo which match PPro closer.&lt;/p&gt;&#xA;" OwnerUserId="11335" LastEditorUserId="6685" LastEditDate="2015-07-29T09:42:01.967" LastActivityDate="2015-07-29T09:42:01.967" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16087" PostTypeId="1" AcceptedAnswerId="16126" CreationDate="2015-07-29T01:02:47.390" Score="1" ViewCount="2301" Body="&lt;p&gt;I have many videos and pictures. I'd like to burn DVD with pictures and videos and play in DVD Player.&#xA;And I want to make cml tool to prepare pictures and videos for creating DVD. I know how I burn dvd from video_ts folder, but not how I create video_ts folder with pictures and videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.Can I write pictures and videos to Video-DVD?&lt;br&gt;&#xA;2. How to create video_ts files with pictures and videos?&lt;br&gt;&#xA;3. To prepare pictures and videos for writing dvd, how should I do?&lt;br&gt;&lt;/p&gt;&#xA;" OwnerUserId="11338" LastActivityDate="2015-08-04T11:43:02.037" Title="How to create TS files from pictures and videos?" Tags="|video|dvd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16090" PostTypeId="2" ParentId="16027" CreationDate="2015-07-29T09:36:24.330" Score="1" Body="&lt;p&gt;I would try with these apps (as they are both free)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://ifree-recorder.com/index.htm&quot; rel=&quot;nofollow&quot;&gt;http://ifree-recorder.com/index.htm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://voipcallrecording.com/&quot; rel=&quot;nofollow&quot;&gt;http://voipcallrecording.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-07-29T09:36:24.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16092" PostTypeId="1" CreationDate="2015-07-29T16:46:37.357" Score="1" ViewCount="3920" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;I shot a commercial and in the commercial we have people holding an ipad or iphone and the screen of the devices were green like the pics below. Now I have to overlay some UI/UX from apps and web platforms onto the devices. I've never done this before and need a tutorial on how to do it. I know it involves keying, tracking and Adobe After Effects. There isn't much movement besides slight hand shaking and a tiny movement.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Also, I never know when to use tracking markers on the ipad/iphone green screen. We use an app that allows you to have a pure green screen or little tracking markers like the pics below. I've been told by some vfx people that they prefer just a green screen, but others say they need tracking markers because it will take super long if there are no tracking markers. They would have to do it frame by frame. So what I think I've gathered is that - if the green screen is completely still it can be a pure green screen, and if there is movement involved you need tracking markers?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://bit.ly/1fHFnob&quot; rel=&quot;nofollow&quot;&gt;http://bit.ly/1fHFnob&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://bit.ly/1IqDGlP&quot; rel=&quot;nofollow&quot;&gt;http://bit.ly/1IqDGlP&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11344" LastActivityDate="2015-08-01T18:38:26.463" Title="Keying + Tracking onto Tablet/Smartphone with Green Screen Display in Adobe Premiere or After Effects" Tags="|after-effects|greenscreen|chromakey|tracking|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16093" PostTypeId="2" ParentId="16092" CreationDate="2015-07-29T17:02:17.900" Score="1" Body="&lt;p&gt;Trackers never hurt and there's almost no reason not to use them, but there's no substitute for pre-production and field testing. The only failure is failure to plan.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally your markers would be high contrast, however you can place darker green markers on a green screen which can be entirely keyed out if the artist doesn't need them, but will still be useful if they are needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you've already shot this without markers, your best hope is a three-point tracker that can find and hold the screen edges. Since you say you have minimal motion, this shouldn't be too hard.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-07-29T17:02:17.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16094" PostTypeId="1" AcceptedAnswerId="16122" CreationDate="2015-07-29T17:35:09.790" Score="1" ViewCount="80" Body="&lt;p&gt;I've made an example version of a news video in After Effects that we will be altering weekly. The template might be used by less skilled people and I'd like to know what (if there are) ways to make it easier to customize it later and how could I do that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now the shape has its position and scale keyframed and the clips have their position keyframed. Maybe putting them in a &quot;film reel&quot; and just moving their parent would be more convenient (the idea came while writing here). Weekly we will need to change the number and duration of clips and title size and position. I not afraid to get into coding expressions or something else - maybe it's possible to simplify the process that way somehow?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The project is pretty simple:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Clips with push transition (like the one you can easily do in&#xA;Premiere)&lt;/li&gt;&#xA;&lt;li&gt;Blurred area with varying size titles for each clip&lt;/li&gt;&#xA;&lt;li&gt;A white shape indicating current title (text overlaping with the shape turns black)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The shape moves down as the clips change.&#xA;Here are 3 screenshots transitioning from a smaller title to a big one:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5oqh6.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5oqh6.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11343" LastActivityDate="2015-08-03T11:39:44.360" Title="Making a simple animated template for frequent slight changes" Tags="|after-effects|animation|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16095" PostTypeId="1" CreationDate="2015-07-29T21:10:23.087" Score="0" ViewCount="89" Body="&lt;p&gt;I have a microcassette tape with some video on it that I'd like to digitize, but the camera I have that can play microcassette tapes is so old its drivers come on a floppy disk, which I can't read with any of my computers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I can use a firewire cable to transfer the video, but none of my computers have a firewire port, so I bought a firewire-to-usb cable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried using &lt;code&gt;WinDV&lt;/code&gt; &lt;code&gt;VideoDub&lt;/code&gt; and &lt;code&gt;dvgrab&lt;/code&gt; to capture the tape, however both &lt;code&gt;WinDV&lt;/code&gt; and &lt;code&gt;VideoDub&lt;/code&gt; suffer from the problem that Windows has no drivers for the camera, and &lt;code&gt;dvgrab&lt;/code&gt; can't find the camera in Arch Linux, probably for the same reason.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way of using the equipment I have to read the video, or will I have to purchase a floppy disk reader to get the drivers?&lt;/p&gt;&#xA;" OwnerUserId="11175" LastActivityDate="2015-07-31T04:58:11.387" Title="Help reading analog video?" Tags="|video|analog|digitisation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16096" PostTypeId="2" ParentId="16095" CreationDate="2015-07-30T00:22:03.460" Score="1" Body="&lt;p&gt;Even with a floppy drive, you may be SOL -- it's likely the drivers won't work in your current OS. You might have to fire up a virtual machine with an older OS. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the video is analog, consider a USB video capture device. &lt;a href=&quot;http://www.tigerdirect.com/applications/category/category_slc.asp?CatId=1428&quot; rel=&quot;nofollow&quot;&gt;Here's&lt;/a&gt; a whole page of them, or search for &quot;USB video capture&quot;.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-07-30T00:22:03.460" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16097" PostTypeId="1" CreationDate="2015-07-30T02:15:30.700" Score="0" ViewCount="93" Body="&lt;p&gt;I'd like to know how to create a video tutorial like:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/WaPJGo4vHlg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/G8ep1_ucjuY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any 'easy to use software' to achieve such effects? I've tried &lt;a href=&quot;http://www.avs4you.com/&quot; rel=&quot;nofollow&quot;&gt;AVS4YOU&lt;/a&gt; and other beginner animation software packages, but I don't get it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really appreciate any help.&lt;/p&gt;&#xA;" OwnerUserId="11345" LastEditorUserId="6685" LastEditDate="2015-08-01T10:39:30.750" LastActivityDate="2015-08-02T17:01:00.647" Title="How to create tutorial videos?" Tags="|software-recommendation|tutorial|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16098" PostTypeId="2" ParentId="12224" CreationDate="2015-07-30T09:48:38.637" Score="1" Body="&lt;p&gt;Try QtCAM - An Open Source Webcam application for devices supported by UVC driver or any V4L2 compatible device. You can see the preview directly on your laptop. Their updated version has support for all USB cameras and you could download the source code from GitHub.&lt;/p&gt;&#xA;" OwnerUserId="11346" LastEditorUserId="11346" LastEditDate="2016-08-05T08:40:43.673" LastActivityDate="2016-08-05T08:40:43.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16099" PostTypeId="1" CreationDate="2015-07-30T21:41:51.400" Score="2" ViewCount="670" Body="&lt;p&gt;We shot some stuff on a Red Epic. The footage is on a 2TB Hitachi HD. Now I need to edit the footage. I can't transfer all the footage to my MacPro desktop because it is too many TB and will take too long. I also tried editing the footage straight from the external Hitachi HD before and it is very laggy and no good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what is the preferred workflow for this situation? I've heard something about exporting proxies or low-res video from the original footage via RedCine-X Pro. Then using that low-res footage to edit in Premiere. Then I guess export some data that will link to the original footage, or name the low-res files the same filenames as the original footage?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm lost and need a workflow.&lt;/p&gt;&#xA;" OwnerUserId="11344" LastActivityDate="2015-09-14T00:54:57.207" Title="Red Epic, Adobe Premiere Editing Workflow" Tags="|premiere|workflow|red|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16100" PostTypeId="2" ParentId="16095" CreationDate="2015-07-31T04:50:04.147" Score="0" Body="&lt;p&gt;If the camera has a firewire cable then it can send out a DV signal through it, like any other DV camera. so you should be able to capture it, and you won't need specific drivers for it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/IEEE_1394#DV&quot; rel=&quot;nofollow&quot;&gt;https://en.wikipedia.org/wiki/IEEE_1394#DV&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A firewire to USB adaptor isn't going to work though, you'll need a &lt;a href=&quot;http://www.ebay.com.au/itm/DV-Video-Capture-Three-1394-Port-Full-Height-PCI-E-Add-On-Cards-/111690081775&quot; rel=&quot;nofollow&quot;&gt;DV capture card&lt;/a&gt; for your machine. There are plenty and they're not too expensive — try to find one that comes with free video capture software. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm guessing that it's not really a microcassette camera — microcassettes are a subcompact &lt;a href=&quot;https://en.wikipedia.org/wiki/Microcassette&quot; rel=&quot;nofollow&quot;&gt;audio recording format&lt;/a&gt; and not something you could possibly record video on. Given the existence of a firewire connection I'd be prepared to bet cash money that it's actually &lt;a href=&quot;https://en.wikipedia.org/wiki/DV#Magnetic_tape&quot; rel=&quot;nofollow&quot;&gt;miniDV&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-07-31T04:58:11.387" LastActivityDate="2015-07-31T04:58:11.387" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16101" PostTypeId="2" ParentId="16071" CreationDate="2015-07-31T06:01:15.030" Score="2" Body="&lt;p&gt;More bits mean more possible values for each channel. So each channel in an 8 bit image has 256 possible values, from 0 to 255, while a 10 bit channel has 4 times as many: 0 to 1024.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Dynamic range however is the range between the brightest sample a sensor chip can encode and the darkest - it is a property of the sensor. So you could conceivably have an 8 bit sensor with a wider dynamic range than a 10 bit sensor if it could resolve very bright and dark images, it would just have fewer steps between these than a 10 bit sensor with the same dynamic range.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-07-31T06:01:15.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16103" PostTypeId="1" CreationDate="2015-07-31T13:36:38.767" Score="1" ViewCount="138" Body="&lt;p&gt;What is the best way to make Windows compatible with .MOV format? I am looking for solutions other than using QuickTime to play .MOV movies on my Windows 8 machine. I want Windows to support .MOV (via Windows Media Player, Xbox Video, or whatever the default movie player happens to be.)&lt;/p&gt;&#xA;" OwnerUserId="11349" LastActivityDate="2015-08-01T01:16:49.123" Title="What is the best way to make Windows compatible with .MOV format?" Tags="|windows|quicktime|windows-movie-maker|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16104" PostTypeId="2" ParentId="16103" CreationDate="2015-08-01T01:16:49.123" Score="2" Body="&lt;p&gt;.MOV is a container format, not a video format. As such it can contain media in any number of 'tracks' of audio, video, subtitles etc. In particular, video tracks may use any supported codec, not just Apple-specific ones. It's very common to see H264 encoded video in a MOV file, and H264 is widely supported on Apple, Windows and Linux platforms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if you control the encoding, use H264 and you'll have nearly universal compatibility. If you don't control the encoding, you have to insure that the target system supports the codec used, which puts you in a bind because there are dozens of codecs and a given system may not have yours installed.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-08-01T01:16:49.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16105" PostTypeId="1" AcceptedAnswerId="16108" CreationDate="2015-08-01T16:22:43.177" Score="1" ViewCount="101" Body="&lt;p&gt;I have a Illustrator vector shape (It has a shape path around it). But I need a mask line in the middle of the shape. The problem with with doing it by drawing a shape line over it is that I can't get the corners right.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to use the middle lined mask to do animations with. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GUVrN.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GUVrN.jpg&quot; alt=&quot;This is what I am looking for&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an easy way to achieve this? &lt;/p&gt;&#xA;" OwnerUserId="11304" LastActivityDate="2015-08-02T05:23:53.757" Title="Create middle lined mask in vector shape" Tags="|after-effects|shape|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16106" PostTypeId="2" ParentId="16092" CreationDate="2015-08-01T18:38:26.463" Score="1" Body="&lt;p&gt;With these kinds of things, I suggest not even using a green screen in the first place, especially one that is in an app and casts a green glow on the actors hands or body and picks up on reflections. Its much easier to have, instead, either a green piece of paper (which honestly will not really work in daylight in terms of the key but will at least give you reference for the screen), and always use tracking markers. In my experience circular ones like the one you have in your app in the first picture work nicely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recently embarked on something similar:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/y09GH.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/y09GH.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Key takeaways were:&#xA;- record in 50fps with a high shutter rate (to avoid motion blur which makes things difficult to track, can always add it back in)&#xA;- use circular tracking markers with a clear differentiating color in the center (if you don't plan on green screening)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used Mocha via AE and exported the corner pin data, and it was a lifesaver. As you said you don't have that much movement so I doubt you'll have to do much in the way of refining your track like I did (see green keyframes). But you will have to add an exclusion layer (basically rotoscoping a mask) around the actors hands if they enter the frame of the screen. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my case I had to do a lot of manual tracking after exporting the corner pin data for sections where the actor walked across the screen and we didn't have all 4 tracking markers in the shot. But I doubt you will have to do anything like this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some good tutorials:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/73685360&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/73685360&lt;/a&gt; - in depth, helped me a lot with the refining of the tracks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.imagineersystems.com/videos/webinar-difficult-tracking-challenges-a-mocha-project-breakdown/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.imagineersystems.com/videos/webinar-difficult-tracking-challenges-a-mocha-project-breakdown/&lt;/a&gt; - good for learning about how mocha works&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/eh-a75l6vlA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; - dealing with fingers&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/xxGcQkjdZvc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; - basics&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oh and here is my final result in case you were curious: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/7EW5sLNlrts?start=22&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That little black difference between the monitor and the bevel really helps sell it in my opinion!&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2015-08-01T18:38:26.463" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16107" PostTypeId="2" ParentId="12129" CreationDate="2015-08-02T01:44:16.730" Score="3" Body="&lt;p&gt;Another interesting survey.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On a youtube talk forum, a straw count was taken asking users what their favorite editing software was (NLE). Out of a sample size of 104 this is how it broke down below (I added my preferences as well, premiere pro and screenflow)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;23% &lt;a href=&quot;http://www.sonycreativesoftware.com/vegaspro&quot; rel=&quot;nofollow&quot;&gt;Sony Vegas Pro&lt;/a&gt; &lt;br&gt;&#xA;23% &lt;a href=&quot;http://www.adobe.com/ca/products/premiere.html&quot; rel=&quot;nofollow&quot;&gt;Premiere Pro&lt;/a&gt; &lt;br&gt;&#xA;13% &lt;a href=&quot;http://windows.microsoft.com/en-ca/windows-live/movie-maker&quot; rel=&quot;nofollow&quot;&gt;Windows Movie Maker&lt;/a&gt; &lt;br&gt;&#xA;8% &lt;a href=&quot;https://www.apple.com/ca/final-cut-pro/&quot; rel=&quot;nofollow&quot;&gt;Final Cut Pro X&lt;/a&gt; &lt;br&gt;&#xA;6% &lt;a href=&quot;https://www.apple.com/ca/mac/imovie/&quot; rel=&quot;nofollow&quot;&gt;iMovie&lt;/a&gt; &lt;br&gt;&#xA;4% &lt;a href=&quot;https://www.techsmith.com/camtasia.html&quot; rel=&quot;nofollow&quot;&gt;Camtasia Studio&lt;/a&gt; &lt;br&gt;&#xA;4% &lt;a href=&quot;http://www.videostudiopro.com/en/products/videostudio/pro/&quot; rel=&quot;nofollow&quot;&gt;Corel Video Studio&lt;/a&gt; &lt;br&gt;&#xA;3% &lt;a href=&quot;http://www.nchsoftware.com/videopad/&quot; rel=&quot;nofollow&quot;&gt;VideoPad&lt;/a&gt; &lt;br&gt;&#xA;2% &lt;a href=&quot;https://www.lwks.com/&quot; rel=&quot;nofollow&quot;&gt;Lightworks&lt;/a&gt; &lt;br&gt;&#xA;2% &lt;a href=&quot;http://www.magix.com/ca/movie-edit-pro/&quot; rel=&quot;nofollow&quot;&gt;Magic Movie Edit Pro&lt;/a&gt; &lt;br&gt;&#xA;2% &lt;a href=&quot;https://hitfilm.com/&quot; rel=&quot;nofollow&quot;&gt;HitFilm&lt;/a&gt; &lt;br&gt;&#xA;2% &lt;a href=&quot;http://www.cyberlink.com/products/powerdirector-ultra/features_en_CA.html&quot; rel=&quot;nofollow&quot;&gt;Power Director Pro&lt;/a&gt; &lt;br&gt;&#xA;2% &lt;a href=&quot;http://www.telestream.net/screenflow/overview.htm&quot; rel=&quot;nofollow&quot;&gt;ScreenFlow&lt;/a&gt; &lt;br&gt;&#xA;1% &lt;a href=&quot;http://www.sonycreativesoftware.com/moviestudiope&quot; rel=&quot;nofollow&quot;&gt;Sony Movie Studio&lt;/a&gt; &lt;br&gt;&#xA;1% &lt;a href=&quot;https://kdenlive.org/&quot; rel=&quot;nofollow&quot;&gt;Kdenlive&lt;/a&gt; (Linux) &lt;br&gt;&#xA;1% &lt;a href=&quot;http://filmora.wondershare.com/&quot; rel=&quot;nofollow&quot;&gt;Filmora&lt;/a&gt; &lt;br&gt;&#xA;1% &lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt; &lt;br&gt;&#xA;1% &lt;a href=&quot;http://www.virtualdub.org/&quot; rel=&quot;nofollow&quot;&gt;VirtualDub&lt;/a&gt; &lt;br&gt;&#xA;1% &lt;a href=&quot;http://www.avs4you.com/AVS-Video-Editor.aspx&quot; rel=&quot;nofollow&quot;&gt;AVS Editor&lt;/a&gt; &lt;br&gt;&#xA;1% &lt;a href=&quot;http://www.videostudiopro.com/en/products/videostudio/ultimate/&quot; rel=&quot;nofollow&quot;&gt;VideoStudio&lt;/a&gt; &lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Notable mentions:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1, &lt;a href=&quot;https://www.avid.com/US/Solutions/byNeed/video-editing.html&quot; rel=&quot;nofollow&quot;&gt;Avid&lt;/a&gt;, 1 person mentioned it, but they were forced to use it in a university program, otherwise at home, for actual video editing work they used another tool. So I left it out since it was not exactly a glowing endorsement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2, &lt;a href=&quot;https://www.blackmagicdesign.com/ca/products/davinciresolve/edit&quot; rel=&quot;nofollow&quot;&gt;Davinci Resolve&lt;/a&gt;, another surprise. A wonderful free program that came out when black magic 4K video camera came out. But no-one in the youtube community is using it yet. Actually I use premiere pro myself, but still thought more people would be using this one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Source: &lt;a href=&quot;http://yttalk.com/threads/what-does-everyone-use-for-editing.171578/&quot; rel=&quot;nofollow&quot;&gt;http://yttalk.com/threads/what-does-everyone-use-for-editing.171578/&lt;/a&gt;)&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2015-08-02T01:44:16.730" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16108" PostTypeId="2" ParentId="16105" CreationDate="2015-08-02T05:23:53.757" Score="2" Body="&lt;p&gt;In Photoshop (or Illustrator), in a new layer above the vector shape, create a solid shape of the mask you want (with rounded corners). Export that layer alone as an image and import into AE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use auto-trace to create a mask from it. See &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/creating-shapes-masks.html#create_a_mask_from_channel_values_with_auto_trace&quot; rel=&quot;nofollow&quot;&gt;https://helpx.adobe.com/after-effects/using/creating-shapes-masks.html#create_a_mask_from_channel_values_with_auto_trace&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-08-02T05:23:53.757" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16109" PostTypeId="1" CreationDate="2015-08-02T08:21:14.913" Score="0" ViewCount="421" Body="&lt;p&gt;I've been performing live video broadcast for awhile now carrying around lots of equipment so I can have nice live audio feed in the video stream but I'm currently looking for ways to simplify my setup.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using a full blown mic on a stand connected directly to an audio interface with XLR cable in between which works fine but it's not very mobile and it's not very convenient for the person talking as they will have to stay close to the microphone without being able to move away from it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to have something more flexible instead like a lavalier mic or a headset mic (the person talking is not in the camera view so they don't have to look nice) that would allow the speaker to move around and have more freedom and still be able to use this setup without a pause for a long periods of time (sometimes over 4-5 hours). From what I've seen online, I'm not even sure that if I can and how to connect a lavalier mic (or nice head set) for live audio feed and even if I find a way to do so - what would be a good recommendation to have &quot;infinite&quot; power source for the mic as batteries would not hold long enough for some of the sessions that I have. Would it work with any model or only some specific ones would be suited for this setup? Any tips, information or recommendations are welcome. Thank you!&lt;/p&gt;&#xA;" OwnerUserId="5463" LastActivityDate="2015-08-02T23:28:07.373" Title="How to set up live audio feed (with lavalier mic)?" Tags="|video|audio|microphone|live-recording|lavaliere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16110" PostTypeId="1" CreationDate="2015-08-02T08:37:26.357" Score="2" ViewCount="1924" Body="&lt;p&gt;I want to remove fish eye effect using command line. I've found 2 ways. The simplest is using frei0r plugin called &quot;defish0r&quot; it has few parameters like &#xA;fisheye type, scalling, interpol and video aspect. The second way is using ffmpeg with built-in lens correction filter (&lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-all.html#lenscorrection&quot; rel=&quot;nofollow&quot;&gt;http://www.ffmpeg.org/ffmpeg-all.html#lenscorrection&lt;/a&gt;). The second way according to documentation needs camera calibration file e.g from opencv, it might be more adequate result when you calibrated camera. My question is, what is better ? Is built-in lens correction filter is not proper way to remove fish eye effect?  When use what?&lt;/p&gt;&#xA;" OwnerUserId="11355" LastEditorUserId="11355" LastEditDate="2015-08-02T10:06:28.703" LastActivityDate="2015-08-02T10:06:28.703" Title="ffmpeg lens correction, fisheye effect" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ClosedDate="2016-11-21T21:36:36.860" ContentLicense="CC BY-SA 3.0" />
  <row Id="16112" PostTypeId="2" ParentId="16097" CreationDate="2015-08-02T17:01:00.647" Score="1" Body="&lt;p&gt;Personally, I don't think those videos look very good. I certainly wouldn't take their message seriously given their poor quality. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But that point aside, many people use either &lt;a href=&quot;http://www.apple.com/final-cut-pro/motion/&quot; rel=&quot;nofollow&quot;&gt;Apple Motion&lt;/a&gt; or &lt;a href=&quot;http://www.adobe.com/products/aftereffects.html?promoid=KFMVM&quot; rel=&quot;nofollow&quot;&gt;Adobe After Effects&lt;/a&gt; to create motion graphics. Motion offers &quot;behaviors&quot; that make moving objects around a little easier if you aren't familiar with keyframing. &lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-08-02T17:01:00.647" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16113" PostTypeId="1" CreationDate="2015-08-02T18:05:56.080" Score="3" ViewCount="108" Body="&lt;p&gt;If I'm making 4-minute videos and everybody's dropping off after 2, then I'm doing something wrong. However, I notice that sometimes I watch a much longer video, often because the quality of the narrative is so good. When trying to craft engaging content, what factors influence a viewer to watch the video to then end?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some factors I've considered:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Shot variety such as B-roll and multiple camera angles&lt;/li&gt;&#xA;&lt;li&gt;Music&lt;/li&gt;&#xA;&lt;li&gt;Dramatic tension&lt;/li&gt;&#xA;&lt;li&gt;Authentic responses to interview questions (in a mini-documentary)&lt;/li&gt;&#xA;&lt;li&gt;Production value (color grading, audio mix, etc.)&lt;/li&gt;&#xA;&lt;li&gt;Motion graphics&lt;/li&gt;&#xA;&lt;li&gt;Video length&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5113" LastActivityDate="2015-08-06T05:46:09.643" Title="What factors influence how much of an online video people will watch?" Tags="|editing|youtube|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16114" PostTypeId="2" ParentId="16109" CreationDate="2015-08-02T20:21:09.387" Score="1" Body="&lt;p&gt;First thing is to check whether your audio interface XLR input can supply 48 V phantom power. If the answer is yes, look for a microphone that can be powered by phantom power. If this is not the case, look for an adapter that can power your mic and output to your XLR input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For your use case, I think that a headset mic would be better than a lavalier one as it maintains the same sound when the speaker moves his head relatively to it's torso. You also are more safe against clothes noise. Most serious microphone makers offer this kind of product. Entry level products can be found from around 100 €.&lt;/p&gt;&#xA;" OwnerUserId="9147" LastActivityDate="2015-08-02T20:21:09.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16115" PostTypeId="2" ParentId="16109" CreationDate="2015-08-02T23:28:07.373" Score="0" Body="&lt;p&gt;Well in general I think we'd need information as to how exactly you are feeding your audio and video inputs into a livestream. But my guess is, you have atleast a basic capture device that supports analog inputs. In which case, with or without an adaptor depending on the model, you can just about connect any 3.5mm jack into. So a Sennheiser g3 would probably work for you, and in my experience most audio guys at live events are using them (you can connect a lav or a headset to them)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a good article on the battery life of them: &lt;a href=&quot;http://www.eventdv.net/Articles/News/Feature/In-the-Field-The-Sennheiser-ew100ENG-G3-Wireless-System-and-Rechargeable-Batteries-60879.htm&quot; rel=&quot;nofollow&quot;&gt;http://www.eventdv.net/Articles/News/Feature/In-the-Field-The-Sennheiser-ew100ENG-G3-Wireless-System-and-Rechargeable-Batteries-60879.htm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sure you know theres no such thing as 'infinite' power unless you have some engineering background and are ready to do some hacking to the actual device.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2015-08-02T23:28:07.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16116" PostTypeId="2" ParentId="16022" CreationDate="2015-08-02T23:50:19.593" Score="1" Body="&lt;p&gt;Well first off, the C100 Mk I &lt;strong&gt;DOES NOT&lt;/strong&gt; offer an MP4 option, only a AVCHD option. I'm assuming you meant the MKII as you said 'recently bought'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you look at the specs of the C100 MK II you'll see in MP4 mode you can't record interlaced, but in AVCHD you can (but you don't have to if you are at 28 mbps). So basically you can't go wrong (aka get interlaced files) with MP4, with that being said, you can also use the AVCHD wrapper @ 28 mbps and not get interlaced files (look out for the 'i' next to the framerates).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;People primarily use the MP4 wrapper in the C100 MK II because it has the capability of recording at a higher bit rate (35 mbps) which means you have more information to work with when you get into the editing room, its good for color grading, and in some cases has less noise. I also find that MP4 works better inside of PP CC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also shooting in MP4 will probably not have much an effect on jello (although its never something I've experience in my C100's) but not shooting in interlaced will definitely help due to the way interlaced works (capturing every other line).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm a C100 MK I &amp;amp; MK II user ;)&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2015-08-02T23:50:19.593" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16117" PostTypeId="2" ParentId="15709" CreationDate="2015-08-03T00:31:02.710" Score="1" Body="&lt;p&gt;I have used both on my Ninja Blade with my C100, no real difference in quality across drastically different circumstances (night vs day). Pro Res works better on Mac, DNXHD works better on Windows. It all comes down to your OS, and whether you have to share the files with broadcasters (in which case I would use DNX as a lot of editors use Avid).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other then that, I haven't heard, or seen first hand any differences between the two and I can honestly say that any differences pointed out online are mostly conjecture.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2015-08-03T00:31:02.710" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16118" PostTypeId="2" ParentId="16113" CreationDate="2015-08-03T00:37:51.893" Score="3" Body="&lt;p&gt;Content trumps everything. People will watch if the story is compelling. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can have crap audio, blocky graphics, bad lighting, noisy video etc but it all falls away if you have something to say that an audience wants to hear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Naturally it's always a good idea to do the best job you can in all the technical areas because you don't want to actively annoy your audience, and they come to you with certain expectations driven by top-level production in video and film, but technique by itself is never enough.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-08-03T00:37:51.893" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16119" PostTypeId="1" AcceptedAnswerId="16203" CreationDate="2015-08-03T00:51:55.833" Score="1" ViewCount="142" Body="&lt;p&gt;&lt;strong&gt;I'm looking for a device that takes a minimum of 18 HDMI-PC (max 36) sources at 1080p60 for a possible venture I'm going to getting in to. I'm going to be taking these sources and using them for monitoring/broadcasting/recording a show. (Edit: Note: Some of the inputs will only support 1080p60 and 720p60. No in-between. (Can't do 720 due to requirements in business agreement))&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know of the ATEM devices by Blackmagic, but, they don't state they do 1080p60 and this may present a problem. Not to mention in order for all 18 PCs to connect i would have to buy a converter for each connection as SDI is not usually a native connection on most PCs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Notes: SDI is a completely new connection to me as of today. I have never done anything with broadcasting equipment)&lt;/p&gt;&#xA;" OwnerUserId="11314" LastEditorUserId="11314" LastEditDate="2015-08-07T02:15:14.100" LastActivityDate="2016-08-10T12:30:29.893" Title="Switch between 18-?? hdmi PC sources for live production" Tags="|live|hdmi|production|broadcasting|sdi|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16120" PostTypeId="2" ParentId="8420" CreationDate="2015-08-03T09:33:01.820" Score="0" Body="&lt;p&gt;You could get creative and use some PVC pipe or metal PVC ties to attach something like this &lt;a href=&quot;http://www.bhphotovideo.com/c/product/1095844-REG/feiyu_fegmg3_ultra_3_axis_handheld_gimbal.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/1095844-REG/feiyu_fegmg3_ultra_3_axis_handheld_gimbal.html&lt;/a&gt;. It won't really help up/down movement that much, but it will greatly help your roll, pitch, and yaw. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Honestly its the best solution that will also have other applications when you don't want it on your helmet, and just want to get some nice gopro shots.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2015-08-03T09:33:01.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16121" PostTypeId="2" ParentId="15934" CreationDate="2015-08-03T09:49:49.713" Score="0" Body="&lt;p&gt;Adobe warp stabilizer, Mercalli pro, Mocha AE, Vegas Stablize, these are all either part of the NLE or separate plugins that work to stabilize a shot. In my experience, Mercalli is by far the best, and has simple options that you can customize depending on the type of stabilization.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With that in mind, I've found its really important to shoot at a higher frame rate and higher shutter speed to minimize motion blur as that is usually what makes post-processed video stabilization look wobbly among other things like shear. Up and down movement is probably the simplest to correct, but any footage that involves movement forward/backward / pans will have to be broken up into sections, or may not be stablizable due to the motion (will look weird) and too much would be cut off in the crop.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2015-08-03T09:49:49.713" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16122" PostTypeId="2" ParentId="16094" CreationDate="2015-08-03T11:39:44.360" Score="1" Body="&lt;p&gt;I would take a learning from templates on videohive. Pre-comp all the text layers and put them in a separate organized folder in the project. This way if they have to edit the after effects file its just a matter of changing the text in the precomped layers. With that being said, I guarantee that you will never have on a week to week basis the same size text layer as there are always more or less characters per word .etc. So you might have to implement some expressions to make boxes increase in height with regards to the text layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you put your text layers in a bounding box this fixes the horizontal width issue, but the height length will have to be figured out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said, once its setup, I know that AE CC 2015 when imported into PP CC 2015 allows for users to edit the text from AE inside of PP which is quite useful in your situation where the users may not have that much AE knowledge.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2015-08-03T11:39:44.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16123" PostTypeId="2" ParentId="16071" CreationDate="2015-08-03T12:46:51.473" Score="2" Body="&lt;p&gt;Dynamic range is the difference between extreme light and extreme dark, whereas bit depth defines the number of steps in between.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a practical relationship between the two, not a theoretical: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you do some color grading on these videos (and with high dynamic range videos you will probably do some extreme grades), then you will easily introduce banding with 8 bit video. Only 10 or more bits give you enough headroom to avoid banding.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2015-08-03T12:46:51.473" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16124" PostTypeId="2" ParentId="5833" CreationDate="2015-08-04T03:33:12.123" Score="0" Body="&lt;p&gt;Try just changing the container to avi rather than transcoding, which seems to work better for youtube:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i JSP.ogv -vcodec copy -acodec copy JSP.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11362" LastActivityDate="2015-08-04T03:33:12.123" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16125" PostTypeId="2" ParentId="16119" CreationDate="2015-08-04T11:23:28.780" Score="1" Body="&lt;p&gt;Only the 4K models of the Atom switchers support 1080p in 60 fps, like the ATEM 2 M/E Production Studio 4K.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although a software control panel is included, I would prefer a hardware panel. Switching between 18+ input sources will be so stressful, that you don't have time looking where the mouse pointer is. A hardware panel has big buttons and knobs that you can operate without looking at it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These switchers all work with SDI, because HDMI only works with cable lengths up to 10 meter, whereas SDI cables can be up to 300 meter long. See this &lt;a href=&quot;http://churchm.ag/hdmi-vs-hd-sdi/&quot; rel=&quot;nofollow&quot;&gt;comparison&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2015-08-04T11:23:28.780" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16126" PostTypeId="2" ParentId="16087" CreationDate="2015-08-04T11:36:33.363" Score="0" Body="&lt;p&gt;You can use the free &lt;a href=&quot;http://www.dvdstyler.org/&quot; rel=&quot;nofollow&quot;&gt;DVDStyler&lt;/a&gt; to create DVDs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It should also be possible to include photo slideshows, although I didn't test that.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastEditorUserId="3481" LastEditDate="2015-08-04T11:43:02.037" LastActivityDate="2015-08-04T11:43:02.037" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16127" PostTypeId="1" CreationDate="2015-08-04T14:59:10.367" Score="4" ViewCount="130" Body="&lt;p&gt;I have started to make some videos and I want to add a second camera to get a different angle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main camera I have is a Nikon D7200.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking at a secondary camera, but I am hesitant because I want the video's to look the same, in that color and tone are the same and not obviously shot on two different cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am also, on a budget and would like to stay in it if possible. I know the D5500 has the same sensor as the D7200, so it would probably be the same in terms of color and tone, but would a different sensor really be that bad?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do you guys match up two dissimilar cameras, to not make it look wierd, or is that not really a concern?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="11363" LastActivityDate="2015-08-04T15:23:27.377" Title="Recording video's with two cameras?" Tags="|video|camera|sync|post-production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16128" PostTypeId="2" ParentId="16127" CreationDate="2015-08-04T15:23:27.377" Score="4" Body="&lt;p&gt;I've had my fair share of matching. C100 with 5D MK III, 5D MK III with 7D, 7D with C100, 7D with a Sony Camcorder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's all a matter of getting two cameras that are similar in terms of resolution and how 'soft' the image is. For example, the C100 is incredibly sharp, like 4k sharp in 1080p, whereas the DSLRS I mentioned are quite soft. Although you can add sharpening, it doesn't have the same feel and really gives you the idea that two cameras were used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said, staying with a DSLR within the same camera company means that the baked in color profile should be relatively consistent. The sharpness on the other hand my not be, but with DSLR's you'll never get really sharp images (excluding the GH4 and A7S) so I would say go for it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might see some subtle difference in color tone. Some casting more or less of a certain color in the exact same environment which is an easy fix with some general color correction. I'm willing to bet if you make a color correction present using footage shot in a consistent test environment you can make your workflow much faster. Its just a matter of watching your scopes for consistency. It helps if you use a similar lens, focal length, subject (go with a person you want to match skintones), and lighting setup (tungsten) for these tests.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some color correction info another one of my answers: &lt;a href=&quot;https://video.stackexchange.com/a/15998/10619&quot;&gt;https://video.stackexchange.com/a/15998/10619&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10619" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-08-04T15:23:27.377" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16129" PostTypeId="1" CreationDate="2015-08-04T15:12:01.597" Score="3" ViewCount="65" Body="&lt;p&gt;I have several ideas for documentaries.  None of them involve any fancy production or cinematographic techniques.  Most of it would be interviewing people and simple camera works along with including some graphic material, which can be electronically produced on a laptop.  This should be much simpler than making feature movies as no actors or special effects are needed.  Think documentaries that people post of YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I acquire all the skills involved in producing a simple documentary like that?  What minimal hardware setup would suffice (what kind of camera, lights, etc)?  What kind of software should I acquire for the production thereof.  I would prefer to enable myself to do everything involved, from filming, direction, sound, narrative, graphic design, production etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there online tutorials that provide a basic setup for how to start as a documentary maker?&lt;/p&gt;&#xA;" OwnerUserId="9127" OwnerDisplayName="amphibient" LastActivityDate="2015-08-05T12:22:25.480" Title="How to learn to produce documentaries?" Tags="|production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16130" PostTypeId="1" AcceptedAnswerId="16144" CreationDate="2015-08-04T21:07:12.780" Score="2" ViewCount="192" Body="&lt;p&gt;I keep watching auditions from talent shows. It seems like they have an interview process before each audition and apparently 'randomly' select them before they even enter the arena to do the audition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do the crews just film lots of footage of every freaking contestant (HD, 1 minute per contestant avg., hundreds of contestants) or do they do a process before-hand of deciding who will end up on the final cut (entertainment value ). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Surely if all the contestants have interviews where seemingly 'random' questions that reveal information on their backstories that would take up a lot of storage and be a real pain for the teams who have to edit it all together for the TV cut?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know for a fact that they interview each contestant before hand (not always filmed - I think) so that the judges know what questions to ask the contestants (example: &quot;is this a cover song or are you a songwriter&quot; - contestant before hand said they were a songwriting, &quot;what do you cuirrently do&quot; - contestant is on show to escape menial, obscure, job).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure if this is the right stackexchange site but it seems close enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;tl;dr - Do talent show (audition based entertainment) programmes film lots of footage of each contestant in a &lt;strong&gt;hope&lt;/strong&gt; that the contestant is entertaining (like interview before audition - outside arena - cliché shots of the contestants sitting around looking nervous) or do they have a huge process of selecting out acts that have entertainment value (based on some form of prerequisite audition tape or whatever) and then only selecting them?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a question I ponder every time I watch these shows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a feeling the answer is a lot simpler than the ideas I've proposed here.&lt;/p&gt;&#xA;" OwnerUserId="11365" LastActivityDate="2015-08-06T16:03:49.170" Title="Do talent show programmes film lots of footage or is it set up?" Tags="|post-production|storage|audition|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16131" PostTypeId="1" CreationDate="2015-08-05T09:33:33.863" Score="1" ViewCount="474" Body="&lt;p&gt;I have a lower third which resizes to the length of text. Now I want to make a overshoot effect. But.. I have no idea where to put the length of the text into the expression. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is expression where the bar automatically resizes to the length of text including margin:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;s=thisComp.layer(&quot;Name&quot;); // Text&#xA;x=s.sourceRectAtTime(time-s.inPoint,true).width; // Text width&#xA;y=content(&quot;Rectangle 1&quot;).content(&quot;Rectangle Path 1&quot;).size[1]; // Height&#xA;[x+10,y] // 10 = Margin on the right side.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is overshoot expression:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;s=thisComp.layer(&quot;Name&quot;); // Text&#xA;x=s.sourceRectAtTime(time-s.inPoint,true).width; // Text width&#xA;value[1] = content(&quot;Rectangle 1&quot;).content(&quot;Rectangle Path 1&quot;).size[1];// Set height.&#xA;&#xA;freq = 1; // How many times should it overshoot?&#xA;decay = 15; // How far (in pixels)?&#xA;&#xA;n = 0;&#xA;if (numKeys &amp;gt; 0){&#xA;   n = nearestKey(time).index;&#xA;   if (key(n).time &amp;gt; time) n--;&#xA;}&#xA;if (n &amp;gt; 0){&#xA;   t = time - key(n).time;&#xA;   amp = velocityAtTime(key(n).time - .001);&#xA;   w = freq*Math.PI*2;&#xA;   value + amp*(Math.sin(t*w)/Math.exp(decay*t)/w);&#xA;}else&#xA;   value;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now I have the [x] variable left and the 10 pixel margin. I've tried it to put it on any place, but it does not seem to work. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I do: &lt;code&gt;value + amp*(Math.sin(t*w)/Math.exp(decay*t)/w) - x - 10;&lt;/code&gt;, the bar becomes smaller when the text becomes longer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The bar is a rectangular path.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does someone know how to resolve this? &lt;/p&gt;&#xA;" OwnerUserId="11304" LastEditorUserId="11304" LastEditDate="2015-08-07T09:05:24.810" LastActivityDate="2015-08-07T09:05:24.810" Title="Overshoot expression: Consider variable text width" Tags="|after-effects|after-effects-expressions|" AnswerCount="0" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="16134" PostTypeId="2" ParentId="16129" CreationDate="2015-08-05T12:22:25.480" Score="2" Body="&lt;p&gt;While there are tons of tutorials on the internet, which keep you learning your whole life (which isn't a bad thing) I would propose one option that I followed myself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://lynda.com&quot; rel=&quot;nofollow&quot;&gt;Lynda.com&lt;/a&gt; has good quality videos about all aspects of documentary filmmaking - technology, conducting interviews, storytelling, editing, ... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I knew I had to take the next step in documentary filmmaking, I took one month off and watched these videos from morning to night. After one month I knew enough of all major topics and could cancel my membership. All in all I paid only US$ 25 for 30 days of intensive learning.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After that learning period you just need two things: Practice and errors. Because you'll only learn when something goes wrong. That's why I suggest that you only buy simple gear that you can upgrade &lt;em&gt;after&lt;/em&gt; you found out what can go wrong.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a small gear list: a video-capable DSLR, be it Canon, Nikon, Sony, Panasonic, ... Then a tripod and a microphone solution (e.g. a handheld audio recorder like the Zoom H2n). Light is not so important, if you can find bright locations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When it comes to editing software, there is no single best choice. Some people prefer Adobe Premiere, because together with the other Adobe programs they have thousands of possibilities, but with a heavy price tag. Others find Final Cut Pro best to realize their creative visions. Edius is known to be a professional editor that runs fast even on slower computers. The free Resolve would be an option, if you want to do editing now, but later want to become a pro in color grading. There is also Sony Vegas and the free Lightworks,  ... What you will choose depends wholly on which direction you want to develop. The editing process is nearly the same with all of them.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2015-08-05T12:22:25.480" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16135" PostTypeId="1" CreationDate="2015-08-05T16:18:43.363" Score="1" ViewCount="2844" Body="&lt;p&gt;i am running nginx v.1.9.3 here to serve my website and also video files for streaming. i am seeing that the mp4 files are always served with a code of 200 and that partial content requests are ignored. sometimes videos are able to be 'seeked' in browsers and sometimes not. i have used various file formats and the results vary from ok-ish to fatally bad.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;i have now ensured that all MP4 files have had heir moov atom relocated to the beginning of the file and that has not resolved the problems, in general - since most of the video files were ok in that regard anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;i used curl -I to view the return data from nginx and saw that there was no mention of the server accepting byte-ranges.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;i asked about this in several places already, but so far no-one has found the solution and i have been forwarded to this video part of stackexchange on the premise that the video format may be the cause. however, i do not think that is the case because there are numerous formats involved and they all exhibit problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the thread i already opened on serverfault is here: &lt;a href=&quot;https://serverfault.com/questions/710304/why-is-partial-content-not-being-served-in-nginx-mp4&quot;&gt;https://serverfault.com/questions/710304/why-is-partial-content-not-being-served-in-nginx-mp4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;i am not longer using any mp4 specific directives in nginx.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;anyone know what i am missing here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;this is an example of an MP4 file that i am having problems seeking with in browsers (except strangely i am finding that firefox in fedora 22 works most of the time!?) &lt;a href=&quot;https://www.ureka.org/file/play/17924/censored%20on%20google%202.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.ureka.org/file/play/17924/censored%20on%20google%202.mp4&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11368" LastEditorUserId="-1" LastEditDate="2017-04-13T12:14:54.220" LastActivityDate="2015-08-07T12:28:19.553" Title="what is preventing me from streaming video correctly with nginx?" Tags="|video|streaming|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16136" PostTypeId="2" ParentId="16135" CreationDate="2015-08-05T17:10:01.377" Score="1" Body="&lt;p&gt;tunist:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You've gotten pretty close to getting this going - nice that you did the curl to determine that the byte-range was not being honored.  I had done exactly that in the past when setting this up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you check here: &lt;a href=&quot;http://nginx.org/en/docs/http/ngx_http_mp4_module.html&quot; rel=&quot;nofollow&quot;&gt;http://nginx.org/en/docs/http/ngx_http_mp4_module.html&lt;/a&gt;  You may find what you're looking for - it is unclear whether you're using this module or not already, so perhaps this is what you need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;--dan&lt;/p&gt;&#xA;" OwnerUserId="11369" LastActivityDate="2015-08-05T17:10:01.377" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16137" PostTypeId="2" ParentId="16130" CreationDate="2015-08-05T19:39:14.087" Score="1" Body="&lt;p&gt;My best guess would be that it's a bit of a combination of both. For shows like &lt;em&gt;America's Got Talent&lt;/em&gt; (and, I'm sure, other &quot;Got Talent&quot; shows), the acts go through a &quot;Producer's Audition&quot; before anyone gets to see the real judges. The producers filter out a majority of the applicants and send a small number through to be shown on TV. My assumption is that during the producer auditions, the producers figure out which acts would be good to interview for the TV show.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2015-08-05T19:39:14.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16138" PostTypeId="2" ParentId="16113" CreationDate="2015-08-06T01:16:26.423" Score="4" Body="&lt;p&gt;There could be any number of factors as to why people quit watching a video, but if you want to entice them to stick around, there are a few tricks.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Yes, &quot;content is king,&quot; but CONTEXT is arguably queen— and let's be honest, who really rules the castle? That is to say— even if your content is great, if you aren't getting it to the right audience, it won't matter. Make sure the people who would WANT to see your video are finding it at the right time and place. Context.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Pay-off. A viewer is more likely to stick around if they know the pay-off at the end of the video is worth it. What will they learn? What mystery will be solved? What's the burning question? etc. Give them a clue in the beginning.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Challenge? As a twist to the &quot;pay-off&quot; bit (and especially if your end goal is social media shares and conversions)... Remember the whole KONY 2012 thing? They got millions of people to watch a 20-something minute documentary, and then spread it virally. Why? Beyond just compelling content: they challenged the viewer to finish it at the very beginning. The first lines were similar to &quot;The following video is a social experiment...&quot; I.E. &quot;Let's see who makes it all the way through and then cares enough to do something about it.&quot; &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;It was a challenge, and human nature led people to take it on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So there's my 2 cents.&lt;/p&gt;&#xA;" OwnerUserId="11372" LastActivityDate="2015-08-06T01:16:26.423" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16139" PostTypeId="2" ParentId="16113" CreationDate="2015-08-06T05:46:09.643" Score="1" Body="&lt;p&gt;There are already good answers. But let me share what &lt;em&gt;not&lt;/em&gt; to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Too often than not there is something poisoning our videos. We have so much to say, but the video should be less than x minutes. As a result we squeeze as much as possible into this precious time. We don't even realize how indigestive the video has become, because we are too much into the subject.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have seen this on my own videos, but was surprised to see it on videos of well-known professionals, too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what I added to my to-do list for my next videos:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Reduce the many messages to one core message&lt;/li&gt;&#xA;&lt;li&gt;Elaborate that message from different angles instead of adding new stuff&lt;/li&gt;&#xA;&lt;li&gt;Have time for creating an atmosphere&lt;/li&gt;&#xA;&lt;li&gt;Less talking heads, more showing what they do&lt;/li&gt;&#xA;&lt;li&gt;Have a hook at the beginning that will be resolved at the end (ideally by the core message)&lt;/li&gt;&#xA;&lt;li&gt;If the video is longer, have additional smaller hooks &amp;amp; resolutions in between&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;That's a lot, I know. If we take a 3-min. video, there's not so much time for talking. It really needs discipline.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2015-08-06T05:46:09.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16140" PostTypeId="1" CreationDate="2015-08-06T06:01:32.013" Score="3" ViewCount="1284" Body="&lt;p&gt;I am trying to crop a portrait video of 1280x720 to 568x320 so that the video will be displayed in landscape view (16:9). I am using the following command &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i VID_1438833296.mp4 -vf crop=568:320:0:0 -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The video gets cropped properly but when I view it in quick time or Android device it still displays in the portrait mode instead of landscape mode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The quicktime inspector shows Format size as 568x320 (Landscape) but current size is 350x621 (Portrait):&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/W4WfA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/W4WfA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11373" LastEditorUserId="6685" LastEditDate="2015-08-15T08:36:50.970" LastActivityDate="2016-11-05T15:25:56.280" Title="FFMpeg crop filter doesn't change orientation" Tags="|video-editor|ffmpeg|quicktime|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16141" PostTypeId="1" CreationDate="2015-08-06T10:00:16.483" Score="9" ViewCount="3867" Body="&lt;p&gt;Is there a way to capture DVB-T video using a &lt;a href=&quot;http://www.amazon.co.uk/gp/product/B009VBUYA0&quot;&gt;generic USB DVB-T dongle&lt;/a&gt; on a mac?  I've read many &lt;a href=&quot;http://www.izitips.com/software/how-to-watch-dvb-t-with-vlc-media-player/&quot;&gt;examples of people using VLC&lt;/a&gt; on Linux/PCs, but can't see any generic drivers on Mac OSX?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-07-08T17:03:19.347" Title="How to capture DVB-T using a generic RTL2832U USB stick on a mac" Tags="|mac|osx|vlc|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16142" PostTypeId="1" AcceptedAnswerId="16143" CreationDate="2015-08-06T10:58:52.960" Score="3" ViewCount="14162" Body="&lt;p&gt;I use a macbook air (1,7Ghz i7, 8gb RAM) to edit my Premiere projects. Rendering blows CPU to the max. I also have a MacMini fileserver (2,6Ghz i5, 8gb RAM) which could be used for rendering jobs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to allocate rendering jobs from Premiere Pro CC on my Macbook Air to the MacMini?&lt;/p&gt;&#xA;" OwnerUserId="11375" LastActivityDate="2015-08-06T14:04:17.263" Title="How to render on another computer using Adobe Media Encoder CC" Tags="|video|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16143" PostTypeId="2" ParentId="16142" CreationDate="2015-08-06T14:04:17.263" Score="3" Body="&lt;p&gt;No, not from one computer to another, you'd have to copy the project files onto a server, NAS device, or external HDD and then load it on the MacMini. You cannot from your Air directly say hey PP on the MacMini let's do this unfortunately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, one option would be network rendering. The thing about it is, both computers are required to have exactly the same project files which means it has to be hosted on a server or some sort of NAS device (costly, and won't benefit your setup that much), some frames get rendered on one, while frames get rendered on the other (both computers will be actively involved, so most likely you couldn't work on other projects).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PP does not support network rendering, so the file PP CC file would have to be imported to After Effects.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2015-08-06T14:04:17.263" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16144" PostTypeId="2" ParentId="16130" CreationDate="2015-08-06T16:03:49.170" Score="2" Body="&lt;p&gt;I've shot live events for the past 5 years, and had a few friends get on (and actually pretty far in) both American Idol and The Voice. There is a series of auditions way before contestants ever get in front of a studio camera, let alone a TV audience. Most auditions are not filmed, unless it is recorded by the casting directors/producers purely for their reference, usually with a simple handycam.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, some auditions are staged a certain way, but not usually scripted. The nervous shots and emotional cut-aways you mentioned are almost always staged, shot after the fact, and then edited in a way that lets the audience project meaning onto the shot. The exception of course being when producers know a big event is about to take place (e.g. put a cameraman in the green room right before the contestant goes on stage.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At this point it becomes a matter of efficiently handling your media so producers can quickly call up a shot that, even if they haven't seen it yet, they know it exists. That's why digital intermediates on set are worth their weight in gold for &quot;reality&quot; TV shows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it's a live show, there are many cameramen all wearing earpieces, ready to take direction from producers on who/what to cover and when. Then you have a big team of people behind the scenes watching what every camera sees and punching up the appropriate shots to the audience. So in this sense only, yes they just shoot a bunch of footage. But a live streaming video is a bit different than recording to hard disc.&lt;/p&gt;&#xA;" OwnerUserId="11372" LastActivityDate="2015-08-06T16:03:49.170" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16145" PostTypeId="1" CreationDate="2015-08-06T16:35:28.790" Score="2" ViewCount="104" Body="&lt;p&gt;I am in need of &lt;strong&gt;Video Player&lt;/strong&gt;, or &lt;strong&gt;Software&lt;/strong&gt; or &lt;strong&gt;API&lt;/strong&gt; or any other idea for that help me to save the storage issue. &#xA;Let me explain, I have a video file about &lt;code&gt;300mb&lt;/code&gt; which contains 10 clips if i make video in parts each part is of size arround &lt;code&gt;20mb&lt;/code&gt; so in total i will have &lt;code&gt;11 files&lt;/code&gt; and &lt;code&gt;500mb&lt;/code&gt; and it sucks because i have video files in thousands, So is their any video player or software by which i can crop/split video online so it don't affect my server space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In best of knowledge the better way is I have to take a video and just take particular part from the video during run-time by telling its frame/time range and play it. So in this case i will not get headache of file-system again and storage issue also.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone suggest me something or any better idea please? &lt;/p&gt;&#xA;" OwnerUserId="11377" LastEditorUserId="11377" LastEditDate="2015-08-06T23:33:34.090" LastActivityDate="2016-04-11T06:06:41.167" Title="Crop Video temporary" Tags="|video-editor|time-lapse|video-capture|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16147" PostTypeId="1" AcceptedAnswerId="16148" CreationDate="2015-08-07T11:15:00.613" Score="1" ViewCount="3736" Body="&lt;p&gt;I have a still image with four opacity keyframes which look like this:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/jsTQ2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jsTQ2.png&quot; alt=&quot;first&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I change the duration my keyframes stay at the same place (which is normal).&#xA;&lt;a href=&quot;https://i.stack.imgur.com/IlSyK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IlSyK.png&quot; alt=&quot;second&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to move the keyframes automatically with duration change?&lt;/p&gt;&#xA;" OwnerUserId="11380" LastActivityDate="2015-08-12T01:52:23.830" Title="Moving keyframes with duration change" Tags="|premiere|keyframes|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16148" PostTypeId="2" ParentId="16147" CreationDate="2015-08-07T11:45:42.610" Score="3" Body="&lt;p&gt;Since this is a still image, what you can do is use the &quot;Rate Stretch&quot; tool (keyboard shortcut: &lt;kbd&gt;R&lt;/kbd&gt;) and stretch the image shorter. If the keyframes don't move with the Rate Stretch tool, you can always create a &quot;Nested Sequence&quot; of just the image (Premiere Pro's rough equivalent to an After Effects precomp) and then rate stretch your nested sequence. This will stretch both the image and the keyframes together.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastEditorUserId="6685" LastEditDate="2015-08-07T14:24:45.677" LastActivityDate="2015-08-07T14:24:45.677" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16149" PostTypeId="2" ParentId="16135" CreationDate="2015-08-07T12:28:19.553" Score="1" Body="&lt;p&gt;the cause of the problem was the lack of range handling in the PHP page i am using for streaming the files. i forgot that that is a requirement of the process! i have added the videostream class (&lt;a href=&quot;http://codesamplez.com/programming/php-html5-video-streaming-tutorial&quot; rel=&quot;nofollow&quot;&gt;http://codesamplez.com/programming/php-html5-video-streaming-tutorial&lt;/a&gt;) to the page and so far the streaming is working well in my tests :)&lt;/p&gt;&#xA;" OwnerUserId="11368" LastActivityDate="2015-08-07T12:28:19.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16150" PostTypeId="1" CreationDate="2015-08-07T18:19:39.367" Score="2" ViewCount="732" Body="&lt;p&gt;I have an imported illustrator image that I'm trying to create a stroke mask over so I can animate it's reveal (like someone writing it). Unfortunately, when I try to use the pen tool on the layer it keeps changing the cursor to the &quot;add point&quot; which then makes the next click a brand new path. It's basically impossible to make any kind of path this way. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I made an adjustment layer and drew the mask on top of that. But when I copy and paste the mask onto the illustrator layer it's scaled waaaay up. I can't find a way to scale the mask down. When I click on the mask it doesn't give me the box around it, only the actual stroke points (which just move that one point).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there not a way to scale a path?&lt;/p&gt;&#xA;" OwnerUserId="11383" LastEditorUserId="6685" LastEditDate="2016-01-29T10:28:49.790" LastActivityDate="2016-01-29T10:28:49.790" Title="scaling a stroke mask in after effects?" Tags="|after-effects|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16151" PostTypeId="1" CreationDate="2015-08-07T19:10:22.883" Score="3" ViewCount="968" Body="&lt;p&gt;Although skeptical at first, I took a liking to iMovie and began to rely on it heavily to edit many music videos. What I liked about iMovie was it's easy to use feel when it came to placing a clip exactly where you need it to be within the audio of a song. I have a Windows computer now, and cannot use the new iMovie anymore. Looking for something as similar as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for software that could work similarly on Windows, and the key main I really only need are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Image stabilization&lt;/li&gt;&#xA;&lt;li&gt;Color Correction&lt;/li&gt;&#xA;&lt;li&gt;Speed/Duration settings&lt;/li&gt;&#xA;&lt;li&gt;Easy to use adjustment of placement of a clip&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Any suggestions? Thank you so much! &lt;/p&gt;&#xA;" OwnerUserId="11384" LastEditorUserId="6685" LastEditDate="2015-08-15T08:53:37.243" LastActivityDate="2020-12-24T05:04:19.853" Title="Video editing software like iMovie, for Windows?" Tags="|video-editor|windows|imovie|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16152" PostTypeId="1" CreationDate="2015-08-08T00:02:34.857" Score="1" ViewCount="121" Body="&lt;p&gt;After starting Premiere, playback works fine, but if I edit the timeline and move the current time indicator, the program display either goes dark or gets stuck on a frame and will not play. &#xA;&lt;a href=&quot;https://i.stack.imgur.com/VmYvQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VmYvQ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/GRlxl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GRlxl.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have 12 GB of memory but Premiere never uses more than 4 GB, however when editing it uses 100% CPU. This is an Asus laptop with a 5th generation low voltage Core i7-5500 processor, and Intel(R) HD Graphics 5500 and NVIDIA GeForce 840M graphics cards. What can I do to fix this problem? This is a much better spec laptop than my old one and I've never had anything like this happen before.&lt;/p&gt;&#xA;" OwnerUserId="11386" LastActivityDate="2015-08-08T00:02:34.857" Title="Why won't the Premiere CS6 timeline playback after edits?" Tags="|premiere|playback|cs6|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16154" PostTypeId="1" CreationDate="2015-08-08T09:36:44.203" Score="4" ViewCount="606" Body="&lt;p&gt;I know that in CMOS sensor, the exposure is perform in line by line. I can assume that the delay between the exposure of two consecutive lines is equal the readout time for one line. So the readout time for the entire frame is&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Frame_readout = line_readout * number_of_line&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I read in many articles in the Internet that the interval between frames is qual the frame readout time. So the frame rate is calculated as&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Frame_rate = 1/frame_readout&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Therefore I assume that &lt;strong&gt;the delay between exposure of the last line of the 1st frame and the first line of the 2nd frame is equal the readout time for one line&lt;/strong&gt;. It means that exposure in the sensor occurs from the first line to the last line and then come back to the first line (for next frame) and so on. And the delay between the exposures of two consecutive lines are always the same, whether these two exposures belong to the same frame or not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is my assumption correct? If not, what does contribute more delay for the exposure of the first line of the next frame? And what is the frame rate in that case?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NzoMG.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NzoMG.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11388" LastActivityDate="2017-10-01T19:37:06.680" Title="CMOS readout time, frame rate, and delay between frames?" Tags="|framerate|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16155" PostTypeId="1" CreationDate="2015-08-08T12:39:08.410" Score="2" ViewCount="918" Body="&lt;p&gt;Is there a way to detect if a file has or has not Vbi data this way! &#xA;I.e if a Pal videofile with the reported 720x576 has Vbi data the actual height is an additional 32 lines = 608.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;SD pal file VBI = 720x608 &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not interested in the info in those 32 lines - I just want to know if they are present or not ( to be able to make an decicion)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far from what I can see ffmpeg and Medialinfo reports my VBI samples as 720X576 - but I know they are 608. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe I am using the wrong tools or the wrong flags / cli arguments? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many tnx!&lt;/p&gt;&#xA;" OwnerUserId="11389" LastActivityDate="2015-08-09T13:56:35.580" Title="Detecting VBI or true video height?" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16157" PostTypeId="2" ParentId="15977" CreationDate="2015-08-08T20:24:16.690" Score="1" Body="&lt;p&gt;The answer to your question is yes, the desktop with those specs will to increase playback speed with heavier loads over the laptop you currently have because it is a stronger system. It's hard to say if it will remove the glitchyness completely, because that depends on the bit-rate and codec you are using.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Is it true that High performance GPU is better than massive amounts of&#xA;  RAM?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Not necessarily. If you routinely work with a codec that is memory intensive, the RAM may well be of more use than large mass of CUDA.'&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Dose PrPro only take advantage of 10-12GB of Ram and the rest is&#xA;  essentially useless?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Not necessarily, regardless of how much RAM Premiere itself uses the codec may use more and may -as in a case I recently had- be leaky.. I experienced, Very bad timeline playback on my system with 16gb Ram, upgraded to 32GB and am fine. Tech support tells me the Premiere ProRes implementation is leaky..&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;What are you guys running? Any recommendations?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I currently use a i7-4790, GTX 760-2GB, 32GB RAM, 256 SSD (for OS/Pograms), 2x1TB Samsung SSDs for projects/footage, 2x3TB 7200 segates RAID 0 for Preview files/Final Exports, and misc backup drives. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I spent under $2k for this system a year ago. I edit tv segments with about 10 layers of interment overlays and 2 or 3 overlapping ProRes 422 streams on an on-going basis.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Some thoughts:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Remember CUDA only helps &lt;a href=&quot;http://blogs.adobe.com/premierepro/2011/02/cuda-mercury-playback-engine-and-adobe-premiere-pro.html&quot; rel=&quot;nofollow&quot;&gt;certain functions&lt;/a&gt; in Premiere. You can have the fastest video card ever and if your source/previews are sitting on a USB2 5400 drive, you ain't going no-where.&lt;/li&gt;&#xA;&lt;li&gt;Consider shifting your money from a top end video card to some speedy SSDs and a solid motherboard. All chipsets are not equal for video editing. For me -I like a sexy matx form factor over a huge tower: I would get This &lt;a href=&quot;http://www.newegg.com/Product/Product.aspx?Item=N82E16813157601&amp;amp;nm_mc=KNC-GoogleAdwords-PC&amp;amp;cm_mmc=KNC-GoogleAdwords-PC-_-pla-_-Intel%20Motherboards-_-N82E16813157601&amp;amp;gclid=CKKMtumlmscCFQqGaQodCQIARw&amp;amp;gclsrc=aw.ds&quot; rel=&quot;nofollow&quot;&gt;ASRock board&lt;/a&gt; The newer x99 chipset, the 2011-3 socket -means you can upgrade to xeon 18-cores if you like, and supports 64gb of ecc memory, (BUT you can use that cpu in your list it's solid). Much more useful (to me) than the top of the line Titan or what-have-you CUDA-bucket. You can always upgrade your video card later. (Note: I don't claim it's &quot;the&quot; perfect system -it's what I would get.)&lt;/li&gt;&#xA;&lt;li&gt;Consider a raid0 or ssd for you preview/render drive. Previews and final exports can always be recreated so the risk of RAID 0 is a low one. Make your preview format a non-compressed format and you will have very high playback bandwidth. It will also speed up your exports somewhat. &lt;/li&gt;&#xA;&lt;li&gt;Whenever I build a new system I like to what Video Guys currently recommends. Every couple years they research up a new system for DIY Prosumer Editing station: &lt;a href=&quot;http://www.videoguys.com/blog/computer-hardware/videoguys-april-2015-update-system-recommendations-for-video-editing/&quot; rel=&quot;nofollow&quot;&gt;http://www.videoguys.com/blog/computer-hardware/videoguys-april-2015-update-system-recommendations-for-video-editing/&lt;/a&gt; (Note: they tend to get a little dated between times -nice thing is they tested it.)&lt;/li&gt;&#xA;&lt;li&gt;Consider putting money towards a &quot;nice&quot; monitor like the &lt;a href=&quot;http://www.newegg.com/Product/Product.aspx?Item=9SIA6R42B24272&amp;amp;cm_re=dell_2713HM-_-9SIA6R42B24272-_-Product&quot; rel=&quot;nofollow&quot;&gt;DELL U2713HM&lt;/a&gt; &#xA;For those of us that don't have $30k color suites.. get a nice &quot;pre-color calibrated&quot; monitor with high resolution to work that timeline. Or maybe two of them.. It's worth it to be able to tell the client that it's colored properly on a calibrated monitor. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6226" LastEditorUserId="6226" LastEditDate="2015-08-10T06:01:04.507" LastActivityDate="2015-08-10T06:01:04.507" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16158" PostTypeId="2" ParentId="15171" CreationDate="2015-08-09T04:19:29.000" Score="3" Body="&lt;p&gt;There are a couple factors which can be giving you lagy playback.You don't specify your bit rate or codec. If you are editing a processor intensive codec like h.264 (not a good idea) -the processor could start to be a bottleneck. If you are editing a less compressed format like ProRes your drive or RAM can start to become the bottleneck. Since that is the most likely, I'll address that: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because you have only one hard drive; Premiere is running off it, the OS is using it, preview files are trying to run off it at the same time. Easiest thing to try first is adding a hard drive or two. Ideally: Drive#1: OS/PPro, Drive#2: Project/Source Footage, Drive#3: Previews/Final Exports. If need be: put your Project and Source footage on an external drive and put your Previews on the local (fastest) drive. Once your previews are created, the project won't need to access the project and source very much. Use an &quot;uncompressed&quot; codec like ProRes or DNxHD for editing -a good SSD should be able to handle several streams at a time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;16Gb may be enough RAM, but it's not a given. It depends on the number of streams, bit-rate, size, length of the timeline, etc..&lt;/p&gt;&#xA;" OwnerUserId="6226" LastEditorUserId="6226" LastEditDate="2015-08-10T05:48:11.560" LastActivityDate="2015-08-10T05:48:11.560" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16159" PostTypeId="2" ParentId="16155" CreationDate="2015-08-09T13:56:35.580" Score="1" Body="&lt;p&gt;Containers like LXF/GXF/MXF allow EIA-708 (VBI) streams but as far as I know they do not encode the video data -- the blanking interval -- that originally contained those streams. That would run counter to the idea that codecs embody, that of squeezing out redundant information. I could be wrong, but I've never seen or heard of a codec that encodes invisible lines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could scan the file for the packet headers that identify caption / VBI streams, and if you find them you could impute a frame size that would have contained them, but you could do that anyway: any encoded video, if it were output as a TV signal, would have associated blanking, whether it contained captions or not.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-08-09T13:56:35.580" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="16160" PostTypeId="2" ParentId="16151" CreationDate="2015-08-10T00:33:41.600" Score="6" Body="&lt;p&gt;I've not used it, but Microsoft makes &lt;a href=&quot;http://windows.microsoft.com/en-us/windows-live/movie-maker&quot; rel=&quot;noreferrer&quot;&gt;Microsoft Movie Maker&lt;/a&gt;. It might meet your needs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also some open source video editors you might have luck with:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ShotCut - &lt;a href=&quot;http://www.shotcut.org&quot; rel=&quot;noreferrer&quot;&gt;http://www.shotcut.org&lt;/a&gt; - kind of new, might be buggy&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Blender - &lt;a href=&quot;http://www.blender.org&quot; rel=&quot;noreferrer&quot;&gt;http://www.blender.org&lt;/a&gt; - it's a 3D modelling app with video editing capabilities&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lightworks - &lt;a href=&quot;http://www.lwks.com&quot; rel=&quot;noreferrer&quot;&gt;http://www.lwks.com&lt;/a&gt; - there's a &quot;buy&quot; button, but there's also a free version, as I understand it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't mind using Linux, you can also try out &lt;a href=&quot;http://openshot.org&quot; rel=&quot;noreferrer&quot;&gt;OpenShot&lt;/a&gt; and &lt;a href=&quot;https://kdenlive.org&quot; rel=&quot;noreferrer&quot;&gt;Kdenlive&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-08-10T00:33:41.600" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16162" PostTypeId="2" ParentId="15171" CreationDate="2015-08-10T03:56:17.430" Score="2" Body="&lt;p&gt;Something that isn't mentioned, but has a direct impact on performance obviously would be what effects (even fixed effects like motion &amp;amp; opacity) are applied on the footage while trying to cut.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other things to consider (some mentioned before, some not), in no particular order:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Overall effects applied (including color correction).&lt;/li&gt;&#xA;&lt;li&gt;The number of non-empty video tracks in your sequence.&lt;/li&gt;&#xA;&lt;li&gt;What codec your footage is using.&lt;/li&gt;&#xA;&lt;li&gt;Adjust the playback resolution to 1/2 or 1/4, depending on source footage.&lt;/li&gt;&#xA;&lt;li&gt;Experiment with exporting the sequence you are editing using the Project Manager, and then reopen the new project file and see if the project file itself was causing some of the issue.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;None of these are a slam dunk for increasing performance, but I've used these tips to help stretch older hardware to be able to edit with the latest CC updates. Let's face it: a 2.6GHz i7 is not what it once was in terms of the performance ladder.&lt;/p&gt;&#xA;" OwnerUserId="5804" LastActivityDate="2015-08-10T03:56:17.430" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16164" PostTypeId="2" ParentId="16151" CreationDate="2015-08-10T11:21:39.373" Score="1" Body="&lt;p&gt;As someone else mentioned, &lt;a href=&quot;http://windows.microsoft.com/en-us/windows-live/movie-maker&quot; rel=&quot;nofollow&quot;&gt;Windows Movie Maker&lt;/a&gt; is a free option that would fit most of your needs. However, if you don't mind paying a little bit for your software, I'd recommend &lt;a href=&quot;http://www.adobe.com/products/premiere-elements.html&quot; rel=&quot;nofollow&quot;&gt;Adobe Premiere Elements&lt;/a&gt;. It's a super-simplified version of &lt;a href=&quot;http://www.adobe.com/products/premiere.html&quot; rel=&quot;nofollow&quot;&gt;Adobe Premiere Pro&lt;/a&gt; that should be able to do everything you're asking for.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2015-08-10T11:21:39.373" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16165" PostTypeId="1" CreationDate="2015-08-10T14:57:06.553" Score="3" ViewCount="4231" Body="&lt;p&gt;I have a video of an interview. The lighting of the video keeps bouncing light and dark. Would I be able to fix this through After Effects? How would I be able to. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry very new to after effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="11400" LastActivityDate="2015-08-11T15:15:31.983" Title="Adobe After Effects CC - stabilize lighting" Tags="|after-effects|adobe|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16166" PostTypeId="2" ParentId="16058" CreationDate="2015-08-10T18:58:27.430" Score="2" Body="&lt;p&gt;Did you actually get every second frame? My impression is that you got every frame, but you halved the framerate. Therefore, the length of the video in seconds is twice as long for the first compared to the second, and assuming equal rate controls (e.g. 1 megabit per second), the twice-as-long-file will thus be approximately twice as big, which is what you got.&lt;/p&gt;&#xA;" OwnerUserId="11401" LastActivityDate="2015-08-10T18:58:27.430" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16167" PostTypeId="2" ParentId="16165" CreationDate="2015-08-10T19:57:32.967" Score="4" Body="&lt;p&gt;I'll assume the camera op was fooling with the exposure?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll need to key-frame color correction or AE's Auto Color function may work for you:&#xA;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/color-correction-effects.html&quot; rel=&quot;nofollow&quot;&gt;https://helpx.adobe.com/after-effects/using/color-correction-effects.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you go the CC route it may help to watch the YC waveform rather than the image itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Color Stabilizer effect may also work for you. Here's lybda &quot;starter&quot; explination for it &lt;a href=&quot;https://www.youtube.com/watch?v=bYqaw39ADto&quot; rel=&quot;nofollow&quot;&gt;youtube tutorial&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6226" LastActivityDate="2015-08-10T19:57:32.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16168" PostTypeId="2" ParentId="16145" CreationDate="2015-08-11T03:44:36.457" Score="2" Body="&lt;p&gt;&lt;a href=&quot;https://www.ffmpeg.org/ffmpeg.html#Synopsis&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFMpeg&lt;/a&gt; might do what you need. It's pretty powerful commandline tool to convert video formats, sizes, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a clear and simple tutorial for installing &lt;a href=&quot;http://www.hongkiat.com/blog/ffmpeg-guide/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFMpeg and using basic functions&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a specific SuperUser thread about using it to cut &lt;a href=&quot;https://superuser.com/questions/138331/using-ffmpeg-to-cut-up-video&quot;&gt;small clips from a larger clip&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;So is their any video player or software by which i can crop/split&#xA;  video online so it don't affect my server space.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;There are a couple of &quot;online editors&quot; &lt;a href=&quot;https://www.wevideo.com/academy&quot; rel=&quot;nofollow noreferrer&quot;&gt;such as WeView&lt;/a&gt;, I haven't used them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFMpeg can read files from a stream or ftp, see the documentation: &lt;a href=&quot;https://www.ffmpeg.org/ffmpeg-protocols.html#ftp&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.ffmpeg.org/ffmpeg-protocols.html#ftp&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if I understand you correctly, you want the software to cut the clips and convert them totally on server. I do not think that is possible with normal protcols. FFMpeg may be able to download and cut the file in one script. But I suggest posing that as a separate question if you decide to use it.&lt;/p&gt;&#xA;" OwnerUserId="6226" LastEditorUserId="-1" LastEditDate="2017-03-20T10:04:28.637" LastActivityDate="2015-08-11T03:44:36.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16169" PostTypeId="1" AcceptedAnswerId="16800" CreationDate="2015-08-11T03:53:19.400" Score="4" ViewCount="3451" Body="&lt;p&gt;I've gone through several different variants of this process and it always causes me problems.  I've gotten it working sometimes but it doesn't seem to be consistent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a video camera which records AVCHD to MTS files, it splits files at 3.89GB.  Since its microphone is crap, I also record audio separately and have to sync them back up before editing.  The problem I have is that the audio recorder doesn't break files at the same times so I'll usually end up with 3 video files and 1 audio file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I'm wondering where things are going wrong in this process:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Converted all the H264 MTS files to ProRes MOV files.  The editor handles ProRes better than the compressed files so I convert. &lt;em&gt;ffmpeg -i 00000.MTS -vf &quot;yadif=3:-1:1,mcdeint&quot; -vcodec prores -vprofile 2 -ar 48000 1.mov&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Concatenated the 3 .mov files together.  At this point I have a file with video stutters every ~32 minutes, but the audio stays in sync with the video. &lt;em&gt;ffmpeg -f concat -i mylist.txt -c copy full.mov&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Extracted the audio to FLAC.  Imported into audacity, lined up the external audio with a clap and trimmed to length.  At this point both audio tracks line up, the external track is still in sync with the camera audio at the end.  Export the new external audio matched to the start and the length of the original audio. &lt;em&gt;ffmpeg -i full.mov -aq 256k full.flac&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Recombine the large .mov file with the new audio.  At this point the audio that was just in sync with the original audio from the video files now goes out of sync when the video stutters. &lt;em&gt;ffmpeg -i full.mov -i full-tascam.flac -map 0:0 -map 1 -vcodec copy -ar 48000 full-tascam.mov&lt;/em&gt;  &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;What do?  I've had the same problem before introducing ProRes, just concatenating the MTS files into MP4 copying the video stream and adding the new audio.  Is there anything I can set while concatenating to remove the stutters, or to prevent them from throwing the new audio out of sync when I'm adding that track?&lt;/p&gt;&#xA;" OwnerUserId="11404" LastActivityDate="2016-01-02T15:54:54.830" Title="ffmpeg concatenation introduces video stutter but does not affect audio" Tags="|ffmpeg|codec|sync|prores|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16170" PostTypeId="2" ParentId="13489" CreationDate="2015-08-11T10:51:25.710" Score="1" Body="&lt;p&gt;&lt;em&gt;For those who also have After Effects installed:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fastest way for me is to copy the clip, paste it in After Effects (any composition). Enable audio by clicking on speaker icon, copy it again and paste it into Premiere.&lt;/p&gt;&#xA;" OwnerUserId="11406" LastEditorUserId="6685" LastEditDate="2015-08-15T08:34:43.810" LastActivityDate="2015-08-15T08:34:43.810" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16171" PostTypeId="2" ParentId="16165" CreationDate="2015-08-11T15:15:31.983" Score="1" Body="&lt;p&gt;To add to what integris said, your main option is to attempt to counteract the lighting changes by keyframing artificial &quot;lighting&quot; in the &lt;em&gt;opposite&lt;/em&gt; direction of the real-world changes. So when the brightness decreases in the video, you need to add brightness at the same rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the adjustments are fast step-changes (like instantaneously changing the exposure), it's a little easier. Gradual changes like turning up the output of a fill light or pivoting a lamp towards the subject is harder to make look &quot;natural&quot;.&lt;/p&gt;&#xA;" OwnerUserId="10571" LastActivityDate="2015-08-11T15:15:31.983" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16172" PostTypeId="1" CreationDate="2015-08-11T15:40:12.823" Score="1" ViewCount="148" Body="&lt;p&gt;I encountered a bizarre problem with Adobe After Effects CC 2015: whenever I try to reproduce a RAM preview of my composition, I can't hear audio and this problem occurs only with composition set up with 60 frames per second. If I create a new composition in 30fps or less, After Effects reproduces audio normally. What can I do? (yes, the green bar is fully loaded)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More info: I use a Macbook Pro with OSX 10.10.4, AE 2015.0 and 6GB of RAM are allocated by default to AE&lt;/p&gt;&#xA;" OwnerUserId="11407" LastActivityDate="2015-09-10T21:36:09.630" Title="No Audio in RAM Preview on a 60fps Composition" Tags="|after-effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16174" PostTypeId="1" CreationDate="2015-08-11T19:16:30.887" Score="1" ViewCount="47" Body="&lt;p&gt;I have a series of clips from a GoPro that have embedded timecodes -- the media start/end fields show up correctly in the Info inspector.  However, when the files were copied between filesystems, the file creation times were not preserved, and the creation times are not in the same order as the timecodes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, when I try to make a multicam clip, the clips are ordered by creation time instead of by timecode, even though I am specifying timecode for angle assembly.  Is there any way to force FCPX to ignore file creation time entirely and go with the timecode?&lt;/p&gt;&#xA;" OwnerUserId="11410" LastActivityDate="2015-08-11T19:16:30.887" Title="Force Final Cut to use embedded timecode in preference to file creation time?" Tags="|final-cut-pro|timecode|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16175" PostTypeId="2" ParentId="16042" CreationDate="2015-08-11T22:38:31.143" Score="1" Body="&lt;p&gt;&lt;em&gt;Cropping&lt;/em&gt; the video won't help, necessarily. What you need to do is &lt;em&gt;render&lt;/em&gt; the video with the proper aspect ratio (roughly 9x16), and at or above the iPhone's native resolution, which is &lt;strong&gt;750x1334&lt;/strong&gt; for the iPhone 6.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source: &lt;a href=&quot;http://www.paintcodeapp.com/news/iphone-6-screens-demystified&quot; rel=&quot;nofollow&quot;&gt;iPhone 6 Screens Demystified&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's mainly the aspect ratio that is causing the problem you're seeing. Your video is probably 16x9, which will look fine in landscape orientation. For portrait, it needs to be rotated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're filming footage, you could just rotate the camera on its side. If you're working with existing footage, you &lt;strong&gt;will&lt;/strong&gt; have to crop the video and pull out a 9x16 &quot;tall&quot; rectangle out of your existing 16x9 &quot;wide&quot; frame. Any decent video editing program is able to do this. Unless your source footage is high-resolution (1080p or better), though, you'll have trouble getting sharp results, since you're essentially zooming into a very small portion of the frame.&lt;/p&gt;&#xA;" OwnerUserId="10571" LastActivityDate="2015-08-11T22:38:31.143" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16176" PostTypeId="1" AcceptedAnswerId="16181" CreationDate="2015-08-12T00:14:44.910" Score="0" ViewCount="6165" Body="&lt;p&gt;I'm working on a project that will be presented on 3 screens. The idea is that each screen in showing a part of the screening video, which means the upper display shows the upper 1/3 of the video screen, the middle display shows the middle part of the video, and the lower display the lower part of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is how can I cut the video screen in 3 equal parts, and with which program?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for each reply!&lt;/p&gt;&#xA;" OwnerUserId="11413" LastActivityDate="2015-08-13T02:06:01.130" Title="Split video screen into 3 equal parts" Tags="|video|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16177" PostTypeId="2" ParentId="16147" CreationDate="2015-08-12T01:52:23.830" Score="1" Body="&lt;p&gt;Another trick is:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;copy the clip with the keyframes (&lt;kbd&gt;Ctrl/Cmd&lt;/kbd&gt;&lt;kbd&gt;c&lt;/kbd&gt;),&lt;/li&gt;&#xA;&lt;li&gt;delete the keyframes,&lt;/li&gt;&#xA;&lt;li&gt;make your adjustments to the timing of the clip,&lt;/li&gt;&#xA;&lt;li&gt;and then paste the attributes back on to the re-timed clip (right-click the clip and from the context menu choose &lt;strong&gt;Paste Attributes…&lt;/strong&gt;, or go to the menu &lt;strong&gt;Edit &gt; Paste Attributes…&lt;/strong&gt; or hit &lt;kbd&gt;Ctrl/Cmd&lt;/kbd&gt;&lt;kbd&gt;Alt&lt;/kbd&gt;&lt;kbd&gt;v&lt;/kbd&gt;).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Make sure that &lt;code&gt;Scale Attribute Times&lt;/code&gt; is checked, and select the attributes you want to paste, and it will stretch or squash them to fit the new length.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GtZXk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GtZXk.png&quot; alt=&quot;paste attributes dialog from Premiere&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This works for video clips as well as still images, and you can use any trimming tools to change the length of the clip. Deleting any existing key frames before pasting the new ones is necessary if you're pasting back on to the original clip.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Pro Tip&lt;/strong&gt; This trick works in After Effects and Final Cut Pro too.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-08-12T01:52:23.830" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16178" PostTypeId="2" ParentId="15723" CreationDate="2015-08-12T16:27:18.620" Score="1" Body="&lt;p&gt;For #3 of your question, I could find some relevant info at &lt;a href=&quot;https://support.apple.com/kb/PH12549?locale=en_US&amp;amp;viewlocale=en_US&quot; rel=&quot;nofollow&quot;&gt;apple support page&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To remove a through edit, do one of the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Select either or both sides of the through edit point, and choose &lt;em&gt;Trim &gt; Join Clips&lt;/em&gt; (or press Delete).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Select the clips on both sides of the through edit, and choose &lt;em&gt;Trim &gt; Join Clips&lt;/em&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11417" LastEditorUserId="6685" LastEditDate="2015-08-15T08:46:07.960" LastActivityDate="2015-08-15T08:46:07.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16180" PostTypeId="1" AcceptedAnswerId="16191" CreationDate="2015-08-12T21:36:48.060" Score="2" ViewCount="1491" Body="&lt;p&gt;I have an MPG video and a CSV of times. I am searching for a way to automatically generate clips from the video using those times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So at each time position a clip is generated with 10 seconds either side of the time resulting in a 20 second clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have investigated scene detectors and trying to import markers into Adobe Premier etc, but with no luck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks. &lt;/p&gt;&#xA;" OwnerUserId="11420" LastActivityDate="2015-08-14T07:25:34.803" Title="Auto generate video clips using a CSV of times as markers from a single MPG video" Tags="|editing|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16181" PostTypeId="2" ParentId="16176" CreationDate="2015-08-13T01:58:32.847" Score="1" Body="&lt;p&gt;Edit your footage in one timeline, with the sequence setting set to the combined dimensions of all the screens (so the width of one screen across × three times the height). So if they're 1080p screens you'll be looking at 1920 × 3240.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now make three sequences, each with the resolution of one playback screen, e.g 1920 × 1080. Take your original sequence and lay it into these timelines (as a nested sequence).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adjust the motion properties of the clip in the first sequence so that the top of the clip lines up with the top of the frame, then in the next sequence align the middle of the clip with the middle of the frame and in the last sequence align the bottom of the clip with the bottom of the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you have three sequences that align as you wish. The beauty of nesting the combined sequence is that you can make changes without having to synchronise three separate sequences.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-08-13T02:06:01.130" LastActivityDate="2015-08-13T02:06:01.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16182" PostTypeId="1" AcceptedAnswerId="16201" CreationDate="2015-08-13T01:48:28.890" Score="1" ViewCount="11118" Body="&lt;p&gt;I've been using after effects cs6 to make &lt;a href=&quot;https://www.youtube.com/watch?v=7-AAl2SrHNo&quot; rel=&quot;nofollow&quot;&gt;intros&lt;/a&gt; in my youtube template. They always render without sound. I've been exporting them as &lt;code&gt;avi&lt;/code&gt; files. I'm currently making one in an mpeg4 format (assuming that is another name for mp4) since my other intros all have sound and they're mp4 files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I clicked &quot;lossless&quot; in the render queue and I changed the file format to avi. I checked &quot;audio output&quot; and didn't touch the settings inside that submenu and then I clicked OK and render. after waiting a while, AE spit out an intro file thats around a gigabyte in size and has no sound. What is the problem?&lt;/p&gt;&#xA;" OwnerUserId="11440" OwnerDisplayName="Registered User" LastEditorUserId="11440" LastEditDate="2015-08-15T02:33:02.900" LastActivityDate="2020-10-11T17:22:06.730" Title="After Effects renders with no audio" Tags="|after-effects|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16183" PostTypeId="1" CreationDate="2015-08-13T04:41:24.983" Score="2" ViewCount="4377" Body="&lt;p&gt;I know about presets but faster presets lose the video quality. Are there any hardware requirements I need to consider? Or are there any settings that I need to tweak? And lastly where do I place the &lt;code&gt;-threads&lt;/code&gt; flag to encode video (before input or after input), I saw topics on thread but they were confusing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the command I am using now:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 \&#xA;            -codec:v libx264 -tune zerolatency -profile:v main -preset medium -crf 23 -maxrate 1000k -bufsize 10000k -s hd720 -codec:a libfdk_aac -pix_fmt yuv420p -movflags +faststart -threads 4 highoutput.mp4 \&#xA;            -codec:v libx264 -tune zerolatency -profile:v main -preset medium -crf 23 -maxrate 500k -bufsize 5000k -s hd480 -codec:a libfdk_aac -pix_fmt yuv420p -movflags +faststart -threads 4 lowoutput.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Your help and guidance will be very much appreciated. Thank you.&lt;/p&gt;&#xA;" OwnerUserId="9328" LastActivityDate="2015-08-13T04:41:24.983" Title="Fast encoding with ffmpeg" Tags="|video|ffmpeg|encoding|transcoding|recommendation|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16184" PostTypeId="1" CreationDate="2015-08-13T10:56:52.147" Score="2" ViewCount="30" Body="&lt;p&gt;We shoot all our videos in portrait using a Canon 5D camera. What is the best type of camera stabliser for this scenario? Most I've seen only cater for shots in &quot;landscape&quot;.&lt;/p&gt;&#xA;" OwnerUserId="11425" LastEditorUserId="11425" LastEditDate="2015-08-14T08:06:36.287" LastActivityDate="2015-08-14T08:06:36.287" Title="Camera stabilisers compatible with shooting in portrait" Tags="|stabilisation|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16185" PostTypeId="2" ParentId="16021" CreationDate="2015-08-13T11:15:11.200" Score="1" Body="&lt;p&gt;Use: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ avconv -i video.mp4 -vcodec copy video.ogg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;this should work, the &lt;code&gt;-vcodec copy&lt;/code&gt; option copies the video track from mp4 container into the ogg container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it does not work, see: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ avconv -codecs&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the &lt;code&gt;-codecs&lt;/code&gt; option to see which are supported by your program. That depends on the libraries linked after compilation of the source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See the manual: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ man avconv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;for more information on options like &lt;code&gt;-r&lt;/code&gt; (video bit rate option).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That option allows you to select a better bit rate for video, a similar one to the source video may be a good choice, if it does not works fine, try a higher rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Although &lt;code&gt;avconv&lt;/code&gt; is a development derived from a fork of FFmpeg it can still lack features and bug fixes that are present in &lt;code&gt;ffmpeg&lt;/code&gt;.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="11426" LastEditorUserId="1760" LastEditDate="2015-08-13T22:03:31.250" LastActivityDate="2015-08-13T22:03:31.250" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16186" PostTypeId="1" CreationDate="2015-08-13T13:39:42.227" Score="2" ViewCount="361" Body="&lt;p&gt;I've tried exporting 3d model lab into images sequence format after going through this below answer.&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/4033/exporting-mov-vr-to-multiple-still-frames&quot;&gt;exporting .mov vr to multiple still frames&lt;/a&gt;,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;but all I can see same image output with different names?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any other procedure to convert the 3d model mov file to panorama jpeg image?&lt;/p&gt;&#xA;" OwnerUserId="11427" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-08-13T15:16:25.877" Title="How to convert a quicktime 3d model .mov format into multiple images" Tags="|file-formats|3d|quicktime|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16187" PostTypeId="1" CreationDate="2015-08-13T19:10:02.137" Score="1" ViewCount="335" Body="&lt;p&gt;I'm importing .mov files that have embedded closed captioning because I need to do some very minor edits. I know that I cannot export .mov files with embedded closed captioning, but can I also not get at that closed captioning data from anywhere within Premiere Pro CS6 after importing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need the files coming out the other end with closed captioning available, whether as a sidecar file or not, so I'm hoping there's some way to do this.&lt;/p&gt;&#xA;" OwnerUserId="11430" LastActivityDate="2015-08-13T20:17:00.290" Title="Can I import .mov files with embedded closed captioning into Premiere Pro CS6?" Tags="|premiere|cs6|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16188" PostTypeId="2" ParentId="16187" CreationDate="2015-08-13T20:17:00.290" Score="1" Body="&lt;p&gt;You might try &lt;a href=&quot;http://ccextractor.sourceforge.net/about-ccextractor.html&quot; rel=&quot;nofollow&quot;&gt;CCExtractor&lt;/a&gt;. I'm not sure if it supports text tracks in .MOV containers, but it's a good starting point. I can create .SRT files which are common companion files for captioning.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-08-13T20:17:00.290" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16189" PostTypeId="2" ParentId="16021" CreationDate="2015-08-13T22:20:48.027" Score="2" Body="&lt;h1&gt;Get &lt;code&gt;ffmpeg&lt;/code&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Download a recent build of &lt;code&gt;ffmpeg&lt;/code&gt;. Binaries for Windows, Linux, and OS X are available on the &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;FFmpeg Download&lt;/a&gt; page. Development is very active and there is no need to use buggy &lt;code&gt;avconv&lt;/code&gt; (note that this answer was written for &lt;code&gt;ffmpeg&lt;/code&gt;, so I'm not sure if any examples will work with &lt;code&gt;avconv&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Theora video &amp;amp; Vorbis audio in OGG&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Theora is old and has been superseded in many cases by VP8/VP9 video in WebM (see example below), so there are few reasons to use Theora in OGG/OGV.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c:v libtheora -q:v 5 -c:a libvorbis -q:a 5 output.ogv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-q:v&lt;/code&gt; – video quality. Range is 0-10, where 10 is highest quality. 5-7 is a good range to try. If you omit &lt;code&gt;-q:v&lt;/code&gt; then &lt;code&gt;ffmpeg&lt;/code&gt; will use the default of &lt;code&gt;-b:v 200k&lt;/code&gt; which will most likely provide a poor quality output, and libtheora may drop/skip frames if the bitrate is too low. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-q:a&lt;/code&gt; – audio quality. Range is 0-10, where 10 is highest quality. 3-6 is a good range to try. Default is &lt;code&gt;-q:a 3&lt;/code&gt;. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Adapted from &lt;a href=&quot;https://trac.ffmpeg.org/wiki/TheoraVorbisEncodingGuide&quot; rel=&quot;nofollow&quot;&gt;FFmpeg Wiki: A Brief Theora and Vorbis Encoding Guide&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;VP8 video &amp;amp; Vorbis audio in WebM&lt;/h1&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c:v libvpx -qmin 0 -qmax 50 -crf 5 -b:v 1M -c:a libvorbis -q:a 5 output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;See &lt;a href=&quot;http://trac.ffmpeg.org/wiki/Encode/VP8&quot; rel=&quot;nofollow&quot;&gt;FFmpeg Wiki: VP8 Encoding Guide&lt;/a&gt; and &lt;a href=&quot;http://www.webmproject.org/docs/encoder-parameters/&quot; rel=&quot;nofollow&quot;&gt;VP8 Encode Parameter Guide&lt;/a&gt; to optimize your command.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you want to encode VP9 video, then use &lt;code&gt;-c:v libvpx-vp9&lt;/code&gt;. It is currently a slow encoder.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2015-08-13T22:20:48.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16190" PostTypeId="2" ParentId="14556" CreationDate="2015-08-14T06:16:53.547" Score="0" Body="&lt;p&gt;The way I do this is by creating a solid colour (black) clip, placing it above the two clips and fading it in. Remove the fades from the other two clips when you do this. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-08-14T06:16:53.547" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16191" PostTypeId="2" ParentId="16180" CreationDate="2015-08-14T07:25:34.803" Score="2" Body="&lt;p&gt;You can use an EDL (Edit Decision List) in the CMX3600 format. An EDL is a very simple import/export format from the 1970s, when data was exchanged using floppy disks and videos were stored on tape. It's just a text file and most modern NLEs (including Premiere Pro) can import/export it. (Today there are some variations between NLEs, but that doesn't have to bother you.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To understand EDLs, it's probably best that you create a new timeline and put your MPG video in it. Then export the timeline into an EDL (File &gt; Export &gt; EDL) and open the exported file with a simple text editor. Analyse the content. Then do some cut in your timeline and export it again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, an EDL consists of several text lines like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;VJ0K006W V    C         00:00:00:00 00:00:18:19 00:00:22:02 00:00:40:21&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The first column is an ID of your video clip, followed by V for a video track and C for a cut. An A instead of V indicates an audio track. The last 4 columns are timecodes which define the in and out point of the source and the in and out point in the timeline. You see that this clip is the first 18 seconds and 19 frames of the input video starting in the timeline at 22 seconds and 2 frames. It's only logical that the clip must end 18 seconds and 19 frames later, at the timeline position 40 seconds and 21 frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, to answer your question: You have to write a small program (or ask a friend to write) which takes your CSV file as input, extracts the time position, calculates the +/- 10 seconds, and writes an EDL file in the way that Premiere Pro exported. Premiere Pro should import it without problems and assemble the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some footnotes:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/SMPTE_timecode&quot; rel=&quot;nofollow&quot;&gt;Wikipedia&lt;/a&gt; explains how timecodes are constructed. If you have simple frame rates like 24, 25, or 30 fps, calculating your +/- 10 seconds is not so difficult. But if your clip has 29.97 fps, then you have to consider drop frames. (You know that leap years have an additional day - February 29, but only occur in distinct years. Clips with 29.97 fps have normally 30 frames per second, but at distinct times have 2 frames less.)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I didn't cover the problem of media file names here. When the EDL/CMX3600 format was defined, media only had tape numbers, which were written in the first column of the EDL. When file-based media came into existence, NLEs had to add the file names somehow to the EDL. They did it, but not in a consistent way. But since you only work with Premiere Pro, just see how your video file name appears in the EDL file and mimic the same when writing your file. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2015-08-14T07:25:34.803" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16192" PostTypeId="1" CreationDate="2015-08-14T08:18:18.793" Score="1" ViewCount="13133" Body="&lt;p&gt;This may be a simple question but I can't find the answer anywhere online.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a psd image of a desk with different object on it including paperwork. I want to be able to enlarge/zoom into sections of the paperwork to show areas that are important to the viewer. Once zoomed in I then want to zoom back out to the original image and then zoom back into a different section. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible and if so, how do I do it?&lt;/p&gt;&#xA;" OwnerDisplayName="user11434" LastActivityDate="2015-08-15T20:09:05.203" Title="How to enlarge/zoom into a specific area in After Effects" Tags="|video|after-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16193" PostTypeId="1" CreationDate="2015-08-14T10:30:55.110" Score="3" ViewCount="57" Body="&lt;p&gt;Suppose I have two identical cameras, a red camera and a blue camera, that can both shoot videos at 1000 frames per second. If I set them up in the following set up, using a half-silvered mirror to capture the object highlighted in green, could I not technically achieve 2000 frames per second by simply overlapping the two sets of data I get from the red and the blue cameras? (e.g., take the first frame from the red camera, the second frame from the blue camera, and so on?) In effect I could double the frames per second of any camera with correct timing with the following set-up, though I've personally never touched a camera so I don't know the limitations that cameras could impose on realizing this dream of mine. I'm not too sure if this is off-topic either, sorry if it is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hsvkC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hsvkC.png&quot; alt=&quot;here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11436" OwnerDisplayName="Joshua Lin" LastActivityDate="2015-08-14T12:10:39.130" Title="What are the main limitations on using the following setup to boost frames per second capturing?" Tags="|framerate|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16194" PostTypeId="2" ParentId="16193" CreationDate="2015-08-14T12:10:39.130" Score="2" Body="&lt;p&gt;You could get twice the frame rate &lt;strong&gt;&lt;em&gt;if&lt;/em&gt;&lt;/strong&gt; (big if) the taking times of the cameras were shifted by 1/2 millisec. In other words, the frame R1 is time stamped 0.0010 sec and the frame B1 is time stamped 0.0015 sec, and so on. Sync would have to be centrally driven, and registration would have to be perfect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That leads to the problem that the frames from camera B would be horizontally reversed WRT the frames from camera R. This could be overcome, just something to consider when trying to register the images.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-08-14T12:10:39.130" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16196" PostTypeId="1" AcceptedAnswerId="17752" CreationDate="2015-08-14T21:04:04.337" Score="4" ViewCount="98" Body="&lt;p&gt;I've got some frames that were captured over 24h at 2 frames a min.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to convert them to video BUT with different playback speeds depending on when they were shot. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to be able to use different framerates for different periods of the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each hour has 120 frames so playback of each hour different FPS would take:&#xA;    &lt;code&gt;&#xA;|------------------|&#xA;| frames |  play   |&#xA;|--------|---------|&#xA;|   1    | 120 Sec |&#xA;|   2    | 60 Sec  |&#xA;|   3    | 40 Sec  |&#xA;|   4    | 30 Sec  |&#xA;|   5    | 24 Sec  |&#xA;|   6    | 20 Sec  |&#xA;|   8    | 15 Sec  |&#xA;|   10   | 12 Sec  |&#xA;|   12   | 10 Sec  |&#xA;|   15   | 8 Sec   |&#xA;|   16   | 8 Sec   |&#xA;|   20   | 6 Sec   |&#xA;|   24   | 5 Sec   |&#xA;|------------------|&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something like this: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/V3sMe.png&quot; alt=&quot;1]&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each hour/120 frames at different speeds, this setup would play a day back in just under 9min.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;any ideas where I can find software that would let me do this? preferably adjusting the speed via a graph/equalizer setup?&lt;/p&gt;&#xA;" OwnerUserId="11437" LastActivityDate="2016-02-24T22:13:45.360" Title="software for frame images to video with changing framerate?" Tags="|software-recommendation|framerate|time-lapse|stop-motion|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16198" PostTypeId="2" ParentId="16099" CreationDate="2015-08-15T00:20:39.013" Score="4" Body="&lt;p&gt;Drag all your r3d files into Adobe Media Encoder (or CineX Pro), transcode to ProRes 422 (Proxy) and then use these to make your edit in Premiere. Once done, make the proxy footage offline in your project window and then relink to the original files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure to keep your folder structures the same for the proxies so that relinking is just a 1-click process. Also think before about what resolution you're delivering in and use sequence settings to reflect this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also make sure you actually have room for the proxies on your desktop. The files will be smaller but still take up a significant amount of space.&lt;/p&gt;&#xA;" OwnerUserId="11439" LastActivityDate="2015-08-15T00:20:39.013" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16199" PostTypeId="2" ParentId="16192" CreationDate="2015-08-15T13:39:34.280" Score="3" Body="&lt;p&gt;You need to animate the anchor point. This is the point towards which an image will zoom if you increase its scale. So when you zoom in to the paperwork you have to put the anchor point under the paperwork.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Trouble is the anchor point is also the point at which the image is attached to the composition, so moving it will normally cause the image to move. After Effects has a tool call the &quot;&lt;strong&gt;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/layer-properties.html#layer_anchor_points&quot; rel=&quot;nofollow noreferrer&quot;&gt;Pan Behind&lt;/a&gt;&lt;/strong&gt;&quot; tool &lt;a href=&quot;https://i.stack.imgur.com/sBraI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sBraI.png&quot; alt=&quot;Pan behind icon&quot;&gt;&lt;/a&gt;, which deals with this problem. It moves the anchor point of a layer and at the same time adjusts the layer's position in the composition to match so that the layer doesn't move. To use the Pan Behind tool hit the letter &lt;kbd&gt;y&lt;/kbd&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So to zoom in to one point, zoom out, and then zoom in to another point you need to first set keyframes for your position, anchor point, and of course scale properties. Do this at the time when your first zoom starts. With the Pan Behind tool adjust the anchor point (and thus the position as well) so that it's sitting under the papers, then animate your zoom in, and out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The keyframe for your anchor point and position should be made &quot;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/keyframe-interpolation.html#main-pars_heading_10&quot; rel=&quot;nofollow noreferrer&quot;&gt;hold keyframes&lt;/a&gt;&quot; so that they won't change until their next keyframe, at which point they will change instantly. Otherwise you'll have to set position and anchor points each time you set a scale keyframe (which would work too, but it's more work and harder to edit). Select the position and anchor point keyframes, right-click on one and choose &lt;strong&gt;Toggle Hold Keyframe&lt;/strong&gt; from the context menu, or from the top menu by choosing &lt;strong&gt;Animation &gt; Toggle Hold Keyframe&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now go to the time when you want to zoom into something else on the desk. Use the pan behind tool again to set the anchor point (and position at the same time), then add scale keyframes for your zoom. Rinse, repeat.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-08-15T13:39:34.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16200" PostTypeId="1" CreationDate="2015-08-15T14:12:27.740" Score="1" ViewCount="207" Body="&lt;p&gt;I'm using ffmpeg to transcode mp4 file, I got the below command from: &lt;a href=&quot;http://www.wowza.com/forums/content.php?192-Encoding-Suggestions-for-Video-on-Demand&quot; rel=&quot;nofollow&quot;&gt;http://www.wowza.com/forums/content.php?192-Encoding-Suggestions-for-Video-on-Demand&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i Butterfly_HD_1080p.mp4 -s 320x180 -y -strict experimental -acodec aac -ab 64k -ac 2 -ar 48000 -vcodec libx264 -vprofile main -g 48 -b 270000 -threads 64 butterfly_400.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;based on what they decide the bitrate for above output file will be 400(400000)? what the equation that they use for bitrate value?&lt;/p&gt;&#xA;" OwnerUserId="11442" LastActivityDate="2015-08-15T14:12:27.740" Title="What the equation that we should use to know the bitrate value?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16201" PostTypeId="2" ParentId="16182" CreationDate="2015-08-15T18:28:06.513" Score="1" Body="&lt;p&gt;The output file doesn't have any sound because there &lt;strong&gt;is no audio&lt;/strong&gt; in the timeline that you are rendering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The output format (MP4 vs. AVI) doesn't have any effect; both formats can contain an audio track or not. Checking the box to output audio only has any effect if there is already an audio track in the timeline. If there's no audio track, the output will have audio but it will be silent (as you're experiencing).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The solution is to add some audio file(s) to the project and then put it into your timeline.&lt;/p&gt;&#xA;" OwnerUserId="10571" LastActivityDate="2015-08-15T18:28:06.513" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16202" PostTypeId="2" ParentId="16192" CreationDate="2015-08-15T20:09:05.203" Score="1" Body="&lt;p&gt;The way I would normally do this would be to have multiple layers, each with the identical PSD in its &quot;starting point&quot; magnification.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;For each area of interest, use the Pan Behind tool to move the anchor point to that area of interest.&lt;/li&gt;&#xA;&lt;li&gt;Then keyframe the move/zoom into that area of interest, adding whatever annotations or highlights to draw the viewer's attention.&lt;/li&gt;&#xA;&lt;li&gt;Keyframe the reverse move/zoom back to the original magnification.&lt;/li&gt;&#xA;&lt;li&gt;Lather, rinse, repeat as needed.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I will say that @stib's answer gives good advice as well. I just wouldn't overcomplicate it by using the hold keyframes for the anchor point.&lt;/p&gt;&#xA;" OwnerUserId="5804" LastActivityDate="2015-08-15T20:09:05.203" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16203" PostTypeId="2" ParentId="16119" CreationDate="2015-08-16T03:42:59.147" Score="1" Body="&lt;p&gt;I'm going to assume you want to view all 18 HDMI inputs simultaneously on a few monitors, then be able to send one of those inputs to an output for broadcast/presentation? I don't know what sort of effects you need, or anything else like that, but maybe this will get you on the right track. Or if you need the switcher to be seamless (i.e: no momentary signal loss).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Look into the Kramer range of modular switchers: &lt;a href=&quot;http://www.krameraustralia.com.au/products/model.asp?pid=2455&amp;amp;sf=55&amp;amp;pname=Kramer%20CORE&quot; rel=&quot;nofollow&quot;&gt;http://www.krameraustralia.com.au/products/model.asp?pid=2455&amp;amp;sf=55&amp;amp;pname=Kramer%20CORE&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They're a chassis with slots for cards that you can configure yourself. Buy a chassis (e.g: VS-3232DN) and pop in the cards you need (e.g: five of the H-IN4-F32 HDMI input cards and one H-OUT4-F32 card) and away you go. The chassis is controllable over ethernet so you can use a PC to do all the switching and whatnot. You can also get cards that support HDbaseT, which is awesome if your HDMI cable runs are going to be more than say 10 meters as HDbaseT runs HDMI over Ethernet reliably (not like the crappy balun style converters on eBay and stuff).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This stuff isn't cheap though, you'd be looking at around US$15,000 for the setup with all the cards. That might not be an issue for you though :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, this might not be the most appropriate solution for what you intend to use the gear for - on this chassis there's no seamless switching, no effects, no ability to put graphics on stuff. It's simply a switch with a load of inputs. It might be better to try get the inputs (are they all PCs?) to output 59.94 instead of 60, that way you can build yourself a rig with a couple of capture cards and it'd do everything all in one and be half the price of the switcher.&lt;/p&gt;&#xA;" OwnerUserId="1725" LastEditorUserId="674" LastEditDate="2016-08-10T12:30:29.893" LastActivityDate="2016-08-10T12:30:29.893" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16204" PostTypeId="1" CreationDate="2015-08-16T15:33:38.380" Score="2" ViewCount="31430" Body="&lt;p&gt;What I want to do is simple conceptually, but I am just not having success with actually doing it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am creating a short video snippet in After Effects, as part of a larger presentation. The video is supposed to begin with a blinking light under the title, which then transitions, with a sound effect, to the video itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've worked out the sound effect, the transition, and all of the other stuff - I just don't know how to animate a blinking light. There must be a way to automate turning the opacity on and off - but all of the tutorials I've found date from several years ago at the earliest and presuppose a working knowledge of After Effects that is more in-depth than what I have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone point me in the right direction? Preferably with explicit steps!&lt;/p&gt;&#xA;" OwnerUserId="11446" LastActivityDate="2015-09-17T11:54:52.287" Title="How to create a blinking effect in After Effects CC?" Tags="|after-effects|animation|automation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16205" PostTypeId="1" CreationDate="2015-08-16T15:46:41.447" Score="1" ViewCount="208" Body="&lt;p&gt;I need to transcode video and add it to Wowza server. is there any recommded command that I can use to transcode the vedeo in best way to work with mpeg-dash.&lt;/p&gt;&#xA;" OwnerUserId="11442" LastActivityDate="2015-08-16T15:46:41.447" Title="ffmpeg command to transcode video to multiple videos fit with MPEG-DASH" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16206" PostTypeId="2" ParentId="16204" CreationDate="2015-08-17T01:36:41.147" Score="4" Body="&lt;ol&gt;&#xA;&lt;li&gt;Create your keyframes&lt;/li&gt;&#xA;&lt;li&gt;Select them by holding down &lt;kbd&gt;Shift&lt;/kbd&gt;, via box select or simply click the &lt;em&gt;Flare Brightness Property&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Then hold &lt;kbd&gt;Alt&lt;/kbd&gt; and click the stopwatch icon, this will create an expression&lt;/li&gt;&#xA;&lt;li&gt;Then click the &lt;em&gt;Expression Arrow&lt;/em&gt; &lt;kbd&gt;&gt;&lt;/kbd&gt; and select &lt;em&gt;Property &gt;  &lt;code&gt;loopoutduration&lt;/code&gt;&lt;/em&gt; this will cause that the keyframes to repeat themselves&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zAqCu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zAqCu.png&quot; alt=&quot;Image&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11447" LastEditorUserId="6685" LastEditDate="2015-09-17T11:54:52.287" LastActivityDate="2015-09-17T11:54:52.287" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16209" PostTypeId="1" AcceptedAnswerId="16215" CreationDate="2015-08-17T11:26:28.033" Score="1" ViewCount="11803" Body="&lt;p&gt;In After Effects I am trying my hands at this &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/KLsk3lGbiVc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; and would like to add a random number between 45 and 55 in the upper right corner, which should change each second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use Math.round(random(45,55)) I am getting pretty close, but the number updates maybe 20 times a second making it unusable. Is there a way to control how often a new number is generated? Is there another way to do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just to clarify, I want sort of what is already in wiggle, where wiggle(1,30) wiggles once a second.&lt;/p&gt;&#xA;" OwnerUserId="11451" LastActivityDate="2019-05-03T17:31:20.607" Title="Create a random number each second" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16210" PostTypeId="1" CreationDate="2015-08-17T17:59:40.177" Score="2" ViewCount="348" Body="&lt;p&gt;Video capture device cycling through 4 cameras every 4 seconds. Want to split the video into four streams to reduce the amount of key frames, save internet traffic and soothe the motion detector.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While the channel is inactive, there should be a still frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Created a test input file &lt;code&gt;combined.mkv&lt;/code&gt;. Bash script to create it:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;(&#xA;    set -e&#xA;    fontfile=&quot;/Windows/Fonts/arial.ttf&quot;&#xA;    fontfile=&quot;/usr/share/fonts/TTF/DejaVuSans.ttf&quot;&#xA;    i=0; for c in blue green magenta red; do ffmpeg -y -f lavfi -i color=s=640x480:d=35:r=25:c=$c \&#xA;        -vf &quot;&#xA;            drawtext=fontfile=$fontfile: fontsize=160:fontcolor='white':text='$i':x=(w-text_w)/2:y=(h-line_h)/2,&#xA;            drawtext=fontfile=$fontfile: boxcolor=0x000000AA:box=1:fontsize=72:fontcolor='white':text='':timecode='00\:00\:00\:00':rate=25&#xA;        &quot; \&#xA;        $i.mkv; i=$((i+1)); done&#xA;&#xA;    ffmpeg -y -i 0.mkv -i 1.mkv -i 2.mkv -i 3.mkv -filter_complex &quot;[0:v][1:v]overlay=enable='between(mod(t,16),4,8)'[o01];[o01][2:v]overlay=enable='between(mod(t,16),8,12)'[o012];[o012][3:v]overlay=enable='between(mod(t,16),12,16)'&quot; combined.mkv&#xA;&#xA;    rm -f 0.mkv 1.mkv 2.mkv 3.mkv&#xA;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Extracting one channel at a time works fine: &lt;code&gt;select&lt;/code&gt; filter extracts the frames belonging to the channel, then &lt;code&gt;overlap&lt;/code&gt; filter is used to fill the gap at the beginning of the file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkdir -p desired&#xA;for i in 0 1 2 3; do&#xA;ffmpeg -y -f lavfi -i nullsrc=s=640x480:r=25 -i combined.mkv \&#xA;    -filter_complex &quot;[1:v]select='between(mod(t*1000,16*1000),$i*4000+100,($i+1)*4000-100)'[selected$i];[0:v][selected$i]overlay=shortest=1&quot; desired/split$i.mkv&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But when I try to split and filter, I get garbage:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkdir -p actual&#xA;ffmpeg -y -f lavfi -i nullsrc=s=640x480:r=25 -i combined.mkv \&#xA;    -filter_complex &quot;[0:v]split=4[null0][null1][null2][null3];[1:v]split=4[in0][in1][in2][in3];&#xA;    [in0]select='between(mod(t*1000,16*1000),0*4000+100,(0+1)*4000-100)'[selected0];[null0][selected0]overlay=shortest=1[out0];&#xA;    [in1]select='between(mod(t*1000,16*1000),1*4000+100,(1+1)*4000-100)'[selected1];[null1][selected1]overlay=shortest=1[out1];&#xA;    [in2]select='between(mod(t*1000,16*1000),2*4000+100,(2+1)*4000-100)'[selected2];[null2][selected2]overlay=shortest=1[out2];&#xA;    [in3]select='between(mod(t*1000,16*1000),3*4000+100,(3+1)*4000-100)'[selected3];[null3][selected3]overlay=shortest=1[out3]&#xA;    &quot; \&#xA;    -map '[out0]' actual/split0.mkv \&#xA;    -map '[out1]' actual/split1.mkv \&#xA;    -map '[out2]' actual/split2.mkv \&#xA;    -map '[out3]' actual/split3.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11453" LastEditorUserId="11453" LastEditDate="2015-08-17T21:00:36.307" LastActivityDate="2015-08-17T21:00:36.307" Title="Unexpected filtering result with multiple outputs" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16212" PostTypeId="2" ParentId="14869" CreationDate="2015-08-17T20:36:27.463" Score="1" Body="&lt;p&gt;you could also try an intermediate workflow, like transcoding the MXF files into an appropriate ProRes container. This most likely would be 422Proxy. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Canon C300 codec is a variation of XDCAM (source: &lt;a href=&quot;http://www.premiumbeat.com/blog/editing-with-canon-c300-footage-tips-for-when-it-all-goes-wrong/&quot; rel=&quot;nofollow&quot;&gt;http://www.premiumbeat.com/blog/editing-with-canon-c300-footage-tips-for-when-it-all-goes-wrong/&lt;/a&gt;) I personally do not like to edit in Long-GOP or predictive frame codecs. So transcoding to an inter-frame codec like ProRes or DNX is always a safe bet.&lt;/p&gt;&#xA;" OwnerUserId="11454" LastActivityDate="2015-08-17T20:36:27.463" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16213" PostTypeId="1" CreationDate="2015-08-17T23:45:10.227" Score="5" ViewCount="10876" Body="&lt;p&gt;Colors look great in FCPX.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After I export (Share &gt; Master file &gt; H.264 Quicktime) they look a bit dull: desaturated, less vibrant. Also sort of like the wrong gamma curve - shadows are darker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realise compression is lossy but is this expected?  Should I over-saturate the video in FCPX a bit to compensate?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I saw some very technical forum posts talking about color-space conversions last time I googled for this, suggesting maybe Quicktime uses the wrong 'matrix'.  I am not a video pro but the visual difference does remind me of what can happen with RGB &gt; CMYK and colour profiles in the print world. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;At first I thought it was only after upload to YouTube, but the issue is there when I play back the exported .mov too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any tips or info?&lt;/p&gt;&#xA;" OwnerUserId="2538" LastEditorUserId="2538" LastEditDate="2015-08-18T12:28:05.873" LastActivityDate="2020-12-04T09:16:44.050" Title="Colors look different after export" Tags="|final-cut-pro-x|quicktime|h.264|color|colorspace|" AnswerCount="3" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="16214" PostTypeId="1" CreationDate="2015-08-18T01:51:18.730" Score="4" ViewCount="682" Body="&lt;p&gt;This is my first time working with anamorphic red footage. When I view footage in the source monitor, all anamorphic clips are sheared diagonally (image below):&#xA;&lt;a href=&quot;https://i.stack.imgur.com/mohvU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mohvU.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem does not persist when the footage is playing back, or when I'm viewing it on the timeline, or through RED Player. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It only shears when paused within the source monitor, as well as viewing RED R3D Source settings. How can I fix this?&lt;/p&gt;&#xA;" OwnerUserId="11455" LastActivityDate="2015-11-02T11:24:11.970" Title="Premiere distorts 2.0 anamorphic R3D footage when paused in the source viewer" Tags="|premiere|workflow|red|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16215" PostTypeId="2" ParentId="16209" CreationDate="2015-08-18T07:36:59.397" Score="3" Body="&lt;p&gt;&lt;code&gt;random&lt;/code&gt; updates at the sub-frame level (so its value actually changes even during a frame, for example when motion blur is on. You can see this as you zoom in on the graph editor of a property with a random value, it keeps changing as it zooms and the time is sub-sampled more).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To force it to update only once a second you need to use the &lt;a href=&quot;http://adobe.ly/1DZW3md&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;seedRandom&lt;/code&gt;&lt;/a&gt; function, with the &lt;code&gt;timeless&lt;/code&gt; attribute set to &lt;code&gt;true&lt;/code&gt;, and a &lt;code&gt;seed&lt;/code&gt; that changes every second. Using &lt;code&gt;Math.floor(time)&lt;/code&gt; will return a value that increases once every second, on the second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So something like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;seedRandom(Math.floor(time), timeless = true);&#xA;random(45,55);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;will create a random value that stays constant for 1 second, and &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var holdTime = 5;&#xA;seedRandom(Math.floor(time/holdTime), timeless = true);&#xA;random(45,55);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;will stay constant for 5 seconds - you can change the value of the variable &lt;code&gt;holdTime&lt;/code&gt; to control how long the value holds for. For example to change once every frame, but not during sub-frame intervals set it to &lt;code&gt;holdTime = thisComp.frameDuration;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-08-03T04:11:38.597" LastActivityDate="2017-08-03T04:11:38.597" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16216" PostTypeId="1" CreationDate="2015-08-18T21:44:04.623" Score="2" ViewCount="68" Body="&lt;p&gt;Is there really no way to see progress of an encoding job in Apple Compressor 4.1.3?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I started a batch (single job, one file) and this is all I see:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Q8NS7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Q8NS7.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My fan is blowing at full speed so I guess something's happening. Or maybe it's just crashed and will never complete...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks Apple&lt;/p&gt;&#xA;" OwnerUserId="2538" LastActivityDate="2015-08-18T21:44:04.623" Title="How to see encoding progress in Compressor 4.1.3" Tags="|encoding|final-cut-pro-x|x264|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16217" PostTypeId="1" CreationDate="2015-08-17T19:59:08.843" Score="9" ViewCount="1119" Body="&lt;p&gt;I am generating an animation in Matlab, composed of simple diagrams. The images are characterized by fine structures, strong contrasts and mostly discrete colors, e.g. there are few-pixels wide black lines, dots or small patches of uniform color, few-pixels high antialiased text, etc. Here's a screen shot of a typical frame:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SkRS3.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SkRS3.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What changes from frame to frame are the colored patches on the left, the time (&quot;t = &quot;), and the position of the black dot in the right panel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using a standard video codec on this which was designed for full-frame moving photographic imagery generates strong artefacts even with weak compression. Without compression however, the video file becomes unmanageably huge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question: &lt;em&gt;Is there a video codec that is optimized for this kind of material?&lt;/em&gt; If possible, it would be optimal if an encoder is included in ffmpeg, and if there is a decoder (codec implementation) available for Windows.&lt;/p&gt;&#xA;" OwnerUserId="11462" OwnerDisplayName="A. Donda" LastEditorUserId="4426" LastEditDate="2021-12-01T10:47:38.903" LastActivityDate="2021-12-01T10:47:38.903" Title="Video codec for simple animation?" Tags="|ffmpeg|video|codec|compression|windows|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16218" PostTypeId="1" CreationDate="2015-08-19T08:12:13.417" Score="6" ViewCount="42294" Body="&lt;p&gt;I just finished watching this nice little YouTube tutorial that gives one a bit more control on speeding up or slowing down PARTS of video (as opposed to just slowing down the whole thing) using time remapping, markers (splitting markers), etc. All really quite handy and gives more control. Caveat is that I can't figure out how to make it apply the slow-down/speed-up to the audio as well. If I don't use markers and time remapping and just do the right-click and select speed/duration that will apply it to the whole video... and audio. But that is not what I want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a Subclip in my Timeline Monitor. It comes with Video Track and Audio Track:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Dbsmg.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Dbsmg.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I speed up a SEGMENT of my video using &quot;add/remove keyframe&quot; in &quot;Time Remapping&gt;Speed&quot; Effect Controls, it changes the duration of the video but not audio. So I end up with this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ehZ9C.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ehZ9C.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to change video speed three times.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;From the very beginning the speed is 400%.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In the middle the speed decreases to 200% for some seconds.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;After that speed decreases to 100% till the end of the video.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;And I want the audio changes its speed along with the video. I speed up/speed down video, so the audio do the same. The best example of how an audio should fit with a video is to run a video in MPC-HC (Media Player Classic) and speed it up or down by &lt;code&gt;Ctrl + arrow-up&lt;/code&gt;/ &lt;code&gt;Ctrl + arrow-down&lt;/code&gt;. I want to achieve the same effect in Adobe PP CC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way that I can use time remapping on video and have the audio remapped in sync with the video? Or is there some other way to do it? Any pointers would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="10820" LastActivityDate="2016-03-18T06:29:21.737" Title="How to speed up/slow down audio along with video?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16219" PostTypeId="1" AcceptedAnswerId="16221" CreationDate="2015-08-19T13:39:30.787" Score="2" ViewCount="2330" Body="&lt;p&gt;Many video playback applications (e.g. &lt;em&gt;VLC Player&lt;/em&gt;, &lt;em&gt;MPC-HC&lt;/em&gt;, etc.) are highly configurable. For example:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;em&gt;VLC Player&lt;/em&gt; allows you to enable: &lt;em&gt;QuickSync&lt;/em&gt; and/or DXVA&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Freemake&lt;/em&gt; allows you to enable: CUDA and/or DXVA&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What I am trying to understand is... what is the relationship between hardware acceleration and these technologies?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, can you enable DXVA to leverage GPU based hardware performance AND enable &lt;em&gt;QuickSync&lt;/em&gt; to leverage CPU based hardware acceleration?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;It is my understanding that...&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;DirectX Video Accelerator (DXVA)&lt;/strong&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;This type of hardware acceleration improves video encoding/decoding performance by routing 'work' to the GPU (integrated or discrete).&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Intel QuickSync&lt;/strong&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;This type of hardware acceleration improves video encoding/decoding performance by routing 'work' to the CPU - specifically a dedicated processor die that is responsible for performing video encoding/decoding operations.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Compute Unified Device Architecture (CUDA)&lt;/strong&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is a closed API developed by NVIDIA that not only gives direct access to the the GPU's virtual instruction set, but also allows for data to be retrieved from the video card so that additional processing can be performed.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11327" LastActivityDate="2015-08-19T14:44:57.760" Title="What is the relationship between hardware acceleration and DXVA/QuickSync/Cuda?" Tags="|codec|hardware|playback|performance|setup|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16221" PostTypeId="2" ParentId="16219" CreationDate="2015-08-19T14:25:23.473" Score="1" Body="&lt;p&gt;They are all forms of hardware acceleration, which broadly, just means that specialized hardware is doing things faster than the basic CPU normally could.  The exact nature of what each type of acceleration does depends entirely on the software you are using and the hardware you are using.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some hardware is very purpose specific.  Something like Intel QuickSync is a specific hardware encoder and has limited functionality because it can only serve it's purpose driven role.  This is similar to any other dedicated encoder, such as the integrated encoder used for NVidia Shadowplay or the dedicated encoders on devices like the Matrox MXO2 or BlackMagic Intensity.  There are other rolls other than encoding that could be filled by a purpose driven card, but encoding is certainly one of the most common.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other hardware, such as modern GPUs (CUDA or OpenCL based, I think ATI has a term too, but can't remember it) and video editing or mixing acceleration cards, such as Black Magic's ATEMs or Matrox's older RT line of real time editing cards, are designed to provide more general purpose functionality.  Depending on the hardware they may either offer a wider array of specialized functionality or simply a general purpose parallel processor that works better for video purposes.  In these cases, the functionality is made available to software, but it is up to software to utilize the processing capabilities of the hardware and the exact nature of the acceleration will depend on which algorithms and processing they choose to offload to the hardware.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option, as far as APIs are concerned, is something like DXVA, which strives to unify multiple technologies.  DirectX in general is a system for interfacing software and diverse graphics hardware.  It looks for any hardware that tells it that it can fill a role and then will utilize that hardware to do a job when software asks for the job to be done.  I'm not super familiar with DXVA, so I don't know if it puts any specific requirements on hardware (some directX stuff does), but on the hardware end, the implementation could potentially differ greatly and could use either CPU features or GPU features, depending on what's available to it.  It may or may not be directly implemented in terms of the more hardware specific feature sets (CUDA, QuickSync, etc), but it is designed to work across diverse hardware, so you know less about what is going on under the hood.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All of the technologies can be used to speed encoding, but the general purpose technology can also be applied to just about anything that you can process in parallel, so they can (potentially) impact render times as well (the time it takes to make the images that are going to be encoded).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2015-08-19T14:44:57.760" LastActivityDate="2015-08-19T14:44:57.760" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16222" PostTypeId="2" ParentId="16217" CreationDate="2015-08-19T15:39:28.437" Score="4" Body="&lt;p&gt;I read up a bit and made some experiments with lossless codecs, getting decent results. I'd be interested in comments on this, especially if there are lossless or lossy alternatives that I overlooked.&lt;/p&gt;&#xA;&lt;p&gt;I tried the following codecs / formats in ffmpeg:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Lossless Motion JPEG2000 / AVI&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i test.avi -vcodec jpeg2000 -strict -2 -pred 1 test_jpeg2000.avi&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;compression ratio 19.59%&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Lossless VP9 / WebM&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i test.avi -vcodec vp9 -lossless 1 test_vp9.webm&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;compression ratio 0.52%&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;HuffYUV / AVI&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i test.avi -vcodec huffyuv test_huffyuv.avi&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;compression ratio 37.42%&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Lossless H.264 / MP4&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i test.avi -vcodec h264 -qp 0 -preset veryslow test_h264.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;compression ratio 0.53%&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Since HuffYUV did not perform well, I excluded it from further tests.&lt;/p&gt;&#xA;&lt;p&gt;I then tested playback support on Linux and Windows, trying mplayer, xine, vlc, chrome, and firefox on Linux (Debian testing) and vlc, windows media player, chrome, and firefox on Windows (8.1). I included browsers because WebM is specifically designed for web video. Results:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Lossless Motion JPEG2000 / AVI&lt;/p&gt;&#xA;&lt;p&gt;plays on Linux with mplayer&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Lossless VP9 / WebM&lt;/p&gt;&#xA;&lt;p&gt;plays on Linux with vlc and chrome and on Windows with chrome and firefox&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Lossless H.264 / MP4&lt;/p&gt;&#xA;&lt;p&gt;plays on Linux with mplayer, vlc, and chrome, and on Windows with vlc and chrome&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;That a video &amp;quot;plays&amp;quot; means it is supported by the player out of the box, and playback is correct. I found several cases where the video was &amp;quot;supported&amp;quot; but playback was buggy.&lt;/p&gt;&#xA;&lt;p&gt;Though Lossless VP9 has the best compression ratio (by a tiny margin), for the time being I decided to use Lossless H.264 because it has better playback support.&lt;/p&gt;&#xA;" OwnerUserId="11462" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-08-19T15:45:26.223" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16223" PostTypeId="1" CreationDate="2015-08-19T17:03:39.437" Score="7" ViewCount="13353" Body="&lt;p&gt;I'm trying to remove a logo from an .MP4 video format with ffmpeg on a Linux machine without re-encoding (for preserving the same quality) with the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf delogo=x=270:y=190:w=40:h=40 -c:a copy output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and it gives me the following errors:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Unrecognized option 'vf'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;then a new error came up:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Unable to find a suitable output format for 'delogo=x=270:y=190:w=40:h=40'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;ffmpeg is always updating and it seems that they change command line arguments a lot so any material or tutorial I find online seems to get outdated quickly.&lt;/p&gt;&#xA;&lt;p&gt;I review their website documentation but can't get it to work, I think i'm missing something...?&lt;/p&gt;&#xA;&lt;p&gt;What is the correct command line in Linux shell;&#xA;also, how to view or find out exactly the area coordinates to be removed before actually removing logo/overlaying it and keep testing every while?&#xA;And how to overlay a solid color in certain area instead of removing logo transparently as well?&lt;/p&gt;&#xA;" OwnerUserId="11466" LastEditorUserId="17147" LastEditDate="2022-10-06T14:25:00.513" LastActivityDate="2022-10-06T14:25:00.513" Title="Removing / Overlaying logo on mp4 video format with ffmpeg on linux" Tags="|video|video-editor|ffmpeg|mp4|filter|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="16224" PostTypeId="1" AcceptedAnswerId="17529" CreationDate="2015-08-19T17:30:26.607" Score="5" ViewCount="6428" Body="&lt;p&gt;A friend wanted to make some professional looking videos for a weekly vlog type of thing for his church. We went into this planning to buy a better camera and lights etc as we go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We filmed a video last week with his phone: a Samsung Galaxy S6 Edge. The quality was surprisingly good but I thought we could do much better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After spending a couple of weeks researching cameras and looking at reviews I ended up picking out the T5i; but I gotta say, I'm pretty underwhelmed. While, the photo quality is pretty good (I haven't had time to take a ton of photos), the video quality is quite a bit worse than the camera phone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general, the video is not as clear, bright, contrasted or colorful, and there's more noise and artifacts. I've tried Auto, as well as few other modes, and also manual (1/60, F/5, ISO 800). To reduce grain I also tried bumping the ISO down to 400 and the shutter to 1/30 to compensate. But after more research I don't think the grain was a problem. I'm guessing I was actually seeing compression artifacts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At first I had trouble believing that a smartphone could outperform a dedicated camera. Especially one that has countless reviews saying it's the best entry-level camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What might be the problem? Is a $600 phone really better than a $700 camera? Do I need a better lens? I've been eyeing the Canon 50mm f/1.8 because it's very affordable and footage I've seen with it looks much better in low lighting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe it's the lighting? Our lighting setup is definitely not ideal, at the moment, but I would expect it to at least still look clear even if it's underexposed. We have 3 work lights purchased at Walmart with 65w flood bulbs (if i recall).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We definitely want to get better lights; but it's still disconcerting how last week we used the same setup and got much better results on the phone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although, one area where the new camera was definitely more helpful was the focal length. With the phone we had to be very close in order to keep our backdrop in frame. With the T5i kit lens we were able to go to 50mm and backup and get much more natural framing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really want to make this work; it could be something we're doing wrong. Video tests I've seen on YouTube from the Rebel line seem to show better quality than we're getting; even T3i videos. I was hoping it was just post-processing, but after spending a day trying to color correct and color grade the footage, it's still not any clearer (of course).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At this point, we're considering returning it and getting something better but I'm not sure what to get.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was hoping this would be the best of both worlds but it seems like it's really more focused on stills; and for now, video is our primary focus. And, after some research it looks like we'd better off with a Panasonic or Sony. True? The Panasonic GH4 looks great as far as I can tell; but of course, it's twice the price. I also hear good things of the GH2 or GH3.&lt;/p&gt;&#xA;" OwnerUserId="11465" LastEditorUserId="11465" LastEditDate="2015-08-20T06:37:29.823" LastActivityDate="2016-01-28T13:09:49.827" Title="T5i video quality doesn't even match smartphone camera? Where can I improve?" Tags="|video-quality|camera|canon|gh4|" AnswerCount="2" CommentCount="13" ContentLicense="CC BY-SA 3.0" />
  <row Id="16225" PostTypeId="1" CreationDate="2015-08-19T23:46:00.547" Score="2" ViewCount="67" Body="&lt;p&gt;This question was &lt;a href=&quot;https://video.stackexchange.com/questions/12413/any-way-to-change-properties-of-subcomp-based-on-parent-comp&quot;&gt;asked almost a year ago&lt;/a&gt;, and no solutions were offered at that time. The original poster described exactly what was needed in a follow-up comment which can't be linked to directly, so I'm pasting here for reference:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Imagine a comp called 'Red,&quot; within which is nested a comp called 'Circle.' Red has a color picker set to red, and Circle takes its color from Red. Now I want to duplicate Red, call it Blue, and have Circle -- the same Circle precomp, not a copy of it -- become blue when it's nested within 'Blue.' Does that make sense? Apparently it's not possible. Blue would have to be duplicated in order to reference the new parent comp. There is no way for a comp to discover which comp it is nested in. –  Ze'ev Aug 20 '14 at 15:41&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I've found myself needing to do exactly the same thing. Was hoping with a year having passed new SE users might know a way to do this, or AE CC 2015 has added a slick way to do this. My research efforts including combing through SE, reading several Q&amp;amp;As and articles on Adobe's site, Google searches of course, no dice across the board. Grateful for assistance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&#xA;- DK&lt;/p&gt;&#xA;" OwnerUserId="11326" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-08-21T04:53:08.587" Title="Change props of subcomp based on parent comp" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16226" PostTypeId="2" ParentId="16223" CreationDate="2015-08-20T07:43:43.130" Score="6" Body="&lt;p&gt;Your command is missing double quotes around the filter definition :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;delogo=x=270:y=190:w=40:h=40&quot; -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(as explained in &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#Description&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg filters documentation&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nevertheless, this filter will decode and re-encode your video stream.&lt;/p&gt;&#xA;" OwnerUserId="9147" LastActivityDate="2015-08-20T07:43:43.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16228" PostTypeId="1" AcceptedAnswerId="16229" CreationDate="2015-08-20T09:41:06.013" Score="2" ViewCount="1823" Body="&lt;p&gt;Is it possible to, rather than a green screen, take a static shot of a background image (e.g. for a Skype call with a fixed-position webcam), and use this static image as the green screen?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I would take a photo of my sitting room through the cam, and then be able to use that image as my &quot;green screen&quot;.&lt;/p&gt;&#xA;" OwnerUserId="11470" LastActivityDate="2015-08-20T12:03:43.627" Title="Green screen without green screen" Tags="|greenscreen|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16229" PostTypeId="2" ParentId="16228" CreationDate="2015-08-20T11:54:34.747" Score="2" Body="&lt;p&gt;Yes, that is possible. What you're searching for is a &lt;strong&gt;difference matte&lt;/strong&gt; / &lt;strong&gt;difference key&lt;/strong&gt;. For that technique, you supply a base image and the program keys everything out that equals that image. So you could key out your static background so that only you remain in the picture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, there are a few downsides:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;This technique doesn't work nearly as good as a greenscreen. It will probably require a lot of work and there will still be some artifacts left in the video.&lt;/li&gt;&#xA;&lt;li&gt;If you're using a bad camera (such as a laptop webcam), the result will be even worse.&lt;/li&gt;&#xA;&lt;li&gt;If you move your camera even slightly, you'll have a problem. So if you do that with a webcam, don't touch it at all, if possible.&lt;/li&gt;&#xA;&lt;li&gt;There probably aren't many applications that can do this effect live (as opposed to post-production). IIRC, there is some video chat app for Mac-Computers that can do this. I'm not sure if it is possible with Skype, you'll have to research that. However, keep in mind that it probably won't look as good as you imagine it.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-08-20T11:54:34.747" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16230" PostTypeId="2" ParentId="16228" CreationDate="2015-08-20T12:03:43.627" Score="1" Body="&lt;p&gt;That's an interesting idea, but I expect the result to be of low quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suppose you are thinking about a computer program that compares one static frame of the background with other frames where somebody moves in the foreground. All pixels that are the same in both frames (within some narrow tolerance) will be made transparent for a new background. The static background frame has to be taken from the same video and the camera be fixed to avoid differences due to changes of perspective.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the problem can best be seen with a difficult scene: Let's take a person with blonde hair in front of a pine wood book shelf. There will certainly be parts of the hair detected as background and vice versa. With a still photo this misdetection may be acceptable, but in a video with moving head and hair the separation between fore- and background will appear as a dancing artifact.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other scenes may be easier. You just have to increase the contrast between fore- and background for example by using hair lights and exchange a dark original background with a dark new background. And of course film in the highest resolution and quality possible.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2015-08-20T12:03:43.627" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16232" PostTypeId="1" AcceptedAnswerId="16236" CreationDate="2015-08-20T16:45:00.740" Score="3" ViewCount="407" Body="&lt;p&gt;I have a Manfrotto tripod, Canon T3i and Rode videomic pro. I also have the Rode boom pole, but I was wondering which the best way to use it in an interview situation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For an interview indoors where the talent is sat down, it would be ideal to have the boom pole fixed (i.e. not being held by an operator), since we have minimal crew (2-3 people depending). That being said, we also want to minimise the amount of gear we carry so my question is this:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is it possible/recommended to somehow mount my boom to the tripod (which will also have the camera attached too) AND keep it out of shot?&lt;/li&gt;&#xA;&lt;li&gt;Should I buy a separate stand for the boom and if so what kind?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="11474" LastActivityDate="2015-08-21T13:20:48.993" Title="Using a static Boom Pole" Tags="|boom-pole|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16234" PostTypeId="2" ParentId="16232" CreationDate="2015-08-20T23:10:11.690" Score="2" Body="&lt;p&gt;I would not attach the boom pole to the camera tripod, because even light forces to the pole may irritate the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suppose you know that shot gun mics pick up the sound in front, but also from the back. That's why mounting a mic on top of the camera may easily pick up an echo from behind in smaller rooms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My suggestion would be to buy a small table tripod for the mic and put it right in front of the interviewee, just out of the frame.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2015-08-20T23:10:11.690" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16235" PostTypeId="2" ParentId="16224" CreationDate="2015-08-21T00:41:58.020" Score="1" Body="&lt;p&gt;There are a couple of questions here, so I try to break them down.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Can a smartphone outperform a DSLR?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In optimal conditions, yes. But as soon as you reach the limits of a smartphone camera, you cannot do anything about it. With a DSLR you can do so much to stay within the limits: change the lens, have an optical zoom, manual mode, you name it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Kit Zoom Lens vs 50mm Prime&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I find it convenient to quickly change the framing of the shot without moving the tripod. The downside of a kit lens is that it a) has a mediocre maximum aperture and that b) the aperture may change while you are zooming. And that may be in the middle of the recording. So if you want to use the zoom of your 18-55mm f/3.5-5.6 while recording, take care that your aperture is only 5.6, but not wider.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Canon vs Panasonic vs Sony&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't think there will be a final answer. But besides the specs it's also a question into which lens line you want to invest for the future.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you didn't ask: &lt;strong&gt;2K vs 4K&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course for a vlog you only need 2K/1080p. But if you would have 4K, you would find it convenient just record a pretty wide shot and zoom digitally inside your NLE, without loosing quality. That would give your video some variation of an otherwise static shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What can you do to improve the quality?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The most important parts are a good (and pleasant) lighting and a flawless sound recording. If you have this, nobody will care about a less-than-optimal camera output. It's worth to invest your time into that.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2015-08-21T00:41:58.020" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16236" PostTypeId="2" ParentId="16232" CreationDate="2015-08-21T04:17:48.560" Score="3" Body="&lt;p&gt;For seated interview subjects I usually put the mic on a standard mic stand, the kind that has a horizontal arm, like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ixxYk.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ixxYk.jpg&quot; alt=&quot;mic stand&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;usually I have to extend the main pole as far as it will go to get the top pole horizontal so it doesn't cut the corner of the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Having the mic in front of and above the speakers mouth means that you don't get pops and sybilance from them breathing into it, and also lets you get the mic closer—the top of the frame is usually closer to the subject's head than the bottom of frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option is to get a boom pole holder - like this one:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OvqCI.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OvqCI.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That will be a more pricey option as you'll need to buy a &lt;a href=&quot;https://en.wikipedia.org/wiki/C-Stand&quot; rel=&quot;nofollow noreferrer&quot;&gt;C-stand&lt;/a&gt; to put it on&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-08-21T04:24:10.277" LastActivityDate="2015-08-21T04:24:10.277" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16237" PostTypeId="2" ParentId="16225" CreationDate="2015-08-21T04:53:08.587" Score="1" Body="&lt;p&gt;The layers in a pre-comp don't have access to information about the comp(s) they're nested in AFAIK, but I can think of a workaround in this case: apply a fill effect to the nested layer and drive its colour value using the name of the parent comp, e.g. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;if (thisComp.name == &quot;Blue&quot;){[0,0,255]}&#xA;else if (thisComp.name == &quot;Red&quot;){[255,0,0]}…&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and so on. Or you could name the comps by their colour values— something like &lt;code&gt;255-123-001&lt;/code&gt;—and use js string methods to extract the colours from the comp name. &lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-08-21T04:53:08.587" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16238" PostTypeId="2" ParentId="16232" CreationDate="2015-08-21T13:20:48.993" Score="1" Body="&lt;p&gt;An even easier solution is to use a lavalier microphone on the person.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No need to hold anything. The sound quality would probably be better.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-08-21T13:20:48.993" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16239" PostTypeId="2" ParentId="16218" CreationDate="2015-08-21T13:37:58.327" Score="3" Body="&lt;p&gt;Unless I am missing something, I think you are making things overcomplicated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Split your clip into the 3 parts you want (400%,200%,100%)&#xA;When I say split I mean cut with the razor tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then right-click on each part and select speed-duration and change to the value you want. Make sure you select the checkbox - &quot;also change sound pitch&quot; (don't remember exactly the text)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The audio will be resized along with the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You are done (perhaps you need to ripple-delete the empty spaces that will appear afterwards)&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-08-21T13:37:58.327" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16240" PostTypeId="2" ParentId="16151" CreationDate="2015-08-21T15:26:51.387" Score="0" Body="&lt;p&gt;In addition to the other answers, I use Hitfilm 3 Express, which is free &lt;a href=&quot;https://hitfilm.com/express&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's actually very easy to use and isn't export limited like the free version of Lightworks.  Plus if you decide at some point you want the more advanced features of the Pro version you can buy them piecemeal in packs for like $10-$25 rather than shelling out $300 for the full upgrade.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd been holding out for the windows version of openshot for a few years but managed to get Hitfilm 3 Express for free during a promo and it was decent.  3 is pretty great software though, I might not even switch to openshot when it comes out...and I put money into their kickstarter so I could get it.&lt;/p&gt;&#xA;" OwnerUserId="11404" LastActivityDate="2015-08-21T15:26:51.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16242" PostTypeId="1" CreationDate="2015-08-22T10:09:25.133" Score="2" ViewCount="2106" Body="&lt;p&gt;If I preview my project in After Effects all colors appear as they should. However, if I render using either the AE renderer (lossless/best) or Media Encoder (YouTube 1080 H264) the colors are all slightly washed out. I have tested using no color profile and also using sRGB, but the results are exactly the same. My project consist solely of audio and png graphics (it does not contain another video). How can I get the final exported video to have the same colors please?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Other info&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects CC 2015&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OS X Yosemite 10.10.4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hours of reading and experimenting later, I have established that this is not an After Effects problem, because if I open the file in VLC or view it in a browser other than Safari, colors are rendered perfectly. This appears to be a complicated quicktime issue. See &lt;a href=&quot;https://vitrolite.wordpress.com/2010/12/31/quicktime_gamma_bug/&quot; rel=&quot;nofollow&quot;&gt;here.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also tried opening the mov file in handbrake and exporting with the x264 codec - this improved things a bit but not materially enough to matter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found so many articles on this, but no definitive answers. There must be video pros out there who know how to fix this - if so, PLEASE help.&lt;/p&gt;&#xA;" OwnerUserId="11399" LastEditorUserId="11399" LastEditDate="2015-08-24T10:47:50.810" LastActivityDate="2015-08-24T20:03:01.713" Title="Color shifts in Quicktime when playing h264 encoded movie from After Effects" Tags="|after-effects|codec|quicktime|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16243" PostTypeId="2" ParentId="2818" CreationDate="2015-08-22T12:34:14.157" Score="4" Body="&lt;p&gt;2 ideas for Premiere CC 2015:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;Apply effects to the source clip&lt;/strong&gt; instead of just the part on the timeline. If you're targeting clips from more than one camera original, you could nest the camera originals into a sequence, use that sequence as your source, and apply color effects to the source clip. That should populate your changes to one clip to all the rest from that source sequence.&lt;/li&gt;&#xA;&lt;li&gt;Use an &lt;strong&gt;adjustment layer&lt;/strong&gt; to apply the same effect to a series of adjacent clips.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5113" LastActivityDate="2015-08-22T12:34:14.157" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16244" PostTypeId="1" AcceptedAnswerId="16246" CreationDate="2015-08-22T15:13:50.730" Score="7" ViewCount="3246" Body="&lt;p&gt;Premiere is distorting footage while paused, making color grading ridiculously challenging.&lt;/p&gt;&#xA;&lt;p&gt;Whether the media is playing in the source monitor or the sequence monitor, the picture is pixelated and tinted red and yellow. While playing, the picture looks normal. Here are two screenshots from the Black Magic Cinema Camera. The same happens with the 5Dmk3 H.264 footage.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;Paused&lt;/em&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/db5Us.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/db5Us.jpg&quot; alt=&quot;paused&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;Playing&lt;/em&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/hqaHb.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hqaHb.jpg&quot; alt=&quot;playing&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;h3&gt;Troubleshooting&lt;/h3&gt;&#xA;&lt;p&gt;Here's what I've tried and the results so far:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I &lt;strong&gt;reinstalled&lt;/strong&gt; Premiere Pro CC 2015.&lt;/li&gt;&#xA;&lt;li&gt;I tried from &lt;strong&gt;different cameras.&lt;/strong&gt; The issue persists in every case. I've tried with H.264 from a Canon 5Dmk3 as well as with ProRes 422 HQ from a Black Magic Cinema Camera.&lt;/li&gt;&#xA;&lt;li&gt;I tried footage from &lt;strong&gt;different shoots.&lt;/strong&gt; Same problem.&lt;/li&gt;&#xA;&lt;li&gt;I created a brand &lt;strong&gt;new project&lt;/strong&gt; and imported new footage. It still distorted while paused.&lt;/li&gt;&#xA;&lt;li&gt;I rebooted my Mac in &lt;strong&gt;safe mode,&lt;/strong&gt; created a brand new project, and the picture wasn't distorted. It was, however, cropped down to only show 25% (the lower-left corner of the picture).&lt;/li&gt;&#xA;&lt;li&gt;I tested in Final Cut Pro X 10.2.1. No problems here.&lt;/li&gt;&#xA;&lt;li&gt;I tested in Speedgrade CC 2015. Same problem as Premiere.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Normally it renders OK, but when I've tried to render to MPEG the distortion persists in every 2nd frame.&lt;/p&gt;&#xA;&lt;h3&gt;My setup&lt;/h3&gt;&#xA;&lt;p&gt;Here's the hardware and software combination I'm running on. If I hadn't successfully eliminated the distortion in safe mode, I'd think my OS was the issue. It may be, but this issue did not occur in 10.11's safe mode.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Premiere CC 2015&lt;/li&gt;&#xA;&lt;li&gt;OS X 10.11.5 (the public beta of El Capitan)&lt;/li&gt;&#xA;&lt;li&gt;MacBook Pro (Retina, 15-inch, Late 2013)&lt;/li&gt;&#xA;&lt;li&gt;2.6 GHz Intel Core i7&lt;/li&gt;&#xA;&lt;li&gt;16 GB 1600 MHz DDR3&lt;/li&gt;&#xA;&lt;li&gt;NVIDIA GeForce GT 750M 2048 MB&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;My question&lt;/h3&gt;&#xA;&lt;p&gt;What next step(s) should I take to resolve this issue? (Or, what else can I do to understand it more deeply?)&lt;/p&gt;&#xA;" OwnerUserId="5113" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-06-23T16:32:46.513" Title="Premiere distorts picture while paused" Tags="|premiere|video-editor|editing|distortion|" AnswerCount="4" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16245" PostTypeId="2" ParentId="16242" CreationDate="2015-08-22T15:17:01.657" Score="1" Body="&lt;p&gt;Exporting to H264 will always introduce a slight colour shift due to a gamma tag in the file header. At least, I didn't find any solution to export without a gamma shift. Neither in AE nor in any other video editing program. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe also have a look at this answer: &lt;a href=&quot;https://video.stackexchange.com/a/10336/11423&quot;&gt;https://video.stackexchange.com/a/10336/11423&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11423" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-08-22T15:26:37.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16246" PostTypeId="2" ParentId="16244" CreationDate="2015-08-22T17:36:47.787" Score="9" Body="&lt;p&gt;According to Adobe, it's a bug. Until Adobe fixes this bug with an update, the workaround is to &lt;strong&gt;switch off GPU acceleration&lt;/strong&gt; in Project Settings. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BhM4J.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BhM4J.png&quot; alt=&quot;Project Settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5113" LastEditorUserId="5113" LastEditDate="2015-10-13T17:00:10.977" LastActivityDate="2015-10-13T17:00:10.977" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16247" PostTypeId="1" CreationDate="2015-08-23T00:05:57.853" Score="2" ViewCount="242" Body="&lt;p&gt;I am using avconv to generate an AV stream, and the video is perfect, but the audio is very choppy using iOS Safari. &#xA;Can anyone tell me what is wrong with my audio stream that's causing this?&#xA;When playing using VLC on Mac it is also choppy, but when using some Flash players and OPlayer Lite on iOS it's fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have attached a file containing only audio (exhibiting the same problem) &lt;a href=&quot;https://infotomb.com/6ig8p&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is my full command line&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;gst-launch-1.0 -v -e uvch264src profile=high iframe-period=20 device=/dev/video0 name=src auto-start=true src.vidsrc ! queue ! video/x-h264,width=800,height=600,framerate=20/1 ! omxh264dec ! omxh264enc target-bitrate=750000 control-rate=variable ! video/x-h264,profile=high ! h264parse ! queue ! flvmux streamable=true name=mux alsasrc device=hw:1 do-timestamp=true ! audioconvert ! audio/x-raw,channels=1 ! audioresample ! audio/x-raw,rate=44100 ! queue ! voaacenc bitrate=128000 ! aacparse ! queue ! mux. mux. ! queue ! filesink location=/home/pi/flvpipe.flv sync=false&#xA;avconv -i /home/pi/flvpipe.flv -f flv -strict -2 -c:v copy -c:a copy -f flv rtmp://wowzaserver:1935/live/mystream -vn -c:a copy -hls_time 10 -hls_list_size 3 -bsf h264_mp4toannexb /var/ramdisk/live.m3u8&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My command line looks complicated - but it's just capturing audio and video from a UVC camera, encoding everything using openmax hw acceleration, before passing it to avconv to send to a wowza server.&#xA;I don't use gstreamer to deliver to the wowza server because it seems to corrupt the stream - avconv is much more reliable at the rtmp delivery&lt;/p&gt;&#xA;" OwnerUserId="11485" LastEditorUserId="1760" LastEditDate="2015-08-24T18:03:27.600" LastActivityDate="2015-08-24T18:03:27.600" Title="Why is audio generated by avconv choppy?" Tags="|audio|encoding|avconv|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16248" PostTypeId="1" AcceptedAnswerId="16250" CreationDate="2015-08-23T05:59:08.973" Score="2" ViewCount="8939" Body="&lt;p&gt;I am using Adobe Premier Pro to edit our short film and give some generic editing to it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the time of shoot we wanted a slow motion effect in a shot, so we shot at 720p at 60fps &lt;em&gt;(We had limitations, our camera doesn't supported 60fps at 1080p)&lt;/em&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now when post processing all the videos fit in the 1080 container but our slow motion video shows black blank space around them. How to overcome this?&lt;/p&gt;&#xA;" OwnerUserId="2901" LastActivityDate="2015-09-22T11:26:08.113" Title="How to fit 720p video on a 1080p container?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16249" PostTypeId="2" ParentId="5658" CreationDate="2015-08-23T07:52:53.023" Score="-2" Body="&lt;p&gt;here watch this video, here in settings there are different languages in which you may select of your choice.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/4As0e4de-rI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="11486" LastActivityDate="2015-08-23T07:52:53.023" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16250" PostTypeId="2" ParentId="16248" CreationDate="2015-08-23T11:08:39.813" Score="2" Body="&lt;p&gt;You can make a clip scale to the resolution of the sequence by right-clicking on it and pressing &lt;strong&gt;Set to frame size&lt;/strong&gt; (For older versions of Premiere, use &lt;strong&gt;Scale to frame size&lt;/strong&gt;). To set this at the standard behaviour for new clips that aren't the same resolution as the sequence, go to &lt;strong&gt;Preferences&lt;/strong&gt; → &lt;strong&gt;General&lt;/strong&gt; and check &lt;strong&gt;Default scale to frame size&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, keep in mind that upscaling a 720p video to 1080p won't yield you any more quality, worse case, it will look worse. Also, exporting to 1080p when your video is actually only 720p is kind of tricking the viewer. If you upload an upscaled video to Youtube and flag it as 'Full HD', I will so downvote your video ... So if your source material is shot in 720p, I would highly recommend you export to 720p.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-08-23T11:08:39.813" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16253" PostTypeId="1" CreationDate="2015-08-23T17:07:11.167" Score="2" ViewCount="835" Body="&lt;p&gt;After editing a video in Premiere Pro CC 2015 and then exporting it, a 1080p video becomes letter-boxed on the left and right sides. I have double checked all the settings, and for some reason it continues to letter box. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=leOeuSAEK5U&quot; rel=&quot;nofollow&quot;&gt;Here&lt;/a&gt; is an example video to show you what I mean.&lt;/p&gt;&#xA;" OwnerUserId="11489" LastActivityDate="2015-08-28T03:03:18.630" Title="Premiere Pro - Unwanted Letterboxing in HD 1080p Video" Tags="|video|premiere|editing|software|camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16254" PostTypeId="1" AcceptedAnswerId="16272" CreationDate="2015-08-23T17:14:55.970" Score="4" ViewCount="150" Body="&lt;p&gt;I want to make a video using &lt;strong&gt;photos&lt;/strong&gt; and &lt;strong&gt;video snips&lt;/strong&gt; and &lt;strong&gt;add titles&lt;/strong&gt; freely. Is there any user-friendly software to do so? I don't have much time for complicated software right now. So I'm looking for one which I can easily understand and use.&lt;/p&gt;&#xA;" OwnerUserId="11473" LastEditorUserId="6685" LastEditDate="2015-10-02T09:02:29.470" LastActivityDate="2015-10-02T09:02:29.470" Title="Windows - Easy to use video editor" Tags="|video|software-recommendation|photos|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16258" PostTypeId="1" CreationDate="2015-08-24T11:22:24.960" Score="2" ViewCount="44" Body="&lt;p&gt;I need to edit some clips for part of my graduate research to 200ms.&#xA;200ms are equivalent to 0.2 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does the picture show this as 0.2 seconds?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/F1Lw6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/F1Lw6.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11496" LastEditorUserId="11496" LastEditDate="2015-08-24T12:02:14.857" LastActivityDate="2015-08-24T12:02:14.857" Title="premier pro timeline" Tags="|video|premiere|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16259" PostTypeId="2" ParentId="16258" CreationDate="2015-08-24T11:39:24.040" Score="3" Body="&lt;p&gt;It looks like you have 25fps (25 frames per second) video, so each frame is 40ms long (1/25 second). That means 5 frames of video would be 200ms. Your image shows a 20 frame clip, so it's 800ms long.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-08-24T11:39:24.040" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16260" PostTypeId="2" ParentId="16242" CreationDate="2015-08-24T20:03:01.713" Score="0" Body="&lt;p&gt;Something that I noticed about encoding to h.264 in premiere and after effects was that when you select the VBR/two pass encoding you get MUCH better results with h.264 than a single pass with VBR or CBR (no duh, right?) in terms of color shifts/gamma shifts. It wasn't obvious to me, but after that, the color problems were barely noticeable. &lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2015-08-24T20:03:01.713" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16261" PostTypeId="1" AcceptedAnswerId="17134" CreationDate="2015-08-25T02:17:19.653" Score="1" ViewCount="2041" Body="&lt;p&gt;I'd like to know if there is any method to split a PGS format subtitle pulled from a bluray as a .sup file.&lt;/p&gt;&#xA;" OwnerUserId="11499" LastActivityDate="2015-12-13T16:03:55.703" Title="Split PGS subtitles (.sup file)" Tags="|subtitles|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16264" PostTypeId="1" AcceptedAnswerId="16270" CreationDate="2015-08-26T03:58:41.557" Score="2" ViewCount="671" Body="&lt;p&gt;How to Adding video into the picture with ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;example:&lt;a href=&quot;https://i.stack.imgur.com/eddHu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eddHu.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11510" LastActivityDate="2015-08-27T17:18:21.497" Title="Adding video into the picture with ffmpeg?" Tags="|video|video-editor|ffmpeg|windows|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16266" PostTypeId="1" AcceptedAnswerId="16267" CreationDate="2015-08-26T14:31:24.340" Score="2" ViewCount="555" Body="&lt;p&gt;I have an interlaced video with MTS file format, which was captured using a HD camera.&#xA;When I play it using VLC, it is displayed at resolution 1920x1080 and if I take a snapshot with VLC, the saved image also has a resolution of 1920x1080. I tried playing the video with the Windows Media Player, and the video is also rendered at a resolution of 1920x1080.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, in VLC, when I select &lt;strong&gt;Tools &gt; Codecs information&lt;/strong&gt; I get the following :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Type: Video&#xA;Id original: 4113&#xA;Codec: H264 - MPEG-4 AVC (part10) (h264)&#xA;Resolution: 1440x1080&#xA;Framerate: 25&#xA;Decoded format: Planar 4:2:0 YUV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(there also are an audio stream and a subtitle stream, which I am not interested in).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the exposed resolution seems to be 1440x1080 but when rendered the video is 1920x1080.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, &lt;strong&gt;my true problem&lt;/strong&gt; comes from the fact that I need to extract the frames from the video to perform some Image Processing. I do that using &lt;code&gt;ffmpeg&lt;/code&gt;, which extracts frames at the resolution of 1440x1080, but then the extracted images seem distorted (i.e. compressed horizontally), which causes errors for the Image Processing I am doing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea why VLC, Windows Media Player, Power DVD manages to render the video correctly, whereas &lt;code&gt;ffmpeg&lt;/code&gt; fails to extract the frames at the correct resolution ? And why is the video rendered at 1920x1080 if the exposed codec resolution is 1440x1080 ?&lt;/p&gt;&#xA;" OwnerUserId="11514" LastActivityDate="2015-08-26T17:13:39.977" Title="Video with inconsistent exposed / rendered image sizes" Tags="|ffmpeg|avchd|vlc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16267" PostTypeId="2" ParentId="16266" CreationDate="2015-08-26T17:13:39.977" Score="3" Body="&lt;p&gt;HDV camera, right? It's not untypical for cameras to claim higher resolution than they actually scan. In such cases you have to look at the different aspect ratios involved: pixel, frame, display, sample. &lt;a href=&quot;http://forum.videohelp.com/threads/323530-please-explain-SAR-DAR-PAR&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;Here's a post&lt;/strong&gt;&lt;/a&gt; that discusses this, or google &quot;HDV aspect ratio&quot;. And &lt;a href=&quot;https://documentation.apple.com/en/finalcutpro/professionalformatsandworkflows/chapter_2_section_6.html&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;here's a link&lt;/strong&gt;&lt;/a&gt; to the spec from the HDV consortium.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's essentially anamorphic. The ffmpeg or avconv docs should show how to extract and expand to 1920 in one step.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-08-26T17:13:39.977" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16268" PostTypeId="1" CreationDate="2015-08-27T11:47:49.497" Score="-1" ViewCount="40" Body="&lt;p&gt;Is streaming video while it's being recorded possible? If so how? What Programs would someone need?&lt;/p&gt;&#xA;" OwnerUserId="11520" LastActivityDate="2015-08-27T13:26:48.120" Title="Streaming video that's being recorded?" Tags="|video|streaming|live|" AnswerCount="1" CommentCount="2" ClosedDate="2015-09-06T21:35:46.777" ContentLicense="CC BY-SA 3.0" />
  <row Id="16269" PostTypeId="2" ParentId="16268" CreationDate="2015-08-27T13:26:48.120" Score="1" Body="&lt;p&gt;Yes, it's possible. &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow&quot;&gt;Open Broadcaster Software&lt;/a&gt; is a free multi-platform solution that I know of.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-08-27T13:26:48.120" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16270" PostTypeId="2" ParentId="16264" CreationDate="2015-08-27T17:18:21.497" Score="1" Body="&lt;p&gt;Use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#overlay&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;overlay&lt;/code&gt; filter&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GPIrk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GPIrk.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i image.jpg -i overlay.mp4 -filter_complex \&#xA;&quot;overlay=main_w-overlay_w:main_h-overlay_h:shortest=1&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2015-08-27T17:18:21.497" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16271" PostTypeId="1" CreationDate="2015-08-28T01:28:24.970" Score="2" ViewCount="110" Body="&lt;p&gt;How i batch render with ffmpeg with this code on windows? Codes work well. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -loop 1 -i background_image.png -i mainmovie.mov -filter_complex &quot;[0:v]setpts=PTS-STARTPTS[V1]; [1:v]setpts=PTS-STARTPTS, scale=800:452[V2]; [V1][V2]overlay=shortest=1:x=240:y=134&quot; out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11510" LastActivityDate="2015-08-28T01:28:24.970" Title="How to make batch ffmpeg with this codes?" Tags="|video|ffmpeg|windows|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16272" PostTypeId="2" ParentId="16254" CreationDate="2015-08-28T03:00:28.760" Score="2" Body="&lt;p&gt;If you use Windows, that Windows Movie Maker — your choice. It have everyting you need for basic editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I myself work in Premiere, AE and Edius, but when I need something really simple, and do not have my computer with me, then using Movie Maker.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-08-28T03:00:28.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16273" PostTypeId="2" ParentId="16253" CreationDate="2015-08-28T03:03:18.630" Score="1" Body="&lt;p&gt;That can happen, when you use different Pixel aspect Ratio. Use Match Sequence Settings and use Pixel aspect Ratio in your sequence same with footage.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-08-28T03:03:18.630" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16274" PostTypeId="1" CreationDate="2015-08-28T20:30:58.253" Score="1" ViewCount="3769" Body="&lt;p&gt;What is the best video size for let's say a 5 minute video. I want to host my own videos. So, I want to understand more. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is an acceptable size? &lt;/p&gt;&#xA;" OwnerUserId="11528" LastEditorUserId="6685" LastEditDate="2015-09-18T11:43:59.967" LastActivityDate="2015-10-11T15:05:39.067" Title="Video file size for web use" Tags="|video|compression|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16275" PostTypeId="1" CreationDate="2015-08-29T00:37:29.083" Score="0" ViewCount="242" Body="&lt;p&gt;I have my marriage film (Resolution: 1080p /Format: .m2ts / File size: 7 GB) on a bluray disc which I ripped in my HDD with this software that I found on forums.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The thing is that I want to make some copies for the family who still have DVD players. So I came up with the idea to burn the BDR disc into DVD to be played in any DVD player but without any loss at all. Is there any hack to do this? I have blank DVDs of 8.5GB enough to burn my video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that DVD format is at 420p resolution in NTSC but I wonder if there is a procedure to convert/simulate/hack this in order to play my BDR video in a DVD at full high quality? I don't want to compress the video, just transform the format to be recognized in DVD players because as I said my BDR file is 7GB enough to fit in a 8.5GB DVD disc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also I need to rebuild the menu and the scenes with a video editor. Can you suggests also a good video editor? I heard about Corel video editor and Pineapple.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="11531" LastActivityDate="2015-09-28T14:50:54.693" Title="Convert &amp; Burn M2TS files into DVD format WITHOUT LOSS" Tags="|video|conversion|dvd|bluray|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16276" PostTypeId="1" CreationDate="2015-08-29T00:47:50.430" Score="0" ViewCount="459" Body="&lt;p&gt;I saw you talking about making videos with jpgs in linux, How can I do a live streaming from videos sent by a security cam?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The cam just send jpgs by ftp even 1seg.&lt;/p&gt;&#xA;" OwnerUserId="11532" LastEditorUserId="11532" LastEditDate="2015-08-29T00:59:10.250" LastActivityDate="2015-08-29T00:59:10.250" Title="How Do I can do a live streaming of JPG imagens?" Tags="|camera|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16277" PostTypeId="1" CreationDate="2015-08-29T04:12:49.050" Score="1" ViewCount="2302" Body="&lt;p&gt;I'm using Adobe Premiere Pro 6.0 and trying to export video but it always adds a black frame. The output preview shows one picture, the result shows another. It seems like it also crops the video a little. What am I doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VZMNj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VZMNj.png&quot; alt=&quot;Here are the settings for exports&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UWero.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UWero.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11533" LastActivityDate="2015-09-29T04:51:42.333" Title="Premiere export video with black frame" Tags="|premiere|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16278" PostTypeId="2" ParentId="16275" CreationDate="2015-08-29T14:25:12.613" Score="2" Body="&lt;p&gt;Whatever else you may be facing, one big obstacle is the DVD players themselves. They're not designed to output 1080p. Even if you could get the image onto them in Bluray format, they couldn't output it. (If they're really Bluray players, then you don't need any hacks, just a dupe of the image.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the content is something they want to see, people will be pleased to get standard DVDs regardless of the quality.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-08-29T14:25:12.613" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16279" PostTypeId="1" CreationDate="2015-08-30T03:30:40.937" Score="8" ViewCount="45792" Body="&lt;p&gt;Let's say I have a 5 second clip. I want to extend it for an additional 10 seconds, but where the additional 10 seconds simply show the very last frame of my original 5 second clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Camtasia there is an easy way to do it: Just right click and select &quot;Extend frame&quot; (or alternatively the keyboard shortcut is 'E'), then drag the clip out for as long as you like.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But after a bit of googling I haven't managed to find an easy way for Premiere, but surely there is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. Right now the quickest way I've found (and which I cannot imagine is the quickest way possible) is: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Go to the end of the clip.&lt;/li&gt;&#xA;&lt;li&gt;Go back one frame. (So that now that last frame you want is now displayed.) appears &lt;/li&gt;&#xA;&lt;li&gt;Select the clip. &lt;/li&gt;&#xA;&lt;li&gt;Right-click and select &quot;Add frame hold&quot;. (You can actually assign a keyboard shortcut for this.)&lt;/li&gt;&#xA;&lt;li&gt;Now the last frame is &quot;held&quot;. You can drag it out as far as you want. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerDisplayName="user11507" LastEditorDisplayName="user11507" LastEditDate="2015-09-01T10:04:48.670" LastActivityDate="2022-11-15T12:33:18.103" Title="Premiere - Easy way to extend last frame of a video clip" Tags="|premiere|" AnswerCount="5" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16280" PostTypeId="2" ParentId="16279" CreationDate="2015-08-30T03:52:41.550" Score="5" Body="&lt;p&gt;What I usually do ... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Locate the frame in the clip you wish to extend, hit &lt;kbd&gt;C&lt;/kbd&gt;, the razor tool, cut the frame. Then right click on the cut clip and select 'frame hold' &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A popup menu appears, Select hold on, in point (the start of the clip) and select OK.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then just drag and extend the selected clip for as many additional seconds you wish to extend it for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Normally I would also unlink the clip before cutting so I keep the audio separate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:&#xA;For CC there are a few more options in the menu to freeze frame the video&#xA;You can see here:&#xA;&lt;a href=&quot;http://creativeclouduser.com/creating-freeze-frames-in-premiere-pro/&quot; rel=&quot;nofollow&quot;&gt;http://creativeclouduser.com/creating-freeze-frames-in-premiere-pro/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6079" LastEditorUserId="6079" LastEditDate="2015-08-31T01:50:59.137" LastActivityDate="2015-08-31T01:50:59.137" CommentCount="3" CommunityOwnedDate="2015-08-31T01:50:59.137" ContentLicense="CC BY-SA 3.0" />
  <row Id="16281" PostTypeId="2" ParentId="16277" CreationDate="2015-08-30T04:03:30.110" Score="1" Body="&lt;p&gt;There are a couple of things I would check&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first thing that comes to mind, the aspect ratio is different from the output to the source. I would check that first (sequence settings)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The seconds thing that comes to mind&#xA;Set the crop setting in the export settings to 16:9. That might get rid of the black border for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let me know if it worked.&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2015-08-30T04:03:30.110" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16282" PostTypeId="2" ParentId="16053" CreationDate="2015-08-30T06:01:03.040" Score="3" Body="&lt;p&gt;Yes, it seems to be a problem of generated timecode. See &lt;a href=&quot;https://trac.videolan.org/vlc/ticket/12713#no1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.videolan.org/vlc/ticket/12713#no1&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Switch to &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; (with a GUI like &lt;a href=&quot;http://www.avanti.arrozcru.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Avanti&lt;/a&gt;) to avoid this issue. My &lt;a href=&quot;https://video.stackexchange.com/questions/15974/how-can-i-reduce-the-size-of-a-webm-to-2mb/&quot;&gt;answer&lt;/a&gt; to an earlier webm question may guide you on settings.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-08-30T06:01:03.040" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16283" PostTypeId="1" CreationDate="2015-08-30T06:25:02.427" Score="11" ViewCount="47648" Body="&lt;p&gt;I have two videos to combine in Adobe Premiere. They play okay in a video player, but putting them into Adobe Premiere CS6 suddenly makes the audio unsynced with the video (even in the Source Monitor).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The videos are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;4GB each&lt;/li&gt;&#xA;&lt;li&gt;1080p @ 60FPS&lt;/li&gt;&#xA;&lt;li&gt;48 kHZ audio&lt;/li&gt;&#xA;&lt;li&gt;Codec ID: avc1&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Googling indicates this is a common problem. I've tried various fixes that did not fix the issue, such as &lt;a href=&quot;https://www.youtube.com/watch?v=MGq0bwDKRyc&quot;&gt;renaming to .mov&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It records from NVIDIA Shadowplay. I suspect this has to do with the variable framerate. My goal is to keep them 60FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I fix this so my audio &amp;amp; video are not out of sync? Even after exporting to a final clip, it's still out of sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[EDIT] I'm seeing mentions of using Handbrake to convert the source video first. Is there a way to solve this &lt;em&gt;without&lt;/em&gt; having to convert &lt;em&gt;every single&lt;/em&gt; video using Handbrake?&lt;/p&gt;&#xA;" OwnerUserId="11537" LastEditorUserId="11537" LastEditDate="2015-08-30T07:11:20.123" LastActivityDate="2017-07-12T16:21:56.680" Title="Losing audio/video sync in Adobe Premiere with mp4's" Tags="|premiere|sync|" AnswerCount="5" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16286" PostTypeId="2" ParentId="16279" CreationDate="2015-08-30T15:51:42.813" Score="1" Body="&lt;p&gt;You can enable &quot;Time Remapping&quot; and make frame before last frame the keyframe. Then just make part of the video which contains last frame more longer.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-08-30T15:51:42.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16287" PostTypeId="2" ParentId="16279" CreationDate="2015-08-30T16:03:05.637" Score="1" Body="&lt;p&gt;I just found that in latest version of Adobe Premiere should be option &lt;strong&gt;Insert Frame Hold segment&lt;/strong&gt;. However I did not have it in mine... Probably need to update.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see how that work here: &lt;a href=&quot;http://creativeclouduser.com/creating-freeze-frames-in-premiere-pro/&quot; rel=&quot;nofollow&quot;&gt;http://creativeclouduser.com/creating-freeze-frames-in-premiere-pro/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-08-30T16:03:05.637" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16289" PostTypeId="1" CreationDate="2015-08-31T06:35:25.513" Score="1" ViewCount="54" Body="&lt;p&gt;Does anyone know how much VFX studios like Weta Digital make per movie? &lt;a href=&quot;http://www.wetafx.co.nz/&quot; rel=&quot;nofollow&quot;&gt;http://www.wetafx.co.nz/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11542" LastActivityDate="2015-08-31T06:35:25.513" Title="How much visual effects studios like weta digital make per movie?" Tags="|visual-effects|" AnswerCount="0" CommentCount="1" ClosedDate="2015-09-06T21:33:46.293" ContentLicense="CC BY-SA 3.0" />
  <row Id="16290" PostTypeId="2" ParentId="15450" CreationDate="2015-08-31T07:54:15.143" Score="1" Body="&lt;p&gt;Using expressions to &lt;a href=&quot;http://www.motionscript.com/mastering-expressions/follow-the-leader.html&quot; rel=&quot;nofollow&quot;&gt;create the trail&lt;/a&gt; will work, but it will have the disadvantage that you will need as many layers are there are frames of the trail, and since each one will be driven by expressions it's going to get really slow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An alternative is to make a comp with just your moving layer in it. now make a new comp with say ten of your original comps in it, and use the Animation Assistant to stagger them by one frame. Now make a new comp with this comp repeated ten or so times, and stagger then by ten frames. This will have 100 copies of your original video. If you then nested that video ten times you'll have 1000 copies, then 10,000, 100,000 etc. This should render faster because it's all based on precomps, which get cached by AE and tend to work better than separate layers.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="6685" LastEditDate="2015-09-30T08:38:50.693" LastActivityDate="2015-09-30T08:38:50.693" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16291" PostTypeId="1" CreationDate="2015-08-31T12:23:24.883" Score="2" ViewCount="63" Body="&lt;p&gt;A client has tasked me to create a How-to-video for Hotel/Flight booking app. They sent me this &lt;a href=&quot;https://www.youtube.com/watch?v=oehdHz_JSCI&amp;amp;sns=em&quot; rel=&quot;nofollow&quot;&gt;video&lt;/a&gt; and told me to that they would like the same video. The problem is I have no idea what kind of effect/plugins were used to achieving the effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Was it an actual video recording of the booking website or were those just image graphics? I'm primarily interested in the 3D effect. Is it possible to mimic the effect using Adobe Premiere alone or do I need a post production program such as After Effects? I would greatly appreciate helpful inputs. &lt;/p&gt;&#xA;" OwnerUserId="11545" LastActivityDate="2015-10-31T01:32:19.390" Title="How should I go about doing this same exact effect for an upcoming project?" Tags="|after-effects|premiere|effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16292" PostTypeId="1" AcceptedAnswerId="16294" CreationDate="2015-08-31T22:17:31.753" Score="1" ViewCount="3087" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/szXiM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/szXiM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/cxDNd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cxDNd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've read around and a lot has been said about transferring video through VHS and back again but I was wondering about adding this specific kind of text? &#xA;Is it a function that exists on old cameras or can the same be achieved with editing software? &#xA;Many thanks!!&lt;/p&gt;&#xA;" OwnerUserId="11549" LastActivityDate="2015-09-01T00:48:53.687" Title="How do I add text like this (picture) to a video? Can it be added post or is it an old camera function?" Tags="|video|camcorder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16294" PostTypeId="2" ParentId="16292" CreationDate="2015-09-01T00:48:53.687" Score="3" Body="&lt;p&gt;It was in camera function. But there is no such thing in video editing, which can not be accomplished with correct software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can add this text in Adobe Premiere, or Adobe After Effects with some noise etc... You can add it in almost any video editing software. Main thing you need — correct font. It is pixeelated all caps text. You can find one here: &lt;a href=&quot;http://www.fontspace.com/category/pixelated&quot; rel=&quot;nofollow&quot;&gt;http://www.fontspace.com/category/pixelated&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next: Install that font in your system and add text. Make it all caps and with chosen font. Select color and for the second example you also will need black stroke.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-09-01T00:48:53.687" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16295" PostTypeId="2" ParentId="16291" CreationDate="2015-09-01T00:58:54.763" Score="1" Body="&lt;p&gt;In some parts it is still pictures, in some — probably video. It is better practice to make motion-design with After Effects, but you can accomplish this in Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To rotate footage in 3D in Premiere you need to add &quot;Basic 3D&quot; effect:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;kbd&gt;Effects&lt;/kbd&gt; &gt; &lt;kbd&gt;Video Effects&lt;/kbd&gt; &gt; &lt;kbd&gt;Perspective&lt;/kbd&gt; &gt; &lt;kbd&gt;Basic 3D&lt;/kbd&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There you will find everything you need to rotate in x,y,x dimensions. But full video will be easier to create in After Effects. Premiere is better for video montage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good Luck!&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-09-01T00:58:54.763" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16296" PostTypeId="1" CreationDate="2015-09-01T09:40:18.947" Score="3" ViewCount="712" Body="&lt;p&gt;I am working on a project that provides video streaming to the users over the internet on web-browsers as well as mobile devices. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using following sample &lt;code&gt;FFMPEG&lt;/code&gt; command to &lt;code&gt;transcode&lt;/code&gt; the video: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i inputvideo.mp4 -async 1 -metadata:s:v:0 start_time=0 &#xA;-s 1280x720 -vcodec libx264 -strict experimental -pix_fmt yuv420p &#xA;-profile:v baseline -movflags +faststart -acodec aac -profile:a aac_low &#xA;-b:v 2000k -refs 6 -coder 1 -sc_threshold 40 -flags +loop -me_range 16 &#xA;-subq 7 -i_qfactor 0.71 -qcomp 0.6 -qdiff 4 -trellis 1 -b:a 128k outputvideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The command is generated dynamically using programming language after getting the video details once uploaded. What am I doing is, just reset bit-rate, height and width of the video using following settings: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If &lt;code&gt;height &amp;gt;= 720&lt;/code&gt; then set it to &lt;code&gt;720&lt;/code&gt;, width will be automatically set according to height and &lt;code&gt;bit-rate&lt;/code&gt; will be &lt;code&gt;5000k&lt;/code&gt;, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If &lt;code&gt;height &amp;gt;= 480&lt;/code&gt; then set it to &lt;code&gt;480&lt;/code&gt;, width will be automatically set according to height and &lt;code&gt;bit-rate&lt;/code&gt; will be &lt;code&gt;2500k&lt;/code&gt;, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If &lt;code&gt;height &amp;gt;= 360&lt;/code&gt; then set it to &lt;code&gt;360&lt;/code&gt;, width will be automatically set according to height and &lt;code&gt;bit-rate&lt;/code&gt; will be &lt;code&gt;1000k&lt;/code&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I got this logic from this &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow&quot;&gt;link&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I want to downgrade the quality of video by 25-30% more as still videos are of greater size than I suppose to get after transcoding and it will cost the data charges more. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;While searching for it, I found &lt;a href=&quot;http://support.brightcove.com/en/video-cloud/docs/standard-transcode-settings&quot; rel=&quot;nofollow&quot;&gt;another link&lt;/a&gt; and it have different bit rate than the one I am using. I am not sure which one is better. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone suggest me how to downsizing the videos more by 25-30% more than current setting without more affecting the quality of video?  &lt;/p&gt;&#xA;" OwnerUserId="11554" LastEditorUserId="5853" LastEditDate="2015-09-06T21:28:56.847" LastActivityDate="2015-09-06T21:28:56.847" Title="FFMPEG standard transcoding settings" Tags="|ffmpeg|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16297" PostTypeId="1" AcceptedAnswerId="16301" CreationDate="2015-09-01T15:55:36.690" Score="3" ViewCount="1585" Body="&lt;p&gt;A friend and I are looking to start a podcast, yea, just like everyone else on the Internet. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We are trying to determine the most practical way to combine two audio sources into a single audio output of not necessarily production quality. The combined audio will not be recorded, and used only for communication purposes. It is our intention to record our own independent tracks at different locations, and later combine them in post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Our setup is to include a PC at each end with either skype/hangouts, audacity, a USB microphones, and a set of earphones each. The PCs will be used to record audio from our USB microphones, and to establish a line of communication between sites. How can we reasonably combine the audio out of a microphone (with a 3.5 mm and/or XLR) with the audio out of a PC (3.5 mm) so that we can hear both ourselves and the other person(s) in the skype/hangout meeting?&lt;/p&gt;&#xA;" OwnerUserId="11556" LastEditorUserId="11556" LastEditDate="2015-09-01T22:25:08.273" LastActivityDate="2015-09-01T22:49:56.437" Title="What is the best way to combine two audio sources into a single audio output?" Tags="|audio|audio-recording|podcast|gear|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16298" PostTypeId="1" AcceptedAnswerId="16299" CreationDate="2015-09-01T15:58:52.483" Score="1" ViewCount="98" Body="&lt;p&gt;I read both of these questions which came up in my &lt;a href=&quot;https://video.stackexchange.com/search?q=speedgrade&quot;&gt;search for Speedgrade&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/13268/tips-to-make-professional-looking-hand-held-videos-using-smart-phones&quot;&gt;Tips to make professional looking hand-held videos using smart phones?&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/10432/adobe-cc-post-production-workflow-story-prelude-etc&quot;&gt;Adobe CC Post-Production Workflow (Story, Prelude etc.)&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;But I'm not seeing any broader question about Speedgrade. For making promotional / instructional videos that will be uploaded to YouTube is it necessary to use Speedgrade and what exactly does it do? Should I only use it everything is live action? Some of the videos I work on have a mix of live action footage I take with a Canon 70D as well as Flash Animation.&lt;/p&gt;&#xA;" OwnerUserId="5206" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-09-01T17:49:29.440" Title="When and why to use Speedgrade?" Tags="|post-production|color-grading|speedgrade|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16299" PostTypeId="2" ParentId="16298" CreationDate="2015-09-01T17:49:29.440" Score="3" Body="&lt;p&gt;You ask what it does: Speedgrade is a color grading / correcting tool. Davinci Resolve is another, and there are others still. They allow you to adjust the characteristics of a video on a shot-by-shot basis.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's never &lt;em&gt;necessary&lt;/em&gt; to use any color grading tool, but you'd do so when you want to match scenes from different sources or shot under different conditions, or to give your video (or one portion) an overall look. The usual use is for consistency.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-09-01T17:49:29.440" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16300" PostTypeId="2" ParentId="16061" CreationDate="2015-09-01T19:51:13.453" Score="0" Body="&lt;p&gt;Try HitFilm 3 Express. I believe that will do what you're looking for. &lt;a href=&quot;https://hitfilm.com/express&quot; rel=&quot;nofollow&quot;&gt;HitFilm 3 Express&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11548" LastActivityDate="2015-09-01T19:51:13.453" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16301" PostTypeId="2" ParentId="16297" CreationDate="2015-09-01T22:49:56.437" Score="2" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;I misspoke in my original question, I've fixed the sentence so&#xA;  hopefully it should be clearer. I'm just wanting to listen to the PC&#xA;  out, while simultaneously listing to the Mic out as I record it.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If you using Windows, then just go to the&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;kbd&gt; Sound &lt;/kbd&gt;&lt;sub&gt;(Right click in notification area)&lt;/sub&gt; &gt; &lt;kbd&gt;Recording devices&lt;/kbd&gt; &gt; Chose you device &gt; &lt;kbd&gt;Properties&lt;/kbd&gt; &gt; &lt;kbd&gt;Listen&lt;/kbd&gt; &gt; &lt;kbd&gt;Listen to your device&lt;/kbd&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That would allow you to hear your recording device input in your playback device(speaker).&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-09-01T22:49:56.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16303" PostTypeId="1" CreationDate="2015-09-02T10:14:36.060" Score="2" ViewCount="1999" Body="&lt;p&gt;whenever I drag a clip across the timeline and place it on top of another, the entire thing or a portion of it gets deleted, how do I disable this feature?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I know the general work around to do this is not to do it but I would like the security that if I missed that I accidentally dragged another clip on top of another and then deleting a little bit that it won't happen)&lt;/p&gt;&#xA;" OwnerUserId="11563" LastActivityDate="2015-09-02T11:25:46.477" Title="How to disable overwriting in Premiere Pro cc?" Tags="|premiere|editing|adobe|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16304" PostTypeId="2" ParentId="16303" CreationDate="2015-09-02T11:25:46.477" Score="1" Body="&lt;p&gt;There is couple solutions:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Use &lt;kbd&gt;Alt&lt;/kbd&gt;+ Drag&lt;/li&gt;&#xA;&lt;li&gt;Use &lt;strong&gt;Track Select Tool&lt;/strong&gt; to move everything before and after dragging&lt;/li&gt;&#xA;&lt;li&gt;Use &lt;strong&gt;Insert&lt;/strong&gt; button (&lt;kbd&gt;,&lt;/kbd&gt;) button from Source monitor&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-09-02T11:25:46.477" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16305" PostTypeId="2" ParentId="16296" CreationDate="2015-09-02T12:32:58.657" Score="3" Body="&lt;p&gt;Rather than using constant bitrate, have a go using constant quality (AKA &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264#crf&quot; rel=&quot;nofollow&quot;&gt;constant rate factor&lt;/a&gt;, or crf). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So instead of &lt;code&gt;-b:v 2000&lt;/code&gt; use &lt;code&gt;-crf 23&lt;/code&gt; (adjust the number to change the quality, higher is smaller / lower quality and lower is larger / better quality).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Constant quality usually gives you more bang for your bits, as it skimps on bitrate where it's not really needed. It also removes the need for extra scripting for diferent sizes, as it will automatically lower the bitrate for smaller frame sizes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also use the x264 presets, like &lt;code&gt;-preset slower&lt;/code&gt; or &lt;code&gt;-preset veryslow&lt;/code&gt; to get x264 to spend more time optimising. It also removes the need to add all the extra encoding flags — the presets are basically some ready-rolled encoding flags (presumably made by people who know what they're doing). More on x264 encoding &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So your command could look like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i inputvideo.mp4 -async 1 -metadata:s:v:0 start_time=0 -s 1280x720 -vcodec libx264 -pix_fmt yuv420p -profile:v baseline -movflags faststart -profile:a aac_low -preset slower -crf 23 -b:a 128k outputvideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I don't think you need the &lt;code&gt;-strict-experimental&lt;/code&gt; flag, unless you've got an old version of ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-09-02T12:32:58.657" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16306" PostTypeId="1" CreationDate="2015-09-02T16:24:43.347" Score="1" ViewCount="56" Body="&lt;p&gt;I am sorry if this is not the correct place to ask the question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am very much interested in making a video similar to youtube link below&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/pnv9PrTdZF4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Its of Russel Peters intro video, I wanted to know what are such videos called and are there any softwares that can used to make such video.&#xA;I am planning to use it in a video to introduce characters in a movie(home video).&#xA;The basic idea is to film the characters separately each with different custom and edit it then merge all the characters to look something similar to the video, can any tell me how to go ahead with such a video?&#xA;What are such videos called and if there are any softwares to do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/detZG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/detZG.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ol21J.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ol21J.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/35FNW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/35FNW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11564" LastActivityDate="2015-09-04T14:00:07.540" Title="Russel Peters Intro video" Tags="|video|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16307" PostTypeId="1" AcceptedAnswerId="16308" CreationDate="2015-09-02T17:01:07.637" Score="2" ViewCount="235" Body="&lt;p&gt;On latest GoPro 4 Silver with 64 GB&lt;/p&gt;&#xA;&#xA;&lt;p&gt;when i set 1080p 30fps i get estimated 4 hour recording time but when i double the framerate it not only does not shoren it actually increases so with 1080p 60fps it shows ~4.5 hour.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is that?&lt;/p&gt;&#xA;" OwnerUserId="11565" LastActivityDate="2015-09-02T20:07:35.123" Title="GoPro why high frame rate does not reduce time" Tags="|framerate|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16308" PostTypeId="2" ParentId="16307" CreationDate="2015-09-02T20:07:35.123" Score="2" Body="&lt;p&gt;The GoPro4 Silver model uses the &lt;a href=&quot;https://gopro.com/support/articles/hero4-silver-recording-time-in-each-video-setting&quot; rel=&quot;nofollow&quot;&gt;same bitrate&lt;/a&gt; for 1080p-30 as 1080p-60 and hence the recording times are similar. This does mean that fewer bits are allocated per frame in the 60fps mode, although since the codec H264 uses inter-frame compression, the difference won't be as stark.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-09-02T20:07:35.123" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16311" PostTypeId="1" AcceptedAnswerId="16323" CreationDate="2015-09-03T13:51:57.303" Score="1" ViewCount="719" Body="&lt;p&gt;How to scale a layer in pixelated fashion? I.e. each pixel of the image will grow to the block of pixels in the final scene without smoothing or blending (see picture below):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/67281.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/67281.png&quot; alt=&quot;Scaling in progress, from left to right&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;WORKAROUND&lt;/strong&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To achieve desired effect you could use the &lt;em&gt;Draft&lt;/em&gt; option quality of the layer:&lt;br&gt;&#xA;&lt;code&gt;Layer &amp;gt; Quality &amp;gt; Draft&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="4633" LastEditorUserId="4633" LastEditDate="2015-09-04T21:53:32.043" LastActivityDate="2015-09-04T21:53:32.043" Title="How to scale a layer in pixelated fashion in After Effects?" Tags="|after-effects|scale|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16312" PostTypeId="1" CreationDate="2015-09-03T13:56:47.677" Score="1" ViewCount="118" Body="&lt;p&gt;I'm using SpeedGrade to do some coloring for my first time. It's coming along well but having a problem area in one part.&lt;/p&gt;&#xA;&lt;p&gt;Here's the original:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Fq7ap.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Fq7ap.jpg&quot; alt=&quot;Original Footage&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Basic stuff I've done so far:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sqgl5.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sqgl5.jpg&quot; alt=&quot;Color Balanced Footage&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The issue is the &amp;quot;waves&amp;quot; on the home's roof becomes much worse after I balanced things a bit. Original closeup:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tXpUu.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tXpUu.jpg&quot; alt=&quot;Original Closeup&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;After grading closeup:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/igYY1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/igYY1.jpg&quot; alt=&quot;Color Balanced Closeup&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is there a term for this effect that I could edit into the Question title, and do a search for?&lt;/li&gt;&#xA;&lt;li&gt;Would the best way to fix it be using some sort of Mask with different color changes on the roof section, or is there some other method I should be looking at?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5206" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-09-04T06:18:57.267" Title="How to fix color &quot;waves&quot; in SpeedGrade?" Tags="|color-correction|color-grading|speedgrade|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16313" PostTypeId="2" ParentId="16311" CreationDate="2015-09-03T14:30:47.350" Score="2" Body="&lt;p&gt;It will scale like that, because every picture made of pixels &lt;sub&gt;(except vector graphics, but just don't use that)&lt;/sub&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can force it with effect &lt;kbd&gt;Stylize&lt;/kbd&gt; &gt; &lt;kbd&gt;Mosaic&lt;/kbd&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="11523" LastEditorUserId="11523" LastEditDate="2015-09-03T19:52:40.947" LastActivityDate="2015-09-03T19:52:40.947" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16314" PostTypeId="2" ParentId="16312" CreationDate="2015-09-03T14:47:22.850" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;It's called moiré. &lt;/li&gt;&#xA;&lt;li&gt;The main enemy here is sharpness. Try to play with it... But now, when you know the term, I bet you will find solution shortly.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Good luck! &lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-09-03T14:47:22.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16315" PostTypeId="1" CreationDate="2015-09-03T15:44:16.423" Score="3" ViewCount="421" Body="&lt;p&gt;i have edited a video with Open Shot. However when exporting and trying to watch via PS3 the results end up unsatisfying.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I managed to figure out that the video is displayed fine as MP4 with libx264 Codec but i cannot get audio right. Neither aac nor ac3 codec produce satisfying results. Although sound is played it sounds really annoying, to me like the bass is completely broken. I use the highest quality, 2 Channels and a sampling rate of 48000. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anybody help me to get a satisfying result?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW VLC Player has no problems with neither of the setups i used for PS3.&lt;/p&gt;&#xA;" OwnerUserId="11571" LastActivityDate="2017-02-15T18:36:05.040" Title="What format and codecs to use for PS3?" Tags="|audio|codec|audio-quality|quality|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16316" PostTypeId="1" CreationDate="2015-09-04T05:02:58.223" Score="-2" ViewCount="63" Body="&lt;p&gt;What's the easiest (preferably free) tool to do a text overlay akin to the one shown in this Strava ad video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;https://youtu.be/4BV30EDMmn4&lt;/p&gt;&#xA;" OwnerUserId="11574" LastActivityDate="2015-09-04T13:55:44.327" Title="Doing text overlay on video" Tags="|video|editing|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16317" PostTypeId="2" ParentId="16312" CreationDate="2015-09-04T06:18:57.267" Score="3" Body="&lt;p&gt;That's the moiré pattern, which is caused when the camera debayers an image with fine details: &lt;a href=&quot;https://en.wikipedia.org/wiki/Bayer_filter#Artifacts&quot; rel=&quot;nofollow&quot;&gt;Wikipedia about the Bayer Filter&lt;/a&gt; (see the Artifacts section)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many cameras have this problem, some more, some less. The best solution is to get to know the sensibility of your camera regarding moiré and - when you have objects like bricks, roofs, fine-detailed clothes - reframe your shot or zoom out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your case you had the moiré problem already in the source image, but amplified it with your color grading actions. The solution here is to have an additional node or effect before your general grading is done. This node/effect defines a mask with the roof and a subtle blur effect. Nobody will miss details in the roof, as long as the rest of the scene has detail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I'm talking about nodes, which is the way Resolve names them. SpeedGrade has some other terms that I don't know: Effects or Layers? But the concept is similar.)&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2015-09-04T06:18:57.267" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16318" PostTypeId="1" AcceptedAnswerId="16322" CreationDate="2015-09-04T11:42:16.113" Score="2" ViewCount="10936" Body="&lt;p&gt;In most Adobe CS6 apps, the character palette has a strikethrough button. In After Effects CS6, this seems to be  missing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to do strikethrough in After Effects CS6. Most the tutorials I have searched for show how to do animated strikethroughs. I just want a simple text strikethrough (without animation) &lt;del&gt;like this&lt;/del&gt;. &lt;/p&gt;&#xA;" OwnerUserId="11575" LastActivityDate="2015-09-07T07:02:39.987" Title="Strike through text After Effects CS6" Tags="|after-effects|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16319" PostTypeId="2" ParentId="16316" CreationDate="2015-09-04T13:55:44.327" Score="1" Body="&lt;p&gt;This is very easy to do with any basic video editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Checkout lightworks if you are in windows or openshot if you are in Linux&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-09-04T13:55:44.327" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16320" PostTypeId="2" ParentId="16306" CreationDate="2015-09-04T14:00:07.540" Score="1" Body="&lt;p&gt;There is no specific title for this kind of video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can achieve what you want with any video editor that supports layers and masks. Adobe After Effects would be on solution.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2015-09-04T14:00:07.540" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16321" PostTypeId="1" CreationDate="2015-09-04T14:41:58.503" Score="2" ViewCount="115" Body="&lt;p&gt;Looking to create a video conferencing experience between 2 offices. Want to make it like a window where people can just walk up to the camera/screen/mic and see who is there. Is there a cheap way to do this- to have a dedicated video line through the internet like this between 2 offices? Possibly free? I remember there being a google hangouts hack but want to avoid doing anything sketchy&lt;/p&gt;&#xA;" OwnerUserId="11578" LastActivityDate="2015-10-10T11:20:57.940" Title="Endless video chat?" Tags="|video|streaming|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16322" PostTypeId="2" ParentId="16318" CreationDate="2015-09-04T15:14:22.457" Score="3" Body="&lt;p&gt;&lt;strong&gt;Text control is very limited in after effects.&lt;/strong&gt; There is no functionality in the &lt;em&gt;Character Panel&lt;/em&gt; to achieve a strikethrough at the moment. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;Using Illustrator&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;For better &lt;strong&gt;text control&lt;/strong&gt; I'd suggest create your text in &lt;strong&gt;illustrator&lt;/strong&gt; instead:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/d16t0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/d16t0.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and import the illustrator file into &lt;strong&gt;after effects&lt;/strong&gt; afterwards:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/18wPn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/18wPn.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; Editing the text in illustrator is still possible.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;Using a shape layer&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;In order to create a &lt;strong&gt;simple stroke&lt;/strong&gt; above your &lt;em&gt;Text Layer&lt;/em&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Enable the &lt;em&gt;Pen Tool&lt;/em&gt; (&lt;kbd&gt;G&lt;/kbd&gt;) &lt;/li&gt;&#xA;&lt;li&gt;With no layer selected, click into the &lt;em&gt;Viewer&lt;/em&gt; (this will create the 'first point' of the stroke)&lt;/li&gt;&#xA;&lt;li&gt;Hold down &lt;kbd&gt;Shift&lt;/kbd&gt; to make sure that the line, which you are going to create is 'straight'&lt;/li&gt;&#xA;&lt;li&gt;Click into the viewer again to set the 'end point'&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This will create a new &lt;strong&gt;Shape Layer&lt;/strong&gt;. If the layer is selected you can adjust the 'stoke color' and the 'thickness' in the &lt;em&gt;Tool Bar&lt;/em&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GsmNM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GsmNM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another way is to roll out the &lt;em&gt;Properties of the layer&lt;/em&gt; by clicking on the tiny triangle &lt;kbd&gt;&gt;&lt;/kbd&gt; left beside the layers name, go to &lt;em&gt;Contents &gt; Shape(Number) &gt; Stroke(Number)&lt;/em&gt; to adjust the 'color' and the 'width'. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;However a shape layer provides &lt;strong&gt;much more control in terms of animation&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add a &lt;strong&gt;Trim Paths&lt;/strong&gt; property&lt;/li&gt;&#xA;&lt;li&gt;Create a first keyframe by clicking on the &lt;em&gt;stopwatch&lt;/em&gt; of the &lt;code&gt;End&lt;/code&gt; value and set it to &lt;code&gt;0&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Move a few frames forward&lt;/li&gt;&#xA;&lt;li&gt;Create a second keyframe and set &lt;code&gt;End&lt;/code&gt; value to &lt;code&gt;100&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rGISq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rGISq.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Related: &lt;a href=&quot;https://graphicdesign.stackexchange.com/questions/49643/how-to-use-after-effects-trim-path-with-an-illustrator-path/49975#49975&quot;&gt;https://graphicdesign.stackexchange.com/questions/49643/how-to-use-after-effects-trim-path-with-an-illustrator-path/49975#49975&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Result&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5lBT2.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5lBT2.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:12.617" LastActivityDate="2015-09-07T07:02:39.987" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16323" PostTypeId="2" ParentId="16311" CreationDate="2015-09-04T17:19:28.207" Score="1" Body="&lt;p&gt;Ok, I read your mind. What you are talking about called &lt;strong&gt;Quality and Sampling&lt;/strong&gt;. You can find it in the timeline on your layer when &quot;Switches&quot; are activated:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7EeW8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7EeW8.png&quot; alt=&quot;Look at the rad arrow&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adjust it to pixelated view, and you will be able to reach your goal without any effects.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-09-04T17:19:28.207" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16324" PostTypeId="1" AcceptedAnswerId="16325" CreationDate="2015-09-04T20:00:06.337" Score="15" ViewCount="16973" Body="&lt;p&gt;I make short films which I distribute through YouTube. I know YouTube uses VP9 for streaming, but YouTube still recommends uploading with h.264. It makes more sense to me to upload in as similar a format as will be streamed by YouTube, but I might be missing something.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, would uploading in a higher quality codec like DNxHR or Prores (I'm not concerned about bandwidth or processing time) better preserve video quality after YouTube's encoding?&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2017-02-14T22:44:28.280" Title="H.264 or VP9 for encoding for YouTube?" Tags="|encoding|youtube|h.264|prores|vp9|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16325" PostTypeId="2" ParentId="16324" CreationDate="2015-09-04T20:35:00.383" Score="13" Body="&lt;p&gt;&lt;strong&gt;tl;dr:&lt;/strong&gt; Since Youtube reencodes all videos regardless of the upload format, it really isn't that important. Just export your video with a high bitrate to preserve quality. Also see &lt;a href=&quot;https://video.stackexchange.com/a/15815/6273&quot;&gt;my answer here&lt;/a&gt; regarding quality loss caused by Youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Long answer:&lt;/strong&gt; Each reencoding of a video to a compressed format lowers the quality. Usually, that means you'll lose quality at two points: When you export the edited video from your editing software and when you upload the exported video to Youtube, at which point it is reencoded to a highly compressed, streaming-compatible format. You have no control over that second step, so what you can do to achieve the maximum quality possible is make sure you lose as little quality as possible during the first encoding.&lt;br&gt;&#xA;In theory, that would mean export to a &lt;em&gt;perceptually&lt;/em&gt; (even though technically not) uncompressed format like Apple ProRes or DNxHD as you suggested. However, unfortunately, &lt;a href=&quot;https://support.google.com/youtube/troubleshooter/2888402?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;Youtube doesn't support those formats&lt;/a&gt;, so you'll have to use a compressed format. To minimize quality loss, set a high bitrate in your export settings (assuming rendering and upload time aren't an issue. If they are, you'll have to find some middle ground; exporting with a bitrate that is higher than the bitrate of the source material won't yield any more quality, so that is as high as I would go). If you do that, it doesn't really matter which codec you use, both are highly efficient regarding file-size/quality ratio (VP9 probably a bit more so, but that's more important when you're dealing with low bitrates). &lt;a href=&quot;https://support.google.com/youtube/answer/1722171&quot; rel=&quot;nofollow noreferrer&quot;&gt;Youtube recommends H264&lt;/a&gt;, so that's what I would use. However, the best advice I can give you is to try out both, i.e. export the same video as both H264 and VP9 with identical bitrates/other settings, upload both to youtube and check which one looks better to you.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-09-10T18:27:13.393" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16326" PostTypeId="1" CreationDate="2015-09-04T23:36:35.563" Score="2" ViewCount="5583" Body="&lt;p&gt;I'm trying to reproduce this &quot;color feedback&quot; effect that was popular in the 80's (thanks to the Scanimate) : &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/aExF2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aExF2.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This one is from the song &quot;Earth, Wind and Fire - Let's groove&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically it work like this : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Current frame = Blend(Video input, ColorShift(Previous Frame))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What i tried so far : &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Add &quot;Color key&quot; effect to separate subject from the background.&lt;/li&gt;&#xA;&lt;li&gt;Add &quot;Echo&quot; effect. Set operator to &quot;Composite In Front&quot;. Increase &quot;Number of Echoes&quot; to 20.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;It works pretty good to reproduce the basic feedback effect. However i'm still missing the rainbow colors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried to put some color correction effect, but it applies on the whole image, not only on the previous frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea how i can reproduce this effect ?&lt;/p&gt;&#xA;" OwnerUserId="11580" LastActivityDate="2015-10-13T14:11:05.427" Title="How to reproduce this rainbow color feedback effect in After Effects?" Tags="|after-effects|effects|color|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16327" PostTypeId="1" CreationDate="2015-09-04T23:44:03.113" Score="1" ViewCount="362" Body="&lt;p&gt;Avid has something called sequence report that gives you details such as the number of clips in a sequence among other stats. I was wondering if any of you were aware of a similar function in Premiere that would show some stats of the sequence (e.g. number of clips)?&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2022-09-05T15:26:49.850" Title="sequence report Adobe Premiere CC" Tags="|premiere|adobe|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16328" PostTypeId="2" ParentId="16326" CreationDate="2015-09-05T00:33:38.010" Score="1" Body="&lt;p&gt;Sorry, I don't have keyable footage under my hand, so I tried to do it different. But it will better look with keying:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/mv05q.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mv05q.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I duplicated my layer couple of times&lt;/li&gt;&#xA;&lt;li&gt;Moved every layer couple of frames forward&lt;/li&gt;&#xA;&lt;li&gt;Decreased &lt;kbd&gt;Optically&lt;/kbd&gt; value for every layer with same step, so values distributed from 100 till 0 (last one can be skipped)&lt;/li&gt;&#xA;&lt;li&gt;Added to them &lt;kbd&gt;Hue/Saturation&lt;/kbd&gt; effect with distribution of &lt;kbd&gt;Master Hue&lt;/kbd&gt; across them.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;It is manual approach, but it is not so difficult or time-consuming. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe it also can be achieved with Particle system, when your footage serves as emitter. Some of particle systems effects have &quot;color over life&quot; value, which will create your &quot;Rainbow effect&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-09-05T00:33:38.010" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16329" PostTypeId="2" ParentId="16324" CreationDate="2015-09-05T07:11:32.937" Score="7" Body="&lt;p&gt;YouTube will re-encode whatever you give it. VP9 is currently too slow to encode. So the best choice is to either:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Give it the original footage, or if it is not accepted by YouTube or is too big to upload, then...&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Re-encode to H.264&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h1&gt;&lt;code&gt;ffmpeg&lt;/code&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg&lt;/code&gt; will accept just about any input and will provide a great quality output. Development is very active, so it is best to use a recent build which you can &lt;a href=&quot;https://ffmpeg.org/download.html&quot;&gt;download&lt;/a&gt; for Windows, OS X, or Linux.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Example commands&lt;/h2&gt;&#xA;&#xA;&lt;h3&gt;Encode H.264 video, &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-copy&quot;&gt;stream copy&lt;/a&gt; audio, in Matroska container:&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -c:v libx264 -preset medium -crf 18 -c:a copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;Encode H.264 video, Vorbis audio, in Matroska container:&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -c:v libx264 -preset medium -crf 18 -c:a libvorbis -q:a 5 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-crf 18&lt;/code&gt; is considered to be roughly visually lossless. The range is a log scale from 0-51. 0 is lossless (huge files), 23 is default.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-preset&lt;/code&gt; controls the encoding efficiency, and therefore affects the encoding speed. Generally it is recommended to use the slowest preset you have patience for, or if in doubt just use &lt;code&gt;medium&lt;/code&gt; (the default). Choices are: ultrafast, superfast, veryfast, faster, fast, medium, slow, slower, veryslow.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Your player may not like the output, but YouTube will. If that is the case then just use a sane player such as VLC.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h1&gt;Also see&lt;/h1&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot;&gt;FFmpeg Wiki: H.264 Video Encoding Guide&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/YouTube&quot;&gt;FFmpeg Wiki: How to Encode Videos for YouTube and other Video Sharing Sites&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2015-09-05T07:11:32.937" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16331" PostTypeId="1" AcceptedAnswerId="16370" CreationDate="2015-09-05T15:42:32.447" Score="1" ViewCount="407" Body="&lt;p&gt;I know that its not uncommon to split an XLR using a Y-adapter when going in to an external audio recorder and setting the levels lower on one input (about -10db lower) so that if the main input peaks you have the lower level to get the audio from. My question is, how is this accomplished with phantom power?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a Roland R-26 and it does not have the ability to shut of phantom for one of the analog inputs, and I don't want to 'double up' the phantom on the mic. I suppose since my Rode NTG2 supports battery power that I could just use that and turn off phantom completely, but I was wondering how this is handled in the recorder? Does anyone have experience with this?&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2015-09-11T09:33:07.397" Title="Y-adapter to record different levels and phantom power" Tags="|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16332" PostTypeId="1" AcceptedAnswerId="16335" CreationDate="2015-09-05T19:37:57.423" Score="2" ViewCount="407" Body="&lt;p&gt;how can I creat a effect wich can be seen in this video at 0:19 seconds?&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Waf-sfR-Pm4?start=19&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it generated in after effects with native effects or AE can't do this without external plugins?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I already know how to make it follow a path, I just want to generate the floating energy, light, etc effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;maybe it is a pre rendered effect and the company just make it follow a path?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;sorry, my english isn't good. btw, Thanks!&lt;/p&gt;&#xA;" OwnerUserId="11584" LastEditorUserId="11523" LastEditDate="2015-09-06T19:00:41.497" LastActivityDate="2015-09-07T07:51:56.787" Title="After Effects: Generate floating effects (smoke, particles, plasma, light, etc)" Tags="|after-effects|lighting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16334" PostTypeId="1" AcceptedAnswerId="16337" CreationDate="2015-09-05T20:40:38.760" Score="1" ViewCount="5705" Body="&lt;p&gt;I am wondering whether it is possible to convert a LibreOffice Impress presentation into a video (to upload on YouTube), while preserving custom animations on slides.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a possibility to export the presentation to a .swf Macromedia Flash file, but the custom animations are not preserved.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have a solution?&lt;/p&gt;&#xA;" OwnerUserId="11587" LastActivityDate="2016-05-07T14:58:40.673" Title="How to convert LibreOffice Impress to video with custom animations?" Tags="|video|presentation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16335" PostTypeId="2" ParentId="16332" CreationDate="2015-09-05T20:56:09.817" Score="2" Body="&lt;p&gt;This effect can be achieved by using different &lt;a href=&quot;https://en.wikipedia.org/wiki/Particle_system&quot; rel=&quot;nofollow&quot;&gt;particle systems&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I've &lt;em&gt;almost&lt;/em&gt; done the same thing for TV-show intro. It was done with &lt;a href=&quot;https://www.redgiant.com/products/trapcode-particular/&quot; rel=&quot;nofollow&quot;&gt;Red Giant Trapcode Particular plugin&lt;/a&gt;, see the result &lt;a href=&quot;https://www.youtube.com/watch?v=QYSF-_ZN0kM&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should move your emitter in 3D space with different particle settings for different effects. Also see this &lt;a href=&quot;https://www.youtube.com/watch?v=_w08-j_ttA4&quot; rel=&quot;nofollow&quot;&gt;tutorial&lt;/a&gt; on how to work with Trapcode Particular.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However Trapcode Particular is pretty expensive. After Effects is shipped with the following built-in particle system effects:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;CC Particle Systems II&lt;/li&gt;&#xA;&lt;li&gt;CC Particle World&lt;/li&gt;&#xA;&lt;li&gt;Particle Playground&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;You can try to reach same result with them. But they have poor set of settings.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="11523" LastEditorUserId="6685" LastEditDate="2015-09-07T07:51:56.787" LastActivityDate="2015-09-07T07:51:56.787" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16337" PostTypeId="2" ParentId="16334" CreationDate="2015-09-06T11:44:29.463" Score="1" Body="&lt;p&gt;I would use a screen recording / capture tool. With this solution you can even define your individual timing from slide to slide.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which software to use? Depending on your operating system there are many free or low cost solutions available. There are even web-based services.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This &lt;a href=&quot;http://www.technonutty.com/2015/07/best-top-10-screen-recording-softwares-online-utilities.html&quot; rel=&quot;nofollow&quot;&gt;blog post&lt;/a&gt; lists 10 of them. I copied that list here for reference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Desktop Software:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://filehippo.com/download_icecream_screen_recorder/&quot; rel=&quot;nofollow&quot;&gt;IceCream&lt;/a&gt; (Windows)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://atomisystems.com/activepresenter/&quot; rel=&quot;nofollow&quot;&gt;ActivePresenter&lt;/a&gt; (Windows)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://camstudio.org/&quot; rel=&quot;nofollow&quot;&gt;CamStudio&lt;/a&gt; (Windows)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.techsmith.com/snagit.html&quot; rel=&quot;nofollow&quot;&gt;Snagit&lt;/a&gt; (Windows/Mac)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.techsmith.com/jing.html&quot; rel=&quot;nofollow&quot;&gt;Jing&lt;/a&gt; (Windows/Mac)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Web Services:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.webinaria.com/&quot; rel=&quot;nofollow&quot;&gt;Webinaria&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.apowersoft.com/&quot; rel=&quot;nofollow&quot;&gt;Apowersoft&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.screenr.com/&quot; rel=&quot;nofollow&quot;&gt;Screenr&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.icyte.com/system/snapshots/fs1/6/1/3/6/6136fdcd5ad0da964634b9747f65ac5f2df32d5c/index.html&quot; rel=&quot;nofollow&quot;&gt;ScreenToaster&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://screencastle.com/&quot; rel=&quot;nofollow&quot;&gt;ScreenCastle&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm sure next year there will be different options. That's why this list can only be an overview and starting point for your own research.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might need another tool to finally crop your recorded video to 1280x720 or 1920x1080 pixel, because the screen recorder might have recorded an odd rectangle that you have drawn with the mouse. My favorite is &lt;a href=&quot;http://virtualdub.org&quot; rel=&quot;nofollow&quot;&gt;VirtualDub&lt;/a&gt; for Windows.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2015-09-06T11:44:29.463" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16338" PostTypeId="1" CreationDate="2015-09-06T17:11:06.077" Score="1" ViewCount="2717" Body="&lt;p&gt;I'm using Adobe Premiere Pro CC 2015.  As an example of a common scenario, on a single video track I'll have two still images (e.g. jpg files) with some space between them.  Image1 first followed by some space and then Image2.   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I'd like to do is extend the duration of Image1 so that it fills the space and ends where Image2 begins.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-none prettyprint-override&quot;&gt;&lt;code&gt;+--------------------------------------------------------+&#xA;   +---------------+             +-------------------+    &#xA;   | Image 1       |             | Image 2           |    &#xA;   |               |             |                   |    &#xA;   +---------------+             +-------------------+    &#xA;+--------------------------------------------------------+&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After:&#xA;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;+--------------------------------------------------------+&#xA;   +---------------------------+ +-------------------+    &#xA;   | Image 1                   | | Image 2           |    &#xA;   |                           | |                   |    &#xA;   +---------------------------+ +-------------------+    &#xA;+--------------------------------------------------------+&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Obviously I can do this with the mouse and drag the edge of Image1 over to Image2.  However is there a keyboard shortcut that will automatically do this?  &lt;/p&gt;&#xA;" OwnerUserId="6543" LastActivityDate="2019-04-29T20:06:16.270" Title="Shortcut to extend length of still image clip in Premiere?" Tags="|premiere|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16339" PostTypeId="2" ParentId="16338" CreationDate="2015-09-06T17:24:19.377" Score="3" Body="&lt;p&gt;As happens, the act of asking a questions leads me to the answer faster.  I can do this with a combination of two shortcuts:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;kbd&gt;Down Arrow&lt;/kbd&gt; (Go to Next Edit Point)&lt;/li&gt;&#xA;&lt;li&gt;&lt;kbd&gt;Shift + Q&lt;/kbd&gt; (Extend Previous Edit To Playhead)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;(Still be interested if there's a way to do this with a single shortcut)&lt;/p&gt;&#xA;" OwnerUserId="6543" LastActivityDate="2015-09-06T17:24:19.377" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16340" PostTypeId="2" ParentId="15481" CreationDate="2015-09-06T17:33:54.363" Score="6" Body="&lt;h1&gt;Rotate without re-encoding&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;You can add rotation metadata:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.3gp -c copy -metadata:s:v rotate=90 output.3gp&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-c copy&lt;/code&gt; will enable &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;noreferrer&quot;&gt;stream copy&lt;/a&gt; mode, so it will just re-mux instead of re-encode.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Player and device support for the &lt;code&gt;rotate&lt;/code&gt; metadata may vary, so your player or device may not actually rotate the video. If that is the case you may have to manually rotate within the player, or re-encode.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h1&gt;Rotate with re-encoding&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;When re-encoding &lt;code&gt;ffmpeg&lt;/code&gt; will automatically rotate the video. The rotate metadata/sidedata will not be copied from the input (which is a good thing).&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If it doesn't work for you then your build is too old. Refer to the &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg Download&lt;/a&gt; page.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2015-09-07T07:16:31.537" LastActivityDate="2015-09-07T07:16:31.537" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16342" PostTypeId="1" CreationDate="2015-09-07T09:58:23.503" Score="1" ViewCount="32" Body="&lt;p&gt;I use final cut pro and I have to do a large amount of cropping and ken burns transition. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The picture cropped is always a corner forth of the video. So far to do it I use the shortcut &lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;C&lt;/kbd&gt; and then I have to manually select if I want to use crop or ken burns and use mouse to select the size for the new frame. I helps for cropping when you resize it to a forth it magnetizes to exact forth, when you do the same with ken burns it does not and this makes video to appear 'jumpy' if not done with enough precision. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything I can do to automate this process, perhaps a way to set shortcuts to change the selection size to preset size or similar?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="11595" LastEditorUserId="6685" LastEditDate="2015-09-07T10:35:51.410" LastActivityDate="2015-09-07T10:35:51.410" Title="Optimisation for cropping" Tags="|final-cut-pro|automation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16344" PostTypeId="1" CreationDate="2015-09-08T10:10:23.350" Score="2" ViewCount="1490" Body="&lt;p&gt;There are some wav files that are empty (though their size is not 0 bytes). Their duration is also 00:00.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you open these files, nothing happens even if you hit the play button again and again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to filter all such files from a collection of (say 10000) .wav files?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Equivalently, could you help me in filtering all .wav files of duration less than or equal to 2 seconds from a huge collection of files?&lt;/p&gt;&#xA;" OwnerUserId="11599" LastActivityDate="2015-09-08T13:58:11.630" Title="how to detect empty wav files" Tags="|audio-recording|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16345" PostTypeId="1" CreationDate="2015-09-08T12:09:47.723" Score="1" ViewCount="488" Body="&lt;p&gt;I'm about to buy the Panasonic Lumix G7 (body) and I would really like some advice about the best lens I can get for it at &lt;strong&gt;less than 400$&lt;/strong&gt; if possible. I want it for shooting video, and the lens should be a zoom lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="11600" LastEditorUserId="6685" LastEditDate="2015-09-19T12:30:40.683" LastActivityDate="2015-09-20T09:34:19.213" Title="Panasonic G7 - Low cost zoom lens for video" Tags="|camera|lenses|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16346" PostTypeId="1" AcceptedAnswerId="16348" CreationDate="2015-09-08T13:25:48.083" Score="2" ViewCount="527" Body="&lt;p&gt;(edited for clarity)&#xA;I shot my first interview style video with three cameras and separate audio track. I've got all 3 video layers synced up so they are playing together but I want to switch between which layer is the top one at markers I have set on the timeline. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the correct way to do this? Cut all the video clips at each marker through the whole project then delete the sections I don't want visible? Use the effects panel to change opacity to zero when not in use and 100% when I want it visible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or is there a way to script each marker so that the program hides the layers not in use?&lt;/p&gt;&#xA;" OwnerUserId="11601" LastEditorUserId="11601" LastEditDate="2015-09-08T14:51:37.367" LastActivityDate="2015-09-08T16:38:39.700" Title="Premiere Pro CC - Creating an interview video with multiple camera angles" Tags="|premiere|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16347" PostTypeId="2" ParentId="16344" CreationDate="2015-09-08T13:58:11.630" Score="2" Body="&lt;p&gt;If the files have no content then it's enough to key on size. A totally &quot;empty&quot; WAV file will have just a header and will almost certainly be less than 200 bytes. So it's probably enough to delete any files smaller than that. I would sort the folder by increasing size. You will probably see a sharp change from very low values to a series of much larger files. Bulk delete above that point (shift-select, delete).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the files have some length but contain only silence, you need a more rigorous test. But from your question it doesn't sound like that's the case.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-09-08T13:58:11.630" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16348" PostTypeId="2" ParentId="16346" CreationDate="2015-09-08T16:38:39.700" Score="1" Body="&lt;p&gt;Premiere Pro has a multicam-functionality which you can use. To create a new multicam-sequence, select the three clips of your three cameras in the project panel, &lt;strong&gt;right-click&lt;/strong&gt; → &lt;strong&gt;Create Multi-Camera Source Sequence&lt;/strong&gt; (you might also be able to do that within your existing timeline). Then, select which synchronizing method you want to use (&lt;strong&gt;audio&lt;/strong&gt; works just fine most of the time).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you click OK, it will create a new sequence that you can insert into your timeline just like any other clip or sequence. Once you've done that, click on the screwdriver icon in the programm panel and switch from &lt;strong&gt;Composite Video&lt;/strong&gt; to &lt;strong&gt;Multi-Camera&lt;/strong&gt;. Then, press &lt;kbd&gt;0&lt;/kbd&gt; to &lt;strong&gt;Toggle Multi-Cam recording&lt;/strong&gt; (there's also a button for that hidden behind the button editor). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you've done all that, you can simply playback the sequence and switch between cameras while watching (either by clicking on the different views in the program panel or using the number-keys on your keyboard as shortcuts). Premiere Pro will record the the switches and insert cuts accordingly. You can also go back and change the cuts as many times as you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that this is only one possible workflow. For some other options and more a more detailed explanation, check out the corresponding &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/create-multi-camera-source-sequence.html&quot; rel=&quot;nofollow&quot;&gt;manual page&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-09-08T16:38:39.700" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="16349" PostTypeId="1" AcceptedAnswerId="21377" CreationDate="2015-09-08T17:56:55.007" Score="6" ViewCount="20382" Body="&lt;p&gt;When exporting a video using the H264 Codec with a variable bitrate in Premiere Pro, you can set the target bitrate and the maximum bitrate. I would like to know how those work together and if there is any rule of thumb on what to set them to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So AFAIK, the target bitrate is the average bitrate that the encoder will try to achieve by balancing out parts of the video where more or less information is required respectively. In that case, what is the purpose of the maximum bitrate setting? Is it the highest possible bitrate that won't be ecelled at any point of the video? Or can the encoder actually exceed the average bitrate over the amount speficied as target bitrate and the maximum bitrate is the highest possible &lt;em&gt;average&lt;/em&gt; bitrate that the resulting video can have?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, how can I determine a good value for the maximum bitrate depending on the target bitrate? Let's say I export with 1, 10 or 20 MB/s (as my target bitrate), what should the maximum bitrate setting depend on?&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-05-11T22:51:48.087" Title="Usage of Target and Maximum Bitrate with the H264 Codec in Premiere Pro" Tags="|premiere|video-quality|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16351" PostTypeId="1" CreationDate="2015-09-08T20:24:51.447" Score="2" ViewCount="1406" Body="&lt;p&gt;I just recorded a demo from cod4 with 2000FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used Vdub to make an uncompressed video from the Screenshots. &#xA;After saving as an avi, the file looks good. (Apart from the lack while playing in windows media player which is probably caused by the large Framerate)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to import to after effects or encoder, I get the error that it can't be imported.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But why?&lt;/p&gt;&#xA;" OwnerUserId="9154" LastEditorUserId="4426" LastEditDate="2015-09-09T12:17:21.290" LastActivityDate="2015-12-14T13:02:06.553" Title="Why won't After Effects import an uncompressed avi file?" Tags="|after-effects|codec|adobe|adobe-media-encoder|" AnswerCount="2" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="16352" PostTypeId="1" CreationDate="2015-09-09T02:35:38.173" Score="5" ViewCount="2463" Body="&lt;p&gt;I've seen a number of scripts for converting Photoshop &lt;strike&gt;.asv&lt;/strike&gt; .acv files to a GIMP friendly format. Does anyone know if such a tool exists to do the opposite, i.e. converting a GIMP curve file to &lt;strike&gt;.asv&lt;/strike&gt; .acv? I'm interested in this for use in the ffmpeg curves filter. Thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: It seems like the ffmpeg documentation is wrong: &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#curves&quot;&gt;http://ffmpeg.org/ffmpeg-filters.html#curves&lt;/a&gt;. The curve files produced by Photoshop (at least on OSX) are not .asv but .acv.&lt;/p&gt;&#xA;" OwnerUserId="11605" LastEditorUserId="1760" LastEditDate="2015-09-10T23:27:02.303" LastActivityDate="2023-10-10T00:34:26.730" Title="Converting GIMP curves files to Photoshop (.acv) for ffmpeg" Tags="|ffmpeg|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16353" PostTypeId="1" CreationDate="2015-09-09T08:12:05.257" Score="1" ViewCount="52" Body="&lt;p&gt;I am starting an online course project and need to create  video files as a part of  lectures. There will be lots of DIY excersizes  so I need decent camera that could be attached to the small mount and placed on the table while teacher is showing how to do things. The main emphasis is on the DIY excersizes so the viewer shoulde be able to see the creative process very clearly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am considering to do some high speed/fps scenes as well as a part of the lessons. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of the time camera will be static, so there will be no movement around the scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What camera should be the best choice for this project? Please could you recommend any particular type/brand based on your experience?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many thanks&lt;/p&gt;&#xA;" OwnerUserId="11606" LastActivityDate="2015-09-09T15:25:38.537" Title="Video camera for online course creation" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16354" PostTypeId="1" CreationDate="2015-09-09T11:01:57.733" Score="2" ViewCount="1367" Body="&lt;p&gt;I am trying to build cheap recording and instant replay system using two or three GoPro4 cameras. The idea is that I can put cameras on stands, connect them with computer and record two or three different scenes at the same time at 720p, 120fps. Is this possible with wifi connection to receive 2 or 3 signals from GoPros and record them simultaneously to a computer? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The next thing I need is the ability to rewind certain scene/camera recording (while still recording in the background) and just preview instant replay of a specific time frame or maybe even frame by frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible? Can someone point me in the right direction for some kind of software or additional hardware I would need in order to accomplish this?&lt;/p&gt;&#xA;" OwnerUserId="11607" LastActivityDate="2015-10-11T21:54:48.433" Title="DIY 120fps video recording and instant replay" Tags="|broadcasting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16355" PostTypeId="1" AcceptedAnswerId="16358" CreationDate="2015-09-09T13:50:10.417" Score="1" ViewCount="1027" Body="&lt;p&gt;What's the easiest way to trigger an aerender command from a web page?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using &lt;a href=&quot;http://aescripts.com/templater/&quot; rel=&quot;nofollow&quot;&gt;Templater&lt;/a&gt;, I can create renders based on google spreadsheets, but I can't find a good description of how to trigger a render remotely.  Is there a good howto guide somewhere?  Maybe using PHP or something (not an expert on this)... PS: I'm using a Mac&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2015-09-09T14:53:22.900" LastActivityDate="2015-09-09T16:03:09.963" Title="How to trigger an aerender command from a web page" Tags="|after-effects|aerender|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16356" PostTypeId="1" AcceptedAnswerId="16359" CreationDate="2015-09-09T14:46:55.990" Score="24" ViewCount="82877" Body="&lt;p&gt;I am but a lowly PHP developer that has been tasked with retrieving some basic information about 100's of thousands of video files.  I've had some luck using &lt;code&gt;ffmpeg&lt;/code&gt; and extracting the &lt;code&gt;video bitrate&lt;/code&gt;, &lt;code&gt;video width&lt;/code&gt;, &lt;code&gt;video height&lt;/code&gt;, &lt;code&gt;duration&lt;/code&gt;, and &lt;code&gt;aspect ratio&lt;/code&gt; from them, but with an error ratio of about 5%, this still leaves me with an enormous number of files that I don't know how to deal with. The videos DO play,&#xA;but the massive amount of data that &lt;code&gt;ffmpeg&lt;/code&gt; returns in has me baffled as to how parse the returned &lt;em&gt;XML&lt;/em&gt; to find what I need with all the conditions that I seem to be encountering.  (The files are a collection from the past 15 years or so, some newly encoded, others converted years ago)&lt;/p&gt;&#xA;&lt;p&gt;At any rate, I found the following use of &lt;code&gt;ffprobe&lt;/code&gt; to get duration, and was hoping that someone here who understands the complexities of using &lt;code&gt;ffmpeg&lt;/code&gt; &amp;amp; &lt;code&gt;ffprobe&lt;/code&gt; would be kind enough to assist me with finding the other values I need in a more straightforward way than the crazy code I'm using myself, created to climb through the full results of &lt;code&gt;ffmpeg&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffprobe -i &amp;quot;video.mp4&amp;quot; -show_entries format=duration -v quiet -of csv=&amp;quot;p=0&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Thanks so very much in advance.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;CLARIFICATION:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I should add that with the below cmd, I can &lt;em&gt;&amp;quot;see&amp;quot;&lt;/em&gt; what I need, but I don't understand how to extract what I need. E.g. retrieving the VIDEO bitrate, and suppressing/ignoring the AUDIO bitrate, or determining which of 2 different durations to use (Audio/Video durations?)&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;C:\&amp;gt;ffprobe -v error -show_entries stream=width,height,bit_rate,duration \&#xA;-of default=noprint_wrappers=1 input.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;duration=1712.000000&#xA;bit_rate=64000&#xA;width=320&#xA;height=240&#xA;duration=1711.946113&#xA;bit_rate=359827&#xA;duration=1712.000000&#xA;bit_rate=N/A&#xA;duration=1712.000000&#xA;bit_rate=N/A&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11609" LastEditorUserId="22365" LastEditDate="2021-07-09T07:23:17.087" LastActivityDate="2021-07-09T07:26:29.443" Title="How to use ffprobe to obtain certain information about mp4/h.264 files" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="16357" PostTypeId="2" ParentId="16353" CreationDate="2015-09-09T15:25:38.537" Score="1" Body="&lt;p&gt;I would whole-heartedly recommend the Panasonic HC-WX970K 4K Ultra HD Camcorder for this purpose:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;When shooting 4K video, you can shoot wide enough to capture unexpected or exceptional things that happen outside your normal framing area while still having plenty of resolution for an excellent 1080p video.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;It happily shoots exceptional quality 1080p120, which is true slo-mo.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;It is small so it can fit on a bench without great disruption.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;It has built-in ND filters, so you can have your bench inside or outside and still use sane aperture and shutter speed combinations.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;It costs less than $800.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;n.b.  If you shoot at 4K with a consumer camcorder, chances are you'll be shooting at 24fps or 30fps, which means there will be motion blur.  But if you can tolerate that, you'll get gorgeous still shots you can crop to whatever size you like.  If you shoot at 1080p60, you will greatly limit motion blur, but you will also be more constrained in how much you can crop, and how good the image looks when frozen as part of a diagram.  But a 4K camera such as the above will allow you to experiment and find the best of both worlds.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-09-09T15:25:38.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16358" PostTypeId="2" ParentId="16355" CreationDate="2015-09-09T16:03:09.963" Score="3" Body="&lt;p&gt;Depends on which scripting languages your web server supports.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Main requirements&lt;/h3&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The language should be able to &lt;strong&gt;execute the application&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;The language should &lt;strong&gt;provide secure access&lt;/strong&gt; the files on the server or a network&lt;/li&gt;&#xA;&lt;li&gt;The language should provide methods to &lt;strong&gt;assembly file paths&lt;/strong&gt; (e.g. relative to absolute paths)&lt;/li&gt;&#xA;&lt;li&gt;The language should provide &lt;strong&gt;interaction methods&lt;/strong&gt; for connecting the webpage (user input) and &lt;em&gt;your application&lt;/em&gt;, also see: &lt;a href=&quot;https://en.wikipedia.org/wiki/Web_application_framework&quot; rel=&quot;nofollow&quot;&gt;https://en.wikipedia.org/wiki/Web_application_framework&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;Execute aerender via python&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;Assuming your webserver supports &lt;a href=&quot;https://www.python.org/&quot; rel=&quot;nofollow&quot;&gt;python&lt;/a&gt;, execute the app via &lt;a href=&quot;https://docs.python.org/3/library/subprocess.html&quot; rel=&quot;nofollow&quot;&gt;python's subprocess module&lt;/a&gt;. &lt;em&gt;You only have to make sure that you can call&lt;/em&gt; &lt;code&gt;aerender&lt;/code&gt; &lt;em&gt;from your command line properly.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-py prettyprint-override&quot;&gt;&lt;code&gt;# import subprocess module to call aerender&#xA;import subprocess &#xA;&#xA;# create a aerender argument list&#xA;args = ['aerender', '-project', 'path_to_file']&#xA;process = subprocess.Popen(args, stdout=PIPE, stderr=PIPE)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In order to &lt;strong&gt;batch process&lt;/strong&gt; a folder of &lt;code&gt;.aep&lt;/code&gt; files you'll need to iterate through the files:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-py prettyprint-override&quot;&gt;&lt;code&gt;#import os module&#xA;import os &#xA;&#xA;# set the path to your aep folder&#xA;path = '/home/user/Desktop/aep-files'    # linux or osx&#xA;# path = r'c:\some\directory\aep-files'  # windows, the r is important&#xA;# path = 'c:/some/directory\aep-files'   # windows (alternative)&#xA;&#xA;# make sure the files are .aep files&#xA;aep_file_folder = [f for f in os.listdir(path) if f.endswith('.aep')] &#xA;&#xA;# iterate through the list&#xA;for i in aep_file_folder:&#xA;    # setup correct filepath for aeps&#xA;    file_path = os.path.join(path,i)&#xA;&#xA;    # call aerender with the correct arguments&#xA;    subprocess.call(['aerender', '-project', file_path])&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; If there is no need to communicate (e.g. getting the output of aerender) you can simply use &lt;code&gt;subprocess.call&lt;/code&gt; instead.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastActivityDate="2015-09-09T16:03:09.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16359" PostTypeId="2" ParentId="16356" CreationDate="2015-09-09T16:37:55.197" Score="29" Body="&lt;p&gt;If you only want the information from the first video stream use &lt;code&gt;-select_streams v:0&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -v error -select_streams v:0 -show_entries stream=width,height,duration,bit_rate -of default=noprint_wrappers=1 input.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Example output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;width=640&#xA;height=480&#xA;duration=10.000000&#xA;bit_rate=942704&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;To see a list all entries use &lt;code&gt;-show_streams&lt;/code&gt; and/or &lt;code&gt;-show_format&lt;/code&gt; instead of &lt;code&gt;-show_entries&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;See &lt;a href=&quot;https://ffmpeg.org/ffprobe.html#Writers&quot; rel=&quot;noreferrer&quot;&gt;FFprobe Documentation: Writers&lt;/a&gt; for various output formatting styles.&lt;/li&gt;&#xA;&lt;li&gt;See &lt;a href=&quot;https://trac.ffmpeg.org/wiki/FFprobeTips&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg Wiki: FFprobe&lt;/a&gt; for more examples.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2019-04-14T19:23:02.497" LastActivityDate="2019-04-14T19:23:02.497" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="16360" PostTypeId="2" ParentId="16356" CreationDate="2015-09-09T16:43:27.463" Score="11" Body="&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/FFprobeTips&quot; rel=&quot;nofollow noreferrer&quot;&gt;Source&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you want to get the &lt;code&gt;bit_rate&lt;/code&gt; of the first video stream you could use:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffprobe -v error -select_streams v:0 -show_entries stream=bit_rate \&#xA;-of default=noprint_wrappers=1:nokey=1 input.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Where &lt;code&gt;-select_steams v:0&lt;/code&gt; is selecting the first video stream and &lt;code&gt;:nokey=1&lt;/code&gt; gives the value without the key. You could also extract the information by piping it to grep but I'm not sure if that's available on your system.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffprobe -v error -show_entries stream=width,height,bit_rate,duration \&#xA;-of default=noprint_wrappers=1 input.mp4 | grep -oP &amp;quot;(?&amp;lt;=bit_rate\=)[0-9]+&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="11605" LastEditorUserId="22365" LastEditDate="2021-07-09T07:26:29.443" LastActivityDate="2021-07-09T07:26:29.443" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="16361" PostTypeId="1" CreationDate="2015-09-09T20:47:27.050" Score="4" ViewCount="914" Body="&lt;p&gt;I want to start a website in which there are some videos. When I searched Google regarding this video website I came to know that for the proper working of the videos we should compress the videos. When I searched further I came to know about bitrate, codec etc etc which I didn't understand. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to compress the videos for website? How YouTube compresses videos? What are the technologies do we need to know to compress a video? What kind of people do I need to hire to compress videos?&lt;/p&gt;&#xA;" OwnerUserId="11613" LastEditorUserId="6685" LastEditDate="2015-09-28T18:42:43.793" LastActivityDate="2023-03-09T18:32:02.060" Title="How to compress videos for a website?" Tags="|youtube|compression|webvideos|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16363" PostTypeId="2" ParentId="16361" CreationDate="2015-09-10T03:45:42.127" Score="3" Body="&lt;p&gt;I recommend not to host the video files on your web server, but to upload them to YouTube and only embed the YouTube link on your web page. You can even define that your videos won't show up on searches, but are only served when using the link (from your website).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason is that these videos add significant load to your web server and bandwidth. And if something goes wrong (like providing the wrong codec), then your users won't see any video at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you really want to do it, you can even take YouTube as measurement. Upload an HD video and then download the various videos that YouTube has generated from that source. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use this tool, but there may be others for different browsers:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://addons.mozilla.org/en-us/firefox/addon/youtube-video-and-audio-dow/&quot; rel=&quot;nofollow&quot;&gt;Downloader as Firefox plugin&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You will see that YouTube offers a combination of different resolutions and different codecs. There is quite a complex logic behind which files to serve to which browsers. For ex. a small resolution will be served to mobile phones, but a bigger one to desktops depending on their screen resolution. Older browsers may need one codec, whereas modern ones accept others. YouTube does all that logic for you. But if you want to host the videos by yourself, you have to implement that logic as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need then a tool like ffmpeg to convert your videos to these different formats and resolutions. Or, if you are lazy, just use the videos that you downloaded from YouTube, since they have the formats that you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, you have to embed these videos on your web page. Here's the &lt;a href=&quot;http://www.w3schools.com/tags/tag_video.asp&quot; rel=&quot;nofollow&quot;&gt;HTML video tag&lt;/a&gt; that you have to use. It's the new HTML5 standard, so older browsers don't support it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you have seen, these steps may mean a lot of work. That's why uploading to YouTube and embedding that link to your web page is the better choice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry that I didn't cover these steps in detail. This is just an overview.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2015-09-10T03:45:42.127" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16364" PostTypeId="2" ParentId="11949" CreationDate="2015-09-10T10:34:14.607" Score="1" Body="&lt;p&gt;36,00mm Length&#xA;33,50mm Height&#xA;6,00mm Depth&lt;/p&gt;&#xA;&#xA;&lt;p&gt;GoPro Hero 3+&lt;/p&gt;&#xA;" OwnerUserId="11617" LastEditorUserId="3295" LastEditDate="2015-09-10T23:29:32.990" LastActivityDate="2015-09-10T23:29:32.990" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16365" PostTypeId="2" ParentId="16321" CreationDate="2015-09-10T10:38:35.803" Score="2" Body="&lt;p&gt;You could easily use a google video hangout, or a skype video chat or any number of other video chat solutions. Because you are only wanting the communication to be between two offices, you don't need any specialist video conferencing software.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2015-09-10T10:38:35.803" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16366" PostTypeId="2" ParentId="15138" CreationDate="2015-09-10T17:16:01.190" Score="2" Body="&lt;p&gt;I am on Premiere CC 2015, which has its own PluralEyes equivalent for synchronizing audio under the &quot;Merge&quot; function. (I think it was also on CC 2014 but I am not sure what version originated audio sync functionality.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select your two clips in your bin and merge them (it's under &quot;Clip&quot;). In the menu, under &quot;Synchronize Point&quot; choose &quot;Audio&quot; and make sure the &quot;Track Channel&quot; dropdown is set to a track that has audio on it. The Shogun material I was using had audio on track 3.&lt;/p&gt;&#xA;" OwnerUserId="11619" LastActivityDate="2015-09-10T17:16:01.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16367" PostTypeId="2" ParentId="7136" CreationDate="2015-09-10T19:41:43.327" Score="2" Body="&lt;p&gt;If I read this right, you want to watch your 120fps videos at 0.25 their real speed, seeing every single frame but at 30fps. That's what I do (GoPro 3+, 720p, 120fps) but it's a bit involved.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Blender video sequence editor. It's not intuitive but a good tutorial can make all the difference in the world, I learned with Mikeycal Meyers' tutorial: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/UEIkIrYQYYY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you've gone through the basics it's as simple as&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;add your MP4 right out of the GoPro&lt;/li&gt;&#xA;&lt;li&gt;remove the audio track (useless at this point)&lt;/li&gt;&#xA;&lt;li&gt;set &quot;Frame Range&quot; to end at the last frame in your video&lt;/li&gt;&#xA;&lt;li&gt;set &quot;Resolution&quot; to 1280x720&lt;/li&gt;&#xA;&lt;li&gt;set &quot;Frame Rate&quot; to 30fps or 29.97 fps depending on your camera (mine uses 29.97, no idea why)&lt;/li&gt;&#xA;&lt;li&gt;set &quot;Output&quot; to // (will write a file like 00000-59829.???)&#xA;pick your choice of &quot;Encoding&quot; settings (see tutorial)&lt;/li&gt;&#xA;&lt;li&gt;hit Animation and wait a while, the output video will be slowmo at 30fps&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Also, for editing real-life speed, I use HandBrake to resample the videos, because I didn't find how to tell Blender to do it. Here's a script I used to do this to all videos in a directory:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;time for f in *.MP4; do HandBrakeCLI -i $f -o ${f}_30.mkv -f mkv -q 4 -r 29.97 --cfr; HandBrakeCLI -i $f -o ${f}_60.mkv -f mkv -q 4 -r 59.940 --cfr; HandBrakeCLI -i $f -o ${f}_120.mkv -f mkv -q 4 -r 119.88 --cfr; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;: found a faster way, using ffmpeg as described in&#xA;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/How%20to%20speed%20up%20/%20slow%20down%20a%20video&quot; rel=&quot;nofollow&quot;&gt;https://trac.ffmpeg.org/wiki/How%20to%20speed%20up%20/%20slow%20down%20a%20video&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i GOPR0604.MP4_120.mkv -q 4 -filter:v &quot;setpts=4.0*PTS&quot; GOPR0604.MP4_120_slowmo.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11620" LastEditorUserId="6685" LastEditDate="2015-09-12T13:10:59.880" LastActivityDate="2015-09-12T13:10:59.880" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16369" PostTypeId="1" CreationDate="2015-09-11T08:19:11.500" Score="1" ViewCount="103" Body="&lt;ol&gt;&#xA;&lt;li&gt;When you change from low quality to high quality on a stream, is buffering time (or anything else) slower than changing from high to low?&lt;/li&gt;&#xA;&lt;li&gt;If so, is there a difference in doing this on a live stream as opposed to a premade video?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="10845" LastActivityDate="2015-11-14T19:07:55.183" Title="Is there a buffering difference between increasing and decreasing stream quality?" Tags="|video-quality|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16370" PostTypeId="2" ParentId="16331" CreationDate="2015-09-11T09:33:07.397" Score="2" Body="&lt;p&gt;As explained on another board (&lt;a href=&quot;https://www.gearslutz.com/board/10509494-post13.html&quot; rel=&quot;nofollow&quot;&gt;https://www.gearslutz.com/board/10509494-post13.html&lt;/a&gt;):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two reasons why phantom power mic inputs should never be connected directly together with a &quot;Y&quot; cable or adapter. (Such adapters or &quot;Y&quot; cables are fine for use with unpowered dynamic mic inputs, but not for phantom powered inputs. That includes inputs on the same device like (2) side by side channels on a mixer.)&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Potential mic damage:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Modern phantom powered microphones use the phantom power to power the impedance converter and the output line driver stages, and to supply the capsule bias (on non-electret mics). By placing two powered inputs in parallel the source impedance of the phantom power source is halved. On a P-48 circuit, instead of have a single 6810 ohm resistor on each input line feeding the mic you now have an effective power source impedance of 3405 ohms on each line. The P-48 circuit can now supply twice the current. The lowered P-48 resistance changes the operating voltage at the mic. That can change the operating point of the output stage drivers and the intended impedance converter operating point, and possibly the capsule bias.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some mics (not the majority), use a voltage regulator (usually a single Zener diode) to keep the mic active-electronics operating at a constant voltage. On those mics, using paralleled powered inputs will greatly increase the power dissipation in the Zener regulator. The Zener current can more than double.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A modern phantom powered mic is designed to work with a known source impedance for the phantom power current. Halving that impedance is risky. Additionally paralleling the inputs drops the load impedance the mic &quot;sees&quot; to half of a single input. That's not a mic safety issue like lower the P-48 current source impedance, but may affect the sound of some mics.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Incidentally, cutting the pin-1 return for one of the inputs may not change the current supplied from the input. There will be a good chance that there will be another ground path like a power line common connection or another audio cable between the two pieces of gear which will still provide a return path for the phantom power current. &lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Input circuit damage (not relevant to your case, but potentially interesting nonetheless):&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If phantom powered inputs on different pieces of gear have their inputs paralleled using a simple direct &quot;Y&quot; cable it's possible to damage the mic input stage of one when it's operating power (not phantom Power) is off and the phantom power on the other input is switched on or off. Most modern op amp input can be damaged if either of the differential input terminals is allowed to reach a voltage that exceeds the power supply rail voltage. When one input amp is powered down, it's rails are at or very near &quot;0&quot; voltage. Even the application of a few volts coupled in from an external power source (the PP on the &quot;other&quot; mic input) may produce a input voltage transient that exceeds the (now &quot;0&quot; ) power rail voltage. Some input's have voltage &quot;clamps&quot; to prevent that but many do not. Remember, the designers did not design the inputs to withstand [externally-applied] phantom power when the device was switched &quot;off&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is not an issue if you are running (2) mixer inputs in parallel (same power supplies), but can be if you are using separately powered devices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bottom line: If you care about protecting your powered mics and your mic pre inputs, don't ever use a directly coupled parallel &quot;Y&quot; cable on a phantom powered input no matter what anyone tells you. An isolated transformer splitter, or capacitively-coupled &quot;splitter&quot; is the only wise solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or, in your case, use the internal battery power and split the mic signals as if it were a self-powered dynamic mic.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-09-11T09:33:07.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16371" PostTypeId="2" ParentId="4478" CreationDate="2015-09-11T11:42:17.007" Score="1" Body="&lt;h1&gt;oTranscribe Web App&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;I've tried using &lt;a href=&quot;http://otranscribe.com/&quot; rel=&quot;nofollow&quot;&gt;oTranscribe&lt;/a&gt; with some success. It let's you input a local media file or a YouTube link. And it also works off-line. (!)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a free web app I think it's quite decent:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Hotkey for timestamp insertion: &lt;kbd&gt;CTRL&lt;/kbd&gt;+&lt;kbd&gt;J&lt;/kbd&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Clicking a timestamp jumps to that moment.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Hotkey for rewind: &lt;kbd&gt;F1&lt;/kbd&gt; (or &lt;kbd&gt;CTRL&lt;/kbd&gt;+&lt;kbd&gt;1&lt;/kbd&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Hotkey for fast-forward: &lt;kbd&gt;F2&lt;/kbd&gt; (or &lt;kbd&gt;CTRL&lt;/kbd&gt;+&lt;kbd&gt;2&lt;/kbd&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Hotkey for slow down: &lt;kbd&gt;F3&lt;/kbd&gt; (or &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;3&lt;/kbd&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Hotkey for speed up: &lt;kbd&gt;F4&lt;/kbd&gt; (or &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;4&lt;/kbd&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Hotkey for pause: &lt;kbd&gt;ESC&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;However:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;No way to enlarge the video decently (and not enlarge the transcription text at the same time). (I've tried to transcribe conference video feeds, and the projected slides are not really readable anymore.)&lt;/li&gt;&#xA;&lt;li&gt;No way to un-letterbox videos. (Again with the conference videos. &lt;a href=&quot;https://youtu.be/TWGX4AWpJqc?t=1716&quot; rel=&quot;nofollow&quot;&gt;This conference video&lt;/a&gt; for example is absurdly letterboxed: top, bottom, left and right. Try to read anything there.)&lt;/li&gt;&#xA;&lt;li&gt;No current timecode visible while playing. Needs mouseover action to fade in.&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Also: Rewind via F1 will not show you what time you have jumped to.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So, while not perfect, it's way, way better than the &lt;em&gt;tab-back-and-forth-between-windows&lt;/em&gt; approach.&lt;/p&gt;&#xA;" OwnerUserId="11625" LastEditorUserId="11625" LastEditDate="2015-09-11T11:53:33.620" LastActivityDate="2015-09-11T11:53:33.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16373" PostTypeId="2" ParentId="16354" CreationDate="2015-09-11T21:10:33.640" Score="1" Body="&lt;p&gt;I believe the answer is no, no, and no, for several reasons.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First off, GoPro don't support their cameras as broadcast cameras.  They are person video recording devices.  I tried using the HDMI output of a Hero3+ camera to feed into a studio broadcast system, and when it didn't work the response was &quot;it's not supposed to&quot;.  The Hero3+ (and I presume the Hero4) do have ways of sending video over wifi so that you can get a vague idea of what the camera sees, but it's nothing like full resolution.  So the first &quot;no&quot; is that you cannot really extract good video from the GoPro in real-time.  You have to record it and them dump the card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second &quot;no&quot; is that 120fps is just barely starting to be supported at the video transport layer.  Yes, people have been talking about gaming consoles that can achieve 120+ fps for some time, but actually driving that kind of speed to a monitor?  Very hard.  And impossible with the HDMI output of the Hero4, which is limited to 60p: &lt;a href=&quot;https://gopro.com/support/articles/hero4-hdmi-output-information&quot; rel=&quot;nofollow&quot;&gt;https://gopro.com/support/articles/hero4-hdmi-output-information&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The third &quot;no&quot; is getting that 120fps input into your computer.  There is screen recording software that can scrape 120fps output from your GPU, but recording 120fps of 720p (or greater) is still a very specialized thing that's outside your &quot;cheap recording and instant replay system&quot; parameters.  There are video capture cards that claim 120fps recording, but they are cheating: they are multiplexing 4 SD signals (thus really recording 4x 30 fps and calling it 1x 120 fps).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-09-11T21:10:33.640" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16374" PostTypeId="1" AcceptedAnswerId="16402" CreationDate="2015-09-11T21:21:27.630" Score="11" ViewCount="37123" Body="&lt;p&gt;&lt;code&gt;ffmpeg -pix_fmts&lt;/code&gt; lists many pixel formats. In my ffmpeg, there are 66 different pixel formats that start with &lt;em&gt;yuv&lt;/em&gt;. A few of them are familiar to me (e.g., yuv422p), but most of them are not (e.g., yuva422p16be).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where are these pixel formats defined?&lt;/p&gt;&#xA;" OwnerUserId="11551" LastActivityDate="2019-07-31T08:23:44.640" Title="ffmpeg pixel format definitions" Tags="|ffmpeg|colorspace|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16375" PostTypeId="1" CreationDate="2015-09-12T13:13:24.683" Score="1" ViewCount="4373" Body="&lt;p&gt;I have videos with ~5000 kbps of avg. bitrate, if I burn the videos to a PAL DVD, which the resolution is low...(720x576), with 1000 avg. bitrate, will it be obvious to see the difference in quality? If so, can you suggest how much bitrate do I need in a dvd video? I prefer better quality and lower in size. Since the ratio of PAL DVD is 1.25, but the videos' ratio is 1.7 (originally 1080p), will the side being cropped or shrinked until it fit the width? (First time trying :D) &lt;br&gt;&lt;br&gt;&#xA;Let say if this is my TV's size, exactly 720x576 :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://s2.postimg.org/wqi0q3ho9/cs1.jpg&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And also, how much audio bitrate do I need (normally I use AAC 128 kbps when watching on pc)? Some video's audio codec is 16-bit, 2 channel FLAC, is it recommended using FLAC instead of AAC in dvd?&lt;br&gt;&lt;br&gt;&#xA;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="11628" LastEditorUserId="-1" LastEditDate="2017-03-10T09:42:47.793" LastActivityDate="2015-09-13T05:15:02.377" Title="How much video &amp; audio bitrate do I need for dvd videos?" Tags="|video|dvd|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16376" PostTypeId="2" ParentId="16326" CreationDate="2015-09-12T13:36:04.643" Score="1" Body="&lt;p&gt;make your first comp with your keyed footage in it. Create a new comp with two copies of the first, offset by one frame. Apply the hue/saturation effect with the hue rotated by a few degrees, let's say 8 degrees, to the bottom layer. Add some offset, say -20px on the x and y axis.&#xA;Create a new comp with two copies of the second comp, this time offset it by two frames, and once again apply the hue/sat effect but now with the hue rotated a 16 degrees to the bottom layer. By now there should be four copies of the original video. Repeat to get eight, then sixteen etc copies. Here's one that has six layers of subcomps (I just drew something and puppet-pinned it). It plays suprisingly fast:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XcJdr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XcJdr.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking at it, if you wanted it to look more like the example you might add a bit of blur to each repetition.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-09-13T13:21:46.367" LastActivityDate="2015-09-13T13:21:46.367" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16377" PostTypeId="1" AcceptedAnswerId="16379" CreationDate="2015-09-12T17:04:34.923" Score="3" ViewCount="906" Body="&lt;p&gt;We are requesting video producers to send us video and we've worded our request as below. Please tell me if our request makes sense?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;One 720 p editable file in h.264 in an mp4 or AVI container with separate tracks for audio and video.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question specifically is: does h.264 even have separate tracks for audio and video or am I making a mistake?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S.&#xA;We know h.264 is really a presentation format, but the small adjustments we make re-render well enough and absolute perfection is not the goal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any insight you can give me.&lt;/p&gt;&#xA;" OwnerUserId="11550" LastActivityDate="2015-09-12T18:07:53.810" Title="does h.264 have separate audio and video" Tags="|video|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16378" PostTypeId="1" CreationDate="2015-09-12T17:39:37.783" Score="4" ViewCount="3245" Body="&lt;p&gt;Can someone help me with this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video streams fine but I can't hear any audio. I just hear random click sounds. Please help:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f video4linux2 -channel 1 -i /dev/video0 -f alsa -i plughw:2,0&#xA;   -r 25 -vcodec libx264 -strict experimental -acodec aac -b:a 20k -b:v 200k&#xA;   -aspect 4:3 -s 320x260 -ar 16000 -ab 32k -async 1 -g 6 -threads 4&#xA;   -f flv rtmp://server:1935/live/test1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any advice on how I should change this to make it work? I am trying this from a raspberry pi 2. All I need is to successfully stream audio+video at this quality since I'm making it work through slow internet connections.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Here's the output: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2.5.8-0ubuntu0.15.04.1 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 4.9.2 (Ubuntu/Linaro 4.9.2-10ubuntu13)&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.15.04.1 --build-suffix=-ffmpeg --toolchain=hardened --libdir=/usr/lib/arm-linux-gnueabihf --shlibdir=/usr/lib/arm-linux-gnueabihf --incdir=/usr/include/arm-linux-gnueabihf --enable-gpl --enable-shared --disable-stripping --enable-avresample --enable-avisynth --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libschroedinger --enable-libshine --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libwavpack --enable-libwebp --enable-libxvid --enable-opengl --enable-x11grab --enable-libdc1394 --enable-libiec61883 --enable-libzvbi --enable-libzmq --enable-frei0r --enable-libvpx --enable-libx264 --enable-libsoxr --enable-gnutls --enable-openal --enable-libopencv --enable-librtmp --enable-libx265&#xA;  libavutil      54. 15.100 / 54. 15.100&#xA;  libavcodec     56. 13.100 / 56. 13.100&#xA;  libavformat    56. 15.102 / 56. 15.102&#xA;  libavdevice    56.  3.100 / 56.  3.100&#xA;  libavfilter     5.  2.103 /  5.  2.103&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, video4linux2,v4l2, from '/dev/video0':&#xA;  Duration: N/A, start: 5415.013497, bitrate: 165888 kb/s&#xA;    Stream #0:0: Video: rawvideo (YUY2 / 0x32595559), yuyv422, 720x576, 165888 kb/s, 25 fps, 25 tbr, 1000k tbn, 1000k tbc&#xA;Guessed Channel Layout for  Input Stream #1.0 : stereo&#xA;Input #1, alsa, from 'plughw:2,0':&#xA;  Duration: N/A, start: 1442225849.423669, bitrate: 1536 kb/s&#xA;    Stream #1:0: Audio: pcm_s16le, 48000 Hz, 2 channels, s16, 1536 kb/s&#xA;No pixel format specified, yuv422p for H.264 encoding chosen.&#xA;Use -pix_fmt yuv420p for compatibility with outdated media players.&#xA;-async is forwarded to lavfi similarly to -af aresample=async=1:min_hard_comp=0.100000:first_pts=0.&#xA;[libx264 @ 0x1fc9630] using SAR=13/12&#xA;[libx264 @ 0x1fc9630] using cpu capabilities: ARMv6 NEON&#xA;[libx264 @ 0x1fc9630] profile High 4:2:2, level 1.3, 4:2:2 8-bit&#xA;[libx264 @ 0x1fc9630] 264 - core 142 r2495 6a301b6 - H.264/MPEG-4 AVC codec - Copyleft 2003-2014 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=4 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=6 keyint_min=1 scenecut=40 intra_refresh=0 rc_lookahead=6 rc=abr mbtree=1 bitrate=200 ratetol=1.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, flv, to 'rtmp://my.server.url:1935/live/test1':&#xA;  Metadata:&#xA;    encoder         : Lavf56.15.102&#xA;    Stream #0:0: Video: h264 (libx264) ([7][0][0][0] / 0x0007), yuv422p, 320x260 [SAR 13:12 DAR 4:3], q=-1--1, 200 kb/s, 25 fps, 1k tbn, 25 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc56.13.100 libx264&#xA;    Stream #0:1: Audio: aac ([10][0][0][0] / 0x000A), 16000 Hz, stereo, fltp, 32 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.13.100 aac&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; h264 (libx264))&#xA;  Stream #1:0 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[alsa @ 0x1fbefd0] ALSA buffer xrun.&#xA;frame=   18 fps= 18 q=35.0 size=       0kB time=00:00:00.08 bitrate=  40.9kbits/frame=   29 fps= 19 q=28.0 size=       9kB time=00:00:00.64 bitrate= 117.0kbits/frame=   39 fps= 19 q=26.0 size=      19kB time=00:00:01.15 bitrate= 133.1kbits/[flv @ 0x1fc8860] Failed to update header with correct duration.&#xA;[flv @ 0x1fc8860] Failed to update header with correct filesize.&#xA;frame=   41 fps= 17 q=-1.0 Lsize=      40kB time=00:00:02.36 bitrate= 140.2kbits/s    &#xA;video:38kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 4.042462%&#xA;[libx264 @ 0x1fc9630] frame I:7     Avg QP:26.70  size:  4195&#xA;[libx264 @ 0x1fc9630] frame P:13    Avg QP:28.14  size:   290&#xA;[libx264 @ 0x1fc9630] frame B:21    Avg QP:27.70  size:   262&#xA;[libx264 @ 0x1fc9630] consecutive B-frames: 31.7%  0.0%  0.0% 68.3%&#xA;[libx264 @ 0x1fc9630] mb I  I16..4: 53.1% 23.9% 23.0%&#xA;[libx264 @ 0x1fc9630] mb P  I16..4:  0.4%  0.5%  0.0%  P16..4: 10.3%  1.2%  0.6%  0.0%  0.0%    skip:87.1%&#xA;[libx264 @ 0x1fc9630] mb B  I16..4:  0.1%  0.0%  0.0%  B16..8: 11.5%  0.3%  0.1%  direct: 1.4%  skip:86.5%  L0:34.4% L1:64.5% BI: 1.1%&#xA;[libx264 @ 0x1fc9630] final ratefactor: 19.89&#xA;[libx264 @ 0x1fc9630] 8x8 transform intra:24.4% inter:75.0%&#xA;[libx264 @ 0x1fc9630] coded y,uvDC,uvAC intra: 41.0% 68.8% 43.0% inter: 2.5% 7.3% 2.3%&#xA;[libx264 @ 0x1fc9630] i16 v,h,dc,p: 30% 68%  1%  1%&#xA;[libx264 @ 0x1fc9630] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 32% 47% 16%  1%  0%  1%  1%  1%  1%&#xA;[libx264 @ 0x1fc9630] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 37% 44%  9%  1%  2%  1%  2%  3%  2%&#xA;[libx264 @ 0x1fc9630] i8c dc,h,v,p: 25% 45% 28%  2%&#xA;[libx264 @ 0x1fc9630] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0x1fc9630] ref P L0: 83.6%  1.8% 13.1%  1.5%&#xA;[libx264 @ 0x1fc9630] ref B L0: 96.3%  3.7%&#xA;[libx264 @ 0x1fc9630] ref B L1: 89.7% 10.3%&#xA;[libx264 @ 0x1fc9630] kb/s:124.63&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11630" LastEditorUserId="18155" LastEditDate="2019-07-03T19:15:21.283" LastActivityDate="2019-07-03T19:15:21.283" Title="Getting FFMPEG to stream video+audio through RTMP" Tags="|ffmpeg|streaming|rtmp|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="16379" PostTypeId="2" ParentId="16377" CreationDate="2015-09-12T18:07:53.810" Score="1" Body="&lt;p&gt;You don't need to specify &quot;separate tracks&quot;, just the audio and video specs you accept. All common containers will handle multiple disparate tracks including video, audio, text (captions etc). h.264 is a video codec; you could choose (or allow) any of several audio codecs.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-09-12T18:07:53.810" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16380" PostTypeId="2" ParentId="16375" CreationDate="2015-09-12T20:52:08.897" Score="1" Body="&lt;p&gt;More than 'what do I need', you should ask yourself 'how much am I allowed'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/DVD-Video&quot; rel=&quot;nofollow&quot;&gt;This page&lt;/a&gt; mentions an average bitrate of 4-5 Mbits/s, this is audio + video + subtitles. It also depends on the length of your content (as you also have a maximum capacity of about 4.7 Gb for a single layer DVD-Video).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FLAC is not supported on DVD-Video, common audio codecs are MPEG1-L2 and ac3.&lt;/p&gt;&#xA;" OwnerUserId="9147" LastActivityDate="2015-09-12T20:52:08.897" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16382" PostTypeId="2" ParentId="16375" CreationDate="2015-09-13T05:15:02.377" Score="0" Body="&lt;p&gt;I would take a page from Amazon and say that you should limit bitrate to 6.5 Mbps for audio and video combined but make full use of that ceiling, as much as the 4.7 GB single-layer DVD size allows.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Audio&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;The allowed codecs are MP2, Dolby AC-3 and PCM. I'd recommend MP2 with a bitrate between 192 to 256 kbps for stereo audio.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Video&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Codec is MPEG-2. A couple of things to note: the picture isn't composed of square pixels, so the displayed picture ratio isn't 1.25; it will be 1.33 (4:3).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And it is possible to present an uncropped widescreen (16:9) picture without letterboxing. How to do so, depends on the software you are using to convert and/or author the DVD. But basically, when converting you ought to set the display aspect ratio to 16:9.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-09-13T05:15:02.377" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16383" PostTypeId="2" ParentId="15420" CreationDate="2015-09-13T18:05:54.957" Score="1" Body="&lt;p&gt;To achieve the same thing I'm using Avisynth instead as an input:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://avisynth.nl/index.php/Main_Page&quot; rel=&quot;nofollow&quot;&gt;Download&lt;/a&gt; and install Avisynth.&lt;/li&gt;&#xA;&lt;li&gt;Install latest Quicktime 7.&lt;/li&gt;&#xA;&lt;li&gt;Download &lt;a href=&quot;http://www.avisynth.nl/users/warpenterprises/&quot; rel=&quot;nofollow&quot;&gt;Quicktime Import&lt;/a&gt; plugin for Avisynth and copy dll file in the Avisynth plugin folder.&lt;/li&gt;&#xA;&lt;li&gt;Create Avisynth script file that describes you video as detailed in the Avisynth &lt;a href=&quot;http://avisynth.nl/index.php/Getting_started&quot; rel=&quot;nofollow&quot;&gt;Getting Started&lt;/a&gt;, for example:&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;QTInput(&quot;D:\Folder\File_path.MOV&quot;, audio=true)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;li&gt;Open this Avisynth script file with &quot;File&quot; -&gt; &quot;Open Video File...&quot; from VirtualDub.&lt;/li&gt;&#xA;&lt;li&gt;Use VirtualDub with the &lt;a href=&quot;http://www.guthspot.se/video/deshaker.htm&quot; rel=&quot;nofollow&quot;&gt;Deshaker plugin&lt;/a&gt; as usual.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;With this input plugin reading my .MOV files I can stabilize any video through VirtualDub and Deshaker. I hope this will work for you as well.&lt;/p&gt;&#xA;" OwnerUserId="11634" LastActivityDate="2015-09-13T18:05:54.957" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16385" PostTypeId="1" CreationDate="2015-09-13T22:46:10.733" Score="2" ViewCount="516" Body="&lt;p&gt;I am making some tutorial videos for which I need to have same production setting. Like&#xA;1. Noise cancellation. Camtasia studio has a option where it automatically cancels the noise. &#xA;2. Intro and Conclusion. I want to add some intro slide/video before the starting of the video and same with the conclusion. Though I can do it individually it will take quite significant time adding to each and than rendering. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an options where by default I can have these actions performed on my every video and batch process them. Or if some other software which can do the same. &lt;/p&gt;&#xA;" OwnerUserId="11637" LastEditorUserId="11637" LastEditDate="2015-09-14T19:23:12.217" LastActivityDate="2016-03-15T21:07:33.000" Title="Batch processing in Camtasia Studio or others" Tags="|video|post-production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16386" PostTypeId="1" CreationDate="2015-09-13T22:58:58.500" Score="1" ViewCount="176" Body="&lt;p&gt;I want to create a video from a collection of sequences I took with a light portable camera in 1080p. Because the sequences are quite shaky I used VirtualDub/Deshaker to process the video files and stabilize them. The output from VirtualDub was saved in uncompressed AVI (around 10GB per minute). I thought that it would be better to continue in raw in the video editing software and then to re-compress only once the end result is ready to export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that video editing software tools seem to have a lot of trouble playing back my uncompressed video sequences. I tried Movie Maker without success and then thought a more pro tool such as Lightworks would be better. However both tools struggle playing back the video. The PC I use is a high end i7 desktop with 16GB ram but it looks like the bottleneck here is the hard drive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a better way of keeping the quality of the video between VirtualDub and the editing software, perhaps a lossless video codec ? Or is there something I'm doing wrong here ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="11634" LastActivityDate="2021-05-19T13:11:09.037" Title="Issues with uncompressed video in edting software" Tags="|video-editor|workflow|windows-movie-maker|lightworks|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16387" PostTypeId="2" ParentId="16386" CreationDate="2015-09-13T23:33:11.987" Score="1" Body="&lt;p&gt;The limitation is certainly the disk I/O, which at 10GB/min is outside the capabilities of all but very high-end disk subsystems. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's generally true that you should work at the highest bit rate and bit depth your system is capable of so you have the headroom for processing, but your system simply isn't capable of working at the rates your asking of it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Determine what you need as the end result and pick a reasonable level above that for editorial. Uncompressed 1080p is way overkill if your target is YouTube, for example. Usually, choose an all I-frame (no interframe compression) format and a bit rate that will allow your system to handle two or three streams at once. If your disks can handle 60MBytes/s random access, it can play 3 80Mbit/s sources for compositing, and so on. That's more than needed for all but the most demanding targets.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-09-13T23:33:11.987" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="16388" PostTypeId="2" ParentId="16386" CreationDate="2015-09-14T00:43:57.040" Score="1" Body="&lt;p&gt;If you have a high-end i7 PC desktop, you probably have the infrastructure to set up a high-performance RAID that can handle your I/O bandwidth requirements.  10GB/min = 167MB/sec, which a really good 3.5&quot; disk can almost deliver.  If you stripe 2 such disks together, it's an easy target to hit (as long as there's no other I/O contention).  So, have your system disk handle your OS and application house-keeping, a 2-disk RAID as the source for your uncompressed video clips, and the additional disks (or RAIDs) for other video sources and/or rendering destinations.  High-performance spinning disks have never been cheaper...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, there are good intermediate codecs that compress lightly enough to be good for video editing.  Apple ProRes 422 has become a kind of standard (at 1080p24, 422 Proxy = 36Mbps, 422 LT = 82Mbps, 422 = 117Mbps, 422 HQ = 176 Mbps).  ProRes 422 HQ is about 1/8th the bandwidth of your uncompressed source.  ProRes 4444 is 264Mbps, which is still about 1/5th the bandwidth of your uncompressed source.  ProRes 4444 (and even ProRes 422 HQ) are industry standards for source-level editing.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-09-14T00:43:57.040" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16389" PostTypeId="1" AcceptedAnswerId="16399" CreationDate="2015-09-14T10:30:49.550" Score="9" ViewCount="355" Body="&lt;p&gt;I am a relative newcomer to video production but have a background in still photography. This means that I have a good understanding of things like ISO/aperture/shutter speeds/resolution/etc. (and have already checked how these ideas transfer to moving images). I also have a lot of experience with Adobe CS and similar software, and some brief tinkering suggests that, at least for now, finding my way around Premiere/After Effects won't be too much of a problem. But when I look at books for amateur filmmakers, it seems that 90% of the book is usually taken up with stuff like &quot;this is what a DSLR is&quot; or &quot;this is how you import a clip into Premiere&quot;. In other words, stuff a technically competent individual could figure out on their own.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I, on the other hand, am interested in learning about artistic/creative techniques that are harder to learn by osmosis. Some examples of the kinds of thing I have in mind:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;how to plan and frame shots so that you end up with good variety of source material that can be edited into an interesting sequence;&lt;/li&gt;&#xA;&lt;li&gt;how to imbue documentary style footage with a narative;&lt;/li&gt;&#xA;&lt;li&gt;how to frame particular types of subject (e.g. how to position the camera for a talking head interview).&lt;/li&gt;&#xA;&lt;li&gt;creative ways of making boring/static subjects more interesting;&lt;/li&gt;&#xA;&lt;li&gt;how to manage on location when you have limited ability to control the light;&lt;/li&gt;&#xA;&lt;li&gt;how to time the editing of shots/clips to achieve the right tempo;&lt;/li&gt;&#xA;&lt;li&gt;how and when to transition between shots to get professional-looking results;&lt;/li&gt;&#xA;&lt;li&gt;how to get source footage and music to work together harmoniously;&lt;/li&gt;&#xA;&lt;li&gt;tips for colour grading from an artistic perspective (i.e. I know how to shift the colours, but I would like to learn more about when and in what ways this is typically done for various artistic ends).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;This list is non-exhaustive, but hopefully gives an indication of the kind of thing I am looking for. Hence, my question is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Can anybody recommend one or two good learning resources for this kind of artistic/'non-technical' aspect of filming and editing?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="11621" LastEditorUserId="6685" LastEditDate="2015-09-18T11:29:52.300" LastActivityDate="2017-09-28T15:53:42.207" Title="Good learning resources for 'non-technical' aspects of filmmaking" Tags="|video|editing|filming|production|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16390" PostTypeId="2" ParentId="15196" CreationDate="2015-09-14T11:23:06.287" Score="2" Body="&lt;p&gt;This video is 1080p at 60 fps and 30Mb/s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That rules-out quite a lot of cameras in the GoPro range. From the &lt;a href=&quot;http://shop.gopro.com/EMEA/compare?category=cameras&quot; rel=&quot;nofollow&quot;&gt;current generation&lt;/a&gt;, only the &lt;strong&gt;GoPro Hero4 Silver&lt;/strong&gt; and &lt;strong&gt;GoPro Hero4 Black&lt;/strong&gt; are capable of grater than 25Mb/s. &lt;a href=&quot;https://gopro.com/support/articles/hero3plus-camera-comparison&quot; rel=&quot;nofollow&quot;&gt;In the previous generation&lt;/a&gt;, only the top-end &lt;strong&gt;GoPro Hero3+ Black&lt;/strong&gt; was capable of more than 25Mb/s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your video was almost certainly captured on one of these three cameras.&lt;/p&gt;&#xA;" OwnerUserId="11621" LastActivityDate="2015-09-14T11:23:06.287" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16391" PostTypeId="1" AcceptedAnswerId="16429" CreationDate="2015-09-14T14:30:58.297" Score="8" ViewCount="1400" Body="&lt;p&gt;I'm working on an informational video which has some live action product shots, animation created in flash, a backgroud music track, and a voiceover track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've got total control over everything so I can edit the animation or re-record the voiceover (I do the voiceover myself). I just read &lt;a href=&quot;http://www.directvoices.com/plaza/syncing-voice-over-to-video/&quot;&gt;http://www.directvoices.com/plaza/syncing-voice-over-to-video/&lt;/a&gt; for example but it doesn't really go into specifics of how to do the planning or the fine tuning.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to figure out what the best methodology is for planning and executing this. This is what I currently do but it feels very clunky to say the least:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Record Audio Track&lt;/li&gt;&#xA;&lt;li&gt;Make animation in Flash with no Audio&lt;/li&gt;&#xA;&lt;li&gt;Bring into compositing software (I use Premier CC2015) and do my best to trim and move tracks around. At times adding still frames to extend parts of the animation.&lt;/li&gt;&#xA;&lt;li&gt;If I have to then I go back into Flash to make more animation to fill empty areas. I try not to have to redo the audio as much since its much more time consuming and would then have to start the entire syncing process over as well since talking isn't as easy as controlling a timeline.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;There's got to be a better way to do this though, I'm just not sure what it is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I just do the entire video and then play it while I record the voiceover? That would work for parts where the audio is short and the animation long. But is more difficult on parts where the audio is long and the animation is short.&lt;/p&gt;&#xA;" OwnerUserId="5206" LastEditorUserId="5206" LastEditDate="2015-09-14T14:39:31.747" LastActivityDate="2018-10-23T01:12:43.683" Title="What is the best way to plan and sync voiceover?" Tags="|audio|sync|compositing|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16392" PostTypeId="1" CreationDate="2015-09-14T15:29:47.183" Score="0" ViewCount="55" Body="&lt;p&gt;Is anyone aware of an external recorder that can deinterlace on the fly? I know that the Shogun can downconvert 4k to 1080p so that you retain more sharpness, and the Pix devices can also do similar things as well as changing framerates and removing pulldowns.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2015-09-14T19:18:29.763" Title="deinterlace on the fly with an external recorder" Tags="|digital-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16393" PostTypeId="1" CreationDate="2015-09-14T17:22:11.067" Score="0" ViewCount="10200" Body="&lt;p&gt;I've seen a lot of let's plays were the person will comment on the game while they're in the corner of the screen doing their reactions. I am wanting to do this for a video I'm working on but I'm not entirely sure how to since I'm not doing a let's play review and not very familiar with editing videos. My friend says I need a web cam but I can't afford one and I don't know if there's a way for me to just use a regular camera and upload it from that. Plus I don't if the program I'm using (iMovie) even has the ability to do this.&#xA;Can someone please help me?&lt;/p&gt;&#xA;" OwnerUserId="11639" LastActivityDate="2019-07-25T18:10:08.463" Title="how to do the video commentary with you in the corner of the screen?" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16394" PostTypeId="1" AcceptedAnswerId="16400" CreationDate="2015-09-14T18:28:19.623" Score="6" ViewCount="622" Body="&lt;p&gt;With the rise and price drop in 360 video I'm wondering what the format is. Looking at the &lt;a href=&quot;http://centrcam.com/#technology&quot;&gt;CENTR Camera&lt;/a&gt; doesn't even mention editing or file format. &lt;a href=&quot;https://theta360.com/en/about/theta/&quot;&gt;Ricoh Theta&lt;/a&gt; doesn't mention file format or serious editing but does say they offer their own software for some editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What file type do 360 degree cameras use? Can it be edited in regular video production suites like SpeedGrade, DaVinci Resolve, Premier, FinalCut, etc.. or do you need some special software?&lt;/p&gt;&#xA;" OwnerUserId="5206" LastActivityDate="2015-09-14T23:28:55.897" Title="Is 360 video editing the same as traditional video editing?" Tags="|360video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16395" PostTypeId="5" CreationDate="2015-09-14T18:28:53.100" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2015-09-14T18:28:53.100" LastActivityDate="2015-09-14T18:28:53.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16396" PostTypeId="4" CreationDate="2015-09-14T18:28:53.100" Score="0" Body="This tag is for questions related to 360 degree video and 360 degree video capture." OwnerUserId="5206" LastEditorUserId="5206" LastEditDate="2015-09-25T21:34:54.030" LastActivityDate="2015-09-25T21:34:54.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16397" PostTypeId="2" ParentId="16392" CreationDate="2015-09-14T19:18:29.763" Score="1" Body="&lt;p&gt;The Blackmagic Design Tenarex 2D will convert a signal from interlaced to progressive on the fly: &lt;a href=&quot;https://www.blackmagicdesign.com/products/teranex/processing&quot; rel=&quot;nofollow&quot;&gt;https://www.blackmagicdesign.com/products/teranex/processing&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It doesn't record, but there are very inexpensive recording devices that will take a progressive signal and give you a digital asset from that (such as the HyperDeck Shuttle: &lt;a href=&quot;https://www.blackmagicdesign.com/products/hyperdeckshuttle&quot; rel=&quot;nofollow&quot;&gt;https://www.blackmagicdesign.com/products/hyperdeckshuttle&lt;/a&gt;)&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-09-14T19:18:29.763" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16398" PostTypeId="2" ParentId="16393" CreationDate="2015-09-14T21:02:49.293" Score="3" Body="&lt;p&gt;Since you didn't answer @Ryan's question, I'll assume your talking about video editing, not live streams. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you're talking about is a very basic editing technique called a &lt;strong&gt;video overlay&lt;/strong&gt;. Obviously, you're going to need two video recordings for that, one of which is the screen capture. There are several pieces of software out there that will record your computer screen while you play your game (or whatever you're doing), e.g. &lt;a href=&quot;http://www.fraps.com/&quot; rel=&quot;nofollow&quot;&gt;fraps&lt;/a&gt;. The second video is the one that shows you. To record that, you will need either a camera or a webcam (careful with the latter, those usually provide poor quality). You record yourself, copy the video files to your computer (or connect the camera to your computer and have it save the recording directly to your hard drive) and import them to iMovie. Then you just have to put one video on top of the other and you're done – even though iMovie is a consumer-centered software with not that many features, it's sufficient to do video overlays. Here's a simple tutorial:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/gcN2UgcTuuE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to do that as a live effect while streaming, the required software and setup is a bit more complicated – there are several good tutorials out there.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-09-14T21:02:49.293" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16399" PostTypeId="2" ParentId="16389" CreationDate="2015-09-14T22:24:25.283" Score="6" Body="&lt;p&gt;Do you realize people go through years of academical studies or expensive courses at private universities to learn all that? It's certainly not something you're going to master by watching a few Youtube videos ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to seriously get into film making, I would suggest you take a course. Not necessarily a full blown film studies degree, but you could look into some crash courses, an online course (not a playlist on Youtube but an actual, professional online course) or something like that. With some research, you might even find a free course (google for &lt;em&gt;Open educational resources (OER)&lt;/em&gt;, &lt;em&gt;OpenCourseWare&lt;/em&gt; and &lt;em&gt;Massive Open Online Courses&lt;/em&gt; (MOOC) or start &lt;a href=&quot;http://ocw.mit.edu/index.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; or &lt;a href=&quot;https://www.mooc-list.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apart from that, here are some tips and things that I would recommend you learn (from my humble &lt;em&gt;not-a-professional-either&lt;/em&gt; point of view):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Watch movies:&lt;/strong&gt; The best way to learn about great camera and composition techniques is to watch movies (by watch I mean actually concentrate on the movie, not have it run in the background while doing your taxes). There's a &lt;a href=&quot;http://www.afi.com/100years/movies.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;list of the 100 best movies of all time&lt;/a&gt; (actually, there are several lists; this one was assembled by the American Film Institute). Go ahead and watch some of the movies on this list. Also, see if you can find another 'Top X films of all time' list that wasn't put together by Americans for Americans. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Camera Angles:&lt;/strong&gt; Different camera angles differ in what information and emotions they convey. Here's &lt;a href=&quot;http://www.mediaknowall.com/camangles.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;a list&lt;/a&gt;, here's &lt;a href=&quot;http://www.skwirk.com/p-c_s-54_u-251_t-647_c-2411/camera-shots-angles-and-movement-lighting-cinematography-and-mise-en-scene/nsw/camera-shots-angles-and-movement-lighting-cinematography-and-mise-en-scene/skills-by-text-type-film/film-overview&quot; rel=&quot;nofollow noreferrer&quot;&gt;another one&lt;/a&gt; and &lt;a href=&quot;http://www.empireonline.com/features/film-studies-101-camera-shots-styles&quot; rel=&quot;nofollow noreferrer&quot;&gt;this is also a list&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Image Composition:&lt;/strong&gt; There are several rules of thumb and guidelines to help you with the arrengements of the subjects of your video. This is the part where your photography experience will matter the most IMHO. Here's &lt;a href=&quot;http://www.videomaker.com/article/7596-getting-started-video-composition&quot; rel=&quot;nofollow noreferrer&quot;&gt;a short summary&lt;/a&gt; of that topic. Here's &lt;a href=&quot;http://www.slrlounge.com/stills-motion-composition-video/&quot; rel=&quot;nofollow noreferrer&quot;&gt;another one&lt;/a&gt;. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Video Montage:&lt;/strong&gt; The montage is how you put all of your videos together, make them seem connected and fit together as a whole. This is very difficult. Apart from some general rules of thumb (e.g. there are some camera angles that just don't go with each other) and some specific montage techniques (e.g. &lt;a href=&quot;https://en.wikipedia.org/wiki/Jump_cut&quot; rel=&quot;nofollow noreferrer&quot;&gt;jump cuts&lt;/a&gt; (&lt;a href=&quot;https://www.youtube.com/watch?v=1KUVwKp6MDI&quot; rel=&quot;nofollow noreferrer&quot;&gt;historic example&lt;/a&gt;), &lt;a href=&quot;https://en.wikipedia.org/wiki/Match_cut&quot; rel=&quot;nofollow noreferrer&quot;&gt;match cuts&lt;/a&gt; (&lt;a href=&quot;https://www.youtube.com/watch?v=mI3s5fA7Zhk&quot; rel=&quot;nofollow noreferrer&quot;&gt;historic example&lt;/a&gt;), &lt;a href=&quot;https://en.wikipedia.org/wiki/Shot_reverse_shot&quot; rel=&quot;nofollow noreferrer&quot;&gt;shot-reverse-shots&lt;/a&gt; and more), you will only learn that via practice (and, again, watch movies. Hollywood movies are fine in that regard by the way. Here's a &lt;a href=&quot;https://www.youtube.com/watch?v=yfYC_CBNtiM&quot; rel=&quot;nofollow noreferrer&quot;&gt;great montage from James Bond: Quantum of solace&lt;/a&gt;). &#xA;Here's a &lt;a href=&quot;http://nofilmschool.com/2014/09/larry-jordan-teaches-us-how-create-video-montage-set-music&quot; rel=&quot;nofollow noreferrer&quot;&gt;video tutorial on creating a music montage&lt;/a&gt;. Here are &lt;a href=&quot;http://masteringfilm.com/step-by-step-guide-to-montage-editing/&quot; rel=&quot;nofollow noreferrer&quot;&gt;some other tips&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Dramaturgy:&lt;/strong&gt; How to tell a compelling story. Again, this isn't something you'll learn over night. There are some very basic story structures that are repeated over and over again, the most common of which is the &lt;a href=&quot;https://en.wikipedia.org/wiki/Monomyth&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;em&gt;Hero's Journey&lt;/em&gt;&lt;/a&gt; (Seriously, four out of five movies you have ever watched follow that schema).&lt;br&gt;&#xA;Again, watch movies. People will disagree with me on that, but I think the best video to understand dramaturgy is the filmlet 'Schwarzfahrer' by Pepe Danquart. Watch it &lt;a href=&quot;https://www.youtube.com/watch?v=XFQXcv1k9OM&quot; rel=&quot;nofollow noreferrer&quot;&gt;on youtube with english subtitles&lt;/a&gt; (it's only 12 minutes long).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Color:&lt;/strong&gt; Color grading in movies is not only used to convey certain emotions, but also to tie sequences together. Take a look &lt;a href=&quot;http://moviesincolor.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;at this website&lt;/a&gt;. Read &lt;a href=&quot;http://www.color-wheel-pro.com/color-meaning.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; on the meaning of different colors, then go read some more. Also, see my answer on color in movies &lt;a href=&quot;https://video.stackexchange.com/a/15229/6273&quot;&gt;here.&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;These are only the most essential parts of media aesthetics concerning film and film making; you will need to do your own research on top of that. Some other things to learn include &lt;strong&gt;construction of time&lt;/strong&gt; (google won't help you here, this is about the relation between &lt;em&gt;narrated&lt;/em&gt; and &lt;em&gt;narrative time&lt;/em&gt;), &lt;strong&gt;genres&lt;/strong&gt;, some more aspects of &lt;strong&gt;camera angles and perspective&lt;/strong&gt;, &lt;strong&gt;camera movement&lt;/strong&gt;, &lt;strong&gt;writing story-boards and screenplays&lt;/strong&gt; and more. Again, look into what (online or offline) courses you can resonably take. Also, apart from internet summaries, read books on the topics. I can't really recommend a specific book right now ... Just look for a general introduction on film / media aesthetics.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, it is really important you get some &lt;strong&gt;practice&lt;/strong&gt;. No matter what role you're planning on playing in a real-world film production (the smaller a production, the more responsibilities lie with every member), no amount of theory will prepare you for everything there is to know about filming and cutting (and possibly acting). So make sure to get some hands-on practice!&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-02-14T15:27:37.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16400" PostTypeId="2" ParentId="16394" CreationDate="2015-09-14T23:28:55.897" Score="4" Body="&lt;p&gt;Usually 360° videos became 360° only in realtime during playback. You can see it:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Go to to &lt;a href=&quot;https://www.youtube.com/watch?v=S3xOB-Bigc8&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt; (youtube now supports 360° videos)&lt;/li&gt;&#xA;&lt;li&gt;Now, using Chrome install &lt;a href=&quot;https://chrome.google.com/webstore/detail/disable-youtube-html5-pla/enmofgaijnbjpblfljopnpdogpldapoc&quot; rel=&quot;nofollow noreferrer&quot;&gt;this extension&lt;/a&gt; (it will disable HTML5 player)&lt;/li&gt;&#xA;&lt;li&gt;Try to see video from the point one again.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;You will see something like that:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Xxk0V.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Xxk0V.jpg&quot; alt=&quot;Video from Vi Hart channel&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That happens because Flash player don't know how to interpret 360° video and showing original state of it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, during editing your 360° video can be displayed as normal video with huge distortion. If you can handle that, than you can edit it in any program of your chose. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-09-14T23:28:55.897" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16401" PostTypeId="1" CreationDate="2015-09-15T06:35:14.683" Score="3" ViewCount="1116" Body="&lt;p&gt;I am doing a project using a similar setup to the &quot;I am Second&quot; lighting. Basically a black background and the subject light from overhead/ front. I'm not keen on my subject wearing black (also I don't want to copy this style directly). With a dark interview setup, could my subject wear white? I know white can be tricky and reflect more light. What solid color would you recommend?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I plan to shoot CU to MCU, so the chair or stool the subject will sit on won't be seen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tvHhF.jpg&quot; alt=&quot;lighting example&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="11647" LastEditorUserId="17390" LastEditDate="2019-01-19T17:18:33.347" LastActivityDate="2019-01-19T17:18:33.347" Title="Dark interview setup, what should the subject wear?" Tags="|lighting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="16402" PostTypeId="2" ParentId="16374" CreationDate="2015-09-15T08:54:39.470" Score="9" Body="&lt;p&gt;If your question was&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Where are these pixel formats defined?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Go to &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;noreferrer&quot;&gt;http://ffmpeg.org/download.html&lt;/a&gt; and download the source of ffmpeg. Then unpack it&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;tar -xavf FILENAME.tar.*&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and descend to the folder in the source code that is called &lt;code&gt;libavutil&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cd ffmpeg-*/libavutil/&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and open the file &lt;code&gt;pixfmt.h&lt;/code&gt; where you will find a description of all pixel formats. &lt;strong&gt;A few sample lines&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;AV_PIX_FMT_YUV420P,   ///&amp;lt; planar YUV 4:2:0, 12bpp, (1 Cr &amp;amp; Cb sample per 2x2 Y samples)          &#xA;AV_PIX_FMT_YUYV422,   ///&amp;lt; packed YUV 4:2:2, 16bpp, Y0 Cb Y1 Cr&#xA;AV_PIX_FMT_RGB24,     ///&amp;lt; packed RGB 8:8:8, 24bpp, RGBRGB...&#xA;AV_PIX_FMT_BGR24,     ///&amp;lt; packed RGB 8:8:8, 24bpp, BGRBGR...&#xA;AV_PIX_FMT_YUV422P,   ///&amp;lt; planar YUV 4:2:2, 16bpp, (1 Cr &amp;amp; Cb sample per 2x1 Y samples)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Additionally you can read &lt;a href=&quot;https://en.wikipedia.org/wiki/YUV&quot; rel=&quot;noreferrer&quot;&gt;https://en.wikipedia.org/wiki/YUV&lt;/a&gt; and it’s cited sources and external links.&lt;/p&gt;&#xA;" OwnerUserId="11645" LastActivityDate="2015-09-15T08:54:39.470" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16403" PostTypeId="2" ParentId="16401" CreationDate="2015-09-15T11:39:27.430" Score="2" Body="&lt;p&gt;Here is a great tutorial about lighting ratios: &lt;a href=&quot;http://wanderingdp.com/cinematography/cinematography-school-lighting-ratios-101/&quot; rel=&quot;nofollow&quot;&gt;http://wanderingdp.com/cinematography/cinematography-school-lighting-ratios-101/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tl;DR?  Whatever skin tone your subject has, and whatever tattoos you might want to highlight, you need to know the key value and dynamic range of your subject, independent of the shirt.  Once you have established those, you can decide where in the range you want to place the shirt, and whether you want to add color (and all that color may symbolize) into the mix.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A white shirt might be so bright that when you adequately light your subject, the white shirt uses up too much of your available dynamic range.  Also the extreme contrast between the white shirt and the black background may compete against your subject for attention (since the vision system is always looking for contrast).  The reference shot you provide is a great example of a splash of white that balances with the white highlights of the forehead without trumping it.  A CU that just barely includes a white collar may do the same thing, but an MCU might show too much white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But do look at the lighting tutorial to see how one properly gets the right key value and dynamic range for the face, and then you'll see how to fit the shirt into that range.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-09-15T11:39:27.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16404" PostTypeId="1" AcceptedAnswerId="16405" CreationDate="2015-09-15T11:43:53.023" Score="1" ViewCount="701" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gYj5I.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gYj5I.png&quot; alt=&quot;ae problem&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see in the Value Graphic, the second part of the line is a broken line, but I didn't make it that way, and I can't fix that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That causes the shape to continue moving forward a little bit instead of going back immediately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I didn't set easy ease or staff like that. It happens every time, but I don't know what is controlling this!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Help!&lt;/p&gt;&#xA;" OwnerUserId="11648" OwnerDisplayName="Amyas Marshall" LastEditorUserId="5155" LastEditDate="2015-09-15T15:16:10.960" LastActivityDate="2015-09-15T15:16:10.960" Title="After Effects added an extra move to the animation, how to get rid of it?" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16405" PostTypeId="2" ParentId="16404" CreationDate="2015-09-15T12:46:21.537" Score="3" Body="&lt;p&gt;OK, I finally figured it out. This bug is known as &quot;&lt;strong&gt;Boomerang Effect&lt;/strong&gt;&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reason: Bezier will cause After Effects randomly mass up the path of the shape. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BVEwX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BVEwX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you can simply right click the keyframe than select &quot;Keyframe Interpolation&quot; from the menu, than set &quot;Spatial Interpolation&quot; to &quot;Linear&quot; instead of &quot;Auto Bezier&quot;, it'll fix everything!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These two video tutorial helped me a lot: &lt;a href=&quot;https://podcasts.creativecow.net/after-effects-tutorials-podcast/ae-boomerang-effect-part-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;AE Boomerang Effect, Part 1&lt;/a&gt; and &lt;a href=&quot;https://podcasts.creativecow.net/after-effects-tutorials-podcast/ae-boomerang-effect-part-2&quot; rel=&quot;nofollow noreferrer&quot;&gt;AE Boomerang Effect, Part 2&lt;/a&gt; they explain the principle of this problem.&lt;/p&gt;&#xA;" OwnerUserId="11648" LastActivityDate="2015-09-15T12:46:21.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16407" PostTypeId="1" CreationDate="2015-09-15T14:36:24.763" Score="-1" ViewCount="6048" Body="&lt;p&gt;Please help. I need to know if I can shoot videos with my CANON EOS 600D in mp4 format. I don't want to go full HD .mov. I just want the camera to record small .mp4 videos - in order for me to load the footage onto a website immediately after shooting. Any advice will be great. Thanx&lt;/p&gt;&#xA;" OwnerUserId="11651" LastActivityDate="2015-09-15T18:56:17.593" Title="Shooting .mp4 with the CANON EOS 600D" Tags="|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16408" PostTypeId="1" CreationDate="2015-09-15T16:06:26.617" Score="1" ViewCount="57" Body="&lt;p&gt;Im trying to match the title and information background from a how to video...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/3BfNTSVBQFk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's the light beam background from 0:05 - 0:09 and also the animated light background from 0:10-0:17&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried experimenting with lens flare, and have searched the net, but can't find any help on how to achieve it. I'm quite new to After Effects, and am looking to learn, but I just need pointing in the right direction on what to research to achieve the effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help you guys could give would be much appreciated &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many thanks&#xA;Ben&lt;/p&gt;&#xA;" OwnerUserId="11653" LastActivityDate="2015-10-16T15:35:02.987" Title="I'm trying to match a title effect, and can't work out how it's done? Can anyone point me in the right direction?" Tags="|after-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16410" PostTypeId="1" AcceptedAnswerId="16411" CreationDate="2015-09-15T17:35:49.490" Score="0" ViewCount="76" Body="&lt;p&gt;I hope that I'm writing in a right section. I have a videocamera full HD (low price) and a SD class 2. Can this type of class film HD videos or it will save bad quality videos?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks, Alessandro.&lt;/p&gt;&#xA;" OwnerUserId="11655" LastActivityDate="2015-09-15T18:39:06.043" Title="SD class 2 and video HD" Tags="|video-recording|sd-card|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16411" PostTypeId="2" ParentId="16410" CreationDate="2015-09-15T18:39:06.043" Score="1" Body="&lt;p&gt;According to the SD association, Class 2 SD cards have a minimum writing speed of 2 MB/S. That is &lt;strong&gt;not&lt;/strong&gt; sufficient for HD recording, let alone Full HD. Even though that is only the minimum speed, I don't think the SD card will be nearly good enough. If you already have the camera and the SD card though, why not try it out for yourself? Worst thing that can happen is the camera won't record anything or stop after a few seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.sdcard.org/developers/overview/speed_class/&quot; rel=&quot;nofollow&quot;&gt;Here's an overview of the different speed classes&lt;/a&gt;. Depending on your camera model, I would recommend you get a class 6 or 10 SD card. The manual of your camera should also state which SD writing speed is required to record Full HD video. Most cameras (at least in the medium to high pricing range) will also allow you to change the (average) bitrate video is recorded at, you should also look into that. Use that information to decide on an optimal SD card for your needs.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-09-15T18:39:06.043" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16412" PostTypeId="2" ParentId="16407" CreationDate="2015-09-15T18:56:17.593" Score="2" Body="&lt;p&gt;You can find the manual for your camera &lt;a href=&quot;http://www.canon.co.uk/support/consumer_products/products/cameras/digital_slr/eos_600d.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. What you're looking for is how to change the resolution and frame rate of your recordings, you'll find instructions on that on page 150. (Some Canon camera models also have an option to change the bitrate and the compression mode; I didn't find any information on that in the manual, so I assume it doesn't have those options, but you should check that on your camera). A lower frame rate and resolution will result in a smaller video file, but keep in mind that this will also reduce video quality. I would recommend you record a high-quality video and use some software to export a smaller version to upload onto the internet later on. There are several free programs that will alow you to do that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;.mov&lt;/code&gt; and &lt;code&gt;.mp4&lt;/code&gt; are only file containers (check &lt;a href=&quot;https://video.stackexchange.com/questions/15821/how-are-video-and-audio-streams-placed-in-container-files-and-what-interrelati/15824#15824&quot;&gt;my answer here&lt;/a&gt; for a detailed explanation). If your camera doesn't have an option to change the used container format (which the Canon camera models I know don't), you're gonna have to live with whatever it's offering you. Again, you can reencode a given recording into a different (container) format (pretty easy) or remux it (slightly more difficult) with free software. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-09-15T18:56:17.593" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16413" PostTypeId="1" AcceptedAnswerId="16415" CreationDate="2015-09-15T19:02:57.637" Score="3" ViewCount="976" Body="&lt;p&gt;I've been produce videos on YouTube for a few years. I understand a vast majority of encoding options for x264 (My preferred encoder).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used to use MPEG-4 containers (.mp4) with my videos, however my system isn't the most powerful and the encoder will sometimes crash mid-encoding, causing the file to be unreadable because of how MPEG-4 file data is organized.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I switched to using FLV as the container, and remuxing it to MPEG-4 after recording is done. FLV's organization of the data allows the file to be read, even if the file was never completed. I don't understand much about the actual formats, but Id suspect it's an absence of a footer in the format for FLV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem I'm having with FLV, is that when I used MP4, I record with multiple audio tracks, so that I can edit them independently. FLV does not support multiple audio streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering if there is a container for x264, that's still high quality, allows for multiple audio tracks, and can still be read if encoding crashes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am recording with a program called OBS-Studio (OBS Multi-Platform), which allows the following containers for x264: FLV, MP4, MOV, MKV, TS&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are any of those last 3 formats capable of such functionality. I have tried a few days of research and can't find anything regarding this.&lt;/p&gt;&#xA;" OwnerUserId="11656" LastEditorUserId="11656" LastEditDate="2015-09-15T19:19:53.933" LastActivityDate="2015-09-15T21:01:36.827" Title="Container Type that doesn't corrupt on Encoding Crash" Tags="|encoding|video-recording|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16415" PostTypeId="2" ParentId="16413" CreationDate="2015-09-15T21:01:36.827" Score="1" Body="&lt;p&gt;Yes, TS is capable of doing what you are asking. Weather OBS is, is another question (that I do not know the answer to). mkv MAY be also to as well. But mp4 and mov can not do this.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2015-09-15T21:01:36.827" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16416" PostTypeId="2" ParentId="16408" CreationDate="2015-09-16T07:33:23.760" Score="0" Body="&lt;p&gt;Could also be the Shine plugin (made by Red Giant) through some narrow shapes.&#xA;&lt;a href=&quot;http://www.redgiant.com/products/trapcode-shine/&quot; rel=&quot;nofollow&quot;&gt;http://www.redgiant.com/products/trapcode-shine/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-09-16T07:33:23.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16417" PostTypeId="1" AcceptedAnswerId="16419" CreationDate="2015-09-16T12:45:11.460" Score="1" ViewCount="163" Body="&lt;p&gt;When we watch a movie we can hear background music and voices of actors. We also hear sound effects. When we watch a DVD movie the voice and background music merged inside a language track such as &lt;em&gt;English language audio track&lt;/em&gt;. Audacity is program used to mix voice-overs and music. It is hard to create an audio track in another language if there is not a separate &lt;em&gt;sound track&lt;/em&gt;. It is easy to dub a movie when there is a &lt;em&gt;sound track&lt;/em&gt;.  &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;When creating Hollywood movies, are there separate vocal track and a music track?&lt;/li&gt;&#xA;&lt;li&gt;Is there a separate track for sound effects?&lt;/li&gt;&#xA;&lt;li&gt;How do you mix voice and music tracks and convert it into a language track?&lt;/li&gt;&#xA;&lt;li&gt;What is the software used to mix the tracks in question 3?&lt;/li&gt;&#xA;&lt;li&gt;What is an &lt;em&gt;original sound track (OST)&lt;/em&gt;?&lt;/li&gt;&#xA;&lt;li&gt;Is the &lt;em&gt;original sound track (OST)&lt;/em&gt; used when dubbing a movie?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="11659" LastActivityDate="2015-09-16T14:29:31.267" Title="Are the voice and background tracks merged together when filming hollwood movies?" Tags="|audio-recording|dvd|mixing|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16419" PostTypeId="2" ParentId="16417" CreationDate="2015-09-16T14:29:31.267" Score="1" Body="&lt;p&gt;To answer only the first part, film sound is often split into three parts: music, effects, and dialog. This allows dialog to be replaced for dubbing. This isn't a hard-and-fast rule but it's the general way it's been done for a long time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is not how the sound is released, though. For release these are combined into a theatrical mix of two or more (for surround) channels, so the original three-track mix is no longer in play.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-09-16T14:29:31.267" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16420" PostTypeId="2" ParentId="16391" CreationDate="2015-09-16T15:20:13.303" Score="3" Body="&lt;p&gt;If the audio is primary and the visuals convey or complement the narration, then record the audio first. Use the audio timings to guide the pacing of your animations - if some demo takes longer than its oral exposition, the music should fill in there. But you can't really avoid the step where some sentences need individual adjustment or some animations need to hold more, or less, at places. Post production is iterative, and I wouldn't expect to evade that.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-09-16T15:20:13.303" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16421" PostTypeId="1" AcceptedAnswerId="16432" CreationDate="2015-09-16T15:22:05.943" Score="2" ViewCount="11223" Body="&lt;p&gt;Most of the controls I at least have a basic understanding of from Photography and other design applications (Affinity Photo / Photoshop / Lightroom etc). But not Pivot.&lt;/p&gt;&#xA;&lt;p&gt;In the &lt;a href=&quot;https://helpx.adobe.com/pdf/speedgrade_reference.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;SpeedGrade Manual&lt;/a&gt; the word Pivot doesn't exist at all. Pretty big omission but I'm resourceful and know other applications exist. So even though I don't use it I pulled up &lt;a href=&quot;http://documents.blackmagicdesign.com/DaVinciResolve/DaVinci_Resolve_12_Manual_2015-07-27.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;DaVinci Resolve's guide&lt;/a&gt; which states&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;Pivot:&lt;/strong&gt;&#xA;Changes the center of tonality about which dark and bright parts of the image are&#xA;stretched or narrowed during a contrast adjustment. Darker images may require a lower&#xA;Pivot value to avoid crushing the shadows too much when stretching image contrast, while&#xA;lighter images may benefit from a higher Pivot value to increase shadow density adequately.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Perfect cause this actually sounds like exactly what I need. Except when I use it there's absolutely no change in my video and I've got no idea why:&lt;/p&gt;&#xA;&lt;p&gt;Here's the original:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zTzwN.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zTzwN.jpg&quot; alt=&quot;original footage&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here's the footage with the pivot greatly pushed up, yet no change:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dxqWg.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dxqWg.jpg&quot; alt=&quot;footage with pivot increased&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I don't know if I'm not understanding the Pivot or what. I'm not seeing any difference though.&lt;/p&gt;&#xA;" OwnerUserId="5206" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-09-17T06:06:17.163" Title="What is Pivot in Color Grading?" Tags="|color-grading|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16422" PostTypeId="1" AcceptedAnswerId="16494" CreationDate="2015-09-16T15:24:00.583" Score="2" ViewCount="1357" Body="&lt;p&gt;Okay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I searched many internet sites but i can't handle this problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My PC:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;6 GB RAM&lt;/li&gt;&#xA;&lt;li&gt;4* 2.4 GHz CPU&lt;/li&gt;&#xA;&lt;li&gt;1 GB Radeon GPU&lt;/li&gt;&#xA;&lt;li&gt;SSD for System and Program&lt;/li&gt;&#xA;&lt;li&gt;HDD for Video footage&lt;/li&gt;&#xA;&lt;li&gt;Software: Adobe Premiere Pro CS6 with TotalCode Package.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Video footage: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Captured with GoPro&lt;/li&gt;&#xA;&lt;li&gt;1920*1080&lt;/li&gt;&#xA;&lt;li&gt;29,97 fps&lt;/li&gt;&#xA;&lt;li&gt;MP4 Format&lt;/li&gt;&#xA;&lt;li&gt;data-rate 35140 kBit/s&lt;/li&gt;&#xA;&lt;li&gt;Clip 28s, 123 MB.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;When i open this Clip within Adobe Premiere, create a sequence from the clip and try the preview the first 2 sec will play smooth and after that the video is jumping and stuttering or after running 2 sec the preview freezes. No effects applied. (CPU Usage ~50%, all cores)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my Sequence settings are: Rovi TotalCode AVC-Intra 100, 1920*1080 30 fps Non-Drop-Frame-Timecode. No matter if i choose the TotalCode renderer or the Mecury Renderer. Video preview is set to AVC Intra-Class 100 1080 24p (or 30p or 60i - no difference). &#xA;Video preview format makes no difference between full, 1/2 or 1/4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think because i created the sequence from the clip, there is no red/yellow/gren bar over the clip in the cutting window. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I get better results if i create a 720p sequence (for example: For editing 1280x720 AVCHD type video. Widescreen NTSC video (16:9 progressive). 29.97 fps 48kHz (16 bit) audio.). When i insert a clip and preview it the video stutters and jumps. But now i have the yellow bar. If i render the whole working area the preview plays smooth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Okay - now i would say: its my fault, my PC has not enough power.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BUT:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if i convert the MP4 via GoPro Studio to avi (Medium resolution) with the same specs (1920*1080*29,97) i got a 520 MB file (so roughly 4x the size of the original video).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When i use this clip instead of the MP4 the preview will play smooth (or nearly smooth) (CPU usage ~50%, all cores). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So Adobe Premiere has a problem with a data-rate of 35140 kBit/s but not with 151182 kBit/s on my PC? Hard to understand that this should be a performance issue...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried to copy the clip to my SSD and start playing it, but nothing happens. Also tried to safe my project files on my SSD, not working.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried to change the optimize rendern setting between Memory and Performance - nothing changed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I saw this question:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/10361/adobe-premiere-is-lagging-in-preview-window&quot;&gt;Adobe premiere is lagging in preview window&lt;/a&gt; -&gt; Because of the mentioned AVI i don't think it has something to do with the data size. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/9976/editing-1440p-47-fps-in-premiere-pro-cs6&quot;&gt;Editing 1440p @ 47 FPS in Premiere Pro CS6&lt;/a&gt; -&gt; Much higher data-rate and video quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/8133/adobe-premiere-preview-video-lagging&quot;&gt;Adobe Premiere preview video lagging&lt;/a&gt; -&gt; also talks about data rate (think this doesn't apply because of described avi/mp4 behavior)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have some more ideas? Of course i could just convert 20 GB from mp4 to avi, but i'd like to safe this additional space on my hdd.&lt;/p&gt;&#xA;" OwnerUserId="11662" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-09-25T04:40:38.980" Title="GoPro Footage with Adobe Premiere is stuttering" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16423" PostTypeId="2" ParentId="16408" CreationDate="2015-09-16T15:25:42.437" Score="1" Body="&lt;p&gt;Looks like a standard preset from the Optical Flares Plugin from VideoCopilot. You have a lot of control with that plugin, shouldn't take long to replicate the effect with that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.videocopilot.net/products/opticalflares/&quot; rel=&quot;nofollow&quot;&gt;https://www.videocopilot.net/products/opticalflares/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2015-09-16T15:25:42.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16424" PostTypeId="1" CreationDate="2015-09-16T18:14:23.130" Score="2" ViewCount="2836" Body="&lt;p&gt;I have a large number of individual clips in one sequence of varying lengths. I want to shorten them all, regardless of where in the footage to a certain length (lets say 0 to 10 seconds. If it less than 10 seconds, lets leave it or cut). Going through all of these clips and shortening them manually would take a lot of time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I'm looking for is a way to apply the an action (in this case shortening the video, but the action could be arbitrary) to all of the clips, either by selecting all of the clips at once, or by running each clip through a macro where it applies the action with one click (or shortcut).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to do this in Adobe Premiere or should I look for a different tool and perform this batch action outside of Adobe Premiere?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a screenshot example of the series of clips.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/vCaJZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vCaJZ.png&quot; alt=&quot;screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was able to do what I wanted using &lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; and a &lt;a href=&quot;https://gist.github.com/cdesch/c2bef6becc696034c290&quot; rel=&quot;nofollow noreferrer&quot;&gt;Ruby script that I created&lt;/a&gt;. Here is a video showing the script in action: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/x_F6ic4FfE8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Although I was able to solve the problem at hand, I think the original question still stands:  Can you repeat and action (somewhat complex action) against multiple clips in Adobe Premiere in batch or select multiple fashion?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="11663" LastEditorUserId="11663" LastEditDate="2015-09-17T15:25:31.663" LastActivityDate="2015-09-18T15:00:02.557" Title="How to repeat an action against all clips in a sequence in Premiere Pro CC" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16425" PostTypeId="1" CreationDate="2015-09-16T18:55:27.300" Score="0" ViewCount="106" Body="&lt;p&gt;What is the best way to record/capture audience audio when questions asked or interacted with the presenter without passing secondary mic hand to hand? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently we have a presenter's mic that is going through audio board and on camera mic that captures general audience audio. But it creates a bad audio as camera is placed at the back at the room. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has any one tried placing mics around the room to capture it? Any solutions would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="6335" LastActivityDate="2016-02-29T09:55:30.600" Title="How to get audience audio in a small conference/training for 40-80 people?" Tags="|audio|audio-recording|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16427" PostTypeId="1" CreationDate="2015-09-16T19:46:59.693" Score="3" ViewCount="90" Body="&lt;p&gt;When I import audio and video from different sources into a project, I can't get them to play at the corrects speeds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, if I play the video in vlc player, it plays fine, if I play the audio file in vlc, it plays fine. But when I import the audio and video file into lightworks, either the video plays fine and the audio plays fast, or the video plays slow and the audio plays fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I get both the audio and video to play at the correct speeds at the same time?&lt;/p&gt;&#xA;" OwnerUserId="463" LastActivityDate="2015-10-06T22:23:09.453" Title="Can't get audio and video speeds to play at original speeds" Tags="|video|audio|linux|lightworks|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16428" PostTypeId="2" ParentId="13397" CreationDate="2015-09-16T21:19:44.433" Score="1" Body="&lt;p&gt;Ive had this problem for a while and finally found a solution. It seems that Windows Movie Maker has trouble previewing mp3 audio files and therefore previews at a lag. I fixed this issue by replacing the mp3 audio file with a wav file.&lt;/p&gt;&#xA;" OwnerUserId="11667" LastActivityDate="2015-09-16T21:19:44.433" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16429" PostTypeId="2" ParentId="16391" CreationDate="2015-09-16T23:11:02.903" Score="4" Body="&lt;p&gt;In addition to @Mulvya answer I will suggest to use not Flash, but After Effects for animation, if possible. Then you will be able to make &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/integration-after-effects.html&quot; rel=&quot;nofollow&quot;&gt;Dynamic Link&lt;/a&gt; to your AE project. Than will be easier to jump between applications.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when you work with animation, you deferentially need to have voiceover first. Like in cartoon development.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-09-16T23:11:02.903" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16430" PostTypeId="2" ParentId="16425" CreationDate="2015-09-17T01:23:11.327" Score="1" Body="&lt;p&gt;Here's a video that covers everything you need to know about sound recording for video: &lt;a href=&quot;http://nofilmschool.com/2015/08/24-sound-basics-will-help-you-lay-sturdy-foundation&quot; rel=&quot;nofollow&quot;&gt;http://nofilmschool.com/2015/08/24-sound-basics-will-help-you-lay-sturdy-foundation&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't have 18 minutes to spend, the specific answer to your question is that basically you cannot capture well the human voice when a mic is more than 3 feet away.  Even if you use a high-quality mic and a high-quality pre-amp, the quality of your audio will drop precipitously as you break the 3-foot rule.  (There are exceptions such as professional singers and actors hitting PZM stage mics, but even that is not great.)  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you place mics around the room in such a way that nobody has to throw their voice more than 3 feet to reach a microphone, then you might have a solution.  But that might require 20-40 microphones, and an audio system capable of recording 20-40 inputs simultaneously.  Impractical.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you could have 3 mics, one for each zone of 15-30 people, which you can rapidly run to whichever audience member is trying to speak.  When they hold the mic (at least 1-2&quot; from their mouth and at most 3 feet away), you should get fairly good results.  That would require an audio system that can record four tracks simultaneously (one for the podium mic and 3 for the audience mics), which is very simple nowadays.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-09-17T01:23:11.327" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16432" PostTypeId="2" ParentId="16421" CreationDate="2015-09-17T06:06:17.163" Score="4" Body="&lt;p&gt;As you know, the contrast function darkens dark colors further and lightens light colors further. Software without a pivot parameter assume that the point where darkening becomes lightening is exactly in the middle, at 0.5 (for a color range of 0 to 1). Those with a pivot parameter allow to move the pivot point up or down. Shifting the pivot slightly down (e.g. from 0.5 to 0.4) results in dark-medium colors (let's say 0.45) not anymore being darkened, but lightened. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your image, the effect is not that visible because most of the colors are already very bright, very dark, or just in the middle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to lift or lower your midtone details, I would suggest that you use a gamma or midtone control instead.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2015-09-17T06:06:17.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16433" PostTypeId="1" CreationDate="2015-09-17T12:02:53.240" Score="3" ViewCount="75" Body="&lt;p&gt;Is there any software for windows which can perform live audio modification during recording. I have a samson go usb mic but still records are a bit lacking in terms of the professional audio quality like a hint of a reverb etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know garage band for Mac has ability to have these effects in real time to your audio. Any software for windows or other alternative to have that high bass cool sounding audio for podcasts/screencasts. &lt;/p&gt;&#xA;" OwnerUserId="11637" LastEditorUserId="11637" LastEditDate="2017-11-15T07:41:49.773" LastActivityDate="2017-11-15T17:53:14.210" Title="Garage Band alternative for windows" Tags="|audio-recording|audio-quality|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16434" PostTypeId="1" CreationDate="2015-09-17T13:01:16.690" Score="2" ViewCount="57" Body="&lt;p&gt;So I heard about this &lt;a href=&quot;http://steadxp.com/&quot; rel=&quot;nofollow&quot;&gt;SteadXP&lt;/a&gt; which attaches to your camera to record movements for stabilization in post production. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any app for Android that can do the same thing?&lt;/p&gt;&#xA;" OwnerUserId="11670" LastEditorUserId="6685" LastEditDate="2015-09-18T11:38:24.410" LastActivityDate="2015-09-18T11:38:24.410" Title="Can I use my phone's sensor to record movements for DSLR stabilization in post?" Tags="|camera|dslr|stabilisation|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16435" PostTypeId="1" CreationDate="2015-09-17T15:26:12.273" Score="2" ViewCount="48" Body="&lt;p&gt;I am looking to create an automatic highlight tool to generate highlights using sound, for example a sporting event would have an important part when there is a louder sound so, that part should be included in a highlights package.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am presuming that this would be possible, but are there any APIs/libraries for any programming languages in which this would be ideal to develop?&lt;/p&gt;&#xA;" OwnerUserId="11671" LastActivityDate="2015-09-17T15:26:12.273" Title="Is it possible to automatically generate highlights from a video using sound?" Tags="|editing|audio|programming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16438" PostTypeId="1" CreationDate="2015-09-17T20:15:11.760" Score="6" ViewCount="1097" Body="&lt;p&gt;I'm using Vegas Platinum 12 and I want to create a time code in a video.  But here is the catch.  I want to start the clock at a specific time and have the count start at that time, i.e 05:21:34 or 21:01:19, etc...  Does anyone know how to do that?&lt;/p&gt;&#xA;" OwnerUserId="11676" LastEditorUserId="1871" LastEditDate="2015-11-17T09:55:45.533" LastActivityDate="2024-04-04T18:02:00.247" Title="Making a Digital clock with a specific time for Sony Vegas Platinum 12" Tags="|video|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16439" PostTypeId="2" ParentId="16438" CreationDate="2015-09-17T21:01:16.513" Score="0" Body="&lt;p&gt;It is feasible in Vegas &lt;strong&gt;Pro&lt;/strong&gt; using Vegasaur's &lt;a href=&quot;http://vegasaur.com/text-generation-wizard&quot; rel=&quot;nofollow&quot;&gt;Text Wizard&lt;/a&gt;, but your problem is that &quot;Vegas Platinum 12&quot; is not Vegas Pro, it is consumer-level Movie Studio Platinum 12.&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2015-09-17T21:01:16.513" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16440" PostTypeId="1" CreationDate="2015-09-17T22:41:26.117" Score="5" ViewCount="550" Body="&lt;p&gt;When I replace a footage to another video file which has got different frame rate from the old, the clips on the timeline slip because of the frame rate change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I go to Modify -&gt; Interpret footage, and set the frame rate back to the old value on the new clip, it solves the problem, but I don't know if it's the right way to do it, or if it affects the final quality of my movie. After all, I want the clip to have its own frame rate in my sequence (the sequence frame rate matches the new clip's value).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I overcome this problem?&#xA;Thank you for your help!&lt;/p&gt;&#xA;" OwnerDisplayName="user11673" LastActivityDate="2015-12-02T14:40:18.570" Title="Replacing footage to a video with different frame rate - how to make timeline clips not slip?" Tags="|premiere|editing|framerate|adobe|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16441" PostTypeId="1" CreationDate="2015-09-17T23:34:41.957" Score="0" ViewCount="44" Body="&lt;p&gt;I recently got a tripod, and I need a head for it. I would like to try a variety of video, so looking for something that allows moving the camera smoothly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a variety of types of tripod heads available. eg ballhead, pan and tilt, geared heads, or fluid heads. What are the differences between these, and which is most useful for video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will also be using the tripod for some still photography, so would be good if the tripod head is also suitable for that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What other features are worth looking for in a tripod head?&lt;/p&gt;&#xA;" OwnerUserId="4456" LastActivityDate="2015-09-21T22:05:20.450" Title="What type of tripod head should I get?" Tags="|video-recording|filming|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16442" PostTypeId="1" AcceptedAnswerId="16445" CreationDate="2015-09-18T02:29:15.590" Score="4" ViewCount="4974" Body="&lt;p&gt;I am using &lt;code&gt;ffmpeg&lt;/code&gt; to extract frames from videos. I have the following code thus far:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i vid.mp4 -vf fps=1/10 images%05d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My issue is that it takes awhile! 6 seconds per image on average. Is there a way to speed this up? I am working with tens/hundreds of videos and I'm wanting to write up a shell script to automate the whole thing, but I don't want it to take days!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have seen other programs that can do this but they have to literally play through the video to reach the frames to extract. That would be far too slow. Perhaps &lt;code&gt;ffmpeg&lt;/code&gt; is doing something like this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas how to speed this up?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The videos at hand are 1920x1080 GoPro videos and I'd like full resolution images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the output from the console:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2.7.2 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with Apple LLVM version 6.1.0 (clang-602.0.53) (based on LLVM 3.6.0svn)&#xA;  configuration: --prefix=/opt/local --enable-swscale --enable-avfilter --enable-avresample --enable-libmp3lame --enable-libvorbis --enable-libopus --enable-libtheora --enable-libschroedinger --enable-libopenjpeg --enable-libmodplug --enable-libvpx --enable-libspeex --enable-libass --enable-libbluray --enable-lzma --enable-gnutls --enable-fontconfig --enable-libfreetype --enable-libfribidi --disable-indev=jack --disable-outdev=xv --mandir=/opt/local/share/man --enable-shared --enable-pthreads --cc=/usr/bin/clang --enable-vda --arch=x86_64 --enable-yasm --enable-gpl --enable-postproc --enable-libx264 --enable-libxvid --enable-nonfree --enable-libfdk-aac --enable-libfaac&#xA;  libavutil      54. 27.100 / 54. 27.100&#xA;  libavcodec     56. 41.100 / 56. 41.100&#xA;  libavformat    56. 36.100 / 56. 36.100&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 16.101 /  5. 16.101&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.100 /  1.  2.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'vid.mp4':&#xA;  Metadata:&#xA;major_brand     : mp42&#xA;minor_version   : 1&#xA;compatible_brands: mp41mp42isom&#xA;creation_time   : 2015-09-18 03:38:20&#xA;  Duration: 00:01:18.23, start: 0.969178, bitrate: 20388 kb/s&#xA;Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 20004 kb/s, 29.97 fps, 29.97 tbr, 180k tbn, 59.94 tbc (default)&#xA;Metadata:&#xA;  creation_time   : 2015-09-18 03:38:20&#xA;  handler_name    : Core Media Video&#xA;  encoder         : GoPro AVC encoder&#xA;Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 127 kb/s (default)&#xA;Metadata:&#xA;  creation_time   : 2015-09-18 03:38:20&#xA;  handler_name    : Core Media Audio&#xA;[swscaler @ 0x7fdb12000000] deprecated pixel format used, make sure you did set range correctly&#xA;Output #0, image2, to 'images%05d.png':&#xA;  Metadata:&#xA;major_brand     : mp42&#xA;minor_version   : 1&#xA;compatible_brands: mp41mp42isom&#xA;encoder         : Lavf56.36.100&#xA;Stream #0:0(und): Video: png, rgb24, 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 200 kb/s, 0.10 fps, 0.10 tbn, 0.10 tbc (default)&#xA;Metadata:&#xA;  creation_time   : 2015-09-18 03:38:20&#xA;  handler_name    : Core Media Video&#xA;  encoder         : Lavc56.41.100 png&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; png (native))&#xA;Press [q] to stop, [?] for help&#xA;frame=    9 fps=0.2 q=0.0 Lsize=N/A time=00:01:30.00 bitrate=N/A    &#xA;video:17647kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10381" LastEditorUserId="10381" LastEditDate="2015-09-18T03:41:38.913" LastActivityDate="2015-09-18T12:25:47.047" Title="quickly extract video frames with ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16443" PostTypeId="1" CreationDate="2015-09-17T08:47:20.230" Score="2" ViewCount="122" Body="&lt;p&gt;I'm planning on buying 5-6 sj4000 and use them to create 360 images and videos. This is the oem sj400, not sjcam sj4000. Does anyone have an idea how to genlock to trigger them together. I've seen many options to genlock gopros but not sj4000.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Link: &lt;a href=&quot;http://www.ebay.com/itm/1080P-SJ4000-Waterproof-DVR-Sports-DV-HD-Video-Action-Camera-Camcorder-Car-Cam-/141732463492?hash=item20ffe9c384&quot; rel=&quot;nofollow&quot;&gt;http://www.ebay.com/itm/1080P-SJ4000-Waterproof-DVR-Sports-DV-HD-Video-Action-Camera-Camcorder-Car-Cam-/141732463492?hash=item20ffe9c384&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="Sheikh Sheese" LastEditorUserId="6685" LastEditDate="2015-09-26T10:21:40.907" LastActivityDate="2015-09-26T10:21:40.907" Title="Genlocking 5-6 sj4000" Tags="|video|360video|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16444" PostTypeId="1" CreationDate="2015-09-18T07:08:21.543" Score="2" ViewCount="1638" Body="&lt;p&gt;I'm trying to morph from one video to another (not just two photographs). At the moment I'm using &lt;code&gt;gtkmorh&lt;/code&gt;, but AFAIK it only allows photograph morphing and not sequence morphing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know what options are available (if any) to morph video sequences in Linux?&lt;/p&gt;&#xA;" OwnerUserId="6210" LastEditorUserId="6210" LastEditDate="2015-09-21T06:46:19.333" LastActivityDate="2016-05-18T20:15:23.547" Title="Morphing software in Linux" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16445" PostTypeId="2" ParentId="16442" CreationDate="2015-09-18T12:25:47.047" Score="3" Body="&lt;p&gt;I have no idea if what you're doing is optimal, but &quot;playing the video&quot; to extract frames is essentially what has to happen, at least a little, if the frame you're extracting is not an I-frame (most frames are not). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The chosen frame is likely represented as the accumulated differences since the last complete frame, which is what interframe compression does. In order to extract it, a program must read and reconstruct the intervening frames -- not from the beginning of the video, just from the most recent complete frame&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on how many frames you need from each video, it might make sense to first convert to an &quot;all-I&quot; codec like MJPEG, where every frame stands alone. Then extracting any given frame would be much faster. When done you can delete the converted file.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-09-18T12:25:47.047" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16446" PostTypeId="1" CreationDate="2015-09-18T14:37:33.213" Score="0" ViewCount="44" Body="&lt;p&gt;Is the High Definition (HD) content provided by cable companies through fiber and copper downgraded, to Standard Definition (SD) at the cable box?&lt;/p&gt;&#xA;" OwnerUserId="11677" LastActivityDate="2015-09-18T14:37:33.213" Title="At what point is HD content downgraded to SD from a service provider?" Tags="|video-quality|cable|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16447" PostTypeId="2" ParentId="16424" CreationDate="2015-09-18T15:00:02.557" Score="1" Body="&lt;p&gt;Adobe has included a scripting framework in most of its apps, (you may have noticed a tool called extendscript toolbox, that's the IDE for it). Unfortunately they neglected to document Premiere's scripting API, so you have to work it out yourself / using &lt;a href=&quot;https://forums.adobe.com/thread/1558936&quot; rel=&quot;nofollow&quot;&gt;the internet&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So yes, you could indeed develop a script to do this within Premiere. After all, why spend hours doing something by hand when in only a few weeks you can develop a script to do it automatically?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-09-18T15:00:02.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16448" PostTypeId="1" CreationDate="2015-09-18T19:23:30.853" Score="1" ViewCount="242" Body="&lt;p&gt;I'd like to set up a 4K video camera in the corner of a soccer field and just let it record. Afterwards I'd like to use a video editor to zoom into a smaller (1080) area where the ball is and auto pan to follow. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This takes too long to do manually. Do you know any software that will track the ball (or movement of people) and zoom into that area generating a 1080 or 720 output of the action around the ball? If not automatically, any suggestions on the fastest/easiest way to do this? &lt;/p&gt;&#xA;" OwnerUserId="11679" LastEditorDisplayName="user10383" LastEditDate="2017-06-12T11:00:50.297" LastActivityDate="2017-06-12T11:00:50.297" Title="Auto detect and auto pan to ball in video" Tags="|video-editor|software-recommendation|tracking|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16449" PostTypeId="2" ParentId="16448" CreationDate="2015-09-18T20:32:01.190" Score="0" Body="&lt;p&gt;You can track movements of the ball (if it is not covered with something) with After Effects, or better with Mocha. After that just zoom and lock the center of your video tho the ball. However your video will be really shaky. Ball will do lot of little moments, so you need to smooth your video shake.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-09-18T20:32:01.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16450" PostTypeId="1" AcceptedAnswerId="16451" CreationDate="2015-09-19T03:45:18.297" Score="2" ViewCount="82" Body="&lt;p&gt;I have some videos I recorded with my cell phone that I want to crop using Avisynth's &lt;code&gt;crop()&lt;/code&gt;.  I am using x264vfw with VirtualDub which asks for a target bitrate.  I usually just get the bitrate from the vid's properties in Windows Explorer and plug that value in for the target bitrate for the new encoded video, but, since I am cropping it, I don't want to use the full bitrate.  Ideally, I would be able to find out the bitrate of only the region I am wishing to crop.  After all, if the original video is 1920x1080 with a total bitrate of 30 mbps (30,000 kbps) and I want to crop it down to a 1080x1080 region, I don't want to use the bitrate of the full, uncropped video.&lt;/p&gt;&#xA;" OwnerUserId="3275" LastEditorUserId="3592" LastEditDate="2015-09-19T16:36:54.847" LastActivityDate="2015-09-19T16:36:54.847" Title="Is there a way to get the bitrate of a specific region of a video?" Tags="|encoding|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16451" PostTypeId="2" ParentId="16450" CreationDate="2015-09-19T08:11:28.747" Score="3" Body="&lt;p&gt;You can only estimate the bitrate as proportion of your crop. If you have 30,000 Kbps for 1920*1080 pixel, then for 1080*1080 pixel this would mean 16,875 Kbps. If there is more complexity inside the crop region than outside, I would even increase the target bitrate further.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if your videos are not that long and not intended for streaming I wouldn't invest too much thought into saving some disk space. The video quality will degrade anyway with the encoding process and a high bitrate will help you avoiding too much loss.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2015-09-19T08:11:28.747" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16452" PostTypeId="2" ParentId="16274" CreationDate="2015-09-19T08:23:19.507" Score="0" Body="&lt;p&gt;I would analyze how YouTube encodes videos, as described in &lt;a href=&quot;https://video.stackexchange.com/q/16361/3481&quot;&gt;this answer&lt;/a&gt;. It also helps you to understand the logic behind it.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-09-19T08:23:19.507" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16453" PostTypeId="1" CreationDate="2015-09-19T10:35:45.713" Score="2" ViewCount="146" Body="&lt;p&gt;I am completely beginner in montage.. I started with sony vegas pro 13... my problem is : when I drag a slice of a video in timeline it return to its place automatically&#xA;I mean that I can't change its place in timeline&#xA;I tried to search google a lot but nothing.&#xA;Sory if it was silly question&lt;/p&gt;&#xA;" OwnerUserId="11680" LastActivityDate="2015-09-19T10:35:45.713" Title="Moving video slices in timline in Sony Vegas" Tags="|vegas-pro|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16454" PostTypeId="1" AcceptedAnswerId="16456" CreationDate="2015-09-19T14:00:48.627" Score="4" ViewCount="8045" Body="&lt;p&gt;I'd like to know how to produce this kind of instructional video, where an actor is writing on an invisible wall facing the camera:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/jlLlxgwCt6o?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Introduction to Limits (mathbff)&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What equipment/tools and which setup is required to shoot this video?&lt;/p&gt;&#xA;" OwnerUserId="11681" LastEditorUserId="6685" LastEditDate="2015-09-21T08:15:46.840" LastActivityDate="2018-08-16T20:36:29.323" Title="How to make a video where an actor writes facing the camera?" Tags="|shooting|tutorial|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16455" PostTypeId="1" AcceptedAnswerId="20651" CreationDate="2015-09-19T16:28:31.120" Score="8" ViewCount="11674" Body="&lt;p&gt;Is there an app for iPhone or iPad that will let me record log color space video? It seems like with such an abundance of instagram-ish &quot;filter&quot; apps, developers probably have access to raw sensor data. Are there any apps designed to record it in a flat color profile for postproduction grading?&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2018-04-29T20:03:45.350" Title="Do any iOS video apps record in log color space?" Tags="|iphone|ipad|ios|color-grading|colorspace|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16456" PostTypeId="2" ParentId="16454" CreationDate="2015-09-19T20:00:18.350" Score="10" Body="&lt;p&gt;You need a few simple things to do this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;a camera&lt;/li&gt;&#xA;&lt;li&gt;a large piece of glass or plexiglass&lt;/li&gt;&#xA;&lt;li&gt;dry erase markers&lt;/li&gt;&#xA;&lt;li&gt;editing software capable of basic transform controls&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Record your actor writing on the glass.  To the camera, the writing will appear backwards.  Use your editing software to flip the image horizontally.  The writing will now appear normal*.  Most editing software is capable of this operation.  If there's not a &quot;flip horizontal&quot; command, try setting the horizontal scale to -100%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;*Pro tip:  Make sure your actor's clothes don't have any writing on them, or it will appear backwards in the final result.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-09-19T20:00:18.350" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16457" PostTypeId="2" ParentId="16455" CreationDate="2015-09-20T00:07:16.327" Score="0" Body="&lt;p&gt;How I understand from this question &quot;&lt;a href=&quot;https://stackoverflow.com/questions/10593920/which-color-space-the-ios-devices-is-used&quot;&gt;Which color space the iOS devices is used?&lt;/a&gt;&quot; iOS have only one accessable color space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to &lt;a href=&quot;http://www.cnet.com/news/sorry-dng-iphone-app-wont-let-you-shoot-true-raw-photos/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;, even RAW photos from iOS are not really RAW.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2015-09-20T00:07:16.327" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16458" PostTypeId="2" ParentId="16345" CreationDate="2015-09-20T09:34:19.213" Score="1" Body="&lt;p&gt;A common zoom range of Panasonic MFT lenses is 14-42(45)mm. As an owner of such a lens I found out it's quite a compromise for city videos. 14mm is wide, but often times not wide enough for buildings. 42mm is tele, but not enough for detail shots.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some with a more practical zoom range:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Panasonic Lumix G Vario HD 14-140mm f/4.0-5.8 ASPH./MEGA O.I.S.&lt;/li&gt;&#xA;&lt;li&gt;Panasonic Lumix G Vario 14-140mm f/3.5-5.6 ASPH. POWER O.I.S.&lt;/li&gt;&#xA;&lt;li&gt;Panasonic LUMIX G VARIO 35-100mm f/4.0-5.6 ASPH. MEGA O.I.S.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I don't want to get more specific into prices, because they may change fast or be different in other countries.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2015-09-20T09:34:19.213" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16460" PostTypeId="1" AcceptedAnswerId="16470" CreationDate="2015-09-20T16:00:37.117" Score="2" ViewCount="421" Body="&lt;p&gt;I am trying to edit 2.7k 60fps footage (shot with my GoPro Hero 4 Black) using Adobe Premiere Pro CS6. But even when I try to play a clip in the source viewer (i.e. before even putting a clip onto the timeline), I get a very laggy experience that feels like 2 frames per second. If I play the same footage in my OS's native media player (e.g. Windows Media Player or Quicktime) I get smooth playback without any visible frame drops. I have tried converting the H.264 compressed footage to Cineform digital intermediate, but this does little to resolve the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am aware that editing high resolution video is demanding (see, e.g., &lt;a href=&quot;https://video.stackexchange.com/questions/15171/adobe-premiere-pro-cc-editing-playback-performance&quot;&gt;Adobe Premiere Pro CC editing/playback performance&lt;/a&gt;), but my question is specifically why does playing back raw, unedited footage perform so much worse in Premiere than in a dedicated media player when both are apparently performing the same task?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;System specifications are as follows:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;System 1: i7 950 at ca. 3GHz, 12GB DDR3, GeForce GTX 760 2GB, 256 OCZ Vertex SSD&lt;/p&gt;&#xA;&#xA;&lt;p&gt;System 2: 2013 MacBook Pro Retina, i77 2.7GHz, 8GB 1600MHz DDR3, GeForce 750M, 256GB SSD&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have the same issue on both systems.&lt;/p&gt;&#xA;" OwnerUserId="11621" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-09-22T18:43:15.603" Title="GoPro footage: premiere playback performance versus system media player" Tags="|premiere|playback|performance|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16461" PostTypeId="2" ParentId="16444" CreationDate="2015-09-21T16:19:45.750" Score="1" Body="&lt;p&gt;I don't have lot of experience in working with video in Linux, however, there is &lt;a href=&quot;https://www.blender.org/&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt;, which is capable with &lt;a href=&quot;https://www.youtube.com/watch?v=te9HFQVaSUE&quot; rel=&quot;nofollow&quot;&gt;video editing&lt;/a&gt;, and it also can morph &lt;a href=&quot;https://vimeo.com/83384457&quot; rel=&quot;nofollow&quot;&gt;still images&lt;/a&gt; and &lt;a href=&quot;https://www.youtube.com/watch?v=a5V0YC29AKU&quot; rel=&quot;nofollow&quot;&gt;meshes&lt;/a&gt;. And of course &lt;a href=&quot;https://www.youtube.com/watch?v=oeHm_IHeheg&quot; rel=&quot;nofollow&quot;&gt;more complex 3D objects&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe you can achieve your goal, by combining those techniques. &lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-09-21T16:19:45.750" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16462" PostTypeId="1" CreationDate="2015-09-21T16:59:28.927" Score="2" ViewCount="804" Body="&lt;p&gt;I just installed Avid Media Composer 8.4.1, and am trying to edit some screen captured MP4s H.264 format I recorded with OBS. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I try to import,transcode or link to file the video layer isn't there and I only get the audio. Also I have no AMA option. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've made several projects thinking maybe the file configurations were different then the project's but that hasn't helped. Am I missing a plugin or something, because I can import these same files into Adobe Premiere Pro just fine?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help is appreciated, thanks. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it helps my specs are:&lt;br&gt;&#xA;AMD FX-8350 4.2GHz 8-core CPU&lt;br&gt;&#xA;Gigabyte GeForce GTX 960 4GB GPU&lt;br&gt;&#xA;16 GB of G.Skill Ripjaws 1600 DDR3 Memory&lt;br&gt;&#xA;and 2 Western Digital Black 1TB 64MB Internal HDD   &lt;/p&gt;&#xA;" OwnerUserId="11695" LastEditorUserId="11695" LastEditDate="2015-09-21T17:23:32.820" LastActivityDate="2018-11-05T06:19:05.170" Title="Avid Media Composer Not Importing MP4s" Tags="|mp4|avid|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16463" PostTypeId="2" ParentId="10868" CreationDate="2015-09-21T17:09:57.967" Score="1" Body="&lt;p&gt;Are you talking about having two projects open at one time? As far as I'm aware, Avid MC doesn't let you do that. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But you can import Bins from another project and technically do what you want that way. Otherwise I would just make one project for all the interviews, and separate them with bins if they're all sharing some elements.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EXP:&lt;br&gt;&#xA;Interview1 Bin (containing the clips for interview 1)&lt;br&gt;&#xA;Interview2 Bin (containing the clips for interview 2)&lt;br&gt;&#xA;SFX (Shared sound effects) &#xA;Music (Shared music) &#xA;GRX  (Shared graphics)&lt;/p&gt;&#xA;" OwnerUserId="11695" LastEditorUserId="11695" LastEditDate="2015-09-21T20:17:51.673" LastActivityDate="2015-09-21T20:17:51.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16464" PostTypeId="2" ParentId="16254" CreationDate="2015-09-21T17:41:15.807" Score="1" Body="&lt;p&gt;If you use the Windows operating system, you have the option to  the movie maker. But if you use the Apple OSX operating system, you can use Final Cut. It's also important to say that the Adobe package, which includes After Effects and Premiere, also runs on both operating systems commented - Windows and OSX.&lt;/p&gt;&#xA;" OwnerUserId="11696" LastActivityDate="2015-09-21T17:41:15.807" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16465" PostTypeId="2" ParentId="16441" CreationDate="2015-09-21T22:05:20.450" Score="1" Body="&lt;p&gt;There's really two main types of film heads; pan/tilt heads and ball heads. There are a lot of other features you can get in tripods, for example, fluid heads. A fluid head is definitely something you'll want for video if you can afford one. They provide much smoother panning and tilting motion while operating the tripod. Geared heads allow for much more precise adjustments, but aren't that popular due to their weight and cost.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A pan/tilt head is the most common. They allow for smooth and controlled camera motion, but are limited by constraints of the different pieces, making them harder to adjust perfectly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ball heads have a much wider range of motion than pan/tilt heads, but their design makes smooth and controlled camera motions much more difficult.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-09-21T22:05:20.450" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16466" PostTypeId="2" ParentId="15144" CreationDate="2015-09-22T04:30:08.743" Score="1" Body="&lt;p&gt;The ATEM works with 29.98 fps. The PTX Optics camera is 30fps. You need one of this in between to fix the fps issue. &lt;a href=&quot;http://www.bhphotovideo.com/bnh/controller/home?O=&amp;amp;sku=1091826&amp;amp;gclid=COm6mIXnicgCFdgLgQodNIACbQ&amp;amp;is=REG&amp;amp;m=Y&amp;amp;Q=&amp;amp;A=details&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/bnh/controller/home?O=&amp;amp;sku=1091826&amp;amp;gclid=COm6mIXnicgCFdgLgQodNIACbQ&amp;amp;is=REG&amp;amp;m=Y&amp;amp;Q=&amp;amp;A=details&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11697" LastActivityDate="2015-09-22T04:30:08.743" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16467" PostTypeId="1" AcceptedAnswerId="16484" CreationDate="2015-09-22T09:43:38.367" Score="1" ViewCount="417" Body="&lt;p&gt;I'd like to grade a Final Cut Pro X project with Davinci Resolve. Unfortunately my Final Cut experience is very limited and I don't understand how to get a consolidated project, linked to the &lt;strong&gt;original footage files&lt;/strong&gt; in order to create a clean xml file for Davinci Resolve. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to consolidate a project (&lt;em&gt;File &gt; Consolidate&lt;/em&gt;), Final Cut creates additional, encoded and conformed files with a weird naming scheme - unfortunately this is not what I expect. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to keep the source footage links and create a 'clean edit' which is assembled from the source material instead?&lt;/p&gt;&#xA;" OwnerUserId="6685" LastActivityDate="2015-09-24T04:39:34.697" Title="Final Cut Pro X &amp; Davinci Resolve workflow" Tags="|final-cut-pro-x|workflow|color-grading|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16468" PostTypeId="1" CreationDate="2015-09-22T11:25:35.260" Score="1" ViewCount="61" Body="&lt;p&gt;I want to portray the tour of a group of students from the Uni to an exterior site and back.&lt;br&gt;&#xA;The idea ist to have a map (static or scrolling) and move a picture of a bus on it.&lt;br&gt;&#xA;The look is supposed to resemble a cut out bus being moved of a paper-map.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking for a suitable (free) software to do this.&lt;br&gt;&#xA;I am also open for other suggestions to achive that effect.&lt;/p&gt;&#xA;" OwnerUserId="11698" LastActivityDate="2015-09-26T14:38:47.513" Title="Software to move graphics over another. i.e. a bus over a map" Tags="|software-recommendation|software|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16469" PostTypeId="1" CreationDate="2015-09-22T13:44:47.243" Score="5" ViewCount="6461" Body="&lt;p&gt;I have following problem:&#xA;I am trying to tweak the speed of a Math.sin function. Therefore I need a variable that incerements over time with a combination of a keyframed speed variable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sounds complicated, I know. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say I am using the global time variable and convert it with the timeToFrames() function I get an integer value for each frame.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;myTime = timeToFrames(time);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This leads me to a value of 1 for Frame 1, a value of 2 for Frame 2, and so on.&#xA;But what if I want to manipulate the increment. For example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;//speed (gets tweened from a certain value range,for example: 10 - 1)&#xA;s = (some connected slider here)&#xA;&#xA;myTime += s;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If I have a speed of 10 at Frame 1 I would get a value of 11. If I have a speed of 8 at Frame 2, I would expect a value of 11 + 2 + 8 = 21.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I get is only 2 + 8;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I need to store the value at every frame. Is this possible? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help.&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2022-09-10T19:45:02.740" Title="After Effects: Increment a Variable over time" Tags="|after-effects|after-effects-expressions|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16470" PostTypeId="2" ParentId="16460" CreationDate="2015-09-22T18:42:22.953" Score="1" Body="&lt;p&gt;I have discovered that this problem is specific to GoPro cameras from the Hero3 and range and later.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For Premiere CS6, the problem can be solved by updating to version 6.0.5. The update can be downloaded &lt;a href=&quot;http://www.adobe.com/downloads/updates.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;. After installing this update I get flawless playback in Premiere and &lt;a href=&quot;https://forums.adobe.com/thread/1154641?start=40&amp;amp;tstart=0&quot; rel=&quot;nofollow&quot;&gt;others have reported that this solution worked for them too&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="11621" LastActivityDate="2015-09-22T18:42:22.953" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16471" PostTypeId="1" CreationDate="2015-09-22T18:53:04.517" Score="3" ViewCount="375" Body="&lt;p&gt;I'm trying to create a small animated infographic of how the banking system works. I thought I would represent the flow of money between the banks with dollar bills moving along a path. What's the best way to create an infinite stream of objects along a path that loops indefinitely in After Effects?&lt;/p&gt;&#xA;" OwnerUserId="11702" LastEditorUserId="1871" LastEditDate="2015-10-11T07:19:30.003" LastActivityDate="2015-10-11T07:19:30.003" Title="Creating a stream of the same object between two points in AE?" Tags="|after-effects|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16472" PostTypeId="2" ParentId="16468" CreationDate="2015-09-22T19:08:13.673" Score="1" Body="&lt;p&gt;You could try stop-motion. Basically your taking a pic of the bus everytime you move it on the map, then putting it together as a sequence in your editing program. Bout the only free way I can think of&lt;/p&gt;&#xA;" OwnerUserId="11654" LastActivityDate="2015-09-22T19:08:13.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16473" PostTypeId="2" ParentId="16468" CreationDate="2015-09-22T20:21:30.027" Score="1" Body="&lt;p&gt;I see that you have some Java experience from your profile. You could use Processing, a Java framework used to teach artists and designers programming and geared toward creating animation, video, graphics, and the like. There are many examples on the site that demonstrate basic animation, displaying images, etc. &lt;a href=&quot;http://processing.org&quot; rel=&quot;nofollow&quot;&gt;processing.org&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11605" LastEditorUserId="11605" LastEditDate="2015-09-23T20:00:44.317" LastActivityDate="2015-09-23T20:00:44.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16474" PostTypeId="1" AcceptedAnswerId="16477" CreationDate="2015-09-23T02:16:53.487" Score="1" ViewCount="7429" Body="&lt;p&gt;I accidentally shot one scene at 24fps instead of the 30fps I intended.  I want to render it at 30fps (to fit the rest of the video), but the render from Premiere looks choppy, regardless of whether I use Frame Blending or not.  I know this is expected, especially since I shot at 1/60 shutter speed, but are there any effects / settings I can apply to smooth things out?  Blur perhaps?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For what it's worth, it's a moving shot of some dancing, so both the subject and the camera are moving throughout.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="11690" LastActivityDate="2015-09-26T13:43:33.393" Title="How to fix a 24fps shot that looks jerky when rendered at 30fps frame rate?" Tags="|premiere|editing|effects|framerate|" AnswerCount="1" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16475" PostTypeId="2" ParentId="16254" CreationDate="2015-09-23T07:45:36.857" Score="3" Body="&lt;p&gt;If you want to save time and learning efforts, and you can live with limited control over the end result, you may want to have a look at:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;muvee Reveal&lt;/li&gt;&#xA;&lt;li&gt;Magix Fastcut&lt;/li&gt;&#xA;&lt;li&gt;GoPro Studio&lt;/li&gt;&#xA;&lt;li&gt;Sony Action Cam Movie Creator&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The later two are for free.&lt;/p&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2015-09-23T07:45:36.857" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16476" PostTypeId="2" ParentId="16389" CreationDate="2015-09-23T07:55:50.900" Score="3" Body="&lt;p&gt;If you feel comfortable with learning from good Youtube resources, here's some channels that have tons of material to answer your questions:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/user/filmriot&quot; rel=&quot;nofollow&quot;&gt;https://www.youtube.com/user/filmriot&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/user/everyframeapainting&quot; rel=&quot;nofollow&quot;&gt;https://www.youtube.com/user/everyframeapainting&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/user/D4Darious&quot; rel=&quot;nofollow&quot;&gt;https://www.youtube.com/user/D4Darious&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/user/DSLRguide&quot; rel=&quot;nofollow&quot;&gt;https://www.youtube.com/user/DSLRguide&lt;/a&gt; (even better: His Blog &lt;a href=&quot;http://dslrguide.tv/blog/&quot; rel=&quot;nofollow&quot;&gt;http://dslrguide.tv/blog/&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2015-09-23T07:55:50.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16477" PostTypeId="2" ParentId="16474" CreationDate="2015-09-23T10:53:15.633" Score="2" Body="&lt;p&gt;If you change the frame rate of everything to 60fps you'll get an even frame blend every 2.5 (60fps) frames.  If you change the frame rate to 120fps you can eliminate the stutter completely, as 30 fps will repeat frames 4x and 24fps will repeat frames 5x.  But few systems can play 120fps, whereas many can play 60fps (including YouTube).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-09-23T10:53:15.633" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16480" PostTypeId="1" CreationDate="2015-09-23T17:40:00.487" Score="1" ViewCount="244" Body="&lt;p&gt;This is a very frustrating problem:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My Sony Vegas 13.0 crashes instantaniously after running it. It doesn't even show the loading splash screen. It gives this error message:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Problem Description&#xA;Application Name: Vegas Pro&#xA;Application Version: Version 13.0 (Build 453) 64-bit&#xA;Problem: Unmanaged Exception (0xc0000005)&#xA;Fault Module: C:\Program Files\Sony\Vegas Pro 13.0\vegas130.exe&#xA;Fault Address: 0x00007FF72E7DA710&#xA;Fault Offset: 0x000000000081A710&#xA;&#xA;Fault Process Details&#xA;Process Path: C:\Program Files\Sony\Vegas Pro 13.0\vegas130.exe&#xA;Process Version: Version 13.0 (Build 453) 64-bit&#xA;Process Description: Vegas Pro&#xA;Process Image Date: 2015-06-05 (Fri Jun 05) 13:53:04&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have no idea why it suddenly started doing this. Maybe it has something to do with my recent Windows 10 update. The same thing is happening with Sony Vegas 12.0&lt;/p&gt;&#xA;" OwnerUserId="11703" LastActivityDate="2015-09-23T17:40:00.487" Title="My Sony Vegas keeps crashing on running it" Tags="|vegas-pro|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16481" PostTypeId="1" CreationDate="2015-09-23T18:52:22.207" Score="2" ViewCount="122" Body="&lt;p&gt;I've got an audio sync issue with a .mov file during playback via thumb drive on a samsung tv. I exported the clip using QuickTime Conversion, H.264 compression with 48 KHz for the sample rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am currently using the same settings on multiple clips on the same playback devices (Samsung tv) all other clips are working fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone know if there is a different compression type I should use? I'm not sure if that is the problem since all other clips are working fine. The sync issue has just started today.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original video sources are being ripped from YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TIA!&#xA;Mike&lt;/p&gt;&#xA;" OwnerUserId="11707" LastActivityDate="2016-10-27T10:14:22.427" Title="Audio Sync Issues on playback via thumb drive" Tags="|video-editor|final-cut-pro|audio-quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16482" PostTypeId="1" AcceptedAnswerId="16536" CreationDate="2015-09-23T19:04:56.207" Score="2" ViewCount="264" Body="&lt;p&gt;I recorded some game footage using MSI afterburner and accidentally closed afterburner before stopping the recording and now I can't open the resulting file. MPC, VLC, Sony Vegas can't open it. MPC says &quot;cannot render the file&quot; others just don't react. The size of the file is 150Gb which is what I would expect. I want to extract/convert the data from the file somehow so that I can edit it in Sony Vegas. What should I try? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried using bandi-fix. It says that the file is not an avi file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My MSI Afterburner settings :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xAKaq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xAKaq.png&quot; alt=&quot;msi settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11706" LastEditorUserId="11706" LastEditDate="2015-09-23T19:29:22.140" LastActivityDate="2015-10-03T01:37:31.977" Title="Ways to open a corrupted .avi?" Tags="|video|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16484" PostTypeId="2" ParentId="16467" CreationDate="2015-09-24T04:39:34.697" Score="1" Body="&lt;p&gt;What I'd do:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Duplicate the project for a backup.&lt;/li&gt;&#xA;&lt;li&gt;&quot;Collapse&quot; the timeline from the bottom up:  Lasso all of the clips&#xA;immediately above the primary storyline (to make a Premiere&#xA;analogy, if the primary storyline is V1, then select all of the&#xA;clips on V2), right click, and select &quot;overwrite to primary&#xA;storyline.&quot;&lt;/li&gt;&#xA;&lt;li&gt;Repeat step 2 until there are no clips above the primary storyline.&lt;/li&gt;&#xA;&lt;li&gt;File-&gt;Export XML&lt;/li&gt;&#xA;&lt;li&gt;Import this xml file into Resolve&lt;/li&gt;&#xA;&lt;li&gt;Color clips&lt;/li&gt;&#xA;&lt;li&gt;Render individual source files&lt;/li&gt;&#xA;&lt;li&gt;Replace FCPX clips with new ones&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I don't have my DaVinci Dongle on me, or I'd elaborate on that side.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-09-24T04:39:34.697" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16485" PostTypeId="1" CreationDate="2015-09-24T10:11:01.547" Score="2" ViewCount="416" Body="&lt;p&gt;I'm new to Sony DVD Architect, I can't import subtitles into DVD-Arc even though the file extension is &lt;em&gt;.sub&lt;/em&gt;. I used &lt;a href=&quot;http://www.nikse.dk/subtitleedit/&quot; rel=&quot;nofollow&quot;&gt;Subtitle Edit&lt;/a&gt; to save my original subtitle file(in &lt;em&gt;.ass&lt;/em&gt; format) to DVDSubtitle(.sub) and Sony DVDArchitect(.sub), but it shows this error :&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;Warning: An error occurred while opening one or more files. The reason for the error could not be determined.&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I then tried to save the &lt;em&gt;.ass&lt;/em&gt; subtitle to DVD Subtitle System(.txt), it works, but it shows a bunch of symbols instead of the proper characters (I'm preparing  chinese subtitles by the way). The subtitles encoding is UTF-8, but it still cannot display chinese subtitles.Why?&lt;/p&gt;&#xA;" OwnerUserId="11713" LastActivityDate="2015-09-24T10:11:01.547" Title="Problems occurred when importing subtitles into Sony DVD Architect" Tags="|encoding|subtitles|dvd|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16486" PostTypeId="2" ParentId="16471" CreationDate="2015-09-24T10:48:39.270" Score="3" Body="&lt;p&gt;One possibility is to move a single object along a path (an asterisk in the example shown), using some position keyframes.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then place an adjustment layer above the object, with an Echo effect on it.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Weirdly the delay in seconds needs to be a negative number, adjust to get the distance between the repeating objects that you need, then increase the number of echoes for as long as you need the effect to last.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It won't create a perfect loop, but you could do that afterwards by adjusting the timing of the echoes, and the start/end points of your comp &lt;a href=&quot;https://video.stackexchange.com/questions/14969/cross-dissolve-in-real-time-between-end-and-start-point-of-looping-clip&quot;&gt;as described in this answer&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KkcqW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KkcqW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-09-24T10:48:39.270" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16487" PostTypeId="1" CreationDate="2015-09-24T12:30:40.117" Score="2" ViewCount="162" Body="&lt;p&gt;I got this from les mesirables (2012) movie. in this scene, guy singing, but camera blur all his around, focusing only on him. &lt;a href=&quot;https://i.stack.imgur.com/40Oh9.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/40Oh9.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;so What is this name of the video effect?  &lt;/p&gt;&#xA;" OwnerUserId="11714" LastActivityDate="2015-09-24T12:54:19.807" Title="What is this name of the video effect?" Tags="|effects|special-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16488" PostTypeId="2" ParentId="16487" CreationDate="2015-09-24T12:36:17.380" Score="3" Body="&lt;p&gt;Shallow &lt;a href=&quot;https://en.wikipedia.org/wiki/Shallow_focus&quot; rel=&quot;nofollow&quot;&gt;depth of field&lt;/a&gt; or focus.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-09-24T12:36:17.380" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16489" PostTypeId="2" ParentId="16487" CreationDate="2015-09-24T12:54:19.807" Score="1" Body="&lt;p&gt;Mulvya is right - it's shallow depth of field, achieved by having a lens with a wide open &lt;a href=&quot;https://en.wikipedia.org/wiki/Aperture&quot; rel=&quot;nofollow&quot;&gt;aperture&lt;/a&gt;, corresponding to a low &lt;a href=&quot;https://en.wikipedia.org/wiki/F-number&quot; rel=&quot;nofollow&quot;&gt;F stop number&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-09-24T12:54:19.807" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16490" PostTypeId="1" CreationDate="2015-09-24T14:45:29.633" Score="1" ViewCount="5904" Body="&lt;p&gt;I would like to know what technique they used to show Chris Evans smaller and  thinner in Captain America The First Avenger.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the name of this video editing trick?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How Chris Evans Captain America body transformation happened?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/PzjfS.jpg&quot; alt=&quot;captain america transformation&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="11681" LastEditorUserId="3561" LastEditDate="2015-09-28T17:08:10.013" LastActivityDate="2015-09-28T17:08:10.013" Title="What technique was used to transform Captain America from thinner and smaller into stronger and longer?" Tags="|shooting|visual-effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16491" PostTypeId="1" AcceptedAnswerId="16492" CreationDate="2015-09-24T18:32:47.593" Score="2" ViewCount="31" Body="&lt;p&gt;I want to record a video and want to play some recorded voice over the video, but I still want the sounds of the original video to remain. Is this possible, and when the answer is yes, can you recommend the software you are doing this with?&lt;/p&gt;&#xA;" OwnerUserId="11718" LastActivityDate="2015-09-24T19:07:00.223" Title="Voice over video with current sound" Tags="|video-editor|software-recommendation|software|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16492" PostTypeId="2" ParentId="16491" CreationDate="2015-09-24T19:07:00.223" Score="1" Body="&lt;p&gt;It is possible in almost any video=editing software. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are using Windows and you do not have much experience in video editing, than you can make it Windows Movie Maker. It is free and simple for beginners.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-09-24T19:07:00.223" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16494" PostTypeId="2" ParentId="16422" CreationDate="2015-09-25T04:40:38.980" Score="0" Body="&lt;p&gt;The reason Premiere runs just fine with a massive file but struggles with a smaller file is the issue of data compression. Many people (logically) believe that the two tradeoffs between high and low compression codecs is information vs. space, and that codecs with more information will take more processing power to process. This is actually not the case. While more compression will cause a loss of visual information, it also makes the data more difficult to process because the CPU (or the GPU in the case of accelerated hardware) has to decompress the codec information before it can be displayed. This means that codecs like h.264 and VP9 are more difficult to process than DNxHR and Prores.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can give more information about your CPU and GPU, I can adjust this to be more useful to you. The main issue I see in your specs is a mediocre CPU and GPU. The all-intra bit encoding (all-intra isn't technically a codec, just a means of storing data within h.264) uses single-frame compression. This helps retain more information and improves scrubbing performance within a video editor, but it makes playback more difficult than a normal h.264 encoding. While I'm no expert on the subject, I imagine that any hardware h.264 acceleration your computer has may not be able to process all-intra.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My personal recommendation would be to upgrade your GPU to something like a GTX 950 or a GTX 960, or simply convert your files to a visually lossless format such as DNxHR before you begin editing.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-09-25T04:40:38.980" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16495" PostTypeId="1" CreationDate="2015-09-25T15:51:02.667" Score="2" ViewCount="117" Body="&lt;p&gt;I'm in a live production, and I'm clipping hundreds of short videos all day every day. What I'd like to do is use some application to set a watch folder, and as soon as I hit stop on the encoder, and the file is complete, it automatically uploads to a root directory on a specified ftp site.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried using winscp, autover, and many others, but I keep running into several issues: 1) If I set a watch directory, and the file starts encoding, it's changing file size every second, so the application basically tries to do a new upload every 1 second on a file that's not even complete. So that doesn't work. And 2) The ftp has a cron job that pulls the file out of the root once the upload is complete, so it disappears from the remote, so some of the apps detect this as a change and try to reupload all the past videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I'm looking for is an app that I can point to a folder, and say &quot;Don't upload old files that aren't changing in size, don't try to sync directories, just wait for new files to show up, and keep checking their size every 5 seconds, after 5 seconds pass and the size hasn't changed, upload to this ftp.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But so far I'm striking out. Any help would be appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My clipping machines are Windows 7, but I also use Windows 8.1 / 10.&lt;/p&gt;&#xA;" OwnerUserId="11722" LastEditorUserId="11722" LastEditDate="2015-09-27T00:42:25.127" LastActivityDate="2015-09-27T00:42:25.127" Title="Auto upload (ftp) video file once it's finished encoding" Tags="|video|software-recommendation|encoding|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16496" PostTypeId="2" ParentId="16495" CreationDate="2015-09-25T16:52:02.860" Score="2" Body="&lt;p&gt;Maybe someone will chime in with an app suggestion that directly fulfills your need, but here's a temporary workaround - a bit convoluted, but should work.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create two folders A and B.&lt;/li&gt;&#xA;&lt;li&gt;Set folder A as the destination folder in the encoder.&lt;/li&gt;&#xA;&lt;li&gt;Apply a suffix to all the output files being generated, something innocuous like ENC e.g. Clip2015-09-25-23232-ENC.mov - this step assumes that there may be other non-actionable files in the folder. Skip if not so.&lt;/li&gt;&#xA;&lt;li&gt;Set up a batch job that runs periodically, whose first command is to rename all files with the suffix, like by adding a prefix or another suffix. And whose 2nd command is to move all files with the new prefix to folder B&lt;/li&gt;&#xA;&lt;li&gt;While the encoder is working on a file, it has a lock on it, and so only completed files will get renamed. And only those will be moved to B.&lt;/li&gt;&#xA;&lt;li&gt;Use any of your aforementioned FTP apps to watch folder B and transfer files.   &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-09-25T17:04:22.260" LastActivityDate="2015-09-25T17:04:22.260" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16501" PostTypeId="2" ParentId="16471" CreationDate="2015-09-26T19:40:59.513" Score="0" Body="&lt;p&gt;There are plugins available on aescripts.com that can do this. Yes, you will pay for the convenience, but then, someone has done the work for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I saw &lt;a href=&quot;http://aescripts.com/search/?q=path&quot; rel=&quot;nofollow&quot;&gt;several in this search&lt;/a&gt; that would serve your purposes.&lt;/p&gt;&#xA;" OwnerUserId="5804" LastEditorUserId="3561" LastEditDate="2015-10-11T06:27:31.877" LastActivityDate="2015-10-11T06:27:31.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16502" PostTypeId="1" CreationDate="2015-09-27T03:54:18.850" Score="1" ViewCount="1866" Body="&lt;p&gt;So, x264 is still the most popular (free) H.264 encoder out there. But it is also still considered ridiculously cryptic as well. There are tons of switches and options in the encoder that allow you to create tiny files that capture an impressive amount of quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have looked over the ffmpeg wiki, the VLC wiki pages for x264 and the very academically written &lt;a href=&quot;http://akuvian.org/src/x264/overview_x264_v8_5.pdf&quot; rel=&quot;nofollow&quot;&gt;PDF&lt;/a&gt;, but there's no realistically easy quick reference guide for x264 that I've seen that lets people understand, for instance, why when you unparse the encoder options for the x264 -tune option set to &quot;none&quot; is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x264 Unparse: level=4.0:ref=1:8x8dct=0:weightp=1:subme=2:mixed-refs=0:trellis=0:vbv-bufsize=25000:vbv-maxrate=20000:rc-lookahead=10&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but the unparsed x264 -tune option &quot;film&quot; is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x264 Unparse: level=4.0:ref=1:deblock=-1,-1:8x8dct=0:weightp=1:subme=2:mixed-refs=0:trellis=0:psy-rd=1.00,0.15:vbv-bufsize=25000:vbv-maxrate=20000:rc-lookahead=10&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And I know that the secret (as it were) to getting great quality is using constant rate factor (CRF), I'm still interested in knowing how best to tweak these esoteric options if it makes sense.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some example situations:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A live-action video, fast cuts throughout, but shot at 24 fps.&lt;/li&gt;&#xA;&lt;li&gt;An CG animated video, longer cuts, rendered at 30 fps&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Using the same generic settings in x264 would provide two different outcomes, obviously. But what options outside of -tune would you turn to for being able to effectively set x264 on the task for the best possible outcome?&lt;/p&gt;&#xA;" OwnerUserId="5804" LastActivityDate="2015-09-27T03:54:18.850" Title="Is there a simple explanation of x264 encoding parameters?" Tags="|ffmpeg|codec|encoding|x264|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16503" PostTypeId="1" CreationDate="2015-09-27T05:24:35.800" Score="1" ViewCount="190" Body="&lt;p&gt;I inserted 10 media in a DVD project, each video has its scene/chapter markers at the beginning and 3 minutes before the end. While I preview as disc, the &quot;Next&quot; button works fine when skipping from beginning to the end, but it somehow doesn't skip from video_1's end to video_2's beginning when I pressed the &quot;Next&quot; button. It seems to be only skipping chapters in a single video, and doesn't skip to the next video. &lt;br&gt;&lt;br&gt;&#xA;One more thing, it can start video_2 when video_1 reached the end, because I set the end action of video_1 navigate to video_2's beginning. So it sucks because I need to wait until it ends instead of skipping to the next video :(&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could this problem be solved? Or is there any other way to do that? Thanks a lot.&lt;/p&gt;&#xA;" OwnerUserId="11730" LastActivityDate="2015-09-27T05:24:35.800" Title="How to skip to the next video with the &quot;Next&quot; button in Sony DVD Architect" Tags="|video|dvd|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16505" PostTypeId="1" AcceptedAnswerId="18090" CreationDate="2015-09-28T03:04:41.630" Score="1" ViewCount="1997" Body="&lt;p&gt;I have a camera which outputs uncompressed HDMI. I understand that I can buy an external recorder (e.g., Atomos) to record the video, but is it possible to use an ordinary laptop (or desktop) computer instead?&lt;/p&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2016-04-04T08:53:30.400" Title="PC instead of external recorder" Tags="|video|video-recording|hdmi|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16506" PostTypeId="2" ParentId="16505" CreationDate="2015-09-28T08:33:40.147" Score="2" Body="&lt;p&gt;Blackmagic Design's Decklink cards are a starting place for desktop computers: &lt;a href=&quot;https://www.blackmagicdesign.com/products/decklink&quot; rel=&quot;nofollow&quot;&gt;https://www.blackmagicdesign.com/products/decklink&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For laptops there's both Intensity: &lt;a href=&quot;https://www.blackmagicdesign.com/products/intensity&quot; rel=&quot;nofollow&quot;&gt;https://www.blackmagicdesign.com/products/intensity&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And UltraStudio: &lt;a href=&quot;https://www.blackmagicdesign.com/products/ultrastudiousb3&quot; rel=&quot;nofollow&quot;&gt;https://www.blackmagicdesign.com/products/ultrastudiousb3&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other companies also make such products (and even Blackmagic Design offer yet more options), but the above provides a range of answers to your question.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-09-28T08:33:40.147" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16507" PostTypeId="1" AcceptedAnswerId="16508" CreationDate="2015-09-28T10:49:50.247" Score="2" ViewCount="229" Body="&lt;p&gt;Sorry if this is the wrong site to ask this question, with it not being &lt;em&gt;strictly&lt;/em&gt; about video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Say I’m conducting an interview in a hallway or similar environment. There are a lot of flat surfaces, maybe an uncarpeted floor, this is going to produce a lot of echo and sound distortion. A purpose-made room or studio isn’t an option as the interviews are supposed to be “of the moment”. How would I go about eliminating echo?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can’t go around the whole location putting up blankets to dampen the echo, so would I be looking at some sort of attachment on the camera microphone, i.e. a windsock (or similar attachment if a windsock isn’t appropriate)?&lt;/p&gt;&#xA;" OwnerUserId="9179" LastEditorUserId="4426" LastEditDate="2015-09-28T15:30:29.410" LastActivityDate="2015-09-28T15:30:29.410" Title="Remove echo when recording in say, a hallway" Tags="|audio|audio-recording|audio-quality|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16508" PostTypeId="2" ParentId="16507" CreationDate="2015-09-28T14:00:01.907" Score="3" Body="&lt;p&gt;The attachment you are looking for is called a lav mic, though sometimes it can be a hand-held shotgun mic, too.  Sound intensity decreases as the square of distance and echoes decay exponentially.  The trick to eliminating the echo is to get the mic sufficiently close to your sound source that the original source is 10dB to 20dB louder than the environmental echo.  If you see how close a news reporter holds a mic up to a subject when interviewing them in the moment (and sometimes in a hallway), do &lt;em&gt;that&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's nothing you can put on the microphone that will solve the echo problem.  The only way to solve it is with proper distance (which is a function of proper distance ratios).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-09-28T14:00:01.907" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16509" PostTypeId="1" CreationDate="2015-09-27T12:21:27.473" Score="3" ViewCount="3610" Body="&lt;p&gt;On Photoshop CC 2015.0.0 I can play my video and hear the camera audio soundtrack. When I render the resultant MP4 has no sound. My movie consists of Nikon .MOV files, and some text overlays and is 35 minutes long. Render settings are shown below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nm9WT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nm9WT.png&quot; alt=&quot;Photoshop CC Render Video dialog&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I missing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[Edit] Preset options shown below.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/MpvRl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MpvRl.png&quot; alt=&quot;Render Preset optoins.&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &quot;Adobe Media Encoder&quot; drop-down also contains Photoshop Image Sequence (which will save a series of JPEGs).&lt;/p&gt;&#xA;" OwnerUserId="11734" OwnerDisplayName="transistor" LastEditorUserId="11734" LastEditDate="2015-09-28T17:33:18.900" LastActivityDate="2015-09-30T17:53:02.323" Title="Photoshop CC video render has no sound" Tags="|video|audio|dvd|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16510" PostTypeId="2" ParentId="16507" CreationDate="2015-09-28T15:18:55.030" Score="1" Body="&lt;p&gt;You could also try a lip mic, like the &lt;a href=&quot;http://www.canford.co.uk/Products/92-392_COLES-4104-MICROPHONE-Lip&quot; rel=&quot;nofollow&quot;&gt;Coles 4104&lt;/a&gt;.  They're used in very noisy environments such as football matches by commentators, and work well.  Just holding any mic very close to the person speaking won't necessarily sound good, due to how the microphones response changes when close to a source - you can get a lot of bass tip-up and popping from some mics when placed like this.  These are known as &lt;a href=&quot;https://en.wikipedia.org/wiki/Proximity_effect_(audio)&quot; rel=&quot;nofollow&quot;&gt;proximity effects&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-09-28T15:18:55.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16512" PostTypeId="1" AcceptedAnswerId="16513" CreationDate="2015-09-28T19:21:20.113" Score="3" ViewCount="301" Body="&lt;p&gt;I'm trying to make an intro in After Effects (I'm a beginner) and I was wondering if anyone could assist me in reproducing the following logo animation:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=Wygmxzp6VzY&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gsBB9.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to dive into this topic and understand the basics, can anyone point me in the right direction? How this effect is called and how to implement it roughly?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="11737" LastEditorUserId="6685" LastEditDate="2015-10-01T10:42:45.693" LastActivityDate="2015-10-05T16:39:12.730" Title="Sci-Fi intro logo animation" Tags="|after-effects|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16513" PostTypeId="2" ParentId="16512" CreationDate="2015-09-28T19:34:39.473" Score="4" Body="&lt;p&gt;In the example given, typical &lt;a href=&quot;https://en.wikipedia.org/wiki/Motion_graphics&quot; rel=&quot;nofollow noreferrer&quot;&gt;motion graphics&lt;/a&gt; techniques are used. There are several ways to achieve this animation in After Effects. Probably the easiest way is &lt;strong&gt;drawing a mask shape per letter&lt;/strong&gt; on top of the 'logo layer' and keyframe the &lt;em&gt;Mask Shape&lt;/em&gt; property. In most cases this is fast to implement and good enough, but in order to achieve a &lt;strong&gt;uniform motion&lt;/strong&gt; I'd recommend to split up the logo into &lt;strong&gt;separate letters&lt;/strong&gt; and use a &lt;strong&gt;trim path on a shape layer&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;Instructions&lt;/h3&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Bring your &lt;em&gt;Shape/Text&lt;/em&gt; from Illustrator into After Effects &lt;strong&gt;or&lt;/strong&gt; simply use an After Effects &lt;em&gt;Text Layer&lt;/em&gt; (If you don't want to switch between the applications)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/vm8Mh.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;Make sure that no layer is selected in your composition and hit &lt;kbd&gt;G&lt;/kbd&gt; to enable the &lt;strong&gt;pen tool&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Draw your animation path&lt;/strong&gt; from the beginning to the end of the shape&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/xkOzz.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;Set the &lt;strong&gt;contour width&lt;/strong&gt; of the new created shape layer to a value which covers the shape below&lt;/li&gt;&#xA;&lt;li&gt;Set the fill color  to &lt;code&gt;None&lt;/code&gt; by holding &lt;kbd&gt;Alt&lt;/kbd&gt; and clicking into the color field&lt;/li&gt;&#xA;&lt;li&gt;If you roll out the shape layer by &lt;strong&gt;clicking on the arrow&lt;/strong&gt; &lt;kbd&gt; &gt; &lt;/kbd&gt; button left to the layer's name, there should be a appear another &lt;kbd&gt; &gt; Add &lt;/kbd&gt; Button in Track Mattes column. Click it to add a &lt;strong&gt;Trim Paths&lt;/strong&gt; property &lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If &lt;em&gt;Trim Paths&lt;/em&gt; is assigned to the shape layer go to your &lt;strong&gt;last frame&lt;/strong&gt;, roll out &lt;strong&gt;Trim Paths&lt;/strong&gt; property and click the stop watch of the &lt;strong&gt;end value&lt;/strong&gt;, this should create a keyframe with a value of 100%&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Go to your first frame and set the &lt;strong&gt;end&lt;/strong&gt; value to &lt;strong&gt;0%&lt;/strong&gt; to get something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/SxcFk.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;To use the path animation as &lt;strong&gt;matte&lt;/strong&gt;, set the &lt;strong&gt;track matte&lt;/strong&gt; of the &lt;strong&gt;text layer below&lt;/strong&gt; to &lt;code&gt;Alpha&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/zbMK9.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; Consider that the type in the given example is very suitable for this kind of animation.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2015-10-05T16:39:12.730" LastActivityDate="2015-10-05T16:39:12.730" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16514" PostTypeId="2" ParentId="16509" CreationDate="2015-09-28T23:09:29.290" Score="2" Body="&lt;p&gt;Adobe released Photoshop CC 2015.0.1 this evening and it seems to have fixed the problem. (I had tried again with a short clip and couldn't get any sound.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iuF2O.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iuF2O.png&quot; alt=&quot;Ps CC video render settings that produce audio.&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, unfortunately, I don't really know what the problem was, but this patch seems to have fixed it.&lt;/p&gt;&#xA;" OwnerUserId="11734" LastEditorUserId="11734" LastEditDate="2015-09-30T17:53:02.323" LastActivityDate="2015-09-30T17:53:02.323" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16515" PostTypeId="1" CreationDate="2015-09-29T01:17:42.530" Score="1" ViewCount="51" Body="&lt;p&gt;The question is really part #2 of the following project:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking into&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;mounting a 360 degree camera to a drone to get a view like &lt;a href=&quot;https://www.youtube.com/watch?v=NdZ02-Qenso&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;camera captures and can output the video like a webcam in &quot;google cardboard&quot; format to a transmitter with a HDMI port&lt;/li&gt;&#xA;&lt;li&gt;transmit the video to the ground using a HDMI input from the drone to the ground like a regular HD feed&lt;/li&gt;&#xA;&lt;li&gt;allow a user to watch the feed from the receiver on the ground using google cardboard&lt;/li&gt;&#xA;&lt;li&gt;when the user turns his head, the video should track the head movements&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This is all do-able if you record and post process but I haven't seen anyone do it for a live stream. The closest would be the &lt;a href=&quot;http://tedx.amsterdam/2014/11/virtual-front-row-seat/&quot; rel=&quot;nofollow&quot;&gt;TEDxAMSTERDAM&lt;/a&gt; which utilised a bunch of camera outputs to stitch one big 360 degree output and live stream that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I figured if you already had the output of the camera in &quot;google cardboard&quot; format, you could cut the post-processing out and serve it live. Are there any such camera&lt;/p&gt;&#xA;" OwnerUserId="11739" LastActivityDate="2015-09-29T01:17:42.530" Title="Are there any small battery powered 360 degree cameras capable of a native &quot;google cardboard&quot; format output over HDMI connection?" Tags="|video|camera|live|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16516" PostTypeId="1" CreationDate="2015-09-29T02:43:00.790" Score="9" ViewCount="10921" Body="&lt;p&gt;I use this to cut a part out of a mp4 file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vcodec copy -acodec copy -ss 00:36:18 -to 00:39:50 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It works good but the video image is always freezed in the beginning for 1 second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Doesnt matter which video file I try and cut a part out of, it takes like 1 second before the video start.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Heres an example: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/nhRTwhFc7Os?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why?&lt;/p&gt;&#xA;" OwnerUserId="11740" LastActivityDate="2023-01-20T16:30:03.907" Title="ffmpeg, first second of cut video part freezed" Tags="|ffmpeg|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16517" PostTypeId="2" ParentId="16516" CreationDate="2015-09-29T06:07:21.173" Score="3" Body="&lt;p&gt;The video freezes because you aren't cutting at an &lt;a href=&quot;https://en.wikipedia.org/wiki/Video_compression_picture_types&quot; rel=&quot;nofollow&quot;&gt;I-frame&lt;/a&gt;, while using stream-copy mode. You'll have to re-encode the video, or choose a different start point, which happens to be an I-frame.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-09-29T07:32:44.243" LastActivityDate="2015-09-29T07:32:44.243" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16518" PostTypeId="2" ParentId="16150" CreationDate="2015-09-29T08:51:11.920" Score="0" Body="&lt;p&gt;If you want to just create an animated writing effect, I use this script:&#xA;&lt;a href=&quot;http://aescripts.com/quickdraw/&quot; rel=&quot;nofollow&quot;&gt;http://aescripts.com/quickdraw/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It works better for complex shapes than the &lt;a href=&quot;https://library.creativecow.net/articles/devis_andrew/AE-Basics-30-The-Write-On-Effect/video-tutorial&quot; rel=&quot;nofollow&quot;&gt;built in write-on effect&lt;/a&gt; in AE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, this script allows you to scale paths: &#xA;&lt;a href=&quot;http://aescripts.com/shapes-and-masks/&quot; rel=&quot;nofollow&quot;&gt;http://aescripts.com/shapes-and-masks/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have a look at the video from about 4m30s in:&#xA;https://youtu.be/3SSsgdeMSmw?t=4m31s&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I think what you need is the first one from the sounds of it...&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-09-29T08:51:11.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16519" PostTypeId="2" ParentId="15872" CreationDate="2015-09-29T18:08:21.460" Score="0" Body="&lt;p&gt;thats a tough one for the price, have you looked at GoPro cams? theres no zoom, but excellent quality. Probly could find one on ebay for around $200&lt;/p&gt;&#xA;" OwnerUserId="11654" LastActivityDate="2015-09-29T18:08:21.460" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16520" PostTypeId="1" CreationDate="2015-09-29T23:22:30.573" Score="3" ViewCount="53" Body="&lt;p&gt;I'm beginning to put together a personal gear kit. I know enough to make decisions about most of my gear, but my knowledge of lenses is pretty lacking. I'm looking to spend under $600 total (including any adapters). The camera I'm purchasing uses the Micro 4/3 standard. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Originally I was looking at the Tamron 14-150mm f/3.5-5.8 Di III Lens because it seems to be a quality lens that can be used in a wide variety of situations, but I'm starting to reconsider because I've been seeing people say that getting an adapter to Canon EF is a better decision because a full frame lens will give you more light and narrower depth of field.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll be using this lens for a lot of cinematography, but I'll also be doing quite a bit of real estate and wedding videos. I intend to purchase more lenses eventually, but for now I need a single, versatile lens, preferably small and lightweight, even if it isn't perfect. Optical image stabilization and autofocus would be nice. I'm not looking for specific lens recommendations necessarily, just general information that can help me make a decision.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastEditorUserId="6671" LastEditDate="2015-09-30T01:46:42.457" LastActivityDate="2017-10-23T16:18:27.193" Title="What are some versatile, standalone lenses under $600?" Tags="|lenses|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16521" PostTypeId="2" ParentId="16520" CreationDate="2015-09-30T02:38:45.177" Score="4" Body="&lt;p&gt;If you are starting from scratch with a m43 camera, then buying EF lenses kinda defeats the whole purpose of that format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First things first: the m43 is approximately 1/2 the image diagonal of a full-frame 35mm camera, which means lenses need to cover only 1/4 the area, and that means you can use 1/8th the glass to get the same job done.  That translates to much smaller, lighter, and less expensive lenses, which is the main idea of the format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When it comes to depth of field, the variables that go into that equation are focal length, focal distance, aperture, and circle of confusion (which is related to image size and magnification).  Boiling it all down, a &quot;standard&quot; 50mm EF lens shooting a subject 10 feet away at f2.8 on a 35mm camera is going to give similar field of view and depth of field as a 25mm m43 lens shooting the same subject 10 feet away at f1.4 on an m43 camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you then place the 50mm EF lens on your m43 camera, it behaves like a telephoto lens.  It doesn't give you a shallower depth of field than a 50mm m43 lens on an m43 camera--that stays 100% the same.  The reason you get shallower depth of field on a 35mm camera is not due to the lens alone, but the variety of parameters (lens, distance, aperture, circle of confusion).  Putting an EF lens on your m43 camera will make it heavier, unbalanced, more expensive, and will do nothing at all to change the depth of field compared to the same focal length m43 lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for your desire to &quot;do it all&quot; for $600, architecture really requires wide-angle lenses.  Really wide.  Wider than you can afford for $600.  But you can do something with a 12mm lens--much more than with a 14mm (or longer).  For weddings, you'll want medium wide to medium telephoto.  If you are trying to stand really far away and pick up candids with a long telephoto, you are doing it wrong.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A great lens that does both 12mm and the wedding range is the Olympus 12-40 f2.8: &lt;a href=&quot;https://www.42ndphoto.com/Product/olympus-12-40mm-f2-8-m-zuiko-ed-pro-lens-62mm-/110022&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.42ndphoto.com/Product/olympus-12-40mm-f2-8-m-zuiko-ed-pro-lens-62mm-/110022&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a little more than $600, but an incredible bargain for what it does.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the range beyond 40mm (which is the equivalent of approx 85mm in 35mm full frame territory), a great shallow depth of field telephoto option (which again is more than $600) is the 75mm f1.8 lens: &lt;a href=&quot;https://www.42ndphoto.com/Product/olympus-75mm-m-zuiko-f1-8-lens/110025&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.42ndphoto.com/Product/olympus-75mm-m-zuiko-f1-8-lens/110025&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An f4.0 zoom lens on a m43 camera has the depth of field of an f8 lens on 35mm cameras--pretty deep.  An f2.8 lens, especially toward the longer end (40mm) will give you some separation between subject and background if you are careful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Me?  I have the f2.0 zooms (14-35 and 35-100), which cost $2,000 +/-:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/546539-REG/Olympus_261011_14_35mm_f_2_0_ED_SWD.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.bhphotovideo.com/c/product/546539-REG/Olympus_261011_14_35mm_f_2_0_ED_SWD.html&lt;/a&gt;&#xA;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/404517-REG/Olympus_261012_35_100mm_f_2_0_ED_Zuiko.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.bhphotovideo.com/c/product/404517-REG/Olympus_261012_35_100mm_f_2_0_ED_Zuiko.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's the cost of shallow DOF and really high performance on m43.  There are f2.0 zoom lenses that almost cover the 35mm format, but they weigh about 15 lbs and they cost almost $100,000:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/840523-REG/Fujinon_hk4_7x18_f_18_85mm_T2_0_Premier_PL.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.bhphotovideo.com/c/product/840523-REG/Fujinon_hk4_7x18_f_18_85mm_T2_0_Premier_PL.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which is why you see very few f2.0 zooms for 35mm.  Any why an f2.0 zoom on m43 is hand-holdable and much more affordable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bottom line: if you are going for m43 for cost and weight, don't blow it by buying EF lenses.  If you already have $20,000 worth of EF glass, then maybe it makes sense to spend $600 on a speed booster so that you can repurpose some of that glass for your new camera.  But it's no reason to go out and get some new.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2017-10-23T16:18:27.193" LastActivityDate="2017-10-23T16:18:27.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16522" PostTypeId="1" CreationDate="2015-09-30T08:48:09.927" Score="1" ViewCount="540" Body="&lt;p&gt;I want to create a vine on my laptop bit not sure which software to download to do it as most of the ones I have come across look spammy and don't want to kill my computer with virus's.&lt;/p&gt;&#xA;" OwnerUserId="11747" LastActivityDate="2015-09-30T20:40:33.430" Title="best tool to use for vine production on windows" Tags="|video-editor|webvideos|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16524" PostTypeId="2" ParentId="16522" CreationDate="2015-09-30T17:05:49.497" Score="2" Body="&lt;p&gt;if you´re using Windows you can use / download MovieMaker, and just import your clip and start to editing in most commons formats &amp;amp; if you have a mac imovie does the job also , those are &quot;defaults&quot; software and are pretty intuitive and in a sort way &quot;basic&quot;.&lt;/p&gt;&#xA;" OwnerUserId="11750" LastEditorUserId="11750" LastEditDate="2015-09-30T20:40:33.430" LastActivityDate="2015-09-30T20:40:33.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16525" PostTypeId="1" CreationDate="2015-09-30T17:58:06.897" Score="4" ViewCount="1234" Body="&lt;p&gt;Please help me , I have copied some movies to laptop from dvd disk, but the size of movies are more than 2 gb. But the movies uploaded to torrents are only 700 mb with the same clarity. How to reduce the size of my videos with out affecting the quality. Which software I should use for this.&lt;/p&gt;&#xA;" OwnerUserId="11751" LastEditorUserId="2836" LastEditDate="2015-10-05T13:42:01.903" LastActivityDate="2016-08-30T19:13:21.560" Title="How to reduce the size of video to 700 mb" Tags="|video|video-quality|compression|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16526" PostTypeId="2" ParentId="14664" CreationDate="2015-09-30T22:52:55.577" Score="3" Body="&lt;p&gt;To embed a HD video hosted on Vimeo, you need Vimeo PLUS or PRO.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;https://vimeo.com/help/faq/sharing-videos/embedding-videos#can-i-make-my-embedded-videos-default-to-hd&quot; rel=&quot;nofollow&quot;&gt;this page&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Can I make my embedded videos default to HD?&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Plus and PRO members have the ability to not only embed their videos&#xA;  in glorious HD, but also to default those videos to be viewed in HD.&#xA;  This is a sweet way to make sure that your crisp, high definition&#xA;  videos are seen in their full glory when they're embedded around the&#xA;  interwebs.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;They even made &lt;a href=&quot;https://vimeo.com/plus&quot; rel=&quot;nofollow&quot;&gt;a simple diagram&lt;/a&gt; to explain it.&lt;/p&gt;&#xA;" OwnerUserId="11754" LastActivityDate="2015-09-30T22:52:55.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16528" PostTypeId="1" CreationDate="2015-10-01T20:07:58.187" Score="1" ViewCount="703" Body="&lt;p&gt;According to &lt;a href=&quot;https://www.ffmpeg.org/ffmpeg-formats.html#Options-4&quot; rel=&quot;nofollow noreferrer&quot;&gt;Matroska options&lt;/a&gt; , the muxer writes the index at the end of file by default. However, if I save incomplete mkv file while encoding and compare it with the final clip, I can see more than 2 differences in 2 files:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FgAM1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FgAM1.png&quot; alt=&quot;incomplete vs complete&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is not wanted. How to prevent it? I know ffmpeg won't be able to rewrite the file, if the output file is a pipe, but what if I cannot use pipes? (when I need to split the output and using &lt;code&gt;-f segment&lt;/code&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To reproduce using ffmpeg's testsrc:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ &amp;gt;after.mkv; tail -c +1 -F after.mkv &amp;gt;before.mkv &amp;amp; ffmpeg -y -f lavfi -i testsrc=s=720x576:r=12.5:d=120 after.mkv; sleep 3 ; kill $!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Full output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[1] 6148&#xA;ffmpeg version N-72058-g3ecc063 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 4.9.2 (GCC)&#xA;  configuration: --disable-static --enable-shared --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      54. 23.101 / 54. 23.101&#xA;  libavcodec     56. 38.100 / 56. 38.100&#xA;  libavformat    56. 33.100 / 56. 33.100&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 16.101 /  5. 16.101&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, lavfi, from 'testsrc=s=720x576:r=12.5:d=120':&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: rawvideo (RGB[24] / 0x18424752), rgb24, 720x576 [SAR 1:1 DAR 5:4], 12.50 tbr, 12.50 tbn, 12.50 tbc&#xA;No pixel format specified, yuv444p for H.264 encoding chosen.&#xA;Use -pix_fmt yuv420p for compatibility with outdated media players.&#xA;[libx264 @ 00000000006bdce0] using SAR=1/1&#xA;[libx264 @ 00000000006bdce0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;[libx264 @ 00000000006bdce0] profile High 4:4:4 Predictive, level 2.2, 4:4:4 8-bit&#xA;[libx264 @ 00000000006bdce0] 264 - core 146 r2538 121396c - H.264/MPEG-4 AVC codec - Copyleft 2003-2015 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=4 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=12 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, matroska, to 'after.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf56.33.100&#xA;    Stream #0:0: Video: h264 (libx264) (H264 / 0x34363248), yuv444p, 720x576 [SAR 1:1 DAR 5:4], q=-1--1, 12.50 fps, 1k tbn, 12.50 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc56.38.100 libx264&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; h264 (libx264))&#xA;Press [q] to stop, [?] for help&#xA;frame= 1500 fps=231 q=-1.0 Lsize=     575kB time=00:01:59.84 bitrate=  39.3kbits/s&#xA;video:564kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.994470%&#xA;[libx264 @ 00000000006bdce0] frame I:6     Avg QP:13.21  size:  8126&#xA;[libx264 @ 00000000006bdce0] frame P:750   Avg QP:10.61  size:   570&#xA;[libx264 @ 00000000006bdce0] frame B:744   Avg QP:11.90  size:   136&#xA;[libx264 @ 00000000006bdce0] consecutive B-frames:  0.8% 99.2%  0.0%  0.0%&#xA;[libx264 @ 00000000006bdce0] mb I  I16..4: 52.0% 37.3% 10.7%&#xA;[libx264 @ 00000000006bdce0] mb P  I16..4:  1.6%  1.3%  0.1%  P16..4:  3.7%  0.9%  0.6%  0.0%  0.0%    skip:91.7%&#xA;[libx264 @ 00000000006bdce0] mb B  I16..4:  0.2%  0.8%  0.0%  B16..8:  3.0%  0.2%  0.0%  direct: 0.0%  skip:95.8%  L0:49.5% L1:48.3% BI: 2.2%&#xA;[libx264 @ 00000000006bdce0] 8x8 transform intra:49.4% inter:82.8%&#xA;[libx264 @ 00000000006bdce0] coded y,u,v intra: 2.6% 1.6% 1.9% inter: 0.2% 0.2% 0.2%&#xA;[libx264 @ 00000000006bdce0] i16 v,h,dc,p: 68% 24%  2%  7%&#xA;[libx264 @ 00000000006bdce0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 79%  2% 19%  0%  0%  0%  0%  0%  0%&#xA;[libx264 @ 00000000006bdce0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 46% 35% 15%  1%  1%  1%  0%  1%  0%&#xA;[libx264 @ 00000000006bdce0] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 00000000006bdce0] ref P L0: 68.2%  2.4% 17.6% 11.8%&#xA;[libx264 @ 00000000006bdce0] ref B L0: 59.1% 40.9%&#xA;[libx264 @ 00000000006bdce0] kb/s:38.46&#xA;[1]+  Terminated              tail -c +1 -F after.mkv &amp;gt; before.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11453" LastEditorUserId="11453" LastEditDate="2015-10-02T08:44:40.430" LastActivityDate="2015-10-02T08:44:40.430" Title="ffmpeg not only writes mkv index at the end, but overwrites multiple places in file" Tags="|ffmpeg|matroska|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16529" PostTypeId="2" ParentId="16512" CreationDate="2015-10-01T22:17:21.650" Score="0" Body="&lt;p&gt;@Poor is right for the &quot;Ares&quot; text on the left.  To the right of that, you've got a single line created with the path tool &amp;amp; drawn on using &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/shape-attributes-paint-operations-path.html#alter_shapes_with_path_operations&quot; rel=&quot;nofollow&quot;&gt;trim path&lt;/a&gt;.  The &quot;archive&quot; text has had its position and &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/formatting-characters-character-panel.html#spacing_between_characters_and_lines_non_breaking_spaces_kerning_tracking_and_leading&quot; rel=&quot;nofollow&quot;&gt;tracking&lt;/a&gt; adjusted using &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/setting-selecting-deleting-keyframes.html&quot; rel=&quot;nofollow&quot;&gt;keyframes&lt;/a&gt;, and has been &lt;a href=&quot;https://helpx.adobe.com/after-effects/how-to/using-pen-tool-masks-aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;masked out&lt;/a&gt; to the left of the vertical line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To take a guess at the fonts used, try using a site like &lt;a href=&quot;http://www.myfonts.com/WhatTheFont/&quot; rel=&quot;nofollow&quot;&gt;WhatTheFont&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-10-01T22:17:21.650" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16530" PostTypeId="2" ParentId="16244" CreationDate="2015-10-02T02:02:49.110" Score="3" Body="&lt;p&gt;I had the same issue on my 2013 15-inch MBP. I was able to fix it by switching my renderer to CUDA (after reinstalling Premiere it automatically set it to OpenCL for some reason).&lt;/p&gt;&#xA;" OwnerUserId="11762" LastActivityDate="2015-10-02T02:02:49.110" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16531" PostTypeId="2" ParentId="12995" CreationDate="2015-10-02T17:04:19.210" Score="4" Body="&lt;p&gt;I encountered the same issue when I turned the sound off in the sequence.  When I re-enabled audio export, even though I didn't want to or need to, it saved as an mp4 again.&lt;/p&gt;&#xA;" OwnerUserId="11764" LastEditorUserId="2836" LastEditDate="2015-10-05T15:00:10.800" LastActivityDate="2015-10-05T15:00:10.800" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16532" PostTypeId="2" ParentId="8133" CreationDate="2015-10-03T00:06:34.317" Score="0" Body="&lt;p&gt;I was going through the same problem, after rendering video, it would slow down to half speed. Not sure why, but the only way to get back to the whole clip was to click &quot;Sequence&quot; &quot;delete render files&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Doesn't solve the problem of rendering, but it gets back to the original full speed clip.&lt;/p&gt;&#xA;" OwnerUserId="11766" LastActivityDate="2015-10-03T00:06:34.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16533" PostTypeId="2" ParentId="16244" CreationDate="2015-10-03T01:04:17.817" Score="0" Body="&lt;p&gt;Most issues in adobe premiere that are related to rendering or display can almost always link back to an incompatibility with a GPU. This was previously stated, but having many GPU issues in the past I can personally a test to this. I have everything from Intel only to nvidia k6000.  &lt;/p&gt;&#xA;" OwnerUserId="11767" LastActivityDate="2015-10-03T01:04:17.817" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16534" PostTypeId="2" ParentId="16022" CreationDate="2015-10-03T01:11:52.390" Score="0" Body="&lt;p&gt;Both have comparable quality. Not going to repeat anything already said but a lot of it comes down to what are you going to edit with, are there other cameras, and what type of editing. Avchd degrades quicker with color correction and heavy effects. Though mp4 is not much better. One thing to not is both avchd and mp4 are wrappers and not the codec which is what codes the video. Both on the c100 are h264 codec which means basically the same quality. As also said the bit rates differ some because of compression and storing method. You want to stick with all the same media when editing so it other media is avchd then use that or likewise with mp4. Also the software you use can influence your decision certain editors handle different formats better. Premiere typically handle mp4 better same with final cut. &lt;/p&gt;&#xA;" OwnerUserId="11767" LastActivityDate="2015-10-03T01:11:52.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16535" PostTypeId="2" ParentId="16525" CreationDate="2015-10-03T01:25:35.260" Score="2" Body="&lt;p&gt;Ok one thing to note is the resolution of the video. Most 700mb torrents are not full HD. most are 720p or if they are 1080p they are in h.265&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming resolution is 1080p you can go from 2 gb to about 1gb without a huge drop in quality. The big issue becomes with the type of movie. Movies with a lower (smaller) color palette will degrade quicker because compression aims to make as many pixels nearby alike to lower the decoding time and storage space. It analyzes the video in varying block sizes and re-writes it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;H265 was made to take 40% less space as h.264 while keeping the same visual quality. The issue with h265 is the processing power required to encode it. I have a server I use to encode mine and it still takes a long time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the way you would do it...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use a video converter that allows you to control the bitrate. Adobe media encoder is a great option if you have it. For h264 you don't want to drop your bitrate below about 1-1.3gbps for the video. If you chose to go to h265 then you can drop the bitrate to about 600-700mbps and keep the same quality. all of this comes with trial and error.&lt;/p&gt;&#xA;" OwnerUserId="11767" LastActivityDate="2015-10-03T01:25:35.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16536" PostTypeId="2" ParentId="16482" CreationDate="2015-10-03T01:37:31.977" Score="2" Body="&lt;p&gt;The issue with repairing avi files is that in your case you used Motion JPEG compression not H264. Motion JPEG requires an ending bit of code at the end of the file. H264 builds the video in blocks and if the video is cut off then only the last block is bad and thus lost. The only way that I have found that may yield a result is opening it in a video editor, throwing it into a timeline and cutting off the end and re rendering it out into a new file. This doesn't always work as most editors won't import the file, but it is worth a try. The short answer is that if this does not work then you are probably out of luck. Sorry for the bad news.&lt;/p&gt;&#xA;" OwnerUserId="11767" LastActivityDate="2015-10-03T01:37:31.977" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16537" PostTypeId="2" ParentId="16481" CreationDate="2015-10-03T01:41:41.033" Score="1" Body="&lt;p&gt;The answer stems from the combination of the speed of the flash drive and the data rate of the video. The video and audio in most codec are decoded separately once streamed to the computer from the flash drive. Now when the flash drive can't keep up with the speed the video is supposed to be playing then the audio or the video get ahead because the flash drive cannot serve both at the same time. Time for a faster flash drive.&lt;/p&gt;&#xA;" OwnerUserId="11767" LastActivityDate="2015-10-03T01:41:41.033" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16538" PostTypeId="1" AcceptedAnswerId="16539" CreationDate="2015-10-03T11:49:39.130" Score="10" ViewCount="33652" Body="&lt;p&gt;I was trying to find the technical reasons for why H.264 is limited for 4K.&#xA;Obviously that in terms of bit-rate it becomes less efficient but the encoding itself is limited and for some reason, I couldn't find any publicly available references.&lt;/p&gt;&#xA;&lt;p&gt;Someone?&lt;/p&gt;&#xA;" OwnerUserId="11769" LastEditorUserId="30687" LastEditDate="2021-01-25T12:37:42.933" LastActivityDate="2023-09-14T17:24:40.217" Title="H.264 Max Resolution" Tags="|h.264|4k|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="16539" PostTypeId="2" ParentId="16538" CreationDate="2015-10-03T13:01:47.413" Score="9" Body="&lt;p&gt;One of the bits of information associated with a H264 stream is its &lt;a href=&quot;https://en.wikipedia.org/wiki/H.264/MPEG-4_AVC#Levels&quot;&gt;level&lt;/a&gt;. The level informs the decoder the computational resources needed for a successful decode. Turns out that the highest level 5.2 supports upto 9437184 luma samples per frame, which is the number of luma samples needed for a frame of size 4096x2304. So, there may be encoders that can (be forced to) encode higher resolutions but there's no valid level which can be set for the stream, and probably no decoder that can be guaranteed to produce reliable playback.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-10-03T13:01:47.413" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16540" PostTypeId="1" CreationDate="2015-10-03T20:22:47.780" Score="1" ViewCount="49" Body="&lt;p&gt;Here are few screencaps from different sources:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Bleach 170:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mnc1N.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mnc1N.jpg&quot; alt=&quot;Bleach 170&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Bleach 297, where 16:9 episode actually used 4:3 material in one reminiscence scene (they even animated the black bars) - poor source material?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LIkEt.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LIkEt.jpg&quot; alt=&quot;Bleach 297&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Xena the Warrior Princess:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/X0nhu.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/X0nhu.jpg&quot; alt=&quot;Xena&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Finally a Youtube video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/wMFPe-DwULM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you look closely, each of these frames contains a thin black line near the bottom, or in the case of the Youtube video, near the top. The line spans about 60% of the video width. &lt;strong&gt;What is it and why is it there?&lt;/strong&gt; Is it used for some kind of calibration?&lt;/p&gt;&#xA;" OwnerUserId="11772" LastActivityDate="2015-10-03T20:49:53.350" Title="Black line in certain videos?" Tags="|video-standards|distortion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16541" PostTypeId="2" ParentId="16540" CreationDate="2015-10-03T20:40:21.000" Score="2" Body="&lt;p&gt;The first anime pic is throwing me off, but it seems to be an artifact of how interlaced analog signals were &lt;a href=&quot;https://en.wikipedia.org/wiki/480i&quot; rel=&quot;nofollow noreferrer&quot;&gt;structured&lt;/a&gt; and displayed.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;For analog NTSC there is a total of 525 scanning lines of which&#xA;  originally 483 lines were visible (241.5 visible lines + 21 lines of&#xA;  vertical blanking per field)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: this answer at the electronics site gives the &lt;a href=&quot;https://electronics.stackexchange.com/questions/98922/why-there-is-625-lines-pal-in-t-v-scanning-or-odd-lines&quot;&gt;full picture&lt;/a&gt;.  &lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="-1" LastEditDate="2017-04-13T12:33:11.287" LastActivityDate="2015-10-03T20:49:53.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16542" PostTypeId="1" CreationDate="2015-10-04T04:25:19.200" Score="2" ViewCount="125" Body="&lt;p&gt;I was wondering if there is any way to cache clips that have been edited in Adobe Premiere Pro CC. I have my main computer and then I have my laptop. I take the laptop out of my house often, and as you can guess, any footage I need to edit is stored on my main computer. Now, I don't want to make low-resolution copies because I don't have very much space on my hard drive (120GB) but caching would be great because when I come home I can just delete the cached files. If there isn't a way I can just make low-res copies, but I thought I would ask first.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advanced!&lt;/p&gt;&#xA;" OwnerUserId="11773" LastActivityDate="2018-02-19T14:16:31.380" Title="Adobe Premiere Pro CC(2015): Cache edited clips" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16543" PostTypeId="1" CreationDate="2015-10-04T07:07:26.763" Score="2" ViewCount="183" Body="&lt;p&gt;I bought a decent camera (Sony XDCAM) however I have a problem with the output file size.  The .MTS files it makes work fine in my editor, and they create the quality I need, but the 2 gig per 10 minute of footage file size is killing our transfer time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The quality of my end product is nowhere near this so I know I am shooting way way over the top for what I need to achieve my desired end product. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I look at the settings and I see 1080/50p PS, FX and FH&#xA;or &#xA;/25p of the same as above FX and FH&#xA;or&#xA;720/50p FX, FS and HQ&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to film seminars from the back of the room using the zoom ring on the lens. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;All works ok, but the 2 gig per 10mins is killing us. How can I reduce the file sizes to a more workable size? &lt;/p&gt;&#xA;" OwnerUserId="11775" LastEditorUserId="2836" LastEditDate="2015-10-05T13:37:36.370" LastActivityDate="2015-10-05T13:37:36.370" Title="How can I reduce size of video files on a Sony XDCAM?" Tags="|file-formats|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16545" PostTypeId="2" ParentId="16543" CreationDate="2015-10-04T10:57:59.223" Score="1" Body="&lt;p&gt;For $495 you can cut things down to 500MB/10 minutes (or perhaps even less, depending on compression parameters): &lt;a href=&quot;https://www.blackmagicdesign.com/products/h264prorecorder&quot; rel=&quot;nofollow&quot;&gt;https://www.blackmagicdesign.com/products/h264prorecorder&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-10-04T10:57:59.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16546" PostTypeId="1" CreationDate="2015-10-04T12:19:27.287" Score="1" ViewCount="253" Body="&lt;p&gt;I am using &lt;a href=&quot;https://github.com/caprica/vlcj&quot; rel=&quot;nofollow&quot;&gt;vlcj&lt;/a&gt; to write some metadata to video files to create a video library which could be sorted by title, date, artist, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I am trying to save the metadata that I set to the file, the following error appears:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[00007ff7043d8f48] taglib meta writer error: File test.mp4 can't be opened for tag writing&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I have based my test in the test &lt;a href=&quot;https://github.com/caprica/vlcj/blob/99b0f7f1a97a085bbe27513eba6dc8014ede9081/src/test/java/uk/co/caprica/vlcj/test/meta/UpdateMetaTest.java&quot; rel=&quot;nofollow&quot;&gt;&lt;code&gt;UpdateMetaTest.java&lt;/code&gt;&lt;/a&gt; of the official repo at Github.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the code that I am using:&lt;/p&gt;&#xA;&#xA;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;public static void main(String[] args) {&#xA;    // Create a media player&#xA;    MediaPlayerFactory factory = new MediaPlayerFactory();&#xA;&#xA;    // Get the meta data and dump it out&#xA;    MediaMeta mediaMeta = factory.getMediaMeta(args[0], true);&#xA;    logger.info(&quot;Metadata:&quot;);&#xA;    logger.info(mediaMeta);&#xA;    logger.info(LibVlcVersion.getVersion());&#xA;&#xA;    // Set the artist of the video if it is not set&#xA;    if (mediaMeta.getArtist() == null) {&#xA;        mediaMeta.setArtist(&quot;Unknown&quot;);&#xA;        mediaMeta.save();&#xA;    }&#xA;&#xA;    mediaMeta.release();&#xA;    factory.release();&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is my program output:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;2015-10-04 13:51:27 INFO  MetaTest:65 - Metadata:&lt;br&gt;&#xA;  2015-10-04 13:51:27 INFO  MetaTest:66 - DefaultMediaMeta[title=test.mp4,artist=null,genre=null,copyright=null,album=null,trackNumber=null,description=null,rating=null,date=null,setting=null,url=null,language=null,nowPlaying=null,publisher=null,encodedBy=null,artworkUrl=null,trackId=null,trackTotal=null,director=null,season=null,episode=null,showName=null,actors=null,length=0]&lt;br&gt;&#xA;  2015-10-04 13:51:27 INFO  MetaTest:67 - 2.2.1 Terry Pratchett (Weatherwax)&lt;br&gt;&#xA;  [00007fbc3c3e3138] taglib meta writer error: File test.mp4 can't be opened for tag writing&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;My vlcj version is 3.9.0 and my Libvlc library is 2.2.1.&lt;/p&gt;&#xA;" OwnerUserId="11778" LastEditorUserId="3561" LastEditDate="2015-10-11T06:25:29.283" LastActivityDate="2015-10-11T06:25:29.283" Title="Vlcj gives &quot;taglib meta writer error&quot; when setting metadata on video file" Tags="|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16547" PostTypeId="1" AcceptedAnswerId="16549" CreationDate="2015-10-04T14:42:33.077" Score="2" ViewCount="69" Body="&lt;p&gt;We recorded video from our last event with 2 sources (1 mic by speakers) and we now have to handle MXF files with 2 diferent sources.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to upload this video file on Youtube, it work but it only take the first audio source. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any (Simple) way to merge this two audio sources ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regards,&lt;/p&gt;&#xA;" OwnerUserId="11780" LastActivityDate="2015-10-04T18:46:01.813" Title="Handle 2 sources in a video file" Tags="|audio|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16548" PostTypeId="1" AcceptedAnswerId="16550" CreationDate="2015-10-04T16:07:54.980" Score="1" ViewCount="156" Body="&lt;p&gt;I want to live stream an event on YouTube with my DSLR. Will I need a HDMI capture card? If yes can you please list a few inexpensive ones. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, please mention if there are any other ways for me to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="11782" LastActivityDate="2015-10-05T00:12:54.850" Title="Live streaming an event" Tags="|streaming|dslr|live|live-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16549" PostTypeId="2" ParentId="16547" CreationDate="2015-10-04T18:46:01.813" Score="5" Body="&lt;p&gt;First, &lt;a href=&quot;https://ffmpeg.org/download.html&quot;&gt;get &lt;code&gt;ffmpeg&lt;/code&gt;&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally, you want to give YouTube the highest quality you can because it will re-encode anything you give it, but the formats used in MXF can be mental for uploading. So re-encoding to modern formats for a more manageable upload often makes sense.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Example&lt;/h2&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mxf \&#xA;-filter_complex &quot;[0:a:0][0:a:1]amerge&quot; \&#xA;-ac 2 -c:v libx264 -crf 18 -c:a libvorbis output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;What these options do&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-filter_complex &quot;[0:a:0][0:a:1]amerge[a]&quot;&lt;/code&gt; – Take the two audio streams and combine them with &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#amerge&quot;&gt;amerge filter&lt;/a&gt; into one, multichannel stream.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The &lt;code&gt;[0:a:1]&lt;/code&gt; refers to &lt;code&gt;[input file index:stream specifier:stream index]&lt;/code&gt;, so &lt;code&gt;[0:a:1]&lt;/code&gt; is the second audio stream from the first input file (&lt;code&gt;input.mxf&lt;/code&gt;).&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-ac 2&lt;/code&gt; – Downmix audio to stereo.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-c:v libx264&lt;/code&gt; – Encode video to H.264. See &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot;&gt;more info and examples&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-crf 18&lt;/code&gt; – libx264 option to make output roughly &quot;visually lossless&quot;.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-c:a libvorbis&lt;/code&gt; – Encode audio to Vorbis.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;output.mkv&lt;/code&gt; – Output to Matroska container format. It will not be playable in WMP or QuickTime, but who cares. YouTube will, and YouTube is all that matters in this case. VLC, mpv, or MPC-HC will be able to play it.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h2&gt;Keeping it as MXF&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;If you want MXF for whatever reason:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mxf \&#xA;-filter_complex &quot;[0:a:0][0:a:1]amerge[a]&quot; \&#xA;-map 0:v -map &quot;[a]&quot; -ac 2 -c:v copy -c:a pcm_s16le output.mxf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The video will be &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-copy&quot;&gt;stream copied&lt;/a&gt; (re-muxed). &lt;strong&gt;No re-encoding&lt;/strong&gt;, so it will be fast and preserve quality.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;MXF is picky, so the &lt;code&gt;-map&lt;/code&gt; option is used to arrange the output streams in a MXF friendly order.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2015-10-04T18:46:01.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16550" PostTypeId="2" ParentId="16548" CreationDate="2015-10-04T19:54:23.083" Score="1" Body="&lt;p&gt;Yes, you will need an HDMI capture card.  If you have a modern Mac, you can make do with this $145 device that plugs into its Thunderbolt port: &lt;a href=&quot;https://www.blackmagicdesign.com/products/ultrastudiothunderbolt/techspecs/W-DLUS-04&quot; rel=&quot;nofollow&quot;&gt;https://www.blackmagicdesign.com/products/ultrastudiothunderbolt/techspecs/W-DLUS-04&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="3908" LastEditDate="2015-10-05T00:12:54.850" LastActivityDate="2015-10-05T00:12:54.850" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16551" PostTypeId="1" AcceptedAnswerId="16584" CreationDate="2015-10-04T21:54:28.317" Score="2" ViewCount="275" Body="&lt;p&gt;I found this great video on youtube:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Tzd8_kkeYdE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and I just love this text animation at the beginning.&#xA;I mean that one which start like black and auto filling itself with white color and the animation also repeats with the logo and with other text but it changes the color to red.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I've tried using stroke effects, but I couldn't figure out how this can be achieved.&lt;/em&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any Ideas?&lt;/p&gt;&#xA;" OwnerUserId="11785" LastEditorUserId="6685" LastEditDate="2015-10-10T17:31:21.437" LastActivityDate="2015-10-10T17:31:21.437" Title="How to make this auto-filling text and logo animation?" Tags="|after-effects|animation|color|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16552" PostTypeId="1" AcceptedAnswerId="34806" CreationDate="2015-10-05T01:59:37.117" Score="10" ViewCount="5278" Body="&lt;p&gt;I need to speed up video by a factor of 4x, but do not want to drop the frames and instead average them. I.e. each 4 frames are averaged, and produce 1 output frame. Target frame-rate stays the same, so video is now 4 times faster. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to do so in ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="11787" LastActivityDate="2022-01-01T16:55:10.350" Title="4x resample videoframes using ffmpeg" Tags="|ffmpeg|" AnswerCount="2" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="16554" PostTypeId="1" CreationDate="2015-10-05T12:32:15.670" Score="2" ViewCount="1448" Body="&lt;p&gt;I am trying to add an effect to multiple pieces of video on the same sequence. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The sequence contains:&#xA;-10 .mov videos divided in a plenty of small sequences&#xA;-pictures and titles&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I followed step by step the instructions of this video &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/apply-effects-master-clips.html&quot; rel=&quot;nofollow&quot;&gt;https://helpx.adobe.com/premiere-pro/how-to/apply-effects-master-clips.html&lt;/a&gt; and this guide &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/master-clip-effects.html&quot; rel=&quot;nofollow&quot;&gt;https://helpx.adobe.com/premiere-pro/using/master-clip-effects.html&lt;/a&gt;  but when I try to drag the effect to the source video or to the &quot;project:&quot; videos, the &quot;hand&quot; has a denied sign, meaning that the effect can't be added.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can I do? Am I doing anything wrong?&lt;/p&gt;&#xA;" OwnerUserId="11790" LastActivityDate="2015-10-05T16:00:18.437" Title="Can't add effect to master clip on Premiere Pro CC" Tags="|premiere|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16555" PostTypeId="2" ParentId="16554" CreationDate="2015-10-05T16:00:18.437" Score="1" Body="&lt;p&gt;Most probably you don't have latest version of Adobe Premiere CC. As far as is concerned this feature is added in Adobe Premiere CC 2015.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have older version (&lt;em&gt;version 7.0.0 (342)&lt;/em&gt;) and that feature still missing in that version. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You shall update your Adobe Premiere CC till the latest version.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-10-05T16:00:18.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16556" PostTypeId="1" AcceptedAnswerId="16557" CreationDate="2015-10-06T03:55:48.613" Score="7" ViewCount="1183" Body="&lt;p&gt;I want to crop the video at some position and move the part next to the part that wasn't cropped. (See image, it explains better)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/k2UeY.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/k2UeY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11793" LastEditorUserId="1760" LastEditDate="2015-10-09T02:05:20.087" LastActivityDate="2015-10-09T02:16:51.923" Title="How do I move (rearrange) the orientation of a video? Using ffmpeg" Tags="|video-editor|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16557" PostTypeId="2" ParentId="16556" CreationDate="2015-10-06T07:53:55.120" Score="7" Body="&lt;p&gt;This should do it:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 \&#xA;-filter_complex &quot;[0:v] crop=iw/3:ih:0:0,pad=iw:2*ih [left]; \&#xA; [0:v] crop=iw/3:ih:(iw/3)+1:0 [middle]; \&#xA; [0:v] crop=iw/3:ih:(2*iw/3)+1:0 [right]; \&#xA; [left][middle] overlay=0:main_h/2,pad=iw:(3*ih/2) [out1]; \&#xA; [out1][right] overlay=0:(2*main_h/3) [fout] &quot; \&#xA;  -c:v libx264 -an -map &quot;[fout]&quot; trisected-vertical-overlay.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I haven't supplied any specific video or audio encoding parameters. This just shows the overlay filter to use. You'll have to encode and map the audio, as needed.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-10-06T07:53:55.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16558" PostTypeId="1" CreationDate="2015-10-06T20:47:31.033" Score="6" ViewCount="19663" Body="&lt;p&gt;Youtube states that it only supports &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot;&gt;Stereo or Stereo + 5.1&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How does this work? Does it mean that there should be two audio streams included in the container or is this a special encoding?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;( I am using Premiere Pro )&lt;/p&gt;&#xA;" OwnerUserId="11796" LastActivityDate="2021-12-23T12:27:04.180" Title="How do I get Stereo + 5.1 for YouTube videos?" Tags="|premiere|youtube|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16559" PostTypeId="2" ParentId="16427" CreationDate="2015-10-06T22:23:09.453" Score="1" Body="&lt;p&gt;Sometimes this will happen from a verity of reasons. Sometimes the clocks are different. A lot of time it comes down to manual re-syncing.&#xA;Pick 2 sync points for the Video and the same 2 points for the audio. Make sure they are as far away as possible. Now divide the duration in frames between the 2&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;V dur / A dur = ratio&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now you have the ratio you should speed up or slow down the sound (sound is more pliable). Good Luck!&lt;/p&gt;&#xA;" OwnerUserId="11798" LastActivityDate="2015-10-06T22:23:09.453" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16560" PostTypeId="1" AcceptedAnswerId="16586" CreationDate="2015-10-07T09:04:54.063" Score="2" ViewCount="110" Body="&lt;p&gt;Is there any existing filter/effect, that will &lt;strong&gt;automatically&lt;/strong&gt; mask out the unsharp area of my footage?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say I have an object in focus and a lot of depth of field. How do I show only my sharp object?&lt;/p&gt;&#xA;" OwnerUserId="9154" LastEditorUserId="1871" LastEditDate="2015-10-09T04:23:45.650" LastActivityDate="2019-12-03T06:37:36.467" Title="Is it possible to mask out unsharp areas of footage with After Effects?" Tags="|after-effects|post-production|alpha|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16561" PostTypeId="2" ParentId="16558" CreationDate="2015-10-07T09:55:22.203" Score="7" Body="&lt;p&gt;It's not very clear what they mean. If you look further down on the same page it says it accepts 5.1 @ 512 kbps.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Recommended audio bitrates for uploads&#xA;&#xA;Mono    128 kbps&#xA;Stereo  384 kbps&#xA;5.1     512 kbps&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;YouTube doesn't currently support 5.1 playback. If you upload a 5.1 audio track it gets &lt;a href=&quot;https://productforums.google.com/forum/#!topicsearchin/youtube/5.1&quot;&gt;converted to stereo&lt;/a&gt;. &lt;/p&gt;&#xA;" OwnerUserId="10554" LastActivityDate="2015-10-07T09:55:22.203" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16562" PostTypeId="2" ParentId="16538" CreationDate="2015-10-07T10:24:11.573" Score="9" Body="&lt;p&gt;&lt;code&gt;H.264/AVC&lt;/code&gt; is &lt;em&gt;not&lt;/em&gt; limited for 4K in terms of max resolution as it supports  &lt;code&gt;DCI 4K&lt;/code&gt; (4092x2160) @ 60 fps at Level 5.2.  For example Sony already uses &lt;a href=&quot;https://en.wikipedia.org/wiki/XAVC&quot; rel=&quot;noreferrer&quot;&gt;XAVC&lt;/a&gt; which is exactly 4K AVC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a while the max level was 5.1 and 5.2 was introduced later. If needed new levels can be introduced as long there's the hardware to support it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For eg. the Nvidia NVEC supports H.264 up to 4096x4096: &lt;a href=&quot;https://developer.nvidia.com/sites/default/files/akamai/cuda/files/CUDADownloads/NVENC_AppNote.pdf&quot; rel=&quot;noreferrer&quot;&gt;https://developer.nvidia.com/sites/default/files/akamai/cuda/files/CUDADownloads/NVENC_AppNote.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The actual problem with 4K are the bandwidth requirements for &lt;em&gt;streaming&lt;/em&gt;, not the hardware support. To do 4K streaming at 12-15 Mbps the encoder needs a &lt;a href=&quot;http://blog.streamingmedia.com/2015/01/4k-streaming-bandwidth-problem.html&quot; rel=&quot;noreferrer&quot;&gt;40% efficiency increase&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem with &lt;code&gt;H.264&lt;/code&gt; is that it's not efficient enough for this purpose. This is what the new &lt;a href=&quot;https://fr.wikipedia.org/wiki/H.265/HEVC&quot; rel=&quot;noreferrer&quot;&gt;H.265/HEVC&lt;/a&gt; (&lt;strong&gt;High Efficiency Video Coding&lt;/strong&gt;) tries to achieve. &lt;/p&gt;&#xA;" OwnerUserId="10554" LastEditorUserId="10554" LastEditDate="2015-10-07T13:17:19.030" LastActivityDate="2015-10-07T13:17:19.030" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="16563" PostTypeId="1" CreationDate="2015-10-07T12:36:07.093" Score="2" ViewCount="1850" Body="&lt;p&gt;Does anybody knows an easy way to create a .vtt (WEBVTT) subtitle file with an .rtf file? I don't want to have to type all the subtitles new to get the .vtt format!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an easy way to convert it? In example with a software? It's a thing I have to do only a single time so it would be nice to be able to use freeware.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S.: To give an example. This is the content of the .rtf file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;\pard\pardeftab720\ri0\qc&#xA;\cf0 Hola, el meu nom \'e9s Marta Peric\'e0s.\&#xA;Tinc 22 anys.\&#xA;\   &#xA;\pard\pardeftab720\ri0&#xA;\cf0 0002 00:00:06:05 00:00:08:18 38\&#xA;\&#xA;\pard\pardeftab720\ri0\qc&#xA;\cf0 Visc a Sabadell, \&#xA;a prop de Barcelona.\&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And in the end it should look like this proper .vtt file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;0:00:02.26 --&amp;gt; 0:00:05.74&#xA;Hi, my name is Marta Pericàs and I'm 22 years old.&#xA;&#xA;0:00:06.40 --&amp;gt; 0:00:08.74&#xA;I live in Sabadell, near Barcelona.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11800" LastEditorUserId="11800" LastEditDate="2015-10-07T12:52:57.183" LastActivityDate="2023-07-07T14:09:33.330" Title="How can I convert the subtitle file format (.rtf to .vtt)?" Tags="|file-formats|subtitles|standards-converter|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16564" PostTypeId="1" AcceptedAnswerId="16571" CreationDate="2015-10-07T13:36:44.943" Score="9" ViewCount="15717" Body="&lt;p&gt;I have a short video and I'm trying to cut-out all the blank or near blank frames.&#xA;This isn't a case where I care about the breaks in a video that could be dark.  I literally want all near black-frames out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I didn't realize with ffmpeg at first was that the 'blackframe' or 'blackdetect' filters, is that they didn't actually filter.  They just seem to show you what you can possibly filter, with other command(s).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best way in 'Windows' to actually filter out the resulting found frames?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So with ffmpeg I'm actually concat-(ting) the forward and reverse of the same file than I'm running some filters on those files.  See my current command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -y -i &quot;2013-10-14_14-30-55.mov&quot; -filter_complex &quot;[0:v]transpose=3,split[tp][tp2];[tp]reverse[vr];[tp2][vr]concat=n=2:v=1:a=0[vbf];[vbf]blackframe=98:32[v]&quot; -map &quot;[v]&quot; -vcodec wmv2 -q 10 -trellis 2 -r 16 &quot;g:\gd5.wmv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then I get this output: (Just the tail end of it anyway...)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_blackframe_4 @ 00000000003bf320] frame:650 pblack:99 pts:21821999 t:21.821999 type:B last_keyframe:639&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:651 pblack:99 pts:21855366 t:21.855366 type:P last_keyframe:639&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:652 pblack:99 pts:21888733 t:21.888733 type:B last_keyframe:639&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:653 pblack:99 pts:21922099 t:21.922099 type:B last_keyframe:639&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:654 pblack:99 pts:21955466 t:21.955466 type:I last_keyframe:654&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:655 pblack:99 pts:21988833 t:21.988833 type:B last_keyframe:654&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:656 pblack:99 pts:22022199 t:22.022199 type:B last_keyframe:654&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:657 pblack:99 pts:22055566 t:22.055566 type:P last_keyframe:654&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:658 pblack:99 pts:22088933 t:22.088933 type:B last_keyframe:654&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:659 pblack:99 pts:22122299 t:22.122299 type:B last_keyframe:654&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:660 pblack:99 pts:22155666 t:22.155666 type:P last_keyframe:654&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:661 pblack:99 pts:22189033 t:22.189033 type:B last_keyframe:654&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:662 pblack:99 pts:22222399 t:22.222399 type:B last_keyframe:654&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:663 pblack:99 pts:22255766 t:22.255766 type:P last_keyframe:654&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:664 pblack:99 pts:22289133 t:22.289133 type:B last_keyframe:654&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:665 pblack:99 pts:22322499 t:22.322499 type:B last_keyframe:654&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:666 pblack:99 pts:22355866 t:22.355866 type:P last_keyframe:654&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:667 pblack:99 pts:22389233 t:22.389233 type:B last_keyframe:654&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:668 pblack:99 pts:22422599 t:22.422599 type:B last_keyframe:654&#xA;[Parsed_blackframe_4 @ 00000000003bf320] frame:669 pblack:99 pts:22455966 t:22.455966 type:I last_keyframe:669&#xA;frame=  362 fps= 14 q=10.0 Lsize=    9004kB time=00:00:22.62   bitrate=3260.2kbits/s dup=1 drop=309&#xA;video:8922kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.918756%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So what do I do with this blackframe information in Windows?  Or is there a better method with the 'blackdetect' filter?&lt;/p&gt;&#xA;" OwnerUserId="11801" LastEditorUserId="11801" LastEditDate="2015-10-07T13:55:59.857" LastActivityDate="2022-10-19T18:08:45.650" Title="How to trim out black frames with ffmpeg on windows?" Tags="|video|video-editor|ffmpeg|windows|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16565" PostTypeId="1" CreationDate="2015-10-07T19:18:00.417" Score="1" ViewCount="349" Body="&lt;p&gt;Is there any way to find out which people have viewed or liked your video on YouTube ?&#xA;YouTube Only provides data like , how many percentage of views comes Region wise.&lt;/p&gt;&#xA;" OwnerUserId="11802" LastEditorUserId="11802" LastEditDate="2016-05-16T11:48:05.690" LastActivityDate="2016-05-16T11:48:05.690" Title="Youtube Views and Likes" Tags="|youtube|" AnswerCount="1" CommentCount="0" ClosedDate="2016-05-16T13:50:54.317" ContentLicense="CC BY-SA 3.0" />
  <row Id="16566" PostTypeId="1" CreationDate="2015-10-07T20:46:20.017" Score="2" ViewCount="78" Body="&lt;p&gt;I'm looking to take a 4K live video feed, and composite alpha channeled footage on top of the live footage, all in realtime with minimal latency, I then want to display the output on a 4K screen .... Any ideas of the technology and equipment nesasarry to make this happen &lt;/p&gt;&#xA;" OwnerUserId="2828" LastActivityDate="2015-10-07T22:01:27.290" Title="How to composite live 4K video with prerendered alpha matted footage" Tags="|4k|compositing|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16567" PostTypeId="2" ParentId="16566" CreationDate="2015-10-07T22:01:27.290" Score="1" Body="&lt;p&gt;I have a Blackmagic Design DeckLink card which, with bundled software, provides live keying.  I bought that card before they sold a DeckLink 4K cards.  But because they come withe the same bundled software and make the same live-keying claims, I would check that this version first: &lt;a href=&quot;https://www.blackmagicdesign.com/products/decklink/techspecs/W-DLK-04&quot; rel=&quot;nofollow&quot;&gt;https://www.blackmagicdesign.com/products/decklink/techspecs/W-DLK-04&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should be able to ingest two channels of 4K video, key it, and output the keyed result in real-time, for $995.  It does require you to have free PCIe card slots in your computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An entry level 4K switcher (that gives not only pre-rendered alpha matted footage, but also transitions and chroma key) runs $1,695, and runs stand-alone (i.e., not a card in your computer): &lt;a href=&quot;https://www.blackmagicdesign.com/products/atem/techspecs/W-APS-04&quot; rel=&quot;nofollow&quot;&gt;https://www.blackmagicdesign.com/products/atem/techspecs/W-APS-04&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-10-07T22:01:27.290" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16568" PostTypeId="2" ParentId="14638" CreationDate="2015-10-07T23:10:31.003" Score="2" Body="&lt;p&gt;instead of shape layer with outline use solid layer with masks to recreate the outline. that seems to work for me..&lt;/p&gt;&#xA;" OwnerUserId="11803" LastActivityDate="2015-10-07T23:10:31.003" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16569" PostTypeId="1" AcceptedAnswerId="16772" CreationDate="2015-10-08T02:06:37.617" Score="3" ViewCount="584" Body="&lt;p&gt;I have footage from a drone, and there's a rather unsightly floating thing that I'd like to remove. I've heard that one could export this video as frames and use Photoshop's built in &quot;Content-Aware&quot; function to remove an object like this, but there's quite a few frames to work with here (and it's a rather complex object), so it doesn't seem completely feasible to do just that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/MpIts.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MpIts.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a link to a GIF: &lt;a href=&quot;https://i.stack.imgur.com/WtEGt.jpg&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;Hosted on Imgur&quot;&gt;Hosted on Imgur&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to know if there's an easier way to do this (Maybe via plugins if necessary). Any help would be very much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="11804" LastEditorUserId="6685" LastEditDate="2015-10-09T08:26:32.383" LastActivityDate="2019-07-19T21:48:55.797" Title="Object removal in After Effects via Content-Aware?" Tags="|after-effects|cleaning|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16570" PostTypeId="2" ParentId="16565" CreationDate="2015-10-08T08:28:46.987" Score="6" Body="&lt;p&gt;No, you cannot, and this is a good thing for privacy reasons. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using the &lt;a href=&quot;https://developers.google.com/youtube/v3/docs/videos&quot;&gt;YouTube Data API v3&lt;/a&gt; you can get general statistics for a list of videos as part of a &lt;code&gt;contentDetails&lt;/code&gt; structure:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; &quot;statistics&quot;: {&#xA;    &quot;viewCount&quot;: unsigned long,&#xA;    &quot;likeCount&quot;: unsigned long,&#xA;    &quot;dislikeCount&quot;: unsigned long,&#xA;    &quot;favoriteCount&quot;: unsigned long,&#xA;    &quot;commentCount&quot;: unsigned long&#xA;  },&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10554" LastActivityDate="2015-10-08T08:28:46.987" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16571" PostTypeId="2" ParentId="16564" CreationDate="2015-10-08T09:02:32.360" Score="11" Body="&lt;p&gt;Here's a way to do it with the &lt;code&gt;blackdetect&lt;/code&gt; and &lt;code&gt;trim&lt;/code&gt; filters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, a better way to get the &lt;code&gt;blackdetect&lt;/code&gt; output is via &lt;code&gt;ffprobe&lt;/code&gt; because it is capable of writing structured data such as &lt;code&gt;XML&lt;/code&gt;, &lt;code&gt;JSON&lt;/code&gt; or one &lt;code&gt;key=value&lt;/code&gt; per line. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You do this using metadata injection:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffprobe -f lavfi -i &quot;movie=/path/to/input.mp4,blackdetect[out0]&quot; -show_entries tags=lavfi.black_start,lavfi.black_end -of default=nw=1 -v quiet&#xA;TAG:lavfi.black_start=0&#xA;TAG:lavfi.black_end=5.42208&#xA;TAG:lavfi.black_start=73.4067&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see it returns the start and end time of each black section. You use the returned info to &lt;code&gt;trim&lt;/code&gt; the segments between each &lt;code&gt;end&lt;/code&gt; and the next &lt;code&gt;start&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i /path/to/input.mp4 -filter_complex &quot;[0:v]trim=start=5.42208:end=73.4067,setpts=PTS-STARTPTS[v1];[0:a]atrim=start=5.42208:end=73.4067,asetpts=PTS-STARTPTS[a1]&quot; -map [v1] -map [a1] output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can chain multiple &lt;code&gt;trim&lt;/code&gt; filters in the same command. See &lt;a href=&quot;https://superuser.com/questions/681885/how-can-i-remove-multiple-segments-from-a-video-using-ffmpeg&quot;&gt;this answer&lt;/a&gt; for a detailed example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To automate this in Windows you can install and use &lt;a href=&quot;https://en.wikipedia.org/wiki/Windows_PowerShell&quot; rel=&quot;noreferrer&quot;&gt;PowerShell&lt;/a&gt; or another scripting language of your choice (PHP, Python etc).&lt;/p&gt;&#xA;" OwnerUserId="10554" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2015-10-08T09:02:32.360" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="16573" PostTypeId="1" AcceptedAnswerId="17649" CreationDate="2015-10-08T18:36:33.043" Score="1" ViewCount="292" Body="&lt;p&gt;I'm trying to open up a library in Final Cut Pro , it used to work fine and now everytime i open it up it crashes the entire application , &#xA;I have a Mac Pro running Yosemite , i tried multiple solutions as restoring it from a back up everytime i load it crashes i even tried going back 6 months ago and still it crashes , &#xA;when i open a new library from scratch it works fine &#xA;the only thing i didnt try is to remove the application and reinstall it , but i dont think doing that will help , please assist &#xA;Thanks !!!&lt;/p&gt;&#xA;" OwnerUserId="11812" LastActivityDate="2016-02-10T17:43:20.007" Title="Final Cut Pro X crashing" Tags="|final-cut-pro|final-cut-pro-x|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16574" PostTypeId="1" AcceptedAnswerId="20929" CreationDate="2015-10-08T21:14:57.350" Score="6" ViewCount="979" Body="&lt;p&gt;So I have a handful of old mpeg2 (&lt;code&gt;.mpg&lt;/code&gt;) files with the following profiles as provided by ffmpeg (the timecodes on each are different):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0(eng): Video: mpeg4 (Advanced Simple Profile) (mp4v / 0x7634706D), yuv420p, 640x480 [SAR 1:1 DAR 4:3], 1385 kb/s, 29.88 fps, 29.97 tbr, 2997 tbn, 1k tbc (default)&#xA;Metadata:&#xA;  creation_time   : 2006-XX-XX XX:XX:XX&#xA;  handler_name    : Apple Alias Data Handler&#xA;  encoder         : MPEG-4 Video&#xA;  timecode        : 00:00:08;07&#xA;Stream #0:1(eng): Data: none (tmcd / 0x64636D74)&#xA;Metadata:&#xA;  creation_time   : 2006-XX-XX XX:XX:XX&#xA;  handler_name    : Apple Alias Data Handler&#xA;  timecode        : 00:00:08;07&#xA;Stream #0:2(eng): Audio: pcm_s16be (twos / 0x736F7774), 48000 Hz, 2 channels, s16, 1536 kb/s (default)&#xA;Metadata:&#xA;  creation_time   : 2006-XX-XX XX:XX:XX&#xA;  handler_name    : Apple Alias Data Handler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;it appears that for each of them in playback (using mplayer and vlc) the first frame will be frozen for about 8 seconds while the audio starts from 00:00:00. So the audio remains about 8 seconds ahead of the video stream throughout.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to convert them with FFmpeg, copying the video and audio codecs, I get a ton of &quot;buffer underflow&quot; and &quot;packet too large&quot; errors (which probably has to do with the codec etc. as per: &lt;a href=&quot;https://superuser.com/questions/835871/how-to-make-an-mpeg2-video-file-with-the-highest-quality-possible-using-ffmpeg&quot;&gt;https://superuser.com/questions/835871/how-to-make-an-mpeg2-video-file-with-the-highest-quality-possible-using-ffmpeg&lt;/a&gt;). If I convert it to another video and audio codec, it's fine - no buffer underflow/packet too large errors. But the audio remains out of sync with the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also tried passing the ffmpeg conversion &lt;code&gt;-itsoffset -8.0&lt;/code&gt; to the input file and the audio is still out of sync, even though the video then does appear to advance from 00:00:00 in playback for the converted file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not sure if there is anything else I can do about this but I am wondering if it's possible to get this audio and video synced. I have also tried mencoder with &lt;code&gt;-mc 0&lt;/code&gt;, &lt;code&gt;-noskip&lt;/code&gt; and &lt;code&gt;-vf harddup&lt;/code&gt; options and that actually syncs the video for the first portion, but then the audio and video fall out of sync after about 30 minutes or so in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update - some input and output details:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -threads 1 -itsoffset -8.0 -i in.mpg -f mp4 -g 60 -c:v libx264 -pix_fmt yuvj420p -c:a libfdk_aac -y out.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2.7.2 Copyright (c) 2000-2015 the FFmpeg developers&#xA;built with gcc 4.8.5 (Gentoo 4.8.5 p1.3, pie-0.6.2)&#xA;configuration: --prefix=/usr --libdir=/usr/lib64 --shlibdir=/usr/lib64 --mandir=/usr/share/man --enable-shared --    cc=x86_64-pc-linux-gnu-gcc --cxx=x86_64-pc-linux-gnu-g++ --ar=x86_64-pc-linux-gnu-ar --optflags=' ' --disable-    static --enable-avfilter --enable-avresample --disable-stripping --enable-version3 --disable-indev=v4l2 --disable    -outdev=v4l2 --disable-indev=oss --disable-indev=jack --disable-outdev=oss --disable-outdev=sdl --enable-nonfree     --enable-bzlib --disable-runtime-cpudetect --disable-debug --disable-doc --disable-gnutls --enable-gpl --enable-    hardcoded-tables --enable-iconv --disable-lzma --enable-network --disable-openssl --enable-postproc --disable-    libsmbclient --disable-ffplay --disable-vaapi --disable-vdpau --enable-xlib --disable-libxcb --disable-libxcb-    shm --disable-libxcb-xfixes --enable-zlib --disable-libcdio --disable-libiec61883 --disable-libdc1394 --disable-    libcaca --disable-openal --disable-opengl --disable-libv4l2 --disable-libpulse --disable-libopencore-amrwb --    disable-libopencore-amrnb --enable-libfdk-aac --disable-libopenjpeg --disable-libbluray --disable-libcelt --    disable-libgme --disable-libgsm --disable-libmodplug --disable-libopus --disable-libquvi --disable-librtmp --    disable-libssh --disable-libschroedinger --disable-libspeex --disable-libvorbis --enable-libvpx --disable-    libzvbi --disable-libbs2b --disable-libflite --disable-frei0r --disable-libfribidi --disable-fontconfig --disable    -ladspa --disable-libass --disable-libfreetype --disable-libsoxr --enable-pthreads --enable-libvo-aacenc --    disable-libvo-amrwbenc --enable-libmp3lame --disable-libaacplus --disable-libfaac --disable-libtheora --disable-    libtwolame --disable-libwavpack --disable-libwebp --enable-libx264 --disable-libx265 --disable-libxvid --enable-    x11grab --disable-amd3dnow --disable-amd3dnowext --disable-fma4 --disable-xop --cpu=core-avx-i&#xA;libavutil      54. 27.100 / 54. 27.100&#xA;libavcodec     56. 41.100 / 56. 41.100&#xA;libavformat    56. 36.100 / 56. 36.100&#xA;libavdevice    56.  4.100 / 56.  4.100&#xA;libavfilter     5. 16.101 /  5. 16.101&#xA;libavresample   2.  1.  0 /  2.  1.  0&#xA;libswscale      3.  1.101 /  3.  1.101&#xA;libswresample   1.  2.100 /  1.  2.100&#xA;libpostproc    53.  3.100 / 53.  3.100&#xA;Guessed Channel Layout for  Input Stream #0.2 : stereo&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'in.mpg':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    creation_time   : 2006-XX-XX XX:XX:XX&#xA;  Duration: 01:00:19.88, start: 0.000000, bitrate: 2940 kb/s&#xA;    Stream #0:0(eng): Video: mpeg4 (Advanced Simple Profile) (mp4v / 0x7634706D), yuv420p, 640x480 [SAR 1:1 DAR 4:3],     1385 kb/s, 29.88 fps, 29.97 tbr, 2997 tbn, 1k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2006-XX-XX XX:XX:XX&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : MPEG-4 Video&#xA;      timecode        : 00:00:08;07&#xA;    Stream #0:1(eng): Data: none (tmcd / 0x64636D74)&#xA;    Metadata:&#xA;      creation_time   : 2006-XX-XX XX:XX:XX&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:00:08;07&#xA;    Stream #0:2(eng): Audio: pcm_s16be (twos / 0x736F7774), 48000 Hz, 2 channels, s16, 1536 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2006-XX-XX XX:XX:XX&#xA;      handler_name    : Apple Alias Data Handler&#xA;[swscaler @ 0x1297040] deprecated pixel format used, make sure you did set range correctly&#xA;[libx264 @ 0x12c7be0] using SAR=1/1&#xA;[libx264 @ 0x12c7be0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 AVX2 LZCNT BMI2&#xA;[libx264 @ 0x12c7be0] profile High, level 3.0&#xA;[libx264 @ 0x12c7be0] 264 - core 148 - H.264/MPEG-4 AVC codec - Copyleft 2003-2015 - http://www.videolan.org/x264.html     - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16     chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 lookahead_threads=2     sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_    bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=60 keyint_min=6 scenecut=40 intra_refresh=0 rc_lookahead=40     rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'out.mp4':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf56.36.100&#xA;    Stream #0:0(eng): Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuvj420p(pc), 640x480 [SAR 1:1 DAR 4:3],     q=-1--1, 29.97 fps, 11988 tbn, 29.97 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2006-XX-XX XX:XX:XX&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:00:08;07&#xA;      encoder         : Lavc56.41.100 libx264&#xA;    Stream #0:1(eng): Audio: aac (libfdk_aac) ([64][0][0][0] / 0x0040), 48000 Hz, stereo, s16, 139 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2006-XX-XX XX:XX:XX&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc56.41.100 libfdk_aac&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (mpeg4 (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:2 -&amp;gt; #0:1 (pcm_s16be (native) -&amp;gt; aac (libfdk_aac))&#xA;Press [q] to stop, [?] for help&#xA;Past duration 239.760002 too large&#xA;frame=   98 fps=0.0 q=26.0 size=     345kB time=00:00:02.26 bitrate=1250.8kbits/&#xA;frame=  186 fps=185 q=29.0 size=     933kB time=00:00:05.18 bitrate=1474.3kbits/&#xA;...&#xA;frame=108248 fps=218 q=-1.0 Lsize=  708299kB time=01:00:11.81 bitrate=1606.5kbits/s dup=78 drop=0    &#xA;video:643485kB audio:61559kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.461699%&#xA;[libx264 @ 0x12c7be0] frame I:1846  Avg QP:19.79  size: 25621&#xA;[libx264 @ 0x12c7be0] frame P:93233 Avg QP:24.01  size:  6332&#xA;[libx264 @ 0x12c7be0] frame B:13169 Avg QP:25.95  size:  1618&#xA;[libx264 @ 0x12c7be0] consecutive B-frames: 80.5%  8.5%  3.6%  7.3%&#xA;[libx264 @ 0x12c7be0] mb I  I16..4: 17.5% 76.4%  6.1%&#xA;[libx264 @ 0x12c7be0] mb P  I16..4:  1.9%  9.2%  0.4%  P16..4: 35.5%  9.0%  6.3%  0.0%  0.0%    skip:37.6%&#xA;[libx264 @ 0x12c7be0] mb B  I16..4:  0.4%  1.7%  0.0%  B16..8: 28.2%  3.0%  0.7%  direct: 4.2%  skip:61.8%  L0:59.1%     L1:33.8% BI: 7.1%&#xA;[libx264 @ 0x12c7be0] 8x8 transform intra:79.2% inter:86.3%&#xA;[libx264 @ 0x12c7be0] coded y,uvDC,uvAC intra: 65.8% 77.0% 11.3% inter: 24.3% 16.3% 1.4%&#xA;[libx264 @ 0x12c7be0] i16 v,h,dc,p: 42% 32% 24%  3%&#xA;[libx264 @ 0x12c7be0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 22% 24% 40%  3%  2%  2%  2%  2%  4%&#xA;[libx264 @ 0x12c7be0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 33% 27% 12%  3%  5%  5%  5%  4%  5%&#xA;[libx264 @ 0x12c7be0] i8c dc,h,v,p: 40% 28% 29%  3%&#xA;[libx264 @ 0x12c7be0] Weighted P-Frames: Y:0.6% UV:0.2%&#xA;[libx264 @ 0x12c7be0] ref P L0: 73.9% 12.5%  9.0%  4.5%  0.0%&#xA;[libx264 @ 0x12c7be0] ref B L0: 82.4% 16.2%  1.4%&#xA;[libx264 @ 0x12c7be0] ref B L1: 91.0%  9.0%&#xA;[libx264 @ 0x12c7be0] kb/s:1459.47&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffprobe out.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mov,mp4,m4a,3gp,3g2,mj2 @ 0xaf7c40] Could not find codec parameters for stream 0 (Video: h264 (avc1 / 0x31637661),     none, 640x480, 1459 kb/s): unspecified pixel format&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'out.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf56.36.100&#xA;  Duration: 01:00:11.88, start: -8.042667, bitrate: 1606 kb/s&#xA;    Stream #0:0(eng): Video: h264 (avc1 / 0x31637661), none, 640x480, 1459 kb/s, 29.97 fps, 29.97 tbr, 11988 tbn,     23976 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 139 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;mencoder in.mpg -oac pcm -ovc raw -o out2.avi&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;tons of 1 duplicate frame(s)! warnings. video not synced&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;mencoder in.mpg -ovc copy -mc 0 -noskip -vf harddup -oac pcm -o out2.mpg&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;works partially, seems to be the closest fix, no warnings in the output, but loses sync (in this example) at 00:28:48, where the video stream seems to jump some frames at that time&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11814" LastEditorUserId="-1" LastEditDate="2017-03-20T10:04:28.637" LastActivityDate="2017-03-14T10:04:55.083" Title="Trying to sync audio in mpeg2 video whose video freezes first 8 seconds in playback" Tags="|ffmpeg|codec|sync|quicktime|timecode|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16576" PostTypeId="2" ParentId="16556" CreationDate="2015-10-09T02:05:02.567" Score="4" Body="&lt;p&gt;Using &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;noreferrer&quot;&gt;crop&lt;/a&gt; and &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#vstack&quot; rel=&quot;noreferrer&quot;&gt;vstack&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -filter_complex \&#xA;&quot;[0:v]crop=iw/3:ih:0:0[left]; \&#xA; [0:v]crop=iw/3[center]; \&#xA; [0:v]crop=iw/3:ih:ow*2:0[right]; \&#xA; [left][center][right]vstack=inputs=3[v]&quot; \&#xA;-map &quot;[v]&quot; -map 0:a -c:a copy output &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;vstack is faster than pad + overlay.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If your &lt;code&gt;ffmpeg&lt;/code&gt; is too old for the vstack filter then just &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;noreferrer&quot;&gt;download a recent build&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2015-10-09T02:16:51.923" LastActivityDate="2015-10-09T02:16:51.923" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16577" PostTypeId="2" ParentId="16573" CreationDate="2015-10-09T04:29:05.737" Score="0" Body="&lt;p&gt;This could be caused by a 3rd party plugin, something library specific such as a very large resolution images or corrupt file, or corrupted preference file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try opening FCPX while holding the option key to eliminate the possibility there is a corrupted preference file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that doesn't work, please let us know the your version of FCPX and what kind of media is in your library and see if we can get some more clues.&lt;/p&gt;&#xA;" OwnerUserId="8027" LastActivityDate="2015-10-09T04:29:05.737" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16578" PostTypeId="1" CreationDate="2015-10-09T07:36:44.027" Score="2" ViewCount="89" Body="&lt;p&gt;Is it possible to delete all unused assets in the projects panel from after effects?&lt;/p&gt;&#xA;" OwnerUserId="9154" LastEditorUserId="9154" LastEditDate="2015-10-09T13:56:19.410" LastActivityDate="2015-10-09T13:56:19.410" Title="Is After Effects capable to show me every asset in the projects library that is NOT used in active comp?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16579" PostTypeId="2" ParentId="16578" CreationDate="2015-10-09T07:55:54.693" Score="2" Body="&lt;p&gt;With the desired composition selected in the &lt;em&gt;Project Panel&lt;/em&gt;, go to: &lt;br/&gt;&#xA;&lt;em&gt;File &gt; Dependencies &gt; Reduce Project&lt;/em&gt;: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HOz9d.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HOz9d.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="9154" LastEditorUserId="6685" LastEditDate="2015-10-09T11:50:56.967" LastActivityDate="2015-10-09T11:50:56.967" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16580" PostTypeId="1" AcceptedAnswerId="16583" CreationDate="2015-10-09T16:23:02.603" Score="4" ViewCount="1028" Body="&lt;p&gt;In many music videos, for example in &lt;a href=&quot;https://www.youtube.com/watch?v=WaV4Bc31OPA&quot; rel=&quot;nofollow&quot;&gt;T.I. feat. Lil Wayne - Wit Me music video&lt;/a&gt; from 1:14 - 1:17, u can see the video effect where the video switches from one scene to another very, very rapidly, syncing with that instrument/beat, what is this video effect called and how to put this video effect? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/WaV4Bc31OPA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="11820" LastEditorUserId="3561" LastEditDate="2015-10-10T12:43:27.263" LastActivityDate="2015-10-10T21:20:38.143" Title="How to put this video effect of switching from one scene to another very rapidly?" Tags="|video|video-editor|editing|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16581" PostTypeId="2" ParentId="16580" CreationDate="2015-10-09T19:10:46.047" Score="2" Body="&lt;p&gt;In a nutshell: put one clip on top of another, and use transparency (or opacity) property to show / hide bottom video. For example, in Sony Vegas Pro you can use Composite Level envelope (there is also an &lt;a href=&quot;http://vegasaur.com/strobe-light-effect&quot; rel=&quot;nofollow&quot;&gt;extension&lt;/a&gt; to do it quickly). I am sure that other NLEs have similar tools.&lt;/p&gt;&#xA;" OwnerUserId="3029" LastEditorUserId="3029" LastEditDate="2015-10-10T17:10:05.093" LastActivityDate="2015-10-10T17:10:05.093" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16582" PostTypeId="1" AcceptedAnswerId="16603" CreationDate="2015-10-10T06:34:21.743" Score="2" ViewCount="154" Body="&lt;p&gt;Using a Canon 70D and a couple stand-alone audio recorders, I have no trouble matching footage between the different devices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the Sony Alpha 6000, I can't line them up on the Premiere timeline: I sync one side of the clip and then the opposite end is not matching.  Where the video is split into multiple files, I want to shift each toward the center so I overlap a few frames in the middle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems to be about 1 second every five minutes.  MediaInfo tells me that the files from the camera are &quot;23.976 fps&quot;. I created the Premiere Timeline to auto-match the clip's settings, so it's not changing the rate as part of the project.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Update&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;With the cameras still set as they were, I shot a controlled test video and was unable to reproduce the problem.  Everything lined up just fine!&lt;/p&gt;&#xA;" OwnerUserId="9268" LastEditorUserId="6685" LastEditDate="2015-10-10T12:17:06.660" LastActivityDate="2015-10-12T04:02:11.620" Title="Why is my Sony Alpha 6000 not synchronzing with other recorders?" Tags="|camera|video-recording|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16583" PostTypeId="2" ParentId="16580" CreationDate="2015-10-10T11:36:49.437" Score="2" Body="&lt;p&gt;It's not an effect per se, it's plain old fast editing cuts. Some scenes have 1 frame, other 2 or 3 or more:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bJUEl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bJUEl.png&quot; alt=&quot;timeline cuts&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just put two scenes on the timeline and go cutting from one to another, and aligning them with the sound waveform as you feel like. Beware that this should be used in really small doses of few seconds, otherwise it becomes an unpleasant stroboscopic effect.&lt;/p&gt;&#xA;" OwnerUserId="3561" LastActivityDate="2015-10-10T11:36:49.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16584" PostTypeId="2" ParentId="16551" CreationDate="2015-10-10T12:14:40.520" Score="1" Body="&lt;p&gt;Just a proof of concept. Steps to reproduce:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;on a new comp, create a shape object filled with black color;&lt;/li&gt;&#xA;&lt;li&gt;animate some properties, in this case, I'm changing the Inner Radius;&lt;/li&gt;&#xA;&lt;li&gt;duplicate this shape layer and move it a few frames ahead in the timeline (so it's out of sync with the layer below);&lt;/li&gt;&#xA;&lt;li&gt;change its color to white and activate the &lt;a href=&quot;https://video.stackexchange.com/search?q=%5Bafter-effects%5D%20track%20matte&quot;&gt;Track Matte&lt;/a&gt; pointing to the first layer as &lt;code&gt;Parent&lt;/code&gt;;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;This is the result (showing all the frames at once):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UiuL1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UiuL1.png&quot; alt=&quot;resulting animation&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And this is the base composition:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BcVCo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BcVCo.png&quot; alt=&quot;animation timeline&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3561" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-10-10T12:14:40.520" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16585" PostTypeId="1" AcceptedAnswerId="16588" CreationDate="2015-10-10T14:59:46.747" Score="1" ViewCount="88" Body="&lt;p&gt;What's the fastest way to do this? Is there a way I can just copy the file 60 times over without having to re-encode?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a WMV file created with Expression Encoder.&lt;/p&gt;&#xA;" OwnerUserId="11824" LastEditorUserId="3561" LastEditDate="2015-10-11T06:27:18.947" LastActivityDate="2015-10-11T06:27:18.947" Title="How to create a 1h long WMV file from a repeated 1 minute WMV many times over?" Tags="|video|editing|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16586" PostTypeId="2" ParentId="16560" CreationDate="2015-10-10T17:15:46.140" Score="1" Body="&lt;p&gt;As you may know from 3d packages &lt;strong&gt;depth information&lt;/strong&gt; can be represented by a 2d &lt;a href=&quot;https://en.wikipedia.org/wiki/Depth_map&quot; rel=&quot;nofollow noreferrer&quot;&gt;Depth Map&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ApVl1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ApVl1.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In therory it's possible to &lt;strong&gt;detect the defocused area&lt;/strong&gt; of an image via &lt;strong&gt;depth estimation methods&lt;/strong&gt; and &lt;strong&gt;generating a depth map&lt;/strong&gt; using this information. The algorithm splits up the image by finding all relevant edges, analizes the gradient values and compare these areas with each other. &lt;em&gt;I doubt that this is accurate enough for every shot, but could work in some cases.&lt;/em&gt; One of the latest papers, you can find here:  &lt;a href=&quot;http://www.sjzhuo.net/defocusEstimation/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.sjzhuo.net/defocusEstimation/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AFAIK there is only one available plugin for After Effects at the moment: &lt;a href=&quot;http://www.yuvsoft.com/stereo-3d-technologies/automatic-depth-estimation/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.yuvsoft.com/stereo-3d-technologies/automatic-depth-estimation/&lt;/a&gt;, but since this process is becoming increasingly important for &lt;strong&gt;stereoscopic workflows&lt;/strong&gt;, it's a matter of time when more tools will become available.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastActivityDate="2015-10-10T17:15:46.140" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16587" PostTypeId="1" AcceptedAnswerId="16589" CreationDate="2015-10-10T17:16:07.793" Score="2" ViewCount="2783" Body="&lt;p&gt;I have a heterogenous set of videos (codecs, dimensions, size) that I would like to crop off the top using ffmpeg.  I've used this code successfully for year without any trouble (example here crops off 64px):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.avi -y -pix_fmt yuv420p -an -qscale 1 -vcodec libx264 -vf crop=in_w:in_h-64:0:64 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, I've now run into a case that it does &lt;em&gt;not&lt;/em&gt; work correctly, and I suspect it has something to do with SAR and DAR.  I have a clip that shows pixel dimensions of 960x720 [SAR 960:720 DAR 16:9], original looks close to this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iFbzl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iFbzl.png&quot; alt=&quot;original&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I use the above command, I end up with a video that ffprobe/ffmpeg says is 960x656 [SAR 4:3 DAR 80:41], but when I view it on a web browser or quicktime it is displayed as 1280x656:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/T1mdJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/T1mdJ.png&quot; alt=&quot;output&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I modify the command to account for this use case, without breaking the cropping of all other clips?  Here's what I've unsuccessfully tried:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.avi -y -pix_fmt yuv420p -an -qscale 1 -vcodec libx264 -vf scale=960:656,setsar=1 -vf crop=in_w:in_h-64:0:64 out.mp4&#xA;ffmpeg -i in.avi -y -pix_fmt yuv420p -an -qscale 1 -vcodec libx264 -vf setsar=sar=0 -vf setdar=dar=0 -vf crop=in_w:in_h-64:0:64 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11825" LastActivityDate="2020-10-04T13:22:18.513" Title="ffmpeg cropped video changes aspect ratio" Tags="|ffmpeg|aspect|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16588" PostTypeId="2" ParentId="16585" CreationDate="2015-10-10T18:48:10.630" Score="1" Body="&lt;p&gt;The ffmpeg concat demuxer can do this if the WMV video codec variant can be encoded by ffmpeg. Windows Media Video 7 &amp;amp; 8 qualify, Windows Media Video 9 doesn't.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-10-10T18:48:10.630" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16589" PostTypeId="2" ParentId="16587" CreationDate="2015-10-10T19:01:52.593" Score="1" Body="&lt;p&gt;This should work universally.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.avi -y -pix_fmt yuv420p -an -qscale 1 -vcodec libx264 -vf setsar=1,crop=in_w:in_h-64:0:64 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-10-10T19:09:43.127" LastActivityDate="2015-10-10T19:09:43.127" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16590" PostTypeId="1" AcceptedAnswerId="16593" CreationDate="2015-10-10T19:10:52.810" Score="3" ViewCount="1315" Body="&lt;p&gt;I have two clips in Premiere, to which I want to add a black fade transition. So far that works without a problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I replace the clips with After Effects compositions (because I want to add some effects on the clips, like Twixtor) and then try to add a black fade transition between those clips (now AE compositions), it doesn't work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere tells me there are not enough frames for the transition, altough the clips are still the exact length, but only AE compositions...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the right workflow for doing stuff like this, so I will still be able to add transitions over the clips when they come back from After Effects?&lt;/p&gt;&#xA;" OwnerUserId="11826" LastEditorUserId="6685" LastEditDate="2015-10-11T05:35:40.980" LastActivityDate="2015-10-11T19:15:51.900" Title="Transitions in Premiere Pro CC 2015 with After Effects Sequence" Tags="|after-effects|premiere|workflow|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16591" PostTypeId="2" ParentId="16580" CreationDate="2015-10-10T21:20:38.143" Score="1" Body="&lt;p&gt;In AE you can make script, which will make transparency of the clip switch between 100% and 0% according to sound volume, for example. I would do it that way, or manually, how is written above. &lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-10-10T21:20:38.143" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16592" PostTypeId="1" CreationDate="2015-10-10T21:21:36.240" Score="0" ViewCount="54" Body="&lt;p&gt;We want to start our own 1st youtube channel we will create in house videos from hd camera but before that we need to get an estimation of capital required in video production anyone who is well aware and already own a channel please give us some tips&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thank u in advance&lt;/p&gt;&#xA;" OwnerUserId="11827" LastActivityDate="2015-10-11T02:52:27.720" Title="do starting a youtube video production require huge budget" Tags="|youtube|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16593" PostTypeId="2" ParentId="16590" CreationDate="2015-10-10T21:23:32.293" Score="2" Body="&lt;p&gt;Often (and perhaps in your case) what is happening is the following.  Initially you have a clip that has plenty of content before or after your transition point.  You trim that clip to represent the content you actually care about.  If you do a fade at this point, the fade is going to use frames from the trimmed part of the clip that you don't necessarily see, but which are there (and which are used to complete the fade).  Now, if you send your trimmed clip through some external process, it doesn't send the /whole/ clip to the external process, just the frames you &quot;see&quot;.  That clip that seems properly trimmed doesn't actually have the frames to allow the fade to complete the way you want it to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To fix this, send a longer trim of the clip to AE, then, when it comes back, re-trim it to what you want.  You should find the fade working as well as it did for you initially.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2015-10-11T19:15:51.900" LastActivityDate="2015-10-11T19:15:51.900" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16594" PostTypeId="2" ParentId="16590" CreationDate="2015-10-11T02:43:26.463" Score="1" Body="&lt;p&gt;I usually use &quot;Render and Replace&quot; for things like this. The whole dynamic link integration is great and works wonders, but it isn't perfect. There are lots of caveats, such as specific plugins that won't work 100%. So I've adopted render and replace as my go-to resource whenever I use AE comps. It's basically:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;insert the comp on premiere&lt;/li&gt;&#xA;&lt;li&gt;make a copy of it to a video track below&lt;/li&gt;&#xA;&lt;li&gt;right the comp on the top video track&lt;/li&gt;&#xA;&lt;li&gt;pick &quot;render and replace&quot;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;That will create a mov file that is much better for Premiere to work on. In case you change the AE comp, you have to re-do this, but so far I've found that doing this has been faster then trying to solve the many little problems that come up with some more complex compositions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope it helps.&lt;/p&gt;&#xA;" OwnerUserId="11824" LastActivityDate="2015-10-11T02:43:26.463" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16595" PostTypeId="2" ParentId="16592" CreationDate="2015-10-11T02:52:27.720" Score="2" Body="&lt;p&gt;The simple answer to your question is &quot;No, starting a YouTube video channel does not require a huge budget.&quot;  There are YouTube channels that consist only of videos made using smartphones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to shoot for higher production values than that, you should be more specific in your question and you might get a more specific answer.  But the simple answer is: if you have a smartphone with video capabilities, you can start a YouTube channel with just that.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-10-11T02:52:27.720" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16597" PostTypeId="2" ParentId="16274" CreationDate="2015-10-11T15:05:39.067" Score="1" Body="&lt;p&gt;First off, why host your own videos? YouTube, Vimeo and many others have awesome embed tools, and unless you have a couple of GB to waste on your host, they're very practical.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But to your question, 1080x720 is perfectly fine, and creates a reasonable file size. 1920x1080 is pushing it a little, and 4K is just overkill. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm a web developer too, and when I have to host videos for a live background, featured video, etc, 1080x720 is my go to resolution, and I host things of larger size on YouTube since they'll take something like a 4K video, and give viewers the option of a resolution as low as 360p. &lt;/p&gt;&#xA;" OwnerUserId="5415" LastActivityDate="2015-10-11T15:05:39.067" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16598" PostTypeId="2" ParentId="3998" CreationDate="2015-10-11T18:52:34.320" Score="2" Body="&lt;p&gt;I know this is an old question abandoned by the asker, but I use &lt;code&gt;ffmpeg&lt;/code&gt; to &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;nofollow&quot;&gt;stream copy&lt;/a&gt; (re-mux) sections.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Example 1: Single output&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Skip first 14 minutes and make a 30 second output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:14:00 -i input -t 30 -c copy -map 0 output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;This will not re-encode, so the process is quick and preserves the quality.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Depending on your input format the output may not be exactly from the desired time, but usually it's close enough. See the &lt;code&gt;-ss&lt;/code&gt; option in the &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Main-options&quot; rel=&quot;nofollow&quot;&gt;FFmpeg documentation&lt;/a&gt; for more info.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h1&gt;Example 2: One segment of every &lt;em&gt;n&lt;/em&gt; seconds&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Use the segment muxer:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c copy -map 0 -segment_time 30 -f segment output%03d.foo&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;This will not re-encode, so the process is quick and preserves the quality.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Note that splitting may not be accurate, unless you force the reference stream key-frames at the given time. See the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#segment_002c-stream_005fsegment_002c-ssegment&quot; rel=&quot;nofollow&quot;&gt;segment muxer documentation&lt;/a&gt; for more info.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2015-10-11T18:52:34.320" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16599" PostTypeId="1" CreationDate="2015-10-11T20:39:46.223" Score="3" ViewCount="356" Body="&lt;p&gt;Not sure if this is the right place to ask this question (pretty technical), but I thought I'd start here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm interested in building a website that will have a streaming-video feature. It's not quite live video, because the videos will only be available after they have been reviewed. However, I would like the videos to be viewable on demand (ie, I don't want there to be a waiting period for them to be uploaded and encoded, like Youtube). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, I'm wondering how to live-stream video directly to a server, so that it is being encoded on the fly, and can be watched as soon as the stream ends.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your help!&lt;/p&gt;&#xA;" OwnerUserId="11830" LastActivityDate="2017-08-04T23:35:32.680" Title="Live streaming to a disk" Tags="|streaming|encoding|live|" AnswerCount="5" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16600" PostTypeId="1" CreationDate="2015-10-11T21:32:17.190" Score="0" ViewCount="32" Body="&lt;p&gt;The hope is to be doing interviews in breweries and restraunts the guy who was set to do it has bailed and so has his equipment amd knowledge. I was wondering whats the best starter equipment to get great audio and the software. Any list or links for help or equipmemt would be GREATLY apprecaited! Thanks again&lt;/p&gt;&#xA;" OwnerUserId="11832" LastActivityDate="2015-10-12T00:15:26.343" Title="starting new need help" Tags="|live|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ClosedDate="2015-10-17T10:34:14.407" ContentLicense="CC BY-SA 3.0" />
  <row Id="16602" PostTypeId="2" ParentId="16600" CreationDate="2015-10-12T00:15:26.343" Score="1" Body="&lt;p&gt;For gear, I like this list: &lt;a href=&quot;http://www.desktop-documentaries.com/cinematic-documentary-gear-package.html&quot; rel=&quot;nofollow&quot;&gt;http://www.desktop-documentaries.com/cinematic-documentary-gear-package.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For software (I assume for editing), Premiere Pro is very capable and easygoing on beginners.  Download a trial and see how you like it!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bear in mind, that both take time to learn in order to produce quality results, so unless you're a quick study, or your project is very simple, factor the learning curve into the cost of doing it yourself.&lt;/p&gt;&#xA;" OwnerUserId="11690" LastActivityDate="2015-10-12T00:15:26.343" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16603" PostTypeId="2" ParentId="16582" CreationDate="2015-10-12T04:02:11.620" Score="0" Body="&lt;p&gt;My careful test showed that the Alpha 6000 loses 0.2084 seconds of sound when it changes files, which is good to know in general but not relevant here.  That is, the last bit in the file is silent, but the next file starts with the correct synchronization for the next frame.  If you concatenate the streams, 1/5 second of sound is missing but no other glitch is apparent.  (I did not look too closely at the video frame timing.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It also shows that over a 30 minute recording it does drift &lt;em&gt;slightly&lt;/em&gt;, less than a frame.  Measuring, I see the tick on the Sony's audio track appears to the right of the same position on the Zoom H4N track: 0.0055 seconds after about 10 minutes (end of one file), and up to 0.14 seconds after 27m18s, near the longest a single &quot;take&quot; can record on the Sony.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In comparison, the Canon 70D audio track shifts to the left by 0.0065 seconds over the same half-hour span: about 1/3 the amount of drift, and in the opposite direction.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;The real problem with my synchronization was not due to the Sony camera.  For some unknown reason, the Zoom H4N seamlessly dropped close to 3 seconds (2s19f out of 24 fps) in the middle of the file.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is, the recorded WAV file (one file&amp;mdash;not a file break) somehow stopped laying down samples and resumed a moment later with no indications that anything took place.  Looking close-up in Audition there is a line visible in the frequency display where the discontinuity in the waveform is interpreted as noise on all frequencies.  One person is talking before the break, and another person is talking after, as if a section was deleted from the recording and saved back to a WAV file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Strange, isn't it?&lt;/p&gt;&#xA;" OwnerUserId="9268" LastActivityDate="2015-10-12T04:02:11.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16604" PostTypeId="1" AcceptedAnswerId="16606" CreationDate="2015-10-12T04:21:08.597" Score="4" ViewCount="5218" Body="&lt;p&gt;I started a Premiere project that eventually spawned multiple videos.  Each of those videos is in its own sequence.  I'd like to extract them into their own projects, both to clear out the project manager and leave it more organized, but also so I can &quot;Clean&quot; the Media Cache (I don't expect to re-open these sub-projects anytime soon).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an easy way to move the sequences (and associated assets) into new projects?&lt;/p&gt;&#xA;" OwnerUserId="11690" LastActivityDate="2015-10-12T11:49:55.383" Title="In Premiere, is there an easy to way to extract sequences into new projects?" Tags="|premiere|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16605" PostTypeId="1" CreationDate="2015-10-12T05:24:50.787" Score="1" ViewCount="2044" Body="&lt;p&gt;I'm fairly new to editing large video projects, and I notice my eyes get fatigued after editing for a few hours.  Is this common?  How can I minimize eye strain?  E.g.: best monitor settings, specific display models you recommend, break frequency, specific break activities, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For what it's worth, I'm using Premiere Pro CC 2014 on a Mac on a Samsung SyncMaster 244T LCD monitor.  A lot of my footage is shaky, though, and some of it shot in low light.  I'm not sure if either of those make a difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think my monitor is a healthy distance, and I've tried &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B00BQ7KBV4&quot; rel=&quot;nofollow&quot;&gt;computer goggles like these&lt;/a&gt;, but they don't seem to make a big difference.&lt;/p&gt;&#xA;" OwnerUserId="11690" LastEditorUserId="3561" LastEditDate="2015-10-12T14:57:25.770" LastActivityDate="2015-10-12T15:37:28.537" Title="How to reduce eye strain when video editing?" Tags="|editing|monitors|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16606" PostTypeId="2" ParentId="16604" CreationDate="2015-10-12T11:49:55.383" Score="4" Body="&lt;p&gt;There are two ways to do this; since they both have their merits, I'll include both of them.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;1. The Project Manager&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Open &lt;strong&gt;File&lt;/strong&gt; → &lt;strong&gt;Project Manager&lt;/strong&gt;. It's pretty straightforward, just select the sequences you want to export. If you want to clean up the preview files, uncheck &lt;strong&gt;Include Preview Files&lt;/strong&gt;. Select the target directory and click ok. Repeat this for every sequence you want to export to an individual project. The problem with that approach is that &lt;strong&gt;this will also copy your media assets&lt;/strong&gt; to the new project's directory, which you might not want.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;2. Importing sequences&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Another option is to import sequences from other Premiere project.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create a &lt;strong&gt;new project&lt;/strong&gt; in Premiere.&lt;/li&gt;&#xA;&lt;li&gt;Select &lt;strong&gt;File&lt;/strong&gt; → &lt;strong&gt;Import...&lt;/strong&gt;. In the pop-up window, select your old project file that has all the sequences in it.&lt;/li&gt;&#xA;&lt;li&gt;Another dialogue window will pop up asking you whether you want to import the entire project or individual sequences. Select &lt;strong&gt;Import Selected Sequences&lt;/strong&gt;.&lt;/li&gt;&#xA;&lt;li&gt;This will open another window where you can browse your old project and &lt;strong&gt;select the sequence(s) you want&lt;/strong&gt; (to select multiple sequences, hold &lt;kbd&gt;CTRL&lt;/kbd&gt; / &lt;kbd&gt;CMD&lt;/kbd&gt; while selecting them).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This will &lt;strong&gt;not copy or move your media assets to a new directory&lt;/strong&gt;. Instead it will just import the selected sequence(s) and all media assets it contains into your new project. This however will not import any assets that aren't used in your imported sequence(s). So if you're still working on one of the imported sequences in the new project and want to add clips you had already imported in the old project but hadn't used yet, you'll have to import those manually. To prevent that, import all media assets that are relevant to the sequence into your new project &lt;em&gt;before&lt;/em&gt; importing the sequence and make sure &lt;strong&gt;Allow importing duplicate media&lt;/strong&gt; is unchecked in the import dialogue.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-10-12T11:49:55.383" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16607" PostTypeId="2" ParentId="16605" CreationDate="2015-10-12T12:35:04.673" Score="4" Body="&lt;p&gt;First, I have never seen anyone use one of those goggles; if you ask me, that's utter nonsense, but go ahead and do your own research. Or just try them, 18 $ is not that much, and you can always return them if you order from Amazon (even though that's not ecologically responsible) ...&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;There are a couple of problems related to staring at a monitor for a prolonged time, which include depletion of your eye's &lt;a href=&quot;https://en.wikipedia.org/wiki/Rhodopsin&quot; rel=&quot;nofollow noreferrer&quot;&gt;Rhodopsin stores&lt;/a&gt; (cause of several vision-related problems), a lowered blink rate which will dry out your eyes (which in turn is bad for you in a couple of ways) and a reduced melatonin production (which causes sleeping problems). There are a couple of things you can do (I don't make any promises that this list will be exhaustive):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The 20-20-20 rule.&lt;/strong&gt; For every 20 minutes of staring at a computer, look at something that's at least 20 feet away from you, for at least 20 seconds. I also find it useful to focus on different things at varying distances. This will prevent &lt;a href=&quot;https://en.wikipedia.org/wiki/Tunnel_vision&quot; rel=&quot;nofollow noreferrer&quot;&gt;tunnel vision&lt;/a&gt; and give your eyes a break.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Massaging.&lt;/strong&gt; Sounds stupid, but I find massaging my eyes every now and then quite relaxing on the eyes. What I do is rub my hands to warm them up, then press them on my closed eyes, rotating them slowly. There are more techniques out there, you should go ahead and google a bit, try out different techniques until you find one that works for you. There's also a couple of other exercises that come down to &lt;em&gt;use your eyes for something other than staring at your monitor&lt;/em&gt; from time to time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Vitamin A.&lt;/strong&gt; Vitamin A is supposed to prevent several vision problems for &lt;a href=&quot;http://health.howstuffworks.com/mental-health/human-nature/perception/eye2.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;reasons&lt;/a&gt;. While I'm not sure if it will have any noticable effect on your eyes and it certainly won't keep your eyes from getting exhausted, eating a carrot every now and then won't hurt anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Monitor temperature.&lt;/strong&gt; The problem with computer monitors is that they mostly emanate blue light which is also &lt;a href=&quot;http://www.nytimes.com/2011/07/05/health/05light.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;bad for us&lt;/a&gt;. This has for example been shown to cause sleep issues. To reduce that effect, use &lt;a href=&quot;https://justgetflux.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;f.lux&lt;/a&gt; or similar software that will adjust your monitor's color temperature. I have used it for some time and find it increases the time I can spend in front of a computer screen (especially at night) before my eyes start to hurt. A little warning: This &lt;strong&gt;will conflict with color correction / grading&lt;/strong&gt;. I once color corrected a video that turned out completely blue and cold, because I compensated for an overall warm look that was actually caused by f.lux, so make sure to turn it off before doing color-sensitive work. For smartphones, there's &lt;a href=&quot;https://play.google.com/store/apps/details?id=com.urbandroid.lux&quot; rel=&quot;nofollow noreferrer&quot;&gt;Twilight&lt;/a&gt;. (f.lux and Twilight look curious at first, but you'll forget they're even there after a couple of days, so stick with it through this initial awkwardness.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Distance to your monitor.&lt;/strong&gt; Maintain a healthy distance between your head and your monitor. This means at &lt;a href=&quot;https://superuser.com/questions/135183/how-far-from-the-computer-screen-is-it-recommended-to-sit&quot;&gt;least an arm's length&lt;/a&gt; (though some sites will tell you it should be more or less; there isn't an exact answer, really).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Take breaks and listen to your eyes.&lt;/strong&gt; Even if you do all those things, eventually your eyes will tell you to take a break. When they do, listen to them! We're just not made for spending 8+ hours looking at a computer screen, so make sure to take regular breaks and do something else every now and then. You can also monitor your screen time and note how long it takes for your eyes to start aching, and then adjust your break frequency accordingly.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-03-20T10:04:28.637" LastActivityDate="2015-10-12T15:37:28.537" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16608" PostTypeId="2" ParentId="16599" CreationDate="2015-10-12T12:53:47.800" Score="0" Body="&lt;p&gt;Why would you need the videos to be available instantly if they are going to be reviewed before making them publicly available anyway?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reducing the encoding time comes down to server performance, which in turn comes down to money. Youtube has very much money, and still the server-side encoding of uploaded videos takes some time. I'm pretty sure they've done anything they can to reduce the waiting time as much as possible; I don't think you can do more with limited ressources and time. The only solution I see is to not reencode uploaded videos, which will get rid of that issue alltogether. However, this opens up another set of issues related to compatibility with various devices, high bandwidth usage on the visitor's side and problably security problems as well. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can have a look at the streaming services provided by &lt;a href=&quot;http://www.twitch.tv/&quot; rel=&quot;nofollow&quot;&gt;Twitch&lt;/a&gt; (which sadly still uses flash) and &lt;a href=&quot;https://www.youtube.com/my_live_events&quot; rel=&quot;nofollow&quot;&gt;Youtube Live Events&lt;/a&gt;; both are very sophisticated systems, so I suggest using one of those instead of trying to build your own solution. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-10-12T12:53:47.800" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16609" PostTypeId="2" ParentId="16599" CreationDate="2015-10-12T14:34:35.827" Score="0" Body="&lt;p&gt;There are video services such as LiveStream and Ustream that provide such functionality.  It comes at a cost, but their fees are nothing compared to the cost of building a video distribution capability that scales beyond a few friends and immediate family.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-10-12T14:34:35.827" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16610" PostTypeId="1" CreationDate="2015-10-12T15:12:58.827" Score="2" ViewCount="119" Body="&lt;p&gt;I have seen free images and music, but is there any site out there that gives out free non-copyrighted movie clips that can be used? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to be able to search and look for movie or video clips needed to use as examples for my film. For example, if I want a video of a helicopter going across sky I want to be able to find that.&lt;/p&gt;&#xA;" OwnerDisplayName="user11835" LastEditorUserId="1871" LastEditDate="2015-10-13T08:53:36.030" LastActivityDate="2015-10-13T08:53:36.030" Title="Royalty Free Videos?" Tags="|webvideos|copyright|footage|media|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16611" PostTypeId="2" ParentId="16610" CreationDate="2015-10-12T15:23:02.997" Score="0" Body="&lt;p&gt;If you're only looking for examples, for internal work and that won't be displayed publicly, I believe you're not breaking copyright by using images found on youtube, vimeo, etc. At least in my country you wouldn't, but check your legislation.&lt;/p&gt;&#xA;" OwnerUserId="11824" LastActivityDate="2015-10-12T15:23:02.997" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16612" PostTypeId="2" ParentId="16610" CreationDate="2015-10-12T15:38:11.290" Score="1" Body="&lt;p&gt;Browse the &lt;a href=&quot;https://vimeo.com/creativecommons&quot; rel=&quot;nofollow&quot;&gt;Creative Commons repository&lt;/a&gt; on Vimeo for a start. Except for the two non-commercial categories, videos from the other categories can be used for a credit, at most.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Here’s where you can browse all the videos on Vimeo that have a Creative Commons license applied to them. Creative Commons licenses enable members to grant copyright permissions on their videos so others can copy, distribute, edit, remix, and build upon them while giving credit to the original video’s creator.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="3561" LastEditDate="2015-10-13T04:44:24.440" LastActivityDate="2015-10-13T04:44:24.440" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16613" PostTypeId="2" ParentId="16610" CreationDate="2015-10-12T21:40:51.530" Score="1" Body="&lt;p&gt;As of now, the Internet Archive has 2.1 million videos on the &lt;a href=&quot;https://archive.org/details/movies&amp;amp;tab=collection&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;em&gt;&lt;strong&gt;Moving Image Archive&lt;/strong&gt;&lt;/em&gt;&lt;/a&gt; catalog.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;sub&gt;DESCRIPTION&lt;/sub&gt;&lt;br /&gt;&#xA;&lt;strong&gt;Download or listen to free movies, films, and videos&lt;/strong&gt;&lt;br /&gt;&#xA;This library contains digital movies uploaded by Archive users which range from classic full-length films, to daily alternative news broadcasts, to cartoons and concerts. Many of these videos are available for free download. Check our FAQ for &lt;a href=&quot;https://archive.org/about/faqs.php#Audio&quot; rel=&quot;nofollow noreferrer&quot;&gt;more information&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Contribute Your Movies and Video&lt;/strong&gt;&lt;br /&gt;&#xA;Please feel free to upload your movies (Uploaders, please set a Creative Commons license as part of the upload process, so people know what they can do with your movies and video - thanks!)&lt;/p&gt;&#xA;&lt;p&gt;&lt;sub&gt;RIGHTS&lt;/sub&gt;&lt;br /&gt;&#xA;&lt;strong&gt;This collection is free and open for everyone to use.&lt;/strong&gt;&lt;br /&gt;&#xA;Our goal in digitizing these movies and putting them online is to provide easy access to a rich and fascinating core collection of archival films.&lt;br /&gt;&#xA;By providing near-unrestricted access to these films, we hope to encourage widespread use of moving images in new contexts by people who might not have used them before.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;The Prelinger Archives section is like a gold mine and a wonderful time travel.&lt;/p&gt;&#xA;&lt;p&gt;Depending on the subject, you'll have to dig a bit, but &amp;quot;helicopter&amp;quot; produces quite a lot of results, like &lt;a href=&quot;https://archive.org/details/IMB_SF_R7_C9&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;view at the Archive&quot;&gt;this one&lt;/a&gt; that has an AVI with 200MB:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://archive.org/details/IMB_SF_R7_C9&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;view at the Archive&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nf0Y1.png&quot; width=&quot;245&quot; alt=&quot;credits&quot;&gt;&lt;/a&gt; &lt;a href=&quot;https://archive.org/details/IMB_SF_R7_C9&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;view at the Archive&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BHRtK.png&quot; width=&quot;240&quot; alt=&quot;heli image&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3561" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-10-12T21:40:51.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16617" PostTypeId="2" ParentId="14705" CreationDate="2015-10-13T12:58:06.287" Score="2" Body="&lt;p&gt;I always used &lt;a href=&quot;https://www.jamendo.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;Jamendo&lt;/a&gt;. Normally artists upload full albums and there are many classes of licences, even PRO/paid licenses:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;kbd&gt;&lt;br&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/KeJTg.png&quot; width=&quot;400&quot;&gt;&lt;/kbd&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;https://www.jamendo.com/en/faq&quot; rel=&quot;nofollow noreferrer&quot;&gt;their FAQ&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;What is free music?&lt;/strong&gt;&lt;br&gt;&#xA;  Free music is music that is not managed by performance rights organizations (PRS, ASCAP, SOCAN, BMI, BUMA, JASRAC...). Artists choose to protect their rights through specific non exclusive licenses such as Creative Commons. 'Free music' doesn't necessarily mean free-of-cost or devoid of any rights restrictions, it means &quot;some rights reserved&quot;. Artists define what rights they grant on their music through their choice of license.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;What is Creative Commons?&lt;/strong&gt;&lt;br&gt;&#xA;  Creative Commons are licenses that enable musicians to give away their music for free while protecting their rights. They are easy to use and compatible with internet standards, and allow rights holders to authorize (or not) certain uses of their music, such as commercial uses and derived works. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="3561" LastActivityDate="2015-10-13T12:58:06.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16618" PostTypeId="2" ParentId="15740" CreationDate="2015-10-13T14:53:37.203" Score="2" Body="&lt;p&gt;For purposes of this answer I'll assume the audio is encoded with an aac codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For each video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use &lt;em&gt;ffmpeg&lt;/em&gt; to extract the sound track to its own file.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;${f%.mp4}&quot; -vn -acodec copy &quot;${f%-sound.aac}&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If not yet known, determine the duration of the audio file.  In some cases ffmpeg is known to give an incorrect duration (&lt;a href=&quot;https://stackoverflow.com/questions/10437750/how-to-get-the-real-actual-duration-of-an-mp3-file-vbr-or-cbr-server-side&quot;&gt;https://stackoverflow.com/questions/10437750/how-to-get-the-real-actual-duration-of-an-mp3-file-vbr-or-cbr-server-side&lt;/a&gt;), so I'd use &lt;em&gt;sox&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;duration=$(sox soundtrack_before_processing.mp3 -n stat 2&amp;gt;&amp;amp;1 | sed -n 's#^Length (seconds):[^0-9]*\([0-9.]*\)$#\1#p')&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Use &lt;em&gt;sox&lt;/em&gt; to apply fades in and out.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;sox &quot;${f%-sound.aac}&quot; &quot;${f%-sound-with-fades.aac}&quot; fade t $fade_in_seconds $duration $fade_out_seconds&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Replace the audio track in the original video file with the faded track.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i &quot;${f%.mp4}&quot; -i &quot;${f%-sound-with-fades.aac}&quot; -map 0:v -map 1 -vcodec copy -acodec aac -strict experimental -shortest &quot;${%f-new.mp4}&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11844" LastEditorUserId="-1" LastEditDate="2017-05-23T11:33:38.633" LastActivityDate="2015-10-13T15:16:10.240" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16619" PostTypeId="1" AcceptedAnswerId="16622" CreationDate="2015-10-13T15:47:08.100" Score="2" ViewCount="126" Body="&lt;p&gt;I'm having trouble exporting from Premiere (OS X 10.11, Premiere Pro CC 2015.0.2). While the preview plays flawlessly, when I export I get odd red bars, yellowing, and pixelation in some (or all) of the still images. I've attempted many different settings in the output, and while there is some variation on the severity and frequency of the distortion, it is always present.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a sample of the issue. &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/IQLQJJm4oMM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="11845" LastActivityDate="2015-10-13T20:12:47.573" Title="Red bars, yellowing, and pixelated output from Premiere" Tags="|premiere|" AnswerCount="1" CommentCount="1" ClosedDate="2015-10-15T15:19:44.067" ContentLicense="CC BY-SA 3.0" />
  <row Id="16620" PostTypeId="2" ParentId="13304" CreationDate="2015-10-13T19:20:58.647" Score="0" Body="&lt;p&gt;There is a vector based codec that I've been using - but it can't live outside of editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Flash exports an swf file format that maintains the motion vector information when applied in After Effects (don't know if it works in Premier.  DOES NOT work in Final Cut).  When these files are imported into AE, they maintain their resolution regardless of scale or zoom.  All other features applicable to shape layers are applicable to swfs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Almost every other visual application does not recognize the swf format, so it's uses are very limited.  But the codec DOES exist.&lt;/p&gt;&#xA;" OwnerUserId="11846" LastActivityDate="2015-10-13T19:20:58.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16621" PostTypeId="1" CreationDate="2015-10-13T19:26:08.327" Score="4" ViewCount="2521" Body="&lt;p&gt;I have raw video with horizontal lines (bad settings at manual mode); here's a preview: &lt;a href=&quot;http://sendvid.com/oh3uxjqi&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://sendvid.com/oh3uxjqi&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QmRZC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QmRZC.png&quot; alt=&quot;horizontal lines sample&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I remove this using some software, or effect/plugin in Premiere Pro? &lt;/p&gt;&#xA;" OwnerUserId="11847" LastEditorUserId="1871" LastEditDate="2015-10-14T05:30:48.207" LastActivityDate="2015-10-14T13:54:54.073" Title="Remove flashing lines from video" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16622" PostTypeId="2" ParentId="16619" CreationDate="2015-10-13T20:12:47.573" Score="2" Body="&lt;p&gt;This is extremely well documented in the Adobe Premiere forum.  Premiere Pro is not fully compatible with El Capitan (10.11).  The work-around is to disable the GPU by selecting &quot;Mercury Software Render&quot;, which will remind you why so many people hated doing digital video before GPU cards existed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The situation is a mess.  Adobe has apologized, is working on a fix, and has no idea when Premiere Pro, or an update to 10.11, or both, will result in a working system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other work-around is to back-out 10.11 and downgrade to Yosemite.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-10-13T20:12:47.573" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16623" PostTypeId="2" ParentId="16621" CreationDate="2015-10-13T23:03:09.513" Score="0" Body="&lt;p&gt;How I understand you speaking about illumination flickering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It looks like artifact from different fps and light bulb flickering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Usually you can fix it like that: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Duplicate footage&lt;/li&gt;&#xA;&lt;li&gt;Place it above first instance of that footage&lt;/li&gt;&#xA;&lt;li&gt;Make transparency 50%&lt;/li&gt;&#xA;&lt;li&gt;Move it one frame forward.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;That shall compensate flickering.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-10-13T23:03:09.513" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16625" PostTypeId="1" AcceptedAnswerId="16714" CreationDate="2015-10-14T01:18:50.110" Score="4" ViewCount="8880" Body="&lt;p&gt;Is it possible to transfer an iMovie &lt;em&gt;project&lt;/em&gt; from my iPhone to my MacBook Pro?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right now, my project consists of clips that I shot directly using iMovie, but they don't appear in my Camera Roll on my iPhone. Is there a way to make them appear on my Camera Roll (or other folder) so that I can simply copy and paste the &lt;em&gt;individual&lt;/em&gt; clips onto my computer?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried the new update of iMovie 10.1, but it gives a strange error when I try to import. What I have done:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Goto the projects in iMovie for iPhone, open a project, export to iTunes.&lt;/li&gt;&#xA;&lt;li&gt;Download the &quot;projectname.iMovieMobile&quot; file from iTunes onto my computer.&lt;/li&gt;&#xA;&lt;li&gt;Open iMovie version &lt;strong&gt;10.1&lt;/strong&gt; (the new update). File &gt; Import iMovie iOS Projects... &gt; select the project.iMovieMobile.&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;When I try to import them, it gives an error after a few seconds:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Error in iOS Project Import&#xA;  Failed to import iOS project. The project's version is too old. Please update the iMovie app on your iOS device.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;However, I have checked that I have the correct versions. I will try updating my iOS and get back to here.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Additional Info&lt;/em&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Mac Book Pro (Late 2011)&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I just installed the 'El Capitan' update, but it doesn't to appear to actually be working; will try reinstalling.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;iPhone 6S, iOS version 9.0.2 (latest)&lt;/li&gt;&#xA;&lt;li&gt;iMovie (on MacBook Pro) v. 10.1&lt;/li&gt;&#xA;&lt;li&gt;iMovie (on iPhone) v. 2.2&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11851" LastEditorUserId="3561" LastEditDate="2015-10-27T18:12:47.227" LastActivityDate="2018-08-08T07:38:19.067" Title="Tranferring an iMovie project from iPhone to MacBook Pro" Tags="|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16627" PostTypeId="2" ParentId="16621" CreationDate="2015-10-14T13:54:54.073" Score="4" Body="&lt;p&gt;I think the other thing wrecking your video is that your source is interlaced but you are processing as if not interlaced.  Interlaced video is an anachronism from the days of analog.  Digital camcorders can still record 1080i, but that leads to very unhappy images when presented on non-CRT screens.  If you don't know what a CRT screen is, you should definitely change your settings to shoot progressive instead of analog.  (And if you do know, you can easily understand why you should shoot progressive anyway.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Moreover, a progressive format like 720p24, 720p25, or 720p30 (or 1080p24, 1080p25 or 1080p30) will slow down your shutter speed, which will also reduce whatever flickering effect might exist as mentioned by others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere Pro does have a &quot;de-interlace&quot; filter, but it's difficult to repair the damage of interlacing.  Best to shoot progressive from the get-go.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-10-14T13:54:54.073" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16628" PostTypeId="1" CreationDate="2015-10-14T13:05:07.033" Score="1" ViewCount="8686" Body="&lt;p&gt;one of our partner is exposing a live HLS stream. I want to know if there is any tool that can take hls live stream as input and convert it to rtmp live stream and ideally push that output to some other server.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically we are using wowza server to serve live channels to our clients. As per my knowledge wowza is not taking video stream as input using http protocol. Thats why i am looking for a tool to convert hls stream to rtmp stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We are trying to do the following, but it fails:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i &lt;a href=&quot;http://bgsf.hls.iptvdc.com/islambox/732/play.m3u8&quot; rel=&quot;nofollow&quot;&gt;http://bgsf.hls.iptvdc.com/islambox/732/play.m3u8&lt;/a&gt; -re -acodec copy -vcodec copy rtmp://ib12.islambox.tv/live/najam83&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\&amp;gt;ffmpeg -i http://bgsf.hls.iptvdc.com/islambox/709/play.m&#xA;3u8 -re -acodec copy -vcodec copy rtmp://ib12.islambox.tv/live/najam83&#xA;&#xA;ffmpeg version N-76023-g0131636 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 5.2.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-av&#xA;isynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enab&#xA;le-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --&#xA;enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-l&#xA;ibilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enab&#xA;le-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --en&#xA;able-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --ena&#xA;ble-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc&#xA; --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enabl&#xA;e-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --ena&#xA;ble-decklink --enable-zlib&#xA;  libavutil      55.  4.100 / 55.  4.100&#xA;  libavcodec     57.  6.100 / 57.  6.100&#xA;  libavformat    57.  4.100 / 57.  4.100&#xA;  libavdevice    57.  0.100 / 57.  0.100&#xA;  libavfilter     6. 11.100 /  6. 11.100&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.100 /  2.  0.100&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;[aac @ 000000bd32533720] element type mismatch 1 != 0&#xA;[aac @ 000000bd325fe4e0] element type mismatch 1 != 0&#xA;Input #0, hls,applehttp, from 'http://bgsf.hls.iptvdc.com/islambox/709/play.m3u8&#xA;':&#xA;  Duration: N/A, start: 54791.428622, bitrate: N/A&#xA;  Program 0&#xA;    Metadata:&#xA;      variant_bitrate : 0&#xA;    Stream #0:0: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p, 720x576 [&#xA;SAR 12:11 DAR 15:11], 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:1: Audio: aac (HE-AAC) ([15][0][0][0] / 0x000F), 48000 Hz, stereo,&#xA; fltp, 46 kb/s&#xA;Option re (read input at native frame rate) cannot be applied to output file rtm&#xA;p://ib12.islambox.tv/live/najam83 -- you are trying to apply an input option to&#xA;an output file or vice versa. Move this option before the file it belongs to.&#xA;Error parsing options for output file rtmp://ib12.islambox.tv/live/najam83.&#xA;Error opening output files: Invalid argument&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11859" OwnerDisplayName="najam" LastEditorUserId="2836" LastEditDate="2015-10-15T13:57:57.140" LastActivityDate="2021-01-07T11:02:33.093" Title="convert live hls stream into rtmp stream" Tags="|streaming|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16629" PostTypeId="2" ParentId="16244" CreationDate="2015-10-15T06:14:27.397" Score="1" Body="&lt;p&gt;I had the same issue and downloaded the &lt;a href=&quot;https://developer.nvidia.com/cuda-downloads&quot; rel=&quot;nofollow noreferrer&quot;&gt;CUDA Drivers&lt;/a&gt; form nVidia site (El Capitan version).&#xA;Then I chose CUDA Renderer in project settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No more artifacts when pausing clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Bgerj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Bgerj.png&quot; alt=&quot;Cuda Renderer&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11858" LastActivityDate="2015-10-15T06:14:27.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16631" PostTypeId="1" CreationDate="2015-10-15T11:55:02.760" Score="2" ViewCount="397" Body="&lt;p&gt;Whenever I take videos in churches/ temples with little light and a lot of gold, the gold looks kind of greenish brown on the final video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As gold is not a colour in RGB, I have difficulties to find the correct color grading settings that make gold surfaces look golden.&lt;/p&gt;&#xA;" OwnerUserId="11100" LastEditorUserId="6685" LastEditDate="2015-12-07T18:44:58.297" LastActivityDate="2015-12-07T18:44:58.297" Title="How to color grade gold" Tags="|color-correction|color|color-grading|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16632" PostTypeId="2" ParentId="16631" CreationDate="2015-10-15T12:42:49.193" Score="5" Body="&lt;p&gt;Two thoughts: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Go to images.google.com and search for &quot;gold&quot;.  Find something you think is gold-colored, check its RGB values, and then use that as a target for your gold.  Many editing programs have the ability to aim one color toward another, so you can select a range of colors that your camera thinks of as gold and then aim it toward what you think of as gold.  &lt;/li&gt;&#xA;&lt;li&gt;Perhaps the reason why Apple's high-end iPhones are rose-gold instead of regular gold - they want pictures to look warm and rich no matter whose camera is snapping the image&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Ultimately (and perhaps this is your best answer) the eye very much judges color on a relative basis.  See &lt;a href=&quot;http://www.archimedes-lab.org/color_optical_illusions.html&quot; rel=&quot;nofollow&quot;&gt;http://www.archimedes-lab.org/color_optical_illusions.html&lt;/a&gt;. To get something that really looks gold, you have to have both the right target color and the right complementary contrasting colors around it to make it really look gold.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="6685" LastEditDate="2015-10-15T15:13:58.287" LastActivityDate="2015-10-15T15:13:58.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16633" PostTypeId="1" CreationDate="2015-10-15T18:21:47.620" Score="2" ViewCount="2684" Body="&lt;p&gt;Trying to figure out why my playback on the timeline (no matter the sequence settings) is slightly faster. Any possible fixes, or ways to troubleshoot this?&lt;/p&gt;&#xA;" OwnerUserId="11862" LastActivityDate="2015-10-24T08:55:48.743" Title="Adobe Premiere Pro CC 2015 playback is too fast, renders are regular speed though" Tags="|premiere|playback|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16634" PostTypeId="2" ParentId="15768" CreationDate="2015-10-16T04:34:59.190" Score="0" Body="&lt;p&gt;The poor man's alternative is to put all the searchable words you want into the individual video's filename.  Sure, you may have super long titles, but you also get to leverage one of the most robust and fast indexing and search systems out there--that of the operating system (Spotlight, in the case of Mac).&lt;/p&gt;&#xA;" OwnerUserId="11690" LastActivityDate="2015-10-16T04:34:59.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16636" PostTypeId="1" CreationDate="2015-10-16T10:05:42.087" Score="10" ViewCount="8279" Body="&lt;p&gt;I have noticed in some YouTube videos that pauses in speech have been cut out. There are no pauses, and this makes the video easier to watch. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is this done? I have searched for this, but have only found tutorials on doing this manually, but there must be an automatic way for YouTube videos, I hope!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an example of one of these videos:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/DrD2-8o-UJs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user11867" LastEditorUserId="2836" LastEditDate="2018-09-01T13:15:46.043" LastActivityDate="2020-09-24T14:58:57.307" Title="How do you edit out pauses in YouTube videos?" Tags="|youtube|" AnswerCount="7" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="16637" PostTypeId="1" CreationDate="2015-10-16T13:44:43.497" Score="1" ViewCount="134" Body="&lt;p&gt;I mostly create simple infographic style animaitons with Flash then import them to Premiere to adjust timing and add extra effects.I know it is not a pro. way to work but it reduces rendering and esportting time for me. and i have to watch every movie i made from beginning to end many time.. With 4 eyes without any blink not to skip this error.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From time to time i had this issue when i export movie final movie has skipping repeating frames and even sometimes distorted green lines occur.&#xA;And the worst thing is that it happens randomly (or atleast not in a pattern so that i can say the cause)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried lots of export ways but it mostly happens.. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Things i can count are..&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Lower resolutions are fine almost nothing like this happens. &lt;/li&gt;&#xA;&lt;li&gt;1280 and 1920 %80-90 it happens at some point. &lt;/li&gt;&#xA;&lt;li&gt;Exporting mov seems like a solution but both then i have to convert again for mp4&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Possible causes i can think of but cannot prove are.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frame server might mix because of st. while serving swf frames to premiere. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another software during render (st. like watching youtube or continuing editing with another soft like after effects, premiere, proshow or even flash) working background might cause this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My graphic card might cause this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My harddisk can cause this while writimng file to disk. (Not so sure because i also tried exporting to SSD system harddisk but again it happens)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Solutions i could find&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;1-Export as uncompressed mov then convert to mp4. Which both takes my extra time and disk space..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Intel Xeon 3.5 GHZ&#xA;32 GB ram&#xA;Win 10 64 bit&#xA;Dell precision T1700 workstation&#xA;SSD hard disk for system and softwares&#xA;1 tb internal Normal harddisk for workspace &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea is appriciated.. &#xA;Thanx for all the help&lt;/p&gt;&#xA;" OwnerUserId="11795" LastActivityDate="2015-10-16T13:44:43.497" Title="Rendering with swf files sometimes causes skipping frames" Tags="|premiere|editing|adobe|adobe-media-encoder|flash|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16638" PostTypeId="1" CreationDate="2015-10-17T11:45:34.810" Score="1" ViewCount="137" Body="&lt;p&gt;I've got a series of videos that I'm looking to drastically reduce in size. The video content is very simple: text animating on white background with a voice track on top. The text is mostly just subtitles and occasionally an image pops up, sort of like a PowerPoint/Keynote presentation, and it needs to play on iPad at Retina resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of size, here's an example of one of the video files:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Size: 20 MB&lt;/li&gt;&#xA;&lt;li&gt;Dimensions: 1920 x 1080 &lt;/li&gt;&#xA;&lt;li&gt;Duration: 5 minutes, 18 seconds&lt;/li&gt;&#xA;&lt;li&gt;Codecs: H.264, AAC&lt;/li&gt;&#xA;&lt;li&gt;Color profile: HD (1-1-1)&lt;/li&gt;&#xA;&lt;li&gt;Audio channels: 2&lt;/li&gt;&#xA;&lt;li&gt;FPS: 25&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If there were a video format with variable frame rate, that would be ideal because so much of the video holds a constant frame for a second or so (like a PowerPoint/Keynote presentation). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason is to reduce download size of a video-intensive app.&lt;/p&gt;&#xA;" OwnerUserId="11124" LastEditorUserId="3561" LastEditDate="2015-10-18T12:34:21.150" LastActivityDate="2020-02-16T14:50:35.573" Title="How to drastically reduce size of very simple video?" Tags="|video-quality|file-formats|compression|" AnswerCount="1" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="16639" PostTypeId="1" CreationDate="2015-10-17T12:50:29.380" Score="2" ViewCount="568" Body="&lt;p&gt;This is the command line I use to &lt;strong&gt;cut videos&lt;/strong&gt; with &lt;a href=&quot;http://ffmpeg.zeranoe.com/&quot; rel=&quot;nofollow&quot;&gt;FFMPEG&lt;/a&gt; (example to cut from minute 1 to minute 6):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i OriginalVideo.wmv -c copy -s 1:00 -t 5:00 CutVideo.wmv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It has always worked for me on &lt;strong&gt;any format&lt;/strong&gt;, but this is the first time I try it with WMV videos, and things went not as they must.&lt;br&gt;&#xA;The resulting file seems to be OK, and the images of each timestamp are there, but &lt;strong&gt;&quot;static&quot;&lt;/strong&gt;, this is: the video &lt;strong&gt;does not play&lt;/strong&gt; (nor sounds). I can jump to any moment of the video, but the images do not move.&lt;br&gt;&#xA;I have tested it with BSPlayer and Media Player Classic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is this happening and how could it be solved?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the output for the recoding:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i OriginalVideo.wmv -ss 16:00 -t 27:45 -c copy &quot;CutVideo.wmv&quot;&#xA;ffmpeg version N-76041-g0418541 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 5.2.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisy&#xA;nth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-ico&#xA;nv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-li&#xA;bdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --ena&#xA;ble-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-&#xA;amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroeding&#xA;er --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enab&#xA;le-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --en&#xA;able-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265&#xA;--enable-libxavs --enable-libxvid --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55.  4.100 / 55.  4.100&#xA;  libavcodec     57.  6.100 / 57.  6.100&#xA;  libavformat    57.  4.100 / 57.  4.100&#xA;  libavdevice    57.  0.100 / 57.  0.100&#xA;  libavfilter     6. 11.100 /  6. 11.100&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.100 /  2.  0.100&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Guessed Channel Layout for  Input Stream #0.0 : stereo&#xA;Input #0, asf, from 'OriginalVideo.wmv':&#xA;  Metadata:&#xA;    VBR Peak        : 7000000&#xA;    DeviceConformanceTemplate: MP@HL&#xA;    WM/WMADRCPeakReference: 32767&#xA;    WM/WMADRCAverageReference: 5847&#xA;    WMFSDKVersion   : 10.00.00.4005&#xA;    WMFSDKNeeded    : 0.0.0.0000&#xA;    IsVBR           : 1&#xA;    Buffer Average  : 122637&#xA;  Duration: 00:46:50.20, start: 0.000000, bitrate: 1675 kb/s&#xA;    Stream #0:0: Audio: wmav2 (a[1][0][0] / 0x0161), 44100 Hz, 2 channels, fltp, 12&#xA;8 kb/s&#xA;    Stream #0:1: Video: wmv3 (Main) (WMV3 / 0x33564D57), yuv420p, 1280x720, 1500 kb&#xA;/s, SAR 1:1 DAR 16:9, 29.97 fps, 29.97 tbr, 1k tbn, 1k tbc&#xA;[asf @ 00000000004f8580] Codec for stream 0 does not use global headers but contain&#xA;er format requires global headers&#xA;[asf @ 00000000004f8580] Codec for stream 1 does not use global headers but contain&#xA;er format requires global headers&#xA;Output #0, asf, to 'CutVideo.wmv':&#xA;  Metadata:&#xA;    VBR Peak        : 7000000&#xA;    DeviceConformanceTemplate: MP@HL&#xA;    WM/WMADRCPeakReference: 32767&#xA;    WM/WMADRCAverageReference: 5847&#xA;    WMFSDKVersion   : 10.00.00.4005&#xA;    WMFSDKNeeded    : 0.0.0.0000&#xA;    IsVBR           : 1&#xA;    Buffer Average  : 122637&#xA;    WM/EncodingSettings: Lavf57.4.100&#xA;    Stream #0:0: Video: wmv3 (WMV3 / 0x33564D57), yuv420p, 1280x720 [SAR 1:1 DAR 16&#xA;:9], q=2-31, 1500 kb/s, 29.97 fps, 29.97 tbr, 1k tbn, 1k tbc&#xA;    Stream #0:1: Audio: wmav2 (a[1][0][0] / 0x0161), 44100 Hz, stereo, 128 kb/s&#xA;Stream mapping:&#xA;  Stream #0:1 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:0 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame=14102 fps=0.0 q=-1.0 size=   95029kB time=00:07:51.77 bitrate=1650.1kbits/s&#xA;frame=35118 fps=35116 q=-1.0 size=  237364kB time=00:19:32.77 bitrate=1658.0kbits/s&#xA;frame=49877 fps=35123 q=-1.0 Lsize=  353914kB time=00:27:45.33 bitrate=1740.9kbits/&#xA;s&#xA;video:317077kB audio:26015kB subtitle:0kB other streams:0kB global headers:0kB muxi&#xA;ng overhead: 3.154253%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Further data (thanks you, KC):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The video generated by FFMPEG plays fine on &lt;a href=&quot;http://www.videolan.org/vlc/index.html&quot; rel=&quot;nofollow&quot;&gt;VLC Media Player&lt;/a&gt;. So the question is now: how can I generate a video with FFMPEG that plays on any (or most) multimedia players?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11871" LastEditorUserId="11871" LastEditDate="2015-10-17T19:13:01.643" LastActivityDate="2015-10-17T19:15:10.963" Title="FFMPEG: Cut WMV video not playing on all the media players" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16640" PostTypeId="2" ParentId="16516" CreationDate="2015-10-17T15:07:33.940" Score="8" Body="&lt;p&gt;The &lt;strong&gt;order of the parameters&lt;/strong&gt; is very important on &lt;code&gt;ffmpeg&lt;/code&gt;.&lt;br&gt;&#xA;Try this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:36:18 -i input.mp4 -vcodec copy -acodec copy -to 00:39:50 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It seems that setting the &lt;code&gt;-ss&lt;/code&gt; parameter &lt;strong&gt;before&lt;/strong&gt; &lt;code&gt;-i&lt;/code&gt; sets a keyframe at the beginning of the newly generated video.&lt;br&gt;&#xA;Or so I understand from the Wiki page &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Seeking&quot; rel=&quot;noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="11871" LastEditorUserId="11871" LastEditDate="2015-10-17T19:07:00.350" LastActivityDate="2015-10-17T19:07:00.350" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16641" PostTypeId="1" CreationDate="2015-10-17T17:22:18.553" Score="5" ViewCount="102" Body="&lt;p&gt;I would like to create evolving lines similar to those in this sequence (starting at 0:28): &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Kg5lI6NCBxE?start=28&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know how to reveal lines, but I struggle to make the line moving so smoothly while continuously increasing its width (narrow at the tip and slowly widening).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could you please give me some tips on how to do this in After Effects? Thanks!&lt;/p&gt;&#xA;" OwnerUserId="11874" LastActivityDate="2017-08-31T20:03:34.930" Title="Evolving lines with mirror effect" Tags="|after-effects|animation|after-effects-expressions|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16642" PostTypeId="1" AcceptedAnswerId="16643" CreationDate="2015-10-17T17:40:10.053" Score="4" ViewCount="7193" Body="&lt;p&gt;&lt;code&gt;flv&lt;/code&gt; is a container which can be used to stream videos while they are being encoded. &lt;code&gt;flv&lt;/code&gt; supports &lt;code&gt;h.264&lt;/code&gt; codec. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, &lt;code&gt;flv&lt;/code&gt; doesn't support &lt;code&gt;hevc&lt;/code&gt; codec. Is there any container for &lt;code&gt;hevc&lt;/code&gt; which is streamable?&lt;/p&gt;&#xA;" OwnerUserId="11875" LastEditorUserId="1871" LastEditDate="2015-10-18T07:23:43.953" LastActivityDate="2021-04-28T07:35:09.300" Title="Streamable Container for HEVC (H.265)" Tags="|ffmpeg|codec|avconv|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16643" PostTypeId="2" ParentId="16642" CreationDate="2015-10-17T17:44:15.377" Score="4" Body="&lt;p&gt;MPEG -TS. See &lt;a href=&quot;https://gpac.wp.mines-telecom.fr/2013/04/26/mpeg-hevc-support-in-gpac/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;All MPEG-2 TS operations from GPAC (client and MP42TS) are supported on&#xA;    HEVC. MP42TS can be used to generate TS files usable for DASH or for&#xA;    injection in modulation chains; it can also be used to send the TS over an&#xA;    UDP or RTP stream in unicast or multicast mode&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-10-17T17:44:15.377" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="16644" PostTypeId="2" ParentId="16639" CreationDate="2015-10-17T18:59:22.670" Score="2" Body="&lt;p&gt;FFmpeg sometimes encodes things in a way that certain video players can't decode. I would try playing back the file with VLC, VLC has always worked when other video players haven't for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: I would try converting the video file to a different container, such as mp4, which has worked for you in the past.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastEditorUserId="6671" LastEditDate="2015-10-17T19:15:10.963" LastActivityDate="2015-10-17T19:15:10.963" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16645" PostTypeId="1" CreationDate="2015-10-17T22:37:36.047" Score="1" ViewCount="27" Body="&lt;p&gt;I have added a custom image from the internet to a cylinder, and it shows up as normal when editing. However when I preview the render or render it out the image completely disappears and the cylinder goes blank, how do I fix this?&lt;/p&gt;&#xA;" OwnerUserId="11876" LastActivityDate="2015-10-17T22:37:36.047" Title="C4D image problems" Tags="|video|editing|cinema4d|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16646" PostTypeId="1" CreationDate="2015-10-18T03:28:16.873" Score="2" ViewCount="423" Body="&lt;p&gt;I am thinking of trying to make a film with animated matte paintings that are painted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the 1989 movie &quot;Batman&quot;, some animated matte paintings of Gotham City are seen. How are these animated? In the following image, the smoke from all the chimneys in the image is animated / moving.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EArRs.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EArRs.jpg&quot; alt=&quot;gotham animated paintings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11754" LastEditorUserId="3561" LastEditDate="2015-10-18T12:40:06.113" LastActivityDate="2015-10-18T18:20:09.987" Title="How are traditional animated matte paintings made?" Tags="|special-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16647" PostTypeId="1" CreationDate="2015-10-18T07:54:41.627" Score="1" ViewCount="31" Body="&lt;p&gt;Is there a feature that will allow photos added to a movie to be udated automatically when the image is updated in the asset library, so everything wont need to be recut.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are about 60 images and they are synced to music.&#xA;Using iMovie 10.&lt;/p&gt;&#xA;" OwnerUserId="11877" LastEditorUserId="11877" LastEditDate="2015-10-18T08:21:52.167" LastActivityDate="2015-10-18T08:21:52.167" Title="Adding and Updating Photos added to Movie" Tags="|imovie|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16648" PostTypeId="2" ParentId="16646" CreationDate="2015-10-18T18:20:09.987" Score="2" Body="&lt;p&gt;While I'm not aware of the process used for that particular film, one easy way to do it is to film the matte painting, then film the smoke against a green or blue background and composite the smoke over the footage of the matte painting in the computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've also seen matte paintings where a large section is left unpainted. Then live action (or animated) things are filmed which exactly fill in the unpainted area. You could composite them either in the analog realm (by projecting both pieces of footage onto the same screen and filming that), or digitally by using compositing software.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-10-18T18:20:09.987" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16649" PostTypeId="1" AcceptedAnswerId="16652" CreationDate="2015-10-18T20:24:13.613" Score="2" ViewCount="24607" Body="&lt;p&gt;I'm wondering how I can change the aspect ratio and size of the preview pane on the right in the following image:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jvDnj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jvDnj.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The source video (seen on the left) is 1280x720 but the preview pane seems to be set to 1:1. I've tried playing with the options in the right pane (changing 50%, 1/2 etc) but nothing seems to change the aspect ratio and size correctly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For what it's worth, I can create a new sequence and set it's aspect ratio, but I'm wondering how can I change the aspect ration on an existing sequence?&lt;/p&gt;&#xA;" OwnerUserId="11879" LastEditorUserId="11879" LastEditDate="2015-10-18T20:44:52.217" LastActivityDate="2019-09-12T07:49:30.110" Title="How can I change the aspect ratio of the sequence preview pane?" Tags="|premiere|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16651" PostTypeId="1" CreationDate="2015-10-18T21:56:50.557" Score="1" ViewCount="38" Body="&lt;p&gt;I'm not sure where to put this question, but I think signal processing section is the best section to ask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I am having a problem with my camera, apparently the filter color shifts to purple, then green, then back to normal while recording. The camera also showed many grains despite the 1080p resolution. &#xA;Is there something wrong with the Image Processing Unit? Should I replace it? I don't think it's lens problem though. I just replaced the motherboard but it didn't solve the problem. Btw, the camera has fell over from a car once and is out of warranty.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="11882" LastActivityDate="2015-11-21T05:20:51.917" Title="GoPro4: Color shifts in video" Tags="|video|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16652" PostTypeId="2" ParentId="16649" CreationDate="2015-10-18T22:26:00.013" Score="1" Body="&lt;p&gt;The program panel's sequence preview is mainly determined by the sequence settings. You can change those via &lt;strong&gt;Sequence&lt;/strong&gt; → &lt;strong&gt;Sequence Settings&lt;/strong&gt;. However, some parameters of a sequence can not be altered after creation, including resolution and aspect ratio (an exception is the automated adjustment of the sequence settings that is offered to you when you drop a clip in an empty sequence that doesn't match the sequence's settings). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To fix your issue, create a new sequence with correct settings. Then go back to your old sequence, select everything (&lt;kbd&gt;CTRL&lt;/kbd&gt; + &lt;kbd&gt;A&lt;/kbd&gt;), copy it (&lt;kbd&gt;CTRL&lt;/kbd&gt; + &lt;kbd&gt;C&lt;/kbd&gt;) and paste it into the new sequence (&lt;kbd&gt;CTRL&lt;/kbd&gt; + &lt;kbd&gt;V&lt;/kbd&gt;). To create a sequence with correct settings automatically, &lt;strong&gt;right-click&lt;/strong&gt; on of your source clips and select &lt;strong&gt;New Sequence From Clip&lt;/strong&gt; (I recommend this if you don't know what some or most of the options in the sequence creation menu mean).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The size of the program monitor's preview can be adjusted with the &lt;strong&gt;Select Zoom Level&lt;/strong&gt; dropdown button in the lower left of the panel. The other dropbown button that you mentioned (the one in the lower right) controls the &lt;strong&gt;Playback Resolution&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-10-18T22:26:00.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16653" PostTypeId="1" AcceptedAnswerId="16654" CreationDate="2015-10-19T09:03:46.917" Score="2" ViewCount="39" Body="&lt;p&gt;How can I set up video files so that, if a film is foreign, the subtitles automatically play, whereas the subtitles remain dormant if a film isn't foreign?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason I ask is because I'm in the process of learning a language, and might want to learn other languages in the future, so I'll keep certain subtitles for films of my native language. However, I don't want to have to disable subtitles every time I watch a film in my native language, and I don't want to have to enable subtitles every time I watch a foreign film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I read somewhere else that I could insert an empty subtitle file as the default track, which is a great idea, yet I can't find any information anywhere explaining how to do this.vi I've tried creating an empty .txt file and then changing its format to .srt, but this doesn't fly on MKVToolNix.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be greatly appreciated. Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="11884" LastActivityDate="2016-01-16T23:38:42.850" Title="How can I set up video files so that, if a film is foreign, the subtitles automatically play?" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16654" PostTypeId="2" ParentId="16653" CreationDate="2015-10-19T09:15:42.930" Score="2" Body="&lt;p&gt;Finally, I found a video on YT.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open notepad&lt;/li&gt;&#xA;&lt;li&gt;Type &quot;0&quot; on the first line&lt;/li&gt;&#xA;&lt;li&gt;Type &quot;00:00:00.00 --&gt; 00:00:00.00&quot; on the second line&lt;/li&gt;&#xA;&lt;li&gt;Save as .srt file type&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Now you have an empty .SRT file that MKVToolNix accepts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also edit the file order and the default audio/video files in the program itself.&lt;/p&gt;&#xA;" OwnerUserId="11884" LastEditorUserId="11884" LastEditDate="2016-01-16T23:38:42.850" LastActivityDate="2016-01-16T23:38:42.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16655" PostTypeId="2" ParentId="9644" CreationDate="2015-10-19T13:53:39.940" Score="0" Body="&lt;p&gt;If you have access to After Effects, there's a plugin called &lt;a href=&quot;http://www.redgiant.com/products/trapcode-sound-keys/&quot; rel=&quot;nofollow&quot;&gt;Trapcode Keys&lt;/a&gt; that can do this very effectively.  The results look really nice - I've used it on many projects for exactly what you've described, but it's not cheap - $150 on it's own, or $899 for the full Trapcode Suite.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-10-19T13:53:39.940" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16656" PostTypeId="1" CreationDate="2015-10-19T19:10:03.250" Score="2" ViewCount="81" Body="&lt;p&gt;I've created simple 7 seconds clop which uses standard plugin for FCPX: &quot;Bold Fin&quot; title.&#xA;While i am editing this clip - everything fits to the screen:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/mnSO3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mnSO3.png&quot; alt=&quot;FCPX during edit&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;but when actual file is ready - it seems like it is cropped:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/5A5OE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5A5OE.png&quot; alt=&quot;Quick time player replays master file&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could somebody please help to find a reason why my output actually cropped? And how fix this issue? &lt;/p&gt;&#xA;" OwnerUserId="11888" LastActivityDate="2015-10-23T15:41:06.457" Title="Final Cut pro X cropped output media" Tags="|final-cut-pro-x|output|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16657" PostTypeId="1" CreationDate="2015-10-19T19:30:53.727" Score="1" ViewCount="93" Body="&lt;p&gt;This is more related to audio than video so I apologize if I posted in the wrong forum. I've prerecorded some podcasts to listen on long drives/flights/trains and for the most part things have been great. I also run them through a normalizer to make sure the sound volume is consistent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, some audio files have an occasional pop that goes way above the normal volume and hurts my ears. Since I listen to the audio in my headphones, this is much worse than if my speaker made that noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried googling about this but couldn't find much info, so maybe I'm not using the correct name for this phenomenon, it's basically a sudden, loud, and sharp sound that sounds like a balloon popping inside of my head. I was hoping I could use something like Audacity to detect and get rid of it - because detecting them with my own ears doesn't seem to be working too well for me.&lt;/p&gt;&#xA;" OwnerUserId="11889" LastActivityDate="2015-10-19T21:47:04.330" Title="Get rid of loud pops from audio" Tags="|audio|audio-quality|noise-reduction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16658" PostTypeId="1" CreationDate="2015-10-19T21:09:52.367" Score="0" ViewCount="64" Body="&lt;p&gt;I need to change the sign contents in the &lt;a href=&quot;https://www.youtube.com/watch?v=E2ZDpRwKaUA&quot; rel=&quot;nofollow noreferrer&quot;&gt;clip&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that in some parts gets &quot;blocked&quot; by walking in front of it Minions. How would you solve this challenge?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Screenshots:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9UDgd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9UDgd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/12oWb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/12oWb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11890" LastActivityDate="2015-11-14T13:47:21.177" Title="How to inserty custom background or second plan footage using dynamic mask in After Effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16659" PostTypeId="2" ParentId="16657" CreationDate="2015-10-19T21:47:04.330" Score="1" Body="&lt;p&gt;You can use Audacity for this purpose, and you can follow this link to learn how: &lt;a href=&quot;http://manual.audacityteam.org/o/man/tutorial_click_and_pop_removal_techniques.html&quot; rel=&quot;nofollow&quot;&gt;http://manual.audacityteam.org/o/man/tutorial_click_and_pop_removal_techniques.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally, clicks are little bursts of noise (such as a small scratch on a vinyl record), and pops are larger bursts of noise (such as a large scratch or a plosive &quot;P&quot; hitting a microphone without a pop filter).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-10-19T21:47:04.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16660" PostTypeId="1" CreationDate="2015-10-19T22:11:49.463" Score="8" ViewCount="4160" Body="&lt;p&gt;I have the below file which I am re-mapping the audio and trying to set the channel layout flags on a Quicktime Prores file, but can't seem to get it working. I can successfully re-map the audio (from 8 discrete to 6 monos+stereo) but I can't seem to set the channel layout flags for the 6 monos and stereo, all the monos come out as 'Mono' instead of Front Left, Front Right, etc.&#xA;I want the following channel layout:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video&#xA;Mono - FL&#xA;Mono - FR&#xA;Mono - FC&#xA;Mono - LFE&#xA;Mono - BL&#xA;Mono - BR&#xA;Stereo - DL+DR&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How do I set this channel layout so the audio channels are correctly flagged?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the ffmpeg output of the file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /Users/kev/Movies/Test_descrete.mov -ss 20 -to 25 -filter_complex \&#xA;&amp;gt; &quot;[0:1]pan=1c|c0=c0[FL]; \&#xA;&amp;gt;  [0:1]pan=1c|c0=c1[FR]; \&#xA;&amp;gt;  [0:1]pan=1c|c0=c2[FC]; \&#xA;&amp;gt;  [0:1]pan=1c|c0=c3[LFE]; \&#xA;&amp;gt;  [0:1]pan=1c|c0=c4[BL]; \&#xA;&amp;gt;  [0:1]pan=1c|c0=c5[BR]; \&#xA;&amp;gt;  [0:1]pan=2c|c0=c6|c1=c7[stereo]&quot; \&#xA;&amp;gt; -map v:0 \&#xA;&amp;gt; -map &quot;[FL]&quot; \&#xA;&amp;gt; -map &quot;[FR]&quot; \&#xA;&amp;gt; -map &quot;[FC]&quot; \&#xA;&amp;gt; -map &quot;[LFE]&quot; \&#xA;&amp;gt; -map &quot;[BL]&quot; \&#xA;&amp;gt; -map &quot;[BR]&quot; \&#xA;&amp;gt; -map &quot;[stereo]&quot; \&#xA;&amp;gt; -vcodec prores -profile:v 3 -vtag apcn -f mov -y -c:a pcm_s24le /Users/kev/Movies/Test_Movie_Out2.mov&#xA;ffmpeg version 2.8.1-tessus Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with Apple LLVM version 6.0 (clang-600.0.57) (based on LLVM 3.5svn)&#xA;  configuration: --cc=/usr/bin/clang --prefix=/opt/ffmpeg --as=yasm --extra-version=tessus --enable-avisynth --enable-fontconfig --enable-gpl --enable-libass --enable-libbluray --enable-libfreetype --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopus --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzmq --enable-version3 --disable-ffplay --disable-indev=qtkit --disable-indev=x11grab_xcb&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/Users/kev/Movies/Test_descrete.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    creation_time   : 2015-10-17 18:55:33&#xA;  Duration: 00:01:58.04, start: 0.000000, bitrate: 170075 kb/s&#xA;    Stream #0:0(eng): Video: prores (apch / 0x68637061), yuv422p10le, 1920x1080, 160844 kb/s, 24 fps, 24 tbr, 24 tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-10-17 18:55:33&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Apple ProRes 422 HQ&#xA;    Stream #0:1(eng): Audio: pcm_s24le (lpcm / 0x6D63706C), 48000 Hz, 8 channels (FL+FR+FC+LFE+SL+SR+DL+DR), s32 (24 bit), 9216 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-10-17 19:13:26&#xA;      handler_name    : Apple Alias Data Handler&#xA;[Parsed_pan_6 @ 0x7f91bbd05f80] Pure channel mapping detected: 6 7&#xA;[Parsed_pan_5 @ 0x7f91bbd05d20] Pure channel mapping detected: 5&#xA;[Parsed_pan_4 @ 0x7f91bbd05a20] Pure channel mapping detected: 4&#xA;[Parsed_pan_3 @ 0x7f91bbd05720] Pure channel mapping detected: 3&#xA;[Parsed_pan_2 @ 0x7f91bbd053e0] Pure channel mapping detected: 2&#xA;[Parsed_pan_1 @ 0x7f91bbd05060] Pure channel mapping detected: 1&#xA;[Parsed_pan_0 @ 0x7f91bbd04d60] Pure channel mapping detected: 0&#xA;Output #0, mov, to '/Users/kev/Movies/Test_Movie_Out2.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf56.40.101&#xA;    Stream #0:0(eng): Video: prores (apch) (apch / 0x68637061), yuv422p10le, 1920x1080, q=2-31, 200 kb/s, 24 fps, 12288 tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-10-17 18:55:33&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc56.60.100 prores&#xA;    Stream #0:1: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, mono, s32, 1152 kb/s (default)&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:2: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, mono, s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:3: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, mono, s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:4: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, mono, s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:5: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, mono, s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:6: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, mono, s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:7: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, stereo, s32, 2304 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;Stream mapping:&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:0 -&amp;gt; #0:0 (prores (native) -&amp;gt; prores (native))&#xA;  pan (graph 0) -&amp;gt; Stream #0:1 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:2 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:3 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:4 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:5 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:6 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:7 (pcm_s24le)&#xA;Press [q] to stop, [?] for help&#xA;frame=    9 fps=1.6 q=-0.0 size=    4462kB time=00:00:00.50 bitrate=73099.2kbitsframe=   21 fps=3.4 q=-0.0 size=   16380kB time=00:00:01.00 bitrate=134183.6kbitframe=   35 fps=5.2 q=-0.0 size=   28001kB time=00:00:01.52 bitrate=150775.9kbitframe=   46 fps=6.4 q=-0.0 size=   38857kB time=00:00:02.00 bitrate=159158.1kbitframe=   57 fps=7.4 q=-0.0 size=   50044kB time=00:00:02.50 bitrate=163983.6kbitframe=   69 fps=8.3 q=-0.0 size=   62437kB time=00:00:03.00 bitrate=170495.5kbitframe=   80 fps=9.1 q=-0.0 size=   73925kB time=00:00:03.50 bitrate=173027.6kbitframe=   91 fps=9.8 q=-0.0 size=   85376kB time=00:00:04.00 bitrate=174850.3kbitframe=  103 fps= 10 q=-0.0 size=   97897kB time=00:00:04.50 bitrate=178216.6kbitframe=  114 fps= 11 q=-0.0 size=  109345kB time=00:00:05.00 bitrate=179151.2kbitframe=  120 fps= 11 q=-0.0 Lsize=  119787kB time=00:00:05.00 bitrate=196258.7kbits/s    &#xA;video:114148kB audio:5625kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.011179%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="9187" LastEditorUserId="9187" LastEditDate="2015-10-20T05:13:53.013" LastActivityDate="2016-04-17T19:43:07.937" Title="ffmpeg - specify channel layout flags" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16661" PostTypeId="2" ParentId="16660" CreationDate="2015-10-20T14:46:26.257" Score="1" Body="&lt;p&gt;I have partially found an answer, although the Centre channel, Left Total and Right Total are not coming out in the file, all 3 are just coming out as Mono. It seems the Centre is an ffmpeg feature, I think Centre and Mono are the same thing, so ffmpeg just leaves it with Mono. Ideally I am looking for an ffmpeg patch file, to apply prior to build, which would give me the required results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The result currently comes out as:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video&#xA;Front Left&#xA;Front Right&#xA;Mono (should be Center)&#xA;Left Surround&#xA;Right Surround&#xA;Mono (should be Left Total)&#xA;Mono (shold be Right Total)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here is the command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /Volumes/GRAID/EXPORTS/DESCRETE_TEST.mov -ss 45 -to 50 -filter_complex \&#xA;&quot;[0:1]pan=FL|c0=c0[FL]; \&#xA; [0:1]pan=FR|c0=c1[FR]; \&#xA; [0:1]pan=FC|c0=c2[FC]; \&#xA; [0:1]pan=LFE|c0=c3[LFE]; \&#xA; [0:1]pan=BL|c0=c4[BL]; \&#xA; [0:1]pan=BR|c0=c5[BR]; \&#xA; [0:1]pan=DL|c0=c6[DL]; \&#xA; [0:1]pan=DR|c0=c7[DR]&quot; \&#xA;-map v:0 \&#xA;-map &quot;[FL]&quot; \&#xA;-map &quot;[FR]&quot; \&#xA;-map &quot;[FC]&quot; \&#xA;-map &quot;[LFE]&quot; \&#xA;-map &quot;[BL]&quot; \&#xA;-map &quot;[BR]&quot; \&#xA;-map &quot;[DL]&quot; \&#xA;-map &quot;[DR]&quot; \&#xA;-vcodec prores -profile:v 3 -vtag apcn -f mov -y -c:a pcm_s24le /Volumes/GRAID/EXPORTS/DONE_TEST.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Below is the ffmpeg output from that.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /Volumes/GRAID/EXPORTS/DESCRETE_TEST.mov -ss 45 -to 50 -filter_complex \&#xA;&amp;gt; &quot;[0:1]pan=FL|c0=c0[FL]; \&#xA;&amp;gt;  [0:1]pan=FR|c0=c1[FR]; \&#xA;&amp;gt;  [0:1]pan=FC|c0=c2[FC]; \&#xA;&amp;gt;  [0:1]pan=LFE|c0=c3[LFE]; \&#xA;&amp;gt;  [0:1]pan=BL|c0=c4[BL]; \&#xA;&amp;gt;  [0:1]pan=BR|c0=c5[BR]; \&#xA;&amp;gt;  [0:1]pan=DL|c0=c6[DL]; \&#xA;&amp;gt;  [0:1]pan=DR|c0=c7[DR]&quot; \&#xA;&amp;gt; -map v:0 \&#xA;&amp;gt; -map &quot;[FL]&quot; \&#xA;&amp;gt; -map &quot;[FR]&quot; \&#xA;&amp;gt; -map &quot;[FC]&quot; \&#xA;&amp;gt; -map &quot;[LFE]&quot; \&#xA;&amp;gt; -map &quot;[BL]&quot; \&#xA;&amp;gt; -map &quot;[BR]&quot; \&#xA;&amp;gt; -map &quot;[DL]&quot; \&#xA;&amp;gt; -map &quot;[DR]&quot; \&#xA;&amp;gt; -vcodec prores -profile:v 3 -vtag apcn -f mov -y -c:a pcm_s24le /Volumes/GRAID/EXPORTS/DONE_TEST.mov&#xA;ffmpeg version 2.8.1-tessus Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with Apple LLVM version 6.0 (clang-600.0.57) (based on LLVM 3.5svn)&#xA;  configuration: --cc=/usr/bin/clang --prefix=/opt/ffmpeg --as=yasm --extra-version=tessus --enable-avisynth --enable-fontconfig --enable-gpl --enable-libass --enable-libbluray --enable-libfreetype --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopus --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzmq --enable-version3 --disable-ffplay --disable-indev=qtkit --disable-indev=x11grab_xcb&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/Volumes/GRAID/EXPORTS/DESCRETE_TEST.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    creation_time   : 2015-10-20 14:25:55&#xA;  Duration: 00:01:37.08, start: 0.000000, bitrate: 160894 kb/s&#xA;    Stream #0:0(eng): Video: prores (apch / 0x68637061), yuv422p10le, 1920x1080, 151675 kb/s, 24 fps, 24 tbr, 24 tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-10-20 14:25:55&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Apple ProRes 422 HQ&#xA;    Stream #0:1(eng): Audio: pcm_s24le (lpcm / 0x6D63706C), 48000 Hz, 8 channels (FL+FR+FC+LFE+SL+SR+DL+DR), s32 (24 bit), 9216 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-10-20 14:28:55&#xA;      handler_name    : Apple Alias Data Handler&#xA;[Parsed_pan_7 @ 0x7fe7d1e05dc0] Pure channel mapping detected: 7&#xA;[Parsed_pan_6 @ 0x7fe7d1e05b60] Pure channel mapping detected: 6&#xA;[Parsed_pan_5 @ 0x7fe7d1e05860] Pure channel mapping detected: 5&#xA;[Parsed_pan_4 @ 0x7fe7d1e05580] Pure channel mapping detected: 4&#xA;[Parsed_pan_3 @ 0x7fe7d1e05280] Pure channel mapping detected: 3&#xA;[Parsed_pan_2 @ 0x7fe7d1e04f80] Pure channel mapping detected: 2&#xA;[Parsed_pan_1 @ 0x7fe7d1e04ba0] Pure channel mapping detected: 1&#xA;[Parsed_pan_0 @ 0x7fe7d1e048c0] Pure channel mapping detected: 0&#xA;Output #0, mov, to '/Volumes/GRAID/EXPORTS/DONE_TEST.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf56.40.101&#xA;    Stream #0:0(eng): Video: prores (apch) (apch / 0x68637061), yuv422p10le, 1920x1080, q=2-31, 200 kb/s, 24 fps, 12288 tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-10-20 14:25:55&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc56.60.100 prores&#xA;    Stream #0:1: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (FL), s32, 1152 kb/s (default)&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:2: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (FR), s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:3: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, mono, s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:4: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (LFE), s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:5: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (BL), s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:6: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (BR), s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:7: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (DL), s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:8: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (DR), s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;Stream mapping:&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:0 -&amp;gt; #0:0 (prores (native) -&amp;gt; prores (native))&#xA;  pan (graph 0) -&amp;gt; Stream #0:1 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:2 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:3 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:4 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:5 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:6 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:7 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:8 (pcm_s24le)&#xA;Press [q] to stop, [?] for help&#xA;[pcm_s24le @ 0x7fe7d3007c00] not writing 'chan' tag due to lack of channel information &#xA;[pcm_s24le @ 0x7fe7d3010a00] not writing 'chan' tag due to lack of channel information&#xA;frame=  120 fps=7.4 q=-0.0 Lsize=  129110kB time=00:00:05.00 bitrate=211534.5kbits/s    &#xA;video:123470kB audio:5625kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.011760%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="9187" LastEditorUserId="9187" LastEditDate="2015-10-20T15:43:47.247" LastActivityDate="2015-10-20T15:43:47.247" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16664" PostTypeId="1" AcceptedAnswerId="16668" CreationDate="2015-10-20T20:22:23.490" Score="8" ViewCount="30938" Body="&lt;p&gt;I'm doing some experiments with HEVC x265.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a raw footage and the quality of details of h264 with same CRF setting looks better than h265.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shouldn't be the opposite?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe my setup isn't the best: I'm using ffmpeg for transcoding and vlc for review the videos, then i copy the screen content and compare the screens on a program like photoshop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmpeg commands I using are the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libx264 -crf 30 -c:a copy output_h264.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libx265 -crf 30 -c:a copy output_h265.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I used 30 as CRF for testing purposes because the artifacts are more visible :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could the loss of quality be caused by VLC and its experimental support in deconding h265? Maybe something more visible at lower bitrates?&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2015-10-21T19:13:54.647" LastActivityDate="2015-10-21T19:13:54.647" Title="What CRF or settings I should choose for h265 in order to achieve a similiar quality of h264?" Tags="|ffmpeg|video-quality|transcoding|h.264|h.265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16666" PostTypeId="1" AcceptedAnswerId="16669" CreationDate="2015-10-21T01:18:45.017" Score="2" ViewCount="383" Body="&lt;p&gt;I'm recording our church's sermons using a standard consumer-grade camcorder (Handycam HDR-CX380). Depending on mixer circumstances (our church moves around a lot), I'll either run a line from our mixer to the camera's microphone in, or use the camera's internal mic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately the audio quality isn't so hot. Lately I've been researching some options for improving the quality going into the camcorder's mic, but I'm not sure those will pay off. So what I do is split the audio from the &lt;code&gt;.m2ts&lt;/code&gt; file using &lt;code&gt;ffmpeg&lt;/code&gt;, import it into Audacity, and line it up with another file that we record on a PC (also using Audacity, but separately). I used to do this by manually subtracting timestamps, but since discovering Audacity's Time Shift tool I decided to start using that for greater precision.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But what I'm finding is that when I use &lt;code&gt;ffmpeg&lt;/code&gt; to extract the audio from the camcorder's audio track, there's a &lt;em&gt;very small&lt;/em&gt; difference in the recording rate, where the camcorder's audio track is shorter than the PC's audio track by a constant rate. I haven't been able to nail down what it is precisely, but my best estimate is .20-.25 seconds per 50 minutes -- so the camera's recordings are about 99.99% the length of the PC's. It doesn't sound like much, but it causes the lip-syncing to be off about 6-8 frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My suspicion is either that the clock in the camcorder is bad, or that the clock in our (admittedly rather cheap-looking) USB audio interface is bad. (The error rate appears to be the same on multiple computers.) I know that I &lt;em&gt;could&lt;/em&gt; test it using a clapboard &amp;amp; stopwatch, but I estimate it would take about 8 hours of dead audio/video before the rate difference got to the point that I could reliably determine the problem by looking at the waveforms and timestamps. (And that's a lot of stuff to set up for eight hours.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, has anyone experienced similar problems before, that could offer advice on likely causes and remedies?&lt;/p&gt;&#xA;" OwnerUserId="11897" LastActivityDate="2015-10-22T11:35:05.747" Title="Identifying source of audio drift between camcorder and recording PC" Tags="|ffmpeg|sync|camcorder|avchd|mixer|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16667" PostTypeId="1" CreationDate="2015-10-21T02:17:47.267" Score="0" ViewCount="159" Body="&lt;p&gt;I just uploaded a lyric video but it seems that Its lagging behind. Like for example. the song &quot;ABC&quot;, It will play &quot;ABCDE,&quot; then &quot;FGHIJ&quot; will allready be sung next but its still on the words &quot;ABCDE&quot; for a good 5 seconds before it moves on to &quot;FGHIJ&quot; of which of course the song would have allready moved on to &quot;KLMNO&quot;. The problem is it plays perfectly on time in Windows Live Movie Maker. But when i uploaded it to youtube I get a laggy mess lol. I deleted the video twice. it is still deleted. I'm not putting it back up till i figure out how to fix it. I have 47 videos on my channel and never had any issues with them. So what gives?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE: I just realized its not catching up as well in Movie Maker but only when I rewind it back a little then play it, it plays correctly.. Since it played back correctly when I was first making it before upload I just thought that was just some sort of glitch and ignored it. And didn't think it would effect my video drastically...&lt;/p&gt;&#xA;" OwnerUserId="11898" LastActivityDate="2015-10-21T02:17:47.267" Title="Video not catching up with words. After upload on youtube" Tags="|youtube|windows-movie-maker|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16668" PostTypeId="2" ParentId="16664" CreationDate="2015-10-21T05:27:12.827" Score="8" Body="&lt;p&gt;The CRF scales for x264 and x265 do not correspond. x265 CRF 28 is supposed to be e&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.265&quot; rel=&quot;noreferrer&quot;&gt;quivalent&lt;/a&gt; to x264 CRF 23. But x265 is not yet as mature in its development as x264, so take that CRF equivalence with a pinch of salt. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, you can try to establish your own calibration between the current versions of the encoding libraries in your ffmpeg by running the following command, which executes two popular video quality metrics:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i encoded-video.mp4 -i reference-video.mp4 -lavfi &quot;ssim;[0:v][1:v]psnr&quot; -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The final lines of the console output will contain:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_ssim_0 @ 000000000039ad80] SSIM Y:0.984483 U:0.980458 V:0.980921 All:0.983219 (17.751712)&#xA;[Parsed_psnr_1 @ 0000000000398320] PSNR y:42.63 u:43.19 v:44.09 average:42.90 min:42.07 max:46.16&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So, run the command once with the x264 output and once with x265 and compare with different x265 outputs, till you get similar measures. Of course, &lt;a href=&quot;https://en.wikipedia.org/wiki/Video_quality#Examples&quot; rel=&quot;noreferrer&quot;&gt;these metrics&lt;/a&gt; aren't perfect but you can use them as a rough guide to establish equivalence.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-10-21T05:44:43.920" LastActivityDate="2015-10-21T05:44:43.920" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="16669" PostTypeId="2" ParentId="16666" CreationDate="2015-10-21T06:26:56.903" Score="0" Body="&lt;p&gt;What you are experiencing is indeed clock drift between your camcorder and your PC. Whatever their quality, two independent clocks will drift eventually. If the drift ratio is small enough and your takes are short, it will not be noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Common way to solve this issue is to use a common clock on both devices, which requires a ref input on the camcorder and a ref or wordclock input on the sound recorder, as well as a master clock generator.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your situation, I would suggest either &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;to edit at appropriate points to get back in sync. As your audio is shorter than video, it means finding places where you can cut a few video frames without it being noticeable. Not easy if the speaker is on frame all the time but it can be done if you use some other shots&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;or &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;find out why the audio recorded on the camcorder is not good enough&#xA;for your use. Camcorders audio inputs can be tricky and require an&#xA;appropriate adaptation of the audio signal in order to get best&#xA;results.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="9147" LastEditorUserId="9147" LastEditDate="2015-10-22T11:35:05.747" LastActivityDate="2015-10-22T11:35:05.747" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16670" PostTypeId="1" CreationDate="2015-10-21T10:45:41.423" Score="2" ViewCount="58" Body="&lt;p&gt;i am looking for any and all sort of suggestions on &lt;strong&gt;workflow and equipment&lt;/strong&gt;, specifically camcorder choice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Case details:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;We are producing short videos every day. A person is standing in front&#xA;  of a big LCD TV and talking to computer pre-generated graphics. The&#xA;  recordings are generally one minute long. This is shot in a really tiny&#xA;  room, with two tungsten video lights that we already have in place.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;After recording, the material needs to be taken to a room 200 meters&#xA;  away, and slightly edited in Sony Vegas on a Win 7 PC, before being&#xA;  rendered to some sort of delivery format for our customers. typically&#xA;  &quot;mp4&quot;. We are shooting and/or delivering in either 1280x720 or&#xA;  1920x1080.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I will be needing a camcorder, and some sort of lavallier mic, and a means to connect them. I am thinking of a lower end prosumer HD camcorder, maybe like &lt;strong&gt;Sony HDR-PJ810&lt;/strong&gt; or &lt;strong&gt;Canon Legria HF G25&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A DLSR could maybe be slightly cheaper, but are there any benefits? The &quot;film-like&quot; ideal that is prevalent with DLSRs today really isn't a goal here - we'd rather want long DOF, than shallow.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;How would you go on and set this up, considering it needs to be done on a daily basis, and preferably by one sole person?&lt;/strong&gt; (the&#xA;presenter is doing the recording)&lt;/li&gt;&#xA;&lt;li&gt;Is there something that can be done to avoid having to take an SD&#xA;card out of the camera, and run away with that each day? Any&#xA;practical network solutions that won't be twice the price of my&#xA;camcorder?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Cheers&lt;/p&gt;&#xA;" OwnerUserId="11900" LastActivityDate="2015-10-22T08:48:20.243" Title="Looking for suggestions on workflow/equipment: daily production of short presentation videos" Tags="|video|audio|camcorder|workflow|production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16671" PostTypeId="1" CreationDate="2015-10-21T12:53:35.737" Score="1" ViewCount="1175" Body="&lt;p&gt;I'm trying to export a long (2h20m) video interview from Premiere CC 2015 on a mac for translation purposes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The source video is ProRes 422 mov files&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm adding timecode &amp;amp; source file name effects as overlays&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The export is to h264, Vimeo preset.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried HD 1920x1080p, and SD 480p&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Every time, the export fails with the error &quot;file does not exist&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See screen shots:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/5b0vQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5b0vQ.png&quot; alt=&quot;screenshot1&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/eLPPM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eLPPM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-10-21T13:42:53.663" Title="Premiere failing to export long video &quot;file does not exist&quot; error" Tags="|premiere|adobe|cc-2015|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16672" PostTypeId="2" ParentId="16671" CreationDate="2015-10-21T13:42:53.663" Score="1" Body="&lt;p&gt;Try doing it as a two-step process:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Export your movie with the identical format as your sequence, using a reasonable high-quality ProRes format as your output (so you don't suffer much the damage of double-compression)&lt;/li&gt;&#xA;&lt;li&gt;Compress the output of Step 1 into the format and codec you like&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Premiere Pro and Adobe Media Encoder have all kinds of problems right now, and not only with El Capitan.  Many others have hit the same glitch you have, both on Yosemite and El Capitan, with or without hardware rendering.  CC2015 has been a big disappointment to many.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-10-21T13:42:53.663" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16673" PostTypeId="2" ParentId="16670" CreationDate="2015-10-21T13:51:33.090" Score="2" Body="&lt;p&gt;There are camcorders that enable full-res uploads of their memory cards via WiFi.  Thus, if your room has connectivity to your intranet, you can leave the card in the camcorder, hit upload when you are done, turn the camera off when the upload is done, do your customer edits and uploads, then wipe the card for the next day's work, all without walking 200 meters away.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This $330 camera might do all you need: &lt;a href=&quot;http://www.crutchfield.com/p_280HFR60/Canon-VIXIA-HF-R60.html?tp=6662&quot; rel=&quot;nofollow&quot;&gt;Canon VIXIA HF R60&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But any camera with WiFi upload capabilities will do--it's just a question of features, color matrix preferences, and cost.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="3561" LastEditDate="2015-10-22T08:48:20.243" LastActivityDate="2015-10-22T08:48:20.243" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16674" PostTypeId="1" AcceptedAnswerId="18385" CreationDate="2015-10-21T20:57:34.380" Score="14" ViewCount="11055" Body="&lt;p&gt;I got curious on ffmpeg screen capture capabilities and started messing around with a simple realtime capture test in h264.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -i video=&quot;screen-capture-recorder&quot; -video_size 1920x1080 -framerate 30 -c:v libx264 -crf 0 -preset ultrafast capture.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Based on what is said on ffmpeg h264 documentation with the &lt;code&gt;-qp 0&lt;/code&gt; or &lt;code&gt;-crf 0&lt;/code&gt; options libx264 should work in lossless mode.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;em&gt;You can use -qp 0 or -crf 0 to encode a lossless output. Use of -qp is recommended over -crf for lossless because 8-bit and 10-bit x264 use different -crf values for lossless.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This is also repeated in the realtime capture section help when talking about an optional re-encoding with a slower preset to try saving some size:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;em&gt;Note that since the initial recording was lossless, and the re-encode is lossless too, no quality loss is introduced in this process in any way.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Based on this I trusted the guide and assumed using -qp 0 I would achieve a fully lossless workflow ;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However I found it introduce some loss in particular situations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I made another test with the huffyuv codec with this code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -i video=&quot;screen-capture-recorder&quot; -video_size 1920x1080 -framerate 30 -c:v huffyuv capture.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the results:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CqIw5.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CqIw5.png&quot; alt=&quot;Screen Capture encoded in h264&quot;&gt;&lt;/a&gt; &lt;a href=&quot;https://i.stack.imgur.com/6Bn3e.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6Bn3e.png&quot; alt=&quot;Screen Capture encoded in huffyuv&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Screen 1: &lt;strong&gt;h264 in lossless mode&lt;/strong&gt;&lt;br&gt;&#xA;Screen 2: &lt;strong&gt;huffyuv&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based on screens &lt;code&gt;huffyuv&lt;/code&gt; is perfect, a true lossless codec while &lt;code&gt;h264&lt;/code&gt; instead compress something here and I'm unable to understand why if it should be setup in a lossless mode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(huffyuv is identical to a bitmap screenshot of the desktop, I would achieve the same with h264)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone help me figuring it out?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Edit: Adding some ffmpeg dumps as required in comments ;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;h264 run:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -i video=&quot;screen-capture-recorder&quot; -video_size 1920x1080 -framerate 30 -c:v libx264 -qp 0 -preset ultrafast capture.mkv  &#xA;ffmpeg version N-73411-g5233f25 Copyright (c) 2000-2015 the FFmpeg developers  &#xA;  built with gcc 4.9.2 (GCC)  &#xA;  configuration: --arch=x86_64 --target-os=mingw32 --cross-prefix=/home/user/san  &#xA;dbox/mingw-w64-x86_64/bin/x86_64-w64-mingw32- --pkg-config=pkg-config --enable-g  &#xA;pl --enable-libsoxr --enable-fontconfig --enable-libass --enable-libutvideo --en  &#xA;able-libbluray --enable-iconv --enable-libtwolame --extra-cflags=-DLIBTWOLAME_ST  &#xA;ATIC --enable-libzvbi --enable-libcaca --enable-libmodplug --extra-libs=-lstdc++  &#xA; --extra-libs=-lpng --enable-libvidstab --enable-libx265 --enable-decklink --ext  &#xA;ra-libs=-loleaut32 --enable-libx264 --enable-libxvid --enable-libmp3lame --enabl  &#xA;e-version3 --enable-zlib --enable-librtmp --enable-libvorbis --enable-libtheora  &#xA;--enable-libspeex --enable-libopenjpeg --enable-gnutls --enable-libgsm --enable-  &#xA;libfreetype --enable-libopus --disable-w32threads --enable-frei0r --enable-filte  &#xA;r=frei0r --enable-libvo-aacenc --enable-bzlib --enable-libxavs --enable-libopenc  &#xA;ore-amrnb --enable-libopencore-amrwb --enable-libvo-amrwbenc --enable-libschroed  &#xA;inger --enable-libvpx --enable-libilbc --enable-libwavpack --enable-libwebp --en  &#xA;able-libgme --enable-dxva2 --enable-libdcadec --enable-avisynth --enable-static  &#xA;--disable-shared --extra-cflags= --prefix=/home/user/sandbox/mingw-w64-x86_64/x8  &#xA;6_64-w64-mingw32 --extra-libs=-lpsapi --enable-nonfree --enable-libfdk-aac --dis  &#xA;able-libfaac --enable-nvenc --enable-runtime-cpudetect  &#xA;  libavutil      54. 28.100 / 54. 28.100  &#xA;  libavcodec     56. 46.101 / 56. 46.101  &#xA;  libavformat    56. 40.100 / 56. 40.100  &#xA;  libavdevice    56.  4.100 / 56.  4.100  &#xA;  libavfilter     5. 20.100 /  5. 20.100  &#xA;  libswscale      3.  1.101 /  3.  1.101  &#xA;  libswresample   1.  2.100 /  1.  2.100  &#xA;  libpostproc    53.  3.100 / 53.  3.100  &#xA;leaving aero onInput #0, dshow, from 'video=screen-capture-recorder':  &#xA;  Duration: N/A, start: 362931.503000, bitrate: N/A  &#xA;    Stream #0:0: Video: rawvideo, bgr0, 1920x1080, 30 tbr, 10000k tbn, 30 tbc  &#xA;No pixel format specified, yuv444p for H.264 encoding chosen.  &#xA;Use -pix_fmt yuv420p for compatibility with outdated media players.  &#xA;[libx264 @ 00000000004c7e00] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2  &#xA;AVX FMA3 AVX2 LZCNT BMI2  &#xA;[libx264 @ 00000000004c7e00] profile High 4:4:4 Predictive, level 4.0, 4:4:4 8-b  &#xA;it  &#xA;[libx264 @ 00000000004c7e00] 264 - core 144 r2533 c8a773e - H.264/MPEG-4 AVC cod  &#xA;ec - Copyleft 2003-2015 - http://www.videolan.org/x264.html - options: cabac=0 r  &#xA;ef=1 deblock=0:0:0 analyse=0:0 me=dia subme=0 psy=0 mixed_ref=0 me_range=16 chro  &#xA;ma_me=1 trellis=0 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=0 chroma_qp_offset=0  &#xA;threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 blur  &#xA;ay_compat=0 constrained_intra=0 bframes=0 weightp=0 keyint=250 keyint_min=25 sce  &#xA;necut=0 intra_refresh=0 rc=cqp mbtree=0 qp=0  &#xA;Output #0, matroska, to 'capture.mkv':  &#xA;  Metadata:  &#xA;    encoder         : Lavf56.40.100  &#xA;    Stream #0:0: Video: h264 (libx264) (H264 / 0x34363248), yuv444p, 1920x1080,  &#xA;q=-1--1, 30 fps, 1k tbn, 30 tbc  &#xA;    Metadata:  &#xA;      encoder         : Lavc56.46.101 libx264  &#xA;Stream mapping:  &#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; h264 (libx264))  &#xA;Press [q] to stop, [?] for help  &#xA;frame=   11 fps=0.0 q=0.0 size=    2421kB time=00:00:00.20 bitrate=99163.6kbits/  &#xA;frame=   22 fps= 22 q=0.0 size=    2538kB time=00:00:00.73 bitrate=28368.6kbits/  &#xA;frame=   33 fps= 22 q=0.0 size=    2647kB time=00:00:01.26 bitrate=17116.4kbits/  &#xA;frame=   46 fps= 23 q=0.0 size=    2770kB time=00:00:01.80 bitrate=12608.4kbits/  &#xA;frame=   58 fps= 23 q=0.0 size=    2842kB time=00:00:02.23 bitrate=10427.1kbits/  &#xA;frame=   71 fps= 23 q=0.0 size=    2908kB time=00:00:02.80 bitrate=8508.6kbits/s  &#xA;frame=   83 fps= 23 q=0.0 size=    2977kB time=00:00:03.26 bitrate=7467.0kbits/s  &#xA;frame=   96 fps= 24 q=0.0 size=    3085kB time=00:00:03.80 bitrate=6649.8kbits/s  &#xA;frame=  108 fps= 24 q=0.0 size=    3195kB time=00:00:04.30 bitrate=6084.5kbits/s  &#xA;frame=  120 fps= 24 q=0.0 size=    3309kB time=00:00:04.80 bitrate=5645.8kbits/s  &#xA;frame=  133 fps= 24 q=0.0 size=    3398kB time=00:00:05.33 bitrate=5219.0kbits/s  &#xA;frame=  147 fps= 24 q=0.0 size=    3492kB time=00:00:05.86 bitrate=4876.1kbits/s  &#xA;frame=  160 fps= 24 q=0.0 size=    3568kB time=00:00:06.36 bitrate=4591.4kbits/s  &#xA;frame=  173 fps= 24 q=0.0 size=    3660kB time=00:00:06.86 bitrate=4366.2kbits/s  &#xA;frame=  186 fps= 25 q=0.0 size=    3720kB time=00:00:07.36 bitrate=4136.5kbits/s  &#xA;frame=  187 fps= 24 q=-1.0 Lsize=    3737kB time=00:00:07.63 bitrate=4010.9kbits  &#xA;/s  &#xA;video:3735kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing  &#xA;overhead: 0.052628%  &#xA;[libx264 @ 00000000004c7e00] frame I:1     Avg QP: 0.00  size:1345491  &#xA;[libx264 @ 00000000004c7e00] frame P:186   Avg QP: 0.00  size: 13327  &#xA;[libx264 @ 00000000004c7e00] mb I  I16..4: 100.0%  0.0%  0.0%  &#xA;[libx264 @ 00000000004c7e00] mb P  I16..4: 16.5%  0.0%  0.0%  P16..4:  0.3%  0.0  &#xA;%  0.0%  0.0%  0.0%    skip:83.3%  &#xA;[libx264 @ 00000000004c7e00] coded y,u,v intra: 6.1% 3.8% 3.9% inter: 0.2% 0.1%  &#xA;0.1%  &#xA;[libx264 @ 00000000004c7e00] i16 v,h,dc,p: 96%  4%  0%  0%  &#xA;[libx264 @ 00000000004c7e00] kb/s:4008.11  &#xA;[dshow @ 00000000004bf760] real-time buffer [screen-capture-recorder] [video inp  &#xA;ut] too full or near too full (545% of size: 3041280 [rtbufsize parameter])! fra  &#xA;me dropped!  &#xA;Exiting normally, received signal 2.  &#xA;Terminate batch job (Y/N)?&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;huffyuv run:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -i video=&quot;screen-capture-recorder&quot; -video_size 1920x1080 -framerate 30 -c:v huffyuv capture.mkv  &#xA;ffmpeg version N-73411-g5233f25 Copyright (c) 2000-2015 the FFmpeg developers  &#xA;  built with gcc 4.9.2 (GCC)  &#xA;  configuration: --arch=x86_64 --target-os=mingw32 --cross-prefix=/home/user/san  &#xA;dbox/mingw-w64-x86_64/bin/x86_64-w64-mingw32- --pkg-config=pkg-config --enable-g  &#xA;pl --enable-libsoxr --enable-fontconfig --enable-libass --enable-libutvideo --en  &#xA;able-libbluray --enable-iconv --enable-libtwolame --extra-cflags=-DLIBTWOLAME_ST  &#xA;ATIC --enable-libzvbi --enable-libcaca --enable-libmodplug --extra-libs=-lstdc++  &#xA; --extra-libs=-lpng --enable-libvidstab --enable-libx265 --enable-decklink --ext  &#xA;ra-libs=-loleaut32 --enable-libx264 --enable-libxvid --enable-libmp3lame --enabl  &#xA;e-version3 --enable-zlib --enable-librtmp --enable-libvorbis --enable-libtheora  &#xA;--enable-libspeex --enable-libopenjpeg --enable-gnutls --enable-libgsm --enable-  &#xA;libfreetype --enable-libopus --disable-w32threads --enable-frei0r --enable-filte  &#xA;r=frei0r --enable-libvo-aacenc --enable-bzlib --enable-libxavs --enable-libopenc  &#xA;ore-amrnb --enable-libopencore-amrwb --enable-libvo-amrwbenc --enable-libschroed  &#xA;inger --enable-libvpx --enable-libilbc --enable-libwavpack --enable-libwebp --en  &#xA;able-libgme --enable-dxva2 --enable-libdcadec --enable-avisynth --enable-static  &#xA;--disable-shared --extra-cflags= --prefix=/home/user/sandbox/mingw-w64-x86_64/x8  &#xA;6_64-w64-mingw32 --extra-libs=-lpsapi --enable-nonfree --enable-libfdk-aac --dis  &#xA;able-libfaac --enable-nvenc --enable-runtime-cpudetect  &#xA;  libavutil      54. 28.100 / 54. 28.100  &#xA;  libavcodec     56. 46.101 / 56. 46.101  &#xA;  libavformat    56. 40.100 / 56. 40.100  &#xA;  libavdevice    56.  4.100 / 56.  4.100  &#xA;  libavfilter     5. 20.100 /  5. 20.100  &#xA;  libswscale      3.  1.101 /  3.  1.101  &#xA;  libswresample   1.  2.100 /  1.  2.100  &#xA;  libpostproc    53.  3.100 / 53.  3.100  &#xA;leaving aero onInput #0, dshow, from 'video=screen-capture-recorder':  &#xA;  Duration: N/A, start: 362514.497000, bitrate: N/A  &#xA;    Stream #0:0: Video: rawvideo, bgr0, 1920x1080, 30 tbr, 10000k tbn, 30 tbc  &#xA;[huffyuv @ 0000000000380ae0] using huffyuv 2.2.0 or newer interlacing flag  &#xA;[huffyuv @ 0000000000377280] using huffyuv 2.2.0 or newer interlacing flag  &#xA;[huffyuv @ 00000000003b0fc0] using huffyuv 2.2.0 or newer interlacing flag  &#xA;[huffyuv @ 00000000003b1700] using huffyuv 2.2.0 or newer interlacing flag  &#xA;[huffyuv @ 0000000000357a00] using huffyuv 2.2.0 or newer interlacing flag  &#xA;Output #0, matroska, to 'capture.mkv':  &#xA;  Metadata:  &#xA;    encoder         : Lavf56.40.100  &#xA;    Stream #0:0: Video: huffyuv (HFYU / 0x55594648), rgb24, 1920x1080, q=2-31, 2  &#xA;00 kb/s, 30 fps, 1k tbn, 30 tbc  &#xA;    Metadata:  &#xA;      encoder         : Lavc56.46.101 huffyuv  &#xA;Stream mapping:  &#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; huffyuv (native))  &#xA;Press [q] to stop, [?] for help  &#xA;frame=   12 fps=0.0 q=0.0 size=   23668kB time=00:00:00.50 bitrate=386999.4kbits  &#xA;frame=   22 fps= 22 q=0.0 size=   44696kB time=00:00:00.96 bitrate=379033.1kbits  &#xA;frame=   35 fps= 23 q=0.0 size=   72074kB time=00:00:01.46 bitrate=402750.2kbits  &#xA;frame=   49 fps= 24 q=0.0 size=  101620kB time=00:00:02.00 bitrate=416236.4kbits  &#xA;frame=   63 fps= 25 q=0.0 size=  131190kB time=00:00:02.50 bitrate=429712.0kbits  &#xA;frame=   78 fps= 26 q=0.0 size=  162896kB time=00:00:03.03 bitrate=439829.0kbits  &#xA;frame=   83 fps= 26 q=0.0 Lsize=  175587kB time=00:00:03.23 bitrate=444776.1kbit  &#xA;s/s  &#xA;video:175582kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxin  &#xA;g overhead: 0.002479%  &#xA;[dshow @ 000000000034f420] real-time buffer [screen-capture-recorder] [video inp  &#xA;ut] too full or near too full (545% of size: 3041280 [rtbufsize parameter])! fra  &#xA;me dropped!  &#xA;Exiting normally, received signal 2.  &#xA;Terminate batch job (Y/N)?  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;note: even if I have accepted the answer for general purposes I tend to use the soluction provided by @paul-b-mahol with the &lt;strong&gt;libx264rgb&lt;/strong&gt; encoder.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2017-02-02T04:39:54.970" LastActivityDate="2021-04-21T23:13:31.853" Title="Using h264 in loseless mode brings small unexpected results" Tags="|ffmpeg|video-quality|h.264|video-capture|" AnswerCount="2" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="16675" PostTypeId="1" CreationDate="2015-10-22T01:48:30.033" Score="3" ViewCount="310" Body="&lt;p&gt;I have this video (length 1-2 min) recorded on Dell webcam 3-4 years ago. It played smoothly at that time. Now when I play it, for first 40 seconds it plays well but after that video goes blank and audio stops. Video continues to move forward but without video and audio, just blank .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there by any chance I can recover this video? If yes, how?&#xA;It's an AVI file, 550 MB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Codec -&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video&#xA;ID                             : 0&#xA;Format                         : RGB&#xA;Codec ID                       : 0x00000000&#xA;Codec ID/Info                  : Basic Windows bitmap format. 1, 4 and 8 bpp versions are palettised. 16, 24 and 32bpp contain raw RGB samples&#xA;Duration                       : 1mn 34s&#xA;Bit rate                       : 47.1 Mbps&#xA;Width                          : 640 pixels&#xA;Height                         : 480 pixels&#xA;Display aspect ratio           : 4:3&#xA;Frame rate                     : 30.000 fps&#xA;Bit depth                      : 8 bits&#xA;Bits/(Pixel*Frame)             : 5.114&#xA;Stream size                    : 533 MiB (97%)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11903" LastEditorUserId="11903" LastEditDate="2016-03-24T14:34:59.357" LastActivityDate="2024-03-13T23:03:55.630" Title="Old webcam recorded video not playing" Tags="|video|playback|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16678" PostTypeId="2" ParentId="16633" CreationDate="2015-10-22T23:26:21.467" Score="2" Body="&lt;p&gt;Make sure that there isn't a misconfig of framerate between &lt;strong&gt;original media&lt;/strong&gt;, &lt;strong&gt;sequence&lt;/strong&gt; and &lt;strong&gt;export&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Eg:&lt;/em&gt; Original 25fps, Sequence at 30fps and exported at 25fps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this case the playback would appear faster in premiere, but ok in the exported media.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="6685" LastEditDate="2015-10-24T08:55:48.743" LastActivityDate="2015-10-24T08:55:48.743" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16679" PostTypeId="2" ParentId="16675" CreationDate="2015-10-22T23:43:51.810" Score="0" Body="&lt;p&gt;To me sounds like a lack of original codecs. Why don't you start by posting a ffprobe of the file? The container is AVI but we doesn't know anything about the codec.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe file.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;FFprobe&lt;/strong&gt; is a tool found in the FFmpeg package: &lt;a href=&quot;https://www.ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;https://www.ffmpeg.org/download.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2015-10-22T23:43:51.810" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16682" PostTypeId="1" AcceptedAnswerId="16686" CreationDate="2015-10-23T16:35:58.430" Score="5" ViewCount="6738" Body="&lt;p&gt;I want to generate 16:9 thumbnails from videos with white padding but the resulting picture has grey padding instead of white. This is the command line (input here is a jpg but the effect is the same when using a video):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i &quot;https://gooseberry.blender.org/wp-content/uploads/2014/01/franck.jpg&quot; -filter_complex scale=iw*min(852/iw\,480/ih):ih*min(852/iw\,480/ih),pad=852:480:(852-iw*min(852/iw\,480/ih))/2:(480-ih*min(852/iw\,480/ih))/2:white,fps=fps=50/5.000000 output.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the resulting image (text and white box added with paint): &#xA;&lt;a href=&quot;https://i.stack.imgur.com/jNMQp.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jNMQp.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;even though the padding color is white it's light grey in reality. Is there a way to get it 'whiter'? It's especially ugly if you plan to print it on paper. &lt;/p&gt;&#xA;" OwnerUserId="11450" LastActivityDate="2021-10-25T11:05:44.943" Title="ffmpeg: white padding is light grey but not white" Tags="|ffmpeg|color|" AnswerCount="2" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="16683" PostTypeId="1" CreationDate="2015-10-23T17:02:05.543" Score="1" ViewCount="30" Body="&lt;p&gt;I am trying to put a video in a game.  It requires a link, but the link cannot have HTTPS://  as the start.  It needs the HTTP://&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a service that does this?&lt;/p&gt;&#xA;" OwnerUserId="11915" LastActivityDate="2015-10-24T10:22:28.180" Title="How do I upload video but not have https://" Tags="|youtube|" AnswerCount="1" CommentCount="1" ClosedDate="2015-11-21T12:18:54.243" ContentLicense="CC BY-SA 3.0" />
  <row Id="16684" PostTypeId="1" CreationDate="2015-10-23T17:34:35.010" Score="1" ViewCount="36" Body="&lt;p&gt;I am trying to set up for streaming. Here is what i want to accomplish. I will be the only one streaming video and streaming from the same computer i am playing on. I have a mixer attached to my computer. My wife has a microphone attached to the mixer so that her audio is on the stream. I have some remote players that are going to be on the stream too. So we are using Teamspeak, so everyone's audio is on the stream. My wife and i have to use headphones. Now the problem, i need to be able to hear my wife without her echoing in the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently i have her locally muted in Teamspeak. She is not echoing in the stream, but i can't hear her, because i have my headphones on. What can i do to set this up so i can hear everyone, including my wife, with no echo. My wife needs to come through on the stream with the microphone that is attached to the mixer. Not the Teamspeak microphone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my current set up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My computer is streaming the content.&#xA;My computer has a mixer attached to it.&#xA;My computer has a microphone attached to the mixer.&#xA;Her computer has a microphone attached to the mixer and a separate microphone used for Teamspeak.&#xA;My computer is in Teamspeak.&#xA;Her computer is in Teamspeak.&#xA;Other people are in Teamspeak.&#xA;My computer has &quot;her&quot; locally muted in Teamspeak.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't her her, because of headphones and i need to hear her without her echoing in the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would VAC(virtual audio cable) help me? What do i need to do to solve this issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks &lt;/p&gt;&#xA;" OwnerUserId="5562" LastActivityDate="2015-10-23T18:34:59.330" Title="Streaming 2 local and some remote players audio issue" Tags="|audio|streaming|audio-recording|microphone|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16686" PostTypeId="2" ParentId="16682" CreationDate="2015-10-23T19:25:54.933" Score="6" Body="&lt;p&gt;The end of the filter chain should output full RGB, like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Windows batch:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg.exe -i &quot;https://gooseberry.blender.org/wp-content/uploads/2014/01/franck.jpg&quot; ^&#xA;  -filter_complex ^&#xA;   scale=iw*min(852/iw\,480/ih):ih*min(852/iw\,480/ih),^&#xA;pad=852:480:(852-iw*min(852/iw\,480/ih))/2:(480-ih*min(852/iw\,480/ih))/2:white,^&#xA;format=rgb24 franck-padded.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Linux bash:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i &quot;https://gooseberry.blender.org/wp-content/uploads/2014/01/franck.jpg&quot; \&#xA;  -filter_complex \&#xA;   &quot;scale=iw*min(852/iw\,480/ih):ih*min(852/iw\,480/ih),\&#xA;pad=852:480:(852-iw*min(852/iw\,480/ih))/2:(480-ih*min(852/iw\,480/ih))/2:white,\&#xA;format=rgb24&quot; franck-padded.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The important part is &lt;strong&gt;format=rgb24&lt;/strong&gt; which keeps or converts the final filter output to the RGB pixel format, which allows full range values from 0-255. Without that final filter, ffmpeg will convert the filter output to the YUV pixel format where the range of legal values is 16 to 235 for luma (brightness) - 16 maps to black and 235 to white - and 16 to 240 for the chroma components (color). (The default YUV &lt;a href=&quot;https://en.wikipedia.org/wiki/Color_space&quot; rel=&quot;noreferrer&quot;&gt;colorspace&lt;/a&gt; range is a legacy of analog television signals and carried over into the digital realm by the MPEG committee and hence still widely adhered to by most digital video formats)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/d66Dd.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/d66Dd.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="6685" LastEditDate="2015-10-24T10:22:26.427" LastActivityDate="2015-10-24T10:22:26.427" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="16687" PostTypeId="2" ParentId="10094" CreationDate="2015-10-23T20:17:14.870" Score="1" Body="&lt;p&gt;the previous post is essentially correct as I've used this filmosound8 system a lot in the past. do you have the original recorded cassette tapes, they're about 5 minutes long, to go with the 50 ft. length of a super 8 film.  they contain the sound on one track and a (unheard) synch pulse on another, which when played properly governs that projector speed for synchronization.  you have to know which cassette tape goes with which 50 ft roll of film, if there're more than one.  the B&amp;amp;H 450 (or 450A) portable cassette recorder/player is fairly easy to come across on eBay, it uses 5 'C' batteries (or an AC adapter), and so is the special recorder-to-projector synch cable.  many valuable sound home movies were made this way but unfortunately modern reproduction is practically non-existent because people are unaware of this particular equipment&lt;/p&gt;&#xA;&#xA;&lt;p&gt;perhaps though your original question hasn't been answered directly enough.  about the 2 jacks on the projector - THEY DO NOT CARRY AUDIO SOUNDTRACK.  They carry synchronization pulses from the special B&amp;amp;H 450 cassette recorder only (for playback of that cassette tape, no recording).  Trying to 'hear' anything out of them so would be pointless&lt;/p&gt;&#xA;" OwnerUserId="11918" LastEditorUserId="11918" LastEditDate="2015-10-30T20:20:49.047" LastActivityDate="2015-10-30T20:20:49.047" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16688" PostTypeId="1" CreationDate="2015-10-24T01:16:11.467" Score="1" ViewCount="57" Body="&lt;p&gt;I have decided to buy a new pc for short videos rendering in after effects. I dont have a big budget, it's around 1000$.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the thing i thought to buy, but i'm not really sure about graphic card.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;CPU: Intel Core i7-4790K 4.0GHz&lt;/li&gt;&#xA;&lt;li&gt;Motherboard: ASRock Z97 PRO3&lt;/li&gt;&#xA;&lt;li&gt;Memory: Kingston HyperX 16GB (2 x 8GB) DDR3-1600 Memory &lt;/li&gt;&#xA;&lt;li&gt;Storage: Samsung 850 EVO 250GB &lt;/li&gt;&#xA;&lt;li&gt;Storage: Western Digital Caviar Blue 1TB &lt;/li&gt;&#xA;&lt;li&gt;Video Card: &lt;em&gt;EVGA GeForce GTX 970 4GB&lt;/em&gt;, &lt;em&gt;GAINWARD 3361-BLISS GTX970 4GB GDDR5&lt;/em&gt; or &lt;em&gt;GTX970 G1 Gaming Gigabyte&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Which graphics card is more suitable for After Effects?&lt;/p&gt;&#xA;" OwnerUserId="11920" LastEditorUserId="6685" LastEditDate="2015-10-24T09:13:13.733" LastActivityDate="2015-10-24T10:26:16.237" Title="Which graphic card to buy" Tags="|video|after-effects|hardware|" AnswerCount="1" CommentCount="0" ClosedDate="2015-10-24T22:14:57.133" ContentLicense="CC BY-SA 3.0" />
  <row Id="16689" PostTypeId="1" CreationDate="2015-10-24T05:07:01.383" Score="3" ViewCount="142" Body="&lt;p&gt;I have a standard definition (SD) set top box which has three jacks for its output(Red,white,yellow). I recently bought a &lt;a href=&quot;http://www.sony.co.in/product/klv-32r412c&quot; rel=&quot;nofollow&quot;&gt;Sony TV&lt;/a&gt; which has WXGA (1280x800) resolution and 5 jacks for input which has &quot;Component IN&quot; written near the input. I was wondering that , if I use a component cable as a replacement for my existing Red,White,Yellow cable (using the same SetTopBox), will it help to improve the picture quality. The current video quality is not too sharp and has significant motion-blur. I am asking this since the Sony installation guy told me a component cable will provide a better output keeping the same set top box.&lt;/p&gt;&#xA;" OwnerUserId="11921" LastActivityDate="2015-11-03T11:15:38.483" Title="Does using component cable help improve video quality?" Tags="|video|audio|cable|" AnswerCount="1" CommentCount="1" ClosedDate="2015-11-03T15:33:34.093" ContentLicense="CC BY-SA 3.0" />
  <row Id="16690" PostTypeId="2" ParentId="16683" CreationDate="2015-10-24T10:22:28.180" Score="0" Body="&lt;p&gt;I think that if you just use http:// instead of https:// in front of any youtube video it should work the same.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2015-10-24T10:22:28.180" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16691" PostTypeId="2" ParentId="16688" CreationDate="2015-10-24T10:26:16.237" Score="2" Body="&lt;p&gt;Those are all very similar in terms of performance. I'd take the EVGA GeForce GTX 970, but other people will tell you something else.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One recommendation: Samsung SSDs are severely overpriced. People still buy them because Samsung has a good reputation (basically it's the same as buying a Mac for no other reason than 'all the graphics people have one'), but you won't notice any difference in any aspect between a Samsung and, say, a Crucial SSD. I recently bought the Crucial BX100 and I'm very content with it. Same price, but twice as much storage capacity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if you're getting a good GPU anyway, I would consider something like the lntel XEON E3-1231V3 over the i7 CPU, since you don't really need the inbuilt graphics unit of the latter. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2015-10-24T10:26:16.237" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16692" PostTypeId="1" CreationDate="2015-10-24T13:24:17.610" Score="3" ViewCount="148" Body="&lt;p&gt;I did an experiment on our church's camcorder (Sony Handycam HDR-CX380) recently to test whether it was the source of a time inaccuracy between our video recordings and PC audio recordings of sermons (see &lt;a href=&quot;https://video.stackexchange.com/questions/16666/identifying-source-of-audio-drift-between-camcorder-and-recording-pc&quot;&gt;Identifying source of audio drift between camcorder and recording PC&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I discovered is that video files recorded by the camcorder are about 0.0036% shorter than a stopwatch measurement of the same events. (Example: 3:56:52.81 of stopwatch time led to a file with duration 3:56:52.30.) It's not noticeable when watching the footage on its own, but when I try to match a high-quality audio recording to the video, the bad lip-syncing &lt;em&gt;is&lt;/em&gt; noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this kind of inaccuracy in recording times typical for consumer-grade camcorders? Or is our camcorder &quot;broken&quot; even by consumer-grade standards?&lt;/p&gt;&#xA;" OwnerUserId="11897" LastActivityDate="2016-05-01T18:24:11.763" Title="Is 0.0036% time inaccuracy on a consumer-grade camcorder expected?" Tags="|sync|camcorder|timecode|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16693" PostTypeId="2" ParentId="2715" CreationDate="2015-10-24T14:13:31.317" Score="1" Body="&lt;p&gt;If you are a fan of DSLRs, Canon cameras have modified firmwares where you can automatically restart the recording on a new file once you reached the limit. Check for ML ;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously what you will do is concatenate the files in order to obtain a full lenght footage at the end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Consider that this is something that you could use to run up to 3-4 times the normal recording limit mostly because of the temperature that sensor will reach during all the recording time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Higher temperatures will also increase the noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Higher ISOs will trigger the reaching of high temperatures easily and a process like this will also draw more from the lythium battery, a workaround could be using the camera current adaptor provided by the manifacturer itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;tl;dr: for a long run at 100 iso there should not be problems, for a very long run at 3200-12800 iso you will run in overheating problems and using a dedicated camcorder will be probably better.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2015-10-24T16:58:56.200" LastActivityDate="2015-10-24T16:58:56.200" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16694" PostTypeId="1" CreationDate="2015-10-24T19:22:36.600" Score="3" ViewCount="2725" Body="&lt;p&gt;I can create a rectangular mask in Premiere CC, and I can resize it. But how do I change just one dimension (make it more narrow) while keeping the corners at right angles? Dragging a corner point manually probably won't maintain a 90-degree corner.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2018-01-28T04:25:27.673" Title="in Premiere CC, how do you create a TALL rectangular mask?" Tags="|premiere|mask|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16695" PostTypeId="1" CreationDate="2015-10-25T01:45:50.120" Score="3" ViewCount="385" Body="&lt;p&gt;I've been meaning to start creating professional looking Calculus videos for university students and my current setup is the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/le5D8.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/le5D8.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know what you are thinking, and you are absolutely right: The setup is very amateur.&#xA;I would like to create professional videos and my current equipment is a Canon T5i and a 10-18mm Canon lens. I have a whiteboard (1,90m width by 1,20m height) and the distance from the camera to the blackboard is around 1,80m.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The biggest problem is the lighting: it is creating these shadows when I stand next to the whiteboard and, depending on the angle, since the whiteboard is highly reflective, the viewer can see thoss &quot;lighting spots&quot; (please check images attached).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9yKkY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9yKkY.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I get a quality video on this office? Which lighting setup would help? How would you do that with the least cost?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ko8Up.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ko8Up.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="9123" LastActivityDate="2015-10-26T16:28:44.307" Title="Home office studio setting to create Calculus videos - Lighting issues" Tags="|lighting|studio|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16696" PostTypeId="2" ParentId="16695" CreationDate="2015-10-25T04:08:58.380" Score="1" Body="&lt;p&gt;Have you considered not using a whiteboard and instead using graphics for whatever you planned to put on the whiteboard? It will be much clearer and easier to read (assuming you choose your fonts carefully). You could replace the whiteboard with a green screen (which you can get from &lt;a href=&quot;https://www.amazon.com/s/ref=nb_sb_noss_2?url=search-alias%3Dfashion-girls&amp;amp;field-keywords=green+screen&quot; rel=&quot;nofollow&quot;&gt;Amazon for around $15-30US&lt;/a&gt;). You'd need to light the green screen evenly, while still lighting yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You don't mention what software you're using. If you're on a Mac, you can use iMovie, which probably came free with your computer (or is &amp;lt; $15US if it didn't), and has a blue/green screen keyer. Then you can use any tool you want to create the text you would have written on the whiteboard and save it as an image to import into iMovie. I'm sure there are low-cost tools on other OSes, if you need them, but I'm not as familiar with them as I am with Mac software.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-10-25T04:08:58.380" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16697" PostTypeId="1" CreationDate="2015-10-25T14:58:46.603" Score="2" ViewCount="2336" Body="&lt;p&gt;If i have an high end Canon or Nikon camera is possible to do what &lt;a href=&quot;http://sourceforge.net/projects/eos-movrec/&quot; rel=&quot;nofollow&quot;&gt;eos_movrec&lt;/a&gt; do but with a better quality? Could be useful to use this for streaming or recording purposes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And in case of something available, is also possible to tune the config on the fly?&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2018-05-17T20:07:46.507" Title="Is possible to use ffmpeg to capture directly a DSLR streaming via USB?" Tags="|ffmpeg|dslr|video-capture|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16698" PostTypeId="2" ParentId="16694" CreationDate="2015-10-25T17:04:55.663" Score="3" Body="&lt;p&gt;Finally figured it out (with some help). You can drag a whole side at a time! Here's how:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Click one of the 2 corners to (subtly) select it.&lt;/li&gt;&#xA;&lt;li&gt;Shift-click-and-drag the other corner.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;That will select the whole side between the two corners. It will also limit your &quot;dragging path&quot; to paths that are at 45 degrees or 90 degrees relative to the corner's original position. That enables you to keep your rectangle rectangular.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastEditorUserId="5546" LastEditDate="2018-01-28T04:25:27.673" LastActivityDate="2018-01-28T04:25:27.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16699" PostTypeId="1" AcceptedAnswerId="16701" CreationDate="2015-10-25T19:09:17.633" Score="2" ViewCount="108" Body="&lt;p&gt;I have a timelapse I shot on my Camera and developed the raw-images in Lightroom. Now I've exported them to a folder called, each file called like file_1.jpg, file_2.jpg, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whenever I import one or more (as an image sequence) files into Premiere, I get a bad picture. It has a lot of viewable pixels and red stripes all over it. Only when I move forward in a sequence, I can see the original (how I want it to be), but after that the image is replaced with something that looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QQ8NK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QQ8NK.jpg&quot; alt=&quot;Bad Image&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the good image:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5ixKx.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5ixKx.jpg&quot; alt=&quot;Good image&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11929" LastActivityDate="2015-10-26T11:06:55.310" Title="Premiere Pro CC won't import exported image from Lightroom" Tags="|premiere|video-quality|raw|" AnswerCount="1" CommentCount="1" FavoriteCount="0" ClosedDate="2015-10-26T20:48:56.813" ContentLicense="CC BY-SA 3.0" />
  <row Id="16700" PostTypeId="1" CreationDate="2015-10-26T07:34:47.700" Score="1" ViewCount="410" Body="&lt;p&gt;I am trying to specify a single mono channel to be named 'Center' when viewed in Quicktime player, I know that technically specifying FC is mono, but in my user case I need it to actually be named 'Center', not 'Mono'. Is there someone who would kindly help me resolve this issue please, as I have searched everywhere to keep this work inside of ffmpeg without having to resort to a 3rd party application. I am used to applying ffmpeg patches, so if there is anyone who could easily write a patch, that would be amazing and very much appreciated. So I am specifying the 3rd audio channel to be labeled 'FC', so when viewing the file in Quicktime player, I want it to be labeled as 'center', not 'mono'. All the other channel labels are coming out named as I have specified, so I just want the center to come out. Here is my code, you'll see what I am trying to achieve:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /Users/kev/Movies/Test_descrete.mov -ss 45 -to 50 -filter_complex \&#xA;&amp;gt; &quot;[0:1]pan=FL|c0=c0[FL]; \&#xA;&amp;gt;  [0:1]pan=FR|c0=c1[FR]; \&#xA;&amp;gt;  [0:1]pan=FC|c0=c2[FC]; \&#xA;&amp;gt;  [0:1]pan=LFE|c0=c3[LFE]; \&#xA;&amp;gt;  [0:1]pan=BL|c0=c4[BL]; \&#xA;&amp;gt;  [0:1]pan=BR|c0=c5[BR]; \&#xA;&amp;gt;  [0:1]pan=DL+DR|c0=c6|c1=c7[stereo]&quot; \&#xA;&amp;gt; -map v:0 \&#xA;&amp;gt; -map &quot;[FL]&quot; \&#xA;&amp;gt; -map &quot;[FR]&quot; \&#xA;&amp;gt; -map &quot;[FC]&quot; \&#xA;&amp;gt; -map &quot;[LFE]&quot; \&#xA;&amp;gt; -map &quot;[BL]&quot; \&#xA;&amp;gt; -map &quot;[BR]&quot; \&#xA;&amp;gt; -map &quot;[stereo]&quot; \&#xA;&amp;gt; -vcodec prores -profile:v 3 -vtag apcn -f mov -y -c:a pcm_s24le /Users/kev/Movies/5_1_Sterero.mov&#xA;ffmpeg version 2.8.1-tessus Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with Apple LLVM version 6.0 (clang-600.0.57) (based on LLVM 3.5svn)&#xA;  configuration: --cc=/usr/bin/clang --prefix=/opt/ffmpeg --as=yasm --extra-version=tessus --enable-avisynth --enable-fontconfig --enable-gpl --enable-libass --enable-libbluray --enable-libfreetype --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopus --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzmq --enable-version3 --disable-ffplay --disable-indev=qtkit --disable-indev=x11grab_xcb&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/Users/kev/Movies/Test_descrete.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    creation_time   : 2015-10-17 18:55:33&#xA;  Duration: 00:01:58.04, start: 0.000000, bitrate: 170075 kb/s&#xA;    Stream #0:0(eng): Video: prores (apch / 0x68637061), yuv422p10le, 1920x1080, 160844 kb/s, 24 fps, 24 tbr, 24 tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-10-17 18:55:33&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Apple ProRes 422 HQ&#xA;    Stream #0:1(eng): Audio: pcm_s24le (lpcm / 0x6D63706C), 48000 Hz, 8 channels (FL+FR+FC+LFE+SL+SR+DL+DR), s32 (24 bit), 9216 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-10-17 19:13:26&#xA;      handler_name    : Apple Alias Data Handler&#xA;[Parsed_pan_6 @ 0x7f8d30419900] Pure channel mapping detected: 6 7&#xA;[Parsed_pan_5 @ 0x7f8d304196c0] Pure channel mapping detected: 5&#xA;[Parsed_pan_4 @ 0x7f8d304193c0] Pure channel mapping detected: 4&#xA;[Parsed_pan_3 @ 0x7f8d30419080] Pure channel mapping detected: 3&#xA;[Parsed_pan_2 @ 0x7f8d30418d40] Pure channel mapping detected: 2&#xA;[Parsed_pan_1 @ 0x7f8d30418a20] Pure channel mapping detected: 1&#xA;[Parsed_pan_0 @ 0x7f8d304182c0] Pure channel mapping detected: 0&#xA;Output #0, mov, to '/Users/kev/Movies/5_1_Sterero.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf56.40.101&#xA;    Stream #0:0(eng): Video: prores (apch) (apch / 0x68637061), yuv422p10le, 1920x1080, q=2-31, 200 kb/s, 24 fps, 12288 tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-10-17 18:55:33&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc56.60.100 prores&#xA;    Stream #0:1: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (FL), s32, 1152 kb/s (default)&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:2: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (FR), s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:3: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, mono, s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:4: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (LFE), s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:5: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (BL), s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:6: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 1 channels (BR), s32, 1152 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream #0:7: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, downmix, s32, 2304 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 pcm_s24le&#xA;Stream mapping:&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:1 (pcm_s24le) -&amp;gt; pan (graph 0)&#xA;  Stream #0:0 -&amp;gt; #0:0 (prores (native) -&amp;gt; prores (native))&#xA;  pan (graph 0) -&amp;gt; Stream #0:1 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:2 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:3 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:4 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:5 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:6 (pcm_s24le)&#xA;  pan (graph 0) -&amp;gt; Stream #0:7 (pcm_s24le)&#xA;Press [q] to stop, [?] for help&#xA;frame=   14 fps=1.1 q=-0.0 size=   10567kB time=00:00:01.00 bitrate=86563.8kbitsframe=   26 fps=2.0 q=-0.0 size=   23341kB time=00:00:01.50 bitrate=127471.3kbitframe=   38 fps=2.8 q=-0.0 size=   36133kB time=00:00:02.00 bitrate=148002.7kbitframe=   49 fps=3.4 q=-0.0 size=   47881kB time=00:00:02.50 bitrate=156896.6kbitframe=   59 fps=4.0 q=-0.0 size=   58482kB time=00:00:02.52 bitrate=190012.1kbitframe=   70 fps=4.6 q=-0.0 size=   70029kB time=00:00:03.00 bitrate=191226.8kbitframe=   81 fps=5.1 q=-0.0 size=   81443kB time=00:00:03.50 bitrate=190623.1kbitframe=   92 fps=5.6 q=-0.0 size=   92871kB time=00:00:04.00 bitrate=190199.1kbitframe=  103 fps=6.1 q=-0.0 size=  104378kB time=00:00:04.50 bitrate=190015.0kbitframe=  115 fps=6.6 q=-0.0 size=  116801kB time=00:00:05.00 bitrate=191366.2kbitframe=  120 fps=6.8 q=-0.0 Lsize=  125425kB time=00:00:05.00 bitrate=205496.6kbits/s    &#xA;video:119787kB audio:5625kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.010789%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="9187" LastActivityDate="2015-10-26T07:34:47.700" Title="ffmpeg - Specify FC (center) instead of mono‏" Tags="|ffmpeg|audio|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16701" PostTypeId="2" ParentId="16699" CreationDate="2015-10-26T11:06:55.310" Score="0" Body="&lt;p&gt;Chances are very good that you are presently running the initial version of El Capitan (OSX 10.11).  The work-around suggested by Adobe is to change Premiere's Mercury Rendering engine from GPU to CPU (software-only).  That really wrecks rendering performance, but it does solve the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Chances are also very good that if you install the update (OSX 10.11.1) the red-and-yellow pixel stripes will go away, even with the Mercury Rendering engine set to GPU (OpenCL).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-10-26T11:06:55.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16703" PostTypeId="2" ParentId="16636" CreationDate="2015-10-26T11:30:48.543" Score="2" Body="&lt;p&gt;On Avid ProTools when you are working on a video with an audio track, there are some hotkeys to automatically select all the audio parts where the waveform goes to zero or near to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Extending the selection also to the video track and cutting it off as well should do the trick, then you have just to use another hotkey to join the cutted pieces together without pauses in the middle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think this workflow could be applied on almost all the NLE (non linear editors) available around.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2015-10-26T11:30:48.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16704" PostTypeId="1" AcceptedAnswerId="16705" CreationDate="2015-10-26T11:49:54.820" Score="2" ViewCount="2206" Body="&lt;p&gt;I'm having the need of post some screen capture content where some cropping is applied (eg: 850x620) and/or the original monitor resolution is not full hd 1920x1080 but could happen i have to use directly a 1600x900, 1024x768, 1600x1200 and so on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Uploading videos in h264 but with a video resolution like that will end in a serious quality loss?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What could be a best practice? Give to youtube, vimeo and other services a classic full hd video adding a black frame to match the size or is possible upload a file in native res?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Main goal is keep everything as sharp as possible.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2015-10-26T12:06:52.083" Title="Is ok to post on youtube or vimeo custom resolution videos?" Tags="|youtube|vimeo|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16705" PostTypeId="2" ParentId="16704" CreationDate="2015-10-26T12:06:52.083" Score="3" Body="&lt;p&gt;A custom video resolution has no bearing on quality here; only the choice of encoder, bitrate/rate factor and other parameters will impact the final result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtube's player frame on its site is always 16:9, so if your video has an aspect ratio other than 16:9, YT will automatically add black bars as necessary. No need for the uploader to do so. However, if you decide to embed videos hosted on Youtube elsewhere, you can specify a custom frame size in your embed code which matches the aspect ratio of your uploaded video. In which case, your video will be displayed with no black bars. So, best practice is to never manually append black bars.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-10-26T12:06:52.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16706" PostTypeId="1" CreationDate="2015-10-26T14:18:06.680" Score="1" ViewCount="1752" Body="&lt;p&gt;I'm trying to create a video with After Effects CC 2015. &#xA;I'm really new in video creation and need to render this template project.&#xA;It is 8 minutes long and 1440x1080 pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to render it with format:Quicktime and codec:H264 &#xA;result is a 11 gb file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not even sure if it is normal. But I guess it should be much less ?&#xA;I can put screenshots for setting windows and any window necessary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd be really happy if someone can guide me in this because I need to perform this without spending too much time learning to learn AE fully.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks a lot&lt;/p&gt;&#xA;" OwnerUserId="11932" LastActivityDate="2015-10-26T15:17:31.117" Title="Rendered File with After Effects is very Huge" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16707" PostTypeId="2" ParentId="16695" CreationDate="2015-10-26T14:24:21.893" Score="2" Body="&lt;p&gt;Lighting a green screen is even harder than lighting a whiteboard.  And performing in front of a green screen also requires practice different than that of writing on a whiteboard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are two alternative strategies which you can possibly blend to taste.  The first, and most obvious, is to get a standard &lt;a href=&quot;http://setshop.com/foamboard-(foamcore)/foamcor/2210-bead-board-439-x-839-x-1.html&quot; rel=&quot;nofollow&quot;&gt;4'x8' bead board&lt;/a&gt;.  Put that board on the wall opposite the white board.  Aim a focused, bright light to fill the 4'x8' bead board.  This will send diffuse light back to the talent and the whiteboard without a specular reflection.  If you need to, you can cheat the bead board to one side or the other so that you don't have a &quot;warm spot&quot; (a very large, diffuse hot-spot) in your whiteboard.  For illumination, start by looking at this &lt;a href=&quot;http://www.bhphotovideo.com/c/product/752206-REG/Arri_571101_Arrilite_750_Head_with.html&quot; rel=&quot;nofollow&quot;&gt;ARRI 750W flood&lt;/a&gt; and then adjust to your favorite illumination source (LED, HMI, plasma, CFL, etc).  But don't lose focus and barn-door modifiers.  You can also raise the bead board off the floor to span the angle between the rear wall and the ceiling.  You can also place the bead board on the rear ceiling and bounce the lights toward the talent from on high.  The shadows, etc., will tell you how high the bead board needs to be to make everything look right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second strategy is to stay with the idea of a pair of side lights, but get a pair of tall vertical light baffles that you can use to completely shade the whiteboard from the lights.  Ideally the shadow pattern is such that the whiteboard itself is shaded from the lights but the talent in front of the whiteboard is not shaded.  Because white is so bright, you actually don't need a ton of light on the whiteboard itself--it will look white when the ambient (ceiling) light hits it.  But you do need light on the talent--skin tones are several stops darker than whiteboard white.  So let your side lights hit the talent and not the whiteboard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It should be obvious you can combine these two ideas.  Beware of mixing color temperatures (i.e., don't use daylight CFLs for side lights and tungsten lights for the bounce board or things will look weird).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2015-10-26T16:28:44.307" LastActivityDate="2015-10-26T16:28:44.307" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16708" PostTypeId="2" ParentId="16706" CreationDate="2015-10-26T14:55:41.997" Score="2" Body="&lt;h1&gt;Short Answer&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;It's all codec related, AE export follows the direction and settings you give him.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your choice could be to export a super high bitrate lossless file or a few kb crappy thing horrible to see.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You say h264, probably you used an high bitrate, that could be good but better at this point go for an Intermediate use codec keeping h264 for the final distribution.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;Long Answer&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;It's all depending the workflow you want to follow!  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My workflow generally consists in export the render with a true lossless (or if not possibile at least visually speaking lossless) very high bitrate codec in order to have a decent master.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then i use that master to export the copies in the format i want with a tool like &lt;code&gt;ffmpeg&lt;/code&gt; that is a super powerful command line tool that allows you to do all the transcoding and compression job.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Pros&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;You will not need to re-render again the AE Project saving tons of time.&lt;/li&gt;&#xA;&lt;li&gt;You will not have troubles expecially as early user for not knowing too much about codec and settings. Compress in a lossy codec while rendering must have first of all a reason (like one only in my life render, target and never use the video again for something else) but also require knowledge obtained by lot of trial and errors that a pro have. If you start with a lossy codec in the rendering phase and you misconfig the settings you will end in a crappy file not good at all!&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h2&gt;Cons&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video files will be bigger, but if you have at least a handy external drive all will be easier a nas could be better if you plan to grow and use this workflow for work.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Export your AE render with a Very High quality codec suited for post production or that could retain as much info as possible example a QuickTime movie contianer with Apple ProRes or Avid DNxHD 120 or 185 Mbit/s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Store your file and use something like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i rendered.mov -c:v libx264 -crf 18 -c:a libfdk_aac -b:a 192k compressed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To obtain a smaller compressed version of your movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you already exported with AE the audio in aac or a format you would like to keep use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i rendered.mov -c:v libx264 -crf 18 -c:a copy compressed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note: If you download the ffmpeg binaries for windows normally the libfdk_aac is not available, so you could use: &lt;code&gt;libfaac&lt;/code&gt; or &lt;code&gt;aac&lt;/code&gt; or &lt;code&gt;libvo_aacenc&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2015-10-26T15:17:31.117" LastActivityDate="2015-10-26T15:17:31.117" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16710" PostTypeId="1" CreationDate="2015-10-26T15:27:07.850" Score="1" ViewCount="1353" Body="&lt;p&gt;How can I show the audio waveform in a video similar to the one below?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/SDD59cyJJi0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Final Cut Pro X on OS X 10.10 Yosemite.&lt;/p&gt;&#xA;" OwnerUserId="11934" LastActivityDate="2015-10-26T15:27:07.850" Title="Show audio waveform in FCP video?" Tags="|audio|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16711" PostTypeId="1" CreationDate="2015-10-26T18:59:45.477" Score="2" ViewCount="3281" Body="&lt;p&gt;I have the following DVD player - &lt;a href=&quot;http://www.lg.com/ae/video/lg-DP542&quot; rel=&quot;nofollow&quot;&gt;http://www.lg.com/ae/video/lg-DP542&lt;/a&gt; - &#xA;and I want to convert my mp4 files into DivX as that is what my player supports. I tried VLC's converter and Handshake but had no luck. Can you help?&lt;/p&gt;&#xA;" OwnerUserId="11935" LastEditorUserId="1871" LastEditDate="2015-10-27T19:41:09.853" LastActivityDate="2016-02-15T10:21:54.223" Title="how to convert mp4 to divx?" Tags="|dvd|mpeg4|avi|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16712" PostTypeId="2" ParentId="16711" CreationDate="2015-10-26T20:56:53.373" Score="2" Body="&lt;p&gt;The good old ffmpeg gives you the power ;)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -c:v libxvid output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can obviously fine tweak the command line with bitrate, audio in mp3 and so on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;es:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -c:v libxvid -b:v 512k -c:a libmp3lame -qscale:a 4 output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is for a single bitrate use, where you use a constant bitrate for every frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise you could go for a 2 pass bitrate where the 1st pass is used only for determine where is the best for allocate more data...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But you can also convert in xvid/divx Mpeg 4 Layer 2 using a quality preset where you don't put directly the bitrate wanted but just ask for a minimum visual quality respected where you will be less concerned about the final file size (it will be discovered only at the end).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-qscale:v 3&lt;/code&gt; instead of the &lt;code&gt;-b:v 512k&lt;/code&gt; that i used above&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2015-10-26T20:56:53.373" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16713" PostTypeId="1" CreationDate="2015-10-27T02:47:53.487" Score="3" ViewCount="189" Body="&lt;p&gt;I'm feeling a bit stupid.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to make video podcasts using my Samsung Galaxy S3 but of course the internal mic isn't much good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So i need an external mic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I use pretty much any battery-powered mic and plug it into my phone (maybe needs an adapter?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I bought an Edutige ETM 001 but it wasn't compatible. I'm told i need an Edutige EIM 001 but I'm in Asia at the moment and can't find one here...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd be grateful for your help!&lt;/p&gt;&#xA;" OwnerUserId="11936" LastActivityDate="2016-12-01T06:21:56.527" Title="What kind of external microphone can I use with my Galaxy smartphone?" Tags="|video|audio|microphone|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16714" PostTypeId="2" ParentId="16625" CreationDate="2015-10-27T02:58:09.137" Score="1" Body="&lt;p&gt;Turns out I finally found my own solution:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Make sure you have the latest versions of iMovie, &lt;em&gt;especially on iOS&lt;/em&gt;&lt;/strong&gt;. This was the main problem causer for me, as iMovie claimed to be updated and would not show up in the updates in the App Store until I restarted several times.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;From your iPhone: export the project you wish to transfer to iTunes. Connect your iPhone to your computer via a USB cable and download the &lt;code&gt;filename.iMovieMobile&lt;/code&gt; file to your computer.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Open iMovie on your computer, and click &lt;code&gt;File &amp;gt; Import iMovie iOS Projects...&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You should have the project imported to iMovie on the computer! Now, you can even transfer to Final Cut Pro X (see &lt;a href=&quot;http://help.apple.com/imovie/mac/10.1/#/movcbf7e2a3f&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; for info on how to do that).&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Make sure you are running the most recent versions of iMovie!&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="11851" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-10-27T02:58:09.137" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16715" PostTypeId="1" AcceptedAnswerId="16718" CreationDate="2015-10-27T10:55:19.133" Score="3" ViewCount="3651" Body="&lt;p&gt;I want to do video captures with a video4linux2 device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video data contains a lot of darker shades of grey.&lt;br&gt;&#xA;When I capture a single PNG file, everything is fine.&lt;br&gt;&#xA;Capturing with ffmpeg/avconf using x264 truncates my color space to 16..235.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to define &lt;code&gt;-color_range 2&lt;/code&gt; but it didn't have any effect.&lt;br&gt;&#xA;I also played with the different pixel formats (yuv444p, yuv420, ..) --without success.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the command line which produces the reduce color range video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$avconv -f video4linux2 -i /dev/video0 -vcodec libx264 -pix_fmt yuv444p -color_range 2 -crf 14 -t 120 -y out.mp4&#xA;&#xA;avconv version 0.8.17-4:0.8.17-0ubuntu0.12.04.1, Copyright (c) 2000-2014 the Libav developers&#xA;  built on Mar 16 2015 13:26:50 with gcc 4.6.3&#xA;[video4linux2 @ 0x2044b60] Estimating duration from bitrate, this may be inaccurate&#xA;Input #0, video4linux2, from '/dev/video0':&#xA;  Duration: N/A, start: 1445936359.182177, bitrate: 890634 kb/s&#xA;    Stream #0.0: Video: rawvideo, yuyv422, 1280x720, 890634 kb/s, 60.40 tbr, 1000k tbn, 60.40 tbc&#xA;[buffer @ 0x20450a0] w:1280 h:720 pixfmt:yuyv422&#xA;[format @ 0x2046d20] auto-inserting filter 'auto-inserted scaler 0' between the filter 'src' and the filter 'Parsed filter 0 format'&#xA;[scale @ 0x2047660] w:1280 h:720 fmt:yuyv422 -&amp;gt; w:1280 h:720 fmt:yuv444p flags:0x4&#xA;[libx264 @ 0x2045fe0] using cpu capabilities: MMX2 SSE2Fast SSSE3 FastShuffle SSE4.2 AVX&#xA;[libx264 @ 0x2045fe0] profile High 4:4:4 Predictive, level 4.0, 4:4:4 8-bit&#xA;[libx264 @ 0x2045fe0] 264 - core 120 r2151 a3f4407 - H.264/MPEG-4 AVC codec - Copyleft 2003-2011 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x1:0x111 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=0 me_range=16 chroma_me=1 trellis=1 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=4 threads=12 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=0 b_adapt=1 b_bias=0 direct=1 weightb=0 open_gop=1 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=14.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.25 aq=1:1.00&#xA;Output #0, mp4, to 'out.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf53.21.1&#xA;    Stream #0.0: Video: libx264, yuv444p, 1280x720, q=-1--1, 302 tbn, 60.40 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo -&amp;gt; libx264)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My last tries were to define a color matrix to manually scale 0..255 to 16..235, so that I will end up with a slightly compressed, but a least complete color space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But this resulted in an error from avconf&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ avconv -f video4linux2 -i /dev/video0 -vcodec libx264 -pix_fmt yuv444p -color_range 2 -vf 'format=yuv444p,colormatrix=bt709:bt601' -crf 14 -t 120 -y out.mp4&#xA;&#xA;avconv version 0.8.17-4:0.8.17-0ubuntu0.12.04.1, Copyright (c) 2000-2014 the Libav developers&#xA;  built on Mar 16 2015 13:26:50 with gcc 4.6.3&#xA;[video4linux2 @ 0xabbb60] Estimating duration from bitrate, this may be inaccurate&#xA;Input #0, video4linux2, from '/dev/video0':&#xA;  Duration: N/A, start: 1445936333.196864, bitrate: 890634 kb/s&#xA;    Stream #0.0: Video: rawvideo, yuyv422, 1280x720, 890634 kb/s, 60.40 tbr, 1000k tbn, 60.40 tbc&#xA;[buffer @ 0xac0ee0] w:1280 h:720 pixfmt:yuyv422&#xA;No such filter: 'colormatrix'&#xA;Error opening filters!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Do you know how to get ffmpeg to encode the full color range?&lt;/p&gt;&#xA;" OwnerUserId="11939" LastActivityDate="2015-10-27T13:20:52.297" Title="Record raw video with ffmpeg keeping the full color range" Tags="|video-capture|avconv|colorspace|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16717" PostTypeId="2" ParentId="16027" CreationDate="2015-10-27T13:13:38.460" Score="1" Body="&lt;p&gt;A free solution could be with &lt;code&gt;ffmpeg&lt;/code&gt; or other tools recording directly the monitor where you are running the call, maybe if you have multiple monitors you could consider running skype full screen in another monitor without showing your cam.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This solution could work if you have not the need of grabbing only the internal skype remote video input, and if you have enough space and a bit of time to cropping the final result at the end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It could allow you by using a lossless codec to save a 100% identical quality of original call or even stream out the video somewhere else with different bitrates in a well known ffmpeg streaming workflow. &lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2015-10-27T13:13:38.460" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16718" PostTypeId="2" ParentId="16715" CreationDate="2015-10-27T13:20:52.297" Score="2" Body="&lt;p&gt;In this case, the problem didn't come from ffmpeg/avconv.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The rawvideo source I use offers different color formats to be used:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;argb32&lt;/li&gt;&#xA;&lt;li&gt;rgb24&lt;/li&gt;&#xA;&lt;li&gt;bgr24&lt;/li&gt;&#xA;&lt;li&gt;yuv444&lt;/li&gt;&#xA;&lt;li&gt;yuv420&lt;/li&gt;&#xA;&lt;li&gt;[...]&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;When I extract a png file (which was fine), the bgr24 color format is used.&#xA;When I capture a video, avconv automatically chose one of the yuv formats.&#xA;I guess the clamping to (16..235) did happen in the driver itself, that's why I couldn't influence it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By giving the parameter &lt;code&gt;-input_format bgr24&lt;/code&gt; to the input device, I chose the unclamped value range and the capturing worked fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Final command line, with &lt;code&gt;yuv420p&lt;/code&gt; as target format which produces even a Windows Media Player complatible output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -f video4linux2 -input_format bgr24 -i /dev/video0 -vcodec libx264 -pix_fmt yuv420p -color_range 2 -crf 14 -t 120 -y out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11939" LastActivityDate="2015-10-27T13:20:52.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16719" PostTypeId="2" ParentId="16711" CreationDate="2015-10-27T15:27:24.053" Score="0" Body="&lt;p&gt;I solved the issue with 'Freemake video converter' &lt;a href=&quot;http://www.freemake.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.freemake.com/&lt;/a&gt; &#xA;Where I used 'Convert to AVI' with XVID settings and it works. Anyway yes capacity is more than mp4. &lt;/p&gt;&#xA;" OwnerUserId="11935" LastActivityDate="2015-10-27T15:27:24.053" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16720" PostTypeId="1" AcceptedAnswerId="16721" CreationDate="2015-10-27T15:39:26.037" Score="3" ViewCount="12656" Body="&lt;p&gt;I have a single clip of a multi-speaker conference in Premiere Pro CS6 that I need to split into individual clips of each speaker, so that I can make a timeline of each clip with the end goal of exporting several individual videos, rather than one long video of the entire conference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've already split the clip up within a Sequence using the Razor Tool and removed extraneous footage, like so:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/fvPUm.png&quot; alt=&quot;razor at work&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I get these split-up and renamed clips to their own individual Sequences for production as separate video files? (If there is a Premiere shortcut or tool specifically for this, I haven't found it)&lt;/p&gt;&#xA;" OwnerUserId="11941" LastActivityDate="2019-02-25T22:22:32.690" Title="How to cut a single clip in a Sequence into multiple clips for use in multiple Sequences in Premiere Pro" Tags="|premiere|editing|post-production|cs6|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16721" PostTypeId="2" ParentId="16720" CreationDate="2015-10-27T15:39:26.037" Score="2" Body="&lt;p&gt;The easiest way I've found is to simply click the New Item button at the bottom-right of the Project window and select &quot;Sequence...&quot; to create a new one; you'll need one Sequence for each clip section you've created:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/AOaNf.png&quot; alt=&quot;New item location&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From there, You can simply copy/cut and paste each section of video into its respective Sequence. You'll want to make sure the old sections are removed from the original Sequence if you want to use that one. Otherwise, you can just delete the original Sequence when you're finished.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;You could copy each section into your Project Window by dragging and dropping it, but that creates two extra steps (and can be confusing if you haven't already renamed your split-up files in the original sequence): &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The new file in the Project Window won't be aware that you've renamed it in the timeline, so you'll have to rename the new clip; it'll have the same name as the original source clip, &lt;em&gt;even if&lt;/em&gt; you rename the original source clip to something else. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You'd still have to create new Sequences for each clip manually, so that you can drag and drop the new clips into their own respective Sequences.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11941" LastActivityDate="2015-10-27T15:39:26.037" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16722" PostTypeId="2" ParentId="16720" CreationDate="2015-10-27T17:25:10.673" Score="0" Body="&lt;p&gt;Here's a cheesy workaround that I use sometimes. You can set the start and end points (in &amp;amp; out?) to encompass just a single clip, and then export it. Then move the start and end points to encompass the next clip, and export that. You will end up with a separate video for each of the clips, but you won't have a Premiere file that you could easily use to produce them again, since they'll all still be in the same sequence.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-10-27T17:25:10.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16723" PostTypeId="2" ParentId="16720" CreationDate="2015-10-27T17:27:58.913" Score="0" Body="&lt;p&gt;Another cheesy solution, which will create one Premiere file for each of the clips:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Exit out of Premiere.&lt;/li&gt;&#xA;&lt;li&gt;Duplicate your Premiere file once for each clip in it.  (Ten clips? Ten Premiere files.)&lt;/li&gt;&#xA;&lt;li&gt;Open up each Premiere file, one at a time. In the first Premiere file, keep the first clip and delete all the others. Save it. In the second Premiere file, keep the select clip and delete all the others.  And so on.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-10-27T17:27:58.913" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16725" PostTypeId="1" CreationDate="2015-10-27T23:13:57.470" Score="2" ViewCount="1253" Body="&lt;p&gt;I have a sequence, which has many clips on timeline - shorter and longer ones, from different (long) video source files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to export all these properly trimmed clips to individual uncompressed video files to edit them in a different software. When done, I'd overwrite the previously exported video clip files with the new ones, which might have different framerate than the original.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I see, &quot;Render and Replace&quot; would be perfect for me, but I need these video files in uncompressed avi, because Virtualdub can only handle this format. And Render and Replace doesn't allow me to choose any format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would be the best workflow for this problem?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank You!&lt;/p&gt;&#xA;" OwnerDisplayName="user11673" LastActivityDate="2016-04-27T13:33:49.337" Title="How to export, then edit, finally replace individual clips in Premiere Pro?" Tags="|premiere|workflow|" AnswerCount="4" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16726" PostTypeId="2" ParentId="16720" CreationDate="2015-10-28T02:03:31.870" Score="3" Body="&lt;p&gt;Here's the &quot;Premiere&quot; way to do it.  Create N sequences, one for each of the N speakers you want to create an output clip for.  Copy (by reference) the clip into each of the N sequences.  If you do this correctly, you will have N sequences and 1 clip in your project folder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For each sequence, set the in and out points of the clip to bound the speaker of interest.  Name the sequence according to the speaker.  If you do this correctly, you will still have N sequences and 1 clip in your project folder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the magic: select all the sequences and hit &quot;Export Media&quot;.  This will queue up the creation of N clips.  Each one will be exactly the speaker it should be, and the clip file names will be based on the sequence name (meaning something related to each speaker).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is how to do it.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-10-28T02:03:31.870" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16728" PostTypeId="1" AcceptedAnswerId="16729" CreationDate="2015-10-28T08:54:29.343" Score="1" ViewCount="62" Body="&lt;p&gt;I am trying to convert mp4 videos to match the codec requirement of &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Codec: XVID as per the attached picture. &#xA;Can anyone advise how or what tool can be used?&#xA;&lt;a href=&quot;http://xomf.com/wkvgv&quot; rel=&quot;nofollow noreferrer&quot;&gt;screenshot http://xomf.com/wkvgv&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://xomf.com/wkvgv&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://xomf.com/wkvgv&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="11949" LastActivityDate="2015-10-28T09:27:04.573" Title="How to convert video to required codec?" Tags="|video|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16729" PostTypeId="2" ParentId="16728" CreationDate="2015-10-28T09:27:04.573" Score="2" Body="&lt;p&gt;You can use ffmpeg to perform this conversion. Grab the 32-bit static build from &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And run the following command from the command prompt:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;c:\path\to\input.avi&quot; -c:v libxvid -vtag xvid -qscale:v 3 -c:a libmp3lame -qscale:a 4 output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can experiment with the value of qscale:v to get the quality or file size that you need. Values from 1 to 31 are accepted, with 1 being best quality (and largest file size) and 31 being worst quality and smallest file size. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-10-28T09:27:04.573" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16730" PostTypeId="1" CreationDate="2015-10-28T14:13:48.947" Score="3" ViewCount="102" Body="&lt;p&gt;I've recorded a video with Raspberry Pis &lt;a href=&quot;https://www.raspberrypi.org/products/camera-module/&quot; rel=&quot;nofollow&quot;&gt;Camera Module&lt;/a&gt;.&#xA;On top of that I've recorded GPS data including the GPS Timestamp and &lt;a href=&quot;https://gopro.com/support/articles/i-want-to-make-my-own-data-file-how-can-i-make-it-work-with-dashware&quot; rel=&quot;nofollow&quot;&gt;made my own data file&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using &lt;a href=&quot;http://www.dashware.net/&quot; rel=&quot;nofollow&quot;&gt;Dashware&lt;/a&gt; I've tried to get the video and telemetrics &lt;a href=&quot;https://gopro.com/support/articles/how-do-i-synchronize-the-video-and-data-so-the-right-values-are-shown-at-the-right-time&quot; rel=&quot;nofollow&quot;&gt;in sync&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately it just wont't work as the datafile runs much faster than the video file. In the end there is ~1,5 hours that are not covered with data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is:&#xA;What is best practice in order to get the video and data in sync?&lt;/p&gt;&#xA;" OwnerUserId="11952" LastActivityDate="2015-10-28T14:13:48.947" Title="Video and Telemetrics not in sync" Tags="|video|sync|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16731" PostTypeId="1" CreationDate="2015-10-28T19:06:58.463" Score="3" ViewCount="3132" Body="&lt;p&gt;This may be kind of a beginner question, but how do I track the position of an object inside a video and set another video's position accordingly, so that e.g. a circle will be shown on top of a jumping ball? I'm searching for something similar to the tracking with for example the mosaic or blur, but for video footage, not for effects... (A way to copy a mask's path over to another video's position)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="11953" LastEditorUserId="11953" LastEditDate="2015-10-28T19:41:32.407" LastActivityDate="2016-08-29T07:45:45.207" Title="Track Object in Premiere Pro / After Effects" Tags="|premiere|tracking|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16732" PostTypeId="1" AcceptedAnswerId="16734" CreationDate="2015-10-28T23:44:28.410" Score="2" ViewCount="271" Body="&lt;p&gt;I want to have a graphic or animation that pops in on the lower right hand side of the screen that says the presenter's names, stays there for a few seconds then moves back off screen to the right. Like what you see on the news when they switch to a reporter in the field, their name appears below, then it disappears.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can Camtasia do this with its own tools or do you have to use external programs?&#xA;In either event, how do you do this in Camtasia?&lt;/p&gt;&#xA;" OwnerUserId="11955" LastEditorDisplayName="user10383" LastEditDate="2017-05-29T17:42:56.720" LastActivityDate="2017-05-29T17:42:56.720" Title="How to add a &quot;presenter's name&quot; graphic to Camtasia that appears in from the right" Tags="|animation|screen-casting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16733" PostTypeId="2" ParentId="16725" CreationDate="2015-10-29T03:16:29.787" Score="1" Body="&lt;p&gt;Why not convert your original clip to uncompressed AVI, and then render and replace will &quot;do the right thing&quot;.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-10-29T03:16:29.787" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16734" PostTypeId="2" ParentId="16732" CreationDate="2015-10-29T04:55:07.960" Score="1" Body="&lt;p&gt;The term you're looking for is 'lower third'. &lt;a href=&quot;http://blogs.techsmith.com/tips-how-tos/creating-lower-thirds-in-camtasia-for-mac/&quot; rel=&quot;nofollow&quot;&gt;Here&lt;/a&gt;'s a tutorial from the software publisher on how to do that.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-10-29T04:55:07.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16736" PostTypeId="2" ParentId="16725" CreationDate="2015-10-29T21:06:46.223" Score="1" Body="&lt;p&gt;Not sure I get it, but have you considered exporting an XML of your Premiere timeline? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Import that XML in the program you plan to use to do your editing (hopefully it can handle it), do you edit, export a new XML, import it in Premiere and finish your film there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No need to replace or export individual clips, which is time-consuming and error-prone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: if your editing program of choice can't handle XML files, move on and find another piece of software that can. It's a vital tool to have.&lt;/p&gt;&#xA;" OwnerUserId="11960" LastActivityDate="2015-10-29T21:06:46.223" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16737" PostTypeId="1" CreationDate="2015-10-30T05:43:11.660" Score="1" ViewCount="70" Body="&lt;p&gt;I have a video editing software which current supports only MP4/H264 as the videos that can be imported into the system. I wanted to expand this and was investigating into the different popular formats out there. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My tool is meant to make video authoring simpler and tries to achieves that with a doing away with pro-level features. I have basic editing features like trimming, filters, annotations etc.  My target audience are everyday consumers like teachers, entrepreneurs, trainers etc. who might have a video creation need and can't afford time to learn or money to pay for a pro software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, in your opinion, which are the video formats I should definitely support for importing over and above MP4/H26 given my customer base? I personally felt that MP4 is very restrictive and wanted to expand over it.&lt;/p&gt;&#xA;" OwnerUserId="11948" LastActivityDate="2015-10-30T06:37:58.950" Title="What video formats/codecs should a video editing software aimed at beginners/semi-pros definitely support" Tags="|video-editor|codec|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16738" PostTypeId="1" CreationDate="2015-10-30T05:59:30.770" Score="1" ViewCount="454" Body="&lt;p&gt;I'm not a video expert but what I understand about RTMP that it work in the following manner :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Video Source -&gt; MP4 Container -&gt; FLV Container -&gt; RTMP Container -&gt; Propagate through internet -&gt; RTMP Server&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm an android developer and I need to create a program which can take frames from device camera and transmit them to RTMP server. &#xA;For this first I need to understand how actually RTMP works. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone please explain what should I do with the RAW camera frames and how should I prepare them to propagate through RTMP channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using wowza server for this setup.&#xA;I just need the workflow no need of code (I'll be great if you can provide :) ).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="11962" LastActivityDate="2015-10-30T05:59:30.770" Title="How actually RTMP work" Tags="|streaming|rtmp|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16739" PostTypeId="2" ParentId="16737" CreationDate="2015-10-30T06:37:58.950" Score="1" Body="&lt;p&gt;To be frank, beginners and semi-pros will be capturing their videos on smartphones or consumer-level camcorders. And contemporary ones all record their videos as H264 in MP4 or MOV. The only other candidate is MJPEG in AVI for videos taken with older devices  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it's legally possible, I'd suggest bundling &lt;a href=&quot;http://avisynth.nl/index.php/Main_Page&quot; rel=&quot;nofollow&quot;&gt;Avisynth&lt;/a&gt; along with your software and coding AVS/AVI import into your tool. There are plugins for Avisynth which handle many other formats. To make it somewhat transparent and simple for users, your menu should contain two entries: 'Open MP4' which handles native import of MP4, as it presumably does right now, and something like 'Open other formats', which when presented with a heterogeneous format, constructs a simple Avisynth script on the fly and executes it, without the knowledge of the user. This way your users don't need to know scripting and your app now accepts many other formats. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-10-30T06:37:58.950" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16741" PostTypeId="1" CreationDate="2015-10-30T21:20:12.783" Score="1" ViewCount="114" Body="&lt;p&gt;I am importing a sequence from Premiere Pro into After Effects (by clicking on Import -&gt; Premiere Pro), but there's a very annoying gap in A.E. where shots haven't been imported.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the Premiere Pro Project - as you can see there are no gaps:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Qf6r0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Qf6r0.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the timeline in A.E. after import:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/o4I0M.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/o4I0M.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note the huge gap between two files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The files in this project are from different cameras, and it looks like some harmless .mov files are the ones missing in that gap.&#xA;I scrolled down thinking they might have been added as layers further down, but they are nowhere.&#xA;I have done this in the past in extremely similar ways, and never had this problem.&lt;/p&gt;&#xA;" OwnerUserId="11754" LastActivityDate="2015-10-30T21:20:12.783" Title="Imported sequence from Premiere Pro CS6 missing shots once in AE CS6" Tags="|after-effects|premiere|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16742" PostTypeId="1" CreationDate="2015-10-31T01:26:52.463" Score="1" ViewCount="6138" Body="&lt;p&gt;Sometimes I insert an image (PNG) and the background remains transparent, as intended.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some other times I insert an image and the transparent background becomes black. This happens seemingly at random, but probably has some explanation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I make sure the transparent background of an image remains transparent?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EXAMPLE&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This PNG image (below) appears in Premiere with the transparent background in black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/d9Xge.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/d9Xge.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then used Paint.net to resize it (to 75%). It was again saved as PNG (below). The transparent background showed up correctly when I inserted this new, smaller image into Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/T7T2G.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/T7T2G.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would seem that the only difference between the two PNG images is the size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what these two images show up as in Premiere (with a white-ish snowflakes background).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jz3rG.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jz3rG.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user11507" LastEditorDisplayName="user11507" LastEditDate="2015-11-06T06:34:28.190" LastActivityDate="2015-11-06T07:06:24.617" Title="Transparent parts of image show up as black" Tags="|premiere|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16743" PostTypeId="1" AcceptedAnswerId="16771" CreationDate="2015-10-31T09:34:09.603" Score="2" ViewCount="1841" Body="&lt;p&gt;Can the lossless &lt;a href=&quot;http://wiki.multimedia.cx/index.php?title=HuffYUV&quot; rel=&quot;nofollow&quot;&gt;HuffYUV&lt;/a&gt; codec be incorporated into the workflow of a VFX pipeline as an intermediate codec, given ample hard disk space?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I read that since Premiere and After Effects are now 64-bit and commonly HuffYUV is just 32-bit, that might pose problems. However, a x64 version is now &lt;a href=&quot;http://www.digitalfaq.com/go/tool-huffyuv/&quot; rel=&quot;nofollow&quot;&gt;available&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to get opinions on a HuffYUV workflow, possible drawbacks and a complete installation guide with suggested settings to use, thanks!&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="1871" LastEditDate="2015-10-31T12:06:28.320" LastActivityDate="2015-11-02T05:59:49.120" Title="Do Premiere, After Effects and Adobe Media Encoder support huffyuv lossless codec?" Tags="|after-effects|premiere|adobe|adobe-media-encoder|huffyuv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16744" PostTypeId="1" AcceptedAnswerId="17695" CreationDate="2015-10-31T09:58:46.433" Score="2" ViewCount="467" Body="&lt;p&gt;Some people around the web say that VLC is the cinderella of the video players, they say it make too much automatically picked video filters and conversions that not decode properly the media in the best way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I'm not sure about what this persons are talking about the reason why I use VLC is without doubt the capability of being able to play audio/video with almost every codec and in whatever container without extra setup even by running just VLC in portable mode from a folder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The same folks suggests XMBC but I don't need a full screen remote style video player, what I would like instead is a program capable of:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;play practically everything without codec installation&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;fine playback controls to move across frames and keyframes ( a nice interface )&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;fast and handy codec informations to read in &quot;one sight&quot; Container, Streams, their Codecs and Bitrate used, then all the other useful info&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;if there are uncertain condition like a color conversion or something like that have a menu that allows you to try various options without force the user to have a certain choice.&lt;/li&gt;&#xA;&lt;li&gt;free but highly appreciated OPEN SOURCE and MULTIPLATFORM&lt;/li&gt;&#xA;&lt;li&gt;well optimized&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;No fancy Skins&lt;/strong&gt;, possibly no skin support at all, this is to be intended as pro users program we like the os standard windows.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Bonus:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;metadata full edit and managing&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;video proofing with gamut warnings and settings like photoshop for display in rec 709 or other color spaces&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;if the video is in a RAW supported format es: RED, CinemaDNG, ArriRAW would be nice have some minor extra controls to shift the exposure during the play and check also for clipped areas with red (highlights) and blue (blacks)&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;In short a VLC with Steroids for media review, able to show you all the flaws and things to check after you exported a video from your common tools/apps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would be cool if a program like this would exists :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: Vlc has a codec info windows, but it could be improved, also the bitrate is not calculated in the same better way of ffprobe. Also vlc have not a nice and handy frame browsing interface, it also doesn't allow stuff like scrubbing on the timebar holding shift like you do in VirtualDub and so on. I'm searching for a program that offer the best sides of all this softwares.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2015-10-31T16:39:02.330" LastActivityDate="2016-09-29T16:26:53.400" Title="VLC Alternative for fine review media with possibly frames control and detailed codec informations" Tags="|video|software-recommendation|codec|software|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16745" PostTypeId="2" ParentId="16744" CreationDate="2015-10-31T10:18:54.333" Score="3" Body="&lt;p&gt;I haven't used VLC as my primary player since 2007. I switched over initially to KMPlayer and then &lt;a href=&quot;https://potplayer.daum.net/&quot; rel=&quot;nofollow&quot;&gt;Potplayer&lt;/a&gt;. Potplayer allows fairly flexible splitter and codec assignment for decoding. It also sports a whole host of video and audio processing filters. In fact, I believe that one can use Avisynth filters to process the video during playback, too.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-10-31T10:18:54.333" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="16746" PostTypeId="1" CreationDate="2015-10-31T20:16:36.380" Score="2" ViewCount="320" Body="&lt;p&gt;I an application demo video, I want to add annotations (Text notes, basic shapes etc) on already recorded video. Is there any free software available for that on Windows?&#xA;I found some, but they work on desktop screen capturing... but I want to work on existing video. I tried with Youtube. I'm able to add annotations but if I download the video from YouTube, they are not there / or downloaded as separate file. I need single video file with my annotation added to the same.&lt;/p&gt;&#xA;" OwnerUserId="11971" LastActivityDate="2015-12-31T23:17:38.653" Title="Adding annotation to existing video file" Tags="|video|video-editor|software-recommendation|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16747" PostTypeId="1" AcceptedAnswerId="16748" CreationDate="2015-11-01T00:20:58.913" Score="2" ViewCount="663" Body="&lt;p&gt;I like to do many comparisons and check before picking a codec and selecting its settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Settings with HuffYUV are few but more importantly I'm having trouble determining video file sizes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given pixel width, height and pixel format, is it possible to predict a file size for a video encoded with the HuffYUV lossless codec?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to prepare a simple converter to get an estimate of how much space it takes hours, minutes, seconds ;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which formula can I use? I'm OK even if you throw me out a complex model, I'm kinda a math guy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ps: I know my english is poor and is also a bit late so if you good guys think this question could be edited in a better way feel free to do it ;D&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="1871" LastEditDate="2015-11-01T05:17:53.477" LastActivityDate="2017-03-10T09:08:56.080" Title="Predict file size of a Huffyuv codec video stream" Tags="|video|codec|huffyuv|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16748" PostTypeId="2" ParentId="16747" CreationDate="2015-11-01T05:30:44.643" Score="3" Body="&lt;p&gt;The answer is No. Besides the frame dimensions, there's the matter of content complexity. Without scanning the video and doing a first-pass as it were, it's not possible to predict the output size. A video consisting of a slideshow of very simple text slides will be much easier to compress than scenes of busy city life..etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The closest you may come to making some sort of prediction is to encode a few representative segments from the source file and compare those bitrates. If there isn't a large difference among the bitrates of the various encoded segments, then you may assume a bitrate in that range for the final output. Of course, this method can't account for anomalous segments in the video of very high or low complexity compared to the rest of it, so sample selection is important.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-11-01T06:11:38.840" LastActivityDate="2015-11-01T06:11:38.840" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="16750" PostTypeId="1" AcceptedAnswerId="36221" CreationDate="2015-11-01T12:56:35.077" Score="13" ViewCount="4683" Body="&lt;p&gt;I'm trying to cut a video (a debate on TV) with FFmpeg without re-encoding, and I need to cut between 2 sentences a guy pronounce. I think the precise moment is between two keyframes, because whatever the timestamp I try to cut at, I always get too much sound (and video) or too few. Here is my ffmpeg command line :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -ss 0:0:0.9 -vcodec copy -acodec copy videoB.mp4 -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm aware that the position of the &lt;code&gt;-ss&lt;/code&gt; option in the command line matters: here, it is supposed to give me all the accuracy FFmpeg can offer. I know I'm probably trying to cut my video neither on a I-frame, nor on P- or B-frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So is there a way to get the closest (P- or B-) frame, doing some calculations with the preceding I-frame to generate a new I-frame, then start the video with this brand new I-frame and no sound, until the correct timestamp is reached. Then the video could go on normally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really don't want to bother me with re-encoding (which is an use of FFmpeg I don't master on command line). I'm using FFmpeg version 2.5.8-0ubuntu0.15.04.1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="11977" LastEditorUserId="18155" LastEditDate="2019-06-17T14:21:46.240" LastActivityDate="2023-02-23T03:40:15.203" Title="Using ffmpeg to cut videos with more precision than key frames allow" Tags="|video|ffmpeg|editing|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="16751" PostTypeId="1" AcceptedAnswerId="16752" CreationDate="2015-11-01T15:40:29.077" Score="3" ViewCount="2772" Body="&lt;p&gt;I have recently come into possession of a couple of 4k movies with a resolution of 4096x2304. Unfortunately my Samsung 4k TV wont play anything over 3840x2160.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have managed to re-encode the videos to 3840x2160, unfortunately the bitrate fell to 1/10th of what it was before.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for %%a in (&quot;*.mkv&quot;) do ffmpeg -i &quot;%%a&quot; -s 3840x2610 -q:v 0 -c:v libx264 -acodec copy D:\%%~na.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Original file size was 27.8GB, the re-encoded one was under 8GB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way I can re-encode them so I can keep the original bitrate/quality?&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Rant: Even my 4 year old computer can play the movie, but that fcking&#xA;  new Samsung TV of course can't /rant-end&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="11978" LastActivityDate="2015-11-01T15:45:35.690" Title="Convert resolution 4096x2304 to 3840x2160 keeping the quality the same" Tags="|ffmpeg|encoding|conversion|4k|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16752" PostTypeId="2" ParentId="16751" CreationDate="2015-11-01T15:45:35.690" Score="3" Body="&lt;p&gt;Judge based on the quality rather than the bitrate value. Use CRF mode encoding and if the quality isn't what you can accept, decrease the CRF value.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;%%a&quot; -s 3840x2610 -c:v libx264 -crf 18 -acodec copy D:\%%~na.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-01T15:45:35.690" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16753" PostTypeId="2" ParentId="16061" CreationDate="2015-11-01T18:02:55.487" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://natron.fr/&quot; rel=&quot;nofollow&quot;&gt;Natron&lt;/a&gt; does this. It is a pretty new open source node-based compositing software which is multi platform. The developers have been very quick to put something which is already impressive. If you know Nuke, you should get up and running pretty quickly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another compositing software which is free but not open source is &lt;a href=&quot;https://www.blackmagicdesign.com/products/fusion&quot; rel=&quot;nofollow&quot;&gt;Blackmagic Fusion&lt;/a&gt;. They bought eyeon Software in 2014 and now provide this amazing software for free.&lt;/p&gt;&#xA;" OwnerUserId="11979" LastEditorUserId="11979" LastEditDate="2015-11-01T18:09:55.740" LastActivityDate="2015-11-01T18:09:55.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16754" PostTypeId="1" CreationDate="2015-11-01T19:48:39.337" Score="1" ViewCount="51" Body="&lt;p&gt;i am wondering if it is possible to animate a path (such as a christmas tree) i created in Illustrator in Premiere Pro? I was thinking about a glowing path which slowly goes around the scheme of the tree.&#xA;Like this: &lt;a href=&quot;http://www.desktopwallpaper4.me/holidays/glowing-christmas-tree-2589/&quot; rel=&quot;nofollow&quot;&gt;http://www.desktopwallpaper4.me/holidays/glowing-christmas-tree-2589/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11980" LastActivityDate="2015-11-01T19:48:39.337" Title="Animate a path from Adobe Illustrator in Adobe Premiere Pro" Tags="|premiere|adobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16755" PostTypeId="2" ParentId="15905" CreationDate="2015-11-01T22:01:50.907" Score="2" Body="&lt;p&gt;I was recently editing a 5-camera short film with Premiere. Over 7 hrs worth of footage. Lots of going back and forth over the clips. Lots of trying different angles. All that over many weeks. Yet, we never got lost or confused about what was happening or where things were.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Create your multi-cam sequence.&lt;/li&gt;&#xA;&lt;li&gt;Log all camera angles individually by using a lot of markers and/or extended markers. Label those markers clearly and consistently: mention the subject discussed and whatever interesting thing the interviewee does (facial expression, laughter, hand movement, etc.)&lt;/li&gt;&#xA;&lt;li&gt;Maybe use a marker-color per subject-matter.&lt;/li&gt;&#xA;&lt;li&gt;I would make sure to keep the original multi-cam sequence cuts-free. Just duplicate it as many times as you need to: that way you can always come back to it, a clean slate, if and when the cutting gets messy.&lt;/li&gt;&#xA;&lt;li&gt;Edit the interview by copying and pasting bits that deal with similar issues to as many sequences as you have subject matters. Duplicate those initial &quot;sub-sequences&quot; and edit their duplicates down, as the director and you see fit.&lt;/li&gt;&#xA;&lt;li&gt;Make sure that you name those &quot;subject-sequences&quot; clearly. Let's say one is about &quot;Boats&quot;. Call the first one &quot;151031_Boats_E01&quot; for the date, the subject matter and the edit number. Then the duplicate would be called &quot;151031_Boats_E02&quot;, etc. Duplication is you friend. Use bins, etc. I'm sure you have your workflow already anyway.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;That way, you should be able to get back to your edit and the various subject matters over the course of a few months without finding yourself lost.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-01T22:01:50.907" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16756" PostTypeId="2" ParentId="16692" CreationDate="2015-11-01T22:13:27.870" Score="0" Body="&lt;p&gt;Keep in mind that the h.264 codec (seems your camera uses it), although versatile, should only be used for re-viewing purposes. It's not a steady-as-a-rock pro-level codec, one used to record sync sound. It can work, and does (like millions of people, I've used it many times with DSLRs), but in the end be ready for sync issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More over, your camera is really low-grade. Use a DSLR instead with an external audio recorder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would consider using an external audio recorder with your current camera. Sync the video by using a clap-board or even doing a hand-clap right after the recording has started. Test your setup that way and see what you get. If after trying different permutations you still have sync issues, shoot with something else. &lt;/p&gt;&#xA;" OwnerUserId="11961" LastEditorUserId="6207" LastEditDate="2016-01-01T13:16:10.490" LastActivityDate="2016-01-01T13:16:10.490" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16758" PostTypeId="2" ParentId="16746" CreationDate="2015-11-01T22:27:16.260" Score="1" Body="&lt;p&gt;Take a look at Blender or Lightworks (both free). &#xA;You can import footage and add text or shapes (simple one with Lightworks) to it.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-01T22:27:16.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16760" PostTypeId="2" ParentId="16542" CreationDate="2015-11-01T22:33:54.633" Score="1" Body="&lt;p&gt;maybe if you used the Adobe Creative Cloud you could upload your footage to it ... if you have an account with them and if you a fast-enough internet connection. otherwise, make lo-res proxies and edit from a USB-3 external drive (since it sounds like you have limited space)&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-01T22:33:54.633" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16761" PostTypeId="2" ParentId="16462" CreationDate="2015-11-01T22:37:16.943" Score="0" Body="&lt;p&gt;mp4/h264 files are super compressed files and require a lot of horse-power to read. that's why a lot of machines and programs have trouble with them. also, they suck if you are trying to do precise synch-based work. work with proper codecs, ProRes or DNxHD.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-01T22:37:16.943" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16762" PostTypeId="2" ParentId="15943" CreationDate="2015-11-01T22:42:01.953" Score="2" Body="&lt;p&gt;27-years old?! Forget it. Tapes need to be regularly forwarded and rewound, fully, for them not to stick. If that tape of yours remained unused for so many years, it might be too late.&#xA;Talk to a transfer pro... but don't expect miracles.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastEditorUserId="3561" LastEditDate="2015-11-04T15:57:32.893" LastActivityDate="2015-11-04T15:57:32.893" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16763" PostTypeId="2" ParentId="15693" CreationDate="2015-11-01T22:55:27.583" Score="1" Body="&lt;p&gt;It has nothing to do with a codec or Apple (I assume he/she has QT installed on the PC anyway).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what's going on: the PC version of Premiere is cracked and/or was not fully installed/updated. As such it is indeed missing the &quot;Sequence Presets&quot; that you have on your Mac. Hence the translation problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By &quot;Sequence Preset&quot; I mean the DSLR, RED, etc presets you see when you decide to &quot;Create a new sequence&quot;. A cracked and/or poorly installed copy of Premiere will have all the important presets missing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recommend getting your hands of a legit copy of the program or running a thorough update of the program (it should solve your issue then, if the PC version is legal). Et oui!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &quot;Sequence Presets&quot; look like this on Premiere CC (and are very similar on CS6 and previous versions):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SaHcS.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SaHcS.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-01T22:55:27.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16764" PostTypeId="2" ParentId="15368" CreationDate="2015-11-01T23:02:13.903" Score="2" Body="&lt;p&gt;Try those calculators, they should do the trick.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.digitalrebellion.com/webapps/videocalc&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.digitalrebellion.com/webapps/videocalc&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11961" LastEditorUserId="-1" LastEditDate="2019-12-20T20:46:58.117" LastActivityDate="2019-12-20T20:46:58.117" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="16765" PostTypeId="2" ParentId="15315" CreationDate="2015-11-01T23:05:58.493" Score="1" Body="&lt;ul&gt;&#xA;&lt;li&gt;Don't do sync work with the MP4s/H264 codec. Use proper codecs (ProRes or DNxHD).&lt;/li&gt;&#xA;&lt;li&gt;Work with .wav or .aif audio files.&lt;/li&gt;&#xA;&lt;li&gt;Keep an eye on your audio file sample rates.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Lightworks is much less forgiving to small errors than other programs are. Be super precise.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-01T23:05:58.493" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16766" PostTypeId="1" CreationDate="2015-11-01T23:48:32.663" Score="2" ViewCount="2976" Body="&lt;p&gt;Adobe Premiere: 5.5&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I had a plugin, then I removed it&lt;/li&gt;&#xA;&lt;li&gt;Now my project complains about not having it&lt;/li&gt;&#xA;&lt;li&gt;I think this is from a clip or sequence using the plugin&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Questions:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;How do I find the clip or sequence to take out the plugin and remove this error?&lt;/li&gt;&#xA;&lt;li&gt;Could this error be caused by something else?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;EDIT: more complications:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;it is a feature length project, with 20+ long sequences&lt;/li&gt;&#xA;&lt;li&gt;I only see the warning when I open the project, and it takes 5+ minutes to load&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5987" LastEditorUserId="5987" LastEditDate="2015-11-02T22:56:40.560" LastActivityDate="2021-12-27T20:21:46.210" Title="Adobe Premiere - how do I find a clip using a removed plugin?" Tags="|premiere|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16767" PostTypeId="1" CreationDate="2015-11-02T01:49:40.813" Score="1" ViewCount="851" Body="&lt;p&gt;Can anyone tell me what would be causing me to not be able to set the Alignment property on a Constant Power audio transition?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure what other information is relevant for this question as I am quite new to Adobe Premiere Pro CC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AjjcB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AjjcB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using &lt;code&gt;Adobe Premiere Pro CC 7.2.2&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="11981" LastActivityDate="2024-01-11T07:07:20.897" Title="Why is the alignment setting disabled on my Constant Power audio transition?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16768" PostTypeId="1" AcceptedAnswerId="16775" CreationDate="2015-11-02T01:59:04.697" Score="2" ViewCount="585" Body="&lt;p&gt;I'd like to know how I can setup two audio tracks where the following happens:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The first audio track (music) plays at full power/volume/gain.&lt;/li&gt;&#xA;&lt;li&gt;A second audio track (narration) causes the first audio track to fade to a much lower volume (but still able to hear it) while the narration happens.&lt;/li&gt;&#xA;&lt;li&gt;The second audio track (narration) finishes which causes the first audio track (music) to resume to it's normal/full volume.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I don't want any audio discontinuity to occur. Meaning, I want the first audio track (music) to play through while the narration happens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using &lt;code&gt;Adobe Premiere Pro CC 7.2.2&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="11981" LastActivityDate="2015-11-02T12:14:01.467" Title="How can I have a music track fade to a low gain/volume while I talk over it with a second audio track in Adobe Premiere Pro CC?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16769" PostTypeId="2" ParentId="16742" CreationDate="2015-11-02T04:36:11.460" Score="1" Body="&lt;p&gt;The most likely thing would be that you are choosing different settings for the way the alpha channel is interpreted.  There are multiple options and some will not interpret it as transparent.  I believe there are 3 different choices if memory serves.  If it is actually defaulting to different settings, then I'm not sure what would result in that though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-11-02T04:36:11.460" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16770" PostTypeId="2" ParentId="16768" CreationDate="2015-11-02T05:16:17.550" Score="1" Body="&lt;p&gt;The phenomenon is called audio ducking i.e. lowering of music when there's a voice being heard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's best to do this in Audition See this &lt;a href=&quot;https://www.youtube.com/watch?v=kMk0XUCUkDY&quot; rel=&quot;nofollow&quot;&gt;tutorial&lt;/a&gt;. You can send your audio to Audition using &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/editing-audio-audition.html&quot; rel=&quot;nofollow&quot;&gt;Dynamic Link&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It may be possible to do this in Premiere itself using a VST plugin, but it's not straightforward or intuitive.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-11-02T05:40:52.537" LastActivityDate="2015-11-02T05:40:52.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16771" PostTypeId="2" ParentId="16743" CreationDate="2015-11-02T05:41:27.097" Score="2" Body="&lt;p&gt;They do on Windows, you need to use the AVI container as HuffyUV isn't available as a quicktime codec, afaik.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used huffyUV for a while, but have switched to &lt;a href=&quot;http://www.magicyuv.com/index.php&quot; rel=&quot;nofollow&quot;&gt;magicYUV&lt;/a&gt; which has a better range of colour space support (including 10-bit in beta).  &lt;a href=&quot;http://www.videohelp.com/software/Ut-Video-Codec-Suite&quot; rel=&quot;nofollow&quot;&gt;UTVideo&lt;/a&gt; is another good option and is available for mac.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the Premiere - After Effects - Media Encoder workflow I find that exporting to a flattened movie only happens when I am making the final master, I use Dynamic Link for the intermediate transfers from say AE to Premiere. As well as saving disk space it's faster and easier because you can make changes and have them update on the fly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for final masters these lossless codecs are great, with the one caveat–they may not be supported in the long term. Mostly they are developed by small teams or even a single person, so if they get a full-time job or have twins the project might tank. If you're making masters that need to be available for the long term – as in decades, then FFV1 is a good option, though for everyday use as an intermediate codec it's a bit slow.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-11-02T05:59:49.120" LastActivityDate="2015-11-02T05:59:49.120" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16772" PostTypeId="2" ParentId="16569" CreationDate="2015-11-02T11:05:01.663" Score="1" Body="&lt;p&gt;Can I suggest that you try &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve&quot; rel=&quot;nofollow noreferrer&quot;&gt;Davinci Resolve&lt;/a&gt; for this?  It's free, and has a fantastic &quot;clone stamping&quot;-style tool, called Node Sizing  - see &quot;Example 2: Using Node Sizing to duplicate a windowed area of an image to cover a blemish&quot; p638 in the manual:&#xA;&lt;a href=&quot;http://software.blackmagicdesign.com/DaVinciResolve/docs/DaVinci_Resolve_11_Manual_June_2014.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://software.blackmagicdesign.com/DaVinciResolve/docs/DaVinci_Resolve_11_Manual_June_2014.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It allows you to clone one region of a video over another, and to feather the edges. You can track the positions of moving items too - it's remarkably effective.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: After Effects now has content aware fill for video: &#xA;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/content-aware-fill.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/after-effects/using/content-aware-fill.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2019-07-19T21:48:55.797" LastActivityDate="2019-07-19T21:48:55.797" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="16773" PostTypeId="2" ParentId="16214" CreationDate="2015-11-02T11:24:11.970" Score="1" Body="&lt;p&gt;Just finished working with exact same sort of footage. I never got that issue.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Update Premiere CC.&lt;/li&gt;&#xA;&lt;li&gt;Start a new project from scratch. Import one R3D file and create a sequence from it. See what happens.&lt;/li&gt;&#xA;&lt;li&gt;Create a new project in another editing program, one that can read R3D footage. Create brand new sequence, see what happens.&lt;/li&gt;&#xA;&lt;li&gt;Try this solution: &lt;a href=&quot;https://video.stackexchange.com/a/16246/11961&quot;&gt;https://video.stackexchange.com/a/16246/11961&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11961" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-11-02T11:24:11.970" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16774" PostTypeId="2" ParentId="16440" CreationDate="2015-11-02T11:35:48.310" Score="1" Body="&lt;p&gt;Not sure I get what you're describing, but here are some ideas:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Right click on your clip in the timeline and select the &quot;Speed/Duration&quot; option. Have fun.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you want that added clip to have its own frame rate within your sequence, perhaps you should start seeing it as an effect. So treat it as such: once your edit is done (picture lock), import it in After Effects, treat the portion of it that you need as you see fit. Export it thus transformed. Import that new clip in your timeline, place it over its old version and never worry again about a change of frame-rate.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-02T11:35:48.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16775" PostTypeId="2" ParentId="16768" CreationDate="2015-11-02T12:14:01.467" Score="2" Body="&lt;p&gt;Ducking is a great solution for broadcast audio (for example, muting crowd noise when a commentator is trying to explain what's happening on the field).  In production, the limitations of ducking become apparent: sometimes it's too much or too little, sometimes it needs to be faster than the default, or slower.  These are things that are not necessarily obvious the first time you listen, but become obvious after the second or third listening.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Broadcast audio production presumes you hear things only once, so the limitations of ducking are acceptable.  If you are producing material that people might watch more than once, you really should do the ducking manually, setting audio keyframes and moving the volume manually to maximize not only quality and intelligibility, but also emotion and impact.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-11-02T12:14:01.467" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16776" PostTypeId="2" ParentId="16766" CreationDate="2015-11-02T14:41:50.957" Score="1" Body="&lt;ul&gt;&#xA;&lt;li&gt;Select the first minute of your timeline. Remove all effects. See if you still get the message. If not, Undo (put effects back).&lt;/li&gt;&#xA;&lt;li&gt;Select minute 2 of your timeline, do the same thing (remove effects, etc). That way you should be able to narrow down where in your timeline you used the plug-in.&lt;/li&gt;&#xA;&lt;li&gt;Once you've found the minute where you initially used the plug-in, go clip after clip until you find the one that has it. Remove it, and you should be home free.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-02T14:41:50.957" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16777" PostTypeId="2" ParentId="14862" CreationDate="2015-11-02T15:46:38.567" Score="1" Body="&lt;ul&gt;&#xA;&lt;li&gt;Use In/Out points.&lt;/li&gt;&#xA;&lt;li&gt;Put an &quot;In&quot; point on the audio clip, and one on each of the already-synced video clips. Those &quot;In&quot; points should be put on the same sync points (that is, moments that are clearly visible on all clips, say, the clap-board clapping and the sound of the clap!). Whatever sync-point you choose, make sure it's also visible on your non-synced clip. &lt;/li&gt;&#xA;&lt;li&gt;Put an &quot;In&quot; point on your non-synced clip, at the sync-point that you've already marked on the synced-clips. &lt;/li&gt;&#xA;&lt;li&gt;Choose to sync your sequence by &quot;In&quot; point.&lt;/li&gt;&#xA;&lt;li&gt;The program will align the &quot;In&quot; points and you should have a synced sequence.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-02T15:46:38.567" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16779" PostTypeId="2" ParentId="14899" CreationDate="2015-11-02T15:52:21.070" Score="0" Body="&lt;p&gt;You should consider using proxies instead of editing native files. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Transcode your native files to lighter versions, by for example using the ProRes Proxy codec, or the DNxHD36 codec. You'll end up with lower resolution files, but they'll be &quot;lighter&quot; (less large/heavy) and therefore easier for your computer to read/play.&lt;/li&gt;&#xA;&lt;li&gt;The proxy files and the native files should have the same names. Keep it as such. So for instance, a native file called &quot;Car.mov&quot; (shot in ProRes HQ) would have its proxy version also called &quot;Car.mov&quot;, but in ProRes Proxy. Same with, say, RED camera files: a native R3D file folder would be &quot;D009_C002_0621AJ.RDC&quot; and its proxy version, say in ProRes Proxy, would be &quot;D009_C002_0621AJ.mov&quot;.&lt;/li&gt;&#xA;&lt;li&gt;Import those proxy files to your editing project. Edit normally.&lt;/li&gt;&#xA;&lt;li&gt;Once you picture-lock, unlink your edit from the Proxy files. Then link your edit to your native files. Because the proxy files and the native files have the same name, you should have no issue doing the relinking.&lt;/li&gt;&#xA;&lt;li&gt;Presto, you'll then have a picture-locked edit with native files. Do you color correction, and export. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Here's a simple how-to video that explains the unlinking/relinking: https://youtu.be/hsqFilCBKIY&#xA;It's for Premiere CS6. There are other how-tos out there for other editing programs.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastEditorUserId="11961" LastEditDate="2015-11-03T11:03:45.260" LastActivityDate="2015-11-03T11:03:45.260" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16780" PostTypeId="2" ParentId="15233" CreationDate="2015-11-02T15:55:16.280" Score="2" Body="&lt;p&gt;What you're looking for might be something like ScriptSync. It used to be included with Avid's Media Composer. These days you need to purchase it separately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.avid.com/US/industries/workflow/Scriptbased-Editing&quot; rel=&quot;nofollow&quot;&gt;http://www.avid.com/US/industries/workflow/Scriptbased-Editing&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-02T15:55:16.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16781" PostTypeId="2" ParentId="15226" CreationDate="2015-11-02T16:05:57.470" Score="1" Body="&lt;p&gt;You can't select, say, two video tracks from your Multi-cam sequence and show them at the same time. You're going to have to go at it separately. A Multi-Cam sequence is really for going back and forth between angles, not to show two or more angles at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A solution:&#xA;- On Video track 1, put your base image or shot.&#xA;- One Video track 2, put the image or film you'd like to have appear over the base image. Sync the two video tracks together, by hand. That is, don't create a Multi-Cam sequence: merely put them one on top of the other so that they start at the same time of the take. &#xA;- Then, use the &quot;Crop&quot; effect and the &quot;Scale&quot; tool to reduce the size of your Track2 image and move it in the appropriate corner of your base image. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Voila! You have two angles of the same event playing at the same time in the same overall image.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-02T16:05:57.470" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16782" PostTypeId="2" ParentId="15530" CreationDate="2015-11-02T16:07:58.297" Score="1" Body="&lt;ul&gt;&#xA;&lt;li&gt;Allocate as much RAM to Premiere as possible (in the settings), and, as Kazanaki suggested, learn to use proxies (lower resolution copies of your master files).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-02T16:07:58.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16783" PostTypeId="1" AcceptedAnswerId="16787" CreationDate="2015-11-02T16:09:55.877" Score="1" ViewCount="233" Body="&lt;p&gt;I am trying to create a project that will automatically convert videos to a compilation. Although not literally, but kinda. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to create project that will hold effects, motion data in specified duration, then import videos into them, is it possible to apply motion and effects to sequences?&lt;/p&gt;&#xA;" OwnerUserId="11983" LastActivityDate="2015-11-02T17:12:16.387" Title="How to make a project for compilation videos?" Tags="|premiere|pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16785" PostTypeId="2" ParentId="15439" CreationDate="2015-11-02T16:15:53.693" Score="1" Body="&lt;p&gt;No. There's no such thing. Vimeo will show you a gauge as soon as it starts processing your video.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-02T16:15:53.693" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16786" PostTypeId="2" ParentId="15801" CreationDate="2015-11-02T16:18:37.703" Score="1" Body="&lt;p&gt;Yes, it's powerful enough, even to edit features ... as long as:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;you use low-resolution proxies (copies) for long projects.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;you edit from an external drive with USB3 or better and not from your computer's HDD (avoid stuffing your HDD with large data files anyway).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-02T16:18:37.703" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16787" PostTypeId="2" ParentId="16783" CreationDate="2015-11-02T17:12:16.387" Score="1" Body="&lt;p&gt;Yes, in Premiere, you can create a master sequence consisting of nested sequences and apply motion and effects to those nested sequences within the master sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And swap footage within those nested sequences as desired.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-02T17:12:16.387" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16788" PostTypeId="2" ParentId="16283" CreationDate="2015-11-02T17:58:24.867" Score="2" Body="&lt;p&gt;Download the 32-bit static build ffmpeg from &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; and try either of the two methods:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) regenerate the timestamps&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c copy -fflags genpts new-input.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;2) Extract audio, import that separately, align starts in timeline and then check&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vn -c:a copy input-audio.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-02T17:58:24.867" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16789" PostTypeId="1" AcceptedAnswerId="16791" CreationDate="2015-11-02T20:50:17.887" Score="2" ViewCount="882" Body="&lt;p&gt;Sometimes, when I have a look at music videos, I see lyric texts coming up. They are shaped in a rectangle, with different sized words. An example is this, which I made quickly.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/FGxeW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FGxeW.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is this effect called?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say I have a music video. And I want to add lyrics to it, just like the example. How would I do this, animated, showing one by one in Sony Vegas Pro 13, or Adobe After Effects (Preferably Sony Vegas, I at used to the controls more)?&lt;/p&gt;&#xA;" OwnerUserId="11984" LastEditorUserId="11984" LastEditDate="2015-11-02T21:01:21.800" LastActivityDate="2015-11-02T21:31:08.813" Title="How do I do this Text animation in Sony Vegas (..or AE)?" Tags="|after-effects|animation|vegas-pro|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16790" PostTypeId="1" AcceptedAnswerId="16804" CreationDate="2015-11-02T21:16:48.650" Score="4" ViewCount="2472" Body="&lt;p&gt;My live action footage is Frame Rate 29.97 FPS. When exporting frame by frame animation from Photoshop that I intend to composite on top of the live footage. Since I have the ability in Photoshop to specify should I enter 30 FPS or the exact 29.97 FPS?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see &lt;em&gt;Jumper and ISO BG.mov&lt;/em&gt; is 30 fps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TRKGK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TRKGK.jpg&quot; alt=&quot;Lines for Jumper and ISO Switch&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I read this question:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/15442/what-is-the-proper-workflow-for-slightly-different-framerates-i-e-30-29-97-2&quot;&gt;What is the proper workflow for slightly different framerates, i.e. 30, 29.97, 29.976?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But it has conflicting answers and neither one has many upvotes or marked correct. Will there be any difference if I export it with the precise 29.97 and 30 or does it make no difference?&lt;/p&gt;&#xA;" OwnerUserId="5206" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-11-03T21:24:39.747" Title="Is it worth exporting at the exact 29.97 FPS from Photoshop or just use 30 FPS?" Tags="|framerate|animation-rendering|compositing|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16791" PostTypeId="2" ParentId="16789" CreationDate="2015-11-02T21:31:08.813" Score="2" Body="&lt;p&gt;It's called &lt;a href=&quot;http://www.premiumbeat.com/blog/10-free-after-effects-templates-typography/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Kinetic Type&lt;/a&gt; generally (that link is for Templates). Depending on what you're looking to do you either need to do it manually or can use scripting to auto-fill a list of words. If you auto-fill with a list its generally more randomized, so if sequence is important. Like you want the Lyrics to appear in the order they're spoken you must do it manually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use After Effects or Flash to create something like this.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/1824/is-there-any-plugin-for-after-effects-to-create-a-kinetic-typography-video&quot;&gt;Tools to help make Kinetic Typography&lt;/a&gt; (Video Stack Exchange for After Effects)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;http://levitated.net/daily/levEmotionFractal.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Using a Script to do it automatically with random words&lt;/a&gt; (Levitated.net for Flash)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5206" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-11-02T21:31:08.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16792" PostTypeId="1" CreationDate="2015-11-02T23:36:30.833" Score="4" ViewCount="2924" Body="&lt;p&gt;New user of DaVinci Resolve, explain-like-I'm-five. =)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have installed and followed instructions for setting up Resolve 12 on my Windows 7 16gb ram computers with GeForce 760 gpu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Initially, Resolve would not recognise my .mp4 / .avi files, only finding single image files. The .mp4 and .avi files will load and run in VLC and / or Blender.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I restarted the program, at which point it could find the files - but the thumbnails for the files were red with an exclamation mark and would not load. There were a couple which displayed correct thumbnails, but on clicking on the files the thumbnails turned to red with exclamation mark - and would not load.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Restarting my computer and reloading Resolve returned me to my initial condition: Resolve would not recognise my .mp4 / .avi files, only finding single image files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are files of mostly less than 100mb each, some only lasting for a couple of minutes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anybody know why Resolve can't detect or load my files?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;--Rev&lt;/p&gt;&#xA;" OwnerUserId="11985" LastActivityDate="2019-09-11T05:39:29.973" Title="How can I ensure that DaVinci Resolve will detect and/or load my .mp4 / .avi files?" Tags="|editing|mp4|davinci-resolve|avi|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16793" PostTypeId="1" CreationDate="2015-11-03T00:12:23.097" Score="4" ViewCount="172" Body="&lt;p&gt;I'm new to video editing, and I'm trying to find the right software to fit my needs.  I am interesting in creating videos where I want to speed up both the video and the sound together to rates of over 20x.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, here is the link to a YouTube video that is similiar to the style movie that I want to make.  This person used iMovie to create &lt;a href=&quot;https://youtu.be/DaxOfyn9Jls&quot; rel=&quot;nofollow&quot;&gt;this video&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I started with the standard GoPro Studio, but whenever you speed up video with that program, the sound is lost.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then moved to CyberLink Power Director, and with that program, the sound is not able to be sped up over 8x I believe when attached to the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I heard about Sony Video Studio, but it looks like you can't speed up the video past 4x in that program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do not want to break the sound apart from the video and try an pair it back up after speed up both the sound and video individually.  I also do not want to speed up the video/sound a small around, render the video, and then speed it up again, as that create a lot of redundant work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally, I would like to find the PC version of something like iMovie that has this capability.&lt;/p&gt;&#xA;" OwnerUserId="11982" LastEditorUserId="12061" LastEditDate="2015-11-13T15:02:29.247" LastActivityDate="2023-02-11T21:04:35.527" Title="What PC software offers speeding up video &amp; sound together at 20x+?" Tags="|video-editor|webvideos|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16795" PostTypeId="1" CreationDate="2015-11-03T02:39:53.310" Score="2" ViewCount="1182" Body="&lt;p&gt;I've been considering different directions to go to move away from a traditional mouse and keyboard setup while editing. I was initially looking at the Contour ShuttleXpress as a fairly inexpensive way to try out a control surface, but now having a Wacom Intuos looks attractive. It's my understanding that a tablet replaces your mouse, so would pairing a tablet with a control surface work well? Also, how does a tablet improve over a mouse? How important is size for the tablet, will the Intuos Small (6.2X3.9&quot;) be large enough? I've never used a control surface or a tablet while editing, so I'm just generally curious what the experience is like.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastEditorUserId="6671" LastEditDate="2015-11-03T02:44:58.330" LastActivityDate="2015-11-04T12:06:43.277" Title="What benefits can a pen tablet or control surface provide in video editing?" Tags="|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16796" PostTypeId="2" ParentId="16766" CreationDate="2015-11-03T04:58:12.583" Score="1" Body="&lt;p&gt;If you have After Effects, you can import the Premiere .prproj into AE via File &gt; Import &gt; Premiere Pro Project&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once imported, After Effects should throw up a warning for the missing effect. The manual has this to say, about isolating the missing effect clips:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If you open a project that uses an effect for which After Effects has&#xA;  not loaded the plug-in, a warning dialog box  appears, and instances&#xA;  of the effect have Missing:  at the beginning of its name in the&#xA;  Timeline panel and Effect Controls  panel. To show all instances of&#xA;  missing effects in the Timeline panel for the active composition,&#xA;  press FF.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-03T04:58:12.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16798" PostTypeId="2" ParentId="16283" CreationDate="2015-11-03T11:08:05.063" Score="2" Body="&lt;p&gt;I would strongly suggest that you don't work with mp4/H264 files for sync-sensitive work. Transcode the files and work with those.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-03T11:08:05.063" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16799" PostTypeId="2" ParentId="16689" CreationDate="2015-11-03T11:15:38.483" Score="-1" Body="&lt;p&gt;It won't make a difference because your box is SD. No amount of signal inserted in it would make it look HD. To show HD, you need HD ready equipment.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2015-11-03T11:15:38.483" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16800" PostTypeId="2" ParentId="16169" CreationDate="2015-11-03T14:21:33.330" Score="1" Body="&lt;p&gt;For some reason I think this is avoided when using ffmpeg's concat PROTOCOL (&lt;em&gt;ffmpeg -i &quot;concat:...&quot;&lt;/em&gt;) rather than its concat DEMUXER (&lt;em&gt;ffmpeg -f concat -i mylist.txt&lt;/em&gt;).  Oddly, it's also slightly more convenient since using the demuxer requires me to create the text file with the file names in it while with the protocol I can just specify them on the command line, eg: &lt;em&gt;ffmpeg -i &quot;concat:00001.MTS|00002.MTS|00003.MTS&quot; -c copy output.mts&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll need to confirm this later, I'm at the wrong computer but something brought the question to my attention so I decided to update it with new information.&lt;/p&gt;&#xA;" OwnerUserId="11404" LastActivityDate="2015-11-03T14:21:33.330" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16801" PostTypeId="2" ParentId="15476" CreationDate="2015-11-03T15:46:19.903" Score="1" Body="&lt;p&gt;It might be possible through scene detection if your editor of choice allows for scene detection based on sound.  Alternately, since you are obviously handy with code, you could use a video editing library to write a program that would look for a threshold audio level to be exceeded and look for any long periods of time with no such peaks.  You could then apply speed changes between those timestamps.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The actual coding of something like that is really more of a programing question than a video production question, but it should be technically possible using that kind of a technique.  I'd recommend looking at libav or one of the similar types of windows libraries for manipulating AV files.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-11-03T15:46:19.903" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16802" PostTypeId="2" ParentId="16795" CreationDate="2015-11-03T20:06:01.360" Score="2" Body="&lt;p&gt;I am a filmmaker/photographer; I have the shuttlepro 2 and a wacom intuos5 pro small...The shuttlepro2 is twice as much as the express but I have found it to be incredibly useful - more buttons = more customizable keystrokes. And the larger size is more ergonomic which will help with the transition and gaining the 'muscle memory' so that its the natural and fastest thing to do. Aside from needing to click shift, option, or command, I can edit (adobe pr/ae) without using the keyboard at all. This will increase your efficiency like crazy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do not find myself using the wacom tablet for video editing, although I did try it...The cool thing is that you can set up the radial menu with like 8 commands/keystrokes etc - being able to 'right click' on the pen and have all of your most common commands in a floating menu is awesome...however I found myself not really liking the pen for editing purposes. I have a kensington trackballpro - is had a scroll wheel and four bottons, making it excellent for use in a timeline, and its also really ergonomic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had the intuos5 pro medium and swapped it for the small - unless you are artist that plans on using this for sketching, you do not need that much real estate. You can map the tablet to the whole screen or map portions of the tablet for the entire screen; similar to a mouse, its most natural to have it set so that without having to move more than your wrist you can roughly reach all corners of screen, again youll only end up using a small amount of the tablet unless you plan on doing things like digital art, hand lettering etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The tablet really shines with photo editing. it has taken my work and workflow speed to the next level. Applying local adjustments in Lr or Ps is natural and much faster. And the ability to feather effects with the weight of your stroke can make edits more natural much faster.&lt;/p&gt;&#xA;" OwnerUserId="11993" LastActivityDate="2015-11-03T20:06:01.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16803" PostTypeId="2" ParentId="16792" CreationDate="2015-11-03T20:15:33.540" Score="1" Body="&lt;p&gt;From your post I am not sure why Resolve wont recognize your files...but you should transcode your footage anyways before ingesting into Resolve. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even if you start with highly compressed source media, you should transcode to something less compressed, and that will put you in 4:2:2 at least vs working with 4:0:0. ProRes or DNxHD codec will give you files that are much less compressed, and will yield the best possible results in color correction.&lt;/p&gt;&#xA;" OwnerUserId="11993" LastActivityDate="2015-11-03T20:15:33.540" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16804" PostTypeId="2" ParentId="16790" CreationDate="2015-11-03T21:19:44.143" Score="1" Body="&lt;p&gt;29.97 is the NTSC compromise for 30 fps.  23.976 is the NTSC compromise for 24 fps.  29.976 is a framerate that results from confusing these two numbers into a single bit of nonsense.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The bottom line is that if you have a mix of 29.97fps and 30fps, then every 1000 frames (about every 33 seconds) there's going to be a glitch.  Either you have to double up a frame of the 29.97fps stream to keep up with the 30fps stream, or you have to skip a frame of the 30fps stream so as not to overrun the 29.97fps stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you never have to composite 1000 differently-timed frames in a row, then you can fudge the two as being equal.  But unless you can read the source code of your video editor, you don't really know at what point the program is going to try to &quot;correct&quot; the glitch.  It might be uppity and try to do it half-way through the 1000 sequence to minimize the average divergence, rather than waiting until the divergence is indisputable.  In that case, best to output your generated frames to match the frame rate of the rest of your content.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-11-03T21:19:44.143" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16805" PostTypeId="2" ParentId="10361" CreationDate="2015-11-03T22:28:31.067" Score="1" Body="&lt;p&gt;Anyone who is still having poor playback issues with Adobe Premiere CC you need to go to Edit -&gt; Preferences -&gt; Audio Hardware -&gt; and change your Default Input to &quot;No Input&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Boom. &lt;/p&gt;&#xA;" OwnerUserId="11995" LastActivityDate="2015-11-03T22:28:31.067" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16806" PostTypeId="1" CreationDate="2015-11-04T04:58:36.873" Score="1" ViewCount="134" Body="&lt;p&gt;I've been becoming familiar with a lot of streaming protocols in the past few years, but now that I ask myself, I don't know what are the advantages of protocols such as HLS or HDS which chunk the stream compared to a direct-from-memory bytestream like HTTP octet-stream, RTMP or RTSP can do for example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would think that the I/O necessary to produce the fragments makes it less efficient and, for HLS, TCP already insures data reliability, so is it not redundant to use an MPEG Transport-Stream over TCP?&lt;/p&gt;&#xA;" OwnerUserId="11996" LastActivityDate="2016-01-03T18:01:42.863" Title="Advantage of HLS/HDS over direct bytestream" Tags="|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16807" PostTypeId="2" ParentId="15790" CreationDate="2015-11-04T07:11:06.150" Score="3" Body="&lt;h1&gt;Short Answer&lt;/h1&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Split your &lt;em&gt;Video&lt;/em&gt; track into separate &lt;em&gt;Events&lt;/em&gt;;&lt;/li&gt;&#xA;&lt;li&gt;Adjust the &lt;em&gt;Events&lt;/em&gt; individually by dragging them along the timeline &lt;em&gt;and&lt;/em&gt; stretching/expanding them;&lt;/li&gt;&#xA;&lt;li&gt;Overlap the adjacent &lt;em&gt;Events&lt;/em&gt; so that there were no gaps;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;Long Answer&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;I find one of the most valuable features of Sony Vegas its ability to split the original tracks into &lt;em&gt;Events&lt;/em&gt; and adjust them individually. As I wrote in &lt;a href=&quot;https://video.stackexchange.com/a/10713/2365&quot;&gt;another answer&lt;/a&gt;, playing with Track's &lt;em&gt;Velocity&lt;/em&gt; or &lt;em&gt;Velocity envelope&lt;/em&gt; appears to be inefficient.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, no plugin will detect the best moments in timeline for transitions. Doing this manually seems a bit boring at the first glance, but it will certainly give you the best result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/PE3uF.png&quot; alt=&quot;Vegas screenshot&quot;&gt;&lt;br&gt;&#xA;Full scale image &lt;a href=&quot;https://i.stack.imgur.com/PE3uF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note, this image shows splitting of a single track, but in your case it would be two &lt;em&gt;Grouped&lt;/em&gt; tracks, one is &lt;em&gt;Video&lt;/em&gt; and another one is &lt;em&gt;Audio&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's how I would align Audio and Video tracks to accomplish your goal:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Decide what &lt;em&gt;Tracks&lt;/em&gt; are to be adjusted. Since you probably have a high-quality &lt;em&gt;Audio&lt;/em&gt; and you worry about any distortions, &lt;strong&gt;let us assume your HQ &lt;em&gt;Audio&lt;/em&gt; remains intact&lt;/strong&gt;. Moreover, since the video is filmed in double framerate, there's no worry of possible artifacts appear after adjustments.&lt;/li&gt;&#xA;&lt;li&gt;So, place both Video and Audio tracks to the timeline.&lt;br&gt;&#xA;Note, if the Video track goes with some Audio, you will have &lt;strong&gt;three&lt;/strong&gt; tracks:&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Video&lt;/li&gt;&#xA;&lt;li&gt;Its accompanying Audio (to be discarded in the future)&lt;/li&gt;&#xA;&lt;li&gt;A high-quality Audio&lt;/li&gt;&#xA;&lt;/ol&gt;&lt;/li&gt;&#xA;&lt;li&gt;Make a temporary adjustment of &lt;em&gt;Audio&lt;/em&gt; volume so that you could hear &lt;em&gt;both&lt;/em&gt; Audio tracks. It can be 50% for each, or you may set them to left/right channel, depending on the nature of the audio. You will revert this at the end;&lt;/li&gt;&#xA;&lt;li&gt;Find the &lt;strong&gt;moments of any mismatches&lt;/strong&gt;. The best way to do is by finding drums or some other sharp sounds. Zooming &lt;em&gt;Tracks'&lt;/em&gt; height will also be helpful as it lets you see the audio peaks on the histogram;&lt;/li&gt;&#xA;&lt;li&gt;At each moment of mismatch, &lt;strong&gt;split&lt;/strong&gt; the &lt;em&gt;Video&lt;/em&gt; event (along with its accompanying sound since they are &lt;em&gt;Grouped&lt;/em&gt;); Don't do it straight on the peaks. ½ seconds earlier is a better idea.&lt;/li&gt;&#xA;&lt;li&gt;Shift the &lt;em&gt;Video&lt;/em&gt; to right or left so that it matched;&lt;br&gt;&#xA;Note, &lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;dragging&lt;/kbd&gt; ignores grid, markers, fade-in/fade-out marks, and all other time points that otherwise would cause &quot;sticking&quot;.&lt;/li&gt;&#xA;&lt;li&gt;Repeat for the rest of your composition;&lt;/li&gt;&#xA;&lt;li&gt;Now, on the Video track, drag the left/right edges of each &lt;em&gt;Event&lt;/em&gt; and &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;drag&lt;/kbd&gt; them to change the playback speed of individual &lt;em&gt;Events&lt;/em&gt;. Your final goal is to make the speed matched firmly.&lt;/li&gt;&#xA;&lt;li&gt;Manage the overlap of the &lt;em&gt;Events&lt;/em&gt;. Make sure you have standard &lt;em&gt;Fade&lt;/em&gt; as your &lt;em&gt;Transition Effect&lt;/em&gt;, not another fancy one. Make sure the &lt;em&gt;Transition&lt;/em&gt; is not longer than ¼ of second (at 60 FPS, it would be 15 frames), or otherwise you get video artifacts.&lt;/li&gt;&#xA;&lt;li&gt;After you complete, simply turn off the original low-quality &lt;em&gt;Audio&lt;/em&gt; track.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Also note that the split points are best when the picture movement is minimal. For instance, if you have a drum player, the best would be when his/her hands are in the lowest point of hitting the drums, not raised.&lt;/p&gt;&#xA;" OwnerUserId="2365" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-11-04T07:16:42.393" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16808" PostTypeId="2" ParentId="16795" CreationDate="2015-11-04T12:06:43.277" Score="2" Body="&lt;p&gt;I work as an editor in broadcast TV and use a wacom tablet every day. I gave up on the mouse due to the tension in my hands caused by repeated clicking in tiny boxes all day. We have old Intuos 3 tablets, they're big but effective. In my case I benefit from large sweeping gestures and clicking those little boxes with a simple poke of the stylus. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However the biggest drawback for mouse users is loosing the last pointer position. &#xA;When you let go of a mouse, the pointer stays where you left it, not so with a tablet. Another tip I tend to map the screen 'inside' the tablet so that I don't overshoot to much nor rest my wrist on the uncomfortable edge.&lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2015-11-04T12:06:43.277" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16809" PostTypeId="1" CreationDate="2015-11-04T13:16:00.580" Score="4" ViewCount="4700" Body="&lt;p&gt;I'm new to ffmpeg (video encoding in general).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have two videos one larger than the other. I want to rotate, resize and overlay the shorter video on the larger one at defined coordinates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far, I'm doing this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add alpha channel to both the videos: &lt;code&gt;ffmpeg -i demo.mov -vcodec qtrle -pix_fmt argb demo.mov&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Define fadein, fadeout, scale, overlay, perspective and rotation then output the video: &lt;code&gt;ffmpeg -y -i demo.mov -i demo2.mov -filter_complex  &quot;[1:v] fade=in:10:1:alpha=1, fade=out:500:1:alpha=1, scale=80:80, perspective=x0=0:y0=0:x1=W:y1=40, rotate=-0.1745:c=none [ov]; [0:v][ov] overlay=100:100 [v]&quot; -map &quot;[v]&quot; out.mov&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;In this process, I'm facing a few problems:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Am I adding alpha channels the right way?&lt;/li&gt;&#xA;&lt;li&gt;The final output has flickering background in the place where the rotated video has margins.&lt;/li&gt;&#xA;&lt;li&gt;The overlay remains a square. I do not want it to be square, but of the dimension specified by &lt;code&gt;perspective&lt;/code&gt; filter.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Some of the parameters in the above commands (such as &lt;code&gt;perspective&lt;/code&gt;,&lt;code&gt;fade&lt;/code&gt;) are arbitrary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To give a better perspective of what I'm trying to do: trying to add a video as though it was being played on a phone that is moving.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have asked about problems on IRC and got this far. I don't know how to proceed from here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the output: https://youtu.be/yd4UWq5NO5M&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be great.&lt;/p&gt;&#xA;" OwnerUserId="11998" LastActivityDate="2016-09-02T15:47:43.567" Title="ffmpeg: overlay rotated video with transparency" Tags="|video|ffmpeg|editing|codec|" AnswerCount="1" CommentCount="14" ContentLicense="CC BY-SA 3.0" />
  <row Id="16810" PostTypeId="1" AcceptedAnswerId="16812" CreationDate="2015-11-04T13:54:04.807" Score="1" ViewCount="325" Body="&lt;p&gt;I recently acquired a Sony FDR-AX100E.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Samsung 64 Pro+, SDXC I 10 U3&lt;/strong&gt; says:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Cannot record. Please use UHS-I U3 compatible memory ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Sandisk Extreme Pro SDHC-1 U3 10 32Gb&lt;/strong&gt; says:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;This memory card does not supoprt does not support recording ofXAVC S movies.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Lexar Professional SDXC I U1&lt;/strong&gt; says&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Cannot record. Please use UHS-I U3 compatible memory ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this latest is a U1 so this one makes sense. (I only recently discovered about U1 and U3.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The manual says that to record XAVC S I need&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Class 10 or faster, up to 64GB&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Which card am I supposed to use ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera has the latest firmware (3.00).&lt;/p&gt;&#xA;" OwnerUserId="10869" LastEditorUserId="10869" LastEditDate="2015-11-04T14:22:13.713" LastActivityDate="2015-11-04T15:28:36.970" Title="SD card for Sony FDR-AX100E 4K?" Tags="|camcorder|sd-card|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16811" PostTypeId="1" AcceptedAnswerId="16820" CreationDate="2015-11-04T13:56:37.170" Score="3" ViewCount="150" Body="&lt;p&gt;If some professional has a video, and they want to do a voiceover for it, how do they do it? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do they first remove unwanted clips from video and then record audio using audacity while seeing the video as it is running?&lt;/p&gt;&#xA;" OwnerUserId="11999" LastEditorUserId="1950" LastEditDate="2015-11-11T00:39:39.143" LastActivityDate="2015-11-11T00:39:39.143" Title="How do youtube professionals record audio for their video?" Tags="|video|video-editor|audio|vegas-pro|audio-recording|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16812" PostTypeId="2" ParentId="16810" CreationDate="2015-11-04T14:37:59.110" Score="0" Body="&lt;p&gt;Solution found regarding &lt;strong&gt;Sandisk Extreme Pro SDHC-1 U3 10&lt;/strong&gt;&#xA;The card was formatted to FAT32, I reformatted the card to exFat (unit size 128kb, though I am not sure at all about the impact of unit size, that's something I'll have to check) .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is really &quot;fun&quot; is that the camera itself can only format the card to FAT32 so I need to format it using a computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll keep this up to date.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update:&#xA;Even re-formatted:  &lt;strong&gt;Samsung 64 Pro+, SDXC I 10 U3&lt;/strong&gt; look like the camera won't recognize it as U3.&lt;/p&gt;&#xA;" OwnerUserId="10869" LastEditorUserId="10869" LastEditDate="2015-11-04T15:28:36.970" LastActivityDate="2015-11-04T15:28:36.970" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16813" PostTypeId="1" CreationDate="2015-11-04T14:53:37.840" Score="1" ViewCount="118" Body="&lt;p&gt;As the title says i am looking for a video editing/playing software for commercial snips, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I should be able to:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Add video files to a &quot;queue&quot;&lt;/li&gt;&#xA;&lt;li&gt;Play this &quot;queue&quot; in a loop&lt;/li&gt;&#xA;&lt;li&gt;Reorder video files while the &quot;queue&quot; is playing&lt;/li&gt;&#xA;&lt;li&gt;If possible, display images for a chosen duration&lt;/li&gt;&#xA;&lt;li&gt;If possible, be able to keep track of which video snips belong to a customer&lt;/li&gt;&#xA;&lt;li&gt;If possible, be able to keep track of how much a video clip is played during a period of time (total time) &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;This will be used to sell and play commercial snips on big screens/projectors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you recommend a suitable software that fulfills these requirements?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best regards&lt;/p&gt;&#xA;" OwnerUserId="12000" LastActivityDate="2018-12-23T04:31:58.847" Title="Looking for real time video streaming/editing software for commercial snips" Tags="|video-editor|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16814" PostTypeId="2" ParentId="16811" CreationDate="2015-11-04T15:02:51.413" Score="1" Body="&lt;p&gt;The process you are describing is called ADR (automated dialog replacement) or dubbing - after picture is locked, lines are recorded separately in a controlled environment and mixed to match the appropriate sonic perspective the required. If you were to adr all of the lines in a vid, you would also then add in a room tone/ambience to give it a soundbed to live in. If you are replacing a few lines that cannot be salvaged, you would then mix in to match the remaining lines and mix the adr'd lines within the ambience of that scene. Most hollywood and large productions are 75-85% ADR - shooting conditions/locations or props etc create a ton of sonic pollution, so most on location sound recordists do their best to capture what will be the reference track once the project goes to post production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a few common recording techniques - productions that go through the trouble of ADR are usually a higher production value than Audacity, most likely using ProTools or other industry standard DAWs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The two basic ways to record ADR would be to loop the video/original lines to be replaced in your recording program, so the talent can watch and deliver multiple takes to match the on screen performance. Another method, is to have the talent parrot their performance; you start recording, the actor hears the performance, and then just mimmics right after. I find the second easier because youre not asking someone to anticipate the video they want to match, they can just focus on trying to mimmic their own earlier performance - let the recording engineer focus on if the audio syncs with picture, let the actor focus on delivery.&lt;/p&gt;&#xA;" OwnerUserId="11993" LastActivityDate="2015-11-04T15:02:51.413" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16815" PostTypeId="2" ParentId="16806" CreationDate="2015-11-04T16:00:17.727" Score="1" Body="&lt;p&gt;CDNs. CDNs make delivering small static HTTP objects much cheeper due caching efficiency, supply and demand, and stateless servers (hence more viewers per server). Second is live video. HTTP does not really work well given a file of infinite length. Hence breaking the stream into segments to make the CDNs job easier.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2015-11-04T16:00:17.727" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="16816" PostTypeId="2" ParentId="12479" CreationDate="2015-11-05T04:18:49.203" Score="1" Body="&lt;p&gt;This seemed to work for me...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i &quot;video.mp4&quot; -vcodec copy -bsf:v hevc_mp4toannexb -f mpegts output_file.ts&lt;/p&gt;&#xA;" OwnerUserId="12003" LastActivityDate="2015-11-05T04:18:49.203" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16817" PostTypeId="1" AcceptedAnswerId="16826" CreationDate="2015-11-05T08:34:11.320" Score="3" ViewCount="4350" Body="&lt;p&gt;I was wondering about the difference between &lt;strong&gt;rgb and bgr pixel formats&lt;/strong&gt; available in many codecs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It reminds me in some way the Big Endian and Little Endian flavours of computer processors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I always guessed that the big / little endian was more a matter of patents rather than performance, why we have both rgb and bgr?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;It's still a matter of patents?  &lt;/li&gt;&#xA;&lt;li&gt;Have something to do with &lt;a href=&quot;https://en.wikipedia.org/wiki/BGR_%28subpixels%29&quot; rel=&quot;nofollow&quot;&gt;Subpixels Rendering&lt;/a&gt; ?  &lt;/li&gt;&#xA;&lt;li&gt;Why some codecs has alternate support of them like this huffyuv example here:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Encoder huffyuv [Huffyuv / HuffYUV]:&lt;br&gt;&#xA;  Threading capabilities: no&lt;br&gt;&#xA;  Supported pixel formats: yuv422p &lt;strong&gt;rgb24 bgra&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It has &lt;strong&gt;rgb24&lt;/strong&gt; but then not &lt;strong&gt;rgba&lt;/strong&gt; as I could expect. It jumps directly to &lt;strong&gt;bgra&lt;/strong&gt;!  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could be again a matter of patents that the codec author could not break ?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Please feed my curiosity with some extended explaination here if possible, i want to know something more about this various pixel formats!&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2015-11-06T07:14:03.767" Title="ffmpeg bgr vs rgb and other similiar pixel formats" Tags="|ffmpeg|codec|color|colorspace|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16818" PostTypeId="1" CreationDate="2015-11-05T11:24:53.237" Score="2" ViewCount="35" Body="&lt;p&gt;I have a really weird issue.&#xA;When I publish my YouTube video (1 hour long if that matters) I usually set a Custom thumbnail, which has a fixed amount of text on it, so it corresponds with the advertising guidelines of Facebook.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have ~16% text on the image. According to the Facebook GRID tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All my ads are rejected by Facebook, and the answers I got were, that I have too much text on the thumbnail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After messaging back-and-forth with the support team, they finally sent me a screenshot of the grid tool, and on their screenshot there's a totally different thumbnail that I'm using.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I prevent this from happening?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used facebook debug tool, to fetch new scrape information for the video.&lt;/p&gt;&#xA;" OwnerUserId="12005" LastActivityDate="2015-11-05T11:24:53.237" Title="Wrong YouTube thumbnail seen by Facebook Advertisement team" Tags="|youtube|thumbnails|" AnswerCount="0" CommentCount="0" ClosedDate="2015-11-21T12:18:43.340" ContentLicense="CC BY-SA 3.0" />
  <row Id="16819" PostTypeId="2" ParentId="15943" CreationDate="2015-11-05T11:32:27.783" Score="2" Body="&lt;p&gt;It could be overtightened, some cheap VCRs tend to brake badly when spooling, this can apply undue tension on the reel. You actually can dismantle a tape cassette (to fix twists etc.) and pull the spools out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As long as you don't mind loosing it altogether (which you have anyway). Remember to place all the little capstans (silver guides) and springs back in the same place later. You could probably gently loosen the stuck spool with your hand, Try to wear lint free gloves though as you don't want to apply skin oil to the tape. Be very careful not to damage the edges of th tape.&lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2015-11-05T11:32:27.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16820" PostTypeId="2" ParentId="16811" CreationDate="2015-11-05T11:38:14.350" Score="2" Body="&lt;p&gt;If you are referring to tutorials or commentary then yes, you would record the original performance (perhaps with computer sound), while thinking of your audience. When I record tutorials for software, I often perform the example while talking, then go back and edit it down to a reasonable length. I remove unwanted sound, then re-voice the finished edit from a script (doesn't have to be fully written, can be bullet points).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This way I can make mistakes in delivery and restart as many times as I like.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then i lay that recording back over the edited pictures. At this point I may find that I need to make the video longer to accommodate the new voice over. So there is a little bit of give and take. It is quite hard to manage picture lock without sound.&lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2015-11-05T11:38:14.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16821" PostTypeId="1" CreationDate="2015-11-05T12:50:54.333" Score="1" ViewCount="76" Body="&lt;p&gt;I am looking for a player that i can burn to a disk.&#xA;I used to have this facility when i used DVDit le but lost the serial number. I was able to write video files to disk along with a player - thus end user was guaranteed to be able to play disk.&#xA;Can anyone help ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Feargal&lt;/p&gt;&#xA;" OwnerUserId="12006" LastActivityDate="2016-10-02T18:11:01.477" Title="DVD authoring burning" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16822" PostTypeId="2" ParentId="16817" CreationDate="2015-11-05T18:03:47.950" Score="3" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;While I always guessed that the big / little endian was more a matter of patents rather than performance,&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Nope little endian was developed as a performance optimization whern moving to multi byte words. &lt;a href=&quot;https://en.wikipedia.org/wiki/Endianness#Optimization&quot; rel=&quot;nofollow&quot;&gt;https://en.wikipedia.org/wiki/Endianness#Optimization&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nothing to to with patents. Different representation have different advantages and disadvantage. Hence different situations may use different representations. Codecs suffer from network effect. Nobody wants to use your encoder if nobody uses your decoder. And vice-versa. So codec designers go for maximum compatibility, and often support several formats. But the usually don't support them all, because there are dozens. So they use a combination of the most common, and easiest to include into the design.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2015-11-05T18:03:47.950" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16823" PostTypeId="1" AcceptedAnswerId="16824" CreationDate="2015-11-05T22:18:24.520" Score="1" ViewCount="3581" Body="&lt;p&gt;I need to put an image before a video with FFMPEG. The image should not be instead of the video but before. The best is if I can choose a number of frames to show the image, instead of seconds. I'm going to run the command via PHP exec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried some commands but could not get them to properly work via exec or directly via CMD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So tips on how this could be achieved is appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How can I make the output an .mxf file? When I only change the extension of output file I get:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    Could not write header for output file #0 &amp;lt;incorrect code parameters ?&amp;gt;: Error number -1 occurred&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Command used:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    ffmpeg -r 30 -loop 1 -t 3 -i image.jpg -i video.mxf -f lavfi -t 3 -i aevalsrc=0 -filter_complex &quot;[0:v] [2:a] [1:v] [1:a] concat=n=2:v=1:a=1 [v] [a]&quot; -c:v libx264 -c:a aac -strict -2 -map &quot;[v]&quot; -map &quot;[a]&quot; out.mxf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;FFprobe output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    ffprobe version N-74751-gb54e03c Copyright (c) 2007-2015 the FFmpeg developers&#xA;  built with gcc 4.9.3 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 59.100 / 56. 59.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.100 /  5. 40.100&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;[mxf @ 000000000310b8a0] broken or empty index&#xA;Input #0, mxf, from 'C:/video.mxf':&#xA;  Metadata:&#xA;    uid             : 8206ba85-3954-2f4a-9d3c-c4e8d5ba793a&#xA;    generation_uid  : de90d87a-f4a7-944c-b6c1-368903cb7a3f&#xA;    company_name    : Rhozet&#xA;    product_name    : Carbon&#xA;    product_version : 1.00&#xA;    product_uid     : 060e2b34-0401-0101-0e00-000000000000&#xA;    modification_date: 2015-10-30 15:45:05&#xA;    material_package_umid: 0x060A2B340101010501010D33130000009BC9C7D36B3F43438EAECC12C87EB630&#xA;    timecode        : 00:00:00:00&#xA;  Duration: 00:00:42.04, start: 0.000000, bitrate: 36660 kb/s&#xA;    Stream #0:0: Video: mpeg2video (4:2:2), yuv422p(tv), 1920x1080 [SAR 1:1 DAR 16:9], 50000 kb/s, 29.97 fps, 29.97 tbr, 29.97 tbn, 59.94 tbc&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:1: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:2: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:3: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:4: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:5: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:6: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:7: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:8: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:9: Data: none&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;      data_type       : vbi_vanc_smpte_436M&#xA;Unsupported codec with id 0 for input stream 9&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12008" LastEditorUserId="12008" LastEditDate="2015-11-30T12:07:51.197" LastActivityDate="2015-11-30T12:07:51.197" Title="FFMPEG - Image before video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16824" PostTypeId="2" ParentId="16823" CreationDate="2015-11-06T06:14:04.907" Score="2" Body="&lt;p&gt;Use this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 25 -loop 1 -t 3 -i &quot;image&quot; -i &quot;video&quot; -f lavfi -t 3 -i aevalsrc=0 -filter_complex &quot;[0:v] [2:a] [1:v] [1:a] concat=n=2:v=1:a=1 [v] [a]&quot; -encoding_parameters -map &quot;[v]&quot; -map &quot;[a]&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Ideally set 'r' of image to frame rate of video. The 'r' will be the framerate of the output as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 't' before the image input and the dummy audio input should be the same and represents the image hold in seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The image should be the same resolution as the video. Else, scale (and pad) one or the other in the filter chain before the concat operation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;: Here's a commandline with some common encoding parameters set&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 25 -loop 1 -t 3 -i &quot;image&quot; -i &quot;video&quot; -f lavfi -t 3 -i aevalsrc=0 -filter_complex &quot;[0:v] [2:a] [1:v] [1:a] concat=n=2:v=1:a=1 [v] [a]&quot; -c:v libx264 -c:a aac -strict -2 -map &quot;[v]&quot; -map &quot;[a]&quot; output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-11-06T08:38:50.590" LastActivityDate="2015-11-06T08:38:50.590" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="16825" PostTypeId="2" ParentId="16742" CreationDate="2015-11-06T07:06:24.617" Score="1" Body="&lt;p&gt;The PNG image giving you trouble has pixel format PAL8, which is &quot;palettized RGB with PIX_FMT_RGB32 palette&quot; whereas the acceptable PNG has pixel format RGBA. Likely, Premiere doesn't know how to handle the alpha information in the former.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use ffmpeg to convert such PNGs to RGBA PNGs, like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.png -pix_fmt rgba output.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Download ffmpeg (32-bit static build) from &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you can use Paint.net to resave the PNG without changing the size.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-06T07:06:24.617" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16826" PostTypeId="2" ParentId="16817" CreationDate="2015-11-06T07:14:03.767" Score="3" Body="&lt;p&gt;The order of the components in RGB32 seems to do with &lt;a href=&quot;https://www.ffmpeg.org/doxygen/0.5/pixfmt_8h.html&quot; rel=&quot;nofollow&quot;&gt;endianness&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;PIX_FMT_RGB32 is handled in an endian-specific manner. An RGBA color&#xA;  is put together as: (A &amp;lt;&amp;lt; 24) | (R &amp;lt;&amp;lt; 16) | (G &amp;lt;&amp;lt; 8) | B This is&#xA;  stored as BGRA on little-endian CPU architectures and ARGB on&#xA;  big-endian CPUs.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The descriptions of the various related formats enumerated on that page provide more details.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-06T07:14:03.767" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16827" PostTypeId="1" CreationDate="2015-11-06T11:50:45.747" Score="1" ViewCount="936" Body="&lt;p&gt;Let's say I have a video and I want to put an explosion over it. I know how to do that, but how would I make the explosion move with the original video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original video does have natural camera shake.&lt;/p&gt;&#xA;" OwnerUserId="12009" LastEditorUserId="1871" LastEditDate="2015-11-18T07:18:55.007" LastActivityDate="2015-12-18T08:15:39.623" Title="How to make image move with video in FCPX" Tags="|final-cut-pro-x|motion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16828" PostTypeId="2" ParentId="16827" CreationDate="2015-11-06T12:47:03.760" Score="1" Body="&lt;p&gt;In FCPX, moving an image up-down or left-right is called &quot;Transform&quot;.  Here's &lt;a href=&quot;https://support.apple.com/kb/PH12604?locale=en_US&quot; rel=&quot;nofollow&quot;&gt;the page of documentation you need&lt;/a&gt;, along with instructions on how to access the Transform parameters.  Chances are you will need to keyframe every frame to keep the two consistent.  Chances are also that explosions don't last that long, so dropping 24-48 keyframes won't kill you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Programs such as &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve&quot; rel=&quot;nofollow&quot;&gt;DaVinci Resolve&lt;/a&gt; have a motion tracker that can generate the stabilization keyframes.  These keyframes can then be used either to suppress camera shake (probably not your intention--you want the intensity conveyed by a shaky camera) or impart the same shake to other frames, as &quot;Trackers&quot;.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-11-06T12:47:03.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16830" PostTypeId="1" CreationDate="2015-11-06T19:56:50.653" Score="1" ViewCount="728" Body="&lt;p&gt;I'm shooting on an FS700RH, the quality is fantastic when I preview it after putting it on my computer, but when I import it into Premiere, the quality just drops every time. I've tried multiple solutions, importing it different ways other than the Media Browser, changing the project settings and so on but I have no luck. The results are always the same. Horrible Jagged edges.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Footage before importing to Premiere:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xpmF0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xpmF0.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Footage after importing to Premiere:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/l2fD8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/l2fD8.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is also how it looks after exporting as well so it's not just a problem with the Source Monitor. Like importing I've tried many different export settings, all with the same result. I have no idea what to do in order to preserve the quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've spent the past 3 hours trying to find a solution online but have had no luck.&lt;/p&gt;&#xA;" OwnerUserId="10480" LastActivityDate="2016-02-04T22:27:43.947" Title="Premier Pro CS5 makes AVCHD footage jagged and bad" Tags="|premiere|video-quality|avchd|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16831" PostTypeId="2" ParentId="16830" CreationDate="2015-11-06T20:38:16.893" Score="1" Body="&lt;p&gt;Incase anyone comes across the same problem, here's the solution I used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you've imported the footage, right click on the clip, go to 'Modify' then 'Interpret Footage':&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/enVoc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/enVoc.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A window should pop up. Down the bottom, under 'Field Order' change the setting from 'Upper Field First' to 'Conform to: No Fields (Progressive Scan)'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/brsK7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/brsK7.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your footage should then adjust to it's original quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Upper Field First:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gEdbO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gEdbO.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No Fields (Progressive Scan):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VgOrO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VgOrO.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10480" LastActivityDate="2015-11-06T20:38:16.893" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16832" PostTypeId="1" AcceptedAnswerId="16837" CreationDate="2015-11-06T21:30:03.380" Score="2" ViewCount="636" Body="&lt;p&gt;I am working on a project for someone's video series about pain relief during child birth. During the whole scene, every shot takes place from &lt;a href=&quot;https://i.stack.imgur.com/KEzJl.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; perspective. There's a couple people walking through the stairs on the right and behind the window there. I understand that by use of 'rotoscoping' and 'masks' I should be able to cover up the background with a still image and allow the blonde woman in the foreground to walk over the still images, but I don't know where I'd start that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've already made &lt;a href=&quot;https://i.stack.imgur.com/x5fbD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; background layer in Photoshop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd really appreciate your help! :)&lt;/p&gt;&#xA;" OwnerUserId="12011" LastActivityDate="2015-11-09T17:15:08.887" Title="Remove unwanted person from background of a shot?" Tags="|after-effects|mask|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16833" PostTypeId="2" ParentId="16809" CreationDate="2015-11-07T10:03:06.423" Score="1" Body="&lt;p&gt;Breaking the process into two steps worked for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See my output using the commands below at &lt;a href=&quot;http://sendvid.com/g56xjz04&quot; rel=&quot;nofollow&quot;&gt;http://sendvid.com/g56xjz04&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The commands I used:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i &quot;video for overlay.mov&quot; -vf &quot;format=bgra, perspective=x0=0:y0=0:x1=W:y1=180, fade=in:10:1:alpha=1, fade=out:200:1:alpha=1, scale=-1:80, rotate=-0.1745:c=none:ow=rotw(-0.1745):oh=roth(-0.1745)&quot; -c:v qtrle overlay.mov&#xA;&#xA;ffmpeg -y -i &quot;base.mov&quot; -i &quot;overlay.mov&quot; -filter_complex &quot;[0:v][1:v] overlay=100:100:eof_action=pass [v]&quot; -map &quot;[v]&quot; final_out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I suspect that in the single command complex filterchain, there is some bug or nuance regarding the alpha channel operations that is generating a garbled alpha channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need a single command, I think your best way forward is to submit a &lt;a href=&quot;https://ffmpeg.org/bugreports.html&quot; rel=&quot;nofollow&quot;&gt;bug report&lt;/a&gt; to the ffmpeg team, including the commands and output of both the single command and two-step process.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-11-07T10:20:13.020" LastActivityDate="2015-11-07T10:20:13.020" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="16835" PostTypeId="2" ParentId="16821" CreationDate="2015-11-07T13:05:01.403" Score="1" Body="&lt;p&gt;There are a number of free, open-source, video players, but VLC springs to mind as one of the best for being cross-platform. You could freely include versions for Windows, Mac, Linux, iOs, Android, as well as OSes you've never heard of like QNX Sylable, OS2, Solaris and three flavours of BSD.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-11-07T13:05:01.403" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16836" PostTypeId="1" AcceptedAnswerId="16838" CreationDate="2015-11-07T13:19:56.603" Score="5" ViewCount="1610" Body="&lt;p&gt;I want to create something like Apples Mac Pro product page &lt;a href=&quot;http://www.apple.com/de/mac-pro/&quot; rel=&quot;nofollow&quot;&gt;http://www.apple.com/de/mac-pro/&lt;/a&gt; where html5 video playback is being controlled via javascript (by manually setting the currentTime attribute of the video). It works perfectly when I use their video but not at all with my own videos. How can I convert my videos so that they play back nicely?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using ffmpeg I tried everything I could think of like&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;removing the audio track&lt;/li&gt;&#xA;&lt;li&gt;decreasing the videos dimensions&lt;/li&gt;&#xA;&lt;li&gt;decreasing the framerate&lt;/li&gt;&#xA;&lt;li&gt;setting the framerate to 30fps (like in apples video)&lt;/li&gt;&#xA;&lt;li&gt;converting their video to jpgs and create a video from those frames (i thought maybe the color-spectrum made a difference (mainly black))&lt;/li&gt;&#xA;&lt;li&gt;different options for quality (-crf [18-30] -preset [veryslow-veryfast])&lt;/li&gt;&#xA;&lt;li&gt;decreasing the length of the video (apple’s video is 47s long)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I also tried some different options of handbrake but nothing helped.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://movies.apple.com/media/us/mac-pro/2013/16C1b6b5-1d91-4fef-891e-ff2fc1c1bb58/videos/macpro_main_desktop.mp4&quot; rel=&quot;nofollow&quot;&gt;http://movies.apple.com/media/us/mac-pro/2013/16C1b6b5-1d91-4fef-891e-ff2fc1c1bb58/videos/macpro_main_desktop.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i macpro_main_desktop.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;shows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'macpro_main_desktop.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 1&#xA;    compatible_brands: mp42mp41&#xA;    creation_time   : 2013-10-16 22:55:31&#xA;  Duration: 00:00:47.03, start: 0.000000, bitrate: d kb/s&#xA;    Stream #0:0(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, bt709), 1120x840, 2797 kb/s, 30 fps, 30 tbr, 30 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2013-10-16 22:55:31&#xA;      handler_name    : Apple Video Media Handler&#xA;    Stream #0:1(eng): Data: none (rtp  / 0x20707472), 139 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2013-10-16 22:55:31&#xA;      handler_name    : hint media handler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;here is an example of the videos I encoded via ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'video-720-main-30fps.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf56.15.102&#xA;  Duration: 00:05:00.49, start: 0.033333, bitrate: 420 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 284 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12015" LastEditorUserId="12015" LastEditDate="2015-11-07T18:36:18.747" LastActivityDate="2017-04-28T00:10:58.260" Title="Encode video for html5 and javascript controlled playback" Tags="|video|encoding|webvideos|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="16837" PostTypeId="2" ParentId="16832" CreationDate="2015-11-07T16:12:03.727" Score="1" Body="&lt;p&gt;If the camera's static, then it's totally doable. Start by making a clean plate image of the whole area, as I think you have done. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Put that on a layer above (on top of) your original footage. Whenever the problem people wander in to shot, cover them up by putting a masked area of your clean plate over them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you mentioned, sometimes this means the desirable foreground subjects get covered up by the clean plate. But there is a solution to this, (even though it is time consuming):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Duplicate your original footage, and put the duplicated track on top of your clean plate, so it's the uppermost layer. Whenever you have some &quot;desirable foreground&quot; subject overlapping your clean plate, animate a masked area of it on top of the plate. Use lots of feathering and careful key framing, and you should be able to get an acceptable result.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a (non-video) tutorial showing how to remove an unwanted object:&#xA;&lt;a href=&quot;http://www.surfacedstudio.com/blog/after-effects-how-to-remove-an-object&quot; rel=&quot;nofollow&quot;&gt;http://www.surfacedstudio.com/blog/after-effects-how-to-remove-an-object&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the excellent video copilot series, showing how to animate a mask:&#xA;&lt;a href=&quot;http://www.videocopilot.net/basic/tutorials/04.Keying/&quot; rel=&quot;nofollow&quot;&gt;http://www.videocopilot.net/basic/tutorials/04.Keying/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Neither show the idea of putting another foreground track over the top, but should get you along the way...&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2015-11-09T17:15:08.887" LastActivityDate="2015-11-09T17:15:08.887" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16838" PostTypeId="2" ParentId="16836" CreationDate="2015-11-07T17:50:41.873" Score="1" Body="&lt;p&gt;The Apple video uses a profile with fewer reference frames and also carries a streaming hint track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The following ffmpeg command template should create a quick seeking MP4 file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c:v libx264 -profile:v baseline -x264opts keyint=3:min-keyint=2 -{other video encoding parameters} -{audio encoding parameters} -movflags +faststart+rtphint output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Given the profile and GOP sizes set, compression effiency won't be great.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-07T17:50:41.873" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="16839" PostTypeId="1" CreationDate="2015-11-07T20:31:55.253" Score="1" ViewCount="475" Body="&lt;p&gt;So I have a flash video that I tried converting to MPEG4 (H.264) in Adobe Premiere. I simply copied the .flv clip and the created a new sequence by dragging the clip to the new item icon:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BdqDu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BdqDu.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I this gave me a new Sequence with Sequence settings that matched the clip:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/fezZN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fezZN.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then go to Export where I want to maintain the aspect ratio of the clip, no black bars on the top, right, bottom or left. If I check &quot;Match Sequence Settings&quot; I cannot change the format, no surprises there:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TP4V7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TP4V7.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I tried to do a custom H.264 and I unlink the Frame Width and Height, and a Pixel Aspect Ratio of square pixels but this gives me black bars on top and bottom (letterboxing) of the final Export, no surprises there:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/V3UVD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/V3UVD.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I am amateur hour, I tried a free online flash to mpeg4 converter&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://video.online-convert.com/convert-to-mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://video.online-convert.com/convert-to-mp4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This actually gave me the full screen mpeg4 with no letterboxing and you can see it in action here in Chrome, Firefox and Safari here (Press play button towards bottom center):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://beta2.cmykpress.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://beta2.cmykpress.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The thing is, I think the &lt;a href=&quot;http://video.online-convert.com/convert-to-mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;free online converter tool&lt;/a&gt; gave me some kind of messed up video because Chrome browser is making 3 requests for this video to download while it only makes one request for my Adobe Premiere video converted mpeg4 which you can see here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://beta2.cmykpress.com/Home/DifferentMpeg4&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://beta2.cmykpress.com/Home/DifferentMpeg4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the mpeg4 converted using the online converter seems to be causing bugs in Chrome HTML video player over time so I want to try and figure out how to covert my flash to mpeg4, maintaining the aspect ratio, full screen video with no letterboxing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Like you see here: &lt;a href=&quot;http://beta2.cmykpress.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://beta2.cmykpress.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My Adobe Premiere export results so far are what you see here: &lt;a href=&quot;http://beta2.cmykpress.com/Home/DifferentMpeg4&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://beta2.cmykpress.com/Home/DifferentMpeg4&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12016" LastEditorUserId="12016" LastEditDate="2015-11-07T20:37:19.953" LastActivityDate="2015-11-17T16:28:20.917" Title="Adobe Premiere CS5 match sequence settings but change codec" Tags="|video|premiere|aspect|formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16840" PostTypeId="1" AcceptedAnswerId="16842" CreationDate="2015-11-07T21:36:01.627" Score="13" ViewCount="16618" Body="&lt;p&gt;I want to tag video as explicitly bt.601, rather than &quot;unspecified&quot;.  I know players typically choose bt.601 as the default for videos less than 1280 pixels wide, but I want to make it explicit that bt.601 is the correct colour matrix for a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The sticking point is that there is no &lt;code&gt;bt601&lt;/code&gt; option for ffmpeg or libx264, only bt709 and some others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have some videos that were downscaled from HD, and are still in bt.709, but aren't tagged properly.  So when I watch a video, I sometimes have to &lt;a href=&quot;https://github.com/mpv-player/mpv/issues/1804#issuecomment-92411790&quot; rel=&quot;noreferrer&quot;&gt;manually toggle my player to bt.709&lt;/a&gt;.  Tagging explicitly as bt.601 will communicate to future viewers (e.g. myself) that it's definitely bt.601, and not a mis-tagged bt.709 video, when I look at it with &lt;code&gt;mediainfo&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another use-case for this would be if you upscaled a bt.601 video to 1280 or higher without doing a colormatrix conversion (using &lt;code&gt;-vf colormatrix&lt;/code&gt;), players would incorrectly assume bt.709 if you left the color information unspecified.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFMpeg's &lt;code&gt;colormatrix&lt;/code&gt; video filter does support &lt;code&gt;bt601&lt;/code&gt; as an input or output color matrix, but doesn't also set tags.  (Since it doesn't have the side-effect of setting ffmpeg's color options, it refuses to even operate with src and dest the same, like &lt;code&gt;-vf colormatrix=bt601:bt601&lt;/code&gt;.)&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpg in  -color_primaries bt709 -color_trc bt709 -colorspace bt709  out&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;will tag the output video as using bt.709 for yuv&amp;lt;-&gt;rgb.  The tags end up inside the video bitstream itself, not just in the container (since this is seems to be a codec-specific thing, not a container thing, for mp4 and mkv containers at least).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;e.g. &lt;code&gt;mediainfo&lt;/code&gt; output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Complete name             : out.mkv&#xA;...&#xA;Writing application                      : Lavf57.14.100&#xA;Writing library                          : Lavf57.14.100&#xA;&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;...&#xA;Writing library                          : x264 core 148 r2638+4 afcf21c&#xA;Encoding settings                        : cabac=1 / ref=8 / ...&#xA;Language                                 : English&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.709&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;So bt.709 is easy to tag.  The problem is, I don't see bt.601 anywhere.  Is one of other names an alias for it, or is there really no way to specify it explicitly?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x264 --fullhelp output:&#xA;&#xA;  --colorprim &amp;lt;string&amp;gt;    Specify color primaries [&quot;undef&quot;]&#xA;                              - undef, bt709, bt470m, bt470bg, smpte170m,&#xA;                                smpte240m, film, bt2020&#xA;  --transfer &amp;lt;string&amp;gt;     Specify transfer characteristics [&quot;undef&quot;]&#xA;                              - undef, bt709, bt470m, bt470bg, smpte170m,&#xA;                                smpte240m, linear, log100, log316,&#xA;                                iec61966-2-4, bt1361e, iec61966-2-1,&#xA;                                bt2020-10, bt2020-12&#xA;  --colormatrix &amp;lt;string&amp;gt;  Specify color matrix setting [&quot;???&quot;]&#xA;                              - undef, bt709, fcc, bt470bg, smpte170m,&#xA;                                smpte240m, GBR, YCgCo, bt2020nc, bt2020c&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -h full&lt;/code&gt;  shows the same set of options for its color options, which ffmpeg's &lt;code&gt;-c:v libx264&lt;/code&gt; video codec passes on to x264.  Is any of these an alias for bt.601, or have a numerically equivalent colour matrix?&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="1871" LastEditDate="2015-11-08T08:31:12.143" LastActivityDate="2019-05-10T10:29:09.653" Title="ffmpeg: explicitly tag h.264 as bt.601, rather than leaving unspecified?" Tags="|ffmpeg|h.264|colorspace|metadata|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16842" PostTypeId="2" ParentId="16840" CreationDate="2015-11-08T05:36:43.623" Score="17" Body="&lt;p&gt;PAL and NTSC have different color primaries, so &lt;/p&gt;&#xA;&#xA;&lt;p&gt;NTSC = SMPTE 170M = BT 601 525&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PAL = BT 470 BG = BT 601 625&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See the rows for value 5 &amp;amp; 6 on the table on page 387 of the active H.264 &lt;a href=&quot;http://www.itu.int/rec/T-REC-H.264-201402-I/en&quot; rel=&quot;noreferrer&quot;&gt;standard&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;So the right args for ffmpeg are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;NTSC:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# NTSC&#xA;ffmpeg -i input  \&#xA; -colorspace smpte170m -color_primaries smpte170m -color_trc smpte170m&#xA;&#xA;mediainfo:&#xA;Color primaries                          : BT.601 NTSC&#xA;Transfer characteristics                 : BT.601&#xA;Matrix coefficients                      : BT.601&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;PAL:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-color_trc&lt;/code&gt; doesn't accept &lt;code&gt;bt470bg&lt;/code&gt;, but &lt;code&gt;ffmpeg -h full&lt;/code&gt; shows that &lt;code&gt;gamma28&lt;/code&gt; means &quot;BT.470 BG&quot; for that option.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# PAL&#xA;ffmpeg -i input  \&#xA; -colorspace bt470bg -color_primaries bt470bg -color_trc gamma28&#xA;&#xA;mediainfo:&#xA;Color primaries                          : BT.601 PAL&#xA;Transfer characteristics                 : BT.470 System B, BT.470 System G&#xA;Matrix coefficients                      : BT.601&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-colorspace&lt;/code&gt; is the most important option; the others don't make a visible difference for software players like &lt;code&gt;mpv&lt;/code&gt; on Linux.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="9105" LastEditDate="2019-05-10T10:29:09.653" LastActivityDate="2019-05-10T10:29:09.653" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="16843" PostTypeId="1" CreationDate="2015-11-08T08:50:10.470" Score="2" ViewCount="53" Body="&lt;p&gt;I am looking for a fairly cheap set-up (budget: ~C$200) to do the following: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;videotape the set of notes that I am writing; &lt;/li&gt;&#xA;&lt;li&gt;record my speech as I explain what I am writing. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;An example of what I am trying to achieve is &lt;a href=&quot;https://www.youtube.com/watch?v=68wWFt3IbvY&amp;amp;ab_channel=TaylorDupuy%27sMathVlog&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;. Any kind of pointer would help as I have no idea about how I should go about this. &lt;/p&gt;&#xA;" OwnerUserId="12018" LastActivityDate="2015-11-08T16:35:58.100" Title="Recording me write my notes and my speech at my desk" Tags="|video-recording|camcorder|microphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16844" PostTypeId="2" ParentId="16843" CreationDate="2015-11-08T16:35:58.100" Score="3" Body="&lt;p&gt;First, you need a smartphone, such as iPhone or Android.  Then you need something to hold it over your notes, such as &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B00UTD4XV0&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt;.  Then you need diffuse lighting at or above the level of your smartphone, one illuminating the left side of your notes, the other the right side of your notes.  If your lighting is very diffuse, then shadows should not be a problem as you write from one side of the page to another.  These &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B0023QRKFW&quot; rel=&quot;nofollow&quot;&gt;work lights&lt;/a&gt; might do the trick.  You'll have to figure out how you want to suspend them, however.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, you need video editing software that lets you trim your video so your beginnings and endings are crisp and where you want them to be.  You can download a free version of DaVinci Resolve that works on Mac and Windows platforms and can output FullHD (but not UHD) video.  You can use the microphone built into your phone.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-11-08T16:35:58.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16845" PostTypeId="1" AcceptedAnswerId="16846" CreationDate="2015-11-08T16:58:02.703" Score="2" ViewCount="1426" Body="&lt;p&gt;So, I made a small movie. I added track with text, and then I added another track with text. Then the second track never showed up. I see it in the timeline, but I do not see it in the preview.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is an unkown light blue arrow pointing to a place on the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is this, and how do I resolve this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QUv32.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QUv32.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another Screenshot&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xe4up.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xe4up.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11984" LastEditorUserId="11984" LastEditDate="2015-11-08T17:10:02.637" LastActivityDate="2015-11-08T17:38:22.407" Title="Sony Vegas Media Generators not appearing" Tags="|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16846" PostTypeId="2" ParentId="16845" CreationDate="2015-11-08T17:03:51.090" Score="2" Body="&lt;p&gt;The track containing the &quot;hidden&quot; text appears to be muted in the screenshot. Unmute it. It's the icon in the track controls of a round circle with the diagonal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Background&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two ways for a track to be muted. First is by enabling the mute switch of that track. This can be undone by clicking the mute switch again. Other is by soloing another track. To solo a track is to show only that track and mute all others. In such a case, the mute switches on the mute tracks won't be enabled but the solo switch on the soloed track will be. All of the other tracks' visibility state &quot;pre-soloing&quot; can be restored by clicking on the activated Solo switch. An additional tip here is that a track muted via solo can be unmuted by clicking &lt;strong&gt;&lt;em&gt;its&lt;/em&gt;&lt;/strong&gt; solo switch. This is useful if one wishes to temporarily unmute another track.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-11-08T17:38:22.407" LastActivityDate="2015-11-08T17:38:22.407" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16847" PostTypeId="1" CreationDate="2015-11-09T08:12:08.867" Score="0" ViewCount="836" Body="&lt;p&gt;I have Sony Vegas Pro 13.0 and have been using it for a while now without any issues. I have been working on a video project and rendered several drafts so far, all without any issues. I finished my final edit and followed some tips i found online to play with my project properties and played around with different render templates. However, when I finally rendered my video, the result was just the audio of the file with a small picture of the first frame of my video as the only visual. I have tried everything I can think of, including re installing SV. I am in need of a quick answer. Please help.&lt;/p&gt;&#xA;" OwnerUserId="12027" LastEditorUserId="12027" LastEditDate="2015-11-09T08:27:28.063" LastActivityDate="2015-11-09T08:44:23.210" Title="Sony Vegas rendering only audio plus first frame of project" Tags="|vegas-pro|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="16849" PostTypeId="1" CreationDate="2015-11-09T16:19:15.723" Score="1" ViewCount="237" Body="&lt;p&gt;I am sort of blown away how I cannot even manage to achieve realtime preview in a &lt;strong&gt;tiny&lt;/strong&gt; preview window size, at draft on auto. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The source footage is only 1080p. I have already tried Google search tips and tricks. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also tried enabling GPU acceleration of video processing, and reducing size of RAM reserved for Dynamic RAM Preview. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a fairly decent system, with a quad-core i5, 12GB Ram, and a GTX 560 Ti (1GB VRAM, 384 cores). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yet, I still cannot get lag-free preview on DRAFT - QUARTER with a preview box of approx. 1-inch tall. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere Pro CS6 doesn't seem to have any issues with the footage playback.  &lt;/p&gt;&#xA;" OwnerUserId="12028" LastActivityDate="2015-11-09T16:19:15.723" Title="Achieving real time preview in Sony Vegas Pro 11?" Tags="|playback|preview|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16851" PostTypeId="2" ParentId="15748" CreationDate="2015-11-09T22:03:27.297" Score="2" Body="&lt;p&gt;In the Photos app (not FCPX), go to Preferences, then click &quot;Use as System Photo Library&quot;. Then FCPX will be able to find the library file.&lt;/p&gt;&#xA;" OwnerUserId="11035" LastActivityDate="2015-11-09T22:03:27.297" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16853" PostTypeId="2" ParentId="16469" CreationDate="2015-11-10T05:08:49.557" Score="2" Body="&lt;p&gt;You can loop over the range of frames from the start of the comp to the present and calculate the value along the way.&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;function myFuncf(theTime){&#xA; //whatever the function you're using to create the value, e.g.&#xA; t=theTime + s.valueAtTime(theTime); //s is the slider&#xA; return t&#xA;}&#xA;&#xA;firstFrame = timeToFrames(inPoint); //if you want it to calculate&#xA;                                    //from the beginning of the comp&#xA;                                    //change this to 0, or maybe 1?&#xA;                                    //I'd check but I'm rendering ATM&#xA;&#xA;mytime=0; //initialise the mytime variable&#xA;&#xA;currentFrame = timeToFrames(time);&#xA;for (int i=firstFrame; i &amp;lt;= currentFrame; i++){&#xA;  mytime += myFunc(framesToTime(i)); //need to convert frames back into seconds&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;after the loop myTime should be the sum of the results of function myFunc from all the previous frames up to and including the present one (I'm not 100% sure if the loop should end when &lt;code&gt;i &amp;lt; cf&lt;/code&gt; or &lt;code&gt;i &amp;lt;= cf&lt;/code&gt;, you might want to test).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;note&lt;/strong&gt; first time I posted this there was a mistake. Where I called the function I was giving it frames (from &lt;code&gt;i&lt;/code&gt; the loop variable), but it uses &lt;code&gt;valueAtTime&lt;/code&gt; which expects time in seconds, so you need to convert: &lt;code&gt;mytime += myFunc(framesToTime(i));&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a long comp or this is applied to lots of layers, this expression may become slow to evaluate and cause lagginess. If it becomes a problem convert the expression to keyframes.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-03-31T00:35:10.437" LastActivityDate="2017-03-31T00:35:10.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16855" PostTypeId="1" CreationDate="2015-11-10T12:28:08.293" Score="1" ViewCount="2821" Body="&lt;p&gt;I try to convert a mpeg2 video to mov with codec ac3 but when put ffmpeg -i 1.mpg 1.mov the audio don't convert.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;¿Anyone know why? &lt;/p&gt;&#xA;" OwnerDisplayName="user12041" LastEditorDisplayName="user12041" LastEditDate="2015-11-13T13:44:41.423" LastActivityDate="2015-11-13T13:44:41.423" Title="ffmpeg command to convert mpeg2 with ac3 audio codec to audible H264/ ProResHQ?" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="16856" PostTypeId="2" ParentId="16351" CreationDate="2015-11-10T15:32:56.013" Score="0" Body="&lt;p&gt;Given that the frame rate is extremely high, I'm assuming you want to slow it down later?  Nothing you ever watch on TV or in the Cinema is played back at that speed - the most you'd ever need is 50fps playback.  Usually 25fps in Europe, or 29.97 / 30 fps in the US.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You don't say what COD4 is - I'm assuming it's Call of Duty - the computer game?  Your video card probably runs at a max of 60fps, so 2000fps is probably massively high.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either way, I would try converting the individual frames into image files first, &lt;a href=&quot;http://www.virtualdub.org/blog/pivot/entry.php?id=34&quot; rel=&quot;nofollow&quot;&gt;using VirtualDub&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then once you have them as an image sequence, you can import them into AE at any playback frame rate you want.  (I suspect you might want to throw away some unnecessary frames).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-11-10T15:32:56.013" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16859" PostTypeId="1" AcceptedAnswerId="16888" CreationDate="2015-11-11T09:11:29.853" Score="2" ViewCount="955" Body="&lt;p&gt;I have a project that I've edited in Davinci Resolve 12 where I want to add a logo in the beginning. However, Resolve won't import either PDF, SVG or EPS format, so I created a high resolution PNG of the logo instead. Even though the PNG file looks fine on its own when looking at it, when bringing it into Resolve, it gets very pixely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a backup solution, I tried importing the original PDF into Final Cut Pro X instead and exporting a MOV file that I could bring into Resolve. However, the logo got pixely when exporting it from FCPX as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I'm at a bit of a loss here. How could I properly work with vector files so that the result looks smooth?&lt;/p&gt;&#xA;" OwnerUserId="1236" LastActivityDate="2016-09-22T07:46:53.490" Title="Properly working with vector files" Tags="|final-cut-pro-x|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16860" PostTypeId="1" CreationDate="2015-11-11T09:55:08.297" Score="2" ViewCount="19441" Body="&lt;p&gt;In Adobe Premiere Pro CC 2015 I want to select 20 or more clips to drop on the timeline at once (in this case they are audio clips).  However I would like to have a configurable space or gap between each clip on the timeline (say a 5 second space between each clip) rather than having them be one right after the other.  How can I do this?&lt;/p&gt;&#xA;" OwnerUserId="6543" LastActivityDate="2019-02-11T18:59:34.433" Title="How can I insert a space between several clips in Premiere?" Tags="|premiere|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16861" PostTypeId="2" ParentId="16860" CreationDate="2015-11-11T10:13:15.177" Score="2" Body="&lt;p&gt;I believe I figured out a workaround to do this (based on the idea of using the speed duration from &lt;a href=&quot;https://forums.creativecow.net/thread/3/906798&quot; rel=&quot;nofollow&quot;&gt;putting a gap between each clip&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Drag and drop all 20+ clips on to the timeline to add them.&lt;/li&gt;&#xA;&lt;li&gt;Select on the clips and copy them onto a new audio track&lt;/li&gt;&#xA;&lt;li&gt;Select all the new clips you just copied and right click and choose &lt;code&gt;Speed/Duration&lt;/code&gt;.  Choose a setting like 50% and check &lt;code&gt;Ripple Edit, Shifting Trailing Clips&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Delete the clips on the new track you just copied and time stretched, leaving you with just the original clips.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The original clips should now be spaced out.  Obviously could be problematic if you have lots of other stuff on your timeline but you could lock those tracks.&lt;/p&gt;&#xA;" OwnerUserId="6543" LastActivityDate="2015-11-11T10:13:15.177" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16862" PostTypeId="2" ParentId="16855" CreationDate="2015-11-11T11:23:13.243" Score="2" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mpg -c:v libx264 -c:a ac3 -b:a 192k 1.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;in order to convert to a MOV file containing H.264 video and AC3 audio. I've used 192kb/s as bitrate for the audio and the H.264 encoding will use the defaults of CRF 23 and preset 'medium'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To convert only video, and strip out audio, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mpg -c:v libx264 -an 1.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-11T11:23:13.243" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="16865" PostTypeId="1" AcceptedAnswerId="16957" CreationDate="2015-11-11T17:03:15.737" Score="3" ViewCount="1569" Body="&lt;p&gt;I video record my university lectures using an iPhone 6 and then export them to OS X. The files can often become up to 4 GB/hour in size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking to create or use a pre-existing solution that can do the following for my video files:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Amplify the audio&lt;/li&gt;&#xA;&lt;li&gt;Normalize or level the audio&lt;/li&gt;&#xA;&lt;li&gt;Audio click removal (optional)&lt;/li&gt;&#xA;&lt;li&gt;Compress video to save disk space&lt;/li&gt;&#xA;&lt;li&gt;Do the above by running a script or shell command (for batches of files if possible)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm assuming that FFmpeg can be helpful for running existing scripts, or creating a new one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How should I go about to meet these objectives?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also looked at other alternatives like Handbrake but didn't find that it can do the audio adjustments adequately – let me know if I'm wrong.&lt;/p&gt;&#xA;" OwnerUserId="12052" LastEditorUserId="12052" LastEditDate="2015-11-21T11:49:36.580" LastActivityDate="2016-04-02T15:07:05.383" Title="FFmpeg script to clean up and compress iPhone video recordings from university lectures" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16866" PostTypeId="1" CreationDate="2015-11-11T17:16:06.747" Score="2" ViewCount="56" Body="&lt;p&gt;I need to split fulldome video stream to several projectors for planetarium. I wrote hlsl (and glsl) shader which does exactly what I need and has some configurable parameters. It works in MPC:HC that comes with K-Lite codec pack. But MPC doesn't have API for plugins as I know so I can't make an interface for configuring the shader or splitting the video for several video outputs. So I'm looking for software that can help me with this. &#xA;I need two things: &#xA;1) Apply configurable effect to video (cut and unwrap a sector for chosen projector)&#xA;2) Show results in separate windows or transmit directly to projectors.&lt;/p&gt;&#xA;" OwnerUserId="12053" LastActivityDate="2015-11-11T17:16:06.747" Title="Realtime fulldome video splitting" Tags="|video|streaming|effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16867" PostTypeId="1" CreationDate="2015-11-11T19:20:02.533" Score="2" ViewCount="1268" Body="&lt;p&gt;Can you help me to figure out what's going on here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to capture in realtime my screen and save it losslessy via ffv1 codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nzXQM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nzXQM.png&quot; alt=&quot;ffmpeg encoding ffv1 errors on console&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CPU usage while recording is not so much, as comparison h264 in ultrafast profile takes lot more cpu than ffv1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the command I'm using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -y -i video=&quot;screen-capture-recorder&quot; -framerate 30 -c:v ffv1 -pix_fmt bgra -t 5 capture.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried also adding the tuning and rtbufsize but nothing changes :\&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -y -i video=&quot;screen-capture-recorder&quot; -framerate 30 -c:v ffv1 -pix_fmt bgra -t 5 -tune zerolatency -rtbufsize 2100M capture.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any suggestions? :)&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2015-11-11T19:31:51.823" Title="ffv1 realtime capture throws out a lot of frame dropped messages!" Tags="|ffmpeg|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16868" PostTypeId="2" ParentId="16867" CreationDate="2015-11-11T19:31:51.823" Score="3" Body="&lt;p&gt;I get the same result with your commands, however if I skip the pixel format conversion and use the input pixel format 'bgr0', then except for an initial frame drop, I get no further drops. Note that tune is a x264 parameter - it has no relevance for FFV1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And if I use gdigrab (my preferred grabbing device), I get no frame drops at all, even with bgra:-&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -f gdigrab -i desktop -framerate 30 -c:v ffv1 -pix_fmt bgra -t 5 capture.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-11T19:31:51.823" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="16869" PostTypeId="1" CreationDate="2015-11-12T08:37:35.217" Score="4" ViewCount="96" Body="&lt;p&gt;I have a Timelapse question. We recorded about 22 minutes of a woman and boy lying on the ground around sunset to show the passing of time from day to night. We would like the shot in the film to be closer to 10-30 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think the editor may have just changed the speed settings. Anyway, the problem is that the woman's blinking and the child's breathing both look very exaggerated now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to fix this in After Effects or Premiere? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="6810" LastActivityDate="2015-11-13T08:17:59.480" Title="Timelapse - Exaggerated blinking" Tags="|time-lapse|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16870" PostTypeId="2" ParentId="16869" CreationDate="2015-11-12T09:27:39.317" Score="0" Body="&lt;p&gt;I can think of three ways. First one is for if you're feeling lucky; the second one will require manual sifting, and the third is a different approach.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Method 1&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Increasing speed in editor usually means undersampling the footage i.e. showing every &lt;em&gt;n&lt;/em&gt;th frame. So, try trimming the in-point of the original unspeeded footage by a few frames, say, half a second's worth and then apply the speed change. That should offset the undersampling selection by those many frames. You may get lucky and retain fewer 'blinking' frames in the final result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Method 2&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Increase the speed of the original footage to create a result of around 2 minutes. Let's say your final output is supposed to be 20 seconds. You now have to trim 5 out of 6 frames. So, scan the result, split the footage every 6 frames and keep 1 in each segment, deleting the rest. This will be time-consuming, but should work as last resort.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Method 3&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This might not create a smooth timelapse but could be acceptable. Select 20 one-second segments at around equal intervals from the original unspeeded footage. Join them together and extend the clips at the joins by 4 or 5 frames (on both sides) to create a 8-10 frame dissolve. Since the segments are curated, you can avoid all blinking. The chief issue here would be subjects' motion across segments. You'll have smooth motion within a segment but could have a 'jerky' change during a dissolve. So potential for a weird visual rhythm.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-12T09:27:39.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16871" PostTypeId="2" ParentId="16869" CreationDate="2015-11-12T10:18:51.117" Score="3" Body="&lt;p&gt;Import the footage into After Effects. Bring it into a comp and change the speed of the layer either with the speed control for the layer or with time remapping. Make sure the layer has &lt;strong&gt;Frame Blending&lt;/strong&gt; turned on, and that it's on for your final render. Frame blending will blend all of the frames that make up a single frame, so if 20 minutes makes 10 seconds that's… er… 120 frames of original footage to make one frame of timelapse. This should mean that any quick motion in the original footage will blur away, and it should get rid of your blinks and breathing. If that's not enough you might want to try either the &lt;strong&gt;Time Warp&lt;/strong&gt; at 100% speed with a long shutter time or even &lt;strong&gt;wide time&lt;/strong&gt; effects to ad extra 'temporal blurring' to the footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that you'll have to render out the clips rather than using Dynamic Linking, because Premiere won't do the frame blends like AE does. Expect very slow renders.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2015-11-12T10:25:38.130" LastActivityDate="2015-11-12T10:25:38.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16872" PostTypeId="2" ParentId="16860" CreationDate="2015-11-12T10:29:59.013" Score="1" Body="&lt;p&gt;You could generate 5 seconds of silence and do an insert edit between each one. It's pretty easy with the keyboard shortcuts - in the timeline window &lt;kbd&gt;↓&lt;/kbd&gt;&lt;kbd&gt;,&lt;/kbd&gt;, &lt;kbd&gt;↓&lt;/kbd&gt;&lt;kbd&gt;,&lt;/kbd&gt;, &lt;kbd&gt;↓&lt;/kbd&gt;&lt;kbd&gt;,&lt;/kbd&gt; and so on&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-05-20T00:05:00.173" LastActivityDate="2017-05-20T00:05:00.173" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="16873" PostTypeId="1" AcceptedAnswerId="16876" CreationDate="2015-11-12T15:58:13.660" Score="2" ViewCount="203" Body="&lt;p&gt;I'm new to After Effects and am trying to stabilize some VERY shaky hyperlapse video of a waterfall. The warp stabilizer with the default options fails. I've been trying to use the Tracking window to set points that shouldn't move but I don't understand how it works well enough to do it. If someone could explain the general idea to me or point me to a tutorial on the subject I would appreciate it.&#xA;Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:&#xA;Here's the unstabilized video that I'm working with: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/iypu4JoVNhk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="5607" LastEditorUserId="5607" LastEditDate="2015-11-17T15:55:41.743" LastActivityDate="2015-11-17T16:20:00.530" Title="How can I stabilize very shaky video in After Effects?" Tags="|after-effects|stabilisation|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16874" PostTypeId="2" ParentId="16599" CreationDate="2015-11-13T03:42:43.850" Score="0" Body="&lt;p&gt;Technically, you &lt;em&gt;could&lt;/em&gt; map a network drive from whatever server you're talking about to your local machine, and then use something like a blackmagic h264 prorecorder to live encode a file to that folder. It'll be a completed mp4 when you press stop, and ready to view instantly. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But that's the easy part... What will your website look like? How will it function? Will you have automated routines to make them private for review then public after review? Will people have to login to review? There's a million questions on the website front end that are very difficult to engineer. That's why people have suggested to use other services that are very mature and have cost billions to put together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Getting the video to the server in real time is super easy, it's the rest that's hard.&lt;/p&gt;&#xA;" OwnerUserId="11722" LastActivityDate="2015-11-13T03:42:43.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16876" PostTypeId="2" ParentId="16873" CreationDate="2015-11-13T07:22:11.803" Score="1" Body="&lt;p&gt;Another possibility is to stabilise it by hand, frame by frame. I've done this before on wobbly walking time lapses, and the results are usually better than just using a warp stabiliser. In order to do it, you need a point of reference in your shot, that you can line up to a pair of horizontal and vertical rulers in each frame. Takes ages, but it's worth it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without seeing your footage, it's hard to show, but I'll give an example:&#xA;We did this on the timelapses in this programme:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/52539719&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/52539719&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take the first shot.  The camera was moving between every frame, but the peak of the roof does not move, and is in every shot.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We decide whereabouts in the shot we want the peak to be in the first frame.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We place one horizontal &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/modifying-using-views.html#safe_zones_grids_guides_and_rulers&quot; rel=&quot;nofollow noreferrer&quot;&gt;guide&lt;/a&gt; and one vertical guide in the comp, so that they cross over at the centre of the peak.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We scale the original footage up slightly, so that any repositioning of the frame doesn't result in black edges to your shot.   It's best to shoot in a higher resolution than your final output resolution.  Our shots were on a Canon 5D, full frames, so much higher than the final 1920x1080 HD output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Set a &lt;a href=&quot;https://helpx.adobe.com/after-effects/how-to/aftereffects-add-adjust-keyframes-cc.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;position keyframe&lt;/a&gt;, then go to frame two. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The roof will have moved in the frame, because the camera is wobbly.&#xA;Reposition the frame, so that the roof is in the middle of your two guides again.&#xA;Make sure a new position key frame has been set.&#xA;Keep going, frame by frame, with lots of coffee and music playing :) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;update: Looking at your footage, I'd probably use the right edge of the waterfall, as it's fairly central in the shot... But I don't think you've got enough frames to ever make a nice smooth timelapse, even if you slow it down with some frame/motion interpolation afterwards...&#xA;&lt;a href=&quot;https://i.stack.imgur.com/8faos.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8faos.jpg&quot; alt=&quot;screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2015-11-17T16:20:00.530" LastActivityDate="2015-11-17T16:20:00.530" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16877" PostTypeId="2" ParentId="16869" CreationDate="2015-11-13T08:17:59.480" Score="1" Body="&lt;p&gt;Another possibility, depending on the shot / lighting:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make two comps- one is your time lapse, and one is your two subjects playing in real time, not time lapsed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mask (and feather) around the subjects, so the surrounding is moving quickly, but they are breathing and blinking in normal time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Slightly crazier idea:&#xA;Track the parts of your subjects that look weird, then replace only those parts with realtime playback masks- ie the eyes and the chest?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-11-13T08:17:59.480" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16879" PostTypeId="1" AcceptedAnswerId="16881" CreationDate="2015-11-13T16:53:32.413" Score="4" ViewCount="1141" Body="&lt;p&gt;Is there an app that can Cut, crop, and resize video in 1 encode like imagemagick for video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking for something that accepts a command like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;videoapp cut 0:20 0:40 crop 4:3 resize 240 320&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Outputs as h.264 mp4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a mac with the mac video apps and can get any app that's recommended. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="1795" LastActivityDate="2015-11-13T20:28:15.703" Title="Is there an app that can Cut, crop, and resize video in 1 encode like imagemagick for video?" Tags="|final-cut-pro-x|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16880" PostTypeId="2" ParentId="16879" CreationDate="2015-11-13T18:07:20.417" Score="1" Body="&lt;p&gt;Apple compressor can do all of this in the GUI.  If you need to use the command line, I think you'll find the relevant information &lt;a href=&quot;http://help.apple.com/compressor/mac/4.0/en/compressor/usermanual/index.html#chapter=C%26section=1%26tasks=true&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-11-13T18:07:20.417" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16881" PostTypeId="2" ParentId="16879" CreationDate="2015-11-13T18:51:33.863" Score="6" Body="&lt;p&gt;ffmpeg will do it. You can either compile it from source, available &lt;a href=&quot;https://ffmpeg.org/download.html&quot;&gt;here&lt;/a&gt;. Or more likely, download a precompiled binary for Macs from &lt;a href=&quot;http://ffmpegmac.net/&quot;&gt;here&lt;/a&gt;. I don't use Macs so I can't vouch for the binary source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will have to use the trim, crop and scale filters in a filterchain to accomplish what you want. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The actual corresponding command for your pseudo command would be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf &quot;trim=20:40, setpts=PTS-STARTPTS, crop=&quot;'if(gte(a*sar,4/3),4*ih/3*sar,iw)':'if(gte(a*sar,4/3),ih,3*iw*sar/4)'&quot;, scale=320x240, setsar=1&quot; -c:v libx264 -an output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can find the (terse) explanation for all the parameters at the ffmpeg &lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html&quot;&gt;documentation&lt;/a&gt; site, but here's a quick run-through, in order:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;-i input&lt;/strong&gt; - Specify the input file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;-vf&lt;/strong&gt; - this indicates a video filter follows, or a chain of them (separated by commas). If there are multiple filters specified in sequence, then each filter in a chain works on the output generated by the previous filter in the chain. The first filter works, of course, on the original input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;trim=20:40&lt;/strong&gt; - trims the video by retaining from the 21st to the 40th second&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;setpts=PTS-STARTPTS&lt;/strong&gt; - video is a sequence of images displayed in time, so the frames of a video stream have timestamps associated with them for playback purposes. PTS is &lt;strong&gt;p&lt;/strong&gt;resentation &lt;strong&gt;t&lt;/strong&gt;ime&lt;strong&gt;s&lt;/strong&gt;tamp. This clause generates new timestamps for the trimmed video stream so that the first frame of the trimmed stream has PTS of 0 (seconds) and all subsequent frames are accordingly offset as well (I've simplified a bit here).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;crop=&quot;'if(gte(a*sar,4/3),4*ih/3*sar,iw)':'if(gte(a*sar,4/3),ih,3*iw*sar/4)'&quot;&lt;/strong&gt; - in short, this crops the input video to 4:3, but based on the input video's effective display ratio, so that the cropped image doesn't contain any blank padding. Video can contain &quot;non-square&quot; pixels so that a 100x100 image with pixel aspect (SAR) 2.5 will effectively display as 250x100 and SAR 0.5 will display as 50x100. My expression evaluates the effective input ratio and sets the output crop window accordingly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;scale=320x240&lt;/strong&gt; - scale to the stated resolution&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;setsar=1&lt;/strong&gt; - the crop and scale filters effectively produced a square pixel output, so the SAR metadata should be set as 1 to overwrite the original SAR so that players don't distort the image during playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;-c:v libx264&lt;/strong&gt; - this says, use x264 to encode the video stream. There are many parameters that can be specified in addition , but by itself, it will use the default settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;-an&lt;/strong&gt; - leave audio out of the output. If you want to leave the corresponding audio in. replace this by&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-af &quot;atrim=20:40, asetpts=PTS-STARTPTS&quot; -c:a aac -strict -2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-11-13T19:04:39.527" LastActivityDate="2015-11-13T19:04:39.527" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="16882" PostTypeId="2" ParentId="16879" CreationDate="2015-11-13T20:28:15.703" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://avisynth.nl/index.php/Main_Page&quot; rel=&quot;nofollow&quot;&gt;Avisynth&lt;/a&gt; is a powerful frameserver for Windows with which you can write small scriptlets that dictate how you want to manipulate your video. You can do simple transforms such as scaling, cropping, adding borders, resizing, resampling, deinterlacing, etc. If you are comfortable with writing code then it can be very powerful, but there is a bit of a learning curve in getting to know how to use it. As far as I know there is no GUI for it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also a port to Linux OSes called &lt;a href=&quot;https://github.com/avxsynth/avxsynth/wiki&quot; rel=&quot;nofollow&quot;&gt;avxsynth&lt;/a&gt;, which I haven't used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It processes the frames all at once and then you feed the output of the synth to a compressor such as xvideo or ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="3986" LastActivityDate="2015-11-13T20:28:15.703" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16883" PostTypeId="1" CreationDate="2015-11-14T04:15:49.787" Score="6" ViewCount="821" Body="&lt;p&gt;So I have a trailer I've been working on, I did everything in Davinci Resolve 12. When I convert the video using Handbrake everything looks fine, but when I upload it to YouTube, either there's a ton more contrast, or gray is being remaped to black, not sure, but the photos below should show what I'm talking about.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've done quite a bit of research, and the closest I've come is there might be something wrong with the way YouTube treats color spaces in conjunction with how I converted it. Any ideas? Thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt; Just finished uploading a version I converted with MPEG Streamclip, and the color looks great, though it was washed out on my PC. It came out as a ~200MB file for just a few seconds at 100% though, so not fun to upload. Looked just as crisp with Handbrake at ~27MB. Any way to take the color/brightness stuff from Streamclip and use it with Handbrake?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;YouTube:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/i3CeT.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/i3CeT.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;VLC on my PC:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/cunUU.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cunUU.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10754" LastEditorUserId="10754" LastEditDate="2015-11-14T04:22:43.960" LastActivityDate="2015-11-14T05:48:16.280" Title="Brightness/Contrast Difference from PC to YouTube" Tags="|youtube|davinci-resolve|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16884" PostTypeId="1" AcceptedAnswerId="16886" CreationDate="2015-11-14T05:17:23.063" Score="0" ViewCount="860" Body="&lt;p&gt;I'm trying to get ffmpeg to output separate audio and video files in 1 command.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the 2 commands I have:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 04:53 -i ./07.mkv -t 3 -c:v libx264 -crf 18 -filter:v &quot;setpts=PTS-STARTPTS, crop=960:720, scale=480:360&quot; -an -sws_flags lanczos -fflags +genpts 07-alexFlex.mp4&#xA;ffmpeg -ss 04:53 -i ./07.mkv -t 3 07-alexFlex.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there a way to get it in 1 command? Ideally both the audio and video files would share the same name automatically without me changing it twice in both commands. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="1795" LastActivityDate="2015-11-14T05:35:38.747" Title="ffmpeg audio video separate files 1 command" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16886" PostTypeId="2" ParentId="16884" CreationDate="2015-11-14T05:35:38.747" Score="1" Body="&lt;p&gt;Daisychain the commands, so&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 04:53 -i ./07.mkv -t 3 -c:v libx264 -crf 18 -filter:v &quot;setpts=PTS-STARTPTS, crop=960:720, scale=480:360&quot; -an -sws_flags lanczos -fflags +genpts 07-alexFlex.mp4 -ss 04:53 -i ./07.mkv -t 3 07-alexFlex.mp3 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-14T05:35:38.747" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16887" PostTypeId="2" ParentId="16883" CreationDate="2015-11-14T05:48:16.280" Score="3" Body="&lt;p&gt;Looks like Handbrake is outputting full range but flagging it as video levels, so the Handbrake output actually has Y=0 as black and Y=255 as white but the flag is telling Youtube that Y=16 is black and Y=235 is white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you upload a short segment (3-5s) of both your Handbrake input and output, that can be confirmed.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-14T05:48:16.280" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16888" PostTypeId="2" ParentId="16859" CreationDate="2015-11-14T11:21:20.877" Score="4" Body="&lt;p&gt;Ok, so I solved it myself, and it wasn't pretty.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To be able to work with my vector file in Davinci Resolve 12 (and in Final Cut Pro X without loosing any detail), I first had to convert it into a font. Yes, you read that correctly. I had to create a font where I assigned my logo to a specific character and then use the font in my editing program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More specifically, to achieve this, I used the excellent &lt;a href=&quot;https://icomoon.io/app/#/select&quot; rel=&quot;nofollow noreferrer&quot;&gt;Icomoon web app&lt;/a&gt; where I could import my vector image, assign it to a character code (in my case, I used &quot;30&quot;, which stands for numeric zero in standard &lt;a href=&quot;https://en.wikipedia.org/wiki/UTF-8&quot; rel=&quot;nofollow noreferrer&quot;&gt;UTF-8&lt;/a&gt; encoding).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/s6DID.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s6DID.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I simply downloaded my font, installed it on the system as any other custom font, and accessed it as a text object in Davinci Resolve 12.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JjwGg.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JjwGg.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What a time to be alive!&lt;/p&gt;&#xA;" OwnerUserId="1236" LastEditorUserId="1236" LastEditDate="2016-09-22T07:46:53.490" LastActivityDate="2016-09-22T07:46:53.490" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16889" PostTypeId="2" ParentId="16658" CreationDate="2015-11-14T13:47:21.177" Score="1" Body="&lt;p&gt;Something like that is solved with &quot;Rotoscoping&quot;. After Effects has several features that make this process easier. F.e. the &quot;Roto Brush&quot;, you can find a tutorial about that here:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/IHz_UvZ5_8g?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/roto-brush-refine-matte.html&quot; rel=&quot;nofollow&quot;&gt;https://helpx.adobe.com/after-effects/using/roto-brush-refine-matte.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you will have to track the translation and rotation of the sign as its carried around. When you have that you can add a layer that follows the movement of the sign that holds your new content.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2015-11-14T13:47:21.177" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16890" PostTypeId="1" AcceptedAnswerId="16922" CreationDate="2015-11-14T17:11:56.767" Score="0" ViewCount="1109" Body="&lt;p&gt;My caravan was recently broken into. The good news is I have a surveillance camera installed and I captured and recorded the breakin. The bad news is the footage is so underexposed that it is almost black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anyway I can lighten the footage in Premiere Pro? Is premiere pro even the best software for that? I am not after high quality stuff, just lighten and cleanup enough to be able to identify the suspect. I have tried adding a brightness and contrast filter to the footage, and I can see he goes right up to the camera, but there is just not enough detail to even tell if he is male or female.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="12068" LastActivityDate="2015-11-17T17:40:19.230" Title="possible to lighten almost black video?" Tags="|premiere|after-effects|adobe|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16891" PostTypeId="2" ParentId="7148" CreationDate="2015-11-14T18:42:52.173" Score="0" Body="&lt;p&gt;You can dump the RTMP stream to a local file using rtmpdump for example (&lt;a href=&quot;http://rtmpdump.mplayerhq.hu/&quot; rel=&quot;nofollow&quot;&gt;http://rtmpdump.mplayerhq.hu/&lt;/a&gt;), which is the library (but you can download it precompiled as well) that originally cracked the encryption on RTMP, which is a proprietary Adobe protocol.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you can use any other software, like ffmpeg, to output the file to SDI &lt;em&gt;WHILE&lt;/em&gt; rtmpdump is still dumping the stream to the file in question.&lt;/p&gt;&#xA;" OwnerUserId="11996" LastActivityDate="2015-11-14T18:42:52.173" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16893" PostTypeId="2" ParentId="16369" CreationDate="2015-11-14T19:07:55.183" Score="2" Body="&lt;p&gt;1) It depends mainly on the streaming protocol. For HLS and HDS for example, yes because the player will usually download a number of segments before starting playback, and the download time is proportional to the size of each segment of course. For RTMP for example, the buffer is custom-set by the server which means it will theoretically depend on what the server has chosen for every bandwidth. E.g., it may chose a 0KB buffer for all streams, in which case there will be no difference in buffering time. In more realistic cases, however, I expect the server would set buffers to each stream according to its bitrate, which brings us back to what happens with HLS or HDS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that the difference in buffering time really depends on your own bandwidth. If you have 50Mbps internet speed, you won't feel any difference whatsoever since it would be the difference between downloading ~3MB of data vs ~2MB/~1MB of data. Of course if the server is setup improperly and has high latency, then your speed means very little and you &lt;em&gt;will&lt;/em&gt; feel a difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) No because as far as the client is concerned, a livestream is basically the same as a prerecorded stream (apart from the fact the server &lt;em&gt;may&lt;/em&gt; let you download the stream faster than you can see what you download, aka faster than real-time).&lt;/p&gt;&#xA;" OwnerUserId="11996" LastActivityDate="2015-11-14T19:07:55.183" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16894" PostTypeId="2" ParentId="7148" CreationDate="2015-11-14T23:00:54.090" Score="0" Body="&lt;p&gt;I have succesfully used Wirecast software in the past to bring in two RTMP sources and switch between them for live streaming an event from two different venues across the country. It worked wonderfully. You could then use a cheap BlackMagic device to get that out of your pc into an SDI feed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wirecast sources: &lt;a href=&quot;http://www.telestream.net/wirecast/devices.htm#ip&quot; rel=&quot;nofollow&quot;&gt;http://www.telestream.net/wirecast/devices.htm#ip&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11722" LastEditorUserId="11722" LastEditDate="2015-11-14T23:08:22.187" LastActivityDate="2015-11-14T23:08:22.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16895" PostTypeId="1" AcceptedAnswerId="16898" CreationDate="2015-11-15T00:42:39.690" Score="7" ViewCount="12105" Body="&lt;p&gt;I livestream video game tournaments. The videos I record have two audio tracks. The first track is a low-volume game sound, combined with commentary audio. The second track is just the normalized volume game sound.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I upload this video to YouTube, what is going to happen? Will YouTube combine both audio tracks into a single track? Will it throw out track 2?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone done this before?&lt;/p&gt;&#xA;" OwnerUserId="12072" LastActivityDate="2021-10-19T00:48:28.030" Title="What happens when I upload a multi-audio video to YouTube?" Tags="|youtube|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16896" PostTypeId="1" AcceptedAnswerId="16935" CreationDate="2015-11-15T01:17:39.763" Score="4" ViewCount="2527" Body="&lt;p&gt;For the bit I read YouTube and Vimeo rely on servers powered by some modified libs i guess like libavcodec and tools like ffmpeg in a serious custom build.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's assume a transcode to h264 but the same could be applied to other codecs, I think VP8 and VP9 works in the same way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I upload 1h video file on their servers, right after the upload i have all the versions ready... pratically like 1 seconds after.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, if codecs doesn't scale horizontally in a good way unless you want to trade time vs compression (see h264) and I'm pretty sure this websites care about the size of the videos..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given also that single threads speed are capped by CPU frequency and actual frequency isn't up to 3.5 ghz generally unless they use overclocked servers under liquid nitrogen :D&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How the transcode is done so fast?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They use still multithread with a mix of settings, trading on initial file size, custom builds and everything else to have just the files insta-ready to the user and then continue a second transcode with a slow preset that will be swapped as soon this file will be ready? They start to transcode as soon they receive the file stream (aka: during the upload ?)&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2016-04-01T04:10:00.110" Title="How is possible for YouTube and Vimeo transcode so fast?" Tags="|ffmpeg|youtube|transcoding|libav|vimeo|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16897" PostTypeId="2" ParentId="9517" CreationDate="2015-11-15T02:23:17.010" Score="0" Body="&lt;ol&gt;&#xA;&lt;li&gt;Import the file into the project media box,&lt;/li&gt;&#xA;&lt;li&gt;I right click the video and go to orientation&lt;/li&gt;&#xA;&lt;li&gt;change it to 0 (original)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Should render without any problems. &lt;/p&gt;&#xA;" OwnerUserId="2716" LastActivityDate="2015-11-15T02:23:17.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16898" PostTypeId="2" ParentId="16895" CreationDate="2015-11-15T05:25:45.060" Score="4" Body="&lt;p&gt;Youtube will encode the primary or default audio stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtube doesn't support multiple audio &lt;a href=&quot;https://productforums.google.com/forum/?hl=en#!topic/youtube/OtzjKBksQAo;context-place=topicsearchin/youtube/multiple$20audio&quot; rel=&quot;nofollow&quot;&gt;streams&lt;/a&gt;. Neither does &lt;a href=&quot;https://vimeo.com/forums/topic:107372&quot; rel=&quot;nofollow&quot;&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although, apparently, some videos like the 2012 Olympic streams did have it. Special handling by Youtube, I'm sure.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-15T05:25:45.060" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16899" PostTypeId="1" CreationDate="2015-11-15T05:43:49.393" Score="2" ViewCount="4346" Body="&lt;p&gt;I was curious how I can find the dimensions of a shape layer. The reason I need to know is because I need to scale a shape layer, but I want it to scale from the left, not from the middle. I know how to do that part, all I have to do is divide the length of the shape layer in half, and add that keyframe the position. However, the problem is that I can't actually find out how to get the dimensions. If someone could help, that would be great. Thank you :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: I found this solution that supposedly works &lt;a href=&quot;https://video.stackexchange.com/questions/13095/layer-dimensions-in-after-effects&quot;&gt;here&lt;/a&gt;. But I don't actually know how to insert that expression, If someone could either find a different solution or tell me how to insert that one, it would be so helpful.&lt;/p&gt;&#xA;" OwnerUserId="12074" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2018-01-01T21:46:19.853" Title="How to find dimensions of a shape layer" Tags="|after-effects|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16900" PostTypeId="2" ParentId="16899" CreationDate="2015-11-15T06:35:27.967" Score="2" Body="&lt;p&gt;Assuming an irregular shape, here's a manual method to do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Create a solid layer of any color, stacked above the shape layer. Change its opacity to around 30%, enough to see the shape layer underneath. Unlink the scale controllers (X and Y) so that they can be scaled independently. Move and rescale the solid so that it can serve as a bounding box for the shape layer. Your original solid size should have been the same as your comp size, so the dimensions of your shape layer are&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Shape width = Composition width * 'X' scale % of solid layer&#xA;Shape height = Composition height * 'Y' scale % of solid layer&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Of course, this is a crude method for one-time polling. There's probably an expression for dynamically updated values if the shape is animated.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-15T06:35:27.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16901" PostTypeId="1" AcceptedAnswerId="16902" CreationDate="2015-11-15T13:21:40.570" Score="6" ViewCount="1645" Body="&lt;p&gt;I captured a short video on my Android phone in portrait mode (i.e. to be viewed vertically).  When I played it on Windows 7 using WMP (or VLC), it displayed incorrectly in landscape orientation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thinking that I had to rotate it, I transferred the video to a Windows 10 laptop to process in After Effects.  To my surprise, I found out that it plays in the correct portrait mode on Windows 10 (using whatever is the default player that comes with Windows 10), and also plays correctly when imported into After Effects, requiring no rotation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What determines how a video is oriented during playback?&lt;/p&gt;&#xA;" OwnerUserId="10481" LastActivityDate="2015-11-15T13:55:32.067" Title="What determines video orientation (landscape or portrait) during playback?" Tags="|after-effects|playback|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16902" PostTypeId="2" ParentId="16901" CreationDate="2015-11-15T13:55:32.067" Score="10" Body="&lt;p&gt;If the video is meant to be played in a different orientation than its stored representation, then a rotation flag is set in the stream metadata. A compliant player uses that tag and rotates the video during playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A tool like &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;noreferrer&quot;&gt;Mediainfo&lt;/a&gt; will display that data (if specified) like here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vJDI8.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vJDI8.jpg&quot; alt=&quot;Mediainfo rotate tag&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A tool like ffmpeg can reset the tag. Of course, you'll also want to rotate the video stream as currently stored so it plays in the correct orientation after the tag has been reset. ffmpeg's transpose filter can do that.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-15T13:55:32.067" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16903" PostTypeId="1" CreationDate="2015-11-15T15:43:01.787" Score="6" ViewCount="20413" Body="&lt;p&gt;I am making a simple travel map, like the one in the Indiana Jones movies. I followed this tutorial:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/aoNWHOSwb0c?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;   (German)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I want to save it as a video (render it), the video file is 5GB huge. However the length of the movie is only about 1min. I tried to reduce the resolution to a quarter, then the file is still 700MB large, but with very bad quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I use a different program to do this task?&lt;/p&gt;&#xA;" OwnerUserId="12078" LastEditorUserId="3561" LastEditDate="2015-11-20T21:15:04.843" LastActivityDate="2016-07-15T13:16:25.527" Title="Reduce render file size in After Effects" Tags="|after-effects|codec|compression|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="16904" PostTypeId="1" CreationDate="2015-11-15T17:19:13.760" Score="1" ViewCount="281" Body="&lt;p&gt;I have seen in many videos where I see a cursor blinking and then something(maybe the name of a person) is typed out in the video producing an effect of the thing being instantaneously typed out.How do I create this effect?I use Videopad Video Editor and MS PowerPoint.Is it possible to do this using these softwares?If not,please suggest some alternatives.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See this video at 2:18 sec for example-&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/aEr6K1bwIVs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks a lot in advance. &lt;/p&gt;&#xA;" OwnerUserId="12079" LastEditorUserId="12079" LastEditDate="2015-11-16T13:09:54.957" LastActivityDate="2015-11-16T13:46:11.827" Title="How do I create this effect of instantaneous typing in a video?" Tags="|effects|visual-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16905" PostTypeId="1" CreationDate="2015-11-15T21:12:25.350" Score="1" ViewCount="1820" Body="&lt;p&gt;I filmed my short video in 60p, yes not 60i. I set the project in Vegas Pro 11 to 30 frame per second, but the only thing that seemed to get rid of scan line was to change the project to 30 frames per second interlaced (lower field first).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, Now Vegas will not allow me to render to match the project settings. It simply returns an error that prevented it from starting the render. Is Vegas capable of rendering in a format differing from the source media? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Software: Vegas pro 11.0 (up to date)&#xA;Hardware/OS: Windows 7 and NVIDIA GTX 560 Ti (both up to date).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="12028" LastActivityDate="2015-11-15T21:24:41.747" Title="Does Vegas allow for rendering in frame rate different than source frame rate?" Tags="|vegas-pro|framerate|windows|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16906" PostTypeId="2" ParentId="16905" CreationDate="2015-11-15T21:24:41.747" Score="1" Body="&lt;p&gt;Yes, it does allow rendering in a format different from source media. Vegas works well with projects containing mixed media formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More likely, this may be an interpretation problem. In the Project Media window, right-click on the input video and select Properties (at the bottom). Check that the field order is set to Progressive (since your footage is 60p). Same for your project, and render settings.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-15T21:24:41.747" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16907" PostTypeId="1" CreationDate="2015-11-15T22:18:11.130" Score="0" ViewCount="48" Body="&lt;p&gt;I have video of a stage with a bright screen behind it, and I thought it would be neat if I could (easily-enough) punch in another image on the screen.  And not just a small section of it, but fill it out with a &quot;projected&quot; image that I'll animate using keyframe movement and zooming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pTlhj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pTlhj.jpg&quot; alt=&quot;still from video&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use the Luma Matte in Premiere, especially doing it before the Color Correction effect, it can find the bright screen pretty well.  However, unlike the Chroma Key effect, the Luma Key effect doesn't seem to have anything for shifting the edge or feathering, so it leaves a white line around the figures (and it doesn't handle everything well, really).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The un-corrected footage is a bit dark with the screen being very bright; I not only raised the shadows but I knocked back the brightest whites on a curve adjustment.  So using the un-corrected version it should be easy to make a matte from that, but the Luma Matte effect they included is just too lame and does not produce a clean image even though it can identify the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eWSTT.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eWSTT.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I thought about using AE for this, but I don't know how to use it and it's not simple.  The rotobrush has trouble with the white medallion at the head of the pipa and the gap that shows through the recurved neck of the instrument, and causes far more complications in the Premiere project in general. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I'm wondering if there is a (free) add-on effect that does a better job of this and/or has more command over it, or a stand-alone tool to generate a traveling matte file, or some techniques and tips to make what comes with Premiere work out better.&lt;/p&gt;&#xA;" OwnerUserId="9268" LastActivityDate="2015-11-16T00:57:27.207" Title="Generate travelleng matte from a nearly-white bright background?" Tags="|premiere|chromakey|cc-2015|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16908" PostTypeId="2" ParentId="16907" CreationDate="2015-11-16T00:57:27.207" Score="2" Body="&lt;p&gt;The problem that you're going to have with this is that the colour of the screen is too similar to colours in the foreground. If you look at the levels on the highlighted part of the drummer's face they're very similar to the levels on the edges of the screen, and a similar colour, same for the drum skins and the pattern on his shirt. I had a go in AE with no success using keylight, colour range key and even extract, but nothing works. So a clean matte is going to involve lots of work rotoscoping.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing you might get away with, depending on your background content is to put it below the original layer, and set the original layer's transfer mode to darken. If your background layer is darker than the foreground it will show through, so as long as it's darker than the screen but lighter than the performers it will composite ok. You might help things along with some masks on the performer's faces and the other light areas, and you may get a bit of blending, but it might be good enough, without spending years roto-ing.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-11-16T00:57:27.207" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16910" PostTypeId="1" CreationDate="2015-11-16T09:24:17.747" Score="2" ViewCount="1092" Body="&lt;p&gt;Is there a way to copy the recent frame to clipboard to paste it in any other program?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know there is an &lt;a href=&quot;http://www.videocopilot.net/blog/2010/11/copy-to-clipboard-plug-in-for-ae/&quot; rel=&quot;nofollow&quot;&gt;exporting script from Video Copilot&lt;/a&gt; but somehow it doesn't seem to work with my version of After Effects (CC).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I get the following error message after starting AE:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;After Effects Error: Couldn't find main entry point for Comp2Clip.plugin&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I am using After Effects on an iMac late 2013.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any other ways to copy the viewport, or does anyone know how to fix the error?&lt;/p&gt;&#xA;" OwnerUserId="9154" LastEditorUserId="1871" LastEditDate="2015-11-20T05:45:44.537" LastActivityDate="2015-11-20T06:24:36.000" Title="Is is possible to copy the viewport to clipboard within Adobe After Effects?" Tags="|after-effects|video-capture|plugins|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="16911" PostTypeId="1" CreationDate="2015-11-16T11:40:56.047" Score="1" ViewCount="75" Body="&lt;p&gt;I would like to present a digital art show using audio and video.&#xA;For this I was thinking of using 10 TV sets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way that I could use my MacBook Pro to show either:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;a) 10 separate videos (1 per TV screen)&#xA;or&#xA;b) a single video to all 10 screens&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My MacBook Pro is less than a year old and has a single HDMI output.&#xA;Is there any software out there that could handle this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apologies if this sounds ludicrous. I am a complete novice!&#xA;Grateful for any advice / pointers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mark&lt;/p&gt;&#xA;" OwnerUserId="12086" LastActivityDate="2015-11-16T18:05:14.720" Title="Multiple TV out from single Macbook Pro" Tags="|mac|hdmi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16912" PostTypeId="2" ParentId="16910" CreationDate="2015-11-16T11:48:16.473" Score="0" Body="&lt;p&gt;If you're on a mac, you can press ctrl+cmd+shift+4, drag a box over the viewport, and the resulting image will be copied to your clipboard. This won't be a high quality file, and is dependent on the zoom/quality of your viewport.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-11-16T11:48:16.473" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16913" PostTypeId="2" ParentId="16904" CreationDate="2015-11-16T13:29:55.457" Score="2" Body="&lt;p&gt;Sony Vegas Pro comes bundled with NewBlue Titler plugin which has a 'Type On' transition preset which does this automatically. After Effects can do this as well: see this &lt;a href=&quot;https://www.youtube.com//watch?v=q3lXwSnuRUA&quot; rel=&quot;nofollow&quot;&gt;tutorial&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, this can be done manually in any program in which one can animate masks. In short, in one frame the mask shape extends till the edge of the currently revealed letters. It is keyframed to hold that shape till one frame before you are ready to reveal the next letter. On that next frame, you expand the mask to uncover the new character.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-11-16T13:46:11.827" LastActivityDate="2015-11-16T13:46:11.827" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16914" PostTypeId="1" CreationDate="2015-11-16T14:20:53.737" Score="2" ViewCount="1832" Body="&lt;p&gt;lets sayI have a comp in after effects with one layer. The layer appears to be longer than the actual comp. Is there any shortcut to make the comp automatically fit the length of the layer?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2016-05-16T13:21:47.613" Title="How do I fit the Comp length to a layers length in after effects?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16915" PostTypeId="2" ParentId="16914" CreationDate="2015-11-16T14:38:40.593" Score="1" Body="&lt;p&gt;This free script - &lt;a href=&quot;http://aescripts.com/rd-compsetter/&quot; rel=&quot;nofollow&quot;&gt;rd: Comp Setter&lt;/a&gt; - should help.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-16T14:38:40.593" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16916" PostTypeId="2" ParentId="15255" CreationDate="2015-11-16T15:03:50.673" Score="1" Body="&lt;p&gt;I have never used Corel Video Studio Pro and, for that matter, I hadn't even heard of it prior to this question despite being familiar with Corel products in general, however a quick look at the table of contents of the documentation does not seem to indicate that there is a way to nest projects.  This is typically how subclips are created.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I had to guess, the reason for the feature to be missing in a presumably &quot;higher end&quot; mid-range editing system than a basic DVD creation tool is because of the added complexity of what you can do with a clip.  Nesting of unrendered timelines presents a number of challenges due to figuring out processing order and how to most efficiently deal with the assets, especially when nesting may become multiple levels deep.  The feature is typically found on higher end editing systems like Premiere, Final Cut and Avid, but seems to be more rarely found in mid-range solutions or may have limited support.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2015-12-16T17:47:55.160" LastActivityDate="2015-12-16T17:47:55.160" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16917" PostTypeId="2" ParentId="16911" CreationDate="2015-11-16T18:05:14.720" Score="1" Body="&lt;p&gt;a) You can't output 10 different video signals on your single HDMI output. Besides limitation of the graphic card of your computer, that would also require generating/reading 10 different video streams from your computer. One possible option, depending on your project aim and structure, is to produce 1 hi definition video stream from your computer and use an external tool to tile/scale it in 10 different screens (something like &lt;a href=&quot;http://www.ambery.com/2x2hdvgaviwa.html&quot; rel=&quot;nofollow&quot;&gt;http://www.ambery.com/2x2hdvgaviwa.html&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;b) sending same video to all 10 screens only requires that you have a one input/ten outputs HDMI splitter (assuming your ten screens have a HDMI input).&lt;/p&gt;&#xA;" OwnerUserId="9147" LastActivityDate="2015-11-16T18:05:14.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16918" PostTypeId="2" ParentId="10416" CreationDate="2015-11-17T01:45:05.110" Score="0" Body="&lt;p&gt;You should use subclips to manage each of the fragments individually. Check out this &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/creating-playing-clips.html#creating_subclips&quot; rel=&quot;nofollow&quot;&gt;article&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="12094" LastEditorUserId="1871" LastEditDate="2015-11-17T06:17:11.060" LastActivityDate="2015-11-17T06:17:11.060" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16919" PostTypeId="1" AcceptedAnswerId="17260" CreationDate="2015-11-17T15:40:24.440" Score="4" ViewCount="82758" Body="&lt;p&gt;Is is possible to create a continuously looping video? Maybe by editing the container it's in so that it restarts automatically?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a demonstration video that is playing on a TV in the lobby of our offices. The video is being played by the the smart functionality of the TV. The TV unfortunately doesn't include any kind of looping capability. My current solution has been to concat the video so it is one longer video but it would be nice to not have to go and restart the video every hour.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The file format that can be played is fairly flexible.&lt;/p&gt;&#xA;" OwnerUserId="12096" LastActivityDate="2023-10-31T00:28:10.460" Title="Is it possible to create a continuously looping video?" Tags="|mp4|mpeg|avi|" AnswerCount="7" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16920" PostTypeId="2" ParentId="16839" CreationDate="2015-11-17T16:28:20.917" Score="1" Body="&lt;p&gt;FLV is an Adobe container for streaming video. Historically, FLVs usually contained a variety of codecs (such as FLV1, Sorenson..etc) but nowadays it's usually H.264. Which is to say, the video may already be MP4 compatible. You may not need to recompress the video at all, and could simply transfer it from a FLV container to MP4, bypassing Premiere. ffmpeg is a tool that can do this. Download the 32-bit static build from &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; and the run the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.flv -c copy -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If the source video is not in fact H264, then try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.flv -c:v libx264 -crf 23 -c:a aac -strict -2 -b:a 128 -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-17T16:28:20.917" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16921" PostTypeId="2" ParentId="16903" CreationDate="2015-11-17T17:38:06.660" Score="3" Body="&lt;p&gt;You need to change the encoding settings. By default, AE uses the AVI animation codec, which is very good at retaining quality but creates incredibly large files. Using an intermediary codec like Apple Prores, Avid DNxHR, or GrassValley HQx would give you visually equivalent quality with a significantly smaller file size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that file size isn't small enough for you, then you may want to go to a compressed codec like h.264. Choosing h.264 with a bitrate of around 20-30Mbps would give you pretty good quality. The disadvantage of going to h.264 is that you'll lose a lot of visual information, making any additional editing such as color grading more difficult. You'll also be using a multi-frame encoding which makes scrubbing through an editing timeline very difficult.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-11-17T17:38:06.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16922" PostTypeId="2" ParentId="16890" CreationDate="2015-11-17T17:40:19.230" Score="0" Body="&lt;p&gt;You can brighten the footage, but it's doubtful you'll get anything out of the footage. Odds are, the areas you see as black are clipped which means they'll just turn into grey when you brighten the footage.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-11-17T17:40:19.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16925" PostTypeId="1" CreationDate="2015-11-17T21:00:07.257" Score="1" ViewCount="1793" Body="&lt;p&gt;It is clear from the various sound volume levels of videos out there that the sound volume that the creator perceives may not match most other viewers' volume settings since everyone is listening to sound with different computer hardware and settings.  Some videos are too loud while others are too low.  To complicate matters, there can be a few different volume adjustments: sound driver settings, speaker/headphone volume adjustments, maybe more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some baseline volume level that I should set my volume at before I start video/sound editing?  &lt;/p&gt;&#xA;" OwnerUserId="12098" LastActivityDate="2015-12-18T05:15:27.513" Title="How to set baseline sound volume level before video editing &amp; sound mixing" Tags="|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16926" PostTypeId="1" CreationDate="2015-11-17T21:26:12.470" Score="1" ViewCount="28" Body="&lt;p&gt;We are using an indoor video recording setup currently based on three Sony D70 cameras, controlled with a Sony RM-BR300 remote control. The three cameras are then mixed with a DataVideo SE-500. The mixed signal is recorded on an iMac using an Elgato video capture S-Video to USB device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We would now like to upgrade this system to be HD and have been in contact with several suppliers that have made offers based on different brands and solutions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The offers we got differs in price and brands, so I am looking looking for recommendations about which equipment to get, based on what we are trying to achieve:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1080p&lt;/li&gt;&#xA;&lt;li&gt;remote controlled (PTZ)&lt;/li&gt;&#xA;&lt;li&gt;digital signal &quot;all the way&quot; - meaning no conversions between formats loosing quality like the current system going between S-Video and BNC&lt;/li&gt;&#xA;&lt;li&gt;ideally more precision in the camera control than the current system&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;This is no professional setup, so the price has to be considering that, up to $20000 would be within range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since we already have an iMac, I have been looking into Blackmagic Design ATEM for the video mixing instead of using a dedicated hardware mixer, thinking that might save some money. But hardware controls are probably easier to operate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Offers so far based on cameras (varies a lot in price):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Dahua SD42212I-HC&lt;/li&gt;&#xA;&lt;li&gt;IP HD Avigilon&lt;/li&gt;&#xA;&lt;li&gt;Panasonic AW-HE40SKEJ&lt;/li&gt;&#xA;&lt;li&gt;Panasonic AW-HE130KEJ&lt;/li&gt;&#xA;&lt;li&gt;Sony SRG-300SEW&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="12043" LastActivityDate="2015-11-17T21:26:12.470" Title="Recommendation for HD upgrade of PTZ system" Tags="|recommendation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16927" PostTypeId="1" CreationDate="2015-11-17T21:42:30.463" Score="1" ViewCount="4251" Body="&lt;p&gt;I need to convert quicktime (.mov) video file recorded by iphone, into mp4 format using ffmpeg in php.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried several commands but it did not work for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried following command that converted into .mp4 but just audio was there. No video was playing.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;exec(&quot;ffmpeg -i input.mov out.mp4&quot;);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any help in this case will be appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="12100" LastActivityDate="2017-01-27T18:53:36.687" Title="ffmpeg: How to convert quicktime (iPhone) video to mp4 format?" Tags="|video|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16928" PostTypeId="1" CreationDate="2015-11-18T02:10:50.153" Score="1" ViewCount="4540" Body="&lt;p&gt;I am using FFmpeg on andriod and the following is the configuration : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    ffmpeg version 2.8.2 Copyright (c) 2000-2015 the FFmpeg developers built&#xA; with Apple LLVM version 7.0.0 (clang-700.1.76) configuration: --prefix=/usr&#xA;/local/Cellar/ffmpeg/2.8.2 --enable-shared --enable-pthreads --enable-gpl&#xA; --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang&#xA; --host-cflags= --host-ldflags= --enable-opencl --enable-libx264 --enable-&#xA;libmp3lame --enable-libvo-aacenc --enable-libxvid --enable-libfreetype&#xA; --enable-libvorbis --enable-libvpx --enable-libass --enable-ffplay --enable-&#xA;libfdk-aac --enable-libopus --enable-libquvi --enable-libx265 --enable-&#xA;nonfree --enable-vda&#xA;    libavutil 54. 31.100 / 54. 31.100&#xA;    libavcodec 56. 60.100 / 56. 60.100&#xA;    libavformat 56. 40.101 / 56. 40.101&#xA;    libavdevice 56. 4.100 / 56. 4.100&#xA;    libavfilter 5. 40.101 / 5. 40.101&#xA;    libavresample 2. 1. 0 / 2. 1. 0&#xA;    libswscale 3. 1.101 / 3. 1.101&#xA;    libswresample 1. 2.101 / 1. 2.101&#xA;    libpostproc 53. 3.100 / 53. 3.100&#xA;    Hyper fast Audio and Video encoder&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I am currently adding a Text and background using the following command :&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -y -i input.mp4 -vf&#xA;  &quot;drawbox=enable='between(t,2,6)':y=ih-ih/4:color=black@0.5:width=iw:height=56:t=max&quot;,\&#xA;  &quot;drawtext=enable='between(t,2,6)':fontfile=roboto.ttf:y=h-h/4+10:x=20:text='Test&#xA;  Heading':fontcolor=white:fontsize=16,drawtext=enable='between(t,2,6)':fontfile=roboto.ttf:y=h-h/4+30:x=20:text='Test&#xA;  sub heading':fontcolor=white:fontsize=12&quot; -acodec copy output.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I have tried very hard looking for an option to fade in and fade out the text and the box but can't seem to find a solution. Any help is much appreciated &lt;/p&gt;&#xA;" OwnerUserId="12101" LastEditorUserId="1871" LastEditDate="2015-11-18T05:39:41.110" LastActivityDate="2015-11-18T05:39:41.110" Title="Fade in and Fade out drawtext and drawbox ffmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16929" PostTypeId="1" AcceptedAnswerId="16930" CreationDate="2015-11-18T04:05:07.723" Score="0" ViewCount="181" Body="&lt;p&gt;When media data is stored in the end of the mp4 file(it always be there),it is very difficult to extend or delete metadata infos,because metadata will use absolutely offset of this mp4 file to locate media data,so is there a tool can help me to split metadata and mediadata into 2 file?Or,is there a tool can move 'mdat' box so I can let metadata stored behind the mediadata?&#xA;All I want to get is I can freely modify the metadata related boxes and don't worry about the offset.&#xA;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="12102" LastActivityDate="2015-11-18T04:38:57.900" Title="Is there a way to split a mp4 into 2 mp4, one is metadata.mp4 and another is mediadata.mp4" Tags="|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16930" PostTypeId="2" ParentId="16929" CreationDate="2015-11-18T04:38:57.900" Score="0" Body="&lt;p&gt;If I understand you correctly, you want the MOOV atom to be stored at the end of the MP4 (after the media payload). If so, this is the typical scheme used by ffmpeg unless flagged otherwise. So, copy your current MP4 into a new container via ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-18T04:38:57.900" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="16931" PostTypeId="2" ParentId="16925" CreationDate="2015-11-18T05:03:27.207" Score="1" Body="&lt;p&gt;This article - &lt;a href=&quot;http://www.premiumbeat.com/blog/how-to-set-audio-levels-for-video/&quot; rel=&quot;nofollow&quot;&gt;How to Set Audio Levels for Video&lt;/a&gt; - offers some good advice. To summarize:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Overall Mix Level: -10db to -14db&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Dialogue: -12db to -15db&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Music: -18db to -22db&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Sound Effects: -10db to -20db with occasional spikes up to -8db.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I usually set the voice a bit louder (-8 to -10 dB), but take these as a rough guide.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-18T05:03:27.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16932" PostTypeId="2" ParentId="16813" CreationDate="2015-11-18T07:07:28.103" Score="1" Body="&lt;p&gt;Any decent software media player can do this. I'd recommend &lt;a href=&quot;https://potplayer.daum.net/&quot; rel=&quot;nofollow&quot;&gt;Potplayer&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It has a playlist module --&gt; that's your 'queue'. It has a repeat playlist feature --&gt; that's your loop. And you can add/remove/shuffle the entries in the playlist during playback. Potplayer can display still images but it defaults to a duration of 10 seconds. Not aware if that can be changed. You can duplicate the image entry in the playlist to have a play duration in multiples of 10 seconds. And you can get a custom duration by using ffmpeg to create a video of the still image like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i imagefile -t 01:45 imagevideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(1 minute, 45 seconds in the above example).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use the 32-bit static build of ffmpeg from &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other logging/auditing features are probably not possible with regular media players out of the box. Digital signage softwares probably have them.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-11-18T07:42:39.480" LastActivityDate="2015-11-18T07:42:39.480" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16933" PostTypeId="2" ParentId="12905" CreationDate="2015-11-18T08:05:58.620" Score="16" Body="&lt;p&gt;At least on FFmpeg 2.8.x (but oldie should works too) you can use &lt;code&gt;lavfi&lt;/code&gt; as input format and complex filter graph using &lt;code&gt;movie&lt;/code&gt; and &lt;code&gt;setpts&lt;/code&gt; filters as a argument for &lt;code&gt;-i&lt;/code&gt; option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next command doing this work for you:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -f lavfi -i &quot;movie=filename=input.mp4:loop=0, setpts=N/(FRAME_RATE*TB)&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Zero &lt;code&gt;loop=&lt;/code&gt; arguments means infinity loop. Values greater zero sets repeat counts. &lt;code&gt;setpts&lt;/code&gt; filters required for PTS adjusting for second and later repeats, otherwise most output muxers will fails with non-monotonic PTS increasing: loop does not recalc PTS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note, that using filters assuming that bypass frames without decoding/encoding is impossible: by design filters deals with decoded frames only.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the FFmpeg 2.8.2 new input option &lt;code&gt;-stream_loop&lt;/code&gt; inroduced. I first look it works more simple and allows copy content without transcoding:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -stream_loop -1 -i input.mp4 -c copy -y output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But it does not recalculate PTS and output file is wrong. If you add filter to fix PTS (see &lt;code&gt;setpts&lt;/code&gt;) you must remove &lt;code&gt;-c copy&lt;/code&gt; too. Only bitstream filters can deals with encoded packets, but there is no any bitstream filters to fix PTS (see: &lt;a href=&quot;https://ffmpeg.org/ffmpeg-bitstream-filters.html&quot;&gt;https://ffmpeg.org/ffmpeg-bitstream-filters.html&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any case ffmpeg on second pass fails with error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;input.mp4: Resource temporarily unavailable&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Known work around for me&lt;/strong&gt;: use container for input file without PTS limits (streaming container). One of them, known me, is MPEG-TS. So, you can simple convert your MP4 file to the MPEG-TS:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c copy -bsf:v h264_mp4toannexb -f mpegts input.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And use next command to compose infinity file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -stream_loop -1 -i input.ts -c copy -strict -2 -bsf:a aac_adtstoasc -y output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(bitstream filters should be used only if needed, on my samples it is required)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmpeg &gt;= 2.8.2 is required in this case.&lt;/p&gt;&#xA;" OwnerUserId="12104" LastEditorUserId="12104" LastEditDate="2015-11-18T17:21:31.460" LastActivityDate="2015-11-18T17:21:31.460" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="16935" PostTypeId="2" ParentId="16896" CreationDate="2015-11-18T12:27:44.397" Score="5" Body="&lt;p&gt;A common method is split-and-stitch where the file is cut into pieces and sent to multiple servers for transcode. That way you can transcode a file of any length in a fixed amount of time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Telestreams Episode Engine can do this, but I'm sure Google uses something custom coded. &lt;/p&gt;&#xA;" OwnerUserId="12056" LastActivityDate="2015-11-18T12:27:44.397" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16936" PostTypeId="1" CreationDate="2015-11-18T13:59:52.900" Score="1" ViewCount="3578" Body="&lt;p&gt;I am trying to publish a stream of live video that need to get to the client side in under 3 sec in latency.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using vMix to capture a 720p/50 stream from a camera, that by virtual camera letting FFmpeg to encode the stream into h.264 720/25 stream using this code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -report -rtbufsize 256M -f dshow -i &quot;video=vMix Video:audio=vMix Audio&quot; -codec:v libx264 -s:v 1280x720 -pix_fmt:v yuv420p -threads 4 -bufsize:v 2000k -g:v 24 -preset:v veryfast -profile:v main -level:v 3.1 -b:v 2000k -minrate:v 2000k -maxrate:v 2000k -codec:a libfaac -b:a 64k -strict -2 -rtmp_flashver &quot;FMLE/3.0 (compatible; vMix/15.0.0.74)&quot; -f flv rtmp://Url/StreamName.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The stream goes through a Wowza transrating to three qualities, and than to a CDN, than to the client. Right now, with a buffer on the client player on 0.8 sec, i get just about under 3 sec but with a choppy frame rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I am using a HP Z440 QC E5-1620v3 workstation and I see that there is a lot of CPU power that I am not currently using. I have also a K620 Graphic card, but as i understand there is no use for it currently with FFmpeg.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Question&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;How can I utilize my CPU more than I do in order to get a faster encoding using FFmpeg? I know I can set a preset &quot;Ultrafast&quot;, but I am concerned it will effect the quality too much. &#xA;My idea is to get the latency faster in order to be able to enlarge the client player's buffer so it will be able to handle the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas on that matter? Thanks in advance :)&lt;/p&gt;&#xA;" OwnerUserId="12106" LastEditorUserId="6685" LastEditDate="2015-11-18T15:26:57.377" LastActivityDate="2024-04-05T12:07:05.903" Title="best way to publish low latency video on ffmpeg" Tags="|ffmpeg|streaming|encoding|live|latency|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16937" PostTypeId="1" AcceptedAnswerId="16940" CreationDate="2015-11-18T14:36:32.963" Score="0" ViewCount="104" Body="&lt;p&gt;I am planning to make my own movie and I need a software that produces high quality video graphics. I am new to this and am sorry if this is not the place to post this.&lt;/p&gt;&#xA;" OwnerUserId="12107" LastEditorUserId="3481" LastEditDate="2015-11-19T19:57:40.547" LastActivityDate="2015-11-21T08:04:30.877" Title="Any software with high quality vfx graphics?" Tags="|video|" AnswerCount="1" CommentCount="2" ClosedDate="2015-11-21T12:19:10.613" ContentLicense="CC BY-SA 3.0" />
  <row Id="16939" PostTypeId="2" ParentId="14924" CreationDate="2015-11-18T18:18:21.677" Score="3" Body="&lt;p&gt;Try this :&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -y -i input.mp4 -vf &amp;quot;drawbox=enable='between(t,2,6)':y=ih-ih/4:color=black@0.5:width=iw:height=56:t=max&amp;quot;,\ &amp;quot;drawtext=enable='between(t,2,6)':fontfile=roboto.ttf:y=h-h/4+10:x=20:text='Test Heading':fontcolor=white:fontsize=16,drawtext=enable='between(t,2,6)':fontfile=roboto.ttf:y=h-h/4+30:x=20:text='Test sub heading':fontcolor=white:fontsize=12&amp;quot; -acodec copy output.mp4&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/y8XYt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/y8XYt.png&quot; alt=&quot;This is how the output should look like, Try playing with black@0.5 to increase or decrease the transparency &quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12101" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-11-18T18:56:47.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16940" PostTypeId="2" ParentId="16937" CreationDate="2015-11-18T19:30:32.807" Score="0" Body="&lt;p&gt;I assume that you want to add &lt;a href=&quot;https://en.m.wikipedia.org/wiki/Lower_third&quot; rel=&quot;nofollow&quot;&gt;lower thirds&lt;/a&gt; or logos to your videos. You also seem to have already an NLE (video editing program) for cutting your videos. Choosing one would be out of scope of this question. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a simple way of creating high quality vfx graphics for videos:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Design them as static images in photo software like the Gimp or Adobe Photoshop&lt;/li&gt;&#xA;&lt;li&gt;The image resolution should be the same as your video resolution&lt;/li&gt;&#xA;&lt;li&gt;Use transparency for all areas where the video should show through&lt;/li&gt;&#xA;&lt;li&gt;A practical advice: I usually put one frame of my video on the lowest layer and design the vfx on an upper one. This is to have a visual reference how these two would fit together&lt;/li&gt;&#xA;&lt;li&gt;When finished, make the lower layer with the video frame invisible, so that you only see your vfx on the transparent background &lt;/li&gt;&#xA;&lt;li&gt;Save it as PNG image with transparency&lt;/li&gt;&#xA;&lt;li&gt;In your NLE, add a new video track on top of the other ones and put your PNG image on it&lt;/li&gt;&#xA;&lt;li&gt;To add a bit of animation, you can fade this image in and out, or let it move in from one side and move out to the other side &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;These animation effects are very basic, but usually you don't need more for lower thirds. If you need more animation, you should look into software like Adobe After Effects, Blender, Nuke, Fusion, ... But these are more difficult to use than creating a single image with the photo software of your choice. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since the OP asked if there are free solutions, I add the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use free software like the Gimp as well as paid software like Adobe Photoshop to design these lower thirds. Any photo software that can work with transparency and layers can do this. Having linear gradients in image as well as layer masks would benefit your results, though are not strictly necessary. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The key point is that you use the software that you are already familiar with, to have some quick, but professional-looking results. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to go the way of software explicitly designed for VFX, then you have some free options too with Blender, Natron (both open source) or Fusion (commercial, but has a free version).&lt;/p&gt;&#xA;" OwnerUserId="3481" LastEditorUserId="3481" LastEditDate="2015-11-21T08:04:30.877" LastActivityDate="2015-11-21T08:04:30.877" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16941" PostTypeId="1" AcceptedAnswerId="16943" CreationDate="2015-11-18T19:44:09.783" Score="2" ViewCount="836" Body="&lt;p&gt;I'm doing some rendering in Vegas Pro and notice that if I select MainConcept (which gives me an HTML5 compatible MP4) the audio tab only has options for the bit rate and the sample rate. Before rendering, I combined both left and right channels on the timeline, but once rendered, the video file has two audio channels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is normally not a problem, but in this case, the audio is only voice and I'm concerned about file size, so if I could render with a mono channel, I would be able to get a higher bit rate for audio quality, but keep the file size small.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What Vegas is doing is taking the single channel audio from the timeline, duplicating it, setting a left and right channel, then cuts the set bitrate in half for each channel. So if I want 96kbps mono, I actually end up with  stereo, 48kbps on each channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this an inherent issue with MainConcept file types? I notice that with others I can actually select mono in the audio tab, but not with MainConcept. I thought I read a short half sentence saying as much on some forum, but not sure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there is a way to have an HTML5 compatible MP4 with mono audio, please tell me how.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2017-01-26T08:34:25.137" Title="Does the MP4 HTML5 compatible video type allow for mono audio?" Tags="|audio|mp4|stereo|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16943" PostTypeId="2" ParentId="16941" CreationDate="2015-11-18T20:22:00.590" Score="5" Body="&lt;p&gt;The Mainconcept or Sony codecs in Vegas are subpar for low-bitrate output such as needed for HTML5 use. Use ffmpeg to generate your HTML5 videos. Yes, mono audio is acceptable for HTML5 use, but once you use ffmpeg/x264 for generating those videos, the 6kB/s savings you get from switching to mono audio won't matter much if at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Get the 32-bit static build of ffmpeg from &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. Render a high bitrate Mainconcept MP4 from Vegas, say, 12 Mbps. And then run the following ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;vegas-output.mp4&quot; -crf 23 -c:a aac -b:a 96k -strict -2 -movflags +faststart &quot;html5-video.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you still want mono audio, insert&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-ac 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;after aac.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't like the quality or size is too large, then play around with the CRF value. They go from 0 to 63 with lower being better. 18 to 28 is the usual range you want to stick with. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-01-26T08:34:25.137" LastActivityDate="2017-01-26T08:34:25.137" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16944" PostTypeId="2" ParentId="10542" CreationDate="2015-11-18T20:28:05.967" Score="1" Body="&lt;p&gt;One really effective way to match VFX elements to real ones is to manually correct each channel. What you want to do, is start with let's say the red channel, match the lows, then match the highs, and then the midtones. Once you repeat it for the rest, they all basically fall into place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just to clarify, your footage color correction should only be to fix the exposure and any color errors in your footage. It shouldn't include any grading.&lt;/p&gt;&#xA;" OwnerUserId="12112" LastActivityDate="2015-11-18T20:28:05.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16945" PostTypeId="1" CreationDate="2015-11-19T04:50:56.437" Score="0" ViewCount="343" Body="&lt;p&gt;I am using ffmpeg to convert videos to mp4 format in my application I have used JAVE and Xuggler for the same. My issue is that, video conversions are taking way too much of time. For example, a 50MB video takes almost 2 hrs to complete the video conversion and upload the same. Also, when i play a video, it takes a longer time to play on safari on mac OS than chrome/firefox.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the possible solutions for this? How to optimize the conversion time/video buffering for playing the video faster&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using the it.sauronsoftware.jave.VideoAttributes and EncodingAttributes classes to do this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;VideoAttributes video = new VideoAttributes();&#xA;video.setCodec(&quot;libx264&quot;);&#xA;EncodingAttributes attributes = new EncodingAttributes();&#xA;attributes.setFormat(&quot;mp4&quot;);&#xA;attributes.setVideoAttributes(video);&#xA;Encoder encoder = new Encoder(new FFMPEGLocator() {&#xA;                @Override&#xA;                protected String getFFMPEGExecutablePath() {&#xA;        String ffmpegPath = PropertiesUtil&#xA;            .getProperty(&quot;location.ffmpeg&quot;);&#xA;        return ffmpegPath;&#xA;     }&#xA;});&#xA;encoder.encode(sourceFile, destFile, attributes);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;sourceFile and destFile are the source and destination files respectively&lt;/p&gt;&#xA;" OwnerUserId="12115" LastEditorUserId="12115" LastEditDate="2015-11-20T05:33:19.140" LastActivityDate="2015-11-20T05:33:19.140" Title="ffmpeg based JAVE video conversion taking a long time" Tags="|video|ffmpeg|conversion|transcoding|performance|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16947" PostTypeId="1" AcceptedAnswerId="16954" CreationDate="2015-11-19T10:22:29.417" Score="2" ViewCount="53" Body="&lt;p&gt;I'm studying mpeg4 file format according to ISO/IEC 14496 Part 10.But I'm confused that there are many boxes (at least 40) NEVER (in my personal conclusion) be really used,e.g.MPEG-2 transport hint track,ALC/LCT and FLUTE hint track and so on.Could somebody tells me why they aren't be used or how and when to use them?Thanks!&lt;/p&gt;&#xA;" OwnerUserId="12102" LastActivityDate="2015-11-20T12:03:00.410" Title="Many boxes/atoms never used?" Tags="|mpeg4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16948" PostTypeId="1" AcceptedAnswerId="16955" CreationDate="2015-11-19T18:23:29.333" Score="1" ViewCount="966" Body="&lt;p&gt;I need to get a live video stream from a RED camera into a proprietary app running under OSX (though I can switch to Windows if necessary). I'm unable to find any information about getting a live preview from a RED camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have a video shoot tomorrow. The video is going to be shown in a 3D environment, and we need to make sure that the actors' eyeline, etc. is correct for their position within the simulation. Note that we're recording 2D video, not 3D - the flat video will be placed on a plane within a 3D environment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Preview resolution is unimportant - 320x200 would work fine for this stage of production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best solution I have at the moment is to tape a webcam to the side of the RED and use that as the input to my application. That will work, but I don't think the camera owner will be thrilled with my use of duct tape.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My app works fine with a webcam interface, but somehow I doubt that RED has something like that available.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;HELP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(In case it matters, the application is a Unity3D app running under OSX. Video is being displayed within a 3D room on an Oculus Rift.)&lt;/p&gt;&#xA;" OwnerUserId="12121" LastActivityDate="2015-11-20T18:12:10.573" Title="RED streaming interface" Tags="|streaming|red|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16950" PostTypeId="2" ParentId="16448" CreationDate="2015-11-19T19:11:51.293" Score="1" Body="&lt;p&gt;You could do it in real life by attaching a transmitter to the ball and having a robotic pan/tilt tripod head track the movement.  If you're shooting 4K, your budget's probably in line with something like &lt;a href=&quot;http://shop.soloshot.com&quot; rel=&quot;nofollow&quot;&gt;soloshot&lt;/a&gt;. Or, of course, you could pay a cam-op.  Taking the time (or paying someone) to track it in Mocha or AE will end up being more expensive than capturing the moment as it happens.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-11-19T19:11:51.293" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16952" PostTypeId="2" ParentId="16910" CreationDate="2015-11-20T06:24:36.000" Score="1" Body="&lt;p&gt;The free &lt;a href=&quot;http://obviousfx.com/products/copyimage/copyimage.php&quot; rel=&quot;nofollow&quot;&gt;Copy Image&lt;/a&gt; plug-in should work. The plug-in is executed via Edit -&gt; Copy image. As the &lt;a href=&quot;http://obviousfx.com/products/copyimage/copyimage_readme.php&quot; rel=&quot;nofollow&quot;&gt;readme&lt;/a&gt; states,&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The image is copied as an 8bits per channel image. If the active&#xA;  project is 16 or 32bits per channel, downsampling is performed.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-20T06:24:36.000" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16953" PostTypeId="2" ParentId="16711" CreationDate="2015-11-20T10:41:24.983" Score="0" Body="&lt;p&gt;I use &lt;a href=&quot;http://www.macxdvd.com/mac-video-converter-pro/&quot; rel=&quot;nofollow&quot;&gt;MacX Video Converter Pro&lt;/a&gt; to solve this problem. This converter is great to handle MP4 and AVI formats video conversion. And I also use to convert other formats, such as MKV, WMV, MOV, FLV, etc. I love the high quality after conversion, and the converting speed is so fast. You may have a try.&lt;/p&gt;&#xA;" OwnerUserId="12124" LastActivityDate="2015-11-20T10:41:24.983" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16954" PostTypeId="2" ParentId="16947" CreationDate="2015-11-20T12:03:00.410" Score="3" Body="&lt;p&gt;Be careful ISO/IEC 14496 Part 10 is a video coding standard also called AVC or H.264. The associated file format is ISO/IEC 14496-15 which is based on ISO/IEC 14496-12 (aka ISOBMFF). &#xA;A standard is the result of a compromise between different people, different companies, different application domains and different scenarios. Indeed the ISOBMFF is very wide and many boxes defined in standard may not be used in all scenarios. RTP Hint track related boxes are used only when one goal is to generate RTP packets from an MP4 file. DASH related boxes are meaningful only when you use DASH. Of course a single file may have multiple purposes and so some boxes may not be processed by some tools.&lt;/p&gt;&#xA;" OwnerUserId="12125" LastActivityDate="2015-11-20T12:03:00.410" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16955" PostTypeId="2" ParentId="16948" CreationDate="2015-11-20T16:12:00.343" Score="2" Body="&lt;p&gt;You can tap the SDI output port of any RED camera and feed that to a hardware device that reads 1080p video.  Blackmagic make some things that translate SDI -&gt; internal video stream via PCIe card (Decklink), USB (Ultrastudio), and Thunderbolt (Ultrastudio for Thunderbolt).  This would be the easy way to do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a RED DRAGON (EPIC or SCARLET) with the latest firmware, there's a RED Tether option.  It requires a special LEMO-&gt;RJ45 cable, and it feeds live video out the ethernet port.  See &lt;a href=&quot;http://www.reduser.net/forum/showthread.php?131190-Dragon%B4s-Leash-(aka-RED-TETHER)&quot; rel=&quot;nofollow&quot;&gt;this article&lt;/a&gt; for more info.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="1871" LastEditDate="2015-11-20T18:12:10.573" LastActivityDate="2015-11-20T18:12:10.573" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16957" PostTypeId="2" ParentId="16865" CreationDate="2015-11-21T11:48:15.830" Score="2" Body="&lt;p&gt;This is what I have come up with so far. Feel free to improve this answer liberally, with the objective of cleaning up and encoding lecture notes, within a streamlined process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command is run in the working directory, e.g. &lt;code&gt;cd /Users/me/Downloads&lt;/code&gt;, and will encode all .MOV files present.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for i in *.MOV; do ffmpeg -i &quot;$i&quot; -c:v libx265 -preset veryslow -crf 23 -af &quot;volume=25dB, highpass=f=200, equalizer=f=50:width_type=h:width=100:g=-15&quot; -c:a aac -strict experimental -b:a 192k &quot;${i%.MOV}-ENCODED.MOV&quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The individual settings:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video codec: &lt;code&gt;libx265&lt;/code&gt; (HEVC). This codec is unorthodox because it's still in development, but it's many times better than its predecessor in keeping file sizes low. &lt;a href=&quot;https://www.videolan.org/vlc/index.html&quot; rel=&quot;nofollow&quot;&gt;VLC&lt;/a&gt; supports this codec for viewing the video.&lt;/li&gt;&#xA;&lt;li&gt;Encoding speed vs. compression density: &lt;code&gt;-preset veryslow&lt;/code&gt;. Converting videos with this preset takes &lt;em&gt;very&lt;/em&gt; long time, but may reduce file size with around 20 % compared to the fastest setting. If you want quicker encoding, use &lt;code&gt;ultrafast&lt;/code&gt;, &lt;code&gt;fast&lt;/code&gt;, &lt;code&gt;medium&lt;/code&gt; or &lt;code&gt;slow&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Video quality: &lt;code&gt;-crf 23&lt;/code&gt;. Quite good quality. Decreasing this number will increase quality but also logarithmically increase file size. This setting strikes an okay balance between file size and quality. &lt;code&gt;18&lt;/code&gt; is visually lossless but takes up much space.&lt;/li&gt;&#xA;&lt;li&gt;Volume gain: &lt;code&gt;volume=25dB&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;High pass filter &gt;200 Hz: &lt;code&gt;highpass=f=200&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;EQ notch filter @ 50Hz±100Hz (this should be mitigated by the high pass filter already, but for some reason this seems to remove background noise: &lt;code&gt;equalizer=f=50:width_type=h:width=100:g=-15&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Audio codec: &lt;code&gt;aac&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Audio quality: &lt;code&gt;-b:a 192k&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Optional&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Lighten video curves: &lt;code&gt;-vf &quot;curves=preset=lighter&quot;&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Ideas for improvement:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A good way to gate audio to filter out background noise and keep only the talky bits.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="12052" LastEditorUserId="12052" LastEditDate="2015-12-04T13:27:41.997" LastActivityDate="2015-12-04T13:27:41.997" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="16958" PostTypeId="1" AcceptedAnswerId="16959" CreationDate="2015-11-21T23:06:12.450" Score="4" ViewCount="14617" Body="&lt;p&gt;Which params I can use to obtain a transcode all-i based? No B and P frames?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that this is not efficient for compression purposes but this is not my case now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess i have to fiddle a bit with &lt;strong&gt;-x264-params&lt;/strong&gt; or &lt;strong&gt;-x265-params&lt;/strong&gt; but I don't know the switches to do it :)&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2015-11-22T06:30:22.337" Title="ffmpeg encode in all-i mode h264 and h265 streams" Tags="|ffmpeg|h.264|h.265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16959" PostTypeId="2" ParentId="16958" CreationDate="2015-11-22T06:30:22.337" Score="10" Body="&lt;p&gt;For H264&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c:v libx264 -intra output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For H265, seems no alias or preset has been set yet&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c:v libx265 -x265-params frame-threads=4:keyint=1:ref=1:no-open-gop=1:weightp=0:weightb=0:cutree=0:rc-lookahead=0:bframes=0:scenecut=0:b-adapt=0:repeat-headers=1 output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;H265 code &lt;s&gt;stolen&lt;/s&gt;borrowed from &lt;a href=&quot;https://superuser.com/q/935930/114058&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="-1" LastEditDate="2017-03-20T10:04:28.637" LastActivityDate="2015-11-22T06:30:22.337" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16960" PostTypeId="1" AcceptedAnswerId="16961" CreationDate="2015-11-22T11:06:19.397" Score="1" ViewCount="5576" Body="&lt;p&gt;Fiddling with the h264 and h265 params I found both &lt;strong&gt;keyint&lt;/strong&gt; and &lt;strong&gt;min-keyint&lt;/strong&gt; settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Setting keyint shouldn't force the codec library to use exactly that frame interval?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do min-keyint have something to do with scene detection and if set it take priority over keyint plain setting ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TL;DR: I found that h265 default settings are keyint=250 and min-keyint=25 ... what I should expect from that? A fixed length GOP or a variable length one?&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2015-11-22T11:16:42.837" LastActivityDate="2015-11-22T11:16:42.837" Title="h264 and h265 keyint params settings" Tags="|h.264|h.265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16961" PostTypeId="2" ParentId="16960" CreationDate="2015-11-22T11:16:03.937" Score="2" Body="&lt;p&gt;See these two links:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) &lt;a href=&quot;https://en.wikibooks.org/wiki/MeGUI/x264_Settings&quot; rel=&quot;nofollow&quot;&gt;MeGUI/x264 Settings&lt;/a&gt; for an explanation of the parameters like keyint.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) &lt;a href=&quot;http://forum.doom9.org/showthread.php?t=165197&quot; rel=&quot;nofollow&quot;&gt;About --keyint --min-keyint and --scenecut&lt;/a&gt; for a discussion at Doom9 about how they interact, specifically&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;--keyint is the maximum interval. x264 will insert key frames earlier if it deems them beneficial, e.g. due to a scene change. From my&#xA;  experience the majority of key frames are in place because of the&#xA;  properties of the video, not because keyint was reached. The larger&#xA;  --keyint is the smaller the impact on overall key frame placement should be.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-22T11:16:03.937" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16962" PostTypeId="1" CreationDate="2015-11-22T13:51:20.910" Score="3" ViewCount="15368" Body="&lt;p&gt;I just ordered a Theta S which should be released by the 30th of this month. I can not wait to start recording 360 videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, can I edit a 360 video into one of my non 360 videos? Just like if I were to record a video and cut to a time lapse and then back to the normal video, can I cut to a 360 video and then back to the normal video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not sure if it is possible as I know there is different encoding etc, but I am yet to find an answer.&lt;/p&gt;&#xA;" OwnerUserId="12133" LastEditorUserId="1871" LastEditDate="2015-11-23T07:38:19.253" LastActivityDate="2020-05-18T10:33:43.577" Title="Can one edit a 360 degree video into a traditional video?" Tags="|video|editing|" AnswerCount="7" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16963" PostTypeId="1" AcceptedAnswerId="16964" CreationDate="2015-11-22T15:42:30.103" Score="2" ViewCount="89" Body="&lt;p&gt;I have still images of a motorcycle's odometer, taken by hand whilst riding (varying angles) over the course of a 20000km motorcycle journey (i.e. the odometer is not always centered in the still image). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I plan to create a slideshow/video from these stills, but I would like to align the odometer to the centre of the frame, so that the viewer can focus on the increasing mileage as the stills are played in a timelapse/slideshow fashion, rather than have the odometer jitter around. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know of any software that would allow me to quickly select the area of the odometer for each image, and then have the software rotate or pan the images based on this manually defined 'odometer region'? Or another method that is somewhat automated as opposed to adjusting each image inside Premiere Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this make sense...!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="12134" LastEditorUserId="1871" LastEditDate="2016-03-28T06:39:03.280" LastActivityDate="2016-03-28T06:39:03.280" Title="How to create slideshow/video from still images using a varying point of interest?" Tags="|video|premiere|stabilisation|time-lapse|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16964" PostTypeId="2" ParentId="16963" CreationDate="2015-11-22T15:57:19.783" Score="2" Body="&lt;p&gt;You can &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/importing-still-images.html#import_numbered_still_image_sequences_as_video_clips&quot; rel=&quot;nofollow&quot;&gt;import all the images as a video&lt;/a&gt; i.e. an image sequence and then try to &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/stabilize-motion-warp-stabilizer-effect.html&quot; rel=&quot;nofollow&quot;&gt;stabilize&lt;/a&gt; the &quot;video&quot; by selecting a distinctive part of the odometer as your target anchor. The result may still need some manual tweaking especially if there's a huge change in light, but it will be faster than doing it manually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might have to rename the images to form an unbroken naming sequence  i.e. img0001.jpg, img0002.jpg, img0003.jpg..etc. You can use &lt;a href=&quot;http://www.advancedrenamer.com/&quot; rel=&quot;nofollow&quot;&gt;Advanced Renamer&lt;/a&gt; to do this. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-22T15:57:19.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16965" PostTypeId="1" CreationDate="2015-11-22T18:02:28.487" Score="5" ViewCount="8978" Body="&lt;p&gt;Today I wanted to obtain a ts file cut preserving everything, so I tried with this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;original.ts&quot; -map 0 -c copy -t 00:30:0.0 -threads 1 &quot;cutted.ts&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The resulting file have different minor specs I would like to make matching to the original one.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;original.ts&lt;/h2&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mpeg2video @ 00000000030df040] Invalid frame dimensions 0x0.    &#xA;    Last message repeated 2 times    &#xA;[mp3 @ 00000000030e0420] Header missing    &#xA;[mp3 @ 00000000030df940] Header missing    &#xA;    Last message repeated 1 times    &#xA;[mpegts @ 00000000030dd500] PES packet size mismatch    &#xA;    Last message repeated 2 times    &#xA;Input #0, mpegts, from 'original.ts':    &#xA;  Duration: 01:14:46.92, start: 64563.955900, bitrate: 5367 kb/s    &#xA;  Program 1    &#xA;    Stream #0:0[0x201]: Video: mpeg2video (Main) ([2][0][0][0] / 0x0002), yuv420p(tv), 720x576 [SAR 16:15 DAR 4:3], max.    &#xA; 10000 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc    &#xA;    Stream #0:1[0x28b](eng): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 192 kb/s    &#xA;    Stream #0:2[0x2b7](001): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, mono, s16p, 64 kb/s    &#xA;    Stream #0:3[0x2b8](eng): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 192 kb/s    &#xA;    Stream #0:4[0x241](001): Subtitle: dvb_teletext ([6][0][0][0] / 0x0006), 492x250&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;cutted.ts&lt;/h2&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[mp3 @ 000000000302fa20] Header missing&lt;br&gt;&#xA;     Last message repeated 1 times&lt;br&gt;&#xA;  [mp3 @ 00000000030304c0] Header missing&lt;br&gt;&#xA;  Input #0, mpegts, from 'cutted.ts':&lt;br&gt;&#xA;   Duration: 00:00:10.08, start: &lt;strong&gt;1.400000&lt;/strong&gt;, bitrate: 4297 kb/s&lt;br&gt;&#xA;   Program 1&lt;br&gt;&#xA;     Metadata:&lt;br&gt;&#xA;       service_name    : Service01&lt;br&gt;&#xA;       service_provider: FFmpeg&lt;br&gt;&#xA;     Stream #0:0[&lt;strong&gt;0x100&lt;/strong&gt;]: Video: mpeg2video (Main) ([2][0][0][0] / 0x0002), yuv420p(tv), 720x576 [SAR 16:15 DAR 4:3], max.&lt;br&gt;&#xA;  10000 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc&lt;br&gt;&#xA;     Stream #0:1[&lt;strong&gt;0x101&lt;/strong&gt;](eng): Audio: mp2 (&lt;strong&gt;[3][0][0][0] / 0x0003&lt;/strong&gt;), 48000 Hz, stereo, s16p, 192 kb/s&lt;br&gt;&#xA;     Stream #0:2[&lt;strong&gt;0x102&lt;/strong&gt;](001): Audio: mp2 (&lt;strong&gt;[3][0][0][0] / 0x0003&lt;/strong&gt;), 48000 Hz, mono, s16p, 64 kb/s&lt;br&gt;&#xA;     Stream #0:3[&lt;strong&gt;0x103&lt;/strong&gt;](eng): Audio: mp2 (&lt;strong&gt;[3][0][0][0] / 0x0003&lt;/strong&gt;), 48000 Hz, stereo, s16p, 192 kb/s&lt;br&gt;&#xA;     Stream #0:4[&lt;strong&gt;0x104&lt;/strong&gt;](001): Subtitle: dvb_teletext ([6][0][0][0] / 0x0006), 492x250&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Bitrate displayed obviously changes because the subset of media considered have a different length and this is ok.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Start is not kept, being part of a transport stream I would like to keep that exact start time. Here &lt;a href=&quot;https://ffmpeg.org/pipermail/ffmpeg-user/2013-July/016109.html&quot; rel=&quot;noreferrer&quot;&gt;https://ffmpeg.org/pipermail/ffmpeg-user/2013-July/016109.html&lt;/a&gt; they talk about &lt;strong&gt;reset_timestamps&lt;/strong&gt; and &lt;strong&gt;initial_offset&lt;/strong&gt; but rather than specifying them i would like them to be copied automatically.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Streams id changes as well as some minor specs inside the parenthesis but i don't know what they are for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is also possible obtain an output file without ffmpeg service_name and service_provider metadata ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: Original ts file was created by Terratec Home Cinema.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PPS: My question did not include intentionally the -ss option because that one is supposed to change the start time, however I'm interested also in a solution with -ss that automatically (if possible) offsets the start time with (output start time = input start time + -ss command offset)&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2015-11-22T19:44:26.713" LastActivityDate="2021-09-02T13:29:18.640" Title="ffmpeg Cut a media preserving all streams but also all metadata, timecodes and everything else" Tags="|video|ffmpeg|" AnswerCount="3" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16966" PostTypeId="2" ParentId="16965" CreationDate="2015-11-22T21:18:24.357" Score="2" Body="&lt;p&gt;This seems to work:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss N -i input.ts -c copy -copyts -muxdelay 0 -max_delay 0 output.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can add a&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-map_metadata 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;to preserve whatever metadata ffmpeg can. But this doesn't seem to carry over all the metadata.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-22T21:18:24.357" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16967" PostTypeId="1" CreationDate="2015-11-23T07:28:02.683" Score="5" ViewCount="350" Body="&lt;p&gt;I'm thinking of using ffmpeg to automate a simple video task. I have lots of action videos that go like this,  quiet/boring -&gt; loud/exciting -&gt; quiet/boring. Allowing for a few seconds at the start and end of the exciting part I'd like to cut the quiet/boring bits. Can anyone give me some help on the filter/filters I might use?&lt;/p&gt;&#xA;" OwnerUserId="12137" LastActivityDate="2015-11-23T12:05:15.587" Title="Top and tail GoPro video based on volume" Tags="|ffmpeg|automation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16968" PostTypeId="2" ParentId="16967" CreationDate="2015-11-23T09:43:53.867" Score="5" Body="&lt;p&gt;I'm not well-versed with Unix shell scripting, and also only have basic proficiency in Windows scripting, so I can only offer a pseudocode flow of the script:&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;1) Break up your full video into N-second segments of only audio (into a temporary folder)&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i GoProFull.mp4 -vn -c:a copy -segment_time n -f segment GP%03d.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Obviously, this will generate a sequence of MP4s where GPx.mp4 represents the &lt;code&gt;n&lt;/code&gt; second audio starting at &lt;code&gt;n*x&lt;/code&gt; seconds. You can get the exact value by running&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -i GPx.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and parsing for &lt;code&gt;Start: XX.YYYYYY&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;2) Run ffmpeg with the &lt;code&gt;volumedetect&lt;/code&gt; filter on each of the files&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i GPx.mp4 -af volumedetect -f null - 2&amp;gt; GPx.log&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will produce an output with the final lines looking like this.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_volumedetect_0 @ 0000000002584880] n_samples: 575488&#xA;[Parsed_volumedetect_0 @ 0000000002584880] mean_volume: -6.6 dB&#xA;[Parsed_volumedetect_0 @ 0000000002584880] max_volume: 0.0 dB&#xA;[Parsed_volumedetect_0 @ 0000000002584880] histogram_0db: 54799&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There may be multiple histogram lines depending on your audio, but the mean and max are on the 2nd and 3rd lines.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;3) Now your script should parse those last lines of each log&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;Check the detected mean and max volumes of each segment. Depending on how long your exciting parts are, and how much of a &lt;strong&gt;quiet interval&lt;/strong&gt; there may be within an exciting segment, decide on whether to use the mean or max (or some evaluating expression involving both) and record the qualifying segment names in a formatted text file. Probably remove the prefix and keep only the unpadded numbers for the next part.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;4) Prepare cut list&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;In the text file containing the numbers of the qualifying segments, collect consecutive segments together, so if your list is &lt;code&gt;3,4,7,11,13,14,15,18&lt;/code&gt; then you want to treat it as &lt;code&gt;3+4, 7, 11, 13+14+15, and 18&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;5) Run ffmpeg to generate the cuts&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;Now for each cut, use the &lt;code&gt;trim&lt;/code&gt; and &lt;code&gt;atrim&lt;/code&gt; filter to make the cut. For a cut consisting of multiple segments starting with &lt;code&gt;GPx&lt;/code&gt; and ending with &lt;code&gt;GPy&lt;/code&gt;, the time codes for the cut is &lt;code&gt;n*x - top&lt;/code&gt; seconds to &lt;code&gt;n*(y+1) + tail&lt;/code&gt; seconds. You can use ffprobe to get the precise numbers. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i GoProFull.mp4 -vf &quot;trim=n*x-top:n*(y+1)+tail,setpts=PTS-STARTPTS&quot; -af &quot;atrim=n*x-top:n*(y+1)+tail,asetpts=PTS-STARTPTS&quot; -{video and audio encoding parameters} GPcut-X.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where X is the index of each generated segment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Output each generated filename, one on each line, into a text file of the form&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'GPcut-X.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;6) Make into one video.&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;Run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i cutlist.txt -c copy GoPro-Highlights.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;cutlist.txt&lt;/code&gt; is the text file created in step 5.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-11-23T12:05:15.587" LastActivityDate="2015-11-23T12:05:15.587" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16969" PostTypeId="2" ParentId="16962" CreationDate="2015-11-23T10:16:35.290" Score="2" Body="&lt;p&gt;I don't think there's any currently way to combine 360 playback and normal non-360 playback into a single player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More generally, you can convert between rectilinear 360 videos and normal video.  The issue you will have is quality, because the resolution of the Ricoh Theta S is maximum 1920x1080 pixels.  This is HD spec for a normal video, but don't forget that the pixels are being used to cover the whole of a 360 sphere.  When you convert back to &quot;normal&quot; video, I assume you will only want a small portion of that sphere, otherwise the image will be very distorted.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're making SD videos, the quality should be reasonable, depending on how much of the viewing sphere you want to use.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can convert between rectilinear and normal videos using something like &lt;a href=&quot;http://www.mettle.com/product/skybox/&quot; rel=&quot;nofollow&quot;&gt;Skybox&lt;/a&gt; in After Effects.  (There are many other ways to do this, but this is the one I have used successfully).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2015-11-23T11:14:37.260" LastActivityDate="2015-11-23T11:14:37.260" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16970" PostTypeId="1" AcceptedAnswerId="16990" CreationDate="2015-11-23T12:58:59.587" Score="1" ViewCount="786" Body="&lt;p&gt;I am wondering how to add text which is updated along the time code of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Concretely, I have a gopro footage and a file of some performances values (speed, heart rate, cadence,...) that I want to overlay with correct values at the right moment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a csv file with time in first col, and other parameters in following cols.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm quite new in video production, so I not particularly familiar to any software (so there's no need on a particular platform solution)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT - solution :&lt;/strong&gt; I found a nice solution perfectly answering my question : &lt;a href=&quot;http://www.dashware.net&quot; rel=&quot;nofollow&quot;&gt;http://www.dashware.net&lt;/a&gt; . I'll try it later but it seems the right solution !&lt;/p&gt;&#xA;" OwnerUserId="12140" LastEditorUserId="12140" LastEditDate="2015-11-25T13:51:55.247" LastActivityDate="2015-11-25T14:41:01.693" Title="how to synchronize text to the video timecode?" Tags="|sync|" AnswerCount="1" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="16971" PostTypeId="2" ParentId="16963" CreationDate="2015-11-23T14:12:21.283" Score="2" Body="&lt;p&gt;You can import all of the images into Photoshop as layers (File&gt;Scripts&gt;Load to Stack).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On import you can auto-align the layers (check the box that says auto-align) or following the import you can go to (Edit&gt;Auto Align-Layers).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could then create the video in Photoshop via the Timeline function if you wished - or export the aligned individual layers as JPEGS and import them to Premiere.&lt;/p&gt;&#xA;" OwnerUserId="12141" LastActivityDate="2015-11-23T14:12:21.283" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16973" PostTypeId="2" ParentId="16558" CreationDate="2015-11-23T17:38:09.287" Score="1" Body="&lt;p&gt;The two major platforms that YouTube video players use are Adobe Flash, and Adobe Air. Flash 11 only supports 2 channel audio. Adobe air 3 supports multichannel audio. Also HTML5 supports multi channel audio. most multichannel streams will be PCM no bit stream, as you need licensing from Dolby or DTS to encode/decode. Furthermore multi channel audio is only supported for TV devices, on all other devices hasMultiChannelAudio() always returns false. This is probably due to HDCP / DRM requirements by publishers. Finally many smart TVs, especially Samsungs, will only send 2 channel audio from the optical output (again HDCP/DRM reasons). So you need to be sure what player / equipment you are using. A smart TV using ARC (audio return channel) to a receiver will have multichannel YouTube audio.&lt;/p&gt;&#xA;" OwnerUserId="12143" LastActivityDate="2015-11-23T17:38:09.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16974" PostTypeId="1" CreationDate="2015-11-23T20:40:26.640" Score="1" ViewCount="1282" Body="&lt;p&gt;The Audio Gate filter (&lt;code&gt;agate&lt;/code&gt;) is a new filter for &lt;code&gt;ffmpeg&lt;/code&gt; included since 2015-09-22.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have read the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#agate&quot; rel=&quot;nofollow&quot;&gt;documentation&lt;/a&gt;, but since there are no examples included, I'm trying to figure out what settings to use to reduce unwanted parts that are under a certain dB in the audio signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have a command example and explanation for the settings?&lt;/p&gt;&#xA;" OwnerUserId="12052" LastEditorUserId="12052" LastEditDate="2015-11-28T08:04:20.470" LastActivityDate="2015-11-28T08:50:13.540" Title="How does the agate filter in FFmpeg work?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16975" PostTypeId="1" AcceptedAnswerId="16976" CreationDate="2015-11-23T21:21:12.960" Score="7" ViewCount="13418" Body="&lt;p&gt;I have one video (400x300) and an image (1280x300).&#xA;pls show me how can i put this image behind the video like that:&#xA;i've try, but not working T-T&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/w7PB5.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/w7PB5.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12145" LastActivityDate="2015-11-25T18:32:20.300" Title="How do i put the image behind video by using FFmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16976" PostTypeId="2" ParentId="16975" CreationDate="2015-11-24T03:32:12.603" Score="10" Body="&lt;h1&gt;Use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#overlay&quot; rel=&quot;noreferrer&quot;&gt;overlay filter&lt;/a&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;This will overlay the video on top of the image:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i image.png -i video.mp4 -filter_complex &quot;overlay=(W-w)/2:shortest=1&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you need to resize the video then add the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#scale&quot; rel=&quot;noreferrer&quot;&gt;scale filter&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i image.png -i video.mp4 -filter_complex &quot;[1:v]scale=400:-1[fg];[0:v][fg]overlay=(W-w)/2:(H-h)/2:shortest=1&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h1&gt;You can use pad filter instead of an image&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;If you just want to add black padding you don't need an image and can use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#pad&quot; rel=&quot;noreferrer&quot;&gt;pad filter&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -filter_complex &quot;pad=1280:0:(ow-iw)/2&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h1&gt;Using the player to do it instead&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;You could add the padding upon playback so you don't even need to re-encode:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -vf &quot;pad=1280:0:(ow-iw)/2&quot; input.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2015-11-25T18:32:20.300" LastActivityDate="2015-11-25T18:32:20.300" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16978" PostTypeId="2" ParentId="8133" CreationDate="2015-11-24T05:46:35.617" Score="0" Body="&lt;p&gt;You guys are overthinking it. Simple solution&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-Right click on your sequence&#xA;-Select Sequence Settings&#xA;-Under Preview File Format select &quot;P2 1080i&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;basically anything but the default &quot;I-frame&quot;&lt;/p&gt;&#xA;" OwnerUserId="12148" LastActivityDate="2015-11-24T05:46:35.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16981" PostTypeId="1" CreationDate="2015-11-24T12:35:51.880" Score="2" ViewCount="593" Body="&lt;p&gt;I'm trying to add an image to the start of a video. I don't want it to overwrite the video, I asked about it and got this answer:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 30 -loop 1 -t 3 -i image.jpg -i inputvideo.mxf -f lavfi -t 3 -i aevalsrc=0 -filter_complex &quot;[0:v] [2:a] [1:v] [1:a] concat=n=2:v=1:a=1 [v] [a]&quot; -c:v libx264 -c:a aac -strict -2 -map &quot;[v]&quot; -map &quot;[a]&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It does what I asked for but on two of the videos I'm using it on, it cuts the video with 14/15 seconds. It works on a 300mb and 200mb video but it cuts on a 65/188mb video. Any ideas what is causing this? The fps from ffprobe is 29.97 on all the videos so I set it to 30 as you can see.&#xA;All the videos are in .mxf format, I'm adding the same image to all of them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the ffmpeg output from the above command.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-74751-gb54e03c Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 4.9.3 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 59.100 / 56. 59.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.100 /  5. 40.100&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, image2, from 'C:/image.jpg':&#xA;  Duration: 00:00:00.04, start: 0.000000, bitrate: 9027 kb/s&#xA;    Stream #0:0: Video: mjpeg, yuvj420p(pc, bt470bg/unknown/unknown), 1920x1080 [SAR 1:1 DAR 16:9], 25 fps, 25 tbr, 25 tbn, 25 tbc&#xA;[mxf @ 0000000002fad680] broken or empty index&#xA;Guessed Channel Layout for  Input Stream #1.1 : mono&#xA;Guessed Channel Layout for  Input Stream #1.2 : mono&#xA;Guessed Channel Layout for  Input Stream #1.3 : mono&#xA;Guessed Channel Layout for  Input Stream #1.4 : mono&#xA;Guessed Channel Layout for  Input Stream #1.5 : mono&#xA;Guessed Channel Layout for  Input Stream #1.6 : mono&#xA;Guessed Channel Layout for  Input Stream #1.7 : mono&#xA;Guessed Channel Layout for  Input Stream #1.8 : mono&#xA;Input #1, mxf, from 'C:/video.mxf':&#xA;  Metadata:&#xA;    uid             : 8206ba85-3954-2f4a-9d3c-c4e8d5ba793a&#xA;    generation_uid  : de90d87a-f4a7-944c-b6c1-368903cb7a3f&#xA;    company_name    : Rhozet&#xA;    product_name    : Carbon&#xA;    product_version : 1.00&#xA;    product_uid     : 060e2b34-0401-0101-0e00-000000000000&#xA;    modification_date: 2015-10-30 15:45:05&#xA;    material_package_umid: 0x060A2B340101010501010D33130000009BC9C7D36B3F43438EAECC12C87EB630&#xA;    timecode        : 00:00:00:00&#xA;  Duration: 00:00:42.04, start: 0.000000, bitrate: 36660 kb/s&#xA;    Stream #1:0: Video: mpeg2video (4:2:2), yuv422p(tv), 1920x1080 [SAR 1:1 DAR 16:9], 50000 kb/s, 29.97 fps, 29.97 tbr, 29.97 tbn, 59.94 tbc&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #1:1: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #1:2: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #1:3: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #1:4: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #1:5: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #1:6: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #1:7: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #1:8: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #1:9: Data: none&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;      data_type       : vbi_vanc_smpte_436M&#xA;Input #2, lavfi, from 'aevalsrc=0':&#xA;  Duration: N/A, start: 0.000000, bitrate: 2822 kb/s&#xA;    Stream #2:0: Audio: pcm_f64le, 44100 Hz, mono, dbl, 2822 kb/s&#xA;[swscaler @ 0000000004e71040] deprecated pixel format used, make sure you did set range correctly&#xA;No pixel format specified, yuv422p for H.264 encoding chosen.&#xA;Use -pix_fmt yuv420p for compatibility with outdated media players.&#xA;[libx264 @ 0000000004e22020] using SAR=1/1&#xA;[libx264 @ 0000000004e22020] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;[libx264 @ 0000000004e22020] profile High 4:2:2, level 4.0, 4:2:2 8-bit&#xA;[libx264 @ 0000000004e22020] 264 - core 148 r2597 e86f3a1 - H.264/MPEG-4 AVC codec - Copyleft 2003-2015 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=1 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'C:/Users/Administrator/Desktop/COMBO_2.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf56.40.101&#xA;    Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv422p, 1920x1080 [SAR 1:1 DAR 16:9], q=-1--1, 30 fps, 15360 tbn, 30 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc56.59.100 libx264&#xA;    Stream #0:1: Audio: aac ([64][0][0][0] / 0x0040), 48000 Hz, mono, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      encoder         : Lavc56.59.100 aac&#xA;Stream mapping:&#xA;  Stream #0:0 (mjpeg) -&amp;gt; concat:in0:v0&#xA;  Stream #1:0 (mpeg2video) -&amp;gt; concat:in1:v0&#xA;  Stream #1:1 (pcm_s24le) -&amp;gt; concat:in1:a0&#xA;  Stream #2:0 (pcm_f64le) -&amp;gt; concat:in0:a0&#xA;  concat:out:v0 -&amp;gt; Stream #0:0 (libx264)&#xA;  concat:out:a0 -&amp;gt; Stream #0:1 (aac)&#xA;Press [q] to stop, [?] for help&#xA;frame=   32 fps=0.0 q=0.0 size=       0kB time=00:00:01.02 bitrate=   0.4kbits/s    frame=   43 fps= 41 q=29.0 size=       9kB time=00:00:01.38 bitrate=  54.8kbits/s    frame=   57 fps= 36 q=29.0 size=      11kB time=00:00:01.83 bitrate=  47.7kbits/s    frame=   70 fps= 34 q=29.0 size=      12kB time=00:00:02.28 bitrate=  42.2kbits/s    frame=   81 fps= 31 q=29.0 size=      13kB time=00:00:02.64 bitrate=  39.2kbits/s    frame=   94 fps= 31 q=29.0 size=      14kB time=00:00:03.07 bitrate=  36.6kbits/s dup=1 drop=0    frame=  111 fps= 31 q=29.0 size=      15kB time=00:00:03.64 bitrate=  34.0kbits/s dup=1 drop=0    frame=  129 fps= 31 q=29.0 size=      17kB time=00:00:04.24 bitrate=  32.1kbits/s dup=1 drop=0    frame=  147 fps= 32 q=29.0 size=      18kB time=00:00:04.84 bitrate=  30.6kbits/s dup=1 drop=0 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32 q=29.0 size=      93kB time=00:00:11.15 bitrate=  68.6kbits/s dup=1 drop=0    frame=  352 fps= 32 q=29.0 size=      95kB time=00:00:11.69 bitrate=  66.5kbits/s dup=1 drop=0    frame=  368 fps= 32 q=29.0 size=      96kB time=00:00:12.22 bitrate=  64.5kbits/s dup=1 drop=0    frame=  384 fps= 32 q=29.0 size=      98kB time=00:00:12.75 bitrate=  62.6kbits/s dup=1 drop=0    frame=  399 fps= 32 q=29.0 size=      99kB time=00:00:13.24 bitrate=  61.1kbits/s dup=1 drop=0    frame=  414 fps= 32 q=29.0 size=     100kB time=00:00:13.76 bitrate=  59.6kbits/s dup=1 drop=0    frame=  429 fps= 32 q=29.0 size=     101kB time=00:00:14.25 bitrate=  58.2kbits/s dup=1 drop=0    frame=  447 fps= 32 q=29.0 size=     103kB time=00:00:14.84 bitrate=  56.8kbits/s dup=1 drop=0    frame=  460 fps= 32 q=29.0 size=     104kB time=00:00:15.29 bitrate=  55.7kbits/s dup=1 drop=0    frame=  472 fps= 31 q=29.0 size=     105kB time=00:00:15.70 bitrate=  54.7kbits/s dup=1 drop=0    frame=  484 fps= 31 q=29.0 size=     106kB time=00:00:16.08 bitrate=  53.9kbits/s dup=1 drop=0    frame=  493 fps= 30 q=26.0 size=     330kB time=00:00:16.38 bitrate= 164.8kbits/s dup=1 drop=0    frame=  496 fps= 30 q=29.0 size=     391kB time=00:00:16.49 bitrate= 194.0kbits/s dup=1 drop=0    frame=  498 fps= 29 q=29.0 size=     447kB time=00:00:16.55 bitrate= 221.4kbits/s dup=1 drop=0    frame=  502 fps= 28 q=29.0 size=     517kB time=00:00:16.70 bitrate= 253.7kbits/s dup=1 drop=0    frame=  506 fps= 27 q=29.0 size=     595kB time=00:00:16.83 bitrate= 289.7kbits/s dup=1 drop=0    frame=  510 fps= 26 q=29.0 size=     666kB time=00:00:16.96 bitrate= 321.8kbits/s dup=1 drop=0    frame=  514 fps= 25 q=29.0 size=     729kB time=00:00:17.08 bitrate= 349.7kbits/s dup=1 drop=0    frame=  518 fps= 24 q=29.0 size=     792kB time=00:00:17.23 bitrate= 376.3kbits/s dup=1 drop=0    frame=  522 fps= 23 q=29.0 size=     870kB time=00:00:17.36 bitrate= 410.3kbits/s dup=1 drop=0    frame=  525 fps= 23 q=29.0 size=     935kB time=00:00:17.45 bitrate= 438.8kbits/s dup=1 drop=0    frame=  529 fps= 22 q=29.0 size=     997kB time=00:00:17.60 bitrate= 463.9kbits/s dup=1 drop=0    frame=  533 fps= 22 q=29.0 size=    1053kB time=00:00:17.72 bitrate= 486.5kbits/s dup=1 drop=0    frame=  537 fps= 21 q=29.0 size=    1125kB time=00:00:17.85 bitrate= 516.1kbits/s dup=1 drop=0    frame=  541 fps= 21 q=29.0 size=    1189kB time=00:00:18.00 bitrate= 540.8kbits/s dup=1 drop=0    frame=  545 fps= 20 q=29.0 size=    1242kB time=00:00:18.13 bitrate= 561.3kbits/s dup=1 drop=0    frame=  549 fps= 20 q=29.0 size=    1297kB time=00:00:18.26 bitrate= 581.6kbits/s dup=1 drop=0    frame=  553 fps= 19 q=29.0 size=    1347kB time=00:00:18.38 bitrate= 599.9kbits/s dup=1 drop=0    frame=  557 fps= 19 q=29.0 size=    1380kB time=00:00:18.53 bitrate= 609.9kbits/s dup=1 drop=0    frame=  560 fps= 19 q=29.0 size=    1574kB time=00:00:18.62 bitrate= 692.2kbits/s dup=1 drop=0    frame=  564 fps= 18 q=29.0 size=    1628kB time=00:00:18.75 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883.4kbits/s dup=2 drop=0    frame=  601 fps= 16 q=29.0 size=    2211kB time=00:00:19.96 bitrate= 906.9kbits/s dup=2 drop=0    frame=  605 fps= 15 q=29.0 size=    2267kB time=00:00:20.09 bitrate= 924.2kbits/s dup=2 drop=0    frame=  608 fps= 15 q=29.0 size=    2308kB time=00:00:20.20 bitrate= 935.7kbits/s dup=2 drop=0    frame=  611 fps= 15 q=29.0 size=    2347kB time=00:00:20.28 bitrate= 947.9kbits/s dup=2 drop=0    frame=  613 fps= 15 q=29.0 size=    2382kB time=00:00:20.37 bitrate= 957.8kbits/s dup=2 drop=0    frame=  616 fps= 15 q=29.0 size=    2423kB time=00:00:20.45 bitrate= 970.3kbits/s dup=2 drop=0    frame=  620 fps= 15 q=26.0 size=    2699kB time=00:00:20.60 bitrate=1073.1kbits/s dup=2 drop=0    frame=  624 fps= 15 q=29.0 size=    2734kB time=00:00:20.73 bitrate=1080.0kbits/s dup=2 drop=0    frame=  627 fps= 14 q=29.0 size=    2766kB time=00:00:20.82 bitrate=1088.3kbits/s dup=2 drop=0    frame=  629 fps= 14 q=29.0 size=    2813kB time=00:00:20.90 bitrate=1102.3kbits/s dup=2 drop=0    frame=  631 fps= 14 q=29.0 size=    2861kB time=00:00:20.97 bitrate=1117.6kbits/s dup=2 drop=0    frame=  635 fps= 14 q=29.0 size=    2900kB time=00:00:21.09 bitrate=1125.9kbits/s dup=2 drop=0    frame=  639 fps= 14 q=29.0 size=    2941kB time=00:00:21.22 bitrate=1135.2kbits/s dup=2 drop=0    frame=  643 fps= 14 q=29.0 size=    2992kB time=00:00:21.35 bitrate=1147.9kbits/s dup=2 drop=0    frame=  646 fps= 14 q=29.0 size=    3037kB time=00:00:21.46 bitrate=1159.3kbits/s dup=2 drop=0    frame=  649 fps= 14 q=29.0 size=    3077kB time=00:00:21.56 bitrate=1168.9kbits/s dup=2 drop=0    frame=  652 fps= 13 q=29.0 size=    3137kB time=00:00:21.67 bitrate=1185.5kbits/s dup=2 drop=0    frame=  655 fps= 13 q=29.0 size=    3176kB time=00:00:21.76 bitrate=1195.7kbits/s dup=2 drop=0    frame=  658 fps= 13 q=29.0 size=    3239kB time=00:00:21.86 bitrate=1213.5kbits/s dup=2 drop=0    frame=  660 fps= 13 q=29.0 size=    3283kB time=00:00:21.93 bitrate=1226.2kbits/s dup=2 drop=0    frame=  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size=    3880kB time=00:00:22.89 bitrate=1388.5kbits/s dup=2 drop=0    frame=  692 fps= 12 q=29.0 size=    3911kB time=00:00:22.99 bitrate=1393.1kbits/s dup=2 drop=0    frame=  695 fps= 12 q=29.0 size=    3970kB time=00:00:23.10 bitrate=1407.5kbits/s dup=2 drop=0    frame=  698 fps= 12 q=29.0 size=    4001kB time=00:00:23.21 bitrate=1412.1kbits/s dup=2 drop=0    frame=  701 fps= 12 q=29.0 size=    4043kB time=00:00:23.29 bitrate=1421.9kbits/s dup=2 drop=0    frame=  704 fps= 12 q=29.0 size=    4092kB time=00:00:23.40 bitrate=1432.3kbits/s dup=2 drop=0    frame=  707 fps= 12 q=29.0 size=    4125kB time=00:00:23.50 bitrate=1437.3kbits/s dup=2 drop=0    frame=  710 fps= 11 q=29.0 size=    4150kB time=00:00:23.59 bitrate=1441.0kbits/s dup=2 drop=0    frame=  714 fps= 11 q=29.0 size=    4180kB time=00:00:23.74 bitrate=1442.3kbits/s dup=2 drop=0    frame=  718 fps= 11 q=29.0 size=    4209kB time=00:00:23.87 bitrate=1444.4kbits/s dup=2 drop=0    frame=  720 fps= 11 q=29.0 size=    4250kB 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bitrate=1570.8kbits/s dup=2 drop=0    frame=  758 fps= 11 q=29.0 size=    4858kB time=00:00:25.19 bitrate=1579.6kbits/s dup=2 drop=0    frame=  761 fps= 10 q=29.0 size=    4909kB time=00:00:25.30 bitrate=1589.4kbits/s dup=2 drop=0    frame=  764 fps= 10 q=29.0 size=    4969kB time=00:00:25.40 bitrate=1602.1kbits/s dup=2 drop=0    frame=  767 fps= 10 q=29.0 size=    4999kB time=00:00:25.49 bitrate=1606.5kbits/s dup=2 drop=0    frame=  770 fps= 10 q=29.0 size=    5064kB time=00:00:25.60 bitrate=1620.5kbits/s dup=2 drop=0    frame=  773 fps= 10 q=29.0 size=    5096kB time=00:00:25.70 bitrate=1623.9kbits/s dup=2 drop=0    frame=  776 fps= 10 q=29.0 size=    5136kB time=00:00:25.81 bitrate=1629.8kbits/s dup=2 drop=0    frame=  779 fps= 10 q=29.0 size=    5192kB time=00:00:25.89 bitrate=1642.3kbits/s dup=2 drop=0    frame=  782 fps= 10 q=29.0 size=    5230kB time=00:00:26.00 bitrate=1647.6kbits/s dup=2 drop=0    frame=  785 fps= 10 q=29.0 size=    5304kB time=00:00:26.11 bitrate=1663.9kbits/s dup=2 drop=0    frame=  788 fps= 10 q=29.0 size=    5347kB time=00:00:26.19 bitrate=1672.0kbits/s dup=2 drop=0    frame=  791 fps= 10 q=29.0 size=    5388kB time=00:00:26.30 bitrate=1678.0kbits/s dup=2 drop=0    frame=  794 fps=9.9 q=29.0 size=    5447kB time=00:00:26.41 bitrate=1689.6kbits/s dup=2 drop=0    frame=  796 fps=9.9 q=29.0 size=    5491kB time=00:00:26.47 bitrate=1699.2kbits/s dup=2 drop=0    frame=  799 fps=9.8 q=29.0 size=    5529kB time=00:00:26.56 bitrate=1705.3kbits/s dup=2 drop=0    frame=  801 fps=9.8 q=29.0 size=    5572kB time=00:00:26.64 bitrate=1713.1kbits/s dup=2 drop=0    frame=  804 fps=9.8 q=29.0 size=    5616kB time=00:00:26.73 bitrate=1721.1kbits/s dup=2 drop=0    frame=  806 fps=9.7 q=29.0 size=    5663kB time=00:00:26.79 bitrate=1731.5kbits/s dup=2 drop=0    frame=  809 fps=9.7 q=29.0 size=    5720kB time=00:00:26.90 bitrate=1742.0kbits/s dup=2 drop=0    frame=  812 fps=9.7 q=29.0 size=    5763kB time=00:00:27.00 bitrate=1747.9kbits/s dup=2 drop=0    frame=  815 fps=9.6 q=29.0 size=    5828kB time=00:00:27.11 bitrate=1760.9kbits/s dup=2 drop=0    frame=  818 fps=9.6 q=29.0 size=    5865kB time=00:00:27.20 bitrate=1766.3kbits/s dup=2 drop=0    frame=  821 fps=9.5 q=29.0 size=    5908kB time=00:00:27.30 bitrate=1772.5kbits/s dup=2 drop=0    frame=  824 fps=9.5 q=29.0 size=    5954kB time=00:00:27.41 bitrate=1779.3kbits/s dup=2 drop=0    frame=  827 fps=9.5 q=29.0 size=    5989kB time=00:00:27.49 bitrate=1784.2kbits/s dup=2 drop=0    frame=  831 fps=9.5 q=29.0 size=    6096kB time=00:00:27.64 bitrate=1806.3kbits/s dup=2 drop=0    frame=  834 fps=9.4 q=29.0 size=    6125kB time=00:00:27.73 bitrate=1809.2kbits/s dup=2 drop=0    frame=  837 fps=9.4 q=29.0 size=    6165kB time=00:00:27.84 bitrate=1814.1kbits/s dup=2 drop=0    frame=  840 fps=9.4 q=29.0 size=    6207kB time=00:00:27.94 bitrate=1819.5kbits/s dup=2 drop=0    frame=  844 fps=9.3 q=29.0 size=    6244kB time=00:00:28.07 bitrate=1822.0kbits/s dup=2 drop=0    frame=  847 fps=9.3 q=29.0 size=    6275kB time=00:00:28.18 bitrate=1824.0kbits/s dup=2 drop=0    frame=  850 fps=9.3 q=29.0 size=    6313kB time=00:00:28.26 bitrate=1829.7kbits/s dup=2 drop=0    frame=  853 fps=9.3 q=29.0 size=    6346kB time=00:00:28.37 bitrate=1832.1kbits/s dup=2 drop=0    frame=  856 fps=9.2 q=29.0 size=    6376kB time=00:00:28.48 bitrate=1834.1kbits/s dup=2 drop=0    [mpeg2video @ 000000000307dc00] ac-tex damaged at 11 49&#xA;[mpeg2video @ 000000000307dc00] Warning MVs not available&#xA;[mpeg2video @ 000000000307dc00] concealing 2280 DC, 2280 AC, 2280 MV errors in I frame&#xA;frame=  858 fps=8.7 q=29.0 Lsize=    6836kB time=00:00:28.54 bitrate=1961.8kbits/s dup=2 drop=0    &#xA;video:6586kB audio:217kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.465456%&#xA;[libx264 @ 0000000004e22020] frame I:9     Avg QP:18.65  size:110948&#xA;[libx264 @ 0000000004e22020] frame P:303   Avg QP:18.65  size: 14758&#xA;[libx264 @ 0000000004e22020] frame B:546   Avg QP:18.22  size:  2333&#xA;[libx264 @ 0000000004e22020] consecutive B-frames: 10.1% 13.5%  4.5% 71.8%&#xA;[libx264 @ 0000000004e22020] mb I  I16..4: 28.0% 66.3%  5.7%&#xA;[libx264 @ 0000000004e22020] mb P  I16..4:  2.0%  1.8%  0.1%  P16..4: 29.7%  3.9%  5.3%  0.0%  0.0%    skip:57.2%&#xA;[libx264 @ 0000000004e22020] mb B  I16..4:  0.0%  0.1%  0.0%  B16..8: 12.9%  0.2%  0.0%  direct: 0.9%  skip:85.9%  L0:42.6% L1:55.7% BI: 1.7%&#xA;[libx264 @ 0000000004e22020] 8x8 transform intra:54.9% inter:92.1%&#xA;[libx264 @ 0000000004e22020] coded y,uvDC,uvAC intra: 32.1% 73.0% 27.0% inter: 3.6% 16.4% 1.1%&#xA;[libx264 @ 0000000004e22020] i16 v,h,dc,p: 41% 27%  8% 24%&#xA;[libx264 @ 0000000004e22020] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 31% 18% 33%  2%  3%  4%  3%  3%  3%&#xA;[libx264 @ 0000000004e22020] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 35% 19% 11%  5%  7%  8%  5%  6%  4%&#xA;[libx264 @ 0000000004e22020] i8c dc,h,v,p: 53% 16% 24%  6%&#xA;[libx264 @ 0000000004e22020] Weighted P-Frames: Y:4.6% UV:1.0%&#xA;[libx264 @ 0000000004e22020] ref P L0: 57.4% 11.4% 21.6%  9.4%  0.1%&#xA;[libx264 @ 0000000004e22020] ref B L0: 87.5% 11.2%  1.3%&#xA;[libx264 @ 0000000004e22020] ref B L1: 95.7%  4.3%&#xA;[libx264 @ 0000000004e22020] kb/s:1886.37&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is the ffprobe output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version N-74751-gb54e03c Copyright (c) 2007-2015 the FFmpeg developers&#xA;  built with gcc 4.9.3 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 59.100 / 56. 59.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.100 /  5. 40.100&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;[mxf @ 000000000310b8a0] broken or empty index&#xA;Input #0, mxf, from 'C:/video.mxf':&#xA;  Metadata:&#xA;    uid             : 8206ba85-3954-2f4a-9d3c-c4e8d5ba793a&#xA;    generation_uid  : de90d87a-f4a7-944c-b6c1-368903cb7a3f&#xA;    company_name    : Rhozet&#xA;    product_name    : Carbon&#xA;    product_version : 1.00&#xA;    product_uid     : 060e2b34-0401-0101-0e00-000000000000&#xA;    modification_date: 2015-10-30 15:45:05&#xA;    material_package_umid: 0x060A2B340101010501010D33130000009BC9C7D36B3F43438EAECC12C87EB630&#xA;    timecode        : 00:00:00:00&#xA;  Duration: 00:00:42.04, start: 0.000000, bitrate: 36660 kb/s&#xA;    Stream #0:0: Video: mpeg2video (4:2:2), yuv422p(tv), 1920x1080 [SAR 1:1 DAR 16:9], 50000 kb/s, 29.97 fps, 29.97 tbr, 29.97 tbn, 59.94 tbc&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:1: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:2: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:3: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:4: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:5: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:6: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:7: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:8: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;    Stream #0:9: Data: none&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D3313000000B70F9172F67EE340AE91E11FC1BA4B0B&#xA;      data_type       : vbi_vanc_smpte_436M&#xA;Unsupported codec with id 0 for input stream 9&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12008" LastEditorUserId="1871" LastEditDate="2015-11-25T08:51:24.197" LastActivityDate="2018-11-10T02:00:55.140" Title="FFmpeg cuts video?" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16983" PostTypeId="1" AcceptedAnswerId="17074" CreationDate="2015-11-24T14:43:52.580" Score="2" ViewCount="93" Body="&lt;p&gt;I am a complete newbie when it comes to making videos. Just got a Canon VIXIA RF62, and built a DIY green screen. On the green screen I hope to place maps and other background images that I will point to in my presentation. I know I can add these things in post-production, but I want to be able to look at myself in a monitor, with the images in place, so I can see where to point in real time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was thinking of hooking my camcorder into my PC laptop via the HDMI out cable on the camcorder. The idea being that I could hook up a monitor next to the camera that I could see while filming, so I can tell where to point. I don't want to just look at me in front of a green screen.  At the same time I want to be recording the whole thing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have not as of yet bought any video editing software. Is there some that can do decent amateur video editing, and still do what I want it to from a streaming perspective? Any help would be much appreciated!&lt;/p&gt;&#xA;" OwnerUserId="12151" LastEditorUserId="12151" LastEditDate="2015-11-24T14:49:02.983" LastActivityDate="2015-12-05T17:01:30.027" Title="Green Screen Streaming" Tags="|video|software-recommendation|greenscreen|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16984" PostTypeId="1" CreationDate="2015-11-24T16:41:02.480" Score="1" ViewCount="356" Body="&lt;p&gt;I have some issues with Adobe AE, in rendered video (on monitor inside AE it's ok). In the composition I have one shape overlapping the other one. However, the edge of the shape on top is pixelated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some ideas how to fix it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I use 1920x1080 resolution/8bits color depth.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="12152" LastEditorUserId="12152" LastEditDate="2015-11-25T15:55:12.483" LastActivityDate="2015-11-25T15:55:12.483" Title="Overlapping shapes pixelated in final export" Tags="|after-effects|animation-rendering|shape|" AnswerCount="0" CommentCount="12" ContentLicense="CC BY-SA 3.0" />
  <row Id="16985" PostTypeId="1" AcceptedAnswerId="16986" CreationDate="2015-11-24T18:01:03.277" Score="0" ViewCount="49" Body="&lt;p&gt;I use both Sony Vegas Pro and Adobe Lightroom.&#xA;In my new computer is an Asus Strix GTX980 GPU card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Lightroom: I had to disable GPU acceleration&#xA;In Vegas: I have crashes as soon as the preview windows is resized of plays video. Even with GPU acceleration disabled. (Rendering works fine but I cannot work the video that way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From what I read, there may be something wrong with applications support of Nvidia GTX9xx .&#xA;Maybe I can exchange the GPU for another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know if that GPU may be the problem ?&#xA;What GPU in the same price range would you recommend (with 3 screens in mind, 2x4K and 1xFullHD).&#xA;Should I go AMD?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you for you help.&lt;/p&gt;&#xA;" OwnerUserId="10869" LastEditorUserId="10869" LastEditDate="2015-11-24T18:14:14.467" LastActivityDate="2015-11-30T17:34:09.220" Title="GPU problem/replacement ? For Lightroom and Vegas" Tags="|video-editor|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16986" PostTypeId="2" ParentId="16985" CreationDate="2015-11-24T20:29:13.383" Score="0" Body="&lt;p&gt;Problem solved for Vegas&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Solution A&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;(optional) I have installed thedriver version I wanter (in my case I took the latest drivers,359.00 currently).&lt;/li&gt;&#xA;&lt;li&gt;CTRL+Shift on Vegas icon, checked clear cache data. (Beware that you may lose some configuration in the process.)&lt;/li&gt;&#xA;&lt;li&gt;After maybe a few starts (can't tell precisely), it finally works, WITH GPU acceleration.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Solution B&lt;/strong&gt;&#xA;The problem happened again. Solution this time. It might look like a random thing but I've done it multiple times and tested alternatives.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(There was no driver update this time.)&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Start Vegas with a blank projet.&lt;/li&gt;&#xA;&lt;li&gt;Display Preview Window (content should be all black).&lt;/li&gt;&#xA;&lt;li&gt;Resize preview window (not sure if this is optional, but if it doesn't crash at this point, that's a good sign).&lt;/li&gt;&#xA;&lt;li&gt;Open the project you initially intended to work with.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Regarding Lightroom: no solution yet.&lt;/p&gt;&#xA;" OwnerUserId="10869" LastEditorUserId="10869" LastEditDate="2015-11-30T17:34:09.220" LastActivityDate="2015-11-30T17:34:09.220" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16987" PostTypeId="1" AcceptedAnswerId="17000" CreationDate="2015-11-25T03:52:17.107" Score="1" ViewCount="1167" Body="&lt;p&gt;I've got a 16:9 standard-def movie into which I need to burn some subtitles. I'm using&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -y -i input.mov -vf ass=&quot;./captions.ass&quot; output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and in the subtitle.ass file I've tried&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;PlayResX: 1024&#xA;PlayResY: 576&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;PlayResX: 768&#xA;PlayResY: 576&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But in both cases the subtitles came out stretched. Is there anything I can do to get them square—either with the ffmpeg command or the subtitle file? I'd rather not stretch the video twice, it's already looking a bit shabby.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Command and console output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;PS C:\Users\stib\Desktop&amp;gt; ffmpeg -i .\test.mov -vf &quot;ass='./test_subs.ass'&quot; test_out.mp4&#xA;ffmpeg version N-76144-ge91cd8a Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 5.2.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55.  4.100 / 55.  4.100&#xA;  libavcodec     57.  7.100 / 57.  7.100&#xA;  libavformat    57.  8.102 / 57.  8.102&#xA;  libavdevice    57.  0.100 / 57.  0.100&#xA;  libavfilter     6. 12.100 /  6. 12.100&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.100 /  2.  0.100&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Guessed Channel Layout for  Input Stream #0.1 : stereo&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '.\test.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt&#xA;    creation_time   : 2014-05-07 03:24:23&#xA;  Duration: 00:01:50.84, start: 0.000000, bitrate: 30340 kb/s&#xA;    Stream #0:0(eng): Video: dvvideo (dvcp / 0x70637664), yuv420p(bt470bg/smpte170m/bt709), 720x576 [SAR 64:45 DAR 16:9], 28800 kb/s, SAR 118:81 DAR 295:162, 25 fps, 25 tbr, 25 tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-05-07 03:24:23&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : DV - PAL&#xA;      timecode        : 01:00:00:00&#xA;    Stream #0:1(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, 2 channels, s16, 1536 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-05-07 03:24:23&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:2(eng): Data: none (tmcd / 0x64636D74) (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-05-07 03:24:34&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 01:00:00:00&#xA;[Parsed_ass_0 @ 0000000002f61880] Shaper: FriBidi 0.19.6 (SIMPLE)&#xA;[Parsed_ass_0 @ 0000000002f61880] Using font provider directwrite&#xA;[Parsed_ass_0 @ 0000000002f61880] Added subtitle file: './test_subs.ass' (2 styles, 34 events)&#xA;[libx264 @ 0000000002f50cc0] using SAR=118/81&#xA;[libx264 @ 0000000002f50cc0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;[libx264 @ 0000000002f50cc0] profile High, level 3.0&#xA;[libx264 @ 0000000002f50cc0] 264 - core 148 r2638 7599210 - H.264/MPEG-4 AVC codec - Copyleft 2003-2015 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=18 lookahead_threads=3 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'test_out.mp4':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt&#xA;    encoder         : Lavf57.8.102&#xA;    Stream #0:0(eng): Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 720x576 [SAR 118:81 DAR 295:162], q=-1--1, 25 fps, 12800 tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-05-07 03:24:23&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 01:00:00:00&#xA;      encoder         : Lavc57.7.100 libx264&#xA;    Stream #0:1(eng): Audio: aac (libvo_aacenc) ([64][0][0][0] / 0x0040), 48000 Hz, stereo, s16, 128 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-05-07 03:24:23&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc57.7.100 libvo_aacenc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (dvvideo (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; aac (libvo_aacenc))&#xA;Press [q] to stop, [?] for 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ipsum dolor sit amet,\Nconsectetur adipiscing&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1760" LastEditDate="2015-11-26T21:09:24.753" LastActivityDate="2015-11-27T07:31:33.523" Title="ffmpeg - burning in subtitles with non-square pixels" Tags="|ffmpeg|subtitles|non-square-pixels|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16988" PostTypeId="2" ParentId="16987" CreationDate="2015-11-25T06:28:40.737" Score="1" Body="&lt;p&gt;I found some ASS files, like this &lt;a href=&quot;https://code.google.com/p/libass/issues/attachmentText?id=13&amp;amp;aid=130011000&amp;amp;name=sample.ass&amp;amp;token=d55861faec05a2f3cf12b77da74d5505&quot; rel=&quot;nofollow&quot;&gt;sample&lt;/a&gt;, which contain a &lt;code&gt;Video Aspect Ratio&lt;/code&gt; tag but it seems to not make a difference in ffmpeg hardcoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The workaround I can think of right now is to create a complex filter where you create a transparent RGBA canvas of 1024x576; burn the subtitles onto them, scale the result to 768x576 or 720x576, depending on your source video and then overlay that output onto your video.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-25T06:28:40.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16989" PostTypeId="2" ParentId="16981" CreationDate="2015-11-25T09:00:15.017" Score="1" Body="&lt;p&gt;The ff* tools report this for the errant input video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mxf @ 0000000002fad680] broken or empty index&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Try copying into a new container.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mxf -c copy output.mxf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then run the image prefix command.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-25T09:00:15.017" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="16990" PostTypeId="2" ParentId="16970" CreationDate="2015-11-25T14:41:01.693" Score="0" Body="&lt;p&gt;I found a nice solution perfectly answering my question : &lt;a href=&quot;http://www.dashware.net&quot; rel=&quot;nofollow&quot;&gt;http://www.dashware.net&lt;/a&gt; . I'll try it later but it seems the right solution !&lt;/p&gt;&#xA;" OwnerUserId="12140" LastActivityDate="2015-11-25T14:41:01.693" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16991" PostTypeId="2" ParentId="2413" CreationDate="2015-11-25T16:53:10.200" Score="0" Body="&lt;p&gt;Unfortunately it can't.&#xA;If you can't afford buying another camera as suggested...getting an iSK CM-20 Super condenser mic and recording sound externally with it will give you a great sound plus it's an affordable solution. You will have to sync up the sound on post production.&lt;/p&gt;&#xA;" OwnerUserId="12160" LastActivityDate="2015-11-25T16:53:10.200" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16992" PostTypeId="1" CreationDate="2015-11-25T17:10:10.387" Score="0" ViewCount="465" Body="&lt;p&gt;Help,&#xA;I have setup Adobe media encoder and After effects for cuda. My project is only 3,5 min long and my rendering time is about 2,5 hours. I have resized all my footage to match my resolution (1080p, 29,95 fps). I think this is strange because I have a decent graphics card. Here are my pc specs if it is going to help:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Amd A6 cpu&lt;/li&gt;&#xA;&lt;li&gt;Nvidia GeForce GTX 960&lt;/li&gt;&#xA;&lt;li&gt;8 GB ram&lt;/li&gt;&#xA;&lt;li&gt;Windows 10&lt;/li&gt;&#xA;&lt;li&gt;3 2tb hard disks (about 1tb free for each drive)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I haven't changed any settings except the cuda renderer option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I doing something wrong, is there something I can change in my settings to improve rendering time?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help.&lt;/p&gt;&#xA;" OwnerUserId="12161" LastActivityDate="2015-11-25T17:10:10.387" Title="Adobe media encoder encoding slow" Tags="|after-effects|adobe-media-encoder|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="16993" PostTypeId="1" CreationDate="2015-11-25T19:22:12.507" Score="0" ViewCount="37" Body="&lt;p&gt;I'm trying to make Handbrake convert a batch of .mkv files, but I'm running into a problem where everything that it spits out from batch transfers uses the default channel 1, but I want the resulting files to use channel 2. This happens no matter which audio channel I choose when starting the conversion. Does anyone know what the hell is going on? &lt;/p&gt;&#xA;" OwnerUserId="12162" LastActivityDate="2015-11-25T19:22:12.507" Title="Handbrake refuses to use correct Audio channel with batch conversions" Tags="|handbrake|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16994" PostTypeId="1" CreationDate="2015-11-25T19:49:40.943" Score="1" ViewCount="102" Body="&lt;p&gt;&lt;em&gt;I was unsure where to post this, so please move if there is a better site for it&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to design a cheap system that allows me to have 3 video inputs, allows me to mix them and stream it live to youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I am thinking that I can stream from basic amazon/android tablets to a central computer running OBS. I could mix and apply effects and then stream from OBS to youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My main question is how would I import a stream into OBS and how to create the stream on the tablet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Overall I would prefer a solution that already exists, but would be able to create an app to do some of the work.&lt;/p&gt;&#xA;" OwnerUserId="12163" LastActivityDate="2017-07-21T11:45:29.207" Title="Stream tablet to computer with switcher to stream to internet" Tags="|software-recommendation|streaming|software|youtube|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16995" PostTypeId="1" AcceptedAnswerId="16996" CreationDate="2015-11-25T20:04:09.397" Score="1" ViewCount="53" Body="&lt;p&gt;I am planning of creating a few technical movies where I will record my screen as I work through a particular technology.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm unsure whether to record full screen, or select the area to be recorded.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I select the area to be recorded, will this make it difficult to have a consistent size for recordings?  For example, if I do two screen recording of a browser session and the browser window is a different size both times, then presumably my output will be inconsistent?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I record full screen, presumably I should record with my desktop set at a particular resolution?&lt;/p&gt;&#xA;" OwnerUserId="12164" LastActivityDate="2015-11-25T20:43:54.693" Title="how to decide the appropriate resolution when recording my screen for uploading online?" Tags="|quicktime|screen-casting|osx|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16996" PostTypeId="2" ParentId="16995" CreationDate="2015-11-25T20:43:54.693" Score="1" Body="&lt;p&gt;Recording full screen, if your hardware allows you to do it smoothly, is your best option. You can always crop or mask out unwanted areas later in editing. You won't have that freedom if you crop the input at the time of recording. An exception to this rule of thumb can be made if you're absolutely sure that the area of interest is a portion of the screen at an unchanging location.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As long as different recordings are made at the same aspect ratio i.e. ratio of width to height, they may be edited together without creating an obvious mismatch e.g. if you record one video at 1280x720 and the second at 960x540, then since they're both in the ratio of 16:9, you can switch between them seamlessly. But if you record the second at 720x540, then there will be black space to the sides (&quot;pillarboxing&quot;) when you switch to the second video in the editor. There's nothing particularly wrong about this, just a matter of style. To avoid pillarboxing in such cases, you will have to crop and zoom in on the second video so that you display a 720x405 portion of it. But that way, you may cut out something you needed to show.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally, you should record at the highest resolution at which you can capture smoothly i.e. without dropping too many frames. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-25T20:43:54.693" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16997" PostTypeId="1" CreationDate="2015-11-25T21:06:11.287" Score="3" ViewCount="4518" Body="&lt;p&gt;I need some kind of rtsp buffer to delay video. I have a live cam and i need to start recording video on some event. But I need 10-15 seconds before that event too. Idea is to read from camera, use the delay buffer and stream delayed video to another port. Then to start recording from delayed stream on event. So i tried VLC but it can delay displayed video &lt;code&gt;:sout-display-delay=15000&lt;/code&gt; as &lt;a href=&quot;https://video.stackexchange.com/questions/4977/video-stream-with-delay&quot;&gt;mentioned here&lt;/a&gt;, and NOT the streamed one &lt;code&gt;:sout-delay-id=1 :sout-delay-delay:15000&lt;/code&gt; (Using VLC 1.1.9 cause VLC 2.2.1 breaks if you only mention delay :( )&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used this command for example&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;vlc -vvv rtsp://10.0.0.5:554/live.sdp :sout=#duplicate{dst=rtp{sdp=rtsp://:8554/live.sdp},delay-id=0,delay-delay=15000} :sout-keep&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any other thoughts, applications, experiences?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ivan&lt;/p&gt;&#xA;" OwnerUserId="12165" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2019-11-11T21:01:50.220" Title="How to stream video with delay" Tags="|video|streaming|vlc|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16998" PostTypeId="1" AcceptedAnswerId="17002" CreationDate="2015-11-26T14:59:16.283" Score="1" ViewCount="68" Body="&lt;p&gt;Check the video -&#xA;https://youtu.be/uAyPXcYick0&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to know which editor could I use to create such videos? I can get the flat icons, but how do I animate those? Are there presets for such animations?&lt;/p&gt;&#xA;" OwnerUserId="12039" LastActivityDate="2015-11-27T02:19:28.663" Title="Software used to create such animations?" Tags="|video|animation|flash|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="16999" PostTypeId="1" CreationDate="2015-11-26T21:49:08.763" Score="0" ViewCount="1302" Body="&lt;p&gt;I was really wanting to build a Raspberry Pi Linux Cluster (~20GB RAM, etc). I was wondering if it would be possible to render video from Adobe Premiere Pro to Linux and how I would incorporate a rendering farm to split up the tasks. Thanks for all of your help!&lt;/p&gt;&#xA;" OwnerUserId="12169" LastActivityDate="2015-11-27T12:52:15.683" Title="Adobe Premiere Pro Rendering in Linux" Tags="|premiere|adobe|linux|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17000" PostTypeId="2" ParentId="16987" CreationDate="2015-11-26T21:55:57.143" Score="2" Body="&lt;p&gt;You can try adding the &lt;code&gt;original_size&lt;/code&gt; filter option, such as:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf &quot;ass=test_subs.ass:original_size=768x576&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Specify the size of the original video, the video for which the ASS&#xA;  file was composed. For the syntax of this option, check the&#xA;  &lt;a href=&quot;https://ffmpeg.org/ffmpeg-utils.html#Video-size&quot; rel=&quot;nofollow&quot;&gt;Video size section in the ffmpeg-utils manual&lt;/a&gt;. Due to&#xA;  a misdesign in ASS aspect ratio arithmetic, this is necessary to&#xA;  correctly scale the fonts if the aspect ratio has been changed.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2015-11-27T07:31:33.523" LastActivityDate="2015-11-27T07:31:33.523" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17001" PostTypeId="1" AcceptedAnswerId="17008" CreationDate="2015-11-26T23:45:42.653" Score="0" ViewCount="58" Body="&lt;p&gt;I am trying to write about the editing techniques in this clip here: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/r4VEaDFBXP8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;and at the 0:39-0:41 section I want to describe what editing technique is used where the scene stays the says but the character changes but I can't find any terms that describe it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(The film is what I made for college, it was not great as the camera we used was terrible and we ran into a lot of issues)&lt;/p&gt;&#xA;" OwnerUserId="12170" LastActivityDate="2015-11-27T14:06:10.333" Title="How would describe this editing technique" Tags="|editing|vegas-pro|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17002" PostTypeId="2" ParentId="16998" CreationDate="2015-11-27T02:19:28.663" Score="0" Body="&lt;p&gt;You could recreate most of the stuff in that video inside Adobe After Effects, &lt;strong&gt;&lt;em&gt;if&lt;/em&gt;&lt;/strong&gt; you have all the assets on individual pictures (layers), and not merged on top of each other.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can easily take a layer (image file) and independently change the position, rotation, opacity, size, etc. with keyframes. If you have the body parts of a character as different files, you can position them how you'd like them by dragging and dropping, and then parenting them to one specific layer, for example, the chest. Then when you change the position of the chest, the entire body moves with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would also be a good idea to have the &lt;strong&gt;transparent&lt;/strong&gt; versions of the flat icons, so you can add a custom background, and no whitespace overlaps with other layers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would be a better idea to draw any characters inside AE with the shape tools so you can modify the shape of any of the body parts.&lt;/p&gt;&#xA;" OwnerUserId="10866" LastActivityDate="2015-11-27T02:19:28.663" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17004" PostTypeId="1" AcceptedAnswerId="17007" CreationDate="2015-11-27T06:12:21.280" Score="1" ViewCount="334" Body="&lt;p&gt;What would produce the best result, in terms of quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I like to go out and take some random dynamic, smooth, clips of places around my neighborhood with my Flycam, but I'm wondering what would be the best workflow;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;find and edit out the unusable parts of the footage (like the heads and tails), then find a nice, ambient, relaxed type music, and add it in, fine tuning the clips so it matches the music (cuts on the beat, etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Find the music first, then edit clips according to the music so it matches.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which do you think would be faster, easier, and produce a better result? What are some pros and cons of each?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Premiere.&lt;/p&gt;&#xA;" OwnerUserId="10866" LastEditorUserId="1950" LastEditDate="2015-12-01T07:05:18.997" LastActivityDate="2015-12-01T07:05:18.997" Title="Editing with music: what workflow produces the best results?" Tags="|editing|workflow|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17005" PostTypeId="1" AcceptedAnswerId="17009" CreationDate="2015-11-27T09:52:23.947" Score="0" ViewCount="3295" Body="&lt;p&gt;I've got an mp4 file with these streams (&lt;code&gt;avconv -i file.mp4&lt;/code&gt; or &lt;code&gt;ffmpeg -i file.mp4&lt;/code&gt;):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0.0(eng): Audio: aac, 48000 Hz, stereo, fltp, 125 kb/s (default)&#xA;Stream #0.1(eng): Audio: ac3, 48000 Hz, 5.1, fltp, 384 kb/s&#xA;Stream #0.2(eng): Video: h264 (Main), yuv420p, 1280x568, 4027 kb/s, PAR 1:1 DAR 160:71, 23.98 fps, 2997 tbn, 50 tbc (default)&#xA;Stream #0.3(eng): Subtitle: c608 / 0x38303663, 0 kb/s&#xA;Stream #0.4(und): Subtitle: text / 0x74786574&#xA;Stream #0.5: Video: mjpeg, yuvj420p, 667x1000 [PAR 72:72 DAR 667:1000], 90k tbn&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I am trying to strip out the first audio stream from the file like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i file.mp4 -map 0 -map -0:0 -codec copy file-out.mp4&#xA;&#xA;# OR #&#xA;&#xA;ffmpeg -i file.mp4 -map 0 -map -0:0 -codec copy file-out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The problem is, I get this error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Could not write header for output file #0 (incorrect codec parameters ?): Operation not permitted&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So, I checked if something's wrong with the mp4 file itself:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avprobe file.mp4&#xA;&#xA;# OR #&#xA;&#xA;ffprobe file.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And the output says:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Unsupported codec with id 0 for input stream 3&#xA;Unsupported codec with id 94213 for input stream 4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have no idea what that means. (Apparently something's wrong with the subtitles, but I got the video from iTunes.)&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;What's wrong?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Can I simply force avconv/ffmpeg to do what I asked of it (i.e. strip the audio stream &amp;amp; copy the rest as it is)? If so, how?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Is there a better alternative for remuxing, that's command-line &amp;amp; actively developed?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Apparently I missed the other errors/warnings in the console output before the final error message, like @aergistal suggested:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mp4 @ 0x2645420] Codec for stream 0 does not use global headers but container format requires global headers&#xA;[mp4 @ 0x2645420] Codec for stream 1 does not use global headers but container format requires global headers&#xA;[mp4 @ 0x2645420] Codec for stream 2 does not use global headers but container format requires global headers&#xA;[mp4 @ 0x2645420] Codec for stream 3 does not use global headers but container format requires global headers&#xA;[mp4 @ 0x2645420] Codec for stream 4 does not use global headers but container format requires global headers&#xA;[mp4 @ 0x2645420] track 2: could not find tag, codec not currently supported in container&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1681" LastEditorUserId="1681" LastEditDate="2015-11-27T15:48:42.303" LastActivityDate="2015-11-27T15:48:42.303" Title="FFmpeg/Avconv unable to copy subtitles; Unsupported codec?" Tags="|video|ffmpeg|encoding|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17006" PostTypeId="2" ParentId="16999" CreationDate="2015-11-27T12:52:15.683" Score="1" Body="&lt;p&gt;At the moment, Adobe Premiere Pro struggles to run properly on the systems it supports--Windows 10 and Mac OS 10.10.  As of today, Adobe does not even recommend running it on Mac OS 10.11!  Premiere Pro does not run at all on Linux, and while you might be able to create some virtualized environment that can host a cluster of OSX or Windows instances on a Linux cluster, such virtualized environments are weakest where Premiere Pro needs them to be strongest: at the CPU/GPU interface.  In summary, not today, and likely not in the near future.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A far better starting place for your cluster project would be to select an open source video editor (here's &lt;a href=&quot;http://opensource.com/life/15/1/current-state-linux-video-editing&quot; rel=&quot;nofollow&quot;&gt;a snapshot of the state of the art for 2015&lt;/a&gt;) and evaluate what sort of Raspberry Pi cluster is needed to compete with a typical modern GPU.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-11-27T12:52:15.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17007" PostTypeId="2" ParentId="17004" CreationDate="2015-11-27T13:47:37.450" Score="4" Body="&lt;p&gt;Sooner or later you have to look at your video and make choices.  A term of the art is to &quot;create video selects&quot;.  And the organizational technique used in Premiere Pro is called a &quot;stacked timeline&quot; or a &lt;a href=&quot;http://vashivisuals.com/the-pancake-timeline-maximum-limit-is-24-hours/&quot; rel=&quot;nofollow&quot;&gt;&quot;pancake timeline&quot;&lt;/a&gt;(with more details explained &lt;a href=&quot;http://vashivisuals.com/adobe-cs6-5-editing-tips-for-music-videos/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;).  But to ease into these (and answer your question)...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You absolutely need to go through your footage to find the good stuff.  Don't think of it as &quot;editing out the unusable parts&quot;, but rather &quot;find, mark, and label the good parts&quot;.  Labeling is key because that's how you are going to find the good stuff later.  Mark in and out points to quickly get rid of useless &quot;flying to&quot; and &quot;flying from&quot; parts of your footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Quoting from &lt;a href=&quot;http://vashivisuals.com/the-pancake-timeline-maximum-limit-is-24-hours/&quot; rel=&quot;nofollow&quot;&gt;1&lt;/a&gt;, &quot;By stacking 2 timelines on top of each other…an editor can now access an entire reel of selects in chronological order (or whatever order desired) and instantly drop them into the active timeline below. To accomplish this layout…first open both timelines by clicking on them in the Project Panel. Drag the Selects timeline tab and hover over the top quarter of the Master timeline. Once it turns a purple color, release the tab and you’re in Pancake Land! By not having to bounce between tabbed timelines and using copy/paste…the process of analyzing and deciding which shot makes it into the cut is streamlined and intuitive. You can playback the Selects timeline in the program panel or hit the “match frame” keyboard shortcut and play it back in the source panel. Then just insert edit or drag-and-drop the shots you want into the Main timeline. Another very nice feature of this edit workflow is that the shots you pull from the Selects (top) timeline remain in their original position and are duplicated into the Main (bottom) timeline.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing to keep in mind is that the construction and ordering of the selects timeline is up to you.  You can order your footage chronologically, by subject, by altitude, whatever your labeling system and sorting system might be.  Make metadata work for you!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At this point you probably have an idea of what your true &quot;hero&quot; footage is, and how much time you can fill with the top 95% of your material.  (Or you have an idea how deeply you have to scrape the barrel to create a 2-3 minute video.)  This will give you an idea of to find the right matching music--both thematically and in length.  And it will give you an idea whether you are better off to start cutting the video to the audio, or vice-versa.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Usually the best results are those that make the best elements speak best, both by themselves and together in ensemble.  If something sticks out like a sore thumb, take it out.  If you realize there's a shot that would make the video complete and you don't have it, maybe (in your case) you can rig up the flycam and get it.  Most video editors don't have that luxury because the footage is a given and they cannot just ask for more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As your video converges with the audio, you will get a sense of just how important it is to align visual and audio &quot;beats&quot;.  Keep working until every visual moment is reinforced by the audio, and vice-versa.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-11-27T13:47:37.450" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17008" PostTypeId="2" ParentId="17001" CreationDate="2015-11-27T14:06:10.333" Score="1" Body="&lt;p&gt;It is a jump cut (creating a short video loop) followed by a &lt;a href=&quot;https://en.wikipedia.org/wiki/Match_cut&quot; rel=&quot;nofollow&quot;&gt;match cut&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-11-27T14:06:10.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17009" PostTypeId="2" ParentId="17005" CreationDate="2015-11-27T15:34:09.423" Score="3" Body="&lt;p&gt;The fourth stream apparently is a &lt;a href=&quot;https://en.wikipedia.org/wiki/EIA-608&quot; rel=&quot;nofollow&quot;&gt;CEA-608&lt;/a&gt; subtitle stream, which during the days of analog television signal transmission was caption data &lt;em&gt;embedded within&lt;/em&gt; the video data. Apparently FFmpeg can extract it but can't &lt;a href=&quot;https://trac.ffmpeg.org/ticket/1778&quot; rel=&quot;nofollow&quot;&gt;mux&lt;/a&gt; it to a new container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for stripping only the audio, &lt;a href=&quot;https://gpac.wp.mines-telecom.fr/mp4box/&quot; rel=&quot;nofollow&quot;&gt;MP4Box&lt;/a&gt; may be of help.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-27T15:34:09.423" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17010" PostTypeId="2" ParentId="16974" CreationDate="2015-11-28T05:32:44.827" Score="5" Body="&lt;p&gt;I am the author of the original Calf plugin, I had no idea it was being used in FFmpeg, great!  The original plugin used to have a sidechain input to use as the level detection, but I am assuming the ported version just uses the input signal as this level.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main parameter is the threshold, it sets the level below which gating begins to occur.  Having 0 knee makes it a very sharp transition from signal to no signal, as well as the attack and release times.  I have not actually used the FFmpeg ported version of this plugin before, but I assume it would be similar.  It has quite a number of controls which probably makes it unsuitable to use without the usual GUI that shows the current level and the gating curve.  One way to test it would be to install calf-plugins and play with the Calf Gate until you get a feel for the parameters, and then apply the same to FFmpeg.  Sorry I cannot be more helpful because I did not write this port and I don't really understand the FFmpeg code.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: Thanks for alerting me about my malicious javascript, I think my blog was attacked recently, I have been cleaning it up.&lt;/p&gt;&#xA;" OwnerUserId="12173" LastActivityDate="2015-11-28T05:32:44.827" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17011" PostTypeId="2" ParentId="16974" CreationDate="2015-11-28T08:50:13.540" Score="3" Body="&lt;p&gt;The threshold could be set in dB too, just append dB without space after value.&#xA;Other options have same defaults and range as Calf plugin.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2015-11-28T08:50:13.540" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17013" PostTypeId="2" ParentId="16150" CreationDate="2015-11-28T12:01:34.317" Score="1" Body="&lt;p&gt;To scale a mask as if you were using the group select tool in Illustrator either alt-click the mask, or hit &lt;kbd&gt;cmd/ctrl&lt;/kbd&gt;&lt;kbd&gt;T&lt;/kbd&gt;.  It's truly perplexing how all the Adobe apps have different tools and shortcuts for the same tasks. &lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-11-28T12:01:34.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17015" PostTypeId="2" ParentId="15827" CreationDate="2015-11-28T23:01:44.170" Score="0" Body="&lt;p&gt;This is as it is described in the manual. These modes are continuously filming, but only saving the last 5min or 20min. This is done by splitting the part up in serveral files, and the oldest one will be overwritten. To your second question: What do you mean by 'counter'?&lt;/p&gt;&#xA;" OwnerUserId="12178" LastActivityDate="2015-11-28T23:01:44.170" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17016" PostTypeId="1" AcceptedAnswerId="17018" CreationDate="2015-11-29T00:00:34.250" Score="0" ViewCount="38" Body="&lt;p&gt;If I have for example 720 or 1080 component (analog YPBPR) output from one device going into another device that only does 576 will it work ? what will be the result ?&lt;/p&gt;&#xA;" OwnerUserId="10687" LastActivityDate="2015-11-29T12:44:47.997" Title="Component AV, higher resolution source into lower reciever?" Tags="|analog|formats|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17017" PostTypeId="2" ParentId="16994" CreationDate="2015-11-29T00:11:45.530" Score="1" Body="&lt;p&gt;So possibly OBS (i havnt checked) as CasparCG (im using) do not support stream producers (input), I was recently looking into this option, and one program i found (there may be others) that supports this is vmix &lt;a href=&quot;http://www.vmix.com/software/features.aspx&quot; rel=&quot;nofollow&quot;&gt;http://www.vmix.com/software/features.aspx&lt;/a&gt; which has a free version.&lt;/p&gt;&#xA;" OwnerUserId="10687" LastActivityDate="2015-11-29T00:11:45.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17018" PostTypeId="2" ParentId="17016" CreationDate="2015-11-29T12:44:47.997" Score="0" Body="&lt;p&gt;It won't work... that will be the result :-) The answer is in your question: if the device &lt;strong&gt;&lt;em&gt;only&lt;/em&gt;&lt;/strong&gt; does 576, then it won't handle anything else. &lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-11-29T12:44:47.997" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17019" PostTypeId="1" CreationDate="2015-11-29T13:31:27.137" Score="0" ViewCount="1690" Body="&lt;p&gt;I have an MP4 file, and I've tried importing it into Windows Movie Maker, iMovie and Final Cut Pro. In all three programs, the video seems to import just fine, but I can't preview it. It appears in a black bar in the timeline, and the preview window stays black even while it 'playing'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video was shot on a Sony PMW-EX1R, and I transferred the contents of the SD card straight to my computer, and I am now attempting to work with the MP4 file that was on the card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I understand that this is not the correct way to do it and the camera probably uses a codec not supported by the programs mentioned above, but the MP4 file plays just fine in VLC, and all three video editors work with .MP4 and .MOV video shot on my Nikon D3100.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, how can I get the files to play nice with my editor? Do I need to convert them? Change a setting somewhere?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Under the 'more info' option in finder, where the dimensions of the video would normally be, there's nothing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT 2:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the results of mediainfo:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : Documents/Removable Disk/BPAV/CLPR/184_0028_01/184_0028_01.MP4&#xA;Format                                   : MPEG-4&#xA;Commercial name                          : XDCAM EX 35&#xA;Format profile                           : Base Media / Version 2&#xA;Codec ID                                 : mp42&#xA;File size                                : 923 MiB&#xA;Duration                                 : 3mn 31s&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 36.5 Mbps&#xA;Encoded date                             : UTC 2015-06-19 18:52:18&#xA;Tagged date                              : UTC 2015-06-19 18:52:18&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : MPEG Video&#xA;Commercial name                          : XDCAM EX 35&#xA;Format version                           : Version 2&#xA;Format profile                           : Main@High&#xA;Format settings, BVOP                    : Yes&#xA;Format settings, Matrix                  : Custom&#xA;Format settings, GOP                     : M=3, N=12&#xA;Codec ID                                 : 61&#xA;Duration                                 : 3mn 31s&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 35.0 Mbps&#xA;Width                                    : 1 920 pixels&#xA;Height                                   : 1 080 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 25.000 fps&#xA;Standard                                 : Component&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel*Frame)                       : 0.675&#xA;Stream size                              : 884 MiB (96%)&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2015-06-19 18:52:18&#xA;Tagged date                              : UTC 2015-06-19 18:52:18&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.709&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : PCM&#xA;Format settings, Endianness              : Big&#xA;Format settings, Sign                    : Signed&#xA;Codec ID                                 : twos&#xA;Duration                                 : 3mn 31s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 1 536 Kbps&#xA;Channel(s)                               : 2 channels&#xA;Sampling rate                            : 48.0 KHz&#xA;Bit depth                                : 16 bits&#xA;Stream size                              : 38.8 MiB (4%)&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2015-06-19 18:52:18&#xA;Tagged date                              : UTC 2015-06-19 18:52:18&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12179" LastEditorUserId="12179" LastEditDate="2015-11-29T14:02:09.030" LastActivityDate="2016-01-30T07:58:35.977" Title="No video editor will work with my MP4 file" Tags="|video-editor|file-formats|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17020" PostTypeId="2" ParentId="17019" CreationDate="2015-11-29T14:33:46.710" Score="2" Body="&lt;p&gt;I used handbrake to re-encode the video as .MOV, and then it worked just fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suspect ffmpeg would work too, but I couldn't find the output so I can't be sure.&lt;/p&gt;&#xA;" OwnerUserId="12179" LastActivityDate="2015-11-29T14:33:46.710" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17021" PostTypeId="2" ParentId="10820" CreationDate="2015-11-29T16:09:00.327" Score="0" Body="&lt;p&gt;Delayed reply but I just had the same issue. I found that toggling the roll/crawl options on and off triggered Premiere back into normal behaviour. This saves having to restart your project. &lt;/p&gt;&#xA;" OwnerUserId="12134" LastActivityDate="2015-11-29T16:09:00.327" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17022" PostTypeId="2" ParentId="17004" CreationDate="2015-11-30T04:47:26.323" Score="0" Body="&lt;p&gt;I'd probably go shoot a lot of footage and then find sounds or music that incorporate nicely with some of the shots you took then get rid of the rest the can't be incorporated.&lt;/p&gt;&#xA;" OwnerUserId="12180" LastActivityDate="2015-11-30T04:47:26.323" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17024" PostTypeId="1" AcceptedAnswerId="18281" CreationDate="2015-11-30T09:32:56.343" Score="10" ViewCount="85430" Body="&lt;p&gt;How to record HDMI video, which is being sent from a notebook to a projector without interrupting it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The HDMI signal shows desktop activity and/or video game gameplay on different devices that run Windows, Mac OS X or Linux.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is it possible to use an HD camcorder with HDMI in and out (example device: Sony HDR PJ620)?&lt;/li&gt;&#xA;&lt;li&gt;Are there devices with built-in storage or that can write to SATA, USB or SD storage?&lt;/li&gt;&#xA;&lt;li&gt;Are there devices which can be connected to a second laptop which then records the video?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Hardware/Software solutions that run on/in the computer which outputs the HDMI signal are not relevant. The video-outputting computers can not be manipulated.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="1357" LastActivityDate="2018-11-19T21:50:56.370" Title="How to record HDMI video output?" Tags="|hdmi|capturing|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17026" PostTypeId="2" ParentId="17024" CreationDate="2015-11-30T10:27:03.957" Score="1" Body="&lt;p&gt;This should work:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/887194-REG/Hauppauge_1480_HD_PVR_2_Gaming_Edition.html&quot; rel=&quot;nofollow&quot;&gt;Hauppauge HD Personal Video Recorder 2 Gaming Edition&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Description&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The HD Personal Video Recorder 2 Gaming Edition from Hauppauge! allows&#xA;  you to record gameplay from your preferred gaming console in Full HD&#xA;  1080p video. With HDMI input and output ports as well a component&#xA;  video input port, this personal video recorder supports the Xbox 360,&#xA;  the Playstation 3 as well as the PC. Also, the no-delay HDMI video&#xA;  passthrough allows you to record and play in real time.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You have to connect another computer via USB with a S/W that does the recording. To find similar devices, search for &lt;em&gt;HDMI recorder with passthrough&lt;/em&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-30T10:27:03.957" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17028" PostTypeId="1" AcceptedAnswerId="17029" CreationDate="2015-11-30T20:43:15.063" Score="0" ViewCount="105" Body="&lt;p&gt;I'm exporting video from Flash CC 2015 to video - it renders a quicktime (.mov) file which seems to retain the quality and color palette of my original flash file, but then when I use adobe media encoder to create an h264, the colors get washed out, which would be ok except that there is a discrepancy between the background color of my website and the background color of the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't use alpha channel video to get rid of the background since h264 does not support it. Anyone have any pointers on how to retain the color palette of my flash file / best way to convert flash into a video file?&lt;/p&gt;&#xA;" OwnerUserId="12185" LastActivityDate="2015-11-30T21:49:59.737" Title="exporting video from flash for html5 video changes colors" Tags="|webvideos|adobe-media-encoder|color|flash|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17029" PostTypeId="2" ParentId="17028" CreationDate="2015-11-30T21:49:59.737" Score="0" Body="&lt;p&gt;Broadcast video codecs such as H.264 (typically) store color as &lt;a href=&quot;https://en.wikipedia.org/wiki/YCbCr&quot; rel=&quot;nofollow&quot;&gt;YUV&lt;/a&gt;, not RGB. Conversion from RGB to YUV will cause a subtle color shift but also the YUV range used to represent pixel color value is compressed compared to RGB, which may also affect the hue. And finally there's the &lt;a href=&quot;https://en.wikipedia.org/wiki/Chroma_subsampling&quot; rel=&quot;nofollow&quot;&gt;chroma subsampling&lt;/a&gt;, a technique used in video where a block of pixels share the same color values.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the specific hue of your webpage BG cannot be changed then there are two broad ways to go forward:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Avoid a sharp interface between your video and the surrounding page by feathering the edges of your video or flash canvas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) A cruder, trial &amp;amp; error solution is to apply a tint overlay over the HTML5 video canvas so that the resultant look matches the hue. This will be a subtle tint and will affect the other colors in the video as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, you can always take a screenshot of the webpage with your current video in it, sample its color in an image processing app and make that your webpage background color.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-11-30T21:49:59.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17033" PostTypeId="1" AcceptedAnswerId="17063" CreationDate="2015-12-01T18:08:59.800" Score="0" ViewCount="547" Body="&lt;p&gt;Ok - I have a 10' x 8' foot DIY green screen. Since I am newbie I have not yet purchased any lighting. I do have a set of circular reflectors, and a lightstand with a boom and clamps that I was &quot;thinking&quot; of using for fill light. What inexpensive light set should I get? Do I need to light the green screen with 2 softbox lights? What should I use for the key light and back light? &lt;/p&gt;&#xA;" OwnerUserId="12151" LastActivityDate="2015-12-04T16:39:18.077" Title="Three Point Lighting on Green Screen" Tags="|video|lighting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17034" PostTypeId="1" AcceptedAnswerId="17039" CreationDate="2015-12-01T19:00:08.320" Score="0" ViewCount="1514" Body="&lt;p&gt;In After Effects, I want to use a mask to prevent an area from beein affected by a layer. I created a mask using the pen tool, but instead of masking the shape, the program masks the bounds of the shape. It &quot;draws&quot; a rectangle arround the path and masks everything except the rectangle.&lt;br&gt;&#xA;I am a beginner. What am I doing wrong?&lt;br&gt;&#xA;Thanks!  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:&lt;br&gt;&#xA;The mask works for simple layers, but my layer has an beam effect on it.&lt;/p&gt;&#xA;" OwnerUserId="12191" LastEditorUserId="12191" LastEditDate="2015-12-02T00:56:17.990" LastActivityDate="2015-12-02T09:45:24.903" Title="Mask not working" Tags="|after-effects|mask|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17036" PostTypeId="1" AcceptedAnswerId="17037" CreationDate="2015-12-02T01:08:40.583" Score="0" ViewCount="66" Body="&lt;p&gt;I want to know that draggable split-screen effect is used in the next video? j-query?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/TUDdciCNWWk&quot; rel=&quot;nofollow&quot;&gt;Draggable interact split screen video&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regards&lt;/p&gt;&#xA;" OwnerUserId="12194" LastActivityDate="2015-12-02T02:38:37.340" Title="Draggable effect split screen" Tags="|video|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17037" PostTypeId="2" ParentId="17036" CreationDate="2015-12-02T02:38:37.340" Score="0" Body="&lt;p&gt;You can accomplish that with simple masks. The main thing you need to do, it is to make several shots from same angels and same positions of the camera.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-12-02T02:38:37.340" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="17039" PostTypeId="2" ParentId="17034" CreationDate="2015-12-02T09:45:24.903" Score="0" Body="&lt;p&gt;Masks happen before effects so some act strange. Two main options:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Apply the mask to a solid above your beam and then use Track Matte&lt;/li&gt;&#xA;&lt;li&gt;Pre-comp your Beam and mask that instead&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5206" LastActivityDate="2015-12-02T09:45:24.903" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17040" PostTypeId="1" AcceptedAnswerId="17044" CreationDate="2015-12-02T12:29:49.010" Score="2" ViewCount="3656" Body="&lt;p&gt;My editing area looks like this: &#xA;&lt;a href=&quot;https://i.stack.imgur.com/Pb7Ny.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Pb7Ny.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For some reason when I export I get about 2 minutes of extra black screen at the end of my movie. I tried adding &lt;code&gt;in&lt;/code&gt; and &lt;code&gt;out&lt;/code&gt; markers but I haven't been able to fix the problem. &lt;/p&gt;&#xA;" OwnerUserId="12199" LastActivityDate="2019-08-08T14:10:37.530" Title="Getting extra blank minutes at the end of the video" Tags="|editing|final-cut-pro-x|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17041" PostTypeId="1" CreationDate="2015-12-02T13:01:32.543" Score="1" ViewCount="171" Body="&lt;p&gt;I have to issue a series of commands, all in the form as shown below:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -i 1.mp4 -s 640x480 -c:a copy 2.mp4&lt;br&gt;&#xA;  ffmpeg -i 2.mp4 -s 640x480 -c:a copy 2_2.mp4&lt;br&gt;&#xA;  ffmpeg -i 3.mp4 -s 640x480 -c:a copy 3_2.mp4&lt;br&gt;&#xA;  ffmpeg -i 4.mp4 -s 640x480 -c:a copy 4_2.mp4  &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Please show me how can I issue all commands automatically or do it with one command.&lt;/p&gt;&#xA;" OwnerUserId="12145" LastEditorUserId="1871" LastEditDate="2015-12-02T17:16:47.043" LastActivityDate="2015-12-03T21:48:17.493" Title="How can i do series command in ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17042" PostTypeId="2" ParentId="16440" CreationDate="2015-12-02T14:40:18.570" Score="1" Body="&lt;p&gt;I am not sure I understand the problem you are having either (and nofare may have answered), but whenever I hear the &quot;timeline slip&quot; I think of when my video gets out of sync from the audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My number one cause of this is having an audio layer locked when inserting a clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Quickest solution is to right click the red box in top right corner of clip (showing negative or positive number) and choose either &quot;Move into Sync&quot; or &quot;Slip into Sync&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry if this isn't your problem...just taking a stab at potential issue.&lt;/p&gt;&#xA;" OwnerUserId="12141" LastActivityDate="2015-12-02T14:40:18.570" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17043" PostTypeId="2" ParentId="4233" CreationDate="2015-12-02T14:46:05.897" Score="0" Body="&lt;p&gt;GoPro gives away a quite capable video editor: &lt;a href=&quot;https://shop.gopro.com/softwareandapp&quot; rel=&quot;nofollow&quot;&gt;GoPro Studio&lt;/a&gt;. Nothing prevents you to use it with no GoPro cameras media. Sometimes you have to do some conversions, but it is quite easy to use, has a lot of tutorials, works in Windows and Mac, and makes it easy to publish everywhere. Have I told you that it is free?&lt;/p&gt;&#xA;" OwnerUserId="12201" LastActivityDate="2015-12-02T14:46:05.897" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17044" PostTypeId="2" ParentId="17040" CreationDate="2015-12-02T15:48:53.597" Score="2" Body="&lt;p&gt;There are three things you have to get right:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;You have to have the right length of video in your sequence (which can be helped by having explicitly set in and out markers at the right place).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You have to export the correct sequence.  If you don't have the correct sequence selected when you render, your export might, by coincidence, render the same content you are looking at, but from from a differently defined perspective--one that has a different concept of the in and out points you have defined for the sequence you &lt;em&gt;should&lt;/em&gt; be rendering.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In the rendering window, there are several options, including whether to render the whole clip (irrespective of in and out points), render just between in and out, or some other options.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Try setting the correct in and out points, rendering the correct sequence, and then ensuring that your rendering actually honors the sequence's in and out points.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-12-02T15:48:53.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17045" PostTypeId="2" ParentId="17040" CreationDate="2015-12-02T16:39:25.730" Score="1" Body="&lt;p&gt;If you're having trouble getting FCPX to export exactly what you want, look no further than the range select tool. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use the &quot;r&quot; keyboard shortcut to summon the tool, drag a marquee around everything you want to include in the export (or cmd-a for your whole timeline), then cmd-e to export (or your favorite flavor from the share menu).  In the export dialog, you can skim through the video to make sure everything you want is included and everything you don't is excluded.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2015-12-02T16:39:25.730" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17046" PostTypeId="1" AcceptedAnswerId="17073" CreationDate="2015-12-02T21:38:48.320" Score="1" ViewCount="52" Body="&lt;p&gt;I want to try using speedgrade to get an overall cinematic look and I've heard that it is preferable to do speedgrade work before aadding any transitions or effects in PP. When I import from speedgrade to PP ( using an image sequence which I heard was the most typical/professional way to do it ) it has the sequence as a single clip in PP. What would I do at that point? Would I spit the single clip back into mutliple clips so I can add the transitions?&lt;/p&gt;&#xA;" OwnerUserId="1023" LastActivityDate="2015-12-05T16:35:21.617" Title="What is a good workflow when using speedgrade and transitions and effects in Premiere Pro?" Tags="|premiere|color-correction|transitions|color-grading|speedgrade|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17047" PostTypeId="1" AcceptedAnswerId="17052" CreationDate="2015-12-02T21:44:57.943" Score="0" ViewCount="54" Body="&lt;p&gt;I have a video recording of a presenter, going through her PowerPoint presentation and taking crowd questions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to be able to upload the video of the presentation along with the PowerPoint presentation, shown side by side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are plenty of YouTube videos that have this sort of thing going on. For example, most DEFCON presentations (&lt;a href=&quot;https://www.youtube.com/watch?v=ChbyaXBKNY8&quot; rel=&quot;nofollow&quot;&gt;example&lt;/a&gt;) show the recording of the presenter in a corner, the logo below, and the slides taking the rest of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a simple way to do this? &lt;/p&gt;&#xA;" OwnerUserId="3057" LastActivityDate="2015-12-03T07:25:03.737" Title="How can I put a PowerPoint presentation with a recording of the presenter?" Tags="|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17048" PostTypeId="1" AcceptedAnswerId="17068" CreationDate="2015-12-02T23:59:57.437" Score="3" ViewCount="427" Body="&lt;p&gt;I'm converting some old VHS tapes to DVD, and all is going well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The last VHS tape, however, is different than the others. Where you would normally have 2 &quot;cogs&quot; for the two reels, this tape only has one, while the takeup wheel &quot;cog&quot; is more or less blocked off:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Bnczg.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Bnczg.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8iNNY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8iNNY.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I insert the tape, it doesn't go down all the way into the player (I'm assuming because the plastic piece above is blocking where the gear would normally go). The VHS player panics, and spits the tape out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I resolve this? And to satisfy my curiosity, what is this piece and why is it there?&lt;/p&gt;&#xA;" OwnerDisplayName="user12195" LastActivityDate="2015-12-04T23:36:05.420" Title="VHS tape has one &quot;cog&quot; blocked off - can't play it" Tags="|vhs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17049" PostTypeId="1" AcceptedAnswerId="17051" CreationDate="2015-12-03T01:54:38.400" Score="1" ViewCount="12718" Body="&lt;p&gt;I have an MKV file with multiple subtitles.  I would like to mark one set of those subtitles as default, so that it is turned on by default when the video starts playing.  NOTE: I do not want to &quot;burn&quot; this subtitles set into the video (I want to be able to turn these subtitles off at any point in time if I so choose).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an MKV editing tool that would allow me to do this?&lt;/p&gt;&#xA;" OwnerUserId="5865" LastActivityDate="2015-12-03T06:14:07.437" Title="How to display subtitles as default in an MKV file" Tags="|subtitles|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17051" PostTypeId="2" ParentId="17049" CreationDate="2015-12-03T06:14:07.437" Score="2" Body="&lt;p&gt;There are two aspects to your query - 1)setting one of the subtitle streams as the default and 2)automatically displaying it during playback.I'm not aware of a method to force a player to display subtitles if that facility has been turned off in its settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the first facility, try mkvpropedit from &lt;a href=&quot;https://mkvtoolnix.download/index.html&quot; rel=&quot;nofollow&quot;&gt;MKVToolNix&lt;/a&gt; to set the default flag for a subtitle stream. See 2nd &lt;a href=&quot;https://mkvtoolnix.download/doc/mkvpropedit.html#mkvpropedit.examples&quot; rel=&quot;nofollow&quot;&gt;example&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-03T06:14:07.437" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17052" PostTypeId="2" ParentId="17047" CreationDate="2015-12-03T07:25:03.737" Score="1" Body="&lt;p&gt;Any timeline-based multi-track video editor with crop and scale features will allow you to do this. Basic idea is to import all three assets viz. video, logo and Powerpoint (see below) on different tracks in the editor and resize/crop each of them so that the composition looks like the DEFCON videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The time-consuming part is syncing the slides with the presentation. That may be simple but not quick.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For Powerpoint, one has to export individual images of all slides, if there's no animation or transition in the PPT that you want to preserve, or export a video if you do. For video export, you need 2007 or later version of Powerpoint, I believe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All professional video editors (Premiere, FCP, Avid, Vegas, Edius..etc) can do this. Here's a &lt;a href=&quot;http://www.videohelp.com/software/sections/video-editors-advanced&quot; rel=&quot;nofollow&quot;&gt;list&lt;/a&gt;. I'm not aware which of the free or lite video editors are best suited for your task, sorry.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-03T07:25:03.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17053" PostTypeId="1" CreationDate="2015-12-03T10:57:36.360" Score="1" ViewCount="146" Body="&lt;p&gt;I was wondering if it was possible to copy effects settings from photoshop to after effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say I have a simple effect like &quot;Levels&quot; and I want to have the exact same values for the effect in after effects like in Photoshop without having to switch windows to copy the values one by one.&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2016-07-29T13:22:41.633" Title="Copying Effects from Photoshop to After Effects" Tags="|after-effects|effects|color-grading|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17054" PostTypeId="1" AcceptedAnswerId="17055" CreationDate="2015-12-03T17:48:49.013" Score="1" ViewCount="77" Body="&lt;p&gt;I want to embed a clip inside of itself inside of itself inside of itself. I have a clip of a person using a tablet, and I want the same clip displayed &lt;em&gt;on&lt;/em&gt; the tablet. I have tracked the motion of the tablet in Mocha and mapped the clip onto the tablet. Rather than track the the motion of the tablet in the video on the first tablet, I'm curious if I can just copy the movement keyframes but transpose them for the movement of the first tablet? Can keyframes be transposed relative to another set of keyframes?&lt;/p&gt;&#xA;" OwnerUserId="12205" LastActivityDate="2015-12-04T18:36:57.397" Title="Transposing keyframes or recursive keyframing in AE" Tags="|after-effects|keyframes|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17055" PostTypeId="2" ParentId="17054" CreationDate="2015-12-03T18:07:55.897" Score="1" Body="&lt;p&gt;Duplicate your composition twice. Let's call these 1, 2 and 3&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In &lt;strong&gt;2&lt;/strong&gt;, replace the embedded clip layer with &lt;strong&gt;3&lt;/strong&gt;. With &lt;kbd&gt;Alt&lt;/kbd&gt; held down and the embedded clip layer being selected, drag &lt;strong&gt;3&lt;/strong&gt; on top of it. In &lt;strong&gt;1&lt;/strong&gt;, replace its embedded clip layer with &lt;strong&gt;2&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I assume that the dimensions of the source clip and the composition are the same, else some transformation will be required.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="6685" LastEditDate="2015-12-04T18:36:57.397" LastActivityDate="2015-12-04T18:36:57.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17056" PostTypeId="2" ParentId="17041" CreationDate="2015-12-03T21:40:36.190" Score="2" Body="&lt;h1&gt;use a loop&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;If you're a Linux or OS X user then you can use a Bash &lt;em&gt;for loop&lt;/em&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkdir outputdir&#xA;for f in *.mp4; do ffmpeg -i &quot;$f&quot; -c:v libx264 -vf scale=640:-2 -c:a copy &quot;outputdir/${f%.*}.mp4&quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Maybe a Windows user can add a similar example that works for that OS.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;or simply cram it all in one command&lt;/h1&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mp4 -i 2.mp4 -i 3.mp4 -i 4.mp4 \&#xA;-map 0 -s 640x480 -c:a copy 1_2.mp4 \&#xA;-map 1 -s 640x480 -c:a copy 2_2.mp4 \&#xA;-map 2 -s 640x480 -c:a copy 3_2.mp4 \&#xA;-map 3 -s 640x480 -c:a copy 4_2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You have to use &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Advanced-options&quot; rel=&quot;nofollow&quot;&gt;&lt;code&gt;-map&lt;/code&gt;&lt;/a&gt; otherwise the default &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Stream-selection&quot; rel=&quot;nofollow&quot;&gt;stream selection&lt;/a&gt; will choose the same input for each output.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2015-12-03T21:48:17.493" LastActivityDate="2015-12-03T21:48:17.493" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17057" PostTypeId="2" ParentId="12677" CreationDate="2015-12-03T22:48:44.063" Score="0" Body="&lt;p&gt;Here's a way you can build one for under 10$.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/a8Ob7Q0R1fM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="12211" LastActivityDate="2015-12-03T22:48:44.063" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17059" PostTypeId="1" AcceptedAnswerId="17060" CreationDate="2015-12-04T08:00:10.737" Score="0" ViewCount="115" Body="&lt;p&gt;Hi im trying to go from computer's ATI GPU via hdmi-&gt;component_adapter to &lt;a href=&quot;http://www.shputech.com/news.php?module=product&amp;amp;act=show&amp;amp;classid=18&amp;amp;id=141&quot; rel=&quot;nofollow&quot;&gt;SD DVB-T Modulator&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to modulator spec it does 720x576_50i (PAL) &amp;amp; 720x480_60i (NTSC)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which if any of these control panel resolution choices would match either or those: (ive reduced the list to the ones i think are closest)&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;720 by 576 (16bit) 50 Hertz&lt;/li&gt;&#xA;&lt;li&gt;720 by 576 (16bit) 25 Hertz (Interlaced)&lt;/li&gt;&#xA;&lt;li&gt;720 by 480 (16bit) 60 Hertz&lt;/li&gt;&#xA;&lt;li&gt;720 by 480 (16bit) 30 Hertz (Interlaced)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;And finally how would any of these compare to the outputs from a &lt;a href=&quot;https://www.blackmagicdesign.com/au/products/decklink/techspecs/W-DLK-05&quot; rel=&quot;nofollow&quot;&gt;Decklink Mini Monitor&lt;/a&gt;, that states it does SD 625/25 PAL, 525/29.97 NTSC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="10687" LastActivityDate="2015-12-04T09:56:04.327" Title="Help choose correct HDMI GPU resolution to get standard PAL/NTSC signal" Tags="|video-standards|formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17060" PostTypeId="2" ParentId="17059" CreationDate="2015-12-04T09:15:13.780" Score="0" Body="&lt;p&gt;Out of your list, these look like your acceptable modes&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;720 by 576 (16bit) 25 Hertz (Interlaced)&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;720 by 480 (16bit) 30 Hertz (Interlaced)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Although depending on your adapter, it may be able to work with the other two as well. Note that all the modes are 16-bit so you are working with much reduced color resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Decklink modes are PAL and NTSC spec signal outputs and, I suspect, it will automatically downscale and crop your full resolution HDMI feed, so no need to tinker with your computer display modes.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-12-04T09:56:04.327" LastActivityDate="2015-12-04T09:56:04.327" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17061" PostTypeId="1" AcceptedAnswerId="17069" CreationDate="2015-12-04T12:50:18.153" Score="25" ViewCount="42257" Body="&lt;p&gt;I record a few hours of video footage every day, which I set in queue for encoding with &lt;code&gt;ffmpeg&lt;/code&gt;. I use the &lt;code&gt;veryslow&lt;/code&gt; preset with &lt;code&gt;x265&lt;/code&gt;, so a single hour of video may take up to 20 hours or more to encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since my computer is working day and night, I'm wondering if &lt;code&gt;ffmpeg&lt;/code&gt; has a way to &lt;strong&gt;pause and resume&lt;/strong&gt; encoding? I'm using &lt;code&gt;Terminal&lt;/code&gt; for OS X.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If so, can I also continue encoding even after shutting down Terminal and rebooting the computer? I think the Terminal session is restored when you log in again in OS X, at least the Terminal history is.&lt;/p&gt;&#xA;" OwnerUserId="12052" LastActivityDate="2022-03-08T03:17:29.270" Title="Is there a way to pause and resume FFmpeg encoding?" Tags="|ffmpeg|osx|" AnswerCount="9" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17062" PostTypeId="2" ParentId="17061" CreationDate="2015-12-04T13:16:47.220" Score="16" Body="&lt;p&gt;It didn't seem possible as of &lt;a href=&quot;https://trac.ffmpeg.org/ticket/4895&quot; rel=&quot;noreferrer&quot;&gt;Sep 30 2015&lt;/a&gt;. I would suggest segmenting the source file, encoding the segments and then stitching the resultant files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This isn't a true pause/resume facility but the piecemeal division will allow you to have a break from encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A rough overview of the commands to issue:&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Break the fullfile into parts&lt;/h2&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i recording.mp4 -c copy -flags +global_header -segment_time n -f segment file%03d.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This should create file000.mp4, file001.mp4 and so on. Because of how the segmenter works - it only cuts at I-frames - these files won't be exactly &lt;code&gt;n&lt;/code&gt; seconds long and the video part may not play properly, but the data's all there and you can convert each of the parts e.g.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i file001.mp4 -{filter/encoding parameters} -fflags +genpts file001-new.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;Rejoin the encoded parts&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Create a text file and put in the name of each rendered file like this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'file000-new.mp4'&#xA;file 'file001-new.mp4'&#xA;.... &#xA;file 'filelast-new.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i textfile -c copy -fflags +genpts recording-encoded.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-04T13:16:47.220" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17063" PostTypeId="2" ParentId="17033" CreationDate="2015-12-04T16:39:18.077" Score="3" Body="&lt;ul&gt;&#xA;&lt;li&gt;Using 2 lights with softbox would be great for your background.&#xA;The goal here is to get the background lit equally on all sides.&#xA;You can use the zebra on your camera to help achieve this.&lt;/li&gt;&#xA;&lt;li&gt;Avoid shining your background lights onto your subject. That's what your key and fill are for.&lt;/li&gt;&#xA;&lt;li&gt;Make sure you keep enough distance between your subject and the background. This ensures you have little/no shadows on your green screen. Also, it helps to remove the green spill bouncing back from your background onto your subject.&lt;/li&gt;&#xA;&lt;li&gt;Please spend twice as much energy on lighting your subject. People tend to spend more time and energy on the part of the image that they will throw away (green screen) and forget about the part that they will use in their film.  &lt;/li&gt;&#xA;&lt;li&gt;Keylight is a difficult decision and might be different for each project. For a regular MC/CU another light with softbox would be great!&lt;/li&gt;&#xA;&lt;li&gt;Those reflectors will work great as fill light. Depending on what Keylight you chose. They might be less optimal when using certain LED sources. In that case you might need a second LED as a fill.&lt;/li&gt;&#xA;&lt;li&gt;We kind of skipped the backlight of you subject. Sure, this is optional. But it could really help your footage to the next level.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Good Luck,&lt;/p&gt;&#xA;" OwnerUserId="12218" LastActivityDate="2015-12-04T16:39:18.077" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17064" PostTypeId="2" ParentId="16061" CreationDate="2015-12-04T16:45:34.597" Score="1" Body="&lt;p&gt;Blackmagic Design Fusion 8 is up for the challange.&#xA;It is a very high-end compositing application.&#xA;Available on Mac and Windows, and as of now completely free.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might need to find some tutorials to show you how to use it. &lt;/p&gt;&#xA;" OwnerUserId="12218" LastActivityDate="2015-12-04T16:45:34.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17065" PostTypeId="1" AcceptedAnswerId="17066" CreationDate="2015-12-04T16:57:48.537" Score="3" ViewCount="7708" Body="&lt;p&gt;Is there a way to automatically split a video into multiple files based on chapter markers?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't want to re-encode the file, just a video/audio passthru.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The source file is a MKV container, but I guess it doesn't really matter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apple OS X, Windows… either OS would be fine.&lt;/p&gt;&#xA;" OwnerUserId="12219" LastEditorUserId="1871" LastEditDate="2015-12-04T17:14:59.377" LastActivityDate="2015-12-04T17:30:39.787" Title="How to split video into multiple files based on chapter markers?" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17066" PostTypeId="2" ParentId="17065" CreationDate="2015-12-04T17:30:39.787" Score="6" Body="&lt;p&gt;mkvmerge, a part of &lt;a href=&quot;http://www.videohelp.com/software/MKVtoolnix&quot; rel=&quot;noreferrer&quot;&gt;MKVtoolnix&lt;/a&gt;, will split a MKV file by chapters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basic syntax is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkvmerge -o chapter.mkv --split chapters:all input.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but see &lt;a href=&quot;https://mkvtoolnix.download/doc/mkvmerge.html#mkvmerge.description&quot; rel=&quot;noreferrer&quot;&gt;Section 2.5 #7&lt;/a&gt; of the documentation for more details.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-04T17:30:39.787" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17067" PostTypeId="1" CreationDate="2015-12-04T17:49:11.563" Score="1" ViewCount="197" Body="&lt;p&gt;I have a problem exporting a video from Blender (Cycles Render) with Alpha Channel. Generally it's a scene with sailplane flying about a camera positioned near to the floor. In addition to this it is a camera with a fisheye lens, but I don't think this changes anything.&#xA;I failed to export the video with alpha in blender, so I exported the 500 frames to pngs with an alpha channel.&#xA;I tried many things, but did the job by now.&#xA;The target system is Digital Sky 2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help?&lt;/p&gt;&#xA;" OwnerUserId="12220" LastActivityDate="2015-12-04T17:49:11.563" Title="export a video from Blender with alpha channel" Tags="|after-effects|premiere|blender|alpha|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17068" PostTypeId="2" ParentId="17048" CreationDate="2015-12-04T23:36:05.420" Score="2" Body="&lt;p&gt;So, I posted these images to Reddit under /r/whatisthisthing, and the answer that came back was obvious once it was offered:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Someone has taken a normal tape apart and re-assembled it with the take up spool upside-down.&lt;/p&gt;&#xA;&lt;p&gt;It can't be a cleaning tape because it will not engage with the take up spool drive. A machine might just spit it back out but it could slam into the drive mechanism and cause some damage.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;You will have to take the cartridge apart and carefully flip the spool over. No telling what other nonsense might be going on inside that cassette, however. So standard YMMV disclaimer applies.&lt;/p&gt;&#xA;" OwnerUserId="5804" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-12-04T23:36:05.420" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17069" PostTypeId="2" ParentId="17061" CreationDate="2015-12-05T00:35:32.183" Score="30" Body="&lt;h1&gt;Suspend&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;A simple method is to suspend it with &lt;kbd&gt;ctrl&lt;/kbd&gt;+&lt;kbd&gt;z&lt;/kbd&gt;. Or you could get the PID with &lt;code&gt;pgrep ffmpeg&lt;/code&gt; then use &lt;code&gt;kill -s SIGSTOP &amp;lt;PID&amp;gt;&lt;/code&gt; to suspend.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then resume with &lt;code&gt;fg&lt;/code&gt; command or &lt;code&gt;kill -s SIGCONT &amp;lt;PID&amp;gt;&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately this will not survive a reboot.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;VM&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;If you use a virtual machine, with something like VirtualBox, you could perform your encoding in a guest VM. It will allow you to &quot;save the machine state&quot; at any time which can survive a reboot. It can also allow you to assign max CPU resources for the guest so your host will always have available resources.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Possibly overkill, but if you're familiar with VMs or using one already it is a possible solution.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="10541" LastEditDate="2017-06-02T13:35:40.847" LastActivityDate="2017-06-02T13:35:40.847" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17070" PostTypeId="2" ParentId="14973" CreationDate="2015-12-05T11:03:31.840" Score="0" Body="&lt;p&gt;Although I am not a compositor, I will mention Blackmagic Design Fusion.  It is a high-end node based compositing application with a very impressive feature set. Especially the 3d toolset is amazing. It definitely deserves a place in this list of suggestions. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Having said that; I think it's really important to determine your goal before you decide which application to use. Are you going to use it as an independent filmmaker? Blender or Fusion will both be very good choices. Do you work as a video editor and do you want to expand you skill set? Perhaps Adobe After Effects is something for you. (there are a LOT of resources available for AE). If you want to make it into high-end compositing, it will probably b.e Nuke. (Although I see a big future for Fusion there as well) &lt;/p&gt;&#xA;" OwnerUserId="12218" LastActivityDate="2015-12-05T11:03:31.840" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17071" PostTypeId="1" CreationDate="2015-12-05T14:53:13.733" Score="2" ViewCount="2548" Body="&lt;p&gt;I have a video from snapchat that I have difficulties playing (on the computer).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a .mp4 and it plays perfectly on VLC and QuickTime - but not on anything else. I've tried downloading all sorts of codecs and stuff but i dont get it to work. It dosen't work when uploaded to youtube or facebook for example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Often the first images are fine, but then the rest of the video is like this: &lt;a href=&quot;https://i.stack.imgur.com/CW3kl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/CW3kl.png&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It can also be the reversed. The first images dont show but the rest of the video is fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the video (for download): &lt;a href=&quot;https://drive.google.com/open?id=0B2hzopfx_ybFLWpVMmJyTnctLUU&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/open?id=0B2hzopfx_ybFLWpVMmJyTnctLUU&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any idea?&lt;/p&gt;&#xA;" OwnerUserId="12224" LastActivityDate="2016-04-28T20:46:43.533" Title="Error playing video from snapchat (.mp4)" Tags="|codec|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17072" PostTypeId="2" ParentId="17071" CreationDate="2015-12-05T15:50:20.673" Score="2" Body="&lt;p&gt;Seems that Snapchat allows to select multiple clips of different parameters and stitch them together as one MP4.&lt;/p&gt;&#xA;&lt;p&gt;Like you said, it plays fine in VLC, but ffplay here warns that&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[mov,mp4,m4a,3gp,3g2,mj2 @ 00000000005b0a00] Concatenated H.264 or&#xA;H.265 might not play correctly.&lt;/p&gt;&#xA;&lt;p&gt;[mov,mp4,m4a,3gp,3g2,mj2 @&amp;gt; 00000000005ba100] ignoring multiple glbl&lt;/p&gt;&#xA;&lt;p&gt;[mov,mp4,m4a,3gp,3g2,mj2 @&amp;gt; 00000000005b0a00] multiple edit list entries, a/v desync might occur, patch welcome&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;VLC fails to convert to a good file. Crude method would to screen-record the video playback and crop that, or Snapchat seems to allow to download the individual clips, which would be the best possible method for now.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-12-05T15:50:20.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17073" PostTypeId="2" ParentId="17046" CreationDate="2015-12-05T16:35:21.617" Score="1" Body="&lt;p&gt;It might not be possible to do it that way.&#xA;The best way I'm familiar with is actually the other way around.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;You start a project in Adobe Premiere Pro&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use the &amp;quot;Direct-Link&amp;quot; function to import your Premiere project into Speedgrade.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now, all editorial changes from premiere will update into Speedgrade.&lt;/p&gt;&#xA;&lt;p&gt;A lot of Speedgrade functions will disappear (raw debayering for instance)&lt;br /&gt;&#xA;That is because Premiere is now &amp;quot;the boss&amp;quot; over Speedgrade and you should change those in Premiere.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Sorry for the bad news, but this is the only way I know, how what you ask is possibe.&lt;/p&gt;&#xA;" OwnerUserId="12218" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-12-05T16:35:21.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17074" PostTypeId="2" ParentId="16983" CreationDate="2015-12-05T17:01:30.027" Score="2" Body="&lt;p&gt;There are several ways of achieving this.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Use a hardware solution. They are available from Datavideo or on most video switchers. Obviously, these cost money and the results are dependant on how well you've lit your setup.   &lt;/li&gt;&#xA;&lt;li&gt;For a software solution you will, like you've mentioned, need to connect your camera's video output to your computer. (It seems you have an HDMI output) Therefor you will need an HDMI input on your laptop. If your laptop supports USB3 or Thunderbolt you can look at solutions from Blackmagic Design (among others) to capture the HDMI feed over USB3 or Thunderbolt. The Thunderbolt solution is really affordable, the USB3 solution, less so.  &lt;/li&gt;&#xA;&lt;li&gt;Some of the BMD models allow you to do Live-Chromakeying in the Blackmagic software.  &lt;/li&gt;&#xA;&lt;li&gt;For Windows I came across this software, &lt;a href=&quot;http://vidstudio.com/&quot; rel=&quot;nofollow&quot;&gt;http://vidstudio.com/&lt;/a&gt; it seems free and allows for live-chromakeying.&lt;/li&gt;&#xA;&lt;li&gt;For the Apple filmmakers among us. A quick search on Live-Chroma Keying OSx will result in a large selection of affordable software.  &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Especially when you are going to do the actual keying in the post process, you don't need the highest quality live killer. These are often times very expensive and give moderate results at best. &lt;/p&gt;&#xA;" OwnerUserId="12218" LastActivityDate="2015-12-05T17:01:30.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17075" PostTypeId="2" ParentId="13018" CreationDate="2015-12-05T17:16:20.760" Score="0" Body="&lt;p&gt;Imageneer systems,  Mocha Pro is about as easy as it gets.&#xA;&lt;a href=&quot;http://www.imagineersystems.com/videos/removing-a-microphone-with-mocha-pro-and-adobe-photoshop/?back=http://www.imagineersystems.com/video/page/2/?dd=dateNew&amp;amp;orderby=date&amp;amp;order=DESC&quot; rel=&quot;nofollow&quot;&gt;See this example/tutorial&lt;/a&gt;&lt;br&gt;&#xA;But it is far from simple!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are versions of Mocha available for After Effects and Hitfilm as well. I'm not sure If they are capable of doing this.  &lt;/p&gt;&#xA;" OwnerUserId="12218" LastActivityDate="2015-12-05T17:16:20.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17076" PostTypeId="2" ParentId="15253" CreationDate="2015-12-05T17:43:04.130" Score="1" Body="&lt;p&gt;Actually, 2/3&quot; sensors have been, and still are used for television all over the world.  Even now that recently there has been an increase in larger sensor camera's being used for TV production, by far most factual tv shows are produces with 2/3&quot; camera's.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What &quot;quality&quot; is acceptable for broadcast is highly dependant on what country you live in. Alltough in my country these specs don't seem to important, here, in Europe, you will need:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;50 Mbit/s 4:2:2 minimum for inter-frame codecs&lt;/li&gt;&#xA;&lt;li&gt;100 Mbit/s 4:2:2 minimum for intra-frame codecs&lt;/li&gt;&#xA;&lt;li&gt;A lot more &lt;a href=&quot;https://tech.ebu.ch/docs/r/r132.pdf&quot; rel=&quot;nofollow&quot;&gt;read the specifications&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Altough I've seen for video Journalism other specifications apply (see link below).&lt;br&gt;&#xA;You will notice that most DSLR's don't pass these specification, especially not when you take audio into consideration.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your camera, however, only lacks a little in the bandwith (mentioned above) this is easily solved with an external recorder. (Atomos, Blackmagic Design, Convergent Design)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my personal experience, broadcasters would LOVE a little less depth of field,&#xA;however they HATE footage that is out of focus or has bad audio.&lt;br&gt;&#xA;I would happily take your camera out and sell the footage to a broadcaster.&lt;br&gt;&#xA;(That is, if you have a good story) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://tech.ebu.ch/docs/r/r132.pdf&quot; rel=&quot;nofollow&quot;&gt;EBU broadcast Specifications&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12218" LastActivityDate="2015-12-05T17:43:04.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17077" PostTypeId="1" CreationDate="2015-12-05T17:48:40.693" Score="0" ViewCount="148" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/LLCF7vPanrY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to create something of that similar effect...I don't know what this style is called, I don't know what tool to use, please help me. &lt;/p&gt;&#xA;" OwnerUserId="12226" LastActivityDate="2015-12-06T11:54:12.293" Title="how do I produce a time lapse visual animation like this famous video?" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17078" PostTypeId="1" CreationDate="2015-12-05T17:07:43.357" Score="1" ViewCount="71" Body="&lt;p&gt;I need a hint for some audio recording I have to do. &#xA;I will be recording conversations between 2 people sitting at a table, as a sound operator in a shooting.&lt;br&gt;&#xA;My question is: in this type of situation, is it good to just place a standing cardioid mic to pick up both voices, or should I follow the scene with a boom, trying to be always directed to the mouth of the one that's talking?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If anyone is experienced with that would be of good help.&#xA;Thankyou&lt;/p&gt;&#xA;" OwnerDisplayName="Marco " LastActivityDate="2015-12-06T12:11:21.717" Title="Mic positioning in 2 sitting actors scene" Tags="|setup|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17079" PostTypeId="2" ParentId="17078" CreationDate="2015-12-06T00:35:24.360" Score="0" Body="&lt;p&gt;If you have access to both, do both. I know more isn't necessarily always better but in this case it sounds like a simple shoot. Using both mics shouldn't get in the way.&#xA;That being said if you only have one option I'd say use the boom mic, especially if you have some sort of field recorder that gives you lot's of control. The nice thing about a boom mic is the freedom, even though it can be a pain in the ass. Also, depending on the quality of the boom mic you might be able to catch everything between the two individuals just pointing it at some central point. &#xA;I hope I helped. Let me know if you have any other questions. &lt;/p&gt;&#xA;" OwnerUserId="12229" LastActivityDate="2015-12-06T00:35:24.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17080" PostTypeId="2" ParentId="17077" CreationDate="2015-12-06T11:54:12.293" Score="2" Body="&lt;p&gt;&lt;a href=&quot;https://www.r-project.org/&quot; rel=&quot;nofollow&quot;&gt;R&lt;/a&gt; (the letter R) is free software environment for statistical computing and graphics.  It can be extended by means of packages that the R-core team and team and community create.  For creating a video such as the above, you would want the data that describes the date of a nuclear event, the yield of the event, some metric of its decay function (perhaps the half-life of some particular isotope present in the fallout of the event), the geolocation of the event, and the country responsible for the event.  You could then feed this data into a package such as &lt;a href=&quot;https://cran.r-project.org/web/packages/animation/animation.pdf&quot; rel=&quot;nofollow&quot;&gt;animation&lt;/a&gt; combined with &lt;a href=&quot;https://cran.r-project.org/web/packages/rworldmap/rworldmap.pdf&quot; rel=&quot;nofollow&quot;&gt;rworldmap&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;R is a great way to bring data to life, visually.  With the above, you can create animated GIFs, active HTML pages, or full-fledged video files that can be further integrated into digital production environments.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-12-06T11:54:12.293" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17081" PostTypeId="2" ParentId="17078" CreationDate="2015-12-06T12:11:21.717" Score="1" Body="&lt;p&gt;It is more important for the mic to be close enough to the talent than it is for the mic to be pointed perfectly on-axis at the talent's mouth.  A cardiod 12&quot; away that's 45 degrees off-axis will likely sound better than a cardiod 36&quot; away that's dead-on.  Shotgun mics give you a bit more range, and a bit less tolerance for off-axis pickup.  But then again, the table may provide a very good early reflection that reinforces the actors voice and allows you to simply mic straight down with good results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on the size of the table, and where the actors' projection lines converge, you might be able to get away with a single mic aimed down between them, or you might effectively need two mics (either physically or by shuttling a single mic between them as they trade lines).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The key to successful sound recording is to know the principles of mic patterns and behaviors so that you can properly prepare for a session and successfully understand why you might be hearing what you hear when you actually put up the mics.  But that is only the starting point.  You must then always always always use your ears to adjust from what the principles predict to what actually works in the specific case with which you are dealing.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-12-06T12:11:21.717" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17082" PostTypeId="1" AcceptedAnswerId="17083" CreationDate="2015-12-06T22:59:56.037" Score="1" ViewCount="177" Body="&lt;p&gt;According to the &lt;a href=&quot;http://www.atomos.com/ninja/&quot; rel=&quot;nofollow&quot;&gt;Ninja Website&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Take your consumer camera to a truly Pro recording device. Avoid the internal MPEG compression &amp;amp; go from sub 30Mbps MPEG to 220Mbps ready to edit 10-bit 422 Apple ProRes HQ.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This &lt;a href=&quot;http://www.nikonusa.com/en/learn-and-explore/article/hojlp4ee/using-an-hdmi-recorder-and-external-monitor-with-your-hdslr.html&quot; rel=&quot;nofollow&quot;&gt;External Recording article from Nikon&lt;/a&gt; states&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Another useful optional accessory that is often used on more professional video productions is the external recorder. With an external recorder such as an Atomos Ninja attached to a Nikon HD-SLR, you can record a higher quality, uncompressed video signal from the camera directly to the external recorder via HDMI.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I'd like to understand what this means in layman terms? Will the image be sharper frame by frame? Is it like watching a higher FPS? Just more data to pull from when Grading? Is it useful on all video cameras or only high end ones?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the final video is ultimately going to be uploaded to YouTube would it make a difference?&lt;/p&gt;&#xA;" OwnerUserId="5206" LastActivityDate="2015-12-06T23:35:52.263" Title="What does an external video recorder like a Ninja offer?" Tags="|video-recording|hardware|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17083" PostTypeId="2" ParentId="17082" CreationDate="2015-12-06T23:35:52.263" Score="3" Body="&lt;p&gt;If you record (typical AVCHD) sub-30 Mbps 4:2:0 video to a card and 220Mbps 4:2:2 video to an external recording device, you will be hard pressed to tell the difference when you view it back on YouTube.  Very, very hard pressed to tell the difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if you plan to edit the video--changing contrast curves, color, saturation, etc., and especially if you are trying to key any region (whether for green screen replacement or because you want to muck with certain color ranges in certain ways), or if you want to digitally zoom in a bit, then you are going to immediately notice a large difference in how the video behaves in your editing program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What makes the low bit-rate recording work so well is that the compression algorithms are very smart about fooling our vision system, which is very easy to do.  But such smarts break down almost immediately as soon as you start treating the video as a series of images to be manipulated (which is how video editing programs ultimately &quot;see&quot; the video).  That's when you are going to wish you had recorded in a format that is more true to the digital workflow and less clever about how easy it is to fool our vision system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If all you ever want to do are the simplest of cuts and fades, you can do that with low bit-rate video.  But if you want to push the image around more robustly, you will quickly realize the need for a higher bitrate solution, which is what the external recorders give you.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-12-06T23:35:52.263" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17085" PostTypeId="1" AcceptedAnswerId="17092" CreationDate="2015-12-07T07:43:24.290" Score="6" ViewCount="241" Body="&lt;p&gt;I know little about filmmaking. I am trying to replicate the image of a generic local news show, which it seems my Canon DSLR is unable to do, since it blurs every area that is not in focus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Local TV news has a different &quot;look&quot; than a standard Hollywood film, for example. I am not able to articulate the difference clearly, but with news shows, every part of the image is crisp; there is seemingly no out-of-focus areas.  I do not know the technical term for this. What is this difference that my eyes are picking up on?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What kind of video camera should I look for to achieve this &quot;effect&quot;? Like a general &quot;type&quot; of camera that shoots in this style, or specific standard camera models that news crews use (though I am guessing they are out of my budget, which is around $1000).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I assume that the camera and the camera alone creates this picture, but are there certain filmmaking techniques that I can use to do this with my current DSLR (so I don't have to buy another camera)?&lt;/p&gt;&#xA;" OwnerUserId="12236" LastActivityDate="2015-12-10T23:34:11.990" Title="What gives a local TV news show that &quot;look&quot;?" Tags="|camera|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17086" PostTypeId="2" ParentId="17085" CreationDate="2015-12-07T12:36:18.367" Score="3" Body="&lt;p&gt;Mostly it's in the light: lots and lots of light. This allows the camera's iris to be as closed as possible, giving maximum depth of field. An image taken at f2 is going to have a tight focal plane, one taken at f22 will have a broad one. More sensitive cameras can get by with less light, and you can still have good, dramatic lighting effects, but the key is to get that iris dialed down.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-12-07T12:36:18.367" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17087" PostTypeId="1" AcceptedAnswerId="17088" CreationDate="2015-12-07T13:56:56.517" Score="1" ViewCount="87" Body="&lt;p&gt;I am new to the world of LUTs and am just doing initial research on it in advance of doing some colour grading on a video project. I understand that LUTs are applied to either give a 709 look to footage recorded in log - OR to give a particular style. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My footage was shot on a humble Fugifilm hs10; so it's not log and I'll have to attempt to make it good good with the manual colour correcting tools (I'm using premiere pro CS6). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if I want to apply a stylistic effect how do I go about that. When I visit websites which sell LUTS to give particular effects - eg rocket rooster, deluts, ground control - they all have luts for sale but they appear to be starting from a point of view of a log file - at least the footage always looks washed out like log files do. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regardless of whether they're starting from log footage or not - my question is do I have to be starting from a particular point of view ( eg particular nominal values on the scopes for instance ) to achieve these stylistic effects - or are there any general guidelines for me to get my footage ready to apply one of these stylistic luts&lt;/p&gt;&#xA;" OwnerUserId="1023" LastEditorUserId="6685" LastEditDate="2015-12-07T18:38:33.907" LastActivityDate="2015-12-07T18:38:33.907" Title="Is there a &quot;starting place&quot; in terms of colour correction before adding a stylistic LUT" Tags="|premiere|adobe|color-correction|color-grading|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17088" PostTypeId="2" ParentId="17087" CreationDate="2015-12-07T14:42:56.087" Score="5" Body="&lt;p&gt;Applications such as FCPX and Adobe Creative Cloud actually ship with a wide variety of stylized LUTs, so if you use either of those you can play around with them.  Most LUTs will specify what they expect as input, and many I have seen are designed to work either with LOG or REC709.  (There are many LOG formats out there--Arri Log-C, RED RedLogFilm, Sony SLOG, Canon, etc.  Some LUTs get really particular, others less so.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A good rule of thumb is that the LUT expects a properly exposed image, meaning black, white, and 18% gray land at around 16, 235, and 110-120 in the 8-bit broadcast video safe world of 16-235.  It's very helpful to have an optical signal generator (calibrated black, white, and gray pieces of paper which, when hit by light, generate an optical signal) so that you can verify exposure before you shoot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't have a waveform monitor on your camera or in your signal chain, you can record data from the optical signal generator, upload it to your favorite NLE (which should have a waveform monitor) and you can verify that your white, black, and gray levels are sane.  Learn whatever it is your meters are telling you when you shoot your black/white/gray value chart with a correct exposure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you cannot shoot LOG, then look for LUTs that will accept REC709, shoot properly exposed images, and have fun!&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-12-07T14:42:56.087" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17089" PostTypeId="2" ParentId="14759" CreationDate="2015-12-07T15:28:19.437" Score="4" Body="&lt;p&gt;There is actually a specific option for this in Resolve.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;In your primaries pane (bottom left of the color tab) navigate to the &quot;rgb mixer&quot; tab.&lt;/li&gt;&#xA;&lt;li&gt;In the top right of the tab, click the options menu (3 dots)&lt;/li&gt;&#xA;&lt;li&gt;Check the 'make monochrome' command.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Now you'll see 6 from the 9 rgb mixer bars turn gray and you'll be able to use the other 3 to mix you black and white the way you want to. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck! &lt;/p&gt;&#xA;" OwnerUserId="12218" LastActivityDate="2015-12-07T15:28:19.437" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17090" PostTypeId="1" AcceptedAnswerId="17091" CreationDate="2015-12-07T15:57:37.910" Score="2" ViewCount="19754" Body="&lt;p&gt;I'm trying out encoding video with ffmpeg using &lt;code&gt;x264&lt;/code&gt; on a NAS machine with a 2.4 GHz processor. This yields a terminal output that has a high number in the &lt;code&gt;q=&lt;/code&gt; parameter:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;frame=  236 fps=0.2 q=29.0 size=    1038kB time=00:00:08.82 bitrate= 963.4kbits/&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I encode using &lt;code&gt;x265&lt;/code&gt; on my standard computer, I get something that looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;frame=67350 fps=0.7 q=-0.0 size=  416991kB time=00:37:28.41 bitrate=1519.3kbits/&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is my understanding that &lt;code&gt;q=&lt;/code&gt; stands for quality, and should probably be as close to &lt;code&gt;0&lt;/code&gt; as possible, while a low number close to &lt;code&gt;q=31&lt;/code&gt; indicates poor quality and that ffmpeg has difficulties reaching an acceptable bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this something specific to &lt;code&gt;x264&lt;/code&gt; or is it that my settings for the NAS machine are too demanding? The video sources are 1080p at 30 fps.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;$i&quot; -c:v libx264 -preset veryslow -crf 23 -af &quot;volume=25dB, highpass=f=200, equalizer=f=50:width_type=h:width=100:g=-15&quot; -c:a aac -strict experimental -b:a 192k&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Should I be concerned about this, and what can be done about it?&lt;/p&gt;&#xA;" OwnerUserId="12052" LastEditorUserId="12052" LastEditDate="2015-12-07T16:40:09.707" LastActivityDate="2015-12-18T02:20:03.107" Title="FFmpeg: What is an acceptable value for the q= parameter?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17091" PostTypeId="2" ParentId="17090" CreationDate="2015-12-07T16:25:02.763" Score="3" Body="&lt;p&gt;Your rate control mode is CRF, so there's no target bitrate to hit. And for a value of 23, QP of 29 is what I normally see used. Ultimately, the test is whether the video &lt;em&gt;looks&lt;/em&gt; acceptable.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-07T16:25:02.763" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17092" PostTypeId="2" ParentId="17085" CreationDate="2015-12-07T21:42:51.133" Score="7" Body="&lt;p&gt;The answer is both &quot;light: lots and lots of light&quot; and the imaging system.  But it is not f22 (which on most cameras would produce a surprisingly soft result due to diffraction limits).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &quot;light: lots and lots of light&quot; is really about having not only good key and fill lights, but also lights above and behind the talent, creating a subtle rim of light around their figure.  In the literature this is known as &lt;a href=&quot;https://en.wikipedia.org/wiki/Three-point_lighting&quot; rel=&quot;nofollow&quot;&gt;three-point lighting&lt;/a&gt;, but it can be implemented with many more points of light, depending on taste.  It is true that studios are not shy about the absolute amount of light they use, but it is not only the absolute amount that does the magic--balancing key, fill, and rim lighting is just as important.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get the deep depths of field, they don't stop lenses down to f22.  Rather, they have a 2/3rd inch sensor (approximately 1/2 the size of a m43 sensor, which in turn is 1/2 the size of FF35).  By using a sensor that's 1/4 the size of FF35, they get a depth of field that's effectively 4 f-stops deeper.  So, using an 12mm f4 lens on a 2/3&quot; sensor has the effect of stopping down a 50mm lens down to f16 on a FF35 sensor, but without &lt;a href=&quot;http://www.cambridgeincolour.com/tutorials/diffraction-photography.htm&quot; rel=&quot;nofollow&quot;&gt;the problems caused by diffraction&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, studio-grade 2/3&quot; cameras typically use a beam-splitter and three discrete sensors (R, G, and B).  Cameras that use a single monolithic CMOS sensor and &lt;a href=&quot;https://en.wikipedia.org/wiki/Bayer_filter&quot; rel=&quot;nofollow&quot;&gt;Bayer patterns&lt;/a&gt; need a strong &lt;a href=&quot;https://en.wikipedia.org/wiki/Anti-aliasing_filter&quot; rel=&quot;nofollow&quot;&gt;OLPF&lt;/a&gt; to deal with increased &lt;a href=&quot;https://en.wikipedia.org/wiki/Moir%C3%A9_pattern&quot; rel=&quot;nofollow&quot;&gt;Moiré artifacts&lt;/a&gt;.  The OLPF cuts a certain amount of the high-frequency optical response we perceive as sharpness.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, typical broadcast cameras have built-in sharpening that can be tuned to really make a properly illuminated subject really pop.  By combining studio lighting with a studio camera, you get a highly recognizable studio result.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2015-12-09T11:56:08.950" LastActivityDate="2015-12-09T11:56:08.950" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17093" PostTypeId="2" ParentId="15062" CreationDate="2015-12-08T14:30:28.220" Score="1" Body="&lt;p&gt;If you want to create the same effect after you shot the video, you could use Adobe After Effects.&lt;br&gt;&#xA;Chose one of the filters under Effect&gt;Distort. For example, let's choose Bulge.&#xA;Now you need to create keyframes so that the central point moves along with the face. You can either do this manually or use a tracker.&lt;br&gt;&#xA;There are a lot of tutorials on tracking.&lt;/p&gt;&#xA;" OwnerUserId="12191" LastEditorUserId="12191" LastEditDate="2015-12-09T16:23:35.070" LastActivityDate="2015-12-09T16:23:35.070" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17096" PostTypeId="1" CreationDate="2015-12-08T19:59:54.450" Score="1" ViewCount="384" Body="&lt;p&gt;I am trying to learn hyperlapse and every tutorial I have found in youtube uses After Effects software to create it. Is there any other way to do so?&lt;/p&gt;&#xA;" OwnerDisplayName="Pranet Patra" LastActivityDate="2015-12-09T14:31:32.210" Title="Can I create a &quot;hyperlapse&quot; video without using After Effects?" Tags="|software|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17099" PostTypeId="1" AcceptedAnswerId="17100" CreationDate="2015-12-09T13:16:45.167" Score="1" ViewCount="5955" Body="&lt;p&gt;Just wondering if there is a simple and fast way to convert a specific color from my Illustrator layout file (#e3000b) to a linear Color Space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am working in After Effects in a linear color space. When I add a new solid and enter my hex code for color, its not the same red as in my layout.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2015-12-09T13:48:13.790" Title="Convert sRGB color to linear Color Space" Tags="|after-effects|color|colorspace|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17100" PostTypeId="2" ParentId="17099" CreationDate="2015-12-09T13:48:13.790" Score="1" Body="&lt;p&gt;Using the calculator at &lt;a href=&quot;http://davengrace.com/dave/cspace/&quot; rel=&quot;nofollow&quot;&gt;http://davengrace.com/dave/cspace/&lt;/a&gt;,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Gamma-weighted &lt;code&gt;#E3000B&lt;/code&gt; translates to linear sRGB &lt;code&gt;#C50001&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-09T13:48:13.790" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17101" PostTypeId="1" CreationDate="2015-12-09T14:05:57.757" Score="2" ViewCount="853" Body="&lt;p&gt;I'm trying to find out if there's already a application in existence or a way to preload (cache/ buffer) couple minutes ahead of live streaming media &#xA;e.g. live stream onine TV, rtmp protocol etc..&#xA;in order to play it smooth on vlc media player and even at low bandwidths. &#xA;I don't mind getting the live feed 30 minutes later.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;another hint:&#xA;VLC media player only allows 9999 ms buffer time for streams and am looking for some way to expand this ..by 10 min or so :)&lt;/p&gt;&#xA;" OwnerUserId="12253" LastActivityDate="2016-01-08T16:08:04.720" Title="Is there a buffer caching application that preloads streaming video?" Tags="|streaming|rtmp|vlc|media|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17102" PostTypeId="2" ParentId="17096" CreationDate="2015-12-09T14:31:32.210" Score="2" Body="&lt;p&gt;Not professional level at all, but the app &quot;Hyperlapse&quot; creates hyperlapeses. Instagram brain-child.&lt;/p&gt;&#xA;" OwnerUserId="12141" LastActivityDate="2015-12-09T14:31:32.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17103" PostTypeId="2" ParentId="17101" CreationDate="2015-12-09T15:09:08.193" Score="1" Body="&lt;p&gt;Launch VLC. Go to &lt;code&gt;Open Network Stream&lt;/code&gt;. After specifying the URL, select &lt;code&gt;Convert&lt;/code&gt; in place of &lt;code&gt;Play&lt;/code&gt;.  Choose &lt;code&gt;Dump raw input&lt;/code&gt;. In destination file, specify &lt;code&gt;somefilename.ts&lt;/code&gt;. Wait 10 minutes. Launch another VLC instance. Play &lt;code&gt;somefilename.ts&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-09T15:09:08.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17104" PostTypeId="2" ParentId="14969" CreationDate="2015-12-09T15:26:52.600" Score="1" Body="&lt;p&gt;I know this is kind of old but I just had a similar problem and I came up with what I thing is a MUCH better option and doesn't require the compromise of fade in/out. Of course, you must have a simple video editor:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Import the &quot;clip that wasn't meant to loop&quot; and cut in half. Simply reverse the two halves. This makes the start and end frame sequential so when the clip loops back on itself it behaves like it was made to loop. Now, simply overlap the joint in the middle and create whatever cross dissolve makes it look seamless and export! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, this will make your clip start in the &quot;middle&quot; but for many applications it won't matter. If it does matter, simply reimport this new clip and repeat the process to get the proper clip back at the beginning!&lt;/p&gt;&#xA;" OwnerUserId="12255" LastActivityDate="2015-12-09T15:26:52.600" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17105" PostTypeId="1" AcceptedAnswerId="17107" CreationDate="2015-12-09T17:41:58.603" Score="2" ViewCount="320" Body="&lt;p&gt;I have two videos of the same length and I want to create one video with those 2 in a split screen manner. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm totally new to this field and I will probably never need to do this ever again so I'm looking for a quick and easy way that involves free software. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried VirtualDub but I'm lost in it's options and settings and I don't even know if it can do what I want to do. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: Context: each video is a recording of a PC screen. I want to show them in a split screen manner in order to display the way one PC influences the other. Audio is of no importance. &lt;/p&gt;&#xA;" OwnerUserId="12256" LastEditorUserId="12256" LastEditDate="2015-12-09T18:33:05.827" LastActivityDate="2015-12-09T18:48:16.747" Title="Creating a split screen effect" Tags="|freeware|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17107" PostTypeId="2" ParentId="17105" CreationDate="2015-12-09T18:48:16.747" Score="2" Body="&lt;p&gt;FFmpeg, a command line tool, can accomplish this, via this command.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i left -i right -lavfi [0:v][1:v]hstack -pix_fmt yuv420p -an combinedvideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Replace &lt;code&gt;left&lt;/code&gt; with filename of video to be positioned left. Same with &lt;code&gt;right&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg (32bit static build) can be downloaded from &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;. The ffmpeg.exe is in the &lt;code&gt;bin&lt;/code&gt; folder of the archive.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-09T18:48:16.747" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17108" PostTypeId="1" CreationDate="2015-12-10T04:02:30.980" Score="3" ViewCount="8742" Body="&lt;p&gt;Here's what I mean by that. I'm making a short video with still images, but each one is animated Ken Burns style by gradually zooming in, or shifting position from left to right, or both. Sometimes, I'd like the motion to be diagonal as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is that I want each animation to proceed at the same speed, but I can't find a good way to do this from one image to another. The only way I can see to make the animation is to create a keyframe at the in point, set the position or the scale, and then do the same at the out point. But it's nearly impossible to work out the right values for position or scale so that the transition from in to out happens at the same speed for one image as it does for another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, is there a way to create an animation by specifying &lt;em&gt;the speed of the motion rather than the absolute start and end values&lt;/em&gt;?&lt;/p&gt;&#xA;" OwnerUserId="2065" LastActivityDate="2017-06-12T21:32:14.687" Title="How can I apply the same keyframe pattern to multiple still images in Adobe Premiere?" Tags="|premiere|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17109" PostTypeId="1" CreationDate="2015-12-10T05:12:27.363" Score="3" ViewCount="1944" Body="&lt;p&gt;I know about the &lt;code&gt;-c copy&lt;/code&gt; switch with ffmpeg, but this does not work with filters as it means &quot;don't re-encode&quot;. But what I want is to have my output use the same stream formats as my input. So if I scale and remux some file &quot;input.avi&quot; at 1920x1080 to &quot;output.mp4&quot; at 1280x720 I want the video and audio streams to be in the same format (i.e. re-encoding is OK but don't use a different codec). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I need to specifically choose the codecs otherwise ffmpeg will use some default codecs based on the &lt;em&gt;container&lt;/em&gt;--not based on my &lt;em&gt;input formats&lt;/em&gt;. Is there any switch for this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that I want to retain the formats, the specific encoder is not really important. E.g. As long as I can get H264 I don't care if it uses libx264 or some other 'competitor'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On a side note, does ffmpeg has a command to list the defaults per container, or is it only available in external documentation?&lt;/p&gt;&#xA;" OwnerUserId="12259" LastEditorUserId="12259" LastEditDate="2015-12-10T06:38:26.480" LastActivityDate="2015-12-10T06:38:26.480" Title="FFMpeg encode with original codec" Tags="|ffmpeg|encoding|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17111" PostTypeId="1" CreationDate="2015-12-10T17:32:24.330" Score="1" ViewCount="39" Body="&lt;p&gt;I made a lot of cuts from many videos. Now, what if I want to add a video event in multiple pieces?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could click, in every piece of video, the video event button to add one, and do the same thing over and over again... but that would consume tons of time and will. And if I highlight multiple ones and right click in one of them, the option goes grey.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any trick to do this?&lt;/p&gt;&#xA;" OwnerUserId="12263" LastActivityDate="2016-02-08T19:24:03.737" Title="Fastest way to add a video event in multiple cuts" Tags="|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17112" PostTypeId="2" ParentId="17111" CreationDate="2015-12-10T17:46:42.510" Score="1" Body="&lt;p&gt;If by Video Event, you mean Video Event FX, then apply the effect to one event. Right-click and select &lt;code&gt;Copy&lt;/code&gt;. Then select the remaining clips, right-click and select &lt;code&gt;Paste Event Attributes&lt;/code&gt;. Note that all the original Pan/Crop and effects applied to the other clips will be overwritten with those in the copied clip. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-10T17:46:42.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17113" PostTypeId="1" CreationDate="2015-12-10T18:36:47.643" Score="1" ViewCount="53" Body="&lt;p&gt;As an English teacher, and also a programmer, I've created a system of listening that works this way:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I choose an interesting video full of speech.&lt;br&gt;&#xA;&lt;strong&gt;I manually cut it into peices based on slinces where there is no speech&lt;/strong&gt; (By silence I'm referring the the parts where speaker pauses for a second to breathe. The very very tiny pause between sentences)&lt;br&gt;&#xA;I use transcription services to extract text of each part&lt;br&gt;&#xA;And many other steps...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a software programmer I hate manual operations. I don't like the idea of splitting a video into parts by hands. It really is a time consuming and dirty job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Googling around I couldn't find anything. Is it possible to do that? How?&lt;/p&gt;&#xA;" OwnerUserId="1175" LastEditorUserId="1175" LastEditDate="2015-12-15T05:55:00.223" LastActivityDate="2015-12-15T05:55:00.223" Title="Is there a way to cut a speech video into parts on silences automatically?" Tags="|video|" AnswerCount="0" CommentCount="9" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17114" PostTypeId="1" CreationDate="2015-12-10T20:03:13.063" Score="-2" ViewCount="54" Body="&lt;p&gt;I would like to build an advertisement video for my app similar to this one that Waze made:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/NhKiJOX6zfo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions on what software I should use?&lt;/p&gt;&#xA;" OwnerUserId="12264" LastEditorUserId="6207" LastEditDate="2015-12-11T19:16:24.447" LastActivityDate="2015-12-11T19:16:24.447" Title="Advertisement Video For App" Tags="|video|software|" AnswerCount="1" CommentCount="2" ClosedDate="2015-12-11T09:24:05.367" ContentLicense="CC BY-SA 3.0" />
  <row Id="17116" PostTypeId="1" AcceptedAnswerId="17117" CreationDate="2015-12-10T20:39:44.267" Score="0" ViewCount="10912" Body="&lt;p&gt;I have this image&#xA;&lt;a href=&quot;https://i.stack.imgur.com/35RRv.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/35RRv.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;that I want to put on top of my video, like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ezgQN.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ezgQN.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And I want to fill the entire screen with multiple copies of this image. However, the only solution I've found so far is to create a new video track for each image. So if I want 100 images, I need 100 video tracks. Is there any other solution to this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere pro:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/rBoZA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rBoZA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12265" LastEditorUserId="12265" LastEditDate="2015-12-10T20:47:01.013" LastActivityDate="2023-07-26T17:26:53.107" Title="Premiere Pro: Possible to add several images on one video track?" Tags="|premiere|video-editor|editing|adobe|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17117" PostTypeId="2" ParentId="17116" CreationDate="2015-12-10T23:27:43.023" Score="3" Body="&lt;p&gt;If you want a hundred images at the same time, you need 100 layers. Often people will make a &quot;pre-comp&quot; which is a nested composition. You create a composition with only the images, then insert that composition into the main timeline. Any changes you make to the pre-comp will carry through even after you've laid it into your main video timeline. So your pre-comp will be the messy one, and your final comp will be nice and neat. &lt;/p&gt;&#xA;" OwnerUserId="8027" LastActivityDate="2015-12-10T23:27:43.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17118" PostTypeId="2" ParentId="17085" CreationDate="2015-12-10T23:34:11.990" Score="1" Body="&lt;p&gt;You can achieve aspects of the news look with a cheap camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Small sensors will allow for a wide depth of field, where everything is in focus. &#xA;Frame rate is essential, news is shot in either 60 interlaced frames or 30 progressive frames. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So avoid large sensors and 24fps, which are the features filmmakers often want. &lt;/p&gt;&#xA;" OwnerUserId="8027" LastActivityDate="2015-12-10T23:34:11.990" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17119" PostTypeId="2" ParentId="17114" CreationDate="2015-12-11T04:27:23.997" Score="2" Body="&lt;p&gt;In my opinion, you're asking the wrong question. Which software they used is fairly irrelevant. What's more important is the skills and techniques they used. Do you have a background in graphic design or other visual arts? If not, this video is probably beyond your skill level. You might be better off hiring someone to do it for you. If money is an issue, perhaps you could find a student who would be willing to do it for either less money, or for the experience and to build their demo reel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do have such a background yourself and are interested in making similar videos, you should check out any number of motion graphics applications such as &lt;a href=&quot;http://www.apple.com/final-cut-pro/motion/&quot; rel=&quot;nofollow&quot;&gt;Apple Motion&lt;/a&gt; or &lt;a href=&quot;https://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;Adobe After Effects&lt;/a&gt;. It could also have been done with a 3D application such as &lt;a href=&quot;http://www.autodesk.com/products/maya/overview-dts?s_tnt=69290:1:0&quot; rel=&quot;nofollow&quot;&gt;Maya&lt;/a&gt;, &lt;a href=&quot;http://www.thefoundry.co.uk/products/modo/&quot; rel=&quot;nofollow&quot;&gt;Modo&lt;/a&gt;, &lt;a href=&quot;http://www.maxon.net/products/new-in-cinema-4d-r17/overview.html&quot; rel=&quot;nofollow&quot;&gt;Cinema 4D&lt;/a&gt;, or &lt;a href=&quot;http://www.autodesk.com/products/3ds-max/&quot; rel=&quot;nofollow&quot;&gt;3D Studio Max&lt;/a&gt;. If you're on a budget, you can look into &lt;a href=&quot;http://www.blender.org&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt;, which is a free 3D modeling application.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2015-12-11T04:27:23.997" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17120" PostTypeId="1" AcceptedAnswerId="17121" CreationDate="2015-12-11T06:07:07.653" Score="1" ViewCount="1518" Body="&lt;p&gt;My situation:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Transcoding 1080p bluray videos to HEVC. Audio untouched;&lt;/li&gt;&#xA;&lt;li&gt;My rig is old (pre-2012) and to speed up the process I'm using &lt;code&gt;--preset ultrafast&lt;/code&gt;;&lt;/li&gt;&#xA;&lt;li&gt;From x265 documentation, I understand that video quality is independent of the preset used. And the slower the preset, the better the compression ratio it seems;&lt;/li&gt;&#xA;&lt;li&gt;I'm using FFmpeg.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;My Reasoning:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I want to start converting to HEVC now because the codec is good enough for me and the space saving is phenomenal;&lt;/li&gt;&#xA;&lt;li&gt;I've seen people reporting a 35GB video compressed to 1GB or so with &lt;code&gt;crf=18&lt;/code&gt; and &lt;code&gt;--preset veryslow&lt;/code&gt;. It sounds ludicrous but an experiment of my own shows about 40% additional space saving between presets &lt;code&gt;ultrafast&lt;/code&gt; and &lt;code&gt;veryslow&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The Question:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I get a new rig with a more capable CPU (Skylake or later, I hear), is it possible for me, to &quot;re-compress&quot; my HEVC videos using eg. &lt;code&gt;--preset veryslow&lt;/code&gt;, without quality loss due to encoding a second time?&lt;/p&gt;&#xA;" OwnerUserId="12267" LastEditorUserId="37172" LastEditDate="2022-01-12T09:39:43.607" LastActivityDate="2022-01-12T09:39:43.607" Title="x265: Is it possible to re-compress HEVC video without quality loss?" Tags="|ffmpeg|encoding|compression|h.265|lossless|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17121" PostTypeId="2" ParentId="17120" CreationDate="2015-12-11T06:24:57.807" Score="3" Body="&lt;p&gt;In strict mathematical terms, no.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of maintaining an acceptable image quality, yes. If you use CRF &lt;code&gt;18&lt;/code&gt; and a preset like &lt;code&gt;ultrafast&lt;/code&gt; now, you should be able to get a smaller acceptable file with preset &lt;code&gt;veryslow&lt;/code&gt; later on.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-11T06:24:57.807" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17122" PostTypeId="1" CreationDate="2015-12-11T09:19:50.350" Score="3" ViewCount="299" Body="&lt;p&gt;There are sentences:&#xA;For analog video or MPEG (including DVD) output, the maximum range for R,G,B is [16, 235] (8-bit).&#xA;For YUV, the maximum range for intensity (Y) is [16, 235] (8-bit).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this saying correct ? I'm thinking that the &lt;strong&gt;&lt;em&gt;first&lt;/em&gt;&lt;/strong&gt; sentence contains an error. MPEG has YCbCr encoding ..&#xA;What do you think about it ?&lt;/p&gt;&#xA;" OwnerUserId="12268" LastActivityDate="2024-01-17T11:14:29.513" Title="MPEG - the maximum range for R,G,B?" Tags="|encoding|mpeg|video-standards|dvd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17123" PostTypeId="2" ParentId="17122" CreationDate="2015-12-11T10:35:52.860" Score="2" Body="&lt;p&gt;Yes, MPEG-2 video is stored as YCbCr, but video editing programs (like &lt;a href=&quot;http://cinelerra.org/docs/split_manual_en/cinelerra_cv_manual_en_14.html#SEC218&quot; rel=&quot;nofollow noreferrer&quot;&gt;Cinelerra&lt;/a&gt;) convert the samples to RGB for processing during editing. That range is 16-235.&lt;/p&gt;&#xA;&lt;p&gt;From Wikipedia on &lt;a href=&quot;https://en.wikipedia.org/wiki/YCbCr&quot; rel=&quot;nofollow noreferrer&quot;&gt;YCbCr&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Analog YPbPr from analog R'G'B' is derived as follows:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/boWLc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/boWLc.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;To get a YUV output in the 16-235 range, the input RGB is also limited.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2015-12-11T10:35:52.860" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17124" PostTypeId="1" AcceptedAnswerId="17175" CreationDate="2015-12-11T11:43:05.013" Score="1" ViewCount="500" Body="&lt;p&gt;I want to be able to receive push notifications to my iPhone when After Effects completes a render.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used to use &lt;a href=&quot;http://www.prowlapp.com/&quot; rel=&quot;nofollow&quot;&gt;Prowl&lt;/a&gt; v1.5.2 &amp;amp; &lt;a href=&quot;http://growl.info/&quot; rel=&quot;nofollow&quot;&gt;Growl&lt;/a&gt; v2.1.3 combined with &lt;a href=&quot;http://iaian7.com/aftereffects/iPhoneRenderNotifications&quot; rel=&quot;nofollow&quot;&gt;this script&lt;/a&gt; (&lt;a href=&quot;http://iaian7.com/files/aftereffects/rendernotifications/Render_Notify_14.jsx&quot; rel=&quot;nofollow&quot;&gt;.jsx file&lt;/a&gt;)to do this, but I can't get the script to work now. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can get &lt;a href=&quot;http://growl.info/downloads#growlnotify&quot; rel=&quot;nofollow&quot;&gt;growlnotify&lt;/a&gt; to send a notification from the terminal to Growl, and successfully pass it to Prowl on my iPhone, but when I tried this script, it fails at line 24.  I've added the API key, and chosen growl as the notification type.  Growlnotify is in usr/local/bin and my appname is set to Adobe After Effects CC 2015.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't need background rendering, just a simple notify when renders complete.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using OSX 10.11.1 and iOS 9.2, and After Effects CC 2015 v13.6.0.165&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a script example, it's only two lines:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;app.project.renderQueue.render();&#xA;function(){system.callSystem(“Open growlnotify&quot;)};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;First line renders the queue (without any safety checking)&#xA;Second line should open growlnotify to send a default message&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First line works, second line doesn't - it returns &quot;Syntax Error&quot;.  I've also tried:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;app.project.renderQueue.render();&#xA;function(){system.callSystem(“growlnotify&quot;)};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2015-12-16T09:32:44.420" LastActivityDate="2015-12-16T18:36:43.347" Title="Simple Prowl notifications for After Effects render completion" Tags="|after-effects|script|" AnswerCount="1" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="17125" PostTypeId="1" AcceptedAnswerId="17183" CreationDate="2015-12-11T15:46:18.760" Score="1" ViewCount="262" Body="&lt;p&gt;I'm using Lightworks as my main video editor (I use Blender occasionally), and use it to color grade too. I want to desaturate my shadows using either Lightworks or Blender, but I can't find that tool. Is it there, and if it's not, is it on something else I can use on my Linux system (not Resolve, needs very specific hardware i can't afford)? LUTs that do this are an option too!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thnx ahead :)&lt;/p&gt;&#xA;" OwnerUserId="12270" LastActivityDate="2015-12-17T11:00:47.873" Title="Desaturate shadows in Lightworks" Tags="|color-correction|color-grading|lightworks|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17126" PostTypeId="5" CreationDate="2015-12-11T15:49:59.607" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2015-12-11T15:49:59.607" LastActivityDate="2015-12-11T15:49:59.607" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17127" PostTypeId="4" CreationDate="2015-12-11T15:49:59.607" Score="0" Body="Color Grading is the changing and enhancing of colors in a video/photo. " OwnerUserId="12270" LastEditorUserId="12270" LastEditDate="2016-01-06T09:55:15.190" LastActivityDate="2016-01-06T09:55:15.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17128" PostTypeId="1" AcceptedAnswerId="17129" CreationDate="2015-12-11T22:09:19.797" Score="2" ViewCount="16250" Body="&lt;p&gt;I'm very new to DaVinci Resolve and I'm still trying to figure out what DaVinci Resolve is good at and for what effects I should use other software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The result I want to achieve is to see multiple clips at the same time (in the render product, not only while editing). Each quarter of the screen should show another clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My approach is hardly satisfying:&#xA;To achieve that I tried to have a video in a video.&#xA;I resized the first clip and made it small. But that makes the rest of the screen black and I couldn't find out how make the black part transparent in order to show another resized clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There must be an easier way (though my approach should work, otherwise it wouldn't be possible to replace a green screen). Any suggestions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;BTW&lt;/em&gt;: Where can I learn such basic things? There must be a place to go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; I'm aware of the &lt;code&gt;split screen&lt;/code&gt; feature, but this is not what I was looking for (because it splits the screen only to let the user compare different color versions).&lt;/p&gt;&#xA;" OwnerUserId="12273" LastActivityDate="2015-12-12T03:40:46.190" Title="Display multiple clips in DaVinci Resolve 12" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17129" PostTypeId="2" ParentId="17128" CreationDate="2015-12-11T22:37:26.240" Score="3" Body="&lt;p&gt;You are on The right track! There is not a specific effect to accomplish what you want to achieve.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way (unless there is a 3rd party plugin, I don't know about) is to stack the 4 clips on separate tracks in the edit tab. Select one of them open the inspector (panel on the top right of the edit page) scale down and adjust the placement.  The video clip on the video track below should become visible. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;[Added by Michael Tiemann as a friendly amendment: In the panel where the scaling information is displayed, there are also parameters for the anchor point.  By default, images are scaled from the center, which means you have to add in X and Y offsets to get each clip going to each corner.  Instead, you can set the upper left anchor point to be the upper left corner of the video, the upper right to be the upper right, etc.  Then, when you scale, each video clip will retreat to its own corner.  If you want to animate this effect, you can have one clip expand from its corner and go fullscreen by scaling back to 100%, and you can return it to its corner by scaling down to 50%.]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="12218" LastEditorUserId="10931" LastEditDate="2015-12-12T03:40:46.190" LastActivityDate="2015-12-12T03:40:46.190" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17130" PostTypeId="2" ParentId="17116" CreationDate="2015-12-12T00:57:51.533" Score="2" Body="&lt;p&gt;If that's a static image, you could:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;open up an image editing program (even a simple one like MS Paint)&lt;/li&gt;&#xA;&lt;li&gt;copy-paste it 99 times, positioning each new image below the previous one&lt;/li&gt;&#xA;&lt;li&gt;save that as a single image file&lt;/li&gt;&#xA;&lt;li&gt;drag that single image file into your Premiere timeline&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;But it looks from your example screenshot that you want each instance of the image to sort of appear one after the other on screen.  If that's the case, you could use the above technique to make, like, 10 copies of the image.  Then in your timeline, you add 9 instances of the original image, and when the 10th one is supposed to appear you replace the first 9 instances (and the new one) with the 10-instance image that you created, so it only takes up one track. Then you add another 9 instances, one at a time, then replace all of those with the 10-instance image that you created. At that point you'll have 20 instances of the original image but only be taking up 2 tracks. (This may not work at all, based on how you actually want them to appear. Just thought I'd suggest it in case it does work for you, or it leads you to another solution that does what you want.)&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2015-12-12T00:57:51.533" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17131" PostTypeId="1" AcceptedAnswerId="17132" CreationDate="2015-12-12T13:16:20.203" Score="2" ViewCount="5935" Body="&lt;p&gt;I have seen &lt;a href=&quot;https://stackoverflow.com/a/33764934&quot;&gt;this&lt;/a&gt; and &lt;a href=&quot;https://video.stackexchange.com/questions/4563/how-can-i-crop-a-video-with-ffmpeg?newreg=08cf71ca624344a09f50ef640118e6cd&quot;&gt;this&lt;/a&gt; post explaining how to crop and stack videos using &lt;code&gt;ffmpeg&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is - is there an easy (preferably one step) way to turn a horizontally stacked video into a vertically stacked one?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And is there a Linux-way to re-encode given 3D video formats into others?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;with Mulvyas help I wrote a &lt;a href=&quot;https://github.com/frans-fuerst/magic/raw/master/LR2TB.py&quot; rel=&quot;nofollow noreferrer&quot;&gt;script&lt;/a&gt; which does the converting stuff and creates a text file with meta information needed by the Gear VR video player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: you need a recent version of &lt;code&gt;ffmpeg&lt;/code&gt; for the &lt;code&gt;vstack&lt;/code&gt; filter - version 2.6 which is installed with Fedora 22 is too old. Version 2.8.3 has &lt;code&gt;vstack&lt;/code&gt; available.&lt;/p&gt;&#xA;" OwnerUserId="12276" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2015-12-12T22:02:08.150" Title="convert horizontal side by side to vertically stacked 3D video" Tags="|video|ffmpeg|conversion|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17132" PostTypeId="2" ParentId="17131" CreationDate="2015-12-12T14:49:01.050" Score="3" Body="&lt;p&gt;Just integrate all filtering into one command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 \&#xA;-filter_complex &quot;[0:v]crop=in_w/2:in_h:0:0 [top]; \ &#xA;[0:v]crop=in_w/2:in_h:in_w/2:0[bottom]; \&#xA;[top][bottom]vstack[outv]&quot; \&#xA;-map &quot;[outv]&quot; -map 0:a -c:a copy output_3dv.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Edit: this command below scales and pads the output to 2000x2000&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 \&#xA;-filter_complex &quot;[0:v]crop=in_w/2:in_h:0:0 [top]; \&#xA;[0:v]crop=in_w/2:in_h:in_w/2:0[bottom]; \&#xA;[top][bottom]vstack,\&#xA;scale=iw*min(2000/iw\,2000/ih):ih*min(2000/iw\,2000/ih), \&#xA;pad=2000:2000:(ow-iw)/2:(oh-ih)/2[outv]&quot; \&#xA;-map &quot;[outv]&quot; -map 0:a -c:a copy output_3dv.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-12-12T17:45:20.177" LastActivityDate="2015-12-12T17:45:20.177" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17133" PostTypeId="1" CreationDate="2015-12-13T15:19:43.810" Score="3" ViewCount="228" Body="&lt;p&gt;DVDs or similar often offer different dubs of the same movie, TV show, etc. on one disk.  Storing a whole different video track (and audio track, too) for a movie seems a bit wasteful, given that the parts where nobody actually speaks (and, for that matter, when no on-screen text needs to appear in another language) don't need to be duplicated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, instead, why not provide the whole movie in some &quot;canonical&quot; language (maybe English), and then if other languages are available only store the parts of the movie that actually need to be translated, seamlessly loading them as needed?  &lt;strong&gt;Is there a video or audio format that does something like this (not necessarily on DVD)?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="12278" LastEditorUserId="12278" LastEditDate="2015-12-14T15:51:17.953" LastActivityDate="2016-11-09T02:09:20.050" Title="Video (or audio, too) format that stores multiple languages in the same file, but only the parts that are different?" Tags="|video|audio|file-formats|formats|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17134" PostTypeId="2" ParentId="16261" CreationDate="2015-12-13T16:03:55.703" Score="3" Body="&lt;p&gt;Here is the structure of a .sup subtitle file and a link to the splitter I created. Information is either from linked reference or my own research.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The .sup subtitle splitter I created. &lt;a href=&quot;http://forum.doom9.org/showthread.php?p=1737122&quot; rel=&quot;nofollow&quot;&gt;http://forum.doom9.org/showthread.php?p=1737122&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;SupRip github page with sup related code. You can read more specifics about each section here that I don't discuss.&#xA;&lt;a href=&quot;https://github.com/peterdk/SupRip/blob/master/Bluray%20Sup.txt&quot; rel=&quot;nofollow&quot;&gt;https://github.com/peterdk/SupRip/blob/master/Bluray%20Sup.txt&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The hex 0x50 0x47 are headers for sections in the .sup file, however there are multiple sections per subtitle line. There is always (in my experience) a 0x16, 0x17, 0x14, 0x15, and 0x80 flagged section for displayed subtitles. There can be multiple 0x15 sections if the bitmap data is large. There are also &quot;empty&quot; subtitles which are used to end a subtitle which only have 0x16, 0x17, and 0x80 flags. Subtitles only have a start time and no end time or duration, so a subtitle is ended by the next subtitle starting. So if two subtitle lines are separated by a time period, a blank subtitle section is used to end the first subtitle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Referencing the linked page these are the flags each header can have.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;TIMES = 0x16&#xA;SIZE = 0x17&#xA;PALETTE = 0x14&#xA;BITMAP = 0x15&#xA;END = 0x80&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Hopefully explaining everything with hex code of a full subtitle should help. I separated each of the sections and truncated the palette and bitmap sections.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Header structure, always 13 bytes long&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;50 47        start of header&#xA;00 01 E3 E0  time code&#xA;00 00 00 00  second time code (normally zero)&#xA;16           flag&#xA;00 13        data size&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To get the time code to a usable form take the hex and convert to decimal, then multiple by 100,000 and divide by 9 to get nanoseconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;0001e3e0 -&gt; 123872 *100,000/9 = 137635555 ns = 1.37635555 sec&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;start of .sup file&#xA;1st subtitle&#xA;&#xA;50 47 00 01 E3 E0 00 00 00 00 16 00 13 07 80 04 38 10 00 02 80 00 00 01 00 00 00 00 05 41 02 6F   Times section of subtitle, gives the start time of the subtitle&#xA;&#xA;50 47 00 01 E3 34 00 00 00 00 17 00 13 02 00 05 41 02 6F 00 81 00 37 01 02 40 03 CB 03 04 00 46   Size section of subtitle&#xA;&#xA;50 47 00 01 CD 04 00 00 00 00 14 01 47 00 00 00 ...       Palette section of subtitle&#xA;&#xA;50 47 00 01 CD 2C 00 00 00 00 15 0C 68 00 00 00 ...      Bitmap section of subtitle&#xA;&#xA;50 47 00 01 CD 2C 00 00 00 00 80 00 00     End section of subtitle, denotes the end of one subtitle&#xA;&#xA;2nd subtitle (actually blank which ends 1st subtitle)&#xA;&#xA;50 47 00 07 E7 80 00 00 00 00 16 00 0B 07 80 04 38 10 00 05 00 00 00 00   Times section of subtitle, gives the start time of the subtitle. Previous subtitle ends when this &quot;subtitle&quot; begins&#xA;&#xA;50 47 00 07 E6 D4 00 00 00 00 17 00 13 02 00 05 41 02 6F 00 81 00 37 01 02 40 03 CB 03 04 00 46   Size section of subtitle&#xA;&#xA;50 47 00 07 E6 D3 00 00 00 00 80 00 00      End section of subtitle, denotes the end of one subtitle&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11499" LastActivityDate="2015-12-13T16:03:55.703" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17135" PostTypeId="2" ParentId="17133" CreationDate="2015-12-13T16:22:39.717" Score="1" Body="&lt;p&gt;You don't need separate video tracks. All the differences are in the audio, which is a minuscule part of the overall data on a BVD. It's a simple matter for a player to select one of multiple audio tracks.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-12-13T16:22:39.717" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17136" PostTypeId="1" AcceptedAnswerId="17137" CreationDate="2015-12-13T16:52:17.393" Score="0" ViewCount="86" Body="&lt;p&gt;If I was to compare a 720p video encoded (using x264) from an untouched 1080p Blu-ray rip with the same video encoded at a similar bitrate but from a 1080p x264 rip, which one is more likely to look better in terms of perceived quality?&lt;/p&gt;&#xA;" OwnerUserId="12280" LastActivityDate="2019-10-10T15:47:09.117" Title="x264 quality results based on source" Tags="|video-quality|x264|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17137" PostTypeId="2" ParentId="17136" CreationDate="2015-12-13T17:13:27.457" Score="2" Body="&lt;p&gt;If the 1080p encode has a high enough bitrate, one shouldn't notice a significant difference, else the BD source offers greater headroom to retain detail.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-13T17:13:27.457" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17140" PostTypeId="1" AcceptedAnswerId="17141" CreationDate="2015-12-13T20:17:03.683" Score="2" ViewCount="181" Body="&lt;p&gt;I use a single radiomic (Sennheiser AVX) but now need a second one. Will the second conflict with the first one in terms of frequencies? Or would they automatically find different frequencies to operate on?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Update:&lt;/em&gt; now operating two Senn AVX sets, and they work together perfectly.&lt;/p&gt;&#xA;" OwnerUserId="2811" LastEditorUserId="2811" LastEditDate="2016-04-04T08:51:26.843" LastActivityDate="2016-04-06T06:33:09.210" Title="Will multiple radiomic sets conflict with one another?" Tags="|audio|microphone|radio|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17141" PostTypeId="2" ParentId="17140" CreationDate="2015-12-13T20:33:19.623" Score="2" Body="&lt;p&gt;These wireless microphones specifically designed not to interfere with each other. They will automatically find their counterparts but can only send a signal to one receiver.&#xA;You should be OK. &lt;/p&gt;&#xA;" OwnerUserId="12218" LastActivityDate="2015-12-13T20:33:19.623" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17142" PostTypeId="2" ParentId="15467" CreationDate="2015-12-13T23:14:41.143" Score="2" Body="&lt;p&gt;The camera is not the only issue here. If you have Nikon lenses you can get great footage with a D750. I am sending my Sony A7S back to BH because of horrible focus issues in low light. If a scene is not well lit there are issues no matter what camera is used. You need a good prime lens to shoot in low light, not high ISO.&lt;/p&gt;&#xA;" OwnerUserId="12283" LastEditorUserId="1871" LastEditDate="2015-12-14T04:16:29.387" LastActivityDate="2015-12-14T04:16:29.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17147" PostTypeId="1" CreationDate="2015-12-14T12:55:21.717" Score="1" ViewCount="1300" Body="&lt;p&gt;I have a &lt;a href=&quot;http://www.canon-europe.com/for_home/product_finder/cameras/digital_slr/eos_650d/&quot; rel=&quot;nofollow&quot;&gt;DSLR camera&lt;/a&gt; which can record a HD movie at 60fps. My question is that, sometimes when recording, the FPS seems to drop below 60fps. What caused this problem? I used a &lt;a href=&quot;http://www.mobilefun.co.uk/sandisk-extreme-45mb-s-16gb-sdhc-card-p35823.htm#&quot; rel=&quot;nofollow&quot;&gt;class 10/UHS-1 SD card with transfer rate up to 45MB/s&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="12289" LastActivityDate="2016-04-27T14:33:40.940" Title="FPS drops when recording video" Tags="|video-recording|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17148" PostTypeId="2" ParentId="16351" CreationDate="2015-12-14T13:02:06.553" Score="1" Body="&lt;p&gt;After effects should take in the image sequence just fine. No reason to run it through Vdub first. Let me know how it works out for you, it sounds like a very interesting project.&lt;/p&gt;&#xA;" OwnerUserId="12056" LastActivityDate="2015-12-14T13:02:06.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17149" PostTypeId="2" ParentId="17133" CreationDate="2015-12-14T13:20:21.960" Score="0" Body="&lt;p&gt;Very interesting thought. In some films on screen text (e.g. signage) is changed. One could imagine a sort of patch being played instead of the &quot;original&quot; image. I imagine one could code something like that together in html5 for digital delivery. I don't think, however, that it's possible on the existing disc platforms.&#xA;In any case the use cases are few.&lt;/p&gt;&#xA;" OwnerUserId="12056" LastActivityDate="2015-12-14T13:20:21.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17152" PostTypeId="1" AcceptedAnswerId="17157" CreationDate="2015-12-15T08:22:43.067" Score="1" ViewCount="287" Body="&lt;p&gt;When shooting footage, it's good practice to start a little earlier and end a little later than the actual action. That way, you get more freedom during editing. The same holds true for animated sequences or visual effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sure there must be a technical term for that additional time at the start and end of a clip. I'd like to say 'this clip requires 5 frames &lt;em&gt;[additional material at the start]&lt;/em&gt; and 10 frames &lt;em&gt;[additional material at the end]&lt;/em&gt;'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the term I'm missing? Googling didn't help.&lt;/p&gt;&#xA;" OwnerUserId="12296" LastActivityDate="2015-12-15T13:23:48.923" Title="What's the technical term for additional material at the start and end of a take?" Tags="|editing|terminology|footage|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17154" PostTypeId="2" ParentId="17152" CreationDate="2015-12-15T08:53:46.593" Score="1" Body="&lt;p&gt;I have heard the term &lt;code&gt;padding&lt;/code&gt; but don't know if it's a standardized term&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;http://www.videomaker.com/article/f5/1691-the-art-of-the-edit&quot; rel=&quot;nofollow&quot;&gt;The Art of The Edit&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;To allow time for a good transition, instruct your talent to fix a&#xA;  gaze on the camera for two seconds before and several seconds after a&#xA;  narration. A quick, sideways glance for approval, a swallow or a lick&#xA;  of the lips before or after speaking may be difficult to edit out.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;May be confused with pre-roll&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Be sure to allow for pre-roll. When you switch a camera from the stop&#xA;  mode to record, it rolls back several seconds before it achieves&#xA;  &quot;speed&quot; and begins taping. Allow five seconds, 10 to be safe, before&#xA;  cuing the talent to begin speaking or executing your shot. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-15T08:53:46.593" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17155" PostTypeId="1" CreationDate="2015-12-15T09:29:00.677" Score="4" ViewCount="1775" Body="&lt;p&gt;When recording a computer screen straight with a mobile phone, there are sometimes colored spots to see in the recorded material. I know that when recording CRT displays, the flickering was caused by different refresh rates between recording device and playing device. Can I prevent the flickering/discoloration in spots on a mobile phone? &lt;/p&gt;&#xA;" OwnerUserId="2277" LastActivityDate="2015-12-16T13:50:38.197" Title="Video flickering when recording a screen with a mobile phone" Tags="|iphone|mobile|screenshot|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17157" PostTypeId="2" ParentId="17152" CreationDate="2015-12-15T13:23:48.923" Score="3" Body="&lt;p&gt;I can't cite any authority, but the term I've used and heard most often is &lt;strong&gt;&lt;em&gt;handles&lt;/em&gt;&lt;/strong&gt;. It's not just used for live shots, but refers to any trimmable material that allows for transition points to be adjusted, etc. In your example I'd say &quot;this clip requires 10-frame handles&quot;.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2015-12-15T13:23:48.923" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17158" PostTypeId="1" CreationDate="2015-12-15T14:49:20.827" Score="2" ViewCount="1237" Body="&lt;p&gt;I am just playing arround with the new trapcode suite in after effects working ina linearized color space for a better control over color and effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Somehow I get really bad rendering on parts of my footage where its supposed to be more smooth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OzyDE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OzyDE.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the screenshot I am using trapcode mir for the fllo, tao for the spiral thing and shine for the light rays. If you take a closer look at the sprial geometry you can already see the jagged gradient where its supposed to be smoother. I am also working in 32Bit soo I don't get it.&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2020-06-10T17:40:11.937" Title="Working in a linearized Color Space in After Effects causes hard gradients" Tags="|after-effects|3d|plugins|colorspace|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17160" PostTypeId="1" AcceptedAnswerId="17161" CreationDate="2015-12-15T17:53:26.993" Score="0" ViewCount="31" Body="&lt;p&gt;It seems the simplest thing you can do with video -- crop space or time dimensions. There is a video how to crop the spacial dimensions (although null transform filter does not seem to crop the selected region for me). Now, I want to drop first n seconds of my video. How do I do that with the notorious editor?&lt;/p&gt;&#xA;" OwnerUserId="12298" LastActivityDate="2015-12-15T18:06:47.770" Title="How do I drop certain amount of seconds in VirtualDub?" Tags="|virtualdub|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17161" PostTypeId="2" ParentId="17160" CreationDate="2015-12-15T18:06:47.770" Score="0" Body="&lt;p&gt;Move the timeline slider to the start point you want and set the Mark In point. The Mark In/Out buttons are to the left of the frame count display at the bottom.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-15T18:06:47.770" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17162" PostTypeId="2" ParentId="17147" CreationDate="2015-12-15T18:10:58.263" Score="1" Body="&lt;p&gt;Are you sure it's dropping frames? I have a canon 5d and it never drops frames, it simply stops recording when it can't keep up. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My guess is the file is fine, but the preview on the LCD is dropping frames.&lt;/p&gt;&#xA;" OwnerUserId="8027" LastActivityDate="2015-12-15T18:10:58.263" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17163" PostTypeId="2" ParentId="16895" CreationDate="2015-12-15T22:09:05.300" Score="1" Body="&lt;p&gt;Alternative audio tracks would be nice, but definitely specialized to maybe alternate languages, or your case.  I think the closest you'll get to anything usable is with &lt;a href=&quot;https://en.wikipedia.org/wiki/Ducking&quot; rel=&quot;nofollow&quot;&gt;ducking&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if another channel is out of the question, how about offering up the second video with the second track as a link inside the video to something private or unlisted?&lt;/p&gt;&#xA;" OwnerDisplayName="user4019" LastActivityDate="2015-12-15T22:09:05.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17164" PostTypeId="1" AcceptedAnswerId="17168" CreationDate="2015-12-16T01:52:52.197" Score="1" ViewCount="1285" Body="&lt;p&gt;How do I select the audio corresponding to a set of filter-selected videoframes? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;E.g. at the moment I am sampling 1 in every 100 frames of a video (running at 15fps) using the FFMpeg &lt;code&gt;select&lt;/code&gt; filter. When I try to select the audio of those frames with the &lt;code&gt;aselect&lt;/code&gt; filter, the total audio duration is not equal to the video duration (2 or 3 seconds difference depending on which frames I selected). The audio sampling rate is listed as 22050Hz.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried using various &lt;code&gt;-vsync&lt;/code&gt; and &lt;code&gt;-async&lt;/code&gt; combinations but it made no difference. Is there a more accurate way of using &lt;code&gt;aselect&lt;/code&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A quick example command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i %INPUT% -vf select='between(n\,200\,399)',setpts='PTS-STARTPTS' -af aselect='between(n\,200\,399)',asetpts='PTS-STARTPTS'-y test.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;where 'INPUT' is the name of some file containing compressed video and audio. I am testing with the file AV36_1.avi found on &lt;a href=&quot;http://samples.mplayerhq.hu/avi/&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; site hosting video samples. I get a video duration of 13.3 seconds and audio duration of 12 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;output: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-77045-ga16243a Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 5.2.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-av&#xA;isynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enab&#xA;le-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --&#xA;enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-l&#xA;ibilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enab&#xA;le-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --en&#xA;able-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --ena&#xA;ble-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc&#xA; --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enabl&#xA;e-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --&#xA;enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55.  9.100 / 55.  9.100&#xA;  libavcodec     57. 16.101 / 57. 16.101&#xA;  libavformat    57. 19.100 / 57. 19.100&#xA;  libavdevice    57.  0.100 / 57.  0.100&#xA;  libavfilter     6. 20.100 /  6. 20.100&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Guessed Channel Layout for  Input Stream #0.1 : stereo&#xA;Input #0, avi, from 'AV36_1.avi':&#xA;  Duration: 00:00:32.93, start: 0.000000, bitrate: 2372 kb/s&#xA;    Stream #0:0: Video: indeo5 (IV50 / 0x30355649), yuv410p, 320x240, 2058 kb/s,&#xA; 15 fps, 15 tbr, 15 tbn, 15 tbc&#xA;    Metadata:&#xA;      title           : Steyr.avi ┬ΦΣσε #1&#xA;    Stream #0:1: Audio: adpcm_ms ([2][0][0][0] / 0x0002), 22050 Hz, 2 channels,&#xA;s16, 176 kb/s&#xA;    Metadata:&#xA;      title           : Sound Forge 4.0 Audio&#xA;Output #0, avi, to 'test.avi':&#xA;  Metadata:&#xA;    ISFT            : Lavf57.19.100&#xA;    Stream #0:0: Video: mpeg4 (FMP4 / 0x34504D46), yuv420p, 320x240, q=2-31, 200&#xA; kb/s, 15 fps, 15 tbn, 15 tbc&#xA;    Metadata:&#xA;      title           : Steyr.avi ┬ΦΣσε #1&#xA;      encoder         : Lavc57.16.101 mpeg4&#xA;    Stream #0:1: Audio: mp3 (libmp3lame) (U[0][0][0] / 0x0055), 22050 Hz, stereo&#xA;, s16p&#xA;    Metadata:&#xA;      title           : Sound Forge 4.0 Audio&#xA;      encoder         : Lavc57.16.101 libmp3lame&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (indeo5 (native) -&amp;gt; mpeg4 (native))&#xA;  Stream #0:1 -&amp;gt; #0:1 (adpcm_ms (native) -&amp;gt; mp3 (libmp3lame))&#xA;Press [q] to stop, [?] for help&#xA;frame=   98 fps=0.0 q=9.6 size=     294kB time=00:00:09.03 bitrate= 266.1kbits/s&#xA;frame=  200 fps=0.0 q=11.7 Lsize=     525kB time=00:00:13.33 bitrate= 322.5kbits&#xA;/s&#xA;video:429kB audio:72kB subtitle:0kB other streams:0kB global headers:0kB muxing&#xA;overhead: 4.625268%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I think I'm using the aselect filter wrong...&lt;/p&gt;&#xA;" OwnerUserId="12259" LastEditorUserId="12259" LastEditDate="2015-12-16T06:41:41.630" LastActivityDate="2015-12-16T10:05:50.763" Title="Accurate audio selection" Tags="|ffmpeg|editing|audio|filter|" AnswerCount="1" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="17165" PostTypeId="2" ParentId="17125" CreationDate="2015-12-16T04:11:07.190" Score="0" Body="&lt;p&gt;Neither Lightworks nor Blender really offer any coloring functionality advanced enough to do that natively. However, Davinci Resolve is a free program which has very advanced color grading functionality which will allow you to easily desaturate shadows. It also isn't that complicated of a program. It can be difficult to understand all the ins and outs, but basic functions are very intuitive.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2015-12-16T04:11:07.190" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17166" PostTypeId="1" CreationDate="2015-12-16T07:04:02.973" Score="0" ViewCount="100" Body="&lt;p&gt;I have a Rebel T5 Canon camera I use to shoot short &lt;strong&gt;&lt;em&gt;videos&lt;/em&gt;&lt;/strong&gt; with. Interviews, short video sketches, scenes from plays. In my living room.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm having a huge problem with indoor shooting. No matter how many light fixtures I turn on, bring in from other rooms, or train directly at the person I'm shooting; no matter what kind of bulbs I use, incandescent, CFL, or &quot;flood&quot;; no matter how much I play around with the ISO levels or aperture: everything, and especially the person I'm shooting, comes out either too dark and grainy, or yellow, or too harsh and overexposed (&lt;em&gt;and&lt;/em&gt; yellow).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not a cheap moron: I'm a painter on a tight budget. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would this camera light solve a lot of my problems?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4Y48G.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4Y48G.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's NEEWER® 160 LED CN-160 Dimmable Ultra High Power Panel Digital Camera / Camcorder Video Light, LED Light for Canon, Nikon, Pentax, Panasonic,SONY, Samsung and Olympus Digital SLR Cameras, and it's selling for $30 on Amazon.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions will be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="11910" LastActivityDate="2015-12-18T03:18:58.440" Title="Would this camera light solve a lot of my indoor shooting problems?" Tags="|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17167" PostTypeId="1" AcceptedAnswerId="17169" CreationDate="2015-12-16T09:04:32.607" Score="1" ViewCount="864" Body="&lt;p&gt;I have some mkv files with a hevc encoding which is not allowing me to burn to disc in covertxtodvd as it shows no video track as the encoding isn't supported, i was wondering if it was possible to convert the files encoding into avc encoding whilst keeping embedded subtitles and the same mkv format.&#xA;Thank you for reading,&#xA;Nick W&lt;/p&gt;&#xA;" OwnerUserId="12302" LastActivityDate="2022-11-16T02:46:31.400" Title="How to convert an mkv file with hevc encoding to mkv with avc" Tags="|encoding|file-formats|dvd|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17168" PostTypeId="2" ParentId="17164" CreationDate="2015-12-16T09:54:38.243" Score="2" Body="&lt;p&gt;This command, which used &lt;code&gt;t&lt;/code&gt; reference for &lt;code&gt;aselect&lt;/code&gt;, worked for me:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i AV36_1.avi -vf &quot;select=between(n\,200\,399),setpts=PTS-STARTPTS&quot; -af &quot;aselect=between(t\,(200/15)\,(399/15)),asetpts=PTS-STARTPTS&quot; -y test.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you want to use &lt;code&gt;n&lt;/code&gt; (frames), then you will need to know the frame size of the audio codec e.g. 1024 samples for AAC, variable for MP3..etc&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-12-16T10:05:50.763" LastActivityDate="2015-12-16T10:05:50.763" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17169" PostTypeId="2" ParentId="17167" CreationDate="2015-12-16T10:02:34.827" Score="0" Body="&lt;p&gt;ffmpeg, a command-line tool, can do this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -c:v libx264 -crf 23 -c:a copy -c:s copy -fflags +genpts output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Adjust the CRF for larger or smaller size (lower number produces better quality but larger size)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Download ffmpeg (32-bit static version) from &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-16T10:02:34.827" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17170" PostTypeId="1" CreationDate="2015-12-16T10:46:58.803" Score="0" ViewCount="130" Body="&lt;p&gt;I have a rather large number of old Hi-8 PAL videotapes, that I managed to convert to digital video using El Gato EyeTV Hybrid through an S-VHS cable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That solution worked fine. It may not be the best quality, though I think that there isn't much quality to preserve beyond what I got. I don't know that, as I have no way to compare to other solutions. Comments welcome.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One fact about that solution is that it produces MPEG-2 video. The total disk space used for my videos is 168 GB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't like MPEG-2 as a format: its compress rate is not great, it's difficult to process. What would be a better format for archival? Relevant features (in no order):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;compress rate vs quality (saving disk space is low priority, preserving quality, poor though it is, is high priority)&lt;/li&gt;&#xA;&lt;li&gt;long term support (avoid bit rot)&lt;/li&gt;&#xA;&lt;li&gt;adequate for video editing (at least easy to import in common non-linear editing software. I am on Mac, so that would suggest Final Cut or maybe even iMovie).&lt;/li&gt;&#xA;&lt;li&gt;interoperability/compatibility with Plex and typical DLNA servers/players.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Despite being a bit weak for point 3, I tend to favor H264. I converted all my videos to H264 using Handbrake, with its default H264 HighProfile preset. I saved a moderate amount of space, going down to 1.22 GB total. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any point to converting those videos to any other format (codec/container) for archiving?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="5010" LastActivityDate="2015-12-16T12:22:59.753" Title="which digital format for old Hi-8 home videos?" Tags="|codec|analog|digitisation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17171" PostTypeId="2" ParentId="17170" CreationDate="2015-12-16T11:16:58.620" Score="1" Body="&lt;p&gt;Difficult to reply without knowing if you aiming for a full lossless codec or a lossy one can go too. You talk of H264, but this codec can also be used in a lossless way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it was for me, and storage doesn't matter I would go for a true (pixel per pixel) lossless codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here, excluding some other &quot;good but insane storage hungry&quot; lossless codecs your choice is between:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;FFV1 codec, a pretty good choice for archival purposes.&lt;/li&gt;&#xA;&lt;li&gt;H264 codec used in loseless fashion, that take less than the above, but is also handled not so well by NLE out of there.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;In case instead you want to retain only a good video quality (let's say visually lossless but not pixel per pixel) you can go for an H264 with a crf let's say about 16 or 18.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously is pure nonsense use lossless codecs if you already acquired media with a poor mpeg2. My suggestion is referred to the first video capture itself. So you should capture and save directly in FFV1 without any intermediate steps, then decide to transcode in lossless h264 or lossy h264 or just keep the FFV1 based on your storage needings.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2015-12-16T12:22:59.753" LastActivityDate="2015-12-16T12:22:59.753" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17172" PostTypeId="2" ParentId="17166" CreationDate="2015-12-16T12:27:43.070" Score="5" Body="&lt;p&gt;This light fixture will not solve your problems.  As a painter, you surely understand the need to transfer paint to your canvas, so you choose the correct tool for the job.  It could be a brush, an airbrush, a palette knife, your fingers, or you might just pour it on straight out of the bucket.  So, too, must you learn to transfer light to your scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A light such as an &lt;a href=&quot;http://www.bhphotovideo.com/c/product/72010-REG/Arri_531300_300_Watt_Plus_Tungsten.html&quot;&gt;ARRI 300W Fresnel&lt;/a&gt; is a scale model of the Ur-light for video.  This design pattern scales down to 150W and scales up to 24000W, though it is difficult to work with more than the 1000W model in a home and more often than not you need dedicated electricity to handle more than 2000W in a commercial environment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The basic Fresnel has good &quot;throw&quot;, meaning that it gets a meaningful amount of its light onto your subject in a scene.  Because a Fresnel can be focused, you can adjust it from a meaningful flood to a meaningful spot (much more meaningful than a 75W light bulb from Home Depot that lists itself as spot or flood).  The basic Fresnel is also a standard input to many lighting modifiers, such as a soft box, which means that in addition to creating &quot;hard&quot; light (distinct shadows) you can create &quot;soft&quot; light (soft shadows or almost no shadows).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Straight-on lighting such as the above device will make your video look a bit like what a photo looks like when you use a flash (if it even has enough light to do its job).  Which is not pretty.  To light an interview, it is best to use &lt;a href=&quot;https://en.wikipedia.org/wiki/Three-point_lighting&quot;&gt;Three Point Lighting&lt;/a&gt; as a starting point, and then creatively change from there.  You can sometimes ditch the rim light.  You can sometimes get away without fill.  You can sometimes get away without key (especially if you are interviewing a criminal who does not want their face shown on video).  But Three Point Lighting is the starting point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course you can get fresnel lamps with other lighting elements than tungsten: LED, HMI, Plasma, etc.  But these are all more expensive than &quot;hot lights&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For your living room, 300W may be Just The Thing, or you may need to step up (650W) or down (150W) a level.  But be advised that the way luminosity of LED panel lights is measured, it is much more about the source light level, not the level of light that actually reaches the subject 8' into the room.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if you are getting blown-out highlights, it means your contrast levels (lighting ratios) are wrong.  Again, Three Point Lighting is the ticket for balancing highlights and shadows, and with a little practice you can dial in 1:1, 2:1, 3:1, 4:1 ratios between key and fill, avoiding the typical 10:1 or more ratios you get with only a single key light.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-12-16T12:27:43.070" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17173" PostTypeId="2" ParentId="17155" CreationDate="2015-12-16T13:50:38.197" Score="1" Body="&lt;p&gt;This should be a comment I guess but I don't have enough rep.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What kind of monitor are you using?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My iPhone records my 27&quot; Retina 5k monitor just fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My guess is you have an LCD monitor and you are having polarizing issues (&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/0B79dGR19Tg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;)&lt;/p&gt;&#xA;" OwnerUserId="12141" LastActivityDate="2015-12-16T13:50:38.197" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17174" PostTypeId="1" AcceptedAnswerId="17187" CreationDate="2015-12-16T17:17:37.220" Score="2" ViewCount="16636" Body="&lt;p&gt;We want to provide VOD service via http/https, but we dont want users download a video by finding out the url directly from the web player or using a developer plugin like firebug. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We are told that only option for us is to implement DRM to protect video content.&#xA;Is it true that DRM is the only option?&#xA;If there are other options, please suggest it.&#xA;Any expert opinion is most welcome on this.&#xA;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="12305" LastActivityDate="2020-06-18T18:09:08.263" Title="How to prevent users from downloading videos?" Tags="|video|streaming|" AnswerCount="3" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17175" PostTypeId="2" ParentId="17124" CreationDate="2015-12-16T18:30:17.863" Score="3" Body="&lt;p&gt;The script extract you include:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;app.project.renderQueue.render();&#xA;function(){system.callSystem(“Open growlnotify&quot;)};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;has a dodgy opening quote.  “ is not the same as &quot; - this is why you are getting the syntax error.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;app.project.renderQueue.render();&#xA;(function(){system.callSystem(&quot;Open growlnotify&quot;)})();&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;works (the (..)() calls the anonymous function). You need to add the parentheses so that the anonymous function gets called, or simply do &lt;code&gt;system.callSystem(&quot;Open growlnotify&quot;);&lt;/code&gt; without the anonymous function.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You also need to activate &quot;allow scripts to write files and access network&quot; in Preferences/General, otherwise &lt;code&gt;callSystem&lt;/code&gt; is blocked.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the full script you post, when you replaced &lt;code&gt;type = &quot;web&quot;&lt;/code&gt; on line 24 to use growl, the same error probably slipped in.  Check your keyboard autocorrect settings to ensure that you've not got curly quotes.&lt;/p&gt;&#xA;" OwnerUserId="12307" LastEditorUserId="12307" LastEditDate="2015-12-16T18:36:43.347" LastActivityDate="2015-12-16T18:36:43.347" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17176" PostTypeId="1" CreationDate="2015-12-16T19:54:12.513" Score="0" ViewCount="825" Body="&lt;p&gt;I am building a render farm running linux and I would like to be able to send my adobe projects to it for rendering from a mac workstation. I see that it's doable with a windows workstation(&lt;a href=&quot;https://video.stackexchange.com/questions/15798/build-linux-render-farm-in-order-to-render-adobe-premiere-projects&quot;&gt;Build linux render farm in order to render adobe premiere projects&lt;/a&gt;). Is there anyway to send it from a mac or am I going to have to get a whole new windows workstation(not in my budget!!)?&lt;/p&gt;&#xA;" OwnerUserId="12308" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-12-16T21:46:13.803" Title="Can I use a Linux Render Farm with a MAC Workstation running Adobe Premiere?" Tags="|premiere|adobe|mac|linux|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17177" PostTypeId="2" ParentId="17174" CreationDate="2015-12-16T20:00:07.303" Score="1" Body="&lt;p&gt;Another option is single use URL/access tokens. But this could get complicated if the browser uses range requests, which is almost certain. And even then the user could still get around that with enough motivation. DRM is the only really secure way.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2015-12-16T20:00:07.303" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17178" PostTypeId="2" ParentId="17176" CreationDate="2015-12-16T21:46:13.803" Score="2" Body="&lt;p&gt;There are two steps, broadly speaking, to rendering a project in a NLE such as Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First step is for the NLE to generate the uncompressed final composite image for each output frame. This is undertaken/managed by the rendering engine of the NLE. And the second is to encode these generated images using a codec into the final video output file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the first step to be parallelized or offloaded to other processors, the app has to support such a facility, in the form of piecemeal division of rendering tasks to compatible renderers installed on the slave machines and final assembly of their results. I haven't seen anything to indicate that Premiere does so, even across a Windows/OSX farm.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the 2nd step to be parallelized, the encoder has to support such a facility. The post you link to has an answer which suggests that frameserving from Premiere to ffmpeg can accomplish this. Except that the solution doesn't demonstrate any parallelization. It simply uses ffmpeg on the source machine to relay frames to a single ffmpeg instance running on a linux machine for encoding. The point of a render farm is to split and distribute the processing load across multiple machines for quicker output. That solution, in all likehihood, simply adds latency for no useful reason.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-16T21:46:13.803" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17179" PostTypeId="2" ParentId="15258" CreationDate="2015-12-17T07:13:49.883" Score="1" Body="&lt;p&gt;I agree with what @MoritzLost said.  Better that you copy those video files directly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have these MTS files copied, there are a variety of options.  I ran into this problem myself recently and found the two best options were rather simple (despite lots of complicated discussions online):&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Simply rename (or copy first and rename the copy) the video file from a .MTS extension to .MP4 extension.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sounds a bit stupid, but the video and audio are generally supported by lots of different programs.  Problem is, the MTS container surrounding the video and audio streams us bit as well supported.  Give this a try first, because it's the easiest thing to do with keeping the audio and video quality exactly as it is in the original file.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The next best option I found was using ffmbc.  You can find the website for it (which will eventually be unsupported or removed completely) at: &lt;a href=&quot;https://code.google.com/p/ffmbc/&quot; rel=&quot;nofollow&quot;&gt;https://code.google.com/p/ffmbc/&lt;/a&gt; .  There is also a Google Groups website for it at: &lt;a href=&quot;https://groups.google.com/forum/#!forum/ffmbc-discuss&quot; rel=&quot;nofollow&quot;&gt;https://groups.google.com/forum/#!forum/ffmbc-discuss&lt;/a&gt; .  For the Windows version, you'll find a download on the Groups website, while for Mac and Unix/Linux, you can download and build the code yourself (sorry, I can't help you with building on a Mac).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After you have the program built, you can run the following command:&lt;br /&gt;&#xA;&lt;code&gt;ffmbc -fflags +genpts -i &quot;FILENAME.MTS&quot; -vcodec copy -acodec copy &quot;FILENAME.mp4&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously, you'll need to make sure ffmbc is runable from the command line of whichever OS you are using...otherwise, you can use the full path to the ffmbc executable.  And change &quot;FILENAME&quot; to be the name of whatever file you are using.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;**From my experience, you will find the resulting file to be smaller.  For some reason, the MP4 container format is more efficient than the MTS container format.  You could research the reasons behind this, if you're interested.  Anyway, I have found that with a 6.1 GB file, repackaging an MTS file drops to about 5.7 GB.  The time it took to repackage that particular file from MTS to MP4 was about 1m 30sec.  So, even if you have incredibly large files, you are not looking as nearly the length of time that you would for re-encoding the video/audio.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You could also try using ffmpeg, MP4Box, Libav, are a variety of other tools.  The key here is that you do not need to re-encode the audio or video (unless you want/choose to).  You simply want to change the container that &quot;holds&quot; the video and audio streams.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;**Generally speaking, the AAC audio format is better supported and standard for MP4.  So, you might want to copy the video stream but re-encode the audio if the application or media player you're using doesn't support AC3 (the default MTS audio format).  Re-encoding the audio won't take much extra time, but will add time compared to simply repackaging the video/audio in a different container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if you need to change anything, such as framerate, resolution, audio bitrate, etc., then you'll need to re-encode the audio or video (or both).  But, if you literally want the audio/video to be the same, the container change is your best choice &lt;em&gt;and&lt;/em&gt; the fastest (with the exception of if renaming the extension MP4, if this works for your purposes).&lt;/p&gt;&#xA;" OwnerUserId="12312" LastEditorUserId="6685" LastEditDate="2016-01-06T20:09:53.953" LastActivityDate="2016-01-06T20:09:53.953" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="17180" PostTypeId="1" AcceptedAnswerId="17184" CreationDate="2015-12-17T09:39:14.207" Score="8" ViewCount="20783" Body="&lt;p&gt;Is it possible to export a video file from After Effects with transparency?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't want to export to an image sequence.&lt;/p&gt;&#xA;" OwnerUserId="9154" LastEditorUserId="12112" LastEditDate="2015-12-17T17:00:49.800" LastActivityDate="2018-04-22T19:33:35.697" Title="Is it possible to export a Video with transparent Background? (No Image Sequences!)" Tags="|after-effects|quicktime|adobe-media-encoder|alpha|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17181" PostTypeId="2" ParentId="17180" CreationDate="2015-12-17T09:44:43.763" Score="3" Body="&lt;p&gt;Yes, for the Quicktime output module, choose to output &lt;code&gt;RGB + Alpha&lt;/code&gt; using PNG or Animation codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Media Encoder, choose Depth as &lt;code&gt;32 Bit&lt;/code&gt; after selecting the same codecs as above.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-12-17T10:22:50.957" LastActivityDate="2015-12-17T10:22:50.957" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17182" PostTypeId="1" AcceptedAnswerId="17193" CreationDate="2015-12-17T10:23:36.687" Score="3" ViewCount="2405" Body="&lt;p&gt;Given an encoded video file with non-constant bitrate, how would one analyze the bitrate over time? So far I found one old program that produces a bitrate plot, but none that can give the raw data of the encoded frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think bitrate data should be generated by averaging the size of a set of frames spanning 1 second--i.e. frames with a DTS belonging in that interval. So a 10 second video would have 10 data points describing the encoder input bitrate. Though I am curious to hear alternative ways of calculating bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to get the size of each (encoded) frame? preferably with windows software. I know it is trivially easy for an uncompressed source (resolution * bitdepth * time).&lt;/p&gt;&#xA;" OwnerUserId="12259" LastActivityDate="2015-12-18T05:13:03.097" Title="how to measure bitrate of video over time" Tags="|video|encoding|sampling-frequency|signal-processing|bitrate|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17183" PostTypeId="2" ParentId="17125" CreationDate="2015-12-17T11:00:47.873" Score="2" Body="&lt;p&gt;In Lightworks, there's the selective color correction tool.&#xA;By moving the sliders like this you can select the shadows (luma slider) and desaturate them:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/yRyJt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yRyJt.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By  clicking &quot;Reveal&quot; you can see which parts of the image are going to be changed.&#xA;With much thanks to the guys at the Lightworks forum.&#xA;Source: &lt;a href=&quot;http://www.lwks.com/index.php?option=com_kunena&amp;amp;func=view&amp;amp;catid=7&amp;amp;id=104681&amp;amp;Itemid=81#104813&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lightworks forum: Desaturate shadows&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12270" LastActivityDate="2015-12-17T11:00:47.873" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17184" PostTypeId="2" ParentId="17180" CreationDate="2015-12-17T13:33:20.237" Score="4" Body="&lt;p&gt;File &gt; Add to Render Queue &gt; Output mode &gt; Format 'Quicktime' / Channels 'RGB + Alpha'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See if that works for you!&lt;/p&gt;&#xA;" OwnerUserId="12141" LastActivityDate="2015-12-17T13:33:20.237" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17185" PostTypeId="2" ParentId="12667" CreationDate="2015-12-17T15:23:53.383" Score="0" Body="&lt;p&gt;Based on an an answer to &lt;a href=&quot;https://video.stackexchange.com/questions/14772/correct-lens-distortion-with-ffmpeg&quot;&gt;Correct lens distortion with ffmpeg&lt;/a&gt; it is possible with the &lt;a href=&quot;http://docs.opencv.org/2.4/doc/tutorials/calib3d/camera_calibration/camera_calibration.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;OpenCV toolkit&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(That may also mean this is a duplicate question)&lt;/p&gt;&#xA;" OwnerUserId="10839" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2015-12-17T15:23:53.383" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17186" PostTypeId="2" ParentId="15645" CreationDate="2015-12-17T15:32:08.800" Score="1" Body="&lt;p&gt;No it is not possible to create a hybrid DVD/Blu-Ray disk in the manner which you describe.  The reason for this is that in addition to the digital formats between the two being different the physical media is different too.  You would require a multi-layer or multi-sided disk such as the one you linked to and different digital data on each side.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;DVD players read DVDs using a certain frequency of light and a set spacing between the track grooves (it really is laid out kind of like the grooves on an old phonograph record but microscopic).  BluRay players and disks use a different frequency of light and closer spaced grooves.  Initially this meant it was necessary to have separate laser systems for DVD and BlueRay in any combined player.  More recently optical systems were developed that could work for either format and made combined drives much cheaper to produce on mass.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd suggest the cheapest way would be to get a writable BlueRay and try gluing a writeable DVD to the back of it.  You would need quite thin disks to do this though as they would not fit inside standard drives.  Buying a combined DVD and BluRay disk (and writer?) is the best way to go.  &lt;/p&gt;&#xA;" OwnerUserId="10839" LastActivityDate="2015-12-17T15:32:08.800" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17187" PostTypeId="2" ParentId="17174" CreationDate="2015-12-17T17:18:35.797" Score="4" Body="&lt;p&gt;Unfortunately, no, that's the entire reason DRM exists.  It is a bit like trying to prevent someone from recording an on-air broadcast.  When you send video data over the internet to someone's player, they can simply store the information being sent to the player unless you obfuscate it and make it so that the player will only work under certain circumstances and will not share the data.  This, by definition, is DRM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What DRM attempts to do is control the reading of the data entirely, so that it can not be copied.  This has varying degrees of success and rarely, if ever, works particularly well.  It may keep honest people honest, but if you are sending someone data in a way that they can access it, measures to try to stop them from copying it are... difficult.  The most advanced systems use special display drivers and encrypt the data right up to the point it is being displayed on the screen (HDCP), that way other software on the computer can't directly pull the information off the frame buffer being prepared for the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There may be some ways you can mildly obfuscate the access to your video, but ultimately, if you send it in the clear, it is trivial for a knowledgeable viewer to store the datastream.  If you use DRM, it is substantially harder, but still likely to be able to be worked around by a dedicated attacker.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-12-17T17:18:35.797" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17189" PostTypeId="2" ParentId="17090" CreationDate="2015-12-18T02:20:03.107" Score="1" Body="&lt;p&gt;I've noticed that my HEVC h.265 readout/log in ffmpeg wasn't showing anything other than 0 for the q value during the transcode. Yeah, makes it difficult to evaluate quality during an encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For h264, I find that the q value is always 4-6 higher than my stated crf. If crf is 18, my q during transcode might be 24. But that might be an averaging, the verbosity of the readout isn't showing you all frames. I'm guessing we are seeing an averaging of what is held in buffer verifier.&lt;/p&gt;&#xA;" OwnerUserId="12323" LastActivityDate="2015-12-18T02:20:03.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17191" PostTypeId="2" ParentId="17174" CreationDate="2015-12-18T02:48:22.907" Score="0" Body="&lt;p&gt;We started using a Vimeo pro account. It has the ability embed a player in a web frame and (I think) prevent downloading. You can specify what domain(s) can load the video file. The dev working on the site was able to remove all the default Vimeo interface overlay elements. It'll go live soon. I'll post the link when it does.  I'd love to know if you guys/gals can obtain the file as we've tried to lock it up.&lt;/p&gt;&#xA;" OwnerUserId="12323" LastActivityDate="2015-12-18T02:48:22.907" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17192" PostTypeId="2" ParentId="17166" CreationDate="2015-12-18T03:18:58.440" Score="1" Body="&lt;p&gt;White balance! Can you lock in a color temperature setting on that canon? If you can't manually control shutter 1/30, 1/60 ( or maybe 180 degrees) or if it ignores your ISO when you hit that video button, the image processor may be trying to auto adjust on the fly. This makes tailoring a shot impossible. Consistency is also impossible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Michael is 100% correct! I would add that diffuser hoods work well with hot lights. I use 1k watt hots with dimmers, it's seems to change the color temp a bit, but it's our only setup right now. I'm looking to get a kilo flow setup too, they are like a fancy fluorescent shop light but way more expensive. This is probably bad advice, &quot;maybe try a shot light from a hardware store. I doubt it'll work, I imagine you'll see a nasty flicker or harshness. But hey it's cheap.&quot;&lt;/p&gt;&#xA;" OwnerUserId="12323" LastActivityDate="2015-12-18T03:18:58.440" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17193" PostTypeId="2" ParentId="17182" CreationDate="2015-12-18T05:13:03.097" Score="2" Body="&lt;p&gt;It does not make sense to speak of the size of an encoded frame in an inter-coded video stream, which is typical of MPEG-&lt;em&gt;&lt;code&gt;X&lt;/code&gt;&lt;/em&gt; videos. I-frames are self-contained but P- and B- frames are predicted frames and the final decoded result uses data from various inputs. On the other hand, the size of a single Group of Pictures (GOP) may be a meaningful measure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The FFmpeg segmenter in combination with a compatible demuxer can break apart the video stream at GOP boundaries. By specifying an ultra-low time for segment size, you can ensure that each segment contains 1 GOP. Running a ffprobe on each segment will then provide the bitrate for that GOP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tested the command below on MP4s which had 1) a variable-sized GOP, 2) an intra-coded scheme and 3) fixed GOP of unusual length (11 frames), and each output had the expected result.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -an -c:v copy -segment_time 0.00001 -f segment i%0d.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Each segment contained exactly 1 I-frame (each segment of the intra input contained exactly 1 frame in all).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Running ffprobe on each segment gives a bitrate reading:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Duration: 00:00:00.37, start: 4.466016, bitrate: 1539 kb/s&#xA;Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p,&#xA;1280x720 [SAR 1:1 DAR 16:9], 1520 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The above one is from the 11-frame GOP, and has a bitrate of 1520 kbps.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-18T05:13:03.097" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17194" PostTypeId="2" ParentId="12156" CreationDate="2015-12-18T11:20:17.640" Score="5" Body="&lt;p&gt;As per this ffmpeg bug&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/ticket/3393&quot; rel=&quot;noreferrer&quot;&gt;Interlaced H.264 packets are split causing MP4 STTS&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;when remuxing a mpeg-ts containing interlaced H.264 into mp4, both&#xA;  fields of each video frame are split into seperate packets. Software&#xA;  such as Mediainfo uses the STTS to determine the frame rate. It will&#xA;  show as 50fps instead of 25fps&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The frame rate mismatch reported here seems to be a result of ffmpeg muxing interlaced MP4 streams according to the specification, as per which, each field is separated into one packet. And thus&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;software which uses the sample count in the MP4 file to determine the&#xA;  frame rate is simply wrong.&quot; &lt;a href=&quot;https://trac.ffmpeg.org/ticket/3393#comment:7&quot; rel=&quot;noreferrer&quot;&gt;Comment 7&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This will not be patched as merging field pairs into one access unit violates the MPEG-4 specification, and hence so do any encoders which do the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that the muxed output, such as the one below, &lt;strong&gt;plays&lt;/strong&gt; fine for me in Potplayer and VLC.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    ffmpeg version N-76741-g8eadabf Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 5.2.0 (GCC)&#xA;&#xA;Input #0, mpegts, from '00007.MTS':&#xA;  Duration: 00:00:07.01, start: 1.033367, bitrate: 15935 kb/s&#xA;  Program 1 &#xA;    Stream #0:0[0x1011]: Video: h264 (High) (HDMV / 0x564D4448), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], 29.97 fps, 29.97 tbr, 90k tbn, 59.94 tbc&#xA;    Stream #0:1[0x1100]: Audio: ac3 (AC-3 / 0x332D4341), 48000 Hz, 5.1(side), fltp, 448 kb/s&#xA;    Stream #0:2[0x1200]: Subtitle: hdmv_pgs_subtitle ([144][0][0][0] / 0x0090), 1920x1080&#xA;[mp4 @ 054cf020] Codec for stream 0 does not use global headers but container format requires global headers&#xA;Output #0, mp4, to '00007.MTS.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf57.16.100&#xA;    Stream #0:0: Video: h264 ([33][0][0][0] / 0x0021), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 29.97 fps, 29.97 tbr, 90k tbn, 90k tbc&#xA;    Stream #0:1: Audio: aac ([64][0][0][0] / 0x0040), 48000 Hz, 5.1(side), fltp, 128 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc57.15.100 aac&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (ac3 (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[mp4 @ 054cf020] Timestamps are unset in a packet for stream 0. This is deprecated and will stop working in the future. Fix your code to set the timestamps properly&#xA;[mp4 @ 054cf020] pts has no value&#xA;    Last message repeated 209 times&#xA;frame=  420 fps=0.0 q=-1.0 Lsize=   12478kB time=00:00:07.01 bitrate=14564.2kbits/s    &#xA;video:12458kB audio:6kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.111239%&#xA;[aac @ 052fd480] Qavg: 64863.176&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-12-18T11:27:32.073" LastActivityDate="2015-12-18T11:27:32.073" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17195" PostTypeId="1" CreationDate="2015-12-18T12:02:52.440" Score="1" ViewCount="4350" Body="&lt;p&gt;I want to mix audio on a video.&#xA;The video already has audio stream in it. I'm adding another one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The new audio I'm adding is shorter than the video. So, I want to loop it as long as the video lasts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far, I'm doing this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i test.mp4 -stream_loop -1 -i bg_sound.mp3 -filter_complex &quot;[0:a][1:a]amix=inputs=2:duration=longest[out]&quot; -map 0:v -map [out] output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This adds the audio on the video, but does not loop it. I've also tried &lt;code&gt;stream_loop&lt;/code&gt; with other integer options with no luck. The audio I'm adding ends and the rest of the video continues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to loop my audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the ffprobe result of my video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;   ffprobe version N-76452-ga97f1e7 Copyright (c) 2007-2015 the FFmpeg developers&#xA;   built with gcc 4.8 (Ubuntu 4.8.4-2ubuntu1~14.04)&#xA;   configuration: --prefix=/home/alfanso/ffmpeg_build --pkg-config-flags=--static --extra-cflags=-I/home/alfanso/ffmpeg_build/include --extra-ldflags=-L/home/alfanso/ffmpeg_build/lib --bindir=/home/alfanso/bin --enable-gpl --enable-libass --enable-libfdk-aac --enable-libfreetype --enable-libmp3lame --enable-libopus --enable-libtheora --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-nonfree&#xA;   libavutil      55.  5.100 / 55.  5.100&#xA;   libavcodec     57. 14.100 / 57. 14.100&#xA;   libavformat    57. 14.100 / 57. 14.100&#xA;   libavdevice    57.  0.100 / 57.  0.100&#xA;   libavfilter     6. 14.101 /  6. 14.101&#xA;   libswscale      4.  0.100 /  4.  0.100&#xA;   libswresample   2.  0.100 /  2.  0.100&#xA;   libpostproc    54.  0.100 / 54.  0.100&#xA;   Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'localtest.mp4':&#xA;   Metadata:&#xA;       major_brand     : isom&#xA;       minor_version   : 512&#xA;       compatible_brands: isomiso2avc1mp41&#xA;       encoder         : Lavf56.40.101&#xA;       Duration: 00:06:53.97, start: 0.033333, bitrate: 179 kb/s&#xA;       Stream #0:0(und): Video: h264 (High 4:4:4 Predictive) (avc1 / 0x31637661), yuv444p, 1280x720, 45 kb/s, 25 fps, 25 tbr, 12800 tbn, 50 tbc (default)&#xA;   Metadata:&#xA;      handler_name    : VideoHandler&#xA;      Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 128 kb/s (default)&#xA;   Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I've also tried using different video and audio sources with the same result.&lt;/p&gt;&#xA;" OwnerUserId="11998" LastActivityDate="2019-01-08T10:26:49.787" Title="Loop and mix audio on video" Tags="|ffmpeg|" AnswerCount="2" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="17196" PostTypeId="1" AcceptedAnswerId="17197" CreationDate="2015-12-18T12:25:57.293" Score="4" ViewCount="3850" Body="&lt;p&gt;Situation: cash-strapped ivory tower visionary and ffmpeg newbie manacled to a 2nd hand 2010 Macbook Pro concealing a 'Black Screen of Death' NVIDIA GeForce GT 330M graphics chip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the help of the gfxCardStatus app (option 'Integrated Only' selected), I overcame this particular Apple quality control failure to record fullscreen video and at full resolution, using the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -video_size 1680x1050 -framerate 30 -f avfoundation -i &quot;1&quot; -c:v libx264 -qp 0 -preset ultrafast -capture_cursor 1 -capture_mouse_clicks 1 capture.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The capture_cursor and capture_mouse_clicks options, however, are steadfastly ignored.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Aside from these omissions, ffmpeg is recording at a quality and smoothness better than any of the screencapture/screencast apps I've tried, so for once I'm pretty sure this has nothing to do with the crap hardware, but rather with my use of ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is nothing to suggest the installation/compilation process went wrong, for which I used:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ brew install ffmpeg --with-fdk-aac --with-ffplay --with-freetype --with-frei0r --with-libass --with-libvo-aacenc --with-libvorbis --with-libvpx --with-opencore-amr --with-openjpeg --with-opus --with-rtmpdump --with-schroedinger --with-speex --with-theora --with-tools --with-libavformat --with-OpenCV --with-libx264&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Is there something I'm overlooking, but which is needed for capture_cursor and capture_mouse_clicks to work? Compilation parameter? ffmpeg option order? Some OS flag setting?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Operating System&lt;/strong&gt;&#xA; - OS X Yosemite&#xA; - Version 10.10.5 (14F1021)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Hardware:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;MacBook Pro (15-inch, Mid 2010)&lt;/li&gt;&#xA;&lt;li&gt;Processor 2.8 GHz Intel Core i7&lt;/li&gt;&#xA;&lt;li&gt;Memory 8 GB 1067 MHz DDR&lt;/li&gt;&#xA;&lt;li&gt;Graphics Intel HD Graphics 288 MB&lt;/li&gt;&#xA;&lt;li&gt;NVIDIA GeForce GT 330M&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Addendum&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here the ffmpeg video capture command usage, following the guidelines provided by @Mulvya:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -video_size 1680x1050 -framerate 30 -f avfoundation -capture_cursor 1 -capture_mouse_clicks 1 -i &quot;1&quot; -c:v libx264 -qp 0 -preset ultrafast capture.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12326" LastEditorUserId="6685" LastEditDate="2016-01-06T19:52:10.330" LastActivityDate="2016-01-06T19:52:10.330" Title="Using ffmpeg with avfoundation, capture_cursor and capture_mouse_clicks options are ignored" Tags="|ffmpeg|video-capture|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17197" PostTypeId="2" ParentId="17196" CreationDate="2015-12-18T12:33:07.737" Score="6" Body="&lt;p&gt;Place those options &lt;strong&gt;before&lt;/strong&gt; &lt;code&gt;-i &quot;1&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In ffmpeg, parameters and flags apply to the next input/output entry.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg {-flags for input1} -i input1 {-flags for input2} -i input2 {-flags for output1} output1 {-flags for output2} output2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-18T12:33:07.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17202" PostTypeId="2" ParentId="17180" CreationDate="2015-12-18T14:40:13.497" Score="7" Body="&lt;h3&gt;Production codecs with alpha channel support&lt;/h3&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Apple ProRes 4444 / Apple ProRes 4444 XQ&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the &lt;a href=&quot;https://support.apple.com/en-us/HT202410&quot; rel=&quot;nofollow noreferrer&quot;&gt;Manual&lt;/a&gt;: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Apple ProRes 4444 and Apple ProRes 4444 XQ are ideal for the exchange of motion graphics media because they are virtually lossless. They are also the only Apple ProRes codecs that support alpha channels.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;DNxHD &lt;/p&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;https://en.wikipedia.org/wiki/DNxHD_codec&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;lossy high-definition video post-production codec engineered for multi-generation compositing with reduced storage and bandwidth requirements&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;The codec supports alpha channel information.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;DNxHR&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;https://en.wikipedia.org/wiki/DNxHR_codec&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;lossy UHDTV post-production codec engineered for multi-generation compositing with reduced storage and bandwidth requirements&lt;/p&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;CineForm&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;https://en.wikipedia.org/wiki/CineForm&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Current implementations support image formatting for 10-bit 4:2:2 YUV, 12-bit 4:4:4 RGB and RGBA, and 12-bit CFA Bayer filter RAW compression&lt;/p&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;Uncompressed with alpha&lt;/h3&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Quicktime Animation Codec&lt;/li&gt;&#xA;&lt;li&gt;AVI uncompressed (None)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;From the After Effects &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/alpha-channels-masks-mattes.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Manual&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;When specifying the color depth for an output image, the plus sign (as in Millions Of Colors+) denotes an alpha channel. Similarly, choosing to output to 32 bits per pixel implies an output depth of 8 bits per channel for each of four channels: RGBA.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2018-04-22T19:33:35.697" LastActivityDate="2018-04-22T19:33:35.697" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17203" PostTypeId="1" CreationDate="2015-12-18T15:07:01.770" Score="1" ViewCount="644" Body="&lt;p&gt;Pretty much what the title says: I have a couple of video files and would like to extract one second intervals every sixty seconds or so, i.e. extract the clips &lt;/p&gt;&#xA;&#xA;&lt;p&gt;00:59 - 01:00&#xA;01:59 - 02:00&#xA;etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I would like to join all of these individual clips. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an easy way to do this?&lt;/p&gt;&#xA;" OwnerUserId="12331" LastActivityDate="2015-12-19T05:50:33.857" Title="Easy way to take 1s clips from video every 60s and join them all together?" Tags="|video|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17204" PostTypeId="1" AcceptedAnswerId="17205" CreationDate="2015-12-18T16:08:04.823" Score="0" ViewCount="122" Body="&lt;p&gt;&lt;strong&gt;Canon EOS SL1/100D using the kit lens 18-55 f/3.5 - 5.6&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to film indoor videos using the DSLR as it's image quality for stills is so much better than anything else I own (iPhone, really...).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am only using overhead lights right now, and I only have access to that lens.  I also have a larger 75-200 (ish) but the f-stops do not go down as low, which really is pointless indoors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know how I can best achieve a lower-light video indoors, similar to videos made with DSLRs online, &lt;a href=&quot;https://www.youtube.com/watch?v=YZDHTGrXP1w&quot; rel=&quot;nofollow&quot;&gt;like this one&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know the camera has something to do with it, but I feel a run-of-the-mill current DSLR body can get me far.  I feel like the lens does really well for stills, but just isn't big enough for low-light videos.  I also know a 3-spot lighting technique can help me as well, but I'm unsure where I can start first to get the best results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No matter what I do I realize that the ISO needs to come down.  Should a lower f-stop or better lighting get me further?  I would like to have the background blurry more than what I'm finding the 3.5 can do, which makes me think I need a different lens...  but that could also just be my inabilities with photography.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Feel free to &lt;a href=&quot;https://www.youtube.com/watch?v=5gytYos_BoI&quot; rel=&quot;nofollow&quot;&gt;take a look&lt;/a&gt; at a recent video I just shot with the setup described.  No worries, it's terrible.&lt;/p&gt;&#xA;" OwnerDisplayName="user4019" LastEditorDisplayName="user4019" LastEditDate="2015-12-18T16:53:17.333" LastActivityDate="2015-12-18T16:53:17.333" Title="Lighting/Lens Tips for DSLR Noisy Video" Tags="|dslr|noise|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17205" PostTypeId="2" ParentId="17204" CreationDate="2015-12-18T16:47:22.643" Score="0" Body="&lt;p&gt;An APC-C sensor size has a diagonal that's 1.6x smaller than FF35 (such as EOS 5d), which means that for a given field of view it behaves as if there's about 1.5 stops more depth of field.  Or, seen another way, if you are shooting indoors, you might use a 35mm lens on a FF35 camera and a 22mm lens on an APS-C camera, in which case the 22mm lens has about the same depth of field as if you stopped down the 35mm lens an additional 1.5 stops.  So your 18mm f3.5 gives you the depth of field similar to a 28mm shooting at f5.6 (which is pretty deep) and a 55mm shooting at 5.6 has a similar depth of field as an 85mm shooting at f9 (which is still pretty deep).  If you rack focus between the back of the room and an object 8&quot; in front of the camera, you will see the rack focus effect, but if you rack focus between 6' and 8', the effect will be minimal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cameras such as the SONY A7 are low-light wizards, but nothing else does low-light like that.  And shooting with ambient lighting is a recipe for boring, flat-looking video footage that looks amateur.  Do study and learn 3-point lighting.  First and foremost it will bring your subjects to life.  Second, even the most basic cameras and lenses can capture good video of a well-lit scene.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-12-18T16:47:22.643" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17206" PostTypeId="2" ParentId="17203" CreationDate="2015-12-18T18:24:45.350" Score="1" Body="&lt;p&gt;ffmpeg, a command-line tool, can do this in one command.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: New template, first below, is easier to manipulate (and understand)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a generalized command template:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -filter_complex &quot;[0:v]select='gte(mod((t\-FS),I),0)*lt(mod((t\-FS),I),D)', setpts=N/TB/FRAME_RATE[v];  [0:a]aselect='gte(mod((t\-FS),I),0)*lt(mod((t\-FS),I),D)', asetpts=N/SR/TB[a]&quot; -c:v libx264 -crf 23 -map &quot;[v]&quot; -map &quot;[a]&quot; -fflags +genpts output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Alternate method:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex &quot;[0:v]select=isinf(t\/(mod(D*trunc(1+(t/D))\,Interval))),setpts=N/TB/FRAME_RATE[v];[0:a]aselect=isinf(t\/(mod(D*trunc(1+(t/D))\,Interval))),asetpts=N/SR/TB[a]&quot; -c:v libx264 -crf 23 -map &quot;[v]&quot; -map &quot;[a]&quot; -fflags +genpts output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is the first command formatted for full visibility&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -filter_complex \&#xA;&quot;[0:v]select='gte(mod((t\-FS),I),0)*lt(mod((t\-FS),I),D)', \&#xA;setpts=N/TB/FRAME_RATE[v]; \&#xA;[0:a]aselect='gte(mod((t\-FS),I),0)*lt(mod((t\-FS),I),D)', \&#xA;asetpts=N/SR/TB[a]&quot; \&#xA;-c:v libx264 -crf 23 -map &quot;[v]&quot; -map &quot;[a]&quot; -fflags +genpts output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Basically, replace &lt;code&gt;input&lt;/code&gt; with your source video filename, &lt;code&gt;output.mp4&lt;/code&gt; with your intended output name.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Replace &lt;code&gt;D&lt;/code&gt; with duration of segment, &lt;code&gt;I&lt;/code&gt; for gap between the start of two segments and &lt;code&gt;FS&lt;/code&gt; with start time of first segment . So, for 3-second segments every 45 seconds, starting at 36 seconds, from a file called &lt;code&gt;fullfile.mp4&lt;/code&gt;, the command will be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i fullfile.mp4 -filter_complex \&#xA;&quot;[0:v]select='gte(mod((t\-36),45),0)*lt(mod((t\-36),45),3)', \&#xA;setpts=N/TB/FRAME_RATE[v]; \&#xA;[0:a]aselect='gte(mod((t\-36),45),0)*lt(mod((t\-36),45),3)', \&#xA;asetpts=N/SR/TB[a]&quot; \&#xA;-c:v libx264 -crf 23 -map &quot;[v]&quot; -map &quot;[a]&quot; -fflags +genpts output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;These segments will be extracts from seconds 36 to 39, 81 to 84..etc&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Download ffmpeg for Windows (32-bit static build) from &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-12-19T05:50:33.857" LastActivityDate="2015-12-19T05:50:33.857" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17208" PostTypeId="1" AcceptedAnswerId="17209" CreationDate="2015-12-19T05:39:04.913" Score="2" ViewCount="1697" Body="&lt;p&gt;I have made a simple four second long video in After Effects and exported it only to find that it had no audio. I tried changing the file type to &lt;a href=&quot;https://en.wikipedia.org/wiki/QuickTime_File_Format&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;QuickTime File Format&quot;&gt;.MOV&lt;/a&gt; and re-rendered it but  now the file had audio but no video. I have thoroughly researched the problem but nothing worked. here are some pictures:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/kpDDS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kpDDS.png&quot; alt=&quot;After Effects Project&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Eyspt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Eyspt.png&quot; alt=&quot;Render settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help is appreciated!&lt;/p&gt;&#xA;" OwnerUserId="12336" LastEditorUserId="15885" LastEditDate="2016-10-17T16:13:26.163" LastActivityDate="2016-10-17T16:13:26.163" Title="Why does After Effects not export with audio?" Tags="|after-effects|audio|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17209" PostTypeId="2" ParentId="17208" CreationDate="2015-12-19T14:46:55.113" Score="2" Body="&lt;p&gt;The issue seems with your playback of the rendered file. Try playing it with QuickTime (you are exporting with QuickTime after all) or VLC Media Player or Media Player Classic. All these are good options if you want to test you rendered files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using the media player that comes with your version of Windows is always a bad idea, Microsoft never bothered with good codec support.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2015-12-19T14:46:55.113" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17210" PostTypeId="2" ParentId="4491" CreationDate="2015-12-19T18:50:05.153" Score="1" Body="&lt;p&gt;I recommended to use the Dashwood Stereo3D Toolbox (link: &lt;a href=&quot;http://www.dashwood3d.com/stereo3dtoolbox.php&quot; rel=&quot;nofollow&quot;&gt;http://www.dashwood3d.com/stereo3dtoolbox.php&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use it for convert SBS to TaB and adjust the 3D effect with Final Cut, it works well.&lt;/p&gt;&#xA;" OwnerUserId="12338" LastActivityDate="2015-12-19T18:50:05.153" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17211" PostTypeId="1" AcceptedAnswerId="17212" CreationDate="2015-12-19T17:18:11.110" Score="3" ViewCount="148" Body="&lt;p&gt;I want to create a floating object (or objects) when time freezes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Zach king created a video that throws popcorn in the air, then when the time freezes, the camera moves around.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Search : 'Zachking Popcorn' then see the floating popcorns for more info that what I exactly saying&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I achieve this effect?&lt;/p&gt;&#xA;" OwnerUserId="12343" OwnerDisplayName="Al00X" LastEditorUserId="10931" LastEditDate="2017-11-02T18:34:20.077" LastActivityDate="2017-11-02T18:34:20.077" Title="How can I create floating objects in After Effects?" Tags="|after-effects|special-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17212" PostTypeId="2" ParentId="17211" CreationDate="2015-12-19T22:06:08.110" Score="3" Body="&lt;p&gt;This is accomplished during shooting and is not an editorial effect. An set of DSLRs (digital still cameras) arranged in an arc are triggered to all take a shot at the same instant. The individual frames are strung into a sequence and treated as a motion clip. There are lots of examples of this on the web.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do similar things using CGI, but it's not a simple task and it isn't cheap.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You asked for a tutorial but I don't know of any, so...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=OruWu1hZe9M&quot; rel=&quot;nofollow&quot;&gt;Here's a demonstration&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=r5w7y8-V7i8&quot; rel=&quot;nofollow&quot;&gt;Here's a cheaper alternative&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3908" LastEditorUserId="3908" LastEditDate="2015-12-20T19:01:36.413" LastActivityDate="2015-12-20T19:01:36.413" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17213" PostTypeId="2" ParentId="12396" CreationDate="2015-12-21T04:09:37.543" Score="1" Body="&lt;p&gt;Ultimately youtube is thinking about upload quality versus upload speed.&#xA;If someone tries to upload lossless on a less-than-amazing internet connection, they'll get frustrated and quit. If they upload with a lossy codec which is less-than-satisfactory (eg. motion-jpeg or mpeg2) they'll either take a long time to upload, have a poor quality end result, or both!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best solution is the upload a video using a codec which has the best quality-to-size ratio, which at this point in time (2015) is either h264 or webm (in terms of codecs which are widely-supported at least).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you use a decent encoder (eg. MeGUI) and high quality settings (eg. multiple passes, high maximum bitrate) it is doubtful you will see a significant difference between uploading lossless and h264. However, the filesize will be significantly smaller and the upload time a fraction of the lossless upload time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps some day when we have quadruple-light-speed internet connections, we won't have to worry about these 'implementation details' - however until then, quality-to-filesize ratios will always be important, particularly in the age of 4K and ever-increasing screen resolutions.&#xA;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="12347" LastActivityDate="2015-12-21T04:09:37.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17214" PostTypeId="1" CreationDate="2015-12-21T01:28:36.810" Score="6" ViewCount="2626" Body="&lt;p&gt;My goal is to quickly create equirectangular videos from full-frame fisheye videos with a given hfov. Panoramatools, especially mpremap allow that but it takes long for each single picture. Given that gpu and 8-core cpu can be used, which program can do that quickly?&lt;/p&gt;&#xA;" OwnerUserId="12346" OwnerDisplayName="Vitalis Hommel" LastEditorUserId="12779" LastEditDate="2016-02-10T19:50:21.533" LastActivityDate="2016-07-10T19:14:59.813" Title="Convert fisheye videos to equirectangular videos" Tags="|conversion|360video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17215" PostTypeId="1" CreationDate="2015-12-21T06:45:18.720" Score="0" ViewCount="216" Body="&lt;p&gt;&lt;strong&gt;Goal&lt;/strong&gt;: I'd like to upscale a recording &lt;strong&gt;from&lt;/strong&gt; a 1680 x 1050 (16:10 aspect ratio), 2010 Macbook Pro screen &lt;strong&gt;to&lt;/strong&gt; 1920 x 1080 (16:9) for 'best-try' upload to a variety of target platforms (FB, YT, Vimeo etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note&lt;/strong&gt;: thanks to the crap graphics chip ('Black Screen of Death' NVIDIA GeForce GT 330M) on this laptop model, I cannot attach an external monitor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Clearly, the largest 16:9 aspect ratio video I can natively capture on this screen is 1680 x 945, making the scaling to be applied = 1920 / 1680, or approximately 1.14 times the original.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not bad, but taking a step back for a moment, am I &lt;strong&gt;at the time of recording&lt;/strong&gt; truly stuck with 1680 x 945 (16:9) max, or are there other options in the pursuit of a 1920 x 1080 end result?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Would (for example) ffmpeg allow original recording at a resolution&#xA;&lt;strong&gt;larger&lt;/strong&gt; than the native screen size? (conceivable, as all user interaction is in the middle of the screen, the remainder simply providing visual context).&lt;/li&gt;&#xA;&lt;li&gt;Can I otherwise trick my laptop into thinking it has a 1920 x 1080 screen attached?&lt;/li&gt;&#xA;&lt;li&gt;is there some other possibility I should be aware of?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you see a practical approach to a native 1920 x 1080 recording, some detail (for example ffmpeg command) would be helpful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Operating System&lt;/strong&gt; - OS X Yosemite - Version 10.10.5 (14F1021)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Hardware:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MacBook Pro (15-inch, Mid 2010)&#xA;Processor 2.8 GHz Intel Core i7&#xA;Memory 8 GB 1067 MHz DDR&#xA;Graphics Intel HD Graphics 288 MB&#xA;NVIDIA GeForce GT 330M&lt;/p&gt;&#xA;" OwnerUserId="12326" LastEditorUserId="12326" LastEditDate="2015-12-21T07:02:18.780" LastActivityDate="2015-12-21T08:06:04.910" Title="Mac video capture / recording at a resolution larger than, and aspect ratio different to, native display" Tags="|ffmpeg|video-capture|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17216" PostTypeId="2" ParentId="17215" CreationDate="2015-12-21T08:06:04.910" Score="1" Body="&lt;p&gt;Apparently, it may be possible to get the OS to output a higher resolution than the native one. It requires some config files &lt;a href=&quot;https://www.reddit.com/r/apple/comments/2ia242/enabling_1920_x_1200_hidpi_resolution_on_the_13/&quot; rel=&quot;nofollow&quot;&gt;tweaking&lt;/a&gt;. I can't vouch for this method.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you just need to show, say, the middle third of the screen, then another possibility is to &lt;a href=&quot;https://support.apple.com/kb/PH18385?locale=en_US&quot; rel=&quot;nofollow&quot;&gt;zoom in&lt;/a&gt; to provide a larger source for ffmpeg to upscale. Depending on the size of the area of interest, this might not make much difference. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, I dare say, 1680 --&gt; 1920 should be an easy upscale post-recording with hardly much difference in perceptual quality unless your items of interest are very small.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-21T08:06:04.910" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17217" PostTypeId="1" AcceptedAnswerId="17218" CreationDate="2015-12-21T10:35:00.650" Score="0" ViewCount="123" Body="&lt;p&gt;I need to create a number of videos from a template - they will have an image background, and then 1-4 separate videos appearing over the top. Something like this: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xN9zt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xN9zt.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The catch - these videos will need to be automatically generated in some way by a server. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some software out there that will spit out video files according to a template like this? &#xA;I'd need a way to set the background image, as well as the number and position of the overlay videos. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will ideally be done on a Windows server, but I can use other operating systems if need be. &lt;/p&gt;&#xA;" OwnerUserId="12349" LastActivityDate="2015-12-21T11:18:23.770" Title="Automatically generate videos from template" Tags="|windows|automation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17218" PostTypeId="2" ParentId="17217" CreationDate="2015-12-21T11:18:23.770" Score="1" Body="&lt;p&gt;A script that generates a custom ffmpeg command based on inputs provided could do this. You'd need to construct a filter complex with scale/crop filters for each video and multiple overlay filters with time conditions for the compositing. If you're willing to learn and trial it out, grab the Win static binaries &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; and start with some &lt;a href=&quot;https://trac.ffmpeg.org/wiki/FilteringGuide&quot; rel=&quot;nofollow&quot;&gt;basic&lt;/a&gt; &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Create%20a%20mosaic%20out%20of%20several%20input%20videos&quot; rel=&quot;nofollow&quot;&gt;guides&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-21T11:18:23.770" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17220" PostTypeId="1" CreationDate="2015-12-21T15:35:48.713" Score="0" ViewCount="2008" Body="&lt;p&gt;After uploading to YouTube, the green in my video is being processed with a weird tint (like a sea foam green). In the image below, I'm hoping for the blueish/green color on the left, but that color only shows in Safari (and sometimes Chrome) - otherwise it's mostly showing the color incorrectly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even more strange is when I use Quicktime on my Mac to screen record the video when the color is displaying incorrectly on YouTube, the end result when I play it back in quicktime shows the correct color. For example, watch my YouTube video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/heuPCADkS0o?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;, then see the screen capture here: &lt;a href=&quot;https://drive.google.com/file/d/0B7-2T7XJFKEKdklRQUpDaTdUYVU/view&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/0B7-2T7XJFKEKdklRQUpDaTdUYVU/view&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is only happening with the green color, all the other colors are correct. I'm exporting from Final Cut Pro on a Mac, I've tried my color display on my Mac at Color LCD and Color LCD Calibrated. Any idea why the color is being processed incorrectly once it's playing in YouTube?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/p9AHd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/p9AHd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12353" OwnerDisplayName="evan" LastActivityDate="2024-03-28T11:04:45.587" Title="Color is being processed strangely after uploading to YouTube" Tags="|color|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17221" PostTypeId="1" AcceptedAnswerId="17224" CreationDate="2015-12-21T15:56:19.690" Score="2" ViewCount="322" Body="&lt;p&gt;I did a test with a small Premiere Pro CS6 project and discovered that for each change I made to an effect Premiere generated a completely new preview file and stored that alongside the old file ( which was apparently trash at this point ) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Eg I did a rotation change and rendered a section and it created a preview file. I repeated this process and it made a second file. I would have expected it to overwrite the original because when I deleted all the preview files and generated a new preview it only ended up with a single preview file ( seemingly the same file as the last created ) — so I'm concluding that it would never use the previous 4 files yet it didn't delete them or give me an option to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason I did this is that the preview files folder in my main project is &lt;strong&gt;15GB&lt;/strong&gt; in size; and I'm assuming much of this is trash based on the above. So I moved it out of the project folder pending deletion and generated a new set of preview files for the project, which which came out around 8Gb - and it seems to work fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My questions is:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any problem with this method of regaining space other than it takes time to regenerated the preview. I mainly am curious because I haven't seen a reference to this technique anywhere; and also because I wonder why Adobe didn't add a button to purge and regenerate preview files (at least that I've seen) since it's fairly straightforward and reclaims back so much space.&lt;/p&gt;&#xA;" OwnerUserId="1023" LastActivityDate="2015-12-21T20:28:18.767" Title="Can I clean up Premiere Pro CS6 preview files like this?" Tags="|premiere|effects|storage|preview|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17222" PostTypeId="2" ParentId="17220" CreationDate="2015-12-21T16:24:19.433" Score="0" Body="&lt;p&gt;I see the correct color on Youtube. via Flash player on Windows 7.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sounds like either a gamma issue with the errant players, not Youtube. Try VLC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;--or--&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your FCP output isn't properly tagged. Its colorspace is Rec 709 but it's tagged as Rec 601 (or something else).&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-21T16:24:19.433" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17223" PostTypeId="1" AcceptedAnswerId="17227" CreationDate="2015-12-21T17:43:20.883" Score="0" ViewCount="1089" Body="&lt;p&gt;I want to start making some YouTube videos, but I want to work with what I have for the moment, to see how it goes and learn using them for a while.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I have a Behringer C1-U microphone and a Samsung NX1000 mirrorless camera. Is it possible to connect them both to the pc and record video and audio at the same time?&lt;/p&gt;&#xA;" OwnerUserId="10596" LastActivityDate="2015-12-22T01:30:10.343" Title="How can I record audio with the USB mic and record with the camera without having to sync them?" Tags="|video|audio|microphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17224" PostTypeId="2" ParentId="17221" CreationDate="2015-12-21T20:28:18.767" Score="1" Body="&lt;p&gt;You can delete Render files by going:&#xA;&lt;kbd&gt;Sequence&lt;/kbd&gt; &gt; &lt;kbd&gt;Delete Render Files&lt;/kbd&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or by using third-party programs.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-12-21T20:28:18.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17225" PostTypeId="1" CreationDate="2015-12-21T21:19:33.380" Score="3" ViewCount="4144" Body="&lt;p&gt;I am quite new to video editing, and I am trying to make a clip out of different source footage: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;sources made from my DSLR are at 24FPS &lt;/li&gt;&#xA;&lt;li&gt;sources from my video camera are at 24.97FPS&lt;/li&gt;&#xA;&lt;li&gt;Other sources (video clips) are at 29.97FPS&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I wanted to edit those videos and to upload the result. However when I choose the &quot;Vimeo 720p&quot; export preset (29.97FPS), the exported final clip appears to shake from frame to frame, which is annoying.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wonder whether that could come from the different framerates used throughout the project, and if so, how could I solve the issue?&lt;/p&gt;&#xA;" OwnerUserId="12352" LastActivityDate="2019-03-22T23:38:23.113" Title="Output is shaky after exporting an edit of several clips in Premiere Pro" Tags="|premiere|framerate|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17226" PostTypeId="2" ParentId="17225" CreationDate="2015-12-22T01:02:26.763" Score="1" Body="&lt;p&gt;Maybe your footage are shaky, because you filmed it that way? Try to use effect &quot;Warp Stabilizer&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it will not work, try to described in detail what you mean by &quot;shake from frame to frame&quot;.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-12-22T01:02:26.763" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17227" PostTypeId="2" ParentId="17223" CreationDate="2015-12-22T01:30:10.343" Score="1" Body="&lt;p&gt;I don't think Samsung NX1000 can stream video to PC. So you can't &quot;connect them both to the pc and record&quot;. You shall record first, and only then copy footage on the PC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However some cameras have audio jacks inputs, to connect external microphone to them. And your Samsung NX1000 have one. But your microphone don't have audio jack output, so it outputs only digital signal. And your DSLR can receive only analog signal. So it is impossible to connect your microphone to your DSLR directly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need computer to convert digital signal to analog, and then connect it to your DSLR. It can be achieved with some kind of microcomputer like Raspberry Pi. Or, if you going to record only near your PC, you can plug your mic into PC, and then connect your PC's audio output to your DSLR's audio input. Maybe some settings on the PC should be adjusted for this to work properly. But it depends on your operating system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After recording, do not forget to copy files from your DSLR to your PC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good Luck!&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-12-22T01:30:10.343" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17228" PostTypeId="1" CreationDate="2015-12-22T04:17:17.067" Score="7" ViewCount="12899" Body="&lt;p&gt;I'd like to add some images at the end of a mp4 file via ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eN0Mh.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eN0Mh.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="12358" LastEditorUserId="6685" LastEditDate="2016-01-06T20:05:37.393" LastActivityDate="2022-05-09T12:29:06.257" Title="How to add images at the end of an existing movie?" Tags="|ffmpeg|workflow|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17229" PostTypeId="2" ParentId="17228" CreationDate="2015-12-22T04:51:05.457" Score="7" Body="&lt;p&gt;Use this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;video&quot; -loop 1 -t 3 -i &quot;image&quot; -f lavfi -t 3 -i anullsrc -filter_complex &quot;[0:v] [0:a] [1:v] [2:a] concat=n=2:v=1:a=1 [v] [a]&quot; -c:v libx264 -c:a aac -strict -2 -map &quot;[v]&quot; -map &quot;[a]&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Replace the &lt;code&gt;t&lt;/code&gt; value with the duration that you want the image to stay. I've supplied the common encoding parameters. Replace those as needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For an image sequence, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;video&quot; -f image2 -framerate n -i &quot;image&quot; -f lavfi -t 3 -i aevalsrc=0 -filter_complex &quot;[0:v] [0:a] [1:v] [2:a] concat=n=2:v=1:a=1 [v] [a]&quot; -c:v libx264 -c:a aac -strict -2 -map &quot;[v]&quot; -map &quot;[a]&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Replace the &lt;code&gt;n&lt;/code&gt; in framerate with the rate that you want.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-12-22T12:11:38.737" LastActivityDate="2015-12-22T12:11:38.737" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17231" PostTypeId="1" AcceptedAnswerId="17233" CreationDate="2015-12-22T10:28:56.640" Score="2" ViewCount="12370" Body="&lt;p&gt;Is there a way for &lt;code&gt;FFmpeg&lt;/code&gt; to output or log time duration since a particular job/process was started?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that there are more or less complicated ways to display a &lt;a href=&quot;https://stackoverflow.com/questions/747982/can-ffmpeg-show-a-progress-bar&quot;&gt;progress bar&lt;/a&gt; which really seems more like a programmatical problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reasoning is that I want to measure how long time my encoding jobs take (without having to set up a separate timer).&lt;/p&gt;&#xA;" OwnerUserId="12052" LastActivityDate="2020-01-08T07:42:35.910" Title="Can FFmpeg output time duration since the start of a job?" Tags="|ffmpeg|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17232" PostTypeId="2" ParentId="17231" CreationDate="2015-12-22T11:56:51.687" Score="2" Body="&lt;p&gt;If you use the &lt;code&gt;-report&lt;/code&gt; option, ffmpeg will create a logfile at initialization and the filename will contain the time at which it was created. You can use the last modified time of the log file to get the completion time, and thus the duration. On Windows, you could just check the creation time of the output as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Addendum&lt;/strong&gt;: A rough way to get this information, universally, without altering the command or using a monitoring tool like &lt;code&gt;time&lt;/code&gt;, as LN guided, is to note the encoding speed normally reported i.e. &lt;code&gt;speed=5.50x&lt;/code&gt;. So, if the duration of the output file is 110 seconds, then time taken to encode is &lt;strong&gt;110 / 5.5 = 20 seconds&lt;/strong&gt;. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-12-23T07:38:49.470" LastActivityDate="2015-12-23T07:38:49.470" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17233" PostTypeId="2" ParentId="17231" CreationDate="2015-12-22T18:56:22.017" Score="5" Body="&lt;p&gt;In Linux you can use the &lt;code&gt;time&lt;/code&gt; command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ time ffmpeg -i input.avi output.mp4&#xA;  [...]&#xA;  real  0m1.927s&#xA;  user  0m7.067s&#xA;  sys   0m0.243s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This example took 1.927 seconds to complete.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2015-12-22T18:56:22.017" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17234" PostTypeId="1" CreationDate="2015-12-22T19:20:32.603" Score="0" ViewCount="3388" Body="&lt;p&gt;I've dug around numerous forums and have had no success finding a solution to my issue - .mp4 files color corrected in Premiere and exported in H.264 end up being unacceptably dark, the colors crushed.  There are a lot of conversations from 3 years ago about exports being lighter, or solutions offered on a Windows platform (I use a Mac), lots of complaining about Quicktime, but nary a fix for what ails me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an example of my issue:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/a5UwN.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/a5UwN.jpg&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Top left = Premiere program monitor; Top right = Quicktime playing the .mp4; Bottom center = Youtube (obviously).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In reading forums, I wonder the issue is that I'm editing in 0-255 rgb range, but it's exporting in the 16-235 range.  Or vice versa?  I'm fairly new at this and while I'm pretty confident in everything else regarding video production, I can't figure out what's going on behind-the-scenes in Premiere that would cause this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found each video example to be unchanged from Mac to PC, on Safari, Chrome and IE11, exported for Vimeo or Youtube, on the MacBook Pro screen to two differing-model dell monitors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I work on a 2013 MacBook Pro, with an Nvidia GeForce GT 650M.  The drivers are up to date.  There are no meaningful graphics card settings on OSX.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At first I thought that Quicktime as a player doesn't have anything to do with it since it shows up the same on Youtube.  It must be in the file.  Then I imported the .mp4 back into the project and the color/white balance looked fine.  So now I have no idea.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Andrew&lt;/p&gt;&#xA;" OwnerUserId="12364" LastActivityDate="2017-08-16T00:35:38.343" Title="Premiere Pro CC export produces dark, muddied video" Tags="|video|premiere|youtube|h.264|color|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17235" PostTypeId="1" CreationDate="2015-12-23T00:46:13.900" Score="0" ViewCount="8909" Body="&lt;p&gt;I am having this ridiculous problem in Cinema 4D. I created a new project with NOTHING in it. Trying to render it gives me a black screen. I tried adding lights, infinite lights sky, turning off OpenGL rendering... but nothing happens!! I have searched everywhere for a solution but nobody seems to have a problem like this. It worked about a day ago. I updated my graphics driver too.. still nothing happens. Also, EVERYTHING is black, not just one object. Remember, this happened in an empty project i just created with nothing in it.&lt;/p&gt;&#xA;" OwnerUserId="12366" LastActivityDate="2021-06-07T15:00:08.060" Title="C4D - Nothing seems to fix this stupid black screen" Tags="|cinema4d|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17237" PostTypeId="1" CreationDate="2015-12-23T02:56:08.810" Score="2" ViewCount="1480" Body="&lt;p&gt;I am using FFmpeg&#xA;I'd like to create an mp4 using an image sequence. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the images are not named sequentially, like 1, 2, 3, 4... Instead they are named with a time stamp in the form yyyy-mm-dd-mm.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I create a script to achieve this? &lt;/p&gt;&#xA;" OwnerUserId="12358" LastEditorUserId="1950" LastEditDate="2015-12-26T00:53:18.870" LastActivityDate="2016-05-24T07:35:18.377" Title="How can I create a video from an image sequence that is named with a date in the FFmpeg?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17238" PostTypeId="1" CreationDate="2015-12-23T06:29:23.287" Score="1" ViewCount="117" Body="&lt;p&gt;I have a Mac desktop and a Linux Ubuntu setup. I have installed source code of ffmpeg with x264 and Libopenjpeg support in Linux. On the other hand I have installed homebrew version of ffmpeg with libx264 and Libopenjpeg support on Mac OS. The following command automatically convert xyz colours pace to rgb in Linux, but dose not convert colourspace in Mac OS when I play dcp with ffmpeg. What is the reason behind this strange behavior??? My code is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ffmpeg -lowres 2 -ss 0 -r24 -i MOVIE.mxf -ss 0 -i AUDIO.mxf -ac: 2 -c:v libx264 -f matroska - | ffplay -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12368" LastActivityDate="2015-12-23T06:29:23.287" Title="Why ffmpeg dcp playback behaving a different ways in mac and ubantu" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17239" PostTypeId="2" ParentId="17158" CreationDate="2015-12-23T06:33:45.173" Score="1" Body="&lt;p&gt;I use the trapcode suite as well, the issue has more to do with the fact that even though you may be working in an sRGB workspace at 32 Bit; your monitor output is 8 bit. 10 Bit monitors are available but unless you forked up a lot of cash - you are viewing 8-bit. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The way to solve gradient problems like this - with this as well as any other gradient in AE/Premiere/PS; is to add an adjustment layer to the top of your project; on top of all layers. Add the standard NOISE filter. Check monochromatic (or un check use color noise) - you don't want color. Gaussian sometimes looks better; it's one of two options on the NOISE pop-up. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Typically; I use a setting of 2 - 4%. But it really depends on your comp settings. If I'm working with RED 5k footage I typically have to do 1-2%. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly; honestly I almost always add NOISE to all the work I do; even if it's just 1% on a nested timeline for output. It solves a lot of aliasing problems and is a standard trick in post many people use. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps.  &lt;/p&gt;&#xA;" OwnerUserId="12369" LastActivityDate="2015-12-23T06:33:45.173" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17240" PostTypeId="2" ParentId="17234" CreationDate="2015-12-23T06:46:32.163" Score="1" Body="&lt;p&gt;In my experience Quicktime always produces incorrect shading and color with video- period. It shouldn't be used to assess what really &quot;is there&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, go into Bridge. Under EDIT, make sure you've synchronized all your color settings for all Adobe Products, and that you're using WEB AMERICAN (Monitor Color for sRGB).  That would be the correct profile for web content like youtube. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After that; try re-out putting. Also; you can check your NVIDIA settings; but you want to allow applications to control color; so it could be that your system is simply using a different color profile or an expanded color gamut for web vs what Adobe is using. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I'd shy away from using QT for viewing files (or anything MAC for that matter); having switched over to only using Windows based workstations so many problems like these have been solved for us. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps. &lt;/p&gt;&#xA;" OwnerUserId="12369" LastActivityDate="2015-12-23T06:46:32.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17241" PostTypeId="1" CreationDate="2015-12-23T08:17:15.183" Score="2" ViewCount="2120" Body="&lt;p&gt;I'm trying to convert a video file from AVI to MP4 but it doesn't seem to play, my code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;exec(&quot;ffmpeg -i &quot;.$video.&quot; -c:v libx264 -pix_fmt yuv420p -movflags faststart &quot;.$withoutExt.&quot;.mp4&quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Even plain code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;exec(&quot;ffmpeg -i &quot;.$video.&quot; &quot;.$withoutExt.&quot;.mp4&quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any ideas please and thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="12370" LastActivityDate="2015-12-23T20:59:18.583" Title="ffmpeg trying to convert AVI to MP4 but not playing" Tags="|video|ffmpeg|webvideos|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17242" PostTypeId="1" AcceptedAnswerId="17243" CreationDate="2015-12-23T10:16:37.183" Score="2" ViewCount="6002" Body="&lt;p&gt;I have a large video that I need only a small portion of online, and then I want to edit and cut out some parts inside that portion of video online. How do I accomplish that without any special software except perhaps VLC or the likes? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wary of downloading AVIdemux and other &quot;free&quot; stuff from the web. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've had bad experience with Softonic, CNet and the likes and even SourceForge who used to be great but then started installing stuff that you can't get rid of, and that affect your system like changing your search page etc. (For some reason many times they are not defined as malware, but in some cases are, and then its even worse because online instructions tell you to download &quot;removal&quot; software which usually like a Trojan just wreaks havoc). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe there's something on GitHub?&lt;/p&gt;&#xA;" OwnerUserId="12371" LastEditorUserId="12371" LastEditDate="2015-12-26T17:04:54.397" LastActivityDate="2017-09-25T10:02:01.543" Title="How to cut large video without video editing software (Windows)" Tags="|video-editor|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17243" PostTypeId="2" ParentId="17242" CreationDate="2015-12-23T10:33:23.193" Score="2" Body="&lt;p&gt;If you need to make multiple cuts and then join them or edit those cuts, you'll need a video editor to do it efficiently. Try &lt;a href=&quot;http://www.shotcut.org/&quot; rel=&quot;nofollow&quot;&gt;Shotcut&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-23T10:33:23.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17244" PostTypeId="1" CreationDate="2015-12-23T11:34:00.237" Score="1" ViewCount="74" Body="&lt;p&gt;Well, its not my area and i am a little bit scrappy with this.&#xA;So we have this little device , that we want to show how a real human hand stick to some different places .(for example door,window,gate ,etc)&#xA;Because we cant go physically over 50 locations, i was thinking about this &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will picture one video, where a hand stick the device to some flat green/blue area, then replace that area with a different picture(s) .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.Is it possible to make this look &lt;strong&gt;real&lt;/strong&gt; (so a normal eye cant tell)?&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Is there any better colour to use on the background ?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;3.What is the simplest software that do that on a mac? Can &lt;code&gt;iMovie&lt;/code&gt; do that ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="12373" LastActivityDate="2015-12-23T13:24:49.890" Title="Attach a video to a static image?" Tags="|video|video-editor|editing|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17246" PostTypeId="2" ParentId="17244" CreationDate="2015-12-23T13:24:49.890" Score="2" Body="&lt;p&gt;The effect you are looking for is &lt;a href=&quot;https://en.wikipedia.org/wiki/Chroma_key&quot; rel=&quot;nofollow&quot;&gt;Chroma Key&lt;/a&gt;, and it is supported by iMovie (according to &lt;a href=&quot;https://support.apple.com/kb/ph2245?locale=en_US&quot; rel=&quot;nofollow&quot;&gt;this Apple documentation&lt;/a&gt;).  The color green is typically used (and the technique known as Green Screen) because green is not the color of human skin, and thus easy to distinguish.  When green is a color that must be used in the scene (for example, if your subject is Kermit the Frog), then Blue Screen is used (and the technique is known as Blue Screen).  Sometimes no color works, in which case, people use bright white or dark black.  Chroma key software can work for those, too, but technically it's a &lt;a href=&quot;http://wiki.blender.org/index.php/Doc:2.4/Tutorials/Composite_Nodes/Types/Matte/Luminance_Keying&quot; rel=&quot;nofollow&quot;&gt;Luma Key&lt;/a&gt; in that case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for making it look real--that's a skill.  But now that you know the name of the technique, you can find articles that explain how best to do it, and the pitfalls to avoid.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-12-23T13:24:49.890" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17248" PostTypeId="2" ParentId="17241" CreationDate="2015-12-23T20:59:18.583" Score="1" Body="&lt;p&gt;You should specify the audio codec, e.g. &lt;code&gt;-c:a libvo_aacenc&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="8079" LastActivityDate="2015-12-23T20:59:18.583" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17251" PostTypeId="2" ParentId="17235" CreationDate="2015-12-24T15:58:46.947" Score="2" Body="&lt;p&gt;Are you sure it is not functioning as intended?  What do you expect to occur on an empty project?  I would expect that it should still be black even if you add lights as there is nothing for the lights to reflect off of.  If you haven't assigned materials to the objects, depending on the render mode, I'd still expect nothing to show up as it wouldn't be able to reflect any light back at the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure you have lights in the scene, an object (with actual surface geometry) in the scene and materials on the object.  If you're still getting black, you may be able to try different render modes.  I'm not familiar with Cinema4D specifically, but typically there are different render modes available.  This may also be what changed resulting in a change in behavior from what you are used to.  Some render modes behave differently in incomplete scenes than others.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2015-12-24T15:58:46.947" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17252" PostTypeId="1" AcceptedAnswerId="17253" CreationDate="2015-12-25T05:51:20.453" Score="4" ViewCount="9351" Body="&lt;p&gt;How to show audio keyframes in Adobe Premiere CC?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Show Audio Keyframes&lt;/code&gt; option is &lt;code&gt;ON&lt;/code&gt; although I can't see any keyframes on the timeline. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am sure, keyframes are there, since volume controls change in &lt;code&gt;Audio Clip Mixer&lt;/code&gt; as I move play head.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tnIcW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tnIcW.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2122" LastActivityDate="2015-12-25T09:10:19.227" Title="How to show audio keyframes in Adobe Premiere CC?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17253" PostTypeId="2" ParentId="17252" CreationDate="2015-12-25T09:10:19.227" Score="8" Body="&lt;p&gt;You need to expand the track to be large enough to see the waveforms and overlaid keyframes.  Mouse over the horizontal line that divides A2 from A3, drag downward, and your waveforms and keyframes should be revealed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you right-click in the waveform area, you have the option as to which keyframes it will display in the window.  By default it's Volume:Level, but it could be Panner:Balance (or others).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-12-25T09:10:19.227" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17254" PostTypeId="1" CreationDate="2015-12-25T16:26:24.473" Score="0" ViewCount="752" Body="&lt;p&gt;Years ago I bought Vitamin D Video software for videosurveillance, which doesn' support H.264, but only mpeg-4. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I'm using two cheap analog cameras (RCA, PAL) connected to pc through 1 usb Easycap and another usb cheap pinnacle (I could't have 2 Easycap connected at the same time) and cameras transmit video at resolution of 640x480 pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now that one camera stopped working, I'm looking for a cheap but little better camera. Lot of the cameras I found have these specifications:&#xA;Resolution: 1200 TV Lines, Pal: 960x860 pixels&#xA;Video Compression Format: H.264&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some are cameras have Resolution: 2MP 1920*1080 (always PAL)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I add a new camera in Vitamin D Video, I can choose between these resolutions:&#xA;QVGA 320x240&#xA;VGA 640x480&#xA;XGA 1024x768&#xA;SXGA 1280x1024&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My first doubt is: can also analog camera use H.264 codecs? Isn't it a codec for digital transmission?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, having an usb device in the middle, do I have to worry if usb devices support h.264 or do I have to check if Vitamin D Video supports it, or both? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any links / tutorials are welcome.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="12385" LastEditorUserId="12385" LastEditDate="2015-12-25T16:40:21.597" LastActivityDate="2016-10-26T08:45:51.217" Title="H.264 on analog camera" Tags="|video|h.264|analog|pinnacle|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17255" PostTypeId="1" AcceptedAnswerId="17256" CreationDate="2015-12-25T17:44:45.140" Score="1" ViewCount="2482" Body="&lt;p&gt;I had accidentally created numerous wrong keyframes, trying to tune volume. Now I would like to delete them. Unfortunately, I can't select multiple keyframes by mouse:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/47EfJ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/47EfJ.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I release mouse, all keyrames remain not selected.&lt;/p&gt;&#xA;" OwnerUserId="2122" LastActivityDate="2015-12-25T17:49:23.687" Title="How to select multiple keyframes in Premiere?" Tags="|premiere|keyframes|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17256" PostTypeId="2" ParentId="17255" CreationDate="2015-12-25T17:49:23.687" Score="3" Body="&lt;p&gt;You can do it in the Effects Control window:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/GuEka.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GuEka.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;Even if keyframes were added on the timeline, it will work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-12-25T17:49:23.687" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17257" PostTypeId="2" ParentId="16552" CreationDate="2015-12-25T20:22:35.100" Score="12" Body="&lt;p&gt;ffmpeg with this filterchain does it:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf &quot;tblend=average,framestep=2,tblend=average,framestep=2,setpts=0.25*PTS&quot; -r srcfps -{encoding parameters} output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;srcfps&lt;/code&gt; should be replaced with your input's framerate.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-25T20:22:35.100" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17258" PostTypeId="2" ParentId="17237" CreationDate="2015-12-26T01:28:17.713" Score="1" Body="&lt;p&gt;You can do it with scripting by renaming the files. I don't have a Windows machine at hand at the moment so I can't test this but this is what I would do in power shell:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First navigate to the directory containing the image sequence,  then&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkdir sorted_images;&#xA;$serial=0;&#xA;Get-childItems *. jpg | sort-object date | %{&#xA;Cp $_ (&quot;.\sorted_images\image_{0}.jpg&quot; -f ($serial.toString(&quot;00000&quot;)));&#xA;$serial++}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That script should copy all the jpg images in the current folder to a new folder and rename them with a five digit serial number. Try it out on some test images first because I haven't tested it myself. &lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2015-12-26T01:28:17.713" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17259" PostTypeId="1" CreationDate="2015-12-26T07:11:33.803" Score="2" ViewCount="4129" Body="&lt;p&gt;Is it better to have multiple YouTube channels, effectively targeting specific audience for wildly different topics but also spreading the total subscribers thin, or to have multiple playlists all on one channel regardless if playlists have absolutely nothing to do with each other?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, if you have subscribers across various channels does YouTube count them cumulatively towards monetization? &lt;/p&gt;&#xA;" OwnerUserId="12388" LastActivityDate="2015-12-27T13:02:46.227" Title="Multiple Channels vs Playlists on YouTube" Tags="|youtube|playlist|" AnswerCount="1" CommentCount="1" ClosedDate="2016-01-06T15:42:17.747" ContentLicense="CC BY-SA 3.0" />
  <row Id="17260" PostTypeId="2" ParentId="16919" CreationDate="2015-12-26T11:11:44.200" Score="4" Body="&lt;p&gt;I make similar videos for our corporate reception, interstate and overseas offices, events, conferences and presentations etc. The answer is to look outside the video file itself and focus on the application that is playing the file - you want the application to loop the video file playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An alternative approach that works on some devices is to embed the single instance of the video file in a PDF and set the playback preferences of the PDF viewer to loop.&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2015-12-26T11:11:44.200" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17261" PostTypeId="1" AcceptedAnswerId="17262" CreationDate="2015-12-26T14:01:38.673" Score="3" ViewCount="4819" Body="&lt;p&gt;Using &lt;em&gt;ffprobe&lt;/em&gt; shows that both videos have the same framecount, still if I extract the frames as images the compressed one has an extra frame at the beginning (which is just the duplicated first frame).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This causes me a lot of problems since I have to compute the frame differences between the two videos and having an extra frame makes everything out of sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Input&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;720p50_mobcal_ter.avi&quot; -an -f mpeg2video -y &quot;720p50_mobcal_ter.mpg&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Output&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-76684-g1fe82ab Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 5.2.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55.  6.100 / 55.  6.100&#xA;  libavcodec     57. 15.100 / 57. 15.100&#xA;  libavformat    57. 14.100 / 57. 14.100&#xA;  libavdevice    57.  0.100 / 57.  0.100&#xA;  libavfilter     6. 15.100 /  6. 15.100&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, avi, from '720p50_mobcal_ter.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf57.14.100&#xA;  Duration: 00:00:10.08, start: 0.000000, bitrate: 552974 kb/s&#xA;    Stream #0:0: Video: rawvideo (I420 / 0x30323449), yuv420p, 1280x720, 554059 kb/s, SAR 1:1 DAR 16:9, 50 fps, 50 tbr, 50 tbn, 50 tbc&#xA;Output #0, mpeg2video, to '720p50_mobcal_ter.mpg':&#xA;  Metadata:&#xA;    encoder         : Lavf57.14.100&#xA;    Stream #0:0: Video: mpeg2video, yuv420p, 1280x720 [SAR 1:1 DAR 16:9], q=2-31, 200 kb/s, 50 fps, 50 tbn, 50 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.15.100 mpeg2video&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; mpeg2video (native))&#xA;Press [q] to stop, [?] for help&#xA;frame=   41 fps=0.0 q=31.0 size=     984kB time=00:00:00.78 bitrate=10330.5kbits/frame=   80 fps= 78 q=31.0 size=    1323kB time=00:00:01.56 bitrate=6948.1kbits/frame=  124 fps= 80 q=31.0 size=    1725kB time=00:00:02.44 bitrate=5790.0kbits/frame=  168 fps= 81 q=31.0 size=    2084kB time=00:00:03.32 bitrate=5142.8kbits/frame=  212 fps= 81 q=31.0 size=    2482kB time=00:00:04.20 bitrate=4841.4kbits/frame=  255 fps= 82 q=31.0 size=    2840kB time=00:00:05.06 bitrate=4597.2kbits/frame=  296 fps= 82 q=31.0 size=    3133kB time=00:00:05.88 bitrate=4364.5kbits/frame=  338 fps= 82 q=24.8 size=    3453kB time=00:00:06.72 bitrate=4209.2kbits/frame=  382 fps= 82 q=31.0 size=    3723kB time=00:00:07.60 bitrate=4013.4kbits/frame=  426 fps= 83 q=31.0 size=    4005kB time=00:00:08.48 bitrate=3869.1kbits/frame=  470 fps= 83 q=24.8 size=    4276kB time=00:00:09.36 bitrate=3742.5kbits/frame=  504 fps= 83 q=31.0 Lsize=    4469kB time=00:00:10.06 bitrate=3639.3kbits/s&#xA;video:4469kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.000000%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My current solution is to trim the compressed video before computing the differences, but this involves re-encoding and quality loss, making the results useless.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make the question a bit more complete, here's the commands that I'm using to trim and compute the differences:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i &quot;720p50_mobcal_ter.mpg&quot; -an -f mpeg2video -vf select=gte(n\,1) &quot;cut-720p50_mobcal_ter.mpg&quot;&#xA;&#xA;&#xA;ffmpeg -y -i &quot;720p50_mobcal_ter.avi&quot; -i &quot;cut-720p50_mobcal_ter.mpg&quot; -filter_complex &quot;blend=all_mode=difference,hue=s=0&quot; -c:v libx264 -crf 18 -c:a copy &quot;differences.mpg&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The question is: how can I avoid having the first duplicated frame? If this can't be avoided, is there a way to remove it without re-encoding the video or just skipping it while computing the differences?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Following @Mulvya's answer, I tried his suggestion but it doesn't work somehow. I understand that it's hard to find the problem without having the video file so, instead, I'm posting a screenshot with the first 4 frames of each video to help you visualize my issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dErAF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dErAF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see, the compressed video has a grey third frame that messes up the differences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason behind this edit is that I'm sure that the given answer should work, at least from my understanding on how filter mappings work, but it probably doesn't work because the issue here is not what I thought it was.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I expect to have an almost black third frame on the differences video, and not the full frame from the original one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT 2: Tried the new solution which somehow worked the first time but now it doesn't anymore.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the list of the commands that I'm using, the result is still the same of the screenshot but now the problem has moved to the second frame instead of the third one (basically it's like how the screenshot would be without the &lt;em&gt;00000.png&lt;/em&gt; frames)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -i &quot;720p50_mobcal_ter.avi&quot; -an -f mpeg1video -y &quot;compressed.mpg&quot; &#xA;ffmpeg  -i &quot;720p50_mobcal_ter.avi&quot; -vf fps=50 &quot;original\image-%05d.png&quot;&#xA;ffmpeg  -i &quot;compressed.mpg&quot; -vf fps=50 &quot;compressed\image-%05d.png&quot;&#xA;ffmpeg  -y -i &quot;720p50_mobcal_ter.avi&quot; -i &quot;compressed.mpg&quot; -filter_complex &quot;[1:v]trim=start_frame=1,setpts=PTS-STARTPTS[cut];[0:v][cut]blend=all_mode=difference,hue=s=0&quot; -c:v libx264 -crf 18 -c:a copy &quot;differences.mpg&quot; &#xA;ffmpeg  -i &quot;differences.mpg&quot; -vf fps=50 &quot;differences\image-%05d.png&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The source video that I'm using is &lt;a href=&quot;https://media.xiph.org/video/derf/y4m/720p50_mobcal_ter.y4m&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; just in case you may want to try it yourself.&lt;/p&gt;&#xA;" OwnerUserId="2362" LastEditorUserId="2362" LastEditDate="2015-12-26T15:45:42.960" LastActivityDate="2016-07-27T06:44:49.280" Title="FFMPEG duplicates the first frame when encoding" Tags="|ffmpeg|filter|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17262" PostTypeId="2" ParentId="17261" CreationDate="2015-12-26T14:30:34.290" Score="3" Body="&lt;p&gt;You can skip that first frame during the computation process.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i &quot;720p50_mobcal_ter.avi&quot; -i &quot;720p50_mobcal_ter.mpg&quot; -filter_complex &quot;[1:v]trim=start_frame=1,setpts=PTS-STARTPTS[cut];[0:v][cut]blend=all_mode=difference,hue=s=0&quot; -c:v libx264 -crf 18 -c:a copy &quot;differences.mpg&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;: as requested, added the commands I used to reproduce the behaviour but I didn't experience the problem.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;720p50_mobcal_ter.y4m&quot; -c:v copy &quot;720p50_mobcal_ter.avi&quot;&#xA;ffmpeg -i &quot;720p50_mobcal_ter.avi&quot; -c:v mpeg2video &quot;720p50_mobcal_ter.mpg&quot;&#xA;ffmpeg -i &quot;720p50_mobcal_ter.avi&quot; -i &quot;720p50_mobcal_ter.mpg&quot; -filter_complex blend=all_mode=difference,hue=s=0 -c:v libx264 -crf 18 &quot;differences.mp4&quot;&#xA;&#xA;ffmpeg -i &quot;720p50_mobcal_ter.avi&quot; avi\frames%03d.png&#xA;ffmpeg -i &quot;720p50_mobcal_ter.mpg&quot; mpg\frames%03d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My ffmpeg build, taken from Zeranoe&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-77380-g2dba040 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 5.2.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55. 11.100 / 55. 11.100&#xA;  libavcodec     57. 18.100 / 57. 18.100&#xA;  libavformat    57. 20.100 / 57. 20.100&#xA;  libavdevice    57.  0.100 / 57.  0.100&#xA;  libavfilter     6. 21.100 /  6. 21.100&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2015-12-27T11:21:46.413" LastActivityDate="2015-12-27T11:21:46.413" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="17263" PostTypeId="2" ParentId="17242" CreationDate="2015-12-26T16:47:26.857" Score="0" Body="&lt;p&gt;I also wanted to say I found a way with VLC and youtube together: so I'm answering my own question. (But shotcut seems a legit open source from github, without those virus like programs that you can't get rid of, so thank you @Mulvya) Here's how to do it if you already have VLC downloaded (that one also comes with its trojans): &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;You set the recording to a specific location (tools / preferences: click on left bar's input / codecs... scroll down to  Files, Record directory or filename, and set that directory. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now wait for your section of video - if you need several sections record each separately.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Go to recorded sections (they should be with a bit extra unneeded seconds, you'll cut precisely on youtube). &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Upload the clips to youtube, then edit one of them. Use the Trim to cut in several locations, then stand on the sections you wish to remove and remove them. You can mix other videos into this one. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you need the final movie downloaded use &lt;a href=&quot;http://www.clipconverter.cc/&quot; rel=&quot;nofollow&quot;&gt;http://www.clipconverter.cc/&lt;/a&gt; &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="12371" LastEditorUserId="12371" LastEditDate="2015-12-26T16:55:12.463" LastActivityDate="2015-12-26T16:55:12.463" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17264" PostTypeId="2" ParentId="16919" CreationDate="2015-12-26T16:55:59.337" Score="1" Body="&lt;p&gt;You could use something like the raspberry pi zero for this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.raspberrypi.org/blog/raspberry-pi-zero/&quot; rel=&quot;nofollow&quot;&gt;https://www.raspberrypi.org/blog/raspberry-pi-zero/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It costs £4 and has an HDMI Output that feeds into most TVs. Using &lt;a href=&quot;https://osmc.tv/&quot; rel=&quot;nofollow&quot;&gt;https://osmc.tv/&lt;/a&gt; (formerly  raspbmc) you could loop a video file forever and have it boot automatically when it powers up&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2015-12-26T16:55:59.337" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17265" PostTypeId="1" CreationDate="2015-12-27T04:41:09.273" Score="1" ViewCount="114" Body="&lt;p&gt;if I have a video file that is in .mov format, but the header has been overwritten, is there a way to scan the file to find the keyframes and somehow extract  them?&lt;/p&gt;&#xA;" OwnerUserId="12392" LastActivityDate="2015-12-27T05:26:55.310" Title="extracting keyframes from damaged video file" Tags="|video|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17266" PostTypeId="2" ParentId="17265" CreationDate="2015-12-27T05:26:55.310" Score="1" Body="&lt;p&gt;Try running the file through &lt;a href=&quot;http://www.videohelp.com/software/recover-mp4-to-h264&quot; rel=&quot;nofollow&quot;&gt;recover_mp4_to_h264&lt;/a&gt;, assuming video codec is H.264. You will need to supply a good reference file i.e. with valid header, of the same type as the damaged one.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-27T05:26:55.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17267" PostTypeId="1" AcceptedAnswerId="17268" CreationDate="2015-12-27T12:11:52.400" Score="16" ViewCount="36856" Body="&lt;p&gt;I want to encode a video, that has a length of 60 seconds, to a &lt;strong&gt;target or maximum size of 10 MB&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two approaches I know of. One is explained in the FFMPEG-Wiki, and the other one I found in the documentation. Unfortunately, I haven't found an explanation on when to use what method.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is any of those methods recommended? If not, what are the upsides/downsides of each method?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Calculate and set Bitrate to match the length of the video as explained in the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264#Two-PassExample&quot; rel=&quot;noreferrer&quot;&gt;ffmpeg-wiki&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;(10 MB * 8192 [converts MB to kilobits]) / 60 seconds = ~1365 kbits/s total bitrate&#xA;  1365k - 128k (desired audio bitrate) = 1237k video bitrate&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input -c:v copy -preset medium -b:v 1237k -pass 1 -c:a copy -b:a 128k -f mp4 /dev/null &amp;amp;&amp;amp; \&#xA;ffmpeg -i input -c:v libx264 -preset medium -b:v 1237k -pass 2 -c:a libfdk_aac -b:a 128k output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;2) Use the &lt;code&gt;-fs&lt;/code&gt; &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Main-options&quot; rel=&quot;noreferrer&quot;&gt;parameter&lt;/a&gt; and let ffmpeg figure it out.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c:v copy -c:a copy -preset medium -crf 23 -fs 10485760 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12394" LastActivityDate="2015-12-27T12:31:26.687" Title="How to limit file size with ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17268" PostTypeId="2" ParentId="17267" CreationDate="2015-12-27T12:31:26.687" Score="16" Body="&lt;p&gt;The &lt;code&gt;fs&lt;/code&gt; parameter will stop the encode once it hits its value. So, if the output hits the &lt;code&gt;10MB&lt;/code&gt; mark while encoding the 15th second, then that's the duration of your output file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to make sure that the entire file is encoded but it doesn't cross the set target size, then use the bitrate method. To accommodate the muxing overhead and other data within the target size, set your video bitrate slightly lower by, say, 1-2%&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-27T12:31:26.687" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17269" PostTypeId="2" ParentId="17259" CreationDate="2015-12-27T13:02:46.227" Score="2" Body="&lt;p&gt;Generally, you are much better having one channel and placing all your videos into this single channel, with different playlists targeting the different audiences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I'm assuming the videos are somewhat related. If they are on completely different topics (for example Gardening and Software Programming) you may find that it's better to separate so the subscribers don't get overwhelmed by videos in the wrong category.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If perhaps you have a brand, say a magazine (Home World, for example) and you have separate categories (Home World: Gardening and Home World: Decorating) I'd say stick to a single channel for branding purposes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And to answer your final question, no, generally YouTube will treat separate accounts as separate entities for the purpose of monetization.&lt;/p&gt;&#xA;" OwnerUserId="12395" LastActivityDate="2015-12-27T13:02:46.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17271" PostTypeId="1" CreationDate="2015-12-27T18:52:25.703" Score="1" ViewCount="25482" Body="&lt;p&gt;I imported some images for a LEGO stop motion but the animation is going too fast. When I change FPS to something smaller and export, the video is tiny.&#xA;I'm not really sure what I do when I change presets, but following tutorials hasn't paid of in my case.&lt;/p&gt;&#xA;" OwnerUserId="12398" LastEditorUserId="12398" LastEditDate="2015-12-27T22:29:54.170" LastActivityDate="2017-06-07T11:09:54.247" Title="How do I change FPS in a sequence in Adobe Premiere Pro CS6" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17272" PostTypeId="2" ParentId="17271" CreationDate="2015-12-28T01:03:46.673" Score="3" Body="&lt;p&gt;When you set the number of frames per second of the sequence, you are describing the rate your rendered footage will playback, whatever that footage may be.  If you have 600 frames and you set the sequence to play 60 frames/sec, you'll get 10 seconds of video.  If you set the sequence to play at 6 frames per second, you'll get 100 seconds of video.  60 frames per second is a speed that players like YouTube (now) accept, but 6 frames per second is not.  So if you render a sequence that's supposed to play at 6 fps, you might create something that most players will not honor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead, set your sequence frames per second to what you actually want to play the video at, likely 24, 25, or 30 fps (but maybe 60 fps or 120 fps if you are part of the HFR vanguard).  Inside the sequence, look at all the little (violet) boxes that represent your individual images (JPG, PNG, TGA, whatever they are).  Select them all, right click, and choose the menu item &quot;Speed/Duration...&quot;.  That opens up a dialog box.  Change the 00:00:05:00 default to 00:00:00:02 (or however many frames you expect each image to last).  In the world of stop-motion, it is common to make a movie that plays at 24 fps but in which each image is repeated (so 12 images per 24 frames).  If you didn't do &quot;twelves&quot;, then use 00:00:00:01.  Select the box &quot;Ripple Edit, Shifting Trailing Clips&quot; and choose OK.  This will create a tiny, but correct, sequence of images that can then be rendered to play back at a sane speed that all video players (including YouTube) will honor.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2015-12-28T01:03:46.673" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17273" PostTypeId="1" CreationDate="2015-12-28T13:15:30.400" Score="2" ViewCount="69" Body="&lt;p&gt;Is this saying correct ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;The graphics card and most video codecs store colors in a linear scale.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="12268" LastEditorUserId="12259" LastEditDate="2015-12-30T12:08:25.093" LastActivityDate="2015-12-31T06:41:28.440" Title="Graphics card and video codecs: are colors stored in a linear scale?" Tags="|video|codec|color|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17274" PostTypeId="2" ParentId="17273" CreationDate="2015-12-28T15:01:55.997" Score="1" Body="&lt;p&gt;If by linear scale, the (Cinelerra manual) &quot;saying&quot; means gamma = 1.0, then that's not my understanding of most video codecs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;GPUs, OTOH, probably do operate upon values decoded and stored as a linear representation of a higher precision than the source, which would be typically 8-bits per channel.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-28T15:01:55.997" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17275" PostTypeId="2" ParentId="17273" CreationDate="2015-12-28T15:05:30.857" Score="1" Body="&lt;p&gt;The correctness of this statement depends on the color model. The statement will typically be correct for color models such as RGB and CMY. In HSx (HSV, HSL) color models the model doesn't store explicit colors, and their transformation to explicit colors is non-linear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My comment below on YUV is incorrect, YUV transforms linearly to RGB, thanks @Mulvya!&lt;/p&gt;&#xA;" OwnerUserId="8079" LastEditorUserId="8079" LastEditDate="2015-12-30T13:56:23.490" LastActivityDate="2015-12-30T13:56:23.490" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17277" PostTypeId="2" ParentId="17254" CreationDate="2015-12-28T15:31:36.607" Score="0" Body="&lt;p&gt;If you consider purchasing a new camera then you can buy an IP camera that has native mpeg-4 support. There are plenty of models around and prices are very low. This way you won't need the USB device and your overall configuration will be more robust (less components = less points of potential failure). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option of course is to buy an H.264 cam and move from Vitamin D to something that supports H.264. H.264 will usually provide much better video quality per bandwidth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yet another option, if the camera is not too far away from the computer and has a fixed lens, is to buy a good USB camera, AFAIU Vitamin D supports web cams, and this too can save you the need for a USB dongle.&lt;/p&gt;&#xA;" OwnerUserId="8079" LastActivityDate="2015-12-28T15:31:36.607" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17278" PostTypeId="2" ParentId="16141" CreationDate="2015-12-28T16:51:16.320" Score="1" Body="&lt;p&gt;Seems unlikely as per this &lt;a href=&quot;https://www.mythtv.org/wiki/MacPorts#Capture_Cards_and_Video_Sources&quot; rel=&quot;nofollow&quot;&gt;section&lt;/a&gt; on the MythTV wiki:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Pretty much the only Capture Cards that are supported on OS X are the&#xA;  HDHomerun tuners from Silicondust&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-28T16:51:16.320" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17280" PostTypeId="1" AcceptedAnswerId="17282" CreationDate="2015-12-29T07:11:34.470" Score="0" ViewCount="7151" Body="&lt;p&gt;I have created a video with Sony Vegas Pro 8.5 with an intro that includes graphics, pan/crop events, and generated text. There is also a &quot;lower third&quot; banner right after it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is odd to me is that there are quite a few issues when I render it with &quot;best&quot; video rendering qualtiy, while &quot;preview&quot; gives me no troubles. While on &quot;best&quot; the problem is that the text, most of the images, and anything with a pan/crop event are blurred and/or wiggle. You can especially see the wiggle on the portrait images once the next image starts scrolling up and on the third slide for the duration it is showing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/2UlEdiXXCi8&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here is a &quot;best&quot; sample of the video on YouTube.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/RiyNJiWl4eA&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here is a &quot;preview&quot; sample of the video on YouTube.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This makes no sense to me. Why is the &quot;preview&quot; setting better than the &quot;best&quot; setting? What exactly does this setting do? Vegas Pro 8.5, if it matters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sample Render settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Hcuoc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Hcuoc.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/L1h7R.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/L1h7R.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Project properties:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/X4lHL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/X4lHL.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some snap shots that show it looks crisp with &quot;preview&quot; but not &quot;best&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;Crisp &quot;preview&quot; snapshot on left &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; Not crisp &quot;best&quot; snapshot on right.&lt;/strong&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Uaf1J.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Uaf1J.png&quot; width=&quot;320&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/0jZMK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0jZMK.jpg&quot; width=&quot;320&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/45wN6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/45wN6.png&quot; width=&quot;320&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/leqid.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/leqid.jpg&quot; width=&quot;320&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/vnp5A.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vnp5A.png&quot; width=&quot;320&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/cYGCJ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cYGCJ.jpg&quot; width=&quot;320&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/9hns8.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9hns8.jpg&quot; width=&quot;320&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/HC4Rt.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HC4Rt.jpg&quot; width=&quot;320&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2015-12-29T19:07:13.770" LastActivityDate="2015-12-29T19:07:13.770" Title="What exactly does the video rendering quality option do in Sony Vegas Pro?" Tags="|video-quality|vegas-pro|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17282" PostTypeId="2" ParentId="17280" CreationDate="2015-12-29T12:47:47.073" Score="2" Body="&lt;p&gt;This is the explanation for the four quality modes, as provided by Vegas tech support long ago:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Quality: Best&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Scaling: bi-cubic/integration&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Field Handling: on&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Field Rendering: on (setting dependent)&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Framerate Resample/IFR: on (switch dependent)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Quality: Good&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Scaling: bi-linear&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Field Handling: on&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Field Rendering: on (setting dependent)&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Framerate Resample/IFR: on (switch dependent)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Quality: Preview&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Scaling: bi-linear&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Field Handling: off&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Field Rendering: off&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Framerate Resample/IFR: always off&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Quality: Draft&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Scaling: point sample&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Field Handling: off&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Field Rendering: off&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Framerate Resample/IFR: always off&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Scaling:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;These methods come into play when conforming sources that differ from&#xA;  the output size. They are also used when panned, cropped or resized in&#xA;  track motion.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Bi-Cubic/Integration - Best image resizing algorithm available in&#xA;  Vegas. Quality differences will be most noticeable when using very&#xA;  large stills or stretching small sources.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Bi-linear - Best compromise between speed and quality. This method&#xA;  will produce good results in most cases.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Point Sampling - Fast but produces poor results.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Field Handling:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;This refers to the field conformance stage of Vegas's video engine.&#xA;  This includes Interlaced to Progressive conversion, Interlaced to&#xA;  interlaced output when scaling, motion or geometric Video FX and&#xA;  Transitions are involved. Skipping this stage can sometimes result in&#xA;  bad artifacts when high motion interlaced sources are used.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Field Rendering:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;When the output format is interlaced, Vegas will internally render at&#xA;  the field rate (twice the frame rate) to achieve smooth motion and FX&#xA;  interpolation.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Frame Rate Resample / IFR (Interlace Flicker Reduction):&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Frame Rate Resample:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;This kicks in when speed changes are made through Velocity Envelopes&#xA;  and/or event stretching. In can also be used when up-converting low&#xA;  frame rate sources. This only kicks in if the resample switch is&#xA;  turned on &lt;em&gt;and&lt;/em&gt; quality is set to good or best.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Interlace Flicker Reduction:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;This kicks in if the event switch is turned on and quality is set to&#xA;  good or best. See Vegas' documentation for a description of this&#xA;  switch.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-29T12:47:47.073" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="17283" PostTypeId="1" CreationDate="2015-12-29T14:06:21.077" Score="2" ViewCount="84" Body="&lt;p&gt;Is there a way in post to simulate the effect of a slow shutterspeed shot that leaves trails behind bright things in the shot that are moving. I was thinking if I recorded something at a high frame rate then used some sort of compositing filter that multiplies the frames that might do it. I feel like that would also cause darker things in the frame to also come out blurry or leave trails. Here's an example of what I'm trying to reproduce with a sparkler from a pit bull video &lt;a href=&quot;https://youtu.be/bTXJQ5ql5Fw?t=4m12s&quot; rel=&quot;nofollow&quot;&gt;example&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12410" LastActivityDate="2016-04-27T16:33:46.673" Title="Trying to reproduce a slow shutter speed effect using a gopro" Tags="|video|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17284" PostTypeId="2" ParentId="17283" CreationDate="2015-12-29T14:36:09.230" Score="1" Body="&lt;p&gt;Try the &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/time-effects.html#echo_effect&quot; rel=&quot;nofollow&quot;&gt;Echo&lt;/a&gt; effect. To avoid echoing the darker portions, duplicate the source and apply the echo to it; experiment with the compositing modes and also layer opacity.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-29T14:36:09.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17285" PostTypeId="1" AcceptedAnswerId="17291" CreationDate="2015-12-29T14:47:50.300" Score="0" ViewCount="135" Body="&lt;p&gt;Using Photoshop and Sony Vegas I Have Made a Simple Loading Bar and I Want To Upgrade it. Basically I Want To add a Spark animation To The Top of The Bar That Moves With it until it Loads Completely, I Thought That only Timing Would be The Problem and I could Just use a Push Transition but it doesn't Seem So, Any Ideas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JzCUU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JzCUU.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QlBVC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QlBVC.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12411" LastEditorUserId="12411" LastEditDate="2015-12-29T20:06:36.150" LastActivityDate="2017-04-23T15:50:41.560" Title="How To Make an Advanced Loading Bar in Sony Vegas" Tags="|vegas-pro|adobe|transitions|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17286" PostTypeId="1" AcceptedAnswerId="17287" CreationDate="2015-12-29T17:51:21.897" Score="2" ViewCount="79" Body="&lt;p&gt;For example: On first edit, I decreased the speed of video and saved it. Then again I imported it and made some other changes, like brightness adjustment, and saved. When I check the final file, the quality of video is decreased. Why does it happen? Is there any way to fix this?&lt;/p&gt;&#xA;" OwnerUserId="12245" LastActivityDate="2016-01-04T01:53:47.023" Title="Why does editing a video by Adobe Premiere Pro more than once decreases its quality?" Tags="|premiere|video-editor|video-quality|adobe|windows-movie-maker|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17287" PostTypeId="2" ParentId="17286" CreationDate="2015-12-29T19:37:40.607" Score="5" Body="&lt;p&gt;There is a big difference between&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;saving your project, then returning to the project to do some additional changes, such as brightness adjustments, then exporting a media file, and&lt;/li&gt;&#xA;&lt;li&gt;exporting a media file from your project, importing the result into a new project, doing some additional changes, such as brightness adjustments, then exporting the result of &lt;em&gt;that&lt;/em&gt; to create yet another media file.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;In the case of (1), you are working with your original source media, which is pretty much as good as it gets in terms of input quality.  In the case of (2), if you export a compressed file (and virtually every playable media file is a compressed version of the originals, which may also be compressed), then you are working with a second generation of quality.  While you may not immediately perceive that the second generation file is not quite as good as your original masters, compression errors and noise accumulates every time through the cycle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One way around this problem is to only ever export in uncompressed file formats.  But this is not practical, as &lt;a href=&quot;https://en.wikipedia.org/wiki/Uncompressed_video&quot; rel=&quot;nofollow&quot;&gt;uncompressed 1080p video is 2.98Gbps&lt;/a&gt; (compared that to your typical AVCHD codec that is limited to 28Mbps, about 100x less).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The practical way around this problem is to return to the project that created your first media export.  In that project, add the brightness correction you want as an additional correction, export using the original sources, and then you will have media quality that's as good as your original export, with the color quality you were hoping to achieve with your second export.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2016-01-04T01:53:47.023" LastActivityDate="2016-01-04T01:53:47.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17288" PostTypeId="1" AcceptedAnswerId="17289" CreationDate="2015-12-29T23:42:19.353" Score="1" ViewCount="1230" Body="&lt;p&gt;I have a USB DMX product called &lt;a href=&quot;http://www.dmxking.com/usbdmx/ultradmxrdmpro&quot; rel=&quot;nofollow&quot; title=&quot;DMXking ultraDMX RDM Pro&quot;&gt;DMXking ultraDMX RDM Pro&lt;/a&gt; (I've also tried the DMXking ultraDMX Micro, same issue) and I'm using the free software &lt;a href=&quot;http://www.freestylerdmx.be/&quot; rel=&quot;nofollow&quot; title=&quot;FreeStyler DMX&quot;&gt;FreeStyler&lt;/a&gt; and trying to figure out how to get it to work. These products are for controlling DMX light fixtures.&lt;/p&gt;&#xA;" OwnerUserId="12415" LastEditorUserId="12415" LastEditDate="2015-12-29T23:47:29.563" LastActivityDate="2017-03-23T16:16:23.647" Title="Configure FreeStyler to work with DMXking ultraDMX RDM Pro/Micro" Tags="|software|lighting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17289" PostTypeId="2" ParentId="17288" CreationDate="2015-12-29T23:45:08.390" Score="0" Body="&lt;p&gt;Select either &lt;strong&gt;DMXking USB DMX512-A&lt;/strong&gt; or &lt;strong&gt;Enttec Pro&lt;/strong&gt;. Do not choose ultraDMX Pro unless you are actually using this device. Also make sure you've selected the right COM port, plus make sure the latest driver from FTDI Chip is installed (&lt;a href=&quot;http://www.ftdichip.com/Drivers/VCP.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;FTDI Drivers&lt;/a&gt;). A good practice is to use the &lt;a href=&quot;http://www.dmxking.com/downloads/ultraDMX_Configuration.zip&quot; rel=&quot;nofollow noreferrer&quot;&gt;ultraDMX Configuration Utility&lt;/a&gt; to help locate this if necessary. Sometimes FreeStyler gives an error message during device selection, just restart it.&lt;/p&gt;&#xA;" OwnerUserId="12415" LastEditorUserId="12415" LastEditDate="2017-03-23T16:16:23.647" LastActivityDate="2017-03-23T16:16:23.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17290" PostTypeId="2" ParentId="15872" CreationDate="2015-12-30T03:01:06.477" Score="1" Body="&lt;p&gt;If you want to remotely control the pan, tilt, and zoom of the camera, you want to look for a &quot;PTZ&quot; camera. You will not find one under $500 with a controller.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A cheap camcorder with a wall mount and a long HDMI cable is your cheapest option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your budget was closer to $2,000 you'd be able to get everything on your list.&lt;/p&gt;&#xA;" OwnerUserId="12417" LastActivityDate="2015-12-30T03:01:06.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17291" PostTypeId="2" ParentId="17285" CreationDate="2015-12-30T07:33:27.757" Score="0" Body="&lt;p&gt;If the spark footage has an alpha channel, as is likely, then make sure, it is activated - right-click on the event, launch Properties, and check that Alpha Channel in the Media tab is set to Straight.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, animate the Spark's position in its Pan-Crop window to track the leading edge of the bar.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Offhand, I don't know if you parent a track, is the parent's Pan/Zoom inherited by the child tracks. Try it out. For Track Motion, it is, but that reduces the resolution of the footage pre-compositing to fit the project dimensions, so I avoid it.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-30T07:33:27.757" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17293" PostTypeId="1" AcceptedAnswerId="17295" CreationDate="2015-12-30T09:57:17.193" Score="1" ViewCount="1189" Body="&lt;p&gt;Ok, I've got a question which is pretty hard to explain.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Premiere Pro CC to produce a short movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a picture describing (or at least trying to) my set:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/0Tg3l.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0Tg3l.png&quot; alt=&quot;Picture describing my set&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;A&quot; is the main track. &quot;B&quot; is the second track which I placed in the bottom right corner and &quot;C&quot; is an opacity mask on that track. On this track I've used &lt;em&gt;Ultra Key&lt;/em&gt; to remove the background. I've also added a &lt;em&gt;Cross Dissolve&lt;/em&gt; effect on &quot;B&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So here's the problem. During the cross dissolve the mask (&quot;C&quot;) shows in the middle of screen (&quot;D&quot;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this a bug or am I doing something wrong? How do I remove &quot;D&quot;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="12419" LastActivityDate="2015-12-30T16:21:58.550" Title="Mask &quot;shadow&quot; showing up in the middle of the scene" Tags="|premiere|effects|mask|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17295" PostTypeId="2" ParentId="17293" CreationDate="2015-12-30T16:21:58.550" Score="0" Body="&lt;p&gt;During the time range in which the dissolve occurs, split the clip on A, place that segment on a track above B, and apply a mask on A so that C shows through. You can do this by creating a mask to show the C region and then invert it.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2015-12-30T16:21:58.550" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17296" PostTypeId="1" AcceptedAnswerId="17297" CreationDate="2015-12-30T17:50:41.480" Score="1" ViewCount="4475" Body="&lt;p&gt;I'm trying to convert some VHS videos into digital.&#xA;To do so, I got the VGB100 from August and connected it to the VHS player and to my computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've used two applications to capture video:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Arcsoft Showbiz&lt;/li&gt;&#xA;&lt;li&gt;VirtualDub&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Both of them get the same input. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of the time the image doesn't even show but when it does, it is a very flickery image in general and from time to time you can see the image more or less good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ObylJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ObylJ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried it with the most recent VHS cassettes I have (spiderman 1, Toy Story 1...) and I get the same result with all of them.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Do you think the problem is in the VHS cassettes? &lt;/li&gt;&#xA;&lt;li&gt;Or in the VHS player? &lt;/li&gt;&#xA;&lt;li&gt;Or in the SCART cable / output / cable? &lt;/li&gt;&#xA;&lt;li&gt;Or even on the VGB100 device?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="8013" LastActivityDate="2016-01-09T23:37:04.097" Title="VHS to digital, flickering, lack of video and good sound" Tags="|video|video-quality|digital-recording|video-capture|vhs|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17297" PostTypeId="2" ParentId="17296" CreationDate="2015-12-30T19:38:04.327" Score="1" Body="&lt;p&gt;If you are using old VHS player, then its head can be dirty&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also VHS cassettes' tape can be dirty, but how I understand you using new cassettes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, try to connect your VHS player to TV. If signal will be the same, you need to locate that thing:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/DfhJN.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DfhJN.jpg&quot; alt=&quot;VHS player head&quot;&gt;&lt;/a&gt;&#xA;And clean it and head (black thing on background to the left)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do it &lt;a href=&quot;http://www.hardwaresecrets.com/how-to-manually-clean-your-vcr-heads/&quot; rel=&quot;nofollow noreferrer&quot;&gt;by yourself&lt;/a&gt; or maybe there still exist place in the world, where professionals can do it for you.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-12-30T19:38:04.327" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17298" PostTypeId="1" AcceptedAnswerId="17299" CreationDate="2015-12-30T21:17:31.470" Score="1" ViewCount="37" Body="&lt;p&gt;I have a setup with a videocamera in a chapel and an audio amplifier. The output of the camera is HDMI. The output of the audio is composite (red and White).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next I have streamer with HDMI input that streams that input over the network to a headend.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Inbetween those two the camera hdmi output needs to be combined with the audio into one hdmi output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With what hardware can this be done (low cost)? Thanks for your feedback! &lt;/p&gt;&#xA;" OwnerUserId="12422" LastActivityDate="2015-12-30T21:31:36.490" Title="Combining Hdmi video with composite audii" Tags="|hdmi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17299" PostTypeId="2" ParentId="17298" CreationDate="2015-12-30T21:31:36.490" Score="0" Body="&lt;p&gt;Something like that should work:&#xA;&lt;a href=&quot;http://www.ebay.co.uk/itm/Premium-HDMI-DVI-Audio-Combiner-With-HDMI-Repeater-Function-/311215250396&quot; rel=&quot;nofollow&quot;&gt;http://www.ebay.co.uk/itm/Premium-HDMI-DVI-Audio-Combiner-With-HDMI-Repeater-Function-/311215250396&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-12-30T21:31:36.490" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17300" PostTypeId="2" ParentId="15363" CreationDate="2015-12-30T22:12:01.807" Score="2" Body="&lt;p&gt;Using this drawtext in a program I wrote to embed Created dates into images, I found that you have to escape some characters like colons and backslashes using some versions of FFmpeg with the '&lt;code&gt;\&lt;/code&gt;' escape character as you did in the timecode sequence. Also enclose paths in single quotes for possible spaces in path or name:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;drawtext=fontfile='c\\:\\\Windows\\\Fonts\\\Times.ttf'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mts -vf &quot;drawtext=fontfile='C\\:\\\Windows\\\fonts\\\truetype\\\DroidSans.ttf': timecode='09\\:57\\:00\\:00': r=25: \\x=(w-tw)/2: y=h-(2*lh): fontcolor=white: box=1: boxcolor=0x00000000@1&quot; -an -y out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Also some fonts contain multiple &lt;code&gt;.ttf&lt;/code&gt; files like Times New Roman.  Double clicking this shows Times New Roman Regular, Times New Roman Bold, etc. Times new Roman Regular properties shows its name is &lt;code&gt;Times.ttf&lt;/code&gt;.  Be sure to use the correct one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zX6fu.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zX6fu.jpg&quot; alt=&quot;Font Main Folder&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XR0nf.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XR0nf.jpg&quot; alt=&quot;Actual Fonts and Names&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12423" LastEditorUserId="1760" LastEditDate="2015-12-31T19:42:35.383" LastActivityDate="2015-12-31T19:42:35.383" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17301" PostTypeId="1" AcceptedAnswerId="17302" CreationDate="2015-12-31T00:01:33.390" Score="0" ViewCount="20329" Body="&lt;p&gt;how do I add a Marker onto a layer in case I have no numpad?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2022-09-02T12:17:42.220" Title="After Effects: How do I add a Marker onto a layer?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17302" PostTypeId="2" ParentId="17301" CreationDate="2015-12-31T02:14:31.333" Score="2" Body="&lt;p&gt;Select Layer. Then from the top menu:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;kbd&gt;Layer&lt;/kbd&gt; =&gt; &lt;kbd&gt;Add Marker&lt;/kbd&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or if you want to do it from your keyboard you can modify shortcuts using &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/modify-keyboard-shortcuts.html&quot; rel=&quot;nofollow&quot;&gt;this article&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-12-31T02:14:31.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17303" PostTypeId="1" AcceptedAnswerId="17307" CreationDate="2015-12-31T02:48:45.867" Score="0" ViewCount="467" Body="&lt;p&gt;OK, I have Avidemux and I want to add my site's name, description, address and logo to the beginning of my videos. I made a PNG image with these items, and with the same resolution of my videos. But I don't know how to configure how many time it will appear in the screen. I don't want it blinking for only 1/30s. Maybe 1.5/2s. How can I do that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there is no way to do that using Avidemux, can you please tell me how I can do this using other open-source video editor (for Windows)?&lt;/p&gt;&#xA;" OwnerDisplayName="user12426" LastActivityDate="2015-12-31T04:05:13.597" Title="Avidemux - how to add my site's name to the beggining of the video" Tags="|windows|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17304" PostTypeId="2" ParentId="17158" CreationDate="2015-12-31T03:31:20.513" Score="0" Body="&lt;p&gt;You'll need to play with the parameters to get the desired look. Some noise is, to me, a nice look- otherwise your output will look too clean. All the filmmakers now shooting digital, whether on Alexa, RED, etc; they all add some noise in post. I own a RED EPIC; The camera has such a low noise floor; that without adding some it looks a little flat, plasticesque. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A better way of looking at it is consider the noise you add &quot;fine grain&quot;. Use monochromatic. Not color. Use Uniform, not gaussian. You will need to adjust the % of noise added, based on your frame size. 5k needs a tad more than 1080p. But usually 2-3% will take care of most gradient problems, not be distracting in any way, and lastly; will give your output a bit more &quot;life&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, your output workflow is a whole other issue, but noise shouldn't drastically change the overall quality when added at such a low threshold. If you added 50%; yes your compression would be horrible because of the h264 encoding process and how it uses frames past and prior to build the current frame. But at 2-3%; you are not losing much, and certainly not losing what to the naked eye anyone would notice. &lt;/p&gt;&#xA;" OwnerUserId="12369" LastActivityDate="2015-12-31T03:31:20.513" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17305" PostTypeId="2" ParentId="17024" CreationDate="2015-12-31T03:39:41.097" Score="0" Body="&lt;p&gt;I personally never had great results with the Hauppage line of products. I would rather; recommend going with a BlackMagic converter box. They make every type imaginable. The BlackMagic H.264 ProRecorder is a fantastic device for the price (under $500); and also does live transcoding to H264, fully adjustable VBR, CBR, and even multiple bitrates. Plus it does live webcasting over livestream and other stream services.  The Hauppage products I've looked at... are toys. Other than the ProRecorder in the 500ish price range, theres nothing that will beat it direct line in to the computer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other options would be a KiPro, a Atamos ($2000+ range), or go to an ImagePro III; but you're looking at $15,000. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The BM ProRecorder is fantastic. &lt;/p&gt;&#xA;" OwnerUserId="12369" LastActivityDate="2015-12-31T03:39:41.097" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17306" PostTypeId="2" ParentId="16027" CreationDate="2015-12-31T03:46:21.520" Score="1" Body="&lt;p&gt;Bandicam is a fantastic tool, it costs roughly $30; and does screen capture perfectly. Capture whole; part/region, fully configurable as to frame rate, codecs, and very easy to use interface. The playback quality is fantastic. I run it on all of my systems and it auto launches at startup. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I run 1 FPS all the time, with auto pause on no change in frame, so I can go back to any moment on my computer if I lose a file, etc. I have a record of every thing I do just as backup. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Great product. &lt;/p&gt;&#xA;" OwnerUserId="12369" LastActivityDate="2015-12-31T03:46:21.520" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17307" PostTypeId="2" ParentId="17303" CreationDate="2015-12-31T04:05:13.597" Score="0" Body="&lt;p&gt;It is not easiest software for video composing, but you can find tutorial &lt;a href=&quot;http://www.avidemux.org/admWiki/doku.php?id=tutorial:create_video_from_still_image_and_from_audio_file&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;, how to achieve what you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I advice you to use something with timeline like Windows Movie Maker or Lightworks. So you can see your changes on timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe you also can use ffmpeg for that purpose, but it will be more complex.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2015-12-31T04:05:13.597" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17308" PostTypeId="2" ParentId="17273" CreationDate="2015-12-31T06:28:59.017" Score="0" Body="&lt;p&gt;Not likely, most monitors and most display devices have a nonlinear response. This is useful, as human eyes are not linearily sensitive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Having the data stored in nonlinear scale is thus a very simple compression scheme. In fact, your display device depends on this gamma correction. If you would not have a gammacorected datasource then the image would appear dark. While this image could be corrected you would lose color data as the values would get nonliearily distributed. End result is that 8bit color would no longer be enough to display continious color without banding. This is why cameras have 10, 12 or 14 bit sensors, as he sensors themselves are linear in nature.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So while it certainly is possible to have colorspaces that are linear, most videosoursces would not be linear. Simply because that would mean need to store over 8 bits of color info. Codecs certainly can have different settings and many of the color modes would not be practical without nonlinear data. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general its rather safe to assume that the data stored is not linear even if stored in a space that could represent linear data. Unless the source specifically mentions its linear and it stores more than 8 bit color then it most likely is not linear.&lt;/p&gt;&#xA;" OwnerUserId="5764" LastEditorUserId="5764" LastEditDate="2015-12-31T06:41:28.440" LastActivityDate="2015-12-31T06:41:28.440" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17309" PostTypeId="2" ParentId="17301" CreationDate="2015-12-31T07:58:52.157" Score="0" Body="&lt;p&gt;By default &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;8&lt;/kbd&gt; will add a marker. If you have a region selected then the market will be applied to that region. If nothing is selected, the marker is applied to the comp's timeline at the top. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/keyboard-shortcuts-reference.html&quot; rel=&quot;nofollow&quot;&gt;https://helpx.adobe.com/after-effects/using/keyboard-shortcuts-reference.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="6685" LastEditDate="2016-01-08T15:41:03.660" LastActivityDate="2016-01-08T15:41:03.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17310" PostTypeId="1" CreationDate="2015-12-31T08:24:05.960" Score="3" ViewCount="147" Body="&lt;p&gt;I want to create videos for youtube, but because I am using a 4K screen it is very difficult to find a proper recording solution.&#xA;My idea was to buy a card, that I can put into my computer that records my HDMI. (Also the hdmi of my camera)&#xA;What are your opinions? Are there better solutions?&lt;/p&gt;&#xA;" OwnerUserId="8065" LastActivityDate="2016-03-08T08:53:08.057" Title="How to capture 4K screens?" Tags="|youtube|video-capture|capturing|4k|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="17311" PostTypeId="1" AcceptedAnswerId="18166" CreationDate="2015-12-31T10:51:56.750" Score="0" ViewCount="55" Body="&lt;p&gt;I have two videos, from one I create a mask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In preview I have output fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Preview:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Ck9AA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ck9AA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In RAM preview and render queue, output is weird:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/a2J2q.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/a2J2q.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am a beginner ,using After Effects CS6 trial.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have followed several masks tutorials, not a single tutorial has addressed this issue. I am using no effects at all, there are only 2 videos.&lt;/p&gt;&#xA;" OwnerUserId="12430" LastActivityDate="2016-04-14T09:05:22.553" Title="After Effects Mask is cropping down resolution" Tags="|after-effects|mask|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17313" PostTypeId="1" CreationDate="2016-01-01T17:59:11.517" Score="6" ViewCount="3294" Body="&lt;p&gt;The ffmpeg wiki page for &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;noreferrer&quot;&gt;H.264&lt;/a&gt; states that:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Consider 18 &lt;em&gt;(CRF)&lt;/em&gt; to be visually lossless or nearly so: it should look the&#xA;  same or nearly the same as the input but it isn't technically&#xA;  lossless.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Although, while I understand that H.265 is a relatively new codec, are there any general recommended settings to achieve a &quot;visually lossless&quot; encoding using X264 with ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;http://trac.ffmpeg.org/wiki/Encode/H.265&quot; rel=&quot;noreferrer&quot;&gt;H.265&lt;/a&gt; wiki page does state:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The CRF of 28 should visually correspond to libx264 video at CRF 23,&#xA;  but result in about half the file size.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;But from what I've picked up, this scale of equivalents is not the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit regarding the duplicated question&lt;/strong&gt;&#xA;I am aware of the linked question, however 'visually lossless' strikes me as more of quite a specific thing - i.e. the point where specifying higher quality does not change the final image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The linked question is asking about equivalent CRF levels to achieve equivalent quality. Although as I've just said, visually lossless would appear to me to be something much more specific than asking 'the equivalent of CRF 18'...&lt;/p&gt;&#xA;" OwnerUserId="12434" LastEditorUserId="12434" LastEditDate="2016-01-03T00:24:41.320" LastActivityDate="2016-01-03T00:24:41.320" Title="CRF for 'visually lossless' for libx265" Tags="|ffmpeg|h.265|" AnswerCount="0" CommentCount="4" ClosedDate="2016-01-06T15:43:10.217" ContentLicense="CC BY-SA 3.0" />
  <row Id="17314" PostTypeId="2" ParentId="13356" CreationDate="2016-01-02T00:38:52.820" Score="2" Body="&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org&quot; rel=&quot;nofollow&quot;&gt;FFMPEG&lt;/a&gt; can do it, with a bit of shell scripting. Here's how you could do it using Powershell on Windows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$vidLength = &amp;lt;the length of your video in seconds&amp;gt;&#xA;$vstart = 0;&#xA;$c = 0;&#xA;while ($start -lt $vidlength){&#xA;  ffmpeg -ss $vstart -t 180 -i inputvid.mp4 -c:v v210 -c:a pcms16le (&quot;output_{0:0000}.avi&quot; -f $c);&#xA;  $vstart += 180;&#xA;  $c++;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What I'm doing is using a loop to control the ffmpeg command line video program. &lt;code&gt;$vstart&lt;/code&gt; is a variable that sets the start time of each video segment, &lt;code&gt;$c&lt;/code&gt; is a counter that will be used to number the files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The ffmpeg command works by using the &lt;code&gt;-ss&lt;/code&gt; command which seeks to the given time in the input, and the &lt;code&gt;-t&lt;/code&gt; command which sets the duration to encode - both numbers are in seconds. &lt;code&gt;inputvid.mp4&lt;/code&gt; is the name of your input video. the &lt;code&gt;-c:v&lt;/code&gt; command sets the video codec to v210 which is lossless uncompressed. This will create very large files. Hours of v210 video will run into terrabytes of storage. You might want to use another codec, possibly a lossly one, if so you mightwant to consider using libx264 to encode as h.264. In which case the ffmpeg line would look like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;fmpeg -ss $i -t 180 -i inputvid.mp4 -crf 0 -c:a pcms16le (&quot;output_{0:0000}.mp4&quot; -f $c);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;here the &lt;code&gt;-crf&lt;/code&gt; command is basically like your compression setting. You can wind it down to 0 -&gt; lossless / big files or as high as 31 -&gt; crappy / small files. 20 is a sane value for good quality viewing copies. The &lt;code&gt;-c:a&lt;/code&gt; command is the audio codec, in this case uncompressed. If you don't want audio you can replace this with &lt;code&gt;-an&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the output name of the files is set with the expression &lt;code&gt;(&quot;output_{0:0000}.avi&quot; -f $c)&lt;/code&gt; this uses powershell string formatting to produce files named &lt;strong&gt;output_0000.avi, output_0001.avi…`&lt;/strong&gt;. The number of zeros after the colon sets how many leading zeros appear in the file name.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The loop continues, adding 180 (3 minutes in seconds) to &lt;code&gt;$vstart&lt;/code&gt; every time, and updating the counter, until it reaches the end of the file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to get ffmpeg for Windows, I suggest downloading it from &lt;a href=&quot;http://ffmpeg.zeranoe.com/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;, it's a lot easier than building it yourself.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-01-02T00:38:52.820" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17315" PostTypeId="1" CreationDate="2016-01-02T22:58:11.457" Score="0" ViewCount="14664" Body="&lt;p&gt;I am totally new to this video stuff. What I want is to make a short amateur movie and make some visual special effects and maybe edit it.&#xA;So I'd love to find some program I could play with and do some nice things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found this  &lt;a href=&quot;https://www.quora.com/What-kind-of-software-is-used-in-film-making-in-Hollywood&quot; rel=&quot;nofollow&quot;&gt;question &lt;/a&gt;. But answers there still look a little bit confusing to me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what software is used in Hollywood for special effects and video editing?&#xA;I've downloaded and installed adobe after effects but my feelings tell me that something is just not right with it and it can't be used in Hollywood films production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPD: I found this  &lt;a href=&quot;https://www.reddit.com/r/movies/comments/1tunbv/what_visual_effects_software_is_most_often_used/&quot; rel=&quot;nofollow&quot;&gt;reddit question&lt;/a&gt; so they say that The Foundry's Nuke is the most widespread software for special effects. I guess this is  its &lt;a href=&quot;https://www.thefoundry.co.uk/products/nuke/&quot; rel=&quot;nofollow&quot;&gt;official website&lt;/a&gt;. &lt;/p&gt;&#xA;" OwnerUserId="12436" LastEditorUserId="4426" LastEditDate="2016-01-03T07:34:12.247" LastActivityDate="2016-01-04T01:46:45.220" Title="What software is used in Hollywood for special effects and video editing" Tags="|editing|software-recommendation|special-effects|" AnswerCount="2" CommentCount="3" ClosedDate="2016-01-27T13:55:05.343" ContentLicense="CC BY-SA 3.0" />
  <row Id="17316" PostTypeId="2" ParentId="17315" CreationDate="2016-01-03T05:49:21.403" Score="4" Body="&lt;p&gt;For video editing the Hollywood standard is AVID, however smaller production houses and indie filmmakers tend to use Adobe Premiere. The nice thing about Premiere, in your case, is that it dynamic links with After Effects where you can do motion graphics, composting and basic visual effects such as green screen removal among other things. To explain these keywords would be outside the scope of this website, but dynamic link basically means you can seamlessly go from your edit to your vfx without rendering intermediates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nuke is difficult to learn, and requires you to have a foundation in visual effects. Nuke is not an NLE, so it only does visual effects. The benefit of using it is due to its collaborative nature as well as node-based non-destructive structure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This all probably sounds like garble to a starter, so I would suggest starting to learn Adobe's creative software, and follow some tutorials from &lt;a href=&quot;http://www.videocopilot.net/&quot; rel=&quot;nofollow&quot;&gt;http://www.videocopilot.net/&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-01-03T05:49:21.403" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17317" PostTypeId="1" AcceptedAnswerId="17319" CreationDate="2016-01-03T05:50:12.430" Score="2" ViewCount="2862" Body="&lt;p&gt;What exactly do eggcrates do to lighting? What is the benefit over adding an eggcrate to a diffuser?&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-01-03T11:34:45.153" Title="What exactly do eggcrates do to light?" Tags="|lighting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17318" PostTypeId="1" CreationDate="2016-01-03T09:28:21.770" Score="1" ViewCount="373" Body="&lt;p&gt;I'm using a Rode ntg2 and I feel like the sound is less than ideal in a lot of situations. I record mostly indoor interviews (sometimes echoey enviroments) and I am looking for a good mic for that purpose. I realize that it is recommended to go with a hypercardioid or a supercardioid pick-up pattern. Which microphones would you suggest that can deal well with echoey environments, yet still provide a directional pick up? Budget up to 900.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-04-03T06:13:40.630" Title="Microphone for indoor interview" Tags="|microphone|" AnswerCount="4" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17319" PostTypeId="2" ParentId="17317" CreationDate="2016-01-03T11:34:45.153" Score="4" Body="&lt;p&gt;Here is &lt;a href=&quot;https://youtu.be/_w9rxT9kQUU?t=3m3s&quot;&gt;a video&lt;/a&gt; that shows a series of effects from no Egg Crates® to 60°, 50°, 40°, 30°, and finally 20°.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The answer is that up to a certain ratio of subject size and distance from the lighting source, Egg Crates make a light source more directional (harder shadows) while also allowing you to maintain a larger source (which offers the benefits of diffusion within the beam spread range).  Beyond a certain ratio (i.e., a small subject far away from the light source), Egg Crates have no meaningful effect because the subject fits entirely within the clear aperture of every cell in the matrix.  In that case the Egg Crate's only function is to reduce the overall lighting intensity just the same way a &lt;a href=&quot;https://en.wikipedia.org/wiki/Scrim_(lighting)&quot;&gt;scrim&lt;/a&gt; does.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another way to think about the effect is to imagine that each cell gives you a mini light source that has a certain beam spread angle.  A single, 2&quot; light source with a 20° beam spread gives a light cone that is D*tan 20° + 2&quot; where D is distance to the subject from the light source.  At 5' (60&quot;), that computes to about 22&quot;, but it also has a lot of falloff from the center of its beam (fully illuminated) to its edge (dark because all light eventually eclipsed).  Now imagine that the 22&quot; light circle is subdivided into an 11x11 grid of 2&quot; squares at the subject.  Across the north-south and also east-west axis, the squares go from least illuminated (at the edge) to most illuminated (in the center) and back again, because the square in the center gets fully un-eclipsed light, whereas each square away from the center &quot;sees&quot; an increasingly eclipsed source.  Squares that are within the 11x11 grid but outside the radius of the 11-grid diameter circle are completely un-illuminated because they are fully eclipsed.  If you then created an 11x11 grid of 2&quot; sources at the source, each square around the center would add its percentage of light to each square within the original 11x11 grid defined for the subject area, and the sum of all those squares is--&lt;em&gt;equally illuminated within the 11x11 grid&lt;/em&gt;.  Around that 11x11 grid at the subject will be a fall-off pattern that is linear along the edges and circular at the corners.  A 48&quot;x48&quot; Egg Crate gives a 48&quot;x48&quot; area of even illumination 60&quot; away, again with linear fall-off along its longer edges and quadradic fall-off around its farther-out corners.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-01-03T11:34:45.153" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17320" PostTypeId="2" ParentId="17318" CreationDate="2016-01-03T12:18:05.143" Score="1" Body="&lt;p&gt;If you have an echoey room, the only solution is to get the microphone closer to the subject.  Period.  Directionality won't solve your problem.  In high-budget productions you see people wearing lav mics for a reason.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's &lt;a href=&quot;http://nofilmschool.com/2015/08/24-sound-basics-will-help-you-lay-sturdy-foundation&quot; rel=&quot;nofollow&quot;&gt;a link&lt;/a&gt; that tells you all you need to know about sound for video production.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2016-01-03T15:16:37.657" LastActivityDate="2016-01-03T15:16:37.657" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17321" PostTypeId="2" ParentId="17315" CreationDate="2016-01-04T01:46:45.220" Score="2" Body="&lt;p&gt;Editing and Visual Effects (Special Effects aren't done in a computer) are two very different disciplines. Its possible to edit in a VFX package, but your best bet is two different pieces of software. As for &quot;what software is used for hollywood VFX&quot;, the answer is that Nuke, After Effects and Fusion all have hollywood credits to their name. You can get a huge amount done in each of them, but since Fusion is free, you can start with that. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, that being said, none of those packages can really pull off all types Hollywood VFX since they only handle one part of the process. Another big part is CGI, for which you will need yet another application, as well as a ton of time an experience. &lt;a href=&quot;http://www.blender.org/&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt; is a safe bet. Infact it can do pretty much everything you need, &lt;a href=&quot;https://www.youtube.com/watch?v=R6MlUcmOul8&quot; rel=&quot;nofollow&quot;&gt;as this short film was created nearly entirely with it.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6249" LastActivityDate="2016-01-04T01:46:45.220" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17322" PostTypeId="1" CreationDate="2016-01-05T04:56:24.793" Score="1" ViewCount="167" Body="&lt;p&gt;I have a capture card that produces DV video in AVI Type 1 container files.&#xA;I would like to convert the video to RGB, do some image processing,&#xA;and then convert the video back to DV-AVI and optionally code to DVD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original video sources are all either films that were telecined&#xA;for NTSC broadcast, stored on LaserDisc, or native NTSC broadcast&#xA;(i.e. shot with broadcast camera). But I might want to convert DVD data to RGB also.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The image processing functions include image stabilization, dust/scratch&#xA;removal, filtering large areas of single color in the broadcast material,&#xA;correcting inter-field artifacts, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I assume I will have to write software to do most of the image processing,&#xA;but what is the best tool to do the conversion from DV to RGB, and RGB to DV or  DVD?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I see ffmpeg, avidemux and transcode as possibilities.&lt;/p&gt;&#xA;" OwnerUserId="12449" LastActivityDate="2016-01-05T04:56:24.793" Title="Best open source tool to convert avi type 1 files to rgb" Tags="|software-recommendation|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17324" PostTypeId="1" CreationDate="2016-01-05T07:06:44.920" Score="1" ViewCount="492" Body="&lt;p&gt;The current setup is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;   ______________&#xA;  | Computer     |&#xA;  |______________|&#xA; DVI |        | HDMI&#xA;     |        |&#xA;HDMI |        | HDMI&#xA;  ___|____   _|_________&#xA; | Video  | | 2560x1080 |&#xA; |Streamer| | monitor   |&#xA; |________| |___________|&#xA; eth |&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So, basically I just have an ultrawide monitor running at 2560x1080 connected to a PC. I also want to stream a clone of what is displayed on that ultrawide monitor so I can see what's happening over LAN. I use an external streaming hardware box (Antrica brand) for that, and have no problems using resolutions lower than 2560x1080.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that my streaming hardware (and many other external video hardware) supports only resolutions up to 1920x1080. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I need to downscale, resize and/or crop the cloned video output of the computer which goes to the streamer. This leads to my actual question: how to do that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally, there would be some kind of a hardware video downscaler box between the computer and streamer. The box should accept 2560x1080 input. Even more ideally I would have an option to choose whether to downscale or crop the inputted video. Do such boxes exist? Or are there other ways to achieve this?&lt;/p&gt;&#xA;" OwnerUserId="12452" LastActivityDate="2016-01-05T07:06:44.920" Title="How to clone AND downscale 2560x1080 resolution for both display and streaming" Tags="|streaming|hardware|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17326" PostTypeId="1" AcceptedAnswerId="17342" CreationDate="2016-01-05T13:47:55.840" Score="3" ViewCount="6100" Body="&lt;p&gt;just wondering if there is a shortcut in after effects to reveal all transforming properties (scale, position, opacity, etc.) of a selected layer at once?&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2016-01-08T15:48:13.227" Title="After Effects: Shortcut for showing all transforming properties of a layer" Tags="|after-effects|short|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17327" PostTypeId="2" ParentId="17326" CreationDate="2016-01-05T14:06:13.843" Score="3" Body="&lt;p&gt;There's 3 &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/keyboard-shortcuts-reference.html&quot; rel=&quot;nofollow&quot;&gt;options&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;kbd&gt;Ctrl+`&lt;/kbd&gt; for &lt;em&gt;Toggle expansion of selected layers to show all properties&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;kbd&gt;UU&lt;/kbd&gt; for &lt;em&gt;Show only modified properties&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;kbd&gt;U&lt;/kbd&gt; for &lt;em&gt;Show only properties with keyframes or expressions&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-05T14:06:13.843" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17328" PostTypeId="1" CreationDate="2016-01-05T14:52:03.237" Score="3" ViewCount="30840" Body="&lt;p&gt;It's possible to change the dimensions of a Shape in AE under Transform &gt; Scale.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But what if I want pixel values? Is it possible to change the exact pixel dimensions of a Shape w/o resorting to expressions?&lt;/p&gt;&#xA;" OwnerUserId="1809" LastActivityDate="2023-02-23T20:22:15.807" Title="Shape dimensions in AE" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17329" PostTypeId="1" CreationDate="2016-01-05T15:00:36.857" Score="0" ViewCount="943" Body="&lt;p&gt;I'm recreating a Sketch composition in AE. To ease the process I would like to change the position of 0,0 from the center of the comp to bottom left. That would make it possible for me to translate the position values from Sketch to AE w/o doing any calculations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to change the position of 0,0 from the center of a composition to e.g. bottom left? Preferably w/o using expressions.&lt;/p&gt;&#xA;" OwnerUserId="1809" LastActivityDate="2018-08-27T19:14:56.943" Title="Change the coordinate system in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17330" PostTypeId="1" CreationDate="2016-01-05T23:08:57.830" Score="1" ViewCount="29" Body="&lt;p&gt;Lightroom makes it very easy for me to stylize my photos with HSL controls which allow me to adjust the hue, saturation, and luminance of individual colors. What can I use to do this with my video?&lt;/p&gt;&#xA;" OwnerUserId="11315" LastActivityDate="2016-01-05T23:08:57.830" Title="Color grading software (Preferably free or part of Adobe CC) with individual color HSL controls (like Lightroom)" Tags="|software-recommendation|color-correction|color-grading|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17331" PostTypeId="2" ParentId="17328" CreationDate="2016-01-05T23:50:04.310" Score="2" Body="&lt;p&gt;On the layer &quot;Scale&quot; value:&#xA;Right Click =&gt; &lt;kbd&gt;Edit Value...&lt;/kbd&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There you will see dialogue box: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YUpKH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YUpKH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How you can see, you can change it there.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-01-05T23:50:04.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17332" PostTypeId="1" CreationDate="2016-01-06T03:09:25.520" Score="1" ViewCount="71" Body="&lt;p&gt;I have a Lumia 950 XL that can record 4k at 30 FPS and 1080p at 60 FPS. Everythings working great, but I'm having the same issues that I've had with my old Samsung smartphone when recording video: when moving, the recording seems to pop in and out. Not sure how to describe it, but it what it seems like is that it's as if my lens were submerged in water and the water is moving in and out of perspective. What is the explanation for this? How do we prevent this from happening?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This seems to happen for quick or jerky movements but not steady ones though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: Here's a sample video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/4jcGtG3sZGA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="12459" LastEditorUserId="12459" LastEditDate="2016-01-07T08:47:44.513" LastActivityDate="2016-01-07T08:47:44.513" Title="Smartphone recording distortion" Tags="|mobile|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17333" PostTypeId="1" AcceptedAnswerId="17353" CreationDate="2016-01-06T04:17:12.487" Score="1" ViewCount="1769" Body="&lt;p&gt;I was using a Sony Alpha series camera which created avchd files, which are videos, and the file format is .mts&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am wondering programs are people using to convert these without compromising on quality? Looking for something very user friendly and one click.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I noticed iMovie isn't equipped to handle these files, and I do have After Effects and Premiere at my disposal, but those are the opposite of what I am looking for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen programs on Google but I am curious what you are using and why&lt;/p&gt;&#xA;&#xA;&lt;p&gt;'Free AVCHD to Mov' does not work for the Sony A7s II movie files on my Mac&lt;/p&gt;&#xA;" OwnerUserId="12460" LastActivityDate="2016-04-08T06:34:39.440" Title="Convert MTS AVCHD files into a more sharable format, such as mp4" Tags="|imovie|avchd|standards-converter|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17334" PostTypeId="2" ParentId="17333" CreationDate="2016-01-06T07:50:00.190" Score="1" Body="&lt;p&gt;I used &lt;code&gt;ffmpeg&lt;/code&gt; (&lt;a href=&quot;https://en.wikipedia.org/wiki/FFmpeg&quot; rel=&quot;nofollow&quot;&gt;https://en.wikipedia.org/wiki/FFmpeg&lt;/a&gt;, &lt;a href=&quot;http://ffmpeg.org/&quot; rel=&quot;nofollow&quot;&gt;http://ffmpeg.org/&lt;/a&gt;) to exchange the container format while keeping the original video and audio data. You can also use it to transcode the video, but many of the stream formats work in other container formats as well, so the &lt;code&gt;-vcodec copy -acodec copy&lt;/code&gt; parameters will keep the original quality. I used something like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i movie.mts -acodec copy -vcodec copy movie.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(untested, I don't have access to the computer I use for video work at the moment). With&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i movie.mts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;you will get more details on the stream formats in your file and you can then decide what to do with them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I even had to use it to copy to the same container (mpeg transport stream format) with sony files since the original files caused other software to become slow, what did not happen with the new but same container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ffmpeg is a command line tool and it is very user friendly (especially, it provides you with a lot of information about your files) and when you have found the best parameters for your case then it will become a 1-click solution since you can re-use the command on all your files.&lt;/p&gt;&#xA;" OwnerUserId="12314" LastActivityDate="2016-01-06T07:50:00.190" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="17335" PostTypeId="1" CreationDate="2016-01-06T11:30:08.093" Score="0" ViewCount="97" Body="&lt;p&gt;After creating a movie from some GoPro footage, using Premiere Elements 13 on Microsoft Windows 10, I attempted to export to 1080p 25fps mpeg using the basic export option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All looked good but when I tried to play back in Windows Media Player, all I get is audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm new to using Premiere - is there something obvious I'm missing? I didn't see any other export options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mediainfo gives me this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YmgSY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YmgSY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="674" LastEditorUserId="674" LastEditDate="2016-01-07T19:26:20.617" LastActivityDate="2016-01-07T19:26:20.617" Title="Exporting movie from Premiere Elements 13 seems to only give audio" Tags="|premiere-elements|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17337" PostTypeId="1" AcceptedAnswerId="17338" CreationDate="2016-01-06T13:43:54.367" Score="0" ViewCount="1511" Body="&lt;p&gt;I have a feature film in mp4 format. There is one scene where I just want to place a black censor box to conceal one part of the screen, no more than 7 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm a beginner, so my concern is that if I import the two-hour, 700MB file into, say, Windows Movie Maker, make the minor change, and then convert the finished product back into mp4, then the finished file will have a huge size that won't fit on a 4.7GB DVD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is that a valid concern? Are there video editing softwares out there that somewhat retain original file size?&lt;/p&gt;&#xA;" OwnerUserId="12464" LastEditorUserId="12464" LastEditDate="2016-01-06T13:57:20.907" LastActivityDate="2016-01-06T14:09:25.237" Title="How can I insert a censor bar into a mp4 movie?" Tags="|video-editor|editing|mp4|windows-movie-maker|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17338" PostTypeId="2" ParentId="17337" CreationDate="2016-01-06T14:09:25.237" Score="1" Body="&lt;p&gt;Any decent video editing software will allow you to specify bitrate and resolution in export settings. Sony Vegas Pro or Movie Studio, Adobe Premiere Elements, as should Cyberlink Powerdirector among others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a 2 hour movie with 700MB as output size, you want a target or average bitrate of 670 kbps for the video and 128 kbps for the audio.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-06T14:09:25.237" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17341" PostTypeId="1" CreationDate="2016-01-06T20:35:49.207" Score="1" ViewCount="89" Body="&lt;p&gt;I have an AVI file. It was an hour or so long file. Then I accidentally started recording over that same file. The old video is still there but all the video players don't see it. Is there any way to recover the file?&lt;/p&gt;&#xA;" OwnerUserId="12054" LastActivityDate="2017-10-04T09:20:44.780" Title="Started to record over AVI file" Tags="|digital-recording|recording|avi|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17342" PostTypeId="2" ParentId="17326" CreationDate="2016-01-06T21:06:52.013" Score="2" Body="&lt;p&gt;Some shortcuts depend on the &lt;strong&gt;language&lt;/strong&gt; and your &lt;strong&gt;keyboard layout&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a german layout it's: &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;Ü&lt;/kbd&gt;. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;However &lt;strong&gt;concatenating&lt;/strong&gt; the shortcuts always works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For &lt;em&gt;Scale&lt;/em&gt;, &lt;em&gt;Position&lt;/em&gt; and &lt;em&gt;Opacity&lt;/em&gt; press &lt;kbd&gt;S&lt;/kbd&gt;, &lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;P&lt;/kbd&gt; and &lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;T&lt;/kbd&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2016-01-08T15:48:13.227" LastActivityDate="2016-01-08T15:48:13.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17343" PostTypeId="1" AcceptedAnswerId="17344" CreationDate="2016-01-07T03:42:07.643" Score="2" ViewCount="6626" Body="&lt;p&gt;I'm confusing myself over how the video filters work, particularly how they work together, I think.  I have two MKVs, pulled from DVD, that are respectively 16:9 and 4:3.  What I would like to do is ultimately combine them (mkvmerge widescreen.mkv + fullscreen.mkv) and to do that I need matching display aspect ratios.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I would like to pillarbox the 4:3 video as I encode it, and then hopefully append it to the 16:9 video.  I've tried a number of filters to accomplish this, and the closest I was able to get was a slightly wider than expected video, otherwise pillarboxed properly.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i fullscreen.mkv 4:3 -vf &quot;pad=853:480:66:0,scale=720x480,setdar=16:9&quot; [etc.]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The pixel dimensions are 720x480, the display dimensions are 853x480, and the two MKVs can be successfully merged (after reencoding the widescreen.mkv to the same video codec, but without video filters).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the resulting display of the fullscreen video is pillarboxed, yet slightly horizontally stretched.  In 1:1 pixels it measures 720px across, not 640.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I figure I'm doing the math wrong, or misunderstanding how the filters are supposed to operate, or something simple, but my understanding of ffmpeg video filters is basically nothing.&lt;/p&gt;&#xA;" OwnerUserId="12466" LastActivityDate="2016-01-07T04:38:24.733" Title="ffmpeg: pillarbox 4:3 to 16:9" Tags="|ffmpeg|filter|aspect|non-square-pixels|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17344" PostTypeId="2" ParentId="17343" CreationDate="2016-01-07T04:38:24.733" Score="1" Body="&lt;p&gt;Assuming both MKVs are rips of NTSC DVDs, these are the commands you need:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;For 4:3 video&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;input43.mkv&quot; -vf &quot;scale=640x480,setsar=1,pad=854:480:107:0&quot; [etc..]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;For 16:9 video&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;input169.mkv&quot; -vf &quot;scale=854x480,setsar=1&quot; [etc..]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(Note H.264, the codec you are likely using, needs dimensions to be even, so specifying &lt;code&gt;853&lt;/code&gt; as width will lead to ffmpeg feeding &lt;code&gt;854&lt;/code&gt; pixels to the encoder and then auto-setting a funky SAR.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-07T04:38:24.733" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17346" PostTypeId="1" CreationDate="2016-01-07T09:25:09.160" Score="1" ViewCount="485" Body="&lt;p&gt;I would like to make some short movie clips explaining how algorithms work. To do so, I would like to film how I write / scribble on the paper.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there tripods which support filming what is directly below the camera or should I tinker such a tripod myself? In case you recommend building it myself: How is this standard &quot;mount&quot; at the bottom of each digital camera called? (So that I can buy something to fixate the camera.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I have a Lumix DMC TZ41 digital camera. Do movie cameras have other &quot;mounts&quot; for tripods than digital cameras?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some online courses (Udacity, Coursera) make something similar / exactly what I would like to do. See &lt;a href=&quot;https://www.youtube.com/watch?v=OBtIs_AVueY&quot; rel=&quot;nofollow noreferrer&quot;&gt;Programming - CS101 - Udacity&lt;/a&gt; for example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vLrye.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vLrye.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="679" LastEditorUserId="679" LastEditDate="2016-01-07T10:17:06.767" LastActivityDate="2016-01-09T23:25:31.747" Title="Are there Tripods to film the bottom when writing on a paper?" Tags="|video-recording|hardware|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17348" PostTypeId="2" ParentId="17346" CreationDate="2016-01-07T11:35:42.993" Score="3" Body="&lt;p&gt;There are a number of photo tripods that allow you to invert the center column.  When inverted, the camera sits between all the legs and can be pointed down.  &lt;a href=&quot;https://www.manfrotto.com/190-aluminium-4-section-tripod-with-horizontal-column&quot; rel=&quot;nofollow&quot;&gt;Another tripod design&lt;/a&gt; has a center column that can also be shifted to a horizontal position.  This allows greater flexibility in terms of distance from the subject (and it also means you only have to shoot between the front two legs, rather than inside all three).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-01-07T11:35:42.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17349" PostTypeId="2" ParentId="17346" CreationDate="2016-01-07T14:38:25.477" Score="1" Body="&lt;p&gt;Another option that is ideally suited for this is a digital enlarger mount or a digital overhead mount.  Both of these are effectively the same thing and are designed to hold both a camera and lighting in an ideal manner for capturing a document placed on a flat surface.  We used a setup like this for capturing note writing for distance education at my college when I worked in the distance education program.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2016-01-07T14:38:25.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17350" PostTypeId="2" ParentId="10729" CreationDate="2016-01-07T20:19:24.053" Score="0" Body="&lt;p&gt;I have used the GoPro Hero+ LCD for basketball Games and even edited them in the GoPro Editor and they are just fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;https://youtu.be/XJgiQzz3mmI&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know how to make it not as blurry though. Not too bad&lt;/p&gt;&#xA;" OwnerUserId="12474" LastActivityDate="2016-01-07T20:19:24.053" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17351" PostTypeId="1" AcceptedAnswerId="17352" CreationDate="2016-01-07T23:38:45.410" Score="0" ViewCount="42" Body="&lt;p&gt;I was watching a Twitch.TV stream of a panel of announcers discussing eSports live, and while all of the graphics, sets, backgrounds, lighting looked great, I thought it would be nice if the raw video of the announcers was also processed with composite editing, for a surreal, polished film effect. But I'm not sure: Can a video be composited fast enough to be streamed live, and are there tools capable of doing this?&lt;/p&gt;&#xA;" OwnerUserId="12477" LastActivityDate="2016-01-08T00:31:44.687" Title="Can video be composited for live streaming?" Tags="|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17352" PostTypeId="2" ParentId="17351" CreationDate="2016-01-08T00:31:44.687" Score="3" Body="&lt;p&gt;The answer is yes, video can be composited fast enough to be streamed live.  The tool that does this is called a switcher.  Typically a switcher introduces a single frame delay from input to composited output.  By connecting the output to a streaming encoder, you can stream out your live, composited video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For an example, see the Blackmagic Design &lt;a href=&quot;https://www.blackmagicdesign.com/products/atem&quot; rel=&quot;nofollow&quot;&gt;ATEM System&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-01-08T00:31:44.687" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17353" PostTypeId="2" ParentId="17333" CreationDate="2016-01-08T04:27:21.910" Score="0" Body="&lt;p&gt;Lightroom provides a one-click export function from MTS to Mp4 that works very well. Unfortunately it is a lot slower than ffmpeg and other copy-wrapper solutions, because Lightroom appears to be re-encoding instead of just copying streams out of the MTS wrapper into an MP4 wrapper. For the record I couldn't get any of the copy-wrapper solutions to work using AVCHD footage from a Sony A7sII.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lightroom also has the capability to stack the new video overtop of the original file, so that it doesn't look like there are duplicates in the catalog. This is pretty ideal for me.&lt;/p&gt;&#xA;" OwnerUserId="12460" LastActivityDate="2016-01-08T04:27:21.910" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17354" PostTypeId="2" ParentId="17333" CreationDate="2016-01-08T05:19:29.537" Score="0" Body="&lt;p&gt;Ttry this ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mts -c copy -fflags +genpts -flags +global_header output.m4v&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-08T05:19:29.537" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17355" PostTypeId="1" CreationDate="2016-01-08T07:11:06.777" Score="1" ViewCount="186" Body="&lt;p&gt;I've a Black Magic Declink Mini Recorder Frame Grabber which supports minimum 720p as Video Input. But my camera has a VGA resolution which ostensibly will give output in 640*480 resolution. The card accepts both SDI/HDMI slots for Intput and Camera cable I have is currently having BNC Connector at it's end. Could someone suggest how can I use this Video Card to process VGA Video Output from my camera?&lt;/p&gt;&#xA;" OwnerUserId="12481" LastActivityDate="2024-03-28T19:05:50.743" Title="How to up scale video resolution for Video Card" Tags="|video|video-capture|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17356" PostTypeId="1" CreationDate="2016-01-08T11:28:57.027" Score="0" ViewCount="582" Body="&lt;p&gt;I used the Razor tool in Openshot to remove a scene from a movie. However, the transition between the two surrounding scenes is now very choppy. The movie is now simply two separate clips. Is there a way to &quot;fuse&quot; the two clips together, so the transition is smooth?&lt;/p&gt;&#xA;" OwnerUserId="12485" LastEditorUserId="12485" LastEditDate="2016-01-08T12:12:31.617" LastActivityDate="2016-03-08T13:35:31.190" Title="Cutting scene results in choppy transition" Tags="|video|video-editor|editing|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17357" PostTypeId="2" ParentId="17346" CreationDate="2016-01-08T11:52:24.103" Score="0" Body="&lt;p&gt;I have a tripod that allows you to remove the tripod head from the top of the column and screw it into the base of the column where the counterweight is typically hung (to stabilise cameras in windy environments).&#xA;It is a WeiFeng FT-6663A &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B00974UXA2&quot; rel=&quot;nofollow&quot;&gt;http://www.amazon.com/Aluminum-Digital-Professional-WeiFeng-FT-6663A/dp/B00974UXA2&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Be aware that the legs of the tripod can cast shadows when you run the head inverted looking down.&lt;/p&gt;&#xA;" OwnerUserId="11997" LastEditorUserId="11997" LastEditDate="2016-01-08T12:32:18.463" LastActivityDate="2016-01-08T12:32:18.463" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17358" PostTypeId="2" ParentId="13018" CreationDate="2016-01-08T12:00:15.213" Score="1" Body="&lt;p&gt;All of these seem to be simple circle mattes, you just need an editing system that allows you to generate a circle mask that has an animatable position. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will need 3 pieces of media:&#xA;1- the original footage&#xA;2- the new actor to go in the circle (or a neutral shot)&#xA;3- the moving circle mask&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will need to animate the circle to follow the original circle, then use the circle mask to reveal the new footage in the hole.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can recommend using the Open Software &quot;Blender&quot;, it has a Video editor called the VSE and a system of user defined masks that you can animate with.&lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2016-01-08T12:00:15.213" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17359" PostTypeId="2" ParentId="2274" CreationDate="2016-01-08T12:07:54.650" Score="5" Body="&lt;p&gt;If you are really adventurous why not give &lt;a href=&quot;https://builder.blender.org/download/&quot; rel=&quot;noreferrer&quot;&gt;Blender&lt;/a&gt; a go? It is a 3D animation and compositing/tracking application. It is completely free and open (FLOSS) as well as being totally system agnostic. Run on Windows 32bit or 64 bit, MacOS 32 or 64 bit and Linux 32 or 64bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video editor is rather novel and a bit rudimentary but is supported by a large compliment of &lt;a href=&quot;http://wiki.blender.org/index.php/Extensions:2.6/Py/Scripts/Sequencer&quot; rel=&quot;noreferrer&quot;&gt;addons or python scripts&lt;/a&gt; that enhance its usability.&lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2016-01-08T12:07:54.650" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17360" PostTypeId="2" ParentId="12697" CreationDate="2016-01-08T12:36:05.867" Score="1" Body="&lt;p&gt;If a wider angle and better resolution (needed when subjects become smaller in frame) is out of the question then try a remote panning head that will follow a player automatically. This robot head can pan to follow action remotely &lt;a href=&quot;http://www.bhphotovideo.com/c/product/1023888-REG/solo_shot_soloshot2_robot_cameraman.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/1023888-REG/solo_shot_soloshot2_robot_cameraman.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2016-01-08T12:36:05.867" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17361" PostTypeId="2" ParentId="17356" CreationDate="2016-01-08T12:57:41.207" Score="1" Body="&lt;p&gt;The two most common approaches, if you don't have &lt;a href=&quot;https://en.m.wikipedia.org/wiki/B-roll&quot; rel=&quot;nofollow&quot;&gt;B-roll&lt;/a&gt; coverage, is either a dissolve (usually a cross-dissolve) or a fade-out/fade-in (usually dip-to-black).  Garish effects (essentially all the others offered in a typical NLE) can also be used (but are usually avoided).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;IF the clip you are cutting out means joining what looks like a single take (with a discontinuity in the middle), the dip is your friend.  If the clip you are cutting out takes you from one scene to another, the cross dissolve can also work.  A series of cross-dissolves can work to show the passage of time (where the camera stays fixed and the subject is seen doing on thing, fading into doing another, etc.).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-01-08T12:57:41.207" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17362" PostTypeId="1" CreationDate="2016-01-08T14:11:30.077" Score="1" ViewCount="645" Body="&lt;p&gt;I stupidly started a project using a DVD NTSC profile, made a bunch of changes, and then realized that the final product is supposed to be DVD Widescreen NTSC. I can export it as such, but because I'm viewing the project in DVD NTSC, I can't tell how my changes will actually look in the final product. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to change the profile of my project, so I can view it in DVD Widescreen NTSC while editing it?&lt;/p&gt;&#xA;" OwnerUserId="12485" LastActivityDate="2020-06-15T17:10:06.123" Title="How to change profile of Openshot project?" Tags="|video|video-editor|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17363" PostTypeId="1" CreationDate="2016-01-09T07:21:52.737" Score="-3" ViewCount="118" Body="&lt;p&gt;TWO PART QUESTION - We've all seen the movies/TV shows where the police/feds/spies use computer software to take a grainy photo and do a &quot;clean-up&quot; to see a better picture and more details. I assume the concept is executed by some sort of &lt;strong&gt;uber-power&lt;/strong&gt; pixel-smoothing or anti-aliasing type of algorithms to fill in the blanks based on deductive processing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PART 1: How &lt;em&gt;real&lt;/em&gt; is this technology in the public/commercial software world? I'm not asking about any &lt;em&gt;speculation&lt;/em&gt; on alleged secret gov software or such, I just want to know where we actually are with this concept today? How much is fully automated vs human-assisted. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;PART 2: Assuming there actually is &lt;em&gt;some&lt;/em&gt; reality with this technology for photographs the second part of this question is how (if at all) has this been applied to videos? Again the issue of fully automated vs human assisted is of interest here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the heart of this post is the ultimate question of how viable is today's software for being able to take an old VHS or DVD recording and process the frames to create a new HD-resolution remaster. Considering that doing this would mean cleaning up tens-of-thousands of frames for even a simple wedding video I am &lt;strong&gt;not&lt;/strong&gt; expecting this technology to be fast of course.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;NOTE: Per in-topic and meta discussions I went ahead and cross-posted this in two other suggested SE forums to acquire their viewpoints and expertise on this matter. So far (it is still a little &quot;early in the day&quot; so to speak) I have received some pretty interesting information in 2 of the 3.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When this is all done (when good answers have been selected) I would appreciate a way to merge these &lt;strong&gt;for the benefit of all three SE communities&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Computer Graphics: &lt;a href=&quot;https://computergraphics.stackexchange.com/questions/1880&quot;&gt;https://computergraphics.stackexchange.com/questions/1880&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Signal Processing: &lt;a href=&quot;https://dsp.stackexchange.com/questions/28168&quot;&gt;https://dsp.stackexchange.com/questions/28168&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Video Production: &lt;a href=&quot;https://video.stackexchange.com/questions/17363&quot;&gt;What is the state-of-the-art on using computers to &amp;quot;clean-up&amp;quot; videos?&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="12488" LastEditorUserId="-1" LastEditDate="2017-04-13T13:00:43.043" LastActivityDate="2016-01-09T19:14:58.790" Title="What is the state-of-the-art on using computers to &quot;clean-up&quot; videos?" Tags="|video|video-quality|signal-processing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17364" PostTypeId="1" AcceptedAnswerId="17383" CreationDate="2016-01-09T08:52:29.173" Score="0" ViewCount="582" Body="&lt;p&gt;I am looking for cloud backup or remote backup routines and practices that may be used for storing video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Specifically if services or practices that offer versioning are relevant. If so, why or why not? Any examples of services you use will also be appreciated&lt;/p&gt;&#xA;" OwnerUserId="12460" LastActivityDate="2016-01-15T16:28:06.363" Title="cloud backup routines" Tags="|video|storage|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17365" PostTypeId="2" ParentId="17355" CreationDate="2016-01-09T09:51:34.673" Score="0" Body="&lt;p&gt;Your problem is not (only) resolution.  640x480 resolution VGA is analog video, so you need an analog -&gt; digital video converter.  This $200 &lt;a href=&quot;http://www.markertek.com/product/bmd-convmas/blackmagic-convmaas2-analog-to-3g-hd-sdi-mini-converter?gclid=Cj0KEQiA_MK0BRDQsf_bsZS-_OIBEiQADPf--gCDqnzXY8iHS6E75lhDi66w9oMOeX44nQdK2M4zfWYaAile8P8HAQ&quot; rel=&quot;nofollow&quot;&gt;Analog -&gt; SDI Mini Converter&lt;/a&gt; from Blackmagic Design will do what you need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then again, for not much more than $200, you can get a camera that speaks HDMI and gives you true 720p.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-01-09T09:51:34.673" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17366" PostTypeId="2" ParentId="17363" CreationDate="2016-01-09T18:58:24.970" Score="0" Body="&lt;p&gt;My understanding is that &lt;a href=&quot;https://www.blackmagicdesign.com/products/teranex&quot; rel=&quot;nofollow&quot;&gt;Teranex processors&lt;/a&gt; are the &quot;state of the art&quot; in terms of bringing analog video into the digital/HD world.  There may be other devices that make similar claims or that have similar signal-processing abilities, but these processors are an example of what people in the real world use to practically clean up video for HD.  Of course it is nothing like the science fiction of enhancing photographs to be able to read 20M pixels of data from a 300K-pixel SD video source.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2016-01-09T19:14:58.790" LastActivityDate="2016-01-09T19:14:58.790" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17367" PostTypeId="2" ParentId="12181" CreationDate="2016-01-09T21:05:43.180" Score="3" Body="&lt;p&gt;I recently ran into this issue...my transcoded-into-H264 videos started coming&#xA;out with VARIABLE frame-rates, whereas in the past, they had come out as fixed&#xA;framerate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use VLC-cmdline to do my final transcodes (because VLC supports features that&#xA;HandBrake and others don't...such as marquee-text and font-color control, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I recently googled this issue, I noticed that wikipedia, and a few other&#xA;comments on variable frame-rate mention that 'container-type' can make a difference on whether fixed or variable frames get generated. (That puzzled me...I never would have guessed that.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, sure enough !  In my VLC cmd-line, I changed my 'mux' from MP4 to MKV&#xA;and voila.  'Mediainfo' checker shows clearly that I was getting variable&#xA;when using MP4-container, and fixed frames with MKV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[Great...I'd been planning to switch to MKV output files anyway, and this&#xA;provided me with a great reason to do so! Be aware -- version 1.x and early VLC supported only MP4-containers, but v2.x now DOES also support MKV.]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps others. &lt;/p&gt;&#xA;" OwnerUserId="12493" LastActivityDate="2016-01-09T21:05:43.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17368" PostTypeId="1" CreationDate="2016-01-09T22:37:52.833" Score="0" ViewCount="3712" Body="&lt;p&gt;I have 226 sequenced images (TIFF, 6.2MB each) and i would like loseless save them like video by using H265. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is command which I used:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2 -framerate 25 -i IMG_%03d.tif -vcodec libx265 -x265-params lossless -strict experimental -pix_fmt yuv420p -report movie_newh265yuv420.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And here is output video: &lt;a href=&quot;http://chmura.rarez.pl/index.php/s/kek6ZYzyDklfZjP&quot; rel=&quot;nofollow&quot;&gt;Broken Output Video&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really don't know how to fix it. Video should looks like this one &lt;a href=&quot;https://youtu.be/hFei6iaO4zo&quot; rel=&quot;nofollow&quot;&gt;Good Video&lt;/a&gt; If u have any idea I will be very glad. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Report from FFMPEG below: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you &lt;/p&gt;&#xA;" OwnerUserId="12494" LastEditorUserId="12494" LastEditDate="2016-01-10T11:32:03.700" LastActivityDate="2016-01-10T11:32:03.700" Title="FFMPEG Tiff images to losseless video (H265) lags, broken output" Tags="|ffmpeg|compression|" AnswerCount="0" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="17370" PostTypeId="2" ParentId="17296" CreationDate="2016-01-09T23:37:04.097" Score="0" Body="&lt;p&gt;It's because these are commercially duplicated VHS tapes and have copy guard encoded in the video signal. It prevents copying as you have discovered.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The giveaway are the white bars in the vertical interval that I can see in your screen grab.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's no way around it short of using a time base corrector or frame synchronizer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They are on eBay though I am not encouraging you to copy the protected intellectual property.&lt;/p&gt;&#xA;" OwnerUserId="12495" LastActivityDate="2016-01-09T23:37:04.097" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17374" PostTypeId="1" AcceptedAnswerId="17375" CreationDate="2016-01-10T23:44:35.100" Score="0" ViewCount="1958" Body="&lt;p&gt;I'm using this command to receive a input stream and transcode it to a different resolution and stream it to ustream. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -loglevel info -progress /tmp/ffmpeg.log -i udp://10.0.0.150:8181?listen \&#xA;-framerate 30 -video_size 1080x720 -vcodec libx264 -b:v 768k -crf 23 -preset medium -maxrate 800k -bufsize 800k \&#xA;-vf &quot;scale=640:-1,format=yuv420p&quot; -g 60 -c:a aac -strict -3 -ar 44100 -ab 32k -f flv rtmp://&amp;lt;ustream url&amp;gt;/&amp;lt;ustream key&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I also want to extract a full quality snapshot every 1 minute. I read &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Create%20a%20thumbnail%20image%20every%20X%20seconds%20of%20the%20video&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; how I can extract a thumbnail from a video periodically and I read &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Creating%20multiple%20outputs&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; explaining how to send one input stream to different output streams with different video filters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I combined the two commands I ended up with this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -loglevel info -progress /tmp/ffmpeg.log -i udp://10.0.0.150:8181?listen -filter_complex '[0]split=2[in1][in2];[in1]scale=640:-1,format=yuv420p[out1];[in2]fps=1/60[out2]' \&#xA;-map '[out1]' -framerate 30 -video_size 1080x720 -vcodec libx264 -b:v 768k -crf 23 -preset medium -maxrate 800k -bufsize 800k -g 60 -c:a aac -strict -3 -ar 44100 -ab 32k -f flv rtmp://&amp;lt;ustream url&amp;gt;/&amp;lt;ustream key&amp;gt; \&#xA;-map '[out2]' img%03d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The command almost works, but the audio is missing on the livestream. The images are created correctly and the video is fine but there is no audio. How can I also get audio in my livestream?&lt;/p&gt;&#xA;" OwnerUserId="12502" LastActivityDate="2016-01-11T07:38:37.023" Title="ffmpeg streaming to rtmp and extracting image periodically" Tags="|video|ffmpeg|audio|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17375" PostTypeId="2" ParentId="17374" CreationDate="2016-01-11T06:16:59.953" Score="2" Body="&lt;p&gt;Try &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -loglevel info -progress /tmp/ffmpeg.log -i udp://10.0.0.150:8181?listen -filter_complex '[0:v]split=2[in1][in2];[in1]scale=640:-1,format=yuv420p[out1];[in2]fps=1/60[out2]' \&#xA;-map '[out1]' -map 0:a -framerate 30 -video_size 1080x720 -vcodec libx264 -b:v 768k -crf 23 -preset medium -maxrate 800k -bufsize 800k -g 60 -c:a aac -strict -3 -ar 44100 -ab 32k -f flv rtmp://&amp;lt;ustream url&amp;gt;/&amp;lt;ustream key&amp;gt; \&#xA;-map '[out2]' img%03d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-01-11T07:38:37.023" LastActivityDate="2016-01-11T07:38:37.023" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17377" PostTypeId="2" ParentId="15468" CreationDate="2016-01-11T16:26:23.927" Score="1" Body="&lt;p&gt;When I use ffmpeg to remux some recorded video (can be TS, MP4 or MKV) and get the non monotonous dts in output stream - timestamps etc etc error, the resulting video either appears to have audio only or plays jerkily. The only way I have found of reliably dealing with this is to use AviDemux. With Copy settings for both audio and video and selecting MP4V2 Muxer it is possible,, under the Configure option to select Optimize For Streaming. The resulting MP4 file can now be used in ffmpeg without generating error messages. Trust this is of use.&lt;/p&gt;&#xA;" OwnerUserId="12507" LastActivityDate="2016-01-11T16:26:23.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17378" PostTypeId="1" AcceptedAnswerId="17398" CreationDate="2016-01-12T02:22:13.147" Score="4" ViewCount="2836" Body="&lt;p&gt;I would like to &quot;convert&quot; audio to video visualisation (oscilloscope or waveform) sort of like some media players have. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I read this thread on how to do so with ffmpeg: &lt;a href=&quot;https://video.stackexchange.com/q/9644&quot;&gt;How do I turn audio into video (that is, show the waveforms in a video)?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have never used ffmpeg before and having read the previous thread I am still very confused with how to do it. As far as I know, ffmpeg does not have a GUI, so its a bit hard to understand. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried the following code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i audio.mp3 -filter_complex &quot;[0:a]avectorscope=s=1080x1080,format=yuv420p[vid]&quot; -map &quot;[vid]&quot; -map 0:a -codec:v libx264 -crf 18 -preset fast -codec:a aac -strict -2 -b:a 192k output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But the result i get is just a vertical line (the avectorscope does not spread out).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eaO6O.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eaO6O.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have made sure that the audio is in stereo and has a high amplitude. I guess there is something I am missing in the code...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also I would really like to know how I can change the background color from black to something custom.&lt;/p&gt;&#xA;" OwnerUserId="12511" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-01-14T21:29:11.613" Title="ffmpeg audio to visualisation" Tags="|ffmpeg|video-editor|audio|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17380" PostTypeId="2" ParentId="16599" CreationDate="2016-01-12T11:01:20.247" Score="1" Body="&lt;p&gt;If you’re up for building your own server, and have some coding skill, then you could look at setting up a nginx server running the &lt;a href=&quot;https://github.com/arut/nginx-rtmp-module&quot; rel=&quot;nofollow noreferrer&quot;&gt;RTMP extension&lt;/a&gt; that can capture an re-stream live or on demand video. It can also do near realtime transcoding or &quot;at completion of capture&quot; transcoding using ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the system I setup, I send live video in using an IP based camera system from multiple sources that can do RTMP streaming, or if I want to capture desktop content like a video game I use &lt;a href=&quot;https://obsproject.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS&lt;/a&gt; to do the streaming to the server.&lt;a href=&quot;https://i.stack.imgur.com/gk3Q8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gk3Q8.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The actually user website itself runs from a node.js based system that has access to the content recorded by the nginx rtmp capture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;OR&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could look at a pre-build solution like Kaltura which has both a &lt;a href=&quot;http://www.kaltura.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;open-source community version&lt;/a&gt; and a &lt;a href=&quot;http://corp.kaltura.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;commercial version&lt;/a&gt;. Think of it as your own YouTube server setup that has a tone of features ready to go out-of-the-box.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/yDGV4.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yDGV4.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12516" LastActivityDate="2016-01-12T11:01:20.247" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17382" PostTypeId="2" ParentId="17341" CreationDate="2016-01-12T17:34:38.960" Score="0" Body="&lt;p&gt;Try to drag and drop it into Virtualdub. If it (or some of it) is viewable you should be able to &quot;direct stream&quot; copy useable sections (and reassemble them subsequently). If it is viewable but won't direct stream copy you might be able to recover it by recompressing (both audio and video).&lt;/p&gt;&#xA;" OwnerUserId="12507" LastActivityDate="2016-01-12T17:34:38.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17383" PostTypeId="2" ParentId="17364" CreationDate="2016-01-13T05:49:11.857" Score="1" Body="&lt;p&gt;I've used &lt;a href=&quot;https://www.backblaze.com&quot; rel=&quot;nofollow&quot;&gt;Backblaze&lt;/a&gt; for this. I understand that &lt;a href=&quot;http://www.code42.com/business/&quot; rel=&quot;nofollow&quot;&gt;CrashPlan Pro&lt;/a&gt; and other similar services work in the same way. Basically, you install the software (free download), do some setup, and then it just runs in the background. Every time you create a new file or modify an existing one, it will (at some later point when there's less activity on your system) just back it up to the cloud. You can usually configure it to constrain how much bandwidth it uses, which folders you do and don't want backed up, and maybe even when backups occur. And if you have a very large initial backup, they'll even send you a hard drive to back it up to. You send it back once the backup has occurred. From then on, it's incremental over the internet.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-01-13T05:49:11.857" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17385" PostTypeId="1" AcceptedAnswerId="17386" CreationDate="2016-01-13T14:31:50.017" Score="1" ViewCount="5086" Body="&lt;p&gt;I have multiple audio clips and want to link them to a video clip. I first unlinked the camera audio from the video, then selected the video clips, the cam audio and the external recorded audio clips. Now the context menu entry &quot;LINK&quot; is greyed out. I can only relink the original audio clips to the video clip. This doesn't make any sense to me. To group clips doesn't help me either, because if I intercut the group, all parts are grouped together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CaAom.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CaAom.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any solutions for this?&lt;/p&gt;&#xA;" OwnerUserId="12527" LastEditorUserId="6685" LastEditDate="2016-01-13T15:49:46.653" LastActivityDate="2016-01-13T15:49:46.653" Title="premiere cc: LINK audio and video tracks greyed out" Tags="|premiere|audio|adobe|cc|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17386" PostTypeId="2" ParentId="17385" CreationDate="2016-01-13T15:02:21.110" Score="1" Body="&lt;p&gt;There are at least three ways to put things together in Premiere Pro: linking, grouping, and nesting.  Linking is the lowest-level, assigning audio tracks to a single video clip.  You cannot link two video clips together, regardless of how much audio they may want to share.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Grouping allows you to treat multiple clips of audio and video as part of the same group for selection, moving, trimming, etc.  If you have a bunch of related clips (video and audio) which you want to behave as a unit, but whose relationships you still want to be able to see, use grouping.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nesting creates a new sequence with all the audio and video clips you want to behave as if it's just a single entity.  You can change the relationships (and of course edit) within that entity, but to do so you have to open up that sequence on its own timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You probably want to use either grouping or nesting, not linking for this case.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-01-13T15:02:21.110" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17387" PostTypeId="1" CreationDate="2016-01-13T19:36:27.893" Score="1" ViewCount="186" Body="&lt;p&gt;I am trying to create a DIY dualplay setup. I would like to take 2 PS4s and combine their output into a 3d signal. Then, with modified active shutter glasses, two people could simultaneously watch one of the sources each on the same display at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My display can decode Top and Bottom, Side by Side, and frame packed 3d signals.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think either a tiler that accepts 2 sources would work, or some other device that can alternate frames from the sources.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Matrox makes a device for approximately $500 that is SDI only, not HDMI, so I would need 3 converters at $200-300 a pop, which is outside my budget.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="12529" LastActivityDate="2016-01-13T19:36:27.893" Title="Is there a device that will accept 2 hdmi inputs and output a single, 3d signal with one source for each eye?" Tags="|video|3d|hdmi|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17389" PostTypeId="2" ParentId="12905" CreationDate="2016-01-13T19:42:41.017" Score="31" Body="&lt;p&gt;With ffmpeg 2.8.4, the following command creates output.mp4 that is a repeating copy of input.mp4 until the ffmpeg process is stopped:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -stream_loop -1 -i input.mp4 -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This command won't terminate on its own, and the output file will grow infinitely.&lt;/p&gt;&#xA;" OwnerUserId="12531" LastEditorUserId="1871" LastEditDate="2019-05-21T10:01:39.133" LastActivityDate="2019-05-21T10:01:39.133" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="17390" PostTypeId="1" AcceptedAnswerId="17391" CreationDate="2016-01-14T08:30:43.653" Score="1" ViewCount="329" Body="&lt;p&gt;I have an old VHS homevideo that has been converted to DVD (PAL-576i) in a photo-shop.&#xA;I have decided to add some menus and edit some things in Premiere Pro CC/Encore and maybe convert the aspect ratio from 4:3 to 16:9 (by adding black bars in the sides) since it probably will be shown on widescreen hdtv's before burning copies to the rest of the family.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I will be working on it, I thought i might as well try to remove scan-lines by de-interlacing it in the process, to improve viewing on non-CRT displays.&#xA;I know some DVD-players have progressive scan capabilities, but some doesn't and I don't know which type of player will be playing the dvd.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So... I guess my question is:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;Will it make any sense to de-interlace/re-encode the video to 576p,&#xA;  or will the dvd-players not care at all?&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Here is a file analysis output of one of the .vob files&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ***** Analyzed File Results *****&#xA;&#xA;*** General Parameters ***&#xA;- Name:  VTS_01_1.VOB &#xA;- Container:  Mpeg Program Stream &#xA;- Creation Date:  2006-01-01 01.00.00 &#xA;- Size:  1 &#xA;- Duration:  10s 753ms &#xA;- Bitrate:  798 Mbps &#xA;- Fast start:  Not available &#xA;- Encoding Library:  Undefined &#xA;- Encoding Application:  Undefined &#xA;&#xA;*** Video Track Parameters ***&#xA;- Format:  MPEG-2 Video &#xA;- Size:  1 &#xA;- FourCC:  0x10000002 &#xA;- Track number(s):  0 &#xA;- Bitrate:  Max.: 9 282 Kbps &#xA;    Average: 782 Mbps &#xA;    Min.: --- &#xA;- Frame rate (fps):  Max.: Undefined &#xA;    Average: 25.000 &#xA;    Min.: Undefined &#xA;- Bitrate mode:  Variable &#xA;- Encoding profile:  Main@Main &#xA;- Resolution:  Undefined &#xA;- Width (Pixel number):  720 &#xA;- Height (Pixel number):  576 &#xA;- Pixel Aspect Ratio:  Undefined &#xA;- Display Aspect Ratio:  4:3 &#xA;- Chroma subsampling format:  YUV 4:2:0 &#xA;- Standard:  PAL &#xA;- Interlacing:  Interlaced - Top Field First &#xA;- Encoding library:  Undefined &#xA;- Additional Parameters:  BVOP: Yes &#xA;    Matrix: Custom &#xA;    GOP: M=3 &#xA;    Bits/(Pixel*Frame) ratio: 75.438 &#xA;&#xA;*** Audio Track(s) Parameters ***&#xA;*** Audio Track #1&#xA;- Format:  AC3-A52 &#xA;- Size:  499,7 KB (0%) &#xA;- FourCC:  0x2000 &#xA;- Number(s) and language(s):  189 (0xBD)-128 (0x80): Undefined &#xA;- Details:  Undefined &#xA;- Profile:  Undefined &#xA;- Bitrate:  384 Kbps &#xA;- Bitrate mode:  Constant &#xA;- Resolution:  16 bits &#xA;- Rate:  48.0 KHz &#xA;- Channel(s):  2 (stereo) &#xA;- Position:  Front: L R &#xA;- Encoding Library:  Undefined &#xA;- Additional Parameters:  Not available &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12535" LastActivityDate="2016-01-14T08:49:45.830" Title="Does DVD support non-interlaced formats (576p)?" Tags="|file-formats|dvd|formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17391" PostTypeId="2" ParentId="17390" CreationDate="2016-01-14T08:49:45.830" Score="0" Body="&lt;p&gt;I had this issue come up a few months ago, and what I found out was that the video stream frames, irrespective of source properties (field or full frames), are stored as field pairs in authored VOBs, although the scan mode and order is correctly noted in the metadata for benefit of players.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've had multiple DVDs of progressive source accepted by Amazon Createspace. So you can go ahead and deinterlace.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-14T08:49:45.830" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17392" PostTypeId="1" CreationDate="2016-01-14T09:16:10.603" Score="1" ViewCount="50" Body="&lt;p&gt;Final Cut Pro X stopped outputting to my Intensity Pro card.  Resolve sends video to it fine, so I assume it's in working order.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have the latest OSX, latest Final Cut Pro X, and the latest &quot;Desktop Video Utility&quot;.  What am I missing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XtaRn.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XtaRn.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WzoTO.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WzoTO.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IlMu3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IlMu3.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've quit everything that could be using the Blackmagic card, I've rebooted etc, but FCPX video will not display on this screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-neil&lt;/p&gt;&#xA;" OwnerUserId="1078" LastActivityDate="2016-01-14T09:16:10.603" Title="Final Cut Pro X stopped outputting to an Intensity Pro" Tags="|final-cut-pro-x|osx|blackmagic|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17395" PostTypeId="1" AcceptedAnswerId="17399" CreationDate="2016-01-14T14:16:06.907" Score="1" ViewCount="10566" Body="&lt;p&gt;We have some movie, in which we would like to draw live on . So for example, you see an object in the movie, then a circle is being drawn around it , and a few small images jumps out of it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can this be done with iMovie ? something like picture in picture effect with the movie and some images ? or should we make the animation separately ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know iMovie has this frame by frame effect , but for this to work we would need to have many parts of a circle, then run them frame by frame to the movie- which seems problematic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then if we create the animation outside of a movie editor, it wouldn't be transparent - like around an object .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whats the simplest way ?&lt;/p&gt;&#xA;" OwnerUserId="12373" LastActivityDate="2019-05-31T18:47:13.403" Title="iMovie- drawing?" Tags="|video-editor|imovie|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17396" PostTypeId="1" AcceptedAnswerId="17397" CreationDate="2016-01-14T16:51:28.623" Score="34" ViewCount="103941" Body="&lt;p&gt;I have the following VOB file:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;→ &lt;code&gt;ffmpeg -i input.vob&lt;/code&gt; output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-77455-g4707497 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 4.8 (Ubuntu 4.8.4-2ubuntu1~14.04)&#xA;  configuration: --extra-libs=-ldl --prefix=/opt/ffmpeg --mandir=/usr/share/man --enable-avresample --disable-debug --enable-nonfree --enable-gpl --enable-version3 --enable-libopencore-amrnb --enable-libopencore-amrwb --disable-decoder=amrnb --disable-decoder=amrwb --enable-libpulse --enable-libdcadec --enable-libfreetype --enable-libx264 --enable-libx265 --enable-libfdk-aac --enable-libvorbis --enable-libmp3lame --enable-libopus --enable-libvpx --enable-libspeex --enable-libass --enable-avisynth --enable-libsoxr --enable-libxvid --enable-libvo-aacenc --enable-libvidstab&#xA;  libavutil      55. 11.100 / 55. 11.100&#xA;  libavcodec     57. 20.100 / 57. 20.100&#xA;  libavformat    57. 20.100 / 57. 20.100&#xA;  libavdevice    57.  0.100 / 57.  0.100&#xA;  libavfilter     6. 21.101 /  6. 21.101&#xA;  libavresample   3.  0.  0 /  3.  0.  0&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, mpeg, from 'input.vob':&#xA;  Duration: 00:31:36.96, start: 0.335967, bitrate: 6517 kb/s&#xA;    Stream #0:0[0x1e0]: Video: mpeg2video (Main), yuv420p(tv, bt470bg), 720x576 [SAR 64:45 DAR 16:9], max. 9800 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:1[0x80]: Audio: ac3, 48000 Hz, stereo, fltp, 256 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;→ &lt;code&gt;mediainfo input.vob&lt;/code&gt; output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : input.vob&#xA;Format                                   : MPEG-PS&#xA;File size                                : 1.44 GiB&#xA;Duration                                 : 31mn 36s&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 6 518 Kbps&#xA;&#xA;Video&#xA;ID                                       : 224 (0xE0)&#xA;Format                                   : MPEG Video&#xA;Format version                           : Version 2&#xA;Format profile                           : Main@Main&#xA;Format settings, BVOP                    : Yes&#xA;Format settings, Matrix                  : Default&#xA;Format settings, GOP                     : M=3, N=12&#xA;Format settings, picture structure       : Frame&#xA;Duration                                 : 31mn 36s&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 6 132 Kbps&#xA;Maximum bit rate                         : 9 800 Kbps&#xA;Width                                    : 720 pixels&#xA;Height                                   : 576 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate                               : 25.000 fps&#xA;Standard                                 : PAL&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Interlaced&#xA;Scan order                               : Top Field First&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel*Frame)                       : 0.591&#xA;Time code of first frame                 : 00:00:00:00&#xA;Time code source                         : Group of pictures header&#xA;Stream size                              : 1.35 GiB (94%)&#xA;Color primaries                          : BT.601 PAL&#xA;Transfer characteristics                 : BT.470 System B, BT.470 System G&#xA;Matrix coefficients                      : BT.601&#xA;&#xA;Audio&#xA;ID                                       : 189 (0xBD)-128 (0x80)&#xA;Format                                   : AC-3&#xA;Format/Info                              : Audio Coding 3&#xA;Mode extension                           : CM (complete main)&#xA;Format settings, Endianness              : Big&#xA;Muxing mode                              : DVD-Video&#xA;Duration                                 : 31mn 36s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 256 Kbps&#xA;Channel(s)                               : 2 channels&#xA;Channel positions                        : Front: L R&#xA;Sampling rate                            : 48.0 KHz&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 57.9 MiB (4%)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have converted it to mp4 with the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.vob -c:v libx264 -preset slow -crf 19 -c:a aac -b:a 256k -threads 0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In the resulting video I see this effect:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mh7yr.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mh7yr.png&quot; alt=&quot;img1&quot;&gt;&lt;/a&gt; &lt;a href=&quot;https://i.stack.imgur.com/WdyOG.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WdyOG.png&quot; alt=&quot;img2&quot;&gt;&lt;/a&gt; &lt;a href=&quot;https://i.stack.imgur.com/4vOt3.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4vOt3.png&quot; alt=&quot;img3&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I solve?&lt;/p&gt;&#xA;" OwnerUserId="12500" LastEditorUserId="12500" LastEditDate="2016-09-02T14:32:43.313" LastActivityDate="2020-08-13T06:19:47.757" Title="How to deinterlacing with ffmpeg?" Tags="|ffmpeg|filter|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17397" PostTypeId="2" ParentId="17396" CreationDate="2016-01-14T17:13:33.847" Score="53" Body="&lt;p&gt;Add the yadif filter i.e.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.vob -vf yadif -c:v libx264 -preset slow -crf 19 -c:a aac -b:a 256k output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;See &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#yadif-1&quot; rel=&quot;noreferrer&quot;&gt;yadif docs&lt;/a&gt; for more info.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2020-08-13T06:19:47.757" LastActivityDate="2020-08-13T06:19:47.757" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="17398" PostTypeId="2" ParentId="17378" CreationDate="2016-01-14T21:29:11.613" Score="3" Body="&lt;p&gt;The following command shows a video with a waveform of the corresponding audio:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex &quot;[0:a]showwaves=s=1280x720,format=yuv420p[vid]&quot; -map &quot;[vid]&quot; -map 0:a -codec:v libx264 -crf 18 -preset fast -codec:a aac -strict -2 -b:a 192k output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I replaced avectorscope with showwaves: avectorscope is for showing the difference between stereo pairs.&#xA;Try showcqt,showfreqs,showspectrum for other visualization effects.&lt;/p&gt;&#xA;" OwnerUserId="12531" LastActivityDate="2016-01-14T21:29:11.613" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17399" PostTypeId="2" ParentId="17395" CreationDate="2016-01-15T10:43:35.537" Score="1" Body="&lt;p&gt;This &lt;a href=&quot;https://graphicdesign.stackexchange.com/questions/36520/how-to-make-a-color-transparent-in-gimp&quot;&gt;answer&lt;/a&gt; in the Graphic Design forum explains how to make an image background transparent in either of two ways.  If you have an animation you have captured (perhaps by screen-casting your drawing session into a series of images), you can use an image editing tool that can do batch processing, such as &lt;a href=&quot;http://www.gimp.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;The GIMP&lt;/a&gt;, to create the transparency type most appropriate for your particular scenario.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:12.617" LastActivityDate="2016-01-15T10:43:35.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17400" PostTypeId="1" CreationDate="2016-01-15T14:51:19.840" Score="0" ViewCount="65" Body="&lt;p&gt;I am fine with HD displays, but I would like to know where I can find how to design for LED driven displays where the LEDs are 6mm apart or 22mm apart. What resolution would I be looking for?&lt;/p&gt;&#xA;" OwnerUserId="10991" LastActivityDate="2019-09-27T06:54:18.150" Title="Where can I find design specs for 6mm to 22mm display signage?" Tags="|video|after-effects|video-quality|cinema4d|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17401" PostTypeId="2" ParentId="17400" CreationDate="2016-01-15T15:34:27.820" Score="0" Body="&lt;p&gt;If you're using After Effects, when you create your comp, the only settings you need to define are the number of pixels horizontally and vertically, the frame rate, and the pixel aspect ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you know the specifications of your LED screen, (I'm assuming it's a jumbo outdoor screen), you should be able to calculate the aspect ratio from the physical size of the screen versus the number of pixels in the x and y directions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;e.g. if the pixels are 300x300 and the physical size was 3m x 3m, then the pixel aspect is 1:1 (square).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The fact that the pixels are a specific distance apart is less important than the ratios.  When viewed from a sufficient distance, the gaps between the pixels shouldn't be visible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you wanted to get really precise about it, you could use a plugin like &lt;a href=&quot;http://www.redgiant.com/products/trapcode-form/&quot; rel=&quot;nofollow&quot;&gt;Trapcode Form&lt;/a&gt; or the &lt;a href=&quot;http://aescripts.com/tag/product/list/tagId/664/&quot; rel=&quot;nofollow&quot;&gt;TV pixel script&lt;/a&gt; to better simulate any aliasing due to lower resolutions (if it is a low resolution screen).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most importantly, make sure you get &quot;technical delivery specifications&quot; from whoever is signing-off your final output. That way you shouldn't have any surprises at the last minute.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some examples of LED signage specs &lt;a href=&quot;http://www.daktronics.com/en-us/products/video-displays/outdoor#Default=%7B%22k%22%3A%22%22%7D#393311c4-022c-47a5-af26-d703d0131673=%7B%22k%22%3A%22%22%2C%22s%22%3A7%7D#b5ba0306-75db-4334-8fe3-e6114138d669=%7B%22k%22%3A%22%22%7D&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;http://www.visslighting.com/en-us/product/26.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.  Even if the RGB pixels are in unusual combinations, the screen should still be driven by conventional video inputs (VGA/HDMI/SDI)&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-01-15T15:34:27.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17402" PostTypeId="2" ParentId="17364" CreationDate="2016-01-15T16:28:06.363" Score="1" Body="&lt;p&gt;I'm not allowed to comment on the first post, so I'll put my comment here... I agree, pretty much all the crashplan/backblaze/etc... services do what you're looking for. I personally use SpiderOak for privacy reasons, but there are lots of options in this area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to roll your own (open source), you can go with something like Amanda (&lt;a href=&quot;http://www.amanda.org/&quot; rel=&quot;nofollow&quot;&gt;http://www.amanda.org/&lt;/a&gt;) or Bacula (&lt;a href=&quot;http://www.bacula.org/&quot; rel=&quot;nofollow&quot;&gt;http://www.bacula.org/&lt;/a&gt;) and send those backups to some cloud based service of your choice.&lt;/p&gt;&#xA;" OwnerUserId="11722" LastActivityDate="2016-01-15T16:28:06.363" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17403" PostTypeId="1" AcceptedAnswerId="17412" CreationDate="2016-01-15T16:32:37.853" Score="1" ViewCount="1232" Body="&lt;p&gt;I've been googling for a while now so I finally decided to ask others as well as I'm pretty darn confused.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking to be able to stream at 1080p at 60fps ( from a gaming laptop, it's more than capable, running actual game at 300fps uncapped ). I know about &lt;code&gt;ShadowPlay&lt;/code&gt; and it's fairly easy to use but it's annoying how it automatically changes my stream's title and the quality is pretty bad even at best settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, I have found the &lt;code&gt;Live Gamer Extreme&lt;/code&gt; which has 1080p at 60fps recording and hdmi passthrough, but it doesn't have h.264 encoding chip so I'm receiving RAW data in &lt;code&gt;OBS&lt;/code&gt; ( there are cards that have hardware encoding chips already but those don't do 60fps as far as I can see )&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, does having a h.264 encoding chip help in any way ? &#xA;Because I'd like doing the whole thing on one laptop and not having to use two laptops one for gaming and one for encoding would be great.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In &lt;code&gt;OBS's Encoding&lt;/code&gt; tab I can't find any option like &lt;code&gt;No encoding needed&lt;/code&gt; since the signal is already encoded, so, should I look anymore for 60fps w/ encoding chip or should I go with this game capturing card and use the other laptop for encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance !&lt;/p&gt;&#xA;" OwnerUserId="12548" LastActivityDate="2016-01-15T21:27:37.327" Title="Does having hardware encoding chip help?" Tags="|streaming|video-capture|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17405" PostTypeId="2" ParentId="17403" CreationDate="2016-01-15T16:50:20.660" Score="0" Body="&lt;p&gt;I'm not familiar with that specific device, but I can answer a resounding YES to the question of &quot;does having a dedicated h264 encoding chip help?&quot;. With a proper hardware device you can either let it run totally solo (preconfigured with settings and then just connected to the network) or you can connect it to your laptop to command and control it, but it will not use any of your machine's cpu for encoding.&lt;/p&gt;&#xA;" OwnerUserId="11722" LastActivityDate="2016-01-15T16:50:20.660" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17406" PostTypeId="2" ParentId="17400" CreationDate="2016-01-15T18:16:39.160" Score="1" Body="&lt;p&gt;There's no standard resolution for such displays. They're generally made up of a collection of individual (usually square) panels or &quot;tiles&quot;, of say 16 x 16 LED pixels. You can construct a display having hundreds of tiles horizontally but only a few tiles vertically, like the Fremont Street experience in Las Vegas, which has an aspect ratio of about 14:1 (2596 x 184).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Plus, displays can have any shape, not just simple rectangles. Fremont Street is curved, and I've worked with diamonds, cylinders, triangles, skewed pyramids and truncated circles. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's no perfect way (that I've seen) of simulating the pixel grid. The best you can do is work in the pixel dimensions supplied by the display company, applying masks as needed for irregular shapes, and field test with any material that needs fine lines or small text. Assume for the most part that the intended viewing distance will allow the coarseness to 'average away'.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-01-15T18:16:39.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17407" PostTypeId="2" ParentId="15019" CreationDate="2016-01-15T19:03:22.173" Score="3" Body="&lt;p&gt;Looks like Audition can read BWF markers but Premiere &lt;a href=&quot;https://forums.adobe.com/message/4007712#4007712&quot; rel=&quot;nofollow&quot;&gt;doesn't&lt;/a&gt;. So, two options are&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) to save separately the regions between &lt;a href=&quot;https://www.youtube.com/watch?v=0s4t3QrZmHY&quot; rel=&quot;nofollow&quot;&gt;markers&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) export a WAV from Audition, with cue points that which Premiere seems to &lt;a href=&quot;https://forums.creativecow.net/thread/3/963460&quot; rel=&quot;nofollow&quot;&gt;see&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-15T19:03:22.173" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17409" PostTypeId="1" CreationDate="2016-01-15T20:34:02.563" Score="1" ViewCount="266" Body="&lt;p&gt;I have a youtube video that I narrate but I always type a script to read off for my videos is there a way to use my voice from one of the videos and insert it into a text to speach program so I don't always have to read the script? I know the program might not be able to handle tones of voice like sarcasm but I can edit small parts. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="12553" LastActivityDate="2016-04-17T20:43:07.893" Title="Youtube video to text to speach" Tags="|video|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17410" PostTypeId="1" AcceptedAnswerId="17413" CreationDate="2016-01-15T21:18:15.197" Score="1" ViewCount="146" Body="&lt;p&gt;I have a Prelude CS6 project that I need to move to a different folder but there seems to be no way to change the file path for the clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I move the project, in logging mode I see the clips in the project but they have the old file path and I can't see any way to change this. When I double click on a clip I get the error. &lt;code&gt;The media you are attempting to work on is offline. Please locate your media, bring it online and try it again&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1023" LastEditorUserId="1023" LastEditDate="2016-01-22T00:05:14.423" LastActivityDate="2016-01-22T00:05:14.423" Title="How can I move an Adobe Prelude CS6 project" Tags="|adobe|cs5|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17411" PostTypeId="1" AcceptedAnswerId="17414" CreationDate="2016-01-15T21:18:17.590" Score="2" ViewCount="25486" Body="&lt;p&gt;I read &lt;a href=&quot;http://blog.streamroot.io/encode-multi-bitrate-videos-mpeg-dash-mse-based-media-players/&quot; rel=&quot;nofollow&quot;&gt;this article&lt;/a&gt; on encoding for MPEG-DASH, which has helped me a little and then follow up &lt;a href=&quot;http://blog.streamroot.io/encode-multi-bitrate-videos-mpeg-dash-mse-based-media-players-22/&quot; rel=&quot;nofollow&quot;&gt;article&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My end goal is to create a batch file that can read in a directory of MP4 files, and then output the configured video bitrates and MPD file needed for MPEG dash consumption by a client.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Previously I was testing with IIS Smooth Streaming, but it seems Microsoft is abandoning that and has been behind the progress of MPEG-DASH.  Their expression encoder 4 encodes videos very nice for Smooth Streaming, but they stopped selling the pro version that supports h.264, of which MPEG-DASH clients can play.  The free version does the VC-1 Advanced which is not supported by MPEG-DASH.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to encode for MPEG-DASH?  I need it to be targeted to Windows as I have a public server that is plenty fast (Xeon) to encode and will be the delivery method to players as well.&lt;/p&gt;&#xA;" OwnerUserId="12549" LastEditorUserId="12549" LastEditDate="2016-01-17T23:11:16.370" LastActivityDate="2022-02-21T16:23:18.930" Title="Encoding videos for MPEG-DASH" Tags="|ffmpeg|streaming|encoding|windows|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17412" PostTypeId="2" ParentId="17403" CreationDate="2016-01-15T21:27:37.327" Score="1" Body="&lt;p&gt;A hardware encoder will produce video with less CPU usage. However, it will require a higher bitrate to achieve the same quality image.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2016-01-15T21:27:37.327" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17413" PostTypeId="2" ParentId="17410" CreationDate="2016-01-15T21:39:21.950" Score="1" Body="&lt;p&gt;Found a way to do this 10 minutes later and I thought I'd share it in case it helps someone. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There might be a &quot;proper&quot; way to do this within the program, but this way has just worked for me. The Prelude project file is just an XML document so easy to edit and this method should be bulletproof ( make a copy of the project file first though ) &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Close Prelude&lt;/li&gt;&#xA;&lt;li&gt;Open the Prelude project file in a text editor, eg notepad but you'll need &lt;a href=&quot;http://www.sublimetext.com/&quot; rel=&quot;nofollow&quot;&gt;Sublime Text&lt;/a&gt; unless you want it to take ages or if it's a very small project&lt;/li&gt;&#xA;&lt;li&gt;Replace all the FilePaths with the new file path ( if you use sublime then it's easy to use ctrl-D to multi-select them all in one go but if you're not a Sublime user you'll need to do them one by one - &lt;strong&gt;only change the file paths fo each clip not anything else at all&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Save the file and open in prelude&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Eg, for each clip you'll have something like&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&amp;lt;MasterClip AssetName=&quot;back-head&quot; AssetType=&quot;AssetTypeMasterClip&quot; ClassID=&quot;9091c12c-9d39-43b7-b55e-4de81592552c&quot; CreatedDate=&quot;11/27/15, 12:54:25&quot; DropFrame=&quot;false&quot; Duration=&quot;2542700160000&quot; FilePath=&quot;C:\old\path\tozfootage\DSCF4661.MOV&quot; FrameRate=&quot;8475667200&quot; ImportDate=&quot;2015-12-18 03:04:59&quot; ParentClassID=&quot;18e728c6-1583-44f4-96da-2a830cded31a&quot; StartTime=&quot;0&quot;/&amp;gt;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;change the part where it says FilePath=&quot;C:\old\path\tozfootage\DSCF4661.MOV&quot; to your &lt;strong&gt;new\path\to\footage&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;so you'll end up with FilePath=&quot;C:\new\path\tozfootage\DSCF4661.MOV&quot;&lt;/code&gt; - and so on for the other clips&lt;/li&gt;&#xA;&lt;li&gt;in my windows 7 machine I can find the path easily by right clicking the address bar in explorer and selecting &quot;copy address as text&quot;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1023" LastActivityDate="2016-01-15T21:39:21.950" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17414" PostTypeId="2" ParentId="17411" CreationDate="2016-01-15T23:06:42.860" Score="5" Body="&lt;p&gt;I would get as far away from EE as possible. Using the x264 tool, and mp4box, you can convert and segment out the files which are ready to be streamed to any dash compatible players. Especially since you mentioned using batch scripts, this is a great solution I think.&lt;/p&gt;&#xA;&lt;p&gt;This is a good guide: &lt;a href=&quot;https://web.archive.org/web/20141229070857/http://www.dash-player.com/blog/2014/11/mpeg-dash-content-generation-using-mp4box-and-x264/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://web.archive.org/web/20141229070857/http://www.dash-player.com/blog/2014/11/mpeg-dash-content-generation-using-mp4box-and-x264/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11722" LastEditorUserId="-1" LastEditDate="2022-02-21T16:23:18.930" LastActivityDate="2022-02-21T16:23:18.930" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="17415" PostTypeId="2" ParentId="12396" CreationDate="2016-01-16T01:32:38.497" Score="3" Body="&lt;p&gt;You should upload the highest quality your tubes can afford. The current YouTube help text on uploads is misleading. It states:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Your videos will process faster if you encode into a streamable file format. For more information, visit our Help Center.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;It contradicts what &lt;a href=&quot;https://www.linkedin.com/in/colleenhenry&quot; rel=&quot;nofollow noreferrer&quot;&gt;Colleen Henry&lt;/a&gt;, formerly of Google, now at Facebook said:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Colleen Henry, Video Hacker, Google Video Infrastructure, with some&#xA;great suggestions to help you get the best video quality on YouTube:&lt;/p&gt;&#xA;&lt;p&gt;It's important to think of the files you upload to YouTube as golden&#xA;masters, as they will be used as source material to generate video&#xA;streams for years to come. Simply put, the better the quality of the&#xA;file you upload to YouTube today, the better quality the viewer's&#xA;experience will be throughout your video's life on YouTube.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;As displays increase in size, compression techniques become more&#xA;efficient, playback devices become more sophisticated, and internet&#xA;connections improve, so will the quality YouTube will be able to&#xA;provide to the viewers of your videos. This means, while you may reach&#xA;a limit on perceived benefits from higher bitrates or more efficient&#xA;encoding if you were to test it today, that does not mean you should&#xA;stop there. You will see a huge benefit over the lifetime of your&#xA;video being available on YouTube, as internet speeds, hardware, and&#xA;software evolve. Upload the best quality video that you can create and&#xA;squeeze through your internet connection!&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Bonus tips:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Many encoders can spend more CPU time to create a much more efficient&#xA;file. If you have a powerful computer, but a slow internet connection,&#xA;look into using more complex and efficient encoding to save upload&#xA;time.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You can noticeably improve the quality of your video on YouTube by&#xA;using a sophisticated, scene aware, denoising filter prior to&#xA;uploading.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Keyframe interval doesn't really matter much at this moment in time,&#xA;but please keep it under 5 for VOD.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The sample rate of your audio should match your source's sample rate&#xA;in which it was produced.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you make sure to use a streaming format, like an mkv, .mp4 or a&#xA;.mov, with the metadata at the front of the container we will begin&#xA;processing your video WHILE you are uploading it, drastically reducing&#xA;overall turnaround time. This will make things MUCH faster, with no&#xA;negative side effect. You can add the metadata atom to the front of&#xA;your file with something qtfaststart, or select it when you are&#xA;creating the file in Squeeze, Episode, etc.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;It is ideal to use&#xA;constant quality encoding. This will let you create a high quality&#xA;variable bitrate file, at the speed of a single pass. It will maintain&#xA;a consistent target quality throughout the file, rather than trying to&#xA;allocate bits to hit an arbitrary bitrate, which can easily&#xA;under-shoot or over-shoot, and with two pass, take extra long to&#xA;create.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You can put uncompressed PCM audio in an .mov or .mkv&#xA;container and deliver it to us if you like. However, make sure not to&#xA;create multiple discrete mono streams when you do it.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;source: &lt;a href=&quot;http://www.streamingmedia.com/Articles/Editorial/Featured-Articles/Encoding-for-YouTube-How-to-Get-the-Best-Results-83876.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.streamingmedia.com/Articles/Editorial/Featured-Articles/Encoding-for-YouTube-How-to-Get-the-Best-Results-83876.aspx&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12554" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-01-19T17:28:43.620" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17416" PostTypeId="2" ParentId="17410" CreationDate="2016-01-16T12:34:14.550" Score="0" Body="&lt;p&gt;Page 17 of the &lt;a href=&quot;https://helpx.adobe.com/pdf/prelude_reference.pdf&quot; rel=&quot;nofollow&quot;&gt;Adobe Prelude manual&lt;/a&gt; has the answer:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;When you open a project containing files that have moved since you last opened the project, a list of such files is&#xA;  displayed. Click Yes to relink the files by specifying their current location. If you choose to not relink the files, you can&#xA;  manually relink the files later.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;1 In the Project panel, right-click the file with the offline icon , and select Relink. To select multiple files that exist&#xA;  at the same location, use Ctrl-click/Cmd-click or Shift-click.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;2 Navigate to the folder containing the files and select a file. Prelude uses this location to relink all the other files in&#xA;  your selection.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;3 Click Open.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2016-01-16T20:58:24.343" LastActivityDate="2016-01-16T20:58:24.343" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17417" PostTypeId="1" CreationDate="2016-01-16T14:53:42.750" Score="1" ViewCount="670" Body="&lt;p&gt;&lt;strong&gt;Update: One of the tests has shown that the problem persists on certain devices even if the hardware acceleration is enabled.&lt;/strong&gt; The 4 screenshots below were taken on Windows 10, Chrome 47.0.2526.111 m (64-bit), nVidia GeForce GT240M.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oSuxW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oSuxW.png&quot; alt=&quot;YouTube screenshots compared with/without Hardware Acceleration in Chrome&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Pz2ZW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Pz2ZW.png&quot; alt=&quot;YouTube screenshots compared with/without Hardware Acceleration in Chrome&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've just made some tests, see the results below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;White as expected:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Windows 10, Chrome 47.0.2526.111 m (64-bit), nVidia GeForce GT240M, HACC ON.&lt;/li&gt;&#xA;&lt;li&gt;Windows 10, Firefox, nVidia GeForce GT240M, HACC ON.&lt;/li&gt;&#xA;&lt;li&gt;Windows 10, Firefox, nVidia GeForce GT240M, HACC OFF.&lt;/li&gt;&#xA;&lt;li&gt;Windows 10, Edge, nVidia GeForce GT240M, HACC ?.&lt;/li&gt;&#xA;&lt;li&gt;Windows 10, IE11, nVidia GeForce GT240M, HACC ?.&lt;/li&gt;&#xA;&lt;li&gt;Windows 10, Chrome 47.0.2526.111 m (64-bit), nVidia GeForce GT630M, HACC ON.&lt;/li&gt;&#xA;&lt;li&gt;Windows  7, Firefox, SyS Mirage 3 Graphics, HACC ON.&lt;/li&gt;&#xA;&lt;li&gt;Windows  7, Firefox, SyS Mirage 3 Graphics, HACC OFF.&lt;/li&gt;&#xA;&lt;li&gt;Android 5.0.1, Chrome, Adreno 320, HACC ?.&lt;/li&gt;&#xA;&lt;li&gt;Android 5.0.1, YouTube, Adreno 320, HACC ?.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Grey bug:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Windows 10, Chrome 47.0.2526.111 m (64-bit), nVidia GeForce GT240M, HACC OFF.&lt;/li&gt;&#xA;&lt;li&gt;Windows 10, Chrome 47.0.2526.111 m (64-bit), nVidia GeForce GT630M, HACC OFF.&lt;/li&gt;&#xA;&lt;li&gt;Windows  7, Chrome 47.0.2526.111 m, SyS Mirage 3 Graphics, &lt;strong&gt;HACC ON&lt;/strong&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Windows  7, Chrome 47.0.2526.111 m, SyS Mirage 3 Graphics, HACC OFF.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="12558" LastEditorUserId="12558" LastEditDate="2016-01-16T16:14:53.343" LastActivityDate="2016-01-16T16:14:53.343" Title="Why do YouTube videos become greyish in Chrome if hardware acceleration is disabled?" Tags="|youtube|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17418" PostTypeId="1" CreationDate="2016-01-16T16:19:39.953" Score="0" ViewCount="33" Body="&lt;p&gt;we have developed ios application, and now stacked at tutorial preparations , google does not helped too much.&#xA;Our issue is the following : what format will allow us to have the most size-wise optimised solution? What is the golden standard used for videos inside ios apps?&#xA;There is a really lack of resources about that....&lt;/p&gt;&#xA;" OwnerUserId="12560" LastActivityDate="2016-01-17T06:23:12.030" Title="which file format to use for the ios app tutorial which should be embedded inside the app?" Tags="|video-recording|ios|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17419" PostTypeId="1" AcceptedAnswerId="17943" CreationDate="2016-01-16T19:56:39.447" Score="7" ViewCount="9048" Body="&lt;p&gt;I have a web project I am working on that requires transcoding of multiple short video clips (6-10 seconds) uploaded by users into a web friendly H.264 format on my linux server.  I have been able to enable NVIDIA NVENC hardware acceleration with ffmpeg and a 4 year old GeForce GTX 670, and I'm getting hardware encoding speeds twice that of my software encoding (Xeon E5-1620 v3).  With an $800 video card budget, I'd like to be able to transcode these short video clips as fast as possible because I will have multiple users uploading them simultaneously.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The NVENC engine does have &lt;a href=&quot;http://developer.download.nvidia.com/assets/cuda/files/NVENC_DA-06209-001_v07.pdf?autho=1452972945_d6791efa67031b38127384c5c437f683&amp;amp;file=NVENC_DA-06209-001_v07.pdf&quot; rel=&quot;nofollow&quot;&gt;licensing limitations&lt;/a&gt; when implemented on a consumer level NVIDIA card: only 2 video transcoding threads can be run simultaneously, even if you have multiple cards.  If I decide to go with one of the pricy quadro card line, then I am only limited by the other hardware elsewhere in my system in terms of how many threads I can run.  However, with my specific project I'm a lot better off transcoding these clips in a series rather than parallel because the clips will be viewed in the order they're uploaded. Clips later in the queue can be transcoded as earlier clips are viewed. If clips are transcoded in parallel on the same card, performance is inversely proportional to the number of simultaneous threads.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Having stated this, my plan is to set up two NVIDIA cards and run a single thread on each one to maximize throughput.  The &lt;a href=&quot;https://developer.nvidia.com/nvidia-video-codec-sdk&quot; rel=&quot;nofollow&quot;&gt;NVIDIA codec SDK&lt;/a&gt; is vague on NVENC performance difference between various cards, but it seems that there is a &lt;a href=&quot;http://developer.download.nvidia.com/assets/cuda/files/NVENC_DA-06209-001_v07.pdf?autho=1452974230_cc98539d0a11948f1978940adf52093e&amp;amp;file=NVENC_DA-06209-001_v07.pdf&quot; rel=&quot;nofollow&quot;&gt;major difference&lt;/a&gt; between GPU generations Maxwell Gen 2&gt; Maxwell Gen 1&gt; Kepler.  I can find no reliable benchmarks for NVENC encoding (opposed to CUDA benchmarking, which is easy to find).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the absence of hard benchmarking data comparing various cards, what features of the currently available cards would have to largest impact on single thread NVENC encoding speed?  Since the actual GPU is not utilized fully during transcoding, does GPU and memory clock speed affect this function much?  I have $400/card to spend, but if the entry level Maxwell Gen 2 GeForce GTX 960 is as good as the more recent cards, then I will put extra money into other aspects of the server (CPU/RAM/SSD etc).  I know this might seem like a subjective question (what's &lt;em&gt;best&lt;/em&gt;), but I am trying to make a self-educated guess based on an understanding of the transcoding hardware.&lt;/p&gt;&#xA;" OwnerUserId="11825" LastEditorUserId="14107" LastEditDate="2016-11-22T09:59:05.977" LastActivityDate="2018-08-14T11:34:11.923" Title="what graphics card features effect NVIDIA NVENC hardware encoding speed?" Tags="|ffmpeg|conversion|transcoding|nvenc|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17420" PostTypeId="1" AcceptedAnswerId="17431" CreationDate="2016-01-17T03:11:28.197" Score="0" ViewCount="1067" Body="&lt;p&gt;I'm trying to export a video from Premiere(CC) with the following settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/swTGn.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5tJDM.png&quot; title=&quot;source: imgur.com&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recorded this video in Motion-JPEG 1080p/60Fps out of Bandicam. I've recorded videos in Bandicam (same settings as mentioned) and edited said videos in Premiere, and exported those videos with the same problem. I only noticed the issue just now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only difference in my export settings in Premiere this time, is that I decided to use 60Mbps target, as previous exports have been in the 20-40 range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When my file had finished rendering I checked the bitrate and file size, and was shocked to discover Windows 7 telling me that it was 12Mbps and 3GB, despite Premiere's target being 60Mbps and estimated 11.5GB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking at my previous video that was 40Mbps Windows is showing an actual bitrate of 8Mbps. My current video took about an hour to render, yet only has a measly 12Mbps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is this happening and what can I do to prevent it/get full quality?&lt;/p&gt;&#xA;" OwnerUserId="11308" LastActivityDate="2016-04-17T17:43:07.727" Title="Exporting a video from Premiere spits out incorrect quality" Tags="|premiere|video-quality|encoding|output|bitrate|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17421" PostTypeId="2" ParentId="17418" CreationDate="2016-01-17T06:23:12.030" Score="1" Body="&lt;p&gt;The videos I've delivered for iOS App &lt;em&gt;Previews&lt;/em&gt; have been as per the specification in this &lt;a href=&quot;https://developer.apple.com/library/ios/documentation/Miscellaneous/Conceptual/iPhoneOSTechOverview/MediaLayer/MediaLayer.html#//apple_ref/doc/uid/TP40007898-CH9-SW6&quot; rel=&quot;nofollow&quot;&gt;section&lt;/a&gt;, viz. H.264 video codec, Baseline profile, 30 fps, AAC-LC audio codec, sampling rate 48 kHz, stereo in MP4 or MOV. Resolution and bitrate haven't been restricted to what the docs say. Those should be tailored to the device(s) your app is for.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-17T06:23:12.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17422" PostTypeId="1" CreationDate="2016-01-17T07:13:34.970" Score="0" ViewCount="152" Body="&lt;p&gt;I do video-taping of my company's events and I have been asked to find a better way of getting audio into the DSLR video. Currently, I am using the transmitter and receiver from a Sennheiser lapel mic in order to get the audio into my videos. We connect the transmitter to the P.A System and the Receiver is hooked up to the DSLR. This works, although audio quality is a bit low.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering if there is a better way to do this. Priority is on convenience. The reason we are not using an audio recorder is because editing the sound into the video is not worth it for our purposes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do give your suggestions on how I can wirlessly get audio into my DSLR video (preferably, without having to edit sound in). Alternatively, if you know of a type of long cable I can use to connect my DSLR directly into the PA system, do let me know&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regards,&#xA;Aaron&lt;/p&gt;&#xA;" OwnerUserId="12562" LastActivityDate="2016-01-17T10:49:57.733" Title="Wireless audio from P.A. System to DSLR" Tags="|audio|wireless|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17423" PostTypeId="2" ParentId="17422" CreationDate="2016-01-17T10:49:57.733" Score="4" Body="&lt;p&gt;There are a lot of variables in this equation, and any one of them could be the culprit.  These include: the quality of the audio picked up by the lapel mic, the quality of the PA preamp, the quality of the PA signal output to the wireless transmitter, the quality of the wireless transmitter, the quality of the wireless receiver, and finally, the quality of the DSLR's audio preamps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would start eliminating variables by feeding a known test signal (such as an NPR podcast) into the DSLR audio port, and if that's good, feeding the same signal to the wireless transmitter/receiver pair into the DSLR.  If those, too, are good, then your PA system is the problem.  If, on the other hand, you cannot get decent audio into your DSLR from a known good source, you are not going to get decent audio into your DSLR from your PA.  Which is perhaps why so many DSLR shooters use external audio recording devices--not because they want to go crazy editing audio, but because they &lt;em&gt;don't&lt;/em&gt; want to go crazy editing audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regardless, the most reliable way to solve this problem is to introduce and eliminate variables one at a time.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-01-17T10:49:57.733" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17424" PostTypeId="1" CreationDate="2016-01-17T21:46:50.170" Score="0" ViewCount="91" Body="&lt;p&gt;My son would like to record game play on PS3 (Minecraft, Lego) and overlay his own commentary and upload these videos to his channel on YouTube? What hardware, software and/or dedicated equipment is required to achieve this?&lt;/p&gt;&#xA;" OwnerUserId="12564" LastActivityDate="2016-01-18T19:01:25.460" Title="What equipment is required to record game play and commentary and post to YouTube?" Tags="|video|youtube|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17426" PostTypeId="1" CreationDate="2016-01-17T23:33:41.950" Score="1" ViewCount="809" Body="&lt;p&gt;I am capturing games on my Windows 10 PC with &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Open Broadcast Software&lt;/a&gt; and x264 codec. My problem is that as soon as I import a video.mp4 file to iMovie or WindowsMovieMaker for editing, it is black, but has sound.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I watch it with Quicktime or Windows Video it works without a problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A while ago it worked - but I do not know if it was my upgrade from Windows 7 to Windows 10 or a newer version of OBS. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Things i tried:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;export it into .mov with Quicktime - didn't work - after rendering an non sense error message á la &quot;did not work&quot;&lt;/li&gt;&#xA;&lt;li&gt;reset OBS settings&lt;/li&gt;&#xA;&lt;li&gt;deinstall and install fresh OBS&lt;/li&gt;&#xA;&lt;li&gt;download h264 codec on windows, but it's just an .exe file - dunno what to do with it&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So what am I doing wrong? Do you have any questions or need informations to help me that I didn't provided yet?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: Tried to capture a game video with Windows 10s new game capture feature and Windows Movie Maker has same problem with this video as well. Black screen -.- &#xA;Looks like OBS is not the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update 2&lt;/strong&gt;: Here is the media info from one of my test files. It is recorded with OBS and saved to Fraps folder, it is not recorded with Fraps - but I guess that does not matter anyway.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : D:\Fraps\video.mp4&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media&#xA;Codec ID                                 : isom (isom/iso2/avc1/mp41)&#xA;File size                                : 1.27 MiB&#xA;Duration                                 : 9s 499ms&#xA;Overall bit rate                         : 1 122 Kbps&#xA;Encoded date                             : UTC 2016-01-17 23:47:57&#xA;Tagged date                              : UTC 2016-01-17 23:47:57&#xA;Writing application                      : Open Broadcaster Software v0.657b&#xA;&#xA;Video&#xA;ID                                       : 2&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : High@L4&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 4 frames&#xA;Muxing mode                              : Container profile=High@3.1&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 9s 499ms&#xA;Source duration                          : 9s 466ms&#xA;Bit rate                                 : 1 000 Kbps&#xA;Width                                    : 1 920 pixels&#xA;Height                                   : 1 080 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Variable&#xA;Frame rate                               : 30.000 fps&#xA;Minimum frame rate                       : 29.412 fps&#xA;Maximum frame rate                       : 30.303 fps&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.016&#xA;Stream size                              : 1.12 MiB (88%)&#xA;Source stream size                       : 1.12 MiB (88%)&#xA;Writing library                          : x264 core 146 r2538 121396c&#xA;Encoding settings                        : cabac=1 / ref=1 / deblock=1:0:0 / analyse=0x3:0x113 / me=hex / subme=2 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=0 / me_range=16 / chroma_me=1 / trellis=0 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=0 / threads=12 / lookahead_threads=4 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=2 / b_adapt=1 / b_bias=0 / direct=1 / weightb=1 / open_gop=0 / weightp=1 / keyint=250 / keyint_min=25 / scenecut=40 / intra_refresh=0 / rc_lookahead=10 / rc=cbr / mbtree=1 / bitrate=1000 / ratetol=1.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / vbv_maxrate=1000 / vbv_bufsize=1000 / nal_hrd=none / filler=1 / ip_ratio=1.40 / aq=1:1.00&#xA;Encoded date                             : UTC 2016-01-17 23:47:57&#xA;Tagged date                              : UTC 2016-01-17 23:47:57&#xA;Color range                              : Limited&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : sYCC&#xA;Matrix coefficients                      : BT.709&#xA;mdhd_Duration                            : 9499&#xA;&#xA;Audio&#xA;ID                                       : 1&#xA;Format                                   : AAC&#xA;Format/Info                              : Advanced Audio Codec&#xA;Format profile                           : LC&#xA;Codec ID                                 : 40&#xA;Duration                                 : 9s 487ms&#xA;Source duration                          : 9s 429ms&#xA;Bit rate mode                            : Constant&#xA;Nominal bit rate                         : 128 Kbps&#xA;Channel(s)                               :  channel0&#xA;Channel(s)_Original                      : 2 channels&#xA;Channel positions                        : Front: L R&#xA;Sampling rate                            : 48.0 KHz&#xA;Frame rate                               : 46.875 fps (1024 spf)&#xA;Compression mode                         : Lossy&#xA;Source stream size                       : 140 KiB (11%)&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2016-01-17 23:47:57&#xA;Tagged date                              : UTC 2016-01-17 23:47:57&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And this is recorded with &lt;a href=&quot;https://support.xbox.com/de-DE/xbox-on-windows/social/record-game-clips-game-dvr-windows-10&quot; rel=&quot;nofollow noreferrer&quot;&gt;Win10 Game Capture Feature&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : C:\Users\User\Videos\Captures\Sid Meier's ~ Pirates! 18.01.2016 01_08_40.mp4&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media / Version 2&#xA;Codec ID                                 : mp42 (mp41/isom)&#xA;File size                                : 7.06 MiB&#xA;Duration                                 : 30s 534ms&#xA;Overall bit rate                         : 1 941 Kbps&#xA;Movie name                               : Sid Meier's ~ Pirates!&#xA;Performer                                : Microsoft Game DVR&#xA;Encoded date                             : UTC 2016-01-18 00:08:40&#xA;Tagged date                              : UTC 2016-01-18 00:08:40&#xA;Xtra                                     : {64440492-4C8B-11D1-8B70-080036B11A03} 27&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Main@L4.1&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 1 frame&#xA;Format settings, GOP                     : M=1, N=29&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 30s 522ms&#xA;Source duration                          : 30s 500ms&#xA;Bit rate                                 : 1 810 Kbps&#xA;Width                                    : 1 280 pixels&#xA;Height                                   : 960 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate mode                          : Variable&#xA;Frame rate                               : 30.000 fps&#xA;Minimum frame rate                       : 29.970 fps&#xA;Maximum frame rate                       : 30.030 fps&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.049&#xA;Stream size                              : 6.58 MiB (93%)&#xA;Source stream size                       : 6.58 MiB (93%)&#xA;Encoded date                             : UTC 2016-01-18 00:08:40&#xA;Tagged date                              : UTC 2016-01-18 00:08:40&#xA;mdhd_Duration                            : 30522&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC&#xA;Format/Info                              : Advanced Audio Codec&#xA;Format profile                           : LC&#xA;Codec ID                                 : 40&#xA;Duration                                 : 30s 534ms&#xA;Source duration                          : 30s 534ms&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 128 Kbps&#xA;Channel(s)                               : 2 channels&#xA;Channel positions                        : Front: L R&#xA;Sampling rate                            : 44.1 KHz&#xA;Frame rate                               : 43.066 fps (1024 spf)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 481 KiB (7%)&#xA;Source stream size                       : 481 KiB (7%)&#xA;Encoded date                             : UTC 2016-01-18 00:08:40&#xA;Tagged date                              : UTC 2016-01-18 00:08:40&#xA;mdhd_Duration                            : 30534&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update 3&lt;/strong&gt;: This is a screenshot of my Windows Movie Maker. Like you see at the left a black screen and at the right first image of the movie, but that's all. And kinda wired thing is that I have with iMovie same problem. So it can not be a codec problem on my Windows 10 PC, but all capture apps have the same problem, well or all video editors...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dmzOY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dmzOY.png&quot; alt=&quot;Windows Movie Maker Screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update 4&lt;/strong&gt;: Here is the media info of my .mkv file.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Unique ID                                : 242469772953486188448003563262617227499 (0xB669FAC94B0A3F6673840B2F750A90EB)&#xA;Complete name                            : C:\Users\User\Desktop\Neuer Ordner\Video-1.mkv&#xA;Format                                   : Matroska&#xA;Format version                           : Version 2&#xA;File size                                : 1.15 MiB&#xA;Duration                                 : 9s 566ms&#xA;Overall bit rate                         : 1 005 Kbps&#xA;Writing application                      : HandBrake 0.9.9&#xA;Writing library                          : libmkv 0.6.5&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Main@L4&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 2 frames&#xA;Codec ID                                 : V_MPEG4/ISO/AVC&#xA;Duration                                 : 9s 567ms&#xA;Width                                    : 1 920 pixels&#xA;Height                                   : 1 476 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 30.000 fps&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Writing library                          : x264 core 130 r2273 b3065e6&#xA;Encoding settings                        : cabac=1 / ref=1 / deblock=1:0:0 / analyse=0x1:0x111 / me=hex / subme=2 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=0 / me_range=16 / chroma_me=1 / trellis=0 / 8x8dct=0 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=0 / threads=12 / lookahead_threads=4 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=0 / b_adapt=1 / b_bias=0 / direct=1 / weightb=1 / open_gop=0 / weightp=1 / keyint=300 / keyint_min=30 / scenecut=40 / intra_refresh=0 / rc_lookahead=10 / rc=crf / mbtree=1 / crf=20.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / vbv_maxrate=20000 / vbv_bufsize=25000 / crf_max=0.0 / nal_hrd=none / ip_ratio=1.40 / aq=1:1.00&#xA;Language                                 : English&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;Color range                              : Limited&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.709&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC&#xA;Format/Info                              : Advanced Audio Codec&#xA;Format profile                           : LC&#xA;Codec ID                                 : A_AAC&#xA;Duration                                 : 9s 566ms&#xA;Channel(s)                               : 2 channels&#xA;Channel positions                        : Front: L R&#xA;Sampling rate                            : 48.0 KHz&#xA;Frame rate                               : 46.875 fps (1024 spf)&#xA;Compression mode                         : Lossy&#xA;Language                                 : English&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12565" LastEditorUserId="12565" LastEditDate="2016-01-19T07:22:33.683" LastActivityDate="2016-02-18T07:36:25.483" Title="Why has my game video, captured with OBS/Win10 DVR, a black screen in iMovie/WindowsMovieMaker?" Tags="|codec|imovie|video-capture|windows-movie-maker|obs|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17430" PostTypeId="1" AcceptedAnswerId="17447" CreationDate="2016-01-18T15:45:54.603" Score="0" ViewCount="149" Body="&lt;p&gt;I do some video of miniatures and I'm looking to upgrade my Canon T2i. A lot of the functionality for good macro videography has to do with the lens, but higher resolution helps as well so one can digitally punch in in post. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems for the $1-2k range, there are three cameras dominating the video market:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Panasonic GH4 - Lower price, records 4k internally&lt;/li&gt;&#xA;&lt;li&gt;Sony A7S - Superior low light&lt;/li&gt;&#xA;&lt;li&gt;BMCC 2.5k - Records RAW internally&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Considering my use case (miniature videography + talking head), it would seem that the GH4 is the best option simply for the higher resolution and cost. Does anyone else find this to be the case? Also, anyone have any favorite macro lens for photography or videography? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks! &lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2016-01-19T12:46:36.870" Title="Macro Videography: Lenses, Camera Options" Tags="|gh4|bmcc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17431" PostTypeId="2" ParentId="17420" CreationDate="2016-01-18T15:53:42.007" Score="-1" Body="&lt;p&gt;When you export with h.264 in Premiere it has two bars as you show. A target bitrate, and a maximum bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The target bitrate is after all, only a target, and if your video doesn't have enough movement or fast action then you won't get the full Mbps that you've set. Even lowering it enough to only export 12Mbps because your video doesn't have a lot of movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Exporting a video with more movement will yield 60Mbps or more, depending on your settings.&lt;/p&gt;&#xA;" OwnerUserId="11308" LastActivityDate="2016-01-18T15:53:42.007" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17432" PostTypeId="1" CreationDate="2016-01-18T16:19:50.073" Score="3" ViewCount="9904" Body="&lt;p&gt;I have written an expression to get the distance between two points, but it does not work and I haven't a clue why. It's pretty simple:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;function findDistance(xa, xb, ya, yb)&#xA;{&#xA;    return Math.sqrt( (xa - xb)^2 + (ya - yb)^2 );&#xA;}&#xA;findDistance(682, 617, 310, 342);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The error I get is, &quot;Error at line 0... invalid numeric result (divide by zero?).&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am so confused by this. It seems so straight forward, so I am not even sure what to ask. Can anyone see what is wrong with this?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;EDIT: I am trying to narrow down the issue. Even using the following expression is not working:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;Math.sqrt( (682-617)^2 + (310-342)^2 );&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Narrowing down further, this finally worked:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;Math.sqrt( 5249 );&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I also isolated and confirmed that X^2 is the correct way to square something, so what gives?&lt;/p&gt;&#xA;" OwnerUserId="12572" LastEditorUserId="6685" LastEditDate="2016-07-20T12:40:32.017" LastActivityDate="2016-07-20T12:40:32.017" Title="After Effects distance between two points" Tags="|after-effects|after-effects-expressions|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17433" PostTypeId="2" ParentId="17432" CreationDate="2016-01-18T16:27:00.500" Score="3" Body="&lt;p&gt;I figured it out. The syntax and/or order of operation could not handle squaring two numbers before adding them, so I added parenthesis to isolate each number and square them BEFORE adding them together.&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;function findDistance(xa, xb, ya, yb)&#xA;{&#xA;    return Math.sqrt( ((xa - xb)^2) + ((ya - yb)^2) );&#xA;}&#xA;findDistance(682, 617, 310, 342);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12572" LastEditorUserId="6685" LastEditDate="2016-07-20T12:36:58.810" LastActivityDate="2016-07-20T12:36:58.810" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17434" PostTypeId="2" ParentId="17426" CreationDate="2016-01-18T17:33:06.180" Score="1" Body="&lt;p&gt;The variable frame rate is all that stands out. Save future videos with constant frame rate. As for these ones, transcode using &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;* to CFR MP4s:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i currentvideo.mp4 -c:a copy -crf 16 -r 30 -fflags +genpts newvideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;*Get the 32-bit static build.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-18T17:33:06.180" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17435" PostTypeId="2" ParentId="17424" CreationDate="2016-01-18T17:54:17.867" Score="1" Body="&lt;p&gt;Assuming that you're looking for a low cost option, the key words you need to Google are &quot;HDMI HD GAME Capture&quot; which will result in hardware like this &lt;a href=&quot;http://www.gearbest.com/cables-connectors/pp_211791.html?currency=GBP&amp;amp;gclid=CPSc0Lr1s8oCFUGVGwodstEHvg&quot; rel=&quot;nofollow&quot;&gt;HD 1080P Video Capture HDMI Recorder with SD Card Slot for XBox 360 One PS3 PS4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The HDMI pass-through function guarantees smooth HD gaming&#xA;experience even while recording.&lt;/li&gt;&#xA;&lt;li&gt;Record 1080P HD video into USB    disk or SD card directly, no PC required.&lt;/li&gt;&#xA;&lt;li&gt;Supports all video sources input: HDMI, component, composite.&lt;/li&gt;&#xA;&lt;li&gt;Pass through 1080P HDMI to display on big screen.&lt;/li&gt;&#xA;&lt;li&gt;Record your voice with video together through microphone input.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;£55 + shipping...bargain - and doesn't hog your PC whilst recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That should be all you need but, if further editing is required, google some free video editors to try out or you can perform &lt;a href=&quot;http://mashable.com/2012/10/19/youtube-video-editing/#t04c4XD6piqm&quot; rel=&quot;nofollow&quot;&gt;basic trim and edits on YouTube...here's how.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11990" LastEditorUserId="11990" LastEditDate="2016-01-18T18:05:48.203" LastActivityDate="2016-01-18T18:05:48.203" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17437" PostTypeId="2" ParentId="17409" CreationDate="2016-01-18T18:34:31.537" Score="1" Body="&lt;p&gt;Yes...possibly, if there is enough to sample from your existing video voice-overs but, as it's your voice, there's no reason to only use your videos as a source and the Acapela-Group, for example, has developed a &lt;a href=&quot;http://www.acapela-group.com/voices/custom-voice-creation/&quot; rel=&quot;nofollow&quot;&gt;Voice Factory&lt;/a&gt; for custom voice creation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main problem is that it will take time and money to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try googling &quot;text to speech sample my own voice&quot; for other resources and methods and consider buying a quality text to speech application and quality sampled voice to use instead of your own. A quick Google of &quot;high quality text to speech&quot; will provide links to many options and demos.&lt;/p&gt;&#xA;" OwnerUserId="11990" LastActivityDate="2016-01-18T18:34:31.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17438" PostTypeId="2" ParentId="17424" CreationDate="2016-01-18T19:01:25.460" Score="0" Body="&lt;p&gt;You can record the audio side by side using any microphone or mobile phone and sync it with your videos through editing software like iMovie or final cut pro ...https://youtu.be/ZFhk-aM9sM8 using the auto sync function &lt;/p&gt;&#xA;" OwnerUserId="12577" LastActivityDate="2016-01-18T19:01:25.460" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17439" PostTypeId="2" ParentId="17426" CreationDate="2016-01-18T22:35:57.477" Score="0" Body="&lt;p&gt;I read somewhere else that people switched container .mp4 to .mkv and now it works with Windows Movie Player. But I do not why .mp4 does not work anymore with my Windows Movie Player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And iMovie can not read or open .mkv - so I have still this problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With 'switched' I mean recoded it - I used Handbrake for it.&lt;/p&gt;&#xA;" OwnerUserId="12565" LastActivityDate="2016-01-18T22:35:57.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17440" PostTypeId="1" AcceptedAnswerId="17441" CreationDate="2016-01-19T07:08:52.993" Score="1" ViewCount="376" Body="&lt;p&gt;My customer gave me a series of videos, recorded from CC Cam. The extension is .dad. I couldn't play them on any player. (Obviously changed the extension for testing) and I wasn't able to convert them into a more common video format. &#xA;I've tried Miro, HandBrake, VLC and some other apps on Mac to convert them with no success. &#xA;Can anyone help me how can I convert them into a more common format that can be played and used in production. &#xA;I can give more info about the video format if anyone asks and tells me how to get that info :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MediaInfo Text View Output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name : /Users/hadi/Public/20151105-175532.dad&#xA;Format : AVC&#xA;Format/Info : Advanced Video Codec&#xA;File size : 227 MiB&#xA;&#xA;Video&#xA;Format : AVC&#xA;Format/Info : Advanced Video Codec&#xA;Format profile : Main@L3&#xA;Format settings, CABAC : Yes&#xA;Format settings, ReFrames : 1 frame&#xA;Format settings, GOP : M=1, N=50&#xA;Width : 704 pixels&#xA;Height : 576 pixels&#xA;Display aspect ratio : 1.222&#xA;Color space : YUV&#xA;Chroma subsampling : 4:2:0&#xA;Bit depth : 8 bits&#xA;Scan type : Progressive&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12581" LastEditorUserId="12581" LastEditDate="2016-01-19T08:37:18.020" LastActivityDate="2016-01-19T08:48:06.140" Title="Video format can't be played or converted" Tags="|video|codec|conversion|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17441" PostTypeId="2" ParentId="17440" CreationDate="2016-01-19T08:48:06.140" Score="3" Body="&lt;p&gt;Use this &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;* command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;20151105-175532.dad&quot; -c:v copy &quot;20151105-175532.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;*get 32-bit static build.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-19T08:48:06.140" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17442" PostTypeId="1" CreationDate="2016-01-19T10:31:37.843" Score="0" ViewCount="674" Body="&lt;p&gt;I use to do a lot of pan/zoom editing with Sony Vegas Pro.&#xA;Now that I read that Sony plans to discontinue Vegas (they said it will remain supported but there will never be a new version again), I am checking other softwares, so far I have tested those but I would like to hear recommandations.&#xA;(I am also making heavy use of &quot;Velocity envelope&quot; in Vegas, I have not tested it in other softwares yet but I'm interested in feedback about similar or alternative features through different softwares. Maybe I should make it a different question.)&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Sony Vegas&lt;/strong&gt;: Maybe it's because I used it for more than 10 years now but I think its pan/zoom tool is extremely flexible, and you can&#xA;set transition speed/acceleration on keyframes.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Adobe Premiere Pro&lt;/strong&gt;: In their pan/zoom tools, it is possible (and seems to happen quite a lot if you do a lot of pan) to lose the corner&#xA;outside of the interface. I don't find it intuitive at all. Maybe&#xA;Premiere users are used to edit numbers rather than to manipulate the&#xA;visual tool?&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Adobe After Effects&lt;/strong&gt;: Looks like the best alternative so far as the tool's corners remain visible even when they are &quot;behind&quot; the&#xA;interace. Though it is very close to that of Premiere, I found this one more intuitive. From a tutorial I watched this software's tool actually looks more precise than that of Vegas, but quite more complex to manipulate and obtain similar results.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Corel VideoStudio X8&lt;/strong&gt;: I am quite lost here and the interface gives me the feeling of a toy.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;(Note: I use Windows so &lt;strong&gt;Final Cut&lt;/strong&gt; is not an option.)&lt;/p&gt;&#xA;" OwnerUserId="10869" LastEditorUserId="10869" LastEditDate="2016-01-19T10:45:30.730" LastActivityDate="2016-05-29T18:19:01.737" Title="Best softwares for heavy pan/zoom editing?" Tags="|after-effects|premiere|video-editor|editing|vegas-pro|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17444" PostTypeId="2" ParentId="17442" CreationDate="2016-01-19T11:08:50.880" Score="1" Body="&lt;p&gt;Go with After Effects, it's a tool that will most likely stick around. If necessary you can also take advantage of the more advanced tracking an compositing features. &#xA;If you end up editing in Premiere (which pretty much is the best option if you don't want to dive into Avid) the integration between AE and Pr is crazy useful. I find myself even making titles there because it's just a faster and lets me do prettier stuff.&#xA;Let me know if you have any questions.&lt;/p&gt;&#xA;" OwnerUserId="12056" LastActivityDate="2016-01-19T11:08:50.880" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17445" PostTypeId="1" AcceptedAnswerId="17446" CreationDate="2016-01-19T12:17:16.667" Score="-1" ViewCount="55" Body="&lt;p&gt;i would like to buy a footage video for my home header page, but i don't know what is the good size to have a good rendering and not a too long loading.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Web 640x360 25 fps Photo-JPEG&#xA;Web 640x360 25 fps H.264&#xA;SD 720x486 29.97 fps NTSC&#xA;SD 720x576 25 fps PAL&#xA;HD 1280x720 25p Photo-JPEG&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks !&lt;/p&gt;&#xA;" OwnerUserId="12584" LastActivityDate="2016-01-19T12:26:27.710" Title="Video size for my home header" Tags="|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17446" PostTypeId="2" ParentId="17445" CreationDate="2016-01-19T12:26:27.710" Score="0" Body="&lt;p&gt;Go for the HD 1280x720 and get it compressed using Handbrake or ffmpeg or similar to H.264 video in MP4.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-19T12:26:27.710" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17447" PostTypeId="2" ParentId="17430" CreationDate="2016-01-19T12:46:36.870" Score="1" Body="&lt;p&gt;You are absolutely correct that a good macro lens is crucial for a specialty such as shooting miniatures.  You are also correct that cropping into a 4K source to get an HD frame will still give you good video quality.  And it's also true that a RAW image format like BMCC is somewhat forgiving of not only cropping in, but zooming in to some extent.  But I would also caution that once you actually start zooming into consumer-grade digital video, it falls apart way, way faster than when you zoom into typical stills photos.  Since the SONY cannot record 4K natively, but only with an expensive external recorder, and you've set a budget ceiling of $2K, that means no zooming with the SONY.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have three Canon macro lenses that are each great at what they do: the 100mm f2.8L, which is the simplest to use, the 180mm f3.5L, which is better for shooting nature (more working distance), and the 65mm f2.8 Macro Explorer, which shoots between 1:1 and 5:1 magnifications (great for bugs and other tiny, tiny details).  I don't use my Canon lenses on my GH4 (I also have a RED WEAPON with a Canon mount), but to answer your question, I'd pick the 100mm macro with a speed booster (not for f2.0 performance, but for field of view) and a GH4.  And I'd make great use of my &lt;a href=&quot;http://www.kflect.com/&quot; rel=&quot;nofollow&quot;&gt;K*FLect light reflector system&lt;/a&gt; to light my tabletop scenes.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-01-19T12:46:36.870" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17448" PostTypeId="1" CreationDate="2016-01-19T17:31:08.103" Score="1" ViewCount="1253" Body="&lt;p&gt;I recorded myself playing some games and then uploaded the videos to youtube. I noticed that after youtube finished all processing and made multiple resolutions available that the audio and video drift apart over time. As in, it starts out synced but after about an hour there is a noticeable drift. A friend of mine has no issue with the videos on Linux and the A/V is synced when I play the video on my iPad. The A/V is out of sync on every Windows and OSX computer I've tried. On OSX I even tried three different browsers with the same effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Things I've tried that didn't seem to make a difference:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Using OBS and OBS-MP&lt;/li&gt;&#xA;&lt;li&gt;Constant frame rate (60fps)&lt;/li&gt;&#xA;&lt;li&gt;Variable frame rate&lt;/li&gt;&#xA;&lt;li&gt;Transcoding with hand brake before uploading to set a constant frame rate&lt;/li&gt;&#xA;&lt;li&gt;Using the &quot;Web Optimized&quot; checkbox in hand brake&lt;/li&gt;&#xA;&lt;li&gt;Lots of different recording options like audio sampling rate, etc&lt;/li&gt;&#xA;&lt;li&gt;Different browsers&lt;/li&gt;&#xA;&lt;li&gt;Disabling hardware accelerated decode: &lt;a href=&quot;https://productforums.google.com/forum/#!topic/youtube/ZzW5iQfix3w&quot; rel=&quot;nofollow&quot;&gt;https://productforums.google.com/forum/#!topic/youtube/ZzW5iQfix3w&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Interestingly when I play the video back using this player instead of the direct youtube link, I don't see the audio drift: &lt;a href=&quot;http://youtubeaudiosync.tumblr.com/&quot; rel=&quot;nofollow&quot;&gt;http://youtubeaudiosync.tumblr.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And it's not just all youtube videos that are out of sync for me, this recording (not by me) is 1+ hours and it's perfectly in sync for me even if I skip to the end: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/pVUV0Yk41tY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another data point about the video above is that I can install the h264ify extension in Chrome and watching the avc codec version of that video it is still perfectly synced for me. I was starting to think it was as simple as the avc codec not playing correctly on my computer, but now I think the problem is more subtle than that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the video that I use for testing. It's acting up for me anywhere after an hour. For a really good test, skip to about 4 hours in to see if you have desync too: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/tblZCUO_Qkk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as I can tell, the source video is &quot;fine&quot; in that some players have no problem with it, but once youtube processes, it has issues playing back on &lt;em&gt;some&lt;/em&gt; computers. I've googled a bunch for issues like this, but I'm having a hard time finding a fix. I believe the issue has to do with which codec youtube serves up to the client. The link above that works for me happens to be the VP9 codec whereas my uploads are playing back on windows using the avc1 codec. You can see this by right clicking on the video and checking the &quot;Stats for Nerds&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How can avoid YouTube A/V sync issues in my recordings? Do I have any control here?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="12586" LastEditorUserId="12586" LastEditDate="2016-01-20T04:32:39.807" LastActivityDate="2017-02-08T10:31:37.917" Title="Audio drift after uploading to YouTube?" Tags="|video|audio|youtube|sync|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17450" PostTypeId="1" CreationDate="2016-01-19T20:47:37.170" Score="2" ViewCount="1289" Body="&lt;p&gt;I have one image ~1MB (jpg) and a ~30 mins audio file ~7MB (m4a).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I am trying to get is a final video that lasts like the audio file (30 mins) with the same image displayed. I get that with the following &lt;code&gt;ffmpeg&lt;/code&gt; usage:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i image.jpg -i audio.m4a -c:v copy -c:a copy -shortest -y video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The final result is correct but the size of the file is way far too big ~41GB as we consider the original size of the 2 files (image+audio ~8MB).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to get a smaller size for the final video? I have used &lt;code&gt;-r 1&lt;/code&gt;, &lt;code&gt;-vf fps=1&lt;/code&gt; etc but it didn't change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Following your suggestions I have changed the command into this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -r 1 -i image.jpg -i audio.m4a -c:a copy -vf fps=1 -shortest -y video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and now the  final video size is dropped from 41GB to only 22MB and it built all in 2 mins.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway it comes out a new issue: The image appears after 3/4 seconds that video is started. How can I fix that to have the image displayed from the beginning?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think the solution for the delay is using &lt;code&gt;fps=3&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="12588" LastEditorUserId="12588" LastEditDate="2016-01-20T11:24:50.347" LastActivityDate="2016-09-16T14:34:42.030" Title="ffmpeg: final video too big" Tags="|ffmpeg|" AnswerCount="3" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17451" PostTypeId="2" ParentId="17450" CreationDate="2016-01-19T22:13:24.083" Score="0" Body="&lt;p&gt;You are right about -r 1 and -vf fps=1 but you said also that you have 30 mins audio, in this case even if you keep fps at 1 it will be still 1800 seconds, 1800 times the repetitions of the same image converted as bitmap data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Different thing is if you start using a codec that could take advantage of the redundancy of the data present in the stream. For example, even using h264 in lossless fashion retaining the 100% of the quality will make you save a huge amount of disk space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take your video 41 GB video as input and try:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -c:v libx264 -preset slow -crf 0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2016-01-19T22:13:24.083" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17452" PostTypeId="2" ParentId="17450" CreationDate="2016-01-19T22:33:30.823" Score="1" Body="&lt;p&gt;Just remove &lt;code&gt;-c:v copy&lt;/code&gt;. So it should look like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i image.jpg -i audio.m4a -c:a copy -shortest -y video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ffmpeg will select H.264 encoder to encode your image. You could also try &lt;code&gt;-c:v libx264 -tune stillimage&lt;/code&gt; option. But probably the result will be similar.&lt;/p&gt;&#xA;" OwnerUserId="12517" LastActivityDate="2016-01-19T22:33:30.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17453" PostTypeId="1" AcceptedAnswerId="17455" CreationDate="2016-01-19T22:34:55.767" Score="0" ViewCount="466" Body="&lt;p&gt;I have a lower third that  I want to use in adobe premiere. It's slightly transparent and I put an adjustment layer on top to add a bit of blur. When I add some footage to the after effects composition it looks correctly blurred. The problem is when I export it that blur doesn't apply to the footage in Premiere (not even when I import it using dynamic link). Is there a way to make the blur apply to the footage without having to import the entire edited project from Premiere into After Effects? I don't use AE much and I'd hate to keep paying for it only for that one thing.&lt;/p&gt;&#xA;" OwnerUserId="12563" LastActivityDate="2016-01-20T01:37:06.990" Title="Make only a specific region of a video blurry" Tags="|after-effects|premiere|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17454" PostTypeId="2" ParentId="17432" CreationDate="2016-01-20T01:02:26.957" Score="6" Body="&lt;p&gt;Hate to spoil all your good work, but it's a lot easier to use the built-in &lt;code&gt;length()&lt;/code&gt; function:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;length(pointa, pointb)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;e.g. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;length(thisComp.layer(1).position, thisComp.layer(2).position)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;length([682, 617], [310, 342]); //raw vector values as an array&#xA;length(thisComp.layer(&quot;foo&quot;).anchorPoint, [310, 342]); //a spatial property and an array&#xA;length([123,456,789], [10,9,8]); //works in 3D too. &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It's in &lt;strong&gt;vector math&lt;/strong&gt; in the expressions drop-down panel.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/chgPx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/chgPx.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-07-20T05:50:33.590" LastActivityDate="2016-07-20T05:50:33.590" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17455" PostTypeId="2" ParentId="17453" CreationDate="2016-01-20T01:37:06.990" Score="0" Body="&lt;p&gt;In your Premiere timeline put two copies of the lower third above each other on top of the footage. Right click on the lower copy and choose &lt;strong&gt;Adjustment Layer&lt;/strong&gt; from the context menu. Now it acts as a mask for any filters you apply to it, affecting only the opaque areas. Apply a blur effect to this adjustment layer and the footage below will blur where the lower third is opaque.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rSEn6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rSEn6.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now because adjustment layers use the opacity of the clip to set the strength of the effect you might find the blur won't be very strong where the lower third is semi opaque (this is what it looks like with the top layer turned off):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wYbUe.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wYbUe.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can fix this by making a duplicate of your lower third in After Effects with a more opaque background, and using that as your adjustment layer:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5nYf4.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5nYf4.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And Voila! Your beautiful lower third with bg blur:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Nom7K.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Nom7K.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-01-20T01:37:06.990" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17456" PostTypeId="1" AcceptedAnswerId="17475" CreationDate="2016-01-20T02:46:48.297" Score="1" ViewCount="716" Body="&lt;p&gt;The title is self-explanatory. If a media container file (like MPG) contains multiple audio channels, such as left or right channels, does it take these audios in separate streams??&lt;/p&gt;&#xA;" OwnerUserId="12589" LastEditorUserId="12589" LastEditDate="2016-01-21T03:03:20.397" LastActivityDate="2016-01-21T21:52:09.903" Title="Do media containers contain multiple audio channels in separate streams?" Tags="|video|ffmpeg|mpeg|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17459" PostTypeId="2" ParentId="17450" CreationDate="2016-01-20T05:45:59.030" Score="0" Body="&lt;p&gt;Try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -framerate 1 -i image.jpg -i audio.m4a -c:a copy -fflags +genpts -shortest -y video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-20T05:45:59.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17460" PostTypeId="2" ParentId="17456" CreationDate="2016-01-20T06:02:08.587" Score="0" Body="&lt;p&gt;No, channels are conjoint, so they are part of a single stream. It is possible, using ffmpeg or similar software, to split channels into distinct streams. In which case, each stream will contain one channel.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-20T06:02:08.587" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17461" PostTypeId="1" CreationDate="2016-01-20T06:35:29.110" Score="0" ViewCount="54" Body="&lt;p&gt;I have a requirement to view pictures I have shot in 360 degree panorama mode as virtual tour pictures in various platforms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I convert from the panoramic picture to the model used in virtual tour viewers?&lt;/p&gt;&#xA;" OwnerUserId="12593" LastEditorUserId="674" LastEditDate="2016-01-21T09:45:24.440" LastActivityDate="2016-02-20T09:56:03.830" Title="Android,iphone,blackberry, Virtual reality content creation" Tags="|video-editor|virtualdub|360video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17462" PostTypeId="2" ParentId="17158" CreationDate="2016-01-20T07:34:00.707" Score="1" Body="&lt;p&gt;If the above render is a RAM preview, the default preview quality may be the culprit: Preferences &gt; PREVIEWS &gt; Color Management Quality &gt; More Accurate.&lt;/p&gt;&#xA;" OwnerUserId="12594" LastEditorUserId="26817" LastEditDate="2020-06-10T17:40:11.937" LastActivityDate="2020-06-10T17:40:11.937" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="17464" PostTypeId="1" CreationDate="2016-01-20T17:40:47.343" Score="1" ViewCount="113" Body="&lt;p&gt;What I am trying to achieve is speed up a small portion of a video, lasting only about a second. I tried using Windows Movie Maker. What I did was import the video three times, then trim the three versions so that the first version ended at 16.06 seconds, the second started at 16.06 and ended at 17.54, and the third started at 17.54. Then I sped up the second by .25x.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The result is almost acceptable, but there's a tiny flicker when the second version starts and stops.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know how I can get rid of the flicker, or if there's another editing program that is better suited to this task? I think it would be better if the sped up portion was sped up gradually.&lt;/p&gt;&#xA;" OwnerUserId="12464" LastActivityDate="2016-01-24T04:40:49.680" Title="Speeding up a portion of video leads to choppy transition" Tags="|video|video-editor|editing|windows|windows-movie-maker|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17465" PostTypeId="1" CreationDate="2016-01-20T19:34:23.770" Score="0" ViewCount="1247" Body="&lt;p&gt;I want a countdown timer in my video in hours minute second format. I tried &quot;drawtext&quot; filter using eif option but it only provides me with countdown timer in seconds. I want complete H:M:S format. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I'm using &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input_file -vf drawtext=fontfile=/address:text='%{eif:10-t:d}' &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will start countdown from 10 seconds&lt;/p&gt;&#xA;" OwnerUserId="12598" LastEditorUserId="8053" LastEditDate="2016-01-22T17:31:41.370" LastActivityDate="2016-01-22T17:31:41.370" Title="ffmpeg drawtext filter problem with eif option" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17466" PostTypeId="1" CreationDate="2016-01-21T00:02:54.220" Score="1" ViewCount="161" Body="&lt;p&gt;I have lots (1000+) music videos ready to be aired but without usual titles (artists, album, publisher).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need fastest way to add (bulk?) titles to all of them. Graphics or simple text will be same for all of them, just the text itself changes for each video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the process would look like: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;import video&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;add text to same position for all videos (same font, size, background etc.), just the text itself changes&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;export video to same format it was imported&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I have many software available to use (Mac and PC), but no idea which one would be fastest solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess some software should be able to do this in bulk, but if not i will do it manually. Just need something simple and fast, without need to tweek all the render option from start as each video is already prepared for airing.&lt;/p&gt;&#xA;" OwnerUserId="10560" LastActivityDate="2016-01-22T09:27:03.583" Title="Fast way to add titles to music videos" Tags="|premiere|ffmpeg|editing|final-cut-pro-x|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17467" PostTypeId="2" ParentId="17466" CreationDate="2016-01-21T00:53:19.517" Score="1" Body="&lt;p&gt;I believe you can do it with ffmpeg with command &lt;kbd&gt;drawtext&lt;/kbd&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;drawtext=enable='between(t\,0,60)':fontfile=/Windows/Fonts/Tahoma.ttf:fontcolor='White':&amp;gt; &amp;gt; text='YourText'&quot; -acodec copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;http://forum.videohelp.com/threads/356314-How-to-batch-convert-multiplex-any-files-with-ffmpeg&quot; rel=&quot;nofollow&quot;&gt;this tutorial&lt;/a&gt;, for batch conversion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can add &lt;kbd&gt;drawbox&lt;/kbd&gt; to make it more nice. See documentation &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#drawbox&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastEditorUserId="1871" LastEditDate="2016-01-21T04:38:59.560" LastActivityDate="2016-01-21T04:38:59.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17469" PostTypeId="1" AcceptedAnswerId="17478" CreationDate="2016-01-21T09:26:11.360" Score="1" ViewCount="679" Body="&lt;p&gt;I created a timelapse video from iMovie software and set the time to 0.1 second for every image. But the final output is not satisfying. It seems a bit slow video. I need the clouds to move faster, but they are moving slowly. It is total of 30 second video. I need it to be 15 second video, so that I can get a desired effect. But I cannot change the setting lower then 0.1 second in iMovie. Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="12602" LastActivityDate="2016-01-22T04:54:59.840" Title="Fast forward the timelapse vedio clip" Tags="|imovie|time-lapse|ios|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17470" PostTypeId="2" ParentId="17461" CreationDate="2016-01-21T09:50:40.750" Score="1" Body="&lt;p&gt;I wouldn't suggest trying to do it manually unless you are a mathematician - as it really is all about the transforms that take your cylindrical shots and calculate views and sight lines in real time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally this would be done using one of the commercially available panorama to virtual tour applications. There are many out there - I have only used one, but the functionality seems similar across them all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try out something like &lt;a href=&quot;http://ggnome.com/pano2vr&quot; rel=&quot;nofollow&quot;&gt;Pano2VR&lt;/a&gt;, which has a free trial version to get a feel for how it works.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2016-01-21T09:50:40.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17471" PostTypeId="2" ParentId="17469" CreationDate="2016-01-21T12:23:54.320" Score="0" Body="&lt;p&gt;You can use &lt;a href=&quot;https://evermeet.cx/ffmpeg/&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a command line program, to double the video speed:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf setpts=0.5*PTS output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-21T12:23:54.320" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17472" PostTypeId="1" CreationDate="2016-01-21T14:14:20.730" Score="1" ViewCount="25437" Body="&lt;p&gt;Well, I'm trying to make an airplane explosion scene, and I need to make a mask, because the airplane is behind some trees, I made the mask, but how can I link the mask path to the tracking null?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Bh5Bz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Bh5Bz.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone help me? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="12606" LastEditorUserId="6685" LastEditDate="2016-01-21T15:59:32.630" LastActivityDate="2016-01-22T21:10:07.870" Title="How can I link a mask path to a track null?" Tags="|after-effects|tracking|mask|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17473" PostTypeId="1" CreationDate="2016-01-21T15:07:58.750" Score="2" ViewCount="1802" Body="&lt;p&gt;This is blurring the lines between programming and vid production (question not allowed on Stack Overflow or Programmers)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am throwing this out there as I know there may not be a suitable solution, but if there is maybe someone here may be able to help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My team is brainstorming a video stream analysis tool - essentially something that would be able to test media streams and provide analytics about that stream (bitrate, packet loss,startup time etc), preferably this is a tool that could be run in the background on Linux and accept tests as they come in - perhaps fed from a third party API.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are familiar with WebPageTest then essentially i would be looking for something like this, but for media streams (GUI is not required).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We would prefer python but that is not a requirement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have seen pymedia - but it seems quite old, and maybe not a good fit.&lt;/p&gt;&#xA;" OwnerUserId="12607" LastActivityDate="2017-06-16T16:38:56.127" Title="Video Analysis Tool - Open Source Software Recommendation" Tags="|software-recommendation|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17474" PostTypeId="2" ParentId="17473" CreationDate="2016-01-21T18:57:20.223" Score="1" Body="&lt;p&gt;I believe that can be achieved with &lt;a href=&quot;https://www.ffmpeg.org/ffprobe.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffprobe&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see example of getting json format from it &lt;a href=&quot;https://stackoverflow.com/questions/7708373/get-ffmpeg-information-in-friendly-way&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11523" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2016-01-21T18:57:20.223" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17475" PostTypeId="2" ParentId="17456" CreationDate="2016-01-21T21:52:09.903" Score="1" Body="&lt;p&gt;Depending on the container format, multi-channel audio can either be in a single stream or in separate mono streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most consumer formats allow both, but it's easier for the end-user to have it in one stream (it can be interleaved PCM audio, or encoded bit-streams as ac3 or aac). Notice that it doesn't prevent to have several multi-channel streams in one container (like several 5.1 mixes, each one being one stream, in ac3 codec in a single container)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The MXF OP1A often used in broadcast usually has several mono streams for multi-channel content. A 5.1 mix will then use 6 mono streams in the container.&lt;/p&gt;&#xA;" OwnerUserId="9147" LastActivityDate="2016-01-21T21:52:09.903" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17476" PostTypeId="2" ParentId="17472" CreationDate="2016-01-22T01:31:15.020" Score="2" Body="&lt;p&gt;In After Effects CC, masks can be made into tracking masks. Right click the mask and you should see a context menu with &lt;strong&gt;Tracking Mask&lt;/strong&gt;. Select it and the mask can be tracked to the video it is applied to. The Adobe page about it is &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/rigid-mask-tracking.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/neDEg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/neDEg.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will track the video but the mask will be a rigid shape. If you want the points inside the mask to track individual points in the footage you're going to need a third party extension. This one does the job:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://aescripts.com/tracker2mask/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://aescripts.com/tracker2mask/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option is to apply the mask to a solid layer, then make the tracking null the parent of that layer. This can be useful when working with 3D tracked points, because you can mask objects that are rotating in the frame, eg. for logo removal.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-01-22T21:10:07.870" LastActivityDate="2016-01-22T21:10:07.870" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17477" PostTypeId="2" ParentId="17466" CreationDate="2016-01-22T01:47:31.167" Score="0" Body="&lt;p&gt;If you're doing this for broadcast and you want animated text and graphicse you could use After Effects with scripting. To pull in the track data automatically you'll either need something like &lt;a href=&quot;http://aescripts.com/templater/&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; or &lt;a href=&quot;http://aescripts.com/templater-bot/&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; or you could learn / hire someone who knows extendscript to script After Effects. That way you can use your own graphics, animated text treatment and so on, rather than just static text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise, as @Shultc says, ffmpeg could be the go. If you wanted to jazz up the text you could use a pre-rendered animated lower-third background and then use the &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-filters.html#overlay&quot; rel=&quot;nofollow&quot;&gt;overlay&lt;/a&gt; video filter to composite the background and the text over the footage.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-01-22T01:47:31.167" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17478" PostTypeId="2" ParentId="17469" CreationDate="2016-01-22T04:54:59.840" Score="1" Body="&lt;p&gt;In iMovie you can change the speed of a clip by selecting it in the timeline and then clicking on the icon that looks like a speedometer:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zKEfJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zKEfJ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then click on the &quot;Speed:&quot; popup menu and choose &quot;Fast&quot; or &quot;Custom&quot;. The &quot;Custom&quot; setting lets you choose how much faster to make it (like 200%, or 50%).&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-01-22T04:54:59.840" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17482" PostTypeId="2" ParentId="17466" CreationDate="2016-01-22T09:27:03.583" Score="0" Body="&lt;p&gt;Another way to automate it: &lt;a href=&quot;http://www.sonycreativesoftware.com/vegaspro&quot; rel=&quot;nofollow&quot;&gt;Sony Vegas Pro&lt;/a&gt; + &lt;strong&gt;Vegasaur&lt;/strong&gt; extension (&lt;a href=&quot;http://vegasaur.com/text-generation-wizard&quot; rel=&quot;nofollow&quot;&gt;this tool&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Sony Vegas Pro also supports scripting based on .NET Framework)&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2016-01-22T09:27:03.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17486" PostTypeId="2" ParentId="16315" CreationDate="2016-01-22T11:20:50.717" Score="1" Body="&lt;p&gt;The PS3 is very picky on what it plays and what not. I had the same problem as you (again with an OpenShot video)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Solutions &lt;/p&gt;&#xA;&#xA;&lt;p&gt;1)Use &lt;a href=&quot;http://www.ps3mediaserver.org/&quot; rel=&quot;nofollow&quot;&gt;http://www.ps3mediaserver.org/&lt;/a&gt; that automatically transcodes to formats for PS3&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2)Convert your existing video to PS3 format with &lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow&quot;&gt;https://handbrake.fr/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2016-01-22T11:20:50.717" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17487" PostTypeId="1" CreationDate="2016-01-22T12:28:22.500" Score="3" ViewCount="5684" Body="&lt;p&gt;I need to set tbc option for output video. For example, input video has 25 fps with 50 tbc and my encoded video has 25fps with 25 tbc. I used settb and video_track_timescale but these options did not change tbc. So my question is how can i set double fps for tbc?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Input video log&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Duration: 00:04:41.33, start: 0.000000, bitrate: 1258 kb/s Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 1064 kb/s, 25 fps, 25 tbr, 25 tbn, 50 tbc (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Output video log&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 1280x720 &#xA;    [SAR 1:1 DAR 16:9], q=-1--1, max. 1835 kb/s, 25 fps, 12800 tbn, 25 tbc (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The ffmpeg command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.mp4 -filter_complex &quot;scale=-2:'min(720,ih)',fps=25&quot; -codec:v libx264 &#xA;    -profile:v high -level 4.0 -preset slow -minrate 1835k -maxrate 1835k -bufsize 2441k&#xA;    -c:a aac -strict experimental -q:a 9 -crf 20 -pix_fmt yuv420p &#xA;    output.mp4 1&amp;gt; output.log 2&amp;gt;&amp;amp;1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Full output log&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-76684-g1fe82ab Copyright (c) 2000-2015 the FFmpeg developers     &#xA;built with gcc 5.2.0 (GCC)  &#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib  &#xA;  libavutil      55.  6.100 / 55.  6.100&#xA;  libavcodec     57. 15.100 / 57. 15.100&#xA;  libavformat    57. 14.100 / 57. 14.100&#xA;  libavdevice    57.  0.100 / 57.  0.100&#xA;  libavfilter     6. 15.100 /  6. 15.100&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'input.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2015-02-20 11:51:25&#xA;  Duration: 00:04:41.33, start: 0.000000, bitrate: 1258 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 1064 kb/s, 25 fps, 25 tbr, 25 tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 1970-01-01 00:00:00&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 192 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-02-20 11:51:26&#xA;      handler_name    : IsoMedia File Produced by Google, 5-11-2011&#xA;[libx264 @ 0000001d2ffe0a00] using SAR=1/1&#xA;[libx264 @ 0000001d2ffe0a00] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 AVX2 LZCNT BMI2&#xA;[libx264 @ 0000001d2ffe0a00] profile High, level 4.0&#xA;[libx264 @ 0000001d2ffe0a00] 264 - core 148 r2638 7599210 - H.264/MPEG-4 AVC codec - Copyleft 2003-2015 - http://www.videolan.org/x264.html - options: cabac=1 ref=5 deblock=1:0:0 analyse=0x3:0x113 me=umh subme=8 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=2 b_bias=0 direct=3 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=50 rc=crf mbtree=1 crf=20.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 vbv_maxrate=1835 vbv_bufsize=2441 crf_max=0.0 nal_hrd=none filler=0 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'output.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    encoder         : Lavf57.14.100&#xA;    Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], q=-1--1, max. 1835 kb/s, 25 fps, 12800 tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc57.15.100 libx264&#xA;    Stream #0:1(eng): Audio: aac ([64][0][0][0] / 0x0040), 44100 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-02-20 11:51:26&#xA;      handler_name    : IsoMedia File Produced by Google, 5-11-2011&#xA;      encoder         : Lavc57.15.100 aac&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; scale (graph 0)&#xA;  settb (graph 0) -&amp;gt; Stream #0:0 (libx264)&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;frame=    3 fps=0.0 q=0.0 size=       0kB time=00:00:05.89 bitrate=   0.1kbits/s dup=0 drop=148&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Also in output video, i see option &lt;strong&gt;q=-1--1&lt;/strong&gt;. What is this? How can i configure this option?&lt;/p&gt;&#xA;" OwnerUserId="12622" LastEditorUserId="18155" LastEditDate="2019-06-12T15:06:30.520" LastActivityDate="2019-06-12T15:06:30.520" Title="How to set double fps for tbc option of video" Tags="|ffmpeg|conversion|h.264|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="17488" PostTypeId="2" ParentId="17487" CreationDate="2016-01-22T12:54:09.893" Score="1" Body="&lt;p&gt;Add &lt;code&gt;-r 25&lt;/code&gt; to your command.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;q&lt;/code&gt; readout refers to the allowed range for the quantizer. There's no bounds applied in your command, but you can limit by setting one or both of &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-qmin N&lt;/code&gt; and &lt;code&gt;-qmax N&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unless you have good reason to, don't change it.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-22T12:54:09.893" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17492" PostTypeId="2" ParentId="8133" CreationDate="2016-01-23T02:57:22.363" Score="0" Body="&lt;p&gt;If video is choppy and laggy, like some of my gaming videos that are at least an hour long....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They are lagging when I'm mining in Minecraft. It may be how much video you are putting in there all in one clip. For example, when I put in my one hour gameplay, when I first start to mine, it is laggy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To all of the new comers, use Adobe Media Encoder. Use the settings that you want, and it will encode the video and make it less choppy. When I did this, it made my videos less choppy. Although it takes a couple of hours for a long video, it is well organized when it is finished. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I sound like I'm not explaining, this app from Adobe is really helpful, but it can get annoying at some times. So, I might find a new way soon. But, this is my suggestion to everyone who is new to this. &lt;/p&gt;&#xA;" OwnerUserId="12625" LastActivityDate="2016-01-23T02:57:22.363" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17494" PostTypeId="1" CreationDate="2016-01-23T10:53:54.040" Score="-1" ViewCount="46" Body="&lt;p&gt;What some sites for Video Background Loops? I wonder if any know where I am get vj loop? &#xA;Thank you&lt;/p&gt;&#xA;" OwnerUserId="12630" LastActivityDate="2016-01-23T13:05:42.720" Title="sites for Video Background Loops?" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17495" PostTypeId="2" ParentId="17494" CreationDate="2016-01-23T12:32:43.427" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://creativecommons.org/licenses/&quot; rel=&quot;nofollow&quot;&gt;Creative Commons licenses&lt;/a&gt; permit liberal media distribution, redistribution, and re-mixing.  I did a very simple Google search and immediately found this &lt;a href=&quot;http://www.beeple-crap.com/vjclips.php&quot; rel=&quot;nofollow&quot;&gt;source of CC-licensed VJ loops&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-01-23T12:32:43.427" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17496" PostTypeId="2" ParentId="17494" CreationDate="2016-01-23T13:05:42.720" Score="0" Body="&lt;p&gt;There are also many sites with Video Background Loops. &#xA;Use any search engine to find them. A good site to Video Loops is here: &lt;a href=&quot;http://limeartgroup.com/products/video-loops/&quot; rel=&quot;nofollow&quot;&gt;Video Loops&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12632" LastActivityDate="2016-01-23T13:05:42.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17497" PostTypeId="1" AcceptedAnswerId="18978" CreationDate="2016-01-23T17:13:10.360" Score="2" ViewCount="5094" Body="&lt;p&gt;I have searched the web and PDF manual for clarification on what the colors signify on the render bar over the timeline in after effects but for some reason I cant find a resource covering them all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what I've found&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;No Color - not rendered&lt;/li&gt;&#xA;&lt;li&gt;Green - rendered into RAM&lt;/li&gt;&#xA;&lt;li&gt;Blue - rendered into Global performance Cache&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My questions&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is this above correct?&lt;/li&gt;&#xA;&lt;li&gt;Are there any other colors? - &lt;em&gt;( I had thought there was a yellow and a red but I think these are used in Premiere Pro not After Effects )&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1023" LastActivityDate="2016-07-23T14:48:03.083" Title="What do the colors in the timeline render bar in After Effects signfify" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17498" PostTypeId="1" CreationDate="2016-01-24T14:53:36.083" Score="3" ViewCount="3045" Body="&lt;p&gt;I'm trying to convert a movie, using ffmpeg, from Movie.mkv to Movie.m4v. The Movie has 2 Languages and 1 subtitle stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inputMovie.mkv outputmovie.m4v&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the result is just one audio and no soft subtitles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What should I use to keep both languages and the subtitle (to toggle On-off on streaming box)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The ffprobe from movie is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version 2.8.5 Copyright (c) 2007-2016 the FFmpeg developers&#xA;  built with Apple LLVM version 7.0.2 (clang-700.1.81)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/2.8.5 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-opencl --enable-libx264 --enable-libmp3lame --enable-libvo-aacenc --enable-libxvid --enable-libfreetype --enable-libtheora --enable-libvorbis --enable-libvpx --enable-librtmp --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libass --enable-ffplay --enable-libspeex --enable-libschroedinger --enable-libfdk-aac --enable-libopus --enable-frei0r --enable-libopenjpeg --disable-decoder=jpeg2000 --extra-cflags=-I/usr/local/Cellar/openjpeg/1.5.2_1/include/openjpeg-1.5 --enable-nonfree --enable-vda&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, matroska,webm, from 'DasParfum.mkv':&#xA;  Metadata:&#xA;    encoder         : libmakemkv v1.9.9 (1.3.3/1.4.4) darwin(x86-release)&#xA;    creation_time   : 2016-01-22 21:40:23&#xA;  Duration: 02:21:28.44, start: 0.000000, bitrate: 5414 kb/s&#xA;    Chapter #0:0: start 0.000000, end 395.200000&#xA;    Metadata:&#xA;      title           : Chapter 01&#xA;    Chapter #0:1: start 395.200000, end 633.880000&#xA;    Metadata:&#xA;      title           : Chapter 02&#xA;    Chapter #0:2: start 633.880000, end 816.400000&#xA;    Metadata:&#xA;      title           : Chapter 03&#xA;    Chapter #0:3: start 816.400000, end 1031.680000&#xA;    Metadata:&#xA;      title           : Chapter 04&#xA;    Chapter #0:4: start 1031.680000, end 1294.280000&#xA;    Metadata:&#xA;      title           : Chapter 05&#xA;    Chapter #0:5: start 1294.280000, end 1593.800000&#xA;    Metadata:&#xA;      title           : Chapter 06&#xA;    Chapter #0:6: start 1593.800000, end 1928.680000&#xA;    Metadata:&#xA;      title           : Chapter 07&#xA;    Chapter #0:7: start 1928.680000, end 2262.000000&#xA;    Metadata:&#xA;      title           : Chapter 08&#xA;    Chapter #0:8: start 2262.000000, end 2598.960000&#xA;    Metadata:&#xA;      title           : Chapter 09&#xA;    Chapter #0:9: start 2598.960000, end 2845.960000&#xA;    Metadata:&#xA;      title           : Chapter 10&#xA;    Chapter #0:10: start 2845.960000, end 3193.320000&#xA;    Metadata:&#xA;      title           : Chapter 11&#xA;    Chapter #0:11: start 3193.320000, end 3427.320000&#xA;    Metadata:&#xA;      title           : Chapter 12&#xA;    Chapter #0:12: start 3427.320000, end 3652.480000&#xA;    Metadata:&#xA;      title           : Chapter 13&#xA;    Chapter #0:13: start 3652.480000, end 3966.560000&#xA;    Metadata:&#xA;      title           : Chapter 14&#xA;    Chapter #0:14: start 3966.560000, end 4235.920000&#xA;    Metadata:&#xA;      title           : Chapter 15&#xA;    Chapter #0:15: start 4235.920000, end 4531.280000&#xA;    Metadata:&#xA;      title           : Chapter 16&#xA;    Chapter #0:16: start 4531.280000, end 4796.480000&#xA;    Metadata:&#xA;      title           : Chapter 17&#xA;    Chapter #0:17: start 4796.480000, end 5003.960000&#xA;    Metadata:&#xA;      title           : Chapter 18&#xA;    Chapter #0:18: start 5003.960000, end 5383.040000&#xA;    Metadata:&#xA;      title           : Chapter 19&#xA;    Chapter #0:19: start 5383.040000, end 5708.040000&#xA;    Metadata:&#xA;      title           : Chapter 20&#xA;    Chapter #0:20: start 5708.040000, end 5943.080000&#xA;    Metadata:&#xA;      title           : Chapter 21&#xA;    Chapter #0:21: start 5943.080000, end 6212.960000&#xA;    Metadata:&#xA;      title           : Chapter 22&#xA;    Chapter #0:22: start 6212.960000, end 6488.560000&#xA;    Metadata:&#xA;      title           : Chapter 23&#xA;    Chapter #0:23: start 6488.560000, end 6734.000000&#xA;    Metadata:&#xA;      title           : Chapter 24&#xA;    Chapter #0:24: start 6734.000000, end 6951.880000&#xA;    Metadata:&#xA;      title           : Chapter 25&#xA;    Chapter #0:25: start 6951.880000, end 7214.480000&#xA;    Metadata:&#xA;      title           : Chapter 26&#xA;    Chapter #0:26: start 7214.480000, end 7466.680000&#xA;    Metadata:&#xA;      title           : Chapter 27&#xA;    Chapter #0:27: start 7466.680000, end 7756.840000&#xA;    Metadata:&#xA;      title           : Chapter 28&#xA;    Chapter #0:28: start 7756.840000, end 7935.200000&#xA;    Metadata:&#xA;      title           : Chapter 29&#xA;    Chapter #0:29: start 7935.200000, end 8488.440000&#xA;    Metadata:&#xA;      title           : Chapter 30&#xA;    Stream #0:0(eng): Video: mpeg2video (Main), yuv420p(tv, bt470bg), 720x576 [SAR 64:45 DAR 16:9], max. 7200 kb/s, 25 fps, 25 tbr, 1k tbn, 50 tbc&#xA;    Metadata:&#xA;      BPS-eng         : 4572420&#xA;      DURATION-eng    : 02:21:28.440000000&#xA;      NUMBER_OF_FRAMES-eng: 212211&#xA;      NUMBER_OF_BYTES-eng: 4851589546&#xA;      SOURCE_ID-eng   : 0100E0&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.9.9 darwin(x86-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2016-01-22 21:40:23&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;    Stream #0:1(ger): Audio: ac3, 48000 Hz, 5.1(side), fltp, 448 kb/s (default)&#xA;    Metadata:&#xA;      title           : Surround 5.1&#xA;      BPS-eng         : 448000&#xA;      DURATION-eng    : 02:21:28.416000000&#xA;      NUMBER_OF_FRAMES-eng: 265263&#xA;      NUMBER_OF_BYTES-eng: 475351296&#xA;      SOURCE_ID-eng   : 0180BD&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.9.9 darwin(x86-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2016-01-22 21:40:23&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;    Stream #0:2(eng): Audio: ac3, 48000 Hz, 5.1(side), fltp, 384 kb/s&#xA;    Metadata:&#xA;      title           : Surround 5.1&#xA;      BPS-eng         : 384000&#xA;      DURATION-eng    : 02:21:28.416000000&#xA;      NUMBER_OF_FRAMES-eng: 265263&#xA;      NUMBER_OF_BYTES-eng: 407443968&#xA;      SOURCE_ID-eng   : 0182BD&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.9.9 darwin(x86-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2016-01-22 21:40:23&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;    Stream #0:3(ger): Subtitle: dvd_subtitle, 720x576 (default)&#xA;    Metadata:&#xA;      BPS-eng         : 2188&#xA;      DURATION-eng    : 02:11:22.676977777&#xA;      NUMBER_OF_FRAMES-eng: 871&#xA;      NUMBER_OF_BYTES-eng: 2156572&#xA;      SOURCE_ID-eng   : 0120BD&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.9.9 darwin(x86-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2016-01-22 21:40:23&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;    Stream #0:4(ger): Subtitle: dvd_subtitle, 720x576&#xA;    Metadata:&#xA;      BPS-eng         : 2079&#xA;      DURATION-eng    : 02:10:36.918400000&#xA;      NUMBER_OF_FRAMES-eng: 839&#xA;      NUMBER_OF_BYTES-eng: 2037440&#xA;      SOURCE_ID-eng   : 0122BD&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.9.9 darwin(x86-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2016-01-22 21:40:23&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12637" LastEditorUserId="1871" LastEditDate="2016-01-25T14:12:41.417" LastActivityDate="2016-04-24T20:39:01.087" Title="ffmpeg Multiple Audio Language and Soft- Subtitle" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17499" PostTypeId="2" ParentId="17498" CreationDate="2016-01-24T15:09:03.137" Score="3" Body="&lt;p&gt;Try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inputMovie.mkv -c copy -map 0 outputmovie.m4v&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Depending on the subtitle format, they may not get copied over. In which case,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inputMovie.mkv -c copy -c:s mov_text -map 0 outputmovie.m4v&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;: Once you have a text-based subtitle format like SRT or ASS, you can use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inputMovie.mkv -i subtitle.srt -c copy -c:s mov_text -map 0:v -map 0:a -map 1 outputmovie.m4v&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-01-25T19:41:51.533" LastActivityDate="2016-01-25T19:41:51.533" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="17500" PostTypeId="1" CreationDate="2016-01-24T17:38:27.047" Score="2" ViewCount="2179" Body="&lt;p&gt;Most video editing software allows me to import video of different frame rates, but Lightworks either does not have this feature still, or I cannot find it (on Lightworks or on the internet).  Does anyone have any tips?  I would really like to use Lightworks, but using multiple cameras (one of them being an iPhone), and shooting in slow motion, makes this a deal breaker.&lt;/p&gt;&#xA;" OwnerUserId="12639" LastActivityDate="2021-05-19T13:08:17.023" Title="How to handle video with different frame rates in Lightworks?" Tags="|framerate|slowmotion|lightworks|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17501" PostTypeId="2" ParentId="17500" CreationDate="2016-01-24T17:53:03.907" Score="1" Body="&lt;p&gt;Looks like you will need to transcode all clips with frame rates not matching the project's frame rate:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If the frame rate is of a clip is not compatible with your project, it&#xA;  displays in red.  You will be unable to import the clip into your&#xA;  project.  Clips with incompatible frame rates may be playable in a new&#xA;  project set to the  same frame rate as the clip.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;(page 40; &lt;a href=&quot;http://www.lwks.com/index.php?option=com_lwks&amp;amp;view=download&amp;amp;Itemid=206&quot; rel=&quot;nofollow&quot;&gt;User Guide&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a command line tool, to transcode such clips with commands of the form&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libx264 -crf 8 -r 25 -c:a copy -map 0 input25.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;: should make clear that &lt;code&gt;25&lt;/code&gt; should be replaced with the framerate of the project. NTSC 30d i.e. 29.97 fps is denoted as &lt;code&gt;30000/1001&lt;/code&gt; and 23.976 as &lt;code&gt;24000/1001&lt;/code&gt;. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-01-25T06:51:05.777" LastActivityDate="2016-01-25T06:51:05.777" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17502" PostTypeId="1" AcceptedAnswerId="17504" CreationDate="2016-01-25T10:34:30.813" Score="5" ViewCount="18314" Body="&lt;p&gt;Is there any way to concat two video files with a fading effect using FFmpeg?&lt;/p&gt;&#xA;&lt;p&gt;Something like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i input.txt -c copy &amp;quot;--with:fade:out-in&amp;quot; output.ogg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12643" LastEditorUserId="29988" LastEditDate="2021-08-23T15:36:01.243" LastActivityDate="2021-08-23T15:36:01.243" Title="Concat two video files with fade effect using FFmpeg" Tags="|ffmpeg|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="17504" PostTypeId="2" ParentId="17502" CreationDate="2016-01-25T11:42:54.127" Score="11" Body="&lt;p&gt;Your present command specifies stream copy. Since you wish to alter the video frames during the transition, that won't work.&lt;/p&gt;&#xA;&lt;p&gt;It can be done if you know the duration of the two videos and the duration of fade. Also, for the command below, the resolutions of the two videos should be the same.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i first.ogg -i second.ogg \&#xA;-filter_complex \&#xA;&amp;quot;color=black:WxH:d=Video1Length+Video2Length-FadeDuration[base]; \&#xA; [0:v]setpts=PTS-STARTPTS[v0]; \&#xA; [1:v]format=yuva420p,fade=in:st=0:d=FadeDuration:alpha=1, \&#xA;      setpts=PTS-STARTPTS+((Video1Length-FadeDuration)/TB)[v1]; \&#xA; [base][v0]overlay[tmp]; \&#xA; [tmp][v1]overlay,format=yuv420p[fv]; \&#xA; [0:a][1:a]acrossfade=d=FadeDuration[fa]&amp;quot; \&#xA;-map [fv] -map [fa] \&#xA;output.ogg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Replace:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;WxH&lt;/code&gt; with the resolution of the videos i.e. &lt;code&gt;640x360&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;And:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;Video1Length&lt;/code&gt;, &lt;code&gt;Video2Length&lt;/code&gt;, and &lt;code&gt;FadeDuration&lt;/code&gt; with their value in seconds.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="32696" LastEditDate="2020-10-28T04:09:06.540" LastActivityDate="2020-10-28T04:09:06.540" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="17505" PostTypeId="1" AcceptedAnswerId="17508" CreationDate="2016-01-25T12:07:11.623" Score="2" ViewCount="426" Body="&lt;p&gt;&lt;strong&gt;Incident:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to capture small particles at about 20-30 cm distance to the camera at ~60-70 fps. Was using SMD32 LED with rechargeable battery as light source. By using that light source, there was no flicker in the video (almost no light intensity variance between frames), but the scene was a bit dark.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3tVi9.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;SMD32 LED with rechargeable battery&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To increase intensity, I tried cheap light bulbs of all kind, such as Philips Classic Tone 60W, and Energy efficient Philips Economy Stick 23W. As expected, intensity levels were quite reasonable, but the flickering was quite obvious and problematic in the captured video. Then I tried 2 LED light bulbs:  Wiselite Warmwhite LED A60 8W, and GoldMaster 9W LED. Interestingly, LED light bulbs DID flicker too. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ufMGr.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Energy efficient Philips Economy Stick 23W, Philips Classic Tone 60W, Wiselite Warmwhite LED A60 8W&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please note that voltage levels in the region is quite fluctuating, sometimes electrical home appliances stop operating and lights dimming although the electricity is on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question:&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What made SMD32 LED non-flickering compared to LED bulbs? Is it the battery, or multiple light sources, or the type of the LEDs? What should I do for a non-flickering but enough intensity capture environment? &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit :&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After the responses, I have further investigated the SMD32 LED, by only capturing the light projected from SMD32 LED on to the screen. Fps was variable between 59-61, exposure time was 1.5 ms, CV_8UC1 color scheme (grayscale) was used. I have saved 0th, 40th, 80th, 120th... frames and combined them to build animated gif images. Each gif image consist of 35 jpg images. As side note, each animated gif image below is at 4 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1st animated gif one on the left is captured when SMD32 LED is not plugged into mains power (while it is only using battery power).&lt;/strong&gt; It is almost steady. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2nd one on the right is captured when SMD32 LED is plugged into mains power.&lt;/strong&gt; Overall intensity compared to first one increased but the flicker is quite obvious.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Consequently, there is something with the mains power. And I still don't know how to obtain the desired lightning conditions in a cheap way. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;[&lt;img src=&quot;https://i.stack.imgur.com/3FZFa.gif&quot; alt=&quot;Not plugged in, on battery[3]&quot;&gt;&#xA;[&lt;img src=&quot;https://i.stack.imgur.com/7lSN8.gif&quot; alt=&quot;Plugged in to mains power[4]&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="12645" LastEditorUserId="12645" LastEditDate="2016-01-25T14:45:45.463" LastActivityDate="2016-01-25T14:45:45.463" Title="Flicker in the Capture, LED light source" Tags="|video-capture|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17506" PostTypeId="1" CreationDate="2016-01-25T12:43:49.467" Score="0" ViewCount="85" Body="&lt;p&gt;How do I create video that is similar in quality to &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/iNJdPyoqt8U?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; with an actioncam? Currently I'm using a Rollei 5S WIFI, and more often than not, I can without significant loss of image quality downscale to 360p. Yes, that is a pointer to how good and how sharp the image quality at 1080p is. See &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/UB7zdLv0GU8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; . But even the GoPro Hero 4 is not much better &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/PjGkVCAo8Fw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is that a lens issue, is that a CCD issue? I noticed, that most 4K videos do not show quick movement. It seems that they put their camera on a tripod and start recording very slow scenes, which is why there's hardly any blur. That seems to be one option to improve image quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, how do I create footage that has nearly the same quality as &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/iNJdPyoqt8U?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; but is taken by an action cam?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also including post-production.&lt;/p&gt;&#xA;" OwnerUserId="2460" LastActivityDate="2016-01-25T16:38:29.283" Title="How do I create footage that has nearly the same quality as https://www.youtube.com/watch?v=iNJdPyoqt8U but is taken by an action cam?" Tags="|video|video-quality|action-cam|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17507" PostTypeId="2" ParentId="17505" CreationDate="2016-01-25T12:44:27.293" Score="0" Body="&lt;p&gt;I can't speak to the specific models / part numbers, but it's often the case that an LED 'array' is not continuously lit, but rather scanned or modulated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is, each element (or row, or other group) is briefly supplied full current, then switched off while another element is addressed, and so on. This reduces the total amount of current required, and if done above a 'flicker rate' determined by human persistence of vision, is undetectable in normal use. This rate is anything above about 30 Hz for a full cycle of elements, and is usually higher.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, this scan rate is not synchronous with camera scan rates or shutters times, so you may get 'beats' or strobing in captured video. A similar effect can occur when shooting video displays and computer monitors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A trick that can sometimes show this is to blink rapidly while looking at the light off-axis (at the edge of your vision), or quickly moving the light up/down or right/left in the same area. Persistence of vision is lower at the periphery.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-01-25T12:44:27.293" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17508" PostTypeId="2" ParentId="17505" CreationDate="2016-01-25T13:03:34.863" Score="2" Body="&lt;p&gt;Here is a &lt;a href=&quot;http://www.soraa.com/blog_entries/35&quot; rel=&quot;nofollow&quot;&gt;blog posting&lt;/a&gt; from one of the leading LED fixture manufacturers, SORAA.  (Their chief scientist won the Nobel Prize for the invention of the blue LED.)  One of the design problems is that a rippler-suppressor reduces LED output efficiency by 2%-3%.  If you are a consumer looking for absolute Lumens from a given form factor, or highest Lumens per Watt, you'll end up buying a product that compromises on flicker in favor of output.  Moreover, while the industry used to agree on a definition of a flicker index, they are walking away from that and going to very application (and person)-specific definitions.  In the referenced article, mention was made that in the state of California, the only recognized flicker test is performed by the person sensitive to the phenomenon.  Finally, if you are using these lights for anything other than scientific motion studies, i.e., if color is actually important to you, Color Rendering Index (CRI) may also be important.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously, cameras have very different sensitivity than humans.  And specialty instruments (made for high-speed video) exist, with more expensive power supplies and lower lumen/watt output.  I have been impressed with the SORAA lights I've purchased (CRI 95, and no visible flicker at framerates I've used).  If they don't test out for you, the best alternative is to get a specialty light that does specifically advertise flicker-free (usually by using a true DC power supply).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-01-25T13:03:34.863" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17509" PostTypeId="2" ParentId="17506" CreationDate="2016-01-25T16:38:29.283" Score="2" Body="&lt;p&gt;The Simple answer is going to be &quot;No&quot; That may sound harsh but you cannot as there are so many factors that were involved with this video unless you want to buy similar kit to the guys who made the video. The main thing being the camera and lenses they used&#xA;Tech spec:&#xA;Red Epic (M642) w/ Ti Canon Mount&#xA;Canon 24-70mm F2.8 &#xA;Canon 16-35mm f/2.8&#xA;Canon 100mm f/2.8&#xA;Canon 70-200 f/2.8&#xA;Adobe Premiere CC and DaVinci Resolve&#xA;Freefly System MOVI M10&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your action camera, while it can record 4k video cannot compete with RED RAW files nor can the lens compete with the dedicated lenses listed above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now to answer the question: to achieve this type of video quality would be to invest in a better camera that can use different lenses and has good quality video capabilities, now having a RED EPIC is great but also having a HUGE budget is great but there are small decent cameras that can record 4k like the BMCC or Panasonic GH4 or Canon C500 etc but besides having the best kit in the world you would need to know how to use it all and probably have a team to help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the post-production any decent NLE can achieve this but it is knowing how to edit that is the skill.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps and doesnt sound to bitchy&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2016-01-25T16:38:29.283" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17510" PostTypeId="2" ParentId="17498" CreationDate="2016-01-25T17:15:44.367" Score="0" Body="&lt;p&gt;I thin &lt;a href=&quot;http://www.videohelp.com/software/MKVtoolnix&quot; rel=&quot;nofollow noreferrer&quot;&gt;MKVtoolnix&lt;/a&gt; is better and can help you get the result that you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;MKVtoolnix&lt;/code&gt; is a set of tools to &lt;strong&gt;create&lt;/strong&gt;, &lt;strong&gt;alter&lt;/strong&gt;, &lt;strong&gt;split&lt;/strong&gt;, &lt;strong&gt;join&lt;/strong&gt; and &lt;strong&gt;inspect&lt;/strong&gt; Matroska files(mkv). Use MKVCleaver or gMKVExtractGUI to extract/demultiplex mkv video and audio files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Supported operating systems:&lt;/strong&gt; Windows - Mac OS - Linux&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Screenshot :&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qcbic.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qcbic.jpg&quot; alt=&quot;MKVtoolnix Version:8.8.0&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12647" LastActivityDate="2016-01-25T17:15:44.367" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17512" PostTypeId="1" AcceptedAnswerId="17515" CreationDate="2016-01-26T13:39:38.297" Score="0" ViewCount="3350" Body="&lt;p&gt;I am using this line which works fine for showing text in 3 lines starting at 0.3sec, ending at 0.6 sec. in bottom left corner.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to add scroll in and scroll out effect in ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both in and out should be fast, lets say .05sec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Scroll in should end in position like its written in code, remaining there for those 3 sec, then scrolling out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i scrollin.mp4 -vf &quot;[in]drawtext=enable='between(t,3,6)':fontsize=50:fontcolor=Green:fontfile='ariblk.ttf':text='textline1':x=10:y=h-th-130, drawtext=enable='between(t,3,6)':fontsize=50:fontcolor=White:fontfile='ariblk.ttf':text='textline2':x=10:y=h-th-75, drawtext=enable='between(t,3,6)':fontsize=50:fontcolor=White:fontfile='ariblk.ttf':text='textline3':x=10:y=h-th-20[out]&quot; -codec:a copy scrollout.mp4&lt;/p&gt;&#xA;" OwnerUserId="10560" LastActivityDate="2016-01-26T16:53:56.383" Title="Scroll text left to right and back" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17515" PostTypeId="2" ParentId="17512" CreationDate="2016-01-26T16:53:56.383" Score="4" Body="&lt;p&gt;Use this filter expression:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;drawtext=enable='between(t,2.5,6.5)':fontsize=50:fontcolor=Green:fontfile='ariblk.ttf': \&#xA;text='textline1':x=min(4*(tw\+10)-(abs(4-2*(t-2.5)))*(tw+10)-tw\,10):y=h-th-130&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The above is for the first line. I've changed the values/expression for the &lt;code&gt;enable&lt;/code&gt; and &lt;code&gt;x&lt;/code&gt;parameters. The movement starts at 2.5 seconds, settles at 3s, stays till 6s and then disappears by 6.5&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-26T16:53:56.383" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17516" PostTypeId="2" ParentId="16037" CreationDate="2016-01-26T19:13:50.227" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Unfortunately I couldn't find it in Adobe Encoder preferences - there is no such settings, and by default it loads 30fps sequence.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You can change the default in Media Encoder by going to the Preferences/Media and then change &quot;Indeterminate Media Timebase&quot;&lt;/p&gt;&#xA;" OwnerUserId="12646" LastActivityDate="2016-01-26T19:13:50.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17518" PostTypeId="1" AcceptedAnswerId="17521" CreationDate="2016-01-26T22:46:40.453" Score="0" ViewCount="2160" Body="&lt;p&gt;Have many videos different videos of different format and quality in which i need to add small amount of text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What command should i use to get same file format/quality for output as it was for input ?&lt;/p&gt;&#xA;" OwnerUserId="10560" LastActivityDate="2016-01-27T07:23:30.203" Title="Output format and quality to be same as input" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17521" PostTypeId="2" ParentId="17518" CreationDate="2016-01-27T07:23:30.203" Score="1" Body="&lt;p&gt;Since these are for broadcast play-out over local storage, these commands are biased towards quality and away from filesize.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For MP4s:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;text filters here&quot; -c:v libx264 -crf 8 -c:a copy -map 0 -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For MPGs:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mpg -vf &quot;text filters here&quot; -c:v mpeg2video -q:v 2 -c:a copy -map 0 output.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-27T07:23:30.203" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17522" PostTypeId="1" AcceptedAnswerId="17523" CreationDate="2016-01-27T09:28:30.653" Score="2" ViewCount="3884" Body="&lt;p&gt;How to correctly add expression to transparent background like on this question &lt;a href=&quot;https://video.stackexchange.com/questions/15551/ffmpeg-drawtext-filter-create-transparent-background-with-text&quot;&gt;ffmpeg drawtext filter - create transparent background with text&lt;/a&gt;&#xA;for my case (where there are 3 lines in bottom right corner):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i videoin.mp4 -vf &quot;[in]drawtext=enable='between(t,2.5,6.5)':fontsize=50:fontcolor=White:fontfile='ariblk.ttf':text='textline1':x=min(4*(tw\+10)-(abs(4-2*(t-2.5)))*(tw+10)-tw\,10):y=h-th-130, drawtext=enable='between(t,2.5,6.5)':fontsize=50:fontcolor=White:fontfile='ariblk.ttf':text='textline2':x=min(4*(tw\+10)-(abs(4-2*(t-2.5)))*(tw+10)-tw\,10):y=h-th-75, drawtext=enable='between(t,2.5,6.5)':fontsize=50:fontcolor=White:fontfile='ariblk.ttf':text='textline3':x=min(4*(tw\+10)-(abs(4-2*(t-2.5)))*(tw+10)-tw\,10):y=h-th-20[out]&quot; -codec:a copy videoout.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10560" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-01-27T16:10:29.547" Title="Add transparent background to ffmpeg with text over it" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17523" PostTypeId="2" ParentId="17522" CreationDate="2016-01-27T12:27:27.073" Score="3" Body="&lt;p&gt;Use the box options i.e. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;drawtext=enable='between(t,2.5,6.5)':fontsize=50:fontcolor=White:fontfile='ariblk.ttf':text='textline1':x=min(4*(tw\+10)-(abs(4-2*(t-2.5)))*(tw+10)-tw\,10):y=h-th-130:box=1:boxborderw=12:boxcolor=black@0.45&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This adds a box with padding of 12 pixels around the text boundary, and the color is black with 45% opacity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using &lt;strong&gt;drawbox&lt;/strong&gt; (add it before the drawtexts)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;drawbox=y=ih-140:h=110:c=black@0.45:t=max:enable='between(t,2.5,6.5)'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Here's the entire vf expression:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf &quot;drawbox=y=ih-140:h=110:c=black@0.45:t=max:enable='between(t,2.5,6.5)',drawtext=enable='between(t,2.5,6.5)':fontsize=50:fontcolor=White:fontfile='ariblk.ttf':text='textline1':x=min(4*(tw\+10)-(abs(4-2*(t-2.5)))*(tw+10)-tw\,10):y=h-th-130, drawtext=enable='between(t,2.5,6.5)':fontsize=50:fontcolor=White:fontfile='ariblk.ttf':text='textline2':x=min(4*(tw\+10)-(abs(4-2*(t-2.5)))*(tw+10)-tw\,10):y=h-th-75, drawtext=enable='between(t,2.5,6.5)':fontsize=50:fontcolor=White:fontfile='ariblk.ttf':text='textline3':x=min(4*(tw\+10)-(abs(4-2*(t-2.5)))*(tw+10)-tw\,10):y=h-th-20&quot; -codec:a copy videoout.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-01-27T16:10:29.547" LastActivityDate="2016-01-27T16:10:29.547" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17526" PostTypeId="1" AcceptedAnswerId="17527" CreationDate="2016-01-28T02:45:25.157" Score="4" ViewCount="3164" Body="&lt;p&gt;In my attempts to encode a video to MPEG-2 in an MOV (which seems to be a valid combination, at least &lt;a href=&quot;https://en.wikipedia.org/wiki/Comparison_of_video_container_formats&quot; rel=&quot;nofollow&quot;&gt;according to Wikipedia&lt;/a&gt;), using ffmpeg (&lt;code&gt;-vcodec mpeg2video&lt;/code&gt;) and other tools, I have become extremely confused about the FourCCs as well as seemingly related limitations on container formats. I have found:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;m2v1&lt;/code&gt;: This is the default FourCC used by ffmpeg when encoding MPEG-2, but it is unplayable in all media players I have tried (VLC, Windows Media Player, mplayer, and QuickTime Player). It also does not seem to exist in any FourCC databases I have found. Forum posts are rare and are related to old Mac software and compatibility problems regarding this code.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;mp2v&lt;/code&gt;: I can force this code with ffmpeg. It is then playable in all common media players. However, MPEG-2 videos encoded with other encoders (such as Handbrake or Prism), to AVIs, do not use this code, they use &lt;code&gt;mpgv&lt;/code&gt;, which makes me suspicious.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;mpgv&lt;/code&gt;: I can force this code with ffmpeg as well, but only when outputting to an AVI (and Handbrake uses it too but only outputs Matroska and MP4). Ffmpeg fails when I attempt to output MOV. Forum posts also indicate trouble with the &lt;code&gt;mpgv&lt;/code&gt; + QuickTime container combination.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm very confused. Why are there different FourCC's for this, what is the correct one to use, how is it related to the container and, at the end of the day, if I want an MPEG-2 in an MOV what do I do?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess by &quot;correct&quot; in the title I mean compatible with the most common players; least likely to cause problems for normal people with stock software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a sub-question, VLC describes &lt;code&gt;mpgv&lt;/code&gt; and &lt;code&gt;mp2v&lt;/code&gt; as &quot;MPEG-1/2 Video&quot;. So, if I see a video with FourCC &lt;code&gt;mpgv&lt;/code&gt;, is it MPEG-1, or is it MPEG-2? I suspect my lack of understanding of how all the MPEG versions are related to each other is coming into play here.&lt;/p&gt;&#xA;" OwnerUserId="12669" LastEditorUserId="12669" LastEditDate="2016-01-28T03:15:13.480" LastActivityDate="2023-12-11T16:03:01.537" Title="What is the correct MPEG-2 FourCC?" Tags="|encoding|mpeg|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17527" PostTypeId="2" ParentId="17526" CreationDate="2016-01-28T10:24:04.633" Score="4" Body="&lt;p&gt;Strictly speaking, &lt;a href=&quot;https://msdn.microsoft.com/en-in/library/ms922669.aspx&quot; rel=&quot;nofollow&quot;&gt;fourcc&lt;/a&gt; is the codec ID used by Microsoft. It has been adapted for use with many other formats, thus making it seem like a standardized ID format, but it's not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg, in particular, seems to only consider XDCAM standard MPEG2 for inclusion in MOV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the &lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/6e249466cc6bd5b17d6e8cbd9a84a636cc92fd60/libavformat/movenc.c&quot; rel=&quot;nofollow&quot;&gt;source code&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;else if (track-&amp;gt;enc-&amp;gt;codec_id == AV_CODEC_ID_MPEG2VIDEO)&#xA;    tag = mov_get_mpeg2_xdcam_codec_tag(s, track);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where if the xdcam tag function doesn't find a matching XDCAM stream, it runs&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;if (!tag)&#xA;    tag = MKTAG('m', '2', 'v', '1'); //fallback tag&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;which ffmpeg, interestingly, &lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/979572365f2133f969f3f49ec6a99cc8739d2eba/libavformat/isom.c&quot; rel=&quot;nofollow&quot;&gt;thinks&lt;/a&gt; is tha tag that should be used for recording MPEG-2 in a MOV by a camera.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;{ AV_CODEC_ID_MPEG2VIDEO, MKTAG('m', '2', 'v', '1') }, /* Apple MPEG-2 Camcorder */ &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and &lt;code&gt;mp2v&lt;/code&gt; is signalled as required for (an old version of) Final Cut Pro.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;{ AV_CODEC_ID_MPEG2VIDEO, MKTAG('m', 'p', '2', 'v') }, /* FCP5 */&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;mpgv&lt;/code&gt; is not on that (ISO media) list that the MOV muxer can be forced to work with, but it is on the &lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/11bc4fd653fab05a9e24f7aca22c913ffb238b5a/libavformat/riff.c&quot; rel=&quot;nofollow&quot;&gt;RIFF list&lt;/a&gt; (for AVIs) where it's only declared for MPEG-2, not MPEG-1&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;{ AV_CODEC_ID_MPEG2VIDEO, MKTAG('m', 'p', 'g', 'v') }&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;All the tag variants exist because each vendor or program decides to mark their streams a certain way and there's no single body policing their use. Stick with &lt;code&gt;mp2v&lt;/code&gt; since that works for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: I just realized that any stream can be tagged with any tag if &lt;code&gt;-strict -1&lt;/code&gt; or &lt;code&gt;-2&lt;/code&gt; is applied. I was able to tag an AVC stream in a MOV with &lt;code&gt;mpgv&lt;/code&gt; :) &lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-02-03T16:11:27.930" LastActivityDate="2016-02-03T16:11:27.930" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17528" PostTypeId="2" ParentId="17147" CreationDate="2016-01-28T12:55:03.570" Score="1" Body="&lt;p&gt;You must remember that the bitrate of the compressed file does not represent the decompressed file size. Your PC is trying to reconstruct 60 full HD frames per second without a specific chip set to do it (whereas your camera is designed for this one task).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is not at all surprising that it cannot achieve this, especially if there is not enough video ram allocated to displaying all the data. Many Video Editing applications will scale the dimensions or frame rate to retain audio sync playback. Consider creating a higher bitrate file that requires less processing time per frame but uses more memory to decompress. This should alleviate some of the stress on the CPU for decompressing.&lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2016-01-28T12:55:03.570" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17529" PostTypeId="2" ParentId="16224" CreationDate="2016-01-28T13:09:49.827" Score="2" Body="&lt;p&gt;Bottom line with the canon rebel series cameras is that the video is pulled from a low resolution capture of the chip which is normally used for high resolution photos. The photos from these cameras will resolve many thousands of lines but the video compression chip in the camera cannot deal with these in real time so they just grab the image that goes to the rear LCD screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This image is achieved by throwing away the high res photo lines (or pixels), this is called binning (discarding). This makes high contrast edges very aliased or have a stair stepped effect. To fix this Canon soften or blur the image to make it more acceptable. Guess what, all of this results in a video image that ends up resolving at about 480 vertical lines or standard TV resolution 'not' HD resolution. So no amount of sharp lenses or post sharpening will ix the matter. The soft is baked in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While the phone camera is built specifically to capture a fixed line resolution but it compromises on maximum photo resolution, typically not better than the video resolution.&lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2016-01-28T13:09:49.827" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17530" PostTypeId="1" CreationDate="2016-01-28T15:42:34.660" Score="1" ViewCount="40" Body="&lt;p&gt;I shot an event for a client. The client did not want me to make an after-movie, and they just wanted footage for promotion the following year. So I am supposed to deliver the video files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to be able to trim off the fat from some clips, and perhaps even do some basic cc. It would be a horrible amount of work if I imported all files into Premiere and did this on a per clip basis then export/transcode in batches. I've thought of Catalyst Browse but it doesn't support my file type (ProRes .mov), and Prelude does not seem to be designed for this either, nor do I see a color correction panel (which I can live without).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions for a windows computer? I was thinking of a sort of lightroom for video.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-01-28T18:07:19.293" Title="lightroom for video" Tags="|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17531" PostTypeId="1" AcceptedAnswerId="17533" CreationDate="2016-01-28T17:21:24.720" Score="0" ViewCount="2048" Body="&lt;p&gt;This question is related to &lt;a href=&quot;https://video.stackexchange.com/questions/17526/what-is-the-correct-mpeg-2-fourcc&quot;&gt;What is the correct MPEG-2 FourCC?&lt;/a&gt; and to an open discussion &lt;a href=&quot;https://ffmpeg-user.ffmpeg.narkive.com/5qKNOLOF/mpeg-2-video-m2v1-vs-mp2v#post9&quot; rel=&quot;nofollow noreferrer&quot;&gt;currently on the ffmpeg-user mailing list&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;I am wondering if I should file a bug report about the MOV output. Open&#xA;questions in that vein, though, are:&lt;/p&gt;&#xA;&lt;p&gt;...&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is it a bug that mpg2 and mpgv cause MOV output to fail or is that&#xA;correct behavior?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;There seem to be numerous possible tags in use for MPEG-2 video, in particular &lt;code&gt;m2v1&lt;/code&gt;, &lt;code&gt;mp2v&lt;/code&gt;, &lt;code&gt;mpg2&lt;/code&gt;, and &lt;code&gt;mpgv&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Now, ffmpeg fails with e.g. &amp;quot;Tag mpgv/0x7667706d incompatible with&#xA;output codec id '2' (m2v1)&amp;quot; when the output is MOV and either &lt;code&gt;mpg2&lt;/code&gt; or &lt;code&gt;mpgv&lt;/code&gt; is specified:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg ... -vcodec mpeg2video -f mov ...             # succeeds (m1v1)&#xA;ffmpeg ... -vcodec mpeg2video -vtag mp2v -f mov ...  # succeeds&#xA;ffmpeg ... -vcodec mpeg2video -vtag mpg2 -f mov ...  # fails&#xA;ffmpeg ... -vcodec mpeg2video -vtag mpgv -f mov ...  # fails&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;All of those succeed for AVI. Ffmpeg's default tag for MPEG-2 in AVIs is &lt;code&gt;mpg2&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Part of a bug report that I am writing for ffmpeg's MOV output handling may include the &lt;code&gt;mpg2&lt;/code&gt; and &lt;code&gt;mpgv&lt;/code&gt; failure behavior (with the desired behavior being success), but before I do that I need to be certain that this behavior is a bug rather than appropriate behavior.&lt;/p&gt;&#xA;&lt;p&gt;So my question boils down to this: Are &lt;code&gt;mpg2&lt;/code&gt; and &lt;code&gt;mpgv&lt;/code&gt; valid, allowable alternative tags for MPEG-2 video &lt;strong&gt;in an MOV file&lt;/strong&gt;, and are there others? I am looking for official Apple sources and MOV specifications rather than anecdotal evidence or lists of generally observed FourCC's / codec IDs.&lt;/p&gt;&#xA;&lt;p&gt;I know that, at least &lt;a href=&quot;https://en.wikipedia.org/wiki/Comparison_of_video_container_formats&quot; rel=&quot;nofollow noreferrer&quot;&gt;according to Wikipedia&lt;/a&gt;, MPEG-2 video in an MOV is an acceptable combination, I'm just not sure what the acceptable set of codec tags are in MOVs. This question is not about the &amp;quot;correct&amp;quot; MPEG-2 ID in general cases, it is about the allowable variants specifically in MOVs.&lt;/p&gt;&#xA;" OwnerUserId="12669" LastEditorUserId="26910" LastEditDate="2022-07-20T00:24:47.643" LastActivityDate="2022-07-20T00:24:47.643" Title="Are &quot;mp2v&quot; and &quot;mpgv&quot; valid MPEG-2 codec tags in an MOV?" Tags="|ffmpeg|quicktime|mpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="17532" PostTypeId="2" ParentId="17530" CreationDate="2016-01-28T18:07:19.293" Score="1" Body="&lt;p&gt;Did you tried &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve&quot; rel=&quot;nofollow&quot;&gt;Blackmagic DaVinci Resolve 12&lt;/a&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How I understand, it should work fine with multiple files, but you shall check, if it will accept your ProRes files.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-01-28T18:07:19.293" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17533" PostTypeId="2" ParentId="17531" CreationDate="2016-01-28T18:25:50.280" Score="3" Body="&lt;p&gt;MPEG-2 doesn't seem to be an officially sanctioned codec for the Quicktime container. The official specification has a section related to &lt;a href=&quot;https://developer.apple.com/library/mac/documentation/QuickTime/QTFF/QTFFChap3/qtff3.html#//apple_ref/doc/uid/TP40000939-CH205-BBCGIJJI&quot;&gt;MPEG-1&lt;/a&gt; in MOV but not MPEG-2. The US Library of Congress also does not have an entry for the &lt;a href=&quot;http://www.digitalpreservation.gov/formats/fdd/fdd000052.shtml&quot;&gt;subtype&lt;/a&gt; MPEG-2 in MOV, like it does for MPEG-1 (just called QTV_MPEG).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, there's no official word on &quot;allowable alternative tags&quot;. One can only examine MPEG-2 MOVs and see whether apps, specifically, Apple apps, play them or not and prepare a survey report. Since each app has its own fiat on whether it plays a file with a certain codec ID or not, that report whould be categorized by app i.e. VLC, Quicktime player. FCP..etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As an example, VLC recognizes the &lt;a href=&quot;https://github.com/videolan/vlc/blob/9053b0919f00d88f16e1ef3e3f79b1cced74f742/src/misc/fourcc_list.h&quot;&gt;following tags&lt;/a&gt; for generic MPEG-2 i.e. not IMX or XDCAM:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    A(&quot;mpeg&quot;),&#xA;    A(&quot;mp2v&quot;),&#xA;    A(&quot;MPEG&quot;),&#xA;    A(&quot;mpg2&quot;),&#xA;    A(&quot;MPG2&quot;),&#xA;    A(&quot;H262&quot;),&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-01-28T19:46:12.090" LastActivityDate="2016-01-28T19:46:12.090" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17536" PostTypeId="1" AcceptedAnswerId="17537" CreationDate="2016-01-29T08:32:49.473" Score="0" ViewCount="2137" Body="&lt;p&gt;I just uploaded a video to Facebook yesterday, and then I tried to download the video as HD, and I realized that Facebook actually re-encode the video even though the original video file doesn't rendered with high bitrate or super HD option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Original video&lt;/strong&gt;&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;File size: 50 Mb&lt;br&gt;&#xA;  Length: ~3 mins&lt;br&gt;&#xA;  Bitrate: &lt;strong&gt;2 Mbps&lt;/strong&gt;&lt;br&gt;&#xA;  Resolution: 1280x720&lt;br&gt;&#xA;  Frame rate: 25 fps&lt;br&gt;&#xA;  Reference frame: 8&lt;br&gt;&#xA;  Level: 4&lt;br&gt;&#xA;  Audio bitrate: &lt;strong&gt;128 Kbps&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;br&gt;&#xA;&lt;strong&gt;Uploaded video&lt;/strong&gt;&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;File size: 20 Mb&lt;br&gt;&#xA;  Length: ~3 mins&lt;br&gt;&#xA;  Bitrate: &lt;strong&gt;750 Kbps&lt;/strong&gt;&lt;br&gt;&#xA;  Resolution: 1280x720&lt;br&gt;&#xA;  Frame rate: 25 fps&lt;br&gt;&#xA;  Reference frame: 5&lt;br&gt;&#xA;  Level: 3.1&lt;br&gt;&#xA;  Audio bitrate: &lt;strong&gt;48 Kbps&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;As you can see there's a big loss of quality in the uploaded video. How can I avoid Facebook leave my video untouched? Or it will re-encode the video no matter how small the file size is?&lt;/p&gt;&#xA;" OwnerUserId="11713" LastActivityDate="2016-01-29T08:53:17.840" Title="How to avoid uploaded video being re-encode by Facebook" Tags="|video-quality|encoding|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17537" PostTypeId="2" ParentId="17536" CreationDate="2016-01-29T08:53:17.840" Score="1" Body="&lt;p&gt;You can't avoid the re-encode. They do this to be sure that every video they serve is in a standardized format, resolution and bitrate. It would be inefficient and risky to vet all diverse set of incoming files to check if they meet all their parameters, some of which are not easily available to set or tweak at the user's end.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-01-29T08:53:17.840" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17539" PostTypeId="1" CreationDate="2016-01-29T18:54:59.247" Score="1" ViewCount="70" Body="&lt;p&gt;I was filming an interview. Everything was cool with the right sound, WB, shutter speed and focus, However, my subject kept on moving in his chair the exposure changed whenever he moves. Then I realized it was my fault for I should have lock my exposure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Adobe Premiere for editing. Is there a way to have the computer auto average out the exposure for me?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=BhK6fI_yJio&quot; rel=&quot;nofollow&quot;&gt;Here's the specific video&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12680" LastActivityDate="2016-01-29T18:54:59.247" Title="How to fix a video with changing exposures (I didn't know about A/E Lock until now!)" Tags="|post-production|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17540" PostTypeId="2" ParentId="17019" CreationDate="2016-01-30T07:58:35.977" Score="1" Body="&lt;p&gt;You probably have to install or update Pro Video Formats on your mac. &lt;a href=&quot;https://support.apple.com/en-us/HT202252&quot; rel=&quot;nofollow&quot;&gt;https://support.apple.com/en-us/HT202252&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="8027" LastActivityDate="2016-01-30T07:58:35.977" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17543" PostTypeId="1" CreationDate="2016-01-30T21:02:03.187" Score="2" ViewCount="1400" Body="&lt;p&gt;I would like to hardcode subtitles using &lt;strong&gt;FFmpeg&lt;/strong&gt;, I'm trying to do this using the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i grdedFinal.mov -vf subtitles=portSbs.srt gradedFinalwithSubs.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;which returns the following error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2.8.5 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with Apple LLVM version 7.0.2 (clang-700.1.81)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/2.8.5 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-opencl --enable-libx264 --enable-libmp3lame --enable-libvo-aacenc --enable-libxvid --enable-libfreetype --enable-libtheora --enable-libvorbis --enable-libvpx --enable-librtmp --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libass --enable-ffplay --enable-libspeex --enable-libschroedinger --enable-libfdk-aac --enable-libopus --enable-frei0r --enable-libopenjpeg --disable-decoder=jpeg2000 --extra-cflags=-I/usr/local/Cellar/openjpeg/1.5.2_1/include/openjpeg-1.5 --enable-nonfree --enable-vda&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'grdedFinal.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt&#xA;    creation_time   : 2015-02-28 14:04:35&#xA;  Duration: 00:18:09.84, start: 0.000000, bitrate: 11270 kb/s&#xA;    Stream #0:0(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, s16, 1536 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-02-28 14:04:35&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:1(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, bt709), 1024x576, 9728 kb/s, 25 fps, 25 tbr, 2500 tbn, 5k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-02-28 14:04:35&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : H.264&#xA;[Parsed_subtitles_0 @ 0x7fbeaa50bca0] Shaper: FriBidi 0.19.7 (SIMPLE) HarfBuzz-ng 1.1.3 (COMPLEX)&#xA;[Parsed_subtitles_0 @ 0x7fbeaa50bca0] Unable to open portSbs.srt&#xA;[AVFilterGraph @ 0x7fbeaa50ba80] Error initializing filter 'subtitles' with args 'portSbs.srt'&#xA;Error opening filters!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I followed &lt;a href=&quot;http://www.renevolution.com/how-to-install-ffmpeg-on-mac-os-x/&quot; rel=&quot;nofollow&quot;&gt;those instructions&lt;/a&gt; when installing &lt;strong&gt;FFmpeg&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;brew install ffmpeg --with-fdk-aac --with-ffplay --with-freetype --with-frei0r --with-libass --with-libvo-aacenc --with-libvorbis --with-libvpx --with-opencore-amr --with-openjpeg --with-opus --with-rtmpdump --with-schroedinger --with-speex --with-theora --with-tools&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;Feedback following comments&lt;/h1&gt;&#xA;&#xA;&lt;h2&gt;1st suggestion&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Judging by the error message, it appears that something may be wrong with the &lt;strong&gt;SRT&lt;/strong&gt; file, isn't it?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;me-bash-3.2:/Volumes/Duracell$ ffmpeg -i gradedFinal.mov -i portSbs.srt -vf subtitles gradedFinalwithSubs.mov&#xA;ffmpeg version 2.8.5 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with Apple LLVM version 7.0.2 (clang-700.1.81)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/2.8.5 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-opencl --enable-libx264 --enable-libmp3lame --enable-libvo-aacenc --enable-libxvid --enable-libfreetype --enable-libtheora --enable-libvorbis --enable-libvpx --enable-librtmp --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libass --enable-ffplay --enable-libspeex --enable-libschroedinger --enable-libfdk-aac --enable-libopus --enable-frei0r --enable-libopenjpeg --disable-decoder=jpeg2000 --extra-cflags=-I/usr/local/Cellar/openjpeg/1.5.2_1/include/openjpeg-1.5 --enable-nonfree --enable-vda&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'gradedFinal.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt&#xA;    creation_time   : 2015-02-28 14:04:35&#xA;  Duration: 00:18:09.84, start: 0.000000, bitrate: 11267 kb/s&#xA;    Stream #0:0(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, s16, 1536 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-02-28 14:04:35&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:1(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, bt709), 1024x576, 9728 kb/s, 25 fps, 25 tbr, 2500 tbn, 5k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-02-28 14:04:35&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : H.264&#xA;portSbs.srt: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;Subtitle file&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;The subtitle file looks like that (extract):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;1&#xA;00:02:25,000 —&amp;gt; 00:02:29,000&#xA;Falei com um homem que me disse que eu estava a usar&#xA;demasiada roupa&#xA;&#xA;&#xA;2&#xA;00:02:29,000 –&amp;gt; 00:02:31,000&#xA;Que com isso devo querer proteger-me de alguma coisa&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;File info&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;me-bash-3.2:/Volumes/Duracell$ file -I portSbs.srt&#xA;portSbs.srt: text/plain; charset=utf-8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;2nd, checking filter&lt;/h2&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;me-bash-3.2:/Volumes/Duracell$ ffmpeg -help filter=subtitles&#xA;ffmpeg version 2.8.5 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with Apple LLVM version 7.0.2 (clang-700.1.81)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/2.8.5 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-opencl --enable-libx264 --enable-libmp3lame --enable-libvo-aacenc --enable-libxvid --enable-libfreetype --enable-libtheora --enable-libvorbis --enable-libvpx --enable-librtmp --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libass --enable-ffplay --enable-libspeex --enable-libschroedinger --enable-libfdk-aac --enable-libopus --enable-frei0r --enable-libopenjpeg --disable-decoder=jpeg2000 --extra-cflags=-I/usr/local/Cellar/openjpeg/1.5.2_1/include/openjpeg-1.5 --enable-nonfree --enable-vda&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Filter subtitles&#xA;  Render text subtitles onto input video using the libass library.&#xA;    Inputs:&#xA;       #0: default (video)&#xA;    Outputs:&#xA;       #0: default (video)&#xA;subtitles AVOptions:&#xA;  filename          &amp;lt;string&amp;gt;     ..FV.... set the filename of file to read&#xA;  f                 &amp;lt;string&amp;gt;     ..FV.... set the filename of file to read&#xA;  original_size     &amp;lt;image_size&amp;gt; ..FV.... set the size of the original video (used to scale fonts)&#xA;  fontsdir          &amp;lt;string&amp;gt;     ..FV.... set the directory containing the fonts to read&#xA;  charenc           &amp;lt;string&amp;gt;     ..FV.... set input character encoding&#xA;  stream_index      &amp;lt;int&amp;gt;        ..FV.... set stream index (from -1 to INT_MAX) (default -1)&#xA;  si                &amp;lt;int&amp;gt;        ..FV.... set stream index (from -1 to INT_MAX) (default -1)&#xA;  force_style       &amp;lt;string&amp;gt;     ..FV.... force subtitle style&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12686" LastEditorUserId="12686" LastEditDate="2016-01-31T11:55:23.430" LastActivityDate="2016-11-27T16:35:10.783" Title="Unable to hardcode subtitles in FFmpeg on Mac to mov" Tags="|ffmpeg|conversion|mac|subtitles|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="17544" PostTypeId="1" AcceptedAnswerId="17545" CreationDate="2016-01-30T21:11:23.740" Score="1" ViewCount="66" Body="&lt;p&gt;What do i gain / does it make sense to export video that is originally loaded in Premiere as:  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;mpg 720x576 /25fps / 7000kbps  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;to  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;h.264 1920x1080 / 25fps / 12000kbs target (15000 max) ?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am just adding lower third for few sec, no other modifications of the video.&lt;/p&gt;&#xA;" OwnerUserId="10560" LastActivityDate="2016-01-30T23:51:42.727" Title="Exporting in Premiere from mpg 720 to h.264 1920" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17545" PostTypeId="2" ParentId="17544" CreationDate="2016-01-30T23:51:42.727" Score="3" Body="&lt;p&gt;&lt;strong&gt;No.&lt;/strong&gt; I assume your 720x576 video uses anamorphic pixels, making for a 16:9 resolution. Still, there is no added benefit to the higher resolution, as it won't increase the quality of your video. On the other hand, your video file will be much larger. Export in your original resolution with a high bitrate instead (not higher than your source material though). If you need to export an uncompressed copy, use a visually lossless codec such as DNxHD or Apple ProRes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is, assuming by 'loaded into Premiere' you mean this is the resolution of your source material. If you are referring to your sequence and your source material actually has a higher resolution, create a new sequence with the respective settings, copy everything from your current sequence to the new one and export that using the same resolution as your source video.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-01-30T23:51:42.727" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17547" PostTypeId="2" ParentId="17543" CreationDate="2016-01-31T11:44:09.687" Score="2" Body="&lt;p&gt;It appears that the subtitles file did not have &lt;strong&gt;&lt;code&gt;--&amp;gt;&lt;/code&gt;&lt;/strong&gt; but a &lt;strong&gt;&lt;code&gt;–&amp;gt;&lt;/code&gt;&lt;/strong&gt; with the &lt;strong&gt;&lt;code&gt;–&lt;/code&gt;&lt;/strong&gt; corresponding to the &lt;em&gt;&lt;a href=&quot;http://www.getitwriteonline.com/archive/091502enem.htm&quot; rel=&quot;nofollow&quot;&gt;en dash&lt;/a&gt;&lt;/em&gt; that was placed in the file, which was edited by hand externally. It seems like the &lt;em&gt;en dash&lt;/em&gt; sign was assigned to typing &lt;kbd&gt;-&lt;/kbd&gt;&lt;kbd&gt;-&lt;/kbd&gt; in Mac TextEdit &lt;em&gt;(the functionality can be disabled in preferences)&lt;/em&gt;.&lt;/p&gt;&#xA;" OwnerUserId="12686" LastEditorUserId="12686" LastEditDate="2016-02-01T10:12:50.287" LastActivityDate="2016-02-01T10:12:50.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17548" PostTypeId="1" AcceptedAnswerId="17549" CreationDate="2016-01-31T12:01:02.363" Score="2" ViewCount="5612" Body="&lt;p&gt;After solving on problem I cam coming to a next one. After adding subtitles, discussed &lt;a href=&quot;https://video.stackexchange.com/q/17543/12686&quot;&gt;here&lt;/a&gt;, with the command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i grdedFinal.mov -vf subtitles=portSbs.srt gradedFinalwithSubs.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the quality of the generated file significantly decreased. The original file was of size &lt;strong&gt;1,5GB&lt;/strong&gt; whereas the resulting file was of size &lt;strong&gt;~300MB&lt;/strong&gt;. The subtitles are added correctly but the compression is unnecessary. In a word I would like for the &lt;strong&gt;FFmpeg&lt;/strong&gt; to add subtitless and do only that leaving the sound and picture quality untouched.&lt;/p&gt;&#xA;" OwnerUserId="12686" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-01-31T12:36:47.903" Title="Loss of quality while adding subtitle via FFmpeg" Tags="|ffmpeg|conversion|compression|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17549" PostTypeId="2" ParentId="17548" CreationDate="2016-01-31T12:29:49.350" Score="5" Body="&lt;p&gt;As you are hardcoding subtitles, the video (with the subtitles added) &lt;strong&gt;will be re-encoded&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use the CRF rate control method to modulate the quality of the output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, start with&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i grdedFinal.mov -vf subtitles=portSbs.srt -crf 18 -c:a copy gradedFinalwithSubs.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If the quality's not acceptable, lower that value till it is - in exchange for a larger file. Of course, don't decide based on file &lt;em&gt;size&lt;/em&gt; but on visual quality. x264 is very good at compressing video while maintaining subjectively perceived quality.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-01-31T12:36:47.903" LastActivityDate="2016-01-31T12:36:47.903" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17550" PostTypeId="1" AcceptedAnswerId="17585" CreationDate="2016-01-31T20:10:39.813" Score="1" ViewCount="1325" Body="&lt;p&gt;Suppose I've got 2 sequences, one named OUTER and one named INNER. Composition INNER is inside composition OUTER. INNER is shorter than OUTER and is placed in the middle of it's timeline. Inside INNER there is a text object which I want to display OUTER's current time - but I found out this is not so straightforward as I thought. My first idea was to create a solid namer TIMER inside OUTER and link the INNER's text object 'Source Text' to &lt;code&gt;comp(&quot;OUTER&quot;).layer(&quot;TIMER&quot;).time&lt;/code&gt; and despite that this layer lasts from the beginning to the end of OUTER, the text shown from OUTER's perspective is always starting with 0.0 when INNER starts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the sake of clarity, here is the pic:&lt;a href=&quot;https://i.stack.imgur.com/Hz5Yv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Hz5Yv.png&quot; alt=&quot;illustration&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a proper way to get linked composition's current time?&lt;/p&gt;&#xA;" OwnerUserId="12693" LastActivityDate="2020-12-04T09:24:31.273" Title="How to get 'outer' composition's current time?" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17555" PostTypeId="1" CreationDate="2016-02-01T08:51:45.380" Score="1" ViewCount="19" Body="&lt;p&gt;Is there any kind of solution to obtain simultaneous the clipname while shooting? prehaps to read hanc and fanc of the SDI signal? I use a sony AX1 4K.&lt;/p&gt;&#xA;" OwnerUserId="12697" LastEditorUserId="6685" LastEditDate="2016-02-01T22:41:07.363" LastActivityDate="2016-02-01T22:41:07.363" Title="How to obtain clipname while shooting?" Tags="|workflow|recording|shooting|sdi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17556" PostTypeId="1" AcceptedAnswerId="17559" CreationDate="2016-02-01T13:18:21.537" Score="1" ViewCount="222" Body="&lt;p&gt;I'm not very experienced, but I keep hearing, &quot;it's a good time to upgrade to a 4K setup&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is quite expensive, especially at this stage, but does it make sense from a logistical point of view? I would like to be doing this for quite sometime, but the 70D purchase set me back quite a bit.&lt;/p&gt;&#xA;" OwnerUserId="12698" LastActivityDate="2016-02-01T15:56:58.213" Title="Does it make sense to upgrade my set up to 4K from a (Canon) 70D set up?" Tags="|video-recording|canon|4k|" AnswerCount="1" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="17557" PostTypeId="2" ParentId="17555" CreationDate="2016-02-01T13:28:05.400" Score="1" Body="&lt;p&gt;Both RED and Alexa cameras offer this feature, and the Sound Devices PIX 240i &lt;a href=&quot;http://cdn.sounddevices.com/download/tech/Arri%20Alexa%20Interconnection.pdf&quot; rel=&quot;nofollow&quot;&gt;reads it&lt;/a&gt;.  But nowhere on the Internet is there any documentation that your SONY camera offers this feature.  Either SONY doesn't have it, or they greatly need to improve their documentation.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-02-01T13:28:05.400" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17559" PostTypeId="2" ParentId="17556" CreationDate="2016-02-01T15:56:58.213" Score="2" Body="&lt;p&gt;It all boils down to &quot;Do you need it&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are shooting corp promos and your clients keep asking or are insisting on 4K then Yes you can look into it as you can justify the purchase as the work is going to pay for it in the end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it is just an odd job here and there that they want 4K then hire one as it will be much cheaper at £££/$$$ for a day or two compared to £££££/$$$$$ plus upgrading cards and all your other kit to compliment the new camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had the same thought but only upgraded to a Canon C100 from my Canon 7D and didnt have to upgrade much else but did get rid of a few obstacles as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Put the money back into some decent glass and or upgrade other elements which could make your productions better, ie Audio, Lighting, Tripods, Lenses etc camera bodies you can swap and change but good accessories will last the test of time.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2016-02-01T15:56:58.213" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17560" PostTypeId="2" ParentId="15110" CreationDate="2016-02-01T16:40:51.683" Score="1" Body="&lt;p&gt;Instead of using a crossfade transition effect, use opacity keyframes in the video animation menu. &#xA;Select your clip and press &quot;control + v&quot;.&lt;/p&gt;&#xA;" OwnerUserId="12699" LastActivityDate="2016-02-01T16:40:51.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17562" PostTypeId="1" CreationDate="2016-02-01T18:34:35.137" Score="1" ViewCount="109" Body="&lt;p&gt;I came accross this image - and was wondering how to recreate it in after effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.truedigital.co.uk/assets/video/us-hero.mp4&quot; rel=&quot;nofollow&quot;&gt;https://www.truedigital.co.uk/assets/video/us-hero.mp4&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5117" LastActivityDate="2016-02-03T09:03:32.713" Title="Video overlay - how is this effect created?" Tags="|after-effects|effects|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17563" PostTypeId="2" ParentId="17562" CreationDate="2016-02-01T18:39:05.070" Score="-1" Body="&lt;p&gt;Just looks like a solid color layer on top with some transparency.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-01T18:39:05.070" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17565" PostTypeId="1" AcceptedAnswerId="17630" CreationDate="2016-02-01T21:14:33.733" Score="3" ViewCount="857" Body="&lt;p&gt;What off the shelf (COTS or OpenSource) have scene change detection? I would really like one that is not a fixed algorithm, but can either use motion vectors, audio, or static analysis depending on our needs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there something beyond what is already talked about in:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/12634/split-one-video-file-into-small-files-made-up-of-its-scenes&quot;&gt;Split one video file into small files made up of its scenes&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or with the matlab tool:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.mathworks.com/help/vision/examples/scene-change-detection.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.mathworks.com/help/vision/examples/scene-change-detection.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12701" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-02-09T16:18:27.940" Title="Scene change detection" Tags="|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17566" PostTypeId="1" CreationDate="2016-02-01T22:47:27.170" Score="1" ViewCount="227" Body="&lt;p&gt;I'm testing some high quality footage from Arri (&lt;a href=&quot;https://www.arri.com/EN/camera/alexa/learn/alexa_sample_footage/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.arri.com/EN/camera/alexa/learn/alexa_sample_footage/&lt;/a&gt;) and I've noticed that PP when rendering the timeline lowers the quality considerably. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you reference the below image, I have only added a title only and the timeline render quality in PP is awful. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both my playback and pause resolution is full. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I remove the title from the timeline the full quality is restored. This issue will occur with any PP effect. If I don't render the timeline, the program sequence runs at full quality. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final render out is fine, but I want to work with the footage in high quality as my machine is more than capable. What am I missing here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CPU: i7 4770K @ 4.3&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MEM: 32GB&lt;/p&gt;&#xA;&#xA;&lt;p&gt;GPU: GTX970&lt;/p&gt;&#xA;&#xA;&lt;p&gt;SSD Disks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qxueQ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qxueQ.jpg&quot; alt=&quot;Difference between source and program&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12703" LastActivityDate="2020-05-22T14:46:31.487" Title="Quality difference between source and timeline render" Tags="|premiere|video-quality|cs6|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17567" PostTypeId="2" ParentId="17566" CreationDate="2016-02-01T22:54:18.720" Score="1" Body="&lt;p&gt;after posting this I randomly stumbled upon a setting in Preferences. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Preferences -&gt; Memory&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Optimize rendering for performance&#xA;Changed to &quot;Memory&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looks fine now. &lt;/p&gt;&#xA;" OwnerUserId="12703" LastActivityDate="2016-02-01T22:54:18.720" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17568" PostTypeId="2" ParentId="17562" CreationDate="2016-02-02T05:36:25.000" Score="2" Body="&lt;p&gt;I was able to produce it by doing the following:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Convert the video to monochrome by turning the saturation down&lt;/li&gt;&#xA;&lt;li&gt;Apply Levels and bring the output black point up to around 30%&lt;/li&gt;&#xA;&lt;li&gt;Put an orange color solid over it and set the opacity to 50%&lt;/li&gt;&#xA;&lt;li&gt;Set the blend mode to &quot;Normal,&quot; &quot;Overlay,&quot; or &quot;Hard Light&quot;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;You can experiment with the black point and blend modes to get the look just right for your footage.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-02-02T05:36:25.000" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17570" PostTypeId="1" CreationDate="2016-02-02T10:35:51.180" Score="0" ViewCount="51" Body="&lt;p&gt;I am building an Arduino (&lt;a href=&quot;https://www.arduino.cc/en/Main/ArduinoBoardUno&quot; rel=&quot;nofollow&quot;&gt;https://www.arduino.cc/en/Main/ArduinoBoardUno&lt;/a&gt;) device that will record video based on a motion sensors, as well as other data in the environment. The thing is, I need to record from within a box to the outside, but the camera should not be visible. Any ideas or advice on how and what to use?&lt;/p&gt;&#xA;" OwnerUserId="12708" LastActivityDate="2016-04-02T21:42:55.523" Title="Material to record though so camera isn't visible?" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17573" PostTypeId="1" AcceptedAnswerId="17574" CreationDate="2016-02-02T16:03:49.657" Score="1" ViewCount="3843" Body="&lt;p&gt;I am a newbie to both Premiere Pro and After Effects.  We are making exercise instructional videos and want to overlay text instructions - very much like this video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/aea5BGj9a8Y?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would be the recommended way to do this. We have both Premiere Pro and After Effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any assistance/tips. &lt;/p&gt;&#xA;" OwnerUserId="12712" LastEditorUserId="1871" LastEditDate="2016-02-02T17:01:34.740" LastActivityDate="2018-07-27T02:35:21.077" Title="How to Overlay Text in Premiere Pro or After Effects?" Tags="|after-effects|premiere|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17574" PostTypeId="2" ParentId="17573" CreationDate="2016-02-02T16:57:51.710" Score="1" Body="&lt;p&gt;&lt;strong&gt;Premiere Pro&lt;/strong&gt; have more basic text tools, but it is easier to work with. Also, it is better for long files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;After Effects&lt;/strong&gt; allows you to manipulate with your text in much more various ways. You can use there more different text effects. But it is also more complicated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, it is up to you to decide. If you are looking for something basic, use Premiere. If you want to use some fancy effects, then use After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example typewriter effect, which is used in video in your question is one of the standard AE effects. You can also &lt;a href=&quot;https://www.youtube.com/watch?v=s6mbBnaO-DU&quot; rel=&quot;nofollow&quot;&gt;achieve that with Premiere Pro&lt;/a&gt;, but you will spend more time on each text. &lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-02-02T16:57:51.710" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17575" PostTypeId="2" ParentId="17570" CreationDate="2016-02-02T17:03:44.280" Score="1" Body="&lt;p&gt;If quality of video is not so important to you, then you can use effect, which is used on public transport windows:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/iknr9.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iknr9.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is when you use lot of dots on the glass. From the outside it looks like semitransparent image. But from inside it will look like that:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/9CEzx.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9CEzx.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With correct focus dots will be less visible on video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And second option is to use half-silvered mirror.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-02-02T17:03:44.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17577" PostTypeId="1" CreationDate="2016-02-02T23:07:04.243" Score="1" ViewCount="79" Body="&lt;p&gt;First for moderators, this is relevant because I have incorporated ffmpeg in a program to render videos needed for a web-app. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is that the videos I render randomly crash IE 11. Other browsers are fine. Here is a sample of my encoding strings: (Execution of all the strings  presented renders two versions of one video)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -start_number 1 -framerate 23.98  -i C:\videos\imagesequences\GOPR2001\startfoot_%%04d.png -profile:v baseline -level:v 3 -pix_fmt yuv420p -crf 1  -preset ultrafast -vframes 30  -vf fps='fps=23.98' -y C:\sprites\GOPR2001\GOPR2001_concat_1.mp4&#xA;&#xA;ffmpeg -start_number 52 -framerate 23.98  -i C:\videos\imagesequences\GOPR2001\%%04d.png  -profile:v baseline -level:v 3 -pix_fmt yuv420p  -crf 1  -preset ultrafast -vframes 80  -vf fps='fps=23.98' -y C:\sprites\GOPR2001\GOPR2001_concat_2.mp4&#xA;&#xA;ffmpeg -start_number 110  -framerate 23.98  -i C:\videos\imagesequences\GOPR2001\endfoot_%%04d.png -profile:v baseline -level:v 3 -pix_fmt yuv420p -crf 1  -preset ultrafast -vframes 31  -vf fps='fps=23.98' -y C:\sprites\GOPR2001\GOPR2001_concat_3.mp4&#xA;&#xA;ffmpeg -f concat -i C:\sprites\GOPR2001\concatlist.txt -profile:v baseline -level:v 3 -pix_fmt yuv420p -crf 28  -preset veryslow -y C:\sprites\GOPR2001\mobile_GOPR2001.mp4&#xA;&#xA;ffmpeg -f concat -i C:\sprites\GOPR2001\concatlist.txt -profile:v high -level:v 4 -pix_fmt yuv420p -crf 22  -preset veryslow -y C:\sprites\GOPR2001\GOPR2001.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Where of course the &lt;code&gt;concatlist.txt&lt;/code&gt; file contains the list of the three previously generated files. (I do effects on the front and tail end of the video this way.) One concatenation is for a mobile version. Either version causes the problem in IE &lt;/p&gt;&#xA;" OwnerUserId="12714" LastEditorUserId="1760" LastEditDate="2016-02-03T00:30:24.283" LastActivityDate="2016-02-03T00:30:24.283" Title="ffmpeg h264 crashes IE intermittently" Tags="|video|ffmpeg|mp4|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17578" PostTypeId="2" ParentId="17562" CreationDate="2016-02-03T09:03:32.713" Score="1" Body="&lt;p&gt;There are many ways to do this;&#xA;Three built in effects that do it for you, each with differing levels of control...&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;CC Toner&lt;/li&gt;&#xA;&lt;li&gt;Tritone&lt;/li&gt;&#xA;&lt;li&gt;Tint&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;just colour pick the shades of orange you want.&lt;/p&gt;&#xA;" OwnerUserId="12646" LastActivityDate="2016-02-03T09:03:32.713" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17579" PostTypeId="1" CreationDate="2016-02-03T14:38:39.010" Score="5" ViewCount="5790" Body="&lt;p&gt;I am trying to write text on a video in such a way that the text &quot;writes itself&quot; - letter by letter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To do this I was able to do something like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf &quot;[in]drawtext=text='a':fontfile='/Windows/Fonts/arial.ttf'\&#xA;:enable='between(t\,1\,1.5)':x=300:y=(h)-100-th, \&#xA;drawtext=text='ab':fontfile='/Windows/Fonts/arial.ttf':enable='between(t\,1.5\,2)':\&#xA;x=300:y=(h)-100-th&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This replaces the text on screen with a new one every half a second adding a new character. ( &lt;code&gt;a&lt;/code&gt; changes to &lt;code&gt;ab&lt;/code&gt; ). Obviously if the texts are long than this line would be really long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was able to do something similar and shorter with :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf &quot;[in]drawtext=fontsize=80:shadowcolor=Black:shadowx=2:shadowy=2:fontcolor=White:\&#xA;fontfile='/Windows/Fonts/arial.ttf':text='%{expr\:if(gt(t\,1.5)\,12\,1)}':\&#xA;x=300:y=(h)-100-th&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Where the text itself is an expression dependent on time. However this only works for numbers: &lt;code&gt;1&lt;/code&gt; changes to &lt;code&gt;12&lt;/code&gt; (ignoring the numbers after the decimal point for now).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now the issue is that if I try to do the same expression for texts (&lt;code&gt;a-&amp;gt;ab&lt;/code&gt;) this fails. and I get: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Expression 'if(gt(t,1.5),ab,a)' for the expr text expansion function is not valid.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The question is: Is it possible to have the expression return &lt;em&gt;the actual text&lt;/em&gt; after expansion and &lt;strong&gt;not&lt;/strong&gt; just &lt;em&gt;numbers&lt;/em&gt;?.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for anyone helping!&lt;/p&gt;&#xA;" OwnerUserId="12719" LastEditorUserId="18155" LastEditDate="2017-03-23T20:38:47.997" LastActivityDate="2017-03-23T20:38:47.997" Title="ffmpeg drawtext text parameter expressions" Tags="|ffmpeg|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="17580" PostTypeId="2" ParentId="17565" CreationDate="2016-02-03T15:42:42.937" Score="1" Body="&lt;p&gt;Both Speedgrade and Davinci Resolve have scene change detection.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Davinci Resolve is also free. I am not sure however on how exactly it detects scenes changes.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2016-02-03T15:42:42.937" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17581" PostTypeId="1" CreationDate="2016-02-03T19:12:08.310" Score="1" ViewCount="679" Body="&lt;p&gt;I have been kind of tearing my hair out trying to figure this out. I have a frame animation with 30 frames. I tried exporting it as a video set to 12fps. For some reason, what should be 2.5 seconds (30 frames at 12fps) is dropping down to 2 seconds on export. I thought it was some weird video codec glitch, but I discovered that the same thing happens when I export as an image sequence: Even though I have checked several times that &quot;All Frames&quot; was selected (other options are disabled anyway), I find only 24 pngs in my sequence where there should be 30.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help with this? It's a frame-by-frame rotoscoped animation so switching from frame animation to a timeline animation doesn't quite work. I know I can export frames manually by saving each frame one at a time, but it would be lovely to not have to do that (or to find a script that can do this for me to save time). The goal is to import the sequence to After Effects for additional animation/compositing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll gladly share screenshots later tonight when I'm at my animation computer again.&lt;/p&gt;&#xA;" OwnerUserId="12722" LastActivityDate="2017-11-26T18:03:41.347" Title="Photoshop animation dropping frames at 12fps or as image sequence" Tags="|after-effects|animation|framerate|animation-rendering|compositing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17582" PostTypeId="1" CreationDate="2016-02-04T04:15:36.073" Score="2" ViewCount="132" Body="&lt;p&gt;I have a Canon 6D DSLR that I am shooting video on. The camera is set to capture 1280x720 60fps IPB MOV / MPEG-4 files. The video files are in the range of 250MB per minute of recording. I have literally no skills in video editing and at this point just capture important family events to potentially edit in the future. I understand compression and the loss of quality from a general perspective. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a format or method that would be a reasonable trade-off between file size and quality beyond leaving the files in their existing state? Should I just leave them alone? Knowing that my DSLR has specific needs to write the file to a memory card immediately, it is understandable that it isn't in the optimal format for long term storage; so that is why I imagine an answer may exist to this question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Related:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/2615/compress-or-convert-mov-to-lighter-format&quot;&gt;Compress or convert .mov to lighter format&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1834" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-02-04T06:12:21.160" Title="How can I efficiently convert MOV / MPEG-4 files for long term storage?" Tags="|encoding|conversion|transcoding|storage|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17583" PostTypeId="2" ParentId="17582" CreationDate="2016-02-04T05:33:55.117" Score="1" Body="&lt;p&gt;Leave them as they are. If storage space is limited you could recompress them,  but given that the files coming from the DSLR are already compressed, to get an appreciable size reduction you would have to throw away a lot of quality. As you're planning to edit them in the future - meaning another transcoding - this would be a last resort.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Buy more hard drives. And remember that if you haven't saved the files in two physically separate locations, you haven't saved them. &lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-02-04T05:33:55.117" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17584" PostTypeId="2" ParentId="17582" CreationDate="2016-02-04T06:12:21.160" Score="4" Body="&lt;p&gt;Although @stib's advice is sound, I disagree with &quot;&lt;em&gt;to get an appreciable size reduction you would have to throw away a lot of quality&lt;/em&gt;&quot;. Cameras have to compress on-the-fly, so they use &lt;strong&gt;constrained baseline&lt;/strong&gt; mode, which is to say, they skip most of the tricks that H.264 codec uses to efficiently compress videos. If space isn't a pressing concern, keep them as-is. But if you'd like to recover some space, you can use &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;noreferrer&quot;&gt;ffmpeg&lt;/a&gt;, a command-line tool, to compress them while generally retaining quality.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -c:v libx264 -crf 12 -c:a copy -c:d copy -map 0 compressed.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;CRF values in the range of 12 to 15 will give you a smaller video stream, generally by 25 to 40%. Perversely, if your scene has a lot of fine texture detail like a forest or pebbles or embroidered cloth..etc, then compressibility won't be high and using these CRF values will likely produce output which is larger than the source. Skip compression in these cases. For most scenes, filled with smooth gradients or nearly-flat shaded surfaces, compression should yield a smaller file with good quality.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-04T06:12:21.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17585" PostTypeId="2" ParentId="17550" CreationDate="2016-02-04T07:14:22.297" Score="1" Body="&lt;p&gt;If you change the inner text layer's source text to this it will work:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;thisCompLayer = comp(&quot;outer&quot;).layer(thisComp.name);    &#xA;thisCompLayer.time + thisCompLayer.startTime&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You just offset the time to cope with the later start time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looks like when AE calculates values from another composition it just calculates them for the current comp's time. It makes sense, because there could be multiple copies, or no copies at all of the inner comp in the outer comp.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-02-04T07:14:22.297" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17586" PostTypeId="2" ParentId="17579" CreationDate="2016-02-04T12:28:00.947" Score="3" Body="&lt;p&gt;Ok, it can be done, but it's inelegant and has limitations, which make it in the end, not worthwhile. The limitation is that this only properly works with fixed-width fonts. And due to a &lt;a href=&quot;https://trac.ffmpeg.org/ticket/3302&quot; rel=&quot;nofollow&quot;&gt;still-unfixed-bug&lt;/a&gt; in ffmpeg, it will look somewhat ugly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But here it is,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -lavfi &quot;color=white:1280x120,fps=30[c]; \&#xA;[c]format=rgba, \&#xA;drawtext=fontfile=cour.ttf:fontcolor=red:fontsize=60:text='    A   AB  ABC ABCD':x=0:y=0, \&#xA;crop=144:120:min(144*trunc(2*t)\,432):0, \&#xA;colorkey=FFFFFF:0.01:1,setpts=PTS+(delay/TB)[tx]; \&#xA;[0:v][tx]overlay=576:600[out]&quot; \&#xA;-map [out] -map 0:a -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The basic flow is&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;create an opaque canvas - I used full width as my video input and enough height to contain the text, and I used the same framerate as my video&lt;/li&gt;&#xA;&lt;li&gt;On this canvas, draw the text once. The basic method here is to animate the crop window. So if your text is 5 characters long, then your print string is &lt;code&gt;text='     1    12   123  1234 12345'&lt;/code&gt;. The idea is that the crop width is equal to the full string width and the crop source shifts one string width periodically, thus simulating typing, since each new cropped area contains one additional character. So, first 5 blank spaces for the 5 characters, then after the first &lt;code&gt;1&lt;/code&gt; there are four spaces to pad out till a full string width is reached, then the 2nd stage text follows with 2 characters and 3 spaces, and so on. I've specified the color space of RGBA since it seemed to provide better results in the keying step further on.&lt;/li&gt;&#xA;&lt;li&gt;Now the canvas with text on it is cropped. Width is the full string width, and I've kept the same height, but as long it doesn't cut the text, doesn't matter. The crop offset X is animated as follows: &lt;code&gt;StringWidth * integer part of (time divided by period)&lt;/code&gt;. This shifts the crop window right by one string width after every period i.e. 0.5 seconds in this case. Now, this is enclosed in a minimum function because we want the crop to stay still after all characters have been printed. So, the 2nd value is &lt;code&gt;stringWidth * (no. of characters - 1)&lt;/code&gt;. Y isn't animated since this is one line only.&lt;/li&gt;&#xA;&lt;li&gt;The next part makes it ugly. Because of the bug, I kept the background opaque. So, now it has to be chroma keyed out. The filter looks for the BG color of white, and selects only that color (&lt;code&gt;0.01&lt;/code&gt;) and fully blends it. I was hoping to smooth out the edges. But doesn't work very well.&lt;/li&gt;&#xA;&lt;li&gt;The setpts allows to set a delay in seconds. The first character will appear at &lt;code&gt;delay + period&lt;/code&gt; seconds. &lt;/li&gt;&#xA;&lt;li&gt;Finally, we simply overlay the result on the video.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-02-04T13:01:20.163" LastActivityDate="2016-02-04T13:01:20.163" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17589" PostTypeId="2" ParentId="17573" CreationDate="2016-02-04T22:15:50.360" Score="1" Body="&lt;p&gt;I place &lt;a href=&quot;https://youtu.be/saIUJeDWql4?t=8s&quot; rel=&quot;nofollow noreferrer&quot;&gt;text overlays&lt;/a&gt; in my Premiere Pro videos several times a week. (I produce a video every day.) Premiere Pro has a &quot;Title&quot; menu with many options:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/c4TzV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/c4TzV.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you create a Default Still, Default Roll, or Default Crawl, you can drag it onto your timeline, size it, change the duration of it, and even animate it if you want to.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2016-02-04T22:15:50.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17590" PostTypeId="2" ParentId="17581" CreationDate="2016-02-05T08:37:20.863" Score="1" Body="&lt;p&gt;Don't do the frame rate change in Photoshop.  Do it later on in AE.  Export all 30 frames from Photoshop, then import them into AE.  Make a new comp in AE, setting the new frame rate as 12fps in the comp settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right click on your image sequence and choose &quot;interpret footage as 12fps&quot;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-02-05T08:37:20.863" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17591" PostTypeId="1" CreationDate="2016-02-05T12:26:02.487" Score="1" ViewCount="1341" Body="&lt;p&gt;I was wondering how does one create a sliding waveform in After Effects? I know how to do a static one (since there is a simple effect for it) but I have no idea how to do a progressing one that slides from one side of the screen to the other one for as long as the audiotrack lasts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="10977" LastActivityDate="2016-02-08T06:41:52.067" Title="After Effects: How to create a sliding waveform" Tags="|after-effects|audio|visual-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17592" PostTypeId="1" AcceptedAnswerId="17593" CreationDate="2016-02-05T13:48:45.520" Score="1" ViewCount="3330" Body="&lt;p&gt;I am new in any kind of video cutting programs. I started using Hitfilm 3 Express, becuase it's free and simple to use, I think. I'm wondering if and how it is possible to make a video stop for as example 5 seconds, show up a text (to explain something) and then let the video go on. Currently im doing this by splitting the video in two parts, make a screenshot of the scene i want and then insert this screenshot between the two videoparts.&lt;/p&gt;&#xA;" OwnerUserId="12731" LastActivityDate="2016-02-06T00:36:47.080" Title="Stop video (something like a screenshot) in Hitfilm 3 Express" Tags="|editing|screenshot|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17593" PostTypeId="2" ParentId="17592" CreationDate="2016-02-06T00:36:47.080" Score="1" Body="&lt;p&gt;The usual way to do this is with a speed effect.  Create a cut around the one frame you want to render as a still.  Your timeline should look like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;motion-before | single frame | motion-after&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can then place a speed effect on the single frame, slow it down to 0% playback speed, and it will happily play forever if you want.  Stretch single frame to 5 seconds of length (120 frames at 24fps) and then composite your text on top.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;People do this all the time.  Some applications have a &quot;freeze frame effect&quot; which is precisely setting the speed to zero for a default number of seconds.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-02-06T00:36:47.080" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17594" PostTypeId="1" AcceptedAnswerId="17670" CreationDate="2016-02-06T01:31:37.267" Score="1" ViewCount="130" Body="&lt;p&gt;Sort of a strange issue with Premiere. As you are aware you can change a clips duration by sliding the clip from the end back or fourth. For some reason, in a particular project this takes at least 3 seconds to move in or out (almost like lag). I've confirmed that in other projects this doesn't happen, so it wasn't something I changed in the settings. Have any of you ever experienced this or have any suggestions? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I already did a lot of work in the project, and I would hate to do that over again.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-02-13T01:32:50.397" Title="Adobe Premiere clip duration lag" Tags="|premiere|adobe|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17595" PostTypeId="1" CreationDate="2016-02-06T05:49:27.563" Score="2" ViewCount="807" Body="&lt;p&gt;Need some help automating video &amp;amp; audio stitching and could use some help/direction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say I have the following assets:&#xA;Video 1&#xA;Video 2&#xA;Video 3&#xA;Music 1&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And I want to build a few variations of the above assets like:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;b&gt;Variation #1&lt;/b&gt;&lt;br&gt;&#xA;Video 1 -&gt; Video 3&lt;br&gt;&#xA;&amp;lt;----Music 1-----&gt;&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;b&gt;Variation #2&lt;/b&gt;&lt;br&gt;&#xA;Video 3 -&gt; Video 1&lt;br&gt;&#xA;&amp;lt;----Music 1-----&gt;&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;b&gt;Note&lt;/b&gt; Music would need to be trimmed based on the length of the videos combined.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Is it possible to map a web form to the assets listed above (located on a local server) and have the web form ultimately build the order of the video and render out to the local server?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If possible, would FFmpeg or Animoto API (or another) be the right choice?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;What kind of time/resources would it take to build something like this?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="12738" LastActivityDate="2016-02-06T18:38:26.510" Title="Is ffmpeg the solution to automate video building from multiple files" Tags="|video|after-effects|ffmpeg|video-editor|automation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17596" PostTypeId="1" CreationDate="2016-02-06T06:29:21.897" Score="0" ViewCount="36" Body="&lt;p&gt;Is it possible to use a low resolution camera with low mega pixels and make it look like the video was shoot with a camera with high mega pixel (120 MP to say) after using adobe after effects?&lt;/p&gt;&#xA;" OwnerUserId="12739" LastActivityDate="2016-04-06T14:25:25.653" Title="Video transformation" Tags="|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17597" PostTypeId="2" ParentId="17596" CreationDate="2016-02-06T12:15:44.463" Score="1" Body="&lt;p&gt;If you're asking whether you can use AE to increase the actual or apparent resolution of a low-res source, the answer is no. You can't create resolution where none exists. If you could, no one would ever spend money on hi-res cameras. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you can do is 'sharpen' an image, which increases the contrast of edge detail and &lt;em&gt;may&lt;/em&gt; increase apparent resolution a little bit. But this doesn't increase actual resolution; it actually reduces it slightly.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-02-06T12:15:44.463" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17598" PostTypeId="2" ParentId="17595" CreationDate="2016-02-06T18:09:46.483" Score="4" Body="&lt;p&gt;You can do this with &lt;code&gt;ffmpeg&lt;/code&gt; using either the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#concat&quot; rel=&quot;nofollow&quot;&gt;concat filter&lt;/a&gt; or the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#concat&quot; rel=&quot;nofollow&quot;&gt;concat demuxer&lt;/a&gt;. Which one to use depends whether or not your inputs have the same parameters or not. If they do not, you may have to perform additional filtering to make everything suitable to be concatenated properly.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Example: concat filter&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;For inputs that vary in frame rate, width, and height:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video0 -i video1 -i video2 -i music -filter_complex \&#xA;&quot;[0:v]fps=25,scale=1280x720,setpts=PTS-STARTPTS[v0]; \&#xA;&quot;[1:v]fps=25,scale=1280x720,setpts=PTS-STARTPTS[v1]; \&#xA;&quot;[2:v]fps=25,scale=1280x720,setpts=PTS-STARTPTS[v2]; \&#xA;&quot;[v0][v1][v2]concat=n=3:v=1:a=0,format=yuv420p[v]&quot; \&#xA;-map &quot;[v]&quot; -map 3:a -shortest output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If outputting mp4 consider adding &lt;code&gt;-movflags +faststart&lt;/code&gt; as an output option if your viewers will watch via progressive download.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Example: concat demuxer&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;If all of your inputs are similar then first make a list file named &lt;code&gt;input.txt&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file &quot;/path/to/video0&quot;&#xA;file &quot;/path/to/video1&quot;&#xA;file &quot;/path/to/video2&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then run &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i input.txt -i music -shortest output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Add &lt;code&gt;-codec copy&lt;/code&gt; if you want to &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;nofollow&quot;&gt;stream copy&lt;/a&gt; instead of re-encode. This is not possible with the concat filter because filtering requires re-encoding.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Your questions&lt;/h2&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;Is it possible to map a web form to the assets listed above (located on a local server) and have the web form ultimately build the order of the video and render out to the local server?&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yes. As long as your &lt;a href=&quot;https://ffmpeg.org/ffmpeg-protocols.html&quot; rel=&quot;nofollow&quot;&gt;protocol&lt;/a&gt; is supported by &lt;code&gt;ffmpeg&lt;/code&gt;. See &lt;code&gt;ffmpeg -protocols&lt;/code&gt; for a list supported by your build.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol start=&quot;2&quot;&gt;&#xA;  &lt;li&gt;If possible, would FFmpeg or Animoto API (or another) be the right choice?&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It is possible with &lt;code&gt;ffmpeg&lt;/code&gt;, but I've never used Animoto API so I can't comment on that.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol start=&quot;3&quot;&gt;&#xA;  &lt;li&gt;What kind of time/resources would it take to build something like this?&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;That's not really possible to answer. You provided very little info and it depends on the skill of whoever is building it.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Also see&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow&quot;&gt;FFmpeg Wiki: Concatenate&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1871" LastEditDate="2016-02-06T18:38:26.510" LastActivityDate="2016-02-06T18:38:26.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17599" PostTypeId="1" CreationDate="2016-02-06T18:50:45.430" Score="0" ViewCount="746" Body="&lt;p&gt;I am using Filmora to create videos and would like to have several videos put together via split-screen.  I am able to do this, but I would like the audio from each of those split screens to come through.  It appears that Filmora is only allowing audio to come from one of the videos.  Is there a way to have it come from multiple videos simultaneously?&lt;/p&gt;&#xA;" OwnerUserId="12740" LastEditorUserId="4426" LastEditDate="2022-03-28T17:48:52.293" LastActivityDate="2023-12-18T20:03:35.453" Title="How do I use get audio from multiple screens using split-screen in Filmora" Tags="|audio|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="17601" PostTypeId="1" AcceptedAnswerId="17602" CreationDate="2016-02-06T20:55:59.700" Score="1" ViewCount="713" Body="&lt;p&gt;I'm a non-professional user with a Black Magic Cinema Camera 2.5k (BMCC). I have a number of separate audio outputs that I want to record with the video in Black Magic Media Express so I use multiple audio channels that I can edit in post-production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The audio outputs are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Microphone 1 via XLR or 1/4&quot; balanced&lt;/li&gt;&#xA;&lt;li&gt;Microphone 2 via XLR or 1/4&quot; balanced&lt;/li&gt;&#xA;&lt;li&gt;SDI audio from the BMCC embedded in video via SDI&lt;/li&gt;&#xA;&lt;li&gt;line out or S/PDIF from PC&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm trying to find a product I can use to record these audio channels separately in Media Express. I don't want to mix them in one stereo channel before they go into the camera and embed with the video via Thunderbolt to my PC/Mac, because I want to adjust the audio channels in post-production while not having to sync. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found the following products (from expensive to less expensive) via which I can do this, I think:&#xA;1. HyperDeck Studio Pro. Can record to SSD and/or via Thunderbolt to Mac/PC, sufficient inputs to maintain the audio channels.&#xA;2. UltraStudio 4k. Can record via Thunderbolt to Mac/PC and has inputs needed to maintain all the audio channels + more.&#xA;3. DeckLink Studio 4k. Has inputs I need. Can I use inputs at the same time and record with Media Express with multiple audio channels?&#xA;4. UltraStudio Express. Can record via Thunderbolt to Mac/PC. Does it have the necessary inputs? Can I use inputs at the same time and record with Media Express with multiple audio channels?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone answer my questions or tell me if I'm missing something? If there are other solutions for my situation, please let me know. Non Black Magic options are also welcome.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Greets,&lt;/p&gt;&#xA;" OwnerUserId="12742" LastActivityDate="2016-02-06T21:55:16.017" Title="What hardware do I need? Multiple audio input devices + BMCC video to Media Express" Tags="|post-production|audio-recording|bmcc|blackmagic|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17602" PostTypeId="2" ParentId="17601" CreationDate="2016-02-06T21:55:16.017" Score="1" Body="&lt;p&gt;The page you want to look at is the &quot;Capture and Playback&quot; page of the &lt;a href=&quot;https://www.blackmagicdesign.com/products&quot; rel=&quot;nofollow&quot;&gt;Blackmagic Products page&lt;/a&gt;.  Any device on that page that says &quot;four analog audio inputs&quot; is a good bet.  Media Express does indeed have the ability to record audio and video from an SDI input, and also audio-only from audio-only inputs, giving you a multichannel media file that you can then edit in post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However...I strongly suspect that the analog inputs of most (if not all) of these devices are line-level and don't supply phantom power.  Depending on what sorts of microphones you have, that could be one or two reasons per channel you will not get a satisfactory result.  Not to worry...you can buy a pair of microphone preamps that take mic-level inputs, possibly provide phantom power (if your mics require it), and deliver line-level signal to your audio inputs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, again...many of the products you listed above are OK for use in a post environment where computers (and their noise) can be sequestered from the operator, but they could be a real nuisance when used on location.  Not only is it an ergonomic pain to try to use a computer along side a camera, but when the computer's noise is recorded via the microphones, it adds injury to insult.  There are good reasons that people buy external recording devices and then marry the sound in post: they have mic-level inputs, they support recording multiple inputs to multiple tracks, they usually have long battery life, so can be used on location easily.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you absolutely must use your computer with your camera, the BMD products will do a good job (provided you have the right signal levels, which you can get with a preamp).  Otherwise, I suggest looking at the &lt;a href=&quot;https://www.zoom-na.com/products/field-video-recording/field-recording/&quot; rel=&quot;nofollow&quot;&gt;ZOOM field recording devices&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, if you plan to use the audio from the BMCC camera, be advised that it's really only good for sync.  The camera's built-in microphone picks up mostly fan noise, and its audio preamps are terrible.  But for scratch audio, it will tell you where the clapper is, and that's a help.  The headphone out jack can feed audio to the ZOOM, and you can plug your headphones into the ZOOM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you go with the external recording device, then you pretty much leave behind the world of Media Express.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-02-06T21:55:16.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17604" PostTypeId="2" ParentId="9917" CreationDate="2016-02-07T01:55:20.793" Score="0" Body="&lt;p&gt;To get the proper codecs supporting FOURCC of MP4V you can install ffdshow codec pack &lt;a href=&quot;http://www.videohelp.com/software/ffdshow/old-versions&quot; rel=&quot;nofollow&quot;&gt;http://www.videohelp.com/software/ffdshow/old-versions&lt;/a&gt; some of the older versions are nicer. the one i use the most is rev3631 because its the last one that contained the MPEG1 and MPEG2 encoders/decoders with it.  &lt;/p&gt;&#xA;" OwnerUserId="12744" LastActivityDate="2016-02-07T01:55:20.793" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17605" PostTypeId="1" AcceptedAnswerId="17606" CreationDate="2016-02-07T02:07:52.040" Score="0" ViewCount="597" Body="&lt;p&gt;Should i compress my final outputs down to FOURCC of DX50 or MP4V?  Tis the question.  I'm having a hard time deciding on this, since im not really sure what to expect in future technology development. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do want mac compatibility lending support to MP4V, i do run windows almost exclusively lending support to DX50, and there is a nice feature in DVD players playing divx files which think also supports DX50(among others, incluging DIVX)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However i can give a flying crap about dvd player support for the most part because i did away with using those 'Circular Silver' things altogether for audio and video media, on all fronts.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What i really want is only future compatibility, and playibility by any operating system in 10-25 years, and i only want to use either DX50(ill consider DIVX, but prefer the newer), or MP4V.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;CONS of MP4V, dvd player compatibility, and what else???&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CONS of DX50, no native MAC support(i might not be here in 20 years to explain to my children and grandchildren how to install alternative legacy players to play all my &quot;old crap&quot;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Trying to avoid becoming Legacy..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MP4V?  or DX50??&lt;/p&gt;&#xA;" OwnerUserId="12744" LastEditorUserId="12744" LastEditDate="2016-02-07T02:13:24.187" LastActivityDate="2017-05-03T23:27:46.167" Title="To MP4V, or to DX50, or not to be" Tags="|encoding|mpeg|mpeg4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17606" PostTypeId="2" ParentId="17605" CreationDate="2016-02-07T04:52:14.017" Score="1" Body="&lt;p&gt;If it's just a matter of which FOURCC to assign, and not the codec, then choose &lt;code&gt;MP4V&lt;/code&gt; since it has broader compatibility, and the tag can always be changed later, using a tool like ffmpeg i.e.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -c copy -map 0 -vtag DX50 tagged.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-07T04:52:14.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17607" PostTypeId="2" ParentId="17591" CreationDate="2016-02-07T09:58:53.920" Score="-2" Body="&lt;p&gt;The Trapcode Sound Keys plugin can do this quickly and easily. &#xA;&lt;a href=&quot;http://www.redgiant.com/products/trapcode-sound-keys/&quot; rel=&quot;nofollow&quot;&gt;http://www.redgiant.com/products/trapcode-sound-keys/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-02-07T09:58:53.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17609" PostTypeId="1" CreationDate="2016-02-03T03:18:58.040" Score="2" ViewCount="1010" Body="&lt;p&gt;I am making some video tutorials on some programming topics. An outside honking noise is interfering with the recordings. The windows and doors are packed, but even then the problem persists.&lt;/p&gt;&#xA;" OwnerUserId="12803" OwnerDisplayName="user2214297" LastEditorUserId="12749" LastEditDate="2016-02-09T13:54:07.650" LastActivityDate="2016-02-11T23:58:31.617" Title="How to remove honking noise in room for voice over recording" Tags="|screen-casting|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17610" PostTypeId="2" ParentId="17609" CreationDate="2016-02-03T20:47:38.027" Score="1" Body="&lt;p&gt;There are a few possible solutions.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Script the dialogue, and record the audio as an overdub during a time frame when there's no traffic outside.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If this is not possible ...&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;Re-record the audio, repeating every sentence that is interrupted by honking, and then cut-n-paste the good takes together in an audio editor.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Record the audio somewhere else.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Move. ;-)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerDisplayName="Kkinsey" LastActivityDate="2016-02-03T20:47:38.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17611" PostTypeId="2" ParentId="17609" CreationDate="2016-02-03T22:28:05.037" Score="2" Body="&lt;p&gt;When recording, as soon as you hear a honk or another noise, stop and go back to the beginning of the sentence you were saying. After your done, go back through your recording in a programme like Audition or Audacity and remove all the half-sentences that were interrupted by a honk, so only complete sentences remain.&lt;/p&gt;&#xA;" OwnerDisplayName="Wouter van Dijke" LastActivityDate="2016-02-03T22:28:05.037" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17612" PostTypeId="2" ParentId="17609" CreationDate="2016-02-03T23:11:35.283" Score="2" Body="&lt;p&gt;This is an issue for me too. You need a multi-pronged technique:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Choose the quietest room. If street noise is an issue, which room is furthest from the street? Many people have offices and desks, but record in a child's room while that child is at school.&lt;/li&gt;&#xA;&lt;li&gt;Arrange yourself facing into a corner (for echo reasons) and surround yourself with soft stuff as much as possible. A bedroom is quieter than the basement. Buy thick muffly curtains as an investment in what you're doing. Putting them over windows keeps out noise and soaks up noise that gets into the room. You can also buy canvas covered foam panels that look like art but soak up noise.&lt;/li&gt;&#xA;&lt;li&gt;Choose the time to record. Less traffic at night? Airplanes stop landing at midnight? Neighbours mow the lawn every Sunday? Take all that into account&lt;/li&gt;&#xA;&lt;li&gt;As Wouter says, if there's a noise, do that sentence over. That's how I handle ringing phones, footsteps overhead, and toilet flushes by people who forgot I was recording. Just take a breath, wait for quiet, and do the sentence again from the beginning. Then edit away the first try and the noise.&lt;/li&gt;&#xA;&lt;li&gt;Use a product that does some sort of noise reduction. For background irritations like rain or wind this can really help&lt;/li&gt;&#xA;&lt;li&gt;Know when to switch tasks for the day. After the tenth time you try to cheerfully say the same two lines but that dog next door barks or a car horn sounds, let it go. Work on writing the material for the next few things so that when you get a quiet time, you can record a bunch at once.&lt;/li&gt;&#xA;&lt;li&gt;If none of that works and moving isn't an option, you can make a recording booth or even arrange to go to a studio for a day and do it all at once. But that's getting out of life hack territory.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="12749" OwnerDisplayName="Kate Gregory" LastActivityDate="2016-02-03T23:11:35.283" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17613" PostTypeId="2" ParentId="17591" CreationDate="2016-02-08T06:41:52.067" Score="2" Body="&lt;p&gt;&lt;strong&gt;Simple.&lt;/strong&gt; Get the waveform of your audio file (You could screenshot the audio file in a sound editor to do this).&#xA;Animate it moving sideways.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Less simple:&lt;/strong&gt; Bring the audio into your comp. Right click the audio layer and chose &lt;strong&gt;Animation Assistant&gt;Convert audio to keyframes&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IdBxP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IdBxP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now use the keyframes to drive the scale, rotation, position etc of some elements of your comp. E.G. you could add a solid and apply this to the scale property:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[value[0], value[1]*thisComp.layer(&quot;Audio Amplitude&quot;).effect(&quot;Both Channels&quot;)(&quot;Slider&quot;)]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That will multiply the vertical scale of the solid by the amplitude of the audio (both channels).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you make an array of layers like the one above you can offset the time at which they read the audio level. You can use the &lt;code&gt;valueAtTime()&lt;/code&gt; function to use each solid layer's &lt;code&gt;index&lt;/code&gt; (the layer number) to add a two frame delay to each successive layer like this (two or more frames looks better than one frame, because a one-frame delay makes it look like you used method 1):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[value[0], value[1]*thisComp.layer(&quot;Audio Amplitude&quot;).effect(&quot;Both Channels&quot;)(&quot;Slider&quot;).valueAtTime(time + index*thisComp.frameDuration)]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Pro tip&lt;/strong&gt;: easily make a horizontal array of your solid layers by using this on the position property:&#xA;  &lt;code&gt;[index*width*1.2 - width/2, thisComp.height/2]&lt;/code&gt;&#xA;  that will line up the layers horizontally with a small gap between each one. Remove the &lt;code&gt;*1.2&lt;/code&gt; bit to align them next to each other. Apply that expression to one layer and just keep duplicating till you've filled your screen.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Here's an example which I've pre-comped with an adjustment layer over the top to give graduated colour to the bars:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sl9RN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sl9RN.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;also, turn on motion blur, it'll look a lot betterer.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-02-08T06:41:52.067" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17614" PostTypeId="2" ParentId="10340" CreationDate="2016-02-08T07:59:43.953" Score="2" Body="&lt;p&gt;For Minecraft you don't need to be on a Youtube Network.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mojang says you can &lt;a href=&quot;https://help.mojang.com/customer/en/portal/articles/1389657-youtube-monetization&quot; rel=&quot;nofollow&quot;&gt;monetize&lt;/a&gt; your Minecraft Youtube videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even if you use the game's &lt;a href=&quot;http://c418.org/?p=281&quot; rel=&quot;nofollow&quot;&gt;music&lt;/a&gt; in it &lt;em&gt;(however you can't use the music outside the video).&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Minecraft &lt;a href=&quot;https://account.mojang.com/documents/minecraft_eula&quot; rel=&quot;nofollow&quot;&gt;EULA&lt;/a&gt; says: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If you upload videos of the game to video sharing and streaming sites&#xA;  you are however allowed to put ads on them.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;And the Mojang &lt;a href=&quot;https://account.mojang.com/documents/brand_guidelines&quot; rel=&quot;nofollow&quot;&gt;brand guidelines&lt;/a&gt; says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;You are allowed to put footage of our game on YouTube or any other&#xA;  website. In fact, we like you doing so. &#xA;  ...&#xA;  ...&#xA;  you may make money using your videos of our game by, for instance,&#xA;  through ad revenue, as long as you also add your own unique content&#xA;  to the video, such as audio&#xA;  commentary.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="12753" LastActivityDate="2016-02-08T07:59:43.953" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17615" PostTypeId="1" AcceptedAnswerId="17619" CreationDate="2016-02-08T11:39:43.867" Score="3" ViewCount="2488" Body="&lt;p&gt;I've built an arrow that is controlled by two nulls - one at the start point and one at the end point.  Using some trigonometry in some expressions, it works.  When I move the nulls, the arrow resizes appropriately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I try to parent one of the nulls to another object (like another null, or a shape layer), the null position jumps.  And even after parenting, the parent null can't move the child null.. Any ideas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;video:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/RPW8DrsX7Y0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below are snippets of the controlling code, based on some &lt;a href=&quot;https://forums.creativecow.net/thread/227/6984&quot; rel=&quot;nofollow&quot;&gt;scripts by others&lt;/a&gt; that I found online.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;arrowlength controlled by&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;CellTower = thisComp.layer(&quot;startpoint&quot;).transform.position;&#xA;Target = thisComp.layer(&quot;endpoint&quot;).transform.position;&#xA;sizefactor = 100/(effect(&quot;ArrowSize&quot;)(&quot;Slider&quot;));&#xA;BeamLength = (length(CellTower, Target)*sizefactor)-150;&#xA;[BeamLength]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;rotation of the arrow controlled by&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;CellTower=thisComp.layer(&quot;startpoint&quot;).transform.position;&#xA;Target=thisComp.layer(&quot;endpoint&quot;).transform.position;&#xA;&#xA;// Find the length of side a&#xA;SideA = sub(CellTower, Target)[1];&#xA;&#xA;// Find the length of side b&#xA;SideB = sub(CellTower, Target)[0];&#xA;&#xA;//Find the Angle between them&#xA;-1*(270-(radiansToDegrees(Math.atan2(SideA, SideB))+180));&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2016-02-08T12:32:44.147" LastActivityDate="2016-02-08T23:08:07.537" Title="Parenting a null causes unexpected results" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17617" PostTypeId="1" CreationDate="2016-02-08T16:20:04.077" Score="0" ViewCount="122" Body="&lt;p&gt;I just wondered what Plugins are neceassary to create such a liquid looking effect like in this video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/136832449&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/136832449&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Screenshot:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/gg0XH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gg0XH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2016-02-09T16:46:25.050" Title="How Do I create this liquid like animation?" Tags="|after-effects|animation|workflow|plugins|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17618" PostTypeId="2" ParentId="17617" CreationDate="2016-02-08T22:50:08.343" Score="2" Body="&lt;p&gt;Those paint splats are often done with stock footage or filmed footage. Get a black or green surface, throw some paint at it and film it. Bring it in to AE and extract the alpha from the luma or with chroma-key and then re-colour the paint however you like using your colour correction tools of choice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make liquid effects in AE without footage, here's the technique I've been using since forever. I worked it out myself years ago, but so did a lot of other people, so I won't claim to have invented it&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take your source layer, eg. text, footage whatever. Apply the &lt;strong&gt;turbulent displace&lt;/strong&gt; filter to it, starting with 0% strength and ramping up. Muck around with the settings and animate the evolution setting until it looks like you want it. Then apply a blur, again, starting at 0 then ramping up. Then use the &lt;strong&gt;extract&lt;/strong&gt; filter to harden the edges of the blurred outlines. Lastly use the &lt;strong&gt;fill&lt;/strong&gt; filter to fill in the layer with a solid colour. The effect will be something dissolving into blobs of liquid. Works best with line art and text, or high contrast footage.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-02-08T22:50:08.343" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17619" PostTypeId="2" ParentId="17615" CreationDate="2016-02-08T23:08:07.537" Score="1" Body="&lt;p&gt;I think the problem there is that the expression is using the position value for the null. As you know when you parent a layer to another layer its position becomes relative to its parent. So if for example you have a null at [960,540] and you parent it to a layer whose position is also [960,540] the null's position now becomes [0,0]. This means that any expressions that use that value now are seeing [0,0] instead of [960,540].&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you need to feed the null's absolute position in world space to the expression. This is where the mysterious &lt;strong&gt;Layer Space Transform&lt;/strong&gt; functions come into play.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Change the parts of the expression that have the null's position from&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;CellTower=thisComp.layer(&quot;startpoint&quot;).transform.position;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;to &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;startPoint = thisComp.layer(&quot;startpoint&quot;); &#xA;//use a variable just to make the next line easier to understand&#xA;CellTower=startPoint.toWorld(startPoint.anchorPoint);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What that is doing is translating a point as seen from the relative coordinates of the layer startPoint to the world coordinates of the comp. The point that we're giving it to translate is startPoint's anchor point.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-02-08T23:08:07.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17620" PostTypeId="1" CreationDate="2016-02-09T00:59:51.817" Score="0" ViewCount="54" Body="&lt;p&gt;I have many hours of footage from a friend's wedding I want to set to a music video.  I'm using Adobe Premiere.  I already have the main story arch, and now I want to fine-tune the sequence of shots per scene/act.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think what'd work best for me is to grab snapshots of the candidate clips and lay them out in an app that lets me sort and organize. After that, I want to run through the storyboard along with the song to see how well it fits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does someone know a good process or app for doing this?  Ideally, I want to replicate the process of using storyboard index cards and organizing them manually.  I imagine it's easier to do this all in software since the source material is all digital.  Free is preferred but I'll consider paying for something nice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Left to my own devices I'll probably pull screen caps using Premiere or VLC and sort them manually in Windows Explorer.&lt;/p&gt;&#xA;" OwnerUserId="11690" LastActivityDate="2016-04-01T04:37:17.077" Title="Good app / process for organizing video snapshots into a storyboard?" Tags="|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17621" PostTypeId="1" CreationDate="2016-02-09T04:31:38.990" Score="0" ViewCount="572" Body="&lt;p&gt;I want to take a live HD-SDI signal being captured by a capture card and encode it in real time to X.264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What happens when the input resolution suddenly changes? eg, from HD SDI 1080/50i to HD SDI 720/59p, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does the encoder handle that gracefully? Or would there be some artifacts/disturbance in the output? (or worse?)&lt;/p&gt;&#xA;" OwnerUserId="12757" LastActivityDate="2016-02-12T18:04:44.130" Title="Real time ffmpeg / x264 encoder behavior when input resolution suddenly changes" Tags="|ffmpeg|libx264|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17622" PostTypeId="2" ParentId="16140" CreationDate="2016-02-09T09:37:54.387" Score="0" Body="&lt;p&gt;Crop filter is not designed to change orientation, use another filter to change orientation of cropped video.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2016-02-09T09:37:54.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17623" PostTypeId="2" ParentId="16140" CreationDate="2016-02-09T10:10:33.360" Score="1" Body="&lt;p&gt;What's happening here is two things:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1)your video is portrait but stored as a landscape matrix and ffmpeg is applying autorotate so that all players natively display it in what ffmpeg thinks is the correct orientation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) the video has a PAL DV aspect ratio of ~1.09, so after the autorotation and aspect ratio correction, 568 x 320 is autorotated to 320 x 568 with 1.09 scaler being applied to both W and H.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try this, instead:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i VID_1438833296.mp4 -noautorotate -vf setsar=1,crop=568:320:0:0 -metadata:s:v:0 rotate=0 -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-09T10:10:33.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17625" PostTypeId="2" ParentId="17195" CreationDate="2016-02-09T10:18:10.250" Score="2" Body="&lt;p&gt;It works if you mix audio separately.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i test.mp4 \&#xA;-f lavfi -i amovie=bg_sound.mp3:loop=55555 \&#xA;-filter_complex &quot;[0:a][1:a]amerge, \&#xA;                 pan=stereo|c0=0.5*c0+0.5*c2|c1=0.5*c1+0.5*c3&quot; \&#xA;output.flac&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerDisplayName="user12174" LastEditorUserId="1871" LastEditDate="2016-02-09T10:21:02.443" LastActivityDate="2016-02-09T10:21:02.443" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17626" PostTypeId="1" AcceptedAnswerId="17643" CreationDate="2016-02-09T14:34:05.430" Score="0" ViewCount="651" Body="&lt;p&gt;I want to use some kind of effect, to make the video flash for a short time, when something happens. (Example for a gaming video, when you get a kill the screen should flash for like a half a second)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using Hitfilm 3 Express. So far i found an effect, which looks pretty good, but i have no idea how to make it look a little more smooth. Is there a way to use effects over time in Hitfilm 3 Express?&lt;/p&gt;&#xA;" OwnerUserId="12731" LastActivityDate="2016-02-10T08:43:25.317" Title="Adding screen flash (Hitfilm 3 Express)" Tags="|video-editor|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17627" PostTypeId="2" ParentId="13159" CreationDate="2016-02-09T15:53:39.580" Score="1" Body="&lt;p&gt;filgergraph as described can not work, you can not use [alpha] twice, you need to split it:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;[0:v]split[bg][key];&#xA;[bg]crop=720:576:0:0, format=gbrap,setsar=0:1[rgb];&#xA;[key]crop=720:576:720:0,format=gray8,setsar=0:1,scale=720:576,split[alpha2][alpha];&#xA;[1:v]scale=720:576,format=yuv420p,setsar=0:1[video];&#xA;[alpha]negate[neg_alpha];&#xA;[video][neg_alpha]blend=all_mode='multiply':all_opacity=1[masked_video];&#xA;[rgb][alpha2]blend=all_mode='multiply':all_opacity=1[masked_3d];&#xA;[masked_video][masked_3d]blend=all_mode='addition':all_opacity=1&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2016-02-09T15:53:39.580" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17628" PostTypeId="2" ParentId="15937" CreationDate="2016-02-09T16:00:20.853" Score="4" Body="&lt;p&gt;This was bug in atrim filter, not supporting unknown channel layouts, it should be fixed in latest ffmpeg.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2016-02-09T16:00:20.853" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17629" PostTypeId="2" ParentId="11912" CreationDate="2016-02-09T16:16:22.550" Score="2" Body="&lt;p&gt;FFmpeg have dynaudnorm filter, which increases audio volume where needed.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2016-02-09T16:16:22.550" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17630" PostTypeId="2" ParentId="17565" CreationDate="2016-02-09T16:18:27.940" Score="0" Body="&lt;p&gt;I have been working with Magnum 3 (&lt;a href=&quot;http://aescripts.com/magnum/&quot; rel=&quot;nofollow&quot;&gt;http://aescripts.com/magnum/&lt;/a&gt;) {a plugin in for After Effects} for a few days. It definitely meets my needs (at $39.99). Things I like:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;You can set the threshold for scene detection&lt;/li&gt;&#xA;&lt;li&gt;You can get a graph of the detection layer, where spikes show values on timeline for where detection is higher (set the threshold to include all the spikes you want)&lt;/li&gt;&#xA;&lt;li&gt;Either splits the layer, or creates markers&lt;/li&gt;&#xA;&lt;li&gt;You can export thumbnails for scene changes, and a text file for the &quot;EDL&quot; (actually, you have a template you can use to write out Text or CSV files in any format you want).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="12701" LastActivityDate="2016-02-09T16:18:27.940" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17631" PostTypeId="1" AcceptedAnswerId="18914" CreationDate="2016-02-09T16:34:32.653" Score="1" ViewCount="1528" Body="&lt;p&gt;I am currently experimenting with after effects and premiere to see what sort of strange things they might be capable of and was hoping someone had some insight on an Idea I had.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this situation I have some text, such as some subtitles or even a time code, that is burned into the footage. I do not have any of the project files for this footage, the only thing I have to work with is the final video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to have either Adobe Premiere or After Effects recognize what text is on screen automatically? Bonus points if it can then take this information and feed it into a new title element. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. This is all assuming the source video's text is of decent quality (i.e. the text is static, decently distinguished from the video behind it, and not too tiny.)&lt;/p&gt;&#xA;" OwnerUserId="12760" LastActivityDate="2016-07-15T00:07:42.327" Title="How to automatically pull text out of a video" Tags="|after-effects|premiere|post-production|after-effects-expressions|programming|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17632" PostTypeId="1" AcceptedAnswerId="17641" CreationDate="2016-02-09T16:45:41.033" Score="0" ViewCount="205" Body="&lt;p&gt;I have a video of a TAS I've created that unfortunately does not contain sound. I would like to add sound to the video before releasing it, but I obviously don't want to have to go through and place hundreds or thousands of sounds manually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example of a finished product, with all sounds that are present having been added manually, can be seen here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/_2DYXu5wynQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can modify the source code of the game, so a list of exact frames that sounds are played on is trivial to create. I'm currently using Adobe Premiere Pro CC 2015, but I'm happy to switch to different software if it provides the functionality I want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmpeg looks like it might be able to do what I want, but I don't know enough about using it and haven't been able to find any examples of using it for what I want to do. I'd also rather not create a plugin (and haven't been able to find any information on scripting) for Premiere or anything like that, though I'd prefer that to doing it manually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="12761" LastActivityDate="2016-03-22T19:43:53.363" Title="Adding many sounds to a video file at specific frames" Tags="|video|premiere|ffmpeg|editing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17633" PostTypeId="2" ParentId="17617" CreationDate="2016-02-09T16:46:25.050" Score="0" Body="&lt;p&gt;Looks like no fancy plug-ins or effects are used. It is simply a case of keyframming shape paths/masks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(thats how the people who make the stock footage do it)&lt;/p&gt;&#xA;" OwnerUserId="12646" LastActivityDate="2016-02-09T16:46:25.050" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17634" PostTypeId="1" CreationDate="2016-02-09T18:13:08.210" Score="1" ViewCount="63" Body="&lt;p&gt;A long time ago I had a HI-8 camera. Now I would like to create home movies I can share digitally. Does anyone know a simple an hopefully inexpensive way to transfer these tapes to my computer?&lt;/p&gt;&#xA;" OwnerUserId="12763" LastActivityDate="2016-02-12T22:28:35.760" Title="What is a simple way to transfer HI-8 tapes to my computer?" Tags="|tape|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17636" PostTypeId="2" ParentId="17594" CreationDate="2016-02-09T21:24:33.913" Score="0" Body="&lt;p&gt;This smells of disk I/O problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you resize a clip in the timeline as you described, two things are happening:&#xA;1) The project data and clip metadata are modified&#xA;2) The video file itself is reloaded to refresh any thumbnails, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thus, two things I would try to troubleshoot your situation:&#xA;For problems with (1), I would save/export another copy of the project file.  See if openings this copy shows any improvement.&#xA;For problems with (2), make a copy of the source clip on disk, import that copy into the project and try using the new file instead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't have access to Adobe Premiere source code, so I can't tell for certain what the issue is, but the above is what I would try in an attempt to troubleshoot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let me know how it goes.  Good luck!&lt;/p&gt;&#xA;" OwnerUserId="11690" LastActivityDate="2016-02-09T21:24:33.913" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17637" PostTypeId="1" AcceptedAnswerId="17639" CreationDate="2016-02-10T00:11:42.390" Score="2" ViewCount="740" Body="&lt;p&gt;This is the best my actioncam can create.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0GbFx.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0GbFx.jpg&quot; alt=&quot;Rollei Wifi 5S&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My goal is to take advantage of this low quality and save as much harddrive space as possible so visible quality remains.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which measurements can I take using which windows programs to exploit the already low quality and save as much space as possible?&lt;/p&gt;&#xA;" OwnerUserId="12346" LastActivityDate="2016-02-10T05:15:52.537" Title="Which measurements can I take using which programs to exploit the already low quality and save as much space as possible?" Tags="|video|software-recommendation|video-quality|compression|recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17638" PostTypeId="1" AcceptedAnswerId="17640" CreationDate="2016-02-10T02:20:27.050" Score="0" ViewCount="280" Body="&lt;p&gt;I want to stream a video on a device full screen (therefore, the dimensions of the display are fixed)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What should I focus on to offer the best experience for a given bandwidth? Should I have other concerns than bandwidth (GPU...)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my understanding so far:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;fps is very straightforward in how it works. I don't seen a big difference between 15fps - 30fps+ (compare to the other parameters I can change) But since videos are compressed based on frames deltas, I'm not sure caping fps save any noticeable bandwidth. It might save GPU decoding and rendering, but I'm not sure of that either: Let say the screen has a refresh rate of 60Hz, would that help to have a video fps of 15 vs 30? It still probably helps on the decoding, but most devices are fine with those rates.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;dimensions (ie 720p, 2k...) The video will be stretched or reduced to fit screen size. For a constant byte rate, Do I get a different result with a 480p with 0.1 byte/pixel/frame ratio vs than a 720p with a 0.04 byte/pixel/frame (~same total) ?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Would the response change if the size of the screen is roughly 480p vs much larger?&lt;/li&gt;&#xA;&lt;li&gt;Does that impact decoding/rendering at all? I guess decoding because you have to decode every pixel. Not sure about rendering since the size of the displayed video is fixed.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Finally byte rate. This is the closest parameter to the bandwidth constraint. Is fixing byte rate gonna find the best compromise to do to offer the best quality, or should I still change other parameters?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Does changing keyframes frequency lower the bandwidth used (while having the downsides of having less keyframes like for seeking)&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;(I'm using ffmpeg h264 encoder)&lt;/p&gt;&#xA;" OwnerUserId="12767" LastActivityDate="2016-02-10T05:48:32.497" Title="How to compromise between byte rate, resolution and fps" Tags="|streaming|framerate|compression|keyframes|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17639" PostTypeId="2" ParentId="17637" CreationDate="2016-02-10T05:15:52.537" Score="3" Body="&lt;p&gt;There are a few video quality metrics available for you to use, primarily &lt;a href=&quot;https://en.wikipedia.org/wiki/Structural_similarity&quot; rel=&quot;nofollow&quot;&gt;SSIM&lt;/a&gt; and also &lt;a href=&quot;https://en.wikipedia.org/wiki/Peak_signal-to-noise_ratio&quot; rel=&quot;nofollow&quot;&gt;PSNR&lt;/a&gt;. You can use &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt; to convert the video and then compare the output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 1&lt;/strong&gt; Convert the video&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i actioncamfile -c:v libx264 -crf 23 -c:a copy -map 0 compressed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The CRF value modulates the quality. Lower values produce better quality but larger file sizes. Typical values range from 18 to 28, but absolute range is 0 to 51, but 0 being lossless, which will produce an exact looking file but will be bloated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to test with only a small section, say 20 seconds of the source starting from 15 seconds into the file, you can use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 15 -i actioncamfile -t 20 -c:v libx264 -crf 23 -c:a copy -map 0 compressed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 2&lt;/strong&gt; Measure the quality of the conversion&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i compressed.mp4 -i actioncamfile -lavfi &quot;ssim;[0:v][1:v]psnr&quot; -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This command output, at its end, will display lines like this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_ssim_0 @ 000000000039ad80] SSIM Y:0.984483 U:0.980458 V:0.980921 All:0.983219 (17.751712)&#xA;[Parsed_psnr_1 @ 0000000000398320] PSNR y:42.63 u:43.19 v:44.09 average:42.90 min:42.07 max:46.16&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can aim for a SSIM &lt;code&gt;All&lt;/code&gt; value to be at least 0.99, or set your own benchmark, based on what's acceptable.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-10T05:15:52.537" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17640" PostTypeId="2" ParentId="17638" CreationDate="2016-02-10T05:48:32.497" Score="1" Body="&lt;p&gt;Since bandwidth is fixed, first step to maximize quality is to full use that bandwidth so bitrate should be set to that number.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frame rate will make a modest difference, once a fixed bitrate is specified, since typically x264 places keyframes 250 frames apart and so all or most frames in a random second are delta frames, so leave that between 24 to 30.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For keeping a given quality, size increases, but not linearly, with resolution. So 1080p, with 2.25 times the no. of pixels as 720p, takes around, say, 1.5 to 1.8 times to keep the same quality. This choice depends entirely on the nature of content. For live-action material, 480p is good enough. Remember, till the advent of HD a decade ago, American television audiences had been watching 480i feeds for decades. For 2D animation, with sharp edges, 720p may be a better choice.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-10T05:48:32.497" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17641" PostTypeId="2" ParentId="17632" CreationDate="2016-02-10T05:55:03.423" Score="0" Body="&lt;p&gt;Alright, more googling found that ffmpeg is definitely the solution to my issue!&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inputvideo.mp4 -i inputsound.wav -filter_complex &quot;[1:0]adelay=leftchanneldelay|rightchanneldelay[delayed];[0:1][delayed]amix[mixout]&quot; -map 0:v -map [mixout] -c:v copy -c:a aac outputvideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This line allows me to easily determine where in the video (down to the millisecond, which is more than precise enough with each frame equaling 20 milliseconds) I wish to place the sound; wrap it in a loop inside a batch file (or whichever method you prefer) and off you go!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: A more fully-featured solution written in Java, which only creates the audio file (to allow you to add it manually):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;package javaapplication4;&#xA;&#xA;import java.io.IOException;&#xA;&#xA;public class JavaApplication4 {&#xA;static String delay;&#xA;&#xA;public static void main(String[] args) throws IOException, InterruptedException {&#xA;    String a = &quot;0&quot;;&#xA;    String c = &quot;1&quot;;&#xA;    String temp = &quot;&quot;;&#xA;    String basePath = &quot;C:\\Users\\Desktop\\Stuff\\FFMpeg\\&quot;;&#xA;    String fileIn = &quot;blockbreak&quot;;&#xA;    int[] delays = {2740,5760,51381,61040,84520,109600,113660,156640,311260,312820,314100,443800,735120,740540};&#xA;    Runtime.getRuntime().exec(basePath + &quot;ffmpeg.exe -y -i &quot; + basePath + fileIn +&quot;.flac -filter_complex \&quot;[0:0]adelay=&quot; + delays[0] + &quot;[mixout]\&quot; -map [mixout] -c:a flac &quot; + basePath + &quot;output0.flac&quot;).waitFor();&#xA;    for (int i = 1; i &amp;lt;= delays.length - 1; i++) {&#xA;        delay = &quot;&quot; + delays[i];&#xA;        System.out.println(&quot;&quot; + (i) + &quot;/&quot; + (delays.length - 1));&#xA;        Runtime.getRuntime().exec(basePath + &quot;ffmpeg.exe -y -i &quot; + basePath + &quot;output&quot; + a + &quot;.flac -i &quot; + basePath + fileIn +&quot;.flac -filter_complex \&quot;[1:0]adelay=&quot; + delay + &quot;[delayed];[delayed][0:0]amix=inputs=2:duration=longest[mixin];[mixin]volume=6.0201dB[mixout]\&quot; -map [mixout] -c:a flac &quot; + basePath + &quot;output&quot; + c + &quot;.flac&quot;).waitFor();&#xA;        temp = a;&#xA;        a = c;&#xA;        c = temp;&#xA;    }&#xA;&#xA;}&#xA;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I increase the volume of the sound by 6.021db each time as ffmpeg seems to lower the volume when encoding; this isn't a perfect number, but it's close enough that the difference in volume between the first and last sounds in a file that's a few thousand sounds long ends up being around 1 db.&lt;/p&gt;&#xA;" OwnerUserId="12761" LastEditorUserId="12761" LastEditDate="2016-03-22T19:43:53.363" LastActivityDate="2016-03-22T19:43:53.363" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17643" PostTypeId="2" ParentId="17626" CreationDate="2016-02-10T08:43:25.317" Score="0" Body="&lt;p&gt;You need to switch to the compositing timeline in HitFilm so that you can animate your effect (using keyframes). There are 2 timelines in HitFilm - one for editing your footage and another for layered animation work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's worth watching the tutorials on the HitFilm YouTube channel here &gt; &lt;a href=&quot;https://www.youtube.com/user/FXhomeHitFilm&quot; rel=&quot;nofollow&quot;&gt;https://www.youtube.com/user/FXhomeHitFilm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This specific tutorial explains the difference between the two timelines &gt; https://youtu.be/bawBXIhMxsM&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This video explains animating with keyframes &gt; https://youtu.be/jEPm2FPMZI8&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope that helps! :D&lt;/p&gt;&#xA;" OwnerUserId="12771" LastActivityDate="2016-02-10T08:43:25.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17644" PostTypeId="1" AcceptedAnswerId="17657" CreationDate="2016-02-10T08:51:39.477" Score="1" ViewCount="1639" Body="&lt;p&gt;I have a low-light situation with a lot of small details and diagonal lines. When I look at the scene with digital zoom in Live View mode I see some grain but I see all the details and can clearly read the small print. Once I record the same scene in 1080p (I also tried to increase the bitrate with ML firmware) everything gets blurry, aberrations pop up (green/blue flickering edges), lines get broken, and it looks like upscaled 480p.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why does this quality drop happens and is there a way to minimize it if not get rid of it?&lt;/p&gt;&#xA;" OwnerUserId="12772" LastEditorUserId="12772" LastEditDate="2017-05-21T16:25:56.120" LastActivityDate="2017-05-21T16:25:56.120" Title="Why does Canon 600D/T3i video quality drop dramatically once it's recorded — in comparison to what I see in Live-View w/ Digital Zoom?" Tags="|video-quality|video-recording|dslr|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17645" PostTypeId="1" CreationDate="2016-02-10T13:18:05.907" Score="2" ViewCount="300" Body="&lt;p&gt;So, Im starting a project in Davinci Resolve 12 (DR12) but I am used to using FCPX and they way I can change the Field Dominance for the clips as I use a Canon C100 which records in 25p (50i) AVCHD, but playing back it is not in progressive format. In FCPX I can just select all the clips and change the field dominance in the inspector, now I cannot find out how to do this in DR12 or am I just being over ambitious?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone help or advise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Images below&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DR12 Clip Properties - no option to change the clip to PROGRESSIVE like in FCPX&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DR12 clip in timeline =- Notice the lines / interlacing&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VJcHn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VJcHn.png&quot; alt=&quot;DR12 Clip Properties - no option to change the clip to PROGRESSIVE like in FCPX&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/M3V8d.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/M3V8d.png&quot; alt=&quot;DR12 clip in timeline =- Notice the lines / interlacing&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT 2&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Added FCPX images&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hR4hY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hR4hY.png&quot; alt=&quot;DR12 media window&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT 3&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ctkON.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ctkON.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6921" LastEditorUserId="6921" LastEditDate="2016-05-01T07:54:28.217" LastActivityDate="2016-05-01T07:54:28.217" Title="Davinci Resolve 12 (Editing)" Tags="|editing|canon|avchd|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17646" PostTypeId="1" CreationDate="2016-02-10T14:23:17.003" Score="0" ViewCount="2337" Body="&lt;p&gt;I have a fairly complex AE project with multiple audio files playing at different times.  I'd like to make the final audio edit using Audition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the best way to get all of my audio tracks from AE into a multi-track session in Audition?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried exporting as Premiere Pro project, and opening as a Premiere project in Audition, but that just made a bounced-down version in Audition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I have to export each audio track individually from AE using the &quot;Edit Menu--&gt;Edit in Adobe Audition&quot;?  Is there a script somewhere to do this quickly?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-02-10T14:23:17.003" Title="How to multi track export audio from After Effects to Audition" Tags="|after-effects|audio|audition|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17647" PostTypeId="1" AcceptedAnswerId="17653" CreationDate="2016-02-10T14:58:27.477" Score="4" ViewCount="2555" Body="&lt;p&gt;I need to replace video in a larger mp4 file with a smaller mp4 clip - but leaving the original (larger clip) audio intact.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for example I might want the first 2 seconds of SmallClip.mp4 to replace the video in LargeClip.mp4 starting at (say) 10 seconds in to LargeClip.mp4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The format of both clips is likely to be identical, so I'm hoping I can copy instead of decoding for speed etc (I'll have to do it a lot).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, I might want to do exactly the same thing but in several places in LargeClip.mp4 - all places in the output getting the video replaced with the same input clip's video.  I'd be happy to do this in multiple oerations if neccessary but if it were possible on one command so much the better :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm reading up on the options for ffmpeg but I'm new to it and haven't figured it out yet.  Any help much appreciated!&lt;/p&gt;&#xA;" OwnerUserId="12777" LastEditorUserId="1760" LastEditDate="2017-01-27T18:49:39.983" LastActivityDate="2020-08-17T05:34:02.497" Title="inserting video clip into another video but keep original audio" Tags="|ffmpeg|mp4|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17649" PostTypeId="2" ParentId="16573" CreationDate="2016-02-10T17:43:20.007" Score="1" Body="&lt;p&gt;Apple have released a recent update to FCPX, 10.2.3 which fixes lots of issues like this. I would recommended this update first as it has solved crashing issues for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://support.apple.com/en-gb/HT201237&quot; rel=&quot;nofollow&quot;&gt;https://support.apple.com/en-gb/HT201237&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes FCPX doesn't like it when your library is saved separately to user/movies/ perhaps try moving the library there and see if it helps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also media from multiple drives can cause issues if FCP get's stuck trying to link some. If any media is stored on external drives, are they fast drives i.e. thunderbolt, USB3, firewire 800? Potentially FCPX is getting stuck trying to locate the media and can't connect to everything properly. Perhaps try moving media to a reliable drive to try it out like your system drive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps.&lt;/p&gt;&#xA;" OwnerUserId="12780" LastActivityDate="2016-02-10T17:43:20.007" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17650" PostTypeId="2" ParentId="17645" CreationDate="2016-02-10T21:22:58.153" Score="2" Body="&lt;p&gt;In the Media View window, select all the clips you want to change.  Right click one of the selected clips and choose &quot;Clip Attributes&quot;.  In the Video portion of the Clip Attributes, tell Resolve what you want it to do.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-02-10T21:22:58.153" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="17651" PostTypeId="1" CreationDate="2016-02-11T00:57:47.327" Score="1" ViewCount="1374" Body="&lt;p&gt;There is an effect in After Effects which generates audio waves and spectrums from audio tracks. What I get is the form for a given second.&#xA;How can I get the full waveform on a single frame ?&lt;/p&gt;&#xA;" OwnerUserId="12785" LastActivityDate="2016-06-15T09:21:55.180" Title="How can I generate a full waveform from my audio file in After Effects?" Tags="|after-effects|audio|effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17652" PostTypeId="1" CreationDate="2016-02-11T07:22:20.847" Score="2" ViewCount="83" Body="&lt;p&gt;I just recorded a video of myself talking with background as white screen.Now i want to add my photo in that video, so that the final output should be like myself talking in a video with my photo in the background, replacing my previous white background&lt;/p&gt;&#xA;" OwnerUserId="12786" LastActivityDate="2016-06-10T16:30:14.243" Title="I want to insert my photo as background in my video which has white background" Tags="|video|video-editor|image-sensors|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17653" PostTypeId="2" ParentId="17647" CreationDate="2016-02-11T10:20:22.027" Score="3" Body="&lt;p&gt;You can use the concat demuxer in ffmpeg to do this. For accurate splicing, re-encoding is needed which is what the commands below do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 1&lt;/strong&gt; Prepare the concat text file&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You must first create a plaintext file, say, &lt;code&gt;concat.txt&lt;/code&gt;, like this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'LargeClip.mp4'&#xA;inpoint 0.0&#xA;duration 10.0&#xA;file 'SmallClip.mp4'&#xA;inpoint 0.0&#xA;outpoint 2.0&#xA;file 'LargeClip.mp4'&#xA;inpoint 12.0&#xA;duration 5.0&#xA;file 'SmallClip.mp4'&#xA;inpoint 23.0&#xA;duration 4.0&#xA;file 'LargeClip.mp4'&#xA;inpoint 21.0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This shows the first 10 seconds of LargeClip, then the first two seconds of smallclip, then resumes the Largeclip at 12:00, shows it for 5 seconds, then splices in 23:00 to 27:00 of small clip, switches back to LargeClip at its 21:00 and keeps it till its end. These timecodes, in seconds, refer to the source file timecode, not of the assembled output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure that the sync of LargeClip isn't broken, i.e. after switching to SmallClip for 12 seconds, you want to resume LargeClip 12 seconds later from where you left it off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 2&lt;/strong&gt; Concat the video streams&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This command will skip the audio since we don't to splice the audio streams.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i concat.txt -an -c:v libx264 -crf 23 -fflags +genpts spliced-vid.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 3&lt;/strong&gt; Insert the audio from LargeClip&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i spliced-vid.mp4 -i LargeClip.mp4 -c copy -map 0:v -map 1:a Final.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-11T10:20:22.027" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17654" PostTypeId="2" ParentId="17652" CreationDate="2016-02-11T11:17:55.193" Score="3" Body="&lt;p&gt;To replace a white background with an image, you need to use a Luma Key.  A Luma Key is like a Chroma Key, except that instead of using a color value (such as green or blue, usually qualified also by a certain level of luma), you will use only a luma value (such as anything brighter than 200 IRE).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most NLE software have both compositing and keying functionality.  But now that you know what the effect is called, you can research how to access that functionality in the software you are using (or will use).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-02-11T11:17:55.193" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17655" PostTypeId="1" CreationDate="2016-02-11T14:06:19.063" Score="-1" ViewCount="768" Body="&lt;p&gt;Hello I would like to know if is there such a way has to inject programming code into a video, so that for example if the video gets ripped from different websites, that video loses all the video properties or becomes corrupted and displays a watermark like saying :  Do not support stealing video views.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because I do know that many sites gets away stealing millions of views, and not crediting the proper content creators, so I wanted to know if there was such a way, so that it doesn't happen, and that if the video gets uploaded through another website and gets ripped the code that was injected on the video itself, gets activated and in that way corrupting the video , or disabling the video part.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There would still be a way of recording the screen with such a program, but it would become more difficult doing so.&lt;/p&gt;&#xA;" OwnerUserId="12788" LastEditorUserId="8053" LastEditDate="2016-02-11T14:58:43.230" LastActivityDate="2016-02-12T11:14:58.447" Title="Adding a watermark with programming code on a video so that it gets activated if it does appear on a website instead of the original" Tags="|video|programming|" AnswerCount="3" CommentCount="0" ClosedDate="2016-03-11T14:56:28.097" ContentLicense="CC BY-SA 3.0" />
  <row Id="17656" PostTypeId="2" ParentId="17655" CreationDate="2016-02-11T16:10:34.083" Score="0" Body="&lt;p&gt;&lt;strong&gt;No.&lt;/strong&gt; At the moment, there is no video container that can contain DRM code. You would have to build an entire DRM-system around it, which would result in a bad user experience. Also, every DRM can be cracked (Though this might not be true in the future. There is &lt;a href=&quot;http://www.denuvo.com/&quot; rel=&quot;nofollow&quot;&gt;Denuvo&lt;/a&gt; which is used with game DRM and hasn't reliably been cracked yet). Just put your watermark on the video and inform the audience about their rights. If you see your video on another website, you can request a &lt;a href=&quot;https://en.wikipedia.org/wiki/Digital_Millennium_Copyright_Act&quot; rel=&quot;nofollow&quot;&gt;DMCA takedown&lt;/a&gt; or something similar depending on the jurisdiction of your country. You can also &lt;a href=&quot;https://support.google.com/legal/troubleshooter/1114905&quot; rel=&quot;nofollow&quot;&gt;contact Google&lt;/a&gt; to have unauthorized publications of your content removed (from Youtube, Search Results et c.) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This answer is somewhat incomplete because you haven't mentioned how your video will be distributed.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2016-02-11T16:16:07.910" LastActivityDate="2016-02-11T16:16:07.910" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17657" PostTypeId="2" ParentId="17644" CreationDate="2016-02-11T17:14:07.207" Score="1" Body="&lt;p&gt;I'm not sure what quality drop in the video you're referring to, but the video quality will never be as good as the image you see in the Live View of your camera due to the way it works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's how Canon describes the Live View mode:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;When the camera is in [Live View] mode the reflex mirror is in the  up&#xA;  position, blocking the normal pentaprism viewfinder.  Instead, the&#xA;  image is projected through the lens and  directly onto the sensor,&#xA;  which in turn displays the image  on the rear LCD panel.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.learn.usa.canon.com/app/pdfs/quickguides/CDLC_EOSLiveView_QuickGuide.pdf&quot; rel=&quot;nofollow&quot;&gt;&lt;em&gt;Source&lt;/em&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the Live View basically shows you the image that reaches the lense, taking focus and depth-of-field into account. It isn't actually a preview of your video recording quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what you can capture with your camera:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;RAW pictures&lt;/strong&gt;. While normal low- to mid-end cameras usually only capture compressed images such as &lt;code&gt;.jpg&lt;/code&gt;-files, the RAW format contains all information captured by the lens. This is why you can fully adjust settings such as exposure, white balance, temperature and tint in post-editing. &lt;strong&gt;No compression&lt;/strong&gt; is happening between the information captured by the camera (lens) and the saved file.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Compressed pictures&lt;/strong&gt; such as &lt;code&gt;.jpg&lt;/code&gt;-files. The information captured by the camera is compressed into a pixel-based image using your current white balance and exposure setting to calculate the pixels color values. Canon cameras can generate compressed pixel-images with a high pixel count (for example, the maximum resolution of the Canon 600D camera is 5184x3456, about 18 megapixels). So there is &lt;strong&gt;some compression&lt;/strong&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Video.&lt;/strong&gt; Video capture quality is limited by the cameras image processing speed and, to a lesser extent, by the writing speed of your SD card. The camera can't possibly capture about 25 images per second (assuming 25fps) in a resolution as high as that of single images. The maximum video resolution of most Canon DSLR-cameras is Full HD, i.e. 1920x1080. So you have a much lower pixel-resolution, therefore there is &lt;strong&gt;much compression&lt;/strong&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The Live View shows you the information captured by the lens on the (obviously pixel-based) LED monitor, so its quality is somewhere between the RAW-and JPG-qualiy. This is why you notice a quality difference between your Live View and the captured video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are professional video cameras that can capture RAW-video (e.g. Alexa cameras which capture ARRI-video), but they cost several thousand euro.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;How to get rid of it&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;If you are seeing grain and artifacts because you're filming in a low-light situation, use better lighting. If you want a dark scene, do it in post-production.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="1871" LastEditDate="2016-02-12T19:03:10.737" LastActivityDate="2016-02-12T19:03:10.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17658" PostTypeId="2" ParentId="17634" CreationDate="2016-02-11T17:35:22.240" Score="1" Body="&lt;p&gt;&quot;HI-8&quot; is an analog format. You will need a hi-8 player or camera with outputs and an analog to digital converter. Consumer grade devices are typically finicky -you get what you pay for. I've used several of the 60-$80 level in the past and had various issues. Such as: not detecting the source, poorly written drivers, very buggy software, low quality capture.&#xA;Here's a list of comon some common devices to help your research:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://vhs-to-dvd-converters-review.toptenreviews.com/&quot; rel=&quot;nofollow&quot;&gt;http://vhs-to-dvd-converters-review.toptenreviews.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mostly these come with a software to allow capture and create a digital file. Some also allow you to burn to a DVD / blu-ray. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A better quality box might be something like this (I haven't tried this unit):&#xA;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/349146-REG/Grass_Valley_602029_ADVC_110_Bidirectional_Media_Converter.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/349146-REG/Grass_Valley_602029_ADVC_110_Bidirectional_Media_Converter.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will need to get software sperately. Most editing software Premiere Pro, etc. Allows you do capture from a source. You will need to have some knowledge of what codec / wrappers, video aspect; to get a good result. &lt;/p&gt;&#xA;" OwnerUserId="6226" LastEditorUserId="6226" LastEditDate="2016-02-12T22:28:35.760" LastActivityDate="2016-02-12T22:28:35.760" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17659" PostTypeId="2" ParentId="3365" CreationDate="2016-02-11T17:50:23.363" Score="1" Body="&lt;p&gt;Many types of artificial lighting flicker at twice the rate of the power source. This is most pronounced with fluorescent lighting, but also happens to a lesser extent with incandescent. Common power sources are 50 Hz (in Europe and most of Asia) and 60 Hz (in North America), which cause 100 and 120 pulses of light each second, respectively.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other than changing the lighting, one has two options for overcoming this problem:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frame Rates. Choose a frame rate equal to the lighting pulse rate divided by some integer. This is often the simplest option since most corresponding shutter speeds will appear flicker-free.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shutter Speeds. Choose a shutter speed equal to the lighting pulse rate divided by some integer. This option often isn’t as straightforward, and can constrain one’s ability to control motion blur. On the other hand, this option typically minimizes flicker under a broader range of lighting and power types.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, in North America, the standard 24 and 30 fps settings work with most shutter speeds (since 30×4 and 24×5 = 120). Use the tool below to find other flicker-free shutter speed and frame rate combinations:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.red.com/learn/red-101/flicker-free-video-tutorial&quot; rel=&quot;nofollow&quot;&gt;http://www.red.com/learn/red-101/flicker-free-video-tutorial&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6226" LastActivityDate="2016-02-11T17:50:23.363" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17661" PostTypeId="2" ParentId="17609" CreationDate="2016-02-11T23:58:31.617" Score="0" Body="&lt;p&gt;After you remove as much external noise as possible from the room, consider your microphone selection. You want one that rejects off-axis sounds, such as a cardioid. Keep the back of the microphone pointed towards the strongest noise source. This Shure article gives a nice refresher on microphone types. &lt;a href=&quot;http://blog.shure.com/multi-pattern-microphones-what-where-and-how/&quot; rel=&quot;nofollow&quot;&gt;http://blog.shure.com/multi-pattern-microphones-what-where-and-how/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check your gain settings and stay close to the microphone to keep the signal to noise ratio good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apply a gate to your audio so that it's muted when you're not talking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your audio is too sensitive, and you're noticing every defect, mix some room or white noise in at a low level to soften up your audio.&lt;/p&gt;&#xA;" OwnerUserId="5814" LastActivityDate="2016-02-11T23:58:31.617" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17662" PostTypeId="2" ParentId="17655" CreationDate="2016-02-12T03:37:14.720" Score="1" Body="&lt;p&gt;My thoughts as a programmer:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can make make watermark hardcoded in the video, and remove it with the script in your player. For example you add big text &quot;STOLEN&quot; in your video but not with white or semitransperent font color, but with inverted color of every pixel. Like that:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZPpkU.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZPpkU.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After that, player on your site will invert those pixels again on the fly. You will always put your &quot;STOLEN&quot; watermark in same place, so you will need to hardcore position of the text in the player only once.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In that way only player on your site will know how to correctly remove watermark.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However it will be pretty easy to look into code of your player, to find all hardcoded information, because player will be running in the user's browser, what means in the users PC.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-02-12T03:37:14.720" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17663" PostTypeId="2" ParentId="17655" CreationDate="2016-02-12T11:14:58.447" Score="0" Body="&lt;p&gt;There is fundamentally no way to do this. If you can display a video so that someone can see it, then it can be copied or stolen. Various types of DRM can push control to different areas, but even if you could control every part of the chain including the end user's PC and monitor, they could still use a video camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So your only realistic solution is to place a visible tag so you know where the video has come from. This still does not prevent piracy or copying (you can't) but it raises the awareness.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2016-02-12T11:14:58.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17665" PostTypeId="2" ParentId="9644" CreationDate="2016-02-12T17:12:30.270" Score="3" Body="&lt;p&gt;After reading the great answer from LordNeckbeard I went on created a small script to make a visualization with ffmpeg and the showspectrum filter.&#xA;I also added an upload option for myself to encode directly to my remote server that has a better connection than at home to upload big videos. It also uses the great script &lt;a href=&quot;https://github.com/tokland/youtube-upload&quot; rel=&quot;nofollow&quot;&gt;youtube-upload&lt;/a&gt;!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt; uploading directly slows down the encoding process significantly!! &lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Script&lt;/h1&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;# ffmpeg spectrum maker&#xA;&#xA;action=$1&#xA;&#xA;infile=$2&#xA;&#xA;outfile=$3&#xA;upload_server=&quot;sftp://cloud&quot;&#xA;&#xA;upload_location=&quot;/home/master/videos/&quot;&#xA;&#xA;remote_command=&quot;youtube-upload --title=\&quot;Remote_upload\&quot; --privacy=\&quot;private\&quot; $upload_location$outfile&quot;&#xA;&#xA;#simple spectrum&#xA;filter1=&quot;showspectrum=s=1920x1080:slide=scroll:mode=combined:color=intensity:scale=cbrt:saturation=1:win_func=hann[tmp]&quot;&#xA;&#xA;#vertical mirror&#xA;filter2=&quot;[tmp]crop=iw:ih/2:0:ih/2-3,split[up][tmp];[tmp]vflip[down];[up][down]vstack[tmp]&quot;&#xA;&#xA;#horizontal mirror&#xA;filter3=&quot;[tmp]crop=iw/2:ih:iw/2:,split[left][tmp];[tmp]hflip[right];[left][right]hstack[tmp]&quot;&#xA;&#xA;#fisheye effect VERY SLOW!!! if used make change the size of the spectrum to (1920*11/10)x(1080*11/10) and use the crop filter below&#xA;filter4=&quot;[tmp]frei0r=filter_name=defish0r:filter_params=1.5|n[tmp]&quot;&#xA;&#xA;#make sure the resolution has the desired size&#xA;filter5=&quot;[tmp]crop=1920:1080&quot;&#xA;&#xA;#pass the stream to the output for ffplay&#xA;testpass=&quot;[tmp]copy[out0]&quot;&#xA;&#xA;&#xA;vcodec=&quot;-codec:v libx264 -pix_fmt yuv420p -tune grain -crf 21 -preset medium -bf 2 -flags +cgop -r 25&quot;&#xA;&#xA;acodec=&quot;-codec:a libfdk_aac -b:a 128k -movflags +faststart&quot;&#xA;&#xA;#acodec=&quot;-codec:a copy&quot;&#xA;&#xA;extraflags=&quot;-movflags +faststart &quot;&#xA;&#xA;&#xA;if [ &quot;$action&quot; = &quot;test&quot; ]&#xA;then&#xA;        ffplay -f lavfi &quot;amovie=$infile,asplit[a][out1];[a]$filter1;$filter2;$filter3;$testpass&quot;&#xA;fi&#xA;&#xA;if [ &quot;$action&quot; = &quot;make&quot; ]&#xA;then&#xA;        ffmpeg -i &quot;$infile&quot; -filter_complex &quot;[0:a]$filter1;$filter2;$filter3&quot; -map [tmp] -map 0:a $vcodec $acodec $extraflags &quot;$outfile&quot;&#xA;fi&#xA;if [ &quot;$action&quot; = &quot;upload&quot; ]&#xA;then&#xA;        ffmpeg -i &quot;$infile&quot; -filter_complex &quot;[0:a]$filter1;$filter2;$filter3&quot; -map [tmp] -map 0:a $vcodec $acodec $extraflags &quot;$upload_server$upload_location$outfile&quot;&#xA;        ssh cloud $remote_command&#xA;fi&#xA;exit&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;/p&gt;&#xA;" OwnerUserId="12789" LastEditorUserId="12789" LastEditDate="2016-02-12T17:44:21.130" LastActivityDate="2016-02-12T17:44:21.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17666" PostTypeId="2" ParentId="17621" CreationDate="2016-02-12T17:58:18.757" Score="1" Body="&lt;p&gt;FFmpeg will automatically insert scale filter to rescale to first resolution when it encounters input resolution changes. Obviously this only applies when encoding.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastEditorDisplayName="user12174" LastEditDate="2016-02-12T18:04:44.130" LastActivityDate="2016-02-12T18:04:44.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17669" PostTypeId="1" CreationDate="2016-02-12T23:46:05.577" Score="0" ViewCount="148" Body="&lt;p&gt;I need to record a live presentation. I can have a camera to record the slides on projection but usually it comes out washed out. I need a way to have some kind of splitter that goes between the presenter computer and the projection. This was I can record everything I see on the presenter computer screen. Is there a such device?&lt;/p&gt;&#xA;" OwnerUserId="12800" LastActivityDate="2024-03-28T21:05:05.593" Title="What equipment can I use to record presenter's computer screen?" Tags="|video-recording|screen-casting|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17670" PostTypeId="2" ParentId="17594" CreationDate="2016-02-13T01:32:50.397" Score="1" Body="&lt;p&gt;Solved: issue was audio effect on the master that was causing the clip duration change lag. iZotope RX was the plugin causing this if anyone is interested!&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-02-13T01:32:50.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17671" PostTypeId="2" ParentId="17644" CreationDate="2016-02-13T01:34:27.880" Score="0" Body="&lt;p&gt;Or simply, you are looking on a small monitor - everything will be sharper and more clear; only when you see it on a large monitor (such as your computer screen) will the issues become apparent.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-02-13T01:34:27.880" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17672" PostTypeId="1" AcceptedAnswerId="17674" CreationDate="2016-02-13T01:43:46.423" Score="1" ViewCount="27" Body="&lt;p&gt;So I work a lot filming events making aftermovies. Often my job requires me to get a master out from the mixer or the sound tech and I am at the will of them so to speak with regards to my audio. Rode Video Mics, Shotguns close to the stage .etc. all provide too much echo/reverb and overall bad audio. When I get master out I rarely have a problem, and usually get pretty good audio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I have noticed that 99% of the in-house audio is transmitted wirelessly via Sennheiser G3's. Usually the receiver is this Sennheiser rack mount device. All in all something like &lt;a href=&quot;http://www.bhphotovideo.com/c/product/843445-REG/Sennheiser_EW122_135G3_G_EW122_G3_DUAL_LAVALIER_HH.html&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt;. My question is, if I get a &lt;a href=&quot;http://www.bhphotovideo.com/c/product/618789-REG/Sennheiser_EK_100_G3_A_EK_100_G3_Wireless.html&quot; rel=&quot;nofollow&quot;&gt;G3 receiver&lt;/a&gt; couldn't I just get the frequency of the transmitter and 'tap' into the speakers transmitters, and secondly, would this cause an issue for the soundbooth guys?&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-02-13T04:59:22.283" Title="Sennheiser G3 event audio" Tags="|video|audio|wireless|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17673" PostTypeId="2" ParentId="13105" CreationDate="2016-02-13T01:56:48.320" Score="0" Body="&lt;p&gt;If you can figure that out, sell it to youtube or google... what you are talking about is a MASSIVE database of all the movies ever to exist and some sort of algorithm that can categorize and sort those millions, maybe billions, of terabytes of data in a fast and efficient way to compare them with a random user inputted movie scene. This is much like what youtube currently does with their copyright protection system, however on a much more data rich scale.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If online content providers had this 'software' there would be far less pirated content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;So the answer to your question is, there is no easy way of doing this, nor is there a program that exists that does this.&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-02-13T01:56:48.320" CommentCount="16" ContentLicense="CC BY-SA 3.0" />
  <row Id="17674" PostTypeId="2" ParentId="17672" CreationDate="2016-02-13T04:59:22.283" Score="1" Body="&lt;p&gt;This is commonly done. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suppose with modern digital systems it might be more complicated, but with standard analog systems it should work fine. You'll just need the frequency from the FOH team.&lt;/p&gt;&#xA;" OwnerUserId="5814" LastActivityDate="2016-02-13T04:59:22.283" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17675" PostTypeId="2" ParentId="17669" CreationDate="2016-02-13T05:11:26.063" Score="0" Body="&lt;p&gt;Yes. In the old days, we would use a scan converter which took a computer video signal and output it as S-Video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have a few options. The least intrusive is to continue to use your existing method of recording the screen, but to request the slides from the presenters.  Then, using the video recording of the screen for timing, you overlay the slides at the appropriate times. If you save the presentation as a website in Microsoft PowerPoint, it will generate a series of JPEG images which are handy for your video editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other methods require you to have access to the computer or the connection to the projector. If you can install software on the presentation computer, you could do a video screen capture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need to capture animations or video, you'll need to capture the actual video signal from the computer. You could send the computer output to a distribution amplifier, and send one of those outputs to a recorder, or you could install an SDI video card, and send the output to a recorder. This is the highest quality solution, but probably exceeds your budget.&lt;/p&gt;&#xA;" OwnerUserId="5814" LastActivityDate="2016-02-13T05:11:26.063" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17676" PostTypeId="1" CreationDate="2016-02-13T09:27:31.420" Score="1" ViewCount="58" Body="&lt;p&gt;I've read different opinions online, but they always seem to talk about stills. So, is NR useful for shooting videos? Or does it mess up with the image too much?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm shooting on a Panasonic Lumix G7, by the way.&lt;/p&gt;&#xA;" OwnerUserId="12804" LastActivityDate="2016-02-13T13:52:28.723" Title="Is in-canera noise reduction useful for video?" Tags="|noise-reduction|noise|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17677" PostTypeId="1" AcceptedAnswerId="17681" CreationDate="2016-02-13T12:02:56.190" Score="2" ViewCount="2750" Body="&lt;p&gt;I am working on a project that reads the meta data of video files with &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow&quot;&gt;MediaInfo&lt;/a&gt; and processes the results. While testing my code with some sample files I noticed that the audio track of a &lt;code&gt;.mkv&lt;/code&gt; file has two different samling rates. The file has two different audio tracks (English and Japanese) but they are listed separately and both tracks show two different sampling rates. Here is the according output of &lt;code&gt;MediaInfo&lt;/code&gt; for clarification:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Audio #1&#xA;ID                                       : 2&#xA;Format                                   : AAC&#xA;Format/Info                              : Advanced Audio Codec&#xA;Format profile                           : HE-AAC / LC&#xA;Codec ID                                 : A_AAC&#xA;Duration                                 : 22mn 46s&#xA;Channel(s)                               : 2 channels&#xA;Channel positions                        : Front: L R&#xA;Sampling rate                            : 48.0 KHz / 24.0 KHz &amp;lt;-- here&#xA;Compression mode                         : Lossy&#xA;Delay relative to video                  : 31ms&#xA;Language                                 : English&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;&#xA;Audio #2&#xA;ID                                       : 3&#xA;Format                                   : AAC&#xA;Format/Info                              : Advanced Audio Codec&#xA;Format profile                           : HE-AAC / LC&#xA;Codec ID                                 : A_AAC&#xA;Duration                                 : 22mn 46s&#xA;Channel(s)                               : 2 channels&#xA;Channel positions                        : Front: L R&#xA;Sampling rate                            : 48.0 KHz / 24.0 KHz &amp;lt;-- and here&#xA;Compression mode                         : Lossy&#xA;Delay relative to video                  : 31ms&#xA;Language                                 : Japanese&#xA;Default                                  : No&#xA;Forced                                   : No&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Can anyone explain what this means? I always thought one audio track can only have one sampling rate. Is this just a different way of describing one sampling rate? Or is it really possible to use two different sampling rates for one audio track?&#xA;At the moment, the the software just expects single values for the meta data, so storing two different values for the sampling rate would make things more complicated. Would it be possible to either convert these two values to one value or just choose one of them?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your help!&lt;/p&gt;&#xA;" OwnerUserId="12805" LastEditorUserId="12640" LastEditDate="2016-02-13T15:01:35.230" LastActivityDate="2016-02-13T15:01:35.230" Title="Why does AAC have two Sampling rates?" Tags="|mkv|sampling-frequency|metadata|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17678" PostTypeId="2" ParentId="17677" CreationDate="2016-02-13T13:23:56.400" Score="1" Body="&lt;p&gt;I suspect that your MediaInfo parser is mis-reporting.  Sampling rates are usually described both in terms of frequency and bit depth.  It is quite common to have 48kHz at 24 bits.  I suspect that whoever wrote the printf statements producing the above output meant to say &quot;bits&quot; not &quot;KHz&quot; after the &quot;/&quot;.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-02-13T13:23:56.400" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17680" PostTypeId="2" ParentId="17676" CreationDate="2016-02-13T13:52:28.723" Score="1" Body="&lt;p&gt;My general rule is to do as little in the camera as possible (exposure, shutter). Leave everything else for post. It's not expected that the camera will have the best available NR or compression etc, and if you do it while recording you can't undo it later.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course if you'll never do any post, do what gives you the best result.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-02-13T13:52:28.723" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17681" PostTypeId="2" ParentId="17677" CreationDate="2016-02-13T14:26:19.557" Score="7" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;tracks show two different sampling rates. (...) Can anyone explain what this means? I always thought one audio track can only have one sampling rate. Is this just a different way of describing one sampling rate?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;MediaInfo reports what is played by a decoder, depending of its capabilities:&lt;br&gt;&#xA;- if your decoder is able to play an HE-AAC stream, the stream will be played at 48 kHz (the frequecy of the &quot;core&quot; + the &lt;a href=&quot;https://en.wikipedia.org/wiki/Spectral_band_replication&quot;&gt;SBR&lt;/a&gt; data).&lt;br&gt;&#xA;- if your decoder is &lt;strong&gt;not&lt;/strong&gt; able to play an HE-AAC stream, the stream will be played at 24 kHz (the frequency of the &quot;core&quot; AAC)&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I always thought one audio track can only have one sampling rate.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;No. You can have a &quot;core&quot; stream with a specific sampling rate, decodable by old players, and an additionnal sub-stream in the stream with additionnal data for having 48 kHz for decoders capable of decoding such additional sub-stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that it is same for e.g. channels, with HE-AACv2 you'll get a mono &quot;core&quot; + &lt;a href=&quot;https://en.wikipedia.org/wiki/Parametric_Stereo&quot;&gt;PS&lt;/a&gt; for upgrading to stereo. or AC-3 (and DTS) can have a 5.1 &quot;core&quot; lossy stream for old decoders + extra data for newest decoder in order to get 7.1 and/or lossless.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;At the moment, the the software just expects single values for the meta data, so storing two different values for the sampling rate would make things more complicated.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If you are interested only in the &quot;maximum&quot; capability, don't care of the second value.&#xA;If you use the command line or DLL, you can say to MediaInfo to not show info about legacy players with --LegacyStreamDisplay=0 option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note : this is not &quot;24-bit&quot; as I read in another comment, bit depth in AAC is &quot;dynamic&quot; so no bit depth is shown for AAC (it would be shown for e.g. PCM). This output with several values is wanted by design (showing how an old decoder would decode the stream), and you can disable such behavior with the option provided.&lt;/p&gt;&#xA;" OwnerUserId="12640" LastEditorUserId="12640" LastEditDate="2016-02-13T14:34:45.163" LastActivityDate="2016-02-13T14:34:45.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17682" PostTypeId="2" ParentId="6886" CreationDate="2016-02-13T22:08:58.093" Score="0" Body="&lt;p&gt;If the sampling rate is s, an input frequency of f will yield precisely the same sequence of samples as f+ks for any positive or negative integer k.  If input frequencies are allowed to go to zero and if if the input signal may have any arbitrary phrase, then any input frequency higher than s/2 would be indistinguishable from a frequency within that range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that the Nyquist criterion is only relevant in cases where inputs are&#xA;allowed to go zero.  If the input will only contain a narrow range of&#xA;frquencies, it may be safely sampled at a much lower rate without loss of&#xA;information.  In some cases, such sampling may be be useful to shift a&#xA;frequency which is too high to measure into a range where measurement is&#xA;possible.  For example, if one has a very precise 10.000000MHz reference and&#xA;wants to measure a frequency which is known to be between 100.01Mhz and&#xA;100.02Mhz, sampling the input signal at a rate of 10.00Mhz will yield a&#xA;signal which is between 10,000 and 20,000Hz which may in some cases be&#xA;more easily measured than the direct 100+MHz signal.  Note, however, that&#xA;signals near any multiple of 10.00Mhz will be indistinguishable from those&#xA;of any other.&lt;/p&gt;&#xA;" OwnerUserId="5941" LastActivityDate="2016-02-13T22:08:58.093" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17683" PostTypeId="1" AcceptedAnswerId="17686" CreationDate="2016-02-13T23:44:37.377" Score="1" ViewCount="55" Body="&lt;p&gt;I'm trying to create a little home office webinar setup. I'd love to use more than one camera. One to point at my face, and another to point at a drawing, or diagram I'm making. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will likely be using webrtc as a platform, but would love it if I could set it up to work with Skype and Google hangouts and such. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to have two usb webcams plug into a switcher, and then just click a button or hit a switch and change which camera feeds into my webinar program? Ideally there would be black screen while switching.&lt;/p&gt;&#xA;" OwnerUserId="12807" LastActivityDate="2016-02-14T00:15:34.880" Title="Run webinar with more than one webcam" Tags="|video|broadcasting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17686" PostTypeId="2" ParentId="17683" CreationDate="2016-02-14T00:15:34.880" Score="2" Body="&lt;p&gt;Webcams live in the universe of being devices plugged into computers, and switchers live in the universe of standard video sources being plugged into them.  These two universes only talk to each other via specialized interfaces (if at all).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Happily, there exists software that gives you switcher-like functionality as a software package for your computer.  One such package is &lt;a href=&quot;https://manycam.com/&quot; rel=&quot;nofollow&quot;&gt;manycam&lt;/a&gt;.  There are others you can find.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Trying to get webcam video out of your computer as video, into a switcher, then back into your computer so that it can be webcast is about 3x more difficult than it needs to be.  And it requires a lot more space on a physical desktop.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-02-14T00:15:34.880" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17688" PostTypeId="1" CreationDate="2016-02-14T14:10:53.397" Score="0" ViewCount="65" Body="&lt;p&gt;Suppose I have a 32&quot; and a 64&quot; television. Now if I use SD dish connection(like Tata Sky) for both, I will get almost same same video quality on both, right? I was wondering how this is possible. I mean, any shows on TV are aired at 640x480 res(for SD), so why doesn't the video get distorted for a larger TV?&lt;/p&gt;&#xA;" OwnerUserId="12815" LastActivityDate="2016-02-14T14:34:06.010" Title="How does TV video quality remain same on both small and large TVs?" Tags="|video|playback|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17689" PostTypeId="2" ParentId="17688" CreationDate="2016-02-14T14:34:06.010" Score="3" Body="&lt;p&gt;The quality does differ. If both TVs have the same resolution and specs, the image on the bigger one will be more pixelated &lt;strong&gt;if viewed from the same distance&lt;/strong&gt;. The last part of the sentence is the key. You will probably sit farther away from the 64&quot; television. The recommended viewing distance increases proportionally in relation to the screen size (for example, &lt;a href=&quot;http://www.rtings.com/tv/learn/size-to-distance-relationship&quot; rel=&quot;nofollow&quot;&gt;here is a calculator&lt;/a&gt;).&lt;br&gt;&#xA;If you watch the same source video from the same viewing distance on both TVs, you will notice more pixelation on the bigger one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also notice this effect when looking at any (pixel-based) image on your screen. Open any image on your computer. Looks smooth? Good, then zoom in by a few hundred percent. Now you will notice pixelation to the point where you can make out the individual pixels. Conversely, if you have a pixelated image and zoom out enough, it will look smooth. The same thing happens when you move your chair farther away from/closer to your TV.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-02-14T14:34:06.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17690" PostTypeId="1" CreationDate="2016-02-15T01:21:42.617" Score="1" ViewCount="74" Body="&lt;p&gt;I am trying to stream a weekly boardgaming video podcast. I was hoping to incorporate a message feed to video. I want the people playing the game to be able to show watchers their strategies without revealing it to the other players.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was thinking some sort of twitter feed that only the users at the table can contribute to or something like that. I have never done anything like this and am new to streaming so any ideas would be helpful.&lt;/p&gt;&#xA;" OwnerUserId="13818" LastActivityDate="2016-04-02T11:06:47.423" Title="Best Streaming Encoding Software to incorporate a message feed" Tags="|streaming|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17693" PostTypeId="1" CreationDate="2016-02-15T15:05:18.980" Score="1" ViewCount="543" Body="&lt;p&gt;My camcorder produces huge MOV files, and I use it for about 1 hour every day, which gives me more than 7 GB of data per day (around 128 MB per minute of recording). Here is the codec information given by &lt;code&gt;ffmpeg -i&lt;/code&gt; for a sample 12 minute clip:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'Video.MOV':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 0&#xA;    compatible_brands: qt  &#xA;    creation_time   : 2013-02-05 20:12:47&#xA;    original_format : NVT-IM&#xA;    original_format-eng: NVT-IM&#xA;    comment         : CarDV-TURNKEY&#xA;    comment-eng     : CarDV-TURNKEY&#xA;  Duration: 00:12:37.00, start: 0.000000, bitrate: 15935 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1920x1080, 14745 kb/s, 30 fps, 30 tbr, 30k tbn, 60k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-02-05 20:12:47&#xA;      handler_name    : DataHandler&#xA;      encoder         : h264&#xA;    Stream #0:1(eng): Audio: pcm_s16le (sowt / 0x74776F73), 32000 Hz, 1 channels, s16, 512 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-02-05 20:12:47&#xA;      handler_name    : DataHandler&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;These are files I would like to keep, and in a decent quality. I will not have storage enough to keep them all in the long term, and my country is one of the most expensive places (if not the most) to purchase or import hardware components, so buying new hard drives is really out of the question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried recompressing this 12 minute clip using different settings on &lt;strong&gt;Handbrake&lt;/strong&gt; (including of course, the Normal and High profiles), but the resulting file is generally the same size, if not bigger (around 1.5 GB).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have searched on YouTube for HD videos, and have downloaded a few videos just to check their size, and I got &lt;strong&gt;1080p 12 minute clips for around 200-300 MB&lt;/strong&gt; in size. They may have reduced some quality, but in my eyes, 1080p videos on YouTube generally look pretty sharp. If possible, I would like similar results!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While searching here on Video Production, I have found &lt;a href=&quot;https://video.stackexchange.com/a/17584&quot;&gt;this answer&lt;/a&gt; which says that &quot;cameras have to compress on-the-fly, so they use constrained baseline mode (...) if you'd like to recover some space, you can use ffmpeg&quot;. I have tried running that particular command, but still I am getting huge files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am on Linux, but could maybe run Windows in a virtual machine too.&lt;/p&gt;&#xA;" OwnerUserId="13823" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-03-16T17:20:15.753" Title="Recompressing many huge MOV files" Tags="|encoding|compression|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17694" PostTypeId="2" ParentId="17693" CreationDate="2016-02-15T15:39:43.747" Score="1" Body="&lt;p&gt;My earlier answer still holds in general. Additional advice I can provide is to try higher CRF values and use the veryslow preset.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -c:v libx264 -crf 23 -preset veryslow -c:a copy -c:d copy -map 0 compressed.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can also mimic a constrained quality mode by setting&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -c:v libx264 -crf 21 -preset veryslow -maxrate 5M -bufsize 10M -c:a copy -c:d copy -map 0 compressed.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-15T15:39:43.747" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17695" PostTypeId="2" ParentId="16744" CreationDate="2016-02-15T18:32:18.400" Score="1" Body="&lt;p&gt;Try out &lt;a href=&quot;https://mpv.io/&quot; rel=&quot;nofollow&quot;&gt;mpv.io&lt;/a&gt;. It supports backward frame stepping, precise seeking support, scripting. It can be embedded.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastEditorUserId="1871" LastEditDate="2016-02-15T18:54:29.330" LastActivityDate="2016-02-15T18:54:29.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17697" PostTypeId="1" CreationDate="2016-02-16T02:07:05.210" Score="3" ViewCount="1072" Body="&lt;p&gt;What program does this kind of tracking and how hard is it to achieve good results? I've seen this done in a lot of vfx breakdowns.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2enlO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2enlO.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10619" LastEditorUserId="6685" LastEditDate="2016-02-16T20:05:28.800" LastActivityDate="2016-02-24T04:37:44.650" Title="Tracking a person" Tags="|video|tracking|visual-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17698" PostTypeId="1" AcceptedAnswerId="17699" CreationDate="2016-02-16T09:55:06.827" Score="1" ViewCount="2360" Body="&lt;p&gt;I have several vertical videos which I would like to display in the 16/9 or 4/3 format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to have the video centered and have a black Background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I normally use Handbrake to compress my videos but did not find an option to do that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there another Video compressor (open source) who allows to do that? Other wise I have to compress it with handbrake and add the background with Premiere, which takes ages.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Really would like an easier solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for any response.&lt;/p&gt;&#xA;" OwnerUserId="13828" LastActivityDate="2020-03-16T22:56:30.847" Title="Add Black background to a vertical video" Tags="|video|formats|handbrake|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17699" PostTypeId="2" ParentId="17698" CreationDate="2016-02-16T10:39:10.010" Score="1" Body="&lt;p&gt;You can use &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;*, a command-line tool, to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say your source video is &lt;code&gt;360x640&lt;/code&gt;, then to make it 4:3, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf pad=854:640:247:0 -c:v libx264 -crf 20 -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;854&lt;/code&gt; is used because it's &lt;code&gt;4/3&lt;/code&gt; of &lt;code&gt;640&lt;/code&gt;, and &lt;code&gt;247&lt;/code&gt; places the video in the center of the padded canvas. See details for the pad filter &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#pad-1&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly for 16:9, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf pad=1138:640:389:0 -c:v libx264 -crf 20 -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;1138&lt;/code&gt; is used because it's &lt;code&gt;16/9&lt;/code&gt; of &lt;code&gt;640&lt;/code&gt;, and &lt;code&gt;389&lt;/code&gt; for centering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The width value you specify should be an even integer, so you may have to round up/down your calculated width.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;*get the latest nightly or snapshot binary for your platform.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-02-16T14:41:16.067" LastActivityDate="2016-02-16T14:41:16.067" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17700" PostTypeId="1" CreationDate="2016-02-16T15:59:43.800" Score="0" ViewCount="127" Body="&lt;p&gt;I'm using active presenter, and I'm trying to mute the audio on an mp4 file I imported, while keeping the mp3 file on another layer playing. But it's seeming that whenever I click properties on the item and go to mute the sound of the video file, it mutes every library file. Including the Mp3 I imported on another layer. And if I turn it back on in the MP3's properties, despite it listing the correct name of the item, it turns it back on for the MP4 file. How can I mute one file while another keeps playing? There's no separate layers for audio/video when I imported the Mp4, otherwise I'd have just deleted it that way. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="13833" LastActivityDate="2016-02-18T02:33:20.813" Title="Active Presenter, Muting Single Layer" Tags="|video-editor|editing|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17702" PostTypeId="1" AcceptedAnswerId="17704" CreationDate="2016-02-16T20:58:46.730" Score="2" ViewCount="1207" Body="&lt;p&gt;Is there an app for OSX that lets you quickly analyze the loudness of a bunch of video files, shows you the peak and RMS loudness of each file in dBFS (I think dBTP and LUFS would be too much to ask for) and maybe even outputs everything into a log file? It should preferably be free, or cost only a few bucks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No special format support needed. It's all just basic QuickTime compatible stuff.&lt;/p&gt;&#xA;" OwnerUserId="9291" LastEditorUserId="9291" LastEditDate="2016-02-16T21:29:41.320" LastActivityDate="2016-02-17T09:51:58.617" Title="App to quickly analyze audio loudness of several video files?" Tags="|audio|software-recommendation|mac|workflow|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17704" PostTypeId="2" ParentId="17702" CreationDate="2016-02-17T04:29:04.137" Score="6" Body="&lt;p&gt;&lt;a href=&quot;http://ffmpeg.org/download.html&quot;&gt;ffmpeg&lt;/a&gt;, a free multi-platform command-line tool, can do this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use the volumedetect and EBUR filters on each of the files&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -af volumedetect,ebur128 -f null - 2&amp;gt; input.log&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will produce a log file with the initial lines looking like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_ebur128_1 @ 0000000002d42400] t: 12.7       M: -32.7 S: -32.7     I: -30.7 LUFS     LRA:   3.1 LU&#xA;[Parsed_ebur128_1 @ 0000000002d42400] t: 12.8       M: -33.2 S: -32.7     I: -30.8 LUFS     LRA:   3.1 LU&#xA;[Parsed_ebur128_1 @ 0000000002d42400] t: 12.9       M: -33.2 S: -32.7     I: -30.8 LUFS     LRA:   3.1 LU&#xA;[Parsed_ebur128_1 @ 0000000002d42400] t: 13         M: -34.3 S: -32.9     I: -30.8 LUFS     LRA:   3.1 LU&#xA;[Parsed_ebur128_1 @ 0000000002d42400] t: 13.1       M: -34.3 S: -32.9     I: -30.9 LUFS     LRA:   3.1 LU&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and the final lines:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_volumedetect_0 @ 00000000005db400] n_samples: 18700288&#xA;[Parsed_volumedetect_0 @ 00000000005db400] mean_volume: -31.5 dB&#xA;[Parsed_volumedetect_0 @ 00000000005db400] max_volume: -5.3 dB&#xA;[Parsed_volumedetect_0 @ 00000000005db400] histogram_5db: 22&#xA;[Parsed_volumedetect_0 @ 00000000005db400] histogram_6db: 32&#xA;[Parsed_volumedetect_0 @ 00000000005db400] histogram_7db: 250&#xA;[Parsed_volumedetect_0 @ 00000000005db400] histogram_8db: 470&#xA;[Parsed_volumedetect_0 @ 00000000005db400] histogram_9db: 816&#xA;[Parsed_volumedetect_0 @ 00000000005db400] histogram_10db: 936&#xA;[Parsed_volumedetect_0 @ 00000000005db400] histogram_11db: 1796&#xA;[Parsed_volumedetect_0 @ 00000000005db400] histogram_12db: 2632&#xA;[Parsed_volumedetect_0 @ 00000000005db400] histogram_13db: 4516&#xA;[Parsed_volumedetect_0 @ 00000000005db400] histogram_14db: 6028&#xA;[Parsed_volumedetect_0 @ 00000000005db400] histogram_15db: 8846&#xA;[Parsed_ebur128_1 @ 0000000002d42400] Summary:&#xA;&#xA;  Integrated loudness:&#xA;    I:         -28.6 LUFS&#xA;    Threshold: -38.9 LUFS&#xA;&#xA;  Loudness range:&#xA;    LRA:         9.0 LU&#xA;    Threshold: -49.0 LUFS&#xA;    LRA low:   -33.6 LUFS&#xA;    LRA high:  -24.6 LUFS&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;mean_volume&lt;/code&gt; is the RMS value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Download the latest nightly/snapshot binary for your platform)&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-02-17T09:51:58.617" LastActivityDate="2016-02-17T09:51:58.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17705" PostTypeId="1" CreationDate="2016-02-17T13:19:01.030" Score="2" ViewCount="4458" Body="&lt;p&gt;I want to add simple textual animations to videos, just like this one from Business Insider : &lt;a href=&quot;https://www.facebook.com/228803477461289/videos/231065770568393/&quot; rel=&quot;nofollow&quot;&gt;https://www.facebook.com/228803477461289/videos/231065770568393/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What software do I need in order to realize this ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that After Effects is capable of such things, but I'm looking for (more specialized) software with much less learning curve. &lt;/p&gt;&#xA;" OwnerUserId="13842" LastActivityDate="2018-10-05T00:59:34.797" Title="How to add simple textual animations to videos?" Tags="|animation|effects|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17706" PostTypeId="2" ParentId="17705" CreationDate="2016-02-17T16:30:44.637" Score="2" Body="&lt;p&gt;You can achieve that with &lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;. Draw text with &lt;kbd&gt;drawtext&lt;/kbd&gt; command. And draw semitransperent beckground under it with &lt;kbd&gt; drawbox&lt;/kbd&gt;. You can see more in &lt;a href=&quot;https://video.stackexchange.com/questions/15551/ffmpeg-drawtext-filter-create-transparent-background-with-text&quot;&gt;that question&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can add animation of moving text  from side of video with &lt;a href=&quot;http://ffmpeg.org/ffmpeg-utils.html#Expression-Evaluation&quot; rel=&quot;nofollow noreferrer&quot;&gt;Expression Evaluation&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-02-17T16:30:44.637" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17708" PostTypeId="1" CreationDate="2016-02-18T00:03:32.650" Score="1" ViewCount="145" Body="&lt;p&gt;I have a MacBook Air (13-inch, Early 2014) with base configuration. I have a bunch of footage off a Canon 700D which is in a H.264 codec. Now obviously, a MacBook Air does not have an external graphics card, which means that Premiere Pro does not support CUDA which supports faster encoding. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't have a plan of changing computers anytime soon, so I was wondering if I should transcode my footage to a different codec so that it encode faster? Is there like a ProRes for Premiere? I will be encoding into H.264 most of the time to upload to YouTube. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any tips would be great. Thanks for your time.&lt;/p&gt;&#xA;" OwnerUserId="13827" LastActivityDate="2016-04-23T04:26:40.507" Title="What codec should I edit in on Premiere Pro?" Tags="|premiere|transcoding|h.264|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17709" PostTypeId="1" CreationDate="2016-02-18T01:31:58.330" Score="0" ViewCount="71" Body="&lt;p&gt;I have multiple videos uncompressed. I uploaded them a while ago to vimeo. I lost the original files. However, I found the original files stored in vimeo under the download button below the 1080p version. I realized that the 1080p WAS 100MB in size, whereas the 1080p original was 1.96GB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In term of storage saving the 100mb IS IDEAL, however will i lose quality? I still cannot grasp the differences btw these two version. if possible would someone explain the differences? &#xA;thank you! &lt;/p&gt;&#xA;" OwnerUserId="13850" LastActivityDate="2016-04-19T00:59:30.820" Title="compressed vs uncompressed feasibility question?" Tags="|quality|vimeo|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17710" PostTypeId="2" ParentId="17700" CreationDate="2016-02-18T02:33:20.813" Score="1" Body="&lt;p&gt;Maybe you have changed the system playback volume by clicking the sound icon in the &lt;strong&gt;Properties&lt;/strong&gt; pane.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can change the volume of (and mute) any layer or range by using the &lt;strong&gt;Adjust Volume&lt;/strong&gt; tool in &lt;strong&gt;Timeline&lt;/strong&gt; as shown in below image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KrIyn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KrIyn.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="13851" LastActivityDate="2016-02-18T02:33:20.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17712" PostTypeId="2" ParentId="17708" CreationDate="2016-02-18T05:40:51.723" Score="0" Body="&lt;p&gt;If by encoding, you simply mean the export process and not the preview performance on the timeline during edit, then it should hardly make a difference. If your computer can play the raw footage in real-time, then the decoding step isn't a limiting factor but applying the effects and encoding to output codec are.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-18T05:40:51.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17713" PostTypeId="2" ParentId="17709" CreationDate="2016-02-18T05:55:15.107" Score="0" Body="&lt;p&gt;Any video that you upload to sites like Youtube or Vimeo is recompressed in order to standardize the video files they stream to viewers. That version looks to be what you're downloading, but it should be the original upload. Double-check that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The quality difference of the smaller file, for viewing purposes, should be fine since the compression presets these sites apply is meant to keep quality acceptable while lowering file size. This generally holds unless the footage consists of shots with a lot of fine detail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way to judge whether the smaller file is acceptable is to download and view it.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-18T05:55:15.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17714" PostTypeId="2" ParentId="17708" CreationDate="2016-02-18T11:37:56.813" Score="1" Body="&lt;p&gt;Premiere Pro supports the use of &quot;proxies&quot; that allow you to edit the video using low resolution files (and thus making edits very fast)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you finish, you export using the original file and thus the quality is what you expect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is impossible to explain proxies in a single answer. Search the official documentation or one of the many tutorials that exist on this topic.&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2016-02-18T11:37:56.813" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17715" PostTypeId="1" CreationDate="2016-02-18T13:33:22.557" Score="3" ViewCount="3501" Body="&lt;p&gt;I am looking to record my desktop in high quality (not nearly as lossy as H.264).  I have tried OBS @ 200mbps and nVidia Shadowplay @ 50mbps and the text on my desktop is still noticibly blurry when i view the video I just recorded at the native resolution it was recorded at.  OBS is a little bit better than nVidia.&lt;/p&gt;&#xA;" OwnerUserId="13860" LastActivityDate="2016-02-18T14:47:28.250" Title="Record desktop at 1080p60 in high quality" Tags="|codec|screen-casting|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17716" PostTypeId="2" ParentId="17715" CreationDate="2016-02-18T13:53:09.913" Score="3" Body="&lt;p&gt;Try lossless encoding with &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, with YUV444P&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -framerate 60 -i desktop -crf 0 -pix_fmt yuv444p -preset ultrafast yuv-cap.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If not clear enough,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -framerate 60 -i desktop -c:v libx264rgb -crf 0 -pix_fmt bgra -preset ultrafast rgb-cap.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;These will likely not be compatible with most video editors, but if the result is satisfactory, then you can transcode at leisure to a compatible codec like PNG in MOV..etc&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can add &lt;code&gt;-draw_mouse 0&lt;/code&gt; before &lt;code&gt;-i desktop&lt;/code&gt; to skip recording the cursor.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-02-18T14:47:28.250" LastActivityDate="2016-02-18T14:47:28.250" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="17717" PostTypeId="1" CreationDate="2016-02-18T15:24:17.853" Score="4" ViewCount="1609" Body="&lt;p&gt;I am attempting to create Quicktime movs with the &quot;DNXHD&quot; codec with the following ffmpeg command (input part excluded):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-c:v dnxhd -b:v 175M -pix_fmt yuv422p10le test.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This works, and is displayed fine in After Effects and Premiere.  However, it does not play back correctly in Quicktime Player - it looks slightly &quot;washed out&quot;.  My understanding of this is that Quicktime Player uses the &quot;COLR&quot; atom to determine the color space of the video file for playback.  So, after some research I came upon this ffmpeg option:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-movflags +write_colr&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But, it doesn't seem to do anything.  Analyzing the video with &quot;exiftool&quot; shows that the atom was not written.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using FFMPEG version 2.8.6, installed with homebrew on Mac OS 10.11.3.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone know how to make ffmpeg's movs comply with Quicktime Player's expectations?&lt;/p&gt;&#xA;" OwnerUserId="12596" LastActivityDate="2017-07-12T21:25:34.697" Title="FFMPEG not writing quicktime &quot;COLR&quot; atom" Tags="|ffmpeg|quicktime|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17718" PostTypeId="1" CreationDate="2016-02-18T15:32:47.283" Score="1" ViewCount="2457" Body="&lt;p&gt;I am attempting to encode &quot;ProRes 4444&quot; movies with ffmpeg.  Some research led me to the &quot;prores_ks&quot; encoder, which is the only one of ffmpeg's prores encoders that supports &quot;4444&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used this command to test it out (input excluded):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-c:v prores_ks -f mov -profile:v 4444 test.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This produces a ProRes 4444 movie.  However, the colors appear darker than the original input.  After some research I came upon this option:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf colormatrix=bt601:bt709&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Adding this filter seems to fix the problem.  However, the file size is for some reason considerably bigger.  Also, I do not like the idea that a filter has to be performed during this encoding, as I want the highest possible quality.  Does anyone know of a way to overcome this &quot;color shift&quot; without a video filter?&lt;/p&gt;&#xA;" OwnerUserId="12596" LastActivityDate="2016-12-19T21:18:39.810" Title="FFMPEG prores_ks 4444 color shift" Tags="|ffmpeg|quicktime|prores|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17719" PostTypeId="2" ParentId="17717" CreationDate="2016-02-18T15:35:18.390" Score="1" Body="&lt;p&gt;That is an experimental flag, so you will have to use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-movflags +write_colr -strict experimental&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-18T15:35:18.390" CommentCount="12" ContentLicense="CC BY-SA 3.0" />
  <row Id="17721" PostTypeId="2" ParentId="16433" CreationDate="2016-02-18T20:34:47.273" Score="2" Body="&lt;p&gt;One that comes to mind is Presonus Studio One vr3 It is about $50 and is a full featured digital audio workstation. There is also sonar, protools and ableton live but I believe they are all quite a bit more expensive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="13861" LastActivityDate="2016-02-18T20:34:47.273" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17722" PostTypeId="2" ParentId="14717" CreationDate="2016-02-19T07:21:55.107" Score="5" Body="&lt;p&gt;In my CentOS 5.11 and FFmpeg 3.0, I have to use options&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;--pkg-config-flags=&quot;--static&quot;&#xA;--extra-cflags=&quot;-I$HOME/ffmpeg/include -static&quot;&#xA;--extra-ldflags=&quot;-L$HOME/ffmpeg/lib -static&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;--enable-static&lt;/strong&gt; tell a complier to create the &quot;static libraries&quot; (libav*.a). We can be combine FFmpeg API in the other standalone (static) application.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;--disable-shared&lt;/strong&gt; tell a complier not to create the &quot;dynamically linked shared object libraries&quot; (libav*.so). These type of libraries can be load and use FFmpeg API by the other application.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These 2 options doesn't complie FFmpeg as standalone static executable.&lt;/p&gt;&#xA;" OwnerUserId="13864" LastEditorUserId="13864" LastEditDate="2016-02-20T08:03:55.610" LastActivityDate="2016-02-20T08:03:55.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17723" PostTypeId="1" AcceptedAnswerId="17734" CreationDate="2016-02-19T22:28:21.480" Score="0" ViewCount="119" Body="&lt;p&gt;I've been seeing a lot of Motion Graphics work including this special destruction like effect. It looks like this:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/XyIwC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XyIwC.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Watch Video &lt;a href=&quot;http://cargocollective.com/cherryhill/filter/motion-graphics/Taipei-City-Planning-ReelMixcode&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know, what this effect is called? Or what program is used to create it? Propably something like C4D or Maya? Any Suggestions?&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2016-02-21T20:43:55.203" Title="Whats the name of this Effect?" Tags="|3d|special-effects|visual-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17726" PostTypeId="1" CreationDate="2016-02-20T18:19:14.510" Score="1" ViewCount="94" Body="&lt;p&gt;I created a grid of about 50 videos. I want them all to loop so I changed the loop count of the videos via &lt;code&gt;Interpret Footage &amp;gt; Main... &amp;gt; Loop&lt;/code&gt;. The changes show up in the timeline, but they are not applied. When I let it preview it, the videos only run once.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't want to add those 50 clips again to the composition and apply the transforms.&lt;/p&gt;&#xA;" OwnerUserId="3978" LastActivityDate="2023-12-12T11:04:40.670" Title="Loop count in video clip settings, how to apply changes to composition?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17727" PostTypeId="1" AcceptedAnswerId="17728" CreationDate="2016-02-20T20:38:49.370" Score="3" ViewCount="292" Body="&lt;p&gt;I recently created a video which has associated data. Like position, altitude, direction in another file. I know the time offsets for each event and would like to put this data into the video as text. Is there a way without changing the video text areas manually?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Gregg&lt;/p&gt;&#xA;" OwnerUserId="13874" LastEditorUserId="24001" LastEditDate="2019-01-05T21:38:49.747" LastActivityDate="2019-01-05T21:38:49.747" Title="How do you automatically add text from a file?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="17728" PostTypeId="2" ParentId="17727" CreationDate="2016-02-21T05:03:58.230" Score="2" Body="&lt;p&gt;&lt;a href=&quot;http://www.dashware.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Dashware&lt;/a&gt; is an (free) app which does just this.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Telemetry Data Overlay on your Videos&lt;/p&gt;&#xA;&lt;p&gt;Easily display GPS, vehicle, physiology, and environment data from&#xA;smartphones and dedicated loggers.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Besides CSV text files, it imports data from many formats. You don't have to render the final composited video from Dashware. You can export a synchronised chroma-key ready video of the overlay for import into your video editor.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-02-21T05:03:58.230" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17729" PostTypeId="2" ParentId="17726" CreationDate="2016-02-21T05:10:39.813" Score="0" Body="&lt;p&gt;I'm guessing your videos are of different durations. If no, just precompose the grid layers and loop that composition. If yes, worst case scenario is to precompose each video layer and loop those.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-21T05:10:39.813" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17730" PostTypeId="2" ParentId="15918" CreationDate="2016-02-21T08:23:02.873" Score="1" Body="&lt;p&gt;drag the title over the clip you want to lay it over in the title track. the background in the title view is already transparent, defaulting to black if you do not lay it over a clip. &lt;/p&gt;&#xA;" OwnerUserId="13876" LastActivityDate="2016-02-21T08:23:02.873" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17731" PostTypeId="1" AcceptedAnswerId="17732" CreationDate="2016-02-21T13:38:54.023" Score="1" ViewCount="835" Body="&lt;p&gt;For one movie, &lt;code&gt;mkvinfo&lt;/code&gt; says:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;|   + Pixel width: 704&#xA;|   + Pixel height: 480&#xA;|   + Display width: 853&#xA;|   + Display height: 480&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What are these values exactly? Why the difference?&lt;/p&gt;&#xA;" OwnerUserId="13877" LastActivityDate="2016-02-21T18:10:38.993" Title="What are display and pixel width reported by mkvinfo?" Tags="|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17732" PostTypeId="2" ParentId="17731" CreationDate="2016-02-21T14:00:30.577" Score="1" Body="&lt;p&gt;The pixel values refer to the actual number of samples stored per frame. The display values refer to the dimensions that the player should render the video at. The ratio of &lt;code&gt;853/704&lt;/code&gt; = &lt;code&gt;1.212&lt;/code&gt; is the pixel or sample aspect ratio. This is an example of  &lt;a href=&quot;https://en.wikipedia.org/wiki/Pixel_aspect_ratio&quot; rel=&quot;nofollow&quot;&gt;non-square&lt;/a&gt; pixels, a legacy of analogue video signals and usually seen in digitized forms of NTSC/PAL format signals. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-02-21T18:10:38.993" LastActivityDate="2016-02-21T18:10:38.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17734" PostTypeId="2" ParentId="17723" CreationDate="2016-02-21T20:43:55.203" Score="1" Body="&lt;p&gt;I don't think there is a name to the effect. If I were to describe it, it would just be &quot;the effect of a shell of an object cracking up and falling / peeling away in fractured pieces&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am sure you already know the compositing side of things, where you do the colour grading, atmospheric effects and such in After Effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the 3D software I work primarily with Maya and 3D Studio Max. I am very certain any 3D software that can simulate dynamic objects (rigid bodies / soft bodies / cloth) will be able to achieve an effect like this. These include Blender, Maya, Max, C4D, Houdini, Softimage XSI and a host of many others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In motion graphics C4D is definitely a good choice for procedural effects like breaking, cracking, fracturing. In some software (like Maya and 3D Studio Max), creating the fractured pieces procedurally could be a challenge. The artist might need to use a fracturing plug. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After the objects are properly fractured, the dynamics portion of any the software listed aboev would definitely be able to achieve the physically believable simulation of the pieces falling away.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thereafter you would need shading/lighting/rendering skills to render out the full image, or portions of it in passes, in order to achieve the final image.&lt;/p&gt;&#xA;" OwnerUserId="13882" LastActivityDate="2016-02-21T20:43:55.203" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17735" PostTypeId="2" ParentId="17526" CreationDate="2016-02-21T22:05:41.177" Score="0" Body="&lt;p&gt;Try &amp;quot;MPG2&amp;quot;. My stream was properly detected as MPEG-2 by MPC, MPC-HC and WMP.&#xA;Source of info here: &lt;a href=&quot;https://git.ffmpeg.org/gitweb/nut.git/blob_plain/HEAD:/docs/nut4cc.txt&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://git.ffmpeg.org/gitweb/nut.git/blob_plain/HEAD:/docs/nut4cc.txt&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="13883" LastEditorUserId="26910" LastEditDate="2022-08-03T05:44:06.200" LastActivityDate="2022-08-03T05:44:06.200" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="17736" PostTypeId="1" CreationDate="2016-02-22T08:01:26.447" Score="2" ViewCount="35" Body="&lt;p&gt;In Adobe Audition, using any of the visualisation/analysis tools, is is it possible to see and isolate, then remove room/background noise?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Was wondering if there are certain frequencies that human voice operates within thus allowing the rest to be minimised or deleted.&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2016-02-23T12:31:08.057" Title="Is it possible to see room noise?" Tags="|adobe|audition|equalization|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17737" PostTypeId="1" AcceptedAnswerId="17744" CreationDate="2016-02-22T11:26:44.457" Score="0" ViewCount="36" Body="&lt;p&gt;I try to put a logo in a video but I want it to be on the floor where people walk over it.&#xA;With blending it is still on the person so how can I best act in this way. Does anybody knows a good tutorial or can easily explain what I have to do?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The sporter in the video will run over the logo. from several angles.&#xA;Hope someone can help. &lt;/p&gt;&#xA;" OwnerUserId="13885" LastActivityDate="2016-02-22T22:45:31.307" Title="put a logo on sportsfloor adobe software" Tags="|adobe|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17738" PostTypeId="1" CreationDate="2016-02-22T12:34:24.127" Score="39" ViewCount="53873" Body="&lt;p&gt;i am use to FFmpeg library in android for reverse video. I can dump images from video but how to reverse all images and make video. See &lt;a href=&quot;http://writingminds.github.io/ffmpeg-android-java/&quot; rel=&quot;noreferrer&quot;&gt;this&lt;/a&gt; link that from i am use to library in my gradle.. Library is &lt;code&gt;compile 'com.github.hiteshsondhi88.libffmpeg:FFmpegAndroid:0.2.5'&lt;/code&gt; i can use some of command and some are not. i use command as like below&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-i /storage/emulated/0/ffvid/frameCount.mp4 -an -qscale 1 /storage/emulated/0/ffimg/revi%06d.jpg&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;above command use for dump images from video. i can't use command as liki &lt;code&gt;$ffmpeg&lt;/code&gt; , &lt;code&gt;$sox&lt;/code&gt; and &lt;code&gt;$cat&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;i have referred many link but not success in see below some links...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://unix.stackexchange.com/questions/214327/how-can-i-reverse-a-video-clip&quot;&gt;https://unix.stackexchange.com/questions/214327/how-can-i-reverse-a-video-clip&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://jiaxihu.blogspot.in/2012/05/reverse-video-clip-with-ffmpeg.html&quot; rel=&quot;noreferrer&quot;&gt;http://jiaxihu.blogspot.in/2012/05/reverse-video-clip-with-ffmpeg.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So please help me and give me solution. if other library available then suggest me. thanks advance &lt;/p&gt;&#xA;" OwnerUserId="13886" LastEditorUserId="-1" LastEditDate="2017-04-13T12:37:07.827" LastActivityDate="2023-04-17T21:18:35.123" Title="How to use FFmpeg Command for Reverse Video?" Tags="|video|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17739" PostTypeId="2" ParentId="17738" CreationDate="2016-02-22T14:22:03.310" Score="67" Body="&lt;p&gt;FFmpeg has a &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#reverse&quot; rel=&quot;noreferrer&quot;&gt;reverse video filter&lt;/a&gt; and &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#areverse&quot; rel=&quot;noreferrer&quot;&gt;reverse audio filter&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;For video only:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /storage/emulated/0/ffvid/frameCount.mp4 -vf reverse reversed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For audio and video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /storage/emulated/0/ffvid/frameCount.mp4 -vf reverse -af areverse reversed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This filter buffers the &lt;strong&gt;entire&lt;/strong&gt; clip. For larger files, segment the file, reverse each segment and then concat the reversed segments. Remember that you have to concat the reversed segments in the &lt;em&gt;reverse order&lt;/em&gt;!&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="20575" LastEditDate="2020-07-21T17:51:13.803" LastActivityDate="2020-07-21T17:51:13.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="17740" PostTypeId="1" AcceptedAnswerId="17741" CreationDate="2016-02-22T19:35:13.653" Score="0" ViewCount="636" Body="&lt;p&gt;I have an MP4 format video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering if there is a good tool to take a video, and create n number of new videos, by just setting a bunch of cut points.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously most video editors will be capable of cutting a video and exporting. But I am wondering if there are any tools who are exceptional fast at this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, and ideal situation would be like..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;take a 2 min video and say..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;set split @ 30 seconds&#xA;set split @ 60 seconds&#xA;set split @ 90 seconds&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and then just hit export function that spits out 4 new videos orig_name_[number].mp4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In an even MORE ideal world this could be done with a command line program and a batch file :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any feedback you can provide!&lt;/p&gt;&#xA;" OwnerUserId="13870" LastActivityDate="2016-02-22T20:07:07.417" Title="Tool for cutting video" Tags="|video|ffmpeg|video-editor|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17741" PostTypeId="2" ParentId="17740" CreationDate="2016-02-22T20:07:07.417" Score="2" Body="&lt;p&gt;You can use &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a command-line tool to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want equal-sized splits, use &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -segment_time 30 -f segment -force_key_frames expr:gte(t,n_forced*30) -reset_timestamps 1 a%02d.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you need to split at irregular intervals, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -crf 18 -segment_times 30,60,90 -f segment -force_key_frames 30,60,90 -reset_timestamps 1 files%01d.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-22T20:07:07.417" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17742" PostTypeId="1" AcceptedAnswerId="17743" CreationDate="2016-02-22T22:08:57.887" Score="0" ViewCount="2154" Body="&lt;p&gt;I am trying to do this tutorial:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/uevdBElf80E?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to change the Brush Size of the Stroke via the left panel (the guy in the video does it at 2:04 - 2:09) it does not cover the text (PIC 1), it only covers the text when I use the &quot;Stroke Width&quot; in the Upper Bar (PIC 2).&#xA;Am I missing something?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qa8kg.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/qa8kg.jpg&lt;/a&gt; (PIC 1 and 2)&#xA;I am using Adobe After Effects CS6&lt;/p&gt;&#xA;" OwnerUserId="13892" LastActivityDate="2016-02-22T22:40:22.163" Title="Cant change stroke Brush Size via Composition, only via top bar. AECS6" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17743" PostTypeId="2" ParentId="17742" CreationDate="2016-02-22T22:40:22.163" Score="0" Body="&lt;p&gt;That happens because in the video path is added to the Text layer, but you have it on separate shape layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try to move you path to the text layer.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-02-22T22:40:22.163" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17744" PostTypeId="2" ParentId="17737" CreationDate="2016-02-22T22:45:31.307" Score="2" Body="&lt;p&gt;If video was made without any preliminary preparation, you most probably shall use &lt;a href=&quot;https://en.wikipedia.org/wiki/Rotoscoping&quot; rel=&quot;nofollow&quot;&gt;rotoscoping&lt;/a&gt;. You can see tutorial for After Effects &lt;a href=&quot;https://youtu.be/fsJX7zJSMU0&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if floor is monocolored and it will not blend with any leg parts, you can try to separate its part for the logo, and use keying on it. But most probably it will be messy. &lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-02-22T22:45:31.307" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17745" PostTypeId="1" CreationDate="2016-02-23T01:27:59.220" Score="1" ViewCount="1413" Body="&lt;p&gt;I need to make presentation, which will be used as background for stage play. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I work with After Effects and Premiere better, than with PowerPoint. And I see more possibilities in them. I can make better result in video editing software, then in PowerPoint. So it wold be great to find way, to make presentation in them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because it can take different amount of time for actors, to reach next &quot;slide&quot; in my &quot;background presentation&quot;, I can't just make seamless video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How I see it, each presentation &quot;slide&quot; can be made with endless loop of video, and at the click/keypress video should go to the next video-loop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One variant is to make PowerPoint presentation with separate video in each slide... But PowerPoint work with videos pretty badly, how I remember.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best way to accomplish my goal?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you in advance!&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2020-02-15T12:11:46.713" Title="How to make interactive video presentation?" Tags="|video|after-effects|premiere|presentation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17746" PostTypeId="2" ParentId="17745" CreationDate="2016-02-23T09:14:53.153" Score="3" Body="&lt;p&gt;Quickest way is to create each video with multiple repeats rendered in one file, enough to cover a worst case scenario. Queue these in a playlist in VLC, Potplayer ...etc and manually advance as necessary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may also want to look at video jockey (VJ) apps like &lt;a href=&quot;http://lives-video.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;LiVES&lt;/a&gt;. Since those are meant for interactive video manipulation and playback, they may have this functionality.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="27660" LastEditDate="2020-02-15T12:11:46.713" LastActivityDate="2020-02-15T12:11:46.713" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="17747" PostTypeId="2" ParentId="17736" CreationDate="2016-02-23T12:31:08.057" Score="2" Body="&lt;p&gt;Audition has specialized tools that allow you to isolate and remove noise. Have you looked at the official documentation? (Especially the capture noise print/remove noise combo)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/audition/how-to/remove-noise-audio-files.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/audition/how-to/remove-noise-audio-files.html&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/iwzzV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iwzzV.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2016-02-23T12:31:08.057" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17748" PostTypeId="2" ParentId="17697" CreationDate="2016-02-23T21:06:53.520" Score="5" Body="&lt;p&gt;I come from a Hollywood visual effects background, and I was a matchmove lead for a couple of shows. For the above process mentioned, Vfx facilities do it all the time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Like Poor mentioned, it is very labour, skill and time intensive. Unfortunately, in almost all cases if you see the actor in the shot without a tracking suit, and if we need to track / match animate him, we will ALWAYS have to manually match-animate his motions by hand (and by eye). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When we think of matching character motion we tend to immediately associate that process with the imagery of behind the scenes publicity shots for Ironman, Pirates of the Carribean, the Golem in Lord of the Rings,  The Avengers, Avatar, etc. In these behind the scenes shots we see men in motion capture suits, and face cameras. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need to know that in these cases, these men in suits are meant to be entirely replaced with computer generated characters in the final shot. Golem, Ironman, The Hulk in Avengers, blue aliens in Avatar, were all replaced with CGI. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The fully replaced CG characters always get the limelight. For the tracking team, a huge amount of effort also needs to be put into manually tracking and matching live actors that do not get replaced by CG at the end of the day. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why do we need to track live actors with a painfully and accurately matched up model in 3D? It is for interactions with the CGI character that never existed on the set when the footage was shot. For example, when Frodo Baggins was holding a dagger wrestling the Golem, at the time of shooting, the dagger (and all metallic parts of his costume) never have the Golem reflected in them. Similarly, there was no Golem to cast an accurate shadow on Frodo too, in the areas where they contact. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thus in all the instances where you see any CGI character interact with footage elements that is shot live (physical location, physical props and physical actors), we have to create a digital counterpart in 3D and match them exactly, place them correctly in relation to the other objects in our 3D workspace, in order to capture shadows, reflections, colour diffusion, of the digital character. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Besides having to match and body-track digital counterparts of live actors for reflection and shadow-catching, we also need to have them match-animated for dynamics simulation purposes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In John Carter I was in the digital costumes department, we have humans interacting with alien characters which are fully CGI. The characters all have flowing, draping costumes and accessories. We had to match-animate shots so that CG clothing items, hair and fur can collide, slide across and rest correctly on live human actors. If we do not create a digital counterpart to those actors and match them, those costumes, hair and fur will go straight through the live actors in the footage because those things never existed in the same 3D space where the simulation took place, for them to interact with. &#xA;Finally to answer your question, lots of effort need to go into tracking a character. In the beginning we have the modelling stage, where we create a human model that need to have the same head, body and limb proportions as the actor. If these are wrong, you will fail to match up due to arms being too short, head being too large, and so on. Sexy industry methods like scanning of the actual actors are only reserved for films of very high budget, and where the effort and hours put in are justified. Most of the time, 3D artist will model them by eye, taking lots of references from the Web for proportions and such. Takes up much labour and time either way. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then comes the rigging stage where the otherwise rigid model is put through the technically involved process of adding complicated controls that will later allow match-move animators to articulate the digital model to match the live actor. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally the match animation or body tracking artist will have to use their human understanding of perspective and how human actors move, to re-create the exact movement of the actor in the shot, from a 2d image to an accurate representation of movement in a 3D environment. Trust me, this is no easy feat and takes years of experience before an artist can become good at it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Body tracking is several orders higher in difficulty than tracking inanimate, non deforming objects like a moving knife or a pole that was going to become a light-saber. Matching these rigid objects only require an animator to handle a set of translation (in X, Y, Z position), and a set of rotation (in X, Y, Z axes). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In body tracking, each and every joint of the human body has many different possible positions, many possible degrees of rotation. To control and manipulate one digital character is more difficult than tracking multiple non deforming objects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thus in a smaller budget or indie production, such accuracy is usually not required, and not viable given the time and resources needed. We would usually use cheats, hacks and shortcuts to get by. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally finally, here's the difference between the motion capture process that are featured behind the scenes, versus matchmoving a character (which never gets featured anywhere). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The purpose of capturing the motion for characters, is that they are ultimately going to be completely replaced by full CG characters. The reason for capturing motion of people in Mocap suits is so animators can acquire the mocap actirs' performance. Thereafter, the Mocap actor's performance is always modified. Due to jitter and inaccuracy in the captured data, Mocap data almost always needs cleaning up by artists. In most cases the captured movement will be modified, exaggerated more, acting and poses are pushed for greater impact. Some poses are changed because they do not work when viewed through the camera in the shot, or when composited in with real actors' acting, timing and reactions doesn't match or pace very well. Sometimes mocap data is used only for timing reference to the characters acting, as a guideline for the animator to start animating the digital character by hand from scratch. All these things are done so that we have a more engaging shot. Thus motion capture has no intent to match the action of an actor in shot. It serves a more artistic purpose - acting. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The purpose of matchmove tracking of an actor serves a more technical purpose, to get CG elements to &quot;gel&quot; with the live elements in the shot, to ground them firmly, getting them to interact and react with each other, therefore they need to match the live action as close as possible, if not exactly. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this explanation is clear enough, and does not further confuse you in the end. &lt;/p&gt;&#xA;" OwnerUserId="13882" LastEditorUserId="13882" LastEditDate="2016-02-24T04:37:44.650" LastActivityDate="2016-02-24T04:37:44.650" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17749" PostTypeId="1" AcceptedAnswerId="18241" CreationDate="2016-02-24T05:57:54.487" Score="0" ViewCount="115" Body="&lt;p&gt;Could someone point me in the right direction to reproducing this effect which takes an illustration, breaks it into circles of color similar to what an inkjet printer would do, and randomizes depth of each circle so you can watch the illustration dissolve as you zoom into it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Premiere CC and have experience with Maya and 3DSMax.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ywsL7AKWI58?start=26&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="11181" LastEditorUserId="674" LastEditDate="2016-04-25T17:35:50.113" LastActivityDate="2016-04-25T17:35:50.113" Title="Dot matrix with depth cloud transition effect" Tags="|after-effects|effects|" AnswerCount="3" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17751" PostTypeId="2" ParentId="17749" CreationDate="2016-02-24T17:26:19.257" Score="0" Body="&lt;p&gt;poor's solution makes sense to me. Use Blender or equivalent to create a basic particle system with a distribution based on the illustration. Give the particles some jitter within z-space, match your shot between edited sequence and Blender and just move the camera along the z-axis into the particle field in Blender.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was hoping for something built into After Effects, but while I think there would be some tinkering to get the initial settings looking good, this effect could be reproducible relatively easily across illustrations.&lt;/p&gt;&#xA;" OwnerUserId="11181" LastActivityDate="2016-02-24T17:26:19.257" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17752" PostTypeId="2" ParentId="16196" CreationDate="2016-02-24T18:14:18.220" Score="2" Body="&lt;p&gt;This is a really late response but I just stumbled onto the question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The software you're looking for is Adobe After Effects.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Inside After Effects, you'll end up using the effect called &quot;Time Remapping&quot;.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open After Effects&lt;/li&gt;&#xA;&lt;li&gt;Import all your frames as an image sequence&lt;/li&gt;&#xA;&lt;li&gt;Create a composition(whatever resolution/framerate you'd like)&lt;/li&gt;&#xA;&lt;li&gt;Drag your image sequence into the comp(or timeline)&lt;/li&gt;&#xA;&lt;li&gt;In the effects panel, find the time remapping effect and drag it onto your image sequence&lt;/li&gt;&#xA;&lt;li&gt;Go to the effects tab and it should show you the time remapping effect.  Add a keyframe using the stopwatch&lt;/li&gt;&#xA;&lt;li&gt;Add as many keyframes as you need and adjust them to the speed you want depending on where you're at in the video&lt;/li&gt;&#xA;&lt;li&gt;When you're ready to move to the &quot;graph view&quot; select the &quot;graph editor&quot; button&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If you're having trouble just google &quot;Time Remapping in after effects&quot; and &quot;Graph Editor view in After Effects&quot; and you should find what you're looking for.&lt;/p&gt;&#xA;" OwnerUserId="12528" LastEditorUserId="12528" LastEditDate="2016-02-24T22:13:45.360" LastActivityDate="2016-02-24T22:13:45.360" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17753" PostTypeId="1" AcceptedAnswerId="17756" CreationDate="2016-02-24T21:27:19.687" Score="1" ViewCount="6007" Body="&lt;p&gt;I am using ffmpeg to load and mp4 and save an mp4. When I load the source mp4 (from android screen record) into blender, it will not import properly and unusable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I run the mp4 through ffmpeg, the problem is resolved. A new problem is unfortunately introduced.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The resulting video is at a noticeably lower framerate. It is distinguishable to the naked eye, and I have unanimously had three other people confirm that the output video is choppy where the source video is not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The funny thing is, is that when loaded in VLC, it is reported they are both at 12.58 fps under tools&gt;media info&gt;codec. The source video still looks smooth though, where the output does not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have an direction that could be given in possibly rectifying this problem?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the command and the output&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i android_record1.mp4 -crf 18 ../corrected/output.mp4&#xA;ffmpeg version N-78598-g98a0053 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 5.3.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55. 18.100 / 55. 18.100&#xA;  libavcodec     57. 24.103 / 57. 24.103&#xA;  libavformat    57. 25.101 / 57. 25.101&#xA;  libavdevice    57.  0.101 / 57.  0.101&#xA;  libavfilter     6. 34.100 /  6. 34.100&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'android_record1.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2016-02-24 20:17:38&#xA;  Duration: 00:00:33.54, start: 0.000000, bitrate: 921 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Baseline) (avc1 / 0x31637661), yuv420p, 1280x800, 918 kb/s, SAR 1:1 DAR 8:5, 12.94 fps, 90k tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-02-24 20:17:38&#xA;      handler_name    : VideoHandle&#xA;[libx264 @ 00000000039fea40] using SAR=1/1&#xA;[libx264 @ 00000000039fea40] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 AVX2 LZCNT BMI2&#xA;[libx264 @ 00000000039fea40] profile High 4:4:4 Predictive, level 3.2, 4:2:0 8-bit&#xA;[libx264 @ 00000000039fea40] 264 - core 148 r2665 a01e339 - H.264/MPEG-4 AVC codec - Copyleft 2003-2016 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x1:0x111 me=hex subme=7 psy=0 mixed_ref=1 me_range=16 chroma_me=1 trellis=0 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=0 chroma_qp_offset=0 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=0 weightp=2 keyint=250 keyint_min=12 scenecut=40 intra_refresh=0 rc=cqp mbtree=0 qp=0&#xA;Output #0, mp4, to '../corrected/output.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    encoder         : Lavf57.25.101&#xA;    Stream #0:0(eng): Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 1280x800 [SAR 1:1 DAR 8:5], q=-1--1, 12.94 fps, 315k tbn, 12.94 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-02-24 20:17:38&#xA;      handler_name    : VideoHandle&#xA;      encoder         : Lavc57.24.103 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;Press [q] to stop, [?] for help&#xA;Past duration 0.725090 too large&#xA;Past duration 0.716301 too large&#xA;Past duration 0.818840 too large&#xA;Past duration 0.936516 too large   2196kB time=00:00:05.71 bitrate=3145.4kbits/s dup=66 drop=0 speed=9.91x&#xA;Past duration 0.644524 too large&#xA;Past duration 0.733879 too large&#xA;Past duration 0.888176 too large&#xA;Past duration 2.010735 too large&#xA;Past duration 0.915520 too large&#xA;Past duration 0.774406 too large   3675kB time=00:00:14.37 bitrate=2094.3kbits/s dup=149 drop=8 speed=  13x&#xA;Past duration 2.095695 too large&#xA;Past duration 1.697746 too large&#xA;Past duration 0.891594 too large&#xA;Past duration 2.141594 too large   4102kB time=00:00:22.02 bitrate=1525.6kbits/s dup=224 drop=18 speed=13.7x&#xA;frame=  436 fps=180 q=-1.0 Lsize=    4702kB time=00:00:33.69 bitrate=1143.2kbits/s dup=227 drop=225 speed=13.9x&#xA;video:4699kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.054633%&#xA;[libx264 @ 00000000039fea40] frame I:2     Avg QP: 0.00  size:316054&#xA;[libx264 @ 00000000039fea40] frame P:434   Avg QP: 0.00  size:  9630&#xA;[libx264 @ 00000000039fea40] mb I  I16..4..PCM: 53.7%  0.0% 46.3%  0.0%&#xA;[libx264 @ 00000000039fea40] mb P  I16..4..PCM:  1.3%  0.0%  0.4%  0.0%  P16..4:  3.5%  0.2%  0.1%  0.0%  0.0%    skip:94.6%&#xA;[libx264 @ 00000000039fea40] 8x8 transform intra:0.0% inter:25.9%&#xA;[libx264 @ 00000000039fea40] coded y,uvDC,uvAC intra: 52.8% 52.4% 51.4% inter: 2.1% 2.9% 2.9%&#xA;[libx264 @ 00000000039fea40] i16 v,h,dc,p: 50% 50%  0%  0%&#xA;[libx264 @ 00000000039fea40] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 31% 49%  6%  3%  3%  2%  2%  2%  3%&#xA;[libx264 @ 00000000039fea40] i8c dc,h,v,p: 21% 47% 32%  0%&#xA;[libx264 @ 00000000039fea40] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 00000000039fea40] ref P L0: 90.2%  1.2%  6.2%  2.4%&#xA;[libx264 @ 00000000039fea40] kb/s:1142.43&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="13870" LastEditorUserId="13870" LastEditDate="2016-02-25T15:42:14.803" LastActivityDate="2016-02-25T16:06:54.617" Title="ffmpeg conversion losing frames" Tags="|ffmpeg|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17756" PostTypeId="2" ParentId="17753" CreationDate="2016-02-25T16:06:54.617" Score="2" Body="&lt;p&gt;Your source video is variable frame rate and then there's a great variance in the last third of the file. I estimate a peak framerate of 30 fps, based on a crude calculation, so try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i android_record1.mp4 -crf 18 -r 30 ../corrected/output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Experiment with higher values, if needed.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-25T16:06:54.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17757" PostTypeId="1" CreationDate="2016-02-25T16:24:09.743" Score="1" ViewCount="1322" Body="&lt;p&gt;When I try to publish videos from Premiere to YouTube, I get this error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;02/24/2016 01:20:41 PM : YouTube({&#xA; &quot;error&quot;: {&#xA;  &quot;errors&quot;: [&#xA;   {&#xA;    &quot;domain&quot;: &quot;youtube.video&quot;,&#xA;    &quot;reason&quot;: &quot;invalidDescription&quot;,&#xA;    &quot;message&quot;: &quot;The request metadata specifies an invalid video description.&quot;,&#xA;    &quot;locationType&quot;: &quot;other&quot;,&#xA;    &quot;location&quot;: &quot;body.snippet.description&quot;&#xA;   }&#xA;  ],&#xA;  &quot;code&quot;: 400,&#xA;  &quot;message&quot;: &quot;The request metadata specifies an invalid video description.&quot;&#xA; }&#xA;}&#xA;) - {&#xA; &quot;error&quot;: {&#xA;  &quot;errors&quot;: [&#xA;   {&#xA;    &quot;domain&quot;: &quot;youtube.video&quot;,&#xA;    &quot;reason&quot;: &quot;invalidDescription&quot;,&#xA;    &quot;message&quot;: &quot;The request metadata specifies an invalid video description.&quot;,&#xA;    &quot;locationType&quot;: &quot;other&quot;,&#xA;    &quot;location&quot;: &quot;body.snippet.description&quot;&#xA;   }&#xA;  ],&#xA;  &quot;code&quot;: 400,&#xA;  &quot;message&quot;: &quot;The request metadata specifies an invalid video description.&quot;&#xA; }&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I've encountered a similar error from both FCPX and Premiere when my title is too long (over 70 characters).  I'm wondering what the rules are for a YouTube description.  I've read that the max character length is 5000, but I didn't find that on an official YouTube page, so I'm not sure.  Plus, my description text is way less than 5000 characters, so It must be something else.  I've tried eliminating most special characters (everything but spaces, periods, minus signs, and capital letters), but I'm still getting this error.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone point me to an official list of requirements for the title text and description text of YouTube videos?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is an especially frustrating problem because neither Premiere nor FCPX will warn against these errors before rendering out video.  They'll happily churn away for an hour or more, try to upload, then poop themselves.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;edit&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A few people have recommended that I export from premiere to my local machine, then upload to youtube through the web interface.  The trouble is, I don't have my company's YouTube password.  I'm on a company workstation which knows the password and should be able to upload, but I don't know it myself.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2016-02-25T17:44:06.483" LastActivityDate="2020-06-16T16:47:20.237" Title="How to avoid Premiere to YouTube upload errors?" Tags="|premiere|youtube|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17758" PostTypeId="1" CreationDate="2016-02-25T17:16:08.450" Score="2" ViewCount="1612" Body="&lt;p&gt;I understood the fairly simple process behind the older Minute physics videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I would like to know what kind of software/workflow is used for these new videos. What can I learn to make these kind of videos?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/UfJ-i4Y6DGU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am primarily a programmer, attempting to change to making educational videos.&lt;/p&gt;&#xA;" OwnerUserId="13913" LastActivityDate="2020-04-18T21:11:47.047" Title="How can I make videos like Minute physics" Tags="|video|software-recommendation|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17759" PostTypeId="2" ParentId="17757" CreationDate="2016-02-25T17:31:27.277" Score="1" Body="&lt;p&gt;Just export as a .mp4, and then upload it to Youtube! Simple as that! Also, I think the &quot;directly uploading&quot; features just make it more confusing. Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="13914" LastActivityDate="2016-02-25T17:31:27.277" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17760" PostTypeId="2" ParentId="17745" CreationDate="2016-02-25T17:36:51.027" Score="1" Body="&lt;p&gt;I think the best solution would be to save every video clip separately, and then someone else controlling the video clips know the timing of when to switch to the next clip. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or, your could convert every clip as a .gif file, and then put 1 gif into its own google slides/ powerpoint slide. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="13914" LastActivityDate="2016-02-25T17:36:51.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17762" PostTypeId="2" ParentId="15918" CreationDate="2016-02-25T18:12:32.660" Score="1" Body="&lt;p&gt;You can use something like photoshop to make some text with a transparent background&lt;/p&gt;&#xA;" OwnerUserId="13914" LastActivityDate="2016-02-25T18:12:32.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17763" PostTypeId="2" ParentId="17758" CreationDate="2016-02-25T18:53:25.330" Score="1" Body="&lt;p&gt;It is same approaches, as before: he captured video as he drawing... Then added pictures and effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more complex effects you need After Effects, but for more simple video, as just captured drawing process and images — you can use almost any video-editing software with timeline.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-02-25T18:53:25.330" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17764" PostTypeId="1" CreationDate="2016-02-25T19:14:35.750" Score="-1" ViewCount="3240" Body="&lt;p&gt;How do I remove all edits from my video and view the original footage? I have tried and looked up everything&#xA; I have gotten closest with after effect and Adobe Media converter.&lt;/p&gt;&#xA;" OwnerUserId="13915" LastActivityDate="2016-02-25T19:30:03.010" Title="Unedit, remove all edits Video" Tags="|youtube|mp4|" AnswerCount="1" CommentCount="1" ClosedDate="2016-03-05T23:31:54.747" ContentLicense="CC BY-SA 3.0" />
  <row Id="17765" PostTypeId="2" ParentId="17764" CreationDate="2016-02-25T19:30:03.010" Score="1" Body="&lt;p&gt;If I have guessed correctly, you uploaded a file to Youtube, edited it using its online editor, and now wish to recover the original file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If so, you will need to use the &lt;a href=&quot;https://www.google.com/settings/takeout&quot; rel=&quot;nofollow&quot;&gt;Google Takeout&lt;/a&gt; service. Select only Youtube. There's no way to download just one of your videos.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-25T19:30:03.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17767" PostTypeId="2" ParentId="7534" CreationDate="2016-02-25T22:20:46.970" Score="-1" Body="&lt;p&gt;You can do it with Powtoon. It's free. They have whiteboard writing effects for text, but to get images drawn, you might need to use a pro app.&lt;/p&gt;&#xA;" OwnerUserId="13914" LastEditorUserId="13914" LastEditDate="2016-02-29T13:45:27.673" LastActivityDate="2016-02-29T13:45:27.673" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17768" PostTypeId="1" CreationDate="2016-02-26T22:19:57.147" Score="4" ViewCount="3513" Body="&lt;p&gt;I have a video which is a bit dark that I'd like to re-encode and brighten up with ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a smarter/faster alternative to running ffmpeg in trial/error mode, is there a way to simply use ffplay to find how much to brighten things up, before running ffmpeg with the same settings?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;ffplay -h&quot; returns so much infos that it's hard for newbies :-/&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="2445" LastActivityDate="2016-02-26T23:04:18.337" Title="Use ffplay to check how much to brighten video before using ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17769" PostTypeId="2" ParentId="17768" CreationDate="2016-02-26T23:04:18.337" Score="4" Body="&lt;p&gt;You can use &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Simple-filtergraphs&quot; rel=&quot;nofollow&quot;&gt;simple filtergraphs&lt;/a&gt; easily with &lt;code&gt;ffplay&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example using &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#colorlevels&quot; rel=&quot;nofollow&quot;&gt;colorlevels&lt;/a&gt; filter in &lt;code&gt;ffplay&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -vf colorlevels=rimax=0.902:gimax=0.902:bimax=0.902 input.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then you can use the same filter in &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf colorlevels=rimax=0.902:gimax=0.902:bimax=0.902 -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This example will &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;nofollow&quot;&gt;stream copy&lt;/a&gt; the audio.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2016-02-26T23:04:18.337" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17772" PostTypeId="1" CreationDate="2016-02-27T19:16:45.537" Score="1" ViewCount="1040" Body="&lt;p&gt;When I try to add my work to media encoder queue it used to give me an error about missing plugin.  I found a video online that said to make a symlink from default location to where I have it installed so I did this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mklink /J &quot;C:\Program Files\Adobe\Adobe Media Encoder CC 2015&quot; &quot;D:\Program Files\Adobe Media Encoder CC 2015&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now when I go to add to media encoder queue, the media encoder splash screen appears and then it instantly crashes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know what I can do to get it working?&lt;/p&gt;&#xA;" OwnerUserId="13934" LastEditorUserId="13934" LastEditDate="2016-02-27T19:32:44.667" LastActivityDate="2016-04-27T20:34:50.897" Title="After Effects Crashes When Exporting To Media Encoder" Tags="|after-effects|adobe-media-encoder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17773" PostTypeId="2" ParentId="17772" CreationDate="2016-02-27T19:30:44.070" Score="1" Body="&lt;p&gt;Media encoder takes a real long time to open, I think this is the problem.  If I open media encoder first then after effects second it will export properly.  Just got to wait 5 mins for media encoder to open fully first.&lt;/p&gt;&#xA;" OwnerUserId="13934" LastActivityDate="2016-02-27T19:30:44.070" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17774" PostTypeId="1" AcceptedAnswerId="17805" CreationDate="2016-02-27T19:34:51.597" Score="0" ViewCount="953" Body="&lt;p&gt;Many video production and dubbing studios offer services of closed captioning, subtitles and so on. Their audience is generally big broadcast networks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering, what kind of software this professionals do they use and which is their workflow?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't think they use programs like premiere with this weird interface:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/4LAnZPDUOiI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do they use even common free prosumer software like the ones used by subbers who create srt files like Subtitle Edit ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eBGNX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eBGNX.png&quot; alt=&quot;Subtitle Edit&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given they have to produce this for many series episodes, do they use custom heavy automatition tools, or is possible use also manual tools?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is possible learn something about the topic?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where I can start if tomorrow someone would ask me to work inside a company that have some big networks as customer and need to produce for them closed captioning and subtitles ?&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2016-02-27T19:40:39.810" LastActivityDate="2023-12-27T07:30:47.423" Title="Which software a dubbing studio use for subtitles and closed captioning workflow?" Tags="|software-recommendation|software|subtitles|closed-captioning|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17775" PostTypeId="1" CreationDate="2016-02-27T21:53:16.407" Score="1" ViewCount="19888" Body="&lt;p&gt;I'm creating a video using After Effects CC 2015 for use it on a website.&lt;br&gt;&#xA;The background of the page on the site is &lt;code&gt;#607D8B&lt;/code&gt;, so the first thing I did was create a solid with that color, and the color was right, however when I rendered, the color changed to &lt;code&gt;#6e8995&lt;/code&gt;.&lt;br&gt;&#xA;What are the settings I need to do to avoid this problem? I exported using Adobe Media Encoder and the standard H264.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="13935" LastActivityDate="2016-04-30T05:47:45.967" Title="After Effects rendering wrong colors?" Tags="|after-effects|adobe-media-encoder|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17776" PostTypeId="2" ParentId="8133" CreationDate="2016-02-27T23:19:21.587" Score="0" Body="&lt;p&gt;Go to sequence menu - sequence settings - check if timebase is correct with video metadata - display format (under video) - choose frames/nondropframe timecode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BROUGHT MI FRAMES BACK!!!&lt;/p&gt;&#xA;" OwnerUserId="13936" LastActivityDate="2016-02-27T23:19:21.587" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17777" PostTypeId="1" CreationDate="2016-02-27T21:41:56.073" Score="0" ViewCount="84" Body="&lt;p&gt;For my next movie, I want to have a second camera to record a different angle. My main camera is a mid-range Canon DSLR and I was planning to buy a second, cheaper DSLR. Would it be possible to see the difference between the two cameras in the finished movie? I'm guessing that the number of megapixels would make a difference if they are not the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would a Nikon 1 or Canon Powershot or equivalent higher-end compact work?&lt;/p&gt;&#xA;" OwnerDisplayName="Montgomery" LastEditorUserId="17390" LastEditDate="2018-09-23T21:38:38.423" LastActivityDate="2018-09-24T19:24:55.180" Title="Mixing different digital cameras in the same movie" Tags="|mixing|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17778" PostTypeId="2" ParentId="17777" CreationDate="2016-02-27T22:03:57.487" Score="1" Body="&lt;p&gt;HD 1080 video is only 2 megapixels, so the camera full size rating would not be an issue for video.  You have to put all of the video clips together in a video editor of course, which should not any issue.  I would shoot with both cameras at the same settings, like 30p. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is always a possibly of slight color/tint differences in two cameras.  Probably not noticeable on different scenes, but different views of the same scene possibly might notice? The video editor should allow correction in some degree even it does show.&lt;/p&gt;&#xA;" OwnerDisplayName="WayneF" LastActivityDate="2016-02-27T22:03:57.487" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17779" PostTypeId="1" CreationDate="2016-02-28T00:02:16.013" Score="1" ViewCount="695" Body="&lt;p&gt;I have some DV footage that I'm using in an HDV sequence and have upscaled it to mach the resolution of the HDV footage (1080i), what's the best way to get rid of the resulting blurriness?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using premiere pro.&lt;/p&gt;&#xA;" OwnerUserId="13937" LastActivityDate="2019-09-21T14:32:55.987" Title="Sharpen DV footage after upscale to HDV" Tags="|premiere|editing|recommendation|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17781" PostTypeId="2" ParentId="17775" CreationDate="2016-02-28T05:58:24.160" Score="1" Body="&lt;p&gt;Sounds like a color space / range flag or rendering issue. Quickest way to resolve this is to take a short screencast i.e. video capture of the page. Load that into After Effects and pick that color. You can't take a screnshot. It has to be a video. OBS, ffmpeg, VLC, Screenflow, Camtasia..etc can all screen-record.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-28T05:58:24.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17782" PostTypeId="2" ParentId="17779" CreationDate="2016-02-28T06:19:33.553" Score="1" Body="&lt;p&gt;Since you're scaling 2x or more, your best bet is to upscale the DV again using &lt;a href=&quot;http://avisynth.nl/index.php/Main_Page&quot; rel=&quot;nofollow&quot;&gt;Avisynth&lt;/a&gt; with the &lt;a href=&quot;http://avisynth.nl/index.php/Nnedi3&quot; rel=&quot;nofollow&quot;&gt;nnedi rpow2&lt;/a&gt; filter, then scale, if necessary, to HDV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(With some tangible details, I can provide an example script.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Trying to sharpen the upscaled videos will produce worse results than the above method.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-02-28T06:19:33.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17783" PostTypeId="1" AcceptedAnswerId="17784" CreationDate="2016-02-28T16:43:08.450" Score="1" ViewCount="2539" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KQcly.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KQcly.jpg&quot; alt=&quot;Strobe light with half the screen lit and half not&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The above picture sums up my problem. I'm struggling to work out what settings to put my camera on to work with my strobe light. I vaguely understand the problem; that the camera takes pictures row by row, so the lighting has changed by the time it gets to the bottom half. But I can't work out how to fix it. I would have thought that a very fast shutter speed would help, but apparently not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera is a Fujifilm X-E1 and the strobe light is a cheap model with a rotary dial to change the speed. It doesn't have DMX control.&lt;/p&gt;&#xA;" OwnerUserId="13943" LastActivityDate="2016-02-28T17:24:37.260" Title="How to film a strobe light" Tags="|filming|special-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17784" PostTypeId="2" ParentId="17783" CreationDate="2016-02-28T17:24:37.260" Score="3" Body="&lt;p&gt;What you're seeing is an inherent problem with sensors that use &quot;rolling shutter&quot;. There are tradeoffs in sensor technology among speed, sensitivity, and size, and using a sequential line readout with continuous exposure is a popular choice that's a good compromise for many situations. Unfortunately yours isn't one of those.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you need is what's known as &quot;total&quot; or &quot;global&quot; shuttering, where the entire frame is exposed at once and read out as a single image. Instead you have a sensor that essentially exposes each line of the array at different times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I'm afraid the answer is: use a camera / sensor that employs a different technology. I hope for your sake someone has a solution that allows you to use your existing setup, but I don't expect to see one.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-02-28T17:24:37.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17788" PostTypeId="1" CreationDate="2016-02-29T17:31:00.700" Score="4" ViewCount="646" Body="&lt;p&gt;I'm trying to construct a GStreamer pipeline to transcode MPEG2 video and MPEG1 audio in a MPEGTS container to H.264 and AAC and output to a filesink.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is: the output file is empty.&#xA;If I change the MPEGTS muxer to FLV muxer or Matroska, it works perfectly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My pipeline:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/usr/bin/env GST_DEBUG=3 gst-launch-1.0 souphttpsrc location=&quot;INPUTURL&quot; is-live=true  ! decodebin name=demux demux. ! queue ! audioresample ! audioconvert ! avenc_aac ! mux. mpegtsmux name=mux demux. ! queue ! videoconvert ! x264enc bitrate=2000 ! mux. mux. ! filesink location=/srv/hls/out.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="13951" OwnerDisplayName="Zygimantas" LastEditorUserId="13951" LastEditDate="2016-02-29T17:54:00.633" LastActivityDate="2016-05-17T12:31:35.670" Title="GStreamer mpegtsmux produces empty output file" Tags="|linux|transcoding|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17789" PostTypeId="1" AcceptedAnswerId="17790" CreationDate="2016-02-29T18:02:18.110" Score="2" ViewCount="753" Body="&lt;p&gt;&lt;strong&gt;A quick primer:&lt;/strong&gt;&lt;br/&gt;American television was originally broadcast at 30 frames per second. In order to accommodate color information without losing backward-compatibility with B&amp;amp;W televisions, the framerate was slowed by a factor of 1000/1001, to approximately 29.97 FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;29.97 footage was still labeled as 30 FPS; however, the difference in framerate caused the timecode to be off by a minute-and-a-half per day, causing sync issues for broadcasters. To counteract this, &quot;dropframe&quot; timecode was developed. At 30 FPS, there are 18000 frames per ten minutes; at 29.97 &lt;em&gt;exactly&lt;/em&gt;, there are 17982 frames per ten minutes. To account for the eighteen-frame difference, we &quot;skip&quot; two frames on every minute not divisible by 10. For example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;30 FPS&#xA;00:00:59:29 + 1 frame = 00:01:00:00&#xA;00:04:59:29 + 1 frame = 00:05:00:00&#xA;00:09:59:29 + 1 frame = 00:10:00:00&#xA;&#xA;29.97 FPS, dropframe&#xA;00:00:59;29 + 1 frame = 00:01:00;02&#xA;00:04:59;29 + 1 frame = 00:05:00;02&#xA;00:09:59;29 + 1 frame = 00:10:00;00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The question:&lt;/strong&gt;&lt;br/&gt;The math works out at &lt;em&gt;exactly&lt;/em&gt; 29.97, but the framerate is slightly faster -- 30*(1000/1001) works out to 29.97002997002... The difference is negligible for any single piece of footage; the error here only works about to about two-and-a-half frames per twenty-four hours. But &lt;strong&gt;how does a master sync generator account for these extra frames?&lt;/strong&gt; There's no labeling scheme for them, and midnight will not occur on a clean frame.&lt;/p&gt;&#xA;" OwnerUserId="13950" LastActivityDate="2016-03-06T13:16:07.533" Title="How is 29.97 timecode generated over a full day without frame errors?" Tags="|sync|timecode|broadcasting|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17790" PostTypeId="2" ParentId="17789" CreationDate="2016-02-29T19:45:26.983" Score="2" Body="&lt;p&gt;As per the Broadcast Engineer's &lt;a href=&quot;https://books.google.com/books?isbn=1136024174&quot; rel=&quot;nofollow&quot;&gt;Reference Book&lt;/a&gt;, p. 203&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;This correction will match DF time to real time to within&#xA;  approximately 2.6 frames per day; to eliminate the residual error the&#xA;  timecode generator can be reset each midnight.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So, apparently nothing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as the &quot;extra&quot; frames, Charles Poynton &lt;a href=&quot;https://groups.google.com/d/msg/sci.engr.television.advanced/rsLQnAC1qlQ/Rvc-_QK5qyQJ&quot; rel=&quot;nofollow&quot;&gt;says&lt;/a&gt;,&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If a timecode sequence is to be maintained longer than 24 hours,&#xA;  timecode should be jammed daily to reference clock time at an&#xA;  innocuous moment. No standard recommends when this should take place;&#xA;  however, the usual technique is to insert duplicate timecode numbers&#xA;  00:00:00;00 and 00:00:00;01. Editing equipment treats the duplicate&#xA;  codes as a timecode interruption.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-03-04T20:29:15.667" LastActivityDate="2016-03-04T20:29:15.667" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17791" PostTypeId="1" CreationDate="2016-02-29T19:51:28.827" Score="1" ViewCount="709" Body="&lt;p&gt;I recently made a video 3 minutes long with trapcode particular, 2 light layers and some simple expressions for particular (wiggle and time).&#xA;Rendering in quicktime h264, 1080p 30fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I started to render the video and on first it showed 28 minutes remaining. I was extremely happy with that. Came back 30 minutes later and now it was estimating 1h 20 minutes. Came back hour later and now it was at 1h 54min.&#xA;Although the rendering was now going for more than hour. The time kept increasing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I decided to stop and use adobe encoder, with h264 and matching video settings high bitrate. Encoder at the start gave me 1hour and later increased that again. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So few hours later I am using after effects built in rendering and time remaining is 1hour 30 min and elapsed is at 3hr 44min and more than half way through rendering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How could it be increasing all the time? I am using after effects for about a month now so I don't know all the hacks. I am using intel i5-6400 2.7ghz with 8gb of ram and 4gb of ddr5 gpu geforce gtx 750 ti.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would it help if I would render particles separate with alpha channel and then add it to full composition? Would that reduce time?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry for such bad explanation. English is not native for me.&lt;/p&gt;&#xA;" OwnerUserId="13953" LastActivityDate="2016-03-02T00:01:54.693" Title="After effects cc render time issues" Tags="|after-effects|quicktime|adobe-media-encoder|aerender|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17792" PostTypeId="1" CreationDate="2016-03-01T04:13:48.400" Score="0" ViewCount="1135" Body="&lt;p&gt;I have footage shot with the stock iPhone Camera app (5S running iOS 8.x).  Inside iOS Photos, I can see the geo coordinates where each video was shot.  However, I don't know how to get at that information once I'm in Windows and looking at the same .mov file.  I'm on Windows 10, for what it's worth.&lt;/p&gt;&#xA;" OwnerUserId="11690" LastActivityDate="2018-04-21T02:21:17.807" Title="In Windows, how do I find the geotags for videos shot in iOS?" Tags="|windows|ios|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17793" PostTypeId="2" ParentId="17792" CreationDate="2016-03-01T05:25:58.817" Score="1" Body="&lt;p&gt;Use &lt;a href=&quot;http://www.sno.phy.queensu.ca/~phil/exiftool/&quot; rel=&quot;nofollow&quot;&gt;exiftool&lt;/a&gt;, a command-line tool. GUI available from &lt;a href=&quot;http://u88.n24.queensu.ca/exiftool/forum/index.php/topic,2750.0.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Relevant feature:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Reads EXIF, GPS, IPTC, XMP, JFIF, MakerNotes, GeoTIFF, ICC Profile,&#xA;  Photoshop IRB, FlashPix, AFCP, ID3 and more.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Should look like this, in readout:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;GPSCoordinates                  : 20.884100° N, 21.319300° E, 17 m&#xA;  Above Sea Level&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-03-01T05:25:58.817" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17794" PostTypeId="2" ParentId="17061" CreationDate="2016-03-01T07:16:27.657" Score="6" Body="&lt;p&gt;Suspending the Thread works on Windows too, not with &lt;kbd&gt;ctrl&lt;/kbd&gt; + &lt;kbd&gt;Z&lt;/kbd&gt;, but in the resource manager, you can also resume it there.&lt;/p&gt;&#xA;" OwnerUserId="13957" LastEditorUserId="6582" LastEditDate="2019-12-20T18:12:24.453" LastActivityDate="2019-12-20T18:12:24.453" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="17795" PostTypeId="1" CreationDate="2016-03-01T09:33:44.063" Score="1" ViewCount="356" Body="&lt;p&gt;I have made simple animation where a hand drags an item onto a page.  I wanted them to take a curved path so I have added a bezier curve to the path as shown below&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eUpoT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eUpoT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This only effects one of the layers so I manually put the same curve into the second layer but it is not perfect.  I can see the hand and the contact us box move slightly differently.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I lock both layers on the exact same path?&lt;/p&gt;&#xA;" OwnerUserId="13934" LastActivityDate="2016-03-01T21:53:36.483" Title="Animate two layers along identical path" Tags="|after-effects|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17797" PostTypeId="1" CreationDate="2016-03-01T10:20:02.550" Score="2" ViewCount="1678" Body="&lt;p&gt;I have an MOV footage clip supplied by a freelancer that starts timecode at 11:48:09.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a standalone clip that I don't need to retain that timecode for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would be very useful to reset it to  00:00:00.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way of doing this in any of the CC apps, FCPX or freeware utilities/apps?&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2016-03-31T12:47:39.350" Title="Reset timecode in source footage to 00:00:00" Tags="|final-cut-pro-x|adobe|timecode|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17800" PostTypeId="2" ParentId="17797" CreationDate="2016-03-01T10:38:03.607" Score="1" Body="&lt;p&gt;You can use &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool, like so&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -c copy -map 0 -dn output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;-c copy&lt;/code&gt; sees that there's no re-encoding, the &lt;code&gt;-map 0&lt;/code&gt; copies everything over but the &lt;code&gt;-dn&lt;/code&gt; disables data tracks - the timecode being a data track.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-03-01T10:38:03.607" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17802" PostTypeId="2" ParentId="17795" CreationDate="2016-03-01T15:05:33.850" Score="1" Body="&lt;p&gt;You could Parent one layer to the other.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This means that one layer controls the position/rotation/scale of the other layer.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/layer-properties.html#parent_and_child_layers&quot; rel=&quot;nofollow&quot;&gt;https://helpx.adobe.com/after-effects/using/layer-properties.html#parent_and_child_layers&lt;/a&gt;&#xA;for more info.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-03-01T15:05:33.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17803" PostTypeId="2" ParentId="17791" CreationDate="2016-03-01T15:08:19.020" Score="1" Body="&lt;p&gt;I usually export as a ProRes Quicktime movie from After Effects directly, then convert my ProRes file to h264.  I keep the ProRes as a master file, and compress the h264 as needed.  Also sometimes restarting AE before rendering fixes any slowdowns.  If the particles are using large (greater than 200x200 pixel) layers for their textures, this will make things render very slowly.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-03-01T15:08:19.020" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17804" PostTypeId="2" ParentId="17775" CreationDate="2016-03-01T15:13:02.760" Score="1" Body="&lt;p&gt;As Mulvya says - it sounds like a color space export issue..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See this previous answer - &lt;a href=&quot;https://video.stackexchange.com/questions/13174/color-shift-after-exporting/13192#13192&quot;&gt;Color shift after exporting!&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think this could be to do with &quot;color space&quot;. I've had similar issues with exporting videos from After Effects. Exporting using &quot;REC 709&quot; Color space usually gives me the colours I expect. You can read more about how Adobe handle different Color spaces here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://wwwimages.adobe.com/content/dam/Adobe/en/devnet/aftereffects/articles/color_management_workflow/ae_color_mgmt_wkflow.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://wwwimages.adobe.com/content/dam/Adobe/en/devnet/aftereffects/articles/color_management_workflow/ae_color_mgmt_wkflow.pdf&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-03-01T15:13:02.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17805" PostTypeId="2" ParentId="17774" CreationDate="2016-03-01T15:34:48.987" Score="1" Body="&lt;p&gt;Most episodic (network and cable) TV is captioned by service bureaus who use proprietary software. Some of the big players are &lt;a href=&quot;http://www.vitac.com/&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;VITAC&lt;/strong&gt;&lt;/a&gt;, &lt;a href=&quot;http://www.ncicap.org/&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;NCI&lt;/strong&gt;&lt;/a&gt;, and &lt;a href=&quot;http://main.wgbh.org/wgbh/pages/mag/services/captioning/faq/&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;WGBH&lt;/strong&gt;&lt;/a&gt;, and there are several more. They all provide various levels of service, and some rely more heavily on automation / voice recognition etc than others. This is all offline captioning and the goal is accuracy in copy, placement and timing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other main thread (and skill) is live writing or real-time captioning, which is done with stenowriters (chord typing) as used by court reporters. These are always delayed by some time because of the need to hear, interpret and input. It's almost always done remotely, with the caption writer networked into a local encoder. The same bureaus usually offer both live and offline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To learn more, check out the links above -- and google for more -- then maybe contact the providers that look interesting to you.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-03-01T15:34:48.987" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17806" PostTypeId="1" AcceptedAnswerId="17807" CreationDate="2016-03-01T16:15:04.957" Score="1" ViewCount="663" Body="&lt;p&gt;I have a bunch of AVI files containing captured DV footage (Microsoft DV, as that is what is captured through Adobe Premiere on Windows).&#xA;These now need to be converted to Quicktime DV to work with some other software package.&#xA;When I Export as Quicktime and select DV25 as codec (in Adobe Media Encoder) the filesize remains almost the same (not surprising because it is the same bitrate as the source), but what exactly happens during the export?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is the raw DV footage simply extracted from the AVI container and put into a MOV container (meaning only copying of data with no loss in quality)?&#xA;Or is the video transcoded from Microsoft DV to Quicktime DV (meaning there will be a slight loss in quality)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the latter, how can I losslessy extract the DV footage from an AVI container and put into a MOV container?&lt;/p&gt;&#xA;" OwnerUserId="13961" LastActivityDate="2019-09-18T00:16:45.193" Title="Losslessly converting Microsoft DV to Quicktime DV" Tags="|premiere|quicktime|adobe-media-encoder|avi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17807" PostTypeId="2" ParentId="17806" CreationDate="2016-03-01T16:26:59.557" Score="1" Body="&lt;p&gt;I doubt Adobe Media Encoder is rewrapping the video stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To copy the data losslessly from a Type 1 to Type 2 DV-AVI or to MOV, use &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool, like so&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -c copy -map 0 -video_track_timescale 25 output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-03-10T11:51:15.857" LastActivityDate="2016-03-10T11:51:15.857" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="17808" PostTypeId="1" CreationDate="2016-03-01T17:55:39.473" Score="1" ViewCount="2827" Body="&lt;p&gt;I'm having some trouble when exporting a sequence in Adobe Premiere CS6. There is a quality loss: image are more pixelated and colors are more bland.&#xA;I'm exporting in H.264 format and it's 1920x1080 footage. I tried every possibility of configurations and it keep exporting less good quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some screenshots, so you can compare the original quality and what comes out from exportation:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XIwBJ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XIwBJ.jpg&quot; alt=&quot;Original footage&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/6I9CE.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6I9CE.jpg&quot; alt=&quot;Quality loss when exporting in Premiere&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you for your help ! &lt;/p&gt;&#xA;" OwnerUserId="13962" LastActivityDate="2016-03-03T01:03:27.070" Title="Quality loss when exporting on Adobe Premiere" Tags="|premiere|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17810" PostTypeId="1" AcceptedAnswerId="17824" CreationDate="2016-03-01T20:56:35.103" Score="0" ViewCount="1101" Body="&lt;p&gt;I am trying to understand how the default Windows 10 player (called &quot;Films and TV&quot;) is able to play FHD (1920 x 1080 x 60fps) videos (shot with GoPro 4) and utilize only around 10% of the CPU, while other players namely VLC and GOM will utilize around 60-70% CPU.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried looking at GPU utilization, but even there while using the default Windows 10 player utilization is around 15% vs around 30% when using VLC and GOM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right now this looks like magic to me as FHD playback is taxing on the hardware and I can't figure out what is going on. I am thinking the difference will be in the decoder used, but can't find more information. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The CPU / GPU used are Core i5 5200U / Intel HD Graphics 5500&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VLC Player CPU utilization:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/XGSQE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XGSQE.png&quot; alt=&quot;VLC Player CPU utilization&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Films and TV CPU utilization&#xA;&lt;a href=&quot;https://i.stack.imgur.com/agPr7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/agPr7.png&quot; alt=&quot;Films and TV CPU utilization&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the info for a sample video file.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media / Version 1&#xA;Codec ID                                 : mp41&#xA;File size                                : 2.61 GiB&#xA;Duration                                 : 12mn 23s&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 30.1 Mbps&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : High@L4.2&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 1 frame&#xA;Format settings, GOP                     : M=1, N=30&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 12mn 23s&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 30.0 Mbps&#xA;Width                                    : 1 920 pixels&#xA;Height                                   : 1 080 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 59.940 fps&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.241&#xA;Stream size                              : 2.60 GiB (99%)&#xA;Title                                    : GoPro AVC&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.709&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC&#xA;Format/Info                              : Advanced Audio Codec&#xA;Format profile                           : LC&#xA;Codec ID                                 : 40&#xA;Duration                                 : 12mn 23s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 128 Kbps&#xA;Channel(s)                               : 2 channels&#xA;Channel positions                        : Front: L R&#xA;Sampling rate                            : 48.0 KHz&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 11.4 MiB (0%)&#xA;Title                                    : GoPro AAC&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;VLC reports the following video output in: Tools -&gt; Messages -&gt; Module Tree -&gt; playlist -&gt; video output&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;window &quot;qt4&quot; (0x5a738fc)&#xA;vout display &quot;direct3d&quot; (0x5a57a34)&#xA;&#xA;subpicture (0xf456b4)&#xA;spu text &quot;freetype&quot; (0x5a24264)&#xA;scale &quot;yuvp&quot; (0x5a70c1c)&#xA;scale &quot;swscale&quot; (0x55a1eac)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="13963" LastEditorUserId="13963" LastEditDate="2016-03-02T18:27:21.033" LastActivityDate="2016-03-09T18:19:01.270" Title="How is the default video player in Windows 10 achieving the low CPU utilization while playing FHD videos" Tags="|playback|full-hd|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17812" PostTypeId="2" ParentId="17808" CreationDate="2016-03-01T21:48:18.507" Score="0" Body="&lt;p&gt;You will always recompress after saving in Premiere, or any other editing program. So quality loss is inevitable. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For best match to the source footage, try to export with same codec, as video was recorded.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-03-01T21:48:18.507" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17813" PostTypeId="2" ParentId="17795" CreationDate="2016-03-01T21:53:36.483" Score="1" Body="&lt;p&gt;In addition to @inevitably answer. You shall use parenting, but better not to parent one layer to another, but create Null Object with that monition curve, and parent both layers to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Why it may be important:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need any motion of &quot;parent layer&quot; in variant provided by @inevitably, it will be pretty difficult to move it without moving child layer. But with Null Object, it will be pretty easy.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-03-01T21:53:36.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17814" PostTypeId="2" ParentId="17791" CreationDate="2016-03-02T00:01:54.693" Score="-1" Body="&lt;p&gt;Pre rendering comps is useful if the items in the pre render don't need any more tweaking. So if you're still working on the overall project but the particles are finished, maybe I would pre-render them. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-03-02T00:01:54.693" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17815" PostTypeId="2" ParentId="10559" CreationDate="2016-03-02T08:12:01.360" Score="1" Body="&lt;p&gt;Answering the question as asked,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -map 0:v -map 0:a -map 0:v \&#xA;-c:v:0 copy -c:v:1 libx264 -b:v:1 &amp;lt;lower-bitrate&amp;gt; -c:a copy -movflags +faststart out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The lower-bitrate version of the video is the third stream. Players typically will play the original video which is the first stream in the output.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-03-02T12:36:47.553" LastActivityDate="2016-03-02T12:36:47.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17816" PostTypeId="1" CreationDate="2016-03-02T08:45:44.147" Score="1" ViewCount="2277" Body="&lt;p&gt;I am trying to create a server that streams &lt;strong&gt;HLS&lt;/strong&gt; to client. I created &lt;strong&gt;.m3u8&lt;/strong&gt; file and for receive from client use &lt;strong&gt;Apache&lt;/strong&gt; web server. Some times, changing the source of video takes more than usual time... I think that it refers to web server that responds to client with delay. Can anyone help me which web server is best to put &lt;strong&gt;m3u8&lt;/strong&gt; file in that and get client stream from that? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My m3u8 file is :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#EXTM3U&#xA;#EXT-X-VERSION:3&#xA;#EXT-X-TARGETDURATION:11&#xA;#EXT-X-MEDIA-SEQUENCE:11&#xA;#EXTINF:10.080000,&#xA;21.ts&#xA;#EXTINF:10.080000,&#xA;22.ts&#xA;#EXTINF:9.760000,&#xA;23.ts&#xA;#EXTINF:10.880000,&#xA;24.ts&#xA;#EXTINF:9.600000,&#xA;20.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="13964" LastEditorUserId="16850" LastEditDate="2017-04-25T11:47:07.330" LastActivityDate="2024-03-20T02:30:11.583" Title="Which web server is better for HLS streaming?" Tags="|streaming|" AnswerCount="3" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="17818" PostTypeId="1" CreationDate="2016-03-02T15:48:03.137" Score="1" ViewCount="306" Body="&lt;p&gt;I am using blender video sequence editor feature. When I export my video I have subtle quality loss. There are mild flickering artifacts. I have a couple question related to that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First one, is what is the best format to export to?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It has two places to set formats, which I am not sure the difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Under output I can set a tab described as &quot;File format to save rendered images as&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There under video format that allow sound I can select h264, mpeg, ogg theora, and xvid.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I have an encoding tab that has a format option described &quot;Output file format&quot; where I can set&lt;/p&gt;&#xA;&#xA;&lt;p&gt;flash, matroska, ogg, xvid, h264, dv, quicktime, avi, mpeg4 mpeg2 mpeg1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which one of these is best for quality?&lt;/p&gt;&#xA;" OwnerUserId="13870" LastActivityDate="2016-03-03T12:10:26.483" Title="Best format to export to in blender" Tags="|encoding|file-formats|blender|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17820" PostTypeId="1" CreationDate="2016-03-02T18:58:11.070" Score="1" ViewCount="1006" Body="&lt;p&gt;When I made a shape, all of my effects like rotation, scale, etc. would pop up in the Effects Control window. Now they don't and I have to work in that cramped space in the timeline. Why is this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an image of the problem: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GQKUS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GQKUS.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10980" LastEditorUserId="6685" LastEditDate="2016-03-04T07:47:22.240" LastActivityDate="2016-03-04T07:47:22.240" Title="Effects Control does not show anything" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17821" PostTypeId="2" ParentId="17808" CreationDate="2016-03-02T19:32:10.203" Score="1" Body="&lt;p&gt;Use a visually lossless (intermediary) codec when going between different editing applications. Avid DNxHR, Apple Prores, Edius HQX, and GoPro Cineform are all examples of intermediary codecs. I personally prefer DNxHR, but all the options I listed are good options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also use dynamic link between After Effects and Premiere, which would be even better.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2016-03-02T19:32:10.203" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17823" PostTypeId="2" ParentId="17808" CreationDate="2016-03-03T01:03:27.070" Score="1" Body="&lt;p&gt;Make sure it's not a playback issue. Different players may show differences in gamma etc., you can see it for yourself when opening a h264 encoded clip in QuickTime vs. VLC vs. Flash based player in a Browser. Did you take the Screenshots in the same player when comparing original vs exported material?&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-03T01:03:27.070" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17824" PostTypeId="2" ParentId="17810" CreationDate="2016-03-03T01:06:52.177" Score="0" Body="&lt;p&gt;Quite possible that the Windows player can make use of some HW acceleration the others can not / are not using. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check this how to enable HW video decoding on VLC: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://wiki.videolan.org/VLC_GPU_Decoding&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://wiki.videolan.org/VLC_GPU_Decoding&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://superuser.com/q/128478/228841&quot;&gt;https://superuser.com/q/128478/228841&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you are using VLC 2.2.2 check this&#xA;&lt;a href=&quot;https://forum.videolan.org/viewtopic.php?t=130590&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forum.videolan.org/viewtopic.php?t=130590&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE&lt;/strong&gt; from the author of the question:&#xA;Adding screenshot from VLC v. 2.2.1 to compliment this answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VLC 2.2.1 with Hardware Acceleration enabled.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/fqQTz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fqQTz.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2016-03-09T18:19:01.270" CommentCount="14" ContentLicense="CC BY-SA 3.0" />
  <row Id="17825" PostTypeId="2" ParentId="17690" CreationDate="2016-03-03T07:21:45.773" Score="2" Body="&lt;p&gt;I  not sure if I understood your question correctly, but CasparCG would be a common solution to overlay graphics (or anything else) to a video feed.&#xA; &lt;a href=&quot;http://www.casparcg.com&quot; rel=&quot;nofollow&quot;&gt;http://www.casparcg.com&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or, if you want to do this in software, take a look at the liquidsoap library:&#xA;&lt;a href=&quot;http://liquidsoap.fm/doc-svn/video.html&quot; rel=&quot;nofollow&quot;&gt;http://liquidsoap.fm/doc-svn/video.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-03-03T10:10:17.937" LastActivityDate="2016-03-03T10:10:17.937" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17826" PostTypeId="2" ParentId="17820" CreationDate="2016-03-03T08:43:57.207" Score="2" Body="&lt;p&gt;My AE was always like that. I believe you confusing Adobe After Effects &quot;Effects Control&quot; panel, with Adobe Premiere &quot;Effects Control&quot; panel, where you can find all basic effects.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-03-03T08:43:57.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17827" PostTypeId="2" ParentId="17818" CreationDate="2016-03-03T12:10:26.483" Score="1" Body="&lt;p&gt;The first problem you have to solve is whether the flickering you see is part of your animation or part of the video encoder.  If you have bad normals in your faces, you'll see a flicker.  ProRes 422HQ produces a video file that's both low enough of a bitrate that most modern (post 2008) hardware can play without dropping frames, as well as high enough of a bitrate that you will not see any compression artifacts.  If you still see flickering, the problem is with your model, not your video encoder.  If you see no flickering, then start wandering through the settings of whatever video encoding format you are most likely to use for final product.  If the video's final resting place will be YouTube, that would be H.264.  If it's your laptop or desktop computer, it might be ProRes (Mac) or AVI (Windows) or Ogg (Linux).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-03-03T12:10:26.483" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17829" PostTypeId="1" CreationDate="2016-03-03T20:25:00.937" Score="0" ViewCount="86" Body="&lt;p&gt;orig.mod - properties:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Frame width 720&#xA;Frame height 576&#xA;Data rate 8900kbps&#xA;Total bitrate 9284kbps&#xA;Frame rate 25 frames/second&#xA;&#xA;Audio&#xA;Bit rate 384kbps&#xA;Channels 2(stereo)&#xA;Audio sample rate 48kHz&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I need a short clip of the above file, and tried using &lt;code&gt;Sony Vegas Pro 13&lt;/code&gt; and &lt;code&gt;Premiere cc pr0 2015&lt;/code&gt;. In both applications I choose to adjust resulting file to the original, especially regarding frame size and frame rate. Result is simmilar in both applications:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;result.mpg (tried .mp4 and .wmv also)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Frame width 720&#xA;Frame height 576&#xA;Data rate 9500kbps&#xA;Total bitrate 9724kbps&#xA;Frame rate 25 frames/second&#xA;&#xA;Audio&#xA;Bit rate 224kbps&#xA;Channels 2(stereo)&#xA;Audio sample rate 48kHz&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Main specifications are the same, but playing both file, using &lt;code&gt;VLC&lt;/code&gt; and &lt;code&gt;WMP&lt;/code&gt; players, what I see is - &lt;code&gt;result.mpg&lt;/code&gt; is much narrower than &lt;code&gt;orig.mod&lt;/code&gt;. Height is the same. That means aspect ratio is changed.&lt;br&gt;&#xA;Also, &lt;code&gt;result.mpg&lt;/code&gt; has poor quality, comparing to original.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help.&lt;/p&gt;&#xA;" OwnerUserId="10848" LastActivityDate="2016-03-03T23:36:04.570" Title="How to get a clip with the same aspect ratio and without losing quality" Tags="|premiere|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17830" PostTypeId="2" ParentId="17829" CreationDate="2016-03-03T23:36:04.570" Score="1" Body="&lt;p&gt;Check you pixel aspect ratio.  Its in the video settings in premiere.  My guess is its not matching the original file. Play around with the different settings.  Usually square pixels do it for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/15122/adobe-premiere-pro-cc-aspect-ratio-streched&quot;&gt;Adobe Premiere Pro CC aspect ratio streched&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="13848" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-03-03T23:36:04.570" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17831" PostTypeId="1" AcceptedAnswerId="17839" CreationDate="2016-03-04T09:54:26.793" Score="1" ViewCount="3358" Body="&lt;p&gt;Can I select two points on a rectangle and have them follow a null object's movement? I want one side of several shapes to stay put, and the other side to track an eased movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe stib has answered this, but as per tomh's comment I'll post a gif anyway to explain. There is probably an even simpler way to do what I'm trying to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2vMQb.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2vMQb.gif&quot; alt=&quot;swipe effect&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The grey box on the right is swiped right to left with a steep ease curve. The boat graphic needs to scale with the same curve as the X position of the grey box so they move together. Making the first ease is simple, but I had to 'bake' the second curve frame by frame, then smooth it as best I could, but the OCD in me wants the curve to be identical! It also might be useful for future projects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought, if I could make a rectangle where the two left paths are stuck on the far left of the comp, and the two right paths track the movement of the grey box, that this would make my perfect, mask for the scaling boat layer.&lt;/p&gt;&#xA;" OwnerUserId="13971" LastEditorUserId="13971" LastEditDate="2016-03-07T10:18:52.387" LastActivityDate="2016-03-07T10:18:52.387" Title="After Effects, can I parent specific points on a path to a null object?" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17832" PostTypeId="1" CreationDate="2016-03-04T14:03:07.813" Score="2" ViewCount="114" Body="&lt;p&gt;In order to produce a new logo revealing animation I was just searching the web for useful reference pages dealing with advanced camera movements. By &quot;Camera movements&quot; I don't mean the basic tilting, panning &amp;amp; dolly stuff.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am actually searching for advanced camera movements, for example in this video (sec 58) when the mic comes up.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/keMiN_47Y8Y?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know some resource pages with good explanations and maybe examples of advanced camera movements with regard to create specific emotional impact?&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2016-10-20T22:35:53.720" Title="Reference Request: Camera Movements" Tags="|after-effects|animation|camera|filming|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17833" PostTypeId="1" CreationDate="2016-03-04T15:07:54.787" Score="3" ViewCount="786" Body="&lt;p&gt;As a novice what tools do experts suggest I use to get a technical understanding of .mov container files?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to know whats inside the container and how I can get the data out safely without reducing the quality. Ideally splitting it into the various media formats detected&lt;/p&gt;&#xA;" OwnerUserId="13991" LastEditorUserId="13991" LastEditDate="2016-03-04T15:13:58.897" LastActivityDate="2016-03-07T17:03:25.397" Title="Tools for exploring .mov containers" Tags="|video|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17834" PostTypeId="2" ParentId="17833" CreationDate="2016-03-04T15:34:00.577" Score="4" Body="&lt;p&gt;If you just want to look inside a video file, check its individual streams and all metadata, you can use &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow&quot;&gt;MediaInfo&lt;/a&gt;, which will show you everything there is to know about your file and the streams it contains.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to extract, remux or reencode the video file's streams, you can use &lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt;. If you are not comfortable using a command-line tool, there are several GUI-based programs out there (most of which are built around FFmpeg), such as &lt;a href=&quot;http://www.xmedia-recode.de/en&quot; rel=&quot;nofollow&quot;&gt;XMedia Recode&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2016-03-06T12:23:44.057" LastActivityDate="2016-03-06T12:23:44.057" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17835" PostTypeId="1" CreationDate="2016-03-04T19:51:31.080" Score="0" ViewCount="134" Body="&lt;p&gt;I bought an effect on Videohive (&lt;a href=&quot;http://videohive.net/item/classic-music-visualizer-/13342497&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://videohive.net/item/classic-music-visualizer-/13342497&lt;/a&gt;), and create a 1h long video with music and picture in background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to render this video, but the estimate time for this is more than 10h... Also the filesize is huge (8GB for 5min of video!). How can I render/e&#xA;These are my settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ub42o.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ub42o.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could you help me with settings to render/export video to normal filesize? I need video for publish on YouTube (but it must be 1920x1080 and good sound).&lt;/p&gt;&#xA;" OwnerUserId="13992" LastEditorUserId="17390" LastEditDate="2019-08-26T19:05:52.290" LastActivityDate="2019-08-26T19:05:52.290" Title="rendering video with Adobe After Effects" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="17836" PostTypeId="2" ParentId="17835" CreationDate="2016-03-05T04:52:16.160" Score="1" Body="&lt;p&gt;Within the video format optionss, check and set the &lt;code&gt;Limit data rate&lt;/code&gt; to &lt;code&gt;10000 kbps&lt;/code&gt;. This will produce a file under 400 MB.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-03-05T04:52:16.160" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17837" PostTypeId="2" ParentId="17833" CreationDate="2016-03-05T05:55:59.000" Score="0" Body="&lt;p&gt;You can also try out &lt;a href=&quot;http://atomicdumpster.com&quot; rel=&quot;nofollow&quot;&gt;Atomic Dumpster&lt;/a&gt;. It will let you view the structure of a QuickTime file, viewing the data of the various tracks and the media.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-03-05T05:55:59.000" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17838" PostTypeId="2" ParentId="17835" CreationDate="2016-03-05T11:56:02.893" Score="0" Body="&lt;p&gt;Try rendering to an all I-frame codec first and then compress to h.264 later. Use proRes since you're on a mac. This will be a larger file, but you can delete it after you compress if you need the space. All I-frame codec encode every frame separately, whereas h.264 uses the similarities between different frames to reduce the file size, which doesn't work well with the way AE renders frame-by-frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This workflow also means that if you need to change your compression settings you don't have to re-render the whole thing again, just re-compress the master.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-03-05T11:56:02.893" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17839" PostTypeId="2" ParentId="17831" CreationDate="2016-03-05T12:03:22.440" Score="0" Body="&lt;p&gt;Use the &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/animating-puppet-tools.html&quot; rel=&quot;nofollow&quot;&gt;puppet tool&lt;/a&gt; to do this. Place puppet pins on the rectangle and they will allow you to distort the rectangle to follow them. You may need other puppet pins or starch to hold the rest of the rectangle in place. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then connect their position to the null using an expression:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&quot;&amp;lt;the name of the null&amp;gt;&quot;).transform.position&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or if the nulls are parented to something else:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&quot;&amp;lt;the name of the null&amp;gt;&quot;).toWorld(thisComp.layer(&quot;&amp;lt;the name of the null&amp;gt;&quot;).transform.anchorPoint)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt; Are you asking whether you can attach specific points on a vector path to a null? Not natively, but there is a third party plugin that lets you animate individual path points: &lt;a href=&quot;http://aescripts.com/bao-mask-avenger/&quot; rel=&quot;nofollow&quot;&gt;http://aescripts.com/bao-mask-avenger/&lt;/a&gt; Fairly pricey though.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-03-05T12:32:52.097" LastActivityDate="2016-03-05T12:32:52.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17840" PostTypeId="1" CreationDate="2016-03-06T01:26:59.893" Score="0" ViewCount="45" Body="&lt;p&gt;I have a licensed copy of Liquid on my Windows XP machine. No matter what I've tried, I can't move or reinstall it to my Windows 8.1 machine. Any suggestions? &lt;/p&gt;&#xA;" OwnerUserId="14001" LastActivityDate="2016-05-05T19:34:50.997" Title="Avid/Pinnacle Liquid" Tags="|avid|pinnacle|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17842" PostTypeId="1" AcceptedAnswerId="17843" CreationDate="2016-03-06T04:51:36.090" Score="0" ViewCount="604" Body="&lt;p&gt;Where can I find some presets or plugins for premiere pro to do some fancier video transitions?&lt;/p&gt;&#xA;" OwnerUserId="14004" LastActivityDate="2016-03-06T12:18:41.573" Title="Premiere pro transition presets" Tags="|premiere|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17843" PostTypeId="2" ParentId="17842" CreationDate="2016-03-06T12:18:41.573" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/plug-ins.html&quot; rel=&quot;nofollow&quot;&gt;Here's a list of free third-party plugins for Premiere Pro&lt;/a&gt;, including additional transitions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://creative.adobe.com/addons?pp=PPRO&quot; rel=&quot;nofollow&quot;&gt;Here's the official Adobe Add-on Website&lt;/a&gt;, where you will find both free and paid-for plugins, also including some transition preset packs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://google.com&quot; rel=&quot;nofollow&quot;&gt;Here's a great tool&lt;/a&gt; which will help you find even more transition presets on your own!&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-03-06T12:18:41.573" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17844" PostTypeId="2" ParentId="17833" CreationDate="2016-03-06T12:56:07.473" Score="0" Body="&lt;p&gt;Using ffmpeg, which numbers streams starting from 0, run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -c copy -map 0:v:0 -map 0:a:0 -map 0:d video-0.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;to extract the first audio and video + timecode into a new MOV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Repeat for other streams by incrementing the index numbers after &lt;code&gt;a&lt;/code&gt; and &lt;code&gt;v&lt;/code&gt;. Retain the &lt;code&gt;-map 0:d&lt;/code&gt;. It will copy the timecode over into each split file you make.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-03-07T17:03:25.397" LastActivityDate="2016-03-07T17:03:25.397" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17845" PostTypeId="2" ParentId="17789" CreationDate="2016-03-06T13:16:07.533" Score="0" Body="&lt;p&gt;The information so far: you're acquiring video content continuously at exactly 29.97 with no breaks ever, forever. Plus A) each video frame must have a unique label and B) these labels must always exactly match true time of day, within a small epsilon that averages to zero.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given those conditions, there's no solution using only standard video sync and time code. You must compromise / customize something.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some possibilities are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1 - Resynchronize TC to TOD at every break in recording. I know we assumed no breaks, but no recording medium has infinite length. Scheduled breaks or resync points might be possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2 - Jam the TCG to TOD every &quot;n&quot; hours and live with the consequences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3 - Store both the mSec-exact TOD and the TC (or the accumulated delta) in the CMS, and use them both on retrieval of a given frame. Couple this with a reset to 0 whenever possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4 - Use the user bits of the TC to encode the mSec-exact TOD, instead of storing it in the CMS database. However, the delta won't survive dubbing / editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5 - Similar to what @Mulvya suggests, customize the TC generation to not drop three normally-skipped frame labels each day. That would change the drift from -2.589 frames/day to +0.411 fr/day. This can be further corrected by skipping one of the not-drops every 2 days, making the average error term -0.02 fr/day, etc. You can continue this to any desired accuracy. This is only possible if your TC doesn't have to be used outside your own context. &quot;Normal&quot; systems for editing etc won't understand it.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-03-06T13:16:07.533" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17846" PostTypeId="1" CreationDate="2016-03-06T17:27:50.327" Score="2" ViewCount="5153" Body="&lt;p&gt;Well, I can't export anything, Premiere Pro or Media Encoder keep crashing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Crashes are quite unexpected, after several minutes or several hours, without any explanations: &quot;Adobe [--] stopped working&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what I tried so far :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Gather all the medias in the same folder/sub-folders (nothing is on an other drive)&lt;/li&gt;&#xA;&lt;li&gt;Reinitialize settings&lt;/li&gt;&#xA;&lt;li&gt;Match sequence settings with imported videos settings&lt;/li&gt;&#xA;&lt;li&gt;Pre-render effects (and use the pre-rendered files for export)&lt;/li&gt;&#xA;&lt;li&gt;Copy-paste the whole sequence in a new one&lt;/li&gt;&#xA;&lt;li&gt;Delete all cached medias&lt;/li&gt;&#xA;&lt;li&gt;Render without encoding (raw)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Still crashing, always...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: rendering all the sequence also crashes. I'm currently trying to render in-&gt;out and expand progressively the area to render...&lt;/p&gt;&#xA;" OwnerUserId="14005" LastEditorUserId="14005" LastEditDate="2016-03-06T19:39:56.610" LastActivityDate="2017-01-29T04:23:32.167" Title="Adobe Premiere Pro and Media Encoder crash on encoding" Tags="|premiere|encoding|adobe-media-encoder|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="17847" PostTypeId="2" ParentId="17840" CreationDate="2016-03-06T18:38:19.717" Score="1" Body="&lt;p&gt;The Avid Liquid product line was &lt;a href=&quot;http://www.avid.com/US/resources/liquid&quot; rel=&quot;nofollow&quot;&gt;EOLed&lt;/a&gt; in 2010 and Windows XP SP2 is the &lt;a href=&quot;http://community.avid.com/forums/p/79375/444810.aspx#444810&quot; rel=&quot;nofollow&quot;&gt;latest&lt;/a&gt; Windows version supported.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the Liquid forum, someone suggests a &lt;a href=&quot;http://forums.pinnaclesys.com/forums/thread/45770.aspx&quot; rel=&quot;nofollow&quot;&gt;method&lt;/a&gt; to install Liquid 7.2 on Windows 7. See if you can use it for Windows 8.1&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-03-06T18:38:19.717" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17849" PostTypeId="2" ParentId="17832" CreationDate="2016-03-07T14:31:14.783" Score="0" Body="&lt;p&gt;The effect you see in sec 58 with the microphone, well the part that gives you the emotional reaction, is called Perspective Control. It is not limited to animated material, you can in fact obtain it in live filming by using a tilt lens. You can read more about the science of this effect in &lt;a href=&quot;https://en.wikipedia.org/wiki/Perspective_control&quot; rel=&quot;nofollow&quot;&gt;Wikipedia&lt;/a&gt;. For ideas on using it in After Effects I suggest going over the various forums, they offer plenty of discussions and collective experience to learn from.&lt;/p&gt;&#xA;" OwnerUserId="8079" LastActivityDate="2016-03-07T14:31:14.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17850" PostTypeId="2" ParentId="16455" CreationDate="2016-03-07T19:31:51.583" Score="0" Body="&lt;p&gt;The iPhone display and camera are already in logarithmic color spaces. I think you are asking about linear color space. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I very much doubt that Apple allows direct access to the camera hardware. I haven't seen any apps that required it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But even if you somehow could, you'd find that the conversion to sRGB/BT.709 is done in the camera hardware, as is the compression. And even if you could access the raw sensor, you'd find the data noisy and unwieldy. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, no. Sorry. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Added&lt;/strong&gt;:&#xA;See:&#xA;&lt;a href=&quot;https://developer.apple.com/library/ios/documentation/AVFoundation/Reference/AVCaptureDevice_Class/index.html#//apple_ref/occ/cl/AVCaptureDevice&quot; rel=&quot;nofollow&quot;&gt;https://developer.apple.com/library/ios/documentation/AVFoundation/Reference/AVCaptureDevice_Class/index.html#//apple_ref/occ/cl/AVCaptureDevice&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12716" LastEditorUserId="12716" LastEditDate="2016-03-09T22:52:42.513" LastActivityDate="2016-03-09T22:52:42.513" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17851" PostTypeId="1" CreationDate="2016-03-07T21:16:06.913" Score="0" ViewCount="5175" Body="&lt;p&gt;I have several videos which produce reading errors in ffmpeg, thus hindering me to play them in VLC (for example). Is there a way to either skip those problematic parts, or to fix them?&lt;br&gt;&#xA;The exact error is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[matroska,webm @ 0x3a13a20] Read error at pos. 11794050343 (0x2befaed27)&#xA;[NULL @ 0x3a18380] Unable to find a suitable output format for '2'&#xA;2: Invalid argument&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;generated by the command &lt;code&gt;ffmpeg -v error -i &quot;sample.mkv&quot; -map 0:1 -f null - 2&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video itself has the following encoding (by &lt;code&gt;mediainfo&lt;/code&gt;):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : High@L4.1&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 4 frames&#xA;Codec ID                                 : V_MPEG4/ISO/AVC&#xA;Duration                                 : 2h 1mn&#xA;Bit rate                                 : 10.8 Mbps&#xA;Width                                    : 1 920 pixels&#xA;Height                                   : 1 040 pixels&#xA;Display aspect ratio                     : 1.85:1&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 23.976 fps&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.227&#xA;Stream size                              : 8.95 GiB (81%)&#xA;Writing library                          : x264 core 59 r819M 0414d78&#xA;Encoding settings                        : cabac=1 / ref=4 / deblock=1:0:0 / analyse=0x3:0x113 / me=umh / subme=6 / me-prepass=0 / brdo=1 / mixed_ref=1 / me_range=12 / chroma_me=1 / trellis=1 / 8x8dct=1 / cqm=0 / deadzone=21,11 / chroma_qp_offset=0 / threads=6 / nr=0 / decimate=1 / mbaff=0 / bframes=4 / b_pyramid=0 / b_adapt=1 / b_bias=0 / direct=3 / wpredb=1 / bime=1 / keyint=250 / keyint_min=25 / scenecut=40(pre) / rc=2pass / bitrate=10849 / ratetol=1.0 / rceq='blurCplx^(1-qComp)' / qcomp=1.00 / qpmin=10 / qpmax=51 / qpstep=4 / cplxblur=20.0 / qblur=0.5 / vbv_maxrate=24000 / vbv_bufsize=9000 / ip_ratio=1.10 / pb_ratio=1.10 / aq=2:1.00&#xA;Language                                 : English&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;&#xA;Audio #1&#xA;ID                                       : 2&#xA;Format                                   : AC-3&#xA;Format/Info                              : Audio Coding 3&#xA;Mode extension                           : CM (complete main)&#xA;Format settings, Endianness              : Big&#xA;Codec ID                                 : A_AC3&#xA;Duration                                 : 2h 1mn&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 640 Kbps&#xA;Channel(s)                               : 6 channels&#xA;Channel positions                        : Front: L C R, Side: L R, LFE&#xA;Sampling rate                            : 48.0 KHz&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 555 MiB (5%)&#xA;Title                                    : eng&#xA;Language                                 : English&#xA;Default                                  : No&#xA;Forced                                   : No&#xA;&#xA;Audio #2&#xA;ID                                       : 3&#xA;Format                                   : DTS&#xA;Format/Info                              : Digital Theater Systems&#xA;Mode                                     : 16&#xA;Format settings, Endianness              : Big&#xA;Codec ID                                 : A_DTS&#xA;Duration                                 : 2h 1mn&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 1 510 Kbps&#xA;Channel(s)                               : 6 channels&#xA;Channel positions                        : Front: L C R, Side: L R, LFE&#xA;Sampling rate                            : 48.0 KHz&#xA;Bit depth                                : 24 bits&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 1.28 GiB (12%)&#xA;Title                                    : ger&#xA;Language                                 : German&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Moving to another location does not fix the error.&lt;/p&gt;&#xA;" OwnerUserId="14012" LastEditorUserId="14012" LastEditDate="2016-03-11T10:45:42.133" LastActivityDate="2017-07-28T03:45:22.997" Title="Repairing videos producing reading errors" Tags="|ffmpeg|" AnswerCount="2" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="17852" PostTypeId="1" AcceptedAnswerId="17853" CreationDate="2016-03-07T21:32:08.237" Score="2" ViewCount="1564" Body="&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#ssim&quot; rel=&quot;nofollow&quot;&gt;https://ffmpeg.org/ffmpeg-all.html#ssim&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I ran a command like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;.\..\ffmpeg -i [Input] -i [Output] -lavfi  ssim=&quot;stats_file=ssim.log&quot; -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and saw this in the ssim log outputs:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;n:70 Y:0.947271 U:0.985112 V:0.985611 All:0.959968 (13.975937)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I understand the values for everything except for the value in the parentheses, after All (13.975937). Is this the db representation of the YUV,All values, or is it something different? How is it calculated? Thank you.&lt;/p&gt;&#xA;" OwnerUserId="14014" LastActivityDate="2016-03-07T21:53:23.273" Title="What does the value in parentheses for ffmpeg ssim log denote?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17853" PostTypeId="2" ParentId="17852" CreationDate="2016-03-07T21:53:23.273" Score="2" Body="&lt;p&gt;It is dB representation of All value, calculated with following formula:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;10 * log10(1 / (1 - ssim))&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2016-03-07T21:53:23.273" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17854" PostTypeId="1" CreationDate="2016-03-08T02:33:32.927" Score="1" ViewCount="348" Body="&lt;p&gt;I am new to this field but I'm very interested in making VFX and I had done some VFX clips on my phone. But I want some software names which I can understand easily and also create visual effects.&lt;/p&gt;&#xA;" OwnerUserId="14015" LastEditorUserId="6273" LastEditDate="2017-01-11T18:18:32.583" LastActivityDate="2017-01-11T18:18:32.583" Title="What is the best way to learn VFX?" Tags="|editing|software-recommendation|premiere-elements|visual-effects|" AnswerCount="3" CommentCount="1" ClosedDate="2016-03-11T14:53:32.103" ContentLicense="CC BY-SA 3.0" />
  <row Id="17855" PostTypeId="2" ParentId="17854" CreationDate="2016-03-08T03:31:48.993" Score="1" Body="&lt;p&gt;VFX on a phone is much different than actually doing it on a computer. You might want to take stepping stones to VFX and start by editing videos with a NLE. One of my favorites is Premiere Pro (though, it's been buggy lately). Once you learn how to edit videos, you can then move onto VFX with Adobe After Effects, or Hitfilm for more simpler stuff. &lt;/p&gt;&#xA;" OwnerUserId="14017" LastActivityDate="2016-03-08T03:31:48.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17857" PostTypeId="2" ParentId="17310" CreationDate="2016-03-08T08:53:08.057" Score="2" Body="&lt;p&gt;As you know there are two solutions, one using your &lt;strong&gt;CPU&lt;/strong&gt;, the other a dedicated &lt;strong&gt;GPU&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;CPU Solution&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;As of today, the CPU solution exit for 4K content, at 60 fps, using x265 or x264 codec. x264 is embededded in OBS in fact, and x264/x265 are known for being the fastest implementation of the standard H264/H265. But, you need a powerful CPU, of course, and then you'll have to make trade off regarding the file size and/or quality. FYI, the x265 has been &lt;a href=&quot;http://www.multicorewareinc.com/multicoreware-demonstrates-high-quality-4k-10-bit-real-time-hevc-video-encoding-with-x265/&quot; rel=&quot;nofollow&quot;&gt;demonstrated to be able to live encode H265 stream 4K 60 fps&lt;/a&gt;, but using a dual socket server (not a standard CPU). It was last year.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;GPU Solution&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;nVidia released end of year 2015 the fist cards with 2nd generation Maxwell architecture that is the first &lt;a href=&quot;https://en.wikipedia.org/wiki/Nvidia_NVENC&quot; rel=&quot;nofollow&quot;&gt;allowing H264 4K live encoding&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since the Ultra High Definition streams needs a lot of resources, you couldn't really find an acceptable solution before new CPU or GPU are released. If I were you I would go with the GPU solution because you could use that card for both display and capture on the fly. If you could afford it of course, such nVidia card are pretty expensive!&lt;/p&gt;&#xA;" OwnerUserId="14019" LastActivityDate="2016-03-08T08:53:08.057" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17858" PostTypeId="1" CreationDate="2016-03-08T10:40:51.033" Score="0" ViewCount="1021" Body="&lt;p&gt;I have a .mov file with a number of streams both audio and video I'd like to demux (if thats the correct term) into separate files (1 per stream to start with) without loosing quality or resolution&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I use the command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i c:\ffmpeg\VideoFile.mov -c copy -map 0:v:1 -map 0:d Vid1.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I get a video file Vid1.mov but it throws an error when I try to playback in QuickTime, the original played back fine without errors. During the copy execution the following error is listed&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;fps 600 is too large1 q=-1.0 size= 1455730kB time=01:06:34.72 bitrate=2985.3kbits/s speed= 470x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Below is the ffprobe output for the file I'm trying to demux (break into component parts)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&amp;gt;ffprobe c:\ffmpeg\VideoFile.mov&#xA;ffprobe version N-78964-g5061579 Copyright (c) 2007-2016 the FFmpeg developers&#xA;  built with gcc 5.3.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmfx --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55. 19.100 / 55. 19.100&#xA;  libavcodec     57. 28.100 / 57. 28.100&#xA;  libavformat    57. 28.100 / 57. 28.100&#xA;  libavdevice    57.  0.101 / 57.  0.101&#xA;  libavfilter     6. 39.102 /  6. 39.102&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000026982a1dea0] multiple edit list entries, a/v desync might occur, patch welcome&#xA;    Last message repeated 8 times&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000026982a1dea0] Using non-standard frame rate 250/1&#xA;[aac @ 0000026982a22020] element type mismatch 1 != 0&#xA;[h264 @ 0000026982a22dc0] Increasing reorder buffer to 1&#xA;[h264 @ 00000269850ea500] Increasing reorder buffer to 1&#xA;[h264 @ 0000026982a2f920] Increasing reorder buffer to 1&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'c:\ffmpeg\VideoFile.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt&#xA;    creation_time   : 2015-11-14 19:26:59&#xA;  Duration: 01:08:02.11, start: 0.240040, bitrate: 14867 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, smpte170m/bt470bg/bt709), 702x576, 3226 kb/s, SAR 59:54 DAR 767:576, 25 fps, 25 tbr, 25k tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-11-14 19:26:59&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : H.264&#xA;      timecode        : 01:10:08:99&#xA;    Stream #0:1(eng): Audio: aac (HE-AAC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 74 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-11-14 19:26:59&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:2(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 2992 kb/s, 25 fps, 25 tbr, 25k tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      rotate          : 0&#xA;      creation_time   : 2015-11-14 19:26:59&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : H.264/AVC&#xA;    Side data:&#xA;      displaymatrix: rotation of -0.00 degrees&#xA;    Stream #0:3(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 157 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2015-11-14 19:26:59&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:4(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 3005 kb/s, 25 fps, 25 tbr, 25k tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      rotate          : 0&#xA;      creation_time   : 2015-11-14 19:26:59&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : H.264/AVC&#xA;    Side data:&#xA;      displaymatrix: rotation of -0.00 degrees&#xA;    Stream #0:5(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 157 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2015-11-14 19:26:59&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:6(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 5020 kb/s, 25 fps, 25 tbr, 25k tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      rotate          : 0&#xA;      creation_time   : 2015-11-14 19:26:59&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : H.264/AVC&#xA;    Side data:&#xA;      displaymatrix: rotation of -0.00 degrees&#xA;    Stream #0:7(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 157 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2015-11-14 19:26:59&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:8(eng): Data: none (tmcd / 0x64636D74) (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-11-14 19:26:59&#xA;      handler_name    : Apple Alias Data Handler&#xA;      reel_name       : CUSTOM TimeCode track [P 1]&#xA;      timecode        : 01:10:08:99&#xA;Unsupported codec with id 0 for input stream 8&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update: May 4th 2016&lt;/strong&gt;&#xA;VLC does play the multiple streams without (obvious) issue. I noticed it was mentioned in the comments. I did split the file into its component streams. Mediainfo reports them as being different sizes (height,width in pixels) but all are 25.000fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I playback frame by frame using OpenCV and python the individual streams playback ok (but look a bit jumpy like the frame rate of 25 frames per second isn't correct)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I playback (using OpenCV and python) the original file I get 1 stream and the message [mov,mp4,m4a,3gp,3g2,mj2 @ 0000026982a1dea0] Timecode frame rate 250/1 not supported is listed in iPython console to go with the Jupyter notebook I'm using to run the python code&lt;/p&gt;&#xA;" OwnerUserId="13991" LastEditorUserId="13991" LastEditDate="2016-05-04T20:16:58.770" LastActivityDate="2016-05-04T20:16:58.770" Title="Resolve Bad public atom found when using ffmpeg copy" Tags="|video|ffmpeg|quicktime|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17859" PostTypeId="2" ParentId="17858" CreationDate="2016-03-08T11:47:30.647" Score="1" Body="&lt;p&gt;This is kinda tricky. Apparently, the video track you're trying to copy consists of multiple video streams of possibly differing properties stitched together. ffmpeg's MOV muxer (the part that copies over the stream into a new container) does not reliably process such streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you can try is expressly specify the output framerate.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i c:\ffmpeg\VideoFile.mov -r 25 -c copy -map 0:v:1 -map 0:d Vid1.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-03-08T12:08:26.840" LastActivityDate="2016-03-08T12:08:26.840" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17860" PostTypeId="1" CreationDate="2016-03-08T15:13:44.717" Score="2" ViewCount="6032" Body="&lt;p&gt;Why do professional digital cinema cameras like ARRI ALEXA, RED Epic cost that much? They record 4k so do other cheap cameras?&lt;/p&gt;&#xA;" OwnerUserId="14021" LastActivityDate="2016-03-09T21:42:17.743" Title="Why do cinema cameras cost too much?" Tags="|camera|4k|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17861" PostTypeId="2" ParentId="17860" CreationDate="2016-03-08T16:16:57.280" Score="3" Body="&lt;p&gt;You are probably comparing cameras that record &lt;strong&gt;compressed&lt;/strong&gt; 4k video with cameras that record &lt;strong&gt;uncompressed video&lt;/strong&gt;, i.e. &lt;a href=&quot;https://en.wikipedia.org/wiki/Uncompressed_video&quot; rel=&quot;nofollow&quot;&gt;RAW footage&lt;/a&gt;. The ARRI ALEXA and RED Epic belong in the latter category. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The hardware for cameras capable of recording RAW footage is more expensive. Also, it hasn't been around for as long and as with every new technology, prices start higher (for example, 4k cameras are more expensive than Full HD cameras right now). Wait a couple of years and 4k RAW cameras will most likely be available starting at much lower prices. Here's a &lt;a href=&quot;https://en.wikipedia.org/wiki/List_of_cameras_supporting_a_raw_format#Video_cameras&quot; rel=&quot;nofollow&quot;&gt;Wikipedia list of cameras that are capable of recording RAW footage&lt;/a&gt;. As you can see, it's not very long yet …&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-03-08T16:16:57.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17862" PostTypeId="2" ParentId="17860" CreationDate="2016-03-08T21:52:39.373" Score="4" Body="&lt;p&gt;Look at it from a data rate point of view: a GH4 records 4K at 100 Mbps.  A RED Carbon Fiber WEAPON records at 300MBps.  That's 24x the data rate.  Look at how very much more expensive it is to purchase a CPU that's 10% or 30% faster than &quot;normal&quot; and you might then have some understanding of how much more expensive it is to offer 10x or 30x the performance in a camera body.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-03-08T21:52:39.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17863" PostTypeId="2" ParentId="17860" CreationDate="2016-03-09T03:13:51.427" Score="2" Body="&lt;p&gt;In addition to the points above, keep in mind that cinema cameras also have a host of features not found in cell phones and lower-end cameras, such as removable lenses, better autofocus, better bodies that may be weather-resistant or weatherproof. They also have larger sensors which cost more, and the specs on the sensors are probably better than in low-end 4K cameras. (For example 3 CCD cameras with a separate sensor for red, green, and blue, as opposed to a single Bayered CMOS sensor.)&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-03-09T03:13:51.427" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17865" PostTypeId="2" ParentId="17854" CreationDate="2016-03-09T08:20:34.133" Score="0" Body="&lt;p&gt;[I assume you have some experience in video editing, if you don't you MIGHT struggle with vfx]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe After effects is probably the easiest yet very powerful vfx software. It is layer based as opposed to node base so it will be easier to learn and understand. It might not be as powerful and flexible but it will more than you need when starting out. One of the best tutorial site for After effects is www.videocopilot.net .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want some more recommendation of softwares, here is a short list: &#xA;Adobe After effects, &#xA;The Foundry Nuke(use commonly in the industry), &#xA;BlackMagic fusion(use commonly in the industry), Fitfilm(all in one solution, cheap, not used in the industry)&lt;/p&gt;&#xA;" OwnerUserId="10819" LastEditorUserId="10819" LastEditDate="2016-03-09T10:00:32.710" LastActivityDate="2016-03-09T10:00:32.710" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17866" PostTypeId="2" ParentId="17858" CreationDate="2016-03-09T08:52:13.930" Score="0" Body="&lt;p&gt;Your demuxed stream may be fine. QuickTime may be confused by the mov extension. Try outputting an .h264 file instead. Verify playback with ffplay. If it plays, you can mux it back into a mov file for QuickTime. &lt;/p&gt;&#xA;" OwnerUserId="12716" LastActivityDate="2016-03-09T08:52:13.930" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17869" PostTypeId="1" CreationDate="2016-03-09T15:33:41.650" Score="-1" ViewCount="610" Body="&lt;p&gt;I don't understand this video on &quot;What is bit rate&quot; &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/QOn-9anLFxA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;. I want it explained more. First I need you to define bit rate. And how compressing comes along it? What's that 'two frames containing one color, the colors are treated as one color'? Is IT the compressing? And, what if a video has only 1 Mbps bit rate? And, how does increasing resolution while keeping bit rate constant, make the image quality worse? And how does increasing frame rate while keeping bit rate constant, make image quality worse?&lt;br&gt;&#xA;Please explain those....&lt;/p&gt;&#xA;" OwnerUserId="14021" LastEditorUserId="14021" LastEditDate="2016-03-09T16:11:22.533" LastActivityDate="2016-03-16T17:44:16.253" Title="Please explain video bit rate further" Tags="|video-quality|bitrate|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17870" PostTypeId="2" ParentId="17869" CreationDate="2016-03-09T16:20:33.873" Score="5" Body="&lt;p&gt;Per the OP's request, I will attempt to explicitly answer his single-sentence questions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;First I need you to define bit rate.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bit rate is the number of bits per second used to encode a video stream (which itself has an implicit data rate based on the number of pixels (width x height), the pixel depth (dynamic range, color gamut), and frame rate).  Here is an example: 1080p24 HD video feeding a 8-bit color (RGB) display theoretically has a data rate of 1920x1080 x 24 bits x 24 frames per second = 149.299200 megabytes per second, or 1.194393600 gigabits per second.  Not all HD video is created equal: the full data rate (1.194 Gbps) means every pixel gets every bit fully represented.  But it is quite common to encounter 4:2:2 video (which cuts the data rate by a third) and 4:2:0 video (further reducing data rates).  You can read about these here: &lt;a href=&quot;https://en.wikipedia.org/wiki/Chroma_subsampling&quot; rel=&quot;nofollow&quot;&gt;https://en.wikipedia.org/wiki/Chroma_subsampling&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;And how compressing comes along it?&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This sentence is not grammatically meaningful.  I'm guessing the question is &quot;how is the compression rate related to the bit rate?&quot; in which case the answer is the compression rate is the ratio of the data rate to the bit rate.  If the data rate is 1.2Gbps and the bit rate is 28Mbps, the compression ratio is 43 (rounding up).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;What's that 'two frames containing one color, the colors are treated as one color'?&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This single sentence contains two completely separate ideas.  &quot;Two frames containing one color&quot; likely means that for a region of the image (which may be only a pixel, or which may be a group of pixels), the color of the region is the same from frame to frame.  In this case, one need not explicitly encode all of the region for both frames, but one can describe the region for one frame and then reference it in the other frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The completely different idea is that multiple colors that we perceive to be very close, either visually or spatially, can be merged into a single color covering a larger region.  A blue sky might have millions of very slightly different pixels, but visually they may be represented by perhaps a few dozen different colors of blue.  If this is done poorly, we perceive banding of colors, loss of detail, or other artifacts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Is IT the compressing?&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is one of the means of preparing the image to be more effectively compressed, but not the only one.  Said another way...Compressing video by decimating chroma information is one way to reduce video data, but that's often the start, not the end of the compression story.  Consumer cameras tend to record video at a rate of about 28 megabits per second.  Some, like the GH4, can do up to 200 megabits per second.  Those are the bitrates of the compressed video codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;And, how does increasing resolution while keeping bit rate constant, make the image quality worse?&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The bitrate defines how many bits per second you can use to create the illusion of displaying the full data rate of the video format you are trying to represent.  The more resolution you have, the more bits you will need to use to represent details that can be discerned in that high-resolution image.  The more you try to preserve color fidelity across the whole 24-bit color gamut, the more bits you will need for that, too.  It is obviously impossible to perfectly cover every pixel in a 1.2Gbps data stream with a 28Mbps bit rate.  In fact, you cannot cover even 3% of it perfectly!  But the human eye is easily fooled: if 30 consecutive frames are identical, a clever encoder can spray out a vague outline in the first frame and then successively refine each subsequent frame with more spatial and chroma resolution until, after the 30th frame, what is on the screen is indeed a perfect representation of the unchanging image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the real world, video doesn't stay completely still for seconds on end, but neither does it meaningfully change at every pixel location at every frame.  (If it did, images would look a lot more like static than anything we could make sense of.)  One can measure how much meaningful change exists between frames on average, and how much one can tolerate approximations that allow the same pixel to be treated as the same value between the two frames without destroying the integrity of the perceived image.  That can then be calculated as a bit rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The bottom line (and answer to the above question) is that increasing resolution while keeping the bit rate constant magnifies compression artifacts without increasing actual image quality.  The result is a perceived loss of image quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;And, what if a video has only 1 Mbps bit rate?&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you can define a bit rate, such as 1Mbps, and you can go about trying to encode the change from one image to another by identifying what parts of the image are most important, visually, and then using your bit rate budget to allocate pixel data to those areas first while leaving the rest of the image unchanged.  There will come a point when things fall apart: there's just not enough bit rate to faithfully represent or follow the changes of the original data.  But obviously if you need to preserve a lot of spatial resolution, you need lots of bits to keep that info correct.  If you don't have the bits, you fill in the holes with guesses, and too many wrong guesses makes the resolution suffer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;And how does increasing frame rate while keeping bit rate constant, make image quality worse?&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Increasing the frame rate while keeping the bit rate constant means that more individual images must be constructed from a constant amount of information.  If you have a 1Mbps bit rate and you try to show 12 frames per second, you have a budget of 83kb to form each frame.  If you keep the bit rate constant and increase the frame rate to 120 frames per second, you have a budget of 8kb to form each frame.  They human eye can do a certain amount of temporal integration, so there are cases where it is possible to trade off spatial resolution (fewer bits per frame) for temporal resolution (more frames per second), but there are limits.  Once the limit is exceeded, perceived image quality suffers.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2016-03-16T17:44:16.253" LastActivityDate="2016-03-16T17:44:16.253" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17871" PostTypeId="1" CreationDate="2016-03-09T20:03:27.787" Score="0" ViewCount="157" Body="&lt;p&gt;I used to use the Turbulence CPU video effect in Pinnacle Studio 16.&#xA;Now I use FinalCutPro X and, till now, I was unable to find an equivalent effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To have an idea of the effect you may look to this video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/VspYDTwxRYc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anyone who can give me a suggestion?&#xA;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="14030" LastEditorUserId="6273" LastEditDate="2016-03-09T21:25:57.823" LastActivityDate="2016-04-16T19:26:13.297" Title="Turbulence cpu video effect" Tags="|effects|final-cut-pro-x|special-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17872" PostTypeId="2" ParentId="17860" CreationDate="2016-03-09T21:06:06.727" Score="3" Body="&lt;p&gt;The image processing of cinema cameras is done with fairly inexpensive FPGA chips, that doesn't explain a 50.000€ price difference between I.e. a gh4 and a arri Alexa. The FPGA chip used in blackmagic products is sub 10€, so even if the Red or Alexa use a 100€ fpga, that's not the point. Media storage is also not the point, since all vendors use standard media like ssd's, cf/cfast, SD card etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The single most expensive part in any video camera is usually the sensor, and there are very big differences in image quality when using different sensors which come at very different price points.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also some really big differences in manufacturing quality, also in the materials used. But the main difference is service, quality assurance and: R&amp;amp;D. Even when the Alexa only was available as a 2.5k version, it completely wiped the competition off the scene in the drama / feature section of cinema. That is because arri spend a lot of time and work to achieve a consistent and highest level image quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To give you and example from the sound world: schoeps (which produce some of the best and most expensive microphones) artifically age their mics in a climate chamber by 10 years before selling them to make sure each microphone keeps its quality over a long time... A company like rode, which sells ok quality, fairly cheap microphones could not do that or they would loose money on each sale.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Different markets have different requirements. A feature film production can easily cost a couple of million euro / dollar, so a budget of 100.000€ for the camera department is not much In comparison. What is really expensive though is loosing shooting days to a camera not working. So the focus in professional film production is not on how much resolution does camera X have but how reliable can the crew work with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This whole business goes as far as offering products that are not for sale but only available as rentals, like panavision cameras or the 65mm sensor Alexa.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-03-09T21:42:17.743" LastActivityDate="2016-03-09T21:42:17.743" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17873" PostTypeId="1" CreationDate="2016-03-09T21:15:41.700" Score="1" ViewCount="105" Body="&lt;p&gt;I recently had my basement finished and the contractor ran a coax line from my satellite receiver behind the wall to my TV.  The receive is behind the bar, and the TV is on the wall.  I didn't notice it was a coax cable until after the drywall was up.  Is there any converter that I can put on the coax to change the HDMI? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="14031" LastActivityDate="2017-07-31T21:40:18.283" Title="Coaxial to HDMI" Tags="|hdmi|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17874" PostTypeId="2" ParentId="17873" CreationDate="2016-03-09T23:05:10.937" Score="1" Body="&lt;p&gt;Bandwidth issues aside, HDMI is &quot;protected&quot; by HDCP, which prevents you from doing anything like this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on how noisy your neighborhood is RF-wise, this could work for you:&#xA;&lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B009E6R89C&quot; rel=&quot;nofollow&quot;&gt;http://www.amazon.com/Nyrius-Transmitter-Streaming-Satellite-NPCS549/dp/B009E6R89C&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12716" LastActivityDate="2016-03-09T23:05:10.937" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17875" PostTypeId="2" ParentId="17854" CreationDate="2016-03-10T00:35:31.983" Score="0" Body="&lt;p&gt;You don't need to know editing to start making Vfx although it doesn't hurt to have some editing experience. It depends on what you are aiming for when learning Vfx. After effects is predominantly used in TV visual effects and motion graphics, while more complex visual effects tend to use software like fusion, nuke etc.pp. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to start learning this? There is around 1 million tutorials on YouTube so why don't you just pick something you want to do and start following a tutorial about it. If you want to have an idea how things are done, watch some behind the scenes for Vfx heavy movies... &lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-10T00:35:31.983" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17876" PostTypeId="1" CreationDate="2016-03-10T00:36:09.593" Score="0" ViewCount="96" Body="&lt;p&gt;I wanna get more professional with videography and I'm looking for a structured way to make a concept before I start shooting. I'd like to be able to split a clip into scenes and determine how to film it with the equipment I have, e.g. how many cameras, what angles etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I read an article about storyboarding software/apps for beginners a couple days ago, but I can't find it anymore. Do you have any recommendations on how to start with this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance :)&lt;/p&gt;&#xA;" OwnerUserId="14035" LastActivityDate="2016-08-10T00:52:53.270" Title="Storyboarding for beginners" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17877" PostTypeId="2" ParentId="17851" CreationDate="2016-03-10T01:19:44.607" Score="2" Body="&lt;p&gt;I would determine if this is a corrupt file or a corrupt disk. A &quot;read error&quot; sounds like a bad disk to me. If that is the case you probably have bigger problems than reading that video file. I would suggest doing a complete backup of the disk. You can use dd_rescue (or ddrescue) for that purpose which doesn't stop on bad sectors but makes a copy of everything readable on the disk. Once you have got that done, you can take care of the video file on the backup disk.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.garloff.de/kurt/linux/ddrescue/&quot; rel=&quot;nofollow&quot;&gt;http://www.garloff.de/kurt/linux/ddrescue/&lt;/a&gt;&#xA;&lt;a href=&quot;https://www.gnu.org/software/ddrescue/&quot; rel=&quot;nofollow&quot;&gt;https://www.gnu.org/software/ddrescue/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the disk is on the verge of failing, the worst you can do is continuing  to use it  since it may stop working completely anytime soon.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-03-10T01:33:26.640" LastActivityDate="2016-03-10T01:33:26.640" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="17878" PostTypeId="1" AcceptedAnswerId="17880" CreationDate="2016-03-10T01:26:36.517" Score="1" ViewCount="1313" Body="&lt;p&gt;I have an x265 video file with dual audio tracks in different languages. Obviously one is useless to me and I want to remove it without waiting through a lengthy conversion that will lead to quality loss.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have been using &lt;a href=&quot;https://sourceforge.net/projects/mkv2mp4/&quot; rel=&quot;nofollow&quot;&gt;mkv2mp4&lt;/a&gt; to do this with x264 in the past, but it spits out an error when I try any x265 coded video. Is there a codec I can install? Any other suggestions?&lt;/p&gt;&#xA;" OwnerUserId="14036" LastActivityDate="2016-03-10T06:35:26.570" Title="removing an x265 audio track without conversion?" Tags="|video|file-formats|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17879" PostTypeId="2" ParentId="15073" CreationDate="2016-03-10T01:53:47.033" Score="2" Body="&lt;p&gt;I would suggest you research a bit further and then refine your question. To me it seems that there is a bit of confusion in terms of the software components needed for creating a livestream. First you need to have a software component that acquires a live video from some device. This video needs to be encoded. Once it is encoded it can be streamed by a streaming server. There are a lot of softwares or software as service, that can do that. Also you should figure out what streaming protocol you want to use (rtmp, rtsp?) and how many concurrent streams you need to have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some pointers to check out:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Monaserver&#xA;&lt;a href=&quot;https://github.com/MonaSolutions/MonaServer&quot; rel=&quot;nofollow&quot;&gt;https://github.com/MonaSolutions/MonaServer&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ffmpeg streaming guide&#xA;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/StreamingGuide&quot; rel=&quot;nofollow&quot;&gt;https://trac.ffmpeg.org/wiki/StreamingGuide&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nginx rtmp streaming &#xA;&lt;a href=&quot;https://github.com/arut/nginx-rtmp-module/wiki/Getting-started-with-nginx-rtmp&quot; rel=&quot;nofollow&quot;&gt;https://github.com/arut/nginx-rtmp-module/wiki/Getting-started-with-nginx-rtmp&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-10T01:53:47.033" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17880" PostTypeId="2" ParentId="17878" CreationDate="2016-03-10T06:35:26.570" Score="1" Body="&lt;p&gt;Use &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;*, a free command-line tool: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -c copy -map 0:v -map 0:a:0 singleaudio.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;0:a:0&lt;/code&gt; is the index of the audio stream you wish to keep. In ffmpeg, numbering starts from zero, so &lt;code&gt;0:a:0&lt;/code&gt; refers to the first audio stream in the source file. Running &lt;code&gt;ffprobe input.mkv&lt;/code&gt; beforehand will show the contents of the input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;*download the latest snapshot/nightly build.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-03-10T06:35:26.570" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17882" PostTypeId="1" CreationDate="2016-03-10T12:21:12.243" Score="0" ViewCount="142" Body="&lt;p&gt;I have a video of 2 mins length.Now I want to add extra 1 hour to the video.I have done this be changing video duration in composition settings.But video is rendering for about 4 gb.Whereas original video is only 5 mb.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to render this video in mp4 format with around 10mb size.&lt;/p&gt;&#xA;" OwnerUserId="14040" LastActivityDate="2016-03-10T18:43:47.880" Title="How To add blank part in video for 1 hour" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17883" PostTypeId="2" ParentId="17882" CreationDate="2016-03-10T12:50:55.567" Score="3" Body="&lt;p&gt;I don't know if the AE encoder can signal duplicate frames (which would keep the size down). You may be better off using &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a command-line tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suppose your source video is 1280x720 at 24 fps, then you would run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source.mp4 -f lavfi -i &quot;color=black:s=1280x720:r=24:d=3600&quot; -filter_complex &quot;[0][1]concat=n=2:v=1:a=0[v]&quot; -map [v] -c:v libx264 output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;To combine with text overlay,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i universal.mp4 -f lavfi -i &quot;color=black:s=1280x720:r=24000/1001:d=20&quot; -filter_complex &quot;[0][1]concat=n=2:v=1:a=0[v];[v]drawtext=fontfile=FreeSerifB‌​old.ttf:text=\'Hello World\':fontcolor=white@1.0:fontsize=16:x=w-tw-10:y=10:box=1:boxcolor=black@0.5[vout]&quot; -map [vout] -map 0:a -c:v libx264 -profile:v main -movflags +faststart output.mp4 2&amp;gt;&amp;amp;1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-03-10T18:43:47.880" LastActivityDate="2016-03-10T18:43:47.880" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="17884" PostTypeId="1" CreationDate="2016-03-10T17:43:05.180" Score="1" ViewCount="135" Body="&lt;p&gt;I have the following issue to solve: a video was captured in 1131x693px resolution (landscape mode). Now this video should be able to play on a mobile screen in &lt;strong&gt;portrait&lt;/strong&gt; mode. I have researched the internet for solution that are able to change the ratio of videos - e.g. Handbrake, Video converter ultimate, Quicktime Pro. However, I cannot figure out how to change the video dimensions properly so that it can play fine on an iPhone 5/6 screen without either extending the picture too much or leaving black fields on top and bottom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you have any ideas how a maximum area of the picture is shown in portrait mode with minimizing loss?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you so much for your great help in advance!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;p.s. I have researched as much as possible and found only this topic as similar: &lt;a href=&quot;https://video.stackexchange.com/questions/16042/iphone-background-video?rq=1&quot;&gt;iPhone Background Video&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6729" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-07-04T03:57:09.737" Title="Landscape video to show on iPhone 5/6 portrait mode? How?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17885" PostTypeId="2" ParentId="17884" CreationDate="2016-03-10T20:50:36.373" Score="1" Body="&lt;p&gt;Maybe you can identify a vertical section of the video in the shape you need, that you can crop out of the horizontal image, perhaps panning the 'window' to follow the central action. If you can't then you're stuck with severe letterboxing (blank portions top and bottom). There's no magic that can preserve aspect ratio while changing aspect ratio. Physics... dammit.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-03-10T20:50:36.373" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17886" PostTypeId="2" ParentId="17876" CreationDate="2016-03-10T23:24:54.333" Score="1" Body="&lt;p&gt;I've always just envisioned the film in my mind and sketched out (on actual paper) the shot angles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option is to get miniatures of your locations, props and performers (dolls, action figures, etc.), position them as they'll be in the scene, and take photos of each of the angles you want in your storyboard. Then you have actual photos of the angles you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A third option is similar to the second:  Use miniatures, and then use a video camera to do the actual movements you want.  Someone could be reading lines of dialog aloud while you are shooting.  I saw a documentary showing that this was done during preproduction of &lt;em&gt;Return of the Jedi&lt;/em&gt; for the speeder bike sequence on the forest moon of Endor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the first two options, I would have the storyboard on set with me, and put a mark next to each shot I'd gotten. That way I knew what I had left to shoot.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2016-03-10T23:24:54.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17887" PostTypeId="1" AcceptedAnswerId="17904" CreationDate="2016-03-11T01:00:47.393" Score="3" ViewCount="13433" Body="&lt;p&gt;In Adobe Premiere Pro CC 2015, I did hours of work on a video that is 640x360 pixels.  I added a bunch of &quot;titles&quot; of that same resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I later realized that I wanted to export my project at 1920x1080 even though the source video was 640x360.  (At least then my titles would be more legible on high resolution monitors.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I easily changed the resolution of the video portions of my project, but &lt;strong&gt;how can I change the frame size of the titles?&lt;/strong&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't want to just &quot;scale&quot; them up to 1920x1080; I want them to actually BE that size and to be clear.&lt;/p&gt;&#xA;" OwnerUserId="5657" LastActivityDate="2017-10-22T21:27:41.403" Title="How can I increase the frame size of the titles in Adobe Premiere?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17888" PostTypeId="1" CreationDate="2016-03-11T01:20:22.890" Score="2" ViewCount="276" Body="&lt;p&gt;I posted this earlier on SuperUser, but realized that this is likely the more appropriate forum for my question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have several thousand very large MP4 files that have been encoded over the past decade using Sorenson Squeeze.  Over the past year, there are suddenly a growing number of customers (Universities) with Network/Proxy Server that are suddenly unable to view the videos due to vulnerability described at this link: &lt;a href=&quot;http://cve.mitre.org/cgi-bin/cvename.cgi?name=CVE-2010-1799&quot; rel=&quot;nofollow noreferrer&quot;&gt;Apple QuickTime Vulnerability&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Forgive me, I know very little about media and encoding, only that the problem has suddenly started appearing while they view our videos (we use JWPlayer v7 with files hosted at AWS/S3/Cloudfront).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an alternate way of encoding h.264/MP4 that doesn't include any reference or codecs, or whatever it is that flags them as Quicktime files, or some other way to get around this?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; Our site streams the h.264 MP4 files with JWPlayer - the end users don't open them with Apple Quicktime.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Partial ffmpeg Output for one of the videos in question:&#xA;&#xA;&quot;format&quot;: {&#xA;    &quot;filename&quot;: &quot;c:\\videos\\ABC-123.mp4&quot;,&#xA;    &quot;nb_streams&quot;: 4,&#xA;    &quot;nb_programs&quot;: 0,&#xA;    &quot;format_name&quot;: &quot;mov,mp4,m4a,3gp,3g2,mj2&quot;,&#xA;    &quot;format_long_name&quot;: &quot;QuickTime / MOV&quot;,&#xA;    &quot;start_time&quot;: &quot;0.000000&quot;,&#xA;    &quot;duration&quot;: &quot;1632.480000&quot;,&#xA;    &quot;size&quot;: &quot;86937415&quot;,&#xA;    &quot;bit_rate&quot;: &quot;426038&quot;,&#xA;    &quot;probe_score&quot;: 100,&#xA;    &quot;tags&quot;: {&#xA;        &quot;major_brand&quot;: &quot;mp42&quot;,&#xA;        &quot;minor_version&quot;: &quot;0&quot;,&#xA;        &quot;compatible_brands&quot;: &quot;mp42isomavc1&quot;,&#xA;        &quot;creation_time&quot;: &quot;2011-07-13 14:02:44&quot;,&#xA;        &quot;compilation&quot;: &quot;0&quot;,&#xA;        &quot;encoder&quot;: &quot;Sorenson Squeeze 5.0&quot;&#xA;    }&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11609" LastEditorUserId="11609" LastEditDate="2016-12-05T20:52:41.253" LastActivityDate="2016-12-05T20:52:41.253" Title="How can I avoid Quicktime Vulnerability with h.264 encoded MP4 files?" Tags="|streaming|encoding|mp4|h.264|rtmp|" AnswerCount="1" CommentCount="29" ContentLicense="CC BY-SA 3.0" />
  <row Id="17889" PostTypeId="1" CreationDate="2016-03-11T02:20:27.353" Score="0" ViewCount="116" Body="&lt;p&gt;I recently recorded numerous screencasts using Quicktime.  The .mov files produced by Quicktime are 2876x1748.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To goal was to upload the files to YouTube and so I wanted to convert to the recommended format.  Since I had to merge 3 clips into one, I used a tool called iSkySoft iMedia Converter Deluxe to merge and convert. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The settings selected were optimised for YouTube (Settings were H.264 and resulting video was scaled down to 720P) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Interestingly, the MP4 files produced were significantly larger than the original .mov files!  The .mov files combined were ~ 1.5GB at a higher resolution and the merged &amp;amp; converted MP4 file was 2.2GB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this to be expected?  Or could there be something wrong with the conversion tool being used?&lt;/p&gt;&#xA;" OwnerUserId="2359" LastActivityDate="2016-03-11T10:58:30.113" Title="Why is a screencast produced by Quicktime (.mov) is much smaller than the converted MP4 file?" Tags="|youtube|mp4|quicktime|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17890" PostTypeId="2" ParentId="17871" CreationDate="2016-03-11T05:11:15.053" Score="1" Body="&lt;p&gt;You might be able to achieve such a look with the Clouds generator from Apple Motion. (This is different from the one that ships with FCPX.) But you can create a Final Cut Pro Generator from it using the settings below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you set the 1st, 2nd and 3rd layer strength to 0 and the 4th layer strength to 1.0 you'll get the right sort of frequencies. You'll then need to choose or create a gradient with different color bands in it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It also looks like they're mixing several layers of it with similar settings. You could try different blend modes and opacity levels for different effects.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastEditorUserId="6207" LastEditDate="2016-03-13T17:25:30.143" LastActivityDate="2016-03-13T17:25:30.143" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17891" PostTypeId="1" CreationDate="2016-03-11T10:27:30.880" Score="0" ViewCount="1179" Body="&lt;p&gt;Premiere Pro CC 2015 and I have not had such a smooth existence. For some reason, Premiere will playback fine with no dropped frames, and then after about 10-15 seconds it starts dropping frames. This typically starts at the beginning of a new clip, and then continues to the next. This happens far less frequently when color correction isn't applied, such as MBL 12 (not gpu accelerated) or even Lumetri (gpu accelerated), however, on occasion it does still happen. I've checked my processes and the CPU, RAM, or VRAM are not saturated. Now the kicker is, all I have to do to stop the lag is to press space to stop playback, and again to start again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;System specs: i7 3930k, 32gb DDR3 1600, GTX 980ti 6GB VRAM, SSD for Premiere, HDD for cache files and media for the project&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Files: ranging from ProRes, .mxf, DNXHD, .etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I figured it could be the following scenario:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;audio related? I've had a situation before where an audio effect (not applicable to this question) actually brought my timeline to a halt w.r.t. playback &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;loading up different codecs on the same timeline (hence this happens at the start of a single clip and then bogs down the timeline)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;HDD isn't fast enough, replace with SSD&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Has anyone experienced anything similar, and perhaps can help me find a solution?&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-03-13T06:31:12.987" Title="Adobe Premiere lagging video playback" Tags="|premiere|editing|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17892" PostTypeId="2" ParentId="17889" CreationDate="2016-03-11T10:58:30.113" Score="1" Body="&lt;p&gt;I don't think it's the framerate. Maybe check with mediainfo to see more specific settings of each Codec. Apart from the bitrate, there are plenty of settings that can influence file size, even when using the same Codec.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-11T10:58:30.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17893" PostTypeId="1" AcceptedAnswerId="17894" CreationDate="2016-03-11T12:34:49.063" Score="0" ViewCount="5264" Body="&lt;p&gt;I am not able to figure out how to get ffmpeg&#xA;to make a video &#xA;that combines (muxes) half-height-cropped  from two video sources. &#xA;The latest generation of ffmpeg (3.x) has a &quot;vstack&quot; filter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My screen resolution is set to 1280 by 720 pixels. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a webcam that is set to provide video at that same resolution. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want the top half of the webcam's input/feed/stream to be layered on top of the &#xA;&lt;em&gt;bottom&lt;/em&gt; half of the screen-capture-recorder (recording my desktop).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both source video streams, plus the end output result will have a width of 1280 pixels.  The combination of the half-height 2 video stream inputs will end up filling up 720 lines of vertical resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This should be simple.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll paste a few of the commands that I've tried and that have failed to work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg.exe -f dshow -i video=&quot;screen-capture-recorder&quot; -f dshow -i video=&quot;Microsoft LifeCam HD-6000&quot; -vf &quot;crop=1280:360:1280:360&quot; -filter_complex vstack -vcodec libx264 -pix_fmt yuv420p -preset ultrafast 6000screen_take1.mkv&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I even tried adding : &#xA;&quot;[0:v][1:v]vstack[v]&quot; -map &quot;[v]&quot;&#xA;to that , above (previous) command.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See my Google Doc for complete output (what was in my cmd.exe window) :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://docs.google.com/document/d/1SqtjEY_gM3rdeKPyRzUq_jJhPQUPCK5L4E5HPttwS3s/edit?usp=sharing&quot; rel=&quot;nofollow&quot;&gt;https://docs.google.com/document/d/1SqtjEY_gM3rdeKPyRzUq_jJhPQUPCK5L4E5HPttwS3s/edit?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14047" LastActivityDate="2016-03-11T15:28:42.177" Title="ffmpeg split screen two video sources" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17894" PostTypeId="2" ParentId="17893" CreationDate="2016-03-11T12:56:41.647" Score="1" Body="&lt;p&gt;If you're using filter_complex, then all filtering has to happen within that complex. So,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -f dshow -i video=&quot;screen-capture-recorder&quot; \&#xA;           -f dshow -i video=&quot;Microsoft LifeCam HD-6000&quot; \&#xA;-filter_complex &quot;[0:v]crop=1280:360:0:0[v0];[1:v]crop=1280:360:0:0[v1];[v0][v1]vstack[v]&quot; \&#xA;-map [v] -vcodec libx264 -pix_fmt yuv420p -preset ultrafast 6000screen_take1.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This stacks the top half of the webcam video below the top half of the desktop capture.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Having taken a look at the console output, you should actually try this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -f dshow -rtbufsize 9000000 -i video=&quot;screen-capture-recorder&quot; \&#xA;           -f dshow -i video=&quot;Microsoft LifeCam HD-6000&quot; \&#xA;-filter_complex &quot;[0:v]crop=1280:360:0:0[v0];[1:v]scale=1280:-1,crop=1280:360:0:0[v1]; \&#xA;                 [v0][v1]vstack[v]&quot; \&#xA;-map [v] -vcodec libx264 -pix_fmt yuv420p -preset ultrafast 6000screen_take1.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-03-11T12:56:41.647" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17895" PostTypeId="1" CreationDate="2016-03-11T12:59:16.540" Score="2" ViewCount="69" Body="&lt;p&gt;I'm looking for a tool that can create a DVD or a BluRay from a set of Movies, files etc..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The most important functionality for the tool should be that it could add a button to the menu that can open an URL outside of the actual disk.&lt;/p&gt;&#xA;" OwnerUserId="14048" LastEditorUserId="3561" LastEditDate="2019-02-27T15:22:14.070" LastActivityDate="2019-02-27T15:22:14.070" Title="DVD or Bluray editing tool" Tags="|dvd|bluray|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="17896" PostTypeId="1" CreationDate="2016-03-11T14:23:40.887" Score="0" ViewCount="7596" Body="&lt;p&gt;From &lt;a href=&quot;https://graphicdesign.stackexchange.com/questions/10906/distributed-rendering-in-adobe-premiere-cs-6&quot;&gt;this question&lt;/a&gt; I know that Premiere does not support distributed rendering, but from what I understand distributed rendering is spreading the render onto multiple computers to speed it up. My workflow is a little bit different.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a pretty powerful desktop computer which I'd like to use to edit video and then a less powerful notebook which I'd like to use to do the actual export, so that my primary PC does not slow down during that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Is it possible to do the editing on one PC and then, without manually copying the project and the files, do the export on a different computer in Adobe Premiere CC?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="4617" OwnerDisplayName="Maurycy" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:12.617" LastActivityDate="2017-04-06T17:52:55.503" Title="Does Adobe Premiere CC support export via network?" Tags="|adobe|video|" AnswerCount="5" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17897" PostTypeId="2" ParentId="17896" CreationDate="2016-03-11T15:09:10.533" Score="0" Body="&lt;p&gt;As far as I know Premiere Pro CC does not support network rendering/distributed rendering, only After Effects does but on a network level such that you would need to copy the files, or host the files (exact same versions), and then your main computer would also be involved in the process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere isn't really designed for render farms nor this kind of workflow.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-03-11T15:09:10.533" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17898" PostTypeId="2" ParentId="17896" CreationDate="2016-03-11T15:09:56.327" Score="1" Body="&lt;p&gt;I believe this is not possible natively. However, &lt;a href=&quot;http://docs.thinkboxsoftware.com/products/deadline/7.1/1_User%20Manual/manual/overview.html&quot; rel=&quot;nofollow&quot;&gt;Deadline&lt;/a&gt;, a third-party render management system, does support Premiere Pro projects via Adobe &lt;a href=&quot;http://docs.thinkboxsoftware.com/products/deadline/7.1/1_User%20Manual/manual/app-mediaencoder.html&quot; rel=&quot;nofollow&quot;&gt;Media Encoder&lt;/a&gt; jobs. Even distributed rendering may be possible.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-03-11T15:09:56.327" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17899" PostTypeId="2" ParentId="17893" CreationDate="2016-03-11T15:28:42.177" Score="0" Body="&lt;p&gt;I made another video and posted it to YouTube.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/GEujSuJjXbc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used the following command : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  ffmpeg.exe -f dshow -i video=&quot;screen-capture-recorder&quot; -f dshow -i video=&quot;Microsoft LifeCam HD-6000&quot;:audio=&quot;virtual-audio-capturer&quot; -filter_complex amix=inputs=1 -filter_complex &quot;[0:v]crop=1280:360:0:0[v0];[1:v]scale=1280:-1,crop=1280:360:0:0[v1]; [v0][v1]vstack[v]&quot; -map [v] -vcodec libx264 -pix_fmt yuv420p -preset ultrafast -acodec pcm_s16le (output video file('s name))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Notice how what is depicted on the top half (virtual on-screen piano keyboard) (both of them) lags behind. Yeah there is latency between the video signal of the top half and the rest of the content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suppose there is a more complex solution to this.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;I tried tying (chaining) the :&quot;audio=&quot; to  both of the video input source/streams&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;that is , I tried both logical possibilities (variations) : &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;video=&quot;Microsoft LifeCam HD-6000&quot;:&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;video=&quot;screen-capture-recorder&quot;:&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Same issue. In fact, the latency doesn't exchange between the different video streams.&lt;/p&gt;&#xA;" OwnerUserId="14047" LastActivityDate="2016-03-11T15:28:42.177" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17900" PostTypeId="2" ParentId="17888" CreationDate="2016-03-11T18:30:28.073" Score="2" Body="&lt;p&gt;You can strip most of the metadata off your files using ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i oldfile.mp4 -c copy newfile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will copy the first audio and video streams to a new mp4.&lt;/p&gt;&#xA;" OwnerUserId="5569" LastActivityDate="2016-03-11T18:30:28.073" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17901" PostTypeId="2" ParentId="17891" CreationDate="2016-03-11T19:08:50.907" Score="1" Body="&lt;p&gt;My experience is that people that complain about choppy playback have either outdated hardware, or are using very esoteric formats, and/or have a system with a lot of crap on it, that seriously gets in the way of editing. You are definitely not in the first category, I don't know the origin of your clips and the codec used, so you could be in the second category, but most likely you have a polluted system.&lt;/p&gt;&#xA;" OwnerUserId="14050" LastActivityDate="2016-03-11T19:08:50.907" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17902" PostTypeId="2" ParentId="17896" CreationDate="2016-03-12T02:06:46.147" Score="1" Body="&lt;p&gt;Ok so what I do in similar cases like yours is having the entire project on an external disk (project &amp;amp; video data). Make sure you have identical versions of premiere and all the used plug-ins installed in both premiere instances. Just finish the work and take the project to another computer. I make a local copy of the project file before opening it on the new computer. Open the project, reconnect the video data to the new file path (which might have changed due to the &quot;other&quot; PC mapping the external drive differently) and start export process on the other PC. Not as comfortable as network render but serves the purpose of freeing another PC from the workload. Especially if you have a fast external disk I/O like esata, usb3 or thunderbolt, this works nicely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are positive you have reached a final editing version, you can use the project trimmer to slim the project to the actual video files you used before copying it to the external disk to minimize disk space usage. Having all the data on an external disk doubles as a backup though and therefore also has advantages.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-03-12T02:11:56.890" LastActivityDate="2016-03-12T02:11:56.890" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17903" PostTypeId="1" CreationDate="2016-03-12T03:50:46.677" Score="1" ViewCount="1229" Body="&lt;p&gt;I have a footage which was shot by a mobile phone. Phone was put on auto exposure, and mobile was not able to calculate exposure correctly in video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First half of the video is exposed correctly, the second half is underexposed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not able to fix the second half of the video. I tried some of the effects but all of them apply on all of the footage. So if I correct the second half of the video, the first half is over exposed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using After Effects CC. &lt;/p&gt;&#xA;" OwnerUserId="2901" LastActivityDate="2016-03-13T18:46:30.817" Title="How to stabilize exposure in After Effects?" Tags="|after-effects|premiere|footage|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17904" PostTypeId="2" ParentId="17887" CreationDate="2016-03-12T05:37:45.720" Score="3" Body="&lt;p&gt;As far as I know, unfortunately you can't take an old title which was based on whatever frame size, and switch its size to something else. The only way I know for your situation with the small titles is:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Double click on a title that you want to change (either on the timeline or in the project).&lt;/li&gt;&#xA;&lt;li&gt;In the title editor window, click on the top left button of 'New title based on current title'.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GFges.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GFges.jpg&quot; alt=&quot;Premiere title editor screen capture&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;A pop up shows - type in the size you want for the NEW title AND don't forget to check (or change) the name of that new title, just that later on you know which title is which. Click OK.&lt;/li&gt;&#xA;&lt;li&gt;You have just created a new title, you can find it in your project. It has the old text with all its preferences, inside a new size frame; the visual result is the same as you would have got with scaling, but w/o the quality loss.&lt;/li&gt;&#xA;&lt;li&gt;That should do the trick for you, but you'll still have to do it one by one on all the titles, and then to put each one in the appropriate place on the timeline. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I hope that helps. Good luck!&lt;/p&gt;&#xA;" OwnerUserId="14053" LastActivityDate="2016-03-12T05:37:45.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17905" PostTypeId="2" ParentId="17903" CreationDate="2016-03-12T07:26:31.470" Score="1" Body="&lt;p&gt;The under exposed section will never have as much detail in the shadows as the correctly exposed section, so you will never be able to make the second section look as good as the first. Having said that:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need to duplicate your layer, then correct the exposure in the second half using level controls, or colour correction effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you correct, switch the layer on and off, to compare it with a good part of the first layer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once the second half is looking better, then work on the transition point. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second layer should be on top of the first layer.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make some Opacity key frames on your second layer, starting at 0% and building up to 100% when the poor exposure section has fully begun. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may find that a dedicated application like &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve&quot; rel=&quot;nofollow&quot;&gt;Davinci Resolve&lt;/a&gt; (the free version) is better for colour correction than After Effects. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2016-03-13T18:46:30.817" LastActivityDate="2016-03-13T18:46:30.817" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17907" PostTypeId="1" CreationDate="2016-03-13T03:12:31.483" Score="0" ViewCount="1679" Body="&lt;p&gt;was wondering if any of you knew how to fix this issue. When I render my comp in After Effects, I see these weird glitches in the render (like black triangular spots of missing video).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have uploaded an example of the issue here: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/U6JlYaAqJQg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="14060" LastActivityDate="2016-04-14T08:44:11.160" Title="Weird glitches in After Effects render" Tags="|after-effects|animation-rendering|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17909" PostTypeId="2" ParentId="17891" CreationDate="2016-03-13T06:31:12.987" Score="0" Body="&lt;p&gt;Your media HDD could be the bottleneck, especially if pausing playback is giving it enough time to buffer.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;after about 10-15 seconds it starts dropping frames&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This is another sign of media buffering not keeping up with playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try temporarily switch the media cache / scratch disk to the SSD and see if performance improves.&lt;/p&gt;&#xA;" OwnerUserId="11690" LastActivityDate="2016-03-13T06:31:12.987" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17910" PostTypeId="2" ParentId="14973" CreationDate="2016-03-13T12:55:39.770" Score="0" Body="&lt;p&gt;If you are new to vfx, I can really recommend Hitfilm. Their free version (Hitfilm 3 Express) will take you a long way, but if you want to go even further you can get the full version (Hitfilm 4 Pro), which is one hell of a deal. Hitfilm 4 Pro includes the marvellous Hitfilm Ignite plugin pack too, and you should definitely go check it out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another great alternative could be the free versions of Da Vinci Resolve and Fusion. I think they will be even more powerful/useful than Hitfilm, but then it's of course not in one software package.&lt;/p&gt;&#xA;" OwnerUserId="14065" LastActivityDate="2016-03-13T12:55:39.770" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17911" PostTypeId="2" ParentId="16218" CreationDate="2016-03-13T13:12:30.350" Score="4" Body="&lt;p&gt;Unfortunately, kazanaki's answer is your only choice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are multiple ways to change the speed of a clip in premiere, namely:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The &lt;strong&gt;Speed/Duration&lt;/strong&gt; panel that can be access via the context menu of a clip (right-click).&lt;/li&gt;&#xA;&lt;li&gt;The &lt;strong&gt;Rate Stretch Tool&lt;/strong&gt; (Shortcut &lt;kbd&gt;R&lt;/kbd&gt;)&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Time remapping&lt;/strong&gt; using &lt;strong&gt;keyframes&lt;/strong&gt;. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The first two do the same thing, that is change the speed of an entire clip by a constant amount. They are also intertwined, so if you change the speed and duration of a clip using the Rate Stretch Tool, the new values will also appear in the Speed/Duration panel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Time remapping works differently from those tools, as it allows for &lt;strong&gt;speed changes over time&lt;/strong&gt;. That is, you can set keyframes for 400%, 200% and 100% speed (as in your example) and Premiere will &lt;strong&gt;interpolate&lt;/strong&gt; between those keyframes, creating a smooth speed transition. However, this has no effect on the audio stream of the clip. From the documentation:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;When you vary the speed of a clip with linked audio and video, the&#xA;  audio remains linked to the video, but remains at 100% speed. The&#xA;  audio does not remain synchronized with the video.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;sub&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/duration-speed.html&quot; rel=&quot;nofollow&quot;&gt;Source&lt;/a&gt;&lt;/sub&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if there is a reason why Adobe has designed it this way (I assume there are technical reasons for this), but at the moment there is no way to adjust audio speed alongside a video using time remapping.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this behaviour bothers you, you can always write up a &lt;a href=&quot;http://www.adobe.com/products/wishform.html&quot; rel=&quot;nofollow&quot;&gt;Feature Request&lt;/a&gt; for Adobe to consider for future releases of the software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An alternative would be to cut your audio in &lt;a href=&quot;http://www.adobe.com/products/audition.html&quot; rel=&quot;nofollow&quot;&gt;Adobe Audition&lt;/a&gt; and use a &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/send-sequence-audition-mixing.html&quot; rel=&quot;nofollow&quot;&gt;Dynamic Link&lt;/a&gt; to import it back into your Premiere Pro projekt. If I recall correctly, adjusting the audio alongside the video as described above is also possible in &lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;After Effects&lt;/a&gt;, but don't quote me on that ...&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-03-13T13:12:30.350" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17913" PostTypeId="2" ParentId="17133" CreationDate="2016-03-13T21:30:21.110" Score="0" Body="&lt;p&gt;On the post-production level obviously you have this. It happens that you edit separate language versions at the same time,  using a multitrack audio file that contains a basic mix and then the parts that are different in each language. On the distribution level, as somebody mentioned (for home use), there is no real need for that, the audio part of the movie is so small in comparison to the video part, I guess the logic that would be necessary to achieve the &quot;overlaying&quot; of audio would be more complex than the advantage (by saving a little space). In the cinema world dolby atmos is gaining some ground and it seems it is slowly entering the home cinema world as well. With dolby atmos, this idea is entirely possible and probably exists already.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as I understand dolby atmos, it contains the raw tracks with mixing information (volume, panning) as meta-data which can be applied to different setup, room sizes or language versions (as in your question)&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-03-13T21:51:57.450" LastActivityDate="2016-03-13T21:51:57.450" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17915" PostTypeId="2" ParentId="13105" CreationDate="2016-03-14T02:39:26.827" Score="1" Body="&lt;p&gt;If the clips both have the same audio track, you can use audio fingerprinting techniques to identify them. Apart from that, OpenCV can do similarity checks on video: &lt;a href=&quot;http://docs.opencv.org/2.4/doc/tutorials/highgui/video-input-psnr-ssim/video-input-psnr-ssim.html&quot; rel=&quot;nofollow&quot;&gt;http://docs.opencv.org/2.4/doc/tutorials/highgui/video-input-psnr-ssim/video-input-psnr-ssim.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And BTW. if using the audio fingerprinting method, as you can see with Shazam or musicbrainz.org seems to be managable from the amount of data.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-03-14T17:38:01.027" LastActivityDate="2016-03-14T17:38:01.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17916" PostTypeId="1" CreationDate="2016-03-14T12:50:57.830" Score="3" ViewCount="11754" Body="&lt;p&gt;I want to use blackmagic cards with ffmpeg to stream their input but there is a problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I use &quot;H264 Pro&quot; Encoder as a &quot;decklink&quot; or &quot;dshow&quot; input, I see this error in command line output of ffmpeg. Device is ok and I can Use it with other applications like MXPTiny or MXLight.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the command and output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -list_devices true -i dummy -hide_banner&#xA;[dshow @ 0000000004efa5a0] DirectShow video devices (some may be both video and audio devices)&#xA;[dshow @ 0000000004efa5a0]  &quot;Integrated Webcam&quot;&#xA;[dshow @ 0000000004efa5a0]     Alternative name &quot;@device_pnp_\\?\usb#vid_0c45&amp;amp;pid_641d&amp;amp;mi_00#7&amp;amp;11c87d18&amp;amp;0&amp;amp;0000#{65e8773d-8f56-11d0-a3b9-00a0c9223196}\global&quot;&#xA;[dshow @ 0000000004efa5a0]  &quot;Decklink Video Capture&quot;&#xA;[dshow @ 0000000004efa5a0]     Alternative name &quot;@device_sw_{860BB310-5D01-11D0-BD3B-00A0C911CE86}\{44A8B5C7-13B6-4211-BD40-35B629D9E6DF}&quot;&#xA;[dshow @ 0000000004efa5a0] DirectShow audio devices&#xA;[dshow @ 0000000004efa5a0]  &quot;Microphone (2- High Definition Audio Device)&quot;&#xA;[dshow @ 0000000004efa5a0]     Alternative name &quot;@device_cm_{33D9A762-90C8-11D0-BD43-00A0C911CE86}\wave_{11A03288-DE6D-4A21-A66E-DC9303E838FA}&quot;&#xA;[dshow @ 0000000004efa5a0]  &quot;Decklink Audio Capture&quot;&#xA;[dshow @ 0000000004efa5a0]     Alternative name &quot;@device_sw_{33D9A762-90C8-11D0-BD43-00A0C911CE86}\{AAA22F7E-5AA0-49D9-8C8D-B52B1AA92EB7}&quot;&#xA;dummy: Immediate exit requested&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and when I use &quot;Decklink Audio Capture&quot; to identify its options, here is the output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -list_options true -i video=&quot;Decklink Video Capture&quot; -hide_banner&#xA;[dshow @ 000000000388a660] Unable to BindToObject for Decklink Video Capture&#xA;[dshow @ 000000000388a660] Could not find video device with name [Decklink Video Capture] among source devices of type video.&#xA;video=Decklink Video Capture: Input/output error&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14073" LastEditorUserId="13978" LastEditDate="2016-03-16T05:16:02.247" LastActivityDate="2016-08-01T12:43:46.263" Title="Using ffmpeg to stream to or from Blackmagic Decklink Card" Tags="|ffmpeg|streaming|video-recording|video-capture|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17917" PostTypeId="2" ParentId="17916" CreationDate="2016-03-14T13:54:47.983" Score="0" Body="&lt;p&gt;It seems that Ffmpeg has a dedicated input mechanism for decklink devices, maybe give that a shot?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.ffmpeg.org/ffmpeg-devices.html#decklink&quot; rel=&quot;nofollow&quot;&gt;https://www.ffmpeg.org/ffmpeg-devices.html#decklink&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sounds as if it might be necessary to recompile Ffmpeg with decklink support though.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-14T13:54:47.983" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17918" PostTypeId="1" CreationDate="2016-03-15T02:55:45.813" Score="1" ViewCount="221" Body="&lt;p&gt;I need your help to find best video recording equipment for shooting videos for online video dissemination and projector based.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help me to know that what is the difference between shooting videos using &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sony HXR NX1 Video Camera&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Panasonic HC-W850K Digital HD Camcorder (Black)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Logitech C920 HD Pro Webcam (Black)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nikon D5200 24.1MP Digital SLR Camera (Black)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Kodak PlayTouch Video Camera&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can i find recorded videos using each of this camera to compare output of each of camera and to know about limitation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can we shoot following videos using above camera?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;10 Common Expressions in English&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/--564vFIwzs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Matriz inversa, traspuesta y adjunta BACHILLERATO matematicas&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/3BpGef99HEs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Introduction to Limits (mathbff)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/jlLlxgwCt6o?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CA Ankita Mehta Patni - IPCC law lecture&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/91ao_LyydRo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Interview Question: Tell Me Something About Yourself?&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/r_w9gRRbC6s?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lecture1 - Introduction to Digital Circuits&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/CeD2L6KbtVM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lecture - 1 Introduction to Data Structures and Algorithms&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/zWg7U0OEAoE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is SharePoint? | lynda.com overview&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/TE9TpraPlrE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;HarvardX: CS50x3 Introduction to Computer Science&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/lhlBWlhS7Vg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lec 1 | MIT 6.00 Introduction to Computer Science and Programming, Fall 2008&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/k6U-i4gXkLM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Calligraphy_Devanagari_Letters&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/_P-Ty512SyA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="11681" LastEditorUserId="11681" LastEditDate="2016-03-25T03:18:31.987" LastActivityDate="2016-03-25T03:18:31.987" Title="which are the good camcorder or DSLR to make video tutorials or MOOC to show on wide screen using projector?" Tags="|camera|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17920" PostTypeId="1" CreationDate="2016-03-15T19:07:35.257" Score="1" ViewCount="2000" Body="&lt;p&gt;I have a huge number of low-res Flash videos (480x270, 30 fps, 800 Kbps) and I want to resample all those videos in 1280x720 with some added spatial sharpening and lomo filters to make them look nicer. I intend to store these larger videos on a HDD and also upload them on YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The total running time of the videos is around 50 days, so I'm not going to use a lossless codec. I experimented a bit and found that anything over 2 Mbps (H.264) didn't result in a noticeable increase in visual quality, which isn't surprising considering the tiny original resolution. 50 days at 2 Mbps is about 1 TB which would be great.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that YouTube seems hell-bent on re-encoding anything that is being uploaded regardless of the actual bitrate, so even though the local 1280x720 videos look great the uploaded 1280x720 videos look awful. I found some official &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow&quot;&gt;recommended upload encoding settings&lt;/a&gt; but using those settings still results in compression artefacts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I avoid the artefacts from YouTube's lossy re-encode without uploading videos of a significantly higher bitrate?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I'm currently using Avidemux for resampling/re-encoding but from what I've read most people use Handbrake or MeGUI; should I switch or is Avidemux fine for my purposes?)&lt;/p&gt;&#xA;" OwnerUserId="14076" LastActivityDate="2016-08-12T21:29:17.140" Title="How to prevent lossy re-encode of low-bitrate videos uploaded to YouTube" Tags="|video-quality|encoding|youtube|h.264|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17921" PostTypeId="2" ParentId="17920" CreationDate="2016-03-15T19:28:52.607" Score="1" Body="&lt;p&gt;Youtube applies different maximum bitrates to different HD formats. A lot of people these days upscale their original 1080p HD content to 4k, since youtube allows higher datarate for 4k. Probably the same applies to 720p vs. 1080p, you should check. In general, you can optimize a video a lot so the same bitrate encoding will result in better quality, mainly by denoising it beforehand - or in you case, deblocking. I don't know if you are aquainted with AviSynth etc. but there are a couple of deblocking filters for it which might come in handy. From my experience there is no big difference if uploading a h264 with a high bitrate (like 25Mbps) or a ProRes file, after Youtube recompression quality is the same.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-15T19:28:52.607" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="17922" PostTypeId="2" ParentId="16385" CreationDate="2016-03-15T21:07:33.000" Score="1" Body="&lt;p&gt;so Batch processing is very possible in Camtasia Studio.&#xA;Here are my personal step-by-setp instrcutions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Import the videos you wish to Bacth Render into a new Camtasia Studio project file.&lt;/li&gt;&#xA;&lt;li&gt;Add the first video to the Timeline and then save it as a Camtasia Studio Project file.&lt;/li&gt;&#xA;&lt;li&gt;Remove that video from the timeline and import the other video you imported onto the timeline and &lt;strong&gt;save it as a different Camtasia Studio Project file.&lt;/strong&gt;&#xA;(You can repeat these steps as many times as you need to to have all videos you wish to Batch render)&lt;/li&gt;&#xA;&lt;li&gt;Find the 'Tools' tab and hover the cursor down to 'sharing' and a 'Batch production' should be avaliable to click. Click it.&lt;/li&gt;&#xA;&lt;li&gt;Click on the 'Add files/projects' button and select the files you made earlier.&lt;/li&gt;&#xA;&lt;li&gt;Click &quot;Next&quot; after you have selected all the videos you wish to Batch Render.&lt;/li&gt;&#xA;&lt;li&gt;Choose a preset from the top drop down menu.&lt;/li&gt;&#xA;&lt;li&gt;Clcik &quot;Next&quot;.&lt;/li&gt;&#xA;&lt;li&gt;You can choose the location the rendered videos will be saved to and if you want to have each video into sub-folders.&lt;/li&gt;&#xA;&lt;li&gt;Click on the &quot;Finish&quot; button.&lt;/li&gt;&#xA;&lt;li&gt;Your videos should be rendering.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I hope I helped and hope you have a nice day :)&lt;/p&gt;&#xA;" OwnerUserId="14074" LastActivityDate="2016-03-15T21:07:33.000" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17923" PostTypeId="2" ParentId="15525" CreationDate="2016-03-16T01:01:58.067" Score="1" Body="&lt;p&gt;Mac Mini does not have HDMI input. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;GF6 has no video output through USB.&lt;/p&gt;&#xA;" OwnerUserId="14079" LastActivityDate="2016-03-16T01:01:58.067" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17924" PostTypeId="2" ParentId="15525" CreationDate="2016-03-16T03:32:37.753" Score="0" Body="&lt;p&gt;You need extra hardware, probably one of the cheapest adapters for this is the blackmagic ultrastudio mini recorder which does hdmi - thunderbolt.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-16T03:32:37.753" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17925" PostTypeId="1" CreationDate="2016-03-16T11:35:45.060" Score="1" ViewCount="1141" Body="&lt;p&gt;How can I render my own View &lt;code&gt;Eigene Ansicht 1&lt;/code&gt; instead of the Active Camera &lt;code&gt;Aktive Kamera&lt;/code&gt; in Adobe After Effects? Take a look at the picture to understand my question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vVfD2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vVfD2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is, if I render my movie, the camera view is wrong and my whole movie is showing from a wrong perspective because I worked on &lt;code&gt;Eigene Ansicht 1&lt;/code&gt; to whole time and not on &lt;code&gt;Aktive Kamera&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="14083" LastEditorUserId="1950" LastEditDate="2016-07-28T14:00:23.887" LastActivityDate="2016-07-28T14:00:23.887" Title="How to render own view instead of Active camera in after effects" Tags="|after-effects|animation-rendering|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17926" PostTypeId="2" ParentId="17918" CreationDate="2016-03-16T13:54:02.350" Score="2" Body="&lt;p&gt;The SONY HXR NX1 is a staple of capturing professional-grade content that can be produced on its own or incorporated into other productions.  Yes, there are higher-end cameras, but this is a solid choice for a pro-level classroom.  I have seen this camera in many classrooms.  With a good operator, and a decent sound-recording system, you will be in the top quintile of production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Panasonic HC-850K has a marketing gimmick of being able to produce two video views at once, such as a wide view and a zoomed-in view.  I have not used this camera, but its relatively low price and very modern technology make it a sensible choice for somebody looking to prototype a solution, learn the limits of the camera, and then buy what's really needed without losing too much investment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Logitech C920 HD Pro Webcam is suitable if the scope of your subject is basically just sitting in front of it.  If your talking head talks while seated in front of a computer, great.  But if your talking head talks and walks (such as in front of a lecture board), it won't suit.  Similarly, if your demonstration requires aiming the camera at anything more interesting than a talking head, you will likely find the ergonomics of the webcam to be not worth the hassle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A Nikon D5200 24.1MP Digital SLR Camera (and any other SLR) is probably a terrible choice for your application.  These cameras really are optimized for still shooting.  Yes, they do shoot video.  Yes, the video sounds like it has a good spec.  But the reality is they come with all sorts of limitations (such as a maximum 29 minute recording time).  And you need to get much more expensive and much less capable lenses to fill a sensor size you don't need/can't use for video.  DSLR video is always at least one step below a similarly priced true video camera.  And the lenses cost extra, compared with many video cameras, which have them built-in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Kodak PlayTouch Video Camera (and similar) are popular for &quot;flipped&quot; classrooms.  I.e., classrooms where both teachers and students can contribute video content to the overall experience.  If your MOOC idea involves student-contributed content, then giving everybody a level playing field can be a good idea.  But if you want to &quot;produce&quot; something, the limitations of these cameras will drive your producer crazy.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-03-16T13:54:02.350" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17927" PostTypeId="2" ParentId="17693" CreationDate="2016-03-16T16:16:05.270" Score="-1" Body="&lt;p&gt;Why don't you transcode the footage to h265?&#xA;Quote from &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.265&quot; rel=&quot;nofollow&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/H.265&lt;/a&gt;:&#xA;&quot;H.265 (also known as HEVC) offers 50-75% more compression efficiency compared to H.264 video, while retaining the same visual quality.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively you could consider transcoding to VP9 codec which seems to offer a better compromise between file size and compression times. Both codecs should deliver same quality image at lower file sizes than h264.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-03-16T17:20:15.753" LastActivityDate="2016-03-16T17:20:15.753" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17928" PostTypeId="1" CreationDate="2016-03-16T16:17:07.987" Score="2" ViewCount="646" Body="&lt;p&gt;I work for a newspaper. Late last year there was a car chase leading to the death of a couple of people. We've recently ... persuaded ... the police involved to release the dash cam footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately they are using the iCop software, and the footage they released is encrypted and can only be viewed through the shared viewer that they sent along with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We want to convert this to an AVI or MP4 format, so we can edit and upload to our website with the story about the accident. Does anyone have any experience working with this video format? I've Googled heavily, and I have used a multitude of other converters that work with DAV format, but unfortunately I believe the encryption on this one is causing the file to not convert properly.&lt;/p&gt;&#xA;" OwnerUserId="14085" LastActivityDate="2018-07-27T08:04:31.350" Title="Converting iCop Encrypted DAV to AVI or MP4" Tags="|conversion|" AnswerCount="2" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="17929" PostTypeId="1" AcceptedAnswerId="17930" CreationDate="2016-03-16T18:04:40.603" Score="12" ViewCount="18821" Body="&lt;p&gt;I am trying to adapt this FFmpeg script that encodes all video files in a directory, to instead convert mp3 files present in that directory with similar preferences.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;The original script:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;This works for .MOV -&gt; .MOV encoding.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cd /Convert; for i in *.MOV; do ffmpeg -i &quot;$i&quot; -c:v libx265 -preset veryslow -crf 23 -af &quot;volume=25dB, highpass=f=180, lowpass=f=15000, equalizer=f=50:width_type=h:width=100:g=-15&quot; -c:a aac -strict experimental -b:a 192k &quot;${i%.MOV}-ENCODED.MOV&quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;Adapted for mp3 re-encoding:&lt;/h2&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cd /Convert; for i in *.mp3; do ffmpeg -i &quot;$i&quot; -af &quot;volume=25dB, highpass=f=180, lowpass=f=15000, equalizer=f=50:width_type=h:width=100:g=-15&quot; -c:a aac -strict experimental -b:a 192k &quot;${i%.mp3}-ENCODED.mp3&quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Throws errors:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Invalid audio stream. Exactly one MP3 audio stream is required.&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Invalid argument.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What is wrong with the script?&lt;/p&gt;&#xA;" OwnerUserId="12052" LastEditorUserId="12052" LastEditDate="2016-03-19T11:23:41.160" LastActivityDate="2016-03-19T11:23:41.160" Title="FFMpeg: &quot;Invalid audio stream. Exactly one MP3 audio stream is required&quot;" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17930" PostTypeId="2" ParentId="17929" CreationDate="2016-03-16T18:32:51.433" Score="18" Body="&lt;p&gt;You're trying to store an AAC stream in a MP3 container, would be my guess.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either store the result as &lt;code&gt;&quot;${i%.mp3}-ENCODED.aac&quot;&lt;/code&gt; or switch &lt;code&gt;-c:a aac&lt;/code&gt; to &lt;code&gt;-c:a libmp3lame&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-03-16T18:32:51.433" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17931" PostTypeId="2" ParentId="12667" CreationDate="2016-03-16T20:40:02.187" Score="2" Body="&lt;p&gt;Frei0r effects has a lenscorrection module:&#xA;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#frei0r-1&quot; rel=&quot;nofollow&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#frei0r-1&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;this is an example to remove the fisheye distortion of a samyang 7.5mm&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;-filter_complex 'frei0r=lenscorrection:0.5:0.5:0.16:0.6'&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;this is the docs from the mlt framework for frei0r lenscorrection&#xA;&lt;a href=&quot;https://www.mltframework.org/bin/view/MLT/FilterFrei0r-lenscorrection&quot; rel=&quot;nofollow&quot;&gt;https://www.mltframework.org/bin/view/MLT/FilterFrei0r-lenscorrection&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-16T20:40:02.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17932" PostTypeId="1" AcceptedAnswerId="17942" CreationDate="2016-03-16T21:02:12.257" Score="2" ViewCount="40" Body="&lt;p&gt;I'd like to get into creating amateur videos (think YouTube).  I'd like to have a few cameras to set up around a room to capture several angles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know anything about cameras and would like some advice for getting into this as a hobby.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any starter cameras you would recommend?  I was thinking of getting a better camera as the primary camera and a lower-end camera for the other angles.  Would there be problems with this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd also like to have a wireless mic (or boom mic) that I can connect to the primary camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions or direction would be greatly appreciated.  Thanks in advance!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:&#xA;To give more details about my intended use.  A good example of the need for multiple camera angles is for showing people playing a board game.  One would be a wide angle of the people to discuss tactics.  An overhead camera would be fixed to show the board.&lt;/p&gt;&#xA;" OwnerUserId="14089" LastEditorUserId="14089" LastEditDate="2016-03-16T21:27:06.723" LastActivityDate="2016-05-17T12:42:08.353" Title="Starter Camera(s)" Tags="|camera|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17933" PostTypeId="2" ParentId="2774" CreationDate="2016-03-16T21:30:09.160" Score="1" Body="&lt;p&gt;This question is pretty obsolete by now. The new SCARLET-W cameras support 5K WS (2.4:1) video at 60 fps, 4K WS at 150 fps, and 2K WS at 300 fps.  Matching field of view is a simple matter of mathematics, not magic.  If you want to match a 50mm lens on a 6K RED camera using a 3K crop, a 25mm lens will do well.  And the price of the SCARLET-W is now below what the price of the original SCARLET was in 2011, so you get a lot more camera, as well as more sensor, for less money.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is relatively well-known that when shooting slow-motion footage, it is often useful to use an even lower compression level than for normal motion footage, which is unfortunate.  But the DRAGON sensor, in a WEAPON body, makes SCARLET-W 10:1 as good as SCARLET DRAGON 8:1, which in turn has been estimated to be as good as SCARLET MX 6:1.  You will want to use special noise reduction techniques if you shoot at the limit of the SCARLET-W, but if you shoot 4K WS at 60 fps, the 6:1 REDCODE is really quite good.  And 5K WS at 60 fps REDCODE 9:1 is also not bad, either.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2016-03-17T17:49:13.357" LastActivityDate="2016-03-17T17:49:13.357" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17934" PostTypeId="1" CreationDate="2016-03-17T21:11:20.410" Score="1" ViewCount="403" Body="&lt;p&gt;I was wondering if someone could help me with this project with live-stream cameras. I am not sure what the best camera / broadcast transmitter or internet package I should purchase to ensure that it goes smoothly. The project will take place in Italy. Thank you so much for your time in advance!!!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The IDEA: 4 live-streaming HD web cameras that are mounted to a headpiece at a petting zoo. The cameras have wifi transmitters that stream footage to a wordpress-based website where all four cameras are showing their live video feed (using the VideoWhisper plugin). The visitors will wear the devices so it is their POV so via the web, it is as if one is virtually petting the animals. Online viewers can choose which camera of the 4 they would like to see in full HD or switch to view another to see/virtually pet other animals at the zoo.&lt;/p&gt;&#xA;" OwnerUserId="14098" LastActivityDate="2016-03-17T21:52:10.767" Title="Live-stream HD camera to stream on one's own Wordpress website" Tags="|camera|webvideos|live-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17935" PostTypeId="2" ParentId="17934" CreationDate="2016-03-17T21:23:33.720" Score="1" Body="&lt;p&gt;I think the answer to your question depends largely on your budget. A pretty easy and standard config (but which is not really cheap) would be using GoPros with the corresponding helmet / head mount and plugging it into something like a Teradek VidiU &lt;a href=&quot;http://teradek.com/pages/vidiu&quot; rel=&quot;nofollow&quot;&gt;http://teradek.com/pages/vidiu&lt;/a&gt; - configuring it for your favourite streaming provider and pointing your WordPress plug-in to show that stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A wired article about the vidiu and two other streaming devices:&#xA;&lt;a href=&quot;http://www.wired.com/2014/10/hd-streamer-boxes/&quot; rel=&quot;nofollow&quot;&gt;http://www.wired.com/2014/10/hd-streamer-boxes/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on how long this needs to run, you should maybe add an additional battery solution to the setup, the vidius internal battery only seems to run for 60 minutes...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apparently GoPro themself announced a streaming transmitter / receiver System called heroCast but it seems to be even more expensive than the teradek.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively you could use a smartphone to do the recording / transmitting with something like the bambuser app / service, most certainly the quality will be worse than the GoPro / vidiu solution, but cheaper. For both solutions you additionally need to make sure you got a decent WiFi coverage for the areas you want to be part of your project or - broadcast the stuff over LTE / UMTS, involving extra cost for the appropriate data plan you need to get in that case.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-03-17T21:52:10.767" LastActivityDate="2016-03-17T21:52:10.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17937" PostTypeId="1" CreationDate="2016-03-18T02:02:10.603" Score="3" ViewCount="678" Body="&lt;p&gt;As a semi-professional cinematographer and photographer, I've always wondered why large productions mostly always prefer to use Film cameras, even with the development of cameras such as RED and BlackMagic?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do the recorded films get converted to digital? isn't there some sort of inevitable quality loss from this process? Not to mention expensive?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Sorry in advance if any of these points sound uninformed or just plain dumb!!)&lt;/p&gt;&#xA;" OwnerUserId="12769" LastActivityDate="2016-03-18T17:34:24.877" Title="What's the benefit of Hollywood still using film for most major productions?" Tags="|filming|production|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17938" PostTypeId="2" ParentId="12163" CreationDate="2016-03-18T02:48:39.503" Score="1" Body="&lt;p&gt;You experience this basically because Adobe changed its functionality on CC version. And this is called &lt;strong&gt;Source Patching And Track Targeting&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Solution:&lt;/strong&gt;&lt;br&gt;&#xA;Highlight A1 or A2 in timeline. That is it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XEQgX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XEQgX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;More information about this.&lt;/strong&gt;&lt;br&gt;&#xA;In link find what adobe staff says. &lt;a href=&quot;https://forums.adobe.com/thread/1422503?tstart=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forums.adobe.com/thread/1422503?tstart=0&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;A training from adobe.&lt;/strong&gt;&lt;br&gt;&#xA;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/source-patching-track-targetting.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/using/source-patching-track-targetting.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;A training in youtube.&lt;/strong&gt;&lt;br&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/tWkW903Juwk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="2850" LastActivityDate="2016-03-18T02:48:39.503" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17940" PostTypeId="2" ParentId="17937" CreationDate="2016-03-18T05:07:52.187" Score="4" Body="&lt;p&gt;Is this an impression you have or based on statistics you read? My impression is the opposite: projects shot on film have become so noteworthy they get some press coverage for the fact alone they are shot on film. Then you have things like &quot;interstellar&quot; where the hype was about the 70mm or tarantino who says movies on digital are not sexy. What I heard is that unlike 5 yrs ago, the predominant tool in feature film has become the arri Alexa, while RED is going strong in advertisement. From the distribution side I know that (in Germany) the big multiplex cinemas don't have 35mm projectors installed anymore - they set them up on demand - and that at big film festivals like the berlinale, the amount of analog prints has changed from 9 out of 10 to less than 1 out of ten over the last ten years. Apparently it has become difficult finding a lab that can develop analogue film (in Germany) nowadays. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason for people still using film is probably that film automatically adds a lot of organic texture, like minor irregularities, grain etc. that a lot of people aesthetically prefer and which is not easy to mimick digitally in post-production. Using the &quot;original&quot; material also is a tribute to the history of the craft in a way... Going analogue all the way, even in editing (which is really not done anymore I think, even with the biggest fans of film stock) takes you back to a process which is actually destroying something (making a cut) to create something new, so there are some powerful metaphors in the original process ;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Products like Blackmagic cameras are not used in big budget productions because the quality assurance, sensor quality etc. Is not up to par with cameras by arri or red. And for productions on an average Hollywood budget, the difference between I.e. 5000$ for a bm camera or 60.000$ for an Alexa is not really relevant, especially since a flaky camera ruining a shooting day can result in much higher costs.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-03-18T09:16:47.320" LastActivityDate="2016-03-18T09:16:47.320" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17942" PostTypeId="2" ParentId="17932" CreationDate="2016-03-18T12:17:39.390" Score="1" Body="&lt;p&gt;Interesting challenge!  Here's what comes to mind:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Board Camera: if your game is Go, a camera placed 3 feet above the board should give a relatively accurate and undistorted overview of the game.  If your game is Chess, with 2.25&quot; squares, and kings that range from 3.75-4.25&quot;, then near the edges, the tops of the taller pieces could appear to cross the line of an adjacent square that, from the camera's perspective, are &quot;behind&quot; the piece.  You must decide whether having all the outer pieces appearing to tilt up to 17 degrees away from the camera looks distracting.  If you can get the camera 6' above the board, this perspective distortion is cut in half and each piece will appear to occupy only its own square.  And if you want to fix the perspective distortion this way, you'll likely need a telephoto lens to fill your frame with an 18&quot;x18&quot; board.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Placing a camera high above a board requires some kind of support platform.  If you cannot screw things into your ceiling, a C-stand, a boom arm, and a heavy sandbag should give you a stable platform where you can then mount the camera using an adjustable ball head.  This &lt;a href=&quot;http://www.bhphotovideo.com/c/product/112099-REG/Matthews_756140_Century_C_Turtle_Base.html&quot; rel=&quot;nofollow&quot;&gt;Matthews&lt;/a&gt; platform may be overkill, but don't underestimate how much support you need when lever arms get long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good external microphones can pick up speech clearly to about 3', though 18&quot; is better for them.  You can likely rig two microphones from the aforementioned camera platform so that they are close enough to the players and out of the field of view of the board camera.  The cost of such grip equipment might bother you at first, but if you don't get good sound, you will quickly regret all the other money you spent on the rest of your gear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think you definitely want to shoot the board in FullHD (1080p) because when action is limited to a quarter of the board, you'll want to digitally crop in to see more detail.  A 2:1 digital zoom, which shows one quadrant of the board, would have 540p resolution--better than SD, and good enough for the YouTube crowd.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know you didn't ask about lighting, but it does inform your camera choices in multiple ways.  In the cinema world, there's the &quot;180 degree&quot; rule, which basically says you should keep all your cameras on the same side of an imaginary 180 degree line.  Doing so ensures that the cameras see the same key lighting (which is what makes faces pretty, or at least visible) and the same rim lighting (which is what makes profiles pop from the background).  You probably won't start out worrying about 3-point lighting, but if you have any success at all, it's the one thing that can make your hundred dollar cameras look like thousand dollar cameras, and your thousand dollar cameras look like $10,000 cameras.  Keeping that in mind, you want your side-view cameras to all be on the same side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are the sole camera operator, you can manually cover the rest of the game from a &lt;a href=&quot;http://www.bhphotovideo.com/c/product/944776-REG/manfrotto_mvk500am_mvh500a_plus_mvt502am_plus.html&quot; rel=&quot;nofollow&quot;&gt;tripod with a fluid head&lt;/a&gt;.  Speaking from experience, whenever one manually follows the action, action inevitably happens somewhere else, or in a slightly wider or more narrow view than the one selected.  Additional static cameras can provide security against that.  A static wide camera gives you the freedom to roam with a view toward details.  A pair of static cameras looking at the players from across the board gives you the freedom to focus on actual hands-on game play.  Etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, for camera suggestions, I would recommend getting an actual camcorder rather than a photo camera with video functions.  The latter are restricted, for tax reasons, to 29 minutes of continuous recordings.  Unless you are recording speed matches, you'll want longer continuous run times.  I also recommend getting cameras that are more similar to one another than different.  The board camera probably needs to be the highest resolution, but the cameras that have humans in the view need the best color (because our eyes will tolerate wrongly-colored game pieces, but not wrongly colored hands and faces).  In the end, they probably need to both be about the same level of quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now it comes down to numbers.  I cannot make a more specific recommendation without knowing the budget, don't scrimp on sound, lighting, and grip.  Overspending on cameras and underspending on other stuff is like buying a car without being able to afford gas or maintenance.  Hopefully the above considerations give you a much better picture of how to narrow down your selections and execute a plan.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-03-18T12:17:39.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17943" PostTypeId="2" ParentId="17419" CreationDate="2016-03-18T13:04:47.120" Score="4" Body="&lt;p&gt;There are two main features in NVIDIA NVENC encoding:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Video memory if you need to transcode many streams.&lt;/li&gt;&#xA;&lt;li&gt;NVENC SIP - than better this SIP than better encoding performance&#xA;is. It depends on GPU. You can find the best explanation related GPU&#xA;and NVENC SIP generation on &lt;a href=&quot;https://en.wikipedia.org/wiki/Nvidia_NVENC&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia website&lt;/a&gt;. Maxwell Gen 2 is the best at the moment(for 2016).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;According to the license limitation: it's possible to run only 2 encoding threads simultaneously on the consumer level NVIDIA cards (any GTX card). It's regulated on the driver level, however it’s possible to remove this limitation. In this case, the value of maximum transcoding threads will depend on  video memory size and video engine utilization.&#xA;Video memory size which is necessary for one transcoding stream is various and depends on a video card model. For encoding SD stream on QUADRO K4200(4GB) is necessary 100 MB of video memory, but for encoding the same stream on GTX 980TI(6GB) we need 170MB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My results in transcoding SD sources in real time are:&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;QUADRO K4200(4GB): one transcoding thread costs 100 MB and we can run in parallel about 36 threads, but the bottleneck is the video engine utilization. I can run about 30 parallel threads with &lt;em&gt;&quot;-preset hp -vcodec nvenc_264&quot;&lt;/em&gt; &lt;/li&gt;&#xA;&lt;li&gt;GTX 980TI(6GB): the bottleneck is the video memory. I can run about 32&#xA;threads (32*170=5440) in parallel. I did it for my education, of&#xA;course. But the video engine results is better then on K4200 in 2.5&#xA;times. These 32 threads with &lt;em&gt;&quot;-preset slow -vcodec nvenc_264 -vf&#xA;yadif=0&quot;&lt;/em&gt; and video engine utilization are only 80%.&lt;/li&gt;&#xA;&lt;li&gt;I also tested it on GTX 660(2GB, Maxwell Gen 2). It was about 15&#xA;parallel threads due to video memory.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;My conclusion(for 2016): If you need to transcode no more than 2 threads in parallel, then  GTX 960 is a good variant. Also,  you can save some money to another hardware and look for another video card with Maxwell Gen1. If you go to the hack way, then GTX 960 is a good variant but only with 4GB of video memory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE FROM 2018:&lt;/strong&gt;&#xA;Nowadays the situation in this area has changed in  better direction. The card with the best encoder is Tesla V100, but it's too expensive. The best work variant is the video cards based on Pascal CHIPs. If you prefer the hack way then GTX1050TI(4GB), it will be perfect for your budget in 800$. Otherwise, Quadro P2000 doesn’t have license limitations and also very comfortable for the same budget.&lt;/p&gt;&#xA;" OwnerUserId="14107" LastEditorUserId="14107" LastEditDate="2018-08-14T11:34:11.923" LastActivityDate="2018-08-14T11:34:11.923" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="17944" PostTypeId="2" ParentId="14603" CreationDate="2016-03-18T14:58:13.843" Score="9" Body="&lt;p&gt;Here's the details on what the presets do:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[PRESET_COLOR_NEGATIVE] = {&#xA;    &quot;0/1 0.129/1 0.466/0.498 0.725/0 1/0&quot;,&#xA;    &quot;0/1 0.109/1 0.301/0.498 0.517/0 1/0&quot;,&#xA;    &quot;0/1 0.098/1 0.235/0.498 0.423/0 1/0&quot;,&#xA;},&#xA;[PRESET_CROSS_PROCESS] = {&#xA;    &quot;0.25/0.156 0.501/0.501 0.686/0.745&quot;,&#xA;    &quot;0.25/0.188 0.38/0.501 0.745/0.815 1/0.815&quot;,&#xA;    &quot;0.231/0.094 0.709/0.874&quot;,&#xA;},&#xA;[PRESET_DARKER]             = { .master = &quot;0.5/0.4&quot; },&#xA;[PRESET_INCREASE_CONTRAST]  = { .master = &quot;0.149/0.066 0.831/0.905 0.905/0.98&quot; },&#xA;[PRESET_LIGHTER]            = { .master = &quot;0.4/0.5&quot; },&#xA;[PRESET_LINEAR_CONTRAST]    = { .master = &quot;0.305/0.286 0.694/0.713&quot; },&#xA;[PRESET_MEDIUM_CONTRAST]    = { .master = &quot;0.286/0.219 0.639/0.643&quot; },&#xA;[PRESET_NEGATIVE]           = { .master = &quot;0/1 1/0&quot; },&#xA;[PRESET_STRONG_CONTRAST]    = { .master = &quot;0.301/0.196 0.592/0.6 0.686/0.737&quot; },&#xA;[PRESET_VINTAGE] = {&#xA;    &quot;0/0.11 0.42/0.51 1/0.95&quot;,&#xA;    &quot;0.50/0.48&quot;,&#xA;    &quot;0/0.22 0.49/0.44 1/0.8&quot;,&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For each preset, each &lt;code&gt;x/y&lt;/code&gt; pair maps input &lt;code&gt;x&lt;/code&gt; to output &lt;code&gt;y&lt;/code&gt;, where the range is &lt;code&gt;0-1&lt;/code&gt;. If not set, the filter automatically sets &lt;code&gt;0/0&lt;/code&gt; and &lt;code&gt;1/1&lt;/code&gt; i.e. input black = output black and input white = output white. Whereas &lt;code&gt;0/1&lt;/code&gt; would mean set input black pixels to white in output. Where you have multiple pairs in quotes, separated by commas, the sequence is &lt;code&gt;&quot;R&quot;,&quot;G&quot;,&quot;B&quot;&lt;/code&gt; mapping. The interpolation between the points is &lt;em&gt;natural cubic spline&lt;/em&gt;. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;For auto leveling, a crude method would be use the &lt;code&gt;autolevels&lt;/code&gt; subfilter of the &lt;code&gt;pp&lt;/code&gt; filter.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf pp=al output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What this does is stretch luminance to full range.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;To check levels before (and after) any adjustment you do, you can generate a RGB parade for a frame like so&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;format=rgb24,waveform=c=7:d=parade,scale=1200x512&quot; -vframes 1 frame1parade.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For a specific frame, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 12.4 -i input.mp4 -vf &quot;format=rgb24,waveform=c=7:d=parade,scale=1200x512&quot; -vframes 1 frameNparade.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-03-18T14:58:13.843" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17945" PostTypeId="2" ParentId="17937" CreationDate="2016-03-18T15:01:33.173" Score="2" Body="&lt;p&gt;The biggest reason for shooting on film is because...it looks like film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;20 years ago, Red Hat founder Bob Young told a story about branding that bears on this question.  He explained that if you offer somebody who has never tasted Ketchup before two samples, one being the most popular brand in America (which enjoys &gt; 80% market share) and the other being any other brand of Ketchup (chosen at random), almost everybody will find both to be equally unpalatable.  Yet among people familiar with Ketchup, the majority specifically prefers Heinz.  It is now possible to build digital imaging systems (ARRI Alexa, RED Weapon, SONY F65) that are objectively better than film in resolution, dynamic range, noise, etc.  But those features do not influence a preference that is based on familiarity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As Hans Meiser points out, there's been a huge flip from film projection to digital projection in the past 10 years, which means that &lt;a href=&quot;http://www.indiewire.com/article/what-its-like-to-be-a-hateful-eight-70mm-projectionist-with-quentin-tarantino-watching-20151231&quot; rel=&quot;nofollow&quot;&gt;extraordinary measures are necessary to even screen films these days&lt;/a&gt;.  So it is newsworthy and remarkable, like a dinosaur actually walking down Main Street, when a movie is released as an actual film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Film does have the advantage of being an interesting archiving format.  It is not perfect, but when properly stored, it has many advantages over naive digital archiving strategies.  But I would say that the principle reason for film's continued popularity among the Hollywood Elite is because the current generation of the Elite grew up with film, and that is their favorite brand of Ketchup.  The next generation have different preferences, and they will have their say as the older generation ages out.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-03-18T15:01:33.173" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="17946" PostTypeId="2" ParentId="17937" CreationDate="2016-03-18T17:34:24.877" Score="1" Body="&lt;p&gt;By far the biggest benefit is archival.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We know how to store film and retrieve the images for at least 100 years.  That's not the case with digital  film making.  Assuming you are able to get the bits off the disk (damn where's my syquest drive), and you can read the file format (will anyone know what a jpeg is in 100 years), you still have no idea how the values relate to the images on the screen.  Are they scene referred values encoded relative to camera spectral sensitivities?  Are they device code values intended to drive a particular display?  Are they values representing a device independent color encoding like DCDM X'Y'Z'.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming you have that all worked out there's the significantly greater expense associated with archiving digital films. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issues are very well laid out by the Acadmey of Motion Picture Arts and Sciences here : &lt;a href=&quot;https://www.oscars.org/science-technology/sci-tech-projects/digital-dilemma&quot; rel=&quot;nofollow&quot;&gt;https://www.oscars.org/science-technology/sci-tech-projects/digital-dilemma&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Academy Color Encoding System (ACES) is intended to address some of these issues.  &lt;a href=&quot;http://www.oscars.org/science-technology/sci-tech-projects/aces&quot; rel=&quot;nofollow&quot;&gt;http://www.oscars.org/science-technology/sci-tech-projects/aces&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11305" LastActivityDate="2016-03-18T17:34:24.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17947" PostTypeId="2" ParentId="3804" CreationDate="2016-03-18T22:49:04.937" Score="-1" Body="&lt;p&gt;guys. I know this is an old topic, but I just found something that worked for me.&#xA;I don't really know why, but it did. A friend has send me a project created with a recent version.&#xA;I could open it, but only by clicking in the &quot;download bar&quot; in the bottom of my browser (google chrome). If I open the folder where the file was saved, I could't open it, but by clicking on the &quot;google chrome download bar&quot;, it opens!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this can be replicated.&lt;/p&gt;&#xA;" OwnerUserId="14115" LastActivityDate="2016-03-18T22:49:04.937" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17948" PostTypeId="1" CreationDate="2016-03-18T23:26:01.803" Score="5" ViewCount="8506" Body="&lt;p&gt;I have &lt;code&gt;.mp4&lt;/code&gt; files created by a Sony A7s camera. They're using the XAVC S codec. I'm converting them to &lt;code&gt;.mov&lt;/code&gt; using the command below. The original files have a timecode but that is not present in the output file. The output files have their timecodes set to zero. Is there any way to preserve the timecode?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i [filenmae] -vcodec copy -acodec copy [outputDirectory]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14116" LastEditorUserId="18155" LastEditDate="2019-05-19T12:30:43.073" LastActivityDate="2022-01-05T16:37:29.040" Title="ffmpeg: preserve timecode when converting mp4 to mov" Tags="|ffmpeg|timecode|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="17949" PostTypeId="2" ParentId="17948" CreationDate="2016-03-19T01:31:50.930" Score="0" Body="&lt;p&gt;Timecode and lot of other informations does not belong to video or audio streams, they are metadata attributes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmpeg has lot of command to manipulate metadata attributes, for the specific question you can give a look to my previous question and relative answer: &lt;a href=&quot;https://video.stackexchange.com/questions/16965/ffmpeg-cut-a-media-preserving-all-streams-but-also-all-metadata-timecodes-and-e&quot;&gt;ffmpeg Cut a media preserving all streams but also all metadata, timecodes and everything else&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please consider that metadata tends to change from format to format, so probably you have to find the right metadata field on the original Sony .mp4, parse it properly and write it changed or renamed into the new .mov file, following the QuickTime .mov specifications for timecode definition.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-03-19T01:31:50.930" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17950" PostTypeId="2" ParentId="17948" CreationDate="2016-03-19T06:03:15.960" Score="3" Body="&lt;p&gt;Just use copy for all streams i.e. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i [filename] -c copy -map 0 [outputDirectory]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;: Let's switch byte-order&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i [filename] -c copy -c:a pcm_s16le -map 0 [outputDirectory]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-03-28T14:44:10.743" LastActivityDate="2016-03-28T14:44:10.743" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="17952" PostTypeId="1" CreationDate="2016-03-19T21:57:56.147" Score="0" ViewCount="13524" Body="&lt;p&gt;I have a motion path of a object already defined within keyframes. Now I would like to adjust the rotation. BUT if the rotation is set, it affects also the X/Y axis of the object, that's why it completely screws up the created keyframes for position coordinates (if the object was moving upwards, I rotate it 90 degrees, it moves to the left). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is, how can I rotate the object without affecting the position, etc. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="14099" LastEditorUserId="10931" LastEditDate="2016-03-20T00:07:00.403" LastActivityDate="2016-03-20T21:30:09.027" Title="How to rotate object in After Effects without affecting other values?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17953" PostTypeId="2" ParentId="17709" CreationDate="2016-03-19T23:26:46.043" Score="1" Body="&lt;p&gt;As you can imagine, a file that is compressed from 1.96gb to 100mb has lost a lot of information. The question is what you need to do with this film now. If you want to make a version to be shown in cinemas, that's not going to work well since you probably will see compression artifacts etc on a big screen. If you need to create a Sd DVD from it, probably that's fine.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-19T23:26:46.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17954" PostTypeId="2" ParentId="17952" CreationDate="2016-03-20T04:50:16.220" Score="1" Body="&lt;p&gt;The anchor point defines the &quot;center&quot; around which an object in AE moves, rotates etc. Often, when not taking care of initially setting the anchor point to the right location, rotating the object can lead to surprises. For simple position changes, you probably don't really care where the anchor point is set, once other Params get into play, this can lead to problems since effectively can look as if it affects position, in case of an object with transparency.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-20T04:50:16.220" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17955" PostTypeId="1" CreationDate="2016-03-20T14:41:53.833" Score="3" ViewCount="654" Body="&lt;p&gt;In older versions of iMovie you could edit the RGB channels of a clip independently. In the current iMovie 10 you can't. It doesn't seem to be a widespread feature, tried Shotcut and Video Pad so far as well as QuickTime Player and VLC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know of a free or low priced Mac app that can do this? Final Cut and After Effects are overkill for just this quite basic function.&lt;/p&gt;&#xA;" OwnerUserId="14124" LastEditorUserId="14124" LastEditDate="2016-03-24T22:41:37.230" LastActivityDate="2024-03-14T04:04:50.697" Title="Simple Editing of RGB Channels On Mac" Tags="|mac|imovie|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17956" PostTypeId="1" CreationDate="2016-03-20T16:43:55.187" Score="1" ViewCount="1268" Body="&lt;p&gt;I have a lot of pictures, which I want to randomly insert all of them into a movie.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;I have a mac but also can use windows if needed. don't have any software for it yet and of course prefer a free software but if not possible I don't mind to buy a software for it. Thanks&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Background: It's my partner's birthday and I would like to project her photos inserted randomly (doesn't matter where in the movie) into the movie which is related to the party theme. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="14126" LastActivityDate="2017-11-12T12:36:39.343" Title="Insert pictures randomly into a video" Tags="|video-editor|photos|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17957" PostTypeId="2" ParentId="17952" CreationDate="2016-03-20T21:30:09.027" Score="0" Body="&lt;p&gt;Hans is right - make sure the anchor point of the object you wish to rotate is positioned correctly before you make your movement keyframes.  Use the Pan Behind Tool (stupid name) to reposition the anchor point.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-03-20T21:30:09.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17962" PostTypeId="1" CreationDate="2016-03-21T09:15:51.617" Score="1" ViewCount="4996" Body="&lt;p&gt;I wanted to know what are the possible streaming formats for streaming a video using H.265.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does H.265 support rtsp and rtmp based streaming?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently, I am using ffmpeg to live stream the camera feed from my Android phone to the Wowza streaming server.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The following command throws no errors but the streaming does not begin from ffmpeg. I mean the bit rate logs for transfer do not show up.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2pipe -vcodec mjpeg -i - -c -copy -f hevc -vcodec libx265 -f rtsp rtsp://10.31.5.126:1935/app2/myStream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14122" LastActivityDate="2017-03-05T09:22:46.283" Title="What are supported stream formats for h.265" Tags="|ffmpeg|encoding|h.265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17963" PostTypeId="2" ParentId="17962" CreationDate="2016-03-21T09:26:45.747" Score="1" Body="&lt;p&gt;That command isn't well-formed. First, you specify copy, then specify a raw HEVC format with HEVC encoding and then RTSP as an output format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2pipe -vcodec mjpeg -i - -vcodec libx265 -f rtsp rtsp://10.31.5.126:1935/app2/myStream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-03-21T09:26:45.747" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="17964" PostTypeId="2" ParentId="17928" CreationDate="2016-03-21T11:37:27.747" Score="1" Body="&lt;p&gt;My company software &lt;a href=&quot;http://ampedsoftware.com/five&quot; rel=&quot;nofollow&quot;&gt;Amped FIVE&lt;/a&gt; supports the conversion of &lt;a href=&quot;http://blog.ampedsoftware.com/category/cctvdvr-formats/&quot; rel=&quot;nofollow&quot;&gt;hundreds of proprietary DVR formats&lt;/a&gt;, including the DAV. I am not sure we ever encountered an encrypted DAV, though it may be worth a try. Feel free to contact me to evaluate your file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I fully agree with you that screen capture is the last resort.&lt;/p&gt;&#xA;" OwnerUserId="2756" LastActivityDate="2016-03-21T11:37:27.747" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17968" PostTypeId="1" CreationDate="2016-03-21T20:11:59.190" Score="0" ViewCount="26" Body="&lt;p&gt;I'm using a -25Db attenuator cable (&lt;a href=&quot;http://www.bhphotovideo.com/c/product/767986-REG/Whirlwind_WHH4NL3_5_WHH4NL3_5_Line_to_Microphone.html&quot; rel=&quot;nofollow&quot;&gt;this one&lt;/a&gt;) to connect an audio mixer to my camera. Now, I've tested the cable by connecting my DAP to the camera, and it works just fine. But when I connect the attenuator cable, even without an audio mixer plugged-in, I hear background noise. When I turn on the audio mixer but don't have any input sources for it, the noise is even louder. When I connect a radiomic to the mixer, the loud noise is still there, coupled with the audio from the microphone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone help me figure out what's going on here? Am I somehow using an attenuator cable incorrectly? I doubt it's faulty considering that connecting a DAP to my camera results in a good, clean signal and no noise on the line.&lt;/p&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2016-03-21T20:11:59.190" Title="Getting weird noise when using an attenuator cable" Tags="|audio|cable|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17969" PostTypeId="2" ParentId="2389" CreationDate="2016-03-21T21:18:29.277" Score="2" Body="&lt;p&gt;The solution that I currently use is a group of software. First, I do all my keying and complicated visual effects in Blackmagic Fusion. Then I do all my editing, mixing, color correction and very simple effects in Davinci Resolve. Both Fusion and Resolve are from &lt;a href=&quot;https://www.blackmagicdesign.com/products/&quot; rel=&quot;nofollow&quot;&gt;Blackmagic&lt;/a&gt;. Resolve doesn't do audio effects on it's own, but supports plugins. You can find said plugins for doing just about anything you can think of at &lt;a href=&quot;https://splice.com/&quot; rel=&quot;nofollow&quot;&gt;Splice&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="14141" LastActivityDate="2016-03-21T21:18:29.277" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17970" PostTypeId="2" ParentId="15594" CreationDate="2016-03-21T22:17:05.863" Score="1" Body="&lt;p&gt;I'd try to export a sample project as XML and then let a script change the necessary parts of the XML project file.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-21T22:17:05.863" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17971" PostTypeId="2" ParentId="17956" CreationDate="2016-03-21T23:56:40.927" Score="0" Body="&lt;p&gt;If you have a MAC you can use the following basic software:&#xA;iPhoto - create an ALBUM containing the pictures you want to insert into the video.&lt;br&gt;&#xA;iMovie - Import the video you want to use in the project as the main storyline (In the left sidebar click &quot;Photos Library&quot; to access your photos, click the photo, move the playhead in the main storyline to where you want to insert the photo THEN:&#xA;press &quot;Q&quot; (connect edit) to connect the picture above the storyline (you have options to set the picture as split screen, cutaway, or picture in picture) OR&#xA;press &quot;W&quot; (insert edit) to insert the picture in the storyline (you can set transitions between the inserted pictures).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(ripple training.com has a training video on iMovie basics that is great)&lt;/p&gt;&#xA;" OwnerUserId="14143" LastActivityDate="2016-03-21T23:56:40.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17972" PostTypeId="1" CreationDate="2016-03-21T23:57:23.293" Score="0" ViewCount="140" Body="&lt;p&gt;Been here i found a lot of question involving ffmpeg and its filters, however the filters are already built-in and what you generally do is calling them with various parameters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What was wondering is if ffmpeg or other FLOSS software supports some more advanced scripting for do things like automatic cut and join pieces with transitions based on certain audio highlights or other heavy automatition things less hard-coded and more coding aimed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A sort of script support for ffmpeg would be the ideal because all the things could be carried inside the powerful ffmpeg core without have to use an intermediate lossless codec in order to not lose video quality with extra transcoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: this question can have many answer because out of there probably exists many softwares.. tease me with lot of things please :D I would like stuff that can manipulate a lot the audio video and metadata streams but coded possibly.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2016-03-21T23:57:23.293" Title="Heavy automatition with scripting for videos - ffmpeg?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17974" PostTypeId="1" CreationDate="2016-03-22T03:36:23.310" Score="0" ViewCount="2021" Body="&lt;p&gt;I'm a wedding photographer and I'm trying to create a slideshow for my customer. She want a moving filmstrip effect where her image will fill in a 35mm film, and it keeps scrolling. It looks similar to this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.ytimg.com/vi/IeRD6mP5YxA/maxresdefault.jpg&quot; rel=&quot;nofollow&quot;&gt;https://i.ytimg.com/vi/IeRD6mP5YxA/maxresdefault.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't have any clues about how to create this. I have Adobe Premiere but kind of newbie to it. Any clues will be appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P/s: sorry, my English is bad.&lt;/p&gt;&#xA;" OwnerUserId="14144" LastActivityDate="2018-04-14T16:55:08.747" Title="Create video with filmstrip effect with Adobe Premiere" Tags="|premiere|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="17975" PostTypeId="1" CreationDate="2016-03-22T05:51:36.067" Score="1" ViewCount="682" Body="&lt;p&gt;I use Lightroom's library system to organize my photos using tags and categories. Now I want to have the same functionality for video footage, especially for extracting and organizing the interesting sections of a clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there something like that, maybe even as an addon for lightroom?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers,&#xA;fabs&lt;/p&gt;&#xA;" OwnerUserId="14035" LastActivityDate="2016-03-22T07:11:20.153" Title="Lightroom-like software for video (categorizing &amp; organizing footage)" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17976" PostTypeId="2" ParentId="17975" CreationDate="2016-03-22T07:11:20.153" Score="2" Body="&lt;p&gt;I think the keywords your looking for is &quot;media asset management&quot; or &quot;video asset management&quot;. Apart from the numerous commercial softwares around, this list of open source alternatives might give you a good overview. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.opensourcedigitalassetmanagement.org&quot; rel=&quot;nofollow&quot;&gt;http://www.opensourcedigitalassetmanagement.org&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-22T07:11:20.153" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17978" PostTypeId="1" CreationDate="2016-03-22T11:58:47.197" Score="3" ViewCount="13507" Body="&lt;p&gt;Is there a way to manually type the precise pixel position for a guide, instead of zooming in and dragging it to the correct position?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-09-16T18:36:05.693" Title="Enter the position for a guide in After Effects numerically" Tags="|after-effects|" AnswerCount="5" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17979" PostTypeId="1" AcceptedAnswerId="17982" CreationDate="2016-03-22T14:12:25.283" Score="1" ViewCount="48" Body="&lt;p&gt;I am thinking about make some story video and I would leverage some general footage -- timelapses, cars passing streets, etc. Is there some service which provides such assets? I think I saw something like &quot;video building block&quot; service or something like that. I don't need this service specifically, but just something where could I download/buy such video assets shoot by somebody else.&lt;/p&gt;&#xA;" OwnerUserId="14149" LastActivityDate="2016-03-24T20:03:01.557" Title="istockphoto for videos" Tags="|video|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17980" PostTypeId="2" ParentId="16713" CreationDate="2016-03-22T15:26:30.643" Score="0" Body="&lt;p&gt;If you want to record really good quality audio on an android smartphone (requires your phone to have USB OTG) is using an external USB soundcard like the art dual pre USB (or a any other supported soundcards) and an app called usb Audio recorder pro... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.extreamsd.com/index.php/products/usb-audio-recorder-pro&quot; rel=&quot;nofollow&quot;&gt;http://www.extreamsd.com/index.php/products/usb-audio-recorder-pro&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With that solution you have an 80$ semi-professional sound recording solution with Phantom power etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Advantage is that you can use any microphone on the market with your phone.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-22T15:26:30.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17981" PostTypeId="2" ParentId="17979" CreationDate="2016-03-22T16:10:04.010" Score="1" Body="&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.gettyimages.de/footage&quot; rel=&quot;nofollow&quot;&gt;http://www.gettyimages.de/footage&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.shutterstock.com/video/&quot; rel=&quot;nofollow&quot;&gt;https://www.shutterstock.com/video/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.dissolve.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.dissolve.com/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://videohive.net/&quot; rel=&quot;nofollow&quot;&gt;http://videohive.net/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;to name a few, probably there are much much more.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-22T16:10:04.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17982" PostTypeId="2" ParentId="17979" CreationDate="2016-03-23T04:25:41.007" Score="0" Body="&lt;p&gt;I've used the following services:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.videoblocks.com&quot; rel=&quot;nofollow&quot;&gt;Video Blocks&lt;/a&gt; - perhaps this is the one you were thinking of?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.istockphoto.com&quot; rel=&quot;nofollow&quot;&gt;iStockPhoto&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.shutterstock.com&quot; rel=&quot;nofollow&quot;&gt;ShutterStock&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-03-23T04:25:41.007" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17983" PostTypeId="2" ParentId="17955" CreationDate="2016-03-23T04:31:13.240" Score="0" Body="&lt;p&gt;Apple's &lt;a href=&quot;http://www.apple.com/final-cut-pro/motion/&quot; rel=&quot;nofollow&quot;&gt;Motion&lt;/a&gt; has a wide variety of useful effects for this sort of thing. It's not clear which iMovie filter you were using (a built-in one, or a 3rd party one?), but Motion offers a Channel Mixer filter, and includes a Levels filter which can work on individual channels. (You can see &lt;a href=&quot;https://help.apple.com/motion/mac/5.0/en/motion/usermanual/#chapter=19%26section=10%26hash=apple_ref:doc:uid:Motion-UserManual-90915FLT-1016583&quot; rel=&quot;nofollow&quot;&gt;the docs for Color Correction Filters here&lt;/a&gt;.) In addition, Motion also supports 3rd party effects, and there are a ton of them that could do what you need. (It's hard to give exact details without more info from you about what you need, though.)&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-03-23T04:31:13.240" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17984" PostTypeId="1" AcceptedAnswerId="17986" CreationDate="2016-03-23T15:59:41.423" Score="0" ViewCount="239" Body="&lt;p&gt;For my project I need to find or short video (1 min) of a UHD video in 4:4:4&#xA;I coudn't find any thanks to google.&#xA;I am now considering making one from 4 full HD stream in 4:4:4 but I don't know what tools I could use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And by the way, although I read it's possible to make a full HD 4:4:4 stream from a 4K 4:2:0 I didn't find any sample available.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any advice?&lt;/p&gt;&#xA;" OwnerUserId="14019" LastActivityDate="2016-03-23T17:40:22.707" Title="UHD video sample in 4:4:4" Tags="|software-recommendation|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="17985" PostTypeId="1" CreationDate="2016-03-23T17:13:42.347" Score="2" ViewCount="3674" Body="&lt;p&gt;I`m looking for a workflow to morph between 100 portrait photos without animating every single transition in After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any tools to achieve this automaticly ?&lt;/p&gt;&#xA;" OwnerUserId="14160" LastActivityDate="2020-09-21T19:43:13.793" Title="Morph between 100 portraits" Tags="|after-effects|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17986" PostTypeId="2" ParentId="17984" CreationDate="2016-03-23T17:40:22.707" Score="2" Body="&lt;p&gt;You can use &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool, to generate some synthetic videos in the required size and pixel format:&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Mandelbrot fractal&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i &quot;mandelbrot=s=3840x2160:r=24&quot; -c:v libx264 -pix_fmt yuv444p -t 5 mb444.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will generate a &lt;code&gt;5&lt;/code&gt; second UHD video @ 24 fps. You can experiment with the various parameters detailed &lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#mandelbrot&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;, such as coloring methods or amount of zoom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's also filters to generate patterns as per Conway's Game of &lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#life&quot; rel=&quot;nofollow&quot;&gt;Life&lt;/a&gt; or a custom &lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#cellauto&quot; rel=&quot;nofollow&quot;&gt;cellular automaton&lt;/a&gt;, although those will be very 'noisy' with default settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also use a &lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#allrgb_002c-allyuv_002c-color_002c-haldclutsrc_002c-nullsrc_002c-rgbtestsrc_002c-smptebars_002c-smptehdbars_002c-testsrc&quot; rel=&quot;nofollow&quot;&gt;test pattern&lt;/a&gt; as a source:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i &quot;testsrc=s=3840x2160:r=24&quot; -c:v libx264 -pix_fmt yuv444p -t 5 test444.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-03-23T17:40:22.707" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17987" PostTypeId="2" ParentId="16636" CreationDate="2016-03-24T15:12:05.247" Score="5" Body="&lt;p&gt;The effect you are talking about is called &lt;strong&gt;jumpcut&lt;/strong&gt; and it is particularly popular among vloggers.&lt;br&gt;&#xA;As far as I know, there is no automatic way to do it although it would probably be possible to do from technological perspective.&#xA;However using jumpcuts has several functions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You get rid of silence and squeeze as much information in short form as possible, keeping viewers attention.&lt;br&gt;&#xA;Second important function is selection of your shots. While going through your material (shot usually in one take) you can discard stuff you don't want (even if you were talking at that point) and fundamentally alter the tone of your video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This increased creative control is worth it considering that editing your video manually in this manner is very easy and won't take much time or effort.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;tl;dr&lt;/strong&gt;&lt;br&gt;&#xA;It might be doable, but there is no user friendly solution now. Anyway I would suggest to do it manually for various reasons described in full answer.&lt;/p&gt;&#xA;" OwnerUserId="5928" LastEditorUserId="5928" LastEditDate="2016-03-27T18:31:04.210" LastActivityDate="2016-03-27T18:31:04.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17988" PostTypeId="2" ParentId="17978" CreationDate="2016-03-24T15:21:36.060" Score="2" Body="&lt;p&gt;Sadly, no. I've wished for this many times myself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Michael Szalapski wrote in a &lt;a href=&quot;https://forums.creativecow.net/thread/202/892496&quot; rel=&quot;nofollow&quot;&gt;CreativeCow thread&lt;/a&gt;,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;At 100% zoom level in the comp viewer, guides move on full pixels, so you can place them on exact pixels right where you want them if you sit them on a null (or solid or whatever). Granted, it doesn't snap, but when I tried it just now, I got it right where I wanted it pretty quickly with a null as a reference. &quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's the best solution I've ever come across. Not what you asked for, I know.&lt;/p&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2016-03-24T15:21:36.060" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17989" PostTypeId="2" ParentId="17718" CreationDate="2016-03-24T15:42:12.807" Score="1" Body="&lt;p&gt;I believe the problem lies in how FFMPEG does the RGB-&gt;YUV conversion by default.  This option specifies the use of the bt709 color space for the conversion, instead of the default of bt601.  This fixes it for me - though please let me know if I'm doing something bad here!&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf scale=out_color_matrix=bt709&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12596" LastActivityDate="2016-03-24T15:42:12.807" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17990" PostTypeId="2" ParentId="17985" CreationDate="2016-03-24T19:11:51.240" Score="0" Body="&lt;p&gt;I don't think there is a plugin that does this 100% automated for you.  However I have used the steps in this tutorial many times and it works great.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://cgi.tutsplus.com/tutorials/create-a-facial-morph-without-using-3rd-party-plug-ins--ae-22370&quot; rel=&quot;nofollow&quot;&gt;http://cgi.tutsplus.com/tutorials/create-a-facial-morph-without-using-3rd-party-plug-ins--ae-22370&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2994" LastActivityDate="2016-03-24T19:11:51.240" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17991" PostTypeId="2" ParentId="16636" CreationDate="2016-03-24T19:16:15.287" Score="4" Body="&lt;p&gt;You are missing the point. He is not cutting out silence, he is keeping up a good hectic pace, making it hard to switch off while watching. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Manually done. Why?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Telling a story, so you need to know what parts are relevant and what parts aren't&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Sometimes even though there are silent parts, there are other visual things going on, like wild gestures, funny faces, a pause for dramatic effect.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Sometimes your cuts are NOT chronological in order. To make a story better you might pick clips or add clips from a completely different timeline or video.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The main issue you will find is the 'clicks' you here when you make the jump cuts. Normally you unlink the audio and video and you ONLY transition the audio part.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps. Happy clipping.&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2016-03-24T19:16:15.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17994" PostTypeId="2" ParentId="17979" CreationDate="2016-03-24T20:03:01.557" Score="1" Body="&lt;p&gt;Well, I think your best source to tell stories with would be public domain videoes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either videos placed directly into the public domain or those whose copyright has expired and are now in the public domain&lt;/p&gt;&#xA;&#xA;&lt;p&gt;see (a good resource):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.pond5.com/free&quot; rel=&quot;nofollow&quot;&gt;http://www.pond5.com/free&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, the charlie chaplin videos, all the silent movies, unfortunately all movies including the 70's should have been in the public domain by now if it wasn't for the walt disney copyright extension law. Oh well, we take things as they are. Lots of great resources to be found in the public domain.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;other sites:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Public domain films)&#xA;&lt;a href=&quot;https://www.loc.gov/rr/mopic/pubdomain.html&quot; rel=&quot;nofollow&quot;&gt;https://www.loc.gov/rr/mopic/pubdomain.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://archive.org/details/stock_footage&quot; rel=&quot;nofollow&quot;&gt;https://archive.org/details/stock_footage&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2016-03-24T20:03:01.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17995" PostTypeId="2" ParentId="17974" CreationDate="2016-03-24T20:09:38.193" Score="1" Body="&lt;p&gt;Essentially what you are trying to do is create a mask with the film strip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are seeing (lets say) 3 frames, then you would duplicate your original image 3 times, and offset each one by one frame. Feel free to cheat more than a frame to get the right look.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then scale and rotate the images to fit under the film strip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is how I would do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other things you might consider doing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reducing the frame rate to around 12 frames a second, to make it look more like the old silent movies.&#xA;Add dust and scratches effect&#xA;Add light leaks effects as well&#xA;And add a jitter effect (many ways to do that)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good Luck&lt;/p&gt;&#xA;" OwnerUserId="6079" LastActivityDate="2016-03-24T20:09:38.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17996" PostTypeId="1" AcceptedAnswerId="17999" CreationDate="2016-03-25T06:05:36.660" Score="0" ViewCount="154" Body="&lt;p&gt;Hello video stackexchange experts. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need your help to know that is it good idea to use &lt;strong&gt;GoPro Hero 4&lt;/strong&gt; to shoot MOOCs or video tutorials? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have listed out few of the sample videos here. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Clay Animation Set Design&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Yz2m75-7MJg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lecture 1 | Programming Methodology (Stanford)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/KkMDCCdjyW8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Justice: What's The Right Thing To Do? Episode 01 &quot;THE MORAL SIDE OF MURDER&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/kBdfcR-8hEY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Learn Malayalam quick to read,write and speak in 7 days Part 1&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/a2fcJBIGi2Q?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BALL IN AIR &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/CTliNaH6ZYE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oyster Mushroom cultivation Jeevika Bihar&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/P3NaZUlLCx0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Azure Backup for Windows Client&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/HxilAu5Zbzo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mould making,casting &amp;amp; firing casting mould-Ceramics&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/CpFCaHMjlhA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="11681" LastActivityDate="2016-03-25T13:22:22.693" Title="can we use &quot;GoPro Hero 4&quot; camera to shoot video tutorials or elearning courses or moocs?" Tags="|camera|video-recording|" AnswerCount="1" CommentCount="2" FavoriteCount="0" ClosedDate="2016-03-25T13:23:06.590" ContentLicense="CC BY-SA 3.0" />
  <row Id="17998" PostTypeId="1" CreationDate="2016-03-25T13:04:24.437" Score="-1" ViewCount="220" Body="&lt;p&gt;Please check this video and help me to know that can we shoot same quality level movie using Sony HXR NX1 Video Camera&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/s56Mp.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s56Mp.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/tfK2lo8m3Ek?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for help in advance. &lt;/p&gt;&#xA;" OwnerUserId="11681" LastActivityDate="2016-03-25T20:37:18.180" Title="is this movie &quot;I Am Kalam (2010)&quot; shot with sony nx level camera?" Tags="|camera|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="17999" PostTypeId="2" ParentId="17996" CreationDate="2016-03-25T13:22:22.693" Score="1" Body="&lt;p&gt;A GoPro may not be your best tool for this - it has a very wide angle lens, and is targeted at action and sports, mostly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, you can still use them effectively if your scenes can cope with the distortion a wide angle camera brings. They are cheap and convenient. They cope well with various light levels, but the sound quality is possibly not as good as you'd like for interviews, for example.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2016-03-25T13:22:22.693" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18000" PostTypeId="2" ParentId="17749" CreationDate="2016-03-25T20:33:24.563" Score="0" Body="&lt;p&gt;This could also be done in After Effects by combining multiple 2D layers of dots in 3D space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would create a template outline of the cartoon, use a pencil or brush with a wide spacing and hard jitter applied, and paint maybe 15-20 layers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When stacked in 3D space in AE, if you've created enough layers with dense enough dots, it would combine to create a fully black shape. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then animate the camera through the layers in 3D space.&lt;/p&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2016-03-25T20:33:24.563" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18001" PostTypeId="2" ParentId="17998" CreationDate="2016-03-25T20:37:18.180" Score="1" Body="&lt;p&gt;The depth of field and dynamic range visible in the movie lead me to think that it was shot on film, or perhaps with a much higher-level camera. You will not be able to reproduce the look of I Am Kalam with any NX-level camera. The sensor is simply too small.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, you could shoot a very nice movie with that camera if you paid extra-close attention to lighting. Careful control of highlights, shadows, and the shape of your light will give you a much better result than any camera you might use.&lt;/p&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2016-03-25T20:37:18.180" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18002" PostTypeId="1" CreationDate="2016-03-25T21:01:13.253" Score="0" ViewCount="113" Body="&lt;p&gt;Most of my video editing programs simply take the stream (.MTS) files from my camera's AVCHD videos. I can confirm the imported video/audio are exactly the same if the program has access to the whole directory structure or simply the MTS file and nothing else. In fact, no program even touches the other files (my filesystem saves the time the file was last accessed).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But everywhere everyone says that all the other files are important, that by saving &lt;em&gt;only&lt;/em&gt; the MTS files i can lose information. &lt;strong&gt;What information am i losing?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And if there is any information to be had, is there any way to get rid of AVCHD so my other NLV editing programs do not have to care about it (since they obviously can't handle it anyway)? maybe MTS/AVCHD converted to audio + stills (PNG)? what should i use to do that conversion and not lose all that hidden information that is scattered around?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the specific AVCHD implementation matters, I'm using mostly panasonic cameras (GH2 to GH4).&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;tl;dr how do you import AVCHD footage into your workflow for maximum flexibility?&lt;/p&gt;&#xA;" OwnerUserId="14177" LastActivityDate="2016-03-25T22:02:05.003" Title="proper way to undo AVCHD mess?" Tags="|conversion|avchd|avconv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18004" PostTypeId="2" ParentId="18002" CreationDate="2016-03-25T22:02:05.003" Score="1" Body="&lt;p&gt;It's possible that with certain Panasonic or MTS-specific software, the associated files are useful. I've heard of situations where Premiere won't import the footage correctly without the full folder structure. I don't have any MTS folders here at the moment to verify for sure, but it's most likely just metadata that the camera recorded. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said, I've never had an issue importing an MTS file disassociated from its associated files (and I do this for a living). Fortunately, the associated files and folders are relatively small and don't take much space, so it's usually more trouble to weed them out than it is to remove them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm assuming you're editing in Final Cut, as the rest of the major NLE's can handle the AVCHD codec, and an MTS wrapper, natively. Final Cut's Log and Transfer does a fine job with the transcode and you won't lose anything significant.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're using another NLE, the best transcode codec you can use is ProRes, as it's fairly universal and a very high-quality codec. I've also seen guys use DNxHD for visually lossless transcodes, but it's a heavy codec and some machines may have trouble playing it at full speed. Unfortunately, on Windows you're out of luck with ProRes altogether as it's Mac-only. &lt;/p&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2016-03-25T22:02:05.003" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18005" PostTypeId="1" CreationDate="2016-03-26T07:10:53.420" Score="5" ViewCount="5707" Body="&lt;p&gt;I'm capturing uncompressed 4K video from my Sony A7R II via a video capture device, and am using ffmpeg to save the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is I don't know what codec to use. The two options I tried are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Uncompressed&lt;/strong&gt;: this takes up too much space, something like 1Gb every few seconds.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;h264&lt;/strong&gt;: this very quickly starts skipping frames. I've tried &lt;code&gt;libx264&lt;/code&gt;, &lt;code&gt;nvenc&lt;/code&gt; and &lt;code&gt;qvx&lt;/code&gt; and they all essentially fill up the buffer and then start skipping frames after less than a minute of shooting.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm doing all of this on a laptop, so I have little scope for adding hardware encoding, especially considering that Intel's and Nvidia's solutions - at least on my machine - are clearly insufficient for 4K.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My requirements are that the codec allows:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;About 4-5 hours of captured footage reliably fit on a 500Gb SSD&lt;/li&gt;&#xA;&lt;li&gt;Encoding can happen in realtime without frames being dropped&lt;/li&gt;&#xA;&lt;li&gt;The codec is postprocessing-friendly&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Just in case it's useful, my laptop has an i7-4710MQ and 32Gb RAM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: some clarification: I record at 30FPS, my capture device is INOGENI, sampling is 4:2:0. And no, I don't want to lose more quality than I have to. If I have to spend 100Gb/hour for recording, I'm OK with that.&lt;/p&gt;&#xA;" OwnerUserId="2811" LastEditorUserId="2811" LastEditDate="2016-03-26T09:40:00.613" LastActivityDate="2016-05-09T18:17:47.873" Title="How should I encode my 4K video stream?" Tags="|ffmpeg|encoding|video-recording|video-capture|4k|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="18006" PostTypeId="1" CreationDate="2016-03-26T10:25:14.337" Score="1" ViewCount="2635" Body="&lt;p&gt;I want to improve my video time lapse made by many pictures. How can add an effect like fade in/out on overlapped photos (1000+). I want nice changes of photos like in this video &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/8Yea7Oxw-h8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; so the video play smoothly. An example of a my time lapse is here &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/fFIufMUmPuY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="14178" LastActivityDate="2020-01-14T09:40:14.847" Title="How to smooth a time lapse video" Tags="|after-effects|time-lapse|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18008" PostTypeId="2" ParentId="18006" CreationDate="2016-03-26T16:02:09.203" Score="1" Body="&lt;p&gt;In order to get a smoother timelapse you should shoot at a higher frequency. If you want you can always blend between two images results in somewhat more smoothenes.&#xA;The first video however is made with a totally different technique, there we only have a few videos and use &lt;a href=&quot;https://en.wikipedia.org/wiki/Morphing&quot; rel=&quot;nofollow&quot;&gt;&lt;em&gt;morphing&lt;/em&gt;&lt;/a&gt; to get from one image to the next.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This technique interpolates the colours on one hand, but also the position of different points on the image on the other hand. This requires you to find some keypoints on both images in order to find a corresponding function. There are softwares that can do this for you, but I do not know any I could recommend.&lt;/p&gt;&#xA;" OwnerUserId="12178" LastActivityDate="2016-03-26T16:02:09.203" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18009" PostTypeId="2" ParentId="18006" CreationDate="2016-03-26T19:43:24.137" Score="0" Body="&lt;p&gt;In the DiCaprio video above, the main technique used is actually morphing.  You could use this to smooth out your time lapse videos, and I believe there is still cheap/ free morphing software available, but the process would be somewhat laborious for the video you posted above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A better solution would be to use the built-in motion stabilization tools of programs like adobe after effects or final cut pro x. Both of these programs are capable of optical flow analysis and can use it both to re-time motion (and create new in-between frames) and to stabilize footage.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2016-03-26T19:43:24.137" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18011" PostTypeId="1" CreationDate="2016-03-27T04:12:33.650" Score="0" ViewCount="66" Body="&lt;p&gt;For my school project I need footage of an 1800s dock with old-fashoined sailing ships at it. I've been searching for at least 2 hours already, but I found nothing useful. &lt;strong&gt;Does anybody know any good documentaries or movies that have footage of docks?&lt;/strong&gt; Thanks!&lt;/p&gt;&#xA;" OwnerUserId="14186" LastActivityDate="2016-03-27T17:37:45.370" Title="Does anybody know any movies or stock footage with 1800's docks?" Tags="|video|webvideos|footage|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18012" PostTypeId="1" AcceptedAnswerId="18013" CreationDate="2016-03-27T06:08:39.880" Score="0" ViewCount="48" Body="&lt;p&gt;I have seen many videos with nearly same size and same length, but the clarity of the video changes or differs. I wanted to know the reason or fact behind this.&lt;/p&gt;&#xA;" OwnerUserId="14187" LastEditorUserId="14187" LastEditDate="2016-03-27T06:43:21.347" LastActivityDate="2016-03-27T09:15:16.293" Title="Reason behind the clarity" Tags="|video-quality|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="18013" PostTypeId="2" ParentId="18012" CreationDate="2016-03-27T09:15:16.293" Score="0" Body="&lt;p&gt;There can be too many factors involved to properly answer your question. One is the image quality of the source footage, there are objective and subjective parameters influencing this. Examples:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;proper lighting&lt;/li&gt;&#xA;&lt;li&gt;set design&lt;/li&gt;&#xA;&lt;li&gt;image framing&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then there are technical parameters in the image aqcuisition involved:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;quality of the cameras sensor&lt;/li&gt;&#xA;&lt;li&gt;quality of the post production (grading etc)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Then there are parameters in the delivery:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;delivery Codec&lt;/li&gt;&#xA;&lt;li&gt;compressibility of the images&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;As for the &quot;subjective&quot; parameters, there are a lot of psychological things involved: a lot of people consider these things as &quot;better&quot; while really only being a matter of taste:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;sharpened image&lt;/li&gt;&#xA;&lt;li&gt;enhanced contrasts&lt;/li&gt;&#xA;&lt;li&gt;less grain&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So unless being more specific, your question IMHO cannot be answered. &lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-27T09:15:16.293" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18014" PostTypeId="1" CreationDate="2016-03-27T17:30:09.223" Score="2" ViewCount="122" Body="&lt;p&gt;My wife is currently very pregnant and I have taken a photo every week of her bump. I now want to make a gif or something similar showing the bump growing. I used the first free gif maker I found (gifmaker.me) and realised that I need to somehow make the bump the centre of the image for each frame of the gif for it to look really good. I figure I need to edit/crop the images somehow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas out there how best to do this? &lt;/p&gt;&#xA;" OwnerUserId="14191" LastEditorUserId="1871" LastEditDate="2016-03-28T11:31:32.523" LastActivityDate="2017-03-23T18:32:58.470" Title="Create time-lapse gif centering point of interest" Tags="|webvideos|time-lapse|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18015" PostTypeId="2" ParentId="18011" CreationDate="2016-03-27T17:37:45.370" Score="1" Body="&lt;p&gt;so I wasn't able to find any footage from the 1800s (probably because video was very new and not too common back then) but I have found some old footage of docks which I think might be of interest.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;London's Lost Docks DVD clip (1980s)&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/FNfqz0Y3q2w?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &#xA;This is about a minute of a Documentary about the London docks and may be of use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Britain's finest hours: The battle of Trafalgar &#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/muxsFSRQgbg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a recreation of a battle between the UK, Spain and France overseas in 1805.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another video on the battle of Trafalgar and is using a game to try and recreate the visuals: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/clS3Ekih7nE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly here is some footage from Liverpool docks in 1950&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/FJ-XiMRrPqs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this footage can help and if it doesn't I am sorry and I fully agree that finding the footage is hard XD&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have a nice day.&lt;/p&gt;&#xA;" OwnerUserId="14074" LastActivityDate="2016-03-27T17:37:45.370" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18016" PostTypeId="2" ParentId="16725" CreationDate="2016-03-28T05:03:23.440" Score="0" Body="&lt;p&gt;I don't know any &quot;render and replace&quot; function in premiere. If you are referring to &quot;replace clip&quot;, I dont see the point why that shouldn't work. As far as I know you can replace any clip already in the timelines with any other clip regardless of file extension or codec. Generally speaking I doubt that any editing software is happy about changing a framerate of the source clips though, so I would strongly avoid that. Also I don't see the point... Whatever you are doing in virtualdub, why can't you export it with the same fps?&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-03-28T05:52:22.447" LastActivityDate="2016-03-28T05:52:22.447" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18017" PostTypeId="1" AcceptedAnswerId="18018" CreationDate="2016-03-28T05:34:09.210" Score="0" ViewCount="140" Body="&lt;p&gt;How to edit/shoot a scene where the &lt;strong&gt;person(subject)&lt;/strong&gt; in center moves normally while the &lt;strong&gt;surroundings(background)&lt;/strong&gt; moves faster?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm walking in the street but the cars and other people that passes me are faster than me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;P.S.&lt;/strong&gt; I can't find it in youtube or other blogs because I don't know the term of this kind of technique yet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW, I am a newbie.&lt;/p&gt;&#xA;" OwnerUserId="14195" LastActivityDate="2016-03-28T05:56:11.653" Title="Surroundings moves faster than the subject?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18018" PostTypeId="2" ParentId="18017" CreationDate="2016-03-28T05:56:11.653" Score="1" Body="&lt;p&gt;If you are talking about I.e. the effect used in this video by orbital: https://youtu.be/ymu_ogcXigg...  this is done by letting run the camera in time lapse mode and moving very slowly, making the surrounding appear very fast.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-28T05:56:11.653" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18019" PostTypeId="1" CreationDate="2016-03-28T05:58:44.747" Score="1" ViewCount="1055" Body="&lt;p&gt;I was wondering is possible to from 1 video i copy 3 more, then rotate them all by 90 degrees, then move they center with ffmpeg commands? To be clearer what im saying here is picuture what i want to to do: &lt;a href=&quot;https://i.stack.imgur.com/XvPPp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XvPPp.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14196" LastActivityDate="2016-04-28T07:41:52.700" Title="Ffmpeg video rotation and center" Tags="|video|ffmpeg|video-editor|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18020" PostTypeId="2" ParentId="18014" CreationDate="2016-03-28T06:16:32.100" Score="2" Body="&lt;p&gt;You don't necessary need to make it the center of the image but always appear at the exact same point in the frame. The center is usually an easy referencing point for that purpose, so why not use that. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously the easiest would be to make the photographs in a way that they don't need postpcessing. If this chance has passed already, you can get a (free) image editing software like the &quot;gimp&quot; and move &amp;amp; scale alle pictures in a way that they have approx the same size and center.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW good luck with the baby, ours is almost 3 months already and it has been quite some experience so far.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-28T06:16:32.100" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18021" PostTypeId="2" ParentId="16725" CreationDate="2016-03-28T13:04:49.550" Score="0" Body="&lt;p&gt;There's really no good way to do this in Premiere. I've looked into this before. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without knowing the particulars of what you have on the timeline, I'd suggest that Mulvya's proposal is the best. After Effects has the ability to &lt;a href=&quot;http://aescripts.com/rd-render-layers/&quot; rel=&quot;nofollow noreferrer&quot;&gt;export each track to its own file&lt;/a&gt; (via plugin RenderLayers), and lets you do so through Media Encoder (so uncompressed AVI is a possibility). Unfortunately, non-footage assets don't make the trip easily, so text objects, solids, etc won't translate in either direction. However, if (as I'm guessing) all of your clips are actual footage or stills, it should work fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously if you're using video effects within Premiere this isn't ideal, but if you do this early in the workflow, you could do your final edit within Premiere. Both applications support the basic effects - crop/position/opacity/etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you're exporting to VB anyway (and likely losing your original audio sync), this roundtrip most likely doesn't hurt you. Of course, you could do the whole edit in AE, with audio (done that); not quite as friendly but certainly doable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BAN56.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BAN56.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/g38zF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/g38zF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2016-03-28T13:04:49.550" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18022" PostTypeId="1" CreationDate="2016-03-28T14:52:40.063" Score="0" ViewCount="193" Body="&lt;p&gt;I'm not very well experienced in the animations area,but I would like to be more and more experienced in the stop motion tecnique. I would like to know if someone uses pre built (or easy to build) little robots with the stop motion tecnique. I want to move their arms,the head,the legs with a remote control from my pc and then I will make a full video instead of capture single frames by moving their body parts with my hands. I hope that in this way the creation process will be faster. I don't know how could be the result,since I have no experience in the stop motion area,neither. But I wanna try. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="14198" LastActivityDate="2016-05-05T07:32:05.573" Title="Using little robots to speed up the stop motion animation process" Tags="|animation|automation|stop-motion|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18023" PostTypeId="1" CreationDate="2016-03-28T16:28:40.393" Score="1" ViewCount="114" Body="&lt;p&gt;I have been watching a variety of videos on YouTube, the majority of which are being made with YouTube Capture (at least I'm pretty sure that's the case). I have played around with the app on a iPhone 5S and I cannot figure out how to add title (bumper) screens to the beginning of the videos. Some of the videos I've been watching have an intro picture, with music, and then have text overlayed on the picture. Is this not a feature related to Capture? Or are they doing this in a different way? I've been watching content from 4 different creators and they all have the same font/color etc so I know it has to be a standardized tool they are using. Is this not possible with Capture? &lt;/p&gt;&#xA;" OwnerUserId="14201" LastEditorUserId="14201" LastEditDate="2016-03-28T22:26:10.170" LastActivityDate="2016-06-25T17:16:40.960" Title="Add an intro screen with YouTube Capture?" Tags="|youtube|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18024" PostTypeId="1" CreationDate="2016-03-28T21:46:50.227" Score="0" ViewCount="86" Body="&lt;p&gt;I'm not sure where else to go. I'm completely clueless about technology and video editing, so bear with me. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been making videos of games I play using avi clips recorded by Fraps. I was using WMM, exporting to HD 1440x1080. Quality obviously wasn't great, it sapped the color and sharpness.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I got a trial version of Premiere Pro to make actual HD videos. The online tutorials were a bit complicated so I followed instructions from someone who makes HD videos using Fraps avi clips from the same game with no quality loss. Despite this, my exported videos ended up the same quality I got from WMM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm clearly doing something wrong but I have no idea what it is. The person I spoke to wasn't adept at video editing either but they got it to work in a few steps. I let the program pick the best sequence for the file and tried multiple settings when exporting based off tutorials. The best quality I got came from exporting it as an MP4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a comparison of the original AVI file to exported MP4. You can see the exported one is flatter and duller:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EGSGc.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EGSGc.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14208" LastEditorUserId="14208" LastEditDate="2016-03-28T22:02:07.850" LastActivityDate="2016-03-29T11:04:47.607" Title="Unable to make HD videos in Premiere Pro" Tags="|premiere|video-editor|video-quality|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18025" PostTypeId="1" AcceptedAnswerId="18026" CreationDate="2016-03-29T02:24:21.557" Score="2" ViewCount="193" Body="&lt;p&gt;I've taken a fairly tilted video and want to rotate it to be level, how can I do this? I'm open to any third-party apps but purely apple solutions are better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for you help!&lt;/p&gt;&#xA;" OwnerUserId="14210" LastActivityDate="2017-08-30T19:16:31.523" Title="How can I rotate a video by a few degrees?" Tags="|video|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18026" PostTypeId="2" ParentId="18025" CreationDate="2016-03-29T02:37:27.240" Score="4" Body="&lt;p&gt;Using FCPX, a &lt;a href=&quot;https://support.apple.com/kb/PH12604?locale=en_US&quot; rel=&quot;nofollow&quot;&gt;Transform effect&lt;/a&gt; will do the trick.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using FCP 7, you can access rotation along with scale and position in the &lt;a href=&quot;https://documentation.apple.com/en/finalcutpro/usermanual/index.html#chapter=66%26section=2%26tasks=true&quot; rel=&quot;nofollow&quot;&gt;Motion tab&lt;/a&gt; of the Viewer.&lt;/p&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2016-03-29T02:37:27.240" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18027" PostTypeId="2" ParentId="18024" CreationDate="2016-03-29T02:53:43.990" Score="2" Body="&lt;p&gt;A few things to check - &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is your export file set to Maximum Render Quality (enable before you export)? This may help if the MP4 compression is to blame for reducing the contrast of your video. Are you recording uncompressed AVI with fraps?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WCjIi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WCjIi.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you export, do you have any Effects turned on in the export settings - particularly the Limiter? This should be off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/s9LAH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s9LAH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, your installation of Premiere should include the GoPro Cineform codecs. These are as close to visually lossless as you will get with a compressive codec, and while they are &lt;em&gt;NOT&lt;/em&gt; the best route for an eventual YouTube upload (and YouTube will remind you of that if you try it), it would be a good baseline to determine what the issue actually is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ovV09.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ovV09.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2016-03-29T02:53:43.990" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18028" PostTypeId="2" ParentId="18019" CreationDate="2016-03-29T07:33:26.963" Score="2" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 \&#xA;       -filter_complex &quot;[0:v]split=4[a][b][c][d]; \&#xA;                        [a]pad=iw+2*ih:iw+2*ih:ih:0:white[base]; \&#xA;                        [b]transpose=cclock[br]; \&#xA;                        [c]transpose=clock[cr]; \&#xA;                        [base][br]overlay=0:w[two]; \&#xA;                        [two][cr]overlay=W-w:w[three]; \&#xA;                        [three][d]overlay=h:H-h[v]&quot; \&#xA;-map &quot;[v]&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As per your confirmation, I haven't rotated the video at the bottom. In case it had to be rotated 180, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 \&#xA;       -filter_complex &quot;[0:v]split=4[a][b][c][d]; \&#xA;                        [a]pad=iw+2*ih:iw+2*ih:ih:0:white[base]; \&#xA;                        [b]transpose=cclock[br]; \&#xA;                        [c]transpose=clock[cr]; \&#xA;                        [d]hflip,vflip[dr]; \ &#xA;                        [base][br]overlay=0:w[two]; \&#xA;                        [two][cr]overlay=W-w:w[three]; \&#xA;                        [three][dr]overlay=h:H-h[v]&quot; \&#xA;-map &quot;[v]&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There will be no audio exported with these commands. To preserve audio, insert &lt;code&gt;-map 0:a -c:a copy&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-03-29T07:33:26.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18029" PostTypeId="2" ParentId="18024" CreationDate="2016-03-29T11:04:47.607" Score="1" Body="&lt;p&gt;To expand on the answer given by @mike.thorn above, Adobe Premiere supports (and by supporting, I mean &quot;allows anybody to become confused by&quot;) both full swing and studio swing levels.  Wolfcrow.com has a three-part series explaining this terminology, but &lt;a href=&quot;http://wolfcrow.com/blog/what-is-full-swing-studio-swing-and-how-to-work-with-video-levels-in-adobe-premiere-pro-part-three/&quot; rel=&quot;nofollow&quot;&gt;Part Three&lt;/a&gt; likely gets to the heart of your question.  If your clip starts life with video levels 0-255 and then gets compressed to 16-235, and then you play it as if it's still 0-255, that would explain the loss of contrast you see.  The Maximum Bit Depth setting tells Adobe to not compress full swing to studio swing.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-03-29T11:04:47.607" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18030" PostTypeId="1" AcceptedAnswerId="18034" CreationDate="2016-03-29T11:15:37.247" Score="4" ViewCount="7603" Body="&lt;p&gt;I have downloaded &lt;strong&gt;green screen&lt;/strong&gt; footage that has tracker points with it. I have easily remove the green screen but I am unable to remove tracker points from it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have google it, but unable to find any way to remove tracker points from video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using &lt;em&gt;Adobe After effects CC&lt;/em&gt;. Kindly guide me or refer me some good tutorial on how to remove tracker points from a video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eMLtD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eMLtD.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6477" LastEditorUserId="6685" LastEditDate="2016-03-29T17:57:26.113" LastActivityDate="2016-03-29T19:52:32.823" Title="How to remove Tracker points from green screen footage" Tags="|video|after-effects|greenscreen|visual-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18031" PostTypeId="1" CreationDate="2016-03-29T14:11:54.310" Score="1" ViewCount="885" Body="&lt;p&gt;I'm interested in creating lightsaber effects with a Macintosh on home videos with my children.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best low cost software for recreating this effect today? I don't have Adobe CC, and have no desire to subscribe to it, nor do I have Final Cut Pro X.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does iMovie support this effect? Are there any good free or cheap rotoscoping or canned effect programs to accomplish this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edited to add: &quot;Would the free (non-commercial) edition of Nuke for Macintosh&quot; be a good solution? (I discovered it after asking.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="14213" LastEditorUserId="14213" LastEditDate="2016-03-29T18:46:42.363" LastActivityDate="2016-10-27T14:14:45.147" Title="Best low cost software for lightsaber effect on a macintosh?" Tags="|effects|mac|special-effects|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18032" PostTypeId="1" CreationDate="2016-03-29T14:32:15.380" Score="4" ViewCount="8490" Body="&lt;p&gt;after a lot of googling and after I've read tons of forums, I'm still not able to do a live stream using my cam to another device.&#xA;My system is made up by a server ( a windows laptop ), that capture the scene and stream the acquired video, untill now I tried to use ffmpeg, MP4Box and DashCast obviously without results, and by a client ( some device ) that should be able to read the video flow by using a simple html5 page equipped with dash.js.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the very beginning, in order to understand how dash works, I tried to stream some &quot;static&quot; video and all work perfectly thanks to &lt;a href=&quot;http://wiki.webmproject.org/adaptive-streaming/instructions-to-playback-adaptive-webm-using-dash&quot; rel=&quot;nofollow&quot;&gt;this tutorial&lt;/a&gt;. The issues arise when I tried to stream live video and I followed &lt;a href=&quot;http://wiki.webmproject.org/adaptive-streaming/instructions-to-do-webm-live-streaming-via-dash&quot; rel=&quot;nofollow&quot;&gt;this tutorial&lt;/a&gt;, because ffmpeg failed when it was trying to create .mpd file, but it can be divide in two sub-problem:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;When I try to handle audio and video together the system say that audio channel doesn't contain any stream. Following I list the inserted command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -i video=&quot;USB2.0 VGA UVC WebCam&quot;:audio=&quot;Microfono /&#xA;(Realtek   High Definition Audio)&quot; -map 0:0 -pix_fmt yuv420p /&#xA;-c:v libvpx -b:v 3000k -keyint_min 30 -g 30 -speed 6 /&#xA;-tile-columns 4 -frame-parallel 1 -threads 8 -static-thresh 0 /&#xA;-max-intra-rate 300 -deadline realtime -lag-in-frames 0 /&#xA;-error-resilient 1 -f webm_chunk -header live.hdr /&#xA;-chunk_start_index 1 live_%d.chk -map 0:1 -c:a libvorbis -b:a 128k /&#xA;-ar 44100 -f webm_chunk -audio_chunk_duration 2000 -header /&#xA;live_audio.hdr -chunk_start_index 1 live_audio_%d.chk&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The above rows call audio and video hardware and save the multimedia streams &#xA;in chunks.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f webm_dash_manifest -live 1 -i live.hdr -f webm_dash_manifest /&#xA;-live 1 live_audio.hdr -c copy -map 0 -map 1 -f webm_dash_manifest /&#xA;-live 1 -adaptation_sets &quot;id=0,streams=0 id=1,streams=1&quot; /&#xA;-chunk_start_index 1 -chunk_duration_ms 2000 /&#xA;-time_shift_buffer_depth 7200 -minimum_update_period 7200 manifest.mpd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This last command failed to attach audio stream in the .mpd file and in console appeared &quot;Output file #0 does not contain any stream&quot; as error. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;So I try only with video using essentially the same options, but when I tried to create the manifest an error of this type &quot;Could not write header for output file #0 (incorrect codec parameters ?): Invalid data found when processing input&quot; arise, so I'm curious to know what kind of parameters are wrong.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;At this point I change completely my strategy, so I create a fragmeted version of the live stream and I tried to use MP4Box to create .mpd file, but seem that MP4Box works only with finite time video, or at least I can't to use it in live.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And finally I used Dashcast and I able to see some frame from my client page, but simply it doesn't work. The last command I inserted is the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;DashCast -vf dshow -vfr 15 -v video=&quot;USB2.0 VGA UVC WebCam&quot; /&#xA;-live -seg-dur 500 -frag-dur 100 -time-shift 10&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Actually I played a little with the parameters etc... but the result is still the same, simply I not able to see my face in the browser. In this case the error is &quot;real-time buffer 101% full! frame dropped!&quot; or &quot;real-time buffer 80% full! frame dropped!&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is what's wrong with my FFmpeg commands? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How I can use MP4Box for live purpose( with examples because I don't find a sigle example in the whole net)? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And finally, why DashCast is so slow?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously every suggestions about alternative methods to perform a live stream with some other tool are accepted.&lt;/p&gt;&#xA;" OwnerUserId="14212" LastActivityDate="2016-11-12T16:17:23.950" Title="Dash live streaming" Tags="|ffmpeg|streaming|live|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18034" PostTypeId="2" ParentId="18030" CreationDate="2016-03-29T19:52:32.823" Score="5" Body="&lt;p&gt;You don't need to use greenscreen. You need to track markers, and put your footage above the markers and greenscren. Just lock position on markers points.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/4GW5QurwR7g?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Like in this video, but track not corners, but markers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you can add some effects for footage, to look more immersive. &lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-03-29T19:52:32.823" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18036" PostTypeId="2" ParentId="18031" CreationDate="2016-03-30T03:27:38.457" Score="0" Body="&lt;p&gt;You could use Nuke. It's certainly capable of the effect you want. However, it may be very difficult to use as it's a fairly complex program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It may be easier to use something like &lt;a href=&quot;http://www.apple.com/final-cut-pro/motion/&quot; rel=&quot;nofollow&quot;&gt;Apple's Motion&lt;/a&gt;. (It's relatively cheap at $49.) A quick way to get the effect would be to draw a line where you want the light saber to be using the line tool, then add a Bloom or Glow filter over it. You should be able to track the ends of your stand-in saber (if you have one), and pin the ends of the line to those points. (Or, for another $20, you could download the &lt;a href=&quot;https://fxfactory.com/info/index.php?product=saberblade&quot; rel=&quot;nofollow&quot;&gt;Sabre Blade&lt;/a&gt; plug-in from FxFactory.)&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-03-30T03:27:38.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18038" PostTypeId="1" CreationDate="2016-03-30T05:05:10.747" Score="1" ViewCount="594" Body="&lt;p&gt;I have a quicktime video recorded on a Atoms Shogun.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I tried to play the file it is only playing the audio and no video is coming up at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Delving deeper, I found out that no codec for the video was embedded in the file, only audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to add the file codec to it?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                    : L:\9e550a82-d3ed-460f-a10d-f25be5c87a03.mov&#xA;Format                           : MPEG-4&#xA;Format profile                   : QuickTime&#xA;Codec ID                         : qt  &#xA;File size                        : 33.3 GiB&#xA;Duration                         : 1h 52mn&#xA;Overall bit rate                 : 42.3 Mbps&#xA;Encoded date                     : UTC 2024-12-01 19:09:30&#xA;Tagged date                      : UTC 2024-12-01 19:09:30&#xA;Writing library                  : Apple QuickTime&#xA;&#xA;Video&#xA;ID                               : 2&#xA;Duration                         : 1h 52mn&#xA;Bit rate mode                    : Constant&#xA;Bit rate                         : 36.0 Mbps&#xA;Width                            : 1 920 pixels&#xA;Height                           : 1 080 pixels&#xA;Display aspect ratio             : 16:9&#xA;Frame rate mode                  : Constant&#xA;Frame rate                       : 25.000 fps&#xA;Bits/(Pixel*Frame)               : 0.694&#xA;Stream size                      : 28.4 GiB (85%)&#xA;Language                         : English&#xA;Encoded date                     : UTC 2024-12-01 19:09:30&#xA;Tagged date                      : UTC 2024-12-01 19:09:30&#xA;&#xA;Audio&#xA;ID                               : 1&#xA;Format                           : PCM&#xA;Format settings, Endianness      : Big&#xA;Format settings, Sign            : Unsigned&#xA;Codec ID                         : in24&#xA;Duration                         : 1h 52mn&#xA;Bit rate mode                    : Constant&#xA;Bit rate                         : 4 608 Kbps&#xA;Channel(s)                       : 4 channels&#xA;Sampling rate                    : 48.0 KHz&#xA;Bit depth                        : 24 bits&#xA;Stream size                      : 3.63 GiB (11%)&#xA;Language                         : English&#xA;Encoded date                     : UTC 2024-12-01 19:09:30&#xA;Tagged date                      : UTC 2024-12-01 19:09:30&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14221" LastEditorUserId="14221" LastEditDate="2016-03-30T07:51:58.273" LastActivityDate="2016-04-30T06:10:28.330" Title="Missing video codec in Quicktime" Tags="|video|codec|quicktime|" AnswerCount="3" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="18039" PostTypeId="2" ParentId="18038" CreationDate="2016-03-30T08:06:44.670" Score="1" Body="&lt;p&gt;You can try to repair the file with &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool, like so&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -analyzeduration 1G -i input.mov -c copy -map 0 out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-03-30T08:06:44.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18040" PostTypeId="2" ParentId="18038" CreationDate="2016-03-30T08:18:27.683" Score="0" Body="&lt;p&gt;If you need the Avid DNxHD codec, Avid offer it for free, for Quicktime (Mac and Windows):&#xA;&lt;a href=&quot;http://avid.force.com/pkb/articles/en_US/download/en423319&quot; rel=&quot;nofollow&quot;&gt;http://avid.force.com/pkb/articles/en_US/download/en423319&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-03-30T08:18:27.683" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18041" PostTypeId="2" ParentId="16927" CreationDate="2016-03-30T11:32:20.863" Score="0" Body="&lt;p&gt;MP4 file format is based on QuickTime file format. Usually, renaming the file suffix to &lt;code&gt;.mp4&lt;/code&gt; just works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The spec are here&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://standards.iso.org/ittf/PubliclyAvailableStandards/index.html&quot; rel=&quot;nofollow&quot;&gt;ISO/IEC 14496-12:2015&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://developer.apple.com/library/mac/documentation/QuickTime/QTFF/QTFFPreface/qtffPreface.html&quot; rel=&quot;nofollow&quot;&gt;QuickTime File Format(QTFF)&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="14225" LastActivityDate="2016-03-30T11:32:20.863" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18043" PostTypeId="2" ParentId="18031" CreationDate="2016-03-30T14:26:09.187" Score="0" Body="&lt;p&gt;MotionVFX makes an &lt;a href=&quot;https://www.motionvfx.com/mplugs-83.html&quot; rel=&quot;nofollow&quot;&gt;excellent saber plugin&lt;/a&gt; for Motion. Not as wallet-friendly as the FxFactory version, but probably somewhat more versatile.&lt;/p&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2016-03-30T14:26:09.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18045" PostTypeId="1" CreationDate="2016-03-30T19:31:44.823" Score="1" ViewCount="812" Body="&lt;p&gt;I was wondering if anyone can help me? Whenever I uploaded a video to Youtube. I always get this message…(videos would upload faster if you have the right settings for your video). I think I doing the right rendering settings for my video in Wondershare Filmora. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Here are my render settings:&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Encoder: Mpeg4 or H264(HD Optimized)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Resolution: 1920 x 1080 pixels&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frame Rate: 29.97&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bit Rate: 8000 or 10000 (My video bit rate usually says 32189)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio Bit Rate: 128kbps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Channel: 2 Stereo&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio sample rate: 48khz&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;One of my videos information:&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;MP4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Resolution: 1920 x 1080 pixels&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frame Rate: 29&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bit Rate: 32189&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Channels: 2 Stereo&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio Bit Rate: 134kbps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio sample rate: 48khz&lt;/p&gt;&#xA;" OwnerUserId="14229" LastEditorUserId="13978" LastEditDate="2016-03-31T03:56:53.357" LastActivityDate="2017-03-01T17:21:51.700" Title="YouTube message suggesting wrong compression settings (Wondershare Filmora)" Tags="|video|editing|software|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18046" PostTypeId="1" CreationDate="2016-03-30T19:56:13.537" Score="1" ViewCount="225" Body="&lt;p&gt;I am just preparing for a new project where I am going to need a lot of cylinder-shapish layers reacting to my 3d moving camera. In order to have eveerything organised I am using precomps to nest seperate elements.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Usually by activating &quot;collapsing transforms&quot; (further explained here: &lt;a href=&quot;http://www.digitalsandwich.net/portfolio/ae-quicktip-collapse-transformations/&quot; rel=&quot;nofollow&quot;&gt;http://www.digitalsandwich.net/portfolio/ae-quicktip-collapse-transformations/&lt;/a&gt;) I can have one master Camera in my outer composition and have all elements reacting to it accordingly. But somehow, using the cc cylinder effect in precomps, it messes up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know why? Or have a workarround?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in Advance&#xA;Marten&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2017-11-21T20:15:56.390" Title="After Effects: How do I achieve collapsing transform using nested CC Cylinder Effect?" Tags="|after-effects|cc|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18047" PostTypeId="2" ParentId="18045" CreationDate="2016-03-30T21:35:51.607" Score="0" Body="&lt;p&gt;I am not entirely sure how YouTube determines you are using &quot;wrong&quot; settings but as long as your video doesn't take a horrendous amount of time to upload and it appears to be fine on YouTube, I wouldnt worry about that message. Your settings look ok to my eye. The only thing that is off, is that this wondershare software seems to ignore your bitrate setting since the actual bitrate of the output file is much higher than what you apparently set as a target bitrate. This is no problem though since YouTube always recompresses uploaded files.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-03-30T22:00:08.977" LastActivityDate="2016-03-30T22:00:08.977" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18048" PostTypeId="2" ParentId="18038" CreationDate="2016-03-31T05:40:44.613" Score="1" Body="&lt;p&gt;I would try two solutions, obviously on backups of the files, not the originals. First there is the 'untrunc' tool which tries to copy over additional information from a working file into a broken file: &lt;a href=&quot;https://github.com/ponchio/untrunc&quot; rel=&quot;nofollow&quot;&gt;https://github.com/ponchio/untrunc&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then there is AtomicParsley which allows you to view file information on Mov / mp4 files on a very detailed level. Probably you can compare a working and a broken file and try to manually add the codec information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://atomicparsley.sourceforge.net&quot; rel=&quot;nofollow&quot;&gt;http://atomicparsley.sourceforge.net&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-31T05:40:44.613" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18049" PostTypeId="2" ParentId="18045" CreationDate="2016-03-31T06:25:53.073" Score="2" Body="&lt;p&gt;What that message likely indicates is that the MP4 produced by Filmora does not have its MOOV box at the beginning of the file. The MOOV box has metadata about the audio and video streams contained in the MP4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why this matters is that Youtube speeds up processing by breaking the uploaded video into segments, processing those segments in parallel, and then joining the processed parts into a whole video again. If the MOOV box is at the front of the file, Youtube is able to start creating the segments and dispatch them for encoding &lt;em&gt;as the file is being uploaded&lt;/em&gt;. If the MOOV box is at the end of the file, it has to wait for the whole file to be uploaded before it can start processing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A cursory search did not reveal how to get Filmora to place the MOOV at the beginning of the MP4.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-03-31T06:25:53.073" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18050" PostTypeId="2" ParentId="18046" CreationDate="2016-03-31T08:31:57.500" Score="1" Body="&lt;p&gt;I don't think CC cylinder create true 3D objects, they are really just flat 2D planes with 3D shaded shapes on them.  I think Hans' suggestion of creating 3D shapes in Cinema4D (a basic version ships with AE CC 2015) is probably the way to go.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-03-31T08:31:57.500" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18051" PostTypeId="1" AcceptedAnswerId="18055" CreationDate="2016-03-31T08:47:08.790" Score="1" ViewCount="88" Body="&lt;p&gt;I'm a YouTuber and I spend quite a lot of time solely to render my video (editing is sparse, mainly cutting boring scenes to keep the highlights of the episode) that I believe could be accelerated using GPU to render.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen that most softwares use CPU to encode the video, however I was wondering if some of these softwares (such as Premiere which I haven't used yet) could accelerate the render process using both CPU and GPU.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am currently using Sony Vegas, and during render while using CUDA, GPU load is around 20% which is a pitty I believe.&lt;/p&gt;&#xA;" OwnerUserId="14231" LastActivityDate="2016-03-31T16:11:27.523" Title="Softwares for GPU accelerated rendering" Tags="|software-recommendation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18052" PostTypeId="1" AcceptedAnswerId="18053" CreationDate="2016-03-31T09:40:45.990" Score="3" ViewCount="15010" Body="&lt;p&gt;I am currently using an FFMPEG command like:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i input.mov -vf scale=1920:1080 output.mp4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;to convert varying input format file to a fixed resolution MP4 output file.  One final step I need is to make the output Black and White (the input files will be full color).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried both &#xA;    -pix_fmt gray &#xA;and&#xA;    -vf format=gray,format=yuv422p&lt;/p&gt;&#xA;&#xA;&lt;p&gt;but both just result in a black output video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After much trawling of google, it looks like the FFMPEG exe I downloaded (for windows) wasn't compiled with the &quot;-enable-gray&quot; option, but I don't know if this makes any difference and don't know how to obtain a windows FFMPEG with this option enabled (building FFMPEG myself looks like a lot of hard work).&#xA;Any advice welcome!  Thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS I should add that the conversion I'm currently doing and any grayscale conversion could be separate steps if required.&lt;/p&gt;&#xA;" OwnerUserId="12777" LastActivityDate="2019-01-15T10:24:35.947" Title="Convert variable input formats to black and white MP4" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18053" PostTypeId="2" ParentId="18052" CreationDate="2016-03-31T09:55:20.923" Score="4" Body="&lt;p&gt;Yes, you do need a ffmpeg build with gray pixel format enabled. You should get your binary from the Windows link at &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;. Download the latest 32-bit static build.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can check if your build has gray enabled by running &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -pix_fmts | findstr /r gray&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It should list an entry for gray. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And use &lt;code&gt;format=gray&lt;/code&gt; in your &lt;code&gt;vf&lt;/code&gt; chain and &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt; together for broad compatibility.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The command below is for linux. &lt;a href=&quot;https://docs.microsoft.com/en-us/windows-server/administration/windows-commands/findstr&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;grep&lt;/code&gt;&lt;/a&gt; will work as &lt;a href=&quot;http://man7.org/linux/man-pages/man1/grep.1.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;findstr&lt;/code&gt;&lt;/a&gt;!&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -pix_fmts | grep -i gray&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="24170" LastEditDate="2019-01-15T10:24:35.947" LastActivityDate="2019-01-15T10:24:35.947" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="18054" PostTypeId="2" ParentId="17797" CreationDate="2016-03-31T12:47:39.350" Score="1" Body="&lt;p&gt;You can do this upon export from Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Load up your clip, export timeline (use Cineform or Prores for lossless if you'll be re-inserting into another project), and click the &quot;Set Start Timecode&quot; checkbox.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8m7Wt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8m7Wt.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2016-03-31T12:47:39.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18055" PostTypeId="2" ParentId="18051" CreationDate="2016-03-31T12:53:01.330" Score="2" Body="&lt;p&gt;Adobe's CC suite &lt;em&gt;will&lt;/em&gt; use the GPU, but the benefit you see from it depends on the power of your GPU compared to your CPU. This feature set is called the &quot;Mercury Playback Engine&quot; and contains, among other optimizations, CUDA support for certain realtime effects (scaling, crop, etc) as well as encoding/decoding. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, most integrated or mobile GPU's aren't powerful enough to make it worth using CUDA acceleration. Fortunately Adobe is smart enough to transition back to CPU rendering when it detects wimpiness in the GPU department.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With a dedicated graphics card like a GTX970 you'll see a significant decrease in render time - perhaps as much as 50% (so I've heard, anecdotally, from other youtubers like yourself).&lt;/p&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2016-03-31T12:53:01.330" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18056" PostTypeId="2" ParentId="18051" CreationDate="2016-03-31T16:11:27.523" Score="0" Body="&lt;p&gt;You can get Cuda and OpenCL acceleration for FFMPeg nowadays:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://developer.nvidia.com/ffmpeg&quot; rel=&quot;nofollow&quot;&gt;https://developer.nvidia.com/ffmpeg&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/HWAccelIntro&quot; rel=&quot;nofollow&quot;&gt;https://trac.ffmpeg.org/wiki/HWAccelIntro&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-03-31T16:11:27.523" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18057" PostTypeId="2" ParentId="4231" CreationDate="2016-03-31T16:22:44.647" Score="0" Body="&lt;p&gt;I've had great results in the past using &lt;a href=&quot;http://www.clonedvd.net/&quot; rel=&quot;nofollow&quot;&gt;CloneDVD&lt;/a&gt; (currently $70) to rip DVD's to MP4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a professional editor, the thought of ripping a highly compressed DVD to another lossy format like MP4 gives me the willies; however, as WMV and SWF compressions will ultimately be further quite lossy, you probably won't lose enough quality to be significantly detrimental.&lt;/p&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2016-03-31T16:22:44.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18058" PostTypeId="2" ParentId="17620" CreationDate="2016-03-31T23:13:13.380" Score="1" Body="&lt;p&gt;I ended up using Trello.  It was nice in that I can lay out shots scene by scene, with each scene as a list.  Dragging and dropping individual frames (as png's or jpegs) for card cover images was super handy, as was being able to move around and organize the cards later on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Being able to write longer descriptions and comment on each card allowed me to document why I wanted to use a shot, or decided against it.&lt;/p&gt;&#xA;" OwnerUserId="11690" LastActivityDate="2016-03-31T23:13:13.380" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18059" PostTypeId="1" AcceptedAnswerId="18061" CreationDate="2016-03-31T23:20:56.727" Score="1" ViewCount="5265" Body="&lt;p&gt;Facts as I observe them:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I can use a mini-HDMI to HDMI cord to mirror my Canon 5D Mark III on my consumer Samsung television&lt;/li&gt;&#xA;&lt;li&gt;I can use a consumer HDMI device such as an Apple TV to power my Lilliput monitor and capture over my BlackMagic Design Shuttle 2 -&gt; UltraStudio Mini Recorder setup&lt;/li&gt;&#xA;&lt;li&gt;I cannot use my Canon 5D Mark III to run HDMI over the  Shuttle 2 -&gt; Mini Recorder&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The video is set to 1920x1080 with 30fps. I know the BlackMagic devices like &lt;code&gt;720p59.94&lt;/code&gt; and  and &lt;code&gt;1080p59.94&lt;/code&gt;.  I have up-to-date &lt;code&gt;1.3.3&lt;/code&gt; Canon firmware and have default settings except for &lt;code&gt;HDMI output + LCD&lt;/code&gt; setting which is set to &lt;code&gt;Mirroring&lt;/code&gt;. I am set to &lt;code&gt;P&lt;/code&gt; mode. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've established a Computer&amp;lt;-&gt;Mini Recorder setup in multiple applications using the working input so I believe the issue to be between the camera and the devices receiving its HDMI out. The behavior of the camera seems to change when I plug its output into one of the non-working sources, apparently leaving movie mode. When connected to the monitor and I turn it off, the display returns from black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My guess here is that the TV is capable of some wildly varying HDMI standards while my camera and/or BlackMagic gear is not. It may not be capable of handling whatever &lt;code&gt;1920x1080 30fps IPB&lt;/code&gt; output ends up being.  &lt;a href=&quot;https://forums.creativecow.net/thread/280/376&quot; rel=&quot;nofollow&quot;&gt;This seems relevant&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;-Has nothing to do with HDCP compliance, not required, so that is good.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;-If you have a display that does not work at 1080 in the live view mode with the Canon 5D Mark II it is probably attributable to one of&#xA;  two things: Native preferred timing not set to 1920x1080i in monitor's&#xA;  EDID or that the display type is listed as RGB color and default color&#xA;  space is listed as sRGB in the monitor's EDID.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Can anyone tell me what may be causing this apparently flippant behavior and for bonus karma suggest a workaround? &lt;/p&gt;&#xA;" OwnerUserId="14235" LastActivityDate="2016-04-03T04:43:41.900" Title="Why does HDMI out on my Canon 5D Mark III work with my TV but not my Lilliput monitor or BlackMagic Design Shuttle 2?" Tags="|canon|hdmi|blackmagic|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18060" PostTypeId="2" ParentId="16896" CreationDate="2016-04-01T04:10:00.110" Score="1" Body="&lt;p&gt;I could imagine that they also use hardware supported transcoding. A company like Google certainly has the resources to make custom FPGA transcoders and then transcoding speed gets blazing.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-04-01T04:10:00.110" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18061" PostTypeId="2" ParentId="18059" CreationDate="2016-04-01T04:18:00.867" Score="1" Body="&lt;p&gt;Which Lilliput monitor do you have and what exactly is the output format of the 5d Mkiii? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not all Lilliput screens can display progressive resolutions. Sometimes cameras provide &quot;fake&quot; interlaced on the monitor out (PsF) even if recording progressive to avoid that problem. It is a common problem with the BM Pocket Cinema Camera and (some) Lilliput screens since the BMPCC only outputs 24p/25p/30p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a list of hdmi modes the different Lilliput models support: &lt;a href=&quot;http://lilliputdirect.com/index.php?_route_=supported-hdmi-modes&quot; rel=&quot;nofollow&quot;&gt;http://lilliputdirect.com/index.php?&lt;em&gt;route&lt;/em&gt;=supported-hdmi-modes&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no quick workaround to that problem since the hyperdeck shuttle does simple hdmi pass-through and no image conversion. &lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-04-01T04:26:42.697" LastActivityDate="2016-04-01T04:26:42.697" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18062" PostTypeId="2" ParentId="17620" CreationDate="2016-04-01T04:37:17.077" Score="1" Body="&lt;p&gt;I know some editors that do this process in an analogue fashion and print out representative frames from the clips and put them on a magnetic board to be able to move them around. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no real way to automate the process of picture grabbing since you need a very specific frame which makes you remember immediately which clip it represents and that can only be chosen manually.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-04-01T04:37:17.077" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18063" PostTypeId="2" ParentId="16692" CreationDate="2016-04-01T04:45:08.393" Score="0" Body="&lt;p&gt;If you are talking about a physical stopwatch I would doubt your ability to make timings in the milliseconds domain with it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Usually the best way to avoid audio drift when using consumer equipment is to record audio and video together, so a simple solution might be to just feed the audio to your camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem.with audio drift is sometimes complex, if it is constant, it is easy to fix since you can do a slate at the beginning and end and modify the audio clip to fit the videos length using something like audacity.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-04-01T04:45:08.393" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18064" PostTypeId="1" AcceptedAnswerId="18065" CreationDate="2016-04-01T10:33:43.523" Score="1" ViewCount="1755" Body="&lt;p&gt;I am pondering about getting a (new) notebook at some point. Apparently TB3 (officially) supports external GPU's now. The problem is that the speed of TB3 is still much lower than Pci-x... So I was wondering - and maybe someone knowledgeable can give some insight - if a notebook with TB3 and an eGPU will be a viable solution for video processing with davinci resolve and other gpu accelerated software, or how important is the &quot;low&quot; IO speed of TB3 vs PCI in that context?&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-04-01T18:47:29.710" Title="Thunderbolt 3 &amp; eGPU viable for Video Processing?" Tags="|davinci-resolve|thunderbolt|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18065" PostTypeId="2" ParentId="18064" CreationDate="2016-04-01T13:16:21.670" Score="3" Body="&lt;p&gt;I've looked into this recently myself, given that the MBP line is not exactly a workhorse when it comes to GPU processing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;eGPUs are actually being done now over TB2, with great success. I have a friend who purchased a similar unit to the &lt;a href=&quot;https://www.akitio.com/expansion/thunder2-pcie-box&quot; rel=&quot;nofollow&quot;&gt;Akitio Thunder2&lt;/a&gt; (the &lt;a href=&quot;https://bizon-tech.com/us/bizonbox2-egpu.html/&quot; rel=&quot;nofollow&quot;&gt;Bizon-Tech&lt;/a&gt; version), put a decent GPU in it (I think it was the GTX960 or similar), and experienced almost 50% faster render time in Premiere (the latest versions of CC support GPU acceleration for encode/decode with some codecs). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The math gets a little funky, but actually &lt;a href=&quot;http://www.tested.com/tech/457440-theoretical-vs-actual-bandwidth-pci-express-and-thunderbolt/&quot; rel=&quot;nofollow&quot;&gt;this Tested article&lt;/a&gt; comparing PCI Express to Thunderbolt indicates that the Thunderbolt2 spec, in practice, provides almost the equivalent of a PCIe3.0 interface. The bandwidth speed lost will be minimal. Further, the article indicates that &lt;em&gt;performance&lt;/em&gt; of the graphics card that is lost by a slower transfer speed is, for all practical intents and purposes, negligible (as little as 5% in most cases).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm certain that the performance gained by an eGPU box, even over TB2 on current-gen hardware, would vastly outstrip the current performance you're getting on a CPU-accellerated-only laptop. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And, the best part is, you're out only around $1500 for a box and a good graphics card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;For the record:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know what notebook you're using, but I'll assume a relatively recent MBP. I'm working here from a 2014 15&quot; Retina which happens to have dual GPUs (integrated Intel Iris and discrete GeForce GT 750M), and based strictly on CUDA cores, you'll have to pick up something in the K1200+ range if you want to see a significant improvement (the &lt;a href=&quot;http://gpuboss.com/graphics-card/GeForce-GT-750M&quot; rel=&quot;nofollow&quot;&gt;GT750M has 384 cores&lt;/a&gt;). However, it's relatively weak at only 2GB GDDR5 (roughly comparable to a K620 in terms of cuda cores and memory).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Improving both specs is important, particularly for 4K or RAW video. I would recommend something like a K2200 or K5000, or if you've had a good year, any of the Maxwell-class cards would be a beautiful, beautiful thing.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;TechInferno - &lt;a href=&quot;https://www.techinferno.com/index.php?/articles/guides/2015-13-macbook-pro-gtx97016gbps-tb2akitio-thunder2-win81osx1010-tranj10-r2/&quot; rel=&quot;nofollow&quot;&gt;2015 MBP + GTX970 + Akitio Thunder2 via TB2&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;LinusTechTips - &lt;a href=&quot;https://linustechtips.com/main/topic/277270-macbook-pro-with-a-gtx-980-setup-guide-benchmarks-egpu-setup-windows-10/&quot; rel=&quot;nofollow&quot;&gt;2012 MBP + GTX760 + Akitio Thunder2 via TB1&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bizon-Tech - &lt;a href=&quot;https://bizon-tech.com/us/bizonbox2-egpu.html/&quot; rel=&quot;nofollow&quot;&gt;Akitio-based custom enclosure for high-wattage GPUs&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.tomsitpro.com/articles/nvidia-quadro-m6000,2-898.html&quot; rel=&quot;nofollow&quot;&gt;A useful comparison of top-end Kepler vs Maxwell NVIDIA architecture&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anecdotally, in 2014 I saw a live demo in &lt;a href=&quot;http://www.awn.com/news/nvidia-showcases-4k-your-way-nab-2014&quot; rel=&quot;nofollow&quot;&gt;NVIDIA's booth at NAB&lt;/a&gt; of what the K6000 card is capable of - at the time, mindblowing performance. They put dual K6000's in a Z820 workstation and did realtime 4k debayering of RED Raw, &lt;em&gt;with&lt;/em&gt; scale and blur effects, in Premiere. So yeah, duh - it's a powerful card, right? Point is, you don't have to look at the latest Maxwell cards to get performance improvements in an eGPU setup - even a single quality card will provide much more efficient and expedient results than CPU-only.&lt;/p&gt;&#xA;" OwnerUserId="12530" LastEditorUserId="12530" LastEditDate="2016-04-01T13:29:01.300" LastActivityDate="2016-04-01T13:29:01.300" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="18066" PostTypeId="2" ParentId="16283" CreationDate="2016-04-01T15:01:04.600" Score="0" Body="&lt;p&gt;You're probably going to need to convert them.  The following methods work for me on a Mac:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Convert them to ProRes 422 Quicktime files first before beginning to edit on them.  Use something like Quicktime Player Pro if Adobe's media conversion is doing strange things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then open the converted files in Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nudge the audio around until it syncs up at the beginning of the first video clip.  Take a note of how far you had to nudge it to get sync.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check the end of the file is also in sync.  If it isn't, check the middle of the file... Keep working backwards until you can find out where the sync gets worse.  Each time the sync gets worse, chop the region into two pieces, and re-sync the next piece manually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's boring, but it will work.  If the number of frames out of sync is the same in each file, you'll have it done quickly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Export as ProRes .mov files, then convert from that to whichever lossy format is needed for delivery (e.g. h264 quicktime .mov)&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-04-01T15:01:04.600" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18068" PostTypeId="2" ParentId="14899" CreationDate="2016-04-01T16:20:00.113" Score="2" Body="&lt;p&gt;Premiere does not have a maximum memory usability limit. As several others pointed out, this is probably a motherboard limitation issue. @nofare's solution for working with proxies is one way to reduce the memory needs for your project. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My guess would be, based on your original statement, that the problem is not memory allocation, but disk read speed or perhaps some overly-gargantuan source files. I edit HD and 4K in Premiere on a MBP with 16GB ram all the time and can't ever remember maxing out my RAM. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A few other things to check, assuming for the sake of argument that your motherboard is not the problem:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;What is Premiere's internal &lt;a href=&quot;https://www.digitalrebellion.com/blog/posts/premiere_pro_memory_settings_explained&quot; rel=&quot;nofollow&quot;&gt;&quot;soft&quot; maximum memory allocation&lt;/a&gt; set to? This will not only tell you how much your OS is actually seeing, but also how much Premiere is willing to consume. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Where are your source files located - on internal storage, a USB drive, in the cloud, etc? Premiere could be slowing down as a result of trying to read your source files, particularly if you are using multiple streams simultaneously, from slow I/O sources like USB 2.0 or cloud-based drives.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;What is your largest-resolution timeline asset? And, how is it encoded? If you're using gigantic Photoshop files on your timeline, yeah, well...it's gonna be slow. Same goes for RAW video or even 4k mpeg files. They just don't edit easily and could contribute to choppiness or temporary &quot;freezing&quot; in the interface.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;What is your &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/source-monitor-program-monitor.html#sourcemonitorandprogrammonitoroverview&quot; rel=&quot;nofollow&quot;&gt;playback display quality&lt;/a&gt; set to? I typically work with this set to 1/2 or even 1/4 for optimum fps.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2016-04-01T16:20:00.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18069" PostTypeId="2" ParentId="18064" CreationDate="2016-04-01T18:08:25.563" Score="1" Body="&lt;p&gt;For completeness, and in the interest of non-Mac users who may see this question in the future, I should share links to a couple other eGPU products that are commercially available today (April 2016, this &lt;em&gt;will&lt;/em&gt; change and probably as soon as the end of the month after the NAB show in Vegas):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.dell.com/content/products/productdetails.aspx/alienware-graphics-amplifier&quot; rel=&quot;nofollow&quot;&gt;Alienware Graphics Amplifier&lt;/a&gt; - this is a fully proprietary box (with a proprietary AW connector) that performs essentially the same functionality as the Akitio or Bizon box, albeit way cooler and awesomer. And not expensive by comparison - only $200, without a graphics card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.razerzone.com/gaming-systems/razer-blade-stealth&quot; rel=&quot;nofollow&quot;&gt;Razer Blade Stealth + Core&lt;/a&gt; - this is a TB3/USB-C protocol in a sleek little enclosure for $500 empty. Compatible with laptops sporting the USB-C protocol, this is a great option going forward for many laptop users. Polygon did a great &lt;a href=&quot;http://www.polygon.com/2016/3/18/11257690/razer-core-laptop-support-portable&quot; rel=&quot;nofollow&quot;&gt;writeup about it&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All in all, you're still out at least $1500 for a solid external GPU solution, but there are some nice options out there.&lt;/p&gt;&#xA;" OwnerUserId="12530" LastEditorUserId="1871" LastEditDate="2016-04-01T18:47:29.710" LastActivityDate="2016-04-01T18:47:29.710" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18070" PostTypeId="1" CreationDate="2016-04-01T19:35:12.610" Score="1" ViewCount="1883" Body="&lt;p&gt;How can I remove timer from the lower center of the preview screen (circled in red) of adobe after effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NxIIB.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NxIIB.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14247" LastEditorUserId="10931" LastEditDate="2016-04-03T19:25:30.197" LastActivityDate="2019-02-22T06:52:31.613" Title="How can I remove the timer of the preview screen?" Tags="|after-effects|adobe|timecode|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18071" PostTypeId="1" AcceptedAnswerId="18072" CreationDate="2016-04-01T20:55:21.983" Score="3" ViewCount="4220" Body="&lt;p&gt;I have some raw footage from a lacrosse game that I filmed and the coach told me to make a video for a collage about a player.  Is there a way to crop a video relative to a motion track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would want to track the player and crop the video so the player stays in the center of the frame rather than giving the coach general footage with the player in it. I understand that I will be giving up a lot of quality cropping the video to a small size but just having the ability of doing such a thing would be nice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Programs to use:&#xA;- Blender&#xA;- After Effects CC&#xA;- Premiere Pro CC&#xA;- Any of the programs in Adobe CC&lt;/p&gt;&#xA;" OwnerUserId="14248" LastActivityDate="2017-09-29T14:33:32.377" Title="Cropping a Video based on a motion track" Tags="|after-effects|premiere|tracking|blender|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18072" PostTypeId="2" ParentId="18071" CreationDate="2016-04-01T21:44:26.393" Score="5" Body="&lt;p&gt;Here's one way to do it. I'll assume you have basic motion tracking knowledge already for the sake of brevity. &lt;/p&gt;&#xA;&#xA;&lt;h2&gt;AfterEffects&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Turn on 3D space for your footage layer. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Track the player in your footage. I'm going to guess that you'll have to do a lot of this by hand, but there's not really a faster way to track a player like this.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Apply the track to a Null, including both X + Y values of course. Turn on 3D space for the null as well. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Create a Camera. Default values are fine. They will match your footage, so you initially won't see any change.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Select the Null and press P to open the position parameter.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Here's the tricky part. Alt+Click on the Position stopwatch for your Camera. This will turn the position numbers red, open up an Expression text box, and reveal some new buttons. Click and drag the Pickwhip onto the Null's position parameter. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UsMFB.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UsMFB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Your comp should go black. Good, it's working!&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Open up the Position twirly for your footage layer (in my comp it's A037C006_160309CZ.MXF). The third value is the Z-depth. Adjust this to taste - the larger the number, the larger the resulting &quot;crop&quot; of your footage. Here I've set it to 1700 for a pretty extreme crop (and this is also 4K footage) - a more reasonable look, in my case, might be more like 2500. For you it will vary depending on the footage. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;As you scrub through the timeline you should be perfectly locked onto the player. Unfortunately, depending on how close they get to the edge of the shot, you may see black appearing at the edge. This means you've &quot;cropped&quot; in far enough that you've hit the edge of the frame. You can reduce the crop (move the footage layer closer to the camera, a smaller number) as necessary to fix this. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;You may find that your track is a bit choppy. You can smooth it out a bit non-destructively using some of the techniques &lt;a href=&quot;https://forums.adobe.com/thread/465641&quot; rel=&quot;noreferrer&quot;&gt;detailed here&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2016-04-01T21:44:26.393" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18075" PostTypeId="2" ParentId="17570" CreationDate="2016-04-02T21:42:55.523" Score="1" Body="&lt;p&gt;Traffic cameras and security cameras shoot through a dark glass, so you could use something like that.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sure you've seen those black domes in stores - it's called a Pan/Tilt/Zoom (PTZ) dome.  You might look in the area of security camera accessories.&lt;/p&gt;&#xA;" OwnerUserId="5987" LastActivityDate="2016-04-02T21:42:55.523" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18076" PostTypeId="1" AcceptedAnswerId="24361" CreationDate="2016-04-02T21:54:17.100" Score="6" ViewCount="140" Body="&lt;p&gt;I have a light background in CAD and modelling, and I want to use some virtual sets with motion capture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to determine what program/platform my next 3D model should use if I want to work with someone to place an actor in there, with camera movements.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have some models I've already built, but I can rebuild them if I need to use a new program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Q: Are there standard model file formats that mocap systems use?  What are they?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Q: what about the camera mocap data?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am just now learning about the pipeline for this, so if I've made inaccurate assumptions somewhere here, please feel free to correct me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe it goes like:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the &quot;live&quot; crew captures footage of an actor, either with a mocap suit on, or not&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;somehow there is camera motion data captured from this process&lt;/li&gt;&#xA;&lt;li&gt;if a mocap suit is used, somehow it is captured from this process&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;the &quot;virtual&quot; crew builds models for sets, lighting models, and possibly character models to use the mocap data&lt;/li&gt;&#xA;&lt;li&gt;once both are finished, a renderer composites the motion with the models for a finished product&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5987" LastEditorUserId="6685" LastEditDate="2016-04-03T08:53:55.020" LastActivityDate="2018-06-29T02:18:29.743" Title="Motion capture and 3D model formats" Tags="|software-recommendation|file-formats|3d|workflow|tracking|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18077" PostTypeId="2" ParentId="17318" CreationDate="2016-04-02T22:20:21.273" Score="1" Body="&lt;p&gt;I like lavalier mics.  For $900 you should easily be able to get&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;2 lav's&lt;/li&gt;&#xA;&lt;li&gt;wireless for both&lt;/li&gt;&#xA;&lt;li&gt;receivers to XLR&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Alternately, cabled lav's are fine for a studio situation!&lt;/p&gt;&#xA;" OwnerUserId="5987" LastActivityDate="2016-04-02T22:20:21.273" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18078" PostTypeId="2" ParentId="17318" CreationDate="2016-04-03T03:20:49.533" Score="0" Body="&lt;p&gt;A professional film sound mixer I used to work with swore by the Oktava Mk12. It's comparatively inexpensive, well-built, and sounded beautiful. He used it on all his interiors; for exteriors he usually switched over to the Senn 416. Even in boomy environments, his raw tracks were amazingly clear. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For lavs, I've never worked with better than the tiny Countrymans for placeability and sound quality. When the lav head is the size of a grain of rice there aren't too many places you can't put it. Try that with a Sanken or a Tram!&lt;/p&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2016-04-03T03:20:49.533" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18079" PostTypeId="2" ParentId="18059" CreationDate="2016-04-03T04:43:41.900" Score="2" Body="&lt;p&gt;Some DSLRs output HDMI video that does not meet full HDMI specifications. It is not unusual to find combinations of source and destination gear that is incompatible.  The HDMI can be viewed on permissive screens (consumer TV receivers, etc.) but not on more professional gear that strictly adheres to the HDMI standard protocols.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-04-03T04:43:41.900" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18080" PostTypeId="2" ParentId="17318" CreationDate="2016-04-03T06:13:40.630" Score="0" Body="&lt;p&gt;IMHO the NTG-2 is not a great microphone, even the Sennheiser ME66/K6 sounds better. The next step up would be a Sennheiser 8060 or mkh416 or a Rode NTG-3.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, they won't help much with the reverb either. In high-end sound terms, a lavalier will always sound worse than a properly boomed directional mic, by its physical characteristics alone, featuring a much smaller diaphragm, at least when comparing a good and properly setup Lav with a good and properly boomed directional mic. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;BUT as the others mentioned, distance to sound source is the key to deal with a room with a lot of reflections so you might get better results using a lav in those cases. I would at least record a long room tone additionally (well, always record room tones anyway) but also the directional mic to capture the rooms characteristic during the interview. Then use the reverby directional mic together with the Lavs sound in the mix. Personally I feel that ONLY using a lav as a source sounds really dull.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for lav mics, in Europe, to my knowledge, the sanken cos11d is pretty much the standard lav, I heard good things about DPA microphones Lavs but never tried them personally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally speaking it is always a good idea to give the sound recordist at least a veto-right in terms of location choice, there are rooms which simply are not suited for recording interviews plain and simple.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-04-03T06:13:40.630" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18082" PostTypeId="1" AcceptedAnswerId="18083" CreationDate="2016-04-03T15:40:57.337" Score="1" ViewCount="172" Body="&lt;p&gt;Basically my questions is: what is this orange bar attached to the playing cursor and how can I remove it to make the cursor stop at the marker when I'm playing selection. Many thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fPWFS.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fPWFS.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14259" LastActivityDate="2016-04-06T23:03:29.580" Title="Playing in time line stops when the bar touches the mark out point" Tags="|premiere|playback|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18083" PostTypeId="2" ParentId="18082" CreationDate="2016-04-03T16:34:09.683" Score="3" Body="&lt;p&gt;The orange bar is the frame indicator. In the screenshot, the playhead is displaying the last frame of your in/out range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the playhead stopped one frame further, as you suggest, it would be showing the next frame AFTER your in/out range (and could be confusing, although obviously this method is too!).&lt;/p&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2016-04-03T16:34:09.683" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18084" PostTypeId="1" CreationDate="2016-04-03T20:58:50.140" Score="3" ViewCount="55882" Body="&lt;p&gt;I have iMovie on my iPhone 5S so &lt;strong&gt;my question is specifically for iMovie on iOS&lt;/strong&gt;. I am trying to put together a video and want to add a text object to it. However, I want it to begin X seconds into the video last for Y seconds. I haven't been able to find how to specify that in iMovie for iOS. The only options are Opening, Middle and End. But I want to specify it when to begin and how long to last - the available options really only let me display the text for the entire clip. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I can do this in iMovie for my desktop iMac where all the clips and text object can be dragged to a certain length; that's basically the functionality I'm looking for. Is that not available in iMovie for iOS?&lt;/p&gt;&#xA;" OwnerUserId="14201" LastActivityDate="2020-05-16T18:10:13.203" Title="How can I specify time for text titles in iMovie for iOS" Tags="|editing|imovie|iphone|ios|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18085" PostTypeId="2" ParentId="18084" CreationDate="2016-04-03T23:32:47.410" Score="4" Body="&lt;p&gt;If you click on the &quot;?&quot; in the upper right, you'll get yellow markers that show help. One of them is &quot;Learn More&quot; where it brings up the user manual and a search field. When I type &quot;titles&quot; into the search field, it gives me a list of options, the first of which was &quot;Add a title.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to that help section, a title lasts the entire length of the video or still you apply it to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, you can cut your video into 3 pieces - the piece before the title, the piece containing the title, and the piece after the title. To do that:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;click on the clip and scroll to the time where you want the title to start &lt;/li&gt;&#xA;&lt;li&gt;press the scissors icon at the bottom. This will offer some options.&lt;/li&gt;&#xA;&lt;li&gt;Click on &quot;Split&quot;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Do the process again where you want the title to end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you've done that, click on the piece you want to contain the title. At the bottom, click on the &quot;T&quot; icon. That will bring up the title selection tool. Choose your title style and click on the text to edit it.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-04-03T23:32:47.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18086" PostTypeId="1" AcceptedAnswerId="18087" CreationDate="2016-04-03T23:52:08.053" Score="1" ViewCount="583" Body="&lt;p&gt;Considering 2K = 1440p, has twice the pixels compared to 1080p, 4k has four times as many, why does 8k not follow this trend? &lt;/p&gt;&#xA;" OwnerUserId="11217" LastActivityDate="2022-09-05T10:33:55.300" Title="Why does 8K have 16 times the pixels compared to 1080p?" Tags="|4k|aspect|memory|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18087" PostTypeId="2" ParentId="18086" CreationDate="2016-04-04T01:06:02.613" Score="4" Body="&lt;p&gt;First off, 2K is not 1440p, it is 2048 x 1080p.  4K is 4096 x 2160p.  (Note that UHD = 3840 x 2160p...4K and UHD are like US and Canadian dollars--they are both dollars, but they have different values.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's simple math: when you have a straight line and you make it twice as long, the new length is 2x the original length.  When you have a rectangular area and you double both the length and the width in order to keep the same aspect ratio, the new area = (2L) * (2W) = 4 * (L*W)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you double something twice, you do it again:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2*(2L) * 2*(2W) = 4 * 4 * (L*W) = 16 * (L * W)&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-04-04T01:06:02.613" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18088" PostTypeId="2" ParentId="18082" CreationDate="2016-04-04T01:09:21.087" Score="0" Body="&lt;p&gt;The orange bar is an out point, meaning &quot;if you are playing or rendering video, anything that sequentially moves through frames, stop now.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can clear the out point by clicking RMB (right mouse button) in the timeline area just above the horizontal red line and choosing the option &quot;Clear Out Point&quot; (or &quot;Clear out&quot;).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-04-04T01:09:21.087" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18089" PostTypeId="1" AcceptedAnswerId="18114" CreationDate="2016-04-04T06:51:38.107" Score="1" ViewCount="1580" Body="&lt;p&gt;I have a two layers.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;First is the an image (PNG)&lt;/li&gt;&#xA;&lt;li&gt;Second is a video&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;And i want to &quot;attach&quot; first layer to region on the video and track that (just like mosaic effect with mask and tracking work).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How i can do that? Thanks!&lt;/p&gt;&#xA;" OwnerUserId="14262" LastEditorUserId="6685" LastEditDate="2016-04-07T07:41:22.083" LastActivityDate="2016-04-07T07:41:22.083" Title="Attach image to layer with tracking mask" Tags="|premiere|effects|adobe|tracking|mask|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18090" PostTypeId="2" ParentId="16505" CreationDate="2016-04-04T08:53:30.400" Score="0" Body="&lt;p&gt;In the end, I found out that you can buy a dongle (in my case an INOGENI 4K USB) that will connect the camera to the computer via USB (amazingly, USB 3 is fast enough) or, in the case of BlackMagic Mini Recorder (which does 1080p only), thunderbolt.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The next challenge is, of course, to encode 4K fast enough on a laptop.&lt;/p&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2016-04-04T08:53:30.400" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18092" PostTypeId="2" ParentId="15962" CreationDate="2016-04-04T14:47:25.200" Score="1" Body="&lt;p&gt;To get filters, you can use photoshop for that. iMovie can do all of the effects that you were talking about, and iMovie has a pretty nice collection of filters too. &#xA;Hope that helps!&lt;/p&gt;&#xA;" OwnerUserId="13914" LastActivityDate="2016-04-04T14:47:25.200" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18093" PostTypeId="2" ParentId="16713" CreationDate="2016-04-04T14:51:16.203" Score="-1" Body="&lt;p&gt;I think you can probably get any microphone that can go into an audio slot.&lt;/p&gt;&#xA;" OwnerUserId="13914" LastActivityDate="2016-04-04T14:51:16.203" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18094" PostTypeId="2" ParentId="15242" CreationDate="2016-04-04T14:53:17.313" Score="1" Body="&lt;p&gt;You can easily add Garageband audio into iMovie. The newer versions have a button that will import songs directly into iMovie.&lt;/p&gt;&#xA;" OwnerUserId="13914" LastActivityDate="2016-04-04T14:53:17.313" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18096" PostTypeId="2" ParentId="17140" CreationDate="2016-04-05T00:26:57.130" Score="1" Body="&lt;p&gt;In most cases you can choose a frequency for the sender / transmitter to operate on. Interfering with another wireless mic is only one problem which might make switching frequencies necessary. You can also encounter other radio interference, not caused by other radio mics. Apparently the Sennheiser avx does this automatically for you, but I would assume there is also a manual way to select frequencies if that process fails.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-04-06T06:33:09.210" LastActivityDate="2016-04-06T06:33:09.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18097" PostTypeId="2" ParentId="17140" CreationDate="2016-04-05T03:56:51.503" Score="2" Body="&lt;p&gt;Recent digital wireless products are more likely than not to have automated features which both search out available channels, AND to automatically pair transmitters and receivers.  However, legacy analog kits are much more vulnerable to problems of interaction and interference with other similar wireless kits being operated in proximity.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-04-05T03:56:51.503" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18098" PostTypeId="2" ParentId="18022" CreationDate="2016-04-05T06:25:03.120" Score="1" Body="&lt;p&gt;Your idea sounds absolutely possible. On the other hand you write that you have never done any stop motion. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think it would be very well advised to start with some basic techniques (by hand) and then see what you can maybe automate in the future. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Building puppets that can be easily animated is a already a complex task, since it usually involves building metal / wire skeletons etc. so I'd slowly approach the overall complexity of the matter and then advance to the next step.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some introductory reading to get you started: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Stop motion - &lt;a href=&quot;https://en.m.wikipedia.org/wiki/Stop_motion&quot; rel=&quot;nofollow&quot;&gt;https://en.m.wikipedia.org/wiki/Stop_motion&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Go motion &lt;a href=&quot;https://en.m.wikipedia.org/wiki/Go_motion&quot; rel=&quot;nofollow&quot;&gt;https://en.m.wikipedia.org/wiki/Go_motion&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Pixilation &lt;a href=&quot;https://en.m.wikipedia.org/wiki/Pixilation&quot; rel=&quot;nofollow&quot;&gt;https://en.m.wikipedia.org/wiki/Pixilation&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Claymation &lt;a href=&quot;https://en.m.wikipedia.org/wiki/Clay_animation&quot; rel=&quot;nofollow&quot;&gt;https://en.m.wikipedia.org/wiki/Clay_animation&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Animatronics &lt;a href=&quot;https://en.m.wikipedia.org/wiki/Animatronics&quot; rel=&quot;nofollow&quot;&gt;https://en.m.wikipedia.org/wiki/Animatronics&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I think what would more sense is to follow the idea mentioned by Adam Mann Pro using some basic animatronics.  If you build a remote controllable face for the puppets which allow you to easily setup facial expressions, that would speed up the animation process immensely and is in itself already very complex. Here is an example of an animatronics head from the movie &quot;the world's end&quot;:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/26fLK9m4eNE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-04-05T07:21:44.923" LastActivityDate="2016-04-05T07:21:44.923" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18099" PostTypeId="2" ParentId="14705" CreationDate="2016-04-05T13:57:06.100" Score="1" Body="&lt;p&gt;Try this one...everything is free (with attribution.) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://soundimage.org/&quot; rel=&quot;nofollow&quot;&gt;http://soundimage.org/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14269" LastActivityDate="2016-04-05T13:57:06.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18100" PostTypeId="1" AcceptedAnswerId="18101" CreationDate="2016-04-05T14:30:24.577" Score="1" ViewCount="159" Body="&lt;p&gt;I'm trying to edit my 1 Second a day type of video and I'm unsure how to put a date below which increases every second?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The text would look something like this: &quot;April 6 2016&quot;, &#xA;then after a second it would change to: &quot;April 7 2016&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea how I could do it?&lt;/p&gt;&#xA;" OwnerUserId="14270" LastActivityDate="2016-04-05T19:06:47.593" Title="Second a day video &quot;counter&quot;" Tags="|video-editor|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18101" PostTypeId="2" ParentId="18100" CreationDate="2016-04-05T19:06:47.593" Score="1" Body="&lt;p&gt;In Sony Vegas you can use &lt;a href=&quot;http://vegasaur.com/text-generation-wizard&quot; rel=&quot;nofollow&quot;&gt;Text Wizard&lt;/a&gt; from Vegasaur Toolkit. It can easily create various counters. Vegasaur has free 30-day trial, so just install it and go to menu &lt;em&gt;View &gt; Extensions &gt; Vegasaur &gt; Timeline &gt; Text Generation Wizard&lt;/em&gt;.&#xA;Please note that the appearance of the text (font, color, size, etc.) is determined by the selected preset.&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2016-04-05T19:06:47.593" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18102" PostTypeId="1" CreationDate="2016-04-06T04:58:35.507" Score="1" ViewCount="936" Body="&lt;p&gt;What is best way to upload longer (1hr plus) videos to youtube from fcpx. Currently my fcpx compresses a 1 hr video to 4.5GB and this takes 7000min to upload....&lt;/p&gt;&#xA;" OwnerUserId="14273" LastEditorUserId="6685" LastEditDate="2016-04-07T07:45:46.040" LastActivityDate="2016-04-23T04:45:36.940" Title="How to upload 1hr video to YouTube from fcpx" Tags="|video-quality|final-cut-pro-x|youtube|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18103" PostTypeId="2" ParentId="18102" CreationDate="2016-04-06T06:44:32.103" Score="2" Body="&lt;p&gt;The upload speed to YouTube depends mainly on your Internet connection and has nothing to do with your editing software...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you can do (if you can't get a better internet connectivity) is to create a smaller file by using higher compression settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know how fcpx handles this process, what video format your clip is etc. But you can achieve decent results by compressing a clip to h264 with a bitrate of 10000-15000kbps and then uploading it...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: As Michael points out thats the Bitrate you are already using. So you need tackle this task from another angle: what is an acceptable upload time for you and what expectations do you have for the quality of the video? And maybe, video technology unrelated: why is your upload speed so slow (and do you have access to a faster connection)...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you need to find a compromise between these parameters (video quality vs time needed for upload). You can get a better compromise between file size and upload time by using a more efficient codec like VP9 or h265 which will lead to the same visual result at lower file sizes. This, at least in the case of h265 comes with the &quot;cost&quot; of having much longer compression times. Another option is not using FullHD resolution and just 720p and lowering the bitrate to 5-8000 KBits&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, export the video with the settings you have now, copy it to a thumb drive and go to a place that has better Internet connectivity for uploading.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-04-06T09:24:29.977" LastActivityDate="2016-04-06T09:24:29.977" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18104" PostTypeId="2" ParentId="14705" CreationDate="2016-04-06T09:39:26.597" Score="0" Body="&lt;p&gt;From my experience there are some parameters you need to check for each of the sites mentioned here already:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;What is their licensing model: usually the licensing depends on the distribution channel you use, i.e. &quot;unlimited worldwide TV distribution&quot; usually being the most expensive. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;How does their &quot;curatorial&quot; skills meet your quality standards. I wouldnt bother browsing a site that is cheaper but their selection of music is mainly crap. There are huge quality differences of the selection they offer and usually the free sites have the worst &quot;crap&quot; vs &quot;quality&quot; ratio.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Check what types of music, license wise,  the site is distibuting. In the case of extrememusic.com i know that not all of their tracks are royalty free. While the music they offered is great, you might find stuff that is actually registered with ascap, gema, whatever and have to negotiate royalties with them, which is often unacceptable given the timeframe in which music selection has to take place.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Consider hiring a composer: Sometimes it is faster, and not even more expensive to let somebody write a piece of music specifically tailored to your needs. I wouldnt rule that option out and that way you avoid using a music bed that may have been already used in a context you dont like.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Don't assume that if a music file is offered for free, that this holds true. Especially in sites that offer user maintained content, you can only be sure that the file is really royalty free if you got that in a written statement. Companies specializing in these kind of music take care of that, if using stuff from a &quot;free&quot; site i would contact the author of the track and get a written confirmation to avoid legal consequences.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-04-06T09:45:56.130" LastActivityDate="2016-04-06T09:45:56.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18106" PostTypeId="1" AcceptedAnswerId="18111" CreationDate="2016-04-06T14:08:31.923" Score="1" ViewCount="141" Body="&lt;p&gt;&lt;strong&gt;I am looking for a cheap (not necessarily free) editing software.&lt;/strong&gt;&lt;br /&gt;&#xA;At the moment I have to work with Serif MoviePlus X6 but I find this too basic.&lt;br /&gt;&#xA;I have a lot of knowledge of video editing but am usually restricted by the limitations of the software I can afford. I need something as advanced as After Effects - and similar to Blender's layout which is &lt;strong&gt;NOT&lt;/strong&gt; designed for ease of use but rather to offer as much flexibility as possible - for general video editing; but for a lower cost than Adobe products.&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h2&gt;ANSWER&lt;/h2&gt;&#xA;&lt;p&gt;Of the amazing answers I received I found the best suggestions were:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;BlackMagic Davinci Resolve 12&lt;/li&gt;&#xA;&lt;li&gt;Lightworks&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="14276" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2021-05-10T10:33:06.153" Title="Advanced Low Cost Editing Software" Tags="|video|editing|software|" AnswerCount="4" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18107" PostTypeId="1" CreationDate="2016-04-06T15:55:58.520" Score="0" ViewCount="99" Body="&lt;p&gt;I used to have a great free plugin or script for automatically laying objects out on a specified grid in After Effects... For example, I want to place 18 squares on a 3 x 6 grid of a specified size.  (I don't want to use Trapcode Form for this- I need each object as a separate layer in my comp).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone remind me?  I've tried googling for it, but no luck so far...&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2016-04-11T12:28:58.340" LastActivityDate="2016-04-11T12:28:58.340" Title="Grid plugin / script - name escapes me" Tags="|after-effects|plugins|script|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18110" PostTypeId="1" AcceptedAnswerId="18112" CreationDate="2016-04-06T21:28:45.460" Score="1" ViewCount="87" Body="&lt;p&gt;I recently began a job in IT and part of my role involves recording at some company events. However, it isn't my role to edit the videos themselves. These files need to be handed off to a Mac user who has Adobe Premier. I, however use a PC (Windows 7).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using a Panasonic HC-V520 which records AVCHD, and only have the typical included Windows 7 software. I need to somehow get the video to a Mac user (who has Adobe Premier) so that she may view and edit. It would also be nice, if possible, to store the files on our (Windows) server for archiving purposes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've found so far that I can play and store the .mts files on my PC and play them in VLC and Windows Media Player, but getting them from the PC to a Mac is really a pain-- Even if I wanted to edit them on my PC they don't burn to a playable DVD in Windows Media Center, and the files aren't playable on a Mac at all.&lt;/p&gt;&#xA;" OwnerUserId="14282" LastEditorUserId="6685" LastEditDate="2016-04-07T07:42:46.947" LastActivityDate="2016-04-07T07:42:46.947" Title="How to prepare AVCHD on a PC for Mac use later?" Tags="|editing|file-formats|conversion|mac|avchd|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18111" PostTypeId="2" ParentId="18106" CreationDate="2016-04-06T21:31:33.003" Score="1" Body="&lt;p&gt;Since you said you use Blender for animation, why not just use that? Feature-wise, it's video editor can stand on it's own. It's a nightmare in usability (in my opinion, I believe that's also the general consensus), but if you're used to the program anyway ...&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Free software&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;There are a couple of free programs available (&lt;a href=&quot;https://softwarerecs.stackexchange.com/questions/11433/freeware-video-editing-software&quot;&gt;a list&lt;/a&gt;, &lt;a href=&quot;http://tv.isg.si/site/?q=node/873&quot; rel=&quot;nofollow noreferrer&quot;&gt;another list&lt;/a&gt;), most of which suffer from the same problem as Blender, that is not having a coherent design which leads to inconsistensies in it's functionality. It might take longer for you to get a grip of the software, and certain functionality might be missing. So if you're willing to invest some money, you can probably do better (even though it mostly comes down to preference).&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;The low-cost software trap&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Be careful with cheap software (for example, &lt;a href=&quot;http://www.magix.com/us/movie-edit-pro/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Magix software&lt;/a&gt;), as it's most likely consumer oriented and not fit for (semi-)professional editing. The problem with those programs is that they are not built for editors who are willing to put some time into learning the software and fine-tuning effects and settings, but rather for people who just want to throw their vacation video together, add a title, some background music and be done with it. That means advanced functionality such as keyframe animation will probably not be available and in terms of visual effects you will most likely be tied down to a couple of presets. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It comes down to what you want to do, what functionality you need and personal preference.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Some affordable candidates&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.sonycreativesoftware.com/vegassoftware&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sony Vegas (at least Pro)&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.apple.com/final-cut-pro/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Final Cut X&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.lwks.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lightworks&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.videostudiopro.com/en/products/videostudio/ultimate/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Corel VideoStudio Ultimate&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.adobe.com/de/products/premiere-elements.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Premiere Elements&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Please note that this list is influenced by personal preference&lt;/strong&gt; (I use that word a lot for a reason). Again, it comes down to what you need. Also, all of those low- to medium-cost options are to some degree limited, i.e. might lack certain functionality. None of them will compare to professional software such as Premiere Pro and After Effects. Final Cut X and Sony Vegas Pro Suite probably come closest to it, whereas Corel VideoStudio and Lightworks would be somewhere in between professional and consumer software. Premiere Elements is pretty easy to learn, but lacks most functionality that you will need for professional/advanced editing.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:50:06.283" LastActivityDate="2016-04-06T21:31:33.003" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18112" PostTypeId="2" ParentId="18110" CreationDate="2016-04-06T21:39:47.243" Score="1" Body="&lt;p&gt;Don't do anything to the files, Premiere Pro should be able to handle them. Just copy them to a USB drive and hand them off to your editor. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;NEVER convert your video files prior to editing. You'll lose quality for no reason.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the Mac won't open them, try another media player such as &lt;a href=&quot;http://www.videolan.org/vlc/&quot; rel=&quot;nofollow&quot;&gt;VLC media player&lt;/a&gt;. For a PC, I'd say you may need to install Quicktime as it comes with a codec that may be required, but on a Mac that should be preinstalled anyway. If that doesn't work, update your operating system. Or just try to import them to Premiere, if it doesn't work, update Premiere.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-04-06T21:39:47.243" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18113" PostTypeId="1" AcceptedAnswerId="18115" CreationDate="2016-04-06T21:43:41.677" Score="0" ViewCount="1878" Body="&lt;p&gt;I just bought a Canon Vixia HF R600. It's giving me the option to save files as AVCHD or MP4. I will be importing them to my PC and editing them in Adobe Premiere CC.  I'd heard that AVCHD has a better picture quality, but I also heard that AVCHD requires multiple files (???). My questions are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Can Adobe Premiere CC work equally well with both file types?&lt;/li&gt;&#xA;&lt;li&gt;Which file type will give better image quality?&lt;/li&gt;&#xA;&lt;li&gt;Does a single AVCHD clip really comprise multiple files that I'll have to import?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2016-04-06T22:51:56.207" Title="Canon Vixia HF R600 - MP4 vs AVCHD" Tags="|premiere|codec|file-formats|mp4|avchd|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18114" PostTypeId="2" ParentId="18089" CreationDate="2016-04-06T21:44:51.837" Score="1" Body="&lt;p&gt;I take it you are looking for &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/tracking-stabilizing-motion-cs5.html&quot; rel=&quot;nofollow&quot;&gt;Motion Tracking&lt;/a&gt;. Unfortunately, Premiere Pro doesn't have that capability. You'd have to set &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/topics/animation-keyframes.html&quot; rel=&quot;nofollow&quot;&gt;keyframes for the animation manually&lt;/a&gt;, which can be a pain if it needs to be accurate. If you need to do automated Motion Tracking, you could switch to After Effects which comes with that capability (see link above).&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2016-04-06T23:20:25.353" LastActivityDate="2016-04-06T23:20:25.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18115" PostTypeId="2" ParentId="18113" CreationDate="2016-04-06T22:21:06.820" Score="2" Body="&lt;p&gt;Generally, MP4 is better for compatibility, whereas AVCHD provides the better quality. MP4 (which by the way can mean a million different things, in this case it probably refers to &lt;a href=&quot;https://en.wikipedia.org/wiki/MPEG-4_Part_14&quot; rel=&quot;nofollow&quot;&gt;MPEG-4 Part 14&lt;/a&gt;) files will be compatible with most devices and media players as is, and will be smaller in size compared to AVCHD. This is the option I'd recommend if you wanted to film your vacation and show the recordings as is, without further editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want the best quality, go with AVCHD. Files will be bigger in size and won't play back on most devices, but you can import them into Premiere Pro and export your edited video to every format you want anyway. Chosing the AVCHD will also open up other recording options on your camera. According to the manual, the highest bitrate avaiable for MP4 is 35Mbps. For AVCHD, the highest possible bitrate should be even higher, though I couldn't find an exact value.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Can Adobe Premiere CC work equally well with both file types?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yes. MP4 will record, well &lt;code&gt;.mp4&lt;/code&gt; files. AVHCD will probably come as &lt;code&gt;.mts&lt;/code&gt; or &lt;code&gt;.m2t&lt;/code&gt;/&lt;code&gt;.m2ts&lt;/code&gt; files, both of which Premiere Pro can handle.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Which file type will give better image quality?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;AVCHD with the highest recording quality settings. Keep in mind that this will fill up your SD card pretty quickly, according to the manual at about 4 GB per 20 minutes of recording. If this is a problem for you, MP4 might be the better solution, as it offers the better quality/filesize-ratio.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Does a single AVCHD clip really comprise multiple files that I'll have to import?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Not really sure about that. Normally, it should produce one container file every time you press record. Many cameras will split the file at 4 GB or stop the recording when a continuous recording reaches that size. Since you already bought the camera, just try out both options and see what files you get. But Premiere pro should be able to handle whatever you throw at it.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-04-06T22:21:06.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18116" PostTypeId="2" ParentId="18113" CreationDate="2016-04-06T22:51:56.207" Score="1" Body="&lt;p&gt;I have Lumix G6 with same options (MP4 and AVCHD).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Some things about AVCHD:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;It brake video into multiple files, but since you gonna edit them in Premiere, you can handle this.&lt;/li&gt;&#xA;&lt;li&gt;Sometimes Adobe Premiere have problems with audio at AVCHD. If Premiere don't see audio in AVCHD files, that mean you have problems with your license. You shall reactivate it. &lt;sub&gt;And no crack will help with that, only payed license will work. Even demo version of Adobe Premiere will not.&lt;/sub&gt;&lt;/li&gt;&#xA;&lt;li&gt;In my camera you can record about 4 time more in AVCHD, so I always choose it.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-04-06T22:51:56.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18117" PostTypeId="2" ParentId="18082" CreationDate="2016-04-06T23:03:29.580" Score="0" Body="&lt;p&gt;It is frame indicator.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your timeline is really zoomed in. So you see every frame. Your &lt;strong&gt;out point&lt;/strong&gt; is standing in one place, and that mean, that you want video-editor to play &lt;strong&gt;till that point in video&lt;/strong&gt;. To show you &lt;em&gt;that point&lt;/em&gt; in the video video-editor shall show you previous frame. If it will show you next frame, that will be after your &lt;em&gt;out point&lt;/em&gt;, since next frame will start in that point and last for about 1/30 of a second (depends on your framerate)&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-04-06T23:03:29.580" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18118" PostTypeId="2" ParentId="18110" CreationDate="2016-04-07T00:05:47.173" Score="0" Body="&lt;p&gt;Your question sounds more like a Filesystem related question... For a couple of years now both Windows and osx can read ExFat formatted drives, so as moritzlost mentioned, leave the files untouched and just copy them to an ExFat drive. BTW not touching the avchd files also includes not changing the directory structure, in case your idea was to just copy out the mts files from the folders.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-04-07T00:05:47.173" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18119" PostTypeId="1" CreationDate="2016-04-07T08:45:24.367" Score="0" ViewCount="1524" Body="&lt;p&gt;I record lots of user group events. Typically the output file is a composite of the slides and the speaker. This works if the speaker stands still, but quite often the speaker frantically oscillates on stage and I'm struggling to follow them and furthermore, compositing this is a real pain!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question - is there any technical solution that solves this problem? The two things that I would consider are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A motorized tripod head that turns to follow the speaker based on some tracking device they are wearing. Is this even possible?&lt;/li&gt;&#xA;&lt;li&gt;A software solution! What if I record to 4K and then decide to crop out - is it possible to detect speaker position automatically through some software algorithm?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2016-04-08T04:14:32.403" Title="How to automatically turn camera to follow speaker?" Tags="|video|software|motion|tracking|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18120" PostTypeId="2" ParentId="18106" CreationDate="2016-04-07T10:00:14.580" Score="1" Body="&lt;p&gt;Lightworks (as mentioned previous) but also newcomer to the game is BlackMagic Davinci Resolve 12 which can be both Free and Paid (if you want all the PRO Pro Features)&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2016-04-07T10:00:14.580" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18121" PostTypeId="2" ParentId="18119" CreationDate="2016-04-07T11:21:55.303" Score="1" Body="&lt;p&gt;High-end sports productions have cameras that can pan, tilt, and zoom their way to tracking a golf ball when driven 300+ yards off a tee.  Such systems are well beyond the budgets of typical user groups.  A system called &lt;a href=&quot;https://shop.soloshot.com/&quot; rel=&quot;nofollow&quot;&gt;SoloShot&lt;/a&gt; costs less than $1000, and might have the spatial resolution needed for your application.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recording in 4K gives you a 2:1 punch-in for FullHD and around 4:1 or 5:1 punch-in for SD.  The problem with a 2:1 punch-in is that it only cuts your peripatetic speaker's travel by 2x, which means if they are dashing 18' from one side of a 12' screen to another, their apparent motion will still be as if walking 9' across the view, which is still distracting.  If you are OK producing with SD-ish video, a 5:1 punch-in will keep their motion to reasonably within frame.  The open source software Blender has motion-tracking software that can effectively steady a camera around the subject of interest (your speaker).  But you should check that it has the video codec support you need.  Blackmagic's DaVinci Resolve also has a tracker that can do this, but the free download version works only on Mac and PC, not Linux.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another problem with using digital shot cropping is that at 24fps or 25fps, you might see lots of motion artifacts that seem strange: the speaker stays in the middle of the frame, but they are constantly blurring left or right, whereas the background is whipping back and forth but it's perfectly sharp otherwise.  Your eyes will tell you &quot;that's backwards!&quot;.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2016-04-07T13:42:15.987" LastActivityDate="2016-04-07T13:42:15.987" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18122" PostTypeId="1" CreationDate="2016-04-07T12:03:11.410" Score="1" ViewCount="2949" Body="&lt;p&gt;I have 5 different video files on my timeline and I want to make every one of them to be only 5 seconds long. Basically squeeze each of them to be 5 seconds long each.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using Vegas 13, but before when I used premiere I had the option when I right clicked the video in the timeline called &quot;Speed/duration&quot;. Is there something similar to this in Vegas?&lt;/p&gt;&#xA;" OwnerUserId="14270" LastActivityDate="2021-11-13T14:14:35.627" Title="Change the duration of multiple images vegas" Tags="|vegas-pro|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="18123" PostTypeId="2" ParentId="18122" CreationDate="2016-04-07T15:01:57.300" Score="1" Body="&lt;p&gt;If you want to change the speed of multiple clips - find a script that does this. Vegas Pro supports scripting and there a lot of different scripts out there, both free and commercial. For example, &lt;a href=&quot;http://vegasaur.com/rocket-speed&quot; rel=&quot;nofollow&quot;&gt;this one&lt;/a&gt; (commercial) can do this (enter the desired duration to  &lt;strong&gt;Duration&lt;/strong&gt; control).&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2016-04-07T15:01:57.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18124" PostTypeId="1" CreationDate="2016-04-07T16:30:02.953" Score="2" ViewCount="4800" Body="&lt;p&gt;I'm splitting and merging a single video clip using this ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-ss 0 -t 1 -i C:\source.mp4 &#xA;-ss 3 -t 1 -i C:\source.mp4 &#xA;-ss 6 -t 1 -i C:\source.mp4 &#xA;-ss 9 -t 1 -i C:\source.mp4 &#xA;-filter_complex &quot;[0:v][1:v][2:v][3:v]concat=n=4[outv];&#xA;[0:a][1:a][2:a][3:a]concat=n=4:=v=0:a=1[outa]&quot; -map [outv] -map [outa]&#xA;-vcodec h264 -acodec aac -pix_fmt yuv420p -strict -2 C:\output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But if source file doesn't have audio track, this command fails. if I remove &#xA;    ;[0:a][1:a][2:a][3:a]concat=n=4:=v=0:a=1[outa]&#xA;part it fixes the problem but I need to analyse file before using the command.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;is there any parameter that will automaticly remove this part or ignores audio track if source doesnt have any audio track at all.&lt;/p&gt;&#xA;" OwnerUserId="14290" LastActivityDate="2016-04-07T17:06:19.807" Title="ffmpeg concat with or without audio" Tags="|ffmpeg|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18125" PostTypeId="2" ParentId="18124" CreationDate="2016-04-07T17:06:19.807" Score="3" Body="&lt;p&gt;Use the concat demuxer instead:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Create a text file of the following format&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'C:\source.mp4'&#xA;inpoint 0&#xA;duration 1&#xA;file 'C:\source.mp4'&#xA;inpoint 3&#xA;duration 1&#xA;file 'C:\source.mp4'&#xA;inpoint 6&#xA;duration 1&#xA;file 'C:\source.mp4'&#xA;inpoint 9&#xA;duration 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i file.txt -map 0:v -map 0:a? -vcodec h264 -acodec aac -pix_fmt yuv420p -strict -2 -fflags +genpts C:\output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-04-07T17:06:19.807" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18126" PostTypeId="1" CreationDate="2016-04-07T19:39:21.963" Score="2" ViewCount="1062" Body="&lt;p&gt;I have a tricky (seems to me) task: I need to make 3 layers of text lose their shape and fall down to the bottom of the screen like a heavy mass of letters, so that in the end all the letters lay there in one heap. Here is what the text looks like from the beginning:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/h9C6D.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/h9C6D.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it at all possible in AE? I remember doing per character animation with text once, but it doesn't seem to be the way to go here, or am I missing something? Please tell me it's doable! :) &lt;/p&gt;&#xA;" OwnerUserId="14291" LastEditorUserId="14291" LastEditDate="2016-04-07T19:52:38.860" LastActivityDate="2016-05-08T09:07:28.140" Title="Imitate letters in text falling down as if under gravity AE" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18127" PostTypeId="2" ParentId="18119" CreationDate="2016-04-08T04:14:32.403" Score="0" Body="&lt;p&gt;In addition to SoloShot, another product to consider may be TecNec ITP-1 In The Picture - Robotic Camera Panhead&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ref: &lt;a href=&quot;http://www.bhphotovideo.com/c/product/490975-REG/TecNec_ITP_1_ITP_1_In_The_Picture.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/490975-REG/TecNec_ITP_1_ITP_1_In_The_Picture.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-04-08T04:14:32.403" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18129" PostTypeId="2" ParentId="18126" CreationDate="2016-04-08T08:49:48.473" Score="1" Body="&lt;p&gt;If the text is random characters, you could possibly do this using a particle engine.  Assign one character per frame to a comp, then apply those frames to the particles texture... Something like &lt;a href=&quot;http://www.redgiant.com/products/trapcode-particular/&quot; rel=&quot;nofollow&quot;&gt;Particular from Trapcode&lt;/a&gt; would work with this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively if it's a full page of actual text:&#xA;I reckon Newton 2 could do this..&#xA;&lt;a href=&quot;http://www.motionboutique.com/newton/&quot; rel=&quot;nofollow&quot;&gt;http://www.motionboutique.com/newton/&lt;/a&gt;&#xA;Or Cinema 4D, but I don't think the free version that comes with AE now has the physics plugins included.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-04-08T08:49:48.473" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18130" PostTypeId="1" CreationDate="2016-04-08T09:35:44.383" Score="1" ViewCount="1151" Body="&lt;p&gt;I am trying to export my composition from AE CC but when I hit 'Render' nothing happens. In status is says 'Rendering' but this is not the case and the cursor looks like it's working but nothing is happening. When I hit 'Stop' it gives me the following warning:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Rendering error while writing to the file &quot;C:\WORKING EDITS\SY - SCN 1\Exports\Test 1.mov&quot; An output module failed. The file may be damaged or corrupted. (1610153464)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;When I then try this the second time it gives me the following warning:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Rendering error while writing to the file &quot;C:\WORKING EDITS\SY - SCN 1\Exports\Test 1.mov&quot; Unable to delete existing file. (1610153460)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I am exporting QuickTime /h.264. I have recently reinstalled my 64bit PC with windows 10 and the following programs from the Adobe CC suite: PS, PP, AE &amp;amp; ME.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;My computer is definitely powerful enough to run the software. Any ideas? please help, pulling all my hair out with this as everything else running smoothly, Thanks in advance.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="14297" LastEditorUserId="6685" LastEditDate="2016-04-08T09:59:03.470" LastActivityDate="2016-04-11T08:58:08.647" Title="Quicktime rendering issue" Tags="|after-effects|encoding|quicktime|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18131" PostTypeId="1" CreationDate="2016-04-08T13:29:09.913" Score="4" ViewCount="2593" Body="&lt;p&gt;I have a small hobby project based on live streaming. My streaming server likes RTMP. Currently, the broadcasters use native solutions like OBS, FFmpeg or VLC for publishing webcam and mic input to my streaming server. I want a browser-based solution for this publishing bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd want to avoid Flash as far as possible (ready-made solutions that can be plugged in directly are okay).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other option I have been exploring is WebRTC. I don't mind the insufficient browser support but can't seem to figure out how to publish it to an RTMP server.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In short, I need either:  &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;A Flash-based live webcam stream capturing software that I can use with little tweaking.  &lt;/li&gt;&#xA;&lt;li&gt;A way of publishing WebRTC streams to an RTMP server.  &lt;/li&gt;&#xA;&lt;li&gt;Any other way of capturing webcam and mic streams in the browser.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="14299" LastEditorUserId="18155" LastEditDate="2019-08-27T21:39:29.497" LastActivityDate="2022-01-14T04:02:35.403" Title="Browser-based non-webrtc webcam capture" Tags="|broadcasting|rtmp|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="18132" PostTypeId="1" CreationDate="2016-04-08T14:58:02.293" Score="1" ViewCount="177" Body="&lt;p&gt;I was asked to video a wedding. Here are my lenses: 50mm f1.8, 10-18 f4.5-5.6, 18-135 f3.5‑5.6. Camera is a Canon 3ti.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm thinking about renting a glidecam hd 1000, and my question is, will the 10-18 be good enough, or do I need a faster lens for better results since there might be times when light is low? For example, a canon 20mm f2.8 or 24mm f2.8 or Tokinha 11-16 f2.8 or even a 24-70 or 24-105. Also, does the IS play a big role here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any advices.&lt;/p&gt;&#xA;" OwnerUserId="14300" LastActivityDate="2016-04-09T07:30:42.073" Title="Advice on lens for Glidecam" Tags="|canon|lenses|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18133" PostTypeId="1" CreationDate="2016-04-08T15:34:13.337" Score="0" ViewCount="449" Body="&lt;p&gt;I have been sent a video that is only 2.30 mins long. But is a whopping 168mb, unfortunetely this has to be embedded into an app - so I need it as small as possible. I need to get the file size down big time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's attributes are Frame Width 1920 x 1080. 25fps data rate: 8690 kbps&#xA;Total bitrate 9008kbps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It will be going on a tablet that is 1040px at potrait.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best way to shrink the file size?&lt;/p&gt;&#xA;" OwnerUserId="14301" LastActivityDate="2020-08-12T00:05:35.580" Title="Compressing a large MP4 file that is on 2.30mins long" Tags="|file-formats|conversion|mp4|compression|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18134" PostTypeId="1" CreationDate="2016-04-08T19:25:04.443" Score="1" ViewCount="148" Body="&lt;p&gt;I have a project with a temporary audio file. I use &lt;a href=&quot;http://www.redgiant.com/products/trapcode-sound-keys/&quot; rel=&quot;nofollow&quot;&gt;Soundkeys from Trapcode&lt;/a&gt; to create a visualizer. I need to render the project automatically and change the audio file to some other file every time, changing the visualisation. I already googled and came to Dataclay's Templater 2, but this software is expensive and I an still a student. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is: Is there a way to change media in an after effect project and send it to media encoder to render it from the command line?&lt;/p&gt;&#xA;" OwnerUserId="12161" LastEditorUserId="1950" LastEditDate="2016-04-14T04:44:39.693" LastActivityDate="2016-04-14T04:44:39.693" Title="Automated rendering in after effects" Tags="|after-effects|automation|" AnswerCount="0" CommentCount="13" ContentLicense="CC BY-SA 3.0" />
  <row Id="18135" PostTypeId="2" ParentId="18132" CreationDate="2016-04-09T07:30:42.073" Score="1" Body="&lt;p&gt;Two things come to my mind: If you never operated or balanced a Glidecam before you will probably have a hard time. When using a Glidecam IS will not make such a big difference but nonetheless there will be one. So better have IS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am assuming that you are using a DSLR like the Canon EOS 5D Mk III.&#xA;Especially the 5D has quite good low light capabilities. Faster leses are generally speaking good but keep in mind that you need to pull focus manually and that you need several meters depth of field. So you might be good to go with what you have.&lt;/p&gt;&#xA;" OwnerUserId="2663" LastActivityDate="2016-04-09T07:30:42.073" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18140" PostTypeId="2" ParentId="4000" CreationDate="2016-04-11T07:47:36.397" Score="1" Body="&lt;p&gt;If your cameras have a LANC port, you can build yourself a LANC controller using arduinos: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://controlyourcamera.blogspot.de/2011/02/arduino-controlled-video-recording-over.html?m=1&quot; rel=&quot;nofollow&quot;&gt;http://controlyourcamera.blogspot.de/2011/02/arduino-controlled-video-recording-over.html?m=1&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Or alternatively get a cheap lanc controller. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://pages.ebay.com/link/?nav=item.view&amp;amp;id=281983277383&amp;amp;alt=web&quot; rel=&quot;nofollow&quot;&gt;http://pages.ebay.com/link/?nav=item.view&amp;amp;id=281983277383&amp;amp;alt=web&lt;/a&gt; &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Depending on the camera you are going to use, like the other replies mentioned, there might be options to control your cameras as well through a regular remote control or control over USB.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-04-11T07:47:36.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18142" PostTypeId="2" ParentId="18130" CreationDate="2016-04-11T08:58:08.647" Score="1" Body="&lt;p&gt;it seems to me that you are trying to overwrite an existing file. Try to change the name from your file (Test 1.mov) to something different and that is not already used on your Exports folder.&#xA;Let me know if it worked.&#xA;Cheers!&lt;/p&gt;&#xA;" OwnerUserId="14292" LastActivityDate="2016-04-11T08:58:08.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18146" PostTypeId="2" ParentId="17214" CreationDate="2016-04-11T17:49:10.920" Score="1" Body="&lt;p&gt;You can do that very easily in After Effects. Import your footage/images, create a new composition that matches your footage/images specifications and then apply Optics Compensation (Effect&gt; Distort &gt; Optics Compensation.&#xA;Tweak Field of View values until you have the desired result. In some cases you will need to check the Reverse Lens Distortion box.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers!&lt;/p&gt;&#xA;" OwnerUserId="14292" LastActivityDate="2016-04-11T17:49:10.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18147" PostTypeId="1" AcceptedAnswerId="18148" CreationDate="2016-04-11T19:41:57.030" Score="7" ViewCount="2556" Body="&lt;p&gt;I often do QuickTime screen recordings of slideshow presentations (e.g. Keynote).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These videos are 1080p 60fps and mostly text. They can go for minutes at a time with the same exact frame on-screen (static slide) yet have 60fps transitions between slides.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are some compression tools or techniques that work best for this kind of video? I’m looking for something that keeps the text sharp while maintaining the 60fps animation transitions, without the file size being insane.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I’m not looking for answers like “use the Export for 1080p menu in QuickTime”. The best answer will have a solution that’s customized for the specific needs of a slideshow presentation video, perhaps using variable frame rate compression techniques.&lt;/p&gt;&#xA;" OwnerUserId="1062" LastActivityDate="2016-04-11T20:24:37.600" Title="Techniques for compressing a slideshow presentation video?" Tags="|compression|screen-casting|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18148" PostTypeId="2" ParentId="18147" CreationDate="2016-04-11T20:24:37.600" Score="7" Body="&lt;p&gt;x264 is the best-in-class encoder for generating H.264 video streams and you can use it via ffmpeg, a command-line tool, to encode to a small-sized file. Get a binary from &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;noreferrer&quot;&gt;here&lt;/a&gt; - opt for the latest nightly/snapshot release - and run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -c:v libx264 -crf 23 output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The output will be the same constant frame rate as the input but x264 is very good at minimizing space consumed by frames which are the same as preceding ones. Lower CRF values produce better quality files at the cost of larger file sizes. 18 to 28 is a decent range to stick within.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-04-11T20:24:37.600" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="18151" PostTypeId="1" CreationDate="2016-04-12T10:22:02.960" Score="0" ViewCount="40" Body="&lt;p&gt;I am videoing myself giving instructions against a 10' x 10' green screen. I am about to purchase lights and now I need to select a video camera that will give me the best videos which will be put on a web site. &#xA;I have a $200 camcorder. Do I need to get a DSLR in order to get quality videos?&#xA;Thanks,&#xA;JB&lt;/p&gt;&#xA;" OwnerUserId="14330" LastActivityDate="2016-04-12T20:10:50.970" Title="Choosing a Video Camera" Tags="|video|camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18153" PostTypeId="1" CreationDate="2016-04-12T18:27:03.663" Score="1" ViewCount="1839" Body="&lt;p&gt;I'm new to After Effects and wondering how that's possible to animate opening for this map so each dot appears individually? I know how to make the opening using the mask but it shows the edges while I'd like to have &quot;popping one by one dots&quot; animation.Please see image below:&lt;a href=&quot;https://i.stack.imgur.com/tGeLh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tGeLh.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14334" LastActivityDate="2019-08-18T16:14:04.377" Title="how to animate dots in sequence" Tags="|after-effects|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18154" PostTypeId="2" ParentId="17895" CreationDate="2016-04-12T19:59:14.723" Score="2" Body="&lt;p&gt;I regularly use &lt;a href=&quot;http://www.sonycreativesoftware.com/fr/dvdastudio&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sony DVD Architect&lt;/a&gt; for building complex DVD (as well as simple, it's quite intuitive) like commercials ones. DVD Architect is compatible with Blu-Ray, but doesn't include advanced features like BD live and other. From the same editor with a similar ergonomy, you can use &lt;a href=&quot;http://www.sonycreativesoftware.com/fr/dostudio&quot; rel=&quot;nofollow noreferrer&quot;&gt;DoStudio&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two editions:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;DoStudio Ex: expensive but complete,&lt;/li&gt;&#xA;&lt;li&gt;DoStudio Indie: more cheap but I don't know if it includes the functions you want.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You cannot build a complex BD/DVD without expensive software. A DVD cannot point to an URL of any type (unless it's inside the disc like a video/photo/music/...) and a BD can use the BD Live and BD touch functionalities to open web pages on any Blu-Ray player connected to internet. I think there is some limitations: you can maybe open videos with BD Live, but web pages have limited HTML/CSS and other support.&lt;/p&gt;&#xA;" OwnerUserId="14323" LastEditorUserId="1950" LastEditDate="2019-02-27T05:51:26.047" LastActivityDate="2019-02-27T05:51:26.047" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="18155" PostTypeId="2" ParentId="18151" CreationDate="2016-04-12T20:10:50.970" Score="1" Body="&lt;p&gt;Getting good, bright lights that can evenly illuminate a green screen is half the battle.  The other half is using a camera that will give you a clean key by not blending together too many pixels in its macroblocks.  Many low-end camcorders use 4:2:0 chroma sampling, which means the border between your key and your subject is going to be at least two pixels wide, and difficult to properly clean up.  Higher-end camcorders user 4:2:2 chroma sampling, and the best use either 4:4:4 or RAW encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can &lt;a href=&quot;https://library.creativecow.net/solorio_marco/BMD-Cinema-Camera-holds-its-own/1&quot; rel=&quot;nofollow&quot;&gt;see for yourself&lt;/a&gt; how these different chroma sampling systems affect the edges you are trying to key.  If you are doing your own post-production for fun, and you have the time to futz with fuzzy edges, you can certainly spend time in place of money and get results that make you happy.  But if you are trying to do a live broadcast and you need keys that &quot;just work&quot;, then 4:2:2 is probably the minimum color spec that you will want to work with.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-04-12T20:10:50.970" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18156" PostTypeId="1" CreationDate="2016-04-12T21:07:04.493" Score="1" ViewCount="75" Body="&lt;p&gt;This is kind of a weird question, but how does focus in video work? I understand how focus works for single, still images. And, I understand that a video is a sequence of images. However, unlike taking still images, it seems like a common video capture devices (such as iPhone 6) don't need to focus at each frame of the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, is the camera actually focusing at each frame, and doing it so fast that I don't notice. Or, it is something else? &lt;/p&gt;&#xA;" OwnerUserId="14336" LastActivityDate="2016-04-12T23:24:59.857" Title="Focus in Video vs Focus in Image" Tags="|video|camcorder|video-capture|image-sensors|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18157" PostTypeId="2" ParentId="16279" CreationDate="2016-04-12T22:13:39.560" Score="0" Body="&lt;p&gt;There is a function that does exactly as you want I think... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In keyboard preferences ... go to clip then video options, finally add frame hold .... and assign that function somewhere .. say Cntrl E for old time sake and you should be in freezeframe heaven ... you can then grab it and drag as long as you like...&#xA;enjoy&#xA;Robin&lt;/p&gt;&#xA;" OwnerUserId="14337" LastActivityDate="2016-04-12T22:13:39.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18158" PostTypeId="2" ParentId="18156" CreationDate="2016-04-12T23:24:59.857" Score="2" Body="&lt;p&gt;Focus is focus is focus, whether for still or video.  But the story does not end there.  Focal length, aperture, sensor size, circle of confusion, etc., all play a role in determining whether you perceive something to be in focus or not.  Here's a &lt;a href=&quot;https://en.wikipedia.org/wiki/Depth_of_field#DOF_formulae&quot; rel=&quot;nofollow&quot;&gt;link&lt;/a&gt; to the math.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The long and short of it is that quite often a camera that shoots both stills and video will use a larger sensor area for stills and a smaller subset of the sensor for video.  Those math equations will tell you that smaller sensors have more things in focus than larger sensors.  A 35mm full-frame camera has a 42mm image circle, which is huge next to the 6mm image circle of a typical prosumer camera, which is in turn larger than the image circle of the typical smartphone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On top of &lt;em&gt;that&lt;/em&gt;, yes, smartphones also dynamically focus the image, both for still and video images.  You probably don't see the refocusing happening in video because the depth of field is already so deep, but it happens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are video cameras that have sensors as large as full-frame still cameras; they are just as difficult to focus as a still camera, and have just as shallow a depth of field for the same image size, focal length, aperture, and circle of confusion.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-04-12T23:24:59.857" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18161" PostTypeId="2" ParentId="18153" CreationDate="2016-04-13T11:02:59.513" Score="1" Body="&lt;p&gt;This tutorial can help you:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/YMOHNfAoHJw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will find there how to make dotted effect from scratch (use outlines of the map). Then you shall add some key-frames for animation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make dots appear more random, you can use Fractal Noise as animated mask. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-04-13T11:02:59.513" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18163" PostTypeId="1" AcceptedAnswerId="18168" CreationDate="2016-04-13T16:33:10.837" Score="2" ViewCount="280" Body="&lt;p&gt;I'm looking for a way to reveal my entire layer when a portion of my mask covers the layer. I have a composition with multiple individual layers, that I want to reveal with a set matte. However lets say when 30 percent of the layer is covered I would like the entire layer to appear. When it's less than 30 percent the layer does not need to appear. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option may be a correlation between opacity and area covered. Like 20 percent covered 20 percent opacity, 60 percent covered 60 percent opacity, etc&lt;/p&gt;&#xA;" OwnerUserId="14342" LastActivityDate="2016-04-14T11:39:04.453" Title="Reveal entire layer in after effects with mask partial overlap" Tags="|after-effects|after-effects-expressions|mask|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="18164" PostTypeId="1" AcceptedAnswerId="18167" CreationDate="2016-04-14T05:06:43.780" Score="1" ViewCount="7800" Body="&lt;p&gt;Yesterday I recorded a full day event with a Panasonic HC-V700 Full HD Camcorder and I also captured the audio with a Zoom H4n Handy Recorder using the audio feed provided by the venue.  At the start I captured a &quot;clap&quot; in front of the venue microphone and the video camero to synchronise the two sources.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I precisely synchronise the audio and the video tracks using the &quot;clap&quot;?  &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I am using Adobe Premiere CC.&lt;/li&gt;&#xA;&lt;li&gt;I have got the two tracks almost synched.&lt;/li&gt;&#xA;&lt;li&gt;My Adobe Premiere skill level is basic.&lt;/li&gt;&#xA;&lt;li&gt;I can't work out where the nudge tool is to move the audio track via the keyboard.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="14351" LastEditorUserId="14351" LastEditDate="2016-04-14T05:14:28.663" LastActivityDate="2016-04-14T09:42:44.177" Title="How to precisely synchronise an audio and video track from separate devices?" Tags="|video|premiere|editing|audio|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18165" PostTypeId="2" ParentId="17907" CreationDate="2016-04-14T08:44:11.160" Score="1" Body="&lt;p&gt;Had the same problem. Put a black solid in the background. It worked for me.&lt;/p&gt;&#xA;" OwnerUserId="14292" LastActivityDate="2016-04-14T08:44:11.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18166" PostTypeId="2" ParentId="17311" CreationDate="2016-04-14T09:05:22.553" Score="1" Body="&lt;p&gt;Set the RAM preview resolution to full.&lt;/p&gt;&#xA;" OwnerUserId="14292" LastActivityDate="2016-04-14T09:05:22.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18167" PostTypeId="2" ParentId="18164" CreationDate="2016-04-14T09:42:44.177" Score="5" Body="&lt;p&gt;First off, if you have audio with your video (that you want to replace with your high-quality audio recording), then step #1 is to nudge the Zoom audio track to line up the impulse of the clap with the corresponding impulse of the scratch audio from the video file.  To do that, you need to &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/timecode.html#changehowtimecodeisdisplayed&quot;&gt;change the Timecode Display Format to Audio Samples&lt;/a&gt;.  Once you do that, audio can be nudged a sample at a time, which makes it possible to get two audio files to agree, rather than a frame at a time, which makes it impossible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To learn the keyboard shortcuts (which include the Nudge commands), print and study &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/default-keyboard-shortcuts-cc.html&quot;&gt;this page&lt;/a&gt; from the Adobe manual.  TL;DR: Nudge right is Alt+Right on Windows and Cmd+Right on OSX.  To nudge five frames at a time, add a Shift.  To nudge left instead of right, change from the Right Arrow to the Left Arrow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have your high quality audio aligned with your principal video, it's time to sync all the rest of your video with your principal video.  If you shoot at 24fps and capture audio at 48kHz, a single frame of video is 2000 audio samples, which is a lot of samples to sort through looking for the start of the clap!  But don't worry about that.  Once you have established principal video, all other video should be aligned based on video frames, not audio samples.  Unless you shoot with &lt;a href=&quot;https://en.wikipedia.org/wiki/Genlock&quot;&gt;genlock&lt;/a&gt;, your video frames are not going to be perfectly in sync, which means that other video tracks could be as much as a half a frame early or late when aligned on a frame boundary.  Such is life.  Audio that's off by half a frame is not unlike sound that's coming from 21 feet away instead--about a 20ms delay.  There's nothing to do about that because (1) video needs to sync to video--you cannot slip it half a frame, and (2) you're not using audio from the other video tracks, you are using your Zoom audio, and that can only be locked to a single reference point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are really OCD about timing, you can average your video offsets, weight them according to which is most prevalent/important, and align the audio so that lies at that weighted average point.  I don't know anybody who does this, but if you have two video streams that are 1/2 frame apart (worst case) and you split the difference with the audio, your audio/video error changes from 1/48th of a second worst case to 1/96th of a second worst (and best) case.  Only you can tell if that's preferable to you.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-04-14T09:42:44.177" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18168" PostTypeId="2" ParentId="18163" CreationDate="2016-04-14T11:20:13.360" Score="0" Body="&lt;p&gt;So, if we will continue analogy with Lego blocks:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;First you need add On &amp;amp; Off effect for your blocks. You can find &lt;a href=&quot;http://lesterbanks.com/2012/02/creating-an-on-off-expression-in-after-effects/&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; how.&lt;/li&gt;&#xA;&lt;li&gt;Then you shall add Collision detection. You can find about it &lt;a href=&quot;http://www.motionscript.com/design-guide/collision.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Now you need to trigger On &amp;amp; Off effect when your object (mask?) collide with block. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I never tried it myself, but now really want to test it!&lt;/p&gt;&#xA;" OwnerUserId="11523" LastEditorUserId="11523" LastEditDate="2016-04-14T11:39:04.453" LastActivityDate="2016-04-14T11:39:04.453" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18170" PostTypeId="1" CreationDate="2016-04-14T15:29:42.600" Score="3" ViewCount="1478" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/F7gn9.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/F7gn9.jpg&quot; alt=&quot;**enter image description here**&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can encode video with images like these help me ffmpeg ?&lt;/p&gt;&#xA;" OwnerUserId="14358" LastEditorUserId="14358" LastEditDate="2016-04-14T15:56:24.737" LastActivityDate="2016-04-14T16:45:25.047" Title="How can encode video with images like these (overlay a video over a fixed image) with ffmpeg?" Tags="|ffmpeg|codec|animation|recommendation|animation-rendering|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18171" PostTypeId="2" ParentId="18170" CreationDate="2016-04-14T16:01:04.063" Score="6" Body="&lt;p&gt;To overlay a half-sized version of a video in the center of an image, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i image -i video&#xA;-filter_complex &quot;[1]scale=iw/2:-1[ovrl];&#xA;                 [0][ovrl]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2:shortest=1[v]&quot;&#xA;-map &quot;[v]&quot; -map 1:a -c:v libx264 -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;To frame the video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i image -i video loop 1 -i frame&#xA;-filter_complex &quot;[1]scale=iw/2:-1[ovrl];&#xA;                 [2][ovrl]scale2ref=iw*1.2:-1[fr][ol];&#xA;                 [fr][ol]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2:shortest=1[fv];&#xA;                 [0][fv]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2:shortest=1[v]&quot;&#xA;-map &quot;[v]&quot; -map 1:a -c:v libx264 -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you composite the frame onto the background image beforehand, in ffmpeg or elsewhere, you can just use that resultant image with the first command. Of course, you'll lose freedom of movement for the video overlay.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-04-14T16:45:25.047" LastActivityDate="2016-04-14T16:45:25.047" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18172" PostTypeId="1" CreationDate="2016-04-14T17:19:35.457" Score="1" ViewCount="1598" Body="&lt;p&gt;Have several video clips from DSLR with terrible sound, and one audio file from zoom. It was a bend concert.&#xA;Zoom was recording all the time but clips are separated, as there were breaks from song to song and break where i did not want to record.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am aware there is option to combine one audio file and one video clip, but is there a way to import all clips and audio file at once and have them sync, atleast some of them ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using Premiere and FinalCutX.&lt;/p&gt;&#xA;" OwnerUserId="10560" LastActivityDate="2016-04-26T02:34:03.053" Title="Sync several movie clips with one audio file" Tags="|premiere|final-cut-pro-x|sync|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18173" PostTypeId="2" ParentId="18172" CreationDate="2016-04-14T18:17:35.910" Score="2" Body="&lt;p&gt;Create a timeline from the master audio track, then drop the video clips one by one onto a matching video track using the native sound from those clips as a guide to line them up with the good audio. Then mute or delete the audio from the clips. &lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-04-14T18:17:35.910" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18174" PostTypeId="2" ParentId="18172" CreationDate="2016-04-14T19:23:00.193" Score="2" Body="&lt;p&gt;Premiere and FCP-X both have auto-sync features to get multiple audio and video clips synced together.  Chances are very good that you can get your first video clip to align with the audio clip automatically.  You might then be able to incrementally sync each additional clip with the audio clip, one at a time.  I'm pretty sure neither program would do anything intelligent if you just selected all video clips and asked it to align them all with the audio file.  But each might be smart enough to link them one at a time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For your next shoot, you should consider making a &lt;a href=&quot;http://www.provideocoalition.com/the-secret-art-of-the-slate-25-tips-to-help-you-slate-like-a-pro/&quot; rel=&quot;nofollow&quot;&gt;slate&lt;/a&gt; for each clip.  To begin, shoot a video of a clock or a watch (perhaps from your smartphone) next to the Zoom and clap.  That tells you how your clock reference relates to your audio file.  Then, during the show, start each video shot by looking at your clock or watch reference, then record as normal.  When you are all done, each clip will begin with a time reference that you can normalize against the initial time, and which will tell you roughly where to put the clips on the timeline.  You can then synchronize manually, as suggested by Jim Mack, above.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-04-14T19:23:00.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18175" PostTypeId="2" ParentId="18106" CreationDate="2016-04-14T20:00:36.743" Score="2" Body="&lt;p&gt;Hitfilm has a free &lt;a href=&quot;https://hitfilm.com/express&quot; rel=&quot;nofollow&quot;&gt;express version&lt;/a&gt; and a &lt;a href=&quot;http://hitfilm.com/pro&quot; rel=&quot;nofollow&quot;&gt;paid version&lt;/a&gt;. &#xA;It's a video editor and a compositor. &lt;/p&gt;&#xA;" OwnerUserId="14359" LastActivityDate="2016-04-14T20:00:36.743" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18176" PostTypeId="1" CreationDate="2016-04-15T08:56:12.313" Score="1" ViewCount="616" Body="&lt;p&gt;I'm looking for an alternative for a plugin called &lt;a href=&quot;https://www.motionvfx.com/mplugs-111.html&quot; rel=&quot;nofollow&quot;&gt;mCallouts&lt;/a&gt; for FCPX that has similar functions that I can use on Premiere. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there such thing or do I have to use a Dynamic Link from After Effects to Premiere Pro?&lt;/p&gt;&#xA;" OwnerUserId="13827" LastActivityDate="2017-12-01T17:28:34.270" Title="Alternative to mCallouts that runs on Premiere?" Tags="|premiere|animation|plugins|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18177" PostTypeId="1" AcceptedAnswerId="18179" CreationDate="2016-04-15T10:05:49.543" Score="3" ViewCount="3783" Body="&lt;p&gt;I'm trying to find a way to convert a MKV file into MP4 and actually already start to view it, while it's still converting.&#xA;The output file would be viewed via Chrome or Firefox and I would like to use ffmpeg or avconv (or similar available on a headless server) to convert.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any advice? Maybe even on recommended settings?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;*edit: if it is quality-wise possible, webM could also be an option&lt;/p&gt;&#xA;" OwnerDisplayName="user14362" LastEditorDisplayName="user14362" LastEditDate="2016-04-15T10:13:35.900" LastActivityDate="2016-04-15T11:30:11.153" Title="Convert mkv to mp4 (or webM) with the output file viewable in the process" Tags="|ffmpeg|streaming|mp4|mkv|avconv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18179" PostTypeId="2" ParentId="18177" CreationDate="2016-04-15T11:30:11.153" Score="8" Body="&lt;p&gt;This is possible for MP4, with a caveat. The command below will generate a fragmented MP4, which you can view in a browser while the conversion is taking place. However, only the fragments completely encoded at the time of launching the file, will be viewable. To view fragments encoded after that point, you'll have to reload the file/page.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input &amp;lt;encoding parameters&amp;gt; -movflags +frag_keyframe+separate_moof+omit_tfhd_offset+empty_moov out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-04-15T11:30:11.153" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18180" PostTypeId="1" CreationDate="2016-04-15T19:32:32.093" Score="1" ViewCount="86" Body="&lt;p&gt;Specifically, I am wondering how Cartoon Donald Trump was added, voiced, and puppet-ed in clips such as &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Ze4DQAzlzRA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="14366" LastActivityDate="2016-04-17T05:26:50.637" Title="What software is used to add animated characters to live TV?" Tags="|animation|live|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18181" PostTypeId="2" ParentId="8450" CreationDate="2016-04-16T08:49:40.893" Score="-1" Body="&lt;p&gt;If nothing helped you to launch AME, watch this: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/TOvjILleEzI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="14369" LastActivityDate="2016-04-16T08:49:40.893" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18182" PostTypeId="1" CreationDate="2016-04-16T08:50:28.947" Score="2" ViewCount="349" Body="&lt;p&gt;If you look at this video by FunForLouis:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/iE-_Fdp3KW8?start=614&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see that there are three overlays that link to other content of his. I was wondering if anyone else has found how to do this themselves.&lt;/p&gt;&#xA;" OwnerUserId="14368" LastActivityDate="2016-07-07T15:40:19.297" Title="How to create youtube overlays?" Tags="|youtube|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18184" PostTypeId="2" ParentId="18172" CreationDate="2016-04-16T12:18:50.577" Score="4" Body="&lt;p&gt;This sounds like a perfect candidate for using multi-camera editing. You can automagically synch all the clips using their audio, and turn them into a multicam source, which lets you edit from the multiple synched cameras quickly and easily. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How to do it in premiere:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select your clips in the Project panel. Then, right-click the selected clips and choose Create Multi-camera Source Sequence from the context menu. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wf53B.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wf53B.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It will then let you choose the synch method, in your case use audio. Also set the audio Sequence Settings to the clip with the good audio, and it will only use it in the sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lTh3l.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lTh3l.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You now have a multicamera source clip, you can edit from it as if you were doing a live vision mix by choosing the camera you want to use while it plays (with of course the luxury of being able to go back and redo it and tweak the edits. The details of how to do multi camera edits are &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/create-multi-camera-source-sequence.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The workflow in FCP7 was very similar to Premiere, but I'm not familiar with FCX, have a look &lt;a href=&quot;https://support.apple.com/kb/PH12656?locale=en_US&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; to get started.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-04-26T02:34:03.053" LastActivityDate="2016-04-26T02:34:03.053" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18185" PostTypeId="2" ParentId="16914" CreationDate="2016-04-16T12:26:17.517" Score="1" Body="&lt;p&gt;I also wrote a script that does it with one click. Get it &lt;a href=&quot;http://blob.pureandapplied.com.au/first-n-last/&quot; rel=&quot;nofollow&quot;&gt;here free&lt;/a&gt; (RD Comp Setter does a lot more as well, so use whichever one you like the looks of).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-04-16T12:26:17.517" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18187" PostTypeId="2" ParentId="18106" CreationDate="2016-04-16T22:01:52.137" Score="0" Body="&lt;p&gt;Just wanted to mention Davinci's &lt;a href=&quot;http://documents.blackmagicdesign.com/DaVinciResolve/20150911-5823e9/DaVinci_Resolve_12_Configuration_Guide.pdf&quot; rel=&quot;nofollow&quot;&gt;hardware requirements&lt;/a&gt;. Of course you can't neglect hardware when editing video, but Davinci is quite voracious on that account - not comparable, for example, to Lightworks or Sony Vegas.&#xA;I really wanted to try it, but gave up because the hw upgrade needed was huge.&lt;/p&gt;&#xA;" OwnerUserId="14372" LastEditorUserId="10931" LastEditDate="2016-04-16T22:35:01.457" LastActivityDate="2016-04-16T22:35:01.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18188" PostTypeId="1" AcceptedAnswerId="18189" CreationDate="2016-04-16T23:33:39.370" Score="1" ViewCount="31" Body="&lt;p&gt;I want to actually trim out part of my audio in source window. I don't want a sub-clip which seems to be linked to actual full source audio, but rather to modify the source buy cutting out unnecessary part of it. Cannot find the tool to do that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UR4jP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UR4jP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="14259" LastActivityDate="2016-04-17T00:31:28.447" Title="Trimming audio source in Adobe Premiere" Tags="|premiere|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18189" PostTypeId="2" ParentId="18188" CreationDate="2016-04-17T00:31:28.447" Score="2" Body="&lt;p&gt;Adobe Premiere is &lt;a href=&quot;https://en.wikipedia.org/wiki/Non-linear_editing_system&quot; rel=&quot;nofollow&quot;&gt;Non-linear editing application&lt;/a&gt;. Any changes made in it don't have any influence on footage on your hard drive. Not audio, not video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is feature, which prevent damaging footage files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is based on trimming, not cutting. However, if you really want it, you can trim your audio, export it from Premiere, and then import back. But I can't find any reason, why you can need that.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-04-17T00:31:28.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18190" PostTypeId="1" CreationDate="2016-04-17T02:46:36.650" Score="1" ViewCount="26" Body="&lt;p&gt;I was reading an advertizing code which specifies:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;&quot;For TV Advertisements the size of the “Supers” shall be of minimum&#xA;  12 pixel height.....&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This got me thinking: If readability / legibility is the goal, does it make sense to specify a pixel size? i.e. Won't the same font display as varying numbers of pixels depending on what kind of TV it is shown on?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If ensuring readability was the concern what would be the best way to specify the font size? A fraction of the total frame? Or something like&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;....to show up as at least 12 pixel on a 1080 pixel display&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="6905" LastActivityDate="2016-04-17T21:45:30.213" Title="Canonical Way to Specify Readable text for TV feeds: Pixels?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18191" PostTypeId="1" AcceptedAnswerId="18193" CreationDate="2016-04-17T03:23:29.737" Score="1" ViewCount="67" Body="&lt;p&gt;I'm going to shoot a lot of &lt;em&gt;Electronic News Gathering&lt;/em&gt; stuff like demonstrations, reports. But also interviews and longer events like speeches and talks. I can't decide between a camcorder and a MILC (mirrorless interchangeable lens camera) because both have their pros and cons. I like in the MILC that it has a lot of possibilities to develop later.&#xA;I have a candidate for both categories. The &lt;a href=&quot;http://procisioncam.jvc.com/&quot; rel=&quot;nofollow&quot;&gt;JVC Everio GC-PX100&lt;/a&gt; as a general camcorder and the &lt;a href=&quot;https://en.wikipedia.org/wiki/Sony_A7&quot; rel=&quot;nofollow&quot;&gt;Sony Alpha 7&lt;/a&gt; as a MILC. I like about the Sony that it's a full-frame, very serious camera. But I'm afraid that it lacks some important features or not very good at some fields, like OIS or autofocus. I never worked with a DSLR or MILC before.&#xA;The JVC would be a safe bet but also a great loss in features due to the fixed lens and small sensor.&lt;/p&gt;&#xA;" OwnerUserId="14374" LastEditorUserId="10931" LastEditDate="2016-04-17T09:43:54.740" LastActivityDate="2016-05-05T05:01:28.977" Title="MILC or camcorder for ENG?" Tags="|dslr|camcorder|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18192" PostTypeId="2" ParentId="18180" CreationDate="2016-04-17T05:26:50.637" Score="1" Body="&lt;p&gt;It seems like they added this in post with a program like after effects(but this is simple enough that they could have even used a video editor). The cartoon was made in a program like after effects, blender, or any other animation program.&lt;/p&gt;&#xA;" OwnerUserId="11205" LastActivityDate="2016-04-17T05:26:50.637" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18193" PostTypeId="2" ParentId="18191" CreationDate="2016-04-17T09:43:34.597" Score="2" Body="&lt;p&gt;If you record speeches that are longer than 30 minutes, the 29m59s limitation of non-video cameras is going to drive you crazy, despite all the other wonderful things they can do.  Interviews can be broken up every 30 minutes.  Speeches not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have ambitions to encompass art projects with your camera, the interchangeable lens feature of the SONY camera opens a world of possibilities (and and bottomless pit of budget requirements).  If you are really focused on ENG then the JVC packs an incredible punch in a single package.  Plus, small sensors are your friend for ENG because of deep depth of field.  It's incredibly annoying to have a speaker in front of a screen and the camera can only focus either on the speaker or their slides.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based on the things you say you want to &lt;em&gt;do&lt;/em&gt;, not the things you say you &lt;em&gt;want&lt;/em&gt;, the JVC is the more sensible choice.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-04-17T09:43:34.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18194" PostTypeId="2" ParentId="15467" CreationDate="2016-04-17T15:01:49.243" Score="2" Body="&lt;p&gt;I use Nikon SLRs among a suite of other video cameras for professional corporate videography. The latest full-frame Nikons have proven to be good solutions for a higher-end look. As with all SLRs, they are far from the convenience of a typical, all-in-one ENG type camera and as with all SLRs their video capture quality is lacking. My solution if the Nikon is my A camera is to use a separate pre-amplifier for audio. The other technique is to use an off-camera video recorder to capture off the clean HDMI port. Other, in-camera, methods such as Black Magic's firmware might work for some producers but I prefer a high bit-rate file such as a real ProRes 422 or HQ file which produces cleaner and easier to work with images in post. Nikon's latest flat picture profile, while not S-log, has been a joy to use as it stands up to color correction. In shoots where I have to deliver almost immediately, other profiles work nicely as well. In the end, I've been happier with the results from the latest Nikon SLRs over the files out of Canon's MkIII. Nikon's files rival Sony's.&lt;/p&gt;&#xA;" OwnerUserId="14379" LastActivityDate="2016-04-17T15:01:49.243" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18195" PostTypeId="2" ParentId="18172" CreationDate="2016-04-17T21:38:29.357" Score="1" Body="&lt;p&gt;Syncing video tracks by correlating the audio was the original application called &quot;PluralEyes&quot;.  The functionality was incorporated in to higher-end video NLE apps as mentioned here previously. But the original app is still available and being improved.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ref: &lt;a href=&quot;http://www.redgiant.com/products/pluraleyes/&quot; rel=&quot;nofollow&quot;&gt;http://www.redgiant.com/products/pluraleyes/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-04-17T21:38:29.357" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18196" PostTypeId="2" ParentId="18190" CreationDate="2016-04-17T21:45:30.213" Score="2" Body="&lt;p&gt;Specifying text in terms of pixel size is the most independent way of specifying size. Where you know the vertical resolution (like 720 lines or 1080 lines) then specifying pixels is exactly like saying &quot;a fraction of the total frame&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And in practical terms, 12 pixels is pretty much the minimum recognizable height for common western characters, especially if some viewers are watching on screens of lower resolution.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-04-17T21:45:30.213" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18197" PostTypeId="1" CreationDate="2016-04-18T02:39:13.847" Score="3" ViewCount="295" Body="&lt;p&gt;I understand that Netflix does all their encoding in AWS using EC2.  They have a custom encoding software called MAPLE that chunks all source video into 2-3 second chunks and encodes in multiple codec and formats across many EC2 instances in parallel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Netflix is known to open source their software, however I am not finding that MAPLE has.  Does anyone know if an alternative / similar encoding/packaging scheme is available in open source?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your attention. &lt;/p&gt;&#xA;" OwnerUserId="14381" LastEditorUserId="14523" LastEditDate="2016-05-06T08:28:51.033" LastActivityDate="2017-11-03T00:22:09.323" Title="Netflix encoding system - MAPLE" Tags="|software-recommendation|encoding|transcoding|" AnswerCount="1" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18198" PostTypeId="1" CreationDate="2016-04-18T16:27:12.320" Score="0" ViewCount="100" Body="&lt;p&gt;I was hoping someone could point me in the right direction. I'm wanting to create a personalized video where a person's name is inserted dynamically. I know there are services out there like vidyard and idomoo that will put a person's name on a mug or a piece of paper, but would like to figure out how to make my own. Any help and direction is appreciated&lt;/p&gt;&#xA;" OwnerUserId="14383" LastActivityDate="2016-04-27T14:25:49.803" Title="Personalized videos" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18199" PostTypeId="1" AcceptedAnswerId="18200" CreationDate="2016-04-18T17:10:47.893" Score="2" ViewCount="2790" Body="&lt;p&gt;I'm trying to find the best application on windows to do this HD to SD conversion for a video server which requires files to be exactly 720x480/29.97fps MP4 H.264 to function. I can't find any options for leterboxing in Handbrake so I suppose I'll need an alternative.&lt;/p&gt;&#xA;" OwnerUserId="14384" LastEditorUserId="1871" LastEditDate="2016-04-23T04:26:28.147" LastActivityDate="2016-04-23T04:26:28.147" Title="Convert 1920x1080 Video to 720x480 With Letterboxing" Tags="|video|encoding|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18200" PostTypeId="2" ParentId="18199" CreationDate="2016-04-18T17:32:09.887" Score="3" Body="&lt;p&gt;You can use &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool, to do this:&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Without letterboxing, NTSC wide pixel-aspect&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;scale=720x480,setdar=16/9&quot; -r 30000/1001 -c:v libx264 -crf 20 -c:a aac -movflags +faststart output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;With letterboxing, NTSC 4:3 pixel-aspect&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;pad=1920:1440:0:180,scale=720x480,setdar=4/3&quot; -r 30000/1001 -c:v libx264 -crf 20 -c:a aac -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;With letterboxing, square pixels&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;scale=720x404,pad=720:480:0:38,setsar=1&quot; -r 30000/1001 -c:v libx264 -crf 20 -c:a aac -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Read up on sample or &lt;a href=&quot;https://en.wikipedia.org/wiki/Pixel_aspect_ratio&quot; rel=&quot;nofollow&quot;&gt;pixel aspect ratios&lt;/a&gt;, if you're unfamiliar with them. Your requirements make it sound like NTSC-spec files are expected, so try the commands in the order listed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your source audio is MP4-ready i.e. of codec AAC or MP3, then you can replace &lt;code&gt;-c:a aac&lt;/code&gt; with &lt;code&gt;-c:a copy&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-04-18T17:40:02.003" LastActivityDate="2016-04-18T17:40:02.003" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18202" PostTypeId="1" AcceptedAnswerId="34372" CreationDate="2016-04-18T19:09:01.030" Score="3" ViewCount="354" Body="&lt;p&gt;JPEG has a progressive enhancement mode where a full frame can be downloaded quickly at low quality, and then the quality enhanced as the file is continually loaded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SpGmy.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SpGmy.jpg&quot; alt=&quot;Progressive JPEG Example&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;(Example image from &lt;a href=&quot;http://promokit.eu/prestahop-blog/image-optimization-to-speed-up-your-site/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://promokit.eu/prestahop-blog/image-optimization-to-speed-up-your-site/&lt;/a&gt;)&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering if there is a widely compatible video codec that enables the same functionality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the codec were structured this way, it should be technically possible for a player to download a first-pass low-quality stream, begin playback immediately, and then download second-pass and third-pass quality enhancing streams if bandwidth is available to do so, combining them on playback for form progressively higher quality frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the server, there would be segment files for each quality stream, similar to how HLS works today.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sfa4S.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sfa4S.jpg&quot; alt=&quot;HLS chunking diagram&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;(Diagram from &lt;a href=&quot;http://www.streamingmedia.com/Articles/Editorial/What-Is-.../What-is-HLS-(HTTP-Live-Streaming)-78221.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.streamingmedia.com/Articles/Editorial/What-Is-.../What-is-HLS-(HTTP-Live-Streaming)-78221.aspx&lt;/a&gt;)&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The key difference here is that with HLS, entire separate copies of the stream are stored in each stream's segments.  If I want a mid-quality stream, I read from the mid-quality files only.  If I want low-quality, I read from the low-quality files only.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I'm proposing with progressive enhancement is that all players would always read the low-quality (first pass) stream files, and &lt;strong&gt;additionally&lt;/strong&gt; the mid-quality (second pass) stream files if they wanted that mid-quality stream.  For high quality, they would read all three.  &lt;strong&gt;This should greatly reduce the storage overhead&lt;/strong&gt; of the stream since the total disk usage to support low, mid, and high quality streams should be only slightly more than would be required for just the high quality stream.  This means that the upload bandwidth required on the source end is much less as well, since the stream is effectively uploaded once (plus some overhead) for all three qualities.  I imagine there would be overall a bit less CPU used in the encoding process since I'm only really making one stream (albeit in an unusual structure) rather than having to run three independent codecs simultaneously where much of the codec work is likely duplicated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have read about some proprietary codecs in random tech news articles, but never found anything concrete.  I also know that a few companies did audio codecs this way when audio streaming was booming in the mid/late 90s, but that's apples and oranges.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Questions&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is there a codec available that allows for progressive enhancement and segementation?&lt;/li&gt;&#xA;&lt;li&gt;Is there a way to do this with a widely implemented codec like VP8 or VP9?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I suppose there is some hacky stuff I could do with MJPEG, since MJPEG is basically JPEG progressive enhancement under the hood, but I'd rather find a better codec if it exists.&lt;/p&gt;&#xA;" OwnerUserId="129" LastEditorUserId="129" LastEditDate="2016-04-27T23:08:49.137" LastActivityDate="2021-09-13T22:37:22.497" Title="Video codec for progressive enhancement" Tags="|video|codec|mpeg4|vp9|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="18203" PostTypeId="1" CreationDate="2016-04-19T05:24:19.387" Score="14" ViewCount="41610" Body="&lt;p&gt;I do a lot of HEVC encoding and what I've read is 10bit is always better than 8bit, &lt;strong&gt;even from an 8bit source&lt;/strong&gt;, because it avoids rounding errors. Is that true?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, then is 12bit better than 10bit or are the rounding errors insignificant at that point?&lt;/p&gt;&#xA;" OwnerUserId="14388" LastActivityDate="2021-11-10T10:26:27.990" Title="8bit vs 10bit vs 12bit" Tags="|video|video-quality|encoding|" AnswerCount="3" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18204" PostTypeId="2" ParentId="18153" CreationDate="2016-04-19T06:47:05.287" Score="1" Body="&lt;p&gt;Check this out:&#xA;&lt;a href=&quot;http://misterhorse.tv/new-feature-stagger-layers/&quot; rel=&quot;nofollow&quot;&gt;http://misterhorse.tv/new-feature-stagger-layers/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's you randomize the order layers appear in.&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2016-04-19T06:47:05.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18207" PostTypeId="1" CreationDate="2016-04-19T20:29:20.887" Score="0" ViewCount="194" Body="&lt;p&gt;I was watching BTS of Batman V Superman and I saw this camera with the film thing on top of it. Is it actualy the place where the film is or it is something else. Are movies recorded on films still and if yes why?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TfQdD.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TfQdD.jpg&quot; alt=&quot;BVS&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14395" LastActivityDate="2016-04-19T21:45:51.180" Title="Are movies recorded on film?" Tags="|camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18208" PostTypeId="2" ParentId="18207" CreationDate="2016-04-19T21:45:51.180" Score="2" Body="&lt;p&gt;Yes, many big budget features are &quot;still&quot; shot all or partially on film. &#xA;&lt;a href=&quot;http://filmmakermagazine.com/88971-39-movies-released-in-2014-shot-on-35mm/&quot; rel=&quot;nofollow&quot;&gt;Here's a list of a number of movies shot on film for 2014&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reasons vary, but many consider film to have a particular reality or consider themselves purists and apprecate the sublties they believe analog film can offer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an interesting article on why Star Wars: Force Awakens was shot on film rather than digital:&#xA;&lt;a href=&quot;http://petapixel.com/2015/12/16/star-wars-the-force-awakens-was-shot-on-film-and-kodak-may-be-profitable-in-2016/&quot; rel=&quot;nofollow&quot;&gt;http://petapixel.com/2015/12/16/star-wars-the-force-awakens-was-shot-on-film-and-kodak-may-be-profitable-in-2016/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And here is another:&#xA;&lt;a href=&quot;http://www.techradar.com/us/news/home-cinema/high-definition/why-has-star-wars-turned-its-back-on-digital-film--1310861&quot; rel=&quot;nofollow&quot;&gt;http://www.techradar.com/us/news/home-cinema/high-definition/why-has-star-wars-turned-its-back-on-digital-film--1310861&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;IMAX cameras shoot on 70mm film. Since many big budget features end up shown in IMAX they use IMAX cameras for all or usually parts of the film. Certain scenes in Batman V Superman were filmed on IMAX &quot;real film&quot; cameras.&#xA;Reference here:&#xA;&lt;a href=&quot;http://batman-news.com/2014/11/13/batman-v-superman-dawn-justice-will-shot-imax/&quot; rel=&quot;nofollow&quot;&gt;http://batman-news.com/2014/11/13/batman-v-superman-dawn-justice-will-shot-imax/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;About IMAX cameras here:&#xA;&lt;a href=&quot;https://en.wikipedia.org/wiki/IMAX&quot; rel=&quot;nofollow&quot;&gt;https://en.wikipedia.org/wiki/IMAX&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6226" LastActivityDate="2016-04-19T21:45:51.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18209" PostTypeId="2" ParentId="9887" CreationDate="2016-04-20T10:15:09.447" Score="1" Body="&lt;p&gt;Udacity has answered your question here &lt;a href=&quot;http://blog.udacity.com/2014/09/udacity-videos-transparent-hand.html&quot; rel=&quot;nofollow&quot;&gt;http://blog.udacity.com/2014/09/udacity-videos-transparent-hand.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14398" LastActivityDate="2016-04-20T10:15:09.447" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18210" PostTypeId="1" CreationDate="2016-04-20T11:23:19.200" Score="2" ViewCount="390" Body="&lt;p&gt;If I have an existing MP4/H264 video file and I need to trim the start and end,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then save it as an MP4 again,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any recommendations on export settings?&lt;/p&gt;&#xA;" OwnerUserId="5347" LastEditorUserId="5347" LastEditDate="2016-04-22T00:29:58.313" LastActivityDate="2016-05-23T07:00:07.603" Title="Best way to trim and save an existing mp4" Tags="|mp4|compression|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18211" PostTypeId="2" ParentId="18210" CreationDate="2016-04-20T12:09:16.027" Score="1" Body="&lt;p&gt;You can use &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool, to do this&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Without recompression&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 02:45 -t 03:05 -i orig.mp4 -c copy -map 0 -avoid_negative_ts make_zero cut.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will copy a 3m 5s portion of the original MP4, starting at 2m 45s. Since the codec of the video stream in a MP4 usually uses temporal compression, the cutpoints may not be exact and some frames before and after may be included in the trimmed file. Since there's no recompression, quality is identical to the original.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;With recompression&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 02:45 -t 03:05 -i orig.mp4 -c:v libx264 -crf 20 -c:a aac -b:a 128k -map 0 cut.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will precisely cut the specified portion but will recompress the content. The &lt;code&gt;crf&lt;/code&gt; value controls the video quality - smaller value produces better quality but a larger file. The &lt;code&gt;b:a&lt;/code&gt; sets the bitrate of the audio output.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-04-20T12:09:16.027" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="18213" PostTypeId="1" CreationDate="2016-04-21T09:11:49.030" Score="2" ViewCount="2006" Body="&lt;p&gt;I am currently using ffmpeg to segment/transcode a longer transport stream into HLS with 10s segments. Now I want to grab the second segment from the following section:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#EXTINF:10.041667,&#xA;bbb_fhd_50s_000.ts&#xA;#EXTINF:10.041667,&#xA;bbb_fhd_50s_001.ts&#xA;#EXTINF:9.666667,&#xA;bbb_fhd_50s_002.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and split that into two chunks at 3s, result would look like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#EXTINF:10.041667,&#xA;bbb_fhd_50s_000.ts&#xA;#EXTINF:3.008000,&#xA;bbb_fhd_50s_001_cut1.ts&#xA;#EXTINF:7.104000,&#xA;bbb_fhd_50s_001_cut2.ts&#xA;#EXTINF:9.666667,&#xA;bbb_fhd_50s_002.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now, I got this to work using the following commands:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i bbb_fhd_50s_001.ts -ss 00:00:00.0 -c copy -t 00:00:03.0 bbb_fhd_50s_001_cut1.ts&#xA;ffmpeg -i bbb_fhd_50s_001.ts -ss 00:00:03.0 -c copy bbb_fhd_50s_001_cut2.ts&#xA;ffprobe -v error -show_entries format=duration   -of default=noprint_wrappers=1:nokey=1 -sexagesimal bbb_fhd_50s_001_cut1.ts&#xA;ffprobe -v error -show_entries format=duration   -of default=noprint_wrappers=1:nokey=1 -sexagesimal bbb_fhd_50s_001_cut2.ts &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now when playing back the new m3u8 the transition between bbb_fhd_50s_000.ts and bbb_fhd_50s_001_cut1.ts works smoothly, but the transition back to the next uncut segment does not (from bbb_fhd_50s_001_cut2.ts to bbb_fhd_50s_002.ts). The video hangs for a couple of seconds after bbb_fhd_50s_001_cut2.ts has finished after which it continues. If I run the following sequence it works fine as well:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#EXTINF:10.041667,&#xA;bbb_fhd_50s_000.ts&#xA;#EXTINF:9.666667,&#xA;bbb_fhd_50s_002.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Anyone got any idea what goes wrong at the ending of bbb_fhd_50s_001_cut2.ts, and how to cut it correctly?&lt;/p&gt;&#xA;" OwnerUserId="14403" LastActivityDate="2016-08-14T18:58:03.927" Title="Split HLS TS segment at specific timestamp" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18216" PostTypeId="2" ParentId="10730" CreationDate="2016-04-21T17:51:44.440" Score="1" Body="&lt;p&gt;Do you have a &lt;a href=&quot;https://en.wikipedia.org/wiki/M3U&quot; rel=&quot;nofollow&quot;&gt;&lt;code&gt;m3u8&lt;/code&gt;&lt;/a&gt; file? If so, I assume you can just do &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i indexfile.m3u8 -acodec copy -vcodec copy output.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You could also convert it directly into the mp4 container:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i indexfile.m3u8 -acodec copy -vcodec copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11645" LastActivityDate="2016-04-21T17:51:44.440" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18218" PostTypeId="1" AcceptedAnswerId="18223" CreationDate="2016-04-21T20:00:56.033" Score="1" ViewCount="283" Body="&lt;p&gt;I'm looking for some information (note: not a product recommendation) for getting better audio when using a DSLR. Generally, the built-in microphones on DSLRs leave a lot to be desired, so professionals will have a separate sound guy who holds a boom mic or sets up subjects with lavalier microphones or something like that. Let's assume that neither of those are options - I'm just a guy with a camera that likes shooting videos, but I don't like the way the audio sounds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to enumerate my possibilities in terms of getting better audio. I've only come across two so far, with some of the pros and cons I've determined, purely from research. Please let me know what you think, if I've misunderstood or overlooked something.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Improved mic on the camera, recording into camera&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Shotgun mic can be placed on top of the camera shoe, with a 3.5mm jack recording directly in to the video file on the camera's memory card&lt;/li&gt;&#xA;&lt;li&gt;Pros: Super easy, no constant set up, possibly adjusting levels on the mic if that's an option it offers. Audio is already synced up.&lt;/li&gt;&#xA;&lt;li&gt;Cons: Only one audio source (it replaces the camera's source), mic requires its own batteries (won't pull from the camera's battery)&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Improved mic on camera, recording to a separate source&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Same idea, put a microphone on the camera's shoe, but either record to an SD card inside the microphone, or buy a separate audio recorder&lt;/li&gt;&#xA;&lt;li&gt;Pros: Multiple audio sources, more control over audio with the second recorder&lt;/li&gt;&#xA;&lt;li&gt;Cons: Lots of gear to manage, lots of batteries to manage, have to hit record in two places as opposed to one and then sync up the audio in post&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm leaning towards the first option purely because it's easier. What do you think? Is there another method to getting better audio?&lt;/p&gt;&#xA;" OwnerUserId="14413" LastActivityDate="2016-04-22T01:53:04.843" Title="Easiest workflow to get better audio when using a DSLR" Tags="|audio|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18219" PostTypeId="1" CreationDate="2016-04-21T21:23:47.987" Score="1" ViewCount="92" Body="&lt;p&gt;A project I am working on requires me to obscure some body parts, currently I have been using masks in premiere pro to achieve this but its a bit rough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what I have is a video of someone running, I want to selectively hide/disappear say their legs, or arms whilst they are running but leaving the background intact. The quality of the graphic isn't great but will hopefully be good enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering if someone could point me in the direction of a couple of good tutorials on the best way to achieve this..I am by no means a graphic designer or video editor but this has fallen to me because &quot;I know computers&quot;...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've watched a couple of vids but they weren't really what I was after so if someone has a tut where moving parts of a subject in the foreground can be hidden I'd greatly appreciate the help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Feel free to suggest any other tips too :) !!&lt;/p&gt;&#xA;" OwnerUserId="14414" LastActivityDate="2016-04-28T13:23:24.113" Title="rotoscoping moving limbs" Tags="|after-effects|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18220" PostTypeId="1" AcceptedAnswerId="18226" CreationDate="2016-04-21T22:40:23.413" Score="57" ViewCount="175726" Body="&lt;p&gt;It happened me many times that I could end up in corrupted video files:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;video downloaded from official sources but with torrent and for some reason not all the pieces are there in .mkv, .ts or .mp4&lt;/li&gt;&#xA;&lt;li&gt;records in .ts format where at a certain point the data is missing&lt;/li&gt;&#xA;&lt;li&gt;copied videos from an old hard drive with damaged sectors&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;When I play this videos with VLC or other players they plays till a certain point and then instantly exits. Sometimes I can try to skip the bad part but I could meet another bad sector and have an insta-quit again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Question is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I fix this problems (I suppose stream and keyframes related) with ffmpeg and maybe in a -c copy fashion so I haven't to recompress everything?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want to achieve is a full lenght video where the missing parts are skipped, I prefer a glitch rather than having my videos crash.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2020-07-13T16:26:28.450" Title="Fix bad files and streams with ffmpeg so VLC and other players would not crash" Tags="|ffmpeg|h.264|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18221" PostTypeId="2" ParentId="18220" CreationDate="2016-04-21T23:34:15.213" Score="7" Body="&lt;p&gt;In the search of a better answer a possible way could be:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mkv -c copy video_fixed.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However I'm pretty sure there are some extra options that can make the result even better..&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2016-04-21T23:34:15.213" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18223" PostTypeId="2" ParentId="18218" CreationDate="2016-04-22T01:14:20.200" Score="1" Body="&lt;p&gt;Depending on the level of quality you want to operate at, these two recording options you mentioned are pretty much it: record externally or internally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason to record externally are more than you mention, I.e if shooting an interview, you can leave the sound running but turn off the camera for the moments that are not so interesting. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, the &quot;cons&quot; are not so big: syncing can be done by audio fingerprinting automatically in premiere or using an external software like pluraleyes. You can even record smpte timecode with a device like tentaclesync and synchronize audio and video automatically by timecode. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally you will often encounter situations where it is desirable that the microphone is not tethered to the camera, I.e. When shooting a distant wide shot but wanting the mic to be closer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, dlsr cameras internal recording quality is not great in comparison to a proper sound recorder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While the other cons you mentioned of &quot;dual sound&quot; recordings are valid, I think it is something you will get used to pretty quickly. So, waging your options I think you have to decide between slightly more work but better sound and less work but worse sound.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-04-22T01:20:22.383" LastActivityDate="2016-04-22T01:20:22.383" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="18224" PostTypeId="2" ParentId="18210" CreationDate="2016-04-22T01:27:18.080" Score="0" Body="&lt;p&gt;You can also use MPEG Streamclip for simple editing tasks like that. Just open your file, set in and out point and export again.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-04-22T01:27:18.080" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="18225" PostTypeId="2" ParentId="18218" CreationDate="2016-04-22T01:53:04.843" Score="2" Body="&lt;p&gt;Imagine using a point-and-shoot camera where you point the camera at something but instead of actually looking through the viewfinder, you only pay attention to whether or not you see an exposure warning light.  You don't validate focus.  You don't validate composition.  You only validate that the sensor is receiving signal not blocked by the lens cap.  That is kinda how people treat audio, whether using internal microphones or shotguns strapped on to their cameras.  When they listen, rather than just looking at the meters, they are still mostly validating that signal is passing through the microphone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you can learn by listening to the microphone as carefully as you might look at framing, composition, balance, focus, perspective, etc., is that many audio environments are a mess.  Many audio environments mess up sounds that can only be recognized/understood because we have a really good stereo imaging system (our ears) and a very powerful noise rejection / signal enhancement system (our brain).  Randomly locating a microphone in such an environment can sufficiently compromise the signal that our ears and our brain cannot properly (or will not happily) decode it.  The solution to that problem is to place the microphone where it is not overwhelmed with flutter echo, modal resonances and cancellations, etc.  Usually, that means placing the microphone 3x closer to the source than to any source of confusion, which means keeping it within 6&quot;-36&quot; of the source source (depending on microphone type, source type, room behavior, etc).  The reason that pro sound guys boom their mics is because there is absolutely no substitute for putting the microphone in the right place.  The reason they use $1000 microphones is because if you are going to go to the trouble of getting good sound, you might as well get excellent sound.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is essentially no microphone you can buy and attach to your camera that will give you good sound in a variety of circumstances.  There are many mics you can buy and attach to your camera that will give you good sound in one particular circumstance: your talent is approximately 2' in front of the camera, and there's no terrible acoustically reflective surface too close to either the talent or the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DSLRs often add insult to injury by also having poor quality preamps that compromise both good and poor microphone outputs.  But the most important factor in audio quality is location, then an appropriate microphone type (omni, cardiod, super-cardiod, figure-8, etc) for the location, then the quality of implementation of that microphone, then the quality of implementation of the preamp and finally the digital recording format.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-04-22T01:53:04.843" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18226" PostTypeId="2" ParentId="18220" CreationDate="2016-04-22T05:39:06.470" Score="64" Body="&lt;p&gt;If parts of the file reside on physically bad sectors, or for whatever reason, the OS cannot serve the whole file to FFmpeg, then naturally FFmpeg can't do anything about that. You should get a utility which can ignore those portions and write the salvageable parts to a new file, like &lt;a href=&quot;http://www.gnu.org/software/ddrescue/ddrescue.html&quot; rel=&quot;noreferrer&quot;&gt;ddrescue&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, if the file protocol is not the cause of errors, you can try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -err_detect ignore_err -i video.mkv -c copy video_fixed.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-04-22T05:39:06.470" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="18227" PostTypeId="1" AcceptedAnswerId="18228" CreationDate="2016-04-22T08:02:17.897" Score="6" ViewCount="8965" Body="&lt;p&gt;Is it possible to remove certain information form a MP4 file? Specifically things like tagging and encoding dates, Writing library and application, Encoding settings... No client needs to know when I encoded something or what software and settings I've used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My only guess was to remux the file with ffmpeg, but that only gets rid of the dates and replaces the writing application info with the more generic Lavf.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm on Windows, btw, but MacOS and Linux (Ubuntu) would work as well.&lt;/p&gt;&#xA;" OwnerUserId="9291" LastEditorUserId="1871" LastEditDate="2016-04-22T10:25:11.270" LastActivityDate="2019-05-13T12:53:54.607" Title="Removing MP4 encoding information" Tags="|ffmpeg|encoding|mp4|x264|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18228" PostTypeId="2" ParentId="18227" CreationDate="2016-04-22T10:24:09.247" Score="6" Body="&lt;p&gt;Regular ffmpeg won't do this. You'll need a combination of two tools to carry this out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#1&lt;/strong&gt; Use &lt;a href=&quot;https://sourceforge.net/projects/direct264/files/Related%20Programs/&quot; rel=&quot;noreferrer&quot;&gt;ffmpeg&lt;/a&gt; from direct264, a modded version of an old ffmpeg build with a custom filter to modify H264 bitstreams. This build is crippled in most other ways, so rename it or don't put it in your path.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vcodec copy -acodec copy -vbsf h264_changesps=removesei -map_metadata -1 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#2&lt;/strong&gt; Use mp4box from the &lt;a href=&quot;https://gpac.wp.mines-telecom.fr/downloads/&quot; rel=&quot;noreferrer&quot;&gt;GPAC&lt;/a&gt; suite to strip the writing application metadata&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4box -add out.mp4 -new stripped.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-04-22T10:24:09.247" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18229" PostTypeId="1" AcceptedAnswerId="18230" CreationDate="2016-04-22T21:38:14.533" Score="0" ViewCount="134" Body="&lt;p&gt;Having some trouble with video playback. Was wondering if anyone has settings suggestions to help solve the problem. Just trying to play the project in premiere lags even with the resolution downgraded. Any suggestions would be great.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Computer specs:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Intel Core i7-5820K running @ 4,124 MHz, logical processors 12&lt;/li&gt;&#xA;&lt;li&gt;2x GeForce GTX 980 cards 4,096 MB in SLI   &lt;/li&gt;&#xA;&lt;li&gt;Memory 32,768 MB @ 2,332 MHz&lt;/li&gt;&#xA;&lt;li&gt;64-bit Windows 10 &lt;/li&gt;&#xA;&lt;li&gt;M.2 512GB&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Video files: 60 fps @ 4096x2048 uncompressed &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nothing spikes, memory runs low and has about 28.9 gigs allocated, processors run low, video cards run low in mem and processors, using mercury. I'm guessing it's some settings that are causing it. I know I'm not using a quarto card which has better drivers for this type if thing ( video drivers are updated ).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any advice is appreciated,&#xA;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="14419" LastActivityDate="2016-04-23T01:31:13.717" Title="adobe premiere playback lag" Tags="|premiere|playback|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18230" PostTypeId="2" ParentId="18229" CreationDate="2016-04-23T01:31:13.717" Score="0" Body="&lt;p&gt;Uncompressed 4K video at 60fps requires your playback system to deliver approximately 2GB/sec (or more than 15 Gbps).  You can use Blackmagic Design's Disk Speed Test (part of the Desktop Video bundle you can find &lt;a href=&quot;https://www.blackmagicdesign.com/support/family/capture-and-playback&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;) to see whether your system meets this criteria.  If it does not, then you'll need to compress your video until you have a bitrate that your IO system can actually support.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-04-23T01:31:13.717" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18231" PostTypeId="2" ParentId="18210" CreationDate="2016-04-23T04:19:18.627" Score="0" Body="&lt;p&gt;Yes, use MPEG streamclip! You can set your in and out by using the I and O keys and export to many different codecs. The website is &lt;a href=&quot;http://www.squared5.com&quot; rel=&quot;nofollow&quot;&gt;http://www.squared5.com&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been using it professionally for years.&lt;/p&gt;&#xA;" OwnerUserId="14421" LastActivityDate="2016-04-23T04:19:18.627" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18232" PostTypeId="2" ParentId="17708" CreationDate="2016-04-23T04:26:40.507" Score="1" Body="&lt;p&gt;H.264 (and the soon-to-be popularized H.265) is highly compressed which means your computer needs to work harder to work with it. ProRes, even though the files are larger, will allow for a smoother editing experience.&lt;/p&gt;&#xA;" OwnerUserId="14421" LastActivityDate="2016-04-23T04:26:40.507" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18233" PostTypeId="2" ParentId="17895" CreationDate="2016-04-23T04:32:27.493" Score="0" Body="&lt;p&gt;You can't reach a URL from either. And Blu-ray is always better than DVD given the fact the DVD is by nature Standard Definition. Why not just produce digital files?&lt;/p&gt;&#xA;" OwnerUserId="14421" LastActivityDate="2016-04-23T04:32:27.493" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18234" PostTypeId="2" ParentId="15073" CreationDate="2016-04-23T04:40:12.867" Score="0" Body="&lt;p&gt;Yes, I too think you need to refine your question. What platform are you steaming to? YouTube and Facebook Live are free and popular. Wirecast software can push to those endpoints with the sleekness of a Mac OS interface. In terms of hardware needed to recognize/encode HD feeds (e.g. HDMI or SDI) you need something as simple as a Black Magic mini recorder (or any BM device for that matter) for a single or premixed feed. The rest is is up to the power of the computer CPU and Internet bandwidth. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope I helped.&lt;/p&gt;&#xA;" OwnerUserId="14421" LastActivityDate="2016-04-23T04:40:12.867" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18235" PostTypeId="2" ParentId="18102" CreationDate="2016-04-23T04:45:36.940" Score="1" Body="&lt;p&gt;I routinely upload videos of an hour or more to YouTube and Vimeo and have found that although FCPX is my editor of choice, it can't handle web uploads as easily as you would hope. For our long shows, it has been proven easier to export a master ProRes file for archiving purposes and then dropping that file into Adobe Media Encoder for further processing. Not only is it faster, you end up with a manageable file size that will look just as good as your 4.5 GB file at a fraction of the size. It will also upload much faster.&lt;/p&gt;&#xA;" OwnerUserId="14421" LastActivityDate="2016-04-23T04:45:36.940" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18236" PostTypeId="1" CreationDate="2016-04-24T01:36:57.870" Score="1" ViewCount="37" Body="&lt;p&gt;Let's say I own a TV channel and I voluntarily play a commercial between my shows, like a Coca-Cola ad, without asking or making an advertising deal. Assuming I made a notice that they don't endorse me, could/would I be sued?&lt;/p&gt;&#xA;" OwnerUserId="14423" LastActivityDate="2016-04-24T01:36:57.870" Title="Copyright laws about commercials" Tags="|copyright|" AnswerCount="0" CommentCount="5" ClosedDate="2016-04-24T04:22:39.930" ContentLicense="CC BY-SA 3.0" />
  <row Id="18238" PostTypeId="1" AcceptedAnswerId="18242" CreationDate="2016-04-24T08:33:11.783" Score="2" ViewCount="2973" Body="&lt;p&gt;I'm newbie in After Effects. I've learned how to control slider from expressions. Now I need to get value of slider in script (jsx/extendscript). How can I achieve that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried (in *.jsx): &lt;code&gt;var a = comp.layer(&quot;Slider 1&quot;).effect(&quot;Slider Control&quot;)(&quot;Slider&quot;)[0];&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Result: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;After Effects error: Unable to call &quot;setValue&quot; because of parameter 1.&#xA;  Value &quot;NaN&quot; of element 0 in the array is not a valid float.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It means that value of slider is not set yet?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var slider = comp.layers.addNull();&#xA;slider.name = &quot;Slider&quot;;&#xA;slider.effect.addProperty(&quot;ADBE Slider Control&quot;)(&quot;Slider&quot;);&#xA;slider.effect(&quot;Slider Control&quot;).property(&quot;Slider&quot;).setValue(100);&#xA;&#xA;var a = slider.effect(&quot;Slider Control&quot;).property(&quot;Slider&quot;);&#xA;var titleTriangle = comp.layers.addShape();&#xA;titleTriangle.name = (&quot;Title Triangle&quot;);&#xA;var titleTriangleGroup = titleTriangle.property(&quot;Contents&quot;).addProperty(&quot;ADBE Vector Group&quot;);&#xA;var titleTriangleFill= titleTriangleGroup.property(&quot;Contents&quot;).addProperty(&quot;ADBE Vector Graphic - Fill&quot;);&#xA;titleTriangleFill.property(&quot;Color&quot;).setValue([0.68,0.29,0.29,1]);&#xA;&#xA;// using 'a' here&#xA;titleTriangle.property(&quot;Position&quot;).setValue([a,188]);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14427" LastEditorUserId="14427" LastEditDate="2016-04-24T14:37:37.520" LastActivityDate="2016-04-25T07:58:44.903" Title="After Effects: controlling slider in ExtendScript" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18239" PostTypeId="1" CreationDate="2016-04-24T19:35:43.913" Score="4" ViewCount="20160" Body="&lt;p&gt;I'm trying to change my blending mode on After Effects CC 2015, but I have no options on certain layers. Only 2 of my layers have options to change the blending mode. How do I change it so all of my layers have that option?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Natasha&lt;a href=&quot;https://i.stack.imgur.com/7LDl3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7LDl3.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14432" LastActivityDate="2024-01-25T22:00:25.117" Title="Blending Mode Options Missing After Effects" Tags="|after-effects|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18241" PostTypeId="2" ParentId="17749" CreationDate="2016-04-25T05:10:54.663" Score="0" Body="&lt;p&gt;Ok this is pretty theoretical since I haven't tried it, but I think it's fairly easy to do this in AE only, using the sampleimage Function and expressions . You basically scan the &quot;original&quot; image line by line and for every samplepoint you create a dot in a random size but same color as the sample point as a spacial representation of that sample point. Depending on the size, you move it backwards on the z-axis to give the impression of an even size from the starting perspective. Then you just start moving the camera through the &quot;dot field&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.motionscript.com/design-guide/obscuration.html&quot; rel=&quot;nofollow&quot;&gt;http://www.motionscript.com/design-guide/obscuration.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="13978" LastEditorUserId="13978" LastEditDate="2016-04-25T05:23:11.970" LastActivityDate="2016-04-25T05:23:11.970" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18242" PostTypeId="2" ParentId="18238" CreationDate="2016-04-25T07:58:44.903" Score="3" Body="&lt;p&gt;I found out - &lt;strong&gt;.value&lt;/strong&gt; after slider.effect(&quot;Slider Control&quot;).property(&quot;Slider&quot;) and it works.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var a = slider.effect(&quot;Slider Control&quot;).property(&quot;Slider&quot;).value&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14427" LastActivityDate="2016-04-25T07:58:44.903" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18243" PostTypeId="1" AcceptedAnswerId="18244" CreationDate="2016-04-25T20:53:05.283" Score="1" ViewCount="1927" Body="&lt;p&gt;I have created a FCPx project that is by default 1920 x 1080 however i have some video sources that are 1440 x 1080 the problem becomes when i import the video into the timeline and it stretches the 1440 to 1920 distorting it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;it's similar to this example &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/l8q8cnnUeY0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; but even in this video it doesn't seem to fix the issue of the video being stretched.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;how do i prevent such a thing in FCPx it does seem to not stretch it if the video isn't 1080..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks.&lt;/p&gt;&#xA;" OwnerUserId="14443" LastActivityDate="2016-04-25T21:58:44.003" Title="final cut pro x - 1440 x 1080 prevent video stretched to fill in timeline" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18244" PostTypeId="2" ParentId="18243" CreationDate="2016-04-25T21:58:44.003" Score="1" Body="&lt;p&gt;I did a test for you and Larry is right ... Normally if the footage or file was anything other than 1440x1080, all you would need to do it set your Spatial Conform to none. However, in this instance FCPX is forcing a size based on the magic 1440 number. To correct this, select your clip and click the drill down triangle under scale in transform. Change just the X: scale to 75% because 1440 is 75% of 1920. That should do it!&lt;/p&gt;&#xA;" OwnerUserId="14421" LastActivityDate="2016-04-25T21:58:44.003" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18245" PostTypeId="2" ParentId="15080" CreationDate="2016-04-25T23:55:14.593" Score="3" Body="&lt;p&gt;You can also use &lt;code&gt;qtfaststart -l fileName&lt;/code&gt; which outputs something more human readable like :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ qtfaststart -l myFile.mp4&#xA;ftyp (32 bytes)&#xA;free (8 bytes)&#xA;mdat (283805466 bytes)&#xA;moov (3541465 bytes)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The Python &lt;code&gt;qtfaststart&lt;/code&gt; is different from the &lt;code&gt;qt-faststart&lt;/code&gt; binary (bundled with &lt;code&gt;ffmpeg&lt;/code&gt;)  and can be installed using this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;sudo -H $(which pip) install qtfaststart&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;qtfaststart&lt;/code&gt; command line arguments :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ qtfaststart -h&#xA;Usage: qtfaststart [options] infile [outfile]&#xA;&#xA;Options:&#xA;  --version     show program's version number and exit&#xA;  -h, --help    show this help message and exit&#xA;  -d, --debug   Enable debug output&#xA;  -l, --list    List top level atoms&#xA;  -s, --sample  Create a small sample of the input file&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;qtfaststart&lt;/code&gt; sources are &lt;a href=&quot;https://github.com/danielgtaylor/qtfaststart&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14444" LastEditorUserId="14444" LastEditDate="2019-10-23T11:52:40.857" LastActivityDate="2019-10-23T11:52:40.857" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="18247" PostTypeId="1" AcceptedAnswerId="18256" CreationDate="2016-04-26T14:57:52.387" Score="5" ViewCount="10555" Body="&lt;p&gt;I have big videos with different types of properties and trying to collect some part of these videos by ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use this command to cut specific parts:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;scale video &amp;gt;&amp;gt; scale png &amp;gt;&amp;gt; pad scaled_video &amp;gt;&amp;gt; add icon to padded_scaled_video &amp;gt;&amp;gt; encode.&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg.StartInfo.Arguments = @&quot;/c ffmpeg.exe -i &quot; + VideoIn + &quot; -i &quot; +&#xA;  imageIn + &quot; -filter_complex \&quot;[0:v]&#xA;  scale='if(gt(a,6/4),480,-2)':'if(gt(a,6/4),-2,320)' [scaledv], [1:v]&#xA;  scale=iw*.5:ih*.5 [scaledicon], [scaledv]&#xA;  pad=480:320:(ow-iw)/2:(oh-ih)/2:black [scaledpaddedv],&#xA;  [scaledpaddedv][scaledicon] overlay=25:25,setsar=1:1 [finalv]\&quot; -map&#xA;  \&quot;[finalv]\&quot; -map 0:a&quot; + &quot; -ss &quot; + startCut.ToString() + &quot; -c:v&#xA;  libx264 -preset slow -crf 20 -c:a aac -t &quot; + duration.ToString() + &quot; &quot;&#xA;  + VideoOut + &quot; -y -report&quot;;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Which works perfectly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and then try to merge these videos with this command:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg.StartInfo.Arguments = &quot;/c ffmpeg.exe -f concat -safe 0 -i \&quot;&quot; +&#xA;  concatTextDirectory + &quot;\&quot; -c copy -vf \&quot;subtitles=\\'&quot; + videoInSrt +&#xA;  &quot;\\':force_style='FontName=DejaVu Serif,FontSize=26'\&quot; -c:v libx264&#xA;  -preset slow -crf 20 -c:a aac &quot; + videoOut + &quot; -y -report&quot;;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Which again works ok if cutted video parts are from the same type of video, and if they aren't there will be no video and only audio or jittery video on non-similar video parts.&#xA;The first cutted video part is dominant on other parts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Question is most of the time video parts are not from the same video type and output is not playable. How could I cut video parts to be similar in properties to work without problem on concatenation part?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is &lt;code&gt;-report&lt;/code&gt; log output:&#xA;&lt;a href=&quot;https://drive.google.com/open?id=0B_kWzdnSIxuQY09QWWZGVTBPdHM&quot; rel=&quot;noreferrer&quot;&gt;https://drive.google.com/open?id=0B_kWzdnSIxuQY09QWWZGVTBPdHM&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10894" LastEditorUserId="10894" LastEditDate="2016-04-26T15:18:03.847" LastActivityDate="2021-08-12T10:11:55.100" Title="FFMpeg concat demuxer corrupted output (freezed video on some concatenated parts)" Tags="|video|ffmpeg|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18248" PostTypeId="1" AcceptedAnswerId="18258" CreationDate="2016-04-26T18:06:23.073" Score="0" ViewCount="64" Body="&lt;p&gt;I'm working on a technical video (in Premiere Pro) describing some work we've done in an academic setting, akin to a presentation one might give at a conference. There are recorded video elements that I'd like to overlay with animated diagrams describing how things work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What's the best way to achieve this kind of thing?&lt;/strong&gt; I ran across a &lt;a href=&quot;https://www.youtube.com/watch?v=UT6-3z1Mvzw&quot; rel=&quot;nofollow&quot;&gt;video tutorial&lt;/a&gt; that creates a simple animation using the title creation features of Premiere Pro, but that seems like the wrong tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've got an active CC membership to work with. Maybe I could create a diagram and animation in Animate (previously Flash) and export it as a video, with alpha channel, to overlay. I have limited experience with Flash from years ago. I assume After Effects can do this sort of thing, but I've never worked with it myself. I'm very comfortable in Photoshop and Illustrator since most of my work in CC involves photography and still technical drawing/writing.&lt;/p&gt;&#xA;" OwnerUserId="14452" LastActivityDate="2016-04-27T11:52:36.737" Title="What is the most appropriate approach/tool in the Adobe CC suite for creating animated diagrams for use in a technical video?" Tags="|premiere|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18249" PostTypeId="1" CreationDate="2016-04-26T19:45:19.223" Score="0" ViewCount="54" Body="&lt;p&gt;I have made a sequence on adobe premier. One of the clips I have stretched using the stretch rate tool and another I have compressed using the same tool.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have made sure the clips are video blended. However when I render the sequence into a QuickTime movie the clips I've slowed down and speed up are green and damaged. Does anyone please know why this is and how I can fix it? Many thanks &lt;/p&gt;&#xA;" OwnerUserId="14453" LastActivityDate="2016-04-27T07:50:59.210" Title="rate stretch tool on premier" Tags="|premiere|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18250" PostTypeId="2" ParentId="18249" CreationDate="2016-04-26T22:35:29.663" Score="-1" Body="&lt;p&gt;Probably you forgot to change framerate of composition.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-04-26T22:35:29.663" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18251" PostTypeId="1" AcceptedAnswerId="18253" CreationDate="2016-04-27T00:28:22.520" Score="5" ViewCount="43441" Body="&lt;p&gt;Can someone point me at a description of the difference between a 3G-A SDI signal and a 3G-B SDI signal.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a rack with a BlackMagic ATEM 2 M/E Production Studio 4K and a bank of 3 SWT Pro-HD monitors.  The ATEM is set up to run 1080p59.94. The monitors show &quot;No-sync&quot; when fed from the Aux outputs of the ATEM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I insert a Decimator MD-HX between the Aux output and the monitor's SDI input, it shows the SDI input to the MD-HX running 3G-B 1920x1080p59.94.&#xA;The SDI output of the MD-HX is switchable between 3G-A SDI and 3G-B SDI. Switching he output to 3G-A makes the signal appear on the monitor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem does not appear if I run the ATEM at 720p59.94.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wikipedia's article on SDI does not mention the A and B variants of SDI.&lt;/p&gt;&#xA;" OwnerUserId="10484" LastActivityDate="2016-04-27T05:35:41.637" Title="What's the difference between 3G-A SDI and 3G-B SDI?" Tags="|sdi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18252" PostTypeId="2" ParentId="13095" CreationDate="2016-04-27T02:00:55.100" Score="7" Body="&lt;p&gt;To find the pixel dimensions of a layer in AE,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hit 's' that brings up scale,&#xA;then right-click Scale to bring up the &lt;strong&gt;Edit-Value&lt;/strong&gt; dialog,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GadoM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GadoM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;then set &lt;strong&gt;units&lt;/strong&gt; to &lt;strong&gt;pixels&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EPynd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EPynd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5347" LastEditorUserId="5347" LastEditDate="2016-05-02T12:43:49.463" LastActivityDate="2016-05-02T12:43:49.463" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18253" PostTypeId="2" ParentId="18251" CreationDate="2016-04-27T05:35:41.637" Score="3" Body="&lt;p&gt;Wikipedia does &lt;a href=&quot;https://en.wikipedia.org/wiki/SMPTE_424M&quot; rel=&quot;nofollow&quot;&gt;mention&lt;/a&gt; it - with a reference &lt;a href=&quot;https://tech.ebu.ch/docs/techreports/tr002.pdf&quot; rel=&quot;nofollow&quot;&gt;link&lt;/a&gt; included:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Within this standard there are three formats known as Level A, Level B&#xA;  Dual Link (B-DL) and Level B Dual Stream (B-DS). The Level A format is&#xA;  the direct mapping of uncompressed 1080p (up to 60 fps) video into a&#xA;  serial digital interface at the nominal 3 Gbit/s. The Level B-DL&#xA;  format is the mapping of dual-link HD-SDI/SMPTE 372M (i.e.: 1080p up&#xA;  to 60 fps) in a single serial digital interface at the nominal 3&#xA;  Gbit/s. The Level B-DS format is the dual-stream carriage of two&#xA;  independent HD-SDI/SMPTE 292M signals (720p up to 60 fps or&#xA;  1080i/1080p up to 30 fps) in a single serial digital interface at the&#xA;  nominal 3 Gbit/s&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The PDF reference has the descriptions starting on pg. 17.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-04-27T05:35:41.637" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18254" PostTypeId="1" AcceptedAnswerId="18282" CreationDate="2016-04-27T07:47:05.760" Score="-3" ViewCount="1809" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4GiMt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4GiMt.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt; I wanna to create professional videos for upload to YouTube at 1080p, but after installing Windows 10 I can't install Premiere Pro CS6.  I get warning icons and the option to install Premiere is greyed out.  How can I get around this error and get Premiere to install?&lt;/p&gt;&#xA;" OwnerUserId="14457" LastEditorUserId="2836" LastEditDate="2016-04-29T15:06:31.880" LastActivityDate="2016-04-30T13:45:10.393" Title="Premiere Pro CS6 Won't Install on Windows 10" Tags="|premiere|software|cs6|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18256" PostTypeId="2" ParentId="18247" CreationDate="2016-04-27T09:51:06.140" Score="0" Body="&lt;p&gt;End up using filters as this answer guides &gt;&gt; &lt;a href=&quot;https://video.stackexchange.com/a/15479/10894&quot;&gt;https://video.stackexchange.com/a/15479/10894&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.StartInfo.Arguments = &quot;/c ffmpeg.exe -i C:\\Users\\mtst\\Desktop\\Clips\\h\\a1.mp4 -i C:\\Users\\mtst\\Desktop\\Clips\\h\\a2.mp4 -i C:\\Users\\mtst\\Desktop\\Clips\\h\\a3.mp4 -filter_complex \&quot;[0:v]setpts=PTS-STARTPTS[v0]; [0:a]asetpts=PTS-STARTPTS[a0]; [1:v]setpts=PTS-STARTPTS[v1]; [1:a]asetpts=PTS-STARTPTS[a1]; [2:v]setpts=PTS-STARTPTS[v2]; [2:a]asetpts=PTS-STARTPTS[a2]; [v0][a0][v1][a1][v2][a2]concat=n=3:v=1:a=1[v][a]\&quot; -map \&quot;[v]\&quot; -map \&quot;[a]\&quot; -c:v libx264 -preset slow -crf 20 -c:a aac &quot; + videoOut + &quot; -y -report&quot;;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10894" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-04-27T09:51:06.140" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18257" PostTypeId="1" CreationDate="2016-04-27T11:09:05.397" Score="0" ViewCount="1329" Body="&lt;p&gt;I have an app which records mp4. Some videos are fine and some corrupt. But even the corrupt ones are huge in size which I conclude have data.However, I have tried ffmpg, avconv and media info. I am pasting media info from both working and corr ones. How do I recover the corrupt video ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Possible solution&lt;/strong&gt;:&#xA;I found this webpage (look at the Incomplete files - or not finalised  section). I am guessing this is one of the issues that while recording my phone would have died ? Anyway to recover this ? If you notice in the ffmpeg output &lt;strong&gt;only&lt;/strong&gt; for corrupt video that the video stream is &lt;strong&gt;not&lt;/strong&gt; detected.I do not know how to do this on ubuntu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.cnwrecovery.com/html/3gp_recovery.html&quot; rel=&quot;nofollow&quot;&gt;http://www.cnwrecovery.com/html/3gp_recovery.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Corrupt:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mediainfo cor.mp4 &#xA;General&#xA;Complete name                            : cor.mp4&#xA;File size                                : 2.91 MiB&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Working:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mediainfo ../wo1.mp4&#xA;General&#xA;Complete name                            : ../wo1.mp4&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media&#xA;Codec ID                                 : isom&#xA;File size                                : 150 KiB&#xA;Duration                                 : 334ms&#xA;Overall bit rate                         : 3 689 Kbps&#xA;Encoded date                             : UTC 2016-01-12 18:31:21&#xA;Tagged date                              : UTC 2016-01-12 18:31:21&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Baseline@L3.0&#xA;Format settings, CABAC                   : No&#xA;Format settings, ReFrames                : 1 frame&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 334ms&#xA;Bit rate                                 : 3 659 Kbps&#xA;Width                                    : 720 pixels&#xA;Height                                   : 480 pixels&#xA;Display aspect ratio                     : 3:2&#xA;Rotation                                 : 90°&#xA;Frame rate mode                          : Variable&#xA;Frame rate                               : 29.970 fps&#xA;Minimum frame rate                       : 28.911 fps&#xA;Maximum frame rate                       : 31.110 fps&#xA;Standard                                 : NTSC&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.353&#xA;Stream size                              : 149 KiB (99%)&#xA;Title                                    : VideoHandle&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2016-01-12 18:31:21&#xA;Tagged date                              : UTC 2016-01-12 18:31:21&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC&#xA;Format/Info                              : Advanced Audio Codec&#xA;Format profile                           : LC&#xA;Codec ID                                 : 40&#xA;Duration                                 : 320ms&#xA;Source duration                          : 597ms&#xA;Source_Duration_FirstFrame               : 277ms&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 4 125 bps&#xA;Nominal bit rate                         : 128 Kbps&#xA;Channel(s)                               : 2 channels&#xA;Channel positions                        : Front: L R&#xA;Sampling rate                            : 48.0 KHz&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 165 Bytes (0%)&#xA;Source stream size                       : 165 Bytes (0%)&#xA;Title                                    : SoundHandle&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2016-01-12 18:31:21&#xA;Tagged date                              : UTC 2016-01-12 18:31:21&#xA;mdhd_Duration                            : 320&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Working ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ../wo1.mp4&#xA;ffmpeg version 2.5.10-0ubuntu0.15.04.1 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 4.9.2 (Ubuntu 4.9.2-10ubuntu13)&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.15.04.1 --build-suffix=-ffmpeg --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --shlibdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --enable-shared --disable-stripping --enable-avresample --enable-avisynth --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libschroedinger --enable-libshine --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libwavpack --enable-libwebp --enable-libxvid --enable-opengl --enable-x11grab --enable-libdc1394 --enable-libiec61883 --enable-libzvbi --enable-libzmq --enable-frei0r --enable-libvpx --enable-libx264 --enable-libsoxr --enable-gnutls --enable-openal --enable-libopencv --enable-librtmp --enable-libx265&#xA;  libavutil      54. 15.100 / 54. 15.100&#xA;  libavcodec     56. 13.100 / 56. 13.100&#xA;  libavformat    56. 15.102 / 56. 15.102&#xA;  libavdevice    56.  3.100 / 56.  3.100&#xA;  libavfilter     5.  2.103 /  5.  2.103&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '../wo1.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 0&#xA;    compatible_brands: isom3gp4&#xA;    creation_time   : 2016-01-12 18:31:21&#xA;  Duration: 00:00:00.33, start: 0.000000, bitrate: 3688 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Baseline) (avc1 / 0x31637661), yuv420p, 720x480, 3658 kb/s, 29.97 fps, 29.97 tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      rotate          : 90&#xA;      creation_time   : 2016-01-12 18:31:21&#xA;      handler_name    : VideoHandle&#xA;    Side data:&#xA;      displaymatrix: rotation of -90.00 degrees&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 2 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-01-12 18:31:21&#xA;      handler_name    : SoundHandle&#xA;At least one output file must be specified&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Corrupt ffmpeg&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i cor.mp4 &#xA;ffmpeg version 2.5.10-0ubuntu0.15.04.1 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 4.9.2 (Ubuntu 4.9.2-10ubuntu13)&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.15.04.1 --build-suffix=-ffmpeg --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --shlibdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --enable-shared --disable-stripping --enable-avresample --enable-avisynth --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libschroedinger --enable-libshine --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libwavpack --enable-libwebp --enable-libxvid --enable-opengl --enable-x11grab --enable-libdc1394 --enable-libiec61883 --enable-libzvbi --enable-libzmq --enable-frei0r --enable-libvpx --enable-libx264 --enable-libsoxr --enable-gnutls --enable-openal --enable-libopencv --enable-librtmp --enable-libx265&#xA;  libavutil      54. 15.100 / 54. 15.100&#xA;  libavcodec     56. 13.100 / 56. 13.100&#xA;  libavformat    56. 15.102 / 56. 15.102&#xA;  libavdevice    56.  3.100 / 56.  3.100&#xA;  libavfilter     5.  2.103 /  5.  2.103&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;[adp @ 0x16967e0] Format adp detected only with low score of 25, misdetection possible!&#xA;Input #0, adp, from 'cor.mp4':&#xA;  Duration: 00:00:55.61, start: 0.000000, bitrate: 438 kb/s&#xA;    Stream #0:0: Audio: adpcm_dtk, 48000 Hz, stereo, s16p&#xA;At least one output file must be specified&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;&#xA;I will put my progress here as this thread can potentially help someone else also&lt;/p&gt;&#xA;&#xA;&lt;p&gt;201604270700:&#xA;ffmpeg is not able to get the video stream from corrupt file&#xA;figuring out right codec -- look at links&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    ffmpeg -i cor.mp4 -vcodec copy -an -bsf:v h264_mp4toannexb -loglevel 56 test1.h264&#xA;ffmpeg version 2.5.10-0ubuntu0.15.04.1 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 4.9.2 (Ubuntu 4.9.2-10ubuntu13)&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.15.04.1 --build-suffix=-ffmpeg --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --shlibdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --enable-shared --disable-stripping --enable-avresample --enable-avisynth --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libschroedinger --enable-libshine --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libwavpack --enable-libwebp --enable-libxvid --enable-opengl --enable-x11grab --enable-libdc1394 --enable-libiec61883 --enable-libzvbi --enable-libzmq --enable-frei0r --enable-libvpx --enable-libx264 --enable-libsoxr --enable-gnutls --enable-openal --enable-libopencv --enable-librtmp --enable-libx265&#xA;  libavutil      54. 15.100 / 54. 15.100&#xA;  libavcodec     56. 13.100 / 56. 13.100&#xA;  libavformat    56. 15.102 / 56. 15.102&#xA;  libavdevice    56.  3.100 / 56.  3.100&#xA;  libavfilter     5.  2.103 /  5.  2.103&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Splitting the commandline.&#xA;Reading option '-i' ... matched as input file with argument 'cor.mp4'.&#xA;Reading option '-vcodec' ... matched as option 'vcodec' (force video codec ('copy' to copy stream)) with argument 'copy'.&#xA;Reading option '-an' ... matched as option 'an' (disable audio) with argument '1'.&#xA;Reading option '-bsf:v' ... matched as option 'bsf' (A comma-separated list of bitstream filters) with argument 'h264_mp4toannexb'.&#xA;Reading option '-loglevel' ... matched as option 'loglevel' (set logging level) with argument '56'.&#xA;Reading option 'test1.h264' ... matched as output file.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option loglevel (set logging level) with argument 56.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input file cor.mp4.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: cor.mp4.&#xA;[adp @ 0x2672d60] Format adp detected only with low score of 25, misdetection possible!&#xA;[adp @ 0x2672d60] Before avformat_find_stream_info() pos: 0 bytes read:1048576 seeks:0&#xA;[adp @ 0x2672d60] All info found&#xA;[adp @ 0x2672d60] After avformat_find_stream_info() pos: 51200 bytes read:1048576 seeks:0 frames:50&#xA;Input #0, adp, from 'cor.mp4':&#xA;  Duration: 00:00:55.61, start: 0.000000, bitrate: 438 kb/s&#xA;    Stream #0:0, 50, 1/48000: Audio: adpcm_dtk, 48000 Hz, stereo, s16p&#xA;Successfully opened the file.&#xA;Parsing a group of options: output file test1.h264.&#xA;Applying option vcodec (force video codec ('copy' to copy stream)) with argument copy.&#xA;Applying option an (disable audio) with argument 1.&#xA;Applying option bsf:v (A comma-separated list of bitstream filters) with argument h264_mp4toannexb.&#xA;Successfully parsed a group of options.&#xA;Opening an output file: test1.h264.&#xA;File 'test1.h264' already exists. Overwrite ? [y/N] y&#xA;Successfully opened the file.&#xA;Output #0, h264, to 'test1.h264':&#xA;Output file #0 does not contain any stream&#xA;[AVIOContext @ 0x2673da0] Statistics: 0 seeks, 0 writeouts&#xA;[AVIOContext @ 0x2672320] Statistics: 1048576 bytes read, 0 seeks&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14458" LastActivityDate="2016-07-04T14:40:08.317" Title="how to recover corrupt mp4 from samsung note 3" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18258" PostTypeId="2" ParentId="18248" CreationDate="2016-04-27T11:52:36.737" Score="1" Body="&lt;p&gt;After Effects is probably your best bet, as it integrates seamlessly with Premiere and Illustrator. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Create your diagrams in Illustrator, import them into After Effects, and convert them to shape layers. You can then animate them, and add the AE compositions to the Premiere project.&lt;/p&gt;&#xA;" OwnerUserId="8000" LastActivityDate="2016-04-27T11:52:36.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18259" PostTypeId="2" ParentId="18198" CreationDate="2016-04-27T14:25:49.803" Score="2" Body="&lt;p&gt;You could do it with After Effects and scripting. After Effects has a javascript-based API called &lt;a href=&quot;http://www.adobe.com/devnet/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;extendscript&lt;/a&gt; that allows you to programatically create compositions - which can be as complex as you like, using pre-shot and/or generated footage, and effects. Extendscript means that AE can be run from the command line–on a server for instance. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can either write the scripts yourself if your JS skills are good and you don't mind learning the quirks of the API, you could find a developer, or there are 3rd party frameworks that let you automate things like this - the downside is that they are relatively pricey: have a look at &lt;a href=&quot;http://dataclay.com/&quot; rel=&quot;nofollow&quot;&gt;dataclay&lt;/a&gt; for instance. Work out what is the best ROI for you.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-04-27T14:25:49.803" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18260" PostTypeId="1" CreationDate="2016-04-27T19:13:21.757" Score="1" ViewCount="412" Body="&lt;p&gt;I have an .mp4 format video filmed in portrait format, when currently played on any &lt;code&gt;landscape&lt;/code&gt; format device the people appear sideways.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like a sipmle app for either Windows™ or Android OS to only rotate the video so it plays 'portrait format' on any 'landscape format' device, such as a Smart TV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions ?&lt;/p&gt;&#xA;" OwnerUserId="14463" LastActivityDate="2016-04-28T05:17:43.040" Title="App to rotate .mp4 video for Windows or Android" Tags="|video|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18262" PostTypeId="2" ParentId="18260" CreationDate="2016-04-28T05:17:43.040" Score="1" Body="&lt;p&gt;If I've understood you correctly, your video appears upright when viewed in portrait orientation and rotated in landscape. This suggests the image is stored in a landscape matrix but with no rotation tag set. If so, there are two things you can try using &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a free command line tool.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c copy -metadata:s:v rotate=90 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If your landscape devices don't understand or obey the rotation tag,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c copy -vf transpose=2 -c:v libx264 -crf 20 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The 2nd command will re-encode the video portion of your file. CRF controls the quality - lower is better but will produce bigger files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the commands, you may have to switch the &lt;code&gt;90&lt;/code&gt; with &lt;code&gt;-90&lt;/code&gt; and &lt;code&gt;2&lt;/code&gt; with &lt;code&gt;1&lt;/code&gt; depending on how the video was stored.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-04-28T05:17:43.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18263" PostTypeId="1" CreationDate="2016-04-28T05:31:29.930" Score="6" ViewCount="2362" Body="&lt;p&gt;I am a beginner to Adobe After Effects and Sony Vegas Pro, so forgive me for a lack of a better term.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to create an Adobe After Effects composition. I want the composition to be transparent with a blur effect. I want to add this blur effect to be in such a way that upon exporting it to an .avi file, I can add this .avi file to a Sony Vegas Project, and the .avi file will blur any layers underneath it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To illustrate, suppose I have the following Sony Vegas Project:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FMw9d.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FMw9d.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to create an after effects composition such that I can make the image look something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kB98j.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kB98j.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I don't want to render the composition with the image in it. I want to render it as an .avi file such that I can apply the blur effect to &lt;em&gt;any arbitrary image&lt;/em&gt;, or even video files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/aovkH.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aovkH.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible? My intuition tells me no, but I'm asking in case there is a way.&lt;/p&gt;&#xA;" OwnerUserId="14465" LastActivityDate="2016-05-03T06:00:35.667" Title="Is it possible to &quot;Blur a Transparent Background&quot; in Adobe After Effects?" Tags="|after-effects|vegas-pro|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18264" PostTypeId="2" ParentId="18219" CreationDate="2016-04-28T07:21:58.043" Score="2" Body="&lt;p&gt;To directly answer your question, where Rotoscoping is concerned, it is simply the task of masking out, or cutting a hole in a moving image, for every frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Technically in almost any software capable of Rotoscoping, It is achieved by using a spline connected by a set of points that conforms and deforms each frame in your footage, to match the shape/outline of the object you wish to cut a hole through. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the bigger view of what is required for your video, it seems like you wanted to &quot;keep the background intact&quot;. That is a much tougher requirement than it sounds, both artistically and technically. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically when we take a photo, shoot a video, of a car on a grass field, the camera does not take an x-ray imagery of what is behind the car. Therefore when we mask out and remove the car, we cut a hole through the video clip, and there is nothing behind to show through. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are familiar with the idea of compositing layers of images on top of each other, one way to deal with this is to take a similar looking patch of the background (grass, ground, etc) that is correct in perspective, and place it on top of the gaping hole created by the rotoscoped mask. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your footage is shot by a camera on the move (panning, dollying), it adds to the challenge. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this case you will need to then animate that patch of missing background in position and maybe rotation, to pin it to the ground so it moves together with the rest of the shot. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On top of all that, you will need to clean up and blend the edges of this patch of ground with the rest of the footage. Also you will need to do adjustments like colour, brightness correction all so that your patched up area does not stand out and call attention to itself. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another trick you can use is to take a part of the footage that hasn't been obscured by the running person (maybe 2 frames before he passes over that grass/ground), you can take a frame of that ground /grass , freeze that image, and place it and match it over the hole created by the Rotoscoping and then animate/track that patched up piece as the camera moves so it appears to stick solidly on the ground. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are some techniques of visual effects workflow. Sometimes the concept sounds easy but the real pain is figuring how to solve the little problems that crop out, pushing the shot to look better, if your work requires a more refined result. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to see someone actually doing stuff like that, Video Copilot has huge number of tutorials where you can see how visual effects tasks can be accomplished. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://Www.youtube.com/user/videocopilot&quot; rel=&quot;nofollow&quot;&gt;Www.youtube.com/user/videocopilot&lt;/a&gt;&#xA;&lt;a href=&quot;http://Www.videocopilot.net&quot; rel=&quot;nofollow&quot;&gt;Www.videocopilot.net&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Watch a couple of tutorials, and you will soon get a good idea of the processes that are involved for compositing, Rotoscoping, background replacement, background reconstruction. &lt;/p&gt;&#xA;" OwnerUserId="13882" LastEditorUserId="13882" LastEditDate="2016-04-28T13:23:24.113" LastActivityDate="2016-04-28T13:23:24.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18265" PostTypeId="2" ParentId="18263" CreationDate="2016-04-28T08:30:15.233" Score="6" Body="&lt;p&gt;It's not possible. A generic blur effect relies on a function which smooths out pixel values within a specified radius. A mask combines the value of a pixel in the top layer with the pixel of the layer beneath, modulated by the corresponding alpha value of that pixel in the top layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, in short a blur is a 'lateral' function, whereas layer compositing is a 'depth' function.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-04-28T08:30:15.233" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18266" PostTypeId="2" ParentId="18263" CreationDate="2016-04-28T10:10:12.713" Score="1" Body="&lt;p&gt;This is not possible, because the blur effect needs the underlying video as input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can either create the blur effect in Sony Vegas without the need for After Effects, or you can (for more complex effects) import the video into After Effects, add your effects, render the result as video, and import it into Vegas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see the second option takes some time and is only worth it for complex effects/animations that you cannot do in Vegas. It's better to try the included effects of Vegas first. &lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2016-04-28T10:10:12.713" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18267" PostTypeId="1" AcceptedAnswerId="18268" CreationDate="2016-04-28T12:46:30.740" Score="3" ViewCount="1767" Body="&lt;p&gt;I have &lt;a href=&quot;https://worm-bucket-prod.s3-eu-west-1.amazonaws.com/videos/56bb088118db47954f00006e/cd92b51a-51c6-4580-b86c-e2604cba41f2-720p.mp4&quot; rel=&quot;nofollow&quot;&gt;a very short 120fps video&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffprobe input.mp4&lt;/code&gt; shows &lt;code&gt;118.99fps&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version 3.0 Copyright (c) 2007-2016 the FFmpeg developers&#xA;  built with Apple LLVM version 7.3.0 (clang-703.0.29)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.0 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-opencl --enable-libx264 --enable-libmp3lame --enable-libxvid --enable-ffplay --enable-vda&#xA;  libavutil      55. 17.103 / 55. 17.103&#xA;  libavcodec     57. 24.102 / 57. 24.102&#xA;  libavformat    57. 25.100 / 57. 25.100&#xA;  libavdevice    57.  0.101 / 57.  0.101&#xA;  libavfilter     6. 31.100 /  6. 31.100&#xA;  libavresample   3.  0.  0 /  3.  0.  0&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;[h264 @ 0x7f8262009600] Increasing reorder buffer to 1&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'input.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 1&#xA;    compatible_brands: mp41mp42isom&#xA;    creation_time   : 2016-04-27 10:43:14&#xA;  Duration: 00:00:02.76, start: 0.000000, bitrate: 10318 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 720x1280, 10272 kb/s, 118.99 fps, 600 tbr, 600 tbn, 1200 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-04-27 10:43:14&#xA;      handler_name    : Core Media Video&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm running a square crop and resize operation:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;crop='if(gte(iw,ih),ih,iw):if(gte(ih,iw),iw,ih)', scale=640x640&quot; -an -c:v libx264 -profile:v high -level 4.1 -preset veryslow -crf 20 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This gives:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;....&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'input.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 1&#xA;    compatible_brands: mp41mp42isom&#xA;    creation_time   : 2016-04-27 10:43:14&#xA;  Duration: 00:00:02.76, start: 0.000000, bitrate: 10318 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 720x1280, 10272 kb/s, 118.99 fps, 600 tbr, 600 tbn, 1200 tbc (default)&#xA;....&#xA;Output #0, mp4, to 'output.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 1&#xA;    compatible_brands: mp41mp42isom&#xA;    encoder         : Lavf57.25.100&#xA;    Stream #0:0(und): Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 640x640, q=-1--1, 600 fps, 19200 tbn, 600 tbc (default)&#xA;....&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And sure enough, &lt;code&gt;ffprobe output.mp4&lt;/code&gt; confirms that &lt;code&gt;output.mp4&lt;/code&gt; is at 600fps, as does VLC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I ensure that ffmpeg will encode my video using the same framerate as the input (be that 30, 60, 120, or 240fps)?&lt;/p&gt;&#xA;" OwnerUserId="14442" LastActivityDate="2016-04-29T12:24:36.267" Title="Why is ffmpeg outputting a 600fps video from a 120fps video input?" Tags="|ffmpeg|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18268" PostTypeId="2" ParentId="18267" CreationDate="2016-04-28T13:07:07.857" Score="4" Body="&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: The PTS entries of the input and output for the command below are identical in version N-79630-g9ac154d. Looks like the file is falsely flagged as VFR. But this single-step command below works for the sample video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;crop='if(gte(iw,ih),ih,iw):if(gte(ih,iw),iw,ih)', scale=640x640&quot; \&#xA;   -an -c:v libx264 -profile:v high -level 4.1 -preset veryslow -crf 20 -vsync 0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;The framerate stored in the container (&lt;code&gt;tbr&lt;/code&gt;) is 600, whereas the reported fps of &lt;code&gt;118.99&lt;/code&gt; is arrived at by counting the number of video packets and dividing by the total duration. If this is not a variable frame rate stream, then add &lt;code&gt;-r 118.99&lt;/code&gt; as an output option.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;For older versions,&#xA;Alternatively, output to MKV i.e.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;crop='if(gte(iw,ih),ih,iw):if(gte(ih,iw),iw,ih)', scale=640x640&quot; \&#xA;   -vsync 0 -an -c:v libx264 -profile:v high -level 4.1 -preset veryslow -crf 20 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you then mux the MKV to MP4,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i output.mkv -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The resulting MP4 will show (close to) the source framerate.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'no-rc.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.34.103&#xA;  Duration: 00:00:02.75, start: 0.000000, bitrate: 2462 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 640x640, 2444 kb/s, 119.88 fps, 600 tbr, 16k tbn (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-04-29T12:24:36.267" LastActivityDate="2016-04-29T12:24:36.267" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18269" PostTypeId="2" ParentId="18191" CreationDate="2016-04-28T14:23:29.723" Score="0" Body="&lt;p&gt;Another point that Michael didn't mention is ergonomics. Using a MILC camera means that you will need an external monitor (the viewfinders are never good enough to judge critical focus, and with the short DOF you need to be on top of that), which means some sort of rig to hold it, maybe an external battery, external sound recorder, shoulder mount… so you end up with something that looks like it was built out of meccano. Fine for a studio or film set, atrocious for documentary work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mind you, I'm not liking the shape of that JVC camera in this regard. Looks too much like an SLR for my money. Where's the eyepiece?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-04-28T14:30:29.023" LastActivityDate="2016-04-28T14:30:29.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18271" PostTypeId="1" AcceptedAnswerId="18272" CreationDate="2016-04-28T19:22:27.610" Score="1" ViewCount="4227" Body="&lt;p&gt;I'm trying to overlay a video on top of an image. The problem that I'm facing is that the video duration that I want is longer than my input video's duration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To solve this issue, I try to generate a streaming loop and hardcode the duration that I want using the parameter &quot;t&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using the setpts filter to make sure that my container format (.mp4) accepts past frames by rewriting their timestamps:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i image.jpg -stream_loop -1 -i video.mov  -filter_complex &quot;[1:v]setpts=N/(FRAME_RATE*TB)[1v];[0:v][1v]overlay=x=main_w*0.44:y=main_h*0.33[out]&quot; -map [out] -t 00:00:15  out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So the command reads as follows:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;take one infinite input where each frame is image.jpg&lt;/li&gt;&#xA;&lt;li&gt;take another infinite input (video.mov) by looping (-stream_loop -1)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Each frame will go through the filter:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;setpts will re-write the timestamps for source 1 (video.mov)&lt;/li&gt;&#xA;&lt;li&gt;overlay will put each setpts-ed frame from video.mov on top of each frame from the initial input (image.jpg - 0:v)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;This should continue until a file with 00:00:15 seconds is created.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This command does generate that file but the video.mov isn't looped, once the first loop finishes the last frame is repeated until the output movie ends.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FYI: I made a couple more tests:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -stream_loop -1 -i movie.mov -filter_complex &quot;[0:v]setpts=N/(FRAME_RATE*TB)[out]&quot; -map [out] -t 00:00:30 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This works fine, it generates a movie with 30 seconds duration with the input movie looped to fill the output movie&lt;/p&gt;&#xA;&#xA;&lt;p&gt;on the other hard, if I add one more input file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -stream_loop -1 -i movie.mov -loop 1 -i image.jpg -filter_complex &quot;[0:v]setpts=N/(FRAME_RATE*TB)[out]&quot; -map [out] -t 00:00:30 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will not create a movie with 30 seconds, although one of the inputs is never used, ffmpeg creates a movie file with just one loop of movie.mov and the same length of movie.mov.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any advices please ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you very much!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ze&lt;/p&gt;&#xA;" OwnerUserId="14469" LastActivityDate="2016-04-28T20:01:52.710" Title="Issues looping a stream with FFMpeg" Tags="|ffmpeg|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18272" PostTypeId="2" ParentId="18271" CreationDate="2016-04-28T20:01:52.710" Score="4" Body="&lt;p&gt;Try with the movie filter instead&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i image.jpg -filter_complex \&#xA;        &quot;movie=video.mov:loop=999,setpts=N/(FRAME_RATE*TB)[1v]; \&#xA;        [0:v][1v]overlay=x=main_w*0.44:y=main_h*0.33[out]&quot; \&#xA;       -map [out] -t 00:00:15  out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-04-28T20:01:52.710" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18273" PostTypeId="1" AcceptedAnswerId="18913" CreationDate="2016-04-28T20:13:31.213" Score="2" ViewCount="62" Body="&lt;p&gt;I got this code from &lt;a href=&quot;http://www.motionscript.com/design-guide/collision.html&quot; rel=&quot;nofollow&quot;&gt;motionscript&lt;/a&gt; and I would like to change it to check a specific layer instead of all the layers for a collision. Maybe within the function checklayers() and then there's the if checklayers() at the last line   ??&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;function getMin(a, b, c, d){&#xA;  return Math.min(Math.min(a,b),Math.min(c,d));&#xA;}&#xA;&#xA;function getMax(a, b, c, d){&#xA;  return Math.max(Math.max(a,b),Math.max(c,d));&#xA;}&#xA;&#xA;function getBoundingBox(theLayer){&#xA;  bb = [];&#xA;  c1 = theLayer.toWorld([0,0]);&#xA;  c2 = theLayer.toWorld([theLayer.width,0]);&#xA;  c3 = theLayer.toWorld([theLayer.width,theLayer.height]);&#xA;  c4 = theLayer.toWorld([0,theLayer.height]);&#xA;  bb[0] = getMin(c1[0],c2[0],c3[0],c4[0]);&#xA;  bb[1] = getMin(c1[1],c2[1],c3[1],c4[1]);&#xA;  bb[2] = getMax(c1[0],c2[0],c3[0],c4[0]);&#xA;  bb[3] = getMax(c1[1],c2[1],c3[1],c4[1]);&#xA;  return bb;&#xA;}&#xA;&#xA;function checkLayers(){&#xA;  cUL = [];&#xA;  cLR = [];&#xA;  for ( idx = 1; idx &amp;lt;= thisComp.numLayers; idx++){&#xA;    if (index == idx) continue;&#xA;    L = thisComp.layer(idx);&#xA;    if (! L.active) continue;&#xA;    BB = getBoundingBox(L);&#xA;    UL = [BB[0],BB[1]];&#xA;    LR = [BB[2],BB[3]];&#xA;&#xA;    if (!(myLR[1] &amp;lt; UL[1] || LR[1] &amp;lt; myUL[1] ||&#xA;          myLR[0] &amp;lt; UL[0] || LR[0] &amp;lt; myUL[0])){&#xA;&#xA;      if (myUL[1] &amp;lt; UL[1]) cUL[1]=UL[1] else cUL[1]=myUL[1];&#xA;      if (myUL[0] &amp;lt; UL[0]) cUL[0]=UL[0] else cUL[0]=myUL[0];&#xA;      if (myLR[1] &amp;lt; LR[1]) cLR[1]=myLR[1] else cLR[1]=LR[1];&#xA;      if (myLR[0] &amp;lt; LR[0]) cLR[0]=myLR[0] else cLR[0]=LR[0];&#xA;&#xA;      for(i = cUL[0]; i &amp;lt;= cLR[0]; i++){&#xA;        for (j = cUL[1]; j &amp;lt;= cLR[1]; j++){&#xA;          if (sampleImage(fromWorld([i,j]))[3] &amp;gt; 0 &amp;amp;&amp;amp;&#xA;              L.sampleImage(L.fromWorld([i,j]))[3] &amp;gt; 0){&#xA;&#xA;            return true;&#xA;          }&#xA;        }&#xA;      }&#xA;    }&#xA;  }&#xA;  return false;&#xA;}&#xA;&#xA;myBB = getBoundingBox(thisLayer);&#xA;myUL = [myBB[0],myBB[1]];&#xA;myLR = [myBB[2],myBB[3]];&#xA;&#xA;if (checkLayers()) 1 else 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14342" LastActivityDate="2016-07-15T12:22:51.977" Title="changing this code to check for a collision from a specific layer" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18274" PostTypeId="2" ParentId="17071" CreationDate="2016-04-28T20:46:43.533" Score="0" Body="&lt;p&gt;If you have a Mac, it's possible to import it into iMovie, then reexport it. The resulting exported .mp4 will then be usable on YouTube (and I assume others).&lt;/p&gt;&#xA;" OwnerUserId="14473" LastActivityDate="2016-04-28T20:46:43.533" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18275" PostTypeId="2" ParentId="18263" CreationDate="2016-04-28T23:29:13.640" Score="1" Body="&lt;p&gt;You won't be able to create a clip that can 'blur any layer underneath' when placed in other applications.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can just blur assets from within AE and export them out.&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2016-04-28T23:29:13.640" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18276" PostTypeId="2" ParentId="12286" CreationDate="2016-04-29T03:40:37.683" Score="2" Body="&lt;p&gt;If anyone is still looking for a similar setup that won't break the bank, I'd go with a laptop mounted cam - I have a Logitech HD Pro Webcam C920 which can be mounted on a tripod, too. The quality is amazing for the price (under $80), and I've used it to record lectures, demonstrations, as well as for recording and live streaming of some pretty unruly comedy and music shows. It has a stereo microphone that's really good (it made a crystal-clear recording of a live band in a noisy cafe from the back of the room), shoots well in low light, and has a decent zoom. It also does some onboard preprocessing, so HD recording won't overwhelm your laptop if it's an older/cheaper one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With a tripod and a longer cable, you can do pretty much anything you'd do with a standard camcorder &lt;em&gt;in a static situation&lt;/em&gt;. Depending on your software, you can attach an external mic to your laptop too, though I found the built-in mic of this cam superior to anything I've got.&lt;/p&gt;&#xA;" OwnerUserId="14478" LastActivityDate="2016-04-29T03:40:37.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18278" PostTypeId="1" AcceptedAnswerId="18279" CreationDate="2016-04-29T15:12:12.193" Score="0" ViewCount="827" Body="&lt;p&gt;I used the Android SDK to record some steps for a tutorial video and am having some difficulty working with the footage. First of all, it's of a variable framerate and secondly it's in 1080:1920 - vertical 1080p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had hoped to use ffmpeg to transcode to DNxHD but I can't find the right video filter (scale? hflip?) to squeeze it into a resolution that DNxHD supports while retaining the aspect ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;recording6.mp4&quot; -vf &quot;scale=-1:1080&quot; -vcodec dnxhd -r 60 -b:v 36M &quot;recording6_DNxHD.mov&quot;&#xA;&#xA;ffmpeg -i &quot;recording6.mp4&quot; -vf &quot;scale=1920:1080&quot; -vcodec dnxhd -r 60 -b:v 36M &quot;recording6_DNxHD.mov&quot;&#xA;&#xA;ffmpeg -i &quot;recording6.mp4&quot; -vf hflip -vcodec dnxhd -r 60 -b:v 36M &quot;recording6_DNxHD.mov&quot;&#xA;&#xA;ffmpeg -i &quot;recording6.mp4&quot; -vf vflip -vcodec dnxhd -r 60 -b:v 36M &quot;recording6_DNxHD.mov&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The first fails because of an unsupported resolution, the second works but changes the aspect ratio, and the third and fourth also fail due to unsupported resolutions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realize there are other codecs which are more forgiving than dnxhd in terms of resolution, but I really don't want to lose any detail at this step. So if anyone knows of one which is similarly visually-lossless I'm open to trying it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help you can offer would be much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="14482" LastActivityDate="2016-04-29T15:25:34.163" Title="Transcoding vertical video to an intermediate codec" Tags="|ffmpeg|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18279" PostTypeId="2" ParentId="18278" CreationDate="2016-04-29T15:25:34.163" Score="1" Body="&lt;p&gt;Assuming your editor can rotate videos, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;recording6.mp4&quot; -vf &quot;transpose=1&quot; -vcodec dnxhd -r 60 -b:v 36M &quot;recording6.mov&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will rotate the video, so the 1080x1920 video becomes 1920x1080.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-04-29T15:25:34.163" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18280" PostTypeId="2" ParentId="17775" CreationDate="2016-04-30T04:42:47.597" Score="0" Body="&lt;p&gt;Mov output came exact color. what we're expected.&#xA;please check below image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TqdFv.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TqdFv.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want you can use mov output instead of H.264 mp4 output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please check your project color settingss. Keep default settings&#xA;&lt;a href=&quot;https://i.stack.imgur.com/9hPJR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9hPJR.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go to Composition-&gt;Add to Render Queue-&gt;Lossless.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Change Format default AVI to Quicktime.&#xA;Please check below image&lt;a href=&quot;https://i.stack.imgur.com/6I609.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6I609.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keep color management also default setting.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/8L8vz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8L8vz.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then Press Ok to get output. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check now&lt;/p&gt;&#xA;" OwnerUserId="5466" LastEditorUserId="5466" LastEditDate="2016-04-30T05:47:45.967" LastActivityDate="2016-04-30T05:47:45.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18281" PostTypeId="2" ParentId="17024" CreationDate="2016-04-30T06:04:27.393" Score="9" Body="&lt;p&gt;I would use three pieces of hardware for this task.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;A recording laptop.&lt;/li&gt;&#xA;&lt;li&gt;A device that allows you to input the HDMI to the recording laptop, aka, a frame grabber.&lt;/li&gt;&#xA;&lt;li&gt;An HDMI spliter.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h2&gt;A recording laptop&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Any old laptop will do, really. It doesn't need super specs, like dedicated graphics, but you certainly want at least a mid-range machine. Like an Intel i5 or better, 8 Gig's RAM, fast HDD (SSD would be great, but not necessary). Software wise, anything that can see the generic devices will work. Pro software like Vegas Pro or Adobe Primere if you have it works great. There's also Wirecast and vMix if you have webcast requirements.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;A video frame grabber&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I've had pretty good success with the &lt;a href=&quot;http://www.epiphan.com/products/dvi2usb-3-0/&quot; rel=&quot;nofollow noreferrer&quot;&gt;DVI2USB3.0 Frame Grabber by Epiphan&lt;/a&gt;. Use that with a &lt;a href=&quot;https://i.stack.imgur.com/zvv63.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;DVI to HDMI converter&lt;/a&gt; and it will work just fine. It also allows audio capture. I especially like its very small size, solid construction, and that it's USB powered. It will work on USB 2.0, but you will get limited bandwidth in the form of limited framerates per the source resolution (I often get about 45 fps at 1024x768 on USB 2.0). It's a bit on the pricey side, but Epiphan has very good customer service. I know other options are available, but I have no experience with them. About 5 years ago I decided against Black Magic products because of the mixed reviews on Amazon, but that may have gotten better. Other items that are like $10,000 are not the kind of equipment you are looking for. I've never actually seen one of those being used for more than what a $1,000 in hardware can do. Basically, if you don't know why it costs so much, you don't need it.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;HDMI video splitter&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;There are plenty available on the market (&lt;a href=&quot;https://www.google.com/search?q=hdmi%20video%20splitter&amp;amp;espv=2&amp;amp;biw=1280&amp;amp;bih=923&amp;amp;tbm=isch&amp;amp;tbo=u&amp;amp;source=univ&amp;amp;sa=X&amp;amp;ved=0ahUKEwikqYOxwLXMAhUQ12MKHW46C_8QsAQIWQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;Google image search&lt;/a&gt;). They're pretty simple. They have a single HDMI input and at least two HDMI outputs, which are both exact duplicates of the input signal. Make sure you get one that is powered because the ones that aren't reduce signal strength and it often shows, especially on projectors (at least, this is true for the VGA splitters). If you intend to audio record over HDMI make sure the splitter you get can handle that.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Setup&lt;/h2&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Take your source HDMI and run it to the video splitter.&lt;/li&gt;&#xA;&lt;li&gt;Run an HDMI from an output on the splitter to the projector.&lt;/li&gt;&#xA;&lt;li&gt;Run an HDMI from an output on the splitter to the Epiphan frame grabber via a DVI to HDMI converter.&lt;/li&gt;&#xA;&lt;li&gt;Plug the Epiphan USB into the recording laptop.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h1&gt;Alternative, VGA-based setup&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;I would actually recommend this setup if this is in a professional conference setting and there is a professional audio/visual crew working it. I also recommend this setup if any of the HDMI runs are farther than 30 feet. HDMI just can't push very far and VGA can easily do 100 feet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this is a professional setup and you're just hooking in to what they already have, then the projector is not yours and you don't know what to expect. Chances are very high that projector will be gathering it's feed via VGA, not HDMI (you really should call the AV company to find out though).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So instead of using HDMI from the source laptop, use the VGA out (if it has one) or convert it to VGA with an &lt;a href=&quot;https://i.stack.imgur.com/5OxEt.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;HDMI to VGA dongle&lt;/a&gt;. The setup is exactly the same as above except everything HDMI is VGA now, including the &lt;a href=&quot;https://i.stack.imgur.com/zsT1F.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;VGA video splitter&lt;/a&gt; and the &lt;a href=&quot;https://i.stack.imgur.com/b0GTT.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;DVI to VGA adapter&lt;/a&gt;. For audio, just plug into the recording laptop's mic input port. As a warning, you might need some kind of audio cleanup when gathering audio this way. I regularly use the &lt;a href=&quot;https://i.stack.imgur.com/Yf2OL.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Whirlwind line isolator&lt;/a&gt; and the &lt;a href=&quot;https://i.stack.imgur.com/cRJy3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Dsan laptop sound port&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Source&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;I work for a company that does this all the time. If you need professional help with content production &lt;a href=&quot;https://video.stackexchange.com/users/3643/fredsbend?tab=profile&quot;&gt;you can find information in my profile&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-04-30T06:14:56.690" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18282" PostTypeId="2" ParentId="18254" CreationDate="2016-04-30T13:45:10.393" Score="1" Body="&lt;p&gt;Based on info revealed in &lt;a href=&quot;http://chat.stackexchange.com/transcript/message/29340146#29340146&quot;&gt;chat&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I trying to install that on windows 10 32 bit . Is it a problem ?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;the answer is that since version CS5, Premiere Pro is 64-bit only and can't be installed on a 32-bit OS.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-04-30T13:45:10.393" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18283" PostTypeId="2" ParentId="5270" CreationDate="2016-04-30T15:20:17.697" Score="0" Body="&lt;p&gt;If you have a compatible Nividia GPU then Nvidia Shadowplay is a great screen recorder, it can do 4K at 60fps with a 50MBPS bitrate, has low CPU usuage and is free. It can also capture the last 5-20 minutes of what was on your screen. The file sizes can get a bit big but you can reduce the quality to what you want and can delete the video files after making the video that used the footage. All other software others have mentioned are also very good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.geforce.co.uk/geforce-experience/shadowplay&quot; rel=&quot;nofollow&quot;&gt;http://www.geforce.co.uk/geforce-experience/shadowplay&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Happy recording and have a nice day!&lt;/p&gt;&#xA;" OwnerUserId="14074" LastActivityDate="2016-04-30T15:20:17.697" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18284" PostTypeId="1" CreationDate="2016-04-30T19:00:30.137" Score="20" ViewCount="20569" Body="&lt;p&gt;i'm using this command to cut a segment from a video from command line&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i %1 -vcodec copy -acodec copy -ss %2 -t %3 %~n1_cut%~x1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and i call it like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cut.bat video.mp4 001:23:45:678 10&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and as expected i get a video_cut.mp4 with 10 seconds of the original video, problem is that few seconds of the resulting file is black screen with audio, why does this happen and how do i fix it?&lt;/p&gt;&#xA;" OwnerUserId="14486" LastActivityDate="2023-04-13T17:57:59.793" Title="cutting with ffmpeg results in few seconds of black screen, how do i fix this?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18285" PostTypeId="2" ParentId="18284" CreationDate="2016-04-30T19:16:04.070" Score="15" Body="&lt;p&gt;Most videos use codecs which perform temporal compression, so a specified cutpoint may rely on frames before (and after) that cutpoint to be correctly decoded. So, when you use ffmpeg to trim videos and use &lt;code&gt;copy&lt;/code&gt; mode, ffmpeg has to include all frames before and after the trimmed segment which are needed to decode the segment correctly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, you have two options, use copy mode but set a switch which will allow all players to correctly play these files&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss %2 -t %3 -i %1 -vcodec copy -acodec copy -avoid_negative_ts make_zero %~n1_cut%~x1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(this will likely result in output that starts before your cutpoint)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or re-encode the streams&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss %2 -t %3 -i %1 %~n1_cut%~x1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-04-30T19:16:04.070" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18286" PostTypeId="1" AcceptedAnswerId="18293" CreationDate="2016-04-30T20:46:48.653" Score="2" ViewCount="13336" Body="&lt;p&gt;My color grader and I are working in parallel.  I'm editing in Adobe Premiere, and he is grading in Da Vinci Resolve (version CC 2015.2 and 12, respectively).  I gave him an early rough cut of the film to start grading.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A lot has changed in the cutting of the film since I exported him the rough cut XML of the project. The typical round-trip workflow I find online is to export XML projects back and forth between the NLE and Resolve, but that doesn't work for us because the Premiere project has changed so much and will continue to change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead, we're trying to have Resolve render graded replacement video files for all of the source clips used, and tell Premiere to point to a different source clip.  The following technique seems to work, but has to be done clip by clip: &quot;Project Pane &gt; Right click &gt; Replace Footage&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an easier way to do this transition in Premiere and Da Vinci Resolve?  Or a better workflow in general for a colorist to work in parallel with an editor?&lt;/p&gt;&#xA;" OwnerUserId="11690" LastActivityDate="2016-05-02T02:43:29.947" Title="How do I batch replace video clips in Premiere to graded copies? (from Da Vinci Resolve)" Tags="|premiere|editing|workflow|color-grading|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18287" PostTypeId="1" AcceptedAnswerId="18288" CreationDate="2016-05-01T17:32:21.483" Score="1" ViewCount="2522" Body="&lt;p&gt;I am using some motion adjustments (Effect Controls) on title clips placed on top of my video layer in Premiere Pro CC 2015. I change the position of the clips (names) and also change the scaling per 5 frames. But I want a jump effect from one keyframe (of position and scale) to another (after the 5 frames). I don't need a smooth transition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words, I don't need animation but something like different title clips without the need to make them. Can this be done with the motion adjustments or will they always animate between the keyframes?&lt;/p&gt;&#xA;" OwnerUserId="14491" LastActivityDate="2016-05-01T17:39:52.147" Title="How to remove transitions from title motion adjustments in Premiere Pro?" Tags="|premiere|editing|animation|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18288" PostTypeId="2" ParentId="18287" CreationDate="2016-05-01T17:39:52.147" Score="3" Body="&lt;p&gt;Set temporal interpolation to &lt;code&gt;Hold&lt;/code&gt; as &lt;a href=&quot;http://www.premiumbeat.com/blog/premiere-pro-tutorial-setting-keyframe-interpolation/&quot; rel=&quot;nofollow noreferrer&quot;&gt;seen&lt;/a&gt; below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/R0kAB.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/R0kAB.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-01T17:39:52.147" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18289" PostTypeId="2" ParentId="16692" CreationDate="2016-05-01T18:24:11.763" Score="1" Body="&lt;p&gt;IME, 0.0036% is rather better than average. Consumer gear operates on quite inexpensive crystal oscillators. These oscillators or crystals are not tuned precisely (or they would cost too much), and they don't have extraordinary stability over temperature ranges.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Professional gear uses special techniques to keep audio and video gear in synchronization.  They use premium-quality sync generators with oscillators that cost more than your whole camera. And even then, they must be re-synchronized several times per day.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And traditional broadcast gear would have a master sync generator, and all the cameras, switcher, etc. would &quot;slave&quot; to that central reference so that everything would be in lock-step.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It sounds like your gear is operating properly. Nothing is &quot;broken&quot;. That is simply normal and expected performance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need to sync video to your reference audio track, it is MUCH better to &quot;stretch&quot; or &quot;shrink&quot; the video to fit the audio than vice-versa. Slightly changing the length of the video track with simply insert (or remove) an extra frame every few minutes, which almost nobody will notice.  But slightly changing the length of an audio track is likely to create quite noticable and annoying artifacts.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is simple enough to try it for yourself. Try slightly changing the length of a long video clip and watch the results.  And then try the same with an audio track. You may be lucky that you can get away with it. Only you can try the experiment with YOUR content and YOUR editing system, and YOUR expectations.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-05-01T18:24:11.763" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18290" PostTypeId="2" ParentId="17024" CreationDate="2016-05-01T19:49:00.730" Score="0" Body="&lt;p&gt;Based on the experience of Dave Jones (EEVblog) I am ordering an AVerMedia Live Gamer Portable.  It is a small, simple box that records HDMI video up to 1080p directly to an SDHC card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ref: &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B00B2IZ3B0&quot; rel=&quot;nofollow&quot;&gt;http://www.amazon.com/AVerMedia-Recording-Definition-Streaming-C875/dp/B00B2IZ3B0&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ref: &lt;a href=&quot;https://www.eevblog.com/2014/05/20/tagarno-microscope-recording-success/&quot; rel=&quot;nofollow&quot;&gt;https://www.eevblog.com/2014/05/20/tagarno-microscope-recording-success/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-05-01T19:49:00.730" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18291" PostTypeId="1" AcceptedAnswerId="18298" CreationDate="2016-05-01T20:02:41.987" Score="2" ViewCount="322" Body="&lt;p&gt;Let's assume I have a video of 10 minutes length. And I want to reduce its size by having some parts in high bitrate, while other less important parts can be low bitrate. For this I'd cut the original into segments. Leaving the important ones as they are, while transcoding the unimportant parts to a lower quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RtHvn.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RtHvn.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, is there a video container format out there which is able to &quot;glue&quot; these different parts together into &lt;em&gt;one file&lt;/em&gt;? With good support in players so trusty mplayer will play the video as if it's an ordinary file? And in a standardized/annotated/undo-able way so a simple cli command would untangle the segments into separate parts/files again?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was under the impression Matroska would be able to do this, via chapters, where each of my segments would be one chapter. (I've read it somewhere where merging videos without transcoding was dicussed). But when I read the actual mkv docs, it seems mkv chapters are more like a textual index pointing into another (video) stream of an .mkv file - and not some low level kind of data block index which would help me with my idea. So mkv looks like a dead end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simple editing, or merging (which is possible losslessly, with some remuxing) wouldn't offer me having different qualities in different sections of the video - right?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I'm looking for is &lt;a href=&quot;https://en.wikipedia.org/wiki/Region_of_interest&quot; rel=&quot;nofollow noreferrer&quot;&gt;region-of-interest&lt;/a&gt; adapted quality, something image formats like &lt;a href=&quot;https://en.wikipedia.org/wiki/JPEG_2000&quot; rel=&quot;nofollow noreferrer&quot;&gt;JPEG2000&lt;/a&gt; offer for spatial areas, only here applied to video over time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions or ideas?&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The accepted answer suggests using the VBR capabilities of a format like mp4. While this works, please leave an answer if you know of a different way of achieving the desired result.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="4837" LastEditorUserId="4837" LastEditDate="2016-05-02T18:11:33.080" LastActivityDate="2016-05-05T22:08:28.150" Title="Is there a video container which is able to handle segments of different video quality (or even size)?" Tags="|video|editing|file-formats|transcoding|matroska|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18293" PostTypeId="2" ParentId="18286" CreationDate="2016-05-02T02:43:29.947" Score="4" Body="&lt;p&gt;&lt;strong&gt;Method 1&lt;/strong&gt;&#xA;First, with the Premiere project closed, move the original files that you're editing with to a new folder or other location. Open your project and it will warn you of missing files. Click the &lt;strong&gt;Relink others automatically&lt;/strong&gt; checkbox and then hit &lt;strong&gt;Locate&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/m1rvw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/m1rvw.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Navigate to the folder with the new graded footage, find the first clip and press Ok. It will then re-link all the other files to the matching files in new folder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note&lt;/strong&gt; that this will only work if the files &lt;strong&gt;have the same name&lt;/strong&gt;. Different extensions are ok, from my experience it's smart enough to deal with it if your original footage was an MXF and you're replacing it with an AVI for example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Method 2&lt;/strong&gt;&#xA;In your project window, or in your timeline, select all the files you want to replace, right-click and choose &lt;strong&gt;Make Offline&lt;/strong&gt;. Generally you want to choose &quot;leave the media files on disk&quot; in the dialogue that opens, because it permanently deletes the file if you don't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once your clips are offline then you can re-link. With all the files still selected, right-click and choose &quot;Link Media&quot;. This will open up the same dialogue as method 1, so as before you choose &lt;strong&gt;Relink others automatically&lt;/strong&gt; and navigate to your graded footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, this only works if the graded clips are &lt;strong&gt;named the same&lt;/strong&gt; as the originals.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Method 3&lt;/strong&gt; &#xA;With the project closed, move the original clips from where they are on your hard drive, and replace them with the graded clips. When you open the project it will link to the new clips, again, provided that they are named the same. You will need to re-render any rendered clips in your timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another note is that if your footage contained audio you need the graded footage to contain audio, even if you're not using it. Premiere won't accept them otherwise. So in Resolve, make sure you check the &quot;Render Audio&quot; box.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use this workflow when I'm working with BlackMagic Cinema Camera footage. DaVinci Resolve gives me much better results than the Adobe grading tools, either in Premiere or Speedgrade. The only thing that does nearly as good a job is using Adobe Camera Raw by opening the footage in After Effects and rendering out intermediates, but that is extremely tedious and dog-slow.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-05-02T02:43:29.947" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18294" PostTypeId="1" AcceptedAnswerId="18319" CreationDate="2016-05-02T05:39:33.717" Score="-1" ViewCount="21" Body="&lt;p&gt;I want to upgrade &lt;strong&gt;Windows 10 32 bit&lt;/strong&gt; TO &lt;strong&gt;Windows 10 64 bit&lt;/strong&gt; for install Premier Pro CS6 .&#xA;How do I upgrade that OS ?&lt;/p&gt;&#xA;" OwnerUserId="14457" LastActivityDate="2016-05-03T13:20:25.837" Title="Updrade to Windows 10 34 bit" Tags="|premiere|video-editor|software-recommendation|setup|" AnswerCount="1" CommentCount="1" ClosedDate="2016-05-04T02:31:02.007" ContentLicense="CC BY-SA 3.0" />
  <row Id="18295" PostTypeId="1" AcceptedAnswerId="18299" CreationDate="2016-05-02T05:46:26.293" Score="4" ViewCount="7903" Body="&lt;p&gt;I take a video file, let's say an mp4, and use, let's say Windows Movie Maker, to repeatedly just save it, with no edits. Every time, the software has to convert the video into a format it can edit, and then convert it back to an mp4. Will the repeated conversions begin to degrade the video's quality if I do this over and over?&lt;/p&gt;&#xA;" OwnerUserId="12485" LastActivityDate="2016-05-06T08:33:44.550" Title="Does repeatedly saving a video degrade its quality?" Tags="|video|video-editor|video-quality|encoding|windows-movie-maker|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18297" PostTypeId="2" ParentId="18295" CreationDate="2016-05-02T06:23:26.680" Score="1" Body="&lt;p&gt;Yes. Every time you &quot;save&quot; video in video-editor, you will re-render it with codec. Most codecs lose some video information for compression. So, every time you will lose some more information.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-05-02T06:23:26.680" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18298" PostTypeId="2" ParentId="18291" CreationDate="2016-05-02T06:33:54.907" Score="3" Body="&lt;p&gt;If the &lt;strong&gt;only&lt;/strong&gt; difference is bitrate, then any container which accepts variable bitrate streams, will fulfill your requirement e.g. MP4, MKV..etc&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 1 is to encode your segments, ideally using the same encoder, to different bitrates with all other parameters being the same e.g. via &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 0 -t 5 -i input.mp4 -b:v 1000k seg1.mp4&#xA;&#xA;ffmpeg -ss 5 -t 7 -i input.mp4 -b:v 3000k seg2.mp4&#xA;&#xA;ffmpeg -ss 12 -i input.mp4 -b:v 500k seg3.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Step 2 is to use ffmpeg to concat the encoded segments in copy mode, using the concat demuxer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Prepare a text file&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'seg1.mp4'&#xA;file 'seg2.mp4'&#xA;file 'seg3.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i list.txt -c copy joined.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Clips with different properties, like resolution, can be joined together as well into one MP4, but compatibility across media players is &lt;a href=&quot;https://video.stackexchange.com/q/17071/1871&quot;&gt;iffy&lt;/a&gt;, and ffmpeg won't do it reliably at present, anyway.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-05-02T06:33:54.907" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="18299" PostTypeId="2" ParentId="18295" CreationDate="2016-05-02T11:11:17.997" Score="4" Body="&lt;p&gt;MP4 isn't an ideal format for intermediate saves. If you know you'll be re-opening the file, save it as losslessly as practicable, and use MP4 only for the final output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, depending on the encoder and settings you probably don't lose much if anything on subsequent saves. MP4 and similar codecs work by decimating the higher frequencies (details, resolution) in a predictable way. Once you've saved an MP4 at a particular quality setting you've already discarded the information. If you save again using the same settings, there's no information to lose in the areas that have already lost it.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-05-02T11:11:17.997" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18300" PostTypeId="1" AcceptedAnswerId="18303" CreationDate="2016-05-02T15:07:22.667" Score="0" ViewCount="69" Body="&lt;p&gt;I'm using the ProcAmp effect to significantly boost the contrast in my video project (I have multiple ProcAmp effects layered on the same clip). In the preview in Premiere, as I'm working on it, it looks great. But when I view the final rendered version, the contrast isn't carrying over. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this because of the layered effects? Or inappropriate export settings? Or something else? &lt;/p&gt;&#xA;" OwnerDisplayName="user12241" LastActivityDate="2016-05-02T20:42:40.183" Title="Diminished effects in final rendered Adobe Premiere Pro CC video" Tags="|video|premiere|adobe|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18302" PostTypeId="2" ParentId="18291" CreationDate="2016-05-02T19:22:22.413" Score="-1" Body="&lt;p&gt;Well I can't say I know how it would be done; but RED (www.red.com), their R3D video format uses a debayer process. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I own a RED Epic. It shoots at up to 5K 100 FPS. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When out in the field, and wanting to view the video on say a laptop, the throughput of uncompressed (or near) say 3:1 5K is huge. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So RED uses a debayer process; where the pixels are basically assigned into a grid pattern in terms of how they are both encoded and decoded. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So this eliminates the need for &quot;proxy&quot; files, files which are downres'd for editing because your system simply can't play the file in realtime. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Debayer is 8 levels. And the RED player (as well as software that supports it such as PPro/After Effects, allow you to playback at 100%, 50% 25% 12.5% and so on. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The unique aspect with RED is when your computer does this, it actually isnt lowering the quality, it's just only displaying the x/100 quality you want. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So perhaps my answer is a bit backwards in thinking: But essentially with RED files you have a 1K, 2K, 3K, 4K, 5K, version- all wrapped into 1 file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this perhaps helps somewhat, even though it's not an answer to the actual question. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-05-02T19:22:22.413" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18303" PostTypeId="2" ParentId="18300" CreationDate="2016-05-02T19:27:25.377" Score="0" Body="&lt;p&gt;Are you layering the ProcAmp Filter onto the same clip?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's possible theres a bug with that... there are bugs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could try taking your base clip and putting it on a sequence. Add your ProcAmp. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then right click the sequence in your Project window -&gt; Create New Sequence from Clip. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you have a nested sequence of your original. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try applying the ProcAmp then to that &quot;clip&quot; which is actually a nested sequence. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The results should appear the same, but you wont be applying the proc-amp to the same clip, rather, each nested sequence will have its own. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can repeat and re-nest etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Secondly, you might just be better doing the effect in after effects, and using dynamic link to bridge the clip in. It acts much the same way but will add render time. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-05-02T19:27:25.377" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18304" PostTypeId="2" ParentId="14899" CreationDate="2016-05-02T19:32:16.853" Score="0" Body="&lt;p&gt;I still run CS6, but it shouldnt matter. My system has 128 GB of ram, and premiere takes full advantage of all of it. There is a setting in After Effects where you can allocate how many cores (in my case 48 cores), and I am able to do 3GB per core using 40 cores and I leave 8 cores with 8 gb of ram for overhead. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could look into a program called ProcessLasso, it is fantastic for managing and moving around, allocating system processes, such as memory trimming, realtime throttling (so your computer doesnt hang), priorities of memory, pinning cores to specific programs, etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It speeds things up- tremendously. Especially if you have a lot of cores and a lot of ram. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-05-02T19:32:16.853" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18305" PostTypeId="2" ParentId="18295" CreationDate="2016-05-02T19:34:55.773" Score="1" Body="&lt;p&gt;If the codec is not lossless, such as Quicktime Animation Codec; true lossless, then yes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you are using a good encoder, I would gather even after 100 generations of degredation would you be able to even visually see the difference if you continually re-encoded the file outputs using MP4  at a high bitrate- say 30mbps for 1080p. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lower bitrates, yes. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-05-02T19:34:55.773" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18306" PostTypeId="2" ParentId="18295" CreationDate="2016-05-02T20:18:59.037" Score="1" Body="&lt;p&gt;Yes. By definition, any time you save an audio or video file using a LOSSY compression scheme, you will lose something (by definition).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, modern codecs have been getting better at minimizing perceptible losses. But it is always preferable to avoid ANY extra compression steps. Until the project is completely finished and ready for distribution, it is best to keep it in an UNcompressed state.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-05-02T20:18:59.037" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18307" PostTypeId="2" ParentId="18300" CreationDate="2016-05-02T20:42:40.183" Score="0" Body="&lt;p&gt;In my first encounters with Premiere, I ran into the problem that there are many ways to render clips, and only one correct way, which is to render the sequence containing the clip (and its effects), not the clip itself.  It is quite easy to have the clip, not the sequence, selected, hit Media Export and have it encode the wrong thing.  Make sure you have the sequence selected, and export &lt;em&gt;that&lt;/em&gt;.  I do this by selecting the sequence, right clicking the selected sequence, and choosing Export from there.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-05-02T20:42:40.183" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18308" PostTypeId="1" AcceptedAnswerId="18337" CreationDate="2016-05-02T22:09:36.570" Score="5" ViewCount="1126" Body="&lt;p&gt;What are the main differences between h.264 and h.265?&lt;/p&gt;&#xA;" OwnerUserId="14472" LastActivityDate="2016-05-07T10:48:35.073" Title="Differences of h.264 and h.265?" Tags="|h.264|h.265|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18310" PostTypeId="1" CreationDate="2016-05-03T04:08:53.597" Score="1" ViewCount="250" Body="&lt;p&gt;Just wondering, if now, as we broadcast free-to-air commercial television digitally, whether to still apply 'Broadcast Safe filters/effects'?&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2016-05-07T10:26:27.387" Title="Export video for Broadcast TV" Tags="|broadcasting|broadcast|television|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18311" PostTypeId="1" CreationDate="2016-05-03T04:13:37.950" Score="3" ViewCount="6082" Body="&lt;p&gt;We are preparing a bunch of 10secs video bites that we hope to be picked up by news media outlets as supplemental footage for news reports.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could anyone suggest the best specs to export the clips as before sending the links to download in our media release?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Was thinking a ProRes plus a high bitrate MP4 might suit?&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2018-08-05T16:50:31.057" Title="Broadcast Television - Best specs to supply news footage" Tags="|broadcasting|broadcast|television|technical|export|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18312" PostTypeId="2" ParentId="18263" CreationDate="2016-05-03T06:00:35.667" Score="0" Body="&lt;p&gt;No this can't be done as you explain. You need to make a comp with multiple layers (as many as satisfy what you are going after) and mask them the same. I've applied the iOS blur effect in my lower thirds titles in FCPX with just two layers. Premiere, AE and other NLEs are the same. Wish it were easier!&lt;/p&gt;&#xA;" OwnerUserId="14421" LastActivityDate="2016-05-03T06:00:35.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18313" PostTypeId="2" ParentId="18311" CreationDate="2016-05-03T06:03:28.380" Score="4" Body="&lt;p&gt;ABC, NBC, Comcast and others all have their own specs. What I've found is that 1080 progressive MP4 (h.264) at 29.97 fps (some rare cases need 59.94), with audio between 192-256 Kbps, usually does the trick. You'd obviously edit in ProRes, but to submit that codec to the stations is overkill. Some outlets will even reject specs that don't conform exactly to their specifications during the upload process to their FTP.&lt;/p&gt;&#xA;" OwnerUserId="14421" LastEditorUserId="10892" LastEditDate="2016-05-04T05:24:28.483" LastActivityDate="2016-05-04T05:24:28.483" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18314" PostTypeId="2" ParentId="18308" CreationDate="2016-05-03T06:10:12.030" Score="3" Body="&lt;p&gt;h.265 is obviously more compressed than h.264 and was built for UHD and 4K. Though 1080 files still look great and are even smaller when encoded with h.265 than h.264. Some computers may have trouble with the new codec since it is so new. But, without being too technical, you can think of h.265 and being the new h.264.&lt;/p&gt;&#xA;" OwnerUserId="14421" LastActivityDate="2016-05-03T06:10:12.030" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18316" PostTypeId="1" AcceptedAnswerId="18317" CreationDate="2016-05-03T09:41:14.783" Score="0" ViewCount="43" Body="&lt;p&gt;I am following an AE tutorial.  As part of its exercise files, the tutorial provides an .ai file that has two layers: a rocket and a black background. The .ai file is then imported into AE as a composition, thereby retaining the two layers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The tutorial then creates a circle as a shape layer.  It places the shape layer below the rocket but above the background:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/MZ4Gh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MZ4Gh.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and the following is displayed:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RMVUE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RMVUE.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I do the same, the circle obstructs the rocket layer:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4Oxlm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4Oxlm.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way I can get the rocket layer to be visible is by moving the circle layer all the way to the vertical bottom:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/buKSr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/buKSr.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's as if the two layers of the original .ai file are behaving as one.  What could be the problem?&lt;/p&gt;&#xA;" OwnerUserId="10481" LastActivityDate="2016-05-03T10:23:13.277" Title="After Effects - Shape layer obscures graphics layer unless positioned at bottom" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18317" PostTypeId="2" ParentId="18316" CreationDate="2016-05-03T10:23:13.277" Score="1" Body="&lt;p&gt;Probably a dumb question, but is your circle the same colour as the rocket?&#xA;Then it would appear to obscure the rocket...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively - &#xA;There could be some kind of &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/alpha-channels-masks-mattes.html&quot; rel=&quot;nofollow&quot;&gt;matte&lt;/a&gt; on one of the layers? &#xA;Click on the Toggle Switches/Modes button at the bottom of the list of layers in the timeline, and see whether any mattes are switched on.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-05-03T10:23:13.277" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18319" PostTypeId="2" ParentId="18294" CreationDate="2016-05-03T13:20:25.837" Score="0" Body="&lt;p&gt;Off topic but ill chuck in some pointers&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1: Backup ALL your data&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2: Make sure all your Data is backed up and unplug the external device&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3: Reload Windows 10 x64 from the install disk or USB&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4: install all your apps again&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5: put your data back&lt;/p&gt;&#xA;&#xA;&lt;p&gt;6: start editing on your new Windows 10 x64 system&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2016-05-03T13:20:25.837" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18320" PostTypeId="1" AcceptedAnswerId="18327" CreationDate="2016-05-03T18:58:17.060" Score="1" ViewCount="2615" Body="&lt;p&gt;Initially posted on &lt;a href=&quot;https://graphicdesign.stackexchange.com/questions/70707/automated-rendering-of-after-effects-or-similar&quot;&gt;graphicdesign.stackexchange.com&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for a way to integrate animations into our existing product. The animations would essentially be 30 second commercials containing some variable data (names, dates, numbers). The system needs to automatically render the animation when the user pushes a button. These are non-technical users, so it needs to be all very black-box.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It looks to me like we could use After Effects for this, but I am not a designer so I'm looking for confirmation and suggestions from the experts. This is how I see it working:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;We have a designer create an AE project for each desired animation. &lt;/li&gt;&#xA;&lt;li&gt;The AE project is set up to pull the variable data from a file at render time. &lt;/li&gt;&#xA;&lt;li&gt;When our user pushes the button, the system generates the data file and puts it into a folder known to the AE project. &lt;/li&gt;&#xA;&lt;li&gt;The system then kicks off the render using &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/automated-rendering-network-rendering.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;aerender.exe&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;When rendering is complete, the system shows the animation.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Does this sound like a reasonable way to proceed? Any alternative suggestions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One area I'm concerned about is the data merge part. Can an AE project be set up to automatically do that at the time of rendering (i.e. initiated by &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/automated-rendering-network-rendering.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;aerender.exe&lt;/a&gt;)?&lt;/p&gt;&#xA;" OwnerUserId="14516" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:12.617" LastActivityDate="2020-03-04T23:42:52.507" Title="Automated rendering of After Effects or similar" Tags="|after-effects|automation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18321" PostTypeId="1" CreationDate="2016-05-03T20:01:22.140" Score="0" ViewCount="701" Body="&lt;p&gt;How to move a picture like logo which is on one videotrack relative video which is on other videotrack in Adobe Premiere CC? In previous version it was easy to do double click on the picture in program monitor and was possible to move or transform picture like in &quot;freetransform&quot; in Photoshop. But it doesn t work in Adobe CC.  &lt;/p&gt;&#xA;" OwnerUserId="14517" LastActivityDate="2016-11-24T12:23:57.193" Title="How to move logo relative video on program monitor in Adobe CC?" Tags="|premiere|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18322" PostTypeId="1" AcceptedAnswerId="18328" CreationDate="2016-05-03T20:06:52.420" Score="3" ViewCount="201" Body="&lt;p&gt;I'm creating animations like the hearthstone golden cards,and I'm tired of masking everything bit by bit.&#xA;I know that the hearthstone team used masks (with colors) in order to make the animations,they used a map of colors that was telling the after effects where to apply the effects and where to ignore the effects. Exemples:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Image 1:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DNZQ8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DNZQ8.png&quot; alt=&quot;image1&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mask 1:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Mw4j8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Mw4j8.png&quot; alt=&quot;mask1&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this case,the blue area had a particles effect,the yellow/green had a glow and the redish was some rotating light effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In a nutshell:&#xA;How can I tell after effects to make some effects visible only in a certain spot using a color map?&lt;/p&gt;&#xA;" OwnerUserId="14518" LastEditorUserId="10892" LastEditDate="2016-05-04T18:24:17.337" LastActivityDate="2016-05-04T18:24:17.337" Title="Is possible to use this &quot;map&quot; as a mask? (After Effects)" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18323" PostTypeId="2" ParentId="15943" CreationDate="2016-05-03T21:07:18.133" Score="1" Body="&lt;p&gt;As other answers have suggested, you're probably wasting your time. The tape is likely stuck to itself and will be damaged if you pull it apart, but maybe something can be done. Since you have effectively lost that part of the tape, and you've already transferred what you can, there is nothing left to lose. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would open the cassette very carefully as 3pointedit suggested, and try to unravel the tape from the spool. Make sure you wear gloves. If you can get it to unwind, I would use some spent tape from an old VHS that you don't care about and lengthen this tape with it. Basically, cut a foot from the junk tape and tape it on to the end of the tape you want to transfer. There used to be a special tape you could get for this task (called splicing), but you'll probably just have to settle for ultra clear scotch tape. It just has to work once. You might still lose the first few seconds and get distortion at the splice point, but that's better than nothing.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Source: I used to fiddle with audio cassette tapes in my father's recording studio when I was a kid. It's the same principle, just a different sized tape and cassette.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2016-05-03T21:07:18.133" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18324" PostTypeId="2" ParentId="18321" CreationDate="2016-05-03T21:27:20.653" Score="1" Body="&lt;p&gt;Assuming I understood your question correctly (which I'm not certain of, given your poetic writing style that appears to have transcended past the need for meager punctuation), you can still double click the image in the program monitor to get into the 'free transform' mode. I just tested it in the current version of Premiere Pro CC and it works as expected.&lt;/p&gt;&#xA;&lt;p&gt;Alternatively, you can select the clip that you want to move/scale in the timeline and open the &lt;strong&gt;Effects Control&lt;/strong&gt; panel. Click on this icon next to the &lt;strong&gt;Motion&lt;/strong&gt; tab:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uRUPK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uRUPK.png&quot; alt=&quot;free transform icon&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This will also enter the free transform mode that allows you to move/scale the clip.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-05-03T21:27:20.653" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18325" PostTypeId="1" CreationDate="2016-05-04T00:40:44.540" Score="1" ViewCount="114" Body="&lt;p&gt;I need to find a way to cut down on the total number of frames in a video I'm editing. Essentially, if it was shot in 60 fps, I'd like to choose to only keep every 20th or 30th frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only programs I have available are Windows MovieMaker and any freeware available. I have a video that is too detailed for the analysis program I'm using which is why I need to be able to keep only every 30th frame.&lt;/p&gt;&#xA;" OwnerUserId="14522" LastActivityDate="2016-05-04T07:31:09.470" Title="Decimating files in Moviemaker" Tags="|framerate|windows-movie-maker|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18327" PostTypeId="2" ParentId="18320" CreationDate="2016-05-04T04:50:07.003" Score="4" Body="&lt;p&gt;After Effects can be automated using the Adobe extendscript scripting language,  and can be run from the command line, meaning that it can be integrated into other processes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.adobe.com/devnet/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;Extendscript&lt;/a&gt; is JavaScript and it works across Adobe's product line (to varying degrees, you can use it to script Photoshop for instance). If you have a JavaScript developer available then this would be a relatively straightforward task.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also third party frameworks such as &lt;a href=&quot;http://dataclay.com/&quot; rel=&quot;nofollow&quot;&gt;Dataclay&lt;/a&gt; that make the process easier for non-technical users to avoid scripting, but they are relatively pricey, though they might work out cheaper than hiring a developer and rolling your own.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-05-04T04:56:12.550" LastActivityDate="2016-05-04T04:56:12.550" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18328" PostTypeId="2" ParentId="18322" CreationDate="2016-05-04T05:18:22.750" Score="4" Body="&lt;p&gt;Create an adjustment layer above the base image and apply one of the effects to it (you will have to do this whole process several times with one effect per adjustment layer).&#xA;Add the colour mask layer above the adjustment layer and use a key effect (&lt;strong&gt;Effects&gt;Keying&gt;&lt;em&gt;whatever&lt;/em&gt;…&lt;/strong&gt;) to make the relevant colour for the effect transparent.&#xA;Set the track matte for the adjustment layer to &lt;strong&gt;&quot;Alpha Inverted Matte &lt;em&gt;the colour mask layer&lt;/em&gt;&quot;&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cjB6Y.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cjB6Y.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using an alpha inverted track matte will make the adjustment layer opaque only where the Alpha Matte is transparent, so the effect will only be visible in the areas defined by the relevant colour. Note that when you apply the track matte the layer that is acting as a matte is made invisible (eye icon switched off).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-05-04T05:18:22.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18330" PostTypeId="2" ParentId="18325" CreationDate="2016-05-04T07:31:09.470" Score="1" Body="&lt;p&gt;You can use &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool, to do this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &quot;select=not(mod(n\,30)),setpts=N/FRAME_RATE/TB&quot; -r 30 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-vf&lt;/code&gt; specifies a video filterchain i.e. a sequence of filters applied to a single input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;select=not(mod(n\,30))&lt;/code&gt; - this filter keeps only each 30th frame from the source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmpeg works primarily within the framework of time-based containers, such as a video, which is a series of images shown in a cycle through time. The PTS is the presentation timestamp of a frame i.e. when the player should present a frame. Due to how ffmpeg works, &lt;code&gt;setpts&lt;/code&gt; filter is needed in this case to ensure that no frames are duplicated or dropped other than what the select filter specifies. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-r 30&lt;/code&gt; is the framerate of the output. To set it to the rate of the source, you can either skip this parameter or set it manually i.e. &lt;code&gt;-r 60&lt;/code&gt; for a 60 fps source.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-04T07:31:09.470" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18332" PostTypeId="2" ParentId="18310" CreationDate="2016-05-04T14:32:17.890" Score="2" Body="&lt;p&gt;Depends on who you ask. Old traditional people who grew up back in the bad old analog days have the Safe Action Area and Safe Title Area embedded in their brains.  But even as old analog TV receivers evolved, there was less and less danger of losing the periphery of the frame to overscan.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With modern LCD, LED, plasma, whatever, TV screens, there is ZERO danger of overscan. It simply doesn't exist anymore. I now use a rule of thumb to keep any text or significant graphics at least 2 or 3% away from the edge, mostly as an aesthetic design rule.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-05-04T14:32:17.890" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18333" PostTypeId="2" ParentId="13214" CreationDate="2016-05-04T15:20:17.503" Score="0" Body="&lt;p&gt;You can also export a widescreen movie that's not exactly 16x9 and you can trim off the black bars so you get the actual size (e.g. 2.53:1, etc).&lt;/p&gt;&#xA;" OwnerUserId="14421" LastActivityDate="2016-05-04T15:20:17.503" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18334" PostTypeId="1" CreationDate="2016-05-04T17:06:57.990" Score="0" ViewCount="2383" Body="&lt;p&gt;Here is basically what I'm trying to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have three files :&#xA;1. image.png&#xA;2. music.wav&#xA;3. video.mp4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to create a new video file (mp4) with :&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;IMAGE.PNG for the first 5 seconds&lt;/li&gt;&#xA;&lt;li&gt;VIDEO.MP4 for the duration of the file VIDEO.MP4 (example 60 seconds)&lt;/li&gt;&#xA;&lt;li&gt;IMAGE.PNG + MUSIC.WAV for the duration of MUSIC.WAV (example 60 seconds)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;is it possible in FFMPEG ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and if yes, is it possible in one &quot;go&quot; meaning without creating several intermediate video files ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks a lot !&lt;/p&gt;&#xA;" OwnerUserId="14531" LastActivityDate="2016-05-07T10:28:41.383" Title="FFMPEG - Add intro and outro to a video" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18335" PostTypeId="1" CreationDate="2016-05-04T17:41:28.107" Score="1" ViewCount="1173" Body="&lt;p&gt;disclaimer: I'm completely a neophyte, mildly competent with Photoshop and that's it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was trying to figure out what would be the quickest/easiest way to add AR-ish elements over a video. For example if in the video there is a landmark like a historic building I would like to have a &quot;marker&quot; composited over the middle of the face of this building. Would the gps/compass data of the camera that recorded the video help in any way?&lt;/p&gt;&#xA;" OwnerUserId="14532" LastActivityDate="2017-01-10T06:10:39.660" Title="How to add &quot;AR&quot; elements over video?" Tags="|video|editing|post-production|compositing|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18336" PostTypeId="2" ParentId="17261" CreationDate="2016-05-04T18:03:26.080" Score="0" Body="&lt;p&gt;I further analyzed this issue and found that, it exists even with 2.8.1 version of ffmpeg. But surprisingly first frame is duplicated only while transcoding input video with 23.976 fps!!! When I transcode video with any other fps (24, 25, 29.976, 30) initials frames seems fine.&lt;/p&gt;&#xA;" OwnerUserId="14533" LastActivityDate="2016-05-04T18:03:26.080" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18337" PostTypeId="2" ParentId="18308" CreationDate="2016-05-04T18:11:55.743" Score="8" Body="&lt;p&gt;HEVC (High Efficiency Video Coding),  the new video coding standard brings promise of huge bandwidth savings of approx. 40-45% over H.264 encoded content&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/83eth.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/83eth.png&quot; alt=&quot;H.265 VS H.264&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.mediaentertainmentinfo.com/2013/10/4-concept-series-what-is-the-difference-between-hevc-h-265-and-h-264-mpeg-4-avc.html&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;more info here&quot;&gt;More info here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14533" LastEditorUserId="14533" LastEditDate="2016-05-07T10:48:35.073" LastActivityDate="2016-05-07T10:48:35.073" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18338" PostTypeId="2" ParentId="18334" CreationDate="2016-05-04T18:19:44.373" Score="2" Body="&lt;p&gt;It's possible. Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i image.png -f lavfi -t 5 -i anullsrc -i video.mp4 -i music.wav \&#xA;-filter_complex &quot;[0]trim=duration=5,fps=N[pre];[3]showwaves=WxH:r=N[b]; \&#xA;                 [b][0]overlay=shortest=1[post]; \&#xA;                 [pre][1:a][2:v][2:a][post][3]concat=n=3:v=1:a=1[v][a]&quot; \&#xA;-map [v] -map [a] out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The image and video have to be of the same dimensions. If not, you should scale one of them, likely the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The fps filter should be set to the framerate of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;showwaves&lt;/code&gt; is a kludge. Since the looped image stream does not terminate, I generate a video stream using &lt;code&gt;showwaves&lt;/code&gt; from the audio, which will be of the same length as the WAV. &lt;code&gt;WxH&lt;/code&gt; should be the same as the video, and &lt;code&gt;r&lt;/code&gt; the same as the video's framerate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then the image is overlaid on top the filter is set to terminate when the waves video ends.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, the concat filter assembles the full video.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1950" LastEditDate="2016-05-07T10:28:41.383" LastActivityDate="2016-05-07T10:28:41.383" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18339" PostTypeId="2" ParentId="16713" CreationDate="2016-05-04T18:49:25.870" Score="0" Body="&lt;p&gt;A compressor microphone that worked for me is the Arcano Black 01/Arcano bku-01 (those are hard to find,but they are SUPER GOOD!).Also you could go for the iRig Mic Studio,I dont know if this one works on galaxy but its a great mic!Also the iRig come with a free app to record multiple sound sources,and that is pretty handy since you are going to make a podcast.&#xA;Anyways,good luck in your podcast!&lt;/p&gt;&#xA;" OwnerUserId="14518" LastActivityDate="2016-05-04T18:49:25.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18340" PostTypeId="1" CreationDate="2016-05-04T22:38:20.440" Score="0" ViewCount="657" Body="&lt;p&gt;I'm trying to figure out what fourcc value I need to use but I'm a bit confused between file formats and codecs. &#xA;I have a .mov file and MediaInfo reports it as shown below&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to specify the fourcc value but can't see it explicitly listed. Is it the Color Space and Chroma subsampling values?&#xA;If it is the text I'm using suggests I call the file a .avi but does it matter if I call it a .mov? &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Main@L4.1&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 2 frames&#xA;Format settings, GOP                     : M=2, N=5&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 1h 8mn&#xA;Source duration                          : 1h 8mn&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 3 224 Kbps&#xA;Maximum bit rate                         : 768 Kbps&#xA;Width                                    : 1 024 pixels&#xA;Height                                   : 576 pixels&#xA;Display aspect ratio                     : 1.942&#xA;Original display aspect ratio            : 16:9&#xA;Frame rate mode                          : Variable&#xA;Frame rate                               : 25.000 fps&#xA;Minimum frame rate                       : 3.125 fps&#xA;Maximum frame rate                       : 25.000 fps&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.219&#xA;Stream size                              : 1.53 GiB (100%)&#xA;Source stream size                       : 1.54 GiB (100%)&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2016-01-16 15:40:20&#xA;Tagged date                              : UTC 2016-03-09 18:41:42&#xA;Color range                              : Limited&#xA;Color primaries                          : BT.601 PAL&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.601&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="13991" LastActivityDate="2017-03-31T09:08:22.623" Title="MediaInfo Fourcc Values" Tags="|video|codec|quicktime|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18341" PostTypeId="2" ParentId="18311" CreationDate="2016-05-05T02:17:15.090" Score="3" Body="&lt;p&gt;Getting a file format that works for everyone is very complicated. However, if you are are trying for network news, it is safe to use MPEG-2 TS 1080i29.97 (CBS, NBC, CNN) or 720p59.94 (ABC, Fox) at CBR 50Mbps, 15/3 closed GOP. Audio should be 48kHz PCM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Local stations will accept MP4s, but you likely won't be happy with the results once it gets to air. The same goes for 1080p and 24fps flavors. Be especially careful that you have not mixed frame rates on your timeline. Pre-convert any elements that are not in the target frame rate before adding them to the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For local stations, it may be best to contact them individually. It often helps to ask if they will be transcoding an MP4 to another format and if you can just provide that format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Be careful of any spec sheets you find publicly accessible. They are generally written for commercial copy and not for contribution content. There may be differences.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastEditorUserId="14523" LastEditDate="2018-08-05T16:50:31.057" LastActivityDate="2018-08-05T16:50:31.057" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="18342" PostTypeId="2" ParentId="18310" CreationDate="2016-05-05T02:36:59.867" Score="2" Body="&lt;p&gt;There are three different things that get called &quot;broadcast safe&quot;:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Colors gamut:&lt;/strong&gt; You don't need to apply an NTSC broadcast safe filter, but you do want to make sure that your colors are all within gamut for the format you are using. If you use out of gamut colors, most of the time nothing happens. However, you run the risk of some very odd, very hard to troubleshoot problems cropping up on air.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Title &amp;amp; action safe:&lt;/strong&gt; In the days of CRTs, there was a portion of the picture that would get cut off. That area varied from TV to TV and grew over time as the tube aged. Non-CRT displays don't suffer from the same issue, so the recommended safe areas are not as large as they used to be, but they still exist. Some modern displays artificially create an overscan and the bezel of some displays can block the edges even at reasonable viewing angles. Recommendations vary from 1% to 5% of the screen should be protected.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Center cut safe:&lt;/strong&gt; 4:3 TVs do still exist in the world. How a 4:3 picture is created from a 16:9 signal varies. Sometimes it is created with a separate air chain by the broadcaster, sometimes the broadcaster downconverts the 16:9 to 4:3, and sometimes the 16:9 feed is downconverted &lt;em&gt;in the viewers home&lt;/em&gt;. It is for this last reason that it is recommended that you still keep key elements (e.g., products, people talking, offer graphics and disclaimer text) within the center cut protected area of the picture.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;In summary:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Use only colors within broadcast gamut.&lt;/li&gt;&#xA;&lt;li&gt;Don't push important elements right to the edge of the screen.&lt;/li&gt;&#xA;&lt;li&gt;Protect important visuals within the center cut safe area.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2016-05-05T02:36:59.867" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18343" PostTypeId="1" AcceptedAnswerId="18365" CreationDate="2016-05-05T03:19:28.763" Score="0" ViewCount="24" Body="&lt;p&gt;When exporting this video, I get all the content inside the red box. But, I want the content inside green box. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do it in Adobe Premiere?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/eLHfe.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eLHfe.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="9205" LastActivityDate="2016-05-07T10:17:39.663" Title="How to export a video in expecific ratio" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18344" PostTypeId="2" ParentId="16713" CreationDate="2016-05-05T03:46:24.980" Score="1" Body="&lt;p&gt;Consider a couple of products from Australian microphone maker Røde.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Røde VideoMic Me: &lt;a href=&quot;http://en.rode.com/microphones/videomicme&quot; rel=&quot;nofollow&quot;&gt;http://en.rode.com/microphones/videomicme&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Røde smartLav+: &lt;a href=&quot;http://en.rode.com/microphones/smartlav-plus&quot; rel=&quot;nofollow&quot;&gt;http://en.rode.com/microphones/smartlav-plus&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Røde makes pretty high-quality products and are leaders in making new products like these mcicrophones which are designed to plug directly into the TRRS connectors of smartphones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have no connection with Røde except as a satisfied, paying customer.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-05-05T03:46:24.980" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18345" PostTypeId="2" ParentId="18340" CreationDate="2016-05-05T04:53:16.963" Score="1" Body="&lt;p&gt;FourCCs are Microsoft's ID tags for &lt;strong&gt;streams&lt;/strong&gt; e.g. &lt;code&gt;avc1&lt;/code&gt; for H.264/AVC or &lt;code&gt;mp4a&lt;/code&gt; for an AAC audio stream. The container doesn't really matter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to change the FourCC, use ffmpeg like so&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -strict -2 -c copy -vtag ABCD new.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;ABCD&lt;/code&gt; is your new 4CC/tag.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You current file already shows &lt;code&gt;avc1&lt;/code&gt; for the video stream, which is default and expected.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-05T04:53:16.963" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18346" PostTypeId="2" ParentId="18191" CreationDate="2016-05-05T05:01:28.977" Score="0" Body="&lt;p&gt;If you hope to record ENG footage for TV submission, make sure that the camera can record in a format that is permitted by the stations you hope to be working for. In the case of the station I work for, news footage can only be submitted as interlaced (1080i50) and a lot of photocameras with video function can not shoot interlace video.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-05-05T05:01:28.977" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18347" PostTypeId="1" CreationDate="2016-05-05T17:11:18.077" Score="0" ViewCount="170" Body="&lt;p&gt;Rookie video editor here, asking about video canvas. Don't know the right term in video editing but in image editing it's area that is not part of it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/j9Im8wWsbPw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;br&gt;As you see, ratio is good and available definitions are up to 480p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After downloading it (and I tried different definitions) this is what I get when playing in VLC and Windows Media Player:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IOc1F.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IOc1F.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you have any idea how something what was previously invisible got picked up? And why I don't see this canvas/artifact on YouTube? No idea what that is but feels like amateur's first attempt at YouTube publishing. Maybe YouTube filters it out but only when viewed there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I crop the picture out of this mess and would I need special software?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another question is about available definitions. While YouTube displays them up to 480p, how is it definitions up to 1080p are available through KeepVid?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fIEOT.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fIEOT.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="1487" LastActivityDate="2024-03-25T22:05:00.580" Title="Why This Video Appears in Full Canvas?" Tags="|editing|video-quality|youtube|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18348" PostTypeId="1" AcceptedAnswerId="18352" CreationDate="2016-05-05T17:34:53.487" Score="0" ViewCount="1231" Body="&lt;p&gt;A couple of questions when thinking about 5.1 audio encoding:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;What are the limitations of AAC-HE codec while doing 5.1 audio ?&lt;/li&gt;&#xA;&lt;li&gt;Why is AC3 preferred when compared to AAC-HE ?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="14472" LastActivityDate="2016-05-05T23:17:34.470" Title="Using AAC-HE for 5.1 audio?" Tags="|audio|encoding|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18349" PostTypeId="2" ParentId="18347" CreationDate="2016-05-05T19:17:03.403" Score="0" Body="&lt;p&gt;It's weird. I see all resolutions - upto 1080p - on Youtube. And the thumbnail hover does show the full frame as seen in your VLC snapshot, but not in the playback window on Youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;youtube-dl shows streams in a 1:2 ratio i.e. 540x1080, 360x720, which would be what you're seeing locally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool, to crop out the remainder.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -vf &quot;crop=iw:iw*9/16,scale=0:-2&quot; -crf 20 -c:a copy new.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-05-05T19:27:11.203" LastActivityDate="2016-05-05T19:27:11.203" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18350" PostTypeId="2" ParentId="18295" CreationDate="2016-05-05T21:33:20.167" Score="0" Body="&lt;p&gt;All codecs, unless they are truly lossless, suffer from &lt;a href=&quot;https://tech.ebu.ch/docs/techreview/trev_271-dalton.pdf&quot; rel=&quot;nofollow&quot;&gt;concatenation errors&lt;/a&gt;. Every time you encode with a codec, decode, and re-encode with the same or a different codec you will degrade the quality of the video. It isn't as precise to figure out just how bad it will be as when you could count the generational loss of re-recording to tape as the source and destination codecs affect the number of cycles before the artifacts become noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you perform an export from most editing software, even if you don't change anything, you go through a full codec cycle. The software internally decodes to its native format and then re-encodes to export. This means that it will interpolate the discarded information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my experience, H.264 (the codec used in an MP4 and that is used Windows Movie Maker) exhibits noticeable to the untrained eye concatenation errors after just one codec cycle. &lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2016-05-05T21:33:20.167" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18351" PostTypeId="2" ParentId="18291" CreationDate="2016-05-05T22:08:28.150" Score="1" Body="&lt;p&gt;Advanced Authoring Format (AAF) and some MXF operational patterns (OP-2a, 2b, 3a, and 3b) &lt;em&gt;should&lt;/em&gt; be able mix bit rates. I say &quot;should&quot; because I don't have any good way of testing right now and I don't know of any commercial systems that are making heavy use of those MXF OP's.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2016-05-05T22:08:28.150" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18352" PostTypeId="2" ParentId="18348" CreationDate="2016-05-05T23:17:34.470" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;What are the limitations of AAC-HE codec while doing 5.1 audio ?&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;HE-AAC &lt;em&gt;v2&lt;/em&gt; can only encode stereo from my experience with Nero AAC and the article in Wikipedia about &lt;a href=&quot;https://en.wikipedia.org/wiki/Parametric_Stereo&quot; rel=&quot;nofollow&quot;&gt;Parametric Stereo&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;Why is AC3 preferred when compared to AAC-HE ?&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Which case are you actually talking about? Are you sure it's HE-AAC not AAC-LC? Dolby Digital / A/52 / AC-3 was the standard for video DVDs which makes it the most common digital audio format for video. It achieves acceptable quality at significantly less bitrates than the competitor DTS and newer formats developed for video on physical media. AAC-LC is usually offered for official downloads and streaming and is part of the MPEG4 specification.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To add some perspective, HE-AAC was one of the early efforts to develop a codec suitable for low bitrates providing high quality audio compared to earlier speech only audio codecs. &lt;a href=&quot;https://en.wikipedia.org/wiki/Opus_%28audio_format%29&quot; rel=&quot;nofollow&quot;&gt;Opus&lt;/a&gt; is a successor with many improvements in this field and which also offers multichannel capability. Some podcasts offer it as an additional option to Vorbis. It's part of later WebM revisions and can be decoded on recent Android devices but its adoption seems to be very slow. If you are looking for a solution to high quality multichannel audio at low bitrates you should be looking into the state of the art Opus, not old AAC with extentions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The general recommendation has been to use AAC-LC and to avoid HE features which may cause playback issues on some devices.  &lt;/p&gt;&#xA;" OwnerUserId="10541" LastActivityDate="2016-05-05T23:17:34.470" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18354" PostTypeId="1" AcceptedAnswerId="18356" CreationDate="2016-05-06T08:21:02.883" Score="6" ViewCount="4604" Body="&lt;p&gt;I have an &lt;code&gt;ffmpeg&lt;/code&gt; command using &lt;code&gt;-vf&lt;/code&gt; to square crop a video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf \&#xA;&quot;crop='if(gte(iw,ih),ih,iw):if(gte(ih,iw),iw,ih)', scale=720x720&quot; \&#xA;-an -c:v libx264 -profile:v high -level 4.1 \&#xA;-preset superfast -crf 20 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I also have a separate &lt;code&gt;ffmpeg&lt;/code&gt; command using &lt;code&gt;-filter_complex&lt;/code&gt; to apply a slow motion &quot;profile&quot; (normal speed, then slow, then normal speed) to a video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex \&#xA;&quot;[0:v]trim=0:4.95,setpts=PTS-STARTPTS[v1]; \&#xA; [0:v]trim=4.95:6.75,setpts=PTS-STARTPTS[v2]; \&#xA; [0:v]trim=6.75:8,setpts=PTS-STARTPTS[v3]; \&#xA; [v2]setpts=PTS/0.1[vslow2]; \&#xA; [v1][vslow2][v3]concat=n=3:v=1:a=0[out]&quot; \&#xA;-map [out] -an -c:v libx264 -profile:v high -level 4.1 \&#xA;-preset superfast -crf 20 -r 30 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If I try and put them together:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;crop='if(gte(iw,ih),ih,iw):if(gte(ih,iw),iw,ih)', scale=720x720&quot; \&#xA;-filter_complex \&#xA;&quot;[0:v]trim=0:4.95,setpts=PTS-STARTPTS[v1]; \&#xA; [0:v]trim=4.95:6.75,setpts=PTS-STARTPTS[v2]; \&#xA; [0:v]trim=6.75:8,setpts=PTS-STARTPTS[v3]; \&#xA; [v2]setpts=PTS/0.1[vslow2]; \&#xA; [v1][vslow2][v3]concat=n=3:v=1:a=0[out]&quot; \&#xA;-map [out] -an -c:v libx264 -profile:v high -level 4.1 \&#xA;-preset superfast -crf 20 -r 30 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I then get:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf/-af/-filter and -filter_complex cannot be used together for the same stream.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there a way of applying the &lt;code&gt;crop&lt;/code&gt; filter to the entire stream, or will I have to apply it to each of the &lt;code&gt;[v1]&lt;/code&gt;, &lt;code&gt;[v2]&lt;/code&gt;, etc. streams?&lt;/p&gt;&#xA;" OwnerUserId="14442" LastActivityDate="2016-06-05T09:19:08.047" Title="ffmpeg: can I crop using vf while also using filter_complex at the same time?" Tags="|ffmpeg|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18355" PostTypeId="2" ParentId="18295" CreationDate="2016-05-06T08:33:44.550" Score="0" Body="&lt;p&gt;Definitely, it will degrade the video quality after many times of converting. I advise you to convert the file to the one with original settings. The best choice is to use a video editor which allows you to edit and convert files to desired ones.&lt;/p&gt;&#xA;" OwnerUserId="14538" LastActivityDate="2016-05-06T08:33:44.550" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18356" PostTypeId="2" ParentId="18354" CreationDate="2016-05-06T08:47:07.703" Score="4" Body="&lt;p&gt;Use this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4  -filter_complex \&#xA;&quot;[0:v]crop='if(gte(iw,ih),ih,iw):if(gte(ih,iw),iw,ih)',scale=720x720,split=3[1v][2v][3v]; \&#xA; [1v]trim=0:4.95,setpts=PTS-STARTPTS[v1]; \&#xA; [2v]trim=4.95:6.75,setpts=(PTS-STARTPTS)/0.1[v2]; \&#xA; [3v]trim=6.75:8,setpts=PTS-STARTPTS[v3]; \&#xA; [v1][v2][v3]concat=n=3:v=1:a=0[out]&quot; \&#xA;-map [out] -an -c:v libx264 -profile:v high -level 4.1 \&#xA;-preset superfast -crf 20 -r 30 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="14442" LastEditDate="2016-05-06T08:54:26.740" LastActivityDate="2016-05-06T08:54:26.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18357" PostTypeId="1" CreationDate="2016-05-06T13:09:54.737" Score="2" ViewCount="348" Body="&lt;p&gt;I have longer video footage from which I would like to extract many short clips. To add some context, this is for a sign language research project where I have several long source videos, about 1 hour of footage each. I would like to extract individual signs from these videos and keep the main (long) footage intact. I would also like the ability to rename or fine tune the clip selections later on, if needed.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone recommend a video editing workflow that would allow me to select clips from the footage by setting in and out points for each clip with the option of naming each clip as I go. I need to have the ability to custom name each clip, a serialized name won't work in my situation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what I'm hoping for in my overall workflow:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Apply any needed color correction or other adjustments to the main&#xA;footage.&lt;/li&gt;&#xA;&lt;li&gt;Apply a custom crop to the main footage.&lt;/li&gt;&#xA;&lt;li&gt;Select and individually name short clips from within the main&#xA;footage. &lt;/li&gt;&#xA;&lt;li&gt;Export the selected clips.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for any help. I'm on Mac OSX and would prefer a solution that uses Final Cut, but I'm not sure if FCP can do this or not, or if it would require a plugin or something.&lt;/p&gt;&#xA;" OwnerUserId="14540" LastActivityDate="2016-07-12T21:48:04.153" Title="Workflow for batch extracting many short clips from long footage" Tags="|video-editor|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18358" PostTypeId="2" ParentId="15841" CreationDate="2016-05-06T13:33:11.847" Score="8" Body="&lt;p&gt;Here is a workaround I've discovered that seems to work ok. It's not elegant, but it gives you vector support within FCPX, which can be handy in a number of situations. It does require Apple Motion, however.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Convert your vector file into a PDF using Preview.&lt;/li&gt;&#xA;&lt;li&gt;Create a Final Cut Generator in Apple Motion&lt;/li&gt;&#xA;&lt;li&gt;Import PDF&lt;/li&gt;&#xA;&lt;li&gt;Click the PDF in the &quot;Media&quot; pane (next to the Viewer), then in the inspector, un-click &quot;Fixed Resolution&quot; in the &quot;Media&quot; tab.&lt;/li&gt;&#xA;&lt;li&gt;Drag the file into your composition.&lt;/li&gt;&#xA;&lt;li&gt;Save As...&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This will create a generator in FCPX, which is a little more permanent than making a simple file. But if you're doing work for a client and want a persistent vector version of their logo or something, this can be very helpful.&lt;/p&gt;&#xA;" OwnerUserId="14541" LastActivityDate="2016-05-06T13:33:11.847" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18360" PostTypeId="1" AcceptedAnswerId="18367" CreationDate="2016-05-07T02:53:23.567" Score="0" ViewCount="107" Body="&lt;p&gt;Hi stackexchange folks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need your help. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to know that if we want to shoot TV show as following like &quot;house of card&quot; TV show video quality. then what are the changes or steps we need to take. we need to make changes in cameras or video editing ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/uwwHCKsX2oM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/NTzycsqxYJ0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="11681" LastActivityDate="2016-05-07T11:28:48.123" Title="how can we shoot tv show so &quot;tarak mehta ka ulta chasma&quot; it will look like &quot;house of card&quot;?" Tags="|video|camera|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18361" PostTypeId="1" CreationDate="2016-05-07T04:45:42.887" Score="2" ViewCount="58" Body="&lt;p&gt;What information are lost if we put a 10-bit video in an 8bpc composition in After Effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for a technical explanation. Because at least they look same to naked eyes.&lt;/p&gt;&#xA;" OwnerUserId="2901" LastActivityDate="2016-05-07T09:52:37.863" Title="What happens if we put 10bpc video in 8bpc composition?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18362" PostTypeId="2" ParentId="18357" CreationDate="2016-05-07T06:35:25.377" Score="0" Body="&lt;p&gt;&lt;em&gt;This answer is coming from someone who uses Sony Vegas Pro to do this regularly, but the question requests Final Cut Pro.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From what I can tell, FCP cannot do everything that you want. You can select multiple parts of your clips, but you cannot name or color code them. That may be a deal breaker (it would be for me).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you need to do is set multiple &lt;em&gt;ranges&lt;/em&gt; in your project. It's pretty simple. Select the range tool or hold command while you click, then drag the portion of the clip that you want to highlight. FCP will remember the ranges that you make.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Larry Jordan Edit Smarter explains it better than I can: &lt;a href=&quot;https://larryjordan.com/articles/fcpx-select-ranges/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FCP X: Select Multiple Ranges&lt;/a&gt;. Here's &lt;a href=&quot;https://www.youtube.com/watch?v=wcc9XON5vTk&quot; rel=&quot;nofollow noreferrer&quot;&gt;a YouTube walk through&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;If the inability to name them is a deal breaker, you can do it in Vegas Pro. Unfortunately, Vegas Pro is a Windows only program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Vegas Pro you create &lt;em&gt;regions&lt;/em&gt;. Here's the steps:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select the area of the video you want in the timeline.&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/QfIVo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QfIVo.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Click &lt;code&gt;R&lt;/code&gt; on your keyboard. This creates a region.  &lt;/li&gt;&#xA;&lt;li&gt;By default, the region has no name. You should be able to immediately start typing and it will fill in next to the region name. If not, just double click to the right of region in marker as if you were renaming a file.&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/LLzuD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LLzuD.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Create all the regions you want in your timeline.&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/pDkpB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pDkpB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Export the regions. Go to: &lt;code&gt;Tools &amp;gt; Scripting &amp;gt; Batch Render&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Select the render profile(s) you want to create. A file will be made for each profile you select.&lt;/li&gt;&#xA;&lt;li&gt;Make sure &lt;code&gt;Render Regions&lt;/code&gt; radio button is selected at the bottom. A file will be made for each region. &#xA;&lt;a href=&quot;https://i.stack.imgur.com/Rrb85.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Rrb85.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Choose a save location then click &lt;code&gt;OK&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2016-05-07T06:40:47.337" LastActivityDate="2016-05-07T06:40:47.337" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="18364" PostTypeId="2" ParentId="18361" CreationDate="2016-05-07T09:52:37.863" Score="3" Body="&lt;p&gt;10-bit footage will &lt;em&gt;look&lt;/em&gt; the same as properly shot 8 bit footage, it's how it copes with grading and effects that makes the difference. If you have 10-bit video that's a few stops underexposed you still have a lot of information in the shadows - four times as much information as the 8 bit. You won't see that extra info until you correct the exposure–particularly because most delivery formats are 8 bit, like internet, or broadcast television (but not cinema). The same holds true for over-exposure and colour balance, and any effect that works with colour information. Make the same changes in 8-bit footage and you'll just get mush, because there isn't the data, just like blowing up standard-def footage doesn't make it the same as footage shot in HD. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To understand why, consider the R, G and B channels in an 8 bit image. Each channel has 2&lt;sup&gt;8&lt;/sup&gt;=256 possible values*. If your footage is underexposed and the brightest highlight is at 50%, then you've only got 128 values per channel. A 10 bit image starts out with 2&lt;sup&gt;10&lt;/sup&gt;=1024 possible values per channel, and the same under exposed footage works out to 512 values, so it still has room to be graded and still have the same colour depth as properly shot 8-bit video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your project is set to 16 bit or 32 bit colour then After effects will use the full colour depth of the footage.&#xA;&lt;hr&gt;&#xA;*this is simplified a bit, most video codecs are YUV rather than RGB, the information is distributed so there's more data for the Luma than the colour, and the exposure values aren't necessarily linear, but that's beyond the scope of this answer.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-05-07T09:52:37.863" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18365" PostTypeId="2" ParentId="18343" CreationDate="2016-05-07T10:17:39.663" Score="1" Body="&lt;p&gt;Go to your sequence settings &lt;strong&gt;Sequence&gt;Settings&lt;/strong&gt; and change the resolution to match the size of the rectangle you want. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Pny64.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Pny64.png&quot; alt=&quot;seq settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you want to export the media, in the export settings click the button in the video tab that says &lt;strong&gt;Match Source&lt;/strong&gt;, this will set the export resolution to match your timeline. Some codecs (e.g. avid DNxHD) will not allow non-standard resolutions, and most will only allow even numbers of pixels in either dimension (e.g. h.264) so you may have to change codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/siiez.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/siiez.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-05-07T10:17:39.663" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18366" PostTypeId="2" ParentId="18310" CreationDate="2016-05-07T10:26:27.387" Score="0" Body="&lt;p&gt;In Australia at least the stations still have strict requirements regarding things like &lt;a href=&quot;https://www.dubsat.com.au/DubSatOnline/sites/dsonline/services/dsSystem/skins/myDubSat/home/pdf/TechPage.PDF&quot; rel=&quot;nofollow&quot;&gt;title safe&lt;/a&gt;. We still have to make our titles safe for 4:3 CRT receivers, just in case we annoy people watching on their Rank Arena 15&quot; CRT with a set-top-box.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best bet is to contact the broadcasters you're sending the material to and ask them.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-05-07T10:26:27.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18367" PostTypeId="2" ParentId="18360" CreationDate="2016-05-07T11:28:48.123" Score="2" Body="&lt;p&gt;I see four basic differences (in what I believe is the correct priority order):&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Lighting.  The lighting on Kevin Spacey is classic three-point lighting with warm fronts, a 2:1 key/fill ratio, and cold back/rim/hair light.  Proper 3-point lighting is the biggest difference between the pro look of episodic television and the amateur look of most YouTube videos.&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;Resolution.  House of Cards is shot in 5K and mastered in 4K resolution.  You can see it even in greatly scaled down images.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Sensor size/shallow depth of field.  With a large enough image sensor and a large enough lens aperture, it's possible to get crisp focus on the subject and beautiful blur in the background, which as you rightly observe, make you really pay attention to the subject instead of all the many distractions surrounding them.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Set design and wardrobe.  The muted colors (and lower light levels) of the background and the dark suit again focus the viewer on the face and hands (key dramatic communicators) of the actor.  Contrast that with loud colored clothing and bright walls, the eye is overwhelmed with too many subjects to deal with.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Slumdog Millionaire got all this right.  You can, too!&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-05-07T11:28:48.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18370" PostTypeId="1" CreationDate="2016-05-07T23:01:35.873" Score="1" ViewCount="644" Body="&lt;p&gt;I am interested if I can set up Adobe Media Encoder so I could send render job from my macbook pro to a more powerful PC? Or at least, are there any solutions that would allow me to render videos faster and without slowing down my mbp? &lt;/p&gt;&#xA;" OwnerUserId="14552" LastActivityDate="2016-05-07T23:01:35.873" Title="Render on another machine in local network via Adobe Media Encoder" Tags="|premiere|adobe-media-encoder|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18371" PostTypeId="1" AcceptedAnswerId="18372" CreationDate="2016-05-08T10:39:57.040" Score="1" ViewCount="1027" Body="&lt;p&gt;I'm using avconv on LinuxMint 17.3 to convert video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;strong&gt;avconv man page&lt;/strong&gt; states for multiple options, that they are &quot;&lt;code&gt;Deprecated, use mpegvideo private options instead&lt;/code&gt;&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone tell me what these private options are and where they are documented?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I noticed that the WinFF program uses &lt;code&gt;-flags +cbp&lt;/code&gt; but I don't know what +cbp does or what the equivalent might be. Can anyone enlighten me or point me to more detailed documentation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="14555" LastEditorUserId="14555" LastEditDate="2016-05-09T03:08:30.830" LastActivityDate="2016-05-15T15:04:44.227" Title="avconv: What are the mpegvideo private options?" Tags="|ffmpeg|conversion|mpeg|avconv|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18372" PostTypeId="2" ParentId="18371" CreationDate="2016-05-08T11:01:25.123" Score="2" Body="&lt;p&gt;Private options are switches/flags only applicable to specific encoders or decoders, and ignored by anything else.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To see the available private options for an encoder, use &lt;code&gt;avconv -h encoder=name&lt;/code&gt; e.g. &lt;code&gt;avconv -h encoder=flv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For LibAV, these are the private options available for the MPEG-1 &amp;amp; 2 encoders.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;{ &quot;mpv_flags&quot;,      &quot;Flags common for all mpegvideo-based encoders.&quot;, FF_MPV_OFFSET(mpv_flags), AV_OPT_TYPE_FLAGS, { .i64 = 0 }, INT_MIN, INT_MAX, FF_MPV_OPT_FLAGS, &quot;mpv_flags&quot; },\&#xA;{ &quot;skip_rd&quot;,        &quot;RD optimal MB level residual skipping&quot;, 0, AV_OPT_TYPE_CONST, { .i64 = FF_MPV_FLAG_SKIP_RD },    0, 0, FF_MPV_OPT_FLAGS, &quot;mpv_flags&quot; },\&#xA;{ &quot;strict_gop&quot;,     &quot;Strictly enforce gop size&quot;,             0, AV_OPT_TYPE_CONST, { .i64 = FF_MPV_FLAG_STRICT_GOP }, 0, 0, FF_MPV_OPT_FLAGS, &quot;mpv_flags&quot; },\&#xA;{ &quot;qp_rd&quot;,          &quot;Use rate distortion optimization for qp selection&quot;, 0, AV_OPT_TYPE_CONST, { .i64 = FF_MPV_FLAG_QP_RD },  0, 0, FF_MPV_OPT_FLAGS, &quot;mpv_flags&quot; },\&#xA;{ &quot;cbp_rd&quot;,         &quot;use rate distortion optimization for CBP&quot;,          0, AV_OPT_TYPE_CONST, { .i64 = FF_MPV_FLAG_CBP_RD }, 0, 0, FF_MPV_OPT_FLAGS, &quot;mpv_flags&quot; },\&#xA;{ &quot;naq&quot;,            &quot;normalize adaptive quantization&quot;,                   0, AV_OPT_TYPE_CONST, { .i64 = FF_MPV_FLAG_NAQ },    0, 0, FF_MPV_OPT_FLAGS, &quot;mpv_flags&quot; },\&#xA;{ &quot;mv0&quot;,            &quot;always try a mb with mv=&amp;lt;0,0&amp;gt;&quot;,                     0, AV_OPT_TYPE_CONST, { .i64 = FF_MPV_FLAG_MV0 },    0, 0, FF_MPV_OPT_FLAGS, &quot;mpv_flags&quot; },\&#xA;{ &quot;luma_elim_threshold&quot;,   &quot;single coefficient elimination threshold for luminance (negative values also consider dc coefficient)&quot;,\&#xA;                                                                      FF_MPV_OFFSET(luma_elim_threshold), AV_OPT_TYPE_INT, { .i64 = 0 }, INT_MIN, INT_MAX, FF_MPV_OPT_FLAGS },\&#xA;{ &quot;chroma_elim_threshold&quot;, &quot;single coefficient elimination threshold for chrominance (negative values also consider dc coefficient)&quot;,\&#xA;                                                                      FF_MPV_OFFSET(chroma_elim_threshold), AV_OPT_TYPE_INT, { .i64 = 0 }, INT_MIN, INT_MAX, FF_MPV_OPT_FLAGS },\&#xA;{ &quot;quantizer_noise_shaping&quot;, NULL,                                  FF_MPV_OFFSET(quantizer_noise_shaping), AV_OPT_TYPE_INT, { .i64 = 0 },       0, INT_MAX, FF_MPV_OPT_FLAGS },\&#xA;{ &quot;error_rate&quot;, &quot;Simulate errors in the bitstream to test error concealment.&quot;,                                                                                                  \&#xA;                                                                    FF_MPV_OFFSET(error_rate),              AV_OPT_TYPE_INT, { .i64 = 0 },       0, INT_MAX, FF_MPV_OPT_FLAGS },\&#xA;{&quot;qsquish&quot;, &quot;how to keep quantizer between qmin and qmax (0 = clip, 1 = use differentiable function)&quot;,                                                                          \&#xA;                                                                    FF_MPV_OFFSET(rc_qsquish), AV_OPT_TYPE_FLOAT, {.dbl = 0 }, 0, 99, FF_MPV_OPT_FLAGS},                        \&#xA;{&quot;rc_qmod_amp&quot;, &quot;experimental quantizer modulation&quot;,                FF_MPV_OFFSET(rc_qmod_amp), AV_OPT_TYPE_FLOAT, {.dbl = 0 }, -FLT_MAX, FLT_MAX, FF_MPV_OPT_FLAGS},           \&#xA;{&quot;rc_qmod_freq&quot;, &quot;experimental quantizer modulation&quot;,               FF_MPV_OFFSET(rc_qmod_freq), AV_OPT_TYPE_INT, {.i64 = 0 }, INT_MIN, INT_MAX, FF_MPV_OPT_FLAGS},             \&#xA;{&quot;rc_eq&quot;, &quot;Set rate control equation. When computing the expression, besides the standard functions &quot;                                                                           \&#xA;          &quot;defined in the section 'Expression Evaluation', the following functions are available: &quot;                                                                             \&#xA;          &quot;bits2qp(bits), qp2bits(qp). Also the following constants are available: iTex pTex tex mv &quot;                                                                           \&#xA;          &quot;fCode iCount mcVar var isI isP isB avgQP qComp avgIITex avgPITex avgPPTex avgBPTex avgTex.&quot;,                                                                         \&#xA;                                                                    FF_MPV_OFFSET(rc_eq), AV_OPT_TYPE_STRING,                           .flags = FF_MPV_OPT_FLAGS },            \&#xA;{&quot;rc_init_cplx&quot;, &quot;initial complexity for 1-pass encoding&quot;,          FF_MPV_OFFSET(rc_initial_cplx), AV_OPT_TYPE_FLOAT, {.dbl = 0 }, -FLT_MAX, FLT_MAX, FF_MPV_OPT_FLAGS},       \&#xA;{&quot;rc_buf_aggressivity&quot;, &quot;currently useless&quot;,                        FF_MPV_OFFSET(rc_buffer_aggressivity), AV_OPT_TYPE_FLOAT, {.dbl = 1.0 }, -FLT_MAX, FLT_MAX, FF_MPV_OPT_FLAGS}, \&#xA;{&quot;border_mask&quot;, &quot;increase the quantizer for macroblocks close to borders&quot;, FF_MPV_OFFSET(border_masking), AV_OPT_TYPE_FLOAT, {.dbl = 0 }, -FLT_MAX, FLT_MAX, FF_MPV_OPT_FLAGS},    \&#xA;{&quot;lmin&quot;, &quot;minimum Lagrange factor (VBR)&quot;,                           FF_MPV_OFFSET(lmin), AV_OPT_TYPE_INT, {.i64 =  2*FF_QP2LAMBDA }, 0, INT_MAX, FF_MPV_OPT_FLAGS },            \&#xA;{&quot;lmax&quot;, &quot;maximum Lagrange factor (VBR)&quot;,                           FF_MPV_OFFSET(lmax), AV_OPT_TYPE_INT, {.i64 = 31*FF_QP2LAMBDA }, 0, INT_MAX, FF_MPV_OPT_FLAGS },            \&#xA;{&quot;ibias&quot;, &quot;intra quant bias&quot;,                                       FF_MPV_OFFSET(intra_quant_bias), AV_OPT_TYPE_INT, {.i64 = FF_DEFAULT_QUANT_BIAS }, INT_MIN, INT_MAX, FF_MPV_OPT_FLAGS },   \&#xA;{&quot;pbias&quot;, &quot;inter quant bias&quot;,                                       FF_MPV_OFFSET(inter_quant_bias), AV_OPT_TYPE_INT, {.i64 = FF_DEFAULT_QUANT_BIAS }, INT_MIN, INT_MAX, FF_MPV_OPT_FLAGS },   \&#xA;{&quot;rc_strategy&quot;, &quot;ratecontrol method&quot;,                               FF_MPV_OFFSET(rc_strategy), AV_OPT_TYPE_INT, {.i64 = 0 }, 0, 1, FF_MPV_OPT_FLAGS },   \&#xA;{&quot;motion_est&quot;, &quot;motion estimation algorithm&quot;,                       FF_MPV_OFFSET(motion_est), AV_OPT_TYPE_INT, {.i64 = FF_ME_EPZS }, FF_ME_ZERO, FF_ME_XONE, FF_MPV_OPT_FLAGS, &quot;motion_est&quot; },   \&#xA;{ &quot;zero&quot;, NULL, 0, AV_OPT_TYPE_CONST, { .i64 = FF_ME_ZERO }, 0, 0, FF_MPV_OPT_FLAGS, &quot;motion_est&quot; }, \&#xA;{ &quot;epzs&quot;, NULL, 0, AV_OPT_TYPE_CONST, { .i64 = FF_ME_EPZS }, 0, 0, FF_MPV_OPT_FLAGS, &quot;motion_est&quot; }, \&#xA;{ &quot;xone&quot;, NULL, 0, AV_OPT_TYPE_CONST, { .i64 = FF_ME_XONE }, 0, 0, FF_MPV_OPT_FLAGS, &quot;motion_est&quot; }, \&#xA;{&quot;b_strategy&quot;, &quot;Strategy to choose between I/P/B-frames&quot;,           FF_MPV_OFFSET(b_frame_strategy), AV_OPT_TYPE_INT, {.i64 = 0 }, 0, 2, FF_MPV_OPT_FLAGS }, \&#xA;{&quot;b_sensitivity&quot;, &quot;Adjust sensitivity of b_frame_strategy 1&quot;,       FF_MPV_OFFSET(b_sensitivity), AV_OPT_TYPE_INT, {.i64 = 40 }, 1, INT_MAX, FF_MPV_OPT_FLAGS }, \&#xA;{&quot;brd_scale&quot;, &quot;Downscale frames for dynamic B-frame decision&quot;,      FF_MPV_OFFSET(brd_scale), AV_OPT_TYPE_INT, {.i64 = 0 }, 0, 3, FF_MPV_OPT_FLAGS }, \&#xA;{&quot;skip_threshold&quot;, &quot;Frame skip threshold&quot;,                          FF_MPV_OFFSET(frame_skip_threshold), AV_OPT_TYPE_INT, {.i64 = 0 }, INT_MIN, INT_MAX, FF_MPV_OPT_FLAGS }, \&#xA;{&quot;skip_factor&quot;, &quot;Frame skip factor&quot;,                                FF_MPV_OFFSET(frame_skip_factor), AV_OPT_TYPE_INT, {.i64 = 0 }, INT_MIN, INT_MAX, FF_MPV_OPT_FLAGS }, \&#xA;{&quot;skip_exp&quot;, &quot;Frame skip exponent&quot;,                                 FF_MPV_OFFSET(frame_skip_exp), AV_OPT_TYPE_INT, {.i64 = 0 }, INT_MIN, INT_MAX, FF_MPV_OPT_FLAGS }, \&#xA;{&quot;skip_cmp&quot;, &quot;Frame skip compare function&quot;,                         FF_MPV_OFFSET(frame_skip_cmp), AV_OPT_TYPE_INT, {.i64 = FF_CMP_DCTMAX }, INT_MIN, INT_MAX, FF_MPV_OPT_FLAGS, &quot;cmp_func&quot; }, \&#xA;{&quot;sc_threshold&quot;, &quot;Scene change threshold&quot;,                          FF_MPV_OFFSET(scenechange_threshold), AV_OPT_TYPE_INT, {.i64 = 0 }, INT_MIN, INT_MAX, FF_MPV_OPT_FLAGS }, \&#xA;{&quot;noise_reduction&quot;, &quot;Noise reduction&quot;,                              FF_MPV_OFFSET(noise_reduction), AV_OPT_TYPE_INT, {.i64 = 0 }, INT_MIN, INT_MAX, FF_MPV_OPT_FLAGS }, \&#xA;{&quot;mpeg_quant&quot;, &quot;Use MPEG quantizers instead of H.263&quot;,              FF_MPV_OFFSET(mpeg_quant), AV_OPT_TYPE_INT, {.i64 = 0 }, 0, 1, FF_MPV_OPT_FLAGS }, \&#xA;{&quot;ps&quot;, &quot;RTP payload size in bytes&quot;,                             FF_MPV_OFFSET(rtp_payload_size), AV_OPT_TYPE_INT, {.i64 = 0 }, INT_MIN, INT_MAX, FF_MPV_OPT_FLAGS }, \&#xA;{&quot;mepc&quot;, &quot;Motion estimation bitrate penalty compensation (1.0 = 256)&quot;, FF_MPV_OFFSET(me_penalty_compensation), AV_OPT_TYPE_INT, {.i64 = 256 }, INT_MIN, INT_MAX, FF_MPV_OPT_FLAGS }, \&#xA;{&quot;mepre&quot;, &quot;pre motion estimation&quot;, FF_MPV_OFFSET(me_pre), AV_OPT_TYPE_INT, {.i64 = 0 }, INT_MIN, INT_MAX, FF_MPV_OPT_FLAGS }, \&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-05-15T15:04:44.227" LastActivityDate="2016-05-15T15:04:44.227" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18373" PostTypeId="1" CreationDate="2016-05-08T15:20:43.237" Score="1" ViewCount="759" Body="&lt;p&gt;I am interesting in shooting some amatorial videos (family) with a digital camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the moment my camera support AVCHD and MP4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found AVCHD less compatible and more time consuming to process so I was thinking if MP4 would be a more convenient options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In that format my digital camera shoot at 1440×1080 12M MP4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Can I reproduce video on a FULL HD TV (1920x1080) recorded with 1440×1080 12M MP4?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Would you suggest AVCHD instead for my use scenario?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Her some technical details of my camera:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://docs.esupport.sony.com/dvimag/DSCRX100_guide/en/contents/04/03/02/02.html&quot; rel=&quot;nofollow&quot;&gt;http://docs.esupport.sony.com/dvimag/DSCRX100_guide/en/contents/04/03/02/02.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.sony.jp/products/overseas/contents/pickup/english/110324_promotion/DSC-TX100_Full_HD/&quot; rel=&quot;nofollow&quot;&gt;http://www.sony.jp/products/overseas/contents/pickup/english/110324_promotion/DSC-TX100_Full_HD/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.dpreview.com/reviews/sony-cybershot-dsc-rx100-m2/5&quot; rel=&quot;nofollow&quot;&gt;http://www.dpreview.com/reviews/sony-cybershot-dsc-rx100-m2/5&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10715" LastEditorUserId="10715" LastEditDate="2016-05-08T15:32:34.677" LastActivityDate="2016-08-06T17:17:11.760" Title="Can I reproduce video in 1440×1080 12M MP4 on a Full HD TV?" Tags="|video|mp4|avchd|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18374" PostTypeId="2" ParentId="18373" CreationDate="2016-05-08T15:43:11.050" Score="1" Body="&lt;p&gt;You don't mention either how (or IF?) you are editing anything here, or what forms of storage, distribution, archiving, etc you anticipate?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You are probably correct that MP4 is a more compatible distribution format, but distribution format does not necessarily have to be identical with recording and editing format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would not anticipate any issue with displaying a 1440×1080 frame on a 1920x1080 screen. Modern digital displays typically handle scaling (UP or DOWN) pretty seamlessly.  In any case, shouldn't it be easy to actually try it for yourself?  No amount of anonymous advice from the internet beats actual first-hand experiment.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-05-08T15:43:11.050" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18375" PostTypeId="1" AcceptedAnswerId="18376" CreationDate="2016-05-08T17:17:50.560" Score="2" ViewCount="1363" Body="&lt;p&gt;I am using &lt;code&gt;ffmpeg&lt;/code&gt; to convert a video file to H.264 format. If I call &lt;code&gt;ffprobe&lt;/code&gt; while &lt;code&gt;ffmpeg&lt;/code&gt; is still running the duration of the video is not known. Only when &lt;code&gt;ffmpeg&lt;/code&gt; finishes the &lt;code&gt;ffprobe&lt;/code&gt; will display the duration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similar, if I run &lt;code&gt;mplayer&lt;/code&gt; to play the video while it is still being encoded the duration is either unknown or displays incorrectly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to know duration of the resulted video (h264 in .mkv container) while it is still being encoded by &lt;code&gt;ffmpeg&lt;/code&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;: &lt;em&gt;I will make the question a little bit more clear.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am interested in knowing how long is the video which was encoded &lt;strong&gt;so far&lt;/strong&gt;. Let's say the input file is 1 minute 45 seconds long. The resulting file should preserve the length. But I would like to know how much did &lt;code&gt;ffmpeg&lt;/code&gt; encode &lt;strong&gt;so far&lt;/strong&gt;. If we can determine the length of the video after conversion is done, shouldn't there be a way to determine the length of the video that was already processed and ready to be played?&lt;/p&gt;&#xA;" OwnerUserId="14556" LastEditorUserId="14556" LastEditDate="2016-05-08T18:23:17.333" LastActivityDate="2019-08-30T19:54:08.280" Title="How to calculate the length of the video file that was encoded so far?" Tags="|ffmpeg|encoding|mkv|libx264|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18376" PostTypeId="2" ParentId="18375" CreationDate="2016-05-08T17:42:22.910" Score="2" Body="&lt;p&gt;Short answer is No.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Longer answer is, it depends.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're encoding a file, then generally the output is the duration of the input, unless there's speed change or trim filters or &lt;code&gt;-ss, -to, -t&lt;/code&gt; options applied. For a live input, FFmpeg will stop the encode when it encounters EOF on the input, so unless you know that, you won't know the output duration. For multiple inputs of differing duration, it will depend on what the command is e.g. is there a &lt;code&gt;-shortest&lt;/code&gt; in there, is there an &lt;code&gt;amix&lt;/code&gt;, which defaults to the longest of the inputs, or &lt;code&gt;amerge&lt;/code&gt; which terminates upon the shortest input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By default, the ffmpeg console readout will display the progress of the encoding in realtime i.e. the duration encoded, so far.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-08T17:42:22.910" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18377" PostTypeId="1" CreationDate="2016-05-08T20:59:29.147" Score="3" ViewCount="20943" Body="&lt;p&gt;Is there a way to infinitely loop a video in ffmpeg for a livestream? I've been looking around and can see it was possible to use &quot;loop 1&quot; but it appears that is no longer working.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what I'm currently using, but as you can see, it is not infinitely looping and entering a ridiculously high number is not an option for me due to 32-bit integer limitations:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -f concat -i &amp;lt;(for i in {1..10000}; do printf &quot;file '%s'\n&quot; /root/file.flv; done) -codec copy -f flv rtmp://a.rtmp.youtube.com/live2/xxxx-xxxx-xxxx-xxxx&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14558" LastActivityDate="2019-06-10T21:35:19.863" Title="Infinite Video Loop in Ffmpeg?" Tags="|video|ffmpeg|rtmp|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18378" PostTypeId="1" AcceptedAnswerId="18382" CreationDate="2016-05-09T00:14:32.367" Score="0" ViewCount="1334" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/r9oV4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/r9oV4.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So this is what it looks like. I have one video track, three audio tracks. The last audio track is background music. I need to edit the clips to cut out the boring parts. The problem is, I want to kind of be able to hear the background music as I play the video in preview. Anyway So normally what I do is, I press shift, and it allows me to use the razor tool to cut all clips at the same time, then i select and drag things into place. The reason why I can't do that here is, the shift razor tool will cut the background music too. What I need to do is link v1 a1 a2 for the purposes of the razor tool so that i may edit them as if they were one clip, how do I do that? I tried link, but link is grayed out for some reason when I select more than two things. Thank you!&lt;/p&gt;&#xA;" OwnerUserId="14559" LastActivityDate="2016-05-09T15:12:23.443" Title="Adobe premiere, how do i link two audio clips and one video clip for the purposes of the razor tool?" Tags="|premiere|adobe|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18379" PostTypeId="2" ParentId="18377" CreationDate="2016-05-09T04:31:53.547" Score="5" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -stream_loop -1 -i file.flv -c copy -f flv rtmp://x.y.z&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This option is buggy when the input it is applied to is filtered with another input, like in an overlay. For a single input - output chain, it works fine.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-05-09T14:50:44.563" LastActivityDate="2016-05-09T14:50:44.563" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="18380" PostTypeId="2" ParentId="18378" CreationDate="2016-05-09T10:44:14.620" Score="0" Body="&lt;p&gt;You can make V1 + A1 + A2 into a nested sequence by selecting those three tracks and then right clicking to reveal Nest or by using the menu item Clip &gt; Nest.  Then you can use the razor tool on the nested sequence without using shift.  Chop and rearrange to your heart's delight.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-05-09T10:44:14.620" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18381" PostTypeId="2" ParentId="16154" CreationDate="2016-05-09T11:24:42.357" Score="1" Body="&lt;p&gt;Between frame is frame gap. In there, camera don't expose and coresponse it can not receive data at frame gap.&#xA;And i think, frame_readout include frame gap (time between frame adjacent)&lt;/p&gt;&#xA;" OwnerUserId="14564" LastActivityDate="2016-05-09T11:24:42.357" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18382" PostTypeId="2" ParentId="18378" CreationDate="2016-05-09T14:57:29.610" Score="3" Body="&lt;p&gt;Even though Michael Tiemanns answer is technically correct, it seems overly complicated given the description of your problem, as nested sequences may cause other problems and inconveniences down the road. So here are two other options that might help you:&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Grouping&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Select the three tracks you want to edit, then &lt;strong&gt;right-click&lt;/strong&gt; → &lt;strong&gt;group&lt;/strong&gt; (or press &lt;kbd&gt;CTRL&lt;/kbd&gt; + &lt;kbd&gt;G&lt;/kbd&gt;). The grouped clips will all be selected when you click on one of them. Then you can press &lt;kbd&gt;CTRL&lt;/kbd&gt; + &lt;kbd&gt;K&lt;/kbd&gt; to cut all clips in the group at the position of your playhead. The problem with this method is that the cut clips will still be grouped together, so if you select one of them, they will all be selected and moved simultaneously. The next option will be more convenient for your workflow:&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Track locks&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Click on the lock symbol on the left side of the timeline on the track that holds your background music. This will completely lock all clips on the track, preventing you from accidentally cutting or moving them.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2016-05-09T15:12:23.443" LastActivityDate="2016-05-09T15:12:23.443" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18384" PostTypeId="2" ParentId="18005" CreationDate="2016-05-09T18:17:47.873" Score="3" Body="&lt;p&gt;As mentioned by @Mulvya, I think the issue is the &quot;slow&quot; preset. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One option is encoding a compressed stream that is also lossless. For example, the x264 encoder can do this using &quot;-preset ultrafast -qp 0&quot;. This will probably result in failing your 3rd requirement (compatibility), but since it's lossless, you can transcode later onto cheap spinning disks. You can also look into using the huffyuv lossless encoder, which might be better supported. There are some gotchas with this method, so you definitely want to test your workflow from beginning to end. In particular, see this question:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/16674/using-h264-in-loseless-mode-brings-small-unexpected-results?rq=1&quot;&gt;Using h264 in loseless mode brings small unexpected results&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do go this route, I would also experiment with dropping subsampling and encode at 4:4:4. It may not increase your file size by that much and will help you if you plan on doing any post-production work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option, depending on your budget, is purchasing an encoder. I love FFmpeg, but it's meant to work everywhere, not to take full advantage of your hardware. Mainconcept isn't too expensive and will better be able to use that i7 processor you already shelled out for. (See &lt;a href=&quot;https://software.intel.com/en-us/articles/using-the-intel-media-sdk-within-mainconcept-h264avc-encoder-for-intel-quick-sync-video&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://software.intel.com/en-us/articles/using-the-intel-media-sdk-within-mainconcept-h264avc-encoder-for-intel-quick-sync-video&lt;/a&gt; for example.) They also offer an HEVC encoder which would further shrink your file size. I can't vouch for the quality, however, as my experience is with Ateme. But I believe you can at least evaluate it out for free.&lt;/p&gt;&#xA;" OwnerUserId="12716" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-05-09T18:17:47.873" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18385" PostTypeId="2" ParentId="16674" CreationDate="2016-05-09T18:51:45.093" Score="13" Body="&lt;p&gt;It's an artifact of the player, not the encoder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used the command below to generate a RGB format capture in HuffYUV&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -video_size 1920x1080 -framerate 30 -i video=&quot;screen-capture-recorder&quot; -c:v huffyuv -t 5 cap.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then transcoded the file to&lt;/p&gt;&#xA;&#xA;&lt;p&gt;x264 lossless RGB&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i cap.mkv -c:v libx264rgb -crf 0 -preset ultrafast h264rgb.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;HuffYUV YUV 4:2:2&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i cap.mkv -c:v huffyuv -pix_fmt yuv422p huffyuv.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;x264 lossless YUV 4:2:2&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i cap.mkv -c:v libx264 -crf 0 -preset ultrafast -pix_fmt yuv422p h264yuv.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Then, using the SSIM metric, compared the HuffYUV and x264 RGB files&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i h264rgb.mkv -i cap.mkv -filter_complex ssim -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;which resulted in&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;SSIM R:1.000000 (inf) G:1.000000 (inf) B:1.000000 (inf) All:1.000000 (inf)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And the HuffYUV and x264 YUV files&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i h264yuv.mkv -i huffyuv.mkv -filter_complex ssim -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Result&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;SSIM Y:1.000000 (inf) U:1.000000 (inf) V:1.000000 (inf) All:1.000000 (inf)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So, x264 does produce lossless output.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-09T18:51:45.093" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18386" PostTypeId="2" ParentId="18377" CreationDate="2016-05-09T19:48:28.693" Score="1" Body="&lt;p&gt;Use &lt;code&gt;-vf loop=parameters&lt;/code&gt; filter, see &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#loop&quot; rel=&quot;nofollow noreferrer&quot;&gt;fine documentation&lt;/a&gt;. Note that this currently will put all video frames in memory.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastEditorUserId="18155" LastEditDate="2019-06-10T21:35:19.863" LastActivityDate="2019-06-10T21:35:19.863" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="18387" PostTypeId="1" AcceptedAnswerId="18391" CreationDate="2016-05-10T01:40:49.257" Score="0" ViewCount="49" Body="&lt;p&gt;In Photoshop if you want to stretch some part of an image you can use the marquee tool to select the pixels you want, use Ctrl+J to duplicate and then Ctrl+T to stretch it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a video recorded using a mobile phone in the vertical position and I want to do the same thing to repeat the sides of the video (it's a person talking and there's a painted wall behind him). Is it possible?&lt;/p&gt;&#xA;" OwnerUserId="14568" LastActivityDate="2016-05-10T10:47:36.717" Title="Select some pixels from imported movie to duplicate and stretch" Tags="|after-effects|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18388" PostTypeId="1" CreationDate="2016-05-10T02:27:32.900" Score="0" ViewCount="885" Body="&lt;p&gt;My university is setting up a video production studio and they want to use a DSLR camera to record videos. However, they want the camera to feed the video into an iMac with Premier or Final Cut installed while it is recording, so I can preview it on the computer screen. Can this be done? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I read somewhere that Premiere and Final cut both use firewire to do this but neither the 1Dx and iMac have firewire inputs. I also read that I can use USB 3 or thunderbolt cable and a Black Magic or AJA box but there are so many products on their sites and I'm confused. Also, the 1Dx only has USB 3 and HDMI outputs.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best Wishes&#xA;Greg &lt;/p&gt;&#xA;" OwnerUserId="14569" LastEditorUserId="14569" LastEditDate="2016-05-10T02:50:07.867" LastActivityDate="2022-12-27T02:35:26.767" Title="How can I record video with a Canon 1Dx DSLR which will feed straight into Adobe Premiere or Final Cut?" Tags="|software|video-recording|dslr|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18389" PostTypeId="2" ParentId="18388" CreationDate="2016-05-10T02:46:33.933" Score="0" Body="&lt;p&gt;In Final Cut Pro X, you simply connect your camera or card reader to the computer, and choose &quot;Import&quot; and it should show up. There's a &lt;a href=&quot;http://www.macworld.com/article/2023824/how-to-use-final-cut-pro-x-with-your-dslr.html&quot; rel=&quot;nofollow&quot;&gt;tutorial here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The documentation for Final Cut Pro X is online. You can read the docs on &lt;a href=&quot;http://help.apple.com/finalcutpro/mac/10.2/#/verd0e77425&quot; rel=&quot;nofollow&quot;&gt;file import here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've not used Premiere in a few years, so I don't know the workflow there.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-05-10T02:46:33.933" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18391" PostTypeId="2" ParentId="18387" CreationDate="2016-05-10T10:47:36.717" Score="0" Body="&lt;p&gt;It is possible, but it might look a bit weird.  Video is constantly changing - even just a video of a wall will have noise in it, so static images tend to look a bit odd in comparison.  But Ii you stretch one pixel of the noisy moving image, you'll get lines of noise moving either side of your image, which might not look great either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if you want to give it a go, duplicate your original image, use a &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/alpha-channels-masks-mattes.html&quot; rel=&quot;nofollow&quot;&gt;mask&lt;/a&gt; to only show the edge that you want to extend, then adjust the scale in one dimension only (you'll need to click on the little link icon to only adjust the x-axis scale).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, What many people do for a backdrop is to copy the image, scale it up to fill the screen, then blur, and darken it, and place it behind the original image.  &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-05-10T10:47:36.717" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18392" PostTypeId="2" ParentId="18388" CreationDate="2016-05-10T14:06:49.270" Score="1" Body="&lt;p&gt;Any DSLR that can provide a live video signal (such as via HDMI) can feed that signal to a recording device (such as Atmos SHOGUN) or monitoring device (such as a TV monitor).  In order for your computer to handle live video, you need a live video input port, typically found on cards such as the Blackmagic Design Deck Link card.  BlackMagic's Media Express software can record and/or monitor live video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would be surprised if Adobe Premiere Pro (or other NLEs) can handle live video as an editable stream.  But MediaExpress can record with a confidence monitor, and then Premiere Pro can edit the resulting file.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-05-10T14:06:49.270" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18396" PostTypeId="2" ParentId="8388" CreationDate="2016-05-11T14:06:43.127" Score="1" Body="&lt;p&gt;That is not a good solution. &#xA;With this solution you are now locked at the size and position of your window, not the source media.  If you want to zoom in or out you have now lost that ability.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Better solution is to use the timing controls and set the end condition to &quot;Hold&quot; &lt;/p&gt;&#xA;" OwnerUserId="14579" LastActivityDate="2016-05-11T14:06:43.127" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18397" PostTypeId="2" ParentId="16599" CreationDate="2016-05-11T15:03:58.083" Score="0" Body="&lt;p&gt;Why don't you stream to YouTube? That's free. Make your stream/&quot;event&quot; private. Then it's ready instantly once the &quot;event&quot; ends because there is no waiting period. Then serve that embedded player on your website. This is very flexible and free (less camera and computer expense). No reason to build your own sever ... Maybe eventually, but the YouTube service will do a great job in the meantime. &lt;/p&gt;&#xA;" OwnerUserId="14421" LastActivityDate="2016-05-11T15:03:58.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18398" PostTypeId="1" CreationDate="2016-05-11T17:06:08.143" Score="1" ViewCount="6391" Body="&lt;p&gt;I am currently editing my project and it was saved to the newest premiere however this computer version has now been changed back and I have no access to my edit. I cant use my laptop however all the computers at university have the old premiere is there anyway to open it on there and continue with my edit? &lt;/p&gt;&#xA;" OwnerUserId="14580" LastActivityDate="2016-06-14T12:51:31.073" Title="I can't open my edit in premiere as its saying it was saved in the newest premiere?" Tags="|premiere|" AnswerCount="4" CommentCount="0" ClosedDate="2016-06-27T09:38:56.700" ContentLicense="CC BY-SA 3.0" />
  <row Id="18399" PostTypeId="2" ParentId="18398" CreationDate="2016-05-11T18:44:44.383" Score="0" Body="&lt;p&gt;Unfortunately, there isn't any way to work collaboratively across different versions of Premiere Pro. See &lt;a href=&quot;https://video.stackexchange.com/questions/13113/exchange-project-files-between-different-versions-of-premiere-pro&quot;&gt;my question here&lt;/a&gt; (which never got an answer, because there isn't one, as far as I know).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to save a project file from the current version of Premiere Pro to be compatible with an older one, you're pretty much out of luck as well. You can only use a workaround such as exporting an EDL-file (see &lt;a href=&quot;https://video.stackexchange.com/questions/14885/how-can-i-save-the-project-for-premiere-cs-5-5/14887#14887&quot;&gt;my answer here&lt;/a&gt;), but this will only export your rough cut, not any effects or other changes you made.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-05-11T18:44:44.383" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18400" PostTypeId="1" CreationDate="2016-05-11T19:26:09.933" Score="2" ViewCount="1884" Body="&lt;p&gt;I'm working with &lt;a href=&quot;https://www.blackmagicdesign.com/products/atem&quot; rel=&quot;nofollow&quot;&gt;ATEM Production Studio 4K&lt;/a&gt; from Blackmagic to switch between several video feeds that are broadcast using Wirecast onto Youtube from a Mac. Our ATEM product is not one of the switchers that comes with DVE (aka the ability to resize video input). I want to find a way to resize a video input and combine it with another input so I can broadcast the video to Youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two video feeds I want to combine, a feed from presentation software and a feed from a camera filming a presenter, in a way that the presentation is smaller than full screen and moved to a corner.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've considered ffmpeg, but I don't know how to use ffmpeg on a video stream in a way that we can combine it with another stream and send it into Wirecast, if that's possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An ideal solution would take a feed from our switcher and another feed from our presentation software, resize the presentation, combine it with the switcher feed, and send the result to Wirecast or Youtube. Is this possible to do for less than the cost of a new switcher? Is there a way to do this using OBS in place of Wirecast?&lt;/p&gt;&#xA;" OwnerUserId="14581" LastActivityDate="2017-09-04T17:46:15.220" Title="Resize a live stream and overlay over another live stream for broadcasting" Tags="|streaming|live|mac|broadcasting|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18402" PostTypeId="2" ParentId="18400" CreationDate="2016-05-11T21:49:16.053" Score="1" Body="&lt;p&gt;How are you routing to Wirecast? SDI/HDMI to thunderbolt? An easy solution is to get a micro/mini recorder from blackmagic and pull in that second feed directly to Wirecast through thunderbolt. Then in Wirecast you can mix the program feed and the second feed while adding layers of graphics. We do it all the time during live broadcasts. Also, having those micro/mini converters from blackmagic are priceless to have in general and they don't cost much.&lt;/p&gt;&#xA;" OwnerUserId="14421" LastActivityDate="2016-05-11T21:49:16.053" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18403" PostTypeId="1" CreationDate="2016-05-11T23:39:46.673" Score="2" ViewCount="1506" Body="&lt;p&gt;If the Matroska format is used, in certain framerates it doesn't record at exact input framerate, but rather at a little higher than the input framerate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As an example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -video_size 1920x1080 -f x11grab -framerate 30 -i :0.0 -c:v libx264rgb -crf 0 -preset ultrafast video.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;doesn't generate a recording at 30fps, but rather at 30.0003fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is not good, because even a slight change in input framerate can cause major frame stutter. Unless ffmpeg is speeding up the stream by 1.00001x, which I don't think so when using x11grab.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To prove this, VLC can be used for checking the frame rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to force exactly 30fps, or is this a format flaw?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, &lt;code&gt;uname -a&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Linux linux 4.1.15-rt17-1-rt-fixedtimers #1 SMP PREEMPT RT Sat Jan 16 01:14:52 GMT+5 2016 x86_64 GNU/Linux&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14585" LastEditorUserId="14523" LastEditDate="2016-05-13T05:19:42.540" LastActivityDate="2019-04-07T18:15:36.843" Title="Matroska format's framerate is not accurate with certain values" Tags="|ffmpeg|framerate|screen-casting|matroska|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18405" PostTypeId="1" AcceptedAnswerId="18426" CreationDate="2016-05-12T15:58:46.747" Score="3" ViewCount="5537" Body="&lt;p&gt;I have a sub-3-minute sequence in Premiere CC, containing a single 4k DCI 23.98 AVC stream from a Sony FS7, with a couple static PNGs and 29.97 Quicktime Animation lower thirds. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to export to a quicktime wrapper around some sort of mpeg-4 codec; I've tried several configurations of H.264 and MPEG-4 with the same result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My timeline plays and looks normal, but after export, I see the following result via Imgur videotogif:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KGtlB.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/KGtlB.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because I know some of you will ask, here is a screenshot of my export settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/duFTl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/duFTl.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Changing resolution, codec (within variants of Quicktime), with/without previews, max render quality - all has no effect on the strobing issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone have any thoughts on what the problem might be here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm having the same issue with a visually similar sequence in the same project for the same client, and had it once before as well (you guessed it, same client, same content specs). I've never experienced this ever before so I'm inclined to think there's some little gremlin in there somewhere - but I'm dashed to figure out what it is. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;[edit]&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've also verified that the issue occurs when exporting to P2/MXF as well as ProRes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Per @Mulvya's question about source properties, here's a screencap of the properties window on one of the clips. All the footage was shot in the same session, same camera, etc, and should be completely identical:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5sq37.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5sq37.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12530" LastEditorUserId="12530" LastEditDate="2016-05-12T19:29:37.690" LastActivityDate="2017-11-30T00:03:15.223" Title="Black frame strobing during CC export" Tags="|premiere|h.264|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18406" PostTypeId="1" AcceptedAnswerId="18407" CreationDate="2016-05-12T18:14:12.230" Score="2" ViewCount="896" Body="&lt;p&gt;Let's say that I have a &lt;code&gt;file1.avi&lt;/code&gt; and a &lt;code&gt;file2.avi&lt;/code&gt;. Each one of these files is the same size, for instance 300x100.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How could I join them, so that both of them would play the first 10 seconds of each video at the same time, one on top of the other, in a 300x200 video?&lt;/p&gt;&#xA;" OwnerUserId="14592" LastActivityDate="2016-05-12T19:13:07.383" Title="Join 2 videos to play at the same time" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18407" PostTypeId="2" ParentId="18406" CreationDate="2016-05-12T19:13:07.383" Score="4" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i file1.avi -i file2.avi -filter_complex &quot;[0][1]vstack&quot; -t 10 joined.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will stack the videos vertically and play the first 10 seconds of each. Remove the &lt;code&gt;-t&lt;/code&gt; option if the videos are longer and you wish to extend the output. This command also uses the default parameters to encode the video i.e. codec will be MPEG4 Part 2 (Xvid..). If there's any audio, the track from the first video will be used and encoded as MP3.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-12T19:13:07.383" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18409" PostTypeId="1" AcceptedAnswerId="18413" CreationDate="2016-05-13T04:34:49.760" Score="1" ViewCount="119" Body="&lt;p&gt;I'm trying to shoot video of a buddy playing music. I have a room that I need to light up for the camera. I'm looking into LEDs as they have good light output/low heat.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the difference between a &lt;a href=&quot;http://amzn.com/B00FJ0RGD0&quot; rel=&quot;nofollow&quot;&gt;NEEWER CN-216&lt;/a&gt; with 13W total power / &lt;a href=&quot;http://amzn.com/B004TJ6JH6&quot; rel=&quot;nofollow&quot;&gt;NEEWER CN-160&lt;/a&gt; w/9.6W max power&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VERSUS &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Buying a &lt;a href=&quot;http://amzn.com/B000HHQ94C&quot; rel=&quot;nofollow&quot;&gt;clamp light&lt;/a&gt; and throwing a flood LED light in it, such as &lt;a href=&quot;http://amzn.com/B00RMK05Y2&quot; rel=&quot;nofollow&quot;&gt;Hyperikon PAR38&lt;/a&gt; 14W (CRI 90+)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Total is around $22.50 per LED+clamp vs a CN-216 which is $40 with lower wattage. Besides portability is there anything else I'm missing here? &lt;/p&gt;&#xA;" OwnerUserId="14595" LastActivityDate="2016-05-13T11:13:01.123" Title="LED light types" Tags="|lighting|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18410" PostTypeId="2" ParentId="18403" CreationDate="2016-05-13T07:22:31.620" Score="3" Body="&lt;p&gt;MKV does not store a frame rate in its container. So ffmpeg/vlc looks at the default duration of a frame instead. It sees 33.333ms and does the math, which is where your weird number comes from. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more information, see: &lt;a href=&quot;https://gitlab.com/mbunkus/mkvtoolnix/wikis/Wrong-frame-rate-displayed&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gitlab.com/mbunkus/mkvtoolnix/wikis/Wrong-frame-rate-displayed&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To test this out, you can run &lt;code&gt;ffprobe&lt;/code&gt; with &lt;code&gt;-show_frames&lt;/code&gt;. I think you'll find the presentation times for each frame are spot on.&lt;/p&gt;&#xA;" OwnerUserId="12716" LastEditorUserId="525" LastEditDate="2019-04-07T18:15:36.843" LastActivityDate="2019-04-07T18:15:36.843" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="18411" PostTypeId="2" ParentId="18398" CreationDate="2016-05-13T07:57:07.487" Score="0" Body="&lt;p&gt;You proabably have to open the project on a machine with the same version that created the project. Exporting sequences as AAF or OMF can bring more metadata through, but will require re-linking. Here it is&lt;/p&gt;&#xA;" OwnerUserId="14586" LastActivityDate="2016-05-13T07:57:07.487" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18412" PostTypeId="2" ParentId="18335" CreationDate="2016-05-13T08:05:43.097" Score="0" Body="&lt;p&gt;I think not. AR-ish sounds like to want to elude something, here I think locking down the camera and simply generating the AR-elements in photoshop/illustrator, or if moving AR elements are cqlled for, After Effects and compositing them in premiere or After Effects would get you where I think you want to go. If the video is shot and not locked-down, you can try using the tracking tools in after-effects to allign the AR elements with your source footage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For inspiration have a peek at this reel; I think many of thes effects follow this general principle: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/QQwTzoobCYU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="14586" LastActivityDate="2016-05-13T08:05:43.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18413" PostTypeId="2" ParentId="18409" CreationDate="2016-05-13T11:13:01.123" Score="3" Body="&lt;p&gt;The first question you asked answers itself: just read the specifications of the two products and compare.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second question you asked is perhaps more interesting.  LED matrix lights on cameras give to video the kind of look that flashes mounted on cameras give to photographs.  They separate foreground from background due to the (typically) large falloff of light between nearby and distant objects.  They tend to create a very contrasty look, with surfaces perpendicular to the camera reflecting lots more light than surfaces less so.  I.e., foreheads and cheekbones will be very bright, sides of face less so.  Being relatively small sources, they tend to throw distinct shadows, but because of their location relative to the camera, the camera doesn't see the shadows.  The LED matrix lights can obviously be removed from the camera and placed on a stand, but you haven't mentioned buying a stand or a shoe mount, and you might hate the shadows that they do cast, so they are likely to wind up on the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A clamp light can be mounted off the camera, and a clamp light needs AC voltage, so you have to find a place to plug it in.  Since LEDs burn as cool as they do, it's easy to put diffusion across the face of a clamp light.  Large-faced clamp lights can give you even softer light, which means fewer distinct shadows falling on your subject.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do go with the PAR lights, you might want to get a second one so that you can use one for a key light and one for a fill light.  Or get a third so you can add a rim light.  &lt;a href=&quot;https://en.wikipedia.org/wiki/Three-point_lighting&quot; rel=&quot;nofollow&quot;&gt;Three point lighting&lt;/a&gt; makes all the difference in how things look in video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you go the PAR route, I recommend looking at &lt;a href=&quot;http://www.soraa.com/products/23-PAR38&quot; rel=&quot;nofollow&quot;&gt;SORRA Vivid&lt;/a&gt; (CRI 95+) products.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-05-13T11:13:01.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18414" PostTypeId="1" AcceptedAnswerId="18422" CreationDate="2016-05-13T13:19:32.127" Score="2" ViewCount="738" Body="&lt;p&gt;Using Trapcode Particular, I'm trying to position an obscuration layer so that half of my particles (spherical emitter) are being seen, then I rotate it around and see the other side of the sphere of particles.  But, I can't seem to position  the emitter and the obscuration layer correctly with respect to my other 3d layers (AE classic 3d). I can see all elements in wireframe mode except the emitter and obscuration layer. Any tips or tricks?&lt;/p&gt;&#xA;" OwnerUserId="4957" LastActivityDate="2016-05-14T23:22:00.517" Title="positioning Trapcode Particular Obscuration Layer correctly" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18415" PostTypeId="1" AcceptedAnswerId="18416" CreationDate="2016-05-13T19:02:58.333" Score="0" ViewCount="2234" Body="&lt;p&gt;I use this filter to do some cropping:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex '[0:v]crop=w=320:h=240[v0c]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;which works alright. The problem is that sometimes, I do not know what is the input that I am going to get. It might be a &lt;code&gt;1000x500&lt;/code&gt; or a &lt;code&gt;500x1000&lt;/code&gt;, for instance. So when that happens it just gets a small area of the center of the video. The ideal would be to resize the input to match the smaller of its dimensions to my desired output, and crop the rest. The problem is that I do not know which dimension is going to be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How could I build a filter to solve this problem?&lt;/p&gt;&#xA;" OwnerUserId="14592" LastEditorUserId="14592" LastEditDate="2016-05-13T19:16:48.727" LastActivityDate="2016-05-13T19:29:16.717" Title="ffmpeg - resize and crop from input file with unknown resolution" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18416" PostTypeId="2" ParentId="18415" CreationDate="2016-05-13T19:24:21.910" Score="2" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[0:v]scale='if(gt(a,4/3),-1,320)':'if(gt(a,4/3),240,-1)',setsar=1,crop=320:240[v0c]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The scale filter expressions for x and y check the aspect ratio of the input and if greater than 4:3, set the value to the 2nd argument, and if not, to the third argument. The &lt;code&gt;-1&lt;/code&gt; means that the original aspect ratio should be preserved e.g. &lt;code&gt;scale=-1:400&lt;/code&gt; applied to a &lt;code&gt;600x800&lt;/code&gt; canvas will result in &lt;code&gt;300x400&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-05-13T19:29:16.717" LastActivityDate="2016-05-13T19:29:16.717" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18417" PostTypeId="2" ParentId="18357" CreationDate="2016-05-13T21:03:16.727" Score="1" Body="&lt;p&gt;Here is the solution for Final Cut Pro, to export out all individual clips on your Timeline.  There is a FCP plugin called Primaries Exporter, in the App Store, which will very easily export all individual clips on the Timeline, to any folder you designate.  I've been using it myself for a couple of years now, and it works great.&lt;/p&gt;&#xA;" OwnerUserId="14599" LastActivityDate="2016-05-13T21:03:16.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18418" PostTypeId="1" AcceptedAnswerId="18423" CreationDate="2016-05-14T07:20:04.063" Score="4" ViewCount="799" Body="&lt;p&gt;With gravity gimbals like Steadicam, does the weight of the camera and the weight of the counterweights together have an overall impact to the stabilising effect? That is, suppose the same drop time in two setups where one has a 200g camera whilst the other has a 1kg camera. Will the stability be better in one?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Actually, what is the term for non-motorised stabilisers? It seems &quot;gimbals&quot; seem to refer to motorised stabilisers these days.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any thought appreciated.&lt;/p&gt;&#xA;" OwnerUserId="14602" LastEditorUserId="14602" LastEditDate="2016-05-14T07:36:23.443" LastActivityDate="2016-05-15T07:31:15.827" Title="Gravity gimbal and effect from overall weight" Tags="|stabilisation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18419" PostTypeId="1" AcceptedAnswerId="18420" CreationDate="2016-05-14T11:14:07.193" Score="4" ViewCount="2943" Body="&lt;p&gt;I am using the following &lt;code&gt;filter_complex&lt;/code&gt; to put 2 videos of resolution &lt;code&gt;320 x 240&lt;/code&gt;, one right next to the other:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex &quot;[v1][v2]hstack=inputs=2[videoout]&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This works great, but now I was wondering how could I do it, so that I could add a small padding between them. Let's say for instance 5 black pixels (even though I would love to be able to customize the color or at least the distance).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How could I do that?&lt;/p&gt;&#xA;" OwnerUserId="14592" LastActivityDate="2018-12-27T22:57:03.583" Title="Add black (or other color) padding when doing vstack (or hstack)" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18420" PostTypeId="2" ParentId="18419" CreationDate="2016-05-14T11:17:16.770" Score="4" Body="&lt;p&gt;First, setup a color filter of the same height, and then add it to the hstack&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex &quot;color=black:5x240[c];[v1][c][v2]hstack=inputs=3:shortest=1[videoout]&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See the options for the color filter &lt;a href=&quot;https://ffmpeg.org/ffmpeg-utils.html#Color&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Alternate method is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex &quot;[0]pad=iw+5:ih:color=black[0v];[0v][v2]hstack[videoout]&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-05-14T12:00:23.467" LastActivityDate="2016-05-14T12:00:23.467" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="18421" PostTypeId="1" AcceptedAnswerId="18425" CreationDate="2016-05-14T16:59:11.710" Score="2" ViewCount="1733" Body="&lt;p&gt;I have mp4 SBS 180 VR videos made for Oculus Rift. I'd like to crop the videos a little (simulate the zoom) and then downscale to &quot;cardboard&quot; resolution so it would be smoothly playable on mobile devices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some mobile players have already zoom function built in, but this should work as a workaround for keeping the picture sharp (working down from the big resolution) at the expanse of FOV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pretty soon I realized I can't simply crop the whole video. I have to crop both sides separately and then join them together as they were.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could you point me to video-editing software (preferably free and fast to learn) that would allow me to do such thing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/t3m7u.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/t3m7u.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14605" LastEditorUserId="14605" LastEditDate="2016-05-15T11:18:25.283" LastActivityDate="2016-05-18T13:47:46.800" Title="Cropping VR video afterwards" Tags="|ffmpeg|video-editor|3d|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="18422" PostTypeId="2" ParentId="18414" CreationDate="2016-05-14T23:22:00.517" Score="2" Body="&lt;p&gt;To see in wireframe objects, which is parts of effects (like emitter), just put in the scene Null Object and parent your effect point (emitter, etc) to it. After that, to adjust your point, adjust Null Object position.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Null Objects are visible in wireframe.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-05-14T23:22:00.517" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18423" PostTypeId="2" ParentId="18418" CreationDate="2016-05-15T07:31:15.827" Score="2" Body="&lt;p&gt;Gimbals are nothing more than a ball bearing (or a complex series of ball bearings; or even simply a sharp point which rests on a surface which allows it to move on a 2 axis level), which using weights balanced correctly provide a &quot;zero gravity&quot; effect on both the camera and the counterweight. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This doesn't apply to electronic gimbals which use servos, a microprocessor, and sensors to electronically move the gimbal head. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes weight will play a role in the overall stability of the camera unit. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have taught workshops on camera technique, and I often joke that if you want to get steadier footage from a small lightweight camera (think GoPro), gafftape it to a brick. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mass requires energy to move. So the lighter the object, the easier it is to move. Try to shake a marble around with your hand grasping it with two fingers, then do the same with a bowling ball. The motion, if you tracked it, would be both smoother, and more stable - smoother arcs, turns, etc, with the object that has more mass. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So with a steadicam rig (which I used to own a full blown rig capable of holding cameras in the 30lb range); a heavy camera with a heavy counterweight, which is properly balanced with give you far steadier shots, SPECIFICALLY with vibration. As a large heavy object is hard to &quot;vibrate&quot;. So the little shakes, will be minimized by the mass added to the camera. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's most important, if using a steadicam type rig is that you have perfect balance, that is, if you turn the camera 90 degrees (thus shooting sideways) the camera will stay in that position. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You do not want to set it up so the unit is counterweight heavy, keeping the camera upright. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera should be able to &quot;hold&quot; any position, angle, on any axis, and not return to upright. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the camera is not balanced this way, you will encounter what is known as steadicam wobble. This is where the balance is off, and by the operators movement the effects of inertia and momentum push and tug differently on the camera vs the counterweight. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, the term for non-motorized stabilizers is a camera stabilizer. There is no one term; but steadicam is a goto term used by most. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now as far as motorized stabilizers, none of what I said factors in, because the motorized stabilizers I own and have worked with, do not use weights, rather they use servos, and tension systems which differ than their non-electronic counterparts. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are using a light weight camera, and non-electronic steady system; you will achieve better results by adding ballast to both the camera and the counterweight. The ballast you add can be steel plates with holes drilled, cheeseplates, anything that has weight, and that you get the unit balanced to where it is not bottom heavy. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-05-15T07:31:15.827" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18424" PostTypeId="2" ParentId="18398" CreationDate="2016-05-15T07:44:42.457" Score="0" Body="&lt;p&gt;Ok, in most cases, you can open Premiere Pro Projects going backwards with no problem. There are however &quot;bugs&quot; where things might not import in correct; specifically with transitions, and effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere Pro CC Projects- will NOT open in any versions prior to CC. Period. They designed it this way on purpose to keep people out of the &quot;Owning Software&quot; and move them into the &quot;Pay to Use&quot; program. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I can from experience, that Premiere Pro CS5.5 will most likely open a CS6 project. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly; having been a PPro user for many years, one project we had from a client required us to &quot;jump through hoops&quot;. We had to take their project; which was (just an example) Premiere Pro CS4. CS6 would not open it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, CS5 would. So we opened it in CS5. Saved, then moved it into CS6. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are having problems opening a project saved in a later version in an older version- like you said you had at school:  You can try: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.) Try opening it in an even &quot;older&quot; version. Yes I know this seems crazy but sometimes it works. Then save, then move up to the version they have. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2.) You could try to export an EDL and bring that in to premiere; although the results could be not ideal. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;3.) Try to use the &quot;Reduce Project&quot; feature where it clips all of you files, with handles, and let it render out and wrap the project into a single Folder. This will create new clips entirely, so make sure you select a good codec to output to avoid loss of quality by the rendering which will take place. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;4.) If all else fails. And you absolutely must work on the project on your schools computer:  Render out each video track as a video file, and do the same for audio.  Render each track from 0:00:00:00. Then bring in each one and lay them on tracks accordingly. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The last option would require work, because transitions, opacity, etc, may get lost depending on your project. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;SideNote:  I would highly recommend to anyone NOT using CC. CS6 Suite offers nearly all of the same options as CC. I am still using CS6 (and my studio owns approximately 50 seats which is a fortune if we were to upgrade).  There is really no reason to use CC over CS6 that I can think of, unless you need one of the very few upgrades it brought with it. We have 50 seats with CS6; and its paid for and done. With CC, we'd be looking at $3500 a month perpetually to use the suite. Obscene. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-05-15T07:44:42.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18425" PostTypeId="2" ParentId="18421" CreationDate="2016-05-15T10:43:16.980" Score="1" Body="&lt;p&gt;Using the mask image below, you can use &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; to crop and output a MP4 with the visual content bounded in the same elliptical shape as the mask&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -loop 1 -i 360mask.png \&#xA;       -filter_complex &amp;quot;[0]split[a][b]; \&#xA;        [a]crop=iw/2:1522:0:300,crop=iw*0.8:ih*0.8,scale=960:-1,pad=960:960:0:150[l]; \&#xA;        [b]crop=iw/2:1522:iw/2:300,crop=iw*0.8:ih*0.8,scale=960:-1,pad=960:960:0:150[r]; \&#xA;        [l][r]hstack[c]; [c][1]alphamerge[ca]; [1][ca]overlay=shortest=1&amp;quot;    vr.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The video is split into two cropped halves to a rectangle which exactly bounds the visual area, then cropped to 80% along each of its dimensions, and then scaled and padded to a 960x960 canvas, rejoined to form a 1920x960 frame. Then the mask is applied to form the elliptical cut-out.&lt;/p&gt;&#xA;&lt;h3&gt;Mask&lt;/h3&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kgCmO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kgCmO.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;This is the basic technique. The visuals in your supplied image aren't centered, so I customized the crop expressions based on measurements within an image editor.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-05-18T13:47:46.800" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18426" PostTypeId="2" ParentId="18405" CreationDate="2016-05-15T12:08:09.223" Score="1" Body="&lt;p&gt;Are you using the &quot;Mercury Playback Engine GPU Acceleration (CUDA)&quot; as your renderer inside of media encoder? I've read about and had a few cases where software only rendering can cause similar issues.&lt;/p&gt;&#xA;" OwnerUserId="14609" LastActivityDate="2016-05-15T12:08:09.223" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18427" PostTypeId="2" ParentId="18398" CreationDate="2016-05-15T12:15:09.997" Score="1" Body="&lt;p&gt;I just tested it, and you can successfully import files from CC to CS6 via exporting to final cut pro xml and then importing that xml back. This should work with any versions, though there may be a few issues if some newer features are not supported, or cannot be exported to final cut pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This requires that you would have access to the latest version of premiere on any computer that can access the file.&lt;/p&gt;&#xA;" OwnerUserId="14609" LastActivityDate="2016-05-15T12:15:09.997" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18428" PostTypeId="1" CreationDate="2016-05-15T14:04:22.803" Score="1" ViewCount="117" Body="&lt;p&gt;I am using Bandicam 3.0.4, and I want to use the Lagarith Lossless codec.&#xA;I installed it from the official website, and then I used a tutorial on Youtube to select it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to the tutorial, I have to go to the video option to the left, then click on setting in the bottom under format, click on codec under video, and then select -external codec-, but I don't have that option. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only 3 options I have are h264 (Intel Quick sync video), wich doesn't work, H264 (cpu) and MPEG-4. What should I do to get the external codec option? And if I can't, should I use H264 or MPEG-4?&lt;/p&gt;&#xA;" OwnerUserId="14610" LastEditorUserId="674" LastEditDate="2016-05-19T19:55:21.960" LastActivityDate="2016-09-18T20:37:36.553" Title="No -external codec- option in bandicam 3.0.4" Tags="|codec|screen-casting|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18429" PostTypeId="2" ParentId="18405" CreationDate="2016-05-15T16:13:24.427" Score="0" Body="&lt;p&gt;My suggestion would be to forget the idea of exporting a Quicktime from Premiere using the H.264 Codec. The reason? Because it typically doesnt work. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only sure-fire output module for Quicktime is the Animation codec; which will result in very very large files, if you export at 100% quality (essentially uncompressed) and especially so if you use an Alpha Channel. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any reason why you need Quicktime as your actual wrapper?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would highly suggest using:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Format: H.264  (Not Blu-Ray just H.264). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Setup the output to match your desired settings. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Set a target bitrate to meet your needs (for BluRay quality 1080p = 30mbps on average). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;ALWAYS use CBR. Avoid VBR at all costs. Why? 1.) Time, VBR takes a lot more time, especially on a two pass. 2.) VBR will cause artifacting on fast flashes, such as a camera flash going off in frame, or just a white flash you've added in. The VBR engine first scans your video to approximate how to apply the bitrate frame by frame. When a camera flash is encountered (the frame goes near to all white), the preceding and following frame will suffer, because Adobe's algorithm for computing the adjustment will not adjust fast enough. It will drop your VBR very low for the white/black frame, but not ramp back up fast enough before or after that frame (which requires little if hardly any bandwidth). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;CBR will ALWAYS give you a rock solid consistent output quality.&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;**So; as far as the black frame drops, forget Quicktime. Forget Quicktime forever, unless you require lossless output with an alpha channel using the Animation codec- never use Quicktime again. Instead:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Output as format: H.264 with the extention &lt;strong&gt;.mp4.&lt;/strong&gt;  After you have rendered out, if your &lt;em&gt;client&lt;/em&gt; wants or demands an MOV file... - just change the extension to .mov and don't tell them. They will never know, the difference. Nor will any application they use to read the file see that it wasn't output using QT.  It's H.264.  The extension does not matter. Rename to .mov and boom it's now QT. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simple as that. Remember Quicktime is just the wrapper - and a terrible one at that. H.264 is the codec. If it's H.264 they want, its H.264 you'll give them. It makes no difference if you name it movie.mp4 vs movie.mov. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So give that a shot, and I think your black flashes will be gone. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, the only valid use for Quicktime is the Animation output codec, which is great. Other than that, Quicktime is a dead format tied to a long dead OS. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only time I ever use QT is in After Effects, for output of all comps before taking them into PPro for H.264 mastering. That is the only time I --ever-- use it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Give it a shot. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-05-15T16:13:24.427" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18431" PostTypeId="1" AcceptedAnswerId="18432" CreationDate="2016-05-16T10:45:20.947" Score="1" ViewCount="1050" Body="&lt;p&gt;I'm in the process of making a little animated film, and since I don't really know how to use Illustrator, I did all my graphics in Photoshop, and now I'd like to import those into After Effects to animate everything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a few .psd files which I prepared, and they all consist of vector layers. All those layers were created with the pen tool, and other similar tools, and I did not rasterize them, so they are still fully editable within Photoshop. However, when I import my .psd into AE and try to scale one of the images above 100%, it becomes pixelated and blurry. I assumed that AE would properly handle vector graphics in a .psd file, but I was wrong. I did try enabling the &quot;continuously rasterize&quot; option for my layers (as suggested by other sources where the same question was asked), but it didn't do anything. Also, this happens regardless of what option I choose when importing the .psd file (whether to merge the layers or not).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess I could just export the .psd in a much higher resolution in order to be able to zoom into it in AE, but that seems like a waste of resources, plus the render times and just performance in general would be horrible, I imagine. I would have to export my images in like 8k, or something like that, since I want to zoom in pretty far. I don't have a really powerful computer anyway, so that would be just plain suicide.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to make AE properly re-render vector graphics in an imported .psd file at any scale?&lt;/p&gt;&#xA;" OwnerUserId="14617" LastEditorUserId="14617" LastEditDate="2016-05-16T12:18:20.377" LastActivityDate="2016-05-16T12:18:20.377" Title="How to zoom .psd with vector graphics in AE without losing quality?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18432" PostTypeId="2" ParentId="18431" CreationDate="2016-05-16T11:47:53.437" Score="1" Body="&lt;p&gt;Using Photoshop to create vector graphics is a bad idea, as it is just not built for that. Even if you don't use the more sophisticated features of Illustrator, the basic tools such as the pen work somewhat similar to the vector tools in Photoshop. So next time you want to create vector graphics, just work with Illustrator from the start. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For your existing vector graphics, as long as they are truly vector-based in the .psd-files, there should be several ways to export them to a vector format or copy them over to Illustrator (this doesn't directly answer your question, but it's a better approach than trying to make the .psd files work with vector graphics within After Effects anyway). Here are two options for you to try:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Export as svg&lt;/strong&gt; [requires Photoshop CC]. In Photoshop, use &lt;strong&gt;File&lt;/strong&gt; → &lt;strong&gt;Export&lt;/strong&gt; → &lt;strong&gt;Export as...&lt;/strong&gt;. Select SVG from the dropdown menu. SVG is an XML-based vector format. You should be able to import those into After Effects directly. Or you can open the exported SVG file in Illustrator and export it to another format.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Open your .psd file in Illustrator.&lt;/strong&gt; Chose 'convert layers to objects' in the Photoshop import options. As long as your .psd contains only vector objects, this will work as intented. Once you have imported your vector graphic to Illustrator, save it as an .ai file. You should be able to import that into After Effects to work as intended. If that doesn't work for some reason, try saving it as an .eps file instead (&lt;strong&gt;File&lt;/strong&gt; → &lt;strong&gt;Save a copy...&lt;/strong&gt; → Select &lt;strong&gt;Illustrator EPS&lt;/strong&gt; from the dropdown menu in the file saving options).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-05-16T11:47:53.437" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18433" PostTypeId="2" ParentId="10159" CreationDate="2016-05-16T13:54:58.080" Score="0" Body="&lt;p&gt;I have the G20 and VidPro Xm-55... u r going to go into custom audio settings and then go to audio mix and just mix about two clicks up on internal microphone and let the external to the rest- that way you get clean sound with stereo separation.&#xA;We do live music studio recording and when my overall level is set around 67/70 it seems to be perfect.&lt;/p&gt;&#xA;" OwnerUserId="14618" LastEditorUserId="1871" LastEditDate="2016-05-16T17:29:57.157" LastActivityDate="2016-05-16T17:29:57.157" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18434" PostTypeId="1" CreationDate="2016-05-16T22:42:22.213" Score="1" ViewCount="126" Body="&lt;p&gt;I was wondering how this 'bouncy' effect is done when the computer comes up. Is it with keyframes or an expression? Has it a specific name? I have searched for bouncy effect tutorials but couldn't find one that explains this effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://infinit.io/_/3nvnKuG&quot; rel=&quot;nofollow&quot;&gt;bouncy effect video example&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14622" LastEditorUserId="14622" LastEditDate="2016-05-16T22:56:26.357" LastActivityDate="2016-06-29T12:46:17.100" Title="How do I recreate this bouncy effect?" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18435" PostTypeId="1" CreationDate="2016-05-17T10:17:02.803" Score="2" ViewCount="52" Body="&lt;p&gt;After tracking camera and clicking on one of the tracker points, I added &quot;null and camera&quot; then I attached a picture to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I want the picture to be steady in a place when I move my recording camera, but the picture shakes in every frame.The film itself doesn't have any shake but the picture is not steady. I think the problem is with the tracker but what is it? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Help me. &lt;/p&gt;&#xA;" OwnerUserId="14625" LastEditorUserId="4426" LastEditDate="2016-05-20T21:42:44.223" LastActivityDate="2016-07-19T23:00:55.120" Title="Tracking in After Effects" Tags="|after-effects|tracking|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18436" PostTypeId="1" CreationDate="2016-05-17T19:02:00.610" Score="1" ViewCount="26" Body="&lt;p&gt;I'm still not very familiar with the tools available out there, so I'm hoping the community can provide some pointers:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At 10:03 in this video, they show a simple animation of how camera and talent will move for a shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Or-Iqr0CxDM?start=603&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe an animation like this can be done with After Effects, but are there tools specifically spatially depicting shots?  I.e. visualize the position and movement of camera &amp;amp; talent in the context of the set. It can be static images rather than an animation, since sometimes all the players aren't moving, but ideally the user can choose between the two.&lt;/p&gt;&#xA;" OwnerUserId="11690" LastActivityDate="2016-05-17T19:02:00.610" Title="Good tools for spatial specification of a moving shot?" Tags="|animation|shooting|multi-camera|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18437" PostTypeId="1" CreationDate="2016-05-17T22:27:14.413" Score="2" ViewCount="784" Body="&lt;p&gt;I have an very specific situation maybe someone can help with. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The short story/question:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a virtual webcam software that can output as a virtual webcam in the &lt;strong&gt;motion JPEG (MJPEG) format&lt;/strong&gt;? RTSP output will not work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The long story/questions:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to get a nursing simulation software (Laerdal LLEAP / Session Viewer) to record a webcam using it's integrated recording, however it only supports web cameras that support stop motion JPEG. IP Cameras will not work with the software - it has to be a webcam. There's a few logitech webcams that do support this, however I need to use a Vadeo PTZ camera we already have that outputs HDMI. I've been able to successfully use an HDMI capture card (the Epiphan AV.io) to get the PTZ camera on the computer as a webcam, however the capture card does not produce an output that the simulation software accepts. It will not detect the webcam. I've tried other virtual webcams (Wirecast, iSpy, ManyCam, VidBlaster, etc.), but they all seem to output RTSP and not MJPEG. All of these work great in other webcam applications (Skype, etc.), but not on the simulation software. Does anyone have any ideas on how I can make this work or trick this simulation software into detecting the webcam. It seems to be very picky. Buying a compatible logitech webcam that supports stop motion JPEG is not an option. Any help would be greatly appreciated. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Here is a note from the software developer about the web cam required:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The new release of Session Viewer has new technology for video capture. To be able to work on slower computers, Session Viewer now uses stop motion JPEG technology to create a video from a series of JPEG images. Not all web cameras can support stop motion JPEG. This includes many of the cameras previously distributed by Laerdal. If you currently use a web cam as a means to record simulations, you may need to upgrade to a newer model. Laerdal will be selling the Logitech c930e (part number 400-96050) as the preferred model. Logitech models c920 and c920-c are also supported.&lt;/p&gt;&#xA;" OwnerUserId="14627" LastEditorUserId="1871" LastEditDate="2016-05-18T04:57:20.477" LastActivityDate="2016-05-18T04:57:20.477" Title="Virtual webcam with MJPEG output" Tags="|video|software-recommendation|codec|camera|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18438" PostTypeId="1" CreationDate="2016-05-17T23:29:28.213" Score="1" ViewCount="25" Body="&lt;p&gt;I rendered out some passes in a 3d program and was wondering if I could use photoshop's video editing to composite them. Is there any way to use a matte pass to restrict the visibility of some video layers?&lt;/p&gt;&#xA;" OwnerUserId="14629" LastActivityDate="2016-05-17T23:29:28.213" Title="Is it possible to use a matte pass in photoshop video editing?" Tags="|editing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18439" PostTypeId="1" AcceptedAnswerId="18791" CreationDate="2016-05-18T00:24:50.610" Score="1" ViewCount="566" Body="&lt;p&gt;I'd like to make some graphics like Hearthstone with After Effects. But I'm having trouble finding the right technique to simulate that look. After some research, I found the way that the Blizzard developers make their graphics, but they use coding. How can I achieve similar results with After Effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an &lt;a href=&quot;http://hearthforge.co.nf/medivh/&quot; rel=&quot;nofollow noreferrer&quot;&gt;example&lt;/a&gt;. And there is &lt;a href=&quot;http://hearthforge.co.nf/magni/&quot; rel=&quot;nofollow noreferrer&quot;&gt;another&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I already figured out how to mask-map(?) using colors thanks to &lt;a href=&quot;https://video.stackexchange.com/users/1950/stib&quot;&gt;Stib&lt;/a&gt; in this &lt;a href=&quot;https://video.stackexchange.com/questions/18322/is-possible-to-use-this-map-as-a-mask-after-effects&quot;&gt;post&lt;/a&gt;.&#xA;But now I'm trying to figure out how to make this &quot;warpy&quot; thing, based on the color map:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PoIwH.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PoIwH.jpg&quot; alt=&quot;Warpy Thing&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do have the way they make the particles effects and all that stuff in mind, but their technique is way more practical. In deep research some techniques came to me, like Plasma, but they're all coding techniques.&#xA;PS: I do know about the displacement mapping.&lt;/p&gt;&#xA;" OwnerUserId="14518" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-06-29T12:42:41.723" Title="Hearthstone-style graphics with After Effects" Tags="|after-effects|animation|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18440" PostTypeId="1" AcceptedAnswerId="18444" CreationDate="2016-05-18T02:18:53.873" Score="2" ViewCount="310" Body="&lt;p&gt;I have a file called ~/somePath/foo.264, containing video from a surveillance camera's DVR. I am unable to view this video on several media players including the default media player on an Apple tablet and the Ubuntu Videos application. I am able to view it using MPlayer on Linux. How can I transform the video in this file to something that is more universally useable? I tried the following command at Linux terminal:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;avconv -i ~/somePath/foo.264 -vcodec libx264 -f mp4 ~/somePath/foo.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;but the output mp4 file was basically empty, with a total size of 285 bytes. The source file, foo.264, is 80 MB.&#xA;Maybe I need to re-encode the video; maybe I need to place the video into a container of another format; or maybe the solution is something else. I am a novice at audio-video editing, but I am slightly more experience at Linux operating system.&lt;/p&gt;&#xA;&lt;p&gt;PS. When I do the command&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;mediainfo ~/somePath/foo.264&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;from linux terminal I receive the following output:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;General&lt;/p&gt;&#xA;&lt;p&gt;Complete name: ~/somePath/foo.264&lt;/p&gt;&#xA;&lt;p&gt;Format                                   : AVC&lt;/p&gt;&#xA;&lt;p&gt;Format/Info                              : Advanced Video Codec&lt;/p&gt;&#xA;&lt;p&gt;File size                                : 79.1 MiB&lt;/p&gt;&#xA;&lt;p&gt;Video&lt;/p&gt;&#xA;&lt;p&gt;Format                                   : AVC&lt;/p&gt;&#xA;&lt;p&gt;Format/Info                              : Advanced Video Codec&lt;/p&gt;&#xA;&lt;p&gt;Format profile                           : Baseline@L2&lt;/p&gt;&#xA;&lt;p&gt;Format settings, CABAC                   : No&lt;/p&gt;&#xA;&lt;p&gt;Format settings, ReFrames                : 2 frames&lt;/p&gt;&#xA;&lt;p&gt;Format settings, GOP                     : M=1, N=30&lt;/p&gt;&#xA;&lt;p&gt;Width                                    : 352 pixels&lt;/p&gt;&#xA;&lt;p&gt;Height                                   : 240 pixels&lt;/p&gt;&#xA;&lt;p&gt;Display aspect ratio                     : 3:2&lt;/p&gt;&#xA;&lt;p&gt;Color space                              : YUV&lt;/p&gt;&#xA;&lt;p&gt;Chroma subsampling                       : 4:2:0&lt;/p&gt;&#xA;&lt;p&gt;Bit depth                                : 8 bits&lt;/p&gt;&#xA;&lt;p&gt;Scan type                                : Progressive&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;PPS. I have already posed a related question, &lt;a href=&quot;https://unix.stackexchange.com/questions/283548/convert-264-to-mp4-using-avconv&quot;&gt;https://unix.stackexchange.com/questions/283548/convert-264-to-mp4-using-avconv&lt;/a&gt; , on the Unix &amp;amp; Linux Stackexchange.&lt;/p&gt;&#xA;" OwnerUserId="14630" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-05-18T12:18:08.927" Title="Modify video file for viewing in generic media player" Tags="|encoding|avconv|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18441" PostTypeId="2" ParentId="18440" CreationDate="2016-05-18T04:13:47.150" Score="0" Body="&lt;p&gt;The information realted to input files seems perfectly fine. Can you share the file or file link here. I will experiment with it and update you about the results.&lt;/p&gt;&#xA;" OwnerUserId="14533" LastActivityDate="2016-05-18T04:13:47.150" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18442" PostTypeId="2" ParentId="18440" CreationDate="2016-05-18T05:00:58.820" Score="0" Body="&lt;p&gt;You should just be able to place it in a MP4&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i foo.264 -c copy foo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Maybe if they don't detect the format, then&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f h264 -i foo.264 -c copy foo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-18T05:00:58.820" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18443" PostTypeId="1" CreationDate="2016-05-18T08:06:10.733" Score="1" ViewCount="1322" Body="&lt;p&gt;I am working with win7, FFMPEG Static from May 2016.&#xA;I have frequently a bunch of strange avi files to convert by batch and got always the Error:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Packet too small (67)&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Error while decoding stream #0:0: Invalid data found when processing input&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I have googled a lot but didn't haven't found a solution. What I have found is that vitualdub is able to fix the AVIs just by &quot;stream copy + save as avi.&quot; But I'm having trouble with virtualdub's scripting language. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any solution by using ffmpeg? Or ideas on a virtualdub script to save an avi as avi with stream copy?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://onedrive.live.com/redir?resid=796BE2CFECC7A4B6!119&amp;amp;authkey=!AHYyWNXXm1YG0pE&amp;amp;ithint=video%2Cavi&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sample Video&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/lCbXn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lCbXn.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="14632" LastEditorUserId="14523" LastEditDate="2016-05-18T14:54:08.713" LastActivityDate="2016-05-18T14:54:08.713" Title="FFMPEG Error: Packet too small (67)" Tags="|ffmpeg|virtualdub|avi|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18444" PostTypeId="2" ParentId="18440" CreationDate="2016-05-18T11:15:38.577" Score="1" Body="&lt;p&gt;You need to convert the codec used to encode the video to something that the players you are trying to use support. MPlayer supports a wider range of codecs than many players.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To allow you to view the video in other players you need to transcode the video using an application like ffmpeg. The command below will provide the conversion you need:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i foo.264 -c:a aac -c:v libx264 -preset medium foo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;i&lt;/strong&gt; - input file&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;c:a&lt;/strong&gt; - set audio codec to transcode to. Here I chose AAC&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;c:v&lt;/strong&gt; - set video codec to transcode to. libx264 is used to transcode to H.264, one of the most common and widely used video codecs. Most players should be able to play files encoded with H.264.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;preset&lt;/strong&gt; - used to quickly define the H.264 encoding parameters. Choose from ultrafast,superfast, veryfast, faster, fast, medium, slow, slower, veryslow, placebo. There is obviously a trade-off between quality and transcode speed here.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;After running this command I could play the video you uploaded in QuickTime on OS X.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;If you use -copy or don't specify a codec, then ffmpeg will use the same codec as the source. So the command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f h264 -i foo.264 -c copy foo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Will change the container around the video to mp4, but not the video encoding itself. You can read more about the difference between containers and codecs &lt;a href=&quot;http://www.techhive.com/article/213612/all_about_video_codecs_and_containers.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="14635" LastEditorUserId="14635" LastEditDate="2016-05-18T12:18:08.927" LastActivityDate="2016-05-18T12:18:08.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18445" PostTypeId="1" AcceptedAnswerId="18446" CreationDate="2016-05-18T13:54:47.967" Score="3" ViewCount="2193" Body="&lt;p&gt;Recently, I'm forced to fiddle with a nasty little problem with videos that have some special metadata attributes, namely &quot;delay&quot; or &quot;delay_relative_to_video&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a software videoconferencing solution wich produces these special files, and when our videoprocessing software examines these files, it gets longer duration values than the actual length of the content, thus storing wrong data into the database which causes more trouble in the postprocessing phase.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, we recorded a 46 second long video, which was detected as 104.7 seconds long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After inspecting the file with FFmpeg and Mediainfo, it turned out that the original file had a so called &quot;delay&quot; value which can be seen as &lt;code&gt;start&lt;/code&gt; time in FFmpeg's output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, flv, from '/path/to/the/file/converter/master/194/194_video.flv':&#xA;  Metadata:&#xA;    metadatacreator : Yet Another Metadata Injector for FLV - Version 1.4&#xA;    hasKeyframes    : true&#xA;    hasVideo        : true&#xA;    hasAudio        : true&#xA;    hasMetadata     : true&#xA;    canSeekToEnd    : false&#xA;    datasize        : 12892571&#xA;    videosize       : 12198311&#xA;    audiosize       : 680584&#xA;    lasttimestamp   : 105&#xA;    lastkeyframetimestamp: 104&#xA;    lastkeyframelocation: 12646873&#xA;  Duration: 00:01:44.77, start: 58.033000, bitrate: 984 kb/s&#xA;    Stream #0:0: Video: h264 (Constrained Baseline), yuv420p, 1280x720, 30 fps, 30 tbr, 1k tbn&#xA;    Stream #0:1: Audio: aac (LC), 44100 Hz, stereo, fltp&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;...and &lt;code&gt;Delay&lt;/code&gt; or &lt;code&gt;Delay_relative_to_video&lt;/code&gt; in Mediainfo's:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mediainfo --full --output=XML /path/to/the/file/converter/master/194/194_video.flv&#xA;&#xA;&amp;lt;track type=&quot;Video&quot;&amp;gt;&#xA;(...)&#xA;&amp;lt;Delay&amp;gt;0&amp;lt;/Delay&amp;gt;&#xA;&amp;lt;Delay&amp;gt;00:00:00.000&amp;lt;/Delay&amp;gt;&#xA;&amp;lt;Delay__origin&amp;gt;Container&amp;lt;/Delay__origin&amp;gt;&#xA;&amp;lt;Delay__origin&amp;gt;Container&amp;lt;/Delay__origin&amp;gt;&#xA;&amp;lt;/track&amp;gt;&#xA;&#xA;&amp;lt;track type=&quot;Audio&quot;&amp;gt;&#xA;(...)&#xA;&amp;lt;Delay&amp;gt;58036&amp;lt;/Delay&amp;gt;&#xA;&amp;lt;Delay&amp;gt;58s 36ms&amp;lt;/Delay&amp;gt;&#xA;&amp;lt;Delay&amp;gt;58s 36ms&amp;lt;/Delay&amp;gt;&#xA;&amp;lt;Delay&amp;gt;58s 36ms&amp;lt;/Delay&amp;gt;&#xA;&amp;lt;Delay&amp;gt;00:00:58.036&amp;lt;/Delay&amp;gt;&#xA;&amp;lt;Delay__origin&amp;gt;Container&amp;lt;/Delay__origin&amp;gt;&#xA;&amp;lt;Delay__origin&amp;gt;Container&amp;lt;/Delay__origin&amp;gt;&#xA;&amp;lt;Delay_relative_to_video&amp;gt;58036&amp;lt;/Delay_relative_to_video&amp;gt;&#xA;&amp;lt;Delay_relative_to_video&amp;gt;58s 36ms&amp;lt;/Delay_relative_to_video&amp;gt;&#xA;&amp;lt;Delay_relative_to_video&amp;gt;58s 36ms&amp;lt;/Delay_relative_to_video&amp;gt;&#xA;&amp;lt;Delay_relative_to_video&amp;gt;58s 36ms&amp;lt;/Delay_relative_to_video&amp;gt;&#xA;&amp;lt;Delay_relative_to_video&amp;gt;00:00:58.036&amp;lt;/Delay_relative_to_video&amp;gt;&#xA;&amp;lt;/track&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&quot;Surprisingly&quot;, substracting the length and the delay gives me the correct duration...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, it is really embarrassing that some encoder libraries count these delays towards the total length, but some of them doesn't! Seemingly there's no way to distinguish which length values are correct and which were incremented accordingly!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So long story short, I'd like to know what are these metadata used for?&#xA;What's the reason of their existence and why does some encoders/video editing software injecting these metadata into the file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your answers in advance!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;According to Mulvya's answer, running a simple stream-copy on the file can reset the timestamps!&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, there was a .mov file on which it didn't worked.&#xA;Related console output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 22_video.mov -c copy _22_video.mov&#xA;ffmpeg version N-79632-g3ce1988-static Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 4.7 (Debian 4.7.2-5)&#xA;  configuration: --prefix=/home/gergo/buildscript/ffmpeg-static-master-customVSQ/target --extra-cflags='-I/home/gergo/buildscript/ffmpeg-static-master-customVSQ/target/include -static' --extra-cflags=--static --extra-ldflags='-L/home/gergo/buildscript/ffmpeg-static-master-customVSQ/target/lib -lm -static' --extra-libs=-ldl --extra-version=static --disable-debug --disable-shared --enable-static --extra-cflags=--static --disable-ffplay --disable-ffserver --disable-doc --enable-gpl --enable-pthreads --enable-postproc --enable-gray --enable-runtime-cpudetect --enable-libfaac --enable-libmp3lame --enable-libopus --enable-libtheora --enable-libvorbis --enable-libx264 --enable-libxvid --enable-bzlib --enable-zlib --enable-nonfree --enable-version3 --enable-libwavpack --enable-libvpx --enable-librtmp&#xA;  libavutil      55. 22.101 / 55. 22.101&#xA;  libavcodec     57. 38.100 / 57. 38.100&#xA;  libavformat    57. 34.103 / 57. 34.103&#xA;  libavdevice    57.  0.101 / 57.  0.101&#xA;  libavfilter     6. 44.100 /  6. 44.100&#xA;  libswscale      4.  1.100 /  4.  1.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '22_video.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt&#xA;    creation_time   : 2013-10-29 21:33:33&#xA;    com.apple.finalcutstudio.media.uuid: 3B712819-1D1D-4F9B-8593-01656870A04C&#xA;    timecode        : 01:00:00:00&#xA;  Duration: 00:03:25.00, start: 0.000000, bitrate: 9332 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080, 9019 kb/s, 25 fps, 25 tbr, 2500 tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2013-10-29 21:33:33&#xA;      handler_name    : Apple Video Media Handler&#xA;      encoder         : H.264&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 307 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2013-10-29 21:33:33&#xA;      handler_name    : Apple Sound Media Handler&#xA;    Stream #0:2(eng): Data: none (tmcd / 0x64636D74) (default)&#xA;    Metadata:&#xA;      creation_time   : 2013-10-29 21:33:33&#xA;      handler_name    : Time Code Media Handler&#xA;      timecode        : 01:00:00:00&#xA;File '_22_video.mov' already exists. Overwrite ? [y/N] y&#xA;[mov @ 0x46c6660] Using AVStream.codec to pass codec parameters to muxers is deprecated, use AVStream.codecpar instead.&#xA;    Last message repeated 1 times&#xA;Output #0, mov, to '_22_video.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt&#xA;    timecode        : 01:00:00:00&#xA;    com.apple.finalcutstudio.media.uuid: 3B712819-1D1D-4F9B-8593-01656870A04C&#xA;    encoder         : Lavf57.34.103&#xA;    Stream #0:0(eng): Video: h264 (avc1 / 0x31637661), yuv420p, 1920x1080, q=2-31, 9019 kb/s, 0.04 fps, 25 tbr, 10k tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2013-10-29 21:33:33&#xA;      handler_name    : Apple Video Media Handler&#xA;      encoder         : H.264&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, 307 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2013-10-29 21:33:33&#xA;      handler_name    : Apple Sound Media Handler&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame= 5125 fps=0.0 q=-1.0 Lsize=  233585kB time=00:03:25.00 bitrate=9333.9kbits/s speed= 547x&#xA;video:225709kB audio:7706kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.072599%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11950" LastEditorUserId="11950" LastEditDate="2016-05-18T15:45:02.293" LastActivityDate="2016-05-18T15:45:02.293" Title="Video metadata: What is &quot;Video delay&quot; used for?" Tags="|ffmpeg|conversion|timecode|mpeg4|metadata|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18446" PostTypeId="2" ParentId="18445" CreationDate="2016-05-18T14:10:34.007" Score="3" Body="&lt;p&gt;Streaming formats maintain timestamps for each frame, whether audio or video, which govern when the player ought to present them. Those non-zero big start times usually occur when a snippet is cut out from a longer video and the tool used does not reset the timestamps. Although if this FLV was recorded on its own, then it's strange.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any case, running the command below should fix the problem.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.flv -c copy output.flv &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-18T14:10:34.007" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="18447" PostTypeId="1" AcceptedAnswerId="18448" CreationDate="2016-05-18T16:10:59.963" Score="1" ViewCount="1067" Body="&lt;p&gt;I have several (rather old) videos of which probably due to an encoding error by their original creator, sound is in stereo, but only coming out of the left side, while the right side stays silent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to split the audio and then copy the left side to the right side (basically turn the whole thing into mono).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using pitivi, but I'm open to suggestions of using another software, as long as it's free and have a Linux version.&lt;/p&gt;&#xA;" OwnerUserId="14638" LastActivityDate="2016-05-18T18:18:05.407" Title="Splitting and regrouping stereo's right and left channels (Stereo to Mono)" Tags="|audio|stereo|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18448" PostTypeId="2" ParentId="18447" CreationDate="2016-05-18T16:27:03.137" Score="2" Body="&lt;p&gt;Using &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -c:v copy -af &quot;pan=1c|c0=c0&quot; out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This copies the video over, and the audio is mono with the first channel of the input mapped for export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some players may not be setup to default to a stereo matrix. In which case, you can generate a faux stereo stream.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -c:v copy -af &quot;pan=stereo|c0=c0|c1=c0&quot; out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-05-18T18:12:15.823" LastActivityDate="2016-05-18T18:12:15.823" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18450" PostTypeId="1" CreationDate="2016-05-18T22:12:00.987" Score="4" ViewCount="342" Body="&lt;p&gt;I just joined this community and hope my question is acceptable since it is quite &quot;noob&quot; like.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a .wmv video file that is 1280x720 and causes windows media player to abort after excessive memory usage. I converted like 5 minutes of it to .mp4(x264) and it played nicely. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The file is 1.55gb when i converted the whole thing to mp4(x264) it went to 809mb, using Any Video Converted app. Does this sound like im losing quality or is it because mp4 has better compression ratio?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you guys know what is the the best mp4 video codec to output the file to preserve quality if the above is an issue. If i should use a different codec or format please let me know what the best would be to preserve quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also what would the right bitrate setting be for the codecs? My options are (xvid, mpeg4, x264) Bitrate 768? or 4000? (these seem to be default)&lt;/p&gt;&#xA;" OwnerUserId="14640" LastEditorUserId="14523" LastEditDate="2016-05-19T09:11:10.703" LastActivityDate="2016-05-19T09:11:10.703" Title="Converting WMV to MP4" Tags="|mp4|compression|transcoding|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18451" PostTypeId="1" CreationDate="2016-05-19T01:24:12.323" Score="-2" ViewCount="79" Body="&lt;p&gt;The link is from kickstarter video: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.kickstarter.com/projects/biolite/biolite-baselantern-smartgrid-goes-off-grid?ref=category_featured&quot; rel=&quot;nofollow&quot;&gt;https://www.kickstarter.com/projects/biolite/biolite-baselantern-smartgrid-goes-off-grid?ref=category_featured&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14642" LastActivityDate="2016-10-19T21:23:53.067" Title="What video software is being used to display the animation of this video?" Tags="|software-recommendation|" AnswerCount="1" CommentCount="0" ClosedDate="2016-10-20T18:38:15.200" ContentLicense="CC BY-SA 3.0" />
  <row Id="18452" PostTypeId="2" ParentId="18450" CreationDate="2016-05-19T05:36:08.060" Score="3" Body="&lt;p&gt;All that matters is if the MP4 looks good to you. Of course, you may be able to compress more. There is no set bitrate to use. More complex or rapidly changing visuals require greater bitrate. Most converters use x264 to generate the converted video stream, and x264 offers a CRF mode which adjusts the bitrate based on the visual content complexity. If your app allows you to apply that mode, select a CRF value between 20-28 with lower values producing better looking but larger files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suggest switching to &lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow&quot;&gt;Handbrake&lt;/a&gt;, which is a better pedigreed tool for casual users. I also suggest using &lt;a href=&quot;https://potplayer.daum.net/&quot; rel=&quot;nofollow&quot;&gt;Potplayer&lt;/a&gt; or &lt;a href=&quot;http://www.videolan.org/vlc/index.html&quot; rel=&quot;nofollow&quot;&gt;VLC&lt;/a&gt; to play video files - both are more robust than WMP.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-19T05:36:08.060" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18454" PostTypeId="1" CreationDate="2016-05-19T12:51:08.747" Score="2" ViewCount="99" Body="&lt;p&gt;BMPCC does not support super16 lens?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example 1.3T - 16T &#xA;&lt;a href=&quot;https://www.youtube.com/watch?v=oOxKb_X7tMA&quot; rel=&quot;nofollow&quot;&gt;video test&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11185" LastActivityDate="2016-05-19T19:26:48.233" Title="BMPCC + rafcamera arri b to mft + optar 1.2/12mm = vignetting" Tags="|video|camera|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18455" PostTypeId="1" AcceptedAnswerId="25430" CreationDate="2016-05-19T15:32:40.077" Score="1" ViewCount="528" Body="&lt;p&gt;I have a video i want to loop (about 6  seconds long) that gradually moves downwards. Which video tool or filter can I use to realign the image? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I experimented with Davinci resolve but it the panning/stabilizing tool has no option to limit it to vertical only.&lt;/p&gt;&#xA;" OwnerUserId="14649" LastActivityDate="2018-12-11T21:27:03.257" Title="Fix vertical panning" Tags="|stabilisation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18456" PostTypeId="1" AcceptedAnswerId="18461" CreationDate="2016-05-19T17:10:58.937" Score="2" ViewCount="1647" Body="&lt;p&gt;I am new to AE, and hope this question makes sense for you and is easy to answer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On my website I have some images in portrait format with 2085 × 2560 px. Now I will add a mp4 video file, which will be a simple animation of a logo. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that the exported file is not in the desired format (2085 × 2560 px); the width seams to be correct but the height is smaller than 2085px. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KCzgy.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KCzgy.jpg&quot; alt=&quot;video smaller than the right portrait format image&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RYduq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RYduq.png&quot; alt=&quot;this was the first try&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried out different &lt;em&gt;Pixel Aspect Ratios&lt;/em&gt; and different data for the height; unfortunately I just could not achieve my wanted result. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What do I have to do to get a video which has the exact format like a 2085 × 2560 px image? &#xA;Or did I something wrong while exporting?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Thanks in advance!&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="14650" LastActivityDate="2021-06-12T15:05:30.403" Title="Width and Height troubles" Tags="|after-effects|formats|scale|" AnswerCount="2" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18457" PostTypeId="2" ParentId="18454" CreationDate="2016-05-19T17:35:34.233" Score="2" Body="&lt;p&gt;I'm not familiar with the setup you described, but does that adapter have some sort of iris control built into it?  I have the adapter pictured below and it doesn't allow the BMPCC to adjust the aperture of the lens, which means I need to use the iris control to adjust the amount of light getting let into the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/k04uG.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/k04uG.jpg&quot; alt=&quot;adapter&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The vignetting is caused by how the iris inside the adapter functions. When you close the iris, to restrict the light entering the camera, it also has the side-effect of creating a vignette.  This is the main reason I stopped using the BMPCC and went back to using the regular BMCC, because I don't have any MFT lenses.&lt;/p&gt;&#xA;" OwnerUserId="10892" LastEditorUserId="10892" LastEditDate="2016-05-19T19:26:48.233" LastActivityDate="2016-05-19T19:26:48.233" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18458" PostTypeId="1" CreationDate="2016-05-19T18:40:07.843" Score="2" ViewCount="160" Body="&lt;p&gt;could someone please tell me what software could have been used to create this slideshow/animation? Could they have used a template? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://media.boxstudios.com/17096_art_na_stills_paper_29_12_b_web_mp4_3ip.mp4&quot; rel=&quot;nofollow&quot;&gt;http://media.boxstudios.com/17096_art_na_stills_paper_29_12_b_web_mp4_3ip.mp4&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14651" LastActivityDate="2016-05-27T09:17:39.587" Title="Software used for this slideshow/animation?" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18459" PostTypeId="1" AcceptedAnswerId="18478" CreationDate="2016-05-19T20:57:47.620" Score="0" ViewCount="78" Body="&lt;p&gt;I am running a broadcast and would like to include content from 2 locations, each location has the ability to stream from wirecast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to stream from wirecast at location 1 to wirecast at location 2?&lt;/p&gt;&#xA;" OwnerUserId="11241" LastActivityDate="2016-07-21T16:13:36.343" Title="Wirecast to wirecast" Tags="|streaming|software|live|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="18461" PostTypeId="2" ParentId="18456" CreationDate="2016-05-20T10:21:27.737" Score="1" Body="&lt;p&gt;I just found out how to solve my problem. The H.264 codec is the issue, it somehow does not work with it and AE gives you a warning: &lt;em&gt;Output file will be resized from 2085 x 2560 (1.0 PAR) to 2000 x 2000 (1.0 PAR) to meet format constraints.&lt;/em&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VhT2P.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VhT2P.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Solution:&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;I went with the &lt;strong&gt;MPEG4 codec&lt;/strong&gt; and it worked as I wanted. &lt;/p&gt;&#xA;" OwnerUserId="14650" LastActivityDate="2016-05-20T10:21:27.737" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18462" PostTypeId="1" CreationDate="2016-05-20T14:15:41.677" Score="0" ViewCount="2321" Body="&lt;p&gt;I need to provide MPEG-DASH live content generation from several IP cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use &lt;a href=&quot;https://github.com/arut/nginx-rtmp-module&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;ngx_rtmp_module&lt;/strong&gt;&lt;/a&gt; + &lt;strong&gt;ffmpeg&lt;/strong&gt; for creating MPEG DASH content.&#xA;Everything work fine, but if I leave the conversion running for long periods of time, ffmpeg stops working after 1-2 days (sometimes early, sometimes later).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the ffmpeg command I'm using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -f rtsp -rtsp_transport tcp -i &amp;lt;rtsp_url&amp;gt; -c copy -movflags empty_moov+omit_tfhd_offset+frag_keyframe+default_base_moof -f flv rtmp://localhost/myapp/mystream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then ffmpeg tells me that some RTSP packets were lost and it freezes its work process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know any another tools that can do this conversion that won't stop until I tell it to or there is a problem with the camera? Or possibly another way with ffmpeg that avoids this issue?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="14659" LastEditorUserId="14523" LastEditDate="2016-05-21T01:20:59.620" LastActivityDate="2018-08-18T10:00:47.667" Title="FFMPEG RTSP -&gt; MPEG-DASH Stops on Long Streams" Tags="|ffmpeg|live|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18465" PostTypeId="2" ParentId="18435" CreationDate="2016-05-20T21:41:25.670" Score="2" Body="&lt;p&gt;A few things to try:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure your camera footage is at the same frames per second as your comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead of selecting a single track point, try drawing a lassoo around several points.  You'll get a target plane instead.  Make sure it's facing the right way (if it's not - redraw your lassoo around some different points).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open the Advanced triangle in the camera tracker's effects settings, and check the box marked &quot;Detailed Analysis&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure you do your tracking at 100% zoom level in the display.  (This definitely used to cause issues - maybe they've fixed it now).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there's something weird in your footage that will damage the tracking quality, try masking it out and precomping the footage before you start tracking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope it helps.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-05-20T21:41:25.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18466" PostTypeId="1" AcceptedAnswerId="18467" CreationDate="2016-05-21T00:44:11.090" Score="1" ViewCount="192" Body="&lt;p&gt;I'm trying to implement a vision-based &quot;lidar&quot; system as described here: &lt;a href=&quot;https://hackaday.com/2016/04/04/smartphone-and-ir-line-laser-measure-distance/&quot; rel=&quot;nofollow&quot;&gt;https://hackaday.com/2016/04/04/smartphone-and-ir-line-laser-measure-distance/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the idea is to capture video at 30fps and pulse a laser at 15hz such that the laser appears in odd frames and does not appear in even frames. By taking the difference between odd and even frames we can isolate the laser line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;when I implemented this, the isolated laser phases in and out with a period of ~1 second. Looking at the raw frames, sometimes the laser is full-brightness, sometimes it is not visible, and sometimes it's at 50% brightness.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given that the laser is either on or off, I'm not sure why the partial-brightness frames occur. My current theory is that CMOS rolling shutter might not just scan top-&gt;bottom like I'd expect, but that doesn't make much sense. I checked to make sure that I'm getting video at 30fps and I'm using a usb camera with the ov9712 chip.&lt;/p&gt;&#xA;" OwnerUserId="14666" LastActivityDate="2016-05-21T01:16:37.100" Title="Rolling shutter strobe pattern" Tags="|sync|usb|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18467" PostTypeId="2" ParentId="18466" CreationDate="2016-05-21T01:16:37.100" Score="2" Body="&lt;p&gt;No matter when the camera shutter is active, if the frequencies of the video vertical timing (the frame rate) and the laser pulse are not congruent, you'll see partial exposures as they drift apart.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The solution is to trigger the laser pulse on every other vertical sync time. The details on extracting the vertical interval will depend on the camera, and how to trigger the laser will depend on the details of that device. But some sort of forced sync is the only way to get exactly what you want.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-05-21T01:16:37.100" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18468" PostTypeId="1" CreationDate="2016-05-21T06:03:40.077" Score="0" ViewCount="185" Body="&lt;p&gt;I have the following situation:&#xA;- I need to create a movie in the format .mov or .mp4 on Windows 8.&#xA;- As sources I have already 10 .mov files in a format 1600x1200 on Windows8. (originals)&#xA;- I need to speed up some parts of my video up to 30 from the original.&#xA;- I need to export the constructed video again as 1600 x 1200 in .mov or .mp4 with the same quality as the originals.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to do this already with my tools I already have, but I did not succeed:&#xA;My Software:&#xA;- Microsoft movie maker&#xA;- Handbrake&#xA;- Movie Studio Platinum 13.0&#xA;- Windows8&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I like the simple MovieMaker, but it cannot handle/produce 1600*1200.&#xA;Also Movie Studio Platinum 13.0 can't produce 1600*1200 and I am not able to speed up the video more then 4x.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any hints ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My Speeduf problem is solved, but I am still searching for a performant reliable software to create videos in the format 1600*1200.&#xA;I have Movie Studio Platinum 13.0 which is unusable. It produces black screens in some parts of the video and it lags. I have a high performant computer with 24GB of ram.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone suggest any software ?&lt;/p&gt;&#xA;" OwnerUserId="5058" LastEditorUserId="5058" LastEditDate="2016-05-27T07:59:57.590" LastActivityDate="2019-01-19T16:43:31.277" Title="Need help finding the right video production software" Tags="|video-editor|software-recommendation|" AnswerCount="3" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="18469" PostTypeId="1" AcceptedAnswerId="18470" CreationDate="2016-05-21T07:08:40.273" Score="20" ViewCount="45072" Body="&lt;p&gt;Is it possible to speed up a video using handbrake ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking for a software like handbrake to convert videos for faster playback. It should speed up the video up to 30x.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible with handbrake or are there similar tools ?&lt;/p&gt;&#xA;" OwnerUserId="5058" LastEditorUserId="1871" LastEditDate="2016-05-21T09:49:05.220" LastActivityDate="2020-05-24T07:15:53.640" Title="Is it possible to speed up a video using handbrake?" Tags="|video|ffmpeg|playback|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18470" PostTypeId="2" ParentId="18469" CreationDate="2016-05-21T07:47:14.220" Score="25" Body="&lt;p&gt;You can use &lt;a href=&quot;https://ffmpeg.org/download.html&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool, to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The basic command is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -vf &quot;setpts=(PTS-STARTPTS)/30&quot; -crf 18 output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;30&lt;/code&gt; indicates the factor by which the video will be sped up.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-21T07:47:14.220" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="18471" PostTypeId="1" AcceptedAnswerId="18479" CreationDate="2016-05-21T14:42:50.583" Score="2" ViewCount="3150" Body="&lt;p&gt;I've exhausted all options before asking for opinions in trying to figure this out, and I'm running out of time by doing all possible combinations and running benchmarks, or setting up projects to see which hard drive set up is working best as I have a job that needs to finished today, with what I have available. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my usual hard drive set up for Premiere Pro and After Effects is not possible right now, as my main SSD is not working, so I'm left with the hard drives I have left to try and put together a system that will get me through the day as pain free as possible. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm making a short introduction to an interview using Premiere Pro and After Effects (not necessarily at the same time for this project), and working with Raw footage converted to ProRes proxies to save me some precious space and speed while editing. I'm running on Mac (El Capitan) and using CC 2015 if that matters to anyone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently for available hard drives at my disposal I have-&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;My internal 2 TB SSD. (System drive for OS, programs, etc.)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;A RAID 0 configured set of 7200 RPM 1 TB (combined size) Seagate's connected through USB 3. I'm getting speed test results of around 147MB/s Write and 148MB/s Read. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;A cheap 1TB Western Digital My Passport through USB 3 that is getting speed test results of around 60MB/s Write and 75MB/s Read, although I've seen the write speed jump all the way up to 75, and all the way down to 35, so I've never sure. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So thats what I'm working with for at least the rest of the day. How would you configure your Scratch Disks in this situation? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was thinking having my Project files on the RAID 0 HD, along with the Source Video, while the Cache ran off the internal SSD. That leaves the Video and Audio previews. Will the My Passport be fast enough to handle them or should I use either the internal or RAID 0 for them as well? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I move the cache to the RAID 0 and have the Source Video files and Previews run off of the Internal SSD? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't decide so some input would be amazing. Basically the question is, what needs the most and least speed- the Cache, the Previews, or the Source Video files? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your help!&#xA;-P.J. &lt;/p&gt;&#xA;" OwnerUserId="14669" LastActivityDate="2016-05-22T14:57:54.557" Title="Adobe Premiere Pro / After Effects Hard Drive Scratch Disk and Cache set up in temporary situation." Tags="|after-effects|premiere|video-editor|editing|hardware|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18472" PostTypeId="1" AcceptedAnswerId="18477" CreationDate="2016-05-21T19:08:24.477" Score="2" ViewCount="35592" Body="&lt;p&gt;In most video editing softwares I have used, you can&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;- Click Text Object&#xA;- Click Button: Fade In/Fade Out&#xA;- Done.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But in Premiere pro, I have to &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;- Click Text Object&#xA;- Open Effects Tab&#xA;- Keyframe Transparency 0%&#xA;- Keyframe it again 100%&#xA;- Keyframe it again 100%&#xA;- Keyframe it one last time 0%&#xA;- Right Click Keyframe and Set Ease In/Out&#xA;- Right Click Keyframe and Set Ease In/Out&#xA;- Right Click Keyframe and Set Ease In/Out&#xA;- Right Click Keyframe and Set Ease In/Out&#xA;- Make sure I dont change duration of the text, or else I can repeat&#xA;  whole process again.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there no easy way to do this in premiere pro CC?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know its supposed to be very flexible and fit everyones needs, but I really just want a simple fade effect for the text.&lt;/p&gt;&#xA;" OwnerUserId="14670" LastActivityDate="2017-04-21T12:50:26.583" Title="Premiere Pro: Simple fade for text?" Tags="|premiere|pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18473" PostTypeId="1" AcceptedAnswerId="18474" CreationDate="2016-05-21T19:44:06.817" Score="1" ViewCount="1536" Body="&lt;p&gt;I bought Sony Vegas Pro 13 recently for my 4K laptop, but when I fired it up, the loading screen did not look good. The text was running into itself, and it didn't fit in the window.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bAOo8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bAOo8.png&quot; alt=&quot;mangled loading screen&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When the application loaded, the buttons and strips on the editor were only about 5mm tall.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8ikLo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8ikLo.png&quot; alt=&quot;Vegas main window with shrunken buttons and strips&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to make Vegas work on a 4K screen? Are there settings I can change, or a patch I can install? And if not, is there something in the works for this? I will add that I did try changing the screen resolution, but it still looks like this.&lt;/p&gt;&#xA;" OwnerUserId="14671" LastEditorUserId="14671" LastEditDate="2016-05-21T21:37:49.997" LastActivityDate="2019-12-11T08:02:22.407" Title="How to make Sony Vegas Pro 13 work on a 4K display" Tags="|video-editor|vegas-pro|4k|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18474" PostTypeId="2" ParentId="18473" CreationDate="2016-05-21T21:04:43.840" Score="3" Body="&lt;p&gt;There's apparently a hack which alters the Vegas executable to solve this problem. There's a setting of &lt;code&gt;dpiAware&lt;/code&gt; in the application manifest which falsely tells Windows that Vegas is DPI aware and will scale up text and icons on a HiDPI display. Vegas does not do this. So, the value should be changed from true to false.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The hack tutorial alongwith link to required tool is available at &lt;code&gt;https://www.youtube.com/watch?v=Vvr0c5VHGIM&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Vvr0c5VHGIM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't needed to do this so I can't vouch for the method but it appears to work.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-12-11T08:02:22.407" LastActivityDate="2019-12-11T08:02:22.407" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="18477" PostTypeId="2" ParentId="18472" CreationDate="2016-05-22T14:44:15.100" Score="6" Body="&lt;p&gt;Yes you can set a default transition that uses the ctrl-d key combo. I believe it's set by default to crossfade, which I use. You click your clip, control-d and it'll put the fade in and out on the item. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can change the default transition in the preferences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It really is simple. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For bonus points, Control-shift-d works for audio.&lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2016-05-22T14:44:15.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18478" PostTypeId="2" ParentId="18459" CreationDate="2016-05-22T14:52:37.997" Score="1" Body="&lt;p&gt;I would use skype from the remote location into the local computer running wirecast then use their screen capturing option to capture the skype video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The pro version of wirecast allows and input to be RTMP, Web streams and IP cameras. Assuming you have that, you could stream from the remote wirecast and bring it in as a source on the local system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may already be aware, but this will add a major delay in the remote feed. Because it will have to be encoded twice. Once from there to local then again locally on your main feed. Just something to be aware of.&lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2016-05-22T14:52:37.997" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18479" PostTypeId="2" ParentId="18471" CreationDate="2016-05-22T14:57:54.557" Score="1" Body="&lt;p&gt;Personally, I would ditch the usb3 drive for editing. Assuming you can't buy a third drive I would do your setup like this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do a two drive setup.&#xA;C: OS and media cache&#xA;d: (raid) Media, projects, previews and exports.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've always followed the advice here and its worked great for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://forums.adobe.com/servlet/JiveServlet/showImage/2-2906955-31395/Guideline+Disks.jpg&quot; rel=&quot;nofollow&quot;&gt;https://forums.adobe.com/servlet/JiveServlet/showImage/2-2906955-31395/Guideline+Disks.jpg&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2016-05-22T14:57:54.557" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18480" PostTypeId="2" ParentId="18451" CreationDate="2016-05-22T15:00:53.040" Score="1" Body="&lt;p&gt;If you mean the animation of the product, it could be cinema4d, blender or something similar. I bet it could be done in after effects as well.&lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2016-05-22T15:00:53.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18481" PostTypeId="1" AcceptedAnswerId="18482" CreationDate="2016-05-22T16:42:25.640" Score="1" ViewCount="1098" Body="&lt;p&gt;As I have no previous knowledge of video editing, I'm still struggling to get &lt;strong&gt;ffmpeg&lt;/strong&gt; to work as I need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to resize &lt;strong&gt;a video of any size and any aspect&lt;/strong&gt; ratio to height a of 960px, then crop both sides to get a square of 960x960 where the original image would be centered. And now the tricky part for me, I need to duplicate this square, so they would be side by side as single output video of 1920 x 960 pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's not supposed to be 3D, only cardboard friendly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/06YZx.jpg&quot; alt=&quot;visual explanation&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="14605" LastEditorUserId="14523" LastEditDate="2016-05-22T18:23:42.043" LastActivityDate="2016-05-22T18:23:42.043" Title="Resize, crop and SBS duplicate with ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18482" PostTypeId="2" ParentId="18481" CreationDate="2016-05-22T17:02:05.650" Score="2" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -filter_complex \&#xA;       &quot;[0]scale=iw*sar:ih,setsar=1,scale=-1:960,crop=960:960,split[left][right]; \&#xA;        [left][right]hstack[sbs]&quot;  -map &quot;[sbs]&quot; -map 0:a? out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-05-22T17:56:50.843" LastActivityDate="2016-05-22T17:56:50.843" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18483" PostTypeId="1" AcceptedAnswerId="18489" CreationDate="2016-05-22T21:13:41.753" Score="1" ViewCount="555" Body="&lt;p&gt;I have been doing video for almost 2 years now and currently edit on my father's old ultrabook (i7 quad, 8gb RAM, integrated graphics). Its fine and rendering times are ok, but I recently began toying around with After Effects and the computer begins to lag behind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have more or less 1000 dollars to blow and I found a Dell XPS 8900 for around that price. I checked the specs sheet and it seemed really good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An i7 6700 Quad-Core processor, 16GB of RAM expandable to 32GB, 2TB 7200rpm drive and an Nvidia GeForce GTX 745 with 4GB of RAM. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/1187920-REG/dell_x8900_3131blk_xps_i7_6700_16gb_2tb_windows_10_gtx745.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/1187920-REG/dell_x8900_3131blk_xps_i7_6700_16gb_2tb_windows_10_gtx745.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't shoot in 4k in my spare time and when they ask me to, I'm not the one editing the footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this good enough and fast enough? If not, any recommendations for a PC or a laptop is greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="14678" LastActivityDate="2016-05-23T12:22:30.160" Title="XPS 8900 for Full HD video editing?" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18486" PostTypeId="1" AcceptedAnswerId="18491" CreationDate="2016-05-23T09:46:19.223" Score="1" ViewCount="1560" Body="&lt;p&gt;According to a dictionary, &quot;live action&quot; means:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;(in filmmaking) action involving real people or animals, as contrasted with animation or computer-generated effects.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It does &lt;em&gt;not&lt;/em&gt; mean &quot;live&quot;. Live action can be prerecorded as well as live.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a better term for live action? I would like one that doesn't lead to the confusion with the definition of &quot;live&quot;.&lt;/p&gt;&#xA;" OwnerUserId="14682" LastActivityDate="2016-05-23T20:17:37.523" Title="What's a good alternative term for &quot;live action&quot;?" Tags="|terminology|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18487" PostTypeId="2" ParentId="18486" CreationDate="2016-05-23T11:50:21.253" Score="3" Body="&lt;p&gt;You don't need another term. &lt;em&gt;Live Action&lt;/em&gt; is the accepted term for differentiation between, well, live action film and other kinds of movies, such as animation/3D films. It's also used consistently for this purpose, e.g. the Oscars use it in their category names:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Short Film (Animated)&lt;br&gt;&#xA;  Short Film (&lt;strong&gt;Live Action&lt;/strong&gt;)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Conversely, I have never seen this term used to indicate a live stream, so nobody will get confused.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are other terms for feature-length such as &lt;em&gt;feature film&lt;/em&gt; or &lt;em&gt;motion picture&lt;/em&gt;, however those are rather used to differentiate between feature lenght movies and short films and can also be used for animated films.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a feature-length film, you &lt;em&gt;could&lt;/em&gt; amalgamate the terms to something like &lt;em&gt;live action feature film&lt;/em&gt; or &lt;em&gt;live action motion picture&lt;/em&gt;, but I really wouldn't recommend that. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-05-23T11:50:21.253" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18488" PostTypeId="2" ParentId="18455" CreationDate="2016-05-23T11:54:16.333" Score="0" Body="&lt;p&gt;I fixed it with a panning / zoom plugin I found for virtualdub&lt;/p&gt;&#xA;" OwnerUserId="14649" LastActivityDate="2016-05-23T11:54:16.333" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18489" PostTypeId="2" ParentId="18483" CreationDate="2016-05-23T12:22:30.160" Score="0" Body="&lt;p&gt;For editing, I would definitely get a desktop PC, and a custom built one at that, not one from the shelf, as the latter will always be more expensive. Also, this way you only have to pay for the parts you need and can avoid bottlenecks. For example, the PC you mentioned doesn't have an SSD, so hard drive speed will be a limiting factor. Also, the GPU is sub-par compared to the CPU. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what I would recommend, should be doable with 1000 $ (Look out for assembling fees, some dealers will charge you up to 100 bucks, some will do it for 20. You could also do it yourself if you are confident enough):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;An i7-processor. Since you should be getting a GPU anyway, you can get a Xeon E3 processor instead (basically an i7 without an integrated graphics unit, it's slightly cheaper). For example, I have the &lt;a href=&quot;http://ark.intel.com/products/80910/Intel-Xeon-Processor-E3-1231-v3-8M-Cache-3_40-GHz&quot; rel=&quot;nofollow&quot;&gt;Xeon E3 V1231 v3&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;An nVidia GPU with CUDA support. You could get a GTX 970, even though they are somewhat outdated. Alternatively, you could wait for the new Pascal architecture cards, however those will be much more expensive at launch. Alternatively, you could get an AMD R9 390, which only supports OpenCL but might be ever so slightly more powerful than the GTX 970.&lt;/li&gt;&#xA;&lt;li&gt;A cheap HDD for storage as well as an SSD for fast editing. You don't need a Samsung Evo, it's a myth that those are better than the cheaper brands. For example, I have a 250GB Crucial BX100 and it's working perfectly fine.&lt;/li&gt;&#xA;&lt;li&gt;At least 16 GB RAM.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;It's important that you compare prices and different retailers.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-05-23T12:22:30.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18490" PostTypeId="1" CreationDate="2016-05-23T15:17:51.227" Score="2" ViewCount="19076" Body="&lt;p&gt;I am developing a multimedia player using ffmpeg. I am trying hard to get hardware acceleration through ffmpeg using vdpau hardware accelerator. I didn't get any success so far. Below I have mentioned details of my system specs, software and the error of the ffmpeg command line tool. Please feel free to comment if you need further information. Any quick suggestions will be greatly helpful.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;&lt;b&gt;Here is my system hardware specification:&lt;/b&gt;&#xA;Processor: Intel® Core™ i5-4570 CPU @ 3.20GHz × 4 &#xA;Graphis: GeForce GTX 750 Ti/PCIe/SSE2&#xA;Os: Ubuntu-14.04 64bit&#xA;Memory: 8GiB&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Software:&lt;/strong&gt;&#xA;ffmpeg-2.8.1&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;other useful logs:&lt;/strong&gt;&#xA;&lt;strong&gt;1. Find enable hw accelerator in ffmpeg&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;./ffmpeg -hwaccels&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;ffmpeg version 2.8.1 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 4.8 (Ubuntu 4.8.4-2ubuntu1~14.04.3)&#xA;  configuration: --enable-shared&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;Hardware acceleration methods:&#xA;vdpau&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2. Hw accel decoding using ffmpeg&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;./ffmpeg -hwaccel vdpau -i /tmp/test.mp4 /tmp/test.ts&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Error log:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;libva info: VA-API version 0.35.0&#xA;libva info: va_getDriverName() returns 0&#xA;libva info: Trying to open /usr/lib/x86_64-linux-gnu/dri/nvidia_drv_video.so&#xA;libva info: va_openDriver() returns -1&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;3.Command: lspci -vnn | grep -i VGA -A 12&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;01:00.0 VGA compatible controller [0300]: NVIDIA Corporation GM107 [GeForce GTX 750 Ti] [10de:1380] (rev a2) (prog-if 00 [VGA controller])&#xA;    Subsystem: ZOTAC International (MCO) Ltd. Device [19da:288a]&#xA;    Flags: bus master, fast devsel, latency 0, IRQ 48&#xA;    Memory at f6000000 (32-bit, non-prefetchable) [size=16M]&#xA;    Memory at e0000000 (64-bit, prefetchable) [size=256M]&#xA;    Memory at f0000000 (64-bit, prefetchable) [size=32M]&#xA;    I/O ports at e000 [size=128]&#xA;    [virtual] Expansion ROM at f7000000 [disabled] [size=512K]&#xA;    Capabilities: &#xA;    Kernel driver in use: nvidia&#xA;&#xA;01:00.1 Audio device [0403]: NVIDIA Corporation Device [10de:0fbc] (rev a1)&#xA;    Subsystem: ZOTAC International (MCO) Ltd. Device [19da:288a]&#xA;&lt;/pre&gt;&#xA;" OwnerUserId="14533" LastActivityDate="2024-03-16T17:08:20.987" Title="how to get vdpau hardware acceleration using ffmpeg?" Tags="|video|ffmpeg|codec|transcoding|playback|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18491" PostTypeId="2" ParentId="18486" CreationDate="2016-05-23T19:29:02.223" Score="1" Body="&lt;p&gt;No, there is no &lt;strong&gt;BETTER&lt;/strong&gt; term.  But if you really require a DIFFERENT word (for undisclosed reasons), you could perhaps re-define the term &quot;Cinéma vérité&quot;.  If we had some clue about the motivation for needing a different term, we may have a better idea how to respond.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-05-23T19:29:02.223" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18492" PostTypeId="2" ParentId="18486" CreationDate="2016-05-23T20:17:37.523" Score="1" Body="&lt;p&gt;The only other candidate that comes to mind is &lt;code&gt;photographic&lt;/code&gt;, as used in the same sense as in &lt;a href=&quot;https://en.wikipedia.org/wiki/Principal_photography&quot; rel=&quot;nofollow&quot;&gt;Principal Photography&lt;/a&gt;. And photography does literally mean the capture of light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Only hitch is that photography in lay use is firmly associated with the capture of still images.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-23T20:17:37.523" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18493" PostTypeId="1" AcceptedAnswerId="18499" CreationDate="2016-05-23T22:46:15.237" Score="3" ViewCount="19108" Body="&lt;p&gt;I use &lt;a href=&quot;https://ffmpeg.org/&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt; to livestream an Axis camera feed to &lt;a href=&quot;https://support.google.com/youtube/answer/2474026?hl=en&quot; rel=&quot;nofollow&quot;&gt;youtube livestream&lt;/a&gt;. I have a beefy server with 32 GB of ram and plenty of CPUs doing the processing, but still the stream errors out from time to time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would it be possible to change my bash script so it restarts automatically on error? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is my ffmpeg command, and I run it from a &lt;code&gt;screen&lt;/code&gt; session:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -thread_queue_size 512 -rtsp_transport tcp -i &quot;${source_url}&quot; \&#xA;   -acodec libmp3lame  -ar 44100 -ac 2 -acodec pcm_s16le -f s16le -ac 2 \&#xA;   -i /dev/zero -vcodec libx264 -preset medium -s 1280x720 -g 6 -r 3    \&#xA;   -f flv &quot;rtmp://a.rtmp.youtube.com/live2/${youtube_stream_key}&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;These are some of the error messages which cause the encoding to error and stop:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Failed to update header with correct duration.&#xA;Failed to update header with correct filesize.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;this error is rare since I raised the &lt;code&gt;thread_queue_size&lt;/code&gt; parameter:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Thread message queue blocking; consider raising the thread_queue_size option&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I am looking for answers on how to make ffmpeg automatically restart. &lt;/p&gt;&#xA;" OwnerUserId="14582" LastEditorUserId="14582" LastEditDate="2016-05-24T12:09:11.240" LastActivityDate="2020-01-29T21:08:30.933" Title="Automatically restart ffmpeg on error from inside bash script" Tags="|ffmpeg|" AnswerCount="1" CommentCount="7" ClosedDate="2016-05-25T16:57:34.493" ContentLicense="CC BY-SA 3.0" />
  <row Id="18494" PostTypeId="1" AcceptedAnswerId="18495" CreationDate="2016-05-24T03:29:46.573" Score="1" ViewCount="30" Body="&lt;p&gt;I saw this cool effect that blends bubbles into each other, and the space that they are overlapping is transparent.&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/BVtGI.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BVtGI.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I achieve this effect in after effects?&lt;/p&gt;&#xA;" OwnerUserId="14688" LastActivityDate="2016-05-25T18:34:58.627" Title="Difference Blending Option" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18495" PostTypeId="2" ParentId="18494" CreationDate="2016-05-24T06:58:29.990" Score="1" Body="&lt;p&gt;You are interested in blending mode &quot;Difference&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use it in &quot;Blending mode&quot; of layer, or on masks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPD:&lt;/strong&gt; Adding screenshot, as asked&#xA;&lt;a href=&quot;https://i.stack.imgur.com/JFMUS.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JFMUS.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Red — Mask Blending&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Blue — Layer Blending&lt;/p&gt;&#xA;" OwnerUserId="11523" LastEditorUserId="11523" LastEditDate="2016-05-25T18:34:58.627" LastActivityDate="2016-05-25T18:34:58.627" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18496" PostTypeId="2" ParentId="17237" CreationDate="2016-05-24T07:25:00.977" Score="1" Body="&lt;p&gt;It's rather a powershell-specific question than FFmpeg, but here you go:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;lt;input&amp;gt; &amp;lt;some_encoding_options&amp;gt; -f mp4 &quot;my_filename_&quot;$(get-date).ToString(&quot;yyyy-MM-dd_HH-mm&quot;)&quot;.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Change the parameter of &lt;code&gt;ToString&lt;/code&gt; to whatever you want, you can find more info about PS date formatting syntax &lt;strong&gt;&lt;a href=&quot;https://technet.microsoft.com/en-us/library/ee692801.aspx&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A little cheatsheet (all of these have leading zeroes):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;yyyy&lt;/code&gt; year&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;MM&lt;/code&gt; month&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;dd&lt;/code&gt; day&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;hh&lt;/code&gt; hour in 12-hour format&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;HH&lt;/code&gt; hour in 24-hour format&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;mm&lt;/code&gt; minute&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11950" LastEditorUserId="11950" LastEditDate="2016-05-24T07:35:18.377" LastActivityDate="2016-05-24T07:35:18.377" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18497" PostTypeId="1" AcceptedAnswerId="18498" CreationDate="2016-05-24T08:26:56.987" Score="1" ViewCount="1170" Body="&lt;p&gt;I want to demux the audio from avi files, so that the files are lossless. I tried both Yamb and Ffmpeg. Both produce files less than 1 MB (for a video of 80 MB), which are unplayable through VLC. I tried avidemux, and it says it can't export in copy mode.&lt;/p&gt;&#xA;" OwnerUserId="14689" LastEditorUserId="14523" LastEditDate="2016-05-24T19:37:43.470" LastActivityDate="2016-05-24T19:37:43.470" Title="How can I demux avi?" Tags="|ffmpeg|audio|avi|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18498" PostTypeId="2" ParentId="18497" CreationDate="2016-05-24T11:26:07.653" Score="3" Body="&lt;p&gt;Your audio is PCM, but you're trying to streamcopy to AAC, which won't work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To extract the audio to WAV, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i DSCN5008.AVI -acodec copy -y a.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To &lt;strong&gt;transcode&lt;/strong&gt; the audio to AAC, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i DSCN5008.AVI -acodec aac -y a.aac&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that AAC isn't lossless. But FLAC is a lossless and compressed codec.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i DSCN5008.AVI -acodec flac -y a.flac&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-24T11:26:07.653" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18499" PostTypeId="2" ParentId="18493" CreationDate="2016-05-24T14:31:50.057" Score="3" Body="&lt;p&gt;I found &lt;a href=&quot;https://serverfault.com/a/80897/83850&quot;&gt;this method on serverfault.com&lt;/a&gt; and it seems to restart ffmpeg on error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cmd=&quot;ffmpeg -re -thread_queue_size 512 -rtsp_transport tcp -i ${source_url} \&#xA;   -acodec libmp3lame  -ar 44100 -ac 2 -acodec pcm_s16le -f s16le -ac 2 \&#xA;   -i /dev/zero -vcodec libx264 -preset medium -s 1280x720 -g 6 -r 3    \&#xA;   -f flv rtmp://a.rtmp.youtube.com/live2/${youtube_stream_key}&quot;&#xA;&#xA;until $cmd ; do&#xA;        echo &quot;restarting ffmpeg command...&quot;&#xA;        sleep 2&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;without &quot; &quot; it is showing error: -re: not found &lt;/p&gt;&#xA;" OwnerUserId="14582" LastEditorUserId="-1" LastEditDate="2020-01-29T21:08:30.933" LastActivityDate="2020-01-29T21:08:30.933" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="18500" PostTypeId="1" CreationDate="2016-05-24T17:31:11.247" Score="1" ViewCount="6331" Body="&lt;p&gt;i've finished my film and i'm trying to export my film in 1080p 23.976 fps , using h.264 audio acc 44.100 khz and 192 bit rate .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;when i export my full film my audio is slightly out of sync/time with video. when i only export small portion of the film with exact same settings the audio is back in time and everything seems in sync again ?  please help me you wonderful people yes ?  ;-)  my film is 45 minutes long &lt;/p&gt;&#xA;&#xA;&lt;p&gt;the portion i exported was about 1.30 mins , i have tried many different settings including higher fps 29.976 etc but still the same thing happens out of sync on full film, and ok in small portion export !  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;and i'm exporting the same portion and referencing that one segment !  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;last attempt i'm currently making is from another forums advice is deleting render files before export ? i'm still don't know if this has worked as i'm waiting for export to finish !  anyone can help me out , thanks alot , Dave &gt;&lt;/p&gt;&#xA;" OwnerUserId="14692" LastEditorUserId="14523" LastEditDate="2016-05-24T21:49:12.600" LastActivityDate="2019-06-14T01:41:36.053" Title="Audio goes a frame or two out of sync after export premier pro" Tags="|video|premiere|sync|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18501" PostTypeId="2" ParentId="18320" CreationDate="2016-05-24T18:49:32.317" Score="1" Body="&lt;p&gt;I wrote an automation script for after effects that allows data and assets to populate a template&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/XRxnsUFO8xQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have worked with companies over the years extending this so that it runs on a server, takes assets and data through a web browser, and renders the modified template.&lt;/p&gt;&#xA;" OwnerUserId="14693" LastActivityDate="2016-05-24T18:49:32.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18502" PostTypeId="1" AcceptedAnswerId="18504" CreationDate="2016-05-24T20:31:50.907" Score="-1" ViewCount="2316" Body="&lt;p&gt;I am recording something with multiple cameras at the same time. I need a set up that will allow me to take the output from the camera and through HDMI or some other output, connect it to the computer and save it. I was thinking of a product that maybe has 10 different HDMI ports and a USB output port that allows me to access, the content of the HDMI cables.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you guys think its possible if so how can I do it?&lt;/p&gt;&#xA;" OwnerUserId="14695" LastActivityDate="2016-10-26T09:20:51.547" Title="Multiple HDMI inputs saving on computer" Tags="|video|hardware|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18503" PostTypeId="2" ParentId="7694" CreationDate="2016-05-24T20:36:25.583" Score="0" Body="&lt;p&gt;I'm using lasted AVIDEMUX (2.6.911 version) for join the GoPro videos.&#xA;It's very fast and easy to use.&#xA;To start a &quot;project&quot;, drag and drop the first file you want to join from windows explorer to avidemux window, than continue to drag and drop following the numeration of the GoPro files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To create the new joined video, select OUTPUT format to MP4c2Muxer, and leave all the other settings default (newest version don't have the &quot;copy&quot; option like Henrik Söderlund said - here i'd like to thanks him! He saved me a lot of time!)&#xA;.&#xA;Click FILE, select the destination folder and file name and save. It will create a file without compression of the vido or audio. &#xA;There's an option to select the start at the timeline and end point before create the  (after all files dragged to the Avidemux window) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best part is it's free!!! &#xA;Didn't find any other program that can do this simple task (it'S a REAL SHAME GoPro don't release something simple like this OR let the camera create big files! I really like the camera BUT the video editor provided by them sucks!)&lt;/p&gt;&#xA;" OwnerUserId="14694" LastActivityDate="2016-05-24T20:36:25.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18504" PostTypeId="2" ParentId="18502" CreationDate="2016-05-24T21:18:05.880" Score="0" Body="&lt;p&gt;Assuming you want to record all 3 feeds at the same time and not mix you could get 3 decklink mini recorder cards: &lt;a href=&quot;http://www.bhphotovideo.com/c/product/964122-REG/blackmagic_design_decklink_mini_recorder.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/964122-REG/blackmagic_design_decklink_mini_recorder.html&lt;/a&gt; I don't know how well it would work recording 3 feeds at once, youd definitely need large ssds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively you could record in the camera or use some atomos ninja recorders: &lt;a href=&quot;http://www.bhphotovideo.com/c/product/759460-REG/ATOMOS_ATOMNJA003_Ninja_Video_Hard_Disk.html&quot; rel=&quot;nofollow&quot;&gt;http://www.bhphotovideo.com/c/product/759460-REG/ATOMOS_ATOMNJA003_Ninja_Video_Hard_Disk.html&lt;/a&gt; I love these and use them all the time.&lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2016-05-24T21:18:05.880" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18506" PostTypeId="2" ParentId="12878" CreationDate="2016-05-25T05:52:47.793" Score="0" Body="&lt;p&gt;usually there are two ways to convert videos from 30 fps to 60 fps. Firstly simply copy every frame to the missing frame, in this case, you can watch video with the same quality. Secondly, interpolate the missing frames using Sony Vegas or Splash Pro video player, which will playback video with poorer quality probably. Therefore, it is better to film videos at 60fps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Still, I have tried to use some conversion tools to &lt;a href=&quot;http://www.videograbber.net/convert-video-60fps.html&quot; rel=&quot;nofollow&quot;&gt;convert video to 60 fps&lt;/a&gt; and surprisingly found the video quality is good. Maybe you can find some alternatives like this for solving your problem.&lt;/p&gt;&#xA;" OwnerUserId="14538" LastActivityDate="2016-05-25T05:52:47.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18507" PostTypeId="1" CreationDate="2016-05-25T08:11:49.153" Score="0" ViewCount="4599" Body="&lt;p&gt;Premiere Pro is not allowing any objects (I have tried titles, video and audio) to the timeline. When I drag it over, it comes up with a closed hand with a crossed circle. I already have media, but now I can't add any more. No layers are locked. I haven't changed any options. Help? Me and my teacher could not figure it out.&lt;/p&gt;&#xA;" OwnerUserId="14698" LastActivityDate="2016-05-29T12:07:13.413" Title="Premiere Pro is not allowing any objects to be dragged to timeline" Tags="|premiere|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18508" PostTypeId="2" ParentId="18507" CreationDate="2016-05-25T10:22:26.943" Score="0" Body="&lt;p&gt;It's not a solution, but rather a workaround. I created a new sequence and dragged the existing sequence into the new one. I can't say why the other one doesn't work, I have no idea.&lt;/p&gt;&#xA;" OwnerUserId="14699" LastActivityDate="2016-05-25T10:22:26.943" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18509" PostTypeId="2" ParentId="18507" CreationDate="2016-05-25T14:01:37.213" Score="2" Body="&lt;p&gt;Where premiere allows you to drop or insert clip depends on on &lt;em&gt;Source patching&lt;/em&gt; and &lt;em&gt;Track targeting&lt;/em&gt;. Basically, you can only drop clips into a track that has &lt;em&gt;Source patching&lt;/em&gt; turned on in the track header.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You also cannot drop clips onto tracks that are &lt;em&gt;Locked&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ox32z.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ox32z.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This video explains these features in more detail: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/tWkW903Juwk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="8000" LastEditorUserId="8000" LastEditDate="2016-05-29T12:07:13.413" LastActivityDate="2016-05-29T12:07:13.413" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18510" PostTypeId="2" ParentId="18502" CreationDate="2016-05-25T14:16:28.820" Score="0" Body="&lt;p&gt;You are asking for a Video Production Switcher. This is what broadcasters use to switch between video sources (including multiple cameras, pre-recorded clip playback, computer video, etc.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are some software solutions and some hardware solutions. While the software solutions seem less expensive (some even free), they make heavy requirements on the computer, and require in many cases expensive input interface cards with multiple video inputs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are hardware solutions which are more traditional for video production. Some of them have H.264 USB output to feed directly into your computer for recording or live streaming.  For example I have several video switchers from BlackMagic Design. Their &quot;TV Studio&quot; low-end model has direct H.264 output via USB.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-05-25T14:16:28.820" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18511" PostTypeId="2" ParentId="18490" CreationDate="2016-05-26T11:50:19.087" Score="0" Body="&lt;p&gt;I am able to get the hw-acceleration working through ffmpeg using Nvidia graphics card. I just thoroughly followed the steps described here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://wiki.archlinux.org/index.php/Hardware_video_acceleration&quot; rel=&quot;nofollow&quot;&gt;Hw Acceleratoin guide&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14533" LastActivityDate="2016-05-26T11:50:19.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18512" PostTypeId="1" AcceptedAnswerId="18513" CreationDate="2016-05-26T12:16:53.110" Score="2" ViewCount="2039" Body="&lt;p&gt;I have an animated movie in three different languages. The picture is exactly the same for each langauge, only the audio is different.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to merge all these files into one, so that I have a single video file where I can switch easily between the audio tracks in VLC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I merge the audio tracks into a single file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can use any OS for the job, but my preferred order is:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;OS X&lt;/li&gt;&#xA;&lt;li&gt;Linux (Debian/Ubuntu/Mint)&lt;/li&gt;&#xA;&lt;li&gt;Android&lt;/li&gt;&#xA;&lt;li&gt;iOS&lt;/li&gt;&#xA;&lt;li&gt;Windows desktop&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;It's not really important, though, I'll take suggestions for any platform happily.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only function I really need is the merging itself. Lightweight solutions are a a plus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I prefer GUI solutions.&lt;/p&gt;&#xA;" OwnerUserId="14706" LastEditorUserId="14706" LastEditDate="2016-05-27T12:08:27.210" LastActivityDate="2016-10-24T17:36:10.527" Title="Create video file with multiple audio tracks?" Tags="|audio|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18513" PostTypeId="2" ParentId="18512" CreationDate="2016-05-26T14:49:15.947" Score="1" Body="&lt;p&gt;FFMPEG can do it. FFMPEG is command line video (and audio) processing software, available &lt;a href=&quot;http://ffmpeg.org&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have FFMPEG here is the command you would use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.avi -i audio1.mp3 -i audio2.mp3 -map 0 -map 1 -map 2 -codec copy output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14700" LastEditorUserId="1950" LastEditDate="2016-05-27T08:50:23.760" LastActivityDate="2016-05-27T08:50:23.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18514" PostTypeId="1" AcceptedAnswerId="18522" CreationDate="2016-05-26T21:36:24.177" Score="2" ViewCount="3823" Body="&lt;p&gt;need some advice to solve the problem &lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg is receiving the nonstop live stream (rtmp source) from camera monitoring entry gates &lt;/p&gt;&#xA;&#xA;&lt;p&gt;after trigger is fired (gate/door is open) I need to create the 30sec videofile saved to HDD&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I mean this 30 sec as 25 seconds of video before trigger was fired and some 5 seconds after trigger&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the similar idea is covered by ffmpeg wiki (&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Capture/Lightning&quot; rel=&quot;nofollow&quot;&gt;https://trac.ffmpeg.org/wiki/Capture/Lightning&lt;/a&gt;) but I can't get this working in any command configuration&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was playing with filters, buffering etc too but still no luck ;-((&lt;/p&gt;&#xA;&#xA;&lt;p&gt;any ideas would be appreciated&lt;/p&gt;&#xA;" OwnerUserId="14710" LastActivityDate="2017-07-22T22:36:28.167" Title="ffmpeg buffered recording" Tags="|ffmpeg|video-capture|live-recording|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18516" PostTypeId="2" ParentId="18458" CreationDate="2016-05-27T09:17:39.587" Score="1" Body="&lt;p&gt;&lt;strong&gt;Software you could do that effect with&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Adobe After Effects&lt;/li&gt;&#xA;&lt;li&gt;Blackmagic Fusion&lt;/li&gt;&#xA;&lt;li&gt;Nuke &lt;/li&gt;&#xA;&lt;li&gt;Autodesk Toxik &lt;/li&gt;&#xA;&lt;li&gt;Autodesk Flame &lt;/li&gt;&#xA;&lt;li&gt;Autodesk Smoke &lt;/li&gt;&#xA;&lt;li&gt;Adobe Premiere Pro&lt;/li&gt;&#xA;&lt;li&gt;Apple Final Cut Pro and Final Cut X&lt;/li&gt;&#xA;&lt;li&gt;Avid Media Composer&lt;/li&gt;&#xA;&lt;li&gt;Avid Symphony&lt;/li&gt;&#xA;&lt;li&gt;Corel video Studio&lt;/li&gt;&#xA;&lt;li&gt;Magix Movie Edit Pro&lt;/li&gt;&#xA;&lt;li&gt;Lightworks &lt;/li&gt;&#xA;&lt;li&gt;Sony Vegas&lt;/li&gt;&#xA;&lt;li&gt;Natron&lt;/li&gt;&#xA;&lt;li&gt;KDEnlive&lt;/li&gt;&#xA;&lt;li&gt;Avisynth&lt;/li&gt;&#xA;&lt;li&gt;Cinelerra&lt;/li&gt;&#xA;&lt;li&gt;Pitivi&lt;/li&gt;&#xA;&lt;li&gt;FFMPEG (given enough time)&lt;/li&gt;&#xA;&lt;li&gt;Blender&lt;/li&gt;&#xA;&lt;li&gt;Lightwave&lt;/li&gt;&#xA;&lt;li&gt;3D studio Max&lt;/li&gt;&#xA;&lt;li&gt;Autodesk Maya&lt;/li&gt;&#xA;&lt;li&gt;Cinema 4d&lt;/li&gt;&#xA;&lt;li&gt;Photoshop (yes, really)&lt;/li&gt;&#xA;&lt;li&gt;the Gimp (ditto)&lt;/li&gt;&#xA;&lt;li&gt;Processing (if you're handy with java)&lt;/li&gt;&#xA;&lt;li&gt;OpenFrameworks (ditto, but C++)&lt;/li&gt;&#xA;&lt;li&gt;many more… Pretty much any &lt;a href=&quot;https://en.wikipedia.org/wiki/Category:Compositing_software&quot; rel=&quot;nofollow&quot;&gt;compositing&lt;/a&gt;, visual effects or 3D animation application, and most &lt;a href=&quot;https://en.wikipedia.org/wiki/Comparison_of_video_editing_software&quot; rel=&quot;nofollow&quot;&gt;NLE&lt;/a&gt;s could do it&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Could they have used a template&lt;/strong&gt;: yes.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-05-27T09:17:39.587" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18517" PostTypeId="1" AcceptedAnswerId="18519" CreationDate="2016-05-27T09:39:21.847" Score="1" ViewCount="92" Body="&lt;p&gt;I bought a series of children's educational DVD's and they all have these black lines on all four sides of the picture, throughout the whole video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/usUwR.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/usUwR.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the first time I've ever seen this. Why would anyone do this? Is there any benefit?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to understand the motivation of the DVD's creator for doing this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FWIW, the DVD's are aimed at a market where &lt;a href=&quot;http://www.thehindu.com/todays-paper/tp-national/tp-tamilnadu/free-tv-sets-distribution-begins/article3076310.ece&quot; rel=&quot;nofollow noreferrer&quot;&gt;a significant part of the consumer base&lt;/a&gt; will view them on old/small TV's. Maybe something like TV's that were widely used in the West in the 80's.&lt;/p&gt;&#xA;" OwnerUserId="14706" LastEditorUserId="14706" LastEditDate="2016-05-27T09:53:48.147" LastActivityDate="2016-05-27T17:00:53.073" Title="Why would a company put black lines around the picture in their DVD?" Tags="|dvd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18518" PostTypeId="1" CreationDate="2016-05-27T10:02:54.040" Score="9" ViewCount="5560" Body="&lt;p&gt;I'd like to create a zoom-in animation over numerous frames of a video clip.  I've tried a couple of approaches without much luck.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test-10s.mp4 -vf &quot;zoompan=z='zoom+0.001'&quot; zoompan-10s.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The resulting file zooms in over 10s on a still of the first frame of the video, then goes all the way out and zooms back in on another still, presumably the second frame.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test-10s.mp4 -filter_complex &quot;crop=(640-(n*10)):(360-(n*10))&quot; crop-100-fc.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://stackoverflow.com/questions/29432393/how-to-create-zoom-in-effect-using-ffmpeg&quot;&gt;Someone else reported&lt;/a&gt; success using this method but for me it just outputs a video identical to the input video.  I also tried upping the multiplier to &lt;code&gt;100&lt;/code&gt;, and adding &lt;code&gt;,scale=640x360&lt;/code&gt; to the end of the filter string, with identical results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried this on my Linux PC running what appears to be version 3.0.0 and also on my Android phone running version 3.0.2 under Termux. Same results. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I create this effect with ffmpeg?  I'd like to zoom in over 10 seconds.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;UPDATE&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;I've managed to make it zoom in over video, albeit shakily. Some discoveries/hypotheses:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;It seems to treat a video input file as simply a series of images, applying the filter to each one&lt;/li&gt;&#xA;&lt;li&gt;Setting the filter parameter &lt;code&gt;d=1&lt;/code&gt; causes each frame/image to be mapped to a single new frame. The filter is then enacted once for each frame.&lt;/li&gt;&#xA;&lt;li&gt;The &lt;code&gt;in&lt;/code&gt; variable can be referenced to create an effect that changes more or less steadily across frames.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test-10s.mp4 -vf &quot;zoompan=z='1+(1.4*in/300)':x='70*in/300':y='190*in/300':d=1&quot; zoompan-001-in-d1.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There are about 300 frames in the example input video.  The output file zooms from 1:1 to a zoom factor of 2.4 while panning to a top left corner position of (70, 190).&lt;/p&gt;&#xA;" OwnerUserId="10756" LastEditorUserId="-1" LastEditDate="2017-05-23T11:33:38.633" LastActivityDate="2020-06-28T08:42:36.353" Title="How to produce a zoom animation of a video source with ffmpeg?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18519" PostTypeId="2" ParentId="18517" CreationDate="2016-05-27T10:13:04.927" Score="4" Body="&lt;p&gt;Old/small TVs tended to &lt;a href=&quot;https://en.wikipedia.org/wiki/Overscan&quot; rel=&quot;nofollow&quot;&gt;overscan&lt;/a&gt; their images.  The &quot;title-safe&quot; area was about 90% of the original image.  The DVD's format ensures that despite such overscanning, everything in the image is visible, including the titling shown in red at the bottom of the image, which is hard up against the limit of the frame and thus requires that the image be reduced so that a 10% overscan does not clip it off.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="6273" LastEditDate="2016-05-27T17:00:53.073" LastActivityDate="2016-05-27T17:00:53.073" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18520" PostTypeId="1" AcceptedAnswerId="18521" CreationDate="2016-05-27T15:44:53.137" Score="1" ViewCount="46" Body="&lt;p&gt;As the ISO value is dynamic in video recording, is there a way to somehow force the camera to record the whole video in one fixed ISO ?&#xA;Camera: Nikon D3s&lt;/p&gt;&#xA;" OwnerUserId="14233" LastEditorUserId="14523" LastEditDate="2016-05-27T21:08:07.767" LastActivityDate="2016-05-27T21:08:07.767" Title="Fixing ISO value of each frame of a recorded AVI video" Tags="|video|dslr|nikon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18521" PostTypeId="2" ParentId="18520" CreationDate="2016-05-27T16:52:44.147" Score="1" Body="&lt;p&gt;You can just turn off the AUTO ISO feature and set the ISO manually. This way it won't change throughout your recording, and this will also produce more consistent lighting, unless the lighting conditions change (i.e. your scene involves turning the lights on/off, opening/closing a window or something like that). Instructions on how to do that can be found in your camera's manual.&lt;/p&gt;&#xA;&lt;p&gt;A quick google search yielded the following result:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;By default the D3s won't give you much control of video capture and you'll have to unlock the manual video control by using a secret method. Don't worry, nothing will happen to your $5,000+ camera!&lt;/p&gt;&#xA;&lt;p&gt;All you have to do is set your Live View-setting to &amp;quot;Tripod Mode&amp;quot;, enter Live View using the Lv-button on the back of the camera and then press the OK-button on the left side of the LCD. That's it. You've now gained full manual control of video on your D3s. Congratulations!&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;sub&gt;&lt;a href=&quot;https://fstoppers.com/gear/how-gain-manual-video-control-nikon-d3s-6315&quot; rel=&quot;nofollow noreferrer&quot;&gt;Source&lt;/a&gt;&lt;/sub&gt;&lt;/p&gt;&#xA;&lt;p&gt;And here's an excerpt from a more extensive guide to the camera's shooting menu:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;h2&gt;ISO sensitivity settings&lt;/h2&gt;&#xA;&lt;h3&gt;ISO sensitivity&lt;/h3&gt;&#xA;&lt;p&gt;This duplicates the ISO button. I use ISO 200.&lt;/p&gt;&#xA;&lt;h3&gt;ISO sensitivity auto control&lt;/h3&gt;&#xA;&lt;p&gt;This is where we set the AUTO ISO feature ON or OFF. Auto ISO magically bumps up the ISO as the light gets weaker, saving you a lot of time since you no longer need to watch your lighting or shutter speeds. Set this and just shoot, from daylight to moonlight.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;sub&gt;&lt;a href=&quot;http://www.kenrockwell.com/nikon/d3/users-guide/menus-shooting.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;Source&lt;/a&gt;&lt;/sub&gt;&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-05-27T16:52:44.147" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18522" PostTypeId="2" ParentId="18514" CreationDate="2016-05-27T19:35:47.627" Score="0" Body="&lt;p&gt;What you can do is add a blank 30 second segment in front of the camera stream, and then use the method in the ffmpeg wiki.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basic template is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i color=black:WxH:r=FPS:d=30 -i camera_input \&#xA;       -filter_complex &quot;[0][1]concat[v]&quot; -map &quot;[v]&quot; StreamingOutput&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;WxH&lt;/code&gt; should be set to the camera's resolution and &lt;code&gt;FPS&lt;/code&gt; to its framerate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And the 2nd command which is run 5 seconds after the trigger.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i Streamingoutput -t 30 snippet.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-27T19:35:47.627" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18523" PostTypeId="1" CreationDate="2016-05-27T21:11:02.010" Score="9" ViewCount="14401" Body="&lt;p&gt;I was recording an MP4 file using PlaysTV, and my computer had a power fault half-way through the recording.&#xA;I'm sure that the file contains valid data, it's just that no media player will recognize it.&lt;/p&gt;&#xA;&lt;p&gt;To fix it I have tried Avidemux, I have tried numerous programs listed in other questions on stackexchange. And so far nothing has worked.&lt;/p&gt;&#xA;&lt;p&gt;The ffmpeg -i output is as follows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;  libavutil      55. 24.100 / 55. 24.100&#xA;  libavcodec     57. 43.100 / 57. 43.100&#xA;  libavformat    57. 37.100 / 57. 37.100&#xA;  libavdevice    57.  0.101 / 57.  0.101&#xA;  libavfilter     6. 46.100 /  6. 46.100&#xA;  libswscale      4.  1.100 /  4.  1.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 000000000262d040] moov atom not found&#xA;2016_05_27_20_08_12-ses.mp4: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Mediainfo output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : F:\vids\2016_05_27_20_08_12-ses.mp4&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media / Version 2&#xA;Codec ID                                 : mp42 (mp41/isom)&#xA;File size                                : 1.21 GiB&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;There are probably paid services that will fix this file for me, however since it is a (quite)large-ish file, they cost too much.&lt;/p&gt;&#xA;&lt;p&gt;Can anyone help me here?&lt;/p&gt;&#xA;" OwnerUserId="14715" LastEditorUserId="6582" LastEditDate="2020-11-01T16:47:50.197" LastActivityDate="2020-11-16T06:01:29.633" Title="Corrupt MP4 [recording interrupted]" Tags="|video|file-formats|software|video-recording|mp4|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="18524" PostTypeId="1" AcceptedAnswerId="18525" CreationDate="2016-05-27T21:26:58.227" Score="1" ViewCount="1068" Body="&lt;p&gt;I'm filming video that will only be viewed on the web at 720p, I'm considering shooting in 1080p in case in future I need to up the quality. I'm going to use 720p at present to keep streaming costs down but in future 1080p could be used when costs fall. Will I loose anything shooting at 1080p with the final output being 720p? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm new to video production hence the question.&lt;/p&gt;&#xA;" OwnerUserId="14716" LastActivityDate="2016-05-27T21:53:25.070" Title="Should I shoot at 1080p if I intend to use 720p on the web?" Tags="|video-quality|full-hd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18525" PostTypeId="2" ParentId="18524" CreationDate="2016-05-27T21:53:25.070" Score="3" Body="&lt;p&gt;There is no one right answer to this very general question, but here are the considerations.  Some cameras (such as the Canon EOS DSLRs) have very naive line-skipping algorithms to decimate their normally very high resolution down to FullHD or HD video.  Such algorithms create lots of aliasing noise, which is further aggravated by further image scaling.  Other cameras are more intelligent about how they match the sensor's native resolution to the desired recording resolution.  RED cameras, for example, crop down the sensor so that whether you are recording at 6K or 5K or 4K or 3K or 2K HD resolution (1920x1080) you are using precisely the RAW pixels, not some interpolation or decimation thereof.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another consideration relates to the actual recording bandwidth of your system.  If you are recording at a fixed rate (such as 28Mbps AVCHD), then a 1080p video will, necessarily, have to employ greater compression than the 720p video, because the 1080p has 2x the spatial resolution of a 720p video (and both have the same bit rate).  If your fixed recording rate is 200Mbps (such as is offered by the Panasonic GH4), that might be so generous that you really are getting very high quality for both 720p and 1080p.  So it depends on whether your camera's imaging system is well within, at the limit of, or past the point of a good compression tradeoffs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, 1080p streaming might strip out way more quality from your 1080p master than exists in even your 720p master.  In which case a high-quality 720p master might be all you need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The places where video quality really gets down to the pixel level are typically within the post-production process, pulling keys, doing color correction, sharpening, etc.  Once you have a high-quality master, streaming compression will probably obliterate all differences in your 1080p vs. 720p masters.  Unless you have a notorious camera known for particularly poor quality in the first place.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-05-27T21:53:25.070" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18527" PostTypeId="2" ParentId="18523" CreationDate="2016-05-28T05:58:05.837" Score="4" Body="&lt;p&gt;&lt;strong&gt;Updated&lt;/strong&gt;: this tool can now recover files from more sources.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try with &lt;a href=&quot;http://slydiman.me/eng/mmedia/recover_mp4.htm&quot; rel=&quot;nofollow&quot;&gt;recover_mp4_to_h264&lt;/a&gt;. It's a command line program, and will require a good reference file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Usage as indicated:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;recover_mp4 in_good_similar.mp4 --analyze&#xA;recover_mp4 in_corrupted.mp4 {out_video.h264 | out_video.hevc | --novideo} [out_audio.aac | out_audio.wav | out_audio.mp3 | out_audio.raw | --noaudio] [options]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-08-02T15:29:13.040" LastActivityDate="2016-08-02T15:29:13.040" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18528" PostTypeId="1" AcceptedAnswerId="18529" CreationDate="2016-05-28T08:13:04.847" Score="3" ViewCount="5962" Body="&lt;p&gt;I am trying to create a simple overlay graphic where the overlay moves and screen and changes speed according to time. So I tried a simple &lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i input.mp4 -vcodec qtrle -i overlay.mov -filter_complex '[0:0][1:0]overlay=x=if(t&amp;lt;2\,t*3\,t*5)[out]' -map '[out]' -y output.mp4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and got an error code of :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[Parsed_overlay_0 @ 0000003f4e1e2ea0] [Eval @ 0000003f4c0fe5b0] Missing ')' or too many args in 'if(t&amp;lt;2,t*3,t*5)'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[Parsed_overlay_0 @ 0000003f4e1e2ea0] Error when evaluating the expression 'if(t&amp;lt;2,t*3,t*5)' for x&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[Parsed_overlay_0 @ 0000003f4e1e2ea0] Failed to configure input pad on Parsed_overlay_0&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Error configuring complex filters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Invalid argument&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if I remove the &quot;if&quot; part and just leave a formula it works :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-filter_complex '[0:0][1:0]overlay=x=12+t*3[out]'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried playing with escaping of the different characters but it doesn't look like its a parsing error. Any ideas of how to use this correctly? The ffmpeg documentation has a sample for doing font color expression with a logical value &lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#Examples-80&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; , but any attempt at &lt;/p&gt;&#xA;&#xA;&lt;p&gt;overlay=x_expr&lt;/p&gt;&#xA;&#xA;&lt;p&gt;doesn't really work as well&lt;/p&gt;&#xA;&#xA;&lt;p&gt;please help&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance&lt;/p&gt;&#xA;" OwnerUserId="12719" LastActivityDate="2018-04-13T00:59:48.763" Title="ffmpeg overlay x expression with logical condition" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18529" PostTypeId="2" ParentId="18528" CreationDate="2016-05-28T08:33:43.700" Score="4" Body="&lt;p&gt;FFmpeg uses functions, rather than operators, for conditional execution and comparisons, so &lt;code&gt;t&amp;lt;2&lt;/code&gt; is not a valid syntax. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The syntax for your given command would be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -i overlay.mov -filter_complex \&#xA;       &quot;[0][1]overlay=x=if(lt(t\,2)\,t*3\,t*5)[out]&quot; \&#xA;       -map '[out]' -c:v qtrle -y output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;lt(var,value)&lt;/code&gt; is the &lt;code&gt;less than&lt;/code&gt; function. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-28T08:33:43.700" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18530" PostTypeId="1" CreationDate="2016-05-28T08:51:24.080" Score="1" ViewCount="1128" Body="&lt;p&gt;This is my first go at asking a video production related question...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a programming / data science background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have about 30,000 spatial co-ordinates (i.e x , y coordinates) These have come into existence over about 15 years.  I want to animate this.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I need a programmatic approach - there are just too many points.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, when each point appears...I want it to initially appear at say 100% opacity and then over about 15 frames fade to about 30% opacity. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What tool is the best to do this in...?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not sure if After Effects has sufficient programatic control..?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What about Flash..?  (i.e Adobe CC Animate).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Eventually, I want this animated series of points to be a layer and I will stick it on top of a base map. And do some other stuff.  So eventually, the layers will be composited in After Effects.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What tool should I use to create this animation...?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mark&lt;/p&gt;&#xA;" OwnerUserId="14723" LastEditorUserId="4426" LastEditDate="2016-06-15T09:08:47.623" LastActivityDate="2016-11-04T13:27:40.950" Title="Animating Latitude and Longitude points - how to do it? What tools?" Tags="|after-effects|flash|" AnswerCount="3" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18531" PostTypeId="2" ParentId="18530" CreationDate="2016-05-28T14:20:38.487" Score="1" Body="&lt;p&gt;I would do this in &lt;a href=&quot;https://www.blender.org/&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt;, which uses Python as a scripting language.  This gives you a powerful way to &quot;fly&quot; through the data as it animates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are happy with just a static perspective of the map with the points being animated, &lt;a href=&quot;https://www.r-project.org/&quot; rel=&quot;nofollow&quot;&gt;R&lt;/a&gt; has an extraordinary range of graphing capabilties that can be used to generate animations.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-05-28T14:20:38.487" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18532" PostTypeId="1" CreationDate="2016-05-28T16:04:34.630" Score="1" ViewCount="2262" Body="&lt;p&gt;So, it looks like FireWire is dead, and, along with it, all those FireWire ports on Mini DV cams and A/D converters from the 2000's.  So what options exist today for getting Mini DV and Hi-8 tape footage into Macs that only have Thunderbolt (and USB)?&lt;/p&gt;&#xA;" OwnerUserId="10691" LastActivityDate="2017-05-24T20:04:30.547" Title="What Options Are There for Importing Mini DV and Hi-8 Tapes to Thunderbolt?" Tags="|mac|video-capture|firewire|tape|thunderbolt|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18533" PostTypeId="1" CreationDate="2016-05-28T16:35:45.153" Score="2" ViewCount="264" Body="&lt;p&gt;I have a video in the format of 1600 * 1200.&#xA;I want to convert this video into 1200 * 900.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have done this with handbrake, but the first 10 seconds of the video is black and scrambled.&#xA;Is there a way to convert the video correctly with handbrake or can I do this differently ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE&lt;/strong&gt;&#xA;When I play the converted video the first time with &quot;Windows Media Player&quot; the first 10 seconds are not visible correct. If I replay the same video in the same &quot;Windows Media Player&quot; session it shows up correctly also the first 10 seconds.&lt;/p&gt;&#xA;" OwnerUserId="5058" LastActivityDate="2019-08-18T14:02:25.460" Title="Converting a Video from 1600 * 1200 to 1200 * 900" Tags="|conversion|video-recording|handbrake|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18534" PostTypeId="1" CreationDate="2016-05-28T18:48:59.873" Score="0" ViewCount="69" Body="&lt;p&gt;I'm looking for a software or online website that creates animated videos that supports the integration of a business logo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.facebook.com/NeighborhoodLoans/videos/10154031509015734/&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;Example - Facebook Video&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found many online services that create animated videos similar to this but with slightly lower quality. So I'd appreciate it if anyone could tell what is the name of the software or the website this page uses for creating their animated videos.&lt;/p&gt;&#xA;" OwnerUserId="5090" LastActivityDate="2016-10-25T23:53:05.833" Title="By which software/website this animated video was created?" Tags="|video|animation|software|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18535" PostTypeId="2" ParentId="18534" CreationDate="2016-05-28T19:51:10.350" Score="1" Body="&lt;p&gt;As for video editing, this is pretty straightforward. The frame and the flowers are simply an image that has an alpha channel applied to it to make the contents of the frame opaque. The images in the frame are static (as in not animated) images with crossfade transition (as well as a static background image). You can do this with pretty much any video editing software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the illustrations, I'm pretty sure they were created with Adobe Illustrator (or any other vector graphics software). While the editing for this video is super easy and can be done by anyone, I would recommend you hire a professional illustrator if you want to create something similar but don't have experience in that area (and don't want to have to rely on stock images/illustrations).&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-05-28T19:51:10.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18537" PostTypeId="1" CreationDate="2016-05-29T03:57:34.740" Score="0" ViewCount="630" Body="&lt;p&gt;How would I go about &quot;stabilizing&quot; a video's rotation using freeware / opensourceware?&lt;br&gt;&#xA;Please also name that piece of freeware / opensourceware.&#xA;&lt;br&gt;&lt;br&gt;&#xA;Obviously, I do not want to rotate each frame of the video by hand.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See link below for an example of what I mean (65 844 bytes)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://s000.tinyupload.com/?file_id=08971816374946938459&quot; rel=&quot;nofollow&quot;&gt;http://s000.tinyupload.com/?file_id=08971816374946938459&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14731" LastActivityDate="2016-09-26T16:06:53.590" Title="Stabilize Video Rotation" Tags="|video|video-editor|software-recommendation|stabilisation|freeware|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18538" PostTypeId="1" AcceptedAnswerId="18539" CreationDate="2016-05-29T06:43:01.270" Score="3" ViewCount="1379" Body="&lt;p&gt;How can I convert a video from 1600*1200 to 1920*1080 ?&#xA;I know that the aspect will be not correct, but I just like to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With Handbrake I can't do it, because it will not allow me to go beyond the 1600 pixels in the width.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for helping.&lt;/p&gt;&#xA;" OwnerUserId="5058" LastEditorUserId="1871" LastEditDate="2016-05-30T07:24:27.603" LastActivityDate="2016-05-30T07:24:27.603" Title="Converting a Video from 1600*1200 to 1920*1080" Tags="|software-recommendation|conversion|aspect|scale|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18539" PostTypeId="2" ParentId="18538" CreationDate="2016-05-29T08:13:56.883" Score="3" Body="&lt;p&gt;Using ffmpeg,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;scale=1920:1080:flags=lanczos,setsar=1&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will stretch the video to 1920x1080.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;scale=-1:1080:flags=lanczos,setsar=1,pad=1920:1080:(ow-iw)/2:(oh-ih)/2&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will keep the aspect ratio but place black bars on the left and right.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;flag&lt;/code&gt; in the scale filter determines the scaling algorithm to use. &lt;code&gt;lanczos&lt;/code&gt; is the best available, in general, for video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;setsar&lt;/code&gt; sets the pixel aspect ratio. Advisable to keep this square (&lt;code&gt;1&lt;/code&gt;) unless you know what you're doing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the 2nd command, the &lt;code&gt;-1&lt;/code&gt; tells ffmpeg to preserve original proportion when scaling height to &lt;code&gt;1080&lt;/code&gt;. The pad fills out the canvas to &lt;code&gt;1920x1080&lt;/code&gt; and centers the scaled video within it.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-29T08:13:56.883" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18540" PostTypeId="2" ParentId="18537" CreationDate="2016-05-29T11:04:03.153" Score="2" Body="&lt;p&gt;&lt;a href=&quot;https://www.blender.org/&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt; has a video stabilization feature based on its camera tracker.  Here is a YouTube tutorial on how to use this feature to stabilize a hand-held video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/nU8zqn091rM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-05-29T11:04:03.153" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18542" PostTypeId="2" ParentId="18533" CreationDate="2016-05-29T14:40:24.513" Score="0" Body="&lt;p&gt;I havent used it in ages... but the paid version of Quicktime (I think there still is one - Quicktime Pro; it was about $20) actually had a pretty decent arsenal of rendering options, including scaling, matting, cropping, etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It did, at the time a year or two back, a MUCH better job than VLC. Worth the $20, which is a one time fee, and upgrades are free. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-05-29T14:40:24.513" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18543" PostTypeId="2" ParentId="18532" CreationDate="2016-05-29T14:51:27.947" Score="1" Body="&lt;p&gt;Well for MiniDV, you want to find yourself should budget permit, the Canopus ADVC Conversion Unit. It is by far the best realtime hardware (external small box about the size of a VHS tape), that will allow you to on the fly input in HDMI, FW-400/800 and component video and output over HDMI or FW.  (So it's flexible). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The encoder is handsdown leaps and bounds better than any of the cheap capture cards, and even the BlackMagic pocket adapters. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hi8 Tape is Analog, unless it's Digital8. In which case you'll need to capture via Analog, and output via HDMI into your Mac. If your Mac supports HDMI capture, that will work, or you can buy an inexpensive BlackMagic h264 ProCoder to handle the input. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will still need source decks. The Canopus box I mentioned, (which is no longer made) you might find on eBay (I found my 2nd one there). It also supports HDV, the high-definition mini-dv format, with virtually zero loss in quality (visually). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other than that- you are going to have to set up a DeckLink card (really the only &quot;better cheapest easiest&quot; option in terms of a one card fits all. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might be able to get a DeckLink card which handles all the input types you need (they have a lot of models, which differ in what they allow in/out). I'm guessing around $1500. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then connect your decks, and capture. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for Thunderbolt. I am sure the newest DeckLink cards support it (I would think), but will be very pricey if they even do. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My advice,&lt;/strong&gt; either find the Canopus box I mentioned, or get a H264 ProCoder by BlackMagic; pair it with the appropriate BlackMagic converters ($300 each) to get your deck to feed to the ProCoder (Which only takes HD-SDI in), and then capture over USB 3.0. EDIT:  The newest ProCoder may accept HDMI in/out... I'd look at BM's website to see what their current lineup offers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-05-29T14:51:27.947" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18544" PostTypeId="2" ParentId="18537" CreationDate="2016-05-29T14:55:41.967" Score="0" Body="&lt;p&gt;Well &quot;technically&quot; you could google the download page for Adobe CS6 Production Premium - which includes After Effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It allows a free un-restricted 30 day trial. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Import your footage into either Premiere, or preferably After Effects. Apply the Animation Effect &quot;Warp Stabilizer&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It does an amazing job. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But you'll only get 30 days until the software expires or you enter a serial. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-05-29T14:55:41.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18545" PostTypeId="2" ParentId="18523" CreationDate="2016-05-29T15:01:40.713" Score="1" Body="&lt;p&gt;You may also, to save yourself trouble, check to see the data is even there first. The file size being 1.21 GB, does that sound correct for the time until you lost power?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I bring this up because some programs write the data first to memory... sometimes very long large chunks of data, before actually committing it to disk. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With an MP4, the video should play, if it has valid headers, up until the last good packet containing the correct key/i frames. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What pops into my head, is the data may not be there, as in, it had been committed to memory, but not to disk-- I'd do a test record (factoring the time it &quot;should be&quot;, and compare file sizes). Before you jump through hoops. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-05-29T15:01:40.713" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18546" PostTypeId="2" ParentId="18031" CreationDate="2016-05-29T17:01:32.363" Score="1" Body="&lt;p&gt;You could try the HitFilm Express 4, they have the sci-fi pack (25usd) which contains the VFX you want and specific tutorials for lightsaber (&lt;a href=&quot;https://hitfilm.com/express/the-force&quot; rel=&quot;nofollow&quot;&gt;https://hitfilm.com/express/the-force&lt;/a&gt;) and it works on mac :)&#xA;Link: &lt;a href=&quot;https://hitfilm.com/store/hitfilm-4-express&quot; rel=&quot;nofollow&quot;&gt;https://hitfilm.com/store/hitfilm-4-express&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14735" LastActivityDate="2016-05-29T17:01:32.363" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18547" PostTypeId="1" AcceptedAnswerId="18549" CreationDate="2016-05-29T18:05:31.763" Score="1" ViewCount="240" Body="&lt;p&gt;I have around 2000 images (png) that take up around 3GB. I wanted to make a very simple video where each image is displayed for somewhere between 0.1-0.01s &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I read online that I should use movie maker. Tried it, but it seems the program can't handle it. Googled quite a bit, and even with some workarounds it still can't handle it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Went online in search for an alternative (a question here actually) and tried hitfilm. That froze.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a free video editing tool that can handle this:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Free &lt;/li&gt;&#xA;&lt;li&gt;Make a video out of about 2000 images (that can handle this much)&lt;/li&gt;&#xA;&lt;li&gt;No watermark&lt;/li&gt;&#xA;&lt;li&gt;Can set image duration to around 0.1-0.01s&lt;/li&gt;&#xA;&lt;li&gt;I can set fps (or it is high enough to not loose some images)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm looking for something simple and that doesn't take that much&lt;/p&gt;&#xA;" OwnerUserId="14736" LastActivityDate="2016-05-29T18:39:20.637" Title="Simple video editing software that can handlethis" Tags="|software-recommendation|software|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18549" PostTypeId="2" ParentId="18547" CreationDate="2016-05-29T18:31:33.283" Score="1" Body="&lt;p&gt;You can use &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool, to do this&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your images are sequentially numbered i.e. img0001.png, img0002.png...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;then&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 10 -i img%04d.png -crf 20 -pix_fmt yuv420p output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If they aren't sequentially numbered, then you'll have to create a text file of the following format:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'ThisOne.png'&#xA;file 'ThatOne.png'&#xA;file 'ThenThis.png'&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can use &lt;code&gt;dir /b /on &amp;gt; list.txt&lt;/code&gt; to get the names in alphabetical order into a text file. You'll then have to prefix the &lt;code&gt;file&lt;/code&gt; and add the quotes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -framerate 10 -i list.txt -crf 20 -pix_fmt yuv420p output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Each image's duration is the reciprocal of the framerate value, which you can set to any value but for compatibility reasons &lt;code&gt;8 - 60&lt;/code&gt; is a good range. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command also assumes that all images are the same resolution. If they aren't, they will have to be made so. You can insert the following option after the input value into your ffmpeg command: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf &quot;scale='if(gt(a\,16/9)\,1920,-1)':'if(gt(a\,16/9)\,-1,1080)',pad=1920:1080:(ow-iw)/2:(oh-ih)/2&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This scales each image to fit within a 1920x1080 canvas while preserving proportion and then pads the scaled image to form a 1920x1080 frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The CRF value controls the visual quality. Lower value is better but makes larger file. &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt; is for producing a file compatible with most players.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-05-29T18:39:20.637" LastActivityDate="2016-05-29T18:39:20.637" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18550" PostTypeId="1" AcceptedAnswerId="18571" CreationDate="2016-05-30T06:04:54.240" Score="6" ViewCount="11167" Body="&lt;p&gt;I'm using Adobe Premiere -- I'm trying to convert a project to use a single sequence, with all the media clips in that sequence.&lt;/p&gt;&#xA;&lt;p&gt;At the moment I'm in Adobe Premiere 5.5, but I have Adobe CC available.&lt;/p&gt;&#xA;&lt;p&gt;Any leads are welcome!&lt;/p&gt;&#xA;&lt;h1&gt;Question&lt;/h1&gt;&#xA;&lt;p&gt;&lt;strong&gt;Q: What is the fastest and easiest way to replace these subsequences in my main sequence, with their component clips, such that the main sequence still renders to exactly the same video?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you have any leads or even partial ideas, please feel free to leave a comment.  Also, please mention which version of Premiere you are using.&lt;/p&gt;&#xA;&lt;h2&gt;Current State of the Project&lt;/h2&gt;&#xA;&lt;p&gt;This is a simplified view, the actual number of clips and subsequences is much larger!&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Main Sequence A&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Clip 1&lt;/li&gt;&#xA;&lt;li&gt;Clip 2&lt;/li&gt;&#xA;&lt;li&gt;Sequence B&lt;/li&gt;&#xA;&lt;li&gt;Clip 3&lt;/li&gt;&#xA;&lt;li&gt;Sequence C&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;Sequence B&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Clip 4&lt;/li&gt;&#xA;&lt;li&gt;Clip 5&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;Sequence C&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Clip 6&lt;/li&gt;&#xA;&lt;li&gt;Clip 7&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Desired State of the Project&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Main Sequence A&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Clip 1&lt;/li&gt;&#xA;&lt;li&gt;Clip 2&lt;/li&gt;&#xA;&lt;li&gt;Clip 4&lt;/li&gt;&#xA;&lt;li&gt;Clip 5&lt;/li&gt;&#xA;&lt;li&gt;Clip 3&lt;/li&gt;&#xA;&lt;li&gt;Clip 6&lt;/li&gt;&#xA;&lt;li&gt;Clip 7&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Difficulties In Flattening&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Sequence A doesn't use all of Sequence B, and it doesn't start at the beginning&lt;/li&gt;&#xA;&lt;li&gt;Suppose I just copy the clips from Sequence B&lt;/li&gt;&#xA;&lt;li&gt;...pasting them in Sequence A where Sequence B is now&lt;/li&gt;&#xA;&lt;li&gt;the clips will not start at the same time they do when in Sequence A&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h1&gt;Flattening Techniques&lt;/h1&gt;&#xA;&lt;h2&gt;Attempt 1: Nesting&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Select the clips in Sequence A, including Sequences B and C&lt;/li&gt;&#xA;&lt;li&gt;choose &amp;quot;Nest&amp;quot;&lt;/li&gt;&#xA;&lt;li&gt;now only one sequence is in Sequence A!&lt;/li&gt;&#xA;&lt;li&gt;...however that sequence still has nested sequences.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Attempt 2: Trim project&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I selected only Sequence A and chose Project Manager...&lt;/li&gt;&#xA;&lt;li&gt;Premiere made an entirely new, simplified (&amp;quot;trimmed&amp;quot;) project&lt;/li&gt;&#xA;&lt;li&gt;the media used in that Sequence A, and therefore B and C as well, were included in the sequence, and no others&lt;/li&gt;&#xA;&lt;li&gt;the media used were copied to the new location (so they are in two places on this drive now)&lt;/li&gt;&#xA;&lt;li&gt;...but when I opened the new project, Sequence A STILL has nested sequences.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Attempt 3: brute force&lt;/h2&gt;&#xA;&lt;p&gt;Why bother?  Why not fix all these manually?  Well...&lt;/p&gt;&#xA;&lt;p&gt;Here's the process I have at the moment to replace a single sub-sequence.  Bear in mind this is a large project and I'll have to do this dozens of times.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;in Sequence A, select Sequence B and duplicate to another layer&lt;/li&gt;&#xA;&lt;li&gt;...we'll call this &amp;quot;Sequence B2&amp;quot;&lt;/li&gt;&#xA;&lt;li&gt;extend Sequence B2 in length to the very beginning of its earliest point&lt;/li&gt;&#xA;&lt;li&gt;cut B2 to where Sequence B begins&lt;/li&gt;&#xA;&lt;li&gt;the new first half of B2 is the length of B that elapses before showing the part used in Sequence A.&#xA;&lt;ul&gt;&#xA;&lt;li&gt;This half we'll call B2a&lt;/li&gt;&#xA;&lt;li&gt;the part that plays in Sequence A we'll call B2b&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;now, in Sequence B, use timecode/frame arithmetic to go to the exact point in the clip&lt;/li&gt;&#xA;&lt;li&gt;make the cut in the same place in Sequence B as it began in Sequence A... we'll call this B3, which is theoretically starts at the same point as B2b&lt;/li&gt;&#xA;&lt;li&gt;copy the cut clip B3 in Sequence B...&lt;/li&gt;&#xA;&lt;li&gt;...and paste in Sequence A on top of B2b and use a separate layer&lt;/li&gt;&#xA;&lt;li&gt;set B3 to a partial opacity to verify Sequence A is EXACTLY THE SAME as it appeared before B3 was pasted in!&#xA;&lt;ul&gt;&#xA;&lt;li&gt;if it's off, you'll see B3 and B2b as two distinct and overlapping images&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5987" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-10-15T12:20:39.613" Title="flattening a sequence in Adobe Premiere (collapsing included sequences)" Tags="|premiere|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18551" PostTypeId="1" CreationDate="2016-05-30T13:16:05.180" Score="3" ViewCount="210" Body="&lt;p&gt;I would like to get started with making some home videos to post them on YouTube. What are some of the best references, tutorials, and software to use for this task? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="14741" LastEditorUserId="14523" LastEditDate="2016-05-30T22:30:09.213" LastActivityDate="2016-05-30T22:30:09.213" Title="Best software for homemade YouTube videos" Tags="|software-recommendation|youtube|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18552" PostTypeId="2" ParentId="18551" CreationDate="2016-05-30T13:46:41.633" Score="1" Body="&lt;p&gt;The best entry level software is probably iMovie, the video editing application that is free for any Mac user. It's intuitive and simple, giving you a quick start into basic editing. Another free video editing program for Windows/Mac/Linux is &lt;a href=&quot;https://www.youtube.com/watch?v=te9HFQVaSUE&quot; rel=&quot;nofollow&quot;&gt;Blender&lt;/a&gt;, but that has a fairly steep learning curve.&lt;/p&gt;&#xA;" OwnerUserId="14742" LastActivityDate="2016-05-30T13:46:41.633" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18553" PostTypeId="1" AcceptedAnswerId="18555" CreationDate="2016-05-30T13:47:55.717" Score="1" ViewCount="2181" Body="&lt;p&gt;I need to extract all video &lt;em&gt;fields&lt;/em&gt; of an interlaced file as individual images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to do this (using ffmpeg or other tools for Windows)?&lt;/p&gt;&#xA;" OwnerUserId="11809" LastEditorUserId="14523" LastEditDate="2016-05-30T18:30:50.663" LastActivityDate="2016-05-30T18:30:50.663" Title="Extracting individual video fields" Tags="|video|ffmpeg|windows|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18554" PostTypeId="2" ParentId="18551" CreationDate="2016-05-30T14:03:35.747" Score="3" Body="&lt;p&gt;A great choice that works on both Mac and PC is &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve&quot; rel=&quot;nofollow&quot;&gt;DaVinci Resolve&lt;/a&gt;.  The Lite version is free, and if you use only the basic features, it is very intuitive and easy to learn, from drag-and-drop media to basic editing to automatic delivery to YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A second recommendation is this: software is great for controlling edits, meaning cuts, transitions, wipes, dissolves, and generally assembling footage so that a sequence of shots tells a story, possibly syncrhonized to music, sound effects, or whatever.  However, a great edit will get you only so far when your footage is sub-standard.  Don't waste your time looking for software to fix sub-standard footage.  Learn about lighting (especially 3-point lighting), camera movement, and camera support.  If you don't like your audio, don't waste your time looking for software to clean it up.  Learn to record audio properly, with microphones positioned appropriately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It may well be that you are very happy with the audio and video you are capturing, and that editing really is the only thing you need to worry about.  Good for you!  But if you are trying to get better looking video or better sounding audio, fix it at the source--with lighting and proper mic techniques.  It takes years of practice and the very best to work magic with software to fix what should have been done right in the first place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have learned lighting and audio, then you can really go nuts with Resolve, making good footage look great.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-05-30T14:03:35.747" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18555" PostTypeId="2" ParentId="18553" CreationDate="2016-05-30T14:32:20.040" Score="4" Body="&lt;p&gt;Using ffmpeg,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.avi -vf field=top top%d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.avi -vf field=bottom bottom%d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-30T14:32:20.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18556" PostTypeId="1" AcceptedAnswerId="18575" CreationDate="2016-05-30T14:53:23.057" Score="0" ViewCount="768" Body="&lt;p&gt;I use Adobe Premiere Elements 12 under Windows 8.1. I have 14 MP4 clips that I cut, join and add transition effects... Something simple.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All the 14 clips are MP4s of the same resolution (640*480), 11 are at 15 fps and 3 are 10 fps. The total running time is around 3h20m.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to export the project in 4:3 480p (640*480) at 29.97 fps in MP4. I put all the quality settings at maximum (the export take 6+ hours on a brand new high-end system) but the result is always bad. I see a &quot;jumping&quot; white line at the top of the video. The &quot;animation&quot; is smooth but the details are jumpy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found out that if I export in 15 fps instead of 29.97 the movie is OK when it's playing the parts of the 11 clips that the source are 15 fps but the parts of the 3 clips at 10 fps have the jumping problem. It seems the problem originate in the fps upgrade.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the past I exported this project at 29.97 fps without any problem but at that time the 3 10 fps clips were not integrated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I have an output that is not jumpy?&lt;/p&gt;&#xA;" OwnerUserId="14743" LastActivityDate="2016-06-01T12:24:04.603" Title="Why Premiere Elements exported project is &quot;jumpy&quot;?" Tags="|premiere-elements|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18557" PostTypeId="2" ParentId="18556" CreationDate="2016-05-30T15:09:14.760" Score="1" Body="&lt;p&gt;Make sure you turn each clip's setting to deinterlace on. If Elements has flicker removal, turn that on as well. Make sure you scale your clips to the right size. But if your source is 10 FPS, converting it to 29.97 is not going to create extra frames, unless you use a plugin or effect like frame blending or twistler. You will simply be playing back 10 FPS at 29.97, meaning each original frame will appear for (approximately) 3 frames at 29.97. 10 FPS is jumpy. 24 was set as the standard a century ago, after 18 FPS had been used for some time and was ruled too hard to watch (flicker). Thus why all the old sports movies look like they run fast... because they play them back at 24. Hope that helps. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-05-30T15:09:14.760" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18558" PostTypeId="2" ParentId="14589" CreationDate="2016-05-30T15:13:44.860" Score="1" Body="&lt;p&gt;Well you could download a trial 30 day copy of the legacy version of Adobe After Effects CS6. It allows a full unrestricted 30 day install trial. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;From there, you could take your footage in, place the master clip in a composition, and instead of cutting it, use the the time warp feature, which will give you smooth keyframes where you can adjust up the speed to X, then place a keyframe if you notice it begin to slip, and set a keyframe to slow it down a bit. This will provide ramping, which basically &quot;cuts&quot; the clip in half over and over again, and does all the math for you, to make the smooth changes in speed. Then render it out. Premiere might also have that function- it's also included in the CS6 Production Premium Bundle, google the download link, and you can install and try for 30 days without purchase. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-05-30T15:13:44.860" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18559" PostTypeId="2" ParentId="13173" CreationDate="2016-05-30T15:40:33.637" Score="0" Body="&lt;p&gt;I would recommend a very old school approach:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Buy as many SP and U-Matic play only decks that you can find that work and will play, not record. UMatic is dirt cheap, and SP is right next to it for a play deck. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Set up some old Windows XP systems. Think 5 years old CPU speed. DualCore. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Get your hands on the same number of Canopus DV Storm2 Cards; hard to find. - WHY?  The DV Storm2 Cards allow 1 Computer to capture simultaneously three (3) streams of SD quality video 480i (Same standard as both SP and U-Matic); and will on the fly, compress it to DV Codec. Which is 12 GB per Hour of footage. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;This was years ago (although the systems are still sitting in a closet); we had 6 of these systems set up, each with 3 MiniDV Players.  So we could capture the footage at 6x3= 18 normal speed. Hand us 18 hours of tape, 1 hour to capture. All to a networked hard drive. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now you will need 1 additional part; SP / U Matic will not have firewire out. Which is all the Canopus DVStorm2 will accept if you want 3 capture streams at once... But place in an analog to FW BlackMagic converter box ($300) on each output... and you're in business. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The capture quality on the Canopus cards is fantastic (for SD/DV). But the fact that if you use the above setup; you could get up and running for a very low cost:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(6) Dell XPS Workstations @ $300 Each. XP OS. &#xA;(6) Canopus DVStorm2 Cards with the Add on Canopus Breakout Bay giving you (3) inputs.   Pricing... hard to find. Very.&#xA;(18) Black Magic Adapters @ $300 Each&#xA;(18) Decks @ $300 Average Price considering UMatic should be free. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;$12,600 total cost not including the DVStorm Cards, which when available can go for a few hundred to a thousand. Depending on if theres a buyer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;27,000 Hours of tape, if you hand feed the decks, keep them running in 2 shifts, 15 hours a day = 15 x 18 = 270 Hours a Day Captured. Add a third Shift: 396 Hours a Day. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youll need rewinders, or extra decks to keep things moving. But thats what I would do. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Low cost, high output. You could set up 10 systems if you can budget it. But with 6 running 24x7 you could get your capture done 70-80 Days if you stay on it. Double the systems: 30-40 days. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps!&lt;/p&gt;&#xA;" OwnerUserId="14504" LastEditorUserId="5869" LastEditDate="2016-12-30T22:23:10.490" LastActivityDate="2016-12-30T22:23:10.490" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18560" PostTypeId="1" CreationDate="2016-05-30T15:59:45.113" Score="1" ViewCount="1438" Body="&lt;p&gt;I'm trying to create a loop for footage (fog), however could only create through loop &quot;evolution options,&quot; looked tutorials on the internet, but none teaches how to create a loop using the &quot;offset turbulence&quot;, anyone have any idea how create this loop with evolution and offset turbulence?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is this animation, only in loop, following example:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/yUdJU5xEajI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Notes. I created the effect of fog, just can not create the same in order to create a loop with no breaks when it restarts&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry for the bad English, yet I do not speak this language&lt;/p&gt;&#xA;" OwnerUserId="14744" LastActivityDate="2016-05-30T15:59:45.113" Title="How to create a loop with fractal noise in AE , (offset turbulence )?" Tags="|after-effects|noise|" AnswerCount="0" CommentCount="2" ClosedDate="2016-10-15T15:09:34.683" ContentLicense="CC BY-SA 3.0" />
  <row Id="18561" PostTypeId="1" CreationDate="2016-05-30T17:24:17.420" Score="1" ViewCount="1027" Body="&lt;p&gt;I made a simple animation (as crawl text) using C#-WPF.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The animation is smooth and excellent. (in wpf window)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I capture it by FFmpeg as video it has flickering problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please see &lt;a href=&quot;https://drive.google.com/file/d/0B7xJ3vpXXdvQVnFibXhfR2NQVUE/view?usp=sharing&quot; rel=&quot;nofollow&quot;&gt;sample1&lt;/a&gt; (speed of animation is high) and &lt;a href=&quot;https://drive.google.com/file/d/0B7xJ3vpXXdvQZ3hZc3c0WGgyZVU/view?usp=sharing&quot; rel=&quot;nofollow&quot;&gt;sample2&lt;/a&gt; (speed of animation is low).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it field issue or sync problem or ......?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I fix it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;this is my ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -i title=&quot;Wpfwindow&quot; -framerate 30 -vcodec libx264 out1.mp4 -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt;&#xA;I need to framerate=30 or framerate=25 , because I want to convert the video to PAL and NTSC formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Output of console:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-76417-gee20354 Copyright (c) 2000-2015 the FFmpeg developers&#xA; built with gcc 5.2.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55.  5.100 / 55.  5.100&#xA;  libavcodec     57. 13.102 / 57. 13.102&#xA;  libavformat    57. 13.100 / 57. 13.100&#xA;  libavdevice    57.  0.100 / 57.  0.100&#xA;  libavfilter     6. 14.101 /  6. 14.101&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.100 /  2.  0.100&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;[gdigrab @ 000001df9916af40] Found window ooo, capturing 704x537x32 at (0,0)&#xA;Input #0, gdigrab, from 'title=Wpfwindow':&#xA;  Duration: N/A, start: 1464634804.659289, bitrate: 362576 kb/s&#xA;    Stream #0:0: Video: bmp, bgra, 704x537, 362576 kb/s, 29.97 tbr, 1000k tbn, 29.97 tbc&#xA;No pixel format specified, yuv444p for H.264 encoding chosen.&#xA;Use -pix_fmt yuv420p for compatibility with outdated media players.&#xA;[libx264 @ 000001df9916db40] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 AVX2 LZCNT BMI2&#xA;[libx264 @ 000001df9916db40] profile High 4:4:4 Predictive, level 3.1, 4:4:4 8-bit&#xA;[libx264 @ 000001df9916db40] 264 - core 148 r2638 7599210 - H.264/MPEG-4 AVC codec - Copyleft 2003-2015 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=4 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'out1.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf57.13.100&#xA;    Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv444p, 704x537, q=-1--1, 29.97 fps, 30k tbn, 29.97 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.13.102 libx264&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (bmp (native) -&amp;gt; h264 (libx264))&#xA;Press [q] to stop, [?] for help&#xA;frame=   16 fps=0.0 q=0.0 size=       0kB time=00:00:00.00 bitrate=N/A    &#xA;frame=   31 fps= 31 q=0.0 size=       0kB time=00:00:00.00 bitrate=N/A    &#xA;frame=   46 fps= 31 q=0.0 size=       0kB time=00:00:00.00 bitrate=N/A    &#xA;frame=   61 fps= 30 q=29.0 size=       5kB time=00:00:00.10 bitrate= 375.1kbits/s    &#xA;frame=   76 fps= 30 q=29.0 size=      11kB time=00:00:00.60 bitrate= 149.6kbits/s    &#xA;frame=   92 fps= 30 q=29.0 size=      22kB time=00:00:01.13 bitrate= 159.7kbits/s    &#xA;frame=  107 fps= 30 q=29.0 size=      28kB time=00:00:01.63 bitrate= 141.9kbits/s    &#xA;frame=  122 fps= 30 q=29.0 size=      36kB time=00:00:02.13 bitrate= 138.7kbits/s    &#xA;frame=  137 fps= 30 q=29.0 size=      44kB time=00:00:02.63 bitrate= 137.4kbits/s    &#xA;frame=  152 fps= 30 q=29.0 size=      48kB time=00:00:03.13 bitrate= 126.4kbits/s    &#xA;frame=  168 fps= 30 q=29.0 size=      52kB time=00:00:03.67 bitrate= 117.1kbits/s    &#xA;frame=  183 fps= 30 q=29.0 size=      55kB time=00:00:04.17 bitrate= 107.7kbits/s    &#xA;frame=  188 fps= 30 q=-1.0 Lsize=      74kB time=00:00:06.20 bitrate=  98.1kbits/s    &#xA;video:72kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 3.373045%&#xA;[libx264 @ 000001df9916db40] frame I:1     Avg QP:18.54  size:  2426&#xA;[libx264 @ 000001df9916db40] frame P:129   Avg QP:15.36  size:   483&#xA;[libx264 @ 000001df9916db40] frame B:58    Avg QP:22.37  size:   141&#xA;[libx264 @ 000001df9916db40] consecutive B-frames: 52.1% 20.2%  0.0% 27.7%&#xA;[libx264 @ 000001df9916db40] mb I  I16..4:  8.8% 88.0%  3.1%&#xA;[libx264 @ 000001df9916db40] mb P  I16..4:  0.8%  0.2%  0.2%  P16..4:  1.7%  0.7%  0.3%  0.0%  0.0%    skip:96.1%&#xA;[libx264 @ 000001df9916db40] mb B  I16..4:  0.0%  0.0%  0.0%  B16..8:  2.0%  0.4%  0.0%  direct: 0.0%  skip:97.4%  L0:42.9% L1:46.7% BI:10.5%&#xA;[libx264 @ 000001df9916db40] 8x8 transform intra:44.1% inter:38.4%&#xA;[libx264 @ 000001df9916db40] coded y,u,v intra: 4.7% 5.2% 3.4% inter: 0.4% 0.4% 0.1%&#xA;[libx264 @ 000001df9916db40] i16 v,h,dc,p: 87% 12%  1%  0%&#xA;[libx264 @ 000001df9916db40] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu:  8% 42% 50%  0%  0%  0%  0%  0%  0%&#xA;[libx264 @ 000001df9916db40] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 60%  8% 23%  2%  2%  1%  2%  1%  1%&#xA;[libx264 @ 000001df9916db40] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 000001df9916db40] ref P L0: 56.0%  7.0% 17.4% 19.5%&#xA;[libx264 @ 000001df9916db40] ref B L0: 84.8% 10.7%  4.5%&#xA;[libx264 @ 000001df9916db40] ref B L1: 98.7%  1.3%&#xA;[libx264 @ 000001df9916db40] kb/s:93.00&#xA;Exiting normally, received signal 2.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11809" LastEditorUserId="11809" LastEditDate="2016-05-30T19:08:29.020" LastActivityDate="2024-03-21T00:04:20.497" Title="Capture a wpf window : The flickering issue" Tags="|video|ffmpeg|video-capture|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18562" PostTypeId="2" ParentId="17024" CreationDate="2016-05-30T17:36:52.193" Score="0" Body="&lt;p&gt;You can take a VGA output &amp;amp; convert VGA signal to HDMI by using Kramer VP425, &amp;amp; Record this signal in Atomos Ninja 2 in HD Format. This will give you good quality of audio &amp;amp; video both as Kramer VP435 has sound input.&lt;/p&gt;&#xA;" OwnerUserId="14745" LastActivityDate="2016-05-30T17:36:52.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18563" PostTypeId="5" CreationDate="2016-05-30T17:59:22.500" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2016-05-30T17:59:22.500" LastActivityDate="2016-05-30T17:59:22.500" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18564" PostTypeId="4" CreationDate="2016-05-30T17:59:22.500" Score="0" Body="the process of capturing a video signal with a computer, using a capture device (PCI-E, USB, Thunderbolt)" OwnerUserId="14745" LastEditorUserId="20528" LastEditDate="2018-01-05T14:39:29.260" LastActivityDate="2018-01-05T14:39:29.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18565" PostTypeId="2" ParentId="18561" CreationDate="2016-05-30T18:55:50.850" Score="0" Body="&lt;p&gt;&lt;code&gt;framerate&lt;/code&gt; should go before &lt;code&gt;-i&lt;/code&gt;, as it's telling ffmpeg what the input rate is.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -framerate 30 -i title=&quot;Wpfwindow&quot; -vcodec libx264 out1.mp4 -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-05-30T18:55:50.850" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18566" PostTypeId="1" AcceptedAnswerId="18567" CreationDate="2016-05-31T16:22:10.350" Score="0" ViewCount="786" Body="&lt;p&gt;&lt;a href=&quot;https://drive.google.com/file/d/0B7xJ3vpXXdvQMHBPc2ZtU2VmX2s/view?usp=sharing&quot; rel=&quot;nofollow&quot;&gt;This&lt;/a&gt; is my smooth video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video details:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frame rate=60 FPS&lt;br&gt;&#xA;Video codec: h264&lt;br&gt;&#xA;Not have any audio stream    &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to convert it to a PAL video, But I can't get smooth video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to convert a high frame rate video to PAL format(or reducing the frame rate) Without impact on the smoothness of video?&lt;/p&gt;&#xA;" OwnerUserId="11809" LastActivityDate="2016-05-31T17:29:28.363" Title="Reducing the frame rate : the smooth video Issue" Tags="|video|ffmpeg|conversion|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18567" PostTypeId="2" ParentId="18566" CreationDate="2016-05-31T16:58:28.517" Score="1" Body="&lt;p&gt;In order of preference,&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Generate animation at 25 FPS and capture it at 25 FPS.&lt;/li&gt;&#xA;&lt;li&gt;Generate animation at 50 FPS and capture it at 50 FPS. Then, use FFmpeg to generate a 25 frames &amp;amp; 50 fields per sec stream. Stream should be flagged as interlaced. x264 doesn't do interlaced well, so I suggest video codec ought to be MPEG-2 or DV.&lt;/li&gt;&#xA;&lt;li&gt;Generate animation at 50 FPS and capture it at 25 FPS.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-05-31T17:29:28.363" LastActivityDate="2016-05-31T17:29:28.363" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18568" PostTypeId="1" CreationDate="2016-05-31T19:22:51.863" Score="2" ViewCount="2243" Body="&lt;p&gt;I've asked &lt;a href=&quot;https://video.stackexchange.com/questions/16883/brightness-contrast-difference-from-pc-to-youtube&quot;&gt;a version of this question&lt;/a&gt; before, and found a workaround solution that worked for a while. But now I'm at a point that I'd like to find a real answer to my problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I edit and color my films in Davinci Resolve 12, and I publish to YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My workaround workflow has been as follows:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Shoot with my Canon SL1&lt;/li&gt;&#xA;&lt;li&gt;Copy the footage to my hard drive and then into Davinci it goes (I don't transcode cause I don't have room)&lt;/li&gt;&#xA;&lt;li&gt;Edit, color, do everything within Davinci&lt;/li&gt;&#xA;&lt;li&gt;Export from Davinci using the default QuickTime MPEG4 Video setting&lt;/li&gt;&#xA;&lt;li&gt;(Convert to x264 using Handbrake, send to client to watch via Google Drive; make changes as requested)&lt;/li&gt;&#xA;&lt;li&gt;Final convert for YouTube using MPEG Streamclip&lt;/li&gt;&#xA;&lt;li&gt;Upload to YouTube&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If it helps here's the settings I use for MPEG Streamclip:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/CLeko.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CLeko.png&quot; alt=&quot;MPEG Streamclip Settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That workflow has worked well for 1080p videos up until this point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is, I'm trying to upload a 4K video now. When I try to convert this video, I get a screen that says compression error. (and nothing else) Since I never really liked this workflow from the start, I thought I'd take this opportunity to figure out the right way to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The problem that made me use my workaround workflow in the first place:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whenever I try to upload videos I've converted using Handbrake to YouTube, they look fine when I play them locally with VLC on my computer, but on YouTube they look pretty bad; the dark parts of the image become far too black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've &lt;a href=&quot;http://forum.videohelp.com/threads/354600-Converted-Videos-look-Washed-Out?s=0415e634142d36a68bd4b14deac3e2fa&amp;amp;p=2229298&amp;amp;viewfull=1#post2229298&quot; rel=&quot;nofollow noreferrer&quot;&gt;researched&lt;/a&gt; this a lot and I think the problem has something to do with changing the RGB levels from &lt;a href=&quot;http://referencehometheater.com/2014/commentary/rgb-full-vs-limited/&quot; rel=&quot;nofollow noreferrer&quot;&gt;full to limited&lt;/a&gt;. (0-255 to 16-235) From my understanding, this would change everything in the video below brightness value 16 to totally black. That makes sense as far as what's happening to me, so I think that's what's happening when I upload to YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;So, my question is:&lt;/strong&gt; How do I get exactly what I watch in Davinci to exist on YouTube when exporting in 4K?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be appreciated. Thank you!&lt;/p&gt;&#xA;" OwnerUserId="10754" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2018-10-06T22:05:57.697" Title="Dark Video/Gama Shift from Davinci Resolve to YouTube" Tags="|youtube|color-correction|color|color-grading|davinci-resolve|" AnswerCount="1" CommentCount="17" ContentLicense="CC BY-SA 3.0" />
  <row Id="18569" PostTypeId="2" ParentId="18532" CreationDate="2016-05-31T19:31:55.437" Score="0" Body="&lt;p&gt;Maybe I missed something but I use the FireWire/Thunderbolt adaptor and the cable that fits my old DV cameras. Works for live input from the old Firewire400 iSights too.&lt;/p&gt;&#xA;" OwnerUserId="14750" LastActivityDate="2016-05-31T19:31:55.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18570" PostTypeId="1" AcceptedAnswerId="18578" CreationDate="2016-05-31T22:56:33.917" Score="1" ViewCount="93" Body="&lt;p&gt;If i retime (speed up) my 4k footage, the image gets blurry.&#xA;If i stop the movie, i see a crispy still image!&#xA;Why?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I already tried to slow time the footage but it doesn't work&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="14752" LastActivityDate="2017-11-24T01:35:10.640" Title="FCP retime timelapse image gets blurry" Tags="|video|editing|framerate|4k|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18571" PostTypeId="2" ParentId="18550" CreationDate="2016-05-31T23:45:44.100" Score="3" Body="&lt;p&gt;(1.) Open the master sequence containing the nested sequences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(2.) MAKE SURE that the &quot;Insert or overwrite sequences as nests or individual clips&quot; selector (the leftmost icon under the timecode display in the sequence panel) is NOT highlighted. This will force a nested sequence in the Source Monitor to be edited into the sequence as the individual clips contained in the nested sequence.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/plOL4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/plOL4.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(3.) Park the playhead in the middle of one of the nested items in the main sequence&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(4.) Choose &quot;Marker / MARK CLIP&quot; (I have this programmed to &quot;X&quot; on the keyboard.&quot;) You need to make sure your track selection toggles are correctly set to target the track containing the nested item.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(5.) Choose &quot;Sequence / MATCH FRAME&quot; (I have this programmed to &quot;F&quot; on the keyboard.) This opens the nested sequence into the Source Monitor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(6.) Choose &quot;Clip / OVERWRITE&quot; (I have this programmed to &quot;B&quot; on the keyboard, like an Avid.) This should have replaced the nested sequence CLIP ITEM with the clips contained in the nested sequence. This overwrites (from IN to OUT as selected in step 4) with the contents of the nested sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(7.) move the playhead to the next clip and press X, F, B&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(8.) repeat step 7 until you're done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[This is tested on Premiere CC 2015.2]&lt;/p&gt;&#xA;" OwnerUserId="14753" LastEditorUserId="4426" LastEditDate="2019-10-15T12:20:39.613" LastActivityDate="2019-10-15T12:20:39.613" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="18572" PostTypeId="1" AcceptedAnswerId="18595" CreationDate="2016-06-01T00:57:31.223" Score="0" ViewCount="39" Body="&lt;p&gt;I'm referring to this &lt;a href=&quot;https://www.rstudio.com/products/rstudio/download/&quot; rel=&quot;nofollow&quot;&gt;video (top right)&lt;/a&gt;. How can I create a similar video / text effect. Indeed I can give expressions of the damped oscillator and tweak it for a long time until I get a good effect, but what would be a way way to do this? I prefer to use Adobe After Effects? &lt;/p&gt;&#xA;" OwnerUserId="14754" LastEditorUserId="4426" LastEditDate="2016-06-02T12:31:10.707" LastActivityDate="2016-06-04T11:43:30.857" Title="Does some macro exist for creating this text effect?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18573" PostTypeId="1" CreationDate="2016-06-01T02:09:37.517" Score="1" ViewCount="134" Body="&lt;p&gt;New to PP and can't for the life of me find the best way to store common media files such as logos or commonly used video clips. Granted, I can just have a common folder for all of this, but these files are also stored on a NAS and used by others. I can set it up on my machine but other users might have the drive mapped with a different letter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a best practice for this? Right now the only thing I can seem to do is just copy the files to every new project directory.&lt;/p&gt;&#xA;" OwnerUserId="14755" LastActivityDate="2016-06-01T02:09:37.517" Title="Where to store common media files for Premiere Pro" Tags="|premiere|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18575" PostTypeId="2" ParentId="18556" CreationDate="2016-06-01T12:24:04.603" Score="0" Body="&lt;p&gt;In the end I just exported to 1080p (with the same export settings) and everything is fine. It sure seems like a bug to me...&lt;/p&gt;&#xA;" OwnerUserId="14743" LastActivityDate="2016-06-01T12:24:04.603" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18576" PostTypeId="1" AcceptedAnswerId="18594" CreationDate="2016-06-01T14:48:02.380" Score="2" ViewCount="63" Body="&lt;p&gt;I'm interested in the effects of aspect ratio on perception in video, whether it's movies or else, looking for detailed research. Could anyone recommend books, courses, research papers on the subject?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've looked on google scholar but aspect ratio is a broad subject that has different meanings in different fields, thus I couldn't find anything relevant.&lt;/p&gt;&#xA;" OwnerUserId="14758" LastActivityDate="2016-06-04T11:37:59.877" Title="What detailed research exists on the effects of aspect ratio on perception?" Tags="|video|aspect|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18577" PostTypeId="2" ParentId="18576" CreationDate="2016-06-01T16:29:35.817" Score="1" Body="&lt;p&gt;The most relevant keyword to add to your search is &lt;a href=&quot;https://en.wikipedia.org/wiki/Psychophysics&quot; rel=&quot;nofollow&quot;&gt;psychophysics&lt;/a&gt;, which is &quot;&lt;em&gt;the analysis of perceptual processes by studying the effect on a subject's experience...&lt;/em&gt;&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More directly, there's this SMPTE paper &lt;a href=&quot;http://dx.doi.org/10.5594/J09548&quot; rel=&quot;nofollow&quot;&gt;Searching for the Perfect Aspect Ratio&lt;/a&gt;. &#xA;The paper visits some of the research conducted on different aspect ratios and its take-away is&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The research for this paper found no clear indication of a preference&#xA;  for any particular aspect ratio for moving images nor any&#xA;  physiological reason to favor one over another.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-06-01T16:29:35.817" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18578" PostTypeId="2" ParentId="18570" CreationDate="2016-06-01T18:45:00.903" Score="1" Body="&lt;p&gt;If you retime the images so that there are more than one images that can land on a frame, your video software will likely interpolate between the two by blending the two frames.  If you play back at 12 fps with zero offset, your video software should play the first image for two frames (assuming 24fps playback), then the second frame for two frames, etc.  If you play back starting with a one frame offset, the first image will play for one frame, then a blend of the 1st and 2nd image will play the second frame, then a blend of the 2nd and 3rd image will play the third frame, then a blend of the 3rd and 4th image will play the fourth frame, etc.  That image blending will make the film look blurry.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, say you have 240 frames and you want to play them at 24fps, but you are asking the editor to play them all in 1 second instead of 10 seconds, the video editing software might not pick every 10th image and display it for one frame, but will instead blend 10 images and play that as a frame.  That could also account for the blur.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-06-01T18:45:00.903" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18580" PostTypeId="1" AcceptedAnswerId="18581" CreationDate="2016-06-01T19:56:57.940" Score="0" ViewCount="5358" Body="&lt;p&gt;When I drop 4k footage onto the timeline in Premiere Pro, I get a 4k sequence. When I change the sequence to 1080p, the image zooms in. This makes sense. I then scale the image back 50% and I'm back to normal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In every single tutorial on downscaling 4k footage in premiere, no one ever has to do the 2nd step that I do. I thought I solved his issue by going to:&#xA;&quot;Edit &gt; Preferences &gt; General&quot; and ticking the box &quot;Default scale to frame size&quot; but it's still happening.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I avoid this second step that &lt;a href=&quot;https://youtu.be/9oEWvBsN63U?t=91&quot; rel=&quot;nofollow&quot;&gt;no one seems to have to do&lt;/a&gt;?&lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2017-07-13T20:39:31.300" Title="Downscaling 4k to 1080p in Premiere Pro, Image Zooming 2x" Tags="|premiere|4k|scale|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18581" PostTypeId="2" ParentId="18580" CreationDate="2016-06-02T02:19:46.170" Score="3" Body="&lt;p&gt;Changing the preference doesn't change any clip settings retroactively.  But once you have set it, and then create a new project and a new sequence, and when you freshly import your 4K clip and drop that freshly imported clip onto your freshly created sequence in your freshly created project, it should work as you expect.  And if you right click on the clip, it should have a checkmark next to &quot;Scale to Frame Size&quot;.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-06-02T02:19:46.170" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18582" PostTypeId="1" AcceptedAnswerId="18584" CreationDate="2016-06-02T07:00:38.067" Score="4" ViewCount="51669" Body="&lt;p&gt;After converting from .mov into .mp4, a video file is greatly reduced in size (.mov - 75,2mb .mp4 - 11,9mb) - does this mean that the converted video degraded (loss of color information, or the information in the highlights/shadows, or something else) or such difference in file size can be lossless?&lt;/p&gt;&#xA;" OwnerUserId="11007" LastActivityDate="2019-01-16T07:02:59.120" Title="Big difference in the video file size after the conversion (.mov to .mp4)" Tags="|file-formats|conversion|mp4|compression|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="18583" PostTypeId="1" CreationDate="2016-06-02T09:53:52.250" Score="0" ViewCount="44" Body="&lt;p&gt;so I need a Video Player, that can change Videoclips, using cross dissolve or overlay. It will be used by a DJ and he would like to be able to switch the Videos live by himself but not having any hard cut.&#xA;Do you have any ideas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="14765" LastActivityDate="2016-06-02T18:22:22.413" Title="Video player that has a cross dissolve option when changing the clip" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18584" PostTypeId="2" ParentId="18582" CreationDate="2016-06-02T14:31:16.463" Score="12" Body="&lt;p&gt;Let me explain you from scratch.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MOV, MP4, AVI, MKV etc all these are just containers, It is just kind of wrapper which contains audio, video, text, metadata file together as one file. It does not play a big role in the size of a file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Size of the file heavily depends on audio and video codec and bit-rate of that audio video codecs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So there is a possibility for file size reduction during conversion.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Reduce in video codec bitrate. While converting video if default/changed bitrate of video codec is less than source file, then it will lead to a reduction in file size as well as quality for sure.[ May not be perceivable by eye ] &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Change video codec. While converting video if change video codec to advance video codec of the stream, then it will reduce size but quality will not be degraded.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;For example : &#xA;Video codec of a source file is MPEG-2 with bit-rate 20mbps and during conversation we convert to H264/AVC with bitrate 10mbps it will have the same quality with half of the size. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, Below are the popular video codecs generation and improvement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MPEG-2 &lt;strong&gt;-&gt;&lt;/strong&gt; H264 (40-50% bitrate reduction than MPEG-2) &lt;strong&gt;-&gt;&lt;/strong&gt; H265/HEVC (40-50% bitrate reduction than H264) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Though the more advanced codecs are computationally expensive during video playback. e.g H265 is ~300% more computationally expensive than H264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;During video conversation point 1. &amp;amp; 2. both can be applied &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can view details of audio/video file can be seen using a free tool (&lt;a href=&quot;https://mediaarea.net/en/MediaInfo/Download&quot; rel=&quot;noreferrer&quot;&gt;mediainfo&lt;/a&gt;)&#xA;It will show properties of the stream like video codec, bitrate, fps etc.&lt;/p&gt;&#xA;" OwnerUserId="14700" LastEditorUserId="21736" LastEditDate="2018-03-27T14:49:22.283" LastActivityDate="2018-03-27T14:49:22.283" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18585" PostTypeId="2" ParentId="18583" CreationDate="2016-06-02T18:22:22.413" Score="1" Body="&lt;p&gt;The functionality you seek is standard for a item called a Video Switcher.  Video switchers can be found as both standalone units (&lt;a href=&quot;https://www.blackmagicdesign.com/products/atemtelevisionstudio&quot; rel=&quot;nofollow&quot;&gt;low-end&lt;/a&gt; to &lt;a href=&quot;https://www.blackmagicdesign.com/products/atem&quot; rel=&quot;nofollow&quot;&gt;4K broadcast&lt;/a&gt;) and as &lt;a href=&quot;https://livestream.com/studio/software&quot; rel=&quot;nofollow&quot;&gt;software&lt;/a&gt; (also low-end to high-end).  In the latter case, the computer running the switcher needs video I/O functionality, which typically requires adding one or more special cards (video I/O is different than a graphics card driving a computer monitor).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-06-02T18:22:22.413" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18586" PostTypeId="1" AcceptedAnswerId="18596" CreationDate="2016-06-02T23:59:56.427" Score="4" ViewCount="239" Body="&lt;p&gt;Does anyone know of a plugin that would allow me to add video noise that is based on an audio track ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anything at all that would let me do this would be fantastic.&lt;/p&gt;&#xA;" OwnerUserId="14777" LastActivityDate="2016-06-06T01:48:25.373" Title="I want to add video noise/grain based on an audio track?" Tags="|audio|noise|programming|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18587" PostTypeId="1" CreationDate="2016-06-03T00:52:08.290" Score="1" ViewCount="1097" Body="&lt;p&gt;I have created a video using FCPX using media from my GoPro and my Cannon camera, when trying to export the video I receive an error &quot;Project has missing or offline titles, effects or generators&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4I4Iu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4I4Iu.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have identified the clips which are still used from external sources, however when reimporting clips as instructed nothing happens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/D0AhW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/D0AhW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The files aren't imported, I'm stuck on how to export this file. I have tried disconnecting and reconnecting the media (the footage is still able to relink itself) but doesn't import. I have also tried restarting FCPX but that hasn't done the trick either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE:&#xA;Actual error message when exporting...&#xA;&lt;a href=&quot;https://i.stack.imgur.com/SRRxX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SRRxX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14778" LastEditorUserId="14778" LastEditDate="2016-06-03T21:24:59.040" LastActivityDate="2024-03-25T03:06:55.710" Title="Reimporting from Camera for footage already in Timeline in FCPX" Tags="|final-cut-pro-x|media|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18588" PostTypeId="1" CreationDate="2016-06-03T01:34:50.777" Score="2" ViewCount="9351" Body="&lt;p&gt;Just got curious of this x265 HEVC format, and tried it on a 1920x1080i BDMV stream video, one encoded with 8bit depth and then another encoded with 12bit depth. The results are, the 8bit output was smaller. Both outputs are 1280x720.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wonder why is this so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the MediaInfo:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;8bit:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frame rate                     : 23.976 fps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Color space                    : YUV&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Chroma subsampling             : 4:2:0&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bit depth                      : 8 bits&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Writing library                : x265 1.9+54-291beccb6760:[Windows][GCC 5.3.0][64 bit] 8bit+10bit+12bit&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Encoding settings              : wpp / ctu=64 / min-cu-size=8 / max-tu-size=32 / tu-intra-depth=2 / tu-inter-depth=2 / me=3 / subme=3 / merange=57 / rect / amp / max-merge=3 / temporal-mvp / no-early-skip / rdpenalty=0 / no-tskip / no-tskip-fast / strong-intra-smoothing / no-lossless / no-cu-lossless / no-constrained-intra / no-fast-intra / open-gop / no-temporal-layers / interlace=0 / keyint=250 / min-keyint=23 / scenecut=40 / rc-lookahead=30 / lookahead-slices=4 / bframes=8 / bframe-bias=0 / b-adapt=2 / ref=4 / limit-refs=2 / limit-modes / weightp / weightb / aq-mode=1 / qg-size=32 / aq-strength=1.00 / cbqpoffs=0 / crqpoffs=0 / rd=6 / psy-rd=2.00 / rdoq-level=2 / psy-rdoq=1.00 / no-rd-refine / signhide / deblock / sao / no-sao-non-deblock / b-pyramid / cutree / no-intra-refresh / rc=crf / crf=18.0 / qcomp=0.60 / qpmin=0 / qpmax=51 / qpstep=4 / ipratio=1.40 / pbratio=1.30&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;12bit:&lt;/strong&gt;&#xA;Frame rate                     : 23.976 fps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Color space                    : YUV&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Chroma subsampling             : 4:2:0&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bit depth                      : 12 bits&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Writing library                : x265 1.9+194-6d3849d648f0be5a:[Windows][GCC 5.3.0][64 bit] 12bit: KG7x [x265.ru]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Encoding settings              : wpp / ctu=64 / min-cu-size=8 / max-tu-size=32 / tu-intra-depth=2 / tu-inter-depth=2 / me=3 / subme=3 / merange=57 / rect / amp / max-merge=3 / temporal-mvp / no-early-skip / recursion-skip / rdpenalty=0 / no-tskip / no-tskip-fast / strong-intra-smoothing / no-lossless / no-cu-lossless / no-constrained-intra / no-fast-intra / open-gop / no-temporal-layers / interlace=0 / keyint=250 / min-keyint=23 / scenecut=40 / rc-lookahead=30 / lookahead-slices=4 / bframes=8 / bframe-bias=0 / b-adapt=2 / ref=4 / limit-refs=2 / limit-modes / weightp / weightb / aq-mode=1 / qg-size=32 / aq-strength=1.00 / cbqpoffs=0 / crqpoffs=0 / rd=6 / psy-rd=2.00 / rdoq-level=2 / psy-rdoq=1.00 / no-rd-refine / signhide / deblock=0:0 / sao / no-sao-non-deblock / b-pyramid / cutree / no-intra-refresh / rc=crf / crf=18.0 / qcomp=0.60 / qpmin=0 / qpmax=51 / qpstep=4 / ipratio=1.40 / pbratio=1.30&lt;/p&gt;&#xA;" OwnerUserId="14779" LastActivityDate="2017-06-05T01:48:12.307" Title="x265 encoding test: 12bit results a bigger file size than 8bit of the same config?" Tags="|video|encoding|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="18589" PostTypeId="2" ParentId="18587" CreationDate="2016-06-03T09:22:15.367" Score="0" Body="&lt;p&gt;The error you are having &quot;Project has missing or offline titles, effects or generators&quot; is kind of self explanatory, the project you are trying to export is missing on of the following from within the project timeline&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Title (some text you have put on or used) &lt;/li&gt;&#xA;&lt;li&gt;Effect (a fade in or fade out, wipe, etc)&lt;/li&gt;&#xA;&lt;li&gt;Generator (any one of the build in generators)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;so if you watch the project from start to finish you will see the issue, somewhere on the timeline there will be a missing &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have not used any of these then there might be something wrong with the project and I would suggest re-doing the whole project again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't think you have any problem with the &quot;media&quot; as such. Normally within FCPX you will see a &quot;red&quot; section where there is a problem.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2016-06-03T09:22:15.367" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18590" PostTypeId="1" AcceptedAnswerId="18787" CreationDate="2016-06-03T13:24:11.110" Score="0" ViewCount="1333" Body="&lt;p&gt;I've been trying to import 3D object into adobe after effects. I have element 3D installed but it requests a licence file. And it tells me that my licence file is 'invalid'. Is there any other plug-ins I can use to import 3D objects into after effects?.&lt;/p&gt;&#xA;" OwnerUserId="14786" LastActivityDate="2021-02-16T17:38:09.910" Title="How to import 3D object to adobe without element 3D" Tags="|video|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18591" PostTypeId="1" AcceptedAnswerId="18592" CreationDate="2016-06-03T23:16:49.913" Score="0" ViewCount="183" Body="&lt;p&gt;I've created a small intro animation for my videos on After Effects and created a project on Premiere, than joined the animation and the video from a webseminar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The webseminar file has 1GB and the intro video with just 13 seconds that has been rendered on AE also has 1GB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My final video will be uploaded to Vimeo and I only need HD quality, but even this way the file has at least 2.5GB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which codec do you suggest? &#xA;Another thing, I saw that if I use the same codec from my composition, the rendering process is faster. Is this true? Because a 50 minutes video is taking 2h and a half to render.&lt;/p&gt;&#xA;" OwnerUserId="14568" LastActivityDate="2016-06-04T02:17:59.790" Title="Source video has 1GB and the final version has 3GB or more" Tags="|after-effects|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18592" PostTypeId="2" ParentId="18591" CreationDate="2016-06-04T02:17:59.790" Score="0" Body="&lt;p&gt;For web use h.264, there are lots of web presets in the export media dialogue, or in Media Encoder that you can use. The first or second one should do the job, but if not there's lots of options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2YY2E.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2YY2E.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're planning on exporting different copies of the video, or you want a copy for archiving then a master in a lossless format or a high-quality lossy codec like proRes, GoPro Cineform or DNxHR is a good idea. Then you can re-encode from this master to the more compressed web versions without having to re-render.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for rendering times, with an After Effects comp at the start of the encode it will often report that it is going to take a lot longer to render than it actually will - it assumes that the whole composition is going to take as long per frame as the intro does. If you're exporting to h.264 it will take a little longer than other less compressed codecs, generally the smaller the resulting file the longer the encode takes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Import the After Effects comp using Dynamic Link, that way you don't have to create intermediate render files, and you can change the AE comp without having to recreate your intermediates. Just import the after effects project as you would any other media file, and then choose the composition from the dialog that pops up.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-06-04T02:17:59.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18593" PostTypeId="2" ParentId="18586" CreationDate="2016-06-04T07:25:32.893" Score="1" Body="&lt;p&gt;Trapcode Particular is the tool of choice for this. You can generate any type of noise/particles, based on an audio track, and tie the parameters to not just the track, but specific frequencies (so the noise is warped on low bass, or changes color on high frequencies). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also a lot of templates you can buy on videohive that will jumpstart the process.&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-06-04T07:25:32.893" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18594" PostTypeId="2" ParentId="18576" CreationDate="2016-06-04T11:37:59.877" Score="0" Body="&lt;p&gt;I can't reference any particular books, but I remember a while back a number of well known directors, including Kubrick, Spielberg, and a few lesser known, discussing their choice of frame size for particular films. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;16x9 I believe most closely simulates the human eyes; 2.39/2.4:1 is often chosen whether via by anamorphic lenses, or via simply matting, when the director feels the wider aspect fits the theme, story, landscape, or simply preference for how he visually want's to create his film. 2.4:1 allows for greater flexibility in framing simply because it's a wider workspace. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Kubrick did many of his films in Academy ratio, basically 1.33:1 or what many call square. It worked too, I can't imagine Eyes Wide Shut, which was a very recent film, with major actors, shot in anything but Academy. But few these day's are. I don't think you could even crop down this film, in terms of fitting it for 16x9 without really throwing off the overall composition of each and every shot. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, many films, even when shot digitally, are shot and captured in a ratio which is larger than the final format. This allows final adjustments to be made in Post Production to either vertical or horizontal framing; or both. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of today's content is purposed for 16x9 or 1.85:1 Why? It fits. It's the new standard, 99% of TVs on the market and all theaters are able to handle it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Big budget films, action, music videos, epics, are often shot in 2.4:1 because it looks simply bigger. It's a bigger shot. Wider, more grand. It feels that way. Take any 2.4 widescreen film; and if you can, zoom in so it fills a 16x9, and ask does it look smaller. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-06-04T11:37:59.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18595" PostTypeId="2" ParentId="18572" CreationDate="2016-06-04T11:43:30.857" Score="1" Body="&lt;p&gt;It's a Kinetic Typography piece. Search for templates on VideoHive, there are also plugins for AE that allow for easier generation of KT setups. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's timeconsuming, search vimeo for some great samples: Kinetic Typography. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One of my all time favorites still to this day - produced years ago:  &lt;a href=&quot;https://vimeo.com/17419652&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/17419652&lt;/a&gt;    The guy who did this spent months on it. But he did it all himself, great work. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-06-04T11:43:30.857" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18596" PostTypeId="2" ParentId="18586" CreationDate="2016-06-04T12:00:17.827" Score="3" Body="&lt;p&gt;You can convert audio to keyframes. Right-click the footage with the audio, and choose &lt;strong&gt;Animation&gt;Keyframe Assistant&gt;Convert Audio to Keyframes&lt;/strong&gt;, or with the audio layer selected go to the &lt;strong&gt;Animation&lt;/strong&gt; menu in the menu bar. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JnpaC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JnpaC.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will create a new layer with keyframes for the intensity of the audio. You can copy those keyframes on to any property that you want to animate and adjust them in the graph editor, or you can use an expression on the property and select the keyframes with the expressions pickwhip. This means that the audio levels can control &lt;em&gt;any&lt;/em&gt; animatable property including parameters for your favourite noise effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A useful trick is that you can apply EQ to the audio before you convert it to keyframes and have different sets of keyframes for the bassline and the melody sounds.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-06-06T01:48:25.373" LastActivityDate="2016-06-06T01:48:25.373" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18599" PostTypeId="2" ParentId="16766" CreationDate="2016-06-05T09:41:41.917" Score="2" Body="&lt;p&gt;In premiere Pro CC 2015, you can use the find on timeline command by pressing (Cntrol+F) for windows and for mac (Command+F) the dialog box that opens up will help you find the clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Chose from the dropdown &quot;effects&quot; the chose &quot;contains&quot; and type &quot;name_of_plugin&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;replace the name_of_plugin with the name of the plugin you used and gave you errors. Mostly it should find it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/45SQL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/45SQL.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tested this with an inbuilt plugin of premiere called &quot;Calculations&quot; within channel in video effects and it does find the clip. The only difference is that I did not delete the plugin itself while testing as its in built. You should give this method a try and hope that the metadata needed for the same will be there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S.: you could also try starts with instead of contains in the second drop down for better results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="15801" LastActivityDate="2016-06-05T09:41:41.917" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18600" PostTypeId="1" CreationDate="2016-06-05T11:13:57.847" Score="1" ViewCount="1636" Body="&lt;p&gt;I would like to stream video from a camera through its HDMI output to a mixer.&#xA;Extensive googling has only turned up solutions for streaming from PC's and phones onto a screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I need is a dongle that plugs into the HDMI output of the camera, and transmits the video to a reciever.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The transmitter will need to be fairly small and not need mains power, as the point of having the wireless link is to be able to move the camera anywhere within a 30 meter range. The reciever can be any size and run off any power source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does such a product exist? Can anyone suggest one that is no more than £200?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&#xA;Based on the answers I've recieved, I'd like to add a few points to explain why I want this particular solution;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The venue is more or less circular, with a stage at the front, and&#xA;about 400 seats, with four aisles between them. One camera is mounted&#xA;to the wall on the right (when facing the stage), on the left of the&#xA;far right aisle. The other is at the back, also mounted to the wall,&#xA;and the third sits on a tripod on the right side of the room.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Usually this is fine, but the angles of the cameras are far from&#xA;perfect, and usually microphone stands or peoples heads get in the&#xA;way. Also, we often want to get much closer to the stage and show&#xA;things up close.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;We can't move a camera to the front of the venue near the stage as it&#xA;would HAVE to be in the front row of seats (reasons are complicated,&#xA;but boil down to stubborn organisers who absolutely cannot be&#xA;reasoned with), and then it would be too low to get enough good shots&#xA;to be worthwhile.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The cameraman can't trail a long cable, not because of length&#xA;limitations of HDMI (the cameras have SDI out) but because people are&#xA;coming and going during events and it would present a trip hazard,&#xA;not to mention only being able to move up and down the four aisles&#xA;makes trailing a long cable annoying for the cameraman.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The footage is being mixed and streamed online in realtime, so having&#xA;a camera recording and then doing post production doesn't really&#xA;help.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Streaming from the camera to the mixer is the best solution I've been able to come up with, but perhaps I've missed a much simpler option.&lt;/p&gt;&#xA;" OwnerUserId="12179" LastEditorUserId="12179" LastEditDate="2016-06-13T16:24:33.970" LastActivityDate="2017-08-20T15:13:14.407" Title="Wireless HDMI from camera to mixer?" Tags="|hdmi|wireless|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18601" PostTypeId="1" AcceptedAnswerId="18667" CreationDate="2016-06-05T19:14:35.410" Score="0" ViewCount="1367" Body="&lt;p&gt;I've created an intro template on After Effects that has some text and the animation of a masked image. If I import this aep template to Premiere Pro, I can easily replace the text, however I can't find a way to replace the image too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible?&lt;/p&gt;&#xA;" OwnerUserId="14568" LastActivityDate="2016-06-15T10:33:11.437" Title="Replace image in a template created on After Effects" Tags="|after-effects|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18602" PostTypeId="1" CreationDate="2016-06-06T06:34:01.623" Score="3" ViewCount="111" Body="&lt;p&gt;Animated video is sometimes very well done and extremely attractive and captivating. I would like to know what tools are typically used to create this kind of video. I specifically have in mind the kind of animation typically used in corporate training or commercials. &lt;a href=&quot;https://www.youtube.com/watch?v=_6MmMJi1oII&quot; rel=&quot;nofollow&quot;&gt;Here's an example:&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="15810" LastEditorUserId="3643" LastEditDate="2016-06-07T12:22:06.133" LastActivityDate="2016-06-09T15:55:34.147" Title="Which tools are most likely used to create animated video (i.e. corporate commercials)?" Tags="|video|software-recommendation|animation|" AnswerCount="2" CommentCount="0" ClosedDate="2016-06-27T09:42:30.890" ContentLicense="CC BY-SA 3.0" />
  <row Id="18604" PostTypeId="1" CreationDate="2016-06-06T08:54:46.780" Score="1" ViewCount="74" Body="&lt;p&gt;We have a lecture hall (diagram below) that holds about 200 attendees.  The speaker stands or sits on an elevated platform in the middle of the room and the attendees make a semi-circle around him.  We recently added an option for attendees to connect to the lecture remotely using GoToMeeting.  To do this, we added a laptop (2) to the room and ran wires to the sound box (1).  We have a simple webcam on a stand beside the speaker (3).  The problem is, we get a really bad angle on the speaker with this setup!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We want a new solution where we'll be able to see the entire speaker's platform on the video.  This will allow the speaker to move around without going off screen.  We also want a straight shot at him.  I thought we could put a camera in the back of the room (6) and connect it to the laptop with a long cable.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Would a traditional USB webcam get a clear picture of the speaker at that distance?  (It's about 30 feet from the speaker's platform to the back)&lt;/li&gt;&#xA;&lt;li&gt;Could I use some kind of zoom lens to compensate for the distance?  Would that distort the picture?&lt;/li&gt;&#xA;&lt;li&gt;Is there a better place to put the camera to accomplish this goal?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JxgVv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JxgVv.png&quot; alt=&quot;Lecture Hall Diagram&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The sound box.  Has the mixer, amplifier, wireless mic receiver, etc&lt;/li&gt;&#xA;&lt;li&gt;Laptop running GoToMeeting.&lt;/li&gt;&#xA;&lt;li&gt;Stand on the speakers platform with a monitor and webcam for the remote attendees.&lt;/li&gt;&#xA;&lt;li&gt;The internet connection&lt;/li&gt;&#xA;&lt;li&gt;The wirelss mic&lt;/li&gt;&#xA;&lt;li&gt;Suggested new camera position&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="15812" LastActivityDate="2016-06-06T17:58:25.483" Title="How to decide where to place and what zoom to use for a camera" Tags="|video|video-recording|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18605" PostTypeId="1" AcceptedAnswerId="18606" CreationDate="2016-06-06T11:35:13.247" Score="0" ViewCount="5819" Body="&lt;p&gt;My video details : DV-PAL 720x576i , 25FPS , duration=20s , frames=500&lt;/p&gt;&#xA;&lt;p&gt;I need to increase (double) the video frames without any duplicate frame.&lt;/p&gt;&#xA;&lt;p&gt;I used the following commands to increase (double) frame rate of the video.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.avi -r 50 out.avi&#xA;ffmpeg -i in.avi -r 50 -filter:v setpts=2*PTS out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But not works properly.&lt;/p&gt;&#xA;&lt;p&gt;Please tell me How to double video frames without any duplicate frames?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Note&lt;/strong&gt; : tool (ffmpeg or mencoder or etc.) and the duration and speed are not matter for me, Because I want to extract frames.&lt;/p&gt;&#xA;" OwnerUserId="11809" LastEditorUserId="11809" LastEditDate="2022-01-10T17:17:42.010" LastActivityDate="2022-01-10T17:17:42.010" Title="How to double video frames without any duplicate frames" Tags="|video|ffmpeg|conversion|framerate|windows|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="18606" PostTypeId="2" ParentId="18605" CreationDate="2016-06-06T11:51:12.333" Score="3" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.avi -r 50 -filter:v &quot;setpts=0.5*PTS&quot; out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.avi -r 50 -filter:v &quot;setpts=N/50/TB&quot; out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;If you want to &lt;em&gt;interpolate&lt;/em&gt; new frames, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.avi -r 50 -filter:v &quot;yadif,framerate=50&quot; out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;yadif&lt;/code&gt; is a deinterlacing filter, which is needed since the framerate filter does not operate on interlaced media.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-06-06T12:23:34.997" LastActivityDate="2016-06-06T12:23:34.997" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18608" PostTypeId="2" ParentId="18604" CreationDate="2016-06-06T14:02:36.873" Score="0" Body="&lt;p&gt;HD TV is almost a 2:1 aspect ratio.  You want about 3' of vertical (mid-chest to above head) and thus almost 6' of horizontal field of view (f.o.v.).  To get 6' fov at 30' you need about an 11 degree field of view.  Which is like a 200mm lens in 35mm photography or a 100mm lens for m43.  For tiny, 1/3 inch sensors, you need a 25mm lens.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-06-06T14:02:36.873" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18609" PostTypeId="2" ParentId="18602" CreationDate="2016-06-06T17:00:02.947" Score="2" Body="&lt;p&gt;I can't be really sure, but most of that can be done using After Effects and a simple screen recording. You record the screen of a phone, put that into after effects, get a picture of a hand and put that into after effects, and just move it around with the frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The whole of screen recording could also be made using Adobe Flash or After Effects instead of actually taking it, but it would take a while... This way you could create a minimal and simple version of your app or something, which might be more eye-pleasing and less complicated to the audience.&lt;/p&gt;&#xA;" OwnerUserId="11984" LastEditorUserId="11984" LastEditDate="2016-06-09T15:55:34.147" LastActivityDate="2016-06-09T15:55:34.147" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18610" PostTypeId="2" ParentId="18604" CreationDate="2016-06-06T17:58:25.483" Score="1" Body="&lt;p&gt;You're on the right track. Your set looks okay to me and that's probably what I would do. But, no, there is no webcam I've ever seen that would be a good fit for this. You need a proper camera and possibly some additional hardware and software to assist in the upstream process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe you can best accomplish what you want with a consumer grade camera. There are plenty of consumer grade camcorders that also have an optical zoom at 10x or higher, and they are fairly cheap too (I assume budget/time is tight, hence the webcam/gotomeeting solution). I would get something with at least 10x optical zoom. Completely ignore digital zoom specs and if you can, turn it off in whatever camcorder you get.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems there are camcorders out now that can send the video signal over USB, for exactly this purpose. I've never use that, however, and it may not work that well with Gotomeeting. I would use a camcorder with an HDMI out, then incorporate an HDMI to USB hardware option, which should be able to connect to Gotomeeting as if it were a webcam. &lt;a href=&quot;https://video.stackexchange.com/q/17024/3643&quot;&gt;There's several hardware recommendation found here.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will also need to change to location of some of your set. First, I would move the sound box and the laptop running GoToMeeting to the back with the camera (item six on your diagram). Whenever possible, always put all tech in the same location: &quot;The tech table&quot;. The primary reason is the ease for your techs to manage the equipment. The secondary reason is the lines. USB and HDMI can't run very far without additional hardware, also longer runs means more work, more expense, more risk, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's your new diagram:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/f7MHI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/f7MHI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this set, you will need:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Camcorder as previously discussed&lt;/li&gt;&#xA;&lt;li&gt;Tripod that moves nicely&lt;/li&gt;&#xA;&lt;li&gt;HDMI to USB converter as previously discussed&lt;/li&gt;&#xA;&lt;li&gt;HDMI and USB wires&lt;/li&gt;&#xA;&lt;li&gt;At least one tech managing mostly the camera, plus the other hardware.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If budget and time are not big factors here, I would consider adding one or two more cameras, possibly reposition the original camera, and add a video mixer. In this kind of audience set, called &quot;arena&quot;, a dynamic speaker will tend to turn frequently and rapidly to address and engage &lt;em&gt;all&lt;/em&gt; the attendees. This means he will be facing your camera less than half the time, which makes for a boring and unengaging shot for your remote attendees. Adding one or two more cameras would significantly increase your set complexity and cost, however, it would add a level of professionalism that is worth it if you have the budget, time, and space. &lt;a href=&quot;http://info.conferenceroomsystems.com/using-multiple-cameras-with-gotomeeting-skype-webex-or-zoom.us-slideshare&quot; rel=&quot;nofollow noreferrer&quot;&gt;Consider this resource that discusses specifically using multiple cameras for Gotomeeting.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a diagram for that, where 7 and 8 are cameras and 9 is a video mixer:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eRZFx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eRZFx.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this set you will need much more:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;3 Camcorders as previously discussed&lt;/li&gt;&#xA;&lt;li&gt;3 Tripod that moves nicely&lt;/li&gt;&#xA;&lt;li&gt;3 HDMI to USB converters as previously discussed&lt;/li&gt;&#xA;&lt;li&gt;HDMI and USB wires&lt;/li&gt;&#xA;&lt;li&gt;HDMI extenders. There's several varieties, discussion of which is too much for this answer.&lt;/li&gt;&#xA;&lt;li&gt;Video mixer, some of which are discussed in the resource link.&lt;/li&gt;&#xA;&lt;li&gt;At least 4 techs managing mostly the cameras:&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;One for each camera&lt;/li&gt;&#xA;&lt;li&gt;One managing the video mixer&lt;/li&gt;&#xA;&lt;/ol&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;It total, I would say this set would cost 5 to ten times more than the first set, most of that being labor.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Source&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;I work for a company that does this all the time. If you need professional help with content production &lt;a href=&quot;https://video.stackexchange.com/users/3643/fredsbend?tab=profile&quot;&gt;you can find information in my profile&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-06-06T17:58:25.483" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18611" PostTypeId="2" ParentId="18600" CreationDate="2016-06-06T18:44:33.037" Score="1" Body="&lt;p&gt;Yes, they exist. They are called HDMI wireless &lt;em&gt;extenders&lt;/em&gt;. Sometimes they are called transmitters/receivers. No, the good ones are not cheap. Further, I don't know of any where the receiver does &lt;em&gt;not&lt;/em&gt; need external power.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's two examples, a better one and a not so better one:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/1044925-REG/iogear_gwhdms52mb_wireless_5x2_hd_matrix.html&quot; rel=&quot;nofollow&quot;&gt;IOGear Matrix pro&lt;/a&gt; (&lt;a href=&quot;http://www.newegg.com/Product/Product.aspx?Item=N82E16815290061&amp;amp;cm_re=wireless_hdmi_transmitter_and_receiver-_-15-290-061-_-Product&quot; rel=&quot;nofollow&quot;&gt;Here's a different offering&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.bhphotovideo.com/c/product/1163147-REG/gefen_ext_whd_1080p_lr_long_range_wireless_extender.html&quot; rel=&quot;nofollow&quot;&gt;Gefan Long Range Extender&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I have no experience with either product and practically none with wireless HDMI as a whole. Personally, I would &lt;em&gt;always&lt;/em&gt; use a wire for something like video. If you're only going 30 feet, it's really not a big deal to have a wire, and HDMI can go 30 feet just fine. If you need more distance, there's extenders of various &lt;em&gt;wired&lt;/em&gt; variety that I would prefer over wireless options.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;From your comment below, it sounds like you are wanting to move throughout the event, therefore making a wireless solution optimal, allowing you to move about on your whim.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do not have to stream the feed to the internet, I suggest that instead of running your video wirelessly, run the audio only. Get yourself a wireless audio transmitter and receiver, then carry the receiver around with you and the camera, plugging in the audio receiver to your camera. There are literally thousands of options and should be easy to find with google. Alternatively, get a standalone audio recorder and then mix the audio and video together in post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The downside of these methods is that you must record to the camera's internal media and it may increase your post production time. The upside is that you're mobile while recording.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2016-06-10T13:51:57.883" LastActivityDate="2016-06-10T13:51:57.883" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18613" PostTypeId="2" ParentId="9299" CreationDate="2016-06-07T02:13:30.920" Score="0" Body="&lt;p&gt;I know this is &quot;consumer&quot; but power director on a windows platform has multicam with audio sync. 4 cameras is pretty easy with a multicam plug in they have. &#xA;you could do up to 100 video tracks syncing by audio. I am sure it would take a super computer to sync though. I have a fairly powerful xeon based system, but the app is I/o bound when running rather than memory or CPU bound. I am not sure, but i blame this on &quot;consumer&quot; level programming. The program was just not architected for &quot;pro level work&quot;.   &lt;/p&gt;&#xA;" OwnerUserId="15819" LastActivityDate="2016-06-07T02:13:30.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18614" PostTypeId="1" AcceptedAnswerId="18648" CreationDate="2016-06-07T09:03:08.447" Score="0" ViewCount="34" Body="&lt;p&gt;My light has developed an intermittent power switch. I've never liked the pushbutton switch anyway, and would like to replace it, but I'm ashamed to admit that I can't figure out how to pry this thing apart without destroying it. Anyone ever done it?&lt;/p&gt;&#xA;" OwnerUserId="15822" LastActivityDate="2016-06-12T00:50:13.323" Title="Yongnuo YN 160S - how to get inside?" Tags="|hardware|lighting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18615" PostTypeId="1" AcceptedAnswerId="18625" CreationDate="2016-06-07T17:31:50.567" Score="0" ViewCount="1633" Body="&lt;p&gt;I accidentally clicked on &quot;loose panel group&quot; in the mirror for creating a new title, but there is no button to fix them together again. I tried resetting the setting, but it doesn't work.&lt;/p&gt;&#xA;" OwnerUserId="15825" LastActivityDate="2016-06-08T10:21:15.800" Title="Premiere Pro CC: How to reset control panel group settings" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18616" PostTypeId="2" ParentId="18602" CreationDate="2016-06-08T01:42:27.547" Score="1" Body="&lt;p&gt;If you are a Mac user, Apple have a motion graphics suite called Motion 5 which is available for $49.99 USD. There are some templates that come with it and many commercial templates can be purchased and customised. In my experience, Motion excels in very short, but snazzy animations and is quite resource intensive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects is one of the most popular animation programs. It is an Adobe product that works on both Windows and Mac and can be used with a license that costs $20 USD / month.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A free alternative to both of these is a 3D software called Blender which can also make 2d animations. It is open-source software and works on Mac, Windows and Linux. It is available at &lt;a href=&quot;https://blender.org&quot; rel=&quot;nofollow&quot;&gt;https://blender.org&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, it is arguably more suited to technically minded users and may be frustrating to learn how to use. It is an incredibly powerful though and feature rich.&lt;/p&gt;&#xA;" OwnerUserId="15829" LastActivityDate="2016-06-08T01:42:27.547" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18620" PostTypeId="1" CreationDate="2016-06-08T06:33:43.493" Score="0" ViewCount="58" Body="&lt;p&gt;For some reason the dialogue for the missing media looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gaqR6.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gaqR6.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The top is missing. I don't know what media it's referring to which is a huge problem. How would one fix this? Restarting the program and the computer doesn't do anything.&lt;/p&gt;&#xA;" OwnerUserId="15833" LastActivityDate="2016-08-08T14:36:07.640" Title="Missing media prompt top box is missing. Have no idea what it's asking for" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18621" PostTypeId="1" CreationDate="2016-06-08T07:14:02.297" Score="2" ViewCount="4559" Body="&lt;p&gt;I want to export (i'm using premiar / edius ) video at maximum quality but my target size have to be maximum 400 mb (the movie length its about 40 min. ) and if it can be lower then 400 mb its even better.&#xA;what is the best way to export the movie so its will be quality and steel in a minimum size?&#xA;(by quality i want something Hd or more if its possible , if not so the most quality i can get in this size target)&lt;/p&gt;&#xA;" OwnerUserId="15834" LastActivityDate="2020-03-10T20:56:00.470" Title="How to export maximum quality in minimum size" Tags="|premiere|export|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18622" PostTypeId="1" AcceptedAnswerId="18624" CreationDate="2016-06-08T09:33:50.820" Score="4" ViewCount="1092" Body="&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/18553/extracting-individual-video-fields&quot;&gt;Extracting individual video fields&lt;/a&gt; is my previews question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based on the Mulvya's answer I can extract the top fields (only) or the bottom fields (only) individual.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, I need to extract the video fields In the following order:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TopField1 , BottomField1 ,TopField2 , BottomField2 ,....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;my source format: DV PAL 720x576i&lt;/p&gt;&#xA;" OwnerUserId="11809" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-06-08T10:21:14.740" Title="Extracting video fields Respectively" Tags="|video|ffmpeg|windows|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18623" PostTypeId="2" ParentId="18621" CreationDate="2016-06-08T10:12:19.097" Score="3" Body="&lt;p&gt;You will want to use the H.264 codec, as it has one of the best quality/filesize-ratios of all the codecs out there. For this codec, your file size (and consequently it's quality) is mainly determined by the &lt;strong&gt;bitrate settings&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's do the math:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;40 min = 2400 sec&#xA;400 MB = 3200 Mb (Megabit)&#xA;3200 Mb / 2400 sec = **1.33 Mb/s**&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So you can set your &lt;strong&gt;Maximum Bitrate&lt;/strong&gt; to 1,33 Mbps and the &lt;strong&gt;Target Bitrate&lt;/strong&gt; to the same value or slightly below that. Make sure to change your &lt;strong&gt;Bitrate Encoding&lt;/strong&gt; to &lt;strong&gt;VBR, 2 pass&lt;/strong&gt; for best results (this will take longer than exporting with 1 pass though). This is already quite low, with these settings you will probably get significant artifacts in your video. However, Youtube uses an even lower bitrate for it's video encoding (at least up to Full HD, not sure about 4k), so you could argue that people are used to it anyway. The amount of quality loss also depends on how much entropy (that is, small particles et c.) is in your video, &lt;a href=&quot;https://www.youtube.com/watch?v=r6Rp-uo6HmI&quot; rel=&quot;nofollow&quot;&gt;watch this&lt;/a&gt; for an explanation.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-06-08T10:12:19.097" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18624" PostTypeId="2" ParentId="18622" CreationDate="2016-06-08T10:21:14.740" Score="4" Body="&lt;p&gt;Sure, you have to combine the field extraction with interleaving.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.avi \&#xA;       -filter_complex &quot;[0]field=top[t];[0]field=bottom[b];[t][b]interleave&quot; -r 50 fld%d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where the &lt;code&gt;r&lt;/code&gt; value is double the original frame rate (or the same as the field rate).&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-06-08T10:21:14.740" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18625" PostTypeId="2" ParentId="18615" CreationDate="2016-06-08T10:21:15.800" Score="0" Body="&lt;p&gt;Is 'loose panel group' a free translation of whatever the option is labeled in whatever language you're using Premiere Pro in? Because I can't find an option or button that says exactly this ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, you can change workspaces in the menu, click &lt;strong&gt;Window&lt;/strong&gt; → &lt;strong&gt;Workspaces&lt;/strong&gt; and select a workspace preset. If you want the default workspace back, make sure to select the &lt;strong&gt;Assembly&lt;/strong&gt; preset (in Premiere Pro CC). If you want to revert any changes you made to the saved layout, select &lt;strong&gt;Reset to Saved Layout&lt;/strong&gt; from the same submenu or press &lt;kbd&gt;ALT&lt;/kbd&gt; + &lt;kbd&gt;SHIFT&lt;/kbd&gt; + &lt;kbd&gt;0&lt;/kbd&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-06-08T10:21:15.800" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18627" PostTypeId="1" AcceptedAnswerId="18628" CreationDate="2016-06-08T16:41:43.567" Score="0" ViewCount="483" Body="&lt;p&gt;I have a video that i want to map to a &quot;virtual rectangle&quot;.&#xA;Meaning, i want to create a virtual rectangle by giving it one x,y point for the bottom left corner and one x,y point for the top right corner. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given those 2 points would create a rectangle, i want to take that video and &quot;map&quot; it to that rectangle. (scale it too if necessary)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From what i know about the 'overlay' filter, you can use only one x,y point to set the position of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But is there a way of doing it with 2 points like i explained?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="15838" LastActivityDate="2016-06-08T16:52:03.927" Title="ffmpeg - map a video to a placeholder? (rectangle/square)" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18628" PostTypeId="2" ParentId="18627" CreationDate="2016-06-08T16:52:03.927" Score="0" Body="&lt;p&gt;You would use the template below,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i base.mp4 -i overlay.mp4 -filter_complex &quot;[1]scale=WxH[o];[0][o]overlay=x:y&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So, the overlay video is scaled and then placed at &lt;code&gt;(x,y)&lt;/code&gt; measured from top-left of base video and the opposite corner is at &lt;code&gt;(x+W, y+H)&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-06-08T16:52:03.927" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18632" PostTypeId="1" CreationDate="2016-06-09T03:05:23.987" Score="0" ViewCount="1495" Body="&lt;p&gt;I recently was trying to get some old videos converted to digital and a company listed several file formats: &lt;a href=&quot;http://www.filmrescue.com/OrderFormPDF/FRIUSOrderForm.pdf&quot; rel=&quot;nofollow&quot;&gt;Film Rescue PDF&lt;/a&gt;. It stated that one can convert video into .mov, .mpeg, or dnx hd formats. I was wondering which of these formats might have the the best quality in terms of being non-lossy ceteris paribus (all other factors being the same). Would anyone have any input? Thanks!&lt;/p&gt;&#xA;" OwnerUserId="15844" LastActivityDate="2016-06-09T08:07:43.777" Title="What is the difference between mov, mpeg, and dnx hd formats?" Tags="|video|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18633" PostTypeId="2" ParentId="18632" CreationDate="2016-06-09T08:07:43.777" Score="1" Body="&lt;p&gt;MOV is a container i.e. a wrapper for media streams, and doesn't identify the video codec of the stream wrapped inside.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MPEG refers to a set of standards and could refer to MPEG-1 (from 1980s) or MPEG-2 (DVDs or many TV broadcast streams) or MPEG-4 Part 2 (Xvid, DivX..) or Part 10 (H.264 / AVC). Of the MPEG standards, the last one is the latest and best at preserving quality for a given file size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DNxHD is a proprietary codec by &lt;a href=&quot;http://www.avid.com/&quot; rel=&quot;nofollow&quot;&gt;Avid&lt;/a&gt; used as an intermediate format for editing on their systems. DNxHD streams are usually stored in MOV or MXF.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just going by the bare information here, I'd say DNxHD will offer the best quality but also the largest file sizes and playback compatibility isn't broad. Depending on the video codec used in MOV, say, PNG or MJPEG (likely), that may be the best option in terms of quality and compatibility but you should get details first.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-06-09T08:07:43.777" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18634" PostTypeId="2" ParentId="10550" CreationDate="2016-06-09T10:40:11.660" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;A Linux laptop has a webcam connected to it and captures video and&#xA;  audio in real time&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Im using ffmpeg version N-80213-g9511a08 and my system is Ubuntu 15.10&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f video4linux2 -s 320x240 -i /dev/video0 -f flv -s qvga -b 750000 -ar 11025 -metadata streamName=aaa &quot;tcp://server_ip:6666/live&quot; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The laptop sends the live video and audio stream to another Linux&#xA;  server which has a better internet connection than the laptop, via&#xA;  RTSP or RTMP or something similar&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;start crtmpserver.lua&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;./crtmpserver/crtmpserver crtmpserver/crtmpserver.lua&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;after running the previous command it will show incoming stream like &lt;/p&gt;&#xA;&#xA;&lt;p&gt;/home/altanai/crtmpserver/sources/thelib/src/protocols/liveflv/inboundliveflvprotocol.cpp:51 _waitForMetadata: 1&#xA;/home/altanai/crtmpserver/sources/thelib/src/netio/epoll/iohandlermanager.cpp:119 Handlers count changed: 11-&gt;12 IOHT_TCP_CARRIER&#xA;/home/altanai/crtmpserver/sources/thelib/src/protocols/liveflv/baseliveflvappprotocolhandler.cpp:45 protocol CTCP(16) &amp;lt;-&gt; TCP(2) &amp;lt;-&gt; [ILFL(3)] registered to app flvplayback&#xA;/home/altanai/crtmpserver/sources/thelib/src/application/baseclientapplication.cpp:251 Stream INLFLV(1) with name &lt;code&gt;127.0.0.1_51036&lt;/code&gt; registered to application &lt;code&gt;flvplayback&lt;/code&gt; from protocol ILFL(3)&#xA;/home/altanai/crtmpserver/sources/thelib/src/protocols/liveflv/inboundliveflvprotocol.cpp:184 Stream metadata:&#xA;&#xA;    &#xA;        0.000&#xA;        Lavf57.37.101&#xA;        0.000&#xA;        30.000&#xA;        240.000&#xA;        2.000&#xA;        732.422&#xA;        320.000&#xA;    &#xA;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Any clients that wish to view the stream connect to the Linux server by means of some software such as VLC&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;ffplay -i rtmp://server_ip:1935/live/aaa&lt;/p&gt;&#xA;" OwnerUserId="14656" LastEditorUserId="14656" LastEditDate="2016-06-11T09:05:12.037" LastActivityDate="2016-06-11T09:05:12.037" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18635" PostTypeId="2" ParentId="18600" CreationDate="2016-06-09T11:30:30.623" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.nitero.com/&quot; rel=&quot;nofollow&quot;&gt;Nitero&lt;/a&gt; Is looking to create a wireless solution for VR by the end of this year, which very well may apply to what you need as well. At the very least, if this technology does get off the ground we may see higher fidelity wireless solutions for video be produced off the back of this technology in the coming months/years. Basically, it might be worth waiting a bit to see what pans out, or you can use any of the solutions fredsbend pointed out.&lt;/p&gt;&#xA;" OwnerUserId="14609" LastActivityDate="2016-06-09T11:30:30.623" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18636" PostTypeId="2" ParentId="18620" CreationDate="2016-06-09T12:00:54.500" Score="1" Body="&lt;p&gt;Is this the only clip that is missing? If so, can you offline the clip, then look into your project to see what's missing. Even if there are multiple clips, you can just offline all, go into the project monitor, you can sort by status in the last column: &lt;a href=&quot;https://i.stack.imgur.com/ZWlcB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZWlcB.png&quot; alt=&quot;Last Column&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After you sort, right click on each clip that is offline, then click on link media. &lt;a href=&quot;https://i.stack.imgur.com/6luWt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6luWt.png&quot; alt=&quot;Link Media&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming you remember what clip you want when you right click, even if it won't give you the clip, you'll know what you're replacing.&lt;/p&gt;&#xA;" OwnerUserId="14609" LastActivityDate="2016-06-09T12:00:54.500" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18637" PostTypeId="1" AcceptedAnswerId="18640" CreationDate="2016-06-09T14:01:16.657" Score="0" ViewCount="112" Body="&lt;p&gt;I'm working on adaptive streaming for video. As I'm using a Cisco Open H.264 Encoder, I'm testing multiple configurations for the encoder. A configuration consists in a several of parameters (bps, fps, slice_mode, usage_type, rateconol_mode, keyframeInterval). I also have the width and height of the image to encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a mathematical equation to get fps from the bps and vice versa in order to apply the best fps value to be adequate with the bps and the opposite. &lt;/p&gt;&#xA;" OwnerUserId="15813" LastEditorUserId="14523" LastEditDate="2016-06-10T06:52:01.320" LastActivityDate="2016-06-10T06:52:01.320" Title="Is there a mathematical equation to compute the bitrate of a Cisco H.264 stream?" Tags="|encoding|h.264|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18638" PostTypeId="1" CreationDate="2016-06-09T15:14:35.837" Score="1" ViewCount="92" Body="&lt;p&gt;I am using my Nikon D5000 to record some videos. The problem is that at some points the camera will be mounted on a crane and while I would be able to operate it's orientation, I won't see the image. I know that a solution is to get a small monitor and pass the micro HDMI through an adapter and then to the monitor, but I was wondering if there might be a way to wirelessly or by cable transmit the feed directly to my Android phone that would be able to display it, most probably by using a special app.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found &lt;a href=&quot;http://www.aliexpress.com/item/HDMI-AnyCast-M2-Plus-1080P-Wireless-WiFi-same-screen-device-Miracast-phone-projection-TV-transmitter-Free/32663967019.html&quot; rel=&quot;nofollow&quot;&gt;this device&lt;/a&gt;, but this one outputs from Android to another screen, and I want to receive the data from the camera and display it to my phone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible? If so, how?&lt;/p&gt;&#xA;" OwnerUserId="15845" LastEditorUserId="15845" LastEditDate="2016-06-09T15:26:02.800" LastActivityDate="2016-06-09T15:26:02.800" Title="Can I miror Nikon D5000 live view to an android device wirelessly/wired?" Tags="|video|nikon|mobile|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18640" PostTypeId="2" ParentId="18637" CreationDate="2016-06-09T16:06:56.037" Score="3" Body="&lt;p&gt;No, because it's content dependent. Video with high motion contains more information than a nearly still scene does. Hence it takes more bits to encode. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2016-06-09T16:06:56.037" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18641" PostTypeId="1" AcceptedAnswerId="18753" CreationDate="2016-06-10T08:36:26.520" Score="2" ViewCount="2044" Body="&lt;p&gt;What is the name of the technique and how do you rig a camera so that it follows the actor's face from the front, like in the two videos below. I would describe it as a &quot;front tracking follow&quot; shot.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://youtu.be/E5ONTXHS2mM?t=23s&quot; rel=&quot;nofollow&quot;&gt;desiigner - Panda&lt;/a&gt; (from 00:23)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=TrOwSEpYLKg&quot; rel=&quot;nofollow&quot;&gt;JME - 96 Fuckries&lt;/a&gt; (from beginning)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Cheers&lt;/p&gt;&#xA;" OwnerUserId="15850" LastEditorUserId="14523" LastEditDate="2016-07-03T20:38:07.500" LastActivityDate="2016-07-03T20:38:07.500" Title="What is the camera technique use in desiigner - Panda vidéo?" Tags="|camera|action-cam|technical|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18643" PostTypeId="2" ParentId="4000" CreationDate="2016-06-10T14:46:14.960" Score="0" Body="&lt;p&gt;You need a security/surveillance system, not a production solution. All-in-one security camera setups can do all of this. Consumer grade options can be cheap and decent quality too. I would suggest a surveillance system with at least five cameras, powered over Ethernet (called PoE, allows you to run a single cat-5 to each camera and nothing else), always on and record when there's motion only. With the right system, you will set it up once, then never have to touch it again. Just log-in over your network to view, download, or manage the videos. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're in the USA, &lt;a href=&quot;http://www.costco.com/surveillance-systems.html&quot; rel=&quot;nofollow&quot;&gt;Costco has some pretty good systems for fairly cheap prices too&lt;/a&gt;. Professional grade stuff can get expensive, but it's pretty awesome stuff.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Source: I had the pleasure of helping a friend install an advanced security system at my Father's house. This particular system ran from a standard PC with a capture card and special software, consisted of 8 cameras in two locations, and was managed locally over the network or remotely over the internet.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2016-06-10T14:46:14.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18645" PostTypeId="2" ParentId="17652" CreationDate="2016-06-10T16:30:14.243" Score="0" Body="&lt;p&gt;This might be too late, but do try out Adobe Presenter Video Express. There is a feature called - magic green screen, which will make replacing background in videos like you mentioned very simple (it's basically automatic). There is a 30-day free trial, so I guess this should work for you. Disclaimer: I work as a developer for the product.&lt;/p&gt;&#xA;" OwnerUserId="11948" LastActivityDate="2016-06-10T16:30:14.243" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18646" PostTypeId="1" CreationDate="2016-06-11T06:35:48.903" Score="3" ViewCount="267" Body="&lt;p&gt;In Wikipedia's high speed camera page, there was this thing 'High-speed film cameras can film up to a quarter of a million frames per second by &lt;strong&gt;running the film over a rotating prism or mirror&lt;/strong&gt; instead of using a shutter...'&lt;br&gt;&#xA;There was no other info about this. So, can someone explain me this prism or mirror thing... with a diagram? &lt;/p&gt;&#xA;" OwnerUserId="14021" LastActivityDate="2016-06-16T15:28:10.450" Title="How do high-speed film cameras work?" Tags="|filming|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18647" PostTypeId="2" ParentId="18646" CreationDate="2016-06-11T13:51:21.477" Score="7" Body="&lt;p&gt;A normal film camera has a mechanism for stopping the film in the gate every frame while the shutter is open, then when the shutter closes pulling down the next frame, stopping it, exposing it, and so on. If the film isn't perfectly still while the shutter is open the image will be blurred.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To do this with high speed film is impractical, the forces involved in pulling down the next frame in 1/500,000th of a second and bringing it to a dead stop would simply destroy any film you could put in it. So in a high speed camera the film doesn't stop, instead there is a rotating prism, as stated in the article. The prism bends the incoming light as it rotates, and it does so in a way that the image follows the frame of film as it passes through the camera. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A good article explaining it &lt;a href=&quot;https://people.rit.edu/andpph/text-hs-overview.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, this illustration in particular:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PeSt6.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PeSt6.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this illustration the frame of film would be on the right side, moving downwards, following the spot of light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reverse of this can be seen in a Steenbeck editing machine that also uses a rotating prism to hold the image on the screen steady while the film moves continuously through the viewer.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-06-11T13:51:21.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18648" PostTypeId="2" ParentId="18614" CreationDate="2016-06-12T00:50:13.323" Score="2" Body="&lt;p&gt;Well, I'm an idiot, or was just really tired the first time I looked things over, because after taking another look today I realized that the shallow circular indentations at the corners of the face piece weren't molding marks, but screw channels with small, well-matched rubber plugs. I'll just leave this answer here for the next dummy... :D&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rISlC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rISlC.jpg&quot; alt=&quot;Rubber plug after digging it out with an x-acto blade&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="15822" LastActivityDate="2016-06-12T00:50:13.323" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18649" PostTypeId="1" CreationDate="2016-06-12T06:49:22.450" Score="1" ViewCount="109" Body="&lt;p&gt;For example how to turn 1:03 video into 1:00 without cutting anything. Can I do it on any mobile video editor? &lt;/p&gt;&#xA;" OwnerUserId="15864" LastEditorUserId="14523" LastEditDate="2016-06-14T12:06:56.607" LastActivityDate="2016-06-14T12:06:56.607" Title="How can I squeeze video of certain length into smaller length" Tags="|video|video-editor|conversion|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18651" PostTypeId="2" ParentId="18649" CreationDate="2016-06-12T14:41:20.923" Score="1" Body="&lt;p&gt;This is generally done by retiming the video. Usually, if you're retiming by anything other than double or half, you need to use a professional application such as Final Cut Pro X or Premiere. They will have options for doing the speeding up in a number of different ways such as &quot;Frame Blending&quot; or using &quot;Optical Flow&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For mobile, a quick search with these terms &lt;a href=&quot;https://duckduckgo.com/?q=app+to+speed+up+video+iphone&amp;amp;t=osx&amp;amp;ia=web&quot; rel=&quot;nofollow&quot;&gt;&quot;app to speed up video iPhone&quot;&lt;/a&gt; shows a number of results.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-06-12T14:41:20.923" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18653" PostTypeId="2" ParentId="11987" CreationDate="2016-06-12T16:02:57.080" Score="4" Body="&lt;p&gt;That gadget actually combines TWO different functions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;SLATE which is the lower portion that identifies Scene / Take / Roll, etc. in written form so that the camera(s) can document exactly what this clip is. Without that information editing would be an absolute nightmare for big productions.&lt;/li&gt;&#xA;&lt;li&gt;CLAPPER which is the part at the top. Essentially two sticks that are snapped together to establish picture vs. sound SYNCHRONIZATION. The camera(s) can see exactly when the two parts come together, and the microphone can &quot;hear&quot; when the sticks snap. That sound transient is used to exactly synchronize the sound recording (which is typically done on a separate recorder) with the film or video recording. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Sometimes they even put a wireless mic on the slate/clapper to properly &quot;hear&quot; the snap, especially for huge scenes where there is no microphone near where the slate/clapper needs to be (to be seen by all the cameras).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What people CALL that gadget depends on tradition and the preferences of the director, etc.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-06-12T16:02:57.080" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18654" PostTypeId="1" CreationDate="2016-06-12T17:26:29.067" Score="1" ViewCount="853" Body="&lt;p&gt;So I have a weak tablet with Windows 10 on it and a useless PC with alright specs without monitor, mouse and keyboard which I want to turn into a server in order to remotely edit and render videos on it from my Windows 10 tablet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I discovered that network video rendering is hard to set up in latest versions of Adobe Premiere Pro or Sony Vegas Pro (which even doesnt have such option in latest versions). So I thought I could run normal desktop windows 10 on this PC and connect to it via remote desktop application which can be found in store but i doubt that it will work because the PC doesnt have monitor, keyboard and mouse, so it will be impossible even to log in the user at the startup.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OS doesnt matter as long as I will be able to remotely edit and render videos on the server from my Win10 tablet so I am just asking for an editing software that can be used the way I described above.&lt;/p&gt;&#xA;" OwnerUserId="15866" LastActivityDate="2024-04-06T23:06:45.823" Title="Network video rendering" Tags="|software-recommendation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18655" PostTypeId="1" CreationDate="2016-06-11T13:58:28.930" Score="0" ViewCount="195" Body="&lt;p&gt;In video mode, my Canon EOS 600D can output up to a resolution of 1920 x 1080.&#xA;Of course, this resolution is a standard (full HD). But then again, even &lt;code&gt;exiftool&lt;/code&gt; applied to an output *.MOV file tells me that the cropped image size is 2592 x 1728 (not to mention sensor size 5344 x 3516). While such video is ready to use as Full HD video out of the box, shouldn't this allow me to obtain significantly higher resolution video output (comparable to RAW for images, though still below the next bigger standard of 4K)? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Admittedly, &lt;em&gt;after&lt;/em&gt; editing one would certainly crop and/or scale to Full HD anyway, but who would complain about a few extra pixels in footage &lt;em&gt;during&lt;/em&gt; editing?&#xA;Or would using this resolution cause other (technical) problems (e.g., with writing speed)?&lt;/p&gt;&#xA;" OwnerDisplayName="Hagen von Eitzen" LastActivityDate="2016-06-12T18:46:58.203" Title="Beyond Full-HD with Canon EOS 600D?" Tags="|video|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18656" PostTypeId="2" ParentId="18655" CreationDate="2016-06-11T17:40:56.213" Score="1" Body="&lt;p&gt;If you do the math, you will find that a full-res video would need to process too much data per time - 22Mpixel x 30 frames x 3x14 bit color depth = 3+ GByte/second (done in my head, double-check!)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera sensor is probably able to provide this data, but neither the in-camera chip nor the memory card is able to process such a data stream fast enough; and the buffers would be full after 2 or 3 seconds of video. Therefore, the camera makers chose to not offer this mode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess if you hack the camera software, you could it make record on that resolution for one or two seconds.&lt;/p&gt;&#xA;" OwnerUserId="16083" OwnerDisplayName="Aganju" LastActivityDate="2016-06-11T17:40:56.213" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18658" PostTypeId="1" CreationDate="2016-06-13T20:25:47.413" Score="1" ViewCount="40" Body="&lt;p&gt;Sorry if this is posted elsewhere, but I can't find it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm a novice video editor. I videoed my niece's wedding. For some reason, my camera split the ceremony into 3 clips. I imported them into Premiere Pro 2015.2 (Creative Cloud) and added them to the timeline. It put them back to back to back. The problem is where it switches from one clip to the next, there's a small gap of silence noticeable in the audio (music is playing in both the spots, which compounds the problem) instead of smoothly transitioning from one clip to the next.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've searched high and low and can't find a way to make the transition seamless (if that's even possible). Can anyone provide guidance? Remember, I'm a novice at this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&#xA;Kirby&lt;/p&gt;&#xA;" OwnerUserId="15871" LastActivityDate="2016-06-18T05:41:07.670" Title="How to perfectly combine clips" Tags="|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18659" PostTypeId="2" ParentId="18530" CreationDate="2016-06-14T10:00:51.457" Score="0" Body="&lt;p&gt;I would look at the After Effects plugin &lt;a href=&quot;http://aescripts.com/geolayers/&quot; rel=&quot;nofollow&quot;&gt;GeoLayers&lt;/a&gt;, or if you need something more advanced, maybe &lt;a href=&quot;https://cinemaplugins.com/c4d-plugins/dem-earth/&quot; rel=&quot;nofollow&quot;&gt;DEM Earth&lt;/a&gt; in Cinema4D instead.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-06-14T10:00:51.457" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18660" PostTypeId="1" CreationDate="2016-06-14T10:49:47.953" Score="2" ViewCount="1350" Body="&lt;p&gt;I have a remote MP4 file that is short (1 minute) but large (~450mb), something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://s3-eu-west-1.amazonaws.com/worm-web-assets-prod/GOPR7775.MP4&quot; rel=&quot;nofollow&quot;&gt;https://s3-eu-west-1.amazonaws.com/worm-web-assets-prod/GOPR7775.MP4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to extract frames every n seconds (where n is &gt;0.5, probably 1 or 2) in the most bandwidth-efficient way possible - i.e. without downloading the whole video. I care less about getting a specific frame than I do about getting one in the general area with the smallest amount of bandwidth usage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've found I can get the keyframe list like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -select_streams v -show_frames \&#xA;-show_entries frame=pict_type \&#xA;-of csv https://s3-eu-west-1.amazonaws.com/worm-web-assets-prod/GOPR7775.MP4 \&#xA;| grep -n I | cut -d ':' -f 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this involves downloading the entire video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can also download the actual keyframes:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i \&#xA;https://s3-eu-west-1.amazonaws.com/worm-web-assets-prod/GOPR7775.MP4 \&#xA;-vf select='eq(pict_type\,I)',setpts='N/(239.76*TB)' out%09d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But again, this downloads the whole video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've also found I can download specific frames:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -noaccurate_seek -ss 00:00:01 -i https://s3-eu-west-1.amazonaws.com/worm-web-assets-prod/GOPR7775.MP4 -frames:v 1 frame-1s.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this seems to use a lot of data for each frame (&gt;5mb).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to achieve this with minimal bandwidth usage?&lt;/p&gt;&#xA;" OwnerUserId="14442" LastEditorUserId="14442" LastEditDate="2016-06-14T12:41:47.917" LastActivityDate="2016-06-14T12:41:47.917" Title="ffmpeg: Quickly get frames every n seconds from a remote file, downloading as little data as possible" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18661" PostTypeId="2" ParentId="4704" CreationDate="2016-06-14T15:40:09.493" Score="0" Body="&lt;p&gt;I imported a dvd using nero video and instead of exporting/downmixing as mp4 which takes about an hour per dvd i just located the saved video file in nero folder and dragged the file to desktop. From there i just rename the video file to the movie name from 001.mpg to (movie name).mp4&#xA;The file still plays perfectly fine from my usb hdd to my lg smart tv. Such a time saver&lt;/p&gt;&#xA;" OwnerUserId="15877" LastActivityDate="2016-06-14T15:40:09.493" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18662" PostTypeId="1" AcceptedAnswerId="18673" CreationDate="2016-06-14T15:50:13.293" Score="2" ViewCount="764" Body="&lt;p&gt;I use a Zoom H5 audio recorder, and when I copy the audio files from it I like to have them sitting next to the video files they correspond too. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is the way Zoom stores files: every clip in its own folder. Copying all those files into one single folder can take a long time when there are 100+ clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know of any software, or workflow in Premiere/Prelude to make this easier?&lt;/p&gt;&#xA;" OwnerUserId="8000" LastActivityDate="2018-11-30T13:39:59.393" Title="Workflow to ingest files from Zoom audio recorder" Tags="|audio|workflow|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18663" PostTypeId="1" CreationDate="2016-06-14T16:05:05.927" Score="1" ViewCount="52" Body="&lt;p&gt;I've been looking everywhere to try to figure this out. I am trying to figure out how to make a video transition where the background changes before everything else. Is this just done with a mask? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://instagram.com/p/BF-K-V5ges1/&quot; rel=&quot;nofollow&quot;&gt;https://instagram.com/p/BF-K-V5ges1/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="15878" LastActivityDate="2016-06-14T18:51:50.217" Title="How to achieve this type of transition?" Tags="|transitions|mask|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18664" PostTypeId="1" CreationDate="2016-06-14T16:13:51.167" Score="1" ViewCount="6393" Body="&lt;p&gt;I recently started to film with my drone(phantom 4). I read somewhere that it was recommended to use some &quot;flat&quot; preset, like D-Log or D-cinelike, which I did.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I've very flat video, and I've some hard time to find how I can easily restore the color back on adobe premiere elements(which I'm using over adobe premiere pro because of the dynamic titles).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone explain how to restore the colors easily?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found severals things(tridirectional color corrector), but I can't find how to bring nice colors back.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was able to do such things with Adobe lightroom for pictures, by adjusting the histogram to have it filling the whole spectrum, adjusting low/light, saturation and that's it, but here I cannot find how to do it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you very much&lt;/p&gt;&#xA;" OwnerUserId="15879" LastActivityDate="2016-06-15T10:38:28.860" Title="Color Grading in Adobe premiere elements" Tags="|premiere|color-grading|premiere-elements|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18665" PostTypeId="2" ParentId="18663" CreationDate="2016-06-14T18:51:50.217" Score="2" Body="&lt;p&gt;According to the comments on that page, it is rotoscoped - which is (&lt;a href=&quot;https://en.wikipedia.org/wiki/Rotoscoping&quot; rel=&quot;nofollow&quot;&gt;from Wikipedia&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;the technique of manually creating a matte for an element on a live-action plate so it may be composited over another background.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="674" LastActivityDate="2016-06-14T18:51:50.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18667" PostTypeId="2" ParentId="18601" CreationDate="2016-06-14T22:21:57.227" Score="0" Body="&lt;p&gt;I don't think it is.  As you say, you can replace text using &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/animated-text-titles-live-text.html&quot; rel=&quot;nofollow&quot;&gt;Live Text Templates&lt;/a&gt;.&#xA;If you need to easily re-version comps from AE with different source material, I would suggest looking at &lt;a href=&quot;http://aescripts.com/templater/&quot; rel=&quot;nofollow&quot;&gt;Templater&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-06-14T22:21:57.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18669" PostTypeId="1" CreationDate="2016-06-15T09:03:56.853" Score="1" ViewCount="474" Body="&lt;p&gt;I've got hold of some .mts video files from work, the source is unknown so there is no hardware recovery option. Unfortunately I'm left with these files and they seem to be corrupted, how do I fix it?&lt;/p&gt;&#xA;" OwnerUserId="15890" LastActivityDate="2023-08-04T20:42:27.007" Title="How to repair a corrupted .mts video?" Tags="|video|software-recommendation|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18670" PostTypeId="2" ParentId="17651" CreationDate="2016-06-15T09:21:55.180" Score="1" Body="&lt;p&gt;It depends what you mean by the full waveform on a single frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to view the entire duration of your audio file on screen in a single frame, you can do this, assuming your audio file is shorter than 30 seconds:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add the audio file to a comp. &lt;/li&gt;&#xA;&lt;li&gt;Apply the Audio Waveform effect to a solid in a comp. &lt;/li&gt;&#xA;&lt;li&gt;In the audio waveform effects settings, set the audio layer to your audio track. &lt;/li&gt;&#xA;&lt;li&gt;Set the Displayed Samples setting to the sample rate of your audio file (eg 44100). &lt;/li&gt;&#xA;&lt;li&gt;Set the Audio Duration to the duration of your audio file in milliseconds (1000 per second of audio). &lt;/li&gt;&#xA;&lt;li&gt;Set the Thickness of your waveform to 1, to show more detail.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;You should end up with something like this:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/SgBHU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SgBHU.png&quot; alt=&quot;waveform in ae&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which looks pretty similar to the waveform as seen in Adobe Audition:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/gFljX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gFljX.png&quot; alt=&quot;waveform from Audition&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-06-15T09:21:55.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18672" PostTypeId="2" ParentId="18601" CreationDate="2016-06-15T10:33:11.437" Score="0" Body="&lt;p&gt;As long as you're running Bridge, you could keep AE open, and then replace the image. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you've designed a template. I would recommend in AE using a pre-comp called a drop zone. A custom sized comp with guidelines / safe areas that is nested into the final comp. Then you basically can quickly drop any image into the dropzone composition, align/scale, and it will nest into the render comp. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you dont want to run AE, having bridge running if you simply set a standard for the picture size, as in same size always, crop for import into AE, and then simply replace the photo file on the disk with the new one, using the same name, it will update on the PPro timeline. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as doing a replace command inside PPro, from a linked AE project, is not possible. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-06-15T10:33:11.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18673" PostTypeId="2" ParentId="18662" CreationDate="2016-06-15T10:36:18.827" Score="3" Body="&lt;p&gt;If youre hopefully running windows, use explorer (My Computer). Navigate to the SD card. In the search box for that window, type *.wav (or whatever extension you used to record). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The window will then display all the WAV files found on the card, without the folder. Select all of them. Copy. Paste to a new folder. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you encounter conflicts in terms of clip name, use the 3rd command called &quot;Allow Windows to Resolve&quot;, which will create v2 v3 v4 of the files which use the same file name. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-06-15T10:36:18.827" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18674" PostTypeId="2" ParentId="18664" CreationDate="2016-06-15T10:38:28.860" Score="1" Body="&lt;p&gt;The easiest way would be to use 3 way color corrector. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do a first pass color correction to get it to a standard look. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then do a 2nd pass within the same filter (lower down on the filter) to grade. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or get Resolve (paid version), or Color Finesse, which is also very good. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-06-15T10:38:28.860" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="18675" PostTypeId="2" ParentId="18654" CreationDate="2016-06-15T10:44:23.360" Score="0" Body="&lt;p&gt;Google the config setup to have the computer auto-login, bypassing the login screen. You can change a setting in regedit and it will auto login to the default profile, which cannot use a password. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Over Remote Desktop, you can then control the system. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it crashes, you'll have to do a hard reboot. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-06-15T10:44:23.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18678" PostTypeId="1" AcceptedAnswerId="18684" CreationDate="2016-06-15T18:44:24.047" Score="1" ViewCount="2991" Body="&lt;p&gt;I've seen this effect in a lot of lyric video, particularly when the music is quite intense. Please see these videos for references:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/eiIFO54jJZA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/zasaUL70Oc8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a constant pulsating/flashing light effect&lt;/p&gt;&#xA;" OwnerUserId="15893" LastActivityDate="2016-06-16T11:27:53.507" Title="How do I achieve a &quot;throbbing light&quot; effect in After Effects?" Tags="|after-effects|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18679" PostTypeId="1" CreationDate="2016-06-16T01:07:45.870" Score="0" ViewCount="257" Body="&lt;p&gt;I have bought a camera hp , lc100W &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/0FPwIFFCtVo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to use it for lecture record, microphone has not good record, What I must do for the sound? which type of microphone I must buy for it?&lt;/p&gt;&#xA;" OwnerDisplayName="user15897" LastActivityDate="2016-06-16T15:22:15.470" Title="Microphone problem for camera hp , lc100W" Tags="|video|camera|filming|microphone|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18681" PostTypeId="2" ParentId="18678" CreationDate="2016-06-16T02:12:24.100" Score="0" Body="&lt;p&gt;In After Effects, I think you'll need a 3rd party plug-in to do this. One option is &lt;a href=&quot;http://www.redgiant.com/products/trapcode-sound-keys/&quot; rel=&quot;nofollow&quot;&gt;Trapcode Sound Keys&lt;/a&gt;. Another is the Frame Manipulator plug-in from &lt;a href=&quot;http://aftereffect.pluginsworld.com/plugins/adobe/1746/digieffects/buena-effects-pack.html&quot; rel=&quot;nofollow&quot;&gt;DigiEffects' Buena Effects Pack&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do this in Apple's Motion using the Parameter &gt; Audio behavior. Apply it to your audio track, then apply a Brightness filter to your footage and set the &quot;Apply To&quot; of the behavior to the filter's Brightness parameter. You'll need to adjust the parameters of the behavior to suite your audio and video.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-06-16T02:12:24.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18683" PostTypeId="2" ParentId="18679" CreationDate="2016-06-16T11:17:09.633" Score="1" Body="&lt;p&gt;The rule of thumb for recording sound is that the closer to the source you get the better the sound. The reason is that the further you are from the source the more you have to increase the recording level, which means you also turn up all the background noise and room ambiance (echo and reverb). Since sound levels diminish proportionally to the square of the distance having the mic twice as far away means one quarter the sound level, or four times more background noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now it doesn't look like there's a microphone input on that camera. If that's the case the only way you can record sound using an external mic is with a separate recorder. You could use a phone if you have one, you can get external mics for phones. Put the mic and recorder close to the source - on the lectern or even on a mic stand. Then you can synch the sound in your editing app. Premiere for example will synch clips automatically from their audio.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-06-16T11:17:09.633" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18684" PostTypeId="2" ParentId="18678" CreationDate="2016-06-16T11:27:53.507" Score="1" Body="&lt;p&gt;The pulsating light is just the intensity of the light varying over time. There are various ways of doing that, you could keyframe it (if you had nothing better to do), you could use an expression like &lt;a href=&quot;https://www.lynda.com/After-Effects-tutorials/wiggle-expression/79651/117518-4.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;wiggle&lt;/a&gt;, or the &quot;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/assorted-animation-tools.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;the wiggler&lt;/a&gt;&quot; tool (if you're old school), or you could control it with the audio level of a layer that has audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're trying to drive the intensity of the light from the audio, then you need to first convert the audio levels to keyframes. Right-click the footage with the audio, and choose &lt;strong&gt;Animation&gt;Keyframe Assistant&gt;Convert Audio to Keyframes&lt;/strong&gt;, or with the audio layer selected go to the &lt;strong&gt;Animation&lt;/strong&gt; menu in the menu bar and choose *Keyframe Assistant&gt;Convert Audio to Keyframes**. Then you can use those keyframes by either copying and pasting to your light's intensity property (and tweaking the values in the graph editor), or using an expression. This &lt;a href=&quot;https://video.stackexchange.com/questions/18586/i-want-to-add-video-noise-grain-based-on-an-audio-track/18596#18596&quot;&gt;answer&lt;/a&gt; details how you do that.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-06-16T11:27:53.507" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18687" PostTypeId="2" ParentId="18679" CreationDate="2016-06-16T15:22:15.470" Score="0" Body="&lt;p&gt;It depends on what kind of look you want on your video. You could go with a gooseneck mic, which extends out towards you. It has near presence. If you prefer the microphone not be seen, your best bet is a short shotgun microphone, which you can boom from either above or below the frame line. If using a shotgun mic, laying a blanket down on the ground will reduce slap back from the ceiling to the floor. Shotgun microphones are highly directional, so they can be placed farther from the sound source and reject to a decent extent (depending on your budget) sound that is not within the pickup angle.  Microphone distance is not the only thing to consider. Because presence is important for natural sounding audio. A gooseneck mic should be 6&quot;-8&quot; away from your mouth, under the chin. A shotgun microphone's ideal placement would be 12&quot;-24&quot; above or below your head, 6&quot; out from your face towards the camera, and pointed directly at your mouth. If you use say a large diaphram microphone, like a Neumann, you'll want 3-6&quot; typically, but the micrphone will be in front of your face due to it's size. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-06-16T15:22:15.470" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18688" PostTypeId="2" ParentId="18646" CreationDate="2016-06-16T15:28:10.450" Score="1" Body="&lt;p&gt;There are also high speed cameras that use whats called a platter - think a large plate like wheel, with the film (a single layer) wrapped around the outside. The entire wheel is enclosed in darkness, sometimes so much as in a vacuum space to reduce both dust and friction of air/heat that would build up. The wheel is then rotated, using a high speed motor and perhaps a basic transmission, spinning up to a very very high RPM. And then the gate/shutter is opened. These cameras can achieve ridiculous speeds, the downside is they only record perhaps a few hundred frames a most. But that is suffice, for say capturing somthing like a bullet exiting a gun... triggering the timing of the camera to the event is the difficult part. Because in real time, the camera only records for a very short time, think 1/2000th of a second of &quot;real time&quot;. But you have as a result, 300 frames which represent 1/2000 of a second. 300x2000 = 600,000 FPS  The cameras that do 1 Million plus, which actually capture light traveling across a room as in, light turns on you can see the light actually move across the room. That is a whole different technology, where by they actually take millions of executions, separately, triggering the camera to record a frame in steps of 1/1M of a second later each time. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-06-16T15:28:10.450" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18691" PostTypeId="1" AcceptedAnswerId="18694" CreationDate="2016-06-16T18:27:43.420" Score="1" ViewCount="2148" Body="&lt;p&gt;I am watching a TV broadcast from &lt;a href=&quot;https://en.wikipedia.org/wiki/UEFA_Euro_2016&quot; rel=&quot;nofollow&quot;&gt;UEFA_Euro_2016&lt;/a&gt;. What surprises me is that I so a clearly hear the bouncing sound from the football when it is being kicked.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What techniques are used to record the audio from a football match?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there special requirements for the microphones that are specific for big sport events? Maybe they should be able to pick up weak sound that is almost drowned by a cheering supporter crowd.&lt;/p&gt;&#xA;" OwnerUserId="3189" LastEditorUserId="3189" LastEditDate="2016-06-16T22:05:20.957" LastActivityDate="2016-06-16T22:24:01.363" Title="How is the audio for a TV broadcasted football match recorded?" Tags="|audio-recording|microphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18692" PostTypeId="1" CreationDate="2016-06-16T19:59:19.630" Score="1" ViewCount="27" Body="&lt;p&gt;I'm considering buying a dolica tripod with ball head, and my question is if the dolica ball head will accept manfrotto quick release plates. I figure it probably won't, so is there any any adapter that will make it work? How do you guys deal with quick relases and different platforms?&lt;/p&gt;&#xA;" OwnerUserId="14300" LastActivityDate="2016-06-16T19:59:19.630" Title="Manfrotto quick release on Dolica ball head?" Tags="|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18693" PostTypeId="1" CreationDate="2016-06-16T21:44:00.713" Score="2" ViewCount="4029" Body="&lt;p&gt;I created a Slideshow in Final Cut Pro X.  I need to burn a DVD, I need to upload to YOUTUBE and I need to put on a jump drive.  I can export to Master File, however when I try to burn to DVD it only burns to 66% and stops.  I tried to &quot;Add&quot; background before burn to get it work to no avail.  The Slideshow is majority photos with very small small video at the end.  Specs are 720/42:22 minutes/42.4GB.  I just downloaded Wondershare video converter and feel perhaps I got ripped as it it stating conversion to 3.1gb will is taking 200 minutes.  I need help.  Any suggestions on how I can get this to burn to DVD, bypass 66% error, or compress smaller?&lt;/p&gt;&#xA;" OwnerUserId="15905" LastActivityDate="2020-01-03T21:31:06.723" Title="Final Cut Pro X Sharing to DVD 66% error? Slideshow compression?" Tags="|video-editor|editing|conversion|final-cut-pro-x|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18694" PostTypeId="2" ParentId="18691" CreationDate="2016-06-16T22:24:01.363" Score="2" Body="&lt;p&gt;The primary method of getting that &quot;zoomed in&quot; sound is using &lt;a href=&quot;https://en.wikipedia.org/wiki/Parabolic_microphone&quot; rel=&quot;nofollow&quot;&gt;parabolic microphones&lt;/a&gt;. They are manually operated and usually carried by the operator listening just to the output of that microphone. The operator will isolate the specific player or object that they are to focus on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Microphone#shotgun&quot; rel=&quot;nofollow&quot;&gt;Shotgun&lt;/a&gt; and &lt;a href=&quot;https://en.wikipedia.org/wiki/Microphone#Cardioid.2C_Hypercardioid.2C_Supercardioid&quot; rel=&quot;nofollow&quot;&gt;other directional microphones&lt;/a&gt; are used to pick up more ambiance of the play while not picking up too much of the crowd. However, they aren't precise enough to capture a player's foot striking the ball.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Microphone#Boundary_or_.22PZM.22&quot; rel=&quot;nofollow&quot;&gt;Pressure zone microphones (PZM)&lt;/a&gt; are often placed on objects, like the goal, to capture the sound of the ball striking that object.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.tvtechnology.com/miscellaneous/0008/just-like-being-there/203692&quot; rel=&quot;nofollow&quot;&gt;This article&lt;/a&gt; reviews mic'ing and mixing techniques for a few different sports, though not (non-US) football.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2016-06-16T22:24:01.363" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18695" PostTypeId="1" CreationDate="2016-06-16T23:13:32.827" Score="2" ViewCount="296" Body="&lt;p&gt;Any transition disappears when one of the two joined clips are moved in the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Vegas you can reposition clips without loosing the transitions. Can this be done in Premiere as well?&lt;/p&gt;&#xA;" OwnerUserId="3845" LastActivityDate="2016-06-17T00:46:23.167" Title="How to move clips without loosing transitions?" Tags="|premiere|transitions|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18696" PostTypeId="2" ParentId="18695" CreationDate="2016-06-17T00:06:34.003" Score="0" Body="&lt;p&gt;You can move two clips simultaneously, and then the transition between them will stay. If you move only one clip, how program shall understand, which clip shall keep the transition? And what kind of behavior we need to expect, if new place of the clip will not have any other clip next to it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can choose one transition, and remake it anywhere in your composition with shortcuts.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-06-17T00:06:34.003" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18697" PostTypeId="2" ParentId="18695" CreationDate="2016-06-17T00:46:23.167" Score="2" Body="&lt;p&gt;The &quot;Slide Tool&quot; tool makes it possible to move a single clip without loosing the transition connected to another clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wsHgY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wsHgY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3845" LastActivityDate="2016-06-17T00:46:23.167" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18699" PostTypeId="1" AcceptedAnswerId="18700" CreationDate="2016-06-17T06:54:40.490" Score="0" ViewCount="241" Body="&lt;p&gt;Is there a difference between Virtual reality and a 360°video? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For me, you cannot have a VR without a 360video (and 360 camera). And these 360 panoramas, are they considered VR? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A little broad question but hope I can get it straight. &lt;/p&gt;&#xA;" OwnerUserId="11873" LastActivityDate="2016-06-17T16:41:17.037" Title="VR vs 360 video" Tags="|video|360video|" AnswerCount="1" CommentCount="1" ClosedDate="2016-06-27T09:38:43.777" ContentLicense="CC BY-SA 3.0" />
  <row Id="18700" PostTypeId="2" ParentId="18699" CreationDate="2016-06-17T07:51:50.433" Score="2" Body="&lt;p&gt;There is a difference between &quot;Virtual Reality&quot; and 360* Video because they have completely different uses. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;360 video is created from multiple streams of video being stitched together, or one very wide camera lens. It will either be viewed as one greatly distorted video stream or in a special viewer that only &quot;shows&quot; a window into the plate and lets you &quot;look around&quot; -with a corresponding drop in resolution. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Virtual Reality usually refers to a synthetic world created in a program of some kind like &lt;a href=&quot;https://unity3d.com/&quot; rel=&quot;nofollow&quot;&gt;Unity&lt;/a&gt;: Unity Game Development Engine or &lt;a href=&quot;https://docs.unrealengine.com/latest/INT/Platforms/VR/&quot; rel=&quot;nofollow&quot;&gt;Unreal Engine&lt;/a&gt;&#xA;&lt;a href=&quot;https://www.quora.com/I-want-to-be-a-virtual-reality-developer-From-where-can-I-start-What-are-the-best-learning-materials&quot; rel=&quot;nofollow&quot;&gt;Here some starter information on VR Development&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is possible to merge video and &quot;VR&quot; in the context of movie. What you are really creating is a composite (Visual Effects) shot. Simply put, it involves creating a &lt;a href=&quot;http://www.tested.com/art/538855-how-lidar-used-visual-effects/&quot; rel=&quot;nofollow&quot;&gt;LIDAR&lt;/a&gt; scan of a location. Putting that information into a 3D program such as &lt;a href=&quot;http://www.autodesk.com/products/maya/overview&quot; rel=&quot;nofollow&quot;&gt;MAYA&lt;/a&gt; and then projecting the combination of elements onto the 3D models created from the scan. At which point you may have a 360 virtual set that you could render shots from. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Industries like firefighters and the military are starting to use realistic VR for training. And I think that's probably the closest to what you're talking about. It's going to be a limited &quot;game&quot; universe where the models are possibly scanned from real-world locations. However there's no reason to use 360 video for these applications, it would introduce more issues than it solved over just getting real textures and images.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suppose it makes sense to mention what &lt;a href=&quot;http://secondlife.com/&quot; rel=&quot;nofollow&quot;&gt;2nd Life&lt;/a&gt; and &lt;a href=&quot;http://articles.latimes.com/2011/apr/24/entertainment/la-ca-noir-city-20110424&quot; rel=&quot;nofollow&quot;&gt;some games have done&lt;/a&gt; with VR and realism.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And what Google is doing with &lt;a href=&quot;https://vr.google.com/jump/&quot; rel=&quot;nofollow&quot;&gt;360 video&lt;/a&gt;/images&lt;/p&gt;&#xA;" OwnerUserId="6226" LastEditorUserId="6226" LastEditDate="2016-06-17T16:41:17.037" LastActivityDate="2016-06-17T16:41:17.037" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18702" PostTypeId="1" CreationDate="2016-06-17T18:30:32.243" Score="3" ViewCount="2219" Body="&lt;p&gt;I am trying to render video from Adobe After Effects using PHP through command line. When i try to render video from After effects render Queue, i can see in Task Manager that all CPU cores are using. i have following PHP script which takes AE template file and render video.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;?php&#xA;  exec('aerender.exe -project myproject.aepx -comp &quot;Final&quot; -mp  -output video.mov')&#xA;&#xA; // -mp - Additional processes may be created to render multiple frames simultaneously&#xA;?&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When i execute this PHP file from command line like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;php /path/to/above_script_file.php&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;its working fine too. All CPU cores are using and video is rendering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3J0wt.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3J0wt.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;BUT&lt;/strong&gt; when i execute same script from browser using WAMP server, rendering starts, all instances get starts but suddenly close and 1 or sometimes 2 After effects instances are running but in hanged position. No memory or CPU is changing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xcCkX.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xcCkX.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are my After Effects preferences&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/APCiF.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/APCiF.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE:&lt;/strong&gt;&#xA;When i am trying to render using below command&#xA;    aerender -project /path/ -comp Final -mp -output out.mov&lt;/p&gt;&#xA;&#xA;&lt;p&gt;its working and using multiprocessing. but when trying to render from web app it show below error message in log file&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;There is an error in background rendering so switching to foreground rendering after 0 frames completed out of total 601 frames.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Message interpretation:&lt;a href=&quot;https://myleniumerrors.com/tag/cs4/page/54/&quot; rel=&quot;nofollow noreferrer&quot;&gt;enter link description here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;The multiprocessing feature was unable to use all instances beyond a     certain point in the rendering process. This is an error that only shows     in the render log file.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="9281" LastActivityDate="2017-01-28T17:03:42.530" Title="After Effects Multiple instances hangs when rendering using PHP and Command Line" Tags="|after-effects|aerender|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18703" PostTypeId="2" ParentId="18658" CreationDate="2016-06-18T05:41:07.670" Score="1" Body="&lt;p&gt;First, check to make sure that neither you nor the app have created handles on your clips. Handles are a few frames at the beginning and end of a clip that are used to overlap with another clip when doing a crossfade or other transition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're sure that the in and out points of the clips really are the first and last frames of each clip, then you're probably out of luck. (See below for 1 possible solution.) Why does this happen? Without knowing the camera you used, I can only guess. There are 2 reasons that cameras will break clips into smaller pieces:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strike&gt;U.S.&lt;/strike&gt;E.U. Tax Code - When importing a camera from another country, if the camera can record 30 minutes or more (I think - don't quote me on the exact time), then it is considered a video recorder and is taxed at a higher rate than a still camera. To skirt this issue and keep prices low, many low-end cameras will limit their record time to 1 frame less than the minimum required to be considered a video camera. Many will even automatically create multiple clips that are no longer than the limit. &lt;a href=&quot;http://www.tested.com/tech/photography/44445-why-digital-cameras-have-a-30-minute-video-recording-limit/&quot; rel=&quot;nofollow&quot;&gt;Here's a link that explains it&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;File System Limits - Older file systems (particularly DOS's FAT file system which is used by lots of cameras) may have a maximum file size limit of either 2GB or 4GB, depending on the implementation. If your clips are long enough to be bigger than 2 or 4GB, some cameras will split the clip into multiple files automatically.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;So it could be the camera auto-split for one of the above reasons. The thing is that some cameras will drop frames during the splitting of files, and when they do, there's nothing you can do to get them back. You might be able to create in-between frames using a tool like &lt;a href=&quot;http://revisionfx.com/products/twixtor/&quot; rel=&quot;nofollow&quot;&gt;Re:Vision FX Twixtor&lt;/a&gt;, or a similar product.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-06-18T05:41:07.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18706" PostTypeId="2" ParentId="18702" CreationDate="2016-06-18T11:23:07.493" Score="2" Body="&lt;p&gt;You may want to try to write the output of your task to a file and tell your system to start it as a background task by adding the &amp;amp;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;exec('aerender.exe -project myproject.aepx -comp &quot;Final&quot; -mp  -output video.mov &amp;gt;/dev/null &amp;amp;')&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It might also be something in your server setup, the max. memory maybe? &lt;/p&gt;&#xA;" OwnerUserId="15916" LastActivityDate="2016-06-18T11:23:07.493" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18708" PostTypeId="1" CreationDate="2016-06-19T04:11:39.613" Score="1" ViewCount="2358" Body="&lt;p&gt;I have a blender animation fully rendered and imported into after effects and I want to try to remove as much noise and grain as much as possible.&lt;/p&gt;&#xA;&lt;p&gt;However the type of noise that will be presented may be much different Than what you were expecting.&lt;/p&gt;&#xA;&lt;p&gt;Here's an image of my blender animation:&lt;a href=&quot;https://i.stack.imgur.com/ZaL8c.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZaL8c.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you can see, The type of grain/noise is much more of pixels being mixed together rather than colorful blocky chunks of pixels.&lt;/p&gt;&#xA;&lt;p&gt;I have already tried to use the Removal Grain effect from the effects at the top, but that proved to be ineffective.&lt;/p&gt;&#xA;" OwnerUserId="15921" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-10-17T20:44:13.423" Title="Is there a way of removing grain from a cgi animation in after effects? (not the video kind.)" Tags="|after-effects|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18709" PostTypeId="1" AcceptedAnswerId="18710" CreationDate="2016-06-19T10:35:11.520" Score="0" ViewCount="741" Body="&lt;p&gt;I'm working with video editing for years but suddenly I've stumbled upon an issue that I can't seem to figure out. I have many video files in .mkv, and I need to edit them in Sony Vegas - hence, I need to convert them. Files are 720p resolution. When I convert them though, the size difference is quite incredible - from 350MB to 1GB per file. I don't have enough space on my computer to work on such huge files, but I still need to edit them in Vegas. I've been reading about conversion, but this continues to be a confusing topic to me. From what I understood the size difference comes from bit rate change and the general settings of conversion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone explain to me, in simple words if possible, how to reduce the size when converting? I'd love for it to be at least half the size (0.5GB at most). Maybe there is a way to keep it the same size as the original file, or would there be too much quality loss? Is the only way of reducing file size is quality loss? Maybe I could use another file extension or different settings?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;edit:MediaInfo&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Format                                   : Matroska&#xA;Format version                           : Version 4 / Version 2&#xA;File size                                : 351 MiB&#xA;Duration                                 : 46mn 26s&#xA;Overall bit rate                         : 1 056 Kbps&#xA;Writing application                      : mkvmerge v7.9.0 ('Birds') 64bit&#xA;Writing library                          : libebml v1.3.1 + libmatroska v1.4.2&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : High@L4&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 8 frames&#xA;Codec ID                                 : V_MPEG4/ISO/AVC&#xA;Duration                                 : 46mn 25s&#xA;Bit rate                                 : 998 Kbps&#xA;Width                                    : 1 280 pixels&#xA;Height                                   : 720 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 23.976 (24000/1001) fps&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.045&#xA;Stream size                              : 331 MiB (95%)&#xA;Writing library                          : x264 core 146 r2538 121396c&#xA;Encoding settings                        : cabac=1 / ref=8 / deblock=1:-1:-1 / analyse=0x3:0x133 / me=umh / subme=9 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=1 / me_range=16 / chroma_me=1 / trellis=2 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-2 / threads=12 / lookahead_threads=1 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=2 / b_adapt=2 / b_bias=0 / direct=3 / weightb=1 / open_gop=0 / weightp=2 / keyint=250 / keyint_min=23 / scenecut=40 / intra_refresh=0 / rc_lookahead=60 / rc=2pass / mbtree=1 / bitrate=998 / ratetol=1.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / cplxblur=20.0 / qblur=0.5 / ip_ratio=1.40 / aq=1:1.00&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC&#xA;Format/Info                              : Advanced Audio Codec&#xA;Format profile                           : HE-AAC / LC&#xA;Codec ID                                 : A_AAC&#xA;Duration                                 : 46mn 26s&#xA;Bit rate                                 : 56.0 Kbps&#xA;Channel(s)                               : 2 channels&#xA;Channel positions                        : Front: L R&#xA;Sampling rate                            : 48.0 KHz / 24.0 KHz&#xA;Frame rate                               : 23.438 fps (1024 spf)&#xA;Compression mode                         : Lossy&#xA;Delay relative to video                  : 31ms&#xA;Stream size                              : 18.6 MiB (5%)&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerDisplayName="user15924" LastEditorDisplayName="user15924" LastEditDate="2016-06-19T11:03:19.950" LastActivityDate="2020-12-18T03:47:10.053" Title="MKV to WMV conversion and the size difference" Tags="|video-editor|conversion|file-formats|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18710" PostTypeId="2" ParentId="18709" CreationDate="2016-06-19T11:25:51.440" Score="2" Body="&lt;p&gt;Using &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool, you should be able to run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -c copy input.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Vegas might not load the audio, since it's HE-AAC. In which case, run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -c:v copy input.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Both the commands simply copy the video stream into a MP4, so there's no recompression. The 2nd command recompresses the audio, for compatibility's sake.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-06-19T12:52:14.667" LastActivityDate="2016-06-19T12:52:14.667" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="18714" PostTypeId="2" ParentId="18708" CreationDate="2016-06-19T17:05:49.663" Score="0" Body="&lt;p&gt;You could try two approaches. One would be to use a plugin called denoiser by MagicBullet, which you have to buy. It does a terrific job but is painfully slow. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second approach would be to export your sequence to a full resolution TIF sequence. Then use Photoshop's Image Processor, to batch the files-&gt; running an action you create to apply the effect Despeckle. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can try to export just a single frame, take it into Photoshop, and play with the Despeckle / Noise Reduction filters you have under the Noise drop down under effects, until you get the desired results. Then record the action of the final settings you feel look best. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Run Image Processor on your exported TIF sequence, saving back to TIF at same resolution, and have Image Processor run the action you recorded applying the filter settings you deemed best. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Judging by the image you provided, I would try Despeckle first, then add perhaps a very very small gaussian blur (very small like 0.1 or 0.2), then last, ADD noise to the image, use a very low variable, like 2 or 3, and use monochromatic noise (no color). Adding noise, a very small amount, will add a bit of texture to the image, much like film grain, and help mask out any little specks which might have been missed by the previous effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again:  Despeckle -&gt; Gaussian Blur 0.2ish -&gt; Add Noise No Color Checked setting in the 2-4 range (setting may need to be higher if your image size is large, say 4k). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Record that, then process. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take your TIF sequence processed through photoshop. Drag into PremierePro.  Set Still frame length to 1 Frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Create new sequence from 1 of the frames to match frame settings. Drage all your images to sequence. Render out as whatever you want. Then take back into AE if need be. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-06-19T17:05:49.663" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18715" PostTypeId="1" CreationDate="2016-06-20T06:09:58.390" Score="0" ViewCount="704" Body="&lt;p&gt;I want to know how peoples create those fancy highlights for a match, as match goes for over 90 minutes and highlights show every thing in just 3 to 4 minutes ... which tools or techniques are used to create those highlights ? I want to create those ones for my self and for my channel .... any one idea please share with me &lt;/p&gt;&#xA;" OwnerUserId="15931" LastActivityDate="2017-01-19T03:02:46.603" Title="How peoples create video highlights from matches?" Tags="|video-recording|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18717" PostTypeId="2" ParentId="18203" CreationDate="2016-06-20T08:27:05.157" Score="9" Body="&lt;p&gt;I can answer your first question. &lt;strong&gt;At the same bitrate and transcoding from an 8-bit source&lt;/strong&gt; 10-bit HEVC is better than 8-bit HEVC, because it hardcodes dither. &lt;a href=&quot;https://web.archive.org/web/20190610103731/https://gist.github.com/l4n9th4n9/4459997&quot; rel=&quot;nofollow noreferrer&quot;&gt;archived version of https://gist.github.com/l4n9th4n9/4459997&lt;/a&gt;&#xA;I am still unsure, whether that makes 12-bit HEVC transcodes superior  to 10-bit, thats why I ended up here.&lt;/p&gt;&#xA;" OwnerUserId="15933" LastEditorUserId="674" LastEditDate="2021-11-10T10:26:27.990" LastActivityDate="2021-11-10T10:26:27.990" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="18722" PostTypeId="2" ParentId="18715" CreationDate="2016-06-20T21:20:00.400" Score="0" Body="&lt;p&gt;Creating game/match highlights really all comes down to logging the game. You need to identify the in and out times of all of the relevant plays. Depending on how many simultaneous games you are recording, how quickly you need to turn around the highlight package to air, and several other factors determine what tools you will use. If you are just working on one game and have lots of time to turn around the package, you could probably get away with creating your own Excel logging template and edit with any software. However, the more simultaneous games and the quicker you need to get to air, the more you will need specialized software. You will also need to add more thorough and accurate metadata, so that you can search to find the right shots for the highlight package.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are sport specific logging tools that allow you to quickly build up the metadata about the shot (&lt;a href=&quot;http://derafwxer04zs.cloudfront.net/sites/default/files/images/Dalet_Sports_Logger.png&quot; rel=&quot;nofollow&quot;&gt;like this one from Dalet&lt;/a&gt;) and integrate with editing and asset management systems.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2016-06-20T21:20:00.400" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18724" PostTypeId="1" CreationDate="2016-06-21T12:47:41.200" Score="1" ViewCount="944" Body="&lt;p&gt;In order to test a lossless recording system, I have to verify that the input video is exactly the same than the output video.&#xA;As a test source I have generated an ffmpeg's &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#allrgb_002c-allyuv_002c-color_002c-haldclutsrc_002c-nullsrc_002c-rgbtestsrc_002c-smptebars_002c-smptehdbars_002c-testsrc_002c-testsrc2&quot; rel=&quot;nofollow noreferrer&quot;&gt;testsrc&lt;/a&gt; pattern, which is really nice by the way.&#xA;It makes such pictures, for those who don't know: &lt;a href=&quot;https://i.stack.imgur.com/0laHY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/0laHY.jpg&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/0laHY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0laHY.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I play this video with &lt;a href=&quot;https://mpc-hc.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPC-HC&lt;/a&gt; and I make print screen, I could see that the Reg, Green and Blue color bars are not as expected:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&#xA;    Player          |  Red (R, G, B)  | Green (R, G, B) |  Blue (R, G, B) |&#xA;MPH-HC (Gamma 2.20) | (255,  17,   0) | (  0, 216,   0) | (  0,   6, 255) |&#xA;MPH-HC (Gamma 2.35) | (255,  13,   0) | (  0, 213,   0) | (  0,   4, 255) |&#xA;MPH-HC (Gamma 2.40) | (255,  12,   0) | (  0, 213,   0) | (  0,   4, 255) |&#xA;  ffplay            | (235,  15,  14) | ( 14, 237,  14) | ( 16,  15, 239) |&#xA;  ffmpeg -&amp;gt; .bmp    | (255,   0,   0) | (  0, 255,   0) | (  0,   0, 255) |&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; To get the (R, G, B) value I did a print screen and paste into MS Paint. Then I use the color picker tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can explain the ffplay value, it's due to TV levels [16..235] instead of PC level [0..255]. After having googled how to configure ffplay so as to output PC levels I didn't find any possibilities.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can explain the variation of the color bars when I use different value of gamma in MPC-HC. As a software developer I have modified MPC-HC source code to play with other values of gamma. I couldn't find a value of gamma that doesn't alter the color. A lower value will increase the quantity of Green in the Red and Blue color bars. A higher value will decrease the quantity of Green in the Red and Blue color bars, but it will also decrease the quantity of green in the Green bar! So my conclusion is that it doesn't come from the gamma correction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've generated a 3840 x 2160 video, so the color are in BT.709 space. When I play with MPC-HC I confirm the BT.709 is used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have an idea where it may come from?&lt;/p&gt;&#xA;" OwnerUserId="14019" LastEditorUserId="1871" LastEditDate="2016-06-21T14:05:37.870" LastActivityDate="2016-06-21T14:05:37.870" Title="MPC-HC is altering the colors" Tags="|ffmpeg|encoding|h.264|colorspace|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="18725" PostTypeId="2" ParentId="17234" CreationDate="2016-06-21T17:58:55.807" Score="0" Body="&lt;p&gt;I would suggest throwing the video into After Effects (if possible) add some corrections to the brightness then when you go to export, change the codec to Photo-Jpeg with 100 quality. I've been using that for a while now and haven't had any issues.&lt;/p&gt;&#xA;" OwnerUserId="15942" LastActivityDate="2016-06-21T17:58:55.807" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18726" PostTypeId="2" ParentId="13304" CreationDate="2016-06-22T01:11:18.220" Score="7" Body="&lt;p&gt;SVG supports animation using JavaScript and the animate element. That means using a browser or embeddable renderer like WebKit to render it, though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Older games often used their own vector animation formats. You might look into the asset formats supported by open source implementations of old game engines like ScummVM and Sarien. There are some asset extractors and editors, but I'm not sure if there are any standalone viewers, so you might have to extract the animation code yourself if you were to go this route.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;May I ask what your end goal is? I'm into vector graphics for the same reason I like MODs and chip music; the more recent formats are huge and CPU hungry, and frankly it feels like cheating compared to what could be accomplished on a PC with 640k of RAM or even a Commodore 64.&lt;/p&gt;&#xA;" OwnerUserId="15945" LastActivityDate="2016-06-22T01:11:18.220" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18729" PostTypeId="2" ParentId="11998" CreationDate="2016-06-22T19:15:50.923" Score="0" Body="&lt;p&gt;I had the same problem - Premiere hanging on ExportAVI plugin during launch. I have upgraded my NVidia display driver . . . and everything else runs fine on my Windows 10, desktop.  I think the ExportAVI.prm is a corrupt file . . .when I delete it, or move it temporarily to another folder, Premiere starts up fine. (the file is located in the Premiere/Plugins folder.)&lt;/p&gt;&#xA;" OwnerUserId="15953" LastActivityDate="2016-06-22T19:15:50.923" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18730" PostTypeId="1" AcceptedAnswerId="18743" CreationDate="2016-06-22T22:00:46.323" Score="2" ViewCount="92" Body="&lt;p&gt;I try to render with After Effects CS6. I have a weird problem. Here render result:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Hji09buWxYo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes, it's show some old frames as you see in video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here normal video (rendered with Camtasia):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/qF7MJBHpCuo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My AE render settings are default. And this is being every (fresh&amp;amp;new) project. Would you have a suggestion for this problem? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks a lot.&lt;/p&gt;&#xA;" OwnerUserId="15955" LastActivityDate="2019-04-13T04:05:36.023" Title="After Effects CS6 Problem" Tags="|video|after-effects|video-editor|compositing|aerender|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18731" PostTypeId="2" ParentId="18715" CreationDate="2016-06-22T22:30:52.910" Score="1" Body="&lt;p&gt;Alot of times there is someone who tracks the game and writes down specific times. Say there was a goal at the 35 min mark, they jot down &quot;Goal - team name - 35:26&quot; or something related to that. Then later on they have a list of different times as well as different events (goals, saves, close shots, etc.) and choose the best ones. Then the editor opens a recording of the whole game in Final Cut Pro or Adobe Premiere and goes to those times, trims them quickly, add cool transitions and exports. I have experience with it and for a 3 period hockey game, I can normally edit and export in under an hour. The log file saves you from having to scrub through and find the best shots.&lt;/p&gt;&#xA;" OwnerUserId="15942" LastActivityDate="2016-06-22T22:30:52.910" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18732" PostTypeId="1" CreationDate="2016-06-23T04:20:49.350" Score="-2" ViewCount="37" Body="&lt;p&gt;I'm working on a YouTube video based on a Radio Play called, &quot;The Hitchhiker&quot;. I asked David Von Penn to use his video for my plans. &lt;a href=&quot;https://www.youtube.com/watch?v=D_vGz_Jbn54&quot; rel=&quot;nofollow&quot;&gt;enter link description here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, I asked him permission, and he said yes. Unfortunately, I can't get it on YouTube Video Editor. It only has creative commons, but the video is of standard YouTube license. Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="15956" LastActivityDate="2016-06-23T09:15:22.503" Title="I'd like some help with something" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18734" PostTypeId="1" CreationDate="2016-06-23T07:59:44.413" Score="1" ViewCount="2830" Body="&lt;p&gt;I know about the &lt;em&gt;J&lt;/em&gt; and &lt;em&gt;K&lt;/em&gt; shortcuts for the previous/next (visible) keyframe on the timeline.&#xA;I was wondering if there was something similar to reach the previous/next keyframe &lt;strong&gt;on the current layer&lt;/strong&gt;.&#xA;Seems &lt;a href=&quot;https://forums.adobe.com/thread/564410&quot; rel=&quot;nofollow&quot;&gt;it exists for Flash&lt;/a&gt; (Animate CC) but can't find anything about it in After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks !&lt;/p&gt;&#xA;" OwnerUserId="15961" LastActivityDate="2022-09-22T20:07:12.090" Title="After Effects : shortcut for next keyframe on current layer?" Tags="|after-effects|keyframes|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18736" PostTypeId="2" ParentId="18732" CreationDate="2016-06-23T09:15:22.503" Score="0" Body="&lt;p&gt;YouTube does not offer a simple way to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your two options are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;download the video yourself using one of the numerous 3rd party tools for downloading YouTube videos&lt;/li&gt;&#xA;&lt;li&gt;get the original from the owner&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="674" LastActivityDate="2016-06-23T09:15:22.503" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18738" PostTypeId="1" AcceptedAnswerId="18739" CreationDate="2016-06-23T20:16:51.570" Score="2" ViewCount="2965" Body="&lt;p&gt;I have a video file and an audio file (that contains 2 channels) and i want to map the video to stream 0 of the resulting file and the audio file to the next stream/s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since the audio file has 2 channels, would i have to map it to 2 separate streams? (1 and 2 of the resulting file)&#xA;Or just one stream? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, how should i go about doing that?&#xA;I've only tried mapping with video files so i'm not sure how to do it with audio ones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="15838" LastActivityDate="2017-03-22T08:46:16.143" Title="ffmpeg - mapping an audio file with 2 channels to a video file?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18739" PostTypeId="2" ParentId="18738" CreationDate="2016-06-23T20:28:14.677" Score="3" Body="&lt;p&gt;Channels are conjoint tracks within a single stream, so a stereo audio WAV has one stream which contains two channels. If this is what you have, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video -i audio -map 0:v -map 1:a output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If they are distinct streams, then the above command will still map all the streams, but for explicit specification, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video -i audio -map 0:v -map 1:a:0 -map 1:a:1 output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-06-23T20:28:14.677" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18740" PostTypeId="1" AcceptedAnswerId="18742" CreationDate="2016-06-23T22:59:44.470" Score="0" ViewCount="1011" Body="&lt;p&gt;I am using Powerpoint to create animations which I then export into a video and crop and convert to GIF using ffmpeg. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/6zl9ht7mluiim7a/cropped_vlans-3vlans-tag-untag.mp4?dl=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt; is the (cropped) MP4 video, and this is the GIF I was able to produce:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BcKJT.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BcKJT.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To my (untrained) eye, it appears rather grainy, and not terribly smooth. I am wondering if there are options in ffmpeg I can be using thaat will give me a better quality GIF.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the command I am using to crop:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in\vlans-3vlans-tag-untag.mp4 -filter:v &quot;crop=1262:423:91:154&quot; in\cropped_vlans-3vlans-tag-untag.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here are the two commands I am using to convert:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -vf fps=35,scale=896:-1:flags=lanczos,palettegen out\PALETTE.png -i in\cropped_vlans-3vlans-tag-untag.mp4&#xA;ffmpeg -y -filter_complex &quot;fps=35,scale=896:-1:flags=lanczos[x];[x][1:v]paletteuse&quot; -i in\cropped_vlans-3vlans-tag-untag.mp4 -i out\PALETTE.png  out\vlans-3vlans-tag-untag.gif&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I should say, I am not particularly talented with ffmpeg, I mostly put these commands together from googling and other posts on this site. So if any of the arguments I am using are making the conversion worse, I'd also be interested in hearing about it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried the &lt;code&gt;-b 2048k&lt;/code&gt; option, and I couldn't tell a difference in quality. In fact, when I ran a SHA256 hash on the output file with and without this option, the result was identical.&lt;/p&gt;&#xA;" OwnerUserId="12613" LastActivityDate="2016-06-24T03:51:16.790" Title="Is this as high quality a GIF I can produce from this MP4 using FFMPEG?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18741" PostTypeId="1" CreationDate="2016-06-23T23:27:21.983" Score="0" ViewCount="6011" Body="&lt;p&gt;I am learning English and I want to record &lt;a href=&quot;https://youtu.be/Bpc2jmNpL78&quot; rel=&quot;nofollow noreferrer&quot;&gt;this stream&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;It's using Flash Player and in addition include PDF doc.&lt;br /&gt;&#xA;Thanks for your interest.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8wMiD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8wMiD.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="15974" LastEditorUserId="18155" LastEditDate="2022-01-30T08:44:14.333" LastActivityDate="2024-02-19T14:06:40.780" Title="How can I record Adobe Flash Player stream" Tags="|video-recording|video-capture|digital-recording|live-recording|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="18742" PostTypeId="2" ParentId="18740" CreationDate="2016-06-24T03:51:16.790" Score="1" Body="&lt;p&gt;The separate cropping step is leading to a generational loss. You can combine that and see.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in\vlans-3vlans-tag-untag.mp4&#xA;       -vf &quot;crop=1262:423:91:154,scale=896:-1:flags=lanczos,fps=35,palettegen&quot;&#xA;       out\PALETTE.png&#xA;&#xA;ffmpeg -i in\vlans-3vlans-tag-untag.mp4 -i out\PALETTE.png&#xA;       -filter_complex &quot;[0]crop=1262:423:91:154,scale=896:-1:flags=lanczos,fps=35[v];&#xA;                        [v][1]paletteuse&quot;&#xA;       out\vlans-3vlans-tag-untag.gif&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-06-24T03:51:16.790" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18743" PostTypeId="2" ParentId="18730" CreationDate="2016-06-24T09:24:34.697" Score="1" Body="&lt;p&gt;The issue was with Camtasia 8's capture. Converting from the AVI format to a MOV format fixed the issue.&lt;/p&gt;&#xA;" OwnerUserId="15955" LastEditorUserId="15885" LastEditDate="2017-12-18T19:02:26.687" LastActivityDate="2017-12-18T19:02:26.687" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18746" PostTypeId="1" CreationDate="2016-06-24T17:39:08.897" Score="3" ViewCount="34504" Body="&lt;p&gt;I have imported a layered Photoshop file into After Effects as a layered comp with several .psd &amp;quot;footage&amp;quot; layers.&lt;/p&gt;&#xA;&lt;p&gt;I've created and edited the comps within the 20s main comp with animations and effects. Now I need to extend the static layers(all 7s) to the length of the main comp(20s).&lt;/p&gt;&#xA;&lt;p&gt;I've tried dragging to extend their regions and right-clicking &amp;gt; Time &amp;gt; Enable Time Remapping(this allows me to extend the region with keyframes, but the content still ends short of the comp length).&lt;/p&gt;&#xA;&lt;p&gt;When I right-click the static layer and click &amp;quot;Open Layer Source&amp;quot;, the preview shows the layer region extending to the same time as in the timeline...&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/icZAR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/icZAR.png&quot; alt=&quot;layer region length&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;but the green render bar only goes to 5s...&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sWEMD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sWEMD.png&quot; alt=&quot;layer render bar&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I can see this when I drag the playhead in the main comp timeline—the layers with this problem disappear at 5s even though their regions extend to 7s.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;1.&lt;/strong&gt; I need to get these layer regions to extend the length of my 20s comp.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;2.&lt;/strong&gt; It seems like the layer source only goes to 5s when I &amp;quot;Open Layer Source&amp;quot;, so even if the region goes to 20s, the 'content' only goes to 5s.&lt;/p&gt;&#xA;&lt;p&gt;How can I extend everything to 20s &lt;em&gt;without&lt;/em&gt; reimporting everything and doing all of my keyframes/animations/effects over again?&lt;/p&gt;&#xA;&lt;p&gt;Or is there a way to reimport those layers, but keep all of my keyframes/animations/effects.&lt;/p&gt;&#xA;&lt;p&gt;Using the latest Photoshop CC 2015.5 &amp;amp; After Effects CC v2015.3.&lt;/p&gt;&#xA;" OwnerUserId="15979" LastEditorUserId="15979" LastEditDate="2021-07-15T13:21:11.627" LastActivityDate="2021-07-15T13:21:11.627" Title="Extend duration of imported static layers in After Effects" Tags="|after-effects|" AnswerCount="5" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="18747" PostTypeId="2" ParentId="18741" CreationDate="2016-06-25T00:08:33.753" Score="0" Body="&lt;p&gt;Use a browser plugin such as &lt;a href=&quot;https://addons.mozilla.org/en-US/firefox/addon/video-downloadhelper/&quot; rel=&quot;nofollow&quot;&gt;https://addons.mozilla.org/en-US/firefox/addon/video-downloadhelper/&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you go to the page after installing, an icon will alert you to downloadable media and provide you different formats if they are available.&lt;/p&gt;&#xA;" OwnerUserId="3675" LastActivityDate="2016-06-25T00:08:33.753" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18749" PostTypeId="1" AcceptedAnswerId="18752" CreationDate="2016-06-25T01:12:36.053" Score="0" ViewCount="460" Body="&lt;p&gt;I'm not even a beginner yet - I've never owned a video camera in my life.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I want to buy one, set it up on a tripod and use a remote control to film myself talking about various topics, then put the videos on my websites.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I learned that a camcorder is a portable video camera that records both visual and audio. So my question is simple: What do you call a NON-PORTABLE video camera that records visual and audio both? (I always assumed video cameras recorded both visual and audio by default.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My videos will all include soundtracks, so I either need a video camera that does both, or I could attach a microphone to my Mac and record an audio track at the same time that I'm recording a visual with my video camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In fact, that's another question I have: Would there be any advantages to recording a visual and audio separately (but simultaneously), using a video camera and an audio recorder built into my laptop? (Or should I post that as a separate question?)&lt;/p&gt;&#xA;" OwnerUserId="15980" LastEditorUserId="14523" LastEditDate="2016-06-26T15:34:10.473" LastActivityDate="2016-06-26T15:34:10.473" Title="Camcorder vs. not a camcorder and separate audio and video recording" Tags="|audio|camera|camcorder|terminology|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18750" PostTypeId="2" ParentId="18153" CreationDate="2016-06-25T01:33:32.540" Score="1" Body="&lt;p&gt;I ended up animating this map manually. The easiest way to me was to animate dots frame by frame in Flash and import movie to AE.&lt;/p&gt;&#xA;" OwnerUserId="14334" LastActivityDate="2016-06-25T01:33:32.540" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18752" PostTypeId="2" ParentId="18749" CreationDate="2016-06-25T10:26:19.967" Score="2" Body="&lt;h2&gt;Terminology&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;In theory, a camcorder is a video camera that also records video. A long time ago, this was an important distinction, since movie cameras (which are analog and record to film) and other now somewhat obsolete cameras didn't have inbuilt recording capabilites.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(DISCLAIMER: opinionated paragraph ahead!) This distinction doesn't really matter anymore, since most video cameras are camcorders anyway, and/or can record to film and on a digital storage simultaneously (on a professional level). I have really seen the term 'camcorder' used more often to distinguish inexpensive consumer-level cameras from full-fledged, professional video cameras. Since the technology of those aren't fundamentally different (any more), this terminology has lost much of it's meaning.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I learned that a camcorder is a portable video camera that records both visual and audio&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I don't know where you heard this, but I don't think that's correct. At least I have never seen it used in that way, but then again, people are mixing up the terminology all the time and especially terms like that that have to some extent lost their original meaning get used in all kinds of contexts and meanings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most cameras will record both audio and video. Prosumer-level and some consumer-level cameras will both have an inbuilt microphone as well as an audio jack for external ones. I'm not sure about high-end professional cameras having inbuilt microphones, but at that level you really only use external microphones, since the internal ones have some shortcomings (see External vs. internal microphones).&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;What do you call a NON-PORTABLE video camera that records visual and audio both?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;A video camera. Or call it whatever you like, it doesn't really matter.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;External vs. internal microphones&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;As mentioned, most cameras on a prosumer-level (which seems to be the right type of camera for your purpose) will have an inbuilt microphone and an audio jack to record with an external microphone. I would definitely recommend you use a good microphone. So many Youtube channels are unwatchable because of their terrible audio quality. And while even low-cost cameras have pretty good video quality nowadays, the audio quality is usually very poor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Internal mics suffer from some problems. For instance, they are by design built in to the camera, so in most cases they won't be close to the source of the sound. Combine that with the fact that they are usually omnidirectional (i.e. they record sound from every direction) and they are generally not of high quality and you will get noisy, unclear audio with much reverb and ambient noise. Poor sound quality is one of the first things that people will notice about your video, and at least for me it's a reason to quit your video and never come back.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your questions sounds like you plan on recording your videos at home. In that case, I would recommend a solid desktop microphone (that is one that has it's own stand). Depending on what microphone and camera you get, you might be able to plug it into the camera and use it as an external mic for your video recording, but you will probably have to connect it to a computer and record your audio from there. While editing, you can use the wave form of the camera's audio or automatic matching to match your external audio recording to your video.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-06-25T10:26:19.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18753" PostTypeId="2" ParentId="18641" CreationDate="2016-06-25T10:37:25.980" Score="1" Body="&lt;p&gt;It made with &lt;a href=&quot;https://www.google.lv/search?q=body%20camera%20rig&amp;amp;oq=body%20camera%20rig&amp;amp;aqs=chrome..69i57.343j0j1&amp;amp;sourceid=chrome&amp;amp;ie=UTF-8&quot; rel=&quot;nofollow noreferrer&quot;&gt;body camera rig&lt;/a&gt;. &#xA;&lt;a href=&quot;https://i.stack.imgur.com/r44VL.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/r44VL.jpg&quot; alt=&quot;body camera rig&quot;&gt;&lt;/a&gt;&#xA;Here is &lt;a href=&quot;https://youtu.be/hOdu1Zl1lic&quot; rel=&quot;nofollow noreferrer&quot;&gt;tutorial&lt;/a&gt;, hot to do it yourself, but you will need some adjustments to face it from front.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or if you don't need hands in the shot, you can use your tripod, how shown in &lt;a href=&quot;https://youtu.be/lo4_sajFUzc&quot; rel=&quot;nofollow noreferrer&quot;&gt;this tutorial&lt;/a&gt; (careful, bad audio)&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-06-25T10:37:25.980" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18754" PostTypeId="1" AcceptedAnswerId="18759" CreationDate="2016-06-25T11:41:44.157" Score="2" ViewCount="6972" Body="&lt;p&gt;I'd like to change frames into milliseconds in the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right one, it displays seconds, and frames in between. But since, I have to work on a music video, i'd like it to be milliseconds inbetween (base 100).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to do it ?&lt;/p&gt;&#xA;" OwnerUserId="15982" LastActivityDate="2016-06-26T21:38:38.967" Title="After effects Timeline display: frames into milliseconds" Tags="|video|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18755" PostTypeId="2" ParentId="18749" CreationDate="2016-06-25T12:29:59.707" Score="0" Body="&lt;p&gt;This is an image of a non-portable video camera:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OSq7b.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OSq7b.jpg&quot; alt=&quot;Panasonic Genesis Camera&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As @MoritzLost explains above, the terminology is very fluid and somewhat irrelevant.  The Panasonic video camera pictured here becomes a camcorder when the recording module is attached (as shown).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-06-25T12:29:59.707" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18756" PostTypeId="2" ParentId="18741" CreationDate="2016-06-25T13:51:21.633" Score="0" Body="&lt;p&gt;I don't know about legal part of downloading video from youtube... But you can do it without installation of any side softwere:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Write &quot;ss&quot; in the link before &quot;youtube.com&quot; part. So, if it was &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;https: //www.youtube.com/watch?v=Bpc2jmNpL78&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Make it &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;https: //www.&lt;strong&gt;ss&lt;/strong&gt;youtube.com/watch?v=Bpc2jmNpL78&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Wait a little bit, and you will see download link:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/5qk0s.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5qk0s.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-06-25T13:51:21.633" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18758" PostTypeId="2" ParentId="17758" CreationDate="2016-06-25T17:35:25.013" Score="2" Body="&lt;p&gt;He used this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FKkxj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FKkxj.jpg&quot; alt=&quot;a drawing tablet&quot; /&gt;&lt;/a&gt;&lt;br /&gt;&#xA;&lt;sub&gt;(source: &lt;a href=&quot;http://images2.monoprice.com/productlargeimages/105941.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;monoprice.com&lt;/a&gt;)&lt;/sub&gt;&lt;/p&gt;&#xA;&lt;p&gt;He probably captured all of that with a plugin for After Effects and just added images and stuff.&lt;/p&gt;&#xA;" OwnerUserId="14518" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-03-18T09:38:02.253" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="18759" PostTypeId="2" ParentId="18754" CreationDate="2016-06-26T11:34:45.097" Score="4" Body="&lt;p&gt;Here's a workaround:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Create a left aligned text layer - type a zero. Format to the size and colour of your choice.&#xA;Twirl down this layer, twirl down text, ALT click the stopwatch on the Source text property. In the expression field that opens in the timeline, replace the text with:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Math.round(time*1000)+&quot; ms&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;click out of the text field into a blank area of the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The text will now show the time of the current frame in milliseconds.&lt;/p&gt;&#xA;" OwnerUserId="15987" LastEditorUserId="-1" LastEditDate="2016-06-26T21:38:38.967" LastActivityDate="2016-06-26T21:38:38.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18763" PostTypeId="1" CreationDate="2016-06-27T02:44:56.867" Score="1" ViewCount="27" Body="&lt;p&gt;I have Qt code where I developed a GUI to show the output from data acquisition from a camera, I would like to show the cropped output on the extended screen of size 640*480. Is there any software that can automate the procedure by selecting a rectangular cropped window that is output to the second screen .&lt;/p&gt;&#xA;" OwnerUserId="13990" LastActivityDate="2016-06-27T02:44:56.867" Title="Share a cropped video as an output to the extended screen" Tags="|video|video-editor|video-recording|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18764" PostTypeId="1" CreationDate="2016-06-27T03:42:02.317" Score="0" ViewCount="850" Body="&lt;p&gt;I have been struggling to export a project.&#xA;The project was edited in Premiere Pro CS6, color graded and stabilized in After Effects CS6 and I usually export straight from AE, but it kept crashing at the same point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I have problems like this, I sometimes export the audio from Premiere and uncheck the audio in AE's timeline and add the one audio file exported from Premiere. This happens sometimes, maybe because I use shots from a wide range of cameras in one timeline who have different time-rates and audio encoding settings. But this didn't help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried importing the project into Adobe Media Encoder, but Adobe Media Encoder returned an error too. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tSCAg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tSCAg.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing I tried was to look at the temporary files in the export folder. The AAC file always has a duration of 6:51 minutes (the whole film lasts about 11 minutes), so I inspected the shot located at 6:51 in the timeline, but it seemed normal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How can I troubleshoot this kind of crash, and solve it to be able to export this video?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Crash log:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Process:               After Effects [1554]&#xA;Path:                  /Applications/Adobe After Effects CS6/Adobe After Effects CS6.app/Contents/MacOS/After Effects&#xA;Identifier:            com.adobe.AfterEffects&#xA;Version:               11.0.4 (11.0.4)&#xA;Code Type:             X86-64 (Native)&#xA;Parent Process:        ??? [1]&#xA;Responsible:           After Effects [1554]&#xA;User ID:               501&#xA;&#xA;Date/Time:             2016-06-26 18:16:55.948 -0700&#xA;OS Version:            Mac OS X 10.11.5 (15F34)&#xA;Report Version:        11&#xA;Anonymous UUID:        BE310E80-903C-A620-D4F3-A77FA58199E9&#xA;&#xA;&#xA;Time Awake Since Boot: 31000 seconds&#xA;&#xA;System Integrity Protection: enabled&#xA;&#xA;Crashed Thread:        31&#xA;&#xA;Exception Type:        EXC_BAD_ACCESS (SIGSEGV)&#xA;Exception Codes:       KERN_INVALID_ADDRESS at 0xfffff5ffd7894010&#xA;Exception Note:        EXC_CORPSE_NOTIFY&#xA;&#xA;&#xA;    Model: iMac12,1, BootROM IM121.0047.B23, 4 processors, Intel Core i5, 2,7 GHz, 12 GB, SMC 1.71f21&#xA;    Graphics: AMD Radeon HD 6770M, AMD Radeon HD 6770M, PCIe, 512 MB&#xA;    Memory Module: BANK 0/DIMM0, 2 GB, DDR3, 1333 MHz, 0x02FE, 0x45424A3231554538424655302D444A2D4620&#xA;    Memory Module: BANK 1/DIMM0, 2 GB, DDR3, 1333 MHz, 0x02FE, 0x45424A3231554538424655302D444A2D4620&#xA;    Memory Module: BANK 0/DIMM1, 4 GB, DDR3, 1333 MHz, 0x830B, 0x4E54344743363442384847304E532D434720&#xA;    Memory Module: BANK 1/DIMM1, 4 GB, DDR3, 1333 MHz, 0x830B, 0x4E54344743363442384847304E532D43472&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11754" LastActivityDate="2016-06-27T04:21:48.037" Title="Understanding / troubleshooting After Effects crash" Tags="|after-effects|adobe-media-encoder|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18765" PostTypeId="2" ParentId="18764" CreationDate="2016-06-27T04:21:48.037" Score="1" Body="&lt;p&gt;It sounds like AE is encountering a point in one of your source files where there may be corrupted data, and while the file might be playable within the AE/PPro canvas, exporting isnt possible because of the way AE reads the file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't see why using Media Encoder would be any different, they are built around the same engine. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would suggest trying to replace the file you think is the issue with a proxy (same resolution) rendered using another application, perhaps VLC. Another option, would be (you mentioned 6:51 timestamp), is to split your clip in Premiere on a Sequence. Splice 10 seconds before that timestamp, and 10 seconds after. Render 2 separate files out, and drop them in. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will leave a black hole, which you would have to fill... But that would tell you if the source file is the issue. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, clear cache, and also you could try accessing the hidden secrete menu in Preferences. On windows, hold Shift and while holding, click Edit - Preferences. There will then be a new &quot;Secret&quot; tab that allows flushing of memory every X frames during output, and some other options. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My guess, bad source. Have to work around it by either re-encoding the file into a format AE likes, or splitting if you can. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-06-27T04:21:48.037" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18768" PostTypeId="2" ParentId="18746" CreationDate="2016-06-27T05:59:55.257" Score="4" Body="&lt;p&gt;Open the imported comps. &lt;em&gt;Not in the layer source window&lt;/em&gt;, just as comps (i.e. double click from the project panel).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go to the &lt;strong&gt;composition settings&lt;/strong&gt; menu and change the duration to whatever you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Drag the out-points of all the layers to the end of the comp (hint, press the &lt;kbd&gt;end&lt;/kbd&gt; key on your keyboard and then with all the layers selected hit &lt;kbd&gt;alt&lt;/kbd&gt;+&lt;kbd&gt;]&lt;/kbd&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your main composition you will now be able to drag the end of the photoshop comps to their new length.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-06-27T05:59:55.257" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18770" PostTypeId="2" ParentId="7984" CreationDate="2016-06-27T09:11:31.227" Score="2" Body="&lt;p&gt;yes, VLC supports that with the &lt;code&gt;EXTVLCOPT&lt;/code&gt; custom tag.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#EXTINF:-1,Abenobashi ED - Anata No Kokoro Ni (In Your Heart)&#xA;#EXTVLCOPT:sub-file=/p/Documents/mus/lyrics/Abenobashi ED - Anata No Kokoro Ni (In Your Heart).srt&#xA;#EXTVLCOPT:subsdec-encoding=UTF-8&#xA;Abenobashi ED - Anata No Kokoro Ni (In Your Heart).flv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that the path must be absolute and remote files are (unfortunataly) unsupported.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively you may change the &lt;code&gt;sub-autodetect-path&lt;/code&gt; in &lt;code&gt;vlcrc&lt;/code&gt; and add more search paths.&lt;/p&gt;&#xA;" OwnerUserId="15995" LastActivityDate="2016-06-27T09:11:31.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18771" PostTypeId="2" ParentId="18734" CreationDate="2016-06-27T09:18:45.373" Score="1" Body="&lt;p&gt;I don't believe there is a shortcut for this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are a couple of 'near alternatives' that might help:&#xA;&lt;p&gt;1. The keyframe navigator arrows on the property will jump you from one keyframe to the next on that property alone.&#xA;&lt;p&gt;2. Drag the playhead while holding shift to snap to keyframes.&lt;/p&gt;&#xA;" OwnerUserId="15987" LastActivityDate="2016-06-27T09:18:45.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18777" PostTypeId="2" ParentId="18746" CreationDate="2016-06-27T19:03:21.897" Score="4" Body="&lt;p&gt;If I'm understanding your situation correctly...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;two options:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Place your cursor over the very end of the layer bar in the timeline. It should be a horizontal double ended arrow cursor. Drag to the right to extend the layer to the end of the comp.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Select the layer. Move the playhead to the end of the timeline. Alt ]&#xA;(that's: Alt 'right sqaure bracket')&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="15987" LastActivityDate="2016-06-27T19:03:21.897" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18782" PostTypeId="2" ParentId="15210" CreationDate="2016-06-28T05:15:59.853" Score="3" Body="&lt;p&gt;As per a comment here, removing the -r flag ought to do this properly. You have another -r flag for the input, also. Remove both of them, and it should properly copy the stream as it is into a new container; you may need to remove that -an (disable audio) switch, too. I'm not sure on that:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i full-ts.ts -c:v copy full.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If that fails, also per a comment here, you could try a different output container format.&lt;/p&gt;&#xA;" OwnerUserId="15928" LastActivityDate="2016-06-28T05:15:59.853" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18784" PostTypeId="1" AcceptedAnswerId="18785" CreationDate="2016-06-28T12:54:18.450" Score="2" ViewCount="2147" Body="&lt;p&gt;My company is stripping away QuickTime enterprise-wide, due to Apple dropping support for the format.  I use After Effects and Premiere, and others in my group are on Avid Workstations.  Occasionally when I create a video, I'm handed .mov files exported from Avid Media Composer and Sorensen Squeeze to work with in Adobe software, usually as QuickTime uncompressed.  Now that we are unable to work with QuickTime, going forward, what's the best codec alternative to import clean footage to work with?&lt;/p&gt;&#xA;" OwnerUserId="4957" LastActivityDate="2016-06-28T13:22:31.530" Title="best alternative to QuickTime .mov" Tags="|codec|quicktime|avid|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18785" PostTypeId="2" ParentId="18784" CreationDate="2016-06-28T13:22:31.530" Score="2" Body="&lt;p&gt;Apple is dropping support for the player, so no new releases, but the format remains and can be decoded by recent versions of CC without needing Quicktime to be installed. See&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://blogs.adobe.com/creativecloud/quicktime-on-windows/&quot; rel=&quot;nofollow&quot;&gt;http://blogs.adobe.com/creativecloud/quicktime-on-windows/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Adobe has worked extensively on removing dependencies on QuickTime in&#xA;  its professional video, audio and digital imaging applications and&#xA;  native decoding of many .mov formats is available today (including&#xA;  uncompressed, DV, IMX, MPEG2, XDCAM, h264, JPEG, DNxHD, DNxHR, AVCI&#xA;  and Cineform). Native export support is also possible for DV and&#xA;  Cineform in .mov wrappers.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://blogs.adobe.com/creativecloud/apple-quicktime-on-windows-update/&quot; rel=&quot;nofollow&quot;&gt;http://blogs.adobe.com/creativecloud/apple-quicktime-on-windows-update/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Today we’re pleased to announce that Adobe has been able to accelerate&#xA;  work that was already in progress to support native reading of ProRes.&#xA;  This new capability is fully licensed and certified by Apple, and&#xA;  barring any unforeseen issues during pre-release, these fixes will be&#xA;  included into an update to the relevant products in Creative Cloud&#xA;  shortly.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-06-28T13:22:31.530" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18786" PostTypeId="1" CreationDate="2016-06-28T13:42:54.477" Score="3" ViewCount="4239" Body="&lt;p&gt;I'm having trouble recording my desktop at 60FPS using the latest Windows compiled FFmpeg with NVENC codec. Metadata says the file is 60 fps but when I play it, I can see clearly see it is &lt;strong&gt;not&lt;/strong&gt; 60FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command-line I use is the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -rtbufsize 2000M -f gdigrab -framerate 60 -offset_x 0 -offset_y 0 -video_size 1920x1080 -i desktop -c:v h264_nvenc -preset:v fast -pix_fmt nv12 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried using a real time buffer, using another DirectShow device, changing the profile or forcing a bitrate, but the video always seems to be at 30fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recording the screen using NVIDIA's ShadowPlay works well, so I know it's feasible on my machine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using FFprobe to check the ShadowPlay's output file I can see:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv,&#xA;  smpte170m/smpte170m/bt470m), 1920x1080 [SAR 1:1 DAR 16:9], 4573 kb/s,&#xA;  59.38 fps, 240 tbr, 60k tbn, 120 tbc (default)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;But If I force my output to have the same bitrate and profile I get:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p,&#xA;  1920x1080 [SAR 1:1 DAR 16:9], 5519 kb/s, 60 fps, 60 tbr, 15360 tbn,&#xA;  120 tbc (default)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I can see &lt;code&gt;tbr&lt;/code&gt; and &lt;code&gt;tbn&lt;/code&gt; are different, so I know my output is duplicating frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For testing, all of my recordings had &lt;a href=&quot;http://www.testufo.com/#test=framerates&quot; rel=&quot;nofollow&quot;&gt;this 60 frame rate test page&lt;/a&gt; on the background, and I could clearly see the differences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know ShadowPlay probably does a lot more under the hood than FFmpeg using the same codec. I know OBS can do it quite easily but I want to understand what I am doing wrong. Maybe it's some FFmpeg limitation ?&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Full console output&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Using -v trace command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[gdigrab @ 0000000002572cc0] Capturing whole desktop as 1920x1080x32 at (0,0)&#xA;[gdigrab @ 0000000002572cc0] Cursor pos (1850,750) -&amp;gt; (1842,741)&#xA;[gdigrab @ 0000000002572cc0] Probe buffer size limit of 5000000 bytes reached&#xA;[gdigrab @ 0000000002572cc0] Stream #0: not enough frames to estimate rate; consider increasing probesize&#xA;[gdigrab @ 0000000002572cc0] stream 0: start_time: 1467123648.275 duration: -9223372036854.775&#xA;[gdigrab @ 0000000002572cc0] format: start_time: 1467123648.275 duration: -9223372036854.775 bitrate=3981337 kb/s&#xA;Input #0, gdigrab, from 'desktop':&#xA;  Duration: N/A, start: 1467123648.275484, bitrate: 3981337 kb/s&#xA;    Stream #0:0, 1, 1/1000000: Video: bmp, 1 reference frame, bgra, 1920x1080 (0x0), 0/1, 3981337 kb/s, 60 fps, 1000k tbr, 1000k tbn, 1000k tbc&#xA;Successfully opened the file.&#xA;Parsing a group of options: output file out.mp4.&#xA;Applying option c:v (codec name) with argument h264_nvenc.&#xA;Applying option pix_fmt (set pixel format) with argument nv12.&#xA;Successfully parsed a group of options.&#xA;Opening an output file: out.mp4.&#xA;[file @ 0000000000e3a7c0] Setting default whitelist 'file,crypto'&#xA;Successfully opened the file.&#xA;detected 8 logical cores&#xA;[graph 0 input from stream 0:0 @ 000000000257ec00] Setting 'video_size' to value '1920x1080'&#xA;[graph 0 input from stream 0:0 @ 000000000257ec00] Setting 'pix_fmt' to value '30'&#xA;[graph 0 input from stream 0:0 @ 000000000257ec00] Setting 'time_base' to value '1/1000000'&#xA;[graph 0 input from stream 0:0 @ 000000000257ec00] Setting 'pixel_aspect' to value '0/1'&#xA;[graph 0 input from stream 0:0 @ 000000000257ec00] Setting 'sws_param' to value 'flags=2'&#xA;[graph 0 input from stream 0:0 @ 000000000257ec00] Setting 'frame_rate' to value '60/1'&#xA;[graph 0 input from stream 0:0 @ 000000000257ec00] w:1920 h:1080 pixfmt:bgra tb:1/1000000 fr:60/1 sar:0/1 sws_param:flags=2&#xA;[format @ 000000000257ffc0] compat: called with args=[nv12]&#xA;[format @ 000000000257ffc0] Setting 'pix_fmts' to value 'nv12'&#xA;[auto-inserted scaler 0 @ 00000000025802c0] Setting 'flags' to value 'bicubic'&#xA;[auto-inserted scaler 0 @ 00000000025802c0] w:iw h:ih flags:'bicubic' interl:0&#xA;[format @ 000000000257ffc0] auto-inserting filter 'auto-inserted scaler 0' between the filter 'Parsed_null_0' and the filter 'format'&#xA;[AVFilterGraph @ 0000000000e373c0] query_formats: 4 queried, 2 merged, 1 already done, 0 delayed&#xA;[auto-inserted scaler 0 @ 00000000025802c0] w:1920 h:1080 fmt:bgra sar:0/1 -&amp;gt; w:1920 h:1080 fmt:nv12 sar:0/1 flags:0x4&#xA;[h264_nvenc @ 0000000000e3ca20] Nvenc initialized successfully&#xA;[h264_nvenc @ 0000000000e3ca20] 1 CUDA capable devices found&#xA;[h264_nvenc @ 0000000000e3ca20] [ GPU #0 - &amp;lt; GeForce GTX 670 &amp;gt; has Compute SM 3.0 ]&#xA;[h264_nvenc @ 0000000000e3ca20] supports NVENC&#xA;[mp4 @ 0000000000e3b580] Using AVStream.codec to pass codec parameters to muxers is deprecated, use AVStream.codecpar instead.&#xA;Output #0, mp4, to 'out.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf57.40.101&#xA;    Stream #0:0, 0, 1/15360: Video: h264 (h264_nvenc) (Main), 1 reference frame ([33][0][0][0] / 0x0021), nv12, 1920x1080, 0/1, q=-1--1, 2000 kb/s, 60 fps, 15360 tbn, 60 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.47.100 h264_nvenc&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/2000000 buffer size: 4000000 vbv_delay: -1&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (bmp (native) -&amp;gt; h264 (h264_nvenc))&#xA;Press [q] to stop, [?] for help&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;Clipping frame in rate conversion by 0.000008&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[gdigrab @ 0000000002572cc0] Cursor pos (1850,750) -&amp;gt; (1842,741)&#xA;*** 35 dup!&#xA;[gdigrab @ 0000000002572cc0] Cursor pos (1850,750) -&amp;gt; (1842,741)&#xA;*** 7 dup!&#xA;[gdigrab @ 0000000002572cc0] Cursor pos (1850,649) -&amp;gt; (1850,649)&#xA;*** 1 dup!&#xA;[gdigrab @ 0000000002572cc0] Cursor pos (1858,535) -&amp;gt; (1858,535)&#xA;*** 3 dup!&#xA;[gdigrab @ 0000000002572cc0] Cursor pos (1859,454) -&amp;gt; (1859,454)&#xA;*** 2 dup!&#xA;[gdigrab @ 0000000002572cc0] Cursor pos (1865,384) -&amp;gt; (1865,384)&#xA;*** 2 dup!&#xA;[gdigrab @ 0000000002572cc0] Cursor pos (1846,348) -&amp;gt; (1846,348)&#xA;*** 3 dup!&#xA;[gdigrab @ 0000000002572cc0] Cursor pos (1770,347) -&amp;gt; (1770,347)&#xA;*** 2 dup!&#xA;[gdigrab @ 0000000002572cc0] Cursor pos (1545,388) -&amp;gt; (1545,388)&#xA;*** 4 dup!&#xA;frame=   69 fps=0.0 q=35.0 size=     184kB time=00:00:00.63 bitrate=2384.0kbits/[gdigrab @ 0000000002572cc0] Cursor pos (1523,389) -&amp;gt; (1519,378)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16013" LastEditorUserId="14107" LastEditDate="2016-11-22T09:58:58.790" LastActivityDate="2016-11-22T09:58:58.790" Title="Desktop grabbing with FFmpeg at 60 fps using NVENC codec" Tags="|ffmpeg|windows|nvenc|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18787" PostTypeId="2" ParentId="18590" CreationDate="2016-06-28T14:03:43.850" Score="0" Body="&lt;p&gt;yes, After Effects comes bundled with Cinema 4D lite.&#xA;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/c4d.html&quot; rel=&quot;nofollow&quot;&gt;https://helpx.adobe.com/after-effects/using/c4d.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12646" LastActivityDate="2016-06-28T14:03:43.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18789" PostTypeId="2" ParentId="18031" CreationDate="2016-06-29T12:12:05.873" Score="0" Body="&lt;p&gt;Video Copilot has an interesting plugin, Saber, that's free. It requires some manual tracking on the lightsabers and most likely some masking / roto, but it's a great solution that works with After Effects CS5.5 and up on Mac and PC:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.videocopilot.net/blog/2016/03/new-plug-in-saber-now-available-100-free/&quot; rel=&quot;nofollow&quot;&gt;http://www.videocopilot.net/blog/2016/03/new-plug-in-saber-now-available-100-free/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/reSXGxkyr0k?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: I assumed because you mentioned Adobe CC, you had an older version of After Effects. That doesn't seem to be the case. Regardless, this might help another person who's looking for an answer.&lt;/p&gt;&#xA;" OwnerUserId="3161" LastActivityDate="2016-06-29T12:12:05.873" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18790" PostTypeId="2" ParentId="18182" CreationDate="2016-06-29T12:23:01.627" Score="1" Body="&lt;p&gt;EDIT: Upon further research, this only seems to be available to high-tier YouTube Creator accounts. I haven't been able to find an example of this from an account with less than 1M subscribers. Here's the Creator tier levels:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/yt/creators/en-GB/benefit-levels.html?noapp=1&quot; rel=&quot;nofollow&quot;&gt;https://www.youtube.com/yt/creators/en-GB/benefit-levels.html?noapp=1&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ORIGINAL: This is a feature called &quot;Cards&quot; on YouTube. Your account must be in good standing to use this. Go to your video and hit &quot;Edit&quot; then navigate to the &quot;Cards&quot; menu. Here, you can add cards and select the content you want to display. Up to 5 can be added on one video at a time. Here's some documentation and a tutorial:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://support.google.com/youtube/answer/6140493?hl=en&quot; rel=&quot;nofollow&quot;&gt;https://support.google.com/youtube/answer/6140493?hl=en&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="3161" LastEditorUserId="3161" LastEditDate="2016-07-07T15:40:19.297" LastActivityDate="2016-07-07T15:40:19.297" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18791" PostTypeId="2" ParentId="18439" CreationDate="2016-06-29T12:42:41.723" Score="1" Body="&lt;p&gt;Here's a few effects to take a look at, which may get you closer to the result you are looking for. These effects are based on your helpful thumbnails:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Effect &gt; Stylize &gt; Glow / Trapcode Shine (uSampler1)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Effect &gt; Noise &amp;amp; Grain &gt; Fractal Noise + Turbulent Displace (uSampler2)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Effect &gt; Generate &gt; 4-Color Gradient (uSampler3)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Effect &gt; Noise &amp;amp; Grain &gt; Fractal Noise w/ Default Settings (uSampler4)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Effect &gt; Color Correction &gt; Colorama (uSampler5)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These styles require heavy experimentation, so play around with Track Mattes, Blending Modes, and importing textures and other source imagery to help achieve these results. Good luck!&lt;/p&gt;&#xA;" OwnerUserId="3161" LastActivityDate="2016-06-29T12:42:41.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18792" PostTypeId="2" ParentId="18434" CreationDate="2016-06-29T12:46:17.100" Score="1" Body="&lt;p&gt;This is called &quot;Inertial Bounce&quot; and has a handy expression to do all the work!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://gist.github.com/animoplex/aafd6a157282351c8dfeea385d969ef2&quot; rel=&quot;nofollow&quot;&gt;https://gist.github.com/animoplex/aafd6a157282351c8dfeea385d969ef2&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;amp = 5.0; freq = 2.0; decay = 4.0;&#xA;&#xA;n = 0;&#xA;if (numKeys &amp;gt; 0) {&#xA;  n = nearestKey(time).index;&#xA;  if (key(n).time &amp;gt; time) { n--; }&#xA;}&#xA;if (n == 0) { t = 0; }&#xA;else { t = time - key(n).time; }&#xA;if (n &amp;gt; 0 &amp;amp;&amp;amp; t &amp;lt; 1) {&#xA;  v = velocityAtTime(key(n).time - thisComp.frameDuration/10);&#xA;  value + v*(amp/100)*Math.sin(freq*t*2*Math.PI)/Math.exp(decay*t);&#xA;}&#xA;else { value; }&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here's a quick video tutorial as well:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/653lxeVIyoo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps you out!&lt;/p&gt;&#xA;" OwnerUserId="3161" LastActivityDate="2016-06-29T12:46:17.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18793" PostTypeId="2" ParentId="17053" CreationDate="2016-06-29T12:55:57.243" Score="1" Body="&lt;p&gt;The best way to achieve this is to import the PSD into After Effects, which converts the PS effects to AE effects automatically.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure your effects are all on adjustment layers before importing, and make sure your document mode is set to RGB. If your PS document is a different resolution than your AE comp, you may need to move the effects from the auto generated layers to a new solid inside AE. This will not work if you are using layer masks in PS to manipulate the Adjustment Layer visible regions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="3161" LastActivityDate="2016-06-29T12:55:57.243" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18794" PostTypeId="2" ParentId="16731" CreationDate="2016-06-29T13:01:26.840" Score="0" Body="&lt;p&gt;I am a bit late to the party, but If I understand you correctly, you are trying to convert an AE mask path to position data for a layer?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The easiest way to achieve this is to create a temporary keyframe on the Mask, select and copy the keyframe (CTRL + C), create another temporary keyframe on the Position effect, then select the keyframe and paste (CTRL + P) to replace it. This converts mask data to position data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also use the Motion Tracker in AE (or 3D Camera Tracker for CS6+) for tracking footage elements accurately. Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="3161" LastActivityDate="2016-06-29T13:01:26.840" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18797" PostTypeId="1" AcceptedAnswerId="18798" CreationDate="2016-06-29T19:44:36.287" Score="1" ViewCount="7386" Body="&lt;p&gt;I'm trying to simply export every frame of an &lt;strong&gt;.AVI&lt;/strong&gt; movie as a sequence of images (&lt;strong&gt;.tiff&lt;/strong&gt;) or a folder of &lt;strong&gt;.jpeg&lt;/strong&gt; images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.digital-photo-software-guide.com/avi-to-jpeg.html&quot; rel=&quot;nofollow&quot;&gt;This web page&lt;/a&gt; says I can simply select all frames in Avidemux, then go to:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;File --&gt; Save --&gt; Save JPEG image&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But that only ends up saving one frame instead of the entire selection. Any thoughts? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using &lt;strong&gt;Avidemux version 2.6.10&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="16026" LastActivityDate="2016-06-29T19:56:27.537" Title="How to export a .AVI as a sequence of images in Avidemux" Tags="|avi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18798" PostTypeId="2" ParentId="18797" CreationDate="2016-06-29T19:56:27.537" Score="1" Body="&lt;p&gt;You need to downgrade to 2.5 since 2.6 does not support &lt;a href=&quot;http://avidemux.org/smif/index.php?topic=11632.0&quot; rel=&quot;nofollow&quot;&gt;image sequence&lt;/a&gt; export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you could download &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt; and run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -q:v 1 in%d.jpg&#xA;&#xA;ffmpeg -i input.avi in%d.tif&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-06-29T19:56:27.537" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18799" PostTypeId="1" AcceptedAnswerId="18800" CreationDate="2016-06-30T00:23:47.827" Score="0" ViewCount="1813" Body="&lt;p&gt;I'm trying to use mediafilesegmenter on a video I transcoded with ffmpeg to package it for HLS. However, it complains about &quot;edit lists&quot; and refuses to do anything. Does anyone know how to either remove edit lists or to get mediafilesegmenter to work with them?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ mediafilesegmenter -I -f 180 -t 9 -s bbb_180p_30fps_264k.mp4&#xA;Jun 29 2016 17:12:33.676: Using floating point is not backward compatible to iOS 4.1 or earlier devices&#xA;Jun 29 2016 17:12:33.677: Single file output is not backward compatible to earlier than iOS 5.0&#xA;Jun 29 2016 17:12:33.677: Processing file /Users/aspera/git/dash-demo/video-transcoding/bbb-transcoded-hls/bbb_180p_30fps_264k.mp4&#xA;Jun 29 2016 17:12:33.689: track 1 of /Users/aspera/git/dash-demo/video-transcoding/bbb-transcoded-hls/bbb_180p_30fps_264k.mp4 contains edit lists; these tracks cannot be used for segmentation&#xA;Jun 29 2016 17:12:33.689: no tracks found!&#xA;Jun 29 2016 17:12:33.689: average bit rate is  0.00 bits/sec - max file bit rate is  0.00 bits/sec&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The input video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe bbb_180p_30fps_264k.mp4 &#xA;ffprobe version 3.0.2 Copyright (c) 2007-2016 the FFmpeg developers&#xA;  built with Apple LLVM version 7.3.0 (clang-703.0.31)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.0.2 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-opencl --enable-libx264 --enable-libmp3lame --enable-libxvid --enable-libfdk-aac --enable-nonfree --enable-vda&#xA;  libavutil      55. 17.103 / 55. 17.103&#xA;  libavcodec     57. 24.102 / 57. 24.102&#xA;  libavformat    57. 25.100 / 57. 25.100&#xA;  libavdevice    57.  0.101 / 57.  0.101&#xA;  libavfilter     6. 31.100 /  6. 31.100&#xA;  libavresample   3.  0.  0 /  3.  0.  0&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'bbb_180p_30fps_264k.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    title           : Big Buck Bunny, Sunflower version&#xA;    artist          : Blender Foundation 2008, Janus Bager Kristensen 2013&#xA;    composer        : Sacha Goedegebure&#xA;    encoder         : Lavf57.25.100&#xA;    comment         : Creative Commons Attribution 3.0 - http://bbb3d.renderfarming.net&#xA;    genre           : Animation&#xA;  Duration: 00:10:34.53, start: 0.021333, bitrate: 184 kb/s&#xA;    Stream #0:0(und): Video: h264 (Constrained Baseline) (avc1 / 0x31637661), yuv420p, 320x180 [SAR 1:1 DAR 16:9], 113 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 64 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;EDIT:&#xA;I've discovered that ffmpeg seems to add edit lists when transcoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Original file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ MP4Box -info originals/bbb_sunflower_2160p_60fps_normal.mp4 &#xA;* Movie Info *&#xA;    Timescale 600 - 3 tracks&#xA;    Computed Duration 00:10:34.533 - Indicated Duration 00:10:34.533&#xA;    Fragmented File: no&#xA;    File suitable for progressive download (moov before mdat)&#xA;    File Brand isom - version 1&#xA;    Created: GMT Tue Dec 17 16:40:26 2013&#xA;    Modified: GMT Tue Dec 17 16:40:26 2013&#xA;&#xA;File has root IOD (9 bytes)&#xA;Scene PL 0xff - Graphics PL 0xff - OD PL 0xff&#xA;Visual PL: ISO Reserved Profile (0x15)&#xA;Audio PL: Not part of MPEG-4 audio profiles (0xfe)&#xA;No streams included in root OD&#xA;&#xA;iTunes Info:&#xA;    Name: Big Buck Bunny, Sunflower version&#xA;    Artist: Blender Foundation 2008, Janus Bager Kristensen 2013&#xA;    Comment: Creative Commons Attribution 3.0 - http://bbb3d.renderfarming.net&#xA;    Composer: Jan Morgenstern&#xA;    Writer: Sacha Goedegebure&#xA;    Genre: Animation&#xA;1 UDTA types: meta (1) &#xA;&#xA;Track # 1 Info - TrackID 1 - TimeScale 60000&#xA;Media Duration 00:10:34.533 - Indicated Duration 00:10:34.533&#xA;Media Info: Language &quot;und (und)&quot; - Type &quot;vide:avc1&quot; - 38072 samples&#xA;Visual Track layout: x=0 y=0 width=3840 height=2160&#xA;MPEG-4 Config: Visual Stream - ObjectTypeIndication 0x21&#xA;AVC/H264 Video - Visual Size 3840 x 2160&#xA;    AVC Info: 1 SPS - 1 PPS - Profile High @ Level 5.1&#xA;    NAL Unit length bits: 32&#xA;    Pixel Aspect Ratio 1:1 - Indicated track size 3840 x 2160&#xA;    SPS#1 hash: 73C3B5E51841EEDF280132A1F7C72DD97D9FDE86&#xA;    PPS#1 hash: EB72205FBA0E2A677BE65E145507E2E05750EB4F&#xA;Self-synchronized&#xA;    RFC6381 Codec Parameters: avc1.640033&#xA;    Average GOP length: 184 samples&#xA;&#xA;Track # 2 Info - TrackID 2 - TimeScale 48000&#xA;Media Duration 00:10:34.200 - Indicated Duration 00:10:34.200&#xA;Media Info: Language &quot;und (und)&quot; - Type &quot;soun:mp4a&quot; - 26425 samples&#xA;MPEG-4 Config: Audio Stream - ObjectTypeIndication 0x6b&#xA;MPEG-1 Audio - 2 Channel(s) - SampleRate 48000 - Layer 3&#xA;Synchronized on stream 1&#xA;    RFC6381 Codec Parameters: mp4a.6b&#xA;    All samples are sync&#xA;&#xA;Track # 3 Info - TrackID 3 - TimeScale 48000&#xA;Media Duration 00:10:34.144 - Indicated Duration 00:10:34.144&#xA;Media Info: Language &quot;und (und)&quot; - Type &quot;soun:ac-3&quot; - 19817 samples&#xA;    AC-3 stream - Sample Rate 48000 - 5.1 channel(s) - bitrate 32000&#xA;    RFC6381 Codec Parameters: ac-3&#xA;    All samples are sync&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After FFMPEG:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ MP4Box -info bbb_180p_30fps_264k.mp4 &#xA;* Movie Info *&#xA;    Timescale 1000 - 2 tracks&#xA;    Computed Duration 00:10:34.600 - Indicated Duration 00:10:34.534&#xA;    Fragmented File: no&#xA;    File Brand isom - version 512&#xA;    Created: UNKNOWN DATE   Modified: UNKNOWN DATE&#xA;File has no MPEG4 IOD/OD&#xA;&#xA;iTunes Info:&#xA;    Name: Big Buck Bunny, Sunflower version&#xA;    Artist: Blender Foundation 2008, Janus Bager Kristensen 2013&#xA;    Comment: Creative Commons Attribution 3.0 - http://bbb3d.renderfarming.net&#xA;    Writer: Sacha Goedegebure&#xA;    Genre: Animation&#xA;    Encoder Software: Lavf57.25.100&#xA;1 UDTA types: meta (1) &#xA;&#xA;Track # 1 Info - TrackID 1 - TimeScale 15360&#xA;Media Duration 00:10:34.533 - Indicated Duration 00:10:34.533&#xA;Track has 2 edit lists: track duration is 00:10:34.600&#xA;Media Info: Language &quot;und (und)&quot; - Type &quot;vide:avc1&quot; - 19036 samples&#xA;Visual Track layout: x=0 y=0 width=320 height=180&#xA;MPEG-4 Config: Visual Stream - ObjectTypeIndication 0x21&#xA;AVC/H264 Video - Visual Size 320 x 180&#xA;    AVC Info: 1 SPS - 1 PPS - Profile Baseline @ Level 3&#xA;    NAL Unit length bits: 32&#xA;    Pixel Aspect Ratio 1:1 - Indicated track size 320 x 180&#xA;    SPS#1 hash: 4FD0A6F8F73D905B5A9973F02BF9E2D401820F71&#xA;    PPS#1 hash: E79F98332B320CB0B190539E0D4A262181656B90&#xA;Self-synchronized&#xA;    RFC6381 Codec Parameters: avc1.42c01e&#xA;    Average GOP length: 90 samples&#xA;&#xA;Track # 2 Info - TrackID 2 - TimeScale 48000&#xA;Media Duration 00:10:34.221 - Indicated Duration 00:10:34.221&#xA;Track has 1 edit lists: track duration is 00:10:34.200&#xA;Media Info: Language &quot;und (und)&quot; - Type &quot;soun:mp4a&quot; - 29730 samples&#xA;MPEG-4 Config: Audio Stream - ObjectTypeIndication 0x40&#xA;MPEG-4 Audio AAC LC - 2 Channel(s) - SampleRate 48000&#xA;Synchronized on stream 1&#xA;    RFC6381 Codec Parameters: mp4a.40.2&#xA;Alternate Group ID 1&#xA;    All samples are sync&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="15958" LastEditorUserId="15958" LastEditDate="2016-06-30T00:37:56.727" LastActivityDate="2016-07-01T00:58:20.027" Title="Using mediafilesegmenter on a video with edit lists" Tags="|video|ffmpeg|encoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18800" PostTypeId="2" ParentId="18799" CreationDate="2016-06-30T05:33:50.620" Score="1" Body="&lt;p&gt;Looks like MP4 won't skip the &lt;code&gt;edts&lt;/code&gt; boxes when creating MP4s. You should transcode to MPEG-TS and feed that into mediafilesegmenter&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -&amp;lt;transcoding options&amp;gt; -vbsf h264_mp4toannexb out.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-06-30T05:33:50.620" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18802" PostTypeId="1" AcceptedAnswerId="18805" CreationDate="2016-06-30T14:04:06.543" Score="0" ViewCount="1233" Body="&lt;p&gt;I need to import some video material that was copied directly from a DVD into Premiere Pro. (Disclaimer: This is for educational purposes, in that context it is lawful to use excerpts of commercial films in Germany). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;They were directly copied, meaning I don't have an image of the DVD, but the original file structure from the DVD including the folders &lt;code&gt;VIDEO_TS&lt;/code&gt; and &lt;code&gt;AUDIO_TS&lt;/code&gt;, containing &lt;code&gt;.VOB&lt;/code&gt; files. Premiere Pro can't import them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best way to convert/copy those files to get them into a format that Premiere Pro can use? By 'best' I mean with the least quality loss possible and in a way that will produce either one file that has the entire movie in them or an array of sorted files that will be easy to look through. No I don't have the original DVD. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2016-06-30T18:17:53.943" LastActivityDate="2018-03-04T09:52:10.110" Title="What is the best way to convert .vob files copied directly from a DVD into a format usable by Premiere Pro?" Tags="|file-formats|dvd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18803" PostTypeId="1" CreationDate="2016-06-30T14:54:21.350" Score="2" ViewCount="293" Body="&lt;p&gt;I want to shoot infield videos in a mall, with a DSLR camera, without anyone noticing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm interested in knowing how it's done and what equipment I'll need eg. type of microphone etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a link that illustrates what I'm referring to: &lt;a href=&quot;https://youtu.be/InqlX8cJsqQ?t=1m30s&quot; rel=&quot;nofollow&quot;&gt;YouTube video&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16034" LastActivityDate="2017-02-15T07:24:08.493" Title="How can I Film Inconspicuously with a DSLR?" Tags="|video-recording|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18805" PostTypeId="2" ParentId="18802" CreationDate="2016-06-30T15:39:54.507" Score="2" Body="&lt;p&gt;Using ffmpeg, cat and remux all the VOBs together to a MPEG program stream.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;concat:vts01_1.vob|vts01_2.vob|vts01_3.vob&quot; -c copy -f dvd dvd.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(You may have to escape the &lt;code&gt;|&lt;/code&gt; character i.e. &lt;code&gt;vts01_1.vob\|vts01_2.vob\|vts01_3.vob&lt;/code&gt;)&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-06-30T17:37:37.203" LastActivityDate="2016-06-30T17:37:37.203" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18807" PostTypeId="1" AcceptedAnswerId="18820" CreationDate="2016-07-01T00:33:53.553" Score="0" ViewCount="2172" Body="&lt;p&gt;I have two cameras: one films in 30fps and the other in 60fps. These settings cannot be changed (why the manufacturer did that I don't know).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I export the finished product, which is the better setting to go by? HD 30fps or HD 60fps?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using Sony Vegas Pro 13.&lt;/p&gt;&#xA;" OwnerUserId="15988" LastEditorUserId="636" LastEditDate="2018-02-23T14:05:43.187" LastActivityDate="2018-04-25T17:15:50.230" Title="60fps and 30fps clips exported into one file?" Tags="|framerate|vegas-pro|export|multi-camera|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18808" PostTypeId="2" ParentId="18799" CreationDate="2016-07-01T00:58:20.027" Score="0" Body="&lt;p&gt;I prefer Mulvya's approach, but another method that &quot;fixes&quot; the problem is to demux and mux the streams:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -c:v copy -an video.mkv&#xA;ffmpeg -i in.mp4 -vn -c:a copy audio.mkv&#xA;ffmpeg -i video.mkv -i audio.mkv -c:v copy -c:a copy in2.mp4&#xA;mediafilesegmenter -I -t 9 -s in2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I can't tell you why it works though.&lt;/p&gt;&#xA;" OwnerUserId="15958" LastActivityDate="2016-07-01T00:58:20.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18809" PostTypeId="2" ParentId="3187" CreationDate="2016-07-01T06:06:48.887" Score="0" Body="&lt;p&gt;You can use this tool I made to fix the timecode without re-encoding, &lt;a href=&quot;https://sourceforge.net/projects/vob-timecode-fixer/&quot; rel=&quot;nofollow&quot;&gt;https://sourceforge.net/projects/vob-timecode-fixer/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user16038" LastActivityDate="2016-07-01T06:06:48.887" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18810" PostTypeId="2" ParentId="18257" CreationDate="2016-07-01T09:14:35.957" Score="3" Body="&lt;p&gt;&lt;a href=&quot;https://github.com/ponchio/untrunc&quot; rel=&quot;nofollow&quot;&gt;Untrunc&lt;/a&gt; may be able to help.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a Linux based command line utility that will restore lost MOOV sections.  Using it currently requires libav and a C++ build environment, though instructions are provided to do the build.  After it is built, you call it via the command line and just provide the path to a working video from the same phone, the broken video and it will write out a new file that should hopefully work.&lt;/p&gt;&#xA;" OwnerUserId="16042" LastEditorUserId="2836" LastEditDate="2016-07-04T14:40:08.317" LastActivityDate="2016-07-04T14:40:08.317" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="18812" PostTypeId="2" ParentId="12533" CreationDate="2016-07-01T15:31:47.157" Score="0" Body="&lt;p&gt;I am fairly certain you are getting the corruption because of the usleep(100000); - This is based on the fact I have achieved similar corruption using one webcam by adding usleep(100000) to my code.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My usleep(100000); is substitution for running an opencl kernel, meaning this point I know the problem is that the usleep(100000) affects the video frame delivery in some way (this happens in my code if I strip out all other code, and just save the frames to disk as ppm files).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I don't know is why ....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can put the usleep anywhere in my code, the affect is always the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps the video4linux webcam code needs to be on a different pthread ..&lt;/p&gt;&#xA;" OwnerUserId="16043" LastActivityDate="2016-07-01T15:31:47.157" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18813" PostTypeId="1" CreationDate="2016-07-01T17:45:10.060" Score="1" ViewCount="39" Body="&lt;p&gt;I'm looking forward a way to add captions like some media companies do, in order to inform some news or tell a story on Facebook videos. Take Futurism videos as an example: &lt;a href=&quot;https://www.facebook.com/futurism/videos&quot; rel=&quot;nofollow&quot;&gt;https://www.facebook.com/futurism/videos&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="15837" LastActivityDate="2016-07-01T17:45:10.060" Title="How can I add captions to videos?" Tags="|software-recommendation|software|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18815" PostTypeId="1" CreationDate="2016-07-02T08:02:53.677" Score="1" ViewCount="1280" Body="&lt;p&gt;I'm new to video encoding. And I was looking at h264/265 and VP8/9.&lt;br&gt;&#xA;I'd like to use VP8/9. But it seems like nobody except Google is pushing it.&lt;br&gt;&#xA;I just want to know does someone else support VP8/9? Specefically is there a hardware acceleration for encoding.&lt;br&gt;&#xA;And &lt;strong&gt;de&lt;/strong&gt;coding VP&lt;strong&gt;9&lt;/strong&gt; on my Linux box looks very slow (when navigating in video it lags for 2sec, while vp8 is instant).&lt;/p&gt;&#xA;" OwnerUserId="16045" LastActivityDate="2016-07-02T11:45:33.923" Title="Is there something like nvenc for free codecs (VP8/9)?" Tags="|encoding|codec|hardware|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18817" PostTypeId="2" ParentId="18815" CreationDate="2016-07-02T09:54:10.807" Score="3" Body="&lt;p&gt;There is a hardware-accelerated VP8 encoder recently released by the University of Milan. Source and standalone binary for 64-bit Linux and  compute 3.5, 5.0 and 5.2 capable NVidia GPU cards available at &lt;a href=&quot;https://github.com/Italtel-Unimi/libvpx&quot; rel=&quot;nofollow&quot;&gt;https://github.com/Italtel-Unimi/libvpx&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They say they have integrated the code into libav libs i.e. FFmpeg, but this hasn't been pushed into the FFmpeg master branch.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-07-02T11:45:33.923" LastActivityDate="2016-07-02T11:45:33.923" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18819" PostTypeId="1" CreationDate="2016-07-02T21:51:21.787" Score="0" ViewCount="852" Body="&lt;p&gt;(Total beginner) Trying to process an MP4 file using an AviSynth script, as follows:&#xA;    DirectShowSource(inputFile, fps=25, convertfps=true, logfile=logFile)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Error message: &quot;DirectShowSource: couldn't open file SomeFile.mp4. Cannot play back the file. The format is not supported.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The file is valid, i.e. it can be played in a video player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using Windows 10 64-bit, and AviSynth 2.60&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I process this file using AviSynth?&lt;/p&gt;&#xA;" OwnerUserId="16050" LastActivityDate="2017-07-29T07:25:45.497" Title="AviSynth mp4 Not Supported" Tags="|mp4|windows|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18820" PostTypeId="2" ParentId="18807" CreationDate="2016-07-03T03:29:17.700" Score="2" Body="&lt;p&gt;Export to 30p. 29.97 to be exact if there is the option. Exporting at 60fps is only going to bloat the file size (twice as many frames) per second-- if it's 60p and not 60i of data to encode. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Secondly, viewers are akin to watching media playback in or around the 24-30fps range. It's what our eyes are used to, so your viewers wont be distracted as to why the 60 fps has less jutter than your 30 fps material. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, exporting at 30 fps will convert your 60 fps content to 30 fps by dropping out every other frame. Doing the opposite would mean doubling each 30fps content... and it will not look quite the same. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are filmmakers that have rallied for moving towards a higher frame rate, lower resolution per frame exhibition format. The Hobbit was one of the most recent films (only one I can think of) that was actually screened in what they coined as HFS (High Frames per Second). I saw it in theaters in this format, and to be honest, it didn't feel like film because of it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go 30p. 29.97 Progressive. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-07-03T03:29:17.700" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18821" PostTypeId="2" ParentId="18819" CreationDate="2016-07-03T07:29:20.693" Score="0" Body="&lt;p&gt;You'll have to use another source filter, such as &lt;a href=&quot;http://avisynth.nl/index.php/FFmpegSource&quot; rel=&quot;nofollow&quot;&gt;FFMS2&lt;/a&gt; or &lt;a href=&quot;http://avisynth.nl/index.php/LSMASHSource&quot; rel=&quot;nofollow&quot;&gt;LSMASHSource&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-07-03T07:29:20.693" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18822" PostTypeId="1" CreationDate="2016-07-03T13:09:08.467" Score="1" ViewCount="61" Body="&lt;p&gt;I am a complete amateur with respect to photography. I capture videos rather than still pictures during my vacations. So it is limited to videos outdoors. My preferences are limited to compactness of camera and outdoor video quality. Since I mostly upload it to YouTube, I don't need ultra HD resolution videos, 1080p will be fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For my vacations, I was using Sony Cyber-shot DSC-TX100 which enabled me to capture good quality outdoor videos in 720p resolution [may be because of HDR video mode and large sensor size] and had the compactness I was looking for. After this got damaged one year back, I was using my &quot;One-plus One&quot; phone for capturing videos. It even offers a 4K video shooting resolution and I have seen a lot of praise for this phone's camera all over the internet. But for me it turns out to be a grave disappointment when I compare the video quality of my old cyber-shot with &quot;OnePlus One&quot;. The video had lot of grain and the &quot;life-like&quot; thing was missing. So now I am looking for another camera/phone which offers me better video quality outdoors. I live in a country where there is abundant sun light on most days. So I have to shoot my videos in bright light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know the no-zoom pocket camcorders are disappearing from the market. But I think one of these could meet my requirements of ultra compactness and better video quality than phone cameras. I still haven't made up my mind about going for a new phone (which is a costly option) assuming the new phone will offer better video quality (than my OnePlus One) or getting one of the pocket camcorders like GE DV1 or Panasonic HMA-T1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could anybody out there who has used both a pocket camcorder and a good phone, suggest which will be my best bet? Either to upgrade my phone or to buy the pocket camcorder? Does the pocket camcorders usually has bigger/better sensors than the phones? Which one could offer me better video quality? As I mentioned earlier I am not looking for any resolution beyond 1080p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My budget is limited to 200$ if it is a compact camera and 400$ if it is a phone. Thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: I have no option to buy another Cyber-shot compact camera since it is no longer available in my country. Also I am NOT looking for any camera with zoom such as Cyber-shot RX-100 even though it will be more value for money.&lt;/p&gt;&#xA;" OwnerUserId="16056" LastEditorUserId="16056" LastEditDate="2016-07-07T03:01:59.593" LastActivityDate="2016-07-07T03:01:59.593" Title="Are todays phone cameras capable of capturing better video than no-zoom pocket camcoders?" Tags="|camcorder|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18825" PostTypeId="2" ParentId="18819" CreationDate="2016-07-04T01:09:19.730" Score="1" Body="&lt;p&gt;In the end, I made it work just as posted above, by installing the Haali Media Splitter. I have seen posts by people who say that this software is needed to process MP4 files.&lt;/p&gt;&#xA;" OwnerUserId="16050" LastActivityDate="2016-07-04T01:09:19.730" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18826" PostTypeId="2" ParentId="18568" CreationDate="2016-07-04T06:26:33.667" Score="1" Body="&lt;p&gt;The MOV you exported from Resolve is tagged as Rec 601 (despite being UHD).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I transcoded your MOV using the command below, preserving all color characteristics and uploaded that to Youtube. Downloaded YT's transcoded video and compared it to the MOV, and in ffplay, VLC or Potplayer, they look the same.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i Untitled.mov -crf 18&#xA;       -color_primaries 6 -color_trc 6 -colorspace 6 -color_range 1 resolve-upload.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;P.S. I also uploaded your MOV and downloaded its transcode from YT. Turns out that the transcode is flagged as Rec. 709, which is wrong, despite the MOV being tagged as 601. The rip of my transcode is tagged as 601.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-08-08T19:09:58.017" LastActivityDate="2016-08-08T19:09:58.017" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="18828" PostTypeId="1" AcceptedAnswerId="18832" CreationDate="2016-07-04T16:44:15.207" Score="0" ViewCount="44" Body="&lt;p&gt;I want to buy gopro camera,&#xA;I see there is big diference in price e.g.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.gopro.hr/kamere/p/GoPro-Hero/ProductID/9426&quot; rel=&quot;nofollow&quot;&gt;http://www.gopro.hr/kamere/p/GoPro-Hero/ProductID/9426&lt;/a&gt;&#xA;cost $200&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.gopro.hr/kamere/p/GoPro-Hero4-Black/ProductID/19131&quot; rel=&quot;nofollow&quot;&gt;http://www.gopro.hr/kamere/p/GoPro-Hero4-Black/ProductID/19131&lt;/a&gt;&#xA;cost $600&lt;/p&gt;&#xA;&#xA;&lt;p&gt;big diference in cost, what is diference in quality of video, photo and options ?&lt;/p&gt;&#xA;" OwnerUserId="14789" LastEditorUserId="636" LastEditDate="2020-07-12T20:31:45.047" LastActivityDate="2020-07-12T20:31:45.047" Title="gopro hero vs gopro hero4 black video quality diference" Tags="|video|quality|gopro|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18830" PostTypeId="1" CreationDate="2016-07-05T08:01:18.213" Score="0" ViewCount="68" Body="&lt;p&gt;I would like to upgrade from a point and shoot camera to a DSLR. I would be capturing nature and wildlife with the new camera, still photos and videos. Which camera should I buy? My list includes D5300 / D5500 / D7200 / D750. Which one is the most suitable of the above considering the &lt;strong&gt;auto focus&lt;/strong&gt; capability while shooting &lt;strong&gt;videos&lt;/strong&gt;? Any recommendation is welcome!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="16071" LastActivityDate="2017-11-01T05:32:51.463" Title="Which DSLR to buy for best Video capture?" Tags="|dslr|" AnswerCount="2" CommentCount="0" ClosedDate="2017-11-01T14:53:16.777" ContentLicense="CC BY-SA 3.0" />
  <row Id="18831" PostTypeId="2" ParentId="18830" CreationDate="2016-07-05T10:17:20.447" Score="1" Body="&lt;p&gt;Highly recommend taking a look at the Sony lineup, particularly the A7S mk II and the just released A7R mk II (S would be better for video). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The A7S is amazing in terms of low light capability. And the A7R is unmatched in resolving power. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If all your glass is Nikon, you can get a Metabones adapter for roughly $700 which would do the job giving you a Sony to Nikon mount thats tack sharp. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;While not reflex, the OLED viewfinder is superb, you really have to see it to believe how sharp it is. And the swing out monitor on the back which rotates up and down, is fantastic for doing handheld video work above head or down low. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;All of the new glass that is coming out, 70-200s, L-Series, Zeiss, they are all making their lenses for Sony... the new beast in the low cost camera lineup. (Body under $5000)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A final note, most people think Reflex (SLR/DSLR) is superior to non-reflex, but in fact the opposite is usually true. Compromises must be made for the reflex mirror system and curtains, which mean the engineers must make concessions when dealing with the optics and the plane of view. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In truth, the sharpest cameras ever made, are non-reflex. The Hasselblad SuperWide is considered the sharpest lens ever designed to date (I love mine and still use it to date).  The lack of a reflex finder isnt really an issue as it's wide. With todays digital backs, and a led viewing system- it's really the way to go. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-07-05T10:17:20.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18832" PostTypeId="2" ParentId="18828" CreationDate="2016-07-05T10:25:13.657" Score="1" Body="&lt;p&gt;There are charts on their website, but in short, the Black allows for 4k recording, 60 mbps bandwidth, higher frame rates at various resolutions, simply put, it has a larger bottleneck enabling it to capture more data. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would suspect the cameras may be perhaps identical, and are firmware locked down into lower levels for the less expensive versions. Bypassing that would be, well very difficult if not impossible. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Blacks are great, I own a handful and use them all the time. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-07-05T10:25:13.657" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18834" PostTypeId="1" CreationDate="2016-07-05T20:58:17.433" Score="1" ViewCount="1404" Body="&lt;p&gt;I need to encode thousands of MP4 H264 (mostly) files in a folder hierarchy to H265. Unfortunately Handbrake that I'd normally use have dismal support for batch processing of hierarchies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The separate project HB Batch Encoder doesn't seem to support X265.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Preferably I'd want a method that can &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Accept all source movie files in a selected hierarchy&lt;/li&gt;&#xA;&lt;li&gt;Encode to X265 as good as Handbrake&lt;/li&gt;&#xA;&lt;li&gt;Automatically pass thru AAC, re-encode any other audio&lt;/li&gt;&#xA;&lt;li&gt;Output to the same directory as the source&lt;/li&gt;&#xA;&lt;li&gt;Move the source to the Trash&lt;/li&gt;&#xA;&lt;li&gt;Works on OS X 10.11&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Can you suggest a tool and method for this that achieves this set of features?&lt;/p&gt;&#xA;" OwnerUserId="14124" LastActivityDate="2017-03-03T05:55:12.397" Title="Batch encode to X265 on the Mac" Tags="|software-recommendation|encoding|conversion|mp4|osx|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18835" PostTypeId="2" ParentId="18834" CreationDate="2016-07-06T00:07:18.973" Score="2" Body="&lt;p&gt;&lt;a href=&quot;http://ffmpeg.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFMPEG&lt;/a&gt; of course. Being a command line application it can be easily integrate into any batch process no matter how convoluted, with the benefit that you get to learn about the power of the command line while you're at it (worked for me). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't explored h.265 encoding much yet, but using settings I stole from the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.265&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg wiki&lt;/a&gt; here's how you'd encode a folder full of .movs:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cd &quot;/the/path to/your/folder/&quot;&#xA;mkdir &quot;for the trash&quot;&#xA;for i in *.mov; do;&#xA;  ffmpeg -i &quot;$i&quot; -c:v libx265 -preset slow -crf 25 -c:a copy &quot;${i/\.mov/.mp4}&quot;&#xA;  mv $i &quot;./for the trash/&quot;&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that this won't delete the files, it will move them to a new folder called &lt;strong&gt;for the trash&lt;/strong&gt;. This is because if you delete files with the command line they disappear instantly, you don't get a second chance if you change your mind or make a typo. There are &lt;a href=&quot;http://hasseg.org/trash/&quot; rel=&quot;nofollow noreferrer&quot;&gt;trash command line utilities&lt;/a&gt;, but that's beyond the scope of this answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;here's the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.265&quot; rel=&quot;nofollow noreferrer&quot;&gt;wiki&lt;/a&gt; entry I based my ffmpeg command on, it does a good job of explaining the options used (I'm a bit thingy about lossy compression so I wound up the quality settings somewhat. I also used the slow preset which gives smaller file sizes. Depending on how much time you have you could use anything from &lt;code&gt;ultrafast&lt;/code&gt; to &lt;code&gt;placebo&lt;/code&gt; to achieve results that vary in file size but with the same quality. &lt;code&gt;placebo&lt;/code&gt; being so named because the tiny bit of difference it makes at the expense of greatly increased processing time is mostly in your head):&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;In this example, we will use the following settings:&lt;/p&gt;&#xA;  &#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;default CRF of 28. The CRF of 28 should visually correspond to libx264 video at CRF 23, but result in about half the file size.&lt;/li&gt;&#xA;  &lt;li&gt;medium preset. The preset determines how fast the encoding process will be – at the expense of compression efficiency. Put differently,&#xA;  if you choose ultrafast, the encoding process is going to run fast,&#xA;  but the file size will be larger when compared to medium. The visual&#xA;  quality will be the same. Valid presets are ultrafast, superfast,&#xA;  veryfast, faster, fast, medium, slow, slower, veryslow and placebo.&lt;/li&gt;&#xA;  &lt;li&gt;AAC audio at 128 kBit/s. This uses the ffmpeg-internal encoder, but under AAC you will find info about more options. &lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;  &#xA;  &lt;p&gt;ffmpeg -i input -c:v libx265 -preset medium -crf 28 -c:a aac -b:a 128k&#xA;  output.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Handbrake &lt;a href=&quot;https://trac.handbrake.fr/wiki/CLIGuide&quot; rel=&quot;nofollow noreferrer&quot;&gt;also works on the command line&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And lastly if you are allergic to the colossal power lurking in terminal.app there are GUIs for ffmpeg, like &lt;a href=&quot;http://www.ffmpegx.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; or &lt;a href=&quot;http://www.iffmpeg.com/index.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;. Not sure how well they deal with batch encoding, and this is not a recommendation, because I don't use any of them. Time to toughen up and use the command line!&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-03-03T05:55:12.397" LastActivityDate="2017-03-03T05:55:12.397" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18836" PostTypeId="1" CreationDate="2016-07-06T00:39:59.800" Score="1" ViewCount="1314" Body="&lt;p&gt;I've created a bunch of variants and a &lt;a href=&quot;http://dash.asperademo.com/aspera/media/Sintel/Manifest.mpd&quot; rel=&quot;nofollow&quot;&gt;DASH manifest&lt;/a&gt; for Sintel, which more or less works, but does not pass &lt;a href=&quot;http://dashif.org/conformance.html&quot; rel=&quot;nofollow&quot;&gt;validation&lt;/a&gt;. The issue is when I want to scale a video to a specific width, but the height that maintains the aspect ratio is not a whole number - or vice versa. For example, I've tried 640:-1, 640: -2, and 640:290 as the value of &quot;-vf scale=&quot;, but either ffmpeg rejects it, or validation fails. How can I transcode to these resolutions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Error log from conformance site:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;### error: moov-1:trak-1:tkhd-1 &#xA;### Width in TrackHeaderBox is not matching with out of box width information &#xA;WARNING: Sample description width 2560 not the same as track width 2558.532104&#xA;Warning: Unknown atom found &quot;pasp&quot;: video sample descriptions would not normally contain this&#xA;WARNING: unknown mvex atom 'trep'&#xA;WARNING: unknown/unexpected atom 'meta'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My ffmpeg and MP4Box commands (OSX):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;OUTDIR=&quot;sintel-transcoded&quot;&#xA;#VIDOPTS24=&quot;-an -c:v libx264 -r 24 -tune animation -force_key_frames expr:gte(t,n_forced*3)&quot;&#xA;VIDOPTS24=&quot;-an -c:v libx264 -tune animation -x264opts keyint=72:min-keyint=72:no-scenecut -vsync passthrough&quot;&#xA;&#xA;mkdir -p $OUTDIR&#xA;&#xA;ffmpeg -i $SOURCEDIR/sintel_4k.mov \&#xA;$VIDOPTS24 -vf scale=320:146 -profile:v baseline -level 3.0 -crf 31 -maxrate 170k -bufsize 170k $OUTDIR/sintel_320.mp4 \&#xA;$VIDOPTS24 -vf scale=480:-2 -profile:v baseline -level 3.0 -crf 30 -maxrate 330k -bufsize 330k $OUTDIR/sintel_480.mp4 \&#xA;$VIDOPTS24 -vf scale=640:290 -profile:v baseline -level 3.1 -crf 30 -maxrate 500k -bufsize 500k $OUTDIR/sintel_640.mp4 \&#xA;$VIDOPTS24 -vf scale=640:290 -profile:v baseline -level 3.1 -crf 25 -maxrate 1000k -bufsize 1000k $OUTDIR/sintel_640_hq.mp4 \&#xA;$VIDOPTS24 -vf scale=960:-2 -profile:v main -level 3.1 -crf 19 -maxrate 2800k -bufsize 2800k $OUTDIR/sintel_960.mp4 \&#xA;$VIDOPTS24 -vf scale=1280:582 -profile:v main -level 3.1 -crf 19 -maxrate 4000k -bufsize 4000k $OUTDIR/sintel_1280.mp4 \&#xA;$VIDOPTS24 -vf scale=1920:-2 -profile:v high -level 4.0 -crf 20 -maxrate 6800k -bufsize 6800k $OUTDIR/sintel_1920.mp4 \&#xA;$VIDOPTS24 -vf scale=2560:1162 -profile:v high -level 5.0 -crf 19 -maxrate 12000k -bufsize 12000k $OUTDIR/sintel_2560.mp4 \&#xA;$VIDOPTS24 -profile:v high -level 5.1 -crf 20 -maxrate 20000k -bufsize 20000k $OUTDIR/sintel_3840.mp4 \&#xA;-vn -c:a aac -b:a 64k $OUTDIR/sintel_audio_64k.mp4 \&#xA;-vn -c:a aac -b:a 96k $OUTDIR/sintel_audio_96k.mp4 \&#xA;-vn -c:a aac -b:a 128k $OUTDIR/sintel_audio_128k.mp4&#xA;&#xA;cd $OUTDIR&#xA;&#xA;MP4Box -dash-strict 3000 -rap -frag-rap -profile dashavc264:live -bs-switching no -out Manifest.mpd \&#xA;sintel_3840.mp4:bandwidth=20000000 \&#xA;sintel_2560.mp4:bandwidth=12000000 \&#xA;sintel_1920.mp4:bandwidth=6800000 \&#xA;sintel_1280.mp4:bandwidth=4000000 \&#xA;sintel_960.mp4:bandwidth=2800000 \&#xA;sintel_640_hq.mp4:bandwidth=1000000 \&#xA;sintel_640.mp4:bandwidth=500000 \&#xA;sintel_480.mp4:bandwidth=330000 \&#xA;sintel_320.mp4:bandwidth=170000 \&#xA;sintel_audio_128k.mp4 \&#xA;sintel_audio_96k.mp4 \&#xA;sintel_audio_64k.mp4&#xA;&#xA;mkdir dist&#xA;mv *dash* Manifest.mpd dist&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="15958" LastActivityDate="2020-08-14T22:02:40.120" Title="How to create MPEG-DASH variants at resolutions where one dimension is not a whole number in pixels?" Tags="|ffmpeg|encoding|mp4|transcoding|mpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18838" PostTypeId="2" ParentId="18836" CreationDate="2016-07-06T05:20:25.370" Score="1" Body="&lt;p&gt;The scale filter resets the sample aspect ratio to match the original display aspect ratio. You should add &lt;code&gt;setsar=1&lt;/code&gt; after each scale. In any case, videos don't contain pixel count with fractional components, and FFmpeg won't output those.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure about DASH but I suppose the validator expects each variant to have the same exact aspect ratio. In your command list, I can see &lt;code&gt;640x290&lt;/code&gt; and &lt;code&gt;1280x582&lt;/code&gt;, which are not the same aspect. If DASH needs all to be same, the latter should be &lt;code&gt;1280x580&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-07-06T05:20:25.370" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18840" PostTypeId="1" AcceptedAnswerId="18841" CreationDate="2016-07-06T06:05:09.227" Score="1" ViewCount="197" Body="&lt;p&gt;I have Nikon d5200. And I am trying to shoot video in manual mode. Movie setting is set to &lt;code&gt;ON&lt;/code&gt; from main menu. I can't record video until I switched to live view. And when I switched to live view, shutter speed of my camera sets to 1/50. I can increase the speed to 1/60, 1/80 and so on. But I can't slow it down to 1/40, 1/30 and so on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now if I set Movie settings &lt;code&gt;OFF&lt;/code&gt;, I am able to change the shutter speed. But actually it doesn't change. I mean it shows on the screen that it is changed but in recorded video there is no change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this the bug of Nikon d5200? Or am I missing some settings? Can it be resolved with some settings, tricks, or firmware update.&lt;/p&gt;&#xA;" OwnerUserId="5946" OwnerDisplayName="Amit Gupta" LastEditorUserId="17390" LastEditDate="2018-10-02T03:42:20.060" LastActivityDate="2018-10-02T03:42:20.060" Title="How to change shutter speed on manual mode when movie setting is on?" Tags="|dslr|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="18841" PostTypeId="2" ParentId="18840" CreationDate="2016-07-06T11:56:36.780" Score="2" Body="&lt;p&gt;If your shutter speed would be slower than 1/50, you wouldn't be able to make a movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A movie is a sequence of (typically) 24 or 30 pictures ('frames') per second; so to be able to make 30 pictures, each picture can only take 1/30 of a second. Considering that the camera needs to do some processing and refreshing of the receptors, 1/50 is just enough time to make those 30 shots in second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can check if your camera has a time-lapse setting, which means you take less than 30 frames per second, then you might be able to set a slower shutter speed. However, the result might be unattractive because any moving objects would be smeared.&lt;/p&gt;&#xA;" OwnerUserId="16083" OwnerDisplayName="Aganju" LastActivityDate="2016-07-06T11:56:36.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18842" PostTypeId="1" AcceptedAnswerId="18875" CreationDate="2016-07-06T18:51:25.160" Score="0" ViewCount="63" Body="&lt;p&gt;I have a full circle (a ring) of video cameras and i want to create a stereoscopic output (assuming my camera rig does not consist of stereo pairs), i would just need to have a high level of overlap between my cameras? (at least 2 cameras covering each pixel?).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't tried it anything yet but i would still like to know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="15838" LastActivityDate="2016-07-11T07:56:40.430" Title="Shooting stereoscopic 360 video" Tags="|stereo|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18843" PostTypeId="1" CreationDate="2016-07-07T00:44:52.017" Score="0" ViewCount="111" Body="&lt;p&gt;I will be running a 10hour loop on a 1080p screen with only 30gb of storage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The loop will be created from a variety of 1080p .mp4s that will need to be compressed. (for example, one video is 12mins long and is 1.5gb. Not ideal.) Quality is not paramount.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the most effective encoding to fit 10hours of 1080p into 30gb? The output needs to be .mp4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will be using a Mac and have Final Cut Pro, Handbrake and Compressor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="16086" LastActivityDate="2016-07-07T01:23:21.807" Title="Best encoding to fit 10hours of 1080p in 30gb?" Tags="|video|video-quality|encoding|mp4|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18844" PostTypeId="2" ParentId="18843" CreationDate="2016-07-07T01:23:21.807" Score="1" Body="&lt;p&gt;You can calculate the maximum total bit rate that would fill the storage:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;30GB ≈ 30,720 MB ≈ 245,760 Mb&lt;/li&gt;&#xA;&lt;li&gt;10 hours = 600 minutes = 36,000 seconds&lt;/li&gt;&#xA;&lt;li&gt;245,760 / 36,000 ≈ 6.83 Mb/s&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You need to encode to a video bit rate less than that maximum to account for the audio and any overhead. Plus, you probably want to leave some space free on the storage. I'd say that 5 Mb/s is probably a safe bet. From there, you should try out different codecs and settings to see what gives you the quality you want at that bit rate.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2016-07-07T01:23:21.807" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18845" PostTypeId="1" AcceptedAnswerId="18852" CreationDate="2016-07-07T03:34:26.470" Score="1" ViewCount="133" Body="&lt;p&gt;Is there any way we can show live tweets ticker as we see on news channels, when projecting any presentation or live video on the screen?&lt;/p&gt;&#xA;" OwnerUserId="16088" LastActivityDate="2016-11-07T12:47:11.797" Title="Is there any way we can show live tweets?" Tags="|video|live-recording|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18846" PostTypeId="1" AcceptedAnswerId="18874" CreationDate="2016-07-07T12:06:38.547" Score="0" ViewCount="1226" Body="&lt;p&gt;I made a lower third for someone else. Of course it needs an alpha channel, but rendering RGB+Alpha results in humongous filesizes. Now I was wondering if you can export the whole thing using a chroma key?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now the Thing is, I could of course export it while putting a green solid behind the whole thing, but I thought, maybe if I change the composition background to green I would not have to fit such a green solid but everything that is transparent would be green by default. However every time I render it, the background defaults to black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Is there a way to tell AME or AE to use the composition background colour for the rendered output instead of black?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="10977" LastActivityDate="2018-03-01T16:30:53.403" Title="Export Composition Background in After Effects" Tags="|after-effects|chromakey|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18847" PostTypeId="2" ParentId="18846" CreationDate="2016-07-07T15:53:05.643" Score="0" Body="&lt;p&gt;For best results, you should use an alpha channel for lower thirds. However, certain situations may require your proposed workaround.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With your composition active in the timeline, hit CMD/CTRL + K to bring up your Composition Settings. Double check your Background Color and ensure it is chroma key green:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#00FF00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now add the composition to your Render Queue in AE and under Output Module, ensure your Video Output channel is set to RGB. This will output your selected background color in any area that is set to alpha in your composition. &lt;em&gt;For partially opaque areas, there will be a slight green tint behind the content, so keep this in mind when using motion blur or opacity fades as you may run into quality problems down the road.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="3161" LastActivityDate="2016-07-07T15:53:05.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18848" PostTypeId="1" CreationDate="2016-07-08T04:09:44.403" Score="0" ViewCount="201" Body="&lt;p&gt;How can I use ffmpeg to composite a video image with a still image to create a final image such as the one below (where the video image &quot;plays&quot; on the large screen and the still image creates the illusion of a theatrical audio environment)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uAo2V.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uAo2V.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14358" LastEditorUserId="10931" LastEditDate="2016-07-08T11:29:37.707" LastActivityDate="2016-08-07T12:28:17.767" Title="How can encode video with images like these [overlay a video over a fixed image] with ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ClosedDate="2016-08-10T09:05:15.737" ContentLicense="CC BY-SA 3.0" />
  <row Id="18849" PostTypeId="1" CreationDate="2016-07-08T05:19:36.050" Score="2" ViewCount="25843" Body="&lt;p&gt;I'm making the 3rd instalment of my Sand Wars series (&lt;a href=&quot;https://www.youtube.com/watch?v=dpENrCozv34&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sand Wars II&lt;/a&gt;) and I shot the majority of my footage at 60p (which I think means 60fps and progressive rather than interlaced).  I do &lt;em&gt;not&lt;/em&gt; want to rotoscope lightsabers 60 frames per second and would much rather do 30. The footage is currently at 59.94, which I think is close enough to 60. I know I can lower the frame rate using HandBrake, but I don't want to have to lose more quality than I already will, as each clip is probably going to be run through Blender a few times.  What settings can I enable on HandBrake to take an entire folder of my footage (I don't want to have to do this hundreds of times for each video file) and output it into another folder with each video having a frame rate of 30 fps (or 29.97) with as &lt;em&gt;little quality loss as possible&lt;/em&gt;?&lt;/p&gt;&#xA;&lt;p&gt;Thanks,&#xA;Anson&lt;/p&gt;&#xA;" OwnerUserId="16097" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-07-11T08:03:18.947" Title="How to change framerate with HandBrake without side effects" Tags="|video-quality|framerate|blender|handbrake|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18850" PostTypeId="1" CreationDate="2016-07-08T07:03:49.887" Score="1" ViewCount="981" Body="&lt;p&gt;Contrary to what it seems like everyone else is trying to do with their DSLR's, I was wondering if anyone knew how to limit file size for a single recorded file to 2GB instead of the usual rate of 4GB. Due to streaming requirements, I need my recorded files to not exceed 2GB and it's way, way more work to split the files manually. Is anyone aware of a way of accomplishing this on the camera (Canon 5D mark iii) itself?&lt;/p&gt;&#xA;" OwnerUserId="16098" LastActivityDate="2019-11-04T13:54:42.183" Title="Set file size limit for video on Canon 5D mark iii" Tags="|video|video-editor|video-quality|video-recording|dslr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18851" PostTypeId="2" ParentId="10348" CreationDate="2016-07-08T09:10:20.283" Score="2" Body="&lt;p&gt;You want to start an Event, it support multiple cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://support.google.com/youtube/answer/2853812?hl=en&quot; rel=&quot;nofollow&quot;&gt;https://support.google.com/youtube/answer/2853812?hl=en&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll also need either a program that supports send multiple streams or a program that can be opened in multiple sessions and that way send multiple streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I strongly recommend OBS Studio.&lt;/p&gt;&#xA;" OwnerUserId="16099" LastEditorUserId="16099" LastEditDate="2016-07-08T10:53:24.530" LastActivityDate="2016-07-08T10:53:24.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18852" PostTypeId="2" ParentId="18845" CreationDate="2016-07-08T10:57:09.363" Score="2" Body="&lt;p&gt;I suggest you try out OBS with it's Twitter plugin.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://obsproject.com/forum/threads/transparent-borderless-scalable-auto-updating-tweets.12277/&quot; rel=&quot;nofollow&quot;&gt;https://obsproject.com/forum/threads/transparent-borderless-scalable-auto-updating-tweets.12277/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Complete instructions how to set it up, in the linkage.&lt;/p&gt;&#xA;" OwnerUserId="16099" LastActivityDate="2016-07-08T10:57:09.363" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18853" PostTypeId="2" ParentId="18850" CreationDate="2016-07-08T11:02:29.660" Score="2" Body="&lt;p&gt;The 4 gig limitation is there cause most memory cards are formatted with FAT32 which can't handle files larger than 4 gig.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Refer to Manual page 234, &lt;a href=&quot;http://gdlp01.c-wss.com/gds/8/0300007348/05/eos5d-mk3-im7-en.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://gdlp01.c-wss.com/gds/8/0300007348/05/eos5d-mk3-im7-en.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way to limit the file size, is to limit the recording time.&#xA;You can always do the math and find out how many minutes to record to hit 2 gig.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: the link no longer works.  Here is a screenshot of the page - &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rpcLv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rpcLv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16099" LastEditorUserId="22062" LastEditDate="2019-11-04T13:54:42.183" LastActivityDate="2019-11-04T13:54:42.183" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="18854" PostTypeId="2" ParentId="18848" CreationDate="2016-07-08T12:03:02.330" Score="1" Body="&lt;p&gt;Asked and answered : &lt;a href=&quot;https://video.stackexchange.com/questions/18170/how-can-encode-video-with-images-like-these-overlay-a-video-over-a-fixed-image&quot;&gt;How can encode video with images like these (overlay a video over a fixed image) with ffmpeg?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But you want to add coordinates to the movie file to scale to a specific area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the perspective/scale:&#xA;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#toc-perspective&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#toc-perspective&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the overlay:&#xA;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#toc-overlay-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#toc-overlay-1&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16099" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-07-08T12:03:02.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18855" PostTypeId="1" AcceptedAnswerId="18856" CreationDate="2016-07-08T14:21:08.017" Score="3" ViewCount="48" Body="&lt;p&gt;&lt;a href=&quot;http://www.bloomberg.com/live/&quot; rel=&quot;nofollow&quot;&gt;Bloomberg TV&lt;/a&gt; features programming daily where the anchors co-host the show from both London and New York at the same time. Interaction between the co-hosts at the different locations are instantaneous and there is no noticable latency   whatsoever, despite the distance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when they have an interviewee on-air that is not in any one of the main studios, via what seems to be internet video or satellite, there is a noticeable latency.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How does Bloomberg TV and other major media manage to do co-hosting, in regards to latency?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is London–New York latency not a big issue in live television? Or do they rent bandwidth on some sort of super-speed internet connection over the Atlantic?&lt;/p&gt;&#xA;" OwnerUserId="12052" LastEditorUserId="12052" LastEditDate="2016-07-08T14:30:24.030" LastActivityDate="2016-07-08T19:48:23.677" Title="How does media manage to co-host a show from two continents without latency?" Tags="|live|latency|television|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18856" PostTypeId="2" ParentId="18855" CreationDate="2016-07-08T19:48:23.677" Score="2" Body="&lt;p&gt;There are two key ways to deal with the inevitable latency of live video from the other side of the world:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Ignore the video,&lt;/strong&gt; at least for talent or guest queuing purposes. The person is fed &lt;a href=&quot;https://en.wikipedia.org/wiki/Mix-minus&quot; rel=&quot;nofollow&quot;&gt;mix-minus&lt;/a&gt; audio through their &lt;a href=&quot;https://en.wikipedia.org/wiki/Interruptible_foldback&quot; rel=&quot;nofollow&quot;&gt;IFB&lt;/a&gt;. Since it is just audio, and historically was sent over a &lt;a href=&quot;https://en.wikipedia.org/wiki/Plain_old_telephone_service&quot; rel=&quot;nofollow&quot;&gt;POTS&lt;/a&gt; telephone line, it can have virtually unnoticeable latency to the viewer.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Practice, practice, practice.&lt;/strong&gt; For geographically separated anchors, they will rehearse until they can get the timing of things right. They'll know they need to start talking just that little bit early for it to be seamless to the viewer.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Other technical things that can be done are to rely on terrestrial (fiber optic) transmission of the remote location (significantly lower latency than satellite, but physics still prevents zero latency) and avoiding compression or using codecs designed for low latency and high quality.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2016-07-08T19:48:23.677" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18858" PostTypeId="1" CreationDate="2016-07-09T02:05:52.387" Score="0" ViewCount="47" Body="&lt;p&gt;Here is a YouTube link to a Channel 9 ident from Australia featuring characters from &quot;The Big Bang Theory&quot;: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/cziKMPa2EUY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was watching it and it made me think about a few things:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Do the Nine Network have to get permission from CBS/Warner Bros. for the use of &quot;The Big Bang Theory&quot; in their ident?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Described simply, how do video editors go about featuring the characters so smoothly in a pre-made ident? Obviously it can't have been done on a greenscreen since the characters are all the way over in the US, so how could this be done using standard footage from the show?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="16102" LastActivityDate="2016-07-09T16:48:15.137" Title="How are idents like these made?" Tags="|production|copyright|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18859" PostTypeId="2" ParentId="18846" CreationDate="2016-07-09T14:52:50.063" Score="1" Body="&lt;p&gt;I hope the person receiving your 'green screen' lower third doesn't ever find you in a dark alley. If it was me I'd be looking to bring the hurt. Really, this is not the way to do it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Firstly there are more space efficient codecs with alpha channels than the default Apple Animation, try proRes 4444 or the newer &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/gopro-cineform-codec.html&quot; rel=&quot;nofollow&quot;&gt;Cineform&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you really can't afford the bandwidth to send the video with alpha, render out the alpha channel as a separate movie and send them both. I'm old enough to remember that's the way things were done in the days when dinosaurs roamed the earth and when sending a Betacam SP videotape by courier was the highest bandwidth way of sending material. There's no such thing as an alpha channel on analogue tape. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can achieve that by adding an output module to the render (right click the output module in the render queue and choose &lt;strong&gt;add output module&lt;/strong&gt;). Change the &lt;strong&gt;Channels&lt;/strong&gt; dropdown to Alpha instead of RGB or RGB+. If you want, you can use a compressed codec to save space (or compress after the render, which is what I'd recommend). Just don't compress too much or you'll end up with blockiness in your alpha channel.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-07-09T14:52:50.063" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18860" PostTypeId="2" ParentId="18858" CreationDate="2016-07-09T16:48:15.137" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;Yes, they need permission. However, the permission to use the characters in image and other promotional material is likely included in the international distribution or syndication agreement.&lt;/li&gt;&#xA;&lt;li&gt;It almost definitely was done using a chroma key or other intentional compositing technique, as opposed to trying to mask the movements out of footage from the show. Networks, syndicators, and international distributors &lt;a href=&quot;https://books.google.com/books?id=ZMEfGqG9VkkC&amp;amp;lpg=PP1&amp;amp;pg=PT68#v=onepage&amp;amp;q&amp;amp;f=false&quot; rel=&quot;nofollow&quot;&gt;usually supply their affiliates with promotional materials&lt;/a&gt;. Often, these promotional materials include elements that can be built up into a complete promo that fits the affiliate's branding. The distributor will provide suggestions or instructions on just how a particular element should be used, but it is up to the affiliate to put in their own look.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2016-07-09T16:48:15.137" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18861" PostTypeId="2" ParentId="18849" CreationDate="2016-07-09T16:51:27.660" Score="4" Body="&lt;p&gt;FFMPEG is probably a better tool for the job, if you are prepared to deal with the command line. Install ffmpeg from the packages found &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;. These are all ready-built and should have all the included libraries you need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you've installed ffmpeg you will need to run it from the command line. Since there's different ways of doing that depending on your platform, the one safe bet is that if you drag the ffmpeg icon into the command line window you should get the path to the ffmpeg executable auto-filled for you. Next you type out a command like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;ffmpeg executable path&amp;gt; -r 60 -i &amp;lt;input path&amp;gt; -preset ultrafast -crf 0 -r 30 -c:a copy &amp;lt;output path.mp4&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;for a lossless mp4 file or&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;ffmpeg executable path&amp;gt; -r 60 -i &amp;lt;input path&amp;gt; c:v prores -profile:v 3 -r 30 -c:a copy &amp;lt;output path.mov&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;for a prores encoded quicktime file (ffmpeg &lt;em&gt;will&lt;/em&gt; encode prores on Windows and Linux, but whether ProRes is readable depends on what software you're editing on. Alternatives are DNxHD/DNxHR and Cineform, but that's beyond the scope of this answer).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In both instances the &lt;code&gt;&amp;lt;ffmpeg executable path&amp;gt;&lt;/code&gt;, &lt;code&gt;&amp;lt;input path&amp;gt;&lt;/code&gt; and &lt;code&gt;&amp;lt;output path.mp4&amp;gt;&lt;/code&gt; means the path to the respective files, i.e. what you get when you drag them into the terminal. So to fill out the path to the input file, just drag it into the terminal. Since the output file doesn't exist, copy the input file and change the name and extension to whatever you want. On Windows it will be something like &lt;code&gt;&quot;c:\users\stib\folder\another folder\movie1.mp4&quot;&lt;/code&gt; on a mac it will be &lt;code&gt;/Users/stib/folder/another\ folder/movie1.mp4&lt;/code&gt; Linux will be similar to mac (though the home folder will vary depending on your distro. But anyway…).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first example use h.264 compression with the Constant Rate Factor &lt;code&gt;-crf&lt;/code&gt; (inverse of quality) set to &lt;code&gt;0&lt;/code&gt; or lossless. Since you're not looking for small file sizes the preset is set to ultrafast and the audio codec &lt;code&gt;-c:a&lt;/code&gt; is set to copy (this is assuming you're using an mp4 as input) so that the audio will not be re-encoded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second uses prores compression with the &lt;code&gt;-profile:v 3&lt;/code&gt; setting it to ProRes HQ, a very solid codec for editing work on Macs or Windows machines using Adobe Premiere. You could change this to Avid DNxHD or other codecs of your choice, with ffmpeg there are literally &lt;a href=&quot;https://ffmpeg.org/ffmpeg-codecs.html&quot; rel=&quot;nofollow&quot;&gt;hundreds to choose from&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In both examples I changed the video frame rate using &lt;code&gt;-r 30&lt;/code&gt;, this will drop input frames to output a constant 30fps. Since your input is 59.94fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also used &lt;code&gt;-r 60&lt;/code&gt; before the &lt;code&gt;-i&lt;/code&gt; input flag to force ffmpeg to treat the input file as 60fps (although it doesn't add or remove frames, just changes the way they are interpreted). You could instead change your output to 29.97 fps by using &lt;code&gt;-r 30000/1001&lt;/code&gt; instead of &lt;code&gt;-r 30&lt;/code&gt; for the output, and not bother putting a &lt;code&gt;-r&lt;/code&gt; rate flag before the input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Applying this to a whole folder of files involves using the shell. How you do that depends on your OS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;on a Mac or Linux machine, here's one way &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cd &quot;/path/to/my folder of media/&quot;&#xA;mkdir &quot;30FPS_converted&quot;&#xA;for i in *.mov; do&#xA;ffmpeg -i $i &amp;lt;ffmpeg options here&amp;gt; &quot;./30FPS_converted/${i/mov/mp4};&quot;&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;change directory to the folder using the &lt;code&gt;cd&lt;/code&gt; command, e.g. &lt;code&gt;cd &quot;/Users/stib/my media/folder1&quot;&lt;/code&gt; once again, you can drag the folder onto the terminal window.&lt;/li&gt;&#xA;&lt;li&gt;Create a new directory for your output files with the &lt;code&gt;mkdir&lt;/code&gt; command (or do it in finder / file browser of your choice.&lt;/li&gt;&#xA;&lt;li&gt;create a loop with the contents of the folder using the &lt;code&gt;for&lt;/code&gt; command, and use that to provide the input for the ffmpeg command. The command above creates a list of all the files with the suffix &quot;.mov&quot;, creates a variable &lt;code&gt;$i&lt;/code&gt; and every time the loop goes round it changes the value of &lt;code&gt;$i&lt;/code&gt; to the next file in the list. The &lt;code&gt;${i/mov/mp4}&lt;/code&gt; is called brace substitution. It substitutes the letters &quot;mov&quot; in the value of $i with the letters &quot;mp4&quot;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;On Windows here's how you'd do it with Powershell (you could do it it with batch scripting, but I refuse to learn batch scripting):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;set-location &quot;c:\Users\me\my media files\&quot;&#xA;new-item &quot;30FPS_converted&quot; -type directory&#xA;get-childItem*.mov | foreach {&#xA;ffmpeg -i $_ &amp;lt;ffmpeg options here&amp;gt; (&quot;.\30FPS_converted&quot; + $_.name.replace(&quot;mov&quot;, &quot;mp4))}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;change directory to the folder using the &lt;code&gt;Set-Location&lt;/code&gt; command (though usually &lt;code&gt;cd&lt;/code&gt; works too), e.g. &lt;code&gt;Set-Location &quot;C:\Users\stib\my media\folder1&quot;&lt;/code&gt; once again, you can drag the folder onto the terminal window.&lt;/li&gt;&#xA;&lt;li&gt;make a new directory using the new-item command (mkdir usually works too). In the example above the path for the output folder is &lt;code&gt;.&lt;/code&gt; (a full stop), this means &quot;the current directory&quot;&lt;/li&gt;&#xA;&lt;li&gt;list the files in the folder (&lt;code&gt;get-childItem&lt;/code&gt;, though usually &lt;code&gt;ls&lt;/code&gt; works too) that end with the suffix you're after, and pipe &lt;code&gt;|&lt;/code&gt; the output to a &lt;code&gt;foreach&lt;/code&gt; loop. Inside that loop the variable &lt;code&gt;$_&lt;/code&gt; takes on the value of the file objects in the list one by one. Then use the &lt;code&gt;name.replace()&lt;/code&gt; function to create the appropriate output name, and append that to the directory name.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Obviously if your source files aren't .movs you change the .mov bits in the command to whatever you've got, and the same for the output file extension.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-07-11T08:03:18.947" LastActivityDate="2016-07-11T08:03:18.947" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18862" PostTypeId="1" AcceptedAnswerId="18863" CreationDate="2016-07-09T19:33:07.047" Score="0" ViewCount="3734" Body="&lt;p&gt;I'd like to import my miniDV tapes.  I'm using Windows 10 and the built-in Movie Maker software.   My goal is to get the highest fidelity import from the miniDV tapes.   I did a trail run and it looks like Movie Maker stores the content in AVI files.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is the import lossless/uncompressed?&lt;/li&gt;&#xA;&lt;li&gt;Is it possible to do a higher quality import?  If so, what software should I use?&lt;/li&gt;&#xA;&lt;li&gt;I know AVI is an older container format.  Is AVI a suitable format going forward?  If not, what should I use?  I'm trying to future proof as much as possible.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="16108" LastActivityDate="2021-03-28T09:10:37.013" Title="Windows 10 miniDV import using Movie Maker" Tags="|video-quality|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18863" PostTypeId="2" ParentId="18862" CreationDate="2016-07-09T21:05:00.323" Score="1" Body="&lt;p&gt;DV is a compressed format to begin with. Unless you apply further compression at the time of capture within WMM, the captured stream is identical to that on the tape. The bitrate of the capture should be roughly 3.5 MB/s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AVI is an old format, and for broader compatibility, you can store the video in Quicktime .MOV, but this will have to be done after capture, using a tool like &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt;. This process is quick since it's just rewrapping the data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Command will be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i file.avi -c copy file.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-07-09T21:05:00.323" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18864" PostTypeId="2" ParentId="18845" CreationDate="2016-07-10T10:50:22.330" Score="0" Body="&lt;p&gt;There is a software which can be used for single screens and video walls which is called Sedna presenter. They have widgets which lets you display tweets:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://help.sedna-cloud.com/sedna_Presenter_Manual/help_topics/miscellaneous/widgets.php&quot; rel=&quot;nofollow&quot;&gt;http://help.sedna-cloud.com/sedna_Presenter_Manual/help_topics/miscellaneous/widgets.php&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16110" LastActivityDate="2016-07-10T10:50:22.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18866" PostTypeId="1" AcceptedAnswerId="18867" CreationDate="2016-07-10T14:59:49.350" Score="1" ViewCount="2086" Body="&lt;p&gt;I have an MKV wrapped 1920x800 video and a sidecar .srt subtitle file. I want to convert the video to 1920 x 1080 and add black border on top and bottom while keeping the original aspect ratio. I also want to insert the subtitles on the black border.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an idea on how to insert the subtitles, but I'm not sure how to add the border. I'd appreciate any suggestions on how to do this all in one pass so that I lose at little quality as possible.&lt;/p&gt;&#xA;" OwnerUserId="16112" LastEditorUserId="14523" LastEditDate="2016-07-11T11:28:20.200" LastActivityDate="2016-07-11T11:28:20.200" Title="Add border to video, maintaing aspect ratio, and insert subtitles in the border" Tags="|video|subtitles|aspect|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18867" PostTypeId="2" ParentId="18866" CreationDate="2016-07-10T15:29:25.103" Score="2" Body="&lt;p&gt;You can use &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt;, a free command line tool to do this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -vf pad=1920:1080:0:140,subtitles=filename.srt -crf 20 -c:a copy out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#subtitles-1&quot; rel=&quot;nofollow&quot;&gt;subtitles&lt;/a&gt; filter accepts ASS styling &lt;a href=&quot;http://fileformats.wikia.com/wiki/SubStation_Alpha&quot; rel=&quot;nofollow&quot;&gt;parameters&lt;/a&gt;, such as font size and margins.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-07-10T15:29:25.103" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18869" PostTypeId="1" AcceptedAnswerId="18877" CreationDate="2016-07-10T18:17:49.583" Score="0" ViewCount="68" Body="&lt;p&gt;Are there any free liquid simulation programs that can export to After Effects (through any built in setting or Element 3D), or any free 3rd party plug-ins for After Effects to do the same thing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example of a non-free program that does this is Realflow.&lt;/p&gt;&#xA;" OwnerUserId="16114" LastActivityDate="2016-07-11T12:05:22.557" Title="Motion design liquid simulations?" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18870" PostTypeId="1" CreationDate="2016-07-11T00:09:05.367" Score="0" ViewCount="75" Body="&lt;p&gt;I trimmed my sequence to short part. Now I want to normalize audio on it in timeline. However, since it is still part of bigger clip, I can't do &lt;kbd&gt;Right Click&lt;/kbd&gt; =&gt; &lt;kbd&gt;Audio Gain&lt;/kbd&gt; =&gt; &lt;kbd&gt;Normalize Max Peak To:&lt;/kbd&gt;... Because there are louder sounds in another parts of video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, are there is any solution or workaround to Normalize Max Peak of part of clip?&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-07-11T00:36:56.490" Title="Audio gain for subclip in Premiere Pro" Tags="|video|premiere|video-editor|audio|software|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18871" PostTypeId="2" ParentId="18870" CreationDate="2016-07-11T00:36:56.490" Score="2" Body="&lt;p&gt;I'm not sure why you would want to use normalize at all. You should use audio tracks and place the audio you need to adjust on it's own track. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, using the audio mixer, apply dynamics to the audio tracks. You can then use the compressor within the dynamics filter, which you can use on all your tracks, to get your dynamic range all in line. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the clip that needs to be (from what it sounds) adjusted up, in the dynamics filter for that track/clip, you can from there manually adjust the gain up- it's a pot/knob center column bottom. Use a ratio of about 2:1 to 4:1. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Last, click the checkbox on the bottom right of the dynamics filter for each track to enable the limiter. The limiter; a good setting is -2 db. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will balance out your audio so the soft sounds are adjusted up and can be heard, and the loud sections are not adjusted up; resulting in overmodulation. Its a much better way to smooth out your audio, decrease the dynamic range, and end up with audio that sounds far more balance. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you learn how to effectively use the dynamics filter on tracks, I think you will find you will never, ever, use the Normalize filter again. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-07-11T00:36:56.490" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18872" PostTypeId="2" ParentId="18862" CreationDate="2016-07-11T00:45:53.850" Score="1" Body="&lt;p&gt;You can use a free, good-quality software like &quot;ScenalyzerLive&quot; (&lt;a href=&quot;http://www.scenalyzer.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.scenalyzer.com/&lt;/a&gt;) or also free &quot;STOIK Capturer&quot; or &quot;WinDV&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AVI is not a &quot;video format&quot; but a &quot;video &amp;amp; audio container&quot;. You can wrap very high quality video formats into an .avi container. You can google &quot;avi container wikipedia&quot; for more info.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DV is interlaced (you should deinterlace it), 59.94 fields per second (29,97 frames per second), 480 or 576 pixels high, YUV 4:2:0 (4 times less chroma info than luma info), etc. Don't expect too much quality. Therefore, you can use an MPEG-2 codec or higher to wrap a DV capture into an .avi container.&lt;/p&gt;&#xA;" OwnerUserId="16115" LastEditorUserId="16115" LastEditDate="2016-07-12T23:50:00.120" LastActivityDate="2016-07-12T23:50:00.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18873" PostTypeId="2" ParentId="17876" CreationDate="2016-07-11T00:49:00.750" Score="1" Body="&lt;p&gt;DAZ3D is a great program for very quickly creating storyboards. It has a relatively short learning curve compared to other 3D applications. And it's FREE. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It comes with basic models to start. If you need specific models you can buy them (they are relatively cheap), or use simple geometry objects as place holders which you can generate in the program at no cost. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The nice thing about the program is it renders very fast in Texture mode, and you can set up cameras with actual focal lengths, so your storyboards can be built based on the lens lengths you will be using. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-07-11T00:49:00.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18874" PostTypeId="2" ParentId="18846" CreationDate="2016-07-11T07:44:28.247" Score="0" Body="&lt;p&gt;I'd have to back up what has already been said. For best results, you will need to export as a Quicktime Animation using RGB+Alpha. Yes, the file size will be huge. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, there are things you can do to reduce the overall file size, and these things have to do with how your project is set up and your workflow. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Make your Composition size the size of the lower third, not the size of the canvas size for the end user. If the video being produced is 1080, the lower third will be at max 1920 wide, but will likely only use a slice of the vertical space. So size the comp to that and let the editor place it where it needs to go. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Secondly, render the lower third without the name, have them bring up the name in PPro, now he will only need 1 file. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Having not seen your lower third, I can only assume it animates on and off. Does it continue to have motion while up? If not, render only the build on, and build off. And render 1 frame of the static. Let the editor use the build on, then frame hold the static section, then build off files. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Last, if your graphic does have consistent motion, you can either animate in a way that loops to reduce the length and allow the editor to repeat the loop. Also, and I have done this, is- break the composition down into multiple outputs of animation files which can be different sizes, or loops. Things like glimmers, flares, etc, they may only be a short duration of the overall graphic animation. You can isolate those out and render as separate files. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Yes, your editor will have to layer. But PPro can handle that. He can create a sequence for the lower third, and use it as a nested sequence inside his main sequence to apply the names. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My suggestion is think hard about workflow and output possibilities, and go with, as others have said, QT Animation with Alpha. Anything else will give you sub par results. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-07-11T07:44:28.247" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18875" PostTypeId="2" ParentId="18842" CreationDate="2016-07-11T07:56:40.430" Score="0" Body="&lt;p&gt;Creating just a non-stereoscopic 360 capture setup is highly difficult, unless you are shooting vast landscapes with wide angle lenses. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problems you will need to factor are far more than overlap.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, you will need adequate overlap for adjustment in post production. But you also need to make sure all of the cameras are genlocked for sync. Shutter speeds will need to match, as will white balance and f-stops. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you plan on having objects come near the camera (which would be why you'd want 3D), you will need more cameras; because for 360 you want to use high quality lenses in the mid to wide focal lengths. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your issues will be focus, and mostly, warping as the objects move closer to the camera. Once in post, the objects, unless you are (factoring full frame plane of view) using 50mm or longer lenses, will distort due to simple physics. And will be near impossible to align in post-- especially so with a steroscopic rig. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Im honestly trying to envision your setup, and would think in order for anything like this to work, your camera ring would need to be fairly large; like 6 feet in diameter. Using 16 or more pairs (32 cameras) at the very least. Anything less will not produce appealing results. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The few 360 setups I have seen in person used 22.5 degree slices (16 cameras and 16 projectors). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-07-11T07:56:40.430" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18876" PostTypeId="1" CreationDate="2016-07-11T11:19:42.010" Score="3" ViewCount="94" Body="&lt;p&gt;A question that has been on my mind for so long is: How exactly does green screening work with an object to vanish? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Short example: Normal green screens as a background are replaced with an image the viewer sees, like a news show where they show the weather. The weather-man stands infront of the greenscreen and presents the weather - while the greenscreen is replaced with actual information, kinda simple. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But how does it work when a real scene is filmed and only an object should be replaced with the actual background staying intact? &#xA;I saw a still-image from a Harry Potter film where Hermione got a book in her hand which is being picked up by a green hand, so the hand could be removed later so the book looks like it is floating. &#xA;How does the computer 'know' the background behind the hand? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Its kinda hard to explain and I cant draw or show you what I mean since i'm posting via phone. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Imagine the camera shot as a 2D Image - Hermione with the book in her hand and the green hand receiving and grabbing the book. As you film this, the hand is opaquing the background it is infront from. Since the hand is removed later, the background will be shown since there is no more hand to see (removed because of the effect for the movie) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is it possible to see the background? Is the scene once filmed without the hand and then again with the Hand to forge two images together in the end? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope I explained it right so you can help me with that, it's really interesting and bugging me at the same time. &lt;/p&gt;&#xA;" OwnerUserId="16120" LastActivityDate="2016-07-11T12:45:43.330" Title="How does green screening work with green objects?" Tags="|post-production|filming|greenscreen|production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18877" PostTypeId="2" ParentId="18869" CreationDate="2016-07-11T11:23:49.700" Score="0" Body="&lt;p&gt;I think is really rare find something for free, especially something massive like proper 3D environments able to export (as you said, Realflow), instead I can suggest you &lt;a href=&quot;http://aescripts.com/newton/&quot; rel=&quot;nofollow&quot;&gt;Newton&lt;/a&gt; plug-in.&lt;/p&gt;&#xA;" OwnerUserId="6118" LastEditorUserId="6118" LastEditDate="2016-07-11T12:05:22.557" LastActivityDate="2016-07-11T12:05:22.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18878" PostTypeId="2" ParentId="18876" CreationDate="2016-07-11T12:45:43.330" Score="2" Body="&lt;p&gt;For static shots they shoot what's called a background plate: the same scene shot from the same angle but without the foreground action. Then where the green is taken out the empty background shows through.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the camera is moving this presents a problem. This can be solved by using motion control - basically &lt;a href=&quot;http://www.mrmoco.com/cranes-rigs/products/rigs/&quot; rel=&quot;nofollow&quot;&gt;a robot arm with the camera on it&lt;/a&gt; that can repeat the same camera movement with and without the foreground action. This technique is being used less and less, because today even a modest laptop running &lt;a href=&quot;https://helpx.adobe.com/after-effects/atv/cs6-tutorials/3d-camera-tracker.html&quot; rel=&quot;nofollow&quot;&gt;off-the-shelf software&lt;/a&gt; is now capable of tracking moving cameras in 3D. So that the computer works out where the camera was in 3D space, then the background–which can be real or CGI–can be composited with the camera footage.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-07-11T12:45:43.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18879" PostTypeId="1" CreationDate="2016-07-11T13:52:24.033" Score="4" ViewCount="4518" Body="&lt;p&gt;I want to be able to grab multiple media clips from my project window all at once, then drag and drop them to a timeline stacked on top of each other as opposed to side by side. Each track would take its own track in the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sort of like keyframe assisting in after effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way for this to be done, maybe by holding down a particular keyboard command? &lt;/p&gt;&#xA;" OwnerUserId="16118" LastActivityDate="2017-03-14T00:35:49.087" Title="How do I drag multiple media clips and vertically stack them onto a premiere pro timeline?" Tags="|premiere|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18880" PostTypeId="2" ParentId="18879" CreationDate="2016-07-11T14:13:52.217" Score="1" Body="&lt;p&gt;I dont believe there is any native built in way to do this. The easiest way would likely to build a simple keyboard mouse macro which can be run to repeat the action of selecting the next clip down, and adding to a new track at the start of the sequence. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-07-11T14:13:52.217" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18881" PostTypeId="1" AcceptedAnswerId="18883" CreationDate="2016-07-11T20:09:53.590" Score="2" ViewCount="174" Body="&lt;p&gt;For example, I'm watching CNN. Wolf Blitzer is speaking on the background, there's a news ticker feed on the bottom and occasionally, individual video clips are shown on the right to go with the story. How is that all put together, live? &lt;/p&gt;&#xA;" OwnerUserId="16124" LastActivityDate="2016-07-12T00:19:20.780" Title="What software / hardware is used by TV companies to generate a live video feed that can be made up of smaller, live pieces?" Tags="|video|compositing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18882" PostTypeId="1" AcceptedAnswerId="18884" CreationDate="2016-07-11T23:42:52.360" Score="0" ViewCount="326" Body="&lt;p&gt;Is it possible to take, for example, this video &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/sNXohNU3tWo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; and somehow make dr. Manhattan's skin yellow/white? instead of blue? Is it possible to take out his figure/delete the surroundings? If yes, then how?&lt;/p&gt;&#xA;" OwnerUserId="16127" LastActivityDate="2016-07-12T23:37:56.643" Title="Delete background, change color of video" Tags="|vegas-pro|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18883" PostTypeId="2" ParentId="18881" CreationDate="2016-07-12T00:19:20.780" Score="2" Body="&lt;p&gt;In general, it is done with a &lt;a href=&quot;https://en.wikipedia.org/wiki/Vision_mixer&quot; rel=&quot;nofollow&quot;&gt;production switcher/vision mixer&lt;/a&gt;. I believe CNN uses the &lt;a href=&quot;https://pro.sony.com/bbsc/ssr/product-MVS8000X/&quot; rel=&quot;nofollow&quot;&gt;Sony MVS8000&lt;/a&gt;. Specifically, it is a &lt;a href=&quot;https://en.wikipedia.org/wiki/Digital_video_effect&quot; rel=&quot;nofollow&quot;&gt;DVE&lt;/a&gt; or resizer feature that scales and positions the video. The video is played back from another device, likely a &lt;a href=&quot;https://en.wikipedia.org/wiki/Video_server&quot; rel=&quot;nofollow&quot;&gt;video server&lt;/a&gt;, under the control of the newsroom computer system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They may also be using whatever software that does the real time rendering of the ticker to do the same thing that the production switcher's resizers do. Many broadcasters use renders from &lt;a href=&quot;http://www.vizrt.com/products/viz_engine/&quot; rel=&quot;nofollow&quot;&gt;VizRT&lt;/a&gt; or &lt;a href=&quot;http://www.avid.com/&quot; rel=&quot;nofollow&quot;&gt;Orad (now owned by Avid)&lt;/a&gt;. Whether it is done in the production switcher or in the ticker software is a complex system architecture decision driven by the graphical requirements.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2016-07-12T00:19:20.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18884" PostTypeId="2" ParentId="18882" CreationDate="2016-07-12T10:51:43.987" Score="1" Body="&lt;p&gt;One way to achieve cutting out the background is by using after effects and rotoscoping Dr. Manhattan out - there are many tutorials online on how to rotoscope. &lt;a href=&quot;https://www.youtube.com/watch?v=xYgfDUnA1Ys&quot; rel=&quot;nofollow&quot;&gt;Adobe After Effects CS5- Rotoscope with Rotobrush&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you've done this, grade Dr. Manhattan to your liking by using a colour correction tool such as levels, and hue/saturation. You may have to rotoscope in/out the colours you want to keep.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this is helpful.&lt;/p&gt;&#xA;" OwnerUserId="16118" LastActivityDate="2016-07-12T10:51:43.987" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18886" PostTypeId="1" CreationDate="2016-07-12T06:22:59.363" Score="4" ViewCount="88" Body="&lt;p&gt;I have a question about the video mode of my DSLR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When i record i can set the frame rage (e.g. 25 fps). In that setting my DSLR should take 25 images within 1 second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In manual (or &quot;s&quot; mode) mode i can set the shutter speed of the taken video. &#xA;Technically the  maximum should be 1/25 because of the frame rate. But i can also choose values above. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Question: How is it technically possible to record a video with 25 fps having set the shutter speed more than 1/25s. ( e.g. 1/4s)&lt;/p&gt;&#xA;" OwnerDisplayName="fubo" LastActivityDate="2016-09-10T20:34:05.140" Title="Using technically impossible shutter speed when shooting video" Tags="|video|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="18887" PostTypeId="2" ParentId="18886" CreationDate="2016-07-12T18:20:38.383" Score="1" Body="&lt;p&gt;Whether this happens inside your specific camera is not clear. However, it is possible to have a shutter speed slower than the FPS would naively allow. In practice, it's very unlikely that a camera would do this if uses a mechanical shutter for video, but it can be practical in electronic shutter cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Imagine a shutter speed of 0.5 seconds, and a framerate of 4fps. Each 'exposure' lasts 0.5 seconds, but each frame's exposure overlaps with neighbouring frames - the frames are not the same, but they overlap. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Imagine:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A is the light value that arrives between 0 and 0.25 s&lt;/li&gt;&#xA;&lt;li&gt;B is the light value that arrives between 0.25s and 0.5s&lt;/li&gt;&#xA;&lt;li&gt;C is the light value that arrives between 0.5s and 0.75s&lt;/li&gt;&#xA;&lt;li&gt;D is the light value that arrives between 0.75s and 1s&lt;/li&gt;&#xA;&lt;li&gt;etc...&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Then:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Frame 1 contains the light A+B&lt;/li&gt;&#xA;&lt;li&gt;Frame 2 contains the light B+C&lt;/li&gt;&#xA;&lt;li&gt;Frame 3 contains the light C+D&lt;/li&gt;&#xA;&lt;li&gt;etc....&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerDisplayName="Harry Harrison" LastActivityDate="2016-07-12T18:20:38.383" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18888" PostTypeId="2" ParentId="18882" CreationDate="2016-07-12T23:37:56.643" Score="2" Body="&lt;p&gt;You can also use DaVinci Resolve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First node: You can use a qualifier to get the basic outline of Dr. Manhattan (not the glow around him, but the darker blue parts).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second node: You can feed one output from that first node through hue vs. hue to convert blue to yellow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Third node: You can feed another output from the first node to a mask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fourth node: You can then then blur the mask (outside only, not inside and outside) and tint it to make your yellow glow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fifth node: you can use the mask of the 3rd node to select the output of the second node and composite that with the output of the fourth node to get a yellow body with a yellow glow, and no background.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-07-12T23:37:56.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18889" PostTypeId="2" ParentId="18879" CreationDate="2016-07-13T01:35:42.773" Score="0" Body="&lt;p&gt;Adobe Premiere Pro CC 2015 has a thing called a Multi-Camera Source Sequence.  This is kind of a combination of both a multicam clip and a sequence.  I believe it is enough of a sequence that it can behave like a sequence, meaning that if you were to composite the layers together instead of switching between them, you'd get the expected result.  Such sequences can be created by selecting a number of Project items, as you wish to do.  When you create such a sequence, choose &quot;In&quot; points to sync everything, which means everything starts with each clip's first frame.  For more about this new feature, read the &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/create-multi-camera-source-sequence.html#UsetheMulticameraSourceSequencedialogbox&quot; rel=&quot;nofollow&quot;&gt;relevant section&lt;/a&gt; of the Adobe manual.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-07-13T01:35:42.773" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18891" PostTypeId="1" CreationDate="2016-07-13T10:28:24.720" Score="2" ViewCount="291" Body="&lt;p&gt;Are there any plugins/physics simulation engines other than Newton that will be useful for creating Physics and Chemistry content in After Effects?? &#xA;For example, if I have a requirement to create the motion of electrons in an atom, how do I go about it?&lt;/p&gt;&#xA;" OwnerUserId="16136" LastActivityDate="2016-10-12T22:50:08.790" Title="Physics and Chemistry Animations in After Effects" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18893" PostTypeId="1" AcceptedAnswerId="18894" CreationDate="2016-07-13T11:31:42.470" Score="1" ViewCount="63" Body="&lt;p&gt;I'm planning to record video tutorials for a project of mine without compromising on the quality and I would like to know the best option to shoot them &lt;/p&gt;&#xA;" OwnerUserId="16136" LastActivityDate="2016-07-15T03:08:56.980" Title="DSLR vs CamCorders for video tutorials?" Tags="|dslr|camcorder|video-capture|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18894" PostTypeId="2" ParentId="18893" CreationDate="2016-07-13T13:47:40.307" Score="3" Body="&lt;p&gt;DSLRs tend to have much larger image sensors than camcorders, which tends to mean much less depth of field (DOF) for a given field of view.  Shallow DOF is great for isolating subjects from their background, but it's a nightmare when you actually want the subject and its context to be in focus together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most DLSR lenses have a limited zoom ratio and/or limited maximum aperture compared with camcorder zooms.  A typical DSLR kit (EOS 80D with 18-135mm f3.5-f5.6 zoom), can be equated to a 35mm equivalent of 29-216mm f3.5-f5.6 zoom lens.  A Canon Vixia G40 camcorder has a 35mm equivalent of a 26.8 - 576 f1.8-f2.8 zoom lens.  That's more than 2x longer at the long end with 2 f-stops more light-gathering ability.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Combine longer range, wider aperture, and more depth of field, and you can see why news organizations tend to send camcorders into the field.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand, depending on your subject and your aesthetic, you may prefer the shallow DOF look, such as this short video demonstrates: &lt;a href=&quot;https://vimeo.com/100437145&quot; rel=&quot;nofollow&quot;&gt;https://vimeo.com/100437145&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-07-13T13:47:40.307" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18895" PostTypeId="1" AcceptedAnswerId="18949" CreationDate="2016-07-13T16:26:56.767" Score="2" ViewCount="2379" Body="&lt;p&gt;I am going to have tons of layers use the same expression, but I need to be able to edit the expression later without having to edit it for every layer. I also can't simply have each layer's property point to the original, because the expression needs to be evaluated for each layer relative to itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way I can have each layer expression simply point to and parse a text file? I could edit the text file so all layers expressions update.&#xA;Or, if somehow I could put the expression on a null object and have each layer parse that expression for itself.&#xA;Thanks for any help!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My workaround solution is to make a null object with a slider control for every single value that I may edit later, updating all layers, but this doesn't allow me to change the non-numerical information in the expression, such as adding parenthesis or other functions.&lt;/p&gt;&#xA;" OwnerUserId="12572" LastActivityDate="2017-11-06T02:27:46.520" Title="Can an expression parse a text file or the expression of another property in After Effects?" Tags="|after-effects|after-effects-expressions|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18897" PostTypeId="1" CreationDate="2016-07-13T21:30:25.060" Score="4" ViewCount="171" Body="&lt;p&gt;I have some 720p 30FPS H.264 video that I want to downsample for online backup. I want to get to somewhere around 10% to 20% of the existing size, which will evidently require a large sacrifice in quality. I will use H.265 as the destination format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I have two main knobs I can turn to achieve this: I can lower the resolution, or I can lower the quality factor for the encoder. Of course, I can also combine both approaches.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How should I approach this to preserve as much quality as possible? It's pretty clear that turning the quality way down while keeping the resolution at 720 results in some pretty terrible video, but I'm not sure that I should draw the conclusion that I should mostly use resolution decreases to achieve the size reduction.&lt;/p&gt;&#xA;" OwnerUserId="16139" LastActivityDate="2019-01-20T21:36:06.127" Title="Trading off resolution vs quality" Tags="|encoding|compression|" AnswerCount="3" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="18899" PostTypeId="1" AcceptedAnswerId="18900" CreationDate="2016-07-14T00:36:22.703" Score="5" ViewCount="1794" Body="&lt;p&gt;I'm just starting out...I'm learning to work with Adobe Premier Pro, and I just bought a Snowball/Blue microphone and am learning to record audios with Adobe Audio. I haven't even bought a video camera yet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My understanding is that most video cameras record both visual and audio, BUT the experts recommend that you bypass the video camera's audio and record audio with a separate device. (I've seen a portable Tascam model recommended.) As I understand it, the reason is that a separate, external audio recorder lets you escape internal noises made by the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So here's my question: Suppose I'm sitting around at home recording an audio. I'm simply talking into my Snowball microphone, which is plugged into my Mac. I'm using Adobe Audio to control the recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this the best way to do it, or should I be using an external audio recorder (to escape the noise made by laptop's fan, for example)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's hard for me to visualize the sequence, since I don't have the actual equipment to play with yet. If I do need an external audio recorder, then I'm assuming I would plug my Snowball mike into the recorder, which would in turn presumably be connected to my laptop, so I can use a software program (e.g. Adobe Audio) to manipulate the recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess another way of asking my question is how do the pros make simple audio recordings - with or without a separate audio recording device?&lt;/p&gt;&#xA;" OwnerUserId="15980" LastActivityDate="2016-07-15T04:18:36.540" Title="Do I need an audio recorder?" Tags="|audio|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18900" PostTypeId="2" ParentId="18899" CreationDate="2016-07-14T01:50:55.687" Score="6" Body="&lt;p&gt;Back in the day when movie cameras recorded to film, the sound made by the cameras was something to be isolated from the sound recording process.  Digital video cameras make very little noise (with the odd exception of things like early model RED cameras that needed high-powered fans to deliver sufficient cooling for their hot-rodded internals).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But that's less than half the problem.  The larger part of the problem is that to get good sound you need a proper microphone in a proper location, and that location is usually much closer to your talent than the camera will ever be.  As a rule of thumb, you want the audio microphone to be between 6-12&quot; away from the mouth if it's a lav mic, 12&quot;-24&quot; away if it's a typical cardiod vocal mic, and 18&quot;-36&quot; away if it's a shotgun (boom) mic.  And in all cases you want the mic oriented toward the speaker (protecting it from plosives, of course).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is for this reason that you want to divorce audio and video recording and then remarry them in post-production.  In that case, the audio recorded on the video camera will give you a very good idea about how to perfectly line up the audio from your audio recorder, and once you have done that you can mute the audio from the video camera and use the audio from the audio recorder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you shoot 10' away from the subject and try to record audio from the camera's location, it's going to sound terrible, no matter how much you spend on microphones (unless you also spend $1M+ on an amazing acoustic environment).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a link to a &lt;a href=&quot;http://nofilmschool.com/2015/08/24-sound-basics-will-help-you-lay-sturdy-foundation&quot; rel=&quot;noreferrer&quot;&gt;video&lt;/a&gt; that really goes over this in detail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And of course if you do have fan noise you want to avoid, or other sources of noise, that's also a reason to move the microphone, and the talent, away from those noise sources.  If the noise sources are intrinsic to the room (such as a refrigerator you cannot turn off), then you begin to understand the logic of why people rent sound stages...&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2016-07-14T23:51:34.997" LastActivityDate="2016-07-14T23:51:34.997" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18902" PostTypeId="1" AcceptedAnswerId="18917" CreationDate="2016-07-14T03:30:04.680" Score="2" ViewCount="1383" Body="&lt;p&gt;I take a file and make the video slower by using one and the same command two times:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -nostdin -i test.avi -filter:v &quot;setpts=2.0*PTS&quot; -vtag xvid -an slow1.avi&#xA;ffmpeg -nostdin -i test.avi -filter:v &quot;setpts=2.0*PTS&quot; -vtag xvid -an slow2.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But &lt;code&gt;slow1.avi&lt;/code&gt; and &lt;code&gt;slow2.avi&lt;/code&gt; are different.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First check by comparing &lt;code&gt;md5sum&lt;/code&gt; and filesize:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;1ceef0b7c6b498399e7ee4ff3ce99427  slow1.avi&#xA;cc844d77193e2ad37dc1e06d6cac5166  slow2.avi&#xA;-rw-r--r-- 1 user user 66606564 Jul 14 09:28 slow1.avi&#xA;-rw-r--r-- 1 user user 66867612 Jul 14 09:28 slow2.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then check by comparing terminal output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;@@ -16,7 +16,7 @@&#xA;   Duration: 00:21:52.21, start: 0.000000, bitrate: 344 kb/s&#xA;     Stream #0:0: Video: mpeg4 (Simple Profile) (XVID / 0x44495658), yuv420p, 614x480 [SAR 1:1 DAR 307:240], 203 kb/s, 25 fps, 25 tbr, 25 tbn, 25 tbc&#xA;     Stream #0:1: Audio: mp3 (U[0][0][0] / 0x0055), 44100 Hz, stereo, s16p, 128 kb/s&#xA;-Output #0, avi, to 'slow1.avi':&#xA;+Output #0, avi, to 'slow2.avi':&#xA;   Metadata:&#xA;     ISFT            : Lavf57.25.100&#xA;     Stream #0:0: Video: mpeg4 (xvid / 0x64697678), yuv420p, 614x480 [SAR 1:1 DAR 307:240], q=2-31, 200 kb/s, 25 fps, 25 tbn, 25 tbc&#xA;@@ -26,5 +26,5 @@&#xA;       unknown side data type 10 (24 bytes)&#xA; Stream mapping:&#xA;   Stream #0:0 -&amp;gt; #0:0 (mpeg4 (native) -&amp;gt; mpeg4 (native))&#xA;-frame=32804 fps=459 q=2.0 Lsize=   65045kB time=00:43:44.36 bitrate= 203.0kbits/s speed=36.8x    &#xA;-video:63486kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 2.456314%&#xA;+frame=32804 fps=438 q=2.0 Lsize=   65300kB time=00:43:44.36 bitrate= 203.8kbits/s speed=  35x&#xA;+video:63741kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 2.446085%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ffmpeg gives this non-determinism with any file, for example try with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/usr/local/bin/youtube-dl --recode-video avi -o 'test.%(ext)s' tPEE9ZwTmy0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Why the same processing of a file by ffmpeg is non-deterministic? Does this influence how this file is actually reproduced by movie player?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If we add &lt;code&gt;-flags bitexact&lt;/code&gt; before &lt;code&gt;-filter:v&lt;/code&gt;, the results differ anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the full output on machine A:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;user@debian:~/Downloads$ md5sum test.avi &#xA;621ebcd080da91817bb47a93e877cd6e  test.avi&#xA;user@debian:~/Downloads$ ./ffmpeg-git-20160714-64bit-static/ffmpeg -nostdin -i test.avi -flags bitexact -filter:v &quot;setpts=2.0*PTS&quot; -vtag xvid -an slow1.avi&#xA;ffmpeg version N-80999-gf41e37b-static http://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 5.4.0 (Debian 5.4.0-6) 20160609&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --enable-libmp3lame --enable-libx264 --enable-libx265 --enable-libwebp --enable-libspeex --enable-libvorbis --enable-libvpx --enable-libfreetype --enable-fontconfig --enable-libxvid --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libtheora --enable-libvo-amrwbenc --enable-gray --enable-libopenjpeg --enable-libopus --enable-libass --enable-gnutls --enable-libvidstab --enable-libsoxr --enable-frei0r --enable-libfribidi --disable-indev=sndio --disable-outdev=sndio --enable-librtmp --enable-libmfx --enable-libzimg --cc=gcc&#xA;  libavutil      55. 28.100 / 55. 28.100&#xA;  libavcodec     57. 50.100 / 57. 50.100&#xA;  libavformat    57. 41.100 / 57. 41.100&#xA;  libavdevice    57.  0.102 / 57.  0.102&#xA;  libavfilter     6. 47.100 /  6. 47.100&#xA;  libswscale      4.  1.100 /  4.  1.100&#xA;  libswresample   2.  1.100 /  2.  1.100&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, avi, from 'test.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf57.25.100&#xA;  Duration: 00:00:01.04, start: 0.000000, bitrate: 777 kb/s&#xA;    Stream #0:0: Video: mpeg4 (Simple Profile) (XVID / 0x44495658), yuv420p, 854x470 [SAR 1:1 DAR 427:235], 29.97 fps, 29.97 tbr, 29.97 tbn, 29.97 tbc&#xA;    Stream #0:1: Audio: mp3 (U[0][0][0] / 0x0055), 44100 Hz, stereo, s16p, 128 kb/s&#xA;[avi @ 0x51c4680] Setting the AVFormatContext to bitexact mode, because the AVCodecContext is in that mode. This behavior will change in the future. To keep the current behavior, set AVFormatContext.flags |= AVFMT_FLAG_BITEXACT.&#xA;[avi @ 0x51c4680] Using AVStream.codec to pass codec parameters to muxers is deprecated, use AVStream.codecpar instead.&#xA;Output #0, avi, to 'slow1.avi':&#xA;    Stream #0:0: Video: mpeg4 (xvid / 0x64697678), yuv420p, 854x470 [SAR 1:1 DAR 427:235], q=2-31, 200 kb/s, 29.97 fps, 29.97 tbn, 29.97 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc mpeg4&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/200000 buffer size: 0 vbv_delay: -1&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (mpeg4 (native) -&amp;gt; mpeg4 (native))&#xA;frame=   27 fps=0.0 q=13.4 Lsize=      99kB time=00:00:01.83 bitrate= 444.1kbits/s speed=15.7x    &#xA;video:93kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 7.451477%&#xA;user@debian:~/Downloads$ md5sum slow1.avi &#xA;653f2bf66a01b67911b5bd61a4e197e0  slow1.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is the full output on machine B:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;user@debian:~/Downloads$ md5sum test.avi &#xA;621ebcd080da91817bb47a93e877cd6e  test.avi&#xA;user@debian:~/Downloads$ ./ffmpeg-git-20160714-64bit-static/ffmpeg -nostdin -i test.avi -flags bitexact -filter:v &quot;setpts=2.0*PTS&quot; -vtag xvid -an slow2.avi&#xA;ffmpeg version N-80999-gf41e37b-static http://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 5.4.0 (Debian 5.4.0-6) 20160609&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --enable-libmp3lame --enable-libx264 --enable-libx265 --enable-libwebp --enable-libspeex --enable-libvorbis --enable-libvpx --enable-libfreetype --enable-fontconfig --enable-libxvid --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libtheora --enable-libvo-amrwbenc --enable-gray --enable-libopenjpeg --enable-libopus --enable-libass --enable-gnutls --enable-libvidstab --enable-libsoxr --enable-frei0r --enable-libfribidi --disable-indev=sndio --disable-outdev=sndio --enable-librtmp --enable-libmfx --enable-libzimg --cc=gcc&#xA;  libavutil      55. 28.100 / 55. 28.100&#xA;  libavcodec     57. 50.100 / 57. 50.100&#xA;  libavformat    57. 41.100 / 57. 41.100&#xA;  libavdevice    57.  0.102 / 57.  0.102&#xA;  libavfilter     6. 47.100 /  6. 47.100&#xA;  libswscale      4.  1.100 /  4.  1.100&#xA;  libswresample   2.  1.100 /  2.  1.100&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, avi, from 'test.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf57.25.100&#xA;  Duration: 00:00:01.04, start: 0.000000, bitrate: 777 kb/s&#xA;    Stream #0:0: Video: mpeg4 (Simple Profile) (XVID / 0x44495658), yuv420p, 854x470 [SAR 1:1 DAR 427:235], 29.97 fps, 29.97 tbr, 29.97 tbn, 29.97 tbc&#xA;    Stream #0:1: Audio: mp3 (U[0][0][0] / 0x0055), 44100 Hz, stereo, s16p, 128 kb/s&#xA;[avi @ 0x468f680] Setting the AVFormatContext to bitexact mode, because the AVCodecContext is in that mode. This behavior will change in the future. To keep the current behavior, set AVFormatContext.flags |= AVFMT_FLAG_BITEXACT.&#xA;[avi @ 0x468f680] Using AVStream.codec to pass codec parameters to muxers is deprecated, use AVStream.codecpar instead.&#xA;Output #0, avi, to 'slow2.avi':&#xA;    Stream #0:0: Video: mpeg4 (xvid / 0x64697678), yuv420p, 854x470 [SAR 1:1 DAR 427:235], q=2-31, 200 kb/s, 29.97 fps, 29.97 tbn, 29.97 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc mpeg4&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/200000 buffer size: 0 vbv_delay: -1&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (mpeg4 (native) -&amp;gt; mpeg4 (native))&#xA;frame=   27 fps=0.0 q=14.8 Lsize=     102kB time=00:00:01.83 bitrate= 456.8kbits/s speed=17.9x    &#xA;video:95kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 7.225229%&#xA;user@debian:~/Downloads$ md5sum slow2.avi &#xA;9e6eed35b37a05c62141adefd249751f  slow2.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16141" LastEditorUserId="16141" LastEditDate="2016-07-15T05:36:52.610" LastActivityDate="2016-07-15T05:42:32.493" Title="Why ffmpeg works non-deterministically?" Tags="|ffmpeg|slowmotion|" AnswerCount="1" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="18903" PostTypeId="2" ParentId="18899" CreationDate="2016-07-14T04:55:18.500" Score="1" Body="&lt;p&gt;Your question mentions video cameras, but your examples say recording Audio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it's just audio, you don't need a separate recorder, you mac is the the recorder. But you probably should be learning about DAW's, audio interfaces  and microphone preamps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it's video, it depends on what sort of video you want to record, and where you want to record it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Separate audio recorders free the sound recording from being tied to the camera. Few cables or wireless problems by not having to send sound to the camera. Camera can then just focus on the picture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most non-broadcast cameras have poor audio preamps. Sound purists hate recording audio to camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do the pros do it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wandering around a Trade Show many videographers just shoot camera sound with a shotgun video mic mounted on the camera recording to the camera within 3 feet of a talking subject. Mainly because a single shooter can move around quicker and easier than a 3 person crew in a crowded show. The absence of an audio recorder gives the videographer one less piece of kit and connection to fail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Documentary, News &amp;amp; Current Affairs often shoot camera plus separate sound recordist who can get in close with a boom mic just out of frame. Or the on screen talent holds the mic. The sound recordists' job is to monitor the sound and make sure it's usable, holding the boom is just a way of achieving it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Scripted and long format crews add more specialised crew to control the environment and capture more footage. Grips, gaffer, hair &amp;amp; makeup, focus puller, sound dept, camera dept, art dept, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A small reality show I was on a month ago shot with 2 Sony broadcast cameras recording sound on camera, and wireless lav mics on each of the 2 subjects going to a separate audio recorder mounted on one of the cameras. The director monitored the primary camera vision and wireless sound. Total crew 2x Camera Operators, 1x Director, 1x Production Coordinator.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Online video channels (like youtube) record to separate audio recorders if they want better preamps than most cameras have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's how the pros do it.&lt;/p&gt;&#xA;" OwnerUserId="11459" LastEditorUserId="11459" LastEditDate="2016-07-15T04:18:36.540" LastActivityDate="2016-07-15T04:18:36.540" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18906" PostTypeId="1" CreationDate="2016-07-14T11:56:15.103" Score="0" ViewCount="375" Body="&lt;p&gt;I made an audio spectrum visualizer similar (After Effects) style like &lt;a href=&quot;https://www.youtube.com/watch?v=ZzAbmW09Zv4&quot; rel=&quot;nofollow noreferrer&quot;&gt;this one&lt;/a&gt; with multiple solid layers. But I have a problem: how to change the song in all layers at once? Every layer has different colours, glow and all other effects but the song is the same, so now if I want to change the song I have to go into every solid layer and change FX Audio Spectrum &gt; Audio Layer &gt; Song Name.&lt;/p&gt;&#xA;" OwnerDisplayName="Mantelo Man" LastEditorUserId="17390" LastEditDate="2018-10-10T13:14:44.833" LastActivityDate="2020-04-19T17:51:11.983" Title="'&quot;How to change the song in one time?&quot; Audio Spectrum Visualizer (After Effect)" Tags="|after-effects|audio|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="18907" PostTypeId="1" AcceptedAnswerId="18908" CreationDate="2016-07-14T13:45:40.617" Score="0" ViewCount="1430" Body="&lt;p&gt;I'm encoding an image sequence to an .mp4 file using the following ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -loglevel info -threads 0 -f lavfi -framerate 60  -i image_seq.%06d.tif -r 60 -preset medium -codec:v libx265 -ar 48000 -acodec aac -shortest -strict experimental -sn -vsync 1 -pix_fmt yuv420p -b:v 7340032 -movflags +faststart output_file.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The image sequence itself is 60fps but the resulting .mp4 file contains a number of frames twice as big as in the original image sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really can't see anything that's wrong with the command.. any ideas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command which includes several inputs:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -loglevel info -threads 0 -f lavfi -i aevalsrc=0 -framerate 60 -i image.png -start_number 000000 -apply_trc bt709 -i image_seq.%06d.tif -r 60 -preset medium -codec:v libx265 -ar 48000 -acodec aac -shortest -strict experimental -sn -vsync 1 -pix_fmt yuv420p -b:v 7340032 -movflags +faststart -map &quot;2:0&quot; -map &quot;0:0&quot; -shortest output.mp4 2&amp;gt;&amp;amp;1 | tee -a log_file.log&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16150" LastEditorUserId="16150" LastEditDate="2016-07-15T14:08:42.873" LastActivityDate="2016-07-15T14:08:42.873" Title="ffmpeg - output file is twice as long as the input" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18908" PostTypeId="2" ParentId="18907" CreationDate="2016-07-14T14:25:16.227" Score="1" Body="&lt;p&gt;Assuming that's the unabridged command, I do see many puzzling things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-threads 0&lt;/code&gt; is set here for &lt;strong&gt;de&lt;/strong&gt;coding the input and is set to &lt;code&gt;0 = auto&lt;/code&gt;. Which is the default. Removed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-f lavfi&lt;/code&gt; is for supplying a filter-generated source, not for a set of image files. Removed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-r 60&lt;/code&gt; should normally be harmless here, but given the filter format and vsync later on, better to remove this confounding option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-ar 48000 -acodec aac&lt;/code&gt; is for encoding audio, but no audio stream is supplied or generated, so inert here. Removed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-shortest&lt;/code&gt; is needed when there are multiple streams being encoded, and you want the encoding to stop when the shortest stream ends, but there's only one stream, the image sequence, being encoded. Removed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-strict experimental&lt;/code&gt; is needed if you are encoding audio using the internal AAC encoder AND your FFmpeg is older than Dec 2015. In any case, there's no audio encoding occurring. Removed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-sn&lt;/code&gt; disables subtitles, but no subtitle streams are present. Removed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-vsync 1&lt;/code&gt; produces constant frame rate output but that's the default for MP4 output. Removed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -framerate 60 -i image_seq.%06d.tif&#xA;       -preset medium -c:v libx265 -b:v 7340032 -pix_fmt yuv420p&#xA;       -movflags +faststart output_file.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-07-14T14:25:16.227" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="18910" PostTypeId="2" ParentId="18895" CreationDate="2016-07-14T17:26:26.667" Score="3" Body="&lt;p&gt;Yes, since expressions are basically JavaScript, you can load and evaluate external source files. Unfortunately the location needs to be hard-coded, since (AFAIK) expressions do not have access to the path of your AE project, so it's rather brittle. For instance:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;try {&#xA;    myPath = &quot;~/Desktop/source.js&quot;;&#xA;    $.evalFile(myPath);&#xA;} catch(err) {&#xA;    &quot;MISSING&quot;;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Further explanation of how similar code works can be seen &lt;a href=&quot;http://www.provideocoalition.com/expression_shorts_-_read_external_text_document/&quot; rel=&quot;nofollow&quot;&gt;on the ProVideoCoalition site&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One further caveat is that the script is loaded and evaluated again for every frame that gets rendered. You might want to test how loading the script affects your render times.&lt;/p&gt;&#xA;" OwnerUserId="10896" LastEditorUserId="6685" LastEditDate="2016-07-15T12:21:45.393" LastActivityDate="2016-07-15T12:21:45.393" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18912" PostTypeId="2" ParentId="18891" CreationDate="2016-07-14T20:57:43.723" Score="3" Body="&lt;p&gt;There are a number of physics engines and related scripts available in the &lt;a href=&quot;http://aescripts.com/after-effects/animation/physics-simulation/&quot; rel=&quot;nofollow&quot;&gt;Physics Simulation category at AEScripts&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, without a more specific question about what kind of animation you're looking for (that is to say, I don't know how the electrons in an atom are supposed to move), it's hard to point you to a specific answer.&lt;/p&gt;&#xA;" OwnerUserId="10896" LastActivityDate="2016-07-14T20:57:43.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18913" PostTypeId="2" ParentId="18273" CreationDate="2016-07-14T23:09:08.407" Score="3" Body="&lt;p&gt;Yes, &lt;code&gt;checkLayers()&lt;/code&gt; is what is performs the collision test, and compares every layer in the Comp against the one running the script.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To check against only one layer, you could re-write that function a little cleaner, but here's a quick solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, remove the lines that start and end the &lt;code&gt;for&lt;/code&gt; loop, since you'll only be checking one layer. But don't remove the code inside the &lt;code&gt;for&lt;/code&gt; loop, since that code is what does the collision check. &lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;for ( idx = 1; idx &amp;lt;= thisComp.numLayers; idx++){  // delete&#xA;    ... // keep this stuff&#xA;} // delete&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can also delete these two lines, since you don't need to check every layer in the Comp for whether it's the same as the layer running the script, or whether the layer is active or not:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;if (index == idx) continue; // skips if the comparison layer is the same as the current layer&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;if (! L.active) continue;   // skips if the comparison layer is inactive&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Last, modify this line:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;L = thisComp.layer(idx);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;… to make &lt;code&gt;L&lt;/code&gt; the one layer that you want to compare to. You might do that by referencing a layer by index or name, such as:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;L = thisComp.layer(&quot;Name of Single Layer to Compare&quot;);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Check the Adobe documentation on &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/expression-language-reference.html#comp_attributes_and_methods_expression_reference&quot; rel=&quot;nofollow&quot;&gt;Comp attributes and methods&lt;/a&gt; to see other options for referencing a specific layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You &lt;em&gt;do&lt;/em&gt; need the &lt;code&gt;if (checkLayers()) 1 else 0&lt;/code&gt; line at the end, because that's the “switch” that returns the final value of your expression, depending on whether there was a collision (returns &lt;code&gt;1&lt;/code&gt;) or not (returns &lt;code&gt;0&lt;/code&gt;).&lt;/p&gt;&#xA;" OwnerUserId="10896" LastEditorUserId="6685" LastEditDate="2016-07-15T12:22:51.977" LastActivityDate="2016-07-15T12:22:51.977" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18914" PostTypeId="2" ParentId="17631" CreationDate="2016-07-15T00:07:42.327" Score="2" Body="&lt;p&gt;I do not know of any existing solutions for this in Premiere or AE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if you know a little about programming, you might be able to write a script using OpenCV that runs &lt;a href=&quot;https://github.com/tesseract-ocr/tesseract&quot; rel=&quot;nofollow&quot;&gt;Tesseract OCR&lt;/a&gt; on video frames, and comes out with the text you want. Once you have the text and time codes, you definitely could write a script to build the titles at the appropriate time codes inside of AE or Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I became aware of these open-source tools since I am currently building a mobile app that runs OCR on documents.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check out the &lt;a href=&quot;http://docs.opencv.org/3.0-beta/modules/text/doc/ocr.html&quot; rel=&quot;nofollow&quot;&gt;Scene Text Recognition&lt;/a&gt; docs for OpenCV, if you want to try that route.&lt;/p&gt;&#xA;" OwnerUserId="10896" LastActivityDate="2016-07-15T00:07:42.327" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18915" PostTypeId="2" ParentId="18893" CreationDate="2016-07-15T03:08:56.980" Score="1" Body="&lt;p&gt;Another factor to consider in deciding between DSLR and Camcorder is the ergonomics. While the pictures from a DSLR have a nice cinematic look, they are harder to use. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As mentioned by Michael, the larger sensor gives you shorter depth of field, so anything other than static subjects can be challenging to keep in focus - and this is coupled with the fact that the displays are generally too low resolution to judge critical focus on-the-fly. So most people end up bolting on an external monitor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The lenses are something else to consider: stills lenses often have the focus distances marked like &quot;1ft—2ft—infinity&quot;. So a follow focus rig is a useful addition, meaning that you'll want rails to mount it all on. Most stills lenses also change speed as you zoom, so a close-up will be correctly exposed, but when you pull out for a wide shot you'll be a stop over.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And the shape of the camera is different. A DSLR is harder to hold steady while filming and looking at the screen, compared to a camcorder with a viewfinder that you jam onto your eye. So people often add shoulder rigs to them. So in addition to the camera you end up with a frankenrig with monitor, follow-focus, batteries external mics and recorder, and shoulder mount all hanging off it. If the look is worth it to you, then this might be acceptable, but if ease-of-use makes a difference this is a big minus for the DSLR.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-07-15T03:08:56.980" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18917" PostTypeId="2" ParentId="18902" CreationDate="2016-07-15T05:42:32.493" Score="3" Body="&lt;p&gt;Based on all info, it looks like the difference occurs with FFmpeg's internal MPEG-4 part 2 encoder, whose use can be identified by the string &lt;code&gt;mpeg4 (native)&lt;/code&gt; after the 2nd arrow in  &lt;code&gt;Stream #0:0 -&amp;gt; #0:0 (mpeg4 (native) -&amp;gt; mpeg4 (native))&lt;/code&gt;. If you use &lt;code&gt;libxvid&lt;/code&gt; which is a third-party MPEG-4 part 2 encoder, the error does not occur.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;My &lt;em&gt;guess&lt;/em&gt; is that the behaviour of the internal mpeg4 encoder is related to the possible differences in supplementary instruction sets present between the two machines i.e. MMX, SSE&lt;em&gt;n&lt;/em&gt;. Someone with the technical knowledge, please feel free to chime in.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-07-15T05:42:32.493" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18918" PostTypeId="2" ParentId="18897" CreationDate="2016-07-15T10:26:19.530" Score="0" Body="&lt;p&gt;I think just turning it in H265 will reduce it of the 10% you need. To do it well you can bring it bac to uncompeessed yuv format using ffmep then encode the yuv in HEVC using HM référence software. &lt;/p&gt;&#xA;" OwnerUserId="16160" LastActivityDate="2016-07-15T10:26:19.530" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18919" PostTypeId="2" ParentId="16903" CreationDate="2016-07-15T13:16:25.527" Score="1" Body="&lt;p&gt;Here the simplest solution: After render video you just compress the video.  I recommended handbrake. &#xA;&lt;a href=&quot;https://handbrake.fr/downloads.php&quot; rel=&quot;nofollow&quot;&gt;https://handbrake.fr/downloads.php&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="16164" LastActivityDate="2016-07-15T13:16:25.527" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18921" PostTypeId="2" ParentId="18032" CreationDate="2016-07-15T14:16:53.957" Score="1" Body="&lt;p&gt;I'm in a similar position to you and I suspect part of the problem is that my CPU can't transcode the stream fast enough, especially when running a player on the same machine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check your CPU usage, if it's maxing out that's probably the reason for the frame drops.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apparently mp4box can be used to stream live DASH (it has a -dash-live option) but I haven't managed to get this working yet either.  This link is quite old, but seems to have a working example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.slideshare.net/cconcolato/live-streaming-of-video-and-subtitles-with-mpegdash&quot; rel=&quot;nofollow&quot;&gt;http://www.slideshare.net/cconcolato/live-streaming-of-video-and-subtitles-with-mpegdash&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16166" LastActivityDate="2016-07-15T14:16:53.957" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18924" PostTypeId="1" CreationDate="2016-07-16T02:35:44.073" Score="1" ViewCount="102" Body="&lt;p&gt;I import mov files from Canon 70D to Davinci Resolve 12 and it appears darker on the preview than if I run the video on VLC video player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I render the video and the output is the same as on the preview (darker than VLC).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also shoot jpg for reference and look the same as the video on VLC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using nvideo video card on windows 10.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What should I do to make it consistent?&lt;/p&gt;&#xA;" OwnerUserId="16169" LastActivityDate="2016-07-16T02:35:44.073" Title="70D mov import to DaVinci Resolve 12 appear darker" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18927" PostTypeId="1" CreationDate="2016-07-17T06:50:36.530" Score="3" ViewCount="10327" Body="&lt;p&gt;I often see a speedometer in people's videos. I have time indexed speed data, is there any way to get it into the video (as text even) in Final Cut Pro?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Data is in TCX (or GPX) but I could easily write a script to convert that to another format.&lt;/p&gt;&#xA;" OwnerUserId="16174" LastEditorUserId="11459" LastEditDate="2016-07-25T11:28:57.047" LastActivityDate="2016-07-25T11:28:57.047" Title="Displaying speedometer in Final Cut Pro" Tags="|final-cut-pro-x|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18928" PostTypeId="2" ParentId="18927" CreationDate="2016-07-17T07:03:54.157" Score="2" Body="&lt;p&gt;You can use the free &lt;a href=&quot;http://www.dashware.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Dashware&lt;/a&gt; app, which is normally used to overlay telemetry data directly on footage.&lt;/p&gt;&#xA;&lt;p&gt;As per the &lt;a href=&quot;http://www.dashware.net/faq/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FAQ&lt;/a&gt;,&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;What’s the best way to use DashWare with another video editor, so I can do sophisticated edits?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;How to make blue/green screen, gauge-only videos with DashWare:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Add your video and data files to the DashWare project like usual: synchronize, set up your gauges how you like, etc&lt;/li&gt;&#xA;&lt;li&gt;Once you are ready to export, create a new “Green Screen” gauge. In this new, empty gauge add a Filled Rectangle component with the&#xA;dimensions of your video (e.g. 1920 by 1080). I use a bright, neon&#xA;green color for the fill. You want to pick a color that you are not&#xA;using in any of your other gauges.&lt;/li&gt;&#xA;&lt;li&gt;Put this new gauge behind all the other gauges in your project and it will cover up your source video.&lt;/li&gt;&#xA;&lt;li&gt;Export and now you will have a green screen video with only gauges.&lt;/li&gt;&#xA;&lt;li&gt;In your favorite video editor use a chroma key filter to turn the green screen parts of the video transparent and presto you have a&#xA;transparent video with your gauges.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-07-17T07:03:54.157" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18930" PostTypeId="1" AcceptedAnswerId="18932" CreationDate="2016-07-17T11:42:29.973" Score="1" ViewCount="440" Body="&lt;p&gt;I am particularly interested in high-speed videography. Any tips on how to get started, what equipment should I have, understanding about lenses, apertures, what are the laws I need to obey, what should I learn and from where? Clearly I am lacking in basic knowledge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps a better question is what books or courses should I take to bring me to the point where I will be able to just Google the questions I have. The problem is, that I have zero background knowledge about video taking and photography and therefore my vocabulary regarding things I need to know about videography is nonexistent.&lt;/p&gt;&#xA;" OwnerUserId="16176" LastEditorUserId="10931" LastEditDate="2016-07-17T16:08:00.577" LastActivityDate="2016-07-17T16:43:14.713" Title="What are the basics of high-speed videography?" Tags="|video|slowmotion|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18931" PostTypeId="2" ParentId="18930" CreationDate="2016-07-17T13:15:11.430" Score="1" Body="&lt;p&gt;Ok this question should &lt;em&gt;probably&lt;/em&gt; be put on hold as it is way too broad for a single answer. If I understand you correctly, you're asking about both the technical and artistic aspects of both photography and videography, topics which people study for years in universities. So if you &lt;em&gt;really&lt;/em&gt; want to learn all that stuff, sign up for a course at an university. That said, here are some pointers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First a disclaimer, you're not gonna 'master' any of this by watching Youtube tutorials, reading blogs or even books. The only way you're gonna become better is by practicing a lot. I know people who know all there is to know about their fancy camera, but couldn't compose a decent shot if their life depended on it. But what sucks even more are those who can't compose a shot &lt;em&gt;and&lt;/em&gt; can't handle their fancy camera, so ...&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Technical skills&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Since you asked about photography, I recommend the &lt;a href=&quot;http://www.r-photoclass.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;reddit photoclass archive&lt;/a&gt;. It's a great ressource to start learning the basics of DSLR cameras (most of it will also apply to medium- to high-end video cameras). There's also a list of additional ressources at the end of &lt;a href=&quot;https://www.reddit.com/r/photoclass/comments/d3tq3/photoclass_frequently_asked_questions/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this post&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an excerpt (Disclaimer: I don't know all of those myself): &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;Ansel Adams - &quot;&lt;a href=&quot;https://www.amazon.co.uk/New-Photo-Camera-Ansel-Adams/dp/0821221841&quot; rel=&quot;nofollow noreferrer&quot;&gt;The Camera&lt;/a&gt;&quot;, &quot;&lt;a href=&quot;https://www.amazon.co.uk/New-Photo-Negative-Ansel-Photography/dp/0821221868&quot; rel=&quot;nofollow noreferrer&quot;&gt;The Negative&lt;/a&gt;&quot; and &quot;&lt;a href=&quot;https://www.amazon.co.uk/Print-New-Photo-Ansel-Adams/dp/0821221876&quot; rel=&quot;nofollow noreferrer&quot;&gt;The Print&lt;/a&gt;&quot; - The reference. A bit outdated and dealing mostly with print, but still very useful reading for any serious photographer&lt;/li&gt;&#xA;  &lt;li&gt;Scott Kelby - &quot;&lt;a href=&quot;https://www.amazon.co.uk/Scott-Kelbys-Digital-Photography-Boxed/dp/0321678737&quot; rel=&quot;nofollow noreferrer&quot;&gt;Digital Photography Vol. 1-3&lt;/a&gt;&quot; - very easy to read and quite complete, a good introduction text&lt;/li&gt;&#xA;  &lt;li&gt;&lt;a href=&quot;https://1x.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;1x.com&lt;/a&gt; - for inspiration.&lt;/li&gt;&#xA;  &lt;li&gt;&lt;a href=&quot;https://www.reddit.com/r/photography&quot; rel=&quot;nofollow noreferrer&quot;&gt;/r/photography&lt;/a&gt; - reddit's own photography experts.&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The photography subreddit has a weekly beginner's question thread, might be useful for you. Also check out &lt;a href=&quot;https://www.reddit.com/r/askphotography&quot; rel=&quot;nofollow noreferrer&quot;&gt;/r/askphotography/&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, those are only the very basics.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Artistic aspects&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I've already written a lengthy post on that, &lt;a href=&quot;https://video.stackexchange.com/questions/16389/good-learning-resources-for-non-technical-aspects-of-filmmaking/16399#16399&quot;&gt;check it out here&lt;/a&gt;. This also contains some links concerning the technical aspects of videography (in this field, technical and artistic goes very much hand in hand). Also check out the second answer for some additional links.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, practice. It might also help to look at other people's work. For photography, you can check out the following sites:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.instagram.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Instagram&lt;/a&gt; (Yes, seriously, there are some real photographers there.)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://gurushots.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Gurushots&lt;/a&gt; (Photo competitions. Look at all submissions, not only the winners.)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.reddit.com/r/photocritique&quot; rel=&quot;nofollow noreferrer&quot;&gt;/r/photocritique&lt;/a&gt; (Read the comments to learn a lot about how photographers think about photos and what makes a good photo)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://500px.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;500px&lt;/a&gt; (Photo sharing site aimed at professional photographers. I'm not using it, but photographers often recommend it.)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For movies, well, just watch good movies. The post above contains a link to a list of movies to watch.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-07-17T13:15:11.430" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18932" PostTypeId="2" ParentId="18930" CreationDate="2016-07-17T16:43:14.713" Score="1" Body="&lt;p&gt;I just changed the title to focus on high-speed videography, which is a much, much narrower topic than videography (and cinematography) in general.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The basics are these: due to &lt;a href=&quot;https://en.wikipedia.org/wiki/Persistence_of_vision&quot; rel=&quot;nofollow&quot;&gt;persistence of vision&lt;/a&gt;, the eye can be fooled into interpreting a series of still images as if they are continuous motion at around 16 frames per second.  There are a variety of reasons why people shoot at 24, 25, 30, 60, and even 120 frames per second for &quot;normal&quot; speed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The premise of high-speed video recording is to capture and display temporal details that are normally too fast for human vision to really make sense of: a balloon bursting, the details of a bee's or a hummingbird's wing-beats, the flight of bullet fired from a gun.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A &lt;a href=&quot;https://en.wikipedia.org/wiki/Hummingbird&quot; rel=&quot;nofollow&quot;&gt;hummingbird flaps its wings approximately 50 times per second&lt;/a&gt;.  If sampled at 25 fps with a 180-degree shutter (meaning 1/2 of 1/25th of a second, or 1/50th of a second), then every other wing beat would be fully blurred across the entire range of motion of the flapping.  If the shutter were restricted to 18 degrees (meaning 1/500th of a second), the blur of the wing would be reduced to 1/10th the total range of the flap.  Again, every other wingbeat would be imaged, and what would show up is approximately the same 1/10th of the wing beat every time.  As a movie, it would look like the hummingbird was hovering due to a blurry wing that didn't really move.  That's still not a very good visual explanation of what's happening.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want the wings to beat 2x per second, or &lt;a href=&quot;https://jog.fm/workout-songs/at/120/bpm?order=desc&amp;amp;sort=popularity&quot; rel=&quot;nofollow&quot;&gt;120 bpm&lt;/a&gt;, you need to slow them down by 25x (from 50 bps down to 2 bps), which, at 25fps would mean shooting 625 fps.  A standard shutter angle for the perception of smooth images at any frame rate is 180 degrees, which means 1/1250th of a second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are various cameras that shoot at such high frame rates.  Many have severe restrictions on the resolution they can provide and/or the image compression schemes they use.  At the high end, a &lt;a href=&quot;https://www.phantomhighspeed.com/Products/Phantom-Camera-Products&quot; rel=&quot;nofollow&quot;&gt;Phantom&lt;/a&gt; sets the pace, and records up to 1,000,000 frames per second. In the consumer world, SONY sells &lt;a href=&quot;http://www.bhphotovideo.com/c/product/1159879-REG/sony_dsc_rx100_mark_4_digital.html&quot; rel=&quot;nofollow&quot;&gt;a camera that will do up to 960 fps (1000 fps in PAL)&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have sorted out what frame rate is necessary to expand the event you care about (such as how long it takes for a bullet to pass through an apple) to the time frame you want to observe (a 30 second excerpt of a pop song), you can calculate the slowdown you need, and from that also the shutter speed you will need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you know your shutter speed and the camera's sensitivity, you can calculate how much light you need.  If you are shooting at 1,000,000 frames per second with a 360 degree (1/1,000,000th of a second) shutter, you need a lot of light.  Like 1,000x (or 10 f-stops) more light than when shooting at 1,000th of a second.  Getting a bright enough light that doesn't melt your subject (or turn it to smoke), and &lt;a href=&quot;http://www.lovehighspeed.com/lighting-for-high-speed/&quot; rel=&quot;nofollow&quot;&gt;that does not appear to flicker or wander&lt;/a&gt; when capturing high speed requires research.  The Sun has none of these problems, but it doesn't work at night or inside a studio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, you have to worry about depth of field.  When shooting things at normal speed, a focus-puller can adjust focus as the subject moves from one depth in the frame to another.  Since nobody can pull focus at super-sonic speed, one must determine how much depth of field is necessary for the crucial moments of the shot, and then compose so that those crucial moments are all in focus from beginning to end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, it may be that you are just interested in 48fps or 96fps, slowed down to 24fps.  That's a lot less extreme than 500 fps or 1,000,000 fps.  But the caveats apply: you need more lighting than when shooting at slower frame rates and shutter speeds, you need lighting that won't flicker, and you need to appreciate that it gets exponentially more difficult to track focus as your multiple of the normal frame rate increases.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-07-17T16:43:14.713" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18934" PostTypeId="2" ParentId="18906" CreationDate="2016-07-18T04:29:32.107" Score="1" Body="&lt;p&gt;Using the Audio Spectrum plugin in After Effects, you can reference a layer (using the &quot;Audio Layer&quot; parameter) on your timeline as an audio source. To update all referenced audio sources in your project at once, you can precomp the audio track and use the new nested precomp as your audio source instead.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;1) On your timeline, highlight your audio track. Hit CTRL + Shift + C (CMD + Shift + C on OSX) to Pre-compose the audio.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;2) In the Pre-compose menu, name it &quot;Audio Reference&quot; or something similar, then select &quot;Move all attributes into the new composition&quot; and hit &quot;OK&quot;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;3) This new composition will be added in your Project panel. Use this composition instead of your audio file when working in After Effects.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;To update the audio file project-wide with a couple of clicks, just open the reference composition you created and swap out the audio file inside. This will change every instance of that composition in your project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps! Let me know if you need clarification.&lt;/p&gt;&#xA;" OwnerUserId="3161" LastEditorUserId="3161" LastEditDate="2016-07-18T04:40:09.687" LastActivityDate="2016-07-18T04:40:09.687" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18935" PostTypeId="1" CreationDate="2016-07-18T07:34:11.630" Score="1" ViewCount="523" Body="&lt;p&gt;I was asked to subtitle a student movie. I don't care much about which subtitle format to use - I'd probably use vim for typing them, and still it is interesting which formats are most common and what are the benefits for using them.&lt;/p&gt;&#xA;" OwnerUserId="10371" LastActivityDate="2016-07-18T08:48:25.483" Title="Subtitle format guide" Tags="|subtitles|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18936" PostTypeId="2" ParentId="18935" CreationDate="2016-07-18T08:48:25.483" Score="2" Body="&lt;p&gt;SBS - Australia's Special Broadcasting Service has an extensive and international reputation for quality subtitles. from &lt;a href=&quot;http://www.sbs.com.au/aboutus/faqs/index/id/120/h/Subtitles&quot; rel=&quot;nofollow&quot;&gt;http://www.sbs.com.au/aboutus/faqs/index/id/120/h/Subtitles&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;SBS subtitles the majority of its non-English language programs in-house. The distinctive colour, font and size of subtitles were adopted after extensive research. For the majority of our programs, which are broadcast in colour it was found that yellow letters with thin black borders provide the maximum degree of contrast. For black and white material we use white subtitles with thin black borders.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Madman is an Australian distributor (originally of anime) their subs match SBS:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Most of the time Madman uses Arial, size 36. The yellow is straight-up no frills yellow: R=255, G=255, B=0.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;A similar match is these settings (obviously size depends on your video aspect ratio).&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Font: Verdana, Regular&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Size: 22&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Primary Color: Yellow&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Outline Width: 1&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Shadow Depth: 1&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Border Style: Outline + Shadow&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11459" LastActivityDate="2016-07-18T08:48:25.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18937" PostTypeId="2" ParentId="18927" CreationDate="2016-07-18T13:34:37.360" Score="1" Body="&lt;p&gt;So you don't really need FCP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VIRB Edit for Mac software version 3.6.0&#xA;&lt;a href=&quot;http://www8.garmin.com/support/download_details.jsp?id=6593&quot; rel=&quot;nofollow&quot;&gt;http://www8.garmin.com/support/download_details.jsp?id=6593&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtube instructions (for Windows but should work the same).&#xA;Add SPEEDOMETER DATA on GoPro How To Overlay Speed, RPM, GPS in Video FOR FREE&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/mzGBJd8lJnI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now if your can't get your footage into VIRB for some reason, you could try to import the TCX/GPX and see if it will just output the gauges. If that doesn't work, create a chromakey video with a blank green or blue screen and import data to add the gauges. Export the video and you'll then have a chroma keyed gauges plate to drop into FCP.&lt;/p&gt;&#xA;" OwnerUserId="11459" LastActivityDate="2016-07-18T13:34:37.360" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18940" PostTypeId="1" AcceptedAnswerId="18943" CreationDate="2016-07-19T10:30:40.697" Score="3" ViewCount="4700" Body="&lt;p&gt;We are converting a sequence of DPX files into an MP4. When the artist uses Adobe Media Encoder CC to generate the video, the colors match the original DPX. When we use ffmpeg, the video has a reddish hint. The command used is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -start_number 0101 -i \\path\to\filename.%04d.dpx -pix_fmt yuv420p sample.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can we generate a video that matches the color of the original DPX files?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Inspecting the files with &lt;code&gt;ffprobe&lt;/code&gt; revealed the following differences (correct file/bad file):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;major_brand: mp42 / isom&lt;/li&gt;&#xA;&lt;li&gt;minor_version: 0 / 512&lt;/li&gt;&#xA;&lt;li&gt;compatible_brands: mp42mp41 / isomiso2avc1mp41&lt;/li&gt;&#xA;&lt;li&gt;encoder: not listed / Lavf57.34.102&lt;/li&gt;&#xA;&lt;li&gt;Video: h264 (Main) / h264 (High)&lt;/li&gt;&#xA;&lt;li&gt;Video: yuv420p(tv, bt709) / yuv420p&lt;/li&gt;&#xA;&lt;li&gt;Video: 1920x1080 / 1920x1080 [SAR 1:1 DAR 16:9]&lt;/li&gt;&#xA;&lt;li&gt;handler_name: Alias Data Handler / VideoHandler&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Probe references: &lt;a href=&quot;https://gist.github.com/kwill/a6e8df2268d6e09e20c2e31f18081e13&quot; rel=&quot;nofollow&quot;&gt;dpx&lt;/a&gt;, &lt;a href=&quot;https://gist.github.com/kwill/832da451eab85d7d55eb737840629d0f&quot; rel=&quot;nofollow&quot;&gt;correct&lt;/a&gt;, &lt;a href=&quot;https://gist.github.com/kwill/182e0f504c8049a346bae0f871b42705&quot; rel=&quot;nofollow&quot;&gt;incorrect&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16152" LastEditorUserId="16152" LastEditDate="2016-07-19T12:13:39.217" LastActivityDate="2021-05-15T12:48:08.887" Title="How can I generate a color-correct h264/MP4 from a DPX sequence using ffmpeg?" Tags="|ffmpeg|mp4|h.264|color|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18943" PostTypeId="2" ParentId="18940" CreationDate="2016-07-19T12:44:57.200" Score="2" Body="&lt;p&gt;I followed up on the &lt;code&gt;yuv420p(tv, bt709)&lt;/code&gt; portion of the encoding and discovered that this refers to the &lt;a href=&quot;https://en.wikipedia.org/wiki/Rec._709&quot; rel=&quot;nofollow&quot;&gt;Rec. 709&lt;/a&gt; colorspace for HDTV. In ffmpeg, colorspace is defined by the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#colormatrix&quot; rel=&quot;nofollow&quot;&gt;colormatrix filter&lt;/a&gt;. However, you must convert &lt;em&gt;from&lt;/em&gt; some colorspace. According to &lt;a href=&quot;http://ffmpeg-users.933282.n4.nabble.com/convert-from-bt601-to-bt709-td4665658.html&quot; rel=&quot;nofollow&quot;&gt;an ffmpeg mailing list conversation&lt;/a&gt;, the default colorspace is assumed to be &lt;code&gt;bt601&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ISTR that if you give ffmpeg RGB it assumes its full range, it also by&#xA;  default converts using 601 matrices. Although it has a number of&#xA;  colourspaces defined which can be accessed in the libs using the API,&#xA;  ffmpeg itself makes no use of them (Although I have a nagging feeling&#xA;  that that may not be completely true anymore either).&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So the final ffmpeg command that worked was:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -start_number 0101 -i \\path\to\filename.%04d.dpx&#xA;-vf colormatrix=bt601:bt709 -pix_fmt yuv420p sample.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The color is now correct, but there is no discernible difference in &lt;a href=&quot;https://gist.github.com/kwill/088afc643ea9d93fa2a0019db12487fa&quot; rel=&quot;nofollow&quot;&gt;the output from ffprobe&lt;/a&gt; or MediaInfo. (In other words, the colorspace of the ffmpeg-generated file does not appear in the output.)&lt;/p&gt;&#xA;" OwnerUserId="16152" LastActivityDate="2016-07-19T12:44:57.200" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18944" PostTypeId="1" CreationDate="2016-07-19T13:48:45.630" Score="1" ViewCount="930" Body="&lt;p&gt;Canon T3i Rebel does not autofocus in video-recording mode so right before starting to record a video, I would like to position myself in front of the camera and autofocus using the AmazonBasics Wireless Remote Control. How can I achieve this?&lt;/p&gt;&#xA;" OwnerUserId="16195" LastActivityDate="2017-04-24T16:39:09.680" Title="How to autofocus a Canon T3i Rebel with AmazonBasics remote control?" Tags="|canon|focus|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18945" PostTypeId="2" ParentId="18803" CreationDate="2016-07-19T21:18:18.377" Score="0" Body="&lt;p&gt;If you are trying to get someone to be in your film without their consent, I would advise you to just go and talk to them (but I don't think that's what you're asking).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're trying to be inconspicuous while filming to get a street journalism or anthropological type of footage, then I would recommend using a small camera with interchangeable lenses, such as a &lt;a href=&quot;http://www.dpreview.com/reviews/canon-eos-m&quot; rel=&quot;nofollow&quot;&gt;Canon EOS-M&lt;/a&gt; or &lt;a href=&quot;http://www.dpreview.com/products/pentax/slrs/pentax_qs1&quot; rel=&quot;nofollow&quot;&gt;Pentax-Q&lt;/a&gt;, and use a lens with autofocus. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Turn off the AF light or you might get spotted. Shoot from the hip, because most people will look at your eyes. Wait for people to be looking at something else. Pretend to be doing something else. For the sound, you could be wearing the microphones on you under your clothes or somewhere hidden. You could also have the camera around your neck/shoulder rolling and pretend it's not, like let it dangle as you walk and then stop somewhere pretend to look at a book or a map and fine tune the focus and framing using an app on your phone that recopies the camera's screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One trick that really works is having the camera on a tripod and having a couple of friends with you, and standing around the camera and chatting while the camera is recording. If someone comes to ask you if it's rolling, you can say no, you're waiting someone to start. In this case you could be using larger cameras and sound recording devices, but it's a little harder to set up and you can't really do it twice in the same place.&lt;/p&gt;&#xA;" OwnerUserId="11754" LastActivityDate="2016-07-19T21:18:18.377" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18946" PostTypeId="1" CreationDate="2016-07-19T21:25:44.503" Score="1" ViewCount="168" Body="&lt;p&gt;In filming a video diary, I am often trying fruitlessly to put my two hands in the frame (as I stand, walk, etc) to show in the video when I am doing certain things with my hands. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is difficult to achieve, as I have tried with iPhone and with DSLR/mirrorless cameras as well as with camcorders, and holding the device, as well as seeing the screen to frame and focussing were all very difficult.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone achieved this? I would love an answer that explains solutions on how to do this with an iPhone as well as with a DSLR/mirrorless camera. A tripod cannot be an answer, unless if it fits on my head or shoulders.&lt;/p&gt;&#xA;" OwnerUserId="11754" LastActivityDate="2023-03-29T15:31:07.593" Title="How can I film my two hands?" Tags="|dslr|iphone|technical|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18947" PostTypeId="2" ParentId="18946" CreationDate="2016-07-19T22:51:32.790" Score="1" Body="&lt;p&gt;Go Pro offers both headbands and helmet mounts for their cameras.  Once you learn how to position and aim your head-mounted camera based on what you want it to see, you then only need a mechanism to start/stop the camera.  WiFi support and an appropriate app can be helpful.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-07-19T22:51:32.790" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18949" PostTypeId="2" ParentId="18895" CreationDate="2016-07-20T03:53:37.943" Score="2" Body="&lt;p&gt;You can't put the expression on a null object, but you can use a text layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Following @bobtiki's &lt;code&gt;eval()&lt;/code&gt; tip I tried using the source text of a text layer and running &lt;code&gt;eval()&lt;/code&gt; on it. Initially I had no success, I was getting an &lt;strong&gt;&quot;object of type TextProperty found where a Number, Array or Property is needed&quot;&lt;/strong&gt; error. But if I put something like a number on its own in the text layer and treated the source text like an array I &lt;em&gt;could&lt;/em&gt; get it, I just wasn't able to access a whole string.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was about to give up, then I remembered from doing extendscript scripting that you get the raw value of an AE property object using the javascript property &lt;code&gt;.value&lt;/code&gt;*.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So after a bit of fiddling around with quotes and escaping (neither are needed, thank heavens) I got it to work. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;TL;DR: Here is how you reference an expression that is written in a text layer's source&lt;/strong&gt;, without having to save external files:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var theExpression = thisComp.layer(&quot;your text layer&quot;).text.sourceText.value;&#xA;eval(theExpression);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And then you write the expression into the text layer, in this case called &quot;your text layer&quot;. This is really cool! It even updates in real time &lt;strong&gt;as you're typing the expression&lt;/strong&gt;!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a comp with the position of the cyan layers being driven by the expression you see on the text layer. If I duplicate one of the cyan layers its position is calculated individually based on the random seed &lt;code&gt;index&lt;/code&gt;, and if I change the expression, they all update!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/MiUZY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MiUZY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;I'm stoked, this was the best question ever!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;* &lt;em&gt;this sentence sounds like gibberish I know. The problem is that AE layers' property's values are JavaScript objects, and as such they have JavaScript properties, and one of the AE property's value's JavaScript properties is the &lt;code&gt;value&lt;/code&gt; property which represents the raw value of the AE property. And the value of the AE source text property is an object which must include formatting and whatnot, and so it is different to the text.sourceText.value value. Confused?&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-07-20T05:42:34.273" LastActivityDate="2016-07-20T05:42:34.273" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18950" PostTypeId="1" AcceptedAnswerId="18952" CreationDate="2016-07-20T05:10:56.680" Score="0" ViewCount="4947" Body="&lt;p&gt;I have few files that I did retrieve from webpages, and saved as MKV files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VLC play them without problems, but when I load the file either in the Windows video editor, or in Power director 13, the video play but there is no audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not sure why I can't even convert the file from VLC, since even using the conversion engine that is integrated in VLC, the resulting file has video but no audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My understanding is that if the video player can play it, then the system has the right codec, so why neither windows video editor nor Power director 13 are not able to play the audio? &lt;/p&gt;&#xA;" OwnerUserId="16203" LastActivityDate="2019-11-01T02:50:49.707" Title="Audio can be heard only in VLC player, but not in the editor" Tags="|audio|codec|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18951" PostTypeId="2" ParentId="18946" CreationDate="2016-07-20T08:52:32.043" Score="0" Body="&lt;p&gt;you could build an overhead rig and use an external monitor to view what is being see on the screen, there are many videos on sites like YouTube to see how these are built and work&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2016-07-20T08:52:32.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18952" PostTypeId="2" ParentId="18950" CreationDate="2016-07-20T10:28:39.563" Score="1" Body="&lt;p&gt;.MKV files are not a friendly video format when working with NLE systems. And the non existent audio you're getting is probably due to the way audio  in .MKV files are wrapped. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would suggest transcoding the .MKV file(s) to .mp4 if you're working with Windows Movie Maker. Alternatively you can follow this link for suitable formats: &lt;a href=&quot;https://support.microsoft.com/en-gb/help/15289/windows-movie-maker-file-types&quot; rel=&quot;nofollow&quot;&gt;video files&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A really good transcoder (free) is &lt;a href=&quot;https://www.macroplant.com/adapter/&quot; rel=&quot;nofollow&quot;&gt;adaptor&lt;/a&gt;. It will read your .MKV file without problems and should convert to a .mp4 file just as easily.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Be sure to crank up the bit rate to get the best possible picture :)&lt;/p&gt;&#xA;" OwnerUserId="16118" LastActivityDate="2016-07-20T10:28:39.563" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="18953" PostTypeId="1" AcceptedAnswerId="18954" CreationDate="2016-07-20T15:32:02.733" Score="0" ViewCount="41" Body="&lt;p&gt;I have never seen a pin out utilizing video- and video+ before. My first assumption would be that it's for analog video transmission, probably composite video.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Pin Function&lt;/h2&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Video-  &lt;/li&gt;&#xA;&lt;li&gt;Video+  &lt;/li&gt;&#xA;&lt;li&gt;74 VDC  &lt;/li&gt;&#xA;&lt;li&gt;AUX+&lt;/li&gt;&#xA;&lt;li&gt;Ground&lt;/li&gt;&#xA;&lt;li&gt;AUX-&lt;/li&gt;&#xA;&lt;li&gt;RS-485 -/A&lt;/li&gt;&#xA;&lt;li&gt;RS-485 +/B&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="16208" LastEditorUserId="16208" LastEditDate="2017-03-29T14:29:12.690" LastActivityDate="2017-03-29T14:29:12.690" Title="Is This Pin-Out for S-Video or Composite Video?" Tags="|video|analog|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18954" PostTypeId="2" ParentId="18953" CreationDate="2016-07-20T17:56:37.470" Score="0" Body="&lt;p&gt;I don't recognize this connector, but I can say that your assumption is incorrect. Video+/- isn't &quot;two cables&quot;, it's just a way of notating the two wires (like say, signal and ground) needed for a complete circuit. The same is true for the AUX and RS485 circuits.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-07-20T17:56:37.470" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18955" PostTypeId="1" CreationDate="2016-07-21T02:15:10.883" Score="0" ViewCount="2845" Body="&lt;p&gt;I'm working on my first video, which is about seven minutes long. One thing I need to fix is several breaks between paragraphs in the audio file which are too short.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, imagine a paragraph or sequence ending with the words, &quot;we'll take a closer look at the polar bear.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a natural pause of two seconds before the next paragraph begins...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;This is the world of the polar bear.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I increase that two second pause to five seconds?&lt;/p&gt;&#xA;" OwnerUserId="15980" LastActivityDate="2016-12-24T22:54:51.627" Title="Adding a pause to audio track in Adobe Premier" Tags="|premiere|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18956" PostTypeId="1" AcceptedAnswerId="18965" CreationDate="2016-07-21T03:47:47.233" Score="0" ViewCount="37" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/tZ5Mu2gs-M8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;Is this all in editing or did they use some sort of infrared camera? &lt;/p&gt;&#xA;" OwnerUserId="16210" LastActivityDate="2016-07-21T22:55:49.020" Title="How did the effect in this video?" Tags="|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18957" PostTypeId="1" CreationDate="2016-07-21T09:27:06.657" Score="1" ViewCount="724" Body="&lt;p&gt;I'm starting out with Final Cut Pro and I want to create a circular gradient to white in Final Cut Pro so that the movie looks like the image below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I searched around and found a Graduated Mask effect. That is only a linear effect though, and it does a gradient to black (and I can't find a setting to change the color).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anybody know how I can do this in Final Cut Pro X? All tips are welcome!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JKbs4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JKbs4.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16212" LastActivityDate="2017-03-12T23:10:01.077" Title="How to create circle gradient in Final Cut Pro?" Tags="|final-cut-pro-x|final-cut-pro|color-grading|mask|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18961" PostTypeId="1" AcceptedAnswerId="18962" CreationDate="2016-07-21T19:48:28.783" Score="2" ViewCount="2231" Body="&lt;p&gt;I'm trying to run the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -loglevel info -threads 0 -f lavfi -i aevalsrc=0 -framerate 60 -i image.jpg -start_number 000000 -apply_trc bt709 -framerate 60 -i /myseq.%06d.exr -r 60 -preset medium -codec:v libx264 -profile:v main -tune fastdecode-c:a libfdk_aac -ac 2 -vbr 5 -shortest -strict experimental -sn -vsync 1 -pix_fmt yuv420p -b:v 31457280 -movflags +faststart -vf scale=3072:1536 -map &quot;2:0&quot; -map &quot;0:0&quot; /output.mp4 2&amp;gt;&amp;amp;1 | tee -a /log_file.log&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And i get the following error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Unable to find a suitable output format for 'libfdk_aac'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any idea why?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="16150" LastActivityDate="2016-07-21T20:17:27.783" Title="ffmpeg - 'Unable to find a suitable output format for 'libfdk_aac''" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18962" PostTypeId="2" ParentId="18961" CreationDate="2016-07-21T20:17:27.783" Score="2" Body="&lt;p&gt;There is a space missing in &lt;code&gt;-tune fastdecode-c:a libfdk_aac&lt;/code&gt;, so FFmpeg thinks the value of tune is &lt;code&gt;fastdecode-c:a&lt;/code&gt; and thus the next word is the output filename. Insert space after &lt;code&gt;fastdecode&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-07-21T20:17:27.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18963" PostTypeId="1" AcceptedAnswerId="18968" CreationDate="2016-07-21T20:23:39.880" Score="0" ViewCount="1286" Body="&lt;p&gt;I have two video which will run at the same time as you can see the image below.&#xA;But, I want to remove the blank (black) space next to the video. Is it possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KbKPW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KbKPW.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="9205" LastActivityDate="2016-07-22T14:25:22.873" Title="How to remove empty space next to the video?" Tags="|premiere|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18965" PostTypeId="2" ParentId="18956" CreationDate="2016-07-21T22:55:49.020" Score="1" Body="&lt;p&gt;It was apparently made with a &lt;a href=&quot;http://www.dezeen.com/2015/04/04/grief-earl-sweatshirt-music-video-hiro-murai-thermal-camera/&quot; rel=&quot;nofollow&quot;&gt;thermal imaging camera&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2016-07-21T22:55:49.020" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18966" PostTypeId="2" ParentId="18963" CreationDate="2016-07-22T09:04:19.427" Score="1" Body="&lt;p&gt;When you export you can crop the left and right accordingly but when you go to play it on a TV, YouTube, Vimeo, etc they will be back tho.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2016-07-22T09:04:19.427" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18967" PostTypeId="1" AcceptedAnswerId="18985" CreationDate="2016-07-22T09:20:28.957" Score="-1" ViewCount="102" Body="&lt;p&gt;I'd like to do something similar. I don't know if its a stop motion or a animation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Dd-_QkjNvUk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="16219" LastEditorUserId="16219" LastEditDate="2016-07-22T15:37:35.177" LastActivityDate="2016-07-24T13:38:51.623" Title="Which software have this guy used to make this video?" Tags="|video-editor|stop-motion|" AnswerCount="1" CommentCount="0" ClosedDate="2016-07-27T22:03:00.147" ContentLicense="CC BY-SA 3.0" />
  <row Id="18968" PostTypeId="2" ParentId="18963" CreationDate="2016-07-22T14:25:22.873" Score="2" Body="&lt;p&gt;The basic geometrical facts are that if you want to see the full images you can't put two 16:9 images inside a 16:9 frame without some empty space left over. If you want to STRETCH the images it will fill in the blank space, but it will distort the images.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, we commonly see an effect where you take some of the left (or right) edge of the image and &quot;copy&quot; it into the blank space, but blur it out. That makes it appear to fill in the space without confusing the viewer with a duplicate image.  For example...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xShdP.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xShdP.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-07-22T14:25:22.873" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18969" PostTypeId="1" CreationDate="2016-07-22T19:10:47.837" Score="0" ViewCount="23" Body="&lt;p&gt;I have just edited a 4 hours video down to an hour, and now want to make that 1-hour long video into parts of 12-18 min. How do I do that without the need to render the 1-hour video first?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, is there a way that I can take my microphone recording from video and put it into Adobe Audition to remove white noise and background noise?&lt;/p&gt;&#xA;" OwnerUserId="16226" LastEditorUserId="14523" LastEditDate="2016-07-24T05:02:48.773" LastActivityDate="2016-07-24T05:02:48.773" Title="Divide a video into parts" Tags="|video|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18970" PostTypeId="1" CreationDate="2016-07-22T21:06:28.987" Score="4" ViewCount="34329" Body="&lt;p&gt;How to: Add Chapters, Sections, markers to video files to help direct access, skipping/ fast forwarding?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: Asking for Non ISO video file formats that support these: MKV does for sure, I am wondering about other most popular video file formats such as: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;MPG  &lt;/li&gt;&#xA;&lt;li&gt;MP4  &lt;/li&gt;&#xA;&lt;li&gt;AVI  &lt;/li&gt;&#xA;&lt;li&gt;M4V  &lt;/li&gt;&#xA;&lt;li&gt;MKV  &lt;/li&gt;&#xA;&lt;li&gt;FLV  &lt;/li&gt;&#xA;&lt;li&gt;MOV/ QT  &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://superuser.com/questions/240981/how-to-add-chapters-or-bookmarks-to-movies&quot;&gt;https://superuser.com/questions/240981/how-to-add-chapters-or-bookmarks-to-movies&lt;/a&gt;&lt;br&gt;&#xA;The above similar question was for Mac only, and this one is asking for bit more. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;What video file formats support such markers &lt;/li&gt;&#xA;&lt;li&gt;How can a person easily add such markers to existing video files? &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;PS: Prefer a free/ non-commercial way of doing so on Windows. &lt;/p&gt;&#xA;" OwnerUserId="12311" LastEditorUserId="12311" LastEditDate="2018-12-03T13:11:54.747" LastActivityDate="2019-01-14T16:26:39.197" Title="How to: Add Chapters, Sections, markers to video files to help direct access, skipping/ fast forwarding?" Tags="|video-editor|editing|file-formats|formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="18971" PostTypeId="2" ParentId="18969" CreationDate="2016-07-22T22:15:16.243" Score="1" Body="&lt;p&gt;Most video editors support marks, and importantly &quot;in&quot; and &quot;out&quot; marks.  Generally, if you set your in and out marks for each of the 12-18 minute segments you want and render the sequence, what renders out is not the whole hour, but only the frames within the in and out marks.  If you do that 5 or 4 times, you'll get the segments you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is essentially no way to remove white noise; you can duck it (meaning reduce the volume of the white noise) during times when there are no other interesting audio signals, but when there's a voice you want to hear, that voice is going to blend with the white noise and it will be heard.  Background noise is also very difficult to eliminate, which is why it is always best to pay attention to audio up front.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-07-22T22:15:16.243" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18973" PostTypeId="1" AcceptedAnswerId="18974" CreationDate="2016-07-23T08:57:46.840" Score="0" ViewCount="243" Body="&lt;p&gt;If I render a video over and over with the same codec with the same software, does the video loss quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm asking because to save space on my Harddrive when I have a clip I want to use I encode it with H.264. So my raw capture could be 100GB's but once I've edited it to the clips I want and then encode it can I re open that and edit it again and render it without it losing quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry if this doesn't make sense D:&lt;/p&gt;&#xA;" OwnerUserId="16229" LastActivityDate="2016-07-23T14:43:21.063" Title="Question about encoding / rendering multiple times" Tags="|video|adobe-media-encoder|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18974" PostTypeId="2" ParentId="18973" CreationDate="2016-07-23T10:17:29.133" Score="1" Body="&lt;p&gt;The question's not entirely clear, but, yes, each new generation of the rendered file will lose some quality &lt;strong&gt;if&lt;/strong&gt; you use the previous generation as the source, but not if you use the initial H264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To elaborate, let's call your raw capture as Generation 1 or Gen1. Then your H.264 transcode is Gen2. Now, after editing with Gen2, your export is Gen3. Now, if you open Gen3 and edit that, then the new export will be Gen4 and will have lost some quality (certainly mathematically, maybe not subjectively). But if you reopen Gen2 and edit it in a different way and export it (with the same settings) then the new file will also be Gen3 quality.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-07-23T10:17:29.133" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18975" PostTypeId="1" AcceptedAnswerId="18976" CreationDate="2016-07-23T11:49:13.177" Score="2" ViewCount="612" Body="&lt;p&gt;I'm shooting at 60fps, the result is video playing back normal speed but displaying 60fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then have stretched the clip so that i get 30fps playback speed with a slow motion clip twice as long as the original.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera is recording the original video at 50mbps bit rate, my question is this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If both clips have the same number of total frames, yet one is serving half as many of them for every second, will the bitrate have reduced roughly by half as well?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I ask this because i have rendered both version of the clip. one technically twice as long but with the same number of frames, i rendered them both with the same bit rate as the original source, one of course turned out twice the size of the other.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like the slow motion version to be roughly the same file-size as the original, i figure with the same number of frames it should be more or less the same size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But because i encoded them both at the source files bit rate one is twice as large.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can i reduce the bit rate for the slow motion one without losing quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many thanks for your time and expertise should you answer!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S&#xA;i'm new (as a user) to stack exchange i first posted this in the superuser section, since exploring i found this dedicated area so thought it best to put it here!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regards, Cal&lt;/p&gt;&#xA;" OwnerUserId="16231" LastActivityDate="2016-07-23T12:07:02.577" Title="Bit rate reduction when converting 60fps footage into 30fps?" Tags="|video-quality|conversion|framerate|slowmotion|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18976" PostTypeId="2" ParentId="18975" CreationDate="2016-07-23T12:07:02.577" Score="2" Body="&lt;p&gt;In theory, if the number of keyframes and their placement were about the same, as decided by the encoder, then yes, you can reduce the bitrate to half and retain the same quality. In practice, the encoder may be configured to place a keyframe every N seconds, in which case, you should use a bitrate a bit higher than half the original bitrate, say, around 55%.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-07-23T12:07:02.577" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18978" PostTypeId="2" ParentId="17497" CreationDate="2016-07-23T14:48:03.083" Score="0" Body="&lt;p&gt;All of the information is correct, to be clear:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Green cached on RAM&lt;/li&gt;&#xA;&lt;li&gt;Blue cached on disk&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Pressing 0 on the num pad you will notice that on the blue line frames will render faster then on the none line.&#xA;Of course it will skip the green line because this process is called &quot;Preview RAM&quot; and as I have just said &lt;em&gt;Green&lt;/em&gt; means written on the RAM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No any other colours in AE.&lt;/p&gt;&#xA;" OwnerUserId="6118" LastActivityDate="2016-07-23T14:48:03.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18979" PostTypeId="1" CreationDate="2016-07-23T15:31:00.687" Score="-1" ViewCount="48" Body="&lt;p&gt;How do I clip out a object from a video/gif/movie and use it elsewhere, where it still moves? I have Adobe PS CS6, After Effects CC 2015 and Sony Vegas Pro 13. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an &lt;a href=&quot;https://i.imgur.com/kbAkW0D.gifv&quot; rel=&quot;nofollow noreferrer&quot;&gt;example&lt;/a&gt; of what I mean.&lt;/p&gt;&#xA;" OwnerUserId="16226" LastEditorUserId="674" LastEditDate="2016-07-25T11:32:14.750" LastActivityDate="2016-07-26T19:20:05.850" Title="clipping out object from a video/movie/gif" Tags="|adobe|" AnswerCount="1" CommentCount="1" ClosedDate="2016-07-27T22:04:05.060" ContentLicense="CC BY-SA 3.0" />
  <row Id="18981" PostTypeId="1" AcceptedAnswerId="18984" CreationDate="2016-07-24T05:12:28.710" Score="1" ViewCount="42" Body="&lt;p&gt;I know how to reconnect to an image or audio file that has been moved or renamed. But suppose I move or rename a folder with 50 images. Do I have to open Premiere and reconnect with each asset, one at a time? Or is there a way to expedite the process?&lt;/p&gt;&#xA;" OwnerUserId="15980" LastActivityDate="2016-07-24T11:25:46.213" Title="Batch Processing Moved Assets in Premiere" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18982" PostTypeId="1" CreationDate="2016-07-24T06:47:01.790" Score="2" ViewCount="3837" Body="&lt;p&gt;Basically I have 4 movies I would like to stream in a continuous loop (ie: like a 24/7 tv channel).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the ./test.txt list of videos:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'video1.mp4'&#xA;file 'video2.mp4'&#xA;file 'videoN.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here is the ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -stream_loop -1 -f concat -safe 0 -i ./test.txt -bsf:v h264_mp4toannexb -c copy ./test.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It starts to play the stream and I think it even loops, as the video files are 10 second clips...but then I get an error &quot;Illegal Seek&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -re -stream_loop -1 -f concat -safe 0 -i ./test.txt -bsf:v h264_mp4toannexb -c copy ./test.m3u8&#xA;ffmpeg version 3.1.1 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with Apple LLVM version 7.3.0 (clang-703.0.31)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.1.1 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-opencl --enable-libx264 --enable-libmp3lame --enable-libxvid --disable-lzma --enable-vda&#xA;  libavutil      55. 28.100 / 55. 28.100&#xA;  libavcodec     57. 48.101 / 57. 48.101&#xA;  libavformat    57. 41.100 / 57. 41.100&#xA;  libavdevice    57.  0.101 / 57.  0.101&#xA;  libavfilter     6. 47.100 /  6. 47.100&#xA;  libavresample   3.  0.  0 /  3.  0.  0&#xA;  libswscale      4.  1.100 /  4.  1.100&#xA;  libswresample   2.  1.100 /  2.  1.100&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;[matroska,webm @ 0x7f9791809c00] Auto-inserting h264_mp4toannexb bitstream filter&#xA;Input #0, concat, from './test.txt':&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (High), yuv420p(tv, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 23.98 fps, 23.98 tbr, 1k tbn, 47.95 tbc&#xA;    Metadata:&#xA;      HANDLER_NAME    : VideoHandler&#xA;      DURATION        : 00:00:10.046000000&#xA;    Stream #0:1(eng): Audio: opus, 48000 Hz, stereo, fltp&#xA;    Metadata:&#xA;      DURATION        : 00:00:10.001000000&#xA;[hls @ 0x7f979105a600] Using AVStream.codec to pass codec parameters to muxers is deprecated, use AVStream.codecpar instead.&#xA;    Last message repeated 1 times&#xA;Output #0, hls, to './test.m3u8':&#xA;  Metadata:&#xA;    encoder         : Lavf57.41.100&#xA;    Stream #0:0: Video: h264, yuv420p(tv, bt709), 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 23.98 fps, 23.98 tbr, 90k tbn, 47.95 tbc&#xA;    Metadata:&#xA;      HANDLER_NAME    : VideoHandler&#xA;      DURATION        : 00:00:10.046000000&#xA;    Stream #0:1(eng): Audio: opus, 48000 Hz, stereo&#xA;    Metadata:&#xA;      DURATION        : 00:00:10.001000000&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;Error while filtering: Illegal seek time=00:00:09.60 bitrate=N/A speed=   1x&#xA;frame=  220 fps= 22 q=-1.0 Lsize=N/A time=00:00:09.98 bitrate=N/A speed=0.998x&#xA;video:4821kB audio:152kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm unclear what I'm doing wrong. I tried with just one &lt;code&gt;file&lt;/code&gt; entry in &lt;code&gt;test.txt&lt;/code&gt; list of movies and it still chokes.&lt;/p&gt;&#xA;" OwnerUserId="12389" LastActivityDate="2019-01-26T18:29:03.337" Title="Is it possible to create an endless loop using concat?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="18983" PostTypeId="2" ParentId="18970" CreationDate="2016-07-24T09:56:08.643" Score="3" Body="&lt;p&gt;MP4 format does support chapters. You can use free &lt;a href=&quot;https://drax.codeplex.com/&quot; rel=&quot;nofollow&quot;&gt;Drax&lt;/a&gt; utility to create them. Please note that not all video players support MP4 chapters. You need to find one that does (&lt;a href=&quot;http://www.videolan.org/vlc/download-windows.html&quot; rel=&quot;nofollow&quot;&gt;VLC&lt;/a&gt; ?)&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2016-07-24T09:56:08.643" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18984" PostTypeId="2" ParentId="18981" CreationDate="2016-07-24T11:25:46.213" Score="3" Body="&lt;p&gt;You should only have to relink one of the assets per moved/renamed folder, Premiere will then automatically check for any other offline assets in that directory and relink them. Depending on your version of Premiere Pro there will be a checkbox in the Missing Media dialogue that will allow you to toggle that behaviour:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8MOEP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8MOEP.png&quot; alt=&quot;Link Media options&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere has also been made smarter successively. For example, the CC version will remember the last 10 locations of your assets and check those automatically in case of offline media. It might also relink all your assets in different folders if the overall folder structure of the project and/or the relative path from the project file to the media file haven't changed, but I'm not sure about that.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-07-24T11:25:46.213" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18985" PostTypeId="2" ParentId="18967" CreationDate="2016-07-24T13:38:51.623" Score="0" Body="&lt;p&gt;It looks like it involves hand-drawn animation and some compositing of photos. You could do that in-camera, by physically drawing on paper and moving photos around by hand, and shooting it frame-by-frame, or you could do it in a compositing application. There are many compositing applications to choose from, one of the most commonly used is Adobe After effects.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-07-24T13:38:51.623" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18987" PostTypeId="1" CreationDate="2016-07-24T18:12:39.157" Score="0" ViewCount="377" Body="&lt;p&gt;I solved a rather long scene in After Effects for camera tracking.  Later, I realized that the tracking point I chose &quot;jumped&quot; out of its stable position for a split second.  This only became apparent &lt;em&gt;after&lt;/em&gt; I had attached a graphic to that point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Re-doing the analyze/solve steps is rather time consuming.  I was wondering if the tracking data for the point I have chosen is accessible and whether it is possible (and easy) to edit out the offending data point/points.&lt;/p&gt;&#xA;" OwnerUserId="10481" LastEditorUserId="10481" LastEditDate="2016-07-25T14:08:43.260" LastActivityDate="2016-07-25T14:08:43.260" Title="Can individual tracking points be edited in After Effects?" Tags="|after-effects|tracking|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18988" PostTypeId="1" AcceptedAnswerId="18989" CreationDate="2016-07-25T02:08:46.537" Score="0" ViewCount="2232" Body="&lt;p&gt;I have an &lt;code&gt;.m3u8&lt;/code&gt; URI of type &lt;code&gt;LIVE&lt;/code&gt;. As far as I know, live playlists use a sliding window instead of containing all the segments. My questions are,&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1)&lt;/strong&gt; Is it possible to find out what the length of the window is (time or frame-wise)? My intention is to use the playlist I have to download a live-stream starting from an earlier time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2)&lt;/strong&gt; If yes, how do I get the earlier segments, i.e., how do I specify where I want to start downloading from? I tried something like &lt;code&gt;ffmpeg -ss -00:00:10 -i &quot;in.m3u8&quot; out.mp4&lt;/code&gt;, but it did not work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do not have much experience in video-encoding or live-streaming, and I would appreciate any direction!&lt;/p&gt;&#xA;" OwnerUserId="16241" LastActivityDate="2016-07-25T04:53:57.693" Title="Downloading earlier segments from a live m3u8 playlist" Tags="|ffmpeg|encoding|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18989" PostTypeId="2" ParentId="18988" CreationDate="2016-07-25T04:53:57.693" Score="1" Body="&lt;p&gt;You need to download the m3u8 itself, look at the entries and see if the individual TS filenames are entirely regular i.e. no signatures which vary with each entry, and the varying elements that are present can be deduced.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If so, then simply work backwards i.e. if the playlist you download has entries &lt;code&gt;file_03532.ts&lt;/code&gt;, &lt;code&gt;file_03533.ts&lt;/code&gt;, &lt;code&gt;file_03534.ts&lt;/code&gt;..., then &lt;code&gt;file_03529.ts&lt;/code&gt;, &lt;code&gt;file_03530.ts&lt;/code&gt;, &lt;code&gt;file_03531.ts&lt;/code&gt;.. would be the earlier entries. You can then use a download manager that lets you download a list of filenames generated using a pattern. &lt;a href=&quot;https://www.google.co.in/url?sa=t&amp;amp;rct=j&amp;amp;q=&amp;amp;esrc=s&amp;amp;source=web&amp;amp;cd=1&amp;amp;cad=rja&amp;amp;uact=8&amp;amp;ved=0ahUKEwi92vny6I3OAhVEsI8KHa9uDzkQFggbMAA&amp;amp;url=https%3A%2F%2Fwww.internetdownloadmanager.com%2Fdownload.html&amp;amp;usg=AFQjCNHDbklZbAFiY4rOWNN9WD5bzjAblg&amp;amp;sig2=C5g0pxZ81PzNWxev4RbLJw&amp;amp;bvm=bv.127984354,d.c2I&quot; rel=&quot;nofollow&quot;&gt;IDM&lt;/a&gt; does this. There's probably others.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-07-25T04:53:57.693" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18990" PostTypeId="2" ParentId="16860" CreationDate="2016-07-25T04:54:23.203" Score="3" Body="&lt;p&gt;The best way I've found is based off of &quot;User&quot; above but much simpler, no need to copy and paste:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Drag and drop all 20+ clips on to the timeline to add them.&lt;/li&gt;&#xA;&lt;li&gt;Press 'a' and hold Shift, then click on the leftmost clip on the sequence to select all video clips to the right of the first clip on a single track.&lt;/li&gt;&#xA;&lt;li&gt;Right click and choose Speed/Duration. Choose a setting like 95% (relatively small gap, enough to be able to set Default Transitions on multiple clips all at once using a single sequence) and check Ripple Edit, Shifting Trailing Clips. This is the important part.&lt;/li&gt;&#xA;&lt;li&gt;Right click the selected clips again and choose Speed/Duration. Set the Speed back to 100% and uncheck Ripple Edit, Shifting Trailing Clips.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="16243" LastEditorUserId="16243" LastEditDate="2016-07-25T05:03:47.483" LastActivityDate="2016-07-25T05:03:47.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18991" PostTypeId="2" ParentId="18987" CreationDate="2016-07-25T12:06:56.880" Score="1" Body="&lt;p&gt;(I can't comment because I don't have 50 reputation yet lol)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By the way, if I got what you mean &lt;strong&gt;you just have to move with the &lt;em&gt;Selection Tool&lt;/em&gt; the keyframe on the Composition screen.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For making the path smoother and more accurate the &lt;em&gt;sub-Pen Tool&lt;/em&gt; called &lt;em&gt;Convert Vertex Tool&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, on the timeline thanks to &lt;em&gt;Graph Editor&lt;/em&gt;, add dynamicity to the animation in-between frames (delay and advance).&lt;/p&gt;&#xA;" OwnerUserId="6118" LastActivityDate="2016-07-25T12:06:56.880" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18993" PostTypeId="1" AcceptedAnswerId="18994" CreationDate="2016-07-25T14:32:34.657" Score="0" ViewCount="2990" Body="&lt;p&gt;I'm trying to merge 8 audio (.wav) files with a video (.mp4) file. I have the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i audio1.wav -i audio2.wav -i audio3.wav -i audio4.wav -i audio5.wav -i audio6.wav -i audio7.wav -i audio8.wav -filter_complex &quot;[1:a][2:a]amerge=inputs=2[a0]&quot; -filter_complex &quot;[3:a][4:a]amerge=inputs=2[a90]&quot; -filter_complex &quot;[5:a][6:a]amerge=inputs=2[a180]&quot; -filter_complex &quot;[7:a][8:a]amerge=inputs=2[a270]&quot; -map 0:0 -map &quot;[a0]&quot; -map &quot;[a90]&quot; -map &quot;[a180]&quot; -map &quot;[a270]&quot; -c:v copy -c:a:0 libfdk_aac -vbr:0 5 -c:a:1 libfdk_aac -vbr:1 5 -c:a:2 libfdk_aac -vbr:2 5 -c:a:3 libfdk_aac -vbr:3 5 -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I can successfully run the command and the output is good, but i get the following warnings displayed (3 times each):&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[Parsed_amerge_0 @ 0x7fcaca708da0] No channel layout for input 1&#xA;  [Parsed_amerge_0 @ 0x7fcaca708da0] Input channel layouts overlap:&#xA;  output layout will be determined by the number of distinct input&#xA;  channels&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;And:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[libfdk_aac @ 0x7fcacc87c800] Note, the VBR setting is unsupported and&#xA;  only works with some parameter combinations&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;What do they mean and how can i &quot;get rid of them&quot;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="16150" LastActivityDate="2016-07-25T17:03:19.847" Title="ffmpeg - warnings when i try to merge several audio files with an .mp4 file" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18994" PostTypeId="2" ParentId="18993" CreationDate="2016-07-25T17:03:19.847" Score="0" Body="&lt;p&gt;The first warning means one of the WAV inputs has no channel layout defined i.e. channel 1 is Front Left, channel 2 is Front Center..etc. &lt;code&gt;amerge&lt;/code&gt; decides the channel layout of the output stream based on the input, but since that designation is missing for one of the inputs, amerge will assign a channel layout which is default for the number of channels present in the output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing you could try is rewrap all of the audio inputs i.e.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i audio1.wav -c copy audio1-new.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;The 2nd warning is displayed whenever VBR mode is invoked. Unless you get the error: &lt;code&gt;Unable to set the VBR bitrate mode&lt;/code&gt;, you should be fine.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-07-25T17:03:19.847" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18995" PostTypeId="1" AcceptedAnswerId="18996" CreationDate="2016-07-25T21:38:19.487" Score="0" ViewCount="569" Body="&lt;p&gt;I just published a video on Vimeo and got this message:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;This video’s bit rate is only 5568 kbit/s, which is lower than what we recommend for H.264 video. Your video might not look as nice as it should. For 1920x1080 video, we recommend a data rate of at least 10000 kbit/s.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It isn't clear to me exactly what I need to change. I exported my video with these settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VRB, 2 Pass&#xA;Target Bitrate: 8&#xA;Maximum bitrate (62.5)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I've maxed out the maximum bitrate, I assume they're asking me to change the target bitrate. It it as simple as changing the target bit rate to 16, doubling it from 5568 kbit/s to 11,000 kb?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't yet figured out what the &quot;standard&quot; bit rate settings are. The video actually looks fine to me, so I'm reluctant to increase the file size with a higher bit rate setting. Then again, I guess it doesn't matter since Vimeo's hosting the video on their site.&lt;/p&gt;&#xA;" OwnerUserId="15980" LastActivityDate="2016-07-25T23:39:49.567" Title="Adobe Premiere Bit Rate (Vimeo)" Tags="|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18996" PostTypeId="2" ParentId="18995" CreationDate="2016-07-25T23:39:49.567" Score="0" Body="&lt;p&gt;Assuming you're using H.264 for exporting, the bitrate is the main setting concerning the quality of your video. Increase it to raise the video quality and reduce compression artifacts at the cost of a larger file. Using VBR 2-Pass will yield better quality at the cost of longer rendering times compared to exporting with the same bitrate with VBR 1-Pass.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no standard per se (at least for internet video, there is for other media such as DVDs), but here are a few things to consider. First, raising the video bitrate higher than the original bitrate of the video that came out of your camera won't yield you any quality improvement. Personally, I haven't been able to notice any perceivable difference above about 6 Mbit/s for Full HD video at 25fps. Of course, that value has to be adjusted depending on your resolution and framerate (see &lt;a href=&quot;https://video.stackexchange.com/questions/12459/does-raising-the-framerate-while-not-changing-the-bitrate-result-in-quality-loss&quot;&gt;Does raising the framerate while not changing the bitrate result in quality loss?&lt;/a&gt;). So if your video is e.g. shot at 50fps, I would recommend about 12 Mbit/s. However, this is only my personal experience. Another example is Youtube, their Full HD video is compressed using a bitrate of less than 1 Mbit/s (so that even people with slow connections can watch their videos without stuttering), but that does look pretty poor on a large monitor. I would suggest you experiment with by exporting a small portion of your video with consecutively higher bitrates until you don't see any compression artifacts and use the last value for your full export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now for the settings in Premiere Pro, maxing out the Maximum Bitrate won't do much as the primary controller for the video bitrate is the Target Bitrate setting. With VBR (1- or 2-Pass), the encoder will increase and decrease the bitrate over the running time of the video as needed while &lt;em&gt;trying&lt;/em&gt; to achieve an avarage bitrate that equates the Target Bitrate setting. The Maxium Bitrate is the ceiling for that margin, i.e. the Maximum Bitrate you set will never be exceeded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't see any problems with your video after uploading it to Vimeo, you can safely ignore the warning. If it still bothers you, just export it again using a Target Bitrate above their suggested setting.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-07-25T23:39:49.567" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18997" PostTypeId="1" AcceptedAnswerId="18999" CreationDate="2016-07-26T09:32:32.390" Score="-1" ViewCount="68" Body="&lt;p&gt;I coding videos in MP4 for my windows phone, but now I want to be sure that this videos will be played on every mobile device possible, so question is: What the best unified settings for H.264 codec I need?&lt;/p&gt;&#xA;" OwnerUserId="16249" LastActivityDate="2016-07-26T10:01:41.117" Title="How to optimize h.264 to play it on every possible device" Tags="|encoding|mp4|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="18999" PostTypeId="2" ParentId="18997" CreationDate="2016-07-26T10:01:41.117" Score="0" Body="&lt;p&gt;Not every device supports every resolution or framerate, so those aspects are outside of H.264 encoding parameters. That said, a framerate of 30 fps or under, and a resolution of 480p or smaller should be safe for most devices currently in use. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for H.264 encoding, Baseline profile, and a level of 3.x is sufficient. You should only need to specify the profile.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-07-26T10:01:41.117" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19000" PostTypeId="1" AcceptedAnswerId="19016" CreationDate="2016-07-26T11:18:24.027" Score="-1" ViewCount="48" Body="&lt;p&gt;i would like to replicate the same type of graphics that are used  10 seconds into the video. I have after effects but i'm unsure of the process. &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/VKhcO0E9tbI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="16251" LastActivityDate="2016-07-28T03:21:07.177" Title="What software do i need to replicate the effect in this video" Tags="|video|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19001" PostTypeId="2" ParentId="19000" CreationDate="2016-07-26T14:07:23.713" Score="0" Body="&lt;p&gt;Yes, you can do that in after effect. You need first to make these kind of animations and then convert them to 3D layers and place them where you want. Or wice versa.&lt;/p&gt;&#xA;" OwnerUserId="16253" LastActivityDate="2016-07-26T14:07:23.713" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19003" PostTypeId="1" CreationDate="2016-07-26T18:31:48.637" Score="1" ViewCount="301" Body="&lt;p&gt;I've been trying to camera solve a specific video file in boujou but everytime I solve it, I get multiple solves. I looked up some tutorials but it seems they use footages that are smooth and high fps but mine isn't, so rather than me trying to prevent the multiple solves which can have many causes, I want to know how to join all the solves into Fusion 8. Does anyone know how I can achieve this?&lt;/p&gt;&#xA;" OwnerUserId="14786" LastActivityDate="2016-07-26T18:31:48.637" Title="How can I merge multiple solves from boujou to fusion 8" Tags="|video|3d|tracking|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19004" PostTypeId="2" ParentId="18979" CreationDate="2016-07-26T19:20:05.850" Score="1" Body="&lt;p&gt;Welcome to Video production. To do this using After effects use the mask tool to draw around the object, you have to do this at each frame of the footage. Then bring in the footage you want the object to be in. (make sure you put it below the object layer) then you can move the object to any part of the footage you want. Or you can view this playlist of making tutorials to know more about masking; &lt;a href=&quot;https://m.youtube.com/user/SurfacedStudio/search?itct=CAUQuy8iEwi2sOr165HOAhVMIBwKHZZMB44%3D&amp;amp;query=Mask&quot; rel=&quot;nofollow&quot;&gt;https://m.youtube.com/user/SurfacedStudio/search?itct=CAUQuy8iEwi2sOr165HOAhVMIBwKHZZMB44%3D&amp;amp;query=Mask&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14786" LastActivityDate="2016-07-26T19:20:05.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19008" PostTypeId="1" AcceptedAnswerId="19015" CreationDate="2016-07-27T09:10:53.757" Score="1" ViewCount="787" Body="&lt;p&gt;I know the question's been asked a million times. I've read and tried most solutions and haven't received a fix. I come from working on a Mac in Final Cut X, cutting a 30 minute TV show every week. I took the same footage over to Premiere CC 2015.3 on Windows and even just trying to play back a single clip with no effects the video preview lags behind the audio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just trying to play back a 1080p H.264 MPEG4 AVC QuickTime Video, 29.97 FPS. None of the following worked: Tried reducing playback quality to 1/4. Ensured the sequence settings matched my video settings. Rendered from in to out. Uninstalled the application and installed it again on my SSD alongside my OS. The footage is being played back from a separate internal HDD. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really doubt it's a hardware problem because I'm running a 6700K @ 4.4GHz OC, 16GB DDR4 2400 RAM, Nvidia Gigabyte G1 Gaming 1070 card w/ up to date drivers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: To start my project I'm creating new project with Mercury GPU (CUDA) renderer. Then rather than deal with settings I drop my main clip into the timeline and it auto detects the footage incorrectly, setting the FPS to 10fps. Changing this back to 29.97 does nothing. Even rendering it all out after this change doesn't change anything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT 2: Went and looked up the Premiere Pro CC course on Lynda, downloaded that project and media. Everything works great. So where's the issue? In my project settings or with the media?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any final ideas? A NOOB guide on setting up the project and sequence in case I'm missing something? Thanks so much for your help. If I can't solve it in a week, I'll be asking for a refund from Adobe. &lt;/p&gt;&#xA;" OwnerUserId="16155" LastEditorUserId="16155" LastEditDate="2016-07-27T19:06:56.027" LastActivityDate="2016-07-28T02:47:48.657" Title="Adobe Premiere Pro Preview Not Playing Full Speed" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19009" PostTypeId="1" CreationDate="2016-07-27T13:01:06.987" Score="1" ViewCount="112" Body="&lt;p&gt;I have been self learning about 3D art(especially using blender) and have reached a level where I can make some use of my skills on a productive scale. (Even though blender has an integrated VSE) I though have to learn to make my small footages produced from 3D art seamless and I realized the importance of video editing. But, learning video editing comes with also technical knowledge about codecs and encoding and all the technical stuff.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not really a programmer, and I have been practising 3D art in a very intuitive and practical process. How do I learn about these technical sides of video editing in order to ready myself for a more strong and production scale way?&lt;br&gt;&#xA;It would be very helpful if some books and resources were also included as a recommendation.&lt;/p&gt;&#xA;" OwnerUserId="16230" LastActivityDate="2016-08-02T02:52:53.507" Title="How to learn all about video editing?" Tags="|editing|codec|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19010" PostTypeId="2" ParentId="19009" CreationDate="2016-07-27T13:21:29.550" Score="1" Body="&lt;p&gt;The best resources I've seen for learning how to edit are on YouTube. A lot depends on what NLE you'll be using to edit, but most editing fundamentals translate well across all NLEs (which is what I believe you're asking for anyway). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One popular YouTube channel with a ton of videos on how to edit is &lt;a href=&quot;https://www.youtube.com/user/filmriot/featured&quot; rel=&quot;nofollow&quot;&gt;Film Riot&lt;/a&gt;. They have 700+ videos on all aspects of production, but a search for &quot;edit&quot; on their channel shows they have a ton to offer on that subject as well. They typically stay in Adobe Premiere Pro, but they generally strive to make their tutorials work across any editing software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/user/SurfacedStudio&quot; rel=&quot;nofollow&quot;&gt;Surfaced Studio&lt;/a&gt; is another channel I've discovered recently with &lt;a href=&quot;https://www.youtube.com/playlist?list=PLs2aOcA-EaLOgkUIOSs22SZMDSu2nn2n8&quot; rel=&quot;nofollow&quot;&gt;a nice playlist of some beginner-level Premiere Pro tutorials&lt;/a&gt;. Unlike Film Riot, Surfaced Studio seems to be pretty specific to Premiere Pro - usually, explaining how to work within the PP interface.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-07-27T13:21:29.550" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19011" PostTypeId="1" AcceptedAnswerId="19018" CreationDate="2016-07-27T15:03:48.320" Score="1" ViewCount="2462" Body="&lt;p&gt;I know CPU and GPU speed are important for rendering and editing videos. My question is: is CPU speed always important for uploading a youtube video? and actually how much important? I've searched on the web to find this specific question's answer but I wasn't satisfied.&lt;/p&gt;&#xA;" OwnerUserId="16262" LastActivityDate="2020-10-30T17:43:52.203" Title="Is CPU speed important for uploading a youtube video" Tags="|youtube|webvideos|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19012" PostTypeId="2" ParentId="17758" CreationDate="2016-07-27T16:01:30.933" Score="0" Body="&lt;p&gt;Photoshop also has the ability to capture brush strokes and play them back. Similar to this: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Tv5nCZWm-mg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But my guess is, most likely, After Effects. The drawn elements can be easily positioned,revealed and animated. &lt;/p&gt;&#xA;" OwnerUserId="16066" LastActivityDate="2016-07-27T16:01:30.933" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19013" PostTypeId="2" ParentId="18955" CreationDate="2016-07-27T19:51:12.607" Score="1" Body="&lt;p&gt;You can split audio tracks (and video tracks) by selecting them and pressing Ctrl + K. If your audio and video tracks are linked, holding &quot;Alt&quot; and selecting just the audio track will select only the audio track (and not the linked video track). After you have split the audio track between paragraphs, you can move the latter audio track out 3 seconds (or however long you want the pause) by dragging it along the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you had any sort of &quot;natural sound&quot; in the audio track (static, hum from an air conditioner, etc.) it will be obvious that there is a 3-second break in-between the two audio segments. To fix this, use that &quot;natural pause&quot; of 2 seconds you mentioned, cut it to make it its own segment, and copy/paste it several times to fill the audio void, shrinking the last segment as necessary to make it fit perfectly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-07-27T19:51:12.607" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19014" PostTypeId="2" ParentId="18944" CreationDate="2016-07-27T19:57:33.483" Score="2" Body="&lt;p&gt;I could be wrong, but my understanding of the &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B003L1ZYZ6&quot; rel=&quot;nofollow&quot;&gt;AmazonBasics Wireless Remote Control&lt;/a&gt; is that it is &lt;em&gt;only&lt;/em&gt; for remotely controlling the shutter (i.e., it only works for pictures). In photo mode, it will autofocus after you press the button. One thing to test would be to try enabling autofocus on your camera/lens, starting recording, and stand in front of the camera. Use the shutter to remotely take a picture (the T3i can take pictures while recording). After that, your autofocus should be set. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once again, not 100% sure that this would work, but that is what I would try first.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-07-27T19:57:33.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19015" PostTypeId="2" ParentId="19008" CreationDate="2016-07-28T02:47:48.657" Score="1" Body="&lt;p&gt;&lt;strong&gt;1. Corrupted Media&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd bet you've got a problem with your media.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The hint is that Premier Pro auto-detects it at 10fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premier Pro is broadcast production ready, so it's unlikely the cause.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could try ffmpeg to give you an idea of what's wrong.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -v error -i file.avi -f null - 2&gt;error.log&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That will give you a log file of errors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;see &lt;a href=&quot;https://superuser.com/questions/100288/how-can-i-check-the-integrity-of-a-video-file-avi-mpeg-mp4&quot;&gt;https://superuser.com/questions/100288/how-can-i-check-the-integrity-of-a-video-file-avi-mpeg-mp4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2. Cache&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thought is there may be cached media previews that are broken. So clean the media cache database and move it off your boot disk.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;3. Overclocking&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't like overclocking a system until I know it's stable. That could be a problem there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;4. Windows version&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You don't mention which version of Windows you're running (7-10?) I don't know anyone running production systems on 10. But that's not a lot of people.&lt;/p&gt;&#xA;" OwnerUserId="11459" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2016-07-28T02:47:48.657" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19016" PostTypeId="2" ParentId="19000" CreationDate="2016-07-28T03:21:07.177" Score="1" Body="&lt;p&gt;Do you want to match the terrain and camera move like in the video? Then you'll need to make a 3D model of the terrain and overlay that 3D layer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;If you have not shot your location footage&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Optionally begin by laying some markers down on your location shoot. &lt;/li&gt;&#xA;&lt;li&gt;Optional pro-tip for advanced VFX: Note camera, lens, aperture, focus length (for DOF) so you can build your virtual camera.&lt;/li&gt;&#xA;&lt;li&gt;Use After Effects 3D camera tracker to overlay your lines.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;If you have already shot location footage.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Use After Effects 3D camera tracker to overlay your lines.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If you want a simpler effect, without the 3D and a simpler camera move, you could use a google map or other 2D picture top down. Your lines would then be just an animated layer over the top of a picture shot with a fake camera move - like a rostrum camera for documentaries.&lt;/p&gt;&#xA;" OwnerUserId="11459" LastActivityDate="2016-07-28T03:21:07.177" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19017" PostTypeId="1" CreationDate="2016-07-28T11:57:11.423" Score="1" ViewCount="927" Body="&lt;p&gt;I noticed a lot of video having pre-render captions. I remember I saw someone working in a Chinese studio that primarily does translation works and she was using a software to render the SRT or ASS file to raw videos automatically. I thought it was very convenient and wonder if anyone knows how it was done.&lt;/p&gt;&#xA;" OwnerUserId="16266" LastActivityDate="2016-12-29T16:51:22.830" Title="How to overlay SRT or ASS on a video and output the pre-render captioned video?" Tags="|subtitles|animation-rendering|closed-captioning|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19018" PostTypeId="2" ParentId="19011" CreationDate="2016-07-28T12:07:57.453" Score="3" Body="&lt;p&gt;Sending your files to YouTube (once rendered and or exported) will be down to the upload speed of your internet service provide (ISP) / Broadband supplier. The faster the upload speed, the faster it can get to the YouTube servers for processing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the answer to the question is no, but there are other factors involved like those mentioned above. &lt;/p&gt;&#xA;" OwnerUserId="6921" LastEditorUserId="6330" LastEditDate="2016-07-28T12:55:08.740" LastActivityDate="2016-07-28T12:55:08.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19019" PostTypeId="1" AcceptedAnswerId="19025" CreationDate="2016-07-28T15:03:52.780" Score="0" ViewCount="986" Body="&lt;p&gt;When I render any AE composition, through AE or Media Encoder it seems to take a long time. I want to increase my render times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have noticed that my CPU usage seems to fluctuate consistantly where as my RAM consistanly stays around 70% usage.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/BiMEE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BiMEE.png&quot; alt=&quot;Fluctuating CPU&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way that I increase the amount of CPU and RAM AE uses to speed up the render time?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also would adding more RAM to my system actually speed up render times?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LefK7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LefK7.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advanced&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: I am rendering the save to a different hard drive from the one the render is running from. Both are internal disk drives.&lt;/p&gt;&#xA;" OwnerUserId="16267" LastEditorUserId="16267" LastEditDate="2016-07-30T15:07:47.670" LastActivityDate="2016-08-01T16:14:42.633" Title="Will adding more RAM to my system speed up rendering?" Tags="|after-effects|hardware|adobe-media-encoder|aerender|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19020" PostTypeId="1" AcceptedAnswerId="19043" CreationDate="2016-07-28T20:36:05.173" Score="3" ViewCount="3300" Body="&lt;p&gt;I currently am the Video guy for our company. We do video training for installs for automotive parts. I do the planning for the videos. I do the shooting of the videos. I do the editing of the videos. I do the final release of the videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My boss wants a report about the amount of time it should be taking me to do this. Its a fair question and I'm all about self improvement and figuring out where I can do my job more effectively, especially if it will help me get a raise or move up in the company. My question comes from the amount of time I should be allotting for the start to completion for a video. Its not my only job, but it is about 30-35 hours a week, so a huge portion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So how much time should I be allotting for start to finish of a video. I have put together several of the parameters bellow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;SO lets assume I was going to release a 10 minute video on YouTube. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I do my planning for the different shots I'm going to need.&lt;/li&gt;&#xA;&lt;li&gt;I work with our other guy who is the &quot;Host&quot; or &quot;Talent&quot; on screen to get together what he needs to cover.&lt;/li&gt;&#xA;&lt;li&gt;We start shooting, We do about 3 hours of shooting/installing, giving me what I need to work from.&lt;/li&gt;&#xA;&lt;li&gt;I start editing the video, I join the audio, I sort through the footage, Pick all the different pieces I'm going to use, Cut in each scene (Which is rather easy because we shoot in consecutive order of the build), Lay in the intro &amp;amp; outro graphics, Lay the sound effects/background music (Which is typically most of the video and the same), Export the video, Make any suggestions/changes from the installers, Build the video thumbnails.&lt;/li&gt;&#xA;&lt;li&gt;I upload the completed video to YouTube, add to other website locations, send an email its been release, write any type of descriptions/keywords.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Now I know how long I'm spending on each video roughly, its about 2-3 weeks time per video, and sometimes even more than that. I have about 4 years of experience doing this. I also know that it varies from person to person based on skill. I do have plenty of room for improvement, I know that. How long &lt;strong&gt;SHOULD&lt;/strong&gt; it take me to complete a project like this? Am I in the ball park? Am I running really slow? Or am I doing good for my time frame?&lt;/p&gt;&#xA;" OwnerUserId="16269" LastEditorUserId="16269" LastEditDate="2016-08-04T18:20:18.003" LastActivityDate="2016-08-04T18:20:18.003" Title="Rough Idea of Time Spent Editing Videos" Tags="|youtube|post-production|filming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19021" PostTypeId="1" AcceptedAnswerId="19022" CreationDate="2016-07-29T06:51:39.700" Score="1" ViewCount="904" Body="&lt;p&gt;Media Encoder seems to bug out create this file which stops it launching.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HYldM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HYldM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have to either have to manually delete it or launch this BAT file every time I want to launch the program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XrTEF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XrTEF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way I can stop encoder from creating this file or does adobe have to fix the launch error?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advanced&lt;/p&gt;&#xA;" OwnerUserId="16267" LastActivityDate="2016-07-29T08:52:40.767" Title="Is there any way to stop Media Encoder creating this launch preventing file?" Tags="|adobe|adobe-media-encoder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19022" PostTypeId="2" ParentId="19021" CreationDate="2016-07-29T08:52:40.767" Score="0" Body="&lt;p&gt;Solution presented at &lt;a href=&quot;https://forums.adobe.com/thread/1268390&quot; rel=&quot;nofollow&quot;&gt;https://forums.adobe.com/thread/1268390&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Open the file (C:\Program Files (x86)\Common&#xA;  Files\Adobe\SLCache\X19zbGNfZmVhdHVyZXNfXw==.slc) in any text editor,&#xA;  delete all of the contents, save it, and set the file to read-only.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-07-29T08:52:40.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19024" PostTypeId="1" AcceptedAnswerId="19026" CreationDate="2016-07-29T10:39:33.607" Score="0" ViewCount="1074" Body="&lt;p&gt;On after effects I have been having a problem with rendering as when i try to render a video with a regular 3.2 PAR (Pixel aspect ratio) after effects resizes it from MP4's 1920x1080 to 720x1080 and this is really bad for the video quality, i have tried changing the PAR to 5.1 and this does stop the resizing but it makes my video quality terrible, Please help me if you can.&lt;/p&gt;&#xA;" OwnerUserId="16278" LastActivityDate="2016-07-31T06:29:44.770" Title="After effects MP4 render problem" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19025" PostTypeId="2" ParentId="19019" CreationDate="2016-07-29T14:24:07.500" Score="0" Body="&lt;p&gt;If your external drive is a spinning disk, and your internal drive is an SSD, you may find it faster to host the project and render everything on the internal drive.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what I do - the problem is keeping enough available space on the drive as SSDs are expensive and small.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-07-29T14:24:07.500" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19026" PostTypeId="2" ParentId="19024" CreationDate="2016-07-29T14:32:14.750" Score="1" Body="&lt;p&gt;I think you might be confusing pixel aspect ratios with image aspect ratios.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suspect you want square pixels - ie a pixel aspect ratio (PAR) of 1:1&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most HD videos are 1920x1080, which is an image aspect radio of 1.778 to 1.&#xA;Most HD videos have a pixel aspect ratio of 1:1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is your desired image size actually 1280x720 ?  I suspect it is, rather than 720x1280 (720 horizontal x 1280 vertical).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Non-square pixels are only usually used for SD widescreen videos - more of a legacy requirement these days.  Unless maybe you're designing for a specific custom display like a big advertising screen or something like that?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="1871" LastEditDate="2016-07-31T06:29:44.770" LastActivityDate="2016-07-31T06:29:44.770" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19027" PostTypeId="1" CreationDate="2016-07-29T16:53:44.823" Score="3" ViewCount="295" Body="&lt;p&gt;I have a video source that, to my surprise, has a lot more detail than I could at first see. Turning down gamma I could see details in a bright part, turning up gamma I could see details in a darker part. I did experiment with brightness for obvious reasons, as well as with saturation, but I seem to be stuck at 50% of the details. Is there really such a predicament in video reproduction that you have to sacrifice one for the other, is my monitor involved (pre-retina Macbook), or have I simply not found the sweetspot of all those image tweaks?&lt;/p&gt;&#xA;" OwnerUserId="16281" LastActivityDate="2016-07-31T03:40:56.273" Title="Caught between gamma and brightness" Tags="|video-quality|osx|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19028" PostTypeId="2" ParentId="19027" CreationDate="2016-07-29T20:27:15.260" Score="3" Body="&lt;p&gt;You want to adjust a mix of gamma, brightness and contrast, or if available, simply use curves.  Gamma impacts the way in which the output intensity corresponds to input intensity, but if you don't also adjust other settings, you will still end up clipping key details outside of either the signal range of your signal or the display range of your display.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using curves gives the most flexibility to adjust the amount of contrast in each portion of the range of signal intensity so that you can see everything clearly, however it is also possible you are simply near the effective limit of the range your display can produce depending on where the information you need contrast for is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suggest starting by trying to make sure your contrast or black point (on curves), is set such that you can tell the difference in shadow detail and then trying to adjust the brightness or white point (in curves) to get it so you can just tell difference in light detail and then try adjusting gamma to give you the needed spread.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2016-07-29T20:27:15.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19030" PostTypeId="1" AcceptedAnswerId="19031" CreationDate="2016-07-30T09:18:02.137" Score="0" ViewCount="183" Body="&lt;p&gt;I'm very surprised how the video i have recorded with my camera are so heavy for small length (i have 4GB for only 20min). I've been trying compression softwares like handbrake, but it doesn't reduce the size enough IMO, and decreases the quality when i want to compress too much.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just aside, you know those 700MB movies that last 1h and whose quality is still better than my video how come ? how do they do to compress ? do they use some professional expensive equipment ? or its just a matter of software ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;please help me to understand this, and to find out a way to compress my videos to the maximum.&lt;/p&gt;&#xA;" OwnerUserId="16287" LastActivityDate="2016-07-30T11:50:26.707" Title="How do you dramatically reduce the size of a video while keeping the quality as much as possible?" Tags="|video|software-recommendation|video-quality|video-recording|compression|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="19031" PostTypeId="2" ParentId="19030" CreationDate="2016-07-30T11:50:26.707" Score="3" Body="&lt;p&gt;I'm not familiar with handbrake, but this is basically a math problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, you have to decide on a codec. One of the 'best' codecs in regards to quality/filesize-ratio as well as device-compatibility is H.264, so I would recommed you go with that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've done a quick search on handbrake and it appears you can set the quality in two ways, either by choosing a Rate Factor (RF) or by setting an Average Bitrate (see screenshot, correct me if I'm wrong).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CJJmN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CJJmN.png&quot; alt=&quot;Handbrake settings screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;sub&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/HandBrake&quot; rel=&quot;nofollow noreferrer&quot;&gt;Source: Wikipedia&lt;/a&gt;&lt;/sub&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you want a ratio of 700 MB per 1 hour of video, let's do the math:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;700 MB = 700 x 8 Mb =  5600 Mb&#xA;5600 Mbit / 3600 s = 1,56 Mb/s = 1560 kbps&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So to achieve this filesize average, set your Average Bitrate to &lt;strong&gt;1560 kbps&lt;/strong&gt;. This is quite low for HD video, so make sure to check the &lt;strong&gt;2-pass encoding&lt;/strong&gt; option, which will increase the quality at the cost of a longer encoding time (it does so by doing a first check or &lt;em&gt;pass&lt;/em&gt; on the video as to how high a bitrate is needed for every part of it, so the encoder can better adjust the bitrate accordingly over the course of the video).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One final note, the video you linked recommends you change the audio bitrate to 128 kbps. &lt;strong&gt;This is a bad idea&lt;/strong&gt;. Given that we are already using up 1,56 Mbit per second for the video, the few additional bits per second that are needed for the audio won't make much of a difference regarding the resulting file size. And 128 kbps &lt;strong&gt;will&lt;/strong&gt; sound bad; we are much better at detecting flaws in audio than in video. I highly recommend you set the audio bitrate to at least 256 kbps.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-07-30T11:50:26.707" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19033" PostTypeId="2" ParentId="19027" CreationDate="2016-07-31T03:40:56.273" Score="3" Body="&lt;p&gt;Looks like you are ready to enter the world of Lift-Gamma-Gain!  These are the three controls that most colorists use to tame light and the sensors that record it.  AJ Henderson is putting you on the right path, with suggestions that there's more to image control than just gamma, levels, curves, etc., but really you will find a lot more resources by researching the subject of Lift, Gamma, Gain.  (It's so fundamental that the bboard for professional colorists is &lt;a href=&quot;http://liftgammagain.com/forum/index.php&quot; rel=&quot;nofollow noreferrer&quot;&gt;liftgammagain.com&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a graph that helps show how these three controls interact:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tvyAU.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tvyAU.jpg&quot; alt=&quot;Lift Gamma Gain Curves&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you are good with that, you might like to play with lift gamma and gain in log space, which are called shadow, midtone, and highlight:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/E3JSV.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/E3JSV.jpg&quot; alt=&quot;Shadow Midtone Highlight&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are many who will argue long and hard about which is best, most useful, most true, etc.  I have found LGG is better for creatively manipulating the look of an image, whereas SMH is better for being more surgical.  Explore and report back!&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-07-31T03:40:56.273" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19034" PostTypeId="1" CreationDate="2016-07-31T08:45:15.023" Score="0" ViewCount="403" Body="&lt;p&gt;O.K. so i'll tell the full thing on whats happening! I have two compsitions; one is the spectrum layers composition (which contains some spectrum things) and the other is the music composition (which contains the music and key-frame assistant)! The problem is when i put the music composition into the spectrum layers composition, the music doesn't play in the background and the spectrums doesn't read anything. I go back to the original music/mp3 file and i works. I even go to the music composition, click on the mp3 file, double tap &quot;l&quot;, and it shows the waveform but when i go to the spectrum layers composition, and i double tap &quot;l&quot;, it shows no waveform. Is this a glitch or did i do something wrong because when i did this with other projects (and i accidentally delete them), it works but now i doesn't. I tried my method on most of my spectrum videos but just now it doesn't work! Can anyone help me? Thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. Sometimes when i press the RAM Preview button in the music composition, it says &quot;After Effects Warning: Unable to create drawing surface&quot;! Maybe that has to do something with it?&lt;/p&gt;&#xA;" OwnerDisplayName="user16291" LastEditorUserId="4426" LastEditDate="2016-08-01T08:49:01.603" LastActivityDate="2016-08-01T08:49:01.603" Title="After Effects: Audio Not Playing - in AE CS4" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19035" PostTypeId="1" CreationDate="2016-07-31T09:58:01.007" Score="3" ViewCount="955" Body="&lt;p&gt;I am trying to embed video into my site. And since loading time is important, I want to implement it using BPG. &#xA;The author of this post implemented it &lt;a href=&quot;https://eek.ro/why-bpg-will-replace-gifs-and-not-only/&quot; rel=&quot;nofollow&quot;&gt;https://eek.ro/why-bpg-will-replace-gifs-and-not-only/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do the same? I can find ways to convert jpeg to bpg, but when it comes to making a video in bpg format, I'm clueless.&lt;/p&gt;&#xA;" OwnerUserId="16294" LastActivityDate="2017-02-26T15:30:07.363" Title="How can I convert a video to BPG format? BPG= Better portable graphics" Tags="|ffmpeg|conversion|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19037" PostTypeId="2" ParentId="19035" CreationDate="2016-07-31T11:20:30.367" Score="2" Body="&lt;p&gt;It looks like BPG is at quite an early stage of development.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To use it, you would need to install an encoder, to convert your video to the BPG format.  At the moment, all of these encoders are command-line only.  You can find links to the encoders &lt;a href=&quot;http://bellard.org/bpg/&quot; rel=&quot;nofollow&quot;&gt;on the official site&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that the format doesn't include audio currently, so it may only be useful in some circumstances.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might be better using a more conventional video format (h264, mp4, webm), but concentrating on encoding it with the most appropriate bandwidth and quality settings for your needs.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-07-31T11:20:30.367" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19038" PostTypeId="2" ParentId="19034" CreationDate="2016-07-31T11:21:45.897" Score="1" Body="&lt;p&gt;Maybe a dumb question, but is the loudspeaker icon enabled next to the music composition layer, when you place it in your main comp?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, sometimes if I have weird things happening with mp3 files, I convert them to 44.1khz 16bit WAV files instead, just to rule out any mp3 oddness...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have you definitely connected the Audio Spectrum effect to your audio layer, by choosing it in the Audio Spectrum's &quot;Audio Layer&quot; effect setting?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2016-07-31T14:33:17.610" LastActivityDate="2016-07-31T14:33:17.610" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="19039" PostTypeId="2" ParentId="10638" CreationDate="2016-07-31T22:54:14.957" Score="1" Body="&lt;p&gt;the easiest thing to do is to manually adjust the font size, use spaces to break up the text into several lines so that it starts out small enough and finishes expanding without jumping to other lines. Took me forever to figure out. Apple really needs to do an update that prevents this.&lt;/p&gt;&#xA;" OwnerUserId="16296" LastActivityDate="2016-07-31T22:54:14.957" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19040" PostTypeId="2" ParentId="17758" CreationDate="2016-08-01T09:25:13.223" Score="0" Body="&lt;p&gt;he must have drawn it first. Then on After Effects, he inverted the colours and added some pictures and graphic texts. or used the photoshop action record feature and added images on after effects. don't know maybe wrong.&lt;/p&gt;&#xA;" OwnerUserId="16298" LastActivityDate="2016-08-01T09:25:13.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19041" PostTypeId="2" ParentId="17916" CreationDate="2016-08-01T12:43:46.263" Score="1" Body="&lt;p&gt;I know this is pretty old BUT as far as I know ffmpeg and Blackmagic Gear, you will have to set your input options according to the Stream it gets from the H-264 encoder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you need to tell ffmpeg that it gets H-264 encoded video and AAC encoded audio - then it should work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is not an issue with the DeckLink cards as they output raw video data.&#xA;You might give it a shot...&lt;/p&gt;&#xA;" OwnerUserId="16301" LastActivityDate="2016-08-01T12:43:46.263" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19043" PostTypeId="2" ParentId="19020" CreationDate="2016-08-01T13:23:59.317" Score="4" Body="&lt;p&gt;This is a tough question because there are a ton of different factors involved here, from complexity of the video to the equipment you're working with to the NLE you use. However, the default formula we use to give time estimates to clients breaks down like this (I've run a small video production company for a few years working for a large variety and diversity of clients):&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Pre-Production&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2 hours per minute of final product&lt;/strong&gt;:&#xA;This is a number that can swing wildly in each direction, mostly depending on how much pre-production we have to do. For instance, if a client already has a script prepared, we typically don't have to do much besides potentially locking down a location, prepping a shot list, and lining up a crew. However, if a client comes to us and just says &quot;I want a video to express such and such&quot; (without a concept), we'll spend a large amount of time brainstorming, writing, etc. Typically we'll even send the client 3 fairly well-developed concepts to see which one they like best.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Production&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1 hour per minute of final product&lt;/strong&gt;: This is the number that stays the most consistent across all our projects, and really boils down to only a few factors. The biggest factor is who we're working with - if we get to use our own (experienced) actors in the video, everything goes smoothly. If a company or organization wants to put their own people into the video, it takes longer because (most of the time) these people don't have acting experience and thus haven't memorized the script, aren't strong in staying consistent between takes, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other main factor in production time is the equipment you're using and how complex the shoot is. More cameras cuts down on production time because you can grab multiple angles at once (we typically shoot with 2 cameras at a time). A complicated shoot involving a lot of equipment set-up/breakdown will take much longer than a shoot with just a camera on a tripod. Set-up and breakdown of equipment (especially large equipment like a jib or dolly) can take a ton of time.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Post-Production&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1.5 hours per minute of final product&lt;/strong&gt;: Like pre-production, this one can swing pretty wildly in either direction, but I almost never give an estimate of less than 1.5 hours/minute of final product. This one really depends on what exactly you're doing in your post-production workflow - are you just throwing clips together on a timeline and then exporting it? Or are you going through all the extra steps, like color correcting/grading, audio cleaning/mixing, adding titles, VFX, etc.? Typically, if we're on a deadline, we'll cut unnecessary steps from that workflow to get a video out on time (most clients may not care if you don't color grade a project simply because most people won't notice it if it's not horrible).&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Total&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;This works out to around 4.5 hours of work per minute of &quot;final product&quot; (a 10-minute video would take 45 hours, for instance). Like I said, there's a ton of volatility to that number - we've knocked out a 4-minute video in 10 hours, but we've also spent 20 hours on a 1 minute video. The biggest thing I've learned while in this industry is that people who are unfamiliar with the process of video production &lt;em&gt;always&lt;/em&gt; underestimate how long a video will take from start to finish. To do it right, it takes time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your specific case, it looks like your video has a decent number of angles, cuts, etc., and your production value is fairly high. Your videos are long, too, so I'd say 2-3 weeks of working 30-35 hours/week is definitely within the acceptable range.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-08-01T13:23:59.317" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19044" PostTypeId="2" ParentId="19017" CreationDate="2016-08-01T13:50:56.047" Score="2" Body="&lt;p&gt;Adobe Premiere Pro allows you to create caption files (including SRT) and export them individually (as SRT files) or embedded with the actual video. &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/working-with-captions.html&quot; rel=&quot;nofollow&quot;&gt;This link&lt;/a&gt; gives a pretty good overview of how it's done in Premiere.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-08-01T13:50:56.047" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19046" PostTypeId="1" AcceptedAnswerId="19087" CreationDate="2016-08-01T15:46:51.410" Score="1" ViewCount="56" Body="&lt;p&gt;I am searching for a tool which can add text watermarks to my videos. I have a huge library (around 700 movies), ordered in folders. The video resultion of them vary from 360p to 1080p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am searching for a tool which can add watermarks to my videos, while:&#xA;1. it keeps the original folder structure&#xA;2. can handle diffrent video resolutions and makes watermarking easier&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="16302" LastActivityDate="2020-05-15T07:32:48.723" Title="Video watermark" Tags="|video|conversion|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19047" PostTypeId="2" ParentId="19019" CreationDate="2016-08-01T16:14:42.633" Score="0" Body="&lt;p&gt;Add more RAM and render to your SDD drive and your renders should go a bit faster.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2016-08-01T16:14:42.633" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19048" PostTypeId="2" ParentId="19011" CreationDate="2016-08-01T16:19:52.253" Score="0" Body="&lt;p&gt;No. It's about your internet connection.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2016-08-01T16:19:52.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19049" PostTypeId="2" ParentId="19009" CreationDate="2016-08-01T16:27:30.120" Score="0" Body="&lt;p&gt;On the technical side, I recommend the tutorials Lynda offers.&#xA;It's not that expensive, and you get access to a lot of material.&#xA;You'll learn how to use your editor of choice and gain some insights into the art of editing, which happens to be the toughest part.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make it easier on yourself, find a professional editor and asks her or him if you could observe them working or even if you could start assisting them. Otherwise, you'll end up knowing the tech part (like thousands of people out there) but have no idea how to really tell a story and how editing actually works or not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, watch films. Good films. Start with films that won editing awards. Start with classic films, made for cinema and not television.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2016-08-01T16:27:30.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19050" PostTypeId="1" AcceptedAnswerId="19073" CreationDate="2016-08-01T18:04:06.077" Score="0" ViewCount="106" Body="&lt;p&gt;In a nutshell, I just got a new job where I have to create at least 30 MP4 files a day cutting different parts of music videos (even from the same one).&#xA;They will provide me the videos to download and I have to make different MP4s in After Effects &lt;strong&gt;not longer than 8 secs&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;I was thinking of doing it this way:&lt;/p&gt;&#xA;&lt;p&gt;Project in AE &lt;strong&gt;(10 sec composition)&lt;/strong&gt; with 3 project folder&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Footage: full-length videos&lt;/li&gt;&#xA;&lt;li&gt;Cut Footage: cut videos pre-composed&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Here is a problem: cutting in AE is so annoying and (because the main comp is 10 seconds) I have to &lt;strong&gt;extend the new composition from 10 sec to the length of the video&lt;/strong&gt;, find the relevant part, put two markers and &lt;strong&gt;reduce again the composition&lt;/strong&gt; within the markers. Finally, I have to move the pre-comp in the main composition where I can start with the effects and stuff. I do all of this because I want more control of the layers, for this reason I prefer to keep a fixed length layer rather than a reduced layer, like in the screen below:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SmOIO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SmOIO.png&quot; alt=&quot;screen&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Render: the folder where I put the pre-comps formed by &lt;em&gt;cut footage pre-comp + effects&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;What is the better way of making a rendering queue in AE?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;So the worst part is cutting, but what about the size of the project? I mean, should I create an &lt;em&gt;After Effects Project&lt;/em&gt; every day that includes 30 MP4 files with of course all of the effects, layers, videos, etc. or is it going to be to excessive? Do I have other options?&lt;/p&gt;&#xA;" OwnerUserId="6118" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-07-10T16:37:49.307" Title="Best way to set up my AE project?" Tags="|after-effects|video-editor|" AnswerCount="1" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="19051" PostTypeId="2" ParentId="19009" CreationDate="2016-08-02T02:52:53.507" Score="0" Body="&lt;p&gt;I have collected the best editing books that I could find, like In the Blink of an Eye by Walter Murch, which is a brilliant breakdown of story telling and conceptual editing. To apply these ideas you need good pictures and some form of story to tell. It doesn't have to be complicated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But honestly the best way to improve at editing is to do it. And do it and do it. The best way to do this is shoot a bunch of stuff on any camera you have access to, like a phone. Plug a handfull of shots into a timeline and try to cut a sequence, that is make the shots illustrate some action. Perhaps its a person climbing stairs or making a drink. Try to understand continuity of action.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After you have something that makes sense, try and condense the action. Fnid out what you don't really need to convey the same message. Often you don't need to see someone perform an entire action. For example a person can approach a door, they don't have to go through it as everyone understands what will happen next and walking is more dynamic to watch that pulling on a door handle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Blender's VSE is great but not so cool for beginners.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally you need to be able to load up and arrange your media (video clips) into some sort of searchable format. For the VSE I strongly suggest that you look at the Easy-Logging addon at &lt;a href=&quot;http://easy-logging.net/&quot; rel=&quot;nofollow&quot;&gt;http://easy-logging.net/&lt;/a&gt;&#xA;It allows you add semantic details to your media. But handling the clips is still a bit of a handful due to the way Blender splits audio and video into separate strips (you can loose sync to easily).&lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2016-08-02T02:52:53.507" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19052" PostTypeId="1" CreationDate="2016-08-02T14:53:39.070" Score="0" ViewCount="353" Body="&lt;p&gt;I was recording a moderately long (20-30 minute) video when suddenly my camera died, resulting in a corrupt file. I was able to repair the file by following the steps in &lt;a href=&quot;https://superuser.com/a/596402/83682&quot;&gt;How to open and repair an m4v or mp4 video file?&lt;/a&gt; on SuperUser, but now the audio in the repaired file is horribly out of sync with the video. (Presumably because the data keeping the video in sync was lost.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video seems to play at a variable speed, with some portions appearing sped up, and other portions appearing to play at a normal speed. The audio does not appear to have this issue, playing at a seemingly normal rate for the duration of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried stretching the video to align two audio events with the video near the start and end of the recording, but because the playback speed of the video appears to be variable, the audio in the middle portion of the recording is still very much out of sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a good way to fix this? Maybe a program or something that I can use to go through the recording and manually identify multiple &quot;sync points&quot; between the audio and video to ensure they stay in sync throughout the recording? I'm guessing the video speed will need to change dynamically throughout the recording to compensate for this sync problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suppose I could try doing this completely manually with a video editor, but I imagine doing it that way (at least in Adobe Premiere Elements, which is what I'm using) would require me to make a cut every time the video speed is adjusted, and that sounds like it'd be extremely time consuming. Is there a better way?&lt;/p&gt;&#xA;" OwnerUserId="16308" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2016-08-02T15:08:49.383" Title="Resynchronizing audio in a variable framerate video with missing timing data" Tags="|video-editor|editing|sync|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19053" PostTypeId="2" ParentId="18523" CreationDate="2016-08-02T15:01:10.760" Score="6" Body="&lt;p&gt;I recently encountered this exact problem and I was able to repair the file using &lt;a href=&quot;http://vcg.isti.cnr.it/~ponchio/untrunc.php&quot; rel=&quot;noreferrer&quot;&gt;Untrunc&lt;/a&gt;, a program created specifically to solve this problem, &lt;a href=&quot;https://superuser.com/a/596402/83682&quot;&gt;as suggested by sparrowt on SuperUser&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;For this method you need:&lt;/p&gt;&#xA;  &#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;&lt;p&gt;another video file which &lt;em&gt;isn't&lt;/em&gt; broken&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;a linux installation (I used Ubuntu 12.04) and basic ability to use a command line.&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;  &#xA;  &lt;p&gt;This is what to do:&lt;/p&gt;&#xA;  &#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;&lt;p&gt;Install some pre-requisite libraries with this command:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;code&gt;sudo apt-get install libavformat-dev libavcodec-dev libavutil-dev&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;Download the source code for Untrunc from the github repo:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;code&gt;wget https://github.com/ponchio/untrunc/archive/master.zip&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;Unzip the source code:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;code&gt;unzip master.zip&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;Go into the directory where it's been unzipped:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;code&gt;cd untrunc-master&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;Compile the source code using this command (all one line):&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;code&gt;g++ -o untrunc file.cpp main.cpp track.cpp atom.cpp mp4.cpp&#xA;  -L/usr/local/lib -lavformat -lavcodec -lavutil&lt;/code&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;(you can try skipping this step and using the ready-provided&#xA;  executable, but it didn't work for me)&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;p&gt;Then you can actually fix the video. You need both the broken video and an example working video.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Ideally the video should be from the same camera &amp;amp; have the same&#xA;  resolution (mine was but it might work without). Also if it is at&#xA;  least as long as the broken one (preferably roughly the same) this may&#xA;  help.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Run this command in the folder where you have unzipped and compiled&#xA;  Untrunc but replace the /path/to/... bits with your 2 video files:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;code&gt;./untrunc /path/to/working-video.m4v /path/to/broken-video.m4v&lt;/code&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Then it should churn away and hopefully produce a playable file&#xA;  called &lt;code&gt;broken-video_fixed.m4v&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;That's it you're done!&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;VLC Media Player should now be able to play the file. However it may&#xA;  be reporting the wrong length information (Untrunc tries to guess/work&#xA;  this out, but doesn't always get it right). To fix this try&#xA;  re-encoding the video through another program.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="16308" LastEditorUserId="-1" LastEditDate="2017-03-20T10:18:33.487" LastActivityDate="2016-08-02T15:01:10.760" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19054" PostTypeId="2" ParentId="19052" CreationDate="2016-08-02T15:08:49.383" Score="2" Body="&lt;p&gt;No matter how you slice it, this sounds like it's going to be painful if not impossible, mostly because you say the rate changes dynamically. My best suggestion would be to use a software like Adobe Premiere Pro and its &quot;rate stretch&quot; tool to manually adjust individual segments. I'm not aware of any software that can do that sort of thing automatically, mostly because you don't have another (non-corrupted) audio track to compare against. If you did (like, if you had also been recording on an external recorder), you could use Adobe Audition to sync them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Syncing two audio tracks of varying rates isn't too terribly hard, but syncing a video and audio track of different rates could prove very challenging.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-08-02T15:08:49.383" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19055" PostTypeId="1" CreationDate="2016-08-02T17:59:50.580" Score="0" ViewCount="36" Body="&lt;p&gt;I have been looking into automated closed captioning and the accuracy of the services found so far is poor. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking to caption a number of 1hour + presentation recordings so manual captions isn't a feasible option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any worth while automated services out there??&lt;/p&gt;&#xA;" OwnerUserId="11241" LastActivityDate="2016-08-02T19:28:48.253" Title="Accurate automated closed captioning" Tags="|subtitles|closed-captioning|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19056" PostTypeId="2" ParentId="19055" CreationDate="2016-08-02T19:28:48.253" Score="1" Body="&lt;p&gt;YouTube's automated closed captions are actually getting better and better (and it's free!). Even if you don't use the automated (speech-to-text) captions in YouTube, it has a neat tool that pauses while you type a transcript (or lets you upload a transcript) and then automatically adjusts all the timings. You can find it in the Closed Captions section of any video you've uploaded.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-08-02T19:28:48.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19058" PostTypeId="1" AcceptedAnswerId="19085" CreationDate="2016-08-03T14:25:46.623" Score="4" ViewCount="5081" Body="&lt;p&gt;I'm the type of guy who likes to produce beauty from code - I mostly experiment with shaders.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Up to this day, I've only been doing so for the sake of games, but an idea popped up in my mind that I could decorate an actual film footage using handwritten postprocessing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any software that, apart from facilitating basic video editing tasks, lets me code (and later apply) my own effect completely from scratch, that is, lets me manipulate each input frame pixel by pixel? Either in some shader language or maybe CUDA or even C++?&lt;/p&gt;&#xA;" OwnerUserId="16315" LastActivityDate="2019-11-18T16:19:41.207" Title="Video editor that lets me code my own effects from scratch?" Tags="|video-editor|programming|" AnswerCount="6" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19059" PostTypeId="2" ParentId="19058" CreationDate="2016-08-03T14:35:11.737" Score="1" Body="&lt;p&gt;You might want to look into using &lt;a href=&quot;https://ffmpeg.org/&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt; - it seems like the kind of tool you're looking for. Adobe's After Effects allows some &lt;a href=&quot;http://cgi.tutsplus.com/tutorials/introduction-to-the-basics-of-after-effects-scripting--ae-22518&quot; rel=&quot;nofollow&quot;&gt;custom scripting&lt;/a&gt;, but not nearly to the extent you're looking for.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-08-03T14:35:11.737" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19060" PostTypeId="2" ParentId="19058" CreationDate="2016-08-03T15:08:02.263" Score="2" Body="&lt;p&gt;To add upon John's answer, one way to do this using FFmpeg would be to add your filters (in C), but another, more modular, way is to code a &lt;a href=&quot;https://www.dyne.org/software/frei0r/&quot; rel=&quot;nofollow&quot;&gt;Frei0r&lt;/a&gt; plugin, which can then be used with various host applications, whether FFmpeg, MLT..etc&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Frei0r is a minimalistic plugin API for video effects. The main&#xA;  emphasis is on simplicity for an API that will round up the most&#xA;  common video effects into simple filters, sources and mixers that can&#xA;  be controlled by parameters. It’s our hope that this way these simple&#xA;  effects can be shared between many applications, avoiding their&#xA;  reimplementation by different projects.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-08-03T15:08:02.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19061" PostTypeId="2" ParentId="19058" CreationDate="2016-08-03T17:26:22.183" Score="3" Body="&lt;p&gt;You should check out &lt;a href=&quot;https://processing.org&quot; rel=&quot;nofollow&quot;&gt;Processing dot org&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2016-08-03T17:26:22.183" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19062" PostTypeId="1" AcceptedAnswerId="19063" CreationDate="2016-08-03T19:36:13.383" Score="2" ViewCount="1437" Body="&lt;p&gt;This is a pretty simple question yet i couldn't find the answer to it anywhere. &#xA;How does ffmpeg's coordinate system work? Meaning - for all operations such as &lt;code&gt;crop&lt;/code&gt; and &lt;code&gt;overlay&lt;/code&gt;, is the (0,0) point at the bottom left or top left?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="16150" LastActivityDate="2016-08-03T19:44:49.233" Title="ffmpeg - coordinate system" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19063" PostTypeId="2" ParentId="19062" CreationDate="2016-08-03T19:44:49.233" Score="4" Body="&lt;p&gt;Top left.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pixels in a raw video stream are stored left to right, top to bottom. And all filters work on uncompressed frames, so that's the easiest way to setup the co-ordinate system as well.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-08-03T19:44:49.233" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19064" PostTypeId="1" AcceptedAnswerId="19074" CreationDate="2016-08-03T19:53:51.473" Score="0" ViewCount="1137" Body="&lt;p&gt;Hi I'm trying to create something like this with motion in after effects but I'm unable to find a way to do so. (basically what exists with the shape layer but for images) Any ideas?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ob67c.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ob67c.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16319" LastActivityDate="2020-04-27T11:04:31.643" Title="After Effects Circular Image Repeater" Tags="|after-effects|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19065" PostTypeId="1" CreationDate="2016-08-03T20:26:29.497" Score="2" ViewCount="118" Body="&lt;p&gt;What causes these white lines to appear in the lop left of some video recordings? I've seen them many times of the years and they always seem to look identical.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eQN42.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eQN42.jpg&quot; alt=&quot;An example&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16320" LastEditorUserId="14523" LastEditDate="2016-08-04T11:09:55.347" LastActivityDate="2016-08-04T11:09:55.347" Title="What causes these lines in the top left of some video recordings?" Tags="|recording|closed-captioning|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19066" PostTypeId="2" ParentId="19065" CreationDate="2016-08-04T02:19:44.567" Score="0" Body="&lt;p&gt;Very likely you're seeing either VITC (vertical interval time code) or closed captions encoded on line 21 of the vertical interval. Those are both part of analog video only, though they may remain after being digitized.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If we could see the video in motion it would be easier to tell.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-08-04T02:19:44.567" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19067" PostTypeId="2" ParentId="19065" CreationDate="2016-08-04T02:22:53.740" Score="3" Body="&lt;p&gt;That's &lt;a href=&quot;https://en.wikipedia.org/wiki/EIA-608&quot; rel=&quot;nofollow&quot;&gt;EIA-608&lt;/a&gt; analog closed captioning data. It should be on line 21, which is within the &lt;a href=&quot;https://en.wikipedia.org/wiki/Vertical_blanking_interval&quot; rel=&quot;nofollow&quot;&gt;vertical blanking interval&lt;/a&gt; of the SD signal. Either the line was shifted down or the VBI was captured as being active video.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2016-08-04T02:22:53.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19068" PostTypeId="1" CreationDate="2016-08-04T03:57:37.597" Score="1" ViewCount="339" Body="&lt;p&gt;I'm trying to produce a short film in black and white and occasionally make only certain objects appear in color, using Final Cut Pro X&lt;/p&gt;&#xA;" OwnerUserId="16323" LastActivityDate="2016-11-02T14:37:19.590" Title="How to make a film in black and white with some objects in color Final Cut Pro X" Tags="|video|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19069" PostTypeId="2" ParentId="19068" CreationDate="2016-08-04T12:44:56.147" Score="1" Body="&lt;p&gt;The simplest way to do this (also known as the &lt;a href=&quot;https://en.wikipedia.org/wiki/Pleasantville_(film)&quot; rel=&quot;nofollow&quot;&gt;Pleasantville&lt;/a&gt; effect) is to apply a Color Correction effect to your clip and then do the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Click on the Color Board to open the Color / Saturation / Exposure menu.  Select the Saturation menu and pull the Global (leftmost) slider to the bottom.  Your image should be fully desaturated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Return to the Color Correction menu and select Add Color Mask.  It's disguised with an icon that shows an oval in a square.  When the eyedropper is blue (default), you can click (or better, click-drag) a spot on your image that has the color you want to preserve.  You can do this again and again until you get enough of the color selected to achieve the effect you want.  Select Invert Mask to get only the color you selected, or leave the mask as-is to desaturate only the color you selected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will work well for simple cases, but it is a far cry from the HSL qualifiers offered in programs like DaVinci Resolve, for many reasons.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A much, much more complicated thing to do is to use masks and manually composite in FCPX.  Compared with other NLEs, which all seem very intuitive to me, FCPX utterly baffles me when it comes to masks and layers.  YMMV.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-08-04T12:44:56.147" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19072" PostTypeId="1" AcceptedAnswerId="19079" CreationDate="2016-08-04T21:31:55.003" Score="1" ViewCount="14368" Body="&lt;p&gt;This is a part of my command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-r 60 -preset medium -codec:v libx265 -ar 48000 -acodec aac -shortest -strict experimental -sn -vsync 1 -pix_fmt yuv420p -b:v 30000000 -movflags +faststart  -x265-params high-tier=0:pmode=1:wpp=1:tune=fastdecode :bitrate=30000:fps=60:keyint=360:min-keyint=180:vbv-bufsize=30000:vbv-maxrate=30000:scenecut=0  -metadata title&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and when i run it i get the following error:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Unable to find a suitable output format for&#xA;  ':bitrate=30000:fps=60:keyint=360:min-keyint=180:vbv-bufsize=30000:vbv-maxrate=30000:scenecut=0'&#xA;  :bitrate=30000:fps=60:keyint=360:min-keyint=180:vbv-bufsize=30000:vbv-maxrate=30000:scenecut=0:&#xA;  Invalid argument&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I think there might be a missing space or something like that somewhere but i'm not too sure what's wrong with this syntax?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="15838" LastActivityDate="2016-08-05T23:00:54.917" Title="ffmpeg - Unable to find a suitable output format" Tags="|ffmpeg|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="19073" PostTypeId="2" ParentId="19050" CreationDate="2016-08-05T09:54:26.057" Score="0" Body="&lt;p&gt;I found a solution about cutting. I can upload the video on Premiere Pro, cut and select &quot;Replace With After Effects Composition&quot; and that's it, that feature is amazing for this type of work! Thank you all by the way!&lt;/p&gt;&#xA;" OwnerUserId="6118" LastEditorUserId="6118" LastEditDate="2017-07-10T16:37:49.307" LastActivityDate="2017-07-10T16:37:49.307" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19074" PostTypeId="2" ParentId="19064" CreationDate="2016-08-05T10:04:29.307" Score="1" Body="&lt;p&gt;You definitely need the plug-in from Red Giant &lt;a href=&quot;https://www.redgiant.com/products/trapcode-echospace/&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;Trapcode Echospace&lt;/strong&gt;&lt;/a&gt;, I don't know if it's enough for your project but for sure it will help you to make most of the work.&lt;/p&gt;&#xA;" OwnerUserId="6118" LastActivityDate="2016-08-05T10:04:29.307" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19075" PostTypeId="1" AcceptedAnswerId="19076" CreationDate="2016-08-05T17:18:39.283" Score="3" ViewCount="7229" Body="&lt;p&gt;I'm trying to play a movie (&lt;code&gt;.mp4&lt;/code&gt;) that i've encoded with &lt;code&gt;ffmpeg&lt;/code&gt; and i get the following error:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fa39a802800] moov atom not found0/0&lt;br&gt;&#xA;  /movie.mp4: Invalid data found when processing input&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Why does ffmpeg throw this error?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt;&#xA;It's an &lt;code&gt;.exr&lt;/code&gt; sequence that i've encoded, but i don't think it's a problem with my encoding settings since i've encoded another &lt;code&gt;.exr&lt;/code&gt; sequence with the same settings and it worked. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Command:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -thread_queue_size 512 -y -loglevel info -threads 0 -f lavfi -i aevalsrc=0 -framerate 60 -i /image.png -start_number 000000 -apply_trc bt709 -framerate 60 -i /sequence.%06d.exr -r 60 -preset medium -codec:v libx265 -ar 48000 -acodec aac -shortest -strict experimental -sn -vsync 1 -pix_fmt yuv420p -b:v 31457280 -movflags +faststart  -x265-params high-tier=0:pmode=1:wpp=1:tune=fastdecode:bitrate=31457:fps=60:keyint=360:min-keyint=180:vbv-bufsize=31457:vbv-maxrate=31457:scenecut=0 &#xA;' -filter_complex &quot;[2:v]crop=3440:2227:0:2560, scale=3440:768, rotate=0[input_num0];[1:v][input_num0]overlay=0:0[output_num0]&quot; -map &quot;[output_num0]:0&quot; -map &quot;0:0&quot; output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Console output:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 3.0.1 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with Apple LLVM version 6.1.0 (clang-602.0.49) (based on LLVM 3.6.0svn)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.0.1 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-opencl --enable-libx264 --enable-libmp3lame --enable-libxvid --enable-libtheora --enable-libvorbis --enable-libvpx --enable-ffplay --enable-libspeex --enable-libfdk-aac --enable-libopus --enable-libx265 --enable-nonfree --enable-vda&#xA;  libavutil      55. 17.103 / 55. 17.103&#xA;  libavcodec     57. 24.102 / 57. 24.102&#xA;  libavformat    57. 25.100 / 57. 25.100&#xA;  libavdevice    57.  0.101 / 57.  0.101&#xA;  libavfilter     6. 31.100 /  6. 31.100&#xA;  libavresample   3.  0.  0 /  3.  0.  0&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, lavfi, from 'aevalsrc=0':&#xA;  Duration: N/A, start: 0.000000, bitrate: 2822 kb/s&#xA;    Stream #0:0: Audio: pcm_f64le, 44100 Hz, mono, dbl, 2822 kb/s&#xA;Input #1, png_pipe, from '/image.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #1:0: Video: png, monob(pc), 3840x1536, 60 tbr, 60 tbn, 60 tbc&#xA;Input #2, image2, from '/sequence.%06d.exr':&#xA;  Duration: 00:00:32.27, start: 0.000000, bitrate: N/A&#xA;    Stream #2:0: Video: exr, rgb48le(unknown/unknown/bt709), 5120x2560 [SAR 1:1 DAR 2:1], 60 tbr, 60 tbn, 60 tbc&#xA;[libx265 @ 0x7f9ee1003400] Unknown option: tune.&#xA;x265 [info]: HEVC encoder version 1.9&#xA;x265 [info]: build info [Mac OS X][clang 7.0.2][64 bit] 8bit&#xA;x265 [info]: using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX AVX2 FMA3 LZCNT BMI2&#xA;x265 [warning]: Limit reference options 2 and 3 are not supported with pmode. Disabling limit reference&#xA;x265 [info]: Main profile, Level-5.1 (Main tier)&#xA;x265 [info]: Thread pool created using 4 threads&#xA;x265 [info]: frame threads / pool features       : 2 / wpp(24 rows)+pmode&#xA;x265 [info]: Coding QT: max CU size, min CU size : 64 / 8&#xA;x265 [info]: Residual QT: max TU size, max depth : 32 / 1 inter / 1 intra&#xA;x265 [info]: ME / range / subpel / merge         : hex / 57 / 2 / 2&#xA;x265 [info]: Keyframe min / max / scenecut       : 180 / 360 / 0&#xA;x265 [info]: Lookahead / bframes / badapt        : 20 / 4 / 2&#xA;x265 [info]: b-pyramid / weightp / weightb       : 1 / 1 / 0&#xA;x265 [info]: References / ref-limit  cu / depth  : 3 / 0 / 0&#xA;x265 [info]: AQ: mode / str / qg-size / cu-tree  : 1 / 1.0 / 32 / 1&#xA;x265 [info]: Rate Control / qCompress            : ABR-31457 kbps / 0.60&#xA;x265 [info]: VBV/HRD buffer / max-rate / init    : 31457 / 31457 / 0.900&#xA;x265 [info]: tools: rd=3 psy-rd=2.00 signhide tmvp strong-intra-smoothing&#xA;x265 [info]: tools: lslices=8 deblock sao&#xA;Output #0, mp4, to '/output.mp4':&#xA;    encoder         : Lavf57.25.100&#xA;    Stream #0:0: Video: hevc (libx265) ([35][0][0][0] / 0x0023), yuv420p, 3840x1536, q=2-31, 31457 kb/s, 60 fps, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc57.24.102 libx265&#xA;    Stream #0:1: Audio: aac (LC) ([64][0][0][0] / 0x0040), 48000 Hz, mono, fltp, 69 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc57.24.102 aac&#xA;Stream mapping:&#xA;  Stream #1:0 (png) -&amp;gt; overlay:main (graph 0)&#xA;  Stream #2:0 (exr) -&amp;gt; crop (graph 0)&#xA;  overlay (graph 0) -&amp;gt; Stream #0:0 (libx265)&#xA;  Stream #0:0 -&amp;gt; #0:1 (pcm_f64le (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[image2 @ 0x7f9ee081f400] Thread message queue blocking; consider raising the thread_queue_size option (current value: 8)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="15838" LastEditorUserId="15838" LastEditDate="2016-08-05T17:31:55.850" LastActivityDate="2016-08-05T19:03:39.993" Title="ffmpeg - moov atom not found0/0" Tags="|ffmpeg|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="19076" PostTypeId="2" ParentId="19075" CreationDate="2016-08-05T19:03:39.993" Score="2" Body="&lt;p&gt;Try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -loglevel info -threads 0 -f lavfi -i aevalsrc=0 -framerate 60 -loop 1 -i /image.png -start_number 000000 -apply_trc bt709 -framerate 60 -thread_queue_size 512 -i /sequence.%06d.exr -filter_complex &quot;[2:v]crop=3440:2227:0:0,scale=3440:768,rotate=0[input_num0];[1:v][input_num0]overlay=shortest=1,format=yuv420p[output_num0]&quot; -preset medium -c:v libx265 -c:a aac -ar 48000 -shortest -b:v 31457280 -x265-params high-tier=0:pmode=1:wpp=1:tune=fastdecode:bitrate=31457:fps=60:keyint=360:min-keyint=180:vbv-bufsize=31457:vbv-maxrate=31457:scenecut=0 -map &quot;[output_num0]&quot; -map 0:0 -movflags +faststart output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There are still some redundant settings, but those can be checked later on.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-08-05T19:03:39.993" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="19078" PostTypeId="2" ParentId="19064" CreationDate="2016-08-05T20:51:23.450" Score="1" Body="&lt;p&gt;As mentioned by Necrodeathify, Trapcode Echospace is the best option for this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, If you're on a tight budget and cannot afford Trapcode Echospace, &lt;strong&gt;CC Kaleida&lt;/strong&gt; will help achieve looks that are similar to your examples. Add the effect to your footage layer and play around with Mirroring, Rotation, Center and Size.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Effect &gt; Stylize &gt; CC Kaleida&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="3161" LastActivityDate="2016-08-05T20:51:23.450" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19079" PostTypeId="2" ParentId="19072" CreationDate="2016-08-05T23:00:54.917" Score="1" Body="&lt;pre&gt;&lt;code&gt;...tune=fastdecode :bitrate=30000... &#xA;                 ^^^&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There's a space that should not be there.&lt;/p&gt;&#xA;" OwnerUserId="16327" LastActivityDate="2016-08-05T23:00:54.917" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19081" PostTypeId="1" CreationDate="2016-08-06T08:09:51.673" Score="1" ViewCount="1043" Body="&lt;p&gt;I have created some animation in Camtasia studio. When I copy paste them into another camtasia project everything gets messed up, animation effect, start n end position, size etc. I tried to match the resolution size still the same issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any proper way of doing this? like creating a template or theme or library media and use in another project.&lt;/p&gt;&#xA;" OwnerUserId="5946" LastActivityDate="2016-11-04T13:09:31.830" Title="How to copy animation from one project to another in Camtasia?" Tags="|video-editor|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19082" PostTypeId="2" ParentId="19081" CreationDate="2016-08-06T11:49:15.317" Score="1" Body="&lt;p&gt;I got it. Right click on track &gt; add asset to library &gt; open another project &gt; drag that asset to particular track.&lt;/p&gt;&#xA;" OwnerUserId="5946" LastActivityDate="2016-08-06T11:49:15.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19084" PostTypeId="2" ParentId="19064" CreationDate="2016-08-06T12:46:02.213" Score="1" Body="&lt;p&gt;Without having to use plugins, here's how I would do it.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;set the anchor point on the layer you want to repeat so that it's in the right spot (using the pan behind tool &lt;kbd&gt;y&lt;/kbd&gt;)&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;add this expression to the rotation property (assuming that the comp only contains the kaleidoscope layers. Precomp if you need to): &lt;code&gt;index/thisComp.numLayers * 360&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;duplicate the layer as many times as you want.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XUaGy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XUaGy.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your comp has other layers in it you'll need to adjust the expression. If there are, say three other layers below the kaleidoscope layer you'd use &lt;code&gt;index/(thisComp.numLayers-3) * 360&lt;/code&gt;, and if there was, say two layers above the kaleidoscope layers and five below you'd use &lt;code&gt;(index-2)/(thisComp.numLayers-7) * 360&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also &lt;strong&gt;link the anchor points&lt;/strong&gt; of the layers with an expression, so that you can adjust the centre of all the layers. This allows for easy animation of the whole effect. Do that by using this expression on the anchor point property of all but the first kaleidoscope layer:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thisComp.layer('name of kaleidoscope layer 1').transform.anchorPoint&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Rather than typing this it's easier to use the pick-whip. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0ufgP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0ufgP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;kbd&gt;alt&lt;/kbd&gt;-click on the stop watch to create an expression, then grab the thing that looks like a fire-hose-reel and drag it to the anchor point property of the first kaleidoscope layer. This will fill in the correct path to the property, without you having to type.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0JVhj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0JVhj.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-08-06T12:46:02.213" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19085" PostTypeId="2" ParentId="19058" CreationDate="2016-08-06T13:09:42.077" Score="3" Body="&lt;p&gt;I second the vote for Processing, but if C++ is more your thing than Java you could also look at &lt;a href=&quot;http://openframeworks.cc/&quot; rel=&quot;nofollow&quot;&gt;openFrameworks&lt;/a&gt;. It allows for more processor-intensive computation and as such is good at real-time synthesis and manipulation of video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another tool worth checking out is &lt;a href=&quot;https://www.nodebox.net/&quot; rel=&quot;nofollow&quot;&gt;NodeBox&lt;/a&gt;. It allows for coding, but wraps it all in a node-based GUI, the aim being to simplify the boring stuff.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Final Cut Pro ≤ 7 used to have a built in language called &lt;a href=&quot;http://www.joemaller.com/fcp/fxscript_reference.shtml&quot; rel=&quot;nofollow&quot;&gt;fxcript&lt;/a&gt; (based on c, but weird and buggy) that gave you pixel level access to the video stream and integrated into the editor seamlessly. I wrote a few plugins for that &lt;a href=&quot;http://web.archive.org/web/20091023111748/http://www.pureandapplied.com.au/plugins.html&quot; rel=&quot;nofollow&quot;&gt;back in the day&lt;/a&gt;, but I jumped ship after the initial FCPX fiasco so I can't comment on the new language for visual effects &lt;a href=&quot;https://developer.apple.com/library/mac/documentation/AppleApplications/Conceptual/FXPlug_overview/FXPlugSDKOverview/FXPlugSDKOverview.html&quot; rel=&quot;nofollow&quot;&gt;FXPlug&lt;/a&gt;. I believe it's quite powerful, and, like processing, leverages openGL to do the heavy lifting.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-08-15T14:13:49.800" LastActivityDate="2016-08-15T14:13:49.800" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19086" PostTypeId="2" ParentId="18693" CreationDate="2016-08-06T13:13:10.653" Score="1" Body="&lt;p&gt;Open Activity Monitor. I found that every time share (from fcpx) hangs @ 66% the app &quot;DSPPublishing Server&quot; wasn't responding. Look down the list of active Process Names and manually terminate it. This should allow Create DVD to restart.&lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2016-08-06T13:13:10.653" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19087" PostTypeId="2" ParentId="19046" CreationDate="2016-08-06T13:17:33.450" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://ffmpeg.org&quot; rel=&quot;nofollow&quot;&gt;FFMPEG&lt;/a&gt; is the program I would recommend, though the caveat is that you'll have to learn how to use the command line on your OS. The benefit of FFMPEG is its flexibilty: it can do a huge array of tasks, and being integrated into a command line chain you can use the power of the command line to deal with things like folder structures and different resolutions.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-08-06T13:17:33.450" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19088" PostTypeId="2" ParentId="10141" CreationDate="2016-08-07T04:29:22.747" Score="1" Body="&lt;p&gt;My understanding of their differences:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Motion Estimation:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;It is to generate the motion vector(s). &lt;/li&gt;&#xA;&lt;li&gt;It's in the &lt;em&gt;encoder only&lt;/em&gt;, since decoder only &lt;em&gt;consumes&lt;/em&gt; the motion vector data.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Motion Compensation:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;It's using &lt;em&gt;existing&lt;/em&gt; motion vector(s) information, along with the reference image(s), to generate a predicted microblock. (The predicted block will be added to the residue block to generate a decoded microblock.) &#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;This generation step can be a simple x/y translation of the single reference block. But it could be more complex when dealing with multiple reference frames/blocks or field based coding. &lt;/li&gt;&#xA;&lt;li&gt;For example, in H.264, you can have two MVs with different weight, thus the compensation step to generate a predicted block would be like &lt;code&gt;PB = w1*RB1 + w2*RB2&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;It's in the decoder. But since there's a mini-decoder in the encoder. So the encoder has this component as well.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;This page on &lt;a href=&quot;http://www.mpeg.org/MPEG/MSSG/tm5/Ch5/Ch5.html&quot; rel=&quot;nofollow&quot;&gt;MOTION ESTIMATION AND COMPENSATION&lt;/a&gt; provides more detailed information. Also looking at their location in an &lt;a href=&quot;http://www.csee.wvu.edu/~xinl/courses/ee569/H264_tutorial.pdf&quot; rel=&quot;nofollow&quot;&gt;encoder diagram&lt;/a&gt; might also be helpful.&lt;/p&gt;&#xA;" OwnerUserId="16346" LastEditorUserId="16346" LastEditDate="2016-08-07T04:47:28.370" LastActivityDate="2016-08-07T04:47:28.370" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19089" PostTypeId="1" CreationDate="2016-08-07T04:38:42.683" Score="10" ViewCount="11506" Body="&lt;p&gt;Does anyone knows a free video stabilization software for Linux (ubuntu, fedora or something else), whose result is like the Youtube Video Stabilization?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At this moment, to stabilize my video I need to upload my files on youtube and wait a lot until stabilization finishes and then download my files. One software for computer will be helpful, and save a lot of time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone knows one?&#xA;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="4423" LastActivityDate="2016-08-10T20:12:47.937" Title="Youtube-like video stabilization on Linux" Tags="|video-editor|stabilisation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19090" PostTypeId="1" CreationDate="2016-08-07T06:20:19.657" Score="0" ViewCount="1651" Body="&lt;p&gt;I'm a youtuber...and have more than 100 videos&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is : how to add 1 outro clip to the end of all 100 videos ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is : how to add 2 or more outro clips to the end of all 100 videos randomly ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks you guys !&lt;/p&gt;&#xA;" OwnerUserId="16348" LastActivityDate="2016-08-08T01:01:01.550" Title="FFMPEG: Add outro to the end of video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19092" PostTypeId="2" ParentId="19089" CreationDate="2016-08-07T11:31:14.727" Score="5" Body="&lt;p&gt;&lt;a href=&quot;https://www.blender.org/&quot; rel=&quot;noreferrer&quot;&gt;Blender&lt;/a&gt; has &lt;a href=&quot;https://www.blender.org/manual/editors/movie_clip_editor/tracking/introduction.html&quot; rel=&quot;noreferrer&quot;&gt;motion tracking&lt;/a&gt;, which can in turn be used to stabilize video.  Here is a YouTube tutorial showing how to load video footage into Blender's movie clip editor, setting a tracking point, solving the tracking equation, and then discusses considerations about how to balance the various factors between too much and too little stabilization.  The video tutorial is here: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/DpIXqAepfxY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-08-07T11:31:14.727" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19093" PostTypeId="1" AcceptedAnswerId="19094" CreationDate="2016-08-07T13:37:35.643" Score="1" ViewCount="576" Body="&lt;p&gt;A video used on a website doesn't want to play on iOS devices. The video was encoded by another person using Sony Vegas, with settings similar to what I used before (although I used Adobe Premiere). The video I encoded works, the one from Vegas won't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used &lt;em&gt;ffmpeg&lt;/em&gt; to compare the specs of the videos, and can't spot what's the difference that is impeding playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Input #0 (1.mp4) is from Vegas, not working. Input #1 (2.mp4) is from Premiere, working. Any clues? What do we need to change to make it playable?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '1.mp4':&#xA;  Metadata:&#xA;    major_brand     : MSNV&#xA;    minor_version   : 19529847&#xA;    compatible_brands: MSNVmp42isom&#xA;    creation_time   : 2013-04-16 18:40:45&#xA;  Duration: 00:02:31.85, start: 0.000000, bitrate: 2617 kb/s&#xA;    Stream #0:0(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 127 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2013-04-16 18:40:45&#xA;      handler_name    : Sound Media Handler&#xA;    Stream #0:1(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 720x480 [SAR 40:33 DAR 20:11], 2483 kb/s, 59.94 fps, 59.94 tbr, 60k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2013-04-16 18:40:45&#xA;      handler_name    : Video Media Handler&#xA;      encoder         : AVC Coding&#xA;Input #1, mov,mp4,m4a,3gp,3g2,mj2, from '2.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp42mp41&#xA;    creation_time   : 2015-09-03 18:55:57&#xA;  Duration: 00:00:10.05, start: 0.000000, bitrate: 2256 kb/s&#xA;    Stream #1:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 1938 kb/s, 30 fps, 30 tbr, 30k tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-09-03 18:55:57&#xA;      handler_name    : ?Mainconcept Video Media Handler&#xA;      encoder         : AVC Coding&#xA;    Stream #1:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 317 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-09-03 18:55:57&#xA;      handler_name    : #Mainconcept MP4 Sound Media Handler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16353" LastActivityDate="2016-08-07T14:02:04.597" Title="What's the encoding difference impeding playback on iOS?" Tags="|ffmpeg|encoding|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19094" PostTypeId="2" ParentId="19093" CreationDate="2016-08-07T14:02:04.597" Score="1" Body="&lt;p&gt;The Vegas export is &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;60 fps&lt;/li&gt;&#xA;&lt;li&gt;NTSC sized raster but with a non-square and weird pixel aspect&lt;/li&gt;&#xA;&lt;li&gt;Audio track is first&lt;/li&gt;&#xA;&lt;li&gt;File major brand is Sony-specific.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Many confounding factors here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First try to rewrap&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mp4 -c copy -map v -map a -movflags +faststart 1new.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If not, render in Vegas at 30 fps and Main profile using the Mainconcept encoder.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-08-07T14:02:04.597" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19096" PostTypeId="2" ParentId="15468" CreationDate="2016-08-07T23:24:23.883" Score="2" Body="&lt;p&gt;I got similar errors, and the audio in my output videos was sometimes out of sync and sometimes missing completely, but I ended up using &lt;code&gt;mkvmerge&lt;/code&gt; from mkvtoolnix instead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My input videos had been encoded with different settings and they had different dimensions, so I first resized and re-encoded them using &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;for f in *.mp4;do w=1280;h=720;ffmpeg -i $f -filter:v &quot;scale=iw*min($w/iw\,$h/ih):ih*min($w/iw\,$h/ih),pad=$w:$h:($w-iw*min($w/iw\,$h/ih))/2:($h-ih*min($w/iw\,$h/ih))/2&quot; -c:v libx264 -crf 22 -preset slow -pix_fmt yuv420p -c:a libfdk_aac -vbr 3 -ac 2 -ar 44100 ${f%mp4}mkv;done&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some of my input videos didn't have an audio channel, so I used a command like this to add a silent audio channel to them:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;for f in *.mkv;do ffprobe $f|&amp;amp;grep -q '1: Audio'||ffmpeg -i $f -f lavfi -i anullsrc -c:a libfdk_aac -shortest -c:v copy temp-$f;mv {temp-,}$f;done&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After that I concatenated the videos:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkvmerge -o /tmp/output.mkv $(printf %s\\n *.mkv|sed '1!s/^/+/')&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If your input files have the same dimensions, the same number of audio channels, the same audio sample rate, and so on, you can use just &lt;code&gt;mkvmerge&lt;/code&gt; to concatenate the files losslessly. The input files for &lt;code&gt;mkvmerge&lt;/code&gt; can also have an MP4 container but the output file will have an MKV container even if its filename extension is specified as &lt;code&gt;.mp4&lt;/code&gt;. You can run &lt;code&gt;ffmpeg -i output.mkv -c copy output.mp4&lt;/code&gt; to change the container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;mkvmerge&lt;/code&gt; has a syntax like &lt;code&gt;mkvmerge -o output.mkv file1.mkv + file2.mkv + file3.mkv&lt;/code&gt;, where &lt;code&gt;mkvmerge -o output.mkv file1.mkv +file2.mkv +file3.mkv&lt;/code&gt; is also accepted.&lt;/p&gt;&#xA;" OwnerUserId="16356" LastEditorUserId="16356" LastEditDate="2019-01-26T08:33:00.033" LastActivityDate="2019-01-26T08:33:00.033" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="19097" PostTypeId="2" ParentId="19090" CreationDate="2016-08-08T01:01:01.550" Score="2" Body="&lt;p&gt;You want to concatenate the videos. see&#xA;&lt;a href=&quot;https://www.ffmpeg.org/faq.html#How-can-I-concatenate-video-files_003f&quot; rel=&quot;nofollow&quot;&gt;https://www.ffmpeg.org/faq.html#How-can-I-concatenate-video-files_003f&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know what OS or multimedia containers you have, so read that FAQ. Especially if you want to avoid making potentially huge intermediate files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Linux/Mac OSX you want something like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.avi -qscale:v 1 intermediate1.mpg&#xA;ffmpeg -i input2.avi -qscale:v 1 intermediate2.mpg&#xA;cat intermediate1.mpg intermediate2.mpg &amp;gt; intermediate_all.mpg&#xA;ffmpeg -i intermediate_all.mpg -qscale:v 2 output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;On  Windows I think the syntax is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.avi -qscale:v 1 intermediate1.mpg&#xA;ffmpeg -i input2.avi -qscale:v 1 intermediate2.mpg&#xA;copy intermediate1.mpg+intermediate2.mpg intermediate_all.mpg&#xA;ffmpeg -i intermediate_all.mpg -qscale:v 2 output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If your multimedia containers are already MPEG-1, MPEG-2 PS, or DV you can skip the transcoding steps and just concat using &lt;code&gt;cat&lt;/code&gt; or &lt;code&gt;copy&lt;/code&gt; or better yet &lt;code&gt;concat&lt;/code&gt; protocol.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can get fancy with scripting to add pseudo-randomisation to add the Outro. But I'd just add outroA to all odd numbered files and outroB to all even numbered files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to add more that one outro to your content randomly, I'm not that good a command line hacker to pipe and nest randomisations. So I'd build the randomisation (aka spinning) of 100 &lt;code&gt;cat/copy/concat&lt;/code&gt; lines into a script via a spreadsheet, then copy/paste the script into a batch/shell script.&lt;/p&gt;&#xA;" OwnerUserId="11459" LastActivityDate="2016-08-08T01:01:01.550" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19098" PostTypeId="2" ParentId="18247" CreationDate="2016-08-08T01:07:11.410" Score="3" Body="&lt;p&gt;Glad you fixed your problem. For anyone else coming across the question...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that &lt;code&gt;concat demuxer&lt;/code&gt; only works when multimedia streams are the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As described &lt;a href=&quot;http://ffmpeg.org/ffmpeg-formats.html#concat-1&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;, all files must have the same streams (same codecs, same time base, etc.).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you have to use a filter, forcing a re-encode. See &lt;a href=&quot;https://www.ffmpeg.org/faq.html#How-can-I-concatenate-video-files_003f&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; reference.&lt;/p&gt;&#xA;" OwnerUserId="11459" LastEditorUserId="16682" LastEditDate="2016-09-30T13:28:36.193" LastActivityDate="2016-09-30T13:28:36.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19099" PostTypeId="1" CreationDate="2016-08-08T11:29:06.560" Score="2" ViewCount="43" Body="&lt;p&gt;Adobe has made mobile &lt;a href=&quot;http://www.adobe.com/products/premiere-clip.html&quot; rel=&quot;nofollow&quot;&gt;application&lt;/a&gt; called Adobe Clip. It can automatically cut videos, zoom stills and sync them with background music. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I do something similar in full-fledged Premiere? I want something that can automatically trim and sync with music for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know, that clip from mobile app can be later imported to full-fledged Premiere, but to do that I need to transfer my videos to Android device, edit in the app, and later transfer it back to PC. I'd prefer to do all of this quickly and on just one machine.&lt;/p&gt;&#xA;" OwnerUserId="5416" LastActivityDate="2016-08-08T12:23:40.763" Title="Adobe Clip's features in Adobe Premiere" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19100" PostTypeId="2" ParentId="19099" CreationDate="2016-08-08T12:23:40.763" Score="1" Body="&lt;p&gt;To my knowledge, there's not a comparable feature in Premiere Pro. That sort of &quot;automatic&quot; feature is one more often found in basic/entry-level editors, like the mobile Clip or iMovie. My guess is that this type of feature isn't included in more advanced editors for a couple reasons:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Typically, if you're working in something as advanced as Premiere, you'll want full control over your synchronization with background music. You'd rather do it yourself than have the machine do it for you.&lt;/li&gt;&#xA;&lt;li&gt;Editors using NLEs like Premiere would rather have more advanced customization and other features than have the software developers spend time adding automation to things (like creating slideshows) that they, as editors, feel they could do better on their own anyway.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Just my take on it. From my experience, if I was making a slideshow requiring zooming/panning of stills, I'd much rather do it manually than let a machine do it. I feel like I can too easily spot an automatically generated slideshow (heads cut off on pans/zooms, etc.).&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-08-08T12:23:40.763" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19103" PostTypeId="1" CreationDate="2016-08-08T19:29:14.303" Score="1" ViewCount="878" Body="&lt;p&gt;I'm quite new to video editing so I like some advice on whether it is possible to embed one video inside another?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The kind of effect I'm aiming for is to have one video playing then have it pause whilst another smaller video pops out (like a caption I guess) which plays then disappears leaving the original 'background' video to continue to completion.  The clips are reasonably short at around 2-5 mins.  They are in various formats avi, mpeg xvid - all commonly used, however I expect to have to convert them all to the same format in order to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What editing software (for windows) would I be able to do this in, if indeed it is possible!!  I am reasonably technical but I don't want anything too over the top, unless of course I'm not going to do this with anything simple!!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your help.&lt;/p&gt;&#xA;" OwnerUserId="16361" LastActivityDate="2016-08-08T23:22:08.330" Title="Can you embed one video inside another?" Tags="|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19104" PostTypeId="2" ParentId="19103" CreationDate="2016-08-08T19:50:19.757" Score="2" Body="&lt;p&gt;I believe what you're looking for is an editor with basic &lt;a href=&quot;https://en.wikipedia.org/wiki/Picture-in-picture&quot; rel=&quot;nofollow&quot;&gt;picture-in-picture (PiP)&lt;/a&gt; capabilities. For full and total control (including getting the &quot;background&quot; video to pause), I'd recommend &lt;a href=&quot;http://www.adobe.com/products/premiere.html&quot; rel=&quot;nofollow&quot;&gt;Adobe Premiere Pro&lt;/a&gt;. A lot of simple editors (like iMovie, Windows Movie Maker, or even Adobe Premiere Elements) might allow for some &lt;strong&gt;very basic&lt;/strong&gt; PiP, but usually nothing more than letting you put a second video in a corner.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere Pro (or, better yet, any modern NLE of its caliber) will let you stack videos into &quot;layers&quot; on a single timeline, letting you place a &quot;smaller&quot; video &quot;in front of&quot; (or &quot;on top of&quot;, from a &lt;em&gt;layers&lt;/em&gt; standpoint) the full frame.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-08-08T19:50:19.757" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19105" PostTypeId="2" ParentId="19103" CreationDate="2016-08-08T23:22:08.330" Score="1" Body="&lt;p&gt;Depending on what you mean by &quot;pops out like a caption&quot;, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you mean something that is completly &quot;pre-programmed&quot; then that is simply a matter of editing the video with the kind of visual effects that implement your desired effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you mean something that is dependent on the view interaction (clicking on something, for example), then that depends on how you are PLAYING it for the viewer.  You would need to embed the video in a web page (or equivalent) where you could sense viewer interaction (clicking, mouse-over, etc.).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not possible to really answer your question properly without a better concept of what you are trying to do here.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-08-08T23:22:08.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19107" PostTypeId="1" AcceptedAnswerId="20973" CreationDate="2016-08-09T14:33:26.503" Score="3" ViewCount="2299" Body="&lt;p&gt;I make YouTube videos sometimes and Shotcut has always been my go-to for video editing, but I am working on a video now and can't figure out how to fade text in and out while a clip is playing. Help?&lt;/p&gt;&#xA;" OwnerUserId="16365" LastEditorUserId="1871" LastEditDate="2016-08-09T15:56:05.350" LastActivityDate="2017-09-07T22:10:57.723" Title="Text fading in a clip in Shotcut" Tags="|video|editing|shotcut|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19110" PostTypeId="1" CreationDate="2016-08-09T20:21:28.783" Score="0" ViewCount="83" Body="&lt;p&gt;I'm in the market for a new computer. I really, &lt;em&gt;really&lt;/em&gt; want mobility. I have been considering the newest Microsoft Surface Pro 4. I would get the model with the highest ram and processing specs. From reading the specs, it seems to me that it would be plenty powerful enough to do standard video editing (1080p or less), and with the dock, probably recording over USB3 just fine as well. Combined with external monitors, it seems I would have the best of both worlds (mobile and powerful).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I might be wrong. What are the pros and cons that I may not be seeing?&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2016-08-09T22:30:03.780" LastActivityDate="2016-08-09T22:30:03.780" Title="What are the pros and cons of the Microsoft Surface Pro 4 for video editing?" Tags="|hardware|recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19112" PostTypeId="2" ParentId="19110" CreationDate="2016-08-09T21:05:11.860" Score="1" Body="&lt;p&gt;As you mentioned, mobility would be your biggest pro by far. With the Surface Pro with highest specs (as you mentioned), you'll get a very competitive machine. The biggest thing you'll be missing (from my perspective) is a dedicated graphics card. You can probably still pull off multiple monitors, but it's not going to be pushing it for sure. The &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B0163GS05Q&quot; rel=&quot;nofollow&quot;&gt;Surface Book&lt;/a&gt; actually does have a dedicated GPU, and could combine that mobility with a powerful graphics card (it does come at quite a bit extra cost, though).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best thing I've found with my Surface (a Surface Pro 3, admittedly, but still in the same family) is that I can connect a mouse and external keyboard via Bluetooth (was never a fan of the Type Cover) and still have my USB port free.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-08-09T21:05:11.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19113" PostTypeId="1" CreationDate="2016-08-09T21:17:19.100" Score="1" ViewCount="55" Body="&lt;p&gt;I am going to portray Mark Twain lecturing on his life &quot;so far&quot; at the age of 60 (the monologue/one-man, one-act play will be set in 1896).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I plan to perform in small ampitheateres, opera houses, and suchlike venues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although I have decades of public speaking experience, this will be a new venture for me (&quot;show business&quot;), and I will need to market my performance; specifically, I need to have a performance videotaped and then a &quot;trailer&quot; made of a section of it that will provide booking agents with a good feel for how the performance &quot;plays.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is my best option (naturally, I'm &quot;on a budget&quot;) to hire a videographer to film and edit this, providing me with the electronic files, or can I get by with having a friend film it and use software (preferably open source) to do the editing and post it on youtube?&lt;/p&gt;&#xA;" OwnerUserId="5629" LastActivityDate="2016-08-09T22:19:26.210" Title="Recommendations for Video Recording/Editing" Tags="|video-editor|editing|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19115" PostTypeId="1" CreationDate="2016-08-09T22:04:02.850" Score="1" ViewCount="65" Body="&lt;p&gt;I've been working on a video production on my Linux PC and decided to kick it over to my newer Mac to take advantage of faster hardware.  I've already noted the in and out times for the various shots that I want to sequence into my finished video.  On the linux machine I was doing everything using &lt;code&gt;ffmpeg&lt;/code&gt; on the command line.  On the Mac I'm trying out Lightworks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The times I've noted for my project don't correspond to the proper frames in Lightworks.  When I play the video in &lt;code&gt;mplayer&lt;/code&gt; or in Final Cut Pro on the Mac, the times do correspond properly.  In Lightworks, I'm playing the video in a display window for the clip, in order to make a subclip containing the section of video to use for my first cut. I've also noticed that the video displayed in Lightworks is a number of seconds shorter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is this happening? &lt;a href=&quot;https://video.stackexchange.com/questions/16427/cant-get-audio-and-video-speeds-to-play-at-original-speeds&quot;&gt;Can&amp;#39;t get audio and video speeds to play at original speeds&lt;/a&gt; seems like it may be related, but I'm unsure if the audio is playing at the proper speed because I haven't figured out how to make Lightworks make sound.  In any case, the only answer to that question just recommends changing the audio speed, which won't resolve my issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I need to recode my footage for use with Lightworks?  What are the proper settings?&lt;/p&gt;&#xA;" OwnerUserId="10756" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-08-09T22:04:02.850" Title="Video plays at different speed from other apps" Tags="|lightworks|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19116" PostTypeId="2" ParentId="19113" CreationDate="2016-08-09T22:19:26.210" Score="2" Body="&lt;p&gt;This is always one of the biggest questions when a consumer finds they have a need to record something, just once. Couples wonder if their friend can record their wedding, dad's try their best to record their son's baseball game, and actors on a tight budget hope to capture their performance without the expense of a professional videographer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In short, I'd say you get what you pay for. If your performance is only an hour or two, you can probably get a good videographer for $500 or even less. Depending on the venue, theater houses might already have dedicated locations for cameras, and could probably refer you to good videographers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Editing is as much art as it is skill, and usually comes under different expense terms. Editing a single shoot production should be very cheap and easy. This, you could probably do yourself for free, as long as you're willing to put in the time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You mention a &quot;section&quot; of your performance. I imagine you mean like a several minutes long movie trailer. I would see if any of the performance houses you will be performing at will let you record sections in the morning or something, when there's no audience, and the cameras can be set anywhere in the theater. I would hire a videographer with two or three cameras, then perform the parts that you want in the trailer. Later, this videographer or another can edit the parts into your final production, the marketing trailer. For the best success, you need to storyboard the trailer; make sure you have a very clear and exact idea of what it will be. Then start the shoot and stay on target. Do not deviate from the planned story. You should be able to get all of the shooting done in a few hours.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Editing will be difficult if you've never done it before, so I would definitely hire someone for this. They will know how to artistically mix the clips together, add animations where necessary, find the right music to put over it, laugh tracks and the like, etc. If you're already starting a new career in show business you probably shouldn't try a concurrent hobby of video editing. Minimum I would budget for this is $1000. It might seem expensive, but you won't regret it. Show business people are extremely impatient and if you don't keep their attention, they'll move on. A professional level trailer will keep their attention.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So total budget, I would go for the videographer and the editor, is at $1500. Doable and I think you'll be very pleased with the product and the attention it will bring.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Again, if you don't want to do that, as in, don't have the money, you can certainly try to enlist friends and edit yourself, but it will cost you a lot of time and you probably won't be very pleased with the product in the end, and neither will the talent scouts.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2016-08-09T22:19:26.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19117" PostTypeId="1" AcceptedAnswerId="19118" CreationDate="2016-08-09T22:37:18.010" Score="0" ViewCount="236" Body="&lt;p&gt;According to Wikipedia:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The name “4K resolution” refers to a horizontal resolution of approximately 4,000 pixels.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;However, I believed that 4K is called like this simply because it has four times the resolution of a 1080p video, like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/40NiN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/40NiN.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and, well, 1080 is practically 1024, which is a &lt;a href=&quot;https://en.wikipedia.org/wiki/1024_(number)&quot; rel=&quot;nofollow noreferrer&quot;&gt;round number 1K&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, the Wikipedia's explanation doesn't make much sense to me: the resolution of a piece of video is usually specified by two things: &lt;em&gt;height&lt;/em&gt; and &lt;em&gt;ratio&lt;/em&gt;; it is very unusual to see any mention of the width.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what is the real origin of “4K” term?&lt;/p&gt;&#xA;" OwnerUserId="6250" LastActivityDate="2016-08-09T23:18:18.183" Title="What is the origin of 4K term?" Tags="|4k|terminology|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19118" PostTypeId="2" ParentId="19117" CreationDate="2016-08-09T23:18:18.183" Score="4" Body="&lt;p&gt;According to Wikipedia ,&lt;a href=&quot;https://en.wikipedia.org/wiki/Digital_Cinema_Initiatives&quot;&gt;Digital Cinema Initiatives&lt;/a&gt; originated the term 2K in 2002 for a digital film format of 2048 x 1080.  2048 is commonly referred to as 2K in the digital world.  It logically follows that when DCI went on to specify a resolution 2x larger in each direction, they called the 4096 x 2160 format 4K.  4096 is commonly referred to as 4K in the digital world.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-08-09T23:18:18.183" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19120" PostTypeId="1" AcceptedAnswerId="19121" CreationDate="2016-08-10T06:58:35.850" Score="2" ViewCount="7156" Body="&lt;p&gt;I've been given an MP4 video with the following information, per MediaInfo&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : E:\306G5562_01.MP4&#xA;Format                                   : MPEG-4&#xA;Commercial name                          : XDCAM EX 35&#xA;Format profile                           : Base Media / Version 2&#xA;Codec ID                                 : mp42 (mp42)&#xA;File size                                : 3.45 GiB&#xA;Duration                                 : 13 min&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 35.6 Mb/s&#xA;Encoded date                             : UTC 2016-07-16 17:57:03&#xA;Tagged date                              : UTC 2016-07-16 17:57:03&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : MPEG Video&#xA;Commercial name                          : XDCAM EX 35&#xA;Format version                           : Version 2&#xA;Format profile                           : Main@High&#xA;Format settings, BVOP                    : Yes&#xA;Format settings, Matrix                  : Custom&#xA;Format settings, GOP                     : M=3, N=12&#xA;Codec ID                                 : 61&#xA;Duration                                 : 13 min&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 34.0 Mb/s&#xA;Maximum bit rate                         : 35.0 Mb/s&#xA;Width                                    : 1 920 pixels&#xA;Height                                   : 1 080 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 25.000 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel*Frame)                       : 0.656&#xA;Time code of first frame                 : 08:36:53:20&#xA;Time code source                         : Group of pictures header&#xA;GOP, Open/Closed                         : Open&#xA;GOP, Open/Closed of first frame          : Closed&#xA;Stream size                              : 3.30 GiB (96%)&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2016-07-16 17:57:03&#xA;Tagged date                              : UTC 2016-07-16 17:57:03&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.709&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : PCM&#xA;Format settings, Endianness              : Big&#xA;Format settings, Sign                    : Signed&#xA;Codec ID                                 : twos&#xA;Duration                                 : 13 min&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 1 536 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Sampling rate                            : 48.0 kHz&#xA;Bit depth                                : 16 bits&#xA;Stream size                              : 153 MiB (4%)&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2016-07-16 17:57:03&#xA;Tagged date                              : UTC 2016-07-16 17:57:03&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;From what I can tell, this is XDCAM EX video, which is encoded in MP42 codec in an MP4 container. Vegas Pro won't even look at it. Says the file cannot be opened. How can I fix this? I can convert it (I've done Handbrake and VLC already to test), but I'd rather not, because I actually have tons of these videos and converting takes lots of time.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2016-08-10T11:20:43.700" Title="How to open MP4 container video with mp42 codec in Vegas Pro?" Tags="|codec|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19121" PostTypeId="2" ParentId="19120" CreationDate="2016-08-10T07:30:27.487" Score="2" Body="&lt;p&gt;&lt;code&gt;mp42&lt;/code&gt; is the container ID, which Mediainfo wrongly calls a &lt;code&gt;codec id&lt;/code&gt;. It refers to MPEG-4 Part 14 spec for containers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;XDCAM is actually a Sony variant of MPEG-&lt;strong&gt;2&lt;/strong&gt; video. I've worked with XDCAM natively in Vegas, which were in MOV, I believe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use FFmpeg to rewrap these files.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -c copy video.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Looks like MOVs only work on Macs. The command below also worked.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -c copy video.vob&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(You'll have to switch to viewing &lt;code&gt;All Files (*.*)&lt;/code&gt;)&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-08-10T11:20:43.700" LastActivityDate="2016-08-10T11:20:43.700" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19122" PostTypeId="1" AcceptedAnswerId="19131" CreationDate="2016-08-10T10:53:08.920" Score="1" ViewCount="1001" Body="&lt;p&gt;Is there any crazy guy out there who has tried to mount an entire movie (short or not) using the army knife &lt;em&gt;ffmpeg&lt;/em&gt; command line tool?&lt;/p&gt;&#xA;" OwnerUserId="16374" LastEditorUserId="6330" LastEditDate="2016-08-10T18:07:41.567" LastActivityDate="2016-08-11T18:35:27.143" Title="Editing movies with FFMPEG in command line" Tags="|ffmpeg|editing|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="19123" PostTypeId="1" AcceptedAnswerId="19124" CreationDate="2016-08-10T12:50:39.397" Score="1" ViewCount="826" Body="&lt;p&gt;I have recorded a short movie using GoPro camera 1080p / Wide / 60fps. The video is really blurry, despite the fact that it was a quite good weather outside (middle of the day, partially cloudly). Is it possible to make the video sharper by lowering the framerate? All I need is 25% of speed, so 15fps. I'm just wondering if some video editing software can use the information from skipped frames to improve the video quality.&lt;/p&gt;&#xA;&lt;p&gt;Here is the sample frame: &lt;a href=&quot;https://i.stack.imgur.com/5uCBy.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/5uCBy.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sFnU5.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sFnU5.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16375" LastEditorUserId="26178" LastEditDate="2021-01-12T22:52:00.377" LastActivityDate="2021-01-12T22:52:00.377" Title="Improve video quality by lowering framerate" Tags="|video|video-quality|video-recording|framerate|windows|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="19124" PostTypeId="2" ParentId="19123" CreationDate="2016-08-10T14:06:31.483" Score="1" Body="&lt;p&gt;If your individual frames are blurry, cutting down the frame rate won't help. I assume that you mean you'll be converting the 60 fps footage to 15 fps in real time (cutting out 3/4 of the frames rather than keeping all the frames but slowing it down to appear 15 fps).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Think of it this way: changing the frame rate doesn't change the &lt;strong&gt;actual frames&lt;/strong&gt;. If you slowly scroll through your footage frame-by-frame and it's blurry, then it will be blurry at any speed or frame rate.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-08-10T14:06:31.483" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19125" PostTypeId="2" ParentId="19089" CreationDate="2016-08-10T14:38:05.310" Score="19" Body="&lt;p&gt;To stabilize your video you can use the &lt;a href=&quot;https://www.ffmpeg.org/download.html&quot; rel=&quot;noreferrer&quot;&gt;ffmpeg&lt;/a&gt; command line tool.&lt;/p&gt;&#xA;&lt;h2&gt;The easy way: one pass using &lt;code&gt;deshake&lt;/code&gt; filter&lt;/h2&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i shaky-input.mp4 -vf deshake stabilized-output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The &lt;code&gt;deshake&lt;/code&gt; filter has also some &lt;a href=&quot;https://www.ffmpeg.org/ffmpeg-filters.html#deshake&quot; rel=&quot;noreferrer&quot;&gt;optional settings&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;h2&gt;The better way: two passes using &lt;code&gt;vidstab&lt;/code&gt; filters&lt;/h2&gt;&#xA;&lt;p&gt;For better results you can try the two-step process using ffmpeg's &lt;code&gt;vidstabdetect&lt;/code&gt; and &lt;code&gt;vidstabtransform&lt;/code&gt; filters: (Thanks @Mulvya)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i shaky-input.mp4 -vf vidstabdetect=shakiness=5:show=1 dummy.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This will output a &lt;code&gt;transforms.trf&lt;/code&gt; that will be read by the second pass:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i shaky-input.mp4 -vf vidstabtransform,unsharp=5:5:0.8:3:3:0.4 stabilized-output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The &lt;a href=&quot;https://www.ffmpeg.org/ffmpeg-filters.html#vidstabdetect-1&quot; rel=&quot;noreferrer&quot;&gt;vidstab filters documentation&lt;/a&gt; explains all the configuration options.&lt;/p&gt;&#xA;" OwnerUserId="5569" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-08-10T20:12:47.937" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19126" PostTypeId="2" ParentId="19058" CreationDate="2016-08-10T19:15:45.807" Score="2" Body="&lt;p&gt;As an alternative to Processing, if you prefer to use C#, you can write plugins for &lt;a href=&quot;https://vvvv.org/&quot; rel=&quot;nofollow&quot;&gt;VVVV&lt;/a&gt; using their &lt;a href=&quot;https://vvvv.org/documentation/plugins&quot; rel=&quot;nofollow&quot;&gt;C# APIs&lt;/a&gt;. Also if you prefer to just write pixel and vertex shaders which you can apply to your audio/video, &lt;a href=&quot;https://vvvv.org/documentation/tutorial-of-effects-and-shaders&quot; rel=&quot;nofollow&quot;&gt;they support that as well&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="456" LastActivityDate="2016-08-10T19:15:45.807" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19127" PostTypeId="1" CreationDate="2016-08-11T02:36:20.583" Score="4" ViewCount="46756" Body="&lt;p&gt;I used the following command to get the frames from RTSP h264 codec. I could not able to get the frames from the ip camera.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i rtsp://xxxx:yyy@192.168.1.yy:xx/tcp/av0_0 -f image2 -vf fps=fps=1/120 img%03d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My output&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 3.1.1 Copyright (c) 2000-2016 the FFmpeg developers built with gcc 4.8 (Ubuntu 4.8.4-2ubuntu1~14.04.1) &#xA;&#xA;  configuration: --enable-gpl --enable-libfaac --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libtheora --enable-libvorbis --enable-libx264 --enable-libxvid --enable-nonfree --enable-postproc --enable-version3 --enable-x11grab --disable-yasm&#xA;&#xA;  libavutil      55. 28.100 / 55. 28.100&#xA;&#xA;  libavcodec     57. 48.101 / 57. 48.101&#xA;&#xA;  libavformat    57. 41.100 / 57. 41.100&#xA;&#xA;  libavdevice    57.  0.101 / 57.  0.101&#xA;&#xA;  libavfilter     6. 47.100 /  6. 47.100&#xA;&#xA;  libswscale      4.  1.100 /  4.  1.100&#xA;&#xA;  libswresample   2.  1.100 /  2.  1.100&#xA;&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;&#xA;[rtsp @ 0x2dba3a0] CSeq 6 expected, 0 received.&#xA;    Last message repeated 5 times&#xA;&#xA;[rtsp @ 0x2dba3a0] Could not find codec parameters for stream 0 (Video: h264, none): unspecified size&#xA;&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;&#xA;Guessed Channel Layout for Input Stream #0.1 : mono&#xA;Input #0, rtsp, from &#xA;'rtsp://xx:yy@192.168.1.xx:yy/tcp/av0_0':&#xA;&#xA;  Metadata:&#xA;&#xA;    title           : streamed by the RTSP server&#xA;&#xA;  Duration: N/A, start: 0.000000, bitrate: 64 kb/s&#xA;&#xA;    Stream #0:0: Video: h264, none, 90k tbr, 90k tbn, 180k tbc&#xA;&#xA;    Stream #0:1: Audio: pcm_alaw, 8000 Hz, 1 channels, s16, 64 kb/s&#xA;&#xA;Output #0, image2, to 'img%03d.jpg':&#xA;&#xA;Output file #0 does not contain any stream&#xA;&#xA;Exiting normally, received signal 2.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16380" LastEditorUserId="20528" LastEditDate="2018-06-09T20:58:38.347" LastActivityDate="2018-10-08T02:00:08.010" Title="capture RTSP stream from IP camera ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="19129" PostTypeId="2" ParentId="19127" CreationDate="2016-08-11T17:16:40.037" Score="5" Body="&lt;p&gt;I got it working with the following command, finally. I missed out using &lt;code&gt;rtsp_transport&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -rtsp_transport tcp -i rtsp://xx:yy@192.168.1.ee:fd/tcp/av0_0 -f image2 -vf fps=fps=1 hello/img%03d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16380" LastEditorUserId="20528" LastEditDate="2018-01-04T19:09:28.430" LastActivityDate="2018-01-04T19:09:28.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19131" PostTypeId="2" ParentId="19122" CreationDate="2016-08-11T18:35:27.143" Score="1" Body="&lt;p&gt;While travelling with my 10-year-old Linux laptop I produced an application &lt;a href=&quot;https://www.dropbox.com/s/ogq0zegq9nimbez/I%20Have%20Something%20in%20My%20Moustache.mp4?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;video&lt;/a&gt; for an acrobatics teacher training.  Nothing fancy, but it turned out decent.  I'm not sure if this qualifies as a &quot;movie&quot; since it's just a series of unrelated clips accompanied by music. The video is about 10 minutes long.  It's also up on &lt;a href=&quot;https://www.youtube.com/watch?v=iUz5AjcUhrM&quot; rel=&quot;nofollow noreferrer&quot;&gt;youtube&lt;/a&gt; but I think not playable in some countries due to use of copyrighted music.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was working on another one, an acroyoga flow performance shot on a couple of phones, but there &lt;a href=&quot;https://video.stackexchange.com/questions/18518/how-to-produce-a-zoom-animation-of-a-video-source-with-ffmpeg&quot;&gt;didn't seem to be a way&lt;/a&gt; to get &lt;code&gt;ffmpeg&lt;/code&gt; to do a Ken Burns zoom over multiple frames of video without a weird stuttery effect.  So I decided to wait until I got home to finish that one in FCP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found it was a pretty straightforward approach.  I like that the parameters are all explicitly stated and you don't have to go digging into settings in the hope that you might figure out how to, for example, replicate the scaling that you used on a particular clip.  Perhaps that speaks to my lack of experience with video editing.  Also if you're not a relatively advanced command line user it would be more complicated for you.  I probably spent most of my time Googling how to perform particular manipulations with &lt;code&gt;ffmpeg&lt;/code&gt;. I think the whole editing process took about the equivalent of a work day. &lt;/p&gt;&#xA;" OwnerUserId="10756" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-08-11T18:35:27.143" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19132" PostTypeId="1" AcceptedAnswerId="19147" CreationDate="2016-08-11T21:39:01.513" Score="0" ViewCount="261" Body="&lt;p&gt;I'm using a Ken Burns effect to zoom in on a section of running video.  After the zoom completes I want the next section of video to continue with the same crop dimensions.  How do I find out the exact dimensions that the Ken Burns effect finishes with?&lt;/p&gt;&#xA;" OwnerUserId="10756" LastActivityDate="2016-08-13T23:53:24.670" Title="How to replicate final crop parameters in after Ken Burns effect" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19133" PostTypeId="1" CreationDate="2016-08-11T22:42:44.013" Score="1" ViewCount="110" Body="&lt;p&gt;I don't know much about video recording. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to record some programs from home TV that receives signal from the normal coaxial cable. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm seen some VCR/DVD Recorders that record digital and air TV, I think they use HDMI port.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen on internet USB TV Tuners that can be connected to laptop in USB port and in the other side connect the coaxial cable input, so I understand the TV signal would be shown in laptop display and I think some software should be use to say &quot;Record&quot; within laptop but I don't know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;May you suggest me a good options to do what I want please? less expensive the better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance&lt;/p&gt;&#xA;" OwnerUserId="16388" LastActivityDate="2017-01-19T08:44:56.787" Title="Suggestion to record video from TV" Tags="|video-recording|digital-recording|television|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19134" PostTypeId="1" CreationDate="2016-08-12T04:14:39.750" Score="3" ViewCount="434" Body="&lt;p&gt;Shot an 80min interview @ 4K 422LT (271GB)on BMPC and want to create 3x 720p angles for multicam. Unsure if it's best to create them as compound clips cropped from the one 4K master clip inside of FCPX or Render out the 720p's as standalone clips then reimport.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once the Blackmagic ProRes422LT 4K clip has been imported and a LUT + Noise Reduction applied it gets unwieldly (to say the least)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it best practice to Render out a new 4K clip via Compressor with those corrections baked in, OR&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Create cropped 720p compound clips (from the effects applied 4K) for each of the angles for use in Multicam, OR&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Crop the 4K down to 720p angles and Render those out via Compressor as individual clips and reimport to make multicam angles on interviewee.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there is 1x 4K master file that has corrections (LUT+NR) applied - would it be better to render out a new 4K version with those changes baked in, and then make 720p multicam angles from the corrected clip - I guess that's my question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Always looking for ways to make everything work faster.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2013 MacPro 28GB RAM / 30TB LaCie T2 RAID - not sure what upgrade options are available.&lt;/p&gt;&#xA;" OwnerUserId="5347" LastEditorUserId="674" LastEditDate="2016-09-13T10:14:50.970" LastActivityDate="2016-11-12T11:07:02.417" Title="4K Workflow in FCPX - crop down for multicam angles" Tags="|final-cut-pro-x|workflow|4k|multi-camera|lut|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19136" PostTypeId="1" CreationDate="2016-08-12T13:52:39.313" Score="0" ViewCount="1130" Body="&lt;p&gt;I recently recorded some audio on my cell phone that's a file type .3gp. Is there a way I can convert this to a more workable file type, such as MP3?&lt;/p&gt;&#xA;" OwnerUserId="16393" LastActivityDate="2016-08-12T14:06:52.160" Title="Convert .3GP to MP3?" Tags="|audio|audio-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19137" PostTypeId="2" ParentId="19136" CreationDate="2016-08-12T14:06:52.160" Score="2" Body="&lt;p&gt;You can use &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool. Basic command is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i file.3gp file.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-08-12T14:06:52.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19138" PostTypeId="1" AcceptedAnswerId="19139" CreationDate="2016-08-12T14:26:22.517" Score="1" ViewCount="4221" Body="&lt;p&gt;I have some video footage from my phone's dash camera app. In the app, the video plays with the timestamp showing. However, exporting the file to my computer does the video only, without the timestamp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a simple way to add the timestamp with (preferably free) Windows software? I don't need the timestamp to be extracted from metadata. I can compare the video on my phone app to the one on my PC, and get the timestamp 'close enough' if it will let me put the start time on it manually where I want.&lt;/p&gt;&#xA;" OwnerUserId="4910" LastActivityDate="2016-08-12T14:42:48.660" Title="Add a timestamp to a video file?" Tags="|video-editor|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19139" PostTypeId="2" ParentId="19138" CreationDate="2016-08-12T14:42:48.660" Score="4" Body="&lt;p&gt;You can use &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt;, a free command-line tool, to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basic command is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;drawtext=fontfile=font.ttf:&#xA;                        fontsize=45:fontcolor=white:&#xA;                        box=1:boxcolor=black@0.4:&#xA;                        text='Time\: %{pts\:gmtime\:1466507118}'&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(this should be in one line)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The value you need to change is &lt;code&gt;1466507118&lt;/code&gt;. This is the Unix &lt;a href=&quot;http://www.epochconverter.com/&quot; rel=&quot;nofollow&quot;&gt;epoch time&lt;/a&gt; representation of your intended date and time.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-08-12T14:42:48.660" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19140" PostTypeId="1" CreationDate="2016-08-12T16:45:41.923" Score="-1" ViewCount="346" Body="&lt;p&gt;I wanna learn video editing but im not sure which program is best. Which program do studios or professional youtubers use. &lt;/p&gt;&#xA;" OwnerUserId="16397" LastActivityDate="2016-08-15T19:37:23.797" Title="Sony Vegas Vs Adobe premiere Pro/CC" Tags="|adobe|" AnswerCount="1" CommentCount="0" ClosedDate="2016-08-18T10:04:26.133" ContentLicense="CC BY-SA 3.0" />
  <row Id="19141" PostTypeId="2" ParentId="19134" CreationDate="2016-08-12T20:13:45.360" Score="1" Body="&lt;p&gt;I'm a little confused.  Perhaps it's the terminology you're using.  Are you really talking about cropping (throwing away the top, bottom, and sides of the image), or do you mean scaling?  Are you creating three angles from the same camera (which explains why you'd crop, but I can't imagine happening in an interview scenario), or do you have one BMPC and two other 720p cameras (which would explain why you'd scale the BMPC)?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In either case, you should probably skip the compound clips.  FCPX doesn't play nicely with CC's stacked inside of multicam clips.  Just make sure that when you create the multicam, it's the size of your desired output.  When you add higher-resolution footage to a lower-resolution multicam clip, FCPX scales the new clip down to fit within the smaller bounds automatically. But you can always use your transform tools to scale the image up afterwards, effectively cropping it.  There's no speed or image quality penalty for this type of operation because FCPX doesn't apply these transformations sequentially, it does them simultaneously at render.  For this reason, it's usually good to keep your multicam output size the same as your smallest angle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also wouldn't render any corrections beforehand.  Each render you do is going to degrade the image quality through compression and/or error.  If it's the NR and color correction that's slowing down playback, you should just disable them while you edit and re-enable them before you render.  If your computer bogs down with vanilla 4k prores LT, you could try working with proxies, but you'd save yourself some headache by just upgrading your computer.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2016-08-12T20:13:45.360" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="19142" PostTypeId="2" ParentId="19140" CreationDate="2016-08-12T20:23:10.267" Score="3" Body="&lt;p&gt;It depends on what you want to do with your YouTube account.&#xA;What is your operating system? How good is your PC?&#xA;Which camera do use?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, for vlogs, a simple Magix/Premiere Pro Elements/Final Cut solution is totally sufficient. &#xA;If you want to do more complex work, like color correction/effects/animations/handle RAW files/etc., I would recommend Premiere Pro (PP) as it has a lot of features and, in combination with the other Adobe products, handles most aspects of post-production. Premiere Pro is also a little bit harder to learn because it has many advanced capabilities.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I started with Sony Vegas, but as soon as I used PhotoShop and After Effects the first time, I immediately switched to PP as it used the same environment as well as similar looks, workflows, and shortcuts. And since I am used to it, I don't want to switch to any other software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as I know, in the YouTube scene (especially the German one), most of the lifestyle vloggers use Final Cut and most of the more &quot;technical&quot; ones (gamer, unboxer, etc.) use Premiere Pro. If they produce more complex work like short movies or a high-quality series, they all use Adobe products. Some of the really professional big channels combine those products with DaVinci Resolve and 3D Software like Cinema 4D. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So to sum up, I would recommend for you (if you can afford it) to start with Premiere Pro. There are a lot of good tutorials for every aspect of the software. But do not forget that software is not everything! The better your footage and content is, the better is the overall quality of your videos. So try to learn aspects of camera tricks and script writing as well!&lt;/p&gt;&#xA;" OwnerUserId="16399" LastEditorUserId="6330" LastEditDate="2016-08-15T19:37:23.797" LastActivityDate="2016-08-15T19:37:23.797" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19143" PostTypeId="1" CreationDate="2016-08-12T21:14:18.127" Score="1" ViewCount="3607" Body="&lt;p&gt;Well I'm trying to upload a video recorded with ffmpeg, but Youtube fail at processing it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the video information:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jjG7X.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jjG7X.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/o3OUG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/o3OUG.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;Here's the link &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/7XlxLh0usnY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;em&gt;EDIT:&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the command line to record. &lt;strong&gt;BUT THIS RECORD WAS UPLOADED&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something I notice, &lt;em&gt;all records with bitrate around 80kbps failed&lt;/em&gt;. I search on YT help, but I didn't find anything related.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;./ffmpeg -y -f video4linux2 -s 800x600 -r 10 -thread_queue_size 512 -i /dev/video0 -thread_queue_size 2048 -f alsa -ar 22050 -i plughw:0 -b:a 56000 -vol 512 -b:v 200000 -vf crop=800:600:0:0,scale=800:600 -c:v libx264 -c:a libfdk_aac -pix_fmt yuv420p test-yt.mp4&#xA;&#xA;ffmpeg version n2.6.3 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 4.8 (Ubuntu 4.8.4-2ubuntu1~14.04)&#xA;  configuration: --disable-static --enable-shared --disable-yasm --enable-gpl --enable-nonfree --enable-libfaac --enable-libmp3lame --enable-libvpx --enable-libfdk-aac --enable-libx264 --enable-libvorbis --prefix=/home/sdu/openeya7/src/3rdparty/build/ffmpeg&#xA;  libavutil      54. 20.100 / 54. 20.100&#xA;  libavcodec     56. 26.100 / 56. 26.100&#xA;  libavformat    56. 25.101 / 56. 25.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 11.102 /  5. 11.102&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, video4linux2,v4l2, from '/dev/video0':&#xA;  Duration: N/A, start: 954583.200328, bitrate: 76800 kb/s&#xA;    Stream #0:0: Video: rawvideo (YUY2 / 0x32595559), yuyv422, 800x600, 76800 kb/s, 10 fps, 10 tbr, 1000k tbn, 1000k tbc&#xA;Guessed Channel Layout for  Input Stream #1.0 : stereo&#xA;Input #1, alsa, from 'plughw:0':&#xA;  Duration: N/A, start: 1471270367.388227, bitrate: 705 kb/s&#xA;    Stream #1:0: Audio: pcm_s16le, 22050 Hz, 2 channels, s16, 705 kb/s&#xA;-vol has been deprecated. Use the volume audio filter instead.&#xA;-vol is forwarded to lavfi similarly to -af volume=2.000000.&#xA;[libx264 @ 0x1bd3e20] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;[libx264 @ 0x1bd3e20] profile High, level 3.1&#xA;[libx264 @ 0x1bd3e20] 264 - core 142 r2389 956c8d8 - H.264/MPEG-4 AVC codec - Copyleft 2003-2014 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=10 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=abr mbtree=1 bitrate=200 ratetol=1.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to '/home/auditorio/Desktop/teste-yt-openeya.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf56.25.101&#xA;    Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 800x600, q=-1--1, 200 kb/s, 10 fps, 10240 tbn, 10 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc56.26.100 libx264&#xA;    Stream #0:1: Audio: aac (libfdk_aac) ([64][0][0][0] / 0x0040), 22050 Hz, stereo, s16, 56 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.26.100 libfdk_aac&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; h264 (libx264))&#xA;  Stream #1:0 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; aac (libfdk_aac))&#xA;Press [q] to stop, [?] for help&#xA;frame=  473 fps=9.9 q=-1.0 Lsize=    1414kB time=00:00:47.10 bitrate= 245.9kbits/s    &#xA;video:1103kB audio:289kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.592868%&#xA;[libx264 @ 0x1bd3e20] frame I:2     Avg QP:19.16  size: 23538&#xA;[libx264 @ 0x1bd3e20] frame P:159   Avg QP:19.68  size:  3968&#xA;[libx264 @ 0x1bd3e20] frame B:312   Avg QP:18.63  size:  1444&#xA;[libx264 @ 0x1bd3e20] consecutive B-frames:  6.6% 12.7% 11.4% 69.3%&#xA;[libx264 @ 0x1bd3e20] mb I  I16..4: 27.1% 53.2% 19.7%&#xA;[libx264 @ 0x1bd3e20] mb P  I16..4:  1.9%  3.1%  0.3%  P16..4: 40.5%  6.7%  7.9%  0.0%  0.0%    skip:39.6%&#xA;[libx264 @ 0x1bd3e20] mb B  I16..4:  0.0%  0.0%  0.0%  B16..8: 34.6%  1.1%  0.1%  direct: 0.5%  skip:63.7%  L0:50.0% L1:49.5% BI: 0.5%&#xA;[libx264 @ 0x1bd3e20] final ratefactor: 22.50&#xA;[libx264 @ 0x1bd3e20] 8x8 transform intra:57.3% inter:88.6%&#xA;[libx264 @ 0x1bd3e20] coded y,uvDC,uvAC intra: 17.9% 29.7% 14.1% inter: 8.6% 13.4% 1.7%&#xA;[libx264 @ 0x1bd3e20] i16 v,h,dc,p: 23% 39%  9% 29%&#xA;[libx264 @ 0x1bd3e20] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 18% 36% 38%  1%  1%  1%  3%  1%  1%&#xA;[libx264 @ 0x1bd3e20] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 21% 45% 16%  2%  3%  3%  7%  2%  2%&#xA;[libx264 @ 0x1bd3e20] i8c dc,h,v,p: 71% 21%  7%  2%&#xA;[libx264 @ 0x1bd3e20] Weighted P-Frames: Y:12.6% UV:8.8%&#xA;[libx264 @ 0x1bd3e20] ref P L0: 55.2%  3.3% 28.1% 13.4%  0.1%&#xA;[libx264 @ 0x1bd3e20] ref B L0: 60.5% 30.6%  8.9%&#xA;[libx264 @ 0x1bd3e20] ref B L1: 86.2% 13.8%&#xA;[libx264 @ 0x1bd3e20] kb/s:190.86&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16400" LastEditorUserId="16400" LastEditDate="2016-08-15T14:22:51.943" LastActivityDate="2016-10-14T19:14:52.333" Title="Youtube processing stuck at 95%" Tags="|video|ffmpeg|mp4|youtube|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19144" PostTypeId="1" CreationDate="2016-08-13T12:19:36.823" Score="2" ViewCount="706" Body="&lt;p&gt;It has bugged me for a long time, why no successors have come to replace JPEG and anim GIF or PNG per say. I am completely a media format newbie, just started digging into the topic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Roughly a year ago I come across &lt;a href=&quot;http://bellard.org/bpg/&quot; rel=&quot;nofollow&quot;&gt;BPG&lt;/a&gt; which seemed very nice to me and hoped it would gain some traction. However, just recently I discovered &lt;a href=&quot;https://nokiatech.github.io/heif/&quot; rel=&quot;nofollow&quot;&gt;HEIF&lt;/a&gt; and I am amazed how this has been published roughly a year ago and there is zero publicity and adoption, even though it seems like the next best thing after ice cream!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is built mostly on other standard stuff, already widely adopted. It's just a very smart container. Could someone tell me why HEIF is not a thing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit question:&lt;/strong&gt; does anyone know of any image formats, that uses HEVC for image compression and at least one semi-available application that makes use of it?&lt;/p&gt;&#xA;" OwnerUserId="16403" LastEditorUserId="16403" LastEditDate="2016-08-18T13:52:10.783" LastActivityDate="2016-08-18T13:52:10.783" Title="Next-gen containers and codecs (BPG, HEIF, etc.)" Tags="|file-formats|mpeg|h.265|" AnswerCount="0" CommentCount="4" ClosedDate="2016-08-18T10:04:19.133" ContentLicense="CC BY-SA 3.0" />
  <row Id="19145" PostTypeId="1" CreationDate="2016-08-13T21:36:59.997" Score="0" ViewCount="40" Body="&lt;p&gt;I have a small MP4 file that I need to send to someone on a USB stick. Without knowing anything about the PCs that this person has access to, how can I be reasonably certain he will be able to play it without needing to install any software or codecs?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I just convert the video to several different formats? What are the most common ones that require the least hassle? (I wouldn't be surprised if something as old as Windows XP is used in this case)&lt;/p&gt;&#xA;" OwnerUserId="4910" LastActivityDate="2016-09-14T13:21:36.593" Title="Most common formats that don't require any software or CODEC installs" Tags="|codec|file-formats|software|formats|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19147" PostTypeId="2" ParentId="19132" CreationDate="2016-08-13T23:53:24.670" Score="0" Body="&lt;p&gt;Instead of using a Ken-Burns-type crop to create the effect, I did it using Transform effects, setting a Keyframe at the beginning and the end of the zoom.  I think the relative rates of zoom and pan may be a little different with this method, but it works for my purposes.  It should be possible to tweak the settings to create a steady zoom/pan.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So now I can just click on the final keyframe in the Transform row of the Video Animation display for that section of video to get the final X, Y, and Scale values.&lt;/p&gt;&#xA;" OwnerUserId="10756" LastActivityDate="2016-08-13T23:53:24.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19148" PostTypeId="1" CreationDate="2016-08-14T07:24:19.727" Score="0" ViewCount="246" Body="&lt;p&gt;I recently imported a few personal videos I had on VHS or video 8mm tapes using Roxio Easy VHStoDVD equipment and software onto a Mac.&lt;/p&gt;&#xA;&lt;p&gt;But here's the thing: the files are in .mpg format, very large, and I am wondering how I could possibly reduce them.&lt;/p&gt;&#xA;&lt;p&gt;The encoding containers are:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Video Format:&lt;/strong&gt; MPEG-2 Video&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Audio Format:&lt;/strong&gt; MPEG Layer 2, 48000 Hz&lt;/p&gt;&#xA;&lt;p&gt;I tried placing them in an &lt;strong&gt;After Effects&lt;/strong&gt; or &lt;strong&gt;Premiere Pro&lt;/strong&gt; timeline to export in a mp4/H.264 file, but neither AE nor PP would read the file properly.&lt;/p&gt;&#xA;&lt;p&gt;I opened one of them with &lt;strong&gt;QuickTime&lt;/strong&gt;, thinking the Export feature might work, but it was incredibly slow and would have taken me several weeks to get it all done.&lt;/p&gt;&#xA;&lt;p&gt;I'm looking for a solution that can be quick (or even batched) and that would output a H.264 / mp4 file - ideally somewhere around 5-10 Mbps and deinterlaced.&lt;/p&gt;&#xA;&lt;p&gt;When using Handbrake, the files coming out are sometimes larger than the original files, and Handbrake doesn't allow cropping black letterbox bars on the sides (not necessary but would be a plus).&lt;/p&gt;&#xA;" OwnerUserId="11754" LastEditorUserId="11754" LastEditDate="2021-12-03T23:06:05.413" LastActivityDate="2021-12-03T23:06:05.413" Title="How can I quickly reduce .mpg files?" Tags="|file-formats|conversion|workflow|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="19149" PostTypeId="2" ParentId="19148" CreationDate="2016-08-14T10:52:55.570" Score="0" Body="&lt;p&gt;There's lots of detail missing here, but your best solution might be a program like &lt;a href=&quot;https://handbrake.fr/downloads.php&quot; rel=&quot;nofollow&quot;&gt;Handbrake&lt;/a&gt;, or if you're comfortable at the command line, &lt;strong&gt;&lt;em&gt;ffmpeg&lt;/em&gt;&lt;/strong&gt;. &quot;Quick&quot; is relative, but with Handbrake you can queue your files, or have it convert an entire directory unattended. I use it daily, often letting it run overnight.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can google for the latest ffmpeg build for your platform (Windows? Mac? Linux?).&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-08-14T10:52:55.570" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19150" PostTypeId="2" ParentId="19148" CreationDate="2016-08-14T11:27:53.007" Score="1" Body="&lt;p&gt;If you're comfortable with the command-line, &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt; will do the job. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since these are VHS rips, 5-10 mbps is way overkill when using the H.264 codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suggested command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i rip.mpg -vf yadif,scale=iw*sar:ih,setsar=1 -crf 18 -c:a aac -b:a 128k rip.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will deinterlace the video, then convert it to a square pixel representation. Audio codec is AAC @ 128 kbps. Video bitrate control method is CRF, which strives to allocate bits as per content complexity i.e. tries to maintain uniform quality throughout. 18 is a good value for SD content. Lower values produce better quality (and larger files) but shouldn't be necessary here.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;You can create a batch file to automate the conversions or use a GUI like &lt;a href=&quot;http://avanti.arrozcru.org/&quot; rel=&quot;nofollow&quot;&gt;Avanti&lt;/a&gt;, which has a job control manager. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-08-14T11:27:53.007" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19151" PostTypeId="1" AcceptedAnswerId="19157" CreationDate="2016-08-14T16:12:24.267" Score="1" ViewCount="102" Body="&lt;p&gt;This question is basically the same as one I posted 2.5 years ago &lt;a href=&quot;https://video.stackexchange.com/questions/10309/what-is-the-easiest-no-frills-way-to-produce-a-simple-video-on-windows-8&quot;&gt;here&lt;/a&gt;, except that now I am using a different laptop that runs Windows 10 instead of Windows 8.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My laptop has a camera. Since it can obviously take video of me (a la Skyping), it should be easy to create a video of myself practicing a presentation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My laptop runs Windows 10.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is going to be a long video -- 1.5 hours. What is the easiest way to accomplish that using apps that come with Windows or something free that I can download?&lt;/p&gt;&#xA;" OwnerUserId="5629" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-08-15T12:25:06.890" Title="What is the easiest, no-frills way to produce a simple video on Windows 10?" Tags="|video-recording|windows|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19152" PostTypeId="1" CreationDate="2016-08-14T17:47:31.463" Score="0" ViewCount="620" Body="&lt;p&gt;I have been searching all over the internet but still do not know how to do this with After Effects! When a loud beat goes on, the spectrum goes bigger so i did this: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;value + (comp(&quot;Music&quot;).layer(&quot;Audio Amplitude&quot;).effect(&quot;Both Channels&quot;)(&quot;Slider&quot;))/ 1&lt;/p&gt;&#xA;&#xA;&lt;p&gt;but what i want to do is make it fuzzier or blurry when the beat become loud! How do i do this? Thanks!&lt;/p&gt;&#xA;" OwnerDisplayName="user16291" LastActivityDate="2016-08-16T01:15:25.000" Title="After Effects: Audio react to beat then become fuzzy/blury?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19153" PostTypeId="2" ParentId="18213" CreationDate="2016-08-14T18:58:03.927" Score="-2" Body="&lt;p&gt;Try inserting EXT-X-DISCONTINUITY between those splitted ts&lt;/p&gt;&#xA;" OwnerUserId="16409" LastActivityDate="2016-08-14T18:58:03.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19154" PostTypeId="1" CreationDate="2016-08-15T04:08:27.677" Score="0" ViewCount="51" Body="&lt;p&gt;I have a very short video of some classical guitar music, in Windows .wmv.  In order to listen I  must have the soundcard and speaker volume controls at the max.  (I have checked this on another computer to ensure it wasn't just me).  Can the general level of audio in a video recording be raised, while still maintaining a normalised signal.&lt;/p&gt;&#xA;" OwnerUserId="16411" LastEditorUserId="14523" LastEditDate="2016-08-16T05:53:42.823" LastActivityDate="2016-08-16T05:53:42.823" Title="Increasing Overall Audio level" Tags="|editing|audio|loudness|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19155" PostTypeId="2" ParentId="19154" CreationDate="2016-08-15T06:37:49.507" Score="4" Body="&lt;p&gt;Yes. You can use &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt;, a free command-line tool, like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.wmv -c:v copy -af dynaudnorm out.wmv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#dynaudnorm&quot; rel=&quot;nofollow&quot;&gt;&lt;code&gt;dynaudnorm&lt;/code&gt;&lt;/a&gt; is a dynamic audio normalizer, which will maintain the original range dynamics and avoid clipping while applying the maximum gain possible given those constraints.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-08-15T06:37:49.507" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19157" PostTypeId="2" ParentId="19151" CreationDate="2016-08-15T12:25:06.890" Score="1" Body="&lt;p&gt;I would look into using &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow&quot;&gt;OBS (Open Broadcaster Software)&lt;/a&gt;. It's free, and allows you to capture from a webcam and/or your actual monitors or windows. Many people use it for streaming to sites like &lt;a href=&quot;https://twitch.tv&quot; rel=&quot;nofollow&quot;&gt;Twitch&lt;/a&gt;, but it also has built-in options for recording to a file.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-08-15T12:25:06.890" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19158" PostTypeId="2" ParentId="19145" CreationDate="2016-08-15T12:27:11.493" Score="1" Body="&lt;p&gt;I've always used H.264 and have never had any issues with anyone being able to view it on Windows or Mac. H.264 is my standard go-to for formats, but as you mentioned, it might not hurt to convert it to several different codecs/formats, especially if it is a small file.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-08-15T12:27:11.493" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19159" PostTypeId="1" AcceptedAnswerId="19160" CreationDate="2016-08-15T13:21:00.540" Score="0" ViewCount="2059" Body="&lt;p&gt;I downloaded OBS based on an answer &lt;a href=&quot;https://video.stackexchange.com/questions/19151/what-is-the-easiest-no-frills-way-to-produce-a-simple-video-on-windows-10/&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tested it by selecting &quot;Start Recording&quot; saying a few words, and then &quot;Stop Recording&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then selected File &gt; Show Recordings, and it opened the This PC &gt; Videos folder in Explorer; the file just created was there, named &quot;2016-08-15 06-11-54.flv&quot; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, 2-clicking it does not run it in OBS; it wants me to choose an app from the list to use, which, in my case, is &quot;IrfanView&quot; and &quot;Look for an App in the Store&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried Irfanview, but the .flv file won't run because Irfanview is apparently lacking a needed Flash .DLL; Flash kind of gives me the fantods, so I let that slide.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Won't OBS play the videos it creates? If so, why doesn't it show up in the list of apps to execute the .flv file? How can I (if possible) get it to run the file?&lt;/p&gt;&#xA;" OwnerUserId="5629" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2019-03-13T17:30:54.023" Title="How can I play a file created in OBS?" Tags="|software-recommendation|video-recording|software|obs|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19160" PostTypeId="2" ParentId="19159" CreationDate="2016-08-15T13:25:46.590" Score="2" Body="&lt;p&gt;OBS is a video streaming and recording software, not a video player. You will need either find a video player &lt;a href=&quot;http://download.cnet.com/s/flv-player/&quot; rel=&quot;nofollow&quot;&gt;that will play an .flv file&lt;/a&gt;, or switch your settings in OBS to record to a different format, like .mp4, which most video players will be able to playback.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-08-15T13:25:46.590" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19161" PostTypeId="2" ParentId="19143" CreationDate="2016-08-15T17:50:54.680" Score="1" Body="&lt;p&gt;I upload to Youtube a lot and had several problems in the beginning, until I started to use Youtube's Recommended Encoding Settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://support.google.com/youtube/answer/1722171&quot; rel=&quot;nofollow&quot;&gt;Youtube's Recommended Settings&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After that, crisp and clear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFMPEG also has some standard settings on their website for Video Sharing sites that are good to use. Even if your frame rate and video resolution/aspect ratio is off, these settings (with some tweaks) works fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/YouTube&quot; rel=&quot;nofollow&quot;&gt;FFMPEG's Youtube Recommendations&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16099" LastActivityDate="2016-08-15T17:50:54.680" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19163" PostTypeId="2" ParentId="19152" CreationDate="2016-08-16T01:15:25.000" Score="1" Body="&lt;p&gt;Add a blur effect to the layer, and then use a similar expression to drive the amount of bluriness.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;comp(&quot;Music&quot;).layer(&quot;Audio Amplitude&quot;).effect(&quot;Both Channels&quot;)(&quot;Slider&quot;)*1234&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Replace the &lt;code&gt;1234&lt;/code&gt; constant with whatever value makes sense for the effect–it may have to be a small number like 0.1234 if the effect is too much. One trick I often use is to use the original value as the constant, which means you can adjust the strength of the effect by using the controls for that effect, while still driving it with the expression:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;comp(&quot;Music&quot;).layer(&quot;Audio Amplitude&quot;).effect(&quot;Both Channels&quot;)(&quot;Slider&quot;)*value&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-08-16T01:15:25.000" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19164" PostTypeId="1" AcceptedAnswerId="19165" CreationDate="2016-08-16T11:46:23.083" Score="1" ViewCount="2679" Body="&lt;p&gt;Essentially I am trying to get a position expression on a video layer (two dimensional) to go from 640, 360 (middle of the screen) to another value defined by an expression control and then back to 640, 360. To define the duration of this effect I have used placeholder checkboxes (start, middle and end) to create drag-able keyframes that mark the start and end points. I know this is a strange way to define the start and end points of the effect, but it works well for what I'm doing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Current code:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;start = effect(&quot;Start (use keyframe)&quot;)(&quot;Checkbox&quot;);&#xA;end = effect(&quot;End (use keyframe)&quot;)(&quot;Checkbox&quot;);&#xA;mid = effect(&quot;Middle (use keyframe)&quot;)(&quot;Checkbox&quot;);&#xA;&#xA;if (start.numKeys &amp;gt; 0){&#xA;start1 = start.key(start.numKeys).time&#xA;}&#xA;else{&#xA;start1 = 0;&#xA;}&#xA;&#xA;if (end.numKeys &amp;gt; 0){&#xA;end1 = end.key(end.numKeys).time;&#xA;}&#xA;else{&#xA;end1 = 0;&#xA;}&#xA;&#xA;if (mid.numKeys &amp;gt; 0){&#xA;mid1 = mid.key(mid.numKeys).time;&#xA;}&#xA;else{&#xA;mid1 = 0;&#xA;}&#xA;&#xA;[linear(time, start1, mid1, 640, effect(&quot;End Position&quot;)(&quot;Point&quot;)[0]), linear(time, start1, mid1, 360, effect(&quot;End Position&quot;)(&quot;Point&quot;)[1])];&#xA;&#xA;[linear(time, mid1, end1, effect(&quot;End Position&quot;)(&quot;Point&quot;)[0], 640), linear(time, mid1, end1, effect(&quot;End Position&quot;)(&quot;Point&quot;)[1], 360)];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note: the code has worked fine without the mid variable and the second linear expression, however it won't go from 640, 360 to x, y and then back to 640, 360. It will only go from 640, 360 to x, y and then stop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also tried using the loopOut(&quot;pingpong&quot;) function but it breaks the entire expression.&lt;/p&gt;&#xA;" OwnerUserId="16421" LastEditorUserId="1950" LastEditDate="2016-08-17T07:53:36.407" LastActivityDate="2016-08-17T07:54:46.670" Title="After Effects: Linear Expression - going from value 1 to another value and then back to value 1" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19165" PostTypeId="2" ParentId="19164" CreationDate="2016-08-16T15:25:56.417" Score="1" Body="&lt;p&gt;Is there any reason why you're using this approach? There are &lt;em&gt;far&lt;/em&gt; easier ways to do it (see below). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But anyway the problem is that the second last and last line both return values, but an expression can only return one set of values, and so it only returns the last one. I think this points to a misunderstanding of how expressions work. An expression is calculated every frame*; it has no memory of what happened previously or what will happen later. So your expression has to return one result for any particular point in time, and the result is calculated from the value it returns at that time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need some flow control there. Use an &lt;code&gt;if/else&lt;/code&gt; statement to replace the last two lines:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;if (time &amp;lt; mid1){&#xA;    [linear(time, start1, mid1, 640, effect(&quot;End Position&quot;)(&quot;Point&quot;)[0]), linear(time, start1, mid1, 360, effect(&quot;End Position&quot;)(&quot;Point&quot;)[1])];&#xA;}else{&#xA;    [linear(time, mid1, end1, effect(&quot;End Position&quot;)(&quot;Point&quot;)[0], 640), linear(time, mid1, end1, effect(&quot;End Position&quot;)(&quot;Point&quot;)[1], 360)];&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But you can make your life a &lt;em&gt;lot&lt;/em&gt; easier. Why not have a slider effect that has a 0-100 range that defines what percentage of the distance along the path the object should be at. Then you just keyframe it to ramp from 0-100 and back again. The &lt;strong&gt;whole&lt;/strong&gt; expression would just be:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;rampCtrl=effect(&quot;the Effect That Controls How Far Along It is&quot;)(&quot;slider&quot;);&#xA;linear(rampCtrl, 0, 100, [640,360], effect(&quot;End Position&quot;)(&quot;Point&quot;))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that you don't have to split it into two parts, the &lt;code&gt;linear()&lt;/code&gt; function can deal with vectors as the value1 and value2 inputs.&#xA;&lt;hr&gt;&#xA;*(you can think of expressions as being calculated every frame, but they are actually calcualted every time the comp is rendered. If you have motion blur on, the frame is composed of numerous time slices at sub-frame points in time, blended together, and the expression is calculated for each of those time slices. Generally you can ignore this, but it does impact rendering speed if your calcualtion is &lt;em&gt;very&lt;/em&gt; time consuming, and it can cause weirdness if your expression returns unexpected results between frames, e.g. when looping back to an original value between two frames)&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-08-17T07:54:46.670" LastActivityDate="2016-08-17T07:54:46.670" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19167" PostTypeId="1" CreationDate="2016-08-16T21:59:14.510" Score="0" ViewCount="6798" Body="&lt;p&gt;I've googled for the last couple hours and couldn't find any real answers. In short, are there any camcorders that allow you to live stream your video straight to &lt;strong&gt;YouTube&lt;/strong&gt;. All the camcorders with live streaming capabilities that I've found only seem to mention UStream, but this isn't good enough unfortunately. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd preferably like to do this on the go as A lot of camcorders nowawadays have Wi-Fi capabilities. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This must be possible as like I mentioned, you can do so to UStream. Also, GoPros can do it, but these aren't good enough for me because they lack a flip screen and are too small to hold &lt;/p&gt;&#xA;" OwnerUserId="16425" LastEditorUserId="16425" LastEditDate="2016-08-17T11:45:51.420" LastActivityDate="2016-08-19T02:51:51.177" Title="Camcorders that can stream directly to YouTube" Tags="|live|camcorder|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19168" PostTypeId="1" AcceptedAnswerId="19169" CreationDate="2016-08-17T09:50:54.743" Score="0" ViewCount="316" Body="&lt;p&gt;I am creating some 3D sences but i am taking one shot from left side but how i can then choose other camera to view from other sides. Like changing cameras that are on different sides.&#xA;&lt;a href=&quot;http://www.videocopilot.net/flightschool/flight_control/&quot; rel=&quot;nofollow&quot;&gt;http://www.videocopilot.net/flightschool/flight_control/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you look at 0.34 you can see that he made same plane shot from different sides. ( He didnt explained it in video )&lt;/p&gt;&#xA;" OwnerUserId="16427" LastActivityDate="2016-08-17T11:37:33.513" Title="How to change cameras in After effects" Tags="|after-effects|" AnswerCount="1" CommentCount="3" ClosedDate="2016-08-18T10:04:41.637" ContentLicense="CC BY-SA 3.0" />
  <row Id="19169" PostTypeId="2" ParentId="19168" CreationDate="2016-08-17T11:37:33.513" Score="0" Body="&lt;p&gt;One way to do this is to export by clip - i.e., set your camera to angle 1 and export your first X frames (where 'X' is how many frames you want that shot to last for). Then, adjust your camera to angle 2 and export the next set of frames (however long you want that shot, etc.). These clips can then be combined in Premiere Pro (or After Effects) and you can easily add sound effects, etc. They are easy to timeline edit this way because they'll be already rendered and thus, you can work with the project in a much quicker way.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-08-17T11:37:33.513" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19170" PostTypeId="2" ParentId="19167" CreationDate="2016-08-17T11:42:28.687" Score="1" Body="&lt;p&gt;You don't necessarily need a &lt;em&gt;camcorder&lt;/em&gt; with the built-in ability to stream to YouTube, but rather, a camcorder (or any camera, really) that you can use as an &lt;strong&gt;input device&lt;/strong&gt; to a computer. If you can use a camera as an input device (think of it like a super-high quality webcam of sorts), then you can live stream to YouTube, UStream, Twitch, etc., using a free software like &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow&quot;&gt;OBS&lt;/a&gt; from your computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could see it being unrealistic to include streaming capabilities inside a camera itself because this would require the camera to be able to connect to the internet, use a live stream key, connect to YouTube, etc. It's much simpler to just use a camera as an input device to a computer and let the computer handle the tough networking issues.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2016-08-17T11:42:28.687" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19172" PostTypeId="1" CreationDate="2016-08-17T17:29:22.233" Score="-1" ViewCount="236" Body="&lt;p&gt;Hitchcock used to do this to create the feeling of nausea.&lt;/p&gt;&#xA;" OwnerDisplayName="user55864" LastEditorUserId="14523" LastEditDate="2016-08-18T10:00:05.917" LastActivityDate="2016-08-19T02:38:27.047" Title="Can you zoom while moving backwards with modern cameras?" Tags="|camera|visual-effects|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="19173" PostTypeId="2" ParentId="19172" CreationDate="2016-08-17T18:03:54.160" Score="6" Body="&lt;p&gt;If the &quot;modern&quot; camera does not have control over your body then yes you can. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hold you camera to your eye, place one hand on the zoom ring of your lens, start turning the zoom ring while simultaneously you begin to walk/run backwards. A video dolly would be safer.  &lt;/p&gt;&#xA;" OwnerDisplayName="Alaska man" LastActivityDate="2016-08-17T18:03:54.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19174" PostTypeId="1" CreationDate="2016-08-17T21:38:43.700" Score="4" ViewCount="5093" Body="&lt;p&gt;So I have some experience with live production, but I want to do something a bit more complex and need some things cleared.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;This project would use multiple cameras (lets say 5), some non-camera&#xA;sources (live PC display screengrab) and tons of graphics.&lt;/li&gt;&#xA;&lt;li&gt;There would probably be some 4-5 layouts, some of them would need to&#xA;display multiple sources added to some graphical overlay. Some would&#xA;be one camera at a time (with some live cut between cameras) and&#xA;maybe some lower third or something over that.&lt;/li&gt;&#xA;&lt;li&gt;Entire thing would be live streamed online.&lt;/li&gt;&#xA;&lt;li&gt;Entire thing would be handled in HD (I imagine 1080p is no problem, am I wrong?)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I have used BMD ATEM plenty of times, but this seems to be over ATEMs capabilities (or am I wrong?).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I imagine there is some sort of switcher like ATEM, but with the ability to prepare layouts composed of multiple sources and graphics via some companion PC/mac software. To this switcher, camera sources would be connected via HDMI or SDI, and screengrab sources via some sort of HDMI splitter (between PC and it's display). This switcher would allow for switching between layouts and inside those layouts. It would also allow for switching between different graphics. Imagine there is small space for a sponsor banner and it would switch between three banners of different sponsors. Or there is point counter displaying one of multiple PNGs with a number.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Entire thing would then go from switcher to some encoder/streamer (like wirecast?) that would stream it to let's say YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To lower number of inputs needed on the main &quot;super switcher&quot;, it would be possible to route 3 cameras to secondary switcher like simple ATEM and route that as single source to the main switcher, since signal from those cameras would be used only in one layout and only linear edited (no PIP).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My main questions:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is there such &quot;super switcher&quot; that would handle PIP and multiple graphics?&lt;/li&gt;&#xA;&lt;li&gt;Is there reliable streaming device, or do I need PC with BMD Intensity Shuttle (or similar) and some streaming software?&lt;/li&gt;&#xA;&lt;li&gt;And are there any contraptions I am not thinking about? Am I maybe thinking about this all wrong? Is there some &quot;best&quot; way to solve this scenario?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Thank you very much!&lt;/p&gt;&#xA;" OwnerUserId="5928" LastEditorUserId="14523" LastEditDate="2016-08-18T10:00:16.557" LastActivityDate="2017-01-19T16:12:21.937" Title="Multi-source, picture-in-picture live stream" Tags="|streaming|hardware|live|recommendation|broadcasting|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19175" PostTypeId="1" AcceptedAnswerId="19193" CreationDate="2016-08-17T22:00:24.543" Score="1" ViewCount="1098" Body="&lt;p&gt;I'm new to After Effects but I did some work with Photoshop in the past.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to create a diamond with AE (and make a gif later so it rotates).&#xA;To be super clear - I'm trying to convert the image below into 3D:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jz6Uv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jz6Uv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sitting here for 12 hours and trying to perform some basic operations in 3D and I'm totally stuck. For now I have two shapes in my composition, a simple rectangle and a polygon (polygon to make things easier):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/K2FNx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/K2FNx.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to align the triangle to the polygon somehow in a 'smart' way, not by moving the x/y/z position by 1/10 of the pixel each time, rotating the camera and checking if it fits. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any tool in Adobe AE which will help me do this?&#xA;I just need to fit the triangle's basis to one of the polygon's edges so it matches perfectly like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/S9Umo.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/S9Umo.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any help! :)&lt;/p&gt;&#xA;" OwnerUserId="16429" LastActivityDate="2016-08-20T12:07:23.583" Title="How to align a shape to stick to another in AE?" Tags="|after-effects|3d|shape|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19176" PostTypeId="1" AcceptedAnswerId="19185" CreationDate="2016-08-18T05:19:38.667" Score="2" ViewCount="3629" Body="&lt;p&gt;I want to cut long videos into several smaller parts without changing any format and metadata from the original video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0y23G.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0y23G.png&quot; alt=&quot;Original&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used these commands&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -i input -ss 00:00:05 -t 100 -c:a copy -c:v copy output&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;ffmpeg -i input -ss 00:00:05 -t 100 -metadata &quot;major_brand=mp42, minor_version=0&quot; -c:v copy -c:a copy output&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;ffmpeg -i input -ss 00:00:05 -t 100 -map_metadata 0 -c:v copy -c:a  copy output&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;ffmpeg -i input -ss 00:00:05 -t 100 -map_metadata 0 -b:v 460k -c:a  copy output&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PKJmd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PKJmd.png&quot; alt=&quot;Result&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;but still get different results from the original video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there another command that I can use for cutting the video with metadata results identical to the original one ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="16431" LastActivityDate="2016-08-19T07:59:20.223" Title="How to cutting a video and keep all format and metadata" Tags="|ffmpeg|metadata|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19178" PostTypeId="2" ParentId="19175" CreationDate="2016-08-18T16:19:20.793" Score="1" Body="&lt;p&gt;You could try moving shapes around in 3D in AE, but I think the free version of Cinema 4D included with AE would be a much easier tool for the job. Look up cinema 4DLite and after effects integration. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-08-18T16:19:20.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19181" PostTypeId="2" ParentId="18803" CreationDate="2016-08-19T02:20:06.353" Score="1" Body="&lt;p&gt;Any wireless microphone kit would work. Of course the more you spend the more reliable kit you will get. Wireless mic kits under US$500 are typically cheap, fiddly, unreliable, disposable plastic toys.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are &quot;right angle spy lens&quot; adapters that screw on to the front of the lens and allow you to shoot to the side. So it is not obvious that you are shooting them.  They are quite inexpensive and available at the usual larger online shops.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dvP0D.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dvP0D.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, in most of the civilized world, it is illegal to use the recognizable likeness of anyone without their written consent.  And additionally, it is typically against the rules to shoot on private property (like a shopping mall) without written authority of the management. You are quite likely to get expelled or even arrested for trespassing if you try this in any kind of a mall with half-decent security forces.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-08-19T02:20:06.353" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19182" PostTypeId="2" ParentId="19174" CreationDate="2016-08-19T02:33:32.227" Score="1" Body="&lt;p&gt;Investigate some of the software switcher products such as &quot;V-Mix&quot;. Or some of the computer-based integrated products like NewTek &quot;TriCaster&quot;. They will handle many more inputs than even the large (and expensive) hardware switchers like BMD ATEM, etc.  The more expensive models likely handle quite a large number of PIP images to be combined. Of course, you must have enough compatible video input ports on the computer to capture all those cameras (or whatever). But they can typically handle live inputs from many computers directly over the LAN, so that would be a big advantage for your requirement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And many (most?) of those products also handle concurrent recording and streaming all in one solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ref:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.newtek.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.newtek.com/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.vmix.com/&quot; rel=&quot;nofollow&quot;&gt;http://www.vmix.com/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://livestream.com/producer&quot; rel=&quot;nofollow&quot;&gt;http://livestream.com/producer&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-08-19T02:33:32.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19183" PostTypeId="2" ParentId="19172" CreationDate="2016-08-19T02:38:27.047" Score="-1" Body="&lt;p&gt;You can do this only if you are using a PAR-FOCAL zoom lens (or you have a &quot;focus-puller&quot; crew member running along side your camera).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that many (most?) DSLR lenses are NOT par-focal. That is, they do not hold their focus point when the zoom is changed.  Video lenses are typically par-focal, but DSLRs were not originally designed for video, so their lenses were not designed with a feature that wasn't needed at the time.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-08-19T02:38:27.047" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19184" PostTypeId="2" ParentId="19167" CreationDate="2016-08-19T02:51:51.177" Score="2" Body="&lt;p&gt;The &quot;JVC GY-HM200SPU 4KCAM Compact Handheld Streaming Camcorder&quot; claims... &quot;When equipped with an optional Wi-Fi or 4G LTE high-speed broadband modem, the camcorder can deliver a live video stream directly to USTREAM and YouTube, while simultaneously recording HD video internally to SDHC/SDXC memory cards. &quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe there are other camcorders in the JVC range, and almost certainly in cameras from other brands that will live-stream to YouTUbe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.bhphotovideo.com/c/product/1206407-REG/jvc_gy_hm200sp_4kcam_compact_handheld.html&quot; rel=&quot;nofollow&quot;&gt;https://www.bhphotovideo.com/c/product/1206407-REG/jvc_gy_hm200sp_4kcam_compact_handheld.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-08-19T02:51:51.177" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19185" PostTypeId="2" ParentId="19176" CreationDate="2016-08-19T07:40:00.660" Score="1" Body="&lt;p&gt;FFmpeg only allows you to alter/override the major brand, not the minor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Command is &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -ss 00:00:05 -t 100 -brand mp42 -c:v copy -c:a copy output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://gpac.wp.mines-telecom.fr/downloads/gpac-nightly-builds/&quot; rel=&quot;nofollow&quot;&gt;MP4box&lt;/a&gt; will allow you to override both.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4box -brand mp42:0 file.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you want to change the handler name as well, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4box -brand mp42:0 -name 2=&quot;IsoMedia File Produce by Google&quot; file.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(2 is the track index i.e. the 2nd track)&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-08-19T07:59:20.223" LastActivityDate="2016-08-19T07:59:20.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19186" PostTypeId="1" AcceptedAnswerId="19220" CreationDate="2016-08-19T08:15:00.177" Score="0" ViewCount="2025" Body="&lt;p&gt;0&#xA;down vote&#xA;favorite&#xA;I am merging an image with a video, my command looks like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i background.mpg -i Menu.png -filter_complex &quot;[0:v][1:v] overlay=25:25:enable='between(t,0,30)'&quot; -pix_fmt yuv420p -c:a copy merge1.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That works, but something strange happens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I run that merged video it continuously looses quality at each second, at the first few seconds the quality is ok but later on it looses quality(the resolution becomes worse).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas of how this is happening and maybe solutions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I specified a bitrate like Mulvya suggest me to do:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Command looks like this now:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i background.mpg -i Menu.png -filter_complex &quot;[0:v][1:v] overlay=25:25:enable='between(t,0,30)'&quot; -pix_fmt yuv420p -b:v 2000k -c:a copy merge1.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Console ouput:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2.8.4 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 5.2.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfr&#xA;eetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enab&#xA;le-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-decklink&#xA;--enable-zlib&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mpeg, from 'C:\xampp\htdocs\myApp\storage\generator\projects\dvdrom\Ged\Menus\background.mpg':&#xA;  Duration: 00:00:30.00, start: 0.540000, bitrate: 1792 kb/s&#xA;    Stream #0:0[0x1e0]: Video: mpeg2video (Main), yuv420p(tv), 720x576 [SAR 64:45 DAR 16:9], max. 1800 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;Input #1, png_pipe, from 'C:\xampp\htdocs\myApp\storage\generator\projects\dvdrom\Ged\Menus\imageSel.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #1:0: Video: png, rgba(pc), 720x480 [SAR 2835:2835 DAR 3:2], 25 tbr, 25 tbn, 25 tbc&#xA;File 'C:\xampp\htdocs\myApp\storage\generator\projects\dvdrom\Ged\Menus\image1.mpg' already exists. Overwrite ? [y/N] y&#xA;[mpeg @ 04dca7e0] VBV buffer size not set, using default size of 130KB&#xA;If you want the mpeg file to be compliant to some specification&#xA;Like DVD, VCD or others, make sure you set the correct buffer size&#xA;Output #0, mpeg, to 'C:\xampp\htdocs\myApp\storage\generator\projects\dvdrom\Ged\Menus\image1.mpg':&#xA;  Metadata:&#xA;    encoder         : Lavf56.40.101&#xA;    Stream #0:0: Video: mpeg1video, yuv420p, 720x576 [SAR 64:45 DAR 16:9], q=2-31, 2000 kb/s, 25 fps, 90k tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 mpeg1video&#xA;Stream mapping:&#xA;  Stream #0:0 (mpeg2video) -&amp;gt; overlay:main&#xA;  Stream #1:0 (png) -&amp;gt; overlay:overlay&#xA;  overlay -&amp;gt; Stream #0:0 (mpeg1video)&#xA;Press [q] to stop, [?] for help&#xA;frame=  750 fps=443 q=2.0 Lsize=    5650kB time=00:00:29.96 bitrate=1544.9kbits/s&#xA;video:5624kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.468742%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16412" LastEditorUserId="16412" LastEditDate="2016-08-19T09:44:04.317" LastActivityDate="2016-08-23T11:10:50.507" Title="FFmpeg merge image with video looses quality" Tags="|video|ffmpeg|video-quality|" AnswerCount="1" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="19187" PostTypeId="1" AcceptedAnswerId="19188" CreationDate="2016-08-19T10:54:14.247" Score="1" ViewCount="1743" Body="&lt;p&gt;I have a subsequence (or nested sequence), and I'm using only part of it a in a larger sequence. Is there any good way to break it down into its components so it will be cut exactly right? (I'm not using the entire nested sequence, just a part of it)&lt;/p&gt;&#xA;" OwnerUserId="8029" LastEditorUserId="8029" LastEditDate="2016-08-19T11:46:45.400" LastActivityDate="2017-04-16T16:41:53.437" Title="How to to break down nested sequences into its components" Tags="|premiere|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19188" PostTypeId="2" ParentId="19187" CreationDate="2016-08-19T11:00:30.933" Score="0" Body="&lt;p&gt;Figured it out minutes after posting. Like this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Enable the &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/edit-sequences-loaded-source-monitor.html&quot; rel=&quot;nofollow&quot;&gt;Nest Source Sequence option&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Put marker on the beginning frame of nested sequence. double click to go inside it (it will put the marker on the right spot), and then do Ctrl+C.&lt;/li&gt;&#xA;&lt;li&gt;Go back to the main sequence, and drag the subsequence\nested sequence from the source monitor. You'll get the individual parts from the nested sequence that match the trimmed version you already have.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Hope this helps anyone. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;P.S&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe, can you please streamline this? I mean, it's ridiculous&lt;/p&gt;&#xA;" OwnerUserId="8029" LastEditorUserId="8029" LastEditDate="2016-08-19T11:49:11.947" LastActivityDate="2016-08-19T11:49:11.947" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19189" PostTypeId="1" CreationDate="2016-08-19T12:46:18.053" Score="0" ViewCount="61" Body="&lt;p&gt;I recorded some long format talks in 1080i5994 DNxHD via my atomos recorder. I do this all the time and never have any issues. I record in that format because thats what my switcher puts out and it always just works. This time though, I recorded some screens from the presenters laptop which look fine on the recording. The recordings are all 100gb or larger so I can't upload that directly to vimeo or youtube. So I edited them and rendered them them to h.264 10mb but the smaller text on the screen is now blocky and unreadable. Larger text is fine though. What's a better way to do this in the future and is there a way to convert these so that the smaller text is still sharp?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Adobe Media Encoder with the vimeo preset. I've tried a variety of different settings and can't seem to get better results on the smaller text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the captured image.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/eNEUS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eNEUS.png&quot; alt=&quot;Orginial Capture&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the rerendered image quality. This is still a 6gb file for 1 hour.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/AGY8G.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AGY8G.png&quot; alt=&quot;Rerendered Still&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6369" LastEditorUserId="6369" LastEditDate="2016-08-22T00:56:43.800" LastActivityDate="2016-08-22T00:56:43.800" Title="Converting 1080i5994 DNxHD HQ to 1080p" Tags="|encoding|standards-converter|broadcast|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19190" PostTypeId="1" CreationDate="2016-08-19T23:11:06.507" Score="0" ViewCount="36" Body="&lt;p&gt;My wife wants a video slideshow for high school and college reunions, and the &quot;free&quot; (well, free with watermarks) programs have supplied assets for things like firecrackers and snow and other sparkly things; stars that spin and float around, etc.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is an Asian thing, you might see are popular in the style.  They are usually simple line drawings, on a blank background for compositing over a main picture. The style was popular with Flash graphics back in the day, and is endemic on Chinese websites.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where can I find these to use with Premiere Pro?&lt;/p&gt;&#xA;" OwnerUserId="9268" LastEditorUserId="9268" LastEditDate="2016-08-20T02:27:26.480" LastActivityDate="2016-11-18T04:19:49.920" Title="&quot;sparkly things&quot; stock assets for Premiere Pro?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19192" PostTypeId="2" ParentId="19190" CreationDate="2016-08-20T02:16:22.163" Score="1" Body="&lt;p&gt;Several years ago, Mitch Martinez created quite a stir by &lt;a href=&quot;http://mitchmartinez.com/two-years-of-stock-footage-the-story-so-far/&quot; rel=&quot;nofollow&quot;&gt;releasing an enormous library of stock footage&lt;/a&gt; &lt;a href=&quot;http://mitchmartinez.com/gear/&quot; rel=&quot;nofollow&quot;&gt;shot in 4K resolution on RED cameras&lt;/a&gt;.  He offers a wide range of &lt;a href=&quot;http://mitchmartinez.com/4k-fireworks-stock-footage/&quot; rel=&quot;nofollow&quot;&gt;fireworks clips&lt;/a&gt; that are free to download and use.  Among other things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have no affiliation with Mitch whatsoever.  I just know the story.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-08-20T02:16:22.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19193" PostTypeId="2" ParentId="19175" CreationDate="2016-08-20T11:55:42.283" Score="3" Body="&lt;p&gt;The tool you need is &lt;strong&gt;Maths&lt;/strong&gt; (or Math, if you like), specifically that most beautiful of mathematickal arts: trigonometry.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First set the width of the base of your triangle to be the same as the sides of your polygon. Since you know the radius of the polygon, and it's a hexagon, that's easy - a hexagon is basically six equilateral triangles so the sides are the same as the radius. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AErus.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AErus.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So once you've made your hexagon, make a triangle with it's base the same as the radius of your polygon. Hmm, that's a bit more tricky. The measurement for polygons is always the outer radius, and the base of a triangle is not the same as the radius. We're going to need Pythagoras, and his Persian mates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RfR6K.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RfR6K.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since we know the base (labeled b) and we know the angles (it should be obvious that the acute angle is half of the outer angle of the equilateral triangle - 30˚), we can use the law of sines to work out the base. Wikipedia states as did Abu Mahmud Hamid ibn Khidr Khojandi (but in Persian):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JsGVP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JsGVP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;where a, b, and c are the lengths of the sides of a triangle, and A, B, and C are the opposite angles (see the figure to the right), while d is the diameter of the triangle's circumcircle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We're in luck. The circumcircle of an equilateral triangle is its radius, so we can use &lt;strong&gt;d&lt;/strong&gt; as our radius, and since we know b = half the radius of the polygon–lets call it &lt;strong&gt;p&lt;/strong&gt;–and the angle B we can write:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;(p/2)/sin(B) = d&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;filling in the numbers for B&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;d = (p/2)/sin(60) = p/1.73205080756888&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where p is the radius of the hexagon. Now you can work this all out with a calculator, but if you change your hexagon you'll have to do it all again. &lt;strong&gt;Machines will do the work&lt;/strong&gt;: use expressions to do the heavy lifting. &lt;kbd&gt;alt/opt&lt;/kbd&gt;-click the stopwatch next to the &lt;strong&gt;outer radius&lt;/strong&gt; property of the triangle and we put in this expression:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var p = thisComp.layer(&quot;Shape Layer 1&quot;).content(&quot;Polystar 1&quot;).content(&quot;Polystar Path 1&quot;).outerRadius;&#xA;0.5 * p/Math.sin(Math.PI/3)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Hopefully you can see that this is the same operation as above, but since expressions use &lt;a href=&quot;https://en.wikipedia.org/wiki/Radian&quot; rel=&quot;nofollow noreferrer&quot;&gt;radians&lt;/a&gt; instead of degrees we're using π/3 instead of 60˚. Now no matter what size you make your polygon the side of the triangle will always match it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Onwards and upwards. Now we need to attach the triangle to the edge of the hexagon. First, we'll make the hexagon the parent of the triangle, so that if we want to transform the hexagon all the triangles will follow. It also means that we can calculate the position of the triangle relative to the hexagon, avoiding having to do a lot of unnecessary transforms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for the right side of the hexagon, we can work out how far along the x axis the triangle has to be to be lined up with the edge exactly. Once again trigonometry is the key. There's a right angle triangle who's hypotenuse is the outer radius of he hexagon and whose base is the distance we need to offset the edge of the triangle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CGkwL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CGkwL.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;b/sin(60) = r/sin(90) = r&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;because sine 90˚ is 1, so &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;b=r*sin(60)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So in the position property of the triangle we put&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;r=thisComp.layer(&quot;Shape Layer 1&quot;).content(&quot;Polystar 1&quot;).content(&quot;Polystar Path 1&quot;).outerRadius;&#xA;[r * Math.sin(Math.PI/3), 0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now you can see that the anchor point of the triangle aligns perfectly with the edge of the hexagon.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Pp4bq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Pp4bq.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Problem is, we want the base of the triangle to be the part that is aligned. So we'll offset the anchor point from the centre to the base. How do we work out how far that is. Yes, you already know, some more trig.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GcA8v.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GcA8v.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We know r, we worked it out before. and we knwo the angles so we can just give the Law of Sines another thrashing.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;a/sin(30) = r/sin(90) = r&#xA;a = r*sin(30)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Look familiar yet? So to get r for the triangle into this equation we just grab the radius value (or you could put in the formula, that's probably more precise, but it's unlikely to make a difference). The easy way of plugging in the correctly worded value of the triangle's radius is to use the pick-whip:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xRhSx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xRhSx.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the expression editor for the anchor point active, delete the contents, then type &lt;code&gt;[0,&lt;/code&gt; to open some square brackets and provide 0 as the X value, don't forget the comma, then to provide the Y value drag the pick-whip to the radius value, then type in &lt;code&gt;* Math.sin(Math.PI/6)]&lt;/code&gt;, don't forget to close the square brackets. The expression should be something like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[0, content(&quot;Polystar 1&quot;).content(&quot;Polystar Path 1&quot;).outerRadius*Math.sin(Math.PI/6)]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now we just need to rotate the triangle 90˚ to line it up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TRxB8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TRxB8.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ok, now it's time to enter three dee land. Turn both layers into 3D layers. Everything should stay as it is, but now we can fold the triangle up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AmAEK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AmAEK.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you activate the rotate tool you'll see the rotation handles for the triangle coming out of its anchor point. As you can see the one we need to rotate is around the x axis. Give it a try with the rotate tool and you'll notice that is actually affecting the Y rotation. This is because we've rotated the triangle 90˚ on the Z axis already. The reason I used the rotate tool is that trying to work out rotation transforms like that makes my head hurt too much. Now I know what property I need to add our next expression to, I just have to work a couple of things out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Firstly, the triangle can't stay as an equilateral triangle, because it won't make a diamond shape that way, it will just fold perfectly flat on to the hexagon. we need to increase its scale, then we have to do some more trig.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's scale it an arbitrary amount. Whatever looks good for you. Imma just grab the drag handles with the move tool and stretch.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZOs2r.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZOs2r.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now we have to work out what angle we need to rotate to get the tip of the triangle above the centre of the hexagon. Here's a screen shot from custom view, where I've approximated it by eye, and drawn the triangle we need to solve to work out our angle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/W68iP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/W68iP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We know b, we don't know a, and we have to work out h. h will be the height of the triangle once it has been scaled up. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The height of the triangle can be worked out with the Law of Sines, or if you're bored of that you can also use the fact that we know the distance from the center to the base - it's the amount we offset the anchor point - and we know the distance from the centre to the tip - that's the outer radius. Multiply it by the scale/100 to get the final, scaled height. In expression form:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;h = (transform.scale[1]/100)*(transform.anchorPoint[1] + content(&quot;Polystar 1&quot;).content(&quot;Polystar Path 1&quot;).outerRadius);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So, again with the Law-o-Sines, and the previous diagram. We know b, that's the distance from the centre of the hexagon to the base of the triangle, and we know that the angle A that we want to find out will be 90-B (the sum of the angles in a triangle being 180˚). So:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;B/sin(B) = h/sin(90)  = h&#xA;sin(B) = b/h&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;so B is arc-cosine(b/h) arc-cosine being the inverse of sine, AKA asin.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;in expression form:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;h = transform.scale[1]*content(&quot;Polystar 1&quot;).content(&quot;Polystar Path 1&quot;).outerRadius/(100*Math.sin(Math.PI/6));&#xA;b = transform.position[0];&#xA;90+radiansToDegrees(Math.asin(b/h))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The 90+ in the last line is because it was 90˚ out when I tried it, there's probably a sound mathematical reason, like I should have used acos instead of asin, but whatevs, it works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So now our triangle will always have the tip in line with the midpoint of the hexagon, no matter what you scale it. Here's how it looks from side on:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0ntc3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0ntc3.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A thing of beauty. Now to avoid doing a whole lot more thinkination for the other sides, let's use a hack. Make a new null, make it a 3D layer and set its parent to the hexagon, placing its centre at the centre of the hexagon (hold the shift key while you drag the parenting pick-whip).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ftpxt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ftpxt.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now change the parent of the triangle to the null. Select the null and the triangle and duplicate them. Rotate the newly created null 60˚ on the Z-axis, and voila, your second facet. Rinse, repeat four more times. I'll leave you to work out how to get the bottom half of the diamond. Ok, all right, &lt;em&gt;hint: rotate the seventh null 180˚ on the x or y axis&lt;/em&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oh, WAIT Stop, before you do this, just one thing you might want to do. Link the scale of the new triangle you made when you duplicated the original one to the scale of the original triangle. That way you can scale them all easily. Do that by &lt;kbd&gt;alt/option&lt;/kbd&gt;-clicking the scale stopwatch on the second triangle and dragging the pick-whip to the scale property of the first. Use this second layer as the source of all succesive clones and they will follow the scale of the first layer, meanign you could easily animate that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Add some lights and fiddle around with the material options of the layers until it looks super special, and you're gold. Maths: it works, suckers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/F9dWh.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/F9dWh.gif&quot; alt=&quot;![enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;TL;DR&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Download the project file &lt;a href=&quot;http://adobe.ly/2b81Sk9&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, yeah, do this in a proper 3D program like C4D (since you've already got it with AE) or Blender (since free), unless you're nuts like me.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-08-20T12:07:23.583" LastActivityDate="2016-08-20T12:07:23.583" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19194" PostTypeId="1" AcceptedAnswerId="19202" CreationDate="2016-08-20T17:06:33.213" Score="0" ViewCount="5541" Body="&lt;p&gt;I'm following a tutorial on AE and it is completely confusing to me as I cannot get the desired result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the steps in the tutorial:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Select a group of comps&lt;/li&gt;&#xA;&lt;li&gt;Pre-compose them into new comp&lt;/li&gt;&#xA;&lt;li&gt;Collapse transformations on the new pre-composed comp (press the starry button)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The desired result I want is the transformation view being snapped to just around the rocket, but somehow it doesn't work as I expected. What am I missing here? Screenshots below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/K4iFu.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/K4iFu.jpg&quot; alt=&quot;Group comps and make a pre-composed comp&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LCkvy.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LCkvy.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The area should fit just around the rocket but it doesn't.&lt;/p&gt;&#xA;" OwnerUserId="16436" LastEditorUserId="16436" LastEditDate="2016-08-20T17:47:41.620" LastActivityDate="2016-08-21T13:22:19.870" Title="Collapse Transformation not working in Adobe After Effects CC" Tags="|after-effects|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19195" PostTypeId="2" ParentId="19174" CreationDate="2016-08-20T17:20:00.617" Score="0" Body="&lt;p&gt;You could do all of this with Wirecast. It will allow you to create any number of overlays and switch between them. You could also try out OBS first since its free. I would use the ATEM for the camera switching, then do all of the overlays with software.&lt;/p&gt;&#xA;" OwnerUserId="8027" LastActivityDate="2016-08-20T17:20:00.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19198" PostTypeId="2" ParentId="2740" CreationDate="2016-08-21T05:55:51.160" Score="1" Body="&lt;p&gt;Power-Inside provided a clear answer but there's a bit more too it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have to specify the maximum bitrate for &quot;video&quot; specifically, to achieve that you have to use this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i myfile.avi -b:v 4000k -minrate:v 4000k -maxrate:v 4000k -bufsize 1835k out.m2v&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerDisplayName="user16038" LastActivityDate="2016-08-21T05:55:51.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19199" PostTypeId="2" ParentId="16283" CreationDate="2016-08-21T08:59:13.163" Score="0" Body="&lt;p&gt;This works for me every time, if you're on windows, put the video into Windows Movie Maker (I know, just listen), after the video is in there, go to File&gt; Save Movie&gt; Recommended For This Project, it will re-save the file (even sometimes mp4 into mp4) try putting that new file in premiere. Guarantee it's going to work :)&lt;/p&gt;&#xA;" OwnerUserId="16452" LastActivityDate="2016-08-21T08:59:13.163" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19200" PostTypeId="1" AcceptedAnswerId="19201" CreationDate="2016-08-21T09:32:12.413" Score="0" ViewCount="669" Body="&lt;p&gt;Everything I've read indicates I'll get better green screen footage using a 4K camera rather than an HD camera as the increased resolution helps. But what about other factors such as the noise on a cheap 4K camera like the DJI Osmo 3, sensor side, cheaper lens etc vs the better noise, bigger sensor and changeable lenses on the Canon 5D Mk III.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to work out which camera I should use for the easiest green screen keying experience, assuming I can control the lighting for best ISO setting.&lt;/p&gt;&#xA;" OwnerUserId="16453" LastActivityDate="2016-08-21T13:32:17.287" Title="DJI Osmo X3 vs Canon 5D Mk III for easier chroma green screen keying" Tags="|greenscreen|4k|chromakey|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19201" PostTypeId="2" ParentId="19200" CreationDate="2016-08-21T11:42:15.223" Score="3" Body="&lt;p&gt;The key to pulling a good key is a clean separation between key and subject.  All things being equal, higher resolution will give a sharper edge between key and subject, which is good.  But that's just one consideration.  &lt;a href=&quot;https://en.wikipedia.org/wiki/Chroma_subsampling&quot; rel=&quot;nofollow&quot;&gt;Chroma subsampling&lt;/a&gt; is another.  Chroma recorded at full bandwidth (at least 10-bits and 4:4:4) will give a cleaner key than chroma recorded at reduced bandwidth, such as 4:2:2, or worse, 4:2:0.  Chroma recorded at 4:2:0 is 1/4 the total resolution of chroma recorded at 4:4:4.  This not only fattens up the key's edge, but averaging of four chroma samples creates mystery colors that never existed in the original image, further confusing the key.  The EOS 5D Mk III can be rooted and rebooted with Magic Lantern software to create truly great RAW video, but the stock camera's video uses 8-bit 4:2:0 Chroma subsampling.  It is possible to use HDMI out to record 8-bit 4:2:2, but you have to record audio separately in that case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The thing to remember about green screen is that unless you have a major sound stage with 60' ceilings and 100'+ wide scrims, you will probably be doing all your work against a small background in a small room, which means very little flexibility in terms of both working distance and focal length.  Which also means that a fixed-lens camera like the DJI Osmo 3 will either qualify for that environment or be radically unqualified.  But the 5D Mk III is a very expensive camera not terribly well-suited for green screen work.  You can go much cheaper with a GH4 (which can record 10-bit 4:2:2 1080p internally).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2016-08-21T13:32:17.287" LastActivityDate="2016-08-21T13:32:17.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19202" PostTypeId="2" ParentId="19194" CreationDate="2016-08-21T13:22:19.870" Score="1" Body="&lt;p&gt;I get the feeling you think collapse transformation means something that it doesn't. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What Collapse Transforms does is to leave all the transformation properties in the subcomp intact and available to the comp that it's nested in. It's basically like you've got all the layers still in the outside comp, just grouped into one layer for ease of organisation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without collapse transforms on the subcomp is pre-rendered and treated like a single piece of footage. So, for example if any of the layers of the sub-comp extend off the edge of the sub-comp's boundaries they won't be cropped with collapse transforms on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are two subcomps, both contain text that extends past their outside edges:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ug59l.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ug59l.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Q8MGd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Q8MGd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And here they are in the outer comp. Top one is collapsed, bottom aint.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LgFAS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LgFAS.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you scale down a raster layer in the subcomp and then scale it up to its original size in the outer comp, without collapse transforms on it will be pixelated, because it gets pre-rendered to the resolution of the subcomp, and then scaled up in the outer comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here they are scaled down in the subcomp:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JZbMQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JZbMQ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/V0pdt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/V0pdt.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And here's the outer comp with both layers scaled back up:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KWez4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KWez4.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another effect of collapsing transforms is that you lose the ability to change the transfer mode of the subcomp in the outer comp. The layers in a collapsed transform-ed subcomp apply whatever transfer mode they have inside the subcomp, again, like they were actually in the outer comp, just grouped together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JsVCl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JsVCl.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What Collapse transforms &lt;em&gt;doesn't&lt;/em&gt; do is automatically crop the subcomp to fit its components. Is that what you were expecting?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-08-21T13:22:19.870" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19203" PostTypeId="1" CreationDate="2016-08-21T23:30:54.643" Score="5" ViewCount="1369" Body="&lt;p&gt;I'm of Russian descent, but I've been living in Germany for the better part of my life now, which means that I deal with both German and Russian media on a regular basis. Most video stuff I have will have two or three audio tracks (depending on source language, which is usually included), so that one or another track can be played, depending on the audience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is where my children come into play. I try to raise them bilingual, so they could watch their cartoons in either language, again, depending on the audience. Which is a problem: any Pixar / Disney production is always fully localized, including the visuals, which means that I have to decide which visuals the file will contain.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to incorporate multiple localized video tracks. However, my naive understanding is that there is no way to just replace the localized parts of the main movie (i.e. one large video track with a couple of hundreds localized snippets), but instead I'd have to keep several full video tracks in the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this correct, is multiplying the file size the only way? Is there any workaround, maybe something like the snippets model described above? Is this problem solved for physical media, e.g. is there any Blu-Ray which provides multi-language video tracks in a comparable form?&lt;/p&gt;&#xA;" OwnerUserId="16456" LastActivityDate="2022-12-20T15:00:25.113" Title="Is it feasible to create a true multi-language video file with visual localization?" Tags="|video|mkv|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19204" PostTypeId="2" ParentId="19203" CreationDate="2016-08-22T01:17:11.937" Score="0" Body="&lt;p&gt;I can't give you a complete answer, but it's certainly possible in theory to create 'playlists' (for lack of a better term) that call out a sequence of clips, most of which are common to two or more lists, with localized clips being different in each list. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would require a player that understands these lists, so it wouldn't work for general distribution since no common, general purpose player I'm aware of can do this. But I've written such players -- not for this purpose, but with the same result -- so I know it could be done. Audio sync might be the trickiest part.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope someone else has an off-the-shelf solution. There's a whole lot out there and more every day. Good luck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It later occurred to me that this is exactly the function of an NLE (non-linear video editor) when previewing: create a timeline onto which you place audio and video clips, then play out the result without creating a new file. If this suits you, there are free or low-cost NLEs available, including &lt;a href=&quot;https://www.lwks.com/&quot; rel=&quot;nofollow&quot;&gt;LightWorks&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastEditorUserId="3908" LastEditDate="2016-08-22T10:05:27.917" LastActivityDate="2016-08-22T10:05:27.917" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="19206" PostTypeId="1" AcceptedAnswerId="19854" CreationDate="2016-08-22T14:03:23.587" Score="1" ViewCount="10559" Body="&lt;p&gt;I just finished up an iMovie project, and I tried to export it, but every time I click &quot;Share to File&quot;, which is what I do every time, but it responds with the Mac &quot;ding&quot; sound, the one that plays when the Mac cannot complete the procedure. It won't let me upload to Youtube directly, or any of the other sharing options. I just get the Mac ding. I have 400 GB of storage left, and the project is only 4 minutes, so it should take up a gigabyte at most. Can someone help?&lt;/p&gt;&#xA;" OwnerUserId="13914" LastActivityDate="2018-08-25T10:52:40.850" Title="iMovie Not Letting Me Export" Tags="|imovie|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19211" PostTypeId="1" AcceptedAnswerId="19212" CreationDate="2016-08-23T00:25:16.013" Score="0" ViewCount="2680" Body="&lt;p&gt;I am sure I am missing something here. I have a host of cameras but bought a T3i recently. I am trying to get it to shoot video in Manual mode but as soon as I click the &quot;Live View&quot; button to start recording, it turns off live view and I get a blank, black screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what I do from start to finish. Please tell me what I am missing:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;I switch on my T3i by sliding the On/Off slider to the On position on the top of the camera.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I turn the dial on the top to &lt;strong&gt;M&lt;/strong&gt; to go into manual mode.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I click the &lt;strong&gt;Live View&lt;/strong&gt; button that's next to the LCD panel. It starts to show me whatever is in the front of the camera on the LCD screen.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Next, I want to start recording, so I hit the &quot;Live View&quot; button again, assuming that is how it will start recording. But at this point, the LCD screen shuts itself off.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If in step 4, instead of pressing the &lt;strong&gt;Live View&lt;/strong&gt; button, I hold down the shutter, it clicks a picture instead of shooting video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd just like to shoot video on this camera in Manual mode. What am I doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="956" LastActivityDate="2016-10-22T01:46:31.537" Title="Unable to get T3i to shoot video in manual mode" Tags="|video|canon|shooting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19212" PostTypeId="2" ParentId="19211" CreationDate="2016-08-23T00:40:12.790" Score="1" Body="&lt;p&gt;Ok, I figured it out. It's a bit quirky little trick.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You do not turn the dial to &lt;strong&gt;M&lt;/strong&gt; but turn it to the little picture that shows the video camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, though you'll be able to set the shutter speed and aperture, you won't be able to change the ISO.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To be able to change the ISO, click the &lt;strong&gt;Menu&lt;/strong&gt; button to the top-left of the LCD screen, then from the menu, select &lt;strong&gt;Manual&lt;/strong&gt; as the value for the &lt;strong&gt;Movie Exposure&lt;/strong&gt; setting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, you can change the ISO as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I figured it out by looking &lt;a href=&quot;http://photography.tutsplus.com/tutorials/how-to-shoot-video-on-your-canon-rebel--photo-12747&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;http://www.dvxuser.com/V6/showthread.php?248318-How-do-you-film-with-the-T3i-in-quot-manual-quot-mode&amp;amp;s=bd38a6e9321cdd451f015f30b6126483&amp;amp;p=2331102&amp;amp;viewfull=1#post2331102&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="956" LastActivityDate="2016-08-23T00:40:12.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19214" PostTypeId="1" CreationDate="2016-08-23T05:33:07.053" Score="0" ViewCount="14" Body="&lt;p&gt;I know that for Adobe CS2, Adobe released the program for free online due to some glitch or something. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But are there any (really good) NLE video editors what have been legally released for free online? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My objective is to gradually produce material - keeping costs low at startup - to then pay for products like Adobe Premier and AE. I am not a student so I can't swing that angle. However, my preference to Adobe is because of college. &lt;/p&gt;&#xA;" OwnerUserId="12313" LastActivityDate="2016-08-23T13:25:16.703" Title="Download older version for free" Tags="|after-effects|premiere|software-recommendation|adobe|" AnswerCount="0" CommentCount="0" FavoriteCount="0" ClosedDate="2016-08-23T13:24:32.270" ContentLicense="CC BY-SA 3.0" />
  <row Id="19215" PostTypeId="1" CreationDate="2016-08-23T07:09:03.727" Score="0" ViewCount="14" Body="&lt;p&gt;I have been amazed by the wonders of video editing. However, i am not sure what software to use. I have used movie maker and i am good with it. I want to move on to more sophisticated editors. Any recommendations for 2016 :&gt;&lt;/p&gt;&#xA;" OwnerUserId="16466" LastActivityDate="2016-08-23T09:27:58.947" Title="Recommendations for a newbie" Tags="|software-recommendation|" AnswerCount="0" CommentCount="0" FavoriteCount="0" ClosedDate="2016-08-23T13:22:59.873" ContentLicense="CC BY-SA 3.0" />
  <row Id="19216" PostTypeId="1" AcceptedAnswerId="19404" CreationDate="2016-08-23T08:01:20.393" Score="0" ViewCount="1101" Body="&lt;p&gt;I have an avi video file that plays on my Onn-W7 player &lt;a href=&quot;https://www.dropbox.com/s/nfpnso35rjefs55/ONN.avi&quot; rel=&quot;nofollow noreferrer&quot;&gt;Link to avi video file that works &lt;/a&gt; and &lt;a href=&quot;http://speedy.sh/A7rdf/ONN.avi&quot; rel=&quot;nofollow noreferrer&quot;&gt;backup link to avi file that works.&lt;/a&gt; I'm trying to convert some other video files over so that they will also play on it.  I've tried handbrake, ffmpeg and mencoder but the video fails to work most likely do to the fact I have some settings wrong in the conversion process but I don't know which ones any ideas how to fix this&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Here's the settings of the avi file that works below:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : /tmp/ONN.avi&#xA;Format                                   : AVI&#xA;Format/Info                              : Audio Video Interleave&#xA;File size                                : 11.0 MiB&#xA;Duration                                 : 3mn 1s&#xA;Overall bit rate                         : 508 Kbps&#xA;Writing application                      : MEncoder Sherpya-MinGW-20060312-4.1.0&#xA;Writing library                          : MPlayer&#xA;&#xA;Video&#xA;ID                                       : 0&#xA;Format                                   : MPEG-4 Visual&#xA;Format profile                           : Simple@L3&#xA;Format settings, BVOP                    : No&#xA;Format settings, QPel                    : No&#xA;Format settings, GMC                     : No warppoints&#xA;Format settings, Matrix                  : Default (H.263)&#xA;Codec ID                                 : XVID&#xA;Codec ID/Hint                            : XviD&#xA;Duration                                 : 3mn 1s&#xA;Bit rate                                 : 371 Kbps&#xA;Width                                    : 160 pixels&#xA;Height                                   : 128 pixels&#xA;Display aspect ratio                     : 5:3&#xA;Original display aspect ratio            : 5:4&#xA;Frame rate                               : 15.000 fps&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel*Frame)                       : 1.207&#xA;Stream size                              : 8.00 MiB (73%)&#xA;Writing library                          : XviD 1.1.0 (UTC 2005-11-22)&#xA;&#xA;Audio&#xA;ID                                       : 1&#xA;Format                                   : MPEG Audio&#xA;Format version                           : Version 1&#xA;Format profile                           : Layer 2&#xA;Codec ID                                 : 50&#xA;Duration                                 : 3mn 1s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 128 Kbps&#xA;Channel(s)                               : 2 channels&#xA;Sampling rate                            : 44.1 KHz&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 2.77 MiB (25%)&#xA;Alignment                                : Split accross interleaves&#xA;Interleave, duration                     : 26 ms (0.39 video frame)&#xA;Interleave, preload duration             : 522 ms&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The ffmpeg command I tried is:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;video_to_convert.mp4&quot; -c:v libxvid -vf scale=160x128,setsar=1 -b:v 800k -r 15 -c:a libtwolame -ac 2 -ar 44100 -b:a 128k -y video_converted.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Here's the requested info of the command above on a file that doesn't work:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mediainfo --fullscan video_converted.avi&#xA;General&#xA;Count                                    : 322&#xA;Count of stream of this kind             : 1&#xA;Kind of stream                           : General&#xA;Kind of stream                           : General&#xA;Stream identifier                        : 0&#xA;Count of video streams                   : 1&#xA;Count of audio streams                   : 1&#xA;Video_Format_List                        : xvid&#xA;Video_Format_WithHint_List               : xvid&#xA;Codecs Video                             : xvid&#xA;Audio_Format_List                        : MPEG Audio&#xA;Audio_Format_WithHint_List               : MPEG Audio&#xA;Audio codecs                             : MPEG-1 Audio layer 2&#xA;Complete name                            : video_converted.avi&#xA;File name                                : video_converted&#xA;File extension                           : avi&#xA;Format                                   : AVI&#xA;Format                                   : AVI&#xA;Format/Info                              : Audio Video Interleave&#xA;Format/Extensions usually used           : avi&#xA;Commercial name                          : AVI&#xA;Internet media type                      : video/vnd.avi&#xA;Interleaved                              : Yes&#xA;Codec                                    : AVI&#xA;Codec                                    : AVI&#xA;Codec/Info                               : Audio Video Interleave&#xA;Codec/Extensions usually used            : avi&#xA;File size                                : 4297704&#xA;File size                                : 4.10 MiB&#xA;File size                                : 4 MiB&#xA;File size                                : 4.1 MiB&#xA;File size                                : 4.10 MiB&#xA;File size                                : 4.099 MiB&#xA;Duration                                 : 165267&#xA;Duration                                 : 2mn 45s&#xA;Duration                                 : 2mn 45s 267ms&#xA;Duration                                 : 2mn 45s&#xA;Duration                                 : 00:02:45.267&#xA;Duration                                 : 00:02:45:04&#xA;Duration                                 : 00:02:45.267 (00:02:45:04)&#xA;Overall bit rate                         : 208037&#xA;Overall bit rate                         : 208 Kbps&#xA;Frame rate                               : 15.000&#xA;Frame rate                               : 15.000 fps&#xA;Frame count                              : 2479&#xA;Stream size                              : 228958&#xA;Stream size                              : 224 KiB (5%)&#xA;Stream size                              : 224 KiB&#xA;Stream size                              : 224 KiB&#xA;Stream size                              : 224 KiB&#xA;Stream size                              : 223.6 KiB&#xA;Stream size                              : 224 KiB (5%)&#xA;Proportion of this stream                : 0.05327&#xA;File last modification date              : UTC 2016-09-16 10:15:46&#xA;File last modification date (local)      : 2016-09-16 06:15:46&#xA;Writing application                      : Lavf56.40.101&#xA;Writing application                      : Lavf56.40.101&#xA;&#xA;Video&#xA;Count                                    : 332&#xA;Count of stream of this kind             : 1&#xA;Kind of stream                           : Video&#xA;Kind of stream                           : Video&#xA;Stream identifier                        : 0&#xA;ID                                       : 0&#xA;ID                                       : 0&#xA;Format                                   : xvid&#xA;Commercial name                          : xvid&#xA;Codec ID                                 : xvid&#xA;Codec                                    : xvid&#xA;Codec                                    : xvid&#xA;Codec/CC                                 : xvid&#xA;Duration                                 : 165267&#xA;Duration                                 : 2mn 45s&#xA;Duration                                 : 2mn 45s 267ms&#xA;Duration                                 : 2mn 45s&#xA;Duration                                 : 00:02:45.267&#xA;Duration                                 : 00:02:45:04&#xA;Duration                                 : 00:02:45.267 (00:02:45:04)&#xA;Bit rate                                 : 69281&#xA;Bit rate                                 : 69.3 Kbps&#xA;Width                                    : 160&#xA;Width                                    : 160 pixels&#xA;Height                                   : 128&#xA;Height                                   : 128 pixels&#xA;Pixel aspect ratio                       : 1.000&#xA;Display aspect ratio                     : 1.250&#xA;Display aspect ratio                     : 5:4&#xA;Frame rate                               : 15.000&#xA;Frame rate                               : 15.000 fps&#xA;Frame count                              : 2479&#xA;Scan type                                : Progressive&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.226&#xA;Delay                                    : 0&#xA;Delay                                    : 00:00:00.000&#xA;Stream size                              : 1431221&#xA;Stream size                              : 1.36 MiB (33%)&#xA;Stream size                              : 1 MiB&#xA;Stream size                              : 1.4 MiB&#xA;Stream size                              : 1.36 MiB&#xA;Stream size                              : 1.365 MiB&#xA;Stream size                              : 1.36 MiB (33%)&#xA;Proportion of this stream                : 0.33302&#xA;&#xA;Audio&#xA;Count                                    : 272&#xA;Count of stream of this kind             : 1&#xA;Kind of stream                           : Audio&#xA;Kind of stream                           : Audio&#xA;Stream identifier                        : 0&#xA;StreamOrder                              : 1&#xA;ID                                       : 1&#xA;ID                                       : 1&#xA;Format                                   : MPEG Audio&#xA;Commercial name                          : MPEG Audio&#xA;Format version                           : Version 1&#xA;Format profile                           : Layer 2&#xA;Internet media type                      : audio/mpeg&#xA;Codec ID                                 : 50&#xA;Codec ID/Url                             : http://www.iis.fraunhofer.de/amm/index.html&#xA;Codec                                    : MPA1L2&#xA;Codec                                    : MPEG-1 Audio layer 2&#xA;Codec/Family                             : MPEG-1&#xA;Codec/Url                                : http://www.iis.fraunhofer.de/amm/index.html&#xA;Codec/CC                                 : 50&#xA;Duration                                 : 165224&#xA;Duration                                 : 2mn 45s&#xA;Duration                                 : 2mn 45s 224ms&#xA;Duration                                 : 2mn 45s&#xA;Duration                                 : 00:02:45.224&#xA;Duration                                 : 00:02:45.224&#xA;Bit rate mode                            : CBR&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 128000&#xA;Bit rate                                 : 128 Kbps&#xA;Channel(s)                               : 2&#xA;Channel(s)                               : 2 channels&#xA;Sampling rate                            : 44100&#xA;Sampling rate                            : 44.1 KHz&#xA;Samples count                            : 7286378&#xA;Compression mode                         : Lossy&#xA;Compression mode                         : Lossy&#xA;Delay                                    : 0&#xA;Delay                                    : 00:00:00.000&#xA;Delay, origin                            : Stream&#xA;Delay, origin                            : Raw stream&#xA;Delay relative to video                  : 0&#xA;Delay relative to video                  : 00:00:00.000&#xA;Video0 delay                             : 0&#xA;Video0 delay                             : 00:00:00.000&#xA;Stream size                              : 2637525&#xA;Stream size                              : 2.52 MiB (61%)&#xA;Stream size                              : 3 MiB&#xA;Stream size                              : 2.5 MiB&#xA;Stream size                              : 2.52 MiB&#xA;Stream size                              : 2.515 MiB&#xA;Stream size                              : 2.52 MiB (61%)&#xA;Proportion of this stream                : 0.61371&#xA;Alignment                                : Aligned&#xA;Alignment                                : Aligned on interleaves&#xA;Interleave, duration                     : 0.39&#xA;Interleave, duration                     : 26&#xA;Interleave, duration                     : 26 ms (0.39 video frame)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Also without the fullscan option:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mediainfo video_converted.avi&#xA;General&#xA;Complete name                            : video_converted.avi&#xA;Format                                   : AVI&#xA;Format/Info                              : Audio Video Interleave&#xA;File size                                : 4.10 MiB&#xA;Duration                                 : 2mn 45s&#xA;Overall bit rate                         : 208 Kbps&#xA;Writing application                      : Lavf56.40.101&#xA;&#xA;Video&#xA;ID                                       : 0&#xA;Format                                   : xvid&#xA;Codec ID                                 : xvid&#xA;Duration                                 : 2mn 45s&#xA;Bit rate                                 : 69.3 Kbps&#xA;Width                                    : 160 pixels&#xA;Height                                   : 128 pixels&#xA;Display aspect ratio                     : 5:4&#xA;Frame rate                               : 15.000 fps&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.226&#xA;Stream size                              : 1.36 MiB (33%)&#xA;&#xA;Audio&#xA;ID                                       : 1&#xA;Format                                   : MPEG Audio&#xA;Format version                           : Version 1&#xA;Format profile                           : Layer 2&#xA;Codec ID                                 : 50&#xA;Duration                                 : 2mn 45s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 128 Kbps&#xA;Channel(s)                               : 2 channels&#xA;Sampling rate                            : 44.1 KHz&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 2.52 MiB (61%)&#xA;Alignment                                : Aligned on interleaves&#xA;Interleave, duration                     : 26 ms (0.39 video frame)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The products website is&#xA;&lt;a href=&quot;http://en.onnchina.com/mp3_mp4/product172.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Onn-w7 website&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the little manual in Chinese which I can't read&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Ck6wG.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ck6wG.jpg&quot; alt=&quot;page 1&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/jaNgZ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jaNgZ.jpg&quot; alt=&quot;page 2&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6602" LastEditorUserId="6602" LastEditDate="2016-09-16T10:31:56.750" LastActivityDate="2016-09-16T13:08:30.620" Title="ffmpeg / mencoder converting a video with correct setting" Tags="|video|ffmpeg|encoding|transcoding|handbrake|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19217" PostTypeId="2" ParentId="3018" CreationDate="2016-08-23T09:27:58.947" Score="1" Body="&lt;p&gt;Free = &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve&quot; rel=&quot;nofollow noreferrer&quot;&gt;BlackMagic Davinci Resolve 12.5&lt;/a&gt; (Win, Mac, Linux)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is a fully fledged NLE and Colour correction and if you want to jump into the realms of SFX they offer Fusion for free as well (bear in mind that some options are limited but nothing for the basic and intermediate users)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Paid - Adobe Premier Pro (Win, Mac), Apple FCPX (only Mac), Sony Vegas (Win)(I have never used this tho)&lt;/p&gt;&#xA;" OwnerUserId="6921" LastEditorUserId="17685" LastEditDate="2017-02-01T14:06:54.077" LastActivityDate="2017-02-01T14:06:54.077" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19220" PostTypeId="2" ParentId="19186" CreationDate="2016-08-23T11:10:50.507" Score="1" Body="&lt;p&gt;Looks like you're aiming for DVD-spec output. By default, FFmpeg encodes to MPEG-1 video into a MPEG-1 program stream, when the output extension is &lt;code&gt;.mpg&lt;/code&gt;. You can force MPEG-2 DVD by specifying &lt;code&gt;-f dvd&lt;/code&gt;. And for a standard like PAL, set &lt;code&gt;-target pal-dvd&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i background.mpg -i Menu.png -filter_complex &quot;[0:v][1:v] overlay=25:25:enable='between(t,0,30)'&quot; -pix_fmt yuv420p -target pal-dvd -f dvd merge1.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-08-23T11:10:50.507" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19222" PostTypeId="2" ParentId="10305" CreationDate="2016-08-23T20:52:48.220" Score="0" Body="&lt;p&gt;I had a similar problem, I am working in Premiere Pro CC on a Mac Pro with a Dell monitor (UP3216Q), what I saw in Premiere and VLC looked identical but in the QuickTime Player (both 7 and X) it was washed out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what fixed it for me. Go to System Preferences &gt; Displays &gt; Color &gt; Uncheck &quot;Show profiles for this display only&quot; &gt; select &quot;Apple RGB&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It looks like the default display profile for my monitor (DELL UP3216Q) was the problem.&lt;/p&gt;&#xA;" OwnerUserId="16476" LastActivityDate="2016-08-23T20:52:48.220" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19223" PostTypeId="2" ParentId="17487" CreationDate="2016-08-24T05:55:54.357" Score="0" Body="&lt;p&gt;You can accomplish that by adding &lt;code&gt;-r 25&lt;/code&gt; or even &lt;code&gt;-r 60&lt;/code&gt;, as you like to experiment. Here's example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -r 25 -i input.mov codec:v copy codec:a copy -f mp4 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;instead of&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov codec:v copy -r 25 codec:a copy -f mp4 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The key I found to be in control exactly what I wanted is to place &lt;code&gt;-r 25&lt;/code&gt; right before the input agrument.&lt;/p&gt;&#xA;" OwnerUserId="5936" LastEditorUserId="5936" LastEditDate="2016-08-25T14:59:38.497" LastActivityDate="2016-08-25T14:59:38.497" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19225" PostTypeId="1" AcceptedAnswerId="19227" CreationDate="2016-08-24T15:29:27.053" Score="1" ViewCount="28" Body="&lt;p&gt;The title just about tells all about my question, but for a few more specifics, I want to record some monologue rehearsals (of myself) in an empty hall, and will later probably have some live performances recorded, too. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I may periodically &quot;update&quot; my video &quot;resume&quot;, it's probably cost-effective to purchase rather than rent the equipment, I am looking to buy both a camcorder and a tripod.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The key features/qualities I'm looking for in these devices are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camcorder:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Good audio quality (the audio is probably actually more important to me than the visuals)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Ease of use (I just want to be able to record, stop recording, zoom in, zoom out, pan, and then download the &quot;files&quot; to my laptop)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Price/Value (I don't want to spend a king's ransom for something that will only be used once in awhile, but then again this may be my chief marketing &quot;agent&quot; (YouTuberizing segments of the rehearsals/performances)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tripod:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Stability/Solidity/Reliability&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Price&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any recommendations?&lt;/p&gt;&#xA;" OwnerUserId="5629" LastActivityDate="2016-08-24T19:13:55.607" Title="Request for Camcorder and Tripod Recommendations for Occasional Amatuer Usage, With Emphasis on Good Sound Quality" Tags="|camcorder|webvideos|video-capture|audio-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19226" PostTypeId="2" ParentId="14959" CreationDate="2016-08-24T15:29:57.273" Score="4" Body="&lt;p&gt;Since 2016-07-20, it's possible to decode properly a webm with alpha channel (VP8a or VP9a) but you need the &lt;code&gt;-vcodec libvpx&lt;/code&gt; option. You must download an &lt;strong&gt;FFmpeg&lt;/strong&gt; compiled after that date (or compile yourself with up-to-date commits) and use the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i logo.webm -vcodec libvpx -i cortina.webm -filter_complex overlay -vcodec libvpx output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that &lt;code&gt;-vcodec libvpx&lt;/code&gt; is &lt;strong&gt;before&lt;/strong&gt; the input that needs to be read using the alpha planes (in this case, is &lt;code&gt;cortina.webm&lt;/code&gt; the overlaid video, thus we put the option just before it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(As Mulvya states, the format conversion should be avoided in this case.)&lt;/p&gt;&#xA;" OwnerUserId="16483" LastEditorUserId="16483" LastEditDate="2016-08-24T16:00:59.340" LastActivityDate="2016-08-24T16:00:59.340" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19227" PostTypeId="2" ParentId="19225" CreationDate="2016-08-24T19:13:55.607" Score="2" Body="&lt;p&gt;90% of good sound quality is mic placement.  The remaining 90% is the microphone.  The 90% that remains of that is the preamp.  Because mic placement is so important, you either have to accept putting the video camera where the microphone sounds best, or you have to disconnect the two, placing and pointing the mic where it is best and then placing pointing the lens (and camera) at what looks best.  Alas, there is no &quot;ease of use&quot; when it comes to capturing good sound--you actually have to listen and adjust until it's right.  Which is almost impossible to do by oneself.  But perhaps you will find that putting a smartphone in a cradle arms-length from your face gives you both acceptable sound and video quality.  In which case, there's a no-cost answer to that part of your question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for tripods, if you are not using the camera for active pans or tilts, you don't need a fluid head.  All you need is something that is no so ridiculously flimsy that it will start to move when a whoosh of cold air makes it's way across the room from supply to return.  A typical margin of error is to read the rated weight of a brand you can actually look up on the Internet (Manfrotto, Gitzo, Slik, etc), cut that rated weight in half, and compare it to your load.  If your camcorder is 3 lbs, you need at least a rating of 6 lbs of capacity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note, of course, that recording a live performance may require as obtrusive a placement of microphone and/or camcorder as you had in rehearsal, which may be unacceptable.  Fixing that requires a whole new strata of cost and expertise.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-08-24T19:13:55.607" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19228" PostTypeId="1" AcceptedAnswerId="19229" CreationDate="2016-08-25T06:00:53.823" Score="0" ViewCount="1019" Body="&lt;p&gt;I am using below commands to overlay two images with scaling in video :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;String command=&quot;ffmpeg -i /sdcard/videokit/input.mp4 -loop 1 -i /sdcard/videokit/first.png -loop 1 -i /sdcard/videokit/second.png -filter_complex [1:v]scale='if(gt(a,4/3),320,-1)':'if(gt(a,4/3),-1,240)'[img1];[2:v]scale='if(gt(a,4/3),320,-1)':'if(gt(a,4/3),-1,240)'[img2];[0:v][img1]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2[bkg];[bkg][img2]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2 -c:a copy -preset ultrafast /sdcard/videokit/output.mp4&quot;;&#xA;&#xA;String command2=&quot;ffmpeg -i /sdcard/videokit/input.mp4 -loop 1 -t 2 -i /sdcard/videokit/first.png -loop 1 -t 2 -i /sdcard/videokit/second.png -filter_complex [1:v]trim=duration=2,fade=in:st=0:d=0.5,fade=out:st=1.5:d=0.5[img1];[2:v]trim=duration=2,fade=in:st=10:d=0.5,fade=out:st=11.5:d=0.5[img2];[0:v][img1]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2[bkg];[bkg][img2]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2 -preset ultrafast -c:a copy -preset ultrafast /sdcard/videokit/output.mp4&quot;;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;First command works perfectly but I want to apply fade in fade out effect to both images for certain time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried with command2 after referring other answers but it doesn't seem to be working, any help would be appreciated!!!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Aim to achieve&lt;/strong&gt; : Basically I have video of 12 seconds, first image has to be appear for first 2 seconds and last image for last 2 seconds with effect.&lt;/p&gt;&#xA;" OwnerUserId="16211" LastActivityDate="2016-08-25T11:23:56.223" Title="Apply scale and fade effect to Images together" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19229" PostTypeId="2" ParentId="19228" CreationDate="2016-08-25T08:35:54.840" Score="1" Body="&lt;p&gt;Try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;String command2=&quot;ffmpeg -i /sdcard/videokit/input.mp4 -loop 1 -t 2 -i /sdcard/videokit/first.png -loop 1 -t 2 -i /sdcard/videokit/second.png -filter_complex &quot;[0]boxblur=enable='lt(t,2)+gt(t,10)'[vid];[1:v]format=rgba,fade=in:st=0:d=0.5:alpha=1,fade=out:st=1.5:d=0.5:alpha=1[img1];[2:v]format=rgba,fade=in:st=0:d=0.5:alpha=1,fade=out:st=1.5:d=0.5:alpha=1,setpts=PTS+10/TB[img2];[vid][img1]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2[bkg];[bkg][img2]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2&quot; -preset ultrafast -c:a copy /sdcard/videokit/output.mp4&quot;;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-08-25T11:23:56.223" LastActivityDate="2016-08-25T11:23:56.223" CommentCount="14" ContentLicense="CC BY-SA 3.0" />
  <row Id="19230" PostTypeId="2" ParentId="13385" CreationDate="2016-08-25T11:02:36.207" Score="-2" Body="&lt;p&gt;chroma key choose a colour*drag) then take eye dropper and select background in the preview window&lt;/p&gt;&#xA;" OwnerUserId="16487" LastActivityDate="2016-08-25T11:02:36.207" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19231" PostTypeId="1" AcceptedAnswerId="19232" CreationDate="2016-08-25T14:21:39.573" Score="0" ViewCount="722" Body="&lt;p&gt;When i try to run following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -loglevel info -threads 0 -f lavfi -i aevalsrc=0 -framerate 60 -i image.png -start_number 000000 -apply_trc bt709 -framerate 60 -i seq1.%06d.exr -start_number 000000 -apply_trc bt709 -framerate 60 -i seq2.%06d.exr -r 60 -preset medium -codec:v libx264 -profile:v high -tune fastdecode -c:a libfdk_aac -ac 2 -vbr 5 -shortest -strict experimental -sn -vsync 1 -pix_fmt yuv420p -b:v 62914560 -movflags +faststart -x264-params high-tier=0:pmode=1:wpp=1:tune=zerolatnecy,fastdecode::bitrate=62914:fps=60:keyint=600:min-keyint=60:vbv-bufsize=62914:vbv-maxrate=62914:scenecut=00 -filter_complex &quot;[2:v]crop=5120:2560:0:0, scale=4096:1152, rotate=0[input_num0];[1:v][input_num0]overlay=0:0[output_num0];[3:v]crop=5120:2560:0:0, scale=4096:1152, rotate=0[input_num1];[1:v][input_num1]overlay=0:0[output_num1];[output_num1][output_num0] vstack [result]&quot; -map &quot;[result]:0 -map &quot;0:0&quot;&quot; output.mp4 2&amp;gt;&amp;amp;1 | tee -a log_file.log&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I get the following error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[libx264 @ 0x7fd8fa003600] Error parsing option 'high-tier = 0'.&#xA;[libx264 @ 0x7fd8fa003600] Error parsing option 'pmode = 1'.&#xA;[libx264 @ 0x7fd8fa003600] Error parsing option 'wpp = 1'.&#xA;[libx264 @ 0x7fd8fa003600] Error parsing option 'tune = zerolatnecy,fastdecode'.&#xA;[libx264 @ 0x7fd8fa003600] Error parsing option ':bitrate = 62914'.&#xA;[libx264 @ 0x7fd8fa003600] using SAR=9/16&#xA;[libx264 @ 0x7fd8fa003600] MB rate (2211840) &amp;gt; level limit (2073600)&#xA;[libx264 @ 0x7fd8fa003600] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 AVX2 LZCNT BMI2&#xA;[libx264 @ 0x7fd8fa003600] profile High, level 5.2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is it because those parameters are not recognized by H264 or?..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="15838" LastActivityDate="2016-08-25T14:57:01.027" Title="ffmpeg - H264 vs. H265 codec parameters?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19232" PostTypeId="2" ParentId="19231" CreationDate="2016-08-25T14:57:01.027" Score="0" Body="&lt;p&gt;Some of those options don't belong to x264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-b:v 62914560 -bufsize 62914560 -maxrate 62914560 -movflags +faststart -x264-params keyint=600:min-keyint=60:scenecut=00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-08-25T14:57:01.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19236" PostTypeId="1" CreationDate="2016-08-26T15:41:04.970" Score="0" ViewCount="1149" Body="&lt;p&gt;At the 5min:12sec mark in &lt;a href=&quot;https://www.facebook.com/CitizensMediaTV/videos/1112194702194246/&quot; rel=&quot;nofollow&quot;&gt;this Facebook Live video&lt;/a&gt;, there is a glitch/freeze. The audio goes out for a few seconds, and then comes back in. But when it comes back in, it is terribly out of sync. I have &lt;a href=&quot;https://www.youtube.com/watch?v=yqy1pdYRVIo&quot; rel=&quot;nofollow&quot;&gt;downloaded the video&lt;/a&gt;, and am trying to fix it. I will ultimately be uploading it to my YouTube account. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, shifting that section of audio around fixes the problem briefly, but it soon returns. In other words, it seems that the length of the video is now a different than it's audio track.I tried the advice in &lt;a href=&quot;https://www.youtube.com/watch?v=yKskUvNxxUE&quot; rel=&quot;nofollow&quot;&gt;this video&lt;/a&gt; without success.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I re-sync the audio and video tracks?&lt;/p&gt;&#xA;" OwnerUserId="5438" LastActivityDate="2023-12-09T02:02:45.323" Title="After 5 minutes, audio dramatically goes out of sync for rest of video. Shifting that audio section around fixes problem only for a few seconds" Tags="|video|video-editor|editing|audio|software-recommendation|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19237" PostTypeId="1" AcceptedAnswerId="19238" CreationDate="2016-08-26T19:15:25.677" Score="6" ViewCount="9437" Body="&lt;p&gt;I have one 2-hour video file and want to add a 10-second title sequence to its start. The long file has perfect a/v sync from start to finish. However, when I use &lt;code&gt;ffmpeg -f concat -i mylist.txt -c copy outfile.mp4&lt;/code&gt; to concatenate the title file to the long file, the audio in the long file gradually goes out of sync, progressively becoming worse until at the end of 2 hours, the audio is a full second or two behind the video.  I can understand why the &lt;code&gt;concat&lt;/code&gt; might break the synchronization, but I don't understand why it would  cause the synchronization to become progressively worse. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to avoid re-encoding the long file to maintain quality. If necessary, I can re-encode the title file because it's just white text on a black background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd greatly appreciate any suggestions. I'm a digital video semi-noob and have faced a steep learning curve, but I am learning. I'm using Ubuntu Linux 16.04 and ffmpeg 2.8.6-1ubuntu2, which I think is the latest ffmpeg version.  I have about 20 old 2-hour family video cassettes that I am digitizing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;File background:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;The long file is an MP4 file using H264 and AAC. It originated as a .ts file and I use ffmpeg to encode it into the mp4 format. Before concatenating the title file, it is in perfect a/v sync at all times. It's 720x480, with 127 audio bitrate.  I captured the video from a Sony Handycam Video8 tape using a Hauppauge Live-2 USB converter, using the VLC CLI to generate the original .ts file. It's about 120 minutes long.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The title file I created in Blender, and tried to duplicate the long file's format: 720x480, 127 audio bitrate, MP4 containing H264 and AAC. It actually has no audio, as it's just two &quot;slides&quot; of text. (I know that there probably is actually an audio track generated by Blender, but it's just silence as I don't add any audio tracks to the simple titles.) It's only 10 seconds long.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The results of &lt;code&gt;ffmpeg -i longfile.mp4&lt;/code&gt; is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Metadata:&#xA;major_brand     : isom&#xA;minor_version   : 512&#xA;compatible_brands: isomiso2avc1mp41&#xA;encoder         : Lavf56.36.100&#xA;Duration: 01:17:06.58, start: 0.013000, bitrate: 2134 kb/s&#xA;Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p,&#xA;720x480 [SAR 32:27 DAR 16:9], 1997 kb/s, 29.97 fps, 29.97 tbr, 29971&#xA;tbn, 59.94 tbc (default)&#xA;Metadata:&#xA;handler_name    : VideoHandler&#xA;Stream #0:1(unk): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, mono, &#xA;fltp, 127 kb/s (default)&#xA;Metadata:&#xA;handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The results of &lt;code&gt;ffmpeg -i titlefile.mp4&lt;/code&gt; is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Metadata:&#xA;major_brand     : isom&#xA;minor_version   : 512&#xA;compatible_brands: isomiso2avc1mp41&#xA;encoder         : Lavf56.40.101&#xA;Duration: 00:00:10.01, start: 0.012000, bitrate: 421 kb/s&#xA;Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, &#xA;720x480 [SAR 1:1 DAR 3:2], 284 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, &#xA;59.94 tbc (default)&#xA;Metadata:&#xA;handler_name    : VideoHandler&#xA;Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, &#xA;stereo, fltp, 127 kb/s (default)&#xA;Metadata:&#xA;handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16494" LastActivityDate="2016-08-26T19:49:43.120" Title="ffmpeg concat introduces a/v sync problem" Tags="|video|ffmpeg|audio|mp4|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19238" PostTypeId="2" ParentId="19237" CreationDate="2016-08-26T19:43:59.893" Score="9" Body="&lt;p&gt;Run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i titlefile.mp4 -vf setdar=16/9 -video_track_timescale 29971 -ac 1 newtitle.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then run concat with the new title video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Modern containers like MP4 have &lt;strong&gt;P&lt;/strong&gt;resentation &lt;strong&gt;T&lt;/strong&gt;ime&lt;strong&gt;S&lt;/strong&gt;tamps, which are denominated with reference to a timebase. So, if the timebase value is 1/500 and a frame's PTS is 200, then that tells the video player to show that frame at 200*(1/500) = 0.4 seconds. The &lt;code&gt;tbn&lt;/code&gt; values shown in the readouts are the reciprocals of this timebase. Now, the concat demuxer, due to a design oversight (or choice!?) does not rescale the PTS values so that all inputs have frames with PTS using the same timebase. Your two videos have different TBs, and so the long video after the concat is being sped up. The difference is perceptually invisible - except for the audio drift. That &lt;code&gt;tbn&lt;/code&gt; value is for the video stream. Audio streams have their own timebase, related to the sample rate, which is the same here. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-08-26T19:49:43.120" LastActivityDate="2016-08-26T19:49:43.120" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19239" PostTypeId="1" CreationDate="2016-08-26T21:21:24.790" Score="1" ViewCount="711" Body="&lt;p&gt;As background, I have a &lt;strong&gt;very&lt;/strong&gt; low budget setup, complete with using an iPhone 6 as my camera (with Filmic Pro as the software, so I can manually change things like exposure and focus). I made a teleprompter which has been working for me out of a cardboard box (coated on the inside with black tape) and an iPad (since I'm reading song lyrics, I don't need an operator). I used to be able to get video that was good enough quality for my purposes. I am shooting with Cowboy Studio umbrella lights in my garage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is this: since adding the makeshift teleprompter, the video became darker and much grainier. I think it's because it's basically shooting through a black tunnel, and I have to crop the edges off. Within Filmic Pro, I have manual access to ISO and shutter speed, as well as a separate &quot;Exposure Compensation&quot; which seems to change the previous two values. How can I remove the darkness and graininess? I've tried increasing the ISO or decreasing the shutter speed, but my video ended up looking like badly done stop-motion animation. Did I go too far? Do I need to change the lighting setup?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZXYEE.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZXYEE.jpg&quot; alt=&quot;Setup from rear&quot;&gt;&lt;/a&gt;&#xA;This is my setup from the rear, including both lights, the backdrop, and the cameraphone tripod and box-prompter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8P3ip.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8P3ip.jpg&quot; alt=&quot;Setup from side 1&quot;&gt;&lt;/a&gt;&#xA;This is my setup from the side, showing distance from cameraphone/tripod to microphone, which is where the talent (me) stands.&lt;/p&gt;&#xA;" OwnerUserId="5066" LastEditorUserId="5066" LastEditDate="2016-08-27T15:14:59.657" LastActivityDate="2016-08-27T15:14:59.657" Title="What exposure changes do I need to make when shooting with a teleprompter?" Tags="|video|video-recording|iphone|" AnswerCount="0" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="19240" PostTypeId="1" CreationDate="2016-08-27T04:58:55.343" Score="0" ViewCount="59" Body="&lt;p&gt;I am not a video expert. I used to be an audio engineer (like a 1000 years ago) and have done some video editing on my own professional grade editor for giggles but not in the last 10 years.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;And yet, I am seeing something that makes me curious.&lt;/em&gt; So I thought I would finally ask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I get cable over OTT via a Roku. Periodically, on channels that have minor packet loss, I have noticed that ads will lose any actor voice and the voice over portion of the content. The background and other sounds are there. Just the voices are missing. For example, an ad for a popular insurance company will have all the background sounds, however, the voice of the person in the video and the voice over announcer are gone. This does not happen for shows. It also does this for most any ad periodically and inconsistently. The same insurance ad can show again in the next ad block just fine. One ad can be missing voices, the next ad is fine, then the third ad is missing the voice. This can happen on any channel from time to time and seems to be tied to very minor packet loss. Basically, the channel is working just fine, just very minor periodic packet loss. This may be a hint.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Strange huh?&lt;/em&gt; Any ideas? It is not really a problem for me, just a curiosity. In fact, it is kind of nice so I am not really complaining.&lt;/p&gt;&#xA;" OwnerUserId="16497" LastActivityDate="2017-02-23T11:44:23.543" Title="Voice is dropped in ads on cable channel via OTT" Tags="|video|streaming|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="19241" PostTypeId="2" ParentId="19240" CreationDate="2016-08-27T08:36:14.927" Score="1" Body="&lt;p&gt;I don't have a definitive answer, but what you're describing sounds like phase inversion on one of the stereo channels. This causes cancellation when heard in mono of anything centered in the mix, as an announcer voice would most likely be. Someone listening in stereo would not hear much if any difference, so I assume you're listening to a mono feed. It's hard to imagine a scenario where a commercial is delivered in a way that would separate the main channels but leave the background sound.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why only sometimes? Speculating again, there may be one misconfigured server in a group of servers, and playout of any given spot is randomly coming from that server. It's also likely that these are local insertions, since an issue like this would probably be detected quickly at a national level.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-08-27T08:36:14.927" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19244" PostTypeId="1" AcceptedAnswerId="19245" CreationDate="2016-08-28T17:37:11.333" Score="4" ViewCount="363" Body="&lt;p&gt;Do the 'broadcast quality' cameras used in the 2016 Olympic Games have &lt;strong&gt;higher than normal frame rates&lt;/strong&gt;? It seems that their slow motion footage is smoother, sharper, and less motion blurred than typical day-to-day productions from local stations.&lt;/p&gt;&#xA;" OwnerUserId="16505" LastActivityDate="2016-08-29T11:23:08.003" Title="Why is Olympic slow motion footage sharp with little motion blur?" Tags="|framerate|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19245" PostTypeId="2" ParentId="19244" CreationDate="2016-08-28T18:16:44.113" Score="5" Body="&lt;p&gt;The MacCAM (used in Tennis back in 2004) used a 1000 fps frame rate and had just enough resolution to capture a tennis ball hitting (or missing) a line with reasonable resolution.  Today, a &lt;a href=&quot;https://www.phantomhighspeed.com/Products/TV-Motion-Picture-Media/Flex4K&quot; rel=&quot;nofollow&quot;&gt;Phantom Flex 4K&lt;/a&gt; can do 1000 fps with UHD or 4K resolution.  Many high-end broadcast cameras can do 120 fps at FullHD or UHD resolution, which is probably what they were using at the Olympics.  That's 4x slow motion for NTSC-land and nearly 5x slow motion for PAL-land.  That is a great frame rate for anything but the fastest sports (badminton, ping pong, etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;http://info.panasonic.com/varicam-models.html&quot; rel=&quot;nofollow&quot;&gt;Panasonic Varicam HS&lt;/a&gt; is a broadcast camera that does 240 fps.  I wasn't watching these Olympics closely enough to see whether this was the camera used for the gymnastics event, but wouldn't be surprised if it was.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2016-08-29T03:02:15.630" LastActivityDate="2016-08-29T03:02:15.630" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19247" PostTypeId="2" ParentId="19236" CreationDate="2016-08-29T01:28:58.113" Score="0" Body="&lt;p&gt;You probably have mismatched framerates. This can cause audio drift. The solution for that would be to slow or speed the audio up slightly.&lt;/p&gt;&#xA;" OwnerUserId="8027" LastActivityDate="2016-08-29T01:28:58.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19248" PostTypeId="1" CreationDate="2016-08-29T03:24:18.073" Score="0" ViewCount="151" Body="&lt;p&gt;I am a newbie to this forum and am hoping I can get some insight and assistance with an issue I am having. I wrote a script that takes all of my captured videos (.avi) and converts them to mp4 using ffmpeg. When I run the script by double clicking the file, it runs good at about 45 FPS using about 85% of my CPU. I created a task in Windows 10 Task Scheduler and when I run the file from there, it only converts between 1.5-2 FPS utilizing only 3% of my CPU and I have no idea why. Obviously, that conversion rate is not acceptable. Here is the script file which also shows all the ffmpeg parameters I have passed in:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;for %%a in (&quot;D:\Aaron Cirlin\Videos\Captured Movies\*.avi&quot;) do &#xA;&quot;C:\Program Files\WinFF\ffmpeg&quot; -y -i &quot;%%a&quot; -itsoffset 0.765 -i &quot;%%a&quot; -map 1:0 -map 0:1 -crf 20.0 -vcodec libx264 -filter:v scale=1280:720 -preset slow -acodec libvo_aacenc -ar 48000 -b:a 128k -coder 1 -flags +loop -cmp chroma -partitions +parti4x4+partp8x8+partb8x8 -me_method hex -subq 6 -me_range 16 -g 250 -keyint_min 25 -sc_threshold 40 -i_qfactor 0.71 -b_strategy 1 -threads 0 &quot;D:\Aaron Cirlin\Videos\Movies\%%~na.mp4&quot; &amp;amp; del &quot;%%a&quot;&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Does anyone know why it would that much slower via the Task Scheduler?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="16508" LastEditorUserId="1871" LastEditDate="2016-08-29T07:19:01.440" LastActivityDate="2017-06-27T21:16:36.800" Title="FFMPEG Only converting at 1.5-2 FPS" Tags="|video|ffmpeg|conversion|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19249" PostTypeId="2" ParentId="19248" CreationDate="2016-08-29T07:20:30.310" Score="1" Body="&lt;p&gt;I was able to change the priority level by exporting the task and editing the XML file, then deleting the initial task and re-creating task by importing the edited XML file.  Worked like a charm.&lt;/p&gt;&#xA;" OwnerUserId="16508" LastEditorUserId="16376" LastEditDate="2016-11-29T18:44:13.180" LastActivityDate="2016-11-29T18:44:13.180" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19250" PostTypeId="1" AcceptedAnswerId="19252" CreationDate="2016-08-29T07:45:31.993" Score="3" ViewCount="7238" Body="&lt;p&gt;The ffprobe show frames output shows the following details:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[FRAME]&#xA;media_type=video&#xA;key_frame=1&#xA;pkt_pts=42&#xA;pkt_pts_time=0:00:00.042000&#xA;pkt_dts=42&#xA;pkt_dts_time=0:00:00.042000&#xA;pkt_duration=N/A&#xA;pkt_duration_time=N/A&#xA;pkt_pos=799&#xA;width=1920&#xA;height=1080&#xA;pix_fmt=yuv420p&#xA;sample_aspect_ratio=1:1&#xA;pict_type=I&#xA;coded_picture_number=0&#xA;display_picture_number=0&#xA;interlaced_frame=0&#xA;top_field_first=0&#xA;repeat_pict=0&#xA;reference=3&#xA;[/FRAME]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I was reading &lt;a href=&quot;http://www.streaminglearningcenter.com/articles/everything-you-ever-wanted-to-know-about-idr-frames-but-were-afraid-to-ask.html&quot; rel=&quot;nofollow&quot;&gt;this article&lt;/a&gt; and was wondering how to differentiate between the two types of frames from the above output.&lt;/p&gt;&#xA;" OwnerUserId="10502" LastActivityDate="2018-02-20T12:41:47.670" Title="How to identify i-frame from idr-frame in the ffprobe show frames output?" Tags="|ffmpeg|keyframes|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19251" PostTypeId="2" ParentId="16731" CreationDate="2016-08-29T07:45:45.207" Score="3" Body="&lt;p&gt;Right click on your footage layer (either in the comp window or the timeline) and choose &lt;strong&gt;track motion&lt;/strong&gt; from the context menu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/odcPI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/odcPI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That will open up the layer in the &lt;strong&gt;layer viewer&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/aQHgM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aQHgM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and add a &lt;strong&gt;motion tracker&lt;/strong&gt; to the layer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3QmG0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3QmG0.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It should also open the &lt;strong&gt;tracker&lt;/strong&gt; pallette window. If it doesn't, open it from the &lt;strong&gt;window&lt;/strong&gt; menu. Alternatively if the &lt;strong&gt;Tracker&lt;/strong&gt; pallette is already open you could start tracking the layer by selecting the layer and hitting the &lt;strong&gt;Track Motion&lt;/strong&gt; button in the pallette. Or you could choose &lt;strong&gt;Animation&gt;Track Motion&lt;/strong&gt; from the menu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/udkFj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/udkFj.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the Tracker Pallette there are a few controls. The &lt;strong&gt;Motion Source&lt;/strong&gt; drop down determines what layer we're tracking, the &lt;strong&gt;Current Track&lt;/strong&gt; drop down lets us choose if there are multiple trackers on the layer (you can have as many as you want), and the &lt;strong&gt;Track Type&lt;/strong&gt; drop down lets us choose what to do with our tracking data when we apply it. You shouldn't have to change any of these for your purposes, but it's good to know what they do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VpGu1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VpGu1.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Transform&lt;/strong&gt; will apply the tracking data to the positon, rotation and scale properties of the target layer, depending on the checkboxes below. The other modes include stabilise - to use the tracking data to stabilise the layer, or the perspective and parallel corner pin modes which let you apply the track to a corner pin effect on a layer, which is useful when you're doing something like putting in the contents of a screen, or covering a graphic on a wall. Raw tracks just give you the track points as they are, without transferring it to the position/rotation/scale of another layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally the &lt;strong&gt;Edit Target&lt;/strong&gt; button will determine to which layer the track is applied. This should be the only setting you need to change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for your purposes you need just the position checkbox checked. This will give you only one track point. In the layer window drag the trackpoint to the object you're tracking. Find a unique feature if you can, and preferably one that doesn't get obscured. It's also best if the entire area of the trackpoint is on the tracked object, and does not include any background. You can drag the corner handles of the inner box to increase or decrease the size of the tracked point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lkx1y.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lkx1y.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The outer box is the search area - it defines where the tracker will look for the trackpoint. Make this box big enough so that the movement between frames will fit into it, but no bigger than you have to: making it too big will not only make the tracker go much more slowly, but can also cause false positives, where it sticks to something else in the frame that looks similar. If it's too small however the tracker will lose the trackpoint. You can stop and adjust it as you go, that is often the best way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The little cross is the actual attach point. It is the point whose movement the tracker will output to the target. It doesn't have to be inside the track box - sometimes this can be useful if you're tracking something that gets obscured.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So once you've adjusted the tracked area, the search area, and the track point if necessary, hit the track forward (or backward, it works bothe ways) button and the tracker will start its magic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PX2iq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PX2iq.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can as I said start and stop the tracker and if it goes wonky you can go back to the last good frame, adjust it and start again. If you hold the &lt;kbd&gt;alt&lt;/kbd&gt; key when you move the track box it will move the track box without moving the attach point, meaning that you can keep the motion of the track point stable while changing the part of the image you're tracking. This is very useful for tracks where the track point is obscured.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oknNx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oknNx.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Weirdly enough in this shot the next zebra appears exactly where the first one was. But as you can see, the motion tracker has nicely followed the zebra's nose to the edge of frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now it's time to apply this track to something. Choose the layer you want to apply the track data to by hitting &lt;strong&gt;Edit Target&lt;/strong&gt;. This will bring up this dialog - as you can see you can either use the track data to move a layer, or to move a point control for an effect (of course with expressions you can also use the data for anything your heart desires, but that's beyond the scope of this answer).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iwgxY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iwgxY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Choose the layer and hit OK, then hit &lt;strong&gt;Apply&lt;/strong&gt; to apply the data. You'll get asked if you want to apply the data to x and/or y, and then the tracking data will be written to the position property of the target layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KqiS5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KqiS5.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Vk9YM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Vk9YM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-08-29T07:45:45.207" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="19252" PostTypeId="2" ParentId="19250" CreationDate="2016-08-29T08:23:30.867" Score="8" Body="&lt;p&gt;Frames with key_frame &lt;code&gt;1&lt;/code&gt; (will have picture type &lt;code&gt;I&lt;/code&gt;) are IDR frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;I&lt;/code&gt; frames with key_frame &lt;code&gt;0&lt;/code&gt; are not.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-08-29T08:23:30.867" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19253" PostTypeId="2" ParentId="19244" CreationDate="2016-08-29T11:23:08.003" Score="2" Body="&lt;p&gt;The official local broadcast equipment supplier is Panasonic. Most countries take the local broadcast partner's feed of the games. Looking at footage of athletics, swimming, rowing and team sports I didn't see a lot of different broadcasters' equipment in the background. Basketball is good for spotting cameras.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Panasonic Corporation provides the Olympic Games with state-of-the-art digital audio/video equipment, such as flat screen TV, digital video camera, DVD recorder, and professional audio/video equipment. &lt;a href=&quot;https://www.olympic.org/sponsors/panasonic&quot; rel=&quot;nofollow&quot;&gt;https://www.olympic.org/sponsors/panasonic&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Panasonic is providing P2HD Series cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;NBC managed to get their own broadcast capability in Rio. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;NBC Olympics will also use Sony’s HDC-4300 4K high frame rate camera system for HD replays - &lt;a href=&quot;https://blog.sony.com/press/nbc-olympics-selects-sony-to-provide-broadcast-and-production-equipment-for-its-coverage-of-the-2016-olympic-games-in-rio/&quot; rel=&quot;nofollow&quot;&gt;https://blog.sony.com/press/nbc-olympics-selects-sony-to-provide-broadcast-and-production-equipment-for-its-coverage-of-the-2016-olympic-games-in-rio/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So state-of-the-art high frame rate 4K cameras. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Sony HDR-4300 does 479.52 fps at 60Hz (400fps at 50Hz).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think the P2HD frame rate is 240 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't think either of those cameras will do those frame rates in 4K, but I haven't got the specs handy.&lt;/p&gt;&#xA;" OwnerUserId="11459" LastActivityDate="2016-08-29T11:23:08.003" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19255" PostTypeId="2" ParentId="2253" CreationDate="2016-08-29T15:22:49.737" Score="0" Body="&lt;p&gt;Here a tool to convert Final Cut X timelines into Motion 5 timelines.&#xA;&lt;a href=&quot;http://www.ilgattohanuovecode.it/tool/final-cut-round-trip/&quot; rel=&quot;nofollow&quot;&gt;http://www.ilgattohanuovecode.it/tool/final-cut-round-trip/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16512" LastActivityDate="2016-08-29T15:22:49.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19256" PostTypeId="1" AcceptedAnswerId="19257" CreationDate="2016-08-29T18:00:07.073" Score="0" ViewCount="796" Body="&lt;p&gt;I'm trying to render a video from Adobe Media Encoder, created in After Effects. We first had this problem is a larger file, so I reduced it down to a simple file the results of which can be seen in this gif.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EdJLr.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EdJLr.gif&quot; alt=&quot;What the video comes out looking like&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any thoughts as to why this might be happening?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Specs:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Media Encoder, 2015.4 Release, Build 10.4.0.26 (latest)&lt;/li&gt;&#xA;&lt;li&gt;After Effects, 2015.3 Release, Version 13.8.1.38 (latest)&lt;/li&gt;&#xA;&lt;li&gt;MacBook Pro Retina 15-in, Mid-2014, OS X 10.11.6 (latest) - 16 GB Ram, 2.5 GHZ i7&lt;/li&gt;&#xA;&lt;li&gt;Source Comp; px 1.0, 29.97 fps, Progressive&lt;/li&gt;&#xA;&lt;li&gt;Output, H.264 Match Source, High bitrate (VBR 1 pass)&lt;/li&gt;&#xA;&lt;li&gt;Also exported as PNG sequence but the corruption was still there &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="16513" LastActivityDate="2016-08-29T20:22:03.520" Title="Every other frame corrupted when rendering with Adobe Media Encoder" Tags="|after-effects|adobe-media-encoder|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19257" PostTypeId="2" ParentId="19256" CreationDate="2016-08-29T20:22:03.520" Score="2" Body="&lt;p&gt;As &lt;a href=&quot;https://video.stackexchange.com/q/18405/1871&quot;&gt;answered&lt;/a&gt; in this Q/A, the problem looks to be caused by the use of the CUDA renderer (&quot;Mercury&quot;). The solution is to switch to CPU-only rendering.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-08-29T20:22:03.520" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19258" PostTypeId="1" AcceptedAnswerId="19262" CreationDate="2016-08-29T22:07:19.210" Score="0" ViewCount="67" Body="&lt;p&gt;I have recently got into Video Timelines with Photoshop CC 2015.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to make a transition with text. I can rasterize it if needed. I am trying to make it so that only part of the text is showing and the other part is hidden. I want to do this for a transition. How can I do this without any additional layers?&lt;/p&gt;&#xA;" OwnerUserId="16518" LastEditorUserId="16518" LastEditDate="2016-08-30T08:17:17.193" LastActivityDate="2016-08-30T10:59:56.110" Title="Photoshop: Video timeline - hide part of a layer" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19260" PostTypeId="1" AcceptedAnswerId="19261" CreationDate="2016-08-30T05:03:25.293" Score="1" ViewCount="2617" Body="&lt;p&gt;I have created a motion logo using After Effects. Now, I want to render it in &lt;strong&gt;H.264&lt;/strong&gt; or &lt;strong&gt;MP4&lt;/strong&gt; format. Now, there are &lt;strong&gt;3&lt;/strong&gt; ways for it:&#xA;1. Using Media Encoder&#xA;2. Export as Premiere Pro Project in After Effects and Use it in Premiere Pro&#xA;3. Save the Project as After Effects project and Import it in Premeire Pro&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, what I want to ask is about quality of the video. Would all ways yield same quality for same format? Or There's difference between them in terms of quality? If yes, what would be best?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My &lt;strong&gt;2&lt;/strong&gt;nd question is: I'm making a short video like a Movie trailer. I would create the scenes in &lt;strong&gt;Pr&lt;/strong&gt; and the Motion Logo (which I've already created in After effects) in &lt;strong&gt;Ae&lt;/strong&gt;. In what way should I render them (I need &lt;strong&gt;MP4&lt;/strong&gt; video)? Import the Motion Logo project in Premiere Pro and render both Logo and Video &lt;strong&gt;OR&lt;/strong&gt; both Video scenes and Logo in Media encoder?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;NOTE: I'm asking these questions in terms of quality of Motion Logo and Video scenes, not in terms of ease of usage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="12245" LastActivityDate="2016-08-30T05:43:17.817" Title="Would rendering After Effects project in Premiere Pro decrease quality?" Tags="|after-effects|premiere|video-quality|adobe-media-encoder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19261" PostTypeId="2" ParentId="19260" CreationDate="2016-08-30T05:43:17.817" Score="1" Body="&lt;p&gt;Importing from AE using dynamic linking and rendering in Premiere or Media Encoder will yield the same quality, but it does give you a little less control over the render settings. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;While in AE you can choose whether to render with frame blending , motion blur, draft settings and so on, Premiere will always render your AE comp with the current settings. So when you're setting up your final render in Premiere, make sure you jump over to AE and turn on motion blur and frame blending and check that all your layers are rendering at full quality, not draft. Most of the time you &lt;em&gt;won't&lt;/em&gt; want these on while you're editing because they slow down the preview so much.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as quality goes I believe that it uses the same render engine, so don't obsess about it. In fact re-encoding from an After Effects render is probably more lossy than importing using dynamic linking, because of the two compression stages. &lt;strong&gt;But you will never &lt;em&gt;ever&lt;/em&gt; notice the difference one way or the other&lt;/strong&gt;, trust me. Any miniscule losses due to things like quantisation errors and so on are going to pale into insignificance with quality lost in the compression to MP4. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use the way that makes it much easier for you. For me that's importing via dynamic linking, allowing me to change things in the AE project without re-rendering all the time and having great big render files all over the place.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-08-30T05:43:17.817" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="19262" PostTypeId="2" ParentId="19258" CreationDate="2016-08-30T10:59:56.110" Score="0" Body="&lt;p&gt;In general, when you use a program as complex as Photoshop, you don't want to fight its idiomatic way of doing things, you want to use it instead.  The idiomatic way of hiding/revealing parts of an image (which, in turn, means parts of a layer or set of layers) is with a mask, which is typically its own layer.  The layering system of Photoshop is a major aspect of its functionality.  Don't fight it or try to not use it.  Learn it, master it, and then use it.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-08-30T10:59:56.110" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19263" PostTypeId="1" AcceptedAnswerId="19264" CreationDate="2016-08-30T11:20:06.817" Score="0" ViewCount="95" Body="&lt;p&gt;this question is probably asked already, but as I am not pro video editor I do not know how to ask properly.&#xA;My question is: how can I add audio transition? I don't mean just fade in or out, I mean actual sounds synced with the visual transition&#xA;When transition occures the proper audio transition plays.&#xA;I can only do it manualy, but it is not the point.&#xA;For example, when the shot changes I want the circle transition with the corresponding sound.&lt;/p&gt;&#xA;" OwnerUserId="16525" LastEditorUserId="4426" LastEditDate="2016-08-31T10:44:31.253" LastActivityDate="2016-08-31T10:44:31.253" Title="How to add audio to transitions in Final Cut" Tags="|audio|final-cut-pro-x|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19264" PostTypeId="2" ParentId="19263" CreationDate="2016-08-30T12:29:24.427" Score="0" Body="&lt;p&gt;Your question is indeed very confusing.  What, exactly, is the corresponding sound to the circle transition?  Is it a cricket?  Is it a car honk?  Is it the sound of a particular church bell ringing?  Is it the sound of a glacier melting?  And what about the sound of a triangular transition?  Or the sound of a vertical vs. horizontal wipe?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These questions are rhetorical; there is no sound associated with these transitions, other than the sounds you creatively choose to associate with them.  Thus, the answer to your question is that you do need to choose those audio transition sounds, and audio transitions, manually.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-08-30T12:29:24.427" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19265" PostTypeId="1" AcceptedAnswerId="19277" CreationDate="2016-08-30T13:10:07.230" Score="2" ViewCount="691" Body="&lt;p&gt;Hello I'm new to StackExchange so I apologize if I'm asking this in the wrong place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question though, at what point does the resolution of a tablet, monitor, television etc. make no difference to the human eye? Will the standards ever stop or will companies keep on milking our wallets forever (silly question really)?&lt;/p&gt;&#xA;" OwnerUserId="16529" LastActivityDate="2016-09-03T08:10:52.493" Title="Is 8k UHD or even 4k UHD actually necessary?" Tags="|video-quality|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19266" PostTypeId="1" CreationDate="2016-08-30T13:11:38.990" Score="1" ViewCount="34236" Body="&lt;p&gt;I've got a simple Premiere project containing a mix of different &quot;vertical videos&quot; (aka videos shot upright with an iPhone). When I'm editing it, it looks fine, but when I go to Export Media, the only option I'm given is 720x480, which ends up adding black bars to the video. I just want to export the video in the original size without the black bars. How can I do this?&lt;/p&gt;&#xA;" OwnerUserId="4163" LastActivityDate="2017-12-25T11:18:41.357" Title="How do I export vertical video in Adobe Premiere CC?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19267" PostTypeId="2" ParentId="19265" CreationDate="2016-08-30T14:14:28.420" Score="0" Body="&lt;p&gt;It depends on viewing distance / angle and pixel pitch, but it's a rare circumstance when 4K will actually be a benefit. In terms of user experience, contrast ratio and color fidelity are more important than resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know of any studies that deal with tablets, but for general viewing anything over 1080p is probably wasted unless you're right on top of the screen: perhaps counter-intuitively, more resolution is wasted unless you move closer to the screen, because the eye can't distinguish more than about 60 pixels per horizontal degree of arc in the central fovea, less outside it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take a look at &lt;a href=&quot;https://carltonbale.com/1080p-does-matter/&quot; rel=&quot;nofollow&quot;&gt;this blog post&lt;/a&gt; for more information.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-08-30T14:14:28.420" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19269" PostTypeId="2" ParentId="19266" CreationDate="2016-08-30T14:27:46.927" Score="0" Body="&lt;p&gt;I don't know all the bits that go into how Export Media chooses the default exporting format (i.e., whether based on timeline, some other deeply hidden preferences, etc), but I do know how to change it.  From the dialog box that opens up, click on the video tab and choose the custom video format you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more information, here's &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/workflow-overview-exporting.html&quot; rel=&quot;nofollow&quot;&gt;the Adobe manual page for exporting workflows&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-08-30T14:27:46.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19271" PostTypeId="1" CreationDate="2016-08-30T15:05:35.470" Score="2" ViewCount="122" Body="&lt;p&gt;I have a video asset that is 1:57 long. When I import it to AE, in Project window it suddenly shows that video is only 1:49;15f long! Why does it happen and how can I get my extra 8 seconds back?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Those 8 hidden seconds contain sound that I need to work with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPD: here's all the data about this video asset (taken with MediaInfo software):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;General&#xA;Complete name                            : D:\work\nuzhnapomosh\SPEC\Cage\thecage_elements_animated\Klekta trailer New Text v02.mov&#xA;Format                                   : MPEG-4&#xA;Format profile                           : QuickTime&#xA;Codec ID                                 : qt   2005.03 (qt  )&#xA;File size                                : 263 MiB&#xA;Duration                                 : 1 min&#xA;Overall bit rate                         : 18.8 Mb/s&#xA;Encoded date                             : UTC 2016-08-28 07:18:49&#xA;Tagged date                              : UTC 2016-08-28 07:19:04&#xA;Writing library                          : Apple QuickTime&#xA;&#xA;Video&#xA;ID                                       : 3&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Main@L4&#xA;Format settings, CABAC                   : No&#xA;Format settings, ReFrames                : 2 frames&#xA;Format settings, GOP                     : M=1, N=50&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 1 min&#xA;Bit rate                                 : 18.6 Mb/s&#xA;Width                                    : 1 920 pixels&#xA;Height                                   : 1 080 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 25.000 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.359&#xA;Stream size                              : 244 MiB (92%)&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2016-08-28 07:18:49&#xA;Tagged date                              : UTC 2016-08-28 07:19:04&#xA;Color range                              : Limited&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.709&#xA;&#xA;Audio&#xA;ID                                       : 1&#xA;Format                                   : PCM&#xA;Format settings, Endianness              : Big&#xA;Format settings, Sign                    : Signed&#xA;Codec ID                                 : twos&#xA;Duration                                 : 1 min&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 1 411.2 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Channel positions                        : Front: L R&#xA;Sampling rate                            : 44.1 kHz&#xA;Bit depth                                : 16 bits&#xA;Stream size                              : 19.7 MiB (8%)&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2016-08-28 07:18:49&#xA;Tagged date                              : UTC 2016-08-28 07:19:04&#xA;&#xA;Other&#xA;ID                                       : 4&#xA;Type                                     : Time code&#xA;Format                                   : QuickTime TC&#xA;Duration                                 : 1 min&#xA;Time code of first frame                 : 00:06:15:21&#xA;Time code, striped                       : Yes&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2016-08-28 07:18:49&#xA;Tagged date                              : UTC 2016-08-28 07:19:04&#xA;&lt;/pre&gt;&#xA;" OwnerUserId="16531" LastEditorUserId="16531" LastEditDate="2016-08-30T16:39:20.020" LastActivityDate="2017-12-24T17:15:37.157" Title="Why does After Effects cut some last seconds of video in Timeline?" Tags="|after-effects|" AnswerCount="1" CommentCount="11" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19272" PostTypeId="1" AcceptedAnswerId="19316" CreationDate="2016-08-30T15:31:13.220" Score="0" ViewCount="76" Body="&lt;p&gt;I'm just curious what the physical limitation is now-a-days that connectors like USB-C and thunderbolt exist. In the past I thought the issue was that the encodings that video cameras put out (probably mostly some variant of h.264 or h.265) required more throughput than USB could offer but now that doesn't really seem to be the case. What's the issue?&lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2016-09-04T04:37:41.380" Title="Why can't modern video cameras be used for live streaming without a capture card?" Tags="|encoding|live-recording|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19275" PostTypeId="1" AcceptedAnswerId="19354" CreationDate="2016-08-30T19:32:58.943" Score="0" ViewCount="43" Body="&lt;p&gt;At the 1:20 mark of this video, the author incorporates a line of sight marker to track the players line of vision. Any suggestions on how he did this? What software he might have used, etc?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to try and reproduce in some of my own videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/_dYy4QGXnns?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="4466" LastActivityDate="2016-09-09T18:33:18.400" Title="Head/Vision Tracking" Tags="|editing|youtube|motion|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19276" PostTypeId="1" CreationDate="2016-08-30T20:13:51.267" Score="1" ViewCount="142" Body="&lt;p&gt;I have a project that seems to keep crashing FCPX. The library for it is pretty massive (all in all about 175gb), but its running off a brand new Thunderbolt external with 2.5TB of space free. Problem report screen shot is below. Is it the App or is the library corrupted? How do I fix this, I need to turn this project out soon. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, my machine is brand new:&#xA;4GHz Intel Core i7&#xA;32GB RAM&#xA;AMD Radeon R9 M395X 4096MB&#xA;EL Capitan 10.11.6&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The project itself is somewhat complex, lots of color correction and chroma keying. Not sure if that has any effect on it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Matt&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0roY0.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0roY0.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16534" LastActivityDate="2018-02-23T18:28:01.257" Title="FCPX Continues to Crash on one project" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19277" PostTypeId="2" ParentId="19265" CreationDate="2016-08-30T22:55:20.097" Score="3" Body="&lt;p&gt;It all depends, of course, on what you are watching and where you are watching it. For instance, if you are showing something on a huge screen in a movie theater, you could definitely perceive a difference between 1080p and 4K. If you are looking at your phone, perhaps not as much. For standard computer monitor sizes, it's still fairly easy for many to see a difference at 4K, purely because we sit so damn close to our monitors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also keep in mind that there are scenarios in which you need to &lt;em&gt;shoot&lt;/em&gt; in 4K in order to &lt;em&gt;distribute&lt;/em&gt; in 2K or 1080p. You may need to zoom into one part of your shot and crop most of it out, which you can get away with if the footage you shot was a higher resolution than what you need to output at. This also applies to any footage that you may need to stabilize (i.e. windy drone footage) since stabilization requires cropping your frame. So in these situations, we not only need cameras to shoot in 4K+, but also monitors and devices that can play them back in their full resolutions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While there are certainly diminishing returns on ever-increasing resolution on small consumer devices, there are people who absolutely perceive the differences between 4K and lower resolutions. Up to 8K and beyond, I'm not so sure, but for the moment, we have not actually crossed that threshold.&lt;/p&gt;&#xA;" OwnerUserId="10784" LastActivityDate="2016-08-30T22:55:20.097" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19279" PostTypeId="2" ParentId="19271" CreationDate="2016-08-31T10:42:31.460" Score="1" Body="&lt;p&gt;Try converting the video to Quicktime ProRes format, or another format that doesn't have intra-frame compression before you import it into After Effects. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-08-31T10:42:31.460" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19280" PostTypeId="2" ParentId="19272" CreationDate="2016-08-31T16:27:51.217" Score="0" Body="&lt;p&gt;I am not 100% sure but I think that there is a need for a minimal system managing the Internet Protocol in order to enable streaming. So it means there would be a need for a CPU, an OS, and a interface to setup all the related settings to the camera too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think the computing power needed for video compression would be possible thanks to a recent processor like the one embedded in smartphone. And of course the rate is no longer a problem for new connections. USB-C would even be able to stream raw video 4K 60fps = 12Gbps. Which is fine for be DisplayPort 1.2a available on USB-C&lt;/p&gt;&#xA;" OwnerUserId="14019" LastActivityDate="2016-08-31T16:27:51.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19282" PostTypeId="1" AcceptedAnswerId="19292" CreationDate="2016-08-31T21:37:53.163" Score="3" ViewCount="6714" Body="&lt;p&gt;I always watch and wonder how some youtubers have a little window on a corner of a gameplay or something...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My doubt isn't on how they get the image, my doubt is on how some youtubers get the video of themselves with a transparent background on top of the gameplay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know this requires a green screen, but I really want to know how this gets automatically edited. I have seen some live gameplay with the transparent effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do the youtubers get a transparent background on a live feed?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I am trying to achieve is, recording myself on a live feed, but with a transparent background... If you see what I mean...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Answers much appreciated,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sid&lt;/p&gt;&#xA;" OwnerUserId="16543" LastEditorUserId="16543" LastEditDate="2016-09-01T10:11:31.303" LastActivityDate="2016-10-01T15:36:05.937" Title="How to record a live video of yourself with a transparent background?" Tags="|editing|greenscreen|live-recording|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19283" PostTypeId="2" ParentId="16151" CreationDate="2016-09-01T08:40:43.350" Score="0" Body="&lt;p&gt;Unfortunately, there are only two version of iMovie: one for Mac OS X (iMac/Macbook) and one for iOS (iPhone/iPad). If you are a Windows user, you'd better to download an alternative to iMovie for Windows to replace iMovie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are numerous of tools that claim to completely do what iMovie does. For more information, visit here: &lt;a href=&quot;http://www.faasoft.com/video-editing/imovie-for-windows.html&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;iMovie for Windows&lt;/strong&gt;&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Windows Movie Maker is another tool to edit video in Windows. visit &lt;a href=&quot;https://support.microsoft.com/en-us/help/18614/windows-essentials#t1=overview&quot; rel=&quot;nofollow&quot;&gt;&lt;strong&gt;here&lt;/strong&gt;&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are not satisfied with the both above, you can also try &lt;strong&gt;VirtualDub, Pinnacle Studio, Shotcut&lt;/strong&gt;, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope it will help you more or less.&lt;/p&gt;&#xA;" OwnerUserId="16547" LastActivityDate="2016-09-01T08:40:43.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19284" PostTypeId="2" ParentId="19276" CreationDate="2016-09-01T09:05:06.110" Score="1" Body="&lt;p&gt;What you could try is on your Mac, create a new user profile from the System Prefs Panel, then log in using that user and try to open up the project using the new users profile. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this woks then I would finish off the project ASAP and once finished, do a system restore on the Mac to get rid of any errors or issues that might happen again&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2016-09-01T09:05:06.110" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19285" PostTypeId="1" CreationDate="2016-09-01T10:59:06.900" Score="2" ViewCount="339" Body="&lt;p&gt;How can i burn or write Full HD videos like (marriage videos) in 1080px720p in regular DVD. I tried many softwares but couldn't get the job done. &lt;/p&gt;&#xA;" OwnerUserId="16548" LastActivityDate="2018-05-31T17:25:11.957" Title="how to burn full hd movies (1080px720p) in DVD" Tags="|video-editor|video-quality|software-recommendation|dvd|full-hd|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19286" PostTypeId="2" ParentId="19285" CreationDate="2016-09-01T11:18:37.717" Score="4" Body="&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/DVD-Video&quot; rel=&quot;nofollow&quot;&gt;DVD Video&lt;/a&gt; is limited to Standard Def, not High Def (HD).  Blu-Ray overcomes that limitation.  Alternatively you can use the DVD as a filesystem and play arbitrary media using a computer.  But as a media container itself, the DVDs limits are very restricted.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-09-01T11:18:37.717" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19289" PostTypeId="1" CreationDate="2016-09-01T14:34:11.437" Score="1" ViewCount="147" Body="&lt;p&gt;I'm using a &quot;PANASONIC LUMIX G II Lens, 20mm, F1.7 ASPH&quot; (MFT) lens to shoot interviews.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, it distorts faces a bit when within 10 feet. I've read (after I bought it, unfortunately) that this lens isn't too well suited to interviews for that reason.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would be a better fit? A wider lens would also be nice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any advice appreciated!&lt;/p&gt;&#xA;" OwnerUserId="11035" LastEditorUserId="10689" LastEditDate="2016-11-03T19:53:16.210" LastActivityDate="2016-11-03T20:01:39.880" Title="Lens that doesn't make faces look fat" Tags="|lenses|interview|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19290" PostTypeId="1" AcceptedAnswerId="19305" CreationDate="2016-09-01T14:39:26.113" Score="4" ViewCount="4284" Body="&lt;p&gt;I'm making a time lapse video. Due to the specific circumstances, the camera is shaking a little when taking the time lapse photos, which is slightly noticeable in the video. In order to remove the shake, I'm using warp stabilizer effect in Adobe Premiere Pro, which works very well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In one scene, the primary object—a flower—is shaking under the effect of the wind: this movement is expected. What should be still, on the other hand, is the background: a field and some trees which are far enough from the camera for the wind effects to be noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, warp stabilizer imagines that it's the object which should be stabilized, meaning that once the effect is applied, it's the background which is now moving relative to the object.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0wXBi.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0wXBi.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That creates a very weird, crazy looking scene, but aside its artistic value, I want warp stabilizer to focus on getting the &lt;em&gt;background&lt;/em&gt; still, while letting the foreground object move because of the wind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I tell warp stabilizer what zone should not move in the final video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/W45ZX.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/W45ZX.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If warp stabilizer effect doesn't have this feature, how can I help the effect to get it right if I have to shoot the time lapse again? For instance, would it help to include a ruler in the photos as a reference of a stable object (the ruler then being cropped after applying warp stabilizer effect)?&lt;/p&gt;&#xA;" OwnerUserId="6250" LastActivityDate="2020-04-23T14:54:46.473" Title="How to help warp stabilizer focusing on the right object?" Tags="|premiere|effects|stabilisation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19291" PostTypeId="2" ParentId="18746" CreationDate="2016-09-01T14:59:24.520" Score="2" Body="&lt;p&gt;I had the same issue. Time remapping worked for me. When you Time Remap, it adds Time Remap keyframes to your layers.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/AMj7z.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AMj7z.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you can extend your layer bar as you usually do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And finally drag Time Remap keyframes to the end of the comp.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/VTjBx.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VTjBx.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That worked for me and didn't stretch the time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope it will work for you as well.&lt;/p&gt;&#xA;" OwnerUserId="16549" LastActivityDate="2016-09-01T14:59:24.520" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19292" PostTypeId="2" ParentId="19282" CreationDate="2016-09-01T15:30:49.947" Score="3" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;I really want to know how this gets automatically edited.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The technique is called &lt;a href=&quot;https://en.wikipedia.org/wiki/Chroma_key&quot; rel=&quot;nofollow&quot;&gt;chroma key&lt;/a&gt; and consists of considering as transparent all pixels of the colors within a specified range. This is usually used with a bluescreen or a green background. The image is then simply layered over another background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you have noticed, chroma key is not limited to postprocessing: &lt;a href=&quot;https://www.google.fr/search?q=chroma%20key%20real-time&quot; rel=&quot;nofollow&quot;&gt;a lot of software products&lt;/a&gt; can do this in real-time for live streaming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By the way, if you have used Google Hangouts, &lt;a href=&quot;http://www.googleplusdaily.com/2013/07/google-effects-for-google-hangouts.html&quot; rel=&quot;nofollow&quot;&gt;one of the effects&lt;/a&gt; consists of replacing the background by an image. Don't be mislead by this, since this has nothing to do with a bluescreen and doesn't require any specific color for the background; I imagine that Hangouts' algorithm rather assumes that parts that don't move are the actual background.&lt;/p&gt;&#xA;" OwnerUserId="6250" LastActivityDate="2016-09-01T15:30:49.947" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19293" PostTypeId="2" ParentId="8999" CreationDate="2016-09-01T19:18:45.560" Score="0" Body="&lt;p&gt;Draft that we bundle with Deadline was built to do this sort of thing. Full disclosure: I work for the company that makes this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Docs for Draft's fancy features.&#xA;&lt;a href=&quot;http://docs.thinkboxsoftware.com/products/draft/1.5/Documentation/#basic-operations&quot; rel=&quot;nofollow&quot;&gt;http://docs.thinkboxsoftware.com/products/draft/1.5/Documentation/#basic-operations&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Minimum cost is about $200 US at the moment for one machine, but you get a huge amount of process automation here.&lt;/p&gt;&#xA;" OwnerUserId="16553" LastActivityDate="2016-09-01T19:18:45.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19296" PostTypeId="2" ParentId="13266" CreationDate="2016-09-02T09:52:46.660" Score="-1" Body="&lt;p&gt;Its just the really bad implementation of the new code in CC. Adobe have released too many versions without adequate testing. They have made the suite rentalware so there is less pressure on them to produce high quality updates. As a result, their software is full of bugs.&lt;/p&gt;&#xA;" OwnerUserId="16558" LastEditorUserId="2836" LastEditDate="2016-09-02T13:27:24.743" LastActivityDate="2016-09-02T13:27:24.743" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19297" PostTypeId="1" CreationDate="2016-09-02T11:12:09.670" Score="0" ViewCount="3259" Body="&lt;p&gt;I know what is Alpha channel but when I rendered a motion logo using &lt;strong&gt;RGB&lt;/strong&gt; and &lt;strong&gt;RGB + Alpha&lt;/strong&gt; in &lt;strong&gt;After Effects&lt;/strong&gt;, I didn't see any difference. So what's the basic difference between them and how to decide which should be used?&lt;/p&gt;&#xA;" OwnerUserId="12245" LastActivityDate="2016-09-02T11:22:39.703" Title="What is the difference between RGB and RGB + Alpha?" Tags="|after-effects|color|alpha|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19298" PostTypeId="2" ParentId="19297" CreationDate="2016-09-02T11:22:39.703" Score="1" Body="&lt;p&gt;The alpha channel is a grayscale 2D image plane of the same size as the RGB image, and is used when overlaying (or blending) the image on top of another image. If the value of an alpha pixel is zero, then the corresponding RGB pixel is invisible when the image is overlaid. If the value is 255 (in an 8-bits per channel image), then the RGB pixel is fully opaque. For intermediate values, you get a composite result, depending on the blending mode used. When viewed in a video player, you won't notice a difference because there's no other video 'underneath'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://en.wikipedia.org/wiki/Alpha_compositing&quot; rel=&quot;nofollow&quot;&gt;Alpha compositing&lt;/a&gt; for more details.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-09-02T11:22:39.703" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19299" PostTypeId="1" AcceptedAnswerId="19301" CreationDate="2016-09-02T12:18:17.293" Score="0" ViewCount="1330" Body="&lt;p&gt;I've got 20 videos with the same static background. Unfortunately during filming the camera was nudged so the background doesn't line up exactly across all the videos. Is there a way I can automatically crop, rotate and move the videos so the videos lineup precisely? &lt;/p&gt;&#xA;" OwnerUserId="16560" LastActivityDate="2016-09-15T19:41:43.193" Title="Align multiple videos with the same static background" Tags="|premiere|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19300" PostTypeId="2" ParentId="11898" CreationDate="2016-09-02T13:06:22.327" Score="17" Body="&lt;p&gt;&lt;a href=&quot;http://www.ffmpeg.org/download.html&quot; rel=&quot;noreferrer&quot;&gt;ffmpeg&lt;/a&gt; looks promising. Might be worth a shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Specifically, the &lt;a href=&quot;https://www.youtube.com/watch?v=eXfp4S1xZsw&quot; rel=&quot;noreferrer&quot;&gt;command&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i audio.m4a -acodec copy -vcodec copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;should do the trick.&lt;/p&gt;&#xA;" OwnerUserId="16561" LastEditorUserId="-1" LastEditDate="2018-12-20T20:26:36.457" LastActivityDate="2018-12-20T20:26:36.457" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="19301" PostTypeId="2" ParentId="19299" CreationDate="2016-09-02T13:29:39.977" Score="1" Body="&lt;p&gt;20 videos is not very many videos, and if the nudge happened between takes rather than during takes, the best approach is to align them manually, either by using the difference mode of a compositor or setting the opacity of each video to 50% and nudging them until all the backgrounds line up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you had 20,000 videos, I would suggest starting with Hugin, a tool for processing HDR and panoramic photos.  The HDR problem concerns aligning multiple images so that a tone-mapping can be applied.  The alignment heuristics for HDR would also align your videos (especially if you only compute the alignment parameters for the portion of your videos that are reliably background).  You could play around with parsing the output of the &lt;a href=&quot;http://wiki.panotools.org/Cpfind&quot; rel=&quot;nofollow&quot;&gt;Hugin control point finder&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-09-02T13:29:39.977" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19302" PostTypeId="1" CreationDate="2016-09-03T01:40:44.413" Score="2" ViewCount="157" Body="&lt;p&gt;I'm using three LED lights for interview recording - do I need a light box for them? I am mostly doing seated interview recording. Portability is important as I'm travelling for most of these interviews so skipping the diffusion would help, but I'm happy to include them if they're going to make a big difference. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm shooting with a GH4 and three LEDs (Savage Lumiunous Pros) so they're dimmable and switchable between 3200K and 5600K. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any advice for someone who's a bit of an idiot about this stuff is really welcomed!&lt;/p&gt;&#xA;" OwnerUserId="16445" LastActivityDate="2016-09-07T00:09:51.927" Title="Lightbox required with LED Lights?" Tags="|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19304" PostTypeId="2" ParentId="19302" CreationDate="2016-09-03T07:56:38.373" Score="2" Body="&lt;p&gt;Depends on how big the panels are, I'm assuming these are LED panels. Really, you only need 2 lights for the subject, and 1 light if you want to stylize the background. You can use a foamcore if you need fill. You want the panel or box to be as large as possible. I shoot most of my interviews with a 1.2K ArriSun HMI, but it uses a large Chimera with grid. So it's very very soft. Then boom a joker either over head or from and hitting the person's face on the short side of the frame. This gives a nice cut out, and the soft light from the Key Light is perfect. If you cant get your hands on a large softbox, depending on the output power of your LEDs, bounce. The best lighting, and nearly all lighting in Hollywood, is bounced light. Bounce your lights off a board, carry different sizes with cookies, and cutouts, make some dots to shape the light. For background, a single 1K tungsten lamp will do, you can gel it, or wrap it black wrap, poke holes in the black wrap, tear it, to create patterns, or natural shapes. If portable is key, you want your lights to be as high output as possible, smallest package... this means HMI, with LEDs, my biggest reason for not jumping over, is you have to carry a lot of extra grip equipment to get the lights where they need to be... because the output is a fraction of what an HMI puts out. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-09-03T07:56:38.373" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19305" PostTypeId="2" ParentId="19290" CreationDate="2016-09-03T08:03:18.010" Score="1" Body="&lt;p&gt;You'll need to do this in After Effects, using the Tracking feature, where you add tracking points to specific points and then it crops in a bit and does the same magic. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issue with your footage is going to be the fact that your background is outside of the hyperfocal, by far. So I can't see even AE being able to track that. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To solve, for your next shoot, put a stick in the ground, with a dot, like a piece of bright spike tape. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then mat it out in post. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But Premiere won't do this well, and because your shot requires the background to be stabilized, which is a total blur, it's going to be tough, if not impossible. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-09-03T08:03:18.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19306" PostTypeId="2" ParentId="19289" CreationDate="2016-09-03T08:05:35.170" Score="1" Body="&lt;p&gt;70mm to 100mm is the ideal portrait range. Although I prefer a farther throw many times simply for the look. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wider will distort, longer will compress. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;20mm, that's wide- very for full frame or even a crop sensor. Are you sure of that?&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-09-03T08:05:35.170" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19307" PostTypeId="2" ParentId="19265" CreationDate="2016-09-03T08:10:52.493" Score="0" Body="&lt;p&gt;My experience in viewing a lot of 4k and some 8k, is that 4k will be the threshold... thank god. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This upgrade pattern over the last 10 years has been crazy. We went from SD which was the standard for eons, to 720 to 1080 to 4 in like under a decade. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Theaters, use 4K. So if 4K projected on a screen 24 feet high is high enough quality, it's certainly going to appear sharp as hell on a 72&quot; home screen. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I viewed a 4K and 8K side by side, I did not see any perceivable difference, in terms of sharpness, from a few feet away. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-09-03T08:10:52.493" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19308" PostTypeId="1" AcceptedAnswerId="19309" CreationDate="2016-09-03T09:48:54.270" Score="2" ViewCount="790" Body="&lt;p&gt;I have a video of 2000 x 200 pixels in resolution&#xA;I need to grab two parts inside that video (cut into the image, not trimming).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to grab a piece of 500 x 200 pixels from coordinates (0,0) and another 500 x 200 pixels from coordinates (1000,0), then merge them side by side into a new 1000 x pixels video file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/e0ni4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/e0ni4.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;is that possible ?&lt;/p&gt;&#xA;" OwnerUserId="16564" LastEditorUserId="16564" LastEditDate="2016-09-03T09:58:42.007" LastActivityDate="2016-09-03T11:23:51.520" Title="extract parts of images from a video and save it to a file" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19309" PostTypeId="2" ParentId="19308" CreationDate="2016-09-03T10:31:02.000" Score="4" Body="&lt;p&gt;Sure. Command template is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mov -filter_complex &quot;[0]crop=500:200:0:0[l];[0]crop=500:200:1000:0[r]; \&#xA;                                     [l][r]hstack&quot; final.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-09-03T10:31:02.000" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19312" PostTypeId="2" ParentId="14712" CreationDate="2016-09-03T14:34:29.167" Score="3" Body="&lt;p&gt;This is the command line I have used to encode ProRes 4444. If you do not include &lt;code&gt;-bits_per_mb&lt;/code&gt; you will get low res results in Windows 10. Many posts do not mention this little aspect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -f mov -i input-file.mov -vcodec prores_ks -pix_fmt yuva444p10le -profile:v 4444 -bits_per_mb 8000 -s 1920x1080 output-file.mov&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="16567" LastEditorUserId="16568" LastEditDate="2016-09-03T15:29:52.180" LastActivityDate="2016-09-03T15:29:52.180" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19313" PostTypeId="1" CreationDate="2016-09-03T20:01:27.410" Score="1" ViewCount="2130" Body="&lt;p&gt;My photo camera records FullHD video at 50fps, and when I import the videos into iMovie (version 10.1.2 according to the app store) the frame rate stays there, I can see smooth videos playing in the library. However, when I drag a 50fps video to the timeline of an empty project, the frame rate is visibly reduced, and when I export the video I get a 30fps movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything I can do to maintain the 50fps through the edition process and into the output?&lt;/p&gt;&#xA;" OwnerUserId="6553" LastActivityDate="2017-02-01T16:19:41.457" Title="How can I use 50fps media in iMovie 11 and avoid a frame drop to 30fps?" Tags="|framerate|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19315" PostTypeId="2" ParentId="19275" CreationDate="2016-09-04T00:51:46.467" Score="2" Body="&lt;p&gt;It doesn't really look like it is actually being tracked.  It looks like a manual overlay of a line on to it based on the head movement.  It really doesn't look particularly accurate either from what I can tell.  Something like Adobe After Effects (paid) or Black Magic's Fusion (free) can easily be used to accomplish this, though they do both have a learning curve.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2016-09-04T00:51:46.467" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19316" PostTypeId="2" ParentId="19272" CreationDate="2016-09-04T04:37:41.380" Score="0" Body="&lt;p&gt;It's theoretically possible, so there is no longer a physical limitation owing to bandwidth as you mentioned. However, it is costly and time consuming for the camera manufacturer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would require them to choose from one of a few options for delivering video live and on-demand which would impact quality, cost and user experience. One method is to use the standard USB camera device protocols that webcams typically use. A very different technique would be to encode H264 into an Internet based streaming protocol and send that through USB. Yet another is to use WiFi with a proprietary app which some cameras use. Each have their advantages and disadvantages.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are products that span all of these options and others that have HDMI or SDI outputs. It seems like output method is more of a question of use case and product specialization than it is a physical limitation anymore.&lt;/p&gt;&#xA;" OwnerUserId="16572" LastActivityDate="2016-09-04T04:37:41.380" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19318" PostTypeId="2" ParentId="19313" CreationDate="2016-09-04T13:36:30.283" Score="1" Body="&lt;p&gt;While it is unfortunate that iMovie drops by default from 50fps to 30fps, it also upscales videos to 60fps if the project is started with a 60fps clip! I've ended making myself a one second 60fps dummy clip which I drag &lt;strong&gt;first&lt;/strong&gt; into the project line. After dropping this dummy clip, I verify that the archive export dialog shows 60fps FullHD option, then add the other 50fps clips. At the end I remove the 60fps dummy clip and the project still allows exportation at 60fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this situation iMovie will upscale the 50fps video to 60fps, generating a duplicate frame every five to compensate. Still, this is &lt;strong&gt;much&lt;/strong&gt; better than dropping from 50 to 30 frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The most important thing to remember is that the option to export at 60fps is only available if the &lt;strong&gt;first&lt;/strong&gt; clip dragged into the project is recorded at 60fps. If you already have a full project at 30fps dragging the 60fps clip won't help. So remember, drag always the 60fps dummy clip first!&lt;/p&gt;&#xA;" OwnerUserId="6553" LastActivityDate="2016-09-04T13:36:30.283" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19320" PostTypeId="1" CreationDate="2016-09-04T20:58:51.153" Score="0" ViewCount="174" Body="&lt;p&gt;I want each frame of video to get added on top of the previous frames. I don't want any of them to fade out. I am shooting locked down with a black background. A model moves through the frame with a light. I want to stack the frames one on top of the others so that the light moves through the frame and the last frame shows the path taken as a light trail. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the easiest way to add each new frame on top of the rest? I would like to avoid putting a separate layer for each frame manually.&lt;/p&gt;&#xA;" OwnerUserId="16584" LastActivityDate="2016-11-04T04:09:22.657" Title="How to stack frames of a video together using lighten blending mode?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19321" PostTypeId="2" ParentId="19320" CreationDate="2016-09-04T23:05:31.967" Score="3" Body="&lt;p&gt;Use &quot;Echo&quot; effect. I believe it will suite you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need adjust it. Make number of echos equal to your frame count.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2016-09-04T23:05:31.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19324" PostTypeId="1" AcceptedAnswerId="19325" CreationDate="2016-09-05T10:43:36.840" Score="8" ViewCount="9083" Body="&lt;p&gt;I recorded a &quot;slow-motion&quot; video with my Android phone and transferred it to my Windows computer. Now I have an MP4 file with a frame-rate of 240 fps. But when I play the video, it plays at normal speed.  I want to create a video that I can upload to YouTube or Facebook that plays at 1/8 speed (30 fps).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought I could do that with the free Movie Maker that comes with Windows. But when I select 1/8 speed it comes out chunky. It looks like the software converted the video to 30 fps when it loaded, and is now playing back that 30 fps video at 1/8 speed.  I'm guessing that Movie Maker can't do what I want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I create a video so that when someone plays that video they see it in slow-motion?&lt;/p&gt;&#xA;" OwnerUserId="16589" LastActivityDate="2016-09-05T11:03:28.007" Title="Convert high frame video to slow motion video" Tags="|windows|slowmotion|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19325" PostTypeId="2" ParentId="19324" CreationDate="2016-09-05T11:03:28.007" Score="10" Body="&lt;p&gt;You can use &lt;a href=&quot;https://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;noreferrer&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool, to do this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf setpts=8*PTS -r 30 -crf 18 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This slows down the video 8 times and output is 30 FPS.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-09-05T11:03:28.007" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19326" PostTypeId="1" CreationDate="2016-09-05T22:52:11.803" Score="0" ViewCount="77" Body="&lt;p&gt;&lt;strong&gt;How do I label my Composition clips in the Layer/Timeline panel, based on how they are categorized/binned in the Project panel?&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I have a composition created by Adobe Premiere of about 100 items&lt;/li&gt;&#xA;&lt;li&gt;I've set the label for each clip/asset in the Project pane&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I have bins for each label&lt;/li&gt;&#xA;&lt;li&gt;I did this because the different clips were shot with different light, and I want to correct for this&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;I see my clips in the Layer/Timeline panel&lt;/li&gt;&#xA;&lt;li&gt;...with labels...&lt;/li&gt;&#xA;&lt;li&gt;yet the labels are NOT the same as how they appear for the same assets above, in the Project panel!&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Q: why are these labels inconsistent?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Q: I want to apply a effect preset I have to a subset of the clips, which is already labelled and binned in the Project pane.  How?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="5987" LastActivityDate="2016-09-06T16:42:30.483" Title="Adobe After Effects labels: Project vs Layer/Timeline" Tags="|after-effects|premiere|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19328" PostTypeId="1" CreationDate="2016-09-06T14:22:27.387" Score="1" ViewCount="102" Body="&lt;p&gt;I'm editing a small animation video (&lt;code&gt;.mp4&lt;/code&gt;) of our app with After Effects (cropping composition to region of interest). I then add the composition to Adobe Media Encoder Queue and process it with the preset on my composition being &lt;code&gt;Match source - High bitrate&lt;/code&gt;, encoded at H.264 as it's meant to be displayed on the web. Initially the filesize of the file is 8.3mb - after rendering, it's 30mb+ ! Why is this happening (I don't see how the quality can be better than it initially is) and what settings should I be using to export the .MP4 while keeping the video the same quality and a slightly lower filesize, as it should be? &lt;/p&gt;&#xA;" OwnerUserId="16598" LastActivityDate="2016-11-21T22:37:04.700" Title="How do I preserve the filesize of an MP4 edited in After Effects?" Tags="|after-effects|mp4|h.264|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19329" PostTypeId="2" ParentId="19328" CreationDate="2016-09-06T16:35:41.760" Score="1" Body="&lt;p&gt;In general, it's better to work with lossless, or at least, less lossy formats than MP4 if you're going to be re-editing the video.  If you can, work from a ProRes or Animation codec .mov file of the original file.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you export, adjust the bitrate of the video by entering specific bit rate numbers... &lt;a href=&quot;https://vimeo.com/help/compression&quot; rel=&quot;nofollow noreferrer&quot;&gt;Vimeo suggests&lt;/a&gt; between 10,000-20,000kbps for HD video.  Adjust it downwards until you get the output file size you want, but bear in mind the quality will reduce as the number goes down.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2016-11-21T22:37:04.700" LastActivityDate="2016-11-21T22:37:04.700" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19330" PostTypeId="2" ParentId="19326" CreationDate="2016-09-06T16:42:30.483" Score="2" Body="&lt;p&gt;Try clicking on the &quot;Layer Name&quot;/&quot;Source Name&quot; column title in the timeline.  It should toggle between the name in your Project bin, and the name you've given the layer in the comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FmNzK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FmNzK.png&quot; alt=&quot;source name&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/jovug.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jovug.png&quot; alt=&quot;layer name&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-09-06T16:42:30.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19333" PostTypeId="1" CreationDate="2016-09-06T19:06:05.307" Score="1" ViewCount="1483" Body="&lt;p&gt;I've tested this on numerous videos: whenever I try to track motion in a video, the track point just flys straight up.. no matter how many different ways I've tried it, it also does this. I've linked a gif of what I'm talking about.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hadn't touched AE for a few months, and motion tracking worked fine before, the only difference between now and then is 1-2 windows updates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help, I need this for a production due Friday (if this is the wrong place to ask this question please let me know)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;gif of problem - &lt;a href=&quot;http://giphy.com/gifs/l2SpXUaPwPEoz4LzW&quot; rel=&quot;nofollow&quot;&gt;http://giphy.com/gifs/l2SpXUaPwPEoz4LzW&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="16000" LastActivityDate="2016-09-18T22:15:11.987" Title="After Effects: Strange motion tracking problem" Tags="|after-effects|motion|tracking|" AnswerCount="2" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="19335" PostTypeId="2" ParentId="19302" CreationDate="2016-09-07T00:09:51.927" Score="1" Body="&lt;p&gt;Scrim or trace is good over LED panel lights, even just to get rid of the fringes in the shadows. For softening the light source the further away from the light source you hang the diffuser the better, because it makes the apparent light source bigger and therefore softer, even a few inches makes a difference. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My 'fits-in-the-carry-on-luggage' 3 point interview set up is this: I have a LED key (a &lt;a href=&quot;https://www.bhphotovideo.com/c/product/1259673-REG/aladdin_ams_fl50bi_bi_flex1_bi_color_led_panel.html&quot; rel=&quot;nofollow&quot;&gt;flexible LED panel&lt;/a&gt; - really recommended for doco work) and a couple of strips of card that I tape to it that hold the scrim out 10cm or so from the panel, it works well as a small soft key light for interviews. For fill I usually use a &lt;a href=&quot;https://www.bhphotovideo.com/c/buy/Collapsible-Reflectors/ci/1327/N/3662541020&quot; rel=&quot;nofollow&quot;&gt;folding circular reflector&lt;/a&gt;, and if needs be I aim another LED panel at it. Then I also have a small &lt;a href=&quot;https://www.bhphotovideo.com/c/product/298701-REG/Dedolight_DLHDIM4U_DLH4_150W_Spotlight_with.html&quot; rel=&quot;nofollow&quot;&gt;DedoLight&lt;/a&gt; spot which I use as a rim  or 'hair' light or to add spots or slashes of light to the BG.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also remember to look for natural lighting. It can be problematic, like when there is bright sun outside and a dark interior, but if you use windows and practical lights as sources intelligently and then augment with what you have in the kit you can get good results with less gear, and you get a more &lt;em&gt;verité&lt;/em&gt; look than a Hollywood style lighting setup.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As CoinRocket said, bouncing is better, but generally LEDs don't give you enough grunt to be any use as a key light when bounced. A 1.2K HMI is an order of magnitude brighter than a battery powered LED.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There also inflatable softboxes that win as far as portability goes. I haven't used them but I've seen good reviews.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-09-07T00:09:51.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19336" PostTypeId="1" AcceptedAnswerId="19340" CreationDate="2016-09-07T14:06:25.493" Score="1" ViewCount="102" Body="&lt;p&gt;What are the main considerations in setting up a render farm?  We're considering adding an internal render farm to our workflow (we have both Avid and Adobe).  I'm seeing that there are cloud based services, and I'm wondering if it makes more sense to go that route rather than make a significant investment in hardware. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="4957" LastEditorUserId="4957" LastEditDate="2016-09-08T12:20:27.747" LastActivityDate="2016-09-08T12:20:27.747" Title="render farm newbie questions" Tags="|animation-rendering|aerender|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19338" PostTypeId="1" CreationDate="2016-09-08T04:55:11.033" Score="1" ViewCount="261" Body="&lt;p&gt;This is a little long, but hopefully will make sense...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am shooting with a GH4 to record interviews and cuts the videos into 4GB segments. I'm recording the audio with a Zoom (external recorder). So I end up with a multiple video files with in-camera audio (which I use just for syncing) but one large .wav file from the recorder. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the issue. I want to be able to sync the video but also use proxy videos since I'm recording at 4K (but producing 1080p). Here are the options as I see them but maybe something I'm missing: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Concatenate the videos so that I can sync the .wav file but then I lose the ability to use proxy videos (I'd have to re-encode before editing)&lt;/li&gt;&#xA;&lt;li&gt;Edit with proxy videos but then syncing and splitting the audio to the multiple videos becomes really difficult. &lt;/li&gt;&#xA;&lt;li&gt;Concatenate without reencoding so i can sync the .wav files, but then cut it up into manageable chunks for editing. But the multiple encoding it concerns me.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm using Prelude to log my footage, then Premiere to edit it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a senseable answer I'm missing? I hate all three options.&lt;/p&gt;&#xA;" OwnerUserId="16445" LastActivityDate="2016-09-08T04:55:11.033" Title="Prelude and Premiere Workflow with DSLR and External Audio" Tags="|premiere|audio|dslr|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19340" PostTypeId="2" ParentId="19336" CreationDate="2016-09-08T07:33:52.270" Score="1" Body="&lt;p&gt;I'm not an economist, but I have built and run a small render farm. I'd make the decision on a ROI basis: will you get back a return from your investment? I can't answer this for you, you'll need to add up all the costs for both options and compare. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Costs for a physical render farm are mostly fixed - i.e. the capital outlay, but you have to factor in depreciation, maintenance and electricity, and the price of housing it. Costs for a cloud-based solution are all on a usage basis.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So a cloud-based solution would work if you only need it occasionally, especially if you need massive render power that would cost a lot to set up and run. Commercial render farms can have thousands of processors, meaning that rendering a sequence takes only as long as it takes to render the longest frame. So cloud farms have the edge in terms of scale. A con with cloud based systems is that you have to trust a third party with your intellectual property. There's also the overhead of sending and receiving the files, depending on your internet connection (a bit of an issue here in Australia).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A physical render farm makes sense if you're using it all the time, and you can afford the upfront cost for the size of farm you need. It has the advantage that it's always available, and using it is (almost) free, so you can use it for things you wouldn't bother sending to a commercial render farm. After all, the more you use it, the more your return.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An inexpensive way of building up a render farm is to retire workstation machines to the farm, thus adding extra value to them. The downside of using older machines is the energy cost - generally they do less computing per watt-hour than newer machines.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-09-08T07:33:52.270" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19342" PostTypeId="1" AcceptedAnswerId="19346" CreationDate="2016-09-08T15:59:26.350" Score="12" ViewCount="4530" Body="&lt;p&gt;I'm a software engineer but as the junior member on the team I was tasked with making a looping demo for our product that will be played continuously at an upcoming convention.  The video is not only an advertisement for our software but also for some of the hardware platforms that it runs on, so I have to introduce a number of products and logos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After a month of working on this I've trimmed and snipped down to a tight 4 minutes, but some transitions between clips and stills just feel &lt;em&gt;off&lt;/em&gt; to me.  I've tried a one-size-fits-all-but-not-really with &quot;Cross Dissolve&quot;.  I've also tried a spectrum of slides, wipes and dissolves but it feels like someone's PowerPoint presentation from the late 90's (minus the stock sound effects).  Does this community have any guidelines that they follow when creating transitions in their own projects?&lt;/p&gt;&#xA;" OwnerUserId="16370" LastActivityDate="2019-09-17T02:19:38.900" Title="Is there a rule of thumb for transitions in video production?" Tags="|video|premiere|video-editor|transitions|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19345" PostTypeId="1" CreationDate="2016-09-08T20:04:02.533" Score="3" ViewCount="66" Body="&lt;p&gt;Is there a way - in Linux - to stabilize with respect to a certain edge or region in the video? My situation:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a video taken with a tripod (well, not exactly, the camera is suspended and slightly shaken and rotating, but not by much).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the video there are a lot of moving objects - I want the image to be stabilized according to a jagged edge. I've tried &lt;code&gt;transcode&lt;/code&gt; with &lt;code&gt;vid.stab&lt;/code&gt;, specifically &lt;code&gt;transcode -J transform=tripod=1 ...&lt;/code&gt;, but there is much more movement in the image than before stabilisation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As stated at the beginning of this question: Can I define a region in my image that is a non-moving object and stabilize according to this object?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there is no linux software to do this, is there any other free (preferably open source) software that can do this?&lt;/p&gt;&#xA;" OwnerUserId="3640" LastActivityDate="2016-09-08T20:04:02.533" Title="video stabilisation of tripod-taken video with many fast moving objects" Tags="|linux|stabilisation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19346" PostTypeId="2" ParentId="19342" CreationDate="2016-09-08T20:30:09.017" Score="12" Body="&lt;p&gt;A while back I ran some introductory video editing workshops. I used to tell the participants about a particularly cool effect that I once found in Pinnacle; it was a pinhata that came swinging into the first video along with a stick that hit the second video out of it and it unfolded across the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The point of this anecdote is the following: &lt;strong&gt;Don't use transition presets&lt;/strong&gt;. Like, at all. Sure it looks cool in the preview reel, but all those fancy swipes, wipes, slides et c. are just distracting and ugly. Of course it depends on what kind of video you're making, but I would always try if it works with no transitions at all first (i.e. hardcuts). If it doesn't, maybe try a simple, short cross dissolve (like, 0.5 seconds max) or maybe a dip to black. But keep your hands off all the other transition presets. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My rules of thumb are the following:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Don't use transitions.&lt;/li&gt;&#xA;&lt;li&gt;If you have to use transitions, use as little as possible and &lt;strong&gt;be consistent&lt;/strong&gt;. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The second point is particularly important, even if you're a fan of transitions. Be consistent with (a) what type of transition you use and (b) when you use them. For example, if you use a transition to visually seperate two scenes for the first half of your movie and then suddenly start using a transition for every cut in a scene, it's confusing and distracting. And if you drop different transitions every time, it looks like a crappy Youtube AMV made by a 12 year old. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, watch Star Wars (the prequels). They use those swipes and slides with soft borders all over the place. I don't really like those, but at least they're consistent with it. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;but some transitions between clips and stills just feel off to me&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This may be opinionated, but in my experience a transition looks weird as soon as you notice it. The best possible transition is the one you don't notice, because a transition is a tool to better tell your story, not a story element itself. And the easiest way to have a transition that you don't notice is to not use one at all.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-09-08T20:30:09.017" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19347" PostTypeId="1" CreationDate="2016-09-09T00:23:10.727" Score="1" ViewCount="449" Body="&lt;p&gt;I am trying to make an intro for a video where the video only plays within an image. In &lt;a href=&quot;https://www.youtube.com/watch?v=Bz2wD4XZ3GM&quot; rel=&quot;nofollow&quot;&gt;this video&lt;/a&gt;, during the first 5 seconds, an image appears as white over the video and then switches to the video playing within the image over black. How do I reproduce that effect?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Bz2wD4XZ3GM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="16622" LastEditorUserId="14523" LastEditDate="2016-09-12T15:52:44.060" LastActivityDate="2016-12-09T22:44:10.850" Title="How do I make a video play on an image?" Tags="|special-effects|visual-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19348" PostTypeId="2" ParentId="19342" CreationDate="2016-09-09T00:28:45.873" Score="4" Body="&lt;p&gt;The least noticeable transition is a cut. Any transition, even a dissolve takes some time and draws attention to itself to some extent. That means a transition (and here I'm using transition to mean anything else but a hard cut) becomes part of the story that you're telling. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example a dissolve would seem at first glimpse to be a way of merging two shots, but it actually has the effect of separating them, implying that the second shot is occurring later or at a different location; it's a bit like the box in the corner of a comic frame saying &quot;meanwhile…&quot; or &quot;later…&quot;. Other transitions draw even more attention to themselves and become part of the look and content of the film. Don't use them just because they look cool, they have to be motivated by the story you're trying to tell if they're not going to look like they've been hot-glued on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that cuts can also be noticeable. Any cut from one shot to a similar shot, e.g. two similarly framed shots of an interview subject, will jump - it's called a jump cut. Counter intuitively the way to make a cut less apparent is to make the two shots it separates &lt;em&gt;different&lt;/em&gt; from each other. So if you want to cut two shots of the same subject together you go from a close to a wide or vice versa. Another way to motivate a cut is with movement. Matching movement within the frame will often sell a cut that wouldn't work with static content. Entrances and exits to the frame likewise will motivate a cut.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There has been a lot of study done about this; basically what I'm describing is the craft of editing - as opposed to knowing how to use editing software which lots of people mistake for being the same thing. Edward Dmytric's &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/0240517385&quot; rel=&quot;nofollow&quot;&gt;&lt;em&gt;On Film Editing&lt;/em&gt;&lt;/a&gt; is a good read, as are Walter Murch's books particularly &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/1879505622&quot; rel=&quot;nofollow&quot;&gt;&lt;em&gt;In the Blink of An Eye&lt;/em&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-09-09T00:28:45.873" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19349" PostTypeId="1" CreationDate="2016-09-09T08:54:43.730" Score="0" ViewCount="1555" Body="&lt;p&gt;I know about rendering and exporting. But it's about some video clips having different FPS. For example, my current practice project has: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1.&lt;/strong&gt; Motion Title (29.97 FPS) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2.&lt;/strong&gt; Video clip 23.976 FPS &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;3.&lt;/strong&gt; Other video clips with 24/23.976 FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have edited all of them in &lt;strong&gt;After Effects&lt;/strong&gt;. And I'm going to export them as .mov/.avi (lossless) and finally export as compressed format (.MP4) using &lt;strong&gt;Premiere Pro&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this, I'm supposed to change Pr sequence settings to 29.97 FPS and drag all clips into it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now question is: Would it affect the quality of the clips that don't match with 29.96 FPS?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another question: Is it better to compress them individually with their respective FPS settings and COMBINE them later with some software (If such professional software exists)?&lt;/p&gt;&#xA;" OwnerUserId="12245" LastActivityDate="2016-10-10T20:28:12.653" Title="What is the right way to export videos with different FPS?" Tags="|video|after-effects|premiere|animation-rendering|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19352" PostTypeId="1" AcceptedAnswerId="19353" CreationDate="2016-09-09T17:07:56.650" Score="1" ViewCount="950" Body="&lt;p&gt;I am experimenting with losslessly compressing some raw video.  How can I perform a frame hash on the encoded output &lt;em&gt;before or while&lt;/em&gt; writing it to the file system?  I want to make an &lt;code&gt;original.hashes&lt;/code&gt; and a &lt;code&gt;compressed.hashes&lt;/code&gt;.  (I will compare them with another tool later.)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 30 -start_number 0 -i &quot;%IMAGES_DIRECTORY%\%%03d.png&quot; ^&#xA;-filter_complex &quot;split=3 [copyHash] [copyLossless] [otherIn]; [otherIn] {some filter here} [otherOut]&quot; ^&#xA;-map [copyLossless] -c:v libx264rgb -qp 0 -pix_fmt rgb24 &quot;%IMAGES_DIRECTORY%\lossless.avi&quot; ^&#xA;-map [copyHash] -f framehash -hash SHA512 &quot;%IMAGES_DIRECTORY%\original.hashes&quot; ^&#xA;-map [otherOut] {some other encoding} someOtherFile.idc&#xA;&#xA;ffmpeg -start_number 0 -i &quot;%IMAGES_DIRECTORY%\lossless.avi&quot; -pix_fmt rgb24 -f framehash -hash SHA512  &quot;%IMAGES_DIRECTORY%\decoded.hashes&quot;&#xA;&#xA;comp original.hashes decoded.hashes&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So above, I would like to avoid the second call to ffmpeg.  Like if I could split the &lt;code&gt;lossless.avi&lt;/code&gt; output of the first call to two new streams:  One to the file system and one to a demuxer feeding the hash muxer.&lt;/p&gt;&#xA;" OwnerUserId="16627" LastEditorUserId="16627" LastEditDate="2016-09-09T21:33:47.640" LastActivityDate="2016-09-10T06:41:33.990" Title="FFMPEG Calculate Hash After Encoding Before Writing" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19353" PostTypeId="2" ParentId="19352" CreationDate="2016-09-09T17:52:37.677" Score="0" Body="&lt;p&gt;First, a nitpick: you don't want to compute hashes on the &lt;em&gt;encoded&lt;/em&gt; frame data before or while writing. You're testing the fidelity of the  lossless encoding so you need to compare the &lt;em&gt;decoded&lt;/em&gt; frame of the x264 encode with the corresponding PNG.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, first here's how to do what you specifically asked for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use the tee pseudo-muxer&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -start_number 0 -i &quot;%IMAGES_DIRECTORY%\%%03d.png&quot; ^&#xA;-filter_complex &quot;[0]{some filter here}[otherOut]&quot; ^&#xA;-map 0 -c:v libx264rgb -qp 0 -pix_fmt rgb24 -f tee &quot;%IMAGES_DIRECTORY%\lossless.avi|[f=avi]pipe:&quot; ^&#xA;-map 0 -f framehash -hash SHA512 &quot;%IMAGES_DIRECTORY%\original.hashes&quot; ^&#xA;-map [otherOut] {some other encoding} someOtherFile.idc | ffmpeg -f avi -i - -f framehash -hash SHA512 %IMAGES_DIRECTORY%\decoded.hashes&quot; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;If your end goal is to check the fidelity of the lossless encoding, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -start_number 0 -i &quot;%IMAGES_DIRECTORY%\%%03d.png&quot; ^&#xA;-filter_complex &quot;[0]{some filter here}[otherOut]&quot; ^&#xA;-map 0 -c:v libx264rgb -qp 0 -pix_fmt rgb24 &quot;%IMAGES_DIRECTORY%\lossless.avi&quot; ^&#xA;-map [otherOut] {some other encoding} someOtherFile.idc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -start_number 0 -i &quot;%IMAGES_DIRECTORY%\%%03d.png&quot; -i lossless.avi ^&#xA;-filter_complex &quot;ssim&quot; -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If the result is lossless, the readout will say&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;SSIM R:1.000000 (inf) G:1.000000 (inf) B:1.000000 (inf) All:1.000000 (inf)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-09-10T06:41:33.990" LastActivityDate="2016-09-10T06:41:33.990" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="19354" PostTypeId="2" ParentId="19275" CreationDate="2016-09-09T18:33:18.400" Score="0" Body="&lt;p&gt;I finally heard back from the Author:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;I use Adobe After Effects for the graphics in all my videos.  The head tracker is basically a solid line with transparency set to about 50%.  The rotation point on the line is moved to one end of the line, and then you place it on the player's head and set it to follow a null point.  In some of the cases, I had to animate the line manually.  It does take a bit of time, but it definitely highlights the point.  Let me know if you need any other help.  Good luck!&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="4466" LastActivityDate="2016-09-09T18:33:18.400" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19355" PostTypeId="1" CreationDate="2016-09-09T19:07:02.370" Score="0" ViewCount="1463" Body="&lt;p&gt;I've got Adobe Premiere Pro; I don't see where I can crop just one side (as opposed to all locked proportionally) - and then fill the frame with the cropped image, as I can in other programs - I'm thinking you must be able to do it in premiere pro, but I don't see how - help is appreciated - &lt;/p&gt;&#xA;" OwnerUserId="16628" LastEditorUserId="16852" LastEditDate="2016-10-11T02:06:44.947" LastActivityDate="2016-11-10T02:27:35.030" Title="Adobe Premiere crop one side - then fill the frame -" Tags="|premiere|editing|effects|adobe|pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19356" PostTypeId="2" ParentId="19355" CreationDate="2016-09-09T21:51:52.150" Score="1" Body="&lt;p&gt;To crop just one side of a clip, select the clip in the timeline and open the Effects panel. Search for 'crop' (in the current version of Premiere Pro, the effect can be found under Video Effects → Transform). Double-click the effect with that name to apply it to your clip. Then open the Effect Controls panel, there you will find the effect settings for the crop effect with allow you to specify a crop amount in percent for each side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To have the cropped image fill the frame, use the effect controls of the Motion effect that is applied to all clips in the timeline by default. Use the Position and Scale controls to adjust the clip's position and size to your liking.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-09-09T21:51:52.150" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19357" PostTypeId="2" ParentId="19347" CreationDate="2016-09-10T09:05:51.867" Score="1" Body="&lt;p&gt;If you have the logo or title in Black and white then you will simply mix between them as they mix differently on the video background. But the trick is making sure that your editor can do &quot;layer math&quot;.&#xA;Perhaps you've noticed in Photoshop or other paint programs that you can do more than simply Mix 2 images together (like a dissolve)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You want to look for a Blend type for the logo/title clip, some apps call this Composite type.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;For the image to appear white over video, you would use the white&#xA;logo on a black background then mix by an &quot;Add&quot; function. Where the&#xA;image is black there is nothing to add. Where it is white then it&#xA;all gets added on top of the video.&lt;/li&gt;&#xA;&lt;li&gt;For the image to appear black with video in the logo shape, you would use the white logo on a black background then mix by a &quot;Multiply&quot; function. Where the image is black the video gets multiplied down to 100 (or black). Where it is white then it all gets multiplied by zero (transparent).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Then apply a dissolve to then end of one logo blend clip into another logo blend clip. &lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2016-09-10T09:05:51.867" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19359" PostTypeId="2" ParentId="19349" CreationDate="2016-09-10T20:01:32.157" Score="1" Body="&lt;p&gt;Generally, all of your assets should be converted to the same frame rate as your final output frame rate &lt;em&gt;before&lt;/em&gt; you begin editing. If you do not convert them beforehand, you may have issues with timings. Things that are supposed to be one length end up being a different length. This is especially true if you export a variable frame rate file. Suddenly a 30 second file becomes 28 seconds, or 33 seconds, or some other length. The audio and the video end at different times. Things may play right in some places, but they may be wrong if they are processed and played elsewhere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To summarize:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Convert all assets to the final frame rate before editing.&lt;/li&gt;&#xA;&lt;li&gt;Set your project to the correct final frame rate.&lt;/li&gt;&#xA;&lt;li&gt;Do not export a mixed or variable frame rate file.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2016-09-10T20:01:32.157" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19361" PostTypeId="1" AcceptedAnswerId="19362" CreationDate="2016-09-11T17:58:59.417" Score="1" ViewCount="904" Body="&lt;p&gt;I am trying to create a simple video with ffmpeg with a single static image in background and a few text lines that change every 10 seconds like a slideshow. However I am not able to do that using ffmpeg options. Is it actually possible?&lt;/p&gt;&#xA;" OwnerUserId="12588" LastActivityDate="2016-09-11T18:09:02.020" Title="ffmpeg: is it possible to have a text slideshow with a static image in background?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19362" PostTypeId="2" ParentId="19361" CreationDate="2016-09-11T18:09:02.020" Score="3" Body="&lt;p&gt;Use &lt;a href=&quot;https://en.wikipedia.org/wiki/SubStation_Alpha&quot; rel=&quot;nofollow&quot;&gt;ASS&lt;/a&gt; or &lt;a href=&quot;https://en.wikipedia.org/wiki/SubRip&quot; rel=&quot;nofollow&quot;&gt;SRT&lt;/a&gt; subtitles. You can make them with &lt;a href=&quot;http://www.aegisub.org/&quot; rel=&quot;nofollow&quot;&gt;Aegisub&lt;/a&gt; or manually in a text editor. Then use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#subtitles&quot; rel=&quot;nofollow&quot;&gt;subtitles filter&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i image.foo -vf subtitles=your_subtitles_file.ass -t 60 output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You did not mention your desired output format so I made a very generic example.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2016-09-11T18:09:02.020" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19363" PostTypeId="1" CreationDate="2016-09-11T20:03:29.020" Score="4" ViewCount="1815" Body="&lt;p&gt;I have an educational video product. We currently have over 2000, available in different sizes, so roughly 6000 and counting. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video introductions (title, description, instructors) were made by hand in video editors but this proves time-consuming and error-prone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to be able to create interesting text animations suitable for video introductions programmatically. All of the data (text) I need is in a local database. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I looked into this problem 2 years ago and solved it by using ffmpeg, and the ASS subtitle system filter. This got the job done, but the animations were limited to simple movement and fades and the process is quite clunky.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recently looking at iMovie's &quot;title&quot; animations I felt inspired by the quality, and wanted our introductions to be much better. I'm not sure it's worth the effort to re-do them all by hand in something like a manual video editor.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what techniques are out there that I might consider?&lt;/p&gt;&#xA;" OwnerUserId="5949" LastEditorUserId="5949" LastEditDate="2016-09-13T14:38:36.663" LastActivityDate="2016-11-12T15:11:45.953" Title="How can I add animated text to a video programmatically (from a script) for use as quality video introductions?" Tags="|video|animation|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19364" PostTypeId="2" ParentId="7743" CreationDate="2016-09-11T20:56:34.350" Score="1" Body="&lt;p&gt;I had the same issue with image quality for a 4K video I was trying to produce. I found that for my situation the image was always very blurry upon an export, so I had to change the Format and Preset. A very nice 4K format that enabled my images to turn out crispy is the &lt;em&gt;H.264&lt;/em&gt; which is quite widely used, and already has a built in default &lt;em&gt;YouTube 2160p 4K&lt;/em&gt; preset which works well. Once you select this you can compare how the output will look against the source formatting by switching between &lt;em&gt;Source&lt;/em&gt; and &lt;em&gt;Output&lt;/em&gt;. Eventually, you can tune the default preset and make your own in order to get a nice 4K video out of the application.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/i4Knk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/i4Knk.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16640" LastActivityDate="2016-09-11T20:56:34.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19369" PostTypeId="2" ParentId="19333" CreationDate="2016-09-12T17:28:47.310" Score="1" Body="&lt;p&gt;some possibilities:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;You are trying to track a very general area. Try to track a smaller&#xA;area with well differentiated colors (maybe another footage).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You are using CC 2014. There are bugs that have been solved since&#xA;then. Why don't you try to update your After Effects version to&#xA;2015.3.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="16568" LastActivityDate="2016-09-12T17:28:47.310" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19370" PostTypeId="1" AcceptedAnswerId="19371" CreationDate="2016-09-12T18:20:06.150" Score="2" ViewCount="1647" Body="&lt;p&gt;At the moment i am using handbreak to encode gaming clips made with Fraps while using 3D Vision by Nvidia. It is the only recording app to produce 3840x1080 Full SBS when recording using 3d Display with 1080p.&#xA;Sadly the right side is displayed left, and youtube won't allow swapping sides in the settings, only in flash version of youtube the toggle exists. &#xA;Using ffmpeg to encode my clips, is it possible to use a command of crop and stack to produce the output? &#xA;Option desired are: &lt;em&gt;h.254, PAR width:height=1:2, constant quality: rf=17, framerate same as source&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="16650" LastActivityDate="2016-09-12T18:30:43.880" Title="Swapping video sides of side-by-side clip with ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19371" PostTypeId="2" ParentId="19370" CreationDate="2016-09-12T18:30:43.880" Score="3" Body="&lt;p&gt;There may be an easy, quick way out, which is to remux to Matroska and set metadata to indicate that the right view is on the left.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -c copy -stereo_mode right_left out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Upload to Youtube and check.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Else, FFmpeg has a filter to handle this directly.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf stereo3d=sbsr:sbsl -crf 17 -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The filter interprets the input as side-by-side with right eye view on left side (sbsr) and swaps the halves.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-09-12T18:30:43.880" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19372" PostTypeId="1" CreationDate="2016-09-12T20:23:28.403" Score="1" ViewCount="179" Body="&lt;p&gt;I am not sure if this community is good place to ask, anyway i will try.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking for a video player that has an option to play files from directory, but each time i copy a new file to directory it will automatically update its playlist to play also new file that came into directory. Quite simple but couldn find any software that is constantly looking into directory or at least once every video ends. I use windows 7, 8 or 10.&#xA;Any advice?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Kalreg.&lt;/p&gt;&#xA;" OwnerUserId="16651" LastActivityDate="2016-11-12T09:07:01.197" Title="video player that runs videos from pointed directory and updates list of files to play while new file appears in directory" Tags="|video|playlist|" AnswerCount="1" CommentCount="1" ClosedDate="2016-11-21T21:36:10.977" ContentLicense="CC BY-SA 3.0" />
  <row Id="19373" PostTypeId="1" CreationDate="2016-09-13T06:04:14.667" Score="1" ViewCount="1527" Body="&lt;p&gt;I have a video with relatively quiet audio. I've already cut my video into clips in Premiere Pro CC, but I want to increase the audio for my entire video without having the volume change from clip to clip, as some have louder moments than others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use &quot;Normalize All Peaks&quot; in Audio Gain, then my volume is different for every clip. If I use &quot;Normalize Max Peaks&quot;, then my volume is ok but it's still too quiet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to export the original audio from my video into Audition, edit it there, and then re-import to Premiere without needing to re-cut it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using Adobe Premiere Pro CC and Adobe Audition CC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for any help.&lt;/p&gt;&#xA;" OwnerUserId="16654" LastActivityDate="2018-11-07T20:46:09.880" Title="Editing Audio after cutting into clips - Premiere Pro / Audition" Tags="|video|premiere|audio|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19375" PostTypeId="1" CreationDate="2016-09-13T07:43:35.903" Score="1" ViewCount="764" Body="&lt;p&gt;I want to use a small part of this video:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/RuCnZClWwpQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; .&#xA;It has very bad interlacing that I need to get rid of.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I downloaded the mp4 file, which is 1920x1080, 29.971 fps. I don't know much about video processing, and the only thing I can use is avidemux. So I followed this tutorial: &lt;a href=&quot;http://www.avidemux.org/admWiki/doku.php?id=tutorial:deinterlacing_video&quot; rel=&quot;nofollow&quot;&gt;http://www.avidemux.org/admWiki/doku.php?id=tutorial:deinterlacing_video&lt;/a&gt; .&#xA;I tried the Decomb Telecide filter as the tutorial says, selecting &quot;No strategy&quot; and leaving the other options as default. But it didn't get rid of the interlacing. Then I tried the Yadif filter, and then both filters together, and none of these gave any improvement to the video. The interlacing is still very bad, and I don't know why. I've used Yadif filter on other Youtube videos before, and it works every time except this one. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which filter and what options should I choose to deinterlace this video properly?&lt;/p&gt;&#xA;" OwnerUserId="16655" LastActivityDate="2017-03-12T20:42:51.920" Title="Which filter and what parameters should I use to deinterlace this video?" Tags="|encoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19376" PostTypeId="2" ParentId="19372" CreationDate="2016-09-13T08:37:18.777" Score="0" Body="&lt;p&gt;Serviio is really good. It has a free and paid option. The free version is great. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://serviio.org/&quot; rel=&quot;nofollow&quot;&gt;http://serviio.org/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-09-13T08:37:18.777" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19377" PostTypeId="2" ParentId="19363" CreationDate="2016-09-13T08:39:06.047" Score="2" Body="&lt;p&gt;Get TypeMonkey for AfterEffects. Other than templates, it's the easiest way to generate text animations from scratch. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://aescripts.com/typemonkey/&quot; rel=&quot;nofollow&quot;&gt;http://aescripts.com/typemonkey/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-09-13T08:39:06.047" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19378" PostTypeId="2" ParentId="19375" CreationDate="2016-09-13T11:57:39.020" Score="0" Body="&lt;p&gt;This is a lost cause since the interlaced video got already compressed by youtube destroying the pattern, you will not get a clean progressive video from this.&lt;/p&gt;&#xA;" OwnerUserId="16656" LastActivityDate="2016-09-13T11:57:39.020" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19379" PostTypeId="1" CreationDate="2016-09-13T13:13:28.953" Score="2" ViewCount="201" Body="&lt;p&gt;I'm a newbie to all of this so please bare with me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am following &lt;a href=&quot;https://www.youtube.com/watch?v=iBNMQNIISUg&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; tutorial.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After tracking the movement with Mocha the tracking data is copied to AE.&lt;br&gt;&#xA;If I copy the data and past it onto a solid the solid becomes very small. &lt;br&gt;&#xA;I have no idea what causes this. Because of the images that are used on the solid I am not able to scale it up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See before:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/1JNxh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1JNxh.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And After:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/YY2ev.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YY2ev.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone tell me what I'm missing here?&lt;/p&gt;&#xA;" OwnerUserId="16657" LastActivityDate="2016-09-13T13:24:10.963" Title="Setting track points from Mocha to a solid makes it very small" Tags="|after-effects|tracking|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19380" PostTypeId="2" ParentId="19379" CreationDate="2016-09-13T13:24:10.963" Score="2" Body="&lt;p&gt;Unbelievable,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right after I asked the question I found the solution online.&#xA;After tracking in Mocha make sure you click the &quot;Align selected surfaces&quot; button.&#xA;I had to search for it but here it is:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/XPkyv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XPkyv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After this you can copy your tracking data and paste it in AE.&lt;/p&gt;&#xA;" OwnerUserId="16657" LastActivityDate="2016-09-13T13:24:10.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19381" PostTypeId="2" ParentId="19375" CreationDate="2016-09-13T14:00:02.500" Score="1" Body="&lt;p&gt;It has nothing to do with filters. The only way to deinterlace this video correctly, is by having the original footage. Right now you are using a .mp4 footage, it was already encoded by Youtube (this encoding process includes a deinterlacing too). So, technically you already are using a deinterlaced video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you deinterlace it again, it is like you were trying to put an egg white and yolk inside the eggshell, sure you can do it, but you won't get correct results.&lt;/p&gt;&#xA;" OwnerUserId="16568" LastActivityDate="2016-09-13T14:00:02.500" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19382" PostTypeId="2" ParentId="19363" CreationDate="2016-09-13T14:06:13.133" Score="2" Body="&lt;p&gt;If you has access to Adobe After Effects and Premier, you can create templates in After Effects with the Live Text tool and easily modify them inside Premier. More about this topic on the following link:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/animated-text-titles-live-text.html&quot; rel=&quot;nofollow&quot;&gt;https://helpx.adobe.com/premiere-pro/how-to/animated-text-titles-live-text.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16568" LastActivityDate="2016-09-13T14:06:13.133" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19383" PostTypeId="1" CreationDate="2016-09-13T15:20:19.823" Score="0" ViewCount="1163" Body="&lt;p&gt;I want to clean up my hard disk and delete large unused GB files on my macbook. In the FCPX timeline I have  several hours of footage cut down into a 3-minute movie, with all short 2-second pieces.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to delete the folder with unused long hours files from my disk. How do I save the new short files that I want to keep into a folder?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the old folder is filled with useless long hour files that I want to delete, and the new folder is filled with short good files that I want to keep. &lt;/p&gt;&#xA;" OwnerUserId="16414" LastEditorUserId="18155" LastEditDate="2020-01-26T19:26:18.283" LastActivityDate="2024-02-05T04:09:51.373" Title="How to delete unused file parts that are not used in the FCPX timeline?" Tags="|editing|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="19384" PostTypeId="2" ParentId="19342" CreationDate="2016-09-13T19:14:23.870" Score="1" Body="&lt;p&gt;Use cuts for most all transitions. Some exceptions...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use transitions which convey a meaning: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A clockwise wipe indicates the passage of time.&lt;/li&gt;&#xA;&lt;li&gt;Dreamy blur (with harp music) for a daydream sequence.&lt;/li&gt;&#xA;&lt;li&gt;Cross dissolve for gentle moments/sensitive topics.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;One absolute exception: When doing a kids video (made for kids), add plenty of silly transitions. The more obnoxious the better. Dinosaur transition, use it. Shark transition, use it. Volcano transition, use it. They'll love it.&lt;/p&gt;&#xA;" OwnerUserId="6031" LastActivityDate="2016-09-13T19:14:23.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19385" PostTypeId="2" ParentId="19383" CreationDate="2016-09-13T23:13:24.930" Score="0" Body="&lt;p&gt;As you already know you can't easily export just the used parts of your clips. But given FCPX uses XML there must be utilities to do that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can get something like &lt;a href=&quot;http://www.clipexporter.com/&quot; rel=&quot;nofollow&quot;&gt;clipexporter&lt;/a&gt; that will do it automatically.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However you can &quot;share&quot; your final project and then slice that up into shots -- I don't know why you want to do that slicing. &lt;a href=&quot;http://www.avcutty.de/english/index.htm&quot; rel=&quot;nofollow&quot;&gt;AVcutty&lt;/a&gt; will slice AVI's automatically (windows OS only).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If disk space is a real problem and you don't mind losing your original footage, just share your final timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally I buy an external HDD every two years (whatever $200 gets me) and archive all my personal projects to that. I then copy all the old projects from the old HDD to the new HDD.&lt;/p&gt;&#xA;" OwnerUserId="11459" LastEditorUserId="11459" LastEditDate="2016-09-13T23:22:15.287" LastActivityDate="2016-09-13T23:22:15.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19386" PostTypeId="1" CreationDate="2016-09-14T01:59:48.697" Score="0" ViewCount="50" Body="&lt;p&gt;At my job, I have encoded our sites videos for a couple years by using X-Media Re-encode:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;MP4  1024x576 VBR 1500kbps &#xA;WebM 1024x576 CBR 1200kbps&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I never had complaints about quality or buffering, I came about with those parameters by trial and error. Now my bosses want 3 qualities, which are:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;MP4/WebM 1280x720&#xA;MP4/WebM 1920x1280&#xA;MP4/WebM 3840x2160&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I warned them that the last one (4K) isn't mainstream as AFAIK. They think everyone has iPhone 6 I guess and that tomorrow every device will be Retina capable. I simply need a solid reference I can show my bosses the extra time in downloading, uploading, and encoding 4K will be. I assume the best way to do that is by the numbers (bitrates most importantly), without even considering the other factors such as limitation of broadband/DSL/Wifi, mobile, etc. Thanks in advance.&lt;/p&gt;&#xA;&lt;h3&gt;EDIT&lt;/h3&gt;&#xA;&lt;p&gt;To clarify my question a bit more, my company's server is PostGres RoR S3 to store media, and infrequent use of CloudFront due to our content may need revisions and CF's invalidation process is a deal breaker. So we don't use You-Tube or any third-party platforms as of yet. I'm the front end developer (you probably can tell by the way I described my company's server :P ). So we use HTML5 and a in-house video player we developed. No Flash, no HLS, etc.&lt;/p&gt;&#xA;" OwnerUserId="16659" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-09-14T02:57:48.250" Title="Where can one find a current and definitive reference for video quality as it pertains to hosting HTML5 Videos?" Tags="|video-quality|mp4|4k|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19387" PostTypeId="2" ParentId="19386" CreationDate="2016-09-14T02:29:24.183" Score="1" Body="&lt;p&gt;What could do is show that Youtube transcodes to 4K at bitrates of ~20 mbps. You can use a tool like &lt;a href=&quot;https://rg3.github.io/youtube-dl/&quot; rel=&quot;nofollow&quot;&gt;youtube-dl&lt;/a&gt; to check. Run &lt;code&gt;youtube-dl -F URL&lt;/code&gt; So, your upload and download times will increase by a factor of 13-14, compared to the 1.5 mbps stream for 576p that you currently use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtube is best placed in terms of expertise and motivation to minimize bandwidth use i.e. to determine the lowest bitrate that yields acceptable quality.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-09-14T02:57:48.250" LastActivityDate="2016-09-14T02:57:48.250" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19388" PostTypeId="1" CreationDate="2016-09-14T04:51:40.433" Score="1" ViewCount="15" Body="&lt;p&gt;I'm trying to how to film a doc and I've learned in the past that working with a mentor or something like that helps me learn and gain confidence. Anyone have any clues on how I'd find local film crews that might need some free help for someone who wants to learn?&lt;/p&gt;&#xA;" OwnerUserId="16445" LastActivityDate="2016-09-14T04:51:40.433" Title="Interning on a Documentary" Tags="|learning-resources|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19391" PostTypeId="1" CreationDate="2016-09-14T19:34:22.460" Score="2" ViewCount="56" Body="&lt;p&gt;I am an intern with the creative team at a large service organization that works around the world.  We have a large amount of footage from years and years of shooting.  I have been brought on to come up with and implement a key wording/tagging system to make finding clips easier. The goal is to make a keyword/tagging system that is future proof.  Meaning the tags will work across platforms in the case that the organization switches editing softwares.  Final Cut X is able to use keywords/tags that are generated in finder.  However Premiere is unable to read these as far as I can tell.  Does anyone have any idea how to make this work?  The other thing I have tried is generating keywords in Prelude and then seeing if those transfer over to Final Cut.  They do not either.  Any ideas on making a system that can work across platforms would be great!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Christian&lt;/p&gt;&#xA;" OwnerUserId="16665" LastActivityDate="2016-09-14T19:34:22.460" Title="How to create a Key wording/tagging system that works across editing platforms" Tags="|video-editor|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19392" PostTypeId="1" AcceptedAnswerId="19393" CreationDate="2016-09-14T20:43:22.627" Score="0" ViewCount="1704" Body="&lt;p&gt;I have one input file, and I want to extract the first minute and the second minute, and then recombine them so the first minute is on the top, and the second minute is on the bottom, playing simultaneously.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I cobbled this together, but for some reason, the upper clip freezes after a few seconds, while the bottom clip continues as expected. The input file has the resolution 640x352.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -filter_complex &quot;&#xA;    nullsrc=size=640x704:duration=60 [base];&#xA;    [0:v] trim=0:60, setpts=PTS-STARTPTS [v0];&#xA;    [0:v] trim=60:120, setpts=PTS-STARTPTS [v1];&#xA;    [base][v0] overlay=x=0:y=0 [t1];&#xA;    [t1][v1] overlay=x=0:y=352 [out]&quot; \&#xA;-map &quot;[out]&quot; output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I suspect this is a problem internally in ffmpeg, and I have to first extract the two clips into separate input files.&lt;/p&gt;&#xA;" OwnerUserId="16667" LastActivityDate="2016-09-15T18:16:51.603" Title="Using ffmpeg, how do I trim and overlay two different time periods from the same input?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19393" PostTypeId="2" ParentId="19392" CreationDate="2016-09-14T21:03:43.273" Score="1" Body="&lt;p&gt;The parallel processing is happening slow enough that FFmpeg is flushing frames in buffer for the first trimmed clip. You can use the fifo filter to avoid that. Also, you can use vstack and skip the nullsrc/overlay route.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -filter_complex &quot;&#xA;    [0:v] trim=0:60, setpts=PTS-STARTPTS, fifo [v0];&#xA;    [0:v] trim=60:120, setpts=PTS-STARTPTS [v1];&#xA;    [v0][v1] vstack [out]&quot; \&#xA;-map &quot;[out]&quot; output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-09-14T21:03:43.273" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19394" PostTypeId="2" ParentId="19373" CreationDate="2016-09-14T23:00:28.947" Score="0" Body="&lt;p&gt;Each track has a volume control as well in Premiere. You can control volume at the clip level, at the track level, or both. I would suggest using &quot;Normalize Max Peaks&quot; and then boosting the volume of the track.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2016-09-14T23:00:28.947" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19398" PostTypeId="2" ParentId="19299" CreationDate="2016-09-15T19:41:43.193" Score="1" Body="&lt;p&gt;This isn't specifically Premiere-oriented, but I would concatenate all of the videos into one and use the &lt;a href=&quot;https://www.mltframework.org/bin/view/MLT/MltMelt&quot; rel=&quot;nofollow&quot;&gt;MELT framework&lt;/a&gt; with &lt;a href=&quot;https://www.mltframework.org/bin/view/MLT/FilterVidstab&quot; rel=&quot;nofollow&quot;&gt;video stabilization&lt;/a&gt;. You might need to play around with the parameters a bit, so I would suggest cutting a 1min section with the nudge in the middle in order to fine tune your settings before running it over the entire video.&lt;/p&gt;&#xA;" OwnerUserId="16574" LastActivityDate="2016-09-15T19:41:43.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19399" PostTypeId="1" AcceptedAnswerId="19401" CreationDate="2016-09-15T20:24:23.177" Score="0" ViewCount="929" Body="&lt;p&gt;I use &lt;code&gt;ffmpeg&lt;/code&gt; to convert a &lt;code&gt;3gp&lt;/code&gt; video to &lt;code&gt;MP4&lt;/code&gt;. You can see a part of output of &lt;code&gt;ffmpeg&lt;/code&gt; here:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-79139-gde1a0d4 Copyright (c) 2000-2016 the FFmpeg developers&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, &#xA;&#xA;...&#xA;    Metadata:&#xA;      rotate          : 90&#xA;      creation_time   : ...&#xA;      handler_name    : VideoHandle&#xA;      encoder         :                                &#xA;    Side data:&#xA;      displaymatrix: rotation of -90.00 degrees&#xA;    ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I use &lt;code&gt;noautorotate&lt;/code&gt; option in below command to avoid auto rotate based on metadata of file and it is successful:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -noautorotate -i $vid -qscale 0 -acodec libmp3lame -ar 44100 -ab 128k ../MP4/$(basename $vid).mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Then I tried this HTML code to open converted file in a browser(for example by &lt;code&gt;Google Chrome&lt;/code&gt;):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;!DOCTYPE html&amp;gt;&#xA;&amp;lt;html&amp;gt;&#xA;&amp;lt;body&amp;gt;&#xA;&#xA;&amp;lt;video width=&quot;320&quot; height=&quot;240&quot; controls&amp;gt;&#xA;  &amp;lt;source src=&quot;../videos/test.mp4&quot; type=&quot;video/mp4&quot;&amp;gt;&#xA;&amp;lt;/video&amp;gt;&#xA;&#xA;&amp;lt;/body&amp;gt;&#xA;&amp;lt;/html&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But when I open that, video shown rotated. How I can solve this problem? Is there a tag or any other thing to disable autorotate in HTML?&lt;/p&gt;&#xA;" OwnerUserId="16682" LastEditorUserId="16682" LastEditDate="2016-09-16T16:54:12.663" LastActivityDate="2016-09-16T16:54:12.663" Title="browser rotates video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19400" PostTypeId="1" AcceptedAnswerId="19408" CreationDate="2016-09-16T02:13:13.407" Score="1" ViewCount="66" Body="&lt;p&gt;So I have to make a little commercial for a class at my college and it is a video of about 1 min. I already have the idea of how all is going to be but I'm worried that at the moment of the edition the quality of the takes sucks. There's no big equipment, just an i5 computer, a GoPro Hero 4 and a couple of phones that record at 4K. No lightning, or anything... I would like to get some tips to make it look as professional as it could be and no too amateur. It's just video, no voice or dialogs. I'm also using a couple of luxury cars, I want to take good takes of them since I want to record 'em at night and I think lightning there is going to be a problem. Any tips?&lt;/p&gt;&#xA;" OwnerUserId="16668" LastActivityDate="2016-09-17T05:52:01.230" Title="Tips to start making a little production" Tags="|video|production|4k|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19401" PostTypeId="2" ParentId="19399" CreationDate="2016-09-16T02:16:01.230" Score="2" Body="&lt;p&gt;Although &lt;code&gt;noautorotate&lt;/code&gt; stops FFmpeg from rotating the video, it does not remove the rotation tag from the output. So, you have to set the tag manually.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -noautorotate -i $vid .....  -metadata:s:v rotate=0 output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-09-16T02:16:01.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19402" PostTypeId="2" ParentId="19400" CreationDate="2016-09-16T12:02:12.897" Score="3" Body="&lt;p&gt;The minute you said &quot;no lighting&quot; you violate the premise of &quot;look as professional as it could be and not too amateur&quot;.  Lighting is not only about ensuring there are enough photons to actually record decent image on the camera's sensor.  Lighting defines highlights and shadows, contrast ranges, areas of focus and mystery, etc.  It is almost impossible to overstate how important lighting is to the look of an image.  The understanding of lighting, and use of that understanding in the control of lighting, is perhaps the single greatest factor that separates professionals from amateurs and professional-looking results from amateur-looking results.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-09-16T12:02:12.897" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19403" PostTypeId="2" ParentId="15417" CreationDate="2016-09-16T13:04:05.073" Score="1" Body="&lt;p&gt;Given that you have &quot;&lt;em&gt;a file that contains the cropping rectangle's X, Y, Width, &amp;amp; Height for each frame&lt;/em&gt;&quot;, you can use the filter_script option to do this in FFmpeg. The crop filter does not support timeline editing but the overlay filter does. So, if you create a blank canvas of the same resolution as your video and then overlay the video on top with co-ordinates such that your intended region is superimposed in the visible area, the goal is achieved.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basic syntax is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -filter_complex_script file.txt -map &quot;[out]&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;file.txt&lt;/code&gt; looks like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;nullsrc=WxH:r=FPS[cv];&#xA;[cv][0]overlay=-X0:-Y0:shortest=1:enable='eq(n\,0)'[b0];&#xA;[b0][0]overlay=-X1:-Y1:shortest=1:enable='eq(n\,1)'[b1];&#xA;[b1][0]overlay=-X2:-Y2:shortest=1:enable='eq(n\,2)'[b2];&#xA;...&#xA;[bm-1][0]overlay=-Xm:-Ym:shortest=1:enable='eq(n\,m)'[out]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The canvas &lt;code&gt;W&lt;/code&gt; and &lt;code&gt;H&lt;/code&gt; should be equal to the (fixed/static) crop dimensions and of the same &lt;code&gt;FPS&lt;/code&gt;. Then each frame of the video is overlaid at (&lt;strong&gt;-&lt;/strong&gt; X, &lt;strong&gt;-&lt;/strong&gt; Y) so that the top-left corner of the desired region is at (0,0) of the canvas. Each overlay occurs for one frame. For efficiency's sake, if you have intervals where the crop region is static, you should use the between evaluator e.g.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[bi][0]overlay=-Xi:-Yi:shortest=1:enable='between(n\,1200\,1445)'[bj];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can also evaluate using timestamp &lt;code&gt;t&lt;/code&gt; instead of frame index.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-09-16T13:17:46.907" LastActivityDate="2016-09-16T13:17:46.907" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19404" PostTypeId="2" ParentId="19216" CreationDate="2016-09-16T13:08:30.620" Score="0" Body="&lt;p&gt;Looks like the player is using the video codec tag to vet files. And it is picky about case. So try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;video_to_convert.mp4&quot; -c:v libxvid -vtag XVID -level 1&#xA;       -vf scale=160x128,setsar=1 -b:v 800k -r 15&#xA;       -c:a libtwolame -ac 2 -ar 44100 -b:a 128k -y video_converted.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(The level may not be necessary. I was testing something.)&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-09-16T13:08:30.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19405" PostTypeId="2" ParentId="19373" CreationDate="2016-09-16T17:23:56.937" Score="0" Body="&lt;p&gt;Under Clip &gt; Audio Options &gt; Audio Gain, where you should have found the two options you talked about, you can choose &quot;Adjust Gain By&quot; and boost the volume by the amount in dB you specify.&lt;br&gt;&#xA;You can then listen to your audio and tweak it again with the same option. To decrease the volume, just enter a negative amount into &quot;Adjust Gain By&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/adjusting-volume-levels.html#normalize_one_or_more_clips&quot; rel=&quot;nofollow&quot;&gt;Adobe's help page&lt;/a&gt; for more information.&lt;/p&gt;&#xA;" OwnerUserId="6172" LastActivityDate="2016-09-16T17:23:56.937" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19408" PostTypeId="2" ParentId="19400" CreationDate="2016-09-17T05:52:01.230" Score="2" Body="&lt;h2&gt;Story&lt;/h2&gt;&#xA;&lt;p&gt;Your film needs drama. That is normally created by conflict or tension. Keep the story simple. It is better for your first film to be too simple than too ambitious.&lt;/p&gt;&#xA;&lt;p&gt;But it must have drama.&lt;/p&gt;&#xA;&lt;h2&gt;Shot list or story boards&lt;/h2&gt;&#xA;&lt;p&gt;Work out what your film will look like before you shoot. You don't need to storyboard, but you need to know what shots you want before you try to get them.&lt;/p&gt;&#xA;&lt;p&gt;The &amp;quot;movie magic&amp;quot; happens when you don't get the shot you expected but work out what to do with the shot you got. So don't do 20 takes of the car turning a corner to get it &amp;quot;just right&amp;quot;. Get it &amp;quot;good enough&amp;quot; and move on.&lt;/p&gt;&#xA;&lt;p&gt;For a commercial style film you want a cut every 1 to 4 seconds. So you'll need between 15 and 60 shots. Do not make exactly 15x 4 second shots. Vary the length of shots.&lt;/p&gt;&#xA;&lt;h2&gt;Resolution&lt;/h2&gt;&#xA;&lt;p&gt;Don't shoot at 4K on the phones, you don't need the file sizes and post production hassles. Shoot 1080 or 2K at the most.&lt;/p&gt;&#xA;&lt;h2&gt;Lighting&lt;/h2&gt;&#xA;&lt;p&gt;You will need some lights if you are shooting at night. Even if it's just to balance the streetlights, headlights or fill a face.&lt;/p&gt;&#xA;&lt;p&gt;As a minimum you can use an app on 2 or 3 phones to generate light (different colours may be good). These are good for filming the occupants of the luxury cars. It looks really fake but everyone is used to lights in the front seat so you can see the drivers face look&lt;/p&gt;&#xA;&lt;p&gt;Also consider getting some small battery powered LED lights from a discount store. These are cheap and can help throw some light on a dark shot.&lt;/p&gt;&#xA;&lt;p&gt;I've used an LED bat light effectively. The wings can be angled, it has a magnet on the spine to stick to a car or metal stand and has a hook to hang it from a wire. &lt;a href=&quot;https://i.stack.imgur.com/wUpIb.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wUpIb.jpg&quot; alt=&quot;LED bat light&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So you've got streetlights, headlights, phone lights and apps and LED's. That should be a start.&lt;/p&gt;&#xA;" OwnerUserId="11459" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-09-17T05:52:01.230" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19411" PostTypeId="2" ParentId="17419" CreationDate="2016-09-17T17:37:40.660" Score="1" Body="&lt;p&gt;At the very top of your $800 budget, you can get a Quadro M4000 that does NOT have the license limitation of 2 concurrent transcodes. We use these cards to transcode 5-10 incoming live streams to 2-3 output bitrates.&lt;/p&gt;&#xA;" OwnerUserId="16696" LastActivityDate="2016-09-17T17:37:40.660" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19412" PostTypeId="2" ParentId="18708" CreationDate="2016-09-17T19:44:51.783" Score="1" Body="&lt;p&gt;As an alternative to the denoising method suggested by @CoinRocket, you could try to export the scene from Blender with less noise. If you have enough computation capacity, this will be a superior solution since post-denoising will always introduce some amount of blurriness into your video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The noise in your example image looks like &lt;a href=&quot;https://en.wikibooks.org/wiki/Blender_3D:_Noob_to_Pro/Advanced_Tutorials/Cycles_Fireflies&quot; rel=&quot;nofollow noreferrer&quot;&gt;fireflies&lt;/a&gt;, i.e. artifacts that stem from the nature of the &lt;a href=&quot;https://www.blender.org/manual/render/cycles/introduction.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Cycles Engine&lt;/a&gt; in Blender which is based on ray-tracing. There are several ways to reduce fireflies, however depending on your settings and available hardware render times will become &lt;em&gt;extremely&lt;/em&gt; long. A while ago, I exported a 15-second sequence at 1000 samples and 24 frames per second rendered for three days straight on my laptop. So be warned.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The easiest way to reduce fireflies is to &lt;a href=&quot;https://blender.stackexchange.com/questions/4980/how-to-avoid-noisy-renders-in-cycles&quot;&gt;increase the number of samples&lt;/a&gt; the program runs during export. This will correlate directly with rendering times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are several other settings that can affect the occurance of fireflies, but some of them are well-hidden. &lt;a href=&quot;https://blender.stackexchange.com/questions/18304/how-to-reduce-noise-in-cycles-render&quot;&gt;Here's an explanation of some of them&lt;/a&gt;. There are also some tricks and workarounds that can help with that, &lt;a href=&quot;https://www.blenderguru.com/articles/7-ways-get-rid-fireflies/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here's an article detailing some of them&lt;/a&gt;. You might find some more on the &lt;a href=&quot;https://blender.stackexchange.com/&quot;&gt;Blender.SE&lt;/a&gt; or through other sources. A while ago, I assorted some Tutorials on several techniques in Blender, &lt;a href=&quot;http://stuff.herebedragons.world/blender_tutorials.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;you can find it here&lt;/a&gt;. The titles are in German, but the links in the first tile on the left side might still be helpful to you.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:57:47.123" LastActivityDate="2016-09-17T19:44:51.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19413" PostTypeId="1" CreationDate="2016-09-17T20:45:44.193" Score="1" ViewCount="5591" Body="&lt;p&gt;I have many videos in a folder which I want to crop in same way. &#xA;I want to remove 25px from the bottom part of all frames of all videos. All the videos are 1280x720p and have same format which is mp4. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I crop 25px from the bottom of the frames and save the output files as new separate files? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using ffmpeg cli on Linux but I don't mind using other tools on Windows or Linux. Is there a easy way of doing this in batch? &lt;/p&gt;&#xA;" OwnerUserId="16698" LastEditorUserId="16698" LastEditDate="2016-09-17T20:53:19.577" LastActivityDate="2016-10-18T04:51:19.623" Title="Crop selected area in all videos" Tags="|ffmpeg|windows|linux|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19414" PostTypeId="2" ParentId="19413" CreationDate="2016-09-18T04:33:49.100" Score="3" Body="&lt;p&gt;Basic command is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf crop=iw:ih-25:0:0 -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that MP4s usually require the dimensions to be even, so the command above will actually crop 26 pixels from the bottom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On linux, using bash, the script would be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;# Usage: ./crop.sh&#xA;&#xA;mkdir cropped&#xA;for file in *.mp4;&#xA;do&#xA;    ffmpeg -i &quot;${file}&quot; -vf crop=iw:ih-25:0:0 -c:a copy &quot;./cropped/$file&quot;&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-09-18T04:41:59.567" LastActivityDate="2016-09-18T04:41:59.567" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19418" PostTypeId="1" AcceptedAnswerId="19419" CreationDate="2016-09-18T21:32:13.747" Score="1" ViewCount="4352" Body="&lt;p&gt;I have a video project and the format is for Broadcast TV and needs to be interlaced NOT progressive video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;High Definition File&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;All High Definition content MUST be &lt;strong&gt;1080i (59.94) format&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;All High Definition content should be 4:3 center-cut safe.&lt;/li&gt;&#xA;&lt;li&gt;Video Format: &lt;strong&gt;1080i, 29.9 frames/sec (59.94 fields/sec)&lt;/strong&gt; HD File&#xA;Format(s)&lt;/li&gt;&#xA;&lt;li&gt;File Format: XDCAM HD422: 4:2:2, at 50 Mbps MXF (OP1A, self&#xA;contained)&lt;/li&gt;&#xA;&lt;li&gt;Video Codec: MPEG-2 Long GOP, Sony XDCAM compliant&lt;/li&gt;&#xA;&lt;li&gt;Field Order: Upper Field first&lt;/li&gt;&#xA;&lt;li&gt;Audio Format: 48 KHz sample rate, uncompressed&lt;/li&gt;&#xA;&lt;li&gt;Operating Level: Peak program levels at -12 to -8dBfs, nominal&#xA;-10dBfs&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I have never received / edited OR built / rendered out a 1080i (59.94) video before, always digital / progressive(.mp4 ). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I plan on using Adobe Premiere for any editing of the uncompressed footage and then for motion graphics / animation using After Effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, how can I keep the format consistent, interlaced fields, across different applications and also what output format should be used for the final video / deliverables.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I apply my editing and motion graphics like normal with progressive, but @ 60 frames/sec, then at the very end export a rendered video that is 1080i?&lt;/p&gt;&#xA;" OwnerUserId="16681" LastEditorUserId="16681" LastEditDate="2016-09-18T21:50:56.407" LastActivityDate="2016-09-18T22:02:21.750" Title="Interlaced Video Format 1080i (59.94)" Tags="|full-hd|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="19419" PostTypeId="2" ParentId="19418" CreationDate="2016-09-18T22:02:21.750" Score="2" Body="&lt;p&gt;You're not going to be able to replicate the precise &quot;look&quot; of 59.94, even with special plugins. This, due to the fact that interlaced is in many ways like:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Double Frame Rate - Half Resolution. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Think of 59.94i at 1080 really as 119.88 at 540p. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Interlaced lines are scanned odd lines first, then even. So you technically have a first set of lines which are actually one frame, with the other set of lines missing. These lines are then displayed back to the viewer odd/even//odd/even//odd/even etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, you get smoother motion with i vs p. You are able to achieve better slow motion in post production with i vs p, however, p, is of course the preferred format to most. A single frame being a single frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;NOW THAT SAID...&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Looks aside,&lt;/strong&gt; in order to output your video from PPro, all you will simply want to do is import the footage material in (original); right mouse click; new sequence from clip; make any edits/trims, etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is really unnecessary to make any additional adjustments from the timeline in Premiere, because what you ultimately want to do is use &lt;strong&gt;Frame Blending&lt;/strong&gt; when you export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After you've made any adjustments, go to export, choose the format you need; 59.94i, whatever codecs they are requiring, many are already built in; others may need to be downloaded. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ensure you turn on Frame Blending, IF your source material is progressive. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frame Blending will force interpolation of the frames during the rendering of your new video outputs, using two side by side discreet progressive frames to create a new &quot;quasi&quot; interlaced frames, twice as many frames as your progressive source at the correct frame rate. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It isn't quite the same &quot;look&quot; wise as actual Interlaced source material; however, specification wise it should meet their needs; and to the average viewer most will not notice. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do not however use Frame Blending if you are using Interlaced material. And do not double the effect by applying it to the clip in the timeline (which you can do by right clicking the clip; Under Frame Blending/Field Options); and then stack it with another Blend on export. Only one is necessary, and my recommendation is simply allow Adobe Media Encoder handle the p to i conversion. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, if you have material at lower resolution, AME will be upscaling it to get to 1080. If so, you can use the Use Maximum Render Quality Checkbox at the bottom of the export panel window. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Be advised this will likely increase your rendering time by multiple fold. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In regards to the audio; they have peaking requirements. You will need to apply a Dynamics and/or Limiter filter in the Audio Mixer Window Filter Dropdown. Limit to the specifications they have stated. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In regards to center safe, if you're given material that isn't center safe, you're going to need to talk with them about that, as you'll have to do a push in and do manual pan and scan using the motion filter, adjusting the frame position on the canvas to get it to 4:3 safe. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-09-18T22:02:21.750" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19420" PostTypeId="2" ParentId="19333" CreationDate="2016-09-18T22:15:11.987" Score="0" Body="&lt;p&gt;Make sure your trackers are being applied to points that are trackable. That is #1. Second, there are two bounding boxes, the inner box being the point you are tracking, the second, is the bias that AE will use to determine how much drift it will allow to maintain smooth motion / spline, or curve which requires zooming the footage and thus a loss of resolution. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are Advanced options in the tracker panel, in terms of how the tracker will analyze the footage. Using RGB vs Luma is one. Second, make sure Detailed Analysis is checked. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The trackers shouldnt stray, as long as you've placed them on a point that has relatively decent contrast and a &quot;point&quot; of reference that moves -- IMPORTANT -- and stays -- within the outer bounding box of the next discreet frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the track point, going frame by frame (you can analyze it that way, go frame by frame to test, and make sure that, on your next frame, the track point is still inside the outer bounding box, otherwise the tracker will lose it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Think of the outer box as the &quot;field of view&quot; where the tracker looks for the point to follow. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-09-18T22:15:11.987" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19423" PostTypeId="1" AcceptedAnswerId="19436" CreationDate="2016-09-19T23:35:33.300" Score="1" ViewCount="1234" Body="&lt;p&gt;I use &lt;strong&gt;After Effects&lt;/strong&gt; CS6,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to add a lot of pictures inside my comp,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;they need to have random position &#xA;(if I could set the &quot;range of the randomness&quot; that would be great)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;is there any way to do that ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and I'm &lt;strong&gt;not&lt;/strong&gt; looking at a wall image plugin (with these plugins, all pic are in the same plane, but I need randomness on the Z-axis too)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to make something similar to the TV Show Person of Interest: how the AI has multiple image when &quot;we&quot; are inside &quot;his mind&quot;. &lt;a href=&quot;https://i.stack.imgur.com/dwKkS.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;link to img&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have already done a big part of it manually, but it just takes too long to do it with new packs of images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="16712" LastActivityDate="2016-09-23T06:54:56.867" Title="AE - is there a way to import images via list and add random position to them?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19424" PostTypeId="2" ParentId="19174" CreationDate="2016-09-20T10:05:38.147" Score="0" Body="&lt;p&gt;Check out TVone Media Solutions Corio line of Video Scalers. These are available with many different types of video inputs. They can scale all inputs independently, mix and overlay each onto the other, add backgrounds, titles, etc. and are computer controlled, as well as from front panel switches.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have used these in the past to do pretty much the same thing you are describing.&lt;/p&gt;&#xA;" OwnerUserId="16415" LastActivityDate="2016-09-20T10:05:38.147" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19426" PostTypeId="1" CreationDate="2016-09-21T18:32:31.270" Score="1" ViewCount="829" Body="&lt;p&gt;Is there a way to read a CSV file or spreadsheet containing dates in timecode in one column and data in another column, then use the time/date to pair with footage to display the corresponding data?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say I have a spreadsheet or csv with the number of sales a company has made in one column and in the other column a timestamp by the second or minute of when the sale was made. I then want to create a video showing in &quot;real time&quot; how many sales are being made during the action on screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen a tutorial on reading arrays and importing that data into individual comps, but I'm wondering how I can sync data with video&lt;/p&gt;&#xA;" OwnerUserId="16722" LastActivityDate="2016-09-21T18:32:31.270" Title="Expressions: Data-generated After Effects Graphic using CSV file?" Tags="|after-effects|premiere|after-effects-expressions|after-effects-scripting|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19427" PostTypeId="1" CreationDate="2016-09-22T02:20:01.517" Score="3" ViewCount="310" Body="&lt;p&gt;I have a TV commercial that was sent to me that weighs in at 2.4mb .mp4 (MPEG Movie)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The people who made the commercial have a 5second credit title on the front of the commercial that I need to remove.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I crop that out in Adobe Premier then export it, no matter what I do cannot get the file size anywhere near 2.4mb&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried Export &quot;Match sequence settings&quot;, I have tried H.264, medium and high bit rates but all of these make the file blow out to 8 to 14mb.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there something I am missing here or need to be doing? Or is this just how Premier is?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have never used Final Cut Pro and see that it has a $500 price tag but are thinking about giving it a go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be great.&lt;/p&gt;&#xA;" OwnerUserId="16724" LastEditorUserId="14523" LastEditDate="2016-09-23T23:52:46.713" LastActivityDate="2019-11-04T10:38:15.927" Title="Premiere Cut Video but Export File Size Bloats" Tags="|video|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19428" PostTypeId="1" AcceptedAnswerId="19430" CreationDate="2016-09-22T08:01:18.373" Score="0" ViewCount="2730" Body="&lt;p&gt;Let’s suppose I have a 3D SBS video and I want to convert it such that I get two video files, one for left side video and one for the right. How can I do it? Is it possible to do so programmatically?&lt;/p&gt;&#xA;" OwnerUserId="16726" LastActivityDate="2022-11-29T04:54:40.217" Title="How can I convert a 3D SBS video to individual left side video and right side video?" Tags="|video|3d|standards-converter|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19429" PostTypeId="1" CreationDate="2016-09-22T08:20:00.740" Score="0" ViewCount="82" Body="&lt;p&gt;I'm new to after effects and currently I am using preset effects. How do I add a second animation(outro effect) after the first animation is completed?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;timeline: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1 sec- a picture appears&lt;/li&gt;&#xA;&lt;li&gt;2 sec- the picture is clear now&lt;/li&gt;&#xA;&lt;li&gt;3 - 9 secs - the picture is still&lt;/li&gt;&#xA;&lt;li&gt;10 sec - I want the picture to have an outro effect either wipe out or dissolve.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="16727" LastActivityDate="2016-09-22T19:42:11.687" Title="How To Add Outro Animation" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19430" PostTypeId="2" ParentId="19428" CreationDate="2016-09-22T08:25:36.597" Score="2" Body="&lt;p&gt;You can use &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow&quot;&gt;FFmpeg&lt;/a&gt;, a free commandline tool to do this.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i sbs.mkv -filter_complex &quot;split[l][r];[l]stereo3d=sbsl:ml[left];[r]stereo3d=sbsl:mr[right]&quot; -map [left] -map 0:a -c:a copy left.mkv -map [right] -map 0:a -c:a copy right.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-09-22T08:25:36.597" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19431" PostTypeId="1" CreationDate="2016-09-22T11:44:28.987" Score="1" ViewCount="51" Body="&lt;p&gt;I've been given the task of building a new PC for my job - because there is a lot of video encoding coming up in the future and my current PC won't really hack it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I kind of have a budget of about 1000, so i'm wondering where I should focus the money on.  I've found the &lt;a href=&quot;https://www.amazon.co.uk/dp/B01GRDS5NC/ref=wl_it_dp_o_pC_S_ttl?_encoding=UTF8&amp;amp;colid=34TJV1G9RUMB&amp;amp;coliid=I2UL9C5HV9NLTN&quot; rel=&quot;nofollow&quot;&gt;Xeon 1650 V4&lt;/a&gt; which has like 10 cores for about £600.  But then of course that leaves little money for a GPU.  But do I really need it? Couldn't I sacrifice the GPU all together and just use on board graphics, and let the processor do all the hard work with encoding? Because as far as I know anyway, there arn't really any programs that will actually utilise the GPU when encoding.  At the moment I use Handbrake for my conversion as it's quick and simple and I am quite sure that won't use CUDA or my GPU in anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So i'm stuck with what to do really.  I've just done a build for home (i7 6700k, GTX 1070) and It's a lightning fast machine.  But is it really worth getting a GPU and spending nearly half my budget on it if the processor is going to do all the work?&lt;/p&gt;&#xA;" OwnerUserId="4503" LastActivityDate="2016-09-22T11:44:28.987" Title="Building a new PC - What should I spend money on - CPU or GPU?" Tags="|encoding|" AnswerCount="0" CommentCount="4" ClosedDate="2016-09-23T23:53:41.133" ContentLicense="CC BY-SA 3.0" />
  <row Id="19432" PostTypeId="2" ParentId="19429" CreationDate="2016-09-22T14:22:56.793" Score="2" Body="&lt;p&gt;To add a dissolve you would want to add keyframes to the opacity property for the image. Park your playhead at 10 seconds and with the image selected hit the letter &lt;kbd&gt;t&lt;/kbd&gt;. You should see the opacity property for the layer. If the stopwatch isn't blue then click it, which will turn on animation for that property. Go to the time at which you want to end the dissolve and wind the value down to 0. You should have two new keyframes on the opacity channel, and the layer will fade out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A wipe can be achieved in many ways, one of the simplest is using a mask. With the image layer selected hold the &lt;kbd&gt;alt / option&lt;/kbd&gt; key down and double-click the quickmask icon:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oh3ee.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oh3ee.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That will add a rectangular mask the size of your layer. Hit the &lt;kbd&gt;m&lt;/kbd&gt; key to show the masks for the layer. Park the playhead at the time at which you want to start your transition and click the stopwatch next to the &lt;strong&gt;mask path&lt;/strong&gt; property to animate the mask, tThis will also make one keyframe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now move the playhead to where you want the transition to end. Double click on the mask outline in the comp window, and you should see a wireframe outline around it. Drag the wireframe right off the screen, in the direction you want the wipe to go. Hold the shift key to constrain the movement to vertical or horizontal only. This will create another keyframe, and the layer will wipe off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can add easing to the keyframes to make the motion more pleasing - hit the &lt;kbd&gt;f9&lt;/kbd&gt; key to add ease-in/out. You can further refine the motion in the graph editor (hit this button with the mask property selected)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Otdcc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Otdcc.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for anything in After effects the ways of achieving these effects are limited only by your imagination and skill. Hopefully using native AE tools instead of relying on presets will give you a taste for how it works.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-09-22T14:22:56.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19433" PostTypeId="2" ParentId="19427" CreationDate="2016-09-22T14:32:11.760" Score="2" Body="&lt;p&gt;&lt;em&gt;Match sequence settings&lt;/em&gt; confuses a lot of people. It doesn't mean the output will match the bitrate of your source files—after all you could use any number of source files in a sequence with all sorts of bitrates. Match sequence means the output will have the same frame size, fps, PAR and so on as the &lt;em&gt;sequence&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, if you want to get your output below a certain size you have to wind down the video bitrate, reducing the quality until it produces the desired result (you can use a bit of maths to get in the ballpark: calculate (the desired size in Mbits) / (length in seconds) and you'll have the Mbits per second budget you need to work towards.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-09-01T00:46:15.020" LastActivityDate="2017-09-01T00:46:15.020" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19434" PostTypeId="2" ParentId="16919" CreationDate="2016-09-22T19:39:07.477" Score="1" Body="&lt;p&gt;Use a DVD authoring program. For example, Adobe Encore to create a VOB (MPEG2) DVD file. Most media players recognize this format. In the authoring software, you can make the movie autoloop, so the movie will always loop even after you shut down the system and restart it.&lt;/p&gt;&#xA;" OwnerUserId="16732" LastEditorUserId="5495" LastEditDate="2018-01-25T22:22:13.123" LastActivityDate="2018-01-25T22:22:13.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19436" PostTypeId="2" ParentId="19423" CreationDate="2016-09-23T06:54:56.867" Score="2" Body="&lt;p&gt;Dump all your images into your timeline. Select one and &lt;kbd&gt;alt&lt;/kbd&gt;-click the stopwatch on the position property, to add an expression. You need to write a javascript expression that returns an array of 3 numbers that will randomly position the image within the comp. This will do it:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;seedRandom(index, timeless = true);&#xA;var x = random(thisComp.width);&#xA;var y = random(thisComp.height);&#xA;var z = random(thisComp.width);&#xA;[x, y, z]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;IF you right-click the position property and choose &lt;strong&gt;copy expression only&lt;/strong&gt;, you can then paste it to all the other images in your comp and they will scatter to randomly fill a cube the size of your comp (and as deep on the z axis as the width of your comp).&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;How it works&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;(read this if you want to be able to hack it to your own needs)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;seedrandom&lt;/code&gt; function sets the random seed for the random number generator, and we give it two parameters, &lt;code&gt;index&lt;/code&gt; meaning the layer number, and &lt;code&gt;timeless=true&lt;/code&gt;. By using the layers' index to generate the random number, each layer will have a different set of coordinates. &lt;code&gt;Timeless=true&lt;/code&gt; means that the random number doesn't change over time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;var x = Math.random(thisComp.width)&lt;/code&gt; sets the variable x to have a random value somewhere between 0 and the width of the comp. If you wanted this to be a different value you could type in a number instead of &lt;code&gt;thisComp.width&lt;/code&gt;. All three variables are set the same way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The last line puts them into an array, which is what the position property needs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To refine it you might want to use the guassRandom function instead of random - that will mean the images will cluster towards the centre, like a galaxy. You could also create a null and add three slider effects to it (in &lt;strong&gt;effects&gt;expression controls&lt;/strong&gt;). You could use them to control the width, height and depth of the cloud. To do that select the bit inside the random function that says &lt;code&gt;thisComp.width&lt;/code&gt;, delete it and with the cursor inside the brackets grab the pick-whip (the little spiral near the expression twirl down) and drag it to the slider effect control. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pkThA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pkThA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The result should be that the line will now look like:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var x = gaussRandom(thisComp.layer(&quot;Null 1&quot;).effect(&quot;Slider Control&quot;)(&quot;Slider&quot;));&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Do that for all three dimensions using a different slider for each and once again copy the expression to all the layers. Now you can control how far they spread with the sliders, and even animate it, by animating your sliders, so for example they could all spread out from the centre over time.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-09-23T06:54:56.867" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19437" PostTypeId="1" CreationDate="2016-09-23T10:24:37.913" Score="1" ViewCount="4762" Body="&lt;p&gt;ffmpeg -re -i rtmp://server/live/streamname \&#xA;-c:v rawvideo -pix_fmt uyvy422 -vf scale=720x576 \&#xA;-c:a pcm_s16le -ar 48000 -ac 2 \&#xA;-f nut - | /bmd/bmdplay -C 0 -m 2 -f pipe:0&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Kindly share the exact command to take this rtmp stream to Decklink Studio 4K card(SDI).&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="16739" LastActivityDate="2019-08-28T13:55:57.987" Title="How do I playout rtmp stream to SDI (Decklink Studio 4K) using FFMPEG command?we are using Windows 7 operating system" Tags="|ffmpeg|rtmp|sdi|sd-card|blackmagic|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19438" PostTypeId="2" ParentId="19437" CreationDate="2016-09-23T11:21:25.300" Score="1" Body="&lt;p&gt;As the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-devices.html#decklink-1&quot; rel=&quot;nofollow&quot;&gt;docs&lt;/a&gt; say,&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;you need the Blackmagic DeckLink SDK and you need to configure with&#xA;  the appropriate --extra-cflags and --extra-ldflags. On Windows, you&#xA;  need to run the IDL files through widl&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If so, run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -i rtmp://server/live/streamname -c:v rawvideo -pix_fmt uyvy422 -vf scale=720x576 -c:a pcm_s16le -ar 48000 -ac 2 -f decklink &quot;Device&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;Device&lt;/code&gt; is to replaced with the name of 'Decklink Studio 4K' as indicated by &lt;code&gt;ffmpeg -f lavfi -i nullsrc -f decklink -list_devices 1 dummy&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-09-23T11:21:25.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19439" PostTypeId="1" AcceptedAnswerId="19440" CreationDate="2016-09-23T18:13:46.800" Score="1" ViewCount="572" Body="&lt;p&gt;Basically, I want to convert an mp4 file that's in landscape to portrait.  It's a single image on a black background with no sound.  I want to keep the size and aspect ratio of the image intact and my plan is to convert it from 1280x720 to 720x1280.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm playing around with crop and padding, but I'm wondering if there's a way to get this done with one command, and if I need to reencode it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dfTCS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dfTCS.png&quot; alt=&quot;Here&amp;#39;s a screenshot of the video&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16742" LastEditorUserId="16742" LastEditDate="2016-09-23T18:22:54.033" LastActivityDate="2016-09-23T18:36:18.467" Title="Trying to resize a video by cropping the sides and adding height is it possible to do this with ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19440" PostTypeId="2" ParentId="19439" CreationDate="2016-09-23T18:36:18.467" Score="1" Body="&lt;p&gt;For a target size of 720x1280, you would use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i img.png -vf scale=-1:1280:flags=lanczos,crop=720:1280:(iw-720)/2:0 out.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-09-23T18:36:18.467" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19441" PostTypeId="1" AcceptedAnswerId="19446" CreationDate="2016-09-23T22:00:02.460" Score="2" ViewCount="860" Body="&lt;p&gt;A year ago I came across a web page describing how to set up a better “pro use” LUT on the camera, that would get better shadow detail recorded.  This was a LUT used in more professional situations and is (as I recall) known to Adobe Premiere already.  I understand that this will make watching the as-saved camera files look bad, and it needs the corresponding LUT selected in Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't find that again now.  Can someone point me to what I need?  The web page featured video stills of chickens. I have a Canon 70D camera.&lt;/p&gt;&#xA;" OwnerUserId="9268" LastActivityDate="2017-02-23T04:03:23.317" Title="Better LUT directions for Canon dSLR?" Tags="|dslr|color-correction|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19442" PostTypeId="1" AcceptedAnswerId="19444" CreationDate="2016-09-24T08:43:39.850" Score="6" ViewCount="12296" Body="&lt;p&gt;I was looking at alternatives to the GoPro (such as the Sony FDR-X1000V), but they all seem to only shoot wide-angle with significant perspective distortion (fisheye). Are there action cameras which do &lt;em&gt;not&lt;/em&gt; introduce this sort of distortion?&lt;/p&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2018-12-14T01:50:35.547" Title="Is there a 4K action camera solution that does NOT have perspective distortion?" Tags="|video|action-cam|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19443" PostTypeId="1" CreationDate="2016-09-24T10:07:58.037" Score="1" ViewCount="97" Body="&lt;p&gt;By looking at the specifications of the newly released GoPro Hero 5 and the old GoPro Hero 4, it seems to me that they may be the same since both can record video at 4K@30FPS and take 12MP still images. Does the GoPro Hero 5 Black have improved video quality over the GoPro Hero 4 Black, or is it basically the same image sensor as the previous generation but in a new housing?&lt;/p&gt;&#xA;" OwnerUserId="16746" LastActivityDate="2016-12-07T19:56:21.067" Title="Does the GoPro Hero 5 Black have improved video quality over the GoPro Hero 4 Black?" Tags="|video|video-quality|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19444" PostTypeId="2" ParentId="19442" CreationDate="2016-09-24T15:40:09.813" Score="5" Body="&lt;p&gt;There are two major advantages to recording fisheye distortion rather than rectilinear distortion.  First, it is optically easier to do, which means one can make lenses that are better in other metrics (such as chromatic aberration, resolution, vignetting, etc) while remaining small enough and light enough to fit into the body of an action camera.  Second, the relative size of an object doesn't change radically as its moves from center to edge when the camera is not under tight control.  For that reason, it is possible to define a crop area that follows the subject as it bounces around the full frame and then use motion tracking to create a relatively stable view of the object, which can then be de-fished.  If it were rectilinear, the stabilization process might have to do some major zoom and tilt corrections as well, which would be very distracting.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-09-24T15:40:09.813" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19446" PostTypeId="2" ParentId="19441" CreationDate="2016-09-25T07:36:34.000" Score="1" Body="&lt;p&gt;I think this must have been “Cinestyle” by Technicolor, whose home is &lt;a href=&quot;http://www.technicolor.com/en/solutions-services/cinestyle&quot; rel=&quot;nofollow&quot;&gt;this page at the Technicolor web site&lt;/a&gt;.  The chicken instructions was probably &lt;a href=&quot;https://www.youtube.com/watch?v=xxQN0Exv9Sg&quot; rel=&quot;nofollow&quot;&gt;this video&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="9268" LastActivityDate="2016-09-25T07:36:34.000" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19449" PostTypeId="1" AcceptedAnswerId="19453" CreationDate="2016-09-25T19:56:02.550" Score="2" ViewCount="71" Body="&lt;p&gt;I am an iOS developer who wants to create a mobile app for video editing. But I do not know the basic terminology and functionality of video editing and production. Terms like video scrubbing, video ramping etc. leaves me clueless. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please if anyone could suggest me some resources from where I can start my research about the video editing tools, features, requirements and basic terminology. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="16752" LastActivityDate="2016-09-26T02:12:00.863" Title="Video production basics for a noob" Tags="|video-editor|video-quality|video-standards|terminology|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19450" PostTypeId="1" CreationDate="2016-09-25T20:11:04.210" Score="0" ViewCount="497" Body="&lt;p&gt;I have an old SD PAL camcorder, which records on miniDV tapes at a resolution of 720x576 pixels. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the output from ffmpeg of the 4:3 recording:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0: Video: dvvideo, yuv420p, 720x576 [SAR 16:15 DAR 4:3], 28800 kb/s, 25 fps, 25 tbr, 25 tbn, 25 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is the output instead for the 16:9 widescreen footage:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0: Video: dvvideo, yuv420p, 720x576 [SAR 64:45 DAR 16:9], 28800 kb/s, 25 fps, 25 tbr, 25 tbn, 25 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I noticed that the resolution is the same in both the cases, and of course the SAR is different, in one to fit the 4:3 resolution, in the second to fit 16:9. This leads me to think that the footage should be stretched to fit the aspect ratio but keep the same resolution in both cases. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the actual video footage is quite different. It doesn't look like they use the same resolution, but more that the 16:9 footage is cropped vertically. This would make sense logically, since the sensor is 4:3. However, shouldn't that mean that the resolution is lower? How is it possible that the footage has the same resolution while recording but a different one while reproducing? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: To clarify what I mean above, I took a screenshot of both video. As expected, both videos fit the two formats: 768x576 for 4:3 (16:15 stretch), and 1024x576 for 16:9 (64:45 stretch). Which again, is what is expected. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the image is evidently cropped vertically in the second case. For example, if I put a ball on the top and the bottom of the screen, it would be visible in 4:3, but would be cut out in 16:9. Video quality is also much lower in this case, as expected from an upscale. It looks like the image is first cropped at something like 720x405, and then upscaled to 1024x576. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wonder why this happens, instead of having just the image at 720x576 stretched out to 16:9.&lt;/p&gt;&#xA;" OwnerUserId="6739" LastEditorUserId="6739" LastEditDate="2016-09-26T12:38:15.457" LastActivityDate="2016-09-26T13:13:25.543" Title="miniDV - Same resolution but lost vertical space in 16:9 widescreen?" Tags="|camcorder|aspect|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19452" PostTypeId="2" ParentId="19450" CreationDate="2016-09-26T02:01:53.930" Score="0" Body="&lt;p&gt;Believe it or not, this is correct. The sensor in your camera is something like 720x576 regardless of whether you're recording in 4:3 or 16:9. What that means is that the lens needs to squish the 16:9 image into a 5:4 (720:576) area and your display device needs to stretch it back out. This is why the SAR (sample aspect ratio, AKA pixel aspect ratio) is not the same in both cases. (And also, DV even at 4:3 does not have square pixels which is why a 720x576 image is displayed 4:3!)&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-09-26T02:01:53.930" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19453" PostTypeId="2" ParentId="19449" CreationDate="2016-09-26T02:12:00.863" Score="3" Body="&lt;p&gt;I recommend you do a few things.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Take an online course in video editing. You can either sign up for one at something like &lt;a href=&quot;http://linda.com/&quot; rel=&quot;nofollow&quot;&gt;linda.com&lt;/a&gt;, or even just go to YouTube and search for video editing. There are thousands of tutorials which can point you in the right direction.&lt;/li&gt;&#xA;&lt;li&gt;If the above isn't reasonable, take a class at your local community college. Many offer classes in video editing and motion graphics.&lt;/li&gt;&#xA;&lt;li&gt;Read some books. I can personally recommend &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/1879505622&quot; rel=&quot;nofollow&quot;&gt;In the Blink of an Eye&lt;/a&gt; by Walter Murch and &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/0240807650&quot; rel=&quot;nofollow&quot;&gt;The Technique of Film and Video Editing: History, Theory, and Practice&lt;/a&gt; by Ken Dancyger. Peachpit Press also has lots of books on a number of applications.&lt;/li&gt;&#xA;&lt;li&gt;Go to a local video editing user's group and ask basic questions. If you're in a major city in the US, you might try the local Final Cut Pro User Group meetings (SF Cutters, LAFCPUG, CHIFCPUG, BOSFCPUG, etc.) or Adobe Premiere or Avid User Group meetings.&lt;/li&gt;&#xA;&lt;li&gt;Sit down with a local editor (there are probably editors near you who do commercials, if not TV, film, and music videos). If you can befriend an editor or other video artist, they are a good source of ideas for software to write!&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I've been writing such software professionally for over 15 years, and that's how I got into it.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-09-26T02:12:00.863" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19455" PostTypeId="2" ParentId="19450" CreationDate="2016-09-26T13:13:25.543" Score="1" Body="&lt;p&gt;Okay, after some reasoning and research I think I understand what happens. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, the sensor is fixed in size, but the lens is too. Which means the only way to get a wider sample to fit the image to 16:9 is to crop down the image on the sensor to about 720x405 pixels, each pixel catching a sample of ratio 64:45 (SAR).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The image is then stretched vertically to fit the whole 576 lines of the PAL standard. This means the original 5:4 footage captures has the same horizontal FOV as the footage captured in 4:3 mode, but a lower one vertically, stretched up to fit the whole 576 lines. This allows for the recorded media to then be stretched back into 16:9 by the media player. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This last step (the vertical stretching done by the camcorder) is still something that sounds really puzzling to me, but after analyzing some more footage, it is rather obvious that it is a digital upscaling and not an analog capture of the samples, since a lot of the digital noise is stretched vertically too. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is an interesting way to get around the hardware limitations of the camcorder, but in the end not really worth it, considering the loss in quality.&lt;/p&gt;&#xA;" OwnerUserId="6739" LastActivityDate="2016-09-26T13:13:25.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19457" PostTypeId="2" ParentId="18462" CreationDate="2016-09-26T21:17:08.123" Score="1" Body="&lt;p&gt;Recently I've had the chance to research a bit in this area, and I've come across some rumors that ffmpeg's support for RTSP is somewhat buggy, i.e. it stops suddenly or yields mangled frames.&#xA;If you need only video, you can use openrtsp app from Live555 it can output stream to stdout to be consumed with -i -&quot; in ffmpeg (Live555's client seems to be state of the art wiht RTSP)&lt;/p&gt;&#xA;" OwnerUserId="16759" LastActivityDate="2016-09-26T21:17:08.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19459" PostTypeId="1" AcceptedAnswerId="19469" CreationDate="2016-09-28T01:42:02.977" Score="2" ViewCount="42" Body="&lt;p&gt;I shot some wedding footage for a friend when her video guy was unable to make it at the last minute. I use LR and PS all the time but I have no experience with video at all beyond some basic time lapse stuff. I have AE and PP but know next to nothing about the latter and not much more about the former. What kinds of things are typically done to a video to make it look nice? I shot the ceremony on a handy cam on a tripod while I roamed hand-holding a 7D. I shot the reception with the 7D on a tripod; collapsed, monopod style.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="5607" LastActivityDate="2016-09-29T10:31:31.533" Title="I'm totally new to AE. What are some things typically done to clean up video and make it look nice?" Tags="|after-effects|premiere|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19461" PostTypeId="1" AcceptedAnswerId="20312" CreationDate="2016-09-28T16:13:02.200" Score="1" ViewCount="1687" Body="&lt;p&gt;if this is the wrong place to post this let me know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to download a very large video (9.1GiB) from youtube on my device and I have ~10GB free storage space for it.&lt;br&gt;&#xA;Because it's youtube, I have to download video and audio separately and combine them afterwards. I'd normally do that using ffmpeg. I'd have to let it create the combined video in a new ~9.1GiB file because it can't overwrite it's input. The video only file of similar size must exist during the whole process.&lt;br&gt;&#xA;Problem is: I can't store 2 9.1GiB files, only one.        &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The possible solutions would be to edit the video only file to have an audio stream or have a super intelligent buffer system that'd delete the parts of the video only file that have already been copied into the new file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any program that is capable of doing that or do you know a different solution to this problem?&lt;br&gt;&#xA;-Atemu&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Sorry for my bad german)&lt;/p&gt;&#xA;" OwnerUserId="16771" LastActivityDate="2017-01-04T18:04:43.140" Title="Combine audio and video file without creating a 3rd file" Tags="|ffmpeg|youtube|storage|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="19464" PostTypeId="1" AcceptedAnswerId="19466" CreationDate="2016-09-28T23:57:57.743" Score="2" ViewCount="5115" Body="&lt;p&gt;YouTube says one should upload videos in the frame rate in which the video has been recorded. But if I have yet to record, what frame rate should I choose?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I noted that videos downloaded from YouTube have mostly 30 fps but some have 24 fps. I haven't seen any frame rather other than these 2 in videos downloaded from YouTube yet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Will YouTube show 60 fps videos to the user with 60 fps (if it's possible)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There of course are the downsides:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Raw material is bigger.&lt;/li&gt;&#xA;&lt;li&gt;Rendering takes longer.&lt;/li&gt;&#xA;&lt;li&gt;Rendered file is bigger.&lt;/li&gt;&#xA;&lt;li&gt;Upload takes longer. (My internet connection is very slow.)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So I want to know whether it even changes something in advance.&lt;/p&gt;&#xA;" OwnerUserId="16775" LastActivityDate="2018-04-30T16:20:12.827" Title="Does 60 fps make sense for YouTube?" Tags="|video-recording|youtube|framerate|production|recording|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19465" PostTypeId="1" CreationDate="2016-09-29T00:49:39.143" Score="1" ViewCount="632" Body="&lt;p&gt;I want to have a text scroll through a video. I use Kdenlive for editing and rendering and it supports having a scrolling text and simply made it black text on a white background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It scrolls very fast, way faster than would be readable. Which is intended. However, it should still look crisp (appearing clear, sharp, etc.).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I stop at any point in the video, the text is as sharp as it could be. However, when playing the video, the text looks blurry.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It doesn't appear to be a player issue. I tried 3 different players, same thing. When I take a screenshot while playing the video, the text looks sharp, too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use a 60 fps LCD laptop monitor with 4 K resolution scaled to 1920 px x 1080 px by the operating system and tried 30 fps and 60 fps video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem vanishes when I stand 4 m or more back.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this a known problem and is there a solution? Like using colors which aren't as different as black and white for the text and the background or actually lowering the frame rate or showing smaller/bigger text or anything?&lt;/p&gt;&#xA;" OwnerUserId="16775" LastEditorUserId="6207" LastEditDate="2016-10-29T15:47:28.090" LastActivityDate="2016-10-29T15:47:28.090" Title="Scrolling Text Looks Bad" Tags="|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19466" PostTypeId="2" ParentId="19464" CreationDate="2016-09-29T02:27:39.887" Score="3" Body="&lt;p&gt;Google has supported 60fps video &lt;a href=&quot;http://www.forbes.com/sites/gordonkelly/2014/10/30/youtube-60fps-video-is-here-and-it-looks-incredible/#5eb03291525f&quot; rel=&quot;nofollow&quot;&gt;since 2014&lt;/a&gt;.  YouTube has a page that talks about video formats, codecs, framerates, etc., &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;.  It is up to the Browser and YouTube to negotiate what format, frame rate, etc., should be served for optimal playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you only care about YouTube as a video display platform, and not at all about any other platform, then you have the freedom to choose any of its preferred formats, depending on what sort of upload traffic you can afford.  If you want to be able to play something on your local computers, TV monitors, etc., then you should pick the format most preferred by your most-preferred platform, and let everything else try to adapt to that.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="1871" LastEditDate="2016-10-29T04:32:49.690" LastActivityDate="2016-10-29T04:32:49.690" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19468" PostTypeId="2" ParentId="19465" CreationDate="2016-09-29T10:24:35.087" Score="1" Body="&lt;p&gt;Some general advice on motion graphics / rolling text, i dont know KDEnlive so i dont know how to achieve that in your specific software.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Make scrolling speed fit your framerate. If your framerate is 25fps, the text should scroll at 25 / 50 / 75 / 100 / 125 etc. pixels per frame.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you are using a progressive scan playback device like a projector or a computer screen, make sure your project is set to be in progressive and not interlaced. If necessary, de-interlace video that was shot interlaced before using it in the project.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Never use fonts or graphics that have lines which are only 1px, if you need to do that, duplicate the layer and put a copy of the graphics with a very soft gaussian blur (1 or 2px blur) in the background.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Put a soft shadow around the font, also very subtle, 1 or 2px dissolved shadow.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-09-29T10:24:35.087" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="19469" PostTypeId="2" ParentId="19459" CreationDate="2016-09-29T10:31:31.533" Score="1" Body="&lt;p&gt;Common postproduction work:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Color Correction&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Reframing (crop out unwanted stuff from images, especially viable if shot in a higher resolution then distribution format)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Stabilization&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Speed Changes and Speed Ramps&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Personally i doubt that you need to use After Effects for this though, as all of that can also be done in Premiere. If you want to learn After Effects in the process, i'd look into making some nice typography animations which you later import into the final video. There are tons of tutorials on that on the interwebs and / or you can download some After Effects templates to get you started.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-09-29T10:31:31.533" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19471" PostTypeId="1" CreationDate="2016-09-29T14:27:15.970" Score="1" ViewCount="1090" Body="&lt;p&gt;We're currently testing live streaming to YouTube for in-house webinars. In the testing setup, we have a camera going to an HDMI splitter, and then the HDMI feeds going to two transcoding boxes. The primary box uploads to YouTube via a public IP (so it bypasses all firewall, proxy, and internal Quality of service settings) and the secondary box uploads via a 4G mobile data connection (with a theoretical 40mbp/s upload).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The primary box uses rtmp://a.rtmp.youtube.com/live2 as the upload URL.&lt;br&gt;&#xA;The secondary box uses rtmp://b.rtmp.youtube.com/live2?backup=1 as the upload URL.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, this works. Both transcoding boxes start streaming, the preview button in the Live Control Room is pressed and the source from the primary transcoder comes through fine. I can disconnect the primary transcoder, watch the buffer health drop down to 0 and then after some delay (may be a few seconds, may be a few minutes) the backup video feed kicks in. I've tried tweaking for interaction/less buffering and added delay, but there's always, always a few seconds of buffering. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this an officially supported way of using multiple feeds, or is this a workaround method only?&lt;/p&gt;&#xA;" OwnerUserId="6738" LastActivityDate="2016-09-29T14:27:15.970" Title="When livestreaming on YouTube, are the primary/secondary feeds meant for fail-over?" Tags="|youtube|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19474" PostTypeId="2" ParentId="7756" CreationDate="2016-09-29T16:35:35.677" Score="1" Body="&lt;p&gt;Better late then never. This is a typical voyeurshot&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/a5FaqDghoB4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="16783" LastActivityDate="2016-09-29T16:35:35.677" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19479" PostTypeId="1" CreationDate="2016-09-30T23:21:47.307" Score="0" ViewCount="62" Body="&lt;p&gt;During a Summer trip, I took various footage with my JVC100 camera and some with my Galexy note 5. Now, I am thinking of using the footage in one movie project. The cell phone footage obviously has a different quality and sometimes I have held the phone vertically. My project is rather experimental and I don't need a very smooth overall look, yet, I was wondering if there are smooth or sleek ways of combining the footage with different aspect ratios and qualities. I would appreciate examples in experimental movies and technical advice.&#xA;Thanks a million! &lt;/p&gt;&#xA;" OwnerUserId="16798" LastActivityDate="2016-11-30T04:06:29.000" Title="Footage with different aspect ratio" Tags="|video|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19480" PostTypeId="2" ParentId="19479" CreationDate="2016-10-01T03:22:42.877" Score="1" Body="&lt;p&gt;One way to deal with different aspect ratios is to take footage that is not as wide as your output format and duplicate it in another layer. Increase the scale on this other layer and blur the image, then put the original over it. This produces a nice coherent effect where the area outside the original footage is filled with colors that are from the original footage, but are not distracting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're working in FCPX, there's a built-in filter called &quot;Photo Recall&quot; that does this sort of effect. It shrinks the original image, but you can have it fill the frame instead. Other apps probably have a similar filter or make it fair easy to reproduce.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-10-01T03:22:42.877" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19483" PostTypeId="1" AcceptedAnswerId="19484" CreationDate="2016-10-01T15:28:14.110" Score="0" ViewCount="159" Body="&lt;p&gt;Firstly, I'm no video professional, I'm an audio professional. Video theory is a dark area for me. So I will use an audio-type analogy in this question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In audio editing, it is possible to subtract one waveshape from a bunch of other waves by inverting the phase of the wave(phase subtraction). While this is a simple, easy to understand process, due to my lack of knowledge of digital video processing, I am unsure if this process is an available tool in video editing. My logical mind tells me that it is. I know in nature, like in bubbles, phase interactions cause interesting effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to use this process on a video to remove the axis scales from a 3D spectrogram, so that everything else in the video except the axis scales are left.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this I assume I need an isolated image of the thing I want to subtract i.e. the axis scales. I'm using Adobe Premiere Pro or After Effects, whichever is best for this. The Image I want to remove is stationary in the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any advice on how to do this in Adobe AE/PP if it &lt;em&gt;can&lt;/em&gt; be done is appreciated.&lt;/p&gt;&#xA;" OwnerUserId="15937" LastEditorUserId="15937" LastEditDate="2016-10-01T15:45:05.727" LastActivityDate="2016-10-01T20:20:33.353" Title="Remove an image through subtraction?" Tags="|after-effects|premiere|video-editor|signal-processing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19484" PostTypeId="2" ParentId="19483" CreationDate="2016-10-01T15:50:17.077" Score="2" Body="&lt;p&gt;It is possible and works in a similar manner. What's different is that normal pixel values in video are always positive, whereas it's normal for audio to go both positive and negative several thousand times per second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a copy of the axes without the spectrum, you can overlay the image with the spectrum on top of the image of the axes and set the blend mode of the spectrum image to &quot;difference.&quot; That will subtract the image of the axes from the spectrum image and leave black where the axes were.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't want black, but some other color, you can use an image mask that sets the axes to an alpha value of 0 and the rest of the image to an alpha value of 1 (or 255 if you're working in 8 bit per channel mode). Then put some other color underneath the masked footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;: I forgot to mention that the image of the axes alone should be black wherever you want the original image to come through. (Because you're then subtracting 0 from the original image in those areas.)&lt;/p&gt;&#xA;" OwnerUserId="6207" LastEditorUserId="6207" LastEditDate="2016-10-01T16:09:01.273" LastActivityDate="2016-10-01T16:09:01.273" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19485" PostTypeId="2" ParentId="19483" CreationDate="2016-10-01T20:20:33.353" Score="1" Body="&lt;p&gt;If your axes are baked in to the video, then, no, you cannot easily remove them because they have replaced, not added to, the underlying image.  One way to remove them would be to create a mask that exactly covers each axis and use that mask to copy and average pixels on either side of the axis. Then place the averaged pixels where the axis used to be.  This will effectively blur-out the offending axes. &lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-10-01T20:20:33.353" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19486" PostTypeId="2" ParentId="15423" CreationDate="2016-10-02T00:05:17.563" Score="0" Body="&lt;p&gt;I hooked up the EOS-M via USB and turned it on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No, there is no option for video monitoring in the EOS Utility.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will go buy a $70 webcam to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS Recording separately as the first poster recommended will record a podcast. It does not allow using the EOS-M as a Webcam.&lt;/p&gt;&#xA;" OwnerUserId="16809" LastActivityDate="2016-10-02T00:05:17.563" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19488" PostTypeId="1" CreationDate="2016-10-02T06:14:05.610" Score="2" ViewCount="2469" Body="&lt;p&gt;I'm new to AfterEffects but a long time adobe user. I'm trying to do a simple animation using hi-res, lossless PNG's which I have tried exporting at their actual size and @2x up to @4x which I then scale down. I have reason to believe it's not the quality of the PNG's that are the issue as a vector square drawn directly in AE has the same blurred effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried the many different codecs- Animation, PNG, H.426 etc but they all have the same results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Extra info:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I use a retina screened mac&lt;/li&gt;&#xA;&lt;li&gt;Everytime I open in quicktime it converts the video&lt;/li&gt;&#xA;&lt;li&gt;I haven't changed any settings, I use the default ones and leave the   export options at the highest quality.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Please help! I had such high hopes for AE!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fHjWw.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fHjWw.jpg&quot; alt=&quot;side by side comparison&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16811" LastActivityDate="2019-11-11T03:11:28.987" Title="Which are the best settings for crisp graphic output using After Effects?" Tags="|video|after-effects|video-quality|animation|export|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="19489" PostTypeId="1" CreationDate="2016-10-02T11:31:35.040" Score="1" ViewCount="66" Body="&lt;p&gt;I'm fairly new to AE and I'm having some issues centering different shape elements. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been using the &lt;em&gt;Cmd+double click the Pan Behind tool&lt;/em&gt; to center the anchor point on circle and rectangle shapes but but it doesn't work the same with straight strokes. So how do I center the anchor point to the center of a straight stroke's path?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="16813" LastActivityDate="2016-10-03T02:24:50.317" Title="Centering in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19493" PostTypeId="2" ParentId="19489" CreationDate="2016-10-03T02:24:50.317" Score="2" Body="&lt;p&gt;There isn't really a &lt;em&gt;good&lt;/em&gt; way of doing this. But there is a way of doing it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the stroke on its own layer, from the align pallet centre the layer to the composition horizontally and vertically. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now copy the layer's current position value. Then right-click the position property and choose reset, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go the stroke's anchor point value (not the layer anchor point but the one inside &lt;em&gt;Contents&gt;shape1&gt;Transform: Shape1&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Paste the original position value there, then click on the individual property values and subtract the value there from half the size of the comp (in other words whatever the position property is now). So if the comp is 1920×1080 and the copied value was [999,123] you'd type &lt;em&gt;960 - 999&lt;/em&gt; in the x channel and &lt;em&gt;540 - 123&lt;/em&gt; in the y channel.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-10-03T02:24:50.317" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19494" PostTypeId="1" AcceptedAnswerId="19497" CreationDate="2016-10-03T02:57:31.373" Score="0" ViewCount="78" Body="&lt;p&gt;I am an electronic musician. For artistic purposes, I want to be able to record a video signal to a .wav file and replay that signal into a TV as video. It seems like it should be simple--if I reproduce the signal, it should turn out the same. Right?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an HDMI to RCA converter which works fine with my tv when used as expected in both NTSC and PAL mode. I take the yellow video cable from that and plug it into my audio interface with an RCA-1/4&quot; adapter and record the signal as audio. When I replay the signal into my TV, it comes out like it's been subjected to Photoshop's motion blur horizontally at maximum, and in black and white. It's completely unrecognizable, looking only slightly better than static. If I use a recording from a black screen, I still get white in there. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I turn on monitor mode, bypassing, although apparently not completely, the audio interface and just route the signal through, it is still black and white, and while still totally unrecognizable, I notice localized changes if I move my mouse around.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I just touch the two cables together it works fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I'm wondering, is this a sample rate problem? If so, what sample rate would be necessary? Or is it something else?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using Komplete Audio 6 interface&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Sample Rates    44.1, 48, 88.2, 96 kHz&#xA;Bit Resolution  16, 24 Bit&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16822" LastActivityDate="2016-10-03T12:13:11.890" Title="Is it possible to capture video signal waveform as audio for video replay?" Tags="|sync|hdmi|digitisation|signal-processing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19496" PostTypeId="2" ParentId="19488" CreationDate="2016-10-03T11:13:20.410" Score="0" Body="&lt;p&gt;OK, so the asset is sharp when it's 956×956, but you then put it in your comp and scale it down to 50% meaning that it is now 478×478. It looks softer than it did at full resolution. Yes, &lt;em&gt;what did you expect to happen?&lt;/em&gt; It has lost 75% of the pixels it originally had, it's going to look softer, end of story. Export from AI at the same pixel size that it's going to be in the comp and that's the resolution you have to work to. If it looks too soft, then change your design. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video is a raster format. If you put something in a comp it is going to be rasterised, and if you make it teeny tiny you may run out of pixels. That's what designing for the screen is all about. You've only got a grid as large as your final resolution to play with. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's put it into perspective that will help you visualise it from a print designer's view. If you were designing for print with a dpi of 300, your 720p video frame would measure around 11cm × 6cm (4.3&quot; × 2.5&quot;). Not very big eh? For something this size you wouldn't put in elements with tiny details and expect those details to look super crisp on the final result. Same for video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tiny details will get antialiased and look soft - when they're compressed you will lose even more detail. Your job as a designer is to design stuff that looks good at the final resolution. (And if you think that's a drag, try designing for standard definition interlaced content delivered on VHS tapes. You kids don't know how good you gots it).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-10-03T11:13:20.410" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19497" PostTypeId="2" ParentId="19494" CreationDate="2016-10-03T12:13:11.890" Score="3" Body="&lt;p&gt;The short answer to your question is &quot;no&quot;.  The sample rate of video is typically measured in MHz or GHz.  If you have a 1080p24 signal at 8 bits per pixel, the actual frame is 2750 x 1125 pixels (according to digital test equipment manufacturer &lt;a href=&quot;http://k.kramerav.com/support/bwcalculator.asp&quot; rel=&quot;nofollow&quot;&gt;Kramer&lt;/a&gt;).  Multiplied by a 24 fps refresh rate, this results in 74,250,000 pixels / second.  Multiplied by 10 bits per clock tick per pixel, this is a bandwidth of 0.74 Gbps.  As a &quot;sample rate&quot;, that is approximately 1000x higher than 16-bit at 48K.  Hence the answer &quot;no&quot;.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-10-03T12:13:11.890" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19498" PostTypeId="1" AcceptedAnswerId="19506" CreationDate="2016-10-03T14:39:01.527" Score="1" ViewCount="80" Body="&lt;p&gt;I would name this effect a sort of lens flare, but the lens flare tutorials I have seen on YouTube are not what I am looking for... Such as &lt;a href=&quot;https://www.youtube.com/watch?v=9xp10GS_XUI&quot; rel=&quot;nofollow&quot;&gt;this tutorial&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, this is the effect I am trying to replicate, as displayed in the Galantis - No Money Music Video &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/xUVz4nRmxn4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; at the following times: 0:17-0:21, 0:27-0:31, 0:35-0:40 and many other places through out the video...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you for any responses I may get :)&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Kind Regards&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Joshua Lochner&lt;/p&gt;&#xA;" OwnerUserId="16824" LastActivityDate="2016-10-04T08:00:59.537" Title="What is this effect's name? And how would I be able to do it in Sony Vegas?" Tags="|video|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19499" PostTypeId="1" CreationDate="2016-10-03T14:40:28.537" Score="1" ViewCount="726" Body="&lt;p&gt;I am running the following command to get the stream data for mp4 and AVCHD video files. My goal is to understand the differences if any between the video streams. I used a JVC camcorder for the test. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i file.mts&#xA;ffmpeg -i file.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The result command displayed the following for video streams regarding h264 for the MTS and MP4 files.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;h264 (high) (HDPR / 0x332D4341)&#xA;h264 (high) (avc1 / 0x31637661)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I gather that the &lt;code&gt;(high)&lt;/code&gt; is the h264 profile. What is the HDPR and hex number that follows? The above output is from the MTS and MP4 files respectively. I have searched the ITU's document on h264 and did not find references to avc1 nor HDPR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&#xA;Tim &lt;/p&gt;&#xA;" OwnerUserId="16825" LastActivityDate="2016-10-03T14:40:28.537" Title="ffmpeg H264 mp4 and AVCHD avc1 vs HDPR?" Tags="|ffmpeg|h.264|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19500" PostTypeId="1" AcceptedAnswerId="19501" CreationDate="2016-10-03T15:19:15.150" Score="3" ViewCount="37" Body="&lt;p&gt;I have access to a camera that is capable of both 1080p60fps and 4k30fps. Which would be easier to track details? The shot I'm using isn't shaky or anything.&lt;/p&gt;&#xA;" OwnerUserId="16826" LastActivityDate="2016-10-03T23:51:58.683" Title="Which is better for tracking?" Tags="|tracking|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19501" PostTypeId="2" ParentId="19500" CreationDate="2016-10-03T21:38:46.113" Score="4" Body="&lt;p&gt;1080p60 will give better temporal resolution, which is key for tracking details that move within the scene.  If the scene is ridiculously simple, such as if the only object moving at all is a Mac screen on a swivel, and if you can control the speed of the swivel however you like, then framerate is no longer the sole determinant of temporal resolution.  You can achieve the same temporal resolution shooting a half-speed move at 30fps as you can a full-speed move at 60fps.  In that case, shooting at 4K will give you greater spatial resolution than 1080p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the normal case, temporal, not spatial, resolution is the big bug-a-boo for object tracking.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2016-10-03T23:51:58.683" LastActivityDate="2016-10-03T23:51:58.683" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19503" PostTypeId="1" CreationDate="2016-10-04T01:45:36.827" Score="0" ViewCount="53" Body="&lt;p&gt;I took a video of a TV, and I want to crop it so that only the TV is in the video. My problem is that since my phone wasn't facing the TV at a perfect 90 degree angle, I can't simply crop it like a rectangle. Is there any way I can crop it so that I can set the corners?&#xA;This is similar to how scanner apps on smartphones work. You set the corners and it makes it look like you are directly looking at it. Sorry for my mediocre explanation. The app Genius Scan utilizes what I'm talking about.&lt;/p&gt;&#xA;" OwnerUserId="16832" LastEditorUserId="16832" LastEditDate="2016-10-04T01:52:13.683" LastActivityDate="2016-10-04T06:00:22.103" Title="Set corners when cropping video" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19505" PostTypeId="2" ParentId="19503" CreationDate="2016-10-04T06:00:22.103" Score="1" Body="&lt;p&gt;Yes, you can. If you're in Final Cut Pro X you can use the &quot;Distort&quot; section of the inspector, or in Motion, you can use the &quot;Four Corner&quot; function in the Inspector when your video is selected. (In Motion it will be in the Properties tab.) The same functionality is available via the on-screen controls, which are easier to use than entering values by hand.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe that After Effects and Premiere have similar functionality, though I don't remember the details off the top of my head as it's been a few years since I used them regularly.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-10-04T06:00:22.103" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19506" PostTypeId="2" ParentId="19498" CreationDate="2016-10-04T08:00:59.537" Score="4" Body="&lt;p&gt;Search Google for &quot;light leaks&quot;. Here's free collection: &lt;a href=&quot;http://vegasaur.com/free-light-leaks&quot; rel=&quot;nofollow&quot;&gt;http://vegasaur.com/free-light-leaks&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to use: Place the desired light leak clip on the track above your video and set track's compositing mode to Screen or Add. Adjust the amount of light by lowering the clip or track opacity. You can also add change luminance or color by adding Levels, Color Balance or Hue/Saturation filters.&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2016-10-04T08:00:59.537" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19507" PostTypeId="1" AcceptedAnswerId="19519" CreationDate="2016-10-04T19:12:19.283" Score="1" ViewCount="79" Body="&lt;p&gt;I have been using After Effects and I own a YouTube channel which is like &quot;Trap nation&quot;. One problem though, sometimes after a certain time period, the animation freezes. If you see this video&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=PHgWGPjP0sc&quot; rel=&quot;nofollow&quot;&gt;The equalizer animation freezes after one minute.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks guys for helping me with this problem!&lt;/p&gt;&#xA;" OwnerDisplayName="user16291" LastEditorUserId="16852" LastEditDate="2016-10-08T16:20:55.167" LastActivityDate="2017-06-05T20:10:57.413" Title="After Effects music equalizer freeze" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19508" PostTypeId="1" CreationDate="2016-10-04T20:53:03.900" Score="0" ViewCount="301" Body="&lt;p&gt;I have imported my videos into Elements as a test and tried a lot of different combinations to remove the black borders, but nothing seems to work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The source file info it in the image below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PGhFd.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PGhFd.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm unsure which settings to go for when setting up the project...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qkmV0.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qkmV0.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And I am also unsure of which to select in the export...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2Fjiz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2Fjiz.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Project settings...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wY2Nt.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wY2Nt.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can see that the file is 1280*960, but I cant seem to find this setting, any help would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="16838" LastEditorUserId="16838" LastEditDate="2016-10-05T05:24:27.570" LastActivityDate="2016-12-04T06:59:45.437" Title="GoPro Hero 3 + Adobe Premiere Elements 14 black border" Tags="|premiere-elements|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19509" PostTypeId="2" ParentId="19508" CreationDate="2016-10-04T23:51:29.033" Score="1" Body="&lt;p&gt;You need to select a Custom size, because 1280x960 is not an HD ratio (16:9) but something else (4:3).  The black borders are the program's way of telling you &quot;the image aspect ratio doesn't fit the target aspect ratio, so I'm going to shrink it to fit&quot;.  YouTube, for example, will also do this to your video, as will any HDTV.  So unless you have a 4:3 end-to-end pipeline (which you might have if you are &quot;projecting&quot; the video onto a virtual 4:3 screen within some animation), something somewhere is going to have to crop or fill your image in ways you don't like.  The best alternative is for you to make the decision how you are going to fit it into a 16:9 world.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-10-04T23:51:29.033" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19510" PostTypeId="2" ParentId="19320" CreationDate="2016-10-05T03:09:09.833" Score="-1" Body="&lt;p&gt;Copy this script into a text file and save it as &lt;strong&gt;stackinator2000.jsx&lt;/strong&gt; then in AE go to &lt;strong&gt;File&gt;Scripts&gt;Run Script File&lt;/strong&gt; and load the file you saved. Then select a layer and run it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;NOTE&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;It will take a long time if the comp is long.&lt;/li&gt;&#xA;&lt;li&gt;It will create a layer for every frame. I hope you've got a fast machine.&lt;/li&gt;&#xA;&lt;li&gt;save your project before trying it. I've tested it and it works here, but  all care, no responsibility, yadda yadda.&lt;/li&gt;&#xA;&lt;li&gt;It is important that the script is saved as &lt;strong&gt;stackinator2000.jsx&lt;/strong&gt;—trust me on this one. If that's unacceptable then calling it &lt;strong&gt;The_Mighty_Stackatron.jsx&lt;/strong&gt; or &lt;strong&gt;stackMeister_77.jsx&lt;/strong&gt; is a possible workaround, but it will be 25% less awesome.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;app.beginUndoGroup('stackinator2000');&#xA;var theComp = app.project.activeItem&#xA;if (!theComp) {&#xA;  //no comp selected, silly rabbit&#xA;  alert('choose a layer in a comp');&#xA;} else {&#xA;  var theLayer = theComp.selectedLayers[0];&#xA;  if (!theLayer) {&#xA;    //no layer selected&#xA;    alert('choose a layer');&#xA;  } else {&#xA;    var firstFrame = Math.max(theLayer.inPoint / theComp.frameDuration, 0);&#xA;    var lastFrame = Math.min(theComp.duration, theLayer.outPoint) / theComp.frameDuration&#xA;    var frame;&#xA;    //set the blending mode while we're at it&#xA;    theLayer.blendingMode = BlendingMode.LIGHTEN;&#xA;    //turn on time remapping&#xA;    theLayer.timeRemapEnabled = true;&#xA;    //delete the last key to make it a freeze frame - this will remove any other time remapping set&#xA;    while (theLayer.timeRemap.numKeys &amp;gt; 1) {&#xA;      theLayer.timeRemap.removeKey(2)&#xA;    }&#xA;    //step forward one frame at a time&#xA;    for (frame = firstFrame; frame +1 &amp;lt; lastFrame; frame++) {&#xA;      //duplicate the layer and work with the new layer&#xA;      theLayer = theLayer.duplicate();&#xA;      //offset the inpoint by one frame&#xA;      theLayer.inPoint = (frame + 1) * theComp.frameDuration;&#xA;      //prevents weirdness with the out point that I don't understand&#xA;      theLayer.outPoint = lastFrame * theComp.frameDuration;&#xA;      //set the time remapping for the first frame of the layer&#xA;      theLayer.timeRemap.setValueAtTime(theLayer.inPoint, theLayer.inPoint - theLayer.startTime);&#xA;      //delete the old key which should be before the current one&#xA;      while (theLayer.timeRemap.numKeys &amp;gt; 1) {&#xA;        theLayer.timeRemap.removeKey(1);&#xA;      }&#xA;    }&#xA;  }&#xA;}&#xA;app.endUndoGroup();&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-10-05T03:31:26.180" LastActivityDate="2016-10-05T03:31:26.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19511" PostTypeId="1" AcceptedAnswerId="19514" CreationDate="2016-10-05T12:30:43.380" Score="18" ViewCount="27221" Body="&lt;p&gt;I am using &lt;a href=&quot;https://en.wikibooks.org/wiki/FFMPEG_An_Intermediate_Guide/image_sequence&quot; rel=&quot;noreferrer&quot;&gt;ffmpeg to convert from video to an image sequence&lt;/a&gt; as follows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.webm image-%03d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The first image is labelled &lt;code&gt;001&lt;/code&gt;, but I want it to be labelled &lt;code&gt;098&lt;/code&gt;. Is it possible to set that value in the ffmpeg invocation?&lt;/p&gt;&#xA;" OwnerUserId="16152" LastEditorUserId="16152" LastEditDate="2016-10-05T13:15:15.667" LastActivityDate="2021-12-20T10:16:02.137" Title="Can I set the start number for image sequence output?" Tags="|video|ffmpeg|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19512" PostTypeId="1" CreationDate="2016-10-05T13:53:40.313" Score="-1" ViewCount="89" Body="&lt;p&gt;How can I make effects like the ones in the video? Can anyone tell me where I can find the names of the plugins to make these effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Sm8HB-FRimU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/SEtkealev6w?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="16818" LastEditorUserId="1871" LastEditDate="2016-10-08T16:22:32.333" LastActivityDate="2016-10-08T16:22:32.333" Title="Unknown Adobe After Effects plugins" Tags="|video|after-effects|video-editor|plugins|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19513" PostTypeId="2" ParentId="16641" CreationDate="2016-10-05T14:22:21.520" Score="1" Body="&lt;p&gt;Try to use 3d Stroke. &#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/UFSrcqSAvxI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;The taper parameter should help you.&lt;/p&gt;&#xA;" OwnerUserId="16834" LastActivityDate="2016-10-05T14:22:21.520" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19514" PostTypeId="2" ParentId="19511" CreationDate="2016-10-05T15:27:22.597" Score="31" Body="&lt;p&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#image2-2&quot; rel=&quot;noreferrer&quot;&gt;image sequence muxer&lt;/a&gt; has a &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#Options-5&quot; rel=&quot;noreferrer&quot;&gt;start number option&lt;/a&gt;, so&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.webm -start_number 98 image-%03d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="16152" LastEditDate="2016-10-06T15:40:44.830" LastActivityDate="2016-10-06T15:40:44.830" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="19515" PostTypeId="1" CreationDate="2016-10-06T00:49:44.597" Score="-1" ViewCount="46" Body="&lt;p&gt;We have been making video's while talking in 2 chairs.  No one monitors the camera (we don't have a 3rd person)  We'd like to have another camera which could be switched to for close ups of what we are talking about. We have a Canon Power Shot, various Iphones and a Logitech video camera as well as a few tripods.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know how to edit videos and really don't have the time to learn or I could slip a photo into the videos.  That's not what we would like to do. But while I have you, eventually I'm going to need to get into editing the video's cause the door bell is going to ring or something is going to happen, there's no pause button. What's the easiest program for doing this? Or is there a tool which will also pause the recording?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a tool we can purchase to toggle between cameras? I found something that will hold the Iphone on the tripod as well as a blue tooth on off switch for the camera.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the final thing we need to churn out videos.  I hope someone can help me. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks! &lt;/p&gt;&#xA;" OwnerUserId="16844" LastActivityDate="2016-10-07T00:10:30.440" Title="Toggle between 2 cameras, 2 person to very close up" Tags="|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19516" PostTypeId="1" CreationDate="2016-10-06T07:38:26.423" Score="-1" ViewCount="762" Body="&lt;p&gt;I am using OBS to stream on facebook.&#xA;I could connect to facebook with OBS and see preview at facebook (audio and video is streaming in preview mode at facebook). When I go live it stop working.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can be the issue? Thanks&lt;/p&gt;&#xA;" OwnerUserId="16846" LastEditorUserId="16852" LastEditDate="2016-10-08T16:24:29.490" LastActivityDate="2016-10-14T12:02:27.917" Title="Facebook Live Stream crash" Tags="|streaming|live|obs|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19517" PostTypeId="2" ParentId="19512" CreationDate="2016-10-06T18:52:28.557" Score="1" Body="&lt;p&gt;The animations could be pre-rendered video's edited in the final movie, but the animations are probably made with a plugin in Adobe After Effects as listed above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could not identify all of the plugins, but you can start off with the &lt;a href=&quot;https://www.redgiant.com/products/trapcode-particular/&quot; rel=&quot;nofollow&quot;&gt;&quot;Particle&quot;&lt;/a&gt; plugin used for the particles coming from her fingers.&lt;/p&gt;&#xA;" OwnerUserId="16852" LastEditorUserId="16852" LastEditDate="2016-10-06T19:28:10.903" LastActivityDate="2016-10-06T19:28:10.903" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19518" PostTypeId="2" ParentId="19516" CreationDate="2016-10-06T19:59:55.180" Score="0" Body="&lt;p&gt;First try to identify the error with their &lt;a href=&quot;https://obsproject.com/analyzer&quot; rel=&quot;nofollow&quot;&gt;&quot;OBS Log Analyzer&quot;&lt;/a&gt; to check for configuration problems, incorrect settings, network issues and many other diagnostics.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After that you should be able to start a &lt;a href=&quot;https://obsproject.com/chat&quot; rel=&quot;nofollow&quot;&gt;&quot;OBS Live Chat&quot;&lt;/a&gt;. A copy of your OBS log file will likely be very useful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the meanwhile you can always look through their FAQ.&lt;/p&gt;&#xA;" OwnerUserId="16852" LastActivityDate="2016-10-06T19:59:55.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19519" PostTypeId="2" ParentId="19507" CreationDate="2016-10-06T21:40:53.693" Score="1" Body="&lt;p&gt;Check whether the equalizer effect you made runs through to the end of the song you are using. If that is not the case, just stretch the animation to the end of the song and you should be good to go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that does not work, create a new project or sequence and import your current files to the new project. &lt;/p&gt;&#xA;" OwnerUserId="16852" LastActivityDate="2016-10-06T21:40:53.693" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19520" PostTypeId="2" ParentId="19515" CreationDate="2016-10-07T00:10:30.440" Score="0" Body="&lt;p&gt;It's common to set up one master shot, and 2 over-the-shoulder cameras (each one looking at one person's face with the back of the other person's shoulder somewhat in the shot).  These would be 3 separate cameras, all running simultaneously.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have used Adobe Premiere CC (CC means &quot;Creative Cloud&quot;) to edit this kind of a setup.  You can import the footage from all 3 camera angles, sync up the sound between the 3 tracks, and then toggle from camera to camera in real time!  For example:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;You shoot a 10-minute conversation with 3 cameras.&lt;/li&gt;&#xA;&lt;li&gt;You import the three 10-minute tracks into Adobe Premiere CC.&lt;/li&gt;&#xA;&lt;li&gt;You align them so they are all synchronized.&lt;/li&gt;&#xA;&lt;li&gt;You play them back and, while they are playing, you can click on the track that you want to see at that moment.  In effect, it will be &quot;cutting&quot; from camera to camera.  That will take you 10 minutes (because you're doing it in real-time).&lt;/li&gt;&#xA;&lt;li&gt;You export that footage as another video file.  It will show the conversation and will include all of the &quot;cuts&quot; (switching of camera angles) that you did while it was playing in Premiere.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I recommend using the sound from only ONE of the cameras.  You can mute the other 2 cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FYI, there are probably other editing software programs that can do exactly this.  Adobe Premiere CC is just the one I've used.  I like its interface, and instead of paying a large amount of money up front, you pay a small amount per month.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2016-10-07T00:10:30.440" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19521" PostTypeId="1" AcceptedAnswerId="19522" CreationDate="2016-10-07T00:41:38.940" Score="0" ViewCount="77" Body="&lt;p&gt;This effect should be simple to achieve, however I'm having difficulty with time-remapping (should I be using this function at all?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The effect happens right after 1:45 &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/9Sc-ir2UwGU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="16856" LastEditorUserId="16856" LastEditDate="2016-10-07T10:00:51.840" LastActivityDate="2016-10-07T10:00:51.840" Title="How to Achieve Slow Motion Effect in After Effects as seen in Kygo's Firestone Video" Tags="|after-effects|slowmotion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19522" PostTypeId="2" ParentId="19521" CreationDate="2016-10-07T02:50:06.063" Score="0" Body="&lt;p&gt;It is called the &quot;Time Warp&quot; effect. You should check out &lt;a href=&quot;https://youtu.be/ZJTaCeUFKaM?t=57s&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; video from &quot;Fenchel &amp;amp; Janisch&quot; for a tutorial on how to apply this effect. &lt;/p&gt;&#xA;" OwnerUserId="16852" LastActivityDate="2016-10-07T02:50:06.063" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19523" PostTypeId="1" AcceptedAnswerId="19524" CreationDate="2016-10-07T03:18:56.707" Score="1" ViewCount="700" Body="&lt;p&gt;I would like to know how to zoom in (or pop out)on a particular boxed screen area (like menu and mouse movements) just like this guy did in this linked video. I wanted to make same thing for my Youtube tutorial series. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video Link -&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/V5V53ZUZzjo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="16109" LastEditorUserId="16852" LastEditDate="2016-10-08T16:24:20.037" LastActivityDate="2016-10-08T16:24:20.037" Title="How to zoom in on (or pop out) particular screen area's" Tags="|after-effects|video-editor|" AnswerCount="1" CommentCount="0" ClosedDate="2016-10-13T10:30:46.273" ContentLicense="CC BY-SA 3.0" />
  <row Id="19524" PostTypeId="2" ParentId="19523" CreationDate="2016-10-07T03:46:07.307" Score="1" Body="&lt;p&gt;I think the person in the tutorial recorded, cropped and placed each individual element in his video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could give &quot;&lt;a href=&quot;https://technet.microsoft.com/en-us/sysinternals/zoomit.aspx&quot; rel=&quot;nofollow&quot;&gt;ZoomIt&lt;/a&gt;&quot; a try. It's a tool from Microsoft that lets you zoom while recording your screen. &lt;/p&gt;&#xA;" OwnerUserId="16852" LastActivityDate="2016-10-07T03:46:07.307" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19525" PostTypeId="1" CreationDate="2016-10-07T08:02:27.627" Score="1" ViewCount="466" Body="&lt;p&gt;I'm using a shell script to automate some FFMPEG processes. The main part I'm interested in is the options following the -vf flag below:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loglevel verbose -y -i &quot;${FILE}&quot; -vcodec prores -profile:v 1 -vf scale=720:576,setdar=4:3,setsar=1:1 &quot;${OUTPUTDIR}/${FILENAME%.*}_SD.mov&quot; &amp;gt;&quot;${LOGDIR}/${LOGFILE}&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This script should be generating an SD Pal Anamorphic ProRes LT mov which is being sent to an ad streaming company. The worry we're having is that while this generates a 720x576 file which is good, upon comparison to the previous encoder we were using (Squeeze) using Premiere it appears as though Squeeze outputs a 1.0940 ratio pixel, while this outputs a 1.0 and thereby displays it slightly squished horizontally (more so than our normal anamorphics).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One would assume this is because of the setsar=1:1, therefore changing it to 1:1.094 would fix things, but that just makes it 0.9410 or something in Premiere and squishes it even more! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We're unsure on how the ad streaming company processes anamorphic files on their side, so I don't know whether the square pixels will fly or not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another note is that when these files are generated, they are pulled into Quicktime, and if the info screen displays 720x576 it's okay, but if it is followed by another resolution like (780x576) in brackets then the ad streaming company will deny it.&lt;/p&gt;&#xA;" OwnerUserId="16858" LastActivityDate="2024-03-30T15:00:50.173" Title="(FFMPEG) Creating SD Pal Anamorphic" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19526" PostTypeId="2" ParentId="19525" CreationDate="2016-10-07T09:10:59.637" Score="0" Body="&lt;p&gt;Can you confirm the spec? If all 720 px are active, then setdar=4/3 is correct but without the setsar. If Rec. 601  is required,  as is likely,  then setsar=59/54 is needed without the setdar &lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-10-07T09:10:59.637" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19527" PostTypeId="1" CreationDate="2016-10-07T14:22:06.797" Score="3" ViewCount="2029" Body="&lt;p&gt;I have a bunch of music videos I have downloaded from youtube. I usually put them in a playlist in mpc (Media Player Classic). The problem is that the audio levels of the videos are quite different and I have to adjust the volume for each one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I hear them in foobar2000 (it's an audio player) there's no problem because it can apply the replaygain info wich I have added to the videos, but mpc hasn's this feature.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mpc has a normalization option but it is dynamic and is not what I want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An aceptable solution would be to recode the video with the audio levels corrected. But I want to move the audio level globally to the video, not dynamic normalization. And also I want to leave the video untouched. What tool can I use?&lt;/p&gt;&#xA;" OwnerUserId="16860" LastActivityDate="2016-10-07T18:55:29.750" Title="How to modify audio level of video according to replaygain info?" Tags="|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19528" PostTypeId="2" ParentId="19527" CreationDate="2016-10-07T18:55:29.750" Score="6" Body="&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg&lt;/a&gt;, a free command-line tool, has a volume filter that should do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Syntax would be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v copy -af volume=replaygain=track output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;af&lt;/code&gt; invokes the &lt;code&gt;volume&lt;/code&gt; filter with the option set to adjust the volume using the track replaygain value (if present). Video is set to passthrough into the output.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-10-07T18:55:29.750" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19529" PostTypeId="1" CreationDate="2016-10-08T17:32:16.410" Score="1" ViewCount="84" Body="&lt;p&gt;I'm working on my first project on nuke studio 10.&#xA;The sequence is 10 mins long.&#xA;I set the default blink device to my NVidia titan x. My machine is a Mac pro 5,1 &#xA;12 cores.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to export the sequence quicktime prores 4444 and I set it to use 6 cores as the threats number.&#xA;I wanna know if it's possible to render or export using my gpu becayse it gave me estimated time like 1 hour and a half.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And when I try to export the same sequence from premier pro cc, it takes 4 mins because media encoder is using cuda processing to encode the sequence. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="16866" LastEditorUserId="20968" LastEditDate="2018-01-13T01:00:14.383" LastActivityDate="2018-01-13T01:00:14.383" Title="Nuke studio GPU" Tags="|video|visual-effects|nuke|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19530" PostTypeId="2" ParentId="19443" CreationDate="2016-10-08T19:18:50.857" Score="2" Body="&lt;p&gt;They added a few bells and whistles, but the video quality remains the same&#xA;&lt;a href=&quot;http://vegasaur.com/gopro-hero5-hero4-comparison&quot; rel=&quot;nofollow&quot;&gt;http://vegasaur.com/gopro-hero5-hero4-comparison&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2016-10-08T19:18:50.857" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19532" PostTypeId="1" AcceptedAnswerId="19544" CreationDate="2016-10-09T18:30:23.317" Score="1" ViewCount="3434" Body="&lt;p&gt;I have a layer in After Effects to which I have applied an outer glow as a layer style. Ideally I would like the glow to turn off and on, in a loop, starting at a point in time and then stopping. Is this possible—perhaps with a script?&lt;/p&gt;&#xA;" OwnerUserId="16876" LastActivityDate="2016-10-25T09:10:36.153" Title="How to loop outer glow layer style in After Effects?" Tags="|after-effects|after-effects-expressions|after-effects-scripting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19535" PostTypeId="1" AcceptedAnswerId="19538" CreationDate="2016-10-09T21:29:51.160" Score="0" ViewCount="4560" Body="&lt;p&gt;I'm trying to add a video intro to my main video. I have the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -i main-video.mp4 -i intro.avi \&#xA;    -filter_complex &quot; \&#xA;        [0:v]setpts=PTS-STARTPTS, scale=2550x1080[top]; \&#xA;        [1:v]setpts=PTS-STARTPTS, scale=1920x1080, \&#xA;             format=yuva420p,colorchannelmixer=aa=1[bottom]; \&#xA;        [top][bottom]overlay=shortest=1&quot; \&#xA;    -acodec libvo_aacenc -vcodec libx264 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;main-video.mp4 -&gt; 2250 x 1080&lt;/p&gt;&#xA;&#xA;&lt;p&gt;intro.avi -&gt; 1920x1080&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have 2 problems with the above;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;After the intro overlay has finished the main video pauses, however the main video audio continues for the correct duration of the main video (with a paused video frame the entire time)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The intro video overlay is left aligned, ideally I'd like it to be centered, either through auto calculations based on the 2 resolutions, or by nudging the x/y manually &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="16880" LastActivityDate="2016-10-10T02:00:48.647" Title="Overlaying transparent video onto base video with custom positioning" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19536" PostTypeId="1" CreationDate="2016-10-09T21:50:26.967" Score="1" ViewCount="99" Body="&lt;p&gt;I have to make a five-minute video for a school project. The video includes a few interviews where I want to have their name and job description slide in, and blur the background to prevent distractions. I was planning to do these edits in AE and make a montage of the interviews in Premiere Pro. So in what order do you recommend to do these activities? Both options have their pros and cons:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;If I montage it first, AE has to render the whole video again, and I suppose that's not necessary for the parts where I'm not going to use masks and stuff.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If I edit it first, I'm probably going to apply masks at fragments that I'm not going to use, that's also quite time-consuming.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So which method do you recommend?&lt;/p&gt;&#xA;" OwnerUserId="16873" LastActivityDate="2016-10-10T04:33:35.733" Title="What to do first: effects or montage?" Tags="|after-effects|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19537" PostTypeId="2" ParentId="19536" CreationDate="2016-10-09T22:02:06.543" Score="2" Body="&lt;p&gt;Probably the best way would be to first edit your video completely in Premiere Pro and then use the dynamic-link feature. If you do it the other way round, you won't know exactly what footage will be used and on which clips to apply the effects. If you've already edited your clips and put them into a timeline you know how your final film will look and you're able to integrate the effects much better into your film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the dynamic-link workflow, create a new timeline in Premiere Pro and do all of your editing (what you called montaging).&#xA;After you've done with your final edit, you can bring the clips into After Effects to do the effects. Right-click on the clip you want to edit and select &quot;&lt;em&gt;replace with After Effects composition&lt;/em&gt;&quot;. Then this single clip will be automatically opened in After Effects and you can apply your effects. The clip in your Premiere timeline will be automatically replaced with the AE composition and you still are able to change your edit later and change stuff in your timeline. Then after you've done all the effects you need render the Premiere Pro timeline and you have your finished film.&lt;/p&gt;&#xA;" OwnerUserId="16240" LastActivityDate="2016-10-09T22:02:06.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19538" PostTypeId="2" ParentId="19535" CreationDate="2016-10-10T02:00:48.647" Score="1" Body="&lt;p&gt;The overlay filter is set to end with the shortest input, which here is the intro. So, the video output stops generating after that, so a typical video player holds the visual on the last frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if your intro already has transparency, you can skip the format and ccm filters. In the command you took them from, the inputs did not have transparency in the source. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Unless you are resizing the videos, you can skip the scale as well.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -i main-video.mp4 -i intro.avi \&#xA;    -filter_complex &quot; \&#xA;        [0:v]setpts=PTS-STARTPTS,scale=2550x1080[top]; \&#xA;        [1:v]setpts=PTS-STARTPTS,scale=1920x1080[bottom]; \&#xA;        [top][bottom]overlay=x=(W-w)/2:eof_action=pass&quot; \&#xA;    -acodec aac -vcodec libx264 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-10-10T02:00:48.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19539" PostTypeId="2" ParentId="19536" CreationDate="2016-10-10T04:33:35.733" Score="0" Body="&lt;p&gt;I second. Your approach to this should be focused on the story, the graphics are a finishing touch. Cut up your bytes, and condense them down. Cut out all of the ums, ahhs, reconstruct bytes to make them more concise, to pack as much information- the good stuff- into as tight a timeframe as possible. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you have a basic string out of interviews ready to work with. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lay down music. You'll want some breathers. Where the bytes break to music (typically during chorus) and you montage b-roll shots/graphics/supporting visuals. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Construct where where these breathers will be. Create the stringout using the music... if it's a 5 minute piece, most likely 2-3 songs. Make sure you splice them, and pay them off. They need to end. Get your song edits cut, and place markers where your breathers will go, where interviews will go. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now start placing the interview bytes. Focus on structure and story. That's what really matters. Period. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next, lay in b-roll. Cover any interview jumpcuts where edits were made, and fill in the breathers. Pay Off and Open each song with graphics and strong visuals. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, you can take your project output into AE, and create your lower thirds. Graphics. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't want to use the Dynamic Link Flow approach listed above- which does work, but I prefer hard assets rendered to disk, you can build your graphics with your video output from premiere. Then render out just the graphic sections and disabling the video track (so theres no background). Render out as Quicktime Codec Animation 100 Q with Alpha RGB+Alpha. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;These files will be uncompressed 100% quality renders of your graphics, and you can drop them back into premiere and re-render a final output. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For archive:  Easiest to just save the entire project to 2 copies on disk, but if you want to archive as a &quot;lay to tape&quot; method, just make sure you render the program clean (no graphics), program dirty (with graphics), then mix minuses, one only music, one only bytes, one only sfx, one only music no mix, etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Saving to disk, far easier. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-10-10T04:33:35.733" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19540" PostTypeId="1" CreationDate="2016-10-10T05:20:02.217" Score="2" ViewCount="1462" Body="&lt;p&gt;I'm trying to take two input videos (can be in avi, mp4, whatever ffmpeg supports) and combine them into a stereoscopic video with the &quot;ffmpeg&quot; utility that uses simple red and cyan colored glasses (anaglyph). I have tried the following statements with input files of type mp4:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i left.mp4  -i right.mp4          stereo3d=al:arcc  video_arcc.mp4&#xA;ffmpeg -i left.mp4  -vf &quot;movie=right.mp4&quot; stereo3d=al:arcc  video_arcc.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I see error messages like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Error message: [NULL @ 0000000003220940] Unable to find a suitable output format for 'stereo3d=al:arcc'&#xA;stereo3d=al:arcc: Invalid argument&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My source images are a series of JPEGs that I can convert to any input format. It would be preferrable to use left%06d.jpg&quot; and &quot;right%06d.jpg&quot;, but that is an extra layer of difficulty for now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What command line options do I need for ffmpeg anaglyph red-cyan?&lt;/p&gt;&#xA;" OwnerUserId="16882" LastActivityDate="2016-10-10T08:13:56.643" Title="ffmpeg statement for Anaglyph of Red-Cyan Color" Tags="|video|ffmpeg|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19541" PostTypeId="2" ParentId="19540" CreationDate="2016-10-10T05:38:38.097" Score="2" Body="&lt;p&gt;&lt;code&gt;stereo3d&lt;/code&gt; is a video filter so it has to be specified via a filterchain or complex. Since you have two inputs, and stereo3d only converts a single input from one form of 3D arrangement to another, you'll have to combine the two image sequences first. For which, you can use the &lt;code&gt;hstack&lt;/code&gt; filter, which will place the two sequences side-by-side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;left%06d.jpg&quot; -i &quot;right%06d.jpg&quot; -filter_complex &quot;hstack,stereo3d=sbsl:arcc&quot; video_arcc.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;By default, image sequences are treated as 25 FPS and hence so will the output, in this case. If the framerate is different, say 24, then the beginning will be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 24 -i left%06d.jpg&quot; -framerate 24 -i &quot;right%06d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-10-10T08:13:56.643" LastActivityDate="2016-10-10T08:13:56.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19542" PostTypeId="2" ParentId="19488" CreationDate="2016-10-10T05:52:28.190" Score="1" Body="&lt;p&gt;If you're designing source artwork in Illustrator, take advantage of the fact you can bring your .ai files straight in AE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the layer in AE that you put the AI vector, click the 'continuously rasterize' button and you'll get your crisp vector edges back.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2OpGf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2OpGf.png&quot; alt=&quot;After Effects Timeline option&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2016-10-10T05:52:28.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19543" PostTypeId="2" ParentId="18131" CreationDate="2016-10-10T10:48:09.023" Score="1" Body="&lt;p&gt;as an AD.3&lt;/p&gt;&#xA;&#xA;&lt;p&gt;you can use HLS or you can use WebRTC with h264 or webm DASH &#xA;for DASH it somewhat blurry form me (no straight answer for ffmpeg), but as for the HLS this is supported in a straightforward fashion look &lt;a href=&quot;https://stackoverflow.com/a/30914735/592005&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some time ago I was looking for a way to publish an h264 stream from the IPCam without the need of extra user actions.&#xA;I came across &lt;a href=&quot;https://github.com/meetecho/janus-gateway&quot; rel=&quot;nofollow noreferrer&quot;&gt;Janus Gateway&lt;/a&gt;, this bit of software consumes RTP streams (amongst others types of media) and publishes it as WebRTC media to the browser.&#xA;So basically I did the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;used ffmpeg as an rtsp client and encoder to publish audio and video (separately) as RTP streams&lt;/li&gt;&#xA;&lt;li&gt;I have setup Janus streaming plugin to accept h264 RTP stream and audio stream (descriptions are coming from the RTSP sdp file)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;and it worked just nice.&#xA;I had some issues with the h264 from the IPcam so I had to re-encode it using x264 to be visible in the browsers.&#xA;Ideally Janus has a support for RTSP, but it seems it's lacking option of interleaved TCP transport of RTP and RTCP, and besides I had to re-encode the stream one way or another.&#xA;This are the configs I  have used:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Janus - file janus.plugin.streaming.cfg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[h264-sample]&#xA;type = rtp&#xA;id = 1&#xA;description = H.264 live stream test&#xA;audio = yes&#xA;video = yes&#xA;audioport = 8005&#xA;audiopt = 8&#xA;audiortpmap = PCMA/8000&#xA;videoport = 8004&#xA;videopt = 126&#xA;videortpmap = H264/90000&#xA;videofmtp = profile-level-id=42e01f\;packetization-mode=1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the ffmpeg stream feeding the pipes should look like that (you can of course re-encode whatever you like in this fashion):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -rtsp_transport tcp -i rtsp://hostname:port/description.sdp \&#xA;-an -c:v h264 -profile:v baseline -preset ultrafast -tune zerolatency -f rtp rtp://localhost:8004 \&#xA;-vn -acodec copy -f rtp rtp://localhost:8005&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16759" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2016-10-10T10:48:09.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19544" PostTypeId="2" ParentId="19532" CreationDate="2016-10-10T13:07:49.083" Score="1" Body="&lt;p&gt;I'd suggest animate the 'Opacity' property of the &lt;em&gt;outer glow&lt;/em&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ERB3i.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ERB3i.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;em&gt;Click to enlarge&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create a keyframe by clicking on the &lt;em&gt;stopwatch of outer glow&lt;/em&gt; 'opacity' and set its value to &lt;code&gt;0%&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Create a second keyframe and set its value to &lt;code&gt;100%&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;kbd&gt;Alt&lt;/kbd&gt;&lt;em&gt;-Click&lt;/em&gt; the stopwatch to create an expression and insert &lt;code&gt;loopOut(type = &quot;pingpong&quot;)&lt;/code&gt; to get an endless loop of &lt;em&gt;both&lt;/em&gt; values&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pi9NM.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pi9NM.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;br&gt;&#xA;&lt;em&gt;Composition length: 49 Frames, &lt;br&gt;&#xA;2 Keyframes: frame &lt;code&gt;0&lt;/code&gt; &gt; opacity &lt;code&gt;0%&lt;/code&gt;, frame &lt;code&gt;25&lt;/code&gt; &gt; opacity &lt;code&gt;100%&lt;/code&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; In order to create a less generic animation, you can also create 3 or more keyframes by using &lt;code&gt;loopOut(type=&quot;cycle&quot;)&lt;/code&gt; expression instead.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;To start the animation at a predefined time as well as stop the animation as you like, you can either &lt;em&gt;duplicate the layer twice&lt;/em&gt; and &lt;em&gt;remove the layer styles of both duplicates&lt;/em&gt; in order to concatenate all 3 layers by hand or write a &lt;em&gt;simple condition&lt;/em&gt; like this:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;// get the current frame of the composition&#xA;currentFrame = timeToFrames(time, 1 / thisComp.frameDuration, false);&#xA;&#xA;// check if the current frame is in the predetermined range&#xA;if (currentFrame &amp;gt;= 20 &amp;amp;&amp;amp; currentFrame &amp;lt;= 60) {&#xA;  // loop all keyframes&#xA;  loopOut(type = &quot;cycle&quot;);&#xA;}&#xA;else{&#xA;  // if the current frame is not in predetermined range set glow opacity to 0&#xA;  thisLayer.layerStyle.outerGlow.opacity = 0;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Sa4Lx.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Sa4Lx.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Composition length: 80 Frames, &lt;br&gt;&#xA;Loop animation range: Frame 20 - 60, &lt;br&gt;&#xA;3 Keyframes: frame &lt;code&gt;0&lt;/code&gt; &gt; opacity &lt;code&gt;0%&lt;/code&gt; , frame &lt;code&gt;10&lt;/code&gt; &gt; opacity &lt;code&gt;100%&lt;/code&gt;, frame &lt;code&gt;20&lt;/code&gt;&gt; opacity &lt;code&gt;0%&lt;/code&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Official &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/expression-language-reference.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;expression language reference&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="6685" LastEditDate="2016-10-25T09:10:36.153" LastActivityDate="2016-10-25T09:10:36.153" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19545" PostTypeId="1" CreationDate="2016-10-10T19:03:35.033" Score="1" ViewCount="120" Body="&lt;p&gt;I have to make some fast forwarded videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I fast foward a video track in premier pro (1000%, 10x times faster) it causes VERY slow rendering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an i7-4790k@4.6ghz, 16GB ram and an SSD, and they are mostly unused. CPU usage is around 5-8%, ram 700MB and SSD 1% by premier pro.&#xA;Normal speed rendering is fully using the CPU, so thats good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example:&#xA;1 hour video scaled down to ~6 minutes is more than 30 minutes of rendering.. While the normal speed rendering is almost real-time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video should be 1080p 29.97fps, h.264 + aac, maximum render quality is off, use previews is on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any solution would be appreciated, I already tried different codecs and nesting sequences, didn't really affect the rendering speed and resource usage.&lt;/p&gt;&#xA;" OwnerUserId="16888" LastActivityDate="2016-10-10T19:03:35.033" Title="Premier Pro CC 2015.3 Fast forward causes slow rendering" Tags="|premiere|video-editor|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19548" PostTypeId="1" AcceptedAnswerId="19557" CreationDate="2016-10-10T22:12:39.563" Score="2" ViewCount="692" Body="&lt;p&gt;Considering that I'm not a professional editor and only record some random skateboard, snowboard or just some travel footage around with my GoPro Session 4, is re-encoding to H.265 to save storage space a good idea? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What possible drawback could I expect if I wanted to edit with these files after the re-encoding?&lt;/p&gt;&#xA;" OwnerUserId="16891" LastEditorUserId="1871" LastEditDate="2016-10-11T01:59:37.543" LastActivityDate="2016-10-11T14:37:16.797" Title="Is it worth re-encoding GoPro footage to H.265?" Tags="|video-quality|encoding|storage|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19549" PostTypeId="1" CreationDate="2016-10-11T01:29:16.103" Score="0" ViewCount="49" Body="&lt;p&gt;I am learning how to shoot DSLR video and am struggling to get my 5D Mark III to focus on EVERYTHING.. It always wants to focus on only one specific area creating Depth of field on everything else and I would just like it to focus on everything.. How can I achieve this? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Like when someone is walking towards the camera I'd like it to stay focused on that along with the background. &lt;/p&gt;&#xA;" OwnerUserId="16893" LastActivityDate="2016-10-11T02:06:21.477" Title="I just want my camera to focus on EVERYTHING when recording.. please help." Tags="|focus|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19550" PostTypeId="2" ParentId="19549" CreationDate="2016-10-11T01:40:01.253" Score="0" Body="&lt;p&gt;The easiest way is to close the aperture down to something like f/8. That should expand the depth-of-field to encompass a wide range. Also, being farther from the camera can help, as well. Note that you'll need to increase the amount of light to compensate for such a small aperture.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-10-11T01:40:01.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19551" PostTypeId="2" ParentId="19549" CreationDate="2016-10-11T02:06:21.477" Score="3" Body="&lt;p&gt;There are three answers to this question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Number 1: use a much, much smaller sensor size.  Every factor of two smaller means you can use half the focal length and enjoy an effective 2 f-stops of depth of field at the same aperture value.  Thus 35mm to m43 means you can use a 25mm f2 lens and get the same depth of field as a 50mm f4 lens.  A 2/3&quot; video camera (broadcast standard) means you can use a 12mm f2 lens and get the same depth of field as a 50mm f8 lens.  A 1/3&quot; video camera (old prosumer standard) means you can use a 6mm f2 lens and get the same depth of field as a 50mm f16 lens.  And you still have the light-gathering benefit of an f2 lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Number 2: use a tilt-shift lens to move the plane of focus.  It could be that the &quot;everything&quot; you want can be achieved that way.  See &lt;a href=&quot;https://www.australianlight.com.au/blog/post/using_lens_tilt_for_landscape_photography/&quot; rel=&quot;nofollow&quot;&gt;this link&lt;/a&gt; for examples of photos and setups.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Number 3: be careful when composing images so that you never have objects closer to the lens than the closest in-focus point, and neither do you have objects further than the farthest in-focus point.  This requires you to actually have control over your scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But really, a FF35 camera is usually chosen precisely because it offers very shallow DOF.  You are fighting against nature to try to get a deep depth of field.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-10-11T02:06:21.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19552" PostTypeId="1" AcceptedAnswerId="19937" CreationDate="2016-10-11T06:52:15.323" Score="3" ViewCount="5027" Body="&lt;p&gt;In Photoshop and Illustrator I can 2-finger scroll on the x and y axis. For zooming I can pinch-to-zoom which works seamlessly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, Adobe After Effects reacts totally different to this: Pinch-to-zoom results in zooming into the top left corner so the video output ends up &quot;flying&quot; out of the lower-right corner of the screen and two-finger-up-and-down-scroll zooms at the center of the video. two-finger-left-and-right-scroll, instead of moving along the x axis, has no effect whatsoever.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could get used to that if I worked on a PC but why can't I make use of the wonderful touchpad on my mac? It works in other Adobe CC products that I own, so why is After Effects behaving so weird? It's not just that it behaves &lt;em&gt;different&lt;/em&gt;, I see no reason why sidewards-moving is not working and why anyone would want to zoom into the upper left corner of their screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what happens when I pinch-to-zoom. The black rectangle in the lower right corner is the video and instead of zooming into the video, pinch-to-zoom leads to putting the video out of sight because it zooms into the top left.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/KUE9r.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KUE9r.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope I've written this post somewhat understandable, it's pretty hard to explain but here a little summary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;2-finger-touchpad-move: move along x and/or y axis&lt;/li&gt;&#xA;&lt;li&gt;pinch to zoom: zoom into where my mouse pointer is&#xA;(like in Photoshop or Illustrator)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What I get:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;2-finger-touchpad-move: zoom into video&lt;/li&gt;&#xA;&lt;li&gt;pinch to zoom: zoom into the wastelands of the screen, away from the video&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Maybe it's just some settings that I am unable to locate but I also googled for the issue and the only results are people asking about how to create zooming animations.&lt;/p&gt;&#xA;" OwnerUserId="16896" LastActivityDate="2023-11-23T11:45:05.350" Title="After Effects on Mac: Use touchpad to scroll like in PS or Illustrator" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19553" PostTypeId="1" AcceptedAnswerId="19554" CreationDate="2016-10-11T07:28:12.037" Score="2" ViewCount="742" Body="&lt;p&gt;I am rendering a project several times, and use a script to change some of the input. However, I have not figured out how to change the name of the output file in the script. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is basically my script. I left the details of my modifying function out as they are irrelevant.&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;app.beginSuppressDialogs();&#xA;{&#xA;    var projectFile File(&quot;C:\\AfterFX\\MyProject.aep&quot;);&#xA;    app.open(projectFile);&#xA;    MyCustomDataExchangeFunction();&#xA;    app.executeCommand(3800);&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16898" LastEditorUserId="16898" LastEditDate="2016-10-11T10:07:19.213" LastActivityDate="2016-10-11T10:07:19.213" Title="Change Output file name in AfterFX .jsx script" Tags="|after-effects|after-effects-scripting|extendscript|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19554" PostTypeId="2" ParentId="19553" CreationDate="2016-10-11T08:42:11.270" Score="2" Body="&lt;p&gt;I found the right property that has to be changed and wrote a function that does the job:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;function renameComposition(newName) {&#xA;    var curComp = null;&#xA;    for (var i = 1; i &amp;lt; app.project.numItems +1; i++) {&#xA;        if(app.project.item(i) instanceof CompItem) {&#xA;            curComp = app.project.item(i);&#xA;            curComp.name = newName;&#xA;        } &#xA;    }&#xA;} &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16898" LastEditorUserId="6685" LastEditDate="2016-10-11T09:12:56.403" LastActivityDate="2016-10-11T09:12:56.403" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19555" PostTypeId="1" AcceptedAnswerId="19560" CreationDate="2016-10-11T13:44:02.803" Score="2" ViewCount="146" Body="&lt;p&gt;I saw this overlay and want to reproduce it, but wonder how to do this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xyROn.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xyROn.jpg&quot; alt=&quot;image overlay&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It was slightly animated / synchronized with the video.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;How do I reproduce this on my own videos? &lt;/li&gt;&#xA;&lt;li&gt;Which software is ideally suited for this task?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I currently use Adobe Premiere.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="16900" LastEditorUserId="16900" LastEditDate="2016-10-11T13:52:29.857" LastActivityDate="2016-10-11T19:12:04.683" Title="How to create and add video overlays like this?" Tags="|after-effects|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19556" PostTypeId="2" ParentId="19548" CreationDate="2016-10-11T14:32:37.847" Score="2" Body="&lt;p&gt;Only you can answer if it is worth it, because nobody else understands the economics of your project. Like how much video you have, and how important quality it. Hard drives are cheep, unless you have thousands of hours of video. Video compression isn't lossless, meaning you will never get a higher quality recording than you have now. Every time you recompress it, it will get a litte worse. So unless your hard drive budget is too high, why accept an extra qenerational loss?&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2016-10-11T14:32:37.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19557" PostTypeId="2" ParentId="19548" CreationDate="2016-10-11T14:37:16.797" Score="3" Body="&lt;p&gt;If your only goal is to save storage space and you never plan on editing or re-encoding the files again, you probably won't notice any change in quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if you plan to edit or re-encode to another format in the future, I'd strongly recommend against re-encoding to H.265 now. Every time you decode and re-encode video to the same or a different codec, especially highly compressed codecs like H.264 and H.265, you lose quality. With these highly compressed codecs, the generational loss and concatenation artifacts become noticeable to the average viewer in as little as one codec cycle.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2016-10-11T14:37:16.797" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19559" PostTypeId="2" ParentId="19555" CreationDate="2016-10-11T19:07:04.453" Score="0" Body="&lt;p&gt;You would probably find it easiest to use a motion graphics application. There are many. Since you're using Premiere, you might find &lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;Adobe After Effects&lt;/a&gt; familiar. If you're on a Mac, you might also like &lt;a href=&quot;http://www.apple.com/final-cut-pro/motion/&quot; rel=&quot;nofollow&quot;&gt;Apple's Motion&lt;/a&gt;. Both apps allow you to create shapes, use text, and animate it. The above type of graphics should be fairly easy to produce in either app.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-10-11T19:07:04.453" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19560" PostTypeId="2" ParentId="19555" CreationDate="2016-10-11T19:12:04.683" Score="1" Body="&lt;p&gt;The tool doesn't matter in this case. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For some kind of artistic or individual approach I'd suggest use a &lt;a href=&quot;https://en.wikipedia.org/wiki/Light_table&quot; rel=&quot;nofollow&quot;&gt;light table&lt;/a&gt; or &lt;a href=&quot;https://en.wikipedia.org/wiki/Graphics_tablet&quot; rel=&quot;nofollow&quot;&gt;graphics tablet&lt;/a&gt;. Draw the shapes 20-50 times by hand to get some nice variation and place all the drawings on top of each other like &lt;a href=&quot;https://en.wikipedia.org/wiki/Traditional_animation&quot; rel=&quot;nofollow&quot;&gt;classic/traditional animation&lt;/a&gt; does in the old days.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise you can either use:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Any kind of &lt;em&gt;pixel&lt;/em&gt; or vector based &lt;a href=&quot;https://en.wikipedia.org/wiki/Graphics_software&quot; rel=&quot;nofollow&quot;&gt;graphics package&lt;/a&gt; (Photoshop, Gimp, Affinity Designer etc.) together with Premiere or &lt;em&gt;After Effects for additional tracking capabilities&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;A &lt;a href=&quot;https://en.wikipedia.org/wiki/List_of_2D_animation_software&quot; rel=&quot;nofollow&quot;&gt;2D Animation package&lt;/a&gt; which allows to draw directly on the plates &lt;/li&gt;&#xA;&lt;li&gt;Or even Blender's &lt;a href=&quot;https://www.youtube.com/watch?v=Fqjv_CKgLlI&quot; rel=&quot;nofollow&quot;&gt;grease pencil feature&lt;/a&gt;  along with its tracking capabilities&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6685" LastActivityDate="2016-10-11T19:12:04.683" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19561" PostTypeId="2" ParentId="12582" CreationDate="2016-10-11T22:00:09.787" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.premiumbeat.com/blog/quick-tip-reversing-layer-order-in-after-effects/&quot; rel=&quot;nofollow&quot;&gt;http://www.premiumbeat.com/blog/quick-tip-reversing-layer-order-in-after-effects/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, if you select the last layer first, and then hit shift and select the first layer, then copy them, then delete them, then paste them back in, the layer order will be reversed.&lt;/p&gt;&#xA;" OwnerUserId="16906" LastActivityDate="2016-10-11T22:00:09.787" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19562" PostTypeId="1" AcceptedAnswerId="19564" CreationDate="2016-10-12T10:36:02.440" Score="0" ViewCount="3490" Body="&lt;p&gt;Hi I'm currently trying to use gstreamer-1.0 to consume rtsp source and provide RTP streams for audio and video in the streams (for Janus Gateway). I have a working solution with ffmpeg so basically would need help to translate this to working gstreamer pipeline.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -rtsp_transport tcp -i rtsp://ip:port/h264.sdp \&#xA;-an -c:v h264 -profile:v baseline -preset ultrafast -tune zerolatency -vf &quot;fps=20&quot; -bsf:v h264_mp4toannexb  -f rtp rtp://localhost:8004 \&#xA;-vn -acodec copy -f rtp rtp://localhost:8005&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Currenlty I have only this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;gst-launch-1.0 rtspsrc location=rtsp://ip:port/h264.sdp latency=0 protocols=tcp ! rtph264depay ! rtph264pay name=pay0 pt=96 ! udpsink port=8004 host=localhost&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but this is not transcoding, and by itself the stream is not playable (strangely it works if I start the ffmpeg example to see video and then run gst but this is beyond the point here), so I would like to have x264 transcoding (re-encoding?) to baseline profile with minimum processing power required.&lt;/p&gt;&#xA;" OwnerUserId="16759" LastActivityDate="2016-10-12T13:35:41.750" Title="Gstreamer 1.0 rtspsrc to rtp (audio and video)" Tags="|ffmpeg|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19564" PostTypeId="2" ParentId="19562" CreationDate="2016-10-12T13:35:41.750" Score="0" Body="&lt;p&gt;Ok I've found the solution that works, it was &lt;a href=&quot;https://stackoverflow.com/a/8197837/592005&quot;&gt;here&lt;/a&gt; all along but needed some changes (link only since it's link to the stackoverflow)&lt;/p&gt;&#xA;" OwnerUserId="16759" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2016-10-12T13:35:41.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19566" PostTypeId="1" CreationDate="2016-10-12T17:19:43.663" Score="1" ViewCount="796" Body="&lt;p&gt;I know that in exporting images, if I use an indexed color format when I save (such as GIF or PNG with indexed color mode), I can dramatically reduce the file size of the resulting export.  My question is if I have a video file that is full of color and filter it so it contains less unique hues, will the resulting file be smaller?  (I have heard that some video compression methods will compress black and white video &lt;em&gt;less&lt;/em&gt; than color video.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Context&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am creating a video for a company's website and they are using it as a video background.  They want it to look as good as possible but be as small a file as possible.  If I limit the colors to their brands colors and a couple necessary ones, I'm wondering if that will help.&lt;/p&gt;&#xA;" OwnerUserId="16918" LastActivityDate="2016-10-12T17:19:43.663" Title="If I limit the color spectrum of a video, will it compress to a smaller file size?" Tags="|file-formats|compression|filter|adobe-media-encoder|export|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19567" PostTypeId="1" AcceptedAnswerId="19855" CreationDate="2016-10-12T21:03:02.813" Score="3" ViewCount="1064" Body="&lt;p&gt;I am going to shoot a music video where i want to have a iridescent effect. &#xA;I could shoot a liquid with iridescent effect and then use it as background for the scene using green screen.&#xA;But... how to do that??&#xA;Any ideas on lighting or somebody that have done this before?&#xA;Thank you.&#xA;Luca&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dbobH.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dbobH.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jfBHq.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jfBHq.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5147" LastActivityDate="2016-11-16T15:00:22.600" Title="filming iridescent liquid or effect" Tags="|effects|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="19570" PostTypeId="1" AcceptedAnswerId="19599" CreationDate="2016-10-13T11:11:27.947" Score="-1" ViewCount="52" Body="&lt;p&gt;Which gives better prores bmpcc or 600d with atomus nimja 2. Which kit to buy. &lt;/p&gt;&#xA;" OwnerUserId="16926" LastActivityDate="2016-10-18T03:01:14.360" Title="Which gives better prores bmpcc or 600d with atomus nimja 2" Tags="|prores|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19571" PostTypeId="1" CreationDate="2016-10-13T11:43:00.117" Score="0" ViewCount="1364" Body="&lt;p&gt;My customer needs streaming service for his IP cameras and he ask me about same output quality as videos in openload.cc but I can´t simulate similar quality.I tried several encoding combination but nothing works fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My client needs reduce quality/size with good visibility in output I ask my client about choice which online service has good visibility for him and he choose openload.cc &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sample is &lt;a href=&quot;http://openloadmovies.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; 480p (sorry about warez but I can´t find no warez content on openload&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I need find encoding settings now.&#xA;I try to save file and then use mediainfo but mediainfo did not detect full encoding settings (like CRF, one or two encoding pass, specific video bitrate - mediainfo detect only range of bitrate...)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use ffmpeg as encoder so now I need to know which settings I need to use for same output quality as in &lt;a href=&quot;http://openloadmovies.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;480p&lt;/a&gt; sample.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you for help me.&lt;/p&gt;&#xA;" OwnerUserId="16927" LastEditorUserId="18082" LastEditDate="2017-02-15T19:33:38.083" LastActivityDate="2017-02-15T19:33:38.083" Title="openload.cc How can I extract encoding settings of videos?" Tags="|video|ffmpeg|encoding|output|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19573" PostTypeId="1" AcceptedAnswerId="19574" CreationDate="2016-10-13T12:22:49.407" Score="1" ViewCount="1531" Body="&lt;p&gt;I am converting EXR image sequences to mp4. Some sequences are converted without error, but others report &quot;wrong or missing size information&quot; and generate . It is difficult to identify what is different in these sequences. So far it seems that:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Single layer EXRs always work, multilayer EXRs usually work&lt;/li&gt;&#xA;&lt;li&gt;EXRs with no transparency always work, EXRs with transparency usually work&lt;/li&gt;&#xA;&lt;li&gt;ExifTool reports a &lt;a href=&quot;http://owl.phy.queensu.ca/~phil/exiftool/TagNames/Composite.html&quot; rel=&quot;nofollow&quot;&gt;&quot;Composite&quot;&lt;/a&gt; image size of 1920x1082 on failing EXRs&lt;/li&gt;&#xA;&lt;li&gt;Increasing &lt;code&gt;analyzeduration&lt;/code&gt; and &lt;code&gt;probesize&lt;/code&gt; makes no difference&lt;/li&gt;&#xA;&lt;li&gt;Explicitly setting &lt;code&gt;video_size 1920x1080&lt;/code&gt; on failing image sequences makes no difference (stills fails, slightly different error message)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&#xA;C:\Users\username\Documents\exr_bad1&gt;ffmpeg -y -start_number 101 -i F1_255_020.%04d.exr test.mp4&#xA;ffmpeg version 2.8.4 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 5.2.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;[exr @ 04e48880] Wrong or missing size information.&#xA;[image2 @ 04e536a0] decoding for stream 0 failed&#xA;[image2 @ 04e536a0] Could not find codec parameters for stream 0 (Video: exr, rgba64le): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;F1_255_020.%04d.exr: could not find codec parameters&#xA;Input #0, image2, from 'F1_255_020.%04d.exr':&#xA;  Duration: 00:00:01.20, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: exr, rgba64le, 25 tbr, 25 tbn, 25 tbc&#xA;[buffer @ 04e4cdc0] Unable to parse option value &quot;0x0&quot; as image size&#xA;    Last message repeated 1 times&#xA;[buffer @ 04e4cdc0] Error setting option video_size to value 0x0.&#xA;[graph 0 input from stream 0:0 @ 04e81c60] Error applying options to the filter.&#xA;Error opening filters!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16152" LastEditorUserId="1871" LastEditDate="2016-10-13T13:31:35.013" LastActivityDate="2016-10-13T13:31:35.013" Title="Why does ffmpeg report wrong or missing size information when demuxing some EXRs?" Tags="|ffmpeg|conversion|mp4|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19574" PostTypeId="2" ParentId="19573" CreationDate="2016-10-13T13:19:38.230" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;ExifTool reports a &quot;Composite&quot; image size of 1920x1082 on failing EXRs&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This was the problem. Some multilayer EXRs were made up of multiple 1920x1080 layers, but the layers were not aligned, so the final size was incorrect (as reported by ExifTool) and ffmpeg couldn't handle it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After correcting the EXR generation, the new image sequence worked.&lt;/p&gt;&#xA;" OwnerUserId="16152" LastActivityDate="2016-10-13T13:19:38.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19575" PostTypeId="1" AcceptedAnswerId="20247" CreationDate="2016-10-13T15:59:17.613" Score="1" ViewCount="732" Body="&lt;p&gt;I am editing a video clip of 5 minutes length. I am using multiple masks on it to blurry the face of a subject. I got to a point in which I cannot keep working because my RAM (8GB) it's getting saturated and I believe it is because I am using so many masks (12 masks). Is there a way of merging them all together or solving this problem?&lt;/p&gt;&#xA;" OwnerUserId="16930" LastActivityDate="2020-12-07T07:04:45.477" Title="Multiple masks in adobe premiere and RAM" Tags="|premiere|mask|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19577" PostTypeId="2" ParentId="19571" CreationDate="2016-10-13T17:34:09.467" Score="1" Body="&lt;p&gt;Assuming it has been encoded with x264, download the file and run:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;strings input | grep x264&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It &lt;em&gt;may&lt;/em&gt; output encoding information such as:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x264 - core 148 - H.264/MPEG-4 AVC codec - Copyleft 2003-2016 - &#xA;http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0&#xA;analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16&#xA;chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=4&#xA;threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0&#xA;bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0&#xA;direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40&#xA;intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0&#xA;qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Do not copy and paste the displayed options and values&lt;/strong&gt;–instead &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow&quot;&gt;use the appropriate preset&lt;/a&gt;. Using the info above it is safe to assume the default settings were used (equivalent of using &lt;code&gt;-preset medium -crf 23&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm assuming you're running Linux since you did not specify. If you're using Windows then &lt;code&gt;mediainfo&lt;/code&gt; will likely also provide the same info if it is there.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2016-10-13T17:39:26.053" LastActivityDate="2016-10-13T17:39:26.053" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19578" PostTypeId="1" CreationDate="2016-10-14T03:09:03.713" Score="-1" ViewCount="29" Body="&lt;p&gt;I was wondering what software do the professionals use to apply filters like &lt;a href=&quot;https://www.youtube.com/watch?v=RoLTPcD1S4Q&quot; rel=&quot;nofollow&quot;&gt;THIS&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Modern series like the ones Netflix is making are another example that use those kind of nice movie filters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if u guys could help me, what's a good software, and how to apply this kind of stuff, filters, color corrections, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks a lot.&lt;/p&gt;&#xA;" OwnerUserId="16934" LastActivityDate="2016-10-20T16:08:10.623" Title="What's the mac software or plugin for filters like those?" Tags="|color-correction|filter|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19579" PostTypeId="1" CreationDate="2016-10-14T03:14:07.363" Score="1" ViewCount="132" Body="&lt;p&gt;&lt;em&gt;Bigtime video neophyte and I've not been able to figure this out after a day of trying.  Hopefully this isn't a big deal - pls assume I know nothing.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I have some AVCHD MTS files from my camcorder which I want to convert into a Motion JPEG.  I know that's a strange format, but this is the recommended codec for a programing environment called Max/MSP (because it doesn't do temporal compression), which I'm trying to use.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Btw the source video is really jumpy / unstable.  I made lots of quick movements when recording them.  I'm just throwing that out in there in case it has any affect on transcoding.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I've tried using ffmpeg and VLC on my Mac and every time the result is super pixellated and/or the playback is really jittery. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure if I need to change the container format, use a totally different codec, change the bitrate, or any of the other parameters in ffmpeg which frankly overwhelm me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe there's a simple solution - or maybe there's a resource that will explain to me everything I need to know (concisely, briefly) to figure it out on my own.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Here's the output from ffmpeg, btw.  It produces a file, but VLC on shows the first frame and Quicktime can't play it.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 00000.MTS test1.mjpeg&#xA;&#xA;ffmpeg -i 00000.MTS test1.mjpeg&#xA;ffmpeg version 3.1.4 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with Apple LLVM version 7.0.2 (clang-700.1.81)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.1.4 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-opencl --enable-libx264 --enable-libmp3lame --enable-libxvid --disable-lzma --enable-vda&#xA;  libavutil      55. 28.100 / 55. 28.100&#xA;  libavcodec     57. 48.101 / 57. 48.101&#xA;  libavformat    57. 41.100 / 57. 41.100&#xA;  libavdevice    57.  0.101 / 57.  0.101&#xA;  libavfilter     6. 47.100 /  6. 47.100&#xA;  libavresample   3.  0.  0 /  3.  0.  0&#xA;  libswscale      4.  1.100 /  4.  1.100&#xA;  libswresample   2.  1.100 /  2.  1.100&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, mpegts, from '00000.MTS':&#xA;  Duration: 00:01:03.58, start: 0.800300, bitrate: 6745 kb/s&#xA;  Program 1 &#xA;    Stream #0:0[0x1011]: Video: h264 (High) (HDMV / 0x564D4448), yuv420p, 1440x1080 [SAR 4:3 DAR 16:9], 29.97 fps, 29.97 tbr, 90k tbn, 59.94 tbc&#xA;    Stream #0:1[0x1100]: Audio: ac3 (AC-3 / 0x332D4341), 48000 Hz, stereo, fltp, 256 kb/s&#xA;[swscaler @ 0x7f9890867a00] deprecated pixel format used, make sure you did set range correctly&#xA;[mjpeg @ 0x7f9890810200] Using AVStream.codec to pass codec parameters to muxers is deprecated, use AVStream.codecpar instead.&#xA;Output #0, mjpeg, to 'test1.mjpeg':&#xA;  Metadata:&#xA;    encoder         : Lavf57.41.100&#xA;    Stream #0:0: Video: mjpeg, yuvj420p(pc), 1440x1080 [SAR 4:3 DAR 16:9], q=2-31, 200 kb/s, 29.97 fps, 29.97 tbn, 29.97 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.48.101 mjpeg&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/200000 buffer size: 0 vbv_delay: -1&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; mjpeg (native))&#xA;Press [q] to stop, [?] for help&#xA;frame=   20 fps=0.0 q=24.8 size=    1601kB time=00:00:00.66 bitrate=19652.8kbits/s speedframe=   45 fps= 44 q=24.8 size=    3138kB time=00:00:01.50 bitrate=17122.3kbits/s speedframe=   70 fps= 46 q=24.8 size=    4697kB time=00:00:02.33 bitrate=16473.7kbits/s speedframe=   95 fps= 47 q=24.8 size=    6242kB time=00:00:03.16 bitrate=16131.8kbits/s speedframe=  116 fps= 46 q=24.8 size=    7782kB time=00:00:03.87 bitrate=16471.2kbits/s speedframe=  140 fps= 46 q=24.8 size=    9538kB time=00:00:04.67 bitrate=16726.4kbits/s speedframe=  163 fps= 46 q=24.8 size=   11093kB time=00:00:05.43 bitrate=16708.8kbits/s speedframe=  183 fps= 45 q=24.8 size=   12324kB time=00:00:06.10 bitrate=16534.5kbits/s speedframe=  208 fps= 45 q=24.8 size=   13943kB time=00:00:06.94 bitrate=16457.4kbits/s speedframe=  233 fps= 46 q=24.8 size=   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size=   60757kB time=00:00:36.26 bitrate=13722.8kbits/s speedframe= 1112 fps= 46 q=24.8 size=   62211kB time=00:00:37.10 bitrate=13735.4kbits/s speedframe= 1138 fps= 46 q=24.8 size=   63693kB time=00:00:37.97 bitrate=13741.3kbits/s speedframe= 1164 fps= 46 q=24.8 size=   64994kB time=00:00:38.83 bitrate=13708.6kbits/s speedframe= 1189 fps= 46 q=24.8 size=   66360kB time=00:00:39.67 bitrate=13702.6kbits/s speedframe= 1215 fps= 46 q=24.8 size=   67591kB time=00:00:40.54 bitrate=13658.1kbits/s speedframe= 1241 fps= 46 q=24.8 size=   68794kB time=00:00:41.40 bitrate=13609.9kbits/s speedframe= 1268 fps= 46 q=24.8 size=   70053kB time=00:00:42.30 bitrate=13563.8kbits/s speedframe= 1295 fps= 46 q=24.8 size=   71602kB time=00:00:43.20 bitrate=13574.8kbits/s speedframe= 1322 fps= 46 q=24.8 size=   73001kB time=00:00:44.11 bitrate=13557.4kbits/s speedframe= 1349 fps= 47 q=24.8 size=   74387kB time=00:00:45.01 bitrate=13538.3kbits/s speedframe= 1376 fps= 47 q=24.8 size=   75815kB time=00:00:45.91 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speedframe= 1679 fps= 47 q=24.8 size=   92702kB time=00:00:56.02 bitrate=13555.6kbits/s speedframe= 1696 fps= 47 q=24.8 size=   93553kB time=00:00:56.58 bitrate=13542.9kbits/s speedframe= 1723 fps= 47 q=24.8 size=   94751kB time=00:00:57.49 bitrate=13501.3kbits/s speedframe= 1750 fps= 47 q=24.8 size=   95990kB time=00:00:58.39 bitrate=13466.9kbits/s speedframe= 1777 fps= 47 q=24.8 size=   97272kB time=00:00:59.29 bitrate=13439.3kbits/s speedframe= 1805 fps= 47 q=24.8 size=   98579kB time=00:01:00.22 bitrate=13408.7kbits/s speedframe= 1832 fps= 47 q=24.8 size=   99810kB time=00:01:01.12 bitrate=13376.0kbits/s speedframe= 1858 fps= 47 q=24.8 size=  101036kB time=00:01:01.99 bitrate=13350.8kbits/s speedframe= 1882 fps= 47 q=24.8 size=  102361kB time=00:01:02.79 bitrate=13353.4kbits/s speedframe= 1905 fps= 47 q=24.8 Lsize=  103872kB time=00:01:03.56 bitrate=13386.9kbits/s speed=1.58x    &#xA;video:103872kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.000000%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16935" LastEditorUserId="6685" LastEditDate="2016-10-15T09:31:17.143" LastActivityDate="2018-04-22T09:14:54.290" Title="Transcoding AVCHD MTS to Motion JPEG on a Mac" Tags="|transcoding|mac|avchd|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19580" PostTypeId="2" ParentId="19516" CreationDate="2016-10-14T12:02:27.917" Score="0" Body="&lt;p&gt;Reason why I could not login was that I was in rights setting.&#xA;I had admin right to the facebook fun page but as employee of business facebook account. I had to same admin rights but not as employee.&lt;/p&gt;&#xA;" OwnerUserId="16846" LastActivityDate="2016-10-14T12:02:27.917" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19581" PostTypeId="2" ParentId="19578" CreationDate="2016-10-14T13:13:33.257" Score="0" Body="&lt;p&gt;Colour correction is a field that people devote their &lt;a href=&quot;https://www.shootonline.com/news/editing-sound-vfx-color-grading-nominees-set-hpa-awards&quot; rel=&quot;nofollow&quot;&gt;entire careers&lt;/a&gt; to. What makes you think it is as simple as applying a &quot;nice movie filter&quot;? Insulting, much?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That video looks good because it was shot by a skilled cinematographer, with good lighting, good art direction, good editing and good colour grading, as well as some judicious use of effects like the video scan lines which may indeed have been a filter. The fact that the acting and direction are good helps too, though it's the look we're discussing here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to recreate that kind of look I'd suggest you&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;become (or hire someone who is) a skilled cinematographer. Should be doable in somewhere between &lt;a href=&quot;https://www.youtube.com/watch?v=kvA93wEu_8E&quot; rel=&quot;nofollow&quot;&gt;ten years to a lifetime&lt;/a&gt;, the best ones are learning until they retire.&lt;/li&gt;&#xA;&lt;li&gt;become (or hire someone who is) a skilled art director. Once again anywhere up to a lifetime should be enough&lt;/li&gt;&#xA;&lt;li&gt;become or hire someone… etc. etc.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-10-14T13:13:33.257" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19582" PostTypeId="1" CreationDate="2016-10-14T14:59:56.607" Score="2" ViewCount="1051" Body="&lt;p&gt;Using Nvidia's gpu accelerated codecs to encode videos is a massive time saver, it brings my encoding times down from 2 hours to 2 minutes with pascal GPU's however the problem with the codec that I am using (&lt;a href=&quot;https://forums.adobe.com/thread/1243687&quot; rel=&quot;nofollow&quot;&gt;https://forums.adobe.com/thread/1243687&lt;/a&gt;) is that it outputs mkv or mk4 files which are all but useless as I can skip through the outputted video and youtube doesn't accept them at all.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried running the NVenc through a filter/wrapper to package it up as an mp4 but either I was doing something wrong or it didn't work as the audio on the outputted file was always running at a different speed than the video itself, or the other way around.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any advice or instructions by chance?  Would really appreciate it!&lt;/p&gt;&#xA;" OwnerUserId="16938" LastEditorUserId="14107" LastEditDate="2016-11-22T09:59:21.247" LastActivityDate="2016-11-22T09:59:21.247" Title="How to encode from Premiere using nvenc Nvidia codec but still output to mp4/avi" Tags="|premiere|encoding|codec|nvenc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19583" PostTypeId="2" ParentId="19582" CreationDate="2016-10-14T15:30:03.043" Score="1" Body="&lt;p&gt;It's funny how you can try solutions for hours but the moment you post a question online or to IRC you find the answer yourself within minutes.. Anyways, digging around I found tat instead of using mp4box as my multiplexer I changed to TsMux as per the thread instructions and that still didnt' work however I noticed I had one more option, mkvmerge, so I tracked that down here: &lt;a href=&quot;http://www.videohelp.com/software/MKVtoolnix&quot; rel=&quot;nofollow&quot;&gt;http://www.videohelp.com/software/MKVtoolnix&lt;/a&gt; , installed it and used that instead and viola, it did the trick.  Was able to use the nvenc codec and get a video in the end that was accepted by youtube.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now of course because I have solved this problem it would appear that the nvenc codec is no longer using my gpu at all after upgrading to the latest nvidia drivers so there's that issue to solve but at least I can use the codec and get useable vids.  Hopefully this is useful to someone else experiencing the same issue down the road&lt;/p&gt;&#xA;" OwnerUserId="16938" LastActivityDate="2016-10-14T15:30:03.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19588" PostTypeId="1" AcceptedAnswerId="19598" CreationDate="2016-10-15T08:14:21.740" Score="0" ViewCount="1259" Body="&lt;p&gt;Is there an application or online service that is able to find a position (either as a frame number or time from film beginning) in a film by a frame from that film, represented as standalone picture (even if that picture was converted, resized, cropped, etc.)? &lt;/p&gt;&#xA;" OwnerUserId="16947" LastEditorUserId="15885" LastEditDate="2016-10-18T11:23:41.167" LastActivityDate="2016-10-18T11:23:41.167" Title="Find Position in a Film/Video by a Frame" Tags="|video|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="19590" PostTypeId="1" CreationDate="2016-10-15T13:47:10.290" Score="31" ViewCount="57805" Body="&lt;p&gt;What is the best way to convert a &lt;code&gt;mp4&lt;/code&gt; file to &lt;code&gt;webm&lt;/code&gt; without quality loss (using &lt;code&gt;vp8&lt;/code&gt; or &lt;code&gt;vp9&lt;/code&gt;) with ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I do &lt;code&gt;ffmpeg -i in.mp4 out.webm&lt;/code&gt; the quality is very bad. I can specify a target bitrate via &lt;code&gt;-b:v&lt;/code&gt; and constant quality mode via &lt;code&gt;crf&lt;/code&gt;, i.e. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i in.mp4 -crf 10 -b:v 1M out.webm&lt;/code&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This gives better quality. However for this I have to lookup the bitrate of the input video (here 1M). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also noticed that if you specify a much larger value for the target bitrate than the bitrate of the input (here for example &lt;code&gt;-b:v 100M&lt;/code&gt;), ffmpeg just seems to use approximately the bitrate from the input video with vp9 or  slightly higher bitrate with vp8. However this solution doesn't seem to be the intended way to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How would you choose the crf value and why?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a parameter which automatically chooses the bitrate of the input file and a suitable crf value to get the same quality as the input file?&lt;/p&gt;&#xA;" OwnerUserId="11310" LastEditorUserId="2836" LastEditDate="2022-01-03T18:36:03.817" LastActivityDate="2024-02-27T07:18:39.503" Title="Convert mp4 to webm without quality loss with ffmpeg" Tags="|ffmpeg|vp9|lossless|" AnswerCount="2" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="19591" PostTypeId="1" CreationDate="2016-10-15T17:16:35.960" Score="3" ViewCount="60" Body="&lt;p&gt;In Premiere CC 2014, I am using a Multicam Sequence that uses the topmost audio track when changing cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a few audio tracks that I want mix, so I mapped them all to a submix track&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible for a Multicam sequence to use the Submix track instead of the topmost track?&lt;/p&gt;&#xA;" OwnerUserId="16948" LastEditorUserId="636" LastEditDate="2018-01-26T12:26:20.337" LastActivityDate="2018-01-26T12:26:20.337" Title="Using a Submix track for Multicam in Premiere" Tags="|premiere|multi-camera|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19597" PostTypeId="1" AcceptedAnswerId="19761" CreationDate="2016-10-17T05:39:32.740" Score="2" ViewCount="2325" Body="&lt;p&gt;I have a text layer in After Effects that I'm using as a text template for a Premiere Pro project. Is it possible to make the editable text multi-line, and if so, how would I go about this?&lt;/p&gt;&#xA;" OwnerUserId="15885" LastEditorUserId="15885" LastEditDate="2016-11-07T04:47:18.573" LastActivityDate="2016-11-08T18:49:14.580" Title="Is it possible to have paragraph text as an After Effects template (in Premiere Pro)?" Tags="|after-effects|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19598" PostTypeId="2" ParentId="19588" CreationDate="2016-10-18T01:58:35.053" Score="0" Body="&lt;p&gt;Try the command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -loop 1 -i croppedframe.jpg -an -filter_complex &quot;[0]crop=w:h:x:y[a];[1][a]blend=difference,blackframe=90:32&quot; -f null - &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will match a movie frame if at least 90% of the pixels have a difference in value of less than 32 with the image. Any such matching frames will have their timestamps shown&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-10-18T02:19:16.260" LastActivityDate="2016-10-18T02:19:16.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19599" PostTypeId="2" ParentId="19570" CreationDate="2016-10-18T03:01:14.360" Score="1" Body="&lt;p&gt;First, understand that you are probably asking the wrong question. (I'll quickly answer it for you anyway -- the BMPCC's native 10-bit ProRes support is superior.) The real question is probably &lt;em&gt;which camera will produce a better-looking result for you&lt;/em&gt;. Whose ProRes implmentation doesn't really matter, and it should not factor into this purchase decision.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some things to take into consideration:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Lenses. Do you already have either EOS or Micro 4/3 lenses that are any good? If not, are you able to buy decent ones for either of these camera systems? A fantastic lens on either one of these cameras would produce a much better result than a crappy lens on the other.&lt;/li&gt;&#xA;&lt;li&gt;The BMPCC completely destroys the 600D (and every other camera in its class) in low-light performance,so if you'll be shooting outside at night a lot or something, this alone is a huge difference.&lt;/li&gt;&#xA;&lt;li&gt;The 600D has the 12-minute clip record limit. If you're attempting to film, say, a concert performance, not convenient.&lt;/li&gt;&#xA;&lt;li&gt;While the BMPCC can thankfully now format its cards, I still don't think you can delete individual clips off it. If you aren't able to dump footage frequently because of this, maybe an issue.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Those are only a few things to think about. I would say the BMPCC is a superior camera overall and would recommend it over the 600D for most things, but again, some of its quirks may not work well for whatever you're going to be using it for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either way, take some time to consider your specific needs, and determine which camera will produce the better overall result for you.&lt;/p&gt;&#xA;" OwnerUserId="10784" LastActivityDate="2016-10-18T03:01:14.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19601" PostTypeId="2" ParentId="4096" CreationDate="2016-10-18T12:46:37.200" Score="0" Body="&lt;p&gt;I use Open Broadcaster Software for that purpose. It is well known for its streaming capability but can also record the screen with high quality and flexibility.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow&quot;&gt;https://obsproject.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11634" LastActivityDate="2016-10-18T12:46:37.200" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19605" PostTypeId="1" AcceptedAnswerId="19612" CreationDate="2016-10-18T21:25:51.830" Score="2" ViewCount="91" Body="&lt;p&gt;I need to light a video for a project, I am making a movie trailer for a book I like and need to light a large space (It is an action book and there is running in the trailer.) Simply, I have to light an action video and I don't want to spend lots of money on this one project. Also, if there is a program that can edit the lighting and contrast after you record, please tell. So how would I do this?&lt;/p&gt;&#xA;" OwnerUserId="16974" LastEditorUserId="16974" LastEditDate="2016-10-19T00:54:23.980" LastActivityDate="2016-10-21T07:20:00.550" Title="How to light a video properly?" Tags="|video|lighting|budget|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19606" PostTypeId="2" ParentId="19605" CreationDate="2016-10-18T22:12:54.993" Score="0" Body="&lt;p&gt;You could visit &lt;a href=&quot;http://www.premiumbeat.com/blog/5-diy-lighting-tips-for-filmmakers-on-a-budget/&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; website for some DIY video's to set-up your own film lighting and &lt;a href=&quot;http://learnaboutfilm.com/making-a-film/equipment-for-low-budget-filmmaking/lighting-low-budget-filmmaking/&quot; rel=&quot;nofollow&quot;&gt;this&lt;/a&gt; website for some more information about which lights to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should also make a thoughtful decision on the camera/lens you are about to use. More info can be found &lt;a href=&quot;http://learnaboutfilm.com/making-a-film/equipment-for-low-budget-filmmaking/filmmakingcamera/&quot; rel=&quot;nofollow&quot;&gt;here.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16852" LastEditorUserId="16852" LastEditDate="2016-10-18T23:36:23.287" LastActivityDate="2016-10-18T23:36:23.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19607" PostTypeId="1" CreationDate="2016-10-19T09:11:04.120" Score="2" ViewCount="12712" Body="&lt;p&gt;I recently faced a problem I never had before.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I made a video sequence using After Effects and 3D layers.  Nothing has been filmed, it is completely virtual.&#xA;It seems that some of my pans have a speed that makes them &quot;stutter&quot;, or &quot;judder&quot;, flick, jump, shake, or I don't know what is the exact term.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It does not shows up on a &quot;regular&quot; computer video output; but when conforming the project, it clearly shows up.&#xA;I can also see it on a computer that has a BlackMagic video card output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a sample : &lt;a href=&quot;https://vid.me/AavQ&quot; rel=&quot;nofollow&quot;&gt;https://vid.me/AavQ&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've read that a lot of people got this problem.&#xA;English is not my mother tongue, so I'm not sure I understand everything, but there is even a post on Adobe.com about it : &lt;a href=&quot;http://kb2.adobe.com/community/publishing/908/cpsid_90843.html&quot; rel=&quot;nofollow&quot;&gt;Avoiding Judder in Motion Graphics&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for a technical solution to fix this.&#xA;My movie is and should remains &lt;strong&gt;25 fps&lt;/strong&gt;, &lt;strong&gt;noninterlaced&lt;/strong&gt;.  The timing of my movement should basically remains the same because I can't afford retiming the whole movie (48 mins).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I already did try to play with the shutter angle, the motion blur (and number of samples); to force the blur with &lt;em&gt;CC force motion blur&lt;/em&gt;, to slightly change the movement timing... But none works.  Even if I set a very high level of blur, it keeps &quot;blinking&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also an interesting topic about it &lt;a href=&quot;http://www.liftgammagain.com/forum/index.php?threads/flickering-strobing-issue-on-slow-pan-shot.1524/#post-9152&quot; rel=&quot;nofollow&quot;&gt;here&lt;/a&gt;, where a guy eventually says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Try panning the R, G and B channels at slightly different speeds.&#xA;  There is a correct order but DS guys have done this for years.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I still should try that but I wonder if this is not too much complicated and I'm not sure I know how to do that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would be very interested by your feedbacks and ideas about all that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your help !&lt;/p&gt;&#xA;" OwnerUserId="15961" LastEditorUserId="15961" LastEditDate="2016-10-21T11:48:49.713" LastActivityDate="2020-06-25T02:31:26.533" Title="how to fix a stuttering camera pan movement?" Tags="|after-effects|output|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19608" PostTypeId="1" AcceptedAnswerId="19609" CreationDate="2016-10-19T17:12:14.310" Score="0" ViewCount="472" Body="&lt;p&gt;I have an after effects comp that is &quot;stop motion&quot;, i.e. all animations move at about 8 frames per second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to use this comp as a 3D layer and animate camera moves over it smoothly at 30 fps, while the animation continues to play at 8 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But every time I drop the 8 fps comp into the 30 fps comp it seems to be rendering at 30 fps, losing my stop motion effect completely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a video example here: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/aDTFrZeHQsM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Will I have to render out a .mov and reimport to get the desired effect?&lt;/p&gt;&#xA;" OwnerUserId="4385" LastActivityDate="2016-10-19T17:18:49.303" Title="Forcing a comp to play back at a certain framerate in aftereffects" Tags="|after-effects|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19609" PostTypeId="2" ParentId="19608" CreationDate="2016-10-19T17:18:49.303" Score="1" Body="&lt;p&gt;Oh my goodness after ages I found it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Comp settings &gt; Advanced settings &gt; Preserve Framerate When Nested or in render queue&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tP170.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tP170.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4385" LastActivityDate="2016-10-19T17:18:49.303" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19612" PostTypeId="2" ParentId="19605" CreationDate="2016-10-20T16:05:33.853" Score="2" Body="&lt;p&gt;For action, you're probably going to need flat, even lighting. Builders' work lamps, bounced off white walls or reflectors, are probably the most cost-effective way of lighting large spaces. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can make some changes to lighting and contrast when you edit, though it's no substitute for lighting your film properly. It's called colour correction. You can also apply an overall colour 'look' to your film, which is called grading. Most editing programs (e.g. iMovie) allow you to apply basic effects and corrections. Programs like Final Cut Pro X, the &lt;strike&gt;open source&lt;/strike&gt; Da Vinci Resolve (free lite version), and (steep learning curve) Adobe After Effects let you do professional correction and grading. &lt;/p&gt;&#xA;" OwnerUserId="16982" LastEditorUserId="16982" LastEditDate="2016-10-21T07:20:00.550" LastActivityDate="2016-10-21T07:20:00.550" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="19613" PostTypeId="2" ParentId="19578" CreationDate="2016-10-20T16:08:10.623" Score="0" Body="&lt;p&gt;Final Cut Pro X includes colour correction and grading tools, as do After Effects and the free Da Vinci Resolve. &lt;/p&gt;&#xA;" OwnerUserId="16982" LastActivityDate="2016-10-20T16:08:10.623" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19615" PostTypeId="2" ParentId="17832" CreationDate="2016-10-20T22:35:53.720" Score="2" Body="&lt;p&gt;Mic shot looks like a dolly back tilt to track the subject. This is a compound movement that is natural to do with a hand held camera but more challenging when using a digital camera. Try tracking your camera to a null object in the scene roughly in the same place as the subject, but you can then move the null away from the subject to get better balanced framing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try using a handheld real world camera, like a phone, to rehearse shots around a substitute object like a glass or cup. Just fly around but try to stick to a fixed duration, a slow shot might last 6 seconds and a quick move might be 2 seconds. This will give you an idea how long a move takes while still being comfortable to watch later.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They used to do this revisualisation in the movies all the time, before CG came along. &lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2016-10-20T22:35:53.720" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19617" PostTypeId="1" AcceptedAnswerId="19750" CreationDate="2016-10-20T23:53:11.350" Score="0" ViewCount="806" Body="&lt;p&gt;So my problem is this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a main process that is using as source bmdcapture, that process is creating a set of 4 different streams using HLS, so the command is something like this (showing only one to simplify):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /data/pipe0 hls_time 10 /data/input0/out.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That works awesome! No problem at all. Now, if I se that output as input for another stream, it works ok. So, if I do:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /data/input0/out.m3u8 hls_time 10 /data/input1/out.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It works ok, no problem at all. I can play it and it works ok.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the problem is if I want to use that first HLS to do RTMP streaming... the video gets corrupted, it jumps, sometimes it does not play at all... etc. Is worth to mention, I'm using Akamai to sent the package, but if I use wowza, the same thing happens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, I have the solution. Use 2 seconds segments, like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /data/input0/out.m3u8 hls_time 2 rtmp://akamai.end.point/file&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And just by doing that change, the stream works flawlessly without problems. However, the main process I have (&lt;code&gt;ffmpeg -i /data/pipe0 hls_time 10 /data/input0/out.m3u8&lt;/code&gt;) I need it to be 10 seconds, instead of 2, so I cannot change it... one solution could be create something else in the middle, but that adds complexity specially because this system runs 24/7, so that is not an option... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question is: why I cannot stream using 10s segments as the source?&lt;/p&gt;&#xA;" OwnerUserId="12384" LastActivityDate="2016-11-04T19:18:11.787" Title="Stream using HLS as source fails" Tags="|streaming|rtmp|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19618" PostTypeId="1" AcceptedAnswerId="19627" CreationDate="2016-10-21T08:04:46.763" Score="1" ViewCount="3760" Body="&lt;p&gt;In After Effect CC, how can I use a layer, for example with a black shape, to use that shape as a mask for another layer? I know I can draw a transparency map on the layer I want to mask itself, but wheneven I move / resize that layer (it's a simple image, in my case) the mask gets moved / resized as well and I want the mask to stay put.&lt;/p&gt;&#xA;" OwnerUserId="16994" LastActivityDate="2016-10-21T20:45:22.890" Title="How to use a layer as mask for another" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19619" PostTypeId="1" AcceptedAnswerId="19622" CreationDate="2016-10-21T08:51:52.927" Score="0" ViewCount="685" Body="&lt;p&gt;I'm creating some encoding templates for multi-bitrate streaming, and I want to create a fallback that is audio-only. So when the bandwidth of a users connection falls below x, it drops video playback and switches to audio-only.&lt;/p&gt;&#xA;&lt;p&gt;The problem is alignment of said audio stream. I've aligned the videostream with&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-x264opts keyint=48:min-keyint=48:no-scenecut &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This creates equal intervals in keyframes, allowing consistent GOP's for streaming. But such an option is not available for audio only.&lt;/p&gt;&#xA;&lt;p&gt;I extracted the audio from the original file, like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i Sample.avi -vn -ar 44100 -ac 2 -ab 128k -f mp3 audio_only.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;That creates a separate .MP3 file, equal to the audio-streams of the original file (.MP4). However, I have no way to ensure this is inline with the audio streams of the encoded .MP4's (the multi-bitrate set).&lt;/p&gt;&#xA;&lt;p&gt;So, is there a way to make sure these files are aligned? Or should I extract the audio from one of the encoded files, instead of the mezzanine file?&lt;/p&gt;&#xA;" OwnerUserId="16995" LastEditorUserId="17147" LastEditDate="2022-10-06T08:47:44.413" LastActivityDate="2022-10-06T08:47:44.413" Title="FFmpeg - Synchronize external audio file" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="19620" PostTypeId="1" AcceptedAnswerId="20920" CreationDate="2016-10-21T08:56:05.787" Score="0" ViewCount="1182" Body="&lt;p&gt;h265 is a very powerful but still not widely supported codec, recently I found myself in the need of prepare some h265 videos and have them played on various smartphones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While a powerful desktop pc has less issues and is outlet powered modern smartphones still struggle with battery savings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recent ones are able to decode h264 / avc and aac audio with dedicated hardware but almost no one have support for h265 / hevc at time I'm writing this answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What settings can I use to reduce the CPU consumption (and so the battery) on the target devices? The best goal could be make the final cpu needings close to the h264 ones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are presets such as slow, veryslow useful for this task or they are good only for reducing the output file size ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are other settings that I can tweak for obtain my pourpouse?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: please also provide some examples with ffmpeg, thanks!&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2017-03-14T08:26:03.800" Title="How h265 settings / presets affects the target device cpu while decoding and how can I tweak them?" Tags="|ffmpeg|software|hardware|h.264|h265|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19622" PostTypeId="2" ParentId="19619" CreationDate="2016-10-21T12:07:19.017" Score="0" Body="&lt;p&gt;One way to achieve this might be to create an .MP4 with your audio and an all-black image, which should encode to something not much larger than the audio file but still have the same internal structure as the full video files.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-10-21T12:07:19.017" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19623" PostTypeId="1" AcceptedAnswerId="19624" CreationDate="2016-10-21T13:11:40.337" Score="0" ViewCount="965" Body="&lt;ol&gt;&#xA;&lt;li&gt;iPhone 6S Plus&lt;/li&gt;&#xA;&lt;li&gt;Tumblr app GIF creation feature used for taking vid and making GIF&lt;/li&gt;&#xA;&lt;li&gt;9 seconds of video taken =949kB&lt;/li&gt;&#xA;&lt;li&gt;3 second portion used for GIF =1.3MB&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;How?&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;my assumption is that app wouldn't use low res vids for high res GIFs&lt;/p&gt;&#xA;&lt;p&gt;I ask because I figured GIFs would be smaller thus transmit faster and use less data when messaging.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="16998" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-10-21T14:21:51.317" Title="How can a GIF made from a vid be larger than the vid itself?" Tags="|video|video-quality|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19624" PostTypeId="2" ParentId="19623" CreationDate="2016-10-21T14:21:51.317" Score="2" Body="&lt;p&gt;There are several factors at play here. For example, your gif creation app may have a quality slider/setting that influences the size of the output. However, the most likely cause is the difference in &lt;strong&gt;compression&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The videos your iPhone records are probably compressed using a highly efficient codec such as H264 (I didn't find any information on what codec/file type the iPhone camera uses, but I'll take an educated guess and say it's mp4). This codec is very efficient at reducing the file size of a video while maintaining relatively high quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The gif-format, on the other hand, was built for an entirely different purpose. It was actually intended for small, animated graphics with limited color palettes, not complex videos. The original gif-format is lossless, meaning it stores every frame of the animation completely. Works great for those small animated graphics, but is terrible for actual video. Actually, because of this, many apparent gifs that you see on the internet &lt;a href=&quot;http://www.popularmechanics.com/technology/a21457/the-gif-is-dead-long-live-the-gif/&quot; rel=&quot;nofollow&quot;&gt;aren't actually gifs&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;In conclusion:&lt;/strong&gt; Gif is a terrible format to store or transmit video, use a video format instead. Follow the link above if you are interested in the  technical side of this.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-10-21T14:21:51.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19625" PostTypeId="2" ParentId="19174" CreationDate="2016-10-21T14:51:48.810" Score="1" Body="&lt;p&gt;Like @screaming-drills say's: this can be done with softwares like Wirecast and OBS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also get very expensive hardware to do the same eg. from &lt;a href=&quot;https://www.blackmagicdesign.com/products&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blackmagic Design&lt;/a&gt;, I would however look at the software option, with some inexpensive computers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Ex.&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Computer One&lt;/strong&gt;&#xA;One computer for camera input, depending on how the video is being delivered, I'd get either small pc or a tower.&#xA;If it doesn't need additional cards in it, I'd go for a &lt;a href=&quot;https://www.hpe.com/us/en/product-catalog/servers/proliant-servers.filters-facet_subbrand_url:ProLiant-MicroServer.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;HP Micro&lt;/a&gt;. They can often be found very cheap to order.&#xA;If you need capture cards (ex. &lt;a href=&quot;https://www.blackmagicdesign.com/products/intensitypro4k&quot; rel=&quot;nofollow noreferrer&quot;&gt;Intensity Pro 4K&lt;/a&gt; (which I use to capture PC/XBox/PS4 and cameras via HDMI), any cheap Tower from HP or Dell will do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A &lt;a href=&quot;https://www.hpe.com/us/en/product-catalog/servers/proliant-servers.filters-facet_subbrand_url:ProLiant-MicroServer.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;HP Micro&lt;/a&gt; can handle one capture card internally and several via USB, which is a reliable option as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then either setup &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Open Broadcaster Software&lt;/a&gt; on that computer to handle Camera Switching, or setup &lt;a href=&quot;https://en.wikipedia.org/wiki/Multicast&quot; rel=&quot;nofollow noreferrer&quot;&gt;Multicast&lt;/a&gt; servers to export the feeds (intakes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Computer Two&lt;/strong&gt;&#xA;Live Editing computer, can be almost any type of computer, preferably one with a video encoder card.&#xA;Setup &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS&lt;/a&gt; and catch the feeds from computer one, choosing/switching is easy, also add graphics etc. on fly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, either with the in-built encoder in &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS&lt;/a&gt;, or using a encoder card (OBS have support for encoder cards) to stream back computer one, or a computer three, or directly to a streaming service.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since computer one already can handle streaming via multicast, it could receive the encoded video from computer two and pass it on to a streaming service.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Illustrations:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Ex. 1&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qERuw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qERuw.png&quot; alt=&quot;Using Cheap computer, with external capture cards.&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Ex. 2&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dMvcM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dMvcM.png&quot; alt=&quot;Using cheap computer, with internal capture cards.&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more control, control software can be installed on computer one, to minimize camera output to computer two.&lt;/p&gt;&#xA;" OwnerUserId="16099" LastActivityDate="2016-10-21T14:51:48.810" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19627" PostTypeId="2" ParentId="19618" CreationDate="2016-10-21T20:45:22.890" Score="2" Body="&lt;p&gt;I think you need to use a track matte - this lets you use one layer to control the transparency of another:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/alpha-channels-masks-mattes.html&quot; rel=&quot;nofollow&quot;&gt;https://helpx.adobe.com/after-effects/using/alpha-channels-masks-mattes.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-10-21T20:45:22.890" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19628" PostTypeId="1" CreationDate="2016-10-22T09:19:57.713" Score="0" ViewCount="1524" Body="&lt;p&gt;I have some high frame rate video from a video camera. It is shot at 50 frames per second. But my editing project is set at 25 frames per second. When I render the timeline out every movement seems to strobe or stutter across the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can be done to fix it?&lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2018-04-30T16:16:05.950" Title="Fast pans and motion seem to strobe or stutter, why?" Tags="|framerate|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19629" PostTypeId="2" ParentId="19628" CreationDate="2016-10-22T09:19:57.713" Score="1" Body="&lt;p&gt;If the original High Frame Rate (HFR) source was recorded with a (non DSLR) video camera there is a good chance that each frame has been created interlaced. This means that when a shot is not moving you have full resolution, but when you pan or the subject moves it will be separated across the frame in alternating lines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you remove half of those alternating lines by using &quot;De-interlace&quot; technique you only see half the resolution. If you blur the lines vertically a bit (like 2 pixels) you will get soft pictures that smear during movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason that the original looks good is because it is played back at full speed interlaced. But that is really 50fps! That is why it looks so smooth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Its like a ladder has every second rung removed, making you jump each step. It looks weird. This applies to high frame rate footage that is recorded progressively (not mixed as alternating lines), where there are more whole frames. Progressive recording is better vertical resolution because movement doesn't smear across the frame in the same way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One potential solution would be to try Optical Flow retiming. Some applications like FCPX or Premier Pro use this for slow motion but you can also use it to try and fix interlace to progressive. By adding a 0.5 or 1% speed change, the optical flow effect will try to make new better frames using all of the interlace information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively you can get the NLE software to &quot;interpret&quot; the footage when imported so that the interlacing or alternate frame is merged 50% with the first frame in the sequence. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So in future, if you want to make a 24fps or 25fps project from HFR footage, I suggest shooting at a wider shutter angle to make the motion blur more pronounced or avoid fast pans.&lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2016-10-22T09:19:57.713" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19630" PostTypeId="1" CreationDate="2016-10-22T12:20:37.107" Score="2" ViewCount="5451" Body="&lt;p&gt;as the title suggests I need command for ffmpeg or ffprobe to list only english sub and audio tracks in a media file;I suspect this may involve using sed, awk, or exiftool--if anyone can explain I would appreciate it. TIA&lt;/p&gt;&#xA;" OwnerUserId="17003" LastActivityDate="2021-02-11T07:49:25.727" Title="Use ffprobe or ffmpeg to list ony english tracks" Tags="|ffmpeg|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19631" PostTypeId="1" AcceptedAnswerId="19703" CreationDate="2016-10-22T12:25:31.393" Score="4" ViewCount="16144" Body="&lt;p&gt;I want to capture a window and overlay it on another video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is my command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i MainVideo.avi &#xA;-f gdigrab -framerate 25 -video_size 300x200 -i title=&quot;MyWindow&quot; &#xA;-filter_complex &quot;[0]setpts=PTS-STARTPTS[b];[b][1:v]overlay=(main_w-overlay_w):main_h-overlay_h[v]&quot;&#xA;-map &quot;[v]&quot; -c:v libx264 -r 25  out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;background of my window is black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I replace this black color with transparency?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;is this possible by ffmpeg? (I think it is possible by chromakey/colorkey filters but I'm not sure, and I don't know how to use those filters)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suppose this is a frame of video that I want:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/zAuuX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zAuuX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11809" LastEditorUserId="11809" LastEditDate="2016-10-31T16:59:33.070" LastActivityDate="2016-10-31T17:54:52.553" Title="FFmpeg : How to replace video background color with transparency? (while capturing)" Tags="|video|ffmpeg|video-capture|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19632" PostTypeId="2" ParentId="19630" CreationDate="2016-10-22T12:58:26.883" Score="2" Body="&lt;p&gt;The command will show entries for those English tracks which have been assigned a language tag of &lt;code&gt;eng&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -show_entries stream=index,codec_type:stream_tags=language -of compact video.mp4 -v 0 | grep eng&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Output e.g.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;stream|index=1|codec_type=audio|tag:language=eng&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(On Windows, use &lt;code&gt;findstr eng&lt;/code&gt; in place of &lt;code&gt;grep eng&lt;/code&gt;)&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-10-22T12:58:26.883" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19634" PostTypeId="1" AcceptedAnswerId="19644" CreationDate="2016-10-22T15:30:54.853" Score="4" ViewCount="10407" Body="&lt;p&gt;I want to mux (combine) two files into one &lt;code&gt;mkv&lt;/code&gt; file. The first one is an &lt;code&gt;mkv&lt;/code&gt; file that contains a video and an audio stream in German. The second one is an English audio stream in &lt;code&gt;dts&lt;/code&gt; format.I want one &lt;code&gt;mkv&lt;/code&gt; file that contains both audio channels, the English one being the first and default audio stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the ffmpeg command I'm using so far:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i movie.mkv -i audio.dts -map 0:v:0 -map 1:a:0&#xA;-map 0:a:0 -c copy movie_combined.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This produces acceptable results. I get an &lt;code&gt;mkv&lt;/code&gt; file that has two audio channels, the first one English, the second one German. However, there's two problems. The second (German) audio stream is still the default stream (VLC media player uses it by default and according to MediaInfo, there's a default flag on the stream). Also, the English stream doesn't show up as English, according to MediaInfo there's no language information for that stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I flag the English audio stream as the default one? And how do I add the language information for that stream (so that, for example, it shows up as English in the audio track selection of VLC media player)?&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2020-07-17T11:51:52.020" Title="Mux mkv and dts file, change default audio stream and language" Tags="|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19637" PostTypeId="1" CreationDate="2016-10-22T22:35:11.013" Score="3" ViewCount="5829" Body="&lt;p&gt;I am downscaling 4K YUV420 video from the Panasonic LX100 to Full HD YUV444 using the ffmpeg console in Windows, and a script provided by &lt;a href=&quot;http://www.personal-view.com/talks/discussion/10637/4k-downscaling-progress-topic/p3&quot; rel=&quot;nofollow&quot;&gt;user karl on the Personal View forum&lt;/a&gt;, modified for outputting H265 video at constant rate factor 18:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;input_path.MP4&quot; -filter_complex &quot;extractplanes=y+u+v[y][u][v]; [u] scale=w=3840:h=2160:flags=print_info+neighbor+bitexact [us]; [v] scale=w=3840:h=2160:flags=print_info+neighbor+bitexact [vs]; [y][us][vs]mergeplanes=0x001020:yuv444p,format=pix_fmts=yuv444p10le,scale=w=1920:h=1080:flags=print_info+bicubic+full_chroma_inp+full_chroma_int&quot; -sws_dither none  -c:v libx265 -preset medium -crf 18 -c:a copy  -c:s copy -c:d copy  -map 0 &quot;output_path.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The result, VLC tells me, is a 1080p yuv444 video, and I can see excellent color resolution, so far so good. However, the image has a slight red tint compared to the original.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What could cause that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The full console output is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;input.MP4&quot; -filter_complex &quot;extractplanes=y+u+v[y][u][v]; [u] scale=w=3840:h=2160:flags=print_info+neighbor+bitexact [us]; [v] scale=w=3840:h=2160:flags=print_info+neighbor+bitexact [vs]; [y&#xA;][us][vs]mergeplanes=0x001020:yuv444p,format=pix_fmts=yuv444p10le,scale=w=1920:h&#xA;=1080:flags=print_info+bicubic+full_chroma_inp+full_chroma_int&quot; -sws_dither none&#xA;  -c:v libx265 -preset medium -crf 18 -c:a copy  -c:s copy -c:d copy  -map 0 &quot;output.mp4&quot;&#xA;ffmpeg version N-82080-g6969bed Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 5.4.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-dx&#xA;va2 --enable-libmfx --enable-nvenc --enable-avisynth --enable-bzlib --enable-lib&#xA;ebur128 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --ena&#xA;ble-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfree&#xA;type --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enab&#xA;le-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-lib&#xA;openh264 --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschr&#xA;oedinger --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheor&#xA;a --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvo&#xA;rbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --ena&#xA;ble-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --e&#xA;nable-decklink --enable-zlib&#xA;  libavutil      55. 32.100 / 55. 32.100&#xA;  libavcodec     57. 63.103 / 57. 63.103&#xA;  libavformat    57. 53.100 / 57. 53.100&#xA;  libavdevice    57.  0.103 / 57.  0.103&#xA;  libavfilter     6. 64.100 /  6. 64.100&#xA;  libswscale      4.  1.100 /  4.  1.100&#xA;  libswresample   2.  2.100 /  2.  2.100&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'input.MP4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 1&#xA;    compatible_brands: mp42avc1&#xA;    creation_time   : 2015-06-27T21:42:33.000000Z&#xA;  Duration: 00:00:16.02, start: 0.000000, bitrate: 95327 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709)&#xA;, 3840x2160 [SAR 1:1 DAR 16:9], 95071 kb/s, 23.98 fps, 23.98 tbr, 360k tbn, 47.9&#xA;5 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-06-27T21:42:33.000000Z&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, flt&#xA;p, 124 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-06-27T21:42:33.000000Z&#xA;File 'output.mp4' already exists. Overwrite ? [y/N] y&#xA;[swscaler @ 00000000041193c0] nearest neighbor / point scaler, from gray to gray&#xA; using MMXEXT&#xA;[swscaler @ 0000000000556720] nearest neighbor / point scaler, from gray to gray&#xA; using MMXEXT&#xA;[swscaler @ 000000000418cd60] bicubic scaler, from yuv444p10le to yuv444p using&#xA;MMXEXT&#xA;x265 [info]: HEVC encoder version 0.0&#xA;x265 [info]: build info [Windows][GCC 5.4.0][64 bit] 8bit&#xA;x265 [info]: using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;x265 [info]: Main 4:4:4 profile, Level-4 (Main tier)&#xA;x265 [info]: Thread pool created using 4 threads&#xA;x265 [info]: Slices                              : 1&#xA;x265 [info]: frame threads / pool features       : 2 / wpp(17 rows)&#xA;x265 [info]: Coding QT: max CU size, min CU size : 64 / 8&#xA;x265 [info]: Residual QT: max TU size, max depth : 32 / 1 inter / 1 intra&#xA;x265 [info]: ME / range / subpel / merge         : hex / 57 / 2 / 2&#xA;x265 [info]: Keyframe min / max / scenecut       : 23 / 250 / 40&#xA;x265 [info]: Cb/Cr QP Offset                     : 6 / 6&#xA;x265 [info]: Lookahead / bframes / badapt        : 20 / 4 / 2&#xA;x265 [info]: b-pyramid / weightp / weightb       : 1 / 1 / 0&#xA;x265 [info]: References / ref-limit  cu / depth  : 3 / on / on&#xA;x265 [info]: AQ: mode / str / qg-size / cu-tree  : 1 / 1.0 / 32 / 1&#xA;x265 [info]: Rate Control / qCompress            : CRF-18.0 / 0.60&#xA;x265 [info]: tools: rd=3 psy-rd=2.00 rskip signhide tmvp strong-intra-smoothing&#xA;x265 [info]: tools: lslices=6 deblock sao&#xA;Output #0, mp4, to 'G:\darrask\Pics\2015.06 Goettingen\P1340763_karl3.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 1&#xA;    compatible_brands: mp42avc1&#xA;    encoder         : Lavf57.53.100&#xA;    Stream #0:0: Video: hevc (libx265) ([35][0][0][0] / 0x0023), yuv444p, 1920x1&#xA;080 [SAR 1:1 DAR 16:9], q=2-31, 23.98 fps, 24k tbn, 23.98 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc57.63.103 libx265&#xA;    Stream #0:1(und): Audio: aac (LC) ([64][0][0][0] / 0x0040), 48000 Hz, stereo, 124 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-06-27T21:42:33.000000Z&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; extractplanes&#xA;  scale -&amp;gt; Stream #0:0 (libx265)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[swscaler @ 00000000041b9da0] bicubic scaler, from yuv444p10le to yuv444p using MMXEXT&#xA;frame=    7 fps=0.0 q=0.0 size=       0kB time=00:00:00.00 bitrate=N/A speed=&#xA;frame=   17 fps= 16 q=0.0 size=       0kB time=00:00:00.49 bitrate=   0.7kbits/s&#xA;frame=   25 fps= 16 q=0.0 size=       0kB time=00:00:00.98 bitrate=   0.4kbits/s&#xA;frame=   29 fps= 14 q=-0.0 size=      61kB time=00:00:00.98 bitrate= 508.0kbits/&#xA;frame=   30 fps= 11 q=-0.0 size=      95kB time=00:00:00.98 bitrate= 795.6kbits/&#xA;frame=   31 fps=9.7 q=-0.0 size=     112kB time=00:00:01.00 bitrate= 918.1kbits/&#xA;...console output truncated by user...&#xA;frame=  377 fps=3.9 q=-0.0 size=    7017kB time=00:00:15.50 bitrate=3706.4kbits/&#xA;frame=  379 fps=3.9 q=-0.0 size=    7048kB time=00:00:15.53 bitrate=3717.4kbits/&#xA;frame=  383 fps=3.9 q=-0.0 size=    7131kB time=00:00:16.00 bitrate=3650.8kbits/&#xA;frame=  384 fps=3.7 q=-0.0 Lsize=    7561kB time=00:00:16.00 bitrate=3871.5kbits&#xA;/s speed=0.156x&#xA;video:7304kB audio:244kB subtitle:0kB other streams:0kB global headers:1kB muxin&#xA;g overhead: 0.169810%&#xA;x265 [info]: frame I:      2, Avg QP:18.71  kb/s: 16117.16&#xA;x265 [info]: frame P:     86, Avg QP:19.53  kb/s: 8568.68&#xA;x265 [info]: frame B:    296, Avg QP:23.40  kb/s: 2247.32&#xA;x265 [info]: Weighted P-Frames: Y:0.0% UV:0.0%&#xA;x265 [info]: consecutive B-frames: 2.3% 0.0% 9.1% 36.4% 52.3%&#xA;&#xA;encoded 384 frames in 102.81s (3.73 fps), 3735.28 kb/s, Avg QP:22.51&#xA;&#xA;output_path&#xA;&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note it also has a red tint when I export to Prores with the original script by karl, and also when pix_fmts=yuv444p10le is not used (thus I presume 8 bits per pixel are used).&lt;/p&gt;&#xA;" OwnerUserId="17005" LastEditorUserId="17005" LastEditDate="2016-10-24T08:41:22.673" LastActivityDate="2018-08-11T15:24:02.537" Title="Downscaling 4K YUV420 to 1080p YUV444 with ffmpeg introduces red tint" Tags="|ffmpeg|4k|scale|vlc|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19638" PostTypeId="1" AcceptedAnswerId="19639" CreationDate="2016-10-22T22:35:39.037" Score="0" ViewCount="53" Body="&lt;p&gt;Many montages on youtube use some kind of binding things(text, images) to some moving objects. For example this guy uses binding on game character:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Cc90JgKXQEw?start=23&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Cc90JgKXQEw?start=58&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I made something similar in Sony Vegas but that looks like garbage even after all the keyframes I made to move the text synchronously to object. Is there any better way to make something similar and which program will do the best job here? What is the name of this effect and how to find(search for) it?&lt;/p&gt;&#xA;" OwnerUserId="12624" LastActivityDate="2021-06-24T17:16:53.990" Title="Binding something to a moving object" Tags="|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19639" PostTypeId="2" ParentId="19638" CreationDate="2016-10-23T02:14:01.537" Score="2" Body="&lt;p&gt;What you're looking for is Motion Tracking. There are a number of tools which have motion trackers in them - &lt;a href=&quot;http://www.apple.com/final-cut-pro/motion/&quot; rel=&quot;nofollow&quot;&gt;Apple's Motion&lt;/a&gt;, &lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow&quot;&gt;Adobe After Effects&lt;/a&gt;, and more. There are also 3rd party trackers like &lt;a href=&quot;http://www.imagineersystems.com&quot; rel=&quot;nofollow&quot;&gt;Mocha&lt;/a&gt;, &lt;a href=&quot;http://www.coremelt.com/products/trackx-powered-by-mocha.html&quot; rel=&quot;nofollow&quot;&gt;Core Melt Track X&lt;/a&gt;, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The workflow will differ depending on which tool you're using, so I can't really get into details here. But you should be able to find tutorials on YouTube and at the vendors' websites.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-10-23T02:14:01.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19642" PostTypeId="1" AcceptedAnswerId="19643" CreationDate="2016-10-24T01:00:02.523" Score="2" ViewCount="436" Body="&lt;p&gt;As HEVC - High Efficiency Video Codec (h265) can be considered a a sort of upgrade of AVC - Advanced Video Codec (h264), is there a similar &quot;upgraded&quot; audio codec compared to AAC - Advanced Audio Codec? Specifically, I'm thinking of a codec that supports 3D audio and higher compression ratios.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for satisfying my curiosity!&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="14523" LastEditDate="2016-10-24T07:54:26.300" LastActivityDate="2016-10-24T08:01:49.030" Title="Do a sort of HEAC - High Efficiency Audio Codec exists?" Tags="|audio|codec|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19643" PostTypeId="2" ParentId="19642" CreationDate="2016-10-24T01:59:07.723" Score="4" Body="&lt;p&gt;I think &lt;a href=&quot;https://en.wikipedia.org/wiki/High-Efficiency_Advanced_Audio_Coding&quot; rel=&quot;noreferrer&quot;&gt;HE-AAC&lt;/a&gt; fits that bill.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;High-Efficiency Advanced Audio Coding (HE-AAC) is an audio coding&#xA;  format for lossy data compression of digital audio defined as an&#xA;  MPEG-4 Audio profile in ISO/IEC 14496-3. It is an extension of Low&#xA;  Complexity AAC (AAC LC) optimized for low-bitrate applications such as&#xA;  streaming audio. HE-AAC version 1 profile (HE-AAC v1) uses spectral&#xA;  band replication (SBR) to enhance the compression efficiency in the&#xA;  frequency domain. HE-AAC version 2 profile (HE-AAC v2) couples SBR&#xA;  with Parametric Stereo (PS) to enhance the compression efficiency of&#xA;  stereo signals. It is a standardized and improved version of the&#xA;  AACplus codec.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;As does &lt;a href=&quot;https://en.wikipedia.org/wiki/Opus_(audio_format)&quot; rel=&quot;noreferrer&quot;&gt;Opus&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Opus is a lossy audio coding format developed by the Xiph.Org&#xA;  Foundation and standardized by the Internet Engineering Task Force,&#xA;  designed to efficiently code speech and general audio in a single&#xA;  format, while remaining low-latency enough for real-time interactive&#xA;  communication and low-complexity enough for low end ARM3&#xA;  processors.[3][4] Opus replaces both Vorbis and Speex for new&#xA;  applications, and several blind listening tests have ranked it higher&#xA;  quality than any other standard audio format at any given bitrate&#xA;  until transparency is reached, including MP3, AAC, and HE-AAC.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-10-24T01:59:07.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19644" PostTypeId="2" ParentId="19634" CreationDate="2016-10-24T02:06:38.433" Score="4" Body="&lt;p&gt;For language, add &lt;code&gt;-metadata:s:a:0 language=eng&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmpeg doesn't set or alter track dispositions in MKV. Use &lt;a href=&quot;https://mkvtoolnix.download/doc/mkvpropedit.html&quot; rel=&quot;nofollow&quot;&gt;mkvpropedit&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To set the default flag for the first audio track and remove it from the second one, use this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkvpropedit movie.mkv --edit track:a1 --set flag-default=1 --edit track:a2 --set flag-default=0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As mentioned in the docs, the app &quot;&lt;em&gt;does not set the 'default track flag' of other tracks to '0' if it is set to '1' for a different track automatically.&lt;/em&gt;&quot; This is salient because FFmpeg sets default flags for all tracks to &lt;code&gt;1&lt;/code&gt; unless the input has it different.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="6273" LastEditDate="2016-10-24T13:14:19.827" LastActivityDate="2016-10-24T13:14:19.827" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19645" PostTypeId="2" ParentId="19642" CreationDate="2016-10-24T08:01:49.030" Score="1" Body="&lt;p&gt;You can use FFmpeg with the right libraries to encode H.265/HE-AAC version 2, this is the command I use for that kind of encoding:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&#xA;ffmpeg \&#xA;-i input.mp4 \&#xA;-c:v libx265 \&#xA;-preset medium \&#xA;-x265-params crf=28 \&#xA;-ar 48000 \&#xA;-ac 2 \&#xA;-c:a libfdk_aac \&#xA;-profile:a aac_he_v2 \&#xA;-b:a 64k \&#xA;-strict experimental \&#xA;output.mp4&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a cheat sheet for FFmpeg here:&#xA;&lt;a href=&quot;https://github.com/rodrigopolo/cheatsheets/blob/master/ffmpeg.md&quot; rel=&quot;nofollow&quot;&gt;https://github.com/rodrigopolo/cheatsheets/blob/master/ffmpeg.md&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14267" LastActivityDate="2016-10-24T08:01:49.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19646" PostTypeId="1" CreationDate="2016-10-24T08:53:41.673" Score="1" ViewCount="1893" Body="&lt;p&gt;I'm using a plugin called Duik 15 to rig a character to turn the right arm into an IK controller, and it has produced an expression that is unable to find one of my layers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure why it's not able to see it, but I'm wondering if anyone has encountered the issue before within their expressions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the expression that Duik generated, with the problem being on line 2.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;//Duik.twoLayerIK&#xA;layer1 = thisComp.layer('M R Bicep'); // Not finding me&#xA;layer2 = thisComp.layer('M R Forarm');&#xA;controller = thisComp.layer('C_M R Hand');&#xA;endPos = layer2.effect('IK End')(1);&#xA;ctrlEffect = controller.effect(&quot;IK M R Forarm&quot;);&#xA;limit = effect('IK Limit')(1);&#xA;FK = ctrlEffect(4);&#xA;IKFK = ctrlEffect(3) == 0;&#xA;cw = ctrlEffect(1) == 1;&#xA;function getWorldPos(L) {&#xA;    return L.toWorld(L.anchorPoint);&#xA;}&#xA;function ik() {&#xA;    A = getWorldPos(layer1);&#xA;    B = getWorldPos(layer2);&#xA;    C = layer2.toWorld(endPos);&#xA;    E = getWorldPos(controller);&#xA;    a = length(B,C);&#xA;    b = length(E,A);&#xA;    c = length(A,B);&#xA;    x = (b*b + c*c - a*a )/(2*b);&#xA;    alpha = Math.acos(clamp(x/c,-1,1));&#xA;    D = E - A;&#xA;    delta = Math.atan2(D[1],D[0]);&#xA;    result = radiansToDegrees(delta - (cw ? 1 : -1)*alpha);&#xA;    V = B - A;&#xA;    adj1 = radiansToDegrees(Math.atan2(V[1],V[0]));&#xA;    IK = result - adj1 + value;&#xA;    if (IK &amp;lt; limit) IK+=360;&#xA;    return IK;&#xA;}&#xA;IKFK ? ik() : FK;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And also a screenshot of some of my layers, with the offending code situated inside M R Bicep's rotation expression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bFQMc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bFQMc.png&quot; alt=&quot;My layers&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17011" LastActivityDate="2024-03-25T14:01:20.143" Title="After Effects Expression, layer not found or missing" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19647" PostTypeId="1" CreationDate="2016-10-24T09:58:34.603" Score="-1" ViewCount="68" Body="&lt;p&gt;I am looking for an IP-camera model that is cheap, I can order from Europe and most importantly supports the ONVIF standard. The quality of the camera does not matter as it will be used for motion detection or as a light sensor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can find an IP-camera in the price range I am looking for (less than 50€), but I am not at all certain whether they have ONVIF support. ZBravo cameras claim to have it, but I couldn't find it on the list below, and I would have to order them form China.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.onvif.org/ConformantProducts/ProfileProducts.aspx&quot; rel=&quot;nofollow&quot;&gt;http://www.onvif.org/ConformantProducts/ProfileProducts.aspx&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="17012" LastActivityDate="2016-10-26T09:15:20.097" Title="ONVIF IP-camera Europe" Tags="|camera|wireless|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19648" PostTypeId="1" CreationDate="2016-10-24T10:42:06.773" Score="1" ViewCount="116" Body="&lt;p&gt;Sadly I don't have access to powerful workstations and it happens that I have to convert lot of videos, however I do have an high bandwidth network.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a free/paid computing cluster service where I can upload my ffmpeg command line and my videos and get them rendered/transcoded fastly by a cluster ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any workaround on this maybe with amazon or other services istances?&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2016-10-24T10:42:06.773" Title="Any ffmpeg computing nodes out of there?" Tags="|ffmpeg|transcoding|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19649" PostTypeId="1" AcceptedAnswerId="19657" CreationDate="2016-10-24T13:31:37.547" Score="0" ViewCount="60" Body="&lt;p&gt;I don't know how to keep a &lt;em&gt;moving&lt;/em&gt; camera steady. I also want to properly light this, is there a way I can get light into a forest? Or is there a good program to fix lighting. (I heard about color-grading, but i'm not sure what it is.)&lt;/p&gt;&#xA;" OwnerUserId="16974" LastActivityDate="2016-10-25T07:33:41.317" Title="I am doing a scene in a movie where someone runs through a forest" Tags="|lighting|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19651" PostTypeId="1" CreationDate="2016-10-24T16:06:37.283" Score="2" ViewCount="45" Body="&lt;p&gt;I need information about video projection. I am looking at a compact projector from China, yg-600. I need a small one that can project a picture that is approx 36&quot; wide from a close distance of approx 20&quot;. I don't under the math but the projection ratio is 1.6:1 and aspect ratio is 4:3. Can someone tell me if this will meet what I need? As I think it get 1.6 foot picture from 1 foot away? &#xA;Thanks&#xA;John&lt;/p&gt;&#xA;" OwnerUserId="17016" LastActivityDate="2017-02-22T16:25:56.443" Title="Projection sizing" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19652" PostTypeId="2" ParentId="19651" CreationDate="2016-10-24T18:10:51.390" Score="0" Body="&lt;p&gt;If the image you want is larger than the distance, you need a ratio of less than 1. So no, 1.6:1 will not work in your scenario. For a 4:3 image, a 36&quot; width means a 45&quot; diagonal. You'd need a throw of 76&quot; to get there with a 1.6:1 lens. (rough calculation: no warranty) (-:&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-10-24T18:10:51.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19653" PostTypeId="2" ParentId="17599" CreationDate="2016-10-24T18:28:15.190" Score="0" Body="&lt;p&gt;The only way to do it is by using PIP function, but it looks bad and won't allow you to split evenly and symmetrically like the split screen functions.  And Synching is nearly impossible, or I should say, cumbersome.&lt;/p&gt;&#xA;" OwnerUserId="17017" LastActivityDate="2016-10-24T18:28:15.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19654" PostTypeId="2" ParentId="19649" CreationDate="2016-10-24T19:26:05.003" Score="0" Body="&lt;p&gt;The first part of your question: asking how to keep the camera steady really depends on what kind of camera you have. there are quite a few &quot;steadicam&quot; type rigs for the smaller cameras in use today, they do take practice to use well. Can you contact a local rental house in your town to see if they have one for rent? The second part of your question: depends on the shot, how wide? what time of day, how long? &lt;/p&gt;&#xA;" OwnerUserId="17019" LastActivityDate="2016-10-24T19:26:05.003" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19655" PostTypeId="2" ParentId="19649" CreationDate="2016-10-24T20:38:25.640" Score="0" Body="&lt;p&gt;To keep your moving camera steady, there are multiple options.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Many video cameras include an &quot;optical image stabilizer&quot; to stabilize the footage as you're shooting. It's done digitally.&lt;/li&gt;&#xA;&lt;li&gt;As Tom said in his answer, you can look into a consumer-level &quot;steadicam&quot; device.&lt;/li&gt;&#xA;&lt;li&gt;The appearance of shaking is reduced with a wide-angle lens. (Conversely, if you're &quot;zoomed in&quot;, the shaking is a lot more obvious.)&lt;/li&gt;&#xA;&lt;li&gt;In film school 20 years ago, I built a &quot;shaky-cam&quot; mount for my 8mm film camera. It's simple and cheap, and works pretty well. Simply put, you mount the camera on a board. This was used for &quot;running through the forest&quot; shots in the cult classic &quot;Evil Dead&quot;. It's item #4 on &lt;a href=&quot;https://filmschoolrejects.com/6-incredibly-awesome-uses-of-camera-rigs-78cebc2b7d62#.jqsry2tv8&quot; rel=&quot;nofollow&quot;&gt;this page&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2016-10-24T20:38:25.640" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19656" PostTypeId="1" AcceptedAnswerId="19760" CreationDate="2016-10-24T21:04:26.930" Score="7" ViewCount="1001" Body="&lt;p&gt;I'm editing a small video which got recorded on a really cheap tripod, therefore the &lt;a href=&quot;https://www.youtube.com/watch?v=YVXd8QgoajU&quot; rel=&quot;noreferrer&quot;&gt;Camera movment&lt;/a&gt; is really uncontinuous and not smooth. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Any ideas how to make the movement smooth? such a thing as warp stabilisation but for mevement smoothness?&lt;/strong&gt; &lt;/p&gt;&#xA;" OwnerUserId="17018" LastActivityDate="2016-11-08T15:24:11.253" Title="Continuous smooth camera movement in post" Tags="|video|after-effects|premiere|editing|post-production|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19657" PostTypeId="2" ParentId="19649" CreationDate="2016-10-25T07:33:41.317" Score="3" Body="&lt;p&gt;There are a number of options for keeping a moving camera steady. There's the new electronically controlled gimbal mounts, they do an amazing job of removing camera movement, and they're relatively inexpensive to buy or hire. I use one of these, and it's great for DSLRs or a Blackmagic Cinema camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5gtUV.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5gtUV.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also passive stabiliser mounts, that let the camera swing freely but use weights to slow the rotation down. If you're on a super low budget you might want to consider one of these.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rulzz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rulzz.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Going the other way are the full-body stabiliser rigs like SteadyCam and GlideCam. These are rigs that the operator wears and provide a very stable platform for even quite large cameras. We have a glideCam rig where I work and from experience it requires a fair bit of practise to use well - not to mention stamina and physical strength.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/poqhj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/poqhj.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for lighting, you can't fix what you can't see. Colour correction and grading will fix problems and create a 'look', but you have to be in the ball park for the results to be any good. This is because physics: if you don't have enough light and you try to bring up the levels in post you're only going to get a bunch of noise. Similarly if your picture is completely blown out you won't be able to retrieve any information where the levels are completely white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To light a forest requires either big lights and a generator truck, or imagination. Without large light sources you're only going to get pools of light, so you need to use smaller shots and edit it cleverly. You could give the character a practical source of light - torch, lantern burning branch, and then move the light source with them, using the pools of light it creates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another good trick for lighting for darkness is to mainly light from behind, giving your subjects rim light, but little light on their faces, except maybe a small eye light and some bounce. For close-ups you bring in a bit more fill, but for the wides you keep everything silhouetted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also shoot day for night. That's where you shoot during the day, but then bring down the exposure and saturation and grade it to give the feeling of night time. Done badly it looks rather cheesy, but it is a common technique, you'll find plenty of tutorials for it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-10-25T07:33:41.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19659" PostTypeId="1" CreationDate="2016-10-25T19:01:31.180" Score="1" ViewCount="163" Body="&lt;p&gt;My workflow:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Record footage on iPhone&lt;/li&gt;&#xA;&lt;li&gt;Copy to Mac&lt;/li&gt;&#xA;&lt;li&gt;Add to Adobe Premiere&lt;/li&gt;&#xA;&lt;li&gt;When dragging iPhone clips &quot;change sequence settings&quot;&lt;/li&gt;&#xA;&lt;li&gt;Edit / Cut / Transitions / all that fancy stuff&lt;/li&gt;&#xA;&lt;li&gt;Nest clips&lt;/li&gt;&#xA;&lt;li&gt;Speed / Duration to something &quot;instagram-able&quot; (say 25 seconds)&lt;/li&gt;&#xA;&lt;li&gt;Speed keyframes so initially and on exit it's in real-life speed&lt;/li&gt;&#xA;&lt;li&gt;Add some music&lt;/li&gt;&#xA;&lt;li&gt;Export media as QuickTime (.mov) so that later I can synchronise with iPhone&lt;/li&gt;&#xA;&lt;li&gt;Set maximum bitrate to something really big (30Mbps) so that quality is preserved&lt;/li&gt;&#xA;&lt;li&gt;Post to Instagram &lt;em&gt;(1 hour of effort for each post)&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h2&gt;Now...&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zTfxK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zTfxK.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What am I doing wrong?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What switch / option / settings / preferences would allow me to avoid... &lt;em&gt;(see image above for a still frame)&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="12506" LastActivityDate="2016-10-25T21:29:31.790" Title="Which settings • preferences • preset to use in Adobe Premiere when exporting in QuickTime (.mov) format to avoid lines?" Tags="|premiere|quicktime|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19660" PostTypeId="1" CreationDate="2016-10-25T20:50:56.227" Score="0" ViewCount="482" Body="&lt;h2&gt;I'm working on web project where the position of the user's mouse triggers a video to play forward and backwards.&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;b&gt;Here's my problem&lt;/b&gt;: The code I'm using to achieve this requires the video file to be exactly 29.97000 fps, but exporting my work from Photoshop/Premiere gives me 29.970030 fps. Re-encoding the video with Handbrake gave me the same result. Currently using OSX 10.11.6.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to &quot;force&quot; Adobe Suite Applications/Handbrake to export video @ exactly 29.97000 fps, or do I need to use a more barebones method (VirtualDubMod, AviSynth, ffmpeg, etc) to achieve this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help/advice is much appreciated!&lt;/p&gt;&#xA;" OwnerUserId="17028" LastActivityDate="2016-10-26T00:40:56.050" Title="Convert 29.970030 fps .mp4 to 29.970000" Tags="|premiere|ffmpeg|mp4|webvideos|adobe-media-encoder|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19661" PostTypeId="2" ParentId="19659" CreationDate="2016-10-25T21:29:31.790" Score="1" Body="&lt;p&gt;Looks like you have interlaced turned on. Try a different method of frame blending &lt;/p&gt;&#xA;" OwnerUserId="17029" LastActivityDate="2016-10-25T21:29:31.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19662" PostTypeId="2" ParentId="19660" CreationDate="2016-10-26T00:00:24.597" Score="1" Body="&lt;p&gt;This is most likely just a rounding error in the display of a floating point integer. Even if that is not the case, 0.00003 fps is one extra frame every nine and a half hours of video. If the software consuming this file can not handle that, you should change that component, not the encoder.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2016-10-26T00:00:24.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19663" PostTypeId="2" ParentId="19660" CreationDate="2016-10-26T00:40:56.050" Score="2" Body="&lt;p&gt;The definition of &quot;29.97&quot; is correctly 30 * (1000 / 1001), which is 29.97002997. That's what you have. I don't know why do you think you need exactly 29.97000, but it's probably a misunderstanding.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-10-26T00:40:56.050" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="19664" PostTypeId="1" CreationDate="2016-10-26T08:21:00.870" Score="0" ViewCount="107" Body="&lt;p&gt;Where can I found and download video example in 120fps/240fps and up? I haven't a device to record on that FPS, I want it for learn to create a slow mo video. Thanks&lt;/p&gt;&#xA;" OwnerUserId="16996" LastActivityDate="2016-10-26T13:05:49.600" Title="Where can I found example video in 120fps and up?" Tags="|video|after-effects|slowmotion|twixtor|" AnswerCount="1" CommentCount="0" ClosedDate="2016-10-27T11:26:59.697" ContentLicense="CC BY-SA 3.0" />
  <row Id="19665" PostTypeId="2" ParentId="17254" CreationDate="2016-10-26T08:45:51.217" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.axis.com/learning/web-articles/technical-guide-to-network-video/video-compression&quot; rel=&quot;nofollow&quot;&gt;Here&lt;/a&gt; is a good guide to help you understand the &lt;a href=&quot;http://www.axis.com/learning/web-articles/technical-guide-to-network-video/video-compression&quot; rel=&quot;nofollow&quot;&gt;compression&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go &lt;a href=&quot;http://www.axis.com/learning/web-articles/technical-guide-to-network-video/overview&quot; rel=&quot;nofollow&quot;&gt;Digital&lt;/a&gt;, scrap analog. You won't need a computer to handle the cameras or a video encoder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Buy a cheap &lt;a href=&quot;http://www.axis.com/&quot; rel=&quot;nofollow&quot;&gt;Axis&lt;/a&gt; camera and download &lt;a href=&quot;http://www.axiscompanion.com/&quot; rel=&quot;nofollow&quot;&gt;Axis Companion&lt;/a&gt; software, then the camera just needs access to the internet and you can view it from anywhere in your smartphone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also buy any other IP camera and get their dedicated software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I work at Axis, so I do recommend our product line for stability, availability and quality.&lt;/p&gt;&#xA;" OwnerUserId="16099" LastActivityDate="2016-10-26T08:45:51.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19666" PostTypeId="2" ParentId="19647" CreationDate="2016-10-26T08:55:35.287" Score="0" Body="&lt;p&gt;I consulted with a colleague who works with Onvif, and this is what she said:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;ZBravo is not an ONVIF member and does not have any cameras listed in the ONVIF conformant product list. Therefore, their cameras CANNOT be ONVIF conformant.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Watch this &lt;a href=&quot;https://www.youtube.com/watch?v=T_LebO7TtNk&quot; rel=&quot;nofollow&quot;&gt;Onvif Youtube video&lt;/a&gt; for more information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for camera, there are a lot of cameras that are cheap and support Onvif.&#xA;But I would recommend a better suited one, but they might be a bit more pricy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What do you mean with Light sensor? to check for light conditions? Day or Night? or the amount of light in the area of the camera?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.axis.com/products/axis-m1034-w&quot; rel=&quot;nofollow&quot;&gt;AXIS M1034-W&lt;/a&gt;&lt;br&gt;&#xA;&lt;a href=&quot;http://www.axis.com/products/axis-m1034-w&quot; rel=&quot;nofollow&quot;&gt;AXIS M3044-V&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16099" LastEditorUserId="16099" LastEditDate="2016-10-26T09:15:20.097" LastActivityDate="2016-10-26T09:15:20.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19667" PostTypeId="2" ParentId="18502" CreationDate="2016-10-26T09:20:51.547" Score="0" Body="&lt;p&gt;I made a extended answer about this similar question, where I recommend Blackmagic hardware, any computer and Open Broadcaster Software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/19174/multi-source-picture-in-picture-live-stream/19625#19625&quot;&gt;The answer can be found here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="16099" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-10-26T09:20:51.547" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19668" PostTypeId="2" ParentId="19664" CreationDate="2016-10-26T13:05:49.600" Score="0" Body="&lt;p&gt;Most slo mo iPhone videos are 120-240fps. Higher production quality videos that have slowed down video usually shoot at 60fps and cut it in half to 30fps. This is due to many high ends cameras not shooting high speed and if they do it is usually at lower resolutions. That is unless they have a camera dedicated for high speed like a phantom flex. The second part about making a slow motion video. You don't really make it. You shoot something that is going to be cinematic slowed down or adds emotion to it when slowed. Then simply cut the video to 50% or less depending on the frame rate. General rule of them is don't go under 30fps as it gets very choppy. &lt;/p&gt;&#xA;" OwnerUserId="17029" LastActivityDate="2016-10-26T13:05:49.600" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19669" PostTypeId="2" ParentId="19656" CreationDate="2016-10-26T13:08:42.953" Score="0" Body="&lt;p&gt;There are ways to stabilize it in Premiere and AE but they will either take the viewing box and scale the video down in it and counteract the movement within the box. Doesn't look good at all. The second option is based off the same premise but it scales the video larger then the viewing box and crops it depending on the movement. Both can't fix things too shaky and take awhile if your PC is not powerful&lt;/p&gt;&#xA;" OwnerUserId="17029" LastActivityDate="2016-10-26T13:08:42.953" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19670" PostTypeId="1" CreationDate="2016-10-26T13:44:44.320" Score="1" ViewCount="1546" Body="&lt;p&gt;I am trying to &quot;recreate&quot; FCPX's title &lt;em&gt;Date/Time&lt;/em&gt; in Apple Motion 5. Reason is that the the original Title is in English. I want the date to be at least numeric only (26.10.2016).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am able to achieve this in new Final Cut Title, but then in FCPX the title does not use time of the connected clip in Timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried to open the original Title in Apple Motion, but I am unable to find any setting of date generator value. Also in this title I am unable to change region of the the date.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Region control for my Time date generator&#xA;&lt;a href=&quot;https://i.stack.imgur.com/CeEhx.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CeEhx.jpg&quot; alt=&quot;Region control for my Time date generator&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No region control for Time date generator from original title&#xA;&lt;a href=&quot;https://i.stack.imgur.com/TG5km.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TG5km.jpg&quot; alt=&quot;No region control for Time date generator from original title&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update:&#xA;I was able to change the region in Motion, but it is not reflected in FCPX and the Title goes crazy&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uygZA.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uygZA.gif&quot; alt=&quot;Date/time behavior after change in Motion&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14149" LastEditorUserId="14149" LastEditDate="2016-10-27T19:49:09.257" LastActivityDate="2021-12-22T16:20:36.690" Title="Customize Date/Time title for Final Cut Pro X" Tags="|final-cut-pro-x|motion|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19672" PostTypeId="2" ParentId="19670" CreationDate="2016-10-27T01:31:10.367" Score="1" Body="&lt;p&gt;The reason the one from Final Cut Pro doesn't have the &quot;Region&quot; control is because it has the &quot;Animate&quot; flag set. If you set the animate flag on yours, then select something else, and then select yours again, the Region setting goes away. I don't know if that's a bug or if there's some user interface design reason for it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if you want to change the region, I suggest turning on the animate flag, select something else, select the generator again and set the region. Then turn the animate flag off again. I'm not sure if it will take or not, but I bet it would.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-10-27T01:31:10.367" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19673" PostTypeId="1" CreationDate="2016-10-27T05:15:45.490" Score="4" ViewCount="8380" Body="&lt;p&gt;PlayStation 4's Media Player is very picky in terms of supported video formats, codecs, and resolutions. This becomes specifically difficult when converting high-quality virtual reality content for PS4's Media player to play it with the PSVR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wonder: What is the best format and quality to bring 360 degree videos to PlayStation 4?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found &lt;a href=&quot;http://manuals.playstation.net/document/de/ps4/music/mp_format_m.html&quot; rel=&quot;nofollow&quot;&gt;this help page from Sony&lt;/a&gt; that shows the supported formats (version October 27th, 2016 for Media Player v2.5).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To my knowledge the best format in the list for my purpose is&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MP4 file format with:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video: H.264/MPEG-4 AVC High Profile Level4.2&lt;/li&gt;&#xA;&lt;li&gt;Audio: AAC LC&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I have also tested different resolutions, but for the current version 2.5 of Media Player, it accepts 1080p Full HD max.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The current version of Media Player allows 360 degree videos in VR mode, however, I found no way to play stereoscopic videos (side-by-side, or top/bottom).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yet, the best ffmpeg command to convert videos for the PlayStation 4 I found is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i file.mp4 -an -vcodec libx264 -profile:v high -level:v 4.2 -s 1920x1080 -preset slow -crf 18 -c:a libfdk_aac -vbr 5 file_ps4.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any suggestions or hints are welcome!&lt;/p&gt;&#xA;" OwnerUserId="17038" LastEditorUserId="17038" LastEditDate="2016-10-28T20:29:07.507" LastActivityDate="2020-03-18T18:53:16.470" Title="360 Degree Video Encoding for Playstation Media Player and PSVR" Tags="|ffmpeg|360video|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="19674" PostTypeId="2" ParentId="19575" CreationDate="2016-10-27T13:30:08.297" Score="1" Body="&lt;p&gt;Sadly combining them wouldn't help that much. The problem is you need more memory. I have 64gb for AE and I still use all of it at times. I would say a base line is 16-32gb. I could easily use 128gb though.&lt;/p&gt;&#xA;" OwnerUserId="17029" LastActivityDate="2016-10-27T13:30:08.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19675" PostTypeId="1" CreationDate="2016-10-27T17:30:36.187" Score="6" ViewCount="2259" Body="&lt;p&gt;The effect I'm referring to:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/r6Rp-uo6HmI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Essentially, the snow/confetti in the shot means lots of motion, hence a lot of the available bitrate is taken up by it, thereby reducing the quality of the other elements in the shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In particular, I see this problem with videos that have animated LCD displays in the background:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/YqZlhZ4UY-Q?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/hxjZGwlqgJI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Those videos are uploaded by the original TV broadcaster (with access to the highest quality original video), and more or less top out looking like 480p, even when viewing at 720p or 1080p. The same quality issues appear in videos on the broadcaster's own site, so it's not just YouTube's compression going overboard:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.mbcplus.com/Player/MusicBox/RetrieveClipInfo.aspx?clipId=736&quot; rel=&quot;noreferrer&quot;&gt;http://www.mbcplus.com/Player/MusicBox/RetrieveClipInfo.aspx?clipId=736&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If a human were deciding what elements in the shot to dedicate the bitrate to, they would obviously allocate it to the foreground objects (the people) at the expense of lowering the quality of the background (the LCD).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any technique (encoding/compression/etc.) that can improve the quality of the foreground elements when such a background is present in the shot?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And I'm sure some people would also be interesting in any techniques that can be done at the time of filming that would produce better results, when they cannot change the content of the shot and have to deal with snow/confetti/animated LCD in the background.&lt;/p&gt;&#xA;" OwnerUserId="17040" LastActivityDate="2021-04-27T06:52:38.127" Title="Is there a way to improve quality for videos with snow/confetti/LCD in background?" Tags="|encoding|youtube|compression|bitrate|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19677" PostTypeId="2" ParentId="19675" CreationDate="2016-10-27T18:25:04.553" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Is there any technique (encoding/compression/etc.) that can improve the quality of the foreground elements when such a background is present in the shot?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I don't know of any encoding algorithm that can differentiate between objects in a video and allocate different amounts of bits for those objects based on how important they are. That's not really how compression algorithms work. Maybe with machine learning we will get there eventually, but I'm pretty sure no such thing exists.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Those videos are uploaded by the original TV broadcaster (with access to the highest quality original video), and more or less top out looking like 480p, even when viewing at 720p or 1080p. The same quality issues appear in videos on the broadcaster's own site, so it's not just YouTube's compression going overboard:&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The bad quality is caused by the low bitrate in combination with video content that can't be compressed very good (as explained in the video by Tom Scott). Another way to put this is the video has high entropy, i.e. more information than a regular video (without confetti, snow or something similar). To save a video with high entropy in the same quality as a video with low quality, you need a higher bitrate. So if you have control over the final video, just raise the bitrate and you will be fine. Another possibility is to use a variable bitrate. This way, the encoder can allocate a higher bitrate to the parts of the video with high entropy and a lower one for the parts with low entropy, thus raising the overall quality significantly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you upload to Youtube, there's nothing you can do. No matter how high the bitrate and quality of your original video, Yotube will compress it upon upload, making it look bad again. You &lt;em&gt;could&lt;/em&gt; export your video in 4k, this might help since Youtube uses a higher bitrate for 4k video, ergo better quality. But if your original footage isn't shot in 4k, I wouldn't recommend that.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;And I'm sure some people would also be interesting in any techniques that can be done at the time of filming that would produce better results, when they cannot change the content of the shot and have to deal with snow/confetti/animated LCD in the background.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;What can you control?&lt;br&gt;&#xA;If you want to avoid this mess, get the confetti out of the shot. Turn the LCD screen off. If you can't do that, change the composition and/or pespective so that less of that stuff is in your shot. Zoom in closer on the actors/dancers so they fill more of the screen, ergo less background noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But honestly, this is really a Youtube-specific problem because they use a terribly low bitrate for their encoding. I wouldn't compromise my video composition or content to avoid this problem. Just use a different hoster that encodes uploaded videos with higher bitrates such as &lt;a href=&quot;https://vimeo.com/&quot; rel=&quot;nofollow&quot;&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2016-10-27T18:32:53.017" LastActivityDate="2016-10-27T18:32:53.017" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19678" PostTypeId="1" CreationDate="2016-10-27T18:58:06.227" Score="2" ViewCount="787" Body="&lt;p&gt;I'm working in 4k for the first time.  I've got footage from a variety of sources, and I'm working on a 4k timeline (see sequence settings below).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to render between In and Out points, I get the following error when Premiere gets to certain MXF files.  All the MXF files came from a Sony FS5 camera, shooting in one of the flatter &quot;log&quot; picture modes (can't remember exact setting).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It renders some of them fine, but some I had to reconvert into ProRes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to work directly from the MXF files if possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using a 2015 MacBook Pro 16GB RAM, OS X 10.11.6 with Adobe Creative Cloud 2015, Premiere version 2015.4 release, v.10.4.0(30) build.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Error message when I try to render in Premiere:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/vVaLD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vVaLD.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Error message from Media Encoder:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/erNQf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/erNQf.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sequence settings:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/8XrRp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8XrRp.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Problematic clip properties below:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Clip0019.MXF&#xA;Type: MXF &#xA;File Size: 2.76 GB&#xA;Image Size: 3840 x 2160&#xA;Frame Rate: 25.00&#xA;Source Audio Format: 48000 Hz - 24 bit - 4 channels&#xA;Project Audio Format: 48000 Hz - 32 bit floating point - 4 channels&#xA;Total Duration: 00:03:58:14&#xA;Pixel Aspect Ratio: 1.0&#xA;&#xA;MXF File details:&#xA;Wrapper type: MXF OP1a (type: SingleItem SinglePackage MultiTrack Stream Internal)&#xA;File generated by: Sony, Mem  (2.00)&#xA;H.264/MPEG-4 AVC Long GOP High Profile 4:2:0 Unconstrained Coding&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2024-03-23T08:03:55.437" Title="Premiere sometimes not rendering 4k MXF files from Sony FS5" Tags="|premiere|4k|mxf|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19679" PostTypeId="2" ParentId="19675" CreationDate="2016-10-28T08:55:38.817" Score="2" Body="&lt;p&gt;Yes this feature exists, but it is not widely used &lt;em&gt;yet&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Texas Instrument developped such solution, called &lt;a href=&quot;http://www.ti.com/lit/an/sprab83/sprab83.pdf&quot; rel=&quot;nofollow&quot;&gt;SmartCodec&lt;/a&gt;, which looks to be implemented in a Samsung video surveillance system: &lt;a href=&quot;http://update.websamsung.net/OnlineTutorial/MPcamera/HTML_EN/contents/pcMenu04.html&quot; rel=&quot;nofollow&quot;&gt;Megapixel Camera&lt;/a&gt; This is a HW based solution, that is for market of video surveillance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think it would be implemented in future video codecs HEVC, adopted by many boradcaster, and it's called &lt;a href=&quot;https://hal.archives-ouvertes.fr/hal-01108332/document&quot; rel=&quot;nofollow&quot;&gt;Region-of-Interest Based Rate Control Scheme&lt;/a&gt;&#xA;HEVC is already released, and in used today, but this feature really looks new. And it will take months~years for it to be implemented in the encoder on the production house, I guess. Apparently, it is something really new, since a paper about that has been &lt;a href=&quot;http://2016.ieeeicip.org/Accepted.asp&quot; rel=&quot;nofollow&quot;&gt;accepted for presentation&lt;/a&gt; at the ICIP 2016, which took place in september.&lt;/p&gt;&#xA;" OwnerUserId="14019" LastActivityDate="2016-10-28T08:55:38.817" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19680" PostTypeId="1" CreationDate="2016-10-28T09:11:16.247" Score="2" ViewCount="7703" Body="&lt;p&gt;My camera recorded flickering (black flashing) video, maybe due to low-lightened room.  I cant purchase the de-flicker plugins to fix the that video.&#xA;is there any free solution to fix that, with plugins or filters?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(p.s. I use &lt;strong&gt;Sony Vegas&lt;/strong&gt; )&lt;/p&gt;&#xA;" OwnerUserId="16354" LastEditorUserId="16354" LastEditDate="2016-12-09T16:01:38.980" LastActivityDate="2020-09-21T18:31:48.250" Title="How to de-flicker (anti-flicker) video?" Tags="|vegas-pro|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19681" PostTypeId="2" ParentId="19680" CreationDate="2016-10-28T09:22:26.997" Score="3" Body="&lt;p&gt;Wow, I have found interesting solution:&lt;/p&gt;&#xA;&lt;h1&gt;Method 1 (bad approach):&lt;/h1&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;duplicate main video streams and put over the main stream, just off-seting them 1 frame after&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;change the opacity of the top video to &lt;strong&gt;31%&lt;/strong&gt;, second to &lt;strong&gt;51%&lt;/strong&gt;, (leave third at &lt;strong&gt;100%&lt;/strong&gt;)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3QwmD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3QwmD.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;and the flickering will be gone out. However, it has a downside - the motions will be seen a bit stretched (because of 3-frame repeated).&lt;/p&gt;&#xA;&lt;h1&gt;Method 2 (Better):&lt;/h1&gt;&#xA;&lt;p&gt;No need to reinvent wheel, there are priced plugins for it. I can't remember but there was a good plugin in market, named &amp;quot;de-flicker&amp;quot; or &amp;quot;anti-flicker&amp;quot; with free trial to test, which did excellent job!&lt;/p&gt;&#xA;" OwnerUserId="16354" LastEditorUserId="16354" LastEditDate="2020-09-21T18:31:48.250" LastActivityDate="2020-09-21T18:31:48.250" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="19682" PostTypeId="1" AcceptedAnswerId="19683" CreationDate="2016-10-28T11:27:57.153" Score="1" ViewCount="74" Body="&lt;p&gt;I want to downscale UHD-1 videos to 1080p. According to &lt;a href=&quot;https://graphicdesign.stackexchange.com/a/28034/79105&quot;&gt;this&lt;/a&gt; and on other websites the Lanczos method should give best result for downscaling.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However my goal is to downscale a video in a manner like it was captured natively in 1080p. Since there is more information available for UHD I fear that the downscaled video could result in better quality than it could have when captured natively by using a camera with 1080p resolution.&lt;/p&gt;&#xA;" OwnerUserId="17043" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:12.617" LastActivityDate="2016-10-28T14:12:53.710" Title="Downscale to &quot;native&quot; look" Tags="|transcoding|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19683" PostTypeId="2" ParentId="19682" CreationDate="2016-10-28T14:12:53.710" Score="1" Body="&lt;p&gt;Your understanding of sampling seems to be a bit off.  When downsampling from a UHD stream you don't have more information than a native 1080p sensor capturing it, you have less.  When the 1080p sensor is capturing video, it has near infinite points and photons it can capture as it is looking at a real life source.  Each photosite captures exactly what photons hit it (within the margin of error of the photosite anyway).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With downscaling, you have a much, much smaller amount of input.  All you have is the samples available and you don't know exactly where within the pixel they came from.  If the sample is an exact multiple, then it is still possible to make an exact 1:1 mapping by combining a group of pixels in to the only pixels they impact, however if you do not have an evenly divisible number of pixels, then you can't determine the exact impact of your new set of pixels from your old and you have to apply some type of imperfect translation between them.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This imperfect translation will produce less positionally accurate information, but also can have other advantages.  One advantage of downsampling is the reduction of noise.  Since noise is random, averaging multiple samples together will generally reduce noise when all other factors are equal.  It's ideal for this to be done at an evenly divisible interval to avoid needing to translate data between pixels, but the advantage is still seen with any downscale.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Getting back to your question however, unless you are shooting an even multiple of 1080p or choose to crop your sensor input to an even multiple of 1080p, you will have some type of translation of pixels.  If you want the most &quot;natural&quot; look, I would encourage using a resolution and aspect that allows you to directly map pixels.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2016-10-28T14:12:53.710" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19684" PostTypeId="1" CreationDate="2016-10-28T17:57:22.517" Score="1" ViewCount="33" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/57lmA.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/57lmA.jpg&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is this thing (shown by the arrow) in front of news presenters? Sometimes (sometimes→as I've seen) they press a button on that.. What's it called? Its purpose?&lt;/p&gt;&#xA;" OwnerUserId="14021" LastActivityDate="2016-10-28T17:57:22.517" Title="What is this thing near a news presenter?" Tags="|broadcasting|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="19685" PostTypeId="2" ParentId="4525" CreationDate="2016-10-28T20:52:43.040" Score="0" Body="&lt;p&gt;Use ffmpeg: &lt;a href=&quot;http://www.labnol.org/internet/useful-ffmpeg-commands/28490/&quot; rel=&quot;nofollow&quot;&gt;http://www.labnol.org/internet/useful-ffmpeg-commands/28490/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First cut at your desired in and out points:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -ss 00:00:50.0 -codec copy -t 20 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then concatenate the files you cut: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i file-list.txt -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17045" LastActivityDate="2016-10-28T20:52:43.040" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19688" PostTypeId="2" ParentId="19675" CreationDate="2016-10-29T05:47:33.223" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;And I'm sure some people would also be interesting in any techniques that can be done at the time of filming that would produce better results, when they cannot change the content of the shot and have to deal with snow/confetti/animated LCD in the background.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Obtaining a narrow depth of field (which relates to the selection of camera lenses) should help, blurring out some of the 'noise' both in front of and behind the subject.  This may incur more effort on the camera operators to keep the subject in focus.&lt;/p&gt;&#xA;" OwnerUserId="17050" LastActivityDate="2016-10-29T05:47:33.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19693" PostTypeId="1" CreationDate="2016-10-30T03:41:30.937" Score="0" ViewCount="2333" Body="&lt;p&gt;I haven't been using premiere for long, and I want to try to make an MLG meme video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this, I wanted to get an audio file and change the note/key of it to match music.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From what I know (which is very little), pitch and key are unrelated. I may be wrong, but when I tried to use pitchshifter, it didn't seem to change the note.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sorry that is a stupid question and I know this question will get negative reputation, but how would I change the note/key of audio files? Would I use audition, or is there something in premiere I am overlooking?&lt;/p&gt;&#xA;" OwnerUserId="17054" LastActivityDate="2016-10-31T18:55:54.133" Title="Changing Key of Audio Premiere" Tags="|premiere|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19694" PostTypeId="1" AcceptedAnswerId="19699" CreationDate="2016-10-30T04:27:45.517" Score="1" ViewCount="645" Body="&lt;p&gt;I'm trying to incorporate color correction/grading into my Adobe Premiere CC workflow. I have an x-rite color checker, and have had some success calibrating in Davinci Resolve Lite, but I don't want to render everything in Resolve, just to have to rerender/edit in Premiere. Is it possible to simply output the calibration information (Looks &amp;amp; LUTS?) created from the color matching into Premiere so it's just another effect being rendered on my clips?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, is there a way to use Adobe Speedgrade CC to match the colors from the x-rite color checker and then send it back into Premiere without having to render all the clips before other editing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess the final option would be to edit and render in Premiere and then use Davinci Resolve as a post-processing calibration step and rerender afterwards, but this seems like it wouldn't be as convenient and would be very time consuming.&lt;/p&gt;&#xA;" OwnerUserId="11181" LastEditorUserId="14523" LastEditDate="2016-10-30T17:03:20.003" LastActivityDate="2016-11-01T03:49:48.937" Title="Color correction/grading then editing in Premiere" Tags="|premiere|color-correction|color-grading|davinci-resolve|speedgrade|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19696" PostTypeId="1" AcceptedAnswerId="19698" CreationDate="2016-10-30T13:11:06.410" Score="1" ViewCount="3757" Body="&lt;p&gt;I want to extract all video frames as images and change every black (pure black) pixel of the images to a special color. (R=3,G=3,B=3)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used this command to extract video frames :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -I myVideo.avi -f image2 -vf yadif -vcodec png image%d&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Please tell me how to change every black pixel of the images to color that I want? (I want R=3,G=3,B=3)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="11809" LastEditorUserId="11809" LastEditDate="2016-10-30T15:06:58.573" LastActivityDate="2019-10-30T05:47:40.987" Title="How to change every black pixel to a special color?" Tags="|video|ffmpeg|color|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19697" PostTypeId="1" AcceptedAnswerId="19734" CreationDate="2016-10-30T15:46:35.763" Score="1" ViewCount="190" Body="&lt;p&gt;I bought a camera in 2003. Since then, I think something might have  become dusty, or some parts could have become worn out (or etc, I dont know)..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What steps I can take to refresh the old camera (in order to get it's maximum quality again, like new)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(p.s. My camera is a JVC 3CCD, records on SD card).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/N1U2C.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/N1U2C.png&quot; alt=&quot;Image depicting a JVC 3CCD&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16354" LastEditorUserId="16354" LastEditDate="2016-11-03T20:58:25.390" LastActivityDate="2016-11-04T11:56:28.450" Title="Can old camcorder be optimized?" Tags="|camcorder|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19698" PostTypeId="2" ParentId="19696" CreationDate="2016-10-30T17:56:37.013" Score="2" Body="&lt;p&gt;You can use the LUT or GEQ filters for this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;e.g. with LUT &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i myVideo.avi&#xA;       -vf&#xA;       &quot;yadif,format=rgb24,&#xA;        lutrgb=r='if(eq(val,0),3,val)':g='if(eq(val,0),3,val)':b='if(eq(val,0),3,val)'&quot;&#xA;image%d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="17075" LastEditDate="2019-10-30T05:47:40.987" LastActivityDate="2019-10-30T05:47:40.987" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="19699" PostTypeId="2" ParentId="19694" CreationDate="2016-10-30T19:49:37.373" Score="1" Body="&lt;p&gt;In turns out all I had to do was grade in DaVinci Resolve and right click on the graded clip's thumbnail in the color environment and select Generate 3D LUT (CUBE).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RBA0O.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RBA0O.jpg&quot; alt=&quot;DaVinci Resolve exporting 3D LUT&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then in Adobe Premiere CC add the Lutemtri effect to an adjustment layer, expand basic correction, Browse for Input LUT.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/plOQ5.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/plOQ5.jpg&quot; alt=&quot;Premiere CC importing 3D LUT&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11181" LastEditorUserId="11181" LastEditDate="2016-11-01T03:49:48.937" LastActivityDate="2016-11-01T03:49:48.937" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19700" PostTypeId="1" CreationDate="2016-10-30T20:10:05.173" Score="1" ViewCount="166" Body="&lt;p&gt;I recently updated my copy of Premiere CC to 2015.4, and many of my downloaded effects overlay videos turned blue. (Attached is a blood spray effect). These were all downloaded from the website FootageCrate and are in the &quot;PNG, Timecode&quot; mov format (according to Finder's metadata). I can't simply revert my version of Premiere (at least I don't think so) because I've done some other edits in the current project which had to be converted for the new version. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I open these in Quicktime, they convert to a different format but lose their alpha channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/P9u0s.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/P9u0s.png&quot; alt=&quot;An example of the blue Quicktime PNG&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="17060" LastActivityDate="2016-10-30T20:10:05.173" Title="Quicktime PNG codecs turn blue on most recent Premiere Pro CC update" Tags="|premiere|codec|quicktime|color|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19701" PostTypeId="2" ParentId="19266" CreationDate="2016-10-31T04:11:27.437" Score="2" Body="&lt;p&gt;In Premiere Pro, if you change your sequence size to match your source, you can export the vertical video that way. In the project panel, right click your sequence and change the frame size to the frame size of your video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/C8DJG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/C8DJG.png&quot; alt=&quot;Sequence Settings screen with &amp;quot;Frame Size&amp;quot; highlighted&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can then export with the preset of &lt;code&gt;Match Source&lt;/code&gt; (the bitrate depends on your project needs).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, you can also export the video with the preset of your choosing. Uncheck the &quot;Width and Height&quot; and type in the appropriate resolution (example is below).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QG6aS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QG6aS.png&quot; alt=&quot;Export Settings screen with &amp;quot;Width&amp;quot; and &amp;quot;Height&amp;quot; highlighted&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="15885" LastActivityDate="2016-10-31T04:11:27.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19702" PostTypeId="1" CreationDate="2016-10-31T17:31:22.737" Score="1" ViewCount="768" Body="&lt;p&gt;I am trying to figure out the sweet spot of maximizing FPS of encoding videos into h264/h265. I will be running some videos through Georges Vid.Stab library (&lt;a href=&quot;https://github.com/georgmartius/vid.stab&quot; rel=&quot;nofollow&quot;&gt;https://github.com/georgmartius/vid.stab&lt;/a&gt;) to stabilize things like drone of GoPro footage, and others just re-encoding to h265 to reduce filesize / bandwidth used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I stumbled across the DVE (&lt;a href=&quot;https://github.com/Sonic-Y3k/dve&quot; rel=&quot;nofollow&quot;&gt;https://github.com/Sonic-Y3k/dve&lt;/a&gt;) project, which is nice except it won't work with stabilizing videos as the process will divide up the original video into many subsets and ask multiple computers to encode them. While they would do the job, when the videos are stitched back together they lose the advantage of the stabilization at the stitching points as they don't have the info needed to say where the start frame &quot;should&quot; be compared to the other servers calculations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also looked at the NVidia Grid, Intel Phi as coprocessors, which would be an option, but I haven't seen anywhere that they are actually supported by ffmpeg at this time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A GeForce GTX 980 with Maxwell V2 seems like a good option, but I haven't seen any numbers that show the encoding of a file with the GPU accelerator vs without, nor do I know if that is a &quot;good&quot; card or if it is overpriced for what I need, or not enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am currently running a Dell R720xd with 160GB RAM (1333MHz), dual Xeon E5-2690 processors on a RAID 1 with 20TB of storage. I have room for 2 full height / length PCI-E cards, and some half height as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't mind spending up around $1000 provided the benefits are real.&lt;/p&gt;&#xA;" OwnerUserId="17065" LastActivityDate="2016-10-31T18:45:20.783" Title="Maximizing FPS of ffmpeg encoding" Tags="|ffmpeg|encoding|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19703" PostTypeId="2" ParentId="19631" CreationDate="2016-10-31T17:54:52.553" Score="3" Body="&lt;p&gt;GDIgrab supplies a RGB feed so the colorkey filter can work here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mp4 -f gdigrab -framerate 25 -video_size 300x200 -i title=&quot;MyWindow&quot;&#xA;-filter_complex&#xA;&quot;[1]split[m][a];&#xA; [a]format=yuv444p,geq='if(gt(lum(X,Y),0),255,0)',hue=s=0[al];&#xA; [m][al]alphamerge[ovr];&#xA; [0][ovr]overlay=(main_w-overlay_w):main_h-overlay_h[v]&quot;&#xA;-map &quot;[v]&quot; -c:v libx264 -r 25 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You may have to use a value of near 0, if 0 doesn't capture all the transparent area.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-10-31T17:54:52.553" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19704" PostTypeId="2" ParentId="19702" CreationDate="2016-10-31T18:39:48.613" Score="4" Body="&lt;p&gt;There is a special NVIDIA API that allows you to encode to h264/h265 called NVENC. It's now integrated into ffmpeg so using it is quite easy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But before buying an NVIDIA card you should do/know the following:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Check the NVENC hardware capabilities table from the &lt;a href=&quot;http://developer.download.nvidia.com/designworks/video-codec-sdk/secure/7.0/NVENC_VideoEncoder_API_ProgGuide.pdf?autho=1477937979_be46b40bcac45bc52b84d68ee7335ccc&amp;amp;file=NVENC_VideoEncoder_API_ProgGuide.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;NVIDIA VIDEO CODEC SDK APPLICATION NOTE - ENCODER&lt;/a&gt; cause h265 support is limited in Maxwell V2 card you've mentioned. You can also find average encoding speed (fps) there.&lt;/li&gt;&#xA;&lt;li&gt;There is an artificial limit of two for parallel encoding processes for GeForce cards (check the previous link for more details). If you want more (actually around 30 simulanious encoding streams) you should buy Quadro or, according to this beautiful &lt;a href=&quot;https://video.stackexchange.com/a/17943/17061&quot;&gt;answer&lt;/a&gt;, one can hack GeForce (hardware in fact is the same as in Quadro) which is, of course, illegal.&lt;/li&gt;&#xA;&lt;li&gt;With any hardware encoder you'll never get the same quality/size as you can get from x264.&lt;/li&gt;&#xA;&lt;li&gt;Also there is Intel QuickSync hardware encoder integrated in some of Intel's processors (not in your Xeon unfortunately) which I know nothing about, so you have to research this part yourself.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="17061" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-10-31T18:45:20.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19705" PostTypeId="2" ParentId="19693" CreationDate="2016-10-31T18:55:54.133" Score="-1" Body="&lt;p&gt;One approach is to change the speed of the clip slightly.  This will change the pitch; speeds above 100% will make the pitch higher, and speeds under 100% will make the pitch lower. You can fiddle around with the percentages until the pitch matches.  Obviously the clip will &lt;em&gt;visually&lt;/em&gt; run faster or slower as well, so hopefully you won't need to change the speed too much. If it makes the clip look funny, you may want to separate the audio track from the video track so you can &lt;em&gt;just&lt;/em&gt; adjust the audio speed while leaving the video speed at 100%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for pitch vs. key, I can tell you what they mean from a musician's point of view. A &quot;pitch&quot; is the vibrations per second (hertz) of a note.  The more cycles per second, the higher the pitch. The word &quot;key&quot; has two meanings.  On a piano, each of the things you can hit is a &quot;key&quot;.  There are white keys and black keys.  Each one has a different pitch.  The other meaning of &quot;key&quot; pertains to composition. The &quot;key&quot; a song is written in defines the scale it uses (for the most part). Songs in the key of C major or A minor will be played on all the white keys (unless there is what's called an &quot;accidental&quot; note, which would be one of the black keys).  Songs in the key of G major or E minor are played on all the white notes except for F# (&quot;F sharp&quot;), unless there are &quot;accidental&quot; notes.  There is a major and minor &quot;key&quot; for each of the 12 &quot;keys&quot; in a scale.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2016-10-31T18:55:54.133" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19707" PostTypeId="1" AcceptedAnswerId="20026" CreationDate="2016-10-31T22:14:16.663" Score="5" ViewCount="3354" Body="&lt;p&gt;There is a &lt;a href=&quot;https://developer.nvidia.com/nvenc-application-note&quot; rel=&quot;nofollow noreferrer&quot;&gt;NVIDIA VIDEO CODEC SDK APPLICATION NOTE - ENCODER&lt;/a&gt; in which we can read the following:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;While Kepler and first generation Maxwell GPUs had one NVENC engine, certain&#xA;  variants of the second generation Maxwell GPUs and Pascal Generation GPUs have two/three NVENC engines physically present on the silicon.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So, does anyone know how to determine the number of NVENC engines in a GPU or already know the numbers? Because there is no information in NVIDIA datasheets and they are annoyingly silent in their own developer forums.&lt;/p&gt;&#xA;" OwnerUserId="17061" LastEditorUserId="17061" LastEditDate="2016-12-02T18:32:15.973" LastActivityDate="2017-07-21T15:07:00.693" Title="How many NVIDIA NVENC engines a particular GPU have?" Tags="|encoding|transcoding|nvenc|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19708" PostTypeId="2" ParentId="19637" CreationDate="2016-10-31T22:17:29.003" Score="3" Body="&lt;p&gt;I dug further and after reading the entire topic at &lt;a href=&quot;http://www.personal-view.com/talks/discussion/10637/4k-downscaling-progress-topic/p4&quot; rel=&quot;nofollow&quot;&gt;Personal View&lt;/a&gt;, I found that user &lt;a href=&quot;http://www.personal-view.com/talks/profile/235/willyfan&quot; rel=&quot;nofollow&quot;&gt;willyfan&lt;/a&gt; suggested to add &lt;code&gt;in_range=full&lt;/code&gt; to both first &lt;code&gt;scale&lt;/code&gt; arguments to correct a color shift that he also observed. And it works. So here is the full ffmpeg code, adapted from karl's script, for windows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;input.MP4&quot; -filter_complex &quot;extractplanes=y+u+v[y][u][v]; [u] scale=w=3840:h=2160:in_range=full:flags=print_info+neighbor+bitexact [us]; [v] scale=w=3840:h=2160:in_range=full:flags=print_info+neighbor+bitexact [vs]; [y][us][vs]mergeplanes=0x001020:yuv444p,format=pix_fmts=yuv444p10le,scale=w=1920:h=1080:flags=print_info+bicubic+full_chroma_inp+full_chroma_int&quot; -sws_dither none  -c:v libx265 -preset medium -crf 18 -c:a copy  -c:s copy -c:d copy  -map 0 &quot;output.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So it seems that this is a good working script for converting 4K YUV420 footage to 1080p YUV444 footage with amazing results! My files are 5-10% the original size and have incredibly little quality loss.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: note that user karl says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;But if you use &quot;in_rage=full:out_range=full&quot;, that should be fine with&#xA;  material recorded in the 0-255 value range. [...] You could try to use&#xA;  &quot;in_range=full:out_range=mpeg&quot; and see if that helps.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="17005" LastEditorUserId="17005" LastEditDate="2016-11-01T06:52:21.170" LastActivityDate="2016-11-01T06:52:21.170" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19709" PostTypeId="1" CreationDate="2016-11-01T02:53:58.427" Score="1" ViewCount="163" Body="&lt;p&gt;Let's say I want to overlay image slideshow or transition infographic over my video in Adobe Premiere. I know I can just add some &lt;em&gt;slide&lt;/em&gt; or &lt;em&gt;wipe&lt;/em&gt; tranistions to my assets, but those transitions look ugly, they don't have any easing or motionblur support. I also know I can animate those assets in AFX. But even with very good Premiere and AFX roundtrip support, this method still lacks crucial flexibility. For example, if I wanted to change asset display duration later, I have to either do it in AFX (and have hard time syncing it to audio for example), or go around with some freeze frame mojo basically spliting the animated asset in three parts (animation in, still frame, animation out).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking for a way to handle those simple animations directly in premiere. Is there a trick or functionality I am not aware of? Or maybe some plugin? Basic functionality I am looking for is creating a slide tranistion with easing (nonlinear progress, speading up and slowing down) and maybe motionblur.&lt;/p&gt;&#xA;" OwnerUserId="5928" LastActivityDate="2020-12-11T09:03:10.340" Title="Better transition animations in premiere" Tags="|premiere|animation|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19710" PostTypeId="2" ParentId="19709" CreationDate="2016-11-01T12:28:35.947" Score="1" Body="&lt;p&gt;Red Giant Universe has the support you need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Part of the video transitions included with Universe that might be useful to you:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Swish Pan/Slide: can create a nice slide with motion blur support and easing&lt;/li&gt;&#xA;&lt;li&gt;Fade In: creates sort of a zoom effect with motion blur support and&#xA;easing.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Also has other transitions like Zoom Blur, Fold .etc. all with motion  blur support and easing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are looking for some free presets I'm not sure about slide or wipe. But Chung Dha has some nice presets. They are keyframe based in Premiere, but you can modify them (but its not as drag and drop as Universe).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can check them out here: &lt;a href=&quot;http://www.chungdha.nl/?cat=129&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.chungdha.nl/?cat=129&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Specifically the last two, namely, Smooth Transition Presets and Motion blur with transform effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;He also has a tutorials on usability in each transition page.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-11-01T12:28:35.947" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19711" PostTypeId="1" CreationDate="2016-11-01T12:53:55.387" Score="2" ViewCount="40" Body="&lt;p&gt;I have a new NVidia GTX 180 (latest drivers) which is one of the latest high end releases in the GPU market. The problem is I'm experiencing the following issues in the composition(viewport) windows in After Effects and Premier Pro. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically parts of the view become cropped out. If I scroll in/out parts of the footage become visible. The only way to see a comp fully is to zoom out incredibly far. Also sometimes the UI seems to be effected moving down the screen. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PTkWF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PTkWF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/WuopV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WuopV.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I should add that I work in After effects professionally, I have tried simple solutions like changing the view quality, clearing caches, preferences, etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't received any feedback on Adobe's forums.&lt;/p&gt;&#xA;" OwnerUserId="17074" LastEditorDisplayName="user10383" LastEditDate="2017-07-10T04:36:26.963" LastActivityDate="2017-07-10T04:36:26.963" Title="NVidia GTX 180 Composition Display Issues in After Effects and Premier Pro" Tags="|after-effects|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19712" PostTypeId="1" CreationDate="2016-11-01T16:17:00.443" Score="3" ViewCount="1897" Body="&lt;p&gt;I have been perusing this page:&#xA;&lt;a href=&quot;https://openbenchmarking.org/showdown/pts/ffmpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://openbenchmarking.org/showdown/pts/ffmpeg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something doesn't make sense to me, I am looking at the following CPU's:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Intel® Xeon® Processor E5-2650L v3 (30M Cache, 1.80 GHz)    &#xA;Intel® Xeon® Processor E5-2690 v3 (30M Cache, 2.60 GHz)     &#xA;Intel® Xeon® Processor E5-2640 v3 (20M Cache, 2.60 GHz)     &#xA;Intel® Xeon® Processor E5-2670 v3 (30M Cache, 2.30 GHz)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9XelW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9XelW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to the benchmarking, the ideal processor is the E5-2640 from that list. I don't see the correlation between the benchmark numbers and the CPU specs, Now the page didn't specify which version of that particular model, so I picked a pretty new one that is almost identical to the newest v4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would have assumed that when picking a CPU for video encoding I would be looking the either the:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Highest base frequency&lt;/li&gt;&#xA;&lt;li&gt;Largest onboard cache&lt;/li&gt;&#xA;&lt;li&gt;Fastest bus speed&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Or some other common metric. What is your experience?&lt;/p&gt;&#xA;" OwnerUserId="17065" LastEditorUserId="17065" LastEditDate="2016-11-01T19:02:42.423" LastActivityDate="2017-08-30T17:01:24.623" Title="CPU Selection for video encoding" Tags="|encoding|hardware|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19714" PostTypeId="1" AcceptedAnswerId="19729" CreationDate="2016-11-01T18:02:55.017" Score="5" ViewCount="444" Body="&lt;p&gt;I have captured 20TB of footage. It's currently organized as follows:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a separate folder for each day filmed, (example: 11/1/16) inside that:&lt;/li&gt;&#xA;&lt;li&gt;separate folders for each camera (2-4 cameras used)&lt;/li&gt;&#xA;&lt;li&gt;separate folder for audio tracks&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The film will be edited on Premiere. I don't have an editor yet, but I need to get started on sorting and tagging the footage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the most recommended way of structuring the files (folders &amp;amp; naming) so that the tagging done is not wasted when an editor gets the footage to start cutting?&lt;/p&gt;&#xA;" OwnerUserId="17079" LastActivityDate="2016-11-03T07:46:44.830" Title="How to organize captured footage for documentaries before sending to editor?" Tags="|premiere|video-editor|editing|footage|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19715" PostTypeId="2" ParentId="19712" CreationDate="2016-11-01T19:30:30.427" Score="1" Body="&lt;p&gt;The DV encoder used in the cited test is useless for gauging modern CPUs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I ran the test command with the referenced media on a 4-core i5 and the difference between &lt;code&gt;-threads 4&lt;/code&gt; and &lt;code&gt;-threads 3&lt;/code&gt; is 0.5% and with &lt;code&gt;-threads 2&lt;/code&gt; is 1%. I see a much larger variance when I use H.264 encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, the bigger flaw is that the command is resizing the video. FFmpeg's internal scaler isn't multi-threaded!&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-01T19:30:30.427" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19716" PostTypeId="2" ParentId="19714" CreationDate="2016-11-01T22:00:11.957" Score="1" Body="&lt;p&gt;IMO the next most valuable things, after the footage itself, are camera reports and script notes. With good notes you can tag and bin by scene/take, and flag which takes are 'printed' (in film terms) and which are bad or incomplete. Further flagging 'best overall' or 'starred' takes can make it much easier for the editor to focus on the good stuff more quickly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I've edited larger productions I'd spend the early days just reviewing the material in script order -- often a rough stringout of starred takes can give you a feeling of what your task will be like and where there may be holes in coverage.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-11-01T22:00:11.957" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19718" PostTypeId="2" ParentId="19289" CreationDate="2016-11-02T14:12:20.783" Score="2" Body="&lt;p&gt;Typically recommended portrait lenses are around 85mm to 135m. These numbers refer to full frame cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you are using a m43 camera with a crop factor of 2x you should investigate lenses from 40mm to 70mm that fit your Panasonic&lt;/p&gt;&#xA;" OwnerUserId="10689" LastActivityDate="2016-11-02T14:12:20.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19719" PostTypeId="1" CreationDate="2016-11-02T15:46:15.713" Score="2" ViewCount="6399" Body="&lt;p&gt;I'm working in Premiere and I've got one video file that isn't working for me, it's just showing as green. My initial research said to make sure the aspect and frame rates matched up between the video file and the sequence, and the only difference I can see is one is 29.97p, and the other is 29.97fps. What's the difference? &lt;/p&gt;&#xA;" OwnerUserId="10584" LastActivityDate="2016-11-02T17:00:28.677" Title="What's the difference between 29.97p and 29.97fps?" Tags="|video|premiere|framerate|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19722" PostTypeId="2" ParentId="19719" CreationDate="2016-11-02T17:00:28.677" Score="3" Body="&lt;p&gt;A 29.97p (p = &lt;strong&gt;&lt;em&gt;progressive&lt;/em&gt;&lt;/strong&gt;) video is 29.97fps (fps = &lt;strong&gt;&lt;em&gt;frames per second&lt;/em&gt;&lt;/strong&gt;) but not all 29.97 fps video will be progressive. Some will be &lt;strong&gt;&lt;em&gt;interlaced&lt;/em&gt;&lt;/strong&gt;, (29.97i) having 59.94 &quot;fields&quot; per frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So there may be no difference at all. If Premiere doesn't indicate whether the files are interlaced or progressive, use a tool like &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;MediaInfo&lt;/strong&gt;&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-11-02T17:00:28.677" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19723" PostTypeId="1" AcceptedAnswerId="19726" CreationDate="2016-11-02T22:42:13.813" Score="1" ViewCount="2730" Body="&lt;p&gt;I have on one side a video (of someone giving a talk) and on the other side a list of slides that were used, and the timing at where the slides were switched. I want to embed the slides in a resulting video. Do you know how to do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've found how to do it with one image, but I don't know if it's possible to do it with multiple ones?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mp4 -i image.png \&#xA;-filter_complex &quot;[0:v][1:v] overlay=25:25:enable='between(t,0,20)'&quot; \&#xA;-pix_fmt yuv420p -c:a copy \&#xA;output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="17089" LastActivityDate="2016-11-03T04:57:58.800" Title="How to embed multiple images in a video recording" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19725" PostTypeId="1" AcceptedAnswerId="19727" CreationDate="2016-11-03T01:30:20.020" Score="5" ViewCount="7565" Body="&lt;p&gt;I have a need to generate a thumbnail for videos for a web application and I am currently doing that with this command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -ss &amp;lt;seconds&amp;gt; -i &amp;lt;input file&amp;gt; -vframes 1 -y &amp;lt;output file&amp;gt;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pretty basic, and does the job. But, of course, sometimes the frames aren't very &quot;interesting&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, sometimes the video has faded to black as the scene changes, or it could be something which is somewhat boring like credits rolling or similar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need some sort of algorithmic way to extract something interesting from the video and essentially filter out the boring bits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything in FFmpeg that might be able to make this easier?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, then I will need to collect a number of frames and process them outside of FFmpeg; likely using PHP. As a side note, if anyone has any existing code that does this, it would be super helpful!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many thanks&lt;/p&gt;&#xA;" OwnerUserId="17091" LastActivityDate="2016-11-03T13:17:59.193" Title="Extract key frame from video with ffmpeg" Tags="|video|ffmpeg|thumbnails|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19726" PostTypeId="2" ParentId="19723" CreationDate="2016-11-03T04:57:58.800" Score="5" Body="&lt;p&gt;You can chain multiple overlay filters where each instance overlays one slide, but this will very quickly produce an unwieldy command. It's more convenient to do this in two steps. 1) Generate a video of the slides only with the required timings. 2) Use a simple ffmpeg command to overlay that video onto the main video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the first step, I've pasted an earlier &lt;a href=&quot;https://stackoverflow.com/q/28086775/5726027&quot;&gt;answer&lt;/a&gt; I gave:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;You can use a combination of two tools to do this: ffmpeg and&#xA;  &lt;a href=&quot;https://stackoverflow.com/q/28086775/5726027&quot;&gt;mp4fpsmod&lt;/a&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;Step 1&lt;/strong&gt; is to generate a constant frame rate file using ffmpeg&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i images%d.bmp -pix_fmt yuv420p ffmpeg-cfr.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;Step 2&lt;/strong&gt; is to generate a timecode file like the one below, with each line containing the relative timestamp for a frame in&#xA;  milliseconds.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# timecode format v2&#xA;&#xA;0&#xA;33&#xA;88&#xA;100&#xA;120&#xA;160&#xA;200&#xA;230&#xA;330&#xA;347&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;Step 3&lt;/strong&gt; is to use mp4fpsmod to generate the VFR file&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4fpsmod -o vfr.mp4 -t timecodes.txt ffmpeg-cfr.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;  &#xA;  &lt;p&gt;This file plays as expected with &lt;code&gt;ffplay&lt;/code&gt; but may not with some&#xA;  players, in which case run&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;Step 4&lt;/strong&gt; Generate a CFR MP4 from the VFR using FFmpeg&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i vfr.mp4 final-cfr.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;  &#xA;  &lt;p&gt;This is a CFR file but the temporal relations are preserved as per the&#xA;  VFR, although there will be some PTS adjustments, if the timecode&#xA;  intervals are very irregular. That can be remedied by specifying a&#xA;  high framerate &lt;code&gt;-r N&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You'll have to rename your slide images so that their names form a continuous regular sequence. And for your case, I'd suggest your &lt;strong&gt;Step 1&lt;/strong&gt; command should be &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i images%d.png -c:v libx264rgb -pix_fmt rgb24 ffmpeg-cfr.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and &lt;strong&gt;Step 4&lt;/strong&gt; if needed should be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i vfr.mp4 -crf 16 -c:v libx264rgb final-cfr.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can then overlay the latest file onto the lecture video, using a command like the one in your question.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2016-11-03T04:57:58.800" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19727" PostTypeId="2" ParentId="19725" CreationDate="2016-11-03T05:07:12.540" Score="2" Body="&lt;p&gt;No ffmpeg code can identify interesting frames. At most, there are filters which detect representative frames and filters which identify frames with a scene change. So, at best, there's a thumbnail filter for this, sort of. It can't detect &quot;interesting&quot; frames but it detects representative frames. So, frames from the middle of fades should be out. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Syntax is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 50 -i in.avi -vf thumbnail=300 -vsync 0 thumbs%d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will pick one representative frame from each batch of 300 consecutive frames.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-11-03T13:17:59.193" LastActivityDate="2016-11-03T13:17:59.193" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19729" PostTypeId="2" ParentId="19714" CreationDate="2016-11-03T07:46:44.830" Score="2" Body="&lt;p&gt;If I was going to send this to an editor Or If I was going to be sent this I would like the following structure (this is all dependent on how they work but it helps)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; - Project name&#xA;   - Raw Video Files&#xA;     - Day 1&#xA;      - Cam A&#xA;      - Cam B&#xA;      - ...&#xA;     - Day 2&#xA;      - Cam A&#xA;      - Cam B&#xA;      - ...&#xA;   - Audio Files&#xA;     - Dialogue&#xA;      - &quot;Audio recorder&quot;&#xA;       - Day 1&#xA;        - Audio File 1&#xA;        - Audio File 2&#xA;        - ...&#xA;       - Day 2&#xA;        - Audio File 1&#xA;        - Audio File 2&#xA;        - ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Im sure you can gather where im going with this, simple folder structure can make a whole difference to how easy and quick it can be to edit this my files at the top level look like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Project Name&#xA; &amp;gt; Raw files&#xA; &amp;gt; Audio files&#xA; &amp;gt; project files&#xA; &amp;gt; Exports&#xA; &amp;gt; XML&#xA; &amp;gt; DVD&#xA; &amp;gt; ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Hope this helps, there are many ways to organize this and many blogs, sites advising which is the best way but it comes down to how you want to work and what works for your filming and editing process within your company&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2016-11-03T07:46:44.830" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19730" PostTypeId="1" CreationDate="2016-11-03T09:41:28.150" Score="5" ViewCount="21478" Body="&lt;p&gt;Is it possible to style all open captions at once in Premiere Pro CC2017?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since Adobe promotes the captions feature as a way to edit all captions in one place, I hope there actually is a way to style them all at once.&lt;/p&gt;&#xA;" OwnerUserId="17095" LastEditorUserId="6685" LastEditDate="2016-11-04T09:36:30.003" LastActivityDate="2021-04-27T22:44:03.787" Title="Style all open captions at once in Premiere Pro" Tags="|premiere|cc-2017|" AnswerCount="6" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19732" PostTypeId="1" AcceptedAnswerId="19733" CreationDate="2016-11-03T15:22:09.783" Score="2" ViewCount="1944" Body="&lt;p&gt;I have a sequence of PNG files (3D renders) that I want to encode as an H.264 video @ 30fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using the following command (I happen to be compositing a background under the renders):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i bg.jpg -r 30 -i renders/frame_%04d.png -c:v libx264 -preset veryfast \&#xA;       -profile:v main -filter_complex overlay -shortest -r 30 -pix_fmt yuv420p -t 16 \&#xA;       video.h264&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The resulting video plays in VLC, but I can't seek properly (always corrupts like no keyframes), it shows no duration, and it shows no elapsed time as it plays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use &lt;code&gt;ffprobe&lt;/code&gt; to analyze the result, I see this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe video.h264 &#xA;ffprobe version N-81995-gd790e48 Copyright (c) 2007-2016 the FFmpeg developers&#xA;  built with gcc 4.8 (Ubuntu 4.8.4-2ubuntu1~14.04.3)&#xA;  configuration: --extra-libs=-ldl --prefix=/opt/ffmpeg --mandir=/usr/share/man --enable-avresample --disable-debug --enable-nonfree --enable-gpl --enable-version3 --enable-libopencore-amrnb --enable-libopencore-amrwb --disable-decoder=amrnb --disable-decoder=amrwb --enable-libpulse --enable-libfreetype --enable-gnutls --enable-libx264 --enable-libx265 --enable-libfdk-aac --enable-libvorbis --enable-libmp3lame --enable-libopus --enable-libvpx --enable-libspeex --enable-libass --enable-avisynth --enable-libsoxr --enable-libxvid --enable-libvidstab --enable-libwavpack --enable-nvenc&#xA;  libavutil      55. 32.100 / 55. 32.100&#xA;  libavcodec     57. 61.103 / 57. 61.103&#xA;  libavformat    57. 52.100 / 57. 52.100&#xA;  libavdevice    57.  0.102 / 57.  0.102&#xA;  libavfilter     6. 64.100 /  6. 64.100&#xA;  libavresample   3.  0.  0 /  3.  0.  0&#xA;  libswscale      4.  1.100 /  4.  1.100&#xA;  libswresample   2.  2.100 /  2.  2.100&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, h264, from 'surround-view_front.h264':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (Main), yuv420p, 1920x1208, 30 fps, 30 tbr, 1200k tbn, 60 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Why does that show &lt;code&gt;Duration: N/A, bitrate: N/A&lt;/code&gt;, and how do I fix it?&lt;/p&gt;&#xA;" OwnerUserId="17099" LastEditorUserId="17099" LastEditDate="2016-11-03T16:07:44.417" LastActivityDate="2016-11-03T16:31:50.650" Title="H.264 produced by ffmpeg from images has no duration" Tags="|ffmpeg|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19733" PostTypeId="2" ParentId="19732" CreationDate="2016-11-03T16:16:29.347" Score="1" Body="&lt;p&gt;You're outputting to a raw bitstream. Usually, you want to output to a container like &lt;code&gt;.mp4&lt;/code&gt;, &lt;code&gt;.mov&lt;/code&gt; or &lt;code&gt;.mkv&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;H.264 raw bitstreams have no index and individual frames have no timestamps (PTS/DTS). The definitive way to estimate the duration is by counting the frames and dividing by the frame rate. Of course, this only holds for streams to be shown at a constant framerate.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-11-03T16:31:50.650" LastActivityDate="2016-11-03T16:31:50.650" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19734" PostTypeId="2" ParentId="19697" CreationDate="2016-11-03T18:02:15.393" Score="4" Body="&lt;p&gt;TL;DR: Probably not.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;I believe your camera records video on MiniDV. Video is written digitally but writing process is the only non-digital operation in the camera (involves magnetic head, tape, and tape scrolling mechanism). It's easy to determine if something is really become worn out because usually something mechanical is the only thing that can gradually degrade. If you observe too many digital artifacts in your fresh recordings (make sure it's not because of old MiniDVs) you can try to clean the head (google 'tape head cleaning'). If it doesn't help then almost certainly something is wrong with the head/scrolling.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Water or steam can get into your camera, condense there, and make the image slightly blurred (I had such an issue with my Sony camera that is similar to yours). If you are not 100 % sure that the image was less blurred earlier skip this point.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;In both cases I don't recommend you to try opening/repairing the camera by yourself. Go to the official service. This brings us to the price of repair which is probably comparable to the camera's cost for such an old device. That's why I recommend you to invest the money in a new camera (progressive video, no need to buy tapes, less requirements for light and so on) or stick with existing issues. So the answer is probably not.&lt;/p&gt;&#xA;" OwnerUserId="17061" LastEditorUserId="17061" LastEditDate="2016-11-04T04:58:37.083" LastActivityDate="2016-11-04T04:58:37.083" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19735" PostTypeId="2" ParentId="19289" CreationDate="2016-11-03T20:01:39.880" Score="0" Body="&lt;p&gt;I have not used this lens but from my research it is a great lens for portraits/interviews. The Lumix 42.5mm F1.7 can be found on ebay for around $300 to $250 USD.&lt;/p&gt;&#xA;" OwnerUserId="17100" LastActivityDate="2016-11-03T20:01:39.880" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19737" PostTypeId="1" CreationDate="2016-11-03T23:36:07.447" Score="6" ViewCount="3387" Body="&lt;p&gt;Is there a common technique or some sort of strategy for restarting a failed transcoding job from where it had left off when it crashed (or stopped for whatever reason)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, if I have a 2 hour transcoding job and it fails/crashes at 1 hour and 59 minutes, is there some way I can just do that last minutes worth of work and use the progress I already had assuming the partially transcoded file is still available?&lt;/p&gt;&#xA;" OwnerUserId="17105" OwnerDisplayName="tonyl7126" LastActivityDate="2016-11-04T07:54:08.280" Title="restart ffmpeg job from failure" Tags="|ffmpeg|transcoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19738" PostTypeId="2" ParentId="19737" CreationDate="2016-11-04T02:11:20.900" Score="1" Body="&lt;p&gt;If you know the specific portion of the file that the encoding job chokes on, you can use &lt;code&gt;ffmpeg&lt;/code&gt;'s &lt;code&gt;--ss&lt;/code&gt; and &lt;code&gt;-t&lt;/code&gt; options to pass over the choke point. You can read more about these options by looking at the tool's &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="17104" LastActivityDate="2016-11-04T02:11:20.900" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19740" PostTypeId="2" ParentId="19737" CreationDate="2016-11-04T07:54:08.280" Score="7" Body="&lt;p&gt;A direct option to resume encoding is not available.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And as for manually restarting encoding, that's also not possible. Two reasons:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) when transcoding to a typical container like MP4, the index is written after encoding is completed. There will be no such index in a partial file if the process died unexpectedly, and so the existing file cannot be parsed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) If you cannot accurately identify the last uncorrupted frame encoded in the partial file, your join will not be seamless.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;That said, there is a tedious way this can be done. The method hinges on using the &lt;code&gt;segment&lt;/code&gt; muxer. You encode to MPEG-TS format but segment the output as it is being generated. Should the job fail, you examine a few attributes and resume encoding based on that data. Finally, you join all segments together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 1&lt;/strong&gt;: Encode and segment&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For best results, audio and video should be done separately. In fact the audio can be done without segmenting since it will encode much faster&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -c:a aac -vn job-audio.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And for video&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -copyts -start_at_zero -ss 0 -i in.mp4 -c:v libx264 -an&#xA;       -f segment -segment_time 0.01 -segment_time_delta 1&#xA;       -muxpreload 0 -muxdelay 0 -mpegts_copyts 1&#xA;       -segment_start_number 0 -segment_list files.ffcat&#xA;job-video%d.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Each segment above will contain one GOP, so no frames in a segment rely on frames in other segments for playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 2&lt;/strong&gt; Identify resume point&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suppose the job fails while creating segment #5.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, you run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe &quot;in.mp4&quot; -show_entries stream=codec_type,start_time,duration -of compact&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will produce a readout like this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;stream|codec_type=audio|start_time=0.000000|duration=356.309333&#xA;stream|codec_type=video|start_time=0.040000|duration=356.360000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note the start time for the video stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, run it for the first and the last (incomplete) segment&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe &quot;job-video0.ts&quot; -show_entries stream=codec_type,start_time,duration -of compact&#xA;&#xA;stream|codec_type=video|start_time=0.080000|duration=10.000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You see that there's a positive offset of 0.04 w.r.t the MP4 video stream. Let's call this the initial offset value&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, for the last stream&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe &quot;job-video5.ts&quot; -show_entries stream=codec_type,start_time,duration -of compact&#xA;&#xA;stream|codec_type=video|start_time=20.080000|duration=4.320000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 3&lt;/strong&gt; Resume encoding&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, now you run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -copyts -start_at_zero -ss {start_time of last segment - initial offset} -i in.mp4 -c:v libx264 -an&#xA;       -f segment -segment_time 0.01 -segment_time_delta 1&#xA;       -muxpreload 0 -muxdelay 0 -mpegts_copyts 1 -initial_offset {initial offset}&#xA;       -segment_start_number {index number of last segment} -segment_list files-resume.ffcat&#xA;job-video%d.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 4&lt;/strong&gt; Join segments&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll have multiple &lt;code&gt;.ffcat&lt;/code&gt; files - from the first run and all resumed runs. Copy over the entries from all secondary runs and append them to the first file. Avoid duplication.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i files.ffcat -i job-audio.mp4 -c copy full.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-04T07:54:08.280" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19741" PostTypeId="1" CreationDate="2016-11-04T11:21:29.090" Score="0" ViewCount="88" Body="&lt;p&gt;I'm new in the field of video editing and I'm looking for software which can zoom any portion of video (&lt;em&gt;Magnifying  glass zoom&lt;/em&gt;) as below.&lt;a href=&quot;https://i.stack.imgur.com/wxV40.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wxV40.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suggest me some video editing software which is capable of doing that &lt;em&gt;except Corel video&lt;/em&gt;.&#xA;I use 32 bit window 10&lt;/p&gt;&#xA;" OwnerUserId="17109" LastActivityDate="2016-11-09T06:19:42.963" Title="video editing software recommendation" Tags="|video-editor|software-recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19744" PostTypeId="2" ParentId="19697" CreationDate="2016-11-04T11:56:28.450" Score="1" Body="&lt;p&gt;Your question is too vague to be answered properly. Exactly what parts of &quot;quality&quot; have degraded?  How do you know the camera isn't operating as good as when it was new?  Is the video not focused sharply?  Are the colors &quot;off&quot;?  Is the audio distorted?  You can only repair or improve SPECIFIC problems. Otherwise it is just free-floating anxiety for which there is no technical solution.  If you can list specific issues, then you may get specific suggestions.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-11-04T11:56:28.450" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19745" PostTypeId="2" ParentId="18530" CreationDate="2016-11-04T13:27:40.950" Score="1" Body="&lt;p&gt;I often use &lt;a href=&quot;http://processing.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;Processing&lt;/a&gt; for simple graphics or scripting projects, which would be difficult to achieve with After Effects expressions. If you prefer coding in C++ to Java, you could look at &lt;a href=&quot;http://openframeworks.cc&quot; rel=&quot;nofollow noreferrer&quot;&gt;OpenFrameworks&lt;/a&gt; which is a similar tool. Both are designed to make it easy to experiment visually while using the data processing tools of a coding environment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;tomh mentioned the GeoLayers plugin for After Effects but, while it's a really nice tool, I'm not sure it's designed to deal with data sets like yours.&lt;/p&gt;&#xA;" OwnerUserId="17014" LastActivityDate="2016-11-04T13:27:40.950" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19746" PostTypeId="2" ParentId="19707" CreationDate="2016-11-04T14:10:28.187" Score="1" Body="&lt;p&gt;Since you are actually more interested in performance (Frame Per Second) than in the NVENC engines count, please consider my below rounded up figures.&#xA;I've compared GTX 1060 and GTX 1080 only.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;H264, GTX 1080 encodes &lt;strong&gt;70%&lt;/strong&gt;  faster than GTX 1060&lt;/li&gt;&#xA;&lt;li&gt;HEVC, GTX 1080 encodes &lt;strong&gt;140%&lt;/strong&gt; faster than GTX 1060&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="14019" LastActivityDate="2016-11-04T14:10:28.187" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19749" PostTypeId="1" AcceptedAnswerId="25681" CreationDate="2016-11-04T17:37:55.813" Score="1" ViewCount="1144" Body="&lt;p&gt;I just bought a 2016 Full HD (not 4K capable) video camera and it supports encoding in AVCHD (I believe this is AVCHD 2.0) and MP4. The available Full HD formats are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;AVCHD&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1080:60p 1920x1080 60p 28mbps&lt;/li&gt;&#xA;&lt;li&gt;MXP 1920x1080 60i 24mbps&lt;/li&gt;&#xA;&lt;li&gt;FXP 1920x1080 60i 17mbps&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;MP4&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1920x1080 60p 35mbps&lt;/li&gt;&#xA;&lt;li&gt;1920x1080 30p 24mbps&lt;/li&gt;&#xA;&lt;li&gt;1920x1080 30p 17mbps&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I read multiple sources of information online saying that AVCHD was of higher quality and that it should be the preferable option. However my concern is that, unless I choose the high bitrate AVCHD 108060p option, AVCHD is an interlaced format. Here are my questions:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Isn't interlaced a thing of the past that should be avoided nowadays because interlaced screens are just don't available anymore ?&lt;/li&gt;&#xA;&lt;li&gt;When editing my video, I will plan for the final product to be encoded in a 1080:30p mp4 file. Will the deinterlacing process reduce the quality when compared to shooting in 30p right from the camera ?&lt;/li&gt;&#xA;&lt;li&gt;Like mentioned earlier it is often mentioned that AVCHD is of better quality, in my camera I have 24mbps and 17mbps options for both formats, will AVCHD look better even if the bitrate is the exact same (and as far as I'm concerned the codec used is also the same H.264 but I guess encoding parameters may differ) ?&lt;/li&gt;&#xA;&lt;li&gt;Finally, when AVCHD 2.0 was defined, 1080 at 60p was included in the standard, why wasn't 1080 at 30p also included since most if not all video equipment is now using progressive displays.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Sorry for the long question but I think this is all related and I never found a good source of information online that was answering these questions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="11634" LastActivityDate="2019-01-11T05:13:57.550" Title="Camera configuration - Should I select an AVCHD interlaced format over MP4?" Tags="|file-formats|mp4|avchd|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19750" PostTypeId="2" ParentId="19617" CreationDate="2016-11-04T19:18:11.787" Score="1" Body="&lt;p&gt;The reason is because HLS as a source is really just a static file (a bunch of .TS packets).  This requires you feed the new ffmpeg process (in your case RTMP) at x1 speed, or real time.  You can do this with the &lt;code&gt;-re&lt;/code&gt; flag before the input.&lt;/p&gt;&#xA;" OwnerUserId="17115" LastActivityDate="2016-11-04T19:18:11.787" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19751" PostTypeId="2" ParentId="19749" CreationDate="2016-11-05T00:07:27.117" Score="2" Body="&lt;p&gt;I will answer only to the 'interlaced' part.&#xA;Yes, it's a thing from the past. Deinterlaced video always will be looking worse than progressive. It's like shooting through the cracked lens and then trying to fix the footage on post. In any circumstances don't shoot a scene with chromakey in interlaced mode. I won't go into details but the results will be terrible.&#xA;Advantages of 60p: you will always be able to make slow motion; due to less motion blur, it'll be easier to key the footage.&lt;/p&gt;&#xA;" OwnerUserId="17061" LastActivityDate="2016-11-05T00:07:27.117" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19752" PostTypeId="2" ParentId="19741" CreationDate="2016-11-05T04:10:45.897" Score="1" Body="&lt;p&gt;The way this is usually done is either by recording the screen at full resolution and zooming out the footage until you want a close-up, or by using a screen recorder which allows you to zoom in as you're recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you already have footage, any decent editor should allow you to zoom in. Just know that zoomed-in footage will be at a lower quality than recording at the full resolution and cropping.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're on Windows, you can try Adobe Premiere or Sony Vegas. There are probably others, but those 2 are fairly popular.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastEditorUserId="6207" LastEditDate="2016-11-09T06:19:42.963" LastActivityDate="2016-11-09T06:19:42.963" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19754" PostTypeId="1" AcceptedAnswerId="19755" CreationDate="2016-11-05T16:21:59.003" Score="5" ViewCount="15113" Body="&lt;p&gt;I am attempting to animate a series of PNG images at 30 frames per second (and add an audio track) with FFmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the command line, I specify the input and output frame rates as 30 fps.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg.exe &lt;strong&gt;-r 30&lt;/strong&gt; -i %d.png -itsoffset 0.770 -i soundtrack.wav -r 30 -vcodec mpeg4 -y &quot;ffmpegtest.mp4&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The output shows that it is reading the input images at the default &lt;strong&gt;25 frames per second&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    ffmpeg version N-82225-gb4e9252 Copyright (c) 2000-2016 the FFmpeg developers&#xA;      built with gcc 5.4.0 (GCC)&#xA;      configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-dxva2 --enable-libmfx --enable-nvenc --enable-avisynth --enable-bzlib --enable-libebur128 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib&#xA;      libavutil      55. 35.100 / 55. 35.100&#xA;      libavcodec     57. 66.101 / 57. 66.101&#xA;      libavformat    57. 57.100 / 57. 57.100&#xA;      libavdevice    57.  2.100 / 57.  2.100&#xA;      libavfilter     6. 66.100 /  6. 66.100&#xA;      libswscale      4.  3.100 /  4.  3.100&#xA;      libswresample   2.  4.100 /  2.  4.100&#xA;      libpostproc    54.  2.100 / 54.  2.100&#xA;    Input #0, image2, from '%d.png':&#xA;      Duration: 00:02:24.00, start: 0.000000, bitrate: N/A&#xA;        Stream #0:0: Video: png, rgba(pc), 480x320, 25 fps, 25 tbr, 25 tbn, 25 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;[I'll interrupt here to say it is that last line that confuses me]&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    Guessed Channel Layout for Input Stream #1.0 : stereo&#xA;    Input #1, wav, from 'soundtrack.wav':&#xA;      Duration: 00:06:51.26, bitrate: 1411 kb/s&#xA;        Stream #1:0: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 44100 Hz, stereo, s16, 1411 kb/s&#xA;    Output #0, mp4, to 'ffmpegtest.mp4':&#xA;      Metadata:&#xA;        encoder         : Lavf57.57.100&#xA;        Stream #0:0: Video: mpeg4 ( [0][0][0] / 0x0020), yuv420p, 480x320, q=2-31, 200 kb/s, 30 fps, 15360 tbn, 30 tbc&#xA;        Metadata:&#xA;          encoder         : Lavc57.66.101 mpeg4&#xA;        Side data:&#xA;          cpb: bitrate max/min/avg: 0/0/200000 buffer size: 0 vbv_delay: -1&#xA;        Stream #0:1: Audio: aac (LC) ([64][0][0][0] / 0x0040), 44100 Hz, stereo, fltp, 128 kb/s&#xA;        Metadata:&#xA;          encoder         : Lavc57.66.101 aac&#xA;    Stream mapping:&#xA;      Stream #0:0 -&amp;gt; #0:0 (png (native) -&amp;gt; mpeg4 (native))&#xA;      Stream #1:0 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; aac (native))&#xA;    Press [q] to stop, [?] for help&#xA;    [image2 @ 0000000000622cc0] Thread message queue blocking; consider raising the thread_queue_size option (current value: 8)&#xA;    frame= 3600 fps=242 q=19.1 Lsize=    9908kB time=00:06:52.04 bitrate= 197.0kbits/s speed=27.7x&#xA;    video:3263kB audio:6494kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.540179%&#xA;    [aac @ 000000000064e600] Qavg: 448.922&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I am fairly new to FFmpeg. What am I missing? How do I tell it the input stream is 30 fps?&lt;/p&gt;&#xA;" OwnerUserId="6177" LastActivityDate="2016-11-05T16:44:47.623" Title="Changing the input frame rate of a series of images in FFmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19755" PostTypeId="2" ParentId="19754" CreationDate="2016-11-05T16:44:47.623" Score="9" Body="&lt;p&gt;With image sequences, you have to use the framerate option. So,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -i %d.png -itsoffset 0.770 -i soundtrack.wav -vcodec mpeg4 -y &quot;ffmpegtest.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With &lt;code&gt;-r&lt;/code&gt; specified before the sequence name, FFmpeg assumes 25 fps and duplicates/drop frames to meet the set rate.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-05T16:44:47.623" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19756" PostTypeId="2" ParentId="19749" CreationDate="2016-11-05T19:52:38.033" Score="0" Body="&lt;p&gt;I'll take on the whole answer.  If your target delivery format is interlaced, because it says so in the specifications, then shoot interlaced.  But if you are not shooting for commercial, and not bound to interlaced specifications, then progressive is where it's at.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The fundamental choice of interlaced vs. progressive (based really on your intended delivery format) has a far greater effect on your perceived video quality than AVCHD vs. MP4 for similar bit rates.  Yes, there are multi-thousand dollar converters that will do a half-decent job interpolating between the interlaced and non-interlaced worlds, but they, too, will introduce greater artifact problems that if you shot according to your intended delivery format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you cannot get the video quality you want from a 35Mb/sec 1080p60 or a 24Mb/sec 1080p30 video file, the solution is to get a camera that does meet your quality specs, chances are high that you will also not get it from a 28Mb/sec 1080i video format from that camera.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2016-11-06T21:21:48.070" LastActivityDate="2016-11-06T21:21:48.070" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19757" PostTypeId="2" ParentId="4321" CreationDate="2016-11-05T21:24:12.210" Score="0" Body="&lt;p&gt;No copies of projects are yet possible on Youtube. I love the basic functionality of Youtube, straight to the point. Adobe Premiere makes it perfect, but woo! how much work and time and nonsense! Me too, I prefer it simple and basic most times. I sent a Feedback to Google to ask to add a couple of features in future. Fingers crossed. Ciao&lt;/p&gt;&#xA;" OwnerUserId="17121" LastActivityDate="2016-11-05T21:24:12.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19760" PostTypeId="2" ParentId="19656" CreationDate="2016-11-07T03:37:12.707" Score="3" Body="&lt;p&gt;As Duvrai mentioned, the &lt;a href=&quot;https://www.macprovideo.com/hub/final-cut/fcp-x-using-the-new-stabilization-engine&quot; rel=&quot;nofollow noreferrer&quot;&gt;docs&lt;/a&gt; for Final Cut's InertiaCam setting do say it will handle what you're talking about, but I've never tried it myself. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are familiar with the 3D aspects of AE as well as simple AE motion tracking, you could try the following technique. It's a little involved so it's usefulness depends on how important the shots are to you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First turn the footage into a &lt;strong&gt;3D layer&lt;/strong&gt; and then apply an &lt;em&gt;Animation-&gt;Track Motion&lt;/em&gt; to that layer. Change the &lt;em&gt;Track Type&lt;/em&gt; to &lt;strong&gt;Stabilize&lt;/strong&gt;. (This is how to access the older, simpler AE stabilizer, as opposed to Warp.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Stabilize the footage using a position track point on a good spot in your panning shot. Pick a spot with lots of screen time during the pan. Apply the stabilization. Afterwards, if you switch to an alternate POV like &lt;em&gt;Custom View 1&lt;/em&gt; and scrub through your footage, you should see your footage slide left/right in 3D space synced with what your real-world camera did.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next add a &lt;strong&gt;3D camera layer&lt;/strong&gt; and keyframe it's position to make it 'shadow' what your original camera did, but this time using eased keyframes instead of a tripod. This effectively creates a more ideal motion laid on top of your original real-world movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously sometimes the original footage will go out of the 3D camera's view when the original doesn't match the ideal. To remedy, cleverly add a few more camera position keyframe to throttle the AE camera's velocity over time, or simply use scaling keyframes on the footage layer to smoothly 'zoom-in' occasionally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;redpc post&quot; - &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/zt9rZGcl6zw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="17133" LastEditorUserId="17133" LastEditDate="2016-11-08T15:24:11.253" LastActivityDate="2016-11-08T15:24:11.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19761" PostTypeId="2" ParentId="19597" CreationDate="2016-11-07T04:15:08.440" Score="3" Body="&lt;p&gt;Just to sync our watches: Both &lt;strong&gt;point text&lt;/strong&gt; and &lt;strong&gt;paragraph text&lt;/strong&gt; have the potential to be either &lt;strong&gt;single&lt;/strong&gt; or &lt;strong&gt;multiline&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you create multi-line text using so-called &lt;strong&gt;point text&lt;/strong&gt; like this (ie, single-click of the Text tool, w/ multiple lines created by hitting the return key) ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WhUjp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WhUjp.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;..then Premiere will display the multiple lines like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Uk78Y.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Uk78Y.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand, if you create multi-line text using so-called &lt;strong&gt;paragraph text&lt;/strong&gt; like this (ie, click-drag a rectanglar area with the Text tool, w/ multiple lines created by hitting return key &lt;strong&gt;&lt;em&gt;or&lt;/em&gt;&lt;/strong&gt; word-wrapping) ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KJFz3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KJFz3.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;..then Premiere will display editable fields like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dxV0p.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dxV0p.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So basically Premiere will add additional editable text fields whenever it sees linebreak characters in your text, whether it's point text or paragraph text. Hopefully that helps!&lt;/p&gt;&#xA;" OwnerUserId="17133" LastEditorUserId="17133" LastEditDate="2016-11-08T18:49:14.580" LastActivityDate="2016-11-08T18:49:14.580" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19763" PostTypeId="1" AcceptedAnswerId="19765" CreationDate="2016-11-07T05:22:37.173" Score="1" ViewCount="1760" Body="&lt;p&gt;When rendering my animation video with ffmpeg, I want my video to start with 28-odd seconds of silencebefore the soundtrack begins. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Well, I really want it to be 0.28 seconds but making it longer makes debugging easier.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's easy enough. According to &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;the manual&lt;/a&gt; and &lt;a href=&quot;https://superuser.com/questions/982342/in-ffmpeg-how-to-delay-only-the-audio-of-a-mp4-video-without-converting-the-au&quot;&gt;SuperUser&lt;/a&gt; and &lt;a href=&quot;http://alien.slackbook.org/blog/fixing-audio-sync-with-ffmpeg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;others&lt;/a&gt;, it is all about adding the &lt;code&gt;-itsoffset&lt;/code&gt; parameter before the audio input you wish to delay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's my command line:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -itsoffset 28.84 -i soundtrack.wav -framerate 30 -i %d.png -r 30 -vcodec mpeg4 generated.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It generates the video, but the soundtrack starts immediately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am stll new to FFmpeg, so I assume I am missing something obvious.&lt;/p&gt;&#xA;" OwnerUserId="6177" LastEditorUserId="-1" LastEditDate="2017-03-20T10:04:28.637" LastActivityDate="2016-11-07T07:00:04.277" Title="The -itsoffset parameter of FFmpeg is having no effect" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19764" PostTypeId="2" ParentId="19763" CreationDate="2016-11-07T05:41:05.823" Score="1" Body="&lt;p&gt;There is an open ticket against &lt;a href=&quot;https://trac.ffmpeg.org/ticket/1349&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; from 4 years ago, that suggests that this is a bug with the mp4 container&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;2) outfile has expected playback behavior with .ts and .mkv containers.&lt;br/&gt;&#xA;  3) It does not work with .avi (no timestamps, so not a surprise)&#xA;  4) It does not work with .mp4 container (a bug?)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Sure enough, when I use an mkv file, it works.&#xA;(Well, in VLC, but no sound at all in the Windows 10 &quot;Films &amp;amp; TV&quot; viewer.)&lt;/p&gt;&#xA;" OwnerUserId="6177" LastActivityDate="2016-11-07T05:41:05.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19765" PostTypeId="2" ParentId="19763" CreationDate="2016-11-07T07:00:04.277" Score="2" Body="&lt;p&gt;You can use the &lt;code&gt;adelay&lt;/code&gt; filter for MP4.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i soundtrack.wav -framerate 30 -i %d.png -af &quot;adelay=28840|28840&quot; -r 30 -vcodec mpeg4 generated.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-07T07:00:04.277" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="19766" PostTypeId="1" AcceptedAnswerId="19767" CreationDate="2016-11-07T18:25:09.203" Score="1" ViewCount="866" Body="&lt;p&gt;I'm very new to this honestly&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying take a rendered sequence with an alpha channel that I exported from HitFilm 4, and import it into Davinci Resolve. Resolve doesn't support AVI (I didn't know that AVI was an archaic format) but HitFilm cannot export to any other format with an alpha channel EXCEPT AVI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not even sure if any of this is realistically possible but I don't want to give up. Mainly, I'm trying to wrap the AVI file into a MOV container, or something of the sort, while keeping the alpha channel intact.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything I can do? &lt;/p&gt;&#xA;" OwnerUserId="17138" LastActivityDate="2019-08-01T12:48:00.323" Title="Wrapping AVI with RGBA channels in a MOV file?" Tags="|encoding|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19767" PostTypeId="2" ParentId="19766" CreationDate="2016-11-07T19:10:11.883" Score="3" Body="&lt;p&gt;You can use &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command is &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i in.avi -c:v copy out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will copy the video stream over without transcoding or dropping the alpha. The caveat here is that if MOV doesn't support the codec of the AVI video stream, then ffmpeg will fail. But, then you can simply run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i in.avi -c:v qtrle out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will losslessly transcode the video, keeping the alpha. The size may increase.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-07T19:10:11.883" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19770" PostTypeId="1" CreationDate="2016-11-08T02:37:22.730" Score="2" ViewCount="68" Body="&lt;p&gt;I recently purchased a Canon SL1 as a second camera to my Canon 70d. Today I had my first shoot, and I noticed something weird with the exposure. Both of my cameras were set to 1080 24fps, 50 shutter speed, 2.8 aperture, and ISO 200. However, the Canon Sl1 was underexposed. To create the same exposure as the Canon 70d, I needed to bump the SL1's ISO to 400. Shouldn't camera's with the same settings reproduce a similarly exposed image?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&#xA;-Wes&lt;/p&gt;&#xA;" OwnerUserId="17142" LastActivityDate="2017-06-12T08:42:16.947" Title="Same exposure settings on 2 different DLSRs (Canon SL1 and 70d) created differently exposed image?" Tags="|video|camera|dslr|canon|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19771" PostTypeId="2" ParentId="18400" CreationDate="2016-11-08T12:13:18.383" Score="1" Body="&lt;p&gt;You can do this with &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS&lt;/a&gt;. I do it all the time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Mac, can with &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS&lt;/a&gt; take the feed(s) and arrange/resize them and then stream it to Wirecast(?, but not necessary) or directly to Youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS&lt;/a&gt; handles both input from streams and from video cards, so you can have several inputs and combine them, very easily.&lt;/p&gt;&#xA;" OwnerUserId="16099" LastActivityDate="2016-11-08T12:13:18.383" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19772" PostTypeId="2" ParentId="19770" CreationDate="2016-11-08T15:24:54.733" Score="1" Body="&lt;p&gt;Simple answer is No.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now to be a little more technical. It is all down to build, sensor type, style, size etc and of course the camera being stuff like, consumer, semi-pro, professional etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A little more.&#xA;Cameras like the SL1 which would be classed as consumer would not have the same build or sensor quality as a professional or possibly semi-pro same goes for sensor sizes etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a Canon 7D and a Canon 100D both of which I can use but I have to expose slightly differently on the 100D due to it being a lesser quality camera, even though it has basically the same sensor and specs (which is why I bought it). Most things you can correct it in post as long as I've thought about a little bits before hand.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would also be the same for the built in colour profiles in the camera. Which  is why a lot of people start to build there own or put on preset ones like cinestyle.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastEditorDisplayName="user10383" LastEditDate="2017-06-12T08:42:16.947" LastActivityDate="2017-06-12T08:42:16.947" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19773" PostTypeId="1" AcceptedAnswerId="19774" CreationDate="2016-11-08T15:35:22.610" Score="0" ViewCount="1654" Body="&lt;p&gt;I am trying to create videos from images. Although I have done this many times, I see now that a certain video stops before the last frame, encoding only ~50% of it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The way I call ffmpeg is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -threads 16 -r 30 -i /tmp/teaser/SINGLE/%*_2_.png -vcodec h264  -vf scale=2000:-2 -an -b:v 5000k /tmp/teaser_SINGLE_2_.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The output is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Output #0, mp4, to     '/tmp/teaser_SINGLE_2_.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf57.41.100&#xA;    Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv444p, 2000x1316, q=-1--1, 5000 kb/s, 30 fps, 15360 tbn, 30 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.48.101 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/5000000 buffer size: 0 vbv_delay: -1&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (png (native) -&amp;gt; h264 (libx264))&#xA;Press [q] to stop, [?] for help&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8 drop=6 speed=0.0278x    x&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8 drop=16 speed=0.0237x&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8 drop=23 speed=0.022x&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba drop=30 speed=0.0206x&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba drop=47 speed=0.0172x&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba drop=54 speed=0.0163x&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8 drop=59 speed=0.0155x&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba drop=65 speed=0.0148x&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8 drop=71 speed=0.0141x&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8 drop=77 speed=0.0135x&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8 drop=90 speed=0.0124x&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8 drop=148 speed=0.00909x&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8 drop=179 speed=0.00786x&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:rgba to size:2000x1315 fmt:pal8 drop=184 speed=0.00765x&#xA;Input stream #0:0 frame changed from size:2000x1315 fmt:pal8 to size:2000x1315 fmt:rgba&#xA;frame=   64 fps=2.6 q=-1.0 Lsize=     822kB time=00:00:02.03 bitrate=3310.7kbits/s dup=0 drop=209 speed=0.0822x&#xA;video:820kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.190141%&#xA;[libx264 @ 0x7feb45023a00] frame I:1     Avg QP:13.80  size:  6902&#xA;[libx264 @ 0x7feb45023a00] frame P:16    Avg QP: 4.91  size: 20914&#xA;[libx264 @ 0x7feb45023a00] frame B:47    Avg QP: 9.96  size: 10589&#xA;[libx264 @ 0x7feb45023a00] consecutive B-frames:  1.6%  0.0%  4.7% 93.8%&#xA;[libx264 @ 0x7feb45023a00] mb I  I16..4:  0.2% 98.3%  1.6%&#xA;[libx264 @ 0x7feb45023a00] mb P  I16..4:  0.1%  0.1%  0.5%  P16..4:  0.3%  0.6%  0.6%  0.0%  0.0%    skip:97.8%&#xA;[libx264 @ 0x7feb45023a00] mb B  I16..4:  0.0%  0.0%  0.0%  B16..8:  0.6%  0.6%  0.6%  direct: 0.2%  skip:98.0%  L0:35.6% L1:34.8% BI:29.7%&#xA;[libx264 @ 0x7feb45023a00] final ratefactor: 0.46&#xA;[libx264 @ 0x7feb45023a00] 8x8 transform intra:87.7% inter:9.6%&#xA;[libx264 @ 0x7feb45023a00] coded y,u,v intra: 9.6% 6.6% 8.9% inter: 1.2% 0.4% 0.8%&#xA;[libx264 @ 0x7feb45023a00] i16 v,h,dc,p: 83% 10%  6%  1%&#xA;[libx264 @ 0x7feb45023a00] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 29%  1% 70%  0%  0%  0%  0%  0%  0%&#xA;[libx264 @ 0x7feb45023a00] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 38% 11% 14%  5%  5%  8%  5% 10%  5%&#xA;[libx264 @ 0x7feb45023a00] Weighted P-Frames: Y:6.2% UV:6.2%&#xA;[libx264 @ 0x7feb45023a00] ref P L0: 53.5% 16.5% 18.2% 11.2%  0.6%&#xA;[libx264 @ 0x7feb45023a00] ref B L0: 86.6% 10.8%  2.7%&#xA;[libx264 @ 0x7feb45023a00] ref B L1: 93.8%  6.2%&#xA;[libx264 @ 0x7feb45023a00] kb/s:3147.04&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There doesn't seem to be any destroyed frame. Any idea?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use &lt;code&gt;ffmpeg version 3.1.4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="17139" LastEditorUserId="17139" LastEditDate="2016-11-08T15:42:00.973" LastActivityDate="2016-11-08T16:24:31.280" Title="ffmpeg - video from images - stops before last frame" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19774" PostTypeId="2" ParentId="19773" CreationDate="2016-11-08T16:24:31.280" Score="1" Body="&lt;p&gt;With image sequences, you have to use the framerate option. With -r specified before the sequence name, FFmpeg assumes 25 fps and duplicates/drop frames to meet the set rate. I'm guessing you had a very short sequence, so it wasn't readily apparent.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-08T16:24:31.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19775" PostTypeId="1" CreationDate="2016-11-09T01:25:51.543" Score="5" ViewCount="10646" Body="&lt;p&gt;I got a new Nvidia GPU to speed up my video encoding. I am working with x264 files to x265 and wanted to go faster. Using the library libx265 I am getting about 85fps when working on a file that is 720p, but if I use the nvenc_hevc I get around 600-700fps&lt;/p&gt;&#xA;&lt;p&gt;My input file is 269M and when I use the nvenc_hevc it grows to 394M. Doing the exact same command with libx265 gives me a file size of only 68M. Obviously I would like to keep the low file size, but take advantage of the GPU to process it 15X faster.&lt;/p&gt;&#xA;&lt;p&gt;Anyone else have any experience with this video codec? My understanding is that the difference between libx265 and nvenc_hvec is not the algorithm that is used to do the compression, but that it utilizes the GPU to accelerate processing. With that understanding the resulting file sizes would be identical regardless of which I used, just the nvenc_hvec would be faster. Is that a faulty assumption?&lt;/p&gt;&#xA;&lt;p&gt;My command is: &lt;code&gt;ffmpeg -i infile.avi -c:v nvenc_hevc -rc vbr_2pass -rc-lookahead 20 -gpu any out7.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;vs&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i infile.avi -c:v libx265 -rc vbr_2pass -rc-lookahead 20 -gpu any out7.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;When encoding I seem to only be using a small percentage of the GPU despite the huge performance increase:&lt;/p&gt;&#xA;&lt;h1&gt;nvidia-smi -l&lt;/h1&gt;&#xA;&lt;pre&gt;&lt;code&gt;+-----------------------------------------------------------------------------+&#xA;| Processes:                                                       GPU Memory |&#xA;|  GPU       PID  Type  Process name                               Usage      |&#xA;|=============================================================================|&#xA;|    0     21954    C   ffmpeg                                          93MiB |&#xA;+-----------------------------------------------------------------------------+&#xA;Tue Nov  8 20:41:45 2016       &#xA;+-----------------------------------------------------------------------------+&#xA;| NVIDIA-SMI 367.48                 Driver Version: 367.48                    |&#xA;|-------------------------------+----------------------+----------------------+&#xA;| GPU  Name        Persistence-M| Bus-Id        Disp.A | Volatile Uncorr. ECC |&#xA;| Fan  Temp  Perf  Pwr:Usage/Cap|         Memory-Usage | GPU-Util  Compute M. |&#xA;|===============================+======================+======================|&#xA;|   0  GeForce GTX 960     Off  | 0000:42:00.0     Off |                  N/A |&#xA;|  1%   63C    P2    37W / 160W |     95MiB /  4037MiB |     11%      Default |&#xA;+-------------------------------+----------------------+----------------------+&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17065" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-11-22T09:59:17.767" Title="NVENC_HEVC Encoding making my files larger" Tags="|ffmpeg|h.265|nvenc|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19776" PostTypeId="2" ParentId="19775" CreationDate="2016-11-09T02:28:11.880" Score="3" Body="&lt;p&gt;Just because you can get a hamburger at different restaurants doesn't mean they'll taste and look the same.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Apples and oranges&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;x265 and NVENC are two different encoder implementations that can output the same format, HEVC. What settings, options, and algorithms they use is up to the authors as long as the output conforms to the specs.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Choose the right tool for the job&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;These encoders are generally for different use cases. x265 may be slower, but it provides more quality per bit. NVENC is more suitable when speed is more important than quality or encoding efficiency, or when the CPU is not available or not up to the task, such as on a mobile platform where using the CPU would possibly consume more battery power and take a long time.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Option mixup&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Also, you're mixing up options: &lt;code&gt;-rc vbr_2pass -rc-lookahead 20 -gpu any&lt;/code&gt; are private options for nvenc_hevc, but you attempted to apply them to libx265, so they were ignored. &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#AVOptions&quot; rel=&quot;nofollow noreferrer&quot;&gt;There are two types of options&lt;/a&gt;: general and private. The private options are specific to each individual encoder. You can list private options such as with &lt;code&gt;ffmpeg -h encoder=libx265&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll have to experiment with the encoding presets (see &lt;code&gt;-preset&lt;/code&gt; option for both encoders) and rate control methods to get an output that is acceptable for you.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Waste of time?&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Lastly, unless your input H.264 files were encoded very inefficiently (or are lossless which is doubtful), or if storage space is of utmost importance, then &lt;a href=&quot;https://lists.ffmpeg.org/pipermail/ffmpeg-user/2016-September/033409.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;re-encoding from H.264 to H.265/HEVC is a waste of time and effort&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2016-11-09T02:35:33.443" LastActivityDate="2016-11-09T02:35:33.443" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19777" PostTypeId="2" ParentId="19775" CreationDate="2016-11-09T03:10:58.607" Score="2" Body="&lt;p&gt;Just to add one specific point. The nVidia HEVC encoder doesn't support B-frames yet. So that crimps any hopes of achieviing the same quality at the same size, even if nvenc was as well-tuned as x265.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-09T03:10:58.607" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19778" PostTypeId="2" ParentId="19607" CreationDate="2016-11-09T09:21:47.067" Score="1" Body="&lt;p&gt;I think the Adobe article you linked to spells it out pretty well, especially with respect to the &quot;7 second rule&quot;. I think you're just panning too fast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fast pans don't like sharp lines that run counter to the pan's motion. If you absolutely must pan at that speed, you'll need to reduce detail (ie, contrasty edges) during the fast pans.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for starters, I think you need a lot of motion blur. I wouldn't start by using an &lt;em&gt;effect&lt;/em&gt; to create motion blur, though. Instead, try using &lt;strong&gt;AE's built-in motion blur&lt;/strong&gt;. Assuming you're in the comp that has the motion keyframes, turn on the motion blur switch for your Painting layer (the little balls icon):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UdUAX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UdUAX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;..and then enable motion blur globally using its global toggle button:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3vkTh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3vkTh.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you can adjust the shutter angle, samples, etc by going to the Advanced tab of the Composition Settings. Set the shutter to the max value &lt;strong&gt;720&lt;/strong&gt; just to see if it helps. Lower the value until the judder begins to return.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adding some &lt;strong&gt;grain&lt;/strong&gt; may help imperceptibly reduce some detail, too. (You can simply create a 50% gray solid, add the Add Grain effect, and set the transfer mode to Overlay.) Play with intensity and size, and monochromatic vs color grain, to see what feels best.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, I don't think &lt;strong&gt;CC Force Motion Blur&lt;/strong&gt; is a good choice in this case. If the built-in motion blur described above still isn't 'smeary' enough to get rid of sharp edges during pans, try &lt;strong&gt;Pixel Motion Blur&lt;/strong&gt; instead, and set the shutter to something high like 1000 (just to see if it fixes the problem) and then lower the value until the judder begins to return.&lt;/p&gt;&#xA;" OwnerUserId="17133" LastActivityDate="2016-11-09T09:21:47.067" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19781" PostTypeId="1" CreationDate="2016-11-08T17:58:28.850" Score="3" ViewCount="1379" Body="&lt;p&gt;I m recording full HD video in 1080p /30p format with my Nikon D5200 but i find the size of video is to high i.e. 10 GB for an hour. Now i want to compress it to lesser size in the range of 1-2 GB without affecting even a bit of quality so that i can archive it without exhausting my storage drive. I want it in 1080p format with lesser size after compression. As i have recorded 200hr video and still keeping RAW video with my storage which has exhausted it. Is there any software or any solution so that i can convert it to lesser size? Pl help as i havnt found any full proof solution for this. Ur suggestions will heartly be welcomed. I have to use these videos on my large screen tv for teaching purpose.&lt;/p&gt;&#xA;" OwnerDisplayName="user182751" LastEditorUserId="2155" LastEditDate="2016-11-10T19:40:02.070" LastActivityDate="2017-07-09T15:38:08.983" Title="Compressing of DSLR video" Tags="|dslr|compression|" AnswerCount="4" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="19782" PostTypeId="2" ParentId="19781" CreationDate="2016-11-08T18:10:59.300" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;without affecting even a bit of quality&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Use lossless codecs like Lagarith (implemented by &lt;code&gt;FFMpeg&lt;/code&gt;, not widely supported) or lossless H.264 (implemented  in &lt;code&gt;x264&lt;/code&gt;, widely supported as generic H.264 codec).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try both and see what works better for you.&lt;/p&gt;&#xA;" OwnerUserId="17150" OwnerDisplayName="Euri Pinhollow" LastActivityDate="2016-11-08T18:10:59.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19783" PostTypeId="2" ParentId="19781" CreationDate="2016-11-09T06:10:17.040" Score="-2" Body="&lt;p&gt;There are a range of free or lowish cost compression programs available online. I asked a similar question on [PICList](&lt;a href=&quot;http://www.piclist.com]&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.piclist.com]&lt;/a&gt; recently. The following is an extract or portions of some replies. This thread was migrated from SE Photography where it was &quot;OT&quot;. Despite the downvotes there or here for whatever reason this is liable to be of significant use to some people with similar needs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://microcontrollers.2385.n7.nabble.com/OT-MP4-conversion-td201960.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Actual thread here on the 'Nabble' webscraper&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I wish to upload a number of videos to Facebook &amp;amp; You tube (the shame!).&#xA;Any suggestions re free or for money WIN10 compatible programs that meet the following need would be welcome. In many cases these are usually of higher resolution / quality / size than is generally required.&lt;br&gt;&#xA;The files are 1080p MP4 format, usually &quot;Out of Camera&quot;.&#xA;A web search for converters produced several zillion promising leads and nothing as yet attractive enough. &quot;Free&quot; would be nice (and there are various claims re fully free) but 'sensibly priced' is acceptable if useful enough.*&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Windows Moviemaker allegedly runs on WIN10 but attempting to download the allegedly relevant 'essentials' package produced discouraging messages. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Allen Mulvey.&lt;br&gt;&#xA;I think WinX HD Video Converter Deluxe will do what you&#xA;want. Not free but reasonable. Their DVD ripper is also very&#xA;good.&#xA;&lt;a href=&quot;https://www.winxdvd.com/specialoffer/index.htm#a3&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.winxdvd.com/specialoffer/index.htm#a3&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ashampoo also has a large variety of high quality but&#xA;inexpensive software. I'm not sure if they have exactly what&#xA;you want. You can find some of their stuff here:&#xA;&lt;a href=&quot;https://www.ashampoo.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.ashampoo.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;James Burkart:&lt;br&gt;&#xA;Try Handbrake. &lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://handbrake.fr/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;David VanHorn&lt;br&gt;&#xA;I use vsdc free video editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ross McMillan&lt;br&gt;&#xA;I use WMM.  It is pretty smart when it comes to uploading - you can fine tune the parameters or use one of the &quot;canned&quot; ones - and it tells you how much storage (and presumably upload bandwidth) per minute of video is used by whatever you have selected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Richard Prosser&lt;br&gt;&#xA;I've used &quot;Format Factory&quot; although it's been a while since I needed&#xA;it.  Not sure aout Win10 compatability - I'm on Win7 &amp;amp; linux.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Russell&lt;br&gt;&#xA;&lt;a href=&quot;https://www.winxdvd.com/specialoffer/index.htm#a3&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.winxdvd.com/specialoffer/index.htm#a3&lt;/a&gt;&#xA;​Looks reasonable and far more capable than the core task I wanted it for. ​&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nicola Perotto&lt;br&gt;&#xA;from SourceForge there is TEncoder&#xA;&lt;a href=&quot;https://sourceforge.net/projects/tencoder/?source=directory&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://sourceforge.net/projects/tencoder/?source=directory&lt;/a&gt;&#xA;very good, simple and fast. Good for batch conversions.&#xA;For fine tuning the conversion use ffmpeg &lt;a href=&quot;http://www.ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.ffmpeg.org/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Russell.&lt;br&gt;&#xA;As a first attempt &quot;Handbrake&quot; has made a useful difference and I'll try to check all the free recommendations and maybe the so far single for $ one to see what other capabilities are available. &#xA;I am an 'obsessive' still photo taker but 'videos happen' along the way and being able to easily put them on the internet is highly desirable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Justin Richards&lt;br&gt;&#xA;VLC does a good job at everything to do with media it seems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ken&lt;br&gt;&#xA;I have used Handbrake several times to make backup copies of commercial DVD's.&lt;br&gt;&#xA;&lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://handbrake.fr/&lt;/a&gt;&lt;br&gt;&#xA;The user interface is pretty clunky and it took me a while to figure out how to use it and what the best settings were, but once that was sorted out it works as advertised.  I have never used it for video file format conversion but I believe it can do that too. It's probably been updated since I last used it a couple of years ago.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also heard good things said of Free HD Video Converter  - but have not used it myself.&#xA;&lt;a href=&quot;http://www.videoconverterfactory.com/free-hd-video-converter/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.videoconverterfactory.com/free-hd-video-converter/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17154" OwnerDisplayName="Russell McMahon" LastEditorUserId="17154" LastEditDate="2017-07-09T15:38:08.983" LastActivityDate="2017-07-09T15:38:08.983" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19784" PostTypeId="1" CreationDate="2016-11-09T18:39:52.413" Score="10" ViewCount="28365" Body="&lt;p&gt;I'm having a film that's ffmpeg and other progs claims to be 07:03:52 long, but the real playtime is actually more like 2:35:00&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe video.mp4&#xA;ffprobe version 3.0.2 Copyright (c) 2007-2016 the FFmpeg developers&#xA;  built with gcc 5.3.1 (Debian 5.3.1-17) 20160429&#xA;  configuration: --prefix=/usr --extra-cflags='-g -O2 -fstack-protector-strong -Wformat -Werror=format-security ' --extra-ldflags='-Wl,-z,relro' --cc='ccache cc' --enable-shared --enable-libmp3lame --enable-gpl --enable-nonfree --enable-libvorbis --enable-pthreads --enable-libfaac --enable-libxvid --enable-postproc --enable-x11grab --enable-libgsm --enable-libtheora --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libx264 --enable-libspeex --enable-nonfree --enable-libvpx --enable-libschroedinger --disable-encoder=libschroedinger --enable-version3 --enable-libopenjpeg --enable-librtmp --enable-avfilter --enable-libfreetype --disable-decoder=amrnb --enable-libvo-amrwbenc --enable-libtesseract --libdir=/usr/lib/x86_64-linux-gnu --disable-vda --enable-libbluray --enable-libcdio --enable-gnutls --enable-frei0r --enable-openssl --enable-libass --enable-libopus --enable-fontconfig --enable-libpulse --disable-mipsdsp --disable-mips32r2 --disable-msa --disable-mipsfpu --disable-mipsdspr2 --enable-libvidstab --enable-libzvbi --enable-avresample --enable-libutvideo --enable-libfdk-aac --enable-libx265 --enable-libbs2b --enable-libilbc --enable-libopenh264 --enable-libkvazaar --enable-libsnappy --enable-libsoxr --enable-libiec61883 --enable-vaapi --enable-opencl --enable-libdc1394 --disable-altivec --shlibdir=/usr/lib/x86_64-linux-gnu&#xA;  libavutil      55. 17.103 / 55. 17.103&#xA;  libavcodec     57. 24.102 / 57. 24.102&#xA;  libavformat    57. 25.100 / 57. 25.100&#xA;  libavdevice    57.  0.101 / 57.  0.101&#xA;  libavfilter     6. 31.100 /  6. 31.100&#xA;  libavresample   3.  0.  0 /  3.  0.  0&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'video.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 1&#xA;    compatible_brands: isomavc1&#xA;    creation_time   : 2012-12-12 07:03:52&#xA;  Duration: 07:13:45.09, start: 0.000000, bitrate: 274 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x528 [SAR 1:1 DAR 80:33], 601 kb/s, 23.98 fps, 23.98 tbr, 96k tbn, 47.95 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2012-12-12 07:03:52&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 92 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2012-12-12 07:04:15&#xA;      handler_name    : GPAC ISO Audio Handler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there any one who can help me fix the playtime / duration with a terminal command on debian/centos &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have HandBrake-cli + FFmpeg installed&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE&#xA;Thought: since the video plays perfectly in various players and the frame-rate is right, how comes, that encoders like HandBrake and ffmpeg can't calculate the right duration?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE 2 - Solution&#xA;I duckduckgo.com it and found a usable solution on a well.. torrent site&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -t 2:09:39 -c:v copy -c:a copy -c:s copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How ever, this is not an repairing or any acclimatisation of the job, but it worked.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So summon up what this does&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg&lt;/code&gt; - Video encoder&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-i&lt;/code&gt; source video&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-t&lt;/code&gt; &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html&quot; rel=&quot;noreferrer&quot;&gt;When used as an input option (before -i), limit the duration of data read from the input file.&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-c:v&lt;/code&gt; + &lt;code&gt;-c:a&lt;/code&gt; copy video+audio from source&lt;/li&gt;&#xA;&lt;li&gt;output file&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Any optimization or acclimatisation of this workload is still welcome&lt;/p&gt;&#xA;" OwnerUserId="17151" LastEditorUserId="17151" LastEditDate="2016-11-10T02:17:42.317" LastActivityDate="2023-02-18T19:45:27.077" Title="Howto Repaire or fix the duration of a mp4 video" Tags="|ffmpeg|mp4|handbrake|" AnswerCount="3" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="19785" PostTypeId="2" ParentId="19781" CreationDate="2016-11-10T01:44:46.997" Score="2" Body="&lt;p&gt;Without affecting quality, and presuming your CPU and GPU are fast enough, utilizing the &lt;a href=&quot;http://x265.org/hevc-h265/&quot; rel=&quot;nofollow noreferrer&quot;&gt;x265 / HVEC encoding library&lt;/a&gt; may be the best option. This can be done with &lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Handbrake&lt;/a&gt; or &lt;a href=&quot;http://ffmpeg.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt;, it can be a lossless encode, however takes more time to decode and encode on a slow CPU, sometimes causing frame drops while viewing. See Handbrake for more. Also, &lt;a href=&quot;https://unix.stackexchange.com/questions/230800/re-encoding-video-library-in-x265-hevc-with-no-quality-loss&quot;&gt;this question&lt;/a&gt; on the &lt;a href=&quot;https://unix.stackexchange.com/questions/230800/re-encoding-video-library-in-x265-hevc-with-no-quality-loss&quot;&gt;UNIX fourm&lt;/a&gt; may be of use.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i INPUT.mkv -c:v libx265 -preset veryslow -x265-params lossless=1 -c:a copy OUTPUT.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is the command I use. It hasn't been a problem, and is working quite well as I am teaching students Premiere in classes. However, for speed, the raw format or the x264 codec is the best. x265 is the newest and most compressed video format, it works reliably, but not quickly with old CPUs. &lt;/p&gt;&#xA;" OwnerUserId="9174" LastEditorUserId="9174" LastEditDate="2017-07-09T12:46:40.603" LastActivityDate="2017-07-09T12:46:40.603" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19786" PostTypeId="1" CreationDate="2016-11-10T10:38:09.360" Score="0" ViewCount="213" Body="&lt;p&gt;I have a problem I am struggling for 2 days. Maybe someone can give me some light.&#xA;I made a huge keynote presentation (100 slides), with videos and animations. I expected to have one small exported video for each slide.  It seemed a good idea at first, but now I see I cannot export each slide separated automatically. So I tried to export all slides with the same timing in Keynote and then split in equal parts using ffmpeg, but keynote does not export the video with exact timing between slides. Then I advanced a little and tried to detect scene changes using ffmpeg (which I did and got a list of timestamps), but when splitting with ffmpeg the keyframeimage is never on the first frame making the videos unusable. Now I was searching for a solution using Mac automate, but it seems it does not have the right Keynote functions... I know that doing it manually would work, but exporting in keynote is slow and it would take hours, and maybe I will have to edit all the slides and export again. I have most of the professional video tools (final cut pro and adobe premiere/after effects.  &lt;/p&gt;&#xA;" OwnerUserId="17156" LastActivityDate="2024-03-16T03:09:56.180" Title="Split video or export keynote slides separately" Tags="|video|after-effects|ffmpeg|video-editor|final-cut-pro-x|" AnswerCount="2" CommentCount="12" ContentLicense="CC BY-SA 3.0" />
  <row Id="19788" PostTypeId="1" AcceptedAnswerId="19877" CreationDate="2016-11-10T14:13:58.543" Score="5" ViewCount="9427" Body="&lt;p&gt;I have the following interlaced H264 file:&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Stream #0:0[0x335]: Video: h264 (Main) ([27][0][0][0] / 0x001B),&#xA;  yuv420p(tv, bt470bg, top first), 720x576 [SAR 16:11 DAR 20:11], 25&#xA;  fps, 50 tbr, 90k tbn, 50 tbc&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;And this is a frame from the source video:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/I6fBO.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/I6fBO.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I use:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffprobe -show_frames -i source.mpg | grep interlaced_frame&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;All frames are interlaced:&lt;br&gt;&#xA;interlaced_frame=1&lt;br&gt;&#xA;interlaced_frame=1&lt;br&gt;&#xA;         .&lt;br&gt;&#xA;         .&lt;br&gt;&#xA;         .&lt;br&gt;&#xA;interlaced_frame=1&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I whant to transcode this file and keep interlacing and try to do it with the following command:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -i source.mpg -vcodec h264_nvenc -flags +ildct+ilme -acodec copy -f mpegts out.mpg&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;after transcode the same frame from the &quot;out.mpg&quot; file is looks like follow: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/q8Qbz.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/q8Qbz.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a console output:&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[h264 @ 0x2b546c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x2b546c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x2b546c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x2b546c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x2b546c0] decode_slice_header error&#xA;[h264 @ 0x2b546c0] no frame!&#xA;[h264 @ 0x2b546c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x2b546c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x2b546c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x2b546c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x2b546c0] decode_slice_header error&#xA;[h264 @ 0x2b546c0] no frame!&#xA;[h264 @ 0x2b546c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x2b546c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x2b546c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x2b546c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x2b546c0] decode_slice_header error&#xA;[h264 @ 0x2b546c0] no frame!&#xA;[h264 @ 0x2b546c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x2b546c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x2b546c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x2b546c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x2b546c0] decode_slice_header error&#xA;[h264 @ 0x2b546c0] no frame!&#xA;[h264 @ 0x2b546c0] mmco: unref short failure&#xA;    Last message repeated 1 times&#xA;[mpegts @ 0x2b4fcc0] PES packet size mismatch&#xA;Input #0, mpegts, from 'source.mpg':&#xA;  Duration: 01:00:00.95, start: 44661.794367, bitrate: 3336 kb/s&#xA;  Program 2101 &#xA;    Metadata:&#xA;      service_name    : ?������ �����&#xA;      service_provider: TricolorTV&#xA;    Stream #0:0[0x335]: Video: h264 (Main) ([27][0][0][0] / 0x001B), yuv420p(tv, bt470bg, top first), 720x576 [SAR 16:11 DAR 20:11], 25 fps, 50 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:1[0x336](rus): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 192 kb/s&#xA;    Stream #0:2[0x337](rus): Subtitle: dvb_teletext ([6][0][0][0] / 0x0006)&#xA;Output #0, mpegts, to 'out.mpg':&#xA;  Metadata:&#xA;    encoder         : Lavf57.56.100&#xA;    Stream #0:0: Video: h264 (h264_nvenc) (Main), yuv420p, 720x576 [SAR 16:11 DAR 20:11], q=-1--1, 2000 kb/s, 25 fps, 90k tbn, 25 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.64.100 h264_nvenc&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/2000000 buffer size: 4000000 vbv_delay: -1&#xA;    Stream #0:1(rus): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, 192 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (h264_nvenc))&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[h264 @ 0x2b91360] reference picture missing during reorder&#xA;[h264 @ 0x2b91360] Missing reference picture, default is 2147483647&#xA;[h264 @ 0x2bf1f40] mmco: unref short failure&#xA;    Last message repeated 1 times&#xA;[h264 @ 0x2bf1f40] number of reference frames (0+5) exceeds max (4; probably corrupt input), discarding one&#xA;[h264 @ 0x2c7bf80] reference picture missing during reorder&#xA;[h264 @ 0x2c7bf80] Missing reference picture, default is 65736&#xA;[h264 @ 0x2c979e0] mmco: unref short failure&#xA;[h264 @ 0x2ccefa0] mmco: unref short failure&#xA;[h264 @ 0x2bf1f40] mmco: unref short failure&#xA;frame= 1232 fps=169 q=34.0 Lsize=   13581kB time=00:00:51.04 bitrate=2179.7kbits/s speed=6.99x  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;$ffprobe -i out.mpg&lt;br&gt;&#xA;  Stream #0:0[0x100]: Video: h264 (Main) ([27][0][0][0] / 0x001B), yuv420p(top first), 720x576 [SAR 16:11 DAR 20:11], 25 fps, 25 tbr, 90k tbn, 50 tbc&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;But when I tried the same command with libx264 codec everythin looks fine:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -y -i source.mpg -vcodec libx264 -flags +ildct+ilme -acodec copy -f mpegts libx264_out.mpg&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zsM4X.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zsM4X.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And console output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[h264 @ 0x22ef6c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x22ef6c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x22ef6c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x22ef6c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x22ef6c0] decode_slice_header error&#xA;[h264 @ 0x22ef6c0] no frame!&#xA;[h264 @ 0x22ef6c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x22ef6c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x22ef6c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x22ef6c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x22ef6c0] decode_slice_header error&#xA;[h264 @ 0x22ef6c0] no frame!&#xA;[h264 @ 0x22ef6c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x22ef6c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x22ef6c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x22ef6c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x22ef6c0] decode_slice_header error&#xA;[h264 @ 0x22ef6c0] no frame!&#xA;[h264 @ 0x22ef6c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x22ef6c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x22ef6c0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x22ef6c0] non-existing PPS 0 referenced&#xA;[h264 @ 0x22ef6c0] decode_slice_header error&#xA;[h264 @ 0x22ef6c0] no frame!&#xA;[h264 @ 0x22ef6c0] mmco: unref short failure&#xA;    Last message repeated 1 times&#xA;[mpegts @ 0x22eacc0] PES packet size mismatch&#xA;Input #0, mpegts, from 'source.mpg':&#xA;  Duration: 01:00:00.95, start: 44661.794367, bitrate: 3336 kb/s&#xA;  Program 2101 &#xA;    Metadata:&#xA;      service_name    : ?������ �����&#xA;      service_provider: TricolorTV&#xA;    Stream #0:0[0x335]: Video: h264 (Main) ([27][0][0][0] / 0x001B), yuv420p(tv, bt470bg, top first), 720x576 [SAR 16:11 DAR 20:11], 25 fps, 50 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:1[0x336](rus): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 192 kb/s&#xA;    Stream #0:2[0x337](rus): Subtitle: dvb_teletext ([6][0][0][0] / 0x0006)&#xA;[libx264 @ 0x2332720] interlace + weightp is not implemented&#xA;[libx264 @ 0x2332720] using SAR=16/11&#xA;[libx264 @ 0x2332720] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;[libx264 @ 0x2332720] profile High, level 3.0&#xA;Output #0, mpegts, to 'libx264_out.mpg':&#xA;  Metadata:&#xA;    encoder         : Lavf57.56.100&#xA;    Stream #0:0: Video: h264 (libx264), yuv420p, 720x576 [SAR 16:11 DAR 20:11], q=-1--1, 25 fps, 90k tbn, 25 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.64.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1(rus): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, 192 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[h264 @ 0x2327140] reference picture missing during reorder&#xA;[h264 @ 0x2327140] Missing reference picture, default is 2147483647&#xA;[h264 @ 0x23757e0] mmco: unref short failure&#xA;    Last message repeated 1 times&#xA;[h264 @ 0x23757e0] number of reference frames (0+5) exceeds max (4; probably corrupt input), discarding one&#xA;[h264 @ 0x2415500] reference picture missing during reorder&#xA;[h264 @ 0x2415500] Missing reference picture, default is 65736&#xA;[h264 @ 0x2430f60] mmco: unref short failure&#xA;[h264 @ 0x2468520] mmco: unref short failure&#xA;[h264 @ 0x23757e0] mmco: unref short failure&#xA;[mpegts @ 0x22eacc0] PES packet size mismatchme=00:59:59.40 bitrate=1368.5kbits/s speed=4.97x    &#xA;[h264 @ 0x2483fe0] error while decoding MB 16 8, bytestream -6&#xA;frame=89975 fps=124 q=-1.0 Lsize=  601846kB time=01:00:00.68 bitrate=1369.3kbits/s speed=4.97x    &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;$ffprobe -i libx264_out.mpg&lt;br&gt;&#xA;  Stream #0:0[0x100]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(top first), 720x576 [SAR 16:11 DAR 20:11], 25 fps, 25 tbr, 90k tbn, 50 tbc&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How to correct transcode H264 file to H264 and keep interlacing via h264_nvenc codec?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="14107" LastEditorUserId="14107" LastEditDate="2016-11-22T06:03:37.423" LastActivityDate="2017-02-20T14:22:41.003" Title="ffmpeg transcoding H264 interlaced and keep interlacing via H264_NVENC codec" Tags="|video|ffmpeg|transcoding|nvenc|" AnswerCount="1" CommentCount="3" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19789" PostTypeId="1" CreationDate="2016-11-10T15:29:03.913" Score="2" ViewCount="379" Body="&lt;p&gt;I feel like I've done 50 google searches now, and still haven't figured this out. I am new to after effects, and have been unable to make my effects last for a certain amount of the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I want the effect to start, and then stop a while later on the&#xA;  timeline.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I've pressed every button and done every google search to try and figure that out. I've also done every stack exchange search.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;How can I do this?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="17162" LastActivityDate="2016-11-10T16:04:14.113" Title="How to make an effect last for only a certain amount of time" Tags="|after-effects|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19790" PostTypeId="2" ParentId="19789" CreationDate="2016-11-10T16:04:14.113" Score="3" Body="&lt;p&gt;The correct way to do this is to &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/setting-selecting-deleting-keyframes.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;animate&lt;/a&gt; the effect. Whatever effect values you are altering, those need to be set to zero or null result value 1 frame before your intended start time. In the next frame set it to the desired value for the effect. Set a key for the desired value at the last frame of your intended range. Then set a key for the zero/null value the next frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The crude way to do this is to split the layer at the start frame and end frame &lt;kbd&gt;Ctrl+Shift+D&lt;/kbd&gt;. And remove/disable the effect on the layers outside the effect range.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-10T16:04:14.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19791" PostTypeId="1" AcceptedAnswerId="19808" CreationDate="2016-11-10T16:13:15.827" Score="4" ViewCount="321" Body="&lt;p&gt;During interviews, TV shows and movies, there are several camera angles they switch between. Sometimes it is direct, or indirect (like a side view). How do they decide what angles to change to, and why do they do this?&lt;/p&gt;&#xA;" OwnerUserId="17163" LastActivityDate="2016-11-12T05:17:43.110" Title="Why use different camera angles?" Tags="|camera|interview|" AnswerCount="1" CommentCount="2" ClosedDate="2016-11-21T21:37:09.550" ContentLicense="CC BY-SA 3.0" />
  <row Id="19792" PostTypeId="2" ParentId="19781" CreationDate="2016-11-10T16:14:59.777" Score="3" Body="&lt;h2&gt;Theoretically&lt;/h2&gt;&#xA;&lt;p&gt;Current DSLRs use H.264 compression for their video. Optimizing an already compressed image without losing quality is something commonly done for &lt;a href=&quot;http://www.lcdf.org/gifsicle/&quot; rel=&quot;nofollow noreferrer&quot;&gt;GIF&lt;/a&gt;, &lt;a href=&quot;http://optipng.sourceforge.net&quot; rel=&quot;nofollow noreferrer&quot;&gt;PNG&lt;/a&gt; or &lt;a href=&quot;https://github.com/mozilla/mozjpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;JPEG&lt;/a&gt; still images, and while it's theoretically possible to optimise compression in existing video files, currently no one bothered to develop the software to do so. The only solution left for you is to recompress your video with your codec of choice.&lt;/p&gt;&#xA;&lt;h2&gt;Don't try lossless codecs&lt;/h2&gt;&#xA;&lt;p&gt;While you won't lose any quality, lossless is only useful if your source material has a very high datarate. You will probably not gain anything compared to your DLSR files. (Your files seem to be about 25Mbit/s. Lossless x265/x264 will give you at least 100-200Mbit/s)&lt;/p&gt;&#xA;&lt;h2&gt;Try almost-lossless&lt;/h2&gt;&#xA;&lt;p&gt;Still, it's good to know that the internal (hardware) codecs of DSLRs are inferior to what your current CPU can do with recent software. But you should also know that any lossy recompression will result in an image that is slightly worse than the original, even if you encode in a higher quality than the original. That being said, here is a list of modern codecs that can compress your files with minimal loss: x264, x265, vp9 and av1 (to be released in 2017).&lt;/p&gt;&#xA;&lt;h3&gt;x264/x265 Settings for recompression with minimal loss&lt;/h3&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Encoding mode:&lt;/strong&gt; &lt;em&gt;constant quality&lt;/em&gt;. It will encode in &lt;em&gt;one pass&lt;/em&gt; and output the lowest file size for a given quality setting. Your new file will contain &lt;em&gt;variable bitrate&lt;/em&gt; video — your original DSLRs files are probably constant bitrate files&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;CRF quality setting:&lt;/strong&gt; Choose a value between 12 and 20 (quality difference will be between indistinguishable and fine-for-the-less-discerning), if the source material is compressed in low quality, you can sometimes go higher than a CRF of 20 without noticing any difference. Incrementing CRF by +6 means about doubling the file size.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Codec:&lt;/strong&gt; Compared to x264, x265 compression produces about half the datarate at the same CRF, but it is a lot slower.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Speed/Compression ratio:&lt;/strong&gt; Use the &lt;code&gt;veryslow&lt;/code&gt; setting to get the smallest file. Warning: this might be very slow ;-)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Depending on the above choices &lt;em&gt;and&lt;/em&gt; on the complexity of the image &lt;em&gt;and&lt;/em&gt; on the efficiency of the codec of your DSLR, your recompressed file will be up to 10 times smaller (probably less).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://handbrake.fr&quot; rel=&quot;nofollow noreferrer&quot;&gt;Handbrake&lt;/a&gt; is a nice app that will help you achieve all this. If you prefer the command line you should definitely go with &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i DSLR.MOV -c:v libx265 -preset veryslow -crf 18 -c:a copy recompress.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5569" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-11-10T16:14:59.777" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19793" PostTypeId="1" AcceptedAnswerId="19795" CreationDate="2016-11-10T19:47:54.363" Score="1" ViewCount="3787" Body="&lt;p&gt;I want to create screen capture tutorials such as &lt;a href=&quot;https://laracasts.com/series/php7-up-and-running/episodes/1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://laracasts.com/series/php7-up-and-running/episodes/1&lt;/a&gt; (with the HD option) for YouTube. On laracasts' videos, words are excellently readable, however words on my captured video are spreads. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I fix it (I'm using Movavi Screen Capture Studio)? &#xA;What program is the best solution for creating tutorials (like laracasts) on MacOS?&lt;/p&gt;&#xA;" OwnerUserId="17167" LastEditorUserId="15885" LastEditDate="2016-11-11T17:49:19.763" LastActivityDate="2016-11-13T17:39:37.293" Title="How to create screen capture video without losing it's quality?" Tags="|video-quality|video-recording|video-capture|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19794" PostTypeId="1" AcceptedAnswerId="19801" CreationDate="2016-11-10T21:44:24.763" Score="2" ViewCount="4968" Body="&lt;p&gt;I've been tasked with acquiring equipment to broadcast a festival through online stream, and have decided that blackmagic may be a good direction to go, so I'm going to strictly reference their products.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I'm planning on purchasing:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1 x Blackmagic ATEM Production Studio 4K&lt;/li&gt;&#xA;&lt;li&gt;4 x Blackmagic Micro Studio Camera 4K&lt;/li&gt;&#xA;&lt;li&gt;1 x Blackmagic UltraStudio Mini Recorder (thunderbolt)&lt;/li&gt;&#xA;&lt;li&gt;Some very long SDI cable runs&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;br&gt;&lt;strong&gt;Problem:&lt;/strong&gt;&#xA;&lt;br&gt;The cameras do not have internal storage, which means I can only record what's going to the stream through the UltraStudio mini recorder. Is there some kind of device I can set up between the cameras and the ATEM production studio to record my video feeds?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't think the ATEM has enough video outs to send to each feed to a capture card like the DeckLink SDI 4K. If I went this route, would I need something like the Smart Videohub?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, the cameras claim to have built in talkback and tally. Can I use this feature with my current equipment list? Or do I need the ATEM Talkback Converter?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;br&gt;&lt;strong&gt;Update:&lt;/strong&gt;&#xA;&lt;br&gt;I've decided that 3 blackmagic pocket cinema cameras (BPCCs) and a GoPro may actually be a better option for this. The BPCCs have a built in display (useful for my camera operators) and have internal storage via SD card. They also seem to perform well in low lighting. The downside is the cameras only have HDMI out, so I would require HDMI to SDI converters to run long lengths of cable (probably around 150-200ft per cable).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I going to have issues trying to use BPCCs with converters for live streaming? Are there other solutions for long cable runs that I may have missed?&lt;/p&gt;&#xA;" OwnerUserId="14598" LastEditorUserId="14598" LastEditDate="2016-11-18T21:07:47.187" LastActivityDate="2016-11-19T15:36:27.097" Title="Blackmagic setup: How do I record all cameras in a multicam broadcast?" Tags="|video-recording|broadcasting|blackmagic|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19795" PostTypeId="2" ParentId="19793" CreationDate="2016-11-11T00:22:34.173" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://support.apple.com/kb/ph5882?locale=en_CA&quot; rel=&quot;nofollow noreferrer&quot;&gt;QuickTime&lt;/a&gt; is included with macOS. This app has a built in screen capture tool. You can create a new screen recording by pressing Command-N to create a new screen recording after opening QuickTime, then set settings to Maximum Quality by clicking the drop down beside the record button. The video will save after recording to any location on your machine. See more &lt;a href=&quot;https://support.apple.com/kb/ph5882?locale=en_CA&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here on Apple's Webiste&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After this, you can ingest the footage onto your video editor and send it to someone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="9174" LastActivityDate="2016-11-11T00:22:34.173" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19796" PostTypeId="1" AcceptedAnswerId="19807" CreationDate="2016-11-11T08:44:48.903" Score="2" ViewCount="105" Body="&lt;p&gt;I want to create &amp;amp; render videos (using SonyVegas, Adobe Premiere) to get fast rendering speed. I have optimized the program codecs/bitrates, but now want optimize hardware too: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I ignore CPU (they were used in the past) and just buy a good videocard (a.k.a. GPU) ? &#xA;Or does there exist  any special external part (attachable miner or etc..) , like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CVaq9.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CVaq9.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16354" LastEditorUserId="16354" LastEditDate="2016-11-12T15:49:45.750" LastActivityDate="2016-11-15T18:05:17.260" Title="What part should I buy to render videos?" Tags="|hardware|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19797" PostTypeId="2" ParentId="19796" CreationDate="2016-11-11T09:37:10.050" Score="3" Body="&lt;p&gt;CPU's used to render graphics was a very very long time ago. GPU's surpassed CPU's for this almost 20 years ago. You absolutely do need to get a good graphics card, yes. Don't look for anything external - the amount of data transferred in and out of the graphics card means running through an interface will be so slow as to be unusable.&lt;/p&gt;&#xA;&lt;p&gt;You'll want one of the cards from &lt;a href=&quot;http://www.techradar.com/news/computing-components/graphics-cards/best-graphics-cards-1291458&quot; rel=&quot;nofollow noreferrer&quot;&gt;this list&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Nvidia Titan X.&lt;/li&gt;&#xA;&lt;li&gt;EVGA GeForce GTX 1080 Founders Edition.&lt;/li&gt;&#xA;&lt;li&gt;Zotac GeForce GTX 980Ti AMP Extreme Edition.&lt;/li&gt;&#xA;&lt;li&gt;Gigabyte Radeon R9 Fury X.&lt;/li&gt;&#xA;&lt;li&gt;Sapphire Radeon R9 Nano.&lt;/li&gt;&#xA;&lt;li&gt;MSI GeForce 1070 Gaming X.&lt;/li&gt;&#xA;&lt;li&gt;Nvidia GeForce 1050 Ti.&lt;/li&gt;&#xA;&lt;li&gt;AMD Radeon RX 480.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;And more than likely, if you have never done this before, you'll need to get yourself a new motherboard to support the graphics card. And look at fast disk...&lt;/p&gt;&#xA;" OwnerUserId="674" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-11-11T09:37:10.050" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19798" PostTypeId="2" ParentId="19796" CreationDate="2016-11-11T10:07:48.057" Score="1" Body="&lt;p&gt;If by 'render videos' you mean exporting video files from editor and compositing apps, then the CPU is still primary. Yes, many apps/encoders do use CUDA/OpenCL APIs to use the GPU to render videos but the quality for a given bitrate isn't quite there yet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you mean the viewport preview of your edit/FX then get a good graphics card as per Dr. Mayhem.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-11T10:07:48.057" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19799" PostTypeId="2" ParentId="16682" CreationDate="2016-11-11T14:00:24.753" Score="-1" Body="&lt;p&gt;The accepted answer doesn't work for me. I find a work around to this problem. PNG images doesn't have this issue. So you could first convert the file into PNG, then do the padding and convert it back to original image type. Let's say you have a file named &lt;code&gt;input.jpeg&lt;/code&gt;, try something like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.jpeg -y temp.png&#xA;ffmpeg -i temp.png -vf &quot;pad=iw+0:ih+300:0:300:#FFFFFF@1&quot; -y output.jpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12735" LastActivityDate="2016-11-11T14:00:24.753" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19800" PostTypeId="1" AcceptedAnswerId="19803" CreationDate="2016-11-11T18:25:23.937" Score="1" ViewCount="86" Body="&lt;p&gt;I have several titles in my sequence that I start with zero opacity, goes to full 100% after 1~2 seconds and at the end it disappears in a new animation changing opacity from 100% to 0%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I repeat this without having to create keyframes and set their opacity manually for every title?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried using Cross Dissolve but I can't have it more than once in the same sequence (and I don't know if it works both for fading in and out).&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;UPDATE&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;One option I've found is to press and hold Alt key while dragging and dropping the existing title in the sequence to create a new one with the same animation.&lt;/p&gt;&#xA;" OwnerUserId="14568" LastEditorUserId="14568" LastEditDate="2016-11-11T19:08:46.433" LastActivityDate="2016-11-12T00:00:42.450" Title="Replicate opacity animation to every title in my sequence" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19801" PostTypeId="2" ParentId="19794" CreationDate="2016-11-11T19:11:02.393" Score="3" Body="&lt;p&gt;You can use an SDI Distribution Amplifier (&quot;DA&quot;) (one SDI input, and two or more SDI outputs) for each camera so you can &quot;duplicate&quot; the camera video to send to both the production switcher and to your camera iso recorders. I use DAs I buy on Ebay.  My current favorite is &quot;AVUE 3G-SDI/HD-SDI/SDI 1 to 2 Repeater &amp;amp; distribution extender with re-clocking&quot; at around $100&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you could use something like the Blackmagic Smart VideoHub 12x12 if you have the budget for it.  Of course, you will need a separate recorder for each video stream. It seems unlikely that you can successfully use more than one UltraStudio Mini Recorder per computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera has a built-in tally light and the switcher sends the tally signals back to the cameras (assuming you use TWO SDI cables per camera!)  The tally light appears to be quite small and hidden just above the lens mount, so it seems of limited visibility unless you have a very small lens and are very close to the camera. There does not appear to be any kind of output for an external tally that can be seen at a distance one would expect in the Real World, or any tally provision for a camera operator. Are you planning on using these as human-operated cameras?  Or remote-controlled?  Or fixed POV cameras?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Micro Studio Camera 4K has intercom built-in, with a 3.5mm TRRS socket for a headset as one would use with an iPhone, etc.  However you will need an ATEM Talkback Converter to access the intercom/talkback back at the switcher end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Remember also that those cameras do not come with lenses, and they use a rather premium lens mount, so you may end up spending 2x or 3x for each camera by the time you hang some glass on the front of them.  The Blackmagic stuff seems like great performance for the money, but not necessarily when you add up all the required &quot;accessories&quot;.  Especially if you want to equip the camera(s) with operator-controlled lenses. You could end up with 4x-5x the base price for each camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Remember also that SDI is quite high frequency and doesn't tolerate &quot;very long SDI cable runs&quot;.  My working rule is that even with large RG-6 cable, 300ft/100m is the practical length limit. If you want to go longer than that, those fiber optic boxes from Blackmagic are one solution if you have the budget for that.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastEditorUserId="14256" LastEditDate="2016-11-11T20:44:41.250" LastActivityDate="2016-11-11T20:44:41.250" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19802" PostTypeId="1" CreationDate="2016-11-11T20:52:41.647" Score="0" ViewCount="447" Body="&lt;p&gt;I have video files recorded on an unknown digital camera, that I need to play through a Samsung HMX-F90 digital camcorder. When I copy to files to the memory card, they do not appear on the camera. I have converted the video files to H.264 encoding and the resolution matches those recorded by the F90 camera. Any other suggestions?&lt;/p&gt;&#xA;" OwnerUserId="17172" LastActivityDate="2019-09-02T12:03:30.500" Title="Video format to play on Samsung HMX-F90" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19803" PostTypeId="2" ParentId="19800" CreationDate="2016-11-11T21:09:28.750" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;I tried using Cross Dissolve but I can't have it more than once in the same sequence (and I don't know if it works both for fading in and out).&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I'm not sure what you mean there. You can add transitions to the beginning and end of every clip (a title is considered a clip in the context of premiere), or respectively to every cut between adjacent clips. In fact, if you only want the titles to fade in and fade out, this would be the preferred method. Far easier than doing it with keyframes. Two quick tips regarding this approach:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;You can quickly add the default transition&lt;sup&gt;1&lt;/sup&gt; to multiple titles/clips by selecting them in the timeline (select multiple clips by holding &lt;kbd&gt;CTRL&lt;/kbd&gt; and left-clicking on them) and pressing &lt;kbd&gt;CTRL&lt;/kbd&gt; + &lt;kbd&gt;D&lt;/kbd&gt;.&lt;/li&gt;&#xA;&lt;li&gt;You can set the default length of transitions in frames or seconds in the program preferences under &lt;strong&gt;Preferences&lt;/strong&gt; → &lt;strong&gt;General&lt;/strong&gt; → &lt;strong&gt;Video Transition Default Duration&lt;/strong&gt;. This will also affect transitions added using the shortcut described above, but changing this setting will not change transitions that are already applied to your clips.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;How can I repeat this without having to create keyframes and set their opacity manually for every title?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Once you have created the keyframes for the first title clip, right-click on it and select &lt;strong&gt;Copy&lt;/strong&gt; from the context-menu. Then, select all the title clips that you want to add the same keyframe animation to in the timeline and right-click on one of them. Select &lt;strong&gt;Paste Attributes…&lt;/strong&gt; from the context menu. This will open a context window where you can select which effects you want to paste (In your case, select &lt;strong&gt;Opacity&lt;/strong&gt;. You might also have to select &lt;strong&gt;Scale Attribute Times&lt;/strong&gt;. Note that this will work with any effect you have added to your clip, not just the default ones). Click OK and it will apply the selected effect settings to all the selected clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DADjJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DADjJ.png&quot; alt=&quot;Paste Attributes Context Menu&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;sup&gt;1&lt;/sup&gt; The default transition is highlighted with a blue border in the effects panel. You can change it by right-clicking on the desired transition in the effects panel and selecting &lt;strong&gt;Set Selected as Default Transition&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3O7w0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3O7w0.png&quot; alt=&quot;Default Transition highlight&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2016-11-12T00:00:42.450" LastActivityDate="2016-11-12T00:00:42.450" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19804" PostTypeId="1" CreationDate="2016-11-11T22:03:53.070" Score="0" ViewCount="436" Body="&lt;p&gt;So I want to record a transport stream it's not a m3u&#xA;&lt;a href=&quot;http://flamingzebra.xyz/2728.ts&quot; rel=&quot;nofollow&quot;&gt;http://flamingzebra.xyz/2728.ts&lt;/a&gt;&#xA;I tried to record it in vlc it doesn't work The live stream is in fragments so I have to loop it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can this be done with ffmpeg, and is there a way I can just download the fragments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that is not a link&lt;/p&gt;&#xA;" OwnerDisplayName="user17173" LastActivityDate="2016-11-11T22:03:53.070" Title="IPTV Link loop ffmpeg" Tags="|ffmpeg|vlc|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19805" PostTypeId="1" CreationDate="2016-11-11T22:23:41.330" Score="-1" ViewCount="185" Body="&lt;p&gt;To fully understand the how it works: you pick any device with HDMI output (let's say GoPro to reduce the variations) and you'll need a capture card for retreaving the data as multimedia signal. Please correct me where I'm wrong:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a digital signal is coming from the GoPro, why can't you process that signal completely trough software? What's the hardware for?&lt;/li&gt;&#xA;&lt;li&gt;is the hardware purely for transcoding (and providing an input connector) or there is something else that I'm missing?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11923" LastActivityDate="2016-11-12T23:51:40.430" Title="Why you need hardware (e.g. capture card) for video input?" Tags="|transcoding|video-capture|hdmi|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19806" PostTypeId="2" ParentId="19805" CreationDate="2016-11-12T04:38:14.640" Score="1" Body="&lt;p&gt;EVERY place the computer CPU connects to the rest of the world requires an interface (hardware and software) of some kind. There is a very complex interface to get the data out of the computer and on to the screen where you are reading these words. And another interface to capture the key-strokes and convert them into characters entering the computer. And another interface for the speakers and for the microphone, and for the mouse, and for the WiFi and for the Ethernet and for the hard drive, etc. etc. etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So it should be no surprise that it takes some kind of interface to get the digital video stream of ones and zeros and gets them into the computer, also.  Back years ago, the screen interface was a separate card, and the audio (speaker and microphone) was a separate card. And the USB to the mouse and keyboard was a separate card. But modern computers have integrated all of those INTO the computer which apparently makes you think that they don't exist. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But those interfaces are all required to get things in and out of the computer, and video is just another kind of signal that needs an interface (both hardware and software).  But since most people don't need to ingest video, few (if any?) computers include a video input interface, so you must use a separate (internal or external) gadget to import video into your computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, the hardware is to provide a place to plug in the video signal, but there is a requirement for software also. To &quot;bundle&quot; the video data into a form that the operating system and the video application can understand.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-11-12T04:38:14.640" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19807" PostTypeId="2" ParentId="19796" CreationDate="2016-11-12T05:07:47.910" Score="3" Body="&lt;p&gt;Are you in search of a &quot;solution&quot; when you appear to have NOT identified a &quot;problem&quot;?  Are you editing video now?  Is it too slow for what you need? Are you making artificially unreasonable assumptions about how fast video rendering should be? Can you change your workflow to reduce or eliminate high-end solutions to a low-end requirement?  For example to let videos render overnight while you are sleeping (or over the lunch-hour when you are eating, etc.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your question very much seems like a solution in search of a problem. That is typically followed by an ill-considered waste of money.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there fast solutions to video rendering?  Certainly.  Do people need that kind of solution? Yes, of course.  Do YOU need that kind of solution?  You have presented no evidence that you even know how fast videos will render on your current hardware, and whether that is insufficient for your (also unstated) requirements.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I must agree with the other responses that anything going through a USB2 is dead in the water if you are seeking truly fast video rendering. It is just a joke.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-11-12T05:07:47.910" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19808" PostTypeId="2" ParentId="19791" CreationDate="2016-11-12T05:17:43.110" Score="4" Body="&lt;p&gt;Different angles are used for many reasons. Wide and/or long shots are used to establish the setting where the video is being shot.  Medium shots are used to show the relationship between people and/or objects.  Close-ups are used to see the expression on people's faces, or details like hand movements or manual operations (using a wrench or a food processor, etc.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In interview situations, it is a cliche that you need a medium close-up on the subject. And if the interviewer is on-camera, then a similar shot of the interviewer is used so that you can see one or the other more or less full-face without the camera whipping back and forth and giving many viewers motion sickness.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes we will use the camera shot of the subject while the interviewer is speaking just to see the subject's reaction to the question or statement, etc. Or, conversely, a shot of the interviewer while the subject is speaking. This is called a &quot;reaction shot&quot;.  And similar to occasional shots of the audience to give the viewer more of a sense of being there with the live audience.  And to see their reaction. Especially applause, laughter, surprise, etc.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-11-12T05:17:43.110" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19810" PostTypeId="1" AcceptedAnswerId="19811" CreationDate="2016-11-12T11:08:05.437" Score="-2" ViewCount="118" Body="&lt;p&gt;I would like to point out that this is my personal view of things and I am not sure if this was the first place to express my concern with this. I apologize if this was the wrong thing to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Colors&lt;/strong&gt;&#xA;It has been a pain to follow the trend in which TV-production (reality shows especially) has been taking. Technology has been getting better, higher resolutions, more colors, more contrast levels to use...yet the production seems to be in love with the cheap fake look of things. oversaturate and burnt colours which make people skin, clothings, everything seem...horrible. If you take such a video material under closer observation and you checked  the values of colors and such...it would be a conclusion to say that those frames are ruined, not usable material.&#xA;Using such high saturate colors and burning things actually makes things loose details, so actually an old DVD material would have more actual details &#xA;in the image than a 4K sharp reality-TV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Focus/Depth of field&lt;/strong&gt;&#xA;Also my observation has been that a very deep depth of field effect is being widely used, which is alright. However it also seems that in production they tend to film people closer and closer these days. These two with the fact that the camera is shaking quite a bit, makes things very claustrophobic to watch.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Final words&lt;/strong&gt;&#xA;This trend seems to also be taking over in web-production, Youtube shows etc...I am worried.&lt;/p&gt;&#xA;" OwnerUserId="17176" LastActivityDate="2016-11-12T13:44:02.870" Title="Why is todays TV production suffering from horrible imaging style?" Tags="|color-grading|" AnswerCount="1" CommentCount="0" ClosedDate="2016-11-21T21:38:18.327" ContentLicense="CC BY-SA 3.0" />
  <row Id="19811" PostTypeId="2" ParentId="19810" CreationDate="2016-11-12T13:44:02.870" Score="0" Body="&lt;p&gt;Your post seems to be more of a rant than a question, but let me attempt an answer anyway (might be convoluted).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First of, what kind of crap have you been watching? The thing is, there's low and high quality content in every media. The best match for your description are daily soaps and, to some extent, reality TV (note this also differs from country to country). Those aim at overloading your senses to hide the fact that the actual content is very shallow. Kind of like trying to make a bland photograph more interesting by making it black-and-white, adding a vignette and stuff like that. It's the same with depth of field. A shallow DoF can be used to highlight fine detail such as facial expressions, hand gestures et c. That wouldn't really work in a show like The Big Bang Theory, where you are bombarded by a staccato of one-liners and audience laughter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you see the same thing on YouTube, it might be a &lt;em&gt;Monkey see, monkey do&lt;/em&gt; effect. Most YouTubers have not had a formal education in videography but have learned the technical aspects of it (i.e. using the editing software et c.) by watching/reading online tutorials and neglected to learn anything about aestethics. So they just duplicate what they've seen on TV. This is why there's a lot of crap on YouTube as well. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This may sound overly negative, which isn't actually my intention. It can be argued that though formats like that may seem cheap and badly-done to video editors or video artists, the goal of those TV stations is to make money. And if those formats are what their target audience wants to see, you can't blame them for producing that kind of content. Same goes for YouTube. If they have success with it, who are we to tell them they do it wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand, I don't think the overall quality of TV shows is going down. This may seem the case if you only watch cheap and quickly produced reality TV or daily soaps, but there's also a lot of high-quality programmes. For instance: House of Cards, Breaking Bad, Better Call Saul, Game of Thrones. Those all have intricate plots as well as high-quality videography and editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One example for this (&lt;strong&gt;WARNING, Breaking Bad season 4 spoilers ahead&lt;/strong&gt;):&lt;/p&gt;&#xA;&#xA;&lt;blockquote class=&quot;spoiler&quot;&gt;&#xA;  &lt;p&gt; The final shot of the last episode zooms in on the Lily of the Valley in Walter's backyard, revealing that it was Walt who poisened Brock, not Gus Fring:&lt;br&gt;&#xA; &lt;a href=&quot;https://i.stack.imgur.com/UcFEH.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UcFEH.jpg&quot; alt=&quot;Lily of the Valley shot in Breaking Bad&quot;&gt;&lt;/a&gt;&#xA; &lt;a href=&quot;https://www.youtube.com/watch?v=R8XvgLW2HEA&quot; rel=&quot;nofollow noreferrer&quot;&gt;Breaking Bad Season 4 final scene on YouTube&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Admittedly this is not the best example. Watch House of Cards, they play with depth of field a lot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a theory laid out in Steven Johnson's &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/1594481946&quot; rel=&quot;nofollow noreferrer&quot;&gt;Everything Bad is Good for You&lt;/a&gt; that concludes that the general complexity and cognitive demands of TV shows is going up, not down (as is often suggested by certain media outlets). The reasons for this are too complicated to reiterate them in this post, but I highly recommend reading the book if you are interested in the development of popular media.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;tl;dr:&lt;/strong&gt; You wouldn't read The Sun if you want high quality journalism. So don't watch cheaply and quickly produced shows that are intended to be easily consumable if you want high-quality videography.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;tl;dr the tl;dr:&lt;/strong&gt; Go watch House of Cards.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-11-12T13:44:02.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19812" PostTypeId="2" ParentId="19802" CreationDate="2016-11-12T15:41:29.583" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;I have video files recorded on an unknown digital camera, that I need to play through a Samsung HMX-F90 digital camcorder&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;... why? Can't you view the files on a computer?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Copying your older files to a camcorder to view them is a very strange idea and it will most likely not work, because camcorders aren't built to do that. A camcorder (or really, any digital camera) is not like a computer that reads a card, shows you all folders and files and allows you to watch them. Most cameras have a standard path where they store their files that can't be changed. Many cameras also create accompanying files that hold metadata and the camera uses those to create the file overview in their media browser. If those files are deleted (or don't exist in the first place), the camera might not know that the files are present at all. Also, the camera will most likely only be able to read files that use exactly the same format and codec (and maybe other things, like certain metadata tags), so even if you converted your files they probably wouldn't match the output format of the camera.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I have converted the video files to H.264 encoding and the resolution matches those recorded by the F90 camera.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;That is also a bad idea, as reencoding the files will reduce their quality and is totally unnecessary just to view the files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;tl;dr:&lt;/strong&gt; Use the appropriate tool for the appropriate task. I.e. use a camera to record videos, and use a computer to watch them.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;Edit: How to do it the hard way&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;If for some reason you absolutely have to do it in this convoluted way, you will have to find out how the camera records and stores videos on the memory cards. Three steps/considerations for you to make your camera recognise your videos:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;Correct location.&lt;/strong&gt; All cameras store videos in a specific directory on the memory card. For example, my Canon EOS 80D stores all photos on &lt;code&gt;/DCIM/100CANON/&lt;/code&gt; (it creates multiple folders with incremential numbers if necessary). Your camera might allow you to change this directory (or at least define a subdirectory) in the settings. This will also allow you to find out what the default directory is. If there is no such setting in the menu, check your camera's manual for that info.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Correct format &amp;amp; codec.&lt;/strong&gt; If you have put your files in the correct folder and the camera doesn't show them, they might be in a format that the camera doesn't recognise. You said you converted your videos to H.264, but have you used the correct container format and audio codec as well? (More information on that in &lt;a href=&quot;https://video.stackexchange.com/questions/15821/how-are-video-and-audio-streams-placed-in-container-files-and-what-interrelati/15824#15824&quot;&gt;my answer here&lt;/a&gt;.) I suggest you record a test video with the camera and check it's metadata and file parameters using &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt;, then use that info to convert your video files to exactly the same format with the same parameters the camera uses. Also, note the naming pattern of the file created by the camera and rename your files following that pattern.&lt;br&gt;&#xA;Keep in mind that converting your videos will likely degrade the video quality. This won't make much of a difference on a tiny camcorder screen, but do remember to backup your original files.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Cataloging files.&lt;/strong&gt; Some cameras create catalog files alongside the actual video files that are used for the internal media catalog of the camera. If it isn't present or doesn't contain information on the videos you copied to the memory card, the camera might not be able to display them. For example, my 80D creates a &lt;a href=&quot;https://photo.stackexchange.com/questions/5121/what-is-the-ctg-file-in-canon-sd-card&quot;&gt;&lt;code&gt;.CTG&lt;/code&gt;&lt;/a&gt; file in &lt;code&gt;/DCIM/EOSMISC/&lt;/code&gt; for every set of images shot with the camera. However, there are also cameras that use one sidecar file per video file that may fulfil the same function. After you've recorded a test video with the camera, search the memory card for such a file and open it in a texteditor. If you are lucky, it's a plaintext file that uses a reproducible pattern that you can use to manually create the necessary files/entries for your own videos. If not, you're pretty much out of luck. You can try to look for some technical documentation on how the internal camcorder catalog works, but I doubt you would find any or that it would be any use for your situation.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-11-15T18:27:02.463" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19814" PostTypeId="1" CreationDate="2016-11-12T18:08:56.847" Score="8" ViewCount="17305" Body="&lt;p&gt;So I've recorded all my old Mini DV tapes to .AVI with dvgrab, then Deinterlaced them with Handbrake (Bob Method) on the High Profile but I'm left with a bunch of M4V files now (due to the 2 audio tracks).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to make one file out of each tape now and, if possible, also preserve the timestamps in the filename. I have no idea how to join them now tho since making an MKV out of them would result in the player acting up (VLC, MPC and WMP all bring different results when playing the MKV file for some reason).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the best way to get the deinterlaced M4V files into one file for each tape now? Or do you guys have some other methods for this while still deinterlacing the original footage from 50i to 50p?&lt;/p&gt;&#xA;" OwnerUserId="17179" LastActivityDate="2019-02-20T00:14:39.983" Title="Join multiple M4V to one file (maybe MKV?)" Tags="|mkv|handbrake|avi|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19815" PostTypeId="2" ParentId="19814" CreationDate="2016-11-12T20:12:21.997" Score="5" Body="&lt;p&gt;If you have &lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; installed, see &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;this article&lt;/a&gt; that basically says to create a file that has all of the names, or to use the following command&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://ffmpeg.org/ffmpeg-protocols.html#concat&quot; rel=&quot;nofollow noreferrer&quot;&gt; &lt;h1&gt; Concat Protocol&lt;/h1&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 'concat:input1|input2' -codec copy output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Or &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#concat&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;h1&gt; Concat Video Filter &lt;/h1&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i opening.mkv -i episode.mkv -i ending.mkv \&#xA; -filter_complex '[0:0] [0:1] [1:0] [1:1] [2:0] [2:1] concat=n=3:v=1:a=1 [v] [a]' \&#xA;-map '[v]' -map '[a]' output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Or&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://ffmpeg.org/ffmpeg-formats.html#concat-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;h1&gt;Concat Demuxer&lt;/h1&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ cat mylist.txt&#xA;file '/path/to/file1'&#xA;file '/path/to/file2'&#xA;file '/path/to/file3'&#xA;&#xA;$ ffmpeg -f concat -i mylist.txt -c copy output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;Which one to use&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;concat protocol:&lt;/strong&gt; use with formats that support file level concatenation (MPEG-1, MPEG-2 PS, DV).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;concat filter:&lt;/strong&gt; use if you need to re-encode such as when applying filters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;concat demuxer:&lt;/strong&gt; use when you want to avoid a re-encode and your format does not support file level concatenation.&#xA;If in doubt try the concat demuxer.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;When in Doubt, choose Demuxer&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;This article was originally published &lt;a href=&quot;https://stackoverflow.com/questions/7333232/concatenate-two-mp4-files-using-ffmpeg&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, see &lt;a href=&quot;http://ffmpeg.org/faq.html#How-can-I-join-video-files_003f&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://ffmpeg.org/faq.html#How-can-I-join-video-files_003f&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="9174" LastEditorUserId="24477" LastEditDate="2019-02-20T00:14:39.983" LastActivityDate="2019-02-20T00:14:39.983" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="19816" PostTypeId="2" ParentId="19805" CreationDate="2016-11-12T23:51:40.430" Score="0" Body="&lt;p&gt;If you are creating software which takes a video stream as input then you have two major options:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Design your own hardware and software from scratch, standalone and make/keep it compatible with your choice of platforms Windows/Mac/Linux.  This is a MAJOR challenge and from the tone of your questions you don't have the resources for this. You would have to hire/contract a hardware/software developer.  Expect to pay a premium price for a project of this sophistication.&lt;/li&gt;&#xA;&lt;li&gt;Use the built-in API functions from Win/Mac/Linux for video input and output. Let the operating system take care of the driver/hardware interface and use hardware which is readily available to your customers. This is the only reasonable option, IMHO.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I know of NO computer of any type with built-in video (SDI or HDMI) input. So you have no option but to use some kind of layered hardware, either an internal PCIe card (eg: BLackmagic DeckLink) or an external converter box which connects to the compupter via USB3 or Thunderbolt or USB-C.  (eg: Blackmagic Intensity)  There are many vendors of these hardware products, both internal and external. I am using the Blackmagic products only as an example of what I am talking about.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-11-12T23:51:40.430" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19820" PostTypeId="1" AcceptedAnswerId="19821" CreationDate="2016-11-13T04:15:30.960" Score="0" ViewCount="869" Body="&lt;p&gt;I want to make a fade out in a video, using the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#afade&quot; rel=&quot;nofollow noreferrer&quot;&gt;afade&lt;/a&gt; audio filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's my command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i VIDEO06.mp4 -c:v copy -af afade=t=out:curve=hsin:st=00:0:30:duration=00:00:10 VIDEO06-faded.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But appearantly that's wrong, because &lt;code&gt;':'&lt;/code&gt; separates the filter arguments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I specify the time in H:M:S format (here's &lt;a href=&quot;http://ffmpeg.org/ffmpeg-utils.html#time-duration-syntax&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg's duration syntax&lt;/a&gt;) within the params? Or how can I escape the colon?&lt;/p&gt;&#xA;" OwnerUserId="14588" LastActivityDate="2016-11-13T04:56:53.193" Title="FFmpeg: afade plugin, how to specify time 1:55 if colon separates filter parameters? Escape" Tags="|ffmpeg|audio|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19821" PostTypeId="2" ParentId="19820" CreationDate="2016-11-13T04:56:53.193" Score="3" Body="&lt;p&gt;Enclose the time argument in single quotes and escape the colons within.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;afade=t=out:curve=hsin:st='00\:0\:30':d='00\:00\:10'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-13T04:56:53.193" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19822" PostTypeId="1" AcceptedAnswerId="19865" CreationDate="2016-11-13T10:04:58.033" Score="1" ViewCount="1533" Body="&lt;p&gt;I am currently trying to create some kind of drag and drop as well as a drag and select animation in after effects. The latter one is supposed to be looking something like this in the end:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/shN7k.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/shN7k.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(this animation is from adobe themselves, showing how to make stuff pixel-perfect in illustrator and can be found here: &lt;a href=&quot;https://helpx.adobe.com/illustrator/how-to/pixel-perfect.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/illustrator/how-to/pixel-perfect.html&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is, that (1) I have have no idea how to make an object follow the animation of another object but only for a certain time. I mean, there is parenting, but I obviously just want the object to follow my cursor-object as long as it is in &quot;clicked state&quot; and not during the whole animation. I hope that makes sense ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also (2) I have no Idea how to let an anchor point of a rectangle follow another object.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My way of doing such an animation would be animating each object independently, but it always gets messy lining those animations up, especially when I for example change the speed of one of these animations in question, because I then will have to redo all the lining up again. There has to be an easier way!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please let me know if you either know the answer yourself or a tutorial that can help me with this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Kind regards,&#xA;Arvid&lt;/p&gt;&#xA;" OwnerUserId="10977" LastActivityDate="2016-11-17T12:11:38.810" Title="Mouse drag and drop / drag to select animation in after effects" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19823" PostTypeId="2" ParentId="19793" CreationDate="2016-11-13T17:39:37.293" Score="1" Body="&lt;p&gt;Capturing video on macOS is easy.  Doing so without losing &lt;em&gt;any&lt;/em&gt; quality whatsoever is not trivial.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Simple Approach&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want simple and don't mind slight color inaccuracy, you can go with ScreenFlow.  It'll take care of most heavy lifting for you including the final encoded video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Free alternatives to doing this are using CamTwist and sending its output to Syphon Recorder, or using Open Broadcaster Software.  However this won't give you post-production editing options and you'll need to know how to encode your video manually afterwards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Advanced Approach&lt;/strong&gt; (note: this is only if you're not scared to dig a lot deeper.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most video recording solutions will degrade something even if you try &quot;lossless&quot; recording.  If you want video that is truly 1:1 with your source,  you'll need a few things:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;SSD or better&lt;/strong&gt;: Perfect videos require fast disk write speed, so HDDs won't help except maybe at super low resolutions.  Likewise, you'll need a lot of disk space.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;RGB format&lt;/strong&gt;: The software you record with must be capable of handling video in RGB, whereas most recording solutions will default to YUV and not have a means of changing it.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Flexible encoding&lt;/strong&gt;: It does you no good if you can get a perfect video but the encoded video losses quality.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So far the only solution I've found that gets both RGB format and frame rate correct is &lt;strong&gt;Syphon Recorder&lt;/strong&gt;.  Set it to &quot;Lossless&quot; quality and for frame rate choose &quot;As Fast As Possible&quot; for maximum smoothness and perfect quality.  This will give you a rawvideo file that you can then encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For encoding I recommend learning how to use &lt;strong&gt;ffmpeg&lt;/strong&gt;.  It offers tremendous flexibility and you can get amazing compression while keeping all your quality.  Here's an example of a command I would use for a YouTube video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ~/Desktop/Input.mov -c:v libx264rgb -preset veryslow -crf 0 -vf fps=60 -c:a pcm_s16be ~/Desktop/Output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For archiving videos on your computer you can use this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ~/Desktop/Input.mov -c:v ffv1 -level 3 -vf fps=60 -c:a copy ~/Desktop/Output.nut&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It is also possible to do a screen capture with ffmpeg, but currently there is a frame rate bug that prevents the macOS version from achieving perfect smoothness for live capture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, if you want to verify the accuracy of your videos, you can use the built-in utility &lt;strong&gt;Digital Color Meter&lt;/strong&gt; to check the pixels and values of your videos.  If you don't mind dropping a few bucks, there's a much much better version of that on the Mac App Store called &lt;strong&gt;Classic Color Meter&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="17189" LastActivityDate="2016-11-13T17:39:37.293" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19824" PostTypeId="1" AcceptedAnswerId="19825" CreationDate="2016-11-13T18:11:26.823" Score="1" ViewCount="1495" Body="&lt;p&gt;I'm trying to play 2 videos overlaid against a static background, with the 2nd video (and its audio) delayed by a couple seconds.  When I do this, ffmpeg complains about buffer overflow and the 2nd video drops tons of frames.  How do I prevent the frame drops?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -loop 1 -i ~/Desktop/FP2.tiff -i ~/Desktop/fp.mov -itsoffset 2 -i ~/Desktop/fp.mov -lavfi \&#xA;&quot;[0:v]fps=60[bg]; \&#xA;[bg][1:v]overlay=10:(main_h/2)-(overlay_h/2):format=rgb[v1]; \&#xA;[v1][2:v]overlay=460:(main_h/2)-(overlay_h/2):shortest=1:format=rgb[final]; \&#xA;[2:a]adelay=2000[a2]; \&#xA;[1:a][a2]amix=inputs=2[audio]&quot; \&#xA;-map &quot;[final]&quot; -map [audio] -c:v ffv1 -level 3 -c:a pcm_s16be ~/Desktop/filtergraph.nut&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17189" LastActivityDate="2016-11-13T18:58:30.940" Title="Delaying video overlay in ffmpeg without frame drops" Tags="|video|ffmpeg|transcoding|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19825" PostTypeId="2" ParentId="19824" CreationDate="2016-11-13T18:58:30.940" Score="0" Body="&lt;p&gt;Try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 60 -loop 1 -i ~/Desktop/FP2.tiff -i ~/Desktop/fp.mov -i ~/Desktop/fp.mov \&#xA;       -lavfi &quot;[0][1:v]overlay=10:(main_h-overlay_h)/2:format=rgb:shortest=1[v1]; \&#xA;               [2:v]setpts=(PTS-STARTPTS)+2/TB[2v]; \&#xA;               [v1][2v]overlay=460:(main_h-overlay_h)/2:shortest=1:format=rgb[final]; \&#xA;               [2:a]adelay=2000|2000[a2];[1:a][a2]amix=inputs=2[audio]&quot; \&#xA; -map &quot;[final]&quot; -map [audio] -c:v ffv1 -level 3 -c:a pcm_s16be ~/Desktop/filtergraph.nut&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If this still drops frames, then you should insert a FIFO filter for the 2nd video after the setpts, like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[2:v]setpts=(PTS-STARTPTS)+2/TB,fifo[2v]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-13T18:58:30.940" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19827" PostTypeId="1" AcceptedAnswerId="19841" CreationDate="2016-11-13T22:49:05.043" Score="0" ViewCount="35" Body="&lt;p&gt;I am recording a scene in which a &quot;gun&quot; is involved, but I do not have the budget for a realistic gun, so I am using a nerf gun. I am wondering how I would make the nerf gun look real&lt;/p&gt;&#xA;" OwnerUserId="16974" LastActivityDate="2016-11-15T00:39:02.440" Title="Changing the effect of a certain object but not anything else" Tags="|effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19828" PostTypeId="2" ParentId="19827" CreationDate="2016-11-14T02:07:52.120" Score="0" Body="&lt;p&gt;Please try an application like Adobe After Effects. With this app, you should be able to make a realistic gun flash, as you can mask different objects and key frame them accordingly. See link for tutorial. &lt;a href=&quot;http://www.surfacedstudio.com/tutorials/how-to-make-great-gun-fire-muzzle-flash-effects&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.surfacedstudio.com/tutorials/how-to-make-great-gun-fire-muzzle-flash-effects&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="9174" LastActivityDate="2016-11-14T02:07:52.120" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19829" PostTypeId="1" CreationDate="2016-11-14T12:52:09.003" Score="2" ViewCount="2533" Body="&lt;p&gt;this &lt;a href=&quot;http://www.bartatwork.com/personalized-video/&quot; rel=&quot;nofollow noreferrer&quot;&gt;article&lt;/a&gt; shows an impressive implementation of how to programmatically personalize video. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;Everybody received their ‘own’ version of the video.&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;How would I realize a similar solution? Which programming language would I use, which libraries, services are available to achieve a similar application on a web server?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Curious to see you answers!&lt;/p&gt;&#xA;" OwnerUserId="16900" LastActivityDate="2020-01-31T00:07:01.423" Title="How to programmatically personalize video?" Tags="|video|after-effects|video-editor|editing|after-effects-scripting|" AnswerCount="1" CommentCount="0" ClosedDate="2016-11-21T21:36:55.477" ContentLicense="CC BY-SA 3.0" />
  <row Id="19830" PostTypeId="2" ParentId="19786" CreationDate="2016-11-14T14:42:26.160" Score="0" Body="&lt;p&gt;I think your best bet for splitting the video is going to be to manually razor it in a video editor of your choice.  You can then either use a clip exporter in the editing tool if it has it or export an EDL and use that with something like ffmpeg to do the splitting for you.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2016-11-14T14:42:26.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19831" PostTypeId="1" CreationDate="2016-11-14T14:58:28.733" Score="1" ViewCount="5536" Body="&lt;p&gt;I have hundreds of GBs of movs that I want to get rid of most of the video from each on and then do some editing.&#xA;What would be the workflow using Resolve? &#xA;Export as?  or Transcode as?&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="17198" LastActivityDate="2017-02-12T17:16:55.533" Title="How do I use Resolve to permanently extract and save small clips from mov files/" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19832" PostTypeId="2" ParentId="19786" CreationDate="2016-11-14T15:01:26.660" Score="0" Body="&lt;p&gt;Have you considered using a screen recorder to grab the whole presentation? Then you could import the final output into the video editor.&lt;/p&gt;&#xA;" OwnerUserId="17199" LastActivityDate="2016-11-14T15:01:26.660" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19833" PostTypeId="2" ParentId="17108" CreationDate="2016-11-14T15:21:25.940" Score="0" Body="&lt;p&gt;This may vary depending on the duration of the animation. For example, moving 100 pixels on one image may not be enough to meet the needs for another image. On a different image you may need to move 200 pixels in the same amount of time. The latter will appear slightly faster than the former. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's no way I can think of to standardize the same speed because the images may have different focal points. You may need to &quot;eyeball&quot; it as best as possible.&lt;/p&gt;&#xA;" OwnerUserId="17199" LastActivityDate="2016-11-14T15:21:25.940" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19834" PostTypeId="1" AcceptedAnswerId="19837" CreationDate="2016-11-14T16:00:06.830" Score="3" ViewCount="2641" Body="&lt;p&gt;Is it possible to input a video and extract images every second while simultaneously stack them horizontally or vertically with the &lt;strong&gt;&quot;hstack&quot;&lt;/strong&gt; filter to create one jpg image?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way I can figure out how to do it is by extractning the still-frames with this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i INPUT.mov -vf fps=1 -s 192x108 thumbnails%03d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And then inputting them one by one and then specifying then number of inputs like this.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i thumbnails001.jpg -i thumbnails002.jpg -i thumbnails003.jpg... filter_complex vstack=inputs=3 output.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It would be nice if it was possible to do in one more dynamic chunk from the original video or at least from one inputted Video-Sequence and not manually inserting the number of INPUTS needed to create the Stack. &lt;/p&gt;&#xA;" OwnerUserId="17200" LastActivityDate="2016-11-14T17:06:02.403" Title="Stack images with &quot;hstack&quot;-filter from video or image sequence in ffmpeg" Tags="|video|ffmpeg|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19835" PostTypeId="2" ParentId="19831" CreationDate="2016-11-14T16:14:27.033" Score="2" Body="&lt;p&gt;You can do it right in QuickTime.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Open the videos in QuickTime&lt;/li&gt;&#xA;&lt;li&gt;Edit &gt; Trim&lt;/li&gt;&#xA;&lt;li&gt;Save or Export those shorter clips&lt;/li&gt;&#xA;&lt;li&gt;Import them into your preferred editor&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you do want to use Resolve:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Import your clips to your Media Pool&lt;/li&gt;&#xA;&lt;li&gt;Click on the Edit tab, select all of your clips in the media pool, drag them to your timeline.  The order of them doesn't matter, if you just want individual clips, neither does having gaps in your timeline.&lt;/li&gt;&#xA;&lt;li&gt;Once you have trimmed your clips as desired, go to the Deliver tab&lt;/li&gt;&#xA;&lt;li&gt;Make sure to select Individual Clips at the top and adjust your settings as desired &lt;a href=&quot;https://i.stack.imgur.com/7kMiJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7kMiJ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Select your entire timeline and then add the job to your render queue&lt;/li&gt;&#xA;&lt;li&gt;Render&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="10892" LastEditorUserId="10892" LastEditDate="2016-11-14T16:40:11.590" LastActivityDate="2016-11-14T16:40:11.590" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19836" PostTypeId="1" AcceptedAnswerId="19838" CreationDate="2016-11-14T16:42:42.873" Score="0" ViewCount="893" Body="&lt;p&gt;My goal is to take clips that last over 40 seconds and overlay them on a background, then trim the total time once the clips and background fade out.  It works great, except the seeking goes up to 24 seconds even when I specify 21.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -framerate 60 -loop 1 -ss 0 -t 21 -i ~/Desktop/FP2.tiff -ss 0 -t 21 -i ~/Desktop/fp.mov -lavfi \&#xA;&quot;[0]fade=t=in:st=0:d=1,fade=t=out:st=20:d=1,trim=end=21[bg]; \&#xA;[1:v]setpts=(PTS-STARTPTS)+1/TB,fifo,fade=t=in:st=1:d=2,fade=t=out:st=15:d=2[fade]; \&#xA;[bg][fade]overlay=10:(main_h-overlay_h)/2:format=rgb[v1]; \&#xA;[1:v]setpts=(PTS-STARTPTS)+3/TB,fifo,fade=in:0:120,fade=t=out:st=18:d=2[v2]; \&#xA;[v1][v2]overlay=460:(main_h-overlay_h)/2:format=rgb[video]; \&#xA;[1:a]adelay=1000|1000,stereotools=muter=1,afade=t=in:st=1:d=2,afade=t=out:st=15:d=2[a1]; \&#xA;[1:a]adelay=3000|3000,stereotools=mutel=1,afade=t=in:st=3:d=2,afade=t=out:st=18:d=2[a2]; \&#xA;[a1][a2]amix=inputs=2[audio]&quot; \&#xA;-map [video] -map [audio] -c:v ffv1 -level 3 -c:a pcm_s16be ~/Desktop/filtergraph.nut&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can see this in ffplay; the background will fade completely by the 21 second mark, but the video itself ends at 24 seconds.  How do I get them to match exactly?  I'm aware I can use &lt;code&gt;-ss&lt;/code&gt; and &lt;code&gt;-t&lt;/code&gt; after the inputs, but that method can be slow if you intend to use a start point past 0.&lt;/p&gt;&#xA;" OwnerUserId="17189" LastEditorUserId="17189" LastEditDate="2016-11-14T16:57:04.490" LastActivityDate="2016-11-15T13:16:04.543" Title="How do I remove excess video duration in ffmpeg when using lavfi?" Tags="|video|ffmpeg|transcoding|filter|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19837" PostTypeId="2" ParentId="19834" CreationDate="2016-11-14T17:06:02.403" Score="2" Body="&lt;p&gt;You're better off using the &lt;code&gt;tile&lt;/code&gt; filter for this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i INPUT.mov -vf fps=1,scale=192:108,tile=54x1 output.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The tile argument is the size of a rectangle. So for a 54 second video, &lt;code&gt;54x1&lt;/code&gt; produces a horizontal stack of 54 frames. Use &lt;code&gt;1x54&lt;/code&gt; for a vertical stack.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-14T17:06:02.403" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19838" PostTypeId="2" ParentId="19836" CreationDate="2016-11-14T17:14:07.167" Score="1" Body="&lt;p&gt;You are feeding 21 seconds of audio from the video file and then applying &lt;code&gt;adelay=3000|3000&lt;/code&gt;, hence 24 seconds. Add &lt;code&gt;atrim=end=21&lt;/code&gt; at the end to both your audio filterchains.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;And&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Add &lt;code&gt;shortest=1&lt;/code&gt; to both your overlays.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-11-15T13:16:04.543" LastActivityDate="2016-11-15T13:16:04.543" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19840" PostTypeId="1" CreationDate="2016-11-15T00:33:29.003" Score="1" ViewCount="487" Body="&lt;p&gt;I have searched everywhere, and I could not find any media player (for Windows) capable of playing back 1000fps video at 24fps.  Can anyone suggest software?  I'm not willing to any greater price than free.  I tried Windows Media player and VLC media player.  VLC can get close, but not quite 24fps.  It must be able to play back the video at between 22 and 26 fps as well as normal speed. I know professional high-speed playback software exists, I just can't find it.  An alternative solution would be to suggest software that can convert video to play back at 24 fps.  A third alternative: is it possible to modify the binary data in a file to change the playback rate?&lt;/p&gt;&#xA;" OwnerUserId="17203" LastActivityDate="2016-11-15T09:15:53.010" Title="Media Player for playback of 1000 fps video at 24 fps" Tags="|software-recommendation|framerate|playback|slowmotion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19841" PostTypeId="2" ParentId="19827" CreationDate="2016-11-15T00:39:02.440" Score="2" Body="&lt;p&gt;You could create one with parts from a hobby store or craft store, and paint them the correct color of gray.  Model your gun replica off of a specific existing gun that you find photos of online. Figure out ways to shoot the scene so the viewers don't see the gun too much:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;keep it in shadow&lt;/li&gt;&#xA;&lt;li&gt;only have it on screen for 1/2 second at a time&lt;/li&gt;&#xA;&lt;li&gt;keep it moving, especially if this is an action or chase sequence&lt;/li&gt;&#xA;&lt;li&gt;show it from a distance&lt;/li&gt;&#xA;&lt;li&gt;keep it out of focus (while something &quot;more important&quot; is in focus, like a person saying a line of dialog)&lt;/li&gt;&#xA;&lt;li&gt;train the camera on the face of the person with the gun and the reactions of the potential victim&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Also use visual effects (as suggested by bret7600 in his answer) and sound effects. A Foley artist once said he uses a door deadbolt to simulate the sound of a cocking handgun.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2016-11-15T00:39:02.440" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19842" PostTypeId="2" ParentId="19840" CreationDate="2016-11-15T09:15:53.010" Score="1" Body="&lt;p&gt;You can use the free command-line tool &lt;code&gt;ffplay&lt;/code&gt;, which is part of the &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; project.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay in.mp4 -vf setpts=N/24/TB,fps=24&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can change the value &lt;code&gt;24&lt;/code&gt; above to any arbitrary value. Just remember to change both instances in concert.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-15T09:15:53.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19847" PostTypeId="2" ParentId="19796" CreationDate="2016-11-15T18:05:17.260" Score="1" Body="&lt;p&gt;If you are using Vegas, then AMD GPUs, Premier Nvidia. The newer intel cpus have built in graphics support for opencl 1.2 and specific instructions for video encoding/decoding. Getting a new Quadcore 6th gen I7 and the AMD RX480 will help, but also should get fastest HDs or SSDS you can afford.&lt;/p&gt;&#xA;" OwnerUserId="17208" LastActivityDate="2016-11-15T18:05:17.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19848" PostTypeId="1" AcceptedAnswerId="19849" CreationDate="2016-11-15T20:14:59.820" Score="4" ViewCount="2419" Body="&lt;p&gt;I noticed that Premiere(CC2017) can export h.264 through its own encoder and QuickTime. Are there any / what are the differences between these two?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;PP Native h.264 encoder&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ktuxu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ktuxu.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;QT h.264 encoder&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nxQXs.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nxQXs.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3980" LastActivityDate="2016-11-15T22:35:50.363" Title="What's different between Premiere's own h.264 and QT h.264 encoders?" Tags="|premiere|encoding|h.264|adobe-media-encoder|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="19849" PostTypeId="2" ParentId="19848" CreationDate="2016-11-15T22:35:50.363" Score="4" Body="&lt;p&gt;The encoder is always the same, namely Adobe Media Encoder. What you're changing is only the &lt;strong&gt;format&lt;/strong&gt;, which admittedly is a bit confusing since that dropdown mixes up a couple of concepts which don't really belong together. If you select H.264 from the format dropdown, that's the &lt;strong&gt;video codec&lt;/strong&gt;. Using that format selection, you will find a ton of options below, one of which is the &lt;strong&gt;multiplexer&lt;/strong&gt; tab. This is where you can select what container format you want your video and audio stream to be mixed in (usually that's &lt;code&gt;MP4&lt;/code&gt;). If you select the &lt;strong&gt;QuickTime format&lt;/strong&gt;, you are always exporting a &lt;code&gt;MOV&lt;/code&gt; file. The codec of the QuickTime format is variable, so you get a dropdown for that instead. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So with both options, you will get an H.264 video stream, but mixed in a different container format. You can find more info on individual streams and containers in &lt;a href=&quot;https://video.stackexchange.com/questions/15821/how-are-video-and-audio-streams-placed-in-container-files-and-what-interrelati/15824#15824&quot;&gt;my answer here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a bit confusing that you are selecting different things (codecs or containers) in the format dropdown, but since there are also completely different options such as exporting as an image sequence or exporting audio only, it's hard to come up with an interface that's neither terribly bloated nor missing important options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the &lt;a href=&quot;https://helpx.adobe.com/media-encoder/using/file-formats-supported-export.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe Support Pages&lt;/a&gt;: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Some filename extensions—such as MOV, AVI, and MXF —denote container file formats rather than denoting a specific audio, video, or image data format. Container files can contain data encoded using various compression and encoding schemes. Adobe Media Encoder can encode video and audio data for these container files, depending on which codecs (specifically, encoders) are installed. Many codecs must be installed into the operating system and work as a component inside the QuickTime or Video for Windows formats.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-11-15T22:35:50.363" CommentCount="13" ContentLicense="CC BY-SA 3.0" />
  <row Id="19850" PostTypeId="1" CreationDate="2016-11-16T11:18:21.770" Score="0" ViewCount="2037" Body="&lt;p&gt;I was wondering if its possible to prerender a composition 100% in-file (NOT prerendering out then bringing back in).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Prerender might not be the best word - I'm essentially looking to do what rasterize does to a smart object in Photoshop. I want to take the output as is and make it so if I change any of the compositions inside the to-be-prerendered comp, the output DOES NOT reflect those changes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would take the comp and turn it into non-editable footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If anything like this is possible, please tell me how! I can't just pre-render normally and bring it back in due to storage limitations - if what I'm describing doesn't exist I'll have to find another way&lt;/p&gt;&#xA;" OwnerUserId="17212" LastEditorUserId="17212" LastEditDate="2016-11-16T11:29:21.170" LastActivityDate="2018-11-22T15:09:47.017" Title="Pre-render composition in file? (Adobe After Effects)" Tags="|video|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19851" PostTypeId="2" ParentId="19850" CreationDate="2016-11-16T12:39:31.723" Score="1" Body="&lt;p&gt;If you want instant access to a baked version of a comp, it has to be stored somewhere - either in memory or on disk. The former will limit your computing performance (eventually), and the latter needs storage space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The third way is to duplicate the comp, including all precomps and bring in the duplicated comp as a base layer to the original comp. Since the duplicate won't refer to the original layers, it'll serve as a reference. A script to do this is &lt;a href=&quot;http://aescripts.com/true-comp-duplicator/&quot; rel=&quot;nofollow noreferrer&quot;&gt;True Comp Duplicator&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-16T12:39:31.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19852" PostTypeId="1" AcceptedAnswerId="19853" CreationDate="2016-11-16T13:38:24.090" Score="3" ViewCount="4166" Body="&lt;p&gt;I have 45 videos of varying aspect ratios and resolutions.&#xA;I need to scale all of them so that they fit neatly inside a 640x360 (16x9) container with the following specs:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;16x9, 640x360, 1600kbps, H.264, MP4, progressive, 29.97&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, some videos might be 512x12, others might be 480x320, but they all have to fit, scaled and centred, inside a new 640x360 output video.&#xA;If a video is not wide enough to fill that space, black bars should be added on the left and right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible with ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the code I've been toying with so far:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&#xA;ffmpeg -i &quot;input.mov&quot;  -b:v 1600k -bufsize 1600k -r 29.97 -vf scale=640:360 -vcodec libx264 output.mp4&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This seems to do everything I need, except for dynamically scaling to that fixed resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know how to achieve the result I'm looking for?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="17213" LastActivityDate="2016-11-16T16:31:08.397" Title="Scaling videos of variable size to a fixed aspect ratio" Tags="|ffmpeg|scale|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19853" PostTypeId="2" ParentId="19852" CreationDate="2016-11-16T14:30:31.283" Score="5" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;input.mov&quot; -vf &#xA;          &quot;scale='if(gt(a*sar,16/9),640,360*iw*sar/ih)':'if(gt(a*sar,16/9),640*ih/iw/sar,360)',&#xA;          pad=640:360:(ow-iw)/2:(oh-ih)/2,setsar=1&quot;&#xA;       -vcodec libx264 -b:v 1600k -bufsize:v 1600k -r 30000/1001 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The scale filters use the conditional &lt;code&gt;if(a,b,c)&lt;/code&gt; expression i.e. &lt;code&gt;if a then b else c&lt;/code&gt;. I check if the video is wider than 16:9. If yes, I scale the width to 640 and scale height to preserve proportion. If not, I scale height to 360, and keep width proportional. Then the result is padded out to 640x360. The setsar is used to make sure ffmpeg registers the video as square-pixel.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-11-16T16:31:08.397" LastActivityDate="2016-11-16T16:31:08.397" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19854" PostTypeId="2" ParentId="19206" CreationDate="2016-11-16T14:51:09.443" Score="1" Body="&lt;p&gt;Ok, just a simple restart of iMovie fixed this. But it is still a weird glitch though.&lt;/p&gt;&#xA;" OwnerUserId="13914" LastActivityDate="2016-11-16T14:51:09.443" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19855" PostTypeId="2" ParentId="19567" CreationDate="2016-11-16T15:00:22.600" Score="0" Body="&lt;p&gt;What you are asking is not quite clear, but if you want to have the colored liquids in front of your people, just add the video on top of the main video, and just change the opacity of the colored liquids. If you want the iridescent liquids behind your people, shoot the main video in front of a green screen with fairly good lighting, then add the colored liquid in after, utilizing the green screen. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="13914" LastActivityDate="2016-11-16T15:00:22.600" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19856" PostTypeId="1" CreationDate="2016-11-16T17:37:17.153" Score="0" ViewCount="28" Body="&lt;p&gt;I need to create some simple video tutorials for an iOS app. The tutorials will consist largely of screen footage showing the app being used with voice over and some titles. I know how to capture the video from the iPhone (Apple has made that easy). I'm looking for the best simple tool for editing the video, putting in some titles, and adding the voice over.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original iMove would have been great for this. Unfortunately that product no longer exists; it was replaced with something designed to package vacation &amp;amp; birthday party video with theme overlays and all sorts of automatic stuff I don't want and can't use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will be working on a MacBook Air with 8GB of RAM. I could buy Final Cut Pro and would probably be comfortable with the model it presents, but I recognize it is way way overkill for what I need to do.&lt;/p&gt;&#xA;" OwnerUserId="17215" LastActivityDate="2017-01-15T19:10:39.740" Title="What is the best tool for creating simple iOS demo videos" Tags="|video-editor|mac|ios|tutorial|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19857" PostTypeId="1" CreationDate="2016-11-16T17:38:56.383" Score="1" ViewCount="45" Body="&lt;p&gt;I need help with learning how to shoot videos for real estate. My first problem is that I am not strong enough to manage the camera without it shaking or picking up my walking movements. I purchased the Glidecam Smooth shooter and I still can't get videos that are smooth. (ok, so I am a weakling). So that's my first problem... the 2nd is that I need to know from everyone else their suggestions for the best camera for the job. I am currently using Canon 5d Mark II. One of the biggest problems is that when I pass a window the exposure goes crazy and the focus gets blurry. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I'm asking a lot here, but ugh, help...&lt;/p&gt;&#xA;" OwnerUserId="17216" LastActivityDate="2017-11-08T12:59:17.487" Title="Help with shooting steady" Tags="|video|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19858" PostTypeId="2" ParentId="19856" CreationDate="2016-11-16T17:53:13.787" Score="1" Body="&lt;p&gt;If you haven't used iMovie in a few years, I recommend you give it a try. It does exactly what you're looking for. If you create a new movie rather than a trailer, it will just create a timeline that you can drop footage into. On the left, under your events and library is a section called &quot;Titles&quot; that has dozens of titles ranging from tasteful to playful. You use the &quot;V&quot; key to record a voiceover.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FCPX is also a great easy tool to learn. In fact, iMovie is now made so that you can transition easily from using iMovie into using Final Cut Pro X. I think they might even share some of their internal bits. In any event, if you use one, you can probably do some stuff easily in the other.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-11-16T17:53:13.787" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19860" PostTypeId="1" AcceptedAnswerId="19862" CreationDate="2016-11-16T20:20:32.833" Score="6" ViewCount="25643" Body="&lt;p&gt;I'm trying to batch encode 45 video files, and copy the encoded files into an existing subfolder called &quot;encode&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've used the suggested code from this question (&lt;a href=&quot;https://stackoverflow.com/questions/5784661/how-do-you-convert-an-entire-directory-with-ffmpeg&quot;&gt;https://stackoverflow.com/questions/5784661/how-do-you-convert-an-entire-directory-with-ffmpeg&lt;/a&gt;) But, I don't know how to capture the original file names (with spaces and punctuation) and use that as the new file name in the new directory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the code I'm using so far:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&#xA;for i in *.mp4;&#xA;  do name=`echo &quot;${i%.*}&quot;`;&#xA;  echo $name;&#xA;  ffmpeg -i “$i” -vf &quot;scale='if(gt(a*sar,16/9),640,-1)':'if(gt(a*sar,16/9),-1,360)',pad=640:360:(ow-iw)/2:(oh-ih)/2,setsar=1&quot; -vcodec libx264 -b:v 1600k -bufsize:v 1600k -r 30000/1001 “encoded/$name.mp4”&#xA;done&#xA;&lt;/code&gt; &#xA;It's giving me an &quot;invalid argument&quot; error message when I run it - probably because I haven't specified the names correctly(?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The ffmpeg code that I'm using does work (I can encode individual file) but I haven't figured out how to batch encode the entire directory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If anyone can let me know what I'm doing wrong, I would love to know!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="17213" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2019-12-09T18:26:27.153" Title="Batch conversion into a new folder with ffmpeg" Tags="|ffmpeg|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19861" PostTypeId="2" ParentId="19857" CreationDate="2016-11-16T20:20:34.817" Score="3" Body="&lt;p&gt;I never tried this myself, but I believe attaching a camera firmly to a tripod with wheels &lt;em&gt;or&lt;/em&gt; putting the Glidecam Smooth Shooter onto a car or something sturdy with wheels might work for you.&lt;/p&gt;&#xA;" OwnerUserId="16974" LastEditorUserId="16974" LastEditDate="2016-11-21T15:14:38.890" LastActivityDate="2016-11-21T15:14:38.890" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19862" PostTypeId="2" ParentId="19860" CreationDate="2016-11-16T21:42:30.790" Score="6" Body="&lt;p&gt;The accepted answer in the question you're referring to uses additional unnecessary processes, legacy code, and doesn't prevent globbing or word splitting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See the &lt;a href=&quot;https://stackoverflow.com/a/33766147/1109017&quot;&gt;second answer&lt;/a&gt; which is shorter, simpler, and more efficient:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for f in *.mp4; do ffmpeg -i &quot;$f&quot; &amp;lt;additional options&amp;gt; &quot;encoded/${f%.*}.mp4&quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Secondly, don't use fancy quotes which will cause errors, so instead of &lt;code&gt;“$varible”&lt;/code&gt; use &lt;code&gt;&quot;$variable&quot;&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2016-11-16T21:42:30.790" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="19863" PostTypeId="2" ParentId="19829" CreationDate="2016-11-17T11:40:13.380" Score="3" Body="&lt;p&gt;You can use &lt;a href=&quot;http://ffmpeg.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; to do something like this programmatically. It has the capability to composite and edit footage as well as adding effects and text. It is a command line app, so works in the shell of your choice on Linux/Mac/Windows. &lt;a href=&quot;http://multimedia.cx/eggs/googles-youtube-uses-ffmpeg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Youtube reputedly uses ffmpeg to process their videos&lt;/a&gt;, so it's safe to say that it's very widely adopted. FFMPEG is free and open source. This is probably your best bet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/scripts.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe After Effects&lt;/a&gt; can also be controlled completely programmatically using the Extendscript language. After Effects is an industry standard video effects tool, used for everything from web banners to Hollywood movies. While it has more capabilities than ffmpeg, it is mainly designed as a GUI application, and the API really needs a good understanding of the application to use, meaning that developers are probably fairly hard to find. It is available from Adobe through Creative Cloud membership.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Coding the solution is another option. Rather than re-invent the wheel you could look at one of the frameworks that exist for creative coding. One of the most popular is &lt;a href=&quot;http://processing.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;Processing&lt;/a&gt;; it's a programming language designed for creative use, based on Java. Although not specifically focussed on video it does have the capability to process video, and could add text and effects to video content. Similar tools exist for other languages, for example &lt;a href=&quot;https://openframeworks.cc/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OpenFrameworks&lt;/a&gt;, which uses C++, and &lt;a href=&quot;https://nannou.cc/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Nannou&lt;/a&gt;, a relative newcomer which uses rust. To use them you will need programming skills, but a lot of the heavy lifting has been done in terms of things like graphics and video, meaning you can work at a higher level.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-01-31T00:07:01.423" LastActivityDate="2020-01-31T00:07:01.423" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="19865" PostTypeId="2" ParentId="19822" CreationDate="2016-11-17T12:11:38.810" Score="1" Body="&lt;p&gt;Expressions are you friend. Honestly I don't understand how anyone use AE without using expressions. To make the size of a rectangle shape follow a mouse you could do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Parent the mouse and rectangle to a null, with the top left corner of the rectangle aligned with the null. On the size property &lt;kbd&gt;alt/option&lt;/kbd&gt;-click the stopwatch to open the expressions editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Delete what's there, and drag the pickwhip (the blue curly thing) to select the position of the cursor layer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/m6ivI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/m6ivI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the size property will now look like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&quot;cursor&quot;).transform.position&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(if your cursor layer is called &quot;cursor&quot;). Now when you move the cursor the rectangle will scale to match the movement. But there's a problem, it scales from the middle, so you can add an offset to its position to make sure it lines up correctly. This time we use a bit of maths as well. On the position property of the rectangle path (not the position property of the layer) &lt;kbd&gt;alt/option&lt;/kbd&gt;-click the stopwatch and drag the pickwhip to the size property of the rectangle, and then divide that value by 2. It will look like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;content(&quot;Rectangle 1&quot;).content(&quot;Rectangle Path 1&quot;).size/2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now your rectangle should resize as if it's beign dragged by the cursor. You might have to manually drag the layer to line up perfectly. You can use more javascript to make the layer start and stop following the mouse.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/expression-basics.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Go learn expressions&lt;/a&gt;. As a bonus (or perhaps as a negative) you get to learn javascript, a ubiquitous computer language.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-11-17T12:11:38.810" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19867" PostTypeId="1" AcceptedAnswerId="19871" CreationDate="2016-11-17T14:40:29.447" Score="32" ViewCount="45985" Body="&lt;p&gt;I'm working on a project where I'm using ffmpeg to batch convert some video files, and adding fade in/out effects at the head and tail of each clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been using this bit of code to add the fade/out effect on clips with known durations:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&#xA;ffmpeg -i clip.mp4 -filter:v 'fade=in:0:30,fade=out:9650:30' -c:v libx264 -crf 22 -preset veryfast -c:a copy fadeInOut.mp4&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My two questions are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;How can I simultaneously fade the audio in/out?&lt;/li&gt;&#xA;&lt;li&gt;Can ffmpeg automatically figure out the duration of the clip and be told just fade out the last 30 frames?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="17213" LastActivityDate="2019-07-24T21:26:06.217" Title="How to fade in/out a video/audio clip with unknown duration?" Tags="|video|ffmpeg|audio|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19868" PostTypeId="2" ParentId="15447" CreationDate="2016-11-17T15:58:33.400" Score="2" Body="&lt;p&gt;The 'copy' codec tells avconv to skip decoding and encoding. It is useful if you are trying to change the container format but in your case, you are changing the format of the stream from MJPEG to H264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just leave '-vcodec copy' out and let avconv figure out that it must transcode from mjpeg to H264:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i rtsp://admin:admin@192.168.11.11/streaming/Channels/2 -map 0  -f H264 udp://192.168.10.11:5014&#xA;&#xA;[mjpeg @ 0x113f1d0] Changeing bps to 8&#xA;Input #0, rtsp, from 'rtsp://admin:admin@192.168.11.11/streaming/Channels/2':&#xA;  Metadata:&#xA;    title           : Media Presentation&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: mjpeg, yuvj420p(pc, bt470bg/unknown/unknown), 320x240 [SAR 1:1 DAR 4:3], 50 tbr, 90k tbn, 90k tb&#xA;No pixel format specified, yuvj420p for H.264 encoding chosen.&#xA;Use -pix_fmt yuv420p for compatibility with outdated media players.&#xA;[libx264 @ 0x116a980] using SAR=1/1&#xA;[libx264 @ 0x116a980] using cpu capabilities: ARMv6 NEON&#xA;[libx264 @ 0x116a980] profile High, level 2.1&#xA;Output #0, h264, to 'udp://192.168.10.11:5014':&#xA;  Metadata:&#xA;    title           : Media Presentation&#xA;    encoder         : Lavf56.40.101&#xA;    Stream #0:0: Video: h264 (libx264), yuvj420p(pc), 320x240 [SAR 1:1 DAR 4:3], q=-1--1, 50 fps, 50 tbn, 50 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 libx264&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (mjpeg (native) -&amp;gt; h264 (libx264))&#xA;&#xA;Press [q] to stop, [?] for help&#xA;frame=   51 fps= 34 q=31.0 Lsize=       9kB time=00:00:00.98 bitrate=  71.7kbits/s dup=40 drop=0    &#xA;video:9kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB  muxing overhead: 0.000000%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17226" LastActivityDate="2016-11-17T15:58:33.400" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19869" PostTypeId="1" AcceptedAnswerId="19870" CreationDate="2016-11-17T17:14:56.773" Score="6" ViewCount="5041" Body="&lt;p&gt;I got a video of a fireplace, the video is 3 hours long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can see that it is looping as the logs keep burning forever. My guess is that it is looping in the region of 5-15minutes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some software available that can find where the video loops?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far my best idea is using ffmpeg to output all the frames in raw bmp and search for duplicate files.&lt;/p&gt;&#xA;" OwnerUserId="17227" LastActivityDate="2022-06-18T07:51:35.287" Title="Finding the place where a video loops" Tags="|ffmpeg|software-recommendation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19870" PostTypeId="2" ParentId="19869" CreationDate="2016-11-17T19:25:18.433" Score="6" Body="&lt;p&gt;Try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -filter_complex&#xA;&quot;[0]trim=start_frame=0:end_frame=1[c];[c][0]blend=all_mode=difference,blackframe&quot; -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As long as the very first frame of the video is not something like a static logo screen or similar, this should help you locate the loop joint. If it is, change the start frame value to a higher number. The end_frame should be 1 greater.  Basically, one instance of the video is trimmed to just one frame, then it's composited with the full video frame-by-frame, in difference mode. When the blend filter encounters an identical frame i.e. the point of loop, the result will be a black frame. The blackframe filter should then identify that frame (and all others at each loop turnover), with a readout looking like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_blackframe_2 @ 0000000003607d20] frame:325 pblack:100 pts:13837 t:13.837000 type:I last_keyframe:325&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That &lt;code&gt;t&lt;/code&gt; value represents the duration of a single loop.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-17T19:25:18.433" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19871" PostTypeId="2" ParentId="19867" CreationDate="2016-11-17T19:51:03.647" Score="25" Body="&lt;p&gt;&lt;strong&gt;#1&lt;/strong&gt; To simultaneously fade the audio in/out:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i clip.mp4 -vf 'fade=in:0:30,fade=out:960:30'&#xA;                   -af 'afade=in:st=0:d=1,afade=out:st=32:d=1'&#xA;       -c:v libx264 -crf 22 -preset veryfast fadeInOut.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The afade times are in &lt;em&gt;seconds&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#2&lt;/strong&gt; Automatically? No. But see workaround below&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can first run ffprobe to get duration.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -i clip.mp4 -show_entries stream=codec_type,duration -of compact=p=0:nk=1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You'll get something like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;video|13.556000&#xA;audio|13.816000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can then use the above to place your fades. These times are in seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Workaround&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i clip.mp4 -sseof -1 -copyts -i clip.mp4 -filter_complex&#xA;       &quot;[1]fade=out:0:30[t];[0][t]overlay,fade=in:0:30[v];&#xA;        anullsrc,atrim=0:2[at];[0][at]acrossfade=d=1,afade=d=1[a]&quot;&#xA;       -map &quot;[v]&quot; -map &quot;[a]&quot; -c:v libx264 -crf 22 -preset veryfast -shortest fadeInOut.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;FFmpeg has a &lt;code&gt;sseof&lt;/code&gt; option that allows one to seek an input from the end. We can use that to accomplish our goal. So we feed the input twice, with the 2nd time ingesting only the last second. We tell FFmpeg to preserve the timestamps, so that ffmpeg preserves the temporal position of this tail portion. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We apply a fade out to this tail and then overlay the result onto the full input. Since they are the same media file, the foreground completely covers the background, and since &lt;code&gt;copyts&lt;/code&gt; was applied, the overlay happens upon the corresponding identical frame in the background input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For audio, we create a blank dummy audio of duration 2 seconds, and then apply an audio crossfade from the main audio to this dummy audio. Since the 2nd audio is blank, this is, in effect, a fade-out for the main input. The &lt;code&gt;-shortest&lt;/code&gt; is added to leave out portions of the dummy audio after the crossfade has occurred.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-05-08T05:41:18.407" LastActivityDate="2017-05-08T05:41:18.407" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19872" PostTypeId="2" ParentId="14589" CreationDate="2016-11-17T20:28:26.550" Score="0" Body="&lt;p&gt;In &lt;a href=&quot;https://hitfilm.com/express&quot; rel=&quot;nofollow noreferrer&quot;&gt;HitFilm Express 4&lt;/a&gt; (not 3) it is very easy to slow or accelerate your video. Give it a try. It is free. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use keyframes to change the speed of the movie. And you can use a pitch effect to prevent your audio to become too distorted. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another nice app to accelerate or slow your video, is the &lt;a href=&quot;https://pt.shop.gopro.com/International/softwareandapp/quik-%7C-desktop/Quik-Desktop.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;video editor of GoPro&lt;/a&gt; cameras, now called Quik. I stopped using it because it used to be very buggy, but this new version looks a lot better. &lt;/p&gt;&#xA;" OwnerUserId="12201" LastEditorUserId="12201" LastEditDate="2016-11-17T20:34:10.913" LastActivityDate="2016-11-17T20:34:10.913" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19873" PostTypeId="1" AcceptedAnswerId="19883" CreationDate="2016-11-17T21:32:11.690" Score="4" ViewCount="21486" Body="&lt;p&gt;I am looking for a Windows based open source method to extract specific frames from video files (*.avi). Ideally the method will be suited to R.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to do this as I have annotated (many) video files using Solomon Coder. This is an open source program which, quickly and easily, allows for user specified frame by frame annotation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have then summarized the data using R. In my summary I have a behaviour event and the start and end frame numbers. I also have the start and end time in seconds, epoch time and as a POSIXct object.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to extract the specific frames in some instances.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am aware of the following options:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;ffmpeg in Matlab. However, I do not have access to Matlab nor I am that competent using it.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Using the command prompt and VLC. However, many images seem to get skipped and one ends up with lots of corrupt files. (e.g: &lt;a href=&quot;https://www.raymond.cc/blog/extract-video-frames-to-images-using-vlc-media-player/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.raymond.cc/blog/extract-video-frames-to-images-using-vlc-media-player/&lt;/a&gt;)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Potentially calling Octave through R and using similar approach of ffmpeg. Again, this is a bit beyond my ability for the moment.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If anyone has some quick guidance that would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="17228" LastActivityDate="2019-02-06T15:09:52.557" Title="Extract specific video frames" Tags="|video|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19875" PostTypeId="1" CreationDate="2016-11-18T00:26:34.430" Score="5" ViewCount="6376" Body="&lt;p&gt;In my company, we are currently looking for a solution to enrich a given video stream (which is being broadcasted via RTMP) from a remote webcam with some dynamic information, such as current date/time, special measure values which are available on a server, or the most recent entries in a database. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically we want to achieve a simple, dynamic on-screen display, as - for example - TV stations are using. The modified stream should then be restreamed, for example to be viewed in VLC Player or on YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far, I came up with the following ideas:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Using OBS with some own scripts and plugins - that's disadvantageous because we would like to run the solution on a high-network performance server 24/7 without a GUI. Basically I'd need a fully command-line based version of OBS.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Using FFmpeg: I know that there are text filters available, but they are mainly static (or periodically polling a file with text) and don't allow for any design adjustments other than font, font size and color. It would be great if there was some way of overlaying a Webkit browser view onto the stream, because this would allow us to design the overlays in HTML5 and CSS and using WebSocket technology for updating the data.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The overlay could be captured with PhantomJS, but how should we unify it with the stream and would it be fast enough to render 30 FPS?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Are there additional (preferably open source) tools we could use? What would be the best strategy to implement this without buying expensive TV broadcasting software?&lt;/p&gt;&#xA;" OwnerUserId="17231" LastEditorUserId="18155" LastEditDate="2019-09-03T12:34:45.797" LastActivityDate="2020-03-15T14:02:20.320" Title="How to automatically enrich a video stream with dynamic overlay (text, images, ...)" Tags="|video|ffmpeg|streaming|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="19876" PostTypeId="1" CreationDate="2016-11-18T13:20:32.790" Score="1" ViewCount="166" Body="&lt;p&gt;I love working with alpha / luma mattes in After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3gRR7.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3gRR7.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Creating that kind of composition should be a piece of cake, but it is incredibly difficult because there is no real good way to work with mattes in After Effects (CS6 here); while it's one of the most important feature in a compositing software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would be glad to know how you work with them and what workarounds you know.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Track mattes&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Track mattes is the best way to work with mattes; but what if you need to use the same matte on several layers ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2Uq1Q.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2Uq1Q.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You end up duplicating your matte, which multiplies the number of layers in your composition, and is a good way to bring problems since you have to keep your layers &quot;synced&quot; : if you have animation keys on a layer matte, you'll need to copy/paste them on the cloned layer every time you change something, unless you parent them or use complex expressions to do the job for you, which bring other problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/y3ESL.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/y3ESL.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Set Matte plugins&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;The &lt;em&gt;Set Matte&lt;/em&gt; (native) plugin is really cool about this; since it allows you to use a unique layer as matte anywhere in your comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/j1R7U.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/j1R7U.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also the &lt;em&gt;bs-Smart Set Matte&lt;/em&gt; plugin (from &lt;a href=&quot;http://aescripts.com/bs_compositingbundle/&quot; rel=&quot;nofollow noreferrer&quot;&gt;BS_CompositingBundle 2&lt;/a&gt;), which has some advanced options: you'll be able to stack several mattes and to choose how they are composited, which is really, really nice; and to select the mode to use for the matte (alpha, luminance, lightness, etc); among other options, but you'll have to pay for it (~30$).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QVkhB.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QVkhB.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the problems with both plugins are that :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If the matte / matted layer geometry (scale, position, etc) differs or are animated, the plugins will fail to keep them &quot;synced&quot; and you'll get weird offsets.  You could eventually parent them, but that brings other problems (what if I want to rotate my matte layer ?  The matted layer will rotate too :/ )&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3u4gI.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3u4gI.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If you copy a layer which has a set matte effect on it, the &lt;em&gt;Take Matte From Layer&lt;/em&gt; value is lost when pasting the layer, which is really annoying since you'll quickly won't remember where which layer is used as matte.&lt;/li&gt;&#xA;&lt;li&gt;If you use a layer (&lt;em&gt;matte&lt;/em&gt;) that already have a set matte effect on it AS matte for another layer (&lt;em&gt;matted&lt;/em&gt;); &lt;em&gt;matted&lt;/em&gt; will be matted with &lt;em&gt;matte&lt;/em&gt; WITHOUT considering the set matte effects applyed on &lt;em&gt;matte&lt;/em&gt;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;bs-Smart Set Matte&lt;/em&gt; responds poorly when applyed on text layers.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h2&gt;Well, my head hurts.&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I'm sure I'm not the only person facing those problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I would dream of is a set matte effect which would have advanced options as &lt;em&gt;bs-Smart Set Matte&lt;/em&gt; has, and above all an &lt;strong&gt;ignore transformations&lt;/strong&gt; option, avoiding the offsets issue described above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any hints ?&lt;/p&gt;&#xA;" OwnerUserId="15961" LastActivityDate="2016-11-18T13:20:32.790" Title="Best workflow for working with mattes in After Effects" Tags="|after-effects|plugins|compositing|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19877" PostTypeId="2" ParentId="19788" CreationDate="2016-11-18T14:33:42.293" Score="6" Body="&lt;p&gt;It's an issue with new video drivers. Everything is fine with video driver &lt;a href=&quot;http://www.nvidia.com/Download/driverResults.aspx/98373/en-us&quot; rel=&quot;nofollow noreferrer&quot;&gt;361.28&lt;/a&gt; and lower.&#xA;I already sent this issue to NVIDIA Support with Reference Number 161118-000164 &lt;br&gt;&lt;br&gt;&#xA;UPDATE: This issue has been resolved from the &lt;a href=&quot;http://www.nvidia.com/Download/driverResults.aspx/114708/en-us&quot; rel=&quot;nofollow noreferrer&quot;&gt;375.39&lt;/a&gt; driver.&lt;br&gt; It allows keep interlacing on Pascal 10x video cards.&lt;/p&gt;&#xA;" OwnerUserId="14107" LastEditorUserId="14107" LastEditDate="2017-02-20T14:22:41.003" LastActivityDate="2017-02-20T14:22:41.003" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19878" PostTypeId="1" CreationDate="2016-11-18T20:10:38.937" Score="2" ViewCount="966" Body="&lt;p&gt;I'd like to overlay a png onto a video at a certain timestamp and have the video pause (loop) on that frame for X seconds with the overlay.  What would be the best method to accomplish this?&lt;/p&gt;&#xA;" OwnerUserId="17105" LastActivityDate="2017-10-15T11:15:00.370" Title="pause video with overlay ffmpeg" Tags="|ffmpeg|timecode|photos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19879" PostTypeId="1" CreationDate="2016-11-19T00:25:40.553" Score="1" ViewCount="1235" Body="&lt;p&gt;I'm having fun with HitFilm software and playing with my kids to make movies. I'd like to add some VFX to our creations. Where can I find a good bunch of stock video and audio effects? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Usually our movies are Full HD resolution. &lt;/p&gt;&#xA;" OwnerUserId="12201" LastActivityDate="2020-05-29T13:03:56.493" Title="Where can I find good free quality VFX effects stock library?" Tags="|visual-effects|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19881" PostTypeId="2" ParentId="19879" CreationDate="2016-11-19T01:41:41.480" Score="2" Body="&lt;p&gt;I've just found this nice &lt;a href=&quot;http://videoandfilmmaker.com/wp/index.php/free-stuff/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video &amp;amp; Filmmaker Magazine&lt;/a&gt; list of free stuff.&#xA;Some of them:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/user/acterencom/videos&quot; rel=&quot;nofollow noreferrer&quot;&gt;Chroma Key Backgrounds&lt;/a&gt; &lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.cutestockfootage.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Cute Stock Footage&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://lightleaklove.com/products/light-free&quot; rel=&quot;nofollow noreferrer&quot;&gt;LightLeakLove&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="12201" LastActivityDate="2016-11-19T01:41:41.480" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19882" PostTypeId="2" ParentId="3018" CreationDate="2016-11-19T02:40:25.290" Score="1" Body="&lt;p&gt;I can't really compare with other software, but I  really like &lt;a href=&quot;https://hitfilm.com/express&quot; rel=&quot;nofollow noreferrer&quot;&gt;HitFilm Express 4&lt;/a&gt;. I've done everything you said in it. This basic version is free, has some &lt;a href=&quot;https://hitfilm.com/video-tutorials&quot; rel=&quot;nofollow noreferrer&quot;&gt;excellent tutorials&lt;/a&gt;. It isn't a dumbed down NLE software. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I enjoyed the free online course &lt;a href=&quot;https://www.futurelearn.com/courses/vfx-for-filmmakers&quot; rel=&quot;nofollow noreferrer&quot;&gt;Visual Effects for Guerrilla Filmmakers&lt;/a&gt; that uses it as a tool. It is really fun to make some special effects in your family videos. The kids love it.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know your time frame, but some of the things you desire aren't completely trivial. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you like it and decide to invest more time/money, you can buy some advanced packs or the full Pro version. &lt;/p&gt;&#xA;" OwnerUserId="12201" LastEditorUserId="12201" LastEditDate="2017-02-01T22:55:27.500" LastActivityDate="2017-02-01T22:55:27.500" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19883" PostTypeId="2" ParentId="19873" CreationDate="2016-11-19T03:25:26.863" Score="6" Body="&lt;p&gt;To extract frame # &lt;code&gt;x&lt;/code&gt; through &lt;code&gt;y&lt;/code&gt;, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf select='between(n\,x\,y)' -vsync 0 frames%d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-02-06T15:09:52.557" LastActivityDate="2019-02-06T15:09:52.557" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="19884" PostTypeId="2" ParentId="19878" CreationDate="2016-11-19T03:50:53.380" Score="2" Body="&lt;p&gt;Let's call the video frame rate &lt;code&gt;F&lt;/code&gt;. And the start time of the overlay &lt;code&gt;t&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -i ol.png -filter_complex&#xA;         &quot;[0]trim=0:t,loop=X*F:1:t*F,setpts=N/FRAME_RATE/TB[fol];&#xA;          [0]trim=t,setpts=N/FRAME_RATE/TB[post]&#xA;          [fol][1]overlay[pre];[pre][post]concat&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The loop filter accepts frame index numbers, so you have to convert your start time and loop time to frame counts and substitute with those values.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-19T03:50:53.380" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19886" PostTypeId="1" CreationDate="2016-11-19T10:03:22.863" Score="2" ViewCount="23331" Body="&lt;p&gt;I own a SJ4000 action cam with WIFI function. The latter allows it to connect the camera to my phone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to livestream a sports event. Is it somehow possible to stream the video from my phone? If it is easier to set up with a laptop, this would also be an option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you for your help!&lt;/p&gt;&#xA;" OwnerUserId="17242" LastActivityDate="2023-05-02T21:23:18.143" Title="How to set up a Livestream from SJ4000 Wifi?" Tags="|streaming|action-cam|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19887" PostTypeId="2" ParentId="19857" CreationDate="2016-11-19T11:00:34.160" Score="1" Body="&lt;p&gt;Getting a shoulder rig or some type three point contact with your body makes the movement smoother, other options are the tripod one wheels as prev advised. 2nd part of the question DONT use auto for exposure or focus, do it all manually, if your exposing for indoors as soon as an outside source (window, open door, etc) it will blow out the exposure as it is much brighter, simple fix is to avoid these so planning your shots is a big must here. Otherwise just live with the bright parts as unless you start using skrims or blackouts outside the building you are going to run into these issues.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2016-11-19T11:00:34.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19888" PostTypeId="2" ParentId="19794" CreationDate="2016-11-19T15:36:27.097" Score="0" Body="&lt;p&gt;It's not really an off-the-shelf solution but, for multi-cam recordings, one company I work with built 2 PCs equipped with a Matrox VS4 &quot;Quad HD Capture Card&quot;. The card is equipped with 4 SDI inputs and can synchronise the recordings on the 4 inputs so that the video files can be dropped into your favourite video editing software with the cameras synced for multicam editing. We can also network the 2 PCs together and record 8 channels of video simultaneously.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In addition to the cost of the card itself, to unlock the synchronised recording capabilities, you need to purchase a licence for the Matrox VS4Recorder Pro software, so it's not a cheap option, but maybe you can find a rental house that has built a similar machine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For streaming, the card is recognised by Wirecast, and provides 4 independent sources.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One downside is that, by default, the card encodes using the Matrox MPEG2 or DVCPro codec, so you need to install their codecs on whatever system you use to edit. The cards can, theoretically, encode in h264 but this depends on the compatibility of the graphics card and motherboard in the machine, and I never managed to get this working.&lt;/p&gt;&#xA;" OwnerUserId="17014" LastActivityDate="2016-11-19T15:36:27.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19889" PostTypeId="1" CreationDate="2016-11-19T21:28:42.813" Score="2" ViewCount="394" Body="&lt;p&gt;I'm working on this video, football theme. i was wondering how I can give the ball a simulation of a comet or a cannon ball? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example when a player makes a strong shot i want it to look as if it was shot from a cannon or sth with fire effects. is there a tutorial for this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Appreciate your help! Thank you&lt;/p&gt;&#xA;" OwnerUserId="17246" LastActivityDate="2017-10-23T06:05:01.420" Title="How to create a fireball effect with After Effects?" Tags="|after-effects|premiere|youtube|adobe|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19891" PostTypeId="1" CreationDate="2016-11-20T00:52:16.240" Score="1" ViewCount="2260" Body="&lt;p&gt;I have a problem with Sony Vegas. When ever I import too many .MOV files, Sony Vegas Pro 13, doesn't accept them, so they are black in the preview screen. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if I import only 4 or 5 .MOV files to Vegs, it accepts them and I can see the clips in the preview screen. But when I go over that limit of 4 or 5, Sony Vegas doesn't accept the .MOV files, and now all of the clips are black in preview.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I make it so that I can import as many .MOV files as I want to SonyVegas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have Quicktime installed and also unchecked the option in preferences&gt;video that says something like close media when other apps are open.&lt;/p&gt;&#xA;" OwnerUserId="17249" LastActivityDate="2017-04-13T08:35:28.463" Title="How to import many .MOV files to Sony Vegas?" Tags="|video-editor|editing|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19892" PostTypeId="1" AcceptedAnswerId="19896" CreationDate="2016-11-20T02:14:57.630" Score="1" ViewCount="36" Body="&lt;p&gt;I am insterested in buying a new Macro lens for my sony a7s II. The only thing is that the lens I want &lt;a href=&quot;https://www.bhphotovideo.com/bnh/controller/home?O=&amp;amp;sku=1132696&amp;amp;gclid=CjwKEAiAjcDBBRCJxouz9fWHynwSJADaJg9BniNAsTl2E1IozN7Dz88XdPbPK_udOt2Ac_djhGhmpxoCKk7w_wcB&amp;amp;is=REG&amp;amp;ap=y&amp;amp;m=Y&amp;amp;c3api=1876%2C92051677442%2C&amp;amp;Q=&amp;amp;A=details&quot; rel=&quot;nofollow noreferrer&quot;&gt;Rokinon 100mm macro&lt;/a&gt; for the emount is around $500 and the one for the K-mount is around $350. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What will happen if I buy an adapter to the K mount lens and use it that way. Will the picture quality be affected. If so, by how much. What would I be losing or risking by doing that? I am using the lens mainly for closeups in videos. &lt;/p&gt;&#xA;" OwnerUserId="10674" LastActivityDate="2016-11-20T10:16:32.263" Title="Using a K-mount lens for Emount camera" Tags="|lenses|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19893" PostTypeId="2" ParentId="19891" CreationDate="2016-11-20T04:28:36.423" Score="1" Body="&lt;p&gt;This is a &lt;a href=&quot;https://www.vegascreativesoftware.info/us/forum/help-limited-number-of-imported-clips--84777/&quot; rel=&quot;nofollow noreferrer&quot;&gt;known problem&lt;/a&gt;. Quicktime for Windows is 32-bit only, and that presents a memory ceiling for the QT handler/decoder. What's worked for me, including in a current project, where I'm working with hundreds of of 5D MkIII files, is to import in batches. Once done, I have no issues loading or working with the project even if many of those are used on the timeline. I should say that often I'm able to import many clips without needing to divide the import step into batches.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As suggested in the linked forum thread, try rolling back to &lt;a href=&quot;http://filehippo.com/download_quicktime_player/5704/&quot; rel=&quot;nofollow noreferrer&quot;&gt;QT 7.6.2&lt;/a&gt; or &lt;a href=&quot;http://filehippo.com/download_quicktime_alternative/6077/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Quicktime Alternative&lt;/a&gt;, and see if that provides a more permanent solution.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-11-20T06:00:09.413" LastActivityDate="2016-11-20T06:00:09.413" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19894" PostTypeId="1" CreationDate="2016-11-20T07:21:53.490" Score="5" ViewCount="1214" Body="&lt;p&gt;I'm looking for an affordable tool to edit video on Windows with the following features:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;sharpness adjustment&lt;/li&gt;&#xA;&lt;li&gt;color correction&lt;/li&gt;&#xA;&lt;li&gt;noise reduction&lt;/li&gt;&#xA;&lt;li&gt;stabilization&lt;/li&gt;&#xA;&lt;li&gt;matching color and brightness between different clips&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I saw lots of people recommending Adobe Premiere Elements as a general video editing tool. Is it good enough for my purpose? If not, do you have any recommendation?&lt;/p&gt;&#xA;" OwnerUserId="17250" LastEditorUserId="6273" LastEditDate="2017-03-17T17:34:20.043" LastActivityDate="2017-03-17T17:34:20.043" Title="Is Adobe Premiere Elements good enough for video editing?" Tags="|premiere|video-editor|premiere-elements|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19896" PostTypeId="2" ParentId="19892" CreationDate="2016-11-20T10:16:32.263" Score="3" Body="&lt;p&gt;If you have your heart set on that particular lens, go for it! That's exactly what adapters are built for, after all. I have a &lt;em&gt;Pentax 50mm F1.7&lt;/em&gt; that I use with a K-Mount to EF-Mount adapter on my EOS 80D, and I love it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, there are a couple of considerations.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Image quality&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;The image quality should be largely unaffected. However, the adapter you use is an additional piece of metal/plastic between camera and lens that the manufacturer did not plan for. This might ever so slightly reduce the cameras speed, but in practice, I don't think you will even notice that. Another consideration is that even the smalles of adapters functions like an extension ring. This means it might slightly shift the focus range towards the camera. This might reduce the minimal focusing distance. In turn you might lose the ability to focus on infinity. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a couple of &lt;em&gt;might&lt;/em&gt;'s in there, as it all depends on the specific lens and mainly on the quality of the adapter. The first &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B003X19WZC&quot; rel=&quot;nofollow noreferrer&quot;&gt;cheap adapter I found&lt;/a&gt; claims to allow lens focus to infinity, so it doesn't seem to be much of a problem in pracitcality. I wouldn't worry about those things too much.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Technical limitations&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Depending on your filming habits, this might be a larger problem for you. Most (if not all, not quite sure) adapters you will find are purely mechanical, meaning there is no electronic communication between the camera and the lens. This has a few effects:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;No autofocus (mostly).&lt;/strong&gt; You might have to focus manually. My K-Mount to EF-Mount adapter has an &lt;em&gt;autofocus confirm chip&lt;/em&gt;. With this, my camera will confirm whether my selected focus point is in focus when I press the AF-button. So I can manually focus and then check if it's focused properly by pressing the AF button. I only use that lens for photography though, manual focus only will probably be more of an issue if you're using the lens for filming.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Manual only.&lt;/strong&gt; If the camera can't communicate with the lens, it can't control the aperture as well (nor know what aperture you set the lens to). So you have to manually set the aperture. This might also throw off your camera's auto exposure, so you will mostly be limited to using your camera fully manual.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Missing or wrong EXIF data.&lt;/strong&gt; No communication means all the lens-dependent parameters such as lens model, focal length and aperture won't be recorded into your EXIF data / metadata. Some adapters have an EXIF-chip that present the camera with static info. My own adapter tells the camera that a 50mm lens with f/1.4 is mounted, independent of what lens I use it with or what aperture I set it to. This means, for example, that I won't be able to find out what aperture a particular shot was taken with afterwords. Depending on your editing needs and habits, this might either not be a problem at all or utterly disrupt your workflow.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-11-20T10:16:32.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19897" PostTypeId="2" ParentId="19894" CreationDate="2016-11-20T10:40:57.993" Score="7" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Is Adobe Premiere Elements good enough for video editing?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In general, yes. It is a watered down Version of Premiere Pro for people that would be overwhelmed  by a full-featured professional editing tool and just want to cut their video easily and quickly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This means that a lot of the features of Premiere Pro will only be available in a simplified variation, for example in the form of presets or complex effects being boiled down to a couple of easy to understand sliders and checkboxes that do most of the work 'under the hood'. You basically exchange precision control for ease of use and simplicity.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Checking the software's feature range&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Look through the software manufacturer's website and documentation/manual to find out if it has all the features you want. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;color correction&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;From the &lt;a href=&quot;http://www.adobe.com/products/premiere-elements/features.html#edit&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe Elements Features page&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;h3&gt;Pop a color for instant wow&lt;/h3&gt;&#xA;  &#xA;  &lt;p&gt;Get the effects you’re after with Guided Edits. Create visual drama by popping one or more colors in a scene and pushing everything else to black-and-white.&lt;/p&gt;&#xA;  &#xA;  &lt;h3&gt;Show your true colors&lt;/h3&gt;&#xA;  &#xA;  &lt;p&gt;Sliders let you adjust clip color as easily as adjusting the color in a photo.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The problem with this method is that Premiere Elements is a consumer-oriented product and not intended for professional video editing. So the marketing material is pretty inprecise as well. I have no idea what '&lt;em&gt;pop a color for instant wow&lt;/em&gt;' is supposed to mean. Ignore the marketing babble, use Google image search to find relevant screenshots or search for video tutorials to see the respective functions in action.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Looking for specific features&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Google Search for &lt;code&gt;[software name] + [feature designation]&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, for video stabilization:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Google Search for '&lt;a href=&quot;https://www.google.de/search?q=premiere%20elements%20stabilization&quot; rel=&quot;nofollow noreferrer&quot;&gt;Premiere Elements video stabilization&lt;/a&gt;'. The first result is &lt;a href=&quot;https://www.google.de/search?q=premiere%20elements%20stabilization&quot; rel=&quot;nofollow noreferrer&quot;&gt;this page&lt;/a&gt; which has a video that demonstrates the video stabilization feature in Premiere Elements. If you find no official links and instead get a couple of forum threads where people ask for that specific feature and get no useful answers, you can assume it isn't present in the software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also make sure that the results are up-to-date and apply to the current version of Premiere Elements. If you only get outdated search results, append the current version number/designation of the software to your search term or use &lt;a href=&quot;https://www.google.com/advanced_search&quot; rel=&quot;nofollow noreferrer&quot;&gt;advanced search&lt;/a&gt; to only find results that have been updated recently.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2016-11-21T23:05:40.453" LastActivityDate="2016-11-21T23:05:40.453" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19899" PostTypeId="1" AcceptedAnswerId="19993" CreationDate="2016-11-20T22:03:58.787" Score="0" ViewCount="87" Body="&lt;p&gt;I need to transcode 720p AVC videos to Xvid because they need to be played on a Samsung DVD player. The player can handle maximum 448 pixel high videos and automatically scales the picture up to 1080p for the full HD TV. Now the question is, should I downscale to 448p for the highest theoretical resolution or 360p because it's exactly 1/4 of the source's and 1/9 of the TV's resolution?&lt;/p&gt;&#xA;" OwnerUserId="14374" LastActivityDate="2016-11-28T09:58:45.330" Title="Biggest possible resolution or go for common denominator?" Tags="|ffmpeg|television|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19900" PostTypeId="2" ParentId="15905" CreationDate="2016-11-21T05:24:44.820" Score="1" Body="&lt;p&gt;Here's what I do, however I will admit Premiere's buggyness seems to flare up with this workaround.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Sync the cameras into a multicam seq&lt;/li&gt;&#xA;&lt;li&gt;Open the multicam seq&lt;/li&gt;&#xA;&lt;li&gt;Nest each camera angle (track) into its own seq&lt;/li&gt;&#xA;&lt;li&gt;Open each camera angle seq and ad an adjustment layer to correct all clips to match other camera angles&lt;/li&gt;&#xA;&lt;li&gt;Open the multicam seq in the source monitor&lt;/li&gt;&#xA;&lt;li&gt;Set I/O point for a notable moment&lt;/li&gt;&#xA;&lt;li&gt;Drag image from source monitor to project panel (creating a duplicate multicam seq which holds your latest I/O data)&lt;/li&gt;&#xA;&lt;li&gt;Name that duplicated multicam seq based on the description of the moment&lt;/li&gt;&#xA;&lt;li&gt;Since each copy of the multicam seq has inside it a separate instance of the camera angle sequences any CC effects you apply to the camera angle sequences in one copy of the multicam clip will not be replicated in the other multicam copies.  By doing CC via the adjustment layer inside each root camera angle sequence you can make CC changes to the camera angles at any time and they will be instantly reflected in every multicam copy used.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;As you can see this level of nesting nears inception insanity and Premiere can bug out a bit.  &lt;strong&gt;The biggest warning is to make sure all your audio sources and sequences/multicams are the same sample rate or else your exports are going to take ages for audio previews (Adobe please fix this).&lt;/strong&gt; If for example you recorded with a 96K external recorder and your clips all have 48K audio, I recommend turning all your sequences 96K and deleting all other audio in your sequences. In terms of audio also don't add any audio effects (this includes volume changes) in your nested sequence or audio waveforms won't show up.&lt;/p&gt;&#xA;" OwnerUserId="17257" LastEditorUserId="10619" LastEditDate="2017-04-14T00:05:59.267" LastActivityDate="2017-04-14T00:05:59.267" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19901" PostTypeId="1" CreationDate="2016-11-21T08:37:04.520" Score="0" ViewCount="1631" Body="&lt;p&gt;in my current project I am working in an sRGB colour space (32bpc) with the option &quot;linearize workflow&quot; enabled.&#xA;My composition looks fine in after effects, but after exporting to mp4 using H.264 Codec, the colours don't look the same, especially the very lights one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SomXL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SomXL.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the image above shows the difference. On the left hand side you see the colours after export and on the right hand side is how the colours look in after effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I missing here?&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2016-11-21T08:37:04.520" Title="Wrong colours after exporting to MP4 using H.264 Codec" Tags="|after-effects|h.264|color-grading|export|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19902" PostTypeId="2" ParentId="19899" CreationDate="2016-11-21T16:36:53.120" Score="0" Body="&lt;p&gt;Assuming the player can rescale the video to Full HD fast enough, I would output to the highest resolution acceptable. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-21T16:36:53.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19904" PostTypeId="1" CreationDate="2016-11-21T20:07:35.270" Score="1" ViewCount="120" Body="&lt;p&gt;I am not sure that a silhouette is the best word. I am doing a cinematic scene in which the &quot;Mystery character&quot; is sitting in a chair, and I want his face to look blacked out/&quot;silhouetted&quot; so you can't see his facial features.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do have adobe After Effects, in case I can do it in the editing process.&lt;/p&gt;&#xA;" OwnerUserId="16974" LastActivityDate="2016-11-21T20:50:50.310" Title="How would I silhouette someone's face?" Tags="|video-editor|editing|adobe|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19905" PostTypeId="2" ParentId="19904" CreationDate="2016-11-21T20:50:50.310" Score="2" Body="&lt;p&gt;A silhouette is often created by having a person with zero lighting on him/her, positioned in front of a brightly-lit background.  However, you'd need to do camera tests to confirm that the contrast is high enough so you don't see the person's face.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can emphasize this in Adobe After Effects by creating an oval (face-shaped) mask that is black and partially/mostly opaque, with fuzzy edges.  Position this over the mystery person's face and animate it to follow their movements.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are many other options for hiding a mystery person's face.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Have the person's back to the camera.&lt;/li&gt;&#xA;&lt;li&gt;Only shoot the person from the shoulders down, so their face is not in the shot.&lt;/li&gt;&#xA;&lt;li&gt;Only show the shadow of the person's face, on a flat surface that is lightly colored (white, yellow, etc.).&lt;/li&gt;&#xA;&lt;li&gt;Similar to the previous idea, the mystery person could be behind a white sheet, with a bright light even farther behind the person, so a silhouette of the person appears on the white sheet. Make sure to reduce or eliminate light on the same side of the sheet as the camera; if there's too much, the shadow will be washed out.&lt;/li&gt;&#xA;&lt;li&gt;Position the person behind a sheet of shower glass or something similar so they are visible but indistinguishable.&lt;/li&gt;&#xA;&lt;li&gt;Just put a bag over their head.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2016-11-21T20:50:50.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19906" PostTypeId="1" AcceptedAnswerId="19907" CreationDate="2016-11-20T22:45:58.183" Score="3" ViewCount="8191" Body="&lt;p&gt;I am a brand new amateur photographer, so I really needing a lot of input from other users, for example..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just notice yesterday while recording some video with my Nikon D5200 that I can't record video using only the eyecup view !&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Only when I was using the live view mode, I could press the record button and record video, why is this happening?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is that, the monitor is one of the camera functions that drain most of my battery!!! I record three videos of 20 minutes and I it's dead, because the screen is always on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, actually I have two questions:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Can I record video using only the eyecup mode (without live-view)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) If it's not possible, then, can I use live view mode but just turn off the LCD monitor?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you so much for your help!&#xA;Looking forward for your answer, I am loving learning photography, still need a lot of information :)&lt;/p&gt;&#xA;" OwnerDisplayName="TiagoM" LastActivityDate="2016-11-21T22:33:34.197" Title="Record video without Live View / Turning off Monitor while Recording" Tags="|nikon|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19907" PostTypeId="2" ParentId="19906" CreationDate="2016-11-20T23:14:52.510" Score="6" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;I can't record video using only the eyecup view&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;D5200 is an SLR, that is a &lt;em&gt;single-lens reflex camera&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As opposed to mirrorless cameras, SLRs use a mirror which sends the image which passes through the lens to the top where, with the help of a pentaprism, the light is redirected to the viewfinder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you shot a photo, the mirror is raised, letting the light through. Behind this mirror is situated the film, or, in digital SLRs, the sensor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on the position of the mirror, the light arrives to either the sensor, or the viewfinder. Never both. You can, by the way, see it very easily: shot a photo at 1/2 of a second while looking through the viewfinder: you'll see that it becomes dark for half a second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you're recording a video, the mirror is raised during the entire recording: the light which passes through the lens hits directly the sensor. The same thing happens with Live View—the only difference with video recording is just that the signal received by the sensor is not recorded to the memory card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could you disable the LCD screen when shooting a video? I don't remember seeing anything like that in the options, and it wouldn't be particularly useful, since it's kinda useful to be able to watch what you're shooting. However, if you're using a remote controller (such as a tablet or a PC), then the LCD screen on the camera is turned off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Why wouldn't the mirror move up and down constantly when shooting the video, letting you look through the viewfinder?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a lot of reasons for that, including the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The image will look darker, since a part of the light will need to reach the sensor.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Flipping the mirror up and down twenty-five to sixty times per second would make a lot of noise, and lead to camera shake.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Looking through the viewfinder when shooting a video isn't very practical.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The last point, specifically, leads me to another aspect. I imagine that your original question is motivated by the fact that it's difficult to view anything on the LCD screen in a bright day. For that, different accessories exist. Most popular ones are &lt;a href=&quot;https://www.bhphotovideo.com/c/product/682687-REG/Zacuto_Z_FIND_PRO2_Z_Finder_Pro_2_5x.html&quot; rel=&quot;noreferrer&quot;&gt;the viewfinder which fixes itself directly on the LCD screen&lt;/a&gt; like that:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gVGDQ.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gVGDQ.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;as well as the external monitors which look like that:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xKNyQ.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xKNyQ.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a much less expensive alternative: use a tablet as an external monitor. However, the quality of a professional external monitor is much higher than a tablet, especially noticeable when you have to work outside on a sunny day.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;My problem is that, the monitor is one of the camera functions that drain most of my battery!!! I record three videos of 20 minutes and I it's dead, because the screen is always on.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;No, it's not. While the LCD screen consumes some power, what actually drains the battery is the recording itself, i.e. the processing of the light received by the sensor into a video file on your memory card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that there are accessories for that too. &lt;a href=&quot;http://www.nikonusa.com/en/nikon-products/product/power-adapters/eh-5b-ac-adapter.html&quot; rel=&quot;noreferrer&quot;&gt;Power adapters&lt;/a&gt; make it possible to use the camera without battery, so if you're shooting videos in a studio, this could be an option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For some DSLRs, Nikon also sells battery grips which are connected to the bottom of the camera. It looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vDEqv.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vDEqv.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, it seems that Nikon doesn't have grips for D5200. There are third-party ones, but be careful when purchasing them, since low quality ones can damage your camera. High quality ones are usually rather expensive ($200 to $600).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another solution consists of buying spare batteries. When one is depleted, you use another one, while recharging the first. Having three or four batteries is not that unusual.&lt;/p&gt;&#xA;" OwnerUserId="6250" OwnerDisplayName="Arseni Mourzenko" LastActivityDate="2016-11-20T23:38:50.047" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="19909" PostTypeId="5" CreationDate="2016-11-22T07:08:38.210" Score="0" Body="&lt;p&gt;Nvidia's dedicated H.264, HEVC hardware on the GPU chip that performs video encoding.&lt;br&gt;&#xA;More information at &lt;a href=&quot;https://en.wikipedia.org/wiki/Nvidia_NVENC&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Nvidia_NVENC&lt;/a&gt; &lt;br&gt; and &lt;a href=&quot;https://developer.nvidia.com/nvidia-video-codec-sdk&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://developer.nvidia.com/nvidia-video-codec-sdk&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14107" LastEditorUserId="14107" LastEditDate="2016-11-22T09:59:29.910" LastActivityDate="2016-11-22T09:59:29.910" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19910" PostTypeId="4" CreationDate="2016-11-22T07:08:38.210" Score="0" Body="Nvidia's dedicated H.264, HEVC hardware on the GPU chip that performs video encoding." OwnerUserId="14107" LastEditorUserId="14107" LastEditDate="2016-11-22T09:59:43.870" LastActivityDate="2016-11-22T09:59:43.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19911" PostTypeId="1" AcceptedAnswerId="19912" CreationDate="2016-11-22T08:30:55.137" Score="2" ViewCount="220" Body="&lt;p&gt;is it possible to precisely concatenate multiple DNxHR (HQ) videos into one without re-encoding?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems that &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg can only handle MPEG streams&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="17265" LastActivityDate="2020-11-06T12:49:31.923" Title="Joining / Concat DNxHR HQ *without* re-encoding" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19912" PostTypeId="2" ParentId="19911" CreationDate="2016-11-22T09:51:11.390" Score="3" Body="&lt;p&gt;As long as the streams have the same properties - resolution, pixel format, timebase, reference frame count, then they can be concatenated by ffmpeg. Strictly speaking, FFmpeg will concat non-matching streams, only throwing warnings for discontinuous timestamps in the input streams, but that output will not be accepted by most (or any) players.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2020-11-06T12:49:31.923" LastActivityDate="2020-11-06T12:49:31.923" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="19913" PostTypeId="1" CreationDate="2016-11-22T12:25:31.940" Score="0" ViewCount="1881" Body="&lt;p&gt;I'm using &lt;code&gt;ffprobe&lt;/code&gt; to get timecode from an &lt;code&gt;mxf&lt;/code&gt; which has DF timecode but with a non DF frame rate. I'm getting the error &lt;code&gt;Drop frame is only allowed with 30000/1001 or 60000/1001 FPS&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm running &lt;code&gt;ffprobe -i &quot;IMX 10bit.mxf&quot; -print_format json -show_streams -show_format&lt;/code&gt; and getting the following:    &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version 3.2 Copyright (c) 2007-2016 the FFmpeg developers&#xA;  built with gcc 5.4.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-dxva2 --enable-libmfx --enable-nvenc --enable-avisynth --enable-bzlib --enable-libebur128 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55. 34.100 / 55. 34.100&#xA;  libavcodec     57. 64.100 / 57. 64.100&#xA;  libavformat    57. 56.100 / 57. 56.100&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;{&#xA;[mxf @ 0000000000da9740] Drop frame is only allowed with 30000/1001 or 60000/1001 FPS&#xA;Input #0, mxf, from 'IMX 10bit.mxf':&#xA;  Metadata:&#xA;    uid             : 2b3801ea-ec5e-4dc1-ab3a-dba9a2b30ce4&#xA;    generation_uid  : 2b3801ea-ec5e-4dc2-ab3a-dba9a2b30ce4&#xA;    product_uid     : 00000000-0000-0000-0000-000000000000&#xA;    modification_date: 2009-11-04T10:39:42.000000Z&#xA;    material_package_umid: 0x060A2B340101010501010D43130000005C91020063D700800210F3FFFE154618&#xA;  Duration: 00:00:19.52, start: 0.000000, bitrate: 62580 kb/s&#xA;    Stream #0:0: Video: mpeg2video (4:2:2), yuv422p(tv, top first), 720x608 [SAR 152:135 DAR 4:3], 50000 kb/s, 25 fps, 25 tbr, 25 tbn, 50 tbc&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D43130000005D91020063D700800210F3FFFE154618&#xA;    Stream #0:1: Audio: pcm_s24le, 48000 Hz, 4 channels, s32 (24 bit), 4608 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D43130000005D91020063D700800210F3FFFE154618&#xA;    &quot;streams&quot;: [&#xA;        {&#xA;            &quot;index&quot;: 0,&#xA;            &quot;codec_name&quot;: &quot;mpeg2video&quot;,&#xA;            &quot;codec_long_name&quot;: &quot;MPEG-2 video&quot;,&#xA;            &quot;profile&quot;: &quot;4:2:2&quot;,&#xA;            &quot;codec_type&quot;: &quot;video&quot;,&#xA;            &quot;codec_time_base&quot;: &quot;1/25&quot;,&#xA;            &quot;codec_tag_string&quot;: &quot;[0][0][0][0]&quot;,&#xA;            &quot;codec_tag&quot;: &quot;0x0000&quot;,&#xA;            &quot;width&quot;: 720,&#xA;            &quot;height&quot;: 608,&#xA;            &quot;coded_width&quot;: 0,&#xA;            &quot;coded_height&quot;: 0,&#xA;            &quot;has_b_frames&quot;: 0,&#xA;            &quot;sample_aspect_ratio&quot;: &quot;152:135&quot;,&#xA;            &quot;display_aspect_ratio&quot;: &quot;4:3&quot;,&#xA;            &quot;pix_fmt&quot;: &quot;yuv422p&quot;,&#xA;            &quot;level&quot;: 5,&#xA;            &quot;color_range&quot;: &quot;tv&quot;,&#xA;            &quot;chroma_location&quot;: &quot;topleft&quot;,&#xA;            &quot;field_order&quot;: &quot;tt&quot;,&#xA;            &quot;refs&quot;: 1,&#xA;            &quot;r_frame_rate&quot;: &quot;25/1&quot;,&#xA;            &quot;avg_frame_rate&quot;: &quot;25/1&quot;,&#xA;            &quot;time_base&quot;: &quot;1/25&quot;,&#xA;            &quot;start_pts&quot;: 0,&#xA;            &quot;start_time&quot;: &quot;0.000000&quot;,&#xA;            &quot;duration_ts&quot;: 488,&#xA;            &quot;duration&quot;: &quot;19.520000&quot;,&#xA;            &quot;bit_rate&quot;: &quot;50000000&quot;,&#xA;            &quot;disposition&quot;: {&#xA;                &quot;default&quot;: 0,&#xA;                &quot;dub&quot;: 0,&#xA;                &quot;original&quot;: 0,&#xA;                &quot;comment&quot;: 0,&#xA;                &quot;lyrics&quot;: 0,&#xA;                &quot;karaoke&quot;: 0,&#xA;                &quot;forced&quot;: 0,&#xA;                &quot;hearing_impaired&quot;: 0,&#xA;                &quot;visual_impaired&quot;: 0,&#xA;                &quot;clean_effects&quot;: 0,&#xA;                &quot;attached_pic&quot;: 0,&#xA;                &quot;timed_thumbnails&quot;: 0&#xA;            },&#xA;            &quot;tags&quot;: {&#xA;                &quot;file_package_umid&quot;: &quot;0x060A2B340101010501010D43130000005D91020063D700800210F3FFFE154618&quot;&#xA;            }&#xA;        },&#xA;        {&#xA;            &quot;index&quot;: 1,&#xA;            &quot;codec_name&quot;: &quot;pcm_s24le&quot;,&#xA;            &quot;codec_long_name&quot;: &quot;PCM signed 24-bit little-endian&quot;,&#xA;            &quot;codec_type&quot;: &quot;audio&quot;,&#xA;            &quot;codec_time_base&quot;: &quot;1/48000&quot;,&#xA;            &quot;codec_tag_string&quot;: &quot;[0][0][0][0]&quot;,&#xA;            &quot;codec_tag&quot;: &quot;0x0000&quot;,&#xA;            &quot;sample_fmt&quot;: &quot;s32&quot;,&#xA;            &quot;sample_rate&quot;: &quot;48000&quot;,&#xA;            &quot;channels&quot;: 4,&#xA;            &quot;bits_per_sample&quot;: 24,&#xA;            &quot;r_frame_rate&quot;: &quot;0/0&quot;,&#xA;            &quot;avg_frame_rate&quot;: &quot;0/0&quot;,&#xA;            &quot;time_base&quot;: &quot;1/48000&quot;,&#xA;            &quot;start_pts&quot;: 0,&#xA;            &quot;start_time&quot;: &quot;0.000000&quot;,&#xA;            &quot;duration_ts&quot;: 936960,&#xA;            &quot;duration&quot;: &quot;19.520000&quot;,&#xA;            &quot;bit_rate&quot;: &quot;4608000&quot;,&#xA;            &quot;bits_per_raw_sample&quot;: &quot;24&quot;,&#xA;            &quot;disposition&quot;: {&#xA;                &quot;default&quot;: 0,&#xA;                &quot;dub&quot;: 0,&#xA;                &quot;original&quot;: 0,&#xA;                &quot;comment&quot;: 0,&#xA;                &quot;lyrics&quot;: 0,&#xA;                &quot;karaoke&quot;: 0,&#xA;                &quot;forced&quot;: 0,&#xA;                &quot;hearing_impaired&quot;: 0,&#xA;                &quot;visual_impaired&quot;: 0,&#xA;                &quot;clean_effects&quot;: 0,&#xA;                &quot;attached_pic&quot;: 0,&#xA;                &quot;timed_thumbnails&quot;: 0&#xA;            },&#xA;            &quot;tags&quot;: {&#xA;                &quot;file_package_umid&quot;: &quot;0x060A2B340101010501010D43130000005D91020063D700800210F3FFFE154618&quot;&#xA;            }&#xA;        }&#xA;    ],&#xA;    &quot;format&quot;: {&#xA;        &quot;filename&quot;: &quot;IMX 10bit.mxf&quot;,&#xA;        &quot;nb_streams&quot;: 2,&#xA;        &quot;nb_programs&quot;: 0,&#xA;        &quot;format_name&quot;: &quot;mxf&quot;,&#xA;        &quot;format_long_name&quot;: &quot;MXF (Material eXchange Format)&quot;,&#xA;        &quot;start_time&quot;: &quot;0.000000&quot;,&#xA;        &quot;duration&quot;: &quot;19.520000&quot;,&#xA;        &quot;size&quot;: &quot;152695808&quot;,&#xA;        &quot;bit_rate&quot;: &quot;62580249&quot;,&#xA;        &quot;probe_score&quot;: 100,&#xA;        &quot;tags&quot;: {&#xA;            &quot;uid&quot;: &quot;2b3801ea-ec5e-4dc1-ab3a-dba9a2b30ce4&quot;,&#xA;            &quot;generation_uid&quot;: &quot;2b3801ea-ec5e-4dc2-ab3a-dba9a2b30ce4&quot;,&#xA;            &quot;product_uid&quot;: &quot;00000000-0000-0000-0000-000000000000&quot;,&#xA;            &quot;modification_date&quot;: &quot;2009-11-04T10:39:42.000000Z&quot;,&#xA;            &quot;material_package_umid&quot;: &quot;0x060A2B340101010501010D43130000005C91020063D700800210F3FFFE154618&quot;&#xA;        }&#xA;    }&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6856" LastEditorUserId="6856" LastEditDate="2016-11-24T14:44:42.153" LastActivityDate="2024-03-18T16:03:05.483" Title="Error decoding timecode using ffprobe" Tags="|ffmpeg|timecode|metadata|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19914" PostTypeId="1" AcceptedAnswerId="19965" CreationDate="2016-11-22T14:01:01.397" Score="2" ViewCount="413" Body="&lt;p&gt;In many films(especially trailers) we can see some kind of glitch effects. Recently I found one more here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video on FB: &lt;a href=&quot;https://www.facebook.com/CKibeofficial/videos/1331715273506346/&quot; rel=&quot;nofollow noreferrer&quot;&gt;link&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to try to create one by myself but cant find any useful info. How and where is it possible to make? I would be pleased to see some links and guides.&lt;/p&gt;&#xA;" OwnerUserId="12624" LastActivityDate="2019-09-27T12:37:00.823" Title="How to create a glitch effect" Tags="|effects|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19915" PostTypeId="2" ParentId="9838" CreationDate="2016-11-22T15:56:49.023" Score="1" Body="&lt;p&gt;Yes, you can preview effects using &lt;strong&gt;timeline preview rendering&lt;/strong&gt; since version 16.08 (&lt;a href=&quot;https://www.youtube.com/watch?v=VwC-ZPnxsVs&quot; rel=&quot;nofollow noreferrer&quot;&gt;video tutorial&lt;/a&gt;):&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Set in and out points using I and O keys for the area in which your effect is active.&lt;/li&gt;&#xA;&lt;li&gt;In the main menu in &lt;strong&gt;Timeline/Timeline Preview&lt;/strong&gt; press &lt;strong&gt;Add preview zone&lt;/strong&gt;.&lt;/li&gt;&#xA;&lt;li&gt;In the same menu, press &lt;strong&gt;Start Preview Render&lt;/strong&gt; and wait until the red bar turns green at the top of the timeline.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Any change to the area - including moving clips or adding effects to clips in it - will result in requiring to re-render to regain the playback speed enhancement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In case 16.08 or later is not available on Linux Mint yet, you might be able to install it manually (&lt;a href=&quot;http://youtu.be/fTqegNq4Y6c&quot; rel=&quot;nofollow noreferrer&quot;&gt;video guide&lt;/a&gt;):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;sudo add-apt-repository ppa:kdenlive/kdenlive-stable&#xA;sudo apt-get update&#xA;sudo apt-get install kdenlive&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1357" LastActivityDate="2016-11-22T15:56:49.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19916" PostTypeId="1" AcceptedAnswerId="19919" CreationDate="2016-11-22T17:34:24.840" Score="1" ViewCount="49" Body="&lt;p&gt;In After Effects, I am trying to programmatically generate numbers that count up. But when the numbers start counting up, it is pushing the units to the right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How I can make units position fixed (right aligned)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the code I'm using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;startT = 0;&#xA;endT = 8;&#xA;beginVal = 143;&#xA;endVal = 50143;&#xA;t =Math.round(linear(time,startT,endT,beginVal,endVal));&#xA;t += &quot;&quot;;&#xA;t.replace(/(\d)(?=(\d\d\d)+(?!\d))/g, &quot;$1 &quot;);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17268" LastEditorUserId="14523" LastEditDate="2016-11-25T13:03:52.950" LastActivityDate="2016-11-25T13:03:52.950" Title="Generating numbers counting up with fix poisition for units" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19917" PostTypeId="2" ParentId="19914" CreationDate="2016-11-22T18:30:44.147" Score="4" Body="&lt;p&gt;There are several effects like this available today. If you're using Final Cut Pro X or Motion, you can use the &lt;a href=&quot;http://help.apple.com/motion/mac/5.3/#/motn169fdc8c&quot; rel=&quot;nofollow noreferrer&quot;&gt;BadTV&lt;/a&gt; filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also 3rd party filters for a variety of platforms including &lt;a href=&quot;http://www.digieffects.com/products/damage/&quot; rel=&quot;nofollow noreferrer&quot;&gt;DigiEffects' Damage&lt;/a&gt; filters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could probably make your own by copying your input video, applying noise, maybe offsetting it, and then masking parts of the result to mix with the original.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-11-22T18:30:44.147" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19918" PostTypeId="1" CreationDate="2016-11-22T20:39:17.493" Score="1" ViewCount="778" Body="&lt;p&gt;I just opened a Premiere Pro project that I last worked on in December 2015. Since I have the new CC 2017 (PP v.11) installed, the usual dialogue came up that asked me to save a converted copy of the project for the current software version. I did so, after which the missing media dialogue came up (I moved a couple of folders around since last year). So I selected one of the clips and selected the corresponding file. This error message appeared: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PiW12.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PiW12.png&quot; alt=&quot;premiere pro link media error&quot;&gt;&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;No idea why this is happening. They are the exact same files I used last year. They haven't been converted or anything. They haven't even been moved at all, all I did was rename the top folder containing them. It's the same computer, running the same OS (Win10). All that has changed is the version of Premiere Pro. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this a known issue? I searched for the error message but only found older threads with no real solution. Any leads on how to resolve it? Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; I tried importing the files, which worked. However, they don't have any sound. Maybe it's an issue with some missing codecs?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some exemplary MediaInfo output:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;General&#xA;  Format                                   : MPEG-4&lt;br&gt;&#xA;  Format profile                           : Base Media&lt;br&gt;&#xA;  Codec ID                                 : isom (isom/3gp4)&lt;br&gt;&#xA;  File size                                : 15.9 MiB&lt;br&gt;&#xA;  Duration                                 : 7s 872ms&lt;br&gt;&#xA;  Overall bit rate                         : 16.9 Mbps&lt;br&gt;&#xA;  Encoded date                             : UTC 2015-11-06 16:15:36&lt;br&gt;&#xA;  Tagged date                              : UTC 2015-11-06 16:15:36  &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Video&#xA;  ID                                       : 1&lt;br&gt;&#xA;  Format                                   : AVC&lt;br&gt;&#xA;  Format/Info                              : Advanced Video Codec&lt;br&gt;&#xA;  Format profile                           : High@L4&lt;br&gt;&#xA;  Format settings, CABAC                   : Yes&lt;br&gt;&#xA;  Format settings, ReFrames                : 1 frame&lt;br&gt;&#xA;  Format settings, GOP                     : M=1, N=30&lt;br&gt;&#xA;  Codec ID                                 : avc1&lt;br&gt;&#xA;  Codec ID/Info                            : Advanced Video Coding&lt;br&gt;&#xA;  Duration                                 : 7s 763ms&lt;br&gt;&#xA;  Bit rate                                 : 17.0 Mbps&lt;br&gt;&#xA;  Width                                    : 1 920 pixels&lt;br&gt;&#xA;  Height                                   : 1 080 pixels&lt;br&gt;&#xA;  Display aspect ratio                     : 16:9&lt;br&gt;&#xA;  Frame rate mode                          : Variable&lt;br&gt;&#xA;  Frame rate                               : 30.000 fps&lt;br&gt;&#xA;  Minimum frame rate                       : 29.412 fps&lt;br&gt;&#xA;  Maximum frame rate                       : 30.654 fps&lt;br&gt;&#xA;  Color space                              : YUV&lt;br&gt;&#xA;  Chroma subsampling                       : 4:2:0&lt;br&gt;&#xA;  Bit depth                                : 8 bits&lt;br&gt;&#xA;  Scan type                                : Progressive&lt;br&gt;&#xA;  Bits/(Pixel*Frame)                       : 0.273&lt;br&gt;&#xA;  Stream size                              : 15.7 MiB (99%)&lt;br&gt;&#xA;  Title                                    : VideoHandle&lt;br&gt;&#xA;  Language                                 : English&lt;br&gt;&#xA;  Encoded date                             : UTC 2015-11-06 16:15:36&lt;br&gt;&#xA;  Tagged date                              : UTC 2015-11-06 16:15:36&lt;br&gt;&#xA;  mdhd_Duration                            : 7763  &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Audio&#xA;  ID                                       : 2&lt;br&gt;&#xA;  Format                                   : AAC&lt;br&gt;&#xA;  Format/Info                              : Advanced Audio Codec&lt;br&gt;&#xA;  Format profile                           : LC&lt;br&gt;&#xA;  Codec ID                                 : 40&lt;br&gt;&#xA;  Duration                                 : 7s 872ms&lt;br&gt;&#xA;  Source duration                          : 8s 2ms&lt;br&gt;&#xA;  Source_Duration_FirstFrame               : 130ms&lt;br&gt;&#xA;  Bit rate mode                            : Constant&lt;br&gt;&#xA;  Bit rate                                 : 128 Kbps&lt;br&gt;&#xA;  Channel(s)                               : 2 channels&lt;br&gt;&#xA;  Channel positions                        : Front: L R&lt;br&gt;&#xA;  Sampling rate                            : 48.0 KHz&lt;br&gt;&#xA;  Frame rate                               : 46.875 fps (1024 spf)&lt;br&gt;&#xA;  Compression mode                         : Lossy&lt;br&gt;&#xA;  Stream size                              : 120 KiB (1%)&lt;br&gt;&#xA;  Source stream size                       : 120 KiB (1%)&lt;br&gt;&#xA;  Title                                    : SoundHandle&lt;br&gt;&#xA;  Language                                 : English&lt;br&gt;&#xA;  Encoded date                             : UTC 2015-11-06 16:15:36&lt;br&gt;&#xA;  Tagged date                              : UTC 2015-11-06 16:15:36&lt;br&gt;&#xA;  mdhd_Duration                            : 7872  &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2018-08-13T14:00:36.263" Title="New version of Premiere can't link files for old project because it's &quot;type doesn't match&quot;" Tags="|premiere|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19919" PostTypeId="2" ParentId="19916" CreationDate="2016-11-22T21:07:21.657" Score="1" Body="&lt;p&gt;Not sure if this is what you mean, but can't you just set your text object to Align right in the Paragraph tab?  So all the text is right aligned.  That way the units won't jump around.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2016-11-22T21:07:21.657" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19921" PostTypeId="1" CreationDate="2016-11-23T01:40:52.923" Score="2" ViewCount="5282" Body="&lt;p&gt;What modern digital camera,video editing software and lense, can offer the same look/color/grain of 1960s movies, like james bond thunderball etc. Lighting systems to if possible, also if any can name which old cameras and lenses they used back then too, would also be helpful.&lt;/p&gt;&#xA;" OwnerUserId="17273" LastActivityDate="2018-04-13T00:44:09.000" Title="How do I get a 1960s film look, like technicolor?" Tags="|video|editing|camera|dslr|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19923" PostTypeId="1" AcceptedAnswerId="19925" CreationDate="2016-11-23T10:29:10.823" Score="3" ViewCount="57" Body="&lt;p&gt;I am a beginner to nd filters. Im still debating if i need a variable filter or not.  If i buy a 6 stop filter nonvariable or a 10 stop filter couldn't i just turn the iso up if its too dark. Why would i get a 6 stop or 3 stop. Could a single 3 stop be emulated by a 10 stop with a higher iso? What woild be the difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also if they would be the same why would one need a variable nd filter. If he could buy a 10 stop and control the iso to move up to a 6 stop or 3 stop&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry for the beginner question.&lt;/p&gt;&#xA;" OwnerUserId="10674" LastActivityDate="2016-11-29T05:30:15.693" Title="ND filters. Why variable?" Tags="|lenses|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19924" PostTypeId="2" ParentId="19921" CreationDate="2016-11-23T12:28:14.053" Score="0" Body="&lt;p&gt;Simple answer is Any and All really as technology has improved you can achieve all of this, but what you need is really HOW to achieve this, and this comes down to the team you are working with (normally with many many years of experience). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now days you still need all of this but a lot of it can be done in Post using a really good colorist. but this question is way to broad for this forum, I would suggest getting onto a film making course and watching a lot of Behind the Scenes if you can&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2016-11-23T12:28:14.053" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19925" PostTypeId="2" ParentId="19923" CreationDate="2016-11-23T12:52:46.610" Score="4" Body="&lt;p&gt;ISO isn't magic. When you turn up the iso you're increasing the gain on an amplifier that is amplifying an analogue signal – the light hitting the sensor – and when you amplify a signal you amplify the noise. Remember that opening up a stop is a doubling the light intensity. To get ten stops of gain on a camera with native iso of, say 200, you'd have to go to iso 204800. So whacking a 10 stop ND (also known as a 'Black Filter' because you could literally use it as welding goggles) on the front would mean that all you'd get is noise soup. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A 10 stop ND is really only useful for the harshest sunlight with a fast lens with a wide open aperture, or for still and time-lapse photography if you want extremely long exposures. It's certainly not the first filter I would buy as a beginner.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A Variable ND filter allows you to change the exposure in bright conditions without affecting other picture characteristics. Increasing the f-stop increases your depth of field, which may be undesirable, and increasing the shutter speed (i.e. reducing the exposure time) reduces motion blur, which may mean more strob-y motion (as you often see in sports coverage), again, this may not be desirable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So a variable ND changes the exposure without changing the feel of the shot as the other ways of reducing exposure do. One thing to be aware of is that some variable ND filters do cause colour shifts across their range. So if you go for a bargain basement one off ebay buy a Macbeth card at the same time because you will have to &lt;a href=&quot;http://nofilmschool.com/s/12969/149228&quot; rel=&quot;nofollow noreferrer&quot;&gt;compensate&lt;/a&gt; in post.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-11-29T00:51:27.543" LastActivityDate="2016-11-29T00:51:27.543" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="19930" PostTypeId="2" ParentId="19889" CreationDate="2016-11-23T21:22:17.067" Score="1" Body="&lt;p&gt;You might want to check out a class of effects known as &quot;particle generators.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Trapcode Particular&lt;/strong&gt; is a nice 3rd party option, but costs a bit of money.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AE has some built-in particle generator effects, too. Check out &lt;strong&gt;CC Particle World&lt;/strong&gt;, &lt;strong&gt;CC Particle Systems II&lt;/strong&gt;, and &lt;strong&gt;Particle Playground&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://cgi.tutsplus.com/tutorials/create-fairly-realistic-fire-using-cc-particle-world--ae-2087&quot; rel=&quot;nofollow noreferrer&quot;&gt;This tutorial here&lt;/a&gt; covers using &lt;strong&gt;CC Particle World&lt;/strong&gt; to create fire. You could adapt that example to make a fireball instead of a wall of fire.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Particle Generator effects often have an source position property that you would need to match to the position of the football. This could be done with motion tracking, or simply keyframe it 'by hand' if the ball throw segment is fast enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that &lt;strong&gt;CC Particle World&lt;/strong&gt; and &lt;strong&gt;CC Particle Systems II&lt;/strong&gt; are very similar, but the first is a &lt;strong&gt;3D&lt;/strong&gt; effect while the second is a &lt;strong&gt;2D&lt;/strong&gt; effect. For shots where the ball goes from closeup to far away, the 3D variant would be helpful, but otherwise you might be able to get away with the simpler 2D variant.&lt;/p&gt;&#xA;" OwnerUserId="17133" LastActivityDate="2016-11-23T21:22:17.067" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19932" PostTypeId="2" ParentId="16962" CreationDate="2016-11-24T00:17:49.583" Score="1" Body="&lt;p&gt;Well i think the best solution afterall is to use any editing software &#xA;and capture the screen while playing the 360° video so the 360 effect could be presented in the flat video. you will still need to play with the rotation while capturing the screen, just to provide that 360 effect to the end user.&#xA;by the end you will end up with a regular 2d video with some 360 effect into it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I actually was thinking making a labels in 360 video without a scale effect,&#xA;and the only solution i think that might be working is to capture the 360 video by some editing program and then add the rest of the normal footage using adobe premiere&lt;/p&gt;&#xA;" OwnerUserId="17280" LastEditorUserId="674" LastEditDate="2016-12-27T23:21:30.847" LastActivityDate="2016-12-27T23:21:30.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19933" PostTypeId="1" AcceptedAnswerId="19938" CreationDate="2016-11-24T01:25:23.807" Score="0" ViewCount="471" Body="&lt;p&gt;I'm trying to rotobrush/rotoscope a bunch of footage, see image below for what I mean.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I'm using the rotobrush, but it is too time-consuming and slow - it keeps trying to guess the paths, which aren't accurate enough. I also don't want to draw pen masks, as it is too slow to do frame by frame and the hands are too complex.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally, I just was to brush paint each frame and have that as a alpha mask. I'm sure this can be done, I just don't know the way to do it!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be awesome, thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/E9t76.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/E9t76.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17281" LastActivityDate="2016-11-24T13:16:57.747" Title="Using brush tool for alpha channels/rotoscoping in after-effects" Tags="|video|after-effects|alpha|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19934" PostTypeId="1" AcceptedAnswerId="20050" CreationDate="2016-11-24T10:11:52.430" Score="1" ViewCount="5696" Body="&lt;p&gt;We recorded a video of a talk and its audio on separate devices (camcorder and phone). Both are relatively new an the camera indeed does nice full HD video. My problem is that they both seem out of sync when seen from within the editing progams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I post the Mediainfo data of the video and audio below. Basically, when I import both the video and audio into Lightworks (or some other software), I can align the waveforms but they drift from each other. I have wondered whether this is due to different bitrates, but adjusting the speed does not seem to help. Is this &lt;em&gt;our&lt;/em&gt; problem, editing program's limitations, the medium, file formats...?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any hint on improving our workflow would be appreciated. Our recording equipment is a Canon Legria R68 and an Android (Moto G 3rd gen) mobile phone for the video and audio, respectively.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;Video info (one chunck out of two)&#xA;General&#xA;ID                                       : 0 (0x0)&#xA;Format                                   : BDAV&#xA;Format/Info                              : Blu-ray Video&#xA;File size                                : 3.88 GiB&#xA;Duration                                 : 37 min 59 s&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 14.6 Mb/s&#xA;Maximum Overall bit rate                 : 18.0 Mb/s&#xA;&#xA;Video&#xA;ID                                       : 4113 (0x1011)&#xA;Menu ID                                  : 1 (0x1)&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : High@L4&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 2 frames&#xA;Format settings, GOP                     : M=3, N=12&#xA;Codec ID                                 : 27&#xA;Duration                                 : 37 min 59 s&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 13.8 Mb/s&#xA;Maximum bit rate                         : 16.0 Mb/s&#xA;Width                                    : 1 920 pixels&#xA;Height                                   : 1 080 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate                               : 25.000 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Interlaced&#xA;Scan type, store method                  : Separated fields&#xA;Scan order                               : Top Field First&#xA;Bits/(Pixel*Frame)                       : 0.266&#xA;Stream size                              : 3.66 GiB (94%)&#xA;&#xA;Audio&#xA;ID                                       : 4352 (0x1100)&#xA;Menu ID                                  : 1 (0x1)&#xA;Format                                   : AC-3&#xA;Format/Info                              : Audio Coding 3&#xA;Mode extension                           : CM (complete main)&#xA;Format settings, Endianness              : Big&#xA;Codec ID                                 : 129&#xA;Duration                                 : 37 min 59 s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 256 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Channel positions                        : Front: L R&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 31.250 FPS (1536 spf)&#xA;Bit depth                                : 16 bits&#xA;Compression mode                         : Lossy&#xA;Delay relative to video                  : -80 ms&#xA;Stream size                              : 69.6 MiB (2%)&#xA;&#xA;----&#xA;Audio file info (it is longer because it covers the whole session)&#xA;&#xA;Format                                   : MPEG-4&#xA;Format profile                           : 3GPP Media Release 4&#xA;Codec ID                                 : 3gp4 (isom/3gp4)&#xA;File size                                : 61.9 MiB&#xA;Duration                                 : 1 h 8 min&#xA;Overall bit rate mode                    : Constant&#xA;Overall bit rate                         : 126 kb/s&#xA;Encoded date                             : UTC 2016-11-10 18:27:57&#xA;Tagged date                              : UTC 2016-11-10 18:27:57&#xA;&#xA;Audio&#xA;ID                                       : 1&#xA;Format                                   : AAC&#xA;Format/Info                              : Advanced Audio Codec&#xA;Format profile                           : LC&#xA;Codec ID                                 : 40&#xA;Duration                                 : 1 h 8 min&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 128 kb/s&#xA;Channel(s)                               : 1 channel&#xA;Channel positions                        : Front: C&#xA;Sampling rate                            : 44.1 kHz&#xA;Frame rate                               : 43.066 FPS (1024 spf)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 61.2 MiB (99%)&#xA;Title                                    : SoundHandle&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2016-11-10 18:27:57&#xA;Tagged date                              : UTC 2016-11-10 18:27:57&#xA;&#xA;&lt;/pre&gt;&#xA;" OwnerUserId="17285" LastActivityDate="2023-09-18T21:30:54.717" Title="Syncing audio and video from different sources" Tags="|video-editor|sync|audio-recording|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19935" PostTypeId="2" ParentId="19552" CreationDate="2016-11-24T11:41:21.343" Score="1" Body="&lt;p&gt;As far as I know, it sadly is not possible. Maybe through third-party plug-ins, but it behaves the same way on windows. Maybe if we bug the after effects twitter account long enough about it they will listen, but for now they have failed to answer my tweets, so I think it really is not possible at the time ...&lt;/p&gt;&#xA;" OwnerUserId="10977" LastActivityDate="2016-11-24T11:41:21.343" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19936" PostTypeId="2" ParentId="18321" CreationDate="2016-11-24T12:23:57.193" Score="0" Body="&lt;p&gt;In the 2017 version I can't see it working anymore either. Yes, I can use effects. But the 'free transform' function seems to be gone. Or maybe someone has a solution in some hidden setting?&lt;/p&gt;&#xA;" OwnerUserId="17288" LastActivityDate="2016-11-24T12:23:57.193" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19937" PostTypeId="2" ParentId="19552" CreationDate="2016-11-24T12:39:35.773" Score="4" Body="&lt;p&gt;It's so weird the way all the Adobe apps require different muscle memory to do the same thing. Even things that are the same like panning around a work area or zooming. I understand it's because of the history of the apps, but Adobe's acquisition of AE was over two decades ago, they've had time to standardise it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Until they fix this (and don't hold your breath) you'll have to learn the AE way of navigating your comp window: &lt;em&gt;hold&lt;/em&gt; (don't tap) the &lt;kbd&gt;spacebar&lt;/kbd&gt; and click-drag with the left-mouse-button / single-finger-trackpad to pan and scroll, scroll-wheel / two-finger-slide to zoom. It will zoom to the point that is in the centre of the comp window, unless you hold the alt key while you're zooming in which case it zooms to the cursor. If youy want to zoom right in to the frame level press &lt;kbd&gt;;&lt;/kbd&gt;, press it again to zoom out to the whole comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also useful are the &lt;kbd&gt;,&lt;/kbd&gt; and &lt;kbd&gt;.&lt;/kbd&gt; keys which zoom in and out (it makes more sense if you think about the &amp;lt; and &gt; symbols which also share those keys, but you don't hold shift) and &lt;kbd&gt;?&lt;/kbd&gt; which zooms to fill the comp window. You'll find that AE works best if you work two-handed. Dominant hand using the pointing device of your choice, the other working the keyboard. Efficiency in AE is &lt;a href=&quot;https://cdn.tutsplus.com/ae/uploads/legacy/misc/Aetuts_Cheat_Sheet_AECS6.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;all about keyboard shortcuts&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-03-28T20:52:52.347" LastActivityDate="2018-03-28T20:52:52.347" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19938" PostTypeId="2" ParentId="19933" CreationDate="2016-11-24T13:16:57.747" Score="1" Body="&lt;p&gt;The thing about masks is that you &lt;em&gt;don't&lt;/em&gt; have to do them on every frame. To quickly do rotoscoping you let the computer do as much of the work as it can, by interpolating wherever possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To mask out the hands with the pen tool, draw the mask for the first frame and then move as far along the timeline as you can until the point where the motion dramatically changes, e.g. if the hand is moving up, continue until it stops or starts moving down. Adjust the mask points, trying to keep the points close to the part of the hand they were near when you first drew them. It's good to give yourself enough points to work with when you first draw the mask. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now go back between the two keyframes and find the point at which the maksk is the &lt;em&gt;furthest&lt;/em&gt; from matching. Re-adjust, thus making a third keyframe. Now &#xA;rinse, repeat: between each of your keyframes, pick the point where the mask is the worst and refine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you work you'll find that the mask needs less and less tweaking and eventually starts following the hand well. If your motion is really crazy this might not be until you've done every frame, but the adjustments you'll need to make will be smaller and smaller each time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll find this will be tedious, but way less tedious than rendering as an image sequence and photoshoping each frame, or just opening the movie in photoshop (which is the answer to your question BTW). The difficulty in getting smooth motion that way would be immense. Think about the way hand drawn animation looks - the lines constantly 'boil' because each frame is painted from scratch. Painting the matte frame by frame will give you a result like that, which might be nice, but it doesn't seem like the look you're going for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Put on a podcast or some music, make a coffee, get comfortable and get busy with the béziers.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-11-24T13:16:57.747" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19939" PostTypeId="1" CreationDate="2016-11-24T13:46:58.507" Score="2" ViewCount="44" Body="&lt;p&gt;Assume a BD-Video directory structure with a 1080p video. It is so boring, that its max datarate is below 10MBit/s, and the entire directory structure takes less than 4.7GB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Instead of writing this to a BD-R, could it also be written to a DVD-R, and would BD-players run it?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;On the one side, the data rate is lower than the max DVD-Video data rate, so the &quot;DVD-part&quot; of the drive is fast enough, and I'd imagine the player just looks at the directory structure to determine if it's DVD-Video, BD-Video or anything else.  &lt;/li&gt;&#xA;&lt;li&gt;On the other side, I read everywhere that the BD-Video standard specifies UDF v2.5 as file system. Many players don't care, but for example the Play Station 3 does. Of course, UDF v2.5 could be used for DVDs, too, but if a player checks this, it could also check the media type and refuse to play the movie.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="17289" LastActivityDate="2023-04-27T13:04:45.570" Title="Can a low-bitrate BluRay video be written to DVD-R to be played by BD-players?" Tags="|dvd|bluray|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19940" PostTypeId="2" ParentId="19934" CreationDate="2016-11-24T14:10:14.617" Score="0" Body="&lt;p&gt;Sample Rates are not the issue - you will find that one of the devices is running at a non-integer frame rate. This is your problem. When doing multi-camera shoots you have to ensure that both devices are running at the same frame rate or you will not be able to synch these up in post. Some NLE's will be able to conform your non-standard footage to the project frame rate, but looking at the frame-rates in the OP. these are very non-standard frame-rates. Try and run at 25FPS if at all possible across all devices. Then you have a good chance of being able to edit the footage.&lt;/p&gt;&#xA;" OwnerUserId="11321" LastActivityDate="2016-11-24T14:10:14.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19941" PostTypeId="2" ParentId="19913" CreationDate="2016-11-24T14:17:10.240" Score="0" Body="&lt;p&gt;I'm not sure what is going on here, but anyway you don't need DF timecode when you have NDF footage - this appears to be running at 25FPS so the timecode will run in real time anyway. DF is only going to be useful to you when you are running at a non-integer frame rate.&lt;/p&gt;&#xA;" OwnerUserId="11321" LastActivityDate="2016-11-24T14:17:10.240" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19942" PostTypeId="2" ParentId="19921" CreationDate="2016-11-24T14:20:15.613" Score="0" Body="&lt;p&gt;An amateur response to this will be to tell you to buy {insert plugin name here}, however the real answer is much deeper than this, and would be best answered by talking to a real-world cinematographer. I recommend you get in touch with your local chapter of ACS or BCS and talk to a local cinematographer. All the movies back in the days will have been shot on film, so yes - lenses, lighting and film stock will have had a big effect in generating the look.&lt;/p&gt;&#xA;" OwnerUserId="11321" LastActivityDate="2016-11-24T14:20:15.613" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19943" PostTypeId="1" AcceptedAnswerId="19945" CreationDate="2016-11-24T16:53:07.133" Score="1" ViewCount="52" Body="&lt;p&gt;How can I make a video from a sequence of still pictures in PNG format? Something like an animated GIF, just in full-color quality video format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for an Open Source solution for windows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you very much.&lt;/p&gt;&#xA;" OwnerUserId="17290" LastEditorUserId="14523" LastEditDate="2016-11-29T18:44:26.870" LastActivityDate="2016-11-29T18:44:26.870" Title="How can I make a video from pictures?" Tags="|animation|animation-rendering|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19944" PostTypeId="1" AcceptedAnswerId="19958" CreationDate="2016-11-24T17:38:51.763" Score="3" ViewCount="7155" Body="&lt;p&gt;When I encode a particular sequence of BMP image files to AVC/H.264, the colors get shifted. Why does this happen?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if I convert the BMPs to PNGs before running ffmpeg, the video conversion appears correct. My source material is in BMPs, and would prefer not to manually convert everything to PNGs to perform the workaround.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;For the purpose of this question, I took the sequence of images and summarized them into these main colors being used:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PEowN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PEowN.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First attempt at encoding (the pure white becomes noticeably green): &lt;code&gt;ffmpeg -i 000.bmp -pix_fmt yuv420p -vcodec libx264 -profile:v main -crf 16 first.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/w5YNB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/w5YNB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second attempt (even worse): &lt;code&gt;ffmpeg -i 000.bmp -vf &quot;colormatrix=bt601:bt709&quot; -pix_fmt yuv420p -vcodec libx264 -profile:v main -crf 16 second.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5I7L6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5I7L6.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Third attempt (too bright): &lt;code&gt;ffmpeg -i 000.bmp -vf &quot;scale=in_range=full:in_color_matrix=bt709:out_range=full:out_color_matrix=bt709&quot; -pix_fmt yuv420p -vcodec libx264 -profile:v main -crf 16 third.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xKJta.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xKJta.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, using a PNG version of the same input image works great: &lt;code&gt;ffmpeg -i 000.png -pix_fmt yuv420p -vcodec libx264 -profile:v main -crf 16 fourth.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QwdPW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QwdPW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I am using the latest &lt;a href=&quot;https://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Windows&lt;/a&gt; x86-64 build (2016-11-22 Git d316b21):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Temp&amp;gt; ffmpeg.exe -version&#xA;ffmpeg version N-82597-gd316b21 Copyright (c) 2000-2016 the FFmpeg developers&#xA;built with gcc 5.4.0 (GCC)&#xA;configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-dxva2&#xA;    --enable-libmfx --enable-nvenc --enable-avisynth --enable-bzlib --enable-fontconfig&#xA;    --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray&#xA;    --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme&#xA;    --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame&#xA;    --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264&#xA;    --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger&#xA;    --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora&#xA;    --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis&#xA;    --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264&#xA;    --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma&#xA;    --enable-decklink --enable-zlib&#xA;libavutil      55. 40.100 / 55. 40.100&#xA;libavcodec     57. 66.106 / 57. 66.106&#xA;libavformat    57. 58.100 / 57. 58.100&#xA;libavdevice    57.  2.100 / 57.  2.100&#xA;libavfilter     6. 67.100 /  6. 67.100&#xA;libswscale      4.  3.101 /  4.  3.101&#xA;libswresample   2.  4.100 /  2.  4.100&#xA;libpostproc    54.  2.100 / 54.  2.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To rephrase my question, how can I convert the sequence of BMP images to an H.264 video without unwanted color shifts?&lt;/p&gt;&#xA;" OwnerUserId="17036" LastEditorUserId="17036" LastEditDate="2016-11-29T07:10:10.490" LastActivityDate="2016-11-29T07:10:10.490" Title="FFmpeg BMP to YUV x264 color shift" Tags="|video|ffmpeg|encoding|colorspace|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="19945" PostTypeId="2" ParentId="19943" CreationDate="2016-11-24T17:48:34.120" Score="2" Body="&lt;p&gt;You can use &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool, for this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Syntax is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 25 -i img%04d.png video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;img%04d.png&lt;/code&gt; is the pattern mask for a list of image files named&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;img0001.png&#xA;img0002.png&#xA;img0003.png&#xA;...  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-24T17:48:34.120" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19946" PostTypeId="1" AcceptedAnswerId="19957" CreationDate="2016-11-24T19:03:28.533" Score="2" ViewCount="993" Body="&lt;p&gt;I'm on Mac OSX El Capitan, Adobe Premiere Pro CC 2015 V10.3. I've created some open captions and I want to add some edge to them, to make them more readable. Only that I find no option for this. What should I do?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Screenshot:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/M75La.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/M75La.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help will be greatly appreciated. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="17291" LastActivityDate="2016-11-25T07:38:57.580" Title="Adding edge for open captions in Adobe Premiere Pro" Tags="|premiere|cc-2015|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19947" PostTypeId="2" ParentId="19921" CreationDate="2016-11-24T22:55:22.650" Score="1" Body="&lt;p&gt;Pretty much any professional grade video editing software will have &quot;color Correction/Color grading&quot; capabilities -- this is the part of the art that you are looking for. Obviously, the &quot;grain&quot; you'll get here is digital/simulated noise, and not actual particles of chemicals. this is the Instagram filter before there was Instagram. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;the website &quot;shotonwhat?&quot; is a good resource to see which actual cameras (and lenses, but not always) were used for movies. Lenses, lighting, makeup and wardrobe and production design also make a big impact on the look of the film, some of which you've mentioned.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another big part of the equation is the &quot;film stock&quot; -- the actual film used in 35mm/16mm/8mm cameras -- which had countless varieties based on different factors. Individual film stocks often had special characteristics (sometimes intended, sometimes not) which were favored by cinematographers/directors. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;the digital equivalent of a film stock is called a LUT (a look up table). so the way it works is this : you shoot the scene in the digital camera's &quot;flat&quot; mode to get the most information on your chip. Then you apply the LUT to make it look like how you want to. On set, you can live preview your LUT to approximate how it's going to look like in post, unless you're just playing with it in post from scratch. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's hard to give a specific answer to your question without spraying a bunch of brand names -- which is frowned upon here -- but I hope my answer helps you in farther research.  &lt;/p&gt;&#xA;" OwnerUserId="17293" LastActivityDate="2016-11-24T22:55:22.650" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19948" PostTypeId="1" AcceptedAnswerId="19949" CreationDate="2016-11-24T23:23:13.310" Score="0" ViewCount="56" Body="&lt;p&gt;I've just read an old blog post about &quot;&lt;i&gt;internal editing&lt;/i&gt;&quot;, a special kind of audio post processing of recorded interviews. It basically consists of removing the unnecessary interjections, like the &quot;ums&quot; and &quot;ehs&quot; that we normally say while speaking. It improves the rhythm of conversations, and make your interviewee look more intelligent. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you just have audio, it is simple. You crop out the interjections. But if you have an interview recorded in somewhere with background noise, if you delete the interjections, there will be an weird silence. Deleting it, would unsync the audio and image. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would someone give me some tips to remove just the voice using an audio editor? A step by step guide would be great. &lt;/p&gt;&#xA;" OwnerUserId="12201" LastEditorUserId="12201" LastEditDate="2016-11-24T23:32:20.497" LastActivityDate="2016-11-25T13:21:16.590" Title="How to make audio &quot;internal editing&quot; in a movie?" Tags="|audio|post-production|interview|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19949" PostTypeId="2" ParentId="19948" CreationDate="2016-11-25T01:21:35.637" Score="2" Body="&lt;p&gt;Instead of deleting the offending bit, overwrite it with &lt;strong&gt;&lt;em&gt;&lt;a href=&quot;http://www.filmsound.org/terminology/roomtone.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;room tone&lt;/a&gt;&lt;/em&gt;&lt;/strong&gt;, a section of nominal silence either recorded specifically for this purpose at the time of filming, or just taken from a nearby bit of silence.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-11-25T01:21:35.637" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="19951" PostTypeId="2" ParentId="19914" CreationDate="2016-11-25T02:10:49.637" Score="1" Body="&lt;p&gt;You might want to look into &lt;a href=&quot;http://www.MotionVFX.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.MotionVFX.com&lt;/a&gt; .. they have glitch effects as plugins which they sell. &#xA;For most software and all are quite good customizable. &lt;/p&gt;&#xA;" OwnerDisplayName="user17295" LastActivityDate="2016-11-25T02:10:49.637" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19952" PostTypeId="1" AcceptedAnswerId="19963" CreationDate="2016-11-25T03:26:11.167" Score="1" ViewCount="124" Body="&lt;p&gt;I'd like to find out your go to places for music to license or royalty free for corporate videos. I find it takes ages to find music that actually comes close to what I need..&#xA;Any good links?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Rick&lt;/p&gt;&#xA;" OwnerDisplayName="user17295" LastActivityDate="2016-12-05T22:14:31.723" Title="Where to get good music for corporate videos?" Tags="|music|" AnswerCount="5" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19953" PostTypeId="1" AcceptedAnswerId="19954" CreationDate="2016-11-25T04:42:00.227" Score="5" ViewCount="12890" Body="&lt;p&gt;Using this FFmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg-20160127-git-9079e99&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With &lt;a href=&quot;http://jplayer.org/audio/m4a/Miaow-02-Hidden.m4a&quot; rel=&quot;nofollow noreferrer&quot;&gt;this file&lt;/a&gt;, if I run this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i Miaow-02-Hidden.m4a -c copy outfile.m4a&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I get this message:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[ipod @ 0000000000694500] Codec for stream 0 does not use global headers but&#xA;container format requires global headers&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can I resolve this warning?&lt;/p&gt;&#xA;" OwnerUserId="3912" LastEditorUserId="25390" LastEditDate="2019-06-12T15:01:32.643" LastActivityDate="2019-06-12T15:01:32.643" Title="Container format requires global headers" Tags="|ffmpeg|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="19954" PostTypeId="2" ParentId="19953" CreationDate="2016-11-25T04:42:00.227" Score="6" Body="&lt;p&gt;This issue was fixed with &lt;a href=&quot;//github.com/FFmpeg/FFmpeg/commit/955b818&quot; rel=&quot;noreferrer&quot;&gt;commit 955b818&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;commit 955b818cf947473ec94a3fe8aa7f408b119fbbc9&#xA;Author: Clément Bœsch &amp;lt;clement@stupeflix.com&amp;gt;&#xA;Date:   Thu Sep 1 16:48:45 2016 +0200&#xA;&#xA;    ffmpeg: switch to codecpar&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can suppress the warning on older version like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;ffmpeg -i Miaow-02-Hidden.m4a -c copy &lt;b&gt;-flags global_header&lt;/b&gt; outfile.m4a&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;//github.com/svnpenn/a/blob/db3e32f/music/music-download.sh#L67-L68&quot; rel=&quot;noreferrer&quot;&gt;Example&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3912" LastActivityDate="2016-11-25T04:42:00.227" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19955" PostTypeId="1" AcceptedAnswerId="20028" CreationDate="2016-11-25T06:26:41.007" Score="2" ViewCount="92" Body="&lt;p&gt;On each of my first two video tracks (V1 and V2), I have a simple PNG image. Both of them have motion effects (position and scale). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want the upper half of the output video to show V1 and the lower half to show V2. How do I do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried crop but this doesn't work, because the crop &quot;moves along&quot; with the image. I've also tried mask but I run into the same trouble.&lt;/p&gt;&#xA;" OwnerDisplayName="user11507" LastActivityDate="2016-12-02T19:52:40.483" Title="Upper half shows one video track, lower half shows another" Tags="|premiere|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19956" PostTypeId="2" ParentId="19952" CreationDate="2016-11-25T06:55:07.773" Score="0" Body="&lt;p&gt;Have you tried the YouTube music in your account admin section? They have lots of music that would suit your needs I would think.&lt;/p&gt;&#xA;" OwnerUserId="14421" LastActivityDate="2016-11-25T06:55:07.773" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19957" PostTypeId="2" ParentId="19946" CreationDate="2016-11-25T07:38:57.580" Score="1" Body="&lt;p&gt;Turned out that edged captions is a new feature in CC 2017, and is only available for open captions. My bad.&lt;/p&gt;&#xA;" OwnerUserId="17291" LastActivityDate="2016-11-25T07:38:57.580" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19958" PostTypeId="2" ParentId="19944" CreationDate="2016-11-25T07:59:46.983" Score="3" Body="&lt;p&gt;Apparently FFmpeg doesn't set input color attributes correctly for BMP input (probably because the file doesn't contain that metadata) and the BMP decoder doesn't check for manually flagged attributes. However, we can force it using the format filter.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 000.bmp -vf format=rgb24 -pix_fmt yuv420p -vcodec libx264 -profile:v main -crf 16 first.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-11-25T12:34:37.313" LastActivityDate="2016-11-25T12:34:37.313" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19959" PostTypeId="2" ParentId="5533" CreationDate="2016-11-25T09:11:21.813" Score="0" Body="&lt;p&gt;NO. 422 / YUV encoding has a specific problem with highly saturated red, which is why designing a bright red for a broadcast television station is simply ignorance. You have to lower the luma and chroma values of red, particularly graphics down to 90% and then often some of the rest of the collours as well so it is perceptually the same. Technical grading. Tris&lt;/p&gt;&#xA;" OwnerUserId="17296" LastActivityDate="2016-11-25T09:11:21.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19961" PostTypeId="2" ParentId="19952" CreationDate="2016-11-25T13:14:27.493" Score="1" Body="&lt;p&gt;You should approach local recording studios and music production houses. A lot of them will have some sort of showreel and a shelf of original music. Some also offer CD's of copyright free music for a fair price. A quick google search in your local area should dig some out. My own company &lt;a href=&quot;http://www.broadwoodmusic.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;Broadwood Music Productions&lt;/a&gt; does this but I strongly advocate supporting creative writers in your local area.&lt;/p&gt;&#xA;" OwnerUserId="17299" LastActivityDate="2016-11-25T13:14:27.493" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19962" PostTypeId="2" ParentId="19948" CreationDate="2016-11-25T13:21:16.590" Score="1" Body="&lt;p&gt;instead of completely removing the interjections and background sound from between the spoken word try just cutting the actual &quot;umm&quot; (for example) leaving a gap, then copy a bit of the background sound from somewhere slightly bigger than the gap, insert it and crossfade it between the audio. It will then sound as if the background is there with no obvious cuts.&lt;/p&gt;&#xA;" OwnerUserId="17299" LastActivityDate="2016-11-25T13:21:16.590" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19963" PostTypeId="2" ParentId="19952" CreationDate="2016-11-25T16:57:01.473" Score="0" Body="&lt;p&gt;I am going to recommend &lt;a href=&quot;https://www.audioblocks.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;audioblocks&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Audioblocks is a subscription based site, with some impressive benefits&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Unlimited downloads&lt;/li&gt;&#xA;&lt;li&gt;100% Royalty-Free&lt;/li&gt;&#xA;&lt;li&gt;Yours to keep forever&lt;/li&gt;&#xA;&lt;li&gt;They have a wide selection of tracks, sound effects, loops and more&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;I find it takes ages to find music that actually comes close to what I need..&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Audioblocks also has a &lt;strong&gt;very powerful&lt;/strong&gt; search, where you can search by Moods, Genres, Instruments, Tempo, Duration, etc. This will help you find what you are looking for a lot faster than scrolling through several free music sites.&lt;/p&gt;&#xA;&lt;p&gt;Consider using my &lt;a href=&quot;http://audioblocks.refr.cc/KD9KXBT&quot; rel=&quot;nofollow noreferrer&quot;&gt;referral link&lt;/a&gt; to get a discount on the membership.&lt;br /&gt;&#xA;P.S. I am NOT in any way affiliated with audioblocks.&lt;/p&gt;&#xA;" OwnerUserId="16850" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-11-25T18:59:56.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19964" PostTypeId="2" ParentId="19952" CreationDate="2016-11-25T17:07:50.890" Score="0" Body="&lt;p&gt;Copied straight from my free music bookmarks folder:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://incompetech.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;incompetech&lt;/a&gt;. Great background music, all available for free under the &lt;a href=&quot;https://creativecommons.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;CC-BY&lt;/a&gt; license. You will probably have heard many of the songs on that site on YouTube before.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://musopen.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;musopen&lt;/a&gt;. Royalty-free performances of classical music under varying licences. Low-quality versions for free, HD versions available for fees.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://freepd.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;freepd&lt;/a&gt;. A rather large collection of &lt;a href=&quot;https://en.wikipedia.org/wiki/Public_domain&quot; rel=&quot;nofollow noreferrer&quot;&gt;Public Domain&lt;/a&gt; tracks. I would be cautious and try to find the original uploaders for any piece you are interested in using. &lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.purple-planet.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;purple planet&lt;/a&gt;. Both free and paid royalty free music for different moods/genres. &lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://dig.ccmixter.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ccMixter&lt;/a&gt;. Seems to have changed a lot since I last used the site. Looks like they still got CC-licensed content, but I would read up on their terms of use first.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.jamendo.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;jamendo&lt;/a&gt;. Also not quite how I remember them. They still have royalty-free music it appears, but do watch out for what licence the tricks you are interested in are distributed under.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.cayzland-music.de/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Cayzland Music&lt;/a&gt;. Free for private use, commercial use required licensing, but seems to be legit and easy-to understand.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.danosongs.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;danosongs&lt;/a&gt;. A musician who licences his songs for 10 bucks per song apparently. Not a bad deal.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.bensound.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Bensound&lt;/a&gt;. Some great tunes available under the CC-BY-ND licence. Depending on your needs you will need to pay a licence fee, make sure to check out the licensing page.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/audiolibrary/music&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube Audio Library&lt;/a&gt;. The YouTube audio library. Last time I checked, I wasn't able to find clear and concise licence terms, and information on whether you are allowed to use those tracks outside of YouTube. I would be slightly wary when using them for commercial products.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You can find more royalty-free content using the search engines available at &lt;a href=&quot;https://search.creativecommons.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;CC search&lt;/a&gt;. You can also use the &lt;a href=&quot;https://www.google.com/advanced_image_search&quot; rel=&quot;nofollow noreferrer&quot;&gt;Google advanced search&lt;/a&gt; directly (note the last dropdown menu, &lt;em&gt;usage rights&lt;/em&gt;). There's tons of musicians out their who make their music available for no or little money using liberate licences, either on web portals such as the ones mentioned above or on their own personal sites.You just have to look for them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;DISCLAIMER:&lt;/strong&gt; I am not responsible for the content on any of the linked sites. Remember that just because someone uploads music to a website and claims it's free-to-use, it doesn't mean he actually has the right to do so or the authority to grant you any rights to it. And if you use a copyrighted piece of music in your project without knowing any better, you can stil be held responsible even if you downloaded it from a website that claimed it was free. Always check if the website you are downloading from is legit and if the uploaders actually have to rights to the music (in most cases, that means they made it themselves).&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-11-25T17:07:50.890" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19965" PostTypeId="2" ParentId="19914" CreationDate="2016-11-25T21:54:31.483" Score="0" Body="&lt;p&gt;K guys. Found this guide to make glitch effect after all: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/EYkqC9uI8Nc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thx guys for answering, you made my day :)&lt;/p&gt;&#xA;" OwnerUserId="12624" LastEditorUserId="12624" LastEditDate="2019-09-27T12:37:00.823" LastActivityDate="2019-09-27T12:37:00.823" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="19966" PostTypeId="2" ParentId="10423" CreationDate="2016-11-25T22:51:27.157" Score="2" Body="&lt;p&gt;You can use &lt;a href=&quot;//gpac.wp.mines-telecom.fr/downloads/gpac-nightly-builds&quot; rel=&quot;nofollow noreferrer&quot;&gt;MP4Box 0.6.2-DEV-rev453&lt;/a&gt; (May 2016) or higher to do this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mp4box -add alfa.mp4 -add bravo.srt:txtflags=0xC0000000 -new charlie.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;//github.com/svnpenn/a/blob/af30667/etc/mp4box.sh#L27-L28&quot; rel=&quot;nofollow noreferrer&quot;&gt;Example&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This will mark the subtitle stream in the output file as forced.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;However&lt;/strong&gt;, this mark will only be recognized starting with these versions of&#xA;programs:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;//nightly.mpc-hc.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPC-HC 1.7.10.207&lt;/a&gt; (May 2016)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;//nightlies.videolan.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;VLC media player 3.0.0-20161101&lt;/a&gt; (Nov 2016)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;I have seen mentions to &lt;a href=&quot;//ffmpeg.org/pipermail/ffmpeg-devel/2015-January/167371.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this post&lt;/a&gt; on the FFmpeg mailing list about a&#xA;patch that implements disposition for FFmpeg:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i alfa.mp4 -i bravo.srt -c copy -c:s mov_text -disposition:s forced charlie.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However after having tried it with both &amp;quot;forced&amp;quot; and &amp;quot;default&amp;quot;, the subtitles&#xA;marked by FFmpeg are not recognized as forced by either MPC-HC or VLC.&lt;/p&gt;&#xA;" OwnerUserId="3912" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-12-11T22:45:36.417" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19969" PostTypeId="1" CreationDate="2016-11-26T06:18:16.037" Score="0" ViewCount="36" Body="&lt;p&gt;I have Premier Pro CC 2017 trial. I have a .MOV file from my iPhone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Steps:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Start Premier&lt;/li&gt;&#xA;&lt;li&gt;New Project&lt;/li&gt;&#xA;&lt;li&gt;Click OK&lt;/li&gt;&#xA;&lt;li&gt;Drag file into timeline&lt;/li&gt;&#xA;&lt;li&gt;Pick File-&gt;Export-&gt;Media...&lt;/li&gt;&#xA;&lt;li&gt;Click Export&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The resulting file has about 1/2 the audio volume as the original .MOV file&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why? I don't want to &lt;em&gt;amplify&lt;/em&gt; the audio. I want the original audio as is. The point of this particular video is it's audio. All I wanted to do is crop and trim the video but because it's changed the audio it's useless.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What do I need to change for the audio to stay the same?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: this is a new trial. I've never used Premier before. I haven't changed any settings. &lt;/p&gt;&#xA;" OwnerUserId="17303" LastActivityDate="2016-12-18T03:39:50.043" Title="How do I round trip through premier without losing audio volume?" Tags="|premiere|audio|audio-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19972" PostTypeId="1" AcceptedAnswerId="19973" CreationDate="2016-11-26T16:52:47.900" Score="2" ViewCount="113" Body="&lt;p&gt;I have this situation:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have two VCRs, one is a simple LG VHS VCR. It is one of the latest VCRs, with 4 heads and is standard (composite, not S-Video output). The quality is really poor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other VCR is Mitshubishi MD-3000 SVHS medical VCR. It was bought new. The quality is fine and sharp when playing SVHS tapes, but during VHS playback. I lost a lot of frames. I have only old vhs tapes and some of them &lt;em&gt;really&lt;/em&gt; old. I get strange blue and red pictures.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question is, if I transfer from VHS playing from the LG to SVHS  recording on the Misthubishi, will i get a good quality recording and can I transfer to my video capture card? Or is this only a waste of time?&lt;/p&gt;&#xA;" OwnerUserId="17307" LastEditorUserId="14523" LastEditDate="2016-11-29T18:44:30.680" LastActivityDate="2016-11-29T18:44:30.680" Title="A question about VHS and SVHS" Tags="|vhs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19973" PostTypeId="2" ParentId="19972" CreationDate="2016-11-26T17:22:00.390" Score="5" Body="&lt;p&gt;You can't improve the quality of a bad recording. Especially if it is because the tape stock is flaking off oxide or is stretched, both of which are common problems with older tape stock. No matter what tape format you transfer it to, it will likely just get worse.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might get about the same quality by digitizing with your capture card. However, you will likely need to use a fairly high bit rate, because analog artifacts have a tendency to cause low bit rate compression to induce even worse digital artifacts. If you use a low bit rate, expect the quality to worsen when you digitize it.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2016-11-26T17:22:00.390" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="19974" PostTypeId="1" CreationDate="2016-11-27T04:04:07.433" Score="1" ViewCount="848" Body="&lt;p&gt;I would like to know if is it possible to increase the brightness or gamma of a video without full re-encoding. For example some versions of ffmpeg allow certain special bitstream filters described here - presumed we have a h264 video - : &lt;a href=&quot;http://forum.doom9.org/showthread.php?t=152419&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://forum.doom9.org/showthread.php?t=152419&lt;/a&gt; which can alter some of the video characteristics without re-encoding the video. Some containers also can store such a meta information about the video gamma or brightness, as far as I know matroska, and QuickTime, and maybe there are some video players too which can deal with this information.&#xA;I know that a similar modification, namely cropping the video is possible without a full re-encode merely by setting the cropping information at container level. For example such a video uploaded to youtube are cropped at the values which were set at the container level. So this could be a quick fix for unneeded logos and black bars. &lt;/p&gt;&#xA;" OwnerUserId="17313" LastActivityDate="2016-11-27T04:04:07.433" Title="Is it possible to increase video gamma or brightness at container level?" Tags="|ffmpeg|encoding|filter|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19977" PostTypeId="1" CreationDate="2016-11-27T05:44:16.803" Score="3" ViewCount="3059" Body="&lt;p&gt;For once in my life, I've been handed an edit job that is shot in such a way that I can grade the whole thing in one pass with a LUT.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On this particular edit, I need to first use a Log conversion LUT, and then can apply the additional grade LUT. I'd like to do this with Adjustment Layers to facilitate easier revisions (rather than clip-level effects).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the correct order of rendering with regards to adjustment layers? If I put each LUT on a different layer, which is applied first?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My searching revealed no answers; apologies if my underslept brain has missed an obvious one.&lt;/p&gt;&#xA;" OwnerUserId="12530" LastActivityDate="2020-08-18T03:51:12.580" Title="Correct order of layer effects in Premiere CC 2017?" Tags="|premiere|lut|adjustment-layers|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19978" PostTypeId="1" CreationDate="2016-11-27T09:45:16.983" Score="0" ViewCount="706" Body="&lt;p&gt;I want to put a 360-degree video from YouTube downloaded offline and uploaded to WordPress so the user can immediately view a VR/Google Cardboard split-screen vid (no VPN required). The video would be a continuous loop and act as a &quot;simulation&quot; of an environment. Also, there would be the same capabilities of moving the phone around/gyroscope effect to view the video from a web browser. &lt;/p&gt;&#xA;" OwnerUserId="17316" LastActivityDate="2016-11-28T18:55:51.543" Title="Is it possible to loop a 360 degree YouTube video offline?" Tags="|video|video-editor|youtube|360video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19979" PostTypeId="2" ParentId="19978" CreationDate="2016-11-27T12:15:36.803" Score="1" Body="&lt;p&gt;You can use &lt;a href=&quot;http://www.marzipano.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;marzipano&lt;/a&gt; which will provide all the code necessary for the viewer and provide you with a Javascript API for customization. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A quick Google search found me &lt;a href=&quot;https://wordpress.org/plugins/wp-vr-view/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this Wordpress plugin&lt;/a&gt; which claims to do what you want as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Honestly, what you're asking is quite complicated. If you can't do it on your own using the tools linked above, I suggest you hire a web developer to do it for you.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6685" LastEditDate="2016-11-28T18:55:51.543" LastActivityDate="2016-11-28T18:55:51.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19980" PostTypeId="2" ParentId="19977" CreationDate="2016-11-27T12:56:59.287" Score="1" Body="&lt;p&gt;I'm &lt;em&gt;fairly certain&lt;/em&gt; that Premiere Pro renders all layers from bottom to top. I have found several sources that confirm this behaviour for After Effects, but nowhere is it stated explicitly for Premiere Pro. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the Adobe documentation for After Effects:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;A composition consists of layers stacked on top of one another in the Timeline panel. When the composition is rendered—either for previewing or for final output—the bottom layer is rendered first. Within each raster (non-vector) layer, elements are applied in the following order: masks, effects, transformations, and layer styles. For continuously rasterized vector layers, the default rendering order is masks, followed by transformations, and then effects. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;sub&gt;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/precomposing-nesting-pre-rendering.html#render_order_and_collapsing_transformations&quot; rel=&quot;nofollow&quot;&gt;Source&lt;/a&gt;&lt;/sub&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Rendering layers from bottom to top is also the logical order. If it was the other way around, blending modes and certain other effects couldn't function properly. Let's say I have two video layers, the upper one being set to &lt;em&gt;multiply&lt;/em&gt; as it's blending mode. This blending mode takes into account the pixels of the video layer below it. This wouldn't work if that layer hadn't been rendered yet.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I would suggest this layer order for your timeline:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Adjustment Layer with color grading effects&#xA;--------------&#xA;Adjustment Layer with color correction effects&#xA;--------------&#xA;Layer with video clips &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you could just put all your LUT effects on the same adjustment layer. Keep in mind that effects on a clip are rendered top to bottom. So if you have just one adjustment layer that holds one LUT effect for color correction and another one for color grading, make sure the color correction effect is on top in the Effect Settings panel.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2016-11-27T16:27:35.977" LastActivityDate="2016-11-27T16:27:35.977" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="19981" PostTypeId="1" AcceptedAnswerId="19982" CreationDate="2016-11-27T17:00:08.950" Score="0" ViewCount="182" Body="&lt;p&gt;Im interested in creating a video stream channel. There are cases where say I'm building a computer that I want to place a WebCam in a fixed position above my head. Or say doing a car repair, I will need a similar set up.   Most web cameras I've seen are designed to be attached to a computer directly.  Im imagining a stand and a camera attached to it.  Ideally, the camera attaches to a PC but it doesn't have to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess I could pull this off with my iPhone if it had a stand to hold it.&lt;/p&gt;&#xA;" OwnerUserId="17319" LastEditorUserId="17319" LastEditDate="2016-11-27T17:07:03.513" LastActivityDate="2016-11-27T21:45:11.977" Title="How do I setup a camera in a fixed position?" Tags="|webvideos|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19982" PostTypeId="2" ParentId="19981" CreationDate="2016-11-27T18:53:45.410" Score="2" Body="&lt;p&gt;Get a camera (not a webcam), any camera, and put it on a tripod. Make sure the camera has the approriate mount to put it on your tripod. If you have a camera without such mount, just prop it up against some books or something like this. Then connect your camera to your PC (for live streaming) or just record to SD card and put it on your computer later (for prerecorded video).&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-11-27T18:53:45.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19984" PostTypeId="2" ParentId="19981" CreationDate="2016-11-27T21:45:11.977" Score="2" Body="&lt;p&gt;There's nothing wrong with using a WebCam instead of a camera, provided you have a long enough cable.  There are USB extension chords that can give you a few extra feet, and USB extenders that can go quite far (over Cat6a cable, for example).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But regardless of whether you use a webcam (that interfaces as a digital device to your computer) or a camera (which interfaces as a digital video stream to a video capture card in your computer), you do need something to fix it to.  In the world of video, the department that supplies such this is the GRIP department.  If you visit sites on the web that cater to the video world, look for GRIP and that will bring you to the wide variety of clamps, mounts, screws, plates, etc., that attach to your camera on one side and to something in your room or the ground on the other.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-11-27T21:45:11.977" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19986" PostTypeId="1" AcceptedAnswerId="19994" CreationDate="2016-11-28T00:29:08.927" Score="3" ViewCount="56" Body="&lt;p&gt;As far as I understand, the motion estimation is a process, where when we have two frames &lt;strong&gt;t&lt;/strong&gt; and &lt;strong&gt;t+1&lt;/strong&gt; we search for the blocks/pixels that changed position and then encode that change with a motion vector. So in the end we have only the frame &lt;strong&gt;t&lt;/strong&gt; and its encoded successor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After that we use compensation in order to use these motion vectors, and further encode only the difference between the &quot;vectorized&quot; frame &lt;strong&gt;t+1&lt;/strong&gt; and the frame &lt;strong&gt;t&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Firstly, am I right? Secondly, when the &lt;strong&gt;prediction&lt;/strong&gt; issue comes into play? I'm reading about prediction all the time, but in the sequence I've described, I don't see any prediction happening anywhere.&lt;/p&gt;&#xA;" OwnerUserId="17324" LastActivityDate="2016-11-28T12:31:42.013" Title="Prediction and Motion Estimation" Tags="|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19987" PostTypeId="1" AcceptedAnswerId="22993" CreationDate="2016-11-28T03:20:20.940" Score="2" ViewCount="6133" Body="&lt;p&gt;I have a PAL MPEG-2 576i 25fps raw capture (presumably either straight from satellite or a DVD recorder) that I would like to encode to AVC.  I'd like to deinterlace the file during compression with either ffmpeg or some other tool (maybe a frontend like Handbrake?).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What deinterlacing filter should I use with PAL 576i raw footage?&lt;/p&gt;&#xA;" OwnerUserId="16376" LastActivityDate="2017-12-08T22:50:28.077" Title="What deinterlacing filter should I use to encode/compress a PAL MPEG-2 576i 25fps raw file?" Tags="|video|ffmpeg|encoding|compression|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19988" PostTypeId="1" AcceptedAnswerId="19989" CreationDate="2016-11-28T03:38:25.753" Score="-2" ViewCount="28" Body="&lt;p&gt;I record audio streams from internet radio stations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The recordings are usually about an hour long ( mpeg or flac format ) and each recording contains several songs / pieces of music.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there software that could take the recordings as input, discern / detect the individual song boundaries ( as a best effort of course ) and output the songs / pieces contained in each input file as individual audio files?&lt;/p&gt;&#xA;" OwnerUserId="17325" LastActivityDate="2016-11-28T21:12:48.747" Title="SW to chunk up individual songs from larger recording of an audio stream" Tags="|audio-recording|" AnswerCount="2" CommentCount="3" ClosedDate="2016-12-06T23:03:22.343" ContentLicense="CC BY-SA 3.0" />
  <row Id="19989" PostTypeId="2" ParentId="19988" CreationDate="2016-11-28T04:32:08.917" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://manual.audacityteam.org/man/silence_finder_and_sound_finder.html&quot; rel=&quot;nofollow&quot;&gt;Audacity's Silence Finder&lt;/a&gt; will place labels anywhere which match the requirements of your filter. I think you will still have to manually cut the track though to do original processing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also an option to export by label.  That might allow you to automatically split the file and export as several separate files.&lt;/p&gt;&#xA;" OwnerUserId="16376" LastActivityDate="2016-11-28T04:32:08.917" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19990" PostTypeId="2" ParentId="19987" CreationDate="2016-11-28T04:55:32.800" Score="-1" Body="&lt;p&gt;The same as with any interlaced footage: yadif&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mpg -vf yadif out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(I've skipped the encoding parameters)&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-11-28T04:55:32.800" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="19992" PostTypeId="1" CreationDate="2016-11-28T09:12:10.413" Score="0" ViewCount="350" Body="&lt;p&gt;I recently brought a new monitor which is 21:9 (2560x1080) and I use ShadowPlay to capture interesting moments when I'm gaming. I always use Movie Studio Platinum Suite 12 to cut down and edit these clips to then upload them to YouTube, however I've been struggling to figure out how I can render videos in 21:9 to then upload. I've tried the MP4 Internet video setting and then selected a custom aspect ratio, however it throws an error that Movie Studio can't do this size. Does anyone have any ideas / a way I could get around this issue (other than render in 1920x1080 with a border)?&lt;/p&gt;&#xA;" OwnerUserId="17326" LastEditorUserId="17326" LastEditDate="2021-12-16T09:32:39.270" LastActivityDate="2021-12-16T09:32:39.270" Title="Sony Vegas Movie Studio Platinum Suite 12.0 - 21:9 / 2560x1080" Tags="|editing|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="19993" PostTypeId="2" ParentId="19899" CreationDate="2016-11-28T09:58:45.330" Score="0" Body="&lt;p&gt;I tried both and the empirical result is that the 360p video looks &lt;em&gt;much&lt;/em&gt; better than the 448p. Even on my full HD computer screen played in VLC but on the TV screen it was definitely a lot better.&#xA;So in my experience the proportionate imaging is more important than the theoretical resolution.&lt;/p&gt;&#xA;" OwnerUserId="14374" LastActivityDate="2016-11-28T09:58:45.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="19994" PostTypeId="2" ParentId="19986" CreationDate="2016-11-28T12:31:42.013" Score="2" Body="&lt;p&gt;The prediction comes in when actually adding the motion estimation to both frames t and t+1.  Consider a video of a ninja cutting a melon in half, but shot at a very short shutter speed, so as to freeze motion in each frame.  The motion estimator notices that the sword is moving between frame t and frame t+1.  (It also moved between frame t-1 and t, and also frame t+1 to t+2).  Frame t gets half the motion from t-1 to t and half the motion from t to t+1.  The latter half is the prediction.  Frame t+1 gets half the motion from t to t+1 and half the motion from t+1 to t+2.  In this way, the video does not appear to shift half a frame later than the audio.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-11-28T12:31:42.013" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19996" PostTypeId="2" ParentId="19992" CreationDate="2016-11-28T15:54:36.547" Score="1" Body="&lt;p&gt;YouTube does not natively support 21:9 aspect ratios.  If you upload a 2560x1080 video, it will scale the video down to 1920x1080 and letterbox it (put black bars top and bottom).  You are better off rendering 1920x1080 in your video editor and doing your own letterboxing.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-11-28T15:54:36.547" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19997" PostTypeId="1" CreationDate="2016-11-28T18:57:12.783" Score="2" ViewCount="11938" Body="&lt;p&gt;I am editing a music video and after I rendered the workspace, I began previewing the video...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In several places the video has become very choppy, skipping frames or something. How do I fix this? Should I play around with playback timing or fps? No clue what to do..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help is much appreciated!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Navi&lt;/p&gt;&#xA;" OwnerUserId="17329" LastActivityDate="2017-02-26T23:30:22.823" Title="Choppy playback after rendering in Premier Pro CC" Tags="|video|premiere|editing|post-production|playback|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="19998" PostTypeId="2" ParentId="19997" CreationDate="2016-11-28T20:44:36.350" Score="1" Body="&lt;p&gt;The first thing you have to do is to determine whether the choppiness is due to a bad source (your camera skipped some frames) or an inadequate playback system (your editor is demanding more from your hardware (most likely disk subsystem or GPU) than it can provide).  To do this, render out a small version of the video (such as 360p) and see whether that plays back with or without glitches.  If the render has glitches, you have a bad source file and fixing it will be very hard to do.  If that render plays back without glitches, the problem is likely that your hardware is not powerful enough to edit video as is.  In that case, you can try editing proxies, which are basically smaller versions of your original files.  Once you have all the edit decisions made, you can render out a full-res version.  But it still may not play back without glitches unless you have a good disk subsystem and a sufficiently powerful CPU/GPU.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To test the speed of your hard drive system (and to see what video specs it can support without glitching), run the Blackmagic Design Disk Speed Test (if you have a Mac): &lt;a href=&quot;https://itunes.apple.com/us/app/blackmagic-disk-speed-test/id425264550?mt=12&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://itunes.apple.com/us/app/blackmagic-disk-speed-test/id425264550?mt=12&lt;/a&gt; .  Or equivalent if you don't.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-11-28T20:44:36.350" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="19999" PostTypeId="2" ParentId="19988" CreationDate="2016-11-28T21:12:48.747" Score="1" Body="&lt;p&gt;Most audio editing software comes with a &quot;search silence&quot; option and, in the case of Logic Pro X, you can create regions automatically with the &quot;strip silence&quot; function which will search for all instances of silence in the audio file and create audio files from what's left. The process will take minutes. &lt;/p&gt;&#xA;" OwnerUserId="17299" LastActivityDate="2016-11-28T21:12:48.747" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20000" PostTypeId="1" CreationDate="2016-11-28T22:22:59.340" Score="1" ViewCount="4579" Body="&lt;p&gt;I am using MacOS Sierra and am trying to download the ProRes444 Codec in order to export my Adobe After Effects 4k RED footage in this format (probably using Adobe Media Encoder based on what I have seen others do). I found a download of 'pro video formats' that supposedly includes this codec, and downloaded a trial of final cut pro so that it could run ProRes444 on my computer, but am not sure how to find it in Media Encoder now. Are there other steps I'm missing? Thanks!&lt;/p&gt;&#xA;" OwnerUserId="17030" LastActivityDate="2017-05-01T19:56:26.120" Title="ProRes444 Codec download process to Adobe Media Encoder" Tags="|after-effects|codec|adobe-media-encoder|prores|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20001" PostTypeId="1" CreationDate="2016-11-29T02:20:02.193" Score="0" ViewCount="199" Body="&lt;p&gt;While wathcing the trailer to the upcoming plugin &quot;Stardust&quot;, at 00:13 mark of the video, there can be seen a particle effect that resembles a orb of power;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://ctrlv.cz/shots/2016/11/29/XpEu.png&quot; alt=&quot;effect&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since this plugin is not out yet, does anyone know how to archieve a similar effect as shown in the picture? To see it in motion &lt;a href=&quot;https://youtu.be/K8hvPXSj5ec?t=11s&quot; rel=&quot;nofollow noreferrer&quot;&gt;click here.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14518" LastActivityDate="2016-11-29T04:24:33.417" Title="How to archieve similar particle effect" Tags="|animation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20002" PostTypeId="2" ParentId="20001" CreationDate="2016-11-29T04:24:33.417" Score="1" Body="&lt;p&gt;It goes by pretty quickly! It looks to me like they've taken a frame of something that is white at the bottom and producing purple particles upwards, and then applied a rectangular to polar distortion to it, or possibly wrapped it into a 3D sphere.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-11-29T04:24:33.417" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20005" PostTypeId="2" ParentId="16352" CreationDate="2016-11-29T14:47:57.483" Score="3" Body="&lt;p&gt;I ran into the same issue, so I threw together a Python script (posted and linked at the bottom). It doesn't convert the GIMP curves present into a .acv. But it does convert it directly into an argument for an ffmpeg curves video filter. I had hardcoded the files into the script, but to make it a bit more user friendly I added some instructinos and commandline inputs for the file-in and file-out. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;NB: If you are doing a simple -vf you can copy and paste it directly. If you are using a complex filter graph you still need to put the [in] and [out] arguements on either side. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a usage example: I've bolded the parts that you would need to add and ellipsed the very long filter statement. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;simple vf: &lt;strong&gt;ffmpeg -i videoin.mp4 -vf&lt;/strong&gt; curves=master=&quot;0....1.000&quot; &lt;strong&gt;videoout.mp4&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;part of complex filter that concatenates two videos, color corrects the product, and adds a separate audio track:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg `&#xA;-i vid1.mp4 `&#xA;-ss 0:0:03.04 -i .\vid2.mp4 `&#xA;-i .\audio.m4a `&#xA;-filter_complex `&#xA;&quot;[0:v][1:v] concat=n=2:v=1:a=0 [stitched]; `&#xA;[stitched] curves=master='0.0/0.000000 0.01171875/0.008608 `    &#xA;....0.99609375/1.000000' [stitchedcorrected]&quot; `&#xA;-map '[stitchedcorrected]' -map 2:a:0 `&#xA;-vcodec libx264 -preset slow `&#xA;out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Hope this is helpful! Let me know if you need any help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://pythonfiddle.com/gimp-curves-to-ffmpeg-curves-arg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://pythonfiddle.com/gimp-curves-to-ffmpeg-curves-arg/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;import re&#xA;&#xA;#make generator&#xA;lower=0&#xA;upper=1&#xA;length=256&#xA;zerotoonestepped256gen = [lower + x*(upper-lower)/length for x in range(length)]&#xA;&#xA;def formatForFFMPEG(values):&#xA;    serializedValues = values.split(' ')&#xA;    list = []&#xA;    for i in range (len(serializedValues)):&#xA;        if not list or zerotoonestepped256gen[i] - float(re.match(r&quot;^[^////]*&quot;,list[-1]).group(0)) &amp;gt; 0.01:&#xA;            list.append('%s/%s' % (zerotoonestepped256gen[i], serializedValues[i]))&#xA;    return list&#xA;&#xA;#print instructions&#xA;print('This is a tool to convert a color curves map from GIMP to a curves filter that can be inserted into the -complex_filter. Note that you still need to append the input and output streams onto either side of the command.')&#xA;#get filename&#xA;file = input('Please input the absolute path to the GIMP Color Curve Preset File: ')&#xA;out = input('Please enter the output file (file will be overwritten if it exists): ')&#xA;&#xA;#Open the curves file&#xA;curvesfile = open(file,&quot;r&quot;)&#xA;curvesString = curvesfile.read()&#xA;foundValues = re.findall(r'(?&amp;lt;=samples 256) [\d. ]*',curvesString)&#xA;&#xA;masterValues = formatForFFMPEG(foundValues[0][1:])&#xA;redValues = formatForFFMPEG(foundValues[1][1:])&#xA;greenValues = formatForFFMPEG(foundValues[2][1:])&#xA;blueValues = formatForFFMPEG(foundValues[3][1:])&#xA;alphaValues = formatForFFMPEG(foundValues[4][1:])&#xA;&#xA;commandPrelim = 'curves=master=&quot;'&#xA;&#xA;command = commandPrelim + ' '.join(masterValues) + '&quot;:red=&quot;' + ' '.join(redValues) +'&quot;:green=&quot;' + ' '.join(greenValues) + '&quot;:blue=&quot;' + ' '.join(blueValues) + '&quot;'&#xA;&#xA;&#xA;with open(out, 'w') as out:&#xA;    out.write(&quot;Final Command\n\n&quot; + command + '\n\n')&#xA;    out.write(&quot;master\n\n&quot; + ' '.join(masterValues) + '\n\n')&#xA;    out.write(&quot;red\n\n&quot; + ' '.join(redValues) + '\n\n')&#xA;    out.write(&quot;green\n\n&quot; + ' '.join(greenValues) + '\n\n')&#xA;    out.write(&quot;blue\n\n&quot; + ' '.join(blueValues) + '\n\n')&#xA;    out.write(&quot;alpha\n\n&quot; + ' '.join(alphaValues) + '\n\n')&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17336" LastActivityDate="2016-11-29T14:47:57.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20008" PostTypeId="1" CreationDate="2016-11-29T21:29:56.417" Score="0" ViewCount="1293" Body="&lt;p&gt;So I recorded nintendo ds gameplay with my phone and I masked out what I need. I made a pask using the pentool but of course this is not a nice rectangle. So what I want is to warp the video so the masked part fits in a rectangle, but i have no idea how. This is what I mean but in another editing software: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ShYX1S5s-H8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; watch 2:30-2:50&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I want to do this in AE&lt;/p&gt;&#xA;" OwnerUserId="17340" LastActivityDate="2016-12-01T11:56:54.137" Title="AE distort mask" Tags="|after-effects|mask|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20009" PostTypeId="2" ParentId="10305" CreationDate="2016-11-29T23:20:28.547" Score="0" Body="&lt;p&gt;The actual problem is Premiere Pro's colour management. Here's why:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1 - All my colour work is done on Davinci Resolve which uses all the raw files from the beginning and the final product looks great.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2 - The files exported out of Davinci in 422HQ look great as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3 - I bring the same files into Premiere Pro and now they look over &#xA;saturated, contrasted and not the product that I just exported!! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;4 - Take same coloured file from davinci and view it through quicktime, VLC and Premiere Pro and have them all open on the same monitor. You will see that Premiere Pro will look much different! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure why Premiere does a gamma shift or doesn't view rec709 properly but all I can say is NEVER look at the colour in Premiere as accurate. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've had the same problems as everyone here and I've also had major issues with it looking much different on YouTube and Vimeo as well when exporting out of Premiere as h264. I'm pretty sure this is because Premiere doesn't export out with a Rec709 color. Either way here's how you can fix it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;SOLUTION: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;1 - Colour on a program that is actually built as a color correction software such as Davinci Resolve. DO NOT COLOUR IN PREMIERE&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2- Export your colored files out of Davinci  Resolve as a 422HQ and rec709 color and load these colored files back into premiere. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;3 - Now your files are in Premiere and they will look oversaturated and shit BUT DONT WORRY! Add your titles and any warp stabalization or effects you had on and ignore the color for now. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;4 - Export your finished product (ignoring color) out of Premiere as Quicktime 422HQ, Render Maximum Bit Depth, 48bit, Use Maximum Render Quality and DO NOT use Previews. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;5 - When this full res file is complete you can open it and see that your colours are back to normal and your video looks great again. At this point you'll have all your titles and effects baked in to a high res file and it's ready for web (or other) compression. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;6 - Take this full res 422HQ file and bring it into Apple Compressor ($70 on app store). Compressor will be your actual encoding tool forever now. It's 100x better that premiere exports &lt;/p&gt;&#xA;&#xA;&lt;p&gt;7 - Choose your video settings. You will see a Rec709 color space option!! By default 422HQ is rec709 but the file will be way to big to upload to social media so that is why we're in Compressor to compress into h264 not in Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;8 - Choose your video settings, export out a file with a rec709 color space, enjoy the color you want on all platforms!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additional Notes:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Each monitor will display color differently so ideally when you're coloring in Davinci you can work off a calibrated monitor. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If your exporting a 1080 file look into x264 and then use that plugin for better results that h264 in Compressor. For 4K export material use h264&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;DO NOT SET YOUR MONITOR TO RGB! Video is Rec.709 so if your on a mac keep it to its default colour. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you really care about your video color you have to get your monitor calibrated to rec.709 and that means calling a good video facility and paying a bit to calibrate your monitor. You can also use a spyder to get close if you want a cheaper option. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Good Luck!!&lt;/p&gt;&#xA;" OwnerUserId="17341" LastActivityDate="2016-11-29T23:20:28.547" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20011" PostTypeId="2" ParentId="10461" CreationDate="2016-11-30T08:32:04.850" Score="10" Body="&lt;p&gt;I think I've found the easiest way!&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Just crop the area you want.&lt;/li&gt;&#xA;&lt;li&gt;Go to the Export window without worrying about the black margins showing.&lt;/li&gt;&#xA;&lt;li&gt;Set the final resolution and export settings as you would want.&lt;/li&gt;&#xA;&lt;li&gt;(THIS IS THE IMPORTANT ONE) On the top left of the Export Window, there are two tabs; SOURCE and OUTPUT. Go to the Source Tab.&lt;/li&gt;&#xA;&lt;li&gt;On the left-most side, find the crop icon and activate it.&lt;/li&gt;&#xA;&lt;li&gt;Now, MANUALLY crop the black margins out AGAIN.&lt;/li&gt;&#xA;&lt;li&gt;Proceed to export. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I've been worrying about it all day and I am so happy now!&#xA;Thank you guys for the other answers that put me in the right direction.&lt;/p&gt;&#xA;" OwnerUserId="17346" LastActivityDate="2016-11-30T08:32:04.850" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20012" PostTypeId="1" CreationDate="2016-11-30T12:47:51.360" Score="0" ViewCount="86" Body="&lt;p&gt;First of all I like to mention I have some knowledge in After Effects, as I created &quot;Dragonball Z&quot; effects for fun few years back. I also have some basic knowledge in Photoshop to create 3D texts, visuals ect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking for a way to create a intro video for my Youtube channel, which will contain 3D text and the footage from Wrath of The Lich King intro cinematic where Lich King Arhtas stabs the ice with Frostmourne.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering if there is a tutorial on how to implement 3D Text so it appears from the crack in the ice and after that blurring the video except that text? If you guys can show me some tutorial on that it will be much helpfull.&lt;/p&gt;&#xA;" OwnerUserId="17349" LastActivityDate="2017-09-02T02:09:15.917" Title="How to implement apearing 3D text in video?" Tags="|video|after-effects|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20015" PostTypeId="1" CreationDate="2016-12-01T01:27:26.677" Score="4" ViewCount="4410" Body="&lt;p&gt;I'm an amateur learning to edit videos from my GoPro, DSLR, and quadcopter. I've tried various NLE's for cutting and liked FCPX workflow much more then Premiere Pro and similar editors with tracks. But for color grading looks like most editors use DaVinci. How it is different from FCPX? Does it have any advantages in case of simple grading for amateur projects? &lt;/p&gt;&#xA;" OwnerUserId="5682" LastActivityDate="2017-03-15T16:52:27.800" Title="Should I do color grading in FCPX or round trip do DaVinci Resolve?" Tags="|final-cut-pro-x|color-grading|davinci-resolve|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20016" PostTypeId="1" CreationDate="2016-12-01T09:31:52.887" Score="4" ViewCount="1453" Body="&lt;p&gt;What is the best way to successfully export an EDL from Premiere to Davinci Resolve?&#xA;Currently I export a Final Cut Pro XML, but whenever I import into Davinci, there are often errors with scale and speed, if any changes have been made to the size of the source footage.. What's the right way to do this?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-10-31T20:50:47.553" Title="Exporting XML EDL from Premiere to Davinci Resolve" Tags="|premiere|color-grading|davinci-resolve|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20017" PostTypeId="2" ParentId="20008" CreationDate="2016-12-01T11:56:54.137" Score="1" Body="&lt;p&gt;There is an effect called &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/distort-effects.html#corner_pin_effect&quot; rel=&quot;nofollow noreferrer&quot;&gt;Corner Pin&lt;/a&gt; that does exactly this. Apply it to the video and drag the corners so that the video is the shape you want. You may need to mask the layer as well - it's usually easiest to precompose the layer with the effect on it as the effect is applied after masking, making it a bit tricky to position your mask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more bells and whistles, recent versions have included the CC Power Pin effect. I'm not 100% sure what the advantages of this plugin are, but you might want to look at the menual &lt;a href=&quot;http://cycorefx.com/downloads/cfx_hd_std/CycoreFX%201.7%20Manual.pdf#CCfx%20Std%20Manual.indd%3A.27664&quot; rel=&quot;nofollow noreferrer&quot;&gt;here.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-12-01T11:56:54.137" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20018" PostTypeId="2" ParentId="20015" CreationDate="2016-12-01T16:26:05.747" Score="3" Body="&lt;p&gt;Use Resolve, it is &lt;em&gt;far&lt;/em&gt; superior to FCPX for grading.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is my workflow, since I always shoot in RAW with the Blackmagic Cinema Camera.  I know there are ways to do this using XML, but I've run into issues with that when I segment a larger clip in FCPX and then bring it back to resolve it will then have each of those clips as individuals, instead of the one larger clip.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Import the RAW DNG files to Resolve&lt;/li&gt;&#xA;&lt;li&gt;Add all clips to my timeline (their order doesn't matter)&lt;/li&gt;&#xA;&lt;li&gt;Apply a Blackmagic film to rec709 LUT and perform some basic grades&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Export as individual clips. The format and codec you use are up to you, but for editing I use 422 proxy&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/uOuyc.png&quot; width=&quot;431&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Ensure that you export your clips using the source filename and save to a folder titled something like &quot;Edit Media&quot; or whatever you'd like&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/NyYTQ.png&quot; width=&quot;440&quot;&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Import those clips from the &quot;Edit Media&quot; folder into FCPX and perform your edits.  Once you're satisfied with your edits,  go back into Resolve and perform the final color grades of the clips you wound up actually using in your video.  Render them at a higher quality (how high is up to you) and overwrite the clips in &quot;Edit Media&quot;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Open the project again in FCPX and render your video.  The clips should automatically be overwritten with the new ones you just exported from Resolve, as long as you keep using Source Filenames&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="10892" LastEditorUserId="5296" LastEditDate="2017-03-15T16:52:27.800" LastActivityDate="2017-03-15T16:52:27.800" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20019" PostTypeId="2" ParentId="20000" CreationDate="2016-12-01T18:11:01.113" Score="0" Body="&lt;p&gt;I believe you mean &lt;a href=&quot;https://en.wikipedia.org/wiki/Apple_ProRes#ProRes_4444_and_ProRes_4444_XQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;ProRes444&lt;strong&gt;4&lt;/strong&gt;&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I understand the general situation, and as you also imply in your question, one needs to install FCP in order to encode with the indispensible ProRes codecs in other apps (such as Adobe ones.) That's certainly what I've gotten used to doing on brand new machines. I'm not sure if the &lt;em&gt;trial&lt;/em&gt; version of FCP would do the trick, but I don't see why not. I don't think there's a stand-alone installer of the ProRes codecs, at least not for encoding. It's probably just for decoding (i.e., playback of a pre-existing ProRes video.) Someone correct me if I'm wrong here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Okay, so let's assume the ProRes codecs are successfully installed (for encoding, not merely decoding) on your machine. In Media Encoder, you can export using Presets, or you can export using custom settings. You want the latter. &lt;a href=&quot;https://helpx.adobe.com/media-encoder/using/encode-export-video-audio.html#encode_using_custom_settings&quot; rel=&quot;nofollow noreferrer&quot;&gt;Check out this link&lt;/a&gt; to see the various ways to access the custom Export Settings. (I usually just click on the pre-assigned preset name to open the custom Export Settings dialog window.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you get the custom Export Settings window open, you'll need to change the Format option to ProRes4444. If you don't see any ProRes formats in that dropdown list, they may not be installed properly yet. You can also check to see if the codecs are currently installed for encoding from AE without firing up Media Encoder. Just add an item to the render queue and try to customize the output format. If you don't see any ProRes codecs available in AE, you probably won't see any in Media Encoder.&lt;/p&gt;&#xA;" OwnerUserId="17133" LastActivityDate="2016-12-01T18:11:01.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20021" PostTypeId="2" ParentId="20015" CreationDate="2016-12-01T20:38:41.840" Score="0" Body="&lt;p&gt;There are number of good color grading tools for working directly in FCPX available from 3rd parties if you prefer staying in one app. For example &lt;a href=&quot;http://www.colorgradingcentral.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;Color Finale&lt;/a&gt; is well liked. Apple's own &lt;a href=&quot;http://www.apple.com/final-cut-pro/resources/ecosystem.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Final Cut Pro X Resources page&lt;/a&gt; has a color correction section that lists a number of other color correction plug-ins available for the app.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-12-01T20:38:41.840" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20022" PostTypeId="1" CreationDate="2016-12-01T20:46:13.363" Score="2" ViewCount="122" Body="&lt;p&gt;I am trying to see if there's a term for what I'm about to explain or a better way of doing this.  Basically, my company is filming an actor from the waist up for short, 1 or 2 sentence clips.  These clips need to be strung together to look as seamless as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main problem is that the model has to rely on muscle memory to remember where her head (specifically eyes, nose, mouth) and shoulders are in the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My solution would be to use a mirror with a hole cut out for a camera lens.  On the mirror would be marks showing where her features should return to after she says something. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this typical, or is there a better way to do this? Or possibly to have another monitor with an overlay of the original position on it?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd just like to try to make sure she doesn't constantly look away from the camera to achieve this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any thoughts?&lt;/p&gt;&#xA;" OwnerUserId="17367" LastEditorUserId="18155" LastEditDate="2019-08-21T15:34:40.430" LastActivityDate="2019-09-21T06:56:34.933" Title="Getting a model to hit same exact mark" Tags="|video-quality|" AnswerCount="4" CommentCount="12" ContentLicense="CC BY-SA 4.0" />
  <row Id="20023" PostTypeId="2" ParentId="20022" CreationDate="2016-12-01T23:30:30.927" Score="2" Body="&lt;p&gt;One option, if you don't mind the actor keeping her head still, is to be partially lying down. She could be in a recliner, leaning back, with her head against the headrest so she never moves it.  She would feel the headrest behind her so she could tell if she'd turned her head, and it wouldn't &quot;drift&quot; left or right because the friction of the headrest would keep it in place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course you would want to shoot all her lines in as short a session as possible so she didn't get uncomfortable - like 5 minutes for all the lines and retakes.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2016-12-01T23:30:30.927" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20024" PostTypeId="1" AcceptedAnswerId="20037" CreationDate="2016-12-02T03:58:29.153" Score="5" ViewCount="2254" Body="&lt;p&gt;&lt;strong&gt;EDIT: This bug has been fixed. If you're experiencing the problem below, try updating ffmpeg&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to supply video with alpha as a prores4444 encoded file. I've been trying to use ffmpeg, but for once it seems to be letting me down (I know, gobsmacked!).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using the prores_ks codec and following the intructions on the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-codecs.html#Private-Options-for-prores_002dks&quot; rel=&quot;nofollow noreferrer&quot;&gt;man page&lt;/a&gt; this is my command, testing on a QTRLE encoded file with 8-bit RGBA:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i '.\alpha test.mov'  -c:v prores_ks -profile:v 4 -quant_mat 'hq' -pix_fmt yuva444p10le 'prorestest2.mov'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The output is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-82664-g801b5c1 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 5.4.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-dxva2 --enable-libmfx --enable-nvenc --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55. 41.101 / 55. 41.101&#xA;  libavcodec     57. 66.108 / 57. 66.108&#xA;  libavformat    57. 58.101 / 57. 58.101&#xA;  libavdevice    57.  2.100 / 57.  2.100&#xA;  libavfilter     6. 67.100 /  6. 67.100&#xA;  libswscale      4.  3.101 /  4.  3.101&#xA;  libswresample   2.  4.100 /  2.  4.100&#xA;  libpostproc    54.  2.100 / 54.  2.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '.\alpha test.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt&#xA;    creation_time   : 2016-12-12T03:17:14.000000Z&#xA;  Duration: 00:00:10.00, start: 0.000000, bitrate: 406275 kb/s&#xA;    Stream #0:0(eng): Video: qtrle (rle  / 0x20656C72), bgra(progressive), 1920x1080, 405436 kb/s, SAR 1:1 DAR 16:9, 25 fps, 25 tbr, 25 tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-12-12T03:17:14.000000Z&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Animation&#xA;      timecode        : 00:00:00:00&#xA;    Stream #0:1(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-12-12T03:17:14.000000Z&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:00:00:00&#xA;File 'prorestest2.mov' already exists. Overwrite ? [y/N] y&#xA;Output #0, mov, to 'prorestest2.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt&#xA;    encoder         : Lavf57.58.101&#xA;    Stream #0:0(eng): Video: prores (prores_ks) (ap4h / 0x68347061), yuva444p10le, 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 200 kb/s, 25 fps, 12800 tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-12-12T03:17:14.000000Z&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:00:00:00&#xA;      encoder         : Lavc57.66.108 prores_ks&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (qtrle (native) -&amp;gt; prores (prores_ks))&#xA;Press [q] to stop, [?] for help&#xA;frame=  250 fps=5.5 q=-0.0 Lsize=  186122kB time=00:00:09.96 bitrate=153082.2kbits/s speed=0.218x&#xA;video:186119kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.001761%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It all looks good, unitl you see the results. Here is a frame from the original, exported as a png (using djv):&#xA;&lt;a href=&quot;https://i.stack.imgur.com/KpMMP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KpMMP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;…and here is the prores encoded version. There's blockiness and ringing artefacts that are most apparent in areas that have partial alpha:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XUbk5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XUbk5.png&quot; alt=&quot;prores444 encoded version&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's most apparent if you look at the colour channels individually:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ngh3m.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ngh3m.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried the different &lt;code&gt;-quant_mat&lt;/code&gt; settings (in the docs it looks like there should be 6, but if I try &lt;code&gt;-quant_mat 5&lt;/code&gt; I get an out of range error. I also tried using the string version, i.e. &lt;code&gt;-quant_mat 'hq'&lt;/code&gt;. Another thing I tried was changing the number of alpha bits using &lt;code&gt;-alpha_bits 16&lt;/code&gt; and &lt;code&gt;-alpha_bits 8&lt;/code&gt;. The problem was worse with 16 bit alpha.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So is it something I'm doing or is it the codec not working properly?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-10-03T00:32:45.960" LastActivityDate="2017-10-03T00:32:45.960" Title="Bad quality encodes to Prores4444 with alpha from ffmpeg" Tags="|ffmpeg|encoding|prores|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20025" PostTypeId="2" ParentId="20022" CreationDate="2016-12-02T07:14:16.583" Score="0" Body="&lt;p&gt;Back in the &quot;golden age&quot; of movie production, they had a &quot;continuity person&quot; or a &quot;script supervisor&quot; whose job it was to keep everything matched so that shots could be inter-cut without discontinuities.  They used a Polaroid camera to record exactly what the actor looked like, what facial expression, angle of gaze, tilt of head, how empty the cup or half-burnt the cigarette, etc. etc. etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These days with video, it is easier because we have instantly available video recordings (or still frame captures) which can be compared by half-dissolving them on a monitor to exactly match the new shot with a previous reference frame. &lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-12-02T07:14:16.583" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20026" PostTypeId="2" ParentId="19707" CreationDate="2016-12-02T18:41:09.193" Score="1" Body="&lt;p&gt;NVIDIA have just published &lt;a href=&quot;https://developer.nvidia.com/video-encode-decode-gpu-support-matrix&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video Encode and Decode GPU Support Matrix&lt;/a&gt; that contains number of NVENC chips for Pro-level cards.&lt;/p&gt;&#xA;" OwnerUserId="17061" LastActivityDate="2016-12-02T18:41:09.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20027" PostTypeId="2" ParentId="20022" CreationDate="2016-12-02T19:18:46.790" Score="0" Body="&lt;p&gt;(This idea is similar to the one in Richard Crowley's second paragraph.)  If you can view your spokesperson on a full-sized monitor, have her take her position, and then put small pieces of opaque tape on the screen:  one just to the left of her head, one just to the right of her head, one at the top of her head, one for each elbow, one for each hand, etc.  Then it will be easy to tell her how to realign after each take. (It would &lt;em&gt;not&lt;/em&gt; be easy for her to realign at the end of each take.)&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2016-12-02T19:18:46.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20028" PostTypeId="2" ParentId="19955" CreationDate="2016-12-02T19:52:40.483" Score="1" Body="&lt;p&gt;The easiest way is to use nested timelines.  Make each source timeline the appropriate size for the half it is on.  Apply the motion within the nested timelines.  Then place the nested timelines on the top and bottom of your final timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use this technique regularly in both Premiere and After Effects when I need to combine multiple elements into a layer than I then want to manipulate as a whole.  In After Effects, adjustment layers are also an option, but I often need to treat the same sub-asset in different ways in different finished videos (working on lower thirds generally), so the nesting approach makes more sense for me.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2016-12-02T19:52:40.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20035" PostTypeId="1" CreationDate="2016-12-04T16:21:20.797" Score="0" ViewCount="25374" Body="&lt;p&gt;The camera model is a Sony, remote control model, I don't have the exact model# with me but can get it if needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure when it started, but it's very noticeable now, the lines scrolling up the flag in this video: &lt;a href=&quot;https://drive.google.com/file/d/0Bw1rEMBACTmYU2huY21IU3dFWFE/view?usp=drivesdk&quot; rel=&quot;nofollow&quot;&gt;https://drive.google.com/file/d/0Bw1rEMBACTmYU2huY21IU3dFWFE/view?usp=drivesdk&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone tell me what is causing this,  is the camera going bad, or do the settings just require adjistment?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Update&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Model: Sony BRC-Z330 (Purchased in 2010)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Exposure Mode: Full Auto&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Iris Limit: F11&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AE Speed: MID&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AGC Limit: 18dB&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ex Comp: Off&lt;/p&gt;&#xA;&#xA;&lt;p&gt;White Balance: Indoor&lt;/p&gt;&#xA;" OwnerUserId="3880" LastEditorUserId="3880" LastEditDate="2016-12-04T17:17:32.297" LastActivityDate="2020-10-26T16:38:49.210" Title="What is causing these horizontal lines moving vertically up the whiter portions of the video?" Tags="|video-quality|camera|" AnswerCount="2" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="20036" PostTypeId="2" ParentId="20015" CreationDate="2016-12-05T02:58:54.467" Score="0" Body="&lt;p&gt;This might work for you...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I import my source media (BMPC4K + GoPro ProTune) into FCPX 10.3.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I 'Show Package Contents' in the Mac Finder and point Resolve at those files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After grading is done in Resolve I export an XML file using the FCPXXML preset.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Import that XML into FCPX and it creates a project/timeline with your Resolve edits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can create your proxies in FCPX using the Transcode Media function.&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2016-12-05T02:58:54.467" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20037" PostTypeId="2" ParentId="20024" CreationDate="2016-12-05T06:13:58.113" Score="2" Body="&lt;p&gt;Looks to be an encoder deficit, probably due to the rapid transition in the alpha from 1 to 0 in the border regions. Outputting to VP9 with alpha produces a clean result as does outputting to prores without alpha. Outputting with an uniform alpha i.e. whole alpha plane reset to 0 or 0.5 or 1 also produces a clean result. It's not a scaler issue as rawvideo with yuva444p10le also produces clean result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking at the source code, I see this line, which may be relevant:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;// todo alpha quantisation for high quants&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-05T06:13:58.113" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="20041" PostTypeId="1" AcceptedAnswerId="20043" CreationDate="2016-12-05T15:54:35.590" Score="0" ViewCount="578" Body="&lt;p&gt;For the sake of a cleaner workspace is it possible to have multiple expression controls, such as slider controls, in the same FX control?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0wPYl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0wPYl.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, instead of seeing &quot;Slider Control&quot; and &quot;Slider Control 2&quot; I would like both of the actual sliders to reside under the same &quot;Slider Control&quot; heading.&lt;/p&gt;&#xA;" OwnerUserId="12572" LastActivityDate="2016-12-05T17:22:10.160" Title="Multiple expression controls in ONE FX controller" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20042" PostTypeId="1" AcceptedAnswerId="20044" CreationDate="2016-12-05T17:00:52.203" Score="2" ViewCount="2003" Body="&lt;p&gt;I am a small hobby editor. Just for fun, nothing serious. Hence: I don't know really much about the technical side at all, and most things I just don't understand. I'm really just a consumer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do have a good PC already: i7 4.00 Ghz, GTX 980.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have 4 HDD's now, all 7200rpm: 1TB, 2TB, and 5TB(external). And one 500GB as primary containing my OS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now money restricts me a lot, so I can buy now ONE SSD and not even the greatest. I see an EVO of 500GB I can afford. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So how do I use that the best for video edit preformance?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will have to keep all my source material on the HDD's. So I will import files from HDD into my Edit-program to edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm thinking to have my OS and all other programs on the SSD. But install only my Edit-program on the 2TB HDD and use that entire HDD ONLY for the Edit-program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or even the exact other way around: keep my OS and other on the HDD as it is, since I don't care much about fast boot or 'quickly open programs'. And install my Edit-program on the SSD and use the SSD only for that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I searched google and internet for days trying to find a good answer for me, but I guess all other editors know too much to have such a low profile question lol.&#xA;I did find lots of editors claiming to have great benefit from SSD, but all of them had many SSD's so they could have their OS, Edit program AND their source material on SSD's. I can't possibly afford that now and I'm even wondering if one SSD will do me any good. If all the benefit I will get is that my Edit-software starts up really really fast, I wont bother...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry for my rambling but I truly have no idea how I could make it work best. The ONLY reason I want to buy the SSD is to improve video editing, I have absolutely no other desire for it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any tips or advice I would highly appreciate!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ADDED: Maybe also useful info? My Edit-program is Cyberlink Powerdirector 15. I's very affordable and can still do nice things for it's price.&#xA;I mostly edit 1080p using quite a lot of multiple track splitscreens, multiple effects and transisions.&#xA;(Wow, I got 6 reputation and Bronze medal already? That wasn't hard lol :-)&lt;/p&gt;&#xA;" OwnerUserId="17401" LastEditorUserId="17401" LastEditDate="2016-12-05T19:19:49.177" LastActivityDate="2016-12-05T21:39:14.813" Title="If I can buy SSD, how do I best use it to improve video editing?" Tags="|video-editor|ssd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20043" PostTypeId="2" ParentId="20041" CreationDate="2016-12-05T17:16:52.100" Score="1" Body="&lt;p&gt;No that is not possible, as far as I know. (Tho perhaps it could be with a little programming, &lt;a href=&quot;http://jongware.mit.edu/Sui/index_1.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;using the ScriptUI API.&lt;/a&gt; Here's the &lt;a href=&quot;http://wwwimages.adobe.com/content/dam/Adobe/en/devnet/scripting/pdfs/javascript_tools_guide.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;complete reference&lt;/a&gt;.) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However it is possible to rename the &quot;Slider Control&quot; and &quot;Slider Control 2&quot; labels to something more useful to you. That's what I usually do. Just click on the name and hit Return on the keyboard to rename.&lt;/p&gt;&#xA;" OwnerUserId="17133" LastEditorUserId="17133" LastEditDate="2016-12-05T17:22:10.160" LastActivityDate="2016-12-05T17:22:10.160" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20044" PostTypeId="2" ParentId="20042" CreationDate="2016-12-05T21:39:14.813" Score="2" Body="&lt;p&gt;All computer performance optimization is based on understanding critical paths (bottlenecks), then removing or relaxing the bottleneck until there is nothing more you can afford to improve (possibly because there is simply no known widget, at any price, that will improve whatever else is on your critical path).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some very common critical paths in video editing are&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Reading video data from disk&lt;/li&gt;&#xA;&lt;li&gt;Rendering video data (for display and/or for writing to disk)&lt;/li&gt;&#xA;&lt;li&gt;Writing video data to disk&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;When you import video data into a project, rarely is it all loaded into RAM, though it could be.  If it is loaded into RAM, then buying an SSD is only going to speed up the initial loading of your RAM--a one-time benefit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More often, video is buffered into RAM, but it fundamentally lives on disk, and thus disk speed becomes important as you play or scrub through your files.  If you have 1080p ACVHD stream, it uses approximately 28Mb/sec of bandwidth.  Modern HDDs can average 25MB/sec to 120MB/sec or more, depending on whether they are connected via USB2, USB3, USB3.1, SATA, eSATA, etc.  But if you need to load and display from 8 streams, it can try to read 28Mb/sec times 8 streams = 28MB/sec from the disk, but because the streams are likely scattered across the disk, it has to issue many seeks and buffer lots of data, leading to uneven performance.  An SSD is an advantage here because the seek time is virtually zero.  A single SATA SSD could easily handle 8 and perhaps 24 streams without choking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the computer's CPU and GPU are typically designed to handle HD and perhaps quad HD video, meaning that they are going to begin to choke if they have to display 24 simultaneous streams.  But 4-8 should be OK.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To optimize your system, you should use a system profiling tool to see just how much disk bandwidth your system delivers under load vs. the calculated bandwidth of your video streams.  And you should measure how much video rendering performance your CPU/GPU can do vs. the estimated complexity of your streams (are they all just passed through a virtual switcher, or does every frame have scaling, translation, cropping, blur, sharpening, noise reduction, color correction, etc)?  You can then do some math: how much does it cost to close X% of the gap for each different gap you can measure.  Which dollars have the greatest impact on closing the gaps you can close?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might find that indeed an SSD is just the ticket.  Or it might be that your GPU is really your rate-limiting step.  Most serious video editing workstations are a collection of many high-end components.  Having just one piece of the puzzle might only speed things up by 5%, whereas having all of the pieces, even if only half as good as the best, can speed things up by 50%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It does take a little technical knowledge to profile and tune a system, but what it really takes is dedication to the process and good measurement tools.  Or enough money to keep buying bits until you can no longer see any improvements.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-12-05T21:39:14.813" CommentCount="13" ContentLicense="CC BY-SA 3.0" />
  <row Id="20045" PostTypeId="2" ParentId="20012" CreationDate="2016-12-05T22:11:08.387" Score="1" Body="&lt;p&gt;Very easy to do. You can use a mask and vignette to make it appear faded or on the ice. With a layer over the 3D text to make it blend better with the layer it's on. To fade the background and not the text just apply a Gaussian blur to the video.&lt;/p&gt;&#xA;" OwnerUserId="17029" LastActivityDate="2016-12-05T22:11:08.387" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20046" PostTypeId="2" ParentId="19952" CreationDate="2016-12-05T22:14:31.723" Score="0" Body="&lt;p&gt;Pond5. It's expensive but you have full rights afterwards.  &lt;/p&gt;&#xA;" OwnerUserId="17029" LastActivityDate="2016-12-05T22:14:31.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20047" PostTypeId="2" ParentId="19934" CreationDate="2016-12-05T22:19:07.750" Score="0" Body="&lt;p&gt;Usually when recording externally or with two cameras a clapper comes in handy. You match the spikes and then mute the other audio tracks so you just have one. I would expand the audio tracks and find similarities.&lt;/p&gt;&#xA;" OwnerUserId="17029" LastActivityDate="2016-12-05T22:19:07.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20049" PostTypeId="1" CreationDate="2016-12-06T01:48:52.707" Score="1" ViewCount="91" Body="&lt;p&gt;The idea is to stream a webcam video from one party location to a projector in the main area. It would be cool if I can find a way to add &quot;fun cat faces&quot; effects or something similar on the fly to the video. There are plenty &quot;face booth&quot; phone apps for selfies, but I'm looking for using a stationary webcam connected to my computer and more faces at a time that on a usual phone. Any suggestions? Thank you&lt;/p&gt;&#xA;" OwnerUserId="17406" LastActivityDate="2016-12-08T06:42:47.770" Title="Video effects over the live webcam stream for a party" Tags="|video|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20050" PostTypeId="2" ParentId="19934" CreationDate="2016-12-06T06:23:17.640" Score="3" Body="&lt;p&gt;This is a rather common problem.  The issue is NOT sample-rate.  And the issue is NOT frame-rate, either.  Most modern editing software (or file-manipulation software) is capable of easily resolving sample-rate or frame-rate issues.  For example, clearly there is no &quot;frame-rate&quot; or even &quot;sample-rate&quot; setting on a typical smart phone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issue is that the internal clock references in mass-market consumer gadgets like your camcorder and your phone are not precise enough to stay in lip-sync for more than a few minutes.  For most of the history of shooting film and video, professionals actually connected the camera clock and the audio recorder clock together with a hard wire. (This was called &quot;genlock&quot;.) And in more modern times, pro gear uses internal (or external) reference clocks that cost more than your whole camcorder and phone combined.  And even then they are &quot;jam-synced&quot; together several times a day.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on which editing software you are using, you will very likely find it much more acceptable to use the audio track as the &quot;master reference&quot; and &quot;pull-up&quot; the video to match the audio.  Many editing applications do pretty horrible things to the audio track if you try to lengthen or shorten the clip slightly.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But doing the same thing to the video track will result only in a dropped or duplicated frame every few seconds, and almost nobody viewing your video will notice that.  But they will certainly complain about lousy audio if you try to &quot;tweak&quot; the length.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But try it for yourself on your own software and see how it works for yourself. Only YOU can do that experiment with YOUR video and audio and editing system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may get lucky.  Start by syncing the beginning of the video/audio together. Then go to the end and drag the length of the video clip so that the audio is in sync at the end.  If you are lucky, the audio will be in sync through the entire length of the recording.  But if there was more drift during the clip, you may have to divide your video into sections and &quot;pull-up&quot; the video to match the audio at several points.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We typically use &quot;B-roll&quot; (PowerPoint slides, presentation video, audience shots, etc.) to cover edit and/or sync points.  It is always good to get some &quot;audience reaction&quot; shots to cover edit points. Even if you don't shoot the &quot;B-roll&quot; during the main presentation.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-12-06T06:23:17.640" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20051" PostTypeId="1" CreationDate="2016-12-06T10:36:05.373" Score="1" ViewCount="2036" Body="&lt;p&gt;How can I get thumbnails from first frame of each video in a set of videos?  I am using Windows.&lt;/p&gt;&#xA;" OwnerUserId="17408" LastEditorUserId="2836" LastEditDate="2016-12-07T16:25:40.340" LastActivityDate="2017-10-14T09:14:05.373" Title="How can I get thumbnails from first frame of a set of videos?" Tags="|software-recommendation|windows|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20053" PostTypeId="1" CreationDate="2016-12-06T16:08:04.333" Score="0" ViewCount="965" Body="&lt;p&gt;Basic idea - I have a lot of .mp3's that I want to turn into video which would contain static background image and audio visualizer. While it's easy to do this by hand, It would take a lot of time (lots and lots of mp3s). So I was thinking of perhaps somehow automating all of this, but all I found was pretty much moviePY or another solution is AHK script for any video editing software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Isn't there any better solutions? Most of the stuff would remain the same, So pretty much in theory I'd just need a template with static background image and audio visualizer effect and I'd just change audio track.&lt;/p&gt;&#xA;" OwnerUserId="17414" LastActivityDate="2020-02-12T03:02:58.367" Title="Automated, script and template based video editing" Tags="|editing|automation|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20054" PostTypeId="2" ParentId="20016" CreationDate="2016-12-06T19:06:28.607" Score="1" Body="&lt;p&gt;Fcp &lt;code&gt;.xml&lt;/code&gt;  is limited in features. Although more powerful than other &lt;a href=&quot;https://en.wikipedia.org/wiki/Edit_decision_list&quot; rel=&quot;nofollow noreferrer&quot;&gt;EDL types&lt;/a&gt;, most of Premiere's transformation and animation properties are not supported. You can read more about its capabilities &lt;a href=&quot;https://developer.apple.com/library/content/documentation/FinalCutProX/Reference/FinalCutProXXMLFormat/EventsandProjects/EventsandProjects.html#//apple_ref/doc/uid/TP40011227-CH12-SW1&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. However it appears &lt;em&gt;Premiere CC&lt;/em&gt; neither exports the xml file as recommended by &lt;em&gt;Apple&lt;/em&gt; nor in its latest version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd suggest &lt;em&gt;collapse your timeline&lt;/em&gt; and make sure there are no nested clips. Then save your timeline as &lt;code&gt;.xml&lt;/code&gt; (at least for reference) and replace all faulty shots in &lt;em&gt;Resolve&lt;/em&gt;, if required. Alternatively you can export the whole clip from &lt;em&gt;Premiere&lt;/em&gt; via any &lt;a href=&quot;https://video.stackexchange.com/a/17202/6685&quot;&gt;production codec&lt;/a&gt; or ideally as image sequence (&lt;code&gt;.exr&lt;/code&gt;, &lt;code&gt;.dpx&lt;/code&gt;, whatever you like depending on your color management workflow) and use Resolve`s &lt;a href=&quot;https://www.premiumbeat.com/blog/speed-color-workflow-using-scene-cut-detection/&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;em&gt;Scene Cut Detection&lt;/em&gt;&lt;/a&gt; function to chop the imported clip into multiple shots automatically.&lt;/p&gt;&#xA;" OwnerUserId="6685" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-12-07T14:22:11.247" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20055" PostTypeId="1" AcceptedAnswerId="20056" CreationDate="2016-12-06T23:38:04.720" Score="4" ViewCount="835" Body="&lt;p&gt;Google Image Search provides a very handy method for isolating specific license types:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/o9f3V.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/o9f3V.jpg&quot; alt=&quot;license type&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything like this for videos?  I've been shooting blanks so far...&lt;/p&gt;&#xA;" OwnerUserId="5647" LastActivityDate="2016-12-07T14:13:22.003" Title="How to find videos that have free reuse license types on the web?" Tags="|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20056" PostTypeId="2" ParentId="20055" CreationDate="2016-12-07T00:08:42.387" Score="3" Body="&lt;p&gt;You can do this is on YouTube by adding a filter under the &quot;Features&quot; header. E.g.:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KmQNg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KmQNg.png&quot; alt=&quot;youtube filter example&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also found that Vimeo offers similar search functionality when you add filters on the right:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/2vPTD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2vPTD.png&quot; alt=&quot;vimeo example&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Specifically on Vimeo these each mean:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;CC0: Public Domain Dedication&lt;/li&gt;&#xA;&lt;li&gt;CC BY-NC-ND: Attribution Non-Commercial No Derivatives License&lt;/li&gt;&#xA;&lt;li&gt;CC BY: Attribution License&lt;/li&gt;&#xA;&lt;li&gt;CC BY-NC-SA: Attribution Non-Commercial Share Alike License&lt;/li&gt;&#xA;&lt;li&gt;CC BY-NC: Attribution Non-Commercial License&lt;/li&gt;&#xA;&lt;li&gt;CC BY-SA: Attribution Share Alike License&lt;/li&gt;&#xA;&lt;li&gt;CC BY-ND: Attribution No Derivatives License&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="17415" LastEditorUserId="5647" LastEditDate="2016-12-07T14:13:22.003" LastActivityDate="2016-12-07T14:13:22.003" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20057" PostTypeId="5" CreationDate="2016-12-07T07:20:58.057" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2016-12-07T07:20:58.057" LastActivityDate="2016-12-07T07:20:58.057" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20058" PostTypeId="4" CreationDate="2016-12-07T07:20:58.057" Score="0" Body="x265 (HEVC/H.265) is a library for encoding video into the High Efficiency Video Coding video compression format that was developed and standardized by the ISO/IEC MPEG and ITU-T VCEG. " OwnerUserId="17396" LastEditorUserId="17396" LastEditDate="2016-12-10T21:10:10.237" LastActivityDate="2016-12-10T21:10:10.237" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20059" PostTypeId="1" CreationDate="2016-12-07T08:01:59.877" Score="2" ViewCount="82" Body="&lt;p&gt;I'm a software developer working on an application which takes a Final Cut Pro 7 xml file as input, and reads the audio in that XML file (for reporting purposes). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For any given &lt;code&gt;&amp;lt;clipitem&amp;gt;&lt;/code&gt; which represents an audio file there is often an &lt;code&gt;&amp;lt;effect&amp;gt;&lt;/code&gt; which represents audio levels. The audio level &lt;code&gt;&amp;lt;effect&amp;gt;&lt;/code&gt; element has a child &lt;code&gt;&amp;lt;parameter&amp;gt;&lt;/code&gt; element which contains multiple &lt;code&gt;&amp;lt;keyframe&amp;gt;&lt;/code&gt; elements.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;filter&amp;gt;&#xA;  &amp;lt;effect&amp;gt;&#xA;    &amp;lt;name&amp;gt;Audio Levels&amp;lt;/name&amp;gt;&#xA;    &amp;lt;effectid&amp;gt;audiolevels&amp;lt;/effectid&amp;gt;&#xA;    &amp;lt;effectcategory&amp;gt;audiolevels&amp;lt;/effectcategory&amp;gt;&#xA;    &amp;lt;effecttype&amp;gt;audiolevels&amp;lt;/effecttype&amp;gt;&#xA;    &amp;lt;mediatype&amp;gt;audio&amp;lt;/mediatype&amp;gt;&#xA;    &amp;lt;parameter&amp;gt;&#xA;      &amp;lt;name&amp;gt;Level&amp;lt;/name&amp;gt;&#xA;      &amp;lt;parameterid&amp;gt;level&amp;lt;/parameterid&amp;gt;&#xA;      &amp;lt;valuemin&amp;gt;0&amp;lt;/valuemin&amp;gt;&#xA;      &amp;lt;valuemax&amp;gt;3.98109&amp;lt;/valuemax&amp;gt;&#xA;      &amp;lt;keyframe&amp;gt;&#xA;        &amp;lt;when&amp;gt;0&amp;lt;/when&amp;gt;&#xA;        &amp;lt;value&amp;gt;0&amp;lt;/value&amp;gt;&#xA;      &amp;lt;/keyframe&amp;gt;&#xA;      &amp;lt;keyframe&amp;gt;&#xA;        &amp;lt;when&amp;gt;94.1429&amp;lt;/when&amp;gt;&#xA;        &amp;lt;value&amp;gt;0.125893&amp;lt;/value&amp;gt;&#xA;      &amp;lt;/keyframe&amp;gt;&#xA;    &amp;lt;/parameter&amp;gt;&#xA;  &amp;lt;/effect&amp;gt;&#xA;&amp;lt;/filter&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I need to figure out what the audio level at any given point in time is for the given &lt;code&gt;&amp;lt;clipitem&amp;gt;&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I don't get is that the &lt;code&gt;&amp;lt;clipitem&amp;gt;&lt;/code&gt; may have &lt;code&gt;&amp;lt;start&amp;gt;&lt;/code&gt; set to 1757 and &lt;code&gt;&amp;lt;end&amp;gt;&lt;/code&gt; set to 2523. That's a duration of 766 frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, for that very same clip I see the below which to me indicates that the audio level changes to &lt;strong&gt;0.0562341&lt;/strong&gt; in frame &lt;strong&gt;1252.57&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;keyframe&amp;gt;&#xA;  &amp;lt;when&amp;gt;1252.57&amp;lt;/when&amp;gt;&#xA;  &amp;lt;value&amp;gt;0.0562341&amp;lt;/value&amp;gt;&#xA;&amp;lt;/keyframe&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can a keyframe occur at 1252.57 for a clip that has a duration of 766 frames?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;https://developer.apple.com/library/content/documentation/AppleApplications/Reference/FinalCutPro_XML/Topics/Topics.html#//apple_ref/doc/uid/TP30001149-CH294-SW1&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt; says...&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The first keyframe always has a value of 0 for when, and the last&#xA;  keyframe always has the duration of the clipitem as the value for when&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="17417" LastActivityDate="2016-12-08T00:19:59.217" Title="How should I understand audio levels in FCP7 xml?" Tags="|file-formats|final-cut-pro|export|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="20060" PostTypeId="1" AcceptedAnswerId="20078" CreationDate="2016-12-07T09:04:18.480" Score="0" ViewCount="2864" Body="&lt;p&gt;I am in a process of transcoding 100+ High &lt;strike&gt;Quality&lt;/strike&gt; Bitrate 720p &lt;a href=&quot;https://en.wikipedia.org/wiki/Matroska&quot; rel=&quot;nofollow noreferrer&quot;&gt;MKV&lt;/a&gt;s containing &lt;a href=&quot;https://en.wikipedia.org/wiki/X264&quot; rel=&quot;nofollow noreferrer&quot;&gt;H.264 (x264)&lt;/a&gt; to &lt;a href=&quot;https://en.wikipedia.org/wiki/High_Efficiency_Video_Coding&quot; rel=&quot;nofollow noreferrer&quot;&gt;H.265 (x265 / HEVC)&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do this with &lt;a href=&quot;https://en.wikipedia.org/wiki/HandBrake&quot; rel=&quot;nofollow noreferrer&quot;&gt;HandBrake&lt;/a&gt; software under Linux &lt;a href=&quot;https://en.wikipedia.org/wiki/Debian&quot; rel=&quot;nofollow noreferrer&quot;&gt;Debian&lt;/a&gt; 9 on &lt;a href=&quot;https://ark.intel.com/products/75461/Intel-Xeon-Processor-E3-1225-v3-8M-Cache-3_20-GHz&quot; rel=&quot;nofollow noreferrer&quot;&gt;Intel Xeon E3-1225 v3 3.2GHz 4-core&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Various versions follow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Kernel:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;4.8.0-1-amd64&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/HandBrake&quot; rel=&quot;nofollow noreferrer&quot;&gt;HandBrake&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;0.10.5 (x86_64)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/High_Efficiency_Video_Coding&quot; rel=&quot;nofollow noreferrer&quot;&gt;x265&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;2.1-2&#xA;using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX AVX2 FMA3 LZCNT BMI2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have these settings applied, according to &lt;a href=&quot;https://en.wikipedia.org/wiki/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;mediainfo&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Encoding settings: wpp / ctu=64 / min-cu-size=8 / max-tu-size=32 / tu-intra-depth=3 / tu-inter-depth=3 / me=3 / subme=4 / merange=57 / rect / amp / max-merge=4 / temporal-mvp / no-early-skip / rskip / rdpenalty=0 / no-tskip / no-tskip-fast / strong-intra-smoothing / no-lossless / no-cu-lossless / no-constrained-intra / no-fast-intra / open-gop / no-temporal-layers / interlace=0 / keyint=240 / min-keyint=24 / scenecut=40 / rc-lookahead=40 / lookahead-slices=0 / bframes=8 / bframe-bias=0 / b-adapt=2 / ref=5 / limit-refs=1 / limit-modes / weightp / weightb / aq-mode=1 / qg-size=32 / aq-strength=1.00 / cbqpoffs=0 / crqpoffs=0 / rd=6 / psy-rd=2.00 / rdoq-level=2 / psy-rdoq=1.00 / log2-max-poc-lsb=8 / no-rd-refine / signhide / deblock=0:0 / sao / no-sao-non-deblock / b-pyramid / cutree / no-intra-refresh / rc=crf / crf=21.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / ipratio=1.40 / pbratio=1.30&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In short I have applied Constant Quality RF21 and at &lt;a href=&quot;https://x265.readthedocs.io/en/default/presets.html#presets&quot; rel=&quot;nofollow noreferrer&quot;&gt;veryslow preset&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Originals are all at fixed 2 GiB size. The sizes my encodes differ (you can deduce how much time it took too from the file list):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;494M Dec  7 07:02 S05E16.mp4&#xA;551M Dec  7 00:14 S05E17.mp4&#xA;654M Dec  6 16:11 S05E18.mp4&#xA;668M Dec  6 08:10 S05E19.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The original files have these settings applied:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Encoding settings: cabac=1 / ref=5 / deblock=1:0:0 / analyse=0x3:0x133 / me=umh / subme=7 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=1 / me_range=16 / chroma_me=1 / trellis=1 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=0 / chroma_qp_offset=-2 / threads=12 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=2 / b_adapt=1 / b_bias=0 / direct=1 / weightb=1 / open_gop=0 / weightp=2 / keyint=250 / keyint_min=23 / scenecut=40 / intra_refresh=0 / rc_lookahead=40 / rc=2pass / mbtree=1 / bitrate=5670 / ratetol=1.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / cplxblur=20.0 / qblur=0.5 / ip_ratio=1.40 / aq=1:1.00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The question is, is the CPU time &lt;em&gt;well spent&lt;/em&gt;? I mean, can I do any obvious optimizations to speed things up without having lower quality and / or larger files as a result?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT1&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Citation from &lt;a href=&quot;https://x265.readthedocs.io/en/default/presets.html#presets&quot; rel=&quot;nofollow noreferrer&quot;&gt;the official source&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;x265 has ten predefined --preset options that optimize the trade-off between encoding speed (encoded frames per second) and compression efficiency (quality per bit in the bitstream). The default preset is medium. It does a reasonably good job of finding the best possible quality without spending excessive CPU cycles looking for the absolute most efficient way to achieve that quality. When you use faster presets, the encoder takes shortcuts to improve performance at the expense of quality and compression efficiency. When you use slower presets, x265 tests more encoding options, using more computations to achieve the best quality at your selected bit rate (or in the case of –crf rate control, the lowest bit rate at the selected quality).  &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT2&lt;/strong&gt;:  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hardware configuration&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Type: Dedicated server of mine. Currently used only to transcode videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CPU: &lt;a href=&quot;https://ark.intel.com/products/75461/Intel-Xeon-Processor-E3-1225-v3-8M-Cache-3_20-GHz&quot; rel=&quot;nofollow noreferrer&quot;&gt;Intel Xeon E3-1225 v3 3.2GHz 4-core&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;GPU: No dedicated card, only integrated&lt;/p&gt;&#xA;&#xA;&lt;p&gt;RAM: 32GB ECC 1600MHz&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Disks:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;SSD; used for system&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;HDDs in RAID6; used for writing the output videos&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;RAMDisk 20GB; used for reading the source videos&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT3&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With regard to the comment about swapping the memory, I have had set &lt;a href=&quot;https://en.wikipedia.org/wiki/Swappiness&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;vm.swappiness&lt;/code&gt;&lt;/a&gt; = 1.&lt;/p&gt;&#xA;" OwnerUserId="17396" LastEditorUserId="17396" LastEditDate="2016-12-09T05:45:44.593" LastActivityDate="2020-03-31T04:53:36.167" Title="Transcoding 100+ files from H.264 to H.265" Tags="|transcoding|h.264|performance|handbrake|h.265|" AnswerCount="2" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="20061" PostTypeId="1" CreationDate="2016-12-07T16:13:08.547" Score="2" ViewCount="306" Body="&lt;p&gt;I have multiple 360-degree clips recorded with Ricoh Theta S.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When recording I didn't think too much about orientation - where is back, where is front - it is 360-degree after all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When editing and merging clips I realized that sometimes I'm located in in the front, in the back, on the side - it is very confusing experience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I need to &quot;normalize&quot; multiple clips - so that I'm in the middle.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;A proposed workflow (Premiere Pro):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;drag the clip to the timeline twice&lt;/li&gt;&#xA;&lt;li&gt;align them side by side so that I'm in the middle&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;It feels achievable, I'm just wondering if there is a better, recommended, default, sure-fire way?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt; &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/VRSupport.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/using/VRSupport.html&lt;/a&gt; - I'm not sure if my version of Premiere Pro supports these workflows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;PS:&lt;/strong&gt; This is a super-comprehensive link: &lt;a href=&quot;http://jonnyelwyn.co.uk/film-and-video-editing/editing-360-and-vr-video/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://jonnyelwyn.co.uk/film-and-video-editing/editing-360-and-vr-video/&lt;/a&gt; &lt;em&gt;(very advanced, I just need basic stuff)&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="12506" LastActivityDate="2017-08-14T16:46:06.943" Title="How to normalize 360-degree videos so that certain object / person remains in the middle?" Tags="|premiere|editing|360video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20063" PostTypeId="2" ParentId="20059" CreationDate="2016-12-08T00:19:59.217" Score="2" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;How can a keyframe occur at 1252.57 for a clip that has a duration of 766 frames?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Because the user could have used a clip that was longer than 1252 frames, set a keyframe, then trimmed the clip down to 766 frames. If the user later decides to make the clip longer again by changing the out point to a later time, the keyframe will still be in the place they originally placed it. So your calculations should treat the keyframes as they are, even if they are outside of the clip times.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-12-08T00:19:59.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20064" PostTypeId="2" ParentId="20053" CreationDate="2016-12-08T06:40:01.413" Score="1" Body="&lt;p&gt;Automation Software might be a good option, although you'd need to give yourself a day or more to just get yourself up to speed learning curve wise. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;AutoIt is free, and you can basically code your scripts and then compile it into a program or batch file which you could run on a folder of files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use a program called WinAutomation, which is similar to AutoIt, but you have to purchase ($800ish). But it makes task automation, even to a very high level of sophistication, and allows you to automate human processes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With WinAutomation you could create a program that basically opens sequentially each file, loads it into your editor, adds video to a timeline, random, or based on variables, applies filters, sets up settings, exports, when finished, it would do the next one. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But again, learning curve wise. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either way, its going to come down to coding/programming/scripting. I don't code enough to be proficient at it, so while I can cut/paste/modify and even write basic code in a few programming languages, a package like WinAutomation allows me to make programs that work like actual programs, and do very complex tasks, which script/code wise would require a lot of time to learn language wise. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Look at AutoIt. Its used to make so many apps and programs, and again, its free, with tons of resources and projects you can download to get a feel for how it's build architecture works. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-12-08T06:40:01.413" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20065" PostTypeId="2" ParentId="20049" CreationDate="2016-12-08T06:42:47.770" Score="1" Body="&lt;p&gt;I think you are going to need something out of your price range to complete such a task. Video, is far more complex to process in real time, than say a photo, that only analyzes a single frame and looks for simple objects like eyes, nose, mouthlines, as anchors. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The NewTek Tricaster ($20,000) line would be an option for this, but you'd need a company to come in to do it, and with a workflow pre-established to make this work. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In short. No, there is no easy way. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-12-08T06:42:47.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20067" PostTypeId="2" ParentId="19934" CreationDate="2016-12-08T07:50:29.670" Score="0" Body="&lt;p&gt;If you're liquid enought to shell out 300.- then try &lt;a href=&quot;https://www.redgiant.com/products/pluraleyes/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.redgiant.com/products/pluraleyes/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you synced the audio manually in front and it's deviating after several minutes, you need to squeeze one movie to fit. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Have a clap at start of record and one at end of record&lt;/li&gt;&#xA;&lt;li&gt;align the first spike in audio&lt;/li&gt;&#xA;&lt;li&gt;count the samples / seconds/frames between last spike in first and last spike in second audio&lt;/li&gt;&#xA;&lt;li&gt;calculate difference in percentage&lt;/li&gt;&#xA;&lt;li&gt;squeeze clip by that percentage&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2570" LastActivityDate="2016-12-08T07:50:29.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20068" PostTypeId="1" CreationDate="2016-12-08T08:40:29.743" Score="1" ViewCount="3048" Body="&lt;p&gt;I have downloaded segmented ts files, which i concatenate into mp4 file. The problem is that audio a bit faster than video progress. The problem is appeared when i re-convert concatenated mp4 file. How can i fix this audio issue?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Concatenation ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i hls.txt -c copy -bsf:a aac_adtstoasc hls.mp4 1&amp;gt; hls.log 2&amp;gt;&amp;amp;1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Some concatenation output &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-76684-g1fe82ab Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with gcc 5.2.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55.  6.100 / 55.  6.100&#xA;  libavcodec     57. 15.100 / 57. 15.100&#xA;  libavformat    57. 14.100 / 57. 14.100&#xA;  libavdevice    57.  0.100 / 57.  0.100&#xA;  libavfilter     6. 15.100 /  6. 15.100&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;[NULL @ 000000ebd70f13a0] start time for stream 2 is not set in estimate_timings_from_pts&#xA;Input #0, concat, from 'hls.txt':&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:1: Audio: aac (LC) ([15][0][0][0] / 0x000F), 44100 Hz, stereo, fltp, 149 kb/s&#xA;    Stream #0:2: Data: timed_id3 (ID3  / 0x20334449)&#xA;[mp4 @ 000000ebd7513aa0] Codec for stream 0 does not use global headers but container format requires global headers&#xA;[mp4 @ 000000ebd7513aa0] Codec for stream 1 does not use global headers but container format requires global headers&#xA;Output #0, mp4, to 'hls.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf57.14.100&#xA;    Stream #0:0: Video: h264 ([33][0][0][0] / 0x0021), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], q=2-31, 25 fps, 25 tbr, 90k tbn, 90k tbc&#xA;    Stream #0:1: Audio: aac ([64][0][0][0] / 0x0040), 44100 Hz, stereo, 149 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[h264 @ 000000ebd7514460] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 000000ebd7514460] decode_slice_header error&#xA;[h264 @ 000000ebd7514460] no frame!&#xA;[h264 @ 000000ebd7514460] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 000000ebd7514460] decode_slice_header error&#xA;[h264 @ 000000ebd7514460] no frame!&#xA;[h264 @ 000000ebd7514460] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 000000ebd7514460] decode_slice_header error&#xA;[h264 @ 000000ebd7514460] no frame!&#xA;[h264 @ 000000ebd7514460] non-existing PPS 0 referenced&#xA;...&#xA;[h264 @ 000000ebd789d720] decode_slice_header error&#xA;[h264 @ 000000ebd789d720] no frame!&#xA;[NULL @ 000000ebd789bbc0] start time for stream 2 is not set in estimate_timings_from_pts&#xA;frame= 9321 fps=5550 q=-1.0 Lsize=   97452kB time=00:06:19.95 bitrate=2101.1kbits/s    &#xA;video:90227kB audio:6888kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.346746%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here is my re-convert command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i hls.mp4 -i watermark.png -filter_complex &quot;scale=-2:'min(720,ih)',overlay=(main_w-overlay_w)-40:(main_h-overlay_h)-30&quot; -codec:v libx264 -profile:v high -level 3.1 -preset fast -maxrate 1946k -bufsize 2500k -c:a copy -crf 20 -pix_fmt yuv420p -movflags +faststart output.mp4 1&amp;gt; output.log 2&amp;gt;&amp;amp;1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Some output log:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2.4.3 Copyright (c) 2000-2014 the FFmpeg developers&#xA;  built on Nov 16 2014 22:36:57 with gcc 4.8.2 (GCC)&#xA;  configuration: --prefix=/usr --libdir=/usr/lib64 --shlibdir=/usr/lib64 --mandir=/usr/man --docdir=/usr/doc/ffmpeg-2.4.3 --enable-gpl --enable-version3 --enable-avfilter --enable-avresample --enable-libass --enable-libdc1394 --enable-libgsm --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopus --enable-libschroedinger --enable-libspeex --enable-libtheora --enable-libv4l2 --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-libzvbi --enable-postproc --enable-runtime-cpudetect --enable-vaapi --enable-vdpau --enable-memalign-hack --enable-pthreads --enable-x11grab --enable-bzlib --enable-zlib --enable-shared --enable-static --disable-debug --arch=x86_64 --enable-pic --extra-cflags='-I/tmp/build/tmp-ffmpeg/ffmpegdeps/usr/include -DRUNTIME_CPUDETECT' --extra-ldflags='-L/tmp/build/tmp-ffmpeg/ffmpegdeps/usr/lib64 -ldl -lssl -lcrypto -lz -lusb' --pkg-config-flags=--static&#xA;  libavutil      54.  7.100 / 54.  7.100&#xA;  libavcodec     56.  1.100 / 56.  1.100&#xA;  libavformat    56.  4.101 / 56.  4.101&#xA;  libavdevice    56.  0.100 / 56.  0.100&#xA;  libavfilter     5.  1.100 /  5.  1.100&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  0.100 /  3.  0.100&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  0.100 / 53.  0.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'hls.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.14.100&#xA;  Duration: 00:06:19.96, start: 0.000000, bitrate: 2101 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 1946 kb/s, 24.54 fps, 50 tbr, 90k tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 148 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;Input #1, png_pipe, from 'watermark.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #1:0: Video: png, rgba, 250x50, 25 tbr, 25 tbn, 25 tbc&#xA;[libx264 @ 0x2316f40] using SAR=1/1&#xA;[libx264 @ 0x2316f40] using cpu capabilities: MMX2 SSE2Fast SSSE3 Cache64 SlowShuffle&#xA;[libx264 @ 0x2316f40] profile High, level 3.1&#xA;[libx264 @ 0x2316f40] 264 - core 142 - H.264/MPEG-4 AVC codec - Copyleft 2003-2014 - http://www.videolan.org/x264.html - options: cabac=1 ref=2 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=6 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=3 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=1 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=30 rc=crf mbtree=1 crf=20.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 vbv_maxrate=1946 vbv_bufsize=2500 crf_max=0.0 nal_hrd=none filler=0 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'output.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf56.4.101&#xA;    Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], q=-1--1, max. 1946 kb/s, 25 fps, 12800 tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc56.1.100 libx264&#xA;    Stream #0:1(und): Audio: aac ([64][0][0][0] / 0x0040), 44100 Hz, stereo, 148 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #1:0 (png) -&amp;gt; overlay:overlay&#xA;  overlay -&amp;gt; Stream #0:0 (libx264)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame=   38 fps=0.0 q=25.0 size=       4kB time=00:00:01.65 bitrate=  17.4kbits/s dup=3 drop=0    &#xA;frame=   50 fps= 46 q=25.0 size=      20kB time=00:00:02.14 bitrate=  76.7kbits/s dup=3 drop=0    &#xA;frame=   58 fps= 35 q=25.0 size=      75kB time=00:00:02.44 bitrate= 249.9kbits/s dup=3 drop=0    &#xA;...&#xA;frame= 9478 fps= 13 q=25.0 size=   94544kB time=00:06:19.26 bitrate=2042.1kbits/s dup=175 drop=0    &#xA;[mp4 @ 0x2316160] Starting second pass: moving the moov atom to the beginning of the file&#xA;frame= 9496 fps= 13 q=-1.0 Lsize=   94901kB time=00:06:19.95 bitrate=2046.1kbits/s dup=175 drop=0    &#xA;video:87673kB audio:6888kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.359540%&#xA;[libx264 @ 0x2316f40] frame I:64    Avg QP:25.22  size: 53069&#xA;[libx264 @ 0x2316f40] frame P:5242  Avg QP:27.77  size: 13431&#xA;[libx264 @ 0x2316f40] frame B:4190  Avg QP:29.21  size:  3813&#xA;[libx264 @ 0x2316f40] consecutive B-frames: 21.7% 52.4% 17.8%  8.0%&#xA;[libx264 @ 0x2316f40] mb I  I16..4: 15.5% 61.0% 23.5%&#xA;[libx264 @ 0x2316f40] mb P  I16..4:  5.6%  9.5%  1.3%  P16..4: 41.7%  8.8%  4.0%  0.0%  0.0%    skip:29.0%&#xA;[libx264 @ 0x2316f40] mb B  I16..4:  1.9%  1.6%  0.1%  B16..8: 29.8%  3.9%  0.3%  direct: 3.5%  skip:59.0%  L0:39.2% L1:55.5% BI: 5.3%&#xA;[libx264 @ 0x2316f40] 8x8 transform intra:56.1% inter:70.6%&#xA;[libx264 @ 0x2316f40] coded y,uvDC,uvAC intra: 34.0% 52.1% 12.3% inter: 11.3% 12.9% 0.6%&#xA;[libx264 @ 0x2316f40] i16 v,h,dc,p: 23% 48% 14% 16%&#xA;[libx264 @ 0x2316f40] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 22% 30% 25%  3%  3%  4%  5%  4%  5%&#xA;[libx264 @ 0x2316f40] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 25% 30% 16%  4%  5%  5%  6%  4%  5%&#xA;[libx264 @ 0x2316f40] i8c dc,h,v,p: 54% 26% 15%  5%&#xA;[libx264 @ 0x2316f40] Weighted P-Frames: Y:1.5% UV:0.9%&#xA;[libx264 @ 0x2316f40] ref P L0: 87.9% 12.1%&#xA;[libx264 @ 0x2316f40] ref B L0: 87.9% 12.1%&#xA;[libx264 @ 0x2316f40] ref B L1: 97.8%  2.2%&#xA;[libx264 @ 0x2316f40] kb/s:1890.83&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12622" LastEditorUserId="12622" LastEditDate="2017-10-05T08:53:52.397" LastActivityDate="2017-10-05T08:53:52.397" Title="Audio issue on concatenation of TS segments" Tags="|video|ffmpeg|audio|conversion|h.264|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20069" PostTypeId="1" CreationDate="2016-12-08T08:55:42.950" Score="1" ViewCount="564" Body="&lt;p&gt;When dealing with shape layers, you get 2 transform options. One is inside Group sublayer and the other is just plain transform. This image shows what I mean:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qWKU9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qWKU9.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When should I use Transform Group and when just Transform? My shape only has 1 group. In that case, does it matter which transform I use?&lt;/p&gt;&#xA;" OwnerUserId="16176" LastActivityDate="2016-12-13T00:08:33.907" Title="Different transform options of shape layers" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20072" PostTypeId="1" AcceptedAnswerId="20076" CreationDate="2016-12-08T14:53:05.580" Score="0" ViewCount="45" Body="&lt;p&gt;I f****d up and changed the framerate of my AE preview because the project began taking its toll on my computer, mistakenly thinking that this will increase performance. However I sadly had to notice (after continuing to work on my project for quite some time) that this only affects the playback speed. And herein lies my problem: Everything is twice as fast as I had animated it. As a workaround I simply put everything in a precomp and enabled time-remapping, however this feels more like some makeshift solution rather than something proper.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now here is my question: Is there a way to tell after effects to stretch everything (layer length, keyframes, etc.) so that they are of correct length? Or do I have to rework everything manually what will probably make me never forget the difference between skipped frames and framerate again? :D&lt;/p&gt;&#xA;" OwnerUserId="10977" LastActivityDate="2016-12-09T00:29:12.997" Title="After Effects slow animation" Tags="|after-effects|animation|animation-rendering|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20074" PostTypeId="2" ParentId="20068" CreationDate="2016-12-08T17:48:32.733" Score="3" Body="&lt;p&gt;Don't use the concat demuxer. Create a single ts file by concatenating the ts segments as a first step. Then run it through ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;i.e.&#xA;&lt;code&gt;cat 1.ts 2.ts &amp;gt;all.ts&lt;/code&gt;&#xA;&lt;code&gt;ffmpeg -i all.ts -c copy all.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2016-12-08T17:48:32.733" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20076" PostTypeId="2" ParentId="20072" CreationDate="2016-12-09T00:29:12.997" Score="0" Body="&lt;p&gt;I was going to recommend nesting the comp and use time-remapping actually, which of course you came up with as the solution. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think, to be honest, this is your best bet, or time remap each layer in your existing composition. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Doing the time-remap on your original comp, has the advantage that the keyframes will in fact be at the correct place given whatever time-base you want to end up in. This will allow for, if say your time-base is higher, more discrete frames, or points, in which to place new keyframes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Doing a remap in a nested comp will limit your ability to add keyframes in between what would be 2 frames... being your master comp (parent) only has 1 keyframe and therefor cannot be divided. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try time-remapping the composition; after you adjust the composition settings to the correct timebase. I don't see why that wouldn't give you what you need. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-12-09T00:29:12.997" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20077" PostTypeId="2" ParentId="20069" CreationDate="2016-12-09T00:32:06.227" Score="0" Body="&lt;p&gt;If you are only transforming 1 group, you can leave this set to normal. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another way, which is what I would do: Parent all your shape layers to a single Null Object Layer. Then transform the Null Object Layer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will allow you to easily control the transforms, either 2D or 3D with one layer node. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Null Object Layers are one of the best tools in the AE toolkit. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-12-09T00:32:06.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20078" PostTypeId="2" ParentId="20060" CreationDate="2016-12-09T01:09:13.157" Score="0" Body="&lt;p&gt;The whole one day I dedicated to testing various scenarios. The following applies to this particular series in this particular quality, so &lt;strong&gt;I don't say it applies generally&lt;/strong&gt;. So in this case the following applies:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;file sizes&lt;/strong&gt; at the very same settings with only &lt;code&gt;medium&lt;/code&gt; and &lt;code&gt;veryslow&lt;/code&gt; preset changed vary negligibly: ~ -10 MiB on average in favor of &lt;code&gt;veryslow&lt;/code&gt; preset&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;visual quality&lt;/strong&gt; at a very close look is rather the same in either &lt;code&gt;medium&lt;/code&gt; or &lt;code&gt;veryslow&lt;/code&gt; preset&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;One thing solved. I have changed the preset to &lt;code&gt;medium&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;at a very close look, &lt;strong&gt;the source videos are not in such a high quality as I thought&lt;/strong&gt;, that explains why x265 compresses to almost 1/4 of the original size&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Another mystery solved.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Provided I now transcode at 25 fps, I have raised the RF to 20.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;RAMDisk&lt;/strong&gt; does not provide benefit in this case, both for &lt;code&gt;medium&lt;/code&gt; and &lt;code&gt;veryslow&lt;/code&gt; preset; I ended up with RAID6 as the source and SSD as the output drive&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The inconvenience of moving files to RAMDisk solved.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;To answer the question, &lt;strong&gt;the CPU time was not spent well at all&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="17396" LastActivityDate="2016-12-09T01:09:13.157" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20080" PostTypeId="1" AcceptedAnswerId="20092" CreationDate="2016-12-09T05:59:13.723" Score="5" ViewCount="2688" Body="&lt;p&gt;I've created a video with background music. The background music is licensed under Creative Commons. Link (contains a download button): &lt;div class=&quot;soundcloud-embed&quot;&gt;&#xD;&#xA;            &lt;iframe src=&quot;https://w.soundcloud.com/player/?url=http://api.soundcloud.com/tracks/243351088?show_artwork=false&quot; width=&quot;640&quot; height=&quot;116&quot; scrolling=&quot;no&quot; frameborder=&quot;no&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&#xA;Please click on the 'Awareness (Ambient Lounge Mix)' text to be directed to the license description.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I uploaded the video to Youtube it had a copyright notice from &quot;Orchard Music&quot;. So, I disputed the copyright infringement claim. My argumentation was that the music was a Creative Commons license. Orchard Music rejected my dispute. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can dispute the rejected decision again. Two things can happen then. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The Copyright claim will be taken down&lt;/li&gt;&#xA;&lt;li&gt;My uploaded video will be taken down&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I fear that option 2 will be applied. I did some research and found valuable sources. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/SYXbK4OKxq0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;a href=&quot;https://productforums.google.com/forum/#!topic/youtube/aVZ_dp7Ikt4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://productforums.google.com/forum/#!topic/youtube/aVZ_dp7Ikt4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have three questions actually: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;How is it possible that Orchard Music can claim ownership of a Creative Commons music production?&lt;/li&gt;&#xA;&lt;li&gt;Why do I need a publishing license to a Creative Commons music production?&lt;/li&gt;&#xA;&lt;li&gt;Should I dispute the claim for the second time?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="17434" LastEditorUserId="17434" LastEditDate="2016-12-10T08:18:16.267" LastActivityDate="2017-10-02T06:03:05.033" Title="False copyright claims by &quot;Orchard Music&quot;" Tags="|music|legal|" AnswerCount="2" CommentCount="6" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20081" PostTypeId="1" CreationDate="2016-12-09T09:14:25.070" Score="0" ViewCount="1159" Body="&lt;p&gt;Let me explain my problem:&#xA;I have 2 webcams looking out over the beach but my internet connection is very slow. So i'm looking for a way to buffer the videofeed to a server and then let my clients connect to that server instead of directly to the webcams.&lt;/p&gt;&#xA;" OwnerUserId="17436" LastActivityDate="2017-06-08T09:17:55.303" Title="Send webcam feed to server for buffer" Tags="|live|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20082" PostTypeId="2" ParentId="20081" CreationDate="2016-12-09T09:44:29.930" Score="0" Body="&lt;p&gt;Livestream does this. It's built in, in terms of functionality of a drift buffer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, the buffer does not &quot;exist&quot;, until time passes, and it grows, as time passes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So after X min of feed in, it has only fed out X * 0.9995 of the stream. The speed of the program feed from a viewers perspective, in terms of the fact they are not actually watching it at 100% speed, is too small to notice. But over minutes, hours, etc, it adds up to a decent buffer, to where the live vs program can be minutes or more apart. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe livestream has a free option. Also youtube offers streaming now. I would not be surprised if they have this also built in. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-12-09T09:44:29.930" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20084" PostTypeId="1" CreationDate="2016-12-09T15:32:48.440" Score="0" ViewCount="142" Body="&lt;p&gt;I have this problem where when I add a camera layer, my composition disappears (but only when the view mode is set to Active Camera). How can I fix it?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/IJkBI.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IJkBI.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;I also have problems zooming in on just a part of the composition. Like from wide view to a specific layer.&lt;/p&gt;&#xA;" OwnerUserId="17439" LastActivityDate="2016-12-09T18:25:21.580" Title="Camera problems in After Effects" Tags="|video|after-effects|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20086" PostTypeId="2" ParentId="20084" CreationDate="2016-12-09T18:25:21.580" Score="1" Body="&lt;p&gt;It seems I was a complete noob ( for I am new with After Effects ). I couldn't see my composition because the blur on the camera was turned to 100% and everything was completely out of focus. Also, I couldn't zoom in on a specific layer because the camera was underneath them. &lt;a href=&quot;https://www.youtube.com/watch?v=Axa38beTBvo&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;This video&lt;/strong&gt;&lt;/a&gt; helped me a lot to understand the way camera works in Adobe After Effects, and I wish I had found it earlier because I am dealing with this problem for a while now.&#xA;Thank you @JasonConrad for trying to help! &lt;/p&gt;&#xA;" OwnerUserId="17439" LastActivityDate="2016-12-09T18:25:21.580" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20089" PostTypeId="1" CreationDate="2016-12-10T10:08:01.223" Score="1" ViewCount="2322" Body="&lt;p&gt;I am not sure if this is the place for the question but i am sure someone here has experience with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Last month i have uploaded several videos to Youtube and linked them on facebook page.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First one has 54 views counted in Youtube. On facebook it says 14 shares, 1.1k views.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another video had Instagram boost, around 10k likes, 46k reach, 500 clicks, and on Youtube total of 1.1k views.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When testing with different browsers i do not see views number increasing when looking embed video on Facebook.&lt;/p&gt;&#xA;" OwnerUserId="10560" LastActivityDate="2016-12-11T23:40:35.970" Title="Does Youtube count views from facebook?" Tags="|youtube|" AnswerCount="1" CommentCount="0" ClosedDate="2016-12-13T16:24:50.540" ContentLicense="CC BY-SA 3.0" />
  <row Id="20090" PostTypeId="1" AcceptedAnswerId="20091" CreationDate="2016-12-10T12:23:50.383" Score="0" ViewCount="1442" Body="&lt;p&gt;I'm curious how different clips would look like in ASCII art. So I'm trying &lt;a href=&quot;https://ffmpeg.org/ffmpeg-devices.html#toc-caca&quot; rel=&quot;nofollow noreferrer&quot;&gt;caca&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To just play, I use &lt;code&gt;mplayer -vo caca $FILE&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But that creates an output of quite small size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How can I change that size?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="14588" LastActivityDate="2017-02-08T13:12:13.317" Title="mplayer/ffmpeg How to set caca filter's output size" Tags="|ffmpeg|conversion|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20091" PostTypeId="2" ParentId="20090" CreationDate="2016-12-10T12:32:48.137" Score="4" Body="&lt;p&gt;Found. Caca library is driven mostly by environment variables rather than filter params.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;export CACA_GEOMETRY=200x78&#xA;mplayer -vo caca $INPUT&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14588" LastActivityDate="2016-12-10T12:32:48.137" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20092" PostTypeId="2" ParentId="20080" CreationDate="2016-12-10T13:03:52.477" Score="6" Body="&lt;p&gt;Ok, this is quite a complicated problem actually, and depending on the specific situation, the answer might vary. So I'll break this down in a couple of subsections.&lt;/p&gt;&#xA;&lt;h2&gt;CC licences and unauthorized distribution&lt;/h2&gt;&#xA;&lt;p&gt;Creative Commons are a set of licences that allow creators to distribute their original content (e.g. music) using liberal licences under easy to understand terms. However, in order to do so, the uploader needs to hold the rights to the music (usually this means they are the creator). If they don't, they have no right to grant any permissions regarding the use of that music. It's your responsibility to check if they do have those rights.&lt;/p&gt;&#xA;&lt;p&gt;Excerpt from &lt;a href=&quot;https://video.stackexchange.com/questions/19952/where-to-get-good-music-for-corporate-videos/19964#19964&quot;&gt;my answer here&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Remember that just because someone uploads music to a website and claims it's free-to-use, it doesn't mean he actually has the right to do so or the authority to grant you any rights to it. And if you use a copyrighted piece of music in your project without knowing any better, you can stil be held responsible even if you downloaded it from a website that claimed it was free. Always check if the website you are downloading from is legit and if the uploaders actually have to rights to the music (in most cases, that means they made it themselves).&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;In short, just because someone uploads a Hannah Montana album to some website and puts a CC icon next to it, you still can't use Best of Both Worlds in your video. And if you do, you can't rely on your claim that you got it from that site, because the uploader didn't hold the rights to that music in the first place and it would've been your responsibility to check if they do.&lt;/p&gt;&#xA;&lt;p&gt;If it's music from a rather unknown author and there were no signs that the original source isn't legit, you might not be held responsible for the 'damage' (claimed by the copyright holder, whether that damage actually exists is a rather philosophical question) caused by your usage of the music. However, even in that case, you'd have to take your video down. So there's no winning in a situation like that.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;tl;dr:&lt;/strong&gt; Always make sure that uploader of whatever music you want to use actually made that music.&lt;/p&gt;&#xA;&lt;p&gt;In your case, the Soundcloud account looks to be legit, so let's proceed.&lt;/p&gt;&#xA;&lt;h2&gt;CC licenses and retractability&lt;/h2&gt;&#xA;&lt;p&gt;This is only tangetially related to your specific problem, but it's actually something that I think is quite relevant to false copyright claims regarding CC licenced work. All CC licences contain this condition:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;The licensor cannot revoke these freedoms as long as you follow the license terms.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;What this means is as long as you uphold the terms of the licence, the uploader can't retract the permissions granted by the CC licence. Of course that doesn't mean he has to continue distribution his works indefinetely. But if a music creator at some point decides to stop distributing his work under a CC licence, this doesn't affect any work using his music (e.g. your YouTube video) that was created before that time.&lt;/p&gt;&#xA;&lt;p&gt;So, assuming you made sure the uploader of the music holds the right to it and follow the licence terms (e.g. proper attribution), your video doesn't infringe any copyright and you are right to dispute such a claim.&lt;/p&gt;&#xA;&lt;p&gt;(Note: If an artist at some point stops distributing his music under a CC licence, from that point onwards you can't rightfully publish any &lt;em&gt;new&lt;/em&gt; work using his music, even if you downloaded it while it was still CC licenced. The non-retractibility only affects works published while the music was being distributed under a CC licence.)&lt;/p&gt;&#xA;&lt;p&gt;However, being right isn't all there is to it. There's a saying in German:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Recht haben und Recht bekommen sind zwei Paar Schuhe.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Roughly translated: Being right and being proven right are two different things. That's where YouTube's ID system and false copyright claims come into play.&lt;/p&gt;&#xA;&lt;h2&gt;YouTube's ID system&lt;/h2&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&amp;quot;In the beginning the YouTube ID system was created. This has made a lot of people very angry and been widely regarded as a bad move&amp;quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;YouTube has a system in place that automatically checks for copyrighted music in uploaded videos and places copyright claims accordingly. The copyright holder of that music (according to YouTube's database) then gets notified and can decide what to do with it; for example, they can have the video taken down, or they can decide to leave it up but receive a portion of this video's ad proceeds. They can also decide on a default action, and that's a big part of the problem that made many people very angry.&lt;/p&gt;&#xA;&lt;p&gt;In 2013 especially there was much trouble regarding this system. The problem was, the automated ID system was terrible to begin with and would often attribute music wrongly. There were also many scammers that would claim copyright for music that wasn't theirs. The problem is that in cases like this, YouTube favors the copyright holder. So instead of having the person who claims a copyright infringement provide them with proof, the video creator's have to dispute a claim and provide prove that they didn't infringe any copyrights. This usually took a couple of weeks and in the meantime, the person to claim the copyright infringement got all the proceeds from that video.&lt;/p&gt;&#xA;&lt;p&gt;This system has since been &lt;a href=&quot;http://kotaku.com/youtubes-content-id-system-gets-one-much-needed-fix-1773643254&quot; rel=&quot;noreferrer&quot;&gt;refined&lt;/a&gt; and the uproar died down, but you still hear stories like yours occassionaly. When in doubt, YouTube still favors the copyright claimer over the video creator.&lt;/p&gt;&#xA;&lt;h2&gt;The Orchard Group&lt;/h2&gt;&#xA;&lt;p&gt;I hadn't heard of the Orchard Group before, but I've looked through the links you included in your question and did some additional research. As you already said, you are not the first creator to have problems with false copyright claims. On the forums, many people are quick to call them scam artists. But I'm not sure about that. There are also some stories about people that contacted them and got their false copyright claim resolved quickly. I believe the root of the problem might be this:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;The Orchard's YouTube multi-channel network has more than 1,000 channels across the globe and uses technology, built in-house, called B.A.C.O.N. (Bulk Automated Claiming on The Orchard Network) to crawl, claim and track YouTube videos to monetize for their clients. It was ranked 7th in the U.S. in July 2014.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;sub&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/The_Orchard_(company)#cite_ref-47&quot; rel=&quot;noreferrer&quot;&gt;Source: Wikipedia&lt;/a&gt;&lt;/sub&gt;&lt;/p&gt;&#xA;&lt;p&gt;However, according to this source, the Orchard Music isn't unwilling to forfeit wrongly submitted copyright claims:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;YouTube users have expressed concerns about The Orchard claiming copyright ownership of music used in user-generated content that may or may not belong to them. According to an article by The Orchard on their Daily Rind blog, if audio is matched to a particular copyright owner via YouTube's content identification system, then one or more links will be placed under the video in order to help promote the copyright owner's music, with the video remaining available. The article states that erroneous claims are removed by The Orchard Team after review upon email communication with their dispute department.&lt;/p&gt;&#xA;&lt;p&gt;In this context, The Orchard has been criticized by YouTube users for claiming content that is not theirs or in some cases, content that did not exist within the video at all. In a blog post on The Daily Rind, The Orchard explains that this is due to YouTube's automated Content ID matching and outlines steps for resolving this scenario.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So, you got two automated systems that can both screw up and have been shown to do so often. Not an ideal situation for content creators. If you get caught in such an automated system, the solution is almost always to contact the people responsible for it. Contact the Orchard Group and possibly also contact the original artist of the music. If they are indeed not trying to scam anyone, they will be willing to help you. If the Orchard Group doesn't reply, public shaming on Twitter oftentimes helps you get in touch with an actual person, not just with an email autoresponder.&lt;/p&gt;&#xA;&lt;p&gt;If they actually &lt;em&gt;are&lt;/em&gt; scammers or plainly refuse to forfeit their copyright claim, you will have to contact YouTube to get it resolved. So ...&lt;/p&gt;&#xA;&lt;h2&gt;Your questions&lt;/h2&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;How is it possible that Orchard Music can claim ownership of a Creative Commons music production?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;As mentioned, this is mostly done by automated systems that are prone to misfires, especially if larger distribution/collection companies are involved. Also, you can claim anything, that doesn't mean you actually have any lawful grounds on which your claim is based. I can claim that I be crowned High King of the Universe, but nobody will have to call me Your Majesty. And if I sue them, I'm unlikely to win that case.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Why do I need a publishing license to a Creative Commons music production?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;You don't. The CC licence gives you the right to publish your video if you follow the terms laid out in the licence, you don't need to pay any additional licence fees or royalties. However, a human error is also possible.&lt;/p&gt;&#xA;&lt;p&gt;For example, maybe the artist is represented by the Orchard Group and never intended to publish their work under a CC licence. Maybe they just forgot to change that setting while uploading their music to Soundcloud. I'm not sure about Soundcloud, but if you for example upload something to Vimeo, a CC-BY licence is applied &lt;em&gt;by default&lt;/em&gt;, and you have to go into a submenu of the settings to change that. I think that is a terrible implementation, but that's how it is.&lt;/p&gt;&#xA;&lt;p&gt;Even if that case, you would probably be within your rights to invoke the licence terms the author published his music under, but it might not be feasible or realistic to do so and see your claim through.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;Should I dispute the claim for the second time?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;That is your decision. Before you do anything, check if you followed all the licence terms, the legitimacy of your music source and everything else mentioned in this post. It might also be better to contact the Orchard Group or the artist directly to see if you can't get the issue resolved without involving YouTube as a third party. Though a lawyer would probably tell you that contacting them is the worst thing to do if you plan to follow this up with a lawsuit.&lt;/p&gt;&#xA;&lt;p&gt;Just remember, being right doesn't mean YouTube will take your side. And if they don't, there's little you can do besides suing, which might not be feasible for you.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;Disclaimer:&lt;/strong&gt; I'm not actually sure I answered your question after all that text. I'm sure I forgot something, but there's so many important factors involved, it's hard to put everything into one answer. Feel free to ask if I forgot anything, I'll be happy to edit my answer if I can. Also note that &lt;strong&gt;none of this constitutes legal advice&lt;/strong&gt;. It's rather a description of the current situation regarding YouTube's copyright claims systes and some pointers as to what you can reasonably do to get this problem resolved. Your theoretical (lawful and moral) rights and responsibilites might actually differ from what you can reasonably enforce.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2016-12-10T16:54:48.173" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20093" PostTypeId="1" AcceptedAnswerId="20096" CreationDate="2016-12-10T13:26:41.097" Score="0" ViewCount="73" Body="&lt;p&gt;Here is the video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/XrnL_aVRhzQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;I know it's &quot;transition effect&quot; at [1:46 -&gt; 1:51] and [0:45 -&gt; 0:49]&#xA;But i can't find the name, and some tutorials to do it in After Effect or Sony Vegas Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone knows?&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="17447" LastActivityDate="2016-12-10T17:14:53.847" Title="Anyone knows what kind of transition like this video?" Tags="|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20094" PostTypeId="1" CreationDate="2016-12-10T14:34:44.893" Score="0" ViewCount="1603" Body="&lt;p&gt;I'm trying to stream something back out using this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i rtmp://xxx.114.173.196/live/ninja -f flv rtmp://127.0.0.1/live/test&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but it is throwing the following output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[flv @ 0x3e3e6e0] video stream discovered after head already parsed&#xA;[flv @ 0x3e3e6e0] audio stream discovered after head already parsed&#xA;Input #0, flv, from 'rtmp://xxx.114.173.196/live/ninja':&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (Main), yuvj420p(pc, bt709/bt709/iec61966-2-1, progressive), 1280x720 [SAR 1:1 DAR 16:9], 62.50 fps, 60 tbr, 1k tbn, 120 tbc&#xA;    Stream #0:1: Audio: aac (LC), 48000 Hz, stereo, fltp&#xA;[swscaler @ 0x3eb1180] deprecated pixel format used, make sure you did set range correctly&#xA;[flv @ 0x3f32780] FLV does not support sample rate 48000, choose from (44100, 22050, 11025)&#xA;[flv @ 0x3f32780] Audio codec mp3 not compatible with flv&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Function not implementedStream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; flv1 (flv))&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; mp3 (libmp3lame))&#xA;    Last message repeated 1 times&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="17448" LastActivityDate="2017-06-08T19:10:03.050" Title="ffmpeg replay input to output giving errors" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20095" PostTypeId="2" ParentId="20094" CreationDate="2016-12-10T15:06:24.820" Score="3" Body="&lt;p&gt;Try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i rtmp://xxx.114.173.196/live/ninja -ar 44100 -f flv rtmp://127.0.0.1/live/test&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The sample rate cannot be 48 kHz, which is triggering the absurd message that MP3 isn't compatible with FLV although that is its default codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This command should work, while avoiding transcoding:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i rtmp://xxx.114.173.196/live/ninja -c copy -f flv rtmp://127.0.0.1/live/test&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2016-12-10T15:12:37.123" LastActivityDate="2016-12-10T15:12:37.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20096" PostTypeId="2" ParentId="20093" CreationDate="2016-12-10T17:14:53.847" Score="4" Body="&lt;h2&gt;What it is&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;There is no set name for this transition as it isn't a standard transition effect that you would expect to find as a preset in your editing software. It is probably a custom made transition sequence, however it's a rather simple one. It just takes the same image multiple time, applies different filters to them and uses a simple slide-in effect to iterate through them.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;How to do it&lt;/h2&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Extract a frame of your video. &lt;/li&gt;&#xA;&lt;li&gt;You can either apply the different filters in an image editing program or in the animation software. I think the first method is easier. The filters used in the video you linked are pretty simple; for example, there's a black-and-white converted version of the frame in there, an inverted black-and-white version and one with crushed blacks, increased contrast and overall lowered brightness.&lt;/li&gt;&#xA;&lt;li&gt;Import those versions of the still frame back into your project, put them in the timeline in quick succession (about 0.5 seconds per image) and apply the same slide-in effect to all of them (you can do this with keyframes, but you will probably also find it in the transition presets of your software).&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;(Optional)&lt;/em&gt; Note that the two instances of the transition you mentioned in your question are not exactly the same, they use different filters and effects interchangeably. For example, in the first occurance there's a grain effect applied to one of the still images and the whole transition sequence has a sepia coloration. The second instance uses a faded film look/effect for the last image in the transition. So you can customize this transition using different effects to have it look however you like. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h2&gt;Why not to do it&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Because it looks like crap. I have no idea what kind of video you are doing, but this transition will make you look like you just found out about Photoshop and decided to press all the buttons.&lt;br&gt;&#xA;&lt;sub&gt;(&lt;em&gt;cough&lt;/em&gt; &lt;a href=&quot;https://www.youtube.com/watch?v=wyAL2P42L_U&quot; rel=&quot;nofollow noreferrer&quot;&gt;Photoshop Philipp&lt;/a&gt; &lt;em&gt;cough&lt;/em&gt;)&lt;/sub&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want your video to be taken seriously, use hard cuts or short, soft transitions only. In general, I wouldn't recommend trying to copy Hatsune Miku AMVs from YouTube, unless that is precisely the look and audience you want. Some more advice on transitions can be found in &lt;a href=&quot;https://video.stackexchange.com/questions/19342/is-there-a-rule-of-thumb-for-transitions-in-video-production/19346#19346&quot;&gt;my answer here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-12-10T17:14:53.847" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20099" PostTypeId="1" AcceptedAnswerId="20101" CreationDate="2016-12-11T10:10:16.410" Score="0" ViewCount="697" Body="&lt;p&gt;I am editing a video and the director pre-edited some footage using Windows Movie Maker (no need to tell me how absolutely inadequate a tool MovieMaker is).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some way to export something like an EDL (in any readable format, even if i have to manually convert) from a WLMP project so that i can import the project into another NLE?&lt;/p&gt;&#xA;" OwnerUserId="17457" LastActivityDate="2016-12-12T10:34:55.573" Title="Export EDL from Movie Maker WLMP (Windows Live Media Project)" Tags="|windows-movie-maker|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20101" PostTypeId="2" ParentId="20099" CreationDate="2016-12-11T12:26:06.907" Score="1" Body="&lt;p&gt;A WLMP file can be opened as an xml.  Save a copy of the project changing the extension to XML.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Convert XML to CSV using one of various free converters available online.  Open the CSV file as a spreadsheet (Excel, Calc, etc).  Now you can access the filenames and durations of each edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You must reformat your spreadsheet to match an EDL format supported by your NLE.  Once you have the correct format, export spreadsheet (sometimes you must convert to CSV, open in notepad and save again with the desired extension).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is an example of the cuts once converted to csv / spreadsheet format:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;_id,_filePath,_arWidth,_arHeight,_duration,_songTitle,_songArtist,_songAlbum,_songCopyrightUrl,_songArtistUrl,_songAudioFileUrl,_stabilizationMode,_mediaItemType&#xA;159,F:\video\img(7).jpg,2448,3264,0,,,,,,,0,2&#xA;106,F:\video\img(8).jpg,2448,3264,0,,,,,,,0,2&#xA;160,F:\video\img(50).jpg,960,960,0,,,,,,,0,2&#xA;107,F:\video\img(51).jpg,667,667,0,,,,,,,0,2&#xA;161,F:\video\clip (32).mp4,1280,720,26.026,,,,,,,0,1&#xA;108,F:\video\clip(20).MTS,1920,1080,12.69,,,,,,,0,1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17457" LastEditorUserId="17457" LastEditDate="2016-12-12T10:34:55.573" LastActivityDate="2016-12-12T10:34:55.573" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20102" PostTypeId="1" CreationDate="2016-12-11T17:34:40.957" Score="2" ViewCount="10119" Body="&lt;p&gt;Im trying to set font and font size but i can use only one of the filters not both here is mine command &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i movie.avi -strict -2 -vf subtitles=subtile.srt:force_style='FontName=ubuntu, Fontsize=30' -qscale:v 3 out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but I get&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;No such filter: 'Fontsize'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But if I set just Fontsize it works just fine, any help ? TNX in advance&lt;/p&gt;&#xA;" OwnerUserId="17462" LastActivityDate="2016-12-11T23:21:38.907" Title="&quot;ffmpeg&quot; set fontsize and font" Tags="|ffmpeg|filter|linux|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20103" PostTypeId="1" CreationDate="2016-12-11T17:45:48.373" Score="1" ViewCount="68" Body="&lt;p&gt;I am doing now a Turntable video Project similar to &lt;a href=&quot;https://www.jamesallen.com/engagement-rings/solitaire/14k-white-gold-15mm-comfort-fit-engagement-ring-item-22606&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.jamesallen.com/engagement-rings/solitaire/14k-white-gold-15mm-comfort-fit-engagement-ring-item-22606&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am right now working a lot time to make sure that the item is exactly entered on the turntable so it should look good&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any software that could fix the video if it was not centered while capturing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;see here &lt;a href=&quot;https://arqspin.com/product-tour/manage/dewobbler/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://arqspin.com/product-tour/manage/dewobbler/&lt;/a&gt; this website does a good job but it converts it to images, and even if you export it as a video it will become bumpy like a gif...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or does anyone have any experience or ideas how i could make sure that it is exactly centered?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you in advance&lt;/p&gt;&#xA;" OwnerUserId="17441" LastActivityDate="2021-07-13T05:35:04.600" Title="Center Spin turntable" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20104" PostTypeId="2" ParentId="20102" CreationDate="2016-12-11T17:56:17.577" Score="1" Body="&lt;p&gt;Remove the space.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i movie.avi -strict -2 -vf subtitles=subtile.srt:force_style='FontName=ubuntu,Fontsize=30' -qscale:v 3 out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-11T17:56:17.577" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="20106" PostTypeId="2" ParentId="20102" CreationDate="2016-12-11T23:21:38.907" Score="3" Body="&lt;p&gt;I did solved this with &quot; &quot;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;subtitles=subtitle.srt:force_style='FontName=ubuntu,Fontsize=30'&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17462" LastActivityDate="2016-12-11T23:21:38.907" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20107" PostTypeId="2" ParentId="20103" CreationDate="2016-12-11T23:34:02.750" Score="2" Body="&lt;p&gt;I would think you could make sure it's centered by having a horizontal object (just a dowel, or something) placed at the center of the item. Turn on the turntable, then look at it through your camera's viewfinder. If the dowel moves back and forth horizontally, then it's not centered on the dowel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for fixing in post, it's certainly possible, though maybe a little time consuming. BTW, the &quot;fixed&quot; video in the dewobbler example still has a small amount of wobble that I personally find more irritating than the original large wobble. But maybe it's just me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To fix it in post, you need to mentally define the center of your object. Then as it moves back and forth, move the center of the object to the center of the frame and set a keyframe. The keyframes will probably create a periodic pattern like a sine wave or something similar. In fact, it seems like that's mainly what they were doing in the dewobbler video - just setting keyframes for moving the center. This can be done in most video editors or motion graphics apps like FCPX, Motion, Premiere, After Effects, etc. Just use the normal transform tool.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-12-11T23:34:02.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20108" PostTypeId="2" ParentId="20089" CreationDate="2016-12-11T23:40:35.970" Score="2" Body="&lt;p&gt;What counts as a view on Facebook are way different that what counts on YouTube. Facebook is famous for its &lt;a href=&quot;http://marketingland.com/facebook-defends-its-3-second-video-view-standard-137823&quot; rel=&quot;nofollow noreferrer&quot;&gt;defense on three second views&lt;/a&gt;. This is in contrast to YouTubes complex algorithm that determines a legitimate view or not. This is why you see such a large difference in views between the two platforms. &lt;/p&gt;&#xA;" OwnerUserId="10618" LastActivityDate="2016-12-11T23:40:35.970" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20109" PostTypeId="1" CreationDate="2016-12-12T03:08:55.810" Score="1" ViewCount="1668" Body="&lt;p&gt;&quot;Paste attributes&quot; allows me to select which effects I want to paste. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, for &quot;Motion&quot;, it seems to be all or nothing (screenshot below). This is even though within &quot;Motion&quot; itself, there are 5 separate attributes, namely, Position, Scale, Rotation, Anchor Point, and Anti-flicker Filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What if I only want to paste, say, the Scale of one clip on 10 other clips, without changing the Position, Rotation, Anchor Point, or Anti-flicker Filter of the other 10 clips?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Using CC 2015.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9Gw3B.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9Gw3B.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user11507" LastEditorDisplayName="user11507" LastEditDate="2016-12-12T03:19:10.480" LastActivityDate="2016-12-12T18:19:57.167" Title="How to paste one specific attribute only?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20110" PostTypeId="1" CreationDate="2016-12-12T08:55:18.653" Score="3" ViewCount="359" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yBHCW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yBHCW.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This frame from a video about a camera, has, as you can see, a pattern made up from rectangular boxes.&lt;br&gt;&#xA;Is it just the pixelation? Or something else?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;*you can see the video by that frame &lt;a href=&quot;https://youtu.be/VE0ttSuOh3o?t=206&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14021" LastEditorUserId="14021" LastEditDate="2017-04-12T17:35:49.973" LastActivityDate="2017-04-12T17:35:49.973" Title="What are these rectangular patterns in the frame?" Tags="|video-quality|non-square-pixels|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20111" PostTypeId="2" ParentId="20110" CreationDate="2016-12-12T09:15:42.417" Score="4" Body="&lt;p&gt;Those are &lt;a href=&quot;https://en.m.wikipedia.org/wiki/Compression_artifact&quot; rel=&quot;nofollow noreferrer&quot;&gt;compression artifacts&lt;/a&gt;, where the original video has been compressed and has lost data. Block-based coding for quantisation leads to artifacts like this, as the information depth in the image is too high to be successfully compressed at the level required by the lossy algorithm used. From that Wikipedia page:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Lossy data compression involves discarding some of the media's data so that it becomes simplified enough to be stored within the desired disk space or be transmitted (or streamed) within the bandwidth limitations (known as a data rate or bit rate for media that is streamed). If the compressor could not reproduce enough data in the compressed version to reproduce the original, the result is a diminishing of quality, or introduction of artifacts. Alternatively, the compression algorithm may not be intelligent enough to discriminate between distortions of little subjective importance and those objectionable to the viewer.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;@DarkDust worded this well:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The part that actually leads to these visible blocks is the fact that for some compression algorithms, each frame is divided into smaller parts, so-called macroblocks, which are further divided into transform blocks. When the compression in two adjacent macro blocks is too far away from the original in different ways, they don't &quot;fit&quot; together at their border any more. It is this &quot;not fitting together&quot; that we see in the block artifacts&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="674" LastEditorUserId="674" LastEditDate="2016-12-12T14:16:52.567" LastActivityDate="2016-12-12T14:16:52.567" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20112" PostTypeId="2" ParentId="20069" CreationDate="2016-12-12T12:20:15.813" Score="1" Body="&lt;p&gt;Shape layers can comprise more than one shape, indeed they can contain multiple groups of shapes. So when you have multiple elements in a shape layer and want to transform one of them but not the others you use the individual transforms for that part, when you want to transform the whole layer you use the normal layer transforms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your shape layer only contains one element then there is really no difference, except that the layer transforms are accessible to keyboard shortcuts, e.g. &lt;kbd&gt;P&lt;/kbd&gt; for position, &lt;kbd&gt;S&lt;/kbd&gt; for scale etc., and work with nudging, e.g. the arrow keys or &lt;kbd&gt;num pad +&lt;/kbd&gt; and &lt;kbd&gt;num pad -&lt;/kbd&gt; for rotation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course you can achieve the same result as having multiple parts to a shape layer by creating multiple shape layers each containing one part and grouping them by parenting, using expressions or precomping them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whether you make shapes with individual parts per layer or all in one layer is a matter of taste. I tend to switch between the two, but mostly favour individual parts per layer - I like my keyboard shortcuts. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I kinda think the AE layer shapes implementation isn't AE's strongest feature. For anything complicated I always do it in Illustrator and import.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-12-13T00:08:33.907" LastActivityDate="2016-12-13T00:08:33.907" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20114" PostTypeId="1" CreationDate="2016-12-12T17:46:22.963" Score="-1" ViewCount="39" Body="&lt;p&gt;I add my own content to music and post it to you tube.I am not very prolific my last upload being four years ago. Have You Tube relaxed their attitude to music being posted in that time as it seems there are lots of full albums which are on major labels being uploaded? I remember trying to upload a Roxy Music video and being threatened with being banned four years ago&lt;/p&gt;&#xA;" OwnerUserId="17469" LastActivityDate="2016-12-12T18:59:59.233" Title="Youtube Standard Licence" Tags="|youtube|" AnswerCount="2" CommentCount="3" ClosedDate="2016-12-13T21:50:28.410" ContentLicense="CC BY-SA 3.0" />
  <row Id="20115" PostTypeId="2" ParentId="20109" CreationDate="2016-12-12T18:19:57.167" Score="1" Body="&lt;p&gt;There is no simple way to do this, as &lt;em&gt;Position&lt;/em&gt;, &lt;em&gt;Scale&lt;/em&gt;, &lt;em&gt;Rotation&lt;/em&gt;, &lt;em&gt;Anchor Point&lt;/em&gt;, and &lt;em&gt;Anti-flicker Filter&lt;/em&gt; are attributes of the &lt;em&gt;Motion&lt;/em&gt; effect that is applied to all clips by default. So even though the &lt;em&gt;Paste Attributes&lt;/em&gt; panel allows you to paste effects individually, you can't paste the individual attibutes of the &lt;em&gt;Motion&lt;/em&gt; effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can, however, use a workaround. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this case, a simple solution is to add a keyframe and copy that instead. If you have only one keyframe per attribute that holds the desired value, it won't change over time, thus it will be the same as not having the keyframe at all and just using a static value for that attribute. &lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Step by step:&lt;/h3&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select a clip in the timeline and in the &lt;em&gt;Effect Settings&lt;/em&gt; panel, set a value for the attribute you want to change (e.g. &lt;em&gt;Scale&lt;/em&gt;).&lt;/li&gt;&#xA;&lt;li&gt;Now press the &lt;em&gt;Toggle Animation&lt;/em&gt; button (the clock icon next to the effect attribute designation). This will add one keyframe at the current playhead position that holds the value set in step one. If you want to change that value later on, make sure that the playhead is exactly on this keyframe, as it will create a new keyframe otherwise.&lt;/li&gt;&#xA;&lt;li&gt;Select the keyframe by clicking on it and press &lt;kbd&gt;CTRL&lt;/kbd&gt; + &lt;kbd&gt;C&lt;/kbd&gt; to copy it into the clipboard. &lt;/li&gt;&#xA;&lt;li&gt;Now select the target clip that you want to paste the attribute onto in the timeline and switch to the &lt;em&gt;Effect Settings&lt;/em&gt; panel once more. Press &lt;kbd&gt;CTRL&lt;/kbd&gt; + &lt;kbd&gt;V&lt;/kbd&gt; to paste the keyframe. The keyframe still holds the value set in step 1., so you have effectively pasted just that attribute's value onto the new clip.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;You can also do this with multiple keyframes (both within one attribute, in case you do want to change the attribute's values over time, or spanning multiple attributes). Just &lt;a href=&quot;http://www.computerhope.com/jargon/m/marquee.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;marquee select&lt;/a&gt; all the keyframes and copy them into the clipboard. The program will remember which attribute each keyframe belongs to. If you paste multiple keyframes with intervals between them, the intervals will remain and the first keyframe in the section will be pasted at the current playhead position.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-12-12T18:19:57.167" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20116" PostTypeId="1" AcceptedAnswerId="20119" CreationDate="2016-12-12T18:44:54.030" Score="3" ViewCount="21232" Body="&lt;p&gt;I have an unusual problem that I hope someone can help me solve.&#xA;I have 45 video files that I'm batch encoding as MP4.&#xA;Some of those files have their audio channel position set to Front L R and others have have it set to Front C.&#xA;However, the distribution system which these videos are sent to (and which I have no control over) does some re-processing of these videos.&#xA;All the videos that have their Channel Position set to Front C are coming back with distorted audio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know how to encode a video with ffmpeg and force the audio channel positions to be Front L R?&#xA;(I have carefully studied this page (&lt;a href=&quot;https://trac.ffmpeg.org/wiki/AudioChannelManipulation#monostereo&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/AudioChannelManipulation#monostereo&lt;/a&gt;) but it was not obvious what the solution might be)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="17213" LastActivityDate="2016-12-12T19:52:32.473" Title="Mono to Stereo using FFMPEG" Tags="|ffmpeg|audio|encoding|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20117" PostTypeId="2" ParentId="20114" CreationDate="2016-12-12T18:59:16.610" Score="1" Body="&lt;p&gt;This has nothing to do with the YouTube Standard Licence, but rather with copyright. The licence selection you get when you upload a video to YouTube is about how others may use your work. However, you are asking about using other people's music in your videos, so it's the other way around. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whether you can legally upload other people's music depends on your country's legislation. For example, in Germany you would be infringing copyright in 99.99% of the time as our copyright laws are quite strict. In the USA, your usage may or may not be legal under the &lt;a href=&quot;https://en.wikipedia.org/wiki/Fair_use&quot; rel=&quot;nofollow noreferrer&quot;&gt;Fair Use&lt;/a&gt; doctrine. This depends heavily on how and with what intent you are using the music, if you are making money off of it, and several other factors. You need to read up on the legislation that applies to you (depending on where you live) and when in doubt consult a layer.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Have You Tube relaxed their attitude to music being posted in that time as it seems there are lots of full albums which are on major labels being uploaded?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The three most common situations for music on YouTube are the following: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The uploader is the musician himself or his label. So they have all the rights to distribute the music however they want. &lt;/li&gt;&#xA;&lt;li&gt;The usage of the music is protected under Fair Use laws (see above). &lt;/li&gt;&#xA;&lt;li&gt;There is no legal basis for the uploader's usage of the music and they &lt;a href=&quot;https://www.youtube.com/watch?v=ZXsQAXx_ao0&quot; rel=&quot;nofollow noreferrer&quot;&gt;JUST DO IT&lt;/a&gt;, assuming noone will ever sue them and the worst thing that can happen is that they will get a copyright strike on their channel. For the most part, this assumption is pretty solid, as in theory 99% of the content on the internet infringes someone's copyright but only a minority of those cases ever get followed up on and even less people ever have to face real consequences following a copyright infringement. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2016-12-12T18:59:16.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20118" PostTypeId="2" ParentId="20114" CreationDate="2016-12-12T18:59:59.233" Score="0" Body="&lt;p&gt;The current YouTube policy regarding music is really strict. Take a look at &lt;a href=&quot;https://www.youtube.com/music_policies&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; link to see which songs are allowed to use and &lt;a href=&quot;https://www.youtube.com/yt/copyright/fair-use.html#yt-copyright-four-factors&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; link to read about their &quot;Fair use guidelines&quot;. &lt;/p&gt;&#xA;" OwnerUserId="16852" LastActivityDate="2016-12-12T18:59:59.233" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20119" PostTypeId="2" ParentId="20116" CreationDate="2016-12-12T19:52:32.473" Score="7" Body="&lt;p&gt;If you run &lt;code&gt;ffmpeg -layouts&lt;/code&gt;, you will see that stereo indicates the presence of two channels, one assigned as Front Left and the other as Front Right. If you use &lt;code&gt;-ac 2&lt;/code&gt; in your encode, ffmpeg will create a stereo layout output by default. FFmpeg does not display the individual channel assignments in the readout of the file.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-12T19:52:32.473" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20120" PostTypeId="2" ParentId="20080" CreationDate="2016-12-12T20:12:21.160" Score="0" Body="&lt;p&gt;Not really a legal advice more like a practical suggestion: why don't you just ask the author of the track if you can use his music? There are cases where even then there might be legal issues (as with the GEMA in Germany) but generally you would be legally ok then.&lt;/p&gt;&#xA;" OwnerUserId="13978" LastActivityDate="2016-12-12T20:12:21.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20121" PostTypeId="1" AcceptedAnswerId="20122" CreationDate="2016-12-12T21:07:48.510" Score="1" ViewCount="158" Body="&lt;p&gt;Hey guys how can I add scale/resize command to mine command, because where ever I place the &quot;scale&quot; command I got error&#xA;Here is mine&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i movie.mkv -strict -2 -vf &quot;subtitles=subtitle.srt:force_style='FontName=ubuntu,fontsize=30'&quot; -qscale:v 3 -filter:v scale=720:-1 Movie.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17462" LastActivityDate="2016-12-12T21:17:45.653" Title="FFMPEG add resize to my comand" Tags="|ffmpeg|linux|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20122" PostTypeId="2" ParentId="20121" CreationDate="2016-12-12T21:17:45.653" Score="2" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i movie.mkv -strict -2 -vf &quot;subtitles=subtitle.srt:force_style='FontName=ubuntu,fontsize=30',scale=720:-1&quot; -qscale:v 3  Movie.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;All filters applied to a single input should be presented as a sequence, separated by a comma.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-12T21:17:45.653" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20123" PostTypeId="1" CreationDate="2016-12-12T23:30:37.460" Score="0" ViewCount="459" Body="&lt;p&gt;I am trying to create a hyperlapse and I'm following a certain method that is mentioned in this post:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://blog.planet5d.com/2016/03/time-warp-saigon-with-the-dji-osmo/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://blog.planet5d.com/2016/03/time-warp-saigon-with-the-dji-osmo/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;So if you&#xA;  now want it to look like you shot an image every 4 seconds, you have&#xA;  to take 2 seconds of video and blend the frames to form a single&#xA;  exposure.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I created a script that extracts out the images from each frame of the video via ffmpeg. Now, I'm trying to create a single blended image from each 2 seconds of video which was shot at 30fps. I have tried imagemagick but the results are ok. There is quite a bit of ghosting going on along with some other artifacts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the command I used:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;convert frame*.jpg -evaluate-sequence mean output_file&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I've also tried the median option but it came out even worse. Not sure if it works well if the camera is not fixed in one position.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering if there are other options out there for blending images together. Am I on the right track with imagemagick?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an example of a blended photo that has the green lights (from people carrying light sticks) that stays consistent throughout much of the video and ghosting on the left hand side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: I am using the same gimbal as shown in the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ucNR1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ucNR1.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17471" LastEditorUserId="17471" LastEditDate="2016-12-13T00:38:22.410" LastActivityDate="2017-05-12T02:55:09.517" Title="Blending images together to form a single exposure" Tags="|time-lapse|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20125" PostTypeId="2" ParentId="20123" CreationDate="2016-12-13T00:23:57.543" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;'Not sure if it works well if the camera is not fixed in one&#xA;  position.'&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Correct. If you're doing time-lapse you need to have the camera stabilised somehow, or it's going to look wobbly AF. If the camera is moving in real time, then when you speed it up it will be moving 30 times as fast, so something that might look like a slow pan turns into a whip pan.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you average out 30 frames then you're going to see partial exposures of everything in those frames, which means if something is moving rapidly you'll get a semi transparent 'ghost' of it - the less frames it is in, the more transparent it will appear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason that video works well is that they're using an electronic gimbal to stabilise the camera—that's what they're showing off. Even though the frame is constantly moving there's enough that is consistent across the whole second to achieve a sharp frame, and the camera motion is stable enough that when it's sped up it's still fluid.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-12-13T00:23:57.543" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20126" PostTypeId="1" CreationDate="2016-12-13T10:02:06.217" Score="0" ViewCount="948" Body="&lt;p&gt;I want to render just 10 seconds of my 1920x1080 movie to create the best quality preview for a demo. But rendering process takes the same time as rendering the entire movie (35 minutes). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is it taking so long? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A guess - is Movie Studio rendering the entire file and then just cropping away the unselected part? How do I render the selection only?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what I do:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;select a 10 seconds region in the timeline&lt;/li&gt;&#xA;&lt;li&gt;go to menu -&gt; Project -&gt; Make movie&lt;/li&gt;&#xA;&lt;li&gt;pick option Save it to my hard drive&lt;/li&gt;&#xA;&lt;li&gt;pick format mp4&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;enable the checkbox &quot;Render loop region only&quot;&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;click Advanced options and pick Sony AVC/MVC encoder&lt;/li&gt;&#xA;&lt;li&gt;pick my preset of choice (1440x1080@30p, 1.333 pixel ratio for anamorphic aspect ratio, 25 FPS, 26 Mbps bitrate)&lt;/li&gt;&#xA;&lt;li&gt;render&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2583" LastEditorUserId="2583" LastEditDate="2016-12-13T11:32:29.333" LastActivityDate="2016-12-13T11:32:29.333" Title="How to make rendering loop selections work in Movie Studio Platinum 13?" Tags="|vegas-pro|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20127" PostTypeId="1" AcceptedAnswerId="20137" CreationDate="2016-12-13T10:10:21.787" Score="0" ViewCount="1482" Body="&lt;p&gt;currently I have the problem that I cant change the opacity of a mask.&#xA;It's just on (1-100%) or off (0%).&#xA;I noticed that the feathering doesn't work too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a example picture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EJiRw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EJiRw.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two masks, one with less opacity than the other, but they are still appear to be the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried different things but nothing worked and I can't find anything about this in at the internet.&#xA;Is it maybe because of the effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I change the opacity of the masks respectively the feather?&lt;/p&gt;&#xA;" OwnerUserId="17236" LastActivityDate="2016-12-14T04:47:15.220" Title="Opacity and feather doesn't work at mask" Tags="|after-effects|mask|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20128" PostTypeId="1" CreationDate="2016-12-13T10:23:20.840" Score="1" ViewCount="720" Body="&lt;p&gt;I am using Movie Studio Platinum 13 (essentially, light version of Sony Vegas).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am creating a project based on mp4 files recorded on my Sony Alpha camera. These files have pixel resolution 1440x1080 and aspect ratio 16:9, which means that they are anamorphic (pixel aspect 1.333) and are stretched to 1920x1080 when playing back. All the video players I tried are playing the files with correct aspect ratio. Mediainfo tool shows the following information:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Lph8o.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Lph8o.png&quot; alt=&quot;Source file info&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When creating the project, I specify that I want to detect project settings from an existing file and I pick the file from the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When rendering the movie, I pick Sony AVC/MVC encoder and specify the settings as in the original videos (1440x1080@30p, 1.333 pixel ratio for anamorphic aspect ratio, 25 FPS):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ovtjv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ovtjv.png&quot; alt=&quot;Info for encoder&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the final rendered movie plays back with black bars and 4:3 aspect ratio on some video players! When I inspect the media information, I see the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nuVRu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nuVRu.png&quot; alt=&quot;Rendered file info&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Sony AVC/MVC encoder has added &quot;Original display aspect ratio&quot; as 16:9 and set &quot;Display aspect ratio&quot; to 4:3, whereas in the source files &quot;Display aspect ratio&quot; was 16:9 and there was no &quot;Original display aspect ratio&quot; at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is Sony encoder doing this? How do I force it not to add 4:3 ratio but keep them all at 16:9 while using the same anamorphic pixel ratio for 1440 -&gt; 1920 stretching?&lt;/p&gt;&#xA;" OwnerUserId="2583" LastActivityDate="2019-01-03T07:15:07.843" Title="How to stop Sony AVC/MVC encoder from adding 4:3 aspect ratio to 16:9 videos?" Tags="|encoding|vegas-pro|aspect|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20130" PostTypeId="2" ParentId="20126" CreationDate="2016-12-13T10:55:35.677" Score="1" Body="&lt;p&gt;Oh, I found it myself and leaving the answer here in case someone else will get confused by this because the solution is not obvious.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was setting the checkbox here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gCYJ3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gCYJ3.png&quot; alt=&quot;Wrong checkbox&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;but if I use &quot;Advanced options&quot;, &lt;strong&gt;Movie Studio ignores this setting!&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have to select it deeper in a hidden dropdown in the &quot;Advanced options&quot; window like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FI022.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FI022.png&quot; alt=&quot;Right checkbox&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And later when rendering the full video, it is important to remember to open that dropdwon again and turn off the region rendering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oh, Sony, this is so confusing - two things doing the same, but effective only under specific circumstances.&lt;/p&gt;&#xA;" OwnerUserId="2583" LastActivityDate="2016-12-13T10:55:35.677" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20132" PostTypeId="2" ParentId="20128" CreationDate="2016-12-13T12:29:01.620" Score="0" Body="&lt;p&gt;I suppose some video players do not support non-square pixels, or can't read this flag from the file attributes. Why don't you use 1920x1080 format with square pixels? 1440*1.3333=1920 ;)&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2016-12-13T12:29:01.620" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20133" PostTypeId="1" AcceptedAnswerId="20138" CreationDate="2016-12-13T20:00:17.870" Score="0" ViewCount="695" Body="&lt;p&gt;This question is inspired by the Exif data exists in JPEG files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to find: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;the video editing software that created a video file?&lt;/li&gt;&#xA;&lt;li&gt;the camera model that created a video file? &lt;/li&gt;&#xA;&lt;li&gt;Get above information from a Youtube video?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="16986" LastActivityDate="2016-12-14T06:09:47.987" Title="Is there any way to find the video editing software or camera that created a video?" Tags="|software|camcorder|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20134" PostTypeId="2" ParentId="20133" CreationDate="2016-12-13T20:32:32.360" Score="1" Body="&lt;p&gt;YouTube reencodes all uploads, so there is no way to recover any video metadata unless you have the original file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have the original video file, sometimes cameras write specific metadata information into the video headers.  Same for editing and compression software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use a tool such as &lt;a href=&quot;https://mediaarea.net/nn/MediaInfo/Download/Mac_OS&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt; to output audio, video, and header information from a media file.&lt;/p&gt;&#xA;" OwnerUserId="16376" LastActivityDate="2016-12-13T20:32:32.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20135" PostTypeId="2" ParentId="20133" CreationDate="2016-12-13T22:03:18.590" Score="2" Body="&lt;p&gt;Different NLEs each seem to live in their own metadata world.  One common metadata element they all seem to preserve fairly well is timecode.  Almost all support a few common elements, such as REEL, SCENE, and SHOT.  But DaVinci Resolve, Premiere Pro, and Final Cut Pro X each have metadata slots that are unique to them, even in cases where the metadata slot shares a common name.  MPEG, Quicktime, and other media formats do have slots for metadata, but nothing like the expansive and consistent world of EXIF.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the pro video world, metadata is usually entered first via a slate, with the camera shooting the actual metadata at the start or end of a shot, and then what is now called the DIT (director of Imaging Technology) translate the slate data to metadata for the project.  Some digital slates actually create little databases so that at the end of the data, all the text the camera shot as video footage is also available to be uploaded to a (metadata) database.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-12-13T22:03:18.590" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20137" PostTypeId="2" ParentId="20127" CreationDate="2016-12-14T04:47:15.220" Score="2" Body="&lt;p&gt;Normally effects are applied before masks, but some aren't. For these effects it means that you need to precompose the layer with the effect applied, and then apply the mask to the precomp. I don't know why, it's pretty certainly a bug, but Colorama is one of those effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Turn off Colorama and your masks should start behaving normally. So what you need to do is pre-comp the layer with the effects on it, but not the masks (just select the masks and &lt;kbd&gt;ctrl/⌘&lt;/kbd&gt;-&lt;kbd&gt;x&lt;/kbd&gt; to cut, then precomp the layer choosing &lt;em&gt;&quot;Move all the attributes into the new composition&quot;&lt;/em&gt;, then paste the masks back).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-12-14T04:47:15.220" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20138" PostTypeId="2" ParentId="20133" CreationDate="2016-12-14T06:09:47.987" Score="0" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;Video editing software?&lt;/strong&gt;  Highly unlikely. Best bet would be to ask the producer.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Camera model&lt;/strong&gt; that created a video file?  Same as #1 above..&lt;/li&gt;&#xA;&lt;li&gt;From a &lt;strong&gt;Youtube video&lt;/strong&gt;?  No. Even if there were any metadata that you wanted (which is highly unlikely) it would be stripped by YouTube re-encoding and compressing it.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-12-14T06:09:47.987" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20139" PostTypeId="1" AcceptedAnswerId="20141" CreationDate="2016-12-14T15:47:53.357" Score="3" ViewCount="3435" Body="&lt;p&gt;Hey guys how can I add box around subtitle like on picture with ffmpeg&#xA;here is mi current command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i movie.mkv -strict -2 -vf &quot;subtitles=subtitle.srt:force_style='FontName=ubuntu,fontsize=30',scale=720:-1&quot; -qscale:v 3  Movie.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/D8RpT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/D8RpT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17462" LastActivityDate="2022-08-26T09:24:37.857" Title="Add semi-transparent box around subtitle" Tags="|ffmpeg|filter|linux|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20140" PostTypeId="1" AcceptedAnswerId="20179" CreationDate="2016-12-14T16:22:42.077" Score="0" ViewCount="197" Body="&lt;p&gt;I have created a DVD from video files, originally FLV 1280x720p files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although I followed the support literature and help guides, &lt;b&gt;approx 10 pixels are missing vertically and approx 20 horizontally from all the DVD content(I have tried 2 players/TVs with same result)&lt;/b&gt;(like a slightly zoomed-in effect). &#xA;In Encore and WMP, it plays perfectly fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;b&gt;This is the transcoded file:&lt;/b&gt;&lt;br&gt;&#xA;&lt;code&gt;&lt;strong&gt;General&lt;/strong&gt;&#xA;Name                                     : ZZ Top.m2v&#xA;Format                                   : MPEG Video&#xA;Format version                           : Version 2&#xA;File size                                : 2.02 GiB&#xA;Duration                                 : 57 min 12 s&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 5 053 kb/s&lt;br&gt;&#xA;&lt;strong&gt;Video&lt;/strong&gt;&#xA;Format                                   : MPEG Video&#xA;Format version                           : Version 2&#xA;Format profile                           : Main@Main&#xA;Format settings, BVOP                    : Yes&#xA;Format settings, Matrix                  : Default&#xA;Format settings, GOP                     : M=3, N=12&#xA;Duration                                 : 57 min 12 s&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 5 053 kb/s&#xA;Maximum bit rate                         : 7 000 kb/s&#xA;Width                                    : 720 pixels&#xA;Height                                   : 576 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate                               : 25.000 FPS&#xA;Standard                                 : PAL&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel x Frame)                     : 0.487&#xA;Time code of first frame                 : 00:00:00:00&#xA;GOP, Open/Closed                         : Closed&#xA;Stream size                              : 2.02 GiB (100%)&lt;/code&gt;&lt;br&gt;&#xA;&lt;b&gt;This is a VOB off the DVD;&lt;br&gt;&#xA;&lt;/b&gt;&lt;code&gt;&lt;strong&gt;General&lt;/strong&gt;&#xA;Complete name                            : G:&amp;#92;VIDEO_TS&amp;#92;VTS_02_1.VOB&#xA;Format                                   : MPEG-PS&#xA;File size                                : 1 024 MiB&#xA;Duration                                 : 26 min 51 s&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 5 329 kb/s&lt;br&gt;&#xA;&lt;strong&gt;Video&lt;/strong&gt;&#xA;ID                                       : 224 (0xE0)&#xA;Format                                   : MPEG Video&#xA;Format version                           : Version 2&#xA;Format profile                           : Main@Main&#xA;Format settings, BVOP                    : Yes&#xA;Format settings, Matrix                  : Default&#xA;Format settings, GOP                     : M=3, N=12&#xA;Duration                                 : 26 min 51 s&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 5 031 kb/s&#xA;Maximum bit rate                         : 7 000 kb/s&#xA;Width                                    : 720 pixels&#xA;Height                                   : 576 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate                               : 25.000 FPS&#xA;Standard                                 : PAL&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel x Frame)                     : 0.485&#xA;Time code of first frame                 : 00:00:00:00&#xA;Time code source                         : Group of pictures header&#xA;GOP, Open/Closed                         : Closed&#xA;Stream size                              : 967 MiB (94%)&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;b&gt;More info:&lt;/b&gt;&#xA;The first DVD player(Panasonic) is quite versatile with regards to settings. I use the &lt;a href=&quot;https://en.wikipedia.org/wiki/Component_video&quot; rel=&quot;nofollow noreferrer&quot;&gt;component(R/G/B)&lt;/a&gt; output(576p) and the HDTV(Samsung) recognizes it as 720 x 576p. I have tried different aspect ratio settings on both TVs and DVD players and the best/closest settings are:&lt;br&gt;&#xA;DVD Players: 16:9 (1.0x zoom)&lt;br&gt;&#xA;TVs: 16:9  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;b&gt;NOTES:&lt;/b&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Curiously, I have two &lt;b&gt;video-loop-buttons &lt;/b&gt;&quot;(%)&quot; in the Main Menu, and in those, the same slightly zoomed-in effect occurs on the video, even while previewing in Encore, but I think that is because I used a 1280x720 thumbnail of the original HD video. Just thought I'd mention that.  &lt;/li&gt;&#xA;&lt;li&gt;I used &quot;Scale to Fill&quot; during rendering in AME, because of black lines on the sides.&lt;/li&gt;&#xA;&lt;li&gt;This issue is very recognizable due to the logo in the top left of the screen being 1/3rd missing.&lt;/li&gt;&#xA;&lt;li&gt;I am in the UK(i.e. PAL). But I wonder if a NTSC render would resolve this? Is this the kind of effect using wrong TV standards would cause? Or is it an &lt;a href=&quot;https://en.wikipedia.org/wiki/Overscan&quot; rel=&quot;nofollow noreferrer&quot;&gt;overscan&lt;/a&gt; issue?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="15937" LastActivityDate="2016-12-19T19:08:42.250" Title="DVD not displaying full picture" Tags="|transcoding|mpeg|dvd|aspect|encore|" AnswerCount="2" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="20141" PostTypeId="2" ParentId="20139" CreationDate="2016-12-14T16:34:29.623" Score="3" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i movie.mkv -strict -2 -vf &quot;subtitles=subtitle.srt:force_style='FontName=ubuntu,fontsize=30,BorderStyle=3,OutlineColour=&amp;amp;H80000000',scale=720:-1&quot; -qscale:v 3  Movie.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See Style &lt;a href=&quot;http://fileformats.wikia.com/wiki/SubStation_Alpha#Fields&quot; rel=&quot;nofollow noreferrer&quot;&gt;Fields&lt;/a&gt; and &lt;a href=&quot;http://fileformats.wikia.com/wiki/SubStation_Alpha#Data_types&quot; rel=&quot;nofollow noreferrer&quot;&gt;Data Types&lt;/a&gt; for tag info and color syntax.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-14T16:34:29.623" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20144" PostTypeId="1" AcceptedAnswerId="20149" CreationDate="2016-12-14T21:49:11.720" Score="1" ViewCount="2044" Body="&lt;p&gt;I'm trying to take an image, and apply a slow 'zoom' to the image (think Ken Burns). The animation looks correct, but the image looks extremely low resolution (when the original image is a 5k still). Why is this? Command below:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -f image2 -i 'IMG_8444_edit.jpg' -vf &quot;zoompan=z='zoom+0.001&quot; -c:v libx264 -preset fast -t 5 -crf 22 -s 1920x1080 -y 'zoomout.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17487" LastActivityDate="2016-12-15T06:14:53.780" Title="ffmpeg - image with zoom - looks low resolution" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20145" PostTypeId="1" CreationDate="2016-12-14T22:53:57.040" Score="1" ViewCount="2647" Body="&lt;p&gt;Hey guys how can I stream my desktop to vlc I did found some examples but they do not work;First I need to start ffserver with some configs example here &lt;a href=&quot;https://www.organicdesign.co.nz/Simple_video_streaming_with_ffserver&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.organicdesign.co.nz/Simple_video_streaming_with_ffserver&lt;/a&gt; then when I start stream with &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f video4linux2 -i /dev/video0 127.0.0.1/cam1.ffm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I got an error &lt;em&gt;/dev/video0: No such file or directory&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="17462" LastEditorUserId="17462" LastEditDate="2016-12-15T00:07:30.757" LastActivityDate="2021-09-24T06:03:45.447" Title="Stream desktop (linux) with FFMPEG to VLC" Tags="|ffmpeg|streaming|linux|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20146" PostTypeId="1" CreationDate="2016-12-15T00:27:27.680" Score="0" ViewCount="131" Body="&lt;p&gt;Does anyone know a way to:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Prevent colour moire at time of capture&lt;/li&gt;&#xA;&lt;li&gt;Remove colour moire in post (FCPX or Resolve)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;BMPC 4K / ProRes422HQ / ISO 400 / 6500K / Film / 30fps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/MZhsZ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MZhsZ.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2016-12-15T00:27:27.680" Title="Blackmagic (BMPC 4K) colour moire removal" Tags="|blackmagic|moire|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20147" PostTypeId="1" CreationDate="2016-12-15T01:12:27.840" Score="1" ViewCount="1640" Body="&lt;p&gt;I need to take an HDMI (unencrypted source) from a Sony video camera and send it via coaxial cables which are hooked directly to TVs wired throughout the building. I'd like to be able to tune into i.e. Channel 3 to tune into the video signal. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've searched and the only solution I can find is an SDI to HDMI converter, but I'd rather not use that and would prefer to hook coax directly to the TV as below:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Camera (HDMI) --&amp;gt; [CONVERTER BOX??] ==coaxial==&amp;gt; TV&#xA;                                     |=========&amp;gt; TV&#xA;                                     `=========&amp;gt; TV  (etc)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17489" LastActivityDate="2016-12-16T06:24:55.613" Title="Convert HDMI video to Coaxial Antenna?" Tags="|hdmi|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20148" PostTypeId="2" ParentId="20147" CreationDate="2016-12-15T01:44:39.557" Score="-1" Body="&lt;p&gt;Assuming you want digital channel 3, you can use an HDMI to QAM modulator, like &lt;a href=&quot;https://www.zeevee.com/zvpro-800i-series-hd-video-distribution.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this one&lt;/a&gt; or &lt;a href=&quot;http://www.blondertongue.com/UserFiles/file/documents/specs/HDE-CHV-QAM_IP_SpecSheet_042816.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;this one&lt;/a&gt;. You will need appropriate multiplexers, amplifiers, and splitters to combine your feed with your CATV provider and then distribute to the TVs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need &lt;em&gt;analog&lt;/em&gt; channel 3, then it is more complicated. You will probably first need to convert to SDI, then convert to analog video and audio, and finally feed an analog modulator.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2016-12-15T01:44:39.557" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20149" PostTypeId="2" ParentId="20144" CreationDate="2016-12-15T06:14:53.780" Score="0" Body="&lt;p&gt;&lt;code&gt;zoompan&lt;/code&gt;, by default, scales output to 1280x720 (and at 25 fps). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -f image2 -i 'IMG_8444_edit.jpg' -vf &quot;zoompan=z='zoom+0.001:s=WxH,scale=hd1080&quot; -c:v libx264 -preset fast -t 5 -crf 22 -y 'zoomout.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where WxH is your required output resolution from the filter.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-15T06:14:53.780" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20150" PostTypeId="1" CreationDate="2016-12-15T14:36:58.677" Score="1" ViewCount="34" Body="&lt;p&gt;We are trying to take short videos of a small product.&#xA;The video happens on a table of 1x1 Meters, where the camera is about 40cm above the table-static.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I have 4 6000k led bulbs each 20W (=100W) , 1 meter from each corner&lt;/li&gt;&#xA;&lt;li&gt;I have a little light comes out of the window&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;What happens is that &lt;strong&gt;only when I film very close to the object ( 10-20cm above) I get great video. If I go up to 40cm and more - you do not see details good enough.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Have tried good &lt;strong&gt;Cannon&lt;/strong&gt;, and &lt;strong&gt;Fugi&lt;/strong&gt; with different lenses&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Tried &lt;strong&gt;iPhone 6&lt;/strong&gt; that surprised me with much better videos.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;But still, 40cm above that table you see good picture but not detailed enough.&#xA;&lt;strong&gt;On 3 of the camera I used, I get great picture only when close to the product.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What else can I do on a budget ? if I put diffuser around the table would it help ?&lt;/p&gt;&#xA;" OwnerUserId="12373" LastActivityDate="2017-04-10T16:58:47.587" Title="Lighting a table is just not working" Tags="|video|lighting|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20152" PostTypeId="1" AcceptedAnswerId="20156" CreationDate="2016-12-15T21:00:27.503" Score="0" ViewCount="863" Body="&lt;p&gt;I'm solving following situation. I have plenty of footages from my GoPro recorded in 2.7K. &#xA;As I don't need such a resolution, I will be happy to have some from my shoots stabilised and as I need &quot;only&quot; Full HD resolution so I can crop a lot, I would like to have it stable as much as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried Warp stabiliser in Priemere, but the software throws me an error &quot;Warp Stabilizer requires clip dimension to match sequence&quot; but as I don't want to nest the video and loose pixels...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you please help me how to stabilize properly ? Thank you a lot! &lt;/p&gt;&#xA;" OwnerUserId="17386" LastActivityDate="2016-12-17T07:40:43.410" Title="I want to have 2.7K footage stabilised in Full HD" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20153" PostTypeId="1" AcceptedAnswerId="20154" CreationDate="2016-12-15T23:37:21.490" Score="1" ViewCount="9253" Body="&lt;p&gt;I work with Adobe Premiere Pro and I am editing a wedding.  We had 5 cameras at the wedding and I am having to hide and show video layers a lot to determine the best shot for specific moments and when to fade in, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've got dual screen and I would like to be able to have all the difference layers displayed on my second screen to be able to see all camera angles as the video plays to determine which shot I want to have showing at any given time.  I need the regular &quot;program&quot; to be able to see what the video actually looks like LIVE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any way to do this in Premiere Pro?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="17495" LastActivityDate="2019-04-18T14:57:39.583" Title="See all video layers at once in a preview/program menu - Adobe Premiere Pro" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20154" PostTypeId="2" ParentId="20153" CreationDate="2016-12-15T23:56:20.810" Score="0" Body="&lt;p&gt;The short answer is YES!  The specific Adobe documentation you need to read is here: &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/create-multi-camera-source-sequence.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/using/create-multi-camera-source-sequence.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the general idea is simple: given a set of clips that are all synchronized on the timeline, group them together as a single object (a multicam clip or a nested sequence), and then set your viewer's display mode from &quot;Composite Video&quot; to &quot;Multicam Viewer&quot;.  The multicam viewer will show, side-by-side, the 5 clips (in a matrix) and the presently selected camera angle.  When you play the clip, you can select which angle to switch to, and when.  The first time through you don't have to be super-precise about the when, because you can always slip the edit point earlier or later in the timeline as you need.  And you can later decide &quot;I don't want Angle 2 because somebody is photobombing from that direction, so let's cut to Angle 5 instead&quot;.  It takes a little while to get the hang of it, but it's pretty easy, once you have your clips synchronized, grouped, and displayed in Multicam View.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-12-15T23:56:20.810" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20155" PostTypeId="1" CreationDate="2016-12-16T00:14:01.497" Score="1" ViewCount="113" Body="&lt;p&gt;I am looking to film near a window. I was wondering if there was a certain material that can take the sun light source and spread it evenly and wider. I find that a diffuser it isn't enough is there another type of material that would spread and expand it even?&lt;/p&gt;&#xA;" OwnerUserId="10674" LastEditorUserId="10674" LastEditDate="2016-12-16T03:33:16.273" LastActivityDate="2017-04-10T05:52:35.230" Title="How to spread light?" Tags="|lighting|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20156" PostTypeId="2" ParentId="20152" CreationDate="2016-12-16T00:26:05.160" Score="1" Body="&lt;p&gt;Well you won't loose pixels if you nest it.  Nest it. Then change the sequence settings of your nest to match your clip settings. Then run warp on the clip in the nest. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Back in your main comp you can set the sequence to full HD and just scale it down. You will get the extra sharpness of 2.7k as it will be in the HD timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a majority of the clips in 2.7k then it might be best to edit in 2.7k and drag that composition into a new composition with full HD settings and scale that instead of doing it on a clip by clip basis. Which can get tedious. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you can just edit in 2.7k and export in HD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Side note: you always loose a little bit of pixels if you stabilize (this can be avoided to a certain extent if you adjust the settings albeit at the detriment to the actual stabilization). But downscaling to 1080p it won't be noticeable. Especially with gopro footage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've also have mercalli does better with some clips than warp. It's available as a plug in for premiere. &lt;/p&gt;&#xA;" OwnerUserId="10619" LastEditorUserId="10619" LastEditDate="2016-12-17T07:40:43.410" LastActivityDate="2016-12-17T07:40:43.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20157" PostTypeId="2" ParentId="20155" CreationDate="2016-12-16T02:47:31.633" Score="1" Body="&lt;p&gt;A prism would separate the light into a spectrum, which probably isn't what you want. If the window isn't visible in your shot, you could use what's sometimes called a &lt;strong&gt;&lt;em&gt;silk&lt;/em&gt;&lt;/strong&gt;, which is more often made of muslin or other semi-translucent material.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-12-16T02:47:31.633" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20158" PostTypeId="2" ParentId="20147" CreationDate="2016-12-16T06:24:55.613" Score="-1" Body="&lt;p&gt;Yes, @JonasCz has suggested the perfect solution for your question. There are several similar products like this that will take HDMI HD video input (from your camera) and output a digital TV channel signal to send to the antenna inputs of all your TV receivers.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that you will need RG6 cable (or at least RG59 for short distances).  Your present cable (for composite video) may not be suitable for RF. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that is not good enough quality, you should consider converting the camera HDMI to SDI so that you can distribute full-quality HD video to all the screens (assuming they have HDMI inputs.)  You will need an HDMI-&gt;SDI converter at the camera and a SDI-&gt;HDMI converter at each screen.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you get the kind of SDI-&gt;HDMI converters with &quot;loop-through&quot;, you can daisy-chain the SDI video from one screen to the next. This could save some budget in cables.  Note that you can use quite inexpensive RG6 as used for wiring cable and satellite TV. Less than $US100 per 1000 foot roll, etc.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-12-16T06:24:55.613" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20159" PostTypeId="1" AcceptedAnswerId="20160" CreationDate="2016-12-16T06:37:59.180" Score="0" ViewCount="4457" Body="&lt;p&gt;I click the app to launch it, it starts to load in the doc, it even creates preference files in Documents, but then it exits. No error, no splash screen, nothing. I've tried every single suggestion out there from deleting slc files to deleting preferences, uninstalling, reinstalling, deleting the logs and prefs under documents, holding shift down when launch, holding alt, cmd, shift when launching. What else can I do? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For some reason this is required to export videos from Premiere, is there no way to export videos without it?&lt;/p&gt;&#xA;" OwnerUserId="17497" LastActivityDate="2016-12-16T10:32:54.840" Title="Adobe Media Encoder CC 2017 Will Not Launch on Mac OS Sierra" Tags="|adobe-media-encoder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20160" PostTypeId="2" ParentId="20159" CreationDate="2016-12-16T10:32:54.840" Score="1" Body="&lt;p&gt;When you choose Export Media from Premiere Pro CC 2017, there are options to either Queue the export request (which sends to Media Encoder, aka AME) or Export directly, which, as it says, directly exports media without going through AME.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps your Console log has some notes about what your system doesn't like about AME (or vice-versa).  On my system it launches without error (though it takes its time initializing all the bundles before it starts).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-12-16T10:32:54.840" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20161" PostTypeId="2" ParentId="20155" CreationDate="2016-12-16T14:22:54.310" Score="0" Body="&lt;p&gt;You did not mention: size/area, permanent/temporary, budget, etc. etc.  So, in the absense of any practical constraints, letting my imagination run wild....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would investigate hanging a row of round acrylic (&quot;Plexiglas&quot;) rods like a curtain which would serve rather like a big amorphous &quot;Fresnel lens&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Else, you could use the traditional &quot;brute-force&quot; method used by big-budget production companies:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;Giant lamps&lt;/strong&gt; outside the window focused through the opening. They commonly use expensive (and very bright) HMI lights for &quot;punching through&quot; sunlight levels.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Big reflectors&lt;/strong&gt; that catch extra sunlight and reflect it in through the window.  Metalized reflective fabric stretched on a big frame&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Y946R.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Y946R.jpg&quot; alt=&quot;HMI light augmenting sunlight through window.&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/w1ZgY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/w1ZgY.jpg&quot; alt=&quot;Reflectors to augment/redirect sunlight&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14256" LastActivityDate="2016-12-16T14:22:54.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20162" PostTypeId="1" AcceptedAnswerId="20164" CreationDate="2016-12-16T14:57:04.477" Score="11" ViewCount="20735" Body="&lt;p&gt;I have some &lt;code&gt;mp4&lt;/code&gt; video files that are created by &lt;a href=&quot;https://apps.ubuntu.com/cat/applications/kazam/&quot; rel=&quot;noreferrer&quot;&gt;KAZAM&lt;/a&gt; in &lt;code&gt;Linux&lt;/code&gt;. But I need to play those files on &lt;code&gt;Microsoft Windows&lt;/code&gt; only by &lt;code&gt;Windows Media Player&lt;/code&gt; (for example I can not install &lt;a href=&quot;http://www.videolan.org/vlc/index.en_GB.html&quot; rel=&quot;noreferrer&quot;&gt;VLC media player&lt;/a&gt;). Also I can not use any codec. So I think &lt;code&gt;converting&lt;/code&gt; propoerties of file (for example format of files) is the only solution. But I do not know which output format is best for video file &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;without losing quality &lt;/li&gt;&#xA;&lt;li&gt;ability of playing result in &lt;code&gt;Windows Media Player&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Also I want to know how I can convert to that format?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I prefer to use &lt;code&gt;VLC media player&lt;/code&gt; for converting video files, but &lt;code&gt;ffmpeg&lt;/code&gt; is also appreciable.&lt;/li&gt;&#xA;&lt;li&gt;Also do you know a simple, light software for &lt;code&gt;screen casting&lt;/code&gt; and recording sounds from speaker in &lt;code&gt;Linux-Ubuntu 14.04&lt;/code&gt; which it's output is playable directly in &lt;code&gt;Windows Media Player&lt;/code&gt;? I can replace &lt;code&gt;KAZAM&lt;/code&gt; by this.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Edit:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tested output by &lt;code&gt;WMP 12 (for windows 7)&lt;/code&gt; and also &lt;a href=&quot;https://mediaarea.net/en/MediaInfo/Download/Ubuntu&quot; rel=&quot;noreferrer&quot;&gt;MediaInfo&lt;/a&gt; says:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : /path/to/file/Screencast 2016-12-17 07:19:13.mp4&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media / Version 2&#xA;Codec ID                                 : mp42&#xA;File size                                : 314 KiB&#xA;Duration                                 : 3s 280ms&#xA;Overall bit rate                         : 783 Kbps&#xA;Encoded date                             : UTC 2016-12-17 03:48:54&#xA;Tagged date                              : UTC 2016-12-17 03:48:54&#xA;Writing application                      : x264&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : High 4:4:4 Predictive@L3.2&#xA;Format settings, CABAC                   : No&#xA;Format settings, ReFrames                : 1 frame&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 3s 280ms&#xA;Bit rate                                 : 744 Kbps&#xA;Width                                    : 1 366 pixels&#xA;Height                                   : 768 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 25.000 fps&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:4:4&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.028&#xA;Stream size                              : 298 KiB (95%)&#xA;Writing library                          : x264 core 142 r2491 24e4fed&#xA;Encoding settings                        : cabac=0 / ref=1 / deblock=0:0:0 / analyse=0:0 / me=dia / subme=0 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=0 / me_range=16 / chroma_me=1 / trellis=0 / 8x8dct=0 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=6 / threads=4 / lookahead_threads=1 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=0 / weightp=0 / keyint=250 / keyint_min=25 / scenecut=0 / intra_refresh=0 / rc=cqp / mbtree=0 / qp=15 / ip_ratio=1.40 / aq=0&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2016-12-17 03:48:54&#xA;Tagged date                              : UTC 2016-12-17 03:48:54&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : MPEG Audio&#xA;Format version                           : Version 1&#xA;Format profile                           : Layer 3&#xA;Codec ID                                 : 6B&#xA;Duration                                 : 3s 186ms&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 32.0 Kbps&#xA;Channel(s)                               : 1 channel&#xA;Sampling rate                            : 44.1 KHz&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 12.4 KiB (4%)&#xA;Writing library                          : LAME3.99.5&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2016-12-17 03:48:54&#xA;Tagged date                              : UTC 2016-12-17 03:48:54&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16682" LastEditorUserId="16682" LastEditDate="2016-12-29T15:40:07.737" LastActivityDate="2020-10-27T02:17:21.283" Title="convert KAZAM video file to a file, playable in windows media player" Tags="|windows|screen-casting|linux|vlc|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20164" PostTypeId="2" ParentId="20162" CreationDate="2016-12-17T04:22:53.470" Score="17" Body="&lt;p&gt;Your KAZAM video features YUV444P pixel format which WMP may not support without extra filters. Using ffmpeg, run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -pix_fmt yuv420p -c:a copy -movflags +faststart out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;You can also use ffmpeg itself to capture screen and sound on linux. Basic syntax would be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f v4l2 -i VIDEO -f alsa -i AUDIO -pix_fmt yuv420p -b:a 64k cap.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where VIDEO is the name of the video device. See &lt;a href=&quot;http://ffmpeg.org/ffmpeg-devices.html#video4linux2_002c-v4l2&quot; rel=&quot;noreferrer&quot;&gt;http://ffmpeg.org/ffmpeg-devices.html#video4linux2_002c-v4l2&lt;/a&gt; for details.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AUDIO is the name of the audio device. See &lt;a href=&quot;http://ffmpeg.org/ffmpeg-devices.html#alsa&quot; rel=&quot;noreferrer&quot;&gt;http://ffmpeg.org/ffmpeg-devices.html#alsa&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also use x11grab to capture from the X-Window system. See &lt;a href=&quot;http://ffmpeg.org/ffmpeg-devices.html#x11grab&quot; rel=&quot;noreferrer&quot;&gt;http://ffmpeg.org/ffmpeg-devices.html#x11grab&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-17T04:22:53.470" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20168" PostTypeId="1" AcceptedAnswerId="20172" CreationDate="2016-12-18T00:51:05.847" Score="2" ViewCount="6674" Body="&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt; i found &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-preset medium&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I was wondering for what it stand for is it for video quality ?&lt;/p&gt;&#xA;" OwnerUserId="17462" LastActivityDate="2019-11-07T18:14:59.677" Title="What -preset medium stand for in ffmpeg" Tags="|ffmpeg|filter|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20170" PostTypeId="2" ParentId="19969" CreationDate="2016-12-18T03:39:50.043" Score="1" Body="&lt;p&gt;Premiere doesn't change the audio levels (volume or db) by default. So I'm not sure why you are experiencing loss in volume. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My guess would be that you have turned down the audio levels in premiere by accident. Or that you are incorrectly comparing the files (have you checked the waveform to see if they are different levels?). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you changed the audio levels you either did it on the track, clip, or audio mixer. To check if you did it on the clip you can right click on it and check out the audio gain. The mixer settings should all be 0db by default. For web delivery I tend to keep max peaks at - 6db.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If all else fails than you are experiencing some sort of bug. You could always try adjusting the levels of the clip through the right click - &gt; gain way on the clip. &lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-12-18T03:39:50.043" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20171" PostTypeId="2" ParentId="20051" CreationDate="2016-12-18T04:46:15.287" Score="2" Body="&lt;p&gt;The command to get a thumbnail from the first frame of a video is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test.mp4 -vframes 1 -vf &quot;scale=360:-1&quot; small_thumnail.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The scale filter is set to resize the image to 360 px width and choose height so that image proportion is maintained.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-18T04:46:15.287" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20172" PostTypeId="2" ParentId="20168" CreationDate="2016-12-18T04:55:40.323" Score="2" Body="&lt;p&gt;&lt;code&gt;preset&lt;/code&gt; is a private option that may be defined for an encoder, such as libx264. It is a shorthand method to set a whole bunch of options at once, and won't have any effect if set when using an encoder which doesn't define them.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;When using x264 to encode to H.264 with preset medium, these are the arguments set:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cabac=1&#xA;ref=3&#xA;deblock=1:0:0&#xA;analyse=0x3:0x113&#xA;me=hex&#xA;subme=7&#xA;psy=1&#xA;psy_rd=1.00:0.00&#xA;mixed_ref=1&#xA;me_range=16&#xA;chroma_me=1&#xA;trellis=1&#xA;8x8dct=1&#xA;cqm=0&#xA;deadzone=21,11&#xA;fast_pskip=1&#xA;chroma_qp_offset=-2&#xA;threads=12&#xA;lookahead_threads=2&#xA;sliced_threads=0&#xA;nr=0&#xA;decimate=1&#xA;interlaced=0&#xA;bluray_compat=0&#xA;constrained_intra=0&#xA;bframes=3&#xA;b_pyramid=2&#xA;b_adapt=1&#xA;b_bias=0&#xA;direct=1&#xA;weightb=1&#xA;open_gop=0&#xA;weightp=2&#xA;keyint=250&#xA;keyint_min=25&#xA;scenecut=40&#xA;intra_refresh=0&#xA;rc_lookahead=40&#xA;rc=crf&#xA;mbtree=1&#xA;crf=23.0&#xA;qcomp=0.60&#xA;qpmin=0&#xA;qpmax=69&#xA;qpstep=4&#xA;ip_ratio=1.40&#xA;aq=1:1.00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The default preset is &lt;code&gt;medium&lt;/code&gt;. You can &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264#Overwritingdefaultpresetsettings&quot; rel=&quot;nofollow noreferrer&quot;&gt;override any of the individual variables&lt;/a&gt; by adding &lt;code&gt;-x264-params key1=value:key2=value&lt;/code&gt; &lt;strong&gt;after&lt;/strong&gt; the preset option. But you shouldn't unless you need to.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="23201" LastEditDate="2019-11-07T18:14:59.677" LastActivityDate="2019-11-07T18:14:59.677" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="20173" PostTypeId="1" CreationDate="2016-12-18T16:07:37.407" Score="1" ViewCount="17240" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IFctK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IFctK.jpg&quot; alt=&quot;Stretched image&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;that's the image, but i can't quite figure out how to do this.&lt;/p&gt;&#xA;" OwnerUserId="17513" LastEditorUserId="3643" LastEditDate="2017-04-20T08:22:24.870" LastActivityDate="2019-12-10T10:05:25.237" Title="How do i stretch an image like this in a video on sony vegas pro 13?" Tags="|vegas-pro|pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20174" PostTypeId="1" AcceptedAnswerId="25689" CreationDate="2016-12-18T16:50:59.230" Score="3" ViewCount="21744" Body="&lt;p&gt;I was playing around with Resolve, and managed to show a second window thingy (the black one in the screenshot) via View &gt; Source/Timeline Viewer. Now I can't seem to make it disappear. I have tried Workspace &gt; Layout &gt; Reset UI Layout, but it doesn't remove the second window. How can I remove it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vaaIS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vaaIS.png&quot; alt=&quot;Resolve&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6893" LastActivityDate="2019-01-14T08:26:23.860" Title="DaVinci Resolve: hide timeline viewer" Tags="|davinci-resolve|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20175" PostTypeId="2" ParentId="19730" CreationDate="2016-12-19T03:23:43.077" Score="-1" Body="&lt;p&gt;Unfortunately no, and sadly there is not even an option to 'select all.'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe you can export the captions and load it into a program like Lemony to do you styling (better option anyways), and then import a alpha-channel file back in to Premiere (more on that below). &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I have recently (about 2 months ago) started getting into subtilting or open captions for projects. And as of now I can say that I am very disappointed in Premiere's captioning system. If you are just doing 2-3 sentences its fine, otherwise I use a dedicated system for it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My workflow is as follows &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.aegisub.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Aegisub&lt;/a&gt; to create a encore txt file&lt;/li&gt;&#xA;&lt;li&gt;Import in &lt;a href=&quot;http://www.lemonysubtitler.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lemony Subtitler&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Run a batch style on all my subtitles&lt;/li&gt;&#xA;&lt;li&gt;Export .avi? with alpha channel&lt;/li&gt;&#xA;&lt;li&gt;Import into Premiere and put the subtitles on a top layer.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This workflow is extremely fast, and way better than dealing with Premiere's archaic captioning system. Especially Aegisub, which uses some wizardry to automagically select spoken 'text' by analyzing the waveform so that your subtitles meet an optimal length (characters per second) for reading based on the time of the selection.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-12-19T03:23:43.077" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20176" PostTypeId="2" ParentId="20173" CreationDate="2016-12-19T03:30:37.710" Score="1" Body="&lt;p&gt;First off, welcome! I would like to state that in the future you should make you questions a bit more detailed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From what I understand you either want to (1) stretch the image to remove the black bars, or to (2) scale the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either can be done by dragging the clip on to the timeline and hitting the pan/crop button &lt;em&gt;on the clip&lt;/em&gt; (it looks like a box, not the plus sign).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From there you will find a window where you can scale the clip according to the aspect ratio. If it does not conform to the 16:9 aspect ratio or the 4:3 ratio you want you can select one of those ratios from the drop down and scale the clip to remove the black bars. If you want, you can also disable the the current ratio with one of the buttons on the side of the window. From there you can adjust the image freely without an aspect ratio limitation. Bare in mind, This can cause undesired effects such as squeezing the image in either direction.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-12-19T03:30:37.710" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20177" PostTypeId="2" ParentId="20168" CreationDate="2016-12-19T06:13:15.093" Score="2" Body="&lt;p&gt;On the page you linked to it explains it fairly well:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;A preset is a collection of options that will provide a certain encoding speed to compression ratio. A slower preset will provide better compression (compression is quality per filesize). This means that, for example, if you target a certain file size or constant bit rate, you will achieve better quality with a slower preset. Similarly, for constant quality encoding, you will simply save bitrate by choosing a slower preset.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Basically there are three variables: speed, quality and file size that all depend on each other. With constant quality encodes (using the &lt;code&gt;-crf&lt;/code&gt; option) you can change one of the other two. With the same quality setting if you increase the speed then you increase the file size, and if you decrease the speed you will get a smaller file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What the &lt;code&gt;medium&lt;/code&gt; preset is is a balance between encoding speed and file size. You can tip the balance either way, if you have time you can change the preset to slow, slower, veryslow or—for a tiny improvement in file size with big increase in time—placebo. Or if you need something converted on the fly you could increase the speed all the way up to realtime.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But all of the encodes will have the same quality. You change your quality &lt;em&gt;only&lt;/em&gt; with the &lt;code&gt;-crf&lt;/code&gt; setting. Of course lowering the quality will result in smaller files and vice versa, but that has nothing to do with the preset setting.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-12-19T06:13:15.093" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20178" PostTypeId="1" AcceptedAnswerId="20189" CreationDate="2016-12-19T13:04:41.420" Score="1" ViewCount="1217" Body="&lt;p&gt;I'm new to After Effects and I'm trying to blur a section of a video using masks and tracking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything is working fine, but for some reason the blur effect (and this is the same with other effects too) doesn't go to the very edge of the video. This only happens for the right edge of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know what might be causing this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Picture:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eHUAD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eHUAD.png&quot; alt=&quot;Mask Stopping Near Edge&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I would like is everything inside the orange mask to be blurred. If I resize and move the mask around, it can blur everything, except for the right edge as shown in the picture. Making a new mask has the same result. Example below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1REWl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1REWl.png&quot; alt=&quot;New Mask Same Problem&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="17519" LastActivityDate="2016-12-19T22:56:21.563" Title="After Effects Blur Effect with Mask Doesn't Go to the Edge" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20179" PostTypeId="2" ParentId="20140" CreationDate="2016-12-19T15:26:48.587" Score="2" Body="&lt;p&gt;You will need to work within the title safe areas when burning to DVD as depending on what the final player will be, there might be overscan which will/can crop anything out that is not within this field. as for the pixel things, I'm not to sure.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2016-12-19T15:26:48.587" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20180" PostTypeId="2" ParentId="20140" CreationDate="2016-12-19T15:49:29.630" Score="0" Body="&lt;p&gt;There doesn't seem to be an exact answer or solution here, or on any other forums. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The general answer is basically:&lt;br&gt;&#xA;&lt;strong&gt;&lt;em&gt;&quot;It's most probably overscan, which isn't a universal, predictable measurement, so you are going to lose some of your picture and there's nothing you can do about it&quot;&lt;/em&gt;&lt;/strong&gt;   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This doesn't really make sense to me, removing varying amounts of pixels from an already limited range. Plus, I can only find literature on &lt;em&gt;why&lt;/em&gt; it was originally implemented, so I'm not even sure if it's the TV or the DVD player removing these pixels. I created a test DVD, so I'm at least sure of the bounds for &lt;em&gt;my&lt;/em&gt; TV/DVD player(which is just outside the action-safe 5%(so ~4%)). But this doesn't help me with the resolution which is obviously lowered due to this process. &lt;/p&gt;&#xA;" OwnerUserId="15937" LastEditorUserId="15937" LastEditDate="2016-12-19T19:08:42.250" LastActivityDate="2016-12-19T19:08:42.250" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20181" PostTypeId="1" CreationDate="2016-12-19T17:18:15.673" Score="0" ViewCount="806" Body="&lt;p&gt;So I have decided to unite in a whole video everything I have of my child. I wanna render it in a sole .mp4 file with 1080p, good audio, etc. I want all that &lt;em&gt;(1:50:00)&lt;/em&gt; in 2GB or 3GB, no more. I've seen videos accomplishing this smoothly, but everything I've tried so far ends in 9-12GB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I need to do to achieve it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="17520" LastActivityDate="2024-03-13T14:02:45.347" Title="Proper HD export format in Sony Vegas Pro 13 for a decent video size?" Tags="|export|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20182" PostTypeId="2" ParentId="20181" CreationDate="2016-12-19T17:47:47.213" Score="0" Body="&lt;p&gt;I assume you're using the Mainconcept AVC encoder. 3GB for a 1h50m video implies a bitrate of 3.7 mbps. That's the average bitrate you need. Set max bitrate to 5 mbps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, usually I render in two passes. First pass is a high bitrate from Vegas  (20 mbps or more) and then encode with &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;, which is a free command line tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Command would be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i vegas.mp4 -crf 23 -movflags +faststart final.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ffmpeg offers lot more variables to adjust but the above should be enough for most size adjustment. Usually a CRF value between 18-28 (lower is better but bigger) works.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-19T17:47:47.213" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20183" PostTypeId="2" ParentId="14589" CreationDate="2016-12-19T19:32:58.633" Score="0" Body="&lt;p&gt;Your problem is not necessarily a software problem, it is a workflow planning and logistics problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The following steps should help you sync your external audio to your video easier and more efficiently saving you time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note how step one is all about methodology and should resolve your issue provided your software has the assumed functionality.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Prior to recording each scene, you need to make a loud clap sound that both the audio input of your video camera, and the external audio recorder can pick up at the same time. Typically, a clapper or hand claps are used for this purpose. A clapper is a framed chalkboard or whiteboard with scene information that is recorded by the video camera, and has an arm that is raised and clapped down to make the needed sound. The clap, when recorded, creates a spike in the audio of both the video camera's audio and the external sound recorder audio. These spikes are illustrated in the sounds waveform view with larger spikes if the sound is loud enough. When you align these two waveform spikes in your time line, the video and external sound are aligned and synced perfectly.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If you record your audio and video in one setting without breaks and without stopping the camera and the audio recorder, there is no need for you to have multiple claps during the recording, a single one will do. However, you will need to insure that when you edit out unwanted portions, you delete both the video and external audio portions at the same time otherwise, your external audio and video will cease to be synced.&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Once you have aligned your audio and video; rather than delete the video audio, mute the video's audio track. If the video editing software you are using does not allow you to mute the audio track on your video, then you do have a software problem and you may want to look for a different program. I have been looking at OpenShot.org. It appears to be a full featured open source cross platform video editor which I am currently downloading and have yet to try out.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This should help you refine and simplify your video production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ST.&lt;/p&gt;&#xA;" OwnerUserId="17521" LastActivityDate="2016-12-19T19:32:58.633" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20184" PostTypeId="2" ParentId="14529" CreationDate="2016-12-19T19:36:22.427" Score="1" Body="&lt;p&gt;The following response is the methodology of how to sync an external audio recording to your video. This method assumes that both your audio and video recordings are being recorded at the same time rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Prior to recording each scene, you need to make a loud clap sound that both the audio input of your video camera, and the external audio recorder can pick up at the same time. Typically, a clapper or hand claps are used for this purpose. A clapper is a framed chalkboard or whiteboard with scene information that is recorded by the video camera, and has an arm that is raised and clapped down to make the needed sound. The clap, when recorded, creates a spike in the audio of both the video camera's audio and the external sound recorder audio. These spikes are illustrated in the sounds waveform view with larger spikes if the sound is loud enough. When you align these two waveform spikes in your time line, the video and external sound are aligned and synced perfectly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you record your audio and video in one setting without breaks and without stopping the camera and the audio recorder, there is no need for you to have multiple claps during the recording, a single one will do. However, you will need to insure that when you edit out unwanted portions, you delete both the video and external audio portions at the same time otherwise, your external audio and video will cease to be synced.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have aligned your audio and video; rather than delete the video audio, mute the video's audio track. If the video editing software you are using does not allow you to mute the audio track on your video, then you do have a software problem and you may want to look for a different program. I have been looking at OpenShot.org. It appears to be a full featured open source cross platform video editor which I am currently downloading and have yet to try out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This should help you refine and simplify your video production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ST.&lt;/p&gt;&#xA;" OwnerUserId="17521" LastActivityDate="2016-12-19T19:36:22.427" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20185" PostTypeId="2" ParentId="20174" CreationDate="2016-12-19T20:43:29.390" Score="0" Body="&lt;p&gt;I stumbled upon one way of doing this, and that is to click &quot;Inspector&quot; at the top right of the UI:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Cu88z.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Cu88z.png&quot; alt=&quot;Resolve screenshot - Inspector&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6893" LastActivityDate="2016-12-19T20:43:29.390" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20186" PostTypeId="1" CreationDate="2016-12-19T21:07:36.250" Score="1" ViewCount="205" Body="&lt;p&gt;When shooting in video mode using Canon lenses on Canon bodies, when the aperture changes the blades may or may not make a sound. Newer lenses have gradual, silent aperture transitions. Older lenses only have the sudden and noisy transition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The observations confirm that such a feature exists. But searching on the web I could not find any official or unofficial information about it.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Is there any materials (marketing, discussion, etc.) that acknowledge that some Canon lenses support smooth aperture transitions?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Is there a list of lenses that are known to support and not support smooth aperture transitions?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Some verbose extra background information, only if the above question is unclear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Canon's video recording mode, the aperture can change during filming. You can either manually dial in the aperture, or you can let the auto exposure algorithm run the show. Interestingly, the auto exposure uses large jumps, like from f/2.8 to f/5.6 to f/16 with nothing in between.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I noticed is that different lenses behave differently when the camera requests it to change aperture. Some lenses will gradually change the aperture (you can look through the front of the lens to see the blades in motion) and make no sound. Other lenses will change the aperture abruptly and make a metallic flapping sound. This question only applies to video mode - because in photo shooting mode, all lenses will change the aperture abruptly when the depth-of-field button is pressed or when a photo is being taken.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I know these lenses support smooth aperture:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Canon EF 100mm f/2.8 macro L IS USM&lt;/li&gt;&#xA;&lt;li&gt;Canon EF 16-35mm f/4.0 L IS USM&lt;/li&gt;&#xA;&lt;li&gt;Canon EF-M 11-22mm f/4.0-5.6 IS STM&lt;/li&gt;&#xA;&lt;li&gt;Canon EF-M 18-55mm f/3.5-5.6 IS STM&lt;/li&gt;&#xA;&lt;li&gt;Canon EF-M 22mm f/2.0 STM&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;And these lenses do not support smooth aperture:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Canon EF 17-40mm f/4.0 L&lt;/li&gt;&#xA;&lt;li&gt;Canon EF 24-105mm f/4.0 L IS (Mark I)&lt;/li&gt;&#xA;&lt;li&gt;Canon EF 50mm f/1.4 USM&lt;/li&gt;&#xA;&lt;li&gt;Canon EF 85mm f/1.8 USM&lt;/li&gt;&#xA;&lt;li&gt;Canon EF 70-200mm f/4.0 L USM&lt;/li&gt;&#xA;&lt;li&gt;Canon EF 70-200mm f/4.0 L IS USM&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;These sources allude to something about smooth aperture without giving definitive details on what's going on:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.sonyalpharumors.com/cool-metabones-adds-native-af-smooth-iris-ef-mount-speed-boosters-smart-adapters-firmware/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.sonyalpharumors.com/cool-metabones-adds-native-af-smooth-iris-ef-mount-speed-boosters-smart-adapters-firmware/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm not sure to what extent the video mode smooth aperture feature depends on the camera body's model. Maybe old bodies never support smooth aperture even on good lenses. Maybe new bodies support smooth aperture on a wider selection of lenses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not interested in information about clickless hand-operated apertures. But I am interested if other non-Canon brands are supporting smooth electronic aperture transitions on their lenses, especially if they have official marketing materials.&lt;/p&gt;&#xA;" OwnerUserId="17036" LastActivityDate="2016-12-19T21:07:36.250" Title="Smooth aperture transition on Canon lenses, are they an advertised feature?" Tags="|canon|lenses|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20187" PostTypeId="1" AcceptedAnswerId="20192" CreationDate="2016-12-19T21:50:20.520" Score="0" ViewCount="1074" Body="&lt;h2&gt;The Problem&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I've been fighting with this for days. I'm writing a video application for Android to be used on an Odroid C2. I've been simultaneously developing some scripts that utilize ffmpeg to produce files to be played on the Odroid.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My issue is that videos encoded with FFMPEG won't play. At first I thought it was my application, but they won't play from a jump drive, either. Videos produced by Adobe's Media Encoder work fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both are encoding the same tiff image sequence. I've attached the MediaInfo screenshots below. If anyone could shed some light on something I don't know, it would be greatly appreciated.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Media Encoder&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nvbsI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nvbsI.png&quot; alt=&quot;Media Encoder&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;FFMPEG&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/J6BET.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/J6BET.png&quot; alt=&quot;FFMPEG&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Console Output&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Here are some related console messages from Android. It looks like Android can't identify the codec for some reason. =/&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;12-19 22:14:56.216 16588-16602/? V/AmThumbnail: vp_open=amthumb:AmlogicPlayer=[f68dfff0:972000f],AmlogicPlayer_fd=[f68e0008:971fff7]&#xA;12-19 22:14:56.216 16588-16602/? V/AmThumbnail: android_open amthumb:AmlogicPlayer=[f68dfff0:972000f],AmlogicPlayer_fd=[f68e0008:971fff7] OK,h-&amp;gt;priv_data=0xf68e0008&#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: [hevc @ 0xf68c5800] &#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: No profile indication! (4)&#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: [hevc @ 0xf68c5800] &#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: Error decoding profile tier level.&#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: [hevc @ 0xf68c5800] &#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: Error parsing NAL unit #0.&#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: [hevc @ 0xf68c5800] &#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: No profile indication! (4)&#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: [hevc @ 0xf68c5800] &#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: error decoding profile tier level&#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: [hevc @ 0xf68c5800] &#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: Error parsing NAL unit #0.&#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: [hevc @ 0xf68c5800] &#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: SPS does not exist &#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: [hevc @ 0xf68c5800] &#xA;12-19 22:14:56.220 16588-16602/? I/exffmpeg: Error parsing NAL unit #0.&#xA;&#xA;...&#xA;&#xA;12-19 22:14:56.336 16588-16602/? I/exffmpeg: [hevc @ 0xf68c5800] &#xA;12-19 22:14:56.336 16588-16602/? I/exffmpeg: PPS id out of range: 0&#xA;12-19 22:14:56.336 16588-16602/? I/exffmpeg: [hevc @ 0xf68c5800] &#xA;12-19 22:14:56.336 16588-16602/? I/exffmpeg: Error parsing NAL unit #0.&#xA;12-19 22:14:56.336 16588-16602/? I/exffmpeg: [mov,mp4,m4a,3gp,3g2,mj2 @ 0xf6887c00] &#xA;12-19 22:14:56.336 16588-16602/? I/exffmpeg: decoding for stream 0 failed&#xA;12-19 22:14:56.337 16588-16602/? I/exffmpeg: [mov,mp4,m4a,3gp,3g2,mj2 @ 0xf6887c00] &#xA;12-19 22:14:56.337 16588-16602/? I/exffmpeg: Could not find codec parameters for stream 0 (Video: hevc (hev1 / 0x31766568), 3840x2160, 33528 kb/s): unspecified pixel format&#xA;                                             Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;Edit&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;This is the ffmpeg command being used. I'm encoding a test sequence of 300 frames.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 29.97 -start_number 2000 -i example_%05d.tif -c:v libx265 -preset ultrafast -crf 18 -vf &quot;colormatrix=fcc:bt709&quot; -pix_fmt yuv420p -color_range 2 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;FFMPEG Console Output&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -framerate 29.97 -start_number 2000 -i attd_1p_%05d.tif -c:v libx265 -preset ultrafast -crf 18 -vf &quot;colormatrix=fcc:bt709&quot; -pix_fmt yuv420p -color_range 2 ../H265_TEST.mp4&#xA;ffmpeg version 3.1.5-1~xenial Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 5.4.0 (Ubuntu 5.4.0-6ubuntu1~16.04.2) 20160609&#xA;  configuration: --prefix=/usr --extra-version='1~xenial' --libdir=/usr/lib/ffmpeg --shlibdir=/usr/lib/ffmpeg --disable-static --disable-debug --toolchain=hardened --enable-pthreads --enable-runtime-cpudetect --enable-gpl --enable-shared --disable-decoder=libopenjpeg --disable-decoder=libschroedinger --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-librtmp --enable-libschroedinger --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxvid --enable-libzvbi --enable-openal --enable-opengl --enable-x11grab --enable-version3 --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libvo-amrwbenc --enable-libdc1394 --enable-libiec61883 --enable-libzmq --enable-frei0r --enable-libx264 --enable-libopencv --enable-libkvazaar --enable-libopenh264 --enable-nonfree --enable-libfdk-aac --enable-libfaac&#xA;  libavutil      55. 28.100 / 55. 28.100&#xA;  libavcodec     57. 48.101 / 57. 48.101&#xA;  libavformat    57. 41.100 / 57. 41.100&#xA;  libavdevice    57.  0.101 / 57.  0.101&#xA;  libavfilter     6. 47.100 /  6. 47.100&#xA;  libavresample   3.  0.  0 /  3.  0.  0&#xA;  libswscale      4.  1.100 /  4.  1.100&#xA;  libswresample   2.  1.100 /  2.  1.100&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, image2, from 'attd_1p_%05d.tif':&#xA;  Duration: 00:00:10.01, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: tiff, rgb24, 3840x2160 [SAR 1:1 DAR 16:9], 29.97 tbr, 29.97 tbn, 29.97 tbc&#xA;x265 [info]: HEVC encoder version 1.9&#xA;x265 [info]: build info [Linux][GCC 5.3.1][64 bit] 8bit+10bit+12bit&#xA;x265 [info]: using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX AVX2 FMA3 LZCNT BMI2&#xA;x265 [info]: Main profile, Level-5 (Main tier)&#xA;x265 [info]: Thread pool created using 16 threads&#xA;x265 [info]: frame threads / pool features       : 5 / wpp(68 rows)&#xA;x265 [info]: Coding QT: max CU size, min CU size : 32 / 16&#xA;x265 [info]: Residual QT: max TU size, max depth : 32 / 1 inter / 1 intra&#xA;x265 [info]: ME / range / subpel / merge         : dia / 57 / 0 / 2&#xA;x265 [info]: Keyframe min / max / scenecut       : 25 / 250 / 0&#xA;x265 [info]: Lookahead / bframes / badapt        : 5 / 3 / 0&#xA;x265 [info]: b-pyramid / weightp / weightb       : 1 / 0 / 0&#xA;x265 [info]: References / ref-limit  cu / depth  : 1 / 0 / 0&#xA;x265 [info]: AQ: mode / str / qg-size / cu-tree  : 1 / 0.0 / 32 / 1&#xA;x265 [info]: Rate Control / qCompress            : CRF-18.0 / 0.60&#xA;x265 [info]: tools: rd=2 psy-rd=2.00 early-skip tmvp fast-intra&#xA;x265 [info]: tools: strong-intra-smoothing lslices=8 deblock&#xA;[mp4 @ 0x17c7d00] Using AVStream.codec to pass codec parameters to muxers is deprecated, use AVStream.codecpar instead.&#xA;Output #0, mp4, to '../H265_TEST.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf57.41.100&#xA;    Stream #0:0: Video: hevc (libx265) ([35][0][0][0] / 0x0023), yuv420p(pc), 3840x2160 [SAR 1:1 DAR 16:9], q=2-31, 29.97 fps, 11988 tbn, 29.97 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.48.101 libx265&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (tiff (native) -&amp;gt; hevc (libx265))&#xA;Press [q] to stop, [?] for help&#xA;frame=  300 fps= 12 q=-0.0 Lsize=  224166kB time=00:00:09.90 bitrate=185304.4kbits/s speed=0.389x    x    &#xA;video:224158kB audio:0kB subtitle:0kB other streams:0kB global headers:1kB muxing overhead: 0.003441%&#xA;x265 [info]: frame I:      2, Avg QP:20.61  kb/s: 544482.73&#xA;x265 [info]: frame P:     75, Avg QP:22.74  kb/s: 341028.20&#xA;x265 [info]: frame B:    223, Avg QP:25.66  kb/s: 127208.97&#xA;x265 [info]: consecutive B-frames: 2.6% 1.3% 0.0% 96.1% &#xA;&#xA;encoded 300 frames in 25.62s (11.71 fps), 183445.62 kb/s, Avg QP:24.90&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17522" LastEditorUserId="17522" LastEditDate="2016-12-20T13:44:11.177" LastActivityDate="2016-12-20T16:10:55.510" Title="Android - Media Encoder HEVC Plays, FFMPEG HEVC Won't" Tags="|ffmpeg|adobe-media-encoder|android|h265|" AnswerCount="1" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="20189" PostTypeId="2" ParentId="20178" CreationDate="2016-12-19T22:56:21.563" Score="1" Body="&lt;p&gt;If you applied the blur to an adjustment layer (as you should), check to make sure the layer is positioned in the center of the composition. Hit 'P' on the adjustment layer and right click on the 'Position' name and Reset it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check the mask expansion to see if maybe you have it set to a number less than or greater than 0. I doubt this is the issue as when you recreate a mask the problem doesn't persist.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you haven't applied the blur to an adjustment layer you should do that and see if it fixes your issue.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-12-19T22:56:21.563" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20190" PostTypeId="1" CreationDate="2016-12-20T01:04:57.007" Score="4" ViewCount="3545" Body="&lt;p&gt;(Apologies if this is the wrong stackexchange, it seems the most appropriate)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When rewinding a VHS tape on an analog player (i.e. a VCR hooked up to a (CRT?) TV) when rewinding, or fast-forwarding, and regardless of video format (NTSC vs PAL vs SECAM) we're always treated to the same effect: a relatively clear window into the video playing backwards (or forwards), overlayed with two or three bars of static. I found a good example on YouTube here (around the 00:06 - 00:10 time): &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/QnkWzu4OGjI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What causes this? How does the action of the helical-scan tape over the read head cause these artifacts?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also wonderred: when rewinding, if the VHS tape is playing backwards, and the video signal is scanned one scanline-at-a-time, how is it the video display is not vertically and horizontally inverted? Even on early, pure-analog VHS players lacked framebuffers yet when rewinding their displayed the video in the correct orientation, how was that possible?&lt;/p&gt;&#xA;" OwnerUserId="9115" LastActivityDate="2016-12-20T14:18:17.753" Title="What causes the VHS rewind effect? And how did rewind preview work?" Tags="|video|vhs|tape|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20191" PostTypeId="2" ParentId="20190" CreationDate="2016-12-20T14:18:17.753" Score="6" Body="&lt;p&gt;In helical-scan video players, the tape is wrapped around a rotating drum that has one or more magnetic pickups (heads) that are the width of a track and angled slightly from true horizontal. Each track is several inches long and laid down diagonally at (roughly) the same angle as the head is tilted. (The angles differ because the relative motion of the tape and heads causes a precession, an &quot;active angle&quot;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When the tape is moving forward at normal speed, the rotating head aligns with the angled tracks and all is fine. When the tape moves in reverse the angles are misaligned, and when the motion is faster than normal the heads will &quot;sample&quot; more than one track during a video frame, and pick up some of the inter-track guard space as well (the static). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what you see when you rewind. Nothing about the orientation of the data on tape changes, so there's no reason for the images to be inverted. If the &lt;em&gt;drum&lt;/em&gt; rotated in a different direction then you'd see something else.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/z9MGB.jpg&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/z9MGB.jpg&quot; alt=&quot;an image from the Wikipedia page for VHS&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2016-12-20T14:18:17.753" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20192" PostTypeId="2" ParentId="20187" CreationDate="2016-12-20T15:18:10.953" Score="1" Body="&lt;p&gt;With &lt;a href=&quot;https://video.stackexchange.com/users/1871/mulvya&quot;&gt;Mulvya's&lt;/a&gt; help, I figured out the issue. FFMPEG was using a codec tag of &lt;code&gt;hev1&lt;/code&gt;, while Media Encoder was using &lt;code&gt;hvc1&lt;/code&gt;. Nothing I tried in FFMPEG would change this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/users/1871/mulvya&quot;&gt;Mulvya&lt;/a&gt; suggested I use mp4box to repackage. &lt;code&gt;mp4box -add out.mp4 -new final.mp4&lt;/code&gt; didn't work. But, after a little more searching, I ended up following the suggestion &lt;a href=&quot;https://stackoverflow.com/questions/32152090/encode-h265-to-hvc1-codec&quot;&gt;here&lt;/a&gt; and used mp4box to extract the raw .hvc file from the file that FFMPEG gave me, and repackaged it into a new mp4 file. That seemed to fix it.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;Note&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Something that &lt;strong&gt;doesn't&lt;/strong&gt; make sense is the fact that I ran a Media Encoder file through FFMPEG with &lt;code&gt;-c copy&lt;/code&gt;, and the resulting file had a codec tag of &lt;code&gt;hev1&lt;/code&gt;, but it still played on the Odroid players. Based on that, I wouldn't have expected the solution above to work, but it did.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt; - As pointed out by &lt;a href=&quot;https://video.stackexchange.com/users/1871/mulvya&quot;&gt;Mulvya&lt;/a&gt;, the explanation for the above note is that even with the tag &lt;code&gt;hev1&lt;/code&gt;, the stream from Media Encoder has the PS where the player expects it.&lt;/p&gt;&#xA;" OwnerUserId="17522" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2016-12-20T16:10:55.510" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20193" PostTypeId="1" CreationDate="2016-12-20T16:15:44.910" Score="1" ViewCount="2251" Body="&lt;p&gt;I want to mimic effects some YouTubers use where they track an object then zoom in on the object that is being tracked. An example would be someone's head moving in a frame, and it cuts to a close up that moves with them. So far I've got track points but I'm stuck from there. A video of what I would like to get is here: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/i2DBEOO3-L0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="17527" LastActivityDate="2017-04-21T01:45:13.057" Title="After Effects - How to zoom on track points" Tags="|after-effects|editing|adobe|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20194" PostTypeId="1" CreationDate="2016-12-20T19:37:14.237" Score="3" ViewCount="2852" Body="&lt;p&gt;I'm having a lot of trouble getting my audio to work properly in multi-camera sequences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have just two sources, both video with a single synced stereo track. The stereo tracks for each source have been split into two mono channels (each channel is a different mono microphone.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After creating the multi-camera sequence &quot;Dr Chen pt.1 Multi-Cam&quot;, everything seems fine. Everything is synchronized and each of the 4 audio tracks holds a different microphone recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I create a new target sequence from the multi-camera sequence (for editing) it seems that the first two audio tracks are identical and the last two are missing. Furthermore, the first two sound like the sum of all clips from the multi-camera sequence. But I've made sure each track in both sequences is mono and mapped to a different audio channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The audio channel mapping is confusing to me, but I don't know what I'm doing wrong. Any ideas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are screenshots of the audio channel mapping for the multi-cam sequence and the target sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/10vsb.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/10vsb.jpg&quot; alt=&quot;multi-camera sequence&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iXPRg.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iXPRg.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17528" LastActivityDate="2018-12-11T21:01:10.250" Title="Separating and Mapping Audio Channels in Premiere CC Multi-Camera Sequence" Tags="|premiere|audio|multi-camera|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20196" PostTypeId="2" ParentId="20194" CreationDate="2016-12-20T23:58:17.390" Score="1" Body="&lt;p&gt;Premiere Pro is definitely &lt;em&gt;not&lt;/em&gt; a digital audio workstation.  Its treatment of audio is primitive at best.  I believe its paradigm (which I think is screwy, but that's my opinion) is that a multicam clip conveys one of two types of audio: the preview channel track (which you have selected as Channel 1) or audio-follows-video, which means each cut you make, the audio switches to the one channel allocated for that clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know you don't want either, but I don't think there's a third way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, use Channel 1 as your reference clip, copy and align the audio tracks you want to deal with to the sequence containing the multicam clip, and do all your audio edit processing there, separately from your camera changes.  Good luck!&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-12-20T23:58:17.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20197" PostTypeId="1" CreationDate="2016-12-21T02:48:30.027" Score="4" ViewCount="117" Body="&lt;p&gt;I'm a sprite animator in Adobe After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, I want to be able to skew a layer, but because this image is very small on its own, when I scale up its scale property and then skew it using one of a few possible effects, it does the skew based on its original resolution, meaning the pixels trying to show the skew are very large.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way I know of to do this is to use the transform property, and to scale it up that way, then use its scaling property. Trouble is that this means that the bounds of the layer are much smaller than the visible portion, and it means I have to screw with anchors and positions again to get everything back to normal, which is very tedious.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I basically want to be able to skew just like in Flash. Is there any way to do it that is much quicker and smoother than the method I described?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an example image:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/SZbES.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SZbES.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the first and second sprite, it's scaled up by playing with the layer's scale property. On the third one, it's scaled up using the effect called &quot;Transform&quot;, and then I use CC Slant to skew it. For a few reasons, this is tedious and a bit unwieldy, so is there a better way to do this without using Transform? I know I can do something similar by precomposing the sprite, but this is also unwieldy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I should also mention that I only own AE CS5.&lt;/p&gt;&#xA;" OwnerUserId="17534" LastEditorUserId="456" LastEditDate="2016-12-21T21:42:27.947" LastActivityDate="2019-04-11T10:01:45.340" Title="How do I apply effects to a layer at its current resolution (scaled up by the layer's scale property) instead of its original resolution?" Tags="|after-effects|adobe|effects|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="20198" PostTypeId="2" ParentId="20194" CreationDate="2016-12-21T09:20:42.083" Score="0" Body="&lt;p&gt;I'm not 100% sure how you are getting waveforms for the 2nd audio track in your main sequence (last picture) because mine only gives me the first audio track (A1). This is a quirk or perhaps a bug that annoys me to a great extent. I can say however, that there should be no summation of audio A2-A4 on A1. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;From a troubleshooting perspective, I would probably first try render and replacing each of the audio tracks (first unlink them) to see if that elevates the summation problem, as it would remove audio mapping as a potential problem ensuring that in the multicam sequence you have the mics separated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the potential issue with this is that you will still have no waveforms for A2-A4 in your main comp, and you would only have A1 unless you are using 'audio follows video' which I don't think that's what you want as you seemingly want to mix the tracks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At this point I think you are left with the option of roundtripping your audio mixing to audition; doing you're entire mix for the interview (?) there and then bringing it back into Premiere as A1 on your multi-cam whilst eliminating the (now) extraneous audio files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is probably less than ideal if you plan on taking on bits and pieces from the interview as you would be doing work mixing audio for something that won't even be used but it is nevertheless and option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could make some cursory edits in the multi-cam sequence and then work on the audio to help alleviate the burden of extra work.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2016-12-21T09:20:42.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20199" PostTypeId="1" AcceptedAnswerId="20250" CreationDate="2016-12-21T09:47:13.797" Score="2" ViewCount="756" Body="&lt;p&gt;I don't have a real green screen, just a piece of canvas painted green and not even the &quot;best&quot; color of screen. I've taken some short videos with a dslr (Nikon D7100) of me using a mobile phone and some work (I can key out the green) and other don't.  I'm trying to understand the reason the key operations aren't working.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think it is because the light from the mobile is affecting the way the camera sees the green background.  When the phone's screen is a light color the green darkens; when the phone screen is black the green lightens.  How do I prevent this, as I can't key out such a wide range of greens?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camera is on auto, but have tried Manual also.  Lighting is sub par but I think it is good enough. &lt;/p&gt;&#xA;" OwnerUserId="17537" LastEditorUserId="10931" LastEditDate="2016-12-21T11:25:58.343" LastActivityDate="2016-12-28T02:08:16.147" Title="Green screen Issue shooting with dslr (background green changes)" Tags="|video|dslr|greenscreen|davinci-resolve|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20200" PostTypeId="1" CreationDate="2016-12-21T16:55:09.897" Score="0" ViewCount="6040" Body="&lt;p&gt;Trying to import a .mov project at 2312x1644, do some editing, then export at the exact same resolution. I'm new to the program so I assume it has something to do with the codecs, but I don't know which ones to use, or in what order. Any guidance would be appreciated!&lt;/p&gt;&#xA;" OwnerUserId="17539" LastActivityDate="2017-03-22T21:09:10.993" Title="Adobe Premiere - export project with original resolution" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20201" PostTypeId="1" AcceptedAnswerId="20203" CreationDate="2016-12-21T17:00:50.453" Score="0" ViewCount="74" Body="&lt;p&gt;I need such a result, as in this image: &lt;a href=&quot;https://i.stack.imgur.com/3LshT.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/3LshT.gif&lt;/a&gt;&#xA;I want to animate the light in the hand of the girl. I was looking for a video on this topic on the Internet, but found nothing. Please help in this matter.&lt;a href=&quot;https://i.stack.imgur.com/mZJz0.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mZJz0.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17538" LastEditorUserId="17538" LastEditDate="2016-12-21T18:47:16.083" LastActivityDate="2016-12-21T20:38:05.280" Title="How to make an animation of light in After effects?" Tags="|video|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20202" PostTypeId="2" ParentId="20200" CreationDate="2016-12-21T18:12:54.723" Score="0" Body="&lt;p&gt;A .mov file extension implies that your source material is Apple ProRes (aka Quicktime).  When you import the media, the Project Manager will tell you what type of ProRes it is (422, 422 LT, 422 HQ, etc).  If you use this clip as a basis for a sequence, the sequence will usually inherit the same frame rate, format, aspect ration, pixel shape, etc., of the source material.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After you make your edits, you select the sequence (which contains the clip), the click to File&gt;Export Media.  This will open a dialog box.  One of the options you can choose (it may be a default) is &quot;Match Source&quot;.  That solves your resolution, frame rate, and pixel-shape questions.  To export as the same sort of ProRes, select the ProRes (or Quicktime) codec, and then select the appropriate sub-category (422, LT, HQ, etc).  You can then either export directly (using the Export button) or Queue it to Adobe Media Encoder (aka AME), which will then let you export from there.  (If you want to continue using Premiere while exporting, use AME).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2016-12-21T18:12:54.723" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20203" PostTypeId="2" ParentId="20201" CreationDate="2016-12-21T20:38:05.280" Score="1" Body="&lt;p&gt;Well, there's a lot that would go into that effect, especially if the girl's hand is moving. Here's the basics so that you can better know what kinds of tutorials to search for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To create the light you'd probably use what's called a &quot;particle generator&quot; combined with a star glow or shine effect (e.g., Trapcode Starglow.) If you don't want to shell out for that plugin, search for how to do &quot;light streaks effect&quot; or &quot;shine effects&quot; in AE &quot;without plugins.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make it look like it's &lt;em&gt;within&lt;/em&gt; her hand (i.e., sandwiched between her fingers and her palm) you'd need to understand how to &quot;animate mask paths&quot; (in order to mask her fingers into their own separate layer.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make the light follow her hand around you'd need to learn about &quot;motion tracking.&quot;&lt;/p&gt;&#xA;" OwnerUserId="17133" LastActivityDate="2016-12-21T20:38:05.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20204" PostTypeId="2" ParentId="20197" CreationDate="2016-12-21T21:02:32.953" Score="1" Body="&lt;p&gt;Well, the answer to the question in your &lt;em&gt;title&lt;/em&gt; is to apply the CC Slant effect to an &lt;strong&gt;adjustment layer&lt;/strong&gt; above your (scaled-up) sprite layer. The adjustment layer will have the same resolution as the comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But based on the description below the title, I'm not 100% confident this is what you want. Let me know.&lt;/p&gt;&#xA;" OwnerUserId="17133" LastActivityDate="2016-12-21T21:02:32.953" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20205" PostTypeId="2" ParentId="20193" CreationDate="2016-12-21T21:08:21.380" Score="1" Body="&lt;p&gt;I think you just need to break this into two steps. &lt;strong&gt;First&lt;/strong&gt;, do the motion tracking and apply the tracking data to whatever. Render that out, or sub-comp it. &lt;strong&gt;Second&lt;/strong&gt;, use AE (or just use your video editing software) to do the zoom-in where needed. There's not much benefit to doing it all in one pass, as far as I can see from your example.&lt;/p&gt;&#xA;" OwnerUserId="17133" LastActivityDate="2016-12-21T21:08:21.380" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20206" PostTypeId="1" CreationDate="2016-12-21T21:48:31.687" Score="2" ViewCount="370" Body="&lt;p&gt;Premiere has an option to export markers in .csv format but I cannot find an option to import .csv marker data. How do you do this?&lt;/p&gt;&#xA;" OwnerUserId="11455" LastActivityDate="2016-12-21T21:48:31.687" Title="Importing marker data into premiere" Tags="|premiere|adobe|metadata|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20208" PostTypeId="2" ParentId="20199" CreationDate="2016-12-22T07:58:36.500" Score="2" Body="&lt;ol&gt;&#xA;&lt;li&gt;DO NOT USE &quot;AUTO&quot;. It is working against you.  A nice, even video image of the green is needed. Setting your camera to &quot;auto&quot; just means that there is no single &quot;formula&quot; for which green to key out.&lt;/li&gt;&#xA;&lt;li&gt;USE BETTER LIGHT.  it is not clear why you say &quot;I think it is good enough&quot;, and then tell us that it is not good enough?  We typically light the green screen separately so that the light is nice and even regardless of what is in the foreground (in front of the green screen).  &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;A popular solution is to use cheap &quot;shop&quot; fluorescent lights.  Typically we don't like to shoot with fluorescent light because it has an intense green spike in the spectrum.  But that is exactly what you WANT for lighting a green screen!  Be sure to use a modern solid-state (high-frequency) ballast, not the old &quot;buzz-box&quot; kind that flicker.&lt;/p&gt;&#xA;" OwnerUserId="14256" LastEditorUserId="14256" LastEditDate="2016-12-22T08:20:05.847" LastActivityDate="2016-12-22T08:20:05.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20210" PostTypeId="1" CreationDate="2016-12-22T19:47:04.183" Score="1" ViewCount="40" Body="&lt;p&gt;I've created some videos for an iOS app and am rendering them through Adobe Media Encoder 2017. These videos are then being played in app through &lt;a href=&quot;https://developer.apple.com/reference/avfoundation/avplayer&quot; rel=&quot;nofollow noreferrer&quot;&gt;iOS AVPlayer&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What render settings are best for minimum file size while also maintaining good quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the default settings that I'm currently using:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/7JRWi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7JRWi.png&quot; alt=&quot;Render settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've rendered cropped versions of the file with confusing results:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;750 x 1334 full screen, 7 seconds, 5.6 MB&lt;/li&gt;&#xA;&lt;li&gt;590 x 1000 cropped out most white space, 7 seconds, 6.1 MB&lt;/li&gt;&#xA;&lt;li&gt;506 x 904 cropped out all static content, 7 seconds, 6.3 MB&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Bonus points for why the video size is increasing as the video screen size is decreased.&lt;/p&gt;&#xA;" OwnerUserId="16513" LastActivityDate="2016-12-22T19:47:04.183" Title="Optimal render settings for embedding iOS video in an app" Tags="|ios|mobile|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20211" PostTypeId="1" CreationDate="2016-12-23T11:08:33.217" Score="1" ViewCount="300" Body="&lt;p&gt;Is there a recommendation or tips for the usage of the video modes that come with the gopro hero5 black, in the meaning of resolution vs fps vs fov:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://gopro.com/help/articles/Block/Available-Video-Resolutions-for-HERO5-Black-and-HERO5-Session&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gopro.com/help/articles/Block/Available-Video-Resolutions-for-HERO5-Black-and-HERO5-Session&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17547" LastActivityDate="2016-12-29T18:34:24.020" Title="Gopro hero 5 black video modes recommendation" Tags="|video-quality|video-recording|action-cam|" AnswerCount="1" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20212" PostTypeId="1" CreationDate="2016-12-23T13:06:34.857" Score="3" ViewCount="2696" Body="&lt;p&gt;Ok, I have a feeling this might be a silly question, but I can't see what I am doing wrong. This is my command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i input.mov -c:v libx264 -profile:v baseline output.mp4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and the error it returns is: &quot;Error while opening encoder for output stream #0.0 - maybe incorrect parameters such as bit_rate, rate, width or height&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried specifying the audio codec and using the other profiles, all to no avail... But the command works if I drop the -profile&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the log:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-78758-g5156578 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 5.3.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55. 19.100 / 55. 19.100&#xA;  libavcodec     57. 27.100 / 57. 27.100&#xA;  libavformat    57. 26.100 / 57. 26.100&#xA;  libavdevice    57.  0.101 / 57.  0.101&#xA;  libavfilter     6. 37.100 /  6. 37.100&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Guessed Channel Layout for  Input Stream #0.0 : 7.1&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '16BL3.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    creation_time   : 2016-12-16 09:39:01&#xA;    timecode        : 00:16:02;15&#xA;  Duration: 00:00:53.95, start: 0.557267, bitrate: 59879 kb/s&#xA;    Stream #0:0(eng): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 8 channels, s32 (24 bit), 9216 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-12-16 09:39:01&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:1(eng): Data: none (tmcd / 0x64636D74) (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-12-16 09:39:01&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:16:02;15&#xA;    Stream #0:2(eng): Video: mpeg2video (4:2:2) (xd5b / 0x62356478), yuv422p(tv, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 50000 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-12-16 10:23:54&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:16:02;15&#xA;No pixel format specified, yuv422p for H.264 encoding chosen.&#xA;Use -pix_fmt yuv420p for compatibility with outdated media players.&#xA;x264 [error]: baseline profile doesn't support 4:2:2&#xA;[libx264 @ 0371fa00] Error setting profile baseline.&#xA;[libx264 @ 0371fa00] Possible profiles: baseline main high high10 high422 high444&#xA;Output #0, mp4, to 'bloco3.mp4':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    timecode        : 00:16:02;15&#xA;    Stream #0:0(eng): Video: h264, none, q=2-31, 128 kb/s, SAR 1:1 DAR 0:0, 29.97 fps (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-12-16 10:23:54&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:16:02;15&#xA;      encoder         : Lavc57.27.100 libx264&#xA;    Stream #0:1(eng): Audio: aac, 0 channels, 128 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-12-16 09:39:01&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc57.27.100 aac&#xA;Stream mapping:&#xA;  Stream #0:2 -&amp;gt; #0:0 (mpeg2video (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:0 -&amp;gt; #0:1 (pcm_s24le (native) -&amp;gt; aac (native))&#xA;Error while opening encoder for output stream #0:0 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any clue on what might be going on?&lt;/p&gt;&#xA;" OwnerUserId="17548" LastEditorUserId="17548" LastEditDate="2016-12-23T13:11:45.870" LastActivityDate="2022-03-21T21:36:50.523" Title="Error while trying to set ffmpeg profile" Tags="|ffmpeg|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20213" PostTypeId="2" ParentId="20212" CreationDate="2016-12-23T13:16:04.367" Score="6" Body="&lt;p&gt;Forget it. Posting this question made me pay more attention to the log: if anyone is interested the answer is that you have to specify the colour space - &quot;-pix_fmt yuv420p&quot; in my case. Sorry guys.&lt;/p&gt;&#xA;" OwnerUserId="17548" LastActivityDate="2016-12-23T13:16:04.367" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20214" PostTypeId="1" AcceptedAnswerId="20215" CreationDate="2016-12-23T20:40:51.017" Score="1" ViewCount="18561" Body="&lt;p&gt;I created a footage of 1920x1080p, then I added a video of 1280x720p in a layer, now I would like to resize the video of this layer to fit the size of my compossition. Is this possible to do without using an external program to reconvert the original video at the desired size?.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please, take into account in your explanations that I'm very novice using AE, I don't have more than 2 days using it.&lt;/p&gt;&#xA;" OwnerUserId="4197" LastEditorUserId="4197" LastEditDate="2016-12-23T20:56:23.517" LastActivityDate="2016-12-28T10:34:44.143" Title="How do I resize a video layer (not the compossition) in After Effects?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20215" PostTypeId="2" ParentId="20214" CreationDate="2016-12-23T20:51:50.690" Score="3" Body="&lt;p&gt;Assuming you meant the composition is 1920x1080, and you wish to resize a layer to match the composition size, do one of the following: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right-click on the layer name. In the menu that comes up, click on Transform --&gt; Fit to comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another method is, in the controls for Scale, under the Transform drilldown, right-click on one of the values. Click on &lt;code&gt;Edit Value&lt;/code&gt;.  Change units to &lt;code&gt;% of composition&lt;/code&gt;. Alter the value of the larger dimension, out of Width and Height, to 100%.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-23T20:51:50.690" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20216" PostTypeId="1" AcceptedAnswerId="20221" CreationDate="2016-12-23T21:59:44.030" Score="1" ViewCount="7907" Body="&lt;p&gt;I have a m2ts video file that contains a h264 video stream and an ac3 audio stream. The quality is not the best, but it is okay, but converting it with ffmpeg without any additional options makes the video interlaced and very ugly with that:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.m2ts output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 3.2.2 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 6.2.1 (GCC) 20160916 (Red Hat 6.2.1-2)&#xA;  configuration: --arch=x86_64 --bindir=/usr/bin --datadir=/usr/share/ffmpeg --disable-debug --disable-static --disable-stripping --enable-avfilter --enable-avresample --enable-bzlib --enable-cuda --enable-cuvid --enable-libnpp --enable-doc --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gpl --enable-iconv --enable-libass --enable-libbluray --enable-libcdio --enable-libdc1394 --enable-libebur128 --enable-libfdk-aac --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libkvazaar --enable-libmfx --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libv4l2 --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxcb --enable-libxcb-shm --enable-libxcb-xfixes --enable-libxcb-shape --enable-libxvid --enable-libzvbi --enable-lzma --enable-nonfree --enable-openal --enable-opencl --enable-nvenc --enable-opengl --enable-postproc --enable-pthreads --enable-sdl2 --enable-shared --enable-version3 --enable-x11grab --enable-xlib --enable-zlib --extra-cflags='-I/usr/include/nvenc -I/usr/include/cuda' --incdir=/usr/include/ffmpeg --libdir=/usr/lib64 --mandir=/usr/share/man --optflags='-O2 -g -pipe -Wall -Werror=format-security -Wp,-D_FORTIFY_SOURCE=2 -fexceptions -fstack-protector-strong --param=ssp-buffer-size=4 -grecord-gcc-switches -specs=/usr/lib/rpm/redhat/redhat-hardened-cc1 -m64 -mtune=generic' --prefix=/usr --shlibdir=/usr/lib64 --enable-runtime-cpudetect&#xA;  libavutil      55. 34.100 / 55. 34.100&#xA;  libavcodec     57. 64.101 / 57. 64.101&#xA;  libavformat    57. 56.100 / 57. 56.100&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libavresample   3.  1.  0 /  3.  1.  0&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;Input #0, mpegts, from 'input.m2ts':&#xA;  Duration: 01:15:49.44, start: 0.984822, bitrate: 19636 kb/s&#xA;  Program 1 &#xA;    Stream #0:0[0x1011]: Video: h264 (High) (HDMV / 0x564D4448), yuv420p(tv, bt709, top first), 1920x1080 [SAR 1:1 DAR 16:9], 25 fps, 50 tbr, 90k tbn, 50 tbc&#xA;Stream #0:1[0x1100]: Audio: ac3 (AC-3 / 0x332D4341), 48000 Hz, stereo, fltp, 384 kb/s&#xA;File 'output.mkv' already exists. Overwrite ? [y/N] y&#xA;[libx264 @ 0xf21240] using SAR=1/1&#xA;[libx264 @ 0xf21240] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 AVX2 LZCNT BMI2&#xA;[libx264 @ 0xf21240] profile High, level 4.0&#xA;[libx264 @ 0xf21240] 264 - core 148 - H.264/MPEG-4 AVC codec - Copyleft 2003-2016 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=18 lookahead_threads=3 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, matroska, to 'output.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf57.56.100&#xA;    Stream #0:0: Video: h264 (libx264) (H264 / 0x34363248), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], q=-1--1, 25 fps, 1k tbn, 25 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.64.101 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1: Audio: vorbis (libvorbis) (oV[0][0] / 0x566F), 48000 Hz, stereo, fltp&#xA;    Metadata:&#xA;      encoder         : Lavc57.64.101 libvorbis&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (ac3 (native) -&amp;gt; vorbis (libvorbis))&#xA;Press [q] to stop, [?] for help&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Additional options, like presets and crf did not change that and I could not find anything on the Internet except that ffmpeg is supposed to always use progressive unless told otherwise. I also tried hardware transcoding on my GPU, which made the transcode much much faster, but the result was about the same, still heavily interlaced video.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hwaccel cuvid -c:v h264_cuvid -i input.m2ts -c:v hevc_nvenc -preset slow output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any idea what might be causing this and how to fix it? Adding &lt;code&gt;-deinterlace&lt;/code&gt; helps with the interlacing, but makes the quality worse.&lt;/p&gt;&#xA;" OwnerUserId="13957" LastEditorUserId="14107" LastEditDate="2017-05-10T17:23:36.700" LastActivityDate="2021-06-07T12:42:13.150" Title="How to stop ffmpeg from interlacing when converting from m2ts to mkv" Tags="|ffmpeg|encoding|mkv|nvenc|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20217" PostTypeId="1" AcceptedAnswerId="20236" CreationDate="2016-12-23T23:43:19.037" Score="1" ViewCount="112" Body="&lt;p&gt;I'm creating my first YouTube video and am a bit disappointed with the licensing options. Ideally, I would want to use a CC BY-NC license because I don't really want others profiting off of my work, but that is not an option in the interface. If I select the standard license, but put something like &quot;Licensed under CC BY-NC, despite what the interface says&quot; in the video, is that able to override the standard license? If not, is there any other way to license my video how I want to?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Just for the sake of clarity, I mean selecting the Youtube Standard License for my video, NOT the default provided CC license.&lt;/p&gt;&#xA;" OwnerUserId="17552" LastEditorUserId="17552" LastEditDate="2016-12-25T23:02:53.117" LastActivityDate="2016-12-25T23:02:53.117" Title="Is one able to &quot;override&quot; the terms of the Youtube Standard Licence with a slightly stricter Creative Commons than is allowed by the interface?" Tags="|youtube|copyright|legal|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20218" PostTypeId="2" ParentId="20217" CreationDate="2016-12-24T07:19:00.350" Score="0" Body="&lt;p&gt;The University of Edinburgh seems to think that one can &lt;a href=&quot;http://open.ed.ac.uk/how-to-guides/how-to-apply-a-cc-license-on-a-publishing-platform-youtubeflickrwordpress/applying-a-cc-licence-on-youtube/&quot; rel=&quot;nofollow noreferrer&quot;&gt;override&lt;/a&gt; the default CC license by noting it in the description.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See Option C.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Alternately text can be added to the description of your YouTube video&#xA;  stating additional licensing information you may want to provide.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;For example, a number of the videos created for Edinburgh University&#xA;  MOOCs which are placed on YouTube have been notated with the CC BY-NC&#xA;  licence and include a link to the licence details.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-24T07:19:00.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20219" PostTypeId="1" AcceptedAnswerId="20220" CreationDate="2016-12-24T07:47:23.263" Score="4" ViewCount="107676" Body="&lt;p&gt;In my compossition I imported an image, I would like to scale the image in real-time (I mean using the mouse to select the image, center it in the composition and resize it to see the results in real-time because for me is more productive to do it in this way, instead of manually specifying width and height wherever) preserving the aspect ratio of the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In &lt;strong&gt;Photoshop&lt;/strong&gt;, this can be done by clicking in a corner of the image element then holding the &lt;strong&gt;CTRL&lt;/strong&gt; key while using the mouse to resize the image, so the image is scaled preserving aspect ratio, however, I can't reproduce this behavior in &lt;strong&gt;After Effects&lt;/strong&gt;, if I do click on a corner of the image, nothing happens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this is not possible to do in the same productive and easy way than &lt;strong&gt;Photoshop&lt;/strong&gt;, then how I could do it (in the less tedious way)?.&lt;/p&gt;&#xA;" OwnerUserId="4197" LastActivityDate="2021-03-27T17:24:27.317" Title="How do I resize a image preserving aspect ratio in After Effects?" Tags="|after-effects|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20220" PostTypeId="2" ParentId="20219" CreationDate="2016-12-24T08:04:33.943" Score="6" Body="&lt;p&gt;Click on a layer name. You should see the control points on its border. Click on one of the border points but don't drag it yet. Hold down Shift key and then drag it. Release the mouse button when done and then release the Shift key.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-24T08:04:33.943" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20221" PostTypeId="2" ParentId="20216" CreationDate="2016-12-24T10:28:40.507" Score="2" Body="&lt;p&gt;The source is interlaced. To deinterlace it, you can use the &lt;code&gt;yadif&lt;/code&gt; filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To use it with the default values:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.m2ts -vf yadif=parity=auto output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-24T10:28:40.507" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20222" PostTypeId="1" AcceptedAnswerId="20223" CreationDate="2016-12-24T11:05:46.537" Score="0" ViewCount="547" Body="&lt;p&gt;I'm working on a Python script to bulk transcode video files. These files will have different framerates, and one of the goals is to get them all to the same framerate, by making some intelligent decisions on whether to slow down or speed up the playback or to decimate or duplicate frames. As I understand it, the framerate is stored as two 32-bit integers, for example 29.97 fps is actually stored as 30000/1001, and I need to work with these values. I'll also use these values to calculate how much to stretch and pitch shift the audio. The framerates of the source files are not necessarily standard ones, but they may be anything from slightly off from PAL or NTSC to completely screwed up, and using the values that are actually in the files makes it easier to make the calculations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, how can I extract them, and, in the case of slowing down or speeding up the video, write back modified values?&lt;br&gt;&#xA;Preferably a commandline tool (needs to run on FreeBSD).&lt;br&gt;&#xA;I'm also open to parsing the headers directly from the script, but unfortunately I don't know where to find them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The specs I've found more or less list the various structs (as defined in C) for the various headers, and a more skilled programmer may be able to use this, but I need a simpler explanation. I don't need help with the actual scripting, I just need help understanding where the information is located.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.morgan-multimedia.com/download/odmlff2.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;OpenDML AVI File Format Extensions&lt;/a&gt;&lt;br&gt;&#xA;&lt;a href=&quot;http://www.alexander-noe.com/video/documentation/avi.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;AVI File Format&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user17556" LastEditorDisplayName="user17556" LastEditDate="2016-12-24T11:27:11.443" LastActivityDate="2016-12-24T12:45:55.977" Title="How to extract and modify data rate and time scale from OpenDML (AVI) file" Tags="|avi|metadata|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="20223" PostTypeId="2" ParentId="20222" CreationDate="2016-12-24T12:45:55.977" Score="0" Body="&lt;p&gt;ffprobe can supply the frame rate as a rational value&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe in.avi -show_entries stream=r_frame_rate,avg_frame_rate -select_streams v -v 0 -of compact=p=0:nk=1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The first rational value is from the stream header; the 2nd is the computed value which will differ for a variable frame rate stream&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-24T12:45:55.977" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20225" PostTypeId="1" AcceptedAnswerId="20226" CreationDate="2016-12-24T18:41:40.570" Score="1" ViewCount="10516" Body="&lt;p&gt;I'm using &lt;strong&gt;After Effects CC 2017&lt;/strong&gt;. I've imported a PNG image with transparency, then I added a simple &lt;strong&gt;CC Light Wipe&lt;/strong&gt; effect:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CXonX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CXonX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that the range of the lights produced by this effect are limited to the image size, so it produces an annonying thingy. Is there a way to resize the canvas of the layer of the image or another way to solve this (avoiding the need to resize the image canvas using external programs like &lt;strong&gt;Photoshop&lt;/strong&gt;)?. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really tried to find out the answer researching in Google before asking here but I only found questions about resizing the entire compossition in the compossition settings...&lt;/p&gt;&#xA;" OwnerUserId="4197" LastEditorUserId="4197" LastEditDate="2016-12-24T18:47:02.727" LastActivityDate="2016-12-28T10:05:14.397" Title="How do I resize the canvas of a image layer in After Effects?" Tags="|after-effects|adjustment-layers|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20226" PostTypeId="2" ParentId="20225" CreationDate="2016-12-24T19:06:50.253" Score="2" Body="&lt;p&gt;Add an adjustment layer on top (right-click in empty area of the layer names. Go to New menu) Apply the effect to that.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-24T19:06:50.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20228" PostTypeId="2" ParentId="15170" CreationDate="2016-12-24T19:26:22.023" Score="3" Body="&lt;p&gt;I was in same situation when I started my project in 2014. After a lot of research i found a very good solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am running three projectors and one monitor on one computer so total 4 outputs i am using and it's working quite well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using mac pro black cylinder model and I bought resolume arena software which can play multiple videos at a time in sync too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two options you can go for, &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;if you go for Mac pro which has 6 thunderbolt and one hdmi out then buy thunderbolt to HDMI/VGA/DVI..and connect you projectors and screen you are done with hardware and now coming to software part download resolume &quot;&lt;a href=&quot;https://resolume.com/software&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://resolume.com/software&lt;/a&gt;&quot;  and you are all set to play the videos in sync.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you want to go for Windows or you already have one  then buy a graphics card with multiple display outputs. you need at least 4 outputs graphics card because 3 for projectors and one for monitor which you will need to see the resolume software interface to play the videos.&#xA;Something like this &quot;NVIDIA NVS 510 Quad DisplayPort UHD 4K Graphics Card&quot; pls check specifications of any graphic card you like before you buy.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/OBAlp.jpg&quot; alt=&quot;Pic&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="17560" LastEditorUserId="10559" LastEditDate="2016-12-26T01:17:56.477" LastActivityDate="2016-12-26T01:17:56.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20229" PostTypeId="1" CreationDate="2016-12-24T19:31:30.223" Score="0" ViewCount="4371" Body="&lt;p&gt;I am using the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#trim&quot; rel=&quot;nofollow noreferrer&quot;&gt;trim filter&lt;/a&gt; to cut out portions of my input pad that I do not want. I cannot use the &lt;code&gt;-ss&lt;/code&gt; or &lt;code&gt;-t&lt;/code&gt; option because I have to do trimming inside the filter-graph.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my trim usage&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;trim=start=4:duration=4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The source is 10 seconds long, I just want to retrieve the portion starting at 4th second till 8th second. I get it with the above filter usage, but the output is still 10 seconds long with the trimmed out portions at the start and the end shown as &quot;static&quot; or paused frames. How do I get rid of those?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: I was able to cut out the static frames at the start by using &lt;code&gt;setpts=PTS-STARTPTS&lt;/code&gt; but what it did was, it added that extra duration at the end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my full command with output&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Temp\del&amp;gt;c:\temp\ffmpeg\bin\ffmpeg.exe -y -i source\6.MOV -vf &quot;trim=start=4:end=8:duration=4,setpts=PTS-STARTPTS&quot; out\ test.mov ffmpeg version N-82151-g1e660fe Copyright (c) 2000-2016 the FFmpeg developers   built with gcc 5.4.0 (GCC)   configuration: --enable-gpl&#xA;--enable-version3 --disable-w32threads --enable-dxva2 --enable-libmfx --enable-nvenc --enable-avisynth --en able-bzlib --enable-libebur128 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --en able-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3la me --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librtmp --en able-libschroedinger --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --e nable-libvo-amrwbenc --enable-libvorbis --enable-libvpx&#xA;--enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-l ibxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib   libavutil      55. 35.100 / 55. 35.100   libavcodec     57. 65.100 / 57. 65.100   libavformat    57. 57.100 / 57. 57.100   libavdevice    57.  2.100 / 57.  2.100   libavfilter     6. 66.100 /  6. 66.100   libswscale      4.  3.100 / &#xA;4.  3.100   libswresample   2.  4.100 /  2.  4.100   libpostproc    54.  2.100 / 54.  2.100 Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'source\6.MOV':   Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 0&#xA;    compatible_brands: qt&#xA;    creation_time   : 2016-12-24T03:18:57.000000Z&#xA;    com.apple.quicktime.location.ISO6709: +30.1993-081.6121+005.747/&#xA;    com.apple.quicktime.make: Apple&#xA;    com.apple.quicktime.model: iPhone 6s&#xA;    com.apple.quicktime.software: 10.2&#xA;    com.apple.quicktime.creationdate: 2016-12-23T22:18:57-0500   Duration: 00:00:10.58, start: 0.000000, bitrate: 15407 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080, 15316 kb/s, 29.98 fps, 29.97 tbr, 600 tbn, 1 200 tbc (default)&#xA;    Metadata:&#xA;      rotate          : 180&#xA;      creation_time   : 2016-12-24T03:18:57.000000Z&#xA;      handler_name    : Core Media Data Handler&#xA;      encoder         : H.264&#xA;    Side data:&#xA;      displaymatrix: rotation of -180.00 degrees&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 83 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-12-24T03:18:57.000000Z&#xA;      handler_name    : Core Media Data Handler&#xA;    Stream #0:2(und): Data: none (mebx / 0x7862656D), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-12-24T03:18:57.000000Z&#xA;      handler_name    : Core Media Data Handler&#xA;    Stream #0:3(und): Data: none (mebx / 0x7862656D), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-12-24T03:18:57.000000Z&#xA;      handler_name    : Core Media Data Handler [libx264 @ 00000000007cc900] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 AVX2 LZCNT BMI2 [libx264 @ 00000000007cc900] profile High, level 4.0 [libx264 @ 00000000007cc900] 264 - core 148 r2721 72d53ab - H.264/MPEG-4 AVC codec - Copyleft 2003-2016 - http://www.videolan.org/x264.ht ml - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 tre llis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 int erlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250  keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq&#xA;=1:1.00 Output #0, mov, to 'out\test.mov':   Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 0&#xA;    compatible_brands: qt&#xA;    com.apple.quicktime.creationdate: 2016-12-23T22:18:57-0500&#xA;    com.apple.quicktime.location.ISO6709: +30.1993-081.6121+005.747/&#xA;    com.apple.quicktime.make: Apple&#xA;    com.apple.quicktime.model: iPhone 6s&#xA;    com.apple.quicktime.software: 10.2&#xA;    encoder         : Lavf57.57.100&#xA;    Stream #0:0(und): Video: h264 (libx264) (avc1 / 0x31637661), yuv420p, 1920x1080, q=-1--1, 29.97 fps, 30k tbn, 29.97 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : Core Media Data Handler&#xA;      creation_time   : 2016-12-24T03:18:57.000000Z&#xA;      encoder         : Lavc57.65.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 69 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-12-24T03:18:57.000000Z&#xA;      handler_name    : Core Media Data Handler&#xA;      encoder         : Lavc57.65.100 aac Stream mapping:   Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))   Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native)) Press [q] to stop, [?] for help frame=  120 fps= 18 q=-1.0 Lsize=    3030kB time=00:00:10.58 bitrate=2344.3kbits/s speed=1.63x video:2934kB audio:90kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.214492% [libx264 @ 00000000007cc900] frame I:8     Avg QP:20.11  size: 39494 [libx264 @ 00000000007cc900] frame P:52    Avg QP:22.77  size: 28036 [libx264 @ 00000000007cc900] frame B:60    Avg QP:22.78  size: 20490 [libx264 @ 00000000007cc900] consecutive B-frames: 31.7%  3.3%  5.0%&#xA;60.0% [libx264 @ 00000000007cc900] mb I  I16..4: 21.2% 77.3%  1.4% [libx264 @ 00000000007cc900] mb P  I16..4: 17.2% 45.0%  0.2%  P16..4:&#xA;30.2%  2.8%  1.0%  0.0%  0.0%    skip: 3.6% [libx264 @ 00000000007cc900] mb B  I16..4:  4.8%  6.5%  0.0%  B16..8: 34.5%  4.1%&#xA;0.6%  direct:25.4%  skip:24.2%  L0:48.4% L1:49.0% BI:&#xA;2.6% [libx264 @ 00000000007cc900] 8x8 transform intra:71.0% inter:91.1% [libx264 @ 00000000007cc900] coded y,uvDC,uvAC intra:&#xA;34.3% 68.7% 0.9% inter: 24.4% 66.3% 0.0% [libx264 @ 00000000007cc900] i16 v,h,dc,p: 26% 23% 17% 34% [libx264 @ 00000000007cc900] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 27% 20% 33%  4%  3%  3%  3%  3%  3% [libx264 @ 00000000007cc900] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 35% 23% 19%  4%  6%  4%  4%  3%  2% [libx264 @ 00000000007cc900] i8c dc,h,v,p: 54% 25% 20%  1% [libx264 @ 00000000007cc900] Weighted P-Frames: Y:1.9% UV:0.0% [libx264 @ 00000000007cc900] ref P L0: 63.9%  6.5% 19.8%  9.9% [libx264 @ 00000000007cc900] ref B L0: 83.2% 13.5%  3.4% [libx264 @ 00000000007cc900] ref B L1: 92.5%  7.5% [libx264 @ 00000000007cc900] kb/s:6000.51 [aac @ 000000000075e020] Qavg: 699.398&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Edit 2: My question was simplified for better understanding of the issue, my actual movie making command is as follows&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -y -i C:\Temp\del\source\1.mov -i C:\Temp\del\source\2.mov  -i C:\Temp\del\source\3.mov  -filter_complex &quot;[0:v]drawtext=fontfile=/Windows/Fonts/ARLRDBD.ttf:fontsize=80:x=10:y=10:text='Title Goes Here':fontcolor=white@0.8:box=1:boxcolor=black@0.5:enable='between(t,12,18)'[first];[1:v]trim=start=4:duration=4,setpts=PTS-STARTPTS[second];[2:v]drawtext=fontfile=/Windows/Fonts/ARLRDBD.ttf:fontsize=80:x=10:y=10:text='Thank you for watching':fontcolor=white@0.8:box=1:boxcolor=black@0.5:enable='between(t,0,1)'[third]; [first][second][third] concat=n=3:v=1&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17561" LastEditorUserId="17561" LastEditDate="2016-12-24T20:05:52.903" LastActivityDate="2016-12-24T20:05:52.903" Title="ffmpeg trim filter renders the same length output as input with trimmed out frames as static" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20230" PostTypeId="2" ParentId="20229" CreationDate="2016-12-24T19:42:16.883" Score="2" Body="&lt;p&gt;Since there is an audio stream present which is included in the output, you need to either disable that or trim it as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With audio trimmed:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i source\6.MOV -vf &quot;trim=start=4:end=8,setpts=PTS-STARTPTS&quot; -af &quot;atrim=start=4:end=8,asetpts=PTS-STARTPTS&quot;  out\test.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Audio disabled:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i source\6.MOV -vf &quot;trim=start=4:end=8,setpts=PTS-STARTPTS&quot; -an out\test.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2016-12-24T19:42:16.883" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="20233" PostTypeId="1" CreationDate="2016-12-25T10:20:42.630" Score="1" ViewCount="6663" Body="&lt;p&gt;In Premiere Pro 2017 (Windows 10) in Preferences -&gt; Playback I can set one of my monitors as the playback device&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Hz424.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Hz424.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now when I playback video it will appear full screen in one of my monitors.  When I hit stop (spacebar) the video is still full screen.  How can I exit or quit this full screen playback mode?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried the obvious of hitting &lt;kbd&gt;Esc&lt;/kbd&gt; but this does nothing.  Is the only option to go back to preferences and uncheck it? (Also how do I know which monitor is which?  Not knowing how to exit the fullscreen mode I'm a little paranoid that I will choose the same monitor that the Adobe UI is on and then be stuck.)&lt;/p&gt;&#xA;" OwnerUserId="6543" LastActivityDate="2018-06-26T05:49:55.177" Title="How to exit fullscreen monitor playback in Premiere?" Tags="|premiere|windows|playback|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20236" PostTypeId="2" ParentId="20217" CreationDate="2016-12-25T12:50:51.197" Score="1" Body="&lt;h2&gt;Don't do it&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;As @Mulvya mentioned, it is not a good idea to attempt to 'overwrite' the CC licence set in the video settings by putting a disclaimer in your video or video description. Apart from the legal implications and ambiguity, there's another problem: You're only changing the &lt;strong&gt;human-readable layer&lt;/strong&gt; of the licence, while the &lt;strong&gt;machine-readable layer&lt;/strong&gt; stays the same (an explanation on the three layers of the CC licences &lt;a href=&quot;https://creativecommons.org/licenses/&quot; rel=&quot;nofollow noreferrer&quot;&gt;can be found here&lt;/a&gt;). What that means is that even though a human watching your video will be able to understand your intent to apply a more restrictive licence, a machine (e.g. an automated web crawler) will not. So your video will still show up in the search results when somebody searches for content licenced under the CC-BY licence. So by setting your video to CC-BY and disputing that claim in your video or video description, you are creating ambiguity for the user. I also doubt a disclaimer that the licence set by you in the YouTute interface does &lt;em&gt;not&lt;/em&gt; apply would hold up in court, but IANAL.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Alternative&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Hosting your video on YouTube with the intent to share it for others to adapt, remix and reuse is not a good idea in the first place. The stark compression applied by YouTube will significantly lower the quality of your video. The quality loss will only increase as others download your video, import it into their own projects, reencode it again and upload it to YouTube, where it's reencoded once more. On top of that, YouTube doesn't even offer a convenient way to download user-uploaded videos (though you can use them in YouTube's own video editor, but hardly anyone uses that anyway ...). For more information on YouTube's video compression, read my answers &lt;a href=&quot;https://video.stackexchange.com/questions/15814/will-compression-format-of-audio-change-when-uploaded-to-youtube/15815#15815&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;https://video.stackexchange.com/questions/16324/h-264-or-vp9-for-encoding-for-youtube/16325#16325&quot;&gt;here&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead, I suggest you upload a high-quality version of your video to a dedicated file hosting service and put your licence terms there. You can also bundle your video file with a text-file containing a description of your licence terms and a link to the online licence. This eliminates all ambiguity and allows everyone to use your video under clearly-defined terms. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do this, put a link to the downloadable version of your video in your video description. Also, make sure to select the &lt;strong&gt;YouTube Standard Licence&lt;/strong&gt; for this video. This allows users access for only private, non-commercial viewing purposes (see &lt;a href=&quot;https://www.youtube.com/t/terms&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube terms section 6&lt;/a&gt;). This way, you can make sure there's no ambiguity regarding your licence terms. As a sideeffect, this will point people towards the high-quality version, meaning nobody will use a low-quality version ripped from YouTube, in case you care about that. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2016-12-25T12:58:13.847" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20237" PostTypeId="1" CreationDate="2016-12-25T15:52:08.717" Score="1" ViewCount="2047" Body="&lt;p&gt;I am trying to record all my old VHS tapes. I bought a video grabber, usbtv 4-1.2:1.0: Fushicai USBTV007 Audio-Video Grabber, but somehow that does not work well. I tried using VLC, but that has some strange effects. Often it shows past frames while running. Maybe some buffering is needed? I also tried ffmpeg, but that gives me a lot of errors, and also those past frames in between. Maybe the driver is not that good? I also tried in Windows using the software that came with it, called honestech vhs to dvd. That appears to not show the flickering/past frames issue, but it barely has any configuration options, so I would rather not use it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anybody have any experience with this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thx.&lt;/p&gt;&#xA;" OwnerUserId="17565" LastActivityDate="2017-09-26T15:07:58.330" Title="capturing video from VHS flickers" Tags="|video|capturing|vhs|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20238" PostTypeId="1" CreationDate="2016-12-25T22:35:42.763" Score="2" ViewCount="60" Body="&lt;p&gt;As a CIO in a small video production bussiness I'm making my team work more efficent using various tools.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recently I noticed that the file versioning on a local NAS server is still confusing for some of CGI dept guys and there are situations when they asks me where should they put 'those' files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really don't want to keep answering such questions so I'm looking for a program like GitHub / GitLab which will force video editing workers to just pull all the project revelant data (like hunderds GiGs of video clips, images, sounds and so on) and when it's ready - push every new or changed file intro adequate folder in NAS server structure (typically just ten's of MB's like new Premiere Pro project files).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tested programs like FreeFileSync and DirSync Pro, they may do the work, but I don't want to make everyone learn using a new program, so a Windows context menu entry such as &quot;Pull a new project...&quot; or &quot;Push changes of current project&quot; is a must! And because we are keeping every raw footage files, the sync must be one-way only.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know such simple programs which will do the job?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Marty&lt;/p&gt;&#xA;" OwnerUserId="17567" LastActivityDate="2017-01-29T12:12:20.607" Title="GitLab like program for easier collaborative video production" Tags="|software-recommendation|post-production|production|storage|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20239" PostTypeId="1" CreationDate="2016-12-25T23:40:09.413" Score="2" ViewCount="4508" Body="&lt;p&gt;I've just started using iMovie 10.1.4 and I've been trying to get rid of this annoying drop shadow effect. I created a new title, chose 'centred', typed the text I want, and set it to a light grey colour. But whenever I go into video preview, or watch the final movie, it comes up with this drop shadow shown below.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/nEIGy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nEIGy.png&quot; alt=&quot;Christmas Design with Drop Shadow&quot;&gt;&lt;/a&gt;&#xA;Is there any way to remove this? Any help would be appreciated!&lt;/p&gt;&#xA;" OwnerUserId="17569" LastEditorUserId="14523" LastEditDate="2016-12-27T13:01:13.687" LastActivityDate="2019-10-03T11:51:42.453" Title="Annoying drop shadow effect in iMovie" Tags="|imovie|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20240" PostTypeId="2" ParentId="20239" CreationDate="2016-12-26T03:06:26.337" Score="1" Body="&lt;p&gt;First, this is the right place to ask this question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, looking at iMovie, I think that the drop shadow is built into that particular title. Have you tried just using the &quot;Standard&quot; title and setting the font &amp;amp; color to the right one? It seems like that would fix the problem.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2016-12-26T03:06:26.337" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20241" PostTypeId="2" ParentId="20233" CreationDate="2016-12-26T13:38:38.663" Score="3" Body="&lt;p&gt;As far as I am aware, there isn't a way to disable Mercury Transmit if the viewer covers the UI, unless you set up a key binding. You can assign a keyboard shortcut to the &quot;Enable Transmit&quot; function in the keyboard preferences (I use ctrl+shift+' as it's similar to the maximise window shortcut). You can then use this key combination to toggle the full screen display on and off. &lt;/p&gt;&#xA;" OwnerUserId="8000" LastActivityDate="2016-12-26T13:38:38.663" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20246" PostTypeId="2" ParentId="20237" CreationDate="2016-12-27T20:19:53.853" Score="2" Body="&lt;p&gt;I did this a few years ago, digitized dozens of my family's old home videos. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The way I did it was, as at the time I was doing it from home and didn't have a IO device such as a DeckLink, I simply used a MiniDV Portable Recorder I got off eBay; which allows composite, component, and S-Video In. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once the VHS tapes were transferred to my &quot;Digital Intermediate&quot; so to speak, I simply did a standard FireWire Capture using Premiere. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This also provided me with a set of DV Master Tapes as a backup. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can likely get a used MiniDV HDV Record Deck off eBay for a few hundred dollars now that tape is dead; and just flip it when done (basically no cost if you can sell it for what you pay for it). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Going straight from Analog Tape, really requires a real IO device such as a DeckLink card to get good results, and a DeckLink card with analog IO will be much more expensive. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-12-27T20:19:53.853" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20247" PostTypeId="2" ParentId="19575" CreationDate="2016-12-27T20:22:11.280" Score="1" Body="&lt;p&gt;I'd second what Ham the Epic said. I use 128 GB of Ram and AE and PPro eats it up especially when there are lots of layers with masks or effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your only option to work around this would be to do the painful process of Masking your source with 1 layer; Render the Output Uncompressed, Import, Add 2nd Mask, and repeat. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This way you're only working with 1 mask at a a time. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-12-27T20:22:11.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20248" PostTypeId="2" ParentId="19977" CreationDate="2016-12-27T20:25:41.017" Score="0" Body="&lt;p&gt;If your LUT is applied to the footage files as a filter within the project (and it shows up in your Effects Controls Window Pane; order will matter, and you will want it at the TOP. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;PPro prioritizes from Top to Bottom for Effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can apply your LUT to the footage outside of PPro, where it actually writes to the clips metadata which Premiere would then interpret, then you don't need to add it in PPro; but you should still do the LUT process first. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use your LUT to color correct your footage to &quot;Primary&quot;. Then use your color correction effects to get the look you want once all your footage is graded to match. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-12-27T20:25:41.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20250" PostTypeId="2" ParentId="20199" CreationDate="2016-12-28T02:08:16.147" Score="5" Body="&lt;p&gt;It doesnt really matter what type of lighting instruments you use, tungsten, hmi, led, flo, so long as you use the same color temperature lights to light the screen as you do to gauge the lighting of your scene and subjects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do a lot of greenscreen work, and my best &quot;short&quot; advice:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.) Get as big a screen as you can afford. And get your subjects as far from it as possible. This will reduce back and side spill. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2.) Use 1/4 magenta CTM rosco gel for hair/cut lights, behind your subjects. The subtle magenta is complementary to green, and will give you a better key and better edges in post. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;3.) Avoid stray hairs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;4.) Use best codec possible. 444, 442, 422 being the worst. I shoot RED 3:1 and still have issues sometimes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;5.) Test shoot, and do your key in post, before you shoot. If you have fast moving action, you will want to shoot at a higher shutter speed. Motion Blur can be a problem. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;6.) It's easier to shoot at a higher f-stop, and get a sharper tack, and add back in blur/dof effects in post, than it is to shoot wide open with a long piece of glass. Blur causes masking issues. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;7.) Get Keylight for AE. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;8.) Have a dedicated waveform monitor if possible. You want your luma to be a straight line at 75 IRE. You will not be able to light your screen evenly by eye, you really need a waveform to get a spot on straight line, with no dips or falloff on the edges. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;9.) Dont let your subjects wear green. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2016-12-28T02:08:16.147" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20252" PostTypeId="2" ParentId="20225" CreationDate="2016-12-28T10:05:14.397" Score="1" Body="&lt;p&gt;And because there's always two ways of doing anything in After Effects: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;precompose the layer to which you want to apply the effect. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In the pre-compose dialogue choose &quot;leave all attributes…&quot;. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Resize the new composition to the size you need. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Then in the original composition apply the effect to the pre-comp.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-12-28T10:05:14.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20253" PostTypeId="2" ParentId="20219" CreationDate="2016-12-28T10:20:06.620" Score="4" Body="&lt;p&gt;…and because there's always two ways of doing anything in After Effects:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Select the layer.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;press &lt;kbd&gt;s&lt;/kbd&gt; to reveal the scale property of the layer. Note that you don't need to hold any modifier keys like &lt;kbd&gt;⌘ / ctrl&lt;/kbd&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;click and drag on the numbers in the scale property. If they're not visible hit &lt;kbd&gt;f4&lt;/kbd&gt;. By default the numbers are linked so that the layer will scale proportionately - there's a link icon that you can click to unlink them if you want to stretch or squash one dimension.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;This technique works for 3D layers as well as 2D&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2016-12-28T10:20:06.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20254" PostTypeId="2" ParentId="20214" CreationDate="2016-12-28T10:29:40.800" Score="0" Body="&lt;p&gt;And because there's always &lt;del&gt; two &lt;/del&gt; another way of doing things in After Effects:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;hit &lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;alt/option&lt;/kbd&gt;&lt;kbd&gt;ctrl/⌘&lt;/kbd&gt;&lt;kbd&gt;h&lt;/kbd&gt; to Scale and reposition selected layers to fit composition width, preserving image aspect ratio for each layer&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;hit &lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;alt/option&lt;/kbd&gt;&lt;kbd&gt;ctrl/⌘&lt;/kbd&gt;&lt;kbd&gt;g&lt;/kbd&gt; to Scale and reposition selected layers to fit composition height, preserving image aspect ratio for each layer.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If the layer is the same aspect ratio as the comp both will have the same effect. Note that this will also centre the layer to the comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/keyboard-shortcuts-reference.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Keyboard shortcuts&lt;/a&gt; are the key to working efficiently in AE. Even though that's a complicated chord it's hella useful.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2016-12-28T10:34:44.143" LastActivityDate="2016-12-28T10:34:44.143" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20255" PostTypeId="1" CreationDate="2016-12-28T14:41:18.670" Score="3" ViewCount="405" Body="&lt;p&gt;I (like everyone else) have some old home movies on VHS, VHS-C and 8MM (and maybe a couple DV even...).  I'd like to get them on my computer so I can edit them and store them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the past, I've used an old stand-alone DVD recorder that has an internal HD in it.  So, I'd record VHS to my DVR via the SVHS video cable, and then edit them on the DVR and burn to DVD.  Fine.  No problems.  But, I noticed most of the DVDs are blocky and have color banding issues.  The quality just isn't that great.  In some ways, the VHS actually looks better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want to do is find the best way (in a consumer sense) to convert these to digital.  I've heard of people using Hauppauge PVRs, I've heard of people using video capture cards, I've heard of FireWire though I'm still not sure what exactly that is...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I plan on buying an entirely new setup for this.  I figured I might take a look at AlienWare since they're built for gamers and would likely be the best &quot;off the shelf&quot; box to start with.  Can someone give me some input as to where I'd go from there?  I don't want to spend $10K doing it, but if it costs $3K I'd consider it a good investment.&lt;/p&gt;&#xA;" OwnerUserId="5869" LastActivityDate="2018-10-27T11:00:34.063" Title="Best quality conversion from VHS to digital domain (USA)" Tags="|video|encoding|conversion|digital-recording|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20256" PostTypeId="1" AcceptedAnswerId="20257" CreationDate="2016-12-28T17:31:58.253" Score="2" ViewCount="659" Body="&lt;p&gt;In my Premiere Pro CS6 sequence, I have a centered video clip with an image overlaid on top of it. I'm able to reposition the image just fine by double clicking it and then dragging it around.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to do the same to the video clip, however, it won't even select, let alone move around. I've tried making a new sequence (both preset and custom), I've hid the other video lines in the sequence so only the line with this clip is shown, and I've even tried deleting all the non-video items on the sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video clip I'm trying to reposition has been split into three separate clips with the Cutting Tool and then Grouped back together (I had to remove a few seconds of audio when someone's phone rang).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I fix this issue so that my video can be repositioned within the frame?&lt;/p&gt;&#xA;" OwnerUserId="11941" LastActivityDate="2016-12-28T17:31:58.253" Title="Why can't I select my grouped video clip to reposition it within the frame in Premiere Pro?" Tags="|premiere|editing|post-production|cs6|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20257" PostTypeId="2" ParentId="20256" CreationDate="2016-12-28T17:31:58.253" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;The video clip I'm trying to reposition has been split into three separate clips with the Cutting Tool &lt;strong&gt;and then Grouped together&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This is the key to your problem (emphasis mine). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Premiere Pro, you cannot move a video clip around within the frame in your Program Monitor view if it has been grouped together with other timeline objects. The application would have to reposition each grouped item with relation to the clip you are trying to select and reposition. This kind of chained action simply isn't supported, so it just prevents you from selecting the clip within the Program Monitor to begin with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will have to select each of the grouped video clips on your Timeline, Ctrl-Click to bring up the context menu, and then select &lt;strong&gt;Ungroup&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/awMHs.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/awMHs.png&quot; alt=&quot;Ungroup option in the context menu&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will then be able to reposition your video clips within the frame. You can re-Group the video clips when you are finished, if you like.&lt;/p&gt;&#xA;" OwnerUserId="11941" LastActivityDate="2016-12-28T17:31:58.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20259" PostTypeId="1" CreationDate="2016-12-28T19:17:38.140" Score="-1" ViewCount="29" Body="&lt;p&gt;I plan on recording a podcast on Garageband. I have rode procaster mic. I will be using one mic and one phone input with irig to connect audio caller, I need one more input to connect ipad to play music during the recording. So basically three inputs is what i need so far, which USB mixer do you recommend that can record individual tracks in garageband for my voice/caller and music? Something not too expensive ofcourse. &lt;/p&gt;&#xA;" OwnerUserId="17587" LastActivityDate="2016-12-30T11:52:11.050" Title="What mixer should I use?" Tags="|software-recommendation|audio-recording|podcast|mixer|usb|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20260" PostTypeId="1" AcceptedAnswerId="20261" CreationDate="2016-12-29T01:02:33.650" Score="3" ViewCount="125" Body="&lt;p&gt;I know there are many color grading programs around, DaVinci Resolve being a popular one. But I'm having trouble understanding what exactly they offer over a CC node in any compositing or editing application (like Fusion). As far as I understand, &quot;Color Grading&quot; is merely &quot;Creative Color Correction&quot;. I.e. color correction to achieve some creative goal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I read examples like &quot;directing the eye&quot; to something, making things more vibrant, etc. Well, those can all be done with a plain color corrector in any software, right?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I missing?&lt;/p&gt;&#xA;" OwnerUserId="17589" LastActivityDate="2016-12-29T05:40:02.973" Title="What does a color grading software offer over a compositor?" Tags="|color-grading|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20261" PostTypeId="2" ParentId="20260" CreationDate="2016-12-29T05:40:02.973" Score="4" Body="&lt;p&gt;The functionality of editing vs color grading vs compositing software is overlapping since every professional software can do a bit of everything. But they are experts in their own domain. Resolve has finer color controls (1), but also some functionality that you won't find in compositing software (2).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Will they merge some day? This does depend on the job roles. If several persons work on a project, each with his/her specialization of editing/grading/compositing, then it's better that each has his/her own program that focuses on just this task and does this best. If job roles blend (as we see with editing &amp;amp; grading), then we see programs emerge that are good at each of the tasks.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;(1) Example: A Resolve user can choose between at least three sets of mathematical formulas for the color wheels&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(2) Example: Automated shot matching&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2016-12-29T05:40:02.973" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20262" PostTypeId="1" CreationDate="2016-12-29T05:53:11.640" Score="1" ViewCount="1078" Body="&lt;p&gt;HI i am trying to add image to video and generate output.&#xA;Here is my command&#xA;ImagesFFMPeg Command is: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-y -i /storage/sdcard/BigBuckBunny_320x180.mp4 -i /sdcard/android.png -filter_complex [0:v][1:v]overlay=10:10[out] -map [out] -map 0:a -vcodec h264 -pix_fmt yuv420p /storage/sdcard/overlay.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDITED&lt;/strong&gt; Video that is getting generated in &lt;strong&gt;0 Bytes corrupted&lt;/strong&gt; is there anything i am doing wrong here.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    ffmpeg version n3.0.1 Copyright (c) 2000-2016 the FFmpeg developers&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   built with gcc 4.8 (GCC)&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   configuration: --target-os=linux --cross-prefix=/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/bin/i686-linux-android- --arch=x86 --cpu=i686 --enable-runtime-cpudetect --sysroot=/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/sysroot --enable-pic --enable-libx264 --enable-libass --enable-libfreetype --enable-libfribidi --enable-libmp3lame --enable-fontconfig --enable-pthreads --disable-debug --disable-ffserver --enable-version3 --enable-hardcoded-tables --disable-ffplay --disable-ffprobe --enable-gpl --enable-yasm --disable-doc --disable-shared --enable-static --pkg-config=/home/vagrant/SourceCode/ffmpeg-android/ffmpeg-pkg-config --prefix=/home/vagrant/SourceCode/ffmpeg-android/build/x86 --extra-cflags='-I/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/include -U_FORTIFY_SOURCE -D_FORTIFY_SOURCE=2 -fno-strict-overflow -fstack-protector-all -march=i686' --extra-ldflags='-L/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/lib -Wl,-z,relro -Wl,-z,now -pie' --extra-libs='-lpng -lexpat -lm' --extra-cxxflags=&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   libavutil      55. 17.103 / 55. 17.103&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   libavcodec     57. 24.102 / 57. 24.102&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   libavformat    57. 25.100 / 57. 25.100&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   libavdevice    57.  0.101 / 57.  0.101&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   libavfilter     6. 31.100 /  6. 31.100&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   libswscale      4.  0.100 /  4.  0.100&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   libswresample   2.  0.101 /  2.  0.101&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   libpostproc    54.  0.100 / 54.  0.100&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/storage/sdcard/BigBuckBunny_320x180.mp4':&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   Metadata:&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     major_brand     : isom&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     minor_version   : 512&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     compatible_brands: mp41&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     creation_time   : 1970-01-01 00:00:00&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     title           : Big Buck Bunny&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     artist          : Blender Foundation&#xA;12-29 01:37:59.926 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     composer        : Blender Foundation&#xA;12-29 01:37:59.936 26806-26937/practice.com.ffmpegprac D/dalvikvm: GC_FOR_ALLOC freed 478K, 14% free 4653K/5372K, paused 2ms, total 2ms&#xA;12-29 01:37:59.936 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     date            : 2008&#xA;12-29 01:37:59.936 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     encoder         : Lavf52.14.0&#xA;12-29 01:37:59.936 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   Duration: 00:09:56.46, start: 0.000000, bitrate: 867 kb/s&#xA;12-29 01:37:59.936 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     Stream #0:0(und): Video: h264 (Constrained Baseline) (avc1 / 0x31637661), yuv420p, 320x180 [SAR 1:1 DAR 16:9], 702 kb/s, 24 fps, 24 tbr, 24 tbn, 48 tbc (default)&#xA;12-29 01:37:59.936 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     Metadata:&#xA;12-29 01:37:59.946 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:       creation_time   : 1970-01-01 00:00:00&#xA;12-29 01:37:59.946 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:       handler_name    : VideoHandler&#xA;12-29 01:37:59.946 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 159 kb/s (default)&#xA;12-29 01:37:59.946 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     Metadata:&#xA;12-29 01:37:59.946 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:       creation_time   : 1970-01-01 00:00:00&#xA;12-29 01:37:59.946 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:       handler_name    : SoundHandler&#xA;12-29 01:37:59.946 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: Input #1, png_pipe, from '/sdcard/android.png':&#xA;12-29 01:37:59.946 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   Duration: N/A, bitrate: N/A&#xA;12-29 01:37:59.946 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     Stream #1:0: Video: png, pal8(pc), 429x343, 25 tbr, 25 tbn, 25 tbc&#xA;12-29 01:37:59.976 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] using SAR=1/1&#xA;12-29 01:37:59.976 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] using cpu capabilities: none!&#xA;12-29 01:37:59.976 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] profile High, level 1.2&#xA;12-29 01:37:59.976 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] 264 - core 148 - H.264/MPEG-4 AVC codec - Copyleft 2003-2015 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=24 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;12-29 01:37:59.976 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: Output #0, mp4, to '/storage/sdcard/overlay.mp4':&#xA;12-29 01:37:59.976 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   Metadata:&#xA;12-29 01:37:59.976 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     major_brand     : isom&#xA;12-29 01:37:59.976 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     minor_version   : 512&#xA;12-29 01:37:59.986 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     compatible_brands: mp41&#xA;12-29 01:37:59.986 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     date            : 2008&#xA;12-29 01:37:59.986 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     title           : Big Buck Bunny&#xA;12-29 01:37:59.986 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     artist          : Blender Foundation&#xA;12-29 01:37:59.986 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     composer        : Blender Foundation&#xA;12-29 01:37:59.986 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     encoder         : Lavf57.25.100&#xA;12-29 01:37:59.986 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 320x180 [SAR 1:1 DAR 16:9], q=-1--1, 24 fps, 12288 tbn, 24 tbc (default)&#xA;12-29 01:37:59.986 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     Metadata:&#xA;12-29 01:37:59.986 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:       encoder         : Lavc57.24.102 libx264&#xA;12-29 01:37:59.986 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     Side data:&#xA;12-29 01:37:59.986 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:       unknown side data type 10 (24 bytes)&#xA;12-29 01:37:59.996 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     Stream #0:1(und): Audio: aac (LC) ([64][0][0][0] / 0x0040), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;12-29 01:37:59.996 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:     Metadata:&#xA;12-29 01:37:59.996 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:       creation_time   : 1970-01-01 00:00:00&#xA;12-29 01:37:59.996 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:       handler_name    : SoundHandler&#xA;12-29 01:37:59.996 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:       encoder         : Lavc57.24.102 aac&#xA;12-29 01:37:59.996 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: Stream mapping:&#xA;12-29 01:37:59.996 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   Stream #0:0 (h264) -&amp;gt; overlay:main (graph 0)&#xA;12-29 01:37:59.996 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   Stream #1:0 (png) -&amp;gt; overlay:overlay (graph 0)&#xA;12-29 01:37:59.996 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   overlay (graph 0) -&amp;gt; Stream #0:0 (libx264)&#xA;12-29 01:37:59.996 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress:   Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;12-29 01:37:59.996 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: Press [q] to stop, [?] for help&#xA;12-29 01:38:00.436 26806-26937/practice.com.ffmpegprac D/dalvikvm: GC_FOR_ALLOC freed 491K, 14% free 4648K/5384K, paused 2ms, total 2ms&#xA;12-29 01:38:00.436 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: frame=   67 fps=0.0 q=28.0 size=      11kB time=00:00:02.88 bitrate=  32.1kbits/s speed=5.76x    &#xA;MainActivity: command in progress: frame= 3081 fps=220 q=28.0 size=    2230kB time=00:02:08.51 bitrate= 142.1kbits/s speed=9.16x    &#xA;n progress: frame= 8419 fps=227 q=28.0 size=    6176kB time=00:05:50.89 bitrate= 144.2kbits/s speed=9.46x    &#xA;12-29 01:38:37.506 26806-26937/practice.com.ffmpegprac D/dalvikvm: GC_FOR_ALLOC freed 479K, 15% free 4610K/5384K, paused 2ms, total 2ms&#xA;147.1kbits/s speed=9.25x    &#xA;12-29 01:39:02.076 26806-26937/practice.com.ffmpegprac D/dalvikvm: GC_FOR_ALLOC freed 453K, 14% free 4652K/5384K, paused 2ms, total 2ms&#xA;12-29 01:39:02.086 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: frame=13802 fps=222 q=28.0 size=   10320kB time=00:09:35.16 bitrate= 147.0kbits/s speed=9.26x    &#xA;12-29 01:39:02.586 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: frame=13917 fps=222 q=28.0 size=   10404kB time=00:09:39.96 bitrate= 147.0kbits/s speed=9.26x    &#xA;12-29 01:39:03.086 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: frame=14033 fps=222 q=28.0 size=   10486kB time=00:09:44.81 bitrate= 146.9kbits/s speed=9.26x    &#xA;12-29 01:39:03.586 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: frame=14154 fps=222 q=28.0 size=   10571kB time=00:09:49.84 bitrate= 146.8kbits/s speed=9.27x    &#xA;12-29 01:39:04.076 26806-26937/practice.com.ffmpegprac D/dalvikvm: GC_FOR_ALLOC freed 464K, 15% free 4620K/5384K, paused 3ms, total 3ms&#xA;12-29 01:39:04.086 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: frame=14265 fps=222 q=28.0 size=   10648kB time=00:09:54.49 bitrate= 146.7kbits/s speed=9.27x    &#xA;12-29 01:39:04.416 26806-26937/practice.com.ffmpegprac D/dalvikvm: GC_FOR_ALLOC freed 471K, 15% free 4622K/5384K, paused 4ms, total 4ms&#xA;12-29 01:39:04.416 26806-26937/practice.com.ffmpegprac D/dalvikvm: GC_FOR_ALLOC freed 478K, 15% free 4623K/5384K, paused 2ms, total 2ms&#xA;12-29 01:39:04.426 26806-26937/practice.com.ffmpegprac D/dalvikvm: GC_FOR_ALLOC freed 364K, 14% free 4660K/5384K, paused 4ms, total 4ms&#xA;12-29 01:39:04.426 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: frame=14315 fps=222 q=-1.0 Lsize=   11125kB time=00:09:56.37 bitrate= 152.8kbits/s speed=9.25x    &#xA;12-29 01:39:04.426 26806-26937/practice.com.ffmpegprac D/dalvikvm: GC_FOR_ALLOC freed 406K, 14% free 4679K/5384K, paused 3ms, total 3ms&#xA;12-29 01:39:04.426 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: video:1266kB audio:9453kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 3.784636%&#xA;12-29 01:39:04.436 26806-26937/practice.com.ffmpegprac D/dalvikvm: GC_FOR_ALLOC freed 465K, 15% free 4627K/5424K, paused 2ms, total 2ms&#xA;12-29 01:39:04.436 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] frame I:58    Avg QP:11.91  size:  2535&#xA;12-29 01:39:04.436 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] frame P:3607  Avg QP:25.51  size:   187&#xA;12-29 01:39:04.436 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] frame B:10650 Avg QP:32.15  size:    44&#xA;12-29 01:39:04.436 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] consecutive B-frames:  0.8%  0.0%  0.0% 99.2%&#xA;12-29 01:39:04.436 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] mb I  I16..4: 68.4% 11.5% 20.1%&#xA;12-29 01:39:04.456 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] mb P  I16..4:  0.7%  0.6%  0.6%  P16..4:  4.4%  1.5%  0.7%  0.0%  0.0%    skip:91.5%&#xA;12-29 01:39:04.456 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] mb B  I16..4:  0.0%  0.2%  0.0%  B16..8:  2.8%  0.6%  0.1%  direct: 0.1%  skip:96.1%  L0:50.1% L1:42.6% BI: 7.2%&#xA;12-29 01:39:04.456 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] 8x8 transform intra:29.0% inter:44.2%&#xA;12-29 01:39:04.456 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] coded y,uvDC,uvAC intra: 24.3% 29.8% 22.0% inter: 0.7% 0.6% 0.2%&#xA;12-29 01:39:04.456 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] i16 v,h,dc,p: 70% 30%  0%  0%&#xA;12-29 01:39:04.456 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 13%  7% 80%  0%  0%  0%  0%  0%  0%&#xA;12-29 01:39:04.466 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 29% 32% 25%  2%  2%  2%  2%  2%  3%&#xA;12-29 01:39:04.466 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] i8c dc,h,v,p: 50% 24% 25%  1%&#xA;12-29 01:39:04.466 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] Weighted P-Frames: Y:0.1% UV:0.0%&#xA;12-29 01:39:04.466 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] ref P L0: 73.9%  7.2% 13.6%  5.2%  0.0%&#xA;12-29 01:39:04.466 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] ref B L0: 71.4% 24.4%  4.3%&#xA;12-29 01:39:04.466 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] ref B L1: 94.2%  5.8%&#xA;12-29 01:39:04.476 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [libx264 @ 0xb8e776c0] kb/s:17.37&#xA;12-29 01:39:04.476 26806-26806/practice.com.ffmpegprac I/MainActivity: command in progress: [aac @ 0xb8e8f280] Qavg: 446.027&#xA;12-29 01:39:04.476 26806-26806/practice.com.ffmpegprac D/dalvikvm: GC_FOR_ALLOC freed 571K, 16% free 4599K/5424K, paused 2ms, total 2ms&#xA;12-29 01:39:04.476 26806-26806/practice.com.ffmpegprac I/MainActivity: command success: WARNING: linker: /data/data/practice.com.ffmpegprac/files/ffmpeg has text relocations. This is wasting memory and is a security risk. Please fix.&#xA;                                                                       ffmpeg version n3.0.1 Copyright (c) 2000-2016 the FFmpeg developers&#xA;                                                                         built with gcc 4.8 (GCC)&#xA;                                                                         configuration: --target-os=linux --cross-prefix=/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/bin/i686-linux-android- --arch=x86 --cpu=i686 --enable-runtime-cpudetect --sysroot=/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/sysroot --enable-pic --enable-libx264 --enable-libass --enable-libfreetype --enable-libfribidi --enable-libmp3lame --enable-fontconfig --enable-pthreads --disable-debug --disable-ffserver --enable-version3 --enable-hardcoded-tables --disable-ffplay --disable-ffprobe --enable-gpl --enable-yasm --disable-doc --disable-shared --enable-static --pkg-config=/home/vagrant/SourceCode/ffmpeg-android/ffmpeg-pkg-config --prefix=/home/vagrant/SourceCode/ffmpeg-android/build/x86 --extra-cflags='-I/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/include -U_FORTIFY_SOURCE -D_FORTIFY_SOURCE=2 -fno-strict-overflow -fstack-protector-all -march=i686' --extra-ldflags='-L/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/lib -Wl,-z,relro -Wl,-z,now -pie' --extra-libs='-lpng -lexpat -lm' --extra-cxxflags=&#xA;                                                                         libavutil      55. 17.103 / 55. 17.103&#xA;                                                                         libavcodec     57. 24.102 / 57. 24.102&#xA;                                                                         libavformat    57. 25.100 / 57. 25.100&#xA;                                                                         libavdevice    57.  0.101 / 57.  0.101&#xA;                                                                         libavfilter     6. 31.100 /  6. 31.100&#xA;                                                                         libswscale      4.  0.100 /  4.  0.100&#xA;                                                                         libswresample   2.  0.101 /  2.  0.101&#xA;                                                                         libpostproc    54.  0.100 / 54.  0.100&#xA;                                                                       Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/storage/sdcard/BigBuckBunny_320x180.mp4':&#xA;                                                                         Metadata:&#xA;                                                                           major_brand     : isom&#xA;                                                                           minor_version   : 512&#xA;                                                                           compatible_brands: mp41&#xA;                                                                           creation_time   : 1970-01-01 00:00:00&#xA;                                                                           title           : Big Buck Bunny&#xA;                                                                           artist          : Blender Foundation&#xA;                                                                           composer        : Blender Foundation&#xA;                                                                           date            : 2008&#xA;                                                                           encoder         : Lavf52.14.0&#xA;                                                                         Duration: 00:09:56.46, start: 0.000000, bitrate: 867 kb/s&#xA;                                                                           Stream #0:0(und): Video: h264 (Constrained Baseline) (avc1 / 0x31637661), yuv420p, 320x180 [SAR 1:1 DAR 16:9], 702 kb/s, 24 fps, 24 tbr, 24 tbn, 48 tbc (default)&#xA;                                                                           Metadata:&#xA;                                                                             creation_time   : 1970-01-01 00:00:00&#xA;                                                                             handler_name    : VideoHandler&#xA;                                                                           Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 159 kb/s (default)&#xA;                                                                           Metadata:&#xA;                                                                             creation_time   : 1970-01-01 00:00:00&#xA;                                                                             handler_name    : SoundHandler&#xA;                                                                       Input #1, png_pipe, from '/sdcard/android.png':&#xA;                                                                         Duration: N/A, bitrate: N/A&#xA;                                                                           Stream #1:0: Video: png, pal8(pc), 429x343, 25 tbr, 25 tbn, 25 tbc&#xA;                                                                       [libx264 @ 0xb8e776c0] using SAR=1/1&#xA;                                                                       [libx264 @ 0xb8e776c0] using cpu capabilities: none!&#xA;                                                                       [libx264 @ 0xb8e776c0] profile High, level 1.2&#xA;                                                                       [libx264 @ 0xb8e776c0] 264 - core 148 - H.264/MPEG-4 AVC codec - Copyleft 2003-2015 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=24 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;                                                                       Output #0, mp4, to '/storage/sdcard/overlay.mp4':&#xA;                                                                         Metadata:&#xA;                                                                           major_brand     : isom&#xA;                                                                           minor_version   : 512&#xA;                                                                           compatible_brands: mp41&#xA;                                                                           date            : 2008&#xA;                                                                           title           : Big Buck Bunny&#xA;                                                                           artist          : Blender Foundation&#xA;                                                                           composer        : Blender Foundation&#xA;                                                                           encoder         : Lavf57.25.100&#xA;                                                                           Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 320x180 [SAR 1:1 DAR 16:9], q=-1--1, 24 fps, 12288 tbn, 24 tbc (default)&#xA;                                                                           Metadata:&#xA;                                                                             encoder         : Lavc57.24.102 libx264&#xA;                                                                           Side&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17585" LastEditorUserId="17585" LastEditDate="2016-12-29T06:44:13.897" LastActivityDate="2016-12-29T06:44:13.897" Title="ffmpeg adding image overlay to video output" Tags="|ffmpeg|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="20263" PostTypeId="2" ParentId="20259" CreationDate="2016-12-29T18:30:49.407" Score="0" Body="&lt;p&gt;I have used Behringer mixers in the past and they have always done the job. Behringer makes a variety of mixers and plenty of them are priced below $100. Any of &lt;a href=&quot;https://www.amazon.com/s/ref=nb_sb_noss_2?url=search-alias%3Daps&amp;amp;field-keywords=behringer%20mixer&quot; rel=&quot;nofollow noreferrer&quot;&gt;these mixers&lt;/a&gt; should do the job. Just make sure you purchase the mixer with the appropriate number of inputs and any additional features you may want.&lt;/p&gt;&#xA;" OwnerUserId="17594" LastActivityDate="2016-12-29T18:30:49.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20264" PostTypeId="2" ParentId="20211" CreationDate="2016-12-29T18:34:24.020" Score="1" Body="&lt;p&gt;Great question! I would take a look at &lt;a href=&quot;http://abekislevitz.com/gopro-hero5-black/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Abe Kislevitz's blog&lt;/a&gt;. He is one of GoPro's senior Creative Directors and has a myriad of information on his website that covers the best settings to use on GoPros. &lt;/p&gt;&#xA;" OwnerUserId="17594" LastActivityDate="2016-12-29T18:34:24.020" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20265" PostTypeId="2" ParentId="20035" CreationDate="2016-12-30T07:46:06.637" Score="4" Body="&lt;p&gt;You seem to have a flickering light source that is out of sync with the camera's rolling shutter.&lt;/p&gt;&#xA;&lt;h3&gt;Traditional lights&lt;/h3&gt;&#xA;&lt;p&gt;You should first verify that you are filming in 60/30/24 fps in regions whose power grid uses a 60 Hz frequency, or in 25/50 fps for 50 Hz.&#xA;If that is impossible to achieve, you can also adapt your &lt;em&gt;shutter speed or angle&lt;/em&gt; to be &lt;a href=&quot;http://urbanvideo.ca/avoid-video-flicker&quot; rel=&quot;noreferrer&quot;&gt;a multiple of the utility frequency&lt;/a&gt;. Red provides a nice &lt;a href=&quot;http://www.red.com/tools/flicker-free-video&quot; rel=&quot;noreferrer&quot;&gt;calculator&lt;/a&gt; for this.&lt;/p&gt;&#xA;&lt;h3&gt;LED lights&lt;/h3&gt;&#xA;&lt;p&gt;Flickering can be particularly bad if you use low quality LEDs because their flicker index (or depth of modulation) can be &lt;a href=&quot;http://www.digikey.com/en/articles/techzone/2012/jul/characterizing-and-minimizing-led-flicker-in-lighting-applications&quot; rel=&quot;noreferrer&quot;&gt;worse than conventional light sources&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;They might also &lt;a href=&quot;http://www.davidsatz.com/aboutflicker_en.html&quot; rel=&quot;noreferrer&quot;&gt;flicker independently of the utility frequency&lt;/a&gt;. This is especially true for RGB lights or when dimming.&lt;/p&gt;&#xA;&lt;p&gt;If you can, choose good quality high frequency switching or flicker free LED drivers, or ones that are made for video. You shouldn't have any flicker problems with good LEDs. You can also try to disable dimming or setting the highest power output to reduce flicker.&lt;/p&gt;&#xA;" OwnerUserId="5569" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-06-05T15:34:23.010" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20266" PostTypeId="2" ParentId="20259" CreationDate="2016-12-30T11:52:11.050" Score="0" Body="&lt;p&gt;Both Alesis and Behringer make mixers where you plug your iPad in and can do all the work on the iPad touchscreen, they normally have at least 2 inputs (some having 4) and all work with the core audio and Garageband apps enabling you to record and mix multi-channels&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2016-12-30T11:52:11.050" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20267" PostTypeId="2" ParentId="20238" CreationDate="2016-12-30T11:54:21.130" Score="1" Body="&lt;p&gt;Try Resilio Sync it will push or pull or both files from a server, pc etc and keep them all updated.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2016-12-30T11:54:21.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20268" PostTypeId="2" ParentId="20239" CreationDate="2016-12-30T16:56:33.717" Score="0" Body="&lt;p&gt;The problem can mostly be due to the font and colour you are using. The font would be mostly the problem. Try changing these and see the result!&lt;/p&gt;&#xA;" OwnerDisplayName="user16291" LastActivityDate="2016-12-30T16:56:33.717" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20269" PostTypeId="2" ParentId="20219" CreationDate="2016-12-30T17:02:49.013" Score="1" Body="&lt;p&gt;When you click on the square to shape the image click on &lt;em&gt;Shift&lt;/em&gt; to make it any size of the image. Holding &lt;em&gt;Ctrl&lt;/em&gt; changes the image size, width and height. Pressing &lt;em&gt;Alt&lt;/em&gt; does the same as &lt;em&gt;Ctrl&lt;/em&gt; but instead makes a box to see how it will look with measurements. If you hold these buttons before you click on the squares, it will not really work. You can also do &lt;em&gt;Shift + Ctrl + Alt&lt;/em&gt; all together as it will do a live version of &lt;em&gt;Alt&lt;/em&gt;! Hope this helps :)&lt;/p&gt;&#xA;" OwnerDisplayName="user16291" LastActivityDate="2016-12-30T17:02:49.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20270" PostTypeId="1" CreationDate="2016-12-30T20:10:42.923" Score="12" ViewCount="15050" Body="&lt;p&gt;I have a video file, video.mp4. This file has 3 chapters, 'Beginning', 'Middle' and 'End'. I want to delete chapter 'Middle' (the actual video, not just the metadata) and combine chapters 'Beginning' and 'End' back into one file. The chapters appear to be stored as subtitles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do this with ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="17602" LastEditorUserId="17602" LastEditDate="2016-12-30T20:30:46.887" LastActivityDate="2019-12-20T18:09:30.250" Title="FFMPEG: Delete chapters" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20271" PostTypeId="1" AcceptedAnswerId="20273" CreationDate="2016-12-31T01:28:15.090" Score="1" ViewCount="29674" Body="&lt;p&gt;I have a long video made of assembled cut clips and sometimes I have to insert a black gap between two clips, for instance &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ax8h8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ax8h8.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Commonly I would select all the afterwards clips and zooooom out and drag and drop them a bit after as to make this gap but I would like to know if there exists a shortcut or a command to do that without to zoom out and select and drag&amp;amp;drop because on a video with a lot of clips sometimes it is time taking..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anything like tell adobe Premiere Pro, at this location where the cursor holds add a gap of n seconds ?&lt;/p&gt;&#xA;" OwnerUserId="17604" LastActivityDate="2019-01-20T22:55:44.713" Title="how to add a gap between clips in adobe premiere pro?" Tags="|premiere|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20273" PostTypeId="2" ParentId="20271" CreationDate="2016-12-31T12:13:26.860" Score="2" Body="&lt;p&gt;The closest thing in Premiere is the nudge keyboard shortcut. Select the clips you want to move and hit &lt;kbd&gt;⌘ / ctrl&lt;/kbd&gt;&lt;kbd&gt;←&lt;/kbd&gt; or &lt;kbd&gt;⌘ / ctrl&lt;/kbd&gt;&lt;kbd&gt;→&lt;/kbd&gt; to nudge the clips one frame forward or back, and hold the shift key  ( &lt;kbd&gt;⌘ / ctrl&lt;/kbd&gt;&lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;←&lt;/kbd&gt; or &lt;kbd&gt;⌘ / ctrl&lt;/kbd&gt;&lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;→&lt;/kbd&gt; ) to make it 5 frames. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can increase or decrease the amount it nudges in the preferences, so if you want &lt;kbd&gt;⌘ / ctrl&lt;/kbd&gt;&lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;←&lt;/kbd&gt; to nudge 5 seconds, open preferences then look for &lt;strong&gt;trim&lt;/strong&gt; and change the &lt;strong&gt;Large Trim Offset&lt;/strong&gt; amount to 125 (for 25fps, or 150 for 30fps).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-03-22T03:27:15.983" LastActivityDate="2018-03-22T03:27:15.983" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20274" PostTypeId="2" ParentId="20271" CreationDate="2017-01-01T02:06:42.223" Score="1" Body="&lt;p&gt;There is a much better way to do this.  If you have a Black Video clip (aka slug) in your Project, you can insert it (sliding all clips to the right) as follows:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select and copy the Black Video clip.  Then at the point where you want to insert it, choose Edit &gt; Paste Insert.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The clip or clips are pasted into the sequence, and the playhead jumps to the end of the pasted clip or clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the Black Video clip you are inserting is longer or shorter in duration than what you exactly want, you can make a ripple edit to the slug and clips to the right will ripple accordingly.  See &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/trimming-clips1.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this section&lt;/a&gt; of the Premiere documentation.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-01-01T02:06:42.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20276" PostTypeId="1" CreationDate="2017-01-01T09:31:07.200" Score="0" ViewCount="495" Body="&lt;p&gt;As the title says, I'm wondering if ffmpeg can create DVD subtitle streams from .ass or .ssa files. The key point being that I want libass to be used when rendering the subpictures, so they get rendered exactly according to the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried something like &lt;code&gt;ffmpeg -i input.avi -i input.ass -f vob -c:v mpeg2video -c:a ac3 -c:s dvdsub out.vob&lt;/code&gt; but it fails saying that picture subtitles are needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've also tried using spumux from the dvdauthor package, and while it does render subpictures, it reads only the timestamps and the text from the input, thus making the use of .ass or .ssa pointless.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If ffmpeg can't do it, what other options are there? CLI applications running on FreeBSD are prefered (most Linux open source applications can be compiled on FreeBSD, so those are fine), but I'll consider Windows GUI applications as well.&lt;/p&gt;&#xA;" OwnerDisplayName="user17556" LastEditorDisplayName="user17556" LastEditDate="2017-01-01T11:08:06.603" LastActivityDate="2017-01-01T11:08:06.603" Title="Can ffmpeg create DVD subtitle streams from (Advanced) SubStation Alpha files?" Tags="|subtitles|dvd|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20277" PostTypeId="1" AcceptedAnswerId="20307" CreationDate="2016-12-31T19:49:19.400" Score="2" ViewCount="89" Body="&lt;p&gt;It it possible to create a sort of pseudo freeze frame effect in post production on ordinary video or archival footage. For example, doing this in After Effects? &lt;/p&gt;&#xA;" OwnerUserId="17621" OwnerDisplayName="Sudesh" LastActivityDate="2017-01-05T04:08:31.953" Title="Creating a freeze frame type effect purely in post" Tags="|effects|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20279" PostTypeId="1" AcceptedAnswerId="20284" CreationDate="2017-01-01T14:10:34.667" Score="1" ViewCount="46" Body="&lt;p&gt;I'm new in film making and photography. Recently, I found my favorite film maker said that he loves some painters such as Edward Hoppers. The way he film is influenced by the drawings of Hoppers. So, do I have to learn about  fine art too? If yes, where do I have to start?&lt;/p&gt;&#xA;" OwnerUserId="17578" LastActivityDate="2017-02-01T10:07:53.710" Title="Learn fine art for cinematography?" Tags="|video-recording|filming|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20280" PostTypeId="2" ParentId="20279" CreationDate="2017-01-01T14:46:58.580" Score="0" Body="&lt;p&gt;No. You do not need to have any specific artistic genre background, as you can easily check by reading about a range of film makers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if you like this guy's style and want to do something similar it could benefit you. And any learning will be good to add ideas and techniques to your toolkit.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2017-01-01T14:46:58.580" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20283" PostTypeId="1" AcceptedAnswerId="20285" CreationDate="2017-01-02T00:02:27.747" Score="0" ViewCount="21572" Body="&lt;p&gt;Let's say I have a 30 fps video created by a camera panning at a constant speed while filming some static scenery.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I watch the video, the motion in the video is perfectly smooth.&lt;br&gt;&#xA;When I double the speed, the motion continues to be perfectly smooth.&lt;br&gt;&#xA;When I halve the speed, the video looks choppy but again the motion continues to look smooth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem comes when I try to change the speed by irregular numbers.&#xA;Let's say I want to change the speed of the video to 120%. I then export the video at 30 FPS. The motion in the video then becomes visually choppy, jerky.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I quickly figured out what is happening:   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;By increasing the speed, my 30 FPS video becomes &lt;code&gt;30 * 1.2 = 36 FPS&lt;/code&gt;. But I am exporting at the standard 30 FPS so every 6th frame is dropped. This means that every 5 frames the camera moves at double speed. If I look at the motion frame by frame the camera movement is: slow, slow, slow, slow, FAST, slow, slow, slow, slow, FAST, slow, slow, slow, slow, FAST, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So finally my question is what option do I have to get smooth motion or hide this problem when changing the speed of the video by small intervals?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shooting at a higher shutter speed is not an option in my opinion, as it just blurs the motion until the problem is not visible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Adobe Premiere and Adobe After Effects.&#xA;Will the Time Warp plugin in After Effects be able to create smooth motion by using motion vectors? What if there is active movement in the scene? Will it still look good?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have yet to see people truly understand this problem. How is this effect called? Does anyone have any link or article explaining what I described?&lt;/p&gt;&#xA;" OwnerUserId="17619" LastEditorUserId="18155" LastEditDate="2019-09-19T09:34:42.453" LastActivityDate="2019-09-19T09:34:42.453" Title="How to get smooth motion when changing clip speed?" Tags="|video|premiere|framerate|motion|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="20284" PostTypeId="2" ParentId="20279" CreationDate="2017-01-02T00:03:53.560" Score="1" Body="&lt;p&gt;If you want to develop your craft beyond just technical proficiency then I'd say that being open to the broadest range of influences is crucial. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vRtgc.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vRtgc.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;For example: if you want to learn about lighting for portraits or interviews, go look at Rembrandt or Vermeer. You can learn a huge amount from the way the old masters used light and composition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for where to start: go to a gallery. Walk around and find an artist that you like, whatever style it is. Read about them and take it from there. A good intro to the history of modern art movements (Impressionism onwards) is the book &lt;em&gt;&lt;a href=&quot;https://booko.com.au/works/4092523&quot; rel=&quot;nofollow noreferrer&quot;&gt;What Are You Looking At?&lt;/a&gt;&lt;/em&gt; by Will Gomperz.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-01-02T09:10:45.907" LastActivityDate="2017-01-02T09:10:45.907" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20285" PostTypeId="2" ParentId="20283" CreationDate="2017-01-02T01:38:48.150" Score="3" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;Shooting at a higher shutter speed is not an option in my opinion, as it just blurs the motion until the problem is not visible.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I don't get that part. Isn't hiding the problem until it is no longer visible what you want?&lt;br /&gt;&#xA;Also, a higher shutter speed results in less blurred frames, not the other way around.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;I quickly figured out what is happening: by increasing the speed, my 30 FPS video becomes 30*1.2=36FPS. But I am exporting at the standard 30FPS so every 6th frame is dropped.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;This is the default behaviour of the Media Encoder. Adobe calls it Frame Sampling. As you said, since frames will be dropped at regular intervals, it will produce curious results.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;So finally my question is what option do I have to get smooth motion or hide this problem when changing the the speed of the video by small intervals?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Use one of the other Time Interpolation modes Premiere Pro has to offer. At the bottom of the Export Settings dialog, there's a dropdown menu containing three options: Frame Sampling, Frame Blending and Optical Flow. You will find the same dropdown menu in the Speed/Duration panel that can be accessed via the context-menu to change the interpolation mode of individual clips.&lt;/p&gt;&#xA;&lt;p&gt;From the &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/duration-speed.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;The Optical Flow feature in Premiere Pro uses frame analyses and pixel motion estimation to create brand new video frames, resulting in significantly smoother speed changes, time-remapping, and frame-rate conversion. [...]&lt;/p&gt;&#xA;&lt;p&gt;Frame Sampling repeats or removes frames as needed to reach the desired speed. Frame Blending repeats frames, and it also blends between them as needed to help smooth out the motion.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://blogs.adobe.com/creativecloud/optical-flow-time-remapping-tips-tricks-for-best-results/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here's another helpful article on using the Optical Flow interpolation.&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I suggest you try all the interpolation modes and see what works best for your footage.&lt;/p&gt;&#xA;&lt;p&gt;One more thing, you probably don't want to hear that, but 30 fps video is really bad for doing slow or fast motion effects (except maybe timelapses with 200% speed or more). As you explained yourself, there's not that many frames to go on so some frames will need to be dropped, synthesised or blended in some way which looks subpar at best. The interpolation algorithms do a decent job, but it will never look as good as it would with footage that was shot at a higher frame rate in the first place.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-01-02T01:38:48.150" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20287" PostTypeId="1" AcceptedAnswerId="20295" CreationDate="2017-01-02T15:48:39.960" Score="2" ViewCount="160" Body="&lt;p&gt;With most movies, you can tell at a glance, if it is (or supposed to be) a blockbuster or not, by how the image looks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even some American TV-series look better (in my oppinion) than most european films.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't want to adress any content here, it's just about the look and feel of the final image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes, when you can see some &quot;raw&quot; footage of the films (on the making of), it looks similar to final products of the others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I was wondering, what makes that distinctive difference, of the cinematic feel, to all the other films.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that they have a higher budget and a lot more crew members, but what makes that distinctive difference? And what do these additional people do? so that you can tell the difference in the end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is is the lighting, the camera, the lenses, the color grading at the end...&#xA;or something completely different, I haven't thought of?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not interessted on how Motion Picture differantiates from News or Sports Photography, because they want to acchieve different things.&#xA;I'm especialy interessted in the differences of european and american blockbusters (Excludeing England, because they are similar, by the quality of produced video as the Americans). (I know, that the budget is a big factor and that for example German films seldomly have a budget higher than 10 Millions, and that 200+ Million Dollar films are almost a standart in Hollywood (for Blockbusters).&lt;/p&gt;&#xA;" OwnerUserId="17625" LastEditorUserId="17625" LastEditDate="2017-01-03T07:29:32.963" LastActivityDate="2017-01-03T07:29:32.963" Title="How to get the Cinematic look" Tags="|video-quality|camera|lighting|color-grading|lenses|" AnswerCount="1" CommentCount="3" ClosedDate="2017-01-08T12:55:39.550" ContentLicense="CC BY-SA 3.0" />
  <row Id="20288" PostTypeId="2" ParentId="20283" CreationDate="2017-01-02T16:32:09.923" Score="2" Body="&lt;p&gt;There is a substantial body of literature explaining how frame rate and shutter speed relate to achieve desirable perceptions of motion.  In general, a shutter speed that is 1/2 of the frame rate (1/48th of a second for a 24fps frame rate) gives the best results.  But there are reasons one would choose a (relatively) shorter or longer shutter speed, including the reason that the playback rate will be different than the capture rate.  But first and foremost, one should understand how playback rate and shutter speed interact before worrying about interpolation strategies.  The literature discusses not only this, but also acceptable rates of panning speed for a given field of view and shutter speed rate.  Here is but &lt;a href=&quot;http://www.red.com/learn/red-101/camera-panning-speed&quot; rel=&quot;nofollow noreferrer&quot;&gt;one example of such a discussion&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also a substantial body of literature explaining how frame rate interpolations work or break down under various conditions of frame rate changes (some of which you have already noticed).  Some frame rate interpolations work best with more motion blur.  Some work better with less motion blur.  And if you have not done the math ahead of time, you can find yourself with a frame rate and a shutter speed that will result in universally poor results regardless of the interpolation strategies available to you.  In general, if you want to give optical flow a chance, you need sharp pixels, not blurry ones.  Optical flow can both create &quot;tweens&quot; (synthetic frames in between actual frames captured by the sensor) and it can create motion blur for all frames (both real and synthetic).  This is a computationally expensive process, and it is not uncommon for high-end production houses to actually customize their software to make it work best for the footage they have.  But if you take care ahead of time, knowing what shutter speed will minimize the motion blur within your sequences, and knowing what types of subjects or objects to avoid so as not to break the quality of your optical flow engine, you can use software to realistically create in-between frames.  If you don't prep ahead of time, you are likely to get results that are very artificial, calling attention to the algorithmic limitations of the software rather than the brilliance of your art-direction.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-01-02T16:32:09.923" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20289" PostTypeId="1" CreationDate="2017-01-02T16:58:34.567" Score="0" ViewCount="64" Body="&lt;p&gt;I have created a educational website in wordpress where I want to put videos for students. I have the following questions regarding this matter [I need help as I do not have technical background regarding this]:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1]. Which is the video format which will be accessible for students A]. without they having to install any software...B]. Which will be easy to play even on mobiles&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2]. I want to prevent the students from copy pasting and downloading the videos. they should be able to read, see and hear...but not download / copy paste as I have copyrighted these material&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3]. Are there any websites which have done this / which I could refer to ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Awaiting your response&#xA;Thanks in advance&#xA;Harsha  &lt;/p&gt;&#xA;" OwnerUserId="17626" LastActivityDate="2017-01-02T17:36:22.717" Title="About Video Formats and prevention of download of videos" Tags="|video|video-editor|software-recommendation|webvideos|copyright|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20291" PostTypeId="2" ParentId="20289" CreationDate="2017-01-02T17:36:22.717" Score="4" Body="&lt;h2&gt;If you don't want your stuff to be stolen, don't put it on the internet&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;People need to be able to watch your video on their computers. For that purpose, it needs to be downloaded to their computers. If it's on their computer, they have it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are ways to protect your video, but those are not failsafe and will inevitably result in a poor user experience. If I visit your site to watch a video and find that I need to install a DRM plugin before I can watch your video (&lt;em&gt;cough&lt;/em&gt; Silverlight &lt;em&gt;cough&lt;/em&gt;), I close the tab and don't come back. By being overly protective of your video, you are hurting your own views and you don't actually stop people who &lt;em&gt;really&lt;/em&gt; want to steal your video for whatever reason. The most intricate of DRM systems can't prevent me from simply using a screen capture software. &lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Don't worry, be happy&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Just put your video on YouTube or Vimeo and embed it into your site. This will also benefit your views, since your videos can get recommended to users on the hosting site, so they potentially create traffic for your website as well. Yes, people can download the videos. In fact, it's legal to do so in most jurisdictions (in Germany for example, it would be called a &lt;a href=&quot;https://de.wikipedia.org/wiki/Privatkopie&quot; rel=&quot;noreferrer&quot;&gt;private copy&lt;/a&gt;). This doesn't give them the right to share it anywhere else and if they do, you can sue them. If you feel so strongly about protecting your content, you can even hire someone to search the internet for illegal copies of your video and have them sue the unlawful uploaders. Yes, I know, you can't search the entire internet. There may be copies of your video floating around on the deep web that you don't know about, but who cares? If it's hidden well enough that you can't find it, your viewers won't find it either. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You see the same thing in the photo community. People slap their huge ugly copyright notice, website link or logo on their photos to 'protect' them. But the people that care about that will just crop the copyright notice or blur it out. So the photographers make them bigger, have them cover the entire photo until it's barely visible any more. In the end, they are just damaging their own content. Don't do that. &lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Don't host your video yourself&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;It never works as well as a dedicated video hosting platform. It just doesn't. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-01-02T17:36:22.717" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20292" PostTypeId="1" AcceptedAnswerId="20297" CreationDate="2017-01-02T18:43:55.247" Score="0" ViewCount="1007" Body="&lt;p&gt;I dropped +100 images in After Effects, I would like to make a simple slideshow, and for this I have to separate/slice each layer sequentially every 5 seconds (that is the duration I want for each image/transition). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please see the image below to understand better what I mean:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PW7jz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PW7jz.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I wonder if exists a simple technique to do this programatically with all the layers, instead of manually dragging one per one. Maybe a simple hotkey combination to move the start of the layer to the current position in the timeline, or better a built-in feature like &quot;Expressions&quot; or maybe a external script or plugin for AE?.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;UPDATE:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I found a expression example that I think it could be helpful for what I want, however, I can't find the way to adapt it for the simple task that I require. (my After Effects knowledges are very basics)&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/expression-examples.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Expression example: Create a trail of images&lt;/a&gt; &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="4197" LastEditorUserId="4197" LastEditDate="2017-01-02T18:55:39.043" LastActivityDate="2017-01-03T02:13:46.407" Title="Separate all layers every &quot;X&quot; interval of time in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20293" PostTypeId="1" AcceptedAnswerId="20316" CreationDate="2017-01-02T18:52:59.200" Score="0" ViewCount="1160" Body="&lt;p&gt;I was thinking that for VFX, they used Maya or some other animation software (especially for Dr.Strange) and for the video production, they used Sony Vegas or After Affects. And of course, they might have also made some of the movie visual effects directly from the video production software itself (for example, in AfterEffects you can make VFX in the software itself). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Those were just my guesses, but if you guys have any ideas or links to what VFX and video production softwares were used in Dr.Strange and Civil War, please state them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="17249" LastActivityDate="2017-01-05T07:44:59.560" Title="What VFX and video production softwares are used in movies like &quot;Captain America: Civil War&quot; and &quot;Doctor Strange&quot;?" Tags="|video|software|visual-effects|" AnswerCount="1" CommentCount="3" ClosedDate="2017-01-08T12:56:05.877" ContentLicense="CC BY-SA 3.0" />
  <row Id="20295" PostTypeId="2" ParentId="20287" CreationDate="2017-01-02T20:43:48.447" Score="3" Body="&lt;p&gt;There are a few important things to consider:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;Lighting&lt;/strong&gt; is perhaps the most important aspect to creating a filmic image. A lot of filmmakers like to use natural light such as Innaritu on The Revenant. I remember from the BTS that they had maybe 2 hours a day for a week or so to film the 3 minute scene because he only wanted to use natural light. In the studio, however, there are a whole slew of LED lights, fresnels, bounces, softboxes, diffusion, .etc. all set up to make the scene, and the actor look perfect. Almost every angle is thought of, from the lighting of a plant in the background to the color temperature of each light. This is a massive undertaking, and I wouldn’t be surprised in any given scene of a blockbuster movie you will have upwards of 100-200k worth of lighting working on set.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Dynamic range/camera.&lt;/strong&gt; More and more, directors and cinematographers are opting for using digitial cameras because of their epic post production workflow and there easy integration into vfx. Cameras like the Arri Alexa and the Red Epic can record up to 18 stops of dynamic range. Take the Sony A7Sii for example, a rather pro-sumer grade camera used in a lot of indie productions, with only ~11 stops of dynamic range it is miles behind the Red in terms of the latitude one can get in post-production. This latitude, or the ability to adjust the exposure of minute details to larger troublesome areas such as a blown out window is why dynamic range is so important. Naturally, in order to get the most out of a cameras dynamic range, blockbuster films typically record in logarithmic formats. Arri and Red cameras can record in a RAW format (sensor data, rather than processed sensor data is recorded) which is just like DSLR raw where exposure and color temp (among other things) can be altered after the fact without loss in quality.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Color grading/color correction.&lt;/strong&gt; Dynamic range would be almost useless if it weren’t for a skilled hand behind the knobs adjusting each and every aspect of the scene to perfect exposure, color temp, .etc. Using power windows with track masks the colorists can add definition to one side of an actors face, or darken it more to fit an ominous scene. They can color a certain act to be warmer when the actors get married, and then can color the next act to be bluer when they get divorced.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Lenses.&lt;/strong&gt; Lenses have the power to imbue a certain je ne sais quoi to a scene. Cinema lenses such as those produced by Cooke or Panavision are made to a technical standard that most consumer or pro-sumer manufactures couldn’t economically match. In addition, these lenses all have different characteristics that distort the way the camera, and by extension, the audience, experience a space. Some directors prefer to use anamorphic lenses because it instills a classic cinema-type vibe, and gives the movie a certain look.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Audio.&lt;/strong&gt; No-brainer. Good audio can make or break a scene. From ADR to using multiple mics on an actor; picking the right mic for the job .etc. a good image is nothing without good audio. Naturally, this audio is mixed to perfection in post.&#xA;So in general, if you are a small-producer of wedding films or corporate docs; whatever the case may be. You can take some tips from Hollywood. Focus on lighting. I cannot stress this enough. A 70d can look cinematic if you have the right lighting. Learn about large diffuse light sources, negative fill, bounces, .etc. You may not have a big boy toy such as the Alexa or the Epic, but you can get the most out of your A7S or whatever the camera you may have by spending time doing color grading and learning about how to properly expose for and use LOG. Experiment with different lenses. And of course, don’t let your audio fall by the way side. &#xA;Overally, what makes a blockbuster a blockbuster is the combination of many many different skilled professionals acting in unison. It is unlikely you can economically match the level of a blockbuster film, but you can get close.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;** I’ve only focused on technical aspects. If your actors suck, or your setting sucks… well you won’t have a very good video.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2017-01-02T20:43:48.447" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20296" PostTypeId="2" ParentId="12825" CreationDate="2017-01-02T21:56:11.030" Score="0" Body="&lt;p&gt;It's 60 MBPS or about 8MBps for 4k 30fps, just bought an SD Card for my GoPro Hero 5 and it sucked. Need over 80mbps really if you want to use the 4K VID.&lt;/p&gt;&#xA;" OwnerUserId="17628" LastEditorUserId="2836" LastEditDate="2017-01-04T14:13:43.607" LastActivityDate="2017-01-04T14:13:43.607" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20297" PostTypeId="2" ParentId="20292" CreationDate="2017-01-03T02:13:46.407" Score="5" Body="&lt;p&gt;No scripting or expressions are needed, it's built-in to After Effects:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Drop all your frames into a comp… &lt;/li&gt;&#xA;&lt;li&gt;go to the 5 second mark…&lt;/li&gt;&#xA;&lt;li&gt;with all layers selected, hit &lt;kbd&gt;alt&lt;/kbd&gt;&lt;kbd&gt;]&lt;/kbd&gt; or &lt;kbd&gt;option&lt;/kbd&gt;&lt;kbd&gt;]&lt;/kbd&gt; to trim the end of the layer to the current time…&lt;/li&gt;&#xA;&lt;li&gt;still with all the layers selected either right-click or go to the top menu and choose &lt;strong&gt;Animation&gt;Keyframe Assitant&gt;Sequence Layers&lt;/strong&gt;…&lt;/li&gt;&#xA;&lt;li&gt;in the dialog that comes up you can choose to overlap the layers and to add dissolves. Usually for a slideshow you will choose to dissolve the top layer only. Dissolving top and bottom layers mean that the background shows through in the middle of the dissolve.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-01-03T02:13:46.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20298" PostTypeId="2" ParentId="10820" CreationDate="2017-01-03T02:15:01.790" Score="0" Body="&lt;p&gt;There are several ways. I used one that was super practical but I don't remember it anymore. So now I reseting the workspace to default: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;window -- workspace -- reset current workspace &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is not the best way, but if you don't have a great number of titles to edit, it might work fine. &lt;/p&gt;&#xA;" OwnerUserId="17631" LastActivityDate="2017-01-03T02:15:01.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20299" PostTypeId="1" AcceptedAnswerId="20300" CreationDate="2017-01-03T03:25:40.170" Score="1" ViewCount="675" Body="&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/18469/is-it-possible-to-speed-up-a-video-using-handbrake&quot;&gt;&quot;Is it possible to speed up a video using handbrake?&quot;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the above link, Mulvya show us how to speed up a video, but I want to know, if possible, how can I speed the video joining two or more videos and increasing the frame rate, for example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have 2 video files, which I need to join. Both are at 30fps and I want to speed up to 5 times and increase the frame rate to 60fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do it?&lt;/p&gt;&#xA;" OwnerUserId="17632" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-01-03T05:40:09.173" Title="Speeding Up, Joining and Increasing Frame Rate FFMPEG" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20300" PostTypeId="2" ParentId="20299" CreationDate="2017-01-03T05:40:09.173" Score="1" Body="&lt;p&gt;Assuming audio's not a concern,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in1.mov -i in2.mov -filter_complex&#xA;       &quot;[0]setpts=(PTS-STARTPTS)/5[a];[1]setpts=(PTS-STARTPTS)/5[b];[a][b]concat[v]&quot;&#xA;       -map &quot;[v]&quot; -r 60 -crf 18 output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-01-03T05:40:09.173" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20302" PostTypeId="1" AcceptedAnswerId="34072" CreationDate="2017-01-03T16:00:50.330" Score="4" ViewCount="1350" Body="&lt;p&gt;I know that a Grey Card is used for the white balance of the camera, but whate are the Grey Balls used for?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On big Productions, there is usually a guy (what is his job?) that holds up a grey ball and a &quot;mirror&quot;-colored/reflective ball.&#xA;What is this used for? Is this for digital effects added in post and to see the light and the direction of light?&#xA;What is the purpose of them?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, sometimes, there is the use of a reference card (a paper with many little colored squares on there).&#xA;What is that used for?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this to adjust the color of the digitally added material?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This can't be added to adjust the images in post, because they should be the same (because of white balance), is it? Does dynamic range matter with these kind of things?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are these balls called and what for are they used?&#xA;What Role/Job does the person holding them have? Does he has other duties or is he/her just holding them?&lt;/p&gt;&#xA;" OwnerUserId="17625" LastEditorUserId="17625" LastEditDate="2017-01-04T17:08:02.940" LastActivityDate="2021-07-04T17:10:38.607" Title="What are Grey Balls used for?" Tags="|camera|color-correction|post-production|visual-effects|multi-camera|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20303" PostTypeId="2" ParentId="10620" CreationDate="2017-01-03T16:38:58.867" Score="1" Body="&lt;p&gt;For simple music visualization videos for YouTube, you could check out &lt;a href=&quot;https://www.musicvideodispenser.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.musicvideodispenser.com&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It automatically generates a finished video based on an mp3 file you provide.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Disclaimer:&lt;/strong&gt; I'm one of the creators of the service.&lt;/p&gt;&#xA;" OwnerUserId="17639" LastActivityDate="2017-01-03T16:38:58.867" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20304" PostTypeId="1" CreationDate="2017-01-03T20:34:29.953" Score="1" ViewCount="3151" Body="&lt;p&gt;In After Effect when you import a Photoshop file you can import individual layers, and if there are text layers in your file, you can edit them into after effects by converting into editable text. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Premiere Pro you can import these individual layers but I can't find a way to edit text layers/change there text formatting in premiere pro. You can do that in Photoshop a change will reflect in premiere pro, but is it possible to do inside premiere pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suppose I imported a file with a background layer, one text layer with &quot;Anshuman Chandel&quot; in that layer. Now I want to change &quot;Anshuman Chandel&quot; with &quot;foo bar&quot;. I can do that by &quot;edit into Photoshop&quot; option, but can this be done in premiere pro itself as in After Effect?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="17581" LastActivityDate="2017-01-10T06:17:01.760" Title="Import editable Photoshop text layers into Premiere pro cc 2015?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20306" PostTypeId="2" ParentId="20302" CreationDate="2017-01-04T01:56:30.080" Score="5" Body="&lt;p&gt;Yes, they are used for adding visual effects in post. The mirrored ball is for creating an environment map or &lt;a href=&quot;https://en.wikipedia.org/wiki/Reflection_mapping&quot; rel=&quot;noreferrer&quot;&gt;reflection map&lt;/a&gt;. These maps provide the same lighting from the real scene to the virtual scene where graphics are created to composite into the existing scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe the grey ball is used for recording more diffuse lighting from all angles, though I'm not positive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The cards with either black and white or colored square patterns on them are for &lt;a href=&quot;https://en.wikipedia.org/wiki/Match_moving&quot; rel=&quot;noreferrer&quot;&gt;motion tracking&lt;/a&gt;, &lt;a href=&quot;https://en.wikipedia.org/wiki/Image_stabilization#Digital_image_stabilization&quot; rel=&quot;noreferrer&quot;&gt;image stabilization&lt;/a&gt;, and orientation. They're often used to replace computer or mobile phone screens, for example.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-01-04T01:56:30.080" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20307" PostTypeId="2" ParentId="20277" CreationDate="2017-01-04T04:21:28.847" Score="1" Body="&lt;p&gt;Yes it is. The idea is rather simple - you want to create a parallax effect.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Basically you take an object of interest in the foreground and roto/mask the object/person out. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You then duplicate that layer and reverse the mask for the background. At this point it should look exactly as it did at the beginning.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now what you do is turn the layers into 3d objects. Position the background far away in 3d space, and scale it up so that it matches with the foreground layer as it did during Step 2.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now create a camera and you can pan slightly and zoom to create the desired effect. Note that this may take some playing around, perhaps by scaling the background or the foreground layers more so that there is no clear 'space' between them.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If you want to do this with moving footage I would say it's probably not worth it as you'd have to do a lot of roto. But assuming you just want to do this with a freeze frame, it shouldn't take you that long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Site note: usually what sells this effect is if you have something else moving really really slowly with the still frame grabs. Such as a 3d object you can manipulate in space. See &lt;a href=&quot;https://www.youtube.com/watch?v=V5niaBQEpVQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastEditorUserId="10619" LastEditDate="2017-01-05T04:08:31.953" LastActivityDate="2017-01-05T04:08:31.953" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20308" PostTypeId="1" CreationDate="2017-01-04T07:45:03.543" Score="2" ViewCount="68" Body="&lt;p&gt;I use Motion 5 to create credit roll export. &#xA;It just looks awesome. THEN, I import it into FCPX and after export, it looks jumpy. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have the golden tip? I've heard about Motion Blur.. tried it.. didn't do the job. I'm beginning to think that I have to export the file without credits and import into Motion 5 to attach the credits and export again.. &#xA;(Haven't tried that, but a .mov from motion works)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Appreciate the input. &lt;/p&gt;&#xA;" OwnerDisplayName="user17295" LastEditorUserId="11523" LastEditDate="2017-01-04T13:06:15.897" LastActivityDate="2017-03-05T14:30:41.840" Title="Credit Rolls.. How do I get the credit rolls to look good? FCPX and Motion5" Tags="|editing|post-production|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20311" PostTypeId="2" ParentId="20308" CreationDate="2017-01-04T13:05:29.887" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;it looks jumpy&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Most probably you have mismatch of framerates between Motion 5 project and FCPX. Check if they match. Also check all other video settings, to match your FCPX composition.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-01-04T13:05:29.887" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20312" PostTypeId="2" ParentId="19461" CreationDate="2017-01-04T18:04:43.140" Score="1" Body="&lt;p&gt;I found a solution to my problem:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ffmpeg can use a http stream as input:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i YoutubeVideoOnlyURLHere -i YoutubeAudioOnlyURLHere -c copy -map 0:0 -map 1:0 Path/to/outputFile.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can get the needed URLs from&lt;br&gt;&#xA;&lt;code&gt;youtube-dl -f bestvideo,bestaudio --get-url https:www.youtube.com/watch?v=XXXXXXXXXXX&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="16771" LastActivityDate="2017-01-04T18:04:43.140" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20313" PostTypeId="1" AcceptedAnswerId="20315" CreationDate="2017-01-05T00:10:36.770" Score="1" ViewCount="743" Body="&lt;p&gt;Will this &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B0007Y794O&quot; rel=&quot;nofollow noreferrer&quot;&gt;lens&lt;/a&gt; work with the Sony A7s II. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I am learning which lenses can be used with my new camera. Basically I am looking for a relatively inexpensive zoom lens. I understand that the lens has to not only be e mount but also needs a full frame lens. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Eventhough this lens is canon, will it work with my Sony camera with an adapter. Will the frame be cropped? (I am looking at the Fotodoix adapter). Also will Image Stablization work at all?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance&lt;/p&gt;&#xA;" OwnerUserId="10674" LastActivityDate="2017-01-05T04:19:23.143" Title="Will Canon lens work with a7s II?" Tags="|camera|lenses|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20314" PostTypeId="2" ParentId="19630" CreationDate="2017-01-05T01:18:07.567" Score="0" Body="&lt;p&gt;I know this is a bit old, but I was looking for the same thing and I found a better way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So first the code for ffprobe&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -v error -show_entries stream=index,codec_name,codec_type:stream_tags=language -of default=noprint_wrappers=1 &quot;location\input.avi&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The results will show only what you're looking for and nothing more, were as with Mulvya results will include more than what you need, so now all you have to do is split the results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is how I would do this in batch&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;For /F &quot;tokens=1* delims=^=&quot; %%a in ('ffprobe -v error -show_entries stream^=&quot;index,codec_name,codec_type:stream_tags^=language&quot; -of default^=noprint_wrappers^=1 &quot;location\input.avi&quot;') do (&#xA;        Echo. %%a %%b&#xA;)&#xA;Results:&#xA;index 0&#xA;codec_type video&#xA;codec_name h264&#xA;TAG:language und&#xA;index 1&#xA;codec_type audio&#xA;codec_name aac&#xA;TAG:language eng&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is how I'd do it in bash, although I'm still learning, so there could be a better way to script this.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for i in $(echo $(ffprobe -v error -show_entries stream=index,codec_name,codec_type:stream_tags=language -of default=noprint_wrappers=1 &quot;location/input.avi&quot;) | tr &quot; &quot; &quot;\n&quot;) ; do&#xA;   echo $(echo $i | cut -d \= -sf 1)  $(echo $i | cut -d \= -sf 2) &#xA;done&#xA;Results:&#xA;index 0&#xA;codec_type video&#xA;codec_name h264&#xA;TAG:language und&#xA;index 1&#xA;codec_type audio&#xA;codec_name aac&#xA;TAG:language eng&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;One major difference with the results using ffprobe on windows and Linux, is that with Linux the results show up on a single line, with windows each result appears on a new line, so, with windows we can get away with simply splitting the results, using the delimiter &quot;=&quot;, but with bash we need to first split the space, then split by &quot;=&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now that we've got our results, with either version, you can simply do an if statement to determine the language, although I would suggest doing an if statement to first find &quot;TAG:language&quot; then a nested statement to check what language, I consider this more of a fail-safe, although I doubt there's a codec type/name called eng.&lt;/p&gt;&#xA;" OwnerUserId="17649" LastEditorUserId="17649" LastEditDate="2017-01-12T01:30:43.953" LastActivityDate="2017-01-12T01:30:43.953" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20315" PostTypeId="2" ParentId="20313" CreationDate="2017-01-05T04:19:23.143" Score="2" Body="&lt;p&gt;Ah yes, Canon lenses are a lot cheaper it seems than Sony lenses. With the A7s ii you an use both APS-C and FF (full frame) lenses. With an APS-C lens you have to enable APS-C mode in the camera and it will result in a crop, and in my experience, a slightly noticeable drop in quality/sharpness especially in low light. That being said, APS-C lenses shouldn't be completely written off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With regards to this lens, I check and it is a full frame lens so you are good to go!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With regards to your choice of adapter. I've personally used the Fotodoix adapter and it works fine. Sure you won't get the extra stops of brightness as you would with the Metabones speedbooster, but its a good low-cost alternative.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Image stabilization. This lens has IS which means that you can turn off IS in the camera and use the built in lens IS, OR you can manually set the zoom distance (mm) in the IS settings of the camera and turn off IS on the lens. The latter can be a pain because every time you adjust the zoom you have to change the mm setting in the camera, but you can always use a custom key to shortcut to it.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2017-01-05T04:19:23.143" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20316" PostTypeId="2" ParentId="20293" CreationDate="2017-01-05T07:35:38.777" Score="1" Body="&lt;p&gt;This depends from Company to company, there are multiple companies working on multiple shots, or sometime even on the same shots. Because this (sometimes) differs a lot from eachother, it's really hard to give you an answer to this question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As mentioned, this heavily depends on effects you want to acchieve and the company you work with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are some commonly used programms:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Cinema 4D &lt;/li&gt;&#xA;&lt;li&gt;BodyPaint &lt;/li&gt;&#xA;&lt;li&gt;AutoCAD &lt;/li&gt;&#xA;&lt;li&gt;3DS Max &lt;/li&gt;&#xA;&lt;li&gt;InfraWorks &lt;/li&gt;&#xA;&lt;li&gt;Maya &lt;/li&gt;&#xA;&lt;li&gt;Mudbox &lt;/li&gt;&#xA;&lt;li&gt;Flame &lt;/li&gt;&#xA;&lt;li&gt;Smoke &lt;/li&gt;&#xA;&lt;li&gt;Softimage &lt;/li&gt;&#xA;&lt;li&gt;Mental Ray &lt;/li&gt;&#xA;&lt;li&gt;Combustion &lt;/li&gt;&#xA;&lt;li&gt;FLIX &lt;/li&gt;&#xA;&lt;li&gt;MODO &lt;/li&gt;&#xA;&lt;li&gt;MARI &lt;/li&gt;&#xA;&lt;li&gt;NUKE &lt;/li&gt;&#xA;&lt;li&gt;OCULA &lt;/li&gt;&#xA;&lt;li&gt;HIERO &lt;/li&gt;&#xA;&lt;li&gt;Katana &lt;/li&gt;&#xA;&lt;li&gt;keylight &lt;/li&gt;&#xA;&lt;li&gt;Massive Prime &lt;/li&gt;&#xA;&lt;li&gt;Massive Jet &lt;/li&gt;&#xA;&lt;li&gt;Massiv for Maya &lt;/li&gt;&#xA;&lt;li&gt;Ready to run Agents &lt;/li&gt;&#xA;&lt;li&gt;Matchmover &lt;/li&gt;&#xA;&lt;li&gt;Z-Brush &lt;/li&gt;&#xA;&lt;li&gt;Adobe CS6 &lt;/li&gt;&#xA;&lt;li&gt;Illustrator &lt;/li&gt;&#xA;&lt;li&gt;Photoshop &lt;/li&gt;&#xA;&lt;li&gt;Flash &lt;/li&gt;&#xA;&lt;li&gt;After effects &lt;/li&gt;&#xA;&lt;li&gt;Lightroom &lt;/li&gt;&#xA;&lt;li&gt;v-Ray for 3DS Max &lt;/li&gt;&#xA;&lt;li&gt;Rendermann  &lt;/li&gt;&#xA;&lt;li&gt;Avid Media Composer &lt;/li&gt;&#xA;&lt;li&gt;Avid effects &lt;/li&gt;&#xA;&lt;li&gt;davinciresolve&lt;/li&gt;&#xA;&lt;li&gt;Houdini&lt;/li&gt;&#xA;&lt;li&gt;3D coat&lt;/li&gt;&#xA;&lt;li&gt;topgun  &lt;/li&gt;&#xA;&lt;li&gt;shotgun Studio  &lt;/li&gt;&#xA;&lt;li&gt;PF Track &lt;/li&gt;&#xA;&lt;li&gt;NURBS &lt;/li&gt;&#xA;&lt;li&gt;Filemaker Pro &lt;/li&gt;&#xA;&lt;li&gt;vue &lt;/li&gt;&#xA;&lt;li&gt;Plant factory &lt;/li&gt;&#xA;&lt;li&gt;Ozone &lt;/li&gt;&#xA;&lt;li&gt;Carbon scatter &lt;/li&gt;&#xA;&lt;li&gt;Lumen RT &lt;/li&gt;&#xA;&lt;li&gt;Primatte &lt;/li&gt;&#xA;&lt;li&gt;ultimate &lt;/li&gt;&#xA;&lt;li&gt;Final Cut Pro &lt;/li&gt;&#xA;&lt;li&gt;Qube &lt;/li&gt;&#xA;&lt;li&gt;Synth-Eyes &lt;/li&gt;&#xA;&lt;li&gt;boujou &lt;/li&gt;&#xA;&lt;li&gt;Fusion &lt;/li&gt;&#xA;&lt;li&gt;3D equalizer &lt;/li&gt;&#xA;&lt;li&gt;Mantra &lt;/li&gt;&#xA;&lt;li&gt;Real Flow &lt;/li&gt;&#xA;&lt;li&gt;Fume FX  &lt;/li&gt;&#xA;&lt;li&gt;BlueArc&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I can narrow them down, if you can tell on which effect you are specifically interessted.&lt;/p&gt;&#xA;" OwnerUserId="17625" LastEditorUserId="17625" LastEditDate="2017-01-05T07:44:59.560" LastActivityDate="2017-01-05T07:44:59.560" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20317" PostTypeId="1" AcceptedAnswerId="20318" CreationDate="2017-01-05T09:45:00.000" Score="1" ViewCount="2852" Body="&lt;p&gt;I just started using Final Cut Pro X and I have footage in 50 fps. I want to play this back in 50% speed in a project that outputs 25 fps. What is the proper way do achieve this? I can start a project with 50fps, import the media an choose &quot;50%&quot; speed reduction, but will this really intepret the media as 25 fps and output 25fps from the project? I suspect that it won't that it infact just will &quot;make up&quot; frames and ouput 50fps, and I don't want that. Any clue on how to fix this would be appreciated. &lt;/p&gt;&#xA;" OwnerUserId="17653" LastActivityDate="2017-01-05T09:59:58.397" Title="Proper way to play 50 fps video as 25 fps in FCPX" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20318" PostTypeId="2" ParentId="20317" CreationDate="2017-01-05T09:59:58.397" Score="2" Body="&lt;p&gt;Your project's frame rate should be the playback frame rate.  So if you want to output 25fps, make it a 25 fps project.  When you import other frame rates, many NLEs will attempt to automatically adapt the frame rate to your project rate.  If FCPX does not do this for you automatically, then you can manually set the timing of the clip to play back at 50%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when you make a 50fps project, you are basically making it impossible for FCPX to do the right thing.  Setting a clip to play back at 25fps in a 50fps project is meaningless.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-01-05T09:59:58.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20319" PostTypeId="1" CreationDate="2017-01-05T10:39:12.533" Score="1" ViewCount="11845" Body="&lt;p&gt;I don't know how can this be happening, I built a $1500 computer just to edit videos and apparently I can't even edit 1080p properly...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is Premiere pro struggling with 60fps 1080p videos? Whenever I playback my video either with (full, 1/4 or 1/8) I get super choppy and laggy playback to the point where editing is unbearable (no effects applied).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My specs shouldn't be a problem even for 4K video.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Core i5 6600K (overclocked @4.4GHz)&#xA;Cooler Master hyper 212x&#xA;Kingston hyper fury X 2x4gb @2666MHz&#xA;MSI GTX 1070 Gaming X (overclocked)&#xA;WD blue 1TB&#xA;Samsung 850 evo 256Gb&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have installed all of my adobe programs on ssd. Also when I start to playback the video in PPro the cpu usage goes to 100%&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. Could it be because of the high video bitrate? (60-80mbs)?&lt;/p&gt;&#xA;" OwnerUserId="17654" LastActivityDate="2017-05-23T21:06:49.230" Title="Adobe Premiere Pro CC 2017 super laggy playback" Tags="|video|premiere|video-editor|editing|video-quality|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20320" PostTypeId="2" ParentId="12566" CreationDate="2017-01-05T12:41:14.927" Score="3" Body="&lt;p&gt;As a long-term video professional i can attest to the fact that the need for a lightweight, robust, transparent and open form of a VCS is sorely lacking in the majority of media workflows. &#xA;The problem however is multi-faceted and is a cultural one as well as a technical one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Traditionally we have been working in a sausage factory like manner where a project is greenlit from script, moves to production, once wrapped it goes to post-production and then a final output is delivered to the distribution arm who then spin off device/platform outputs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nowadays this factory-like approach is an illusion where the hand off between post-production and distribution specifically is never clear. There is a lot of back and forth with cuts/edits for different languages/markets nevermind going back and doing re-mastering for the latest format for example. Then there is the need to access final versions for marketing purposes...&#xA;As a result the need for not only remote parties but people who may never meet to have a catalogued, definitive understanding of what version they need to work on is key. This extends not only to master encodes but all versions of that master for different markets as well as the versions of the assets that were used to create each master.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Only now are the media tech community engaging on what a version truly is and it is regularly debated due to the myriad of different workflows and concerns. I break it down as a working version and a distribution version.&#xA;There are efforts to remedy this within distribution by creating an archive file format that tracks versions within itself (to combat the fact that there are multiple tools, platforms etc) - this is called the Interoperable Master Format (IMF - not to be confused with the bank) and is being steered through SMPTE. The good thing about this is that it is moving to provide interoperability between the myriad of digital asset management systems (those that want to support it) that are out there - some studios i know have asset management systems that number in the hundreds - this would help them internally let alone for external handoffs. Of course it has not been used within a production environment yet seeing as it is designed as an archive level format (Netflix now utilise it). It is also a very hefty file with no easy way of creating it unless you have the necessary capital to invest in the tools. Netflix did release an open source tool set that provides reading ability which is nice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Working version or production level wise i feel that there is a need to provide a VCS (such as a modified form of git perhaps) that anyone can utilise no matter how large or small in order to facilitate remote working. Media files are of course a lot larger than swapping code or libraries but the decisions made on those files are the key component. I for one would like to test working remotely via git commits if only to avoid the naming conventions of 'file_Final_FINAL_MASTER_version3.mxf' naming conventions that get swapped back and forth.&lt;/p&gt;&#xA;" OwnerUserId="17656" LastActivityDate="2017-01-05T12:41:14.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20321" PostTypeId="1" AcceptedAnswerId="20323" CreationDate="2017-01-05T20:51:17.383" Score="1" ViewCount="129" Body="&lt;p&gt;I've noticed that many scenes in &lt;a href=&quot;https://www.youtube.com/watch?v=AUyeuOTav_o&quot; rel=&quot;nofollow noreferrer&quot;&gt;Vidocq&lt;/a&gt; look very cheap, like a cheap TV series. &#xA;&lt;a href=&quot;https://en.wikipedia.org/wiki/Vidocq_(2001_film)#Technology&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia article on Vidocq&lt;/a&gt; says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;As the final PAL DVD release shows, the film was shot 25i&#xA;  (interlaced), and only special effects shots were deinterlaced by&#xA;  means of smart field blending (imitating a progressive-type amount of&#xA;  motion blur due to a different shutter speed of progressive modes)&#xA;  during post-production, as the special effects crew obviously was in&#xA;  demand of progressive frames which are easier to process for special&#xA;  effects, before for the final release all normal shots were&#xA;  deinterlaced by means of simple line interpolation instead. The result&#xA;  are video-like appearance of motions in normal shots, and distinctive&#xA;  film-like motions for all effect shots due to the different amount of&#xA;  motion blur resulting from the different deinterlacing methods.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I've read &lt;a href=&quot;https://video.stackexchange.com/questions/20287/how-to-get-the-cinematic-look&quot;&gt;How to get the Cinematic look&lt;/a&gt; and &lt;a href=&quot;https://video.stackexchange.com/questions/15221/why-movie-video-is-different-from-other-videos-sports-news-or-other&quot;&gt;why movie video is different from other videos (sports, news, or other)&lt;/a&gt;, but they don't discuss motion blur.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why different deinterlacing algorithms make such a difference? Is it really just the sharpness of video picture vs blurred picture for a movie or, in fact, Vidocq has just been filmed cheaply with poor lighting, for example?&lt;/p&gt;&#xA;" OwnerDisplayName="user12435" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-01-06T13:28:45.293" Title="How can different deinterlacing algo make shots look more like movie or like video?" Tags="|video|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20322" PostTypeId="2" ParentId="18239" CreationDate="2017-01-05T21:32:02.793" Score="0" Body="&lt;p&gt;Check your 3D Renderer. Blending and Compositing may not work if your Renderer is Cinema4D or Ray-Traced. Stick with Classic&lt;/p&gt;&#xA;" OwnerUserId="17659" LastActivityDate="2017-01-05T21:32:02.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20323" PostTypeId="2" ParentId="20321" CreationDate="2017-01-05T22:50:06.693" Score="3" Body="&lt;p&gt;The complete answer to your question, which definitely includes motion blur, but also more than motion blur, is found in &lt;a href=&quot;http://accidentalscientist.com/2014/12/why-movies-look-weird-at-48fps-and-games-are-better-at-60fps-and-the-uncanny-valley.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this article&lt;/a&gt; in The Accidental Scientist.  To summarize:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The human vision system has at least two major components that work together in a counter-intuitive way.  Persistence of Vision makes it possible for a sequence of images playing at only 16 frames per second to create the illusion of motion.  It is not a super high-quality illusion of motion, but the eye sees it as actual motion, not a sequence of images being flashed in rapid succession.  Ocular microtremor is a phenomenon that explains why the acuity of the eye is more than 4 times the Rayleigh limit.  And its oscillation frequency ranges from 70-105 Hz, and it averages around 84 Hz.  A playback frequency 16fps or faster, but 42 fps or less means that the eye both perceives motion and can super-sample the image.  Frame rates that are greater than 1/2 the microtremor rate (which for some mean 35 fps-70 fps and for others 53 fps-105 fps), the eye does not get to super-sample the image, and thus feeds the brain an image that fools persistence of vision, but doesn't satisfy the ocular microtremor system.  Once the frame rate exceeds the frequency of the microtremor system (120 fps easily does this), the eye sees &lt;em&gt;that&lt;/em&gt; as &quot;actual reality&quot;.  The article argues that the &quot;uncanny valley&quot;, between 35fps and 105fps, is why 48 fps movies are not perceived to be 2x better than 24 fps movies, but actually worse.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where motion blur comes in is that it softens the edges of objects in motion, letting the brain, not the eye, fill in the details.  Evidence suggests that the standard formula that shutter speed should be 1/2 of the frame rate (1/48th of a second for 24 fps playback) provides the ideal balance between the brain-based system and the eye-based system to work together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When a shutter is open for 1/2 the frame rate, it's called a 180 degree shutter (in part because that's how it was created mechanically back in the day).  One can shoot with a more open shutter (up to 360 degrees) and one can shoot with a more constrained shutter (144 degrees, 120, 90, 60, 45, etc).  Different shutter angles create very different looks in part because it plays with the balance between these two visual systems.  The D-Day invasion footage from &quot;Saving Private Ryan&quot; was shot with a narrow shutter angle specifically to set the eye on edge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All this to say--shutter angle and motion blur are very much a part of the perception of &quot;smoothness&quot; or &quot;sharpness&quot; of the motion.  Interlacing is an artifact that mostly just messes things up in the progressive video world in which we now live.  The small details on how people get around interlacing artifacts has little to do with understanding the &quot;Cinematic look&quot;.  The Cinematic look is really based on the deeper principles of shutter angle, frame rate, and of course lighting, lensing, atmospherics, etc.  Interlacing either degrades things a lot, or not too much, and while it's strange that somebody would choose two different approaches to interlacing artifacts in a single production, that's less to do with explaining anything deep about the Cinematic look and perhaps more about the discipline (or lack thereof) of the production team.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2017-01-06T13:28:45.293" LastActivityDate="2017-01-06T13:28:45.293" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20324" PostTypeId="2" ParentId="20270" CreationDate="2017-01-06T00:22:43.447" Score="18" Body="&lt;p&gt;Try adding this &lt;code&gt;ffmpeg&lt;/code&gt; parameter:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-map_chapters -1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17660" LastEditorUserId="6582" LastEditDate="2019-12-20T18:09:30.250" LastActivityDate="2019-12-20T18:09:30.250" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="20325" PostTypeId="2" ParentId="20319" CreationDate="2017-01-06T07:18:23.630" Score="2" Body="&lt;p&gt;What can cause lagging:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;Bottlenecks.&lt;/strong&gt; If you rig is not balanced for a specific task, or has too little firepower in some areas then bottlenecks can occur.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Software issues.&lt;/strong&gt; Bad drivers, bloated system .etc. Also, premiere isn't the least buggy NLE.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;First thing I would check is the system monitor, to see what exactly happens when playback occurs. Does the CPU usage skyrocket to 100%, does the RAM get fully saturated, does the disk get fully saturated? These are all valid questions that will help you find out where exactly the problem lies. If none of these areas are peaking or showing a sign of a struggle, then the problem must lie with the software. If they do show warning signs, then you should consider:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;To balance your PC I would add 8gb of RAM and increase the CPU to one of the greater core count i7's (6800k, 6950). Ofc, this will mean changing your motherboard as well as these processors require a different socket type. Premiere doesn't really care how fast your processor is, it cares how many cores/virtual cores your processor has. Case in point, my friend has a new 4 core processor and I have an old LGA2011 (not 2011-2) 3930k; my computer runs Premiere faster and they are both reasonably similar PC's elsewise.&lt;/li&gt;&#xA;&lt;li&gt;If you are not editing off of your SSD do that now! You need to be able to provide Premiere with a quick means of accessing video clips. It is recommended to have an SSD for OS and apps, an SSD for scratch disks and cache, and an SSD for working projects; only using spinning disk drives for archival or backup storage.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If the software is at fault:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Check to see if this happens in another NLE! Download a trial of Vegas Pro and see if the problem persists there. If it doesn't than somethings wrong with Premiere.&lt;/li&gt;&#xA;&lt;li&gt;Clean install of drivers for GPU using Nvidia's driver cleaner software, and a clean install of Premiere.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Ideally you want to develop a troubleshooters mindset. You can probably post this quesiton on many forums until you are blue in the face. There are just too many variables that are difficult to diagnose by hunting and pecking at the keyboard. You need to just go through each possible aspect one by one, focusing on the easiest first: (1) work on SSD (2) check other NLE (3) clean install .. etc. Then you can get into addressing whether your computer can handle the footage. Based on my knowledge (which is limited with i5 processors) your computer should be at least able to play 1/2 quality 1080/60 without a hiccup, and 4k in 1/4 quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Side note:&#xA;I have recently helped someone on a forum with similar specs except a 6700k and a 1080gtx, they were also having issues where the timeline would 'buffer' at the start of each clip on the timeline. Unfortunately we were never really able to narrow it down to any one specific thing. Many other users online have also reported laggy playback on official adobe forums, some of which do not even use newer (and possibly less supported) hardware.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also I forgot to mention that the codec you use can make a world of difference. Often people with less than 6 cores find that their computer can't handle figuring out codecs that are compressed using for example XVAC &lt;a href=&quot;http://wolfcrow.com/blog/intra-frame-vs-inter-frame-compression/&quot; rel=&quot;nofollow noreferrer&quot;&gt;using&lt;/a&gt; as their computer is left with the processing:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;In an interframe codec, when a frame is pulled up, the person has to look at the frame before it, and after it and then decide how to unwrap it – before unwrapping it.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In this case, and for troubleshooting, it might be a good idea to convert to DNXHD an intraframe codec.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastEditorUserId="10619" LastEditDate="2017-01-06T07:33:04.713" LastActivityDate="2017-01-06T07:33:04.713" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="20326" PostTypeId="1" CreationDate="2017-01-06T07:54:16.477" Score="1" ViewCount="1531" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cthpC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cthpC.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a rectangle whose position at first keyframe-1 is (400,300) then at next keyframe-2 its (400,157) then i create another keyframe-3 with same position (400,157) after 1 sec and the final keyframe-4 at position (400,300) , the problem is position between keyframe-2 and keyframe-3 is changing despite being at same position, how can i solve that?&lt;/p&gt;&#xA;" OwnerUserId="17665" LastActivityDate="2019-12-11T19:46:07.963" Title="Pausing two keyframes at same position then moving to next one? After Effects" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20327" PostTypeId="2" ParentId="20326" CreationDate="2017-01-06T08:08:28.577" Score="0" Body="&lt;p&gt;Change the spatial interpolation of keyframe-2 to either Linear or Hold.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/keyframe-interpolation.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/after-effects/using/keyframe-interpolation.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-01-06T08:22:52.077" LastActivityDate="2017-01-06T08:22:52.077" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20328" PostTypeId="2" ParentId="20326" CreationDate="2017-01-06T08:46:18.227" Score="1" Body="&lt;p&gt;There are two types of interpolation for keyframes - temporal, and spatial. In plain English, temporal interpolation is how the speed of the motion is interpolated between keyframes - it's what you change when you &lt;kbd&gt;ctrl&lt;/kbd&gt; or &lt;kbd&gt;⌘&lt;/kbd&gt;-click a keyframe, and spatial interpolation is how the motion path is interpolated between keys. Your problem is that AE is applying the wrong spatial interpolation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Usually After Effects uses Bézier spatial interpolation between keyframes, meaning that they create smooth curves in space, which is usually what you want. However when you create a static pair of keyframes this causes problems - the layer overshoots the first keyframe and bounces back to the second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To eliminate the problem bring up the keyframe interpolation dialog. You can either right-click the keyframe or use the keyboard shortcut &lt;kbd&gt;alt&lt;/kbd&gt;&lt;kbd&gt;⌘&lt;/kbd&gt;&lt;kbd&gt;k&lt;/kbd&gt; (mac) or &lt;kbd&gt;alt&lt;/kbd&gt;&lt;kbd&gt;ctrl&lt;/kbd&gt;&lt;kbd&gt;k&lt;/kbd&gt; (pc). Set the spatial interpolation to linear. This has the unfortunate side effect that any bezier handles you may have carefully created on the keyframe disappear. To make only one side of the keyframe have a handle you can select the keyframe in the timeline window, then &lt;kbd&gt;alt&lt;/kbd&gt;-click it in the composition window (the cursor should turn into the V shaped arrow). In more recent versions of AE this will give you a bezier handle on the incoming and outgoing curves, not on the curve between the two identical keyframes. But because they're on top of each other you need to select them individually in the timeline first.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's another way that I should mention, and this is by changing the temporal interpolation. If you right-click the first of the identical keyframes and choose &lt;strong&gt;toggle hold keyframe&lt;/strong&gt; the motion will freeze until the next keyframe. If the keyframes weren't identical it would instantly jump to the second keyframe at that point.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-01-07T11:49:54.417" LastActivityDate="2017-01-07T11:49:54.417" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20330" PostTypeId="2" ParentId="20145" CreationDate="2017-01-06T16:02:11.620" Score="1" Body="&lt;p&gt;No need to use ffmpeg here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open VLC, go to &lt;em&gt;Media&lt;/em&gt; &gt; &lt;em&gt;Open Capture Device&lt;/em&gt; and set &lt;em&gt;Capture Mode&lt;/em&gt; to &lt;em&gt;Desktop&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also see:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://wiki.videolan.org/Documentation:Modules/screen/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://wiki.videolan.org/Documentation:Modules/screen/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://wiki.videolan.org/Documentation:Command_line/#Desktop.2FScreen_grab_options&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://wiki.videolan.org/Documentation:Command_line/#Desktop.2FScreen_grab_options&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="9102" LastActivityDate="2017-01-06T16:02:11.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20331" PostTypeId="1" AcceptedAnswerId="20334" CreationDate="2017-01-06T18:44:12.857" Score="0" ViewCount="1240" Body="&lt;p&gt;The scene: Ubuntu 16.04, newly upgraded from 14.04 where things perked along happily with avconv&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The props: a directory full of stills, motor_animate_000.gif, motor_animate_001.gif, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The players: Me, a mostly-newbie ffmpeg user, and ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The drama:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based on a suggestion I had to solve another problem, I execute the command line:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -f image2 -framerate 30 -i motor_animate_%03d.gif motor.mpg&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After the usual excrutiating detailed list of stuff from ffmpeg, I get the following error message (in more than one color, ooh, ooh).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[image2 @ 0x14f8420] Could not find codec parameters for stream 0 (Video: none, none): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;motor_animate_%03d.gif: could not find codec parameters&#xA;Input #0, image2, from 'motor_animate_%03d.gif':&#xA;  Duration: 00:00:04.03, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: none, none, 30 fps, 30 tbr, 30 tbn, 30 tbc&#xA;File 'motor.mpg' already exists. Overwrite ? [y/N] y&#xA;No decoder for stream #0:0, filtering impossible&#xA;Error opening filters!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone tell me what's going on and how to fix it?  All I want to do is make an mpeg clip out of a bunch of one-frame gifs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="17670" LastActivityDate="2017-01-07T04:53:41.873" Title="Could not find codec parameters -- for gif?" Tags="|video|ffmpeg|animation|mpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20332" PostTypeId="1" CreationDate="2017-01-06T18:51:38.983" Score="0" ViewCount="5305" Body="&lt;p&gt;I have a composition in After Effects (CS6) that contains 2 objects that are usually a set distance apart. I am looking for an expression or other method to automatically move one layer by the same amount as its parent, but in the opposite direction (as in if the parent goes up 5 px the child should go down 5 px). So far I haven't been able to figure this out, but I am very new to expressions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="17671" LastActivityDate="2017-01-07T22:33:10.243" Title="Expression for inverse parenting on Y axis in after effects" Tags="|after-effects|after-effects-expressions|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20333" PostTypeId="1" CreationDate="2017-01-07T00:52:48.143" Score="-1" ViewCount="32" Body="&lt;p&gt;I am trying to use camera glasses for documenting benchwork.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of available models allow 1 to max 2h hours of recording for as long as the battery lasts and only allow next recording after the battery is recharged (3h).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need either to continuously stream or to make long recordings with low frame rate (5/second). I don't mind walking around with a bunch of wires or having a power supply connected continuously to the glasses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can somebody recommened a model of camera glasses or perhaps a clipon camera which allows to adjust frame rate, allows streaming (that is optional) but most importantly allows recording while connected to power source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks so much in advance!!&lt;/p&gt;&#xA;" OwnerUserId="17673" LastActivityDate="2017-01-07T10:46:08.217" Title="which camera glasses allow recording while connected to power source" Tags="|video-capture|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20334" PostTypeId="2" ParentId="20331" CreationDate="2017-01-07T04:53:41.873" Score="1" Body="&lt;p&gt;It's worth a try using the concat demuxer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, create a text file like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'motor_animate_000.gif'&#xA;file 'motor_animate_001.gif'&#xA;file 'motor_animate_002.gif'&#xA;file 'motor_animate_003.gif'&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i list.txt motor.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Do note that by just specifying a &lt;code&gt;.MPG&lt;/code&gt; filename as output parameter, ffmpeg will encode to MPEG-1 at a bitrate of 200 kb/s. If MP4 is not acceptable and .mpg is needed, then add &lt;code&gt;-c:v mpeg2video -b:v 1000k&lt;/code&gt; after &lt;code&gt;list.txt&lt;/code&gt; to set codec and avg. bitrate. For MP4, just change extension; the defaults are decent.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-01-07T04:53:41.873" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20335" PostTypeId="2" ParentId="20332" CreationDate="2017-01-07T08:28:20.660" Score="0" Body="&lt;p&gt;Maybe try the Kaleidoscope or mirror effect instead?  Might achieve the same thing much more quickly.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-01-07T08:28:20.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20336" PostTypeId="2" ParentId="20333" CreationDate="2017-01-07T10:46:08.217" Score="0" Body="&lt;p&gt;A GoPro camera can be connected to a power source and can record for a long time.  There are numerous ways to attach one to your head (or safety goggles).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-01-07T10:46:08.217" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20338" PostTypeId="2" ParentId="20332" CreationDate="2017-01-07T12:13:45.047" Score="1" Body="&lt;p&gt;By having the layer parented you make it a bit harder. If you want the second layer to follow the x coord of the first layer, but mirror the y coord this will do it (without the second layer being parented)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var centerY = thisComp.height/2;&#xA;var p = thisComp.layer(&quot;the name of the controlling layer&quot;).transform.position;&#xA;[p[0], centerY - p[1]]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If do you need the second layer to be parented the following should work. Because the distance from the parent to the centre point is the same as the distance from the center point to the child, we can just multiply it by two to get the y distance in the layer space of the parent:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var centreY = thisComp.height/2;&#xA;[value[0], 2*(centreY - parent.position[1])];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Both of these expressions will mirror around the centre of the comp vertically. You could mirror around an arbitrary y point by specifying it on the first line instead of &lt;code&gt;thisComp.height/2&lt;/code&gt;, e.g.: &lt;code&gt;var centerY = 1234&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also use another layer as the control of the mirror point by using this instead of that expression: &lt;code&gt;var centerY = thisComp.layer(&quot;name of center control layer&quot;).transform.position[1]&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-01-07T22:33:10.243" LastActivityDate="2017-01-07T22:33:10.243" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20339" PostTypeId="1" AcceptedAnswerId="20359" CreationDate="2017-01-07T17:26:49.290" Score="4" ViewCount="181" Body="&lt;p&gt;I'm working on creating some training videos that will cover a single presenter from the waist up, and I'm trying to avoid the microphone being visible while also getting good sound and avoiding ambient noise. If possible, I'd love the setup to be static so that it requires less repetitive setup (but that is a nice-to-have, not a requirement).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The setup for the shooting is a relatively small space (About 10 x 6), and the building is relatively close to an extremely busy street with fast/noisy traffic. As a result there is a lot of ambient noise from the traffic. I'd like to avoid as much post-production audio work as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is: How do I go about selecting the proper microphone for this space?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I originally was thinking that a Shotgun mic would be appropriate since it picked up sound directionally, and that I could even potentially hang this microphone from the ceiling. However, the more reading I did indicated that the way shotgun mics work to reduce ambient noise is not effective indoors; and that specifically  in my small room setup its not likely to have the desired effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been browsing microphones on Amazon, but I don't know where to even begin with selecting the appropriate microphone. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there certain microphone characteristics I can use to compare one microphone from the next to determine what is a good match? What other details do I need to know to make this selection?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking at spending up-to $200, but I don't want to spend money I don't need to if it won't make a significant difference.&lt;/p&gt;&#xA;" OwnerUserId="17672" LastActivityDate="2017-01-08T21:02:05.900" Title="Proper Microphone for Indoor Use &amp; Filter out Ambient Noise" Tags="|audio|microphone|noise-reduction|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20340" PostTypeId="2" ParentId="20339" CreationDate="2017-01-07T17:53:26.750" Score="1" Body="&lt;p&gt;My two suggestions are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Use a lav mic and don't worry too much about a small mic being visible.  Training videos don't have to look like Downton Abbey.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use a shotgun mic, but also use an acoustic absorber behind the talent.  It is true that all the ambient noise that comes through the walls will bounce around the room, and if you don't have an absorber behind the talent, the shotgun will &quot;see&quot; the echoes of the ambient noise coming from behind the talent just as much as it &quot;sees&quot; them coming from everywhere else.  But if you can deaden the back wall, the shotgun will &quot;see&quot; a quiet wall with talent in front of it and can filter the noises coming from everywhere else.  The closer you can get the shotgun to the talent (using a boom) the better.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-01-07T17:53:26.750" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20341" PostTypeId="1" AcceptedAnswerId="20348" CreationDate="2017-01-08T02:08:42.827" Score="0" ViewCount="363" Body="&lt;p&gt;I'm planning to buy a new laptop since my current PC(Lenovo U430) is kind of slow when it comes to gaming and video editing. My current budget is $1,000 to $1,500, after researching, I chose these brands: Alienware 13 inch(latest model) and Macbook Pro 13 inch(with retina display) only.&lt;strong&gt;Question: Which brand or model should I be buying that is compatible and worth it for a little gaming and video editing&lt;/strong&gt;(no lagging while editing or checking the video preview in After Effects or Premiere Pro) &lt;strong&gt;with my current budget&lt;/strong&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the link to Alienware 13 inch list of models:&#xA;&lt;a href=&quot;http://www.dell.com/en-us/shop/productdetails/alienware-13-laptop?~ck=mn&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.dell.com/en-us/shop/productdetails/alienware-13-laptop?~ck=mn&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the link to Macbook Pro 13 inch list of models:&#xA;&lt;a href=&quot;http://www.bestbuy.com/site/searchpage.jsp?st=macbook+pro+retina+display+13&amp;amp;_dyncharset=UTF-8&amp;amp;id=pcat17071&amp;amp;type=page&amp;amp;sc=Global&amp;amp;cp=1&amp;amp;nrp=&amp;amp;sp=&amp;amp;qp=&amp;amp;list=n&amp;amp;af=true&amp;amp;iht=y&amp;amp;usc=All+Categories&amp;amp;ks=960&amp;amp;keys=keys&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.bestbuy.com/site/searchpage.jsp?st=macbook+pro+retina+display+13&amp;amp;_dyncharset=UTF-8&amp;amp;id=pcat17071&amp;amp;type=page&amp;amp;sc=Global&amp;amp;cp=1&amp;amp;nrp=&amp;amp;sp=&amp;amp;qp=&amp;amp;list=n&amp;amp;af=true&amp;amp;iht=y&amp;amp;usc=All+Categories&amp;amp;ks=960&amp;amp;keys=keys&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Comment your answer with the link or the brand and specs of the model. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you very much !&lt;/p&gt;&#xA;" OwnerUserId="17679" LastActivityDate="2017-01-08T08:29:54.343" Title="What kind of laptop should I be using: Alienware or Macbook Pro?" Tags="|after-effects|premiere|video-editor|laptop|" AnswerCount="1" CommentCount="1" ClosedDate="2017-01-08T12:54:02.810" ContentLicense="CC BY-SA 3.0" />
  <row Id="20342" PostTypeId="1" AcceptedAnswerId="20344" CreationDate="2017-01-08T02:28:37.190" Score="1" ViewCount="3091" Body="&lt;p&gt;I have several similarly-encoded &lt;code&gt;.ts&lt;/code&gt; video files that I would like to concatenate and encode into a single &lt;code&gt;.mp4&lt;/code&gt; file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;.ts&lt;/code&gt; files look like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpegts, from 'input1.ts':&#xA;  Duration: 00:01:24.14, start: 0.066778, bitrate: 15941 kb/s&#xA;  Program 1 &#xA;    Stream #0:0[0x44]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(tv, bt709), 1280x720 [SAR 1:1 DAR 16:9], 59.94 fps, 59.94 tbr, 90k tbn, 119.88 tbc&#xA;    Stream #0:1[0x45]: Audio: aac ([15][0][0][0] / 0x000F), 48000 Hz, stereo, fltp, 251 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The output should be 640x480, 29.97fps video. (The &lt;code&gt;.ts&lt;/code&gt; files contain digitized old &lt;a href=&quot;https://en.wikipedia.org/wiki/8_mm_video_format#Hi8&quot; rel=&quot;nofollow noreferrer&quot;&gt;Hi8&lt;/a&gt; camcorder video, digitized at a much-too-generous bitrate &amp;amp; resolution for the Hi8 video format.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can encode a single &lt;code&gt;.ts&lt;/code&gt; file like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i input1.ts -c:v libx264 -vf scale=640:480 -aspect 4:3 -preset slow -crf 22 -r 29.97 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What is the correct way to concatenate several &lt;code&gt;.ts&lt;/code&gt; files into a single &lt;code&gt;.mp4&lt;/code&gt; without creating a huge intermediate &lt;code&gt;.ts&lt;/code&gt; file?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/faq.html#Concatenating-using-the-concat-filter&quot; rel=&quot;nofollow noreferrer&quot;&gt;This ffmpeg documentation&lt;/a&gt; presents three concatenation methods: filter, demuxer, and protocol. I think I want the &quot;filter&quot; flavor. However, &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate#filter&quot; rel=&quot;nofollow noreferrer&quot;&gt;their example&lt;/a&gt; of it is confusing.&lt;/p&gt;&#xA;" OwnerUserId="17680" LastActivityDate="2017-01-08T04:56:47.407" Title="ffmpeg: Concatenate then encode" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20343" PostTypeId="1" AcceptedAnswerId="20352" CreationDate="2017-01-08T04:43:20.170" Score="1" ViewCount="4490" Body="&lt;p&gt;I have a bunch of old MiniDV tapes taken with a long-dead camcorder. I recently bought a used JVC GR-D200U on eBay, but I can't figure out how to transfer videos from the camcorder to my PC. The instructions to connect to a PC are on page 66 of the &lt;a href=&quot;http://resources.jvc.com/Resources/00/00/96/LYT1171-001C.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;user manual&lt;/a&gt;, but these seem to be outdated because a direct USB link just doesn't seem to work and I'm not sure how to make the &quot;DV&quot; link. &lt;a href=&quot;https://i.stack.imgur.com/cr9GY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt; is a picture of the two ports available on my camcorder. Can someone tell me what wires/connectors/software I would need to make the connection and start capturing videos. For the record, my PC is new -- Windows 10, I7/6700, 16GB memory -- but does not have any ports beyond the basic HDMI/USB3/Network. Many thanks!&lt;/p&gt;&#xA;" OwnerUserId="17681" LastActivityDate="2017-01-08T14:32:35.093" Title="How to get MiniDV video from old JVC camcorder" Tags="|camcorder|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20344" PostTypeId="2" ParentId="20342" CreationDate="2017-01-08T04:56:47.407" Score="1" Body="&lt;p&gt;You can just use the protocol&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;concat:in1.ts|in2.ts|in3.ts&quot; -c:v libx264 -r 30000/1001 -vf scale=640:480 -aspect 4:3 -preset slow -crf 22 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-01-08T04:56:47.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20345" PostTypeId="1" AcceptedAnswerId="20347" CreationDate="2017-01-08T04:56:47.767" Score="3" ViewCount="120" Body="&lt;p&gt;There is some project that will be 720 hours long &lt;a href=&quot;http://www.thelongestfilm.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.thelongestfilm.com/&lt;/a&gt; what software can handle such amount of hours in timeline? Maximum what I could find is final cut pro x - 558 Day Timeline. On Windows every major application like premiere pro or avidemux can handle only 24 hours. Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="17682" LastActivityDate="2017-01-10T17:01:00.953" Title="Software to handle 100/1000 hours video?" Tags="|software|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20346" PostTypeId="2" ParentId="2488" CreationDate="2017-01-08T06:07:02.377" Score="0" Body="&lt;p&gt;write stuff up on a smart board and then mirror the person but keep the written stuff as is. on closer observation, we have a habit to start from the left side of the page and in this case, the guy is right handed and his text has been moved to the right and the lady is left handed and her text is moved to the left. Hope this helps&lt;/p&gt;&#xA;" OwnerUserId="17684" LastActivityDate="2017-01-08T06:07:02.377" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20347" PostTypeId="2" ParentId="20345" CreationDate="2017-01-08T08:10:25.253" Score="1" Body="&lt;p&gt;After reading about &lt;a href=&quot;http://nofilmschool.com/2014/03/1600-tracks-558-day-timeline-maxing-out-fcpx-on-new-mac-pro&quot; rel=&quot;nofollow noreferrer&quot;&gt;FCP's 1600 track, 558 day long sequence test&lt;/a&gt; I don't think that's the limit of the software, but the hardware: &quot;...very large numbers of clips within &lt;a href=&quot;http://www.apple.com/final-cut-pro/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FCPX&lt;/a&gt; will slow the machine down.&quot;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Same is true of Adobe's &lt;a href=&quot;http://www.adobe.com/products/premiere.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Premiere&lt;/a&gt; - as the project grows, the performance lags. &lt;a href=&quot;http://www.avid.com/media-composer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Avid Media Composer&lt;/a&gt; manages media differently and AFAIK, there's no limit (?) to the sequence length, but in the comments of the FCP 558days/1600track article, someone writes, &quot;Last time I built a sequence over 13 hours, Avid stopped playing audio.&quot; Again, that might be a hardware and/or configuration issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Possibly Sony's &lt;a href=&quot;http://www.vegascreativesoftware.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Vegas&lt;/a&gt; would also be a contender?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not sure about &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blackmagic Design's DaVinci Resolve&lt;/a&gt; or EditShare's &lt;a href=&quot;https://www.lwks.com/index.php?option=com_lwks&amp;amp;view=download&amp;amp;Itemid=206&quot; rel=&quot;nofollow noreferrer&quot;&gt;LightWorks&lt;/a&gt; (both free).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;------EDIT&lt;br&gt;&#xA;After talking to some Avid editors, I think I may be wrong and that Avid doesn't like projects even 24hr long, more like a 12-18 hour limit. Not a lot of day long content getting made for broadcast I suppose!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;------EDIT&lt;br&gt;&#xA;Interesting - &amp;amp; so much for what I think I know - Avid's sequence length maximum is comparatively quite limited. From a friend, &quot;At 48KHz, about 12 hours. &lt;strong&gt;The limit is 2,147,483,648 audio samples.&lt;/strong&gt; Six hours if you work at 96KHz.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;------EDIT&lt;br&gt;&#xA;Don't have an Avid setup to test on, but of note, I understand that if you remove audio tracks, Avid sequences can be much longer. This may hold true for other editing applications &amp;amp; worth testing if you only need 100 or 1000 hours of just &quot;video&quot; and no audio.&lt;/p&gt;&#xA;" OwnerUserId="17685" LastEditorUserId="17685" LastEditDate="2017-01-10T07:29:40.193" LastActivityDate="2017-01-10T07:29:40.193" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="20348" PostTypeId="2" ParentId="20341" CreationDate="2017-01-08T08:29:54.343" Score="1" Body="&lt;p&gt;If you plan on using Premiere, &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/system-requirements.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe recommends&lt;/a&gt; 16GB of RAM and a minimum of 8GB. They minimum RAM for &lt;a href=&quot;https://helpx.adobe.com/after-effects/system-requirements.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;After Effects&lt;/a&gt; is less, but there are some other equally important things to consider. I'd also recommend spending as much as you can on as much SSD storage as you can afford.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check the specs of the software you want to use for editing - particularly the minimum RAM and the kind of Graphics processor (GPU). If you want to use &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve&quot; rel=&quot;nofollow noreferrer&quot;&gt;DaVinci Resolve&lt;/a&gt; for editing (it is FREE) and color correcting - you'll want all the RAM you can get.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are comfortable with the hardware, I'd recommend a Dell or HP laptop as you will likely find more affordable options for RAM, GPU and SSD than what Apple offers. I don't know much about gaming, but I understand Windows solutions are what the kids dig. FWIW I am plugging along on an 11&quot; mid-2012 i7 AirBook and it does alright with an external monitor out the Thunderport. I edit with Resolve, iMovie, &amp;amp; &lt;a href=&quot;https://www.lwks.com/index.php?option=com_lwks&amp;amp;view=download&amp;amp;Itemid=206&quot; rel=&quot;nofollow noreferrer&quot;&gt;LightWorks&lt;/a&gt; and move pixels about with &lt;a href=&quot;https://ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;. Nothing fancy or long-form, but I'd much prefer a 15&quot; screen.&lt;/p&gt;&#xA;" OwnerUserId="17685" LastActivityDate="2017-01-08T08:29:54.343" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20349" PostTypeId="2" ParentId="12384" CreationDate="2017-01-08T08:34:05.760" Score="1" Body="&lt;p&gt;If you are comfortable with command line tools, &lt;a href=&quot;https://ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; is top notch.&lt;/p&gt;&#xA;" OwnerUserId="17685" LastActivityDate="2017-01-08T08:34:05.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20350" PostTypeId="1" CreationDate="2017-01-08T07:39:12.617" Score="1" ViewCount="72" Body="&lt;p&gt;I am creating a video tutorial to upload into youtube , but after recording with the help of camtasia i am unable to remove the noise form the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note : I am able to remove the system noise like clicks etc., but unable to remove the noise created by vehicles outside my home. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to develop quality videos in this scenario&lt;/p&gt;&#xA;" OwnerDisplayName="Rajendra Kalepu" LastEditorUserId="14523" LastEditDate="2017-01-08T17:46:57.593" LastActivityDate="2017-02-07T17:53:18.740" Title="How to reduce background noise in the video" Tags="|audio|audio-recording|audio-quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20351" PostTypeId="2" ParentId="20350" CreationDate="2017-01-08T13:53:01.843" Score="1" Body="&lt;p&gt;This &lt;a href=&quot;https://video.stackexchange.com/questions/18899/do-i-need-an-audio-recorder/18900#18900&quot;&gt;answer&lt;/a&gt; (and the &lt;a href=&quot;http://nofilmschool.com/2015/08/24-sound-basics-will-help-you-lay-sturdy-foundation&quot; rel=&quot;nofollow noreferrer&quot;&gt;video link&lt;/a&gt; included within it) tells you all you need to know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The long and the short of it is that good audio is essential to good video, and getting good audio requires its own set of techniques, practices, considerations, and, in many cases, gear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sound attenuates at a 1/(r^2) rate for point sources.  Unfortunately, an automobile roaring through your walls functions more like a area source, not a point source, and thus decays very little from one end of the room to another.  Nevertheless, a headset can put a microphone very close to your mouth, and that can push the room noise floor down fairly far.  You might also consider making videos between the hours of 2AM and 4AM, when vehicular traffic is minimal.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-01-08T13:53:01.843" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20352" PostTypeId="2" ParentId="20343" CreationDate="2017-01-08T14:32:35.093" Score="0" Body="&lt;p&gt;I've had to transfer many older formats to a PC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've found the best way is to get a TV tuner card for the PC and connect through that. (if the camera has a video out RCA type connector)  The card will usually come with some sort of software for capturing a signal.  The signal can usually come in via normal RCA type video/audio connectors and if not, you can always hook the camera up to an older VCR and then hook the output RF cable to the tuner card. (Sort of a cluster, but it works)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your case, you could find an 8 pin to 4 pin firewire cable.  (The 4 pin is what the 'DV' output on the camera is)  The computer would then need the larger 8 pin firewire input on it.  This would allow the input of both the video and audio of the tape.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example card you could use:  (this card has 8 pin and 4 pin inputs so you could go with either 8pin to 4pin cable or 4pin to 4pin cable)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.newegg.com/Product/Product.aspx?Item=N82E16815283029&amp;amp;ignorebbr=1&amp;amp;nm_mc=KNC-GoogleAdwords-PC&amp;amp;cm_mmc=KNC-GoogleAdwords-PC-_-pla-_-Add-On+Cards-_-N82E16815283029&amp;amp;gclid=CjwKEAiA48fDBRDJ24_imejhwUkSJAAr0M5kmWujjnw3dRZE1dYFEfOInwW4d-IpZqXnue0az7FZsRoCcRDw_wcB&amp;amp;gclsrc=aw.ds&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.newegg.com/Product/Product.aspx?Item=N82E16815283029&amp;amp;ignorebbr=1&amp;amp;nm_mc=KNC-GoogleAdwords-PC&amp;amp;cm_mmc=KNC-GoogleAdwords-PC-&lt;em&gt;-pla-&lt;/em&gt;-Add-On+Cards-_-N82E16815283029&amp;amp;gclid=CjwKEAiA48fDBRDJ24_imejhwUkSJAAr0M5kmWujjnw3dRZE1dYFEfOInwW4d-IpZqXnue0az7FZsRoCcRDw_wcB&amp;amp;gclsrc=aw.ds&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The USB connector on those cameras were more for transferring the still pictures that the camera would take.  Even then the USB on those cameras was a crap shoot about if it would actually work.&lt;/p&gt;&#xA;" OwnerUserId="17687" LastActivityDate="2017-01-08T14:32:35.093" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20353" PostTypeId="1" CreationDate="2017-01-08T16:55:43.770" Score="0" ViewCount="688" Body="&lt;p&gt;Can Adobe Premiere Elements 15 process (take over) video projects (.prel files, etc.) previously built with Premiere Elements 11?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words, if I upgrade my iMac Mountain Lion OS X to El Capitan and get Premiere Elements 15, am I screwed, or can I continue the projects started on Premiere Elements 11?&lt;/p&gt;&#xA;" OwnerUserId="17688" LastActivityDate="2017-01-08T17:46:07.213" Title="Compatibility between Adobe Premiere Elements 15 and 11?" Tags="|premiere-elements|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20354" PostTypeId="1" CreationDate="2017-01-08T17:16:41.570" Score="0" ViewCount="255" Body="&lt;p&gt;There are few film emulation LUTs (&lt;a href=&quot;https://en.wikipedia.org/wiki/Lookup_table#Lookup_tables_in_image_processing&quot; rel=&quot;nofollow noreferrer&quot;&gt;LookUp Tables&lt;/a&gt;) that I would like to use on my DSLR in real-time (live) because shooting live with LUT applied gives very accurate results and cuts down time on post editing process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know if there are any ways to use LUTs live on DSLR just like you can with some smartphone apps.&lt;/p&gt;&#xA;" OwnerUserId="17689" LastActivityDate="2017-03-09T20:45:49.557" Title="How to load 3D LUTs on Dslr?" Tags="|camera|effects|dslr|filter|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20355" PostTypeId="2" ParentId="20353" CreationDate="2017-01-08T17:46:07.213" Score="1" Body="&lt;p&gt;In general with Adobe software, newer versions of a program can open/import project files created with older versions. This makes sense, since it would be pretty stupid if you couldn't open your old projects anymore after upgrading your software version. However, in most cases the project files are not backwards compatible, meaning you can't open a project created with the current version of your software with an older release of the same software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this reason, if you open an old project file with a newer release of Premiere Pro, it informs you that the project file needs to be converted and prompts you to save the new project file with a new name. This way, you will still have the old project file that can be opened with the older version of Premiere. However, any additional changes you make to the project will only be present in the converted project. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For Elements, I'm not sure how the conversion is handled, but you will definitely be able to open your Premiere Elements 11 project file with Premiere Elements 15. However, once you overwrite the project file from within Premiere Elements 15, you probably won't be able to open it in Premiere Elements 11 anymore.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-01-08T17:46:07.213" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20356" PostTypeId="2" ParentId="20354" CreationDate="2017-01-08T20:01:12.017" Score="1" Body="&lt;p&gt;As far as I'm aware there are no dslrs with lut loading capabilities. Further, many professional grade cameras don't even have that ability. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suggest getting a small HD monitor and loading it there and connecting that to your Dslr.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2017-01-08T20:01:12.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20357" PostTypeId="2" ParentId="7038" CreationDate="2017-01-08T20:38:57.157" Score="0" Body="&lt;h2&gt;Official Documentation&lt;/h2&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Premiere Pro lets you burn in permanent captions into your video.&#xA;  Burned-in captions are always visible regardless of whether closed&#xA;  captioning is enabled on your television or streaming device or not.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Premiere Pro supports burning in both closed captions and open&#xA;  captions while exporting your video.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;When you import SRT files and XML files that  have open caption data&#xA;  in them, Premiere Pro automatically converts these files to CEA-708&#xA;  CC1 closed caption files. You can then edit these files and burn in&#xA;  the captions as subtitles while exporting using Premiere Pro or Adobe&#xA;  Media Encoder.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;In the Export Settings dialog box, select the Export Format as Burn&#xA;  Captions Into Video.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Note: You cannot edit captions that are burned into the video.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/working-with-captions.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/using/working-with-captions.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5657" LastActivityDate="2017-01-08T20:38:57.157" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20358" PostTypeId="2" ParentId="7038" CreationDate="2017-01-08T21:01:02.463" Score="0" Body="&lt;p&gt;Use aegisub to create an srt file (believe me it is easier this way). Then simply import the srt file into premiere. It will create a title sequence that will act as a layer that you can render onto the video. There are of course other ways of doing this such as what Ryan posted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I personally do not like Premiere's handling of subtitles as there is no way to batch format all the subs!&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2017-01-08T21:01:02.463" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20359" PostTypeId="2" ParentId="20339" CreationDate="2017-01-08T21:02:05.900" Score="1" Body="&lt;p&gt;&lt;strong&gt;I'm going to answer this broadly in theory and then get back to your question.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shotgun mics are usually supercardoid or some variant. That means that although a majority of the pickup is in the front (say 70%), there is also some pickup in the back (30%); as well as some pickup on the sides. Outdoors this doesn't matter that much as the closest thing to the mic is usually the talent and sound isn't bouncing back into the microphone but rather drifting to it from other sources so the background rejection is better. Indoors, however, this 30% characteristic can be a major pain as your mic will pick up on the reverb of the room, the ambient noise, .etc.; this is why it is usually suggested to have the back of the mic pointed to the corner of the room so the audio waves from the source deflect a bit. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This means if the room isn't properly treated the mic has to be absurdly close to the source otherwise it WILL pick up at least some reverb. I personally never have time, or the budget, to properly treat a room with acoustic foam or blankets to help absorb the waves before they start bouncing into the mic. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another characteristic of shotgun mics seen in the picture below is that they have incredibly narrow pickup patterns such that if the shotgun is off-axis from the source there will be a noticeable difference in sound. Some shotguns are advertised with off-axis rejection which means that this effect will be exacerbated, with the caveat of having more rejection of the 30% category.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mMSkL.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mMSkL.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking at the above chart we can see that we have other options. Hypercardoid is even worse, with more background pickup. But there is a saving grace, a cardoid microphone. It has a relatively wide front pickup pattern and hardly any background pickup. An example of this, that I use on indoor shots is the Octava MK-012 with a cardoid capsule (this mic can also be used as an hypercardoid or an omni with different capsules). This mic is competitively priced at 179 and was recommended to me by an audio professional; apparently its been around for a while with good results in the field.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if it were me... there is something about ease of use that makes me a happy filmmaker. When you are carrying everything yourself, it’s nice not to have to setup a boompole on a light-stand with sandbags and xlr wires and recorders....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;So what I would do.. get a good lav system. It will be worth it in the end, and you'll use it more in the end.&lt;/strong&gt; Although lavs are omni directional, they are incredibly incredibly close to the source. Say your source is speaking at a 10, the omni is right there picking up a 9.5, and all of the rest of the noise is far away at about a 1... you can barely here it. Conversely with a shotgun your source is at a 10, the shotgun is picking up a 7 and the background noise at a 3. You don't have to worry about talent moving too much with the audio being off-axis, and you don't have to set up so much.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can hide the lav with a simple piece of medical tape or &lt;a href=&quot;http://www.rode.com/accessories/invisilav&quot; rel=&quot;nofollow noreferrer&quot;&gt;rode invislav&lt;/a&gt;. I use the Sennheiser AVX system and have been happy but its $$$. You could get the Rode link system but its a bit over your budget. To fit your budget I would do something like a zoom h1 with a rode lav or giant squid lav but it would require you to sync in post. Spend the extra money and get the rodelink :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That being said you might not even need any of this, if you want to treat the room and you have a shotgun you can get good results. Just take it for a test run first.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2017-01-08T21:02:05.900" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20360" PostTypeId="1" AcceptedAnswerId="20361" CreationDate="2017-01-08T21:32:13.233" Score="2" ViewCount="1064" Body="&lt;p&gt;Unfortunately I do not have an example because I do not know the name of the technique.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have seen in films at a local film festival an &quot;effect&quot; that makes the video black and white. I don't mean grayscale; anyone can make a black and white movie. What I mean is &lt;em&gt;only&lt;/em&gt; black and white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know how to do this in programming with individual pictures. Get pixel color, and if its average RGB value is above 128, its white, and vice versa.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How would I do this in video?&lt;/strong&gt; I personally have Sony Vegas Pro 13, and a friend has Adobe Premiere Pro CS6 that he can let me use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can add more info if needed, and I'll try to find an example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="15988" LastActivityDate="2017-01-08T22:24:48.657" Title="Make a video ONLY 2 colors? (Not grayscale)" Tags="|editing|post-production|footage|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20361" PostTypeId="2" ParentId="20360" CreationDate="2017-01-08T22:24:48.657" Score="2" Body="&lt;p&gt;You could use the Posterize effect in Adobe After Effects, and set it to 2 colours.  Or the Threshold RGB effect and set it to 127 (if it's an 8 bit colour video). You may have to greyscale the video first.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-01-08T22:24:48.657" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20363" PostTypeId="1" AcceptedAnswerId="20366" CreationDate="2017-01-09T02:58:13.580" Score="0" ViewCount="312" Body="&lt;p&gt;I'm about to do some screen recording with OBS (&lt;a href=&quot;https://obsproject.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;Open Broadcaster Software&lt;/a&gt;) and I've just been checking the &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube Recommended Upload Encoding Settings&lt;/a&gt; to get the best quality without overkilling the end file size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So basically. I know I'm going to be recoding in 640x480 window running at 50 FPS. Which is 480p High Frame Rate option. Which is &lt;code&gt;4 Mbps&lt;/code&gt;. Now OBS is asking for video bitrate, how do I convert &lt;code&gt;4 Mbps&lt;/code&gt; to &lt;code&gt;bitrate&lt;/code&gt; OBS is asking for?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I presume I be recording in Stereo which is &lt;code&gt;384 kbps&lt;/code&gt;. However, the only bitrates available are: 64, 96. 128, 160, 192, 224, 256, 288 and 320. Mono is 128 but I hadn't seen anything higher than 320 for mp3 audio bitrate and I don't know if the value it's after is in kbps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been doing many searches in Google like &quot;Mbps to bitrate&quot; and &quot;kbps to bitrate&quot; with no success even after checking the calculator pages.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My knowledge in bitrates are low and I just know 128-160 are average for mp3 and I don't know if this is correct that 320 is lossless or close to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be appreciated, thanks.&lt;/p&gt;&#xA;" OwnerUserId="17692" LastActivityDate="2017-01-09T14:43:36.750" Title="How do I insert the program requested bitrate from YouTube Recommended Uploading Encoding Settings?" Tags="|video-recording|youtube|audio-recording|bitrate|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20364" PostTypeId="1" CreationDate="2017-01-09T10:19:52.037" Score="0" ViewCount="1040" Body="&lt;p&gt;I'm trying to add a watermark of an icon (an arrow pointing to the right） to the top right corner of two different videos using FFmpeg. Both videos have the same resolution (1280x720) and I use the same command to add the icon. In one video, the icon appears in the correct place. However, in the other video, the icon appears in the bottom right corner.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone encountered the same problem?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5DlZA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5DlZA.png&quot; alt=&quot;Screenshot of correct and misplaced watermarks&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17693" LastEditorUserId="14523" LastEditDate="2017-01-10T15:40:17.973" LastActivityDate="2017-01-10T15:40:17.973" Title="Misplaced FFmpeg watermarks" Tags="|video|ffmpeg|android|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20365" PostTypeId="2" ParentId="20364" CreationDate="2017-01-09T12:11:20.987" Score="1" Body="&lt;p&gt;The picture on the left is a portrait video stored as landscape but with a rotation tag. So, the overlay image co-ordinates take effect with reference to the stored representation. For such cases, you should rotate the video beforehand by 1) adding the transpose filter before the overlay 2) disabling autorotate on the input video* and 3) manually resetting the rotation tag in the output, e.g.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -noautorotate -i input.mp4 -i arrow.png -filter_complex &quot;[0]transpose=1[bg];[bg][1]overlay=X:Y&quot; -metadata:s:v rotate=0 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;*not needed if your ffmpeg is from April 2015 or earlier.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;To check the rotation tag for a video, you can run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe input.mp4 -show_entries stream_tags=rotate -v 0 -of compact=p=0:nk=1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You'll get an angle value. If it's 90, use &lt;code&gt;transpose=1&lt;/code&gt;. If it's 270, use &lt;code&gt;transpose=2&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-01-10T05:17:56.873" LastActivityDate="2017-01-10T05:17:56.873" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20366" PostTypeId="2" ParentId="20363" CreationDate="2017-01-09T14:35:09.873" Score="1" Body="&lt;p&gt;Since Mulvya's habit of answering questions in the comments ruins our &lt;a href=&quot;http://area51.stackexchange.com/proposals/4/audio-video-production&quot;&gt;answer rate statistic&lt;/a&gt;, let's put this into an answer °v°&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Which is 4 Mbps. Now OBS is asking for video bitrate, how do I convert 4 Mbps to bitrate OBS is asking for?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Bitrate is the general term for the amount of &lt;a href=&quot;https://en.wikipedia.org/wiki/Bit&quot; rel=&quot;nofollow noreferrer&quot;&gt;bits&lt;/a&gt; per second (1 bit = 1 unit of information). &lt;code&gt;Mbps&lt;/code&gt; stands for &lt;code&gt;Mega bit per second&lt;/code&gt;, which is the unit in which the bitrate is measured (not to be confused with &lt;code&gt;MBps&lt;/code&gt;, which would stand for &lt;code&gt;Mega Byte per second&lt;/code&gt;. One byte consists of eight bit). Both the audio and the video &lt;a href=&quot;https://video.stackexchange.com/questions/15821/how-are-video-and-audio-streams-placed-in-container-files-and-what-interrelati/15824#15824&quot;&gt;stream&lt;/a&gt; have a bitrate, which correlates directly (though not linearly, depending on the codec used) to their quality.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;1 Mbps = 1000 kbps = 1.000.000 bit per second&#xA;4 Mbps = 4000 kbps = 4.000.000 bit per second&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Also, I presume I be recording in Stereo which is 384 kbps. However, the only bitrates available are: 64, 96. 128, 160, 192, 224, 256, 288 and 320. Mono is 128 but I hadn't seen anything higher than 320 for mp3 audio bitrate and I don't know if the value it's after is in kbps.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;320 kbps is the highest audio bitrate available for MP3, as defined in the MP3 standard (&lt;a href=&quot;https://en.wikipedia.org/wiki/MP3#Bit_rate&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPEG-1 Audio Layer III&lt;/a&gt;). If you are still not satisfied with the resulting quality at that bitrate (which I find unlikely), use a better codec. For example, MP3's successor AAC is generally considered to yield better results than MP3 while using the same bitrate. But really, 320 kbps MP3 is all you need.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;My knowledge in bitrates are low and I just know 128-160 are average for mp3 and I don't know if this is correct that 320 is lossless or close to it.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;128-160 kbps are acceptable if you use a variable bitrate (VBR). For a constant bitrate (CBR), I wouldn't go lower than 256 kbps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But realistically, you can just use 320 kbps for everything and not worry about it. The thing is, if your video will take up 4 megabits or more per second, the added 320 kilobit per second for the audio won't add considerably to the overall file size. So really, there's no reason to go with a lower audio bitrate. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, MP3 is by definition a lossy codec. However, whether any human will be able to hear a difference between 320 kbps and a lossless codec such as FLAC is questionable (I maintain they are not, but everyone is entitled to their own opinion).&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I've just been checking the YouTube Recommended Upload Encoding Settings to get the best quality without overkilling the end file size.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Don't pay too much attention to the recommended bitrates. In my opinion, those recommendations are way too low. The thing is, &lt;a href=&quot;https://video.stackexchange.com/questions/16324/h-264-or-vp9-for-encoding-for-youtube/16325#16325&quot;&gt;YouTube reencodes all videos you upload anyway&lt;/a&gt;. So if you encode your video at your end first, you have two lossy encoding cycles. If you use a low bitrate, your video will contain artifacts after the first encoding cycle already. Those will only be made worse in the second cycle. So if you use a higher bitrate for the encoding on your end, the endresult on YouTube will also look better. I would only go for a lower bitrate if you have a metered internet connection or your connection is so slow that your video uploads take an annoyingly long time.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-01-09T14:43:36.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20367" PostTypeId="1" CreationDate="2017-01-09T15:39:48.210" Score="1" ViewCount="1250" Body="&lt;p&gt;I am software developer working on a project that requires my video files to be an mp4 format, as this is what most vendors support. I am trying to use ffmpeg, to rewrap the MXF file, into an mp4. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the probe. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tjWYY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tjWYY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Attempting a direct &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i c:\Users\206420055\Downloads\MAAAAAHVIY.mxf -c:v copy -c:a copy test.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the video works, but the audio appears to be squished into the first few seconds of the video. As well as seeking does not work properly on the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Trying to use &lt;code&gt;libmp3lame&lt;/code&gt; as the audio codec, it complains about &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[libmp3lame @ 0000000002d08900] Queue input is backward in time [mp4 @&#xA;  0000000003887fc0] Non-monotonous DTS in output stream 0:1; previous:&#xA;  1565 375, current: 1564346; changing to 1565376. This may result in&#xA;  incorrect timesta mps in the output file.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I have tried a variety of adding &lt;code&gt;-af aresample=async=1000&lt;/code&gt; (and other hertz values), which succeeds in removing the warnings, but does not succeed in fixing the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any ideas what else I am missing? I have tried to map the individual streams to the output as well, with no luck. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Full console when running &#xA;&lt;code&gt;ffmpeg.exe -i c:\Users\206420055\Downloads\MAAAAAHVIY.mxf  -c:v copy -c:a copy -report testing.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;c:\dev\ffmpeg-20161230-6993bb4-win64-static\bin&amp;gt;ffmpeg.exe -i c:\Users\206420055&#xA;\Downloads\MAAAAAHVIY.mxf  -c:v copy -c:a copy -report testing.mp4&#xA;ffmpeg started on 2017-01-09 at 12:10:03&#xA;Report written to &quot;ffmpeg-20170109-121003.log&quot;&#xA;ffmpeg version N-82966-g6993bb4 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 5.4.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --enable-dxva2 --enable-libmfx -&#xA;-enable-nvenc --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei&#xA;0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-li&#xA;bbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --en&#xA;able-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb&#xA;--enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-li&#xA;bopus --enable-librtmp --enable-libsnappy --enable-libsoxr --enable-libspeex --e&#xA;nable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc&#xA;--enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable&#xA;-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --e&#xA;nable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55. 43.100 / 55. 43.100&#xA;  libavcodec     57. 70.100 / 57. 70.100&#xA;  libavformat    57. 61.100 / 57. 61.100&#xA;  libavdevice    57.  2.100 / 57.  2.100&#xA;  libavfilter     6. 68.100 /  6. 68.100&#xA;  libswscale      4.  3.101 /  4.  3.101&#xA;  libswresample   2.  4.100 /  2.  4.100&#xA;  libpostproc    54.  2.100 / 54.  2.100&#xA;Input #0, mxf, from 'c:\Users\206420055\Downloads\MAAAAAHVIY.mxf':&#xA;  Metadata:&#xA;    application_platform: Omneon Media Api (mqx)&#xA;    uid             : 7889285c-97b8-161e-b2af-00d02813303e&#xA;    generation_uid  : 8289285c-97b8-161e-8c77-00d02813303e&#xA;    company_name    : Omneon Inc.&#xA;    product_name    : Omneon Media Subsystem&#xA;    modification_date: 2016-12-02T13:58:10.000000Z&#xA;    product_version : Omneon SB Release 7.9.0.0.62 (tags/7.9.x.0/7.9.0.0.11),ex=&#xA;{0,-1},rng={0,-1,8},exPre&#xA;    product_uid     : 00000000-0000-1000-8000-050e0b010602&#xA;    material_package_umid: 0x060A2B340101010501010D231301066E8E44035197B8161E898&#xA;C00D02813303E&#xA;    timecode        : 08:58:00;04&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (Baseline), yuv420p(progressive), 640x360 [SAR 1:1&#xA;DAR 16:9], 29.97 fps, 29.97 tbr, 29.97 tbn, 59.94 tbc&#xA;    Metadata:&#xA;      file_package_umid: 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bitrate=2054.1kbit&#xA;frame=114904 fps=3001 q=-1.0 size=  961435kB time=01:03:53.93 bitrate=2054.3kbit&#xA;[mxf @ 00000000004b8060] next_ofs didn't change. not deriving packet timestamps&#xA;[mp4 @ 0000000003a07760] Timestamps are unset in a packet for stream 0. This is&#xA;deprecated and will stop working in the future. Fix your code to set the timesta&#xA;mps properly&#xA;frame=115116 fps=2966 q=-1.0 Lsize=  968349kB time=01:04:01.00 bitrate=2065.3kbi&#xA;ts/s speed=  99x&#xA;video:906506kB audio:60016kB subtitle:0kB other streams:0kB global headers:0kB m&#xA;uxing overhead: 0.188993%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17695" LastEditorUserId="17695" LastEditDate="2017-01-09T17:12:25.447" LastActivityDate="2017-01-09T17:12:25.447" Title="FFMPEG MXF -&gt; MP4 - Cannot get proper audio on output file" Tags="|video|ffmpeg|mp4|mxf|" AnswerCount="0" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="20368" PostTypeId="1" CreationDate="2017-01-09T15:54:01.253" Score="3" ViewCount="91" Body="&lt;p&gt;I will soon be in charge of multiple screens for scene at a concert. Those screens are centralised and a video output will be give to me. I'am looking for a way to divide this video output into two virtuals parts in my computer. The top part and the rectangle at the bottom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8Jsrm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8Jsrm.png&quot; alt=&quot;The scene&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The goal is to show different visuals on the two parts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you for your help&lt;/p&gt;&#xA;" OwnerUserId="17697" LastActivityDate="2024-04-04T17:06:50.893" Title="Divide video ouput" Tags="|video|output|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20369" PostTypeId="1" AcceptedAnswerId="20390" CreationDate="2017-01-09T17:51:51.117" Score="0" ViewCount="625" Body="&lt;p&gt;So, I have this composition with an animated letter. Each letter is a different composition. To save me some work I duplicate the repeating letters. However I want to change the colour of one letter all of the repeated letters get the same colour. How can I disconnect in some way the duplicate compositions from the original? Thank you!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. I'm newb&lt;/p&gt;&#xA;" OwnerUserId="17698" LastActivityDate="2017-01-12T14:47:15.173" Title="How to give different colors to duplicate composition in after effects?" Tags="|color|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20373" PostTypeId="2" ParentId="20368" CreationDate="2017-01-10T06:03:58.893" Score="0" Body="&lt;p&gt;If precision sync is not an issue, you can create your program streams in any editing platform, using one audio track, and a separate nested comp for each &quot;screen&quot;. Then make output your playback files to your desired playback format, and just make sure you set it up to have identical pre-roll and enough tail end to not cut to a blue screen or no video signal when finished (add black). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as playback is concerned. I had a project we did 2 feeds, 3 screens, (L, R, Center). The sync was not frame critical, and we were able to get away with outputting our files to BD-R and using Blu-Ray players as source decks. Using the same brand Blu-Ray (Sony) Player, and a SINGLE remote control. Using one remote, allowed us to queue, stop, start, the program feeds, and the sync was near perfect. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need frame accurate, or field accurate, you will need a playback system of some sort. If using decks, as long as the decks have pre-roll and are frame accurate, you can sync them together and use a jog shuttle to control them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also Playback Pro is worth looking into: &lt;a href=&quot;https://www.dtvideolabs.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dtvideolabs.com&lt;/a&gt;   A bit expensive, but it will do multscreen presentations, and is designed for live AV. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It all depends on how perfect your sync needs to be. One project we did used 2 20K Christie Projectors to shoot polarized (not active shutter) 3-D; just like in theaters. For that, we had to be field accurate. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-01-10T06:03:58.893" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20374" PostTypeId="2" ParentId="18335" CreationDate="2017-01-10T06:10:39.660" Score="1" Body="&lt;p&gt;I produced a video on Augmented Reality, for a large corporation that spearheaded the technology. We used After Effects to simulate a lot of effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We shot our plates and scenes, and when necessary we added dots on sticks for tracking points. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, you can take your footage into AE, latch motion trackers to the dots (if your scene doesnt have points sharp enough to tack to), and once you track the motion, you can nest your AR graphics, either static (photoshop psd files), or animated, and they will move with the camera movement, as if in the scene. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to go the extra mile, you can make the AR layers 3D, and add a camera, and using multiple tracking points get your AR graphics to move in 3D, with axis tilting. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also add things like Depth of Field. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And lastly, you can have them build on and build off using the built in transitions in AE under Animation... there are 100s. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps, Its more than one could explain here, but there are a lot of youtube videos on how to use motion trackers, 3D layers, etc- so if you look into the keywords I gave you, hopefully it will get you started. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers!&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-01-10T06:10:39.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20375" PostTypeId="2" ParentId="20304" CreationDate="2017-01-10T06:17:01.760" Score="1" Body="&lt;p&gt;You cannot bring them in directly, the way you describe. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects allows you to import your PSD files from Photoshop, making use of editable layers and text. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere does not. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, you can get this to work by using Adobe Bridge, which comes with the CS suite. Bridge has a utility called Dynamic Link, which allows you to work in realtime in both PS and PPro. You then import in your PSDs with Dynamic Link / Abobe Bridge, and any updates made to the PSD title cards in Photoshop appear immediately. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This allows more than one person to work on a project, one on Chyron and one on cutting. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only downside is you have to flip back and forth between the two- or use a multi-monitor setup, with PS on one and PPro on the other. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Only other option is to do you edits in AE, where you can bring in the PSDs as actual PSDs with Text, not just the layers. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-01-10T06:17:01.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20379" PostTypeId="1" AcceptedAnswerId="20387" CreationDate="2017-01-10T17:15:58.477" Score="1" ViewCount="450" Body="&lt;p&gt;I have a large archive of video that I want to catalog, so that I can go back and find clips about certain topics. So far, I've done a couple videos by playing them 1.5x and writing the time code and making a note about the topic... on paper. Then, I transfer everything into a spreadsheet. It's certainly effective, but relatively inefficient.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally, I'd like to be able to create a list of tags that I can choose as I'm watching the video. Alternately, the ability to type a quick note that's tied to a particular time signature would also be good. If I have to pause the video to do it, that's a no-go. I'm thinking of something a lot like SoundCloud's feature where you can make a comment while you're listening to something.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to do something like this in Adobe Premier, AfterEffects, or some other tool?&lt;/p&gt;&#xA;" OwnerUserId="17708" LastActivityDate="2017-01-10T23:47:59.350" Title="How to add notes/tags to specific times while watching a video?" Tags="|video-editor|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20381" PostTypeId="1" AcceptedAnswerId="20382" CreationDate="2017-01-10T20:47:08.453" Score="1" ViewCount="1698" Body="&lt;p&gt;I managed to get my hands in a few very old video files (really!) whose quality, audio and video, are not so great. I checked the technical details of the file and &lt;a href=&quot;https://i.stack.imgur.com/pbko0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; is what I've got.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In overall the scenes of these video files are looking like &lt;a href=&quot;https://i.stack.imgur.com/ZAfpx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;. Not so vivid, blurred, shaky...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I know there's no magic bullet to make this video from trash to HD, we can't wring blood from a stone, but i do know that it is possible to apply filters, re-encode and others nice little tricks to improve the experience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However I don't know which filters I'm looking for or softwares to do the job so here I am, asking for some guidelines 9otherwise it would fit the subject as too broad) to have a kick start of this personal project.&lt;/p&gt;&#xA;" OwnerUserId="17711" LastActivityDate="2020-05-30T09:20:30.543" Title="Enhance Video/Audio Quality of Old Movies" Tags="|video|editing|audio|software-recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20382" PostTypeId="2" ParentId="20381" CreationDate="2017-01-10T21:54:40.807" Score="2" Body="&lt;p&gt;There are some filters you can use, specifically speaking in regards to Premiere Pro editing, that can enhance old video/film content. These include applying some basic color correction, adjusting gamma, saturation, and using a 3 way color corrector or a filter plugin like Colorista to enhance the color balance per RGB channel. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also &quot;Magic Bullet's&quot; Instant HD filter, which is part of their Shooter Suite. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The filter does a slightly better job than simply scaling to frame size (dropping a small resolution video onto an HD sequence for example. It applies some sharpening, and contrast enhancements; however, the rendering time is intense. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;FOR THE BEST OUTPUT:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I need to get the best output possible, this is the workflow I follow:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Using PPro or Adobe Media Encoder; export your video file as a JPG or preferably (if you have the HD space) TIF sequence. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Go into Bridge, and open one of your JPG/TIF files using right click &quot;Open in Camera Raw&quot;. Adjust your color, sharpening, clarity, vibrance, you can also, from with &quot;Camera Raw&quot;, add &quot;reduce noise&quot; which can greatly help. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;The ability to enhance the frame from within Camera Raw is far more powerful than what you will get out of the box with Premiere.&lt;/em&gt; &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Then click Done to apply the &quot;Develop Settings&quot;. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Right Click - &gt; Develop Settings -&gt; Copy Develop Settings&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Select all the frames (TIF/JPG) that are your exported sequence (there will be 1000s. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Right Click -&gt; Develop Settings -&gt; Paste Develop Settings&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;NEXT&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Use the Image Processor in Photoshop, it's under File -&gt; Automate. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Choose all the files you've applied your Develop Settings, and Check &quot;Resize to 1920 H by 1920 W. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now run the Automation App. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;It might take a while, but you will end up with a folder filled with enlarged JPG/TIF files, with your develop settings applied. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Lastly, go back into Premiere -&gt; Import -&gt; JPG File number 00001, and check the box at the bottom &quot;Image Sequence&quot;. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;It will import all your frames as a video file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the best way to get the best results. But plan for overnight runs for the process of Automation of the Photoshop files from original to enlarged. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-01-10T21:54:40.807" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20383" PostTypeId="1" AcceptedAnswerId="20386" CreationDate="2017-01-10T22:44:14.727" Score="2" ViewCount="841" Body="&lt;p&gt;I am digitizing several DV tapes via a Sony handycam, a firewire cable, and a MacBook. &#xA;Unfortunately, the tape of one of the DV tapes is torn: it only attaches to one of the spools, the other end is unattached and hangs out of the top.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything I can do to repair this tape such that I can digitize it? The tape is a JVC miniDV 60 (60/90ME).&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2017-01-10T23:20:27.280" Title="Is a torn DV tape recoverable in any way?" Tags="|firewire|tape|mini-dv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20384" PostTypeId="1" CreationDate="2017-01-10T22:15:16.520" Score="0" ViewCount="284" Body="&lt;p&gt;I'm making a 360 video, filmed with 2 180 degree spherical cameras back to back.  The problem is that the man holding the cameras shows up in the bottom section of the video.  With the software, (I am using Kolor Autopano Video) is there a way to crop a section out of the video?  &lt;/p&gt;&#xA;" OwnerUserId="17743" OwnerDisplayName="The Hawk" LastActivityDate="2017-01-11T16:45:38.347" Title="Crop a man out of a 360 video" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20386" PostTypeId="2" ParentId="20383" CreationDate="2017-01-10T23:20:27.280" Score="4" Body="&lt;p&gt;Mini DV tapes can be &lt;a href=&quot;http://www.dvdyourmemories.com/blog/minidv-tape-repair-guide-repair-minidv-tape/&quot; rel=&quot;nofollow noreferrer&quot;&gt;spliced&lt;/a&gt;, so it should be easy enough to reattach it to the reel in similar way. Be sure to use &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B00NNSO11K&quot; rel=&quot;nofollow noreferrer&quot;&gt;tape splicing tape&lt;/a&gt; and not any other kind of tape. Be sure to only put splicing tape on the substrate of the video tape. Don't let the tape fold over onto the oxide side. If you end up splicing in the middle of the tape, you will see the picture pixelate and freeze around the splice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend running the repaired tape through your player last just in case something isn't quite right with your splice and you accidentally damage the head.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-01-10T23:20:27.280" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20387" PostTypeId="2" ParentId="20379" CreationDate="2017-01-10T23:23:26.160" Score="0" Body="&lt;p&gt;This seems possible in Adobe Premiere Pro (CS6 at least).&#xA;From your question I understand you want to do three things, I will treat every one of them separately. The steps can be used to achieve your goal.&lt;/p&gt;&#xA;&lt;p&gt;First, open a new project in Premiere Pro (PP) and import the media you want to add comments to.&#xA;Additionally, I found the &lt;code&gt;Metalogging&lt;/code&gt; window lay-out convenient for this task (&lt;code&gt;Windows&lt;/code&gt; -&amp;gt; &lt;code&gt;Workspace&lt;/code&gt; -&amp;gt; &lt;code&gt;Metalogging&lt;/code&gt; or &lt;kbd&gt;Alt&lt;/kbd&gt;+&lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;6&lt;/kbd&gt;), but you might find another lay-out fit your needs better.&lt;/p&gt;&#xA;&lt;h3&gt;1. Play video at 1.5x speed&lt;/h3&gt;&#xA;&lt;p&gt;Double click the video you want to play, it will open in the &lt;code&gt;Source&lt;/code&gt; panel.&#xA;Press &lt;kbd&gt;Spacebar&lt;/kbd&gt; to play the video and use the &lt;kbd&gt;L&lt;/kbd&gt; key to increase the playback rate and the &lt;kbd&gt;J&lt;/kbd&gt; decreases it (credits to &lt;a href=&quot;https://video.stackexchange.com/a/8485/2178&quot;&gt;this answer&lt;/a&gt;).&lt;/p&gt;&#xA;&lt;h3&gt;2. Create a list of tags during playback&lt;/h3&gt;&#xA;&lt;p&gt;While the video plays hit the &lt;kbd&gt;M&lt;/kbd&gt; key to create a &lt;code&gt;Marker&lt;/code&gt; at the timecode currently shown in the &lt;code&gt;Source&lt;/code&gt; panel (markers pointed out):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/MeAoI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MeAoI.png&quot; alt=&quot;source markers&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Make sure the &lt;code&gt;Source&lt;/code&gt; panel is in focus (i.e. has a yellow line around the panel):&#xA;&lt;a href=&quot;https://i.stack.imgur.com/mhNRt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mhNRt.png&quot; alt=&quot;panel in focus&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;h3&gt;3. Add comments to the tags without pausing the video&lt;/h3&gt;&#xA;&lt;p&gt;Make sure the &lt;code&gt;Markers&lt;/code&gt; panel (&lt;code&gt;Window&lt;/code&gt; -&amp;gt; &lt;code&gt;Markers&lt;/code&gt;) and the &lt;code&gt;Source&lt;/code&gt; panel is visible (&lt;code&gt;Window&lt;/code&gt; -&amp;gt; &lt;code&gt;Source&lt;/code&gt;).&lt;br /&gt;&#xA;When you add markers during playback, these will show up in this panel with a comment field:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yvt16.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yvt16.png&quot; alt=&quot;comments&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;While the video plays, you can add markers in the &lt;code&gt;Source&lt;/code&gt; panel and then add comments to these markers in the &lt;code&gt;Markers&lt;/code&gt; panel. The video is not paused.&lt;/p&gt;&#xA;&lt;p&gt;In your comment you mention you would like to export the markers to a file. Unfortunately I did not find a straightforward way to do this in CS6, however, PP Creative Cloud does have this option according to &lt;a href=&quot;https://www.youtube.com/watch?v=YlcNam09dJw&quot; rel=&quot;nofollow noreferrer&quot;&gt;this tutorial&lt;/a&gt;.&#xA;The option can be found in &lt;code&gt;File&lt;/code&gt; -&amp;gt; &lt;code&gt;Export&lt;/code&gt; -&amp;gt; &lt;code&gt;Markers&lt;/code&gt; and allows you to export an HTML file of your timestamped markers, including comments and a screenshot of the video at that time.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-01-10T23:47:59.350" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20388" PostTypeId="1" AcceptedAnswerId="20389" CreationDate="2017-01-11T04:13:48.387" Score="2" ViewCount="11059" Body="&lt;p&gt;&lt;em&gt;This question is based on the software Handbrake.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Being a newbie to video editing/conversion and Handbrake, I understand that the RF values are used to select quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lower the RF value, higher is the quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;RF = 51 means fast encoding while very low quality.&#xA;RF = 0 means very very slow but lossless.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So from this logic it would mean that if I want to encode a 360p video for YouTube I would have to select &lt;em&gt;higher&lt;/em&gt; RF value because it is lower quality and conversely, it I want a 1080p video then I must go for a &lt;em&gt;lower&lt;/em&gt; RF value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But Handbrake itself recommends RF=23 for HD and RF=18 for SD. How is this possible? I'm confused. &lt;/p&gt;&#xA;" OwnerUserId="17716" LastEditorUserId="17716" LastEditDate="2017-01-11T04:20:45.937" LastActivityDate="2017-01-11T11:12:01.200" Title="Handbrake :: Why is an RF value of 20 to 23 recommended for HD while a lower value of 18 to 20 for SD?" Tags="|video-quality|handbrake|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20389" PostTypeId="2" ParentId="20388" CreationDate="2017-01-11T07:20:43.703" Score="2" Body="&lt;p&gt;Resolution != quality, at least, not in the sense referred to by RF. What the RF primarily modulates is the quantization parameter (QP).&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Let's say you have a 2x2 array of pixels and each pixel is represented by one floating-point value e.g. 3.98, 2.10, 1.05, 7.88. If your goal is to compress the video, then storing these values with full precision and fidelity will be more expensive than if you could store 4,2,1,8. Given the limitations of human vision, it turns out this is an acceptable compromise in the service of video compression. The greater the quantization parameter, the greater the 'smoothing out' of values. Such smoothing out reduces spatial detail i.e. sharpness and subtle color variation in the picture. Of course, this is just one strategy among the many used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(The above is just a thematic illustration and not an example of the result of an actual quantization) &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Before RF, video encoders would apply a single QP across the entire video, so a scene with a lot of diversity of visual forms would have the same smoothing applied as a simple scene. If the degree of smoothing is low, the bitrate will shoot up in complex scenes. If it's high, it will degrade simpler scenes more than desired. What RF does is analyze the video content and modulate QP so that visual details appreciated by the human eye are not highly quantized but neglected details are. The RF value determines how much latitude the encoder has to vary the QP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, to your question. A group of pixels, say a 16x16 block, forms a larger part of an SD image than of a HD image, so it will play a larger role in the subjective visual perception of the image (and have greater variation within), so you ought to smooth it out less.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-01-11T11:12:01.200" LastActivityDate="2017-01-11T11:12:01.200" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20390" PostTypeId="2" ParentId="20369" CreationDate="2017-01-11T07:42:19.403" Score="0" Body="&lt;p&gt;What you need to do is:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;clone the layer, &lt;/li&gt;&#xA;&lt;li&gt;right click and choose &lt;strong&gt;View Layer Source in Project&lt;/strong&gt;, &lt;/li&gt;&#xA;&lt;li&gt;duplicate the source in the project window, and finally &lt;/li&gt;&#xA;&lt;li&gt;&lt;kbd&gt;alt/option&lt;/kbd&gt;-drag the new source on to the (selected) cloned layer to change its source.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If this is too tedious, I've &lt;a href=&quot;http://blob.pureandapplied.com.au/the-cloninator/&quot; rel=&quot;nofollow noreferrer&quot;&gt;written a script&lt;/a&gt; that will clone the layer and create a  unique source for it in one step (it can also recursively clone all the source layers in compositions if need be). There's also a pay-what-you-want script called &lt;a href=&quot;http://aescripts.com/true-comp-duplicator/&quot; rel=&quot;nofollow noreferrer&quot;&gt;true-comp-duplicator&lt;/a&gt; on aescripts.com that will do the same job.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-01-12T14:47:15.173" LastActivityDate="2017-01-12T14:47:15.173" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20393" PostTypeId="2" ParentId="20384" CreationDate="2017-01-11T16:45:38.347" Score="1" Body="&lt;p&gt;To do any cropping of video in Autopano Video, you will need additional software from Kolor: either Autopano Pro or Autopano Giga. That will allow you to click the edit button below the preview window to send it to the editing program and apply a crop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you can render out your video from Autopano Video that includes the cameraman, and then make your crop in a video editing program like Premiere Pro or Final Cut (even iMovie and Windows Movie Maker may work). That video can still be rendered as 360 video.&lt;/p&gt;&#xA;" OwnerUserId="17724" LastActivityDate="2017-01-11T16:45:38.347" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20394" PostTypeId="1" AcceptedAnswerId="20395" CreationDate="2017-01-11T19:09:06.770" Score="1" ViewCount="835" Body="&lt;p&gt;I have a file which from progressive 24fps was rendered into a h264 high profile 60fps file by mistake. This can be clearly seen advancing frame by frame because every other frame is duplicated except sometimes there are four equal frames. Is there any software able to &lt;em&gt;drop&lt;/em&gt; those duplicates frames producing a 24fps stream &lt;em&gt;without encoding&lt;/em&gt; again? Is this possible at all or would those frames depend on previous ones, making it impossible?&lt;/p&gt;&#xA;" OwnerUserId="6553" LastActivityDate="2017-01-11T20:41:52.267" Title="Can duplicate frames from an h264 stream be dropped without encoding?" Tags="|framerate|h.264|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20395" PostTypeId="2" ParentId="20394" CreationDate="2017-01-11T20:41:52.267" Score="2" Body="&lt;p&gt;Almost all encoded frames depend on the surrounding frames, so it's virtually impossible to delete anything from the encoded output without negatively affecting the video. Short answer: no, you can't do that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One consolation is that true duplicate frames cost almost nothing in terms of file size. They can effectively be represented by a short sequence that means &quot;repeat previous&quot;.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2017-01-11T20:41:52.267" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20399" PostTypeId="1" CreationDate="2017-01-12T14:56:38.733" Score="10" ViewCount="34393" Body="&lt;p&gt;I'm trying to convert an mp4 file to avi.&#xA;I've tried this basic ffmpeg script:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inputFile.mp4 outputFile.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It works, but:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the encoded avi file is very pixelated &lt;/li&gt;&#xA;&lt;li&gt;does not work with Quicktime Player.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I've also tried using these settings (as described here: &lt;a href=&quot;https://askubuntu.com/questions/83161/use-ffmpeg-to-transform-mp4-to-same-high-quality-avi-file&quot;&gt;https://askubuntu.com/questions/83161/use-ffmpeg-to-transform-mp4-to-same-high-quality-avi-file&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i filename.mp4 -vcodec copy -acodec copy filename.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But the problem there is that the MP4 codec is just copied into an AVI wrapper, and so the resulting video won't play in Quicktime Player nor Windows Media Player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone suggest how to encode MP4 as AVI while still maintaining the quality and aspect ratio of the original while maintaining QuickTime compatibility?&lt;/p&gt;&#xA;" OwnerUserId="17213" LastEditorUserId="-1" LastEditDate="2020-04-13T07:15:18.737" LastActivityDate="2020-04-13T07:15:18.737" Title="Convert mp4 to avi while keeping frame rate and quality and being able to play in QuickTime?" Tags="|ffmpeg|mp4|avi|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="20400" PostTypeId="1" AcceptedAnswerId="20401" CreationDate="2017-01-12T16:05:10.507" Score="2" ViewCount="1087" Body="&lt;p&gt;I'm trying to batch convert a folder of MP4 files to AVI using this script:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&#xA;for f in *.mp4; do ffmpeg -i &quot;$f&quot; -q:v 6 &quot;encoded/${f%.*}.avi”; done&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(This is based an earlier question that was helpfully answered for me by @Mulvya here: &lt;a href=&quot;https://video.stackexchange.com/questions/20399/whats-the-best-way-to-convert-mp4-to-avi&quot;&gt;What&amp;#39;s the best way to convert mp4 to avi?&lt;/a&gt;)&#xA;I'm receiving the error message:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&#xA;Unable to find a suitable output format for 'encoded/test file.avi”; done&#xA;for f in *.mp4; do ffmpeg -i test'&#xA;encoded/test file.avi”; done&#xA;for f in *.mp4; do ffmpeg -i test: Invalid argument&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone suggest where i may have made a mistake?&lt;/p&gt;&#xA;" OwnerUserId="17213" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-01-12T18:05:51.280" Title="How to batch covert a folder of mp4 files to avi?" Tags="|ffmpeg|mp4|avi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20401" PostTypeId="2" ParentId="20400" CreationDate="2017-01-12T18:05:51.280" Score="5" Body="&lt;p&gt;Change the &lt;code&gt;”&lt;/code&gt; to a &lt;code&gt;&quot;&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Avoid using TextEdit or other &quot;smart&quot; editors to edit your scripts and shell commands. They will mangle it with fancy quotes and other oddball characters and ruin your commands.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2017-01-12T18:05:51.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20402" PostTypeId="1" CreationDate="2017-01-12T18:33:29.370" Score="3" ViewCount="99" Body="&lt;p&gt;I am trying to take video for a time lapse of stuff I write on white paper. Issue is that when the paper is blank, it looses its focus automatically. Unitl something or some writing/drawing/object is put on the paper the focus will wander off. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;All this happens even when my camera is in manual mode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a sample:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/QqyjdMVa7g4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First I want to understand why it happens, and, how to avoid it. I own a &lt;a href=&quot;http://www.amazon.in/Canon-Powershot-SX520-Optical-Powerbank/dp/B00M0QVTOS&quot; rel=&quot;nofollow noreferrer&quot;&gt;canon powershot sx 520 hs&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10807" LastActivityDate="2018-10-05T12:00:06.523" Title="why is the camera auto-focusing inspite of being in manual mode?" Tags="|video|canon|focus|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20404" PostTypeId="1" AcceptedAnswerId="20405" CreationDate="2017-01-12T21:02:06.097" Score="0" ViewCount="46" Body="&lt;p&gt;I will create a video and publish it on YouTube. A segment of the video is a voice-over slideshow-like sequence of images. (I will zoom some images, also some &quot;slides&quot; may be a combination of multiple images.) Some of these images are under a CC-BY-SA license.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is such video a derivative work of the images? If the answer is yes, then how one could include images in a video without making it a derivative work?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: It seems that any inclusion of music in a video makes the video a derivative work of the music. But for images, I couldn't find what the consensus is.&lt;/p&gt;&#xA;" OwnerUserId="17741" LastEditorUserId="14523" LastEditDate="2017-01-14T18:02:17.087" LastActivityDate="2017-01-14T18:02:17.087" Title="Using a creative commons image in a video" Tags="|copyright|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20405" PostTypeId="2" ParentId="20404" CreationDate="2017-01-12T21:33:30.557" Score="3" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Is such video a derivate work of the images?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yes.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If the answer is yes, then how one could include images in a video without making it a derivate work?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You can't. At least not if the images are distributed under a CC-licence. Even if it's just one image (or song), you have to follow the ShareAlike clause. Also, if you use multiple works by other artists (regardless of what it is, i.e. images, songs, video snippets ...) that are licenced under different CC licences that include the ShareAlike clause, you can't publish your video at all without violating the licencing terms of at least one of those works. See &lt;a href=&quot;https://creativecommons.org/faq/#can-i-combine-material-under-different-creative-commons-licenses-in-my-work&quot; rel=&quot;nofollow noreferrer&quot;&gt;the remix chart here&lt;/a&gt; for more information on how material licenced under different licences can be used together for derivate works.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-01-12T21:33:30.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20406" PostTypeId="2" ParentId="15985" CreationDate="2017-01-12T22:10:36.903" Score="0" Body="&lt;p&gt;Question is pretty old, but problem still actual. You can reduce fps from 60 only to 30 fps without framedrops. In that case Premiere properly reduce fps. If you need final result in 24 fps you should shoot in 50 fps. Hope it would help for someone.&lt;/p&gt;&#xA;" OwnerUserId="14086" LastActivityDate="2017-01-12T22:10:36.903" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20407" PostTypeId="2" ParentId="20402" CreationDate="2017-01-12T22:28:03.973" Score="1" Body="&lt;p&gt;It looks like by default, that camera fine-tunes the focus (even in manual focus).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the &lt;a href=&quot;http://support-asia.canon-asia.com/contents/ASIA/EN/8202125600.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Canon support page&lt;/a&gt;: To deactivate automatic focus fine-tuning when the shutter button is pressed halfway, choose  -&gt; [ &lt;a href=&quot;https://i.stack.imgur.com/wTfaW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wTfaW.png&quot; alt=&quot;Camera icon&quot;&gt;&lt;/a&gt; ] tab -&gt; [Safety MF] -&gt;[Off].&lt;/p&gt;&#xA;" OwnerUserId="17724" LastActivityDate="2017-01-12T22:28:03.973" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20409" PostTypeId="1" AcceptedAnswerId="20417" CreationDate="2017-01-13T11:43:05.647" Score="0" ViewCount="13316" Body="&lt;p&gt;So I started making videos for my vlog on YouTube. It's still a new venture and I'm aware that I need to get myself a good video camera for high quality recordings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But for now all I have is my laptop's inbuilt webcam.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any tricks to reduce noise and make the video at least watchable on YouTube?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any filters, restoration methods, etc?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: I'm used to Handbrake and just installed Premiere Pro.&lt;/p&gt;&#xA;" OwnerUserId="17716" LastActivityDate="2017-01-13T18:45:11.097" Title="How to improve quality of a WebCam video?" Tags="|video-quality|filter|noise-reduction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20412" PostTypeId="1" AcceptedAnswerId="20416" CreationDate="2017-01-13T13:47:51.030" Score="3" ViewCount="2871" Body="&lt;p&gt;In Final Cut Pro X you are able to add &quot;tags&quot; or &quot;keywords&quot; as a form of labeling clips. This way when you are editing you can search to bring up all the clips relating to those tags or keywords. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;//////////////////////////////////////////&#xA;Example:&#xA;Name --- Tags&#xA;Clip1: profile, interview&#xA;Clip2: audio, interview&#xA;Clip3: B-roll&#xA;Clip4: B-roll&#xA;&#xA;Search = &quot;interview&quot;&#xA;Results = Clip1, Clip2&#xA;//////////////////////////////////////////&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Adobe Premiere uses &quot;bins&quot; &quot;metadata&quot; and &quot;labels&quot; to organize media. Labels however are limited to about 6 I believe. Sure you can create a bunch of bins and copy and paste clips to use bins like keywords in a sense, however one of the great features of editing software is that clips show which parts of them are used in a sequence, when you copy and paste clips in the project panel you now have two separate entities, so if you where to use one and not the other, even though they are the same clip premiere will only show the one you used was used in a sequence. (Which kinda defeats the purpose).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do you use keywords and or tags just like you can in Final Cut Pro X?&lt;/p&gt;&#xA;" OwnerUserId="17748" LastEditorUserId="6273" LastEditDate="2017-01-13T17:52:28.890" LastActivityDate="2017-01-13T17:53:39.347" Title="Project Organization, searchable keywords and tags in Adobe Premiere" Tags="|video|premiere|editing|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20413" PostTypeId="1" AcceptedAnswerId="21255" CreationDate="2017-01-13T14:24:02.400" Score="1" ViewCount="45" Body="&lt;p&gt;I have several clips where I want to increase the bass of the audio to make the voices deeper.  The audio content is people talking in normal voices; there's no music or singing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To edit, I'm using Resolve 12.5, which has no audio plugins of its own but accepts VST plugins.  I'm also open to installing additional software if necessary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm relatively new to audio editing so perhaps I'm missing something obvious, but it seems like most commercial audio plugins (such as &lt;a href=&quot;http://www.waves.com/plugins/maxxbass&quot; rel=&quot;nofollow noreferrer&quot;&gt;MaxxBass&lt;/a&gt;) are intended for music, not speaking voices.  What can I use to increase/deepen the bass?&lt;/p&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2017-04-22T14:51:10.190" Title="How can I increase the bass in audio (documentary narration, people speaking)?" Tags="|audio|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20415" PostTypeId="1" CreationDate="2017-01-13T16:39:03.720" Score="1" ViewCount="212" Body="&lt;p&gt;I've connected my camcorder to the pc via firewall,driver was also installed but when I plug in and out nothing happen. (Except the sound). Do i need any software?&lt;/p&gt;&#xA;" OwnerUserId="17751" LastActivityDate="2024-02-18T19:02:15.340" Title="How do I import minidv video to windows?" Tags="|video|video-editor|video-capture|videotape|mini-dv|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20416" PostTypeId="2" ParentId="20412" CreationDate="2017-01-13T17:50:15.927" Score="3" Body="&lt;p&gt;Keywords are an optional field of the project panel. In order to view or add keywords, you need to set the project panel to &lt;em&gt;List View&lt;/em&gt; (you can switch between &lt;em&gt;List View&lt;/em&gt; and &lt;em&gt;Icon View&lt;/em&gt; with the buttons in the lower left corner).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the flyout menu of the project panel, select &lt;em&gt;Metadata Display…&lt;/em&gt; to customize the columns of the list view to show whatever information you want it to. You will find the keywords in the category &lt;em&gt;Dublin Core&lt;/em&gt;. Check keywords and click ok. You might have to resize the project panel (or remove the columns you don't need from the Metadata Display menu) in order to see the keyword column. You can rearrange the columns using drag-and-drop. Once you have added some tags to your clips, you can search for clips with specific tags using the search function of the project panel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's also some more useful metadata columns hidden in that menu that are not shown by default that you might find useful. For example, the category &lt;em&gt;Premiere Pro Project Metadata&lt;/em&gt; has the entries &lt;em&gt;Video Usage&lt;/em&gt; and &lt;em&gt;Audio Usage&lt;/em&gt; that show you how many instances of a clip exist in your sequences in your current project. There are also fields for &lt;em&gt;Comment&lt;/em&gt;, &lt;em&gt;Description&lt;/em&gt;, &lt;em&gt;Scene&lt;/em&gt;, &lt;em&gt;Shot&lt;/em&gt; and much more. Using the Metadata Display menu, you can customize the metadata columns to only show those that you need for your workflow. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZNxCU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZNxCU.png&quot; alt=&quot;project panel&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2017-01-13T17:53:39.347" LastActivityDate="2017-01-13T17:53:39.347" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="20417" PostTypeId="2" ParentId="20409" CreationDate="2017-01-13T18:45:11.097" Score="3" Body="&lt;h1&gt;&lt;a href=&quot;http://www.phrases.org.uk/quotes/last-words/goethe.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;More Light&lt;/a&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;You're seeing noise for two reasons. One is the tiny sensor of your webcam, but since you don't want to buy a new one right now, you can't do anything about that. However, the sensor size is only an amplifying factor of the real problem: Not enough light. Webcams are built for video chats, quick and dirty recordings, not really for high-quality video production. You probably have not enough light in your room and haven't noticed it since the Webcam just bumps up the ISO/Exposure until it looks well-lit. The problem is that increasing the ISO basically means amplifying the sensor signal digitally, which will also amplify the noise and artifacts in your video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I assume you don't want to spent hundreds or thousands on studio lighting. So start small. Gather a couple of lamps from your house and use them to light up your scene. Be aware that they will probably have differing color temperatures, but that can to some extent be fixed in post. For the positioning of the lamps, start with a simple &lt;a href=&quot;https://en.wikipedia.org/wiki/Three-point_lighting&quot; rel=&quot;nofollow noreferrer&quot;&gt;3-point lighting&lt;/a&gt;. Then check the results for any over- or undereposed parts of your face/body/scene. Adjust the lighting to your liking, then rinse and repeat. You may have to adjust the angle and distance of the lamps. Increasing the distance between the lamps and the subject will reduce the amount of light reaching the sensor exponentially. However, the farther away (and the bigger) your light source is, the softer the shadows get. There's no 'perfect' setup, it all depends on what you want your video to look like.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-01-13T18:45:11.097" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20418" PostTypeId="1" CreationDate="2017-01-14T00:32:55.450" Score="1" ViewCount="2479" Body="&lt;p&gt;I have been looking for a way for my PC to record HDMI output so I can record my gaming console without buying an expensive capture card. I already have a HDMI splitter I'm just looking for some cheap software.&lt;/p&gt;&#xA;" OwnerUserId="17757" LastActivityDate="2017-01-16T02:01:41.673" Title="Cheap option for recording HDMI output" Tags="|video-capture|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20420" PostTypeId="1" AcceptedAnswerId="23118" CreationDate="2017-01-14T15:00:52.197" Score="8" ViewCount="10488" Body="&lt;p&gt;Using a lot the ffmpeg program, I want to configure ffmpeg on linux so that it always hides banner (option -hide_banner) to reduce text output. I cannot seem to find anything that would tell me where this file should be and how it should be named so that ffmpeg will look at it every time it is run.&lt;/p&gt;&#xA;" OwnerUserId="3241" LastEditorUserId="3241" LastEditDate="2017-01-15T13:07:36.090" LastActivityDate="2017-12-28T19:18:24.633" Title="Does ffmpeg have a configuration file?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20421" PostTypeId="1" AcceptedAnswerId="20422" CreationDate="2017-01-14T17:17:57.580" Score="1" ViewCount="6098" Body="&lt;p&gt;I need to do a live stream and I'm looking for a way to connect my Sony A6000 to my computer so that it can be used as a camera for Facebook Live. Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="11315" LastEditorUserId="1871" LastEditDate="2017-01-14T17:23:26.420" LastActivityDate="2017-04-15T02:04:16.933" Title="Use A6000 as webcam type camera" Tags="|live|output|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20422" PostTypeId="2" ParentId="20421" CreationDate="2017-01-15T00:42:03.310" Score="1" Body="&lt;p&gt;For real time output you only have hdmi (the USB is for file transfer) so all you need is an hdmi input card for your PC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you can grab that input as a source for applications.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2017-01-15T00:42:03.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20423" PostTypeId="2" ParentId="20418" CreationDate="2017-01-16T02:01:41.673" Score="1" Body="&lt;p&gt;An HDMI splitter is not what you need. You need either an HDMI capture card, or a standalone HDMI video recorder. The cheapest HDMI video recorder you're going to find is the Atomos Ninja Star, for $250 on B&amp;amp;H: &lt;a href=&quot;https://www.bhphotovideo.com/c/product/1285811-REG/atomos_atomnjs001_64_ninja_star_recorder_with.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.bhphotovideo.com/c/product/1285811-REG/atomos_atomnjs001_64_ninja_star_recorder_with.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;HDMI capture cards start around $130. Here is a good one from Blackmagic, for $137.50 on B&amp;amp;H: &lt;a href=&quot;https://www.bhphotovideo.com/c/product/964122-REG/blackmagic_design_decklink_mini_recorder.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.bhphotovideo.com/c/product/964122-REG/blackmagic_design_decklink_mini_recorder.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17771" LastActivityDate="2017-01-16T02:01:41.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20424" PostTypeId="1" AcceptedAnswerId="20443" CreationDate="2017-01-16T11:35:06.230" Score="0" ViewCount="2099" Body="&lt;p&gt;I currently have an anctive creative cloud licence, but I'm looking to slim down for a while. I actually only need After Effects and the Media Encoder at the moment. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is the Adobe media encoder included in the single After effects licence? Unfortunately I was unable to find that out on the Adobe support pages. Thanks! &lt;/p&gt;&#xA;" OwnerUserId="16898" LastActivityDate="2017-01-17T21:36:31.560" Title="Adobe Media Encoder included in After Effects Licence?" Tags="|after-effects|adobe|adobe-media-encoder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20426" PostTypeId="1" AcceptedAnswerId="21652" CreationDate="2017-01-16T18:16:16.370" Score="3" ViewCount="291" Body="&lt;p&gt;I'm doing freelance work producing product videos for a company that sells millions of products (sub components for telecom equipment).  They want me to produce a video for each part number.  The video template they've provided to me has a roll about their company, contact info, etc and in the middle is a single title that has the static text of &quot;We buy/sell: &quot; followed by the part number the video corresponds to.  There are millions of part numbers provided to me via many spreadsheets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not a video editor/producer by trade - I do cyber security work with freelance advanced data entry such as this.  I used my cyber security skills to mostly automate the process, which now looks like this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Using Adobe Premiere CC, create a sequence for the part number and insert a title with the part number in it into the sequence.  (~20 seconds total PER sequence).  I generate a project file with several thousand sequences.&lt;/li&gt;&#xA;&lt;li&gt;Batch encode all of the sequences in a single project via Adobe Media Encoder.&lt;/li&gt;&#xA;&lt;li&gt;Use a script I wrote to leverage YouTube API to upload all of the video files and pull the data from the spreadsheet (converted to CSV) and match the video's filename with the corresponding line in the CSV to add the YouTube metadata for the particular file.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;My time sink is just the 20 seconds per video of data entry - everything else is done via semi-automated job batching.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for a way to automate the last remaining data entry portion.  Adobe premiere doesn't reliably import formats that I can generate, such as XML.  (It does, but it fails 90% of the time - title objects are offline/missing.  It fails to import an unmodified XML file that it generated.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not all that familiar with other video editing/production softwares.  I'm thinking I can combine the encoding and data entry portion into a process that I can script.  I started looking into VirtualDub but I decided I should ask the experts before trying to invent something that has already been invented.&lt;/p&gt;&#xA;" OwnerUserId="17774" LastEditorUserId="17774" LastEditDate="2017-01-16T20:29:22.503" LastActivityDate="2017-06-11T05:23:09.007" Title="Scripting Video Production for data entry" Tags="|premiere|virtualdub|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20427" PostTypeId="1" CreationDate="2017-01-16T20:33:56.157" Score="2" ViewCount="5372" Body="&lt;p&gt;I am setting up a machine for video editing using Premier Pro and After Effects&#xA;I have the following hardware:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;i7 6700 skylane&lt;/li&gt;&#xA;&lt;li&gt;32Gb DDR4&lt;/li&gt;&#xA;&lt;li&gt;GTX 1060 with 6Gb RAM&lt;/li&gt;&#xA;&lt;li&gt;500Gb SSD and access to 3 more drives (one 2Tb, and two 1Tb, all three&#xA;7200 RPM)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I have been reading on the various forums and I can't determine the best way to set them up. I found a guideline for various numbers of drives which specifies which drive should be setup for each task, but I can't figure out which task I should use which drive for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found a few that mention putting the files, cache and previews on the fastest drive, which would be the SSD. So do I then setup the OS and program on one of the other drives, and use possibly a 3rd for storage?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't have access to hardware raid, only software based with this system board.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be appreciated. &lt;/p&gt;&#xA;" OwnerUserId="17776" LastEditorUserId="14523" LastEditDate="2017-01-17T01:07:09.640" LastActivityDate="2017-08-21T01:10:13.587" Title="Hard drive configuration for editing" Tags="|premiere|video-editor|hardware|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20429" PostTypeId="1" CreationDate="2017-01-17T01:10:43.393" Score="0" ViewCount="650" Body="&lt;p&gt;I'm trying to achieve the following effect:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/762TM.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/762TM.jpg&quot; alt=&quot;Effect&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the problem: I can't achieve the effect using particles. Some of them spread and linger around. Is there a way to achieve a similar effect without using particles or is there a way to solve the extra particle issue? Thanks in advance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I uploaded the animated version in &lt;a href=&quot;https://youtu.be/TQGYrqstOWw&quot; rel=&quot;nofollow noreferrer&quot;&gt;youtube&lt;/a&gt;, so you all can see how the effect looks in motion.&lt;/p&gt;&#xA;" OwnerUserId="14518" LastEditorUserId="14523" LastEditDate="2017-01-17T12:46:24.667" LastActivityDate="2017-03-19T22:53:26.170" Title="How to achieve this &quot;trail effect&quot; - After Effects" Tags="|after-effects|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20430" PostTypeId="1" AcceptedAnswerId="20431" CreationDate="2017-01-17T12:46:46.593" Score="2" ViewCount="7289" Body="&lt;p&gt;Need to:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;concatenate 3 mpg4 video clips (each around 1 minute long, and 800x500 size) + background mp3 -&gt; into a 1-minute long (1920x1080) video composed of the first 20 seconds from each of the 4 videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So each clip would need to be enlarged (from 800x500 to 1920x1200 to keep aspect ration), and then the height (cropped down to 1920x1080 from the bottom of the video).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then each video cut down to the first 20 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then the 3 videos are concatenated (along with a 1 minute long mp3 file to play in the background of the final video).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is ffmpeg capable of doing this correctly and how?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="17780" LastActivityDate="2017-01-17T13:04:37.660" Title="How to concatenate multiple videos with ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20431" PostTypeId="2" ParentId="20430" CreationDate="2017-01-17T13:04:37.660" Score="3" Body="&lt;p&gt;Sure. Command is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mp4 -i 2.mp4 -i 3.mp4 -i bg.mp3&#xA;-filter_complex&#xA;&quot;[0]trim=0:20,scale=1920:-1,crop=1920:1080:0:0[a];&#xA; [1]trim=0:20,scale=1920:-1,crop=1920:1080:0:0[b];&#xA; [2]trim=0:20,scale=1920:-1,crop=1920:1080:0:0[c];&#xA; [a][b][c]concat=3[v]&quot;&#xA;-map &quot;[v]&quot; -map 3:a&#xA;-shortest out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Skip the &lt;code&gt;-shortest&lt;/code&gt; if the audio is slightly longer than 1 minute. Alternatively, adjust one of the trim endpoints to make up for the shortfall.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;to play in the background of the final video&lt;/em&gt; -&gt; I assume final here means the output and not the 3rd video.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-01-17T13:04:37.660" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20432" PostTypeId="1" CreationDate="2017-01-17T13:48:28.673" Score="0" ViewCount="3877" Body="&lt;p&gt;I have a video with text on the side of it and I want to remove it. The good thing is that the video has no changes in that area of the screen for the rest of the video. Meaning that the movement in the video is on the right side of the video while the left side, which has the text has no animation what so ever. Is it possible to remove that text. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a link to the video also, the text is the &quot;press any button&quot; thing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/r7MdK7X_lo4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="17782" LastEditorUserId="14523" LastEditDate="2017-01-18T11:13:47.000" LastActivityDate="2018-06-18T20:47:21.970" Title="Remove static text from video?" Tags="|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20433" PostTypeId="1" AcceptedAnswerId="20434" CreationDate="2017-01-17T14:02:26.057" Score="6" ViewCount="9331" Body="&lt;p&gt;I have installed ffmpeg version &lt;code&gt;3.2.2&lt;/code&gt; from the ffmpeg.org download page.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I enter &lt;code&gt;ffmpeg formats&lt;/code&gt;, I see &lt;strong&gt;dnxhd&lt;/strong&gt; but not &lt;strong&gt;dnxhr&lt;/strong&gt;.  What do I need to do to be able to manipulate &lt;strong&gt;dnxhr&lt;/strong&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have downloaded and installed &lt;a href=&quot;http://avid.force.com/pkb/articles/en_US/download/Avid-QuickTime-Codecs-LE&quot; rel=&quot;noreferrer&quot;&gt;Avid Codecs LE 2.7.3&lt;/a&gt; as well but that didn't seem to help.&lt;/p&gt;&#xA;" OwnerUserId="5349" LastEditorUserId="5349" LastEditDate="2017-01-17T14:08:20.030" LastActivityDate="2018-04-14T18:23:44.777" Title="ffmpeg: how to convert to DNxHR in Windows 10?" Tags="|ffmpeg|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20434" PostTypeId="2" ParentId="20433" CreationDate="2017-01-17T14:43:05.730" Score="8" Body="&lt;p&gt;There's a single decoder/encoder which reads/converts to both DNxHD and DNxHR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have to set the correct profile switch. Available options are&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; dnxhd                        E..V....&#xA; dnxhr_444                    E..V....&#xA; dnxhr_hqx                    E..V....&#xA; dnxhr_hq                     E..V....&#xA; dnxhr_sq                     E..V....&#xA; dnxhr_lb                     E..V....&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Basic minimal syntax would be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -c:v dnxhd -profile:v dnxhr_hq out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;The Avid codecs package has no interaction with ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;[19-1-2017]&lt;/strong&gt; At this time, the encoder does not support 444 or HQX profiles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;[4-2-2017]&lt;/strong&gt; Now, it does.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-04-02T13:48:19.100" LastActivityDate="2017-04-02T13:48:19.100" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20435" PostTypeId="1" AcceptedAnswerId="21256" CreationDate="2017-01-17T15:59:44.360" Score="0" ViewCount="2565" Body="&lt;p&gt;I have a 2160p29.97 AVI 10-bit RGB file recorded with a Blackmagic Intensity Pro 4K capture card.  I want to convert this file to DNxHR 444.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used the following command to do so on Windows 10 with ffmpeg &lt;code&gt;3.3.2&lt;/code&gt;.&#xA;ffmpeg -i &quot;test.avi&quot; -c:v dnxhd -profile:v dnxhr_444 &quot;test_dnxhr444.mov&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I received this error:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;[dnxhd @ 00000000026e6c60] dnxhr_444 or dnxhr_hqx profile is not&#xA;  implemented. Update your FFmpeg version to the newest one from Git. If&#xA;  the problem still occurs, it means that your file has a feature which&#xA;  has not been implemented.&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I tried running the command again with &lt;code&gt;dnxhr_sd&lt;/code&gt; instead, which works.  So, does this mean that &lt;code&gt;dnxhr_444&lt;/code&gt; does not work with ffmpeg at the moment?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the full output for reference:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-83133-ge664730 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with gcc 5.4.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --enable-cuda --enable-cuvid --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-nvenc --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55. 43.100 / 55. 43.100&#xA;  libavcodec     57. 73.100 / 57. 73.100&#xA;  libavformat    57. 62.100 / 57. 62.100&#xA;  libavdevice    57.  2.100 / 57.  2.100&#xA;  libavfilter     6. 69.100 /  6. 69.100&#xA;  libswscale      4.  3.101 /  4.  3.101&#xA;  libswresample   2.  4.100 /  2.  4.100&#xA;  libpostproc    54.  2.100 / 54.  2.100&#xA;[avi @ 0000000000946500] non-interleaved AVI&#xA;[avi @ 0000000000946500] Stream #0: not enough frames to estimate rate; consider increasing probesize&#xA;Guessed Channel Layout for Input Stream #0.1 : stereo&#xA;Input #0, avi, from '20mintest.avi':&#xA;  Duration: 00:21:51.84, start: 0.000000, bitrate: 1535764 kb/s&#xA;    Stream #0:0: Video: r210 (r210 / 0x30313272), rgb48le(10 bpc), 3840x2160, 1582152 kb/s, 29.97 fps, 29.97 tbr, 29.97 tbn, 29.97 tbc&#xA;    Stream #0:1: Audio: pcm_s24le ([1][0][0][0] / 0x0001), 48000 Hz, stereo, s32 (24 bit), 2304 kb/s&#xA;[dnxhd @ 00000000026e6c60] dnxhr_444 or dnxhr_hqx profile is not implemented. Update your FFmpeg version to the newest one from Git. If the problem still occurs, it means that your file has a feature which has not been implemented.&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (r210 (native) -&amp;gt; dnxhd (native))&#xA;  Stream #0:1 -&amp;gt; #0:1 (pcm_s24le (native) -&amp;gt; aac (native))&#xA;Error while opening encoder for output stream #0:0 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2017-04-22T14:55:16.260" Title="ffmpeg: Convert 4K 10-bit file to DNxHR 444" Tags="|ffmpeg|codec|transcoding|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20436" PostTypeId="1" CreationDate="2017-01-17T16:52:30.207" Score="1" ViewCount="30" Body="&lt;p&gt;I do a lot of 3D asset reviews with clients.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I send them over a bunch of video files to review, but I'd rather just send one video that shows off the asset from multiple angles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any software out there that could do this? I'd rather not have to manually combine the videos in Premiere all the time.&lt;/p&gt;&#xA;" OwnerUserId="11862" LastActivityDate="2017-01-17T16:52:30.207" Title="Combining different videos in a script" Tags="|premiere|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20437" PostTypeId="2" ParentId="20432" CreationDate="2017-01-17T17:26:28.483" Score="1" Body="&lt;p&gt;Remove? No.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best thing to do would be to remove the text from the original video project and re-render.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Barring that, you could cover it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I would do (and have done before) is pull the video into After Effects and cover it with a small area of blur.  Once the blur is applied, pull the brightness down enough so that it blends with the surrounding area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternative (and possibly better since the video would probably allow it) is to do essentially the same thing as above only to cover the small area with a dark rectangle shape in After Effects.&lt;/p&gt;&#xA;" OwnerUserId="17687" LastActivityDate="2017-01-17T17:26:28.483" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20440" PostTypeId="2" ParentId="20427" CreationDate="2017-01-17T20:22:14.787" Score="1" Body="&lt;p&gt;Put everything you are working on/with on the SSD, if it's full put it on the fastest HDD you have avilable. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have a real beast there in terms of computing power. Your processor is quite powerful, your graphics card and RAM even more so. The thing that is most likely to become your performance bottleneck is the disk speed. And even with the best of HDDs, this will slow you down considerably, as HDDs disk speed is just not fast enough to read dozens of large video files simultaneously (for the Icon View of the Project Panel, for example). With a 500GB SSD, you have plenty of space. Windows 10 install size is about 11 GB. Premiere Pro, After Effects take up under 10GB in disk space. So even assuming you need to install some other software as well, you won't need more than 50~100GB for all that, which leaves you with 400GB~450GB for the video files. As you mentioned, put the scratch disks on it so that the preview files et c. can be loaded quickly. Then just fill your SSD with the files of your current project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you really need more space, put some files on the HDD and see how much it affects the loading speed. If the performance takes a big hit, you can still use proxies. And frankly, if you do have the budget for the kind of equipment you mentioned in your question, I find it reasonably to assume that you could even afford another large SSD if you really needed it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Two quick tips regarding this: Buy the cheap SSDs, not the expensive ones, there's no noticable difference between them. And never use SSDs for permanent storage, always keep backups on external harddrives.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-01-17T20:22:14.787" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20443" PostTypeId="2" ParentId="20424" CreationDate="2017-01-17T21:36:31.560" Score="2" Body="&lt;p&gt;Yes it is. Otherwise you wouldn't be able to encode things, and that would be just dumb. Even though it happens a bit under the hood, all encodings from Premiere Pro and After Effects are handled by Media Encoder. When you install Premiere Pro or After Effects, Media Encoder always gets installed alongside it.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-01-17T21:36:31.560" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20444" PostTypeId="1" CreationDate="2017-01-17T22:14:49.827" Score="1" ViewCount="667" Body="&lt;p&gt;I'm quite new to FFmpeg, so please bear with me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I find myself in a situation where I have:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An intro video&#xA;A main video&#xA;An outro video&#xA;Desired effect:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The intro video has an alpha channel that at the end functions as a transition as it reveals the main video. An overlap in the concatenation would help this happen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The last 20 seconds of the main video need to have the frame scaled down and overlaid in a corner of the outro video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also important to note that there are versions the main video with different language audio channels, so I would like to create a merged output for every channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the procedure? Is this possible to do in one instance or in one go? Can I batch process?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFProbe gives me the following...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For videos with one language:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'SINGLELANG.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp42isom&#xA;    creation_time   : 2017-03-23T14:24:12.000000Z&#xA;  Duration: 00:10:52.84, start: 0.000000, bitrate: 2423 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 852x480 [SAR 1:1 DAR 71:40], 2031 kb/s, 25 fps, 25 tbr, 25k tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : Telestream Inc. Telestream Media Framework - Release TXGP 2016.50.195670&#xA;      encoder         : AVC&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 381 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : Telestream Inc. Telestream Media Framework - Release TXGP 2016.50.195670&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For videos with more than one language:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mxf, from 'MULTILANG.mxf':&#xA;  Metadata:&#xA;    uid             : e4cf0a91-0e3c-11e7-9129-d89d671392e0&#xA;    generation_uid  : e4cf0a92-0e3c-11e7-bf5f-d89d671392e0&#xA;    company_name    : Telestream&#xA;    product_name    : Flip Technology&#xA;    product_version : 3.0&#xA;    application_platform: win32&#xA;    product_uid     : ffeeddcc-bbaa-9988-7766-554433221100&#xA;    modification_date: 2017-03-21T13:47:15.000000Z&#xA;    material_package_umid: 0x060A2B340101010501010D12130000002262F5023378058082B6D89D671392E0&#xA;    timecode        : 00:58:43:05&#xA;  Duration: 00:17:12.00, start: 0.000000, bitrate: 57535 kb/s&#xA;    Stream #0:0: Video: mpeg2video (4:2:2), yuv422p(tv, bt709, top first), 1920x1080 [SAR 1:1 DAR 16:9], 50000 kb/s, 25 fps, 25 tbr, 25 tbn, 50 tbc&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D121371EEFF0E62F50233780580F599D89D671392E0&#xA;      file_package_name: Source Package&#xA;      track_name      : Track 1&#xA;    Stream #0:1: Audio: pcm_s24le, 48000 Hz, 2 channels, s32 (24 bit), 2304 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D121371EEFF0E62F50233780580F599D89D671392E0&#xA;      file_package_name: Source Package&#xA;      track_name      : Track 2&#xA;    Stream #0:2: Audio: pcm_s24le, 48000 Hz, 2 channels, s32 (24 bit), 2304 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D121371EEFF0E62F50233780580F599D89D671392E0&#xA;      file_package_name: Source Package&#xA;      track_name      : Track 3&#xA;    Stream #0:3: Audio: pcm_s24le, 48000 Hz, 2 channels, s32 (24 bit), 2304 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D121371EEFF0E62F50233780580F599D89D671392E0&#xA;      file_package_name: Source Package&#xA;      track_name      : Track 4&#xA;    Stream #0:4: Data: none&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D121371EEFF0E62F50233780580F599D89D671392E0&#xA;      file_package_name: Source Package&#xA;      track_name      : Track 5&#xA;      data_type       : vbi_vanc_smpte_436M&#xA;Unsupported codec with id 0 for input stream 4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17786" LastEditorUserId="17786" LastEditDate="2017-03-23T18:20:20.053" LastActivityDate="2017-03-23T18:20:20.053" Title="Using FFmpeg can I merge three different videos using overlap and overlay in one instance?" Tags="|video|ffmpeg|encoding|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20446" PostTypeId="2" ParentId="15472" CreationDate="2017-01-17T22:32:48.460" Score="1" Body="&lt;pre&gt;&lt;code&gt;if (numKeys &amp;gt;1 &amp;amp;&amp;amp; time &amp;gt; key(numKeys).time){&#xA;  t1 = key(1).time;&#xA;  t2 = key(numKeys).time;&#xA;  span = t2 - t1;&#xA;  delta = time - t2;&#xA;  t = delta%span;&#xA;  valueAtTime(t1 + t)&#xA;}else&#xA;  value&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;courtesy of the Master Expressionist Dan Ebberts in this thread:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://forums.creativecow.net/thread/227/20661#22869&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forums.creativecow.net/thread/227/20661#22869&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17789" LastActivityDate="2017-01-17T22:32:48.460" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20448" PostTypeId="1" CreationDate="2017-01-18T11:43:13.183" Score="0" ViewCount="2000" Body="&lt;p&gt;I just want to know if it's possible to encode audio &amp;amp; video at the&#xA; same time by FFmpeg&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-c:a libfaac  for  audio&#xA; &amp;amp;&#xA; x264.exe for video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and any example! &lt;/p&gt;&#xA;" OwnerUserId="17792" LastEditorUserId="17792" LastEditDate="2017-01-18T13:31:06.237" LastActivityDate="2021-11-24T07:02:50.260" Title="Multiple FFmpeg input &amp; output" Tags="|ffmpeg|x264|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20449" PostTypeId="2" ParentId="20448" CreationDate="2017-01-18T14:39:28.353" Score="1" Body="&lt;p&gt;To pipe to x264 and encode to AAC file in the same command, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -map v -f yuv4mpegpipe - -map a -c:a libfaac v.aac | x264 --demuxer y4m --crf 18 --output &quot;v.mp4&quot; -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then you can mux it via&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4box -add v.mp4 -add v.aac -new va.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-01-18T14:39:28.353" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="20451" PostTypeId="1" AcceptedAnswerId="20482" CreationDate="2017-01-19T07:08:10.457" Score="-1" ViewCount="1430" Body="&lt;p&gt;I have a camera that can only provide a HDMI output. It does not have in-built recording capabilities as it is basically meant to be displayed directly on a screen.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My Goal?&lt;/strong&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I want to record that feed.&lt;/em&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Components I have:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A Windows PC&lt;/li&gt;&#xA;&lt;li&gt;HDMI to USB cable.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I asked around and it turns out that I would need a frame grabber to read the HDMI video feed, convert to a language the computer understands and send the converted feed via USB to the computer. That's pretty neat.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;But My Problem&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't have funds right now to get any new device. So how do I make the computer understand the raw HDMI feed via USB without using a separate device?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a software/driver which can do that? Some sort of a signal analyser? What options do I have?&lt;/p&gt;&#xA;" OwnerUserId="17716" LastActivityDate="2017-02-17T13:02:56.867" Title="How to record HDMI video with USB?" Tags="|camera|hdmi|live-recording|signal-processing|usb|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20452" PostTypeId="2" ParentId="19133" CreationDate="2017-01-19T08:44:56.787" Score="2" Body="&lt;p&gt;Personally I use Pinnacle Studio to record the TV shows. I have used it to record over a 100 hours of TV footage till now and I'm pretty happy with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What You Need&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;TV Tuner&lt;/li&gt;&#xA;&lt;li&gt;Software to record.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For the card you can buy Pinnacle TV Tuner (~ $70), but any compatible card will do. Many good cards are available for a lower price. Just make sure it has a coaxial cable input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pinnacle Studio comes along with the card if you buy that. This software can be used to record/edit videos. Recording is straightforward. You can select the encoding format, resolution, quality and begin recording. You can also schedule TV recordings to record when you are not at home.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But once you have the driver for card, the rest is easy. You can use any software to record the feed (including VLC player).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only thing to keep in mind is storage. More often than not, live recording won't have the best encoding used, so it will take up a lot of space. To take care of storage problems I record in HD only if really necessary. Otherwise I would need additional tools to re-encode in high compression formats (like h264 or h265). Use ffmpeg or Handbrake for that. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="17716" LastActivityDate="2017-01-19T08:44:56.787" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20453" PostTypeId="1" AcceptedAnswerId="20454" CreationDate="2017-01-19T13:13:47.443" Score="1" ViewCount="1154" Body="&lt;p&gt;I've been fighting with this dilemma for about a week or two now and I've tried my best to understand it from whatever I can find through google.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I need (or at least I think I need) to do is calculate the bitrate to determine the mbps, if it's over my requirement (720p @ 4mbps) then I want to optimise the video, if it's below my requirement then it's just a matter of copying the file to an mp4 container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I have my own code for FFmpeg, which I will attach below, and I found that there are alternative applications that will provide me with kbps calculated from the file, but I want to do as much of this as possible with only one application if I can.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not asking anyone to code anything here, but more so to tell me how I can calculate this myself using the information I get from FFmpeg or even FFprobe, and what parameters I'd need to set within FFmpeg to make sure that the video file is encoded to stream at 4mbps.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;input.file&quot; -map 0:0 -map 0:1 -map 0:1 -r 30 -profile:v Main -level:v 4.0 -crf 19 -c:a:0 copy -b:a:0 448k -metadata:s:a:0 language=&quot;english&quot; -metadata:s:a:0 title=&quot;AC3 5.1&quot; -c:a:1 libfdk_aac -ac:a:1 2 -b:a:1 160k -metadata:s:a:1 language=&quot;english&quot; -metadata:s:a:1 title=&quot;AAC Stereo&quot; -movflags +faststart &quot;output.file&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update to my original code&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This new code includes the bitrate buffsize and maxrate (if needed), in my script, if the fps is over 30 it will be set to 30, otherwise it was left alone, but if the fps is uncertain, example 23.970542342, this can produce an error in FFmpeg, I thought &quot;-r 23.97&quot; would fix this but apparently not, so I had to change &quot;-r&quot; to &quot;-filter:v fps=&quot; and set the fps for my files by calculating the &quot;r_frame_rate&quot;, which is easy enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My new code&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;input.file&quot; -map 0:0 -map 0:1 -map 0:1 -filter:v fps=30 -profile:v Main -level:v 4.0 -crf 18 -b:v 4000k -bufsize 4000k -maxrate:v 4000k -metadata title=&quot;&quot; -metadata year=&quot;&quot; -c:a:0 copy -metadata:s:a:0 language=&quot;english&quot; -metadata:s:a:0 title=&quot;AC3 5.1&quot; -c:a:1 libfdk_aac -ac:a:1 2 -b:a:1 160k -metadata:s:a:1 language=&quot;english&quot; -metadata:s:a:1 title=&quot;AAC Stereo&quot; -movflags +faststart &quot;output.file&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In the script that I'm building, it's going to generate the appropriate parameters for FFmpeg, so if the codec is not x264, if profile:v is not main, if level:v is not 4.0, if bit_rate is more than 4000k, then all the needed parameters will be set, otherwise it gets copied.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFprobe Code from Mulvya, slightly modified so I can get everything I need from it.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -v error -select_streams v -show_entries stream=&quot;bit_rate,codec_name,profile,level,r_frame_rate&quot; -of compact=p=0:nk=1 &quot;input.file&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Goal at the end of this is to have my own automation script to encode my videos from a folder, I know about sickbeard mp4 automator, but I don't need all those features, and there are things I want that it doesn't have.&lt;/p&gt;&#xA;" OwnerUserId="17649" LastEditorUserId="17649" LastEditDate="2017-01-21T17:58:55.563" LastActivityDate="2017-01-21T17:58:55.563" Title="FFmpeg, encode video for 720p @ 4mbps playback" Tags="|ffmpeg|encoding|mp4|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20454" PostTypeId="2" ParentId="20453" CreationDate="2017-01-19T14:01:01.813" Score="1" Body="&lt;p&gt;The ffprobe command below will spit out the bitrate:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe in.mp4 -select_streams v -show_entries stream=bit_rate -of compact=p=0:nk=1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;e.g.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;4118620&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If the result is greater than &lt;code&gt;4000000&lt;/code&gt; then you can add &lt;code&gt;-b:v 4000k -bufsize 4000k -maxrate:v 4000k&lt;/code&gt;. Or you can add it anyway. Set &lt;code&gt;-c:v&lt;/code&gt; to &lt;code&gt;copy&lt;/code&gt; if the stream is under &lt;code&gt;4000000&lt;/code&gt; else to &lt;code&gt;libx264&lt;/code&gt;. The three values will be ignored just like &lt;code&gt;-b:a:0 448k&lt;/code&gt; in your command is.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-01-19T14:01:01.813" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20455" PostTypeId="1" AcceptedAnswerId="20456" CreationDate="2017-01-19T19:27:28.320" Score="2" ViewCount="841" Body="&lt;p&gt;I have an image file (jpg, 4K resolution) which is a bunch of stars in the night sky.  The image looks good when composited into a video clip, but the stars don't move or twinkle at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How can I make the stars twinkle?  (I tried searching for a star-twinkling effect, and I would accept one if such a thing exists, but what I'm really interested in here is the compositing problem of taking a static image and then animating it a bit.)&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Different parts of the image should flicker/twinkle at random (do not do the whole image all at once, because all the stars in the night sky don't shimmer in the same way at the same time)&lt;/li&gt;&#xA;&lt;li&gt;I don't have time to keyframe every single star in the night sky.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I'm using DaVinci Resolve 12.5 on Windows, but I also have access to a Mac with Final Cut Pro X and Motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What I have tried&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried increasing the noise in the video, then setting the &lt;code&gt;blending mode&lt;/code&gt; for the stars image to &lt;code&gt;screen&lt;/code&gt;.  This makes it look like there is some movement in the shot, but it doesn't add twinkling.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, Resolve has three effects: &quot;Waviness,&quot; &quot;Vortex,&quot; and &quot;Ripples.&quot; I tried keyframing various parameters to introduce some movement/flickering into the shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Waviness&quot; moves the sky itself, and even with all the parameters set to the smallest values it moves too much.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Vortex&quot; adds some whirlpool-like movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Ripples&quot; adds a shooting-star effect, which is cool, but not exactly what I'm looking for.&lt;/p&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2017-01-19T20:02:53.053" Title="How to make an image file flicker in a video? (stars twinkling)" Tags="|compositing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20456" PostTypeId="2" ParentId="20455" CreationDate="2017-01-19T20:02:53.053" Score="3" Body="&lt;p&gt;Create 10 copies of your star field image. In an image-editing program (like Photoshop or GIMP), open the first image. Pick 10 stars at random, and make them darker/dimmer. Save that image. Open the next image.  Pick 10 different stars and make them dimmer.  Do that for all of your images.  In your video editor, cycle through the images, about 3/4 second each, dissolving from one to the next.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2017-01-19T20:02:53.053" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20457" PostTypeId="1" AcceptedAnswerId="20459" CreationDate="2017-01-19T20:11:53.647" Score="0" ViewCount="38" Body="&lt;p&gt;Many websites provide licensed music/soundtracks you can use. For example, I like &lt;a href=&quot;https://www.premiumbeat.com/royalty_free_music/songs/a-day-in-the-sun&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; soundtrack. It comes with a fixed fee of $49. I am wondering, there must be some other provider I am not aware, that sales the same licensed soundtrack at a lower cost. ($49 may be little for large corps, but not for small business owners).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do you find the cheapest provider for the exact soundtrack you like? Are there any websites that search the web for the lowest price? I hope this is not off topic, because finding quality music is essential to video production.&lt;/p&gt;&#xA;" OwnerUserId="16176" LastActivityDate="2017-01-21T22:37:15.290" Title="find soundtrack with the cheapest licence" Tags="|audio|music|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20459" PostTypeId="2" ParentId="20457" CreationDate="2017-01-19T21:35:16.923" Score="2" Body="&lt;p&gt;As far as I'm aware. There is no 'soundhound' or Shazam type app for royalty free stock music. Usually these websites require that the owner only sell the music on their website rather than a competitors. I'd say the likelihood of finding the same song another site is slim. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With that being said for cheap stock music I always go to &lt;strong&gt;audiojungle&lt;/strong&gt; and for the higher budgeted jobs I go to &lt;strong&gt;musicbed&lt;/strong&gt;. Sometimes I will check out &lt;strong&gt;extrememusic&lt;/strong&gt; just to establish what the client likes; but that sites tends to be studio-only unless you are willing to fork out $$$.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastEditorUserId="10619" LastEditDate="2017-01-21T22:37:15.290" LastActivityDate="2017-01-21T22:37:15.290" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20461" PostTypeId="2" ParentId="20457" CreationDate="2017-01-20T06:00:35.597" Score="1" Body="&lt;p&gt;As Alex said, there's no site that I'm aware of for price-shopping the same piece of music. That said, explore &lt;a href=&quot;https://www.reddit.com/r/NoCopyrightMusic/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.reddit.com/r/NoCopyrightMusic/&lt;/a&gt; and links found there for completely free music. But do verify the license terms for any piece of music before you use it.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-01-20T06:43:54.933" LastActivityDate="2017-01-20T06:43:54.933" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20462" PostTypeId="1" CreationDate="2017-01-20T14:03:20.680" Score="2" ViewCount="1286" Body="&lt;p&gt;Can a DSLR be used to stream a web conference / webinar? In my exact case I have a Canon 70D available.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible and how would I get started setting it up?&lt;/p&gt;&#xA;" OwnerUserId="5206" LastEditorDisplayName="user17872" LastEditDate="2017-05-26T17:54:08.873" LastActivityDate="2017-05-26T17:54:08.873" Title="Can a DSLR be used to host a webinar?" Tags="|dslr|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20464" PostTypeId="1" AcceptedAnswerId="20465" CreationDate="2017-01-20T19:47:03.790" Score="1" ViewCount="4183" Body="&lt;p&gt;In using Vegas Pro 13 on a new Windows 10 computer, I find that I cannot open AVI files. It's not a codec issue; the file will not open at all because Vegas doesn't recognize it as a type of file it can open. I've used Vegas Pro for years and do not remember having this issue, but it has been five years since I got a new computer. &lt;a href=&quot;https://video.stackexchange.com/questions/9917/vegas-pro-will-not-show-video-for-avi-with-mp4v-fourcc-codec&quot;&gt;I've had trouble with the codecs in AVI files&lt;/a&gt;, but they always opened.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I fix this issue?&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-01-20T19:47:03.790" Title="How to make Vegas Pro open AVI files" Tags="|vegas-pro|avi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20465" PostTypeId="2" ParentId="20464" CreationDate="2017-01-20T19:47:03.790" Score="0" Body="&lt;p&gt;It seems that sometimes Vegas Pro's plugin that opens AVI files is corrupt or installed incorrectly (if this is the case, a reinstall may fix it). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a simple fix that involves replacing the DLL file that controls AVI files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The file is called &lt;code&gt;aviplug.dll&lt;/code&gt;. The file path will be similar to: &lt;code&gt;C:\Program Files\Sony\Vegas Pro 13.0\FileIO Plug-Ins\aviplug\&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://www.mediafire.com/?1r1r3g5ut5quuub&quot; rel=&quot;nofollow noreferrer&quot;&gt;The fixed dll can be found at Mediafire&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=0h1rBtsqm4A&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here's a YouTube walkthrough&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2017-01-20T19:47:03.790" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20467" PostTypeId="1" CreationDate="2017-01-21T01:36:08.100" Score="0" ViewCount="546" Body="&lt;p&gt;I am trying to make the smoke after as seen in the picture attached. I have tried to search for the tutorials but there isn't any tutorial that teach me exactly the effect I wanted to create. &lt;a href=&quot;https://i.stack.imgur.com/w5Y5D.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/w5Y5D.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17810" LastActivityDate="2021-10-20T20:16:53.450" Title="After Effect: How do I achieve the smoke effect?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20468" PostTypeId="1" AcceptedAnswerId="20471" CreationDate="2017-01-21T06:18:27.753" Score="1" ViewCount="43" Body="&lt;p&gt;&#xA;Hi, guys. I just watched the &lt;strong&gt;&lt;em&gt;David Attenborough&lt;/em&gt;&lt;/strong&gt; documentary: &lt;strong&gt;&lt;em&gt;Life In The Undergrowth:&lt;br&gt;&#xA;Invasion Of The Land.&lt;/em&gt;&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And I was wondering: What sort of equipment would I need, in order to get that kind of footage? Is it possible with typical modern retail-consumer class A/V hardware; or only at great expense - with professional, specialized gear?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've included a short clip to illustrate the actual size of some typical subjects; followed by a copy of the entire documentary for your viewing pleasure (if anybody's interested).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, they're both in SD/Lo-Res; but should (hopefully) give you a decent idea of what I'm talking about.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a short clip on YouTube:&lt;br&gt;&#xA;&lt;a href=&quot;https://youtu.be/OwOL-MHcQ1w&quot; rel=&quot;nofollow noreferrer&quot;&gt;(min 144p→360p max)&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the full video on Dailymotion:&lt;br&gt;&#xA;&lt;a href=&quot;https://dai.ly/x24ghq1&quot; rel=&quot;nofollow noreferrer&quot;&gt;(min 380p→480p max)&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers.&lt;/p&gt;&#xA;" OwnerUserId="17812" LastEditorUserId="17812" LastEditDate="2017-01-22T12:04:45.477" LastActivityDate="2017-01-22T12:04:45.477" Title="How to capture documentary quality footage of tiny subjects" Tags="|video-recording|camera|production|pro|gear|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20469" PostTypeId="2" ParentId="20467" CreationDate="2017-01-21T07:56:48.100" Score="1" Body="&lt;p&gt;It's difficult to tell from your question exactly what you're trying to do.  If you could link to a &lt;em&gt;video&lt;/em&gt; of the effect you're trying to reproduce, or phrase your question more specifically, you will get more helpful information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're looking for realistic smoke, fluid dynamics simulation isn't really something that After Effects can do on its own.  You'll need to get the physics right in another package, and probably render it elsewhere too, then maybe &lt;em&gt;composite&lt;/em&gt; it in After Effects.  This is an extremely complicated topic, and there isn't one tutorial that covers it all.  But you might want to look into some other software like &lt;a href=&quot;http://www.creativebloq.com/audiovisual/simulating-fluids-81412590&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;.    &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you just want to &quot;fake&quot; it, you can just use different layers of fractal noise attached to particles.  For this type of effect, search &lt;a href=&quot;http://www.videocopilot.net&quot; rel=&quot;nofollow noreferrer&quot;&gt;videocopilot.net&lt;/a&gt; for tutorials on  &lt;a href=&quot;https://www.redgiant.com/products/trapcode-particular/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Red Giant's Trapcode Particular&lt;/a&gt;. &lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2017-01-21T07:56:48.100" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20470" PostTypeId="2" ParentId="20462" CreationDate="2017-01-21T10:58:20.877" Score="0" Body="&lt;p&gt;In my opinion, a webinar camera needs the following features:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Recording time: You can set the camera up and it records unattended for the whole length of the webinar (which could be 1 hour or more). This includes a big-enough storage card and a reliable battery pack.&lt;/li&gt;&#xA;&lt;li&gt;Flip screen: You can see the framing while you record yourself&lt;/li&gt;&#xA;&lt;li&gt;Audio: The camera or an external microphone should record in good quality&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;It seems that the Canon 70D has all these requirements. But you finally have to try it out yourself.&lt;/p&gt;&#xA;" OwnerUserId="3481" LastActivityDate="2017-01-21T10:58:20.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20471" PostTypeId="2" ParentId="20468" CreationDate="2017-01-21T11:20:51.283" Score="2" Body="&lt;p&gt;Up until the high-frame rate (HFR) section of the video I would have said that all you need is a &lt;a href=&quot;https://www.usa.canon.com/internet/portal/us/home/products/details/lenses/ef/macro/mp-e-65mm-f-2-8-1-5x-macro-photo&quot; rel=&quot;nofollow noreferrer&quot;&gt;Canon MP-E 65mm Macro Lens&lt;/a&gt;, a nice LED light (so as not to fry the poor bugs with all the IR radiation that comes from tungsten halogen sources), and a camera with a reasonable video codec that accepts Canon lenses.  However, the HFR section is clearly in the specialized territory of a &lt;a href=&quot;http://www.phantomhighspeed.com/Products/Phantom-Camera-Products&quot; rel=&quot;nofollow noreferrer&quot;&gt;Phantom&lt;/a&gt; camera, which is very expensive.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-01-21T11:20:51.283" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20474" PostTypeId="1" AcceptedAnswerId="20475" CreationDate="2017-01-21T20:13:05.340" Score="3" ViewCount="17052" Body="&lt;p&gt;I'm using windows and ffmpeg to convert video mp4 into audio mp3. I've come up with the following batch line that will do the job:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; for %f in (*.mp4); do ffmpeg -i %f -vn -ar 44100 -ac 1 -b:a 32k -f mp3 %f.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, the &lt;code&gt;%f&lt;/code&gt; variable captures the whole filename with the extension, so my output looks like &lt;code&gt;filename.mp4.mp3&lt;/code&gt;. I'd rather it look like &lt;code&gt;filename.mp3&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried all sorts of brackets and truncation methods I know of but I cannot get anything to work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I change the filenames in an ffmpeg batch conversion on Windows?&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2017-01-23T22:10:02.820" Title="How to change output filename in ffmpeg batch?" Tags="|ffmpeg|windows|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20475" PostTypeId="2" ParentId="20474" CreationDate="2017-01-21T22:38:47.603" Score="5" Body="&lt;p&gt;You can extract the file name directly from the &lt;code&gt;for&lt;/code&gt; replacement parameter. No need to set a new variable at all.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for %f in (*.mp4) do ffmpeg -i &quot;%f&quot; -vn -ar 44100 -ac 1 -b:a 32k -f mp3 &quot;%~nf.mp3&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you want to do more complicated &lt;a href=&quot;https://technet.microsoft.com/en-us/library/ee692804.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;string munging&lt;/a&gt;, it's much more intuitive in Powershell:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ls *.mp4|foreach{&#xA;    ffmpeg -i $_ -vn -ar 44100 -ac 1 -b:a 32k -f mp3 $_.name.replace(&quot;mp4&quot;, &quot;mp3&quot;)&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="3643" LastEditDate="2017-01-23T22:10:02.820" LastActivityDate="2017-01-23T22:10:02.820" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="20477" PostTypeId="1" AcceptedAnswerId="20478" CreationDate="2017-01-22T06:14:31.080" Score="4" ViewCount="98" Body="&lt;p&gt;Currently watching a lot of presidential videos (you know why) and I noticed there are these two black things on the side of the stage:&lt;a href=&quot;https://i.stack.imgur.com/1Ncur.png&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1Ncur.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are they and what are their purpose?&lt;/p&gt;&#xA;" OwnerUserId="16438" LastActivityDate="2017-01-22T06:41:54.870" Title="What are these two things on the side of a stage?" Tags="|production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20478" PostTypeId="2" ParentId="20477" CreationDate="2017-01-22T06:41:54.870" Score="4" Body="&lt;p&gt;I believe they are &lt;a href=&quot;https://en.wikipedia.org/wiki/Teleprompter&quot;&gt;teleprompters&lt;/a&gt;. They contain the text of the speech the person at the podium is reading. In this case, the camera is very far away, so they can't be projected onto a half-mirror in front of the camera as is normally done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://usnews.newsvine.com/_news/2013/04/12/17720232-obama-teleprompter-thief-gets-seven-years-in-prison?lite&quot;&gt;Here is a close-up&lt;/a&gt; of one used by President Obama.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-01-22T06:41:54.870" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20481" PostTypeId="1" AcceptedAnswerId="20483" CreationDate="2017-01-22T10:13:16.943" Score="2" ViewCount="1557" Body="&lt;p&gt;I recently got married in the UK and paid a company to film our wedding (and pre-wedding celebrations), they have completed the highlights trailer &amp;amp; full wedding video but it isn't of the quality I would expect...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They have used the wrong songs, missed key parts of speeches etc... Their contract states any problems with the final edit should be notified within 7 days of receiving the completed video otherwise they presume that client is happy with the final edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have contacted them within the 7 days via email and facebook but received no responses so far - I have given them ample time to respond (almost a week) yet still no received a response and have now gone past their '7 day deadline'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What should be my next steps, I do not mind going to court but that seems like a very long winded and possibly expensive route. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am considering asking them for their original source footage and asking another company to complete the final edit for me - what are you thoughts on this, what would be the best approach with all of this?&lt;/p&gt;&#xA;" OwnerUserId="17820" LastEditorUserId="6273" LastEditDate="2017-01-23T13:30:42.353" LastActivityDate="2017-01-23T13:30:42.353" Title="Unhappy with wedding video production - what to do next?" Tags="|client-relations|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20482" PostTypeId="2" ParentId="20451" CreationDate="2017-01-22T10:41:16.613" Score="3" Body="&lt;p&gt;You already stated your options and you only have one that would work: you need a frame grabber.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A frame grabber is a specialized chipset that does a very specific task. Sometimes such devices are called application-specific integrated circuits (ASIC). They basically do only one thing and they do it very well. The chipset that controls the USB on your computer is designed for general use. It can do primary tasks moderately well. That's it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A frame Grabber is designed to take a specific video input stream and digitize it into frames, which applications can easily use. A video input card is nearly an ASIC of this variety, which is why some of them can probably achieve this task by adding an HDMI input to your computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm unfamiliar with any video cards that have HDMI inputs. Such solutions require a desktop computer with an open PCI-e slot. I have used some Epiphan products with decent success (the DVI2USB3 can take HDMI input via a DVI to HDMI adapter). I used to hear mixed reviews about Black Magic products but now they seem pretty good. These solutions only require an open USB port, which many laptops probably have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Summary&lt;/strong&gt;: Nope, you need different hardware. &lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2017-01-22T10:41:16.613" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20483" PostTypeId="2" ParentId="20481" CreationDate="2017-01-22T14:13:33.417" Score="4" Body="&lt;p&gt;It all depends on your contract. Unless you have specifically requested it for the contract, you probably don't have any rights to the original footage (artist/creative workers generally don't like to give out raw footage, unedited photos et c.). Because of this, you will in general have to trust the artist/editor to do a good job for the final product. This is why you should always check their creative portfolio before you hire them to see if you like their style, especially if it's about something important that can't be repeated (like your wedding).&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;They have used the wrong songs, missed key parts of speeches etc... Their contract states any problems with the final edit should be notified within 7 days of receiving the completed video otherwise they presume that client is happy with the final edit.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If this is the case, you have fulfilled your part of the contract and can refer to it if they later refuse to do the requested edits. But just because you are contractually obliged to inform them about any changes you would like them to make, it doesn't mean they have to answer within the same timeframe. Again, check your contract for what it says regarding their response time. If it specifies a timeframe for their response/delivery of the requested edits, wait at least until that deadline has passed before you contact them again. If it doesn't, maybe try some other means of communication (email/call/personal visit). &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;What should be my next steps, I do not mind going to court but that seems like a very long winded and possibly expensive route. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Suing should be your last, &lt;em&gt;last&lt;/em&gt; resort. If you still want this company to edit your movie (with the changes you requested), it won't do you a whole lot of good to drag them to court. You have hired them to do creative work, after all, and I don't believe they will be very passionate about getting you the movie you wanted after you sued them. I would only consider suing if they straight out refuse to comply by their contractual obligations. Keep in mind that you can only sue them for what was agreed upon in the contract. Getting the source files might not have been part of that, so your legal footing in this case will be shaky at best.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I am considering asking them for their original source footage and asking another company to complete the final edit for me - what are you thoughts on this, what would be the best approach with all of this?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This again depends on your contract, specifically the scope/amount of changes that you can request. Based on your question, it sounds like rather then having some minor issues with the movie (e.g. wrong format, some uncomely shots, bad audio mix or something like that), you don't like the style of the overall movie, which means they would basically have to redo the entire movie. Again I can only guess, but this is probably not covered by your contract. In this case, it might be easier to have them give you the source footage so you can hire someone else to cut your movie for you, since even if they do the requested changes, it still won't be 'your' perfect movie. If you wanna go down this route, your best shot is to be honest and try to have them see your site of the problem. It's a win-win after all (you get the source footage, they don't have to put any more work into the movie). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If they refuse to hand out the source footage or you want to hold them up to their contractual obligations (i.e. doing the edits you want), be polite, give them time to answer, and only threaten them with a lawsuit after you've really exhausted all other options. A lawsuit may get you what you want, but it will cost you way more money and time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If they refuse to do the requested edits or can't do it to the extent/in the way you want it, you can maybe strike a deal (instead of having them go over several improvement cycles, they can just give you the source footage and be done with it). You can try to get that deal in the courtroom, but it will be easier, less time- and money-consuming for both parties to do it extrajudicial.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2017-01-22T14:19:07.970" LastActivityDate="2017-01-22T14:19:07.970" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20487" PostTypeId="1" AcceptedAnswerId="20488" CreationDate="2017-01-22T23:58:49.020" Score="0" ViewCount="597" Body="&lt;p&gt;So from my knowledge (and actual experience) Vegas 13 has &lt;em&gt;one&lt;/em&gt; option for exporting 4k videos. My phone has a 4k camera, and recently I built a beefy computer and decided to edit some 4k footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final product was exactly 2 minutes long, and (not kidding here) &lt;strong&gt;exactly&lt;/strong&gt; 4GB. It was exported to NTFS formatted drive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video played fine on MPC-HC video player, and looked great! But why is the file size so huge?! Does Vegas 14 improve on this or is there a plugin for 13 to make it easier?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="15988" LastActivityDate="2017-01-23T04:55:32.230" Title="Sony Vegas Pro 13 insane 4k export size" Tags="|vegas-pro|4k|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20488" PostTypeId="2" ParentId="20487" CreationDate="2017-01-23T04:55:32.230" Score="0" Body="&lt;p&gt;There may not be a direct preset for 4K, but you can simply use the Mainconcept AVC module to export 4K. Simply select one of the 1080p presets, like &lt;strong&gt;Internet 1080p&lt;/strong&gt;, then customize template to choose a custom frame size and enter your project resolution e.g. 4096 x 2304. Change average bitrate to &lt;code&gt;40,000,000&lt;/code&gt;. Match the frame rate to your project frame rate, and you should be good to go.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-01-23T04:55:32.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20489" PostTypeId="1" CreationDate="2017-01-23T10:19:41.587" Score="1" ViewCount="2587" Body="&lt;p&gt;I'm reading a bit on I-frames and their counterparts, P-frames and B-frames. I understand the usage. I-frames are the key to the compression and following P and B-frames can use the data in I-frames to save on bits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, what I would find interesting is knowing how the encoder determines which frames should be I-frames and which should be P's and B's and pull their data from them. How does the encoder decide which frames will be I-frames?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Side thoughts (you don't have to answer, but these are interesting and useful to me in the future): Are I-frames easier, as in faster, to find and extract than say extracting every 30th frame? If a video is a slide show with audio and no slide animations, are I-frames likely to coincide with slide changes? Would compression be better on a video made from slides images rather than the same images taken in via stream in real time?&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="1871" LastEditDate="2017-01-23T10:48:16.820" LastActivityDate="2017-01-23T11:24:34.370" Title="How does the h.264 encoder determine where to put i-frames?" Tags="|encoding|compression|h.264|keyframes|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20490" PostTypeId="2" ParentId="20489" CreationDate="2017-01-23T10:47:24.240" Score="3" Body="&lt;p&gt;This is a complex topic, with the exact algorithm unique to each encoder. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below is a pseudocode &lt;a href=&quot;http://forum.doom9.org/showthread.php?p=942548#post942548&quot; rel=&quot;nofollow noreferrer&quot;&gt;explanation&lt;/a&gt; from a x264 developer. B-frames aren't accounted for, but basic logic should be similar.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;encode current frame as (a really fast approximation of) a P-frame and an I-frame.&#xA;&#xA;if ((distance from previous keyframe) &amp;gt; keyint) then&#xA;    set IDR-frame&#xA;else if (1 - (bit size of P-frame) / (bit size of I-frame) &amp;lt; (scenecut / 100) * (distance from previous keyframe) / keyint) then&#xA;    if ((distance from previous keyframe) &amp;gt;= minkeyint) then&#xA;        set IDR-frame&#xA;    else&#xA;        set I-frame&#xA;else&#xA;    set P-frame&#xA;&#xA;encode frame for real.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;scenecut&lt;/code&gt; is the scene change threshold value. &lt;code&gt;0&lt;/code&gt; means current frame is identical to previous frame, and &lt;code&gt;100&lt;/code&gt; means it is completely different.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;keyint&lt;/code&gt; is the maximum permitted distance between two keyframes; &lt;code&gt;minkeyint&lt;/code&gt; is the minimum.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;IDR&lt;/code&gt; (instantaneous decoder refresh) frames are keyframes such that no future frame requires to refer to a frame earlier than the IDR-frame for decoding. Not necessarily true for plain I-frames. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-01-23T11:24:34.370" LastActivityDate="2017-01-23T11:24:34.370" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20491" PostTypeId="5" CreationDate="2017-01-23T13:20:35.060" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2017-01-23T13:20:35.060" LastActivityDate="2017-01-23T13:20:35.060" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20492" PostTypeId="4" CreationDate="2017-01-23T13:20:35.060" Score="0" Body="Questions about professional relations in video production, e.g. dealing with clients as a video editor or producer. " OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2017-01-26T18:02:45.557" LastActivityDate="2017-01-26T18:02:45.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20493" PostTypeId="1" AcceptedAnswerId="20498" CreationDate="2017-01-23T16:58:08.530" Score="0" ViewCount="99" Body="&lt;p&gt;I found myself in position where I need to render 6(or more) layers in different order. For example in 1,2,3,4,5,6 then 4,2,1,3,5,6 and so on. Some of the layers blend with the former or later one. It would be great If I could predetermine the order without actually doing it manually every time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically move the layers up and down in the timeline panel and set their starting point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I do that using some programming tools? If so, what do I need to learn? And in general, what properties of After Effects project can be edited without opening the application itself and edit project manually?&lt;/p&gt;&#xA;" OwnerUserId="16176" LastActivityDate="2017-01-23T22:23:28.260" Title="What properties of After Effects project can be edited without opening the application itself" Tags="|after-effects|after-effects-expressions|programming|after-effects-scripting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20494" PostTypeId="2" ParentId="20474" CreationDate="2017-01-23T19:40:17.613" Score="1" Body="&lt;p&gt;To add to &lt;a href=&quot;https://video.stackexchange.com/a/20475/3643&quot;&gt;stib's answer&lt;/a&gt;, you can also put this command in a simple batch file. Just save the code below into a &lt;code&gt;.bat&lt;/code&gt; file, move the file to the folder you want to work on, then double click it to run. This is assuming you've downloaded and set up ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;title Extract MP3 from MP4 with FFMPEG. &#xA;rem Mono Channel, 32kbps.&#xA;for %%f in (*.mp4) do ffmpeg -i &quot;%%f&quot; -vn -ar 44100 -ac 1 -b:a 32k -f mp3 &quot;%%~nf.mp3&quot;&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Notice that the &lt;code&gt;%f&lt;/code&gt; variables are now &lt;code&gt;%%f&lt;/code&gt;. This is a batch file convention and is required. The script will not run if this is not changed. &lt;code&gt;title&lt;/code&gt; is exactly that: the title of the script. &lt;code&gt;rem&lt;/code&gt; is short for &quot;remark&quot;: it is a comment and you can change that too. Neither lines are actually necessary.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-01-23T19:40:17.613" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20495" PostTypeId="1" AcceptedAnswerId="20496" CreationDate="2017-01-23T21:07:43.387" Score="40" ViewCount="276335" Body="&lt;p&gt;I understand that FFmpeg is a powerful tool for video file conversions. I see online in many places people suggesting it for solutions or getting help in how to use it. The problem is, I don't even know how to set it up or use it at all.&lt;/p&gt;&#xA;&lt;p&gt;Those posts I'm talking about usually take the form “Use FFmpeg [complicated and unreadable line of code].”&lt;/p&gt;&#xA;&lt;p&gt;I'm not really a programmer, but I can do a few things, so I think I can figure it out, if I just had a bit of direction.&lt;/p&gt;&#xA;&lt;p&gt;How do I set up and use FFmpeg in Windows?&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="18155" LastEditDate="2022-03-10T14:50:00.140" LastActivityDate="2023-11-02T06:10:46.600" Title="How do I set up and use FFmpeg in Windows?" Tags="|ffmpeg|windows|setup|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="20496" PostTypeId="2" ParentId="20495" CreationDate="2017-01-23T21:07:43.387" Score="56" Body="&lt;p&gt;FFmpeg is indeed a powerful video encoder/decoder tool¹. It operates in the command line, as opposed to using a GUI. Command line is that black window you find by typing [windows+r], then &lt;code&gt;cmd&lt;/code&gt; in the popup field and hitting enter. This is also called &amp;quot;command prompt&amp;quot;. Once setup, you enter FFmpeg commands in one of these windows to use it.&lt;/p&gt;&#xA;&lt;p&gt;Here are the basic steps to &amp;quot;install&amp;quot; and use it:&lt;/p&gt;&#xA;&lt;h1&gt;Installation&lt;/h1&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.gyan.dev/ffmpeg/builds/&quot; rel=&quot;noreferrer&quot;&gt;Download the latest FFmpeg build&lt;/a&gt;, courtesy of gyan.dev.&lt;/li&gt;&#xA;&lt;li&gt;Create a folder on your computer to unpack the zip file. This folder will be your &amp;quot;installation&amp;quot; folder. I chose &lt;code&gt;C:\Program Files\ffmpeg\&lt;/code&gt;. This is a good idea because you will treat this like a regular program. Unpack the zip file into this folder.&lt;/li&gt;&#xA;&lt;li&gt;The folder should now contain a number of other folders, including one titled &lt;code&gt;bin&lt;/code&gt; where &lt;code&gt;ffmpeg.exe&lt;/code&gt; is saved. We're not done yet. Double clicking that file does nothing. Remember, this is a command line program. It runs in &lt;code&gt;cmd&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Before you can use &lt;code&gt;ffmpeg.exe&lt;/code&gt; in &lt;code&gt;cmd&lt;/code&gt; you have to tell your computer where it can find it. You need to add a new system path. First, right click This PC (Windows 10) or Computer (Windows 7) then click &lt;code&gt;Properties &amp;gt; Advanced System Settings &amp;gt; Advanced tab &amp;gt; Environment Variables&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;In the Environment Variables window, click the &amp;quot;Path&amp;quot; row under the &amp;quot;Variable&amp;quot; column, then click Edit&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Ig6nr.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ig6nr.jpg&quot; alt=&quot;Steps to add a System path to Windows&quot; /&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;The &amp;quot;Edit environment variable&amp;quot; window looks different for Windows 10 and 7. In Windows 10 click New then paste the path to the folder that you created earlier where &lt;code&gt;ffmpeg.exe&lt;/code&gt; is saved. For this example, that is &lt;code&gt;C:\Program Files\ffmpeg\bin\&lt;/code&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/D1FO8.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/D1FO8.jpg&quot; alt=&quot;Add new system path Windows 7&quot; /&gt;&lt;/a&gt;&#xA;In Windows 7 all the variables are listed in a single string, separated by a semicolon. Simply go the the end of the string, type a semicolon (&lt;code&gt;;&lt;/code&gt;), then paste in the path.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Ox5J8.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ox5J8.jpg&quot; alt=&quot;Add new system path Windows 7&quot; /&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Click Ok on all the windows we just opened up. Just to be sure, reboot your computer before trying any commands.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;strong&gt;FFmpeg is now &amp;quot;installed&amp;quot;.&lt;/strong&gt; The Command Prompt will now recognize FFmpeg commands and will attempt to run them. (If you are still having issues with Command Prompt not recognizing FFmpeg try running CMD as an admin. Alternatively, you can use &lt;code&gt;windows powershell&lt;/code&gt; instead of cmd. If it still does not work double check to make sure each step was followed to completion.)&lt;/p&gt;&#xA;&lt;h2&gt;Alternative installation methods&lt;/h2&gt;&#xA;&lt;p&gt;I've not tried these myself, but they probably work, and they're easy to do. However, you can accidentally mess up important things if you're not careful.&lt;/p&gt;&#xA;&lt;p&gt;First, if you open cmd with administrator privileges, you can run &lt;code&gt;setx /m PATH &amp;quot;C:\ffmpeg\bin;%PATH%&amp;quot;&lt;/code&gt;, and change &lt;code&gt;C:\ffmpeg\bin&lt;/code&gt; to your path to FFmpeg. This uses cmd to do all the gui steps listed above. Easy peasy.&lt;/p&gt;&#xA;&lt;p&gt;Second, user &lt;a href=&quot;https://video.stackexchange.com/users/30421/k7aay&quot;&gt;K7AAY&lt;/a&gt; reports that you can simply drop the FFmpeg executables in &lt;code&gt;C:\Windows\System32&lt;/code&gt; and run them from there without having to define the path variable because that path is already defined.&lt;/p&gt;&#xA;&lt;h1&gt;Updating FFmpeg&lt;/h1&gt;&#xA;&lt;p&gt;To update FFmpeg, just revisit the download page in step 1 above and download the zip file. Unpack the files and copy them over the old files in the folder you created in step 2.&lt;/p&gt;&#xA;&lt;h1&gt;Using FFmpeg&lt;/h1&gt;&#xA;&lt;p&gt;Using FFmpeg requires that you open a command prompt window, then type FFmpeg specific commands. Here is a typical FFmpeg command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i video.mp4 -vn -ar 44100 -ac 1 -b:a 32k -f mp3 audio.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This command has four parts:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg&lt;/code&gt; - This command tells cmd that we want to run FFmpeg commands. cmd will first look for &lt;code&gt;ffmpeg.exe&lt;/code&gt; in one of the folders from step 6 in the Installation section. If it is found, it will attempt to run the command.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-i video.mp4&lt;/code&gt; - This is an input file. We are going to be doing work on this file.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-vn -ar 44100 -ac 1 -b:a 32k -f mp3&lt;/code&gt; - These are the &amp;quot;arguments&amp;quot;. These characters are like mini commands that specify exactly what we want to do. In this case, it is saying create an mp3 file from the input source.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-vn&lt;/code&gt; - Leave out the video stream&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-ar 44100&lt;/code&gt; - Specifies audio resolution in hertz.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-ac 1&lt;/code&gt; - Audio channels, only 1. This is effectively &amp;quot;make mono&amp;quot;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-b:a 32k&lt;/code&gt; - Audio bitrate, set to 32 kbps.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-f mp3&lt;/code&gt; - Force to MP3 conversion. Without this command, FFmpeg attempts to interpret what you want based on the extension you use in the output file name.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;ol start=&quot;4&quot;&gt;&#xA;&lt;li&gt;&lt;code&gt;audio.mp3&lt;/code&gt;- This is the output file.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;As you can probably guess, this short command makes an MP3 audio file from an MP4 file.&lt;/p&gt;&#xA;&lt;p&gt;To run this command, assuming you have an MP4 file to try this on, follow these steps:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Hit the Windows key + r.&lt;/li&gt;&#xA;&lt;li&gt;Type &lt;code&gt;cmd&lt;/code&gt; then enter.&lt;/li&gt;&#xA;&lt;li&gt;Change the path to where the file is that you want to work on. Type &lt;code&gt;cd [path]&lt;/code&gt;. It should look something like &lt;code&gt;cd C:\Users\name\Desktop\&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Now type the FFmpeg command with the name of your input file. The command will run with some feedback. When it's done, cmd will be available for more commands.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;This is the basic way to use FFmpeg. The commands can get far more complicated, but that's only because the program has so much power. Using &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html&quot; rel=&quot;noreferrer&quot;&gt;the FFmpeg documentation&lt;/a&gt;, you can learn all the commands and create some very powerful scripts. After that, you can save these scripts into a .bat file so that you just have to double click a file instead of type out the whole command each time. For example, &lt;a href=&quot;https://video.stackexchange.com/a/20494/3643&quot;&gt;this answer contains a script that will create MP3's from all the MP4's in a folder&lt;/a&gt;. Then we would be combining the power of FFmpeg with the power of cmd, and that's a nice place to be when you have to do professional quality video/audio encoding on mountains of files.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;As a point if technical accuracy, FFmpeg is itself not an encoder or decoder. FFmpeg is a multimedia framework which can process almost all common and many uncommon media formats. It has thousands of to capture, decode, encode, modify, combine, and stream media, and it can make use of dozens of external libraries to do even more. &lt;a href=&quot;https://www.gyan.dev/ffmpeg/builds/#about-these-builds&quot; rel=&quot;noreferrer&quot;&gt;Gyan.dev provides a succinct description&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2022-03-10T20:06:48.177" LastActivityDate="2022-03-10T20:06:48.177" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="20497" PostTypeId="1" CreationDate="2017-01-23T21:17:48.493" Score="-2" ViewCount="193" Body="&lt;p&gt;So hard drive capacity is not a concern for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just would like my videos to render instantly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to edit in raw in FCP7 or some other video editing software?&lt;/p&gt;&#xA;" OwnerUserId="11909" LastActivityDate="2017-01-24T09:18:36.207" Title="Edit It Raw HD(1080p) Video" Tags="|video|" AnswerCount="2" CommentCount="4" ClosedDate="2017-01-26T18:01:56.600" ContentLicense="CC BY-SA 3.0" />
  <row Id="20498" PostTypeId="2" ParentId="20493" CreationDate="2017-01-23T22:23:28.260" Score="1" Body="&lt;p&gt;To my knowledge there is no tool available for editing After Effects project files other than After Effects itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However you can script After Effect using Adobe's &lt;a href=&quot;https://www.adobe.com/devnet/scripting.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Extendscript&lt;/a&gt; language, so that it will work without user interaction, and even without showing the GUI. Extendscript is based on ECMAscript (basically it's Javascript) and allows you to do programatically anything you can do with the GUI app. It not only works in After Effects , but can be used to control most of the other Adobe CC apps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The extendscript documentation for After Effects is &lt;a href=&quot;http://download.macromedia.com/pub/developer/aftereffects/scripting/After-Effects-CS6-Scripting-Guide.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, and the docs for the more general Javascript tools including GUI elements available across the other Adobe applications is &lt;a href=&quot;http://download.macromedia.com/pub/developer/aftereffects/scripting/JavaScript-Tools-Guide-CC.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-01-23T22:23:28.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20499" PostTypeId="2" ParentId="20497" CreationDate="2017-01-24T06:22:29.997" Score="1" Body="&lt;p&gt;RAW files are also known as &lt;em&gt;digital negatives&lt;/em&gt; and therefore cannot be used directly for editing video or other purposes. They must first be processed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To process them you will additional software. And this will depend on your needs. From which device did you get this RAW data? To which format would you like to convert it? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, if you use the 5K video camera &lt;em&gt;RED Scarlet Dragon&lt;/em&gt;, then you RAW files would be in &lt;strong&gt;REDCODE raw format&lt;/strong&gt;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To convert this to readable format you may use &lt;em&gt;REDCINE-X raw viewer&lt;/em&gt; which, by the way, spits out in playable &lt;strong&gt;ProRes&lt;/strong&gt; files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, you can take this into &lt;em&gt;Adobe Premier Pro&lt;/em&gt; to do your editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To conclude it would all depend on your needs and why you would like to work on RAW files in the first place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check these links for more info:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/List_of_codecs#Lossless_video_compression&quot; rel=&quot;nofollow noreferrer&quot;&gt;List of RAW Formats&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.bhphotovideo.com/explora/video/tips-and-solutions/video-workflow-using-raw-files&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video Workflow: Using RAW Files.&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.magiclantern.fm/forum/?topic=5654.0&quot; rel=&quot;nofollow noreferrer&quot;&gt;RAW files processing by extracting DNG frames.&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.rippletraining.com/articles/2015/01/28/importing-r3d-raw-into-final-cut-pro-x/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Importing RAW files in FCP.&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="17716" LastEditorUserId="17716" LastEditDate="2017-01-24T06:34:21.633" LastActivityDate="2017-01-24T06:34:21.633" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20500" PostTypeId="1" CreationDate="2017-01-24T08:25:34.053" Score="2" ViewCount="1733" Body="&lt;p&gt;As far as I know, is Disney (Studios) pushing the envelope in every film they produce.&#xA;They allways try to come up with a new technique, with almost every film.&#xA;For example the &quot;Multyplane Camera&quot; in Snow White, the &quot;Deep Canvas&quot;-Method in Tarzan, the Snow animation in Frozen or the Hair in Tangled/Brave.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has there been other technical development?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as I know, was the most progress made in the Disney Renaissance (Traditional Animation) or in recent years (3D Animation).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But what exactely(techniques) did they came up with?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which methods did they invent?&lt;/p&gt;&#xA;" OwnerUserId="17625" LastEditorUserId="17625" LastEditDate="2017-01-25T07:06:41.373" LastActivityDate="2023-04-05T16:08:01.197" Title="What Animation techniques did Walt Disney Studios came up with?" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20501" PostTypeId="2" ParentId="20497" CreationDate="2017-01-24T09:18:36.207" Score="0" Body="&lt;p&gt;Rather than use the antiquated FCP7 which is not able to handle RAW files due to the limitations of the software. Moving to FCPX will allow you to edit the native files (if supported) or will do the trans-coding for you in the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do not want to buy FCPX you can try Davinci Resolve 12.5 which is free and is a powerful editing system and can handle a large variety of file formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would advise converting to a more editable format (system dependent PC/MAC) and or creating proxies. The performance of the software is going to depends alot on how good your editing system is, CPU, Ram, GPU, HDD, SSD, Raid etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Editing in &quot;RAW&quot; is not really even done by the &quot;Professionals&quot; in Hollywood as the files are massive and working between teams in different parts of the film would take for ever to copy and move. they would make smaller HQ proxies at a fraction of the size and work using them and in the final stages relink the HQ master files and export a final etc.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2017-01-24T09:18:36.207" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20502" PostTypeId="1" AcceptedAnswerId="21210" CreationDate="2017-01-24T09:38:32.970" Score="0" ViewCount="389" Body="&lt;p&gt;I have an avi video with video codec mp4v and PCM audio. When I bring the video into Vegas Pro, it loads up fine except the audio gets seriously messed up. It gets chopped. See the waveforms below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used ffmpeg to extract the audio using the command &lt;code&gt;ffmpeg -i video.avi -vn -acodec copy audio.wav&lt;/code&gt;. The resultant file will load correctly in Vegas Pro. See the waveforms and compare. These should look exactly the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mTWGa.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mTWGa.jpg&quot; alt=&quot;Good and Bad Waveforms&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is causing this and how do I fix it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffprobe reports the following on the file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, avi, from '01-1.avi':&#xA;  Duration: 02:01:44.47, start: 0.000000, bitrate: 2060 kb/s&#xA;    Stream #0:0: Video: mpeg4 (Simple Profile) (MP4V / 0x5634504D), yuv420p, 1024x768 [SAR 1:1 DAR 4:3], 626 kb/s, 30 fps, 30 tbr, 30 tbn, 30 tbc&#xA;    Metadata:&#xA;      title           : DVI2USB 3.0 [D2S354466]&#xA;    Stream #0:1: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 44100 Hz, 2 channels, s16, 1411 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2017-04-18T07:06:20.040" Title="Vegas Pro will not properly render PCM audio in avi file on the timeline" Tags="|audio|vegas-pro|" AnswerCount="1" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="20504" PostTypeId="1" AcceptedAnswerId="20505" CreationDate="2017-01-24T18:59:09.187" Score="4" ViewCount="6076" Body="&lt;p&gt;Is there a tool that can adjust the loudness level of a video? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;for example I need to make the loudness to be -23 LUFS with max deviation of 0.5 lu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;is there a simple tool/cloud service that doesn't cost too much, that can do this ? &lt;/p&gt;&#xA;" OwnerUserId="17836" LastActivityDate="2018-03-19T10:32:52.550" Title="Loudness control LUFS level adjustments" Tags="|ffmpeg|audio|broadcasting|loudness|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20505" PostTypeId="2" ParentId="20504" CreationDate="2017-01-24T19:56:08.090" Score="8" Body="&lt;p&gt;FFmpeg's &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#loudnorm&quot; rel=&quot;noreferrer&quot;&gt;loudnorm&lt;/a&gt; filter can be used. Basic syntax is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -c:v copy -af loudnorm=I=-23:LRA=1 -ar 48000 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The loudness range (LRA) should be &lt;code&gt;2 x max deviation&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also see the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#ebur128-1&quot; rel=&quot;noreferrer&quot;&gt;ebur128&lt;/a&gt; filter for measuring loudness.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-01-24T19:56:08.090" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20507" PostTypeId="2" ParentId="16927" CreationDate="2017-01-25T04:21:30.903" Score="1" Body="&lt;p&gt;I'm new to ffmpeg, but if you want the codecs to remain the same and the data wrapped in mp4 instead of mov, I believe the following will work:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i video.mov -c copy video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The command you posted may have worked just fine, but your computer is having trouble playing the video data. This is almost always a codec issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can compare the data in the mov input with the mp4 output using ffprobe. Compare the output of the commands &lt;code&gt;ffprobe video.mov&lt;/code&gt; and &lt;code&gt;ffprobe video.mp4&lt;/code&gt;. If the above command works as expected, then the data should read the same under the codecs. Only the container related data should be different.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2017-01-27T18:53:36.687" LastActivityDate="2017-01-27T18:53:36.687" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20509" PostTypeId="1" AcceptedAnswerId="20510" CreationDate="2017-01-25T10:40:03.083" Score="1" ViewCount="64" Body="&lt;p&gt;I am new to video editing. I recently made this video and I was wondering which edits of my video is good and what improvements I can make for any future videos. I used VideoPad if you wanted to know which video editing software I used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Zh2BkmlnXZM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would appreciate any feedback! Thanks&lt;/p&gt;&#xA;" OwnerUserId="17847" LastActivityDate="2017-01-25T12:32:10.757" Title="What part of this video is good and how to improve it?" Tags="|video|editing|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20510" PostTypeId="2" ParentId="20509" CreationDate="2017-01-25T12:32:10.757" Score="4" Body="&lt;p&gt;Since you asked for general feedback, here's a few things I noticed:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;0:00&lt;/strong&gt; The logo animation is too long in my opinion, especially since the video itself isn't that long.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;0:12&lt;/strong&gt; Make the text much smaller, use the same font and font weight as in the &lt;em&gt;inspire&lt;/em&gt; of the logo, it will look more coherent and sophisticated. Text doesn't need to fill most of the screen. It also doesn't need to be centered. If you have enough good B-roll footage, you can also use that as a background for the text, makes for a nicer introduction.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;0:19&lt;/strong&gt; In general, for this kind of impression videos, it's not a good style to use a shot that starts with camera movement (e.g. a pan) and then stops. It looks like the cameraman started out with a pan and then didn't know what to do with the camera. If a shot starts with movement, end the shot before that movement stops. Inversely, if you have a still shot, cut it off before it starts moving, it's much less distracting that way. In this case this effect is increased by the shaking of the camera, could probably use a bit of stabilizing. &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;0:28&lt;/strong&gt; Why is the font green now? Lose the color and the stroke. If the text is hard to read against the bright background, use subtle shadows, not thick strokes. It's optimal if you can read the text without a problem, but don't notice a stroke or shadow on it without a closer look. Also it sounds like you cut the Mayor off after '&lt;em&gt;to be honest&lt;/em&gt;', could probably end the shot after '&lt;em&gt;what a great idea&lt;/em&gt;'.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;0:30&lt;/strong&gt; This looks like you just put the poster for the event into the video, it doesn't look good. Better use text annotations to communicate what the event is about, or just use the Logo with background footage. Nobody is gonna read the text in the green field or the smaller text below, so you don't need it. The poster is not very good in itself, but that's a different topic. And if you absolutely want a poster in the video, make a dedicated 16/9 graphic that only contains text and images that can be read/perceived within the 3~5 seconds for which it is visible.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;0:36&lt;/strong&gt; In general I like the text in front of the blurred video, but there's a few problems with it:&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;It's clearly visible that the blur was applied in post editing. It's much cooler to use a video where the cameras focus was intentionally off by a large factor. This way you get nicer bokeh (if you use a good camera/lens combination) and graduated sharpness. &lt;/li&gt;&#xA;&lt;li&gt;The blurred video stays in the background for too long and there's too much movement. This draws attention away from the text and onto the video. In this sense it's quite frustrating that you can't make out anything because of the blur, especially at &lt;strong&gt;0:38&lt;/strong&gt; where the camera is centered on the little girl. For text with blurry background video, you wanna use static shots, for example a static camera that records people coming in or out of the hall at the start/end of the event. If you only have footage like the one seen in the movie available, don't use blurry video at all, just make the text smaller and put it in one of the corners. &lt;/li&gt;&#xA;&lt;li&gt;At &lt;strong&gt;0:48&lt;/strong&gt;, if everything is blurry it makes no sense to divide the video in four parts. Again it draws the attention away from the text and onto the video. I like the composition of that scene in general, but make the text smaller and lose the blur for that part. You overuse the blurry background/text combination anyway, so that would be a good place to start.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;0:52&lt;/strong&gt; The transition of blurry to sharp is cool in general, but again it's cooler if it happens during filming than as an effect. You can do this by setting the camera to manual focus, focus as close to the camera as possible, start recording and then slowly and steadily move the focus onto the subject. There's a name for this technique, but I can't recall it at the moment.  &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;1:03&lt;/strong&gt; You can't hear what they say very well. You want to lower the volume of the music whenever someone talks. Use keyframes for gradual volume transitions (about 0.5 ~ 1 seconds), never hard volume cuts. &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;1:10&lt;/strong&gt; Not sure about the text here. I get that you want to underline his statement, but in this version it's not visible long enough to actually read this and it's too distracting from the video itself. Maybe try putting the quote in front of a black screen or again blurry footage &lt;em&gt;after&lt;/em&gt; the man has finished talking to put more emphasis on the statement (not sure if this will look good, you will have to try it out). Or make it smaller and put it on the bottom as a caption. And again, in general be more consistent with your usage of font/color/strokes.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;1:27&lt;/strong&gt; - &lt;strong&gt;1:57&lt;/strong&gt; Get rid of that part entirely. It doesn't help your video in any way. Also it's way too long, it takes up 1/4 of the entire video. If you insist on having this kind of outro, make it 10 seconds at best. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;General stuff: The video could use a little tone/color grading. You don't have to shoot for a high-profile Hollywood look, but adjust the brightness a bit to correct for the overexposed shots (e.g. the food scenes). Be a bit more subtle with the text, slow it down a bit, it will look more relaxed and professional. Try to be consistent with font, font size/weight, colors/strokes and placement/alignment of the text. And most important, use one shot/scene for every point you want to get across. The blurry scenes with the text do to much (communicate text and show video) and ends up being distracting.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-01-25T12:32:10.757" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20512" PostTypeId="1" CreationDate="2017-01-26T14:56:27.583" Score="3" ViewCount="97" Body="&lt;p&gt;I'm a soccer coach and I'm always looking for ways to help my players improve. For example, we record all of our games so the players can watch them afterwards. However, I find it to be an inefficient use of time for a player to watch the entire game if they only touch the ball 17 times, for example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question:  is there a way for me to tag every time each player touches the ball? Then when a player reviews the video, after I finish this editing run, they can pull up the 17 times that I've tagged them? I'm open to using whatever software and process would best meet my need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you in advance for any help you can provide!&lt;/p&gt;&#xA;" OwnerUserId="17855" LastActivityDate="2017-07-30T09:23:05.520" Title="Tagging each player's touches in a soccer game" Tags="|editing|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20513" PostTypeId="1" CreationDate="2017-01-26T15:41:22.477" Score="6" ViewCount="1154" Body="&lt;p&gt;I want to produce some cooking videos with recipe preparation demonstrations. The shooting area is about 1 square meter. The room doesn't have any windows, so there is no natural/daylight. It is an inexpensive production using a Pentax K-S2 and GoPro Hero4. Currently, I use 2 soft boxes with 135W compact florescent (CFL), which leads to noisy video in the low light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to buy more lights and add like 4-8 more bulbs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From what I have seen on the net, a 15W LED that costs $2.50 outputs 1500 lumens, while a 200W CFL bulb costs $22 and outputs 3200 lumens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So is it more economical to buy LEDs instead of CFLs? Or am I missing something, like inaccurate light output labels?&lt;/p&gt;&#xA;" OwnerUserId="17857" LastEditorUserId="14523" LastEditDate="2017-01-28T18:27:11.597" LastActivityDate="2020-03-10T22:14:16.800" Title="Lighting for video in room with no windows, choose led or cfl" Tags="|lighting|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20514" PostTypeId="1" CreationDate="2017-01-26T18:12:29.657" Score="2" ViewCount="1702" Body="&lt;p&gt;I have a Blackmagic Intensity Pro 4K video capture card and Panasonic GH4, which can output 10-bit 4K from the HDMI port.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm running Windows 10 and I have two 1 TB SSDs, but with write speeds of about 450 MB/s, they are not fast enough to capture uncompressed 10-bit video, which is the only 10-bit option the included Blackmagic software provides.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to find video capture software, but Google only reveals abandoned software like &lt;a href=&quot;http://virtualdub.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Virtualdub&lt;/a&gt; and tools for doing screencasts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there video capture software that can handle 4K/10-bit encoded with some kind of codec on a &quot;normal&quot; SSD?&lt;/p&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2017-04-08T21:46:05.843" Title="Video capture software for 10-bit 4K" Tags="|video-capture|capturing|" AnswerCount="2" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="20516" PostTypeId="2" ParentId="20513" CreationDate="2017-01-26T21:17:31.390" Score="0" Body="&lt;p&gt;I think the answer to your question just comes down to math; the LED lights are cheaper per lumen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I want to share my inexpensive lighting setup, in case it may inspire you. I use long fluorescent tubes, mounted in cheap metal light &quot;hoods&quot;. My setup has 4 tubes in 2 hoods (2 tubes per hood), positioned in parallel a few inches apart. Each tube outputs 2900 lumens.  Since the light tubes are long, and there are 4 in parallel, they give a nice soft light. You don't need a softbox. I use daylight colored bulbs (5000-5500k) because video cameras love that color.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastEditorUserId="5546" LastEditDate="2017-01-27T00:01:11.060" LastActivityDate="2017-01-27T00:01:11.060" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20517" PostTypeId="2" ParentId="20512" CreationDate="2017-01-26T21:37:14.457" Score="1" Body="&lt;p&gt;My solution here is time- and labor- intensive, but it will work. I'm tailoring it for Adobe Premiere, since that's what I use, but any multi-track editing software should be able to handle this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The person editing the video brings the footage of the game (which I'll call the &quot;main video&quot;) into the timeline. Then the editor adds a new video track for each player who was in the game.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The editor watches the video of the game (the &quot;main video&quot;), and each time a particular player touches the ball, the editor&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;cuts the main video before and after that touch&lt;/li&gt;&#xA;&lt;li&gt;copies that clip from the main video&lt;/li&gt;&#xA;&lt;li&gt;pastes it onto the track for that player&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Y5Pj0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Y5Pj0.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If two players are touching the ball simultaneously for some reason, the clip gets pasted into both their timelines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After the whole main video has been &quot;distributed&quot; this way, there will be big gaps between the clips in each players' timeline. The editor now removes the gaps from each timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The editor then hides all tracks except player #1, sets the correct endpoint of the video (for that track), and exports that as its own video. The file name for the export can be that player's name. The editor then hides player #1, and displays player #2, sets the video endpoint, and exports again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This whole process is somewhat tedious, but it will work. I'll be interested to read other people's ideas!&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2017-01-26T21:37:14.457" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20518" PostTypeId="2" ParentId="20513" CreationDate="2017-01-27T10:46:45.037" Score="9" Body="&lt;p&gt;It's not just about lumens. Generally you get what you pay for when you're buying lights, and the difference between an expensive LED and a cheap one is not usually the power output, it's the colour fidelity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;White lights look white because they produce a range of colours which our eyes mix together and perceive as white. The better the light the smoother the graph of the intensity across the spectrum is - so there'll be a smooth line going from red up to violet. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheaper lights produce a more jagged spectrum. So even though they may look white overall, there will be certain colours that are less intense or missing, and other colours that are brighter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fluorescent lights, including CFLs are notorious for having a spiky spectrum:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CqWXK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CqWXK.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The spike right in the green area of the spectrum can give the footage a greenish, slightly morbid look. This is quite popular in the shaky-cam horror genre, but it may not suit your film:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/o7JUq.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/o7JUq.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheap LED lights are less spiky, but the spectrum is still missing some areas. Even though this light might balance out as a warm white, it is not providing light across the whole spectrum. Anything cyanish will look darker and less saturated under this LED:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tcNsn.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tcNsn.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What this means for video is that some cheap lights are very difficult to grade. Skin tones will go from looking sunburnt to jaundiced with no happy medium. Some things will pop, while others will be undersaturated. The price of cheaper lights will be the cost of extra time spent making it look good. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tungsten (hot filament / incandescent) lights however, even cheap ones have a very smooth spectrum. This is a standard household incandescent bulb. Although this light is very orange, it is probably possible to get an acceptable grade by adjusting the colour temperature in-camera:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7mneT.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7mneT.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Halogen lights have an even better spectrum, with more light in the blue end. &#xA;You can get halogen work lights that would do quite well as film lights with a bit of diffusion. They do however run hot as a lot of the energy they use is turned into heat. They have a smaller up-front cost, but cost more in terms of power usage and replacement bulbs, and because they use ten times the power you can't run them off batteries, like you can with LEDs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, for the average youTube face-to-camera type video the colour fidelity of the lights may not be such a problem, especially if you're reusing the same setup again and again - you can get the colour grade right using your tool of choice (most NLEs have pretty good colour grading tools built-in these days) and then keep the settings from one video to the next.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Read &lt;a href=&quot;http://www.soundandvision.com/content/led-vs-cfl-bulbs-color-temp-light-spectrum-and-more#6aI0zoX7tiClxePp.97&quot; rel=&quot;nofollow noreferrer&quot;&gt;the article that goes with those graphs here&lt;/a&gt;, though it's talking about lighting for household illumination, not for video.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-03-10T22:14:16.800" LastActivityDate="2020-03-10T22:14:16.800" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="20519" PostTypeId="1" CreationDate="2017-01-27T17:55:50.933" Score="1" ViewCount="127" Body="&lt;p&gt;I was looking for a video for knowledge and blogpost which I found on YouTube under Standard YouTube License. However, when I tried to contact the owner, I think he/she is not active on YouTube anymore. Because that is the last video uploaded by the user and that is 7 years ago. What to do?&lt;/p&gt;&#xA;" OwnerUserId="17867" LastActivityDate="2017-01-27T18:34:20.803" Title="What if YouTube owner doesn't respond if I can use their upload further?" Tags="|youtube|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20520" PostTypeId="2" ParentId="20519" CreationDate="2017-01-27T18:34:20.803" Score="2" Body="&lt;p&gt;Nothing, really. YouTube Standard License doesn't give you any rights to redistribute or remix the video (see &lt;a href=&quot;https://video.stackexchange.com/questions/20217/is-one-able-to-override-the-terms-of-the-youtube-standard-licence-with-a-sligh/20236#20236&quot;&gt;my answer here&lt;/a&gt;). You can only try to contact the uploader through other means. Look through their channel info to see if you can find a website, Twitter, E-Mail address or any other contact information. Depending on how badly you want to use this video, there are also other means of &lt;strike&gt;online stalking&lt;/strike&gt; finding contact information that you might try. For example, if he uses a distinct user name you can try to search for that user name on Google, Twitter or other social media and see if you find something.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-01-27T18:34:20.803" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="20522" PostTypeId="1" AcceptedAnswerId="21509" CreationDate="2017-01-28T09:45:26.580" Score="0" ViewCount="68" Body="&lt;p&gt;I had the idea of starting a YouTube channel (called 'Hardcore Durability Test') focused on creating entertaining durability tests on all sorts of items. The show would be presented by two children (one 13 and the other 11) who are actually much more sensible than their ages suggest. Does anyone have any general tips on making this? Thanks! &lt;/p&gt;&#xA;" OwnerDisplayName="user17872" LastActivityDate="2017-05-26T18:25:08.577" Title="Tips on making a YouTube channel" Tags="|youtube|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20523" PostTypeId="1" AcceptedAnswerId="20527" CreationDate="2017-01-28T10:38:13.807" Score="9" ViewCount="8974" Body="&lt;p&gt;I'm trying to select the correct capture options for &lt;code&gt;ffmpeg&lt;/code&gt; and I'm confused by this kind of listing:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[decklink @ 00000000010564c0]   17      3840x2160 at 24000/1001 fps&#xA;[decklink @ 00000000010564c0]   18      3840x2160 at 24000/1000 fps&#xA;[decklink @ 00000000010564c0]   19      3840x2160 at 25000/1000 fps&#xA;[decklink @ 00000000010564c0]   20      3840x2160 at 30000/1001 fps&#xA;[decklink @ 00000000010564c0]   21      3840x2160 at 30000/1000 fps&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Based on the fact that 24 and 30 have two entries and 25 only has one, I assume that the two 24 options are true 24fps and 23.9fps, and the two 30 options are true 30fps and 29.97fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But which is which?  And why is this kind of notation used?&lt;/p&gt;&#xA;" OwnerUserId="5349" LastEditorUserId="5349" LastEditDate="2017-01-28T17:55:37.590" LastActivityDate="2017-01-28T18:27:28.177" Title="ffmpeg- What's the difference between &quot;NN000/1000 fps&quot; and &quot;NN000/1001 fps&quot;?" Tags="|ffmpeg|encoding|framerate|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20524" PostTypeId="2" ParentId="20523" CreationDate="2017-01-28T11:08:20.500" Score="6" Body="&lt;p&gt;Those are rational numbers. So, &lt;code&gt;24000/1000 = 24.000&lt;/code&gt; and &lt;code&gt;24000/1001 = 23.976&lt;/code&gt;. These are in fact the exact representations i.e. 23.976 is an approximation but 24000 divided by 1001 isn't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for why &lt;code&gt;24000/1001&lt;/code&gt; and not &lt;code&gt;24/1.001&lt;/code&gt;, it's because that's the smallest set of numbers that represent the value as &lt;strong&gt;integers&lt;/strong&gt;. Else, a floating point variable would be needed for the denominator.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-01-28T13:02:25.293" LastActivityDate="2017-01-28T13:02:25.293" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20527" PostTypeId="2" ParentId="20523" CreationDate="2017-01-28T12:33:26.523" Score="13" Body="&lt;p&gt;Yes, &lt;code&gt;24000/1000&lt;/code&gt; is 24 fps and &lt;code&gt;24000/1001&lt;/code&gt; is 23.976fps. Some refer to the X/1001 frame rates as &quot;drop down&quot; (as in &quot;dropped down from the integer&quot;) but this is easy to confuse with &quot;pull down&quot; which often refers to the cadence of frames when fitting 24 or 25 fps material into a 30 fps program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also think of these notations as &lt;code&gt;24,000 divided by 1,000 equals 24&lt;/code&gt; and &lt;code&gt;24,000 divided by 1,001 equals 23.976023976 repeating&lt;/code&gt;. This notation is also the exact same thing as saying &lt;code&gt;24 divided by 1 equals 24&lt;/code&gt; and &lt;code&gt;24 divided by 1.001 equals 23.976023976 repeating&lt;/code&gt;. It is, of course, quite ridiculous to articulate the repeating decimal values.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;1001&lt;/code&gt; options and their resulting notation are a legacy from analog color television systems. As Mulvya points out &quot;it's because that's the smallest set of numbers that represent the value as integers&quot;. These standards are still around today mainly for backwards compatibility (with black and white television sets) and 'cause that's just the way TV grew up. Prior to color television, the &lt;a href=&quot;https://en.wikipedia.org/wiki/NTSC&quot; rel=&quot;noreferrer&quot;&gt;NTSC&lt;/a&gt; frame rate was actually exactly thirty frames per second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the &lt;code&gt;30000/1000&lt;/code&gt; and &lt;code&gt;30000/1001&lt;/code&gt; notation it comes from the NTSC video standard. &quot;30&quot;fps NTSC is actually displaying 30/1.001 frames per second (sometimes referred to as &quot;29.97&quot; or &quot;30DF&quot; for short, but to be precise 29.97002997... repeating frames per second). Due to this slight difference (.01%), NTSC uses either Drop-Frame (DF) or Non Drop-Frame (NDF) time-code counting. Drop-Frame &quot;drops&quot; frame counts in a pattern such that every ten minutes the time-code duration will correspond to the actual playback duration. No image frames are dropped and this was mainly a consideration for broadcasters fitting their programs with commercial breaks. Non Drop-Frame on the other hand more accurately represents a count of the total number of frames in a program (for those who enjoy counting in base 24:60:60:30...)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for &lt;code&gt;25000/1000&lt;/code&gt; there's no 25/1.001fps standard because 25fps is a &lt;a href=&quot;https://en.wikipedia.org/wiki/PAL&quot; rel=&quot;noreferrer&quot;&gt;PAL&lt;/a&gt; standard and PAL video systems were engineered using 50Hz AC power which did not have the same issues as NTSC when color came about.&lt;/p&gt;&#xA;" OwnerUserId="17685" LastEditorUserId="17685" LastEditDate="2017-01-28T18:27:28.177" LastActivityDate="2017-01-28T18:27:28.177" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="20529" PostTypeId="2" ParentId="20523" CreationDate="2017-01-28T16:45:46.770" Score="4" Body="&lt;p&gt;The original framerate for broadcast television was 60 fields (half of a frame) per second in the U.S., and timing was based on the oscillation of AC power (so, clearly, European television needed a different framerate under the oldest technology).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when color was added to NTSC, the color signal interfered the audio signal. By this time, more advanced means of timing were available, so the quick fix was to reduce the frame rate ever so slightly. Color was done slightly differently in PAL and this adjustment was not necessary so there is no &lt;code&gt;25000/1001&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="17880" LastEditorUserId="17880" LastEditDate="2017-01-28T16:51:02.787" LastActivityDate="2017-01-28T16:51:02.787" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20531" PostTypeId="2" ParentId="15170" CreationDate="2017-01-29T00:42:22.440" Score="2" Body="&lt;p&gt;I did a 3 screen art installation in a hotel lobby some years ago. The original system used media players in a rack with converters to pass DVI over cat5 cable. There was a control computer to keep the media players in sync. It was 20U of rack space, 15K of hardware and many hours of configuration and installation. It ran 24/7 for 7 years.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When the media players started dying I replaced the system with a single server computer and a Matrox Triplehead unit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then the plasma screens finally wore out. The new LCD monitors did not do DVI. Converting the outputs was going to be expensive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is when I switched to Brightsign HD players.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They will play in sync with each other with just a simple network connection to a small switch. The HD220 players are around $350 each and mount on the back of the monitor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Less than a grand to replace 30K worth of junk.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I can shoot the video for that with a 4K camcorder and use handbrake to split it up. Back in the early days we had 3 Hidef cameras on a massive plate to line them up. Editing had to be done in sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I take the camera and tripod in a small pack and go out on my bicycle to capture video.&lt;/p&gt;&#xA;" OwnerUserId="17885" LastActivityDate="2017-01-29T00:42:22.440" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20534" PostTypeId="1" CreationDate="2017-01-29T07:24:00.347" Score="0" ViewCount="75" Body="&lt;p&gt;Does anyone know what this little warning icon means? It's showing up in the Creative Cloud folder, and whenever I import the video into Premiere, pressing the play button does nothing. Thanks for the help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ijEOa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ijEOa.png&quot; alt=&quot;warning icon next to file name&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17891" LastActivityDate="2017-01-29T07:28:42.957" Title="Warning icon next to video file name in Adobe Creative Cloud folder?" Tags="|premiere|adobe|mac|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20535" PostTypeId="2" ParentId="20534" CreationDate="2017-01-29T07:28:42.957" Score="1" Body="&lt;p&gt;Ok minutes after posting this question, Adobe prompts me with the following error:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/mCQDi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mCQDi.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's unfortunate they have such a limitation.&lt;/p&gt;&#xA;" OwnerUserId="17891" LastActivityDate="2017-01-29T07:28:42.957" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20536" PostTypeId="1" AcceptedAnswerId="20744" CreationDate="2017-01-29T10:42:46.437" Score="1" ViewCount="3300" Body="&lt;p&gt;I'm using an Intensity Pro 4K to capture with &lt;code&gt;ffmpeg&lt;/code&gt; via the &lt;code&gt;decklink&lt;/code&gt; commands.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to &lt;a href=&quot;https://www.ffmpeg.org/ffmpeg-devices.html#decklink&quot; rel=&quot;nofollow noreferrer&quot;&gt;the documentation&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;video_input&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Sets the video input source. Must be ‘unset’, ‘sdi’, ‘hdmi’, ‘optical_sdi’, ‘component’, ‘composite’ or ‘s_video’. Defaults to&#xA;  ‘unset’.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;audio_input&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Sets the audio input source. Must be ‘unset’, ‘embedded’, ‘aes_ebu’, ‘analog’, ‘analog_xlr’, ‘analog_rca’ or ‘microphone’.&#xA;  Defaults to ‘unset’.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So I set &lt;code&gt;-video_input hdmi&lt;/code&gt;, which guarantees I will get the video via HDMI even if the Blackmagic driver is set to something else (e.g., component, which for some reason every time I reboot it gets reset to component).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, while I get video, I don't get audio.  I tried setting &lt;code&gt;-audio_input&lt;/code&gt; to &lt;code&gt;embedded&lt;/code&gt; (no effect) &lt;code&gt;aes_ebu&lt;/code&gt;, and &lt;code&gt;microphone&lt;/code&gt; (not supported by device error).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I still have to go to the Blackmagic video drivers and switch the input signal to HDMI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to specify the hdmi audio feed together with the hdmi video feed on the ffmpeg command line?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Reference&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Full command I am using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -rtbufsize 1500M -f decklink -video_input hdmi -i &quot;Intensity Pro 4K@20&quot; -pix_fmt yuv420p -c:a copy -c:v v210 abc.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;list_formats&lt;/code&gt; output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;E:\&amp;gt;ffmpeg -f decklink -list_formats 1 -i &quot;Intensity Pro 4K&quot;&#xA;ffmpeg version 3.2 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 5.4.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-dxva2 --enable-libmfx --enable-nvenc --enable-avisynth --enable-bzlib --enable-libebur128 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55. 34.100 / 55. 34.100&#xA;  libavcodec     57. 64.100 / 57. 64.100&#xA;  libavformat    57. 56.100 / 57. 56.100&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;[decklink @ 0000000000f66460] Supported formats for 'Intensity Pro 4K':&#xA;[decklink @ 0000000000f66460]   1       720x486 at 30000/1001 fps (interlaced, lower field first)&#xA;[decklink @ 0000000000f66460]   2       720x576 at 25000/1000 fps (interlaced, upper field first)&#xA;[decklink @ 0000000000f66460]   3       1920x1080 at 24000/1001 fps&#xA;[decklink @ 0000000000f66460]   4       1920x1080 at 24000/1000 fps&#xA;[decklink @ 0000000000f66460]   5       1920x1080 at 25000/1000 fps&#xA;[decklink @ 0000000000f66460]   6       1920x1080 at 30000/1001 fps&#xA;[decklink @ 0000000000f66460]   7       1920x1080 at 30000/1000 fps&#xA;[decklink @ 0000000000f66460]   8       1920x1080 at 25000/1000 fps (interlaced, upper field first)&#xA;[decklink @ 0000000000f66460]   9       1920x1080 at 30000/1001 fps (interlaced, upper field first)&#xA;[decklink @ 0000000000f66460]   10      1920x1080 at 30000/1000 fps (interlaced, upper field first)&#xA;[decklink @ 0000000000f66460]   11      1920x1080 at 50000/1000 fps&#xA;[decklink @ 0000000000f66460]   12      1920x1080 at 60000/1001 fps&#xA;[decklink @ 0000000000f66460]   13      1920x1080 at 60000/1000 fps&#xA;[decklink @ 0000000000f66460]   14      1280x720 at 50000/1000 fps&#xA;[decklink @ 0000000000f66460]   15      1280x720 at 60000/1001 fps&#xA;[decklink @ 0000000000f66460]   16      1280x720 at 60000/1000 fps&#xA;[decklink @ 0000000000f66460]   17      3840x2160 at 24000/1001 fps&#xA;[decklink @ 0000000000f66460]   18      3840x2160 at 24000/1000 fps&#xA;[decklink @ 0000000000f66460]   19      3840x2160 at 25000/1000 fps&#xA;[decklink @ 0000000000f66460]   20      3840x2160 at 30000/1001 fps&#xA;[decklink @ 0000000000f66460]   21      3840x2160 at 30000/1000 fps&#xA;Intensity Pro 4K: Immediate exit requested&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Output of &lt;code&gt;E:\&amp;gt;ffmpeg -rtbufsize 1500M -f decklink -video_input hdmi -audio_input embedded -i &quot;Intensity Pro 4K@20&quot; -pix_fmt yuv420p -c:a copy -c:v v210 abcde.mov&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 3.2 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 5.4.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-dxva2 --enable-libmfx --enable-nvenc --enable-avisynth --enable-bzlib --enable-libebur128 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55. 34.100 / 55. 34.100&#xA;  libavcodec     57. 64.100 / 57. 64.100&#xA;  libavformat    57. 56.100 / 57. 56.100&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;[decklink @ 0000000002872cc0] Found Decklink mode 3840 x 2160 with rate 29.97&#xA;[decklink @ 0000000002872cc0] Frame received (#1) - Input returned - Frames dropped 1&#xA;Guessed Channel Layout for Input Stream #0.0 : stereo&#xA;Input #0, decklink, from 'Intensity Pro 4K@20':&#xA;  Duration: N/A, start: 0.000000, bitrate: 3978870 kb/s&#xA;    Stream #0:0: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s&#xA;    Stream #0:1: Video: rawvideo (UYVY / 0x59565955), uyvy422, 3840x2160, 3977334 kb/s, 29.97 tbr, 1000k tbn, 1000k tbc&#xA;Incompatible pixel format 'yuv420p' for codec 'v210', auto-selecting format 'yuv422p'&#xA;Output #0, mov, to 'abcde.mov':&#xA;  Metadata:&#xA;    encoder         : Lavf57.56.100&#xA;    Stream #0:0: Video: v210 (v210 / 0x30313276), yuv422p, 3840x2160, q=2-31, 200 kb/s, 29.97 fps, 30k tbn, 29.97 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.64.100 v210&#xA;    Stream #0:1: Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, 1536 kb/s&#xA;Stream mapping:&#xA;  Stream #0:1 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; v210 (native))&#xA;  Stream #0:0 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5349" LastEditorUserId="5349" LastEditDate="2017-01-29T11:31:01.097" LastActivityDate="2017-03-23T22:37:35.193" Title="ffmpeg and decklink- how to specify audio_input for hdmi video?" Tags="|ffmpeg|blackmagic|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="20537" PostTypeId="2" ParentId="17061" CreationDate="2017-01-29T11:52:56.517" Score="9" Body="&lt;p&gt;I sugest instead of pausing, you give the encoding process the very least system priority (aka &quot;&lt;strong&gt;renice&lt;/strong&gt;&quot;), so you can work daily comfortably and the encoding will take place in background with the unused system ressources. So your encoding will take place seamlessy 24/7 without interruptions, without conflicting with day work&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;as AFAIK OSX lacks the pidof command, you need to &lt;a href=&quot;http://www.andrewhazelden.com/blog/2011/03/using-renice-to-control-cpu-usage/&quot;&gt;know the ffmpeg process number&lt;/a&gt; (PID)&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;then you can &lt;strong&gt;renice&lt;/strong&gt; the process to idle background with&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;sudo renice 20 yourPID&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;if needed you can also renice the process to more agressive foreground priority&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;sudo renice -10 yourPID&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17893" LastActivityDate="2017-01-29T11:52:56.517" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20540" PostTypeId="1" CreationDate="2017-01-30T20:21:24.020" Score="1" ViewCount="89" Body="&lt;p&gt;I am doing a live stream and would like the following video flow.  I am able to handle all parts of this except for the Instant Replay.  How could I accomplish the instant replay?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have 4 PoE Pan Tilt Camera that output RTSP streams.  Currently I use OBS and take in the RTSP streams, do overlays and other stuff, and the stream to the internet. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am in need of a solution that would allow me to be able to do instant replays of any camera with the overlay on it, and live stream this.&lt;/p&gt;&#xA;" OwnerUserId="12163" LastActivityDate="2017-01-30T20:21:24.020" Title="4 Camera Instant Replay" Tags="|live|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20541" PostTypeId="1" CreationDate="2017-01-31T02:31:37.017" Score="0" ViewCount="2820" Body="&lt;p&gt;I'm a noob, so explain like I'm 5 years old.&lt;/p&gt;&#xA;" OwnerUserId="17904" LastActivityDate="2017-09-01T06:43:47.870" Title="How do I use green screen effects in cyberlink powerdirector and put the video in the green part?" Tags="|greenscreen|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20542" PostTypeId="2" ParentId="20541" CreationDate="2017-01-31T03:28:41.257" Score="1" Body="&lt;p&gt;Summarizing from &lt;a href=&quot;http://www.cyberlink.com/support/product-faq-content.do?id=16449&quot; rel=&quot;nofollow noreferrer&quot;&gt;How do I use the chroma key feature to replace a green screen background in CyberLink PowerDirector?&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Put the video or image you want to use as the background (what will replace the green) on Track 1.&lt;/li&gt;&#xA;&lt;li&gt;Put the video that has the green screen on Track 2.&lt;/li&gt;&#xA;&lt;li&gt;Double click on the clip with the green screen background to open in the PiP Designer.&lt;/li&gt;&#xA;&lt;li&gt;Select the Chroma Key tab and then Enable chroma key&lt;/li&gt;&#xA;&lt;li&gt;Click on the eye dropper button on the Chroma Key tab and then select the (green) color in the image or video clip that you want to replace/make transparent.&lt;/li&gt;&#xA;&lt;li&gt;Adjust the sliders until the green completely disappears.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=x_9dhfidhDs&quot; rel=&quot;nofollow noreferrer&quot;&gt;This video&lt;/a&gt; might help explain it better.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastEditorUserId="14523" LastEditDate="2017-01-31T23:35:29.363" LastActivityDate="2017-01-31T23:35:29.363" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20543" PostTypeId="1" AcceptedAnswerId="20578" CreationDate="2017-01-31T08:16:56.860" Score="1" ViewCount="51" Body="&lt;p&gt;Big TV-Screen companies like LG, Sony, Samsung and Sharp have announced that they'll discontinue to produce 3D-TV's.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What impact does it have to small independent film producers, that produce 3D films?&#xA;How are you able to set up and test your 3D footage, before showing in in Theaters and festivals?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you have to keep using &quot;old&quot; monitors and screens or will Screens in &quot;the normal&quot; (affordable) price range still be avavable to the public? (Does a company have annunced to keep continuing screens no matter what?)&lt;/p&gt;&#xA;" OwnerUserId="17625" LastEditorUserId="17625" LastEditDate="2017-02-02T11:44:38.093" LastActivityDate="2023-11-10T15:01:12.753" Title="How to independently produce 3D Movies when 3D-TV's are discontinued?" Tags="|post-production|3d|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20546" PostTypeId="1" AcceptedAnswerId="20547" CreationDate="2017-01-31T16:19:30.297" Score="0" ViewCount="1045" Body="&lt;p&gt;I need to transcode mpeg2 video via H264 codec and GOP structure should be IP.&#xA;I use the following command for this:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -i INPUT -vcodec libx264 -x264-params&#xA;  keyint=2:scenecut=-1:ref=1 -acodec copy -y out.mpg&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Then checked it with ffprobe:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffprobe -i out.mpg -show_frames | grep key_frame&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;And received the following results:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;key_frame=1 &lt;br&gt;key_frame=1 &lt;br&gt;key_frame=1 &lt;br&gt;key_frame=1 &lt;br&gt;key_frame=1&lt;br&gt;&#xA;  key_frame=1&lt;br&gt; key_frame=1&lt;br&gt; key_frame=1&lt;br&gt; key_frame=0&lt;br&gt; key_frame=1&lt;br&gt;&#xA;  key_frame=0 &lt;br&gt;key_frame=1&lt;br&gt; key_frame=0 &lt;br&gt;key_frame=1 &lt;br&gt;key_frame=0&lt;br&gt;&#xA;  key_frame=1&lt;br&gt; key_frame=0 &lt;br&gt;key_frame=1&lt;br&gt; key_frame=1&lt;br&gt; key_frame=1&lt;br&gt;&#xA;  key_frame=1 &lt;br&gt;key_frame=0 &lt;br&gt;key_frame=1&lt;br&gt; key_frame=1&lt;br&gt; key_frame=1&lt;br&gt;&#xA;  key_frame=1 &lt;br&gt;key_frame=1&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Can you please explain how to correct transcoding H264 and set GOP IP Pattern? &lt;/p&gt;&#xA;" OwnerUserId="14107" LastActivityDate="2017-01-31T16:30:32.700" Title="FFmpeg transcoding GOP pattern IP" Tags="|ffmpeg|transcoding|h.264|gop|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20547" PostTypeId="2" ParentId="20546" CreationDate="2017-01-31T16:30:32.700" Score="2" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i INPUT -vcodec libx264 -g 2 -acodec copy -y out.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;As per the x264 docs, &lt;code&gt;scenecut=0&lt;/code&gt; disables scenecut evaluation.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-01-31T16:30:32.700" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20548" PostTypeId="2" ParentId="12838" CreationDate="2017-01-31T22:17:07.827" Score="1" Body="&lt;p&gt;Wow, this is a late reply.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the technologies I know that are available at the moment for it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ESPVision (via Vectorworks/3DS Max): (However camera inputs are broken at the moment which is how I arrived here at this thread--I do expect they will fix it in a reasonable amount of time). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.espvision.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.espvision.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Capture: (I have not used this for video in recent history but theoretically it works)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.capturesweden.com/Products/Software&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.capturesweden.com/Products/Software&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And there are a horde of other options. I'm not a huge fan of Watchout due to their licensing scheme with the dongles--you need two to have output ~ $6000--but it technically has previsualization and it is significantly more affordable than anything from D3. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frankly, you can do a lot with QLab (Mac only) which is my &quot;daily driver&quot; for most small projection gigs. You can just route that as a Syphon output and &quot;view it&quot; as a texture. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You also might want to keep an eye out on TouchDesigner and VVVV modules if you have programming experience. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, due to the limitations in most of this software I tend to work off a model and a cheap 480p LED projector. &lt;em&gt;(I design lighting and video for theater, hence my workflow tends to lean towards models)&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hopefully this helps someone!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT April 2018&lt;/strong&gt;&#xA;Apparently this did help someone:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been using Capture for the past year and it is a fairly solid 3D previz tool if you are willing to use NDI or a series of capture cards. Right now it is my preference for usability/workflow. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might also check out Light Converse&#xA;&lt;a href=&quot;http://lightconverse.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://lightconverse.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or for PC, Realizzer&#xA;&lt;a href=&quot;http://www.realizzer.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.realizzer.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a few others by some major brands, Martin has Martin Show Designer and GrandMA's previz can theoretically work.&lt;/p&gt;&#xA;" OwnerUserId="17916" LastEditorUserId="17916" LastEditDate="2018-04-27T17:41:25.793" LastActivityDate="2018-04-27T17:41:25.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20550" PostTypeId="2" ParentId="3018" CreationDate="2017-02-01T03:41:34.737" Score="1" Body="&lt;p&gt;If Adobe Premiere has too steep a learning curve, you might like Adobe Premiere Elements. It is a pared down editing package and not as complex as Adobe Premiere. &lt;a href=&quot;https://www.adobe.com/products/premiere-elements/download-trial/try.html#!&amp;amp;from_ims=true&amp;amp;old_hash=&amp;amp;api=authorize&quot; rel=&quot;nofollow noreferrer&quot;&gt;You can download a free trial here&lt;/a&gt;. See here for the &lt;a href=&quot;https://helpx.adobe.com/premiere-elements/system-requirements.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;system requirements&lt;/a&gt;. It is available for Windows 7&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All non-linear editing programs are pretty much the same: they are I/O (input/output) programs that ingest media files (motion pictures, stills, audio, graphics, and such), allow you to arrange them in a timeline and output them to a media stream (file, signal, etc.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The more complex and difficult to learn the NLE, usually the more controls and options you'll have. The more streamlined, usually less options and controls.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would suggest &lt;a href=&quot;http://connect.avid.com/media-composer-trial.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Avid Media Composer&lt;/a&gt;. They also have a Free 30 day trial but the learning curve is as steep as FCP &amp;amp; Premiere - which are not too bad - but less than DaVinci Resolve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that whichever software you choose, a lot of non-linear editing software requires a minimum of 8GB or 16GB RAM, as well as specific Graphics processing minimums (e.g. Adobe Premiere, Adobe Elements, BlckMagic's DaVinci Resolve, Apple's Final Cut, Sony Vegas, EditShare's Lightworks, etc.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Aside from these more robust software packages, you might want to check out &lt;a href=&quot;https://filmora.wondershare.com/video-editor/free-video-editing-software-windows.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this review&lt;/a&gt; of these freeware options available for Windows:  &lt;/p&gt;&#xA;" OwnerUserId="17685" LastEditorUserId="17685" LastEditDate="2017-02-01T05:33:31.660" LastActivityDate="2017-02-01T05:33:31.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20554" PostTypeId="1" CreationDate="2017-02-01T09:11:12.680" Score="0" ViewCount="2217" Body="&lt;p&gt;I transcoding mpeg2 data to h264 via libx264 codec and need to create the following GOP structure:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I(IDR) P I P&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I try to perform it with the following command:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -i INPUT -vcodec libx264 -g 4 -bf 0 -refs 1 -acodec copy &#xA;  OUT.mpg&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Check results via ffprobe:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffprobe -i OUT.mpg -show_entries frame=key_frame,pict_type&#xA;  -select_streams v -of compact=p=0&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;And received the following output:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;key_frame=1|pict_type=I&lt;br&gt; key_frame=0|pict_type=P&lt;br&gt;&#xA;  key_frame=0|pict_type=P &lt;br&gt; key_frame=0|pict_type=P&lt;br&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;As you can see the GOP structure is:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I(IDR) P P P&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I think -refs 1 key has no effect. &lt;br&gt;&#xA;Please explain how correct transcode it to necessary GOP I(IDR)PIP ?&lt;/p&gt;&#xA;" OwnerUserId="14107" LastActivityDate="2017-02-01T09:11:12.680" Title="FFmpeg transcoding libx264 set only one P-frame" Tags="|ffmpeg|transcoding|h.264|gop|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20555" PostTypeId="1" AcceptedAnswerId="20556" CreationDate="2017-02-01T09:28:59.673" Score="4" ViewCount="8764" Body="&lt;p&gt;I'm using &lt;code&gt;ffmpeg&lt;/code&gt; and while looking through the list of codes with &lt;code&gt;ffmpeg -codecs&lt;/code&gt; I realized there are actually three different prores encoders:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;prores&lt;/li&gt;&#xA;&lt;li&gt;prores_aw&lt;/li&gt;&#xA;&lt;li&gt;prores_ks&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What are the differences between them?&lt;/p&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2017-02-01T09:28:59.673" Title="What are the differences between the three bundled ffmpeg prores encoders?" Tags="|ffmpeg|encoding|prores|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20556" PostTypeId="2" ParentId="20555" CreationDate="2017-02-01T09:28:59.673" Score="3" Body="&lt;p&gt;I found the following explanation on the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/VFX&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg wiki&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Fmpeg comes with 3 different prores encodes: &quot;prores&quot;, &quot;prores_ks&quot;&#xA;  (formerly named &quot;prores_kostya&quot;) and &quot;prores_aw&quot; (formerly named&#xA;  &quot;prores_anatolyi&quot;). In our testing we've used the &quot;prores&quot; and the&#xA;  &quot;prores_ks&quot; encoders and found &quot;prores_ks&quot; to be the best encoder to&#xA;  use. It is the only one that supports the 4444 colorspace and although&#xA;  it may be slightly slower. The color quality of the videos produced by&#xA;  these two codecs was visually indistinguishable Because of the 4444&#xA;  support we've decided to go with Kostya's version of prores.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So, if you want to do 4444 and need alpha channel support, &lt;code&gt;prores_ks&lt;/code&gt; is the way to go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://wideopenbokeh.com/AthenasFall/?p=111&quot; rel=&quot;nofollow noreferrer&quot;&gt;This blog post&lt;/a&gt; also suggests that &lt;code&gt;prores_ks&lt;/code&gt; has a smaller footprint, and that &lt;code&gt;prores&lt;/code&gt; and &lt;code&gt;prores_aw&lt;/code&gt; are basically the same.&lt;/p&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2017-02-01T09:28:59.673" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20561" PostTypeId="2" ParentId="17061" CreationDate="2017-02-01T14:31:03.103" Score="22" Body="&lt;p&gt;On Windows, pressing the &quot;Pause/Break&quot; key (the top-right most key) will pause it.  Enter will resume.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it doesn't work, click on the command prompt window to give it focus.&lt;/p&gt;&#xA;" OwnerUserId="17928" LastActivityDate="2017-02-01T14:31:03.103" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20562" PostTypeId="1" CreationDate="2017-02-01T18:01:28.567" Score="4" ViewCount="2049" Body="&lt;p&gt;I bought a new computer recently and I'm very pleased with how quickly and accurately it renders. In my line of work, however, I find that sometimes my queued render tasks add up to more than 20 hours. Naturally, while rendering, my new computer runs pretty warm. My question is if this heavy workload will decrease the life of my computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like answers to give an assessment of both mobile computers, such as tablets and laptops, and an assessment desktop computers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Specifically, my new computer is a Microsoft Surface Pro 4. I've been using a USB fan to help keep it cool during these extended render tasks. Should I continue this practice or am I wasting my time?&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2017-02-06T15:12:37.407" Title="Should I be concerned about overheating when doing long render tasks?" Tags="|hardware|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20564" PostTypeId="1" CreationDate="2017-02-01T19:40:27.983" Score="4" ViewCount="77" Body="&lt;p&gt;I'm not sure if what I'm asking is possible, but here's the situation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a video I have made for distribution on the Internet (YouTube, Vimeo, etc.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video clip is a composite of the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a person talking (shot against a green screen)&lt;/li&gt;&#xA;&lt;li&gt;a city scene in a harbor at night; the bottom half of the frame is filled with moving water (the ocean)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So, when I compress this using standard settings, the waves are given the most detail (because they move the most?), and the person shows more compression artifacts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, ideally, I want the person to be kept in the highest possible detail, and the water to be compressed more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The compressor itself doesn't have any settings for something like this, but since the clip is a composite, I was thinking there might be a way to compress the layers separately...  Can this kind of thing be done?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Davinci Resolve but I also have access to FCPX.&lt;/p&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2017-11-06T18:16:56.437" Title="Video compression- how to prioritize one area over another?" Tags="|compression|compositing|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20565" PostTypeId="1" CreationDate="2017-02-01T20:48:23.950" Score="0" ViewCount="169" Body="&lt;p&gt;On my Canon EOS 550D, I am getting this error. I know the problem is about speed of sd card. Well my sd card is not fast but I am also using adapter. I mean I originally have micro sd card but I am using adapter to make it big to put it in my camera. So the question is if I get fast micro sd card and use the same adapter will the problem be solved? My logic is if adapter effects the speed then even if I use fastest micro sd card it won't work well. I am using micro sd card to see my photos on my phone by easily putting it in. So what is your recommendation for me?&lt;/p&gt;&#xA;" OwnerUserId="17936" LastActivityDate="2017-03-04T19:18:27.633" Title="Canon video recording stopped automatically problem but new question not like the other ones!" Tags="|video|video-recording|canon|sd-card|adapter|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20566" PostTypeId="2" ParentId="5728" CreationDate="2017-02-01T22:29:35.287" Score="0" Body="&lt;p&gt;Red Giant VHS plugin&#xA;Creation VHS Effects&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Those should do exactly what you want&lt;/p&gt;&#xA;" OwnerUserId="17937" LastActivityDate="2017-02-01T22:29:35.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20567" PostTypeId="2" ParentId="20565" CreationDate="2017-02-02T00:06:47.083" Score="0" Body="&lt;p&gt;Both the adapter and the SD card have a maximum transfer speed. If the bitrate of your video recording exceeds that limit, the camera can't record and you get an error. You can check the specifications of the manufacturers of the adapter and the SD card to see how fast they are and find out which of them is your bottleneck. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I really recommend just getting a decent SD card. You can get good &lt;a href=&quot;https://www.sdcard.org/developers/overview/speed_class/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Class 10 or UHS 1&lt;/a&gt; cards with 32GB~64GB for 10~20€´.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-02-02T00:06:47.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20568" PostTypeId="2" ParentId="20562" CreationDate="2017-02-02T03:23:22.273" Score="1" Body="&lt;p&gt;In general, no you don't have to worry about it. Manufacturers will test their equipment including doing thorough thermal tests. In the case where you build your own computer, it might be a concern, but for the MS Surface, it's not. Most modern computers will actually either slow down the processor if it starts to overheat, or simply shut off the device. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are rare cases where the manufacturer doesn't test thoroughly or some odd bug makes it possible to cause overheating in some odd circumstance. Also, if something obstructs the computer's fan causing it to slow or stop, you could get overheating. But for a new computer operating under normal conditions it should be fine. Mobile and tablet computers tend to be even better about this because they often lack fans.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using a secondary fan is fine. Large network centers with lots of servers are cooled with huge air conditioners to keep things running smoothly. Whether a single table fan will help much or not, I can't say off the top of my head, but certainly keeping it in a climate controlled room helps. &lt;/p&gt;&#xA;" OwnerUserId="6207" LastEditorUserId="6207" LastEditDate="2017-02-02T05:40:47.683" LastActivityDate="2017-02-02T05:40:47.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20569" PostTypeId="1" AcceptedAnswerId="20570" CreationDate="2017-02-02T06:48:14.053" Score="4" ViewCount="722" Body="&lt;p&gt;I wanted to play UHD (4k) videos in my new LeTV (&lt;a href=&quot;http://www.lemall.com/us/product/x355.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Super3 X55&lt;/a&gt;). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I used &lt;a href=&quot;https://github.com/rg3/youtube-dl&quot; rel=&quot;nofollow noreferrer&quot;&gt;youtube-dl&lt;/a&gt; to download 4k YouTube videos (which are humongous btw) but for some reason most of them do not play.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The TV's website specifically states:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;HEVC/H.265 hardware video decoding, up to 4K@60fps&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;But only a few files play. I'm thinking the issue is something to do with codecs or formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I compared the info of files which &lt;em&gt;did&lt;/em&gt; play with those that didn't. But I can't figure out the difference. Here are two files which played and two that didn't.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;These two files played beautifully:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;File 1 :: GoPro video&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\Hackathon\Videos\HD or 4k\GoPro\NA\NA - GoPro HERO4 - The Adventure of Life in 4K.mkv&#xA;   General&#xA;      Unique ID : 98713554682895442793938602234209693471 (0x4A438A01ACFC3EF5104AF4D6A778EF1F)&#xA;      Complete name : C:\Users\Hackathon\Videos\HD or 4k\GoPro\NA\NA - GoPro HERO4 - The Adventure of Life in 4K.mkv&#xA;      Format : Matroska&#xA;      Format version : Version 4 / Version 2&#xA;      File size : 581 MiB&#xA;      Duration : 4 min&#xA;      Overall bit rate mode : Variable&#xA;      Overall bit rate : 19.2 Mb/s&#xA;      Movie name : GoPro HERO4: The Adventure of Life in 4K&#xA;      Description : All around the world GoPro users are capturing incredible experiences, from the heart-stopping to the heartfelt. Into the caldron of an active volcano, the neon streets of Japan, a refuge for wild mustangs, scaling an iceberg, the world’s biggest dance party, or a whale rescue mission, GoPros have documented every moment. See how GoPro’s new line of our most advanced cameras ever allow you to beautifully and authentically capture and share the experiences that bring purpose, adventure, and joy to your life.&#xA;&#xA;Shot 100% on the new GoPro HERO4 camera from http://GoPro.com.&#xA;&#xA;The HERO4 features ultra high resolution quality of 4K at 30 frames per second + high frames rates at 1080p120. Incredible low light capabilities, including our new nightlapse setting. 2X the high fidelity sound. Faster processing. Protune settings that unlock manual control of many of your GoPro’s features, and so much more. Learn more and be inspired by the most advanced GoPro cameras yet: http://GoPro.com&#xA;&#xA;It’s your life. BE A HERO.&#xA;&#xA;MUSIC&#xA;&quot;Run Boy Run&quot; performed by Woodkid&#xA;Courtesy of Interscope Records under license from Universal Music Enterprises&#xA;&#xA;FEATURED CHARACTERS&#xA;&#xA;TOMORROWLAND (Boom, Belgium)&#xA;Erin Edenholm&#xA;Joanna Piotrowska&#xA;Steve Aoki&#xA;Krewella - Jahan Yousaf and Jasmine Yousaf&#xA;Dimitri Vegas&#xA;Like Mike&#xA;&#xA;LAVA LAKE (Ambrym Island, Vanuatu)&#xA;Geoff Mackley&#xA;Brad Ambrose&#xA;&#xA;ICEBERG CLIMB (Ilulissat, Greenland)&#xA;Klemen Premrl&#xA;Aljaz Anderle&#xA;Thierry Dubois&#xA;&#xA;WILD MUSTANGS (Wells, Nevada)&#xA;Clay Nannini&#xA;&#xA;JAPAN STREETS (Tokyo, Japan)&#xA;Akira Nakai&#xA;Shinichi Moroboshi&#xA;Nanami Tsukamoto&#xA;&#xA;ORCA RESCUE (Whangarei, New Zealand)&#xA;Dr. Ingrid Visser&#xA;Terry Hardie&#xA;Dian and her two baby orca&#xA;&#xA;&#xA;SPECIAL THANKS&#xA;Tomorrowland (http://www.tomorrowland.com)&#xA;Michael Dujardin&#xA;Vanuatu Heli (http://www.vanuatuhelicopters.com)&#xA;Andy Martin&#xA;Black Diamond (http://www.blackdiamondequipment.com)&#xA;Madeline Pickens (http://mustangmonument.com) (http://savingamericasmustangs.org)&#xA;Orca Research Trust (http://orcaresearch.org)&#xA;Andy Casagrande (http://www.abc4explore.com/)&#xA;Steve Hathaway&#xA;Lily Kozman&#xA;      ARTIST : GoPro&#xA;      DATE : 20140929&#xA;      PURL : https://www.youtube.com/watch?v=wTcNtgA6gHs&#xA;   Video #1&#xA;      ID : 1&#xA;      Format : AVC&#xA;      Format/Info : Advanced Video Codec&#xA;      Format profile : High@L5.1&#xA;      Format settings, CABAC : No&#xA;      Format settings, ReFrames : 2 frames&#xA;      Codec ID : V_MPEG4/ISO/AVC&#xA;      Duration : 4 min&#xA;      Bit rate : 18.7 Mb/s&#xA;      Width : 3 840 pixels&#xA;      Height : 2 160 pixels&#xA;      Display aspect ratio : 16:9&#xA;      Frame rate mode : Constant&#xA;      Frame rate : 29.970 (30000/1001) FPS&#xA;      Color space : YUV&#xA;      Chroma subsampling : 4:2:0&#xA;      Bit depth : 8 bits&#xA;      Scan type : Progressive&#xA;      Bits/(Pixel*Frame) : 0.075&#xA;      Stream size : 566 MiB (97%)&#xA;      Default : Yes&#xA;      Forced : No&#xA;      Color range : Limited&#xA;      Color primaries : BT.709&#xA;      Transfer characteristics : BT.709&#xA;      Matrix coefficients : BT.709&#xA;      DURATION : 00:04:13.887000000&#xA;      HANDLER_NAME : VideoHandler&#xA;   Audio #2&#xA;      ID : 2&#xA;      Format : Vorbis&#xA;      Format settings, Floor : 1&#xA;      Codec ID : A_VORBIS&#xA;      Duration : 4 min&#xA;      Bit rate mode : Variable&#xA;      Bit rate : 128 kb/s&#xA;      Channel(s) : 2 channels&#xA;      Sampling rate : 44.1 kHz&#xA;      Compression mode : Lossy&#xA;      Stream size : 3.87 MiB (1%)&#xA;      Writing application : Google&#xA;      Language : English&#xA;      Default : Yes&#xA;      Forced : No&#xA;      DURATION : 00:04:13.906000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;File 2 :: Wonder Woman Trailer&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\Hackathon\Music\iTunes\iTunes Media\Automatically Add to iTunes\WONDER WOMAN Trailer #2 [2017] (Ultra-HD 4K).mp4&#xA;   General&#xA;      Complete name : C:\Users\Hackathon\Music\iTunes\iTunes Media\Automatically Add to iTunes\WONDER WOMAN Trailer #2 [2017] (Ultra-HD 4K).mp4&#xA;      Format : MPEG-4&#xA;      Format profile : Base Media&#xA;      Codec ID : isom (isom/iso2/avc1/mp41)&#xA;      File size : 222 MiB&#xA;      Duration : 2 min&#xA;      Overall bit rate : 11.5 Mb/s&#xA;      Movie name : WONDER WOMAN Trailer #2 [2017] (Ultra-HD 4K)&#xA;      Writing application : Lavf57.48.103&#xA;      Cover : Yes&#xA;   Video #1&#xA;      ID : 1&#xA;      Format : AVC&#xA;      Format/Info : Advanced Video Codec&#xA;      Format profile : High@L5.1&#xA;      Format settings, CABAC : Yes&#xA;      Format settings, ReFrames : 4 frames&#xA;      Codec ID : avc1&#xA;      Codec ID/Info : Advanced Video Coding&#xA;      Duration : 2 min&#xA;      Bit rate : 11.3 Mb/s&#xA;      Width : 3 840 pixels&#xA;      Height : 2 160 pixels&#xA;      Display aspect ratio : 16:9&#xA;      Frame rate mode : Constant&#xA;      Frame rate : 25.000 FPS&#xA;      Color space : YUV&#xA;      Chroma subsampling : 4:2:0&#xA;      Bit depth : 8 bits&#xA;      Scan type : Progressive&#xA;      Bits/(Pixel*Frame) : 0.055&#xA;      Stream size : 219 MiB (99%)&#xA;      Writing library : x264 core 148 r2705 3f5ed56&#xA;      Encoding settings : cabac=1 / ref=3 / deblock=1:0:0 / analyse=0x3:0x113 / me=hex / subme=7 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=1 / me_range=16 / chroma_me=1 / trellis=1 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-2 / threads=6 / lookahead_threads=1 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=2 / b_adapt=1 / b_bias=0 / direct=1 / weightb=1 / open_gop=0 / weightp=2 / keyint=250 / keyint_min=25 / scenecut=40 / intra_refresh=0 / rc_lookahead=40 / rc=crf / mbtree=1 / crf=23.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / ip_ratio=1.40 / aq=1:1.00&#xA;      Language : English&#xA;   Audio #2&#xA;      ID : 2&#xA;      Format : AAC&#xA;      Format/Info : Advanced Audio Codec&#xA;      Format profile : LC&#xA;      Codec ID : 40&#xA;      Duration : 2 min&#xA;      Bit rate mode : Constant&#xA;      Bit rate : 129 kb/s&#xA;      Channel(s) : 2 channels&#xA;      Channel positions : Front: L R&#xA;      Sampling rate : 48.0 kHz&#xA;      Frame rate : 46.875 FPS (1024 spf)&#xA;      Compression mode : Lossy&#xA;      Stream size : 2.49 MiB (1%)&#xA;      Language : English&#xA;      Default : Yes&#xA;      Alternate group : 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;These two files did NOT play:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&quot;In A Nutshell&quot; video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\Hackathon\Videos\HD or 4k\Kurzgesagt – In a Nutshell\NA\NA - A New History for Humanity – The Human Era.mkv&#xA;   General&#xA;      Unique ID : 151773273920022300678100154581510254877 (0x722E78240BE681AAC8163B7BB9E3F11D)&#xA;      Complete name : C:\Users\Hackathon\Videos\HD or 4k\Kurzgesagt – In a Nutshell\NA\NA - A New History for Humanity – The Human Era.mkv&#xA;      Format : Matroska&#xA;      Format version : Version 4 / Version 2&#xA;      File size : 130 MiB&#xA;      Duration : 7 min&#xA;      Overall bit rate : 2 306 kb/s&#xA;      Movie name : A New History for Humanity – The Human Era&#xA;      Description : It is time to reframe how we think about our past.&#xA;We need a new year 0 for humanity. But which one should we choose and why?&#xA;&#xA;&#xA;&#xA;http://www.youtube.com/timedtext_cs_panel?c=UCsXVk37bltHxD1rDPwtNM8Q&amp;amp;amp;tab=2&#xA;&#xA;A New History for Humanity – The Human Era&#xA;      Writing application : Lavf57.48.103&#xA;      Writing library : Lavf57.48.103 / Lavf57.48.103&#xA;      Comment : It is time to reframe how we think about our past.&#xA;We need a new year 0 for humanity. But which one should we choose and why?&#xA;&#xA;&#xA;THANKS A LOT TO OUR LOVELY PATRONS FOR SUPPORTING US:&#xA;&#xA;Stuart Alldritt, Tasia Pele, Stan Serebryakov, Mike Janzen, Jason Heddle, August, Daniel Smith, Jonathan Herman, Rahul Rachuri, Piotr Gorzelany, Lisa Allcott, Горан Гулески, Eric Ziegast, Kean Drake, Friendly Stranger, NicoH, Adrian Rutkiewicz, Markus Klemm, Leandro Nascimento, Gary Chan, Shawhin Layeghi, Oscar Hernandez, Dale Prinsse, Vaclav Vyskocil, Sup3rW00t, Ryan Coonan, Tam Lerner, Dewi Cadat, Luis Aguirre, Andy McVey, Vexorum, Boris, Adam Wisniewski, Yannic Schreiber, Erik Lilly, Ellis, Dmitry Starostin, Akshay Joshi, Peter Tinti, kayle Clark, Mortimer Brewster, Marc Legault, Sumita Pal, Tarje Hellebust Jr., streetdragon95, Taratsamura, Sam Dickson, Bogdan Firicel, Saul Vera, Aaron Jacobs, Ben Arts, R B Dean, Kevin Beedon, Patrik Pärkinen, Duncan Graham, Johan Thomsen, Emily Tran, Adam Flanc, Adam Jermyn, Ali Uluyol&#xA;&#xA;Help us caption &amp;amp; translate this video!&#xA;&#xA;http://www.youtube.com/timedtext_cs_panel?c=UCsXVk37bltHxD1rDPwtNM8Q&amp;amp;amp;tab=2&#xA;&#xA;A New History for Humanity – The Human Era&#xA;      ARTIST : Kurzgesagt – In a Nutshell&#xA;      DATE : 20161207&#xA;      PURL : https://www.youtube.com/watch?v=czgOWmtGVGs&#xA;   Video #1&#xA;      ID : 1&#xA;      Format : AVC&#xA;      Format/Info : Advanced Video Codec&#xA;      Format profile : High@L4.2&#xA;      Format settings, CABAC : Yes&#xA;      Format settings, ReFrames : 3 frames&#xA;      Codec ID : V_MPEG4/ISO/AVC&#xA;      Duration : 7 min&#xA;      Width : 1 920 pixels&#xA;      Height : 1 080 pixels&#xA;      Display aspect ratio : 16:9&#xA;      Frame rate mode : Constant&#xA;      Frame rate : 60.000 FPS&#xA;      Color space : YUV&#xA;      Chroma subsampling : 4:2:0&#xA;      Bit depth : 8 bits&#xA;      Scan type : Progressive&#xA;      Default : Yes&#xA;      Forced : No&#xA;      Color range : Limited&#xA;      Color primaries : BT.709&#xA;      Transfer characteristics : BT.709&#xA;      Matrix coefficients : BT.709&#xA;      DURATION : 00:07:52.447000000&#xA;      HANDLER_NAME : VideoHandler&#xA;   Audio #2&#xA;      ID : 2&#xA;      Format : Opus&#xA;      Codec ID : A_OPUS&#xA;      Duration : 7 min&#xA;      Channel(s) : 2 channels&#xA;      Channel positions : Front: L R&#xA;      Sampling rate : 48.0 kHz&#xA;      Compression mode : Lossy&#xA;      Delay relative to video : -14 ms&#xA;      Language : English&#xA;      Default : Yes&#xA;      Forced : No&#xA;      DURATION : 00:07:52.461000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Finally a puppies video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\Hackathon\Videos\HD or 4k\Jacob   Katie Schwarz\NA\NA - PUPPIES BATH IN 4K (ULTRA HD).mkv&#xA;   General&#xA;      Unique ID : 172223577613529861860930485370882755628 (0x81910DF562C189096C7EE7D95D3A0C2C)&#xA;      Complete name : C:\Users\Hackathon\Videos\HD or 4k\Jacob   Katie Schwarz\NA\NA - PUPPIES BATH IN 4K (ULTRA HD).mkv&#xA;      Format : Matroska&#xA;      Format version : Version 4 / Version 2&#xA;      File size : 311 MiB&#xA;      Duration : 2 min&#xA;      Overall bit rate : 17.4 Mb/s&#xA;      Movie name : PUPPIES BATH IN 4K (ULTRA HD)&#xA;      Description : To view this video in 4K select &quot;Original&quot; in the resolution menu. If you're having trouble with 4K playback, try using different browsers, like Internet Explorer, Firefox or Google Chrome.&#xA;&#xA;Our friends just had puppies and we took the chance to film them this last weekend before they all left for new homes.&#xA;&#xA;This video was filmed and edited at 4K (4096x2304) resolution, four times greater than regular 1080p HD. All 4K file are available upon request. Shot on Red Epic.&#xA;&#xA;Follow us on twitter: http://www.twitter.com/jakeschwarz&#xA;&#xA;&#xA;Tech spec:&#xA;Red Epic (M642) w/ Ti Canon Mount&#xA;16-35mm &amp;amp; 50mm L-Series Lens&#xA;Adobe Premiere CS6 and DaVinci Resolve&#xA;&#xA;Question or business inquires:&#xA;contact@mysterybox.us&#xA;&#xA;Copyright © 2014 Mystery Box, LLC. All Rights Reserved.&#xA;      Writing application : Lavf57.48.103&#xA;      Writing library : Lavf57.48.103 / Lavf57.48.103&#xA;      Comment : To view this video in 4K select &quot;Original&quot; in the resolution menu. If you're having trouble with 4K playback, try using different browsers, like Internet Explorer, Firefox or Google Chrome.&#xA;&#xA;Our friends just had puppies and we took the chance to film them this last weekend before they all left for new homes.&#xA;&#xA;This video was filmed and edited at 4K (4096x2304) resolution, four times greater than regular 1080p HD. All 4K file are available upon request. Shot on Red Epic.&#xA;&#xA;Follow us on twitter: http://www.twitter.com/jakeschwarz&#xA;&#xA;&#xA;Tech spec:&#xA;Red Epic (M642) w/ Ti Canon Mount&#xA;16-35mm &amp;amp; 50mm L-Series Lens&#xA;Adobe Premiere CS6 and DaVinci Resolve&#xA;&#xA;Question or business inquires:&#xA;contact@mysterybox.us&#xA;&#xA;Copyright © 2014 Mystery Box, LLC. All Rights Reserved.&#xA;      ARTIST : Jacob   Katie Schwarz&#xA;      DATE : 20120922&#xA;      PURL : https://www.youtube.com/watch?v=SMwxZO2UjBw&#xA;   Video #1&#xA;      ID : 1&#xA;      Format : AVC&#xA;      Format/Info : Advanced Video Codec&#xA;      Format profile : High@L5.1&#xA;      Format settings, CABAC : No&#xA;      Format settings, ReFrames : 2 frames&#xA;      Codec ID : V_MPEG4/ISO/AVC&#xA;      Duration : 2 min&#xA;      Width : 4 096 pixels&#xA;      Height : 2 304 pixels&#xA;      Display aspect ratio : 16:9&#xA;      Frame rate mode : Constant&#xA;      Frame rate : 24.000 FPS&#xA;      Color space : YUV&#xA;      Chroma subsampling : 4:2:0&#xA;      Bit depth : 8 bits&#xA;      Scan type : Progressive&#xA;      Default : Yes&#xA;      Forced : No&#xA;      DURATION : 00:02:29.651000000&#xA;      HANDLER_NAME : VideoHandler&#xA;   Audio #2&#xA;      ID : 2&#xA;      Format : Opus&#xA;      Codec ID : A_OPUS&#xA;      Duration : 2 min&#xA;      Channel(s) : 2 channels&#xA;      Channel positions : Front: L R&#xA;      Sampling rate : 48.0 kHz&#xA;      Compression mode : Lossy&#xA;      Delay relative to video : -7 ms&#xA;      Language : English&#xA;      Default : Yes&#xA;      Forced : No&#xA;      DURATION : 00:02:29.661000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I thought it couldn't play .mkv so I converted File 2 to mp4 (using ffmpeg) which &lt;em&gt;worked&lt;/em&gt;. But surprisingly, File 1 also worked without conversion so format isn't an issue. But then all the codecs look that same for me. What am I missing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="17716" LastActivityDate="2018-09-12T06:27:36.083" Title=".mkv file not playing in HEVC/H.265 supported player" Tags="|codec|4k|avchd|h.264|h265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20570" PostTypeId="2" ParentId="20569" CreationDate="2017-02-02T07:08:44.597" Score="4" Body="&lt;p&gt;Both files that don't play feature Opus as the audio codec. As per this &lt;a href=&quot;http://www.reviewcenter.in/4876/leeco-super3-x55-smart-tv-specifications-features-price/&quot; rel=&quot;nofollow noreferrer&quot;&gt;site&lt;/a&gt;, Opus is not one of the supported audio codecs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Transcode the audio:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mkv -c:v copy out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-02-02T07:08:44.597" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20571" PostTypeId="1" CreationDate="2017-02-02T07:46:44.177" Score="2" ViewCount="4981" Body="&lt;p&gt;I'd like to convert an mp4 file to DNxHD for use with DaVinci Resolve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my attempt of doing the conversion using ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\FFMPEG\bin\ffmpeg.exe  -i &quot;H:\Downloads\test.mp4&quot; -vcodec dnxhd   &quot;H:\Downloads\test.mov&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It fails and outputs:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  starting ffe job on 2017-02-08 @ 14:56:24.487&#xA;  command-line: C:\FFMPEG\bin\ffmpeg.exe  -i &quot;H:\Downloads\test.mp4&quot; -vcodec dnxhd   &quot;H:\Downloads\test.mov&quot;&#xA;&#xA;  ffmpeg version 3.2.2 Copyright (c) 2000-2016 the FFmpeg developers&#xA;    built with gcc 5.4.0 (GCC)&#xA;    configuration: --enable-gpl --enable-version3 --enable-dxva2 --enable-libmfx --enable-nvenc --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib&#xA;    libavutil      55. 34.100 / 55. 34.100&#xA;    libavcodec     57. 64.101 / 57. 64.101&#xA;    libavformat    57. 56.100 / 57. 56.100&#xA;    libavdevice    57.  1.100 / 57.  1.100&#xA;    libavfilter     6. 65.100 /  6. 65.100&#xA;    libswscale      4.  2.100 /  4.  2.100&#xA;    libswresample   2.  3.100 /  2.  3.100&#xA;    libpostproc    54.  1.100 / 54.  1.100&#xA;  Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'H:\Downloads\test.mp4':&#xA;    Metadata:&#xA;      major_brand     : isom&#xA;      minor_version   : 512&#xA;      compatible_brands: isomiso2avc1mp41&#xA;      title           : 1296227453771893&#xA;      encoder         : Lavf56.40.101&#xA;    Duration: 00:00:35.50, start: -0.020000, bitrate: 2227 kb/s&#xA;      Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x1280, 2196 kb/s, 24 fps, 24 tbr, 90k tbn, 48 tbc (default)&#xA;      Metadata:&#xA;        handler_name    : VideoHandler&#xA;      Stream #0:1(eng): Audio: aac (HE-AAC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 47 kb/s (default)&#xA;      Metadata:&#xA;        handler_name    : SoundHandler&#xA;  File 'H:\Downloads\test.mov' already exists. Overwrite ? [y/N]&#xA;  [dnxhd @ 0000000002be23a0] video parameters incompatible with DNxHD. Valid DNxHD profiles:&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 175Mbps; pixel format: yuv422p10; framerate: 24000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 185Mbps; pixel format: yuv422p10; framerate: 25/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 365Mbps; pixel format: yuv422p10; framerate: 50/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 440Mbps; pixel format: yuv422p10; framerate: 60000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 115Mbps; pixel format: yuv422p; framerate: 24000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 120Mbps; pixel format: yuv422p; framerate: 25/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 145Mbps; pixel format: yuv422p; framerate: 30000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 240Mbps; pixel format: yuv422p; framerate: 50/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 290Mbps; pixel format: yuv422p; framerate: 60000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 175Mbps; pixel format: yuv422p; framerate: 24000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 185Mbps; pixel format: yuv422p; framerate: 25/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 220Mbps; pixel format: yuv422p; framerate: 30000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 365Mbps; pixel format: yuv422p; framerate: 50/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 440Mbps; pixel format: yuv422p; framerate: 60000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080i; bitrate: 185Mbps; pixel format: yuv422p10; framerate: 25/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080i; bitrate: 220Mbps; pixel format: yuv422p10; framerate: 30000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080i; bitrate: 120Mbps; pixel format: yuv422p; framerate: 25/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080i; bitrate: 145Mbps; pixel format: yuv422p; framerate: 30000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080i; bitrate: 185Mbps; pixel format: yuv422p; framerate: 25/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080i; bitrate: 220Mbps; pixel format: yuv422p; framerate: 30000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1440x1080i; bitrate: 120Mbps; pixel format: yuv422p; framerate: 25/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1440x1080i; bitrate: 145Mbps; pixel format: yuv422p; framerate: 30000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1280x720p; bitrate: 90Mbps; pixel format: yuv422p10; framerate: 24000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1280x720p; bitrate: 90Mbps; pixel format: yuv422p10; framerate: 25/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1280x720p; bitrate: 180Mbps; pixel format: yuv422p10; framerate: 50/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1280x720p; bitrate: 220Mbps; pixel format: yuv422p10; framerate: 60000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1280x720p; bitrate: 90Mbps; pixel format: yuv422p; framerate: 24000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1280x720p; bitrate: 90Mbps; pixel format: yuv422p; framerate: 25/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1280x720p; bitrate: 110Mbps; pixel format: yuv422p; framerate: 30000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1280x720p; bitrate: 180Mbps; pixel format: yuv422p; framerate: 50/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1280x720p; bitrate: 220Mbps; pixel format: yuv422p; framerate: 60000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1280x720p; bitrate: 60Mbps; pixel format: yuv422p; framerate: 24000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1280x720p; bitrate: 60Mbps; pixel format: yuv422p; framerate: 25/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1280x720p; bitrate: 75Mbps; pixel format: yuv422p; framerate: 30000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1280x720p; bitrate: 120Mbps; pixel format: yuv422p; framerate: 50/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1280x720p; bitrate: 145Mbps; pixel format: yuv422p; framerate: 60000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 36Mbps; pixel format: yuv422p; framerate: 24000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 36Mbps; pixel format: yuv422p; framerate: 25/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 45Mbps; pixel format: yuv422p; framerate: 30000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 75Mbps; pixel format: yuv422p; framerate: 50/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 90Mbps; pixel format: yuv422p; framerate: 60000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 350Mbps; pixel format: yuv422p10; framerate: 24000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 390Mbps; pixel format: yuv422p10; framerate: 25/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 440Mbps; pixel format: yuv422p10; framerate: 30000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 730Mbps; pixel format: yuv422p10; framerate: 50/1&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 880Mbps; pixel format: yuv422p10; framerate: 60000/1001&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 960x720p; bitrate: 42Mbps; pixel format: yuv422p; framerate: 0/0&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 960x720p; bitrate: 60Mbps; pixel format: yuv422p; framerate: 0/0&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 960x720p; bitrate: 75Mbps; pixel format: yuv422p; framerate: 0/0&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 960x720p; bitrate: 115Mbps; pixel format: yuv422p; framerate: 0/0&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1440x1080p; bitrate: 63Mbps; pixel format: yuv422p; framerate: 0/0&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1440x1080p; bitrate: 84Mbps; pixel format: yuv422p; framerate: 0/0&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1440x1080p; bitrate: 100Mbps; pixel format: yuv422p; framerate: 0/0&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1440x1080p; bitrate: 110Mbps; pixel format: yuv422p; framerate: 0/0&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1440x1080i; bitrate: 80Mbps; pixel format: yuv422p; framerate: 0/0&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1440x1080i; bitrate: 90Mbps; pixel format: yuv422p; framerate: 0/0&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1440x1080i; bitrate: 100Mbps; pixel format: yuv422p; framerate: 0/0&#xA;  [dnxhd @ 0000000002be23a0] Frame size: 1440x1080i; bitrate: 110Mbps; pixel format: yuv422p; framerate: 0/0&#xA;  Stream mapping:&#xA;    Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; dnxhd (native))&#xA;    Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;  Error while opening encoder for output stream #0:0 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;&#xA;  Completed in 2.15886844137404 seconds (2.16 seconds)&#xA;  --------------------------------------------------------------------------------&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17940" LastEditorUserId="24378" LastEditDate="2020-10-22T07:38:29.067" LastActivityDate="2020-10-22T07:38:29.067" Title="ffmpeg convert mp4 to mov with dnxhd codec" Tags="|ffmpeg|encoding|mp4|codec|davinci-resolve|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20573" PostTypeId="5" CreationDate="2017-02-02T08:21:55.300" Score="0" Body="&lt;p&gt;Frames can be grouped into sequences called a group of pictures (GOP). A GOP is an encoding of a sequence of frames that contain all the information that can be completely decoded within that GOP. For all frames within a GOP that reference other frames (such as B-frames and P-frames), the frames so referenced (I-frames and P-frames) are also included within that same GOP. &lt;br&gt;&#xA;More information at &lt;a href=&quot;https://en.wikipedia.org/wiki/Group_of_pictures&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Group_of_pictures&lt;/a&gt; &lt;br&gt;&#xA;and &lt;a href=&quot;http://www.tiliam.com/Blog/2015/07/06/effective-use-long-gop-video-codecs&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.tiliam.com/Blog/2015/07/06/effective-use-long-gop-video-codecs&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14107" LastEditorUserId="14107" LastEditDate="2017-02-03T14:42:52.703" LastActivityDate="2017-02-03T14:42:52.703" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20574" PostTypeId="4" CreationDate="2017-02-02T08:21:55.300" Score="0" Body="A group of pictures, or GOP structure, specifies the order in which intra- and inter-frames are arranged." OwnerUserId="14107" LastEditorUserId="14107" LastEditDate="2017-02-03T14:42:02.573" LastActivityDate="2017-02-03T14:42:02.573" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20575" PostTypeId="2" ParentId="20562" CreationDate="2017-02-02T11:05:00.377" Score="3" Body="&lt;p&gt;First answer to &quot;My question is if this heavy workload will decrease the life of my computer.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simply YES, &#xA;BUT any  work on a computer will decrease its life, but it does depend on the work being done and how intense it is, but on the other hand, computers are designed to work in different ways and workloads. Desktop Workstations like the HPs and Mac Pros are designed to run massive tasks and just chug away at the data, which is why you will see the pros using them in the big studios as they power they offer is fantastic. They can have 12 cores, tons of Ram, brilliant GPUs etc which a tablet cannot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you can still get high powered desktops from the likes of home builds and retailers which will handle data happily and run all the time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tablets (including the Surface) are really designed to be a portable solution that is not a laptop and even though they have loads of power and do the job they are not really designed to sit and chug away at data for hours on end as the little fans and main boards are so close together and the heat that is generated can affect the components over time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it was me in this situation I would do my work on the Surface but I would have a desktop (HP, Mac Pro, home-build, etc) to send the work to render on over night and or all day and having the ability to upgrade or add in new GPU's more Ram multiple processors/cores will cut down render times about also increase your work as you can render on the desktop and still produce more work on the tablet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other option is sending the files to something like and online render farm to render them out and send back the finished product but this is a bit of a more expensive option specially if it is just smaller project and not rendering films like Pixar's Cars or Disney's Moana.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously this all involves spending more money and have extra kit but it might prolong the life of the tablet and cut down render times etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now this is all great in saying this but putting things into practice can take a long time to work out a good flow, I'm still improving my flows daily while I'm working.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastEditorUserId="17930" LastEditDate="2017-02-06T15:12:37.407" LastActivityDate="2017-02-06T15:12:37.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20578" PostTypeId="2" ParentId="20543" CreationDate="2017-02-03T04:50:36.657" Score="1" Body="&lt;p&gt;Some are using VR headsets, some work with anaglyph glasses. With some plug-ins (such as the &lt;a href=&quot;http://dashwood3d.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;Dashwood 360 VR Toolbox&lt;/a&gt;, as one example), you can use popular headsets like the Oculus Rift. But many will convert the left and right eye to red/cyan and blend them so you can use those silly paper glasses from your childhood. Simple, but effective!&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-02-03T04:50:36.657" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20582" PostTypeId="1" AcceptedAnswerId="20608" CreationDate="2017-02-04T02:02:15.447" Score="3" ViewCount="3895" Body="&lt;p&gt;What is the minimum wattage for four-point lighting for a green screen?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am planning to use led lights in a home studio. Is this enough?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Key light: 300W&lt;/li&gt;&#xA;&lt;li&gt;Fill light: reflector&lt;/li&gt;&#xA;&lt;li&gt;Back light: 150W&lt;/li&gt;&#xA;&lt;li&gt;Light pointed towards the greenscreen: 150W&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h2&gt;UPDATE&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I think I should rephrase my question to: What settings do I need to use to get a crisp image for a greenscreen? Something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qpQDO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qpQDO.png&quot; alt=&quot;a guy using a greenscreened background&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using four softboxes as a light source and one reflector. I was thinking in placing my subject less than 1 m away from the key light and 2 m away from the greenscreen. Something like this&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pZUyR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pZUyR.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a f1.8 lens on a Canon T3i. Do you think this would be enough? &lt;/p&gt;&#xA;" OwnerUserId="11991" LastEditorUserId="11991" LastEditDate="2017-02-06T14:47:30.007" LastActivityDate="2020-09-23T18:23:36.967" Title="Wattage for green screen lightning" Tags="|lighting|greenscreen|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20584" PostTypeId="1" CreationDate="2017-02-04T10:18:51.963" Score="-1" ViewCount="53" Body="&lt;p&gt;Hello Okay so i need help I will show you some videos and I'd love to get an answer on exactly how they got made? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/qovhQH5mVv4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/mO-R3l4PFUA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/IfuIp1JgmXg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see, There's someone who shoot himself playing the game on a smartphone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then he opened a game hack generator website that gave him more gold and gems to his game.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then he came back to the game and as you can see the gold and gems started to increase until they reach 999,999 each one of them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So how did the makers of the videos did the effect of the numbers getting increase?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I asked a few people how they done that they said that they won't tell me but they did say that they edit the video with After Effect+Photoshop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really want to know how they did the number increasing in mobile game effect.&#xA;Thanks in advance :)&lt;/p&gt;&#xA;" OwnerUserId="17968" LastEditorUserId="1950" LastEditDate="2017-02-12T05:00:02.123" LastActivityDate="2017-03-14T05:14:12.570" Title="AE + Photoshop| How to do phone numbers increasing effect? [Details Inside]" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20585" PostTypeId="1" CreationDate="2017-02-04T22:59:14.177" Score="0" ViewCount="6221" Body="&lt;p&gt;In youtube there are videos which includes texts. For example, &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/U0-zlsHwYXY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;. This video consists of texts, I was wondering if it is possible to get all those texts into a doc or text file. Is there any such program or online service available? &lt;/p&gt;&#xA;" OwnerUserId="17973" LastActivityDate="2017-02-05T17:03:12.650" Title="How to extract text from video" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20586" PostTypeId="2" ParentId="20585" CreationDate="2017-02-05T03:04:52.817" Score="1" Body="&lt;p&gt;You might want to look up &quot;OCR&quot; which stands for &lt;a href=&quot;https://en.wikipedia.org/wiki/Optical_character_recognition&quot; rel=&quot;nofollow noreferrer&quot;&gt;Optical Character Recognition&lt;/a&gt;. There are many programs that can do it from a still frame. At worst, you could choose specific frames from your movie to pass to such an application.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-02-05T03:04:52.817" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20588" PostTypeId="1" AcceptedAnswerId="20590" CreationDate="2017-02-05T06:41:19.730" Score="5" ViewCount="1601" Body="&lt;p&gt;I want to concat several pictures into a video. Each picture must have its own duration. I use the most recent windows build for ffmpeg (20170204) and the guide from &lt;a href=&quot;http://trac.ffmpeg.org/wiki/Slideshow/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://trac.ffmpeg.org/wiki/Slideshow/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my text file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file path/to/001.png&#xA;duration 5&#xA;file path/to/002.png&#xA;duration 6&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I try using the following command: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -f concat -safe 0 -i path/to/input.txt output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In the resulting video, the first pictures hangs for 5 seconds but the second picture only hangs for 0 seconds (I only see a glimpse of it). What am I doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="17975" LastEditorUserId="17685" LastEditDate="2017-02-05T08:19:27.550" LastActivityDate="2017-02-05T11:24:26.500" Title="ffmpeg flash frames last still image in concat sequence" Tags="|ffmpeg|video-editor|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20590" PostTypeId="2" ParentId="20588" CreationDate="2017-02-05T11:24:26.500" Score="5" Body="&lt;p&gt;Based on the discussion at the bug tracker, this should be a workaround:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file path/to/001.png&#xA;duration 5&#xA;file path/to/002.png&#xA;duration 5.96&#xA;file path/to/002.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -f concat -safe 0 -i path/to/input.txt -vsync vfr output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The idea is to duplicate the entry of the last image. If you need the duration to be precise, then decrease the duration of the now 2nd-last entry by &lt;code&gt;1/fps&lt;/code&gt; seconds. For 25 fps video, that's 0.04s. If you don't do this, the output duration will be 0.04s longer.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-02-05T11:24:26.500" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20591" PostTypeId="2" ParentId="20585" CreationDate="2017-02-05T17:03:12.650" Score="2" Body="&lt;p&gt;Automated text extraction from video is still an emerging technology.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a Microsoft public preview of &lt;a href=&quot;https://azure.microsoft.com/en-us/blog/announcing-video-ocr-public-preview-new-config/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Azure Media OCR&lt;/a&gt; that will attempt &lt;a href=&quot;https://en.wikipedia.org/wiki/Optical_character_recognition&quot; rel=&quot;nofollow noreferrer&quot;&gt;optical character recognition&lt;/a&gt; at a configurable sampling rate. Using this tool requires programming knowledge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option is an open source proof of concept from a research paper, &lt;a href=&quot;https://github.com/johannpoignant/LOOV&quot; rel=&quot;nofollow noreferrer&quot;&gt;LOOV&lt;/a&gt;. You will need to compile this from source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://waldo.jaquith.org/blog/2011/02/ocr-video/&quot; rel=&quot;nofollow noreferrer&quot;&gt;This post&lt;/a&gt; describes a workflow for automatically extracting screenshots to stills and then running OCR on the stills. You could probably adapt this workflow to other tools besides what are described in the post.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-02-05T17:03:12.650" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20593" PostTypeId="1" CreationDate="2017-02-05T20:34:43.713" Score="1" ViewCount="382" Body="&lt;p&gt;For doing blog style youtube videos, I get a headache if the soft boxes are pointing at me from next to the camera. I'm thinking that I could solve the problem by flooding the room with indirect lighting bouncing off the walls and ceiling. Is this practical? What kind of equipment would be best without spending a fortune?&lt;/p&gt;&#xA;" OwnerUserId="17980" LastActivityDate="2017-04-10T05:42:09.197" Title="How to setup indirect lighting for video" Tags="|lighting|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20594" PostTypeId="2" ParentId="20593" CreationDate="2017-02-05T22:41:28.187" Score="1" Body="&lt;p&gt;A bounce card might save your eyes some, e.g.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HAXpn.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HAXpn.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on your &quot;studio&quot; you could also just turn the lights away from the talent and towards a wall or the ceiling to bounce and diffuse the light off the surface.&lt;/p&gt;&#xA;" OwnerUserId="17685" LastActivityDate="2017-02-05T22:41:28.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20595" PostTypeId="1" AcceptedAnswerId="20661" CreationDate="2017-02-06T02:12:02.177" Score="0" ViewCount="66" Body="&lt;p&gt;First, I have an old VHS unit that I confirmed working by outputting tape to our current TV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then connected the VHS unit to the Canon Elura 85 using the provided cables. I switch it to playback, AV&gt;DV to ON and played the tape.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I see nothing on the viewfinder of the Elura. Well, nothing except some black lines jumping here and there. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think the Elura isn't sensing full video playback, that it's a blank tape perhaps? Not sure if there's a setting that would tell it to ignore whatever it thinks as blank tape and just play the noise?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update #1&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm assuming the Elura is thinking that the VHS is spewing ghost signal...&#xA;&lt;a href=&quot;https://www.manualslib.com/manual/24448/Canon-Elura-80.html?page=84&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.manualslib.com/manual/24448/Canon-Elura-80.html?page=84&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update #2&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried other various home video tapes and got the same results. &lt;/p&gt;&#xA;" OwnerUserId="5885" LastEditorUserId="5885" LastEditDate="2017-02-06T11:00:06.263" LastActivityDate="2017-02-13T01:34:56.007" Title="Importing miniDV using passthrough on Elura 85 not working" Tags="|camcorder|mini-dv|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20597" PostTypeId="1" AcceptedAnswerId="20609" CreationDate="2017-02-06T14:18:28.910" Score="1" ViewCount="42" Body="&lt;p&gt;I have seen some people do single common layouts which are quite common.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What about 2 page layouts?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do decided when to use which?&lt;/p&gt;&#xA;" OwnerUserId="11909" LastActivityDate="2017-02-07T16:16:17.357" Title="How do I decide between 2 column layout and single page layout for script?" Tags="|script|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20598" PostTypeId="1" AcceptedAnswerId="20830" CreationDate="2017-02-06T17:05:22.150" Score="0" ViewCount="7260" Body="&lt;p&gt;I have gameplay footage recorded with ShadowPlay (“GeForce Experience”) at 60 FPS, which as I understand results in variable frame rate, because the game drops frames sometimes. However, trying to use this video in Adobe Premiere results in the game audio severely falling behind the visuals, because Premiere treats it as if every frame was the same length.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried HandBrake with these settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Quality: constant, RF 0 (lossless)&lt;br&gt;&#xA;FPS: 60, constant&lt;br&gt;&#xA;Detelecine: Off&lt;br&gt;&#xA;Decomb: Off&lt;br&gt;&#xA;Denoise: Off&lt;br&gt;&#xA;Deblock: Off&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the output video is not only much smaller than the source video, but it's massively worse in terms of visual quality. Why isn't it lossless when I've set it to what it claims is lossless?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Input video info: &lt;a href=&quot;http://pastebin.com/7Tss4brj&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://pastebin.com/7Tss4brj&lt;/a&gt;&lt;br&gt;&#xA;Output video info: &lt;a href=&quot;http://pastebin.com/DKFEzDKk&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://pastebin.com/DKFEzDKk&lt;/a&gt;&#xA;(from Mediainfo)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I convert a variable framerate video to a constant framerate video losslessly?&lt;/p&gt;&#xA;" OwnerUserId="3736" LastEditorUserId="37172" LastEditDate="2022-02-07T11:24:47.367" LastActivityDate="2022-04-24T22:14:16.653" Title="Convert variable framerate ~60 FPS to constant 60 FPS losslessly" Tags="|premiere|conversion|framerate|handbrake|lossless|" AnswerCount="2" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="20600" PostTypeId="2" ParentId="18693" CreationDate="2017-02-06T19:16:31.670" Score="0" Body="&lt;p&gt;Manually force quiting &quot;DSPPublishing Server&quot; was exactly the case for me. I force quit it and my DVD's burn successfully, thank you! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've had to delete this on several occasions, not sure why I have to keep doing this, but I'm satisfied that at least there is something that does the trick now. I can burn short DVD's no issues, but once I'm burning larger files such as 1.41 gb and higher, I have to go through this process.&lt;/p&gt;&#xA;" OwnerUserId="17990" LastActivityDate="2017-02-06T19:16:31.670" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20601" PostTypeId="1" CreationDate="2017-02-06T22:23:59.520" Score="-2" ViewCount="1508" Body="&lt;p&gt;If will a high bitrate video be easier or harder on a video editor than a low bitrate video?&lt;/p&gt;&#xA;" OwnerUserId="17993" LastActivityDate="2017-02-07T15:42:20.747" Title="Does a higher bitrate impact video EDITING?" Tags="|video-editor|editing|performance|" AnswerCount="2" CommentCount="1" ClosedDate="2017-02-15T23:14:40.830" ContentLicense="CC BY-SA 3.0" />
  <row Id="20602" PostTypeId="1" AcceptedAnswerId="20612" CreationDate="2017-02-07T07:43:49.067" Score="2" ViewCount="247" Body="&lt;p&gt;I was wondering, how American Football and Soccer Experts in the studios can move the field and camera perspective at their own will, even to places where there hasn't been a camera yet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm talking about something like this:&#xA;&lt;a href=&quot;http://variety.com/2017/digital/news/fox-super-bowl-li-virtual-player-pov-replays-1201959112/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://variety.com/2017/digital/news/fox-super-bowl-li-virtual-player-pov-replays-1201959112/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.vizrt.com/products/viz_libero/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.vizrt.com/products/viz_libero/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess they have a 3D generated field, where they map the different camera perspectives on, and where the images don't line up, is a player generated, where they map that picture on from different sides.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could be totally wrong.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is this effect originally achieved and how could you recreate it with &quot;traditional&quot; video editing software?&#xA;(besides the viz liberto)&lt;/p&gt;&#xA;" OwnerUserId="17625" LastEditorUserId="17625" LastEditDate="2017-02-07T16:12:51.757" LastActivityDate="2017-02-08T03:29:11.113" Title="How to create a pseudo 3D/virtual POV effect" Tags="|editing|camera|3d|compositing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20603" PostTypeId="2" ParentId="20601" CreationDate="2017-02-07T09:06:21.187" Score="0" Body="&lt;p&gt;Bitrate is the amount of information contained in the video file. now I think the question is a bit vague. I assume you mean which will affect your computer more for editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More bitrate will mean a more beefy computer (CPU, GPU and HDD passthrough) to edit so it can handle the files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now if you have a high bitrate file and it is struggeling to play due to computer specs you can convert it to a proxy file which is a low bitrate of the file to make it easier to edit and then relink it later to the high bitrate file for final export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2017-02-07T09:06:21.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20604" PostTypeId="1" CreationDate="2017-02-07T13:29:42.963" Score="0" ViewCount="107" Body="&lt;p&gt;I recently got married and i'm very unhappy with the finally product by the videography firm who basically feel the case is closed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking to take these to court but want some additional videography experts that can provide a 'second view' that is independant and free of prejudice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am based in England, UK - can someone recognise some offical professional videography guilds or societies that can assist with this? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I essentially want them to view the video (from a professional aspect) and give me a detailed description of problems/defects with both post &amp;amp; pre video production. The video's in total are approx 90 minutes long, any advice on the matter would be appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could add the video here but as it will likely go to court i'd want to have the video hosted privately (and not here for the whole world to see)&lt;/p&gt;&#xA;" OwnerUserId="17820" LastActivityDate="2017-02-08T10:17:41.160" Title="Unhappy with wedding videography production - want expert opinions to provide an independant view" Tags="|video-recording|post-production|color-correction|" AnswerCount="1" CommentCount="0" ClosedDate="2017-02-15T23:13:00.887" ContentLicense="CC BY-SA 3.0" />
  <row Id="20605" PostTypeId="1" CreationDate="2017-02-07T14:21:08.780" Score="0" ViewCount="5888" Body="&lt;p&gt;I'm currently attempting to render a video for Youtube in Afters Effects CC 2017. However, I can not find the format option for &lt;strong&gt;H.264&lt;/strong&gt; in the output module settings. How can I find or activate this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AmeVI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AmeVI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17946" LastActivityDate="2017-11-27T10:03:02.770" Title="Setting format to H.264 in After Effects" Tags="|after-effects|youtube|aerender|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20606" PostTypeId="2" ParentId="20605" CreationDate="2017-02-07T15:26:30.520" Score="2" Body="&lt;p&gt;I would &lt;strong&gt;&lt;em&gt;not&lt;/em&gt;&lt;/strong&gt; recommend trying to output your AE Comp using H.264. Unfortunately, regardless of the settings, you will get less than desirable results (typically terrible). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The proven workflow / best practice in terms of output is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Under your Output Module Settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Render out using &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Format:&lt;/strong&gt;     Quicktime&lt;br&gt;&#xA;&lt;strong&gt;Format Options Button -&gt; Video Codec:&lt;/strong&gt;    Animation &#xA;&lt;strong&gt;Quality:&lt;/strong&gt;    100&#xA;&lt;strong&gt;Options:&lt;/strong&gt; You can select your Channels as to include or not include Alpha along with RGB. Including Alpha will increase file size. &#xA;&lt;strong&gt;Audio Output:&lt;/strong&gt; Check if needed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now this will output your composition to a lossless QT Animation file, which yes, will be very large, especially if you include an alpha channel. But the output will be perfect in terms of what you are seeing in AE. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;NEXT...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use AME (Adobe Media Encoder, or import the file into Premiere Pro and Sequence the comp), and render out using export/AME and H.264 using the MP4 option. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;NOTE:  There is absolutely no need and I don't recommend using the QT in premiere either. Use H.264 MP4. Again, H.264 and MOV simply are not friendly within the CS suite. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, after you have rendered out your H.264 MP4 at the desired bitrate and resolution; if you need the file to be QT compatible, or the client specifically wants an MOV file, simply change the extension from &quot;FILE.mp4&quot; to &quot;FILE.mov&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is absolutely zero difference file structure wise, the MP4/MOV is simply the wrapper for the H.264 codec. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will give you perfect outputs every time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-02-07T15:26:30.520" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20607" PostTypeId="2" ParentId="20601" CreationDate="2017-02-07T15:42:20.747" Score="1" Body="&lt;p&gt;The above answer by Adam is not really accurate...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are different bottlenecks to consider. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Bitrate x Time = Size of File.&lt;/strong&gt; means &lt;strong&gt;Higher Bitrate requires Faster Hard Drives&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Compression / Codec / Ratio of Compression&lt;/strong&gt; is either processor intensive, gpu processor intensive, or both (depending on your GPU/editing software). Adobe for example, makes use of NVidia's CUDA cores for faster decompression and encoding of compressed files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;High Bitrate, such as lossless, uncompressed, etc, will require high throughput (Fast Hard Disks, from SSD to SAS RAID/Etc) to handle the data rate of the video file to play in real time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, uncompressed video requires less CPU processing power, because the CPU does not have to &quot;uncompress&quot; the file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are editing for example, H.264, highly compressed at a variable bit rate, your bottle neck would be your CPU and GPU (if you are using a system which uses your GPU for video overlay output). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;In general:&lt;/strong&gt;  If you have a fast RAID HDD setup, editing uncompressed is far smoother, more responsive, quicker to render especially, than working with a compressed codec. EVEN with a slower CPU/GPU - simply because the CPU/GPU does very little work / calculations to decode the file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are working off a single spinning drive, you'll be limited to the 110 MB/s bottleneck (bi directional) so having a faster CPU and GPU would be the way to go with compressed files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have 2 SSD's of equal size, and can SATA port them to your Motherboard, create a RAID 0 and you should get roughly 1 GB/S read speed. I have 4 SSDs in RAID ZERO on an Intel RAID card, and get 4 GB/s - zero lag at all. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-02-07T15:42:20.747" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20608" PostTypeId="2" ParentId="20582" CreationDate="2017-02-07T15:54:16.447" Score="5" Body="&lt;p&gt;Wattage has nothing to do with lumens, as different instruments provide a wide spectrum of output lumens based on lamp type. For instance, a 1.2K HMI ArriLite would put out more light than a 5000W tungsten lamp. LED, and flourescents are similar, higher output, less watts. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is critical for greenscreen work is that you use a monitor with a simple waveform scope. When you light your greenscreen, on your waveform monitor you will see basically a horizontal line. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You want to get that line as straight and as thin as possible, at 70-72 IRE. Its fairly challenging the larger the screen (you won't be able to do this with the naked eye). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After your screen is &quot;flat lined&quot;. Put in your on camera talent and light them for picture, using dimmers, silks, scrims etc, to cut the light. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do it the other way around, you will drive yourself crazy trying to get the screen at flatline 72.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will give you the best possible key. If you have variance in your IRE (darker corners, even 5 IRE) you will have to use a looser key (meaning more edge artifacting). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recommend for post KeyLight for AE, Lightwrap for AE. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, using a premium screen really makes things easier. Hollywood Rags makes an Ultra Key cloth (order by size) that is ultra bright, the material they use, therefor you need less light to get it to 72 IRE. It really pops. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Last tip most people don't know, based on your Kelvin, use the same Kelvin for ALL lamps. For your hair light; hit your talent from behind, and gel it using 1/8 magenta CTM.   The magenta is complimentary to green, and will give you a clean edge, specifically on the hair. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-02-07T15:54:16.447" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20609" PostTypeId="2" ParentId="20597" CreationDate="2017-02-07T16:16:17.357" Score="2" Body="&lt;p&gt;If you're writing a feature film, or television show, use single column script format. Why? Because that is the standard. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're writing a video script for a corporate client, you want to use Two-Columns. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using two columns, audio for one, picture for the other, allows you to literally pace the video, like tracks. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would look something like this, with line breaks between each video section and audio section. Also, it would bold things like titles, names, key elements, etc. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;VIDEO                                  AUDIO&#xA;Black Screen...&#xA;                                       Music Track &quot;XYZ&quot; begins...&#xA;&#xA;TITLE&#xA;&quot;Video Name&quot;                           We hear a helicopter approaching over the title.&#xA;fades to... &#xA;&#xA;EXT. WHITE HOUSE SOUTH LAWN&#xA;&#xA;We see Marine One Helicopter descend   V.O. &quot;A new chapter in our Nation's history is&#xA;into the frame...                      begining... &#xA;&#xA;                                       AUDIO SFX: Camera/Press cameras going off. &#xA;&#xA;Close up shots of Marine One landing. &#xA;&#xA;                                       V.O. &quot;... A new president is arriving...&#xA;&#xA;Shots of the press... on-lookers...&#xA;&#xA;The wheels touch down                  V.O. &quot;... A new direction unfolds...&quot;&#xA;&#xA;Shots of American Flag waving in &#xA;wind.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The reason this format works well is it literally reads &quot;as the video will be produced&quot;. Secondly, it is easy for the client to understand... because they can put together how sounds will enter before/after picture elements.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The formatting is a bit more complex, you want to box each item (horizontal line), and different writers have different styles for bold/italics etc. But that's the general idea. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-02-07T16:16:17.357" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20612" PostTypeId="2" ParentId="20602" CreationDate="2017-02-08T03:29:11.113" Score="2" Body="&lt;p&gt;Th general technique is called camera mapping, projection mapping, or &lt;a href=&quot;https://en.wikipedia.org/wiki/Videogrammetry&quot; rel=&quot;nofollow noreferrer&quot;&gt;videogrammetry&lt;/a&gt;. It works by taking a photo or video from an angle and projecting the image onto geometry.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a simple example, think of a picture of a typical A-frame house taken from the front of the house. You could easily create the geometry of the house in a 3D application like Max, or Maya. You'd need a plane for the front of the house and planes for the sides of the roof and any dormer windows. If you projected the image of the house onto your plane and masked out the parts that were not house (the sky, ground, etc.), you could then move the virtual camera around it and it would appear you were moving around the front of the house in 3D. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, as soon as you got far enough over to the side, you'd see there's no side to the house. So you'd need a picture from the side, and you'd need more geometry for the side of the house to project it onto.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the case of a game like the Super Bowl they have cameras all over the stadium, and they know the geometry of the stadium, too. Mostly you just need a ground plane to project the field onto, and a rectangle for each player. Given that the field is green, you may be able to chroma key the players out from the field. You'll need to fill in where they were with at least something green.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are tools to help with this. It's tedious, but in After Effects you can use lights to project footage onto a solid. There are also plug-ins to help, such as Buena Depth Cue's &lt;a href=&quot;http://aescripts.com/buena-depth-cue/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Camera Mapper&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-02-08T03:29:11.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20613" PostTypeId="1" CreationDate="2017-02-08T03:55:59.353" Score="1" ViewCount="143" Body="&lt;p&gt;Can an XML exported from Resolve contain corrections/grading decisions (made in Resolve) that FCPX can apply to the a single large ProRes file, or does a new ProRes large file need to rendered from Resolve?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Typically when we film a talking head I capture a single large ProRes file.&lt;/p&gt;&#xA;" OwnerUserId="5347" LastEditorUserId="5347" LastEditDate="2017-02-09T23:54:28.177" LastActivityDate="2017-02-09T23:54:28.177" Title="Resolve (Correct/Grade) &gt; XML &gt; FCPX" Tags="|final-cut-pro-x|davinci-resolve|blackmagic|xml|fcpx|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20614" PostTypeId="1" AcceptedAnswerId="20623" CreationDate="2017-02-08T06:08:38.033" Score="-1" ViewCount="81" Body="&lt;p&gt;How can we do auto exposure lock in samsung s4 similar to iphone?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/pmEKA.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pmEKA.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your help.&lt;/p&gt;&#xA;" OwnerUserId="18004" LastActivityDate="2017-02-27T02:52:16.413" Title="How can we do auto exposure lock in samsung s4 similar to iphone?" Tags="|camera|iphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20616" PostTypeId="2" ParentId="12286" CreationDate="2017-02-08T08:38:58.797" Score="0" Body="&lt;p&gt;You can try following &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Kodak PlaySport (Zx5) HD Waterproof Pocket Video Camera - Black (2nd&#xA;Generation) &lt;/li&gt;&#xA;&lt;li&gt;GoPro HERO4 Silver&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="18004" LastActivityDate="2017-02-08T08:38:58.797" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20618" PostTypeId="2" ParentId="20604" CreationDate="2017-02-08T10:17:41.160" Score="1" Body="&lt;p&gt;This is going to be a hard one. I am a wedding videographer myself and there isn't really a guild or similar (well there is kind of but there are no requirement to be joined to one in the UK).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now this is the awkward bit. I am going to assume that you hired this company based on their previous work and that you were happy with how it was filmed, edited and sold to you via phone, email, website, in person, etc AND you have raised the issues with them and tried to get it resolved with them first.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now assuming the above and the company has filmed your wedding and produced a product that meets the spec provided in your contract with them, it might be hard to take them to court, if they have not produced to the spec described in any of the communications with you and or contract that might have some options within to raise a complaint.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is actually the problem with the video, is it not like ones on their website or what has been described to you? would you be willing to upload it to the likes of Vimeo and make it a private video for someone to look at?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;they would need to know exactly what you are not happy with and or where to look for issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also you might find in the contract there is a statement advising that the creative control with editing is down to the company and not the client or something similar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope some of that helps&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2017-02-08T10:17:41.160" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20620" PostTypeId="1" CreationDate="2017-02-08T11:19:21.673" Score="2" ViewCount="18729" Body="&lt;p&gt;I'm fairly new to transcoding.I've been generating some mp4's from mxf files. &#xA;I've been playing around with some settings on ffmpeg and been specifying various bitrate's for audio and video with the &lt;code&gt;-b:v&lt;/code&gt; and &lt;code&gt;-b:a&lt;/code&gt; arguments. &#xA;When I check the file after they have been created with &lt;code&gt;mediainfo&lt;/code&gt; I notice that the audio bitrate displayed is always exactly the same I as specified, but video bitrate is different. &#xA;For example, I specified &lt;code&gt;-b:v 1500k&lt;/code&gt; but the video bitrate for file created when interrogated with &lt;code&gt;mediainfo&lt;/code&gt; says 6 943 kb/s. I was just wondering why this is? Why is audio bitrate always the same as selected and not video?&#xA;The full command is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i mediafile.mxf -vcodec libx264 -crf 23 -b:v 1500k mediafile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The output is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2.6.8 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 4.8.5 (GCC) 20150623 (Red Hat 4.8.5-4)&#xA;  configuration: --prefix=/usr --bindir=/usr/bin --datadir=/usr/share/ffmpeg --incdir=/usr/include/ffmpeg --libdir=/usr/lib64 --mandir=/usr/share/man --arch=x86_64 --optflags='-O2 -g -pipe -Wall -Wp,-D_FORTIFY_SOURCE=2 -fexceptions -fstack-protector-strong --param=ssp-buffer-size=4 -grecord-gcc-switches -m64 -mtune=generic' --enable-bzlib --disable-crystalhd --enable-gnutls --enable-ladspa --enable-libass --enable-libcdio --enable-libdc1394 --enable-libfaac --enable-nonfree --enable-libfdk-aac --enable-nonfree --disable-indev=jack --enable-libfreetype --enable-libgsm --enable-libmp3lame --enable-openal --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libvorbis --enable-libv4l2 --enable-libx264 --enable-libx265 --enable-libxvid --enable-x11grab --enable-avfilter --enable-avresample --enable-postproc --enable-pthreads --disable-static --enable-shared --enable-gpl --disable-debug --disable-stripping --shlibdir=/usr/lib64 --enable-runtime-cpudetect&#xA;  libavutil      54. 20.100 / 54. 20.100&#xA;  libavcodec     56. 26.100 / 56. 26.100&#xA;  libavformat    56. 25.101 / 56. 25.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 11.102 /  5. 11.102&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  1.100 /  1.  1.100&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Guessed Channel Layout for  Input Stream #0.1 : mono&#xA;Guessed Channel Layout for  Input Stream #0.2 : mono&#xA;Guessed Channel Layout for  Input Stream #0.3 : mono&#xA;Guessed Channel Layout for  Input Stream #0.4 : mono&#xA;Input #0, mxf, from 'mediafile.mxf':&#xA;  Metadata:&#xA;    uid             : adab4424-2f25-4dc7-92ff-29bd000b0000&#xA;    generation_uid  : adab4424-2f25-4dc7-92ff-29bd000b0001&#xA;    company_name    : FFmbc&#xA;    product_name    : OP1a Muxer&#xA;    product_version : 53.6.0&#xA;    product_uid     : adab4424-2f25-4dc7-92ff-29bd000b0002&#xA;    modification_date: 2016-04-08 15:58:38&#xA;    material_package_umid: 0x060A2B340101010501010D0013D24E0A529471342FD24E0A00529471342FD200&#xA;    timecode        : 00:00:00:00&#xA;  Duration: 00:02:42.56, start: 0.000000, bitrate: 118682 kb/s&#xA;    Stream #0:0: Video: dvvideo, yuv422p, 1440x1080 [SAR 4:3 DAR 16:9], 25 fps, 25 tbr, 25 tbn, 25 tbc&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D0013D24E0A529471342FD24E0A00529471342FD201&#xA;    Stream #0:1: Audio: pcm_s16le, 48000 Hz, 1 channels, s16, 768 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D0013D24E0A529471342FD24E0A00529471342FD201&#xA;    Stream #0:2: Audio: pcm_s16le, 48000 Hz, 1 channels, s16, 768 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D0013D24E0A529471342FD24E0A00529471342FD201&#xA;    Stream #0:3: Audio: pcm_s16le, 48000 Hz, 1 channels, s16, 768 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D0013D24E0A529471342FD24E0A00529471342FD201&#xA;    Stream #0:4: Audio: pcm_s16le, 48000 Hz, 1 channels, s16, 768 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D0013D24E0A529471342FD24E0A00529471342FD201&#xA;File 'mediafile.mp4' already exists. Overwrite ? [y/N] y&#xA;No pixel format specified, yuv422p for H.264 encoding chosen.&#xA;Use -pix_fmt yuv420p for compatibility with outdated media players.&#xA;[libx264 @ 0xe3b9a0] using SAR=4/3&#xA;[libx264 @ 0xe3b9a0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2&#xA;[libx264 @ 0xe3b9a0] profile High 4:2:2, level 4.0, 4:2:2 8-bit&#xA;[libx264 @ 0xe3b9a0] 264 - core 142 r2495 6a301b6 - H.264/MPEG-4 AVC codec - Copyleft 2003-2014 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=18 lookahead_threads=3 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'mediafile.mp4':&#xA;  Metadata:&#xA;    uid             : adab4424-2f25-4dc7-92ff-29bd000b0000&#xA;    generation_uid  : adab4424-2f25-4dc7-92ff-29bd000b0001&#xA;    company_name    : FFmbc&#xA;    product_name    : OP1a Muxer&#xA;    product_version : 53.6.0&#xA;    product_uid     : adab4424-2f25-4dc7-92ff-29bd000b0002&#xA;    modification_date: 2016-04-08 15:58:38&#xA;    material_package_umid: 0x060A2B340101010501010D0013D24E0A529471342FD24E0A00529471342FD200&#xA;    timecode        : 00:00:00:00&#xA;    encoder         : Lavf56.25.101&#xA;    Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv422p, 1440x1080 [SAR 4:3 DAR 16:9], q=-1--1, 1500 kb/s, 25 fps, 12800 tbn, 25 tbc&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D0013D24E0A529471342FD24E0A00529471342FD201&#xA;      encoder         : Lavc56.26.100 libx264&#xA;    Stream #0:1: Audio: aac (libfaac) ([64][0][0][0] / 0x0040), 48000 Hz, mono, s16, 128 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D0013D24E0A529471342FD24E0A00529471342FD201&#xA;      encoder         : Lavc56.26.100 libfaac&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (dvvideo (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; aac (libfaac))&#xA;Press [q] to stop, [?] for help&#xA;frame= 4064 fps= 22 q=-1.0 Lsize=  139476kB time=00:02:42.56 bitrate=7028.7kbits/s    &#xA;video:137744kB audio:1640kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.065406%&#xA;[libx264 @ 0xe3b9a0] frame I:72    Avg QP:21.59  size: 65595&#xA;[libx264 @ 0xe3b9a0] frame P:3978  Avg QP:24.85  size: 34252&#xA;[libx264 @ 0xe3b9a0] frame B:14    Avg QP:23.42  size:  5032&#xA;[libx264 @ 0xe3b9a0] consecutive B-frames: 99.3%  0.7%  0.0%  0.0%&#xA;[libx264 @ 0xe3b9a0] mb I  I16..4: 12.6% 85.9%  1.5%&#xA;[libx264 @ 0xe3b9a0] mb P  I16..4:  2.4% 25.6%  0.5%  P16..4: 44.5%  9.3%  5.3%  0.0%  0.0%    skip:12.5%&#xA;[libx264 @ 0xe3b9a0] mb B  I16..4:  0.2%  0.9%  0.0%  B16..8: 27.5%  0.5%  0.1%  direct: 1.0%  skip:69.9%  L0:41.2% L1:57.3% BI: 1.5%&#xA;[libx264 @ 0xe3b9a0] 8x8 transform intra:89.8% inter:88.5%&#xA;[libx264 @ 0xe3b9a0] coded y,uvDC,uvAC intra: 76.2% 60.7% 7.8% inter: 38.4% 53.3% 0.1%&#xA;[libx264 @ 0xe3b9a0] i16 v,h,dc,p:  5% 72%  3% 19%&#xA;[libx264 @ 0xe3b9a0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 19% 21% 35%  4%  4%  5%  4%  4%  5%&#xA;[libx264 @ 0xe3b9a0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 13% 57% 13%  3%  3%  3%  3%  2%  3%&#xA;[libx264 @ 0xe3b9a0] i8c dc,h,v,p: 55% 20% 21%  4%&#xA;[libx264 @ 0xe3b9a0] Weighted P-Frames: Y:3.7% UV:2.4%&#xA;[libx264 @ 0xe3b9a0] ref P L0: 43.9% 13.1% 26.1% 16.5%  0.4%&#xA;[libx264 @ 0xe3b9a0] ref B L0: 68.4% 31.6%&#xA;[libx264 @ 0xe3b9a0] kb/s:6941.41&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="18008" LastEditorUserId="18011" LastEditDate="2017-02-08T19:46:53.233" LastActivityDate="2017-12-15T12:23:42.647" Title="Why when you specify a video bitrate with ffmpeg does the resulting files displayed bit rate differ?" Tags="|ffmpeg|mp4|transcoding|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20621" PostTypeId="1" AcceptedAnswerId="20629" CreationDate="2017-02-08T11:45:26.950" Score="0" ViewCount="6565" Body="&lt;p&gt;I am using Premiere Pro CC 2017.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recently when I try to type &quot;Hindi&quot;  Language via Google Input tools, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Typed text not showing &quot;Joint word&quot; correctly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But my language working completely at everywhere except Premiere Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Already Changed text engine to South Asian&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not understanding my question please visit this question,this problem is for android and my question for Premiere Pro. &lt;/p&gt;&#xA;" OwnerUserId="18009" LastActivityDate="2020-04-24T09:42:00.487" Title="How to make Premiere Pro Connect Hindi Characters?" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20622" PostTypeId="2" ParentId="15676" CreationDate="2017-02-08T12:13:37.180" Score="0" Body="&lt;p&gt;You can go for &lt;/p&gt;&#xA;&#xA;&lt;p&gt;GoPro Hero5&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vi6TP.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vi6TP.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sony HXR NX1&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Rz93T.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Rz93T.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;all the best.&lt;/p&gt;&#xA;" OwnerUserId="18004" LastActivityDate="2017-02-08T12:13:37.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20623" PostTypeId="2" ParentId="20614" CreationDate="2017-02-08T12:49:53.720" Score="0" Body="&lt;p&gt;The exposure lock is a feature of the app. If this feature is not present in the native Android camera app, you need a different app. &lt;a href=&quot;https://www.google.com/search?q=android%20auto%20exposure%20lock%20camera%20app&quot; rel=&quot;nofollow noreferrer&quot;&gt;Eight seconds with Google later&lt;/a&gt;, &lt;a href=&quot;http://appcrawlr.com/android-apps/best-apps-exposure-lock&quot; rel=&quot;nofollow noreferrer&quot;&gt;you get this&lt;/a&gt;, for example.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-02-08T12:49:53.720" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20624" PostTypeId="2" ParentId="20620" CreationDate="2017-02-08T19:01:33.967" Score="0" Body="&lt;p&gt;The bitrate you specify is a target bitrate, not a guaranteed bitrate. There is no way to know exactly how large a frame will be until after its encoded. Going into a frame, its possible to be a little more or a little less aggressive on how much information you are willing to lose while encoding, but how information loss leads to data size reduction (data is not the same thing as information (&lt;code&gt;AAAA&lt;/code&gt; and &lt;code&gt;A4&lt;/code&gt; both contain he same information (4 A's), but &lt;code&gt;A4&lt;/code&gt; is half the data)) is not 100% predictable. Encoders use something called rate control to achieve this. If the frames end up being slightly larger than expected, it will more aggressively loose information on the next frame. Since most people specify bitrate to target specific use cases (streaming over the internet for example) a lot of stream control algorithms err on the side of to low, as too high could cause issues like buffering.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2017-02-08T19:01:33.967" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20625" PostTypeId="1" AcceptedAnswerId="20653" CreationDate="2017-02-08T20:23:18.860" Score="1" ViewCount="3134" Body="&lt;p&gt;So I've been having this problem with my After Effects CC recently and it's actually cheesing my right off. I need to edit a frame by frame storyboard animatic and I can't edit to the sound because the sound refuses to playback. I've tried everything, there is no ''RAM PREVIEW'' button in the new version of AE and the period button simply resizes the window now. What do I need to do to make this work?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RZmEU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RZmEU.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/evxAs.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/evxAs.png&quot; alt=&quot;Screen grab of the Audio Pannel&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18012" LastEditorUserId="14523" LastEditDate="2017-02-08T22:07:20.683" LastActivityDate="2017-02-12T16:32:35.210" Title="After Effects CC Audio Playback not working" Tags="|after-effects|audio|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20626" PostTypeId="1" AcceptedAnswerId="20639" CreationDate="2017-02-08T20:57:55.867" Score="1" ViewCount="4297" Body="&lt;p&gt;I have a script that is going through a media library and re-encoding files to HEVC with ffmpeg and using libx265. The default command I use is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;$origFile&quot; -map 0 -c copy -c:v libx265 -preset slow -crf 28 &quot;$newFile&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, for some files this process fails, it outputs the following information about the video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Output #0, matroska, to 'test.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf56.15.105&#xA;    Stream #0:0: Video: hevc, none, q=2-31, 128 kb/s, SAR 1:1 DAR 0:0, 23.98 fps&#xA;    Metadata:&#xA;      encoder         : Lavc57.14.100 libx265&#xA;    Stream #0:1: Audio: mp3 (U[0][0][0] / 0x0055), 44100 Hz, stereo, 128 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; hevc (libx265))&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And then, I just get the wall of errors that are printed below here: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[rawvideo @ 000000c56052c920] Invalid buffer size, packet size 295 &amp;lt; expected frame_size 1&#xA;769472&#xA;Error while decoding stream #0:0: Invalid argument&#xA;[rawvideo @ 000000c56052c920] Invalid buffer size, packet size 362 &amp;lt; expected frame_size 1&#xA;769472&#xA;Error while decoding stream #0:0: Invalid argument&#xA;[rawvideo @ 000000c56052c920] Invalid buffer size, packet size 5926 &amp;lt; expected frame_size&#xA;1769472&#xA;Error while decoding stream #0:0: Invalid argument&#xA;[rawvideo @ 000000c56052c920] Invalid buffer size, packet size 406 &amp;lt; expected frame_size 1&#xA;769472&#xA;Error while decoding stream #0:0: Invalid argument&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I've tried following some other advice, since when I try and read the codec, it says &quot;rawvideo&quot;, and using commands like &lt;code&gt;ffmpeg -f rawvideo -pix_fmt yuv420p....&lt;/code&gt;, but that also does not work. If anyone has any insight or ability to help explain how to overcome this issue, it would be really appreciated. I've included the ffprobe output for this particular file as well if that is helpful:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version N-76479-gc878082 Copyright (c) 2007-2015 the FFmpeg developers&#xA;  built with gcc 5.2.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --e&#xA;nable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-li&#xA;bass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libf&#xA;reetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libm&#xA;p3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable&#xA;-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --en&#xA;able-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libv&#xA;o-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enabl&#xA;e-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-deckli&#xA;nk --enable-zlib&#xA;  libavutil      55.  5.100 / 55.  5.100&#xA;  libavcodec     57. 14.100 / 57. 14.100&#xA;  libavformat    57. 14.100 / 57. 14.100&#xA;  libavdevice    57.  0.100 / 57.  0.100&#xA;  libavfilter     6. 14.101 /  6. 14.101&#xA;  libswscale      4.  0.100 /  4.  0.100&#xA;  libswresample   2.  0.100 /  2.  0.100&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, avi, from '109 - The Voices of the Dead.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf56.15.105&#xA;  Duration: 00:58:35.47, start: 0.000000, bitrate: 359 kb/s&#xA;    Stream #0:0: Video: rawvideo, bgr24, 1024x576, 219 kb/s, SAR 1:1 DAR 16:9, 23.98 fps,&#xA;23.98 tbr, 23.98 tbn, 23.98 tbc&#xA;    Stream #0:1: Audio: mp3 (U[0][0][0] / 0x0055), 44100 Hz, stereo, s16p, 128 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="18013" LastEditorUserId="18013" LastEditDate="2017-02-09T03:04:20.540" LastActivityDate="2017-02-10T18:10:29.963" Title="Re-encode with ffmpeg using libx265 - rawvideo" Tags="|ffmpeg|h265|" AnswerCount="1" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="20628" PostTypeId="2" ParentId="20625" CreationDate="2017-02-09T05:53:04.810" Score="0" Body="&lt;p&gt;Try checking the &quot;cache before playback&quot; checkbox.  It is on the right hand side in the first screen shot near the playback controls (in the panel highlighted in blue.)  That looks like it should be the same as RAM preview.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2017-02-12T16:32:35.210" LastActivityDate="2017-02-12T16:32:35.210" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20629" PostTypeId="2" ParentId="20621" CreationDate="2017-02-09T07:24:51.187" Score="1" Body="&lt;p&gt;Solved.. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Turned On Ligatures in Preference-Titler&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Changed font to Adobe Devnagari&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Restarted Premiere &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks to @user1118321 for Ligatures Meaning&lt;/p&gt;&#xA;" OwnerUserId="18009" LastActivityDate="2017-02-09T07:24:51.187" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20630" PostTypeId="1" AcceptedAnswerId="20631" CreationDate="2017-02-09T11:41:36.893" Score="1" ViewCount="49" Body="&lt;p&gt;If you want to learn how to animate you have a couple of options. You can either go to a raditional school or university, or you can take online courses on various sites.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there similar online courses for Visual Effects?&#xA;I could only come up with &lt;a href=&quot;https://www.fxphd.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;fx PHD&lt;/a&gt; or some online course from &lt;a href=&quot;https://www.gnomon.edu/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Gnomon&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any other online provider of visual effects training?&lt;/p&gt;&#xA;" OwnerUserId="17625" LastActivityDate="2017-04-26T19:48:05.640" Title="are there any online Visual effect schools/courses?" Tags="|effects|special-effects|visual-effects|learning-resources|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20631" PostTypeId="2" ParentId="20630" CreationDate="2017-02-09T15:42:45.917" Score="2" Body="&lt;p&gt;It depends on whether you just want to learn animation or actually need a diploma. Many online sources won't issue one, so you will 'just' learn how to do it, but not have any trustworthy certificate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you just want to learn, there are so many good sites that offer courses and trainings (most of them commercially), it depends on what kind of animation you want to learn. In general, &lt;a href=&quot;https://www.lynda.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;lynda.com&lt;/a&gt; is a great source for high-quality tutorials &lt;em&gt;for software&lt;/em&gt;. A particularly useful branch of lynda is &lt;a href=&quot;https://www.lynda.com/video-brain-training-tutorials/1569-0.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;video2brain&lt;/a&gt; (if you speak German, French or Spanish, visit &lt;a href=&quot;https://www.video2brain.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;video2brain.com&lt;/a&gt;, there you will find localised tutorials in these languages). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The thing is, those trainings - even the good ones - will usually only teach you how to use a specific piece of software, but not include the aesthetical/artistic side of the craft. Of course, this stuff &lt;em&gt;can&lt;/em&gt; be learned online, but it's harder to find good resources, and they are potentially much more expensive. The two sites you found seem to do exactly that, but it would appear they have similar entrance barriers (i.e. require application and are very expensive) as traditional university courses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, you &lt;em&gt;can&lt;/em&gt; learn so much online these days, even for free, but it will take much time and effort (even to find the right resources). There isn't one correct answer as to what you should do, it all depends on where you live (some countries have student fees, others don't), what branch of animation you want to learn, what industry you want to end up in et c. Since you seem to be willing to invest some time and money into learning animation, I suggest you put an respective amount of effort into finding a university/online course that will actually be right for your specific interests and needs. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2017-02-09T18:09:51.820" LastActivityDate="2017-02-09T18:09:51.820" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20633" PostTypeId="2" ParentId="20625" CreationDate="2017-02-09T21:29:06.227" Score="1" Body="&lt;p&gt;If you're on a machine with a number pad, then by default &lt;kbd&gt;num-pad 0&lt;/kbd&gt; is the ram preview button. If you're on a laptop with no num-pad, then try &lt;kbd&gt;crtl&lt;/kbd&gt;&lt;kbd&gt;0&lt;/kbd&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you look in the &lt;code&gt;Window&lt;/code&gt; menu you'll find a &lt;code&gt;Previews&lt;/code&gt; panel that will let you set the keyboard shortcuts and their behaviours. More if you want to &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/previewing.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;RTFM here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-02-09T21:29:06.227" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20634" PostTypeId="1" CreationDate="2017-02-09T23:34:42.643" Score="3" ViewCount="162" Body="&lt;p&gt;I am asked to shoot noncommercial event, which will last several days. I have my usual camera for close and middle shots (Lumix G6), and I am thinking to by cheap 4K camera for long shots (crowd shots) and cut peaces of them after.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I heard that &lt;a href=&quot;http://shop.gopro.com/cameras/hero5-session/CHDHS-501.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;GoPro Hero 5 Session&lt;/a&gt; are capable of recording in 4K, but will it be helpful in this case? Or maybe there is better solution quality/price for long shot?&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-02-18T09:55:06.440" Title="GoPro Hero 5 Session camera for long shot (crowd shot)" Tags="|video|video-recording|camera|4k|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20636" PostTypeId="1" AcceptedAnswerId="20641" CreationDate="2017-02-10T10:32:43.780" Score="1" ViewCount="172" Body="&lt;p&gt;I have a stereo AUX to Jack adapter that can be plugged to an old cassette-based video recorder&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oJceF.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oJceF.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Would I be able to digitize my video with this AUX to Jack adapter?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would run the casette on the video camera and use &lt;code&gt;ffmpeg&lt;/code&gt; to get the Jack input. &lt;/p&gt;&#xA;" OwnerUserId="18028" LastEditorUserId="18028" LastEditDate="2017-02-11T08:12:37.930" LastActivityDate="2017-02-11T08:12:37.930" Title="Can I digitalize a video with a RCA-Jack adapter?" Tags="|digital-recording|cable|digitisation|adapter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20639" PostTypeId="2" ParentId="20626" CreationDate="2017-02-10T17:30:22.387" Score="3" Body="&lt;p&gt;For files already encoded to AVI, you'll have to extract the video to a raw HEVC stream first:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.avi -c copy -map 0:v -f hevc in.265&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -i in.265 -i in.avi -c copy -map 0:v -map 1:a -video_track_timescale 1k fixed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Replace the framerate value with the true rate of the video.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Encode new files to MP4 or MKV.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;$origFile&quot; -map 0 -c copy -c:v libx265 -preset slow -crf 28 &quot;newFile.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-02-10T18:10:29.963" LastActivityDate="2017-02-10T18:10:29.963" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20640" PostTypeId="1" CreationDate="2017-02-10T18:19:53.557" Score="3" ViewCount="374" Body="&lt;p&gt;After importing a mp3 file into avid a mxf file with the audio&#xA;content gets created. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sadly all the ID3 metadata informations get lost (not transfered to the new mxf file). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way or option to transfer all id3 tags to the mxf file?&lt;/p&gt;&#xA;" OwnerUserId="18032" LastActivityDate="2017-10-01T01:35:47.457" Title="AVID: Mxf with Metadata" Tags="|avid|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20641" PostTypeId="2" ParentId="20636" CreationDate="2017-02-10T22:22:50.583" Score="3" Body="&lt;p&gt;The cable in the picture is an analogue cable, so it's getting an analogue signal from your camera. It's just a cable, so the signal at one end is exactly(ish) the same as the other. To digitise it you'll need a device to convert the analogue signal into digital code. There is a big range of these devices, from cheap USB dongles on ebay like &lt;a href=&quot;http://www.ebay.com.au/itm/2016-new-USB2-0-VHS-to-DVD-Converter-convert-analog-video-to-digital-format-0ha-/142260237826?hash=item211f5ef602:g:318AAOSwygJXhfrl&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; to broadcast standard boxes like &lt;a href=&quot;https://www.blackmagicdesign.com/products/intensity&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;. The quality of hardware and software will vary, I'd hazard a guess that you'll mostly get what you pay for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When looking for a converter you have to make sure that it is converting from analogue to digital. No cable alone can do this, it needs some sort of processing. Basically if you find something that has analogue sockets on one end (like the red white and yellow plugs on your cable, you call them AUX, but they're more commonly called &lt;a href=&quot;https://en.wikipedia.org/wiki/RCA_connector&quot; rel=&quot;nofollow noreferrer&quot;&gt;RCA&lt;/a&gt; connectors. Professional equipment may have &lt;a href=&quot;https://www.google.com.au/search?tbm=isch&amp;amp;q=bnc%20connector&amp;amp;tbs=imgo:1&amp;amp;gws_rd=cr&amp;amp;ei=RzyeWNfiC8W10ASawpPADw&quot; rel=&quot;nofollow noreferrer&quot;&gt;BNC&lt;/a&gt; connectors instead) and a digital plug on the other (usb, firewire, thunderbolt, etc. – but probably not HDMI because you generally can't record HDMI without specialised equipment) that you can plug into a computer then you're good to go.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-02-10T22:22:50.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20642" PostTypeId="2" ParentId="20429" CreationDate="2017-02-11T02:17:39.567" Score="1" Body="&lt;p&gt;A quick and dirty solution would be to try applying a fast blur effect over the particle layer to the point they look like smoke.&lt;/p&gt;&#xA;" OwnerUserId="18035" LastActivityDate="2017-02-11T02:17:39.567" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20644" PostTypeId="1" AcceptedAnswerId="20645" CreationDate="2017-02-11T10:27:16.470" Score="0" ViewCount="3477" Body="&lt;p&gt;I'm trying to convert an mp4 video to play on a digital photo frame. The photo frame (Living Image Li1210) manual states: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The digital photo frame can playback MPEG1, MPEG2, MPEG4, and AVI (dependant upon codec) video formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And in the FAQs: The device only works with the avi/mpeg4 files taken by most digital cameras. It is also capable of playing some compressed AVI files, such as DivX and XviD videos... The best supported resolution of a photo or video is 480x234.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried various options with ffmpeg such as&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vcodec mpeg4 -vf scale=480x234 out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but can't seem to get anything but a blank screen on the photo frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help or advice would be greatly appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="18039" LastActivityDate="2017-02-11T11:40:50.907" Title="mp4 to avi/mpeg conversion" Tags="|ffmpeg|mp4|mpeg|avi|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20645" PostTypeId="2" ParentId="20644" CreationDate="2017-02-11T11:40:50.907" Score="0" Body="&lt;p&gt;Apologies I'd being faffing with different scaling settings and must have got my files mixed up. The following (quoted in the question) does in fact work on this product - Living Images Li1210.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vcodec mpeg4 -vf scale=480x234 out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However the following scaling seemed to produce better results when converting from 1280x720 (youtube standard download)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vcodec mpeg4 -vf scale=416x234 out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And I think this addition from &lt;a href=&quot;https://video.stackexchange.com/questions/20399/whats-the-best-way-to-convert-mp4-to-avi&quot;&gt;this question&lt;/a&gt; produced a slight improvement&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -q:v 6 -vcodec mpeg4 -vf scale=416x234 out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="18039" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-02-11T11:40:50.907" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20646" PostTypeId="1" CreationDate="2017-02-11T14:59:55.780" Score="1" ViewCount="961" Body="&lt;p&gt;I am thinking about implementing adaptive video streaming using MPEG-DASH. I have read a lot of articles and found the information that iOS Safari doesn't support MSE, so MPEG-DASH playback is not possible. But all the stuff I have read is deprecated (2015-2016 years). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As of today, could you please point out if I still need to use HLS for iOS and MPEG-DASH for everything else or is there a solution which can cover all platforms?&lt;/p&gt;&#xA;" OwnerUserId="18041" LastEditorUserId="1871" LastEditDate="2017-02-11T16:32:05.740" LastActivityDate="2017-02-11T16:32:05.740" Title="Does iOS 10 Safari support MSE (for MPEG-DASH)?" Tags="|video|streaming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20647" PostTypeId="2" ParentId="20429" CreationDate="2017-02-12T03:51:12.837" Score="0" Body="&lt;p&gt;The particles are a good start, as Edgar suggested a blur - probably vertical only would help. If this is too obvious, you could use temporal blur or in other words, echo. The echo effect would smear them all together. Setting the number of echoes to something like 16 or so and winding down the echo time to say a 10th of your frame duration would probably work (though you will find that echo slows things down dramatically. I usually turn it off after I've got it set up and only re-enable it at render time). To give the trails a more swirling look I'd apply a little bit of turbulent displace. This will give some atmospheric er, turbulence to them.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-02-12T03:51:12.837" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20648" PostTypeId="2" ParentId="20571" CreationDate="2017-02-12T04:50:20.003" Score="3" Body="&lt;p&gt;Your output has to match one of the requested profiles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the 5th profile listed, &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[dnxhd @ 0000000002be23a0] Frame size: 1920x1080p; bitrate: 115Mbps; pixel format: yuv422p; framerate: 24000/1001&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;you would use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test.mov -vf format=yuv422p,scale=-1:1080,pad=1920:1080:(ow-iw)/2:0 -r 24000/1001 -c:v dnxhd -b:v 115M out.mov &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-02-12T04:50:20.003" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20649" PostTypeId="2" ParentId="20584" CreationDate="2017-02-12T05:10:18.877" Score="0" Body="&lt;p&gt;Two ways you could do it. First, get a screen capture of you playing the game, edit it and replace the numbers, and finally make a movie of the result. Play the movie full screen and mime pressing the buttons. This would be easier technically, but would require some &quot;thumb acting&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, do a motion track of the phone screen. Create a movie of the increasing numbers and add it as a tracked 3D layer, aligned to the phone's screen. This would be a reasonably difficult exercise in compositing, given that as well as matching the movement you would have to roto or matte out the fingers if they go in front of the numbers, and you'd also have to match the drifting autofocus of the recording camera and the reflections on the screen and moire that the original screen exhibits to get it perfectly right. I'd budget a week for it if you want it photoreal for HD.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-02-12T05:10:18.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20650" PostTypeId="1" CreationDate="2017-02-12T08:21:45.353" Score="3" ViewCount="740" Body="&lt;p&gt;I have some educational videos that are mostly PowerPoint slides and a teacher sitting in a chair talking. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is the -still image tune applicable for videos like that? I would like to make them as small as possible.&lt;/p&gt;&#xA;" OwnerUserId="18048" LastEditorUserId="10931" LastEditDate="2017-02-12T12:04:13.497" LastActivityDate="2018-09-29T08:00:52.970" Title="Is HandBrake tune -still image applicable to videos with minimal movement?" Tags="|encoding|handbrake|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20651" PostTypeId="2" ParentId="16455" CreationDate="2017-02-12T10:29:07.327" Score="4" Body="&lt;p&gt;&lt;a href=&quot;https://9to5mac.com/2017/01/11/filmic-pro-log-profile-iphone-7-plus-color-graded/&quot; rel=&quot;nofollow noreferrer&quot;&gt;This announcement article dated January 11, 2017&lt;/a&gt; indicates that there will be an upgrade to &lt;a href=&quot;https://itunes.apple.com/us/app/filmic-pro/id436577167&quot; rel=&quot;nofollow noreferrer&quot;&gt;the app FiLMiC Pro&lt;/a&gt; which may accommodate what you are looking for. Note that the FiLMic Pro App Store web page indicates the latest release is 12/23/2016 - I do not know when the update the article speaks of will be available:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The forthcoming update will introduce a new log mode that allows&#xA;  filmmakers to shoot videos with a flat picture profile containing&#xA;  additional stops of dynamic range.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Also check out &lt;a href=&quot;http://www.filmicpro.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FiLMic's website&lt;/a&gt; - I couldn't find any details, but I was interested to read that they develop it with &lt;a href=&quot;https://developer.apple.com/swift/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Apple's Swift language&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of note, they have apparently released a beta version for testing and demo of the LOG capture. Compare in particular the dark area of the dashboard in the lower left hand corner in this example of &lt;a href=&quot;https://youtu.be/BnLkdxYCtRU&quot; rel=&quot;nofollow noreferrer&quot;&gt;source video&lt;/a&gt; vs. the same &lt;a href=&quot;https://youtu.be/et8-jtZauXM&quot; rel=&quot;nofollow noreferrer&quot;&gt;footage after grading&lt;/a&gt; with BlackMagic Design's &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve&quot; rel=&quot;nofollow noreferrer&quot;&gt;DaVinci Resolve&lt;/a&gt;. Disclaimer - these videos are from the article and the quality of the color grading vs youtube compression and such is relative. Also, as an example of the extra detail shooting this way may afford, note in the third shot, the shadow detail of the hat before and after.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Likely you don't need this information, but here is &lt;a href=&quot;http://www.newsshooter.com/2015/07/27/looks-picture-profiles-luts-and-log-why-when-and-how-you-should-use-them/&quot; rel=&quot;nofollow noreferrer&quot;&gt;a recent article which provides a decent overview&lt;/a&gt; of what it means to shoot in log color space , or, record a &quot;flat color profile.&quot; Also, &lt;a href=&quot;https://video.stackexchange.com/q/12199/17685&quot;&gt;some related VideoSE Q&amp;amp;A&lt;/a&gt; about shooting considerations.&lt;/p&gt;&#xA;" OwnerUserId="17685" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-02-12T10:29:07.327" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20653" PostTypeId="2" ParentId="20625" CreationDate="2017-02-12T14:38:51.110" Score="1" Body="&lt;p&gt;So, it turns out that I had to change my Audio Hardware output because my partner was editing a video and using his gaming chair as the output, I was at uni and didn't have it connected up, didn't realise AE has to have its audio output set up manually! &lt;/p&gt;&#xA;" OwnerUserId="18012" LastActivityDate="2017-02-12T14:38:51.110" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20655" PostTypeId="1" CreationDate="2017-02-12T15:55:27.743" Score="1" ViewCount="128" Body="&lt;p&gt;While &quot;cleaning&quot; my OS drive, I decided to move all project media files (video, audio and pictures) to my network storage. As expected, Final Cut cannot locate the files, that were tied to my projects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a function to update the file paths by &quot;scanning&quot; the new directory?&lt;/p&gt;&#xA;" OwnerUserId="18052" LastEditorUserId="5296" LastEditDate="2017-03-14T12:32:32.903" LastActivityDate="2023-12-09T11:07:30.927" Title="Update media source directory for Final Cut Pro X event" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20656" PostTypeId="1" CreationDate="2017-02-12T18:26:51.170" Score="1" ViewCount="3304" Body="&lt;p&gt;I have got a 8GB .ts video file, unfortunately when I tried to copy it from my hard disk to my 16GB USB thumb drive, I got an error at 60% which seems to be a file checksum error (strangely, I found no error when I checked the disk, so it is not likely a bad sector, and I can view the video with MPC before and after that point, the video just stops when coming across that 60% point). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried using Project X to see if the file can be repaired, but as expected, there is an error once the software reads the file at 60%. So my thought is to split the file into 2 separate parts, Part 1 before the 60% mark and Part 2 starts after the 60%, simply using byte-by-byte read-write, hence skipping the problem part.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Part 1 works ok, and Part 2 doesn't because the header is missing. But is it possible to fix Part 2 and use some software to add the header back? People said Project X is powerful, but I don't know if it can solve my problem (and if so, how). Any guidance is welcomed. Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: I used ffmpeg to check and get this error report:&#xA;Full report on &lt;a href=&quot;http://pastebin.com/yU6Y36Yw&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://pastebin.com/yU6Y36Yw&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;[h264 @ 000000000042c480] non-existing SPS 0 referenced in buffering period&#xA;[h264 @ 000000000042c480] SPS unavailable in decode_picture_timing&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] non-existing SPS 0 referenced in buffering period&#xA;[h264 @ 000000000042c480] SPS unavailable in decode_picture_timing&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] no frame!&#xA;[h264 @ 000000000042c480] non-existing SPS 0 referenced in buffering period&#xA;[h264 @ 000000000042c480] SPS unavailable in decode_picture_timing&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] non-existing SPS 0 referenced in buffering period&#xA;[h264 @ 000000000042c480] SPS unavailable in decode_picture_timing&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] no frame!&#xA;[h264 @ 000000000042c480] non-existing SPS 0 referenced in buffering period&#xA;[h264 @ 000000000042c480] SPS unavailable in decode_picture_timing&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] non-existing SPS 0 referenced in buffering period&#xA;[h264 @ 000000000042c480] SPS unavailable in decode_picture_timing&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] no frame!&#xA;[h264 @ 000000000042c480] non-existing SPS 0 referenced in buffering period&#xA;[h264 @ 000000000042c480] SPS unavailable in decode_picture_timing&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] non-existing SPS 0 referenced in buffering period&#xA;[h264 @ 000000000042c480] SPS unavailable in decode_picture_timing&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] non-existing PPS 0 referenced&#xA;[h264 @ 000000000042c480] decode_slice_header error&#xA;[h264 @ 000000000042c480] no frame!&#xA;[mpegts @ 00000000004f8fe0] start time for stream 4 is not set in estimate_timin&#xA;gs_from_pts&#xA;[mpegts @ 00000000004f8fe0] start time for stream 5 is not set in estimate_timin&#xA;gs_from_pts&#xA;[mpegts @ 00000000004f8fe0] start time for stream 6 is not set in estimate_timin&#xA;gs_from_pts&#xA;[mpegts @ 00000000004f8fe0] PES packet size mismatch&#xA;    Last message repeated 3 times&#xA;Input #0, mpegts, from 'L:\HBPVR\TVClip\20170127.ts':&#xA;  Duration: 01:47:03.36, start: 0.083867, bitrate: 10069 kb/s&#xA;  Program 137&#xA;    Stream #0:0[0x30]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(tv,&#xA;bt709, top first), 1920x1080 [SAR 1:1 DAR 16:9], 25 fps, 25 tbr, 90k tbn, 50 tbc&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;`Stream #0:1[0x40]: Audio: ac3 (AC-3 / 0x332D4341), 48000 Hz, stereo, fltp, 192 kb/s`&#xA;`Stream #0:2[0x41]: Audio: ac3 (AC-3 / 0x332D4341), 48000 Hz, stereo, fltp, 192 kb/s`&#xA;`Stream #0:3[0x42]: Audio: ac3 (AC-3 / 0x332D4341), 48000 Hz, 5.1(side), fltp, 384 kb/s`&#xA;`Stream #0:4[0x50](CHI): Subtitle: dvb_subtitle ([6][0][0][0] / 0x0006)`&#xA;`Stream #0:5[0x51](ENG): Subtitle: dvb_subtitle ([6][0][0][0] / 0x0006)`&#xA;`Stream #0:6[0x52](CHS): Subtitle: dvb_subtitle ([6][0][0][0] / 0x0006)`&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Output #0, mpegts, to 'L:\HBPVR\TVClip\20170127h.ts':&lt;/code&gt;&#xA;&lt;code&gt;Metadata:&lt;/code&gt;&#xA;&lt;code&gt;encoder         : Lavf57.66.101&lt;/code&gt;&#xA;&lt;code&gt;Stream #0:0: Video: mpeg2video (Main), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9]&#xA;, q=2-31, 200 kb/s, 25 fps, 90k tbn, 25 tbc&lt;/code&gt;&#xA;&lt;code&gt;Metadata:&lt;/code&gt;&#xA;&lt;code&gt;encoder         : Lavc57.77.100 mpeg2video&lt;/code&gt;&#xA;&lt;code&gt;Side data:&lt;/code&gt;&#xA;&lt;code&gt;cpb: bitrate max/min/avg: 0/0/200000 buffer size: 0 vbv_delay: -1&lt;/code&gt;&#xA;&lt;code&gt;Stream #0:1: Audio: mp2, 48000 Hz, stereo, s16, 384 kb/s&lt;/code&gt;&#xA;&lt;code&gt;Metadata:&lt;/code&gt;&#xA;&lt;code&gt;encoder         : Lavc57.77.100 mp2&lt;/code&gt;&#xA;&lt;code&gt;Stream mapping:&lt;/code&gt;&#xA;&lt;code&gt;Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; mpeg2video (native))&lt;/code&gt;&#xA;&lt;code&gt;Stream #0:3 -&amp;gt; #0:1 (ac3 (native) -&amp;gt; mp2 (native))&lt;/code&gt;&#xA;&lt;code&gt;Press [q] to stop, [?] for help&lt;/code&gt;&#xA;&lt;code&gt;[h264 @ 00000000022f9f20] co located POCs unavailable&lt;/code&gt;&#xA;&lt;code&gt;Last message repeated 1 times&lt;/code&gt;&#xA;&lt;code&gt;[h264 @ 00000000022fa8c0] mmco: unref short failure&#xA;frame=   40 fps=0.0 q=31.0 size=     651kB time=00:00:01.96 bitrate=2720.2kbits/&#xA;frame=   93 fps= 92 q=31.0 size=    1198kB time=00:00:04.08 bitrate=2406.4kbits/&#xA;frame=  136 fps= 90 q=31.0 size=    1554kB time=00:00:05.80 bitrate=2195.1kbits/&#xA;frame=  185 fps= 92 q=31.0 size=    1991kB time=00:00:07.76 bitrate=2102.1kbits/&#xA;[mpegts @ 00000000004f8fe0] PES packet size mismatch&#xA;[h264 @ 00000000022fad80] error while decoding MB 118 48, bytestream -72&#xA;[h264 @ 00000000022fad80] concealing 2331 DC, 2331 AC, 2331 MV errors in I frame&#xA;[ac3 @ 00000000022f6f00] incomplete frame&#xA;frame=  221 fps= 11 q=31.0 size=    2409kB time=00:00:09.20 bitrate=2145.2kbits/&#xA;L:\HBPVR\TVClip\20170127.ts: Permission denied&#xA;Last message repeated 6 times&#xA;frame=  227 fps= 11 q=31.0 Lsize=    2550kB time=00:00:09.48 bitrate=2203.5kbits&#xA;/s dup=0 drop=1 speed=0.46x&#xA;video:1917kB audio:408kB subtitle:0kB other streams:0kB global headers:0kB muxin&#xA;g overhead: 9.644997%&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="18054" LastEditorUserId="18054" LastEditDate="2017-02-12T20:10:48.963" LastActivityDate="2024-01-09T18:08:26.097" Title="Fixing a .ts file with Checksum error" Tags="|video|mpeg|" AnswerCount="2" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="20657" PostTypeId="1" AcceptedAnswerId="20662" CreationDate="2017-02-12T19:58:18.753" Score="1" ViewCount="549" Body="&lt;p&gt;I've been consistently getting this behavior, it's not clear to me what is causing it.  If I switch to another clip, often I am able to record.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using an external ASIO recording interface to do the recording.&lt;/p&gt;&#xA;" OwnerUserId="18044" LastActivityDate="2017-02-13T11:54:01.063" Title="Voice Over Record doesn't record, displays &quot;Finishing&quot; then stops" Tags="|premiere|audio|audio-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20658" PostTypeId="1" AcceptedAnswerId="20668" CreationDate="2017-02-12T21:58:56.960" Score="0" ViewCount="134" Body="&lt;p&gt;I have created a number of Live Text Template Capsule (.aecap) files from AE CC2017. And used them a number of places in multiple timelines in a Premiere project. I now need to make a tweak to background layers. If I make the change in AE do I need to re-export the aecap file and if so, do I overwrite the old cap file? I don't want to loose all the instances in my PPro timeline and the unique text associated with each. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the proper way to update the AE portion of Text Templates after they are used in Premiere? &lt;/p&gt;&#xA;" OwnerUserId="6226" LastActivityDate="2017-02-17T16:58:56.977" Title="AfterEffects Text Templates - Do changes Progagate to Instances in PPro" Tags="|after-effects|premiere|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20659" PostTypeId="1" CreationDate="2017-02-13T00:30:20.893" Score="5" ViewCount="111" Body="&lt;p&gt;Asking for a friend.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We're presently scouting locations in Jordan for a feature shoot, it'll go about five weeks. We're shooting with an ARRI Alexa and generating ArriRaw dailies. We're working with the idea that we'll be generating about half a terabyte of dailies a day on the high side, including multichannel sound. We're cutting and doing post in Los Angeles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the most reliable way of getting the dailies out of country? The last time my friend shot in the area he shipped his dailies out and they were impounded for months by customs, and under the current regime we have no idea what would happen and we want other alternatives (it also doesn't help that Jordan now borders a hot war zone). We're toying with shipping to Europe and from there ingesting into AWS, anyone have any experience with that?&lt;/p&gt;&#xA;" OwnerUserId="6870" LastActivityDate="2018-03-27T18:46:22.290" Title="Getting Dailies out of the Middle East" Tags="|video|" AnswerCount="1" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20661" PostTypeId="2" ParentId="20595" CreationDate="2017-02-13T01:34:56.007" Score="0" Body="&lt;p&gt;It was the cable (STV-250?) linking the VHS to my camera that was the problem. After borrowing one from a friend, it worked and I'm now capturing video.&lt;/p&gt;&#xA;" OwnerUserId="5885" LastActivityDate="2017-02-13T01:34:56.007" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20662" PostTypeId="2" ParentId="20657" CreationDate="2017-02-13T11:54:01.063" Score="2" Body="&lt;p&gt;I think I've figured it out.  I've been setting my in point to the start of the clip and my end point to the end of the clip.  By moving the start in point after the first bit of footage, it records just fine.&lt;/p&gt;&#xA;" OwnerUserId="18044" LastActivityDate="2017-02-13T11:54:01.063" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20663" PostTypeId="1" AcceptedAnswerId="20664" CreationDate="2017-02-13T13:21:06.677" Score="0" ViewCount="482" Body="&lt;p&gt;I have around 1000 frames in *.png format, which are named like &lt;code&gt;frame-0.png&lt;/code&gt;, &lt;code&gt;frame-1.png&lt;/code&gt;, &lt;code&gt;frame-2.png&lt;/code&gt; and so on. I read them and generate a movie by following command :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2 -r 20 -i frame-%00d.png -vcodec mpeg4 -y movie.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Let's say I just want to read frames like &lt;code&gt;frame-0.png&lt;/code&gt;,&lt;code&gt;frame-20.png&lt;/code&gt;, &lt;code&gt;frame-40.png&lt;/code&gt; and make a movie out of it. How can I achieve that ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One possible way I know, is to make movie from all 1000 frames then generate a new movie by skipping frames from the following command :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i movie.mp4 -filter:v &quot;select='mod(n,20)'&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there any direct method ? &lt;/p&gt;&#xA;" OwnerUserId="18059" LastActivityDate="2017-02-13T13:35:47.163" Title="How to read frames which are separated by a specific number ? [ffmpeg]" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20664" PostTypeId="2" ParentId="20663" CreationDate="2017-02-13T13:35:47.163" Score="0" Body="&lt;p&gt;The direct way to do this is by using the concat &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#concat-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;demuxer&lt;/a&gt;, where the text file only mentions the selected files. Besides being a hack, you no longer get to use the &lt;code&gt;image2&lt;/code&gt; options. The better way is to combine your present commands.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 20 -i frame-%d.png -vf &quot;select='not(mod(n,20))'&quot; -c:v mpeg4 -y movie.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-02-13T13:35:47.163" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20665" PostTypeId="1" AcceptedAnswerId="20666" CreationDate="2017-02-13T16:00:36.590" Score="3" ViewCount="10312" Body="&lt;p&gt;&lt;a href=&quot;http://vegaspro.helpmax.net/en/using-vegas-software/editing-events-on-the-timeline/selecting-events/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Vegas had an option&lt;/a&gt; in the context menu after right clicking on a track to select all clips to the end of that track. Does Resolve have the same feature?&lt;/p&gt;&#xA;" OwnerUserId="6893" LastActivityDate="2018-07-04T11:05:51.717" Title="Is there an equivalent to Vegas' &quot;select to end&quot; feature in DaVinci Resolve?" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20666" PostTypeId="2" ParentId="20665" CreationDate="2017-02-13T16:00:36.590" Score="5" Body="&lt;p&gt;It's called &lt;a href=&quot;http://documents.blackmagicdesign.com/DaVinciResolve/DaVinci_Resolve_Mac_Keyboard_Shortcuts_June_2014.pdf&quot; rel=&quot;noreferrer&quot;&gt;&quot;Select Clips Forward On This Track&quot;&lt;/a&gt;, and it's activated by placing the playhead (the tall orange marker) over the first clip you want to select and doing one of the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Select Clips Forward On This Track: &lt;kbd&gt;Y&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;li&gt;Select Clips Forward On All Tracks: &lt;kbd&gt;Alt/Option&lt;/kbd&gt;+&lt;kbd&gt;Y&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;There are more of these available in the Timeline menu (&quot;Select Clips Backward&quot;, &quot;Select Clips Forward&quot;).&lt;/p&gt;&#xA;" OwnerUserId="6893" LastEditorUserId="6893" LastEditDate="2017-03-06T16:37:44.847" LastActivityDate="2017-03-06T16:37:44.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20668" PostTypeId="2" ParentId="20658" CreationDate="2017-02-13T18:48:30.483" Score="0" Body="&lt;p&gt;Updating in AE does not update the template in PPro directly -like updating a direct linked AE project-composition does. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To update Live Text Templates that are already used in Premiere: Update the composition in AE and export Composition as Text Template (.aecap) and Overwrite the previous .aecap file. It will update in Premiere after a RESTART without loosing the unique text in the instances you've already used. Note: just making the element offline and then relinking does not seem to update it. It's possible if I deleted the preview files it would work, but I haven't tried it. So far a Restart of PPro is required to update the Live Text Template.&lt;/p&gt;&#xA;" OwnerUserId="6226" LastEditorUserId="6226" LastEditDate="2017-02-17T16:58:56.977" LastActivityDate="2017-02-17T16:58:56.977" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20669" PostTypeId="2" ParentId="20656" CreationDate="2017-02-13T19:53:28.407" Score="0" Body="&lt;p&gt;I used the Windows version of the Linux command 'dd' to solve the above problem. Using the strategy stated in the question, I split the file into 2 parts, the first part up to 60%, the second part from 60% after the problem bytes until the end. The 2 resulting files can be read, without any need to add extra headers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The previous attempt (I wrote a program to split the files into 2) failed, just because my compiler seems not supporting files larger than 2GB using fseek().&lt;/p&gt;&#xA;" OwnerUserId="18054" LastActivityDate="2017-02-13T19:53:28.407" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20670" PostTypeId="1" AcceptedAnswerId="20672" CreationDate="2017-02-13T20:12:35.803" Score="1" ViewCount="319" Body="&lt;p&gt;I'm not really doing video production as living, just for fun. So my knowledge is very limited.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the Trapcode Particular I'm creating a particles with simple 3D emitter:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IYLRi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IYLRi.png&quot; alt=&quot;Particles with source emitter&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, I only want particles to come from the top of the icon, so what I did is using Linear Wipe to cut off the emitter source to hide those bottom particles:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IXhHE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IXhHE.png&quot; alt=&quot;Particles with the Linear Wipe&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, my question is does After Effects actually render and process those hidden particles ? Or he is smart enough to know it will never be visible and he skips them ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt;&#xA;Forgot to mention that the Linear Wipe is actually on the Particles Effect.&#xA;I also have it on the Emitter source, but for some reason it generates particles ignoring the Linear Wipe on the Emitter Source. (The Linear Wipe of the Emiiter Source is on a pre-composed of the icon)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit 2:&lt;/strong&gt;&#xA;I actually went inside the Pre-composed emitter source, did a Mask Subtract and the I think that it should of solve my rendering issue ?&#xA;So, to sum up my questions, does the issue I described actually happens ? and does my solution with the mask solved it ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2vfhR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2vfhR.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wURsD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wURsD.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18062" LastEditorUserId="18062" LastEditDate="2017-02-13T20:36:11.090" LastActivityDate="2017-02-14T00:55:33.253" Title="After Effects - Particular Rendering" Tags="|after-effects|animation-rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20671" PostTypeId="1" CreationDate="2017-02-13T20:33:14.650" Score="1" ViewCount="1270" Body="&lt;p&gt;I just used OBS to record an MOV file (4k screen recording). Now I'm having trouble opening it in Premiere. When I import it into Premiere, I get only the audio (no video). File opens fine in VLC, but when I use VLC to convert to MP4, one of two things happen:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I get an error&lt;/li&gt;&#xA;&lt;li&gt;I get an empty file&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Furthermore, I tried Adobe Media Encoder, and I get an entirely black-frame file - I can see the black frames in preview, even. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone help me figure out what's going on? I have no idea what codec OBS uses - it doesn't show up in Properties for the file.&lt;/p&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2017-06-20T09:56:19.050" Title="Open Broadcaster MOV to MP4 conversion" Tags="|video|premiere|conversion|adobe-media-encoder|obs|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20672" PostTypeId="2" ParentId="20670" CreationDate="2017-02-14T00:55:33.253" Score="2" Body="&lt;p&gt;I think you have answered your own question, but let me try to answer it from the perspective of a programmer (not one who wrote After Effects, but one who has written a lot of programs and seen a lot of source code).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects (or any other compositing program) operates on layers.  Layers can be combined, masked, or used as inputs to transformations or operations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The layer that contains your icon doesn't know about any processes or effects that come after it.  If you apply a particle emitter to that layer, particles will be emitted regardless of whatever masks come later.  Some particles may be masked by later layers/operations, but none of that affects what particles may be emitted due to the shape/color of your icon.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you compose your icon with a mask, and then apply the emitter to that result, then of course the emitter is starting with the masked pattern.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which is correct?  It depends what you want.  If you want to show lots of particles being obscured by a mask, the first is what you want.  If you want to show an alternative shape emitting particles, the second is what you want.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-02-14T00:55:33.253" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20676" PostTypeId="2" ParentId="17896" CreationDate="2017-02-14T09:06:31.173" Score="0" Body="&lt;p&gt;Premiere is designed for network renders through After Effects.  Here's the problem: File Location, right?&#xA;No longer!!&#xA;Share the drive, map the drive to the same letter on the other machine.  The drive should be external of your system drive, if not, get two nice heavy hammers you can hold with one hand and hit yourself in the head until you find some sense... ...I'm just kidding by the way.  We've all done that one.  If you placed the whole thing on your main drive, copy it to an external, leave the original on your main drive as a backup.  Share the external drive.  Now map it to the same location (Drive letter) on your other system.  Now run the job in media encoder.  Ta and Da, you can use your main system while another system handles the grunt work; you'll still have some performance dedicated to file movement.  If you render on your slower system, it'll take longer.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;AE can split up the Rendering Decompression step.  Once you have a folder of images, you can compress it with the audio added in AME much faster.  By splitting up the work, you can capitalize on all your resources.  Renderfarm in AE, and then use AME on the stronger or less used machine.  It'll cut the workload for both machines, and allow you to use your network backbone to transfer data.  I also recommend you attach a second network card, then link them together over an ad-hoc intranet by setting the ip and subnet tight.  If you disconnect the second (render only) machine from your router, it will only have intranet, and your computer will pass files to it faster, without confusing nic's.  Now your main internet connection won't bog down either.  If you can add a fibre based connection in this manner, you're gold, but you can get away with USB3 interconnection devices, or even thunderbolt for faster transfers.&lt;/p&gt;&#xA;" OwnerUserId="18067" LastActivityDate="2017-02-14T09:06:31.173" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20677" PostTypeId="1" CreationDate="2017-02-14T13:01:55.807" Score="0" ViewCount="767" Body="&lt;p&gt;I have an input MPEG-DASH stream and I want to transcode it.&lt;br&gt;&#xA;First of all, need to decode it and then route an output to FFmpeg and encode it, but not have any ideas how to decode MPEG-DASH.&lt;br&gt;&lt;br&gt; Please advise how to transcode from DASH, any suggestion will be helpfull.&lt;/p&gt;&#xA;" OwnerUserId="14107" LastEditorUserId="14107" LastEditDate="2017-02-14T13:07:59.480" LastActivityDate="2017-02-14T13:07:59.480" Title="Transcode FROM MPEG-DASH" Tags="|ffmpeg|transcoding|mpeg-dash|decoding|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20678" PostTypeId="1" CreationDate="2017-02-14T14:39:03.550" Score="1" ViewCount="43" Body="&lt;p&gt;A few friends of mine, told me, that they do not have school books at university and most of their work is &quot;hands on&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to learn this stuff too. However, it's hard to learn the craft, if I don't have access to the learning ressources (classes). If I, for example want to learn about Medicine, I can look up the curriculum online and order the accoarding book from the internet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now here is my question:&#xA;Are books used to teach film at universities and if so, what books are most common used?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a &quot;bible&quot;, a book that has been read by most of the proffessionals, or one that they reference to? What is recommended for reading?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know, this might differ, from Job to Job, but I'd like to get a broght understanding of all the different crafts involved as well as the pipeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This might sound oppinion based at first, but I'm asking about, what is actually used in colleges, universities and by proffessionls. However other book suggestions are welcome in the comments.&lt;/p&gt;&#xA;" OwnerUserId="17625" LastActivityDate="2017-02-14T14:59:32.170" Title="Do they use books when studying Film at an university?" Tags="|learning-resources|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20679" PostTypeId="2" ParentId="20678" CreationDate="2017-02-14T14:59:32.170" Score="1" Body="&lt;p&gt;Yes, a good program should have books in at least some of the courses.  A lot of stuff is best learned hands on, but the history and why of things is very helpful to have good books as resources.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, the book choices tend to change over time because the pace of change is pretty high and while a lot of the why and older history stuff doesn't change, the practical side of it does, so books can change and be updated fairly frequently.  I was in college back in 2002-2006, so my books are all pretty old now and I don't remember what most of them were anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At a practical level, you don't really reference back to any of the books from college much though.  It's more just background information and teaching you the way to communicate using the medium.  It all just becomes part of your toolkit and you don't really think about it too much after that unless you're dealing with someone without any of that background and having to explain it in your own terms.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-02-14T14:59:32.170" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20680" PostTypeId="2" ParentId="2650" CreationDate="2017-02-14T18:02:00.783" Score="-1" Body="&lt;p&gt;Vongplayer Windows store, 4 Videos splitscreen, record your first Movie than while playing at same time record the second. While both two Videos at same time sighting record the third. This way add the fourth. Genial, create your own band, miss this for iOS.&lt;/p&gt;&#xA;" OwnerUserId="18072" LastActivityDate="2017-02-14T18:02:00.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20681" PostTypeId="1" CreationDate="2017-02-14T18:28:55.680" Score="1" ViewCount="3690" Body="&lt;p&gt;My system crashed and i reinstalled windows, including Vegas.  Projects that included 3GP files (GSpot says that the codec is MP4V), now cant link the 3GP files.  Vegas says files are offline, i search and relink, but in the end it gives an error and files stay offline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have reinstalled (and rebooted) Cole2k, VLC, XVid and still no results.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;VLC opens the files, no problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS:  yes, 3GP did open up before - the generated sfk files are right alongside the 3GP files.&lt;/p&gt;&#xA;" OwnerUserId="17457" LastEditorUserId="17457" LastEditDate="2017-02-14T18:32:16.757" LastActivityDate="2017-08-26T22:31:21.147" Title="Problems opening 3GP files in Sony Vegas 12 64bit" Tags="|codec|vegas-pro|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20682" PostTypeId="2" ParentId="20681" CreationDate="2017-02-14T18:31:58.160" Score="1" Body="&lt;p&gt;I finally got back in working order by also installing AviDemux and Quicktime.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CONCLUSION: Vegas is capable of opening 3GP files AS LONG it has the right codecs, which Quicktime seems to supply when installed alongside other codec packs.&lt;/p&gt;&#xA;" OwnerUserId="17457" LastActivityDate="2017-02-14T18:31:58.160" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20684" PostTypeId="2" ParentId="16324" CreationDate="2017-02-14T22:44:28.280" Score="0" Body="&lt;p&gt;Most of these answers are outdated. Youtube actually re-encodes our videos into VP9 making HD videos look rather better in terms of quality. Its only when you upload the video in its original encoding that looks degraded based on compression. It can take a day or a week for youtube to re-encode our HD videos to Vp9. I'm a youtuber myself and can really see the difference&lt;/p&gt;&#xA;" OwnerUserId="18077" LastActivityDate="2017-02-14T22:44:28.280" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20689" PostTypeId="1" AcceptedAnswerId="20690" CreationDate="2017-02-15T14:04:28.080" Score="3" ViewCount="1442" Body="&lt;p&gt;When working in pre-production I usually have a lot of video material which I all subsequently place on the timeline and cut specific parts which I will/can use. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then when starting to work on production I move all the cut original videos to the right and edit on the left of the timeline, scrolling left and right to pick videoparts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way, before putting on the timeline, to annotate/mark specific intervals in the original videos with the possibility to only place those specified parts on the timeline?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I work with adobe.&lt;/p&gt;&#xA;" OwnerUserId="18083" LastEditorUserId="16850" LastEditDate="2017-02-21T22:58:53.350" LastActivityDate="2017-02-21T22:58:53.350" Title="How to annotate specific parts of video in pre-production?" Tags="|editing|adobe|workflow|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20690" PostTypeId="2" ParentId="20689" CreationDate="2017-02-15T16:01:16.777" Score="6" Body="&lt;p&gt;&lt;strong&gt;Disclaimer:&lt;/strong&gt; You didn't specify what program you are working with, so I assume you are using the current version of Premiere Pro.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;Assembly Workflow&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Your workflow is a common one for beginners. Back when I gave Premiere Pro introductory courses, I noticed many students start out like this, basically doing the assembly, cutting and arrangement of the footage completely in the timeline. While there's nothing wrong with that approach, you can significantly speed up your workflow by seperating the initial material assembly/screening&lt;sup&gt;1&lt;/sup&gt; and the actual cutting. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The assembly is where you look through your material, sort and rate/tag it so you know what you are working with and can find specific parts of your material quickly. Mastering the project panel and all the sorting/marking options is a large subject on it's own, so I'm just gonna give you an overview of my workflow and the sorting options I find useful.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Workspace&lt;/strong&gt;. Under &lt;em&gt;Window&lt;/em&gt; → &lt;em&gt;Workspaces&lt;/em&gt;, select &lt;em&gt;Assembly&lt;/em&gt;. This workspace is optimized for assembly and material screening, it's just easier to work with. You can also rearrange the panels and save it as a custom workspace.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Bins&lt;/strong&gt;. You can create bins to sort your footage into by pressing &lt;kbd&gt;CTRL&lt;/kbd&gt; + &lt;kbd&gt;B&lt;/kbd&gt; while the project panel is in focus. They work similarly to folders on your computer, you can drag your video clips and other assets into them for sorting. For example, you can create seperate folders for every scene in your movie, a seperate folder for B-roll material, a folder for music and other non-video assets et c. You will have a much easier time finding specific clips after you have sorted them in this way.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Color labels, Star Ratings &amp;amp; Keywords&lt;/strong&gt;. You can use several variants of marking systems if you use the &lt;em&gt;Metadata Display&lt;/em&gt; options. For example, I like to use colors labels to mark the best clips and the rejects. Once you have set those up, you can also use filters or sort by color labels to find the good stuff quickly. Other options include &lt;em&gt;Star Ratings&lt;/em&gt; (that you can assign shortcuts to), &lt;em&gt;Keywording&lt;/em&gt; and several other editable metadata options. I've already written some other answers on this, so ... &#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/a/15520/6273&quot;&gt;Quick setup for Star Ratings&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/a/20416/6273&quot;&gt;Setting up Keywords and other Metadata options&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;List and Thumbnail Views&lt;/strong&gt;. On the bottom left of the project panel, you can switch between the two views and adjust the size of the item display. While in List view, you can rename your assets from the generic filename (like &lt;em&gt;MVI_0817.mov&lt;/em&gt;) to something more useful. I like to use a consistent naming scheme so I see what every clip contains at one glance. For example, if you name your clips &lt;em&gt;[scene]_[shot]_[angle]&lt;/em&gt; (e.g. &lt;em&gt;garden_establishing_panorama&lt;/em&gt;), you can find a specific clip without even looking at it.&lt;br&gt;&#xA;The thumbnail view is useful to get a feeling of your material and quickly stitch clips together that fit. I usually open a second instance of the project panel, set it to thumbnail view and put it on my second monitor. It's great for quickly sifting through your clips and finding the right one for your scene. &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;In- &amp;amp; Out-Point, Markers&lt;/strong&gt;. This is the most important part of this workflow, and the answer to your initial question (got a bit carried away with my answer). You can mark the In- and Out-Point of each clip by pressing the &lt;kbd&gt;I&lt;/kbd&gt; (In) and &lt;kbd&gt;O&lt;/kbd&gt; (Out) Keys respectively. This will add those points at the current playback position in the source panel (they are not temporary, so you can add In- and Out-Points to each clip in your project without dropping any of them in the timeline). If you have set up those points for a clip, only the portion of that clip between them will appear in your timeline when you add it to your sequence (you can of course adjust the start and end point in the sequence using the cutting tools as usual). More information on In- and Out-Points and quick ways of adding clips to the timeline &lt;a href=&quot;https://video.stackexchange.com/a/14855/6273&quot;&gt;can be found in my answer here&lt;/a&gt;.&lt;br&gt;&#xA;One problem with this method is that you can only use one In- and Out-Point per clip. So if you have one clip that contains two parts you want to use in your movie, you have a problem. There are two ways to deal with this. &#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Markers&lt;/strong&gt;. You can add markers to your master clips in the source panel by pressing &lt;kbd&gt;M&lt;/kbd&gt;. The marker is added at the current playback position, you can change it's color and other attributes by right-clicking on it and selecting &lt;em&gt;Edit Marker…&lt;/em&gt; from the context menu. However, this option is somewhat limited, since you will still have to manually adjust the clip length in the timeline, the marker only provides a visual aid. &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Subclips&lt;/strong&gt;. If you have set an In- and Out-Point for a clip, you can create a &lt;em&gt;Subclip&lt;/em&gt; from that. Right-click on the clip in the project panel and select &lt;em&gt;Make Subclip&lt;/em&gt; from the context-menu. This will create another instance of that masterclip in the project panel limited to the boundaries marked by the In- and Out-Point. This way, you can split up a large clip into several subclips, each containing only the portions that you need. The downside of this is that it's somewhat tedious if you have many long clips.  &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;This workflow works best if you film your material in a certain way, which will also avoid the problems with In- and Out-Points mentioned above. This leads me to the following point.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Good filming habits&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;In general, try to film in a way that will make the assembly/screening of the material much easier and streamlined. This mainly means two things: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Press the record button only &lt;strong&gt;after you have composed the shot&lt;/strong&gt;. If you point the camera in some random direction, press record and then compose your shot (i.e. position your camera/subject), you will have a few seconds of unusable material to cut from every single clip. And, even worse, the thumbnail view of the project panel will be mostly useless, since the thumbnails won't show the actual shot. If you start the recording after you are done composing your shot, the thumbnails will show you at one glance what every clip contains, allowing you to cut much faster. &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Start a seperate recording for each shot&lt;/strong&gt;. Many beginners make the mistake of just letting the camera run while they film, resulting in long files that are tedious to check and cut. Try to seperate the video files by stopping the recording and starting a new one for every shot/angle. This way, you only have one relevant part per clip/video file, allowing you to work faster with In- and Out-Points and the other &lt;em&gt;Metadata Display&lt;/em&gt; options mentioned above. Also, try to make each recording only as long as you need it to be. For example, if you shoot a couple of B-roll shots from the same vantage points, do not just press record and proceed to point your camera at everything. Instead, compose the first shot, press record and record for 5~10 seconds (no longer for B-Roll). Then stop the recording, compose the second shot et c. This way, you end up with a couple of short, concise clips that you can assemble and add to your movie quickly.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;This is all I can think of at the moment, though there's definitely more to say about this subject. I haven't even touched the actual rough and fine cutting yet ... but this answer is really getting too long, so I'll leave it at that. If I forgot anything important, feel free to inquire in the comments or ask a seperate question, I will be happy to edit my answer or add a new one if necessary.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;sup&gt;1 Not sure what the right term is. In German it's called &lt;em&gt;(Material-)Sichtung&lt;/em&gt;, which translates to &lt;em&gt;sighting&lt;/em&gt; or &lt;em&gt;screening&lt;/em&gt; of the material.&lt;/sup&gt;&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-02-15T16:06:31.607" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20691" PostTypeId="1" AcceptedAnswerId="24189" CreationDate="2017-02-15T16:39:28.067" Score="0" ViewCount="5263" Body="&lt;p&gt;Does anyone know of an Illustrator script that does a &quot;Release to Layers&quot;, but renames the layers based on their group names?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sure I had one ages ago, but I can't find it now...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's very useful when importing complex AI layers to After Effects&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-01-21T23:57:12.090" Title="Illustrator &quot;Release to Layers&quot; but keep names?" Tags="|after-effects|script|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20692" PostTypeId="2" ParentId="20671" CreationDate="2017-02-15T23:42:53.440" Score="0" Body="&lt;p&gt;This happens reasonably frequently with Premiere. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The most common fix is to go to your media cache (C:\Users\\AppData\Roaming\Adobe\Common\Media Cache Files on Windows) and delete all of the files. This will require Premiere to re-generate the preview files when you open your project the next time, but it usually fixes any audio/video related problems.&lt;/p&gt;&#xA;" OwnerUserId="6671" LastActivityDate="2017-02-15T23:42:53.440" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20693" PostTypeId="1" CreationDate="2017-02-16T02:14:15.047" Score="2" ViewCount="881" Body="&lt;p&gt;I'm not completely sure what's going on here but let me visualize my problem through videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=jQQv80X7gJM&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here's is what my Preview window shows.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=1hIoHHU2S4w&quot; rel=&quot;nofollow noreferrer&quot;&gt;And this is what Sony Vegas Pro 13 renders into an .mp4 720p60FPS.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So as you can see, Sony Vegas Pro 13 seems to be skipping a few frames throughout my video, but it only seems to do it where I have very heavy edits as you can notice in the final render.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using plugins from Sapphire Genarts OFX, Red Giant Link's Magic Bullet Looks, Boris FX Plugins, and build-in plugins from Sony Vegas Pro 13 itself, is it because there is any incompatibility between the plugins, or is this a bug in the program itself, or should I change anything in my projectsettings, etc?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FYI I have rendered this in 3 possible ways; .avi .mp4 and .avc but so far all 3 of them give me the same result but on different frames throughout the video, but still on the heavily edited parts only.&lt;/p&gt;&#xA;" OwnerUserId="18078" LastActivityDate="2023-12-10T17:03:35.380" Title="Sony Vegas Pro 13 forgets to render some frames in my video" Tags="|vegas-pro|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="20694" PostTypeId="1" CreationDate="2017-02-16T09:12:41.900" Score="1" ViewCount="2052" Body="&lt;p&gt;I Have huge archive of diferent (even older formáty like AVI) video footages and no place / time to reencode. I would like to implement web based browsable catalogue and want to let video play via HLS streaming. Have implemented own webserver in .net and wrapped ffmpeg to be able work with video. Thumbnails Jpg generating done successfully. Question is how to call ffmpeg to genetate single TS file from the midle of some very long file when webserver is asked for. I understand that it is easy to pregenerate it before, and let the webserver just serve the existing files, but it is not the way in this case. I would like to pregenerate just m3u8 files planning split for example by 10 sec fragments of some defined quality. And then i would like to let webserver wait for TS file requests and serve them dynamically as it goes. So need is to call ffmpeg generate TS file of specified duration and offset from begining of file. Is it possible? Thanks in advance for any help.&lt;/p&gt;&#xA;" OwnerUserId="18088" LastActivityDate="2017-02-16T09:12:41.900" Title="Generate TS files for HLS VOD streaming with ffmpeg dynamically on request" Tags="|ffmpeg|streaming|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20695" PostTypeId="1" CreationDate="2017-02-16T11:07:17.523" Score="4" ViewCount="276" Body="&lt;p&gt;I saw a brilliant thread talking about why the colour red is noisy in post:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/5533/why-does-the-color-red-always-appear-pixelated-on-tv-and-videos-on-the-pc&quot;&gt;Why does the color red always appear pixelated on TV and videos on the PC?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found this incredibly helpful in understanding why red appears that way. What I want to know is what can you do when filming dark red to avoid high levels of noise?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was recently filming a museum installation and all the walls were dark red brick. This museum was inside so the natural light was very limited, so naturally I shot at my highest aperture (at the time was 3.5) and set my ISO as low as possible. My camera hasn't got the best sensor but I just wondered if there was an explanation or other tips as to what to do when you know you're in a location with lots of dark red.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lav&lt;/p&gt;&#xA;" OwnerUserId="18089" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-08-10T17:04:50.163" Title="How to avoid noise when filming dark red" Tags="|filming|noise|red|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20696" PostTypeId="2" ParentId="4324" CreationDate="2017-02-16T18:55:07.740" Score="0" Body="&lt;p&gt;I have a 1 minute video on how to do this. It took me a while to find it as well so I thought it would be easier to show it this way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Tu2YWiSipVQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="18090" LastActivityDate="2017-02-16T18:55:07.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20697" PostTypeId="1" CreationDate="2017-02-17T00:55:26.140" Score="2" ViewCount="1990" Body="&lt;p&gt;Are there any GUI applications (linux or windows) that allow you to apply ffpmeg filters to a video and observe the changes in a preview in real time?&lt;/p&gt;&#xA;" OwnerUserId="13870" LastEditorUserId="13870" LastEditDate="2017-02-17T04:34:18.850" LastActivityDate="2020-05-05T02:41:12.803" Title="Ffmpeg gui tool to apply filters" Tags="|ffmpeg|video-editor|editing|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20700" PostTypeId="2" ParentId="20634" CreationDate="2017-02-17T04:38:13.840" Score="2" Body="&lt;p&gt;Yes, useful for wide crowd shots.&#xA;Yes, you can crop down/scale up 1080p selections from the 4K to simulate additional camera angles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Consider using the gopro app or a wifi remote to stop/start the gopro so you don't have to physically access the device while monitoring your main camera(s).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not sure how long the event will run for but you might want to look at an external USB power source too.&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2017-02-17T04:38:13.840" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20701" PostTypeId="2" ParentId="20697" CreationDate="2017-02-17T05:40:53.037" Score="1" Body="&lt;p&gt;The &lt;a href=&quot;http://www.videohelp.com/software/Avanti&quot; rel=&quot;nofollow noreferrer&quot;&gt;Avanti&lt;/a&gt; GUI, for Windows, allows you to preview filters. One has to select the &lt;em&gt;FFmpeg Script Editor&lt;/em&gt; tab and insert &lt;code&gt;-vfout filtername&lt;/code&gt; under &lt;code&gt;[USER_VIDEO_OPTIONS]&lt;/code&gt;. Consult the docs for exact syntax. Once entered, click on the 'Preview Filters' button.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-02-17T05:40:53.037" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20702" PostTypeId="1" CreationDate="2017-02-17T11:09:06.270" Score="2" ViewCount="3409" Body="&lt;p&gt;I wanted to parent the effect transform expression to the tracking motion (null object)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I saw the tutorials.. it showed me to click and drag the pick whip, but on my after effects there are no pick whip on the side of transform value&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/g38xB.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/g38xB.jpg&quot; alt=&quot;Not Showed&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18095" LastActivityDate="2020-04-08T06:25:19.863" Title="Parent Pick Whip Not Showed On Effect Transform Keyframing" Tags="|after-effects|after-effects-expressions|motion|tracking|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20706" PostTypeId="1" CreationDate="2017-02-17T19:08:36.863" Score="1" ViewCount="172" Body="&lt;p&gt;I always cut my videos of the trips I'm doing. And I noticed that it is often the same that I cut out the parts where nothing is said and keep only the parts where somebody is talking.&lt;br&gt;&#xA;Is there a plugin or a way in Premiere Pro CC to automatically create the cuts in a sequence where the audio changes from a lower to a higher value than a certain threshold?&lt;/p&gt;&#xA;" OwnerUserId="18100" LastEditorUserId="18100" LastEditDate="2017-02-17T19:52:26.307" LastActivityDate="2018-02-13T14:44:02.153" Title="Create cuts automatically by audio wave form in Premiere Pro CC" Tags="|premiere|audio|automation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20707" PostTypeId="1" AcceptedAnswerId="23321" CreationDate="2017-02-17T19:50:50.697" Score="2" ViewCount="2542" Body="&lt;p&gt;After setting the cuts in a sequence, is there an easy way to select every second clip to delete them all at once. &lt;/p&gt;&#xA;" OwnerUserId="18100" LastActivityDate="2018-09-29T04:04:42.100" Title="Select every second clip in Premiere Pro" Tags="|premiere|editing|shotcut|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20709" PostTypeId="2" ParentId="10820" CreationDate="2017-02-17T19:57:08.480" Score="0" Body="&lt;p&gt;Delete the file &quot;workingset&quot; in C:\Users\Username\Documents\Adobe\Premiere Pro\6.0\Styles&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It has helped me with different Title proplems, including this updating thing.&lt;/p&gt;&#xA;" OwnerUserId="18101" LastActivityDate="2017-02-17T19:57:08.480" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20710" PostTypeId="1" AcceptedAnswerId="20711" CreationDate="2017-02-17T21:12:06.380" Score="1" ViewCount="135" Body="&lt;p&gt;I'm outputting a video in Photoshop and there are a wide range of export options with seemingly very few if any blogs or tutorials explaining the pros and cons of the different options. I've researched enough to know that different file types don't necessarily affect quality in themselves, but rather the video codecs they support. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example I just &lt;a href=&quot;https://www.dropbox.com/s/uhqoc4zcileulse/RepMail%20Anim%20Step%2013.75%20hybrid.avi?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;exported this in AVI mode at 1080p&lt;/a&gt;, but have a weird flicker. This isn't really a problem, since I can just export in a different format and get a better result, but I'm just interested in a basic explanations of the pros and cons of a few different formats available in PS. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To go over a range of options I'm talking about:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;QuickTime Movie&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;H.264&lt;/li&gt;&#xA;&lt;li&gt;Animation&lt;/li&gt;&#xA;&lt;li&gt;DV - PAL&lt;/li&gt;&#xA;&lt;li&gt;DV / DVCPRO NTSC&lt;/li&gt;&#xA;&lt;li&gt;DVCPRO PAL&lt;/li&gt;&#xA;&lt;li&gt;JPEG 2000&lt;/li&gt;&#xA;&lt;li&gt;MPEG-4 Video&lt;/li&gt;&#xA;&lt;li&gt;None&lt;/li&gt;&#xA;&lt;li&gt;Photo - JPEG&lt;/li&gt;&#xA;&lt;li&gt;PNG&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;AVI&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Cinepak&lt;/li&gt;&#xA;&lt;li&gt;DV* options listed above&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Cinepak offers some weird options such as &quot;Keyframe every x seconds&quot; and &quot;Limit data rate to x&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;H.264 also offers &quot;Keyframes every x seconds&quot;, &quot;Frame reordering&quot;, and &quot;Limit data rate to x&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of them offer a depth and quality setting ranging from low to high or best - I always choose the best quality, but I'm not sure it's necessary. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If someone could very briefly explain the pros and cons of these different compression formats, and their effects on the resulting video, purposes, etc, it'd help a lot. I'd just go through and render different options to see the differences, but this is a complex animation and even with a powerful graphics card the rendering takes 30 minutes to an hour. &lt;/p&gt;&#xA;" OwnerUserId="12477" OwnerDisplayName="Viziionary" LastEditorUserId="12477" LastEditDate="2017-02-17T22:55:55.183" LastActivityDate="2017-02-18T18:23:50.233" Title="What are the pros and cons of a few of Photoshop's video format export options?" Tags="|video|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20711" PostTypeId="2" ParentId="20710" CreationDate="2017-02-17T23:12:18.107" Score="2" Body="&lt;p&gt;You don't need to worry about most of those formats. Over the last decades, different formats have emerged for different purposes. Since most of those purposes still exist somewhere, software such as the Adobe suit still supports most of them, but for general online video purposes, you don't need most of them. For a normal video that is intended to be watched on computers, uploaded to the internet et c., MP4 or AVI videos with the H.264 codec is what you will want to use, as it is supported by virtually all applications and hardware. QuickTime Movie (usually used with .mov files, though the codec can be used in other &lt;a href=&quot;https://video.stackexchange.com/questions/15821/how-are-video-and-audio-streams-placed-in-container-files-and-what-interrelati/15824#15824&quot;&gt;container formats&lt;/a&gt; as well) is another option.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;Keyframe every x seconds&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In the context of encoding an H.264 video, the term 'keyframe' refers to I-frames. For compression purposes, many codecs don't save each individual frame fully. Instead, they save one full frame (similar to one image file) every few seconds (or in irregular intervals) and for all the frames in between, only the &lt;em&gt;difference&lt;/em&gt; between the last I-frame (keyframe) is saved, reducing filesize. The keyframe interval controls the frequency of the keyframes. Most encoders can also place them irregularly whenever there is a large difference between two adjacent frames (which usually means a scene change), which is what you want if it is an option and you don't have a special reason why you need to set the keyframe interval manully.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;Limit data rate to x&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Probably refers to the bitrate (I never understood the tendency of different developers to give their settings special names, even though it's the same damn thing every time. Talk about confusing users). The bitrate is the amount of bits (i.e. information) per second. The higher the bitrate, the better the quality (non-linearly though, after a certain point there are diminishing returns in quality increasement). And the higher the bitrate, the larger the resulting file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; As Mulvya pointed out, this setting probably refers to the maximum bitrate rather than the target bitrate. That is, the encoder will never exceed that average bitrate, it may however use a lower value if feasible. In this case, the quality slider (see next section) would control the target bitrate. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Most of them offer a depth and quality setting ranging from low to high or best - I always choose the best quality, but I'm not sure it's necessary. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Quality sliders usually control the compression level, which in turn is related to the bitrate. Higher bitrate = higher quality = higher filesize. You will have to experiment with that to find a setting where you don't notice any artifacts in the rendered file while the filesize is still acceptable.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;For example I just exported this in AVI mode at 1080p, but have a weird flicker.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Looks to me like a framerate issue, but could also be caused by messing with the keyframe interval. As you said, try a different format, preferably MP4/H.264. In general, don't meddle with a setting if you don't know what it does. Setting an unusual keyframe interval for instance can yield unexpected results.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;but this is a complex animation and even with a powerful graphics card the rendering takes 30 minutes to an hour&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I had to wait about three days for an animation rendering to finish once (blender using cycles engine though), just to put that into perspective °v°&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-02-18T18:23:50.233" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20712" PostTypeId="2" ParentId="20706" CreationDate="2017-02-18T09:25:45.527" Score="-1" Body="&lt;p&gt;Not that I've heard of, however, you could add Dynamics / Compression to your audio track and essentially compress out the low gain sections. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On your Audio Mixer Window, drop down the the filter section at top for the track all your audio resides on. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will want to add Compression, not Expansion. Add some Gain MarkUp, 5-10 dB. Check Limiter, set to -2 dB.  Then adjust the ratio/gate/threshold so that the compressor will do as follows:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Add 5-10 dB of Gain to the entire track; depending on your source, you'll need to adjust that by levels/ear. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The gate/ratio will then if set correctly, only allow anything &quot;Above&quot; &quot;X dB&quot; to pass through the threshhold. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Loud sounds will be MarkUped as well, however, the compressor will not overmodulate if you adjust correctly and use the Limiter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if your video is nothing but low &quot;breeze&quot; noise, it will be cut to zero. Audio will need to &quot;pass&quot; the threshhold, and the attack setting will adjust how fast it allows passable audio to become audible and how fast it closes the gate after the audio falls below threshhold. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It sounds more complicated than it really is. If you follow the steps, play with the settings, you'll get it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The filter is called &lt;strong&gt;DYNAMICS&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-02-18T09:25:45.527" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20713" PostTypeId="2" ParentId="20695" CreationDate="2017-02-18T09:34:37.233" Score="0" Body="&lt;p&gt;Red is the (in most cases/sensors/cameras) the noisiest channel in the RGB encoding scheme. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason is simple, it's the least sensitive to light, so if you think of Red Green and Blue, in Additive terms (light, not paint/ink), and compare it to a 50% grey card... and if you were to make a 50% IRE Red, Green and Blue card, Green would appear the brightest, then blue, then red. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The fact that Red is (on average) about 1 stop less than green in terms of brightness - when measured next to G or B under identical light, inherently is more noisy, as it's 1 stop under exposed compared to green. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is why shooting green screen is easier than blue - it's brighter and needs less light to hit the target IRE levels. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In closing, any channel will be noisy when underexposed, depending on the camera of course - even when shooting 444. You'll expose correctly, but RED will always be roughly 1 stop under. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-02-18T09:34:37.233" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20714" PostTypeId="2" ParentId="20634" CreationDate="2017-02-18T09:55:06.440" Score="1" Body="&lt;p&gt;Whatever camera you go with, keep in mind that 4K sensors run hot. I would run tests, under above normal room temps, you will likely want to run a small fan over the camera, overheating will shut it down. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But a camera like the HERO 5 would be fine, tethered to a computer with a HDD that can continuously record... just keep it cool. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-02-18T09:55:06.440" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20717" PostTypeId="1" CreationDate="2017-02-18T12:01:48.083" Score="12" ViewCount="19464" Body="&lt;p&gt;Let's say I have a video, which can have any dimensions or codec (e.g. mp4), and I want to add 3 seconds of black frames to its head. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have seen other variants to this question which pertain to adding a single frame, and also answers which specify the width and height of the video. However the video can be of any width and height and I don't want to change those values. Just add the black. In a separate command, I'd also like to add the seconds of black to the tail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There should be no audio in the black section - the black should just be concatenated to the front and end. Also, I'd like to avoid re-encoding the video if possible, and copy the result to a new file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="18107" LastEditorUserId="18108" LastEditDate="2017-02-18T13:22:40.613" LastActivityDate="2017-02-19T05:13:08.083" Title="ffmpeg: add 3 seconds of black to video head and tail" Tags="|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20718" PostTypeId="2" ParentId="20695" CreationDate="2017-02-18T17:02:49.360" Score="2" Body="&lt;p&gt;Filming any light that is strongly a single color is likely to produce a lot of noise because it's absorbing more light. (In your case, the red brick is absorbing green and blue, leaving only the red.) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Furthermore, if you're filming with a Bayered CMOS sensor like the ones found in most phone cameras and DSLRs, the sensor captures twice as much green light as it does red or blue light. The sensor sites are generally set up in a red-green-blue-green order.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you're starting with less light reflected from the material and your collecting less light at the sensor. Any noise is going to be magnified because the resolution of the red channel is half that of the green channel, too. So how do you avoid it? You have a few options:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Supply more light to the scene&lt;/li&gt;&#xA;&lt;li&gt;Use a camera with a sensor that has good low light response&lt;/li&gt;&#xA;&lt;li&gt;Apply noise reduction in post&lt;/li&gt;&#xA;&lt;li&gt;If you can change out the background (either by replacing it or filming from a different angle), that might be better.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-02-18T17:02:49.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20720" PostTypeId="2" ParentId="20707" CreationDate="2017-02-19T03:16:37.437" Score="0" Body="&lt;p&gt;When I'm editing my YouTube videos, my footage comprises silence, then a shot I want, then silence, then a shot I want, etc.  I do this as follows:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select the whole clip.&lt;/li&gt;&#xA;&lt;li&gt;Click on the timeline where I want to cut.&lt;/li&gt;&#xA;&lt;li&gt;Press Ctrl-K to cut there.&lt;/li&gt;&#xA;&lt;li&gt;Press &lt;strong&gt;Shit-Delete&lt;/strong&gt; to delete the first part of clip.&lt;/li&gt;&#xA;&lt;li&gt;Click on the clip again to select it.&lt;/li&gt;&#xA;&lt;li&gt;Click on the timeline where I want to cut.&lt;/li&gt;&#xA;&lt;li&gt;Press Ctrl-K to cut there.&lt;/li&gt;&#xA;&lt;li&gt;Click on the clip to the &lt;em&gt;right&lt;/em&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Click on the timeline where I want to cut.&lt;/li&gt;&#xA;&lt;li&gt;Press Ctrl-K to cut there.&lt;/li&gt;&#xA;&lt;li&gt;Press &lt;strong&gt;Shift-Delete&lt;/strong&gt; to delete the clip to the left (the currently-selected clip).&lt;/li&gt;&#xA;&lt;li&gt;Repeat.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This isn't exactly what you want, but it sounds as though our workflows are similar.  I just delete the clips I don't want as I'm making my cuts, by using Shift-Delete.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2017-02-19T03:16:37.437" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20721" PostTypeId="2" ParentId="20717" CreationDate="2017-02-19T05:13:08.083" Score="16" Body="&lt;p&gt;The basic method to join videos without re-encoding is to use the concat demuxer. This device requires that the files being joined share certain properties, like codec, framerate, video dimensions, timebase..etc&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First step is to create the blank segment, which may be used both at the head and tail.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i fullvideo.mp4 -vf trim=0:3,geq=0:128:128 -af atrim=0:3,volume=0 -video_track_timescale 600 3sec.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Have to do one bookkeeping step for the full video. If not done, the combined video will likely run at the wrong speed.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i fullvideo.mp4 -c copy -video_track_timescale 600 full600.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Next, create a text file.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 3sec.mp4&#xA;file full600.mp4&#xA;file 3sec.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i list.txt -c copy merged.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;My first step assumes that the video stream has the most common pixel format &lt;code&gt;yuv420p&lt;/code&gt;. Which should be fine as this is the only pixel format supported by web players and smartphone cameras, consumer camcorders..etc. If it's not, the &lt;code&gt;geq&lt;/code&gt; filter may fail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also assume, tacitly, that the full video does not use more reference frames than produced by preset &lt;code&gt;medium&lt;/code&gt; of x264. It's a safe assumption for 95% of videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, I assume the full video has AAC-LC as its audio codec. Expected to be true of most phone/cam/web videos.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-02-19T05:13:08.083" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20723" PostTypeId="1" CreationDate="2017-02-19T11:30:06.563" Score="0" ViewCount="73484" Body="&lt;p&gt;I'm using Adobe After Effects CC 2017 and I want to reduce the render file size. However, I Googled all day and I cannot find any for CC 2017. All of them says that change the format to H.264 but we cannot do that in CC 2017. Please help me.&lt;/p&gt;&#xA;" OwnerUserId="18117" LastActivityDate="2021-05-15T20:28:14.520" Title="Reduce render file size in After Effects CC 2017" Tags="|after-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20725" PostTypeId="1" AcceptedAnswerId="20974" CreationDate="2017-02-19T15:43:41.583" Score="0" ViewCount="2862" Body="&lt;p&gt;I am using Shotcut for my video editing (I am a beginner). I record one big video file, and one audio file separately, but when I load them into Shotcut actually I just need some portion of it. Is there a way then when I have read in the video and the audio into separate tracks to just export a portion of it (like from 1min - 2min or so)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The way I do it now goes like this: I add them both to Shotcut, export everything, so that I end up with one big mp4 file. Then I reread this into Shotcut and just add the portion (with the blue/red-slider beneath the preview) I actually want (as a track), and then I export this again. But this additional step of exporting (and thereby rendering) everything I wish to skip, as it takes some time. So is there a way to do this?&lt;/p&gt;&#xA;" OwnerUserId="18120" LastActivityDate="2017-04-09T18:21:08.230" Title="After reading separate video and audio tracks (in Shotcut), just export a portion of it as one video" Tags="|video|editing|audio|shotcut|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20726" PostTypeId="2" ParentId="20723" CreationDate="2017-02-19T15:59:25.250" Score="2" Body="&lt;p&gt;To render H.264 it's actually very easy.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;From your Project window, select the sequence you wish to render.&lt;/li&gt;&#xA;&lt;li&gt;Right click-&gt;Export Media (or File-&gt;Export Media)&lt;/li&gt;&#xA;&lt;li&gt;In the Video tab, select H.264 for format&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Then, in the basic video settings below, you can change to smaller-than-original resolution, low bit rates, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are trying to export a Quicktime file that uses H.264, that's much more challenging.  When you select Quicktime, Premiere Pro gives you a useless menu of Presets that were relevant for about six months during the early 1990s.  Ignore all of them, as they are stupid.  Instead, look down to where there's a Video Codec selector.  Click on that and you'll see tons of options, including H.264.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-02-19T15:59:25.250" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20727" PostTypeId="1" CreationDate="2017-02-20T07:37:44.863" Score="2" ViewCount="138" Body="&lt;p&gt;Retitling and reediting, after a few tips from &lt;a href=&quot;https://video.stackexchange.com/users/1871/mulvya&quot;&gt;Mulvya&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've got a &lt;code&gt;div&lt;/code&gt; on my blog, with background color set to &lt;a href=&quot;http://www.color-hex.com/color/83d3c9&quot; rel=&quot;nofollow noreferrer&quot;&gt;#83d3c9&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yesterday I tried creating a video on AE where the background was set to exactly the same color. I was hoping that if I upload it to YouTube and then embed it inside that &lt;code&gt;div&lt;/code&gt;, it might &quot;blend in&quot; kind of seamlessly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yet, when I finally reached this point, I couldn't help but notice a slight difference in color between the two elements, as if YouTube was applying some kind of tint to my video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Following Mulvya's advise, I checked my file by means of mediainfo.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Color space:        YUV&#xA;Chroma subsampling: 4:2:0&#xA;Bit depth:          8 bits&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And, then, further down the output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Color primaries:          BT.709&#xA;Transfer characteristics: BT.709&#xA;Matrix coefficients:      BT.709&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;No &lt;code&gt;Color range&lt;/code&gt; seems to be specified.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I went on to check how my video displays on VLC. Same faint tint there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oddly enough, this was not the case when I played it on Windows Media Player, where my video background was pretty much identical to the background color of that original &lt;code&gt;div&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Further tips as to what might be going on would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="15912" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-08-20T23:00:15.793" Title="Why is YouTube and VLC making a slight but noticeable mess of my video background?" Tags="|after-effects|youtube|color|vlc|" AnswerCount="2" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="20728" PostTypeId="1" CreationDate="2017-02-20T10:45:57.983" Score="2" ViewCount="712" Body="&lt;p&gt;If I have a .csv file of x / y coordinates, representing positional data of an object in an animation, what's the easiest way to apply that to a 2D null in After Effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Eg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Frame,Xpos,Ypos&#xA;1,33,360&#xA;2,34,361&#xA;3,38,370&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I ask because I'm trying to track movement of an object from a D3.js without having to endlessly motion-track objects.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2017-02-21T09:08:01.483" LastActivityDate="2017-02-23T15:50:02.063" Title="How to import 2D position data into After Effects" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20729" PostTypeId="2" ParentId="20723" CreationDate="2017-02-20T16:05:09.723" Score="1" Body="&lt;p&gt;I remember searching for this all day long some months ago.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe seems to have discontinued some of the options that were available in previous versions of AE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll have to get your hands on Adobe Media Encoder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once installed, it will appear as an option under &lt;code&gt;Composition&lt;/code&gt; in AE, saying &lt;code&gt;Add to Adobe Media Encoder Queue&lt;/code&gt;, just above the regular &lt;code&gt;Add to Render Queue&lt;/code&gt; option.&lt;br&gt;(Prior to installation, this is greyed out.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Click on that and all the good old export options will appear.&lt;/p&gt;&#xA;" OwnerUserId="15912" LastActivityDate="2017-02-20T16:05:09.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20730" PostTypeId="1" CreationDate="2017-02-20T17:31:34.447" Score="1" ViewCount="375" Body="&lt;p&gt;&lt;strong&gt;Summary&lt;/strong&gt;: How do I get VideoStitch Studio, AutoPano Video, or any other video stitcher to properly crop an equirectangular or cylindrical projection?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Details&lt;/strong&gt;: I am creating a wide-angle video from two GoPro (120° HFoV each) overlapped by about 50%. The desired end result is about 190° horizontal, 45° vertical. When I bring two (synchronized) video frames into &lt;a href=&quot;http://hugin.sourceforge.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Hugin&lt;/a&gt; as pictures, I can set up a stitch and projection and crop…&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JTWtY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JTWtY.jpg&quot; alt=&quot;Two warped images with crop markers&quot;&gt;&lt;/a&gt;&lt;br&gt;&#xA;&lt;sup&gt;&lt;em&gt;(Ignore the phantom hand and unblended screenshot)&lt;/em&gt;&lt;/sup&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;…and Hugin produces the result I want:&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/k0jbY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/k0jbY.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I bring the two videos into either &lt;a href=&quot;http://www.video-stitch.com/studio/&quot; rel=&quot;nofollow noreferrer&quot;&gt;VideoStitch Studio&lt;/a&gt; or &lt;a href=&quot;http://www.kolor.com/autopano-video/&quot; rel=&quot;nofollow noreferrer&quot;&gt;AutoPano Video&lt;/a&gt; I can get the two videos synchronized and calibrated, but I cannot figure out how to crop the projection to include the region of interest. (With VideoStitch Studio I even load the Hugin &lt;code&gt;.pto&lt;/code&gt; file; I thought this should include the crop.) The videos they produce are always a small region of the video inside a sea of black:&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/9AoNU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9AoNU.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using either of these two video-stitchers—or any other process—how can I get Hugin-like cropping of my videos?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(The final video dimensions will be very high resolution, on the order of 6k horizontal pixels, so I'd strongly prefer not to say &lt;em&gt;&quot;Just render it extra extra big and then use After Effects to crop out the center.&quot;&lt;/em&gt;)&lt;/p&gt;&#xA;" OwnerUserId="17099" OwnerDisplayName="Phrogz" LastEditorUserId="17099" LastEditDate="2017-02-20T22:01:38.507" LastActivityDate="2017-02-20T22:01:38.507" Title="Cropping a Video Panorama" Tags="|video|360video|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20731" PostTypeId="2" ParentId="20200" CreationDate="2017-02-20T21:01:36.103" Score="1" Body="&lt;p&gt;You can do this when you export&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XqwLD.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XqwLD.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user18135" LastActivityDate="2017-02-20T21:01:36.103" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20732" PostTypeId="2" ParentId="20727" CreationDate="2017-02-21T03:09:58.830" Score="0" Body="&lt;p&gt;One possible solution would be to upload the video, then sample it with a color picker and see what values it produces. Set your &lt;code&gt;div&lt;/code&gt; to be the color you sampled. If you're on a Mac and have the developer tools installed, you can use Pixie to find the color of it on your local machine. You still run the risk that either the video or the background will render slightly differently on different machines or with different browsers. But that's true even in the best case.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-02-21T03:09:58.830" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20736" PostTypeId="1" AcceptedAnswerId="20737" CreationDate="2017-02-21T13:27:37.810" Score="2" ViewCount="2620" Body="&lt;p&gt;This Question is not about what aspect ratio should be chosen for the final film, it's rather about how to get the biggest &quot;resolution&quot; capable of the cammera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you take a photo with a Modern camera &quot;usually&quot; it's 4/3, I know you can change the aspect ratio, but that's not my point.&#xA;I assume, that the sensors of DSLR cameras are the same ratio, because they are created for the purpose of creating photos, aren't they?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess focal lenght can be taken in account as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now when you shoot Video in 16:9, I assume, that the image is &quot;croped&quot;, because you can't change the size and ratio of your sensor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the only way, to have that aspect ratio, is to leave it blank or record on the top/bottom of the image (or both) a black bar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wouldn't it be smarter, to record with the fullsensor, to get &quot;more&quot; of the image&quot;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This might sound redicolous, because you'd have a bigge file size and have to put black bars over it in post. But like this you'd have some extra &quot;room&quot;, for example someone dips the Microphone or the boom in the picture, you could just crop the clip a bit further down and still be able to use it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More footage = better to edit, right?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because you still have the same width of the sensor that you use, you just use all of the avaivable height as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now here is my question:&#xA;What aspect ratio, should you put your cammera into, to get the highest resolution. &lt;/p&gt;&#xA;" OwnerUserId="17625" LastEditorUserId="17625" LastEditDate="2017-02-22T07:57:03.153" LastActivityDate="2018-01-30T16:17:46.357" Title="In what aspect ratio shoud one record with a DSLR?" Tags="|video-quality|dslr|aspect|image-sensors|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20737" PostTypeId="2" ParentId="20736" CreationDate="2017-02-21T14:46:35.113" Score="4" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;When you take a photo with a Modern camera &quot;usually&quot; it's 4/3, I know you can change the aspect ratio, but that's not my point. I assume, that the sensors of DSLR cameras are the same ratio, because they are created for the purpose of creating photos, aren't they?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Actually, no. Only low-end digital cameras (mostly point-and-shoot) use a 4/3 aspect ratio, because they were designed to match the aspect ratio of computer displays (which used to be 4/3). DSLRs use the traditional 3/2 aspect ratio of 35mm film. So if you set your DSLR to 4/3 (for photos), a part of the sides gets cropped.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Wouldn't it be smarter, to record with the fullsensor, to get &quot;more&quot; of the image&quot;?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Most DSLRs don't use their 'full' resolution for video because of technical limitations (mostly memory buffer, but also memory card transfer speed). For example: My Canon EOS 80D has a maximum resolution of 6000x4000 pixels for photos. However, the highest video resolution it can record in is 1920x1080p @ 50fps (IPB). IPB means every frame is recorded as a full frame, no interframe compression is applied. Recording 25 or even 50 frames per second at a resolution of 6000x4000 pixels would result in an absurdly high data rate that DLSRs simply aren't built to process and transfer. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;What aspect ratio, should you put your cammera into, to get the highest resolution. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Depends on your camera. Either the camera menu or manual will specify the available resolutions for each aspect ratio, possibly it's a seperate setting as well. This way you can tell what combination gives you the highest resolution. If you can't find the resolution specified in the menu or the manual, take a test recording with every setting the camera has, copy the files to your computer and check each file's resolution with &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt; or a similar program.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Note that apart from the resolution, the bitrate will have a much higher impact on your video quality than some pixels more or less. Make sure to get a fast SD card with a lot of space so you can always record at the highest bitrate (and I-frames only if that's an option with your camera). Also, it's good practice to film in the resolution that you want your final video to be in for more reasons than video quality. So if you're creating a video that is intended to be viewed on normal video screens, film in 16/9 from the start.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-02-21T14:46:35.113" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20738" PostTypeId="1" CreationDate="2017-02-21T14:59:32.687" Score="4" ViewCount="8777" Body="&lt;p&gt;I am working with Premiere Pro and am trying to use tracking to keep an object in frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm zooming in on a video that has a moving object; in this case it's the neck of a guitar.&#xA;Because the guitarist is moving around, the neck goes up and down.&#xA;Sometimes it will move out of its frame (the zoomed-in image).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to keep the neck in the frame; thus move the zoomed frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this at all possible with tracking?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen some amazing tracking effects like blurring a moving face or car license plate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course I can do this manually, by moving the frame around.&#xA;But man..... would this save me a lot of work :-)&lt;/p&gt;&#xA;" OwnerUserId="18150" LastEditorUserId="16850" LastEditDate="2017-02-21T21:06:59.923" LastActivityDate="2017-02-21T21:06:59.923" Title="Tracking in Premiere Pro: Keep an object in a zoomed-in video in place" Tags="|premiere|motion|tracking|pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20739" PostTypeId="2" ParentId="20738" CreationDate="2017-02-21T19:16:34.997" Score="3" Body="&lt;p&gt;You'll need to use AfterEffects to effectively track camera or object motion. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are tutorials on YouTube, my advice is do the tracking last, so you only track the footage frames used in your project. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Put all the shots you plan to track on a dedicated track in premiere while editing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Export that video track with all other tracks off and import that video into AE, then track the sections that appear in the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you can use Bridge with Dynamic Link. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I say this because the tracking feature in AE is &quot;intelligent&quot; and will do a lot of the work for you, to a point, but many times you have to make corrections, do manual frame by frame track points... It's time consuming. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-02-21T19:16:34.997" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20740" PostTypeId="2" ParentId="20727" CreationDate="2017-02-21T19:27:07.510" Score="1" Body="&lt;p&gt;This is a problem that drove me crazy...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Long story short; certain browsers; whether it's Chrome, Explorer, Firefox, etc, actually handle color profiles, embedded within the video file (such as color workspace), differently. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe if I remember correctly, Chrome uses Monitor Color, sRGB. Regardless of your video file's color profile/lack there of. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I ran into this problem consistently, and after a lot of testing, researching, my final conclusion is that there is no way to guarantee final color values of outputs when played within Web Browsers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This also works backwards; because if you were to download the video file/rip using a rip tool (it very well might and include the color profile); which when played in AE or PPro would be recognized and applied; thus it would not match what you see in Chrome. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your best bet is to make sure your Color Space is synced through Bridge, your monitor is calibrated, preferably with a spyder, but unfortunately, regardless of your file or your system, certain players; specifically browers; ignore coloremetry data; or worse, may convert or change your settings; with no work around. End users of course; you have no clue what they see... too many variables. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-02-21T19:27:07.510" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20741" PostTypeId="1" CreationDate="2017-02-21T19:35:10.613" Score="0" ViewCount="1593" Body="&lt;p&gt;&quot; &lt;a href=&quot;https://video.stackexchange.com/questions/18227/removing-mp4-encoding-information&quot;&gt;Removing MP4 encoding information&lt;/a&gt; &quot; I have tried the formula of interpretation but I have compared it with such an error.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot; Unknown bitstream filter h264_changesps &quot; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I supposed to do?&lt;/p&gt;&#xA;" OwnerDisplayName="user18109" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-02-21T19:35:10.613" Title="H264 Remove Encoding Settings - Error FFMPEG" Tags="|encoding|metadata|h.264|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20742" PostTypeId="1" AcceptedAnswerId="20746" CreationDate="2017-02-21T21:08:11.537" Score="0" ViewCount="1532" Body="&lt;p&gt;I tried create a video file from the &lt;code&gt;AviSynth&lt;/code&gt; script using this command (in Windows 7):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -i  file.avs  file.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and I got this message:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[avisynth @ 05000e60] AviSynth version is too old. Please upgrade to either&#xA;                      AviSynth 2.6 &amp;gt;= RC1 or AviSynth+ &amp;gt;= r1718.&#xA;                      file.avs: Unknown error occurred&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Very clear recommendation (as I use &lt;code&gt;AviSynth+ 0.1 (r1576, x86)&lt;/code&gt;) but I'm not able to find an newer version, neither for &lt;code&gt;AviSynth&lt;/code&gt;, nor for &lt;code&gt;AviSynth+&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nevertheless, it was probably only an recommendation. The most important part is indeed this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;                      file.avs: Unknown error occurred&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So I changed the content of the &lt;code&gt;file.avs&lt;/code&gt; - I put only one command into it, enough simple and stupid, so my &lt;code&gt;file.avs&lt;/code&gt; now looks like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;version&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;No change.&lt;/em&gt; The same message. So I kindly ask for an advice what to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I tried it with versions &lt;code&gt;3.2.2&lt;/code&gt; and &lt;code&gt;2.8.4&lt;/code&gt; of &lt;code&gt;ffmpeg&lt;/code&gt;, both of them report  &lt;code&gt;--enable-libxavs&lt;/code&gt; in their configuration and &lt;code&gt;D  avisynth  AviSynth script&lt;/code&gt; in their file formats obtained by &lt;code&gt;ffmpeg -formats&lt;/code&gt;.)&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2017-02-21T21:32:34.683" LastActivityDate="2017-02-22T05:58:15.547" Title="Unable to convert Avisynth script in ffmpeg" Tags="|ffmpeg|script|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20743" PostTypeId="2" ParentId="14502" CreationDate="2017-02-21T21:55:11.517" Score="10" Body="&lt;p&gt;&lt;strong&gt;TL;DR&lt;/strong&gt; : Nothing simple. Both solutions use a relay, and it's not suitable for real production.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Actually, you only have two possibilities, and both are ugly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is absolutely no open-source software capable to handle a non-permanent stream (GStreamer+forks, FFmpeg, VLC, MPlayer). Every single one of them have the same behavior: last frame still visible, and everything is stopped until data come again.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Option 1 — Tunneling + cache&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;You need two FFmpeg running, and a script using FFplay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first FFmpeg pull the RTMP stream. The output is a local port and the protocol need to be based on MPEG-TS. It's better if the input is tuned for the lowest latency.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, you need to optimize how FFmpeg start: no analysis of the stream (set the fps in the command line), early start, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second FFmpeg pull the local MPEG-TS stream, and transcode the stream to a new RTMP. You need to reencode it with x264, because the video packets will broke at the first switch (so you need a better quality for your original stream).&#xA;You need to increase the input latency : default is 3s for FFmpeg, but you need something like 8s. It can be lowered, but only after you really understand what is going on and where is your margin.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The magic is with FFplay.&lt;br&gt;&#xA;You have a script running, where FFmpeg read the original RTMP stream. When the stream as no more data, FFplay send an error and stop.&#xA;Then, the script kill the first FFmpeg instance, and launch a new one.&#xA;That FFmpeg is the “offline” stream. Whatever input you want, you need to encode it in x264 MPEG-TS, to the local port. And with the same fps/size than your normal stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;During this time, the second FFmpeg is still playing his input cache. So the 4 or 5 seconds for the “offline” FFmpeg to launch is not a problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the actual loop of the script, you need a new FFplay. When your stream is back, it kills the offline FFmpeg, and relaunch the normal one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The input cache do the job, and the reencoding clean the broken video packets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It works, but it's not a proper solution, like an overlay on FFmpeg, and FFmpeg not stopping when an input is unresponsive/missing/empty.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Option 2 - OpenBroadcaster Software&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;If I don't have a full script to post here, it's because I found a new solution :&#xA;Use OBS on the server, capture the original stream, put your offline image behind, and send the stream to your distribution server.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, there is a catch, OBS need OpenGL 3.1 (2?), and a desktop. So you need a real PC &amp;amp; GPU, or virtualize the desktop with ESXI (I don't know if VirtualBox make a virtual GPU compatible with OpenGL 3.1).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The logic is the same, but more friendly.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;The only Good Solution&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;FFmpeg is capable to handle everything on a single instance. If you use overlays, you can have the offline layer and the original stream on the top of it. FFmpeg even know how to restart a stream when it's republished.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, actually, FFmpeg stop everything when one input is offline/missing/empty.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An option to change the behavior of FFmpeg on an input is the only thing missing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried the dev mailing list, no response. Same thing for my predecessors. The dev “community” of FFmpeg is not friendly, based on old tools (you better not criticize the use of a mailing list!), and conservative.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If someone has a better solution, a magical program to do a simple offline switcher, it's really needed ;)&lt;/p&gt;&#xA;" OwnerUserId="18157" LastEditorUserId="18155" LastEditDate="2019-12-20T20:34:10.083" LastActivityDate="2019-12-20T20:34:10.083" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="20744" PostTypeId="2" ParentId="20536" CreationDate="2017-02-21T21:58:05.117" Score="1" Body="&lt;p&gt;Using &lt;code&gt;embedded&lt;/code&gt; (or omitting &lt;code&gt;-audio_input&lt;/code&gt;) is the intended way to get the audio of HDMI or SDI signals.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please make sure that there is a 2ch-stereo audio signal on HDMI. If it is 5.1 or 7.1 you might have to use &lt;code&gt;-channels 8&lt;/code&gt; in the commandline before the &lt;code&gt;-i&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: please pay attention to the &lt;code&gt;pix_fmt&lt;/code&gt; warning. Leave that option out of your commandline.&lt;/p&gt;&#xA;" OwnerUserId="18160" LastActivityDate="2017-02-21T21:58:05.117" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20746" PostTypeId="2" ParentId="20742" CreationDate="2017-02-22T05:58:15.547" Score="3" Body="&lt;p&gt;From FFmpeg source code:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;On Windows, FFmpeg supports AviSynth interface version 6 or higher.&#xA;  This includes AviSynth 2.6 RC1 or higher, and AviSynth+ r1718 or&#xA;  higher, and excludes 2.5 and the 2.6 alphas.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;https://forum.doom9.org/showthread.php?p=1718841#post1718841&quot; rel=&quot;nofollow noreferrer&quot;&gt;doom9&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The decision to drop support for anything below 2.6 RC1 was due to&#xA;  catastrophic header incompatibilities between 2.5 and 2.6 RC1* and the&#xA;  maintenance burden (and potential licensing minefield that could mean&#xA;  any additional 2.5 support would violate GPL) that would be incurred&#xA;  by trying to continue to support 2.5 while using properly updated 2.6&#xA;  headers.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Get AviSynth+ r2420 from &#xA;&lt;a href=&quot;https://github.com/pinterf/AviSynthPlus/releases/tag/r2420-MT&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/pinterf/AviSynthPlus/releases/tag/r2420-MT&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-02-22T05:58:15.547" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20748" PostTypeId="1" AcceptedAnswerId="20757" CreationDate="2017-02-22T09:39:09.003" Score="0" ViewCount="2216" Body="&lt;p&gt;I have some raw H.264 10bit videos need to convert to HEVC format, but the encoder only takes some frames (600/170000) to encode, and the video is full of noise. What is the correct way to encode those videos?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command I used: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x265 --input video.h264 --fps 24 --input-res 1920x1080 --output video.hevc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;EDIT #1: I just tried to use ffmpeg but give me following error&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Truncating packet of size 24883200 to 538208&lt;br&gt;&#xA;  [rawvideo @ 0x1561e80] Invalid buffer size, packet size 538207 &amp;lt; expected frame_size 24883200&#xA;  Error while decoding stream #0:0: Invalid argument&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;EDIT #2: ffmpeg cmd&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -f rawvideo -vcodec rawvideo -s 1920x1080 -pix_fmt yuv420p10le -i video.h264 -c:v libx265 -crf 18 -preset medium -x265-params profile=main10:level-idc=50:high-tier:vbv-bufsize=100000:vbv-maxrate=100000 video.hevc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="18163" LastEditorUserId="18163" LastEditDate="2017-02-22T23:33:45.187" LastActivityDate="2017-02-23T06:38:26.057" Title="How to encode with x265 cli" Tags="|encoding|h.265|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20750" PostTypeId="1" AcceptedAnswerId="20792" CreationDate="2017-02-22T15:04:46.160" Score="1" ViewCount="572" Body="&lt;p&gt;I'm trying to get started with Fusion. I have h.264 encoded video in a mp4 container. When creating a loader I get an unhelpful error of 'Loader1 failed at time 0'. Googling around I found some mention of not having the codec installed, so I pulled the CCCP and still had no dice. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg also seems to be able to work with the files fine. I see some mention of Direct Show in the file format selector, but there is no option in ffmpeg to encode to that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I just try and mash a h.264 encoded stream into a container that appears to be supported, like avi, using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -c:v h264_cuvid -i preaudio.mp4 -c:a copy -c:v h264_nvenc preaudio.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I get errors that look like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Loader1 failed at time 0&#xA;Loader1 failed at time 0&#xA;Loader1 failed to load file &quot;&amp;lt;pwd&amp;gt;\preaudio0000.avi&quot; (clip &quot;&amp;lt;pwd&amp;gt;\preaudio.avi&quot; at frame 0)&#xA;Loader1 failed at time 0&#xA;Loader1 failed to load file &quot;&amp;lt;pwd&amp;gt;\preaudio0000.avi&quot; (clip &quot;&amp;lt;pwd&amp;gt;\preaudio.avi&quot; at frame 0)&#xA;Loader1 failed at time 0&#xA;Loader1 failed to load file &quot;&amp;lt;pwd&amp;gt;\preaudio0000.avi&quot; (clip &quot;&amp;lt;pwd&amp;gt;\preaudio.avi&quot; at frame 0)&#xA;Loader1 failed at time 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Googling Loader failed at time 0 yields nothing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TLDR; I know nothing and want to get from a file like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '.\GOPR0047.MP4':&#xA;  Metadata:&#xA;    major_brand     : mp41&#xA;    minor_version   : 538120216&#xA;    compatible_brands: mp41&#xA;    creation_time   : 2017-02-20T21:24:36.000000Z&#xA;    firmware        : HD4.01.05.00.00&#xA;  Duration: 00:11:49.72, start: 0.000000, bitrate: 45115 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 44960 kb/s, 59.94 fps, 59.94 tbr, 60k tbn, 119.88 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-02-20T21:24:36.000000Z&#xA;      handler_name    :         GoPro AVC&#xA;      encoder         : GoPro AVC encoder&#xA;      timecode        : 21:45:04:55&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 127 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-02-20T21:24:36.000000Z&#xA;      handler_name    :         GoPro AAC&#xA;      timecode        : 21:45:04:55&#xA;    Stream #0:2(eng): Data: none (tmcd / 0x64636D74) (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-02-20T21:24:36.000000Z&#xA;      handler_name    :         GoPro TCD&#xA;      timecode        : 21:45:04:55&#xA;    Stream #0:3(eng): Data: none (fdsc / 0x63736466), 13 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-02-20T21:24:36.000000Z&#xA;      handler_name    :         GoPro SOS&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To something that Fusion will let me work with.&lt;/p&gt;&#xA;" OwnerUserId="18165" LastActivityDate="2017-02-27T19:43:24.117" Title="How do you load gopro footage into Blackmagic Fusion?" Tags="|ffmpeg|blackmagic|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20751" PostTypeId="2" ParentId="19651" CreationDate="2017-02-22T16:25:56.443" Score="1" Body="&lt;p&gt;Google Projection Throw Calculator, the one on the Christie Website is good. You won't get a 36&quot; size image from 20&quot;, with any lens I know of. That would be super wide. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The shorter your throw / wanting the biggest screen = wider lens. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wider Lens = More Expensive typically at least for high quality wides that don't distort. Secondly, wider means typically a hotspot center image... That's why longer throws are preferable. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used to have Christie 10K HD Projectors. If you have limited space you can use a projection mirror, or series of mirrors to bounce the image and lengthen the throw. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's not uncommon in home theaters, for people who reverse project to mount the projector in the wall sideways; shoot the image down the wall; to a projection mirror which is behind the screen and bounce it back; simply because of space limitations. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you use a mirror; your projector will have to have image warping capabilities; at the least keystone correction; H/V flip and preferably depending on if you setup sideways; rotate image. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as mirrors; you want a projection mirror; a regular mirror is made with a sheet of glass on top of the silver backing. This will reflect an image with a 2nd ghost image / making the projected result appear slightly blurry. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Projection mirrors/Dental Mirrors are mirrors with only the silver, and no protective glass on top. That said, you have to handle them very carefully. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-02-22T16:25:56.443" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20753" PostTypeId="1" AcceptedAnswerId="20756" CreationDate="2017-02-22T20:37:54.493" Score="0" ViewCount="826" Body="&lt;p&gt;I installed anew version of &lt;code&gt;AviSynth+&lt;/code&gt; and besides solving some problems with its &lt;code&gt;DirectShowSource.dll&lt;/code&gt; I discover (from the &lt;code&gt;Setup Log&lt;/code&gt; file) that it consider &lt;code&gt;C:\&lt;/code&gt; as its autoload directory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It helped me - I copied &lt;code&gt;DLLs&lt;/code&gt; there. But it is neither elegant nor useful solution (as I have installed both 32- and 64-bit versions).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to change configuration to return to default &lt;code&gt;plugins+&lt;/code&gt; and &lt;code&gt;plugins64+&lt;/code&gt; directories?&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2017-02-23T05:38:28.677" Title="How to change AviSynth plugins directory?" Tags="|plugins|script|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20754" PostTypeId="2" ParentId="19441" CreationDate="2017-02-23T04:03:23.317" Score="1" Body="&lt;p&gt;The CineStyle LUT JDlugosz mentioned is one. Another popular one is the &lt;a href=&quot;https://prolost.com/blog/2012/4/10/prolost-flat.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ProLost Flat Picture Style&lt;/a&gt;. This one just involves adjusting the camera settings. I don't know if Premiere Pro supports it directly (it's mainly just a contrast adjustment), but I do know that Stu Maschwitz (who's blog is linked above) has worked with Adobe in the past, so it wouldn't surprise me if it did.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-02-23T04:03:23.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20755" PostTypeId="1" AcceptedAnswerId="20765" CreationDate="2017-02-23T04:23:23.987" Score="1" ViewCount="44" Body="&lt;h2&gt;The Camera&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;My organisation has a &lt;a href=&quot;http://www.panasonic.com/au/support/product-archives/lumix-cameras-video-cameras/video-cameras/hc-v700.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Panasonic HC-V700&lt;/a&gt; for event video.  The video end product consists entirely of a single person standing at a lectern and is published on YouTube.  I usually set up the camera by mounting it on a tripod, manually focussing on the subject, connecting the audio, turning on record at the start of the event, and stopping the record at the end of the event.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to replace this with the &lt;a href=&quot;https://www.usa.canon.com/internet/portal/us/home/products/details/cameras/dslr/eos-rebel-t5i-ef-s-18-55-is-stm-kit&quot; rel=&quot;nofollow noreferrer&quot;&gt;Canon EOS Rebel T5i&lt;/a&gt; which was purchased by the event organiser for stills, along with EFS 55-250 mm lens.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Audio&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Audio is supplied via line feed.  I use a mixer and headphones to check the levels before feeding the audio to the camera.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Venue&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;The venue is indoors, and lighting is usually poor.&#xA;The camera is usually located at the back of the room, and is in a fixed position, and no zooming is required.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;The Questions&lt;/h2&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Will this replacement camera deliver a better result?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;What configuration does it need to do the job?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="14351" LastEditorUserId="14351" LastEditDate="2017-02-23T04:52:24.333" LastActivityDate="2017-02-24T12:24:09.287" Title="How do I replace my organisation's event video camera?" Tags="|video|camera|video-recording|dslr|canon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20756" PostTypeId="2" ParentId="20753" CreationDate="2017-02-23T05:38:28.677" Score="1" Body="&lt;p&gt;As the docs indicate, you have to create registry keys to tell Avisynth+ where to look. They are&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;PluginDir+ in Software/Avisynth in HKEY_CURRENT_USER&#xA;PluginDir+ in Software/Avisynth in HKEY_LOCAL_MACHINE&#xA;PluginDir2_5 in Software/Avisynth in HKEY_CURRENT_USER&#xA;PluginDir2_5 in Software/Avisynth in HKEY_LOCAL_MACHINE&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There is no separate key for 32 or 64-bit. Since 32-bit AVS will not load 64-bit plugins, I suggest setting the first key in the above list to the 64-bit plugins folder, and the 2nd to the 32-bit. The 64-bit AVS DLL when loaded will use plugins from the first folder. The 32-bit DLL will skip them and load from the 2nd folder.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-02-23T05:38:28.677" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20757" PostTypeId="2" ParentId="20748" CreationDate="2017-02-23T05:44:05.257" Score="2" Body="&lt;p&gt;Your source is neither YUV nor Y4M, going by the extension (and also the FFmpeg error you received). x265 is referring to a raw &lt;strong&gt;uncompressed&lt;/strong&gt; bitstream by those extensions, not simply the pixel format. A &lt;code&gt;.h264&lt;/code&gt; is a raw H.264-encoded bitstream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To use ffmpeg only, start the cmd like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f h264 -i video.h264 -c:v libx265 ....&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To use the x265 standalone encoder, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f h264 -i video.h264 -f yuv4mpegpipe - | x265 --input - --fps 24 ....&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-02-23T06:38:26.057" LastActivityDate="2017-02-23T06:38:26.057" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20760" PostTypeId="2" ParentId="20728" CreationDate="2017-02-23T15:50:02.063" Score="5" Body="&lt;p&gt;Found the answer &lt;a href=&quot;https://forums.adobe.com/thread/967614&quot; rel=&quot;noreferrer&quot;&gt;here&lt;/a&gt;.&#xA;Copying any positional keyframes out of After Effects generates a text file like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Adobe After Effects 8.0 Keyframe Data&#xA;&#xA;    Units Per Second    25&#xA;    Source Width    100&#xA;    Source Height   100&#xA;    Source Pixel Aspect Ratio   1&#xA;    Comp Pixel Aspect Ratio 1&#xA;&#xA;Transform   Scale&#xA;    Frame   X percent   Y percent   Z percent   &#xA;        100 100 100 &#xA;&#xA;Transform   Position&#xA;    Frame   X pixels    Y pixels    Z pixels    &#xA;    0   960 540 0   &#xA;    1   980 540 0   &#xA;    2   980 520 0   &#xA;    3   1000    520 0   &#xA;    4   1000    518 0   &#xA;    5   630 498 0   &#xA;&#xA;&#xA;End of Keyframe Data&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To manipulate it, just modify the text, copy the text, and paste it back into AE.  Works like a charm&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-02-23T15:50:02.063" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20761" PostTypeId="1" AcceptedAnswerId="20808" CreationDate="2017-02-23T17:09:13.510" Score="-2" ViewCount="237" Body="&lt;p&gt;I need a free and &lt;strong&gt;simple to use tool&lt;/strong&gt; that is able to cut vidoes, fade to another videos (or instant change without any fade) and overlap audio (music or out of screen voices). Basically the basic features that everyone expect from a video editor and that almost all programs do not have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finding such a program for Windows 10 is a real challenge. In the meanwhile I become a expert in HandBrake transcoder, but still searching for a video editor.&lt;/p&gt;&#xA;" OwnerUserId="17818" LastEditorUserId="17818" LastEditDate="2017-03-01T18:00:45.307" LastActivityDate="2017-03-01T18:00:45.307" Title="Free and simple video editor for Windows 10" Tags="|mixing|clipping|" AnswerCount="1" CommentCount="5" ClosedDate="2017-03-11T17:15:51.133" ContentLicense="CC BY-SA 3.0" />
  <row Id="20764" PostTypeId="2" ParentId="16078" CreationDate="2017-02-24T09:17:03.310" Score="1" Body="&lt;p&gt;VirtualDub was made to operate exclusively on AVI files; however, a plugin API was added from version 1.7.2 which allows the import of other formats. Appropriate video and audio codecs need to be installed.&lt;/p&gt;&#xA;" OwnerUserId="18176" LastActivityDate="2017-02-24T09:17:03.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20765" PostTypeId="2" ParentId="20755" CreationDate="2017-02-24T12:24:09.287" Score="3" Body="&lt;p&gt;Firstly, that camera has a 29 minute 59 second recording limit. If your speaker goes for longer than this it may not be suitable. Apparently this is due to some countries charging higher import duties for video cameras, but if it records less than 30 minutes it's not classed as a video camera. Yeah, I know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The DSLR will probably cope better with low light due to its larger sensor, and it will give you a shallower depth of field, meaning that you can get a blurry background and sharp foreground, which has a more cinematic feel. Of course if you want the background to be sharp this may not be such a good thing, and it also means you will also have to be more careful about focus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're filming from a long distance you might want to see which camera has the better zoom. At least with the t51 you can buy a longer lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio on that camera should be fine, you might want to make sure the level is set to manual, otherwise it will turn the volume up everytime the speaker pauses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for settings, that depends on how you want to shoot. You could set it to full auto and let it drive, or you could go full manual so that you're in control, or you could use something in between. The aperture and ISO etc. will depend on the light levels in the room, and how much depth of field you want.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-02-24T12:24:09.287" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20766" PostTypeId="1" AcceptedAnswerId="20768" CreationDate="2017-02-24T14:18:28.427" Score="0" ViewCount="2351" Body="&lt;p&gt;How can I from my Nikon d3300 get a headphone output? Im using rode micro I would like it not to be a huge box or super long cable.&lt;/p&gt;&#xA;&lt;p&gt;This is my first preference. Start in the upper left. (mic)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/6CPyH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6CPyH.png&quot; alt=&quot;This is my first preference. Start in the upper left. (mic)&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is my second preference. Start in the upper left. (mic)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Nx4Xe.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Nx4Xe.png&quot; alt=&quot;This is my second preference. Start in the upper left. (mic)&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;REG/rode_videomicro_compact_on_camera.html&lt;/p&gt;&#xA;" OwnerUserId="18180" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-02-24T17:55:55.527" Title="Nikon D3300 Headphone output?" Tags="|audio|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20768" PostTypeId="2" ParentId="20766" CreationDate="2017-02-24T17:55:55.527" Score="1" Body="&lt;p&gt;Microphone outputs are typically very low level and have only enough output to drive a sensitive preamp, not headphones.  To drive headphones you need an amplified output.  According to a variety of sources, the D3300 does not have a headphone jack, which means you have to provide a separate amplifier, which means you have to provide one, and the power to drive it, and the cable to connect to it.  I suspect the best solution would be a battery-powered preamp that receives your mic output and then delivers two amplified outputs: line level for your D3300 input jack and phones-level for your headphones.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-02-24T17:55:55.527" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20770" PostTypeId="1" CreationDate="2017-02-25T05:51:10.527" Score="2" ViewCount="95" Body="&lt;p&gt;I have some drone footage that is not in 360 that I really want to put into my 360 video. Everything else is shot in 360, is there a way to show the non-360 clip without it looking terrible?&lt;/p&gt;&#xA;" OwnerUserId="18186" LastActivityDate="2017-07-26T03:54:57.380" Title="I use FCPX, curious on how I can put a non-360 clip into a 360 video?" Tags="|final-cut-pro-x|360video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20771" PostTypeId="1" AcceptedAnswerId="20776" CreationDate="2017-02-25T13:45:29.447" Score="4" ViewCount="282" Body="&lt;p&gt;I need a green screen for a project I'm making. However, after some research, they said I need to light it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I didn't think I'd have to light it, and it looks to complicated. As long as there are no shadows, would it be ok to not go through complicated steps to evenly light it and just use it?&lt;/p&gt;&#xA;" OwnerUserId="18190" LastActivityDate="2017-03-06T14:27:02.180" Title="Is lighting a green screen necessary?" Tags="|greenscreen|chromakey|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20773" PostTypeId="1" AcceptedAnswerId="20796" CreationDate="2017-02-25T16:17:49.053" Score="1" ViewCount="1672" Body="&lt;p&gt;I have &lt;code&gt;3 audio files&lt;/code&gt; from a podcast. 1 file from Steve, one from john, and the other is from me. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a composition with the three audio files and also &lt;code&gt;3 png images&lt;/code&gt; of our faces, one for each of our faces. &lt;strong&gt;Each image&lt;/strong&gt; has &lt;code&gt;an opacity keyframe set to 50%&lt;/code&gt; by default. Now i want to connect each audio track to the right image and animate as follows:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;✖ When audio intensity of a track is &lt;code&gt;more than x decibels&lt;/code&gt; then gradually animate the image that's linked to that track &lt;code&gt;from 50% opacity to 100% opacity&lt;/code&gt;. &lt;strong&gt;To give the&#xA;  visual effect of who is currently talking&lt;/strong&gt;.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;✖ When the sound intensity &lt;code&gt;drops below the x decibels&lt;/code&gt; i have set before, then gradually &lt;code&gt;animate the opacity back to 50%&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;How can i achieve that?&lt;/p&gt;&#xA;" OwnerUserId="14130" LastEditorUserId="14130" LastEditDate="2017-02-25T16:31:42.787" LastActivityDate="2017-03-03T05:48:14.500" Title="Link audio to opacity effect of an image in After Effects" Tags="|after-effects|adobe|after-effects-expressions|after-effects-scripting|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20774" PostTypeId="1" CreationDate="2017-02-25T18:16:49.797" Score="1" ViewCount="2066" Body="&lt;p&gt;I'm using ffmpeg to capture a portion of my screen, save it as a movie file, and stream it to a Youtube live event.&#xA;The result is a jerky movement. The log has some issues I'm not able to understand and solve. I did a lot of different try, but with no result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the actual Command line I use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;C:\\mbiWebTV\\programs\\ffmpeg\\bin_x86\\ffmpeg.exe&quot; &#xA;-thread_queue_size 512 -report -re -rtbufsize 2000M -f dshow &#xA;-i &quot;audio=Missaggio stereo (Realtek High Definition Audio)&quot; &#xA;-f dshow &#xA;-i &quot;video=screen-capture-recorder&quot; -filter:v &quot;crop=713:379:018:043&quot; &#xA;-s 848x480 -video_size 848x480 -vcodec libx264 -preset ultrafast &#xA;-maxrate 6000 -bufsize 2000M -pix_fmt yuv420p -g 60 -acodec libmp3lame &#xA;-b:a 128k -ac 2 -ar 44100 &#xA;-f flv rtmp://a.rtmp.youtube.com/live2/xxxx-xyyv-0rrm-f9g2 &#xA;-filter:v &quot;crop=713:379:018:043&quot; &#xA;&quot;c:\\mbiWebTV\\Capture\\Capture_20170225_165829.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I could send the complete log file. &#xA;This is the error messages that frequently occurs:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[dshow @ 049a4240] real-time buffer [screen-capture-recorder] [video&#xA;  input] too full or near too full (545% of size: 3041280 [rtbufsize&#xA;  parameter])! frame dropped!&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;hr&gt;&#xA;" OwnerUserId="18194" LastEditorUserId="18155" LastEditDate="2017-03-03T12:52:21.483" LastActivityDate="2017-03-03T12:52:21.483" Title="Screen Capture in ffmpeg with jerky movement" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20775" PostTypeId="2" ParentId="20774" CreationDate="2017-02-25T18:27:04.177" Score="2" Body="&lt;p&gt;The &lt;code&gt;rtbufsize&lt;/code&gt; is only affecting the audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe&#xA;-thread_queue_size 512 -report -rtbufsize 100M -f dshow -i &quot;audio=Missaggio stereo (Realtek High Definition Audio)&quot;&#xA;-rtbufsize 1000M -thread_queue_size 512 -video_size 848x480 -f dshow -i &quot;video=screen-capture-recorder&quot;&#xA;-vf &quot;crop=713:379:18:43,scale=848:480,setsar=1&quot;&#xA;-vcodec libx264 -preset ultrafast -maxrate 6M -bufsize 12M -pix_fmt yuv420p -g 60&#xA;-acodec libmp3lame -b:a 128k -ac 2 -ar 44100&#xA;-f flv rtmp://a.rtmp.youtube.com/live2/xxxx-xyyv-0rrm-f9g2&#xA;-filter:v &quot;crop=713:379:18:43&quot; &quot;c:\mbiWebTV\Capture\Capture_20170225_165829.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-02-25T18:27:04.177" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20776" PostTypeId="2" ParentId="20771" CreationDate="2017-02-25T21:32:37.453" Score="7" Body="&lt;p&gt;You'd probably want to light it anyway, as it will make it easier to pull a key if it's properly lit. The farther you can keep it away from the objects or talent you'll be keying, the better. But light is essential to accurately capturing color, so if you can light it, you should. You want it to be evenly lit so that you don't have to choose too wide of a color range to key out. &lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-02-25T21:32:37.453" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20777" PostTypeId="2" ParentId="20770" CreationDate="2017-02-25T21:35:49.230" Score="1" Body="&lt;p&gt;It looks like the &lt;a href=&quot;http://www.dashwood3d.com/360vrtoolbox.php&quot; rel=&quot;nofollow noreferrer&quot;&gt;Dashwood 360 VR&lt;/a&gt; plug-ins have a plug-in called Project 2D on Sphere that allows you to put 2D footage into your 360° panorama:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The Project 2D on Sphere plugin can be used to place logos in your 2:1 equirectangular projection&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It has a variety of other useful tools, too.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-02-25T21:35:49.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20779" PostTypeId="1" CreationDate="2017-02-26T14:08:33.043" Score="1" ViewCount="3269" Body="&lt;p&gt;I've imported 3 different pics that all are different when I look at them in Windows Explorer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LlDT7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LlDT7.png&quot; alt=&quot;image files in Windows Explorer&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I put them in an After Effects composition, they all appear as the same picture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/B54g9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/B54g9.png&quot; alt=&quot;images in after effects&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried importing them 1 by 1 and multiple file import. All three of these images came from an Illustrator file that I exported at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What did I do wrong?&lt;/p&gt;&#xA;" OwnerUserId="18198" LastEditorUserId="14523" LastEditDate="2017-02-27T01:00:35.367" LastActivityDate="2021-02-25T16:00:50.283" Title="After effects imports different pictures to same output" Tags="|after-effects|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20784" PostTypeId="1" AcceptedAnswerId="20787" CreationDate="2017-02-27T07:51:39.667" Score="1" ViewCount="3086" Body="&lt;p&gt;with my DSLR, I used to shoot in 60fps and then interpret footage as 23.976 so slow it down. Now that I have moved to mirrorless (Sony) in PAL I can only shoot in 25 fps or 50 fps. If I shoot in 50fps and slow it down to 23.976 fps, will it be the same or will my footage look glichy?&lt;/p&gt;&#xA;" OwnerUserId="18202" LastActivityDate="2017-03-04T20:02:26.117" Title="Interpreting 50fps to 23.976fps in Premiere Pro" Tags="|dslr|25fps|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20785" PostTypeId="2" ParentId="19678" CreationDate="2017-02-27T08:56:02.037" Score="0" Body="&lt;p&gt;Premiere supports MXF container file formats with the following formats&#xA;P2 Movie: Panasonic Op-Atom variant of MXF video in DV, DVCPRO, DVCPRO 50, DVCPRO HD, AVC-Intra&#xA;Sony XDCAM HD 18/25/35 (4:2:0)&#xA;Sony XDCAM HD 50 (4:2:2)&#xA;AVC-LongGOP&#xA;XAVC Intra&#xA;XAVC LongGOP&#xA;JPEG2000&#xA;IMX 30/40/50&#xA;XDCAM EX&lt;/p&gt;&#xA;" OwnerUserId="18176" LastActivityDate="2017-02-27T08:56:02.037" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20787" PostTypeId="2" ParentId="20784" CreationDate="2017-02-27T11:39:39.323" Score="2" Body="&lt;p&gt;The recommendation from Adobe for slowing down motion is to use Optical Flow.  If you put a 50 fps onto a 23.976 fps timeline, select the clip and set Speed/Duration to 47.952% with optical flow, then you should get a good quality result.  And of course you are on your own for sound, because slowing things down 2x is not going to make any sense for the audio you recorded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shooting at 25 fps for a 23.976 timeline could be a 4.1% slowdown (in which case you might want to pitch shift your audio so you can keep it) or a re-interpretation (where you drop/optical flow frames) in which case you can keep your audio as is and mate it to the retimed video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you find yourself doing lots of 25-&gt;23.976 conversions, you may want to seriously rethink the idea of using a PAL camera do make NTSC deliverables and instead buy a camera that is NTSC-friendly.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-02-27T11:39:39.323" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20788" PostTypeId="1" CreationDate="2017-02-27T14:01:16.727" Score="0" ViewCount="54" Body="&lt;p&gt;How do I do a 'pop out' effect from one shape out of the other?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right now I have this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ncYUb.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ncYUb.gif&quot; alt=&quot;11 no pop out&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I would like if the shape visually appeared out of the left 1.  So like it stretches and then comes bursting loose. I don't know the right terms for this, so looking for a solution hasn't been easy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I achieve this effect, and what is it called?&#xA;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="17218" LastActivityDate="2017-02-28T22:25:13.847" Title="Pop out a shape out of another shape" Tags="|after-effects|visual-effects|shape|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20789" PostTypeId="1" AcceptedAnswerId="20790" CreationDate="2017-02-27T17:38:16.493" Score="10" ViewCount="14201" Body="&lt;p&gt;What is the default output frame rate chosen by &lt;code&gt;ffmpeg&lt;/code&gt; to encode MP4s?&lt;br&gt;&#xA;Where is this specified on the &lt;code&gt;man&lt;/code&gt; page?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My input video stats are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;r_frame_rate=120/1&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;avg_frame_rate=31230000/1042111&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;duration=11.579011&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;nb_frames=347&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;After (demuxing, decoding) splitting (rescaling, encoding and muxing) the video stream I end up with has the following stats:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;r_frame_rate=120/1&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;avg_frame_rate=120/1&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;duration=9.575000&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;nb_frames=1149&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I started with &lt;code&gt;347&lt;/code&gt; frames and ended up with &lt;code&gt;1149&lt;/code&gt; (should have been &lt;code&gt;287&lt;/code&gt;).&#xA;The input average fps was &lt;code&gt;29.97&lt;/code&gt; and now I end up with &lt;code&gt;120&lt;/code&gt;... which was the max fps of the input video.&#xA;So, I imagine &lt;code&gt;ffmpeg&lt;/code&gt; picks the highest one from the input... but is this specified anywhere?&#xA;How does one go simply matching the input fps?&#xA;And why does I have a variable fps to begin with?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hmm... too may questions I guess.&#xA;Still, is this simply a consequence of this paragraph?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;STREAM SELECTION                                                 &#xA;       By default, ffmpeg includes only one stream of each type  &#xA;       (video, audio, subtitle) present in the input files and   &#xA;       adds them to each output file.  It picks the &quot;best&quot; of    &#xA;       each based upon the following criteria: for video, it is  &#xA;       the stream with the highest resolution, for audio, it is  &#xA;       the stream with the most channels, for subtitles, it is   &#xA;       the first subtitle stream. In the case where several      &#xA;       streams of the same type rate equally, the stream with the&#xA;       lowest index is chosen.                                   &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="18212" LastEditorUserId="18212" LastEditDate="2017-03-01T15:27:26.900" LastActivityDate="2017-03-01T15:27:26.900" Title="ffmpeg default output frame rate" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20790" PostTypeId="2" ParentId="20789" CreationDate="2017-02-27T17:58:45.380" Score="17" Body="&lt;p&gt;&lt;code&gt;r_frame_rate&lt;/code&gt; is &quot;&lt;em&gt;the lowest framerate with which all timestamps can be represented accurately (it is the least common multiple of all framerates in the stream).&lt;/em&gt;&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;avg_frame_rate&lt;/code&gt; is just that: &lt;code&gt;total duration / total # of frames&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can just specify &lt;code&gt;-r 30000/1001&lt;/code&gt; to maintain the average rate (near-abouts). You don't specify which format you're outputting to, but for MP4, ffmpeg defaults to constant-frame rate, where it picks &lt;code&gt;r_frame_rate&lt;/code&gt; as the value. It will then duplicate or drop frames to keep that rate. Use &lt;code&gt;-vsync vfr&lt;/code&gt; to keep the variable rate.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-02-27T17:58:45.380" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20791" PostTypeId="1" AcceptedAnswerId="20794" CreationDate="2017-02-27T18:36:39.033" Score="1" ViewCount="152" Body="&lt;p&gt;I have a composition of a video and a 3d object on it, coming from CINEMA 4D. There is a ~1 pixel wide glowing artefact around the edge of the imported 3d object. What can be the reason and how can I fix it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vpO09.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vpO09.jpg&quot; alt=&quot;the mattress is the 3D object, the light edge is clearly visible, especially on the lower right edge&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18213" LastActivityDate="2017-02-28T01:00:22.530" Title="3D object from CINEMA4D has glowing edge in After Effect" Tags="|after-effects|3d|cinema4d|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20792" PostTypeId="2" ParentId="20750" CreationDate="2017-02-27T19:43:24.117" Score="0" Body="&lt;p&gt;End answer was dnxhd/mov. Use something like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v dnxhd -b 440M -c:a copy out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The -b argument should be adjusted based on your input resolution. 440M is the correct choice for 1080p @ 59.94 fps.&lt;/p&gt;&#xA;" OwnerUserId="18165" LastActivityDate="2017-02-27T19:43:24.117" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20793" PostTypeId="2" ParentId="4693" CreationDate="2017-02-27T20:15:17.883" Score="0" Body="&lt;p&gt;You can see from the photos that the XENYX 1202FX has an LED screen towards the top right side—absent on the XENYX 1202. That screen displays the various onboard FX processor settings that've been added to the FX version—hence, the name. A nice added feature, considering for a mere $20 more ($99 street price) you get 100 user selectable &quot;real-world&quot; presets that include, reverb, chorus and delay effects!&lt;/p&gt;&#xA;" OwnerUserId="18214" LastActivityDate="2017-02-27T20:15:17.883" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20794" PostTypeId="2" ParentId="20791" CreationDate="2017-02-28T01:00:22.530" Score="2" Body="&lt;p&gt;Have a look at how AE is interpreting the footage (right-click it in the project and look for &lt;strong&gt;Interpret Footage&gt;Main&lt;/strong&gt;). Specifically look at how it is interpreting the alpha channel, it could be interpreting a straight alpha channel as pre-multiplied or the alpha channel might be pre-multiplied with another colour instead of black). Have a go at switching between alpha modes, or try setting the pre-multiplied colour to white instead of black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that fails you'll need to de-fringe the layer in your comp. A simple choker effect would do the trick.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-02-28T01:00:22.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20795" PostTypeId="2" ParentId="20319" CreationDate="2017-02-28T02:39:02.087" Score="1" Body="&lt;p&gt;Usually this is due to too low data throughput on your data drive. Try to move your footage to the SSD, putting Premiere itself on an SSD only gives you the benefit of a fast launching program. If footage is lagging or skipping its either your PC can't decode the footage fast enough which is barley the case nowadays with a high-end PC or your hard drive can't keep up serving data fast enough because you may be working with high-resolution high-bitrate footage. A HDD is bottlenecked very fast in that case, especially when you skip around in your footage. A fast S-ATA SSD or even better a PCI-E/NVME SSD will give you the most performance benefits when working with many large footage files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your recorded game footage, you might have recorded with a lossless video codec which usually produce enormous video files. Transcoding that to a visually lossless intermediate format like MJPEG with a lower bitrate can also help.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastEditorUserId="3295" LastEditDate="2017-05-23T21:06:49.230" LastActivityDate="2017-05-23T21:06:49.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20796" PostTypeId="2" ParentId="20773" CreationDate="2017-02-28T04:16:15.570" Score="2" Body="&lt;p&gt;The easiest way to do this is to use an expression. First you convert audio to keyframes. Then set an expression on your opacity channel. If you drag the pick-whip for the expression to the audio keyframe property you'll get an opacity that bounces all over the place like crazy, so we're going to have to do a bit more to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, in the opacity channel for your layer, set up a variable like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var audioAmp = thisComp.layer(&quot;Audio Amplitude&quot;).effect(&quot;Both Channels&quot;)(&quot;Slider&quot;);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(the expression on the right of the &lt;code&gt;=&lt;/code&gt; is just what you get if you drag the pickwhip to the 'Both Channels' property). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We want to sample that property over time, to allow for slow fadeouts. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, to make it easier to tweak we can set some properties that we can edit until we get the best results. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var numSamples = 200;&#xA;var sampleSpacing = thisComp.frameDuration;&#xA;var threshold = 5.0 //&amp;lt;--you set this&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;numSamples&lt;/code&gt; is the number of times we sample the amplitude to get a smooth average. The higher it is, the smoother the result, but also the slower the script is. If you set it really high you may want to convert the expression to keyframes once you've got it working right. The values I put in here are just pulled out of my hat, you'll have to tweak them until they work for you. This is the main setting that you can tweak. Have a go at setting it really high, like 2000 or low like 10, and see how it works.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;sampleSpacing&lt;/code&gt; is the time between samples. Setting it to &lt;code&gt;thisComp.frameDuration&lt;/code&gt; means one sample per frame. You could do a smaller sample, but given that the audio amplitude property only has one keyframe per frame it might not really help.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;Threshold&lt;/code&gt; is the audio threshold above which no fading happens. Again you &lt;em&gt;will&lt;/em&gt; have to tweak this depending on the audio level of your material.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Ok, here comes the hoo-hah.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var sum = 0;&#xA;for (var i = 0; i &amp;lt; numSamples; i++){&#xA;  sum += audioAmp.valueAtTime(time - i * sampleSpacing);&#xA;}&#xA;avAudio = sum / numSamples; //the average audio for all the samples&#xA;//now decide if the audio is low enough to start fading&#xA;if (avAudio &amp;lt; threshold) { &#xA;  //normalises it to 0-100% where 100% = the threshold&#xA;  100 * avAudio / threshold; &#xA;} else { //audio is above threshold&#xA;  100;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Basically it just averages the audio out for the last &lt;code&gt;numSamples&lt;/code&gt; samples. When you have a sound followed by silence the average will go from the volume of the sound to zero in &lt;code&gt;numSamples&lt;/code&gt; * &lt;code&gt;sampleSpacing&lt;/code&gt; seconds, or in this case 200 frames.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-03-03T05:48:14.500" LastActivityDate="2017-03-03T05:48:14.500" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20798" PostTypeId="1" CreationDate="2017-02-28T20:13:58.650" Score="1" ViewCount="89" Body="&lt;p&gt;Is it a normal thing for there to be duplicate frames when looking at video footage?  I am looking at video frame-by-frame from a GoPro Hero 4 Black and sometimes there appears two frames in a row that are identical.  In a 20 frame segment there are maybe 6 duplicates seemingly at random.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this normal for digital video cameras?&lt;/p&gt;&#xA;" OwnerUserId="18220" LastActivityDate="2017-02-28T20:13:58.650" Title="GoPro 240 fps has duplicate frames" Tags="|framerate|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20799" PostTypeId="2" ParentId="20788" CreationDate="2017-02-28T22:20:09.147" Score="1" Body="&lt;ul&gt;&#xA;&lt;li&gt;For simple shape and best result you can do it frame by frame, drawing each morph state separately&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;For more complex shapes, I will advise:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Move second object (and maybe scale it from little size to normal) from behind first one&lt;/li&gt;&#xA;&lt;li&gt;Bend part of first object outwards slowly, while new object appear (simultaneously with point 1)&lt;/li&gt;&#xA;&lt;li&gt;In the moment, when second object is fully separated from first, first object shall rubber bend back with bash, as cartoon character, who was hit with the bat in the head, or as water surface, after water drop hit it.&lt;/li&gt;&#xA;&lt;/ol&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;To fully understand, what I mean in last point, look at this:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/haa7n3UGyDc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="11523" LastEditorUserId="11523" LastEditDate="2017-02-28T22:25:13.847" LastActivityDate="2017-02-28T22:25:13.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20801" PostTypeId="1" CreationDate="2017-02-28T23:12:15.037" Score="0" ViewCount="588" Body="&lt;p&gt;I'm away from my main desktop, and working on my underpowered laptop. I'm creating proxies for some .MTS files that a client gave me (I don't know which camera was used). Unfortunately after Media Encoder generated my proxy files there is no audio. I checked the original source video file in encoder and it says it has no audio, even though there is audio, and it is recognized in premiere. Note: when I first important the original video files into Premiere it said it had to install a Dolby codec and did so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea how I can get audio from the original files recognized in Media Encoder so I can generate proxies with audio?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a sample video: &lt;a href=&quot;http://www.filedropper.com/intro1jan&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.filedropper.com/intro1jan&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2017-09-27T02:52:45.320" Title="Premiere proxies no audio, codec issue?" Tags="|premiere|adobe-media-encoder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20802" PostTypeId="2" ParentId="20801" CreationDate="2017-02-28T23:26:00.720" Score="1" Body="&lt;p&gt;Renaming the files to .m2ts seemed to have solved the issue.&lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2017-02-28T23:26:00.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20804" PostTypeId="1" AcceptedAnswerId="20813" CreationDate="2017-03-01T07:15:52.080" Score="0" ViewCount="334" Body="&lt;p&gt;I'm editing audio in Final Cut Pro X; I have exported the audio from Davinci Resolve because FCPX has a variety of equalizers and noise reduction built-in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this audio, I am talking but I occasionally smack my lips together and make other unpleasant sounds.  So, I am trying to remove them as fast as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realize that there is no good way to automatically identify them, so I am listening to the track and, when I hear an unneeded sound, making four keyframes using &lt;code&gt;ALT+K&lt;/code&gt; as shown in the photo:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dZEjc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dZEjc.png&quot; alt=&quot;audiokeyframes&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This isn't too difficult to do but it is a little inconsistent for the following reasons:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;After I make the four keyframes with the keyboard shortcut, I have to select the middle two keyframes to pull the audio down with the mouse, and making this selection is tricky sometimes even with the timeline zoomed in.&lt;/li&gt;&#xA;&lt;li&gt;When I pull down the audio, it's usually about -30 db, but it's hard to precisely line up; when I do this several times per file, I am unlikely to make them all exactly the same.  This probably isn't a big deal but it is inconsistent.&lt;/li&gt;&#xA;&lt;li&gt;There's no way (I can tell) to copy-and-paste sets of keyframes.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Is there a faster way to do this, or is what I'm doing about as good as it gets?&lt;/p&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2017-03-01T23:44:08.377" Title="How to quickly remove unnecessary sounds in FCPX?" Tags="|audio|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20805" PostTypeId="1" AcceptedAnswerId="20814" CreationDate="2017-03-01T12:07:33.503" Score="0" ViewCount="534" Body="&lt;p&gt;In After Effects, I want to have a layer (let's call it &lt;code&gt;Leader&lt;/code&gt;) that moves and another one (let's say &lt;code&gt;Follower&lt;/code&gt;) that is linked to the first one, so it will have the same movement, but at a specific time (&lt;code&gt;t&lt;/code&gt;) it should &quot;unlink&quot; from the first layer and stay in that position. I have tried the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;p = thisComp.layer(&quot;Leader&quot;).transform.position;&#xA;t = 1; // Stop following after 1 second&#xA;if (time &amp;lt;= t) {&#xA;    position = value + (p.value - p.valueAtTime(0));&#xA;}&#xA;else {&#xA;    valueAtTime(t - thisComp.frameDuration);&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But for some reason I don't understand, at time &lt;code&gt;t&lt;/code&gt;, the &lt;code&gt;Follower&lt;/code&gt; goes back to its original position instead of staying in the place in which it was &quot;unlinked&quot; from the &lt;code&gt;Leader&lt;/code&gt;. What am I missing?&lt;/p&gt;&#xA;" OwnerUserId="18226" LastActivityDate="2017-03-02T11:06:23.247" Title="Unlink two layers after a certain time in After Effects" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20808" PostTypeId="2" ParentId="20761" CreationDate="2017-03-01T17:30:55.007" Score="2" Body="&lt;p&gt;As you are going to be uploading to &lt;a href=&quot;https://youtube.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube&lt;/a&gt; anyway you can use the &lt;a href=&quot;https://youtube.com/editor&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube Video Editor&lt;/a&gt; that they include for free in Creator Studio.  It includes the ability to cut and spice videos as well as add music or other audio channels.  YouTube also includes a selection of free (as in beer and speech to the degree that you can use it on YouTube) music that you can easily add to the background.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are several video tutorials available on YouTube if you search for &lt;a href=&quot;https://www.youtube.com/results?search_query=youtube%20editor%20tutorial&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube Video Editor Tutorial&lt;/a&gt;, such as this &lt;a href=&quot;https://youtu.be/6QnaRRuezqw&quot; rel=&quot;nofollow noreferrer&quot;&gt;tutorial for 2017&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Outside of that the free ones I know of are mostly Linux based so will be of no use for a Windows 10 user.  &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;For older versions of Windows and those of us living in the past there was Windows Movie Maker included as part of Windows Essentials (&lt;a href=&quot;https://video.stackexchange.com/a/15542/10839&quot;&gt;see a past answer for details&lt;/a&gt;).  If you are using Windows 10 or living in a time post January 2017 then Movie Maker is no longer available.  &lt;/p&gt;&#xA;" OwnerUserId="10839" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-03-01T17:30:55.007" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20809" PostTypeId="1" AcceptedAnswerId="20812" CreationDate="2017-03-01T21:59:45.820" Score="0" ViewCount="42" Body="&lt;p&gt;I have this shot which has the right door color corrected to make it look dark and red :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4IEmQ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4IEmQ.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How would I go about making it part of the &quot;background&quot; so that when someone comes in front of it, he is not affected by the correction like in the shot below :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yyGHY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yyGHY.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried looking into Masks as background or 3D layers but couldn't seem to find what I'm looking for. I'm sure it's an easy thing to do but I just need guidance on what to look / search for.&lt;/p&gt;&#xA;" OwnerUserId="4491" LastActivityDate="2017-03-01T23:14:41.013" Title="Making background element out of a part of a video" Tags="|video|after-effects|video-editor|mask|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20810" PostTypeId="1" AcceptedAnswerId="20811" CreationDate="2017-03-01T22:06:45.053" Score="2" ViewCount="430" Body="&lt;p&gt;I am very new to Adobe Premiere, but have worked with Final Cut Pro a long time ago, so you can say, I understand the basics.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am attempting to create a &quot;fancy&quot; lyrics video. Fancy in the sense that the lyric text (a Title in Adobe Premiere) gets filled with a different a colour in sync with the artist singing the song.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am attempting to achieve this with a mask (solid colour) placed over the title, but I do not know how I can animate the mask from location A to location B. I have created a &lt;a href=&quot;https://www.screencast.com/t/flnpbmU4zj&quot; rel=&quot;nofollow noreferrer&quot;&gt;Screencast&lt;/a&gt; to show where I'm stuck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="18224" LastActivityDate="2017-03-01T23:09:52.793" Title="Animate title mask from location a to b in Adobe Premiere CC 2017" Tags="|premiere|mask|cc-2017|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20811" PostTypeId="2" ParentId="20810" CreationDate="2017-03-01T23:09:52.793" Score="2" Body="&lt;p&gt;You need to use keyframes instead of tracking. You can find them here:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/yhPIQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yhPIQ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;For better understanding of how they work, &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/setting-selecting-deleting-keyframes.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;read&lt;/a&gt; about them, or watch the &lt;a href=&quot;https://helpx.adobe.com/after-effects/how-to/aftereffects-add-adjust-keyframes-cc.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;video&lt;/a&gt;.&#xA;Long story short, you need to create keyframe in the first place, where motion starts. After that you need to have keyframe in every place, where is key place of position. If you will just move the mask, after creating first keyframe, other ones will be created automaticly, after you move mask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To create keyframe, press on the middle round button, in the place highlighted on screenshot above.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-03-01T23:09:52.793" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20812" PostTypeId="2" ParentId="20809" CreationDate="2017-03-01T23:14:41.013" Score="1" Body="&lt;p&gt;You need to rotoscope every object in front of your &quot;background&quot;. There is not simple solution, because AE cant tell the difference between you foreground and background. Even I can't tell, because people drop shadows on your &quot;background&quot;, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can try to use &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/roto-brush-refine-matte.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;rotobrush&lt;/a&gt; for that, but if you have there a lot of people, it will require a lot of work.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-03-01T23:14:41.013" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20813" PostTypeId="2" ParentId="20804" CreationDate="2017-03-01T23:44:08.377" Score="1" Body="&lt;p&gt;There are 2 methods that might help with this.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Press the I and O keys to mark a range around the audio you want to fix. Then press CTRL+OPT+L and type a number value for the amount you want to the audio to drop (eg:-60db)&lt;/li&gt;&#xA;&lt;li&gt;Make your keyframes, select them, then OPT+SHIFt+C to copy them, then OPT+SHIFT+V to paste them where you need them.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Method 1 is probably more flexible as you can customise the range if need be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8jwck.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8jwck.png&quot; alt=&quot;Method 1&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xo0Qh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xo0Qh.png&quot; alt=&quot;Method 2&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2017-03-01T23:44:08.377" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20814" PostTypeId="2" ParentId="20805" CreationDate="2017-03-02T11:06:23.247" Score="0" Body="&lt;p&gt;&lt;code&gt;valueAtTime&lt;/code&gt; returns the keyframed value of the property, before any expression is applied.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;change it to:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;p = thisComp.layer(&quot;Leader&quot;).transform.position;&#xA;t = 1; // Stop following after 1 second&#xA;if (time &amp;lt;= t) {&#xA;    value + (p.value - p.valueAtTime(0));&#xA;}&#xA;else {&#xA;    value + (p.value.valueAtTime(t) - p.valueAtTime(0));&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or more simply:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;p = thisComp.layer(&quot;Leader&quot;).transform.position;&#xA;t = Math.min(time, 1); // time increases until it hits 1, then stays there&#xA;value + (p.value.valueAtTime(t) - p.valueAtTime(0));&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This avoids the &lt;code&gt;if()&lt;/code&gt; statement which means it should evaluate faster.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-03-02T11:06:23.247" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20815" PostTypeId="1" CreationDate="2017-03-02T18:19:35.157" Score="1" ViewCount="3065" Body="&lt;p&gt;I am trying out a few things for PPro, since I'm new to it (coming from Camtasia Studio 8) and I'm wondering, since a lot can be done, is it possible to not have the clip with a black and white effect, but have it 'walk along' the whole color spectrum? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Windows Movie Maker for XP there used to be an effect like that, so you can see what I mean here: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/tGEcT5ofZ20?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;As you can see, the color of the clip is never the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can this be done somehow? A ton of Google and Youtube searches have not provided me an answer to this question; most hits are about Color Correction and I couldnt really see anything that came close to this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;DiaborMagics&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="18237" LastActivityDate="2017-03-13T11:42:48.487" Title="Premiere Pro CS6: how to change color of a clip as time progresses?" Tags="|premiere|effects|color|cs6|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20816" PostTypeId="2" ParentId="20815" CreationDate="2017-03-02T20:59:53.037" Score="1" Body="&lt;p&gt;There are several ways to do this. The basic idea is always the same: You overlay a color and then animate it's hue. To get rid of all other color, you can either convert the footage to black-and-white (which can again be achieved using different techniques) or put the color on an adjustment layer with the blending mode set to color. This is the preferred way to do it, since this way, you can apply the effect to your entire scene at once. Here's a step-by-step guide on how to achieve this effect using the Lumetri Color workspace (which is not available on CS6 and earlier versions). &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create a new adjustment layer (&lt;em&gt;File&lt;/em&gt; → &lt;em&gt;New&lt;/em&gt; → &lt;em&gt;Adjustment Layer&lt;/em&gt;) and put it over your video clips in the timeline of your sequence. &lt;/li&gt;&#xA;&lt;li&gt;Select the adjustment layer in the sequence and change to the &lt;em&gt;Color&lt;/em&gt; workspace (&lt;em&gt;Window&lt;/em&gt; → &lt;em&gt;Workspaces&lt;/em&gt; → &lt;em&gt;Color&lt;/em&gt;). The &lt;em&gt;Lumetri Color&lt;/em&gt; panel should now be on the right side of the program window.&lt;/li&gt;&#xA;&lt;li&gt;In the &lt;em&gt;Lumetri Color&lt;/em&gt; panel, under &lt;em&gt;Basic Correction&lt;/em&gt;, reduce the &lt;em&gt;Saturation&lt;/em&gt; to 0. Your video should now be black-and-white.&lt;/li&gt;&#xA;&lt;li&gt;Under &lt;em&gt;Creative&lt;/em&gt;, set a color for the &lt;em&gt;Shadow Tint&lt;/em&gt; and move the &lt;em&gt;Tint Balance&lt;/em&gt; slider all the way to the right (100). Your video should now be monochrome. &lt;/li&gt;&#xA;&lt;li&gt;Open the &lt;em&gt;Effect Settings&lt;/em&gt; panel (make sure the adjustment layer is still selected) and find the &lt;em&gt;Shadow Tint&lt;/em&gt; setting under the &lt;em&gt;Lumetri Color&lt;/em&gt; effect (this one is automatically applied once you change a setting in the Lumetri Color panel). Hit the stopwatch icon to activate the animation for that effect property and set the first keyframe (make sure the playhead is positioned at the first frame of the adjustment layer first). Now it's time to get creative, set keyframes at appropriate intervals and change the &lt;em&gt;Shadow Tint&lt;/em&gt; to different settings every time. Premiere Pro will interpolate between the values, giving you the color transition effect you wanted. &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Optional:&lt;/strong&gt; Under &lt;em&gt;Opacity&lt;/em&gt;, set the blending mode of the adjustment layer to &lt;em&gt;Color&lt;/em&gt;. This way, the original luminosity values are preserved, making the effect more subtle. You can also try &lt;em&gt;Hue&lt;/em&gt; for an even more subtle effect or change the opacity of the adjustment layer. This will reduce the color overlay effect, allowing some of the original clip colors to come through.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;Workaround for CS6&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;Since the Lumetri Color panel doesn't exist in CS6, you will need to use another color correction effect instead. The basic idea will stay the same though. You can for example use the &lt;em&gt;Tint&lt;/em&gt; effect in the same way as described above (you will have to set keyframes for both &lt;em&gt;Map Black To&lt;/em&gt; and &lt;em&gt;Map White To&lt;/em&gt;, since there is no balance slider in this effect). With the introduction of the Lumetri Color panel, a lot of the old CS6 color correction effects got deprecated in the new CC version. If you are still on CS6, you could for example also use the &lt;em&gt;Three-Way-&lt;/em&gt; or &lt;em&gt;Fast Color Corrector&lt;/em&gt; to get similar results.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Or just do it in After Effects using Layer Styles → Color overlay, set the Blend Mode of the effect to Color and animate the Color.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2017-03-02T21:20:31.500" LastActivityDate="2017-03-02T21:20:31.500" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="20818" PostTypeId="1" CreationDate="2017-03-03T03:48:59.677" Score="2" ViewCount="1157" Body="&lt;p&gt;I'm editing a project in Hitfilm's timeline editor and was hoping there would be a faster way to apply the same transition to the beginning and end of several images. Can I copy/paste/sync/apply to all?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pUyy5.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pUyy5.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18241" LastActivityDate="2017-03-03T03:48:59.677" Title="How can I copy and paste transitions in Hitfilm 4 Express?" Tags="|video-editor|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20819" PostTypeId="1" CreationDate="2017-03-03T07:34:03.710" Score="0" ViewCount="311" Body="&lt;p&gt;How can I save a &lt;code&gt;ffmpeg&lt;/code&gt; stream to a file that would contain the last 10 minutes of the stream and would constantly change over time to have this duration?&lt;/p&gt;&#xA;" OwnerUserId="18243" LastEditorUserId="18243" LastEditDate="2017-03-03T08:01:46.273" LastActivityDate="2017-03-04T07:39:02.887" Title="How to save a stream to a file that would constantly change over time to have the right duration?" Tags="|ffmpeg|streaming|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20820" PostTypeId="1" AcceptedAnswerId="21245" CreationDate="2017-03-03T08:46:12.030" Score="1" ViewCount="7641" Body="&lt;p&gt;Trying to stream a webcam through rtp with a raspberry pi.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cating the SDP file on my desktop, and launching ffplay:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay sdp.out&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;then streaming out this way:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /dev/video0 -c:v h264_omx -f rtp rtp://192.168.0.101:1234&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;works perfectly. But If I launch ffmpeg first THEN ffplay, ffplay stutters some error message about missing PPS and never displays any frame:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[h264 @ 0x7fd97c0008c0] decode_slice_header error&#xA;[h264 @ 0x7fd97c0008c0] no frame!&#xA;[h264 @ 0x7fd97c0008c0] non-existing PPS 0 referenced&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After looking for a while I understand some intermediary frame might be missing. However, using the &lt;code&gt;-g&lt;/code&gt; option this way does not change anything:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /dev/video0 -c:v h264_omx -g 30 -f rtp rtp://192.168.0.101:1234&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It is a problem for me because I am using the raspberry as a securiy camera. My desktop can be restarted from time to time and I need ffplay to be able to catch after the streaming is started.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help is appreciated.&lt;/p&gt;&#xA;" OwnerUserId="18244" LastEditorUserId="18244" LastEditDate="2017-03-03T09:10:25.777" LastActivityDate="2019-12-10T18:10:56.190" Title="h264_omx and non-existing PPS 0 referenced" Tags="|ffmpeg|streaming|" AnswerCount="2" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="20821" PostTypeId="2" ParentId="20819" CreationDate="2017-03-03T14:52:45.550" Score="1" Body="&lt;p&gt;Computers don't let you delete from the start of a file, so every time you trim video away, would required the file to be completely re written. Not a great idea. It would be better use some a fragmented format like HLS or DASH, and delete old fragments.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastEditorUserId="4169" LastEditDate="2017-03-04T07:39:02.887" LastActivityDate="2017-03-04T07:39:02.887" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20822" PostTypeId="2" ParentId="20771" CreationDate="2017-03-03T17:59:56.740" Score="0" Body="&lt;p&gt;I agree with the answer you received. Without lighting you will have a tough&#xA;time keying the effect you want. You can use table lamps to light the screen up if need be. But, like was stated, you just have to watch out for the shadows.&lt;/p&gt;&#xA;" OwnerUserId="18246" LastEditorUserId="14523" LastEditDate="2017-03-06T13:04:08.257" LastActivityDate="2017-03-06T13:04:08.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20827" PostTypeId="2" ParentId="20565" CreationDate="2017-03-04T19:18:27.633" Score="1" Body="&lt;p&gt;Typically the problem likely isn't the SD card speed. Depending on the camera it's likely limited because of file size or import taxation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most cameras use FAT32 as the file system on the SD card, which caps you out at 4GiB, so when you record enough footage to slam into that ceiling the camera will stop. Based on the Canon 6D we have in the office you can do ~10-15 minutes (depending on motion) at 1080p24 &lt;a href=&quot;https://en.wikipedia.org/wiki/Inter_frame&quot; rel=&quot;nofollow noreferrer&quot;&gt;IPB&lt;/a&gt; mode, or 3-5 minutes &#xA;in &lt;a href=&quot;https://en.wikipedia.org/wiki/Intra-frame_coding&quot; rel=&quot;nofollow noreferrer&quot;&gt;All-I&lt;/a&gt; mode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some cameras work around this by using AVCHD, which allows for longer clips to be spanned across multiple files (DVDs and the GoPro use a similar trick) but because AVCHD is an established system and specification it does constrain the formats and bitrates that can be recorded at (e.g. Canon's All-I mode can hit 70+MbPS but AVCHD tops out at about 28MbPS), and it uses MPEG-TS to store video which is a bit less intuitive than classic MP4/MOV files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other cameras work around this by using exFAT for the SD card file system, which allows for files greater than 4GiB, and can be read and written by both Windows and OS X. However Linux support is a bit spottier.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now the ultimate question: why don't all cameras use one or both of these systems? The answer: money. exFAT needs to be licensed from Microsoft, and AVCHD from the AVCHD consortium (Panasonic and Sony; hence why those cameras most frequently feature AVCHD modes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then there's import taxation. Some countries classify any device that can record for 20 minutes or longer a &quot;video camera,&quot; and thus are taxed differently on import. So some camera manufacturers will just stick with FAT32 to save money on both licensing &lt;em&gt;and&lt;/em&gt; import tax, as it naturally restricts record time at higher resolutions, with recording limits imposed in software at lower resolutions.&lt;/p&gt;&#xA;" OwnerUserId="18259" LastActivityDate="2017-03-04T19:18:27.633" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20828" PostTypeId="2" ParentId="12989" CreationDate="2017-03-04T19:49:55.023" Score="0" Body="&lt;p&gt;You might want to whack it with &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt; (note the Windows GUI comes with adware, but the CLI version doesn't). If it can find stuff in there maybe we can save it. You probably can rescue it with &lt;a href=&quot;http://ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; if MediaInfo can find something in it. You can double check this with ffmpeg's ffprobe too.&lt;/p&gt;&#xA;" OwnerUserId="18259" LastActivityDate="2017-03-04T19:49:55.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20829" PostTypeId="2" ParentId="20784" CreationDate="2017-03-04T20:02:26.117" Score="0" Body="&lt;p&gt;If you're doing an Interpret Footage on the clip it won't look glitchy, but you won't get quite the same slow-down factor.&lt;/p&gt;&#xA;" OwnerUserId="18259" LastActivityDate="2017-03-04T20:02:26.117" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20830" PostTypeId="2" ParentId="20598" CreationDate="2017-03-04T20:50:59.347" Score="3" Body="&lt;p&gt;To start with: your version of Handbrake is old. Version 1.0.3 came out very recently, it's got some improvements over that older version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, CQ0 is not &lt;em&gt;actually&lt;/em&gt; &quot;lossless.&quot; It's aiming for &quot;lossless&quot; quality, but it's going to bump up against the data rate limitations of the &lt;a href=&quot;https://en.wikipedia.org/wiki/H.264/MPEG-4_AVC#Levels&quot; rel=&quot;nofollow noreferrer&quot;&gt;H.264 Level&lt;/a&gt;, so while it might need, say, 100MbPS at a given point to achieve &quot;lossless&quot; compression, Level 4.0 might be capping it at 20MbPS or something like that. Note in the Encoding Settings readout on your export file it lists &quot;vbv_maxrate=20000,&quot; that's where your bitrate is capped. So to get as close to lossless as possible you'd need something like Level 5.2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So ratcheting up your H.264 level will improve quality, but Premiere may end up chugging very hard on it. H.264 is really bad for editing. It's very computationally complex, largely because it doesn't store each frame separately (called Intraframe compression) but it takes batches of frames (called a Group of Pictures, or GOP) and compresses them together, in such a way that any one frame within a GOP will depend on the surrounding frames in order to reproduce a complete image. This is called Interframe compression, and the number of frames in a GOP depends on the parameters set at encode time, and may even be variable (not typical), but you can see what those parameters in MediaInfo by noting the line that says &quot;Format settings, GOP&quot; (&quot;N=30&quot; means 30 frames per GOP), or looking at the encoding settings where it notes &quot;keyint&quot; (Keyframe Interval). So needing to decode all 30 frames to show you any one frame is &lt;em&gt;very&lt;/em&gt; CPU and RAM intensive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you've got the storage I'd recommend considering using DNxHD, which is a &quot;mezzanine&quot; (editing friendly) codec that preserves quality, considered &quot;virtually lossless,&quot; but has low CPU/RAM impact. The catch is very high bitrates. So we're talking ~130-200GB/hr at 1080p59.94. The other catch is that &lt;a href=&quot;https://en.wikipedia.org/wiki/List_of_Avid_DNxHD_resolutions&quot; rel=&quot;nofollow noreferrer&quot;&gt;DNxHD has very limited supported resolutions and frame rates&lt;/a&gt;. There's also CineForm which is just as high a quality, but far more flexible, and both CineForm and DNxHD are natively supported by Premiere (CineForm in 2015 and later) but last I checked CineForm support in other tools, like ffmpeg, is lacking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So are more editing-friendly solution would be to use ffmpeg to make DNxHD with a command line the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i (input file).mp4 -c:v dnxhd -b:v 290M -c:a pcm_s16le -r 60 (output).mxf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That would make DNxHD with uncompressed audio in an MXF Op1a file. You could also whack .mov on the end there and make a Quicktime file instead just as easily. Note that -r sets the output frame rate. You could try using H.264 in ffmpeg by changing the video codec (-c:v), but you'll run into the same limitations as you would working with Handbrake, so I don't know if it's really worth it to go into that here.&lt;/p&gt;&#xA;" OwnerUserId="18259" LastActivityDate="2017-03-04T20:50:59.347" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20831" PostTypeId="2" ParentId="20640" CreationDate="2017-03-04T20:56:21.617" Score="1" Body="&lt;p&gt;Do you care about portability of metadata? You could just add some custom columns in the bin and add your metadata there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you've never made custom columns you just scroll all the way over to the right, click on the column header, and type in the column name.&lt;/p&gt;&#xA;" OwnerUserId="18259" LastActivityDate="2017-03-04T20:56:21.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20832" PostTypeId="2" ParentId="16462" CreationDate="2017-03-04T21:02:37.573" Score="2" Body="&lt;p&gt;The problem is that your video files are encoded using variable frame rate, which is typical of screen recorders. Premiere is trying to kind of grunt through it, but on longer clips you'll probably notice that you get some synch drift with the audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Transcoding for a constant frame rate file, either going back to H.264 (where you might lose some quality) or to something more editing-friendly, like DNxHD. ffmpeg can handle this pretty easily. Just be aware of the limited number of &lt;a href=&quot;https://en.wikipedia.org/wiki/List_of_Avid_DNxHD_resolutions&quot; rel=&quot;nofollow noreferrer&quot;&gt;video formats that DNxHD supports&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="18259" LastActivityDate="2017-03-04T21:02:37.573" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20833" PostTypeId="2" ParentId="13304" CreationDate="2017-03-05T00:14:54.263" Score="0" Body="&lt;p&gt;GameMaker studio supports SWF/Vector art and animation.  but of course that is for video games.  But I'm sure with how gamemaker works you could  make your own bootable videos with it. &lt;/p&gt;&#xA;" OwnerUserId="18262" LastActivityDate="2017-03-05T00:14:54.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20834" PostTypeId="1" CreationDate="2017-03-05T09:45:37.770" Score="0" ViewCount="639" Body="&lt;p&gt;How do I keep a pattern overlay layer effect from moving around separately when I do a rotation of the object the effect is applied to in After Effects? I created this composition in Photoshop and imported it into After Effects. It is almost correct except that the scratched metal pattern isn't following the rotation of the gear shape. It moves in a different way. See example here: &lt;a href=&quot;https://cl.ly/3x2L2P2S2X3K&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://cl.ly/3x2L2P2S2X3K&lt;/a&gt; Thank you.&lt;/p&gt;&#xA;" OwnerUserId="18265" LastActivityDate="2020-09-16T06:04:20.460" Title="How do I keep a pattern overlay layer effect from moving around separately when animating?" Tags="|after-effects|animation|effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20836" PostTypeId="2" ParentId="20834" CreationDate="2017-03-05T22:38:13.190" Score="1" Body="&lt;p&gt;Delete any motion or rotation keyframes in the overlay layer. Now line it up with the gear layer as you want, then make the gear layer the parent for the pattern layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To set a layer's parent you need to have the parent column visible in the timeline window. If it's not visible, right-click the column headings and choose it from the list. In the parent column you can then use the drop down to select the layer's parent or drag the pick-whip (the little spiral widget) to the chosen layer.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-03-05T22:38:13.190" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20837" PostTypeId="1" CreationDate="2017-03-06T04:45:49.567" Score="0" ViewCount="150" Body="&lt;p&gt;I compressed output video from fraps with h264/aac with ffmpeg but this results in distorted video in adobe cs6. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I fix this?&lt;/p&gt;&#xA;" OwnerUserId="18270" LastActivityDate="2017-12-31T09:39:20.327" Title="Video compressed with ffmpeg is distorted when opened in cs6" Tags="|cs6|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20838" PostTypeId="2" ParentId="20837" CreationDate="2017-03-06T06:03:18.437" Score="1" Body="&lt;p&gt;I fixed this by using the flag -pix_fmt yuv420p, for some reason the default pixel format is not supported in premiere pro cs6.&lt;/p&gt;&#xA;" OwnerUserId="18270" LastActivityDate="2017-03-06T06:03:18.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20839" PostTypeId="1" CreationDate="2017-03-06T13:47:54.330" Score="1" ViewCount="109" Body="&lt;p&gt;I want to combine some audio I recorded with an image (for uploading to YouTube).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Googling turned up &quot;Windows Live Movie Maker&quot; which appears to be more dead than alive, now, at least as far as Windows 10 is concerned.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Who can recommend a free software download (or web-based service) that will allow me to create this simple, You-Tube-uploadable file? All I want is for a single image to remain static during the entire playing of the audio file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The audio file was created with Audacity and is, at present, available as an .m4a file (but could be converted to another format from within Audacity); the image file is a .jpg, but could of course also be saved to another format.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;UPDATE&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I tried to figure it out using both of those links from the Upload page (Slideshow and Edit Video) and in neither case did I see how to combine and audio file and an image, and then convert that mashup to a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found &lt;a href=&quot;https://support.google.com/youtube/answer/1696878?topic=2888648&amp;amp;hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;this link&lt;/a&gt;, which appeared promising initially, but wasn't of much help.&lt;/p&gt;&#xA;" OwnerUserId="5629" LastEditorUserId="5629" LastEditDate="2017-03-07T01:29:11.070" LastActivityDate="2017-03-07T01:29:11.070" Title="Replacement for Windows Live Movie Maker for combining images and audio (Windows 10)?" Tags="|mp4|youtube|windows|windows-movie-maker|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20840" PostTypeId="2" ParentId="20839" CreationDate="2017-03-06T14:16:00.493" Score="2" Body="&lt;p&gt;It can be made directly on the YouTube website. Look at the &quot;Upload&quot; page at the bottom-right corner:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Sx9p5.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Sx9p5.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-03-06T14:16:00.493" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20841" PostTypeId="2" ParentId="20771" CreationDate="2017-03-06T14:27:02.180" Score="0" Body="&lt;p&gt;You also want to avoid shadows from being lit only from the front. Try to go from above and on the sides going across so they are independent of the subjects lighting. Otherwise you will get a messing key and have blotches of grey or clipping in the subject.&lt;/p&gt;&#xA;" OwnerUserId="17029" LastActivityDate="2017-03-06T14:27:02.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20842" PostTypeId="1" CreationDate="2017-03-06T15:22:31.170" Score="1" ViewCount="2537" Body="&lt;p&gt;We're having a Node application where users can upload their own videos files. All videos are converted to mp4 files to make them available in all browsers, since some users may upload other video formats like webm or 3gp. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is our FFMPEG command within our application:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;this.inputFile = tmp.fileSync({dir:&quot;/tmp/videos&quot;});&#xA;this.outputFile = tmp.fileSync({dir:&quot;/tmp/videos&quot;});&#xA;&#xA;new ffmpeg({timeout:600}) // 10 minutes timeout&#xA;        .input(this.inputFile.name)&#xA;        .input(__dirname + &quot;/../logo.png&quot;)&#xA;        .complexFilter(['[0:v]scale=w=trunc(oh*a/2)*2:h=720[scaled]','[scaled][1:v]overlay=main_w-overlay_w:main_h-overlay_h'])&#xA;        .withVideoCodec('libx264')&#xA;        .withAudioCodec('aac')&#xA;        .toFormat('mp4')&#xA;        .audioBitrate('128k')&#xA;        .videoBitrate(&quot;1000k&quot;)&#xA;        .fps(24)&#xA;        .outputOptions(['-profile:v high', '-level 4.2', '-movflags +faststart','-preset ultrafast'])&#xA;&#xA;        .on('error', (err,stdout,stderr) =&amp;gt; {&#xA;            this.outputFile.removeCallback();&#xA;            this.inputFile.removeCallback();&#xA;        })&#xA;&#xA;        .on('end', () =&amp;gt; {&#xA;&#xA;            //Cleaning input&#xA;            this.inputFile.removeCallback();&#xA;&#xA;            var readStream = fs.createReadStream(this.outputFile.name);&#xA;&#xA;            readStream.on('open', function () {&#xA;                readStream.pipe(writeStream);&#xA;            });&#xA;&#xA;            readStream.on('close', () =&amp;gt; {&#xA;                this.outputFile.removeCallback();&#xA;            });&#xA;        })&#xA;&#xA;        .output(this.outputFile.name)&#xA;        .run();&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Most of the time, the conversion process is working fine. But some conversions ran into a timeout. It seems like FFMPEG is hanging on a single frame and never finishes: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;1|project- | Error: process ran into a timeout (600s)&#xA;1|project- |     at Timeout._onTimeout (/var/www/project-files/source/node_modules/fluent-ffmpeg/lib/processor.js:465:23)&#xA;1|project- |     at ontimeout (timers.js:365:14)&#xA;1|project- |     at tryOnTimeout (timers.js:237:5)&#xA;1|project- |     at Timer.listOnTimeout (timers.js:207:5)&#xA;1|project- | frame=  405 fps=0.7 q=32.0 size=    2272kB time=00:00:17.10 bitrate=1088.1kbits/s dup=233 drop=0 speed=0.0311x    &#xA;1|project- | frame=  405 fps=0.7 q=32.0 size=    2272kB time=00:00:17.10 bitrate=1088.1kbits/s dup=233 drop=0 speed=0.0311x    &#xA;1|project- | frame=  405 fps=0.7 q=32.0 size=    2272kB time=00:00:17.10 bitrate=1088.1kbits/s dup=233 drop=0 speed=0.0311x    &#xA;1|project- | frame=  405 fps=0.7 q=32.0 size=    2272kB time=00:00:17.10 bitrate=1088.1kbits/s dup=233 drop=0 speed=0.031x    &#xA;1|project- | frame=  405 fps=0.7 q=32.0 size=    2272kB time=00:00:17.10 bitrate=1088.1kbits/s dup=233 drop=0 speed=0.031x    &#xA;1|project- | frame=  405 fps=0.7 q=32.0 size=    2272kB time=00:00:17.10 bitrate=1088.1kbits/s dup=233 drop=0 speed=0.031x    &#xA;1|project- | frame=  405 fps=0.7 q=32.0 size=    2272kB time=00:00:17.10 bitrate=1088.1kbits/s dup=233 drop=0 speed=0.0309x    &#xA;1|project- | frame=  405 fps=0.7 q=32.0 size=    2272kB time=00:00:17.10 bitrate=1088.1kbits/s dup=233 drop=0 speed=0.0309x    &#xA;1|project- | frame=  405 fps=0.7 q=32.0 size=    2272kB time=00:00:17.10 bitrate=1088.1kbits/s dup=233 drop=0 speed=0.0309x    &#xA;1|project- | frame=  405 fps=0.7 q=32.0 size=    2272kB time=00:00:17.10 bitrate=1088.1kbits/s dup=233 drop=0 speed=0.0309x    &#xA;1|project- | frame=  405 fps=0.7 q=32.0 size=    2272kB time=00:00:17.10 bitrate=1088.1kbits/s dup=233 drop=0 speed=0.0308x    &#xA;1|project- | frame=  405 fps=0.7 q=32.0 size=    2272kB time=00:00:17.10 bitrate=1088.1kbits/s dup=233 drop=0 speed=0.0308x    &#xA;1|project- | frame=  405 fps=0.7 q=32.0 size=    2272kB time=00:00:17.10 bitrate=1088.1kbits/s dup=233 drop=0 speed=0.0308x    &#xA;1|project- | frame=  405 fps=0.7 q=32.0 size=    2272kB time=00:00:17.10 bitrate=1088.1kbits/s dup=233 drop=0 speed=0.0307x    &#xA;1|project- | frame=  405 fps=0.7 q=32.0 size=    2272kB time=00:00:17.10 bitrate=1088.1kbits/s dup=233 drop=0 speed=0.0307x   &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I've also noticed that this error happens on corrupted webm files, which seem to not have a correct timestamp. I've also tried to set shortest=1 to the overlay filter:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;overlay=main_w-overlay_w:main_h-overlay_h:shortest=1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This solves the loop, but the converted mp4 file only shows a single frame and not more (it's &quot;frozen&quot;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea what could cause this issue and how I could fix it? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;// Edit: I'm now able to reproduce it. The problem occurs if the user is recording a video on his smartphone and changes from landscape&amp;lt;-&gt;portrait mode during recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the output of FFMPEG on my dev machine:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Past duration 0.679985 too large&#xA;Past duration 0.799995 too large&#xA;Past duration 0.719994 too large&#xA;Past duration 0.639992 too large&#xA;Past duration 0.759987 too large&#xA;Input stream #0:0 frame changed from size:640x480 fmt:yuv420p to size:480x640 fmt:yuv420p&#xA;frame=   33 fps=0.0 q=34.0 size=     173kB time=00:00:01.67 bitrate= 845.0kbits/s dup=2 drop=7 speed=3.33x    &#xA;frame=   33 fps= 33 q=34.0 size=     173kB time=00:00:01.67 bitrate= 845.0kbits/s dup=2 drop=7 speed=1.67x    &#xA;frame=   33 fps= 22 q=34.0 size=     173kB time=00:00:01.67 bitrate= 845.0kbits/s dup=2 drop=7 speed=1.11x    &#xA;frame=   33 fps= 16 q=34.0 size=     173kB time=00:00:01.67 bitrate= 845.0kbits/s dup=2 drop=7 speed=0.831x    &#xA;frame=   33 fps= 13 q=34.0 size=     173kB time=00:00:01.67 bitrate= 845.0kbits/s dup=2 drop=7 speed=0.665x   &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there a way to use the overlay filter with it?&lt;/p&gt;&#xA;" OwnerUserId="18274" LastEditorUserId="18274" LastEditDate="2017-03-07T19:01:07.967" LastActivityDate="2019-09-12T07:13:14.413" Title="FFMPEG is hanging on a single frame" Tags="|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20843" PostTypeId="1" AcceptedAnswerId="20844" CreationDate="2017-03-06T15:33:05.923" Score="8" ViewCount="37307" Body="&lt;p&gt;How can I take a single frame of footage and extend it over several seconds on the timeline?&lt;/p&gt;&#xA;" OwnerUserId="6893" LastActivityDate="2017-06-04T16:52:03.633" Title="Freeze frames in DaVinci Resolve" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20844" PostTypeId="2" ParentId="20843" CreationDate="2017-03-06T15:33:05.923" Score="10" Body="&lt;p&gt;Right click on the clip (or open the Clip menu with the clip selected) and select &quot;Change Clip Speed&quot;. A popup will open:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tNKLW.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tNKLW.png&quot; alt=&quot;Change Clip Speed popup&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check the &quot;Freeze frame&quot; check box and then hit &quot;Change&quot;. The clip can now be resized and it will only show that frame for its duration.&lt;/p&gt;&#xA;" OwnerUserId="6893" LastActivityDate="2017-03-06T15:33:05.923" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20845" PostTypeId="1" CreationDate="2017-03-06T21:17:05.727" Score="1" ViewCount="51" Body="&lt;p&gt;Hi there I'm in business and I'm looking to expand. I think there is a vast need for broadcast tv in my country  (Jamaica). So I'm exploring what it takes to get setup and all. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to know if there is a way to broadcast multiple channels simultaneously from one location, as in can i only have one broadcast tower and shoot more than 1 channel from that. I would like to do a entertainment, kids, news/weather channels. All advice and input are welcome. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks &lt;/p&gt;&#xA;" OwnerUserId="18276" LastActivityDate="2017-03-07T00:12:43.200" Title="Broadcast tv setup." Tags="|setup|broadcast|television|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20846" PostTypeId="2" ParentId="20845" CreationDate="2017-03-07T00:12:43.200" Score="1" Body="&lt;p&gt;Yes, you can broadcast more than one program service (channel) from a single location. This is fairly common.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For analog over the air &lt;a href=&quot;https://en.wikipedia.org/wiki/NTSC&quot; rel=&quot;nofollow noreferrer&quot;&gt;(NTSC)&lt;/a&gt;, you can use combiners and a broadband antenna. (See, for example, &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/0070696276&quot; rel=&quot;nofollow noreferrer&quot;&gt;Whitaker &amp;amp; Benson, 2000&lt;/a&gt; chs. 15 &amp;amp; 16)*&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For any of the digital over the air or satellite delivery standards, &lt;a href=&quot;https://en.wikipedia.org/wiki/Multiplex_(television)&quot; rel=&quot;nofollow noreferrer&quot;&gt;multiplexing&lt;/a&gt; is part of the standard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For fiber optic delivery to a cable headend or contract uplink facility, similar multiplexing technology is available, like from &lt;a href=&quot;http://www.evertz.com/solutions/transport&quot; rel=&quot;nofollow noreferrer&quot;&gt;Evertz&lt;/a&gt;, &lt;a href=&quot;https://www.ericsson.com/ourportfolio/products/television-and-video&quot; rel=&quot;nofollow noreferrer&quot;&gt;Ericsson&lt;/a&gt;, and many others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;* The newer edition of this book, and many other video engineering texts, dropped the analog systems discussion because of the transition to digital in the US.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-03-07T00:12:43.200" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20847" PostTypeId="1" CreationDate="2017-03-07T03:58:40.173" Score="3" ViewCount="168" Body="&lt;p&gt;What would be the best order to apply these node adjustments to ProRes HQ 4K footage in DaVinci Resolve 12:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Colour Chart&lt;/li&gt;&#xA;&lt;li&gt;Primaries&lt;/li&gt;&#xA;&lt;li&gt;Saturation&lt;/li&gt;&#xA;&lt;li&gt;Sharpening&lt;/li&gt;&#xA;&lt;li&gt;Noise Reduction&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2018-05-03T21:02:39.843" Title="DaVinci 12 - Noise Reduction Strategy" Tags="|davinci-resolve|noise-reduction|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20848" PostTypeId="1" CreationDate="2017-03-07T04:27:28.637" Score="4" ViewCount="246" Body="&lt;p&gt;I have a couple hundred video clips in a premiere pro project (uncompressed avi), and it is burning too much space on my hard disk. I want to compress these clips (perhaps to x264).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an easy way to do this? Currently I have to search for each file manually, while the only thing that changed is the extension from .avi to .mp4, and I have multiple projects I want to do this for.&lt;/p&gt;&#xA;" OwnerUserId="18270" LastEditorUserId="636" LastEditDate="2018-01-25T22:23:15.330" LastActivityDate="2019-05-02T11:26:41.120" Title="Easily replace clips in Premiere Pro" Tags="|premiere|cs6|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20849" PostTypeId="1" AcceptedAnswerId="32108" CreationDate="2017-03-07T07:35:11.067" Score="3" ViewCount="353" Body="&lt;p&gt;I want to take an mp3 podcast and its transcript and create a video of the text scrolling vertically on the screen with the audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to scroll 10~20 lines of text so that I don't have to sync each line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used MS MovieMaker for this job but now I want to automate the process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What tool do you recommend, ffmpeg, AviSynth? Also startup tips and examples would be very helpful as I don't have any experience in video processing.&lt;/p&gt;&#xA;" OwnerUserId="18281" LastActivityDate="2020-08-26T18:33:50.360" Title="Scrolling text on video" Tags="|post-production|subtitles|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20850" PostTypeId="2" ParentId="20842" CreationDate="2017-03-07T09:18:09.143" Score="1" Body="&lt;p&gt;Adding &lt;code&gt;-loop 1&lt;/code&gt; to the FFMPEG command solves the problem:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;new ffmpeg({timeout:600}) &#xA;[...]&#xA;.inputOptions([&quot;-loop 1&quot;])&#xA;.run();&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="18274" LastActivityDate="2017-03-07T09:18:09.143" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20851" PostTypeId="1" AcceptedAnswerId="20873" CreationDate="2017-03-07T12:48:45.203" Score="2" ViewCount="1001" Body="&lt;p&gt;I have video tutorials that I am producing using Camtasia using the following process:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Write Script.&lt;/li&gt;&#xA;&lt;li&gt;Record a voice over.&lt;/li&gt;&#xA;&lt;li&gt;Record screen while listening the voice over steps.&lt;/li&gt;&#xA;&lt;li&gt;merge sound and screen recording.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;My recordings are little a bit slow and boring and I would like to speed them up like YouTube speed 1.25X, but whenever I speed them up my voice tone changes badly (get more thinner) unlike YouTube Playback, the voice flows at higher rate and voice tone is normal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How Can I speed them up without affecting my voice tone?&lt;/p&gt;&#xA;" OwnerUserId="18284" LastActivityDate="2017-03-09T22:39:17.183" Title="How to speed up playback speed like YouTube using Camtasia?" Tags="|youtube|playback|production|" AnswerCount="2" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="20852" PostTypeId="2" ParentId="20847" CreationDate="2017-03-07T15:25:58.627" Score="1" Body="&lt;p&gt;I'm not a professional colorist, but I do care a lot about color. (I run a fully ICC controlled workflow.)  I would personally start with either noise reduction or color chart, depending on how noisy the footage was.  Reasoning being that if it is too noisy, then the samples off the color chart may be impacted.  It's also true that the denoise process may cause corruption of the color data from the chart, but if it is so noisy that the information effectively isn't there anyway, it isn't going to matter a lot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Doing the noise reduction will impact the precision of information in the scene, but hopefully reduce visible artifacts.  I generally try to do it as late as possible but as early as necessary.  Each step of the process has a chance of making noise worse and at a certain point, it's going to become harder to deal with if you don't deal with it before making more changes, but that's a somewhat variable place depending on the type and quantity of noise and your level of comfort in dealing with it well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Color charts are going to give you a decent baseline.  They are all about getting color in spec.  They aren't giving you a particular look, they are just getting you a starting point where certain known colors will match spec for whatever colorspace you are working in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Primaries are going to develop the actual look and feel of your image to the way you want it colorized.  This is where you will do most of the fine tuning to get the tone you want after starting from a well placed baseline from the charts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Saturation may be adjusted a bit while working on the primaries, but I largely find I work with saturation after most of my primaries work is done.  This will impact the strength of the color and may very well result in additional refinement being needed in the primaries, but the closer you can have the primaries before adjusting saturation too much, the faster I find my workflow personally.  It's also worth noting that if you know you will want a somewhat pastel image or a more vivid image, it may be worth messing with saturation to get it in roughly the right range prior to doing primary work as drastic changes in saturation will have a larger impact on your primaries work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sharpening is almost always at the end and generally after noise reduction, but it does somewhat matter what you are trying to accomplish and how noisy things are.  As sharpening looks to make edge contrast higher, it will tend to greatly amplify any noise, which is why it is generally done after noise reduction.  It is also done after coloring since the coloring will impact the edge detection of sharpening.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This only reflects my process and isn't necessarily shared by everyone, but I find it works well for me in getting good results quickly.  There's always going to be a degree of going back after the fact to correct things you notice later as you are further refining the image, but that largely will come from experience of working with color and being able to recognize what your goal is and what primary and side effects different adjustments will have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Just noticed you were asking about node order, not adjustment order.  I'd go with Color chart, primaries, saturation, sharpening with noise reduction entered based on where it is needed.  Saturation would probably be reversed with primaries when doing a non-natural color look.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-03-07T15:25:58.627" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20853" PostTypeId="1" AcceptedAnswerId="21865" CreationDate="2017-03-07T19:11:26.410" Score="1" ViewCount="2516" Body="&lt;p&gt;When I open my project it loads the footage in the background. Unfortunately, it stops at a certain point (close to ready) but I can't figure out which file is causing the problem since my folder paths are too long (I am only seeing something like: &lt;em&gt;G:\Video\Projectx\scene1(footage)...&lt;/em&gt;). When I open the project it shows me this error message: &lt;em&gt;Video Filter missing: AE.ADBE Aud Stereo Mixer&lt;/em&gt;. Since I have imported different other projects, I cannot figure out which file is causing this error as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I import:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a lot of &lt;em&gt;.MOV&lt;/em&gt; files&lt;/li&gt;&#xA;&lt;li&gt;6 AE projects&lt;/li&gt;&#xA;&lt;li&gt;some &lt;em&gt;png&lt;/em&gt; and &lt;em&gt;jpeg&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What I tried so far:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;deleting the cache&lt;/li&gt;&#xA;&lt;li&gt;changes cache's location&lt;/li&gt;&#xA;&lt;li&gt;other projects work fine&lt;/li&gt;&#xA;&lt;li&gt;restart PC&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Any ideas how I can debug/solve the problem?&lt;/p&gt;&#xA;" OwnerUserId="16399" LastEditorUserId="16399" LastEditDate="2017-03-07T19:17:41.157" LastActivityDate="2017-08-07T11:47:27.903" Title="Premiere Pro: Loading Footage for Project Problem" Tags="|premiere|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20854" PostTypeId="2" ParentId="20853" CreationDate="2017-03-07T21:01:53.587" Score="0" Body="&lt;p&gt;When I have a similar problem and can't see the path, mount the long path to a shorter one. You can do this by sharing the folder, then mounting it as a drive letter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's how to share it: &lt;a href=&quot;http://lifehacker.com/5808814/how-to-share-a-folder-over-your-network-for-beginners&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://lifehacker.com/5808814/how-to-share-a-folder-over-your-network-for-beginners&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you share the folder you can then mount it as a drive letter, so that the long path appears as an actual hard drive with its own drive letter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mapping a folder to a drive letter here: &lt;a href=&quot;http://www.itworld.com/article/2694895/how-to-map-a-local-folder-to-a-drive-letter-in-windows.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.itworld.com/article/2694895/how-to-map-a-local-folder-to-a-drive-letter-in-windows.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;that should get you one step closer to find out what clip is causing the issues. But the issue itself might be a corrupted clip. Another thing that causes issues, if you have an extension of a file that does not represent that file. I.e. for some reason there is a .mov file but it's not a video or is a completely empty file. &lt;/p&gt;&#xA;" OwnerUserId="14534" LastActivityDate="2017-03-07T21:01:53.587" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20855" PostTypeId="1" AcceptedAnswerId="20856" CreationDate="2017-03-08T03:29:46.530" Score="7" ViewCount="427" Body="&lt;p&gt;What is the name of the shooting technique that seems to freeze everything in the world except the camera you're shooting? The camera can travel a certain path and nothing moves in the scene, even things that are falling are as if they were frozen in the air.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately I can not remember any examples at the moment ....&lt;/p&gt;&#xA;" OwnerUserId="18258" LastEditorUserId="18258" LastEditDate="2017-06-12T16:25:54.410" LastActivityDate="2017-06-12T16:25:54.410" Title="Technique that seems to freeze everything in the world except the camera" Tags="|technical|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20856" PostTypeId="2" ParentId="20855" CreationDate="2017-03-08T03:46:23.570" Score="9" Body="&lt;p&gt;It's called &quot;&lt;a href=&quot;https://en.wikipedia.org/wiki/Bullet_time&quot; rel=&quot;nofollow noreferrer&quot;&gt;Bullet Time&lt;/a&gt;&quot; and was popularized by the movie The Matrix.  The effect is achieved by using many, many cameras to all shoot stills at the same time, and then effect of motion around the subject is achieved by animating across the different simultaneous images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make the effect more believable, the still camera has to really freeze the motion (because motion blur from a given camera-subject relationship contradicts the eye's expected motion blur that would come from motion tracing the path of the camera array that gives bullet time its distinctive look).  But perfectly still images usually make for fake-looking video, so to make it look more believable, motion vectors are derived from the sequence of stills and motion blur is then applied to the stills, completing the effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;n.b.  Motion cameras that cam capture stills (from GoPro snapping away at 12fps to RED WEAPONs cranking out 96 fps at 6K resolution) can be used as a source for the stills.  This provides the opportunity for a two-dimensional bullet-time effect: in one dimension one can move through time as usual and in the other one can slide across space while freezing time.  This &lt;a href=&quot;https://www.youtube.com/watch?v=ZlZPmABrLu8&quot; rel=&quot;nofollow noreferrer&quot;&gt;surf video from 2010&lt;/a&gt; demonstrates the two-dimensional possibilities with a shed-load of GoPro cameras.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2017-03-09T12:49:36.880" LastActivityDate="2017-03-09T12:49:36.880" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20858" PostTypeId="1" CreationDate="2017-03-08T11:02:38.540" Score="1" ViewCount="47" Body="&lt;p&gt;I am doing some &lt;strong&gt;meetup recording&lt;/strong&gt; and I want to automate the thing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are my current devices to record any meetup:&#xA;- OBS&#xA;- logitech c922 &#xA;- AverMedia LGP Lite&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need a better sound that the webcam sound. Ideally it will not be on the speaker but I know that a microphone tie would be the best choice. I have tried with a H2n ZOOM but I think we can do better. &lt;/p&gt;&#xA;&#xA;&lt;h3&gt;What are you recommending?&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Ideally the price should be between 50-200$&lt;/em&gt;. &lt;/p&gt;&#xA;" OwnerUserId="18289" LastActivityDate="2017-03-08T11:02:38.540" Title="What's the best balance price/quality audio recorder for meetup and small conf" Tags="|audio|audio-recording|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20859" PostTypeId="1" CreationDate="2017-03-08T13:27:13.987" Score="1" ViewCount="481" Body="&lt;p&gt;I have an animation i After Effects (1920x1080, 25fps, Color working space sRGB 1966) with Illustrator doc in sRGB. The colors are correct when playing in project and also when exported and playing in Quicktime &amp;amp; VLC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when uploading to Youtube and on other webpages the colors shift, especially one color (#00acc1) turquoise gets much more green. Like this &lt;a href=&quot;https://i.stack.imgur.com/OQvap.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OQvap.jpg&quot; alt=&quot;Turquoise vs Aqua&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Left color - the right one and Right color - the color I get from Youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is in Firefox. But when I play the same video in Chrome &amp;amp; Safari the colors are all correct in the video - except the startpicture (miniature from Youtube) gets the wrong color. Weird!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried different codec-options in AE and Adobe Media Encoder (H.264, Youtube preset, Animation etc). I tried YUV (thought that less compression would make it better, since Youtube is already compressing it) and it got better I thought at first, but then I saw it just go more blue and in Chrome it got TOO much blue - so the color shift is still there. I also tried putting the masterclip in AE and setting a Utility profile converter to sRGB - but same shift there when uploading to web. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have been trying to solve this for hours. I understand that colors can shift inbetween browsers and different screens, but this seems too much. Is this specific color extremely non-web-friendly? Or is there anything I can do about this, is it something I'm doing wrong or has anyone experienced something similar?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for reply!&lt;/p&gt;&#xA;" OwnerUserId="18291" OwnerDisplayName="K.Grey" LastActivityDate="2017-07-27T07:19:12.187" Title="Color shift uploading to Youtube" Tags="|color|animation|video|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20860" PostTypeId="1" CreationDate="2017-03-08T17:18:28.280" Score="1" ViewCount="19" Body="&lt;p&gt;I am looking for a good microphone to film trains as they go by.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have been looking, at the Opteka VM-200. But I am concerned that the shotgun directional characteristic will not work well, since I want to pick up the sound of the train coming in the distance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But it seems like almost all camcorder external microphones are shotgun and directional, and quite commonly mono.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make things even more confusing, I am looking for a low frequency response, to capture the rumbling low end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In addition, it needs to fit a wind sock on it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But most importantly, right now it are there any that are omni directional. I can't find one!!&lt;/p&gt;&#xA;" OwnerUserId="13870" LastActivityDate="2017-03-08T17:18:28.280" Title="Are there any omni directional stereo mics for camcorders" Tags="|audio|microphone|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20861" PostTypeId="1" CreationDate="2017-03-08T17:46:46.813" Score="1" ViewCount="1178" Body="&lt;p&gt;Many action cameras claim to record 4K UHD but only meet the spatial characteristics, i.e., 3840 x 2160, but not the temporal characteristics, i.e., minimum 23.976fps.  Instead they record at 12fps (or 15fps) and playback at 1x speed but 24fps (or 30fps).  My understanding is that this is accomplished by playing each frame twice and these added frames are not interpolated but rather are exact copies.  In action cam forums this is called frame doubling.  I have two questions.&lt;br&gt;&#xA;&lt;strong&gt;1.&lt;/strong&gt; Is it in fact correct that the added frames are duplicates, not interpolated?&lt;br&gt;&#xA;&lt;strong&gt;2.&lt;/strong&gt; If yes, is frame doubling the correct technical term?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt;  I should clarify that when I view these videos frame-by-frame it appears the frames are duplicates.  However, I'm viewing 4K video on a 1080p monitor so I'm not sure if I'm missing something.&lt;/p&gt;&#xA;" OwnerUserId="18293" LastEditorUserId="18293" LastEditDate="2017-03-08T19:06:01.680" LastActivityDate="2018-10-05T17:00:13.053" Title="What is Frame Doubling in Action Cameras?" Tags="|framerate|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20862" PostTypeId="2" ParentId="20851" CreationDate="2017-03-08T19:20:11.403" Score="2" Body="&lt;p&gt;You don't do this in Camtasia as it doesn't appear that Camtasia supports pitch shifting at this point although there has definitely been some &lt;a href=&quot;https://feedback.techsmith.com/techsmith/topics/speeding_up_the_video_speed_without_effecting_audio_pitch&quot; rel=&quot;nofollow noreferrer&quot;&gt;discussion of the topic&lt;/a&gt; for quite some time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are alternate solutions however, ffmpeg has this capability through the &lt;a href=&quot;https://www.ffmpeg.org/ffmpeg-filters.html#atempo&quot; rel=&quot;nofollow noreferrer&quot;&gt;atempo&lt;/a&gt; and &lt;a href=&quot;https://www.ffmpeg.org/ffmpeg-filters.html#asetrate&quot; rel=&quot;nofollow noreferrer&quot;&gt;aserate&lt;/a&gt; audio filters, I understand that you can do this with audacity and sox as well. If you have any interest in any of these approaches and would like further detail drop me a comment and I'll do my best to accommodate you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to @Mulvya you can also accomplish this with an ffmpeg build compiled to support &lt;a href=&quot;http://breakfastquay.com/rubberband/&quot; rel=&quot;nofollow noreferrer&quot;&gt;librubberband&lt;/a&gt; You can compile it your self or there are Windows XP compatible builds available &lt;a href=&quot;https://sourceforge.net/projects/ffmpegwindowsbi/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; which I've confirmed run under &lt;a href=&quot;https://www.winehq.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wine&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's also a stand alone utility that I haven't used that you can obtain from the librubberband link above. It appears that that is limited to adjusting WAV files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some sources:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://superuser.com/questions/292833/how-to-change-audio-frequency&quot;&gt;https://superuser.com/questions/292833/how-to-change-audio-frequency&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://superuser.com/questions/1118826/change-tone-pitch-for-file-audio&quot;&gt;https://superuser.com/questions/1118826/change-tone-pitch-for-file-audio&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.ffmpeg.org/documentation.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.ffmpeg.org/documentation.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://feedback.techsmith.com/techsmith/topics/speeding_up_the_video_speed_without_effecting_audio_pitch&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://feedback.techsmith.com/techsmith/topics/speeding_up_the_video_speed_without_effecting_audio_pitch&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12153" LastEditorUserId="-1" LastEditDate="2017-03-20T10:04:28.637" LastActivityDate="2017-03-08T22:14:18.253" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20863" PostTypeId="1" CreationDate="2017-03-08T22:32:19.410" Score="1" ViewCount="2916" Body="&lt;p&gt;I want to make a YouTube video showing text-only. Like this one.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/gp0AA3NLDic?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="18297" LastActivityDate="2017-03-08T23:25:16.380" Title="How do I make a YouTube video with text-only?" Tags="|youtube|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20864" PostTypeId="2" ParentId="20863" CreationDate="2017-03-08T23:25:16.380" Score="2" Body="&lt;p&gt;You can create these easily in most video editing programs. For example, in iMovie (which is available on Apple devices), each of these is a Title.  &quot;Title&quot; is what iMovie calls a page of text.  So you create one Title for each thing you want to say on screen, and you add them to your video. Make sure the beginning of every Title fades in from black, and the ending of every title fades out to black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you're done with that, you probably want to make sure you can read each of them in the time they're visible.  I typically leave Titles on screen for as long as it takes me to read them out loud (rather that just reading them silently in my mind).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you've got the timing done, find music to add in the background. iMovie offers a lot of free, royalty-free music that you can use.  YouTube also offers you free music you can download and use at &lt;a href=&quot;http://youtube.com/audiolibrary&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://youtube.com/audiolibrary&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2017-03-08T23:25:16.380" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20865" PostTypeId="2" ParentId="18239" CreationDate="2017-03-09T00:41:27.167" Score="0" Body="&lt;p&gt;Are you doing the tutorial below?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/frXQxwMKh6c?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found that we need to change the composition settings. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;If you want access to the blending modes, ensure your composition is using the Classic 3D rendered. This can be found by going to your composition settings, click on Advanced tab, then select it from the Renderer drop down list.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks to Declan Smith on &lt;a href=&quot;https://forums.creativecow.net/thread/2/1028397&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forums.creativecow.net/thread/2/1028397&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18298" LastActivityDate="2017-03-09T00:41:27.167" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20867" PostTypeId="1" CreationDate="2017-03-09T09:38:49.797" Score="1" ViewCount="79" Body="&lt;p&gt;I've lately enjoyed editing videos using Premier Pro and After Effects, on my 2013 macbook air. It is painfully obvious that my macbook air was not made for this, especially when rendering in After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is just a hobby for me and I want to know what kind of system I need to buy to get at least reasonable performance. There is all kinds of advice online, mostly recommending GTX 1080 and i7-6950 etc.. What I really want is a list of benchmarked systems that show render and export times for different systems from macbooks, to mini PCs and high-end custom builds. If the project files used for the benchmarks are available I can then compare against my macbook air and als compare it on systems I'm evaluating myself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Who can help me out with some good benchmark files and benchmarks?  &lt;/p&gt;&#xA;" OwnerUserId="18301" LastActivityDate="2017-03-09T09:38:49.797" Title="good source of benchmarking data with project files for Premiere and After Effects" Tags="|after-effects|premiere|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20869" PostTypeId="1" CreationDate="2017-03-09T13:26:02.970" Score="0" ViewCount="1204" Body="&lt;p&gt;I have created my dash videos with mp4box and ffmpeg. it plays fine on exo player and videoJS on android and all browsers, but it doesn't play on ios 10 safari. how can I make it playable on ios and safari?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;here is a demo:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://79.175.133.185/static/videos/bighero/index.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://79.175.133.185/static/videos/bighero/index.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18196" LastActivityDate="2017-03-10T17:21:55.273" Title="mpeg-dash playback on ios" Tags="|ffmpeg|ios|mpeg-dash|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20871" PostTypeId="1" AcceptedAnswerId="20872" CreationDate="2017-03-09T19:55:47.320" Score="1" ViewCount="4916" Body="&lt;p&gt;I have the following code to convert HDV video to a web ready mp4:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i hdv-input.m2t -crf 28 -c:a aac -b:a 80k -ac 1 -strict -2 -movflags +faststart h-264-out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The problem is that there is nowhere in this command to specify pixel aspect ratio. If you are not aware, HDV video files are 1440x1080, but the pixels are not square. When decoded for display, the pixels are stretched to make a full 1920x1080. This is called anamorphic video, and it is something that should definitely be avoided if producing for end users.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I honestly don't know if the mp4's I'm making with the above command are being produced with square pixels, but I want to make sure they are. What are the correct parameters I need to add to this command to ensure square pixels in my output mp4? Do I also have to set resolution, and how do I do that? It seems like there should be a &lt;code&gt;-c:v&lt;/code&gt; command as well, but I don't really know.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2017-03-09T20:29:00.150" Title="How do I convert anamorphic hdv video to normal h.264 video with ffmpeg? How to ensure square pixels in output?" Tags="|ffmpeg|conversion|aspect|non-square-pixels|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20872" PostTypeId="2" ParentId="20871" CreationDate="2017-03-09T20:29:00.150" Score="1" Body="&lt;p&gt;You can use a combo of the scale and setsar filters.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i hdv-input.m2t -vf &quot;scale=iw*sar:ih,setsar=1&quot; -crf 28 -c:a aac -b:a 80k -ac 1 -movflags +faststart h-264-out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The scaler width to set to &lt;code&gt;current width x sample/pixel aspect&lt;/code&gt;. If it's already 1, it amounts to &lt;code&gt;new width = old width&lt;/code&gt;. I've added a setsar afterwards to ensure the output SAR is &lt;code&gt;1&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For MP4 format, default video codec is H.264. If that's what you want, no need to explicitly set &lt;code&gt;c:v&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(For bitrates &amp;lt; 128k, &lt;code&gt;libfdk_aac&lt;/code&gt; is better than the native AAC encoder.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-strict -2&lt;/code&gt; is not needed for using native AAC encoder if your ffmpeg is from after Dec 2015.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-03-09T20:29:00.150" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="20873" PostTypeId="2" ParentId="20851" CreationDate="2017-03-09T22:39:17.183" Score="0" Body="&lt;p&gt;As I am familiar with &lt;a href=&quot;http://manual.audacityteam.org/man/change_tempo.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Audacity&lt;/a&gt; I have found it through &lt;code&gt;Effects&lt;/code&gt; -&gt; &lt;code&gt;Change Tempo...&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZFAd9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZFAd9.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18284" LastActivityDate="2017-03-09T22:39:17.183" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20874" PostTypeId="1" AcceptedAnswerId="20884" CreationDate="2017-03-10T01:39:45.070" Score="1" ViewCount="2904" Body="&lt;p&gt;In Adobe Premiere CC, I keep trying to set my position keyframe's temporal interpolation to &quot;Ease Out&quot;. After I set it, I recheck the context menus immediately, and it has reverted to &quot;Bezier&quot;.  Why does it do that, and how can I get it to keep the temporal interpolation that I set?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jgIXK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jgIXK.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2017-03-10T18:00:33.117" Title="Why does Adobe Premiere CC change my &quot;Ease Out&quot; keyframe interpolation to &quot;Bezier&quot;?" Tags="|premiere|adobe|keyframes|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20875" PostTypeId="1" AcceptedAnswerId="20879" CreationDate="2017-03-10T04:16:02.613" Score="0" ViewCount="93" Body="&lt;p&gt;Can a Panasonic HDC-SD90 record pc screen via HDMI or AV MULTI Cable?&#xA;Thanks.&lt;/p&gt;&#xA;" OwnerDisplayName="user18309" LastActivityDate="2017-03-10T11:57:09.500" Title="Can Panasonic HDC-SD90 record pc screen" Tags="|screen-casting|hdmi|recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20876" PostTypeId="5" CreationDate="2017-03-10T05:05:32.583" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2017-03-10T05:05:32.583" LastActivityDate="2017-03-10T05:05:32.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20877" PostTypeId="4" CreationDate="2017-03-10T05:05:32.583" Score="0" Body="Capturing footage from a camera or computer" OwnerDisplayName="user18309" LastEditorDisplayName="user18309" LastEditDate="2017-03-11T17:03:01.040" LastActivityDate="2017-03-11T17:03:01.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20878" PostTypeId="2" ParentId="16747" CreationDate="2017-03-10T09:08:56.080" Score="1" Body="&lt;p&gt;For 1080p, I often stick with.. (80 secs) - equals close to the 4gb limit. &lt;/p&gt;&#xA;" OwnerUserId="18311" LastActivityDate="2017-03-10T09:08:56.080" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20879" PostTypeId="2" ParentId="20875" CreationDate="2017-03-10T11:57:09.500" Score="0" Body="&lt;p&gt;No.  The HDMI and AV MULTI Cable ports are output, not input ports.  Depending on the OS of your PC, there are programs that capture screen video.  Such programs are used by gamers to capture their gameplay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This link gives some information about recording screen output for Linux: &lt;a href=&quot;https://fedoraproject.org/wiki/ScreenCasting&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://fedoraproject.org/wiki/ScreenCasting&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-03-10T11:57:09.500" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20880" PostTypeId="1" CreationDate="2017-03-10T13:03:54.753" Score="2" ViewCount="100" Body="&lt;p&gt;I'm looking for a camera to set up to an outdoor tennis court and stream to youtube. I'm not sure what the best way of doing this would be and am looking for guidance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The way I see it is either I get an IP Camera and livestream directly through it to youtube, or get a (preferably wireless) webcam and stream it through a dedicated PC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have done some tests and am successful in streaming with a webcam hooked up to my laptop, then encoding through Open Broadcaster and stream to youtube. What I'm looking for is a simpler system, where I can in the best of worlds just press a button and start streaming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any recommendations on type of camera etc. is greatly appreciated!&lt;/p&gt;&#xA;" OwnerUserId="18313" LastActivityDate="2017-04-10T05:03:36.600" Title="Livestream outdoor sports" Tags="|camera|youtube|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20881" PostTypeId="1" CreationDate="2017-03-10T16:46:55.253" Score="4" ViewCount="1445" Body="&lt;p&gt;I want to remove night footage from a Timelapse video of construction over 300 days. So I want to remove 300 nights from this video. How do I do it in an easier way? Is there a option to cut video at predefined frame/points after regular intervals in one single command? I want to avoid manual labor. I am using adobe premier pro cc 2014&lt;/p&gt;&#xA;" OwnerUserId="18315" LastEditorUserId="16850" LastEditDate="2017-03-21T19:05:23.000" LastActivityDate="2020-11-16T17:00:45.803" Title="How do I remove night footage from 300 days of Time lapse video" Tags="|video|premiere|adobe|time-lapse|footage|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20882" PostTypeId="2" ParentId="20869" CreationDate="2017-03-10T17:21:55.273" Score="3" Body="&lt;p&gt;Dash will not playback on iOS safari. You can create an HLS manifest however and reuse the same dash assets and play that. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2017-03-10T17:21:55.273" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20883" PostTypeId="2" ParentId="20855" CreationDate="2017-03-10T17:51:53.203" Score="4" Body="&lt;p&gt;The BTS from The Matrix shows the early days of this technique: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/JjPBsx_eWs4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The newest technology is Intel 360° Replay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Its customized for Sports Arenas and other places where there's a high value in making instant (takes almost a minute) 360° stop motion replays. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In some setups a low number of low resolution Cameras are used, this is evident by a lack of zooming or 'fine circular panning' with more expensive setups using dozens of JAI 20MP Cameras (and a Semi-Trailer full of Server Racks hooked up with Fiber).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Baseball Game example: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/NhVrfFlqtn4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Formerly it was called Recode's FreeD: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/OODWjscoViw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's simply a matter of recording Video simultaneously from many angles (not necessarily lined up, but it makes the Math a bit easier and the result more universally useful (audience acceptance)) and then on one particular Frame you switch from one Camera to another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could have a curved track of Cameras that follows the action or evenly distributed Cameras around an Arena. They can be low resolution or extremely high resolution which allows interpolating between Cameras and zooming in without loss of resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additional Notes:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One of the most advanced uses of 360° Replay is this Video of the Super Bowl 50 in &quot;EyeVision 360&quot; (Motion Graphics overlaid with FreeD zooming and flying): &lt;a href=&quot;https://vimeo.com/157809580&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/157809580&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Earliest Days ('6 Cameras in a Basement'): &lt;a href=&quot;https://vimeo.com/162429040&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/162429040&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How it works and Demo: &#xA;Simplified: &lt;a href=&quot;https://vimeo.com/178228338&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/178228338&lt;/a&gt; .&#xA;Technical: &lt;a href=&quot;https://vimeo.com/155729581&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/155729581&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the future TV could be FreeD: &lt;a href=&quot;https://vimeo.com/195225232&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/195225232&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You would watch using VR Goggles. You could stand in the middle of a Football Field or fly through the air while watching the Game. You could run through the local park wearing VR Goggles and determine if YOU would have caught the ball that fumble fingers missed; you would be in the Matrix (oops, I mean the Game on VR TV).&lt;/p&gt;&#xA;" OwnerUserId="18314" LastEditorUserId="18314" LastEditDate="2017-03-11T16:44:08.630" LastActivityDate="2017-03-11T16:44:08.630" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20884" PostTypeId="2" ParentId="20874" CreationDate="2017-03-10T18:00:33.117" Score="1" Body="&lt;p&gt;This is the expected behaviour. It's a bit confusing, but as you can see in your screenshot, the &lt;em&gt;Temporal Interpolation&lt;/em&gt; context menu is split in two parts. The part above the seperating line (see your screenshot) sets the keyframe type. From the &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/controlling-effect-changes-using-keyframe.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;&lt;strong&gt;Linear:&lt;/strong&gt; Creates a uniform rate of change between keyframes.&lt;/li&gt;&#xA;  &lt;li&gt;&lt;strong&gt;Bezier:&lt;/strong&gt; Lets you manually adjust the shape of the graph, and the rate of change, on either side of a keyframe. You can create very&#xA;  smooth changes using this method.&lt;/li&gt;&#xA;  &lt;li&gt;&lt;strong&gt;Auto Bezier:&lt;/strong&gt; Creates a smooth rate of change through a keyframe. As you change a keyframe’s value, the Auto Bezier direction handles&#xA;  change to maintain a smooth transition between keyframes.&lt;/li&gt;&#xA;  &lt;li&gt;&lt;strong&gt;Continuous Bezier:&lt;/strong&gt; Creates a smooth rate of change through a keyframe. However, unlike the Auto Bezier interpolation method,&#xA;  Continuous Bezier lets you adjust direction handles manually. As you&#xA;  change the shape of a graph on one side of a keyframe, the shape on&#xA;  the other side of the keyframe changes to maintain a smooth&#xA;  transition.&lt;/li&gt;&#xA;  &lt;li&gt;&lt;strong&gt;Hold:&lt;/strong&gt; Changes a property value without gradual transition (sudden effect changes). The graph following a keyframe with the Hold&#xA;  interpolation applied appears as a horizontal straight line.&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The two options below the seperating line – Ease In &amp;amp; Ease Out – are rather like presets or shortcuts. They switch the keyframe type (since easing in/out requires &lt;a href=&quot;https://en.wikipedia.org/wiki/B%C3%A9zier_curve&quot; rel=&quot;nofollow noreferrer&quot;&gt;bézier curves&lt;/a&gt; and is therefore not possible in &lt;em&gt;Hold&lt;/em&gt; or &lt;em&gt;Linear&lt;/em&gt; modes) and set a smooth transition. If you open up the graph view in the &lt;em&gt;Effect Settings&lt;/em&gt; panel, you can see the effect the two options have:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/6FHRo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6FHRo.png&quot; alt=&quot;linear&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Linear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SMFd0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SMFd0.png&quot; alt=&quot;ease in&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ease In. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AEBmM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AEBmM.png&quot; alt=&quot;ease in and out&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ease In + Ease Out. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can still adjust the velocity interpolation manually using the Bézier handles seen in the screenshots above.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-03-10T18:00:33.117" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20885" PostTypeId="2" ParentId="20880" CreationDate="2017-03-10T18:22:57.700" Score="0" Body="&lt;p&gt;The simplest Setup is use your Phone and the YouTube APP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See point #2: &lt;a href=&quot;https://support.google.com/youtube/answer/2474026?hl=en&amp;amp;ref_topic=6136989&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.google.com/youtube/answer/2474026?hl=en&amp;amp;ref_topic=6136989&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also use the APP LiveStream, from LiveStream, and serve your Video from them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are quite a few APPs but those two are free and more trustworthy than some you might encounter.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-03-10T18:22:57.700" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20886" PostTypeId="2" ParentId="20861" CreationDate="2017-03-10T18:44:37.610" Score="0" Body="&lt;p&gt;Do you mean recording at a Shutter Speed slower than the Frame Rate: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/l-z8XiteQWo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Panasonic Cameras call it &quot;Creative Movie Mode&quot;. This Blog has a few entries covering this technique: &lt;a href=&quot;http://m43photo.blogspot.ca/2011/01/new-years-eve-fireworks-with-gh2-8mm.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://m43photo.blogspot.ca/2011/01/new-years-eve-fireworks-with-gh2-8mm.html&lt;/a&gt; and &lt;a href=&quot;http://m43photo.blogspot.ca/2010/02/gh1-video-recording-at-slow-shutter.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://m43photo.blogspot.ca/2010/02/gh1-video-recording-at-slow-shutter.html&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If most of the Scene is static and any movement is slow (or OK if it is blurred) then holding open the Shutter longer than would be normal for the Frame Rate (IE: Less than 1/30 sec. for 30FPS) allows in more light. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A 30FPS Video with a 1/15th of a second Shutter lets in twice the light with two frames of blur on the moving objects. That would be &quot;doubling&quot; but it's not restricted to 50%.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-03-10T18:44:37.610" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="20887" PostTypeId="2" ParentId="20815" CreationDate="2017-03-10T23:22:03.880" Score="0" Body="&lt;p&gt;Okay, since I think I just found a good solution for noobs like myself, I will add this as a separate answer and indeed one to my own question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In CS6 PPro, I found the 'Fast Color Corrector' effect. This one is very powerful and a lot faster indeed. I accomplished a much better result than before in mere minutes.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create an adjustment layer and put it over the clip/sequence/entire film, whatever you want, like in the previous answer&lt;/li&gt;&#xA;&lt;li&gt;Go to the Effects tab and search 'fast'. Then find the Fast Color Corrector and put it on the Adjustment Layer on the timeline&lt;/li&gt;&#xA;&lt;li&gt;Make sure your playhead is at the start of the Adjustment layer (for me that was 00:00 so that was easy)&lt;/li&gt;&#xA;&lt;li&gt;Set Balance Angle to 140, so that you get too much green&lt;/li&gt;&#xA;&lt;li&gt;Adjust Balance Magnitude until you're satisfied with how much green you see&lt;/li&gt;&#xA;&lt;li&gt;Check your color range by scratching Balance Angle from 0 - 360&lt;/li&gt;&#xA;&lt;li&gt;Set the Balance Angle to your starting point, which may be 0, or whatever else you want&lt;/li&gt;&#xA;&lt;li&gt;Click the Balance Angle stopwatch to set a keyframe&lt;/li&gt;&#xA;&lt;li&gt;Drag the playhead to the end of the Adjustment Layer; if you're at the end and want to refine where the playhead is, you can use the left and right arrow keys&lt;/li&gt;&#xA;&lt;li&gt;Add 360 to your initial starting point to move across the spectrum&lt;/li&gt;&#xA;&lt;li&gt;If you wish to move across the spectrum twice, or more, just add more Adjustment Layers next to each other to mark the beginning and end of each cycle and repeat the steps to animate the effect&lt;/li&gt;&#xA;&lt;li&gt;EDIT (this item wasnt on the list before) Its a good idea to select the effect when done, or select all applied effects and right-click -&gt; add preset, so that you can apply is more easily next time &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;11B - Something I just noticed is that you can move across the spectrum twice or more, simply by adding more cycles to Balanc Angle. So if you start at 0 and wish to move across once, stop at 360. Otherwise, simply use 720 or more, to move across twice or more.&lt;/p&gt;&#xA;" OwnerUserId="18237" LastEditorUserId="18237" LastEditDate="2017-03-13T11:42:48.487" LastActivityDate="2017-03-13T11:42:48.487" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20888" PostTypeId="2" ParentId="12905" CreationDate="2017-03-11T03:52:29.547" Score="-1" Body="&lt;p&gt;The simple method that avoids problems of which Commands work with which version is the 'trivial solution':&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -i input.mp4 -i input.mp4 -i input.mp4 -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;See also: &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Concatenate&lt;/a&gt; for many examples.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastEditorUserId="38507" LastEditDate="2022-07-12T17:20:25.357" LastActivityDate="2022-07-12T17:20:25.357" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="20889" PostTypeId="1" CreationDate="2017-03-11T05:40:59.260" Score="2" ViewCount="21" Body="&lt;p&gt;I have videos created by me in two different editing software with the same extension. Is it possible to trace the source of these files?&lt;/p&gt;&#xA;" OwnerUserId="18258" LastActivityDate="2017-03-11T05:40:59.260" Title="Tracking editor responsible for creating a video" Tags="|video-editor|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20890" PostTypeId="2" ParentId="20881" CreationDate="2017-03-11T09:28:50.063" Score="3" Body="&lt;p&gt;Using ffmpeg, a command line tool, you can use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf select='trunc(mod(t+2,3))',setpts=N/FRAME_RATE/TB -crf 23 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;select&lt;/code&gt; filter is used on the video stream. This filter evaluates the supplied expression on each frame and keeps the frame if the expression evaluates to a non-zero value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The expression used is &lt;code&gt;trunc(mod(t+2,3))&lt;/code&gt;. The modulo function returns the remainder of the first operand when divided by the second. The first operand here is the timestamp of the evaluated frame. The truncate function truncates that result to an integer. If it is zero, the frame is discarded, else kept.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;e.g. for a 25 fps video&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;t       t+2      mod(t+2,3)       trunc(mod(t+2,3))    select&#xA;0.00    2.00     2.00                    2             KEEP&#xA;0.04    2.04     2.04                    2             KEEP&#xA;...&#xA;0.96    2.96     2.96                    2             KEEP&#xA;1.00    3.00     0.00                    0             CUT&#xA;1.04    3.04     0.04                    0             CUT&#xA;...&#xA;1.96    3.96     0.96                    0             CUT&#xA;2.00    4.00     1.00                    1             KEEP&#xA;...&#xA;3.00    5.00     2.00                    2             KEEP&#xA;...&#xA;4.40    6.40     0.40                    0             CUT&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Since you want to 'collapse' the video by removing the night time portions, the &lt;code&gt;setpts&lt;/code&gt; filter is added to make all the kept frames continuous i.e. after the frame at 0.96, the next kept frame (2.00) will have the new timestamp of 1.00.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video has to be recompressed since a filter has been used. For MP4s, default codec is H.264 and default encoder is libx264. The &lt;code&gt;-crf 23&lt;/code&gt; sets the bitrate control method (CRF) and value (23). Lower values retain more of the source quality at the expense of larger size. 18 to 28 are typical values.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can get a ffmpeg binary for your platform from &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/download.html&lt;/a&gt;. Always get the latest nightly or snapshot build. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-03-11T09:28:50.063" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20893" PostTypeId="1" CreationDate="2017-03-11T21:24:19.350" Score="0" ViewCount="290" Body="&lt;p&gt;I have a lot of songs that I want to upload to YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I already uploaded close to 1000 videos. Those videos were created using Windows Movie Maker (for each song) + a macro to automate everything. (I used macros when I need to upload an album, but instead of a video with the whole album, I uploaded each song then created a playlist of the album in YouTube.) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of the songs are from albums, so it's a lot of work and time to do it manually. Plus Movie Maker is giving me nightmares... Errors coming up, freezes, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I would like to know if there is a software out there that could do this easily:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select one image for the video track.&lt;/li&gt;&#xA;&lt;li&gt;Select, let's say, 10 songs.&lt;/li&gt;&#xA;&lt;li&gt;Create 10 videos with that image, and those songs. Each song to each video.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Or create just one video with the whole album, and then split the file into multiple videos with each song.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you guys.&lt;/p&gt;&#xA;" OwnerUserId="18324" LastEditorUserId="14523" LastEditDate="2017-03-12T15:40:45.597" LastActivityDate="2017-07-12T11:25:35.133" Title="Software to create videos from multiple songs" Tags="|video|youtube|software|windows-movie-maker|music|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20894" PostTypeId="2" ParentId="2274" CreationDate="2017-03-12T01:44:54.590" Score="2" Body="&lt;p&gt;Better than mearly good is AviSynth: &lt;a href=&quot;http://avisynth.nl/index.php/Main_Page&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://avisynth.nl/index.php/Main_Page&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically you write a Script and then open the Script in a Player. The Script can change the input in many ways and there are many 1000's of Plugins. There are a few Forks including some 'traditional' looking Editors that use AviSynth under the hood.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After tweaking the Script precisely you simply 'copy' the Script (possibly with Ffmpeg) and render a final version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Includes capabilities to express exactly (to the pixel and frame) what you want. Not too bad a learning curve and so many examples available. During several years of use I discovered no Bugs but apparently others found a couple that have since been fixed. Open Source and you assistance is welcome.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Often used in conjunction with VirtualDub to provide a GUI.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-03-12T01:44:54.590" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20895" PostTypeId="2" ParentId="5318" CreationDate="2017-03-12T01:56:58.647" Score="0" Body="&lt;p&gt;They are Encoded with Lavf57.25.100 .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is one of a few conflicting Help Pages that contains better Info than some of the others: &lt;a href=&quot;https://support.google.com/youtube/answer/6039860?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.google.com/youtube/answer/6039860?hl=en&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-03-12T01:56:58.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20897" PostTypeId="2" ParentId="20848" CreationDate="2017-03-12T16:27:02.187" Score="1" Body="&lt;ul&gt;&#xA;&lt;li&gt;Go to File &gt; Project Manager.&lt;/li&gt;&#xA;&lt;li&gt;Select the problem sequence.&lt;/li&gt;&#xA;&lt;li&gt;In the &quot;Resulting Project&quot; menu, select &quot;Collect Files and Copy&quot;&lt;/li&gt;&#xA;&lt;li&gt;In its options, select &quot;Exclude Unused Clips&quot; and unselect everything else.&lt;/li&gt;&#xA;&lt;li&gt;Pick your destination path (not the drive where your .avi are located).&lt;/li&gt;&#xA;&lt;li&gt;Press OK and start the copying process.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Once the copy is done, select all these files (they are all avi.) and transcode them to whatever you want, without changing their names. That supposes that you are going to export these transcoded files to a different folder than the one where your newly copied .avi files are located.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once the transcode is done, put a dash in front of the folder in which you copied the original .avi files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Boot up your Premiere project. The program will ask you to reconnect the missing media. Direct it towards the folder where you put the transcoded .avi files. Because you didn't change the files' names, you'll have no trouble reconnecting your sequence to the newly converted files. No more .avi.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastEditorUserId="11961" LastEditDate="2019-05-02T11:26:41.120" LastActivityDate="2019-05-02T11:26:41.120" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="20898" PostTypeId="1" CreationDate="2017-03-12T18:35:20.593" Score="2" ViewCount="1457" Body="&lt;p&gt;I hope that someone can help me. I have the following two videos:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe 0.ts&#xA;ffprobe version 3.2.4 Copyright (c) 2007-2017 the FFmpeg developers&#xA;  built with gcc 6.3.1 (GCC) 20170109&#xA;  configuration: --prefix=/usr --disable-debug --disable-static --disable-stripping --enable-avisynth --enable-avresample --enable-fontconfig --enable-gmp --enable-gnutls --enable-gpl --enable-ladspa --enable-libass --enable-libbluray --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libiec61883 --enable-libmodplug --enable-libmp3lame --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libv4l2 --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-netcdf --enable-shared --enable-version3 --enable-x11grab&#xA;  libavutil      55. 34.101 / 55. 34.101&#xA;  libavcodec     57. 64.101 / 57. 64.101&#xA;  libavformat    57. 56.101 / 57. 56.101&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libavresample   3.  1.  0 /  3.  1.  0&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;Input #0, mpegts, from '0.ts':&#xA;  Duration: 00:00:09.28, start: 1.400000, bitrate: 51640 kb/s&#xA;  Program 1 &#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;    Stream #0:0[0x100]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(progressive), 3840x2160, 30 fps, 30 tbr, 90k tbn, 180k tbc&#xA;    Stream #0:1[0x101](eng): Audio: aac (LC) ([15][0][0][0] / 0x000F), 48000 Hz, stereo, fltp, 259 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe 1.ts&#xA;ffprobe version 3.2.4 Copyright (c) 2007-2017 the FFmpeg developers&#xA;  built with gcc 6.3.1 (GCC) 20170109&#xA;  configuration: --prefix=/usr --disable-debug --disable-static --disable-stripping --enable-avisynth --enable-avresample --enable-fontconfig --enable-gmp --enable-gnutls --enable-gpl --enable-ladspa --enable-libass --enable-libbluray --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libiec61883 --enable-libmodplug --enable-libmp3lame --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libv4l2 --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-netcdf --enable-shared --enable-version3 --enable-x11grab&#xA;  libavutil      55. 34.101 / 55. 34.101&#xA;  libavcodec     57. 64.101 / 57. 64.101&#xA;  libavformat    57. 56.101 / 57. 56.101&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libavresample   3.  1.  0 /  3.  1.  0&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;Input #0, mpegts, from '1.ts':&#xA;  Duration: 00:00:20.16, start: 1.400000, bitrate: 51163 kb/s&#xA;  Program 1 &#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;    Stream #0:0[0x100]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(progressive), 3840x2160, 30 fps, 30 tbr, 90k tbn, 180k tbc&#xA;    Stream #0:1[0x101](eng): Audio: aac (LC) ([15][0][0][0] / 0x000F), 48000 Hz, stereo, fltp, 266 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I merge the video and audio together with the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i 'concat:0.ts|1.ts' -c copy 01.mp4&#xA;ffmpeg version 3.2.4 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with gcc 6.3.1 (GCC) 20170109&#xA;  configuration: --prefix=/usr --disable-debug --disable-static --disable-stripping --enable-avisynth --enable-avresample --enable-fontconfig --enable-gmp --enable-gnutls --enable-gpl --enable-ladspa --enable-libass --enable-libbluray --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libiec61883 --enable-libmodplug --enable-libmp3lame --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libv4l2 --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-netcdf --enable-shared --enable-version3 --enable-x11grab&#xA;  libavutil      55. 34.101 / 55. 34.101&#xA;  libavcodec     57. 64.101 / 57. 64.101&#xA;  libavformat    57. 56.101 / 57. 56.101&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libavresample   3.  1.  0 /  3.  1.  0&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;Input #0, mpegts, from 'concat:0.ts|1.ts':&#xA;  Duration: 00:00:20.16, start: 1.400000, bitrate: 74933 kb/s&#xA;  Program 1 &#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;    Stream #0:0[0x100]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(progressive), 3840x2160, 30 fps, 30 tbr, 90k tbn, 180k tbc&#xA;    Stream #0:1[0x101](eng): Audio: aac (LC) ([15][0][0][0] / 0x000F), 48000 Hz, stereo, fltp, 259 kb/s&#xA;Output #0, mp4, to '01.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf57.56.101&#xA;    Stream #0:0: Video: h264 (High) ([33][0][0][0] / 0x0021), yuv420p(progressive), 3840x2160, q=2-31, 30 fps, 30 tbr, 90k tbn, 90k tbc&#xA;    Stream #0:1(eng): Audio: aac (LC) ([64][0][0][0] / 0x0040), 48000 Hz, stereo, 259 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[mpegts @ 0x56259655e560] DTS 157860 &amp;lt; 958161 out of order&#xA;frame=  869 fps=0.0 q=-1.0 Lsize=  170955kB time=00:00:38.37 bitrate=36491.6kbits/s speed= 178x    &#xA;video:170015kB audio:934kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.003137%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The result seems to play smoothly in mpv. However I noticed that the playback time &quot;jumps&quot; to 19 seconds when it reaches 9 seconds. If I play 01.mp4 in vlc the playback freezes at 9 seconds and continues at 19 seconds after a while. Here is the ffprobe-output for 01.mp4:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe 01.mp4&#xA;ffprobe version 3.2.4 Copyright (c) 2007-2017 the FFmpeg developers&#xA;  built with gcc 6.3.1 (GCC) 20170109&#xA;  configuration: --prefix=/usr --disable-debug --disable-static --disable-stripping --enable-avisynth --enable-avresample --enable-fontconfig --enable-gmp --enable-gnutls --enable-gpl --enable-ladspa --enable-libass --enable-libbluray --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libiec61883 --enable-libmodplug --enable-libmp3lame --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libv4l2 --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-netcdf --enable-shared --enable-version3 --enable-x11grab&#xA;  libavutil      55. 34.101 / 55. 34.101&#xA;  libavcodec     57. 64.101 / 57. 64.101&#xA;  libavformat    57. 56.101 / 57. 56.101&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libavresample   3.  1.  0 /  3.  1.  0&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '01.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.56.101&#xA;  Duration: 00:00:38.40, start: 0.000000, bitrate: 36471 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 3840x2160, 36419 kb/s, 22.72 fps, 30 tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 196 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Does anyone know what is causing this and how I can prevent this? I also tried to create 01.mp4 without using &lt;code&gt;-c copy&lt;/code&gt; but the resulting video freezes at 9 seconds even in mpv (whereas it didn't freeze in mpv before). In any case leaving out &lt;code&gt;-c copy&lt;/code&gt; seems to ignore the orientations of the videos. I need to concatenate videos with different orientation (some are horizontal and others are vertical). This is not a problem with &lt;code&gt;-c copy&lt;/code&gt; but without it all videos get the vertical orientation and the horizontal ones are horizontally &quot;squeezed&quot; and vertically stretched, which destroys the video quality. I wouldn't mind to leave out &lt;code&gt;-c copy&lt;/code&gt; if there was a way to tell concat to respect the individual orientation of each video file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="18330" LastActivityDate="2024-04-06T05:04:55.597" Title="ffmpeg: joining videos leads to &quot;time skips&quot; during playback" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20900" PostTypeId="2" ParentId="20655" CreationDate="2017-03-12T22:37:05.510" Score="0" Body="&lt;p&gt;When you link one media file in an event, FCPX should find the other media files automatically.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, if you had media files in a folder, then moved the contents of that folder elsewhere, linking one file from that folder back to the FCPX media reference should let FCPX see the rest of that folder and automatically relink the rest of the media from that folder.&lt;/p&gt;&#xA;" OwnerUserId="5296" LastActivityDate="2017-03-12T22:37:05.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20901" PostTypeId="2" ParentId="18957" CreationDate="2017-03-12T23:10:01.077" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Add a new custom generator and set the colour to white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/v0ztA.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/v0ztA.jpg&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Add your media above. In this example, I will use a photo.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Apply the Draw Mask to your image.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Click to add 4 control points, then set the control point positions using the inspector.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3a2s4.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3a2s4.jpg&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Choose B-Spline as the Shape Type, then set the Feather and Falloff as appropriate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/K4Duh.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/K4Duh.jpg&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5296" LastActivityDate="2017-03-12T23:10:01.077" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20902" PostTypeId="2" ParentId="9476" CreationDate="2017-03-13T00:07:15.577" Score="0" Body="&lt;p&gt;Check out &lt;a href=&quot;http://lightworks.wikidot.com/zooming-panning-and-ken-burns-effect&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lightworks' free version&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2017-03-13T00:07:15.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20903" PostTypeId="2" ParentId="12125" CreationDate="2017-03-13T03:20:40.637" Score="2" Body="&lt;p&gt;From what I understand 't' is evaluated once. Have you read this: &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#zoompan&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#zoompan&lt;/a&gt; ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ffmpeg Docs:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;9.170.1 Examples&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Zoom-in up to 1.5 and pan at same time to some spot near center of picture:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;zoompan=z='min(zoom+0.0015,1.5)':d=700:x='if(gte(zoom,1.5),x,x+1/a)':y='if(gte(zoom,1.5),y,y+1)':s=640x360&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Zoom-in up to 1.5 and pan always at center of picture:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;zoompan=z='min(zoom+0.0015,1.5)':d=700:x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)'&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Same as above but without pausing:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;zoompan=z='min(max(zoom,pzoom)+0.0015,1.5)':d=1:x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)'&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-03-13T03:20:40.637" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20904" PostTypeId="2" ParentId="20898" CreationDate="2017-03-13T03:53:27.353" Score="0" Body="&lt;p&gt;Try regenerating pts values when merging two videos like so:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i 'concat:0.ts|1.ts' -c copy -fflags +genpts output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="12531" LastActivityDate="2017-03-13T03:53:27.353" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20906" PostTypeId="1" CreationDate="2017-03-13T06:52:40.193" Score="2" ViewCount="74" Body="&lt;p&gt;I have a  video file, with this details:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/15jWa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/15jWa.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have another video (in .avi format) and want to convert to exactly like this format... Is there any Video Converter, that can convert to the file, exactly as Reference file?&lt;/p&gt;&#xA;" OwnerUserId="16354" LastActivityDate="2017-03-13T13:55:26.180" Title="Is there a Video converter, that can convert like the reference file?" Tags="|video|conversion|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20907" PostTypeId="2" ParentId="20906" CreationDate="2017-03-13T13:55:26.180" Score="1" Body="&lt;p&gt;As far as I know, there's no &quot;make like this one&quot; option, but seeing the options of the reference file, many apps allow you to make a template for batch exporting, e.g. &lt;a href=&quot;https://documentation.apple.com/en/compressor/usermanual/index.html#chapter=1%26section=2%26tasks=true&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://documentation.apple.com/en/compressor/usermanual/index.html#chapter=1%26section=2%26tasks=true&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17685" LastActivityDate="2017-03-13T13:55:26.180" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20908" PostTypeId="2" ParentId="20695" CreationDate="2017-03-13T15:38:06.347" Score="0" Body="&lt;p&gt;In a Museum using a Flash or 'constantly on external Light' is not permitted, so adding light is not an option in that case; more light would equal less noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly adding a Filter would enhance the red's representation compared to blue and green, but that's a better option for a sunny day and not in limited light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final choice being White Balance; with a Cellphone tap on the Brick (on the Screen) and try to ensure the result is not causing too pronounced reds. Tap a few times to find the best result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both Cameras and Cellphones have settings for the type of light used; sometimes choosing Fluorescent or Daylight can push it far enough to get a better Shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more Info:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.graphics.com/article-old/photography-fundamentals-white-balance&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.graphics.com/article-old/photography-fundamentals-white-balance&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.red.com/learn/red-101/color-cast-tutorial&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.red.com/learn/red-101/color-cast-tutorial&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-03-13T15:38:06.347" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20909" PostTypeId="1" CreationDate="2017-03-13T15:40:53.163" Score="1" ViewCount="1511" Body="&lt;p&gt;I have encoded my videos using ffmpeg and H264, and this is my ffmpeg command (2 pass encoding):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i Edited\ Clips/arsenalVScristalPalas.mp4 -movflags faststart -c:v libx264 -x264opts 'keyint=300:min-keyint=25:8x8dct:sliced-threads=0:subq=6' -deblock 0:0 -flags +loop -preset slow -tune zerolatency -b:v 2048k -maxrate 2048k -bufsize 3000k -vf &quot;scale=-1280:720&quot; -pass 1 -acodec libmp3lame -b:a 128k -coder 1 -me_range 16 -sc_threshold 42 -bf 10 -qmin 0 -qmax 51 -trellis 2 -rc_lookahead 60 -ss 00:01:00 -t 00:01:00 -f mp4 /dev/null&#xA;&#xA;&#xA;ffmpeg -i Edited\ Clips/arsenalVScristalPalas.mp4 -movflags faststart -c:v libx264 -x264opts 'keyint=300:min-keyint=25:8x8dct:sliced-threads=0:subq=6' -deblock 0:0 -flags +loop -preset slow -tune zerolatency -b:v 2048k -maxrate 2048k -bufsize 3000k -vf &quot;scale=-1280:720&quot; -pass 2 -acodec libmp3lame -b:a 128k -coder 1 -me_range 16 -sc_threshold 42 -bf 10 -qmin 0 -qmax 51 -trellis 2 -rc_lookahead 60 -ss 00:01:00 -t 00:01:00  2pass15.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I need the video to be in the highest quality (at the 2000kbps bitrate). I have another video with the same bitrate (from another source), but It has a better quality than my video. I need to reach that quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used mediainfo to get the encoding options for that video, and here is the information:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;General Complete name                            :&#xA;  arsenalVScristalPalas_hd.mp4 Format&lt;br&gt;&#xA;  : MPEG-4 Format profile                           : Base Media Codec&#xA;  ID                                 : isom (isom/iso2/avc1/mp41) File&#xA;  size                                : 171 MiB Duration&lt;br&gt;&#xA;  : 11mn 1s Overall bit rate                         : 2 164 Kbps&#xA;  Encoded date                             : UTC 1904-01-01 00:00:00&#xA;  Tagged date                              : UTC 1904-01-01 00:00:00&#xA;  Writing application                      : Lavf57.63.100&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Video ID                                       : 1 Format&lt;br&gt;&#xA;  : AVC Format/Info                              : Advanced Video Codec&#xA;  Format profile                           : Main@L3.1 Format settings,&#xA;  CABAC                   : Yes Format settings, ReFrames&lt;br&gt;&#xA;  : 6 frames Codec ID                                 : avc1 Codec&#xA;  ID/Info                            : Advanced Video Coding Duration&lt;br&gt;&#xA;  : 11mn 1s Bit rate                                 : 2 048 Kbps Width &#xA;  : 1 280 pixels Height                                   : 720 pixels&#xA;  Display aspect ratio                     : 16:9 Frame rate mode&lt;br&gt;&#xA;  : Constant Frame rate                               : 50.000 fps Color&#xA;  space                              : YUV Chroma subsampling&lt;br&gt;&#xA;  : 4:2:0 Bit depth                                : 8 bits Scan type&lt;br&gt;&#xA;  : Progressive Bits/(Pixel*Frame)                       : 0.044 Stream&#xA;  size                              : 160 MiB (94%) Writing library&lt;br&gt;&#xA;  : x264 core 148 r2643 5c65704 Encoding settings&lt;br&gt;&#xA;  : cabac=1 / ref=6 / deblock=1:1:1 / analyse=0x1:0x131 / me=umh /&#xA;  subme=9 / psy=1 / psy_rd=0.40:0.00 / mixed_ref=1 / me_range=16 /&#xA;  chroma_me=1 / trellis=2 / 8x8dct=0 / cqm=0 / deadzone=21,11 /&#xA;  fast_pskip=1 / chroma_qp_offset=-2 / threads=22 / lookahead_threads=5&#xA;  / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 /&#xA;  bluray_compat=0 / constrained_intra=0 / bframes=10 / b_pyramid=2 /&#xA;  b_adapt=2 / b_bias=0 / direct=3 / weightb=1 / open_gop=0 / weightp=2 /&#xA;  keyint=300 / keyint_min=25 / scenecut=40 / intra_refresh=0 /&#xA;  rc_lookahead=60 / rc=2pass / mbtree=1 / bitrate=2048 / ratetol=1.0 /&#xA;  qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / cplxblur=20.0 / qblur=0.5&#xA;  / vbv_maxrate=2048 / vbv_bufsize=5000 / nal_hrd=none / filler=0 /&#xA;  ip_ratio=1.41 / aq=1:0.60 Language                                 :&#xA;  English Encoded date                             : UTC 1904-01-01&#xA;  00:00:00 Tagged date                              : UTC 1904-01-01&#xA;  00:00:00&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Audio ID                                       : 2 Format&lt;br&gt;&#xA;  : AAC Format/Info                              : Advanced Audio Codec&#xA;  Format profile                           : HE-AAC / LC Codec ID&lt;br&gt;&#xA;  : 40 Duration                                 : 11mn 1s&#xA;  Duration_LastFrame                       : -23ms Bit rate mode&lt;br&gt;&#xA;  : Constant Bit rate                                 : 128 Kbps&#xA;  Channel(s)                               : 2 channels Channel&#xA;  positions                        : Front: L R Sampling rate&lt;br&gt;&#xA;  : 48.0 KHz / 24.0 KHz Frame rate                               :&#xA;  23.438 fps (1024 spf) Compression mode                         : Lossy Stream size                              : 10.1 MiB (6%) Language&lt;br&gt;&#xA;  : English Default                                  : Yes Alternate&#xA;  group                          : 1 Encoded date&lt;br&gt;&#xA;  : UTC 1904-01-01 00:00:00 Tagged date                              :&#xA;  UTC 1904-01-01 00:00:00&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;and this is the information of my video:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;General Complete name                            : 2pass14.mp4 Format &#xA;  : MPEG-4 Format profile                           : Base Media Codec&#xA;  ID                                 : isom (isom/iso2/avc1/mp41) File&#xA;  size                                : 15.4 MiB Duration&lt;br&gt;&#xA;  : 1mn 0s Overall bit rate                         : 2 150 Kbps Encoded&#xA;  date                             : UTC 1904-01-01 00:00:00 Tagged date&#xA;  : UTC 1904-01-01 00:00:00 Writing application                      :&#xA;  Lavf56.40.101&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Video ID                                       : 1 Format&lt;br&gt;&#xA;  : AVC Format/Info                              : Advanced Video Codec&#xA;  Format profile                           : High@L3.2 Format settings,&#xA;  CABAC                   : Yes Format settings, ReFrames&lt;br&gt;&#xA;  : 5 frames Codec ID                                 : avc1 Codec&#xA;  ID/Info                            : Advanced Video Coding Duration&lt;br&gt;&#xA;  : 1mn 0s Bit rate                                 : 2 048 Kbps Width&lt;br&gt;&#xA;  : 1 280 pixels Height                                   : 720 pixels&#xA;  Display aspect ratio                     : 16:9 Frame rate mode&lt;br&gt;&#xA;  : Constant Frame rate                               : 50.000 fps Color&#xA;  space                              : YUV Chroma subsampling&lt;br&gt;&#xA;  : 4:2:0 Bit depth                                : 8 bits Scan type&lt;br&gt;&#xA;  : Progressive Bits/(Pixel*Frame)                       : 0.044 Stream&#xA;  size                              : 14.4 MiB (94%) Writing library&lt;br&gt;&#xA;  : x264 core 148 r2643 5c65704 Encoding settings&lt;br&gt;&#xA;  : cabac=1 / ref=5 / deblock=1:3:3 / analyse=0x3:0x113 / me=umh /&#xA;  subme=6 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=1 / me_range=16 /&#xA;  chroma_me=1 / trellis=2 / 8x8dct=1 / cqm=0 / deadzone=21,11 /&#xA;  fast_pskip=1 / chroma_qp_offset=-2 / threads=6 / lookahead_threads=3 /&#xA;  sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0&#xA;  / constrained_intra=0 / bframes=10 / b_pyramid=2 / b_adapt=2 /&#xA;  b_bias=0 / direct=3 / weightb=1 / open_gop=0 / weightp=2 / keyint=300&#xA;  / keyint_min=25 / scenecut=42 / intra_refresh=0 / rc_lookahead=0 /&#xA;  rc=2pass / mbtree=0 / bitrate=2048 / ratetol=1.0 / qcomp=0.60 /&#xA;  qpmin=10 / qpmax=51 / qpstep=4 / cplxblur=20.0 / qblur=0.5 /&#xA;  vbv_maxrate=2048 / vbv_bufsize=3000 / nal_hrd=none / filler=0 /&#xA;  ip_ratio=1.40 / pb_ratio=1.30 / aq=1:1.00 Language&lt;br&gt;&#xA;  : English Encoded date                             : UTC 1904-01-01&#xA;  00:00:00 Tagged date                              : UTC 1904-01-01&#xA;  00:00:00&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Audio ID                                       : 2 Format&lt;br&gt;&#xA;  : MPEG Audio Format version                           : Version 1&#xA;  Format profile                           : Layer 3 Mode&lt;br&gt;&#xA;  : Joint stereo Mode extension                           : MS Stereo&#xA;  Codec ID                                 : 6B Duration&lt;br&gt;&#xA;  : 1mn 0s Duration_LastFrame                       : -1ms Bit rate mode&#xA;  : Constant Bit rate                                 : 128 Kbps Maximum&#xA;  bit rate                         : 2 048 Kbps Channel(s)&lt;br&gt;&#xA;  : 2 channels Sampling rate                            : 48.0 KHz&#xA;  Compression mode                         : Lossy Stream size&lt;br&gt;&#xA;  : 938 KiB (6%) Language                                 : English&#xA;  Default                                  : Yes Alternate group&lt;br&gt;&#xA;  : 1 Encoded date                             : UTC 1904-01-01 00:00:00&#xA;  Tagged date                              : UTC 1904-01-01 00:00:00&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;is there anything that I am doing wrong?? any suggestions on how to improve my output quality??&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and here is a demo of videos,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the video that has a better quality:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://ufile.io/b7a1b&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ufile.io/b7a1b&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;my video, that I need to improve quality:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://ufile.io/363f11&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ufile.io/363f11&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18196" LastActivityDate="2017-03-13T18:19:41.547" Title="gain the highest quality with H264 at a certain bit rate" Tags="|ffmpeg|encoding|h.264|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20912" PostTypeId="2" ParentId="9476" CreationDate="2017-03-13T21:29:17.737" Score="1" Body="&lt;p&gt;If you want a free and open-source option, &lt;a href=&quot;http://ffdiaporama.tuxfamily.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffDiaporama&lt;/a&gt; is quite good. It's mainly geared towards making photo slideshows (but allows for video too), which are rendered into a video file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It supports doing Ken Burns effects (and any other transforms, using keyframes), and works pretty similarly to other video editors in that regard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The UI may be a bit non-intuitive if you havn't used keyframeable video editors before, but it's pretty easy to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a video on how to do Ken Burns -style pan and zooms &lt;a href=&quot;https://www.youtube.com/watch?v=x0QwiZmXzvI&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="11925" LastActivityDate="2017-03-13T21:29:17.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20913" PostTypeId="1" AcceptedAnswerId="20914" CreationDate="2017-03-13T21:34:32.310" Score="0" ViewCount="135" Body="&lt;p&gt;Prior to using Adobe Premier, I used Sony Vegas as my primary video editing software. While using it, I have gotten accustomed to using a feature called ripple editing. When enabled, it allowed you to make changes to the video timeline such as deleting clips and it would snap the remaining video forward. The ripple effected all of the tracks to ensure the remaining part of the video is not out of sync. Is there an easy way to achieve this with Adobe Premier?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank You!&lt;/p&gt;&#xA;" OwnerUserId="18339" LastActivityDate="2017-03-13T21:51:37.240" Title="Is it possible to ripple edit Adobe Premier?" Tags="|premiere|editing|adobe|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20914" PostTypeId="2" ParentId="20913" CreationDate="2017-03-13T21:51:37.240" Score="1" Body="&lt;p&gt;Yes, you can use the Ripple Edit Tool. &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/panels.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;See here&lt;/a&gt; (&lt;em&gt;Tools panel and Options panel&lt;/em&gt; section)&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-03-13T21:51:37.240" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20915" PostTypeId="1" CreationDate="2017-03-13T22:34:07.840" Score="0" ViewCount="35" Body="&lt;p&gt;I am absolutely new to video production, I just have a simple job to get done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have about 10 videos of a few minutes each. I want to take the interesting parts of each video (there's maybe 3-6 interesting parts per video), put them together into one video, and discard the rest. I have sat through each video and recorded the timestamps of the beginning and end of each part in each video I want to keep. E.g. Video 1: 00:36 - 00:39, 01:04-01:20, Video 2: 01:36-01:39, 02:24-03:00, etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any program that would allow me the simplicity of typing in the timestamps of each part of each video I want, and then put it all together as one video? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally (although this isn't currently a necessity) it would be nice if I could put in a title (I'm thinking white text on black screen) before each part of the final video to explain what will be shown next. Or at least have a caption on each part of the video.&lt;/p&gt;&#xA;" OwnerUserId="18340" LastActivityDate="2017-03-13T23:48:26.770" Title="What is the simplest way to cut and put together many parts (for which I know the timestamps) of many videos?" Tags="|software-recommendation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20916" PostTypeId="1" AcceptedAnswerId="20918" CreationDate="2017-03-13T23:17:13.727" Score="-1" ViewCount="604" Body="&lt;p&gt;I have been looking for a video editor, and among the recommended editors is VLMC. However, when I go to the &lt;a href=&quot;http://www.videolan.org/vlmc/&quot; rel=&quot;nofollow noreferrer&quot;&gt;site&lt;/a&gt;, I can't find anything resembling a download link. Is VLMC still alive? Is there an official place to download the latest version? I have found a few non-official channels, but I am leery of downloading anything that isn't linked from an official page, and they all seem to say something along the lines pre-alpha, if there is any information at all. How can I try this software, or is it a lost cause?&lt;/p&gt;&#xA;" OwnerUserId="18342" LastActivityDate="2017-11-14T12:58:38.447" Title="Downloading VLMC" Tags="|video-editor|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20918" PostTypeId="2" ParentId="20916" CreationDate="2017-03-13T23:44:16.207" Score="1" Body="&lt;p&gt;Who recommended VLMC to you? It's still in early development, best thing you will get is an unstable developer alpha, nothing close to being usable. It also says so right on their website:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Note that VLMC is still under development and therefore not ready for beta testing or production yet. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;To be honest I don't see this project going anywhere any time soon. It's been around for year, I'm not even sure if it's still actively being worked on, and even if it is, it will be a long time before you can expect a workable beta build.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just do a websearch for free video editors (though if you are willing to spent some money, there are some good options as well) and you will find plenty of free software. Among the typically recommended ones are &lt;a href=&quot;https://www.lwks.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lightworks&lt;/a&gt; (free and paid versions available), &lt;a href=&quot;http://avidemux.sourceforge.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Avidemux&lt;/a&gt; (free), &lt;a href=&quot;https://hitfilm.com/express&quot; rel=&quot;nofollow noreferrer&quot;&gt;Hitfilm Express&lt;/a&gt; (partially free) and &lt;a href=&quot;https://www.blender.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blender&lt;/a&gt; (free open source 3D program with NLE functionality). There's plenty more for all price ranges, up to industrial standard software such as Premiere Pro and Avid Media Composer, you just have to look for something that fits your needs and budget.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-03-13T23:44:16.207" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20919" PostTypeId="2" ParentId="20915" CreationDate="2017-03-13T23:48:26.770" Score="2" Body="&lt;p&gt;Cutting and arranging video material is the most basic thing that any video editing software has to be able to do. You won't find any &lt;a href=&quot;https://en.wikipedia.org/wiki/Non-linear_editing_system&quot; rel=&quot;nofollow noreferrer&quot;&gt;NLE&lt;/a&gt; that can't do that. Titles are pretty basic as well, you can insert titles with software as simple as Windows Movie Maker (though of course more sophisticated software will always give you more control). So yeah, as Michael Liebman said, &lt;a href=&quot;https://en.wikipedia.org/wiki/Comparison_of_video_editing_software&quot; rel=&quot;nofollow noreferrer&quot;&gt;pick one&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-03-13T23:48:26.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20920" PostTypeId="2" ParentId="19620" CreationDate="2017-03-14T00:27:03.723" Score="0" Body="&lt;p&gt;As @Mulvya suggested, the best approach is use short GOP chains, the filesize will obviously increase a bit, but the cpu processing will be limited doing so.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2017-03-14T00:27:03.723" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20921" PostTypeId="1" CreationDate="2017-03-14T00:29:41.967" Score="0" ViewCount="1977" Body="&lt;p&gt;I recently purchased an Elgato HD for my MacBook Air, and I am fairly new at learning how everything comes together, so bear with me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to connect my Canon T6i as a capture device and I have been semi successful, but I have some other questions. I have connected the camera to the capture card via HDMI, but it can only be recognized through USB and I'm not fond of the delay. Is there any way around this? I may be wrong, and correct me if I am, but I was under the impression that I could use the Elgato HD to capture video through HDMI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My setup right now has HDMI from the T6i to the capture card, and another HDMI from the capture card to an HDMI adapter. I'm assuming this is my issue here, but I have not found any clear answers anywhere.&lt;/p&gt;&#xA;" OwnerUserId="18343" LastActivityDate="2024-03-13T21:02:30.280" Title="Connecting T6i to Elgato Game Capture HD" Tags="|streaming|dslr|canon|hdmi|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20925" PostTypeId="2" ParentId="15255" CreationDate="2017-03-14T03:51:04.623" Score="2" Body="&lt;p&gt;Here is how its done.&#xA;Create a new folder.Select the film clips you want to merge together all at once and import them into the folder you created. Drag the clips into the storyboard view and its done.&#xA;Check this out :&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/VRBrPull66E?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="18346" LastActivityDate="2017-03-14T03:51:04.623" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20926" PostTypeId="2" ParentId="20893" CreationDate="2017-03-14T07:27:37.590" Score="1" Body="&lt;p&gt;With ffmpeg, on Windows, create a batch file &lt;code&gt;AudiotoVid.cmd&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for %%A in (*.mp3 *.m4a *.wav *.flac *.ape) do ffmpeg -i &quot;%%A&quot; -i &quot;c:\path\to\image.png&quot; -map 1:v -map 0:a -pix_fmt yuv420p -shortest -f mp4 &quot;%~nA.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Run it in each folder that you wish to convert.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For each audio file of the given extensions. it will create a MP4 in the same folder as the audio file. This batch file does not recurse through subdirectories. If you want to do that, use the command below.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for /r %%A in (*.mp3 *.m4a *.wav *.flac *.ape) do ffmpeg -i &quot;%%A&quot; -i &quot;c:\path\to\image.png&quot; -map 1:v -map 0:a -pix_fmt yuv420p -shortest -f mp4 &quot;%~dpnA.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Copy a few of your files to a new folder and test this there first. I don't batch often.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Get FFmpeg for Windows from &lt;a href=&quot;https://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.zeranoe.com/builds/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-03-14T09:05:31.720" LastActivityDate="2017-03-14T09:05:31.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20927" PostTypeId="2" ParentId="19620" CreationDate="2017-03-14T08:26:03.800" Score="2" Body="&lt;p&gt;Try Encoding using &quot;--tune fastdecode&quot; and also check if &quot;Average Bitrate&quot; with &quot;2 Pass&quot; is better than &quot;Constant Quality&quot; with your particular Decoder; trying to maintain Quality over Bitrate can spike the Bitrate (holding a particular Bitrate will drop the Quality on complex Scenes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try a few Test Files (short Clips from your Source) and determine which Encode Settings produce the lowest CPU load when Decoding. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Decoding x265 works best with Hardware support which is not going to be available in most Phones, the Phone will probably decode x264 much easier since so many people/years have gone into decoding x264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reference: &lt;a href=&quot;http://x265.readthedocs.io/en/default/presets.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://x265.readthedocs.io/en/default/presets.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See also: &lt;a href=&quot;http://www.techspot.com/article/1131-hevc-h256-enconding-playback/page4.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.techspot.com/article/1131-hevc-h256-enconding-playback/page4.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-03-14T08:26:03.800" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20929" PostTypeId="2" ParentId="16574" CreationDate="2017-03-14T10:04:55.083" Score="0" Body="&lt;p&gt;You didn't specify if you want the first 8 seconds of Audio (it appears you do not) but you can split the input into separate Video and Audio files using ffmpeg (deMux).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then with a second call to ffmpeg use &quot;-ss&quot; before the Audio's &quot;-i&quot; to chop off the first 8.07 seconds and use &quot;-copy&quot; to Mux them back  together (this is lossless).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using &quot;-itsoffset&quot; before the &quot;-i&quot; of the Stream with &quot;-copy&quot; is another solution. Using &quot;-aresample&quot; can change the length of the Audio but you'll ruin Lipsync if it's a Video with people talking (as opposed to, for example, a Video with people walking down the street with traffic noise).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An OLD question that went without an answer for a long time (and sat in the unanswered Queue). Maybe good for a Necromancer Badge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reference: &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-03-14T10:04:55.083" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20930" PostTypeId="2" ParentId="14589" CreationDate="2017-03-14T11:13:44.740" Score="0" Body="&lt;p&gt;Almost instant and Free Trial available: &lt;a href=&quot;http://www.redgiant.com/products/pluraleyes/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.redgiant.com/products/pluraleyes/&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use AviSynth, but it is also tedious to get frame perfect results.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-03-14T11:13:44.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20931" PostTypeId="2" ParentId="1323" CreationDate="2017-03-14T17:54:14.047" Score="2" Body="&lt;p&gt;So I am a singer with a huge dynamic range. I think it is useful to let the singer hear the problem (i.e. the clipping or etc.) and then to ask her/him to adjust distance to the mic for particularly loud passages. I think this comes quite naturally to many singers as most of us have seen our favourite singers do this. I also think that it's worthwhile to let them know that many technical solutions have drawbacks (let them hear these). I also think that reminding them that they are in studio as opposed to on a stage, and that as such, that there are more options apart from volume to communicate intensity is also a good idea. Letting them play around and listen to the effects is something they can do before getting into studio (with a mic and computer at home) or depending upon the studio something they can experiment in studio. &lt;/p&gt;&#xA;" OwnerUserId="18353" LastActivityDate="2017-03-14T17:54:14.047" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20933" PostTypeId="1" AcceptedAnswerId="20937" CreationDate="2017-03-15T10:53:30.293" Score="7" ViewCount="17213" Body="&lt;p&gt;Is that possible, that a video (.mp4 or etc) had two video streams and we could to do work with each stream individually ? (like we do with 2 audio streams and we can remove any of them)..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if so:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1)  do you know which video editors can handle such videos? Adobe Premiere , Sony Vegas, DaVinci or ... ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) At this moment, my typical MP4 files are converted by youtube (after upload) to i.e. &lt;code&gt;mpeg-4 10 AVC&lt;/code&gt;. And will those 2-stream videos will be converted to 1-stream video anyway? (maybe I have to ask that to YT forum, right?)&lt;/p&gt;&#xA;" OwnerUserId="16354" LastEditorUserId="16354" LastEditDate="2017-03-16T11:16:38.873" LastActivityDate="2021-02-08T10:03:00.273" Title="Can video have multiple streams (like it has 2 audio streams)" Tags="|video|audio|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20934" PostTypeId="1" CreationDate="2017-03-15T11:03:05.800" Score="2" ViewCount="360" Body="&lt;p&gt;I've created a &quot;time lapse video&quot; where much of the footage is essentially just a static image. Is there a way to automatically remove all frames but the ones that are changed?&lt;/p&gt;&#xA;" OwnerUserId="18044" LastActivityDate="2022-02-13T06:07:45.793" Title="Can frames without motion be removed automatically in Adobe Premiere?" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20935" PostTypeId="1" AcceptedAnswerId="20938" CreationDate="2017-03-15T11:37:13.993" Score="5" ViewCount="22311" Body="&lt;p&gt;Good day! I'm looking for &lt;a href=&quot;https://mkvtoolnix.download/downloads.html&quot; rel=&quot;noreferrer&quot;&gt;MKVToolNix&lt;/a&gt; equivalent software for .MP4's. I will use it in a video file without subtitles, I'll find it's subtitle and merge it with the video file just like what I did in MKVToolNix. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="18361" LastActivityDate="2020-12-07T09:29:23.510" Title="MKVToolNix equivalent for .MP4's" Tags="|mp4|subtitles|mkv|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20936" PostTypeId="1" AcceptedAnswerId="20939" CreationDate="2017-03-15T14:09:26.937" Score="0" ViewCount="40" Body="&lt;p&gt;A friend of mine has a Gopro and something happened to the lens last weekend. We didn't realise that it was damaged and now we have a bunch of videos of our camping trip with a circular smudge looking thing in the centre of the screen. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The smudge gives the centre of the picture a blur.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way that I can set up a template so that I can make some changes to just the section that it is damaged in an attempt to correct the blur. Once I have found the best settings I would be able to reuse the template for all of the videos. I'm sure it won't fix it perfectly but I would like to try it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If anyone can point me in the right direction (a link or tutorial) that would be great. I have the Adobe programs so preferably using those&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Im a noob&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for you time&lt;/p&gt;&#xA;" OwnerUserId="18362" LastActivityDate="2017-03-15T20:15:44.367" Title="Creating a video effect template" Tags="|video|after-effects|video-editor|adobe|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20937" PostTypeId="2" ParentId="20933" CreationDate="2017-03-15T14:48:34.030" Score="10" Body="&lt;p&gt;Yes. MPEG-4 Part 14 (the MP4 container format) supports any number of objects (e.g. video, audio and subtitle streams) and isn't limited to only one stream per content type.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In practice however, you seldom see a video file that has multiple video streams, because the range of applications for this is very limited. I would also advise you not to put multiple video streams into one file, as (a) users don't expect it, many won't know how to switch the video track or not notice there is a second video track at all and (b) many players (soft- and hardware) aren't equipped to play files with multiple video streams and either won't have any option to switch between streams or fail to play the file completely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also more common to use Matroska (.mkv) containers for video files with multiple audio/subtitle streams, but even with those, you rarely see files with more than one video stream.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2017-03-15T23:20:10.127" LastActivityDate="2017-03-15T23:20:10.127" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="20938" PostTypeId="2" ParentId="20935" CreationDate="2017-03-15T14:56:33.827" Score="2" Body="&lt;p&gt;Muxing a file simply means to extract individual streams out of existing container files or mix existing streams together into a new container file. For MP4, this can be done with ffmpeg and the &lt;code&gt;-c copy&lt;/code&gt; switch. If you don't want to write command line inputs, &lt;a href=&quot;https://www.xmedia-recode.de/&quot; rel=&quot;nofollow noreferrer&quot;&gt;XMedia Recode&lt;/a&gt; is a good, free GUI for ffmpeg (&lt;em&gt;only available for Windows&lt;/em&gt;). There's a documentation on the website, simply select &lt;em&gt;Direct Stream Copy&lt;/em&gt; to avoid reencoding the individual streams.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2020-12-07T09:29:23.510" LastActivityDate="2020-12-07T09:29:23.510" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="20939" PostTypeId="2" ParentId="20936" CreationDate="2017-03-15T20:15:44.367" Score="0" Body="&lt;p&gt;If I understand your issue, it sounds as if you could duplicate the video to a second layer, apply whatever correction is needed to that layer, and reveal the layer where needed using a soft circular matte.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2017-03-15T20:15:44.367" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20941" PostTypeId="1" AcceptedAnswerId="20946" CreationDate="2017-03-16T02:43:05.950" Score="0" ViewCount="4018" Body="&lt;p&gt;I have 4 videos which i want to combine it into 1 video file.&#xA;Drag and drop should do the combining but i don't know how to crop it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DzaTt.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DzaTt.jpg&quot; alt=&quot;Final result of the video&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am new in video editing, so any suggestion or even keyword will help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="18365" LastActivityDate="2017-03-16T12:00:07.607" Title="After Effect CC - How to combine and crop videos" Tags="|after-effects|adobe|mask|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20942" PostTypeId="1" CreationDate="2017-03-16T04:14:41.360" Score="3" ViewCount="264" Body="&lt;p&gt;I want to install Adobe Premiere Elements 14 on a computer that's not connected to the Internet. I used version 3 back when it was current and it did the job, but I don't know what happened to the discs. I didn't have that problem then, however.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some software insists on contacting the publisher's server,  but they often provide for substitute validation. Does Adobe offer an alternative validation for air-gapped computers? &lt;/p&gt;&#xA;" OwnerUserId="18366" LastEditorUserId="18366" LastEditDate="2017-03-17T22:18:11.430" LastActivityDate="2017-11-13T02:31:35.580" Title="How do I install Adobe Premiere Elements on a computer that's isolated from the Internet?" Tags="|premiere-elements|setup|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="20943" PostTypeId="2" ParentId="20941" CreationDate="2017-03-16T06:34:02.247" Score="0" Body="&lt;p&gt;You need to mask each video. &#xA;Masking is a way of revealing or hiding parts of a layer based on a shape that you draw. So in your case, you would draw a rectangle on top of the video layer you wanted to crop, and this would reveal only the area inside the rectangle. See this tutorial for more:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/OzAkb7Cw0uM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Having said this, Premeire can also achieve the same effect. After effects might be overkill for something like this. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-03-16T06:34:02.247" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20944" PostTypeId="1" CreationDate="2017-03-16T08:05:10.747" Score="0" ViewCount="49" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/GiT8zS8uIpg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From 0:20 to 0:35.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to do something like this video where I paste clouds/rainbows/fireworks/etc. over the background while the camera is moving around, zooming in/out etc. Also keep in mind, people are obstructing the pasted elements as they move around.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, from 0:32 - 0:35. The camera zooms in and the pasted elements like the rainbow go right behind the girls. Also, the pasted elements (clouds and rainbow) move cleanly together with the zoom in, making the video look as if the rainbow and clouds were actually there when this shot was initially filmed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm assuming I have to mask around the girls each frame? But if there are other methods to do this, please let me know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For reference, here is the same music video minus the pasted clouds/rainbows/etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Bb4eugxW5z8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="18367" LastActivityDate="2017-09-15T09:43:39.593" Title="How to do overlays/masking like in this video? (Pasting clouds/rainbow/fireworks over sky while camera moves around)" Tags="|video-editor|mask|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20946" PostTypeId="2" ParentId="20941" CreationDate="2017-03-16T12:00:07.607" Score="1" Body="&lt;p&gt;After Effects and masking are both total overkill for this problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First you want a video editor, not a complex VFX system, as your baseline.  If you have After Effects, you likely also have Premiere Pro.  Drag and drop each video onto a separate video layer.  In Premiere Pro, each video layer has an Effects tab that includes a Motion effect.  The Motion effect includes scaling and translating video (shifting it left/right or up/down).  Scale each video to 50% (they should all scale toward the middle of the screen), then translate each video to their respective corner.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The last piece of the puzzle is to crop the videos as you wish.  In Premiere Pro, there's a video effect in the Transitions category called Crop.  By cropping left, right, top, and bottom by a certain number of pixels, you will get the rectangle (or square) you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But almost any video editor at all has Layers, Scale, Translate, and Crop.  That's what you need to solve your problem.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-03-16T12:00:07.607" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20947" PostTypeId="1" CreationDate="2017-03-16T12:16:06.933" Score="1" ViewCount="361" Body="&lt;p&gt;I'm doing &lt;em&gt;HTTP live streaming&lt;/em&gt; of &lt;code&gt;1080p&lt;/code&gt; video encoded in &lt;code&gt;H264&lt;/code&gt; with &lt;code&gt;Main&lt;/code&gt; profile level &lt;code&gt;4.1&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However &lt;code&gt;Safari&lt;/code&gt; is unable to play the video. I can only hear the audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The streaming is working fine with &lt;code&gt;Chrome&lt;/code&gt; and &lt;code&gt;Firefox&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to download the video segment in &lt;code&gt;.ts&lt;/code&gt; format, &lt;code&gt;QuickTime player&lt;/code&gt; is unable to play while &lt;code&gt;VLC player&lt;/code&gt; is playing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm assuming that something is wrong with the video encoding. The same video is doing fine with &lt;code&gt;Baseline @3.0&lt;/code&gt; in &lt;code&gt;720p&lt;/code&gt; resolution. What could be the issue?&lt;/p&gt;&#xA;" OwnerUserId="18371" LastEditorUserId="18155" LastEditDate="2017-03-20T07:29:17.463" LastActivityDate="2017-03-20T07:29:17.463" Title="1080p videos encoded in H264 are not playing in Safari" Tags="|quicktime|h.264|1080p|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20948" PostTypeId="1" CreationDate="2017-03-16T15:20:38.417" Score="1" ViewCount="355" Body="&lt;p&gt;I have 4 video streams:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a color stream A1&lt;/li&gt;&#xA;&lt;li&gt;a black and white stream A2, representing the distance of objects in the color stream A1&lt;/li&gt;&#xA;&lt;li&gt;a color stream B1&lt;/li&gt;&#xA;&lt;li&gt;a black and white stream B2, representing the distance of objects in B1.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Now I want to key between either stream A1 or B1 depending on which is closer to the camera. Being a programmer myself I thought of solving this by running an operation on every individual pixel of the separate streams in order to generate the output video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;if luminosity of A2 is smaller than luminosity of B2, use the color of A1, otherwise use the color of B1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is it possible to do this kind of operation in After Effects, or is it possible to write expressions like these that run on every pixel?&lt;/p&gt;&#xA;" OwnerUserId="18374" LastEditorUserId="18374" LastEditDate="2017-03-16T15:25:47.610" LastActivityDate="2017-08-19T09:53:05.503" Title="Adobe After Effects: Keying layers based on other layers" Tags="|after-effects|after-effects-expressions|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20949" PostTypeId="1" AcceptedAnswerId="20951" CreationDate="2017-03-16T20:59:10.363" Score="0" ViewCount="132" Body="&lt;p&gt;Are there some &lt;em&gt;simple arithmetical relations&lt;/em&gt; (rules, properties) between numbers in &lt;code&gt;x:y:z&lt;/code&gt; chroma subsampling notation?&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2017-03-17T16:12:25.280" Title="Chroma subsampling notation - rules" Tags="|compression|technical|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20950" PostTypeId="2" ParentId="20942" CreationDate="2017-03-16T22:27:26.250" Score="1" Body="&lt;p&gt;Using Google, a popular internet search engine, &lt;a href=&quot;https://helpx.adobe.com/creative-cloud/kb/internet-connection-creative-cloud-apps.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;the Adobe help page that discusses this topic&lt;/a&gt; is easily discovered.  In particular, it explains:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;You must connect to the Internet when you want to install Adobe Creative Cloud apps, such as Photoshop and Illustrator. Once the apps are installed on your computer, you don’t need an ongoing Internet connection to use the apps.&lt;/p&gt;&#xA;&lt;p&gt;You can use the apps in offline mode with a valid software license for a limited period. The apps attempt to validate your software license every 30 days. You receive a reminder to reconnect to the Internet to validate your license...&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;You can read more details on that web page and decide whether or not your online/offline behavior fits within those parameters or not.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-03-16T22:27:26.250" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20951" PostTypeId="2" ParentId="20949" CreationDate="2017-03-16T23:55:26.797" Score="1" Body="&lt;p&gt;The numbers in chroma subsampling notation are the ratio of the sampling rates of the &lt;a href=&quot;https://en.wikipedia.org/wiki/Luma_(video)&quot; rel=&quot;nofollow noreferrer&quot;&gt;luminance&lt;/a&gt;, &lt;a href=&quot;https://en.wikipedia.org/wiki/Chrominance&quot; rel=&quot;nofollow noreferrer&quot;&gt;chroma difference&lt;/a&gt;, and &lt;a href=&quot;https://en.wikipedia.org/wiki/Alpha_compositing&quot; rel=&quot;nofollow noreferrer&quot;&gt;alpha channel&lt;/a&gt;, if present (&lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/0071411801&quot; rel=&quot;nofollow noreferrer&quot;&gt;Whitaker, 2003&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;4:4:4:4&lt;/strong&gt; The color difference (and alpha) channels are sampled at the same frequency as the luminance channel.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;4:2:2&lt;/strong&gt; The color difference channels are sampled at half the rate of the luminance channel. This yields a 2/3 compression ratio.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;4:1:1&lt;/strong&gt; and &lt;strong&gt;4:2:0&lt;/strong&gt; The color difference channels are sampled at one quarter the rate of the luminance channel. The difference is the pattern of the subsamples.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Less technically, the numbers can be looked at as number of horizontal (&lt;em&gt;y&lt;/em&gt;) and vertical (&lt;em&gt;z&lt;/em&gt;) chroma subsamples for every &lt;em&gt;x&lt;/em&gt; horizontal luminance samples (&lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B01LYHORQZ&quot; rel=&quot;nofollow noreferrer&quot;&gt;Pizzi &amp;amp; Jones, 2014&lt;/a&gt;).&lt;/p&gt;&#xA;" OwnerUserId="14523" LastEditorUserId="1871" LastEditDate="2017-03-17T05:17:36.593" LastActivityDate="2017-03-17T05:17:36.593" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20952" PostTypeId="2" ParentId="20949" CreationDate="2017-03-17T16:12:25.280" Score="2" Body="&lt;p&gt;Yes, there are.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let &lt;code&gt;x:y:z&lt;/code&gt; is a chroma subsampling. Then&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;code&gt;x = 4&lt;/code&gt;&lt;br /&gt;&#xA;So the begin of the notation is &lt;code&gt;4:&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;y|x&lt;/code&gt; (&lt;code&gt;y&lt;/code&gt; is a divisor of &lt;code&gt;x&lt;/code&gt;)&lt;br /&gt;&#xA;So there are 3 possibilities for the first two numbers: &lt;code&gt;4:1:&lt;/code&gt; or &lt;code&gt;4:2:&lt;/code&gt; or &lt;code&gt;4:4:&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;z = 0&lt;/code&gt; or &lt;code&gt;z = y&lt;/code&gt;&lt;br /&gt;&#xA;So there are 6 possibilities: &lt;code&gt;4:1:0&lt;/code&gt;, &lt;code&gt;4:1:1&lt;/code&gt;, &lt;code&gt;4:2:0&lt;/code&gt; &lt;code&gt;4:2:2&lt;/code&gt;, &lt;code&gt;4:4:1&lt;/code&gt;, or &lt;code&gt;4:4:4&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;y + z&lt;/code&gt; determines the resulting color quality (higher is better).&lt;br /&gt;&#xA;So &lt;code&gt;4:4:4&lt;/code&gt; is &lt;em&gt;the best&lt;/em&gt; (as 4 + 4 = 8) while &lt;code&gt;4:1:0&lt;/code&gt; is &lt;em&gt;the worst&lt;/em&gt; (as 1 + 0 = 1).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2017-03-17T16:12:25.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20953" PostTypeId="1" CreationDate="2017-03-17T17:02:34.187" Score="2" ViewCount="34" Body="&lt;p&gt;Every so often while I'm editing in Final Cut Pro, I zoom in or out with the trackpad and suddenly the app becomes unresponsive in a strange way - you can't click on anything, right-clicking the icon shows the normal menu with &quot;Quit&quot; at the bottom but it doesn't work. There's no spinner or anything - it feels like it's spawned a modal dialog window somewhere unreachable, so it's not a crash per se - more like it's gone into a weird undefined state. I've tried tabbing and &quot;show all windows&quot; and all sorts but no dice. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;All I can do is force quit the app but it really feels like there might be a better way to fix this problem without doing so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anybody else experienced this problem? I haven't had any luck on Google.&lt;/p&gt;&#xA;" OwnerUserId="4487" LastActivityDate="2017-03-17T17:02:34.187" Title="How to recover when zooming makes Final Cut Pro unresponsive?" Tags="|final-cut-pro-x|" AnswerCount="0" CommentCount="2" ClosedDate="2017-04-01T15:15:49.617" ContentLicense="CC BY-SA 3.0" />
  <row Id="20956" PostTypeId="1" AcceptedAnswerId="20957" CreationDate="2017-03-17T23:56:32.870" Score="2" ViewCount="14348" Body="&lt;p&gt;I'm importing .MP4 file which has music in it, but in Premiere there is no audio track at all.&lt;/p&gt;&#xA;&lt;p&gt;I have restarted PC, installed K-lite codec pack, Quicktime codecs but why? Why is it so hard to simply import an .MP4 file with music to the video editor?&lt;/p&gt;&#xA;&lt;p&gt;I searched the internet a lot but only find useless advice&lt;/p&gt;&#xA;" OwnerUserId="12624" LastEditorUserId="674" LastEditDate="2022-10-06T14:26:11.043" LastActivityDate="2022-10-06T14:26:11.043" Title="No sound in Adobe Premiere Pro CC 2017" Tags="|premiere|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="20957" PostTypeId="2" ParentId="20956" CreationDate="2017-03-18T00:14:49.340" Score="3" Body="&lt;p&gt;Ok, here is &lt;a href=&quot;https://forums.adobe.com/message/9109650#9109650&quot; rel=&quot;nofollow noreferrer&quot;&gt;answer&lt;/a&gt;. &#xA;Quote: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Please clear the Media Cache (keeping Premiere Pro closed). Find&#xA;  instructions here: FAQ: &lt;a href=&quot;https://forums.adobe.com/thread/2152942&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to clean media cache files?&lt;/a&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Navigate to the Media Cache location as specified in the Premiere Pro&#xA;  preferences and rename the folders.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;   MAC: Premiere Pro menu&amp;gt;Preferences&amp;gt;Media&#xA;   Windows: Edit Menu&amp;gt;Preferences&amp;gt;Media&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;  &#xA;  &lt;p&gt;Please reply if your issue gets resolved after trying these steps.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;NOTE: Premiere Pro will conform all files after opening any/all&#xA;  project(s) and will generate the peak file for the audio. This might&#xA;  take long depending upon the number of Media used in the project(s).&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="12624" LastActivityDate="2017-03-18T00:14:49.340" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20958" PostTypeId="1" AcceptedAnswerId="20959" CreationDate="2017-03-18T12:34:13.547" Score="15" ViewCount="46640" Body="&lt;p&gt;FFmpeg knows about duplicate frames in the input video stream as it outputs a message like this:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;More than 1000 frames duplicated&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Is there some way to tell it: &quot;Not include duplicates into the output stream, please?&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT (ADDED):&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried this command (thanks to &lt;em&gt;Mulvya&lt;/em&gt;):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i scene.mkv -profile:v baseline -level 3.1 -vsync 0 -map 0:v  scene.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and obtained the target video &lt;code&gt;scene.mp4&lt;/code&gt; with the same duration and (almost) identical in playback with original.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command with full output of it is here:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;gt;ffmpeg -i scene.mkv -profile:v baseline -level 3.1 -vsync 0 -map 0:v  scene.mp4&#xA;ffmpeg version N-83585-ga5c1c7a Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with gcc 5.4.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --enable-cuda --enable-cuvid --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-nv&#xA;enc --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libblur&#xA;ay --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-&#xA;libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-lib&#xA;rtmp --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amr&#xA;wbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enabl&#xA;e-libxvid --enable-libzimg --enable-lzma --enable-zlib&#xA;  libavutil      55. 47.100 / 55. 47.100&#xA;  libavcodec     57. 80.101 / 57. 80.101&#xA;  libavformat    57. 66.102 / 57. 66.102&#xA;  libavdevice    57.  2.100 / 57.  2.100&#xA;  libavfilter     6. 73.100 /  6. 73.100&#xA;  libswscale      4.  3.101 /  4.  3.101&#xA;  libswresample   2.  4.100 /  2.  4.100&#xA;  libpostproc    54.  2.100 / 54.  2.100&#xA;Input #0, matroska,webm, from 'scene.mkv':&#xA;  Metadata:&#xA;    encoder         : libmkv 0.6.5&#xA;    TITLE           : New Project&#xA;    DIRECTOR        : Big Mac&#xA;    COMPOSER        : Big Mac&#xA;    DESCRIPTION     : This video is about New Project&#xA;  Duration: 00:03:11.93, start: 0.000000, bitrate: 1025 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High), yuv420p(tv, smpte170m/smpte170m/bt709, progressive), 640x480 [SAR 1:1 DAR 4:3], 30 fps, 30 tbr&#xA;, 1k tbn, 180k tbc (default)&#xA;    Stream #0:1(eng): Audio: aac (LC), 48000 Hz, stereo, fltp (default)&#xA;    Stream #0:2(eng): Audio: ac3, 48000 Hz, stereo, fltp, 224 kb/s&#xA;[libx264 @ 00000000005c6c40] using SAR=1/1&#xA;[libx264 @ 00000000005c6c40] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;[libx264 @ 00000000005c6c40] profile Constrained Baseline, level 3.1&#xA;[libx264 @ 00000000005c6c40] 264 - core 148 r2762 90a61ec - H.264/MPEG-4 AVC codec - Copyleft 2003-2017 - http://www.videolan.org/x264.h&#xA;tml - options: cabac=0 ref=3 deblock=1:0:0 analyse=0x1:0x111 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 t&#xA;rellis=1 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 i&#xA;nterlaced=0 bluray_compat=0 constrained_intra=0 bframes=0 weightp=0 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40&#xA; rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'scene.mp4':&#xA;  Metadata:&#xA;    DESCRIPTION     : This video is about New Project&#xA;    TITLE           : New Project&#xA;    DIRECTOR        : Big Mac&#xA;    COMPOSER        : Big Mac&#xA;    encoder         : Lavf57.66.102&#xA;    Stream #0:0(eng): Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 640x480 [SAR 1:1 DAR 4:3], q=-1--1, 30 fps, 15360 tbn, 30&#xA; tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc57.80.101 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;Press [q] to stop, [?] for help&#xA;frame= 4602 fps=185 q=-1.0 Lsize=   10688kB time=00:03:11.90 bitrate= 456.3kbits/s speed= 7.7x&#xA;video:10651kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.349428%&#xA;[libx264 @ 00000000005c6c40] frame I:24    Avg QP:20.07  size: 27706&#xA;[libx264 @ 00000000005c6c40] frame P:4578  Avg QP:21.30  size:  2237&#xA;[libx264 @ 00000000005c6c40] mb I  I16..4: 20.4%  0.0% 79.6%&#xA;[libx264 @ 00000000005c6c40] mb P  I16..4:  2.0%  0.0%  2.4%  P16..4: 22.9%  4.2%  1.3%  0.0%  0.0%    skip:67.3%&#xA;[libx264 @ 00000000005c6c40] coded y,uvDC,uvAC intra: 47.9% 84.7% 30.2% inter: 4.5% 23.4% 0.6%&#xA;[libx264 @ 00000000005c6c40] i16 v,h,dc,p: 36% 26% 11% 26%&#xA;[libx264 @ 00000000005c6c40] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 31% 23% 13%  5%  7%  8%  5%  5%  3%&#xA;[libx264 @ 00000000005c6c40] i8c dc,h,v,p: 39% 26% 27%  8%&#xA;[libx264 @ 00000000005c6c40] ref P L0: 82.8% 10.5%  6.7%&#xA;[libx264 @ 00000000005c6c40] kb/s:454.58&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2017-03-18T18:54:25.363" LastActivityDate="2019-07-18T06:02:12.437" Title="FFmpeg - dropping duplicate frames" Tags="|ffmpeg|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="20959" PostTypeId="2" ParentId="20958" CreationDate="2017-03-19T05:26:56.130" Score="17" Body="&lt;p&gt;Don't see any frames duplicated. The message you quoted - &lt;em&gt;More than 1000 frames duplicated&lt;/em&gt; - is not ffmpeg's analysis of the input. FFmpeg duplicates or drops frames when the input and output framerates differ. You need to use the &lt;a href=&quot;https://stackoverflow.com/a/37089629/5726027&quot;&gt;mpdecimate&lt;/a&gt; filter to remove duplicates in the input:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf mpdecimate,setpts=N/FRAME_RATE/TB out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2017-03-19T05:26:56.130" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20961" PostTypeId="2" ParentId="20944" CreationDate="2017-03-19T06:23:39.840" Score="1" Body="&lt;p&gt;It's tricky but it looks like it was shot in a Studio (Green Screen) and that they had a bit of red straw and tiny piles of red sand on the floor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's why most of it looks like one Shot, because it is - they neither sang and danced then teleported nor did they dance twice and get that many people in perfect sync and switch from one to the other - they sang and danced the whole thing in a Studio and occasionally a foot would shift the red straw or sand.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The result of the Take in the Studio (with green everywhere, except the aforementioned straw and sand) is them singing and dancing with a floor and background that can be electronically (digitally) removed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A separate Take is done both at the Beach and the Grass Field without any people present.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Proof is sometimes they kick up the Grass (move the straw underfoot) and sometimes they don't when you'd think that they might have had more occasion to do so - but the straw in the Studio is infrequent and you really need to kick to launch it - plus it's difficult to see.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Final proof is that they don't leave footprints on the sand - that's the clincher that 'wrecks' it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you have the Clips of them dancing in the Studio, the Clips of the Beach and Field. Draw Rainbows over the 'Field Clips' and drop the girls on top of that. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Masking is only on the bottom of the Frame, to have Sand or Grass to kick, appear in their respective backgrounds, combined with different takes where the 'kicking up the ground' is more or less pronounced (another thing that 'wrecks' it but harder to notice).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It was neither done cheaply (simply) nor did they spend a fortune (make it complicated). If you knew a dozen chicks you could do this on your Home Computer (assuming reasonable CPU power) using a handheld Video Camera and a bucket of Green Paint (plus some red for the ground effect, or double the number of Takes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think they used red as well as green because they don't kick up the ground correctly, much like the background doesn't move properly in relation to them. It was better than moderately well done, but not expertly executed.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-03-19T06:23:39.840" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20962" PostTypeId="1" AcceptedAnswerId="20963" CreationDate="2017-03-19T10:08:53.333" Score="45" ViewCount="95119" Body="&lt;p&gt;How is ffmpeg used with a video filter circa 2017 to adjust gamma/contrast, brightness and saturation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Stack Exchange resources that are a few years old point to the filter &lt;code&gt;mp=eq2=&lt;/code&gt;, but it seems to be &lt;a href=&quot;https://wjwoodrow.wordpress.com/2015/07/12/more-ffmpeg-hell/&quot; rel=&quot;noreferrer&quot;&gt;deprecated&lt;sup&gt;1&lt;/sup&gt; and replaced&lt;/a&gt; with just &lt;code&gt;eq=&lt;/code&gt;. The link does not reveal a good understanding of the setting ranges, however.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is &lt;code&gt;eq=&lt;/code&gt; (or equivalent filters) used? E.g., what is the format and appropriate settings/ranges?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For my personal usage, I'd like to keep gamma where it is, while increasing brightness and saturation a fair bit, for a dark video.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;sub&gt;&lt;sup&gt;1&lt;/sup&gt;Throws error message: &lt;code&gt;No such filter: 'mp'&lt;/code&gt;&lt;/sub&gt;&lt;/p&gt;&#xA;" OwnerUserId="12052" LastActivityDate="2020-11-18T07:33:20.420" Title="ffmpeg Color Correction: Gamma, Brightness and Saturation" Tags="|ffmpeg|color-correction|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20963" PostTypeId="2" ParentId="20962" CreationDate="2017-03-19T11:01:35.760" Score="52" Body="&lt;p&gt;These settings helped me to lighten up a dark video using the filter &lt;code&gt;eq&lt;/code&gt;, with some added saturation.&lt;/p&gt;&#xA;&lt;h3&gt;Syntax:&lt;/h3&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;code&gt;filtername=option1=value1:option2=value2:option3=value3...&lt;/code&gt; These can be in any order.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;h3&gt;Filter ranges and all options:&lt;/h3&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#eq&quot; rel=&quot;noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#eq&lt;/a&gt;&lt;/p&gt;&#xA;&lt;h3&gt;Preview:&lt;/h3&gt;&#xA;&lt;p&gt;&lt;code&gt;ffplay -vf eq=brightness=0.06:saturation=2 INPUT.MOV&lt;/code&gt;&lt;/p&gt;&#xA;&lt;h3&gt;Render:&lt;/h3&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i INPUT.MOV -vf eq=brightness=0.06:saturation=2 -c:a copy OUTPUT.MOV &lt;/code&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;Alternative filters&lt;/strong&gt;: &lt;a href=&quot;https://video.stackexchange.com/q/14603/1871&quot;&gt;&lt;code&gt;curves&lt;/code&gt; and &lt;code&gt;pp&lt;/code&gt;&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="12052" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-03-19T11:06:48.260" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20964" PostTypeId="2" ParentId="12233" CreationDate="2017-03-19T15:52:25.227" Score="0" Body="&lt;p&gt;You may reach it by &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#mpdecimate&quot; rel=&quot;nofollow noreferrer&quot;&gt;mpdecimate&lt;/a&gt; video filter (followed by &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#setpts_002c-asetpts&quot; rel=&quot;nofollow noreferrer&quot;&gt;setpts&lt;/a&gt; filter for the correct timing).&lt;br&gt;&#xA;Add these filters to your filter chain:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mpdecimate,setpts=N/FRAME_RATE/TB&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;so your command will be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f video4linux2 -s 800x600 -r 15 -i /dev/video1 -maxrate 800k -minrate 1k \&#xA;   -bt 800k -bufsize 2M -filter:v \&#xA;    drawtext='text=%{localtime }:fontfile=/usr/share/fonts/truetype/DejaVuSans-Bold.ttf', \&#xA;    mpdecimate,setpts=N/FRAME_RATE/TB out.avi -f h264 -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(In the case of need the filter &lt;code&gt;mpdecimate&lt;/code&gt; may be adjusted by its options &lt;code&gt;hi&lt;/code&gt;, &lt;code&gt;lo&lt;/code&gt; and &lt;code&gt;frac&lt;/code&gt; but the default values work fine.)&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-11-22T09:25:23.857" LastActivityDate="2019-11-22T09:25:23.857" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="20966" PostTypeId="2" ParentId="20429" CreationDate="2017-03-19T22:53:26.170" Score="0" Body="&lt;p&gt;You might check out the fantastic 'Saber' plugin from Video Co-Pilot. I've used it for similar &quot;smoky trails&quot; effects before, and it works like a champ. There's also a video tutorial on the same page to show all the various parameters to get the look you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.videocopilot.net/blog/2016/03/new-plug-in-saber-now-available-100-free/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.videocopilot.net/blog/2016/03/new-plug-in-saber-now-available-100-free/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18382" LastActivityDate="2017-03-19T22:53:26.170" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20967" PostTypeId="1" CreationDate="2017-03-20T09:54:42.503" Score="3" ViewCount="10208" Body="&lt;p&gt;Does MP4 support VP9 codec or is it exclusive to WebM?&lt;/p&gt;&#xA;" OwnerUserId="18371" LastActivityDate="2021-07-09T07:21:58.733" Title="Is it possible to encode MP4 video with VP9 codec?" Tags="|mp4|mkv|vp9|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20969" PostTypeId="2" ParentId="20967" CreationDate="2017-03-20T12:18:55.243" Score="1" Body="&lt;p&gt;FFmpeg, a command-line app, can write VP9 streams in MP4s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Get a static daily/snapshot binary from &lt;a href=&quot;https://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.zeranoe.com/builds/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basic command is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mov -c:v vp9 out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-10-14T12:29:38.250" LastActivityDate="2018-10-14T12:29:38.250" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="20972" PostTypeId="1" AcceptedAnswerId="20989" CreationDate="2017-03-21T12:30:01.380" Score="0" ViewCount="2549" Body="&lt;p&gt;The basic question is why the audio source patch of the first audio track will not toggle on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for confirmation or the correct reason.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I created a sequence preset based upon the DLSR 1080p preset and change it to be square 1080 x 1080 but did not change any of the audio settings.  I created a sequence with that preset.  The preset has three audio tracks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I put my source sequence and set in and out points and then hit over write and it put the audio in a new (fourth) track.  So I undid it and then tried to toggle the source patch &quot;light&quot; of the A1 track but it will not toggle on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After reading and surfing, I came to the belief that this is because my source audio is different.  The properties of the source says 48000 HZ - Multichannel while the target sequence properties says 48000 HZ - Stereo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It also seems I can not change these settings once the sequence is created.&lt;/p&gt;&#xA;" OwnerUserId="9326" LastActivityDate="2017-03-22T20:26:36.210" Title="Source patching audio &quot;light&quot; will not turn on" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20973" PostTypeId="2" ParentId="19107" CreationDate="2017-03-21T17:09:00.173" Score="1" Body="&lt;p&gt;It has been a long time since you asked the question. Maybe you have found your answer to your question in mean time. I am going to answer it anyway for you and for all others that are using this video editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using Shotcut in version 17.03.02.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are probably more elegant and simple ways of doing this. The way I like to do it create a SVG file with the text I want (for example in Inkscape). I import this SVG into Shotcut and put in a separate video track above the main track and leave compositing enabled. Then I add fade-in and fade-out video filters to the SVG-Text video and enable the option &quot;Adjust opacity instead of fade with black&quot; for both filters. You can also adjust the duration of the filter/filters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So to sum up:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;create &lt;strong&gt;svg&lt;/strong&gt; file with your text&lt;/li&gt;&#xA;&lt;li&gt;add a &lt;strong&gt;video track&lt;/strong&gt; with the svg file &lt;/li&gt;&#xA;&lt;li&gt;leave &lt;strong&gt;compositing on&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;add &lt;strong&gt;fade-in/out filters&lt;/strong&gt; and adjust duration&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;check&lt;/strong&gt; &quot;Adjust opacity instead of fade with black&quot; in both fade filters&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Enjoy!&lt;/p&gt;&#xA;" OwnerUserId="18411" LastActivityDate="2017-03-21T17:09:00.173" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20974" PostTypeId="2" ParentId="20725" CreationDate="2017-03-21T17:23:54.017" Score="1" Body="&lt;p&gt;I am using Shotcut in version 17.03.02. There are probably more ways how you can accomplish this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The simplest is to mark &lt;strong&gt;in&lt;/strong&gt; and &lt;strong&gt;out&lt;/strong&gt; points in you video after adding it to the playlist. You can do this using keyboard (I - for in) and (O - for out) also while playing the clip. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you can right click the file name in playlist and either &lt;em&gt;Replace&lt;/em&gt; the clip with the new cut points or &lt;em&gt;Insert cut&lt;/em&gt;, basically inserting a second clip with the cut points marked. Then you can append the file into the Video Track. Do the same with your audio file. Create cut points and append it to a new audio track. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do some additional trimming in the track editor. For example using the &lt;em&gt;Split At Playhead&lt;/em&gt; and delete the parts you don't want. That way you can trim both files to the same length. Now you have to export the project. &lt;/p&gt;&#xA;" OwnerUserId="18411" LastActivityDate="2017-03-21T17:23:54.017" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20975" PostTypeId="2" ParentId="12224" CreationDate="2017-03-21T17:28:17.980" Score="1" Body="&lt;p&gt;I would recommend Shotcut. It has become my goto editor for video in Linux.&lt;/p&gt;&#xA;" OwnerUserId="18411" LastActivityDate="2017-03-21T17:28:17.980" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20976" PostTypeId="2" ParentId="20948" CreationDate="2017-03-21T18:28:33.643" Score="-1" Body="&lt;p&gt;I can't take the time to write the expression script now, but that would be your best bet. Writing an expression which could, perhaps reference a totally separate composition; which includes a key (color key/chart or luma key) with the values you want it to identify, then have the expression perform the action based on matching results. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'd have to play with it to get it to work, but definitely possibly with some tinkering. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-03-21T18:28:33.643" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20977" PostTypeId="2" ParentId="3804" CreationDate="2017-03-21T21:18:48.483" Score="0" Body="&lt;p&gt;Uncompress the project file using something like WinRar into a standard uncompressed project file. Then edit the version at the beginning. I had to roll back to 2013.2 from 2013.4 to use speedgrade. i bought a utility using paypal and noticed that the only changed was the &quot;31&quot; at the top to &quot;30&quot;.&lt;/p&gt;&#xA;" OwnerUserId="18415" LastActivityDate="2017-03-21T21:18:48.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20979" PostTypeId="1" AcceptedAnswerId="21003" CreationDate="2017-03-22T03:06:25.530" Score="0" ViewCount="319" Body="&lt;p&gt;In this &lt;a href=&quot;https://www.youtube.com/watch?v=LZY9_Xr5XPA&amp;amp;index=10&amp;amp;list=PLCk-Z7i-iRKsPkQWXnDqs9wU5Q5kfd1RF&quot; rel=&quot;nofollow noreferrer&quot;&gt;video&lt;/a&gt; of Post Modern Jukebox (Burn - Ellie Goulding), you can see fire thrown from the saxophone at 2:10. I can't see how exactly they are doing this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, how to throw fire from a Saxophone live? What is the technique they used in the video?&lt;/p&gt;&#xA;" OwnerUserId="18418" LastActivityDate="2017-03-24T12:25:54.203" Title="How to throw fire from a Saxophone (in live)?" Tags="|special-effects|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="20980" PostTypeId="1" AcceptedAnswerId="20986" CreationDate="2017-03-22T07:10:26.763" Score="0" ViewCount="523" Body="&lt;p&gt;It's that wonderful time of the year again, where I scrupulously comb over my After Effects layouts culling any dead weight in terms of unnecessary plugins or panels that can be more efficiently organized or removed entirely. After creating, what I felt, was a beautiful layout for expressions, I hit a bit of a snag. Whenever I go to create a text layer, it automatically opens the &quot;Character&quot; and &quot;Paragraph&quot; Panels. While that is convenient, it completely distorts my layout.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before there used to be a little checkbox in the top right of the screen - I believe on the tools - but now I can't find it. It's even referenced on this article &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/formatting-paragraphs-paragraph-panel.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Formatting paragraphs and the Paragraph panel&lt;/a&gt; saying &quot;Note: To open the Character and Paragraph panels automatically when a type tool is active, select Auto-Open Panels in the Tools panel.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if this is outdated, or if I'm just not seeing it, but could someone direct me to a way of disabling this feature?&lt;/p&gt;&#xA;" OwnerDisplayName="user17006" LastActivityDate="2017-03-22T14:27:40.893" Title="Turning off Automatic Panel Opening in After Effects" Tags="|after-effects|video-editor|adobe|software|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20982" PostTypeId="2" ParentId="14841" CreationDate="2017-03-22T08:23:10.677" Score="0" Body="&lt;p&gt;When you upload to YouTube or use an Embed Code to show a YouTube (or JWPlayer) Video it matters a tiny bit to YouTube what Format you upload, some work better than others and you could probably find something that isn't accepted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once the Video is uploaded and someone opens a Webpage with the Video on it (either on the YouTube Website or elsewhere) your Browser on your Mobile Device starts a Player that simply works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can the Device you want to test work on YouTube?, yes means your all set. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How you upload doesn't affect how the Device downloads (unless you embed a Player that only serves the exact same Video File that was uploaded - you either need to write your own to do that or find one with the least features).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Q1: Choose .mp4 .&#xA;Q2: Embed the YouTube Player.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-03-22T08:23:10.677" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20985" PostTypeId="1" CreationDate="2017-03-22T14:22:40.443" Score="3" ViewCount="2988" Body="&lt;p&gt;I have a MP4 movie filmed with a GoPRO.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The GoPRO split the movie in several files (I believe because of FAT32 size limitation).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I'm trying to do is extract some specific frames of the FULL MOVIE. I don't need all frames, but I need a list of frames&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because all files is from same movie, I &quot;merged&quot; all files. To do this, I created a file called gopro.txt with the following content:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'GOPR0940.MP4'&#xA;file 'GP010940.MP4'&#xA;file 'GP020940.MP4'&#xA;file 'GP030940.MP4'&#xA;file 'GP040940.MP4'&#xA;file 'GP050940.MP4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So, to extract a image from a movie, I used this command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -ss 00:19:00 -f concat -i gopro.txt -qscale:v 2 -vframes 1 frame%d.jpg&lt;/code&gt; (where 00:19:00 is the time I want).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: as @Mulvya said, on a demuxed input, the &quot;fast seek&quot; don't work (works, but is very slow). So, I merged all videos on a single file with the following command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i gopro.txt -c copy full_movie.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Now, suppose I have a list of times I want to extract (I don't have the frame number, only the time), like:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;00:05:32&lt;/li&gt;&#xA;&lt;li&gt;00:12:49&lt;/li&gt;&#xA;&lt;li&gt;00:21:10&lt;/li&gt;&#xA;&lt;li&gt;00:32:23&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;and so on. My list will have more than 10.000 timestamps, so, if I make a batch file with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i gopro.txt -ss 00:05:32 -vframes 1 frame00001.jpg&#xA;ffmpeg -f concat -i gopro.txt -ss 00:12:49 -vframes 1 frame00002.jpg&#xA;ffmpeg -f concat -i gopro.txt -ss 00:21:10 -vframes 1 frame00003.jpg&#xA;...&#xA;ffmpeg -f concat -i gopro.txt -ss 01:38:42 -vframes 1 frame10000.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will work, but take a really long time, because I think that ffmpeg, at each line of my batch file, will seek from beggining of the file until at desired time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: after changes proposed by @Mulvya, the extract worked very fast, and I can use the batch file without any problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's possible to pass a list of timestamps to ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried with &lt;code&gt;select&lt;/code&gt; option, like:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f concat -i gopro.txt -vf select='eq(t,332)+eq(t,769)+eq(t,1270)+eq(t,1943)' -vsync 0 -vframes 4 frames%d.jpg&lt;/code&gt;, (&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#Timeline-editing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#Timeline-editing&lt;/a&gt;) but got no results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After several minutes, ffmpeg return a warning message with the following content:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Output file is empty, nothing was encoded (check -ss / -t / -frames parameters if used)&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And I thinking that solution it's not the best, because, if I have 10000 timestamps, this will generate a huge command.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;PS: I'm using Windows&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="18422" LastEditorUserId="18422" LastEditDate="2017-03-22T16:21:01.860" LastActivityDate="2021-11-27T08:03:55.357" Title="Extract multiples images from multiples videos with ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20986" PostTypeId="2" ParentId="20980" CreationDate="2017-03-22T14:27:40.893" Score="0" Body="&lt;p&gt;The option is specific to the Type Tool. Once you select the Type Tool, the corresponding Panels will open and the option will appear in the Tool Panel (which is on the top edge in the default layout).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WrFhT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WrFhT.png&quot; alt=&quot;Auto-Open Panels Option&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Uncheck the &lt;em&gt;Auto-Open Panels&lt;/em&gt; Option to turn that behaviour off. Once you do this, the Paragraph and and Character Panels shouldn't be toggled automatically anymore.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have rearranged your Workspace and there's not enough space for the Tools Panel, the Checkbox might not be visible in your layout. In this case, save your current Workspace (&lt;em&gt;Window&lt;/em&gt; → &lt;em&gt;Workspace&lt;/em&gt; → &lt;em&gt;Save as New Workspace…&lt;/em&gt;) so you don't lose it, then switch to the Essentials Workspace and reset it by selecting &lt;em&gt;Reset &quot;Essentials&quot; to Saved Layout&lt;/em&gt; in the same submenu. You should now have the default After Effects Workspace back and be able to see the Auto-Open Panels option.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-03-22T14:27:40.893" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20987" PostTypeId="2" ParentId="20985" CreationDate="2017-03-22T16:30:10.263" Score="1" Body="&lt;p&gt;After @Mulvya reply, I made the following changes:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, I must put all in a single file.&#xA;According with the Mulvya answer, a &quot;concat demuxed input&quot; don't have a &quot;fast seek&quot;, so, first I created a &lt;code&gt;gopro.txt&lt;/code&gt; file with the following content:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'GOPR0940.MP4'&#xA;file 'GP010940.MP4'&#xA;file 'GP020940.MP4'&#xA;file 'GP030940.MP4'&#xA;file 'GP040940.MP4'&#xA;file 'GP050940.MP4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then, &quot;merged&quot; all MP4 files in a single file, with the following command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f concat -i gopro.txt -c copy full_movie.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source: &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Concatenate&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, I can extract in a fast way individual frames, with the following command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -ss 00:15:00 -i full_movie.mp4 -vframes 1 frame00001.jpg&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source: &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Create%20a%20thumbnail%20image%20every%20X%20seconds%20of%20the%20video&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Create%20a%20thumbnail%20image%20every%20X%20seconds%20of%20the%20video&lt;/a&gt; (i put the -ss option first, like @Mulvya said).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Initially, I want to pass a list of timestamps to ffmpeg, but now, the extract of individual frames is very fast, that I don't need anymore. A simple batch file worked good.&lt;/p&gt;&#xA;" OwnerUserId="18422" LastActivityDate="2017-03-22T16:30:10.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20988" PostTypeId="1" AcceptedAnswerId="21180" CreationDate="2017-03-22T17:58:26.423" Score="1" ViewCount="1457" Body="&lt;p&gt;Complete noob here with After Effects but I feel I am so close of achieving it yet... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to draw a line using the pen tool and get this line to follow along with the camera movements. Something like this:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/CX9cF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CX9cF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have created this using Track Camera on the footage, then selecting a target, right click and create null object. Then I draw the line on the null object using the pen tool, so it creates it as a Mask. All I want is that mask to stay in the footage, no effects, nothing special. Just this yellow line. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So it does work fine if I have the mask selected and I play the footage, but it disappears when I see the video from Premiere (they are linked) &#xA;What am I missing? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks! &lt;/p&gt;&#xA;" OwnerUserId="11873" LastActivityDate="2017-04-14T14:43:06.780" Title="Drawing a line over video that is camera tracked" Tags="|after-effects|premiere|motion|tracking|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20989" PostTypeId="2" ParentId="20972" CreationDate="2017-03-22T20:26:36.210" Score="1" Body="&lt;p&gt;Your guess is correct. If you have an audio asset active into the Source Panel, you can't activate the Source Patching for an audio track that does not match the type of the asset. Premiere seperates between &lt;em&gt;Standard (Stereo)&lt;/em&gt;, &lt;em&gt;Mono&lt;/em&gt;, &lt;em&gt;5.1&lt;/em&gt; and &lt;em&gt;Adaptive&lt;/em&gt;. You can tell the track type by the corresponding icons in the timeline: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ofqeu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ofqeu.png&quot; alt=&quot;Audio Track Types&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From Top to Bottom: Standard (no Icon), 5.1, Adaptive, Mono.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can't put Multichannel audio (where &lt;em&gt;multi&lt;/em&gt; means more than two) in Stereo tracks and vice versa. Instead, you need to create new tracks of the matching type. To do this, right-click on any audio track&lt;sup&gt;1&lt;/sup&gt; and select &lt;em&gt;Add Tracks…&lt;/em&gt; from the context-menu. This opens a pop-up menu where you can chose to add any number of Audio and Video Tracks. Make sure to select the right Track Type (in your case, you'll need 5.1 or Adaptive). You can also delete the superfluous Audio Tracks from the same context menu (accessed via right-click).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that this will not change the Audio Master Type. When creating a sequence, you can change this in the &lt;em&gt;Tracks&lt;/em&gt; tab, as well as control how many audio tracks of which types are added.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;sup&gt;1&lt;/sup&gt; Note that you have to right-click in the right area, as there are several available context-menues hidden in the timeline, depending on where you click. To access the context-menu described above, you need to click anywhere between the Sync Lock icon (to the right of the Track Targeting toggle) and the column containing the Track Type icons (to the left of the timeline itself). You can also access this via the menu over &lt;em&gt;Sequence&lt;/em&gt; → &lt;em&gt;Add Tracks…&lt;/em&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-03-22T20:26:36.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20990" PostTypeId="1" CreationDate="2017-03-23T01:17:19.640" Score="1" ViewCount="1657" Body="&lt;p&gt;I'm gathering equipment for a &quot;mobile recording studio&quot; focusing on dance instruction. I'm pretty much a novice at this and my budget, while not shoestring, is pretty small. I'm not aiming for very high production quality, but something like youtube tutorial quality is fine for me at this point. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are the things that I know I'll need:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video Camera (just one to start)&lt;/li&gt;&#xA;&lt;li&gt;Mics for instructors (wireless)&lt;/li&gt;&#xA;&lt;li&gt;Mics for ambient sound&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;These are things that I may need (or think I will) depending on what type of setup I choose:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Audio mixer&lt;/li&gt;&#xA;&lt;li&gt;Handheld audio recorder&lt;/li&gt;&#xA;&lt;li&gt;lighting&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;My question is about the best way to set this up. And the following info briefly describes the situations I'm likely to record in: I'll be indoors, near power sources. The dance instructors will be no more than 20 feet from the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my questions are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Should I get a digital SLR video camera, or a camcorder, or something else? Camcorders seem to have more ports for connecting things, and seem to have more options for audio. I'm not really sure the pros / cons here, except camcorders seem more expensive, DSLRs also take photos, and share lenses with photography work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Should I try or try not to couple my audio and video? That is should I use a handheld recorder (I won't be moving or outside) and record multiple tracks to that (this will complicate post production but allow more freedom to alter track characteristics independently) or should I use a mixer that feeds into my camera and record the audio with the video (I like the simplicity of this and can tolerate the loss of freedom). I'm not sure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Do I really need lighting equipment? I see people producing tolerable youtube vlogs with what seems to be minimal equipment. I plan to be on the road filming, and I'd rather not have to bring lighting with me, or bother renting. Are there certain cameras that are betting with not great internal lighting than others?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) What is the best way to record the music that the instructors will be demoing to? I guess my major options are adding the music in post, a digital feed into the audio mix, or actually miking the audio source itself (speakers).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5) What am I overlooking? This world is new to me, but I'm excited about entering it. I realize my questions here are attempts to understand what I need, and may not even be able to recognize questions I should be asking because of my lack of experience/knowledge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I were to buy this setup today (I'm going to wait a bit) I would probably get:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Mid-range Canon DSLR (D70?)&lt;/li&gt;&#xA;&lt;li&gt;2 mid-quality lav mics that allow the receiver to use AC power&lt;/li&gt;&#xA;&lt;li&gt;1 average cardioid condenser mic for ambient sound / music&lt;/li&gt;&#xA;&lt;li&gt;a 4 channel mixer that will feed into the camera audio in&lt;/li&gt;&#xA;&lt;li&gt;headphones to listen to the mix while I record&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I realize there's a lot of questions here but I'm out of my depth. Perhaps there are kind souls out there who would like to help steer me in the right direction. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance. &lt;/p&gt;&#xA;" OwnerUserId="5949" LastActivityDate="2017-04-24T18:33:24.073" Title="What equipment do I needed for filming dance instruction?" Tags="|video-recording|camera|audio-recording|microphone|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20991" PostTypeId="1" CreationDate="2017-03-23T02:16:51.457" Score="1" ViewCount="1478" Body="&lt;p&gt;I will be filming dance 1-3 instructors who will be teaching to the camera, without other people in the room. They will be moving, sometimes quickly while talking (but in a confined area 5x5feet-ish). They will also sometimes be facing to the side or with their backs turned toward the camera while talking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will be flying to different locations to film. So mobility as well as price and effectiveness are all factors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess my options are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Wireless Lav&lt;/li&gt;&#xA;&lt;li&gt;Shotgun(s)&lt;/li&gt;&#xA;&lt;li&gt;Boom mic&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I'm a novice at this and really don't know. My current thinking is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Wireless Lav Mic&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;pros:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;consistent audio in all directions&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;cons:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;costly&lt;/li&gt;&#xA;&lt;li&gt;fragile&lt;/li&gt;&#xA;&lt;li&gt;annoying for dancers moving&lt;/li&gt;&#xA;&lt;li&gt;require batteries&lt;/li&gt;&#xA;&lt;li&gt;need one for every instructor&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Shotgun mics&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;pros:&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;not in dancers way&lt;/li&gt;&#xA;&lt;li&gt;no batteries&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;cons:&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;need multiple mics? &lt;/li&gt;&#xA;&lt;li&gt;even possible to get quality audio in all directions?&lt;/li&gt;&#xA;&lt;li&gt;need stands, heavy, not mobile friendly?&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Boom (overhead) mics&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;pros:&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;not in dancers way&lt;/li&gt;&#xA;&lt;li&gt;no batteries&lt;/li&gt;&#xA;&lt;li&gt;maybe only need one cardioid?&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;cons:&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;need multiple mics? &lt;/li&gt;&#xA;&lt;li&gt;as good quality as with Lav?&lt;/li&gt;&#xA;&lt;li&gt;even possible to get quality audio in all directions?&lt;/li&gt;&#xA;&lt;li&gt;need stands, heavy, not mobile friendly?&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So I could be way off on my understanding. What recommendations do you have for me?&lt;/p&gt;&#xA;" OwnerUserId="5949" LastActivityDate="2017-04-01T01:03:44.373" Title="How should I mic dance instructors when video recording?" Tags="|video-recording|microphone|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20992" PostTypeId="2" ParentId="20988" CreationDate="2017-03-23T11:09:08.210" Score="2" Body="&lt;p&gt;Masks do not render in after effects, the lines and boxes are UI elements of the program. To render a mask you have to apply an effect such as the &lt;code&gt;stroke&lt;/code&gt; effect to the layer, using the mask as the source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also add a stroke as a drawing on a new layer. You can do that by using the pen tool when there are no layers selected. That will create a shape layer with the current fill and stroke settings, so you may have to turn off the fill.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The boxes around the points would also have to be drawn as individual elments. You could use the square shape tool to draw them as either a source for the stroke effect or on the shape layer.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-03-23T11:09:08.210" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20993" PostTypeId="2" ParentId="20979" CreationDate="2017-03-23T13:21:43.753" Score="1" Body="&lt;p&gt;It honestly appears like that was added in post.  I see nothing in the sax itself the lighting effect from it seems like a general effect, not actual fire (way too bright for such a small flame).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This could be done using a mix of motion tracking the sax, placing a special effects fire video at the center and then using either a pre-made lighting effect or just boosting the redish orange luminance around portions of the image that would be expected to be impacted.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would also require some matte work to ensure that the lighting effect doesn't impact things it shouldn't, though a similar effect could be achieved by having an orange/red light hidden on set and controlling it's brightness to match the flame that will be added in post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking more closely, I'm increasingly confident that the light trick is exactly what they did.  There is an unexplained extension cord coming in to the shot and disappearing behind the center singer.  My guess is that they have a light source there to emulate the light of the fire and then simply matched it up with the artificially added flame.  There is no ignition of the flame, it just appears and the behavior of the flame in relation to the angular movement of the sax doesn't appear correct.  If it was a fixed emitter, the base of the flame should rotate as the fuel would take time to heat and move vertically after exiting the source (turn a stick lighter and see how it behaves for yourself).  This isn't a real flame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As others have mentioned in comments, as far as doing something like this as a practical effect (practical effects mean they are done for real), it really isn't practical or safe.  The fuel source and emitter would make the sax unplayable for any live audience and even still it would not be safe for the player or anyone in the immediate vicinity.  This is an effect better done in post production with some on set lighting tricks.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2017-03-23T13:27:38.180" LastActivityDate="2017-03-23T13:27:38.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20994" PostTypeId="1" CreationDate="2017-03-23T16:07:59.467" Score="2" ViewCount="379" Body="&lt;p&gt;I'm trying to make clouds move out of frame and than appear again from the other side.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var vel = 100;&#xA;var pInit = position.valueAtTime(0)[0]; // initial position of a cloud&#xA;var tInit = (thisComp.width-pInit)/vel; // time it takes to cross the right border starting from init position&#xA;var tFull = (thisComp.width+width)/vel; // time it takes to cross the frame starting behind the left border&#xA;var offset = 0;&#xA;tBound = tInit;&#xA;&#xA;if(time &amp;gt; tBound) {&#xA;  tBound += tFull;&#xA;  offset += thisComp.width+width;&#xA;}&#xA;&#xA;[value[0]+time*vel-offset,value[1]]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;First time if statement works as expected. tBound becomes 40s and it offsets cloud. But when time gets bigger than 40 nothing happens. Neither offset variable gets bigger nor tBound. If statement doesn't work anymore. What's the problem here?&lt;/p&gt;&#xA;" OwnerUserId="18429" LastActivityDate="2017-03-27T02:16:50.493" Title="After effects position expression issue" Tags="|after-effects|after-effects-expressions|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="20996" PostTypeId="1" CreationDate="2017-03-24T01:17:39.827" Score="2" ViewCount="1528" Body="&lt;p&gt;I want to film dance instructors teaching about 10 - 20 feet from my camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I am an amateur I have no idea how to light this. I would try to make sure the room has plenty of light from &quot;standard&quot; sources (ie, ones tha that come with the building). But I imagine I need some lights in front of the dancers too, ideally on the cheap side and portable. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;From my research it seems that perhaps LED light panels may be a good option? I don't know how many to use, or if they should be in the front or at diagonals. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if I need some kind of hair light, or how to acheive that if I do. I don't know if I should light the background behind the dancers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any suggestions, and if this is a common problem / technique perhaps you can tell me what the &quot;name&quot; of it is and point me to any reading/viewing material?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below are some common rooms and setups where dance might be taught (these are not me by the way. I'm just trying to understand how lighting might be set up in these contexts. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/C2pOo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/C2pOo.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ZM5dF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZM5dF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pww76.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pww76.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5949" LastEditorUserId="5949" LastEditDate="2017-03-24T01:36:54.533" LastActivityDate="2017-03-24T10:14:46.443" Title="How should I light two people teaching a dance video tutorial?" Tags="|video-recording|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20997" PostTypeId="2" ParentId="20996" CreationDate="2017-03-24T06:03:59.017" Score="1" Body="&lt;p&gt;Learn a bit about Lighting and Light: &lt;a href=&quot;http://lowel.tiffen.com/edu/color_temperature_and_rendering_demystified.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://lowel.tiffen.com/edu/color_temperature_and_rendering_demystified.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get some ideas try searching YouTube for &quot;Dance Scenes&quot; unfortunately a lot of Tango comes up but the lighting is 'Movie Quality'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Look where the shadows are, and the color.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first photo was probably lit by room lighting and overhead lights, possibly on poles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second photo was probably lit by the windows, room lighting and some lights on the floor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The third photo was probably lit by room lighting alone, if there's more light it's weak.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheap and portable lights are available at the Hardware Store. Ugly yellow or orange Work Lights for less than U$20 each. Buy a few different wattages and a couple of each. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Color Rendering Index (CRI) of Halogen Lights is 100, LEDs are less than a 100; except for the price which starts at U$1K for bottom end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;LEDs will save electricity and won't be as hot in a tiny windowless room. Whichever lights big ones in the far corners out of the way and if you're feeling energetic hang a tiny left or right overhead of the Camera (opposite the side where you stand so it doesn't fall).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can light the background, even in color, if the room is wide enough; or you want to hang even more lights, or lug poles around.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;YouTube or other Video oriented Website is likely to be a source of ideas. I wouldn't worry about it too much if low cost is your aim - just light the Dancers evenly and let their dancing light up the room.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes less is more, especially on a Budget - were you planning on renting a fancy Hotel Room (or do you have a friend with a great view for a background). Do it in the Park, with Sunlight.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Did I miss a question, that seems to be all of them.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-03-24T06:03:59.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20998" PostTypeId="1" AcceptedAnswerId="20999" CreationDate="2017-03-24T07:06:02.577" Score="0" ViewCount="1955" Body="&lt;p&gt;I have an input video and I want to &lt;em&gt;omit&lt;/em&gt; (or &lt;em&gt;delete&lt;/em&gt;) individual frames from the next processing (because of the &lt;em&gt;added disturbing big text&lt;/em&gt; irregularly occurred on top of some individual frames).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have the &lt;code&gt;list of ordinal numbers&lt;/code&gt; of these frames but maybe it would be better to &lt;code&gt;recognize them&lt;/code&gt; during processing by some filter (if it is possible; the text is &lt;em&gt;the same&lt;/em&gt; and &lt;em&gt;at the same position&lt;/em&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some way how to &lt;em&gt;exclude them from the next processing&lt;/em&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(The list has about 20 items.)&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2017-03-24T07:38:01.417" Title="FFmpeg - how to omit individual frames by the list of their numbers?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="20999" PostTypeId="2" ParentId="20998" CreationDate="2017-03-24T07:38:01.417" Score="2" Body="&lt;p&gt;The direct selection method is simple.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf select='not(eq(n,45)+eq(n,47)+eq(n,75))',setpts=N/FRAME_RATE/TB out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Frame count starts from zero.  Audio is ignored.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I'll check for a detection method)&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-03-24T07:38:01.417" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21000" PostTypeId="1" CreationDate="2017-03-24T08:46:35.063" Score="5" ViewCount="2000" Body="&lt;p&gt;I got a bunch of really large 16 bit videos, approaching 65535×65535 pixels in size. These are essentially high quality timelapse panoramas. I want to convert them to a 7680×4320 movie (8K UHD, 8 bit). I'm not too concerned about the format, but I want some kind of compression. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think I can resize the images using Python to get them down to HEVC (8192×4320)...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything that will playback (with VLC?) that can do a larger number of pixels than 8192×4320? What are my options? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to use FFmpeg I get errors like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mjpeg @ 000000000062eae0] [IMGUTILS @ 000000000023ed40] Picture size 20000x19824 is invalidN/A&#xA;Error while decoding stream #0:0: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="18437" LastEditorUserId="18437" LastEditDate="2017-03-24T09:05:12.400" LastActivityDate="2024-03-04T08:08:36.040" Title="Largest input image size when encoding a video?" Tags="|ffmpeg|encoding|software-recommendation|compression|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21001" PostTypeId="2" ParentId="20996" CreationDate="2017-03-24T10:02:18.740" Score="2" Body="&lt;p&gt;I've been in similar situations/venues in the past. It reads to me like you have little to no budget and no crew to speak of, since you are asking the question yourself which suggests that you are going to do the lighting yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, unless you have the budget to rent a proper yet smallish dance venue with already set up ceiling lights, with enough money left over to hire the services of a professional lighting technician to make those ceiling lights work for you on the day or of the shoot, I would suggest you don't really bother with getting lots of unwieldy lights, as (1) you're going to need a lot of them (or powerful ones) to do it properly/evenly, (2) you're going to be working in dance studios with probably low ceilings (not good for good lighting), and (3) you'll have little man-power to adjust the lights as you shoot, set up the gear, etc. (try not to over-extend yourself).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Still, here's what you should consider:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Make sure you get a space that's already well lit by nice-looking natural light. The light in your screen grabs looks fine to me, although I would draw the curtains seen in the background of the middle venue (too distracting because bright/overblown).&#xA;Start your shoot early to get as much natural light as possible over a long period.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Restrict the space that your dancers can cover: you're not going to bring huge lights but smallish ones, like three or four 650s. Whatever you bring (no kinos 'cause they're no good for large spaces), your lights won't probably be quite powerful enough to give your the output you need to light the dance space evenly (with bounce/diffusion, etc). So, again, restrict the space your dancers can cover to help you light a smaller area of the stage/space as evenly as you can (&quot;evenly&quot; doesn't mean flat).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Since you're not going to be able to bring a lot of lights nor be able to raise them high-enough to get a proper look, concentrate mainly on increasing the overall brightness levels of the room by bouncing light of off the ceiling/upper corners. Venue One, as seen in your screen grabs, looks good to me, thanks to its white ceiling. Avoid the space with yellow walls as your subjects will look like they have a jaundis!&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you still have time and energy to spare, give your subject some back rim light by blasting them from 3/4 back, either from one side of the stage or two sides. Use light or heavy diffusion, etc. to control it as you wish.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Make sure to keep your subjects far enough from these light sources (which blast them directly) to avoid their getting super hot as they get closer to the lights as they dance around.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Keep an eye on your lighting scheme color temp if you're mixing light sources (natural and artificial, etc): play with CTOs or CTBs until you get a proper look.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;More importantly, AUDIO! I would actually make sure that your subjects are properly miked and recorded: bad audio will make your video(s) really feel amateurish. You can get away with quite a bit when it comes to lighting, not so much with bad audio.&#xA;So, hire the services of a good production audio person, or do it yourself by putting lavs on your two subjects and getting good levels throughout.&#xA;Note: dance studios with lots of heavy curtains covering the walls sound better: less audio reverb/bounce! Box-like rooms will sound like shit.&#xA;Also, I suggest putting tape over the soles of your dancers' shoes (or whatever you can do) to muffle their tap-tap sounds as much as possible.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Clothing: your subjects' outfits work well generally. Avoid white ('cause it's white!), and avoid black tops (if the background in black, of course).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastEditorUserId="11961" LastEditDate="2017-03-24T10:14:46.443" LastActivityDate="2017-03-24T10:14:46.443" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21002" PostTypeId="2" ParentId="20991" CreationDate="2017-03-24T10:28:36.287" Score="1" Body="&lt;p&gt;I just noticed your asking about mics. Good that you're thinking about the issue. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Scout the locations beforehand and avoid places with bad reverb (or weird sounds) at all costs.&#xA;As mentioned in my reply to your lighting question, look for places with heavy curtains to reduce the reverb.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In your situation (no crew, no budget), go for good lavs.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Have someone monitor the audio levels, other than you, while you shoot: you don't want to go home with bad audio or no audio at all.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Tape your dancers' shoes.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2017-03-24T10:28:36.287" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21003" PostTypeId="2" ParentId="20979" CreationDate="2017-03-24T12:25:54.203" Score="2" Body="&lt;p&gt;A tube is clipped to the side of the sax. At one end of the tube is the little flame. At the other end, off frame, a technician holds a small canister of gas equipped with a valve. The valve helps the technician control the amount of gas that gets in the tube.&#xA;When s/he gets the signal, s/he opens the valve and lets more gas in the tube, which makes the flame go up. It's a very simple and a very common technique. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's how it's done. &#xA;The question is, should it be done?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2017-03-24T12:25:54.203" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21004" PostTypeId="2" ParentId="20990" CreationDate="2017-03-24T14:01:22.267" Score="1" Body="&lt;p&gt;To answer your questions:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) A DSLR is fine for a first try out. As an acquisition format (not delivery), HD is on its way out very fast though. The rage these days in 2K or actually 4K. So, later or now, look into, getting a camera that does that. For a DSLR price-range and for a person who is not used to shooting video, I'd recommend the GH5 that just came out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) If you use a DSLR-like camera, use an external recorder, and sync the audio and the video later, in your editing program. This will give you more flexibility and better quality, for sure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Look for cameras that work well in low-light conditions. DSLRs work rather well generally. And yes, if you are moving a lot, stay away from cumbersome equipment: you'll be exhausted before you've shot one image. Have with you a case of 650W lights perhaps, with their stand and a couple of sand bags and extension cables. These are versatile and can enhance your image nicely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) As regards the music, best would be to digital-feed it into a recorder and record on-set ambiance as well, on top of miking your talent. So yes, that's a lot. Short of that, I'd mike the talent and record on-set audio. You can add the music later in post and mix the on-set ambiance with it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;5) &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Aim to get good footage and very good audio. So, when you visit a&#xA;location, look and listen: if it looks good, it might not sound good,&#xA;and vice versa.&lt;/li&gt;&#xA;&lt;li&gt;If, while you're shooting, you start to hear sounds coming from outside the venue, stop the shoot and try to stop the sounds from&#xA;happening. Why? 'Cause you want your footage and production audio to&#xA;be as good as possible the first time around. It can be very hard to&#xA;save bad footage or bad audio later on, in post. So get it right the&#xA;first time, while keeping an eye on the clock, the budget, etc.&lt;/li&gt;&#xA;&lt;li&gt;In post, use filters to clean up your audio tracks, like the iZotope RX programs.&lt;/li&gt;&#xA;&lt;li&gt;Test your gear before you show up on set. Make sure you know what you're doing with it, so as not to waste your time and your talents'.&lt;/li&gt;&#xA;&lt;li&gt;Have at least one assistant with you on each shoot, either hired on the spot, or someone who travels with you. You don't want to overextend yourself too much, particularly since you're starting out. You don't want to do everything poorly and later become disillusioned with the process. It's not easy ... but it can be rewarding.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2017-03-24T14:01:22.267" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21005" PostTypeId="2" ParentId="212" CreationDate="2017-03-24T15:07:42.993" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;... real, hard facts for any mathematical or DSP-related reasons supporting use of higher sampling rates.&quot;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So called real facts come from real Audio Engineers, there's a possibility of finding several here but it's likely faster to search on the Internet for Articles written by actual Engineers. Asking here means you settle for us, I am not an Audio Engineer but I can use Search Tools.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something to consider is your noise floor. Other answers mention how you might add noise and mention dithering and quantization error but the closest any other answer came to mentioning the floor was this tidbit: &quot;... the aliased frequencies may also be not noticeable because they're buried in the noise.&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're recording at a Construction Site, Train Station or Shipyard you can be cheap and record at 44.1if you are not seeking perfection - otherwise just like Video is 4:2:2 and not 4:2:0 so it is for Audio more Bits but not more than 32 (for YOU, internally in the Software more than 32) and higher sample rate but not more than 96kHz (again, for you, internally use Software and Hardware that operates at a higher sample rate).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try these Articles to get you started searching for Engineer's Advice - you wouldn't visit legaladvice. stackexchange for critical info so learn to learn, ultimately  it's how much you care, how much your audience cares, your skill level and what you can afford.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why 88.2 - &lt;a href=&quot;http://www.soundonsound.com/sound-advice/q-why-882khz-best-sample-rate-recording&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.soundonsound.com/sound-advice/q-why-882khz-best-sample-rate-recording&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why 24/96? - &lt;a href=&quot;http://www.premiersoundfactory.com/modules/pico/content0035.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.premiersoundfactory.com/modules/pico/content0035.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lots of places on the Internet, including free online courses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Short version is yes there's a reason and that's a hard fact - don't toss in errors at the beginning and hope to crop them out later, you wouldn't want someone talking while you're trying to record or strangers running through the Shot - yet there are Videos that have both that and many Thumbs Up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The hack to remember is record loud without clipping at as high rates you can afford (time, storage space, skill, money, and type of input (IE: Construction Site), audience) and chop the quietest nuances with Noise Removal to rid the lousy quantization and dithering noise (that you may have never noticed until we mentioned it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[Written with the intent to be a simple answer without factual errors and not intended to offend Audio Aficionados or Professional Audio Engineers]&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-03-24T15:07:42.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21006" PostTypeId="1" CreationDate="2017-03-24T16:53:42.757" Score="1" ViewCount="800" Body="&lt;p&gt;I created a layer from Adobe Illustrator by importing an AI file into After Effects. Then I added the Write On effect and created a &quot;grow&quot; animation. I then clicked the &quot;Continuously Rasterize&quot; icon so that when I scale my image up, it doesn't become pixelated. However when I select that Icon, my layer becomes hidden from the preview window. What's going on? Why does AE hide my layer instead of making it crisp?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using After Effects &amp;amp; Adobe Illustrator CC 2017. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CRzOx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CRzOx.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18442" LastActivityDate="2019-10-31T21:25:33.900" Title="Continually Rasterize + Write On effect causes layer to disappear" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21009" PostTypeId="2" ParentId="21006" CreationDate="2017-03-25T06:48:37.827" Score="1" Body="&lt;p&gt;I think the write-on effect causes a layer to become pixels (bitmapped), not vectors (I'm sure there's a better way to phrase this).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2017-03-25T08:35:26.203" LastActivityDate="2017-03-25T08:35:26.203" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21010" PostTypeId="2" ParentId="21000" CreationDate="2017-03-25T15:42:22.313" Score="0" Body="&lt;p&gt;FFmpeg is tripping up at this statement in &lt;code&gt;Imgutils.c&lt;/code&gt; in function &lt;code&gt;av_image_check_size()&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;if ((int)w&amp;gt;0 &amp;amp;&amp;amp; (int)h&amp;gt;0 &amp;amp;&amp;amp; (w+128)*(uint64_t)(h+128) &amp;lt; INT_MAX/8) return;  [ else error() ]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;INT_MAX&lt;/code&gt; is defined in &lt;code&gt;limits.h&lt;/code&gt; as at least &lt;code&gt;32767&lt;/code&gt; (&lt;code&gt;2^15-1&lt;/code&gt;), or greater depending upon your compiler.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Compiling with a 64-bit compiler will permit larger images.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastEditorUserId="18155" LastEditDate="2018-12-16T17:03:00.260" LastActivityDate="2018-12-16T17:03:00.260" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="21011" PostTypeId="2" ParentId="18897" CreationDate="2017-03-25T17:11:02.853" Score="2" Body="&lt;p&gt;Decreasing the size a little won't help much, decreasing it a bit more induces a fair bit of aliasing (unless it smooths it also) butchering the quality without much gained.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cutting the size 50% will reduce errors and double the jaggyness and be easily enough to save a lot of space, question is: Do you want 360P Video? You really wouldn't want any smaller.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So while that is one way to save space for Archiving I would recommend using 'Q' at 40 to test one file at 720P (output) and see if you can tolerate the quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;H.265 has superior output quality as well as an approx. 50% reduction. Decreasing the resolution in half means an approx. 25% reduction alone, along with approx. 50% from H.265 your going to be under 15% WITH the same quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So decreasing the resolution from 720P will be either too drastic or induce greater errors in the output (it will begin to look like mush). Best to try using 'Q' alone as see where between 30 and 40 you can stand.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an example from one particular Video YMMV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/JbtCt.png&quot; alt=&quot;Compare H.264 vs. H.265 File Size&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that going from 24 to 40 gets you down to 10% (in that one example).&lt;/p&gt;&#xA;" OwnerUserId="18314" LastEditorUserId="17390" LastEditDate="2019-01-20T21:36:06.127" LastActivityDate="2019-01-20T21:36:06.127" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="21012" PostTypeId="2" ParentId="20994" CreationDate="2017-03-25T23:16:34.383" Score="1" Body="&lt;p&gt;I don't think you need an expression to achieve this.  You could just loop a cloud moving across the screen &lt;a href=&quot;http://wikis.evergreen.edu/computing/index.php/Looping_a_Composition_-_After_Effects&quot; rel=&quot;nofollow noreferrer&quot;&gt;inside a precomp&lt;/a&gt;.  &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-03-25T23:16:34.383" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21013" PostTypeId="2" ParentId="18897" CreationDate="2017-03-26T05:31:57.743" Score="1" Body="&lt;p&gt;In addition to suggestions above, you could also do a pulldown from 30fps to 24 fps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would likely not be noticeable to the average viewer; as 24p is the standard for film and narrative tv production. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You thus decrease the amount of discrete frames by a factor of 1/5 (20%). &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-03-26T05:31:57.743" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21014" PostTypeId="1" AcceptedAnswerId="21016" CreationDate="2017-03-26T16:23:28.247" Score="1" ViewCount="889" Body="&lt;p&gt;I have this video file that at one point introduces an async of ~1 second. So I tried to make it work by duplicating a short segment at that point as it's silent there:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i DFW.mp4.mkv -filter_complex '&#xA;[0:a] aselect=n=3:e=lt(t\,18*60+42.100)+gt(t\,18*60+41)*2 [as] [ae] [am];&#xA;[am] asplit [am1] [am2];&#xA;[as]  asetpts=PTS-STARTPTS [as];&#xA;[am1] asetpts=PTS-STARTPTS [am1];&#xA;[am2] asetpts=PTS-STARTPTS [am2];&#xA;[ae]  asetpts=PTS-STARTPTS [ae];&#xA;[as] [am1] [am2] [ae] concat=n=4:a=1:v=0 [a]' -map 0:v -map '[a]' -c:v copy DFW-1.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In other words I have&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;as&lt;/code&gt; the start until 18:41.000&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ae&lt;/code&gt; the end from 18:42.100&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;am&lt;/code&gt; the middle section between 18:41.000 and 18:42.100, which should be repeated once&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The segmentation works, the concatenated audible part sounds good. However, &lt;code&gt;ae&lt;/code&gt; turns out to only be ~5 seconds short and &lt;code&gt;ffmpeg&lt;/code&gt; starts to print spammy &quot;Buffer queue overflow, dropping&quot;-lines. The entire video is 1h30 long leaving me with plenty of silence until the end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words the video and audio are fine until about 18:48.000 and the remaining 1h11 of the video has no audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is &lt;code&gt;ffmpeg&lt;/code&gt; doing that and how can I fix it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I also tried to include a silence audio segment instead as plan B, but failed.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="18456" LastActivityDate="2017-03-26T17:53:38.837" Title="ffmpeg: concat Results in &quot;Buffer queue overflow&quot; and Short Audio" Tags="|ffmpeg|filter|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21015" PostTypeId="1" AcceptedAnswerId="21020" CreationDate="2017-03-26T16:40:42.100" Score="0" ViewCount="3974" Body="&lt;p&gt;Can't find it:&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/10PO5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/10PO5.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it a plugin I have to import?&lt;br&gt;&#xA;Thanks for your time.&lt;/p&gt;&#xA;" OwnerUserId="18457" LastActivityDate="2017-03-27T01:10:52.137" Title="Premiere Pro CC 2017 - Displacement map" Tags="|premiere|effects|distortion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21016" PostTypeId="2" ParentId="21014" CreationDate="2017-03-26T17:53:38.837" Score="0" Body="&lt;p&gt;Assuming there are no timestamp discontinuities in the audio, a simple atrim and a null segment should work.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i DFW.mp4.mkv -filter_complex '&#xA;[0:a]asplit[a][b];&#xA;[a]atrim=0:1122.1[pre];&#xA;[b]atrim=1122.1,asetpts=PTS-STARTPTS[post];&#xA;anullsrc,atrim=0:1.1[seg];&#xA;[pre][seg][post]concat=n=3:a=1:v=0[a]' -map 0:v -map '[a]' -c:v copy DFW-1.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-03-26T17:53:38.837" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="21017" PostTypeId="1" AcceptedAnswerId="21023" CreationDate="2017-03-26T20:37:22.773" Score="6" ViewCount="2673" Body="&lt;p&gt;In FFmpeg Filters Documentation is the section &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#graph2dot&quot; rel=&quot;noreferrer&quot;&gt;3 graph2dot&lt;/a&gt; is this about &lt;code&gt;graph2dot&lt;/code&gt; program:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The graph2dot program included in the FFmpeg tools directory can be used to parse a filtergraph description and issue a corresponding textual representation in the dot language. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I have FFmpeg from &lt;a href=&quot;https://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;noreferrer&quot;&gt;Zeranoe's build&lt;/a&gt; (Windows, 64-bit, static) and I have no &lt;code&gt;tools&lt;/code&gt; directory. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I tried find this program by Google for downloading it but without success.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this part of the documentation &lt;em&gt;obsolete&lt;/em&gt; or is it possible to obtain this program?&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2020-10-22T04:58:06.660" Title="FFmpeg graph2dot tool" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21020" PostTypeId="2" ParentId="21015" CreationDate="2017-03-27T01:10:52.137" Score="1" Body="&lt;p&gt;The displacement map effect relies on another layer as a source for the map. Since Premiere doesn't have unique layers like AE does it doesn't support this plugin. If you have After Effects then replace the shot with an after effects comp (right-click then choose Replace With After Effects Composition) and apply the effect in AE.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-03-27T01:10:52.137" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21021" PostTypeId="2" ParentId="20994" CreationDate="2017-03-27T02:16:50.493" Score="1" Body="&lt;p&gt;You're making it hard for yourself basing it on the time rather than the position. Here it is using the bounds of the comp rather than the time it takes to reach the bounds of the comp, which just made my head hurt.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best tool for looping variables is the &lt;a href=&quot;https://www.w3schools.com/js/js_arithmetic.asp&quot; rel=&quot;nofollow noreferrer&quot;&gt;modulus&lt;/a&gt; &lt;code&gt;%&lt;/code&gt; operator:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var vel = -100;&#xA;var pInit = position.valueAtTime(0)[0]; // initial position of a cloud&#xA;var initOffset = width/2 + thisComp.width;&#xA;[(pInit - initOffset + time * vel) % (thisComp.width + width) + initOffset, value[1]]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The modulus operator returns the remainder when you divide the left side by the right side. So as the value gets smaller than 0 - (thisComp.width + width) it will loop back to zero. There's a slight problem, in that the value starts positive, so we subtract an offset to it which we then add back again outside of the modulus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that I made the velocity -100, to better reflect what's going on. In fact you can make this expression work for layers looping either way by changing the value of the offset, depending on whether the velocity is positive or negative, meaning that you have a universal looping expression, where only the velocity needs editing:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var vel = 100;&#xA;var pInit = position.valueAtTime(0)[0]; // initial position of a cloud&#xA;var initOffset = (vel &amp;lt; 0)? width/2 + thisComp.width : 0 - width/2; &#xA;[(pInit - initOffset + time * vel) % (thisComp.width + width) + initOffset, value[1]]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I used a ternary operator (looks like &lt;code&gt;(expression)? value-if-true: value-if-false&lt;/code&gt;, which is shorthand for &lt;code&gt;if()then{}else{}&lt;/code&gt;) on line 3 to change the initial offset for positive or negative velocities.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another way of achieving this is to use a while() loop:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var vel = -100;&#xA;var pInit = position.valueAtTime(0)[0]; // initial position of a cloud&#xA;x =pInit  + time * vel;&#xA;while (x &amp;lt; 0- width/2){ x += thisComp.width + width}&#xA;[x, value[1]]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In your initial expression when you applied an offset the offset was only applied once, so the loop only happened once. So on line 4 I use a &lt;code&gt;while()&lt;/code&gt; loop to add the offset until the value goes back into the range needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once again it can work for clouds going both ways, by checking for the value being greater than the width of the comp:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var vel = -100;&#xA;var pInit = position.valueAtTime(0)[0]; // initial position of a cloud&#xA;x =pInit  + time * vel;&#xA;while (x &amp;lt; 0- width/2){ x += thisComp.width + width;}&#xA;while (x &amp;gt; thisComp.width + width/2){ x -= thisComp.width + width;}&#xA;[x, value[1]]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The downside to this is that if your frequency is very high and your comp very long it could take a while to evaluate, because it has to go through the loop multiple times. If you had hundreds of layers doing this it could cause AE to get rather laggy.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-03-27T02:16:50.493" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21022" PostTypeId="2" ParentId="20702" CreationDate="2017-03-27T02:26:47.863" Score="1" Body="&lt;p&gt;Expressions aren't parented. They use the same kind of widget but it's not the one in the parent column.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need to enable expressions on the property by &lt;kbd&gt;alt&lt;/kbd&gt;-clicking the stopwatch. Now you'll see the expressions pickwhip, as well as the dropdown with the expressions menu and so on. You'll know that expressions are applied because the value will turn red.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SvF1w.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SvF1w.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-03-27T02:26:47.863" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21023" PostTypeId="2" ParentId="21017" CreationDate="2017-03-27T04:47:17.203" Score="7" Body="&lt;p&gt;I don't use Windows, but in Linux you can &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;noreferrer&quot;&gt;download&lt;/a&gt; the FFmpeg source, then:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cd ffmpeg&#xA;./configure&#xA;make&#xA;make tools/graph2dot&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then you can use it:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;echo &quot;nullsrc,scale=640:360,nullsink&quot; | tools/graph2dot -o graph.tmp&#xA;dot -Tpng graph.tmp -o graph.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Resulting in:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Mrw71.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Mrw71.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not Windows specific, but maybe helpful for any Linux user who also wants to use this tool.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2017-03-27T04:47:17.203" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21024" PostTypeId="1" AcceptedAnswerId="21434" CreationDate="2017-03-27T05:07:37.870" Score="0" ViewCount="100" Body="&lt;p&gt;Is there a way to have the names I give audio multicam angles, appear in the main timeline?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I expand audio components it just has the name of the whole multicam clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oicjx.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oicjx.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2017-05-17T21:12:26.750" Title="FCPX 10.3 Audio multicam angles names to appear in main timeline?" Tags="|audio|final-cut-pro-x|multi-camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21025" PostTypeId="1" CreationDate="2017-03-27T07:58:32.590" Score="2" ViewCount="4000" Body="&lt;p&gt;What is the exact reason of this warning in ffmpeg&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Thread message queue blocking; consider raising the thread_queue_size option (current value: 8)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Im sending through the pipe yuv420 video to ffmpeg and streaming to youtube. When warning appears i get fps drops.&#xA;Increasing value will help for a while. &lt;/p&gt;&#xA;" OwnerUserId="18462" LastActivityDate="2017-03-27T07:58:32.590" Title="ffmpeg - thread_queue_size" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21029" PostTypeId="1" CreationDate="2017-03-27T15:32:11.813" Score="3" ViewCount="69" Body="&lt;p&gt;I've been attending some friend's concerts and using my phone or my DSLR or my high end point and shoot the audio quality is extremely poor. I assume if I wanted the best quality I'd need to plug in directly to the amps / mixer for all the performers but I'm not doing this as a pro. I just want to be able to record a few 30 to 120 second clips and later post them on facebook / youtube. BUT, the audio at the events is extremely loud (I usually wear ear plugs) and on top of that it often sounds off key even though it didn't sound so off key live.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there certain easily portable equipment I can say add to my camera (a certain type of mic or mic + amp) that would let me record and get reasonable audio quality (for some definition of reasonable)? Are there special kind of mics specifically for loud situations or mic attachments? Do I need my own equalizer on the input or can I adjust the audio later in something like Audacity (or some more professional software). For example I noticed in one video the singer's voice seems louder than everything else but at the actual performance the instruments seemed louder than the vocals.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: I specifically listed a rock performance because they tend to be much louder than say a jazz performance. Also have friends in an industrial band and they are so loud I have no idea what they sing (haha). I just put my ear plugs in and enjoy the spectacle but I'd love to be able to record them too just as a member of the audience, not someone who has access to the stage (too much work and coordination, especially since usually many bands are playing). These are small venues that usually hold less than 50 people and usually each performer or band only does 3-6 songs and then the next group is on.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I want to make it clear I'm not trying to record concerts it would be illegal to record. Besides, my experience is those types of concerts confiscate all high end equipment on the way in. At least that's my experience. Example, you can take your smartphone in but you can't take your DSLR and I'm sure they'd check for mics etc. The places I'm talking about are small venues where I'm a friend of the band hanging out and taking pictures for fun etc. &lt;a href=&quot;https://i.stack.imgur.com/NCFe0.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here's a picture from last March 25th 2017&lt;/a&gt; if you want some idea of the type of venue. That's literally 1/4 of the venue. Another 1/4 is the bar leaving space for about 15 viewers.&lt;/p&gt;&#xA;" OwnerUserId="17303" LastEditorUserId="17303" LastEditDate="2017-03-27T15:46:28.260" LastActivityDate="2017-07-29T10:38:23.010" Title="What type of equipment can I use to record a live rock performance as a member of the audience?" Tags="|audio-recording|audio-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21030" PostTypeId="1" AcceptedAnswerId="21032" CreationDate="2017-03-27T18:40:36.963" Score="0" ViewCount="3470" Body="&lt;p&gt;Ok, this is probably a very stupid mistake on my part, but I am losing my head here. I have been using a simple command for transcoding MOV file for months now:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i SOURCE.mov -c:v libx264 -profile:v baseline -pix_fmt yuv420 TRANSCODED.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I never had a problem with that... until today. I am getting the aforementioned encoder error with this MOV (PCM24 LE, MPEG-2). Here is the log:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2.8.4 Copyright (c) 2000-2015 the FFmpeg developers   built with gcc 5.2.0 (GCC)   configuration: --enable-gpl&#xA;--enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-decklink --enable-zlib   libavutil      54. 31.100 / 54. 31.100   libavcodec     56. 60.100 /&#xA;56. 60.100   libavformat    56. 40.101 / 56. 40.101   libavdevice    56.  4.100 / 56.  4.100   libavfilter     5. 40.101 /  5. 40.101   libswscale      3.  1.101 /  3.  1.101   libswresample   1.  2.101 / &#xA;1.  2.101   libpostproc    53.  3.100 / 53.  3.100 Guessed Channel Layout for  Input Stream #0.0 : 7.1 Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'BL2.mov':   Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 0&#xA;    compatible_brands: qt  &#xA;    creation_time   : 2017-03-14 21:48:34&#xA;    encoder         : FFmbc 0.7&#xA;    timecode        : 00:13:29;19   Duration: 00:12:53.57, start: 0.000000, bitrate: 59235 kb/s&#xA;    Stream #0:0(eng): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 8 channels, s32 (24 bit), 9216 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-03-14 21:48:34&#xA;      handler_name    : Apple Alias Data Handler&#xA;    Stream #0:1(eng): Data: none (tmcd / 0x64636D74) (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-03-14 21:48:34&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:13:29;19&#xA;    Stream #0:2(eng): Video: mpeg2video (4:2:2) (xd5b / 0x62356478), yuv422p(tv, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 50002 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-03-14 22:56:29&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:13:29;19 [libx264 @ 0354dc20] using SAR=1/1 [libx264 @ 0354dc20] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.1 Cache64 [libx264 @ 0354dc20] profile Constrained Baseline, level 4.0 [libx264 @ 0354dc20] 264 - core 148 r2638 7599210 - H.264/MPEG-4 AVC codec - Copyleft 2003-2015 - http://www.videolan.org/x264.html - options: cabac=0 ref=3 deblock=1:0:0 analyse=0x1:0x111 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=3 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=0 weightp=0 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00 [libvo_aacenc @ 03bb0200] Unable to set encoding parameters&#xA;Output #0, mp4, to 'bl2.mp4':   Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 0&#xA;    compatible_brands: qt  &#xA;    timecode        : 00:13:29;19&#xA;    encoder         : FFmbc 0.7&#xA;    Stream #0:0(eng): Video: h264 (libx264), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], q=-1--1, 29.97 fps, 29.97 tbn, 29.97 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-03-14 22:56:29&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:13:29;19&#xA;      encoder         : Lavc56.60.100 libx264&#xA;    Stream #0:1(eng): Audio: aac, 0 channels, 128 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-03-14 21:48:34&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Lavc56.60.100 libvo_aacenc&#xA;Stream mapping:   Stream #0:2 -&amp;gt; #0:0 (mpeg2video (native) -&amp;gt; h264 (libx264))   Stream&#xA;#0:0 -&amp;gt; #0:1 (pcm_s24le (native) -&amp;gt; aac (libvo_aacenc)) Error while opening encoder for output stream #0:1 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This seems to tell me that it is an audio issue (even though I transcoded an identically encoded file just last friday...):&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[libvo_aacenc @ 03bb0200] Unable to set encoding parameters&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So I try to copy the audio codec (not sure if this works for MP4...) with &amp;quot;-c:a copy&amp;quot; and I get this:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:1(eng): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 7.1 (24 bit), 9216 kb/s (default)&#xA;Metadata:&#xA;  creation_time   : 2017-03-14 21:48:34&#xA;  handler_name    : Apple Alias Data Handler Stream mapping:   Stream #0:2 -&amp;gt; #0:0 (mpeg2video (native) -&amp;gt; h264 (libx264))   Stream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h1&gt;0:0 -&amp;gt; #0:1 (copy) Could not write header for output file #0 (incorrect codec parameters ?): Invalid argument&lt;/h1&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;What is going on here?&lt;/p&gt;&#xA;" OwnerUserId="17548" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-03-27T18:52:31.443" Title="ffmpeg &quot;Error while opening encoder for output stream #0:1&quot;" Tags="|ffmpeg|audio|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21032" PostTypeId="2" ParentId="21030" CreationDate="2017-03-27T18:52:31.443" Score="0" Body="&lt;p&gt;Your AAC encoder only supports 2 channels. Add &lt;code&gt;-ac 2&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But actually, you should upgrade your FFmpeg. It's very old, the VO AAC encoder is no longer available as the native encoder is better and supports 7.1 CH audio, so no downmixing required.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-03-27T18:52:31.443" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21033" PostTypeId="1" CreationDate="2017-03-27T19:14:51.963" Score="1" ViewCount="831" Body="&lt;p&gt;I built a Facebook canvas advertisementwith a mixture of image, video, and carousel elements. When you first load the canvas element, the video elements match the other imagery used in the ad well. Here are some photos of what the video elements look like upon the first load of the canvas advertisement:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7PYEF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7PYEF.png&quot; alt=&quot;video element when ad is first loaded&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, once you click on the video element to play it, it becomes discolored with a blue hue. I have tried saving out the video in several different color ways and none worked. Currently, I am using no color management and it seems to be the closest match to the imagery.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are screen grabs of what the video elements look like after playing:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fTfdO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fTfdO.png&quot; alt=&quot;video element after pressing play&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the above images you can see the color difference and blue hue that appears after pressing play. Has anyone else experienced issues with Facebook advertisements or canvas elements that have become discolored after uploading through Facebook? I tried to ask on their forums but got no replies. Any insight on why this might be happening would be very much appreciated. Thank you!&lt;/p&gt;&#xA;" OwnerUserId="18472" LastActivityDate="2017-03-27T19:14:51.963" Title="The videos I uploaded to a Facebook canvas are discolored. Any thoughts on why?" Tags="|video-quality|color-correction|color|color-grading|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21034" PostTypeId="1" CreationDate="2017-03-28T00:42:39.433" Score="0" ViewCount="298" Body="&lt;p&gt;I stand up the back of a room on a riser and capture a speaker at podium + their presentation on the screen using a blackmagic production 4K. I estimate I am 8 metres from the subject.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I'm using an f2.8 lens and adjusting it in davinci as the room is poorly lit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to gauge the depth of field that will be in focus if I use an f1.8 lens?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Rzmgw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Rzmgw.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5347" LastEditorUserId="5347" LastEditDate="2017-03-28T05:57:02.630" LastActivityDate="2017-08-03T03:00:56.320" Title="Calculate depth-of-field on BMPC 4K using a 50mm/1.8" Tags="|blackmagic|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21035" PostTypeId="1" CreationDate="2017-03-28T01:38:46.617" Score="0" ViewCount="86" Body="&lt;p&gt;I have a friend who has been taking stop-motion pictures, applying a snapchat &quot;art&quot; filter to each picture, then composing them into video (with pretty awesome results). He is interested in mechanically applying filters like that to video. I assume this is relatively trivial in high end (meaning expensive) video or photo editing software. Is there an inexpensive way to do this, say using the Gimp or a similar free/cheap editing software?&lt;/p&gt;&#xA;" OwnerUserId="18475" LastActivityDate="2017-03-28T04:50:51.793" Title="Is there an inexpensive way to decompose a video into frames and apply a snapchat-like filter to each frame?" Tags="|post-production|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21036" PostTypeId="2" ParentId="21035" CreationDate="2017-03-28T04:50:51.793" Score="1" Body="&lt;p&gt;Most motion graphics applications can import most video types and apply filters to them. I believe that &lt;a href=&quot;https://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe After Effects&lt;/a&gt; is available for a subscription (so cheap if you use it only for a month), and &lt;a href=&quot;http://www.apple.com/final-cut-pro/motion/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Apple's Motion&lt;/a&gt; is available for $49 from the Mac App Store.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or if that's too much, I believe that &lt;a href=&quot;http://www.apple.com/imovie/&quot; rel=&quot;nofollow noreferrer&quot;&gt;iMovie&lt;/a&gt; is only $15 and has a number of simple snapchat-like filters available.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-03-28T04:50:51.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21037" PostTypeId="2" ParentId="21034" CreationDate="2017-03-28T08:51:29.683" Score="1" Body="&lt;p&gt;You will need an app or chart for the calculation. There are apps on both iOS and Android for this. Just search depth of field calculator. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With a 50mm lens shooting at f/1.8 you're depth of field will be very shallow; more so the closer your subject is to the camera, with your DOF becoming deeper if your subject moves away. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some lenses have a built in Hyper-Focal chart on the top of the lens; showing what your &quot;Reasonably considered in Focus area is at&quot; which changes as you change your aperture. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need a less shallow depth of field, you can always stop down the lens. Also keep in mind; the 50mm 1.8 is not incredibly sharp at 1.8 to begin with. Most lenses have sweet spots in terms of tack sharp; typically about 1/3 into the f-stop range. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only lenses that will give you pristine tack sharp focus at apertures like 1.8, are for example the Master Primes by Arri; running $30k per prime. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-03-28T08:51:29.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21038" PostTypeId="2" ParentId="16283" CreationDate="2017-03-28T09:48:03.867" Score="2" Body="&lt;p&gt;I had the same issue on Windows 10 with a Variable Frame Rate (VFR) video recorded using Shadowplay. Here's how I fixed it &lt;strong&gt;without requiring to convert the video using Handbrake or any other converter&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Download Apple's Quicktime and install it&lt;/li&gt;&#xA;&lt;li&gt;Rename the .mp4 file to .dif&lt;/li&gt;&#xA;&lt;li&gt;Import that .dif file to Adobe Premiere Pro and it should not have any audio/video sync issues&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I suspect it works here because Adobe Premiere Pro fails to load the .dif file without Quicktime installed meaning that it uses Quicktime's codecs etc. to deal with the file which can handle VFR. This means that the built in codecs Adobe Premiere Pro uses have an inherent issue with VFR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For completeness sake, this should fix issues with all VFR MP4 files such as the ones created with Shadowplay, Xsplit, OBS, iPhone, relive etc.&lt;/p&gt;&#xA;" OwnerUserId="18477" LastActivityDate="2017-03-28T09:48:03.867" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21039" PostTypeId="1" CreationDate="2017-03-28T10:57:27.953" Score="0" ViewCount="799" Body="&lt;p&gt;I am a programmer and am processing Adobe Premiere &lt;code&gt;.prproj&lt;/code&gt; files. I read the contained XML data to figure out where a &lt;code&gt;&amp;lt;Media&amp;gt;&lt;/code&gt; element's video file starts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a video that's been recorded with a timecode starting at 10:00:00:00, i.e. exactly 10 hours, or 36000 seconds. That timecode is what Premiere shows for the start of the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The corresponding data in the project file is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;Media ...&amp;gt;&#xA;    ...&#xA;    &amp;lt;Start&amp;gt;9153720576000000&amp;lt;/Start&amp;gt;&#xA;&amp;lt;/Media&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That value uses ticks as unit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, I make the assumption that one second equals 254016000000 ticks. That's because, when I have, for example, a sequence with 25 FPS, its FrameRate element in the XML specifies 10160640000 ticks, and that's exactly a 25th of a second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I divide the &lt;code&gt;&amp;lt;Start&amp;gt;&lt;/code&gt; value 9153720576000000 by 254016000000, I get 36036 seconds, and not, as expected, 36000 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, by reading the XML values, I learn that the video starts at 10:00:36:00.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Curiously, that difference is exactly the 1001/1000 ratio of NTSC drop-frame timing, right?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, how do I make sense of the data in the Premiere project file? On one hand, its ticks base of 254016000000 is precisely identifying the used frame rates in the same file, so it must be the correct value for &lt;em&gt;ticks per second&lt;/em&gt;. OTOH, it is off for time codes by 1ms per second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How shall I interpret ticks values in the file? Shall I adjust them all by a factor of 1.001 to get the actual time code, or where's my error in all this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or is it a known fact that timecodes are not based on actual seconds but on 1.001 seconds?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;In other words, does 10:00:00:00 mean that it's actually starting at 36036 seconds?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It appears that there is indeed a drift with timecodes vs. real time, but only if the recording uses fractional FPS such as 29.97 or 23.976 (= 23.98), according to &lt;a href=&quot;http://www.xdcam-user.com/2016/12/notes-on-timecode-and-timecode-sync-for-cinematographers/#comment-92739&quot; rel=&quot;nofollow noreferrer&quot;&gt;this article&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And, indeed, the media file in question was recorded at 23.98 FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, am I right in the assumption that whenever I interpret a time code, I need to also look at the involved FPS, and if it's fractional, I have to add 1ms per second to the calculated time to be more accurate in the long run? (I do not care about single frame accuracy, so it does not matter when I apply the drift correction, it's only a question when to apply it at all.)&lt;/p&gt;&#xA;" OwnerUserId="18478" LastEditorUserId="18478" LastEditDate="2017-03-28T11:29:46.493" LastActivityDate="2017-03-28T14:53:09.447" Title="Premiere .prproj file ticks drift by 1/1000 compared to timecodes" Tags="|premiere|timecode|xml|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21041" PostTypeId="2" ParentId="21017" CreationDate="2017-03-28T12:57:15.300" Score="4" Body="&lt;p&gt;I maintain a Windows build of graph2dot and other tools at &lt;a href=&quot;https://www.gyan.dev/ffmpeg/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.gyan.dev/ffmpeg/builds/&lt;/a&gt;. Look in the tools section.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2020-10-22T04:58:06.660" LastActivityDate="2020-10-22T04:58:06.660" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="21042" PostTypeId="2" ParentId="21039" CreationDate="2017-03-28T14:53:09.447" Score="1" Body="&lt;p&gt;First, let me say that I have no idea what Premiere is doing with its values or what a 'tick' means in their terms. I can only speak generally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video frame rate should match the timecode rate, but for 'drop frame' timecodes the relationship isn't perfectly linear. There are certain timecode numbers that never show up in the sequence -- the ones that are 'dropped'. So for such codes you can't just perform a simple computation, you have to consider the drops.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Over the course of 1 hour there are 108000 frames at 30fps, but drop frame code will produce only 107892 unique numbers. Both clocks will agree that &quot;the time&quot; is 1:00:00:00.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're just using timecodes to label each frame with a unique number then any scheme will do. If you need to match time of day, then you have to take the dropped numbers into account. What do you need to do with your values?&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2017-03-28T14:53:09.447" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21043" PostTypeId="2" ParentId="21034" CreationDate="2017-03-28T16:06:46.647" Score="1" Body="&lt;p&gt;Going to f/1.8 will brighten up everything, the Screen and the Presenter, and reduce your DOF. With a less expensive Lens your going to be stopping down to get a sharper image; wasting time and money, and not accomplishing what you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you want (I'm guessing) is for the Presenter to be better lit, presumably you can see the Screen (otherwise you have a lot of problems).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Trying to light the Presenter in that setting either would physically block the Screen or give odd side-lighting making them spooky looking (unless you wanted to try a ceiling mounted spotlight).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you want to do is get a Square Filter Holder and a Hard Edge Graduated Neutral Density 0.6 Filter. Just slide the Filter to darken the Screen leaving the Presenter unaffected, then crank the ISO a touch to brighten the Screen back to normal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now the Screen is correctly exposed and the Presenter isn't hidden in the dark, everything is evened out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This costs less than a new Lens (unless you are planning on buying the best possible Filters, that you may not need, or the cheapest 1.8 that you would not want).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/HWuyq.jpg&quot; alt=&quot;ND Filter - Hard Edge Graduated&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="18314" LastEditorUserId="18314" LastEditDate="2017-08-03T03:00:56.320" LastActivityDate="2017-08-03T03:00:56.320" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21044" PostTypeId="1" AcceptedAnswerId="21053" CreationDate="2017-03-28T19:03:12.717" Score="0" ViewCount="150" Body="&lt;p&gt;I need to record videos at least 1080p (mainly video-lectures or like) averagely 5-15 hours every week..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not going to send those videos to Oscar's jury, but if possible, I need an normal/good HD quality for an affordable price (below 1000$). I was thinking to buy a camera (lets say, &lt;a href=&quot;https://www.google.ge/search?q=Canon%20SX50%20H&amp;amp;oq=Canon%20SX50%20HS&quot; rel=&quot;nofollow noreferrer&quot;&gt;Canon SX50 HS&lt;/a&gt;) for that, but someone told me, that it's not advised to use a camera for frequent video-recording purposes, instead use VideoCamera. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/l0oAV.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/l0oAV.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, my questions:&#xA;&lt;br/&gt;a) while recording with PhotoCamera, and try zooming, it has a sound, right? are mirorless cameras better?  does it have auto-focus?&#xA;&lt;br/&gt;b) I need it to record audio as well, good quality (I can use separate transmitter as mic-source).&#xA;&lt;br/&gt;c) is there a really huge concern, which one I use for recording videos? Will a Canon camera work well or do I have to buy a &quot;Video Camera&quot;? &#xA;&lt;br/&gt;d) about quailty - any difference between  1080p recorder from same megapixel Photo camera and from video recorder?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the pros and cons? (p.s. I dont care if they record in 30 minute steps or etc..)&lt;/p&gt;&#xA;" OwnerUserId="16354" LastEditorUserId="16354" LastEditDate="2017-03-31T06:25:49.923" LastActivityDate="2017-03-31T06:25:49.923" Title="Need to record videos - can I buy a PhotoCamera instead of VideoCamera?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21045" PostTypeId="1" CreationDate="2017-03-29T02:48:36.500" Score="0" ViewCount="124" Body="&lt;p&gt;I was wondering how is possible prepare some professional grade titles and graphics for broadcasts media (like the ones that you see in actual tv shows).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example when a person is presented with an animated text like:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;James 43&lt;br&gt;&#xA;Lawyer of This Corp LTD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A rich graphic text with alpha transparency that animates and disappear after some seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm pretty sure that After Effects is a software to build them. Doing it manually however will be difficult to handle on the long period and lead to errors and discrepancies so I wonder also if it's possible to create sequences with scripts, functions and configurable variables.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;function show_my_custom_animation_text() { ... }&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And trigger it at a specific timecode:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;00:02:21 - show_my_custom_animation_text(&quot;James&quot;, &quot;43&quot;, &quot;Lawyer&quot;);&#xA;00:03:16 - show_my_custom_animation_text(&quot;Bob&quot;, &quot;35&quot;, &quot;Barman&quot;);&#xA;00:04:51 - show_my_custom_animation_text2(&quot;Eric&quot;, &quot;Bob&quot;, &quot;Martin&quot;, &quot;Philip&quot;);&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Adobe Flash with it's frames and actionscript functions can allow something similar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In short:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;AE: It is possible to achieve professional grade titles with AE and maybe it's plugins ? Scripting and functions do exists? It's definitively AE raccomended to do this repetitive job?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Software/Tools: What software do professionals use aside AE? Given that this results will be reviewed and sent to actual big tv broadcasting to be actually aired on tv I can also consider learning other programs.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Workflow: Can you suggest a workflow for titling a show?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Resources: If you have some articles or links useful to learn more on the topic it will be a nice bonus!&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2017-03-29T09:53:19.653" LastActivityDate="2017-03-29T11:49:00.980" Title="Text titles like in tv shows, After Effects or another software?" Tags="|video|after-effects|premiere|video-editor|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21046" PostTypeId="2" ParentId="21045" CreationDate="2017-03-29T11:49:00.980" Score="2" Body="&lt;p&gt;After Effects is professional software for creating motion graphics, and can do what you are asking. There are a plethora of plugins, scripts and presets available to make it even easier, but out of the box it is very powerful software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AE can also be scripted using Adobe's Extendscript scripting API. Within compositions (the name for the sequences created in AE) individual elements can be controlled by expressions. Both Extendscript and expressions are javascript-based.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For titling a show the workflow would depend on the content. For say a regular show the best approach would be to create templates. Adobe Premiere works very well with After effects, so that templates can be re-purposed within Premiere - e.g. the text content of a lower third title can be changed for different people's names.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-03-29T11:49:00.980" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21048" PostTypeId="2" ParentId="20991" CreationDate="2017-03-29T15:58:28.353" Score="3" Body="&lt;p&gt;There is another option that is good to know about, the Crown PCC-160 boundary mic. This is a standard mic to put at the edge of a stage to get good quality sound from actors in plays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Supercardioid pattern with PCC boundary technology assures phase coherence throughout the audible spectrum&quot; means that it is rejecting sound from behind, and the phase coherence means that voices are more clear than with normal mics, as long as you place them at a boundary like the floor or on a wall. Physics stuff.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lavs will get you the most clear sound, but the Crown PCC will do better than a shotgun (unless you have the shotgun close with a boom pole). Rent a pair to try them out as backup, I think you will want to buy them after you see how effective they are.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Rereading your question, if the dancers are confined to a 5x5' area and they might be speaking with their back to the camera, lav is the best, but next best is probably a boom mic on a stand, with the mic positioned directly over the center of the area, pointed straight down. That should pick up a pretty balanced voice recording. A second shotgun positioned in line with the camera to get the front 'viewpoint' audio would capture a more natural-sounding voice when the speaker is speaking toward the camera. The Crown PCCs would have to be positioned all around the area, and they would pick up more of the dancer's feet sounds than the boom mic.&lt;/p&gt;&#xA;" OwnerUserId="10482" LastEditorUserId="10482" LastEditDate="2017-03-31T16:06:46.647" LastActivityDate="2017-03-31T16:06:46.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21052" PostTypeId="1" CreationDate="2017-03-29T23:38:40.303" Score="4" ViewCount="6784" Body="&lt;p&gt;Old VHS tapes often have horizontal lines/bands that slowly scroll up or down the video during playback. This video is already on DVD, so I am trying to remove the banding in post-processing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Tools I'm using include:&lt;br&gt;&#xA;VirtualDub, AviSynth, Premiere Pro CC, Davinci Resolve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any techniques, plugins or scripts that can help remove this?&lt;/p&gt;&#xA;" OwnerUserId="18492" LastEditorUserId="674" LastEditDate="2019-09-17T17:15:08.550" LastActivityDate="2024-03-23T08:08:13.167" Title="How can you fix color banding from VHS video tape in post-processing?" Tags="|premiere|video-quality|davinci-resolve|virtualdub|vhs|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="21053" PostTypeId="2" ParentId="21044" CreationDate="2017-03-30T04:00:24.857" Score="2" Body="&lt;p&gt;&lt;strong&gt;TL;DR&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a camera of either type, use it. End of story. If you plan on taking photos as well as video, get a photo camera (I'd recommend a DSLR.) If you will only use the camera for video, get a video camera similar to the one you pictured.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Long Read&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Video camera (camcorder):&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pros:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Design: Video cameras are designed to shoot video - they are built from the ground up to do exactly that, so all of the technology is focused on capturing video.&lt;/li&gt;&#xA;&lt;li&gt;Ergonomics: video cameras are designed to capture video, and part of that design is the way the camera is meant to be held. Video cameras are designed to be easy to hold and control primarily with one hand. They often have a hand strap (small camcorders) or shoulder mount (large ENG-style cameras) where the user supports the camera with their right hand and the primary controls such as zoom and record are accessible with the fingers of the same hand.&lt;/li&gt;&#xA;&lt;li&gt;Audio: Video cameras often have built-in microphones, microphone&#xA;holders or microphone ports (XLR, mini-XLR, or 1/8th inch).&lt;/li&gt;&#xA;&lt;li&gt;Live-view video: Video cameras almost always feature both an electronic viewfinder and a rotating and folding screen, both of which can be used to view the video as you are recording it.&lt;/li&gt;&#xA;&lt;li&gt;Accessories: Many video cameras have microphone holders, cold shoes and handles for accessories (a few cameras even have built-in LED lights). Some cameras have easy built in iris and focus controls, while some even include built-in neutral density filters.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Cons:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Stills: The biggest downside of these video cameras is they are often terrible at taking still photos, if they even do at all. There are a few reasons for this. 1) The sensor and processor are designed for taking video, so photos are often relatively low resolution (sometimes as low as 2 MP). 2) The form factor makes taking pictures awkward and often offers very little manual control.&lt;/li&gt;&#xA;&lt;li&gt;Lenses: Most video cameras under $5000 USD have permanently attached lenses (not interchangeable), so if you want to zoom wider or narrower than the lens, you are out of luck.&lt;/li&gt;&#xA;&lt;li&gt;Price: Video cameras are expensive! A very low end model will cost a few hundred dollars, a relatively good model will be about $2000-$3000 USD, and high end models can run as high as $100,000 (although I'd recommend a model at about the top of your budget (around $1000).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Photo camera (I will focus mainly on DSLRs)&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pros:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Lenses: The biggest advantage of a DSLR will likely be interchangeable lenses, which allow you to reach and focal length you want, assuming you don't mind paying for the lens.&lt;/li&gt;&#xA;&lt;li&gt;Photos: DSLRs are designed to take photos. Their form factor and control placement makes this very easy. They will also shoot high resolution pictures (usually ~20-24 MP).&lt;/li&gt;&#xA;&lt;li&gt;Audio: Often have internal microphones and 1/8th microphone jacks (but will never offer mini-XLR or XLR).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Cons:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Design: The SLR form factor has been around for many decades, since far before DSLRs offered video. Video is an afterthought on these cameras. It's added in as a bonus feature, but isn't supposed to be the primary function of these cameras. This applies to almost all photo cameras except, I would argue, the Lumix GH series.&lt;/li&gt;&#xA;&lt;li&gt;Time restraints: Most DSLRs have a 20-30 minute video recording limit (depending on camera and quality). After this limit is up, you have to manually restart the recording.&lt;/li&gt;&#xA;&lt;li&gt;Live-view video: Video can only be recorded while viewing as live-view on the DSLR screen. The viewfinder doesn't work. On top of that, many DSLRs (especially older ones) don't having tilting/flipping/rotating screens, making shooting at any angles difficult without an external monitor.&lt;/li&gt;&#xA;&lt;li&gt;Price: These cameras aren't cheap, but good quality can be gotten with a $300-$400 body and a $200 lens (although I'd recommend a lens closer to $500). I'd also recommend an add-on shotgun mic (~$100-$250, depending on quality).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Please comment or edit if you think I missed anything.&lt;/p&gt;&#xA;" OwnerUserId="17731" LastActivityDate="2017-03-30T04:00:24.857" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21054" PostTypeId="1" CreationDate="2017-03-30T09:07:31.110" Score="0" ViewCount="1989" Body="&lt;p&gt;I used this command to burn the timecode inside my video.&lt;/p&gt;&#xA;&lt;p&gt;While everything looked fine, when I open my video inside Premiere it seems that my timecode doesn't match.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SRHs2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SRHs2.png&quot; alt=&quot;Timecode doesn't match!&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;My fear is that the timecode processed by ffmpeg was the original of the input file but when recompressed via h264 the number of frames changed giving precedence to the h264 compression algorithms.&lt;/p&gt;&#xA;&lt;p&gt;How can I fix it? Or better how I can have an output video that match exactly the duration and the frames of the original input file?&lt;/p&gt;&#xA;&lt;p&gt;Sadly my input file was already an h264 mp4 stream.&lt;/p&gt;&#xA;&lt;p&gt;The command I used is the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;file.mp4&amp;quot; -c:v libx264 -x264-params &amp;quot;crf=17&amp;quot; -preset fast -c:a copy -c:s copy -copyinkf -filter_complex &amp;quot;drawtext=fontfile=font.otf: timecode='00\:00\:00\:00':rate=24: text='': fontsize=56: fontcolor=white@0.9: borderw=3: bordercolor=black: x=50-text_w/2:y=50&amp;quot; &amp;quot;file2.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The full console output is the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-82500-g52da3f6 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 4.9.3 (GCC)&#xA;  configuration: --arch=x86_64 --target-os=mingw32 --cross-prefix=/root/opt/ffmpeg-cross-compile/sandbox/cross_compilers/mingw-w64-x86_64/bin/x86_64-w64-mingw32- --pkg-config=pkg-config --disable-w32t&#xA;hreads --enable-libsoxr --enable-fontconfig --enable-libass --enable-libbluray --enable-iconv --enable-libtwolame --extra-cflags=-DLIBTWOLAME_STATIC --enable-libzvbi --enable-libcaca --enable-libmodpl&#xA;ug --extra-libs=-lstdc++ --extra-libs=-lpng --enable-decklink --extra-libs=-loleaut32 --enable-libmp3lame --enable-version3 --enable-zlib --enable-librtmp --enable-libvorbis --enable-libtheora --enabl&#xA;e-libspeex --enable-libopenjpeg --enable-gnutls --enable-libgsm --enable-libfreetype --enable-libopus --enable-bzlib --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libvo-amrwbenc --ena&#xA;ble-libschroedinger --enable-libvpx --enable-libilbc --enable-libwavpack --enable-libwebp --enable-libgme --enable-dxva2 --enable-avisynth --enable-gray --enable-libopenh264 --enable-netcdf --enable-l&#xA;ibflite --enable-lzma --enable-libsnappy --enable-libzimg --enable-gpl --enable-libx264 --enable-libx265 --enable-frei0r --enable-filter=frei0r --enable-librubberband --enable-libvidstab --enable-libx&#xA;avs --enable-libxvid --enable-libmfx --extra-libs=-lpsapi --extra-libs=-lspeexdsp --extra-cflags='-mtune=core2' --extra-cflags=-O3 --enable-static --disable-shared --prefix=/root/opt/ffmpeg-cross-comp&#xA;ile/sandbox/cross_compilers/mingw-w64-x86_64/x86_64-w64-mingw32 --enable-nonfree --enable-libfdk-aac --enable-runtime-cpudetect&#xA;  libavutil      55. 40.100 / 55. 40.100&#xA;  libavcodec     57. 66.103 / 57. 66.103&#xA;  libavformat    57. 57.100 / 57. 57.100&#xA;  libavdevice    57.  2.100 / 57.  2.100&#xA;  libavfilter     6. 67.100 /  6. 67.100&#xA;  libswscale      4.  3.101 /  4.  3.101&#xA;  libswresample   2.  4.100 /  2.  4.100&#xA;  libpostproc    54.  2.100 / 54.  2.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'file.mp4':&#xA;  Metadata:&#xA;    major_brand     : iso5&#xA;    minor_version   : 512&#xA;    compatible_brands: iso6mp41&#xA;  Duration: 00:51:27.38, start: 0.000000, bitrate: 3246 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 2988 kb/s, 24 fps, 24 tbr, 12288 tbn, 48 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 256 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;[libx264 @ 0000000003746020] using SAR=1/1&#xA;[libx264 @ 0000000003746020] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;[libx264 @ 0000000003746020] profile High, level 4.0&#xA;[libx264 @ 0000000003746020] 264 - core 148 r2708 86b7198 - H.264/MPEG-4 AVC codec - Copyleft 2003-2016 - http://www.videolan.org/x264.html - options: cabac=1 ref=2 deblock=1:0:0 analyse=0x3:0x113 me=&#xA;hex subme=6 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 dec&#xA;imate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=1 keyint=250 keyint_min=24 scenecut=40 intra_refresh=0 rc_lookah&#xA;ead=30 rc=crf mbtree=1 crf=17.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'file2.mp4':&#xA;  Metadata:&#xA;    major_brand     : iso5&#xA;    minor_version   : 512&#xA;    compatible_brands: iso6mp41&#xA;    encoder         : Lavf57.57.100&#xA;    Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], q=-1--1, 24 fps, 12288 tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc57.66.103 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1(und): Audio: aac (LC) ([64][0][0][0] / 0x0040), 48000 Hz, stereo, fltp, 256 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; drawtext&#xA;  drawtext -&amp;gt; Stream #0:0 (libx264)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame= 2105 fps= 36 q=-1.0 Lsize=   41555kB time=00:01:27.58 bitrate=3886.8kbits/s dup=2 drop=0 speed=1.49x&#xA;video:38775kB audio:2719kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.145290%&#xA;[libx264 @ 0000000003746020] frame I:11    Avg QP: 7.99  size: 70608&#xA;[libx264 @ 0000000003746020] frame P:761   Avg QP:13.37  size: 28331&#xA;[libx264 @ 0000000003746020] frame B:1333  Avg QP:14.85  size: 13030&#xA;[libx264 @ 0000000003746020] consecutive B-frames:  2.0% 40.1%  1.9% 56.1%&#xA;[libx264 @ 0000000003746020] mb I  I16..4: 49.6% 36.9% 13.5%&#xA;[libx264 @ 0000000003746020] mb P  I16..4:  9.6% 15.5%  2.1%  P16..4: 20.5%  7.4%  3.1%  0.0%  0.0%    skip:41.8%&#xA;[libx264 @ 0000000003746020] mb B  I16..4:  2.5%  3.7%  0.4%  B16..8: 17.6%  7.0%  0.8%  direct: 7.7%  skip:60.4%  L0:50.5% L1:44.4% BI: 5.1%&#xA;[libx264 @ 0000000003746020] 8x8 transform intra:56.0% inter:56.8%&#xA;[libx264 @ 0000000003746020] coded y,uvDC,uvAC intra: 37.2% 61.9% 19.6% inter: 6.6% 19.9% 0.8%&#xA;[libx264 @ 0000000003746020] i16 v,h,dc,p: 51% 24% 14% 10%&#xA;[libx264 @ 0000000003746020] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 36% 18% 29%  3%  3%  3%  2%  3%  3%&#xA;[libx264 @ 0000000003746020] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 39% 23% 15%  4%  4%  4%  3%  4%  3%&#xA;[libx264 @ 0000000003746020] i8c dc,h,v,p: 45% 18% 29%  7%&#xA;[libx264 @ 0000000003746020] Weighted P-Frames: Y:5.8% UV:3.0%&#xA;[libx264 @ 0000000003746020] ref P L0: 77.3% 22.7%&#xA;[libx264 @ 0000000003746020] ref B L0: 87.0% 13.0%&#xA;[libx264 @ 0000000003746020] ref B L1: 97.2%  2.8%&#xA;[libx264 @ 0000000003746020] kb/s:3621.54&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I re-ran it to obtain the output and closed it after some seconds with [q] option ;)&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt; ran again keeping the video only!&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-82500-g52da3f6 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 4.9.3 (GCC)&#xA;  configuration: --arch=x86_64 --target-os=mingw32 --cross-prefix=/root/opt/ffmpeg-cross-compile/sandbox/cross_compilers/mingw-w64-x86_64/bin/x86_64-w64-mingw32- --pkg-config=pkg-config --disable-w32t&#xA;hreads --enable-libsoxr --enable-fontconfig --enable-libass --enable-libbluray --enable-iconv --enable-libtwolame --extra-cflags=-DLIBTWOLAME_STATIC --enable-libzvbi --enable-libcaca --enable-libmodpl&#xA;ug --extra-libs=-lstdc++ --extra-libs=-lpng --enable-decklink --extra-libs=-loleaut32 --enable-libmp3lame --enable-version3 --enable-zlib --enable-librtmp --enable-libvorbis --enable-libtheora --enabl&#xA;e-libspeex --enable-libopenjpeg --enable-gnutls --enable-libgsm --enable-libfreetype --enable-libopus --enable-bzlib --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libvo-amrwbenc --ena&#xA;ble-libschroedinger --enable-libvpx --enable-libilbc --enable-libwavpack --enable-libwebp --enable-libgme --enable-dxva2 --enable-avisynth --enable-gray --enable-libopenh264 --enable-netcdf --enable-l&#xA;ibflite --enable-lzma --enable-libsnappy --enable-libzimg --enable-gpl --enable-libx264 --enable-libx265 --enable-frei0r --enable-filter=frei0r --enable-librubberband --enable-libvidstab --enable-libx&#xA;avs --enable-libxvid --enable-libmfx --extra-libs=-lpsapi --extra-libs=-lspeexdsp --extra-cflags='-mtune=core2' --extra-cflags=-O3 --enable-static --disable-shared --prefix=/root/opt/ffmpeg-cross-comp&#xA;ile/sandbox/cross_compilers/mingw-w64-x86_64/x86_64-w64-mingw32 --enable-nonfree --enable-libfdk-aac --enable-runtime-cpudetect&#xA;  libavutil      55. 40.100 / 55. 40.100&#xA;  libavcodec     57. 66.103 / 57. 66.103&#xA;  libavformat    57. 57.100 / 57. 57.100&#xA;  libavdevice    57.  2.100 / 57.  2.100&#xA;  libavfilter     6. 67.100 /  6. 67.100&#xA;  libswscale      4.  3.101 /  4.  3.101&#xA;  libswresample   2.  4.100 /  2.  4.100&#xA;  libpostproc    54.  2.100 / 54.  2.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'file.mp4':&#xA;  Metadata:&#xA;    major_brand     : iso5&#xA;    minor_version   : 512&#xA;    compatible_brands: iso6mp41&#xA;  Duration: 00:51:27.38, start: 0.000000, bitrate: 3246 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 2988 kb/s, 24 fps, 24 tbr, 12288 tbn, 48 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 256 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;[libx264 @ 000000000315f7c0] using SAR=1/1&#xA;[libx264 @ 000000000315f7c0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;[libx264 @ 000000000315f7c0] profile High, level 4.0&#xA;[libx264 @ 000000000315f7c0] 264 - core 148 r2708 86b7198 - H.264/MPEG-4 AVC codec - Copyleft 2003-2016 - http://www.videolan.org/x264.html - options: cabac=1 ref=2 deblock=1:0:0 analyse=0x3:0x113 me=&#xA;hex subme=6 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 dec&#xA;imate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=1 keyint=250 keyint_min=24 scenecut=40 intra_refresh=0 rc_lookah&#xA;ead=30 rc=crf mbtree=1 crf=17.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'file2.mp4':&#xA;  Metadata:&#xA;    major_brand     : iso5&#xA;    minor_version   : 512&#xA;    compatible_brands: iso6mp41&#xA;    encoder         : Lavf57.57.100&#xA;    Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], q=-1--1, 24 fps, 12288 tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc57.66.103 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; drawtext&#xA;  drawtext -&amp;gt; Stream #0:0 (libx264)&#xA;Press [q] to stop, [?] for help&#xA;frame=  843 fps= 36 q=-1.0 Lsize=   10386kB time=00:00:35.00 bitrate=2430.9kbits/s dup=2 drop=0 speed= 1.5x&#xA;video:10375kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.103293%&#xA;[libx264 @ 000000000315f7c0] frame I:4     Avg QP: 5.49  size: 41664&#xA;[libx264 @ 000000000315f7c0] frame P:285   Avg QP:12.19  size: 19489&#xA;[libx264 @ 000000000315f7c0] frame B:554   Avg QP:13.02  size:  8849&#xA;[libx264 @ 000000000315f7c0] consecutive B-frames:  2.6% 28.7%  1.8% 66.9%&#xA;[libx264 @ 000000000315f7c0] mb I  I16..4: 65.5% 27.6%  6.9%&#xA;[libx264 @ 000000000315f7c0] mb P  I16..4:  9.0% 11.3%  1.3%  P16..4: 15.5%  5.1%  2.2%  0.0%  0.0%    skip:55.6%&#xA;[libx264 @ 000000000315f7c0] mb B  I16..4:  2.4%  2.2%  0.1%  B16..8: 11.6%  4.9%  0.6%  direct: 7.1%  skip:71.0%  L0:50.3% L1:45.1% BI: 4.6%&#xA;[libx264 @ 000000000315f7c0] 8x8 transform intra:49.4% inter:53.5%&#xA;[libx264 @ 000000000315f7c0] coded y,uvDC,uvAC intra: 26.0% 54.6% 16.0% inter: 4.1% 16.1% 0.6%&#xA;[libx264 @ 000000000315f7c0] i16 v,h,dc,p: 52% 26% 14%  8%&#xA;[libx264 @ 000000000315f7c0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 31% 22% 38%  1%  1%  1%  2%  1%  2%&#xA;[libx264 @ 000000000315f7c0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 38% 28% 20%  2%  3%  3%  3%  2%  2%&#xA;[libx264 @ 000000000315f7c0] i8c dc,h,v,p: 49% 19% 26%  7%&#xA;[libx264 @ 000000000315f7c0] Weighted P-Frames: Y:15.4% UV:8.1%&#xA;[libx264 @ 000000000315f7c0] ref P L0: 71.5% 28.5%&#xA;[libx264 @ 000000000315f7c0] ref B L0: 84.7% 15.3%&#xA;[libx264 @ 000000000315f7c0] ref B L1: 96.2%  3.8%&#xA;[libx264 @ 000000000315f7c0] kb/s:2419.57&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is the media info I obtained:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Video&lt;br /&gt;&#xA;ID                          : 1&lt;br /&gt;&#xA;Format                      : AVC&lt;br /&gt;&#xA;Format/Info                 : Advanced Video Codec&lt;br /&gt;&#xA;Format profile              : High@L4&lt;br /&gt;&#xA;Format settings, CABAC      : Yes&lt;br /&gt;&#xA;Format settings, ReFrames   : 2 frames&lt;br /&gt;&#xA;Codec ID                    : avc1&lt;br /&gt;&#xA;Codec ID/Info               : Advanced Video Coding&lt;br /&gt;&#xA;Duration                    : 50s 0ms&lt;br /&gt;&#xA;Bit rate                    : 2 991 Kbps&lt;br /&gt;&#xA;Width                       : 1 920 pixels&lt;br /&gt;&#xA;Height                      : 1 080 pixels&lt;br /&gt;&#xA;Display aspect ratio        : 16:9&lt;br /&gt;&#xA;&lt;strong&gt;Frame rate mode             : Variable&lt;/strong&gt;&lt;br /&gt;&#xA;&lt;strong&gt;Frame rate                  : 23.976 (23976/1000) fps&lt;/strong&gt;&lt;br /&gt;&#xA;&lt;strong&gt;Minimum frame rate          : 12.000 fps&lt;/strong&gt;&lt;br /&gt;&#xA;&lt;strong&gt;Maximum frame rate          : 24.000 fps&lt;/strong&gt;&lt;br /&gt;&#xA;Color space                 : YUV&lt;br /&gt;&#xA;Chroma subsampling          : 4:2:0&lt;br /&gt;&#xA;Bit depth                   : 8 bits&lt;br /&gt;&#xA;Scan type                   : Progressive&lt;br /&gt;&#xA;Bits/(Pixel*Frame)          : 0.060&lt;br /&gt;&#xA;Stream size                 : 17.8 MiB (100%)&lt;br /&gt;&#xA;Writing library             : x264 core 148 r2708 86b7198&lt;br /&gt;&#xA;Encoding settings           : cabac=1 / ref=2 / deblock=1:0:0 / analyse=0x3:0x113 / me=hex / subme=6 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=1 / me_range=16 / chroma_me=1 / trellis=1 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-2 / threads=12 / lookahead_threads=2 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=0 / b_adapt=1 / b_bias=0 / direct=1 / weightb=1 / open_gop=0 / weightp=1 / keyint=250 / keyint_min=24 / scenecut=40 / intra_refresh=0 / rc_lookahead=30 / rc=crf / mbtree=1 / crf=17.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / ip_ratio=1.40 / aq=1:1.00&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="41669" LastEditDate="2024-02-17T10:44:37.893" LastActivityDate="2024-02-17T10:44:37.893" Title="ffmpeg timecode added does not match the ones I can read in Premiere" Tags="|ffmpeg|video|premiere|timecode|" AnswerCount="1" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="21055" PostTypeId="1" AcceptedAnswerId="21065" CreationDate="2017-03-30T11:37:28.753" Score="2" ViewCount="6106" Body="&lt;p&gt;I have an object in After Effects comp and I need its scale to change from &lt;em&gt;keyframe A&lt;/em&gt; to &lt;em&gt;keyframe B&lt;/em&gt; and I need &lt;em&gt;keyframe A&lt;/em&gt; to have value of 95% and &lt;em&gt;keyframe B&lt;/em&gt; value of whatever is set via slider control. Now I know how to set overall scale by slider, but I seem to have problem finding a way to link just that one keyframe to my slider control.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am fairly new to expressions and I tried to re-purpose following one I found for the same thing but with opacity, but it doesn't work. I think it's because it supplies just one value and scale needs two values, but I honestly have very little idea whats going on in the expression and how to adapt it.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;if (numKeys &amp;gt; 1){&#xA;  t1 = key(1).time;&#xA;  t2 = key(2).time;&#xA;  v1 = 0;&#xA;  v2 = comp(&quot;INPUT&quot;).layer(&quot;CONTROL&quot;).effect(&quot;Zoom intensity&quot;)(&quot;Slider&quot;);&#xA;  linear(time,t1,t2,v1,v2);&#xA;}else&#xA;  value&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5928" LastActivityDate="2018-05-10T14:15:11.270" Title="Control key frame value with slider control" Tags="|after-effects|after-effects-expressions|after-effects-scripting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21056" PostTypeId="2" ParentId="21029" CreationDate="2017-03-30T11:48:51.620" Score="1" Body="&lt;p&gt;You can use portable recorder like Zoom H4n or similar. Recorders like this usually have XLR input that could be plugged directly to mixer. You'd then set input type on your recorder to line-in and set its sensitivity to have your levels not too quiet but not clipping (exceeding the scale).&#xA;You can also plug in microphone and try to do the same however investment into microphone + recorder seems pretty high considering the fact, that your recording might be better, but still very much sub par.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Higher quality recorders might have a jack for headphones so you could monitor audio quality of your recording or even line-out you could plug into your DSLR audio-in for easier audio-video sync in post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apart from Zoom recorders, another popular brand is Tascam. If you don't want to buy, they can be usually rented in rentals for videographers and filmmakers.&lt;/p&gt;&#xA;" OwnerUserId="5928" LastEditorUserId="5928" LastEditDate="2017-03-31T09:00:52.337" LastActivityDate="2017-03-31T09:00:52.337" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21057" PostTypeId="1" AcceptedAnswerId="21355" CreationDate="2017-03-30T12:15:47.077" Score="0" ViewCount="411" Body="&lt;p&gt;I have &lt;code&gt;graph2dot&lt;/code&gt; FFmpeg utility for converting &lt;em&gt;filtergraph descriptions&lt;/em&gt; to the textual representations in the &lt;em&gt;dot language&lt;/em&gt; for their subsequent &lt;em&gt;visualisation&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Thanks to &lt;a href=&quot;https://video.stackexchange.com/users/1871/mulvya&quot;&gt;Mulvya&lt;/a&gt; who uploaded it in &lt;a href=&quot;https://video.stackexchange.com/a/21041/18155&quot;&gt;this answer&lt;/a&gt;). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It works fine for me but it doesn't recognize some filters, e. g. &lt;code&gt;mpdecimate&lt;/code&gt; and &lt;code&gt;delogo&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;No such filter: 'mpdecimate'&lt;br/&gt;&#xA;  No such filter: 'delogo'&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Is there some way (e. g. a newer version of this program or its DLL libraries) to fix it?&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="-1" LastEditDate="2017-04-13T12:46:08.110" LastActivityDate="2017-05-07T15:56:50.467" Title="FFmpeg tool graph2dot doesn't recognize some filters" Tags="|ffmpeg|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21060" PostTypeId="1" AcceptedAnswerId="21061" CreationDate="2017-03-30T15:21:29.423" Score="0" ViewCount="181" Body="&lt;p&gt;I have this audio filterchain (for repetitive short part of the original audio):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[1:a] atrim=start=2.52:end=1:38.0, aloop=100:7700 [audio]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I used it &lt;em&gt;without&lt;/em&gt; video, i. e. in the &lt;code&gt;ffmpeg&lt;/code&gt; command I mapped only audio:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-map &quot;[audio]&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;then it fulfilled my intent - it started playing immediately (from &lt;code&gt;0:00&lt;/code&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I mapped video, too&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-map 0:v -map &quot;[audio]&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;then the audio started at &lt;code&gt;2.52&lt;/code&gt; - the same value as in my &lt;code&gt;atrim&lt;/code&gt; filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I tried &lt;em&gt;changing&lt;/em&gt; this value and the starting time &lt;em&gt;changed appropriately&lt;/em&gt;, too.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the reason for it and how I can fix it?&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2017-03-30T15:26:55.857" LastActivityDate="2017-03-30T15:33:15.613" Title="Audio without video is OK, but WITH video it is delayed" Tags="|ffmpeg|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21061" PostTypeId="2" ParentId="21060" CreationDate="2017-03-30T15:33:15.613" Score="3" Body="&lt;p&gt;You've to reset the timestamps:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[1:a]atrim=start=2.52:end=1:38.0,aloop=100:7700,asetpts=N/SR/TB[audio]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-03-30T15:33:15.613" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21062" PostTypeId="1" AcceptedAnswerId="21064" CreationDate="2017-03-30T17:04:11.400" Score="0" ViewCount="36" Body="&lt;p&gt;I have a potential shooting gig where I would be shooting a promotional/documentary video at a marketing event (i.e. there are no staged scenes, I'd just be shooting during the event and try to get some good shots that can be used for a promotional video). I don't know the details yet, but this event will probably take place indoors in the evening with not much light, comparable to a club I guess. The catch is I'd have to use my own equipment and I'm not sure my current gear is up to the task. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a Canon EOS 80D (APS-C, 1.6x CF). For lenses I have my trusted Sigma 30mm f/1.4 ART (48mm FF equivalent) and a Tamron 17-50mm f/2.8 (27-80mm FF equivalent). I also have a Pentax-F 50mm f/1.7, but since I can only use manual focus with that one I guess it's out of the question (though given the poor light situation, I will probably have to focus manually anyway? In this case, the additional 1.5 stops of light might give this lens an edge over the Tamron). By the time of the event I will probably also have a Sigma 10-20mm f/3.5 (16-32mm FF equivalent), but I'm not sure that focal length range will be very appropriate here (also it's rather slow, so probably a bad choice for this situation). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I have a couple of questions about this, I'd be very grateful if someone with experience with this kind of shooting could give their opinion.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Are those lenses appropriate for the job in terms of speed and focal lengths? Maybe a combination of the two Sigma lenses?&lt;/li&gt;&#xA;&lt;li&gt;At what apertures should I be shooting? Obviously for the best low-light performance the largest aperture (f/1.4 for the Sigma 30mm) would be best, but I'm worried that the autofocus won't be accurate under those conditions and that I won't hit the manual focus if the DoF is so small. &lt;/li&gt;&#xA;&lt;li&gt;If I could rent/borrow a lens (not sure if I have a budget/source for this yet), can you recommend one?&lt;/li&gt;&#xA;&lt;li&gt;What do I need in terms of stabilization? I could bring a tripod, but I don't think that's flexible enough. I don't have a dolly/gimbal or anything like that, and I'm not sure if I can procure one. Of course I can stabilize in post, but my Sigma 30mm for example doesn't have any image stabilization, so if I shoot at lower framerates the frames themselves could become too blurry … is it too bold to try and shoot completely handheld?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I guess my overarching question is if this kind of shooting gig is at all possible given the gear I have (or with cheap additions) or if I should turn it down because I simply won't get any usable material this way. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2017-03-30T17:21:08.993" LastActivityDate="2017-03-30T23:54:48.663" Title="Minimum equipment for shooting an event in a dimly lit environment" Tags="|hardware|shooting|lenses|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21063" PostTypeId="1" CreationDate="2017-03-30T22:06:04.887" Score="2" ViewCount="416" Body="&lt;p&gt;I'm recording some sports footage, and write down some notes, while the recording is going on. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to be able to, as fast as possible, to link my comment to the passage on the video. I record it with a GoPro, so the 1,5 hour longs video gets chopped up to small pieces.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought it would be an idea, if VLC could display the actual time of when the footage was take, on screen. In the same manner of this (opening VLC from a command-line with that comment):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;vlc.exe --sub-filter=marq{marquee=$T/$D&quot; Volume:&quot;$V,size=-2,color=16776960}:marq{marquee=Time:%H:%M:%S&quot; Date:&quot;%d/%m/%Y,color=16776960,size=-2,position=6}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That line just shows the current time. I wanted it for example to show something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the recording was started at &lt;code&gt;19:39:21&lt;/code&gt;, - then three minutes and 7 seconds into the video, the counter should say &lt;code&gt;19:42:28&lt;/code&gt;. Is that achievable somehow? &lt;/p&gt;&#xA;" OwnerUserId="18500" LastEditorUserId="18500" LastEditDate="2017-03-31T15:25:51.847" LastActivityDate="2017-04-02T10:05:15.910" Title="Show the clip-time in VLC-player, while playing" Tags="|vlc|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21064" PostTypeId="2" ParentId="21062" CreationDate="2017-03-30T23:54:48.663" Score="1" Body="&lt;p&gt;A tough one. Certainly might be worth wording the client up that it's going to be dark. I'd try and do a test if possible to see exactly how dark it's going to be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't think you're going to get a much faster lens than ƒ/1.4 without dropping a truckload of money. There's a Canon 24-70 ƒ/2.8, it's AU$1750 so it's not small change, but would probably be reasonable to rent if you want fast + zoom + autofocus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd definitely look at a good monitor, if you're having to judge focus off the camera's screen you're going to struggle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could look at hiring a Sony α7, they have better low-light performance. You'd need Sony glass to go with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would an on-camera light be possible? A bit more obtrusive, but you can at least do vox-pops or whatever and see what you're looking at.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-03-30T23:54:48.663" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21065" PostTypeId="2" ParentId="21055" CreationDate="2017-03-31T00:30:09.140" Score="2" Body="&lt;p&gt;You were close.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;if (numKeys &amp;gt; 1){&#xA;  t1 = key(1).time;&#xA;  t2 = key(2).time;&#xA;  v1 = [95, 95]; //or if it's 3d [95, 95, 95]&#xA;  slider = comp(&quot;INPUT&quot;).layer(&quot;CONTROL&quot;).effect(&quot;Zoom intensity&quot;)(&quot;Slider&quot;);&#xA;  v2 = [slider, slider]; // or [slider,slider,slider] if 3D&#xA;  linear((time, t1, t2, v1, v2);&#xA;} else {&#xA;  value&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You were right that the scale property requires 2 (or 3) dimensions. So you need to use arrays, which look like &lt;code&gt;[value1, value2]&lt;/code&gt;, or &lt;code&gt;[value1, value2, value3,… valueN]&lt;/code&gt; for as many members you want the array to have.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;On line 4 I assume you want it to be &lt;code&gt;95%&lt;/code&gt; not &lt;code&gt;0&lt;/code&gt;. I also changed it to an array.&lt;/li&gt;&#xA;&lt;li&gt;on line 5 I assign the slider value to a temporary variable and then put that in an array. You could do it in one line by repeating the &lt;code&gt;comp(&quot;INPUT&quot; … (Slider)&lt;/code&gt; phrase inside an array, but it would be really long and awkward. Alternatively you could use a point control if you wanted to be able to set the dimensions separately.&lt;/li&gt;&#xA;&lt;li&gt;on line 8 the &lt;code&gt;else&lt;/code&gt; without curly braces works, but it makes me nervous.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-03-31T00:30:09.140" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21066" PostTypeId="1" CreationDate="2017-03-31T05:04:49.407" Score="1" ViewCount="139" Body="&lt;p&gt;YouTube seems to limit the quality / resolution / data size of 360 videos that can be uploaded. If I want to serve higher quality content, what do I need to do?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Requirements:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Must work with mobile devices (phones, etc).&lt;/li&gt;&#xA;&lt;li&gt;I don't want to use youtube.com or facebook.com as the platform.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I will run my own Linux server, so I don't care what protocol would be used, either HTTP or something else more specific to video.&lt;/p&gt;&#xA;" OwnerUserId="18502" LastEditorUserId="18502" LastEditDate="2017-03-31T08:19:07.890" LastActivityDate="2017-05-28T21:03:13.957" Title="Use my own server to stream 360 videos" Tags="|software-recommendation|streaming|software|webvideos|360video|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21067" PostTypeId="1" CreationDate="2017-03-31T09:56:40.580" Score="1" ViewCount="11654" Body="&lt;p&gt;Say I have a bunch of keyframes on a clip. I want to delete all of these keyframes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Say the keyframes are limited to position, scale, and opacity. Then the quickest way I know of doing this is to &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select the clip.&lt;/li&gt;&#xA;&lt;li&gt;Click on the stopwatch icon next to &quot;Position&quot;.&lt;/li&gt;&#xA;&lt;li&gt;Warning pops up: &quot;This action will delete existing keyframes. Do you want to continue?&quot; Hit &quot;OK&quot;.&lt;/li&gt;&#xA;&lt;li&gt;Repeat Steps #2 and #3 for &quot;Scale&quot; and &quot;Opacity&quot;.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Is there a quicker way of doing this? I'd imagine there's some quicker shortcut.&lt;/p&gt;&#xA;" OwnerDisplayName="user11507" LastEditorDisplayName="user11507" LastEditDate="2017-04-01T05:12:47.723" LastActivityDate="2018-12-14T17:11:33.947" Title="Shortcut to remove all keyframes from a clip" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21068" PostTypeId="2" ParentId="21067" CreationDate="2017-03-31T10:54:33.860" Score="1" Body="&lt;p&gt;You can delete the keyframes quickly by selecting them in the Effect Controls panel. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GO3hM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GO3hM.png&quot; alt=&quot;Effect Panel with Keyframes&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the right side of the panel, you can see the mini timeline containing all the keyframes at their corresponding positions. First, double-click the bar at the bottom to make sure the entire clip area is visible. Then, you can drag a &lt;a href=&quot;http://www.computerhope.com/jargon/m/marquee.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;marquee selection&lt;/a&gt; with your mouse, or click anywhere in the keyframe area and press &lt;kbd&gt;CTRL&lt;/kbd&gt; + &lt;kbd&gt;A&lt;/kbd&gt; to select all keyframes. Then simply hit backspace on your keyboard to delete the selected keyframes. If you delete all the keyframes for an effect parameter, this will also reset this parameter to the last value it had before you activated the animation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that this does &lt;strong&gt;not&lt;/strong&gt; deactivate the animation for that parameter (i.e. the stopwatch icon stays highlighted). So if you change the parameter value after that, it will create a new keyframe at the current playhead position. Press the stopwatch icon to deactivate the animation for the corresponding parameter. If the parameter has no keyframes, the warning prompt will not pop up.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-03-31T10:54:33.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21070" PostTypeId="1" AcceptedAnswerId="21074" CreationDate="2017-03-31T15:27:21.707" Score="0" ViewCount="454" Body="&lt;p&gt;I'm new to this compression thing. I use following command with the latest ffmpeg version to compress and downscale my 1080p videos.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -af &quot;aresample=async=1:first_pts=0&quot; -c:v libx264 -crf 18 -preset medium -b:v 3000k -maxrate 3000k -bufsize 10000k -acodec aac -c:s copy -map 0 -vf scale=1280:-2 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;what i don't understand, two videos having same duration, only one audio stream. after compression one has filesize 2GB while other 5GB. Why so much difference?&lt;/p&gt;&#xA;" OwnerUserId="18506" LastEditorUserId="18506" LastEditDate="2017-04-01T07:36:04.817" LastActivityDate="2017-04-01T10:56:38.973" Title="ffmpeg - two videos having same video length but different file size" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21071" PostTypeId="1" AcceptedAnswerId="21072" CreationDate="2017-03-31T20:15:25.587" Score="0" ViewCount="598" Body="&lt;p&gt;I've imported an audio file into Lightworks.  The same problems happen whether the input file is in MP3 or WAV format.  Both original media files play correctly in &lt;code&gt;mplayer&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The audio in the file plays slightly lower than it should.  The first tone in the tune is E5; in LightWorks the tone emitted is between D5 and D#5.  This is a frequency ratio of between 1:1.0595 and 1:1.225.  The audio also runs slightly longer, but only by about a second for the entire 6m10s file.  This is a significantly smaller ratio of 1:1.0027.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While the audio is playing, there are frequent and regular mid-pitched clicking sounds audible, at a rate of roughly 10-20 per second.  They are louder when the audio is louder.  These clicking sounds are also audible during playback of video files which have associated audio track; again, the sounds are not audible during playback of the same file under &lt;code&gt;mplayer&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm running LightWorks on a non-Retina MacBook Pro (2012).  &lt;/p&gt;&#xA;" OwnerUserId="10756" LastActivityDate="2020-10-06T23:14:49.577" Title="Audio playing at a lower pitch than original file with clicking noise" Tags="|audio|lightworks|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21072" PostTypeId="2" ParentId="21071" CreationDate="2017-03-31T20:19:19.830" Score="0" Body="&lt;p&gt;Restarted LightWorks and both problems seem to have disappeared.&lt;/p&gt;&#xA;" OwnerUserId="10756" LastActivityDate="2017-03-31T20:19:19.830" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21073" PostTypeId="2" ParentId="20991" CreationDate="2017-04-01T01:03:44.373" Score="1" Body="&lt;p&gt;I would go with a wireless headset microphone like the Shure SM31. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Better than a body-affixed mic like a lav, to avoid clothing rustle, which will be severe&lt;/li&gt;&#xA;&lt;li&gt;Eliminates any concerns over pointing the mic at the person while they turn their head and move around on the dance floor&lt;/li&gt;&#xA;&lt;li&gt;Unobtrusive; this requires no boom operator, no stands&lt;/li&gt;&#xA;&lt;li&gt;Because it is close-mic'd you will not have to worry as much about reverberant spaces. Dance studios usually are terribly reverberant due to the mirrors and the hard floors.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="18511" LastActivityDate="2017-04-01T01:03:44.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21074" PostTypeId="2" ParentId="21070" CreationDate="2017-04-01T10:56:38.973" Score="4" Body="&lt;p&gt;The &lt;code&gt;-b:v&lt;/code&gt; doesn't have effect here since &lt;code&gt;crf&lt;/code&gt; was set. Drop crf for similar sizes. CRF varies the bitrate to do justice to the complexity of the video. It aims for keeping quality constant.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whether it's bitrate or CRF mode, the &lt;code&gt;maxrate&lt;/code&gt; and &lt;code&gt;bufsize&lt;/code&gt; do take effect.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-04-01T10:56:38.973" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21076" PostTypeId="1" CreationDate="2017-04-01T14:15:23.240" Score="2" ViewCount="134" Body="&lt;p&gt;I am trying to organize the videos on my external harddrive. I have a lot of home video shot with a hand held camera, and now I am using a GoPro 4 camera that I record 4K video with. It consumes a lot of data. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried find out how people organize and manage the raw video. Many of the clips from one day of recording (such as a motorcycle trip) is never edited. It just lays on the harddrive. But it consumes so much space when the bit rate of the 4K clips are something like 45-60 Mbps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it dumb of me to compress the video to a bit rate such as 15-20 Mbps. I am thinking of &quot;merging&quot; all the clips that the GoPro is creating to one MP4 file with h.264 codec and a bit rate like 15-20 Mbps. Is that good enough for later usage if I need to use the clip in a movie that I want to edit?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do you solve this? If I start to record every ride with my motorcycle it would consume to much space and I don't need that. Thats why I want to do this. But I don't want to be in a position where the clips are too bad for later usage. &lt;/p&gt;&#xA;" OwnerUserId="16277" LastActivityDate="2017-04-01T16:27:34.740" Title="Archiving raw video" Tags="|video|editing|encoding|compression|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21078" PostTypeId="2" ParentId="21076" CreationDate="2017-04-01T16:27:34.740" Score="3" Body="&lt;p&gt;The way you have worded the question makes it difficult to answer. I keep all mine in default format, because disk space is so cheap. I have a bunch of 2 terabyte drives to store it on. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to compress it you will lose quality, obviously, so you need to decide what quality you would be happy with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Totally up to you, but I'd encourage buying large disks - they are incredibly cheap these days.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2017-04-01T16:27:34.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21080" PostTypeId="2" ParentId="21054" CreationDate="2017-04-01T19:24:13.350" Score="2" Body="&lt;p&gt;You might have variable frame rate media. The time base looks pretty crazy for standard 24p media. I might hit it with &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt; (note the Windows GUI includes adware, but the CLI version does not) and post the output from that.&lt;/p&gt;&#xA;" OwnerUserId="18259" LastActivityDate="2017-04-01T19:24:13.350" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21081" PostTypeId="2" ParentId="20000" CreationDate="2017-04-01T19:27:07.047" Score="1" Body="&lt;p&gt;In Media Encoder you first need to select your destination format as Quicktime. From there you should be able to find ProRes 4444.&lt;/p&gt;&#xA;" OwnerUserId="18259" LastActivityDate="2017-04-01T19:27:07.047" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21082" PostTypeId="2" ParentId="19712" CreationDate="2017-04-02T14:25:32.093" Score="1" Body="&lt;p&gt;A big question is will your encoder use multithreading. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a dual E5-2697 v2 System, 48 Cores. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if I need to just encode video which does not or cannot, due to effects applied, use the GPU (cuda); then encoding in AE rather than PPro is much faster, as it can thread up to 32 cores, and render much faster. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise; go with a processor that can be overclocked to the highest level. If your encoder can only use 1 core, you want the fastest clock speed possible... not more cores. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-04-02T14:25:32.093" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21084" PostTypeId="1" AcceptedAnswerId="21540" CreationDate="2017-04-02T19:56:18.113" Score="12" ViewCount="20600" Body="&lt;p&gt;I am looking for a way to convert a 3d movie to a 2d movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found a reference on this forum. &#xA;&lt;a href=&quot;http://www.ffmpeg-archive.org/How-to-re-encode-3d-video-to-2d-video-td4676271.html&quot; rel=&quot;noreferrer&quot;&gt;http://www.ffmpeg-archive.org/How-to-re-encode-3d-video-to-2d-video-td4676271.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18523" LastActivityDate="2023-12-09T23:20:29.010" Title="How to convert a 3D movie to 2D using ffmpeg" Tags="|ffmpeg|3d|scale|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21085" PostTypeId="2" ParentId="21084" CreationDate="2017-04-02T19:56:18.113" Score="2" Body="&lt;p&gt;I found a reference on this forum. &#xA;&lt;a href=&quot;http://www.ffmpeg-archive.org/How-to-re-encode-3d-video-to-2d-video-td4676271.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.ffmpeg-archive.org/How-to-re-encode-3d-video-to-2d-video-td4676271.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i './a3dmovie.mp4'  -vf &quot;crop=w=iw/2:h=ih:x=0:y=0,scale=w=2*iw:h=ih,setdar=2&quot; -y ./a2dmovie.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The important part is the &lt;code&gt;-vf &quot;crop=w=iw/2:h=ih:x=0:y=0,scale=w=2*iw:h=ih,setdar=2&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It essentially halves the output and rescales as appropriate for the 3d video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found this is also useful to test and check the output&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -i ./some3dmovie.mp4  -vf &quot;crop=w=iw/2:h=ih:x=0:y=0,scale=w=2*iw:h=ih,setdar=2&quot; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can move the index to the front of the file as follows&#xA;&lt;code&gt;-movflags faststart&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="18523" LastActivityDate="2017-04-02T19:56:18.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21086" PostTypeId="1" CreationDate="2017-04-02T21:56:29.670" Score="2" ViewCount="8841" Body="&lt;p&gt;I have been trying to merge some mp4 files with different frame rates without success. When I merge the files, there always seems to be a problem with the output. Most of the time the audio is not in sync with the video. I tried to modify the frame rate of the videos (30 to 60 or 60 to 30), but it reduces the quality too much.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To merge the files i have been using all the solutions in this &lt;a href=&quot;https://stackoverflow.com/questions/7333232/concatenate-two-mp4-files-using-ffmpeg&quot;&gt;post&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;when trying this method :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;:: Create File List&#xA;   echo file file1.mp4 &amp;gt;  mylist.txt &#xA;   echo file file2.mp4 &amp;gt;&amp;gt; mylist.txt&#xA;   echo file file3.mp4 &amp;gt;&amp;gt; mylist.txt&#xA;:: Concatenate Files&#xA;   ffmpeg -f concat -i mylist.txt -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The audio and video aren't synch anymore and the video sometimes freezes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When trying the &quot;mp4 to mpg then merge&quot; :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i 1.mp4 -qscale 0 1.mpg&#xA; ffmpeg -i 2.mp4 -qscale 0 2.mpg&#xA; cat 1.mpg 2.mpg | ffmpeg -f mpeg -i - -qscale 0 -vcodec mpeg4 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I loose the audio on the 60 FPS files, at this point i thought it was an audio problem so i tried to &quot;unify&quot; the audio codec of all mp4 files like this :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -acodec SOME_AUDIO_TYPE -vcodec copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the merge occur without any errors but the audio is still unsynch &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So in my last attempt i tried to change the fps rate of my files like this :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i source.mp4 -r FPS -s RESOLUTION -c:v libx264 -b:v 3M -strict -2 -movflags faststart destination.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But the result reduces the quality too much.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is the ffprobe of the two files : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;libavutil      55. 57.100 / 55. 57.100&#xA;libavcodec     57. 88.100 / 57. 88.100&#xA;libavformat    57. 70.100 / 57. 70.100&#xA;libavdevice    57.  5.100 / 57.  5.100&#xA;libavfilter     6. 81.100 /  6. 81.100&#xA;libswscale      4.  5.100 /  4.  5.100&#xA;libswresample   2.  6.100 /  2.  6.100&#xA;libpostproc    54.  4.100 / 54.  4.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '1.mp4':&#xA;Metadata:&#xA;  major_brand     : isom&#xA;  minor_version   : 512&#xA;  compatible_brands: isomiso2avc1mp41&#xA;  encoder         : Lavf57.63.100&#xA;Duration: 00:00:32.00, start: 0.000000, bitrate: 3120 kb/s&#xA;  Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, bt709/bt709/iec61966-2-1), 1280x720, 2981 kb/s, 30 fps, 30 tbr, 90k tbn, 60 tbc (default)&#xA;  Metadata:&#xA;    handler_name    : VideoHandler&#xA;  Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 127 kb/s (default)&#xA;  Metadata:&#xA;    handler_name    : SoundHandler&#xA;&#xA;&#xA;&#xA;libavutil      55. 57.100 / 55. 57.100&#xA;libavcodec     57. 88.100 / 57. 88.100&#xA;libavformat    57. 70.100 / 57. 70.100&#xA;libavdevice    57.  5.100 / 57.  5.100&#xA;libavfilter     6. 81.100 /  6. 81.100&#xA;libswscale      4.  5.100 /  4.  5.100&#xA;libswresample   2.  6.100 /  2.  6.100&#xA;libpostproc    54.  4.100 / 54.  4.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '2.mp4':&#xA;Metadata:&#xA;  major_brand     : isom&#xA;  minor_version   : 512&#xA;  compatible_brands: isomiso2avc1mp41&#xA; encoder         : Lavf57.63.100&#xA;Duration: 00:00:23.01, start: 0.000000, bitrate: 2585 kb/s&#xA;  Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 1280x720, 2412 kb/s, 60 fps, 60 tbr, 15360 tbn, 120 tbc (default)&#xA;  Metadata:&#xA;    handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 159 kb/s (default)&#xA;  Metadata:&#xA;    handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When merging the 2 files with the first method this is what i get :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mp4 @ 0xbc5a340] Non-monotonous DTS in output stream 0:0; previous: 2872466, current: 843279; changing to 2872467. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0xbc5a340] Non-monotonous DTS in output stream 0:0; previous: 2872467, current: 843535; changing to 2872468. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0xbc5a340] Non-monotonous DTS in output stream 0:0; previous: 2872468, current: 843791; changing to 2872469. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0xbc5a340] Non-monotonous DTS in output stream 0:0; previous: 2872469, current: 844047; changing to 2872470. This may result in incorrect timestamps in the output file.&#xA;frame= 2340 fps=0.0 q=-1.0 Lsize=   19428kB time=00:00:50.53 bitrate=3149.8kbits/s speed=58.7x    &#xA;video:18420kB audio:949kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.304418%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there any solution to this problem?&lt;/p&gt;&#xA;" OwnerUserId="18529" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2022-06-29T21:20:40.170" Title="ffmpeg merge 60fps and 30 fps mp4 into one file" Tags="|video|ffmpeg|mp4|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21087" PostTypeId="1" CreationDate="2017-04-02T22:14:12.160" Score="1" ViewCount="137" Body="&lt;p&gt;I'm currently producing a top ten highlight video. It includes the names and stats of the players on it and I'm wondering how do I give the text some background so it looks more professional I'm trying to do something similar to this video &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/vNHL771YlHE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;I'm currently using windows movie maker live so will I have to switch editor thank you&lt;/p&gt;&#xA;" OwnerUserId="18530" LastActivityDate="2017-08-01T02:03:00.057" Title="how to put background or solid block of color on a video" Tags="|video|editing|visual-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21089" PostTypeId="2" ParentId="21087" CreationDate="2017-04-02T23:58:46.133" Score="1" Body="&lt;p&gt;I've not used Window Movie Maker, so I don't know it's abilities. However, the area where the text shows up is called a &quot;lower third&quot; because it's in the lower 3rd of the screen. If Movie Maker has the ability to add titles, it might have some named something like &quot;Lower 3rd&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it doesn't have such a title option already, you can easily create something like the one shown in the video above. Simply make an image in your favorite image editor that has the color bar you want in the lower 3rd area, and is transparent everywhere else. You'll need to save it with transparency, so a format like .png or .tif is best. Formats like .jpg don't save transparency.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have the color bar with transparency around it, you can layer it over your video. (I assume Movie Maker has some way to layer video?) Then put your text over the color bar. Or, if you don't have that ability, you can bake the text into it in your image editing app.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-04-02T23:58:46.133" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21091" PostTypeId="1" CreationDate="2017-04-02T11:47:57.010" Score="1" ViewCount="63" Body="&lt;p&gt;I have used Canon 5D Mark III and C100 and both cameras give a footage where motion is slightly flickering especially under sunlight (My teacher doesn't agree but I always see DSLRs and other cameras with -equal quality or price- have this problem). Shortly: I don't like that picture. It grosses me out. It looks like it lack fps but I know it's not about fps (which is generally 25).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you agree with me ? I don't see this with the old movies that were shot with 35mm cameras. Even Super 16 or Super 8 footage have no such an issue. Is it about monitors or the camera itself. I wonder if you see this problem, too. (I also used Nikon D3300, Canon 650D, and other cheaper cameras like these) What is the reason ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you agree with me then I will suggest no camera under Canon C300 (supposedly) or Black Magic's expensive ones can give me a really fine, smooth, cinematic look. &lt;/p&gt;&#xA;" OwnerUserId="10981" OwnerDisplayName="Emirhan Gürdal" LastEditorUserId="17390" LastEditDate="2018-09-13T15:22:48.210" LastActivityDate="2018-09-13T20:39:17.680" Title="HDSLR Movie Making Flickering Problem" Tags="|dslr|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21093" PostTypeId="1" AcceptedAnswerId="21094" CreationDate="2017-04-03T07:21:44.933" Score="0" ViewCount="375" Body="&lt;p&gt;With the same computer, same OS, and same version of ffmpeg and decoder, does ffmpeg always produce the same YUV file when decode a video file? By same I mean the YUV value is exactly the same.&lt;/p&gt;&#xA;" OwnerUserId="18532" LastActivityDate="2017-04-03T07:36:55.057" Title="Does ffmpeg always produce the same YUV file when decode a video file?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21094" PostTypeId="2" ParentId="21093" CreationDate="2017-04-03T07:36:55.057" Score="1" Body="&lt;p&gt;A search didn't produce any indication of non-deterministic video decoding for a &lt;code&gt;digital --&amp;gt; digital&lt;/code&gt; signal flow.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;In any case, you can first run :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -flags +bitexact out1.y4m&#xA;&#xA;ffmpeg -i in.mp4 -flags +bitexact out2.y4m&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And then run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i out1.y4m -v 0 -f md5 -&#xA;&#xA;ffmpeg -i out2.y4m -v 0 -f md5 -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Compare the MD5 values. Same here for H.264 input.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-04-03T07:36:55.057" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21098" PostTypeId="2" ParentId="21086" CreationDate="2017-04-03T21:12:17.413" Score="3" Body="&lt;p&gt;The audio will have to re-encoded with the same sampling rate, if it's different across the files. The video doesn't need to be re-encoded but it needs to have the same timescale.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:a aac -ar 48000 -ac 2 -c:v copy -video_track_timescale 600 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If the audio of a file is already 48 kHz stereo AAC-LC, then you can skip the audio encoding and just use &lt;code&gt;-c:a copy&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Run the concat with the processed files.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-04-03T21:12:17.413" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="21099" PostTypeId="2" ParentId="21091" CreationDate="2017-04-04T05:08:43.233" Score="1" Body="&lt;p&gt;There are a number of factors that could cause the effect you've described. It's unclear which you're talking about specifically, but here are the possible problems and their possible solutions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;Interlacing&lt;/strong&gt; - Video filmed for broadcast is split into 2 interlaced fields. For NTSC, this means that instead of ~30 full frames per second, a camera will first film even lines for ~1/60th of a second, then the odd lines for ~1/60th of a second. Or for PAL, instead of 25 full frames, they'll do even lines for 1/50th of a second, then odd lines for 1/50th of a second. The solution to this problem is to shoot progressive (full) frames.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Rolling Shutter&lt;/strong&gt; - DSLRs, cell phones, and other types of cameras use a CMOS sensor which scans the field of view from the upper left of the sensor horizontally, going down to the next row of sensor sites until it reaches the bottom left and starts over. This can cause artifacts when objects in the scene move faster than the scanning happens. (Or when the camera is moving.) The solution is to use a camera with a different type of sensor, such as a CCD sensor, or to apply a post process to fix the rolling shutter problem. Most video editing applications have a filter of some sort to correct this.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Shutter angle&lt;/strong&gt; - When shooting video, you can tell the camera how long you want the shutter to be open for each frame. If you're filming at 25 frames per second, then it can be opened as long as 1/25th of a second. But you can reduce it to, for example, 1/50th of a second while still only shooting 25 frames per second. This may be expressed as either a time value (such as 1/50th of a second) or as an angle, where 360° is the full frame time, 180° is half the frame time, etc.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;It's hard to tell from your description which problem you might be encountering, but you can try making changes for each. Canon cameras will allow you to film in either interlaced or progressive modes by simply changing a setting. Likewise with shutter angle. Fixing rolling shutter requires either a different camera or applying a post-process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Canon C300 has a CMOS sensor just like the 5D and the C100, so it's probably not the rolling-shutter issue.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-04-04T05:08:43.233" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21104" PostTypeId="1" CreationDate="2017-04-05T08:07:06.940" Score="0" ViewCount="314" Body="&lt;p&gt;I have a number of clips that I want to uniformly amplify and balance. These clips all include a voiceover from me, during different sessions.&lt;/p&gt;&#xA;" OwnerUserId="18559" LastActivityDate="2018-10-26T03:01:07.533" Title="How to balance audio across multiple clips?" Tags="|final-cut-pro-x|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21105" PostTypeId="1" CreationDate="2017-04-05T08:10:54.687" Score="5" ViewCount="160" Body="&lt;p&gt;I really don't know what is the best way to phrase this. But basically what I want is to have a single word on the screen, e.g. AUGUST. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So when the title first starts, all 6 letters will be constantly switching to random letters. Then slowly the letter in first position will stop, so in the example A will stop, then followed by U, G, U, S, T. Essentially it is a bunch of randomly changing letters in place that slowly reveal themselves to form a word. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am working with Final Cut Pro, have Motion but not sure how to use it. Any help is appreciated. Thanks! &lt;/p&gt;&#xA;" OwnerUserId="18560" LastActivityDate="2020-12-20T20:04:20.403" Title="How do I create a random word title?" Tags="|editing|final-cut-pro-x|transitions|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21106" PostTypeId="2" ParentId="14777" CreationDate="2017-04-05T12:56:26.367" Score="1" Body="&lt;p&gt;Better later than never.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since After Effects CC 2015.3 (13.8) you can send your comp to AME queue and render it immédiate with the recently used template.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;app.project.renderQueue.canQueueInAME --&gt; false is there is nothing to render in AE&#xA;app.project.renderQueue.queueInAME(false); --&gt; false = no render, true = render immedialty in AME&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe exemple : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;// Scripting support for Queue in AME.&#xA;// Requires Adobe Media Encoder 11.0.&#xA;{&#xA;    if (app.project.renderQueue.canQueueInAME == true)&#xA;    {&#xA;        // Send queued items to AME, but do not start rendering.&#xA;        app.project.renderQueue.queueInAME(false);&#xA;    }&#xA;    else {&#xA;        alert(&quot;There are no queued item in the Render Queue.&quot;);&#xA;    }&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My exemple of use :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var resultFile = new File(outputVideoPath + outputVideoName)&#xA;var renderQueue = app.project.renderQueue;&#xA;var render = renderQueue.items.add(comp);&#xA;render.outputModules[1].file = resultFile;&#xA;&#xA;app.project.renderQueue.queueInAME(true);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;More details : &lt;a href=&quot;https://forums.adobe.com/thread/2230567&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forums.adobe.com/thread/2230567&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18561" LastActivityDate="2017-04-05T12:56:26.367" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21108" PostTypeId="2" ParentId="21105" CreationDate="2017-04-05T16:57:57.317" Score="1" Body="&lt;p&gt;I found the answer to what I was looking for in this video, by accident. Leaving it here so others may find it in the future. &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/1IsIqoVboG8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was able to get all letters to generate at once by selecting Custom in the behaviour of how the letters were generated.&lt;/p&gt;&#xA;" OwnerUserId="18560" LastActivityDate="2017-04-05T16:57:57.317" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21110" PostTypeId="1" CreationDate="2017-04-05T21:17:05.043" Score="1" ViewCount="736" Body="&lt;p&gt;I have a variable frame rate video file. There is a delay of over 30 seconds between some frames. Can I transcode the video and reduce all delays between frames over a certain value, say 1 second, to that value? This would mean the maximum gap or delay between any 2 consecutive frames would be 1 second.&lt;/p&gt;&#xA;" OwnerUserId="18565" LastEditorUserId="14523" LastEditDate="2017-04-05T22:57:35.370" LastActivityDate="2017-04-06T12:40:10.813" Title="Can I reduce the delay between video frames?" Tags="|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21112" PostTypeId="2" ParentId="21110" CreationDate="2017-04-06T02:41:32.607" Score="3" Body="&lt;p&gt;It can be done with ffmpeg. I ended up using following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input-file -vf &quot;setpts=ifnot(isnan(PREV_OUTPTS)\,PREV_OUTPTS) + min(1000\,PTS - PREV_INPTS)&quot; -c:v libx264 -preset ultrafast -crf 0 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can print expressions like this, which is useful for testing:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input-file -vf &quot;setpts=print(PREV_INPTS)\;print(PTS - PREV_INPTS)\;print(ifnot(isnan(PREV_OUTPTS)\,PREV_OUTPTS) + min(1000\,PTS - PREV_INPTS))&quot; -c:v libx264 -preset ultrafast -crf 0 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Following documentation may be helpful:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#Expression-Evaluation&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-all.html#Expression-Evaluation&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#setpts&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-all.html#setpts&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18565" LastEditorUserId="18565" LastEditDate="2017-04-06T12:40:10.813" LastActivityDate="2017-04-06T12:40:10.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21113" PostTypeId="2" ParentId="17896" CreationDate="2017-04-06T17:52:55.503" Score="0" Body="&lt;p&gt;Without having source file sitting on the computer it's not possible, although if you have a drive shared and that path is mounted on your notebook like it was a drive, Media Encoder will recognize it and consider it as an actual drive thus making it possible. create watch folder with AME on your note book and once you have finish you save as you project in that folder and it'll start automatically (the sequence you want to export should be the only one at the first level of you project window in Premiere Pro, the other ones, if there are, should be stored in bin folder, otherwise they will prompt in AME). Enjoy ;)&lt;/p&gt;&#xA;" OwnerUserId="18571" LastActivityDate="2017-04-06T17:52:55.503" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21116" PostTypeId="1" AcceptedAnswerId="21117" CreationDate="2017-04-07T17:05:23.877" Score="1" ViewCount="2539" Body="&lt;p&gt;I am trying to add Asian language subtitles that are positioned at the top of the screen, not the bottom, to a YouTube video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a &lt;a href=&quot;https://support.google.com/youtube/answer/2734698?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;list of subtitle formats that YouTube supports&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using the program &lt;a href=&quot;http://www.nikse.dk/subtitleedit/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Subtitle Edit&lt;/a&gt;, I imported the &lt;code&gt;.sbv&lt;/code&gt; file that was automatically generated from my YouTube video, edited it, saved it, and then imported it back into YouTube.  The subtitles show up fine, but they are positioned at the bottom of the screen by default.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I next attempted to use the Subtitle Edit software to convert the subtitles to a format that supports positioning.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Subtitle Edit, I have everything set to UTF-8.  Then I tried:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;EBU STL (Asian fonts get turned into question marks)&lt;/li&gt;&#xA;&lt;li&gt;SCC (Asian text is stripped completely from the file)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I also tried making a WebVTT file and adding code like this: &lt;code&gt;00:00.000 --&amp;gt; 00:33.000 line:13 position:50% align:end size:100%&lt;/code&gt;, but I have been having trouble getting it to work even though the YouTube docs say that positioning is supported.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To experiment with WebVTT, I was using the &lt;a href=&quot;http://ronallo.com/demos/webvtt-cue-settings/&quot; rel=&quot;nofollow noreferrer&quot;&gt;code generator here&lt;/a&gt;, but as far as I can tell the &lt;code&gt;line&lt;/code&gt; option is not supported by YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So &lt;strong&gt;how can I change the position of subtitles on YouTube when using a language that requires Unicode formatting?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="5349" LastEditorUserId="5349" LastEditDate="2017-04-07T17:40:51.083" LastActivityDate="2017-04-08T22:31:51.303" Title="Is there a Youtube-supported subtitle format that does positioning + Unicode?" Tags="|youtube|subtitles|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21117" PostTypeId="2" ParentId="21116" CreationDate="2017-04-07T17:42:04.407" Score="1" Body="&lt;p&gt;Based on &lt;a href=&quot;https://medium.com/@mlockrey/how-to-change-the-positioning-of-captions-in-youtube-c75bb9ac0aff&quot; rel=&quot;nofollow noreferrer&quot;&gt;this Medium post by Michael Lockrey&lt;/a&gt;, I have been able to get positioning to work like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;TIMECODE align:left size:25% position:0% line:50%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Make sure there are NO spaces around the colon: &lt;code&gt;align: left&lt;/code&gt; will NOT work.  I lost an hour of my life because I didn't realize this.&lt;/p&gt;&#xA;" OwnerUserId="5349" LastEditorUserId="5349" LastEditDate="2017-04-07T18:45:30.547" LastActivityDate="2017-04-07T18:45:30.547" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21118" PostTypeId="2" ParentId="4850" CreationDate="2017-04-07T21:56:58.250" Score="0" Body="&lt;p&gt;For Skype and GarageBand, these steps worked for me:&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Setup&lt;/h3&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Install &lt;a href=&quot;https://github.com/mattingalls/Soundflower/releases&quot; rel=&quot;nofollow noreferrer&quot;&gt;the latest Soundflower release&lt;/a&gt;. You don't need the SoundflowerBed GUI app (which is retired), just the kernel module itself.&lt;/li&gt;&#xA;&lt;li&gt;Under &lt;code&gt;Applications &amp;gt; Utilities &amp;gt; Audio MIDI Setup&lt;/code&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create a new aggregate device, name it &lt;code&gt;Skype + Mic&lt;/code&gt; (or whatever descriptive name you want)&lt;/li&gt;&#xA;&lt;li&gt;Check the &lt;code&gt;Use&lt;/code&gt; box for your mic and &lt;code&gt;Soundflower (64ch)&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&lt;/li&gt;&#xA;&lt;li&gt;Under &lt;code&gt;Skype &amp;gt; Preferences &amp;gt; Audio/Video&lt;/code&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;code&gt;Microphone&lt;/code&gt;: Your mic&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;Ringing&lt;/code&gt;: &lt;code&gt;Soundflower (64ch)&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;Speakers&lt;/code&gt;: &lt;code&gt;Soundflower (64ch)&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&lt;/li&gt;&#xA;&lt;li&gt;In GarageBand&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;code&gt;Track menu&lt;/code&gt; &gt; &lt;code&gt;Enable Multitrack Recording&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Under &lt;code&gt;Preferences &amp;gt; Audio/MIDI&lt;/code&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;code&gt;Audio Output&lt;/code&gt;: Your headphones (make sure you use headphones and not speakers, to avoid feedback)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;Audio Input&lt;/code&gt;: &lt;code&gt;Skype + Mic&lt;/code&gt; (or whatever you named the aggregate device)&lt;/li&gt;&#xA;&lt;/ol&gt;&lt;/li&gt;&#xA;&lt;li&gt;Create two tracks:&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Name one of them &lt;code&gt;Mic&lt;/code&gt;, set &lt;code&gt;Input Source&lt;/code&gt; to &lt;code&gt;Mono 1 (Skype + Mic)&lt;/code&gt;, turn &lt;code&gt;Monitoring&lt;/code&gt; on, and click the small red &lt;code&gt;Record&lt;/code&gt; icon to enable recording&lt;/li&gt;&#xA;&lt;li&gt;Name the other one &lt;code&gt;Skype&lt;/code&gt;, set &lt;code&gt;Input Source&lt;/code&gt; to &lt;code&gt;Mono 3 (Skype + Mic)&lt;/code&gt;, turn &lt;code&gt;Monitoring&lt;/code&gt; on, and click the small red &lt;code&gt;Record&lt;/code&gt; icon to enable recording&lt;/li&gt;&#xA;&lt;li&gt;The red buttons above are the &lt;em&gt;small&lt;/em&gt; red buttons in the track itself, &lt;strong&gt;not&lt;/strong&gt; the big red button at the bottom that starts recording.&lt;/li&gt;&#xA;&lt;/ol&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&lt;/li&gt;&#xA;&lt;li&gt;Reboot the machine, just to be safe. It shouldn't be necessary, but it seems like it might be.&lt;/li&gt;&#xA;&lt;li&gt;Open Skype and make a call to the &lt;code&gt;echo123&lt;/code&gt; account, which is an official bot that they run to help people test things like this. Make sure you're connecting to that exact username, though, since it looks like there are a lot of phishing bots trying to impersonate it.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h3&gt;Troubleshooting&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;If it doesn't work, then double-check all of the settings, reboot, and try again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes Skype will revert to &lt;code&gt;Soundflower (2ch)&lt;/code&gt; when other settings change, so make sure it's set to &lt;code&gt;64ch&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes GarageBand needs to be restarted to recognize changes in input sources, but it's best to just restart the entire machine after the settings are correct.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Miscellaneous&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;Other DAWs and videoconferencing apps should follow a similar process. I'd recommend keeping the main system &lt;code&gt;Input&lt;/code&gt; and &lt;code&gt;Output&lt;/code&gt; at their defaults, and only change the input/output for the DAW and conference app.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(&lt;a href=&quot;https://iandunn.name/2017/04/04/recording-skype-and-a-mic-on-separate-tracks-in-garageband/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Source&lt;/a&gt;)&lt;/p&gt;&#xA;" OwnerUserId="1438" LastActivityDate="2017-04-07T21:56:58.250" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21119" PostTypeId="1" CreationDate="2017-04-08T02:24:38.537" Score="0" ViewCount="834" Body="&lt;p&gt;I'm not sure if this should be for photo or video, but let's say I see a part of a video that I would like to add a green background to, like chroma key, but the background isn't a solid color. Could I be able to select only the parts that I want to keep, and do this frame by frame? What I'm doing will only be about 3 seconds long. Is this possible with a program like After Effects, or some kind of Adobe program?&lt;/p&gt;&#xA;" OwnerUserId="18581" LastEditorUserId="18581" LastEditDate="2017-04-08T04:57:30.393" LastActivityDate="2017-04-08T04:57:30.393" Title="How can I take a part of a video and chroma key only the parts that I select?" Tags="|after-effects|chromakey|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21120" PostTypeId="2" ParentId="21119" CreationDate="2017-04-08T04:28:17.300" Score="2" Body="&lt;p&gt;This isn't chroma keying. If your subject isn't in front of a green screen (or blue) then you're only other alternative is to mask it, rotoscope to be precise. After Effects does have a tool called a rotobrush that let's you brush around the edges of your subject but it's not the most precise or clean mask.It will however make for a very quick rotoscope. If you go frame by frame, you can make a mask with the pen tool and key the shape each frame as you adjust it. 72 frames at 24 frames per second would give you three seconds like you're estimating. That's about 2 days of work for someone with a decent amount of experience with the pen tool. Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="18583" LastActivityDate="2017-04-08T04:28:17.300" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21121" PostTypeId="1" AcceptedAnswerId="21130" CreationDate="2017-04-08T06:41:05.270" Score="0" ViewCount="63" Body="&lt;p&gt;My customer sent me a video, where she wishes to hide all location specific objects. The video viewer should not recognize where the video was filmed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To blur out the location specific object, a human must decide what is privacy related and what not (it can't be done by algorithm). I wish to select an object (some tiny and some 50% of the resolution) and then some &quot;magic&quot; happens that this object is blurred in hole video. I wish to blur out only small portions of the video, that the result is enjoyable for our viewers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I search for a very easy solution. I am not a Professional Video guy. I use macOS Sierra, did some basic stuff with &lt;code&gt;ffmpeg&lt;/code&gt; and &lt;code&gt;QuicktTime player&lt;/code&gt; (Trimming). For me it's possible to buy an extra software for about 100$. I prefer a very simple way to do this.&lt;/p&gt;&#xA;" OwnerUserId="18584" LastActivityDate="2017-04-08T22:21:45.537" Title="privacy: the easiest way to blur out some location specific objects in a video" Tags="|video|video-editor|editing|mac|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21123" PostTypeId="1" CreationDate="2017-04-08T12:14:18.910" Score="2" ViewCount="852" Body="&lt;p&gt;I've got a track in Premiere that's composed of a lot of screen shot stills and there's an audio track that narrates across all of them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As the narrator talks, I want to illustrate what she's saying with FX from AfterEffects. For instance, when she mentions a specific region in the image, I want to animate in a highlight like so:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/K7QlZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/K7QlZ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I can't figure out how to sync the audio with the effects. If I replace the one still image with my AE comp, then I have no audio and I don't know when I need to apply the highlight. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only other alternative I can see is to finish the entire track and then import it, audio and video, into AE and apply the effects. But then I'll have a massive AE track with hundreds of layers, each one targeting a different part of the timeline, and that seems like it will be very hard to manage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a better workflow or technique that I could use here?&lt;/p&gt;&#xA;" OwnerUserId="2065" LastActivityDate="2017-04-08T13:55:09.973" Title="How can I sync audio in Premiere with a comp in After Effects?" Tags="|after-effects|premiere|compositing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21124" PostTypeId="1" CreationDate="2017-04-08T13:34:14.220" Score="1" ViewCount="21497" Body="&lt;p&gt;I've edited some footage on Adobe premiere and did some color correction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I applied some luts directly to my master clip to convert from Log to RGb, then I added a creative LUT in the &lt;code&gt;Lumetri Color&lt;/code&gt; panel of the adjustment layer I created.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once happy with the result I was having by playing my timeline, I selected the sequence, then did go to  &lt;code&gt;File -&amp;gt; Export -&amp;gt; Media&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I selected the whole sequence and set some settings(basically, youtube export in 4K).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I check the preview, everything was fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But once the video rendering is finished, the video looks like if I didn't applied any LUTs(not sure, but it's the feeling).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What could I have done wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is two screenshot:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Preview before export&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tkDhi.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tkDhi.jpg&quot; alt=&quot;preview before export&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Screenshot of the rendered result&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Mch5z.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Mch5z.jpg&quot; alt=&quot;screenshot rendered result&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's the first time I have such kind of results, I applied in the past many LUTs and all went fine. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What could be wrong?&lt;/p&gt;&#xA;" OwnerUserId="15879" LastActivityDate="2019-01-15T13:42:30.770" Title="Exported video doesn't look like the preview within Adobe Premiere" Tags="|premiere|export|lut|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21125" PostTypeId="2" ParentId="21123" CreationDate="2017-04-08T13:55:09.973" Score="3" Body="&lt;p&gt;Go to the in and out points of the clip and add edits (&lt;kbd&gt;ctrl / ⌘&lt;/kbd&gt;&lt;kbd&gt;k&lt;/kbd&gt;) to the audio track, so that the section of audio underneath the image clip you want to replace is separate (don't worry you can rejoin it later). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now select this audio and the image clip and replace with an After Effects comp (using the right-click menu and choosing &lt;code&gt;Replace with after Effects composition&lt;/code&gt;). The new AE comp will have the selected video and audio clips in it, so you can synch up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't want your audio to be chopped up, just &lt;kbd&gt;alt&lt;/kbd&gt;-click the audio that comes from the AE comp and delete it, then stretch the ends of the original audio clip to cover the gap, select the match-cut edit and hit delete and the added edit will disappear.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-04-08T13:55:09.973" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="21126" PostTypeId="2" ParentId="20514" CreationDate="2017-04-08T18:48:10.210" Score="0" Body="&lt;p&gt;I managed to get this working with ffmpeg using &lt;code&gt;prores&lt;/code&gt; of the lowest quality (&lt;code&gt;LT&lt;/code&gt;).  This does not answer the original question exactly-- I still am trying to find a way to do uncompressed 10-bit, or least high quality &lt;code&gt;prores&lt;/code&gt;-- but for now, this is the best I've been able to get.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -bm_v210 1 -rtbufsize 1500M -threads 4 -f decklink -i &quot;Intensity Pro 4K@20&quot; -c:a copy -c:v prores -profile:v 1 MYFILE.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2017-04-08T18:48:10.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21127" PostTypeId="2" ParentId="20514" CreationDate="2017-04-08T21:46:05.843" Score="1" Body="&lt;p&gt;Uncompressed Prores HQ at 10 bit will yield extremely large file sizes. Is there a reason you want prores? 4K 444 10bit uncompressed would be, in my opinion, better captured as an uncompressed AVI &quot;true uncompressed&quot;. Or, if your decklink allows it; Uncompressed MOV using the animation codec with Alpha turned off, only RGB. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also; you may want to use 2 SSDs and RAID 0 them; while your single SSD may be able to sustain 450mb/s, it is going to fill up rather quickly, and any hiccups will cause a stop in capture or drop in frames. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a fast HDD solution, I recommend an Intel 4 Channel SAS Raid Card; with 4 SSDs in RAID 0; which of course you would want to back up after capture (due to no fault loss protection using RAID 0.  I use this solution using (2) Intel Cards running (4) 1GB Crucial SSDs and I get sustained 2.4 GB/S read and write. So once your capture is finished, you can transfer all your files from your first RAID 0 to your 2nd RAID 0; in roughly 25 minutes - provided you filled the full 4 TB. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also a RAID SAS expansion card which allows more drives which can be helpful if you plan on running a RAID 5, 6 or 1, or other setup. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;As far as software is concerned;&lt;/strong&gt; FCP would interface with the Intensity Pro; as would Premiere Pro (recommended) I also believe that Blackmagic has a free download package that allows for captures in various (non-prores) codecs. But uncompressed would be available. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd only close with I see no reason to tie yourself to prores unless the post house you're working with or client demands it. AVI or MOV as animation when dealing with 444 is by far the way to go. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-04-08T21:46:05.843" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21128" PostTypeId="2" ParentId="18131" CreationDate="2017-04-08T21:51:43.247" Score="1" Body="&lt;p&gt;If you can afford to buy a used BlackMagic H.264 ProCoder, it's a fantastic device, allowing you to input either a HDMI or HD-SDI signal and push to either RTMP or HTTP via h.264 -- with full control over bitrate, along with multiple streams (which the user's computer would chose based on their connection speed). So you could simultaneously push a medium and high quality stream in real time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The device also does all the encoding in the box; putting no strain on your CPU or GPU; which allows you to run it on a fairly simple system even at very high quality streams. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need a different input than what the pro-coder has; BM has a full line of adapter units (composite to HD-SDI; etc) to get what ever your source is; to whatever your input needs are. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a workhorse. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly; combine the box with livestream; a pro account (about $60 a month) and you are all set. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-04-08T21:51:43.247" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21129" PostTypeId="2" ParentId="21124" CreationDate="2017-04-08T22:01:58.267" Score="-1" Body="&lt;p&gt;There could be a lot of reasons:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.)  Your GPU settings; are they set to global for color for both VLC and PPro?&#xA;2.)  Have you opened Bridge; and used the the Edit - &gt; Color Settings - Synchronize Button - and make sure you are using Web Standard sRGB?&#xA;3.)  Unfortunately; there is no way; and trust me it took me a long time to figure this problem out; to guarantee that what you see is what they will see (your end user); due the fact that:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Broswers, such as chrome; Ignore embedded color profiles. &lt;/li&gt;&#xA;&lt;li&gt;Color Settings via GPU; and Video Color Settings; in your GPU control panel; may be adjusted differently; causing your video to appear differently. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;4.)  Lastly; in VLC, which is what you are using to preview your output, ensure all your filters are turned off under preferences... Image Control Effects, Saturation, Hue, Etc. There may be something turned on there. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You want to make sure:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bridge is synced across all Adobe programs;  GPU settings (assuming NVidia) is set to have programs use a specific &quot;profile&quot; which matches&quot;.  Having &quot;Let the program decided&quot; will provide mixed results based on various players. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Understand lastly; that the file you have output is compressed; and the player; whatever player it is; may simply not interpret the colormetrics the same; it may ignore color profiles; it may use it's own standard sRGB, or Adobe RGB, profile by default, it's really a crapshoot. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's very much like broadcasting a &quot;perfect signal&quot; across cable. The home user - and their TV; can be set up a million different ways; Cinema Mode, Dynamic, Power Saver, Night Time; thus-- what you see going out, is unlikely what the viewer sees on their display. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Annoying. I know. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-04-08T22:01:58.267" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="21130" PostTypeId="2" ParentId="21121" CreationDate="2017-04-08T22:21:45.537" Score="3" Body="&lt;p&gt;You are going to need to use; preferably After Effects to do this. You could also do it in Premiere; but AE is the way to go, because you can use the tracking feature to auto follow objects; combined with a custom mask (with a blur filter applied). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other than that your options will be limited. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe Adobe CC allows a 30 day free trial; and it's monthly in terms of cost, you could always try it and see if it suits your needs, and go from there). &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-04-08T22:21:45.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21131" PostTypeId="2" ParentId="21116" CreationDate="2017-04-08T22:31:51.303" Score="2" Body="&lt;p&gt;Google Subtitle Workshop... it's an outdated program, but allows for full flexibility in terms of subtitles, size, language, position, lines, size, color, position, etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's an old program, but it still works, and it can be combined with foot pedals- or a control surface, if you have them, to make transcribing faster. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-04-08T22:31:51.303" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21132" PostTypeId="2" ParentId="21124" CreationDate="2017-04-09T05:27:20.793" Score="0" Body="&lt;p&gt;I finally found the solution. I did put my LUT in the premiere folder, but it seems it was also required to put them in the Adobe media encoder. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was thinking it would reference them, but doesn't seems to be the case &lt;/p&gt;&#xA;" OwnerUserId="15879" LastActivityDate="2017-04-09T05:27:20.793" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21133" PostTypeId="1" CreationDate="2017-04-09T06:01:26.340" Score="0" ViewCount="973" Body="&lt;p&gt;I'm trying to make life a bit easier by generating an XML file to quickly import a number of image sequences into a Premiere Pro project (PPro 2017.0.2 in case it matters).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It almost works - but when I import this XML file into premiere, it imports the first file in the sequence as a Still Image rather than an image sequence.&#xA;The path to the file is correct, and the first frame does show up just fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It feels like it's only a small change that's required, but I have not been able to find any information on it anywhere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since the (sample) XML is very short, I also included it here (the real file has a few hundred clips, they all behave the same way).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried manually importing an image sequence into premiere and exporting the result as FinalCut XML, but if I re-import that file, it also gets imported as a Still Image, so no help there.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;?xml version=&quot;1.0&quot; encoding=&quot;UTF-8&quot;?&amp;gt;  &#xA;&amp;lt;xmeml version=&quot;4&quot;&amp;gt;  &#xA;  &amp;lt;bin&amp;gt;  &#xA;    &amp;lt;name&amp;gt;mpf_07 Images&amp;lt;/name&amp;gt;  &#xA;    &amp;lt;children&amp;gt;  &#xA;      &amp;lt;bin&amp;gt;  &#xA;        &amp;lt;name&amp;gt;Preview&amp;lt;/name&amp;gt;  &#xA;        &amp;lt;children&amp;gt;  &#xA;          &amp;lt;clip id=&quot;mpf_07_01&quot;&amp;gt;  &#xA;            &amp;lt;duration&amp;gt;229&amp;lt;/duration&amp;gt;  &#xA;            &amp;lt;in&amp;gt;0&amp;lt;/in&amp;gt;  &#xA;            &amp;lt;out&amp;gt;229&amp;lt;/out&amp;gt;  &#xA;            &amp;lt;name&amp;gt;mpf_07_01&amp;lt;/name&amp;gt;  &#xA;            &amp;lt;media&amp;gt;  &#xA;              &amp;lt;video&amp;gt;  &#xA;                &amp;lt;track&amp;gt;  &#xA;                  &amp;lt;clipitem id=&quot;clipitem-Preview-mpf_07_01&quot;&amp;gt;  &#xA;                    &amp;lt;name&amp;gt;clipitem-Preview-mpf_07_01&amp;lt;/name&amp;gt;  &#xA;                    &amp;lt;file id=&quot;file-Preview-mpf_07_01&quot;&amp;gt;  &#xA;                      &amp;lt;name /&amp;gt;  &#xA;                      &amp;lt;pathurl&amp;gt;E:\mpf_07_01.0101.jpg&amp;lt;/pathurl&amp;gt;  &#xA;                      &amp;lt;rate&amp;gt;  &#xA;                        &amp;lt;timebase&amp;gt;24&amp;lt;/timebase&amp;gt;  &#xA;                        &amp;lt;NTSC&amp;gt;FALSE&amp;lt;/NTSC&amp;gt;  &#xA;                      &amp;lt;/rate&amp;gt;  &#xA;                      &amp;lt;duration&amp;gt;320&amp;lt;/duration&amp;gt;  &#xA;                      &amp;lt;timecode&amp;gt;  &#xA;                        &amp;lt;rate&amp;gt;  &#xA;                          &amp;lt;timebase&amp;gt;24&amp;lt;/timebase&amp;gt;  &#xA;                          &amp;lt;ntsc&amp;gt;FALSE&amp;lt;/ntsc&amp;gt;  &#xA;                        &amp;lt;/rate&amp;gt;  &#xA;                        &amp;lt;string&amp;gt;00:00:00:00&amp;lt;/string&amp;gt;  &#xA;                        &amp;lt;frame&amp;gt;0&amp;lt;/frame&amp;gt;  &#xA;                        &amp;lt;displayformat&amp;gt;NDF&amp;lt;/displayformat&amp;gt;  &#xA;                        &amp;lt;reel&amp;gt;  &#xA;                          &amp;lt;name /&amp;gt;  &#xA;                        &amp;lt;/reel&amp;gt;  &#xA;                      &amp;lt;/timecode&amp;gt;  &#xA;                      &amp;lt;media&amp;gt;  &#xA;                        &amp;lt;video&amp;gt;  &#xA;                          &amp;lt;samplecharacteristics&amp;gt;  &#xA;                            &amp;lt;width&amp;gt;2048&amp;lt;/width&amp;gt;  &#xA;                            &amp;lt;height&amp;gt;1126&amp;lt;/height&amp;gt;  &#xA;                          &amp;lt;/samplecharacteristics&amp;gt;  &#xA;                        &amp;lt;/video&amp;gt;  &#xA;                      &amp;lt;/media&amp;gt;  &#xA;                    &amp;lt;/file&amp;gt;  &#xA;                  &amp;lt;/clipitem&amp;gt;  &#xA;                &amp;lt;/track&amp;gt;  &#xA;              &amp;lt;/video&amp;gt;  &#xA;            &amp;lt;/media&amp;gt;  &#xA;            &amp;lt;rate&amp;gt;  &#xA;              &amp;lt;timebase&amp;gt;24&amp;lt;/timebase&amp;gt;  &#xA;              &amp;lt;NTSC&amp;gt;FALSE&amp;lt;/NTSC&amp;gt;  &#xA;            &amp;lt;/rate&amp;gt;  &#xA;          &amp;lt;/clip&amp;gt;  &#xA;        &amp;lt;/children&amp;gt;  &#xA;      &amp;lt;/bin&amp;gt;  &#xA;    &amp;lt;/children&amp;gt;  &#xA;  &amp;lt;/bin&amp;gt;  &#xA;&amp;lt;/xmeml&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To clarify, this is the setting when using the Premiere UI to set it up, everything else works except Premiere doesn't see the Bin as an image sequence, but rather as a still image:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/0XiUm.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0XiUm.jpg&quot; alt=&quot;To clarify, this is the setting when using the Premiere UI to set it up&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18589" LastActivityDate="2018-05-11T12:16:05.347" Title="Importing XML into Premiere Pro - numbered stills / image sequence" Tags="|premiere|automation|xml|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21134" PostTypeId="2" ParentId="15005" CreationDate="2017-04-09T10:08:47.473" Score="-1" Body="&lt;p&gt;If I wanted to upload it to YouTube, you neeed convert ts video to webm mp4 first,  total video converter is a converter transcoding .. avhcd mts &lt;a href=&quot;http://www.convertmxffiles.com/tsconverter.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;ts file&lt;/a&gt; to mp4 with raw quality.  &lt;/p&gt;&#xA;" OwnerUserId="18591" LastActivityDate="2017-04-09T10:08:47.473" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21136" PostTypeId="2" ParentId="20725" CreationDate="2017-04-09T18:21:08.230" Score="0" Body="&lt;p&gt;I figured out how to do it (I use version 17.02.05, and the steps from Pavols answer are employed).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So suppose I have a video track and an audio track, and I want just the portion, say from 1min to 5min extracted. As written mark those positions and do (in both tracks!) the &lt;em&gt;Split At Playhead&lt;/em&gt; (right click when the cursor is into the track). Then select the portion before (or behind) the marker and delete it. If it is at the end, and nothing else is there, the video and all tracks are shrinked automatically. But if you do this for a portion before the position, there is still some &quot;empty space&quot;, i.e. if you export the video you see a black screen (from 0min to 1min in the above example). But when I finally right click in the tracks on these empty parts and click remove, and do this for every track, then after this everything is pushed to the start, so that the video starts at 0min as wanted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Don't know if there is any shorter way, but this is what I was looking for.&lt;/p&gt;&#xA;" OwnerUserId="18120" LastActivityDate="2017-04-09T18:21:08.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21137" PostTypeId="1" AcceptedAnswerId="21140" CreationDate="2017-04-09T19:03:36.040" Score="0" ViewCount="786" Body="&lt;p&gt;I have an issue to where the sequence preview resolution sometimes changes when certain objects are in play. My settings are all correct and match, but for some odd reason, it still comes out wrong. Here are some examples of that:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Xmwpf.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Xmwpf.jpg&quot; alt=&quot;1-3&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/gvGm9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gvGm9.png&quot; alt=&quot;4-6&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have an answer to my issue?&lt;/p&gt;&#xA;" OwnerUserId="18594" LastEditorUserId="14523" LastEditDate="2017-04-14T00:05:47.027" LastActivityDate="2017-04-14T00:05:47.027" Title="Premiere pro cc 2014 Rendered out video not matching sequence, as well as sequence constantly changing" Tags="|premiere|pro|cc-2014|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21138" PostTypeId="2" ParentId="21137" CreationDate="2017-04-10T04:54:57.440" Score="0" Body="&lt;p&gt;I'd say you may need to do nested compositions; and pre-renders with that many layers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The honest truth is there are bugs in premiere... in terms of if you have a lot of layers; with specific opacity settings, or filters applied to them; in particular 3rd party filters; they simply don't always play well together. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thats why AfterEffects tends to be a more useful platform for projects using lots of layers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;They are idiosynchosies... they don't make sense... in terms of what causes them. They might preview correct within premiere, but output with issues. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The fix is typically to either move to AE, or pre-comp grouped layers to reduce the total layers/effects. Render pre-comps of layers with effects applied, then use the new file as the source with no filter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, as stated above, make sure you are interpolating your footage to the same standard, progressive or interlaced. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-04-10T04:54:57.440" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21139" PostTypeId="2" ParentId="20880" CreationDate="2017-04-10T05:03:36.600" Score="1" Body="&lt;p&gt;If you cannot get your video to a wifi uplink; you will eat through your data very fast on your phone. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I speak from experience. Each carrier tower (a cel phone on a carrier only connects to a single tower at any given moment), is a standard T1 line. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One phone will not be enough, if call volume spikes; your uplink bitrate will be bottlenecked by your carrier. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The solution; if this is a serious project, is to build a streaming cel phone package. You want to use rather than phones, the 4G hotspots, which have both USB and wifi connectivity. Although phones work too.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you want a product like the Cradlebridge Bandsteering Router, powered off a portable 12v battery source. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Cradlebridge Routers can use multiple network connections; my unit has 2 USB and 4 CAT5 + Wifi, which it can then, use multiple uplinks; steer the data, and make sure it gets there in the correct order at the right time. Literally, switching between your phones from say ATT, Verizon, Cingular, Sprint, etc; in case you get sqeezed off one or more of your uplinks. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;At best-- best... you can expect a consistent 150-200kbps uplink on a single cel line over the LONG run. Thats not to say small uploads and videos don't go up in a snap, but a long run game... you will get squeezed out bandwidth wise. Again, doing a 20 second speed test is not going to give you realistic results for long uploads. The tower on one carrier will allow a burst, fast upload, for say 30 seconds, but then watch it drop. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you tether 4 carriers together, each carrier will be working of a separate tower... and then use LiveStream to broadcast. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's harder, and more frustrating, than you would think. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, do the math, on a single cel line at 200kbps x 1 hour... how many GB will you go through? Unless your data is unlimited. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-04-10T05:03:36.600" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21140" PostTypeId="2" ParentId="21137" CreationDate="2017-04-10T05:09:49.883" Score="0" Body="&lt;p&gt;I noticed a couple of issues on your sequence settings. Your pixel aspect ratio should be square pixels. You also shouldn't have interlaced fields. They should be progressive to match your output settings. If you are using a higher resolution image, you need to scale it down under motion in effects settings. I'm pretty sure that's what's happening.&lt;/p&gt;&#xA;" OwnerUserId="18583" LastActivityDate="2017-04-10T05:09:49.883" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21141" PostTypeId="2" ParentId="21105" CreationDate="2017-04-10T05:24:24.530" Score="1" Body="&lt;p&gt;Just wanted to add for anyone on After Effects you can very quickly and easily add a character offset.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZCy0j.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZCy0j.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Y8PBY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Y8PBY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18583" LastActivityDate="2017-04-10T05:24:24.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21142" PostTypeId="2" ParentId="20593" CreationDate="2017-04-10T05:42:09.197" Score="1" Body="&lt;p&gt;Yes, Jim, that's a proven approach.  You may find that if you illuminate the ceiling a little more intensely to one side and back a bit you can get a very pleasant subtle modeling on yout features.  You can use the bounce technique to get video-worthy and natural looking soft lighting out of multiple hard sources like PARs or LEDs all pointed up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If possible you may like to use a single small hard source as a &quot;hair light,&quot; just a bit back of directly overhead, to help kick you out from your background.  Getting controlled background lighting is another potential benefit of bounce lighting, especially if you're in a relatively small room.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And if your ceiling or wall is colored you'll want to look carefully at your color balance lest you pick up a tint.  Something like Mr. Kennedy's white card may be required.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One other tip I've heard referred to as &quot;the Ray Walston technique&quot; after a TV actor who had notoriously sensitive eyes: Lighting-induced eye strain has more to do with contrast than with absolute intensity... so if the bright lights are hurting your eyes, rather than turn them down, turn the house lighting behind them behind them up!&lt;/p&gt;&#xA;" OwnerUserId="18460" LastActivityDate="2017-04-10T05:42:09.197" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21143" PostTypeId="2" ParentId="15026" CreationDate="2017-04-10T05:47:56.693" Score="1" Body="&lt;p&gt;I've seen folks get very nice looks in close quarters using white spherical &quot;Chinese lantern&quot; diffusers.&lt;/p&gt;&#xA;" OwnerUserId="18460" LastActivityDate="2017-04-10T05:47:56.693" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21144" PostTypeId="2" ParentId="20155" CreationDate="2017-04-10T05:52:35.230" Score="0" Body="&lt;p&gt;How about a bedsheet over the outside of the window?  Possibly along with some correcting gel to bring the color temperature closer to any other sources you want to use inside?&lt;/p&gt;&#xA;" OwnerUserId="18460" LastActivityDate="2017-04-10T05:52:35.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21145" PostTypeId="2" ParentId="20150" CreationDate="2017-04-10T06:02:11.907" Score="1" Body="&lt;p&gt;That sort of &quot;product shot&quot; is frequently done by firing your lights through a diffusing &quot;tent&quot; that surrounds the subject.  You're looking to get good &quot;modeling&quot; of the shape and detail without specular reflection.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cars are frequently lit the same way, but with a bigger tent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an example, although you can rig your own cheaper: &lt;a href=&quot;https://www.bhphotovideo.com/c/product/1123911-REG/surface_light_ltd_68056998365_pop_up_photo_studio.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.bhphotovideo.com/c/product/1123911-REG/surface_light_ltd_68056998365_pop_up_photo_studio.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18460" LastActivityDate="2017-04-10T06:02:11.907" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21150" PostTypeId="2" ParentId="20150" CreationDate="2017-04-10T16:58:47.587" Score="0" Body="&lt;p&gt;You definitely want to diffuse the light. Sounds like you have enough, and well-distributed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's not clear what you need from the video, though. If you need a lot of detail, fairly close-up, consider a telephoto macro lens.&lt;/p&gt;&#xA;" OwnerUserId="18603" LastActivityDate="2017-04-10T16:58:47.587" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21151" PostTypeId="1" AcceptedAnswerId="21158" CreationDate="2017-04-10T17:30:44.733" Score="0" ViewCount="490" Body="&lt;p&gt;Just learned about ffprobe yesterday, and I was able, after much googling, to assemble a command line BAT file to get the meta info I want.  Then, it turns out that it only works about half the time.  After some experimentation, it seems that it's working only on MKV files.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if there's a bug going on here, or if my command line needs improvement.  Maybe ffProbe only works on certain files, but I was assuming it would work on most popular vid formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using AutoHotKey to create a BAT file, which I then launch.  So we really just need to look at the BAT file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's my BAT script...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\PROGRA~1\ffmpeg\bin\ffprobe.exe -pretty -select_streams v \&#xA;-show_entries \&#xA;format=filename,size,duration,bit_rate:stream=codec_name,codec_type,bit_rate,width,height,display_aspect_ratio \&#xA;-of ini \&#xA;&quot;S:\myTVshows\SampleName - S01E01 - SampleTitle.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After this is run, the console outputs only the &lt;code&gt;#ffprobe output&lt;/code&gt; header and then hangs.  If it runs on an mkv file, then it instantly outputs all the data I want, as expected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: when I add &lt;code&gt;-report&lt;/code&gt; as a parameter, I get the report log file, of course... but I also get the output I want (instead of it hanging as before).  I wonder if it means this is a bug.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Notes&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I reduced the path for ffprobe to 8.3 format so I wouldn't have to worry about quotes around that part.&lt;/li&gt;&#xA;&lt;li&gt;I'm working with a very current install of ffmpeg/ffprobe (ffmpeg-20170404-1229007-win64-static).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Below is the console outupt...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version N-85266-g1229007 Copyright (c) 2007-2017 the FFmpeg developers&#xA;built with gcc 6.3.0 (GCC)&#xA;configuration: --enable-gpl --enable-version3 --enable-cuda --enable-cuvid --e&#xA;nable-d3d11va --enable-dxva2 --enable-libmfx --enable-nvenc --enable-avisynth --&#xA;enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv&#xA;--enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-li&#xA;bfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug -&#xA;-enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enabl&#xA;e-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-li&#xA;bsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolam&#xA;e --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx&#xA;--enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable&#xA;-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-zlib&#xA;libavutil      55. 59.100 / 55. 59.100&#xA;libavcodec     57. 90.100 / 57. 90.100&#xA;libavformat    57. 72.100 / 57. 72.100&#xA;libavdevice    57.  7.100 / 57.  7.100&#xA;libavfilter     6. 83.100 /  6. 83.100&#xA;libswscale      4.  7.100 /  4.  7.100&#xA;libswresample   2.  8.100 /  2.  8.100&#xA;libpostproc    54.  6.100 / 54.  6.100&#xA;# ffprobe output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/ay1xg2q99uya1jr/ffprobe-20170411-105930.log?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;Link to Log file when '-report' param was added&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18602" LastEditorUserId="18602" LastEditDate="2017-04-11T15:44:51.457" LastActivityDate="2017-04-12T04:47:22.127" Title="My ffProbe script only seems to work with MKV files" Tags="|video|ffmpeg|software|windows|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="21154" PostTypeId="1" AcceptedAnswerId="21157" CreationDate="2017-04-11T13:12:32.953" Score="0" ViewCount="658" Body="&lt;p&gt;I'm a beginner with Premiere CC and following &lt;a href=&quot;https://youtu.be/xgfwu-kABSU?t=3m55s&quot; rel=&quot;nofollow noreferrer&quot;&gt;a tutorial&lt;/a&gt; that strongly recommends creating sequence settings to match one's clip settings. This seems reasonable enough, but I can't find any suitable presets to match my clip settings. I was not the one who shot the footage, so I don't know what type of camera was used. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;ARRI is the default, it seems - should I use that? Oh wait, the footage I have is in 1280x720 resolution, but the only presets available for ARRI are in 1920x1080. Do I need to start looking for ways to upscale the video to match the sequence preset? Should I create a new preset that matches my clip settings (if that is possible)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I should note that my final video must be 1920x1080. I can decide the frame rate, but I prefer 30fps over 29.97 because it will be easier to create animated content for if that needs to be added.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't yet understand enough about Premiere to know whether having a sequence with different dimensions or FPS than the project is a problem, or whether Premiere just handles the conversions automatically - just to give you an idea of where my knowledge level is at.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Clip properties:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Dimensions 1280 x 720&lt;/li&gt;&#xA;&lt;li&gt;Frame rate 29.97&lt;/li&gt;&#xA;&lt;li&gt;Source audio 48000 Hz&lt;/li&gt;&#xA;&lt;li&gt;Project audio 48000 Hz - 32bit&lt;/li&gt;&#xA;&lt;li&gt;Pixel aspect ratio 1.0&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for any help getting unstuck here.&lt;/p&gt;&#xA;" OwnerUserId="18615" LastEditorUserId="14523" LastEditDate="2017-04-14T00:06:05.447" LastActivityDate="2017-04-14T00:06:05.447" Title="Premiere: None of the sequence presets match my clip settings. What to do?" Tags="|premiere|conversion|framerate|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21155" PostTypeId="2" ParentId="7148" CreationDate="2017-04-11T18:51:56.777" Score="-1" Body="&lt;p&gt;These days there are a few IRD's and STB's that can input RTMP/HLS and output on HDMI. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The popular Amino A140 can do HLS to HDMI. &#xA;For a more pro solution the &lt;a href=&quot;https://www.advanceddigital.ca/products/receivers_decoders/novus-rd_h264_and_mpeg2_hd_sd_decoder/&quot; rel=&quot;nofollow noreferrer&quot;&gt;NOVUS-RD&lt;/a&gt; can do RTMP/HLS to SDI, HDMI, and/or CVBS.&lt;/p&gt;&#xA;" OwnerUserId="18620" LastActivityDate="2017-04-11T18:51:56.777" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21156" PostTypeId="1" CreationDate="2017-04-11T19:35:19.560" Score="2" ViewCount="4423" Body="&lt;p&gt;Platform: x79 i7 3970x @4.3GHz 64gb, GTX 1060 6gb, Windows 10.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a bunch of jpegs I need to scale and encode.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i file.list -vf scale=1920:1440 -c:v h264 -b:v 5M name.mp4&#xA;ffmpeg -f concat -safe 0 -i file.list -vf scale=1920:1440 -c:v h264_nvenc -b:v 5M name.mp4  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;They both run at the almost the same FPS, libx264 ~10, nvenc ~8.5. &#xA;The only difference is cpu usage, libx264 is around 25% (regardless of the -threads setting) and nvenc around 8%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried different settings but nothing changed appreciably.&#xA;I'd love to hear suggestions to speed it up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All testing is done on a NVM with 3GB/s read speed to exclude possible drive performance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFPMG details:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-85266-g1229007 Copyright (c) 2000-2017 the FFmpeg developers&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;built with gcc 6.3.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --enable-cuda --enable-cuvid --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-nvenc --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-zlib&#xA;  libavutil      55. 59.100 / 55. 59.100&#xA;  libavcodec     57. 90.100 / 57. 90.100&#xA;  libavformat    57. 72.100 / 57. 72.100&#xA;  libavdevice    57.  7.100 / 57.  7.100&#xA;  libavfilter     6. 83.100 /  6. 83.100&#xA;  libswscale      4.  7.100 /  4.  7.100&#xA;  libswresample   2.  8.100 /  2.  8.100&#xA;  libpostproc    54.  6.100 / 54.  6.100&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="18619" LastActivityDate="2017-04-11T19:35:19.560" Title="Slow ffmpeg h264 performance software and NVENC" Tags="|ffmpeg|nvenc|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21157" PostTypeId="2" ParentId="21154" CreationDate="2017-04-12T02:03:30.560" Score="0" Body="&lt;p&gt;Those are just presets. Just select one. When you drag a clip into the timeline, Adobe will recognize the clip has different settings that don't match. Just select the option to automatically change the settings for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: And you can't magically change smaller resolutions to higher resolutions without suffering some pixelation. Is there a reason you have to upscale to 1080? Devices nowadays automatically adjust to different resolutions. No need to mess with upscaling. Just follow my steps above.&lt;/p&gt;&#xA;" OwnerUserId="18583" LastActivityDate="2017-04-12T02:03:30.560" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21158" PostTypeId="2" ParentId="21151" CreationDate="2017-04-12T04:47:22.127" Score="0" Body="&lt;p&gt;Since the implementation of the new decode API, ffprobe's readout for MP4 files takes much longer to be printed, and depends on the duration of the video. Switch to a version earlier than April 2017.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-04-12T04:47:22.127" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21159" PostTypeId="1" CreationDate="2017-04-12T04:55:57.343" Score="4" ViewCount="7110" Body="&lt;p&gt;I am doing an animation, and if I do things the easy way, fast moving objects end up jerking across the screen, rather than appearing to move smoothly – in other words, I have a temporal aliasing problem. One possible solution is to oversample the animation and blend the frames back together at the output frame rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To illustrate, at 24 frames per second:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frame&#xA;  0    **&#xA;  1        **&#xA;  2            **&#xA;  3                **&#xA; ...                   **&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Oversampled at double speed (though realistically I'd probably oversample quite a bit more than double):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frame&#xA;  0    **&#xA; 0.6     **&#xA;  1        **&#xA; 1.5         **&#xA;  2            **&#xA; 2.5             **&#xA;  3                **&#xA; 3.5                 **&#xA; ...                   **&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Blended back to 24 frames per second (all mixed with the background):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frame&#xA;  0    ****&#xA;  1        ****&#xA;  2            ****&#xA;  3                ****&#xA; ...                   ****&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The problem with oversampling is that if I just use Premiere Elements 14, if I take the oversampled clip and slow it back down to regular speed, it appears to just skip frames rather than blending them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This seems like something that ffmpeg probably does, but I've barely started trying to understand it, and my reading of the documentation, tutorials, and the forum messages that have turned up with web searches hasn't been enough to figure out what switches would do the job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is there an option in Premiere Elements 14 to blend frames from an oversampled clip, rather than just skipping frames?&lt;/li&gt;&#xA;&lt;li&gt;If ffmpeg is the smart way to do this, what kind of switches do I need to use to get the job done?&lt;/li&gt;&#xA;&lt;li&gt;Is there some other reasonably easy-to-use software that could do the frame blending instead of skipping them? (And if so, how do I use that?)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Even if there's a way to do it directly in Premiere Elements, answers to #2 and #3 are likely to be helpful to people who use other editors.&lt;/p&gt;&#xA;" OwnerUserId="18366" LastActivityDate="2019-03-18T10:52:09.647" Title="Can I add motion blur to make animation less jerky?" Tags="|ffmpeg|premiere-elements|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21160" PostTypeId="2" ParentId="21159" CreationDate="2017-04-12T05:26:18.013" Score="2" Body="&lt;p&gt;I can't test the ffmpeg method below now but it notionally does what you ask:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say your source is 25 fps.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf minterpolate=50,tblend=all_mode=average,framestep=2 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-04-12T05:26:18.013" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="21164" PostTypeId="2" ParentId="12859" CreationDate="2017-04-12T20:47:42.343" Score="1" Body="&lt;p&gt;While this question has already been answered; my recommendation:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use AfterEffects for your rendering if you have a system with a high number of cores and a lot of RAM. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My main workstation is a Dual E5-2697 v2 (24 Logical / 48 Hyper Threaded Cores); with 128 GB of RAM. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have to do simply a transcode of a file; or can use Bridge to import your PPro Project into AE (barring your edits will remain intact); the feature under Memory (Edit -&gt; Preferences) allow for you to use Multi-threading. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;That being said:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I am doing just a straight render; or something simple; I can use AE to allocate 32 of my 48 HT cores; additionally; I can allocate 3 GB of ram to each Thread; which is depending on what type of encode I'm doing, anywhere between 2-100x faster in terms of rendering even with my Dual Titan Black GPUs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This of course; only applies if you have a LOT of cores; and a LOT of ram... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere; rendering through AME; will be limited to using only 1 Thread unfortunately; and will rely on your GPU unless you have that disabled to use software rendering under Project Settings. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-04-12T20:47:42.343" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21165" PostTypeId="2" ParentId="19236" CreationDate="2017-04-12T20:50:59.813" Score="0" Body="&lt;p&gt;Depending on what the source was; it could be that as well. For instance, PPro, once it reached CS6, no longer handled HDV content and there was audio drift over time... it was a big problem, I am not sure if it was ever fixed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just throwing this out there, but it could be the source codec not playing fair with whatever module FB uses to transcode it's video for playback. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-04-12T20:50:59.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21166" PostTypeId="2" ParentId="18654" CreationDate="2017-04-12T20:58:31.133" Score="0" Body="&lt;p&gt;As a second option which I played with and it did work (to a point); &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is you can setup an Amazon AWS account:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Build a Workstation Render System; install all of your software; plugins;  etc. You can do your build on a simple 4 or 8 core machine; with a 2nd attached SSD drive. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then create images of your system, and delete the system. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you need to do major renders; or fast; you can deploy as many systems / at whatever spec setup you want (cores/ram/etc). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll be prompted for Adobe Serials if you're using core applications; but this is a great way to quickly and cost effectively launch 10 48 core systems in an hour or two; while uploading your trimmed project; which can all be accessed from your guest systems, and render the video in sections with tails of a few frames to piece together back on your host side. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-04-12T20:58:31.133" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21167" PostTypeId="1" AcceptedAnswerId="21435" CreationDate="2017-04-12T22:02:23.817" Score="2" ViewCount="8601" Body="&lt;p&gt;So, I messed up and rushed into a project for work. Instead of giving my files good naming conventions, I worked off a generic file naming convention off the camera. Now I have many edits on premiere but if I want to rename my source files outside of premiere, I find I have to go one at a time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise, if I batch rename them all at once I will have no idea what to relink to what in my project. I've searched and haven't found a solution other than renaming the files inside premiere and consolidating the project to copy to new location and selecting to rename media files to match clip names. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't like this solution because it means I'll have to use the new premiere files. Much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="18583" LastActivityDate="2018-12-10T19:22:48.013" Title="Renaming source files without breaking link in Premiere?" Tags="|premiere|editing|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21168" PostTypeId="2" ParentId="10290" CreationDate="2017-04-12T22:26:38.023" Score="2" Body="&lt;p&gt;A normal 'pick-whipped' expression:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&quot;Solid 1&quot;).transform.position&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;An expression referencing &lt;strong&gt;another&lt;/strong&gt; composition within your project:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;comp(&quot;Second Comp Name&quot;).layer(&quot;Solid 1&quot;).transform.position&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As long as the composition name in Project A is consistent, you could just reference it and include a fallback in case it hasn't been imported like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;try { comp(&quot;PROJECT A COMP NAME&quot;).layer(&quot;YOUR LAYER NAME&quot;).text.sourceText; }&#xA;catch(err) { text.sourceText }&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Reference:&#xA; &lt;a href=&quot;https://gist.github.com/animoplex/b426933ae6c896c79ea98a50855ff62e&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;Expression Reference&quot;&gt;https://gist.github.com/animoplex/b426933ae6c896c79ea98a50855ff62e&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I figured I'd give this a quick response since it's been a while and there haven't been any answers. Send me a comment if you have questions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps :)&lt;/p&gt;&#xA;" OwnerUserId="3161" LastActivityDate="2017-04-12T22:26:38.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21169" PostTypeId="2" ParentId="21167" CreationDate="2017-04-13T00:33:54.600" Score="-1" Body="&lt;p&gt;I'm afraid you're stuck where you're stuck. Doing a batch rename in bridge will break the links once you re-open the project in PPro... it's a shame they didn't offer a dynamic link for when doing batch renaming which kept the links in tact. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is possible that using the Trim Project/Reduce Project (Trim for PPro / Reduce for AE) Feature would at the VERY least clear out the clutter. It would eliminate (not delete, just not compile into a new project folder on your disk) unused footage files - clips not in use I stress; and you would be only left with a new project folder that contains the footage/media which is actually used in sequences. Then, you could start working off of that new folder moving forward. Deleting unused/unneeded sequences would reduce this as well...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Chances are, you are only using a fraction of your clips; so this would be a away to at least minimize down the mess. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then do a batch rename in Bridge on all your original assets, and re-import them into the new trimmed/reduced project. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend setting decent sized handles when you trim it down; because you may want to make changes to the clip in points and out points which ARE in use at this point. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That I think would be your best bet. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-04-13T00:33:54.600" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21171" PostTypeId="1" CreationDate="2017-04-13T10:55:03.117" Score="0" ViewCount="151" Body="&lt;p&gt;In FCPX I can select a video and audio clip and do &quot;Synchronize Clips&quot; using the &quot;Use audio for synchronization&quot; option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I have a new clip in the browser on which I can say &quot;Open Clip&quot; and then see the timeline with the audio synced to the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I want to add &lt;em&gt;another&lt;/em&gt; audio track into this synced clip, I want a way for the additional audio to be automatically synced too. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't seem to find a way to do this - is it even possible?&lt;/p&gt;&#xA;" OwnerUserId="4487" LastActivityDate="2024-03-28T18:07:45.927" Title="Adding additional audio to a synced clip and having that sync via audio in Final Cut Pro X" Tags="|audio|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21174" PostTypeId="1" CreationDate="2017-04-13T18:13:13.797" Score="0" ViewCount="105" Body="&lt;p&gt;I'm a total beginner at video editing and I filmed a video of a particle detector that I made. The particle made a very faint white line in the yellow background. I would like to post the screenshot, but it would be very hard to see in this state. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How would I emphasize the faint white line in a yellow background? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm borrowing my friend's Steam account to use his Sony Vegas Pro. &lt;/p&gt;&#xA;" OwnerUserId="18642" LastEditorUserId="2836" LastEditDate="2018-10-11T13:27:08.473" LastActivityDate="2024-03-14T00:08:20.997" Title="How to emphasize a faint white line among a yellow background?" Tags="|color-correction|vegas-pro|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21175" PostTypeId="1" AcceptedAnswerId="21177" CreationDate="2017-04-13T19:23:48.433" Score="2" ViewCount="3268" Body="&lt;p&gt;In the &quot;olden days&quot; before digital movie projection and the Digital Cinema Package were around, movies were recorded onto film (usually 35mm, I have heard of 70mm instances). The &quot;master film&quot; was the 35mm roll, and somehow copies were made to be distributed to theaters, which could also be in the 35mm format but 16mm could be used as well. Just how was this done effectively?&lt;/p&gt;&#xA;" OwnerUserId="18581" LastActivityDate="2017-04-13T21:30:48.843" Title="How were copies of movies meant to be distributed to theaters made?" Tags="|filming|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21176" PostTypeId="2" ParentId="21175" CreationDate="2017-04-13T21:29:18.127" Score="2" Body="&lt;p&gt;It would have been unusual for 16mm prints to be struck from 35mm negatives. This would only be done with an optical printer, which is an expensive frame-by-frame process. If an extensive 16mm release were needed for a 35mm film, a 16mm interpositive and duplicate negative (&quot;IP/dupe neg&quot;) would be made using an optical printer and distribution prints struck from that. Many dupe negs could be made from one IP. It would be more common for 65mm (so-called 70mm) films to be treated this way using 35mm dupe negs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Typically 35mm prints were struck using a contact printer, a continuous-flow process, from one of a set a daughter negatives. These second-generation negatives were made using the IP/Dupe Neg process mentioned above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the early days prints would be &quot;bicycled&quot; from theater to theater (town to town), with second run and third run venues getting the prints in order. By the end of the chain the prints would be in very poor condition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, these days the master negative isn't nearly as valuable because everything is done using a digital intermediate process, where the true master is bits on a server that can be &quot;printed&quot; at will.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2017-04-13T21:29:18.127" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21177" PostTypeId="2" ParentId="21175" CreationDate="2017-04-13T21:30:48.843" Score="6" Body="&lt;p&gt;Regardless of format; 16, 35, 65, etc... The studios would distrubute release prints. The prints were shipped (speaking about 35mm here) on 2000' reels; 5 reels to a can. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the olden day's they would use two projectors and the projectionist would have to literally load reel one, and two to the other, and they would switch over. Back and forth. A typical movie in today's world (2 hours) would run about 5 reels. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So let's talk the 1990s. The theater receives a can of 5 reels. The reels would be sent up to the projectionist booth. The projectionist would then assemble the reels into one giant reel; on a platter; basically a large spinning lazy-susan. The platter can feed either from the inside; called the core (the core is roughly 10 inches; and has a center mechanism so with rollers in an assembly so the film never has to be &quot;rewound&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The projectionist would first add blank leader, just black, typically 30 seconds; then they would use a film splicer and film tape to add the theater opening title, and each trailer which would play before the film. Some films; shipped with specific trailers on them. But most times; there would be racks and racks of trailers (small film reels about 6 inches (3 minutes) of film; and the projectionist would; whatever his preference or theater policy; add the trailers he wanted (typically matching action with action films, etc). Then any other small film reels would be added; &quot;Turn off your cell phones&quot;. Etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly; the projectionist would add reel 1, then 2, and so on; and the platter is motorized so it literally pulls the film off the reel which is setup on a rolling stand. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each reel would need to be checked at the tails; and spliced and glued together. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final reel would be a very large reel of film; roughly 5 feet in diameter, with a core about 10 inches in the middle. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because this would be the &quot;first run&quot;, the start of the movie would be on the inside, in the core; so the film would be pulled out of the core; through multiple rollers; and into the projector; and then fed to a take up platter either below or above the feed platter. (Typically there would be 3 platters so you could have more than one movie available on any given screen). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This setup would yield after the movie with the film left on a new platter, ready to be &quot;re-threaded&quot; through the projector.  Every showing required the projectionist to check the platter; and reload the projector threading the film over rollers with sprockets; through the gate, and then to the take up reel. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Release Prints were VERY expensive for the studios to produce. So many theaters had rollers for &quot;Big Releases&quot; - think &quot;Titanic&quot;; where one platter would run through the projector, then instead of going straight to a take up platter; it would be fed through a series of rollers down a long wall; to a 2nd or even 3rd projector; and they would have 3 screens starting all at the same time. The final take up reel would be at the last projector. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After the film was finished being run. The projectionist would then literally do the opposite of putting it together. Trailers typically discarded; and the film put back onto the 2000' reels. The film reels would be put back into the can; labeled for FedEx, and sent to a B-Theater; a less popular/lower income movie house. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is why when you saw movies in the pre-2000s at say an old mall movie theater; there would be lots of scratches and dust, because the film had been played so many times and had been out for so long. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now; you can find release prints on ebay; I almost bought a &quot;Terminator 2&quot; release print just to have... they were owned by the studio, and destroyed after use... so they are fairly scarce. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The projectionist would have to pay close attention during assembly and tear down; because you cannot rewind the platter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I speak from being a projectionist for a year after highschool. One time I assembled a movie in the order of reel 1, 2, 4, 3, 5. So half way through the movie people got confused and came out and complained. With no way to rewind or fixed, the rest of the days shows had to be canceled, and the film reels taken back apart and put back into the same order. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Last note; you can typically see the change from reel to reel when watching a movie; either by seeing what's called a cigarette burn (small circle top right of frame), or simply, you notice a weird cut/shift in color/sound where the splice was... Because the release prints were made on multiple printers, color always didn't match reel to reel. Most times, you could at the least (if the film had an optical audio track); a small pop. Towards the later 90s... films went to digital DTS, and THX went digital as well. But before that, the film was a waveform optically printed on the left side of the frame. The audio, was optical. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of how they did it &quot;effectively&quot;. It's just how it was done for almost a 100 years. They were very very happy when things went digital. And theaters had to literally fight the studios, because most projectors in film houses were decades old... mechanical... and the studios wanted them all to upgrade to 20K Lumen 4K Dual Projectors (Digital); which run about $200,000 each. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers!&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-04-13T21:30:48.843" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="21179" PostTypeId="2" ParentId="5837" CreationDate="2017-04-14T00:38:05.727" Score="1" Body="&lt;p&gt;This is an excellent use case for gstreamer and the MKV format. gstreamer was written to tackle this problem nicely. It can be used and accompanied by ffmpeg to transcode a video into a constant or variable rate video format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a link to a great resource on solving this problem: &lt;a href=&quot;https://www.linuxtv.org/wiki/index.php/V4L_capturing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.linuxtv.org/wiki/index.php/V4L_capturing&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3473" LastActivityDate="2017-04-14T00:38:05.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21180" PostTypeId="2" ParentId="20988" CreationDate="2017-04-14T14:43:06.780" Score="0" Body="&lt;p&gt;here is what worked for me:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use track camera on the video, select a target point and right click to create a Solid. &#xA;Expand the solid layer as needed. Draw a mask with the pen tool while having the solid layer selected. This will create Mask 1&#xA;Click Mask and add Stroke effect to it&#xA;Select the Stroke effect and change the Paint Style to 'On transparent' so the solid layer will not be visible&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final result should look something like this&#xA;&lt;a href=&quot;https://i.stack.imgur.com/8c3gU.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8c3gU.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11873" LastActivityDate="2017-04-14T14:43:06.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21181" PostTypeId="1" AcceptedAnswerId="21182" CreationDate="2017-04-14T15:34:31.390" Score="0" ViewCount="1217" Body="&lt;p&gt;I have a background image that I'm trying to fade to specific color values using this filter: &lt;code&gt;lutrgb=enable='gte(t,3)':'r=0.3*val:g=0.3*val:b=0.3*val'&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This almost works, but it changes the values instantly.  How do I get it to fade to those values gradually over time?&lt;/p&gt;&#xA;" OwnerUserId="17189" LastEditorUserId="17189" LastEditDate="2017-04-14T16:01:49.370" LastActivityDate="2017-04-14T16:28:03.750" Title="ffmpeg fade to specific color values over time" Tags="|video|ffmpeg|editing|filter|alpha|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21182" PostTypeId="2" ParentId="21181" CreationDate="2017-04-14T16:28:03.750" Score="2" Body="&lt;p&gt;The &lt;code&gt;lut&lt;/code&gt; filter expressions don't work with time. &lt;code&gt;geq&lt;/code&gt; does.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;geq=r='(1-0.7*min((T-S)/D,1))*p(X,Y)':g={the same as r}:b={the same}:enable='gte(t,S)'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;S&lt;/code&gt; should be your start time in second. &lt;code&gt;D&lt;/code&gt; is duration for the change in colours. &lt;code&gt;T&lt;/code&gt; and &lt;code&gt;p(X,Y)&lt;/code&gt; are variables and should be kept as is.  &lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-04-14T16:28:03.750" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="21183" PostTypeId="2" ParentId="21174" CreationDate="2017-04-14T18:52:59.450" Score="0" Body="&lt;p&gt;A screenshot is a still image, so you would need to use image-editing software like Photoshop to enhance the image. I recommend messing around in the &quot;Edit &gt; Adjust&quot; menu.  You may be able to show off your effect by increasing the Contrast of the image, or by changing the Hue of the image.  You could probably also replace the yellow color with a different color (though Hue would produce a similar effect).&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2017-04-14T18:52:59.450" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21184" PostTypeId="1" CreationDate="2017-04-14T19:21:55.993" Score="1" ViewCount="825" Body="&lt;p&gt;&lt;strong&gt;INTRO:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am passionate for cycling and I want to make nice clips with my action camera. &#xA;I have Xiaomi YI action camera and I put it on a bar of my bike to capture ride.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;PROBLEM:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to add speed information to my video. &#xA;I found that GoPro has built-in functionality for recording location information and video editor to put that data on video. And I want to achieve the same on my videos. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some examples:&#xA;&lt;a href=&quot;https://www.instagram.com/p/BReBvd2BI7X/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.instagram.com/p/BReBvd2BI7X/&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/EHnPt.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EHnPt.jpg&quot; alt=&quot;gopro telemetry&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;INPUTS:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am programmer and I can create mobile app that will record location information during my ride.&#xA;Let's say I have information in any format needed, e.g. CSV (comma separated values):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Timestamp,Speed&#xA;12:10:01,30&#xA;12:10:02,32&#xA;12:10:03,33&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I want to have gauge on my video that will show my speed. As I guess, real challenge is to make it consume my data.&#xA;I am familiar with Adobe Premiere Pro, but can also dive deep in After Effects it this will help me.&lt;/p&gt;&#xA;" OwnerUserId="18644" LastActivityDate="2017-04-14T19:21:55.993" Title="How to get gauge with speed on video (GoPro telemetry imitation)" Tags="|after-effects|premiere|video-editor|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21186" PostTypeId="1" CreationDate="2017-04-15T01:16:03.013" Score="1" ViewCount="709" Body="&lt;p&gt;How can I create a similar intro to the one in the video below using Final Cut Pro X or Motion and possibly a plugin? Or is it only possible with After Effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/lyiikzjg9a0?start=29&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="18661" LastEditorUserId="2836" LastEditDate="2017-04-17T13:26:25.350" LastActivityDate="2017-04-17T13:26:25.350" Title="How can I create an intro animation in Final Cut Pro X or Motion, with or without plugins?" Tags="|final-cut-pro-x|motion|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21187" PostTypeId="2" ParentId="10620" CreationDate="2017-04-15T02:03:48.420" Score="0" Body="&lt;p&gt;foobar2k themes and some video tricks is something that I've used for streams. It in involves using a foobar theme with a distinct background color like this: &lt;a href=&quot;https://i.stack.imgur.com/YKNr8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YKNr8.png&quot; alt=&quot;very bright green foobar2k&quot; /&gt;&lt;/a&gt; 2 important things though:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;You have a foobar window design with a visualizer on the bottom.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The gradient on the bars is black to white.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Afterwards in editing you change the Hue and Saturation of the visualizer and trim out what you don't need. If you want something really small, you can also use the visualizer at the very top the foobar window.&lt;/p&gt;&#xA;" OwnerUserId="18662" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-04-15T02:03:48.420" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21188" PostTypeId="2" ParentId="21186" CreationDate="2017-04-15T03:02:52.853" Score="1" Body="&lt;p&gt;You could easily create that in FCPX, no plug-in necessary. The various circles can just be still images that you apply rotation and scaling to. (I'd make them large and then scale them down rather than making them small and scaling up.) I'm not sure if there's a title that exactly matches what they do, but it wouldn't be too hard to do that sort of titling. Worst case, you can pick up Motion for &amp;lt; $50 and use the text sequencer to do it.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-04-15T03:02:52.853" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21189" PostTypeId="2" ParentId="21186" CreationDate="2017-04-15T06:02:28.353" Score="1" Body="&lt;p&gt;You can try to mimic that by importing your alpha keyed assets and apply scaling and rotation but you won't be able to get that motion blur without a software like After Effects or Motion.&lt;/p&gt;&#xA;" OwnerUserId="18583" LastActivityDate="2017-04-15T06:02:28.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21190" PostTypeId="1" CreationDate="2017-04-15T07:13:20.700" Score="0" ViewCount="985" Body="&lt;p&gt;I have OBS Studio configured to combine different audio inputs into several audio tracks/channels using its built-in mixer. But when OBS saves a local copy of the stream, the video file only has one audio track, not the several I configured. I'm exporting the video to MKV file, as I thought it would be the most versatile format and had support for multiple audio/video tracks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this a configuration issue or is there something else to keep in mind? Perhaps a different export file format would be better? I'd still like to retain all (multiple) audio tracks within the single exported file.&lt;/p&gt;&#xA;" OwnerUserId="2243" LastEditorUserId="2243" LastEditDate="2017-04-19T20:46:15.133" LastActivityDate="2017-06-20T09:46:36.490" Title="OBS Studio multitrack audio exports only one track" Tags="|audio-recording|obs|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21191" PostTypeId="1" CreationDate="2017-04-15T07:55:09.490" Score="3" ViewCount="225" Body="&lt;p&gt;OBS Studio composites various video inputs into a single video stream, but it lets users configure local recording on the side. Is it possible to save each video input separately, preferably as multiple channels within the same file or alternatively as separate files? I see multitrack audio options but am not sure whether the live export option only works for the composite video stream.&lt;/p&gt;&#xA;" OwnerUserId="2243" LastActivityDate="2024-02-03T19:05:15.647" Title="Multitrack video export in OBS Studio" Tags="|compositing|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21192" PostTypeId="1" AcceptedAnswerId="21193" CreationDate="2017-04-15T10:43:25.630" Score="0" ViewCount="72" Body="&lt;ul&gt;&#xA;&lt;li&gt;Distro: &lt;strong&gt;elementaryOS Ubuntu Linux 16.04&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Kernel:&#xA;&lt;strong&gt;4.4.0-72-generic&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;OBS version: &lt;strong&gt;18.0.1&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I tried installing OBS via the installation instructions for Ubuntu Linux, but when I tried to run &lt;code&gt;obs&lt;/code&gt;, I received an error in the provided log. I then tried to compile OBS manually and received the same error message.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ obs&#xA;&#xA;Gtk-Message: Failed to load module &quot;pantheon-filechooser-module&quot;&#xA;&#xA;(obs:12741): Gtk-WARNING **: Unable to locate theme engine in module_path: &quot;pixmap&quot;,&#xA;&#xA;(obs:12741): Gtk-WARNING **: Unable to locate theme engine in module_path: &quot;pixmap&quot;,&#xA;&#xA;(obs:12741): Gtk-WARNING **: Unable to locate theme engine in module_path: &quot;pixmap&quot;,&#xA;&#xA;(obs:12741): Gtk-WARNING **: Unable to locate theme engine in module_path: &quot;pixmap&quot;,&#xA;debug: Found dbus service: org.freedesktop.ScreenSaver&#xA;Attempted path: share/obs/obs-studio/locale/en-US.ini&#xA;Attempted path: /usr/share/obs/obs-studio/locale/en-US.ini&#xA;Attempted path: share/obs/obs-studio/locale.ini&#xA;Attempted path: /usr/share/obs/obs-studio/locale.ini&#xA;Attempted path: share/obs/obs-studio/locale/de-DE.ini&#xA;Attempted path: /usr/share/obs/obs-studio/locale/de-DE.ini&#xA;info: Using preferred locale 'de-DE'&#xA;Attempted path: share/obs/obs-studio/themes/Default.qss&#xA;Attempted path: /usr/share/obs/obs-studio/themes/Default.qss&#xA;Attempted path: share/obs/obs-studio/license/gplv2.txt&#xA;Attempted path: /usr/share/obs/obs-studio/license/gplv2.txt&#xA;info: Processor: 4 logical cores&#xA;info: Processor: Intel(R) Core(TM) i5-4570 CPU @ 3.20GHz&#xA;info: Physical Memory: 15975MB Total&#xA;info: Kernel Version: Linux 4.4.0-72-generic&#xA;info: Distribution: &quot;elementary OS&quot; &quot;0.4&quot;&#xA;obs: symbol lookup error: /usr/local/lib/libobs.so.0: undefined symbol: XGetXCBConnection&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After the first failed attempt to install OBS from the PPA they provide, I had to resort to installing it via the general linux installation guide, to no avail. As the guide suggested, I installed the xcb libraries:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ sudo apt-get install libx11-dev libgl1-mesa-dev libpulse-dev libxcomposite-dev \&#xA;                       libxinerama-dev libv4l-dev libudev-dev libfreetype6-dev \&#xA;                       libfontconfig-dev qtbase5-dev libqt5x11extras5-dev libx264-dev \&#xA;                       libxcb-xinerama0-dev libxcb-shm0-dev libjack-jackd2-dev libcurl4-openssl-dev&#xA;[sudo] password for limeth:&#xA;Paketlisten werden gelesen... Fertig&#xA;Abhängigkeitsbaum wird aufgebaut.&#xA;Statusinformationen werden eingelesen.... Fertig&#xA;Hinweis: »libfontconfig1-dev« wird an Stelle von »libfontconfig-dev« gewählt.&#xA;libjack-jackd2-dev is already the newest version (1.9.10+20150825git1ed50c92~dfsg-1ubuntu1).&#xA;libv4l-dev is already the newest version (1.10.0-1).&#xA;libx11-dev is already the newest version (2:1.6.3-1ubuntu2).&#xA;libxcb-shm0-dev is already the newest version (1.11.1-1ubuntu1).&#xA;libxcb-xinerama0-dev is already the newest version (1.11.1-1ubuntu1).&#xA;libxcomposite-dev is already the newest version (1:0.4.4-1).&#xA;libxinerama-dev is already the newest version (2:1.1.3-1).&#xA;libqt5x11extras5-dev is already the newest version (5.5.1-3build1).&#xA;libx264-dev is already the newest version (2:0.148.2643+git5c65704-1).&#xA;libcurl4-openssl-dev is already the newest version (7.47.0-1ubuntu2.2).&#xA;libfontconfig1-dev is already the newest version (2.11.94-0ubuntu1.1).&#xA;libfreetype6-dev is already the newest version (2.6.1-0.1ubuntu2.1).&#xA;libgl1-mesa-dev is already the newest version (12.0.6-0ubuntu0.16.04.1).&#xA;libpulse-dev is already the newest version (1:8.0-0ubuntu3.2).&#xA;libudev-dev is already the newest version (229-4ubuntu16).&#xA;qtbase5-dev is already the newest version (5.5.1+dfsg-16ubuntu7.2).&#xA;Die folgenden Pakete wurden automatisch installiert und werden nicht mehr benötigt:&#xA;  libboost-regex1.58.0 libopenjfx-java libopenjfx-jni linux-headers-4.4.0-42 linux-headers-4.4.0-42-generic linux-headers-4.4.0-43&#xA;  linux-headers-4.4.0-43-generic linux-headers-4.4.0-57 linux-headers-4.4.0-57-generic linux-headers-4.4.0-59&#xA;  linux-headers-4.4.0-59-generic linux-headers-4.4.0-62 linux-headers-4.4.0-62-generic linux-image-4.4.0-42-generic&#xA;  linux-image-4.4.0-43-generic linux-image-4.4.0-57-generic linux-image-4.4.0-59-generic linux-image-4.4.0-62-generic&#xA;  linux-image-extra-4.4.0-42-generic linux-image-extra-4.4.0-43-generic linux-image-extra-4.4.0-57-generic&#xA;  linux-image-extra-4.4.0-59-generic linux-image-extra-4.4.0-62-generic openjfx switchboard-plug-gcc-bluetooth&#xA;Verwenden Sie »sudo apt autoremove«, um sie zu entfernen.&#xA;0 aktualisiert, 0 neu installiert, 0 zu entfernen und 20 nicht aktualisiert.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I also tried reinstalling them:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ dpkg --get-selections | cut -f1 | grep libxcb | xargs sudo apt install --reinstall&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Didn't help either.&lt;/p&gt;&#xA;" OwnerUserId="18664" LastActivityDate="2017-04-15T12:31:26.073" Title="Cannot boot up OBS, prints an error" Tags="|linux|obs|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21193" PostTypeId="2" ParentId="21192" CreationDate="2017-04-15T12:31:26.073" Score="0" Body="&lt;p&gt;I had outdated libraries in the &lt;code&gt;/usr/local/lib&lt;/code&gt; directory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I moved them in a backup directory using the following commands:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cd /usr/local/lib&#xA;mkdir bak-libobs&#xA;mv libobs* bak-libobs/&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="18664" LastActivityDate="2017-04-15T12:31:26.073" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21194" PostTypeId="1" AcceptedAnswerId="21195" CreationDate="2017-04-15T19:29:54.077" Score="3" ViewCount="1196" Body="&lt;p&gt;Generation loss occurs when a VHS tape is copied, the copy is copied again, and so on. I have seen two different patterns in how video and sound degrade.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In one type, horizontal bleeding starts in early generations. Colour bleeds, then is lost. Horizontal tracking becomes very poor. Timing of both image and sound remains good for many generations. &lt;a href=&quot;https://www.youtube.com/watch?v=mES3CHEnVyI&quot; rel=&quot;nofollow noreferrer&quot;&gt;Example&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the other type, ringing artefacts appear. Colour forms horizontal bands in the primary colours, and takes more generations to disappear completely. The video speeds up, slows down, sometimes repeats, and the audio track desyncs. Horizontal tracking takes much longer to degrade. &lt;a href=&quot;https://www.youtube.com/watch?v=G8GOcB6H0uQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;Example&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What causes each of these two patterns, and why do they differ so much?&lt;/p&gt;&#xA;" OwnerUserId="18667" LastActivityDate="2017-05-02T07:43:51.807" Title="Why do VHS tapes degrade in two different ways when copied?" Tags="|vhs|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21195" PostTypeId="2" ParentId="21194" CreationDate="2017-04-15T23:06:31.657" Score="3" Body="&lt;p&gt;This is a difficult question to accurately answer; because you haven't detailed out the exact setup of how the tapes are being duplicated. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, VHS is an Analog format, and the video signal is typically output via a composite connection. Some higher end VHS consumer units did have component out, either by RGB or via S-Video Out. This connector would yield a higher quality transmission from your feed deck vs your record deck. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So signal loss plays a big factor, especially if the decks are connected via composite (co-axial) connection, as all color information, along with luminance information, is on the same channel. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using S-Video at least separates out the Blue and Red Values; and pairs luminance with Green. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Quality of the decks comes into play. Are we talking consumer decks; or professional Sony Editing/Duplicating decks. In their hey-day, The Sony Editing Decks, which were the size of about 3 normal VCRs tall, and 1.5 times as wide; were highly accurate in terms of carriage speed for the tape. The highest end decks were nearly frame accurate. They allowed pre-roll, where the decks would back up the tape, get the tape up to speed, and then insert edit in the record at the correct designated frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly; if the decks are not synced, there will be slippage regardless... It's analog not digital. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way to maintain that both decks sync frame for frame is via genlock. The unit most popular during the Pro-VHS days was called a &quot;Kitchen Sync&quot;, it was basically a black burst generator that had a bunch of outputs that all of your decks (they made different size syncs); would connect to, and all the decks would keep in sync with the master clock. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without that; it's impossible. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally; VHS over time stretches, becomes brittle, there's different quality tape, it's magnetic, so it's susceptible to loss of information based off magnetic contact. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers!&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-04-15T23:06:31.657" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21197" PostTypeId="2" ParentId="10620" CreationDate="2017-04-16T00:22:16.190" Score="2" Body="&lt;p&gt;It's possible create using blender, watch this:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/JDaSk2mX7HU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="18671" LastActivityDate="2017-04-16T00:22:16.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21199" PostTypeId="2" ParentId="21133" CreationDate="2017-04-16T06:41:13.960" Score="1" Body="&lt;p&gt;The answer is that this is not possible - at least as per the time of writing this answer, since the concept of &quot;image sequence&quot; does not exist in the XML spec Premiere utilizes - namely, XMEML version 4, also known as Final Cut Pro 7-style XML.&lt;/p&gt;&#xA;" OwnerUserId="18589" LastActivityDate="2017-04-16T06:41:13.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21203" PostTypeId="1" AcceptedAnswerId="21208" CreationDate="2017-04-17T09:39:50.100" Score="3" ViewCount="940" Body="&lt;p&gt;I have to encode (transcode) many video files (usually from AVI to MP4). But to see if the encoded files are correct or not I will play all the files manually, which is rather tedious.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any tool to check if an encoded file is perfect or not?&lt;/p&gt;&#xA;" OwnerUserId="18532" LastActivityDate="2017-04-19T03:33:07.780" Title="How do I know if a video file is encoded perfectly or not?" Tags="|encoding|transcoding|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21204" PostTypeId="1" AcceptedAnswerId="21211" CreationDate="2017-04-17T14:51:18.077" Score="2" ViewCount="2102" Body="&lt;p&gt;You see this style often in animated videos, e.g. this one: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/GVU_zANtroE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The outer borders/lines of the elements sort of wiggle (for want of a better word) at a high frequency, giving the video more overall movement/activity. Of course for traditional animation that is drawn frame by frame, this is a byproduct of the illustrator drawing the shapes a bit differently every time. However, the video I linked above rather looks like most of it's elements were animated in After Effects (or similar software) rather than being hand-drawn frame by frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I see this style quite often, I would like to know if this most likely an intentional effect (for example to give the impression of a hand-drawn animation) or the byproduct of a digital animation method. Also, is there an easy way to replicate this effect in After Effects without having to draw every frame (or manually transform the paths of my vector elements every frame)?&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-04-18T07:43:43.600" Title="Why do a lot of animation videos have wiggly lines?" Tags="|after-effects|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21205" PostTypeId="2" ParentId="21204" CreationDate="2017-04-17T14:59:24.890" Score="4" Body="&lt;p&gt;This seems to typically be called &lt;a href=&quot;https://en.wikipedia.org/wiki/Squigglevision&quot; rel=&quot;nofollow noreferrer&quot;&gt;'Squigglevision'&lt;/a&gt;, it's even &lt;a href=&quot;http://patft.uspto.gov/netacgi/nph-Parser?Sect1=PTO1&amp;amp;Sect2=HITOFF&amp;amp;d=PALL&amp;amp;p=1&amp;amp;u=%2Fnetahtml%2FPTO%2Fsrchnum.htm&amp;amp;r=1&amp;amp;f=G&amp;amp;l=50&amp;amp;s1=6252604.PN.&amp;amp;OS=PN/6252604&amp;amp;RS=PN/6252604&quot; rel=&quot;nofollow noreferrer&quot;&gt;patented&lt;/a&gt;. There do seem do be ways to &lt;a href=&quot;https://www.youtube.com/watch?v=Sh8l0q7XySk&quot; rel=&quot;nofollow noreferrer&quot;&gt;replicate this in After Effects&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3354" LastEditorUserId="3354" LastEditDate="2017-04-17T16:09:54.173" LastActivityDate="2017-04-17T16:09:54.173" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21206" PostTypeId="2" ParentId="21203" CreationDate="2017-04-17T15:20:28.783" Score="2" Body="&lt;p&gt;There are several methods/algorithms to compare a transcoded file against its original. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a good article which I believe covers what you're asking. It touches on algorithms such as Peak Signal-to-Noise (PSNR) ratio and Structural Similarity Index (SSIM) used to perform objective analysis -- without having to watch the actual video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.streamingmedia.com/Articles/ReadArticle.aspx?ArticleID=110206&amp;amp;utm_source=RSS&amp;amp;utm_medium=RSS&amp;amp;utm_campaign=Article_Reads&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.streamingmedia.com/Articles/ReadArticle.aspx?ArticleID=110206&amp;amp;utm_source=RSS&amp;amp;utm_medium=RSS&amp;amp;utm_campaign=Article_Reads&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Without question, the gold standard for assessing video quality is a controlled subjective test, which, as previously mentioned, can be time-consuming and expensive to run. Objective quality benchmarks are algorithms that compare the compressed video with the source and render a value that predicts how the compressed file would fare in subjective tests. There are multiple algorithms, all rated according to how well they correspond with actual subjective evaluations. None are perfect, but some perform better than others.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Jan Ozer, the article author, even links to a demo of the Moscow University Video Quality Measurement Tool showing good and bad frame-to-frame comparisons.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/tfeQ2MLi3mg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ian&lt;/p&gt;&#xA;" OwnerUserId="13989" LastEditorUserId="13989" LastEditDate="2017-04-17T15:30:04.190" LastActivityDate="2017-04-17T15:30:04.190" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21207" PostTypeId="2" ParentId="14977" CreationDate="2017-04-17T19:06:56.050" Score="1" Body="&lt;p&gt;The closed caption information in the HDMI component is lost when you convert that digital format into a VGA signal, which is analog: The closed caption information is not injected into line 21 of such standard therefore the closed caption information is not there.&#xA;Closed caption information is handled very different in a digital signal than in the NTSC standard. You need a microprocessor to extract the signal from the digital HDMI cable and re-build and inject it into line 21 of your analog VGA signal.&#xA;In other words: VGA and NTSC both use the same Closed Caption analog format. HDMI and VGA &amp;amp; NTSC are two different worlds and the digital information will never be available to your monitor the way it needs it. By design the information is simply not there.&#xA;To handle this need you have three solutions assuming you want to use the CC decoding capabilities and features of your VGA/NTSC monitors: a) One is the offered before: It requires a separate processor to decode from HDMI and encode to VGA/NTSC standard. This is easily accomplished using Linux-based software gear. b) The other solution is to keep your transmission DIGITAL through your UTP cabling all the way. This means not to convert to Analog and inject the signal directly to your HDMI input in your remote monitors (assuming you have HDMI input capabilities in such monitors). For this purpose you need to get HDMI UTP extensors (not VGA) like these: &lt;a href=&quot;http://www.ebay.com/bhp/hdmi-over-cat5&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.ebay.com/bhp/hdmi-over-cat5&lt;/a&gt; .&#xA;c) A very elegant alternative would be to use HD modulators and send the signal in a unused HDTV channel (for instance 39.1) and feed the signal through a coax cable to the tuner connector of each TV monitor (assuming they have an HDTV tuner circuitry). Something like these can do the job: &lt;a href=&quot;http://www.pviusa.com/MICROMOD-Compact-HD-RF-Modulator_p_72.html?gclid=CjwKEAjwz9HHBRDbopLGh-afzB4SJABY52oFUGrfVR-DYY4ljXhNVtX5lBiCUwFMPvYUBERhZUVGpRoCH8Hw_wcB&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.pviusa.com/MICROMOD-Compact-HD-RF-Modulator_p_72.html?gclid=CjwKEAjwz9HHBRDbopLGh-afzB4SJABY52oFUGrfVR-DYY4ljXhNVtX5lBiCUwFMPvYUBERhZUVGpRoCH8Hw_wcB&lt;/a&gt; .&#xA;If recabling is not an option and your monitors are, indeed, HDTV and you have to stick to UTP cabling then your best option is (b): HDMI extensors through UTP. It is a mistake changing from HD Digital format to VGA Analog and then to HD digital again in the other end!. I guess you may want to grab some of these gadgets from EBAY.&lt;/p&gt;&#xA;" OwnerUserId="18682" LastActivityDate="2017-04-17T19:06:56.050" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21208" PostTypeId="2" ParentId="21203" CreationDate="2017-04-18T00:18:11.233" Score="1" Body="&lt;p&gt;You can use a free tool like the Moscow State University &lt;a href=&quot;http://www.compression.ru/video/quality_measure/video_measurement_tool.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video Quality Measurement Tool&lt;/a&gt; or something like &lt;a href=&quot;http://www.tek.com/aurora&quot; rel=&quot;nofollow noreferrer&quot;&gt;Tektronix Aurora&lt;/a&gt; or &lt;a href=&quot;http://www.interrasystems.com/file-based-qc.php&quot; rel=&quot;nofollow noreferrer&quot;&gt;Interra Baton&lt;/a&gt; in a professional setting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, you should always visually check at least the heads and tails of the video, in addition to any areas flagged by an automated QC tool. Spot checking the middle of the file is also a good idea. A specialty player like &lt;a href=&quot;https://bavc.org/preserve-media/preservation-tools&quot; rel=&quot;nofollow noreferrer&quot;&gt;QCTools&lt;/a&gt; is helpful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing to note: I've generally found that the amount of time needed to set up a good automated QC workflow is only worthwhile if you have a lot of material to QC (tens of hours or more) or you will use the workflow repeatedly for a long time. The &lt;a href=&quot;http://thedoghousediaries.com/5412&quot; rel=&quot;nofollow noreferrer&quot;&gt;amount of work needed to automate the QC outweighs the time spent checking&lt;/a&gt; short term, small workloads.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-04-18T00:18:11.233" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21209" PostTypeId="2" ParentId="21190" CreationDate="2017-04-18T04:42:27.200" Score="0" Body="&lt;p&gt;Unsure of what operating system you're using, but I know that personally, myself, using Mac OS, I have had great luck with similar issue either fiddling around with the Audio MIDI configuration app in the /Applications/Utilities folder.  But, better than that, there's an awesome application called &quot;CaptureSync&quot;(&lt;a href=&quot;http://www.bensoftware.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.bensoftware.com&lt;/a&gt; - there's a free version floating around) -- and it's got the nice feature to be able to not only be configured for up to 4 different audio inputs/video inputs (including, for example, having one of the 4 choices being your actual total output style from OBS studio, to act somewhat like a &quot;mix-minus&quot; setup for lack of a better term to use), and this way you can utilize the mixer within OBS, and then use this app (or another one like it, if this helps you) to then get a separated group of files, each with their own audio tracks and video tracks.  So you can set them up with one of the 4 inputs being linked to a USB webcam, or an internal/external monitor display, a video file, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's quite useful, hope that helps.&lt;/p&gt;&#xA;" OwnerUserId="18684" LastActivityDate="2017-04-18T04:42:27.200" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21210" PostTypeId="2" ParentId="20502" CreationDate="2017-04-18T07:06:20.040" Score="0" Body="&lt;p&gt;I've been able to solve the issue recently with the following command in ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;input.avi&quot; -c copy &quot;output.mov&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I still have no understanding why Vegas would not work with the AVI. My system does this container rewrap at about 350x, so it's very fast. The only issue is if you have a ton of videos and you create a batch file, you should check your hard drive space before you try it.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2017-04-18T07:06:20.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21211" PostTypeId="2" ParentId="21204" CreationDate="2017-04-18T07:43:43.600" Score="2" Body="&lt;p&gt;The style imitates hand-drawn cel animation, where each frame is drawn separately. Usually the lines will be slightly different in each drawing so you get what is called &lt;a href=&quot;http://tvtropes.org/pmwiki/pmwiki.php/Main/LineBoil&quot; rel=&quot;nofollow noreferrer&quot;&gt;&quot;boiling&quot; or &quot;line boil&quot;&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This can be seen as a defect, but can also be used to give a stylistic look, much the same way as film scratches, lens flares, fogging etc. are added to animation that is created on a computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Turbulent displace can be used in After effects to simulate it, as discussed in &lt;a href=&quot;http://lesterbanks.com/2014/05/easily-build-animated-cartoon-line-effect-ae/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this tutorial&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-04-18T07:43:43.600" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21212" PostTypeId="2" ParentId="20921" CreationDate="2017-04-18T13:10:24.220" Score="0" Body="&lt;p&gt;Witch HDMI adapter are you talking about? You can only connect your Elgato to your Mac via usb, no other way. The delay in some frames is pretty normal in a MacBook Air. &lt;/p&gt;&#xA;" OwnerUserId="18688" LastActivityDate="2017-04-18T13:10:24.220" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21214" PostTypeId="1" AcceptedAnswerId="21215" CreationDate="2017-04-18T15:03:55.163" Score="-1" ViewCount="16" Body="&lt;p&gt;In the Verse Story Editor, if I create a hotspot link to a nested chapter, does the story return to the hotspot when the nested chapter finishes playing, or does the story return to the &quot;parent&quot; chapter above the nested chapter?&lt;/p&gt;&#xA;" OwnerUserId="18509" OwnerDisplayName="rolfedh" LastEditorUserId="17390" LastEditDate="2018-07-20T13:16:56.337" LastActivityDate="2018-07-20T13:16:56.337" Title="Verse: If I create a hotspot link to a nested chapter, does the story return to the hotspot or the parent chapter?" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21215" PostTypeId="2" ParentId="21214" CreationDate="2017-04-18T15:03:55.163" Score="0" Body="&lt;p&gt;The story returns to the hotspot and continues from there. If you're creating a story with Verse, it's important to understand this behavior so you have creative control over the flow of your story.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/o4BlL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/o4BlL.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18509" OwnerDisplayName="rolfedh" LastActivityDate="2017-04-18T15:03:55.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21216" PostTypeId="1" CreationDate="2017-04-18T19:36:27.500" Score="3" ViewCount="3186" Body="&lt;p&gt;I'm creating Audiobooks via Adobe Premiere Pro and to do so I've created an image via Adobe Photoshop (3200x1800) and applied that as the &lt;strong&gt;only&lt;/strong&gt; still image in the Adobe Premiere workshop with the audio of the book playing along.&#xA;I've noticed that the quality of the video is very poor even if it is exported in 720p. How can I get the quality same as the original photo? Ps: I'm new to Adobe Premiere Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;This is the comparison between the original image and the quality of the frame from the exported video :&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/doMZh.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/doMZh.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;And my Export Settings are:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VvttM.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VvttM.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18691" LastActivityDate="2018-01-16T14:38:48.983" Title="Low quality video after exporting Still Image from Adobe Premiere Pro" Tags="|premiere|adobe|pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21217" PostTypeId="1" AcceptedAnswerId="21229" CreationDate="2017-04-18T22:01:25.953" Score="2" ViewCount="587" Body="&lt;p&gt;19000x40 sized comp (for sports stadium) won't render in after effects. It 'looks' like it's rendering, but the resulting QT mov file is black.&lt;br&gt;&#xA;What could be some of the problems here? How can I fix this?  I have a smaller version 8000px long x 40px wide that renders just fine.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried remaking the comp and exporting it at different length sizes. It seems that After effects is unable to export it without corrupting if it's longer than 8000px. At least on my system with this file. Strangely enough I was able to get this 19000px wide file to export earlier in the week, but not any more. So strange. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="11249" LastEditorUserId="11249" LastEditDate="2017-04-18T22:52:12.190" LastActivityDate="2017-07-22T21:36:25.127" Title="large px sized comp not rendering in after effects" Tags="|after-effects|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21218" PostTypeId="1" AcceptedAnswerId="21220" CreationDate="2017-04-19T02:12:59.463" Score="1" ViewCount="343" Body="&lt;p&gt;As we all know individual cells in CMOS sensors are &lt;em&gt;essentially&lt;/em&gt; identical. The only thing that differentiates them from each other is the thin filter layer (turning them into R, G, B sensor cells). The most standard pattern for that &quot;coloring&quot; is the RGGB &quot;Bayer filter&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In essence those individual cells produce grey-scale image which is then turned into color by the process called &lt;strong&gt;demosaicing&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's my &lt;strong&gt;question&lt;/strong&gt;:&lt;br&gt;&#xA;&lt;em&gt;Is there a recognized (standard?) video format for streaming/storing that kind of video stream?&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;N.B.&lt;/strong&gt;&lt;br&gt;&#xA;Please note that a &lt;em&gt;naïve&lt;/em&gt; answer &quot;this is grey-scale!&quot; doesn't work since a simple parameter like windowing will affect the image, completely changing its colors. Also there's definitely a need for &quot;sensor sensitivity&quot; information to be able to properly reconstruct the original color. And so on and so forth...&lt;/p&gt;&#xA;" OwnerUserId="18692" LastActivityDate="2017-04-19T03:39:44.827" Title="video format for pre-demosaic'ed stream" Tags="|capturing|formats|digital|raw|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21219" PostTypeId="2" ParentId="21203" CreationDate="2017-04-19T03:33:07.780" Score="0" Body="&lt;p&gt;I used to do everything in AviSynth. I would mix my Videos and call Batch Files to compress with x.264/5.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AviSynth also has Math Functions like Compare which compares Frames: &lt;a href=&quot;http://avisynth.nl/index.php/Compare&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://avisynth.nl/index.php/Compare&lt;/a&gt; - Not difficult to write a Script that grabs a few Frames whenever there's much of a difference and create a Visual Report (a Video of the excess differences).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A Program that did everything perfectly is likely to be expensive due to a limited Market (with rich customers) and a Test that simply gives you one number doesn't necessarily mean much nor does it identify the problem - if it's a single dropped Frame would you want to spend hours recoding (possibly with the same result).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to Automate for a low cost you'll have to learn to write the Program or simply do it with Scripting - AviSynth is designed for this sort of problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a reasonable chance of finding the Script written for you but the URL above gives a couple of examples of how easy the Language is to learn.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-04-19T03:33:07.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21220" PostTypeId="2" ParentId="21218" CreationDate="2017-04-19T03:39:44.827" Score="1" Body="&lt;p&gt;Turns out the answer is &lt;em&gt;yes&lt;/em&gt;. Such format is called &lt;strong&gt;CinemaDNG&lt;/strong&gt; and is used for professional video production since 2009.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the spec for the format: &lt;a href=&quot;http://download.macromedia.com/pub/labs/cinemadng/cinemadng_p1_spec_091009.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://download.macromedia.com/pub/labs/cinemadng/cinemadng_p1_spec_091009.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Among other things it supports:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Integer sensor values of any bit depth from 8 to 32 bits&lt;/li&gt;&#xA;&lt;li&gt;Arbitrary size color filter arrays with up to seven color channels&lt;/li&gt;&#xA;&lt;li&gt;Black level, white level, and linearization parameters for scaling of sensor values&lt;/li&gt;&#xA;&lt;li&gt;Color-processing parameters for mapping camera RGB to CIE XYZ color space&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Adobe's &lt;em&gt;Creative Suite&lt;/em&gt; supports &lt;em&gt;CinemaDNG&lt;/em&gt; on both Windows and Mac OS platforms since version 4 and the codec (at least for Windows) is available from Adobe's website: &lt;a href=&quot;http://supportdownloads.adobe.com/product.jsp?product=194&amp;amp;platform=Windows&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://supportdownloads.adobe.com/product.jsp?product=194&amp;amp;platform=Windows&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are other products out there that process video in &lt;em&gt;CinemaDNG&lt;/em&gt; format, some even with GPU (CUDA) support.&lt;/p&gt;&#xA;" OwnerUserId="18692" LastActivityDate="2017-04-19T03:39:44.827" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21222" PostTypeId="1" CreationDate="2017-04-19T05:31:12.997" Score="1" ViewCount="15" Body="&lt;p&gt;I have a multicam project in Adobe Premire CC. Unfortunately, one of the source clips used was from a different model of camera from the other two, so I need to make some adjustments to make it match the other two. It needs to be colour corrected a bit, and deinterlaced.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By pressing CTRL and double clicking on the multicam clip in the timeline, it opens up a timeline where the 3 cameras are in separate tracks. I then tried making adjustments the problematic camera clip. However, when I switch back to the timeline that has the multicam clip, all my adjustments don't seem to have taken effect. It looks like the original settings for that camera's clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How do I single out and edit one of the clips used in a multicam edit so that any adjustments will apply when viewed in the multicam view?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="1792" LastActivityDate="2017-04-19T05:31:12.997" Title="Adjustments on clip don't seem to take effect in multicam in Adobe Premiere" Tags="|premiere|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21223" PostTypeId="1" AcceptedAnswerId="21225" CreationDate="2017-04-19T15:56:02.197" Score="1" ViewCount="490" Body="&lt;p&gt;How can I easily create captions that look like this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4n76a.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4n76a.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://www.facebook.com/CoachMatthewHussey/videos/1373545812664485/&quot; rel=&quot;nofollow noreferrer&quot;&gt;(Click to see a video that shows a good example.)&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a video that is 1280 x 720 pixels but converted to a square of 1280 x 1280 pixels so that there is empty space above and below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using Adobe Premiere Pro CC 2017, I've then added a &quot;Default Still&quot; Title to the top.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Given an &lt;code&gt;.srt&lt;/code&gt; or other file of captions, how could I import them to be shown in the bottom band of the video at the appropriate time?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want them &quot;burned in&quot; so that they are always visible regardless of the device used to play the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(So maybe they're called &quot;open captions&quot; instead of &quot;closed captions&quot;.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to be able to choose the font style and size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to avoid creating a &quot;Default Still Title&quot; for each sentence of text manually—that would be a lot of hassle for a long video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have Adobe Premiere Pro CC 2017 but could buy other software if necessary or could use &lt;code&gt;ffmpeg&lt;/code&gt; if that is capable.&lt;/p&gt;&#xA;" OwnerUserId="5657" LastActivityDate="2017-04-19T17:02:24.153" Title="How can I import subtitles/captions into a letterboxed video like this?" Tags="|premiere|ffmpeg|subtitles|closed-captioning|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21224" PostTypeId="1" CreationDate="2017-04-19T16:31:11.403" Score="1" ViewCount="925" Body="&lt;p&gt;I've been using the following command to capture video with ffmpeg for the past two months using my Blackmagic Intensity Pro 4K capture card:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -bm_v210 1 -rtbufsize 1500M -threads 4 -f decklink -i &quot;Intensity Pro 4K@20&quot; -c:a copy -c:v prores -profile:v 1 movie1.mov&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This has been fine although occasionally I get a &quot;Decklink input buffer overrun!&quot; error, in which case I have to restart the capture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, starting yesterday, I am getting a &quot;Desklink input buffer overrun!&quot; error every time.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[decklink @ 0000000002552cc0] Decklink input buffer overrun!bitrate=479405.2kbits/s speed=0.849x&#xA;    Last message repeated 1 times&#xA;[decklink @ 0000000002552cc0] Decklink input buffer overrun!bitrate=480001.5kbits/s speed=0.842x&#xA;    Last message repeated 8 times&#xA;[decklink @ 0000000002552cc0] Decklink input buffer overrun!bitrate=480685.0kbits/s speed=0.842x&#xA;    Last message repeated 15 times&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So it looks like my SSD is no longer fast enough to write the data-- but why?  It worked fine for the past two months.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm capturing onto a Sandisk Extreme Pro SSD (960 GB).  The drive only has 10GB of data on it.  I manually ran TRIM just a moment ago, but that didn't help.  The SanDisk SSD Dashboard shows it has &quot;99%&quot; life remaining.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also disabled OneDrive, Dropbox, and all other software I could find that might write to the system during capture.&lt;/p&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2023-12-30T05:02:10.283" Title="ffmpeg: Why did my capture speed drop? (can no longer capture using same command)" Tags="|ffmpeg|video-capture|capturing|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21225" PostTypeId="2" ParentId="21223" CreationDate="2017-04-19T17:02:24.153" Score="2" Body="&lt;p&gt;You can use &lt;code&gt;ffmpeg&lt;/code&gt;. Make your subtitles with &lt;a href=&quot;http://www.aegisub.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Aegisub&lt;/a&gt; or manually with a text editor. &lt;a href=&quot;https://en.wikipedia.org/wiki/SubStation_Alpha#Advanced_SubStation_Alpha&quot; rel=&quot;nofollow noreferrer&quot;&gt;ASS&lt;/a&gt; subtitles are fancier, but &lt;a href=&quot;https://en.wikipedia.org/wiki/SubRip&quot; rel=&quot;nofollow noreferrer&quot;&gt;SRT&lt;/a&gt; are simpler if you want to manually make them.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Alignment &amp;amp; Margin&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;The default settings will likely work, but you can control the general location, or &lt;em&gt;alignment&lt;/em&gt;, using the &quot;keypad&quot; coordinates. For example, &lt;code&gt;2&lt;/code&gt; is bottom center. For more granular control you use the vertical &lt;em&gt;margin&lt;/em&gt;. In Aegisub these options are available in &lt;em&gt;Subtitles&lt;/em&gt; &gt; &lt;em&gt;Style Manager&lt;/em&gt; &gt; &lt;em&gt;Edit&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YrA9u.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YrA9u.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also choose the font and font size in this screen.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;&lt;code&gt;ffmpeg&lt;/code&gt; examples&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Now run &lt;code&gt;ffmpeg&lt;/code&gt; with the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#subtitles&quot; rel=&quot;nofollow noreferrer&quot;&gt;subtitles filter&lt;/a&gt; to make your hardsubs:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -filter_complex &quot;subtitles=subs.ass&quot; output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Or if you want to avoid using Aegisub you can use the &lt;code&gt;force_style&lt;/code&gt; option:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -filter_complex &quot;subtitles=subs.ass:force_style='Fontname=Arial,Fontsize=20,Alignment=2,MarginV=10'&quot; output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Resulting in:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JYMHy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JYMHy.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do want to use &lt;code&gt;ffmpeg&lt;/code&gt; make sure to output from Premiere using a lossless format, such as &lt;a href=&quot;http://umezawa.dyndns.info/archive/utvideo/?C=M;O=D&quot; rel=&quot;nofollow noreferrer&quot;&gt;UT video&lt;/a&gt;, because &lt;code&gt;ffmpeg&lt;/code&gt; will re-encode it which is required when filtering.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2017-04-19T17:02:24.153" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21226" PostTypeId="1" AcceptedAnswerId="21228" CreationDate="2017-04-19T19:07:19.847" Score="3" ViewCount="1544" Body="&lt;p&gt;I'm trying to find somewhere I can download pre-built binaries of ffmpeg for Windows with 10-bit codec support.  Apparently, from what I've read, ffmpeg has to be either 8-bit or 10-bit, and the builds on www.ffmpeg.org for Windows are all 8-bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.zeranoe.com/forum/viewtopic.php?f=10&amp;amp;t=2270&amp;amp;sid=5b85890be38d279b4bbe57652105fad9&amp;amp;start=10&quot; rel=&quot;nofollow noreferrer&quot;&gt;This thread&lt;/a&gt; on the ffmpeg forums suggests that there were 10-bit releases for a time, but no longer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My google searching has turned up several sites with 10-bit builds from 2013, 2016, and so on, but nothing consistent over time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before I go to the trouble of trying to set up a way to build this from source, I just want to confirm-- there's no site regularly providing 10-bit Windows builds of ffmpeg, right?&lt;/p&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2018-01-05T19:19:53.600" Title="Do you have to build ffmpeg from source to use 10-bit codecs in Windows?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21227" PostTypeId="1" CreationDate="2017-04-19T19:12:20.800" Score="2" ViewCount="380" Body="&lt;p&gt;I need to do an effect In After Effects, and this it: Imagine I have a video of a dotted ball and another one with a talking mouth.&#xA;I want the ball have the talking mouth, but in way that whenever the ball opens and closes the mouth, the texture of the ball streching accordingly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I tried so far:&#xA;Created a mask on the mouth video.&#xA;Tracked and saved the motion of the upper and bottom lips into null objects.&#xA;Now I need an effect similar to Distort/Mesh Warp which is able use my saved motion on the ball (by binding to my null object as a parent). &#xA;I hope you understand what I'm trying to say.&#xA;Thanks in advance,&#xA;Mate&lt;/p&gt;&#xA;" OwnerUserId="18694" LastActivityDate="2018-07-18T06:01:29.797" Title="Warp points binding in After Effects" Tags="|effects|motion|tracking|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21228" PostTypeId="2" ParentId="21226" CreationDate="2017-04-19T19:34:13.223" Score="10" Body="&lt;p&gt;Not quite. The x264 encoder, specifically, can be compiled with either 8-bit or 10-bit support, but not both.That restriction doesn't apply to x265 or any other encoders that I can think of. So, unless you need to encode to H.264 10-bit using x264, the regular builds of ffmpeg are fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can fetch standalone binaries for 10-bit x264 from the official site at &lt;a href=&quot;https://download.videolan.org/x264/binaries/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://download.videolan.org/x264/binaries/&lt;/a&gt; Too much hassle to compile ffmpeg with all other dependencies if you just need that one 10-bit encoder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;: This is no longer true as of late Dec 2017. x264 now compiles and links as a multilib with both 8-bit and 10-bit support.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-01-05T19:19:53.600" LastActivityDate="2018-01-05T19:19:53.600" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21229" PostTypeId="2" ParentId="21217" CreationDate="2017-04-19T19:40:17.140" Score="0" Body="&lt;p&gt;So really wanted to be able to export from afx &lt;code&gt;uncompressed&lt;/code&gt; but could not find a codec that would allow export of such a wide pixel width. I tried 'animation', that did not work for me. If you know of another codec that does work at the larger widths, let me know!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyhow, I ended up just exporting with H264 codec / compression which works even with the huge pixel width. Then used an older version of Apple's Compressor to reexport that to uncompressed AVI. It looks fine.&lt;/p&gt;&#xA;" OwnerUserId="11249" LastEditorUserId="11249" LastEditDate="2017-04-23T04:07:02.267" LastActivityDate="2017-04-23T04:07:02.267" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21230" PostTypeId="1" CreationDate="2017-04-19T20:50:48.710" Score="1" ViewCount="38" Body="&lt;p&gt;This is a unique situation. I started a new job and they have me using an old version of Premiere I'm not familiar with (5.5).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an mp4 that is 48.93 fps. It plays back fine in video players on the PC. But as soon as I import it into Premiere, the playback changes. The video is fast-forward but the audio is normal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It doesn't matter what the sequence setting is, it still plays back with the video on FF. I tried rendering it and the rendered version is also FF (but again, audio is normal).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="18698" LastActivityDate="2017-04-19T20:50:48.710" Title="Frame rate in Premiere Pro CS5.5 problem" Tags="|premiere|framerate|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21232" PostTypeId="1" AcceptedAnswerId="21234" CreationDate="2017-04-20T11:43:21.220" Score="-3" ViewCount="170" Body="&lt;p&gt;Can someone explain what's happening in my project? Please use as much detail as possible, I just want to learn, thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an Apache web server. It contains many videos (.mp4 .mkv which are ?containers?) Also I have asx files that point to their respective videos. I want users to stream the videos (on VLC or Windows Media Player) but right now it's really slow. I think a better understanding of codecs will help. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;So codecs compress and decompress videos, right?&lt;/li&gt;&#xA;&lt;li&gt;The decompressing happens on the client side in the media player. But where does the compressing happen? &lt;/li&gt;&#xA;&lt;li&gt;Is it also in the media player?&lt;/li&gt;&#xA;&lt;li&gt;Or can it be specified in the asx file?&lt;/li&gt;&#xA;&lt;li&gt;Or does the video file pick which codec it uses to compress and decompress.&lt;/li&gt;&#xA;&lt;li&gt;Can I chose which codec to use? &lt;/li&gt;&#xA;&lt;li&gt;I know there are better codecs for certain situations than others. Can someone explain that? &lt;/li&gt;&#xA;&lt;li&gt;I've seen a couple of my videos using LAV to decompress while some use H264/5 (can't remember which).&lt;/li&gt;&#xA;&lt;li&gt;As for the streaming side, is there a way to say: if the network speed is slow, change the video from 1080p to 480p?&lt;/li&gt;&#xA;&lt;li&gt;Are there certain settings that I should be aware of in either of my media players to help with buffering, streaming, codecs, etc? &lt;/li&gt;&#xA;&lt;li&gt;Just saw in the tags at the bottom that there is a codec and transcoding. Is there a difference? Does a codec specify how transcoding happens? &#xA;I realize these are a lot of questions, but if someone has answers to any of them, please let me know. Again, I'm just trying to learn &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;EDIT&#xA;If I need to make changes in the media player, would it be better to have a media player embedded inside my web server? And ideas on how to go about that/where to start? &lt;/p&gt;&#xA;" OwnerUserId="18705" LastEditorUserId="18705" LastEditDate="2017-04-20T11:55:58.367" LastActivityDate="2017-04-20T13:57:07.640" Title="Please Explain the Codecs in my Example" Tags="|encoding|codec|compression|transcoding|decoding|" AnswerCount="1" CommentCount="2" ClosedDate="2017-04-27T18:49:27.150" ContentLicense="CC BY-SA 3.0" />
  <row Id="21234" PostTypeId="2" ParentId="21232" CreationDate="2017-04-20T13:57:07.640" Score="2" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;So codecs compress and decompress videos, right?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;COmpress DECompress. Yep. Just like with text encoding, e.g. ascii or unicode, but with video you take a raster (grid of pixels) and turn that into a stream of data. Often the goal is to make the size of the data as small as possible, though sometimes it's to make sure that the pixels that are reconstructed when the file is read are exactly the same as the pixels that went in, or a combination of the two.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The decompressing happens on the client side in the media player. But where does the compressing happen?&#xA;  Is it also in the media player?&#xA;  Or can it be specified in the asx file?&#xA;  Or does the video file pick which codec it uses to compress and decompress.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The decompression takes place in the client, beit the browser or a media player or a plugin. The compression happens once, when you compress the video, i.e when you make the mp4, mkv etc files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The different file types are indeed different containers, and containers can contain streams encoded in different codecs. Take an mp4 file. The video will usually be encoded in h.264 while the audio is probably aac, and there might be a subtitle stream encoded as movtext. Often container formats have the capability to hold many different codecs. The quicktime (mov) container is compatible with dozens of codecs, as is mkv. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once a file is compressed using a certain codec you will need something that can read that codec to play it. The details of what the codec is, as well as the parameters that tell the player how to decode it are in the container. So the player will also have to know how to read the container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The .asx file will just point to the stream, it's up to the player to decode it.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Can I chose which codec to use?&#xA;  I know there are better codecs for certain situations than others. Can someone explain that?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yes, different codecs are useful for different things. If you're streaming video you'll want good quality but for the smallest possible bitrates. Often that means using a lossy compression - one where the compressed video has lost quality compared to the uncompressed original. The trick is to lose the quality in a way that it's less obvious to humans. h.264 is probably the right tool for the job, unless the patent restrictions or licensing costs are an issue. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if I'm rendering an intermediate file in my post production chain I want high bit depth and lossless or minimally lossy quality. I might go for lossless 12-bit 4:4:4, or compromise and use a  codec like cineform or proRes, depending on my OS. While they maintain quality and dynamic range, they'd be awful codecs for streaming, lossless 12 bit 4:4:4:4 has ~2500 MB/s data rate. Other codecs are a compromise between file size and quality, others work really well at ultra-low bitrates or require less CPU, others are good because they are unencumbered by patents or licensing.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I've seen a couple of my videos using LAV to decompress while some use H264/5 (can't remember which).&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;LAV is a software library which is used by compression and decompression software. It is capable of reading and writing many codecs. H.264/5 are codecs.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;As for the streaming side, is there a way to say: if the network speed is slow, change the video from 1080p to 480p?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;yes, I think so - youtube does it, but out of my field of expertise, and probably a better question for Superuser.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Are there certain settings that I should be aware of in either of my media players to help with buffering, streaming, codecs, etc?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Not really, it's the compression side of things that you want to optimise. You need to be aware of your client's capabilities and encode with that in mind.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Just saw in the tags at the bottom that there is a codec and transcoding. Is there a difference? Does a codec specify how transcoding happens? I realize these are a lot of questions, but if someone has answers to any of them, please let me know. Again, I'm just trying to learn&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Transcoding is converting from one codec to another. So say I've mastered to one of my lossless 12-bit codecs. I've now got a video file that runs into hundreds of gigs. I might want to make a copy for the internets, so I fire up my transcoding app and tell it to take the master and compress it to an mp4 file, which will take up a fraction of the space.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-04-20T13:57:07.640" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21235" PostTypeId="1" CreationDate="2017-04-20T15:11:22.457" Score="1" ViewCount="2017" Body="&lt;p&gt;Everybody is saying FinalCutPro to Motion5 is like PremierePro to AfterEffects. But its a fact that AfterEffects is more powerful than Motion5. So since I love the simplicity of FinalCutProX as my Cutter, for me the perfect solution would be using &lt;strong&gt;FinalCutProX together with AfterEffects&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now does that make sense or would you better not do it like this?&#xA;If yes, how is your workflow to not loosing any quality of the clip by exporting to AfterEffects, editing there and exporting back to FinalCutProX?&lt;/p&gt;&#xA;" OwnerUserId="18674" LastActivityDate="2018-10-14T17:00:18.597" Title="Final Cut Pro X to After Effects Workflow" Tags="|after-effects|final-cut-pro-x|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21236" PostTypeId="2" ParentId="7879" CreationDate="2017-04-20T17:34:15.793" Score="1" Body="&lt;p&gt;Interchangeable lenses at reasonable prices, along with sophisticated exposure controls. No consumer-priced video camera offers either. From personal experience, I've found it is much easier to produce professional-quality video with a $1000 Canon DSLR and a few lenses than with a consumer video camera. &lt;/p&gt;&#xA;" OwnerUserId="18708" LastActivityDate="2017-04-20T17:34:15.793" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21237" PostTypeId="1" CreationDate="2017-04-20T17:43:40.700" Score="0" ViewCount="98" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/q7wWM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/q7wWM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;photo&#xA;show my video who is not full in width,can I make somehow my video is like 2. photo, full width video screen without empy space left and right?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="14789" LastActivityDate="2017-11-09T20:06:54.880" Title="How make full width video screen of video" Tags="|video|video-editor|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21239" PostTypeId="1" CreationDate="2017-04-20T23:23:24.617" Score="0" ViewCount="1030" Body="&lt;p&gt;I'm setting up a projection map for a non-profit that will have images projected onto angular and unusually shaped walls. I use modul8 on my mac in the past, but this case is different. They use PC (in fact their whole show runs off of a laptop) and they want the ability to change the images based on the theme of the show. They have an A/V guy, but I don't want to suggest complex software that is going to be hard for a beginner to use. What software should I recommend and then use to set up their show so they don't have to keep calling little old expensive me?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: I should also mention that this is a small non-profit, so free or really cheap would benefit them greatly.&lt;/p&gt;&#xA;" OwnerUserId="18709" LastActivityDate="2019-08-11T06:00:40.073" Title="What is the most user friendly projection mapping software?" Tags="|software-recommendation|projector|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21240" PostTypeId="2" ParentId="18472" CreationDate="2017-04-21T01:58:36.953" Score="-1" Body="&lt;p&gt;Adobe Premiere Pro has a cross-dissolve effect.  You can select it as Effects-&gt;Video Transitions-&gt;Cross Dissolve.&lt;/p&gt;&#xA;" OwnerUserId="18712" LastEditorUserId="10931" LastEditDate="2017-04-21T12:50:26.583" LastActivityDate="2017-04-21T12:50:26.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21241" PostTypeId="2" ParentId="9330" CreationDate="2017-04-21T08:52:06.037" Score="0" Body="&lt;p&gt;You can flip your video online on &lt;a href=&quot;http://videorotate.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;video rotate&lt;/a&gt; if you don't want to install anything.&#xA;Just drag video to upload , choose orientation and download. &lt;/p&gt;&#xA;" OwnerUserId="18714" LastActivityDate="2017-04-21T08:52:06.037" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21242" PostTypeId="2" ParentId="21216" CreationDate="2017-04-21T10:59:28.420" Score="1" Body="&lt;p&gt;Firstly it looks like your sequence is 720x480, i.e. standard definition DV NTSC. This is the default sequence for Premiere, and has been since dinosaurs roamed the earth. Since it's about 1/16th the resolution of your image, not to mention that the pixels are non-square it's no wonder that there will be some quality loss.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're finishing at 720p (i.e. 1024*720) you should set your sequence to match. You'll have to either start a new sequence using the HDV 720p setting and copy everything across to it… &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/znIhQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/znIhQ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or cut everything from the timeline, change the sequence settings to match those in the picture below and paste everything back. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9lJBE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9lJBE.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;N.B make sure that as well as setting the right resolution you also choose &lt;strong&gt;square pixels&lt;/strong&gt; for your pixel aspect ratio. To make your clips match the sequence size you can right-click them and choose &lt;strong&gt;Set to frame size&lt;/strong&gt;. If there are a lot of similar clips you can do the first one, copy it, select the rest and choose &lt;strong&gt;edit&gt;Paste Attributes&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Secondly, you're better off creating your image at the final resolution - you won't gain anything by working at a higher resolution than your final product. Working at the native resolution also gives you a good idea of how it's going to look. Photoshop has film and video presets, so choose the correct one when you're setting up your image file.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-04-21T10:59:28.420" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21243" PostTypeId="2" ParentId="21235" CreationDate="2017-04-21T12:57:40.457" Score="1" Body="&lt;p&gt;It is certainly possible to use FCPX and AfterEffects as part of the same workflow.  To do this effectively, you will need to use an intermediate codec that preserves image quality across successive generations.  ProRes HQ 422 is a good baseline as an intermediate codec.  There are higher quality ProRes codecs (XQ 4444) and lower quality ones (ProRes LT 422).  But ProRes HQ should be a good starting place.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-04-21T12:57:40.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21244" PostTypeId="2" ParentId="21239" CreationDate="2017-04-21T15:16:50.010" Score="1" Body="&lt;p&gt;I'd hate to answer my own question, but just wanted to share what I found in case anyone else is interested.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PaintingWithLight has a feature rich demo that is very beginner friendly, and only costs a bit over $50 for a full license. Compared to other projection mapping software out there, this is an amazing bargain.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VPT 7 is completely free and feature rich, but not as intuitively user friendly. Luckly it comes with a pdf documentation with lots of pictures to walkthrough someone through every feature.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Dynamapper is a $5 app that also works, but requires some additional hardware (to connect a smartphone or tablet to a projector) and some 3d modeling experience.&lt;/p&gt;&#xA;" OwnerUserId="18709" LastActivityDate="2017-04-21T15:16:50.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21245" PostTypeId="2" ParentId="20820" CreationDate="2017-04-21T16:01:00.940" Score="2" Body="&lt;p&gt;It turns out it is impossible to live stream with the RPi hardware acceleration using ffmpeg.&#xA;For ffmpeg to configure the hardware acceleration to issue SPS/PPS frames during the stream and not only at the beginning of it, it needs to use a &lt;a href=&quot;https://github.com/raspberrypi/firmware/issues/242&quot; rel=&quot;nofollow noreferrer&quot;&gt;specific API of the raspberry firmware&lt;/a&gt; which it does not at the moment. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://frozen.ca/streaming-raw-h-264-from-a-raspberry-pi/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Raspivid&lt;/a&gt; and &lt;a href=&quot;http://gstreamer-devel.966125.n4.nabble.com/omxh264enc-and-stream-format-string-avc-td4671543.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;gstreamer&lt;/a&gt; does that though. So turn to thoses solution and forget about ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="18244" LastActivityDate="2017-04-21T16:01:00.940" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21246" PostTypeId="1" AcceptedAnswerId="21247" CreationDate="2017-04-21T17:22:12.430" Score="1" ViewCount="3173" Body="&lt;p&gt;can someone tell me, why videos (taken in low light place) has noise (or i dont know what to call that, the pixels playing/blinking continuously) , for example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/jctV4uWrfWI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My questions are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Why that noise is added at all? why cant the image could be static, i mean, where is black color, there should be black without noise...  (same for other colors...) why colors are not static and why this annoying noise is added? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) is there any method in photocameras (mobile, CANON etc..) , to force camera to record without noise (like professional videocameras do)?&lt;/p&gt;&#xA;" OwnerUserId="16354" LastActivityDate="2017-04-21T18:54:03.957" Title="Why videos taken in the dark has color artefacts (noise)?" Tags="|noise|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21247" PostTypeId="2" ParentId="21246" CreationDate="2017-04-21T17:58:41.193" Score="4" Body="&lt;p&gt;The noise in dim-lit environments is a result of how digital cameras work. The exposure of a picture or video depends on three essential parameters: lens aperture, shutter speed and ISO. The first two are about how much light falls on the camera sensor. The larger the aperture, the more light can enter the camera. The slower the shutter speed (i.e. the longer the exposure), the more light can enter the camera. ISO/gain is a digital amplification of the digitalised sensor signal By amplifying the signal, the camera can essentially make it brighter. However, the noise that is captured is also amplified. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's important to understand is that if you were to expose a light and a dark scene using the same aperture, shutter speed and ISO, the dark one wouldn't have more noise than the light one, it would just be darker. The noise is a result of the camera increasing the ISO/gain to achieve a well-exposed scene (which for the camera means a normally distributed histogram).&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;1) Why that noise is added at all? why cant the image could be static, i mean, where is black color, there should be black without noise... (same for other colors...) why colors are not static and why this annoying noise is added? &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;What probably happened with your example video is that the camera noticed a dim-light environment and cranked up the ISO/gain to achieve a well-exposed video. This inadvertently increases the noise of the video as well. What you can do to circumvent this is to switch to a manual exposure mode where you set the aperture, shutter speed and ISO manually. This way, you can set your camera to underexpose the image. It will turn out rather dark, but less noisy. Keep in mind though that this does &lt;strong&gt;not&lt;/strong&gt; mean you should just underexpose your video and just turn up the brightness in post-editing. This will once again increase the visible noise, because it's basically the same thing as increasing the ISO, only less efficient. So there's a tradeoff between noise and exposure as well. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;2) is there any method in photocameras (mobile, CANON etc..) , to force camera to record without noise (like professional videocameras do)?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;High-quality lenses will usually be faster, meaning their minimum f-number (maximum aperture) will be lower. A larger aperture means more light entering the camera in the same amount of time, so with a larger aperture you will get a brighter image than with a smaller one (while shutter speed and ISO stay the same).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;High-quality cameras will usually have slightly better low-light performance, meaning there will be less noise under the same circumstances with the same settings, but that difference is rather negligible in scenes as dark as the one in your video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also use a tripod to steady your camera, allowing for slower shutter speed (meaning each individual frame of your video will be exposed for a longer time). However, the shutter speed can't be slower than the inverse of the framerate for obvious reasons, so that will only do so much to brighten up your scene. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you really need to do to lower the noise is bring in more light. You can still darken the video in post-editing, but if you are able to shoot a well-exposed video with a low-ish ISO value (the meaning of &lt;em&gt;low&lt;/em&gt; in this context depends on your camera model), the resultant video won't have much noise regardless of how you decide to edit it. Alternatively, if you want an underexposed video (if that is the style you're going for), you can just set your camera to manual and purposefully underexpose the scene as described above. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-04-21T17:58:41.193" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21248" PostTypeId="1" CreationDate="2017-04-21T18:09:13.287" Score="0" ViewCount="220" Body="&lt;p&gt;Looking for some help on how content should be created for an upcoming show with super widescreen blend on it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The show consists of a 30' x 10' front projection screen with unblended resolution of 3840 x 1080. Video content is currently being created, as the projectors are being blended there is a 600px overlap, the resulting width is 3240px.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I get the content made in 3240px or 3840px?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help appreciated.&lt;/p&gt;&#xA;" OwnerUserId="18718" LastActivityDate="2017-04-22T11:16:12.860" Title="Making video content for 30' x 10' 3:1 Widescreen" Tags="|editing|projector|output|scale|presentation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21249" PostTypeId="2" ParentId="21246" CreationDate="2017-04-21T18:37:18.240" Score="3" Body="&lt;p&gt;When you have a camera with a small sensor, the little photosites can't read light very well. Photosites are like little pixels that are buckets of light that build up the image. When your sensor can't read light very well, it has to kind of guess what the light is and you just get random pixels firing off, creating that noisy pattern.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And to get rid of noise, you have to adjust the dark values with a curves or levels effect. You will crush the black levels and essentially eliminate the noise in the dark regions of your video. This is the only way to film high contrast, dark shadow images. Now, if your whole image was underexposed, then it's not as salvageable because your whole image is in the noisy threshold and will get affected by your effect right along all the other noisy parts you are trying to eliminate. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Conclusion, you can avoid this in the future by using plenty of light, a bigger sensor, or a faster lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a great article by a talented cinematographer&#xA;&lt;a href=&quot;http://www.thehurlblog.com/film-education-testing-your-cameras-emulsion/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.thehurlblog.com/film-education-testing-your-cameras-emulsion/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18583" LastEditorUserId="18583" LastEditDate="2017-04-21T18:54:03.957" LastActivityDate="2017-04-21T18:54:03.957" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21250" PostTypeId="2" ParentId="4942" CreationDate="2017-04-22T03:58:17.030" Score="1" Body="&lt;p&gt;The quick answer that worked for me:  do NOT save your captured video to a drive on the computer, save it to an external drive that runs at 7200 RPM   (many are 5400).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This problem was driving me crazy.  I checked so many blogs, FAQs and help lines, but nothing worked.  Finally a salesman at B&amp;amp;H Photo in NYC pointed me in the right direction (this is not an endorsement, but I do want to give credit where credit is due, and his suggestion definitely solved my problem!)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some detail:  I was capturing old VHS tapes from a tape deck directly to PC; an old Gateway EDX4840-15 workhorse.  I use Media Express (not crazy about the software, but it worked) capturing to AVI files (the only choice, oddly).  Originally I captured to the internal drive and all the captured video would gradually get out of sync, as described.   It would start out synced, gradually getting more and more out.    Capturing to the external drive at 7200 solved the problem.   The drive I used is a G-Drive Mobile USB 2TB, but I suspect any 7200 drive would work.     After the capture I move the files to my regular 5400 drives for long term storage (I have a lot of them).   Note:  once I mistakenly captured to an external 5400 drive, and the sync problem re-emerged, so the faster drive is definitely the problem solver.   Now that I think of it, if you have a 7200 internal drive, maybe that would work okay.   I don't know the speed of my internal drives at the time of this writing, but it's a thought.&lt;/p&gt;&#xA;" OwnerUserId="18721" LastActivityDate="2017-04-22T03:58:17.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21251" PostTypeId="2" ParentId="21248" CreationDate="2017-04-22T04:36:13.340" Score="-1" Body="&lt;p&gt;It depends on the play out and display system but generally, using Adobe After Effects, make a comp the full size of the raster, then render out a half size left projector and half size right projector. The blending will be done at the vertical intersection. So comp at 3840x1080, two half comps at 1920x1080 for each of the two sides. I would suggest talking to the display technician to be sure.&lt;/p&gt;&#xA;" OwnerUserId="18723" LastActivityDate="2017-04-22T04:36:13.340" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21253" PostTypeId="2" ParentId="21248" CreationDate="2017-04-22T11:16:12.860" Score="1" Body="&lt;p&gt;Since the resulting projected image is 3240 px wide, that's the size you should create. Then output two &quot;halves&quot; -- the leftmost 1920 px, then the rightmost 1920 px. There will be 600 px that appear in both parts. That's the overlap.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2017-04-22T11:16:12.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21254" PostTypeId="1" CreationDate="2017-04-22T14:17:57.090" Score="1" ViewCount="926" Body="&lt;p&gt;I'm trying to capture DNxHR HQX to my SSD.  I want HQX because I need the 10-bit color for grading (HQX is a 12-bit codec, but HQ and below are all 8-bit).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;8-bit HQ recording is no problem; I consistently get a 1.x+ speed, but 10-bit HQX recording gives me a 0.3x speed and almost instantly fails.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to speed up the HQX recording, or lower the quality (I don't need full HQX quality; I just need 10-bit color.) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;System info:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Windows 10 Home latest patches&lt;/li&gt;&#xA;&lt;li&gt;ffmpeg latest version (&quot;full&quot; build that includes &lt;code&gt;decklink&lt;/code&gt; support made using &lt;a href=&quot;https://github.com/jb-alvarado/media-autobuild_suite&quot; rel=&quot;nofollow noreferrer&quot;&gt;media_autobuild_suite&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;capture card: Blackmagic Intensity Pro 4K&lt;/li&gt;&#xA;&lt;li&gt;SSD: &lt;a href=&quot;https://www.sandisk.com/home/ssd/extreme-pro-ssd&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sandisk Extreme Pro 960GB&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Camera: Panasonic GH4&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;8-bit recording is fine&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -rtbufsize 1500M -threads 4 -f decklink -i &quot;Intensity Pro 4K@20&quot; -c:a copy -c:v dnxhd -profile:v dnxhr_hq test1123123123.mov&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Video stream:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    Stream #0:1: Video: rawvideo (UYVY / 0x59565955), uyvy422, 3840x2160, 3977334 kb/s, 29.97 tbr, 1000k tbn, 1000k tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Full output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;E:\&amp;gt;ffmpeg -rtbufsize 1500M -threads 4 -f decklink -i &quot;Intensity Pro 4K@20&quot; -c:a copy -c:v dnxhd -profile:v dnxhr_hq test1123123123.mov&#xA;ffmpeg version N-85597-gec07efa700 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Rev2, Built by MSYS2 project)&#xA;  configuration:  --enable-avisynth --enable-libmp3lame --enable-libopus --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-cuda --enable-cuvid --enable-schannel --enable-decklink --enable-fontconfig --enable-frei0r --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libilbc --enable-libmfx --enable-libmodplug --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libwavpack --enable-libwebp --enable-libxavs --enable-libxvid --enable-libzimg --enable-openssl --enable-libsnappy --enable-gpl --enable-opencl --enable-opengl --enable-libcdio --enable-libfdk-aac --enable-libkvazaar --enable-librubberband --enable-libssh --enable-libtesseract --enable-libzvbi --enable-chromaprint --enable-libopenh264 --enable-libopenmpt --enable-netcdf --enable-sdl2 --enable-libzmq --extra-cflags=-DLIBTWOLAME_STATIC --extra-cflags=-fopenmp --extra-libs=-lgomp --extra-libs=-lstdc++ --extra-cflags=-DLIBSSH_STATIC --extra-ldflags='-Wl,--allow-multiple-definition' --extra-cflags=-DCACA_STATIC --extra-cflags=-DMODPLUG_STATIC --extra-cflags=-DCHROMAPRINT_NODLL --extra-libs=-lstdc++ --extra-cflags=-DZMQ_STATIC --disable-w32threads --extra-cflags=-DPTW32_STATIC_LIB --extra-libs=-lpthread --extra-libs=-lwsock32 --extra-cflags=-DKVZ_STATIC_LIB --enable-version3 --enable-nonfree --enable-filter=frei0r --disable-debug&#xA;  libavutil      55. 61.100 / 55. 61.100&#xA;  libavcodec     57. 93.100 / 57. 93.100&#xA;  libavformat    57. 72.101 / 57. 72.101&#xA;  libavdevice    57.  7.100 / 57.  7.100&#xA;  libavfilter     6. 84.101 /  6. 84.101&#xA;  libswscale      4.  7.101 /  4.  7.101&#xA;  libswresample   2.  8.100 /  2.  8.100&#xA;  libpostproc    54.  6.100 / 54.  6.100&#xA;[decklink @ 0000017864736440] The @mode syntax is deprecated and will be removed. Please use the -format_code option.&#xA;[decklink @ 0000017864736440] Found Decklink mode 3840 x 2160 with rate 29.97&#xA;Guessed Channel Layout for Input Stream #0.0 : stereo&#xA;Input #0, decklink, from 'Intensity Pro 4K@20':&#xA;  Duration: N/A, start: 0.000000, bitrate: 3978870 kb/s&#xA;    Stream #0:0: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s&#xA;    Stream #0:1: Video: rawvideo (UYVY / 0x59565955), uyvy422, 3840x2160, 3977334 kb/s, 29.97 tbr, 1000k tbn, 1000k tbc&#xA;Stream mapping:&#xA;  Stream #0:1 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; dnxhd (native))&#xA;  Stream #0:0 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;Output #0, mov, to 'test1123123123.mov':&#xA;  Metadata:&#xA;    encoder         : Lavf57.72.101&#xA;    Stream #0:0: Video: dnxhd (DNXHR HQ) (AVdh / 0x68645641), yuv422p, 3840x2160, q=2-1024, 200 kb/s, 29.97 fps, 30k tbn, 29.97 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.93.100 dnxhd&#xA;    Stream #0:1: Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, s16, 1536 kb/s&#xA;frame=  360 fps= 30 q=1.0 Lsize= 1282411kB time=00:00:11.97 bitrate=877018.5kbits/s speed=0.999x&#xA;video:1280160kB audio:2246kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.000404%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;10-bit recording times out almost instantly&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -bm_v210 1 -rtbufsize 1500M -threads 4 -f decklink -i &quot;Intensity Pro 4K@20&quot; -c:a copy -c:v dnxhd -profile:v dnxhr_hqx test1.mov&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Video stream:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0: Video: dnxhd (DNXHR HQX) (AVdh / 0x68645641), yuv422p10le, 3840x2160, q=2-1024, 200 kb/s, 29.97 fps, 30k tbn, 29.97 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Full output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;E:\&amp;gt;ffmpeg -bm_v210 1 -rtbufsize 1500M -threads 4 -f decklink -i &quot;Intensity Pro 4K@20&quot; -c:a copy -c:v dnxhd -profile:v dnxhr_hqx test123123121.mov&#xA;ffmpeg version N-85597-gec07efa700 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Rev2, Built by MSYS2 project)&#xA;  configuration:  --enable-avisynth --enable-libmp3lame --enable-libopus --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-cuda --enable-cuvid --enable-schannel --enable-decklink --enable-fontconfig --enable-frei0r --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libilbc --enable-libmfx --enable-libmodplug --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libwavpack --enable-libwebp --enable-libxavs --enable-libxvid --enable-libzimg --enable-openssl --enable-libsnappy --enable-gpl --enable-opencl --enable-opengl --enable-libcdio --enable-libfdk-aac --enable-libkvazaar --enable-librubberband --enable-libssh --enable-libtesseract --enable-libzvbi --enable-chromaprint --enable-libopenh264 --enable-libopenmpt --enable-netcdf --enable-sdl2 --enable-libzmq --extra-cflags=-DLIBTWOLAME_STATIC --extra-cflags=-fopenmp --extra-libs=-lgomp --extra-libs=-lstdc++ --extra-cflags=-DLIBSSH_STATIC --extra-ldflags='-Wl,--allow-multiple-definition' --extra-cflags=-DCACA_STATIC --extra-cflags=-DMODPLUG_STATIC --extra-cflags=-DCHROMAPRINT_NODLL --extra-libs=-lstdc++ --extra-cflags=-DZMQ_STATIC --disable-w32threads --extra-cflags=-DPTW32_STATIC_LIB --extra-libs=-lpthread --extra-libs=-lwsock32 --extra-cflags=-DKVZ_STATIC_LIB --enable-version3 --enable-nonfree --enable-filter=frei0r --disable-debug&#xA;  libavutil      55. 61.100 / 55. 61.100&#xA;  libavcodec     57. 93.100 / 57. 93.100&#xA;  libavformat    57. 72.101 / 57. 72.101&#xA;  libavdevice    57.  7.100 / 57.  7.100&#xA;  libavfilter     6. 84.101 /  6. 84.101&#xA;  libswscale      4.  7.101 /  4.  7.101&#xA;  libswresample   2.  8.100 /  2.  8.100&#xA;  libpostproc    54.  6.100 / 54.  6.100&#xA;[decklink @ 0000019b57ed6540] The @mode syntax is deprecated and will be removed. Please use the -format_code option.&#xA;[decklink @ 0000019b57ed6540] Found Decklink mode 3840 x 2160 with rate 29.97&#xA;Guessed Channel Layout for Input Stream #0.0 : stereo&#xA;Input #0, decklink, from 'Intensity Pro 4K@20':&#xA;  Duration: N/A, start: 0.000000, bitrate: 5304648 kb/s&#xA;    Stream #0:0: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s&#xA;    Stream #0:1: Video: v210 (V210 / 0x30313256), yuv422p10le, 3840x2160, 5303112 kb/s, 29.97 tbr, 1000k tbn, 1000k tbc&#xA;Stream mapping:&#xA;  Stream #0:1 -&amp;gt; #0:0 (v210 (native) -&amp;gt; dnxhd (native))&#xA;  Stream #0:0 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;Output #0, mov, to 'test123123121.mov':&#xA;  Metadata:&#xA;    encoder         : Lavf57.72.101&#xA;    Stream #0:0: Video: dnxhd (DNXHR HQX) (AVdh / 0x68645641), yuv422p10le, 3840x2160, q=2-1024, 200 kb/s, 29.97 fps, 30k tbn, 29.97 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.93.100 dnxhd&#xA;    Stream #0:1: Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, s16, 1536 kb/s&#xA;[decklink @ 0000019b57ed6540] Decklink input buffer overrun!itrate=874616.0kbits/s speed=0.313x&#xA;    Last message repeated 27 times&#xA;[decklink @ 0000019b57ed6540] Decklink input buffer overrun!itrate=874609.5kbits/s speed=0.319x&#xA;    Last message repeated 27 times&#xA;[decklink @ 0000019b57ed6540] Decklink input buffer overrun!itrate=874605.2kbits/s speed=0.324x&#xA;    Last message repeated 27 times&#xA;[decklink @ 0000019b57ed6540] Decklink input buffer overrun!itrate=896389.6kbits/s speed=0.327x&#xA;    Last message repeated 4 times&#xA;frame=   42 fps= 10 q=1.0 Lsize=  149610kB time=00:00:01.36 bitrate=895868.2kbits/s speed=0.327x&#xA;video:149352kB audio:257kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.001212%&#xA;[decklink @ 0000019b57ed6540] Decklink input buffer overrun!&#xA;    Last message repeated 1 times&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2017-04-22T14:17:57.090" Title="How to speed up DNxHR HQX capture with ffmpeg?" Tags="|ffmpeg|encoding|codec|transcoding|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21255" PostTypeId="2" ParentId="20413" CreationDate="2017-04-22T14:51:10.190" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://larryjordan.com/articles/eq-warm-a-voice-and-improve-diction/&quot; rel=&quot;nofollow noreferrer&quot;&gt;An article by Larry Jordan&lt;/a&gt; gives the following idea for using the Equalizer effect in FCPX:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;To warm a voice, here are the settings I recommend you start with:&#xA;  Men: Add 3-5 dB around 180 – 200 Hz.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;There's more info in the article.  Based on this, I was able to make several improvements to the audio in Resolve.&lt;/p&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2017-04-22T14:51:10.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21256" PostTypeId="2" ParentId="20435" CreationDate="2017-04-22T14:55:16.260" Score="0" Body="&lt;p&gt;As &lt;a href=&quot;https://video.stackexchange.com/a/20434/5349&quot;&gt;stated in this answer (includes an example)&lt;/a&gt;, as of ffmpeg 3.3.6, this is now supported.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The error no longer appears and you can convert to 444 without trouble.&lt;/p&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2017-04-22T14:55:16.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21257" PostTypeId="1" CreationDate="2017-04-22T17:46:28.923" Score="1" ViewCount="3897" Body="&lt;p&gt;I am trying to make a video out of an image sequence -  Where each frame lasts for a second. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The image sequence contains the same object shot from different distances. &#xA;I'm guessing most default video converters optimize for motion, but in this scenario, I need to get the least file size without changing the frame rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which codec (H.264, VP8, VP9) can give me the best size to quality ratio?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also are there any flags for H.264 which I can enable to optimize for this case?&lt;/p&gt;&#xA;" OwnerUserId="18725" LastActivityDate="2017-07-24T17:55:10.080" Title="What are the best codecs and encoding options for a image sequence video?" Tags="|video-quality|encoding|codec|h.264|webvideos|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21260" PostTypeId="1" CreationDate="2017-04-23T01:17:15.133" Score="5" ViewCount="13931" Body="&lt;p&gt;I am trying to use premiere, but I wouldn't mind switching computer programs to accomplish my goal. h.264 is an amazing codec for exporting videos, it is the fastest I've seen yet. Same exact videos but in a different codec take 5-10 times as long to export. So I'd like to make videos with the h.264 codec. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway adobe premiere only supports up to 4k when it comes to outputting with h.264, and that is because at the time, h.264 only contained max with of 4096 pixels or something.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, there is h.264 &quot;advanced video coding&quot;, and I have videos on my computer, that are 8k, and are in this h.264 avc codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, how do I convert to, or export in, a 264 video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I can't do this with premiere, can someone point me to a program that does it? I would be able to take a 4k video, with 8k esque bitrate, convert it to a 8k video, and it would look some what decent. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know this isn't optimal, but please help me figure out some way to upscale into this 8k avc format. &lt;/p&gt;&#xA;" OwnerUserId="14559" LastActivityDate="2017-04-23T04:56:54.887" Title="How do I encode videos into h.264 at 8k resolution?" Tags="|premiere|adobe|h.264|avchd|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21261" PostTypeId="2" ParentId="21260" CreationDate="2017-04-23T03:49:18.360" Score="7" Body="&lt;p&gt;Are you sure the 8k videos on your computer are actually h.264, and not h.265?  The max resolution of h.264 level 5.2 is &lt;a href=&quot;https://en.wikipedia.org/wiki/H.264/MPEG-4_AVC&quot; rel=&quot;noreferrer&quot;&gt;still 4096x2305&lt;/a&gt;.  To convert beyond that in Premiere, you need to chose HEVC (h.265) as the format in the export settings dialog.  The HEVC stands for High Efficiency Video Coding, and you might have that confused with &quot;advanced video encoding.&quot;  H.265 supports up to 8192×4320.  Upscaling your 4k in Premiere shouldn't be a problem, either.  I'd do it by changing the project settings to my desired resolution, then scaling the timeline video to fit, but you could probably also do it in the export settings dialog.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2017-04-23T03:49:18.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21262" PostTypeId="2" ParentId="19886" CreationDate="2017-04-23T04:54:32.987" Score="4" Body="&lt;p&gt;You have two choices...&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The wireless way:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;SJ4000 WiFi has a built-in RTSP streaming server, supporting &lt;em&gt;one client at a time&lt;/em&gt; with a &lt;strong&gt;limited resolution at 640x360&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This can be viewed locally by connecting your phone or laptop to the camera's access point, start a RTSP+H.264-capable media player (e.g. VLC Media Player), and instruct it to open following URL:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;rtsp://192.168.1.254/sjcam.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, if you would like to allow multiple people to watch the stream, you would need to install a live streaming software (that supports RTSP video source) on your phone or laptop.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;VLC Media Player (at least the desktop version) can do a self-hosted live streaming in this scenario, but is awkward to set up.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Open Broadcaster Studio&lt;/a&gt; is known to &lt;a href=&quot;https://obsproject.com/forum/threads/how-to-add-rtsp-ip-cam-video-source.43295/&quot; rel=&quot;nofollow noreferrer&quot;&gt;support this configuration&lt;/a&gt; as well as broadcasting into services like YouTube, Twitch, or Dailymotion.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The wired way:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;SJ4000 WiFi is capable of acting as a USB webcam with &lt;strong&gt;HD-ready 1280x720 resolution&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once the camera's USB port is connected to laptop or OTG-capable Android phone, choose &quot;PCCamera&quot; mode on camera's screen; and you can view the stream locally with &lt;em&gt;any&lt;/em&gt; webcam application.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you are going to re-broadcast the stream, &lt;em&gt;any&lt;/em&gt; live streaming software should work (anything ranging from Google Hangouts, LINE, Facebook Live, Youtube app, to specialized ones like Open Broadcaster mentioned above).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Caveat:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as I have tested with my firmware version, &lt;strong&gt;the camera does not provide audio streaming&lt;/strong&gt; in both RTSP and USB webcam mode. Since you are broadcasting sport event, you would have to insert live audio on-field in the live streaming software (optionally, with proper A/V delay compensation). Which in this case, the &lt;em&gt;wired way is recommended&lt;/em&gt;, as there are more choices on software you can use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are not particularly picky with the 0.6+ sec A/V desync, using &lt;em&gt;wired mode&lt;/em&gt; with video chat applications mentioned above should suffice; they will pick audio from laptop/phone's microphone. However, if you need A/V delay compensation, use Open Broadcaster Studio or other specialized live streaming software of similar ability instead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="18729" LastActivityDate="2017-04-23T04:54:32.987" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21263" PostTypeId="2" ParentId="21260" CreationDate="2017-04-23T04:56:54.887" Score="4" Body="&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; can use x264 to output to 8K.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basic template:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 4KfromPremiere.mp4 -vf scale=7680x4320 -crf 20 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-04-23T04:56:54.887" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21265" PostTypeId="1" CreationDate="2017-04-24T15:06:26.670" Score="2" ViewCount="12538" Body="&lt;p&gt;I use Element3D most of the time when I edit videos, however, there's a problem.&#xA;This Adobe After Effects Plugin works with NVIDIA GeForce Palit 210 1GB but I didn't use the graphics card because it performs too slow / let's say not capable for 1920×1080 resolution but for 1280×720 only.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the moment, I'm using my motherboard's/processor's built-in graphics card/display/driver, but it happens that I can't use the Element3D because it says that it can't initialize the OpenGL. I'd check my processor graphic specs and I find it capable though of OpenGL 4.4. &lt;strong&gt;My question is, How am I able to make Element3D run with my graphic preference/spec/settings.&lt;/strong&gt; (See Specs and Error Messages below)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My PC Specs:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Main Storage: 256GB Crucial SSD&lt;br&gt;&lt;/li&gt;&#xA;&lt;li&gt;Secondary Storage: 500GB Hitachi HDD&lt;br&gt;&lt;/li&gt;&#xA;&lt;li&gt;Processor: Intel Core-i3-6100 @ 3.70Ghz (6th Gen)&lt;br&gt;&lt;/li&gt;&#xA;&lt;li&gt;Memory: 8GB (7.44 Usable)&lt;br&gt;&lt;/li&gt;&#xA;&lt;li&gt;OS: Windows 7 Professional 64-bit&lt;br&gt;&lt;/li&gt;&#xA;&lt;li&gt;Graphics: Intel HD Graphics 530, 2GB (Excellent in games and video editing, even at 1080p, it's just that Element3D Don't Work)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Error Messages:&lt;/strong&gt;&lt;br&gt;&#xA;First, when dragging the effect to the timeline:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Z6i6K.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Z6i6K.jpg&quot; alt=&quot;First Attempt&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Doing it again, and opening its dialog box / control panel or whatever you call it (after clicking ok on this picture, it makes my Adobe AE Not responsive and I'll just close it)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Gw70X.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Gw70X.jpg&quot; alt=&quot;Second Attempt&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18618" LastEditorUserId="18155" LastEditDate="2019-08-15T10:56:26.937" LastActivityDate="2023-12-22T21:06:00.673" Title="Adobe AE with Element3D to work with Intel Graphics" Tags="|after-effects|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="21266" PostTypeId="2" ParentId="18944" CreationDate="2017-04-24T16:39:09.680" Score="0" Body="&lt;p&gt;I'm assuming this is the standard EF-S 18-55mm f/3.5-5.6 IS Type II Lens that comes in the T3i kit? You're either going to need some kind of adapter that sits between the lens and the camera body that has logic circuity in it to allow you to remotely adjust the lens, like &lt;a href=&quot;https://www.bhphotovideo.com/bnh/controller/home?O=&amp;amp;sku=1140725&amp;amp;gclid=COH7zd7CvdMCFQKRfgodTgQHyw&amp;amp;is=REG&amp;amp;ap=y&amp;amp;m=Y&amp;amp;c3api=1876%2C%7Bcreative%7D%2C%7Bkeyword%7D&amp;amp;Q=&amp;amp;A=details&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;this puppy&quot;&gt;this puppy&lt;/a&gt; (note that is meant to also adapt EF lenses to E bodies, so that's not the exact unit you'd want to buy) or you'd want some kind of Follow Focus system with a cable &quot;remote,&quot; &lt;a href=&quot;https://www.bhphotovideo.com/c/product/1331915-REG/wooden_camera_244500_uff_1_universal_follow_focus.html&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;like this.&quot;&gt;like this&lt;/a&gt;. Again, this is just an example, so you'd want to shop around and make sure you find one in your price range and are sure is compatible with your lens.&lt;/p&gt;&#xA;" OwnerUserId="18259" LastActivityDate="2017-04-24T16:39:09.680" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21267" PostTypeId="1" AcceptedAnswerId="21369" CreationDate="2017-04-24T18:28:04.090" Score="1" ViewCount="375" Body="&lt;p&gt;I am getting starting with video and I have a question about audio. I am going to be doing my first event (wedding) where audio is going to be critical. I have done other shoots, where the audio was not as important.&lt;br&gt;&#xA;I have a &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B003QKBVYK&quot; rel=&quot;nofollow noreferrer&quot;&gt;Zoom H1 Recorder&lt;/a&gt;. There is going to be someone at the event taking care of sound, mics, etc.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Should I see if the sound guy will give me a 3.5mm output? I could then use that as an input to the Zoom H1 and record based on that.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Disadvantage: If one of the mics is off/disconnected, I wouldn't&#xA;get any audio?&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Should I place the Zoom H1 in the room somewhere or attach it to the camera?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Disadvantage: Not as good audio quality as what you could get from the mics?&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;What is the best way to get good quality, reliable audio?&lt;/p&gt;&#xA;" OwnerUserId="16850" LastEditorUserId="16850" LastEditDate="2017-04-24T18:57:21.840" LastActivityDate="2017-05-10T13:36:33.203" Title="Best way to capture audio at an event" Tags="|audio-recording|audio-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21268" PostTypeId="2" ParentId="20990" CreationDate="2017-04-24T18:33:24.073" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Should I get a digital SLR video camera, or a camcorder, or something else?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It depends on your planned usage. Canon and I &lt;em&gt;think&lt;/em&gt; Nikon DSLRs are still limited to recording up to 4GiB of footage, and then they stop. This works out to roughly 15-20 minutes of footage per shot, depending on bitrate (which will be influences by shooting modes and the amount of motion in a shot). Some mirrorless cameras, including the Panasonic Lumix series and the Sony Alpha series, feature shooting modes that can record for as long as they have power. So if you're going to have a dedicated camera operator, or plan on primarily shooting everything in quick, small shots, a DSLR might work out, otherwise look at cameras that use AVCHD, XAVC, or some similar system to overcome clip length.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DSLRs and mirrorless cameras also typically do not have servo-controlled zoom mechanisms, so any zoom changes will need to be done by hand, and if you're planning on shooting any of these zooms they may look unsteady if you don't use some kind of additional hardware to smooth things out. On the other hand, that means you can do things like snap-zooms if you so wish.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other thing of concern is rolling shutter. DSLRs use a CMOS sensor which is better for still photography, while camcorders use CCDs, which are better for video. The problem with CMOS sensors is that while they are cheaper than CCDs, they don't have what's called a &quot;global shutter,&quot; and each imaging line is scanned individually, which produces a rolling shutter effect (AKA: Jello-vision) when there is a lot of horizontal movement. Most modern DSLRs have this tamped down to a reasonable level, but it's still something to look out for when choosing a camera.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Should I try or try not to couple my audio and video?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You should keep the two separate, if possible, and not mix in the field. Or if you do mix in the field make sure you have an isolated recording. Mixing in post will give you the maximum amount of flexibility and will reduce the amount of opportunities for things to be screwed up on accident, which would necessitate a reshoot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't want to synch by hand you could look into &lt;a href=&quot;https://www.redgiant.com/products/pluraleyes/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Red Giant's PluralEyes&lt;/a&gt; and have it do the synching for you, just make sure you're recording some kind of audio on the camera.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Do I really need lighting equipment? I see people producing tolerable youtube vlogs with what seems to be minimal equipment.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Generally speaking, yes, you should have some kind of lighting setup. The more light you can throw on a subject the better, and you should definitely have one if you are going to be shooting in different environments so you can make sure you always have sufficient light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a typical interview a three-point lighting setup is recommended, and thankfully with LEDs becoming cheaper you can often find some small, cheap, light lighting kits that don't produce ten tons of heat. You can also experiment with different kinds of cheap lighting to suit your needs, like getting a cheap utility light from the hardware store and throwing a bunch of diffusion on it to soften the harshness.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would also recommend getting some sort of bounce board to help better control your lighting. You can use colored boards to add a subtle &quot;look&quot; to your video (using a gold bounce board is common to help give a shot a warmer look), to soften shadows, or as a flag to control where your light is being thrown to reduce glare, lens flares, and reflections. There are nice ones that are very portable, alternatively get some cheap foam core from the local office supply shop.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Are there certain cameras that are betting with not great internal lighting than others?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yes. A camera's light sensitivity is, generally speaking, governed by the size of its imaging sensor. The bigger the sensor the more light can be focused on it. Professional camcorders use sensors that are two thirds of an inch (measured diagonally), while a lot of consumer camcorders use sensors that are only one third of an inch. In DSLRs and mirrorless cameras the size can be almost anything. It could be as small as 0.85 inches, as in Micro Four Thirds, all the way up to just over an inch in the case of Canon APC-S sized sensors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also different sensor manufacturers may do better or worse in terms of performance at the same light level. For example the low light performance of the Sony A7s II is way beyond anything Panasonic can deliver at that size.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;What is the best way to record the music that the instructors will be demoing to?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Add it in post. This will give you maximum flexibility to keep the levels constant. You can use recording from the onboard camera mic(s) to synchronize it to the music. I've never tested it, but PluralEyes may actually be able to do that for you too.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;What am I overlooking? This world is new to me, but I'm excited about entering it.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;A good tripod. If you plan on doing any tilting or panning or any of that jazz you want to make sure you get a tripod with a fluid head. You may also want to consider some kind of shock resistance system if you're going to be shooting on floors that have a lot of flex to them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you anticipate a lot of moving around you should consider maybe a monopod (monopods can also be used as a jib if you're willing to risk it), or, if you plan to be shooting while you move the camera, maybe a Steadicam rig or some kind of gimbal. There's a ton of guides out there on how to make your own Steadicam-like system, and most of the time they're pretty inexpensive to build.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should also consider lenses if you're buying a camera with interchangeable lenses. The lenses included in basic kits aren't bad, but you may find them somewhat limiting, such as a limited &quot;zoom&quot; range, or it doesn't open up wide enough. You may want to consider adapting different kinds of lenses to it, but keep in mind lenses with electronically controlled focus and aperture may require some kind of powered adapter (one brand is SpeedBooster by Metabones), and those can get kind of expensive. Sometimes you can get away with just using a non-electrified adapters can also be used, and are very cheap, but you will not get autofocus, and you might not have control over the aperture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When shooting it's strongly recommended &lt;em&gt;not&lt;/em&gt; to use auto-focus or auto-exposure, or for that matter any other automatic controls. The results are almost never as good as doing it yourself, and the systems are easily bamboozled. Before you shoot, and after every time your lighting changes, you should re-white balance your camera using a clean white sheet of paper being held exactly where the talent will be standing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Don't get caught up in the whole 4K/UHD thing. Distribution of 4K isn't quite &quot;there&quot; yet, and there isn't a ton of demand for it outside of enthusiast circles. It does give you some flexibility in post production, however, to punch in closer or for image stabilization, plus additional color detail when downscaling, but I wouldn't rule out a camera because it &lt;em&gt;doesn't&lt;/em&gt; shoot 4K/UHD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Focus a lot on sound. Microphones will pick up all sorts of extraneous noises you don't hear, like the sound of HVAC systems circulating air, or the hum of a refrigerator's compressor. You should have your sound engineer listen for these things and make sure they speak up if there's a problem with the audio. Don't be afraid to do things like post signs outside telling people you're shooting, and unplugging appliances (a fridge will keep cool for however long you're shooting).&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Always shoot some test footage and have your talent test your microphones.&lt;/li&gt;&#xA;&lt;li&gt;Always arrive early&lt;/li&gt;&#xA;&lt;li&gt;Never stop your audio recorder if the camera is still running&lt;/li&gt;&#xA;&lt;li&gt;Always run the camera a little longer than you think you need to, you can trim the slop in edit.&lt;/li&gt;&#xA;&lt;li&gt;Make sure your talent stops and holds position when they're done doing whatever it is they're doing. This gives you more flexibility in post.&lt;/li&gt;&#xA;&lt;li&gt;Use your audio meters to ensure your audio is mixed to around the same level, but don't &quot;ride the levels&quot; and be too fine grained&lt;/li&gt;&#xA;&lt;li&gt;Don't go too extreme with your color grading&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="18259" LastActivityDate="2017-04-24T18:33:24.073" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21269" PostTypeId="2" ParentId="21257" CreationDate="2017-04-24T18:50:48.187" Score="0" Body="&lt;p&gt;VP9 will give you the best quality-to-size ratio, but you can also get pretty good results out of H.264 as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to maximize the efficiency of compression, if each image is up for &lt;em&gt;exactly&lt;/em&gt; one second (or &lt;em&gt;exactly&lt;/em&gt; two seconds, or &lt;em&gt;exactly&lt;/em&gt; three seconds, or &lt;em&gt;exactly&lt;/em&gt; etc.) then you make the frame rate 1.00 FPS and tell the encoder not to use P-frames or B-frames (AKA &quot;reference frames&quot;) and set your GoP to 1. After that run with Constant Quality encoding and use a rate factor that gets you an acceptable level of quality with an acceptable file size.&lt;/p&gt;&#xA;" OwnerUserId="18259" LastActivityDate="2017-04-24T18:50:48.187" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21270" PostTypeId="1" CreationDate="2017-04-24T18:51:53.940" Score="2" ViewCount="62" Body="&lt;p&gt;I have imported a mp4 clip in my &lt;strong&gt;Premiere Pro CS6&lt;/strong&gt; timeline for which I would like to turn down the volume:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/v7iTd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/v7iTd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I try and drag the &lt;strong&gt;Volume&lt;/strong&gt; effect to the clip (or any other audio effect), I see a &quot;forbidden&quot; sign over the cursor:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cQYg3.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cQYg3.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I go through the &lt;strong&gt;Clip&lt;/strong&gt; menu the &lt;strong&gt;Audio&lt;/strong&gt; options are greyed out:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/s34Wx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s34Wx.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried removing the shot from the timeline and dragging the effect to the file listed in the &lt;strong&gt;Project&lt;/strong&gt; window, but it didn't do anything. When I right-click on the file in the &lt;strong&gt;Project&lt;/strong&gt; window, a lot of options appear, but the modifications I do there do not seem to work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How can I just lower the volume of this shot?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="11754" LastActivityDate="2017-04-26T15:45:02.313" Title="Can I modify the volume of a shot in the timeline of Premiere Pro?" Tags="|premiere|editing|audio|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21271" PostTypeId="2" ParentId="21265" CreationDate="2017-04-25T11:53:57.980" Score="0" Body="&lt;p&gt;You should check VideoCoPilot's website in regards to system requirements. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based off first glance; your system is not cut out for working with Element3D in AE. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;AE alone is going to strain your system. At the very least you're going to want to run E3D in AE on a i7 processor setup (preferably XEON); as many cores as possible, as AE can multi-thread; and not rely on an onboard graphics card. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I run E3D on a dual E5-2697 v2 (48 Cores HT), with 128 GB Ram; and a Titan Black GPU and I still wish it could be more responsive and faster. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the VERY least; you're going to need to bump up to 32 GB ram; recommend 64; and a much better processor. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your OS and system services are going to tie up 1.5 GB of your 8 GB ram; and AE alone will hog another 3-4 GB with no plugins running. It's my opinion you simply don't have the power to run this config on your system. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-04-25T11:53:57.980" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21274" PostTypeId="1" CreationDate="2017-04-25T21:53:28.057" Score="1" ViewCount="177" Body="&lt;p&gt;I am wondering if &quot;Ghosting&quot; effects like the one in &lt;a href=&quot;https://i.imgur.com/hrx96ar.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt; are available in any Open Source software, like Blender.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere Pro seem to call it &quot;ghosting&quot; while Final Cut Pro seems to call it &quot;Ghost Trails&quot;.&lt;/p&gt;&#xA;" OwnerUserId="18746" LastEditorUserId="18746" LastEditDate="2017-04-28T13:19:22.073" LastActivityDate="2017-05-04T18:42:03.007" Title="Ghosting effect with open source software" Tags="|software-recommendation|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21275" PostTypeId="1" AcceptedAnswerId="21664" CreationDate="2017-04-26T00:54:47.840" Score="0" ViewCount="6857" Body="&lt;p&gt;I have a Movie_Manifest.mpd file that is made up of 5 .webm video streams (consisting of different sizes and bps) and 1 audio file. The question I'm asking is: can it be played through a &quot;simple&quot; HTML5 video tag?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried this and it doesn't work:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;video controls&amp;gt;&#xA;  &amp;lt;source src = &quot;Movie_Manifest.mpd&quot;/&amp;gt;&#xA;&amp;lt;/video&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Well it works, but it chooses the lowest quality video stream and the output is laggy. I would like it to have adaptive bit streaming. You might think, &quot;Do you think your bandwidth is just &lt;em&gt;that&lt;/em&gt; slow?&quot; Yeah, my bandwidth is slow, but not &lt;em&gt;that&lt;/em&gt; slow. And besides, when I run that low quality webm file on its own, it runs smooth. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So to reiterate:  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Can I use a &quot;simple&quot; HTML5 video tag for adaptive bit streaming?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Do I have to use an open source media player (that the video tag would be accessing through a javascript)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks and happy streaming&lt;/p&gt;&#xA;" OwnerUserId="18705" LastActivityDate="2017-07-13T11:59:15.820" Title="Simple: Can HTML5 Play a .mpd Manifest File Through Its Video Tag?" Tags="|streaming|transcoding|mpeg-dash|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21278" PostTypeId="2" ParentId="21270" CreationDate="2017-04-26T15:45:02.313" Score="2" Body="&lt;p&gt;When you drag a clip into a sequence, PPro will show a video track (if there is video) and audio track(s) if there is audio.  If there is both audio and video, the tracks will be linked.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The volume controls are on the audio track, not the video track.  You can adjust volume both on a clip basis and on a track basis.  Buy volume is a meaningless concept on a video track (even if the video clip is linked to an audio clip).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-04-26T15:45:02.313" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21280" PostTypeId="1" AcceptedAnswerId="21281" CreationDate="2017-04-26T21:59:16.917" Score="0" ViewCount="40" Body="&lt;p&gt;I'm new to video production and editing. I'm wondering how I should use my camera (maybe with some other tools) to create a kind of twisting zoom, where the camera moves towards the front of the subject at the same time to the subject moves, without shaking the camera. I'd like to do something similar to what is in the video below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/oCAEsEANzRQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="18674" LastEditorUserId="14523" LastEditDate="2017-04-27T10:08:14.880" LastActivityDate="2017-04-27T10:08:14.880" Title="How do they create that kind of &quot;twisting zoom&quot;?" Tags="|video|video-editor|camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21281" PostTypeId="2" ParentId="21280" CreationDate="2017-04-26T22:12:08.523" Score="0" Body="&lt;p&gt;This is not an editing technique and it is not a zoom. There is no change in focal length. The subject is on a product or photography &lt;a href=&quot;https://www.bhphotovideo.com/c/buy/Product-Turntables/ci/18679/N/3861984724&quot; rel=&quot;nofollow noreferrer&quot;&gt;turntable&lt;/a&gt;. You can even &lt;a href=&quot;https://www.youtube.com/results?search_query=diy+photography+turntable&quot; rel=&quot;nofollow noreferrer&quot;&gt;make your own&lt;/a&gt;. The camera is kept fixed on a tripod with no zooming. Just position the camera and the subject to capture the motion you want and rotate the turntable.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastEditorUserId="14523" LastEditDate="2017-04-26T22:46:31.380" LastActivityDate="2017-04-26T22:46:31.380" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21282" PostTypeId="1" CreationDate="2017-04-26T22:38:40.153" Score="0" ViewCount="36" Body="&lt;p&gt;Would like to create some sort of mask during post to make a persons face look more towards the horror genre and wondered what would be the best way of doing this? It would only need a 2d image to animate over but wondered how to go about it? &lt;/p&gt;&#xA;" OwnerUserId="18755" LastActivityDate="2017-07-07T21:22:57.850" Title="Need a cover up for a face to make it more horror-ish" Tags="|video|after-effects|video-editor|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21283" PostTypeId="1" CreationDate="2017-04-27T02:01:51.390" Score="0" ViewCount="593" Body="&lt;p&gt;I'm planning on creating a time lapse from a series of still images. I plan to shoot the images in raw (Nikon NEF, Adobe RGB), then edit with Photoshop and export as jpegs (highest quality). I am planning on then putting them into an NLE (either FCPX, Resolve, or Premiere Pro) to turn them into a time lapse video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to preserve the highest quality for the final video, so my questions are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is this the best way to preserve quality? If not, what is?&lt;/li&gt;&#xA;&lt;li&gt;Also, what will the final quality be? (In terms of retained data?) ie: is there enough data retained, such that if I export it as ProRes4444 there will be more information than ProRes4:2:2? Or is there already such reduced quality that it won't matter?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I understand that this question may be poorly worded, but I believe it is on-topic and relevant, so please edit it or comment for clarification.&lt;/p&gt;&#xA;" OwnerUserId="17731" LastActivityDate="2017-05-11T17:31:00.240" Title="Quality of time lapse from images" Tags="|video-quality|codec|time-lapse|" AnswerCount="1" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="21284" PostTypeId="2" ParentId="21275" CreationDate="2017-04-27T02:08:24.123" Score="1" Body="&lt;p&gt;no. video tag can not play mpd, and will not do adaptative bitrate. You must write that yourself, or use a free, or commercial implementation&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2017-04-27T02:08:24.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21285" PostTypeId="1" CreationDate="2017-04-27T05:12:51.127" Score="1" ViewCount="204" Body="&lt;p&gt;I'm recording a top view of a drum machine with this camera: Panasonic HDC-TM40. I need to use manual focus to fix the focus.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Using manual is the only way to lock the focus, right?&lt;/li&gt;&#xA;&lt;li&gt;I can barely see the manual focus with the little screen (and even with an external screen). May I zoom in, focus, then zoom out (optical zoom only)?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2077" LastActivityDate="2017-04-27T13:19:46.853" Title="Can I zoom in, manual focus, then zoom out?" Tags="|video-recording|focus|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21286" PostTypeId="1" AcceptedAnswerId="21287" CreationDate="2017-04-27T06:43:51.330" Score="2" ViewCount="640" Body="&lt;p&gt;In the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Filters Documentation&lt;/a&gt; some filters have a subsection &quot;Commands&quot; which begins with the sentence&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;This filter supports the following commands:&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;e. g. in the section &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#volume&quot; rel=&quot;nofollow noreferrer&quot;&gt;6.68 volume&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Filters have &lt;em&gt;parameters&lt;/em&gt;; it is understandable. But what is the meaning of filter &lt;em&gt;commands&lt;/em&gt; and how and when are they used?&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2017-04-27T08:13:01.847" LastActivityDate="2018-11-18T15:09:51.117" Title="What does it mean &quot;This filter supports the following commands&quot;?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21287" PostTypeId="2" ParentId="21286" CreationDate="2017-04-27T07:45:29.893" Score="3" Body="&lt;p&gt;Commands allow you to change the parameters &lt;em&gt;during&lt;/em&gt; execution of the command. This is primarily useful when working with streaming media e.g. if the volume gets too loud during a broadcast, send a command to the volume filter to lower it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To issue commands to filters which support it from outside, ffmpeg has to be compiled with libzmq support. See the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#zmq_002c-azmq&quot; rel=&quot;nofollow noreferrer&quot;&gt;docs&lt;/a&gt; for the zmq filter for details.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To issue commands from the terminal, press &lt;kbd&gt;c&lt;/kbd&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 'command prompt' will be shown :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Enter command: &amp;lt;target&amp;gt;|all &amp;lt;time&amp;gt;|-1 &amp;lt;command&amp;gt;[ &amp;lt;argument&amp;gt;]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Enter a command as per the given format and press &lt;kbd&gt;Enter&lt;/kbd&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;e.g. &lt;code&gt;overlay@logo -1 x 100&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-11-18T15:09:51.117" LastActivityDate="2018-11-18T15:09:51.117" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="21288" PostTypeId="2" ParentId="21285" CreationDate="2017-04-27T13:19:46.853" Score="3" Body="&lt;p&gt;To answer your second question:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can only use the zoom in, focus, zoom out if the lens is parfocal. Normally a parfocal zoom lens starts at 3000-4000 USD, thus I highly doubt the lens in this camera is parfocal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then again, how much of an issue this will be depends entirely on the lens, perhaps it won't loose a lot of focus or it will loose a lot of focus when you zoom out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not familiar enough with the camera to really answer your first question, but in general terms manual focus is the only way to lock focus. However, modern auto focus in certain cameras keep focus very well, but it isn't locked as such.&lt;/p&gt;&#xA;" OwnerUserId="18761" LastActivityDate="2017-04-27T13:19:46.853" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21289" PostTypeId="1" CreationDate="2017-04-27T13:21:24.910" Score="1" ViewCount="242" Body="&lt;h3&gt;What i have&lt;/h3&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;10 decoder which subscribe to private multicasted TV channels.&lt;/li&gt;&#xA;&lt;li&gt;10 TV to display what the decoders outputs (connected though HDMI).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h3&gt;What i want to do&lt;/h3&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I would like to to add an overlay (video or text) on the TV.&lt;/li&gt;&#xA;&lt;li&gt;The overlay must be present on every TV channels.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h3&gt;My guesses&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;I first though about using OBS on a computer between each decoder and tv. To merge RTMP and overlay. And put OBS in fullscreen-preview mode.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;|---------|         |-------------|         |--------|&#xA;| decoder |--HDMI--&amp;gt;|   computer  |--HDMI--&amp;gt;|   TV   |&#xA;|---------|         | running OBS |         |--------|&#xA;                    |-------------|&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this is not the ideal scenario, because i'll have to restart and put OBS in fullscreen everytime the computer is shutted down...&#xA;&lt;br&gt;&#xA;&lt;br&gt;&#xA;So my question is, how would you achieve this (with OSb or something else)?&lt;/p&gt;&#xA;" OwnerUserId="18760" LastEditorUserId="18760" LastEditDate="2017-08-21T08:09:59.090" LastActivityDate="2017-08-21T08:09:59.090" Title="Add an overlay (video or text) to multicast tv stream" Tags="|video|streaming|live|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21290" PostTypeId="1" AcceptedAnswerId="21293" CreationDate="2017-04-27T13:29:41.323" Score="0" ViewCount="61" Body="&lt;p&gt;I've got a drone shot of an area where there will be built a road in the future. The drone shot is a simple pan to the left and I want to draw where the future road will be built with line animation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've got the shot camera tracked, but I'm having problems figuring out where and how to put the line animation when there are points that will at different times be on or outside the current camera view.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Btw: I'm trying to do this in After Effects.&lt;/p&gt;&#xA;" OwnerUserId="18761" LastActivityDate="2017-04-28T07:33:09.413" Title="After Effects: How to do line animation on a moving camera" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21291" PostTypeId="2" ParentId="21194" CreationDate="2017-04-27T20:06:12.380" Score="0" Body="&lt;p&gt;The earliest VHS cassettes were often using existing tape stock that was produced for open reel recorders.As the format developed, a number of tape manufacturers produced tape with differing formulations in the coating, which produced a very noticeable difference, particularly in reproduction of the chrominance signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These differing formulations also varied in terms of head wear, with the coarsest head grinding tapes tending towards the best signal reproduction, whilst the gentlest generally produced inferior quality image reproduction.&lt;/p&gt;&#xA;" OwnerUserId="18766" LastEditorUserId="14523" LastEditDate="2017-05-02T07:43:51.807" LastActivityDate="2017-05-02T07:43:51.807" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21293" PostTypeId="2" ParentId="21290" CreationDate="2017-04-28T07:33:09.413" Score="0" Body="&lt;p&gt;After more research I found the solution myself:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I created a null track layer from the camera tracker data, then a new shape layer. The shape layer then needs to be a 3D-layer and then linked to the null track layer. Once that was in place I was able to draw the path I needed and then animate it.&lt;/p&gt;&#xA;" OwnerUserId="18761" LastActivityDate="2017-04-28T07:33:09.413" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21296" PostTypeId="1" CreationDate="2017-04-28T12:32:15.190" Score="1" ViewCount="138" Body="&lt;p&gt;I filmed an event with two cameras and I need to sync the second camera footage with the audio of the first. This was a live event and I couldn't record sync aids like a clapper.&lt;/p&gt;&#xA;&lt;p&gt;I name my video files after the timestamp from the camera, and I figured I could use this to do the sync. So for instance, I have one clip with name &lt;code&gt;VID-2017-04-22-11-09-26.mov&lt;/code&gt; and another with name &lt;code&gt;VID-2017-04-22-11-16-22.mov&lt;/code&gt;, so I can work out that the second clip ended 6 minutes and 56 seconds after the first. (The camera only knows when you finished filming and created the file, and the naming convention puts hh-mm-ss as the last three pairs of numbers.)&lt;/p&gt;&#xA;&lt;p&gt;So I figured that I could just note the spot on the timeline where clip 1 ends and place clip 2 so that it ends at that time plus 6:56.&lt;/p&gt;&#xA;&lt;p&gt;But when I did this, it was totally wrong, and I can't figure out why. The only variable I can think of it that the frame rate of this footage is 59.94 while the sequence is 23.976fps. But I'm not sure if that's relevant, and if so, I still can't figure out how to place these clips.&lt;/p&gt;&#xA;&lt;p&gt;Meanwhile, I'm stuck syncing the very hard way, by watching the clip and manually trying to find the matching footage from camera 1, and this is painfully tedious.&lt;/p&gt;&#xA;&lt;h1&gt;Update&lt;/h1&gt;&#xA;&lt;p&gt;From comments posted, I realize I wasn't clear. Both clips are from the same camera, which is camera 2. I have synced the first of these clips from camera 2 manually with camera 1, and now I need to sync the &lt;em&gt;remaining&lt;/em&gt; clips from camera 2 with &lt;em&gt;each other&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;h1&gt;Update&lt;/h1&gt;&#xA;&lt;p&gt;The workflow was this: I set camera 1 on a tripod to film the speaker continuously (but rather boringly). I walked around with camera 2 for more dynamic angles, sometimes pausing between shots. So camera 2 has about 25 different clips, which I want to line up with camera 1, and then cut between them to make a more interesting video.&lt;/p&gt;&#xA;" OwnerUserId="2065" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-08-29T21:32:12.583" Title="Audio/video sync puzzle" Tags="|premiere|camera|timecode|multi-camera|" AnswerCount="4" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="21297" PostTypeId="2" ParentId="21296" CreationDate="2017-04-28T15:22:37.950" Score="0" Body="&lt;p&gt;If the time (clock) settings for the two cameras are different, the 'end-time' relationship is meaningless. If you still have access to the cameras, start them both and record a clap. Ingest the two short clips and note any difference in time at the clap. This difference, plus or minus, should be added to the 6:56 to get a true offset. You can trim by frames from there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any case it shouldn't be hard to find a matching audio event in the two clips. Any distinct sound can stand in for a clapper. Of course if your software has audio auto-alignment this becomes trivial.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may still have drift issues since the two cameras might not be clocked exactly the same, but once you have the gross offset, little trims are easier.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2017-04-28T15:22:37.950" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21298" PostTypeId="1" AcceptedAnswerId="21301" CreationDate="2017-04-28T15:38:24.863" Score="1" ViewCount="3149" Body="&lt;p&gt;I have a research project where I need to apply very, very computationally heavy image filters on a h264 video. Due some restrictions outside my control I have to use proprietary filter that works only on images and not video. Filter has two modes, A mode is very computationally heavy but produces production ready quality and B mode is fast but produces less than stellar quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My theory is that given how h264 uses I-frames to get the reference and rest of the frames are &quot;non-essential&quot;, if I can find apply the high quality A mode on I-frames and B mode on other frames, I should be able to leverage h264's own compression to get the result without having to use filter on A mode to every frame. Another avenue would be to try with h265 because it's more robust frame prediction capabilities.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I've figured out so far is that I need to find a way to extract all frames from a video while knowing which ones are I-frames, then do a filter on all the frames, and then re-encode the video back together with minimum quality loss.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;So first question is that how can I extract frames with ffmpeg so that it somehow identifies each frame type on the filename?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i C:\test.mp4 -vf select='eq(pict_type\,I)',setpts='N/(25*TB)' C:\testTemp\%09d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Above gives you i-frames but I haven't figured out how I can get this to export all the frames and to put the type on the filename?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Second question is that how can I re-encode the video so that it keeps the I-frame positions?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 24 -i frame-%03d.png output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Above would make the video out of frames but the I-frame positioning eludes me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know this is a complex problem so all help is truly appreciated!&lt;/p&gt;&#xA;" OwnerUserId="18775" LastActivityDate="2020-03-11T13:45:04.200" Title="How to extract frames and saving frame type to filenames with ffmpeg?" Tags="|video|ffmpeg|h.264|h265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21299" PostTypeId="2" ParentId="21296" CreationDate="2017-04-28T15:42:17.780" Score="0" Body="&lt;p&gt;From what I can see, your method requires two assumptions to be made (and I don't think either one can be safely made here).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The internal time of the cameras isn't synced.&lt;/strong&gt;&#xA;The two cameras you shot with probably used internal clocks that you set the first time you turned them on. They're not connected to the internet or getting updated with any sort of precision. You could manually change the time of one of them to 5:00 PM and the other to 2:30 AM and they'd operate normally. What may be 11:16:22 AM on one camera is probably more like 11:15:54 AM on the other.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Seconds aren't precise enough for syncing audio/video.&lt;/strong&gt; If you are syncing with just using hours/min/seconds, you're not syncing as precise as if you were using frames, which in your case would be 1/24 of a second (in your sequence). Even if the internal clocks on both cameras were perfectly synced, it's not like you're starting and stopping recording at exactly 1 second, 0 frames each time. &lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2017-04-28T15:42:17.780" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21301" PostTypeId="2" ParentId="21298" CreationDate="2017-04-28T17:19:58.280" Score="2" Body="&lt;p&gt;Can't comment on the soundness of your theory, but here's a way to do it. Not directly, but in a roundabout way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmpeg's segment muxer can break up a file at GOP boundaries, so running the command below generates a set of videos which each start with a keyframe but contain no other keyframes.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test.mp4 -c copy -f segment -segment_time 0.001 -segment_list list.ffcat -reset_timestamps 1 segs%d.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will create&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;segs0.mp4&#xA;segs1.mp4&#xA;...&#xA;segs101.mp4&#xA;..etc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Extract each segment to images&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i segN.mp4 outN-%d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Apply A on first frame of each image series and B on the rest.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then for each processed series, run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate X -i procN-%d.png -c:v libx264 -keyint_min 1000 -x264opts stitchable &quot;result\segsN.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-keyint_min&lt;/code&gt; value should be greater than no. of frames in each series.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hopefully the names of the resulting MP4s are the same as the original split segments, which makes the next step more convenient.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Copy the &lt;code&gt;list.ffcat&lt;/code&gt; created in the initial segmenting command to the results folder and run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i list.ffcat -c copy processed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="23883" LastEditDate="2020-03-11T13:45:04.200" LastActivityDate="2020-03-11T13:45:04.200" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="21303" PostTypeId="1" AcceptedAnswerId="21306" CreationDate="2017-04-28T20:35:42.963" Score="1" ViewCount="52" Body="&lt;p&gt;I can not figure out how to make text animate in using one style (for example, slide in based on characters) and later animate the same text out using a different style (like, slide out based on words). Animation based on characters/words can not be automated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way I can think of how to do this is by creating 2 layers. But in case I need to change the text, I would need to change it twice. Are there any other ways to do this? &lt;/p&gt;&#xA;" OwnerUserId="18780" LastEditorUserId="14523" LastEditDate="2017-05-02T11:30:54.213" LastActivityDate="2017-05-02T11:30:54.213" Title="Different in and out animations for text in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21304" PostTypeId="1" CreationDate="2017-04-29T03:41:23.920" Score="2" ViewCount="48" Body="&lt;p&gt;I am looking for a video which start at the top of ocean surface for few seconds and then beginning to go under the surface. There should be no people on the video. But fish and other sea creatures can be there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also I am looking for interesting sounds which I can add to the video like dolphin sounds, whale sounds and specially a Submarine like sound which gives the user a good feeling that they are going underwater little by little. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would also help if I can find a place where I can get few lines of text spoken out in a nice voice which would match the video&lt;/p&gt;&#xA;" OwnerUserId="18783" LastEditorUserId="18783" LastEditDate="2017-04-29T03:50:44.760" LastActivityDate="2017-07-30T01:49:28.187" Title="Find a video and sounds" Tags="|video|webvideos|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21306" PostTypeId="2" ParentId="21303" CreationDate="2017-04-29T13:42:47.060" Score="1" Body="&lt;p&gt;You can add more than one selector to a text animator. Selector 1 can control the slide in, twirl down the &lt;strong&gt;Animator&gt;Range selector&gt;Advanced&lt;/strong&gt; properties and look for the control called &lt;strong&gt;Based On&lt;/strong&gt;, and set that to character. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To have a slide-on you would add an offset to the position, and then change the selector so that it progressively de-selects the text. The best way is to set the start and end to 0% and 100% respectively, and the add keyframes to the &lt;strong&gt;offset&lt;/strong&gt; property, starting at 0 and ramping down to -100%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now hit the Add button next to the Animator and choose &lt;strong&gt;Selector&gt;Range&lt;/strong&gt; to add another selector to it. Make sure that it is selecting none of the text to start with. Change the &lt;strong&gt;Based On&lt;/strong&gt; property of this selector to &lt;strong&gt;words&lt;/strong&gt;. You can change the way the two selectors interact with the &lt;strong&gt;Mode&lt;/strong&gt; control, this changes whether the selection properties add together, intersect, subtract and so on. Using the **Add* mode should work for you. With this selector you would keyframe it so that it progressively selects the words in the text when you want it to slide out. Use the same technique as the first selector, but with the keyframes reversed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will make the slide go back to where it came from, you might want it to continue in the same direction. To do this you would add another animator with a different offset, rather than just a selector. You can add as many independant animators to a text layer as you like.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-04-29T13:42:47.060" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21307" PostTypeId="2" ParentId="21296" CreationDate="2017-04-30T01:52:34.960" Score="0" Body="&lt;p&gt;Well, I feel a little dumb because the answer is that this camera actually does timestamp the video file with the starting time, NOT the ending time. So I can accomplish what I need by computing the time difference from the filenames and offsetting the start of a clip from the start of the first clip. Duh.&lt;/p&gt;&#xA;" OwnerUserId="2065" LastActivityDate="2017-04-30T01:52:34.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21308" PostTypeId="1" CreationDate="2017-04-30T11:53:35.723" Score="0" ViewCount="685" Body="&lt;p&gt;I spent some time learning this tool, but I'm disappointed because I cannot produce video enough quality. Look for that, firt I have a screen snippet of the video still inside the Canvas on Camtasia, it have a nice quality, and below that I have the same snippet of the video yet produced by Camtasia, in MP4 format - low quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not referring to the size of the screen, you can see the difference in the quality of the video, it have blurry and a bad color... If I'm not wrong, I've recorded and produced in 1280p or 720p at least.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Someone can help? Or at least, say to me that &quot;it is just a problem with my PC and Camtasia are not that bad guy, Camtasia CAN PRODUCE IN HIGH QUALITY!&quot;. I spent most of my time learning it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9hTDP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9hTDP.png&quot; alt=&quot;Screenshot of the video still inside the Canvas of the application.&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/o4Bgm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/o4Bgm.png&quot; alt=&quot;Screenshot of the video in MP4 format, produced by Camtasia&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18792" LastEditorUserId="674" LastEditDate="2017-05-02T11:52:59.273" LastActivityDate="2020-07-20T13:28:15.703" Title="Why Camtasia always produce video with a low quality, even if I record in 1280p, for example?" Tags="|video-quality|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21310" PostTypeId="2" ParentId="21308" CreationDate="2017-04-30T15:10:55.577" Score="5" Body="&lt;p&gt;The quality of the images you posted look completely normal to me for what you are doing. You're taking a screenshot and scaling it down. That means that anything drawn as a single pixel in the user interface is going to become less than a pixel wide in the final video, making it seem soft.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have a few options to deal with this. You can set your screen size to the final video size, or set it so the area you're recording is the final video size. Or you can leave the screen at full size and pan it around as the user moves the mouse. You'll still get some softness due to the compression, but it should be considerably less if you aren't scaling the video.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-04-30T15:10:55.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21311" PostTypeId="1" CreationDate="2017-04-30T21:12:27.900" Score="1" ViewCount="105" Body="&lt;p&gt;this is what Im tried:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -rtbufsize 1500M -f dshow -i video=&quot;screen-capture-recorder&quot;:audio=&quot;virtual-audio-capturer&quot; -vcodec libx264 -threads 0 -crf 0 -preset ultrafast -tune zerolatency -acodec pcm_s16le output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;so Im record my desktop, speed seems to be OK. But I start a game which works with 50 fps. When the game runs and being recorded, its video gets faster, as soon as I close the game, speed returns to normal. Why? It seems that I must set a forced FPS, how?&lt;/p&gt;&#xA;" OwnerUserId="18796" LastActivityDate="2017-04-30T21:12:27.900" Title="FFmpeg, during capturing FPS changes" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21312" PostTypeId="2" ParentId="21304" CreationDate="2017-04-30T23:53:41.417" Score="1" Body="&lt;p&gt;Checkout &lt;a href=&quot;https://www.videoblocks.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;videoblocks&lt;/a&gt;. They are a subscription based stock footage site.&#xA;Here is &lt;a href=&quot;https://www.videoblocks.com/video/water-surface-and-tadpoles-zninzrg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;a clip&lt;/a&gt; I found that is similar to what you are looking for.&lt;br&gt;&#xA;Consider using my &lt;a href=&quot;http://videoblocks.refr.cc/ZLK8VQG&quot; rel=&quot;nofollow noreferrer&quot;&gt;referal link&lt;/a&gt; to sign up for videoblocks.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;For sound effects, check out &lt;a href=&quot;https://www.audioblocks.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;audioblocks&lt;/a&gt; (a sister sight to videoblocks).&#xA;They have sound effects for dolphins, whales, and lots of different water sounds.&lt;br&gt;&#xA;Consider using my &lt;a href=&quot;http://audioblocks.refr.cc/KD9KXBT&quot; rel=&quot;nofollow noreferrer&quot;&gt;referral link&lt;/a&gt; to sign up for audioblocks. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. I am not affiliated with videoblocks or audioblocks in any way.&lt;/p&gt;&#xA;" OwnerUserId="16850" LastEditorUserId="16850" LastEditDate="2017-05-01T00:10:09.093" LastActivityDate="2017-05-01T00:10:09.093" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21313" PostTypeId="1" AcceptedAnswerId="21373" CreationDate="2017-05-01T11:31:03.383" Score="1" ViewCount="555" Body="&lt;p&gt;(Background: I'm relatively familiar with using ffmpeg and libx264 to produce videos on demand, but I'm quite new to live streaming)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm currently tasked with a project to compress a 4K camera's raw 12G-SDI or 6G or 3G feed and live-stream the compressed feed through RTSP over UDP. I also need to decide which equipments to purchase. The requirements are as follows: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The compression target can be one of the following: 100Mbps, 200Mbps, 500Mbps, 800Mbps. The target will not be changed on the fly once set. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Codec must be h.264 or h.265. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The latency from camera to RTSP output needs to be &amp;lt;1s. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;No budget limit, although &amp;lt; $25K would be better. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Currently I'm thinking of the following setup: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;4K camera -&gt; capture card -&gt; Linux PC (compression) -&gt; RTSP&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My questions are: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Are blackmagic ursa mini 4K and decklink card able to do the first 2 stages respectively? &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Is ffmpeg + libx264 able to perform real-time compression at such a high bitrate? If not, any recommendation for hardware encoding card? &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Thanks! &lt;/p&gt;&#xA;" OwnerUserId="18799" LastActivityDate="2017-05-11T01:31:53.273" Title="Questions on workflow: 12G-SDI to 500Mbps to RTSP stream" Tags="|streaming|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21315" PostTypeId="1" AcceptedAnswerId="21317" CreationDate="2017-05-02T10:31:27.280" Score="5" ViewCount="6736" Body="&lt;p&gt;I'm using the latest ffmpeg (3.2.4) on 64-bit Windows 10.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My devices generally split up the files it saves to the SD cards, either with a 2G or 4G file size limit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before importing the files into my timeline, it would be very convenient to concatenate the logical files back together to one physical file.  This way I don't have &quot;parts&quot; that need to be kept together, and applying settings to a clip doesn't require duplicating everything on the continuation segments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Naturally the codec and container will always be identical, across the pieces.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I first tried the WAV files I got from the Zoom H4N recorder.  I tried:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;concat:ste-000.wav|ste-001.wav&quot; -c copy Zoom.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and the result was just the first part again, with no concatenation.  That is, the file was approx. 2GB in size, but not identical to the first part.  There was no error message.  I didn't think it was strange that the information displayed at the start of the run only showed the first file, as the parts are supposed to be identical in format so it only has to sniff one to find out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final lines of output (shown below) shows that the media time is the same as the first part (1:02).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I guess it just doesn't work on WAV.  The &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;noreferrer&quot;&gt;docs I read&lt;/a&gt; are quite vague.  But &lt;strong&gt;there is no error of any kind&lt;/strong&gt;, either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I tried it with MOV files from the Canon camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, there was no error, but the result was only the (approximate) size of the first file, which is 4GB in this device.  And the time it reported for the output file, about 18 minutes, is that of the first segment only.  It did not concatenate them!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, is there something wrong or out of date with the documentation?  Does it not work on Windows for some reason (I would think that being in quotes should prevent the pipe characters from being an issue), because in all cases it just seems to ignore the command after the first file.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I ended up using the &lt;em&gt;concat demuxer&lt;/em&gt; instead, which worked just fine but is not as simple since I can’t just name the files on the command line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is the “easy” form not working?  More to the point, why is there no error, yet it ignores all but the first file?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;pre&gt;&#xA;[\\OORT\Media\Video-work\2017\April\29 UNT\original]ffmpeg -i &quot;concat:ste-000.wav|ste-001.wav&quot; -c copy Zoom.wav&#xA;ffmpeg version 3.2.4 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with gcc 6.3.0 (GCC)&#xA;  configuration: --disable-static --enable-shared --enable-gpl --enable-version3 --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-nvenc --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-zlib&#xA;  libavutil      55. 34.101 / 55. 34.101&#xA;  libavcodec     57. 64.101 / 57. 64.101&#xA;  libavformat    57. 56.101 / 57. 56.101&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;Guessed Channel Layout for Input Stream #0.0 : stereo&#xA;Input #0, wav, from 'concat:ste-000.wav|ste-001.wav':&#xA;  Metadata:&#xA;    encoded_by      : ZOOM Handy Recorder H4n&#xA;    date            : 2008-01-01&#xA;    creation_time   : 04:46:57&#xA;    time_reference  : 1652832000&#xA;    coding_history  : A=PCM,F=96000,W=24,M=stereo,T=ZOOM Handy Recorder H4n&#xA;  Duration: 01:02:06.51, bitrate: 8696 kb/s&#xA;    Stream #0:0: Audio: pcm_s24le ([1][0][0][0] / 0x0001), 96000 Hz, stereo, s32 (24 bit), 4608 kb/s&#xA;Output #0, wav, to 'Zoom.wav':&#xA;  Metadata:&#xA;    ITCH            : ZOOM Handy Recorder H4n&#xA;    ICRD            : 2008-01-01&#xA;    coding_history  : A=PCM,F=96000,W=24,M=stereo,T=ZOOM Handy Recorder H4n&#xA;    time_reference  : 1652832000&#xA;    ISFT            : Lavf57.56.101&#xA;    Stream #0:0: Audio: pcm_s24le ([1][0][0][0] / 0x0001), 96000 Hz, stereo (24 bit), 4608 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&gt; #0:0 (copy)&#xA;Press [q] to stop, [?] for help&#xA;size= 2096160kB time=01:02:06.50 bitrate=4608.0kbits/s speed=15.6x&#xA;video:0kB audio:2096160kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.000007%&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;pre&gt;&#xA;[P:\video-out]\\OORT\Media\Video-work\2017\April\29 UNT\original&#xA;[\\OORT\Media\Video-work\2017\April\29 UNT\original]ffmpeg -i &quot;concat:MVI_7945.MOV|MVI_7946.MOV&quot; -c copy p:MVI_7945-6.MOV&#xA;ffmpeg version 3.2.4 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with ⋯&#xA;    ⋮&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 000000000256cae0] Found duplicated MOOV Atom. Skipped it&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'concat:MVI_7945.MOV|MVI_7946.MOV':&#xA;  Metadata:&#xA;    creation_time   : 2017-04-28T20:08:24.000000Z&#xA;    major_brand     : qt&#xA;    minor_version   : 537331968&#xA;    com.apple.quicktime.make: Canon&#xA;    com.apple.quicktime.model: Canon EOS 70D&#xA;    com.apple.quicktime.rating.user: 0.000000&#xA;    com.apple.quicktime.author: John Dlugosz&#xA;    compatible_brands: qt  CAEP&#xA;  Duration: 00:18:25.10, start: 0.000000, bitrate: 35549 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 29460 kb/s, 23.98 fps, 23.98 tbr, 24k tbn, 48k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-04-28T20:08:24.000000Z&#xA;      timecode        : 22:39:33:15&#xA;    Stream #0:1(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, s16, 1536 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-04-28T20:08:24.000000Z&#xA;      timecode        : 22:39:33:15&#xA;    Stream #0:2(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-04-28T20:08:24.000000Z&#xA;      timecode        : 22:39:33:15&#xA;Output #0, mov, to 'p:MVI_7945-6.MOV':&#xA;  Metadata:&#xA;    compatible_brands: qt  CAEP&#xA;    major_brand     : qt&#xA;    minor_version   : 537331968&#xA;    com.apple.quicktime.make: Canon&#xA;    com.apple.quicktime.model: Canon EOS 70D&#xA;    com.apple.quicktime.rating.user: 0.000000&#xA;    com.apple.quicktime.author: John Dlugosz&#xA;    encoder         : Lavf57.56.101&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 29460 kb/s, 23.98 fps, 23.98 tbr, 24k tbn, 24k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-04-28T20:08:24.000000Z&#xA;      timecode        : 22:39:33:15&#xA;    Stream #0:1(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, 1536 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-04-28T20:08:24.000000Z&#xA;      timecode        : 22:39:33:15&#xA;Stream mapping:&#xA;  Stream #0:0 -&gt; #0:0 (copy)&#xA;  Stream #0:1 -&gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame=26496 fps=519 q=-1.0 Lsize= 4181879kB time=00:18:25.08 bitrate=31000.3kbits/s speed=21.6x&#xA;video:3974174kB audio:207207kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.011905%&#xA;&lt;/pre&gt;&#xA;" OwnerUserId="9268" LastEditorUserId="9268" LastEditDate="2017-05-02T15:49:41.007" LastActivityDate="2017-05-02T15:49:41.007" Title="Concatenating split media files using “concat protocol”" Tags="|ffmpeg|windows|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21316" PostTypeId="2" ParentId="7796" CreationDate="2017-05-02T11:34:48.023" Score="0" Body="&lt;p&gt;As dpolitt mentioned, Premiere should be able to do this, but when trying for a number of videos taken at a recent conference it failed badly when trying to optimise for YouTube- it either came out with files that were far to big, or when compressed down their quality was terrible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The solution was to run Handbrake on the output from Premiere - this comes with very simple profiles (Selecting High Profile works well for YouTube) and it runs incredibly quickly, reducing file sizes down from around 2Gb to a couple of hundred Mb per video for my 1hr videos, with no appreciable loss of quality.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2017-05-02T11:34:48.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21317" PostTypeId="2" ParentId="21315" CreationDate="2017-05-02T13:29:16.870" Score="7" Body="&lt;p&gt;The concat protocol is the wrong choice for most file formats. Transport streams like MPEG-TS are one of the few formats which can be concatenated this way. All this method does is a crude appendation of each input to the previous input. So, any format which has a metadata element, can't be concatenated this way as the metadata of the other files will be in the middle of the output file and not referred to, by the metadata at the front of the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should use the concat demuxer instead. Create a text file i.e.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file '/path/to/file1'&#xA;file '/path/to/file2'&#xA;file '/path/to/file3'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i mylist.txt -c copy output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-05-02T13:29:16.870" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21318" PostTypeId="1" CreationDate="2017-05-02T21:05:03.380" Score="2" ViewCount="1370" Body="&lt;p&gt;Im trying to record Windows Desktop, a game (Worms Armageddon) which has about 50 frames per second. If I check it closely, I can see some frames are missed. The command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -probesize 10M -rtbufsize 1500M -f dshow -i audio=&quot;virtual-audio-capturer&quot; -acodec pcm_s16le -f gdigrab -framerate 60 -i desktop -vcodec libx264 -qp 0 -threads 0 -crf 0 -preset ultrafast -tune zerolatency output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;what else can I do?&lt;/p&gt;&#xA;" OwnerUserId="18809" LastActivityDate="2018-12-25T01:01:30.327" Title="FFmpeg, how to record game over than 30 fps?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21319" PostTypeId="2" ParentId="21224" CreationDate="2017-05-02T21:23:15.923" Score="0" Body="&lt;p&gt;Since it also happens with &lt;code&gt;-f null&lt;/code&gt;, but not with another Codec, the CPU load during the capture is a possible explanation. You did not mention it in your question. Is there any specific reason to use &lt;code&gt;-threads 4&lt;/code&gt;? Try raising that number or omit the parameter.&lt;/p&gt;&#xA;" OwnerUserId="18160" LastEditorUserId="18155" LastEditDate="2019-12-20T20:47:14.813" LastActivityDate="2019-12-20T20:47:14.813" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="21322" PostTypeId="2" ParentId="20216" CreationDate="2017-05-03T12:26:03.623" Score="1" Body="&lt;p&gt;You can try deinterlacing it at the decoding step with the following command, via the &lt;code&gt;CUVID&lt;/code&gt; deinterlacer:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -hwaccel cuvid -c:v h264_cuvid -deint 2 -drop_second_field 1 \&#xA;-i input.m2ts -c:v hevc_nvenc -qp:v 19 -rc:v constqp \&#xA;-tune:v hq -preset:v p7 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Or better still, the &lt;code&gt;yadif_cuda&lt;/code&gt; filter, with &lt;code&gt;NVDEC&lt;/code&gt; in use:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -threads 1 -hwaccel nvdec -hwaccel_output_format cuda -i input.m2ts \&#xA;-vf 'yadif_cuda=0:-1:0' -c:v hevc_nvenc \&#xA;-qp:v 19 -rc:v constqp -tune:v hq -preset:v p7 \&#xA;-b:v 0 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Note that NVDEC is a true HWAccel, unlike CUVID.&#xA;Where possible, migrate from CUVID to NVDEC.&lt;/p&gt;&#xA;&lt;p&gt;Or keep interlacing with the next command:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i input.m2ts -flags +ildct -c:v hevc_nvenc -preset:v p7 \&#xA;-tune:v hq -rc:v constqp -b:v 0 -qp:v 19 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;The changes above to the encoder, regarding presets, the tune value and selected rate control mode are required as the &lt;code&gt;ffnvcodec&lt;/code&gt; package  and FFmpeg's NVENC wrapper implementations require valid values to be set. Failure to do so will result in an error: &amp;quot;The specified rc mode is deprecated. Use &lt;code&gt;-rc constqp/cbr/vbr&lt;/code&gt;, &lt;code&gt;-tune&lt;/code&gt; and &lt;code&gt;-multipass&lt;/code&gt; instead&amp;quot; and your transcode will  fail.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Interlaced encoding for NVENC is &lt;a href=&quot;https://devtalk.nvidia.com/default/topic/1038493/video-codec-and-optical-flow-sdk/details-about-nvenc-in-turing-/post/5294777/#5294777&quot; rel=&quot;nofollow noreferrer&quot;&gt;not supported on Turing and above&lt;/a&gt;. To encode interlaced content as-is, use a Pascal GPU or lower.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="14107" LastEditorUserId="19326" LastEditDate="2021-06-07T12:42:13.150" LastActivityDate="2021-06-07T12:42:13.150" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="21323" PostTypeId="1" CreationDate="2017-05-03T12:30:45.523" Score="1" ViewCount="1735" Body="&lt;p&gt;I'm relatively new to After Effects. I'm building a short ad using a free template I downloaded. I then rendered the project using Adobe Media Encoder on the H.264 Youtube 1080p setting. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, I'm getting green and purple lines both on the left and right of the overall video, and along any high contrast edge within the video (particularly egregious with any letters). All the animated typography etc. is done within After Effects so there's no question of this being introduced from any of source materials like imported video clips etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've attached a few different images showing this. Any ideas on what I can do to prevent this? A different codec, different settings in Adobe Media Encoder? Could it be a particular filter or color treatments within After Effects itself?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Screengrabs:&lt;a href=&quot;https://i.stack.imgur.com/S53KY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/S53KY.png&quot; alt=&quot;Right edge&quot;&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/7r6pj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7r6pj.png&quot; alt=&quot;Letter borders&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The effect makes the video hazy and adds an unappetizing tint to the borders of all the elements in the video :(.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="18814" LastActivityDate="2017-08-06T04:40:18.913" Title="How to prevent chromatic aberration (green/purple fringing) on an After Effects export?" Tags="|after-effects|encoding|adobe-media-encoder|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21324" PostTypeId="2" ParentId="21318" CreationDate="2017-05-03T14:00:51.490" Score="1" Body="&lt;p&gt;This might be an issue with the hardware unable to keep up with the required process of recording (compression) and writing to disk, which will result in dropped frames. That being said, your flag for crf should increase by a ton, and remove the qp flag. Set the crf to 17-25 to ease off the required processing power. &lt;/p&gt;&#xA;" OwnerUserId="18815" LastActivityDate="2017-05-03T14:00:51.490" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21327" PostTypeId="1" AcceptedAnswerId="21332" CreationDate="2017-05-04T05:54:21.040" Score="0" ViewCount="1652" Body="&lt;p&gt;I know that the below line will mask the video&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;aunt1.mp4&quot; -vf delogo=x=4:y=0:w=120:h=22 -c:a copy au1.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However I want to delogo in two sections of the video in one command. I tried this separated by comma but didnt work&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;aunt1.mp4&quot; -vf delogo=x=4:y=0:w=120:h=22, delogo=x=40:y=50:w=120:h=22 -c:a copy au1.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="18821" LastActivityDate="2017-05-04T11:51:05.187" Title="Using delogo twice to mask a Video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21328" PostTypeId="1" AcceptedAnswerId="21375" CreationDate="2017-05-04T06:25:12.337" Score="4" ViewCount="6442" Body="&lt;p&gt;I found the following for a YouTube video, that I had never seen before:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HTY4u.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HTY4u.png&quot; alt=&quot;example&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see, it say's the name of the channel followed by the season and the episode. I was wondering how this was done and whether I could set that up on my channel (it would make a lot of sense for me).&lt;/p&gt;&#xA;" OwnerDisplayName="user17872" LastActivityDate="2020-09-03T18:05:09.990" Title="YouTube Season/Episode presentation" Tags="|youtube|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21330" PostTypeId="1" AcceptedAnswerId="21331" CreationDate="2017-05-04T07:55:59.963" Score="2" ViewCount="2507" Body="&lt;p&gt;I am using the following command to make h264 archives of video with ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i myfile.mov -c:a copy -c:v libx264 -preset slower -crf 20 myfilearchive.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To get 10-bit h264 support for capture with decklink, I switched my ffmpeg from a version I downloaded from ffmpeg.org to a version I built using the &lt;a href=&quot;https://github.com/jb-alvarado/media-autobuild_suite&quot; rel=&quot;nofollow noreferrer&quot;&gt;media autobuild suite&lt;/a&gt;.  Now, however, &lt;strong&gt;when I run the same command to make an archive video, the output can't be played in VLC.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the error I get in VLC:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Codec not supported: VLC could not decode the format &quot;aivx&quot; (No&#xA;  description for this codec)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This is the output (from MediaInfo) for an archive video made with the ffmpeg I downloaded from ffmpeg.org:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : High 4:2:2@L5.2&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 8 frames&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 5 min 4 s&#xA;Bit rate                                 : 26.3 Mb/s&#xA;Width                                    : 3 840 pixels&#xA;Height                                   : 2 160 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 29.970 (30000/1001) FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:2&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.106&#xA;Stream size                              : 953 MiB (92%)&#xA;Writing library                          : x264 core 148 r2721 72d53ab&#xA;Encoding settings                        : cabac=1 / ref=8 / deblock=1:0:0 / analyse=0x3:0x133 / me=umh / subme=9 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=1 / me_range=16 / chroma_me=1 / trellis=2 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-2 / threads=12 / lookahead_threads=1 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=2 / b_adapt=2 / b_bias=0 / direct=3 / weightb=1 / open_gop=0 / weightp=2 / keyint=250 / keyint_min=25 / scenecut=40 / intra_refresh=0 / rc_lookahead=60 / rc=crf / mbtree=1 / crf=20.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / ip_ratio=1.40 / aq=1:1.00&#xA;Language                                 : English&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is the output (from MediaInfo) for an archive video made with the ffmpeg I built locally:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video&#xA;ID                                       : 1&#xA;Format                                   : aivx&#xA;Codec ID                                 : aivx&#xA;Duration                                 : 4 min 30 s&#xA;Bit rate                                 : 27.2 Mb/s&#xA;Width                                    : 3 840 pixels&#xA;Height                                   : 2 160 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 29.970 (30000/1001) FPS&#xA;Bits/(Pixel*Frame)                       : 0.110&#xA;Stream size                              : 878 MiB (92%)&#xA;Language                                 : English&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Can I get playback in VLC by changing the command used to encode the videos?  (I want to use h264, but it doesn't have to be 10-bit for the archive.)  Or should I just use one ffmpeg for capture (with 10-bit support), and another ffmpeg for archival output (in other words, use the ffmpeg.org binary ffmpeg to do my archives)? &lt;/p&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2018-12-21T13:15:49.770" Title="ffmpeg h264: VLC could not decode the format &quot;aivx&quot;" Tags="|ffmpeg|encoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21331" PostTypeId="2" ParentId="21330" CreationDate="2017-05-04T09:12:26.757" Score="2" Body="&lt;p&gt;&lt;code&gt;aivx&lt;/code&gt; is simply a specific tag for 4K H.264 streams. Surprising that VLC doesn't probe the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try with&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i myfile.mov -c:a copy -c:v libx264 -preset slower -crf 20 -vtag avc1 myfilearchive.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In some cases, ffmpeg may fail to set the tag without warning. Add &lt;code&gt;-strict -2&lt;/code&gt; if that's the case.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-05-04T09:12:26.757" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21332" PostTypeId="2" ParentId="21327" CreationDate="2017-05-04T11:51:05.187" Score="0" Body="&lt;p&gt;You haven't mentioned what doesn't work, so taking a guess:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;aunt1.mp4&quot; -vf &quot;delogo=x=4:y=0:w=120:h=22, delogo=x=40:y=50:w=120:h=22&quot; -c:a copy au1.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-05-04T11:51:05.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21333" PostTypeId="1" CreationDate="2017-05-04T13:04:19.883" Score="-1" ViewCount="341" Body="&lt;p&gt;I want to gain some recognition by making some short films and youtube videos. I pretty much shot and edited movies in my mobile itself, and now planning to shift to PC which is a little more powerful in these kind of stuff........&#xA;And my question is which is the best software for adding visual effects(like gunshots, blood effects, explosion and other stuff)??&#xA;I am pretty new to this and the internet tells me to use Adobe after effects &amp;amp; Hilfilm Studio 4 but these are far too complicated.........&#xA;Is there and software which is easy to use and producesa good output??&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your patience in understanding my question.&lt;/p&gt;&#xA;" OwnerUserId="12107" LastActivityDate="2017-05-08T09:22:46.570" Title="What is the best software for visual effects?" Tags="|visual-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21334" PostTypeId="1" AcceptedAnswerId="21344" CreationDate="2017-05-04T14:32:07.483" Score="0" ViewCount="6336" Body="&lt;p&gt;I have a composition of 1500 x 643. I need this format for a moviebanner in a website. My assets are in 4K, very good quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can render it as an AVI, best quality. Then it's almost 4 GB for 30 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I choose H264, it has problems with framerate and the size (it resizes, ...). What do I have to choose as render settings to have a good quality movie (+30mb? instead of 4Gb), for web with my custom size?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use After Effects CS5.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: After changing the settings to an odd resolution, I can export as H.264.. &#xA;But I don't like the quality. The size is 3.3Mb, it could be a little bit more.&#xA;How can I get better quality for this export?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My screens:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/nWHUL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nWHUL.png&quot; alt=&quot;No Adobe Media Encoder Queue&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/dhegd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dhegd.png&quot; alt=&quot;Composition settings&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/BGzrU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BGzrU.png&quot; alt=&quot;Export settings&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/bkvZc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bkvZc.png&quot; alt=&quot;Export settings 2&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/7He34.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7He34.png&quot; alt=&quot;Bitrate&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The results can you find here: &lt;a href=&quot;https://wetransfer.com/downloads/a15013dad2f4bc5c0b4ce0aa92cb821c20170508063926/347bd4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://wetransfer.com/downloads/a15013dad2f4bc5c0b4ce0aa92cb821c20170508063926/347bd4&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6873" LastEditorUserId="6873" LastEditDate="2017-05-08T06:42:05.607" LastActivityDate="2017-05-09T17:09:22.300" Title="Best render options for custom size movie in after effects" Tags="|after-effects|animation-rendering|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21335" PostTypeId="2" ParentId="21274" CreationDate="2017-05-04T18:42:03.007" Score="1" Body="&lt;p&gt;To my knowledge, there is no Open Source tool with a built-in feature for producing that ghosting effect. However, I believe there exist the necessary tools for you to create the effect yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Breaking down what's happening, it looks like the effect consists of:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Freezing and extracting the skater from the background at certain moments&lt;/li&gt;&#xA;&lt;li&gt;Animating those freeze frames to track with the camera movement&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;There are Open Source tools to do just that. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Rotoscoping to extract the skater from still frames (Gimp or Blender)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=3STqy77jG50&quot; rel=&quot;nofollow noreferrer&quot;&gt;Motion Tracking&lt;/a&gt; (Blender) to animate those stills to match camera motion&lt;/li&gt;&#xA;&lt;li&gt;Compositing (Blender) to put it all together&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1303" LastActivityDate="2017-05-04T18:42:03.007" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21336" PostTypeId="1" CreationDate="2017-05-05T00:05:07.497" Score="1" ViewCount="525" Body="&lt;p&gt;If I export raw video data with ffmpeg, it will have just the image data, the pixels, without any structural metadata. It won't have things like the frame size, frame rate, and pixel format. But if I need to encode the video or apply a filter, I need that metadata. So I put the metadata in a plain text file so that I don't lose this information. I then manually put it in ffmpeg commands.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For ffmpeg, I could improvise something with a custom console script to reduce manual manipulations, but that would not work for other applications, like if I want to import the a raw file into Sony Vegas.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, &lt;strong&gt;what is the standard file format to store key video parameters&lt;/strong&gt;? Namely at least resolution, pixel format,&#xA;fps, number of frames.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for a format that is human readable, easy parseable, and works across all video editing software. Is there such thing at all? If not, I would be slightly shocked. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there is no such standard, what would be the closest alternative?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use utvideo codec with avi container, it works fine with ffmpeg and Vegas and can store rgba data. So it is for footage which must not contain any artifacts and should work fast (least decoding/encoding possible). &lt;/p&gt;&#xA;" OwnerUserId="18824" LastEditorUserId="14523" LastEditDate="2017-05-05T13:05:54.757" LastActivityDate="2017-05-05T13:05:54.757" Title="File format for storing raw video parameters?" Tags="|video|ffmpeg|file-formats|vegas-pro|raw|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21338" PostTypeId="1" AcceptedAnswerId="21342" CreationDate="2017-05-05T01:43:58.667" Score="0" ViewCount="44" Body="&lt;p&gt;I'm new to this website so I'll try to be as clear as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I downloaded a font online and I want to use it in my AE CS6 composition. When I wrote something using this font, I noticed that it appeared differently from what was shown in the preview from the website.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried opening a Word document and write something using the same font, and I confirmed my doubts: the font is right, but AE shows it in a simil-italic style for un unknown reason. The images below show the difference between Word and AE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The font is not equipped with an Italic version, and (as you can see from the screenshots) I wrote using the only option available: &quot;Regular&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know what may cause this issue? Thanks in advance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HpryJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HpryJ.png&quot; alt=&quot;AE CS6 Screenshot&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/55SAz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/55SAz.png&quot; alt=&quot;Microsoft Word Screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18829" LastActivityDate="2017-05-05T11:51:44.083" Title="Why this font layouts differently between AE and Microsoft Word?" Tags="|video|after-effects|preview|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21340" PostTypeId="1" AcceptedAnswerId="21367" CreationDate="2017-05-05T04:10:06.507" Score="3" ViewCount="9485" Body="&lt;p&gt;I shot a video at 24FPS, and I want to find out what the shutter speed of each frame was. Quicktime Player and VLC's Info panels don't give me this information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Neither does exiftool. Here's exiftool's output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ExifTool Version Number         : 10.36&#xA;File Name                       : 24 FPS at 480p.mov&#xA;Directory                       : /Users/kartick/Desktop/Google Drive/Photos/Comparisons/Night Video Comparison&#xA;File Size                       : 7.7 MB&#xA;File Modification Date/Time     : 2017:04:18 19:55:15+05:30&#xA;File Access Date/Time           : 2017:05:05 06:57:31+05:30&#xA;File Inode Change Date/Time     : 2017:04:24 11:25:17+05:30&#xA;File Permissions                : rwxr-xr-x&#xA;File Type                       : MOV&#xA;File Type Extension             : mov&#xA;MIME Type                       : video/quicktime&#xA;Major Brand                     : Apple QuickTime (.MOV/QT)&#xA;Minor Version                   : 0.0.0&#xA;Compatible Brands               : qt&#xA;Movie Data Size                 : 8037178&#xA;Movie Data Offset               : 36&#xA;Movie Header Version            : 0&#xA;Create Date                     : 2017:04:18 14:25:15&#xA;Modify Date                     : 2017:04:18 14:25:38&#xA;Time Scale                      : 600&#xA;Duration                        : 22.75 s&#xA;Preferred Rate                  : 1&#xA;Preferred Volume                : 100.00%&#xA;Preview Time                    : 0 s&#xA;Preview Duration                : 0 s&#xA;Poster Time                     : 0 s&#xA;Selection Time                  : 0 s&#xA;Selection Duration              : 0 s&#xA;Current Time                    : 0 s&#xA;Next Track ID                   : 3&#xA;Track Header Version            : 0&#xA;Track Create Date               : 2017:04:18 14:25:15&#xA;Track Modify Date               : 2017:04:18 14:25:38&#xA;Track ID                        : 1&#xA;Track Duration                  : 22.75 s&#xA;Track Layer                     : 0&#xA;Track Volume                    : 100.00%&#xA;Image Width                     : 640&#xA;Image Height                    : 480&#xA;Clean Aperture Dimensions       : 640x480&#xA;Production Aperture Dimensions  : 640x480&#xA;Encoded Pixels Dimensions       : 640x480&#xA;Graphics Mode                   : ditherCopy&#xA;Op Color                        : 32768 32768 32768&#xA;Compressor ID                   : avc1&#xA;Source Image Width              : 640&#xA;Source Image Height             : 480&#xA;X Resolution                    : 72&#xA;Y Resolution                    : 72&#xA;Compressor Name                 : H.264&#xA;Bit Depth                       : 24&#xA;Video Frame Rate                : 24.004&#xA;Matrix Structure                : 1 0 0 0 1 0 0 0 1&#xA;Media Header Version            : 0&#xA;Media Create Date               : 2017:04:18 14:25:15&#xA;Media Modify Date               : 2017:04:18 14:25:38&#xA;Media Time Scale                : 44100&#xA;Media Duration                  : 22.80 s&#xA;Media Language Code             : und&#xA;Balance                         : 0&#xA;Handler Class                   : Data Handler&#xA;Handler Vendor ID               : Apple&#xA;Handler Description             : Core Media Data Handler&#xA;Audio Format                    : mp4a&#xA;Audio Channels                  : 1&#xA;Audio Bits Per Sample           : 16&#xA;Audio Sample Rate               : 44100&#xA;Purchase File Format            : mp4a&#xA;Handler Type                    : Metadata Tags&#xA;Software                        : ProCamera 10.2&#xA;Make                            : Apple&#xA;Model                           : iPhone 7 Plus&#xA;Avg Bitrate                     : 2.83 Mbps&#xA;Image Size                      : 640x480&#xA;Megapixels                      : 0.307&#xA;Rotation                        : 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried saving a frame to an image file in VLC, but it saved without metadata, so I couldn't figure the shutter speed out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know the shutter speed is usually 1/48s (half of 1/frame rate), but this video was shot at night, so I want to check if the camera app used a longer shutter speed.&lt;/p&gt;&#xA;" OwnerUserId="6050" LastActivityDate="2017-05-09T23:01:18.657" Title="How do I find out about the shutter speed of frames in a video?" Tags="|framerate|metadata|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21341" PostTypeId="1" AcceptedAnswerId="24235" CreationDate="2017-05-05T06:27:59.853" Score="2" ViewCount="2940" Body="&lt;p&gt;I have two videos, both roughly the same spec:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A: H.264/AAC 1920x808 24FPS ~3015kb/s&lt;br&gt;&#xA;Using Quicktime player I can scrub through this movie smoothly and with fine detail. Jumping from one position to another, playback will happen immediately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;B: H.264/AAC 1920x1080 25FPS ~3662kb/s&lt;br&gt;&#xA;This video can’t seem to handle the scrubbing as well. Dragging the playback head hangs constantly, I keep getting a beach-ball when jumping from one position to another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realise that the data rate on B: is higher, but is there anything I can do to improve it’s performance other than re-encoding at a reduced data rate?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any tools available other than VLC/Quicktime media info, that will show me more detailed encoding options so I can further optimise B: based on A: if I have to re-encode?&lt;/p&gt;&#xA;" OwnerUserId="18833" LastActivityDate="2021-02-16T22:24:13.783" Title="H.264 slow scrubbing and playback performance" Tags="|h.264|playback|performance|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21342" PostTypeId="2" ParentId="21338" CreationDate="2017-05-05T11:51:44.083" Score="1" Body="&lt;p&gt;This looks like you have the &lt;em&gt;Faux Italic&lt;/em&gt; option activated. You can turn that option on and off using the switch at the bottom of the &lt;em&gt;Character&lt;/em&gt; panel. Here's a screenshot of that panel with &lt;em&gt;Faux Italic&lt;/em&gt; turned on. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5ObXn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5ObXn.png&quot; alt=&quot;AE character panel with Faux Italic option turned on&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use that option to simulate an italic (slanted) version of a font that doesn't come in that style. It's generally a bad idea to use this option, as it is subpar to an actual italic font style. The difference is that the italic style variant of a font-family is specifically designed for that purpose and differs from the regular style in more ways than just being slanted. The Faux Italics option merely distorts the individual characters, which can lead to unwanted artifacts such as illegible characters, altered grey values and aliasing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another possible cause of your distortion problem is any sort of distortion effect that is applied to the text layer or a superordinate adjustment layer, but I find that unlikely. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-05-05T11:51:44.083" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21344" PostTypeId="2" ParentId="21334" CreationDate="2017-05-05T12:13:51.780" Score="1" Body="&lt;p&gt;Are you using the inbuilt After Effects render queue? It's a bit easier to use custom settings when you use the Adobe Media Encoder instead. AME comes with After Effects and is installed automatically when you install AE. Simply open the composition you want to export in After Effects and select &lt;em&gt;Composition&lt;/em&gt; → &lt;em&gt;Add to Adobe Media Encoder Queue&lt;/em&gt;. This will open AME and add the current state of your composition to the render queue (this might take some time). Once you see the item in the render queue, press the highlighted format designation to open the Export Settings dialogue. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/e6NGz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/e6NGz.png&quot; alt=&quot;AME render queue&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gDGWj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gDGWj.png&quot; alt=&quot;AME export settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the Export Settings, you can change the format (codec/container) as well as the other export parameters. Make sure to set the dimensions (Width/Height) to whatever you need them to be. To bring down the size, the most important option is the bitrate setting (&lt;em&gt;Target&lt;/em&gt; / &lt;em&gt;Maximum Bitrate&lt;/em&gt; for H.264).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Read &lt;a href=&quot;https://video.stackexchange.com/questions/16051/rendered-two-videos-from-adobe-premiere-with-the-same-settings-but-different-res/16056#16056&quot;&gt;this&lt;/a&gt; for an explanation of bitrate and it's relation to the resolution of your video and &lt;a href=&quot;https://video.stackexchange.com/questions/18621/how-to-export-maximum-quality-in-minimum-size/18623#18623&quot;&gt;this&lt;/a&gt; for the math you need to figure out the appopriate bitrate dependent of your desired output size. Since you mentioned you need the video for your website, you might also be interested in &lt;a href=&quot;https://video.stackexchange.com/questions/14728/encode-settings-for-html5-background-video/14730#14730&quot;&gt;my post here&lt;/a&gt; regarding recommended encoding settings for web video. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2017-05-09T17:09:22.300" LastActivityDate="2017-05-09T17:09:22.300" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21345" PostTypeId="2" ParentId="21334" CreationDate="2017-05-05T12:30:10.383" Score="1" Body="&lt;p&gt;You won't be able to render it to h.264 because of the odd number of pixels in the vertical resolution (odd as in not even, not odd as in unusual).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You simply can't encode h.264 video with odd numbers as either one of the frame dimensions, that's just part of the codec. This is true for quite a few codecs (any that use macroblocks).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I actually can't think of a codec where I'd be confident that you can encode. Maybe uncompressed, something like v210, or Apple Animation. Certainly nothing that you could deliver over the internet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need to lose or gain one row of pixels, because it will make your encoding waaaay simpler.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-05-05T12:30:10.383" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="21347" PostTypeId="1" CreationDate="2017-05-05T14:47:59.397" Score="1" ViewCount="3292" Body="&lt;p&gt;I'm in the market for a wireless lavalier. I was burned in the past by selecting a cheap VHF frequency mic. I learned later that was a bonehead move because VHF is used for everything from TVs to garage door openers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm now considering a Sennheiser that offers four variants for frequency band. Those are listed as:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A - 516 to 558 MHz&lt;/li&gt;&#xA;&lt;li&gt;A1 - 470 to 516 MHz&lt;/li&gt;&#xA;&lt;li&gt;B - 626 to 668 MHz&lt;/li&gt;&#xA;&lt;li&gt;G - 566 to 608 MHz&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I understand what wireless frequencies are and that interference is caused by using frequencies that are not wholly unused by others. What I don't understand is what I need to know to pick one of these. Are these all about equal, or is there one better than the others?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Extra details&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My use case is live conference events. I only plan to get one or two. This mic will be used all over the USA, mostly in major cities, but sometimes smaller cities, and almost always in a hotel or convention center. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are some features of the mic that might affect this decision:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1680 Tunable Frequencies Across 42 MHz&lt;/li&gt;&#xA;&lt;li&gt;Auto Frequency Scan Finds Open Bands&lt;/li&gt;&#xA;&lt;li&gt;3 Level Squelch To Block Interference&lt;/li&gt;&#xA;&lt;li&gt;20 Banks With 12 Channel Presets Each&lt;/li&gt;&#xA;&lt;li&gt;Compander For Clearer Sound&lt;/li&gt;&#xA;&lt;li&gt;Auto-Lock Prevents Accidental Adjustment&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2017-05-05T14:47:59.397" Title="What should I consider when selecting a frequency band for wireless microphones?" Tags="|microphone|audio-quality|wireless|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="21348" PostTypeId="2" ParentId="21340" CreationDate="2017-05-06T11:13:07.707" Score="0" Body="&lt;p&gt;If you shot video with &lt;code&gt;24 fps&lt;/code&gt;, the time for 1 frame &lt;code&gt;is 1/24 sec&lt;/code&gt; - this is your &lt;em&gt;maximum shutter speed&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In reality it may be a little shorter - about &lt;code&gt;1/30 sec&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In cinema film projector every frame is projected &lt;em&gt;twice&lt;/em&gt; to avoid perception of blinking - so 1/48 sec is &lt;em&gt;not&lt;/em&gt; a shutter speed, but the maximum time for projecting a frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Smartphones' movie cameras adjust their shutter speed by light conditions &lt;em&gt;without your consent and awareness&lt;/em&gt;. You may consider to use some software to control it, as &lt;a href=&quot;https://itunes.apple.com/us/app/manual-camera-custom-exposure/id916568801?mt=8&quot; rel=&quot;nofollow noreferrer&quot;&gt;Manual Camera&lt;/a&gt; from iTunes&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2017-05-08T10:33:21.110" LastActivityDate="2017-05-08T10:33:21.110" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="21349" PostTypeId="2" ParentId="21341" CreationDate="2017-05-06T11:58:53.983" Score="1" Body="&lt;p&gt;Usually in these situations I'd say maybe you have a bottleneck from your storage media. But with those bit rates any Ssd or hdd should be fine unless the files are really large. Thus it sounds to me that you have either a bottleneck with your GPU, Cpu, or Ram. All are equally important for smooth playback. I'm guessing the issue is the increased resolution of the second clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without knowing more about your specs I would say your best options are to create low res Proxies. In premiere it's pretty easy, you just have to modify your project ingest settings. You might as well create Proxies for all the files, it won't matter anyways as it will relink on export. &lt;/p&gt;&#xA;" OwnerUserId="10619" LastActivityDate="2017-05-06T11:58:53.983" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21350" PostTypeId="2" ParentId="20270" CreationDate="2017-05-06T14:20:50.387" Score="0" Body="&lt;p&gt;I'm unaware of a function similar Mkvtoolnix' split before chapters functionality in ffmpeg, so you probably have to use &lt;a href=&quot;https://stackoverflow.com/q/5651654/2010467&quot;&gt;seeking&lt;/a&gt; or MP4box as one has suggested in this thread. You are likely to face the same issues as have been reported for mkvmerge/Mkvtoolnix, being that splitting is not accurate for compressed video streams and can only be done at key frame boundaries. There is probably no way around loading the file into a video editor, cutting and re-encoding it for an accurate result… or splitting and re-encoding with ffmpeg instead of just copying the stream data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't heard of a format for chapters in subtitles, are these just regular subtitles? If so, which format? In this case you probably need to parse the file and extract or reformat the time codes if necessary.&lt;/p&gt;&#xA;" OwnerUserId="10541" LastEditorUserId="-1" LastEditDate="2017-05-23T12:40:36.170" LastActivityDate="2017-05-06T14:20:50.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21352" PostTypeId="1" AcceptedAnswerId="21362" CreationDate="2017-05-07T00:17:34.403" Score="2" ViewCount="195" Body="&lt;p&gt;I have about 17 minutes of footage which I would like to preserve &quot;as is&quot; as it has lots of authenticity to it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that some scenes are just boring to watch, but I don't want to cut them. Ideally, I would like to fast forward them. But when I increase the  speed of the video, it just does not look very nice or natural. The video is from my motorbike, so some passages are interesting and some are not. But I would like to have whole route on the resulting video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, do you know of any transition which I can apply for such a situation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Adobe Premiere and the footage is in Full HD 60fps. I can reduce the frame rate or resolution, if transition effect requires.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you &lt;/p&gt;&#xA;" OwnerUserId="17386" LastEditorUserId="14523" LastEditDate="2017-05-07T12:51:49.360" LastActivityDate="2017-05-08T21:47:18.310" Title="Best transition to fast forward video" Tags="|premiere|transitions|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21353" PostTypeId="2" ParentId="19867" CreationDate="2017-05-07T02:48:59.323" Score="3" Body="&lt;p&gt;The answer to question 2 is a resounding YES! I was looking for the same functionality and I ended up writing a bash script that asks for fade duration in seconds and calculates the initial frame for the fade-out:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;f=&quot;$*&quot; # all args&#xA;p=&quot;${f##*/}&quot; # file&#xA;fn=&quot;${p%.*}&quot; # name only&#xA;e=&quot;${p##*.}&quot; # extension&#xA;&#xA;echo&#xA;echo $f&#xA;echo $p&#xA;echo $fn&#xA;echo $e&#xA;echo&#xA;&#xA;read -e -p &quot;Number of seconds of fade-out: &quot; -i 1 sec # prompt for fade duration in seconds&#xA;&#xA;r=$(ffprobe -show_streams &quot;$f&quot; 2&amp;gt; /dev/null | grep r_frame_rate | head -1 | cut -d \= -f 2) # frame rate&#xA;let &quot;frames = $r * $sec&quot; # duration of fade as number of frames&#xA;echo $r&#xA;echo $sec&#xA;echo $frames&#xA;lf=$(ffprobe -show_streams &quot;$f&quot; 2&amp;gt; /dev/null | grep nb_frames | head -1 | cut -d \= -f 2) # total number of frames&#xA;let &quot;lf = $lf - $frames&quot; # initial frame to start fade at&#xA;&#xA;ffmpeg -loglevel quiet -i &quot;$f&quot; -vf fade=out:$lf:$frames -r $r -vcodec libx264 -preset slow -crf 12 -bf 2 -flags +cgop -pix_fmt yuv420p -acodec copy &quot;$fn $sec sec fade-out.$e&quot;&#xA;open &quot;$fn $sec sec fade-out.$e&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Fades require re-encoding so using a low &lt;code&gt;crf&lt;/code&gt; value for &lt;code&gt;libx264&lt;/code&gt; gives a high quality re-encode. The comments should explain everything else.&lt;/p&gt;&#xA;" OwnerUserId="10727" LastActivityDate="2017-05-07T02:48:59.323" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21354" PostTypeId="1" CreationDate="2017-05-07T08:43:18.580" Score="2" ViewCount="1683" Body="&lt;p&gt;I have a loud hissing problem using my Rode NTG 2 when it was hooked up to my Tascam D40. When I record from the internal Tascam mics, there isn't a hiss. So I think it's my Rode mic that is causing the hiss. Has anyone dealt with this before? I've tried different input levels and always have the problem with mic. Should I get it replaced with my warranty or is this something I can fix?&lt;/p&gt;&#xA;" OwnerUserId="18853" LastEditorUserId="14523" LastEditDate="2017-05-09T10:20:37.623" LastActivityDate="2021-06-21T20:36:48.403" Title="Hissing Sound with Rode NTG2 Phantom" Tags="|audio|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21355" PostTypeId="2" ParentId="21057" CreationDate="2017-05-07T15:56:50.467" Score="1" Body="&lt;p&gt;The older upload did not cover those filters as they require GPL license and the older binary was built with a LGPL configure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've uploaded a 64-bit GPL3 Windows binary of graph2dot (with 4 dependencies) to &lt;a href=&quot;http://www.datafilehost.com/d/6fcd14be&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.datafilehost.com/d/6fcd14be&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source is at &lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/master/tools/graph2dot.c&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/blob/master/tools/graph2dot.c&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;License is at &lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/master/COPYING.GPLv3&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/blob/master/COPYING.GPLv3&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-05-07T15:56:50.467" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21357" PostTypeId="1" CreationDate="2017-05-07T18:40:02.187" Score="1" ViewCount="28" Body="&lt;p&gt;I have two graphics each moving on a separate guide (path) on the main timeline. Both graphics have their own timelines with multiple layers of other graphics which are animated further to perform simple up and down movements. The nested graphics move nicely on the same paths of the parent graphics while performing their own movements...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Two airplanes making different turns while the parachuters are jumping out from the back)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the moment, I'm only familiar and confident with animating graphics and not movie clips but, what I would like to achieve is to make them look more dynamic and textured by ...well... adding filters and such :D&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are graphics in Flash CS5.5 limited to only the primary color panel or can I apply some other tricks?&#xA;Can be more done before they are turned to symbols - while they are still just shapes? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I have a deadline for the animation I have to postpone learning everything about movie clips...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any guidance would probably save me from lots of frustrating hours...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best regards&lt;/p&gt;&#xA;" OwnerUserId="18856" LastEditorUserId="-1" LastEditDate="2017-05-09T10:21:17.930" LastActivityDate="2017-05-09T10:21:17.930" Title="How can a more dynamic look of graphics be achieved in Flash CS 5.5?" Tags="|color|flash|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21358" PostTypeId="1" AcceptedAnswerId="21391" CreationDate="2017-05-07T19:53:32.740" Score="1" ViewCount="360" Body="&lt;p&gt;In order to add commentary to a fast moving video I've been pausing the frame by taking a snapshot, saving to a file, recording narration, saving to a file, then manually adjusting the snapshot time. But the process feels clumsy in Windows Movie Maker. That software is also no longer supported by Microsoft.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally I'd prefer to use a simple GUI editor like Movie Maker (ideally with keyboard shortcuts and/or voice control) since I don't have a lot of free time to master an advanced tool. Though if more involved tools are the only way to streamline the process then please share your experience.&lt;/p&gt;&#xA;" OwnerUserId="18857" LastActivityDate="2017-07-12T19:25:34.257" Title="Easier Way To Narrate Over Paused Frame?" Tags="|video-editor|audio|windows-movie-maker|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21359" PostTypeId="1" CreationDate="2017-05-08T09:15:52.360" Score="1" ViewCount="322" Body="&lt;p&gt;So here's my problem: I make timelapses from my cycling rides and the results are &lt;a href=&quot;https://www.youtube.com/watch?v=qW0ghrIW1io&quot; rel=&quot;nofollow noreferrer&quot;&gt;extremely shaky&lt;/a&gt; because the software picks frames linearly and sometimes I turn the handlebar or tilt the bike slightly, and the view is completely different to what it was the previous frame. This makes the video rather annoying to watch&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I was wondering if there are some smarter algos out there that can 'smooth out' timelapses -- not in the &lt;em&gt;motion blur&lt;/em&gt; sense (I suppose you can just average out the frames) but in terms of picking the right frames based on the delta changes between significant objects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there's some alternative approach to this, I'd be interested, too.&lt;/p&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2017-05-08T09:43:25.780" Title="How to render a smooth timelapse from 30FPS video?" Tags="|time-lapse|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21360" PostTypeId="2" ParentId="21333" CreationDate="2017-05-08T09:22:46.570" Score="0" Body="&lt;p&gt;Although this is completely an opinion based question, I would still like to suggest that you should try at least After Effects first. Been using it for years, I can tell you that it is not at all a software you can categorize into 'too complicated to understand' and that too before getting your own hands on it. Adobe After Effects is fairly an easy software to understand and you can do basic YouTube videos that look professional in a week (if you spend 1 hour daily practicing it). Getting a powerful computer can be a plus as you'd feel frustrated if you'll render heavy footage on a regular computer. However, I used Adobe AE on 2GB RAM which people say is something near to highly frustrating.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My suggestion is to try AE, Hitfilm, v-ray, or even Blender. There's a big community for all these software where you can ask anything.&lt;/p&gt;&#xA;" OwnerUserId="18861" LastActivityDate="2017-05-08T09:22:46.570" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21361" PostTypeId="2" ParentId="21359" CreationDate="2017-05-08T09:43:25.780" Score="1" Body="&lt;p&gt;I ain't sure if this will work but &lt;em&gt;better than nothing!&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here two of my approaches to this problem:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Warp Stabilization&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Software such as Mocha, AE and many others have &lt;strong&gt;Warp Stabilization&lt;/strong&gt;. What is means is that it can automatically stabilize the clip based on the frames and it somewhat relates to Machine Learning approach to Big Data.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Converting to 24fps&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can open in in a video editor and manually delete clips based on your own human ability to judge by looking at the previous and next frame. As we know our eyes can think 24fps as a smooth video clip, you may try this manual fix technique by deleting at 3-5 frames per second of your video!&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Giving an opinion based answer, I think warp stabilization would render quite great results.&lt;/p&gt;&#xA;" OwnerUserId="18861" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-05-08T09:43:25.780" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="21362" PostTypeId="2" ParentId="21352" CreationDate="2017-05-08T21:47:18.310" Score="2" Body="&lt;p&gt;There is no magic transition that will help you. Simple cuts usually work best. A fade through black may help convey a sense of time passing. The most important thing is to think about the story you want to tell. Select the material that is important to telling that story, edit it together with cuts, and then add complex transitions only if you need to work around something awkward like a jump cut. People won't want to watch the uninteresting parts if you keep everything.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-05-08T21:47:18.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21364" PostTypeId="2" ParentId="21354" CreationDate="2017-05-09T16:20:33.863" Score="1" Body="&lt;p&gt;As mentioned in the comments, trying a different XLR cable can make a difference here. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also make sure that if I've got phantom power turned on (via the TASCAM), that there's no AA battery sitting inside the Rode NTG2. Sticking to just one power source has fixed similar issues for me before.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2017-05-09T16:20:33.863" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21365" PostTypeId="2" ParentId="3804" CreationDate="2017-05-09T16:26:23.567" Score="12" Body="&lt;p&gt;&lt;em&gt;Since this is the top google result, I would like to give the actual solution to this problem&lt;/em&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h2&gt;Option 1&lt;/h2&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Duplicate the .prproj file you want to downgrade and name it &lt;code&gt;temp_downgrade.prproj&lt;/code&gt; or something. Just so you don't have to mess with the original.&lt;/li&gt;&#xA;&lt;li&gt;Download 7zip.&lt;/li&gt;&#xA;&lt;li&gt;Right click on &lt;code&gt;temp_downgrade.prproj&lt;/code&gt; and select &lt;code&gt;Extract here&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;You should see &lt;code&gt;temp_downgrade&lt;/code&gt; next to the original temp file with no &lt;code&gt;.prproj&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Now right click on the &lt;code&gt;temp_downgrade&lt;/code&gt; file and open it with a text editor.&lt;/li&gt;&#xA;&lt;li&gt;You should see a couple million lines of confusing text, ignore it. you are looking for the 4th line, it will look like this:&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;   &amp;lt;Project ObjectID=&amp;quot;1&amp;quot; ClassID=&amp;quot;62ad66dd-0dcd-42da-a660-6d8fbde94876&amp;quot; Version=&amp;quot;29&amp;quot;&amp;gt;&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;That &lt;code&gt;version=29&lt;/code&gt; (or whatever it says in your file, could be any number) is what you have to change. Simply set it to &lt;code&gt;1&lt;/code&gt; so the whole line reads:&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt; &amp;lt;Project ObjectID=&amp;quot;1&amp;quot; ClassID=&amp;quot;62ad66dd-0dcd-42da-a660-6d8fbde94876&amp;quot; Version=&amp;quot;1&amp;quot;&amp;gt;&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;Save the changes you've made to the file.&lt;/li&gt;&#xA;&lt;li&gt;Now right click the &lt;code&gt;temp_downgrade&lt;/code&gt;file - remember the one without the &lt;code&gt;.prproj&lt;/code&gt; - extension and select &lt;code&gt;add to archive&lt;/code&gt; under &lt;code&gt;7zip&lt;/code&gt; .&lt;/li&gt;&#xA;&lt;li&gt;Change archive format to &lt;code&gt;gzip&lt;/code&gt; and change the file name to be something. like &lt;code&gt;temp_downgraded.prproj&lt;/code&gt;. Doesn't really matter it must end in &lt;code&gt;.prproj&lt;/code&gt; though.&lt;/li&gt;&#xA;&lt;li&gt;That's it open &lt;code&gt;temp_downgraded.prproj&lt;/code&gt; like a normal premiere project and it'll ask to upgrade the file or something. Save the copy somewhere permanent as that's where any changes you make will be saved. You can delete all the temp files now.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;[Here is a gif of the whole thing.][2]&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h2&gt;Option 2&lt;/h2&gt;&#xA;&lt;p&gt;EDIT 2018: This tool mentioned in an answer below mine seems great! &lt;a href=&quot;http://joshcluderay.com/downgrade-premiere-project-converter/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://joshcluderay.com/downgrade-premiere-project-converter/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you would prefer a local open source version, I also made a small JavaFx app that &lt;em&gt;should&lt;/em&gt; automate everything in Option 1. You can download it for a Mac/Windows computer with Java(!) installed. Over &lt;a href=&quot;https://github.com/spookyUnknownUser/PremiereDowngrader/releases&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h1&gt;Are there any consequences from doing this?&lt;/h1&gt;&#xA;&lt;p&gt;Not reeeeeally. At least - it's much less than the current accepted answer on this thread. If you export something as an xml file on premiere you will effectively lose most of the editing you've done. Aside from maybe the most basic sequences. All the colour correction, Sound work, etc is gone. With this method - yes some of that will disappear if you are working on an old enough version of premiere. But, I'm talking like five years old. If the difference is CC2017 and CC2016. Sure you'll lose any effects that only exist in CC2017. But I would bet this is mostly niche stuff and &lt;strong&gt;99.999% of your project will probably be fine!&lt;/strong&gt; But - even if it isn't - say you make some small changes to your downgraded version on CC2016. If you copy the downgraded version to a computer with CC2017, after the changes have been made. All the newer features will still be there. So as long as you render on the computer with CC2017 nothing will be lost.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;tl;dr: Obviously there are some cases where you could lose information, but if you just need to make minor edits or fix something small on your home computer then take it back to work or something - this is fine.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h2&gt;Why this works?&lt;/h2&gt;&#xA;&lt;p&gt;Apparently adobe save files are just gzipped xml, so that's why. Should work on AfterEffects as well.&lt;/p&gt;&#xA;" OwnerUserId="18870" LastEditorUserId="18870" LastEditDate="2021-08-30T15:53:42.747" LastActivityDate="2021-08-30T15:53:42.747" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="21366" PostTypeId="2" ParentId="19634" CreationDate="2017-05-09T22:27:03.167" Score="10" Body="&lt;p&gt;Based on &lt;a href=&quot;https://stackoverflow.com/questions/26956762/ffmpeg-set-subtitles-track-as-default/35235287#35235287&quot;&gt;this answer on stackoverflow&lt;/a&gt;, it seems that changing the disposition is now possible with ffmpeg (see also &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;the official documentation&lt;/a&gt;).&lt;/p&gt;&#xA;&lt;p&gt;I think that the command that you would need, so that the final file had English as the default audio stream is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i movie.mkv -i audio.dts -map 0:v:0 -map 1:a:0 -map 0:a:0 -c copy -disposition:a:0 default -disposition:a:1 0 movie_combined.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The addition is &lt;code&gt;-disposition:a:0 default -disposition:a:1 0&lt;/code&gt;. The numbering of the streams is for the output. &lt;code&gt;-disposition:a:1 0&lt;/code&gt; is needed to remove the disposition from the second stream.&lt;/p&gt;&#xA;&lt;p&gt;(Instead of &lt;code&gt;-disposition:a:1 0&lt;/code&gt; you could also, in principle, use the non-documented &lt;code&gt;-disposition:a:1 none&lt;/code&gt;, which has the same effect.)&lt;/p&gt;&#xA;&lt;p&gt;To add metadata/language information, see the &lt;a href=&quot;https://video.stackexchange.com/a/19644/18877&quot;&gt;other answer&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="18877" LastEditorUserId="18877" LastEditDate="2020-07-17T11:51:52.020" LastActivityDate="2020-07-17T11:51:52.020" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="21367" PostTypeId="2" ParentId="21340" CreationDate="2017-05-09T23:01:18.657" Score="2" Body="&lt;p&gt;If the data was recorded by the camera as EXIF MetaData, Adobe Bridge would reveal the camera settings under the Metadata Panel. You may have to customize within Bridge WHICH metadata you want to look at; because there are literally hundreds, thousands, of types of EXIF data; which could or could not have been embedded; AND at times; you will find what you need hidden in a strange EXIF container. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simply put; if you don't see a shutter speed setting under MAIN, or CAMERA metadata; the brand camera/type, could have written it elsewhere; so show all; expand all, and scroll down to see if the data is possibly there; hidden in a collapsed field. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you shot the video at 24fps; you are right in thinking that it likely was recorded at 1/48 / 180 shutter. However; I would think; just based off the engineering / camera / lens type which is built onto the iPhone 7; and how I would engineer the camera to work using, which it does by default-  auto-exposure; that it would rely on aperture priority for exposure; and would thus constantly adjust your shutter speed on the fly based on it's exposure method. So if you did a constant shot from a dark area to bright area; you'd literally see an on the fly adjustment from 1/48 all the way up to 1/4000 or higher. Then aperture might kick in, as the phone as no ND filters to fall back on. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I only add that because usually iPhone footage shot outdoors in bright sunlight looks like it was recorded at HIGH shutter (strobe effect) rather than iris down. The diameter on the lens of an iPhone 7 also would make me think they would use Aperture Priority (constant) &lt;em&gt;as it's practically a pin-hole camera to begin with.&lt;/em&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers!&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-05-09T23:01:18.657" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21368" PostTypeId="1" AcceptedAnswerId="21398" CreationDate="2017-05-10T04:00:25.350" Score="0" ViewCount="635" Body="&lt;p&gt;The hstack feature works great, but it pads the videos. That is, it puts black space between them. I use a command like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mp4 -i 2.mp4  -filter_complex &quot;hstack&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How do I remove the black space separating the component videos?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps related, how do I control the size of the output video? If I could change the width of the output video, I imagine that would make the padding go away. But I couldn't find a way to combine the &lt;code&gt;scale=&lt;/code&gt; parameter with hstack.&lt;/p&gt;&#xA;" OwnerUserId="17609" LastActivityDate="2017-05-14T05:55:48.510" Title="Stack videos with ffmpeg without padding" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21369" PostTypeId="2" ParentId="21267" CreationDate="2017-05-10T13:36:33.203" Score="1" Body="&lt;p&gt;You'll get the best audio by connecting directly to the board the sound guy is using. As you mentioned, the risk involved there is that you lean heavily on the sound guy and hope he doesn't screw up. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it's an option (depending on what kind of setup he has), &lt;strong&gt;sometimes he can record all the audio to a CD for you&lt;/strong&gt;. This would almost certainly be possible if the wedding is being held in a church or similar venue with a permanent sound booth setup. If that's possible, have him record his audio to a CD (which he can give to you at the end of the day) and use the H1 elsewhere in the room.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Slight side note on this: you might also be able to get a smartphone app that lets you record in through the 3.5mm headphone jack of the phone, freeing up your H1 to use the external mics.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do want to keep the H1 separate from the sound board (and recording to a CD isn't an option), I'd try and find a good place in the venue to stick it. Putting it directly on your camera is an option but can be risky as it could pick up whatever noise you/your camera makes throughout the event. I usually try to keep my audio recorder/mics a slight distance from myself/camera so that I don't influence the recording at all. Sometimes it's possible to stick it very close to the bride/groom - tape it under a podium, hide it behind a bouquet, etc. It all really depends on what the actual stage setup looks like.&lt;/p&gt;&#xA;" OwnerUserId="6330" LastActivityDate="2017-05-10T13:36:33.203" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21370" PostTypeId="1" CreationDate="2017-05-10T17:29:36.067" Score="0" ViewCount="1357" Body="&lt;p&gt;I'm having to edit some speech videos (60+ min each) I was given from a conference and the audio levels vary pretty wildly for some of them, due to different speakers and the sound guy not doing a good job with the levels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In FCPX, the Loudness effect has a slider for Uniformity, but I'm not sure how to easily accomplish a similar task in Pr.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I set the audio type as dialogue and then clicked Auto-Match under the Loudness tab.  I also added a Multiband Compressor and enabled Loudness Radar, but I'm having difficulty balancing the loudness in a track where it varies so greatly, as you can see below&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/srVz2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/srVz2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My Question:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to automatically (or easily) make the loudness of this clip more uniform?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I can go through and manually keyframe it or split the track into sections of equal loudness then balance them all, but I was hoping for quicker approach.&lt;/p&gt;&#xA;" OwnerUserId="10892" LastEditorUserId="10892" LastEditDate="2017-05-11T13:55:14.767" LastActivityDate="2017-05-11T23:04:47.963" Title="Easily make loudness more uniform in Premiere Pro" Tags="|premiere|audio|loudness|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21371" PostTypeId="2" ParentId="21370" CreationDate="2017-05-10T19:16:24.967" Score="1" Body="&lt;p&gt;I'm not sure about leveling the audio automatically. You could probably find an effect that does this, after all audio normalisation is a pretty common feature even in audio players, let alone editors. However, I doubt that it would give the exact result you want and given that you are using Premiere Pro, you will probably want more flexibility and manual control.&lt;/p&gt;&#xA;&lt;p&gt;There is an easy way to do this on the go while watching the video though, which is the Audio Track Mixer. Note that using this method requires you to use one audio track per audio type (e.g. one track each for voice over, ambience and music), which is advisable anyway.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rvcPn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rvcPn.png&quot; alt=&quot;premiere pro audio track mixer&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;First, open the Audio Track Mixer for your sequence by selecting it in the menu under Window → Audio Track Mixer. There you will see all the tracks in your sequence, along with volume controls for every one of them and the master track (all individual audio channels are mixed down into a master track for the export, but that is another topic entirely). Now, you want to change the Automation Mode of the track with the audio you want to adjust from the default setting &lt;em&gt;Read&lt;/em&gt; to &lt;em&gt;Latch&lt;/em&gt;, &lt;em&gt;Touch&lt;/em&gt; or &lt;em&gt;Write&lt;/em&gt;. Then you can simply start playback using the contols on the bottom of the panel and use the volume controls to adjust the volume on the fly. Premiere will save the set volume levels over time.&lt;/p&gt;&#xA;&lt;p&gt;The Automation Mode setting changes how the volume controls behave:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;Off&lt;/strong&gt; Ignores the track’s stored settings during playback. Off allows real-time use of Audio Track Mixer controls without interference from existing keyframes. However, changes to the audio track aren’t recorded in Off mode.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Read&lt;/strong&gt; Reads the track’s keyframes and uses them to control the track during playback. If a track has no keyframes, adjusting a track option (such as volume) affects the entire track uniformly. If you adjust an option for a track that’s set to Read automation, the option returns to its former value (before the current automated changes were recorded) when you stop adjusting it. The rate of return is determined by the Automatch Time preference.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Write&lt;/strong&gt; Records adjustments you make to any automatable track settings that aren’t set to Safe During Write, and creates corresponding track keyframes in a Timeline panel. Write mode writes automation as soon as playback starts without waiting for a setting to change. You can modify this behavior by choosing the Switch To Touch After Write command from the Audio Track Mixer menu. After playback stops or a playback loop cycle is completed, the Switch To Touch After Write command switches all Write mode tracks to Touch mode.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Latch&lt;/strong&gt; Identical to Write, except that automation doesn’t start until you begin adjusting a property. The initial property settings are from the previous adjustment.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Touch&lt;/strong&gt; Identical to Write, except that automation doesn’t start until you begin adjusting a property. When you stop adjusting a property, its option settings return to their previous state before the current automated changes were recorded. The rate of return is determined by the Automatch Time audio preference.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;sub&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/recording-audio-mixes.html#audio_track_mixer_automation_modes&quot; rel=&quot;nofollow noreferrer&quot;&gt;Source: Documentation&lt;/a&gt;&lt;/sub&gt;&lt;/p&gt;&#xA;&lt;p&gt;For speeches, I would recommend you use &lt;em&gt;Write&lt;/em&gt;, &lt;em&gt;Touch&lt;/em&gt; is better suited for music or other more dynamic audio.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-05-10T19:16:24.967" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21372" PostTypeId="2" ParentId="14977" CreationDate="2017-05-10T23:52:00.067" Score="1" Body="&lt;p&gt;I don't mind the question. I think of it in those terms too. So HDMI, DVI, VGA no.  Composite, SDI, and RF yes.  Composite is typically a Yellow RCA or can be BNC coax.  SDI (HD, SD, 3G) is also BNC Coax.  When you say Coax above you are referring to RF, which comes in both analog NTSC and digital ATSC versions, both of which support CC, and typical cable ends are F connectors.  Composite and NTSC are SD resolution, so if you want to go HD your choices are SDI or ATSC RF.  For the latter, a simple monitor will not do, it has to include an ATSC tuner.  But if HDMI is anywhere in the chain, CC is lost. SDI connectors on monitors are rare/expensive, so probably not an option.  Only other option is to decode the image twice in your studio, one with opened captions and one without, and send one to the lobby and the other to your projectors.&lt;/p&gt;&#xA;" OwnerUserId="18884" LastActivityDate="2017-05-10T23:52:00.067" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21373" PostTypeId="2" ParentId="21313" CreationDate="2017-05-11T00:56:08.613" Score="4" Body="&lt;p&gt;I've worked through a similar project over the last 6 months, and performed more tests than I can keep track of now.  So this is a little fresh for me.  With your questions:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;4K camera -&amp;gt; capture card -&amp;gt; Linux PC (compression) -&amp;gt; RTSP&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;This will work well&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Are blackmagic ursa mini 4K and decklink card able to do the first 2&#xA;stages respectively?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Yes&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Is ffmpeg + libx264 able to perform real-time compression at such a high bitrate?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;It's possible, but I'm going to say that whichever way you spin it, you're likely going to arrive at getting a hardware card.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;If not, any recommendation for hardware encoding card?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;nVidia Quadro cards are excellent.  Anything with a Maxwell GM204 chipset or higher.  Even a sub $1000 card will open up the world of possibilities, especially when it comes to hardware accelerated resizing, format conversion, and producing multiple outputs.&lt;/p&gt;&#xA;&lt;h3&gt;A note about libx264&lt;/h3&gt;&#xA;&lt;p&gt;I advise care getting advice from anyone who hasn't used it for the purposes you're trying.  The theoretical and unit tests don't always account for everything.&lt;/p&gt;&#xA;&lt;p&gt;libx264 is an excellent encoder.  It's well known it produces superior quality encodes than say a hardware accelerated h264 encoder &lt;strong&gt;for the same bitrate&lt;/strong&gt;.  It also has a whole heap of specific options that can maximise efficiency and produce a video with multiple 264 layers that is friendly to all types of clients.&lt;/p&gt;&#xA;&lt;p&gt;The strength of libx264 isn't realtime encoding though.  Yes it has zerolatency tuning options, and crf modes to reduce cpu demand, but every small change can make a major impact on encoding time.  The difference between doing a 2560x1440 encode and a 3840x2160 encode is drastic.  The difference between a yuv420p and yuv444p is also drastic.&lt;/p&gt;&#xA;&lt;p&gt;Also, importantly, many of the options that make the significant difference in libx264 are lookahead options, these unashamedly prfioritize the end product as opposed to the performance of getting to the end product.&lt;/p&gt;&#xA;&lt;p&gt;No implementation of x264 that I know of, does threading very well.  You can have a rack server with 200GB ram, and 24 actual CPU cores, and max them out very quickly.&lt;/p&gt;&#xA;&lt;p&gt;One of the &lt;strong&gt;&amp;quot;gotcha&amp;quot;&lt;/strong&gt;'s of libx264 is that you can seemingly have it running so well that it looks like a video player - i.e. - you plug something into the SDI port, and it shows up on the network player.  Amazing.  You can have it running for days... Then all of a sudden when the input signal becomes very complex (i.e. low lighting, stage effects like haze, fast detailed motion, fades and transitions, etc.), all of a sudden the roof comes tumbling down reveal 35 issues that look like one.  You remove the issues one by one, and by the time you have it running a treat, you &lt;em&gt;may&lt;/em&gt; decide that x264 isn't going to cut it.&lt;/p&gt;&#xA;&lt;p&gt;Having said that - running at a higher bitrate, requires less compression, and does run noticeably better than at low bitrates.&lt;/p&gt;&#xA;&lt;p&gt;Given the cost of hardware cards, the doors they open up, and putting that up against the scope of your project, I would highly recommend getting one, whether you use it or not.&lt;/p&gt;&#xA;&lt;p&gt;At high bitrates - the benefits of libx264 are negated - in fact - h264_nvenc can do realtime 2pass encoding, with spacial and temporal motion filtering and lookahead.  Since you want less than 1s latency, you may not use these, but they are included in some low latency presets.&lt;/p&gt;&#xA;&lt;h2&gt;Blackmagic&lt;/h2&gt;&#xA;&lt;p&gt;The decklink SDK works well with linux.  It's simple to configure card options, change inputs, and using the tools provided you build your own capture tools if required.  Even a $199 Decklink 4K Mini Recorder PCIe card works well.&lt;/p&gt;&#xA;&lt;h2&gt;Example pipeline&lt;/h2&gt;&#xA;&lt;p&gt;Blackmagic -&amp;gt; Encoder -&amp;gt; RTSP&lt;/p&gt;&#xA;&lt;p&gt;From that RTSP signal you could then run all of these at the same time:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;RTSP -&amp;gt; Low bitrate preview / wifi stream&lt;/li&gt;&#xA;&lt;li&gt;RTSP -&amp;gt; Archive&lt;/li&gt;&#xA;&lt;li&gt;RTSP -&amp;gt; Create RTMP stream -&amp;gt; Send to live streaming site&lt;/li&gt;&#xA;&lt;li&gt;RTSP -&amp;gt; Create a 1080p stream -&amp;gt; RTSP&lt;/li&gt;&#xA;&lt;li&gt;RTSP -&amp;gt; Create an adaptive DASH stream with multiple resolutions&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="17075" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-05-11T01:31:53.273" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21374" PostTypeId="2" ParentId="21283" CreationDate="2017-05-11T17:31:00.240" Score="2" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;You are approaching the problem at hand very well, you have however not used the most quality-preserving solution available. &#xA;I recommend that you take your raw image files and import them into Adobe After Effects as a camera raw sequence. This will let you work with the files directly in their raw format and therefore retaining the most quality. From there, you can choose to export in a lossless format if you so desire.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Using this method, you should see a better quality from ProRes 4444 than ProRes 422.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Best of luck&lt;/p&gt;&#xA;" OwnerUserId="14573" LastActivityDate="2017-05-11T17:31:00.240" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21375" PostTypeId="2" ParentId="21328" CreationDate="2017-05-11T17:49:26.553" Score="4" Body="&lt;p&gt;What you are referring to is called a &lt;strong&gt;&lt;em&gt;series playlist&lt;/em&gt;&lt;/strong&gt;. A series playlist is used to display videos in that manner. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you have misunderstood is that it's actually the name of the show that is displayed before the &quot;S11 E80&quot;, although I understand that it is confusing when the show has the same name as the channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This feature is easily utilized, it is however required that you have a verified channel. If you do, you should easily be able to add a series playlist from the playlist menu in the Youtube studio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best of luck&lt;/p&gt;&#xA;" OwnerUserId="14573" LastActivityDate="2017-05-11T17:49:26.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21376" PostTypeId="2" ParentId="16349" CreationDate="2017-05-11T18:44:44.833" Score="3" Body="&lt;p&gt;You seem to have a good grip on what these parameters are all about.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;strong&gt;target bitrate&lt;/strong&gt; is what the encoder tries to average throughout the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;strong&gt;maximum bitrate&lt;/strong&gt; is the roof for how high the bitrate can go. How high it can spike.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a good idea to leave a substantial amount of headroom, 5-10%, between the target and the maximum bitrate. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best of luck!&lt;/p&gt;&#xA;" OwnerUserId="14573" LastActivityDate="2017-05-11T18:44:44.833" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21377" PostTypeId="2" ParentId="16349" CreationDate="2017-05-11T22:51:48.087" Score="3" Body="&lt;p&gt;Sondell spelled it out correctly. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You use the &lt;strong&gt;Target&lt;/strong&gt; to size your final output file, as VBR will be used. AME will then try to average as close as possible to &quot;average out&quot; to your target, yet the actual bitrate could be much lower, or up to your Maximum Setting. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;strong&gt;Maximum Setting&lt;/strong&gt; is in place because of bottlenecks which exist for playback; for instance, many Blu-Ray players cannot read anything higher than 30 Mbps. DVD Caps around 9 mbps I believe. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The one part that I would like to point out is I recommend always using 2-Pass VBR, never one pass; unless your content is very consistent frame for frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;AME/PPro &lt;strong&gt;lack&lt;/strong&gt; a &lt;strong&gt;&quot;Minimum BitRate&quot;&lt;/strong&gt;; which is a shame. Using VBR 1 Pass can cause pixelation issues; such as when a camera flash goes off - blowing out to near all white a single discreet frame. As a 1 Pass encode &lt;strong&gt;does not&lt;/strong&gt; pre-analyze the program stream prior to setting the bitrate for a given frame set; a one pass VBR can cause artifacting after a camera flash; or a white or black hard edit to picture. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, any flickering type of video as well, such as strobe lights, can also cause this. Basically; if your image goes from flat color (any color) to complex picture/moving image in a 1-2 frame span... there can be trouble. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This occurs because it sees the flash as a blown out white image... thus AME drops the bitrate down very low (think under 0.5 Mbps); because after all; its just a frame of white... high bit rates are not needed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issue is that AME, its scheme for how it ramps up and down the bit rate is not fast enough; when using 1 Pass VBR. So after a camera flash goes off; your next frame, or even next two frames; could appear blocky, as the VBR bitrate has not ramped back up fast enough, and the flash lasted for only a single discreet frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2 Pass; while it takes longer; does a much better job handling this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To be perfectly honest; I master nearly all of my content using CBR. While this goes against the mainstream norm; I know what bitrates are needed for what quality I desire; I'm not happy with the 1 Pass Encoder Issues; and 2 Pass is a time consuming render. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are cases where 2 Pass is necessary; such as long form online content delivery, but for most outputs CBR is fast, clean, and consistent. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-05-11T22:51:48.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21378" PostTypeId="2" ParentId="21370" CreationDate="2017-05-11T23:04:47.963" Score="2" Body="&lt;p&gt;This is a copy and paste from a similar previous question which I answered:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to even out the audio of a single stream; you will want to either mix by hand as noted above; or you can use dynamics; specifically Compression. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Within the PPro audio mixer, apply dynamics to the audio tracks, or master track. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can then use the compressor within the dynamics filter, which you can use on all your tracks, to get your dynamic range all in line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The simplest way to learn this is just trial and error; but looking at your waveform; you will want to:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adjust the gain up- it's a pot/knob center column bottom. Use a ratio of about 2:1 to 6:1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Last, click the checkbox on the bottom right of the dynamics filter for each track to enable the limiter. The limiter; a good setting is -2 db.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you want to adjust your threshhold in terms of attack and release, what you want to see on your audio (do your setup/testing on the loud sections and soft sections to find the sweet spot); is your compressor VU meter should just barely be jumping... when say someone is speaking. If it's spiking to high; gain down. If it's not jumping at all; gain up. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will balance out your audio so the soft sounds are adjusted up and can be heard, and the loud sections are not adjusted up; resulting in overmodulation. Its a much better way to smooth out your audio, decrease the dynamic range, and end up with audio that sounds far more balance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you learn how to effectively use the dynamics filter on tracks, I think you will find you will be far more effecient in mixing your audio on the fly. It really does a decent job to just get everything in balance. Then; after you've done that, you can do back and sweeten the audio with a full mix; using a control surface or the pots, recording the pot movements via Touch Setting. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-05-11T23:04:47.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21379" PostTypeId="1" CreationDate="2017-05-12T02:59:30.663" Score="5" ViewCount="291" Body="&lt;p&gt;How do they film in a house of mirrors?  Obviously the reflection of the cameras would be seen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do they use a green screen and a lot of editing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really don't know anything about video production, but I was watching tv and it had me thinking..&lt;/p&gt;&#xA;" OwnerUserId="18889" LastActivityDate="2017-05-31T15:45:00.597" Title="Filming in a house of mirrors" Tags="|video|filming|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21381" PostTypeId="2" ParentId="18006" CreationDate="2017-05-12T08:51:41.257" Score="0" Body="&lt;p&gt;I would suggest you to find more information about &lt;strong&gt;Frame Blending&lt;/strong&gt; or &lt;strong&gt;Motion interpolation&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is for example used in timelapse videos to smooth the render.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;To &lt;em&gt;blend frames&lt;/em&gt;, use ffmpeg with the tblend filter.&#xA;For example the following command can help :&#xA;&lt;code&gt;ffmpeg -i {input} -vf &quot;tblend=average,framestep=2,setpts=0.50*PTS&quot; -r {srcfps} -{encoding parameters} {output}&lt;/code&gt;. Replace &lt;code&gt;{input}&lt;/code&gt; by your input file, &lt;code&gt;{output}&lt;/code&gt; by the name of the output file, &lt;code&gt;{srcfps}&lt;/code&gt; by your source frames per second, and &lt;code&gt;-{encoding parameters}&lt;/code&gt; the parameters you tell ffmpeg to output.&#xA;You could also add &lt;code&gt;minterpolate&lt;/code&gt; filter to the filter stack to add some motion blur.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;To &lt;em&gt;generate new frames&lt;/em&gt; based on motion, the Butterflow project can help : &lt;a href=&quot;https://github.com/dthpham/butterflow&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/dthpham/butterflow&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Features&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Makes &lt;strong&gt;motion interpolated videos&lt;/strong&gt; (increase a video's frame rate by rendering intermediate frames based on motion, uses a combination of pixel-warping and blending).&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Makes &lt;strong&gt;smooth motion videos&lt;/strong&gt; (simple blending between frames).&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Leverages interpolated frames to make &lt;strong&gt;fluid slow motion videos&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="18892" LastActivityDate="2017-05-12T08:51:41.257" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21382" PostTypeId="2" ParentId="21379" CreationDate="2017-05-12T13:15:51.883" Score="0" Body="&lt;p&gt;One trick would be to not actually shoot it in such an enviroment, and then add the effect of mirrors in post. Probably easier than to try and hide a camera crew among mirrors.&lt;/p&gt;&#xA;" OwnerUserId="14573" LastActivityDate="2017-05-12T13:15:51.883" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21383" PostTypeId="1" CreationDate="2017-05-12T17:40:29.833" Score="0" ViewCount="22" Body="&lt;p&gt;I know using Premiere for slide shows is kind of overkill, but a lot of times I am working on a project with both videos and pictures, and it is much more convenient to use one program for everything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any advice for any ways to automate any part of the slide show production (like the features in Windows Movie Maker or similar) within Premiere?&lt;/p&gt;&#xA;" OwnerUserId="17638" LastActivityDate="2017-05-12T18:23:18.427" Title="Making a picture slide-show in Premiere Pro" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21384" PostTypeId="2" ParentId="21383" CreationDate="2017-05-12T18:23:18.427" Score="1" Body="&lt;p&gt;For a slide show in Premiere the only recomendation that I have is that you set in Preferences &gt; General &gt; 'Still image default duration' to the amount of time that you want a image to appear, so you don't need to adjust after you drop them on time line. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Set the 'Video Transition Default Duration' to an appropriate time is also helpful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And to finish, don't forget that Control + d (or Command + d on OSX) can be used to apply the default transition to the selected clip or image.&lt;/p&gt;&#xA;" OwnerUserId="16884" LastActivityDate="2017-05-12T18:23:18.427" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21386" PostTypeId="1" CreationDate="2017-05-12T23:12:23.253" Score="1" ViewCount="2451" Body="&lt;p&gt;I have a multicam project of 4 cameras. I did the multi-camera record which resulted in a single track sequence with the switching between the cameras. Then I applied the default transition to all cuts, which is the Cross Dissolve. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although the right transition effect appeared everywhere, and in most cases it shows correctly, in some cases the effect works as if it was a Dip to Black (no, it's not coming from the footage). If I delete the auto-added Cross Dissolve transition and add it again manually, it works as expected. Is this a bug in Premiere?&lt;/p&gt;&#xA;" OwnerUserId="18213" LastActivityDate="2017-06-09T06:20:24.730" Title="Cross dissolve error in Permiere Pro" Tags="|premiere|effects|transitions|multi-camera|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21387" PostTypeId="2" ParentId="21379" CreationDate="2017-05-13T00:03:16.750" Score="2" Body="&lt;p&gt;One thing that you learn pretty quickly when you begin producing film or video, is that what looks right in a mirror in person usually doesn't look right to the camera. You end up having to place the mirrors at very different angles than you expect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fun houses/houses of mirrors are usually recreated on a sound stage or other set. Fun house mirrors can be rented and placed to accommodate production equipment. On screen, you will often see fewer mirrors than what might be used in an actual house of mirrors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For instance in &lt;a href=&quot;https://youtu.be/RBnIbqW6ZhM&quot; rel=&quot;nofollow noreferrer&quot;&gt;this Bruce Lee sequence&lt;/a&gt;, except for the final shot, you only see mirrors on one side of the actors. In that final shot, the mirrors behind Lee are obscured by other set pieces. The actors probably could not see the image of their opponent that they were punching in the mirror, everything was staged specifically for the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly, in &lt;a href=&quot;https://youtu.be/TCw-iEJoVfY&quot; rel=&quot;nofollow noreferrer&quot;&gt;this &lt;em&gt;Key &amp;amp; Peele&lt;/em&gt; sequence&lt;/a&gt;, the mirrors are noticeably far apart, you generally see only one actor in a mirror at a time, and mostly only see mirrors on one side of the actors at a time.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-05-13T00:03:16.750" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21388" PostTypeId="2" ParentId="12286" CreationDate="2017-05-13T05:37:43.963" Score="0" Body="&lt;p&gt;Older Canon 5D MKII DSLR which does 1080 HD, and can record decent audio or if you like with a jack for sound input to external microphone(s). Regardless of the 5D or which device you use, the batteries will be an issue with heat and how long you record and capacity of a large written file size limit. The 5D MKii does nicely up to about 12 to 15 minutes of video capacity to a CF / SAN device. Not just heat, but how much one movie file can begin and end is limited. But restarting will allow for another 12 to 15 minute session. In the event you have laptop handy, a feature of the 5D MKii is the ability do the entire recording from a Canon Utility on the laptop, focus, start stop video, or record to laptop, which may help as well in composing the frame you do desire as a selfie, because the selfie generated could be from the camera USB to the laptop. That may be something as well the other cameras don't do. USB cables can go a little bit longer than 5 to 6 feet (legacy size, which is a bit more rugged).&lt;/p&gt;&#xA;" OwnerDisplayName="user18899" LastActivityDate="2017-05-13T05:37:43.963" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21389" PostTypeId="2" ParentId="10620" CreationDate="2017-05-13T14:46:36.907" Score="1" Body="&lt;p&gt;A free Alternative for After effects(for audio spectrum like in Monstercat) &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;code&gt;http://soniccandle.sourceforge.net&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;would be &lt;strong&gt;Sonic Candle&lt;/strong&gt;.Its an open source project.You will need Java version 8 or higher in order to run.Best feature is the customizable bar visualizers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best alternative recommended is &lt;a href=&quot;https://www.rainmeter.net&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;Rainmeter&lt;/strong&gt;&lt;/a&gt; .You can add the Monstercat Visualizer by Marco Pixel Downloading from &lt;a href=&quot;https://github.com/MarcoPixel/Monstercat-Visualizer/releases/tag/1.6.0&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;here&lt;/strong&gt;&lt;/a&gt;.Just add it and customize to the way you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pros:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Customizable&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Quick &amp;amp; Easy&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Cons:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;No export option&lt;/li&gt;&#xA;&lt;li&gt;You will need an extra monitor or you will have to hide all the icons when streaming or monitor capturing(The only choice)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Recommended:&lt;/strong&gt;  &lt;em&gt;You can Screen capture the rainmeter(Saves time than rendering time in AE).&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="18900" LastActivityDate="2017-05-13T14:46:36.907" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21390" PostTypeId="1" AcceptedAnswerId="21396" CreationDate="2017-05-13T15:45:09.933" Score="2" ViewCount="1907" Body="&lt;p&gt;I am new to audio. I was wondering if I can plug in a wireless headphone system, like a cheap bluetooth audio transmiter, to the audio-out jack of a field recorder such as Tascam DR-05 or Zoom H1 when used with a lavalier mic on the subject. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don´t need high quality sound monitoring just to make sure that the lavalier is turned on and recording. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I am planning on leaving the recorder and lapel mic for hours on a moving subject, &quot;run &amp;amp; gun&quot; style, and I am afraid the subject will accidentaly unplug the cable, damage the mic or foul-up the recorder. I know there are wireless recorders but they are out of my price range, and I am working under the assumption that this way will yield better sound quality than a shotgun mic on camera. In case it´s relevant, my total audio budget is $200: either just a Rode Videomic Pro on camera or a Tascam DR-05+ ATR-3350 lav + cheap wireless headphones, buying either audio &quot;solution&quot; for now and adding the other later for more versatility)&lt;/p&gt;&#xA;" OwnerUserId="18859" LastEditorUserId="18859" LastEditDate="2017-05-13T16:32:47.083" LastActivityDate="2017-05-14T03:21:49.203" Title="Can i do audio monitoring with wireless headphones with a field recorder?" Tags="|audio|audio-recording|wireless|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21391" PostTypeId="2" ParentId="21358" CreationDate="2017-05-13T16:34:13.097" Score="1" Body="&lt;p&gt;There is a simple Video editing suite called &lt;a href=&quot;https://www.techsmith.com/camtasia.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;Camtasia&lt;/strong&gt;&lt;/a&gt;.It is not free but you can try out the trial,If you like it you can purchase it.&#xA;It has an &lt;strong&gt;&quot;Extend Frame&quot;&lt;/strong&gt; feature (also available in 7th version) that will allow you to extend a particular frame of video on the timeline as long as you want so that audio narration can continue. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;That should achieve the same effect as pausing the video during recording, as in either case you will end up with a static image on the screen while the audio finishes playing out.&lt;/em&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then come in afterwards, play this pre-recorded screen video back... and lay down audio on top &lt;strong&gt;*WHILE&lt;/strong&gt; being able to hit pause on the video, and continue talking, to whichever points in the video require more explanation.You can just simply check it out.&lt;/p&gt;&#xA;" OwnerUserId="18900" LastActivityDate="2017-05-13T16:34:13.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21392" PostTypeId="2" ParentId="21237" CreationDate="2017-05-13T17:17:45.870" Score="1" Body="&lt;p&gt;You are referring to resizing the video.If you are using Windows platform you can use Windows movie maker to do it.Add your media file and switch to &lt;strong&gt;Project Tab&lt;/strong&gt; you can set the ratio. only the two mentioned are available.&#xA;Wide Screen(16:9) &amp;amp; Standard(4:3)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are looking for a &lt;strong&gt;fully customizable&lt;/strong&gt; Space,the free program recommended program is &lt;a href=&quot;https://handbrake.fr&quot; rel=&quot;nofollow noreferrer&quot;&gt;Handbrake&lt;/a&gt;&#xA;.Download it,install and run the program.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Choose the particular video clicking on the source button and navigate to it.&lt;/li&gt;&#xA;&lt;li&gt;Next choose the destination for the output&lt;/li&gt;&#xA;&lt;li&gt;Click on the picture tab and choose &lt;strong&gt;None&lt;/strong&gt; from the &lt;em&gt;Anamorphic&lt;/em&gt; dropdown list&lt;/li&gt;&#xA;&lt;li&gt;Then adjust your height and width (&lt;em&gt;Make sure you &lt;strong&gt;untick&lt;/strong&gt; &quot;keep aspect Ratio&quot;&lt;/em&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Finally click &lt;strong&gt;Start&lt;/strong&gt; then you will see the adjusted video in the folder you chose for the destination output.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Check the image:&lt;a href=&quot;https://i.stack.imgur.com/WeFkm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WeFkm.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can reduce the resolution too(Reducing resolution) with this tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thats it, Enjoy:)&lt;/p&gt;&#xA;" OwnerUserId="18900" LastActivityDate="2017-05-13T17:17:45.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21394" PostTypeId="2" ParentId="17108" CreationDate="2017-05-13T20:44:26.170" Score="1" Body="&lt;p&gt;Simply create your motion keyframes on your longest clip placed on your timeline (or use a dummy clip which exceeds your longest clip by a few frames or even a second in case you later add an even longer clip/image to the sequence). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have added you &lt;strong&gt;&quot;start&quot;&lt;/strong&gt; motion position, set the keyframe, then the &lt;strong&gt;&quot;end&quot;&lt;/strong&gt; motion position (I am guessing you will be doing pushes and pulls). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select the clip on the sequence. CTRL-C Copy.  Then use the C select tool (arrow) to lasso and select ALL the clips you want to apply the motion effect to. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right mouse click the selected clips in the sequence, then click &lt;strong&gt;Paste Attribute&lt;/strong&gt;s. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will paste the motion from your longest clip to all the clips; with the same relative speed. The keyframe for you &quot;end&quot; motion position on clips shorter than your &quot;longest/dummy&quot; clip will simply not be visible in the effects panel; because the keyframe will be out of range and past the tail of the clip. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the same speed motion will be applied. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are doing more than just a slow push or pull, or are dealing with various image sizes/aspect ratios; you may need to do a few &quot;template moves&quot; and apply the Paste Attribute command to the clips that require that specific move. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need to reset the motion; select the clips on the sequence; right mouse click; remove effects; click motion, click ok. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I would recommend also:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Run ALL your images through &lt;strong&gt;Image Processor using Adobe Bridge&lt;/strong&gt;; and upres them larger than your sequence size. So if your working in a 1920x1080 workspace; use Tools; PhotoShop; Image Processor -&gt; Resize Image (Then set a &quot;SQUARE VALUE&quot; of 2500 w by 2500 h).  This will box in all your images to meet either an X or Y value of 2500 px depending on the orientation of the image. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do not use Scale to Frame Size- as you will lose image quality on any push ins past 100%. Upresing your images using Image Processor will import all your images into PPro, and they will be larger than your sequence; so you have pull room, and push room, to go in and out, without your images pixelating. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may want to go higher than 2500 px. I'd recommend 2-3x your horizontal resolution. (So if 1080p, scale them all to roughly 5000/5000).  Photoshops resizing will provide much better results than PPro when moving/pushing in past 100% if your image doesnt meet your 1920 Width (if working in 1080). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this solves it for you. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastEditorUserId="14504" LastEditDate="2017-05-13T20:50:36.290" LastActivityDate="2017-05-13T20:50:36.290" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21396" PostTypeId="2" ParentId="21390" CreationDate="2017-05-14T03:21:49.203" Score="3" Body="&lt;p&gt;I see no reason why not. You'd just have to make sure you find a transmitter that's battery powered, and small enough so you can bundle it with the micro-recorder. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question is; is it necessary. Would you be able to do anything, such as stop the event/filming, if there was a problem? Secondly; the feed you're monitoring is only going to tell you it's listening, not recording. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We use the micro Tascams with Lav Mics for some events. My recomendation is:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Double Up:  Two Micro Tascam Units&lt;/li&gt;&#xA;&lt;li&gt;Double Lav Mic Clip&lt;/li&gt;&#xA;&lt;li&gt;Test Test Test your settings; input levels, auto gain vs manual, bit rate, etc, and get them both setup so you wont overmodulate. &lt;/li&gt;&#xA;&lt;li&gt;Run one slightly cold. Lower the gain / input on 1 mic by 5 db. So if the speaker gets really loud, you have a lower gain recording. &lt;/li&gt;&#xA;&lt;li&gt;Record in PCM 24 Bit if possible. You can then use compression in post to get super even audio. &lt;/li&gt;&#xA;&lt;li&gt;Use black gaff tape to tape OVER the hold button after starting the unit. This will prevent the units from having both a button pressed, as well as the guy turning off the hold button - it's happened to me. &lt;/li&gt;&#xA;&lt;li&gt;When you start the recorders in the field, at the very start; talk right into the mics, and say; DATE, TIME, EVENT, PERSON THE MIC IS GOING ON, ETC. &lt;/li&gt;&#xA;&lt;li&gt;Then tape HOLD and LAV them up. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'd do double mics over monitor, but not sure if that's what you want monitoring for. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-05-14T03:21:49.203" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21397" PostTypeId="1" AcceptedAnswerId="21399" CreationDate="2017-05-14T05:01:17.760" Score="6" ViewCount="23515" Body="&lt;p&gt;ffmpeg does a very good job of getting rid of a green screen, with a command like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i color=c=black:s=606x1080 &#xA;       -i input.mp4  &#xA;       -filter_complex &#xA;            &quot;[1:v]chromakey=0x70de77:0.1:0.2[ckout];&#xA;            [0:v][ckout]overlay[out]&quot; &#xA;       -map &quot;[out]&quot;  output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but it replaces the green screen with solid black, whereas I would like it replaced with a transparent background, alpha = 0.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried setting the color to &lt;code&gt;#00000000&lt;/code&gt; (8 zeroes indicating a zero alpha), but that still resulted in a black background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Strangely, when I set the color to say red, it gives a red tint to many unfiltered areas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I would like a transparent background, but I'm also curious what the color option is doing.&lt;/p&gt;&#xA;" OwnerUserId="17609" LastActivityDate="2023-05-25T04:54:03.493" Title="green screen to transparent with ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21398" PostTypeId="2" ParentId="21368" CreationDate="2017-05-14T05:55:48.510" Score="2" Body="&lt;p&gt;The stack filters don't insert any padding. Your videos probably have empty space in them. You'll need the crop filter to remove the dead space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The stack filters require the video edge along the join axis to have the same dimensions i.e. height for hstack and width for vstack. So, don't crop those aspects.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-05-14T05:55:48.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21399" PostTypeId="2" ParentId="21397" CreationDate="2017-05-14T05:58:27.757" Score="4" Body="&lt;p&gt;Output by MP4 defaults to the H.264 codec for the video. H.264 does not support alpha.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can output to &lt;code&gt;.mov&lt;/code&gt; with a video codec &lt;code&gt;-c:v&lt;/code&gt; of &lt;code&gt;png&lt;/code&gt; or &lt;code&gt;qtrle&lt;/code&gt;. There are others but they have restrictions on resolution and framerate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can't use the overlay filter as it doesn't output to a pixel format with alpha. So, just the chromakey filter, and no color source.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-05-14T06:19:12.167" LastActivityDate="2017-05-14T06:19:12.167" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="21400" PostTypeId="1" AcceptedAnswerId="21419" CreationDate="2017-05-14T13:08:03.430" Score="2" ViewCount="5605" Body="&lt;p&gt;I'm a new iOS user, and previously on my Android device, from time to time I needed to change the aspect ratio of a video to 1:1 (to fit with Instagram).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So at that time, I was using this &lt;a href=&quot;https://play.google.com/store/apps/details?id=com.silentlexx.ffmpeggui&amp;amp;hl=fr&quot; rel=&quot;nofollow noreferrer&quot;&gt;app&lt;/a&gt; that let's you directly type ffmpeg commands as if you were using a computer, so I it was simple to do it by using :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf &quot;scale=720:720,setsar=1:1&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But unfortunately I didn't find any alternative on iOS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, does anyone know an app that will let me change the aspect ratio of a video?&lt;/p&gt;&#xA;" OwnerUserId="18905" LastEditorUserId="18905" LastEditDate="2017-05-15T18:38:29.420" LastActivityDate="2017-05-15T22:06:52.680" Title="iOS - App To Change Aspect Ratio of a Video" Tags="|software-recommendation|aspect|ios|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21401" PostTypeId="1" CreationDate="2017-05-14T17:24:16.923" Score="0" ViewCount="120" Body="&lt;p&gt;It appears that loading a graphics asset into Premiere’s &lt;a href=&quot;https://forums.adobe.com/thread/2306606&quot; rel=&quot;nofollow noreferrer&quot;&gt;new (2017.1)&lt;/a&gt; layered drawing tools does not do any kind of profile matching.  Furthermore, the play preview image looks different on my (color calibrated) monitor than it does on a real television.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally, the encoded video played on the TV looks more washed out, showing more shadow detail.  Specifically in this case, the &lt;a href=&quot;https://identityguide.unt.edu/create-our-look/color&quot; rel=&quot;nofollow noreferrer&quot;&gt;desired green&lt;/a&gt; is significantly lighter and perhaps is more yellowish but that could just be the impression due to the brightness difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I convert a specified color into the RGB codes to use in Premiere’s titling tools?  I’m guessing at this point that I want to know the colors in the &lt;a href=&quot;https://en.wikipedia.org/wiki/Rec._709&quot; rel=&quot;nofollow noreferrer&quot;&gt;BT.709&lt;/a&gt; color space, and that “hex color is #00853E” is sRGB.&lt;/p&gt;&#xA;" OwnerUserId="9268" LastActivityDate="2023-12-19T15:01:40.240" Title="Matching colors for video" Tags="|premiere|colorspace|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="21402" PostTypeId="1" CreationDate="2017-05-14T17:33:22.657" Score="0" ViewCount="58" Body="&lt;p&gt;Premiere’s &lt;a href=&quot;https://forums.adobe.com/thread/2306606&quot; rel=&quot;nofollow noreferrer&quot;&gt;new (2017.1)&lt;/a&gt; layered drawing tools are easy enough to use, as they work similarly to other Adobe CC tools and the current UI concepts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, the multi-layer item I created does not appear in the Project panel!  The retronymed Legacy Titles appear in the project list as single items.  The new stuff shows individual entries for file-based assets used, but nothing for the multi-layer title composition as a unit or the layers of text and geometric drawing that are part of it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This seems very strange.  Why would they want it to not show up in the Project panel?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want to do is copy elements from one timeline into another (many Acts in a single performance).  Normally I can just copy/paste or equivalent mouse gestures from an expanded tree view of the Project panel in list mode.  &lt;/p&gt;&#xA;" OwnerUserId="9268" LastActivityDate="2023-12-10T12:04:35.577" Title="Premiere’s new layered drawings are not in the Project panel" Tags="|premiere|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21404" PostTypeId="2" ParentId="21402" CreationDate="2017-05-14T19:16:56.523" Score="0" Body="&lt;p&gt;I haven't really tested the new Type and Essential Graphics functions yet, but I've played around with them a bit and I think I have grasped the essential functionality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The text I create using the new Type Tool or graphic tools doesn't show up in the Project Panel for me either, as you described, so it stands to reason that this is the expected behaviour. I can't tell you why Adobe decided to build it that way. I can only assume it is to avoid visual clutter. The old functionality where you had to create one Title item/asset for every text insert in your video was indeed a bit clunky, so I would assume the new graphic items don't show up in the project panel to avoid cluttering and streamline the process. Also, having each graphic/text item appear in the project panel would create new design problems; for example, where would they go? If you prefer to have all your graphic/text items in one bin, do you have to sort the newly created items into that bin manually every time? Also, what part of the formatting/positioning is retained on the asset and clip basis respectively? How are point and area type handled respectively? And what about one graphic using multiple paths, how would the program discern between individual items and stuff that belongs together? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, I can only speculate as to what lead Adobe to make that design decision. If you don't like it, you can always contact them and ask for an explanation or for a change. Personally, I think I prefer a clean project panel over having it cluttered with myriads of individual path/shape layers, but that's very subjective I guess. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;What I want to do is copy elements from one timeline into another (many Acts in a single performance). Normally I can just copy/paste or equivalent mouse gestures from an expanded tree view of the Project panel in list mode. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I found two workarounds:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;You can just select one or multiple clips from the timeline and copy them by pressing &lt;kbd&gt;CTRL&lt;/kbd&gt; + &lt;kbd&gt;C&lt;/kbd&gt;. Then move your playhead to where you want to paste them (in whatever sequence you want to paste them into) and press &lt;kbd&gt;CTRL&lt;/kbd&gt; + &lt;kbd&gt;V&lt;/kbd&gt; to paste them. Note that you can control what tracks your pasted items will appear in using the &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/source-patching-track-targetting.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Track Targeting&lt;/a&gt; toggles. &lt;/li&gt;&#xA;&lt;li&gt;You can select one or multiple items in the timeline and nest them into a sub-sequence using &lt;em&gt;Right-Click&lt;/em&gt; → &lt;em&gt;Nest…&lt;/em&gt;. The nested sequence will show up in the Project Panel and can be reused from there. Changes to the nested sequence will be applied to whereever you use that sequence as well. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-05-14T19:16:56.523" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21408" PostTypeId="2" ParentId="15114" CreationDate="2017-05-15T08:04:18.080" Score="4" Body="&lt;p&gt;This means although it is and I-frame, the decoder might still use/need previously sent frames for decoding. In contrast if &lt;code&gt;key_frame=1&lt;/code&gt; this would be an &lt;strong&gt;IDR-Frame&lt;/strong&gt; (Instantaneous Decoder Refresh).&lt;/p&gt;&#xA;&lt;p&gt;Citing from  Ian E. G. Richardson's &lt;em&gt;H.264 and MPEG-4 Video Compression&lt;/em&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;An encoder sends an IDR (Instantaneous Decoder Refresh) coded picture&#xA;(made up of I- or SI-slices) to clear the contents of the reference&#xA;picture buffer. On receiving an IDR coded picture, the decoder marks&#xA;all pictures in the reference buffer as ‘unused for reference’. All&#xA;subsequent transmitted slices can be decoded without reference to any&#xA;frame decoded prior to the IDR picture. The first picture in a coded&#xA;video sequence is always an IDR picture.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;This may have impact on random access to a video. Simply said, IDR frames make random access more robust.&lt;/p&gt;&#xA;" OwnerUserId="18913" LastEditorUserId="20528" LastEditDate="2021-02-23T17:25:48.600" LastActivityDate="2021-02-23T17:25:48.600" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="21411" PostTypeId="1" AcceptedAnswerId="21417" CreationDate="2017-05-15T12:34:32.643" Score="1" ViewCount="55" Body="&lt;p&gt;I'm rather new to filmography, and I just discovered that decreasing shutter speed can minimalist motion blur, which I want none of. I set my SS to 1/10000, but that obviously darkens everything. To compensate for that, I just increased the ISO until it looked normally lit again. It works, but something in the back of my mind tells me there has to be a downside to this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My camera is a Sony A7S, but I don't think that really matters&lt;/p&gt;&#xA;" OwnerUserId="16826" LastActivityDate="2017-05-15T21:56:24.847" Title="Is there a downside to increasing ISO and decreasing shutter speed" Tags="|filming|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21412" PostTypeId="1" AcceptedAnswerId="21420" CreationDate="2017-05-15T13:47:56.320" Score="4" ViewCount="18398" Body="&lt;p&gt;I have a movie imported into my project. The movie consists of several aikido techniques. I want to slice the movie with blade into several segments, each contains only one aikido technique. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Having cut the video, I want to save each segment into a separate file. &#xA;How to accomplish this easily?&lt;/p&gt;&#xA;" OwnerUserId="18915" LastActivityDate="2021-09-14T12:12:51.960" Title="How to save each segment as a separate file with DaVinci Resolve?" Tags="|davinci-resolve|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21414" PostTypeId="1" CreationDate="2017-05-15T18:45:59.613" Score="2" ViewCount="136" Body="&lt;p&gt;I am fairly experienced with video editing, but I know embarrassingly little about color grading. Can anyone recommend any resources that can help me get started?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I typically use Premiere Pro)&lt;/p&gt;&#xA;" OwnerUserId="17638" LastActivityDate="2017-05-15T22:03:09.163" Title="Color grading basics" Tags="|color-correction|color-grading|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21415" PostTypeId="2" ParentId="21411" CreationDate="2017-05-15T18:50:20.723" Score="2" Body="&lt;p&gt;&lt;strong&gt;TL;DR:&lt;/strong&gt; For most cameras, high ISO leads to a lot of graininess, but the A7S significantly less so than most others. However, try shooting test footage at different ISOs and see which ISO you like the most, or how far you can push the camera without the resulting image being too grainy for your liking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Longer Answer:&lt;/strong&gt; There is always a trade-off. With ISO, the higher you go, the more noise you get. On most digital video/movie cameras (think Red, Arri, Blackmagic, Aja, etc) a &quot;high ISO,&quot; where you will get a lot of noise is pretty low, sometimes as low as ISO 6400. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is not the case for the Sony A7S (camera model does matter!). Take a look at &lt;a href=&quot;https://petapixel.com/2015/07/04/this-is-how-good-the-sony-a7s-is-with-low-light-and-high-iso/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this PetaPixel article&lt;/a&gt;. It describes (and demonstrates with examples)  the incredible low light/high ISO performance of the A7S (no, that's not opinion - the example images demonstrate up to 3 stops better performance compared to other high end imaging systems).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll want to carefully review some test footage to see how grainy is acceptable for you, and find that ISO sweet spot, depending on the look you want to achieve.&lt;/p&gt;&#xA;" OwnerUserId="17731" LastActivityDate="2017-05-15T18:50:20.723" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21416" PostTypeId="2" ParentId="8305" CreationDate="2017-05-15T21:36:14.657" Score="2" Body="&lt;p&gt;I had very similar requirements and eventually found on &lt;a href=&quot;https://www.peakstep.com/claquette/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Claquette&lt;/a&gt;.&lt;br&gt;&#xA;It's an OS X app that uses a lossless codec. While it doesn't allow you to define a screen area &lt;em&gt;before&lt;/em&gt; recording, it has a crop feature that allows you to select a region after the recording is finished. Audio can also be turned off. Movies can be exported in various formats (including h.264, ProRes and Animated GIF).&lt;/p&gt;&#xA;" OwnerUserId="6082" LastActivityDate="2017-05-15T21:36:14.657" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21417" PostTypeId="2" ParentId="21411" CreationDate="2017-05-15T21:56:24.847" Score="3" Body="&lt;p&gt;With an A7S, MkI or MkII; the camera is ridiculously incredible in terms of noise hint even at extreme ISOs; that's compared to just a few years ago when everyone was shooting on the 5D MkII. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My recommendation BECAUSE it's the A7s and because the visually acceptable level of noise to the viewer is really not noticed until you go into the extreme ISOs; would be to try to maintain a consistent ISO regardless of whether you are indoors or outdoors, or at least a fairly consistent range. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shooting at 6400 ISO will have virtually no noise, and if you shoot all your material at a set ISO you will have a consistent grain/noise hint to all your footage. Just keep in mind you gain one stop of light each time you double your ISO. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shutter speed can be adjusted, along with your aperture; to set exposure; along with ND Filters if you have them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should really shoot some tests at various shutter speeds to find the look you are happy with. The standard for film/video is a 180 degree shutter; which provides a slight amount of motion blur when shooting at 24-30fps (48-60 Shutter). When you have a higher shutter; your footage will be more &quot;juddered&quot;, that is, each frame will have a higher sharpness value with each step up in shutter speed. This can sometimes be a little distracting. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A great example of this is the D-Day Invasion Scene from Saving Private Ryan; shot at high shutter speeds; there is virtually zero motion blur frame to frame; and it adds to the scene's frenetic; racing feel. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-05-15T21:56:24.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21418" PostTypeId="2" ParentId="21414" CreationDate="2017-05-15T22:03:09.163" Score="3" Body="&lt;p&gt;I would look at some of the tutorials on YouTube. There are plenty of them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to get into grading; you can jump right in as long as you are shooting RAW; or at the very least; 4:2:2. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're shooting 4:4:4; you have a lot of flexibility. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Resolve's DaVinci Line has some nice low cost entry options that include control surfaces; I personally use a Tangent Wave with Resolve to grade RED material; it's fast and very robust. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's important you look into workflow, that is; are you applying filters; or merely manipulating the metadata XML; as with RED footage. Each camera/codec/software will have it's own unique pipeline in terms of how you grade. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would invest in a Spyder; and calibrate your monitor. You want to grade in a room that is lit to 70% ambiance of your monitor's brightness. So your monitor shouldn't blind you. Your color temperature needs to match as well; so if your monitor is 5600K; make sure all the bulbs in your edit room are 5600K; or your eyes will play tricks on you. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But on YouTube there are plenty of in depth tutorials; just keyword davinci resolve tutorial and you'll see. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-05-15T22:03:09.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21419" PostTypeId="2" ParentId="21400" CreationDate="2017-05-15T22:06:52.680" Score="1" Body="&lt;p&gt;&lt;strong&gt;Videon&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a great app for the iPhone. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not only does it have some great camera features; like stabilization, and manual exposure/WB, but you can also use it's post feature on any clip in your Photos folder. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can crop, change aspect ratio, framerate, adjust rotation, pretty much anything... along with a ton of filters; color correcting tools and so on. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Very easy to use. And real time playback of your file as you correct it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When finished, you can output your file by exporting it to a variety of bitrates and sizes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A must have!&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-05-15T22:06:52.680" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21420" PostTypeId="2" ParentId="21412" CreationDate="2017-05-16T08:15:08.440" Score="6" Body="&lt;p&gt;Go to the &lt;strong&gt;deliver&lt;/strong&gt; tab and on the left click on the &lt;strong&gt;file&lt;/strong&gt; menu. Above it yopu should see the checkboxes labelled &lt;strong&gt;Render [ ] single clip [✓] Individual clips&lt;/strong&gt;. check the individual clips box, and then check the &lt;strong&gt;Use Unique Filenames&lt;/strong&gt; box. This will output every clip in your sequence as a separate file, with a numeric suffix, eg &lt;em&gt;output_0001.mov, output_0002.mov…&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ryonM.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ryonM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can either use a custom name or base the name on the original source clip. (This is how you export files from a grade, so that they link to the original footage file.)&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-05-16T08:15:08.440" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21421" PostTypeId="1" AcceptedAnswerId="21426" CreationDate="2017-05-16T10:54:49.310" Score="3" ViewCount="2662" Body="&lt;p&gt;Is there a way to extract a person from a video without having a blue- (or green-)screen?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any software which can do this?&lt;/p&gt;&#xA;" OwnerUserId="18120" LastActivityDate="2017-05-16T22:14:28.500" Title="Extract person from video" Tags="|video|video-editor|editing|software|effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21422" PostTypeId="1" AcceptedAnswerId="21427" CreationDate="2017-05-16T12:11:55.137" Score="2" ViewCount="56" Body="&lt;p&gt;Suppose I have a mirror, or a picture on the wall, and I want to run a second video into this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How could that be achieved? And even in such a way as to correct for perspective?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, like in &lt;a href=&quot;https://www.youtube.com/watch?v=7i3DxuyTQbU#t=4m14s&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="18120" LastActivityDate="2017-05-16T22:34:24.010" Title="Embedding another video to &quot;blend&quot; with the environment" Tags="|video|video-editor|editing|software|effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21423" PostTypeId="2" ParentId="13143" CreationDate="2017-05-16T17:04:29.043" Score="0" Body="&lt;p&gt;Didn't get the chance to read all of the above, but the answer for shooting film instead of digital is very simple. The risks for archiving source material digitally overtime seem to increase by day, as it-companies products' and services come and go whenever they please. Even law can't keep up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Computers are being written off in 3 to 5 years, while a good securely archived film sustains over decades. Are you shooting something professionally, well researched and is your companies paperwork legally checked and balanced: then shoot film and keep it to the ones that can actually care for reasonable costs. (I sound so old fashioned..you should have a look at my work today!)&lt;/p&gt;&#xA;" OwnerUserId="18926" LastEditorDisplayName="user10383" LastEditDate="2017-05-16T22:38:47.760" LastActivityDate="2017-05-16T22:38:47.760" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21424" PostTypeId="2" ParentId="21422" CreationDate="2017-05-16T19:07:16.710" Score="1" Body="&lt;p&gt;This can easily be accomplished using the &quot;picture-in-picture&quot; feature of most editing software. I've used Adobe Premiere and iMovie, and both include that feature.  Premiere has the advantage that you can &quot;mask&quot; a layer, so it is not quite rectangular, in order to fit the shape of the mirror.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure the camera for the main scene is on a tripod and does not move at all. If that camera moves, you will need to animate your picture-in-picture video and mask so it appears to stay inside the mirror's frame.&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2017-05-16T19:07:16.710" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21425" PostTypeId="2" ParentId="21421" CreationDate="2017-05-16T21:37:44.640" Score="5" Body="&lt;p&gt;Final Cut Pro X has a plugin called &lt;a href=&quot;http://store.pixelfilmstudios.com/product/proremoval/&quot; rel=&quot;noreferrer&quot;&gt;Pro Removal&lt;/a&gt; that can remove moving things from the scene on fixed camera shots.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also &lt;a href=&quot;https://www.youtube.com/watch?v=lAWv1XFrrTQ&quot; rel=&quot;noreferrer&quot;&gt;there is a tutorial&lt;/a&gt; for After Effects that shows how remove objects from scene using the tracker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also you can clean frame by frame using Photoshop or similar if you have a good amount of time to spend or a crew to help you in the task.&lt;/p&gt;&#xA;" OwnerUserId="16884" LastActivityDate="2017-05-16T21:37:44.640" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21426" PostTypeId="2" ParentId="21421" CreationDate="2017-05-16T22:14:28.500" Score="7" Body="&lt;p&gt;If you have a frame where the person does not exist, you can use a tool called a &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/keying-effects.html&quot; rel=&quot;noreferrer&quot;&gt;difference matte&lt;/a&gt;. (You'll need to scroll down to the section titled &quot;Difference Matte Effect&quot; for a description.) It will find a difference between the frame without the person, and the frames with a person and remove areas that are the same, leaving only the difference (in this case the person). As linked, After Effects has such a tool. Many other video editors have it as well.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-05-16T22:14:28.500" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21427" PostTypeId="2" ParentId="21422" CreationDate="2017-05-16T22:34:24.010" Score="2" Body="&lt;p&gt;If you can use a tool like Apple's Motion or FCPX, or Adobe's After Effects, they all have the ability to put the 4 corners of a layer anywhere you want. With Motion or After Effects, you can even track the 4 corners and keep the &quot;TV&quot; image pinned in the right place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In &lt;a href=&quot;https://help.apple.com/motion/mac/5.3/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Motion&lt;/a&gt;, you can select a clip and open the Inspector. In the Inspector, press the &quot;Properties&quot; tab. There's a section in the properties called &quot;Four Corner&quot;. If you twirl that open, it allows you to set where the 4 corners of the video go. You can put them wherever you like.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://help.apple.com/finalcutpro/mac/10.3/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FCPX&lt;/a&gt; is similar - select the clip, and open the inspector. There should be a section in the inspector named &quot;Distort&quot;. This will also let you set the 4 corners of the clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/layer-properties.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;After Effects&lt;/a&gt; you can select a layer and apply the built-in &quot;Corner Pin&quot; effect.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-05-16T22:34:24.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21428" PostTypeId="1" CreationDate="2017-05-17T10:43:48.993" Score="1" ViewCount="139" Body="&lt;p&gt;For my graduation project (a spatial documentary installation), I need to find a system to play 5 different video's simultaniously, all connected to a projector.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I have 5 projectors and 5 seperate video's. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I already tried the program Multiscreener. In this case I connected every projector to a macbook and every macbook ran Multiscreener. One macbook is the master and regulates the other 4 macbooks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I was very depended of the network, and the wifi was not strong enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any other solution to this? Of course, my budget is not big.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in Advance!&#xA;Julia&#xA;Royal Academy of Arts graduate&lt;/p&gt;&#xA;" OwnerUserId="18930" LastActivityDate="2017-08-10T22:56:56.430" Title="5 channel video installation" Tags="|video|sync|projector|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21429" PostTypeId="2" ParentId="21428" CreationDate="2017-05-17T13:15:20.387" Score="1" Body="&lt;p&gt;A Macbook pro would be about the most expensive device you could possibly use as a playback machine, but I'm guessing you didn't buy them for the installation…&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are several devices that are designed specifically for the purpose of video playback, for example &lt;a href=&quot;https://www.brightsign.biz/digital-signage-products/HD-product-line/HD223&quot; rel=&quot;nofollow noreferrer&quot;&gt;these units&lt;/a&gt; by Brightsign. They're used in the museum where I work, and are popular for retail display. They can synch across networks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An emerging competitor is the &lt;a href=&quot;http://www.intel.com/content/www/us/en/nuc/nuc-compute-stick-digital-signage.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Intel Nuc&lt;/a&gt;, which his probably a bit cheaper than the brightsign. They're a bit more general-purpose than the brightsign, but they're becoming popular for exhibition displays and signage. The latest major installation that I did at work was a blended three-screen, seven audio channel video installation plays smoothly on a NUC with synched lighting effects. I'm not sure what the software is that runs it all, I just made the content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Going even cheaper there's the &lt;a href=&quot;https://raspberrypi.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Raspberry Pi&lt;/a&gt;, basically it's a small very cheap computer that has HD video playback capability. Whether there is software to do what you want it to I don't know. I know they are also used at my museum for interactive video displays, but I don't know if you can connect several to synch playback. VLC might be able to do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll probably find more options if you look for digital signage players. Like &lt;a href=&quot;http://www.digitalsignage.com/_html/mediaplayer.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this one&lt;/a&gt;, about which I know nothing.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-05-17T13:15:20.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21430" PostTypeId="1" AcceptedAnswerId="21437" CreationDate="2017-05-17T13:45:30.807" Score="1" ViewCount="60" Body="&lt;p&gt;How the guy making the linked videos might have achieved those effects of creatures appearing behind him?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the two videos I am refering to: &lt;a href=&quot;https://www.youtube.com/watch?v=4qT2nHZ5mwc#t=1m0s&quot; rel=&quot;nofollow noreferrer&quot;&gt;see this&lt;/a&gt;, or &lt;a href=&quot;https://www.youtube.com/watch?v=e_k-yLShHC8#t=0m50s&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="18120" LastActivityDate="2017-05-26T14:14:42.637" Title="Put creatures moving around in your videos" Tags="|video|editing|effects|special-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21431" PostTypeId="1" AcceptedAnswerId="21432" CreationDate="2017-05-17T15:02:55.170" Score="2" ViewCount="2252" Body="&lt;p&gt;I'm looking for a way to lower the framerate of an H264 mp4 video without re-encoding the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example: I have a 30 FPS input file and I need it to be 5 FPS. I want to avoid re-encoding because of time constraints and I also don't want to introduce additional compression artifacts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible?&lt;/p&gt;&#xA;" OwnerUserId="18931" LastActivityDate="2017-05-18T18:20:17.070" Title="Lower framerate without re-encode" Tags="|mp4|framerate|h.264|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21432" PostTypeId="2" ParentId="21431" CreationDate="2017-05-17T17:26:19.990" Score="2" Body="&lt;p&gt;No. The video can be slowed down, but frames from an inter-coded codec stream (like H.264) can't be dropped without re-encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command below produces a file that plays in Potplayer and ffplay but not in VLC. It works for me on MP4s, Should work on MOVs. Doesn't work with MKV (you should be able to remux to MOV/MP4 and execute).&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -discard nokey -i input.mp4 -c copy -vsync 0 I-only.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Timestamps are retained. So each I-frame shows as a freeze frame till it's time for the next one. There may be a way to make this playable in VLC, but I'll try when I have more time.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-05-18T18:20:17.070" LastActivityDate="2017-05-18T18:20:17.070" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21433" PostTypeId="1" CreationDate="2017-05-17T19:38:21.023" Score="1" ViewCount="227" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Screen videos have text and simple geometric shapes, which need to&#xA;stay sharp, detailed and crispy. The color should also remain&#xA;untouched. With screen grabs, I want e.g. IBM blue to show as IBM blue&#xA;in the final MP4. Smoothness of animations is also very important&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The requirements are different from regular video, but so is the&#xA;source material. Except UI animations, the frames are mostly still&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Since I need to show these videos on a web site, my compression is based on h.264/avc. Can anybody suggest a set of parameters or offer some tips?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What have I tried? So far the most acceptable results were with variable frame rate, file size being 1/2 of the original (540x960), bit rate up to 3Mbps. I used encoder level 4 (probably should have used 3 for better compatibility?) and Profile set to Best. I tried Apple Compressor and Handbrake.&lt;/p&gt;&#xA;" OwnerUserId="6558" LastActivityDate="2017-05-17T19:38:21.023" Title="Best possible quality setting for screen recording (not games) and web presentation" Tags="|compression|h.264|screen-casting|handbrake|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21434" PostTypeId="2" ParentId="21024" CreationDate="2017-05-17T21:12:26.750" Score="1" Body="&lt;p&gt;Try and make sure Angles is checked:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/m2x6i.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/m2x6i.jpg&quot; alt=&quot;Angle&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This solution worked for me and I found it here towards the bottom of the post:&#xA;&lt;a href=&quot;https://larryjordan.com/articles/apple-final-cut-pro-x-multicam-naming-weirdness/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://larryjordan.com/articles/apple-final-cut-pro-x-multicam-naming-weirdness/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18932" LastActivityDate="2017-05-17T21:12:26.750" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21435" PostTypeId="2" ParentId="21167" CreationDate="2017-05-17T22:44:40.210" Score="2" Body="&lt;p&gt;I figured it out! It was super easy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used Adobe Bridge to batch rename. Very importantly, I left the preserve current filename in XMP metadata option checked. &lt;a href=&quot;https://i.stack.imgur.com/CwIhj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CwIhj.png&quot; alt=&quot;Adobe Batch Rename&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;BUT&lt;/strong&gt; before clicking rename, I first clicked preview and exported the CSV file and saved it somewhere safe. This file will help you remember the original file name. In this instance I will know that file 001.png was renamed to 120.png. This is very important.&lt;a href=&quot;https://i.stack.imgur.com/yoxuF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yoxuF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now in Premiere, all your renamed files will go offline. If all your files in one location on your drive, this next step is very easy. Just link one file and if you can't remember what you renamed it to, the beauty is that you can quickly search your CSV file in many ways like excel. Then just relink your file to the renamed file that way. Premiere will recognize all your other renamed files because you preserved the XMP meta data. And that's it! &lt;/p&gt;&#xA;" OwnerUserId="18583" LastActivityDate="2017-05-17T22:44:40.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21436" PostTypeId="1" CreationDate="2017-05-17T23:18:43.480" Score="1" ViewCount="103" Body="&lt;p&gt;I've got a project with two video tracks from two cameras, and an audio track from a separate recording (from neither camera). Everything is synced up, but when I convert this to multi-camera, Premiere will not play the audio. I see the audio track, but it has no wave form, and when I play the multi-camera track, I can edit and switch between the video feeds, but I still get no audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If relevant, the audio is mono, not stereo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I doing wrong here?&lt;/p&gt;&#xA;" OwnerUserId="2065" LastActivityDate="2017-05-17T23:18:43.480" Title="Premiere multicamera audio not working" Tags="|premiere|multi-camera|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21437" PostTypeId="2" ParentId="21430" CreationDate="2017-05-18T03:13:29.377" Score="1" Body="&lt;p&gt;Looks like standard CGI stuff. It would be easiest to film the musician against a green screen, and then simply replace the background with computer generated scenery and creatures by using a chroma keyer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;He claims that some of the videos were filmed out doors. I don't know whether he's being cheeky or serious. But even if we take him at his word, you need to generate the creatures in the computer and then composite them into the scene. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to make this look good, you need to make sure that the lighting on everything looks correct. If you film the musician against a green screen, you can either put lights on the talent before filming and make sure they match the generated background, or add them in post to match the generated background. It's probably easier to do it during filming.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-05-18T03:13:29.377" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21440" PostTypeId="1" AcceptedAnswerId="21442" CreationDate="2017-05-18T07:09:45.287" Score="1" ViewCount="823" Body="&lt;p&gt;On the Sony a7s II in PAL mode I get 100 fps video, but in NTSC I get 120fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am in Europe. If I switch to NTSC and shoot inside, what effect would that have? As far as I can tell, it only plays a role when shooting inside, with artificial lighting, correct ? &lt;/p&gt;&#xA;" OwnerUserId="18936" LastEditorUserId="14523" LastEditDate="2017-05-21T13:52:22.460" LastActivityDate="2017-05-21T13:52:22.460" Title="shooting NTSC in Europe" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21442" PostTypeId="2" ParentId="21440" CreationDate="2017-05-18T14:13:18.847" Score="1" Body="&lt;p&gt;The two principal reasons for shooting a region-specific frame rate are (1) reasonable synchronization with environmental electrical and lighting systems (thereby minimizing flicker) and (2) reasonable compatibility with playback devices and their assumed frame rates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, there are reasons people want to shoot &quot;off speed&quot;.  It is quite popular these days to shoot at altered frame rates and/or shutter angles for aesthetic purposes.  Such creativity requires a little knowledge about how those changes are going to be affected by environmental electrical and lighting systems, and how those choices are going to play when finishing the footage to be played at the given frame rate of a particular market.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shooting at 120 fps in an environment lit with lights fed by 50Hz mains is very likely to result in unpleasant light power phase problems.  Shooting at 120 fps in sunlight and slowing the frame rate down to 25Hz will provide 20% more slow-down than shooting at 100fps, which might be desirable for your subject (and not a problem for other reasons stated above).  If you are shooting exterior night scenes lit by sodium, mercury, xenon, and/or neon lights, you are back in trouble again.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-05-18T14:13:18.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21445" PostTypeId="1" AcceptedAnswerId="21453" CreationDate="2017-05-19T04:25:11.103" Score="-1" ViewCount="51" Body="&lt;p&gt;So there's this type of video I want to make, but not sure what type it is called and not sure where to refer to when looking for examples on how to make one.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is an &lt;a href=&quot;https://www.youtube.com/watch?v=GeoUELDgyM4&quot; rel=&quot;nofollow noreferrer&quot;&gt;iPhone Ad&lt;/a&gt;  from last year and it is what I want to try and recreate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How would you make this kind of video?&lt;/p&gt;&#xA;" OwnerUserId="18944" LastEditorUserId="18944" LastEditDate="2017-05-21T06:53:03.053" LastActivityDate="2017-05-21T09:40:39.510" Title="Advertisement Video Production" Tags="|after-effects|premiere|" AnswerCount="1" CommentCount="6" ClosedDate="2017-05-26T13:44:40.680" ContentLicense="CC BY-SA 3.0" />
  <row Id="21447" PostTypeId="1" CreationDate="2017-05-19T11:44:41.993" Score="4" ViewCount="2237" Body="&lt;p&gt;Just like Imgix and Cloudinary are image editing as a service platforms, are there any online platforms that provide ffmpeg as a service so we can run ffmpeg commands on their server?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the moment I'm running my FFMPEG commands on AWS Lambda but we are hitting a dead-end because of it's limitation of 1.5GB RAM and 300 seconds duration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some of our video processing take upto 1.5GB RAM and it shuts down the server.&lt;/p&gt;&#xA;" OwnerUserId="18948" LastEditorUserId="2836" LastEditDate="2017-05-26T14:16:43.193" LastActivityDate="2020-07-14T08:48:42.463" Title="What options are there for cloud based FFMPEG processing?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21448" PostTypeId="1" CreationDate="2017-05-19T14:47:48.113" Score="1" ViewCount="312" Body="&lt;p&gt;How can I avoid the Moiré effect when shooting with a DSLR camera?&lt;/p&gt;&#xA;" OwnerUserId="16884" LastActivityDate="2017-05-19T14:47:48.113" Title="How to avoid Moiré effect when shooting with DLSR" Tags="|dslr|shooting|moire|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21449" PostTypeId="1" AcceptedAnswerId="22146" CreationDate="2017-05-20T08:15:24.307" Score="4" ViewCount="4571" Body="&lt;p&gt;Are there any video formats that change resolution per frame and with different resolutions at different parts of the screen?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All videos I know today they have fixed resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For video blogs I don't need the highest resolution when I am only talking with frame on me. Selectively I would like to have the higher resoltion on photos I am showing and short clips I attach.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why I want it?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;4+K videos would globally kill any internet connection,&lt;/li&gt;&#xA;&lt;li&gt;Storage of 4+K unoptimized videos take huge disk space.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;When I present a photo I don't need also to copy the photo to each frame of video where it is visible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The closes thing is presentation like *.ppt . But it is far too complex to play, create(with sound all the time) and stream. Maybe I only need some smart video compression tool?&lt;/p&gt;&#xA;" OwnerUserId="18956" LastEditorUserId="18956" LastEditDate="2017-05-20T08:53:03.223" LastActivityDate="2017-08-19T21:17:03.373" Title="Video format with dynamic resolution" Tags="|video-quality|storage|presentation|" AnswerCount="4" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21451" PostTypeId="2" ParentId="21449" CreationDate="2017-05-20T20:00:28.287" Score="0" Body="&lt;p&gt;You might look into &lt;a href=&quot;https://en.wikipedia.org/wiki/Scalable_Vector_Graphics&quot; rel=&quot;nofollow noreferrer&quot;&gt;svg&lt;/a&gt;. It's a system for vector graphics, but it allows you to include raster graphics, too, like .png and .jpg files. You could have an SVG file displayed in the same place as your video, and at the appropriate time switch the SVG to being visible over the video. When you want to show the video again, make the SVG file transparent, etc. You could simply make the video black at the points where the SVF file is visible. It should compress very well in those sections.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;SVG files can be created in a text editor as they are just XML files. They are supported by every major browser in use today.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-05-20T20:00:28.287" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21452" PostTypeId="1" CreationDate="2017-05-20T22:53:22.647" Score="1" ViewCount="7665" Body="&lt;p&gt;I don't know exactly what is the correct/technical name for this effect, but, to illustrate, i'm searching for a way to reproduce this effect in OBS for a live video source (both window, webcam and so on).&#xA;&lt;a href=&quot;https://i.stack.imgur.com/D95nW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/D95nW.jpg&quot; alt=&quot;Phoenix Launcher&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This effect is also applied in some portrait videos and photos like this:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/K1wYF.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/K1wYF.jpg&quot; alt=&quot;Another Example&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18962" LastActivityDate="2017-07-14T14:34:59.033" Title="OBS Studio - 'Blurred background copy' effect. Is this possible using only filters?" Tags="|obs|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21453" PostTypeId="2" ParentId="21445" CreationDate="2017-05-21T09:40:39.510" Score="1" Body="&lt;p&gt;Hire a &lt;a href=&quot;https://en.wikipedia.org/wiki/Video_editor&quot; rel=&quot;nofollow noreferrer&quot;&gt;video editor&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Questions like yours often hint at a common misconception that all one needs to create great video content is the right piece of software, and once one has found the right software creating an awesome piece of video content becomes a matter of pressing a couple of buttons. This is incorrect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The technical side of the video you linked is actually pretty straightforward. It consists of basically two interspersed parts/styles:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Product shots &amp;amp; video. Most of them seem to be normal videos, though some of them look like well-done 3D-animations to me. For the latter you will indeed need a fair amount of technical expertise.&lt;/li&gt;&#xA;&lt;li&gt;Animated text. FOr this video especially, it's not that hard to do &lt;em&gt;technically&lt;/em&gt;. It's just some text that is animated in and out, intertwined with video footage. You could probably do all of that in Premiere Pro. Your choice of video editing software doesn't really matter here. &lt;a href=&quot;https://en.wikipedia.org/wiki/List_of_video_editing_software&quot; rel=&quot;nofollow noreferrer&quot;&gt;Pick one&lt;/a&gt;. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What makes that video great however is &lt;strong&gt;not&lt;/strong&gt; the technical implementation. It's the aesthetic &amp;amp; stylistic choices made during filming and editing. Watch the video again and appreciate the following aspects:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Lighting and light/shadow contrasts (during the live action footage)&lt;/li&gt;&#xA;&lt;li&gt;Montage (i.e. how are the individual parts stitched together)&lt;/li&gt;&#xA;&lt;li&gt;Coordination of sound and video (notice how the cuts correspond to the beats of the music?)&lt;/li&gt;&#xA;&lt;li&gt;Pacing (the sequence of fast-and-slow parts,  e.g. the pacing changes at TC 0:10, 0:19 and 0:30)&lt;/li&gt;&#xA;&lt;li&gt;Emphasis of certain parts, again using nothing but light and dark (regarding the background color, but also the way this is intersperces with low-key and high-key footage)&lt;/li&gt;&#xA;&lt;li&gt;Transitions. Those are very short and easy to miss, but there are some great match cuts between text and video elements there (e.g. at TC 0:57, notice how the text moving to the right transitions to the shot of the ballon hitting the iPhone?)&lt;/li&gt;&#xA;&lt;li&gt;... and much more.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;All of those subtle aesthetic decisions are what people study and exercise for years. The study of video editing (or any creative/artistic field really) is really not about how to use a piece of software, but rather about aesthetics (which btw. has little to do with pretty or beautiful stuff, but is the study of &lt;em&gt;perception&lt;/em&gt;). Which is why learning a piece of software, no matter how sophisticated, won't get you very far. Instead, focus on learning aesthetics and finding your own style, then your choice of software won't matter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are interested in learning more on that subject, check out my answer here: &lt;a href=&quot;https://video.stackexchange.com/questions/16389/good-learning-resources-for-non-technical-aspects-of-filmmaking/16399#16399&quot;&gt;Good learning resources for 'non-technical' aspects of filmmaking&lt;/a&gt;. Otherwise - and this brings me back to my initial point - hire a video editor.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-05-21T09:40:39.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21457" PostTypeId="1" CreationDate="2017-05-21T21:04:19.317" Score="1" ViewCount="774" Body="&lt;p&gt;I have a Canon 1200D DSLR camera and last night I was recording a 20 minute live show but my 32GB card filled up in just under 10 minutes. I was shooting at 1920x1080 50FPS. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had checked the manual before hand and it said I should have had 44 minutes on a 16GB card which equates to roughly 88 minutes on my 32GB card.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ix7rR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ix7rR.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So why did this happen? Cheers!&lt;/p&gt;&#xA;" OwnerUserId="18967" LastActivityDate="2017-05-22T05:15:12.637" Title="Why did a 10 minute video take up 32GB of space? (Canon 1200D)" Tags="|video|sd-card|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21458" PostTypeId="2" ParentId="20319" CreationDate="2017-05-22T03:12:01.763" Score="0" Body="&lt;p&gt;I just upgraded from PP CC 2015.3  to PP CC 2017 and my perfectly smooth playback is now choppy and has lag on the same machine.  About to downgrade.&lt;/p&gt;&#xA;" OwnerUserId="18970" LastActivityDate="2017-05-22T03:12:01.763" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21459" PostTypeId="2" ParentId="21457" CreationDate="2017-05-22T05:15:12.637" Score="1" Body="&lt;p&gt;For one thing, that chart doesn't list 1920x1080 @ 50 fps, which is what you're shooting.  It lists 1920x1080 at 24, 25, and 30.  You can assume that you'll get around half the recording time listed when you double the frame rate.   But that should still get you around 44 minutes on an otherwise empty 32 GB card.  The fact that you didn't suggests that your card didn't have 32 GB of free space.  You probably had other pictures, movies, or files on the card already.  To get the full available recording time, you'll need to follow the manual's instructions on &quot;formatting&quot; the card.  Formatting a card erases all of its contents, so make sure you copy anything you want to keep over to a computer first.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2017-05-22T05:15:12.637" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21461" PostTypeId="2" ParentId="21235" CreationDate="2017-05-22T06:11:40.107" Score="0" Body="&lt;p&gt;While Adobe and Apple each link their editing software with their own respective compositing software, saying 'AE is to Premiere as Motion is to FCPX' glosses over the strengths and differences of each package.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sure, AE is a powerful compositing app, and it's dynamic link to Premiere is convenient, but Adobe is still playing catch up to Apple when it comes to application interoperability. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Say, for instance, you'd like to make a transition between two clips, and you'd like this transition to be a stylistic element of your production which you can re-use as often as you like.  This is something at which Motion excels and at which AE struggles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects is more powerful when it comes to a lot of VFX work, and its scriptability is a powerful feature which is unmatched in Motion.  However, I would argue that the &quot;bond&quot; between FCPX and Motion is stronger than the one between Premiere and AE.  But when you're talking about using FCPX with AE, there is NO link and you have to render bi-directionally. &lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2017-05-22T06:11:40.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21462" PostTypeId="1" AcceptedAnswerId="21559" CreationDate="2017-05-22T06:14:23.613" Score="1" ViewCount="5508" Body="&lt;p&gt;I am merging two videos using ffmpeg in android but it takes 45secs to merge. below is my command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;complexCommand = new String[]{&quot;-y&quot;, &quot;-i&quot;, file1.toString(), &quot;-i&quot;, file2.toString(), &quot;-strict&quot;, &quot;experimental&quot;, &quot;-filter_complex&quot;,&#xA;                &quot;[0:v]scale=480x640,setsar=1:1[v0];[1:v]scale=480x640,setsar=1:1[v1];[v0][0:a][v1][1:a] concat=n=2:v=1:a=1&quot;,&#xA;                &quot;-ab&quot;, &quot;48000&quot;, &quot;-ac&quot;, &quot;2&quot;, &quot;-ar&quot;, &quot;22050&quot;, &quot;-s&quot;, &quot;480x640&quot;, &quot;-vcodec&quot;, &quot;libx264&quot;,&quot;-crf&quot;,&quot;27&quot;,&quot;-q&quot;,&quot;4&quot;,&quot;-preset&quot;, &quot;ultrafast&quot;, rootPath + &quot;/output.mp4&quot;};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have included ffmpeg library to my project by adding below line into Gradle-&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; compile 'com.writingminds:FFmpegAndroid:0.3.2'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Below is my log &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;       18:50.630 13704-13704/pkgD/FFmpeg: Build.CPU_ABI : armeabi-v7a&#xA;    18:50.650 13704-13704/pkgI/FFmpeg: Loading FFmpeg for armv7 CPU&#xA;    18:50.660 13704-13704/pkgD/Start: merge started&#xA;    18:50.970 13704-16532/pkgD/FFmpeg: Running publishing updates method&#xA;    18:51.000 13704-13704/pkgD/progress: ffmpeg version n3.0.1 Copyright (c) 2000-2016 the FFmpeg developers&#xA;    18:51.030 13704-13704/pkgD/ViewRootImpl: #1 mView = com.android.internal.policy.PhoneWindow$DecorView{b3c7246 V.E...... R.....I. 0,0-0,0}&#xA;    18:51.040 13704-13704/pkgD/progress:   built with gcc 4.8 (GCC)&#xA;    18:51.040 13704-13704/pkgD/progress:   configuration: --target-os=linux --cross-prefix=/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/bin/arm-linux-androideabi- --arch=arm --cpu=cortex-a8 --enable-runtime-cpudetect --sysroot=/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/sysroot --enable-pic --enable-libx264 --enable-libass --enable-libfreetype --enable-libfribidi --enable-libmp3lame --enable-fontconfig --enable-pthreads --disable-debug --disable-ffserver --enable-version3 --enable-hardcoded-tables --disable-ffplay --disable-ffprobe --enable-gpl --enable-yasm --disable-doc --disable-shared --enable-static --pkg-config=/home/vagrant/SourceCode/ffmpeg-android/ffmpeg-pkg-config --prefix=/home/vagrant/SourceCode/ffmpeg-android/build/armeabi-v7a --extra-cflags='-I/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/include -U_FORTIFY_SOURCE -D_FORTIFY_SOURCE=2 -fno-strict-overflow -fstack-protector-all' --extra-ldflags='-L/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/lib -Wl,-z,relro -Wl,-z,now -pie' --extra-libs='-lpng -lexpat -lm' --extra-cxxflags=&#xA;    18:51.040 13704-13704/pkgD/progress:   libavutil      55. 17.103 / 55. 17.103&#xA;    18:51.040 13704-13704/pkgD/progress:   libavcodec     57. 24.102 / 57. 24.102&#xA;    18:51.040 13704-13704/pkgD/progress:   libavformat    57. 25.100 / 57. 25.100&#xA;    18:51.040 13704-13704/pkgD/progress:   libavdevice    57.  0.101 / 57.  0.101&#xA;    18:51.040 13704-13704/pkgD/progress:   libavfilter     6. 31.100 /  6. 31.100&#xA;    18:51.040 13704-13704/pkgD/progress:   libswscale      4.  0.100 /  4.  0.100&#xA;    18:51.040 13704-13704/pkgD/progress:   libswresample   2.  0.101 /  2.  0.101&#xA;    18:51.040 13704-13704/pkgD/progress:   libpostproc    54.  0.100 / 54.  0.100&#xA;    18:51.090 13704-13704/pkgD/ViewRootImpl: MSG_RESIZED_REPORT: ci=Rect(0, 0 - 0, 0) vi=Rect(0, 0 - 0, 0) or=1&#xA;    18:51.950 13704-13704/pkgD/progress: Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/storage/emulated/0/MP4_20170519_121822.mp4':&#xA;    18:51.950 13704-13704/pkgD/progress:   Metadata:&#xA;    18:51.950 13704-13704/pkgD/progress:     major_brand     : iso6&#xA;    18:51.950 13704-13704/pkgD/progress:     minor_version   : 1&#xA;    18:51.950 13704-13704/pkgD/progress:     compatible_brands: mp42iso6avc1isom&#xA;    18:51.950 13704-13704/pkgD/progress:     creation_time   : 2017-    05-19 06:48:22&#xA;    18:51.950 13704-13704/pkgD/progress:   Duration: 00:00:04.00, start: 0.000000, bitrate: 17175 kb/s&#xA;    18:51.950 13704-13704/pkgD/progress:     Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1920x1080, 16914 kb/s, 30 fps, 30 tbr, 90k tbn, 180k tbc (default)&#xA;    18:51.950 13704-13704/pkgD/progress:     Metadata:&#xA;    18:51.950 13704-13704/pkgD/progress:       rotate          : 90&#xA;    18:51.950 13704-13704/pkgD/progress:       creation_time   : 2017-05-16 08:17:54&#xA;    18:51.950 13704-13704/pkgD/progress:     Side data:&#xA;    18:51.950 13704-13704/pkgD/progress:       displaymatrix: rotation of -90.00 degrees&#xA;    18:51.950 13704-13704/pkgD/progress:     Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 256 kb/s (default)&#xA;    18:51.950 13704-13704/pkgD/progress:     Metadata:&#xA;    18:51.950 13704-13704/pkgD/progress:       creation_time   : 2017-05-16 08:17:54&#xA;    18:52.830 13704-13704/pkgD/progress: Input #1, mov,mp4,m4a,3gp,3g2,mj2, from '/storage/emulated/0/MP4_20170519_121834.mp4':&#xA;    18:52.830 13704-13704/pkgD/progress:   Metadata:&#xA;    18:52.830 13704-13704/pkgD/progress:     major_brand     : iso6&#xA;    18:52.830 13704-13704/pkgD/progress:     minor_version   : 1&#xA;    18:52.830 13704-13704/pkgD/progress:     compatible_brands: mp42iso6avc1isom&#xA;    18:52.830 13704-13704/pkgD/progress:     creation_time   : 2017-    05-19 06:48:34&#xA;    18:52.830 13704-13704/pkgD/progress:   Duration: 00:00:05.00, start: 0.000000, bitrate: 17272 kb/s&#xA;    18:52.830 13704-13704/pkgD/progress:     Stream #1:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1920x1080, 17010 kb/s, 30.01 fps, 30 tbr, 90k tbn, 180k tbc (default)&#xA;    18:52.830 13704-13704/pkgD/progress:     Metadata:&#xA;    18:52.830 13704-13704/pkgD/progress:       rotate          : 90&#xA;    18:52.830 13704-13704/pkgD/progress:       creation_time   : 2017-05-16 08:11:38&#xA;    18:52.830 13704-13704/pkgD/progress:     Side data:&#xA;    18:52.830 13704-13704/pkgD/progress:       displaymatrix: rotation of -90.00 degrees&#xA;    18:52.830 13704-13704/pkgD/progress:     Stream #1:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 255 kb/s (default)&#xA;    18:52.830 13704-13704/pkgD/progress:     Metadata:&#xA;    18:52.830 13704-13704/pkgD/progress:       creation_time   : 2017-05-16 08:11:38&#xA;    18:52.830 13704-13704/pkgD/progress: [Parsed_setsar_1 @ 0xb8599380] num:den syntax is deprecated, please use num/den or named options instead&#xA;    18:52.830 13704-13704/pkgD/progress: [Parsed_setsar_3 @ 0xb8626470] num:den syntax is deprecated, please use num/den or named options instead&#xA;    18:52.830 13704-13704/pkgD/progress: Codec AVOption preset (Set the encoding preset (cf. x264 --fullhelp)) specified for output file #0 (/storage/emulated/0/output.mp4) has not been used for any stream. The most likely reason is either wrong type (e.g. a video option with no video streams) or that it is a private option of some encoder which was not actually used for any stream.&#xA;    18:52.850 13704-13704/pkgD/progress: [Parsed_setsar_1 @ 0xb85cece0] num:den syntax is deprecated, please use num/den or named options instead&#xA;    18:52.850 13704-13704/pkgD/progress: [Parsed_setsar_3 @ 0xb861fa70] num:den syntax is deprecated, please use num/den or named options instead&#xA;    18:53.050 13704-13704/pkgD/progress: [aac @ 0xb85ce8f0] Too many bits 95062.494331 &amp;gt; 12288 per frame requested, clamping to max&#xA;    18:53.100 13704-13704/pkgD/progress: Output #0, mp4, to '/storage/emulated/0/output.mp4':&#xA;    18:53.100 13704-13704/pkgD/progress:   Metadata:&#xA;    18:53.100 13704-13704/pkgD/progress:     major_brand     : iso6&#xA;    18:53.100 13704-13704/pkgD/progress:     minor_version   : 1&#xA;    18:53.100 13704-13704/pkgD/progress:     compatible_brands: mp42iso6avc1isom&#xA;    18:53.100 13704-13704/pkgD/progress:     encoder         : Lavf57.25.100&#xA;    18:53.100 13704-13704/pkgD/progress:     Stream #0:0: Video: mpeg4 ( [0][0][0] / 0x0020), yuv420p, 480x360 [SAR 1:1 DAR 4:3], q=2-31, 200 kb/s, 24 fps, 12288 tbn, 24 tbc (default)&#xA;    18:53.100 13704-13704/pkgD/progress:     Metadata:&#xA;    18:53.100 13704-13704/pkgD/progress:       encoder         : Lavc57.24.102 mpeg4&#xA;    18:53.100 13704-13704/pkgD/progress:     Side data:&#xA;    18:53.100 13704-13704/pkgD/progress:       unknown side data type 10 (24 bytes)&#xA;    18:53.100 13704-13704/pkgD/progress:     Stream #0:1: Audio: aac (LC) ([64][0][0][0] / 0x0040), 22050 Hz, stereo, fltp, 264 kb/s (default)&#xA;    18:53.100 13704-13704/pkgD/progress:     Metadata:&#xA;    18:53.120 13704-13704/pkgD/progress:       encoder         : Lavc57.24.102 aac&#xA;    18:53.120 13704-13704/pkgD/progress: Stream mapping:&#xA;    18:53.120 13704-13704/pkgD/progress:   Stream #0:0 (h264) -&amp;gt; scale&#xA;    18:53.120 13704-13704/pkgD/progress:   Stream #0:1 (aac) -&amp;gt; concat:in0:a0&#xA;    18:53.120 13704-13704/pkgD/progress:   Stream #1:0 (h264) -&amp;gt; scale&#xA;    18:53.120 13704-13704/pkgD/progress:   Stream #1:1 (aac) -&amp;gt; concat:in1:a0&#xA;    18:53.120 13704-13704/pkgD/progress:   concat:out:v0 -&amp;gt; Stream #0:0 (mpeg4)&#xA;    18:53.120 13704-13704/pkgD/progress:   concat:out:a0 -&amp;gt; Stream #0:1 (aac)&#xA;    18:53.120 13704-13704/pkgD/progress: Press [q] to stop, [?] for help&#xA;    18:53.870 13704-13704/pkgD/progress: frame=    3 fps=0.0 q=2.0 size=       0kB time=00:00:00.12 bitrate=   2.8kbits/s speed=0.203x    &#xA;    18:54.100 13704-13704/pkgD/progress: Past duration 0.754143 too large&#xA;    18:54.800 13704-13704/pkgD/progress: frame=    7 fps=5.9 q=7.9 size=       0kB time=00:00:00.29 bitrate=   1.2kbits/s speed=0.247x    &#xA;    18:54.950 13704-13704/pkgD/progress: frame=    8 fps=4.7 q=8.8 size=       0kB time=00:00:00.33 bitrate=   1.1kbits/s speed=0.198x    &#xA;    18:55.420 13704-13704/pkgD/progress: frame=   11 fps=5.0 q=11.0 size=       0kB time=00:00:00.45 bitrate=   0.8kbits/s dup=0 drop=1 speed=0.209x    &#xA;    18:56.040 13704-13704/pkgD/progress: frame=   15 fps=5.4 q=11.6 size=       0kB time=00:00:00.62 bitrate=   0.6kbits/s dup=0 drop=2 speed=0.224x    &#xA;    18:56.630 13704-13704/pkgD/progress: frame=   19 fps=5.6 q=13.2 size=       0kB time=00:00:00.79 bitrate=   0.4kbits/s dup=0 drop=3 speed=0.232x    &#xA;    18:57.130 13704-13704/pkgD/progress: frame=   22 fps=5.5 q=14.0 size=       0kB time=00:00:00.91 bitrate=   0.4kbits/s dup=0 drop=3 speed=0.228x    &#xA;    18:57.630 13704-13704/pkgD/progress: frame=   26 fps=5.7 q=16.2 size=       0kB time=00:00:01.08 bitrate=   0.5kbits/s dup=0 drop=4 speed=0.239x    &#xA;    18:58.180 13704-13704/pkgD/progress: frame=   29 fps=5.7 q=14.7 size=      48kB time=00:00:01.20 bitrate= 323.3kbits/s dup=0 drop=5 speed=0.238x    &#xA;    19:59.840 13704-13704/pkgD/progress: frame=  179 fps=2.7 q=20.7 size=     396kB time=00:00:08.40 bitrate= 386.2kbits/s dup=0 drop=43 speed=0.126x    &#xA;    20:00.270 13704-13704/pkgD/progress: frame=  181 fps=2.7 q=16.3 size=     405kB time=00:00:08.45 bitrate= 392.4kbits/s dup=0 drop=43 speed=0.126x    &#xA;    20:00.920 13704-13704/pkgD/progress: frame=  182 fps=2.7 q=20.6 size=     407kB time=00:00:08.54 bitrate= 389.6kbits/s dup=0 drop=43 speed=0.126x    &#xA;    20:01.340 13704-13704/pkgD/progress: frame=  183 fps=2.7 q=21.6 size=     408kB time=00:00:08.59 bitrate= 388.7kbits/s dup=0 drop=44 speed=0.126x    &#xA;    20:02.390 13704-13704/pkgD/progress: frame=  186 fps=2.7 q=23.2 size=     412kB time=00:00:08.68 bitrate= 388.3kbits/s dup=0 drop=44 speed=0.126x    &#xA;    20:02.810 13704-13704/pkgD/progress: frame=  187 fps=2.7 q=23.0 size=     413kB time=00:00:08.73 bitrate= 387.7kbits/s dup=0 drop=45 speed=0.125x    &#xA;    20:03.850 13704-13704/pkgD/progress: frame=  190 fps=2.7 q=22.5 size=     417kB time=00:00:08.82 bitrate= 387.4kbits/s dup=0 drop=45 speed=0.126x    &#xA;    20:04.220 13704-13704/pkgD/progress: frame=  190 fps=2.7 q=22.5 size=     417kB time=00:00:08.87 bitrate= 385.3kbits/s dup=0 drop=45 speed=0.125x    &#xA;    20:04.720 13704-13704/pkgD/progress: frame=  194 fps=2.7 q=20.4 size=     429kB time=00:00:08.87 bitrate= 395.8kbits/s dup=0 drop=46 speed=0.124x    &#xA;    20:05.340 13704-13704/pkgD/progress: frame=  198 fps=2.7 q=19.8 size=     434kB time=00:00:08.87 bitrate= 400.5kbits/s dup=0 drop=47 speed=0.123x    &#xA;    20:05.840 13704-13704/pkgD/progress: frame=  201 fps=2.8 q=21.8 size=     438kB time=00:00:08.87 bitrate= 404.3kbits/s dup=0 drop=48 speed=0.122x    &#xA;    20:06.450 13704-13704/pkgD/progress: frame=  205 fps=2.8 q=15.7 size=     449kB time=00:00:08.87 bitrate= 414.3kbits/s dup=0 drop=49 speed=0.121x    &#xA;    20:06.970 13704-13704/pkgD/progress: frame=  208 fps=2.8 q=18.2 size=     452kB time=00:00:08.87 bitrate= 417.3kbits/s dup=0 drop=50 speed=0.12x    &#xA;    20:07.570 13704-13704/pkgD/progress: frame=  212 fps=2.9 q=17.8 size=     457kB time=00:00:08.87 bitrate= 422.2kbits/s dup=0 drop=51 speed=0.119x    &#xA;    20:08.070 13704-13704/pkgD/progress: frame=  215 fps=2.9 q=18.9 size=     458kB time=00:00:08.95 bitrate= 419.0kbits/s dup=0 drop=52 speed=0.12x    &#xA;    20:08.570 13704-13704/pkgD/progress: frame=  218 fps=2.9 q=19.8 size=     459kB time=00:00:09.08 bitrate= 414.3kbits/s dup=0 drop=52 speed=0.12x    &#xA;    20:08.960 13704-13704/pkgD/progress: frame=  218 fps=2.9 q=19.8 Lsize=     475kB time=00:00:09.08 bitrate= 428.7kbits/s dup=0 drop=52 speed=0.12x    &#xA;    20:08.960 13704-13704/pkgD/progress: video:361kB audio:109kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.077294%&#xA;    20:08.990 13704-13704/pkgD/progress: [aac @ 0xb85ce8f0] Qavg: 65536.000&#xA;    20:08.990 13704-13704/pkgD/Success: ffmpeg version n3.0.1 Copyright (c) 2000-2016 the FFmpeg developers&#xA;                                                                  built with gcc 4.8 (GCC)&#xA;                                                                  configuration: --target-os=linux --cross-prefix=/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/bin/arm-linux-androideabi- --arch=arm --cpu=cortex-a8 --enable-runtime-cpudetect --sysroot=/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/sysroot --enable-pic --enable-libx264 --enable-libass --enable-libfreetype --enable-libfribidi --enable-libmp3lame --enable-fontconfig --enable-pthreads --disable-debug --disable-ffserver --enable-version3 --enable-hardcoded-tables --disable-ffplay --disable-ffprobe --enable-gpl --enable-yasm --disable-doc --disable-shared --enable-static --pkg-config=/home/vagrant/SourceCode/ffmpeg-android/ffmpeg-pkg-config --prefix=/home/vagrant/SourceCode/ffmpeg-android/build/armeabi-v7a --extra-cflags='-I/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/include -U_FORTIFY_SOURCE -D_FORTIFY_SOURCE=2 -fno-strict-overflow -fstack-protector-all' --extra-ldflags='-L/home/vagrant/SourceCode/ffmpeg-android/toolchain-android/lib -Wl,-z,relro -Wl,-z,now -pie' --extra-libs='-lpng -lexpat -lm' --extra-cxxflags=&#xA;                                                                  libavutil      55. 17.103 / 55. 17.103&#xA;                                                                  libavcodec     57. 24.102 / 57. 24.102&#xA;                                                                  libavformat    57. 25.100 / 57. 25.100&#xA;                                                                  libavdevice    57.  0.101 / 57.  0.101&#xA;                                                                  libavfilter     6. 31.100 /  6. 31.100&#xA;                                                                  libswscale      4.  0.100 /  4.  0.100&#xA;                                                                  libswresample   2.  0.101 /  2.  0.101&#xA;                                                                  libpostproc    54.  0.100 / 54.  0.100&#xA;                                                                Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/storage/emulated/0/MP4_20170519_121822.mp4':&#xA;                                                                  Metadata:&#xA;                                                                    major_brand     : iso6&#xA;                                                                    minor_version   : 1&#xA;                                                                    compatible_brands: mp42iso6avc1isom&#xA;                                                                    creation_time   : 2017-    05-19 06:48:22&#xA;                                                                  Duration: 00:00:04.00, start: 0.000000, bitrate: 17175 kb/s&#xA;                                                                    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1920x1080, 16914 kb/s, 30 fps, 30 tbr, 90k tbn, 180k tbc (default)&#xA;                                                                    Metadata:&#xA;                                                                      rotate          : 90&#xA;                                                                      creation_time   : 2017-05-16 08:17:54&#xA;                                                                    Side data:&#xA;                                                                      displaymatrix: rotation of -90.00 degrees&#xA;                                                                    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 256 kb/s (default)&#xA;                                                                    Metadata:&#xA;                                                                      creation_time   : 2017-05-16 08:17:54&#xA;                                                                Input #1, mov,mp4,m4a,3gp,3g2,mj2, from '/storage/emulated/0/MP4_20170519_121834.mp4':&#xA;                                                                  Metadata:&#xA;                                                                    major_brand     : iso6&#xA;                                                                    minor_version   : 1&#xA;                                                                    compatible_brands: mp42iso6avc1isom&#xA;                                                                    creation_time   : 2017-    05-19 06:48:34&#xA;                                                                  Duration: 00:00:05.00, start: 0.000000, bitrate: 17272 kb/s&#xA;                                                                    Stream #1:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1920x1080, 17010 kb/s, 30.01 fps, 30 tbr, 90k tbn, 180k tbc (default)&#xA;                                                                    Metadata:&#xA;                                                                      rotate          : 90&#xA;                                                                      creation_time   : 2017-05-16 08:11:38&#xA;                                                                    Side data:&#xA;                                                                      displaymatrix: rotation of -90.00 degrees&#xA;                                                                    Stream #1:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 255 kb/s (default)&#xA;                                                                    Metadata:&#xA;                                                                      creation_time   : 2017-05-16 08:11:38&#xA;                                                                [Parsed_setsar_1 @ 0xb8599380] num:den syntax is deprecated, please use num/den or named options instead&#xA;                                                                [Parsed_setsar_3 @ 0xb8626470] num:den syntax is deprecated, please use num/den or named options instead&#xA;                                                                Codec AVOption preset (Set the encoding preset (cf. x264 --fullhelp)) specified for output file #0 (/storage/emulated/0/output.mp4) has not been used for any stream. The most likely reason is either wrong type (e.g. a video option with no video streams) or that it is a private option of some encoder which was not actually used for any stream.&#xA;                                                                [Parsed_setsar_1 @ 0xb85cece0] num:den syntax is deprecated, please use num/den or named options instead&#xA;                                                                [Parsed_setsar_3 @ 0xb861fa70] num:den syntax is deprecated, please use num/den or named options instead&#xA;                                                                [aac @ 0xb85ce8f0] Too many bits 95062.494331 &amp;gt; 12288 per frame requested, clamping to max&#xA;                                                                Output #0, mp4, to '/storage/emulated/0/output.mp4':&#xA;                                                                  Metadata:&#xA;                                                                    major_brand     : iso6&#xA;                                                                    minor_version   : 1&#xA;                                                                    compatible_brands: mp42iso6avc1isom&#xA;                                                                    encoder         : Lavf57.25.100&#xA;                                                                    Stream #0:0: Video: mpeg4 ( [0][0][0] / 0x00&#xA;    20:09.020 13704-13704/pkgI/ExoPlayerImpl: Init ExoPlayerLib/2.4.0 [j5lte, SM-J500F, samsung, 23]&#xA;    20:09.020 13704-16462/pkgI/ACodec: [OMX.qcom.video.decoder.avc] Now Executing-&amp;gt;Idle&#xA;    20:09.050 13704-16462/pkgI/ACodec: [OMX.qcom.video.decoder.avc] Now Idle-&amp;gt;Loaded&#xA;    20:09.050 13704-16462/pkgI/ACodec: [OMX.qcom.video.decoder.avc] Now Loaded&#xA;    20:09.050 13704-16462/pkgI/ACodec:  [OMX.qcom.video.decoder.avc] Now kWhatShutdownCompleted event : 7115&#xA;    20:09.050 13704-16461/pkgI/MediaCodec: Codec shutdown complete&#xA;    20:09.060 13704-16462/pkgI/ACodec:  [OMX.qcom.video.decoder.avc] Now uninitialized&#xA;    20:09.060 13704-16462/pkgI/ACodec:  [] Now kWhatShutdownCompleted event : 7115&#xA;    20:09.060 13704-16461/pkgI/MediaCodec: Codec shutdown complete&#xA;    20:09.080 13704-13704/pkgD/finish: merge finish&#xA;    20:09.110 13704-13704/pkgD/ViewRootImpl: #3 mView = null&#xA;    20:09.120 13704-13704/pkgD/ViewRootImpl: #1 mView = android.widget.LinearLayout{9229915 V.E...... ......I. 0,0-0,0 #10203a4 android:id/toast_layout_root}&#xA;    20:09.130 13704-13704/pkgE/ViewRootImpl: sendUserActionEvent() mView == null&#xA;    20:09.160 13704-20543/pkgW/VideoCapabilities: Unrecognized profile/level 32768/2 for video/mp4v-es&#xA;    20:09.170 13704-20543/pkgI/ACodec:  [] Now uninitialized&#xA;    20:09.170 13704-13704/pkgD/ViewRootImpl: MSG_RESIZED_REPORT: ci=Rect(0, 0 - 0, 0) vi=Rect(0, 0 - 0, 0) or=1&#xA;    20:09.180 13704-20548/pkgI/ACodec: [] onAllocateComponent&#xA;    20:09.180 13704-20548/pkgI/OMXClient: Using client-side OMX mux.&#xA;    20:09.190 13704-20548/pkgI/ACodec: [OMX.qcom.video.decoder.mpeg4] Now Loaded&#xA;    20:09.190 13704-20547/pkgI/MediaCodec: [OMX.qcom.video.decoder.mpeg4] setting surface generation to 14032902&#xA;    20:09.210 13704-20548/pkgI/ACodec: [OMX.qcom.video.decoder.mpeg4] OMX_QCOM_FramePacking_Arbitrary is setting&#xA;    20:09.210 13704-20548/pkgI/ACodec: [OMX.qcom.video.decoder.mpeg4] Now Loaded-&amp;gt;Idle&#xA;    20:09.220 13704-20548/pkgD/SurfaceUtils: set up nativeWindow 0xb7a04d30 for 480x360, color 0x7fa30c04, rotation 0, usage 0x42002900&#xA;    20:09.230 13704-20548/pkgI/ACodec: [OMX.qcom.video.decoder.mpeg4] configureOutputBuffersFromNativeWindow setBufferCount : 10, minUndequeuedBuffers : 4&#xA;    20:09.230 13704-20548/pkgI/ACodec: [OMX.qcom.video.decoder.mpeg4] Now Idle-&amp;gt;Executing&#xA;    20:09.230 13704-20548/pkgI/ACodec: [OMX.qcom.video.decoder.mpeg4] Now Executing&#xA;    20:09.230 13704-20543/pkgI/ACodec:  [] Now uninitialized&#xA;    20:09.230 13704-20552/pkgI/ACodec: [] onAllocateComponent&#xA;    20:09.240 13704-20552/pkgI/OMXClient: Using client-side OMX mux.&#xA;    20:09.240 13704-20552/pkgI/ACodec: [OMX.SEC.aac.dec] Now Loaded&#xA;    20:09.240 13704-20552/pkgI/ACodec: [OMX.SEC.aac.dec] Now Loaded-&amp;gt;Idle&#xA;    20:09.250 13704-20552/pkgI/ACodec: [OMX.SEC.aac.dec] Now Idle-&amp;gt;Executing&#xA;    20:09.260 13704-20552/pkgI/ACodec: [OMX.SEC.aac.dec] Now Executing&#xA;    20:12.520 13704-13704/pkgD/ViewRootImpl: #3 mView = null&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can I make this go faster?&lt;/p&gt;&#xA;" OwnerUserId="18935" LastEditorUserId="2836" LastEditDate="2017-05-31T16:11:28.467" LastActivityDate="2018-02-19T11:16:31.273" Title="How can I merge videos more quickly with ffmpeg on Android?" Tags="|ffmpeg|video-editor|android|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21464" PostTypeId="1" CreationDate="2017-05-22T09:26:10.767" Score="2" ViewCount="1738" Body="&lt;p&gt;I have a ffmpeg command that will happily process all video files in a folder one by one, but how can i make it process them simultaneously?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;here's my current command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;for i in *.mov; do name=``echo $i | cut -d'.' -f1``; echo $name; TIMECODE=$(ffprobe &quot;$i&quot; -v error -show_entries stream_tags=timecode -of default=noprint_wrappers=1:nokey=1 | awk -F: '{ print $1 &quot;\\:&quot; $2 &quot;\\:&quot; $3 &quot;\\:&quot; $4 }') ; ffmpeg -i &quot;$i&quot; -vf &quot;trim=start_frame=192,setpts=PTS-STARTPTS,scale=1280:-1:force_original_aspect_ratio=decrease,drawtext=fontfile=/usr/share/fonts/truetype/droid/DroidSansMono.ttf: fontsize=28: timecode='00\:00\:00\:00': r=24: x=(w-tw)/2: y=25: fontcolor=white: box=1: boxcolor=0x00000099&quot; -threads 4 -c:v mpeg1video -b:v 5000k -af &quot;atrim=start=8,asetpts=PTS-STARTPTS&quot; -c:a libmp3lame -b:a 192k &quot;${name}_mpeg1.mpeg&quot;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="18945" LastEditorUserId="1950" LastEditDate="2017-05-24T01:03:17.347" LastActivityDate="2017-05-24T01:03:17.347" Title="FFMPEG Batch Processing" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21465" PostTypeId="1" CreationDate="2017-05-22T11:39:58.847" Score="2" ViewCount="3662" Body="&lt;p&gt;I am trying to create an edit/archive render of my videos captured from Sony A6000. The recording format is: 1080p 50FPS H.264 Codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am creating a sequence from the clip and exporting the clip to match the sequence settings. But the file size is double.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I basically want an uncompressed edit or archive render to save the video without any compression or downscaling or without reducing the FPS as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a sample file if you want to try it out: &lt;a href=&quot;https://mega.nz/#!ov52wLqY!anBMgUKWBbnWzRoCGP1bJPkYPsjhJc1Gq5Z8dcvyr3A&quot; rel=&quot;nofollow noreferrer&quot;&gt;Link&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, to replicate the issue you just have to create a sequence from clip and export to the sequence settings and the exported file size is double the original size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea, What I am doing wrong or What should I do to get the correct file size?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xtj4f.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xtj4f.png&quot; alt=&quot;Export Settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18976" LastEditorUserId="18976" LastEditDate="2017-05-24T03:45:12.607" LastActivityDate="2017-05-31T20:38:24.717" Title="Exporting on the same sequence settings as the clip doubles the size of the output file" Tags="|premiere|post-production|cs5|" AnswerCount="2" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="21466" PostTypeId="1" CreationDate="2017-05-22T12:53:02.423" Score="-1" ViewCount="154" Body="&lt;p&gt;Is there any software to capture surround sound when gaming? If not are there any hardware capture devices that can do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OBS, Shadow Play, and Elgato all appear to be unable to do it.&lt;/p&gt;&#xA;" OwnerUserId="18857" LastActivityDate="2017-05-22T18:30:25.657" Title="Record Surround Sound While Gaming" Tags="|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21467" PostTypeId="2" ParentId="21464" CreationDate="2017-05-22T13:08:05.753" Score="1" Body="&lt;p&gt;All that you need is to put an &amp;amp; at the end of the ffmpeg command line. This will make the ffmpeg process to run in background, allowing it to be executed simultaneously with other processes.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin bash&#xA;# add this code to a file called encode or whatever you want&#xA;# make it executable: chmod ugo+x encode&#xA;# and you are ready to run: ./encode&#xA;&#xA;for i in *.mov; do &#xA;    name=``echo $i | cut -d'.' -f1``; &#xA;    echo $name; &#xA;    TIMECODE=$(ffprobe &quot;$i&quot; -v error -show_entries stream_tags=timecode -of default=noprint_wrappers=1:nokey=1 | awk -F: '{ print $1 &quot;\\:&quot; $2 &quot;\\:&quot; $3 &quot;\\:&quot; $4 }') ;&#xA;    ffmpeg -i &quot;$i&quot; -vf &quot;trim=start_frame=192,setpts=PTS-STARTPTS,scale=1280:-1:force_original_aspect_ratio=decrease,drawtext=fontfile=/usr/share/fonts/truetype/droid/DroidSansMono.ttf: fontsize=28: timecode='00\:00\:00\:00': r=24: x=(w-tw)/2: y=25: fontcolor=white: box=1: boxcolor=0x00000099&quot; -threads 4 -c:v mpeg1video -b:v 5000k -af &quot;atrim=start=8,asetpts=PTS-STARTPTS&quot; -c:a libmp3lame -b:a 192k &quot;${name}_mpeg1.mpeg&quot; &amp;amp;;&#xA;&#xA;    # limit ffmpeg processes to 5&#xA;    while [$(ps | grep ffmpeg | wc -l) -eq 5]; do&#xA;        echo &quot;ffmpeg queue is full, waiting...&quot;;&#xA;        # amount of seconds to wait till we check again&#xA;        sleep 10;&#xA;    done&#xA;done;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16884" LastEditorUserId="16884" LastEditDate="2017-05-22T16:53:55.023" LastActivityDate="2017-05-22T16:53:55.023" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21468" PostTypeId="2" ParentId="21466" CreationDate="2017-05-22T13:35:09.363" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://manual.audacityteam.org/man/tutorial_recording_audio_playing_on_the_computer.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Audacity&lt;/a&gt; is also able to record system sound, is open source and have support on several systems, although on some systems it may not be able to record the surround sound, maybe just the stereo mix. It relies on tools that create loopback inputs for the system outputs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You also can connect each output of your surround sound card to a multi channel audio interface and record using a DAW like Reaper, Logic ProX, etc.. or even Audacity. But I think that record system sound is always better since you don't need to use wires.&lt;/p&gt;&#xA;" OwnerUserId="16884" LastEditorUserId="16884" LastEditDate="2017-05-22T18:30:25.657" LastActivityDate="2017-05-22T18:30:25.657" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21471" PostTypeId="2" ParentId="21401" CreationDate="2017-05-22T21:30:58.897" Score="0" Body="&lt;p&gt;It appears that BT.709 is a larger standard that includes the sRGB color space as part of what it means.  The Wikipedia article says “based on”, but looking carefully at the chart of numbers, they are identical.  So there is no need to &lt;em&gt;convert&lt;/em&gt; from one to the other.&lt;/p&gt;&#xA;&lt;p&gt;Of the various mixing recipes given (which do not agree with each other), the hex code is said to be for HTML/CSS, so that one I can assume is for the sRGB color space.&lt;/p&gt;&#xA;&lt;p&gt;I used that value in Premiere in the new Graphics drawing tools, and it looks like the right kind of green.&lt;/p&gt;&#xA;&lt;p&gt;The green background in the white-on-green EPS file they provide for the logo is not the right green when simply imported into Premiere, as I noted.  So I loaded it into Illustrator, turned off the background, and saved as the white logo &lt;em&gt;only&lt;/em&gt;.  This I imported into Premiere which I layered over the background color, drawn using Premiere’s shape tool.&lt;/p&gt;&#xA;" OwnerUserId="9268" LastEditorUserId="4426" LastEditDate="2021-11-29T09:11:43.600" LastActivityDate="2021-11-29T09:11:43.600" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="21473" PostTypeId="2" ParentId="21464" CreationDate="2017-05-23T01:41:07.133" Score="0" Body="&lt;h3&gt;Put it into a flexible wrapper script&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;There's a few benefits to doing it this way, for example, the provided script;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Uses &lt;code&gt;find&lt;/code&gt; and array variables to handle complex and crazy filenames, and the process management&lt;/li&gt;&#xA;&lt;li&gt;Records the process ID's as it spawns &lt;code&gt;ffmpeg&lt;/code&gt; and then periodically checks them if they are active&lt;/li&gt;&#xA;&lt;li&gt;If a file already exists in it's desired output form (i.e. file_mpeg1.mpeg), that file is skipped; this prevents saying running a loop of 100 files, failing for some reason after 90 files, and then re-running the whole thing from the start.  (there is however no check at this stage to see if the existing file was complete or not.  This goes a bit deeper into error checking / maybe a length compare based on original / an ffprobe, etc... )&lt;/li&gt;&#xA;&lt;li&gt;The flexible template allows you easily manipulate the flow.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I tested it to process 4 random files downloaded off youtube:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2R9q6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2R9q6.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see it handles silly filenames quite well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the wrapper script based on your commands:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The syntax is: &lt;code&gt;./scriptname.sh [ext] [maxprocesses]&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;So, to look to look for *.mov files and run 5 processes:&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If the script name was &lt;code&gt;script.sh&lt;/code&gt;, then you'd run &#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;./script.sh mov 5&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Wrapper Script:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/usr/bin/env bash&#xA;&#xA;ffprocess () {&#xA;    file=&quot;$1&quot;&#xA;    output=&quot;$2&quot; &#xA;    TIMECODE=$(ffprobe &quot;$file&quot; -v error -show_entries stream_tags=timecode -of default=noprint_wrappers=1:nokey=1 | awk -F: '{ print $1 &quot;\\:&quot; $2 &quot;\\:&quot; $3 &quot;\\:&quot; $4 }')&#xA;    ffmpeg -i &quot;$file&quot; \&#xA;    -vf &quot;trim=start_frame=192,setpts=PTS-STARTPTS,scale=1280:-1:force_original_aspect_ratio=decrease,drawtext=fontfile=/usr/share/fonts/truetype/droid/DroidSansMono.ttf: fontsize=28: timecode='00\:00\:00\:00': r=24: x=(w-tw)/2: y=25: fontcolor=white: box=1: boxcolor=0x00000099&quot; \&#xA;    -threads 4 \&#xA;    -c:v mpeg1video \&#xA;    -b:v 5000k \&#xA;    -af &quot;atrim=start=8,asetpts=PTS-STARTPTS&quot; \&#xA;    -c:a libmp3lame -b:a 192k \&#xA;    &quot;${output}&quot;&#xA;}&#xA;&#xA;#This function gets called when a process is no longer valid and needs removing from the array&#xA;&#xA;removeps () {&#xA;    trtmp=()&#xA;    for tmpps in &quot;${ffpsid[@]}&quot;&#xA;    do&#xA;        [[ $tmpps != &quot;$1&quot; ]] &amp;amp;&amp;amp; trtmp+=($tmpps)&#xA;    done&#xA;    ffpsid=(&quot;${trtmp[@]}&quot;)&#xA;    unset trtmp&#xA;    return&#xA;}&#xA;&#xA;#Checks to see if each process is still active&#xA;checkffpsid () {&#xA;    for ffps in &quot;${ffpsid[@]}&quot; &#xA;    do &#xA;    ps -p $ffps &amp;gt; /dev/null || removeps &quot;$ffps&quot;&#xA;done&#xA;&#xA;}&#xA;&#xA;&#xA;if [[ &quot;$#&quot; -lt 2 ]]; then echo -e &quot;Usage: $0 [ext] [maxproc]\ni.e. $0 .mov 5&quot; ; exit ; fi&#xA;&#xA;ext=&quot;$1&quot;&#xA;maxproc=&quot;$2&quot;&#xA;find . -maxdepth 1 -iname &quot;*.$ext&quot; &amp;gt; inputlist.txt   # Find files with ext specified&#xA;IFS=$'\n' read -rd '' -a filelist &amp;lt;&amp;lt;&amp;lt;&quot;$(cat inputlist.txt)&quot; &#xA;for file in &quot;${filelist[@]}&quot;&#xA;    do&#xA;    name=$(basename &quot;$file&quot;)&#xA;    name=&quot;${name%.*}&quot;                                  # remove ext for name var&#xA;    outname=&quot;${name}_mpeg1.mpeg&quot;                       # Set output name&#xA;    checkffpsid &#xA;    if [ -f &quot;$outname&quot; ]&#xA;        then &#xA;        echo &quot;$outname&quot; already exists, skipping ...&#xA;    else&#xA;        until [[ &quot;${#ffpsid[@]}&quot; -le &quot;$maxproc&quot; ]]&#xA;        do&#xA;            checkffpsid&#xA;            sleep 5&#xA;        done&#xA;        ffprocess &quot;$file&quot; &quot;$outname&quot; &amp;amp; ffpsid+=(&quot;$!&quot;) &#xA;    fi&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Just a couple notes&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Your &quot;$TIMECODE&quot; variable never gets used ... This is as per your original script.&lt;/li&gt;&#xA;&lt;li&gt;You're better off letting &lt;code&gt;ffmpeg&lt;/code&gt; manage its own threads by passing &lt;code&gt;-threads 0&lt;/code&gt; instead of 4&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="17075" LastEditorUserId="17075" LastEditDate="2017-05-23T02:14:44.053" LastActivityDate="2017-05-23T02:14:44.053" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21474" PostTypeId="1" CreationDate="2017-05-23T02:48:19.470" Score="0" ViewCount="52" Body="&lt;p&gt;I have a vector map of the state of NJ that I have broken up into counties (overall state as the shape layer...all counties underneath in a Group)&#xA;I'd like to insert a different graphic/video into each of the counties. Can anyone help me figure this out?&lt;a href=&quot;https://i.stack.imgur.com/5RbIB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5RbIB.png&quot; alt=&quot;screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18985" LastActivityDate="2017-06-23T01:42:36.357" Title="How do I add multiple videos into multiple shape layers" Tags="|after-effects|shape|adjustment-layers|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21475" PostTypeId="1" CreationDate="2017-05-23T03:01:23.253" Score="1" ViewCount="26" Body="&lt;p&gt;I recently discovered a &lt;a href=&quot;https://www.semanticscholar.org/paper/Fast-gradient-aware-upsampling-for-cartoon-video-Yan-Shen/19f8a43cdeb33713eccf96981d4050dd6b10058e&quot; rel=&quot;nofollow noreferrer&quot;&gt;paper on upsampling video&lt;/a&gt; that introduced a novel method for the case cartoon and other line-based video/imagery works. Given that the paper was from 2010, I would have expected to find some sort of tooling that would enable the use of this method, but have been unable to find such implementations. Has anyone seen this or other methods for upsampling such imagery used in production? Do such tools exist yet?&lt;/p&gt;&#xA;" OwnerUserId="18986" LastActivityDate="2017-05-23T03:01:23.253" Title="Implementation/Tools for upsampling cartoon video and imagery" Tags="|software-recommendation|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21478" PostTypeId="1" AcceptedAnswerId="21482" CreationDate="2017-05-23T20:46:51.447" Score="0" ViewCount="2201" Body="&lt;p&gt;Please see my input udp stream information: &lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffprobe udp://IP:PORT&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpegts, from 'udp://IP:PORT':&#xA;  Duration: N/A, start: 29796.225911, bitrate: N/A&#xA;  Program 16&#xA;    Stream #0:3[0x641]: Video: h264 (Main) ([27][0][0][0] / 0x001B), yuv420p(tv, bt470bg, top first), 720x576 [SAR 12:11 DAR 15:11], 25 fps, 50 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:5[0x642](eng): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 192 kb/s (clean effects)&#xA;  Program 39&#xA;    Stream #0:7[0xf3d]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(tv, bt470bg, top first), 720x576 [SAR 12:11 DAR 15:11], 25 fps, 50 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:8[0xf3e](eng): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 192 kb/s (clean effects)&#xA;  Program 11&#xA;    Stream #0:2[0x13ed]: Video: h264 (Main) ([27][0][0][0] / 0x001B), yuv420p(tv, bt470bg, top first), 720x576 [SAR 12:11 DAR 15:11], 25 fps, 50 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:6[0x13ee](eng): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 192 kb/s (clean effects)&#xA;  Program 3&#xA;    Stream #0:9[0x10ce]: Video: mpeg2video (Main) ([2][0][0][0] / 0x0002), yuv420p(tv, top first), 720x576 [SAR 16:15 DAR 4:3], 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:4[0x10cf](eng): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 96 kb/s&#xA;  Program 1&#xA;    Stream #0:0[0x1006]: Video: mpeg2video (Main) ([2][0][0][0] / 0x0002), yuv420p(tv, top first), 720x576 [SAR 16:15 DAR 4:3], 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:1[0x1007](eng): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 256 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I want to decode the video stream (Stream #0:0[0x1006]) with Program id 1 &lt;br&gt; And doing it with the following command: &lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -analyzeduration 2G -probesize 11M -y -hwaccel cuvid -c:v&#xA;  h264_cuvid -i udp://IP:PORT -map&#xA;  0:#0x1006 -f rawvideo cuda_decoded.yuv&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Please see the log:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mpegts @ 0x2351d60] decoding for stream 0 failed&#xA;Input #0, mpegts, from 'udp://IP:PORT':&#xA;  Duration: N/A, start: 30271.455156, bitrate: N/A&#xA;  Program 16&#xA;    Stream #0:5[0x641]: Video: h264 (Main) ([27][0][0][0] / 0x001B), yuv420p(tv, bt470bg, top first), 720x576 [SAR 12:11 DAR 15:11], 25 fps, 50 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:6[0x642](eng): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 192 kb/s (clean effects)&#xA;  Program 39&#xA;    Stream #0:2[0xf3d]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(tv, bt470bg, top first), 720x576 [SAR 12:11 DAR 15:11], 25 fps, 50 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:4[0xf3e](eng): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 192 kb/s (clean effects)&#xA;  Program 11&#xA;    Stream #0:3[0x13ed]: Video: h264 (Main) ([27][0][0][0] / 0x001B), yuv420p(tv, bt470bg, top first), 720x576 [SAR 12:11 DAR 15:11], 25 fps, 50 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:8[0x13ee](eng): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 192 kb/s (clean effects)&#xA;  Program 3&#xA;    Stream #0:7[0x10ce]: Video: h264 ([2][0][0][0] / 0x0002), yuv420p(tv, top first), 720x576 [SAR 16:15 DAR 4:3], 26.17 fps, 2.08 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:9[0x10cf](eng): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 96 kb/s&#xA;  Program 1&#xA;    Stream #0:0[0x1006]: Video: h264 ([2][0][0][0] / 0x0002), yuvj420p(pc, progressive), 16x32, 2.08 fps, 2.08 tbr, 90k tbn, 2514.04 tbc&#xA;    Stream #0:1[0x1007](eng): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 256 kb/s&#xA;[h264_cuvid @ 0x240ca20] ctx-&amp;gt;cvdl-&amp;gt;cuvidCreateDecoder(&amp;amp;cudec, &amp;amp;cuinfo) failed -&amp;gt; CUDA_ERROR_INVALID_VALUE: invalid argument&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (h264_cuvid) -&amp;gt; rawvideo (native))&#xA;Error while opening decoder for input stream #0:0 : Generic error in an external library&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Also I can decode it without any problems with the next command:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -analyzeduration 2G -probesize 11M -y -i udp://IP:PORT -map&#xA;  0:#0x1006 -f rawvideo -pix_fmt yuv420p software_decoded.yuv&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;This issue affects only for some input streams.&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have you any ideas why this issue occurs and any recommendations how to fix it?&lt;/p&gt;&#xA;" OwnerUserId="14107" LastEditorUserId="14107" LastEditDate="2017-05-24T06:36:35.237" LastActivityDate="2020-01-04T03:31:55.373" Title="hardware cuda decoding error" Tags="|ffmpeg|decoding|cuvid|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21480" PostTypeId="2" ParentId="21474" CreationDate="2017-05-24T01:17:55.263" Score="1" Body="&lt;p&gt;You'll need to make a separate layer for each county. You can do this by duplicating the entire NJ layer and deleting all but county #1, then duplicating the NJ layer and deleting all but county #2 and so on… You probably want to select all these layers and set their parent to the first layer so that if you transform one (move, scale, rotate) they'll all transform.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have your separate layers you need to put the video layer for each county underneath its county shape layer. So it should look like a multi-layered sandwich, shape layer, then video, then shape, then video…&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then set the alpha matte for each video layer to the layer above. The alpha matte drop-down is next to the transfer mode drop-down. Then it will use the opacity of the layer above as a matte for the video layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ANCjx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ANCjx.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-05-24T01:17:55.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21481" PostTypeId="1" CreationDate="2017-05-24T04:42:36.330" Score="1" ViewCount="38" Body="&lt;p&gt;Basically, I need to make a quick &quot;Show Me Something Cool&quot; project for my physics class. It could be about anything sciency, that is cool, and that you can explain &amp;amp; demonstrate in class in like 5 minutes.&#xA;Now, I wanted to do something that related to Audio or Video encoding, such as bit-rate and or bit-depth, however, I've no idea how I will be able to do this while also impressing my teacher. She needs to think its &quot;cool&quot; in order to approve it, however, when I told her of the idea, she said &quot;Sounds boring to me&quot;.&#xA;So, could any of you think of a &quot;woah... thats cool&quot; moment I could do (probably in a powerpoint with videos and audio), or a reason to why this stuff is actually cool? I mean, I know that this stuff is cool, I just can't think of a way to make my teacher approve a presentation of this? :( Thanks guys.&lt;/p&gt;&#xA;" OwnerUserId="18997" LastActivityDate="2017-05-24T17:33:29.043" Title="Suggestions/Ideas for a &quot;Show Me&quot; project for school about Audio or Video Encoding?" Tags="|video|encoding|codec|bitrate|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21482" PostTypeId="2" ParentId="21478" CreationDate="2017-05-24T05:05:32.130" Score="3" Body="&lt;p&gt;Stream 0 is &lt;code&gt;Stream #0:0[0x1006]: Video: mpeg2video&lt;/code&gt; for which you need &lt;code&gt;-c:v mpeg2_cuvid&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-05-24T05:05:32.130" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21483" PostTypeId="1" AcceptedAnswerId="21653" CreationDate="2017-05-24T11:22:48.903" Score="8" ViewCount="12656" Body="&lt;p&gt;I'd like to batch convert some &lt;em&gt;log footage&lt;/em&gt; as well as transform each clip into &lt;em&gt;rec709&lt;/em&gt; colorspace. Is there any way to apply a &lt;em&gt;custom lut&lt;/em&gt; to the footage? If so, what's the correct way to do that?&lt;/p&gt;&#xA;" OwnerUserId="6685" LastActivityDate="2017-06-11T09:13:08.503" Title="Apply custom lut via ffmpeg?" Tags="|ffmpeg|conversion|colorspace|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21485" PostTypeId="1" AcceptedAnswerId="21508" CreationDate="2017-05-24T16:07:56.617" Score="1" ViewCount="2112" Body="&lt;p&gt;Please see my input udp stream information: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffprobe udp://IP:PORT&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpegts, from 'udp://IP:PORT':&#xA;  Duration: N/A, start: 42243.737022, bitrate: N/A&#xA;  Program 17&#xA;  . . .&#xA;    Stream #0:0[0x781]: Video: h264 (Main) ([27][0][0][0] / 0x001B), yuv420p(tv, bt470bg, top first), 720x576 [SAR 12:11 DAR 15:11], 24.67 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:1[0x782](Tam): Audio: mp2 ([3][0][0][0] / 0x0003), 48000 Hz, mono, s16p, 64 kb/s&#xA;    Stream #0:2[0x783](Kan): Audio: mp2 ([3][0][0][0] / 0x0003), 48000 Hz, mono, s16p, 64 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And run this command again:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffprobe udp://IP:PORT&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpegts, from 'IP:PORT':&#xA;  Duration: N/A, start: 42589.601022, bitrate: N/A&#xA;  . . . &#xA;  Program 17&#xA;    Stream #0:0[0x781]: Video: h264 (Main) ([27][0][0][0] / 0x001B), yuv420p(tv, bt470bg, top first), 720x576 [SAR 12:11 DAR 15:11], 24.58 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:1[0x782](Tam): Audio: mp2 ([3][0][0][0] / 0x0003), 48000 Hz, mono, s16p, 64 kb/s&#xA;    Stream #0:2[0x783](Kan): Audio: mp2 ([3][0][0][0] / 0x0003), 48000 Hz, mono, s16p, 64 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Please pay attention to FPS value. In the first execution it &lt;strong&gt;24.67&lt;/strong&gt; and in the second it &lt;strong&gt;24.58&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to transcode this stream with the following command:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -y -hwaccel cuvid -c:v h264_cuvid -deint 2 -i&#xA;  &quot;udp://IP:PORT&quot; -map 0:#0x0781 -map &#xA;  0:#0x0782 -vcodec h264_nvenc -acodec libfdk_aac -f flv rtmp://IP/test/name&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Please see the log:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Past duration 0.981102 too large&#xA;frame=83 fps=0.0 q=18.0 size=502kB time=00:00:04.05 bitrate=1015.4kbits/s dup=0 drop=80 speed=7.42x  &#xA;frame=96 fps=90 q=18.0 size=643kB time=00:00:04.69 bitrate=1122.1kbits/s dup=0 drop=93 speed=4.38x  &#xA;frame=111 fps=70 q=18.0 size=802kB time=00:00:05.14 bitrate=1278.1kbits/s dup=0 drop=108 speed=3.26x &#xA;frame=121 fps=57 q=19.0 size=921kB time=00:00:05.61 bitrate=1344.7kbits/s dup=0 drop=118 speed=2.64x &#xA;frame=137 fps=49 q=19.0 size=1096kB time=00:00:06.25 bitrate=1436.4kbits/s dup=0 drop=134 speed=2.26x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I also can add the framerate parameter &quot;-r&quot;. As follow:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -y -hwaccel cuvid -c:v h264_cuvid -deint 2 -r 25 -i&#xA;  &quot;udp://IP:PORT&quot; -map 0:#0x0781 -map &#xA;  0:#0x0782 -vcodec h264_nvenc -r 25 -acodec libfdk_aac -f flv rtmp://IP/test/name&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In this case this warning is not shows. But the transcoding FFmpeg process failed after 10-15 seconds, without any errors in the log. &lt;br&gt;&lt;br&gt;&#xA;Everything works fine if I do it via software decoding:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -y -i&#xA;  &quot;udp://IP:PORT&quot; -map 0:#0x0781 -map &#xA;  0:#0x0782 -vcodec h264_nvenc -acodec libfdk_aac -f flv rtmp://IP/test/name&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Also everything works fine if I transcoding it to the local file and specify framerate:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -y -hwaccel cuvid -c:v h264_cuvid -deint 2 -r 25 -i&#xA;  &quot;udp://IP:PORT&quot; -map 0:#0x0781 -map &#xA;  0:#0x0782 -vcodec h264_nvenc -r 25 -acodec libfdk_aac -f flv result.flv&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;This issue affects only for some input streams.&lt;/strong&gt;&lt;br&gt;&#xA;How can I transcode this UDP stream to FLV stream with CUDA decoding? &lt;/p&gt;&#xA;" OwnerUserId="14107" LastEditorUserId="14107" LastEditDate="2017-05-26T13:22:09.583" LastActivityDate="2018-01-19T09:26:28.983" Title="FFmpeg. CUDA decode. Past duration too large. Variable FPS" Tags="|ffmpeg|decoding|cuvid|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21486" PostTypeId="2" ParentId="21481" CreationDate="2017-05-24T17:33:29.043" Score="1" Body="&lt;h1&gt;Entropy&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Entropy is an important and notoriously difficult to teach (and understand) concept in physics. It's often explained as a measure of disorder, though that's not technically correct. However, from this perspective a video with lots of small particles would be considered to have a higher entropy than a video showing a black screen, for example. Read &lt;a href=&quot;https://video.stackexchange.com/questions/19675/is-there-a-way-to-improve-quality-for-videos-with-snow-confetti-lcd-in-backgroun/19677#19677&quot;&gt;this&lt;/a&gt; for an explanation of the 'confetti phenomenom' and watch &lt;a href=&quot;https://www.youtube.com/watch?v=YM-uykVfq_E&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; great video by TED-Ed about the general concept of entropy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not gonna do your project for you, but you could for example show how the visible artifacts in a video increase when the amount of small particles in it increases (use a constant bitrate for this though). Based on this you can explain related topics such as bitrate, temporal and spatial interpolation and compression in general (read up on how archive recovery files can be used to replace ANY missing part of a split-up archive, cool stuff (though more maths than physics (&lt;a href=&quot;https://xkcd.com/435/&quot; rel=&quot;nofollow noreferrer&quot;&gt;is physics just applied maths though?&lt;/a&gt;))). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have fun!&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-05-24T17:33:29.043" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21488" PostTypeId="2" ParentId="18532" CreationDate="2017-05-24T20:04:30.547" Score="0" Body="&lt;p&gt;FireWire's not dead, it just needs an adapter. Your gear will connect fine over Thunderbolt.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.apple.com/ca/shop/product/MD464LL/A/apple-thunderbolt-to-firewire-adapter&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.apple.com/ca/shop/product/MD464LL/A/apple-thunderbolt-to-firewire-adapter&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use a FW400 to FW800 plug and the Apple Thunderbolt to FireWire Adapter to have deck/transport control of my MiniDV Sony camera from the Mac. Works well in El Capitan.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of the time it's handling a daisy chain of external FireWire drives.&lt;/p&gt;&#xA;" OwnerUserId="19005" LastActivityDate="2017-05-24T20:04:30.547" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21495" PostTypeId="1" CreationDate="2017-05-25T10:10:19.097" Score="1" ViewCount="41" Body="&lt;p&gt;Ok, so my workflow is around big files, these are sources from edutorial lectures, they weight a lot, one typical recording size is around 80 Gb.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to manage them, store and edit. My machine is 500 Gb SSD, 1 TB HDD and 25 TB network drive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I often need to edit many lectures, I copy them to my SSD or HDD for faster editing. Premiere can edit files directly from network drive, however, it has only 10 Mb/s access speed, so editing them is not very pleasant experience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a great headache copying them around bothways. Everyday there are new recordings that need to be uploaded to the network drive, and there new lectures in queue for editing that are need to be copied locally. That would not be a problem, if not for the stupid Windows file copying software. Sometimes I accidentally close this dialog and then forget about what I was copying, sometimes it finds duplicates and messes me around.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is if there any software that you use, that would allow setting directories for copying or moving bothways. Something like Google Drive would be ideal. It check automatically if the folder is uploaded, and if there is something missing, it uploads the rest.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've taken a look on Robocopy (pre-installed Windows terminal tool), but I don't like with terminal interface that if there would be some action needed from me, I would not know. Also, I don't trust it working behind the curtains and doing something with my files. I would like something with GUI and status window, like Google Drive, again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would be nice, if it could:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;copy files from previously set queue&lt;/li&gt;&#xA;&lt;li&gt;pause or lower its speed on command for not interrupting me browsing this network drive&lt;/li&gt;&#xA;&lt;li&gt;check two directories for duplicates bit-by-bit&lt;/li&gt;&#xA;&lt;li&gt;scans specific directories (e.g. inserted media card) and copies them to the network storage with specific names and into the directory with today's date.&lt;/li&gt;&#xA;&lt;li&gt;be failsafe, that means if I turn off my machine, it would restore the queue and continue from the point it was broken&lt;/li&gt;&#xA;&lt;li&gt;have a nice GUI and a dialogs for viewing status and for resolving conflicts&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="19015" LastEditorUserId="19015" LastEditDate="2017-05-25T10:24:03.263" LastActivityDate="2017-09-29T01:20:13.003" Title="Is there any software for data management?" Tags="|automation|storage|footage|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21496" PostTypeId="1" CreationDate="2017-05-25T15:03:35.347" Score="1" ViewCount="6672" Body="&lt;p&gt;The new interface for Lightworks 14 has reorganized the control for clip speed to somewhere else.  You used to click the Advanced button at the bottom right of the timeline to make the speed controls pop up, but the Advanced button appears to no longer exist.  How can I change the speed of a section of video in the timeline?&lt;/p&gt;&#xA;" OwnerUserId="10756" LastActivityDate="2021-02-11T13:42:27.193" Title="How to change clip speed in Lightworks 14" Tags="|lightworks|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21497" PostTypeId="1" AcceptedAnswerId="21574" CreationDate="2017-05-25T18:47:35.103" Score="0" ViewCount="95" Body="&lt;p&gt;In a voice over translation (which doesn't need to be lip-synced), like the ones in the news when they interview someone that doesn't speak English, is it ok to keep some interjections if they conveys meaning to the whole sentence?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For instance the following sentence:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I don't know what it has to do with me or anything ha ha ha&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The laughs are saying that on the contrary, the person saying those words does know that it has to do something with her.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it ok to add those laughs in the voice over, or should I rewrite the sentence to convey the same meaning without using interjections?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would help if you add a video with a voice over that uses interjections, so I can hear how the speaker handles those.   &lt;/p&gt;&#xA;" OwnerUserId="3159" LastActivityDate="2017-06-02T06:36:28.400" Title="Voice over translation with interjections" Tags="|transitions|interview|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21498" PostTypeId="2" ParentId="21465" CreationDate="2017-05-25T20:07:22.850" Score="2" Body="&lt;p&gt;Ok there's a few different aspects to this, so here goes. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I am trying to create an edit/archive render of my videos captured from Sony A6000. The recording format is: 1080p 50FPS H.264 Codec.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Not sure what you mean here, but I assume you want to prepare your footage for archiving purposes? The best way to archive your footage is to &lt;strong&gt;leave it as it is&lt;/strong&gt;. I can't stress this enough. Compressing your footage to save a few gigabytes is a very bad idea. Storage is cheap, you can get an external HDD with 2~3 TB for less than a hundred bucks. Or unlimited cloud storage on Amazon for 70 bucks a year. There's really no reason to compress your original footage, but there are many downsides. If you want to save space at all, you will need to use a lossy codec with a lower bitrate than the original. That means you get artifacts in your video, temporal interpolation (meaning not every frame in your video is saved as a whole, which is quite bad if you want to edit the footage later on and overall reduced quality. You also get chroma subsampling which reduces the available color information, which is bad if you want to color grade your footage later on. So in general, if you want to archive your footage, always archive the original files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand, if you have no use for your video files because they are kind of bad and you want to keep them 'just in case', throw them out. You won't look at them again and they are just wasting space. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, rant over. In case I misunderstood your intentions or you still want to proceed, here's the actual answer. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I basically want an uncompressed edit or archive render to save the video without any compression or downscaling or without reducing the FPS as well.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If you actually use a lossless or visually lossless codec, you will only increase your filesize massively. H.264 (the format of your original footage) is a lossy codec meaning it's heavily compressed. The thing is, while exporting to an uncompressed format will increase your filesize, it won't actually increase the video quality, as the information already lost in the compressed H.264 files can't be magically recovered. So there's really no reason to export to an uncompressed format except for editing purposes (formats with temporal interpolation can be laggy during editing, because only I-frames are saved in full, B-frames are stored as the difference to the last I-frame or preceding frame). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So there's really no reason to convert your footage to either an uncompressed or a heavily compressed version. Anyway …&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Basically, to replicate the issue you just have to create a sequence from clip and export to the sequence settings and the exported file size is double the original size.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Your final video output is dependent on your sequence settings and your export settings. If you created the sequence directly from a footage clip, they will match the clip parameters, so you're good here. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regarding the export settings, the output file size is mainly dependent on the bitrate (which is literally the amount of information, i.e. bits per second of your video). To change the output size, you will need to change your Target Bitrate (the setting may have a slightly different name if you use formats other than H.264). Depending on your version of Premiere Pro, the steps to change the bitrate while using the Match Sequence Settings option differ. For completion's sake, I will include instructions for both CC and older versions. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Premiere Pro CC&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Match Sequence Option can be toggled on and off for every parameter individually. So you simply need to uncheck the option for the Target and Maximum Bitrate setting, then you can change the bitrate to whatever you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Premiere Pro CS6 and older&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, with older versions you only get the Match Sequence Settings options in the form of a checkbox at the top that looks most export settings when checked. I'm actually not sure if that includes the bitrate (it's been a while since I had to use non-CC versions of Premiere). I would have said it does not (as claimed by stib in the comments), but since you said that option is locked, try unchecking Match Sequence Settings and see if the bitrate options become available. Unfortunately this will also reset the rest of your settings to your selected Preset, which might not be what you want. So you have to adjust the Export Settings. You will want to match most of those to your original footage parameters, I wouldn't change to much unless you know what you are doing. To find out all technical parameters of your footage, download something like &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt; and inspect one of your video files in it. For example, the video you linked was shot at a 1920x1080 resolution, 50 fps, progressive (not interlaced) and with an audio bitrate of 256kbps. Change the export settings accordingly, and then change the bitrate setting to your liking. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;You will notice that the estimated filesize correlates directly to the chosen bitrate. Your original footage was shot with a variable bitrate, at 26Mbps average. If you want to compress your footage down, use a lower bitrate. If you want to preserve as much quality as possible, use a bitrate at least as high as the original bitrate. But again, I can't recommend either of those things, just keep your footage as it is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you export for viewing purposes, experiment with different bitrates to find the lowest one that still yields a quality that is acceptable to you for your specific purpose. &lt;a href=&quot;https://video.stackexchange.com/questions/18621/how-to-export-maximum-quality-in-minimum-size/18623#18623&quot;&gt;Here's some math&lt;/a&gt; that will help you understand the relation between bitrate and resulting filesize. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;Update in response to your comments&lt;/h3&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I don't want to store the actual recording because it's not consumable without editing. I want to do my editing save it as one big file and archive it, later I can use this edited ready to go archive file and can export or reencode it to medium&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The problem is that those are two very different purposes and it's not really practical to do both with only one file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For your edited output video that you want to show to the world, you'll want to trade off some amount of quality in return for a reduced filesize. Whatever you intend to do with this video, having huge files (like, gigabits of data per minute) is pretty detrimental. You can't send them to people with slow internet connections, you can't transport them on small USB sticks ... and people with slower computers might actually have trouble viewing your video at all, because their hardware can't keep up. So you want to find the lowest possible bitrate that still yields acceptable quality. On a related note:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If you pause frames of original footage and rendered footage, the original one looks sharper. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yeah, but who is gonna do that? You are probably paying closer attention to your video than anyone in your audience will. Of course, you also gotta take into consideration the purpose, target audience and medium in which your video will be displayed (I can only make assumptions here), but for general prosumer-ish/home productions, my point above stands.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;later I can use this edited ready to go archive file and can export or reencode it to medium I want or even do further editing If need be&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;That's a very bad idea. The thing is, you're exporting from a compressed format to a compressed format. If you use the exported file to export to another format, your final video will have gone through three export cycles already. It's just gotta hurt your overall video quality. Just keep your original files, your Premiere Pro project file, and everything else that is part of your project in one folder and back it up somewhere safe. If you in 20 years from now decide you need your video in H.269 for some reason, open up the original project and export from that (assuming Adobe's SaaS model hasn't crashed by then, just saying). Of course you can also export a version of your video with a visually uncompressed codec, or as an image sequence or something like that (in fact, depending on your production workflow this might be an intermediate step, but not as the final version). However, that file will be huge, so you won't have really achieved anything in terms of filesize. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;It produces as acceptable file size but the quality is definitely not the same.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If you used a bitrate that is close to the bitrate of your original files (~26 Mbit/s) and 2-Pass encoding, I find that hard to believe. I usually use like 6~8 Mbit/s for my exports, and I rarely spot any artifacts in the output at all. I think it's much more likely that you messed up some other setting in your Sequence or Export Settings, and that is what's causing the problems with your output quality. Feel free to open a new topic regarding this problem, this thread is really getting out of hand …&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2017-05-31T20:38:24.717" LastActivityDate="2017-05-31T20:38:24.717" CommentCount="12" ContentLicense="CC BY-SA 3.0" />
  <row Id="21499" PostTypeId="1" AcceptedAnswerId="21501" CreationDate="2017-05-25T20:31:34.547" Score="2" ViewCount="1968" Body="&lt;p&gt;I am fairly new to Premiere Pro and I have been having an issue related to exporting my videos. All of the videos I am working on right now are motion graphics/animation videos. For these projects I create high quality images in Flash, export them as PNGs, and then use those images in Premiere Pro to create animations/motion graphics. The issue I'm having is that no matter what export settings I use, some of the images have obvious pixelation on them in the final result, and the colors seem to get slightly darker, even though they look perfect in the editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As an example, here is a side by side comparison on the image in the editor, versus a screenshot from the final exported video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/U6Gxr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/U6Gxr.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will probably have to zoom in slightly to see the pixelation, but it's especially noticeable in thered are on the calendar image, on the orange circle attached to the email, and on the awning and sign over the shop entrance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The pixelation issue seems to be most obvious with the red/orange/yellow colors, but I have also seen it with other high saturation colors and some dark blues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any advice about why this might be happening and how I could fix it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've recently been reading about issues that can be caused by having &quot;broadcast illegal colors&quot;. Could this be related?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that this issue could be occurring due to my export settings and sequence settings, but no matter what ones I use this still seems to occur. The primary export settings I've used are H.264 with Vimeo 1080p as the preset, since that is where I'm uploading, but I also tried a few others and didn't see any differences. For sequence settings I have also tried a few options including DNX 1080p, AVC-Intra 100 1080p, and Custom settings, but haven found any success.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also read that I should try exporting with DNX HQ 1080p 29.97, but I don't know what to do with an MXF file, and some of the research Ive done shows Vimeo sometimes has trouble with them, so any advice there would also be appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, I think I've rambled enough for now. Any help you can provide would be greatly appreciated, and I'd be glad to answer any questions about the project settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="18875" LastActivityDate="2017-05-26T01:54:03.663" Title="Quality loss when exporting motion graphics videos in Premiere Pro" Tags="|premiere|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21501" PostTypeId="2" ParentId="21499" CreationDate="2017-05-26T01:54:03.663" Score="1" Body="&lt;p&gt;There are 2 things causing this issue:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Chroma sub-sampling. This is explained pretty well in &lt;a href=&quot;https://video.stackexchange.com/questions/5533/why-does-the-color-red-always-appear-pixelated-on-tv-and-videos-on-the-pc/5628#5628&quot;&gt;this answer&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Compression artifacts - For example, the mark above the &quot;1&quot;on the email notification is due to the way H.264 compresses data. This is known as &quot;ringing&quot; and is quite common with compression.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Some options for dealing with it include:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Avoid using saturated reds and blues especially in areas of high color contrast&lt;/li&gt;&#xA;&lt;li&gt;Use a codec or codec settings that don't exhibit ringing (easier said than done when you're uploading to a video service that may recompress it)&lt;/li&gt;&#xA;&lt;li&gt;Use settings to reduce how noticeable it is, such as turning on motion blur when exporting, so when things move, they exhibit softer edges&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, the reality is that TV is terrible for pure motion graphics. The subsampling that occurs makes it impossible to have nice crisp lines in saturated colors. And unfortunately, most of the codecs that work on all platforms are made to deliver TV and movies to users.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-05-26T01:54:03.663" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21503" PostTypeId="2" ParentId="21496" CreationDate="2017-05-26T02:58:43.880" Score="2" Body="&lt;p&gt;Ah!  Okay, so apparently you now right-click on the clip and select &quot;Speed..&quot; from the context menu.  The location of the mouse pointer when you right-click doesn't seem to matter.  Not sure if the location of the current playback point still determines the stable point during the speed change.&lt;/p&gt;&#xA;" OwnerUserId="10756" LastActivityDate="2017-05-26T02:58:43.880" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21505" PostTypeId="2" ParentId="21465" CreationDate="2017-05-26T03:56:25.697" Score="0" Body="&lt;p&gt;I agree with MoritzLost's answer, as everything he said was pretty much spot on. I can only assume that you're changing something in the video if you need to recompress it, ie. editing, graphics, something like that. If you're just archiving it, like Moritz said, get an external hard drive. Keep your files around then just delete them 5 years down the road when you realize you're never going to watch them again. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as the encoding part goes, I would recommend avoiding CS5's weak h264 encoder. If you have the time/hard disk space, I'd suggest encoding out of Premiere into something lossless (or close to lossless) like ProRes (or even ProRes HQ), or a near-lossless Windows equivalent, then running the resulting file through something like FFmpeg or Handbrake. The quality and filesize is quite a bit above what Adobe was using back in the CS5 days, and you get a bit more control over the encoding settings. Even though CC's Media Encoder is much better nowadays, I still find myself going to ProRes a lot. Then once you're done with your final encode, you can dump the ProRes file as needed. I know it's an extra step, but I've always been pleased with the results.&lt;/p&gt;&#xA;" OwnerUserId="18382" LastActivityDate="2017-05-26T03:56:25.697" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21506" PostTypeId="2" ParentId="19889" CreationDate="2017-05-26T04:07:55.257" Score="1" Body="&lt;p&gt;I know this question is a little old, but someone else might stumble across it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have had great success using the &lt;a href=&quot;https://www.videocopilot.net/blog/2016/03/new-plug-in-saber-now-available-100-free/&quot; rel=&quot;nofollow noreferrer&quot;&gt;VideoCopilot Saber Plugin&lt;/a&gt; for all kinds of effects including fire and fireballs. It's free and there are some great tutorials to get you started.&lt;/p&gt;&#xA;" OwnerUserId="18382" LastActivityDate="2017-05-26T04:07:55.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21507" PostTypeId="2" ParentId="20462" CreationDate="2017-05-26T04:27:13.047" Score="1" Body="&lt;p&gt;FYI the Canon 70D can't record for more than 29 minutes, 59 seconds at a time. If you're just streaming, look into the &lt;a href=&quot;https://www.blackmagicdesign.com/products/blackmagicwebpresenter&quot; rel=&quot;nofollow noreferrer&quot;&gt;BlackMagic Web Presenter&lt;/a&gt;. It can trick your computer into thinking that any HDMI or SDI source is a webcam.&lt;/p&gt;&#xA;" OwnerUserId="18382" LastActivityDate="2017-05-26T04:27:13.047" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21508" PostTypeId="2" ParentId="21485" CreationDate="2017-05-26T13:21:51.173" Score="1" Body="&lt;p&gt;The key &lt;strong&gt;-drop_second_field 1&lt;/strong&gt; fixed this issue. &lt;br&gt; And result command looks as follow: &lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -y -hwaccel cuvid -c:v h264_cuvid -deint 2 -drop_second_field 1&#xA;  -i &quot;udp://IP:PORT&quot; &lt;br&gt; -vcodec h264_nvenc -acodec libfdk_aac -f flv rtmp://IP/test/name&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;br&gt;&#xA;What I think about this problem: at the moment in cuda decoding we can use only 2 deinterlace variants: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;-deint 1 it's bob deinterlacing,&lt;/li&gt;&#xA;&lt;li&gt;-deint 2 it's adaptive deinterlacing.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Both of these variants are increase bitrate, because after deinterlacing each field(half of frame) displaying as frame (framerate is doubled) Bitrate is grow and if fps is variable we got timestamps issue. And when we enable drop second field then everything looks fine with bitrate and timestamps.&lt;/p&gt;&#xA;" OwnerUserId="14107" LastEditorUserId="14107" LastEditDate="2017-05-29T06:40:10.143" LastActivityDate="2017-05-29T06:40:10.143" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21509" PostTypeId="2" ParentId="20522" CreationDate="2017-05-26T14:03:45.613" Score="0" Body="&lt;p&gt;This is an extremely broad question, but I'll do my best to provide a quick surface overview.  Producing good quality video is HARD.  To put it in perspective, I'm working on an indie level web series right now and I'd guess it takes probably around 10 man hours of work per minute of video.  Making a successful video involves lots of planning and high quality execution, all of which takes time and a variety of different skills.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You start out with writing.  The concept of the show needs to be flushed out.  Improv is an option, but the basic premise still needs to be there and the topics, items to test, etc all need to be determined in a way that gives the foundation for producing content that holds together and is interesting to viewers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you need to begin producing the video.  This involves gathering and organizing the resources you will need to make the video.  You will need products to test, your cast is already selected, but you'll need crew (possibly yourself for now) and equipment that can be used for actual production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once everything you need for production is gathered, you have to actually execute the production.  This involves making sure you have good sets, lighting, sound, video, etc.  You need to make sure that the video both looks and sounds good and that there is good content in the raw footage you shoot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next, you move in to post production once all the footage is shot.  This is when you work on editing the footage in to the final consumable form.  You have to work out pacing of the content and add any post production elements like titles and graphics and any additional sounds in order to make sure that the final product is interesting to watch.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, you move in to release and marketing.  In this case, you've already decided that you want to release on Youtube, but just putting a video up on Youtube isn't going to get people to watch it quickly.  You need to let people know about the video and raise awareness about it.  This can be as simple as making social media posts about the videos to your various networks or as complicated as actual paid advertising to reach out beyond your direct network.  You might also consider trying to get news coverage of the show for some free marketing if you can get any news sources to pick up the story.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As an added bonus, there is also the luck factor.  Even if you do everything completely wrong, there is a large luck factor in any release, especially on places like Youtube.  Certainly well maintained and high production value channels tend to have the most staying power, but just about any video has the possibility of going viral regardless of almost any other factors if the stars align just right.  Even if you do everything right, there is still no guarantee of success.  It's notoriously hard to tell what people will or won't find interesting and even major large budget projects fall victim to this.  It comes down to how things strike people's fancy and people are fickle.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-05-26T14:03:45.613" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21510" PostTypeId="2" ParentId="21430" CreationDate="2017-05-26T14:14:42.637" Score="1" Body="&lt;p&gt;Looks like masking.  Masking lets you select an areas of the screen to allow video to show through on from another layer while preventing it on other parts.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the second clip, a very rough mask would be sufficient since it isn't near anything in the foreground and may have just been placed there without any masking.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the first clip, there is interaction with the foreground, so the guitarist would have had to been masked, with adjustments made frame by frame (possibly automatically, possibly manually) and this mask used to obscure the dinosaur behind the guitarist, but in front of the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A green screen is also possible as user1118321 mentioned, but certainly not necessary and some of the lighting queues seem to indicate it was likely shot outside as indicated, otherwise the quality of the green screen work is much higher than the quality of the animation work itself.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-05-26T14:14:42.637" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21511" PostTypeId="2" ParentId="20522" CreationDate="2017-05-26T18:25:08.577" Score="0" Body="&lt;p&gt;YouTube is the answer to YouTube. There are plenty of Videos on how-to everything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see other people's Format (and comments) so you don't copy the bad ideas or compete with a far better Channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From learning what is current and what other people have done, to finding out which Camera is recommended (and what Settings / Bitrate / Format). It's all there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;10's of thousands of hours of lessons.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-05-26T18:25:08.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21513" PostTypeId="1" CreationDate="2017-05-26T22:51:52.377" Score="2" ViewCount="3852" Body="&lt;p&gt;I have a MPEG-4 Simple Profile video with size 720x288, pixel aspect ratio of 2:21:1 (ffmpeg says SAR 1:1, DAR 5:2).&#xA;I'm trying to use the command I usually use to convert it do DVD format:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inputfile.avi -target pal-dvd outputfile.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This produces a 720x576 video which plays fine with video players on the PC. But when I try to burn this to a DVD (with 16:9 aspect ratio), the image is stretched. Playing around with VLC, I understand the video has a pixel aspect ratio of 2:21:1, so when reproduced at 16:9 images are vertically stretched.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would have expected &quot;-target pal-dvd&quot; to fix this automatically, but it does not. I read some information on the Internet and I think the key is about setting the correct sar/dar, but I tried some combination and I was not able to obtain the result I want, probably because I don't perfectly understand the logic to determine the right values to set.&#xA;It's fine for me to have black bands over and below the image, but the video aspect ratio must be preserved, of course.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By the way, I'm getting the same results with avconv instead of ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="19023" LastActivityDate="2017-06-18T14:20:21.900" Title="How to convert a 2:21:1 video to 16:9 DVD using ffmpeg?" Tags="|ffmpeg|aspect|avconv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21514" PostTypeId="1" AcceptedAnswerId="21515" CreationDate="2017-05-27T00:15:38.673" Score="1" ViewCount="162" Body="&lt;p&gt;Why does it seem to be so difficult to simply change a video's container? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, when I download &quot;.avi&quot; &amp;amp; &quot;.mkv&quot; video's from the internet &amp;amp; want to watch them on my Apple devices (iPhone, iPad, Apple TV), I need them to be &quot;.mp4&quot; instead. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't want to spend the time to go through the whole &quot;conversion/transcoding&quot; process with apps like &lt;strong&gt;Handbrake&lt;/strong&gt; when it seems you can simply change their containers out with apps like &lt;strong&gt;Mkv2Mp4&lt;/strong&gt; or the old &lt;strong&gt;Video Container Switcher&lt;/strong&gt; apps &lt;em&gt;in a fraction of the time&lt;/em&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Problem is, when I use those container changing utilities, various problems arise, like...&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;having mp4's with audio out of sync, or&lt;/li&gt;&#xA;&lt;li&gt;having mp4's with no audio at all, or&lt;/li&gt;&#xA;&lt;li&gt;having mp4's with very jittery video. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I love the speed of these container changing apps but why don't the video's play exactly the same since they're not actually converting the codecs &amp;amp; such?&lt;/p&gt;&#xA;" OwnerUserId="19024" LastEditorDisplayName="user10383" LastEditDate="2017-06-28T23:56:18.973" LastActivityDate="2017-06-29T01:15:57.907" Title="Converting Container Problems" Tags="|mp4|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21515" PostTypeId="2" ParentId="21514" CreationDate="2017-05-27T00:47:27.110" Score="0" Body="&lt;p&gt;&lt;strong&gt;First reason:&lt;/strong&gt;&lt;br&gt;&#xA;Videos / audios in &lt;code&gt;AVI&lt;/code&gt; or &lt;code&gt;MKV&lt;/code&gt; containers may be encoded by &lt;em&gt;various&lt;/em&gt; codecs, and not all them are supported by &lt;code&gt;MP4&lt;/code&gt; containters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Second reason:&lt;/strong&gt;&lt;br&gt;&#xA;Containers are more than &lt;em&gt;simple boxes for videos, audios, subtitles, etc.&lt;/em&gt; with some &lt;em&gt;not so important metadata&lt;/em&gt; as author or date/time. They have a &lt;em&gt;lot of unevitable valuable information&lt;/em&gt;, e. g. the synchronization between audio and video is possible &lt;em&gt;only due to it&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So there is not a reliable algorithm to convert any &lt;code&gt;AVI&lt;/code&gt; -&gt; &lt;code&gt;MP4&lt;/code&gt; or any &lt;code&gt;MKV&lt;/code&gt; -&gt; &lt;code&gt;MP4&lt;/code&gt; (and, generally speaking, from one type of container to a different one) &lt;em&gt;without changing the streams&lt;/em&gt; (audios, videos, etc.) contained in them - the result may be similar to the one you described.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2017-05-27T01:10:50.423" LastActivityDate="2017-05-27T01:10:50.423" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21516" PostTypeId="2" ParentId="21513" CreationDate="2017-05-27T06:11:00.800" Score="2" Body="&lt;p&gt;Having seen the sample, this is the command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.avi -vf pad=720:576:0:144,setdar=4/3 -target pal-dvd out.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The video is square-pixel, so scaling is not required. The frame should be treated as 4:3, not 16:9 (which isn't the right ratio for this movie anyway).&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;For widescreen playback in the PAL standard, your rendered raster has to be 1024x576. So,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.avi -vf scale=1024:288,pad=1024:576:0:144 -target pal-dvd out.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;scale=1024:288&lt;/code&gt; --&gt; the video is scaled to the final display width.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;pad=1024:576:0:144&lt;/code&gt; --&gt; vertical pixels are added to make it to 1024x576.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-target pal-dvd&lt;/code&gt; --&gt; this will rescale the video to 720x576 and set a DAR of 16:9.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-06-18T14:20:21.900" LastActivityDate="2017-06-18T14:20:21.900" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="21517" PostTypeId="1" AcceptedAnswerId="21520" CreationDate="2017-05-27T15:35:20.803" Score="0" ViewCount="1636" Body="&lt;p&gt;so I'm editing a video for YouTube and I'm having some trouble.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want some clips in the video to play at low FPS (8fps or so), they are recorded at 8fps but, I'm speeding them up (I, however, still want them to play at 8fps)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did it by setting the project fps to 8fps. The actual problem is, other clips, I want them to play at 30 fps but as the project fps are 8, they cannot. If I set project fps to 30, then the videos recorded at 8fps that I have speed up will play at 15fps, 20fps, depending on how much I speed them up, but I want those to play at 8fps always.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help?&lt;/p&gt;&#xA;" OwnerUserId="19028" LastActivityDate="2017-05-27T21:00:32.450" Title="Different FPS on different clips (premiere pro)" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21520" PostTypeId="2" ParentId="21517" CreationDate="2017-05-27T21:00:32.450" Score="0" Body="&lt;p&gt;What you want to use to have a clip play back at a lower frame rate is the &lt;strong&gt;Posterize Time&lt;/strong&gt; effect. It's pretty straightforward and self-explanatory. Just find the effect in the &lt;em&gt;Effects&lt;/em&gt; panel under &lt;em&gt;Video Effects&lt;/em&gt; → &lt;em&gt;Time&lt;/em&gt; → &lt;em&gt;Posterize Time&lt;/em&gt; and apply it to your clip. Then select the clip, open the &lt;em&gt;Effect Controls&lt;/em&gt; panel and set the Frame Rate parameter of the effect to 8 (in your case). Then you're pretty much done. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To apply that effect to multiple clips at once, you can use an adjustment layer. Create a new adjustment layer (&lt;em&gt;File&lt;/em&gt; → &lt;em&gt;New&lt;/em&gt; → &lt;em&gt;Adjustment Layer&lt;/em&gt;) and put it above your clips in the time line. Then apply the Posterize Time effect to the adjustment layer. It will affect all clips in all video layers below the adjustment layer.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-05-27T21:00:32.450" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21521" PostTypeId="1" CreationDate="2017-05-28T00:29:54.427" Score="1" ViewCount="310" Body="&lt;p&gt;Two questions regarding this screencap:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bS5dh.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/bS5dh.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;What's the &lt;strong&gt;technical name for this&lt;/strong&gt;? (where you impose a PIP that contains transparency, via a green screen, so there's no rectangular border)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;(reason why I want to know the technical name: so that I can search for that feature while evaluating alternative video editing programs.)&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;What FLOSS (free libre open source software) programs for Windows PC platform are out there that will let me do this? Portable programs will get first attention from me.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6593" LastEditorUserId="6593" LastEditDate="2017-05-28T02:48:51.293" LastActivityDate="2017-05-28T03:00:09.410" Title="Technical name for this? (PIP picture in picture with transparent background via green screen, chroma key)" Tags="|video-editor|editing|greenscreen|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21522" PostTypeId="2" ParentId="21521" CreationDate="2017-05-28T03:00:09.410" Score="2" Body="&lt;ol&gt;&#xA;&lt;li&gt;The technical name for this is a &lt;a href=&quot;https://en.wikipedia.org/wiki/Digital_on-screen_graphic&quot; rel=&quot;nofollow noreferrer&quot;&gt;&quot;bug&quot;&lt;/a&gt;. Usually the context is that it's an advertisement for another show on the same network, or it's a network logo rather than part of the content.&lt;/li&gt;&#xA;&lt;li&gt;I'm not very familiar with Windows software, but &lt;a href=&quot;https://www.shotcut.org/features/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Shot Cut&lt;/a&gt; is free and includes compositing functions.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-05-28T03:00:09.410" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21526" PostTypeId="1" CreationDate="2017-05-29T01:25:54.570" Score="2" ViewCount="28" Body="&lt;p&gt;Many famous directors like Tarantino and De Palma use diopters to have something close and far away in focus. This often produces a line down the center where the focal split occurs. My question is: Why don't they just use a large DOF like F8-12 or similar?&lt;/p&gt;&#xA;" OwnerUserId="10619" LastEditorUserId="14523" LastEditDate="2017-05-30T18:04:05.340" LastActivityDate="2017-05-30T18:04:05.340" Title="Use of diopters" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21528" PostTypeId="1" AcceptedAnswerId="21530" CreationDate="2017-05-29T11:04:44.003" Score="3" ViewCount="2841" Body="&lt;p&gt;Is there an actual H.264 file or is it just the codec that renders the video into an .mp4 or .mov file? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For an application, I have to hand in a portfolio with videos. Their website says that, &quot;Videos have to be H264 format and pictures JPEG.&quot; Now, JPEG is a file format as well as a compression codec. But I've never heard of H.264 as a file format before. Is it possible to render video into an &quot;H.264 file&quot; or should I encode my videos as H.264 into an MP4 container?&lt;/p&gt;&#xA;" OwnerUserId="19042" LastEditorUserId="14523" LastEditDate="2017-05-30T18:03:26.733" LastActivityDate="2017-05-30T18:03:26.733" Title="Is H264 an actual file format?" Tags="|video|mp4|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21529" PostTypeId="2" ParentId="14508" CreationDate="2017-05-29T13:00:26.070" Score="3" Body="&lt;p&gt;I believe I have a solution. Render the video, put it into Vegas again and apply &quot;Sony Levels&quot; with &quot;Computer RGB to Studio RGB&quot;. Worked for me.&lt;/p&gt;&#xA;" OwnerUserId="19043" LastActivityDate="2017-05-29T13:00:26.070" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21530" PostTypeId="2" ParentId="21528" CreationDate="2017-05-29T14:02:56.977" Score="3" Body="&lt;p&gt;I'd bet cash money they don't know what they're talking about when they say h264 format. There is a raw h.264 bitstream format, with the file suffix .264, but it's pretty obscure (I can't duckduckgo any actual documentation on what it's for, possibly when dealing with live streams from cameras). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Give them an mp4 encoded with h.264 codec - it's a format you can be pretty certain anyone with software that's not completely obsolete can play. Conversely a .264 stream is fairly well guaranteed to be unplayable in all but rather specialist settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you have any doubts you could ask them if h.264 encoded mp4 is what they mean.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-05-29T14:02:56.977" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21531" PostTypeId="2" ParentId="21526" CreationDate="2017-05-29T14:14:30.933" Score="3" Body="&lt;p&gt;Even small apertures won't &lt;a href=&quot;http://www.dofmaster.com/doftable.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;always give you enough DOF&lt;/a&gt; if you're on say a long lens. For example, with a full frame 35mm sensor on a 50mm lens at ƒ22 if my front subject is 1.13m away, my DOF only extends to 2.23m. If your sensor is larger it's even worse.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shutting down the aperture means you need more light on the scene. This can be impossible or undesirable. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For film this was particularly true - depending on what stock you're shooting (which is a creative choice) your effective ISO could be quite low, like 100 or &lt;a href=&quot;http://www.kodak.com/US/en/motion/Products/Production/5203/default.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;even 50&lt;/a&gt;. So you might not even have the luxury of shutting down that much without having to punch a truckload of light into the scene.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-05-29T14:14:30.933" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21532" PostTypeId="1" AcceptedAnswerId="21536" CreationDate="2017-05-29T17:53:04.093" Score="1" ViewCount="118" Body="&lt;p&gt;I own a &lt;a href=&quot;https://pro.sony.com/bbsc/ssr/micro-nxcamsite/resource.latest.bbsccms-assets-micro-nxcam-latest-hxrnx30.shtml&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sony HXR-NX30U&lt;/a&gt; which has two XLR input ports. I would like to use both, the directional built in shotgun mic and a lapel mic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is that possible? In other words:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Does the camera support it?&lt;/li&gt;&#xA;&lt;li&gt;If so, would both channels be in the same mp4 file?&lt;/li&gt;&#xA;&lt;li&gt;Will iMovie see both channels?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Thank you in advance!&lt;/p&gt;&#xA;" OwnerUserId="19044" LastEditorUserId="10931" LastEditDate="2017-05-31T09:57:40.220" LastActivityDate="2017-05-31T09:57:40.220" Title="Can a SONY HXR-NX30U camera record two external audio inputs?" Tags="|video|audio|mp4|imovie|microphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21535" PostTypeId="1" CreationDate="2017-05-29T20:11:11.253" Score="0" ViewCount="500" Body="&lt;p&gt;I have a DVD (a concert recording) which uses the multi angle feature for 3 different angles. I just encoded it with Handbrake on 3 separate but identical machines (all of the same model and maker, same version of Handbrake and same encoding settings), each encoding a different angle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem: my thought was that mkvmerge would be able to do some deduplication for me where possible, so that where the same group of pictures appears in the streams it would only store it once in the output file, but the sum of all input files is equal to the output file, thus resulting in a file that is as big as the raw data of the DVD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More background info: Of course the DVD has chapters, if you skip through these, they show identical scenes on all 3 streams, however if you seek a bit further inside the chapter you can see different camera angles. So by just looking at it there is the same and also different content, using Matroska's editions would be very labor intensive and I think I would have to encode the entire thing again once I figured out where all the different scenes are.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I achieve a smaller file size in this case? I thought since Matroska incorporates advanced features like VFR that there would also be some way to handle this. Would it help to enable compression in mkvmerge/mkvtoolnix-gui (it has been disabled by default after some releases) or some other Matroska writing library or application, if so where and how?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just played the output file with VLC, selecting a different video stream opens up a new window for each stream on Ubuntu 16.04, so I can view all 3 angles at the same time (indeed they all show different camera perspectives from time to time), not what I expected or had in mind, but interesting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the details of the streams:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video&#xA;Format                                   : HEVC&#xA;Codec                                    : V_MPEGH/ISO/HEVC&#xA;Codec profile                            : Main@L3@Main&#xA;Duration                                 : 01:16:26:00&#xA;Bit rate                                 : 1 983 Kbps&#xA;Width                                    : 694 pixels&#xA;Height                                   : 576 pixels&#xA;Frame rate mode                          : CFR&#xA;Frame rate                               : 25.000 fps&#xA;Frame count                              : 114650&#xA;Colorimetry                              : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Stream size                              : 1.06 GiB (74%)&#xA;Writing library                          : x265 2.1:[Windows][GCC 5.3.1][64 bit] 8bit&#xA;Encoding settings                        : wpp / ctu=64 / min-cu-size=8 / max-tu-size=32 / tu-intra-depth=2 / tu-inter-depth=2 / me=3 / subme=3 / merange=57 / rect / amp / max-merge=3 / temporal-mvp / no-early-skip / rskip / rdpenalty=0 / no-tskip / no-tskip-fast / strong-intra-smoothing / no-lossless / no-cu-lossless / no-constrained-intra / no-fast-intra / open-gop / no-temporal-layers / interlace=0 / keyint=250 / min-keyint=25 / scenecut=40 / rc-lookahead=30 / lookahead-slices=0 / bframes=8 / bframe-bias=0 / b-adapt=2 / ref=4 / limit-refs=2 / limit-modes / weightp / weightb / aq-mode=1 / qg-size=32 / aq-strength=1.00 / cbqpoffs=0 / crqpoffs=0 / rd=6 / psy-rd=2.00 / rdoq-level=2 / psy-rdoq=1.00 / log2-max-poc-lsb=8 / no-rd-refine / signhide / deblock=0:0 / sao / no-sao-non-deblock / b-pyramid / cutree / no-intra-refresh / rc=crf / crf=20.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / ipratio=1.40 / pbratio=1.30&#xA;Color primaries                          : BT.601 PAL&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.601&#xA;&#xA;Video&#xA;Format                                   : HEVC&#xA;Codec                                    : V_MPEGH/ISO/HEVC&#xA;Codec profile                            : Main@L3@Main&#xA;Duration                                 : 01:16:26:00&#xA;Bit rate                                 : 2 095 Kbps&#xA;Width                                    : 694 pixels&#xA;Height                                   : 576 pixels&#xA;Frame rate mode                          : CFR&#xA;Frame rate                               : 25.000 fps&#xA;Frame count                              : 114650&#xA;Colorimetry                              : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Stream size                              : 1.12 GiB (98%)&#xA;Writing library                          : x265 2.1:[Windows][GCC 5.3.1][64 bit] 8bit&#xA;Encoding settings                        : wpp / ctu=64 / min-cu-size=8 / max-tu-size=32 / tu-intra-depth=2 / tu-inter-depth=2 / me=3 / subme=3 / merange=57 / rect / amp / max-merge=3 / temporal-mvp / no-early-skip / rskip / rdpenalty=0 / no-tskip / no-tskip-fast / strong-intra-smoothing / no-lossless / no-cu-lossless / no-constrained-intra / no-fast-intra / open-gop / no-temporal-layers / interlace=0 / keyint=250 / min-keyint=25 / scenecut=40 / rc-lookahead=30 / lookahead-slices=0 / bframes=8 / bframe-bias=0 / b-adapt=2 / ref=4 / limit-refs=2 / limit-modes / weightp / weightb / aq-mode=1 / qg-size=32 / aq-strength=1.00 / cbqpoffs=0 / crqpoffs=0 / rd=6 / psy-rd=2.00 / rdoq-level=2 / psy-rdoq=1.00 / log2-max-poc-lsb=8 / no-rd-refine / signhide / deblock=0:0 / sao / no-sao-non-deblock / b-pyramid / cutree / no-intra-refresh / rc=crf / crf=20.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / ipratio=1.40 / pbratio=1.30&#xA;Color primaries                          : BT.601 PAL&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.601&#xA;&#xA;Video&#xA;Format                                   : HEVC&#xA;Codec                                    : V_MPEGH/ISO/HEVC&#xA;Codec profile                            : Main@L3@Main&#xA;Duration                                 : 01:16:26:00&#xA;Bit rate                                 : 3 143 Kbps&#xA;Width                                    : 694 pixels&#xA;Height                                   : 576 pixels&#xA;Frame rate mode                          : CFR&#xA;Frame rate                               : 25.000 fps&#xA;Frame count                              : 114650&#xA;Colorimetry                              : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Stream size                              : 1.68 GiB (98%)&#xA;Writing library                          : x265 2.1:[Windows][GCC 5.3.1][64 bit] 8bit&#xA;Encoding settings                        : wpp / ctu=64 / min-cu-size=8 / max-tu-size=32 / tu-intra-depth=2 / tu-inter-depth=2 / me=3 / subme=3 / merange=57 / rect / amp / max-merge=3 / temporal-mvp / no-early-skip / rskip / rdpenalty=0 / no-tskip / no-tskip-fast / strong-intra-smoothing / no-lossless / no-cu-lossless / no-constrained-intra / no-fast-intra / open-gop / no-temporal-layers / interlace=0 / keyint=250 / min-keyint=25 / scenecut=40 / rc-lookahead=30 / lookahead-slices=0 / bframes=8 / bframe-bias=0 / b-adapt=2 / ref=4 / limit-refs=2 / limit-modes / weightp / weightb / aq-mode=1 / qg-size=32 / aq-strength=1.00 / cbqpoffs=0 / crqpoffs=0 / rd=6 / psy-rd=2.00 / rdoq-level=2 / psy-rdoq=1.00 / log2-max-poc-lsb=8 / no-rd-refine / signhide / deblock=0:0 / sao / no-sao-non-deblock / b-pyramid / cutree / no-intra-refresh / rc=crf / crf=20.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / ipratio=1.40 / pbratio=1.30&#xA;Color primaries                          : BT.601 PAL&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.601&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Edit: a good explanation why this cannot work will also be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="10541" LastEditorUserId="10541" LastEditDate="2017-05-29T20:18:42.913" LastActivityDate="2017-05-30T05:18:01.530" Title="Is there any way to efficently compress multiangle recordings?" Tags="|mkv|h265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21536" PostTypeId="2" ParentId="21532" CreationDate="2017-05-30T00:08:03.627" Score="3" Body="&lt;p&gt;Pages 41-43 of the HXR-NX30U manual tells you exactly how to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First of all, the &quot;superdirectional boom mic&quot; is an accessory that overrides the &quot;builtin mic&quot; (which is much smaller and not a boom mic).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Secondly, if you want to use both the boom mic and a lapel mic, you definitely need to use the XLR adapter, which will override the builtin (non-boom) mic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you set the switches correctly so that the boom mic is going to one channel (perhaps Ch 1) and the lapel mic is going to the other channel (perhaps Ch 2), then yes, both channels will be recorded to the media file that the camera records.  And iMovie will see both channels within the clip.  You might have to fight with iMovie to explain that the audio is dual-mono, not stereo, but that's an iMovie question, not a SONY question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure that if your microphone needs phantom (+48v) power, that phantom power is enabled on that channel.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2017-05-31T09:55:45.773" LastActivityDate="2017-05-31T09:55:45.773" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21538" PostTypeId="2" ParentId="21535" CreationDate="2017-05-30T05:18:01.530" Score="2" Body="&lt;p&gt;The name for this feature is &lt;a href=&quot;https://en.wikipedia.org/wiki/Multiview_Video_Coding&quot; rel=&quot;nofollow noreferrer&quot;&gt;Multiview Video Coding&lt;/a&gt; (MVC):&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;an stereoscopic video coding standard for video compression that&#xA;  allows for the efficient encoding of video sequences captured&#xA;  simultaneously from multiple camera angles in a single video stream&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Can't be done, at present. Not using open source tools. There may be academic or commercial encoders that can do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any case, the primary design motivation of MVC is to efficiently compress the two views of a stereoscopic 3D stream, which are very similar to each other. I have my doubts it would be efficient if the camera angles are sufficiently different.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;In your case, each angle is an independent video stream and is encoded accordingly. The container (Matroska) is simply just that, it packages the data - it has no ability or business to consolidate the data within or among video streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would be the job of the encoder - in this case, x265 - to work with all 3 streams, and produce a single output stream that can store all views efficiently. And the job of a compliant decoder to reproduce those 3 angles if given such an encoded stream. But Handbrake or FFmpeg ..etc don't sport MVC encoders (or decoders).&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-05-30T05:18:01.530" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21539" PostTypeId="1" AcceptedAnswerId="21542" CreationDate="2017-05-30T07:17:19.287" Score="2" ViewCount="50" Body="&lt;p&gt;To transfer digital video signals to a known distance/length, like &quot;L&quot;, I need to calculate which type/grade of coaxial cable I need to implement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering what is the industry/best practice for doing such calculations. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="19052" LastActivityDate="2017-05-31T15:36:54.797" Title="Calculate coaxial cable type/grade to transfer digital video signals to a known distance/length" Tags="|video|digital-recording|digital|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21540" PostTypeId="2" ParentId="21084" CreationDate="2017-05-30T08:49:24.893" Score="13" Body="&lt;p&gt;While you might be able to achieve this by manually using ffmpeg's &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;noreferrer&quot;&gt;crop&lt;/a&gt; filter, the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#stereo3d&quot; rel=&quot;noreferrer&quot;&gt;stereo3d filter&lt;/a&gt; is designed specifically for this purpose. You didn't specify the exact 3d format you have. There are several possibilities as documented at the the stereo3d link above. Assuming that &lt;code&gt;input.mkv&lt;/code&gt; is the relatively common sbsl (side-by-side left eye on left), &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -vf stereo3d=sbsl:ml -metadata:s:v:0 stereo_mode=&quot;mono&quot; output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;will result in a 2d (left eye only) &lt;code&gt;output.mkv&lt;/code&gt;. I believe the reason &lt;code&gt;-metadata:s:v:0 stereo_mode=&quot;mono&quot;&lt;/code&gt; is required to remove the stereo tag is because the metadata isn't piped through the filter system, and ffmpeg otherwise tries to duplicate the metadata of the original. If you don't do this, some players may think your 2d result is still 3d and do weird things. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you find that the result has the wrong aspect ratio, you can experiment with using &lt;code&gt;stereo3d=sbsl2:ml&lt;/code&gt; instead which treats the input as half width side-by-side. If all else fails, you can set the correct aspect with &lt;code&gt;-aspect 16:9&lt;/code&gt; (or whatever you know the correct aspect ratio to be).&lt;/p&gt;&#xA;" OwnerUserId="19053" LastActivityDate="2017-05-30T08:49:24.893" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21542" PostTypeId="2" ParentId="21539" CreationDate="2017-05-30T11:37:05.963" Score="3" Body="&lt;p&gt;Major cable suppliers such as &lt;a href=&quot;http://www.belden.com/docs/upload/Recommended_Transmission_Distance_Chart.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;Belden&lt;/a&gt; and &lt;a href=&quot;http://www.gepco.com/PDF_files/npu_SDICoax_DistanceChart.pdf?v=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;GEPCO&lt;/a&gt; publish guides that correlate at least two factors:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Signal bandwidth or SMPTE standard (standard def, HD, 3G, etc)&lt;/li&gt;&#xA;&lt;li&gt;Cable length&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;There are three other factors that make a difference: the quality of the connectors, the quality of the physical installation of the connectors on the cables, and the quality of the signal drivers (distribution amplifiers).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One industry best practice is to use the conservative numbers published in the guide,  using only the best-quality connectors matched with the cable type in question.  The cheapest and/or lightest and/or smallest diameter cable is then selected from the available options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another best practice is to use the &quot;up to&quot; numbers published in the guide and then measure whether or not the level of signal loss is acceptable for the given connectors, drivers, and receivers of your actual devices, using the cheapest, lightest, and/or smallest diameter cable that appears feasible.  This can be done before actual installation of the cable, but not before acquiring all the relevant video sources and sinks, and not before actually cutting a maximal length of cable(s) to test it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cable manufacturers publish their specifications. &lt;a href=&quot;http://www.belden.com/blog/broadcastav/The-Key-to-Video-Cable-Performance.cfm&quot; rel=&quot;nofollow noreferrer&quot;&gt;Steve Lampen explains about Belden does their calculations&lt;/a&gt; and what happens as you approach the high end of the cables maximum length. Best to use those specs for your calculations, not some random number that you find on wikipedia for a &quot;generic&quot; cable.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="14523" LastEditDate="2017-05-31T15:36:54.797" LastActivityDate="2017-05-31T15:36:54.797" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21544" PostTypeId="1" AcceptedAnswerId="21553" CreationDate="2017-05-30T23:36:46.347" Score="1" ViewCount="3460" Body="&lt;p&gt;I have an AVI file &lt;code&gt;input.avi&lt;/code&gt; encoded in &lt;code&gt;HQ&lt;/code&gt; which has &lt;code&gt;yuv422&lt;/code&gt; format according to &lt;code&gt;ffprobe&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, if I run the following command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -c:v libx264 -crf 0 -pix_fmt yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Will the &lt;code&gt;out.mp4&lt;/code&gt; be lossless compared with &lt;code&gt;input.avi&lt;/code&gt;? or it will be 'lossless' except half of the &lt;code&gt;U&lt;/code&gt; and &lt;code&gt;V&lt;/code&gt; information is lost?&lt;/p&gt;&#xA;" OwnerUserId="18532" LastEditorUserId="18532" LastEditDate="2017-05-31T01:22:41.720" LastActivityDate="2017-05-31T07:34:31.603" Title="What does it mean when encode a yuv422 file to yuv420 by libx264 lossless encoding?" Tags="|ffmpeg|libx264|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21545" PostTypeId="1" CreationDate="2017-05-31T02:41:38.443" Score="2" ViewCount="398" Body="&lt;p&gt;According to this &lt;a href=&quot;https://www.youtube.com/watch?v=3GJUM6pCpew&quot; rel=&quot;nofollow noreferrer&quot;&gt;video&lt;/a&gt;, we use 29.97fps under NTSC standard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But now we have ATSC standard, do we still need 29.97fps in order to broadcast under ATSC?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it still meaningful to have a newly created video with 29.97fps?&lt;/p&gt;&#xA;" OwnerUserId="18532" LastActivityDate="2017-05-31T23:02:21.777" Title="Is it still meaningful to have 29.97fps under ATSC standard?" Tags="|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21547" PostTypeId="1" CreationDate="2017-05-31T04:55:47.250" Score="0" ViewCount="615" Body="&lt;p&gt;I have a bunch of separately recorded audio and video tracks that I need to sync. By sync (synch?) I mean align the two tracks so that the audio matches as closely as possible. The two tracks are recorded from different mics (a boom mic attached to a sound recorder and the built in crappy mic on a camera), so they're not exactly the same. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can do it with Resolve or Premiere etc., but using a GUI app is soo tedious. I feel like this is the sort of thing that ffmpeg should be able to do, but I can't find anything. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any command line programs that will sync two clips using their audio?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-05-31T04:55:47.250" Title="Is there command line software that syncs two audio tracks" Tags="|ffmpeg|audio|sync|command-line|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="21548" PostTypeId="1" AcceptedAnswerId="21549" CreationDate="2017-05-31T05:00:15.790" Score="1" ViewCount="98" Body="&lt;p&gt;According to this &lt;a href=&quot;https://ffmpeg.org/ffmpeg-utils.html#Video-rate&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg documentation&lt;/a&gt;, it seems one of the 'native' frame rate for &lt;code&gt;ffmpeg&lt;/code&gt; is&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;'ntsc':   30000/1001&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;while 30000/1001=29.9700... does not equal to 29.97, I wonder if a Sony Pro camera really means it shots in 29.97, not 30000/1001?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that Sony camera does shot in exact 29.97fps, I suppose we should keep the 29.97fps, should not change the fps of the video file to 30000/1001?&lt;/p&gt;&#xA;" OwnerUserId="18532" LastActivityDate="2017-05-31T05:15:03.953" Title="A Sony Pro camera's spec shows it shots in 29.97fps, does it really mean it?" Tags="|ffmpeg|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21549" PostTypeId="2" ParentId="21548" CreationDate="2017-05-31T05:15:03.953" Score="3" Body="&lt;p&gt;&lt;code&gt;29.97&lt;/code&gt; is shorthand for 30000/1001. There is no &lt;code&gt;29.970000...&lt;/code&gt; frame rate standard. FFmpeg will keep the native framerate (usually), so no need to specify an output &lt;code&gt;-r&lt;/code&gt; value.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-05-31T05:15:03.953" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21550" PostTypeId="1" CreationDate="2017-05-31T06:02:10.327" Score="2" ViewCount="4880" Body="&lt;p&gt;I am trying to output a screenshot of a video at an specified time and the resulting picture should have a black square with the time that was given initially.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I was only able to produce a screenshot using vframes from the example at the documentation on ffmpeg page which is this below:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.flv -ss 00:00:14.435 -vframes 1 out.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But I would like to add a timestamp in the resulting thumbnail or capture of the video which would show that '00:00:14.435' using arial fontface and a black square as background an yellow as fontcolor. Can this be done?.&lt;/p&gt;&#xA;" OwnerUserId="19063" LastActivityDate="2017-10-29T08:50:02.853" Title="How to add a time stamp using ffmpeg to a screenshot capture of a video" Tags="|ffmpeg|video-capture|thumbnails|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21551" PostTypeId="1" AcceptedAnswerId="21554" CreationDate="2017-05-31T06:21:45.090" Score="-1" ViewCount="95" Body="&lt;p&gt;What tool may be used for creation of videos (e.g. AVI containers) with multiple audio tracks?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I mean the tracks which may be switched independently, like different languages on a DVD.&lt;/p&gt;&#xA;" OwnerUserId="19035" LastActivityDate="2017-05-31T07:44:08.743" Title="Which tool is capable to create avi with multiple audio tracks?" Tags="|video|audio|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21553" PostTypeId="2" ParentId="21544" CreationDate="2017-05-31T07:34:31.603" Score="1" Body="&lt;p&gt;To directly compare the YUV422P AVI and YUV420P MP4,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -i out.mp4&#xA;   -filter_complex&#xA;      &quot;[0]format=yuv420p,split[avi-p][avi-s];&#xA;       [1][avi-p]psnr;[1][avi-s]ssim&quot; -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-05-31T07:34:31.603" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21554" PostTypeId="2" ParentId="21551" CreationDate="2017-05-31T07:44:08.743" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt;, a free command line tool, can do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A syntax example can be provided if you describe your workflow.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-05-31T07:44:08.743" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21555" PostTypeId="1" CreationDate="2017-05-31T10:07:57.383" Score="1" ViewCount="1446" Body="&lt;p&gt;I'm struggling to find an optimal workflow with Resolve 14 involving XAVC-S video. I need to transcode to ProRes 422 (HQ) to edit and grade within Resolve. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;At present I am bringing all my source intoResolve and Media Management to transcode the footage to a directory on my media drive. I am then creating a new Resolve project and importing the transcoded footage, editing and grading. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This workflow feels a bit clunky. Is there a way of handling the transcoding within a single project?&lt;/p&gt;&#xA;" OwnerUserId="6532" LastActivityDate="2018-11-19T15:48:19.710" Title="Resolve Transcoding Workflow" Tags="|transcoding|davinci-resolve|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21557" PostTypeId="2" ParentId="21379" CreationDate="2017-05-31T15:45:00.597" Score="2" Body="&lt;p&gt;Another way to accomplish this would be to simply use a one way mirror and only light inside the room of mirrors.  A one way mirror or half-silvered mirror (also sometimes called a two way mirror) is designed such that which ever side is brighter reflects light while the darker side can see through to the brighter side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the same concept used in teleprompters to display text to a presenter while the camera only sees the presenter.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the case of the house of mirrors, the camera would be able to see through the one way mirror, but within the scene, the mirrors would only see each other and not the camera or crew behind the mirror that is half-silvered.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-05-31T15:45:00.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21558" PostTypeId="2" ParentId="21495" CreationDate="2017-05-31T15:56:23.483" Score="1" Body="&lt;p&gt;While it doesn't cover all your criteria, I use a program called Total Commander for most of my file management needs and it works well for working with a very large number of files and huge file sizes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Among it's features, it is able to do a directory synchronization that determines the differences between to folders, either by filesize/date or by content (though a content comparison across a network share is going to take a very long time).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It doesn't have the queue or resume functionality you want, but it handles duplicates well and is pretty easy to work with overall.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It does include a pause feature on the copies and lets you run multiple copies at the same time in the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It does include a variety of powerful file selection tools to let you choose particular sets of files that need to be copied.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It has a good UI and is relatively cheap.  It is available as shareware to try for free and last I knew it was $35 for a lifetime license.  My dad bought a copy when Windows 3.0 was still the current OS and hasn't paid again since.  I got my license in 2002 or so.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-05-31T15:56:23.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21559" PostTypeId="2" ParentId="21462" CreationDate="2017-05-31T16:14:38.927" Score="1" Body="&lt;p&gt;You most likely can't.  45 seconds is NOT a long time for encoding a video on Android.  You aren't just putting one file at the end of another, you are encoding a new video that includes the contents of both videos played one after the other.  This involves transcoding the entire video to create a new one and that takes time.  45 seconds is actually pretty fast depending on the length of the two clips you are combining.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the two clips have similar encoding settings, it might be possible to use some kind of container format that supports chaining multiple files one after the other, but it would end up playing more like a playlist than a continuous video then.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-05-31T16:14:38.927" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21560" PostTypeId="2" ParentId="3983" CreationDate="2017-05-31T16:36:42.407" Score="-1" Body="&lt;p&gt;I think the solution is rather simple,hold large stopwatch in front of two cameras for the first few seconds; during editing can easily be synced. I used this methods, working fine.&lt;/p&gt;&#xA;" OwnerUserId="19068" LastActivityDate="2017-05-31T16:36:42.407" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21562" PostTypeId="2" ParentId="21545" CreationDate="2017-05-31T23:02:21.777" Score="2" Body="&lt;p&gt;The non-integer HD frame rates (interlaced 59.94 and progressive 29.97) exist &lt;a href=&quot;http://www.hdhead.com/?p=108&quot; rel=&quot;nofollow noreferrer&quot;&gt;to facilitate easy downconversion to Standard Definition (SD)&lt;/a&gt; that must operate at 29.97. There is no technical reason that the non-integer frame rates must be used in ATSC or other SMPTE 292 systems, just the compatibility reason.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-05-31T23:02:21.777" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21563" PostTypeId="2" ParentId="21452" CreationDate="2017-06-01T03:46:51.040" Score="1" Body="&lt;p&gt;I don't believe OBS can live blurring effect. The effect you want is actually called compositing where there are two layers and one does not have a blur effect and the other one does.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Donkey Kong background is actually scaled and blurred.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This can be done in editing but not live.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check out Blackmagic Design website and look for free editing/color correction software. It is called &lt;a href=&quot;https://www.blackmagicdesign.com/uk/products/davinciresolve&quot; rel=&quot;nofollow noreferrer&quot;&gt;Davinci Resolve&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="18723" LastEditorUserId="2836" LastEditDate="2017-07-02T16:09:54.880" LastActivityDate="2017-07-02T16:09:54.880" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21564" PostTypeId="2" ParentId="21550" CreationDate="2017-06-01T05:44:17.977" Score="3" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -start_at_zero -copyts -ss 00:00:14.435 -i input.mp4&#xA;    -vf &quot;drawtext=fontfile=/path/to/Arial.ttf:&#xA;          fontsize=45:fontcolor=yellow:box=1:boxcolor=black:x=(W-tw)/2:y=H-th-10:&#xA;          text='Time\: %{pts\:hms}'&quot;&#xA;    -vframes 1 output.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-06-01T05:44:17.977" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21567" PostTypeId="1" CreationDate="2017-06-01T10:51:52.773" Score="3" ViewCount="4274" Body="&lt;p&gt;I am using below command to merge two videos &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;complexCommand = new String[]{&quot;-y&quot;, &quot;-i&quot;, file1.toString(), &quot;-i&quot;, file2.toString(), &quot;-strict&quot;, &quot;experimental&quot;, &quot;-filter_complex&quot;,&#xA;                &quot;[0:v]scale=1920x1080,setsar=1:1[v0];[1:v]scale=1920x1080,setsar=1:1[v1];[v0][0:a][v1][1:a] concat=n=2:v=1:a=1&quot;,&#xA;                &quot;-ab&quot;, &quot;48000&quot;, &quot;-ac&quot;, &quot;2&quot;, &quot;-ar&quot;, &quot;22050&quot;, &quot;-s&quot;, &quot;1920x1080&quot;, &quot;-vcodec&quot;, &quot;libx264&quot;,&quot;-crf&quot;,&quot;27&quot;,&quot;-q&quot;,&quot;4&quot;,&quot;-preset&quot;, &quot;ultrafast&quot;, rootPath + &quot;/output.mp4&quot;};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;this command works well for merging but me second file is in portrait having black portion at both side and ratio of 1920*1080 and first video file is in landscape having ratio of 1920*1080. now the resulting video has been made by stretching the second video maintaining the ratio of 1920*1080&#xA;Now My issue is I want to add padding two second video but i could't found any suitable command to edit my command&#xA;Any help appreciated&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Changed my Command as below &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  complexCommand = new String[]{&quot;-y&quot;, &quot;-i&quot;, file1.toString(), &quot;-i&quot;, file2.toString(), &quot;-strict&quot;, &quot;experimental&quot;, &quot;-filter_complex&quot;,&#xA;                &quot;[0:v]scale=1920x1080,setsar=1:1[v0];[1:v] scale=iw*min(1920/iw\\,1080/ih):ih*min(1920/iw\\,1080/ih), pad=1920:1080:(1920-iw*min(1920/iw\\,1080/ih))/2:(1080-ih*min(1920/iw\\,1080/ih))/2 setsar=1:1[v1];[v0][0:a][v1][1:a] concat=n=2:v=1:a=1&quot;,&#xA;                &quot;-ab&quot;, &quot;48000&quot;, &quot;-ac&quot;, &quot;2&quot;, &quot;-ar&quot;, &quot;22050&quot;, &quot;-s&quot;, &quot;1920x1080&quot;, &quot;-vcodec&quot;, &quot;libx264&quot;,&quot;-crf&quot;,&quot;27&quot;,&quot;-q&quot;,&quot;4&quot;,&quot;-preset&quot;, &quot;ultrafast&quot;, rootPath + &quot;/output.mp4&quot;};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;getting below error&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; [Parsed_setsar_1 @ 0xb4f29b80] num:den syntax is deprecated, please use num/den or named options instead&#xA;                                                                [pad @ 0xb4f762a0] Invalid 0xRRGGBB[AA] color string: '1'&#xA;                                                                [pad @ 0xb4f762a0] Unable to parse option value &quot;1&quot; as color&#xA;                                                                [pad @ 0xb4f762a0] Invalid 0xRRGGBB[AA] color string: '1'&#xA;                                                                [pad @ 0xb4f762a0] Unable to parse option value &quot;1&quot; as color&#xA;                                                                [pad @ 0xb4f762a0] Error setting option color to value 1.&#xA;                                                                [Parsed_pad_3 @ 0xb4f29c20] Error applying options to the filter.&#xA;                                                                [AVFilterGraph @ 0xb4f17040] Error initializing filter 'pad' with args '1920:1080:(1920-iw*min(1920/iw,1080/ih))/2:(1080-ih*min(1920/iw,1080/ih))/2 setsar=1:1'&#xA;                                                                Error initializing complex filters.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Updated my command as per this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; complexCommand = new String[]{&quot;-y&quot;, &quot;-i&quot;, file1.toString(), &quot;-i&quot;, file2.toString(), &quot;-strict&quot;, &quot;experimental&quot;, &quot;-filter_complex&quot;,&#xA;                &quot;[0:v]scale=1920x1080,setsar=1:1[v0];[1:v] scale=iw*min(1920/iw\\,1080/ih):ih*min(1920/iw\\,1080/ih), pad=1920:1080:(1920-iw*min(1920/iw\\,1080/ih))/2:(1080-ih*min(1920/iw\\,1080/ih))/2,setsar=1:1[v1];[v0][0:a][v1][1:a] concat=n=2:v=1:a=1&quot;,&#xA;                &quot;-ab&quot;, &quot;48000&quot;, &quot;-ac&quot;, &quot;2&quot;, &quot;-ar&quot;, &quot;22050&quot;, &quot;-s&quot;, &quot;1920x1080&quot;, &quot;-vcodec&quot;, &quot;libx264&quot;,&quot;-crf&quot;,&quot;27&quot;,&quot;-q&quot;,&quot;4&quot;,&quot;-preset&quot;, &quot;ultrafast&quot;, rootPath + &quot;/output.mp4&quot;};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and get it working&lt;/p&gt;&#xA;" OwnerUserId="18935" LastEditorUserId="18935" LastEditDate="2017-06-01T11:38:28.787" LastActivityDate="2017-06-01T11:38:28.787" Title="How to Merge video files having different aspect ratio and make the narrow one padded" Tags="|ffmpeg|video-editor|android|" AnswerCount="0" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="21568" PostTypeId="1" CreationDate="2017-06-01T15:00:06.897" Score="0" ViewCount="124" Body="&lt;p&gt;I am a beginner at using Adobe Premier CC 2017. I have several videos that i want to slow down, especially the audio, to make the video easier to understand. I used the Speed/Duration effect and changed 100% to 75%, but that changed the pitch of the audio. It made it much lower with a lot more bass. So, I have tried applying an equalizer to correct the audio but I couldn't get it to sound normal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think you can change the speed of audio without changing the pitch in Adobe Audition, but I don't know how to use Audition, especially with needing to sync the audio with the video. Is there a way to do this just using Premiere?&lt;/p&gt;&#xA;" OwnerUserId="19060" LastEditorUserId="14523" LastEditDate="2017-06-02T13:24:03.857" LastActivityDate="2017-06-02T16:05:12.330" Title="Adobe Premiere CC 2017 - decelerate video and audio (without excess of bass sound)?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21569" PostTypeId="1" CreationDate="2017-06-01T15:10:51.433" Score="1" ViewCount="537" Body="&lt;p&gt;I'm a youtube gamer and I'm interested in making the transition from pc to mac. Unfortunately, I'm not too familiar with macs and any challenges their usb thunderbolts will pose. I want to get the 2017 macbook pro. It has four thunderbolt 3.0 ports. Will normal video capture cards like the eglato hd60 be able to connect to the thunderbolt port fine? My concern is that I also want to have an external hard drive connected as well due to the limited amount of space on the macbook. I edit and post ps4/xbox one gaming videos. &lt;/p&gt;&#xA;" OwnerUserId="19074" LastActivityDate="2018-12-25T00:02:10.440" Title="capture card for thunderbolt 3.0" Tags="|mac|video-capture|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21570" PostTypeId="2" ParentId="21568" CreationDate="2017-06-01T18:03:00.463" Score="2" Body="&lt;p&gt;In the SPEED / DURATION menu that you can find in the context menu (RIGHTCLICK on a clip), check the MAINTAIN AUDIO PITCH checkbox. This will counteract the usual pitch shift resulting from the audio stretching. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="14523" LastEditDate="2017-06-02T13:23:53.617" LastActivityDate="2017-06-02T13:23:53.617" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21571" PostTypeId="1" CreationDate="2017-06-01T07:25:06.053" Score="5" ViewCount="562" Body="&lt;p&gt;We have a glass object falling and shattering into many shards. Unfortunately the green screen was uneven causing different shadings on the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Our edior says to use the shot, he would have to rotoscope all the frames which is not practical on our budget for our short film. It is a very important shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an alternative way of removing all of the green screen by computer by screening out a range shades of green?&lt;/p&gt;&#xA;" OwnerDisplayName="Matrixunloaded " LastEditorUserId="19367" LastEditDate="2017-07-03T03:29:27.773" LastActivityDate="2024-01-23T12:26:43.220" Title="Post production removal of uneven green screen with glass object shattering in foreground" Tags="|effects|post-production|production|greenscreen|chromakey|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21572" PostTypeId="2" ParentId="21571" CreationDate="2017-06-02T03:47:50.397" Score="1" Body="&lt;p&gt;If the example were a lightbulb at the top dropping to the bottom you would take one frame with the bulb at the top and one frame with the bulb at the bottom, then simply use half of each as a mask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Choosing a range of colors is also possible if it's not so wide as to reduce the remaining.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Movement detection is also possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where this would be really tough is a moving camera and a light colored Green Screen that was poorly lit with a darker green object that moved slightly and rotated in one spot - better to use a red or blue screen in that case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a manual and automatic Photoshop technique example: &lt;a href=&quot;https://phlearn.com/tutorial/automatically-remove-objects-photos-photoshop/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://phlearn.com/tutorial/automatically-remove-objects-photos-photoshop/&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Uploading the Video to YT as unlisted would allow us to give a more precise answer than guessing the situation and providing a general answer.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-06-02T03:47:50.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21573" PostTypeId="2" ParentId="21514" CreationDate="2017-06-02T05:40:55.160" Score="0" Body="&lt;p&gt;Faster than converting and possibly ending up with a file that has problems is to install another player like VLC or KMPlayer, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://itunes.apple.com/us/app/kmplayer/id835776444?mt=8&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://itunes.apple.com/us/app/kmplayer/id835776444?mt=8&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VLC is great on PC Desktop but on Android and iOS it's a bit buggy. There are a few 3rd Party Players for iOS that also claim to play everything.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-06-02T05:40:55.160" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21574" PostTypeId="2" ParentId="21497" CreationDate="2017-06-02T06:36:28.400" Score="1" Body="&lt;p&gt;The difference between a Dub and a Voice-over is that a Dub attempts to match a foreign language with lip movement and fully replace the audio using new words that don't change the meaning (much) whereas a Voice-over attempts to keep the original audio at a low level to preserve the feeling of the original and can be a bit freer with the translation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even though a Voice-over keeps the background audio any music may be replaced with something better accepted (as that type of song) by the audience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly a Dub while attempting to fully replace the audio may include some original audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the specific case of your question and example: &gt;&quot;I don't know what it has to do with me or anything ha ha ha&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;The laughs are saying that on the contrary, the person saying those words does know that it has to do something with her.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the case of &quot;News&quot; (for English speakers) you would want to translate accurately and add additional words that it is the Reporter's opinion that the interviewee said the comment in a sarcastic manner or to clearly overdo the sarcasm to avoid a misleading translation. Culture plays a complex role in the result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A Dub would have the Translator do the laugh and a Voice-over would likely have the original laugh but could have the Translator do the laugh with the additional original laugh synced.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a knack to it and getting the right feel for both languages and cultures is difficult. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In 'English speaking culture' a bad dub or voiceover can be part of the feeling/amusement of the work in those that know nothing of the other culture/language; that IS appreciated by the listener but may well be seen as butchering the work of Art from the opposite point of view.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Examples from &quot;The Matrix&quot;, in Russian:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/TajkggwrUwI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/pmpjrgUZWZ4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These seem to work OK but the background could be a bit louder and the Voice-over a bit less dominating. It's more or a mixing issue (or an ardent desire to make the audio more clearly distinguished) and is slightly overdone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a fine Art, to change and not ruin someone else's work. As difficult to explain in general terms as it is to do and undoubtedly done differently in different parts of the world.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One example is untranslated East Indian movie clips and trailers often trend on YouTube in mostly English speaking countries together with many English comments in the Comment Section - no reason to think enough people understand it in North America for it to trend, more of a curiously I would imagine. I only watch sometimes to see why it Trends so well. Others seem to find a lot of humor, even in serious movies.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-06-02T06:36:28.400" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="21575" PostTypeId="2" ParentId="21569" CreationDate="2017-06-02T13:47:15.877" Score="1" Body="&lt;p&gt;Thunderbolt is a much better connection than USB 3 for these purposes.  Thunderbolt, when fully implemented, is actually able to function as an external 4x PCI-E connector in addition to a bunch of other things.  You can use a cheap adapter that will allow a USB 3.1 connection (which is backward compatible to previous USB standards) or you can buy a new device that is Thunderbolt 3 compatible and will be able to make use of the added bandwidth that Thunderbolt 3 supports.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-06-02T13:47:15.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21577" PostTypeId="2" ParentId="21568" CreationDate="2017-06-02T16:05:12.330" Score="0" Body="&lt;p&gt;To turn down the audio when, selected on the audio track hit g and set the gain to your choice. Or right click on the fx button and select audio gain and use the line on the audio clip&lt;/p&gt;&#xA;" OwnerUserId="17029" LastActivityDate="2017-06-02T16:05:12.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21583" PostTypeId="1" CreationDate="2017-06-03T17:11:43.947" Score="0" ViewCount="80" Body="&lt;p&gt;Adobe premiere cc 2017: Archive (clip)&#xA; After rendering, gets too long, why?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1-I download the file of size 5MB www.youtube.com/watch?v=j648ZWxh5UE of Youtube&#xA;2-Import for TIMELINE&#xA;3-I do not do anything (no cut, no insert, no effect)&#xA;4-Control M&#xA;5-Set with the same parameters as the original&#xA;6-Command to render.&#xA;What is the result? Generates a very large final file, 27MB (changed from 5MB to 27MB)!&#xA;Can anyone explain? It should not be a file of the same size as the original, because it was not cut, nor spliced, nor put effect and the same parameters of the original were kept in audio and video.&#xA;I am a beginner of ADOBE PREMIERE. Can anybody help me? I would be very grateful. Yes, I really want to thank MoritzLost, he helped me a lot with a previous question. hug&lt;/p&gt;&#xA;" OwnerUserId="19060" LastActivityDate="2024-03-30T16:00:35.123" Title="Adobe premiere cc 2017: Archive (clip) After rendering, gets too long, why?" Tags="|premiere|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21585" PostTypeId="1" AcceptedAnswerId="21609" CreationDate="2017-06-04T00:05:13.157" Score="2" ViewCount="641" Body="&lt;p&gt;I'm interested in shooting &lt;strong&gt;slow-motion videos of sports&lt;/strong&gt; (eg. ping-pong, badminton; for analysis and such). After trying an iPhone camera I wish to get something higher quality/more crisp (&lt;strong&gt;ideally 1080p@240fps&lt;/strong&gt;).&lt;/p&gt;&#xA;&lt;p&gt;However, finding something decent at an affordable price-tag seems to be rather difficult. &lt;a href=&quot;http://www.hispeedcams.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;hispeedcams.com&lt;/a&gt; is a quite good source for this purpose. Here are some notable finds.&lt;/p&gt;&#xA;&lt;h1&gt;research&lt;/h1&gt;&#xA;&lt;p&gt;rather &lt;strong&gt;professional solutions&lt;/strong&gt; (too expensive)&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.red.com/red-raven&quot; rel=&quot;nofollow noreferrer&quot;&gt;RED RAVEN&lt;/a&gt; &amp;quot;[...] 4.5K Full Format (FF) at up to 120 fps, or in &lt;strong&gt;2K FF at 240 fps&lt;/strong&gt;, [...]&amp;quot; (&lt;a href=&quot;http://www.red.com/store/products/red-raven-brain-deposit?utm_source=red.com&amp;amp;utm_medium=RRmicrosite&amp;amp;utm_campaign=RED_RAVEN_Launch&quot; rel=&quot;nofollow noreferrer&quot;&gt;at $8,950.00 (USD), €9,030.00 (EUR), £7,970.00 (GBP)&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://pro-av.panasonic.net/en/dvx4k/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Panasonic AG-DVX200&lt;/a&gt; &amp;quot;&lt;strong&gt;120-fps Variable Frame Rate&lt;/strong&gt;&amp;quot; (&lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B016043JWA&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;$3,795.00&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://pro.sony.com/bbsc/ssr/product-NEXFS700UK/&quot; rel=&quot;nofollow noreferrer&quot;&gt;SONY NEX FS700&lt;/a&gt; &amp;quot;&lt;strong&gt;120fps at 4K&lt;/strong&gt;&amp;quot; (&lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B00HWC8NCQ&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;$3,499.00&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;dedicated high speed cameras&lt;/strong&gt; (more than needed)&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://edgertronic.com/our-cameras/sc1&quot; rel=&quot;nofollow noreferrer&quot;&gt;edgertronic SC1&lt;/a&gt; &amp;quot;- &lt;strong&gt;701 fps @ 720p&lt;/strong&gt;: Color 8GB DDR3 Install IR Filter - 400-675nm response&amp;quot; ($5,495.00)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.krontech.ca&quot; rel=&quot;nofollow noreferrer&quot;&gt;chronos 1.4&lt;/a&gt; &amp;quot;&lt;strong&gt;1,057fps [at] 1280x1024&lt;/strong&gt;&amp;quot; (&lt;a href=&quot;http://www.krontech.ca/store.html#!/Cameras/c/21981408/offset=0&amp;amp;sort=normal&quot; rel=&quot;nofollow noreferrer&quot;&gt;2,999.00$&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;action-cams&lt;/strong&gt; (too limited): (&amp;quot;&lt;strong&gt;240fps at 720p&lt;/strong&gt; and &lt;strong&gt;120fps at&lt;/strong&gt; [...] &lt;strong&gt;1080p&lt;/strong&gt;&amp;quot;)&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.hispeedcams.com/best-slow-motion-cameras-2016/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sony FDR-X3000&lt;/a&gt; (&lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B01LYSJB8A&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;$348.00&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.hispeedcams.com/best-slow-motion-cameras-2016/&quot; rel=&quot;nofollow noreferrer&quot;&gt;GoPro Hero 5 Black&lt;/a&gt; (&lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B01M14ATO0&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;$399.00&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.hispeedcams.com/yi-4k-slow-motion-samples/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Yi 4k+&lt;/a&gt; (&lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B01CW4B2P8&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;$339.98&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;DSLM/MILC&lt;/strong&gt; (which would also be nice as default photo cameras but don't have a optical TTL view finder)&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.panasonic.com/de/consumer/foto-video/lumix-g-wechselobjektivkameras/dc-gh5.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Panasonic GH5&lt;/a&gt; apparently &lt;strong&gt;1080p@180fps&lt;/strong&gt; (€ 1.999,00)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.sony.com/electronics/interchangeable-lens-cameras/ilce-6500-body-kit&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sony A6500&lt;/a&gt; &lt;strong&gt;1080p@120fps&lt;/strong&gt; ($1,399.99)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;It would be nice to have something more versatile than action-cams, but less expensive than those professional devices. As I don't want to shoot slow-motion only, cameras specially designed for that aren't really what I am looking for either.&lt;/p&gt;&#xA;&lt;p&gt;This leads to the (still quite expensive) GH5 (or similar DSLM) and also to a few&lt;/p&gt;&#xA;&lt;h1&gt;questions:&lt;/h1&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;What should I look for in gear for a beginner?&lt;/p&gt;&#xA;&lt;p&gt;Is there something (DSLRs/DSLMs) in between (regarding price) GH5 and action-cams (similar to a6500) supporting slowmo ?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Some specifications mention that high-speed capture is only available for a few seconds&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Is there always a maximum on how long can I capture slowmo if it is not noted?&lt;/p&gt;&#xA;&lt;p&gt;If a camera is advertised with (eg.) 8sec 1000fps, at which rate could it record permanently then ?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h2&gt;note:&lt;/h2&gt;&#xA;&lt;p&gt;&lt;em&gt;I have asked for DSLRs on &lt;a href=&quot;https://photo.stackexchange.com/questions/89552/overview-of-camera-features-abilities?noredirect=1#comment159123_89552&quot;&gt;photography&lt;/a&gt; already with comments mentioning the GH5 only - I can remove this partial question if it is not fitting&lt;/em&gt;&lt;br&gt;&#xA;&lt;em&gt;I have split off the &lt;a href=&quot;https://video.stackexchange.com/questions/21586/sdi-serial-digital-interface&quot;&gt;SDI part-question here&lt;/a&gt;.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="19085" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-06-07T15:59:29.187" Title="Devices for slow-motion video recording" Tags="|video|slowmotion|gear|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21586" PostTypeId="1" AcceptedAnswerId="21588" CreationDate="2017-06-04T15:21:48.580" Score="3" ViewCount="1061" Body="&lt;p&gt;I have heard of a video-grip for the &lt;s&gt;&lt;a href=&quot;http://www.panasonic.com/global/consumer/lumix/lumix-gh5.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Panasonic GH5&lt;/a&gt;&lt;/s&gt; &lt;a href=&quot;https://www.bhphotovideo.com/c/product/1028546-REG/panasonic_dmc_gh4_yagh_lumix_yagh_interface_unit.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Panasonic GH4&lt;/a&gt; that supports SDI-output. Off the top of my head a few questions pop up&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;What is the advantage of using a SDI-output ?&lt;/p&gt;&#xA;&lt;p&gt;Does this generally allow for higher performance than what the camera alone would achieve ?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I must admit, I have only completely read the Wikipedia entry for SDI in my mother tongue; which is not as detailed as the english &lt;a href=&quot;https://en.wikipedia.org/wiki/Serial_digital_interface&quot; rel=&quot;nofollow noreferrer&quot;&gt;entry&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;additional notes:&lt;/strong&gt; &lt;br&gt;&#xA;This was split off from another &lt;a href=&quot;https://video.stackexchange.com/questions/21585/devices-for-slow-motion-video-recording&quot;&gt;question about slow-motion recording&lt;/a&gt;. Ideally the camera would be used for photography and video recording of all sorts. &lt;br&gt;&lt;/p&gt;&#xA;" OwnerUserId="19085" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-06-09T22:03:57.217" Title="SDI - serial digital interface" Tags="|video-recording|camera|dslr|sdi|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21588" PostTypeId="2" ParentId="21586" CreationDate="2017-06-04T18:06:29.243" Score="7" Body="&lt;h1&gt;General SDI vs. HDMI Information&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;SDI is easier to connect to other professional equipment than HDMI. It is an all purpose signal, as opposed to HDMI that was originally intended only to connect to consumer display devices. There may be a slight advantage in quality where HDMI can be limited to 4:2:0 subsampling at certain resolutions, where SDI will usually be 4:2:2 or 4:4:4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There isn't necessarily a performance advantage to SDI over HDMI. Sometimes HDMI outputs don't produce a clean HD signal and you need to put extra equipment in line to clean up the signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The disadvantage of SDI is cost. Most all SDI equipment is more expensive than HDMI equivalents. But you usually get higher quality equipment for that price.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general, you need to weigh the exact specs of the equipment you are looking at for the application you want to use it for. If, in your case, the HDMI output has a 120fps maximum, but the SDI output has a 60fps maximum, you would want to choose the HDMI output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One other often overlooked advantage of SDI, is that it uses locking &lt;a href=&quot;https://en.wikipedia.org/wiki/BNC_connector&quot; rel=&quot;nofollow noreferrer&quot;&gt;BNC connectors&lt;/a&gt; (or sometimes other smaller form factor positive locking connectors) as opposed to non-locking connectors of HDMI. If you are going to be in an active environment, it offers a lot of piece of mind to know that your connector won't slip loose.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Why do you need an external output?&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;External outputs like HDMI or SDI are used for connecting a camera to peripheral devices. Some people use it to connect to an external monitor. External monitors can be bigger, allowing you to see more detail, or allow someone other than the camera operator to see the picture simultaneously.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some people use it to connect to an external video recorder. External recorders can have larger storage capacity, have higher sustained I/O throughput, or capture a more advantageous format (less compressed, a different codec, etc.) than the internal SD card. For your application, it is the higher sustained throughput that might make a difference. The internal SD card, no matter which &lt;a href=&quot;http://www.androidpolice.com/2017/05/09/buyers-guide-microsd-cards-classes-speeds-recommendations-spring-2017/&quot; rel=&quot;nofollow noreferrer&quot;&gt;card class&lt;/a&gt; you get, probably will have a hard time recording high frame rate video flawlessly for extended periods of time. It might drop frames or just stop recording after buffers fill.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Decisions&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;You need to decide for what you are trying to do and what price/performance trade-offs you want to make. If you are doing work professionally, then I would strongly recommend going the SDI route. If you are just having fun with some short slow motion shots, then you probably only need the internal recorder. If you want to take a step up from there, still in the hobbyist realm, you could consider adding HDMI-based accessories in the future.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Lumix GH5 and the Panasonic YAGH Grip&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;According to &lt;a href=&quot;http://www.newsshooter.com/2017/01/04/panasonic-gh5-internal-10-bit-422-4k-recording-at-400-mbps-and-hd-up-to-180fps/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this article&lt;/a&gt;, the YAGH Grip is not compatible with the GH5 and there is no planned SDI output.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastEditorUserId="14523" LastEditDate="2017-06-09T22:03:57.217" LastActivityDate="2017-06-09T22:03:57.217" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="21589" PostTypeId="1" AcceptedAnswerId="21590" CreationDate="2017-06-04T19:07:27.727" Score="4" ViewCount="15603" Body="&lt;p&gt;I am uploading a large Video to youtube.It is currently being uploaded.I want to stop it as the weather is quite bad in here and resume it whenever it is good to keep the router going on.Is it possible ? i have downloaded 45% uploaded.Thanks&lt;/p&gt;&#xA;" OwnerUserId="19091" LastEditorUserId="19091" LastEditDate="2017-06-04T19:14:39.597" LastActivityDate="2021-10-04T21:19:26.243" Title="Resuming a large video uploading on Youtube" Tags="|youtube|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21590" PostTypeId="2" ParentId="21589" CreationDate="2017-06-04T19:11:15.590" Score="7" Body="&lt;p&gt;Yes.You can. It is officially announced the Youtube has brought up the &lt;a href=&quot;https://support.google.com/youtube/answer/4525858?hl=en&amp;amp;ref_topic=2888603&quot; rel=&quot;noreferrer&quot;&gt;&lt;strong&gt;FEATURE&lt;/strong&gt;&lt;/a&gt;. If you had to abandon your upload for any reason, you have up to 24 hours to continue uploading where you left off.You can cancel the upload and whenever you want to download within the 24 hours time you can go to upload manager and select the same file and resume the upload. &lt;/p&gt;&#xA;" OwnerUserId="18900" LastActivityDate="2017-06-04T19:11:15.590" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21592" PostTypeId="1" CreationDate="2017-06-04T20:50:32.120" Score="-4" ViewCount="227" Body="&lt;p&gt;I want to rip (to make an EXACT copy of) a copyright-protected VHS. I do NOT want to record the VHS in Real–Time. How can I accomplish making an ACTUAL rip of a VHS? A VHS-Rom Drive would be the analogue variant OF a DVD-Rom Drive. I will use a DVD/Blu-ray Ripping Software to rip the VHS. The necessity of needing a VHS-Rom Drive, rather than a VCR, is so the computer will be able to detect both the device that reads the VHS (the VHS-Rom Drive) &amp;amp; the VHS itself. A TV is NOT needed at all, in any way, for this procedure since the VHS will not be in playback mode during copying &amp;amp; since the VHS will only be copied by a DVD Ripping Software the same way a DVD is copied by a DVD Ripping Software, which does not at all, in any way, require the use of either of DVD Player/Recorder or a VCR. I want a 100% LOSSLESS, &amp;amp; UNCOMPRESSED, copy of a copyright-protected VHS!&lt;/p&gt;&#xA;" OwnerUserId="19092" LastEditorUserId="19092" LastEditDate="2017-06-04T21:59:59.887" LastActivityDate="2019-03-11T15:27:28.367" Title="How do you make a VHS-Rom Drive?" Tags="|video|decoding|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21593" PostTypeId="2" ParentId="21583" CreationDate="2017-06-04T20:55:20.837" Score="0" Body="&lt;p&gt;First thing, when you want to export it your desired format(for example : H.264 format,&lt;em&gt;H.264 is also known as MPEG-4 AVC. Developed for use in high definition systems such as HDTV, Blu-ray and for low resolution devices&lt;/em&gt;) you have to customize the export settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The two factors which determine file size are &lt;strong&gt;program duration and bitrate&lt;/strong&gt;.  The longer your program is, the larger the file will be. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the bitrate is, Choosing Uncompressed will have the highest bitrate possible.  Choosing an MPEG variant (MPEG1, 2 or H.264) will allow you to lower the bitrate (and hence create a smaller file) while still achieving acceptable quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Under the export settings you are getting the Preset.You can select a preset the way you want it.But keep in mind choosing the correct Preset with the &lt;strong&gt;FPS(Frames per Second)&lt;/strong&gt;.Choosing a lower FPS would reduce the quality of the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this issue it's recommended to use the resolution of the Original video(which is 720p) in the preset.You can change the FPS and check for the quality.&lt;strong&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-elements/using/viewing-clip-properties.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt;&lt;/strong&gt; is how you check the &lt;strong&gt;FPS&lt;/strong&gt; of a video in Premiere Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Choose the exact resolution if you want to get the same file size Under the video tab in the export window.Change the level (which constrains encoding parameters bitrate range and FPS)and you can get the actual file size by changing it.You will see the estimated file size below. &lt;strong&gt;This is not recommended&lt;/strong&gt; as it reduces the quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can customize the export settings same as the original and you will get the file size you mentioned which is 27MB.That's how you got 27MB for the file size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: Codecs do the magic!.&lt;/p&gt;&#xA;" OwnerUserId="18900" LastActivityDate="2017-06-04T20:55:20.837" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21595" PostTypeId="2" ParentId="18588" CreationDate="2017-06-05T01:39:37.170" Score="2" Body="&lt;p&gt;&lt;code&gt;crf=18&lt;/code&gt; rate-control produces bigger files in 12-bit mode.  If you're trying to find some encode settings that work well for some content, you shouldn't assume that the same CRF at different bit depths is going to be the same.  (Either the same SSIM or the same perceptual visual quality).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You haven't said anything about quality, or quality-per-filesize.  Presumably the bigger files also look a bit better, since 12-bit x265 has about the same quality per bitrate as 8-bit x265.  (I've tested with 10 vs. 8, but not with 12).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;CRF is &lt;em&gt;not&lt;/em&gt; an exact target-quality setting.  So if you want to compare settings, use 2pass with the same bitrate for both and look at quality.&lt;/strong&gt;  Use either SSIM or preferably human visual inspection.  (Some people like to pause/zoom, but don't &lt;em&gt;just&lt;/em&gt; do that.  Some kinds of artifacts / distortion are noticeable when the video is playing, but many are a lot less noticeable.  Pause/zoom helps when checking your visual impression of &quot;sharpness&quot; / &quot;more detail&quot;, so figure out what was giving you that impression, and maybe also other things to look for to see if you can still notice them while playing the video.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;For actual encodes once you find settings that you like, CRF is great, but it's no good for comparing the quality-per-bitrate of different encode settings.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;8-bit vs. 10/12-bit&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;There may still be some gains in compression efficiency for x265, but they're definitely smaller if they exist at all.  10 or 12-bit might even look a tiny bit worse.  See discussion on &lt;a href=&quot;http://forum.doom9.org/archive/index.php/t-167081.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;doom9&lt;/a&gt;, linked by Michael in a comment.  I haven't followed the latest discussions, so I'm not sure what the current consensus is on 10-bit x265 for 8-bit video.  Even if there is a small gain, it may not be worth the speed penalty.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's definitely nowhere near a factor of 12/8 like some commenters are suggesting based on &quot;simple math&quot;.  A lossy video codec like h.265 isn't very similar to simple lossless compression like ZIP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;x264 &lt;em&gt;does&lt;/em&gt; benefit in general from running in 10-bit mode even when the original source is 8-bit, and so is the final display&lt;/strong&gt; (but again, you shouldn't expect the same CRF to give the same bitrate or the same quality at different depths).  &lt;strong&gt;8-bit h.265 has higher-precision motion vectors than 8-bit h.264, so that part of the reasoning doesn't apply to x265.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Remember that both h.264 and h.265 store the information in the video as quantized frequency-domain coefficients.  With trellis / rdoq, it even tweaks the quantization to compress well with the final entropy-coder (e.g. CABAC in h.264), so the same number of bits can represent the same amount of information, whether the entropy-coder had 8-bit or 12-bit input.  8-bit is in some ways just a speed-hack.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More bits means that you can get closer (smaller error) while still having some error.  So the encoder has more choice when trading off distortion vs. bitrate.  This may be partly why 10-bit x264 suffers less from &quot;banding&quot; artifacts in gradients: it has more choice in representing the DC coefficient, or in having small values in the AC coefficients.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;The higher the input bit-depth (for a given output bitrate), the more bits the encoder has to throw away.  A lot of those extra bits are zeros if your original video was 8-bit.  (Lossy encoding already throws away a &lt;em&gt;lot&lt;/em&gt; of bits, like from 12 bpp per frame (for YUV 4:2:0 chroma-sub-sampling with 8-bit components) down to 0.15 bits/pixel/frame and still look pretty close to visually transparent, especially at high resolutions where typical video has its information content distributed over more pixels.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're going to rescale, presumably going to 10 or 12-bit before rescaling will let the rescale blend pixels with less loss of information.  (e.g. a 10-bit value can exactly store the average of four 8-bit values.)&lt;/p&gt;&#xA;" OwnerUserId="9105" LastEditorUserId="9105" LastEditDate="2017-06-05T01:48:12.307" LastActivityDate="2017-06-05T01:48:12.307" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21598" PostTypeId="1" AcceptedAnswerId="21790" CreationDate="2017-06-05T09:12:01.573" Score="10" ViewCount="7437" Body="&lt;p&gt;I'm editing a video in Kdenlive. After I cut out stuff, there are holes (parts with no video nor audio with video and audio to the left and to the right where the parts to the left and to the right should be concatenated) which need to be removed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There seems to be a feature for removing those holes as there is a context menu entry called &lt;code&gt;Remove Space&lt;/code&gt; when right-clicking empty space in a timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/JoNgG.png&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, it always displays the error message&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Cannot remove space in a track with a group&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;because I grouped my clips and it apparently can't remove space automatically if groups are used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is exactly the same amount of space on all tracks which have any content at this point on the timeline as I cut out part of a group.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way I see to close such a gap is to select all clips to the right of it and move them to the left. This is very cumbersome there are dozens of clips or groups of clips to right and I don't see how I can select many clips or groups of clips at once.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How I currently go about it is to click the first clip to the right of the gap, then hold down the control key, and then click every single other clip on all tracks. This not only is very cumbersome but it also yields the problem that if I miss any clip, I have to start over again, as I can't move my selection in this case and finding the clip that's not selected is virtually impossible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an easy way to close such a gap? Possibly by selecting a range of clips? So that I only have to click some part of the time line and then another part of it and it automatically selects all clips in that range? Or this thing file browsers commonly allow you to do where you draw a rectangle around the items you want to select:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/0znrv.gif&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Kdenlive 15.12.3 on Ubuntu 16.04. As of this writing (2017-06-05), this is the newest version in the official Ubuntu 16.04 software repositories.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Edit: I just posted this question in the Kdenlive forum: &lt;a href=&quot;https://forum.kde.org/viewtopic.php?f=265&amp;amp;t=140571&quot; rel=&quot;noreferrer&quot;&gt;https://forum.kde.org/viewtopic.php?f=265&amp;amp;t=140571&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16775" LastEditorUserId="2836" LastEditDate="2017-06-29T15:14:59.907" LastActivityDate="2021-10-28T02:09:46.563" Title="Select range of clips in Kdenlive" Tags="|video|video-editor|software|kdenlive|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21599" PostTypeId="1" CreationDate="2017-06-05T13:16:29.947" Score="2" ViewCount="26" Body="&lt;p&gt;When grading solely for web, is it preferable to grade including superwhites within the tonal range rather than placing whites at 100, keeping everything within legal range? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;By web I mean upload to Video or YouTube.&lt;/p&gt;&#xA;" OwnerUserId="6532" LastEditorUserId="6532" LastEditDate="2017-06-05T13:23:07.033" LastActivityDate="2017-06-05T13:23:07.033" Title="Superwhites when grading for web" Tags="|color-grading|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21601" PostTypeId="1" AcceptedAnswerId="21602" CreationDate="2017-06-05T23:23:36.520" Score="1" ViewCount="1470" Body="&lt;p&gt;I have a 3000 by 3000 VR video encoded in H264. I scaled down the video by&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf scale=2160:2160 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To my surprise, the bit rate of &lt;code&gt;output.mp4&lt;/code&gt; did not decrease (in fact, it increased a little bit).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is not a scaled down video supposed to have lower bit rate than the original video? What is the mechanism of &lt;code&gt;-vf scale=***&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="18532" LastActivityDate="2017-06-10T12:27:51.420" Title="I scaled down a video, but the bit rate does not change" Tags="|ffmpeg|scale|libx264|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21602" PostTypeId="2" ParentId="21601" CreationDate="2017-06-06T05:34:25.947" Score="1" Body="&lt;p&gt;The scale filter has no effect on the encoder's bitrate control. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, a scaled down video should have a lower bitrate &lt;strong&gt;if&lt;/strong&gt; it is encoded with the same encoder settings as the source. In your command, since no encoder parameters are explicitly set, ffmpeg defaults to encoder &lt;code&gt;x264&lt;/code&gt; with rate-control mode CRF with value 23. Apparently, this results in the same bitrate as the full-sized source. Set a higher value to reduce size.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf scale=2160:2160 -crf 26 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-06-06T05:34:25.947" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21606" PostTypeId="2" ParentId="21428" CreationDate="2017-06-06T13:32:11.187" Score="0" Body="&lt;p&gt;Being you are in school; you may be able to call around to local AV companies; who handle large screen projection for corporate events. You may find a company willing to let you rent for a low price; or even borrow a Playback Pro system; in my area (big metro area) a lot of the big AV houses have a lot of these machines; and many days they are not in use...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best tool for the job would be a machine running Playback Pro. Which runs on Mac Only (unfortunately); however; it will give you perfect sync with literally unlimited outputs (based on the system they have and how many outputs they have it built for). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another way to do it; and believe it or not it works pretty well; is if you can find 5 IDENTICAL model Blu-Ray players, or DVD if you are projecting in SD; and you master your program material to either BD-R or DVD-R; so that each video has the exact amount of leader (so basically they sync if they were all genlocked with actual hardware);  you can stack the players; load the discs and do the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Burn the discs with identical black leader (I recommend 5 seconds); &lt;/li&gt;&#xA;&lt;li&gt;Load each disc in each player;&lt;/li&gt;&#xA;&lt;li&gt;Press play. (Don't author with menus). &lt;/li&gt;&#xA;&lt;li&gt;After all players are playing - press PAUSE using one (1) remote control pointed at all of the players (standing back a few feet so each player receives the IR signal). &lt;/li&gt;&#xA;&lt;li&gt;After pressing pause - press the |&amp;lt;&amp;lt; back chapter button. (This will keep the player in pause mode; but queue it back to 0:00:00:00. &lt;/li&gt;&#xA;&lt;li&gt;Press pause again (again from a few feet back using one remote); and all players will start. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Now if you have identical model DVD/Blu-Ray players; and I recommend decent ones; ones where you can disable the onscreen menus so the pause icon doesnt appear onscreen, etc, you can in fact achieve pretty accurate (I would guestimate +/- 2-3 frame accuracy); which; might be acceptable for you. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We used this method for a TEDx Presentation where we didn't have the budget to sync 14 players to 14 TVs on stage. So we purchased from BestBuy 14 Sony Blu-Ray Players ($100 each); and honestly; it worked perfectly. I personally couldn't see any sync issues at all from the house cam back stage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just make sure you give them black leader at the end as well (I'd recommend just adding 10 min of black at the end; so you don't have to stop the players/and the screens just go dark).&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-06-06T13:32:11.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21607" PostTypeId="2" ParentId="21386" CreationDate="2017-06-06T13:40:53.343" Score="2" Body="&lt;p&gt;You didn't mention which version of PPro you are using; but in version CS6 and prior there IS a bug with cross dissolve which is a bit idiosyncratic. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The fix; move all of your video (select all) up one layer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then add black video; or a color matte (black) which is the length of your program to the bottom (first) video track. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This in essence resets all the preview files PPro has generated; (which I believe is where the problem is). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this doesn't work; you could try changing the default transition from cross dissolve to film dissolve... the visual effect is not &quot;identical&quot; but I don't think it would be a deal breaker if my first suggestion doesn't work for you. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Last option; you can pull the clips in; and out; using Trim; and make sure you make sure the dissolve rests on a new different frame on the timeline. + or - 1 frame to the left or right. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But yes; I have seen this; and it's why all our editors now cut starting on layer 2; and the last step of the process; is we lay black under the entire program before output. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-06-06T13:40:53.343" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21608" PostTypeId="2" ParentId="21586" CreationDate="2017-06-06T13:46:24.803" Score="2" Body="&lt;p&gt;In short; HD-SDI and SDI are the industry standard for professional applications; and HDMI is for consumers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;HDMI is highly limited in terms of length; you will need a very high quality cable to go more than 25 feet. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;HDMI is fine for most applications; but it is limited to 4:2:2; you can't do long runs; if you are trying to integrate it with professional equipment you will likely need adapter boxes (such as those by BlackMagic); &lt;/p&gt;&#xA;&#xA;&lt;p&gt;SDI and HD-SDI offer full 4:4:4; you can genlock easier; you can breakout out easier; you can run it a few hundred feet before it needs to be reclocked; you can run it dual link mode for 4K, and so on. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-06-06T13:46:24.803" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21609" PostTypeId="2" ParentId="21585" CreationDate="2017-06-06T13:53:50.457" Score="3" Body="&lt;p&gt;You may want to look into Sony's camcorder line (even legacy; like the NX5U). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The NX5U and I think even the FX1000 (which is an HDV Tape Format and can be had used on a place like ebay for under $1000) could do bursts of full 1080p 240+ for a &quot;limited time&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I remember correctly the FX1000 by sony could do 240 frames at for 10 seconds. It would buffer the video into internal memory; then queue the tape; then record to tape when the 10 seconds was up. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It was limited in terms of it's usefulness; but it sounds like based of what you want to use the slow motion capture for; it may be worth looking into to. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Burst cameras (even the iPhone now does this); will give you a higher frame rate, with limited record time for a much lower price than say going the RED route or Phantom Route. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you could rent a RED, RED Epic's will do 480FPS at 1K; and they can be rented cheap; as they are everywhere... and sit on the shelf most day's of the week by people who own them. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-06-06T13:53:50.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21612" PostTypeId="2" ParentId="19442" CreationDate="2017-06-06T18:41:17.807" Score="1" Body="&lt;p&gt;Yi Technologies action cameras have &lt;a href=&quot;http://www.yitechnology.com/yi-4k-plus-action-camera-specs&quot; rel=&quot;nofollow noreferrer&quot;&gt;lens distortion correction as a built-in feature&lt;/a&gt;. The lens does introduce distortion but the onboard processor compensates for it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I assume we'll see more of this type of compensation embedded in cameras in the future.&lt;/p&gt;&#xA;" OwnerUserId="17194" LastEditorUserId="14523" LastEditDate="2017-06-07T04:57:25.840" LastActivityDate="2017-06-07T04:57:25.840" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21613" PostTypeId="1" AcceptedAnswerId="21615" CreationDate="2017-06-07T02:49:40.273" Score="2" ViewCount="4435" Body="&lt;p&gt;I have a 3000 by 3000 VR video encoded in &lt;code&gt;H264&lt;/code&gt;, the frame rate is &lt;code&gt;30fps&lt;/code&gt;. Now I want to raise the frame rate to &lt;code&gt;60fps&lt;/code&gt;, I am using this command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -r 60 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My questions are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is it meaningful to raise the frame rate?&lt;/li&gt;&#xA;&lt;li&gt;What is the mechanism of &lt;code&gt;-r 60&lt;/code&gt; in the above command? Since there are only 30 frames per second in the original video, where do those additional 30 frames come from?&lt;/li&gt;&#xA;&lt;li&gt;Is there any better option other than the above command to 'smoothly' raise the &lt;code&gt;fps&lt;/code&gt;?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="18532" LastActivityDate="2017-06-08T05:03:42.917" Title="Is it meaningful to raise frame rate, if so what is the best option?" Tags="|ffmpeg|framerate|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21614" PostTypeId="2" ParentId="21613" CreationDate="2017-06-07T04:39:06.950" Score="3" Body="&lt;p&gt;No, all it will do is waste space and lower the quality of your video.  In theory, it shouldn't take too much additional space as the frames will be 100% copies of the previous frame, but it still will have to re-encode and that re-encode will be another generation of quality loss, which could be significant depending on how compressed your video is already.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using a higher frame rate only really makes sense if you want to either speed up footage or can actually capture at a higher frame rate.  Increasing the frame rate will either cause the video to take half as long or will invent new frames to fill in between frames.  Exact methods for doing this vary, but frame blending or pull downs where certain frames are duplicated and others not are typical when it isn't an even multiple.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There isn't a better option for increasing it than an even multiple increase, but unless you have some specific reason to need to increase it, it gives you no value as the same thing can be done at run time when playing the video back.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-06-07T04:39:06.950" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21615" PostTypeId="2" ParentId="21613" CreationDate="2017-06-07T04:52:55.250" Score="10" Body="&lt;p&gt;&lt;em&gt;Is it meaningful to raise the frame rate?&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Usually, no. Exceptions are if you need to artificially generate slow motion using a robust tool like Twixtor. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;What is the mechanism of -r 60 in the above command? Since there are only 30 frames per second in the original video, where do those additional 30 frames come from?&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They are simply duplicates of existing frames. Without the use of specific filters, ffmpeg can only duplicate or drop frames when the framerate is changed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Is there any better option other than the above command to 'smoothly' raise the fps?&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg now has a &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#minterpolate&quot; rel=&quot;noreferrer&quot;&gt;motion interpolation&lt;/a&gt; filter, which will generate new frames. It can also just do a regular blend if that mode is chosen.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf minterpolate=fps=60 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-06-07T04:52:55.250" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21616" PostTypeId="2" ParentId="21586" CreationDate="2017-06-07T04:55:58.533" Score="2" Body="&lt;p&gt;SDI is a professional, locking video connection system over coax cable.  SDI itself has more expensive licensing costs associated with it than HDMI, so hardware that supports it will generally be more expensive.  If you don't have hardware that supports SDI, it won't do you any good, so that's the first point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One of the biggest advantages of SDI is that it can support very high quality video such as the 4k 10 bit 4:2:2 supported by the SDI outputs for the GH4 adapter.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;SDI also supports a stable signal over much longer runs than standard HDMI.  There are ways to boost an HDMI signal that can help it run further, but in general HDMI is limited to around 20-30 ft where as SDI can potentially go hundreds of feet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The locking connector should also not be undersold.  In any production environment, connections coming loose can result in missed shots or dead air.  Having connectors that lock in to place is a huge must.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The biggest downside to SDI is that it is far less consumer friendly.  HDMI has a relatively small number of backwards compatible versions that are simplified in to some basic version numbering.  SDI on the other hand has not only a variety of different cable qualities, but also a variety of different signal formats that can be sent over the connector.  You need to be aware of the signals supported throughout your environment and properly configure things to exchange video correctly.  It is much more versatile, but also requires a better understanding of what the video formats you are working with actually are.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Overall, for your purposes, if you intend to do live video work I would recommend getting SDI capabilities to make sure you don't lose connections.  If you plan to do post-produced video and want to make use of an external 10 bit prores 4:2:2 recorder, having the SDI output will also be very helpful.  It's a bit limited for recorded video as it unfortunately doesn't support the much more versatile 4:4:4:4 format which is much easier to color grade, but 10 bit color still offers some advantages over any in-built 8 bit recording.  (I forget if the GH4 can support 8 bit recording without third party firmware.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the GH4 specifically, if you aren't doing live, I'd take a look at what the third party firmwares now offer.  I think they might support as good or better recording in camera at which point the adapter might be largely unneeded, though the XLR inputs for external audio could be helpful if you want to avoid using an external audio recorder and doing your audio-sync in post.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-06-07T04:55:58.533" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21618" PostTypeId="1" AcceptedAnswerId="21623" CreationDate="2017-06-07T07:25:57.580" Score="3" ViewCount="7150" Body="&lt;p&gt;Can I transcode video from h.265 to h.264 without loosing quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My instinct is that it should be fine, that with approximate quality settings the new files will be the same quality but larger file size.  Or am I wrong, does transcoding from one codec to another follow the principle of &quot;copy of a copy always means lower quality&quot;?&lt;/p&gt;&#xA;" OwnerUserId="19117" LastActivityDate="2017-06-08T08:03:17.967" Title="Does transcoding always mean quality loss?" Tags="|video-quality|conversion|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21619" PostTypeId="2" ParentId="21618" CreationDate="2017-06-07T08:00:53.053" Score="0" Body="&lt;p&gt;Both h.265 and h.264 are compressed codecs so there will loss; due to compression; whether it's visible to the naked eye or not. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way to not lose quality is to output to a lossless codec at 4:4:4. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This results in large files. A common codec for this is Quicktime Animation Codec at 100 Quality. 100% Lossless. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-06-07T08:00:53.053" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21621" PostTypeId="1" AcceptedAnswerId="21622" CreationDate="2017-06-07T11:35:31.157" Score="7" ViewCount="14378" Body="&lt;p&gt;I just want to see how many streams are inside my video file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I looked at the &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html&quot; rel=&quot;noreferrer&quot;&gt;official documentation&lt;/a&gt; and I cannot see what option I can use. Perhaps another command/terminal app can do something similar?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas how it can be done?&lt;/p&gt;&#xA;" OwnerUserId="19040" LastEditorUserId="525" LastEditDate="2017-06-07T13:57:00.890" LastActivityDate="2021-02-11T08:51:37.773" Title="How to show number of available streams using ffmpeg?" Tags="|ffmpeg|osx|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21622" PostTypeId="2" ParentId="21621" CreationDate="2017-06-07T11:49:52.703" Score="15" Body="&lt;p&gt;If you have &lt;code&gt;ffprobe&lt;/code&gt; installed:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe &amp;lt;input&amp;gt; -show_entries format=nb_streams -v 0 -of compact=p=0:nk=1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can also filter for video or audio streams by adding &lt;code&gt;-select_streams v&lt;/code&gt; or &lt;code&gt;-select_streams a&lt;/code&gt;, respectively. See &lt;a href=&quot;https://ffmpeg.org/ffprobe.html&quot; rel=&quot;noreferrer&quot;&gt;the manual&lt;/a&gt; for more details.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do not have &lt;code&gt;ffprobe&lt;/code&gt;, &lt;code&gt;ffmpeg&lt;/code&gt; can be used too, but in a slightly less robust way (i.e., this may break if the output format changes or something contains the words &quot;Stream #&quot; in the output):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;lt;input&amp;gt; 2&amp;gt;&amp;amp;1 | grep &quot;Stream #&quot; | wc -l&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="525" LastEditorUserId="525" LastEditDate="2017-06-07T12:56:54.540" LastActivityDate="2017-06-07T12:56:54.540" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21623" PostTypeId="2" ParentId="21618" CreationDate="2017-06-07T13:08:43.363" Score="8" Body="&lt;p&gt;Generally, H.264 and H.265 (as well as others like VP9) are &lt;em&gt;lossy&lt;/em&gt; codecs, at least in their default settings with most encoders. This means that whenever you re-encode from one to another (or even in the same codec), you throw away information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whether this information loss is visible or not depends on your source material and the chosen settings, of course.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To combat the loss of information, you often need to choose a higher bitrate than what your input is, or a higher constant-quality setting than the default of the respective encoders. There is no &quot;general principle&quot; here – it really depends on what the default bitrates or quality targets are for the encoders you're using.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Can I transcode video from h.265 to h.264 without losing quality?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yes, you can. There are two ways to do that, depending on how you define &quot;losing quality&quot;:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;You can enable a lossless mode for these codecs, at least with the x264, x265 or libvpx encoders. This will perform lossless transforms without quantization and disable &lt;a href=&quot;https://en.wikipedia.org/wiki/Chroma_subsampling&quot; rel=&quot;noreferrer&quot;&gt;color subsampling&lt;/a&gt; (i.e., 4:4:4 output). The output is mathematically lossless. If you do not have to use H.264 or H.265 specifically, other lossless codecs such as HuffYUV or FFV1 exist.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You can try to find the threshold where any (mathematical) quality loss is not visible anymore to human subjects, that is, within the range of a &lt;a href=&quot;https://en.wikipedia.org/wiki/Just-noticeable_difference&quot; rel=&quot;noreferrer&quot;&gt;Just Noticeable Difference&lt;/a&gt;. This requires a bit of testing with different settings and repeated viewings. Some codecs are better at this, in terms of their default settings, like ProRes, DNxHD, etc.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For more info, read this: &lt;a href=&quot;https://superuser.com/questions/1212023/ffmpeg-settings-for-converting-still-images-to-video-for-archival/1212038#1212038&quot;&gt;ffmpeg settings for converting still images to video for archival&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="525" LastEditorUserId="525" LastEditDate="2017-06-08T08:03:17.967" LastActivityDate="2017-06-08T08:03:17.967" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21624" PostTypeId="2" ParentId="21585" CreationDate="2017-06-07T15:59:29.187" Score="3" Body="&lt;p&gt;There isn't really any magic bullet in high speed photography.  High speed photography is difficult because of the amount of data involved and the sensitivity necessary for the sensor.  Both of these factors combine to drive up the cost of all portions of the camera to do it well.  You can either sacrifice quality (which the iPhone does) or you can sacrifice affordability.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The higher the frame rate gets, the less time is available to expose each frame and thus the more sensitive it needs to be.  This makes the cost of the sensor higher.  Additionally, that data needs to be transferred off the sensor more quickly, which means more expensive sensor, it needs to be processed more quickly, which means more expensive electronics and it needs to be stored more quickly, which involves more expensive media.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some cameras try to save on the cost and maximize quality by putting the money in to a faster sensor, but then putting a limited amount of high speed cache in the camera.  This means that the camera can not record continuously at high speed, but rather will record at high speed until the cache is filled and then will have to wait while the processor and storage have a chance to process the data after the fact before it can do another high speed recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are able to use burst capture like this, it may be the best chance at getting something which is capable of both high speed capture at high quality and also not breaking the bank, but that only works if you are ok with the limitation of not being able to record continuously.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-06-07T15:59:29.187" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21625" PostTypeId="2" ParentId="21592" CreationDate="2017-06-07T16:23:34.243" Score="0" Body="&lt;p&gt;VHS tape is an analog medium.  It encodes information based on the strength of analog magnetic data and, as such, any copy is subject to generational loss.  The reason we can make an exact copy of digital data is because the slight inaccuracies in a read of voltage can be corrected because they are close enough to either the value of a 1 or the value of a 0 that we can safely assume the real value.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since analog signals cover an entire range of values, we have no way to make this correction (as we don't know have a way to determine what is noise and what is signal) and any inaccuracy in reading the original or writing the subsequent copy is unrecoverable generational loss.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is one of the reasons why linear editing systems remained popular for a time after non-linear editing systems came on the market.  If you wanted to edit from an analog medium to an analog medium, linear editing allowed a single generation of quality loss while converting to digital and back required two generations of loss to use a non-linear editing system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as making as close of a copy to a copyrighted VHS tape as possible, you simply need a VCR that can run at a slow and/or accurate enough rate to deal with the various copyright techniques used on analog VHS.  &lt;a href=&quot;https://en.wikipedia.org/wiki/VHS#Copy_Protection&quot; rel=&quot;nofollow noreferrer&quot;&gt;Macrovision&lt;/a&gt;, one of the most common systems for copy protection, used a sharp peak in the color pulse and/or vertical blanking interval of a video frame to make it so that the data was interpreted correctly on a read, but when a typical VCR tried to record the data again, the color pulse or the gain would get corrupted resulting in the image being scrambled.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This relied on the quality of typical VCRs and the auto-gain controls to work properly.  With a manually adjusted gain and accurate enough duplication to reproduce the signal accurately, the copy protection would be copied over intact without harming the copy.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the goal is simply to be able to archive the VHS content, many digital capture systems can properly transfer the actual video information, but consumer devices are required by law in many jurisdictions to recognize the macrovision pulses and disable recording if they are found.  Many professional devices can get around this limitation by clicking through a copyright warning.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-06-07T16:23:34.243" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21626" PostTypeId="2" ParentId="21613" CreationDate="2017-06-08T05:03:42.917" Score="1" Body="&lt;p&gt;It can be useful to raise the Frame Rate if you use expensive Software and get excellent results, then you can replay the double-rate video at half speed to get slow-motion or play it at full speed to get smoother motion - simply copying each Frame serves little or no purpose and blurring two Frames to create the intermediate Frame is not a somewhat identical result but a different (possibly desirable) result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Short of paying a lot of money and making a large effort there are numerous Solutions which rely on AviSynth (you can use Search Tools to find lots of Info).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A couple of the 'best' (cheap/easy/great) methods are to use MSU's Tools: &lt;a href=&quot;http://www.compression.ru/video/frame_rate_conversion/index_en_msu.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.compression.ru/video/frame_rate_conversion/index_en_msu.html&lt;/a&gt; or MVTools &lt;a href=&quot;http://avisynth.org.ru/mvtools/mvtools.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://avisynth.org.ru/mvtools/mvtools.html&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While you won't get pixel peeking perfect results you should expect 'great' results with little effort and no cost.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are examples on those Webpages and Search Engines will provide more than we could reasonably teach you here. If you have a specific question once you've setup give us a shout.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-06-08T05:03:42.917" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21628" PostTypeId="2" ParentId="20081" CreationDate="2017-06-08T09:17:55.303" Score="1" Body="&lt;p&gt;Here's something I saw at github might answer your question.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;This example demonstrate how to encode set of buffered images obtained&#xA;  from Webcam instance, transcode into h.264 stream and send to remote&#xA;  peer where it is decoded and rendered in panel.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Example provided by hepin1989. Thank you! This is wonderful piece of&#xA;  the good code :)&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;How To Use&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;Run StreamServer - this will open the webcam device and start listening for incoming streaming requests.&lt;/li&gt;&#xA;  &lt;li&gt;Run StreamClient - this will connect to the StreamServer and start displaying image from the remote camera.   The server / client address&#xA;  is localhost by default to run client and server on the same machine,&#xA;  but if you want to stream over the network, you need to change it to&#xA;  reflect your real IP address (server must bind to eth0 instead of lo&#xA;  interface to be visible from the NAT).&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;Notes&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;The code supports sunny-day scenario only, just to demonstrate the idea, so there are is no complex error checking statements and the&#xA;  code may behave in unexpected manner when launched in real network.&lt;/li&gt;&#xA;  &lt;li&gt;It uses Xuggler which seems to be discontinued.&lt;/li&gt;&#xA;  &lt;li&gt;Remember, this example is to present an idea, so if you need enhancement or bug fix, please implement it and send pull request to&#xA;  share it with community. Be creative :)&lt;/li&gt;&#xA;  &lt;li&gt;To perform streaming over the network you need to change address in server from localhost to your real IP address (e.g. such as&#xA;  192.168.1.10 or 0.0.0.0 in general). I'm not sure how it works with the IPv6 support - feel free to test it.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;her is the link- &lt;a href=&quot;https://github.com/sarxos/webcam-capture/tree/master/webcam-capture-examples/webcam-capture-live-streaming&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/sarxos/webcam-capture/tree/master/webcam-capture-examples/webcam-capture-live-streaming&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19108" LastActivityDate="2017-06-08T09:17:55.303" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21629" PostTypeId="1" AcceptedAnswerId="21656" CreationDate="2017-06-08T09:59:21.773" Score="0" ViewCount="531" Body="&lt;p&gt;I have an &lt;code&gt;input.mpg&lt;/code&gt; file which is encoded in &lt;code&gt;H264&lt;/code&gt;. I am told that it is &lt;code&gt;MPEG-TS&lt;/code&gt; and used for broadcasting. But according to &lt;a href=&quot;https://en.wikipedia.org/wiki/MPEG_transport_stream&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia&lt;/a&gt;, a &lt;code&gt;MPEG-TS&lt;/code&gt; file ends in &lt;code&gt;.ts&lt;/code&gt;, &lt;code&gt;.tsv&lt;/code&gt; or &lt;code&gt;.tsv&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is .mpg?&lt;/p&gt;&#xA;" OwnerUserId="18532" LastActivityDate="2017-06-12T10:13:14.140" Title="I have a mpg file, but what is it?" Tags="|file-formats|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21632" PostTypeId="1" CreationDate="2017-06-08T15:51:15.970" Score="-2" ViewCount="45" Body="&lt;p&gt;I currently use an Audio-Technica ATR2500-USB Cardioid Condenser USB Microphone with a shock mount, pop filter, and Mudder Large Foam Mic Windscreen for MXL, Audio Technica. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I record using Nvidia Shadowplay with the mic about 3 inches from my mouth with the volume on the Mic set to 65 (in the playback devices menu). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I record my audio commentary and not pick up the controller joysticks/buttons like other individuals, I post my material to youtube. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tangled with the volume on the mic and whether it's at 10 or 100, it always picks up the controller. &lt;/p&gt;&#xA;" OwnerUserId="19128" LastActivityDate="2017-06-08T21:59:12.927" Title="Xbox 1 Controller sound while recording" Tags="|audio|recording|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21634" PostTypeId="1" CreationDate="2017-06-08T18:10:35.100" Score="0" ViewCount="321" Body="&lt;p&gt;I am very new to video editing and am using PP CC 2017 on a Mac to edit some old 8 mm film reels which have been converted to digital videos in the .mov format. These old 400 foot reels were spliced together from shorter 25 foot reels but now I am attempting to re-arrange them into logical sequences, title them, color correct them and eventually Export to DVD format. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;In PP CC 2017; When I extract clips from a long video, I label them&#xA;and put them in a Bin but they do not appear as files on my&#xA;computer. Can I assume that these are just pointers from within my&#xA;Project referencing the original footage?&lt;/li&gt;&#xA;&lt;li&gt;All told there is over 4 hours of video and I would like to&#xA;re-assemble the scenes into various categories, such as, Holidays, Outings,&#xA;Family Gatherings and Birthdays. Should I organize everything into&#xA;one big project or into separate projects, like say, one for each&#xA;category? Are there any particular advantages of one method over the&#xA;other?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="19129" LastActivityDate="2017-06-08T21:51:13.653" Title="Pointers in Premiere Pro CC" Tags="|premiere|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21635" PostTypeId="2" ParentId="21634" CreationDate="2017-06-08T18:54:15.303" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;In PP CC 2017; When I extract clips from a long video, I label them and put them in a Bin but they do not appear as files on my computer. Can I assume that these are just pointers from within my Project referencing the original footage?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;What exactly do you mean by 'extract clip'? Are you creating subclips (&lt;em&gt;right-click&lt;/em&gt; → &lt;em&gt;Make Subclip&lt;/em&gt;), or are you refering to the arrangement of clips in a sequence?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any case, your assumption is correct. Premiere generally never touches the original files or assets. Once you have imported your files into Premiere, everything you do with them within Premiere is stored in the Premiere Pro project file (including the location of the clips on your hard drive). This is a very reasonable approach, since there's no way for your to mess up something and inflict harm to your original footage. Premiere uses the original files along with the editing information (arrangements, clips, settings et c.) stored in the project file to render previews and your final output. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;All told there is over 4 hours of video and I would like to re-assemble the scenes into various categories, such as, Holidays, Outings, Family Gatherings and Birthdays. Should I organize everything into one big project or into separate projects, like say, one for each category? Are there any particular advantages of one method over the other?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Depends on what you are going to do with it. If you regard those different categories completely seperate and are quite confident that you will &lt;em&gt;never&lt;/em&gt; want to create one video using assets from different categories, you can split them up into different projects to keep it simple. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if you decide upon a solid sorting/categorising system and put the time into organising all your files in a streamlined way, it is perfectly feasible to have everything in one project. This is advantageous as you won't have to switch between projects as often while you are working on them. &lt;a href=&quot;https://video.stackexchange.com/questions/20689/how-to-annotate-specific-parts-of-video-in-pre-production/20690#20690&quot;&gt;Here are some pointers&lt;/a&gt; on how to use bins, keywords and other metadata to get some structure into your project contents. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general though, I would create a new project on a, well, per project basis. It doesn't really make sense to have huge amounts of files in one single project when they don't belong together. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-06-08T18:54:15.303" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21636" PostTypeId="2" ParentId="21634" CreationDate="2017-06-08T21:51:13.653" Score="2" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;In PP CC 2017; When I extract clips from a long video, I label them and put them in a Bin but they do not appear as files on my computer. Can I assume that these are just pointers from within my Project referencing the original footage?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Elements of the Project tab (clips, sequences, black video, etc) are all abstract things which, themselves, take up no space on disk.  Clips refer to media files, and those media files, of course, do take up space on disk.  So, yes, you can assume that the clips in the Project tab are just pointers from within your Project referencing the original footage.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;All told there is over 4 hours of video and I would like to re-assemble the scenes into various categories, such as, Holidays, Outings, Family Gatherings and Birthdays. Should I organize everything into one big project or into separate projects, like say, one for each category? Are there any particular advantages of one method over the other?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You should organize all of this as a single project, and you should create difference Sequences for each collection of clips you would like to produce as a short.  For example, if &quot;Dad's Birthday, 1945&quot; is three different clips (we'll get to what that means in a minute), you'd make a sequence that edits together at least those three different clips, possibly with other clips that provide glimpses into the past or future.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Clips are initially the media files you import.  And judging by the fact that these initial files are spliced together from shorter reels, each clip may have dozens of individual subjects.  What fun!  This is where you are going to want to master two things: sub-clips and &lt;a href=&quot;https://video.stackexchange.com/questions/20412/project-organization-searchable-keywords-and-tags-in-adobe-premiere&quot;&gt;Premiere Pro metadata&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Normally when shooting digitally, each time you hit the &quot;record&quot; button, the camera creates a digital media file that can then become a clip.  Inside PPro you would then set the IN and OUT points of the clip to eliminate the unnecessary frames before and after the action you really wanted to record.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your case, you have a clip that's a hodge-podge of recorded actions.  You can select frames that constitute a specific action you'd like to use as a clip in your timeline, (&lt;em&gt;right-click → Make Subclip&lt;/em&gt;) and it will create an object that behaves just like a clip, even though it's relative to another clip, not a media file on disk.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As soon as you make a sub-clip, it's a good idea to tag it with metadata so you can find and organize it later: categories, subjects, dates, whatever keys you can think of that will help you find, collect, and edit related sub-clips.  To edit the related sub-clips, you put them into a sequence and edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bins (and smart bins, which automatically collect clips according to metadata tags) can help you clean up the clutter of having 100s of sub-clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to make 12 chapters for a DVD, you should create 12 sequences.  If you want to make a monolithic DVD, one sequence will suffice.  If don't initially know what you want to do, you can make sequences for each category you define.  You can render &quot;lossless&quot; media files from each of these sequences, then import the resulting clips which you can then organize into a DVD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To summarize: one project, sequences related to categories or chapters, rich metadata, and hundreds of clips organized into bins to keep your top-level project window sane.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-06-08T21:51:13.653" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21637" PostTypeId="2" ParentId="21632" CreationDate="2017-06-08T21:59:12.927" Score="1" Body="&lt;p&gt;A typical solution is to create better acoustic isolation between your keyboard/controller and the microphone.  The thing that really stops sound waves is not foam itself, but mass.  Eight ounces of foam is nothing compared to 8 lbs of rigid fiberglass.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another solution is to use a downward expander.  This audio-processing device (which can be an external analog box or a digital plug-in) can be programmed so that an audio &quot;gate&quot; is closed unless a signal is both loud enough and lasts long enough to open it.  The click of a key would not be enough to open it, but a human voice speaking words would.  While you are talking, the clicks could come through, but they will be masked by the voice, and hopefully not too distracting in that case.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2017-06-08T21:59:12.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21638" PostTypeId="2" ParentId="21386" CreationDate="2017-06-09T06:20:24.730" Score="-2" Body="&lt;p&gt;I was having the same problem with the cross dissolve in a multicam track doing a Dip to Black in PPro CC 2017 April update. I saved my project, shut down PPro and restarted PPro, and that seemed to solve it for me.&lt;/p&gt;&#xA;" OwnerUserId="19131" LastActivityDate="2017-06-09T06:20:24.730" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21639" PostTypeId="1" AcceptedAnswerId="21640" CreationDate="2017-06-09T07:06:33.703" Score="1" ViewCount="1118" Body="&lt;p&gt;I have a &lt;code&gt;MPEG-TS&lt;/code&gt; file &lt;code&gt;input.mpg&lt;/code&gt; (I know, the file name does not look like a &lt;code&gt;MPEG-TS&lt;/code&gt; file, but that is the file I received and by &lt;code&gt;ffprobe&lt;/code&gt; I know it is a &lt;code&gt;MPEG-TS&lt;/code&gt; file).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I transcode the file by&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mpg output.ps&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg&lt;/code&gt; says it is unable to find a suitable output format. But according to &lt;a href=&quot;https://en.wikipedia.org/wiki/MPEG_program_stream&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia&lt;/a&gt;, &lt;code&gt;.ps&lt;/code&gt; is a valid file extension for &lt;code&gt;MPEG-PS&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I know which extension will be recognized by &lt;code&gt;ffmpeg&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="18532" LastActivityDate="2017-06-09T10:07:39.880" Title="Is there any command show file extensions supported by ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21640" PostTypeId="2" ParentId="21639" CreationDate="2017-06-09T10:07:39.880" Score="3" Body="&lt;p&gt;There's no single list which has all the extensions supported by muxers in ffmpeg. FFmpeg is modular so each muxer registers the extensions it supports. A utility function then traverses through all registered muxers and tries to match their extensions with that of the output filename specified.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the command line, you can check the extensions registered to a particular muxer:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -h muxer=mpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;whose output will have a line like the 2nd line here&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Muxer mpeg [MPEG-1 Systems / MPEG program stream]:&#xA;    Common extensions: mpg,mpeg.&#xA;....&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that extensions by themselves don't signify anything other than provide a basis to select a muxer. If you want a MPEG Program Stream to have the extension &lt;code&gt;ps&lt;/code&gt;, then use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mpg -f mpeg output.ps&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This &lt;code&gt;-f&lt;/code&gt; option forces the output format.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-06-09T10:07:39.880" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21641" PostTypeId="1" AcceptedAnswerId="21642" CreationDate="2017-06-09T10:13:41.513" Score="2" ViewCount="2544" Body="&lt;p&gt;What am I missing?&#xA;I encode an old black and white film clip with ffmpeg libx265 passing -pix_fmt gray. The output is unplayable in both vlc and mplayer (linux), so I assume I'm missing something...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;encoding:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i clip.mkv \&#xA;    -c:v libx265 -preset slow -x265-params &quot;crf=24&quot; -pix_fmt gray \&#xA;    -c:a libopus -b:a 64k \&#xA;    -c:s copy \&#xA;    out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;vlc errors:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[00007f8a3ddfe328] blend blend error: no matching alpha blending routine (chroma: RGBA -&amp;gt; GREY)&#xA;[00007f8a3ddfe328] core blend error: blending RGBA to GREY failed&#xA;... repeated ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;mplayer errors:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Unexpected decoder output format Planar Y800&#xA;... repeated ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ffmpeg encoding output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 3.2.4 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with gcc 4.9.4 (Gentoo 4.9.4 p1.0, pie-0.6.4)&#xA;  configuration: --prefix=/usr --libdir=/usr/lib64 --shlibdir=/usr/lib64 --docdir=/usr/share/doc/ffmpeg-3.2.4/html --mandir=/usr/share/man --enable-shared --cc=x86_64-pc-linux-gnu-gcc --cxx=x86_64-pc-linux-gnu-g++ --ar=x86_64-pc-linux-gnu-ar --optflags='-march=native -O2 -pipe' --disable-static --enable-avfilter --enable-avresample --disable-stripping --enable-nonfree --enable-version3 --disable-indev=oss --disable-indev=jack --disable-outdev=oss --enable-version3 --enable-bzlib --disable-runtime-cpudetect --disable-debug --disable-gcrypt --disable-gnutls --disable-gmp --enable-gpl --enable-hardcoded-tables --enable-iconv --enable-lzma --enable-network --enable-openssl --enable-postproc --disable-libsmbclient --enable-ffplay --enable-sdl2 --enable-vaapi --enable-vdpau --enable-xlib --enable-libxcb --enable-libxcb-shm --enable-libxcb-xfixes --enable-zlib --enable-libcdio --disable-libiec61883 --disable-libdc1394 --disable-libcaca --enable-openal --enable-opengl --enable-libv4l2 --disable-libpulse --enable-libopencore-amrwb --enable-libopencore-amrnb --disable-libfdk-aac --enable-libopenjpeg --enable-libbluray --enable-libcelt --disable-libgme --disable-libgsm --disable-mmal --enable-libmodplug --enable-libopus --disable-libilbc --disable-librtmp --enable-libssh --enable-libschroedinger --enable-libspeex --enable-libvorbis --enable-libvpx --disable-libzvbi --disable-libbs2b --disable-chromaprint --disable-libebur128 --disable-libflite --disable-frei0r --disable-libfribidi --enable-fontconfig --disable-ladspa --disable-libass --enable-libfreetype --disable-librubberband --disable-libzimg --enable-libsoxr --enable-pthreads --enable-libvo-amrwbenc --enable-libmp3lame --disable-libkvazaar --disable-nvenc --disable-libopenh264 --enable-libsnappy --enable-libtheora --enable-libtwolame --enable-libwavpack --disable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --disable-amd3dnow --disable-amd3dnowext --disable-fma4 --disable-xop --cpu=host --disable-doc --disable-htmlpages --enable-manpages&#xA;  libavutil      55. 34.101 / 55. 34.101&#xA;  libavcodec     57. 64.101 / 57. 64.101&#xA;  libavformat    57. 56.101 / 57. 56.101&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libavresample   3.  1.  0 /  3.  1.  0&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;x265 [info]: HEVC encoder version 2.2&#xA;x265 [info]: build info [Linux][GCC 4.9.4][64 bit] 8bit+10bit+12bit&#xA;x265 [info]: using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX AVX2 FMA3 LZCNT BMI2&#xA;x265 [info]: Unknown profile, Level-3.1 (Main tier)&#xA;x265 [warning]: No thread pool allocated, --wpp disabled&#xA;x265 [warning]: No thread pool allocated, --lookahead-slices disabled&#xA;x265 [info]: Slices                              : 1&#xA;x265 [info]: frame threads / pool features       : 3 / none&#xA;x265 [info]: Coding QT: max CU size, min CU size : 64 / 8&#xA;x265 [info]: Residual QT: max TU size, max depth : 32 / 1 inter / 1 intra&#xA;x265 [info]: ME / range / subpel / merge         : star / 57 / 3 / 3&#xA;x265 [info]: Keyframe min / max / scenecut / bias: 23 / 250 / 40 / 5.00&#xA;x265 [info]: Lookahead / bframes / badapt        : 25 / 4 / 2&#xA;x265 [info]: b-pyramid / weightp / weightb       : 1 / 1 / 0&#xA;x265 [info]: References / ref-limit  cu / depth  : 4 / on / on&#xA;x265 [info]: AQ: mode / str / qg-size / cu-tree  : 1 / 1.0 / 32 / 1&#xA;x265 [info]: Rate Control / qCompress            : CRF-24.0 / 0.60&#xA;x265 [info]: tools: rect limit-modes rd=4 psy-rd=2.00 rdoq=2 psy-rdoq=1.00&#xA;x265 [info]: tools: rskip signhide tmvp strong-intra-smoothing deblock sao&#xA;Output #0, matroska, to 'out.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf57.56.101&#xA;    Metadata:&#xA;    Stream #0:0(eng): Video: hevc (libx265), gray, 1280x720 [SAR 1:1 DAR 16:9], q=2-31, 23.98 fps, 1k tbn, 23.98 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc57.64.101 libx265&#xA;    Stream #0:1(eng): Audio: opus (libopus) ([255][255][255][255] / 0xFFFFFFFF), 48000 Hz, stereo, flt, 64 kb/s (default)&#xA;    Metadata:&#xA;      encoder         : Lavc57.64.101 libopus&#xA;    Stream #0:2(eng): Subtitle: subrip (default)&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; hevc (libx265))&#xA;  Stream #0:1 -&amp;gt; #0:1 (eac3 (native) -&amp;gt; opus (libopus))&#xA;  Stream #0:3 -&amp;gt; #0:2 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame= 1439 fps=7.0 q=-0.0 Lsize=    5356kB time=00:01:00.01 bitrate= 731.1kbits/s speed=0.294x    &#xA;video:4940kB audio:382kB subtitle:1kB other streams:0kB global headers:2kB muxing overhead: 0.629434%&#xA;x265 [info]: frame I:      9, Avg QP:22.27  kb/s: 6064.82 &#xA;x265 [info]: frame P:    340, Avg QP:23.62  kb/s: 1950.21 &#xA;x265 [info]: frame B:   1090, Avg QP:29.65  kb/s: 230.75  &#xA;x265 [info]: Weighted P-Frames: Y:0.9% UV:0.0%&#xA;x265 [info]: consecutive B-frames: 2.9% 0.3% 1.4% 72.5% 22.9% &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19134" LastActivityDate="2017-06-09T11:13:22.583" Title="encoding with ffmpeg libx265 -pix_fmt gray gives unplayable vid" Tags="|ffmpeg|encoding|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21642" PostTypeId="2" ParentId="21641" CreationDate="2017-06-09T11:13:22.583" Score="3" Body="&lt;p&gt;Plays fine here in VLC, ffplay and Potplayer. Doesn't play with mplayer. Its H265 decoder probably doesn't support &lt;code&gt;gray&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Workaround is to store it as YUV420P after discarding the chroma.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i clip.mkv \&#xA;    -vf format=gray,format=yuv420p \&#xA;    -c:v libx265 -preset slow -x265-params &quot;crf=24&quot; \&#xA;    -c:a libopus -b:a 64k \&#xA;    -c:s copy \&#xA;    out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-06-09T11:13:22.583" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21643" PostTypeId="1" AcceptedAnswerId="23146" CreationDate="2017-06-09T13:34:14.877" Score="1" ViewCount="1228" Body="&lt;p&gt;I'm using ffmpeg libx265 to encode some fun gameplay clips from old games.&#xA;Typically this means low resolution pixel art, with small sprites moving against a static or scrolling background.&#xA;The default settings for the x265 codec are poorly suited for this and give large areas of blocky noise artifacts around the moving sprites. &#xA;I can of course just increase bitrate, e.g. &quot;crf=22&quot; and allow more computation time &quot;-preset slow&quot; to reduce the problem, but I guess there are better ways to tune the codec parameters to better deal with these types of visuals.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: &lt;em&gt;hmm, I need &gt;10 rep to be allowed to post more than two links. So I'm deleting the old examples and posting updated better examples.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adding better examples (now with source)&#xA;Very simple graphics. Both sprites moving against static background and scrolling background. The major distortions are found when sprites are moving on static background. The noise distortions can extend quite far around the sprites: e.g. @15s&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Download the files and view in fullscreen. The gdrive viewer will reencode and destroy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;source (x264 ultrafast crf=0)&lt;br&gt;&#xA;4.4MB &lt;a href=&quot;https://goo.gl/VjRhvh&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://goo.gl/VjRhvh&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i source.mkv -libx265 -preset medium -libx265-params &quot;crf=28&quot; out.mkv&lt;br&gt;&#xA;152KB &lt;a href=&quot;https://goo.gl/bQDmxe&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://goo.gl/bQDmxe&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i source.mkv -libx265 -preset veryslow -libx265-params &quot;crf=22&quot; out.mkv&lt;br&gt;&#xA;216KB &lt;a href=&quot;https://goo.gl/rGtNAT&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://goo.gl/rGtNAT&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This one looks a bit better due to higher bitrate and more compute time. Noise artifacts are smaller, but still disturbing.&lt;/p&gt;&#xA;" OwnerUserId="19134" LastEditorUserId="19134" LastEditDate="2018-01-03T14:31:23.730" LastActivityDate="2018-01-04T06:19:56.447" Title="How to tune ffmpeg libx265 parameters for encoding old sprite based game video?" Tags="|ffmpeg|encoding|" AnswerCount="1" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="21648" PostTypeId="1" CreationDate="2017-06-10T12:42:48.007" Score="1" ViewCount="461" Body="&lt;p&gt;I've been searching for an answer to this but haven't been able to find anything definitive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use an Orah 4i 360 livestream video camera. It sends the camera video to a stitching box. The stitching box sends out 4K (4096x2160) H.264 prestitched 360 video over RTMP. It also can record to internal SD card. But it can't record internally at the same time it is outputting over RTMP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to record the livestream, you have to use the HDMI 2.0 output, which also sends the the same H.264 mp4 video, but without the RTMP 360 control data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to record the 4K mp4 video from HDMI to an external HD or SD card.&#xA;Since it is already encoded mp4, even though 4K, it doesn't really need the data record rate that something like an Atomos Ninja Inferno or Black Magic options. They record RAW uncompressed video, and you pay for that. I only need to record mp4, even though 4K from HDMI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, does anyone know of a cheaper solution than Atomos has to record 4K HDMI mp4 to an external HD or SD card?&lt;/p&gt;&#xA;" OwnerUserId="19141" LastEditorUserId="14523" LastEditDate="2017-06-10T16:38:14.193" LastActivityDate="2017-06-15T13:45:16.943" Title="Recording 4K H.264 from HDMI to External Media" Tags="|4k|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21649" PostTypeId="2" ParentId="21648" CreationDate="2017-06-10T13:04:54.753" Score="1" Body="&lt;p&gt;Would you consider using a computer equipped with a 4K HDMI capture card like BlackMagic Intensity Pro 4K, to write to that SD card?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will be cheaper than buying a recorder and you will have full control over how you capture this 4K stream over HDMI.&lt;/p&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2017-06-10T13:04:54.753" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21652" PostTypeId="2" ParentId="20426" CreationDate="2017-06-11T05:23:09.007" Score="1" Body="&lt;p&gt;My solution to this issue is fairly complex but stable.  I feel I went well beyond the initial request here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I built a MySQL database with a table of jobs.  In that table there are columns for status, the text that needs to be in each video and then further more with youtube metadata.  The table has an index ID value that auto increments with each added row.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I manipulate the data via microsoft excel and save it as a CSV. I wrote a python script that reads the CSV and then imports into MySQL.  I do this because the youtube metadata column in each row is stored in JSON format for ease during the upload phase.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once in the MySQL database, I have a script that runs once daily that generates any videos listed with the status code corresponding to needing to be rendered.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use ffmpeg with drawtext to push the text desired during the timeline desired on top of a template version of the video that has whitespace in the timeline desired.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Files are named corresponding to the Row ID# in the database to make it easier to pick up later on in the upload phase.&lt;/p&gt;&#xA;" OwnerUserId="17774" LastActivityDate="2017-06-11T05:23:09.007" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21653" PostTypeId="2" ParentId="21483" CreationDate="2017-06-11T09:13:08.503" Score="9" Body="&lt;p&gt;You may want to use FFMPEG's &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#lut3d-1&quot; rel=&quot;noreferrer&quot;&gt;lut3d&lt;/a&gt; filter. It requires you to provide a look-up table (a *.cube file). For example, if you have an ARRI camera you can generate these files using &lt;a href=&quot;http://www.arri.com/camera/amira/downloads/&quot; rel=&quot;noreferrer&quot;&gt;ARRI Color Tool&lt;/a&gt; or simply download a package with them from the linked page.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have the files, use FFMPEG like this:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -i &quot;Input.mov&quot; -vf lut3d=&quot;ARRIP3D65PQ108-33.cube&quot; -s 1920x1080&#xA;  -c:v dnxhd -pix_fmt yuv422p -b:v 120M DNxHD_for_Editing.mxf&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The important part here is the use of &lt;strong&gt;lut3d&lt;/strong&gt; filter:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;-vf lut3d=&quot;ARRIP3D65PQ108-33.cube&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;where ARRIP3D65PQ108-33.cube is the LUT file to use with the filter.&lt;/p&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2017-06-11T09:13:08.503" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21655" PostTypeId="1" CreationDate="2017-06-12T07:28:26.787" Score="1" ViewCount="1378" Body="&lt;p&gt;I've just finished a music video in Resolve and exported it as Mov/Prores422HQ. It looks correct when played back in Quicktime and in VLC, however when I upload to YouTube, there is a huge gamma shift and the blacks look washed out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;YouTube on the left, Quicktime on the right:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1XrUR.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1XrUR.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can I do to mitigate this gamma shift?&lt;/p&gt;&#xA;" OwnerUserId="6532" LastActivityDate="2018-12-05T03:02:05.253" Title="YouTube Upload Gamma Shift" Tags="|youtube|prores|gamma|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21656" PostTypeId="2" ParentId="21629" CreationDate="2017-06-12T10:13:14.140" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Files stored in the MPG format are video files embedded with MPEG&#xA;  video data compression specifications and data encoding algorithms,&#xA;  and these MPG video files are appended with the .mpg extension.&#xA;  Specifically, MPEG-1 and MPEG-2 formatting standards are usually&#xA;  incorporated into MPG files, which are digital video data compression&#xA;  specifications and algorithms developed by the Moving Picture Experts&#xA;  Group. These MPG files are normally distributed on the Internet as&#xA;  video downloads, streamed videos and digital video content materials&#xA;  that are embedded unto Web pages. Windows Media Player is integrated&#xA;  with compatibility support and playback functionality for these MPG&#xA;  files, which means this media player can be used to open and view the&#xA;  video content of files stored in the .mpg format. Apple QuickTime&#xA;  Player is a cross platform digital multimedia player that is also&#xA;  embedded with compatibility support and playback functionality for&#xA;  these MPG files, which means Windows and Mac users can deploy this&#xA;  software to open and view the video content stored in files appended&#xA;  with the .mpg extension.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;you should read this, it might help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.reviversoft.com/file-extensions/mpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.reviversoft.com/file-extensions/mpg&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19108" LastActivityDate="2017-06-12T10:13:14.140" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21657" PostTypeId="2" ParentId="21655" CreationDate="2017-06-12T14:21:08.470" Score="1" Body="&lt;p&gt;I managed to get an acceptable result by exporting as Mov/Prores 4444 and a Timeline Colorspace of Rec 709 Gamma 2.2. &lt;/p&gt;&#xA;" OwnerUserId="6532" LastActivityDate="2017-06-12T14:21:08.470" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21660" PostTypeId="1" CreationDate="2017-06-13T00:39:17.253" Score="0" ViewCount="5871" Body="&lt;p&gt;I have a 1h25m 25fps video file that has an audio file that is 1h29m. I want to change the duration of the video from 1h25m to 1h29m.  Is this possible with Handbrake?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried setting the duration to 1h29m up near frames/duration but Handbrake didn't change the video. I know how to change duration with Sony Vegas but I lose quality in the conversion, so I want to do this with Handbrake for higher quality.&lt;/p&gt;&#xA;" OwnerUserId="19161" LastEditorUserId="674" LastEditDate="2017-06-19T18:40:03.180" LastActivityDate="2018-04-10T05:02:39.027" Title="Can you change the duration of a video in Handbrake?" Tags="|handbrake|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21661" PostTypeId="1" AcceptedAnswerId="21667" CreationDate="2017-06-13T03:43:39.393" Score="3" ViewCount="6276" Body="&lt;p&gt;I have an &lt;code&gt;MP4&lt;/code&gt; file &lt;code&gt;input.mp4&lt;/code&gt; which is encoded in &lt;code&gt;libx264&lt;/code&gt;. By &lt;code&gt;ffprobe&lt;/code&gt; command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -v error -show_streams input.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I can know the bit rate of &lt;code&gt;input.mp4&lt;/code&gt;, but it does not give the information of &lt;code&gt;max bit rate&lt;/code&gt; (&lt;code&gt;max_bit_rate=N/A&lt;/code&gt; ).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any &lt;code&gt;ffmpeg&lt;/code&gt; (&lt;code&gt;ffprobe&lt;/code&gt;) command for getting &lt;code&gt;max bit rate&lt;/code&gt; of a video?&lt;/p&gt;&#xA;" OwnerUserId="18532" LastActivityDate="2022-05-06T07:41:02.410" Title="Is there any ffmpeg command for knowing max bit rate of a video?" Tags="|ffmpeg|bitrate|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21664" PostTypeId="2" ParentId="21275" CreationDate="2017-06-13T06:11:23.673" Score="1" Body="&lt;p&gt;Not all browsers and mobile devices natively support MPEG-DASH ( .mpd), DASH is natively supported in Chrome (including Android 4.0+), Internet Explorer 11 on Windows 8.1, and many SmartTVs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To answer your questions: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) To ensure that your encoded video can stream in all environments, make sure to embed relevant client players in your application, you can find more information about Adaptive bitrate streaming here - &lt;a href=&quot;http://cloudinary.com/documentation/video_manipulation_and_delivery#adaptive_bitrate_streaming_hls_and_mpeg_dash&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://cloudinary.com/documentation/video_manipulation_and_delivery#adaptive_bitrate_streaming_hls_and_mpeg_dash&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Here is a list of open source &lt;a href=&quot;http://cloudinary.com/blog/html5_video_player&quot; rel=&quot;nofollow noreferrer&quot;&gt;HTML5 video players&lt;/a&gt;. &lt;/p&gt;&#xA;" OwnerUserId="19108" LastEditorUserId="19108" LastEditDate="2017-07-13T11:59:15.820" LastActivityDate="2017-07-13T11:59:15.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21667" PostTypeId="2" ParentId="21661" CreationDate="2017-06-13T10:33:45.557" Score="7" Body="&lt;p&gt;That &lt;code&gt;max_bit_rate&lt;/code&gt; is a a tag written by some encoders, when set by the user in the export dialog box. It is not an indication of the maximum bitrate found if you were to survey the encoded bitstream.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;It's possible to get a good idea of the maximum bitrate of a stream this way:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -map 0:v -c copy&#xA;       -f segment -segment_time 1 -break_non_keyframes 1 folder\seg%d.264&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will break up the video stream into 1 second segments. Sort the directory listing by size to find out the largest file. That's your maximum bitrate. Not totally accurate as it's not a rolling survey but should be close enough.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-06-14T04:31:04.840" LastActivityDate="2017-06-14T04:31:04.840" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21669" PostTypeId="1" AcceptedAnswerId="21670" CreationDate="2017-06-13T12:15:17.033" Score="0" ViewCount="140" Body="&lt;p&gt;Is coaxial cable an option for distances of around &lt;strong&gt;150 m&lt;/strong&gt; to transfer SDI digital signals? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If coaxial cable can be considered an option for a distance of 150 m, is the &lt;strong&gt;cost&lt;/strong&gt; of deploying coaxial cable, including any special connectors and amplifiers, larger than the cost of deploying &lt;strong&gt;fiber&lt;/strong&gt; optic cables for the same distance of 150 m?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know, this might be a very broad/generic question, but we are in the process of decision-making about our tech stack.&lt;/p&gt;&#xA;" OwnerUserId="19052" LastActivityDate="2017-06-13T12:56:47.687" Title="Is coaxial cable an option for distances of around 150 m to transfer SDI digital signals" Tags="|video|digital-recording|digital|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21670" PostTypeId="2" ParentId="21669" CreationDate="2017-06-13T12:56:47.687" Score="2" Body="&lt;p&gt;300 Feet is about as far as you can take SDI or HD-SDI; before it needs to be reclocked. So no, 150 M is too far. Also the quality of cable; and if it's being run in parallel with other cables that cause interference can affect how long you can go. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can reclock at the half way point using a distribution amplifier, and you'll lose 1 frame of sync for each time you reclock. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your next best option is to run Fiber Optic; which you can run for 25 miles without having to deal with any signal loss issues. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-06-13T12:56:47.687" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21672" PostTypeId="1" CreationDate="2017-06-13T17:13:50.733" Score="0" ViewCount="522" Body="&lt;p&gt;I want to use the song Spirit of Life by Blackmill as background music video but I wasn't able to find any information about license to use this song. I tried to contact Blackmill as well but no response. I'm trying not to use a different song because it works so well with my video currently. Any advice would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="17250" LastEditorUserId="14523" LastEditDate="2017-06-14T01:54:14.727" LastActivityDate="2018-06-26T09:22:43.687" Title="License for using background music in my video?" Tags="|copyright|music|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21673" PostTypeId="2" ParentId="21672" CreationDate="2017-06-13T19:48:11.713" Score="2" Body="&lt;p&gt;Having licensed music for videos I've produced; from having custom tracks re-recorded by one of Audio Jungles top artists (1 Million in Sales); to one hit wonders who had radio airplay; to even Katy Perry... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need to find out what Label the album is under; meaning, who owns the rights. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Blackmill will have no say, unless they own the masters which I doubt. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The label information should be easilly found on the CD/Album info. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Contact the label; and they will either have a licensing department or they will refer you to their agency. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is a time consuming process; there is a lot of back and forth, and it could be expensive. Very. If they are under a large label; and they don't have an agreement with a &quot;licencing agency&quot; like ExtremeMusic; which basically mass sells known artists and because they do so on a large scale basis they have a basic rate sheet; 1 song for x use for x type of duplication used in x such a way = this price;  if they don't have that track on a easy to buy list; it's going to involve a custom negotiation where money talks and if you don't have the money...  don't expect a return call. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Contacting Blackmill or even their manager/management is likely going to prove a waste of time. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-06-13T19:48:11.713" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21674" PostTypeId="1" CreationDate="2017-06-13T20:42:09.817" Score="2" ViewCount="108" Body="&lt;p&gt;I'm using KDEnlive to edit multiple videotracks. I have the tracks synched, but they are different lengths. In a preview of the video I can sort-of live edit by switching off different video-channels. The topmost active video will show.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I would like to do is do this for my final edit. I don't want to cut the video's into pieces, because I might change my mind about where I want to transition over to another channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I'd like to do is mark a spot on a channel where it changes to anouther channel (perhaps with a transition) and play around with these until I have the edit I want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I imagine it's possible to transition from one channel to the other without actually deleting parts of the video and cutting channels up into clips?&lt;/p&gt;&#xA;" OwnerUserId="19173" LastEditorUserId="14523" LastEditDate="2017-06-14T10:03:00.430" LastActivityDate="2017-06-14T10:03:00.430" Title="Switching channels without cutting video into clips in kdenlive" Tags="|live|linux|transitions|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21676" PostTypeId="1" AcceptedAnswerId="21678" CreationDate="2017-06-13T09:26:32.353" Score="10" ViewCount="10633" Body="&lt;p&gt;I'm not a photographer, but I'm struggling to understand HDR technology as it relates to TVs and monitors, so I thought this would be a good place to ask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, I got a good understanding of the terms &quot;color space&quot; and &quot;bit depth&quot; by reading this &lt;a href=&quot;https://photo.stackexchange.com/a/50551/63891&quot;&gt;excellent answer&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How does HDR technology relate to these terms? Is HDR simply a combination of a 10-bit color depth and really wide color space, or is there something more to it? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the marketing language, certain areas of the screen (such as the rising sun) are said to be &quot;brighter&quot; than other areas of the screen on a HDR display. What does &quot;brighter&quot; actually mean here — does it just mean &quot;farther to the edge of the color space&quot;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I currently have a DELL U2410 monitor, which, as I understand, has a 12-bit internal processor and an 8-bit panel with FRC dithering, and supports an Adobe RGB color space. Even though this is not true 10-bit, will it produce a result similar to HDR if I use a device which can output HDR? I currently set the color space to &quot;sRGB&quot; since Adobe RGB looks too oversaturated. Could this be because my graphics card does not support a 10-bit output?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: I am talking about &quot;HDR&quot; specifically as it relates to how the term is used in modern 4K TVs. &lt;/p&gt;&#xA;" OwnerUserId="19176" OwnerDisplayName="Vikram" LastActivityDate="2024-01-29T10:37:37.403" Title="How does HDR relate to color space and bit depth?" Tags="|hdr|" AnswerCount="5" CommentCount="14" ContentLicense="CC BY-SA 3.0" />
  <row Id="21677" PostTypeId="2" ParentId="21676" CreationDate="2017-06-13T11:52:05.630" Score="1" Body="&lt;p&gt;HDR doesn't relate to color space at all, as it stands for &quot;High &lt;em&gt;Dynamic&lt;/em&gt; Range&quot;, ie. brightness, not color, contrast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Traditional TV signals had a rather low contrast ratio, as old TV sets had a contrast of only &lt;a href=&quot;http://www.poynton.com/notes/colour_and_gamma/GammaFAQ.html#contrast_ratio&quot; rel=&quot;nofollow noreferrer&quot;&gt;30:1&lt;/a&gt;. Modern displays can produce a lot more, 1000:1 or more with dynamic backlight (local dimming).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;HDR&quot; displays are just a marketing term for displays with a very high contrast ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But using this high contrast will require a higher bit depth signal or you'll have only a few steps spread out over the whole range which may introduce a kind of banding just like in the color domain.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can't squeeze 1000:1 into an 8 bit brightness signal, so you need a higher bit depth. 10 bit can encode 1024 steps, which still isn't that high really, but better than 256.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Calling those displays &quot;HDR&quot; is, from a photography perspective, still laughable, as HDR photos are encoded in 32 bit floating point values with near infinite steps, but the dynamic range &lt;em&gt;is&lt;/em&gt; higher than that of a traditional CRT TV or the standard NTSC/PAL signal. (Note that you need an &quot;HDR&quot; signal source to actually enjoy that capacity.)&lt;/p&gt;&#xA;" OwnerUserId="20242" OwnerDisplayName="ths" LastActivityDate="2017-06-13T11:58:34.737" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="21678" PostTypeId="2" ParentId="21676" CreationDate="2017-06-13T20:37:28.627" Score="7" Body="&lt;p&gt;TV technology and video encoding is in principle outside the scope of this site. &#xA;Still, as photographers we are presumably interested in new display standards that promise both more dynamic range and wider color gamut. HDR computer monitors &lt;a href=&quot;http://www.pcworld.com/article/3154466/displays/jaw-droppingly-gorgeous-hdr-explodes-onto-pc-monitors-at-ces-2017.html&quot; rel=&quot;noreferrer&quot;&gt;are coming&lt;/a&gt;, so it probably won't be long before photographers too will be interested in HDR displays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;HDR by itself just means High Dynamic Range. Dynamic range is the brightness ratio between the brightest and the darkest parts. &quot;High&quot; is relative to what the sensor can capture or to what a standard display can show.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/High-dynamic-range_video&quot; rel=&quot;noreferrer&quot;&gt;HDR video&lt;/a&gt; is one of several standards for video encoding. They have names like HDR10, Dolby Vision, and Hybrid Log-Gamma. They all support higher bit depth (10-12 bits), wider color gamut (&lt;a href=&quot;https://en.wikipedia.org/wiki/Rec._2020&quot; rel=&quot;noreferrer&quot;&gt;Rec. 2020&lt;/a&gt; and/or &lt;a href=&quot;https://en.wikipedia.org/wiki/DCI-P3&quot; rel=&quot;noreferrer&quot;&gt;DCI-P3&lt;/a&gt;), higher dynamic range, and 4k resolution. They are not compatible with each other, but some devices support more than one HDR standard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.trustedreviews.com/opinions/hdr-tv-high-dynamic-television-explained&quot; rel=&quot;noreferrer&quot;&gt;&quot;HDR TV&quot;&lt;/a&gt; doesn't necessarily mean much, except that it will accept a HDR video signal and display an image. It does &lt;em&gt;not&lt;/em&gt; necessarily mean that it can &lt;em&gt;display&lt;/em&gt; the wider gamut and higher dynamic range, just that it can read the signals and show something, even if what it shows is plain sRGB with a mundane dynamic range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.cnet.com/news/what-is-uhd-alliance-premium-certified/&quot; rel=&quot;noreferrer&quot;&gt;&quot;UHD Premium&quot;&lt;/a&gt; is a certification standard for displays that can actually &lt;em&gt;show&lt;/em&gt; HDR. Requirements include:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;minimum 10 bit color&lt;/li&gt;&#xA;&lt;li&gt;minimum 90% of the DCI-P3 color gamut&lt;/li&gt;&#xA;&lt;li&gt;use a HDR transfer function &lt;em&gt;(The transfer function for sRGB is called 'gamma', it translates bit value to brightness value. HDR uses a different function so it can cover a larger dynamic range with a small increase in the number of bits)&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;either: Minimum 1,000 nits brightness and max 0.05 nits black level, contrast ratio 20,000:1 or better (for LCD displays)&lt;/li&gt;&#xA;&lt;li&gt;or: Minimum 540 nits brightness and max 0.0005 nits black level, contrast ratio 1,080,000:1 or better (for OLED displays, they can't go as bright but have better black levels)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Standard displays are 200-400 nits and rarely go beyond 1,000:1 contrast ratio. So a &quot;Premium&quot; HDR display has significantly higher peak brightness as well as an order of magnitude better contrast. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Brighter highlights, higher contrast ratios, and a different &quot;bits to brightness&quot; encoding/decoding all combine to enable the &quot;high dynamic range&quot; part of a HDR TV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Color space and bit depth is only related to HDR in the sense that they are part of the same standards. Yes, you need more bits to represent a higher dynamic range without banding. But the larger color space is a different decision, it's more a matter of including enough improvements to make a new video standard worth the trouble. (4k is also part of the standard, and 4k is not related to HDR either.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;The sun looks brighter on a HDR display&quot; means that a) the display emits more light in the brightest parts of the scene, and b) it may look even brighter because the rest of the scene can be dimmer without losing detail. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So it's a real improvement; the wider color gamut and higher dynamic range can  contribute to more vivid photos and video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The caveat is that TVs/monitors may be sold as &quot;HDR compatible&quot; without any actual HDR capability in the display. The content needs to be made specifically for HDR to make use of the new capabilities. And for computer monitors, you need a graphics card that supports HDR output. &lt;/p&gt;&#xA;" OwnerUserId="4223" OwnerDisplayName="j-g-faustus" LastActivityDate="2017-06-13T20:46:02.233" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21679" PostTypeId="2" ParentId="21676" CreationDate="2017-06-13T22:59:30.450" Score="1" Body="&lt;p&gt;HDR in the modern TV sense refers to one of several different HDR specifications for color.  To understand what High Dynamic Range means, we first need to understand what dynamic range is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Dynamic Range is the difference between the highest and lowest values in a signal or display.  A high dynamic range TV generally means that there is a large amount of brightness levels between the darkest and lightest possible portions of the display that can be shown at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The HDR specifications specify more than just the max and min brightness levels that must be able to be displayed though.  They also specify that a relatively high bit depth must be possible.  This allows for a video to have a greater number of levels of brightness within it, which also means that more subtle variations in color can be created and thus better use of the increased range of brightness that can be produced.  The higher the dynamic range, the more change in color between each value at a particular bit depth, but you can have fairly low dynamic range displays or fairly high dynamic range displays that still have a high bit depth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also requirements for contrast ratio.  Contrast ratio is similar to dynamic range, but not exactly the same thing.  Contrast ratio is the relationship, in absolute light level, between the darkest and brightest values the display can simultaneously display.  It is dependent both on how bright the display can get and how well it can block light.  The contrast ratio determines how well a bright and dark portion of a scene can co-exist at the same time.  Static contrast ratio is the meaningful value as it is what the display can really do.  Dynamic doesn't mean a whole lot because it depends on being able to do adjustments that aren't at a pixel level and don't really produce an ideal image quality.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-06-13T22:59:30.450" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21680" PostTypeId="2" ParentId="17225" CreationDate="2017-06-14T15:13:44.447" Score="-1" Body="&lt;p&gt;Being good at Premiere Pro, and as advised above, use Warp Stabilizer or try changing format. If problem occurs edit your question and give detail&lt;/p&gt;&#xA;" OwnerUserId="19181" LastActivityDate="2017-06-14T15:13:44.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21683" PostTypeId="1" CreationDate="2017-06-14T18:31:22.990" Score="1" ViewCount="22" Body="&lt;p&gt;I have the Canon 80D and wondering if there is a monitor in the market that has the option to touch to focus that works with the Canon 80D.&lt;/p&gt;&#xA;" OwnerUserId="11359" LastActivityDate="2017-06-14T18:31:22.990" Title="Monitor with touch to focus" Tags="|video|camera|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21684" PostTypeId="1" CreationDate="2017-06-15T10:40:02.590" Score="2" ViewCount="862" Body="&lt;p&gt;Most of the content that we download or get from media is 24fps. Which can not play smoothly on 60Hz/50Hz monitor as 24 frame can not directly sync with 50/60Hz monitor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now my question is it possible to directly play 24fps video smoothly on 50Hz monitor by increasing the speed of video by 1.05x by which it will become 25fps video which can directly sync to 50hz screen. If I'm technically correct what is the best way to accomplished this.&lt;/p&gt;&#xA;" OwnerUserId="19184" LastActivityDate="2017-06-16T10:13:45.457" Title="Play 24fps video smoothly on 50Hz monitor" Tags="|video|25fps|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21686" PostTypeId="1" CreationDate="2017-06-15T08:12:53.507" Score="2" ViewCount="36" Body="&lt;p&gt;Are teleconverters (x1.4 or x2) fine for recording movies (action videos) with hybrid cameras? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was thinking that maybe the focus could be a little too slow, especially for tracking sports moves.&lt;/p&gt;&#xA;" OwnerDisplayName="Ralph Northkite" LastEditorUserId="14523" LastEditDate="2017-06-16T13:58:48.093" LastActivityDate="2017-06-16T13:58:48.093" Title="Do teleconverters work properly for recording movies with hybrid cameras?" Tags="|dslr|lenses|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21687" PostTypeId="2" ParentId="10461" CreationDate="2017-06-15T14:10:23.987" Score="1" Body="&lt;p&gt;I had the same basic problem, but mine was a little more complex.  I shot all the video footage on the same camera, and didn't need to crop any of the clips except the welcome speech clip.  I didn't realize it at the time, but in the frame was a kid picking his nose and eating his discoveries, not once but four times!  So I had to crop the whole frame, and then resize it so it would be the same size as the rest of the clips.  Here's what I did:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I opened up the clip I needed to crop in Premiere Pro, just that clip.  I cropped it by holding down the shift key to keep the proper proportions,  went to File - Export, and then Source in the upper left.  I cropped the black edges out again, and processed the video.  Once that was done, I imported the clip into the video I was working on, went back to the same time stamp in that clip as it was before, and inserted the clip right into where the original clip was with the nose picking going on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There may be easier and faster ways to do this, but this worked for me, and I hope it will work for you, too.&lt;/p&gt;&#xA;" OwnerUserId="19185" LastActivityDate="2017-06-15T14:10:23.987" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21688" PostTypeId="2" ParentId="21686" CreationDate="2017-06-15T14:11:20.187" Score="1" Body="&lt;p&gt;It really depends on the capabilities of the focus system on the camera and the particular teleconverter and lens used.  Since you mention action videos, I assume you will be dependent on autofocus.  Not all teleconverters are able to properly communicate focal length and focus adjustment controls, so you'll need a &quot;smart&quot; teleconverter.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, teleconverters have an impact on the f-stop at which a lens can shoot and because of the way they operate, with some lenses, they limit the aperture settings at which autofocus can occur.  You'll want to check the documentation of the particular teleconverter you intend to use to make sure it is compatible with the lens and aperture you wish to shoot at.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, there is the concern of the precision of the AF motors.  Extending the focal length of a lens also narrows the depth of field and makes the precision of the AF motor much more critical to avoiding focus &quot;breathing&quot; where it goes in and then back out of focus.  This is also going to be lens specific and some lenses will do better than others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is all running on the assumption that you have hybrid pixel phase detect autofocus on the hybrid camera in question (or some other form of non-contrast based phase detection that allows direct travel to the proper focus point.)  If you do not, then you will have issues with focus breathing with or without the teleconverter that will be less than ideal for video purposes.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-06-15T14:11:20.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21694" PostTypeId="1" AcceptedAnswerId="21696" CreationDate="2017-06-16T00:01:05.047" Score="1" ViewCount="563" Body="&lt;p&gt;It seems I'm the only person who doesn't understand why Mic out port on &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B00BJSYV4S&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sony ecm-xyst1m&lt;/a&gt; external microphone &lt;strong&gt;doesn't work with headphones, while having the same jack&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I bought that one and first thought it is broken, but at service they told it is not supposed to be used with headphones. I tried to google the topic but it seems nobody even care about that.&#xA;At the same time very similar microphone from Sony, just wireless - &lt;a href=&quot;http://rads.stackoverflow.com/amzn/click/B00HPM086C&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sony ECMW1M&lt;/a&gt; does have headphones output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Taking into account that A6000, A6300 and even A6500 cameras doesn't have headphones output as well, that sounds like a really stupid design from Sony. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What's the point of having all those switches on sound recording if you can't hear what is being recorded?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="19197" OwnerDisplayName="Oleksandr Pshenychnyy" LastEditorUserId="14523" LastEditDate="2017-06-16T08:28:20.810" LastActivityDate="2017-06-16T08:28:20.810" Title="Why headphones doesn't work with mic out port?" Tags="|audio|microphone|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21695" PostTypeId="1" CreationDate="2017-06-16T00:39:41.410" Score="0" ViewCount="657" Body="&lt;p&gt;I just learnt motion tracking in Adobe After Effects and I find it great. I need to track the (X,Y) location of the object that I am tracking. For Example, lets say there's a video of a black dot moving from the top left corner of a screen to the bottom right on a white board. I would like to know it's new location every time it moves. Like a list of (0,100) (1,99) (2,98)..... One Idea is taking a screenshot of the video every second, locating the dot and getting it's location from there. I'm sure that this is tracked in the background of motion tracking. Is anything like this possible?&lt;/p&gt;&#xA;" OwnerUserId="19194" LastActivityDate="2017-09-04T05:45:07.437" Title="Get location (X,Y) of motion tracking object?" Tags="|after-effects|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21696" PostTypeId="2" ParentId="21694" CreationDate="2017-06-16T00:55:11.503" Score="4" Body="&lt;p&gt;Microphones output at &lt;a href=&quot;https://shure.custhelp.com/app/answers/detail/a_id/758/~/mic-level-and-line-level----what-do-they-mean%3F&quot; rel=&quot;nofollow noreferrer&quot;&gt;mic level&lt;/a&gt;, which is a signal that ranges from around 0.001 volts to 0.01 volts. Headphones work at closer &lt;a href=&quot;https://en.wikipedia.org/wiki/Line_level&quot; rel=&quot;nofollow noreferrer&quot;&gt;line level&lt;/a&gt;, which is around 1 volt. Based off that information, you can see there isn't enough power in the output of a microphone to hear it by directly plugging headphones into the microphone. Just because they have the same connector, doesn't mean that the signals are compatible. This isn't Sony design flaw, it is how all microphones work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead of plugging the headphones directly into the microphone, you need to use a &lt;a href=&quot;https://en.wikipedia.org/wiki/Headphone_amplifier&quot; rel=&quot;nofollow noreferrer&quot;&gt;headphone amplifier&lt;/a&gt;. Connect that directly to the mic and then plug your headphones in to the amp. There are headphone amps available in a number of price ranges, depending on the features and quality you need.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-06-16T00:55:11.503" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21697" PostTypeId="2" ParentId="21694" CreationDate="2017-06-16T01:02:39.187" Score="0" Body="&lt;p&gt;Because it's a &lt;a href=&quot;https://en.wikipedia.org/wiki/Line_level#Line_out&quot; rel=&quot;nofollow noreferrer&quot;&gt;line out&lt;/a&gt; jack and is meant to go to the Mic In of a recorder. That device is used as an external microphone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/tvCzW.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Excerpt from manual, from your link&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the point of using the external mic as a hearing aid?&lt;/p&gt;&#xA;" OwnerUserId="6420" LastActivityDate="2017-06-16T01:02:39.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21698" PostTypeId="1" CreationDate="2017-06-16T01:04:14.937" Score="1" ViewCount="257" Body="&lt;p&gt;I hope someone can help with this issue. A client is sending me videos recorded with iPhone; with dual-channel MONO AAC-LC audio, an average of 89 kbps. It's mono but dual-channel. I'm editing with Premiere Pro, and on export, I choose H.264 with AAC-STEREO. (I guess it does not change anything it's still a mono duplicated in both channels?) But I'm choosing Stereo because I'm also using another short Stereo AAC 192 kbps track in the same project, although 90% of audio in this project is 89 kbps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question is:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Should I keep the closest bitrate on export (96kbps) or upsample to 192kbps if I choose Stereo on export, or because of that other audio. Just want to keep best possible quality and not sure if upsampling is beneficial or it could degrade the quality of 89kbps audio?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Export have to be in AAC format, so please don't suggest to convert to another format. Thanks! :) &lt;/p&gt;&#xA;" OwnerUserId="19195" LastEditorUserId="19195" LastEditDate="2017-06-16T01:12:04.863" LastActivityDate="2017-06-16T01:12:04.863" Title="Converting an AAC Mono file to AAC Stereo, higher audio bitrate?" Tags="|premiere|audio|conversion|bitrate|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21701" PostTypeId="2" ParentId="21684" CreationDate="2017-06-16T10:13:45.457" Score="-1" Body="&lt;p&gt;I believe you are technically correct but that in practice it would not be done in that manner.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words, if you simply increase the playback speed there will be visual and/or audio artifacts from the speed change.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you would want to do is use software that would adjust the frames directly, like by dropping every 20th frame.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I said you are technically correct, I believe your premise is slightly misguided.  Have you noticed any artifacts from playing video on monitors with different frame refresh rates?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your brain is an amazing tool and can fill in gaps so dropping a few frames wouldn't usually be noticed.  But your brain has a top speed that it can process things like you describe.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;24 fps is selected for cinema, as I am sure you know.  Video these days is usually recorded at much higher rates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But think for a minute about why they chose 24 in the first place.  it is because if the frame rate drops below about 18 or so you can actually see the jumps between frames.  This is partly why interlacing was introduced, so a 30 fps transmission is half-drawn in between frames and the interlacing lets your brain melt one frame into another.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's why stills from those kinds of programming - like old Betty Boop cartoons - look funny.  It is hard to capture a single frame unless your software is aware of the format.  Simple screen captures are not.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The point of mentioning the 18 fps thing is that above that most people can't see any syncing problems like you describe.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would suggest you put this kind of question into Google in various ways and find others who have asked similar questions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have a great day.&lt;/p&gt;&#xA;" OwnerUserId="17419" LastActivityDate="2017-06-16T10:13:45.457" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21704" PostTypeId="1" CreationDate="2017-06-17T02:44:10.473" Score="1" ViewCount="5669" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4Twaa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4Twaa.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been trying to get FFMPEG to do a conversion of this file because I was bored, but FFMPEG can't seem to find the file, the location tags that I have before the file name were found by dragging and dropping the file into CMD. The other code I'm getting from one of the other boards &lt;a href=&quot;https://video.stackexchange.com/questions/9644/how-do-i-turn-audio-into-video-that-is-show-the-waveforms-in-a-video&quot;&gt;How do I turn audio into video (that is, show the waveforms in a video)?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19203" LastActivityDate="2017-06-17T04:32:02.890" Title="Using FFMPEG, how does one manage to find the file to convert?" Tags="|video|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21705" PostTypeId="1" CreationDate="2017-06-17T02:53:20.097" Score="0" ViewCount="971" Body="&lt;p&gt;I am running ffmpeg on ubuntu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to set the codec to libx264 but it was not recognised by ffmmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way too install that codec for use by ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="13870" LastActivityDate="2024-03-13T08:02:10.320" Title="libx264 for ffmpeg on linux" Tags="|ffmpeg|libx264|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21706" PostTypeId="2" ParentId="21704" CreationDate="2017-06-17T04:32:02.890" Score="4" Body="&lt;p&gt;If a filename or its folder has spaces or other special characters, you need to enclose it in quotes i.e.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &quot;c:\this\file name\and path\has\spaces in it.mp4&quot; ...&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-06-17T04:32:02.890" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21707" PostTypeId="2" ParentId="21705" CreationDate="2017-06-17T04:40:55.253" Score="0" Body="&lt;p&gt;If the codec lib isn't linked in your binary, you can get one which does from &lt;a href=&quot;https://www.johnvansickle.com/ffmpeg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.johnvansickle.com/ffmpeg/&lt;/a&gt; (get a git build).&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-06-17T04:40:55.253" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21712" PostTypeId="1" AcceptedAnswerId="21714" CreationDate="2017-06-18T06:59:35.997" Score="-3" ViewCount="28" Body="&lt;p&gt;I have a video template of an advert for a mobile app and all I want is to insert an image to that video that will fit in bounds of the phone in advertisement, in that video the phone rotates and changes its position so it is important for image to adjust.&lt;/p&gt;&#xA;" OwnerUserId="19215" LastActivityDate="2017-06-18T09:10:41.523" Title="How to insert an image in video that changes its bounds to fit in chosen area?" Tags="|video-editor|" AnswerCount="1" CommentCount="2" ClosedDate="2017-06-22T20:48:10.970" ContentLicense="CC BY-SA 3.0" />
  <row Id="21713" PostTypeId="2" ParentId="17974" CreationDate="2017-06-18T09:04:07.793" Score="0" Body="&lt;p&gt;Even though you have suggested that you already have Premiere, I must point out that After Effects is a popular choice for such applications. Wedding videographers often make use of templates created by others to illustrate their videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, you can make use of this free After Effects template to showcase of your photos:&#xA;&lt;a href=&quot;https://www.youtube.com/watch?v=o2MPl3QsH2w&quot; rel=&quot;nofollow noreferrer&quot;&gt;Youtube link&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Through using a template you could simply add your photos in and render the final result, without having to draw or automate anything yourself.&lt;/p&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2017-06-18T09:04:07.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21714" PostTypeId="2" ParentId="21712" CreationDate="2017-06-18T09:10:41.523" Score="0" Body="&lt;p&gt;It sounds like you are looking for a way to &lt;strong&gt;Match Move&lt;/strong&gt;ment of the photo (picturing screen contents) to the movement of the actual mobile phone in the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is usually done through &lt;strong&gt;Motion Tracking&lt;/strong&gt; tools within your video editing software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The specific ways of achieving this would different depending on the software you use. For example, &lt;a href=&quot;https://support.apple.com/kb/PH16562?locale=en_US&amp;amp;viewlocale=en_US&quot; rel=&quot;nofollow noreferrer&quot;&gt;this part of the official documentation&lt;/a&gt; explains how you could achieve that in Motion&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=zDnkdw2Bnz4&quot; rel=&quot;nofollow noreferrer&quot;&gt;This video&lt;/a&gt; covers your specific example with a mobile phone screen in After Effects&lt;/p&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2017-06-18T09:10:41.523" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21715" PostTypeId="1" AcceptedAnswerId="21716" CreationDate="2017-06-18T11:35:43.417" Score="0" ViewCount="498" Body="&lt;p&gt;I'm looking for a method to convert compressed video files (like h.264) into uncompressed formats for editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the best options to look at?&lt;/p&gt;&#xA;" OwnerUserId="5648" LastActivityDate="2017-06-18T11:51:16.490" Title="Converting to Uncompressed Video Files" Tags="|transcoding|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21716" PostTypeId="2" ParentId="21715" CreationDate="2017-06-18T11:51:16.490" Score="2" Body="&lt;p&gt;The answer to your question depends on the software you will use for editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Uncompressed RAW video is rarely used for editing for performance reasons. If you have actually recorded your media in 10-bit RAW format (some cameras can do that), then it can be subsequently used for processes that require as much colour information as possible (colour grading, for example).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Modern non-linear editors can be capable of working with H.264 (see Adobe Premiere and its Mercury engine), but you waste a lot of processing power that way. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the time of writing, the most widely used codecs in the broadcast industry are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Avid DNxHD&lt;/li&gt;&#xA;&lt;li&gt;Apple ProRes HQ&lt;/li&gt;&#xA;&lt;li&gt;AVC-intra&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So depending on your operating system and software you may want to transcode to one of these codecs and then re-link your edit to the source H.264 files, to ensure that you get the maximum quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, if you don't have a powerful machine for video editing, you can convert your media to a low resolution codec (to make the edit with it), to later re-link the sequence to high-res media. This process is explained &lt;a href=&quot;https://forums.adobe.com/thread/1292362&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2017-06-18T11:51:16.490" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="21717" PostTypeId="1" AcceptedAnswerId="21718" CreationDate="2017-06-18T18:12:51.893" Score="1" ViewCount="422" Body="&lt;p&gt;Is there any better aplication for nearly professional video edit than PowerDirector Video Editor ? &#xA;I've tried many, also Premiere which I'm also using on my desktop, but nothing was that profesional that above mentioned app. I need quality output rather than fancy effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you :) &lt;/p&gt;&#xA;" OwnerUserId="17386" LastActivityDate="2017-06-18T19:45:58.637" Title="Android apk for (nearly) professional video edit" Tags="|video-editor|android|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21718" PostTypeId="2" ParentId="21717" CreationDate="2017-06-18T19:45:58.637" Score="2" Body="&lt;p&gt;Is it the Adobe Premiere Clip apk you said you used, or is it Premiere on desktop? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For professional video edits it is recommended you use the desktop as most of the Video Editing apps come with tons of effects,fancy items for quick, easy use. I personally would recommend to try out &lt;a href=&quot;https://play.google.com/store/apps/details?id=com.stupeflix.replay&amp;amp;hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;Quik Video Editor&lt;/a&gt; over below mentioned Video Editors,when it comes to Android. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Quik Video Editor features:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Free&lt;/li&gt;&#xA;&lt;li&gt;Photos and Videos limit - 75&lt;/li&gt;&#xA;&lt;li&gt;Carefully designed Video transitions and graphics &lt;/li&gt;&#xA;&lt;li&gt;Beat sync transitions &lt;/li&gt;&#xA;&lt;li&gt;Output quality ( 1080p/720p) &lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Video styles (Raw/stylish )&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The other Apps that you can use (Not recommended - but you can try)&lt;/strong&gt; &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;FilmoraGo Video Editor&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;Viva Video editor&lt;/li&gt;&#xA;&lt;li&gt;Kine Master&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Magisto Video Editor &amp;amp; Maker (Second suggestion)&lt;/strong&gt; &lt;/li&gt;&#xA;&lt;li&gt;Adobe Premiere Clip&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;All of the aforementioned apps offer basic video-editing features. Some excel at social media integration, some are clearly designed to be a desktop replacement. Which one works best for you will depend on your needs which is &quot;Professional video edit and quality output&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best thing is that all of the apps mentioned are either completely free or offer a free version. Give them a try and see which is the best fit for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a fact: &lt;em&gt;&quot;Since some apps are clearly designed to be a desktop replacement,we cannot expect desktop quality professional edits,outputs (codecs,fps) from the apps which come for the mobile devices&quot;&lt;/em&gt; &lt;/p&gt;&#xA;" OwnerUserId="18900" LastActivityDate="2017-06-18T19:45:58.637" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21719" PostTypeId="1" AcceptedAnswerId="21720" CreationDate="2017-06-18T21:03:06.993" Score="0" ViewCount="2161" Body="&lt;p&gt;I am trying to specify multiple filters for ffmpeg and I am getting an error output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to do an audio and video fade in and a resolution scale.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;my command is as follows...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 00021.MTS -c:v libx264 -preset ultrafast -crf 0 -vf fade=in:0:500, afade=in:0:300, scale=384:218, scaled.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and the error it gives me is as follows.....&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[NULL @ 0xb72ce0] Unable to find a suitable output format for 'afade=in:0:300,'&#xA;  afade=in:0:300,: Invalid argument&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="13870" LastActivityDate="2017-06-19T05:40:42.713" Title="ffmpeg multiple filters not working" Tags="|ffmpeg|command-line|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21720" PostTypeId="2" ParentId="21719" CreationDate="2017-06-19T05:40:42.713" Score="2" Body="&lt;p&gt;Audio and video filters are invoked in separate chains. And without enclosing quotes, whitespace will break the chain.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 00021.MTS -c:v libx264 -preset ultrafast -crf 0 -vf &quot;fade=in:0:500, scale=384:218&quot; -af afade=in:0:300 scaled.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-06-19T05:40:42.713" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21722" PostTypeId="2" ParentId="16628" CreationDate="2017-06-19T11:26:25.663" Score="1" Body="&lt;p&gt;Because &lt;code&gt;-rf&lt;/code&gt; is a output option, I guess, you should put -re ahead like that:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -i http://example.com/test.m3u8 -acodec copy -vcodec copy rtmp://example.com/app/stream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19223" LastEditorUserId="-1" LastEditDate="2021-01-07T11:02:33.093" LastActivityDate="2021-01-07T11:02:33.093" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="21723" PostTypeId="1" CreationDate="2017-06-19T12:35:31.260" Score="0" ViewCount="74" Body="&lt;p&gt;I'm new to Final Cut Pro X. I do a lot of shooting with two cameras and sometimes I want to do split screen, and other times I want to show one view or the other. I transition from one view to another or from one view to split screen by inserting keyframes and changing the Transform and Crop values between them. But trying to get the keyframes just right for each change is tedious. Can I create some sort of &quot;macro&quot; when I can just click and insert a change from view 1 to split or the opposite, view 1 to view 2 or the opposite, or view 2 to split or the opposite? I'm not even sure what the terminology is.&lt;/p&gt;&#xA;" OwnerUserId="18051" LastActivityDate="2017-06-20T09:34:59.157" Title="Is there some sort of macro facility for inserting repeated actions?" Tags="|final-cut-pro-x|transitions|multi-camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21724" PostTypeId="1" CreationDate="2017-06-19T17:49:06.903" Score="0" ViewCount="111" Body="&lt;p&gt;I chose a video from &quot;A&quot;'s channel which was a cc video. Later on, I found that the video was not actually a cc video. &quot;A&quot; downloaded the video from &quot;B&quot; 's channel &amp;amp; introduced the video as a cc video. Now on good faith considering it a cc video, I uploaded it from &quot;A&quot; 's channel. Now...if &quot;A&quot; 's video channel is terminated for violation of youtube policy for this illegal practice will it be harmful to me??..&lt;/p&gt;&#xA;" OwnerUserId="19227" LastEditorUserId="2836" LastEditDate="2017-06-20T14:40:20.110" LastActivityDate="2017-06-20T14:40:20.110" Title="Are they all legal cc videos?" Tags="|legal|" AnswerCount="1" CommentCount="4" ClosedDate="2017-06-20T14:19:50.333" ContentLicense="CC BY-SA 3.0" />
  <row Id="21725" PostTypeId="1" AcceptedAnswerId="21733" CreationDate="2017-06-19T19:57:56.950" Score="2" ViewCount="6119" Body="&lt;p&gt;With ffmpeg is possible to convert an input 24 fps video/audio to a 25 fps one while keeping the same exact duration, and also keeping as much as possible the original audio pitch ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was thinking about the -r option and also a sound filter but I don't know what to add to my command line:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -r 25 -c:v libx264 -crf 18 -c:a libfdk_aac -global_quality 3 output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="14523" LastEditDate="2017-11-28T23:24:12.537" LastActivityDate="2017-11-28T23:24:12.537" Title="Convert video from 24 to 25 fps while keeping video and audio length and also correct audio pitch" Tags="|ffmpeg|dvd|25fps|pal|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21727" PostTypeId="2" ParentId="21724" CreationDate="2017-06-20T01:04:58.260" Score="1" Body="&lt;p&gt;I'm not a copyrights lawyer, but I think you can consider your use of the video just as much a violation as 'A's version. &#xA;When someone claims the rights to YouTube, you will also receive a notice and the video will be deleted. &lt;/p&gt;&#xA;" OwnerDisplayName="user17295" LastActivityDate="2017-06-20T01:04:58.260" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21728" PostTypeId="1" AcceptedAnswerId="21731" CreationDate="2017-06-20T01:08:35.277" Score="3" ViewCount="6644" Body="&lt;p&gt;I am trying to concatenate two video files using ffmpeg, and am receiving and error.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Two eliminate compatibility issues between the two videos, I am been concatenating the same video with itself, and the same error persists.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i intro_prepped.avi intro_prepped.avi -c copy concat.avi  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And the error output I receive is....&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[concat @ 0x220d420] Line 1: unknown keyword 'RIFFf�?'&#xA;  intro_prepped.avi: Invalid data found when processing input&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I have tried various combinations of concat flags and have not been able to get it to work. Has anyone seen this error before?&lt;/p&gt;&#xA;" OwnerUserId="13870" LastActivityDate="2017-06-20T03:40:41.173" Title="ffmpeg concat error" Tags="|ffmpeg|command-line|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21729" PostTypeId="2" ParentId="21723" CreationDate="2017-06-20T01:19:07.017" Score="1" Body="&lt;p&gt;You want to transition from 2 video feeds in one video to full screen video and back?&#xA;(Took me a while, I thought you were talking about the viewers on your monitor while editing multicam)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do it one time and cmd+C it. Then where you want to use it again do Shift+Cmd+V and choose which effects (in this case transform) you would like to paste. Works for other effects too. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also use a generator that does it, if you can find one or modify or create one in Motion 5 for a more permanent solution. But you'd need to learn how to do that first. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know it can be tedious work. With Keyframes, I start with the end and work myself backwards. So when you start out with 2 feeds side by side, keyframe them at the begin situation, go to the frame where you want it all to be one video, that's the end situation. There you adjust it to what it should look like. &#xA;Play it through and if not perfect yet, walk backwards with a few frames at a time (arrow key) to adjust what you need to. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the transformations and crops are the same for multiple cuts, you can also screenshot the inspector values for them and just type those in for the next cut.. so you don't need to do it by eyes anymore. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope it helps.. good luck!&lt;/p&gt;&#xA;" OwnerDisplayName="user17295" LastActivityDate="2017-06-20T01:19:07.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21730" PostTypeId="1" AcceptedAnswerId="21732" CreationDate="2017-06-20T03:30:09.237" Score="0" ViewCount="597" Body="&lt;p&gt;The basic of what I'm trying to do is to run through my old encodes recursively and output the results of ffprobe to a file so I can review it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what I am trying and it is not working...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for /d /r &quot;D:\Video\TEST&quot; %%a in *.mkv do if exist &quot;%%a&quot; echo ffprobe.exe -i &quot;%%a&quot; -hide_banner &amp;gt;&amp;gt; results.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Also, Ideally I would like to exclude any &quot;trailer.mkv&quot; file.&lt;/p&gt;&#xA;" OwnerUserId="19228" LastActivityDate="2017-06-20T04:14:34.863" Title="Recursively Check MKV with ffprobe" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21731" PostTypeId="2" ParentId="21728" CreationDate="2017-06-20T03:40:41.173" Score="6" Body="&lt;p&gt;The concat demuxer expects a text file as input.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i list.txt -c copy concat.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where list.txt is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'intro_prepped.avi'&#xA;file 'intro_prepped.avi'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-06-20T03:40:41.173" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21732" PostTypeId="2" ParentId="21730" CreationDate="2017-06-20T04:14:34.863" Score="2" Body="&lt;p&gt;&lt;code&gt;/D&lt;/code&gt; is for processing directories, not contents of directories.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for /r D:\Video\TEST %%a in (*.mkv) do (&#xA;  if &quot;%%~nxa&quot; neq &quot;trailer.mkv&quot; ffprobe.exe -i &quot;%%a&quot; -hide_banner 2&amp;gt;&amp;gt; results.txt )&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-06-20T04:14:34.863" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21733" PostTypeId="2" ParentId="21725" CreationDate="2017-06-20T07:52:10.110" Score="2" Body="&lt;p&gt;Your command already achieves that. When specifying &lt;code&gt;-r&lt;/code&gt; as an output option, ffmpeg will change the framerate of the video, duplicating or dropping frames as necessary to achieve the same overall duration. The audio stream will be processed independently, thus not affecting the pitch (since the overall duration is not changed) or sync (since the timestamps of both streams stay aligned).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-global_quality&lt;/code&gt; is not valid. For &lt;code&gt;libfdk_aac&lt;/code&gt; you should use the &lt;code&gt;-vbr&lt;/code&gt; option as mentioned in the &lt;a href=&quot;http://trac.ffmpeg.org/wiki/Encode/AAC&quot; rel=&quot;nofollow noreferrer&quot;&gt;AAC encoding guide&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="525" LastEditorUserId="525" LastEditDate="2017-06-20T12:03:46.250" LastActivityDate="2017-06-20T12:03:46.250" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21734" PostTypeId="1" AcceptedAnswerId="21738" CreationDate="2017-06-20T09:25:23.480" Score="5" ViewCount="26640" Body="&lt;p&gt;I am converting an mkv h.264 video to HEVC. The file has two audio tracks. How can I copy all audio tracks?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used this command (from a &lt;code&gt;.bat&lt;/code&gt; file):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;!original!&quot; -c:v libx265 -preset medium -crf 28 -c:a copy &quot;g:\Prepare\Convert\!file!&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This exports only one audio track, but I always I need to copy all audio tracks.&lt;/p&gt;&#xA;" OwnerUserId="19234" LastEditorUserId="14523" LastEditDate="2017-06-20T23:38:13.643" LastActivityDate="2023-11-20T04:03:25.653" Title="ffmpeg - video conversion with multiple audio tracks" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21736" PostTypeId="2" ParentId="21190" CreationDate="2017-06-20T09:46:36.490" Score="1" Body="&lt;p&gt;In OBS Studio go to Settigns-&gt;Output-&gt;Recording and under Recording Format you have Audio Track. You have to enable audio tracks that you set up in audio mixer. You can also name them in Audio tab.&lt;/p&gt;&#xA;" OwnerUserId="19234" LastActivityDate="2017-06-20T09:46:36.490" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21737" PostTypeId="2" ParentId="20671" CreationDate="2017-06-20T09:51:15.430" Score="1" Body="&lt;p&gt;Are you using OBS Studio? If yes, you should try OBS built-in convertor to mp4. Use File-&gt;Convert Recording.&lt;/p&gt;&#xA;" OwnerUserId="19234" LastEditorUserId="19234" LastEditDate="2017-06-20T09:56:19.050" LastActivityDate="2017-06-20T09:56:19.050" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21738" PostTypeId="2" ParentId="21734" CreationDate="2017-06-20T10:02:16.797" Score="9" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;!original!&amp;quot; \&#xA;    -map 0:v \&#xA;    -map 0:a \&#xA;    -c:v libx265 \&#xA;    -preset medium \&#xA;    -crf 28 \&#xA;    -c:a copy \&#xA;    &amp;quot;g:\Prepare\Convert\!file!&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;FFmpeg by default only picks one video, audio and subtitle track (if they are present) from among the sources. Express map assignments are required in order to include other streams. &lt;code&gt;0:a&lt;/code&gt; selects all audio streams.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="42974" LastEditDate="2023-11-20T04:03:25.653" LastActivityDate="2023-11-20T04:03:25.653" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="21739" PostTypeId="1" AcceptedAnswerId="21741" CreationDate="2017-06-20T10:48:00.867" Score="0" ViewCount="3250" Body="&lt;p&gt;I accidentally enabled a datestamp &quot;feature&quot; on my camera and now all my videos have the date embedded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the best way to remove those datestamps?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm editing a compilation of the videos with kdenlive, so I would only need to remove the datestamp from the parts of the videos I'm using or the final compilation, whatever gives best results.&lt;/p&gt;&#xA;" OwnerUserId="19236" LastEditorUserId="14523" LastEditDate="2017-06-20T23:35:31.030" LastActivityDate="2017-06-20T23:35:31.030" Title="Remove datestamp (watermark) from videos" Tags="|video|video-editor|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21741" PostTypeId="2" ParentId="21739" CreationDate="2017-06-20T12:18:21.407" Score="7" Body="&lt;p&gt;Use &lt;a href=&quot;http://ffmpeg.org/&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;ffmpeg&lt;/code&gt;&lt;/a&gt; (download a static build for your operating system) and its &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#delogo&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;delogo&lt;/code&gt;&lt;/a&gt; filter, which will try to cover up a logo or watermark by interpolating neighboring pixels.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;delogo=x=100:y=100:w=150:h=20&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here, &lt;code&gt;x&lt;/code&gt; and &lt;code&gt;y&lt;/code&gt; specify the top left coordinates of the “masking” rectangle, and &lt;code&gt;w&lt;/code&gt;/&lt;code&gt;h&lt;/code&gt; specify its size. You can add the &lt;code&gt;show=1&lt;/code&gt; option to help locate that rectangle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to play with the filter values, you can use &lt;code&gt;ffplay&lt;/code&gt; to directly show the result:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f lavfi -i &quot;movie=input.mp4,delogo=x=100:y=100:w=150:h=20:show=1&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="525" LastEditorUserId="525" LastEditDate="2017-06-20T16:13:58.287" LastActivityDate="2017-06-20T16:13:58.287" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21742" PostTypeId="1" CreationDate="2017-06-20T15:00:50.563" Score="0" ViewCount="1012" Body="&lt;p&gt;I have an MKV video with a few out-of-sync points caused, probably, by a 3rd-party program, used to remove some commercials from it directly from the MKV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So watched the video several times in VLC manually adjusting the delay while taking notes of the different amounts needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I started the slicing proccess, but first, because Premiere is &quot;cocky&quot; and don't handle MKV files directly, I converted it to an MP4 with FFmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /path/to/video.mkv -c:v copy -c:a copy /path/to/save/video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After slicing all pieces needed and creating Subclips from them, I exported them all, manually instead of using Adobe Media Encore, with the exact same settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, analyzing them with MediaInfo, although most of the files where in CBR, a few were in VBR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I ignored this and applied the delays, individually, with FFMPEG again:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i &quot;/path/to/slice.mp4&quot; -itsoffset 0.05 -i &quot;/path/to/slice.mp4&quot; \&#xA;           -map 0:v -map 1:a -c:v copy -c:a copy &quot;/path/to/sliced.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(Being 0.05 an advancing of +50ms)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I already used FFmpeg to join files in past, for commodity, I used it again to concatenate the modified files:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i list.txt -c:v copy -c:a copy &quot;video.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(Being &lt;strong&gt;list.txt&lt;/strong&gt; a list of each adjusted file, one per line)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some of the cuts occurred during action scenes and when joined with &lt;code&gt;concat&lt;/code&gt; it's pretty noticeable a &quot;click&quot; where two of the clips were concatenated. Other than that the result was perfectly synced.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But those &quot;clicks&quot; were annoying me so much that I imported this file into Premiere again and added a centered Constant Power Audio Effect at the junction of the two clips to get rid of them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At first, I didn't notice and rendered this faded audio file. But when watching it on VLC, going straight to the first junction, it was completely out-of-sync-again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I watched it on Premiere and found the problem in there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've searched for a solution and one of them suggested me to use Handbrake to convert it from VBR to CBR, but didn't show how &amp;lt;_&amp;lt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other suggested to rename the file changing the .MP4 extension to .MOV to counteract an apparent bug in Premiere Importer. This didn't work for me, perhaps because I'm using the CC version and the &quot;tutorial&quot; was with the Pro version (if there was indeed a bug, it might've be fixed between versions).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And now I don't know what to do because the meticulously adjusted clip segments can't be fine tuned in Premiere because it is undoing all this hard work.&lt;/p&gt;&#xA;" OwnerUserId="5270" LastEditorUserId="18155" LastEditDate="2019-06-12T15:07:47.290" LastActivityDate="2020-07-06T18:01:50.183" Title="Imported video getting out-of-sync audio in Adobe Premiere" Tags="|ffmpeg|premiere|sync|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="21743" PostTypeId="2" ParentId="21742" CreationDate="2017-06-20T15:39:32.737" Score="1" Body="&lt;p&gt;It sounds like your source media went through quite a lot of different operations, which makes it difficult to say what exactly has upset the audio/video sync. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would start by trying to isolate the problem: repeat the process on a smaller scale (just one cut/edit, instead of the whole thing) and verify the output at each stage. That will help you understand where exactly things have gone wrong. Then, you could edit your question and present us with an isolated example of an operation that affects the sync. That should make it easy to resolve the problem.&lt;/p&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2017-06-20T15:39:32.737" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21745" PostTypeId="1" CreationDate="2017-06-20T18:29:20.880" Score="1" ViewCount="1138" Body="&lt;p&gt;I am trying to create a wedding invitation video (my own wedding, Nov 2017).  I have been searching for wedding invitation video application the online, however I have not been able to find a suitable (Free) option to create a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to create something like this :&#xA;&lt;a href=&quot;https://www.youtube.com/watch?v=MxCE8APrXSs&quot; rel=&quot;nofollow noreferrer&quot;&gt;Youtube - Video link&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/iMtDX.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iMtDX.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found this particular template at multiple video makers (fiverr and others) and Its perfect for what I want to create. &#xA;Some of the other places where I found the same video &#xA;Example : &lt;a href=&quot;https://www.fiverr.com/himaljung/create-awesome-wedding-invitation-video?context=single_query&amp;amp;context_type=auto&amp;amp;context_referrer=search_gigs&amp;amp;ref_ctx_id=ddada547-816a-45ac-8af7-1aeafd9abfad&amp;amp;filtered_price=&amp;amp;pckg_id=1&amp;amp;online=true&amp;amp;pos=24&amp;amp;funnel=2827f193-1db2-4804-be9b-23eb737b9dc6&quot; rel=&quot;nofollow noreferrer&quot;&gt;fiverr - himaljung&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am currently using Camstasia studio for editing, So I wanted to know where can I find a video template like i mentioned and which software can be used to edit it.&lt;/p&gt;&#xA;" OwnerUserId="11564" LastActivityDate="2017-09-15T06:24:21.407" Title="Template - Wedding invitation video" Tags="|video|video-editor|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21746" PostTypeId="1" CreationDate="2017-06-20T22:50:37.393" Score="1" ViewCount="51" Body="&lt;p&gt;I am trying to start zoomed in a high resolution photo (&lt;a href=&quot;https://imagizer.imageshack.us/v2/16000x16000q90/924/ky7llJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://imagizer.imageshack.us/v2/16000x16000q90/924/ky7llJ.png&lt;/a&gt;) full of molecules (start with 4x4 mols) then zoom out to the whole picture (consisting of 80x80 mols, 16kx16k pixels).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem I am having is that during the zoom out the picture shakes &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/MAfHsTpyWjk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried frame blending with no avail. Any ideas on how to solve this? Thank you!&lt;/p&gt;&#xA;" OwnerUserId="19246" LastActivityDate="2017-06-20T22:50:37.393" Title="Smooth Zooming out of a High Resolution Photo" Tags="|premiere|zoom|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21747" PostTypeId="1" CreationDate="2017-06-21T02:32:42.163" Score="2" ViewCount="1897" Body="&lt;p&gt;I am using HitFilm 2017 Express to put together a few clips recorded by an iPhone (1920 x 1080 @ 29.97fps).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I see some video settings in my &lt;strong&gt;project tab&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/woQv6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/woQv6.png&quot; alt=&quot;Proejct video settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I &lt;strong&gt;export&lt;/strong&gt; my video, I see even more settings - some of which are duplicated across both:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bzoCv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bzoCv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I understand that my export settings are what I actually get in the rendered file. What confuses me is the project's video settings (first picture). Why do I even have them? How do they relate to and/or affect the final production?&lt;/p&gt;&#xA;" OwnerUserId="19249" LastActivityDate="2018-02-16T09:52:52.797" Title="HitFilm 2017: What's the difference between project video settings and export video settings?" Tags="|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21748" PostTypeId="2" ParentId="14749" CreationDate="2017-06-21T04:22:34.463" Score="0" Body="&lt;p&gt;highlight the two clips you'd like to combine, right click, go to &quot;nest,&quot; and then create your new nested sequence :)&lt;/p&gt;&#xA;" OwnerUserId="19251" LastActivityDate="2017-06-21T04:22:34.463" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21749" PostTypeId="2" ParentId="21747" CreationDate="2017-06-21T07:09:20.927" Score="1" Body="&lt;p&gt;&lt;strong&gt;Project&lt;/strong&gt; settings determine the way your source media will be interpreted (played/processed/pre-rendered) by your NLE application.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Export&lt;/strong&gt; settings determine the format of the file that you are going to output once the edit is finished.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;You shoot video on a Panasonic HVX camera in Apple ProRes 422 codec&#xA;  (HQ). Then you import the clips into your project. The project codec&#xA;  will be Apple ProRes 422 (HQ).&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;You plan to publish the video on youtube. There is no practical sense&#xA;  in keeping the quality as high as Apple ProRes for web delivery, so&#xA;  you choose to compress the resulting video into H.264 codec inside an&#xA;  MP4 container (listed as Youtube 1080pHD) to make it easier to upload,&#xA;  without significantly sacrificing its quality.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2017-06-21T07:09:20.927" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21750" PostTypeId="2" ParentId="12859" CreationDate="2017-06-21T08:19:41.507" Score="6" Body="&lt;p&gt;I'm not happy when I'm rendering unless I can actually smell burning plastic, nothing is more frustrating than AE telling you that your render won't complete until the heat death of the universe, while at the same time your CPU is barely raising a sweat. However there is something you can do about it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After effects comes with a command line renderer called &lt;strong&gt;aerender.exe&lt;/strong&gt;  plain ol' &lt;strong&gt;aerender&lt;/strong&gt; on mac). It's in the AE program folder. Using it is a bit challenging for people unused to the -=&lt;em&gt;awesome -=power&lt;/em&gt; of the command line, but it is definitely worth doing if you're doing some heavy lifting in After Effects, and you want to be able to harness all the power of your machine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The beauty of it is that you can run as many instances as you like. What I normally do is keep adding instances until I start running low on memory. I have a 40 physical core machine and it takes a lot to max out the CPU but here's a screenshot where I finally managed it. Each one of those windows is a new instance of the AE render engine:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bwu9U.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bwu9U.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In that example the per-frame speed of each renderer barely decreased compared to a single instance, so I achieved a speed increase of roughly 4000%. YMMV, depending on how many cores and how much ram your machine has. I went to the effort because I had a project involving very long and and reasonably complex comps. The project would simply not have got done without this technique, or I would have had to farm it out to a commercial render farm.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course the speed-up comes at a price, which is a slight increase in complexity of your workflow. You need to set your comps to render as image sequences, and use the multi-machine settings so that each renderer will look for the next unrendered frame. At the end if you need a movie file you'll have to do a compression pass, but in my case I usually master to a png or tiff sequence, and then run off h.264 encoded copies for clients from the master.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And you need to know a little bit about the command line. Stop looking so glum—that's a GOOD thing, that's a GOOD thing.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Windows&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The powershell command line I used in that scenario was:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for ($i = 0 ; $i -lt 40; $i++ ){&#xA;  Start-Process 'C:\Program Files\Adobe\Adobe After Effects &amp;lt;&amp;lt;version&amp;gt;&amp;gt;\Support Files\aerender.exe'-ArgumentList '-project', '&quot;c:\path\to\project.aep&quot;'&#xA;  sleep 5;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is executed in a powershell window (type in &lt;kbd&gt;Windows&lt;/kbd&gt;&lt;kbd&gt;R&lt;/kbd&gt; and then type &lt;strong&gt;powershell.exe&lt;/strong&gt;). This is a shell scripting language integrated into modern versions of Windows that can be used for all kinds of stuff.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Mac&lt;/strong&gt;&#xA;Using Bash version &gt; 3 (default shell in current versions of OSX), or indeed with cooler shells like zsh, you can use this script:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for i in {1..40}; do&#xA;  /Applications/Adobe\ After\ Effects\ CC\ 2017/aerender -project ~/Path/to/myproject.aep &amp;amp;&#xA;  sleep 5&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The script works thus:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;starts a loop which goes for 40 repeats, you can change the 40 to whatever you think is a sane amount.&lt;/li&gt;&#xA;&lt;li&gt;Then it starts aerender as a new process either with the &lt;code&gt;start-process&lt;/code&gt; command in PS or with the &lt;code&gt;&amp;amp;&lt;/code&gt; in bash, Obviously change the path to aerender.exe / aerender and your project to whatever it is on your machine. A quick and accurate way of filling in paths with the command line is to drag files and folders into it. Also using the &lt;kbd&gt;tab&lt;/kbd&gt; to auto-fill paths saves a lot of typing and typos.&lt;/li&gt;&#xA;&lt;li&gt;Finally it sleeps for 5 seconds—I found that opening too many instances of aerender too quickly was a reliable way to bluescreen / kernel panic my computer.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;hr&gt;&#xA;If you have multiple comps you can render them as movies but start a new renderer for each one. If you invoke aerender.exe like this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;aerender.exe -project &quot;c:\path\to\proj.aep&quot; -rqindex 3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;it will render the third comp on the render queue. Putting it into a script you can do:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Windows&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$numcomps = 12&#xA;$projpath= &quot;C:\path\to\project.aep&quot;&#xA;for($i=1; $i -lt ($numcomps+1); $i++){&#xA;  Start-Process 'C:\Program Files\Adobe\Adobe After Effects &amp;lt;&amp;lt;version&amp;gt;&amp;gt;\Support Files\aerender.exe' -ArgumentList '-project', '$projpath', '-rqindex', '$i'&#xA;  sleep 5;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Mac&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for i in {1..12}; do&#xA;  /Applications/Adobe\ After\ Effects\ CC\ 2017/aerender -project ~/Path/to/myproject.aep -rqindex $i &amp;amp;&#xA;  sleep 5&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That will start a new aerender instance for each comp–once again, change the 12 to however many comps there are in the queue. Note that this technique can run into problems if you have lots of comps in your queue–if you use all your physical memory things will come to a shuddering halt pretty quick. To keep the number of instances down you have to check how many aerender processes are running and only start a new one when a running one finishes. A simpler workaround is to make as many copies of your project as you want there to be instances, with the render queue divided up between them, and then render them all concurrently. So render thread one would be rendering comps 1,2,3, render thread two would be doing 3,4,5, and so on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More details &lt;a href=&quot;http://blob.pureandapplied.com.au/finally-managed-to-peg-my-cpu/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; (my blog).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-06-23T14:30:41.313" LastActivityDate="2017-06-23T14:30:41.313" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21752" PostTypeId="1" CreationDate="2017-06-21T15:32:04.063" Score="1" ViewCount="1296" Body="&lt;p&gt;I'm working on a project that should render as many videos as possible.&#xA;Only 3 images in the project change after every render.&#xA;The output length is 12 seconds and it takes about 90 seconds to render the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects is running on a Windows 10 device with 64gb ram, a GTX 1060 videocard, a i7 processor and a Samsung 960 EVO 500GB SSD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When rendering a video the SSD and CPU usages go to 100%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there ways to speed up this small renders even more?&lt;/p&gt;&#xA;" OwnerUserId="19261" LastActivityDate="2017-07-06T04:15:32.313" Title="Improving speed for aerender.exe (Adobe After effects CC 2017)" Tags="|after-effects|video-editor|video-quality|animation-rendering|aerender|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21754" PostTypeId="1" CreationDate="2017-06-21T18:02:31.800" Score="0" ViewCount="65" Body="&lt;p&gt;I currently have a GTX970 4GB card that I use in my video rig. I can edit and render and every works fine. I do video production for longer events. So a rendered video might be 2 hours long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm curious if upgrading to a PNY VCQP2000-PB would help my render times or make my realtime editing and viewing any better? Should I go for this or a 1070gtx? I do game a little on the machine but maybe if it didn't work as well for gaming I'd get more done. :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use a pci nvme ssd for my main os card and I have raided ssds for my storage drives. I only have 16gb of ram though, so maybe adding more there would help? Running a 6core Intel CPU.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2017-06-21T18:02:31.800" Title="Upgrading Graphics Card for Video Rendering" Tags="|after-effects|premiere|adobe|hardware|adobe-media-encoder|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21755" PostTypeId="2" ParentId="21752" CreationDate="2017-06-21T18:04:14.307" Score="1" Body="&lt;p&gt;I would try using a seperate ssd for your project files and assets. You'd have one for your os and software and one for the project.&lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2017-06-21T18:04:14.307" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21757" PostTypeId="1" CreationDate="2017-06-22T13:55:01.930" Score="1" ViewCount="633" Body="&lt;p&gt;If I loop a video like below the audio is missing from test 1. If I omit the loop, it is there. What am I doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;E:\Videos\Loops&amp;gt;ffmpeg -re -f lavfi -i &quot;movie=filename=ShortLoop.mpg:loop=0, set&#xA;pts=N/(FRAME_RATE*TB)&quot; test1.mpg&#xA;ffmpeg version 3.2.2 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 5.4.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --enable-dxva2 --enable-libmfx -&#xA;-enable-nvenc --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei&#xA;0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-li&#xA;bbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --en&#xA;able-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb&#xA;--enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-li&#xA;bopus --enable-librtmp --enable-libsnappy --enable-libsoxr --enable-libspeex --e&#xA;nable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc&#xA;--enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable&#xA;-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --e&#xA;nable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55. 34.100 / 55. 34.100&#xA;  libavcodec     57. 64.101 / 57. 64.101&#xA;  libavformat    57. 56.100 / 57. 56.100&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;Input #0, lavfi, from 'movie=filename=ShortLoop.mpg:loop=0, setpts=N/(FRAME_RATE&#xA;*TB)':&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: rawvideo (I420 / 0x30323449), yuv420p, 1280x720 [SAR 1:1&#xA; DAR 16:9], 25 fps, 25 tbr, 90k tbn, 90k tbc&#xA;[mpeg @ 00000000002df920] VBV buffer size not set, using default size of 130KB&#xA;If you want the mpeg file to be compliant to some specification&#xA;Like DVD, VCD or others, make sure you set the correct buffer size&#xA;Output #0, mpeg, to 'test1.mpg':&#xA;  Metadata:&#xA;    encoder         : Lavf57.56.100&#xA;    Stream #0:0: Video: mpeg1video, yuv420p, 1280x720 [SAR 1:1 DAR 16:9], q=2-31&#xA;, 200 kb/s, 25 fps, 90k tbn, 25 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.64.101 mpeg1video&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/200000 buffer size: 0 vbv_delay: -1&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; mpeg1video (native))&#xA;Press [q] to stop, [?] for help&#xA;[mpeg1video @ 0000000003786d40] [mpeg1video @ 0000000003786d40]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19257" LastActivityDate="2017-06-22T14:21:07.933" Title="Using FFmpeg loop filter makes audio disappear" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21758" PostTypeId="2" ParentId="21757" CreationDate="2017-06-22T14:21:07.933" Score="2" Body="&lt;p&gt;The loop option can't be used if you're ingesting multiple streams via the filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -f lavfi -i &quot;movie=filename=ShortLoop.mpg:loop=0&quot;&#xA;       -re -f lavfi -i &quot;amovie=filename=ShortLoop.mpg:loop=0&quot;&#xA;       -vf setpts=N/FRAME_RATE/TB -af asetpts=N/SR/TB     test1.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-06-22T14:21:07.933" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="21759" PostTypeId="1" AcceptedAnswerId="21760" CreationDate="2017-06-22T14:59:18.047" Score="2" ViewCount="2069" Body="&lt;p&gt;I have tested several files with the added option&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-fflags +genpts -stream_loop -1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;to make them loop, but all have a slight pause just before they loop (250 ms or so). The loop filter does not have this issue, but it has other issues.&lt;/p&gt;&#xA;" OwnerUserId="19257" LastActivityDate="2021-01-10T19:56:07.533" Title="Why does FFmpeg's stream_loop option add a pause?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21760" PostTypeId="2" ParentId="21759" CreationDate="2017-06-22T15:46:39.837" Score="1" Body="&lt;p&gt;This is a known bug with stream_loop. See &lt;a href=&quot;https://trac.ffmpeg.org/ticket/5719&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/ticket/5719&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wrapping to MKV or TS and then looping &lt;em&gt;may&lt;/em&gt; work. Re-encoding your video as intraframe is the safest option.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-06-22T15:46:39.837" CommentCount="19" ContentLicense="CC BY-SA 3.0" />
  <row Id="21764" PostTypeId="2" ParentId="5318" CreationDate="2017-06-23T03:37:05.557" Score="2" Body="&lt;p&gt;Your question is &quot;How does YouTube encode my uploads and what codec should I use to upload?&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Digging deeper into your question I see: &quot;Should I adjust my own encoding to &quot;play nice&quot; with Youtube's codec, or does it matter, quality-wise? I know I can throw pretty much anything on Youtube and it will take it, so I'm mostly concerned with video quality.&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The answer is YouTube uses Lavf57.25.100 to encode new Videos while Videos over a few years old were encoded with a proprietary Encoder (that doesn't have &quot;Lavf57.25.100&quot; embedded in it's ID but instead has this sentence: &quot;IsoMedia File Produced by Google, 5-11-2011&quot;). The old Videos were not reencoded when the Algorithm was changed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is acceptable to use many different Codecs, YouTube recommendeds H.264 - see here: &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.google.com/youtube/answer/1722171?hl=en&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For some reason you choose not to ask about the Container (which isn't the same thing as a Codec). You also assume that 1080P is going to be available and don't ask about the most important thing - Bitrate (followed by Resolution).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you upload a 1080P Resolution Video at 60FPS then the maximum Resolution available is 720P (at 60 FPS, on a Mobile Device, capable of 1080P), uploading a 1080P Video at 29.97 FPS permits 1080P viewing on a Mobile Device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What IS important is Bitrate and Resolution if &quot;quality&quot; is your goal. You can't upscale or use lossless to cheat since YouTube runs a 'Compression Test' to determine how much they can crush your Video with minimal degradation - upload mush and it will be highly compressed mush, upload high Resolution and high Bitrate, then YouTube will back off on the crushing, and deliver a much better viewing experience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See: &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.google.com/youtube/answer/1722171?hl=en&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Notice that different Resolutions and 'Quality Expectations'. For 4K Video with low expectations you can upload Videos that have a Bitrate of 35-45 Mbps but if you're a &quot;Producer&quot; and quality is your goal you need both a higher Framerate and to use at least 66-85 Mbps for the Camera Bitrate (before you compress it very gently).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you upscale a low Resolution Video and use an uncompressed Codec hoping to get the finest quality possible you'll be caught (and reduced to mush).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Record using a Production Quality Camera, high Framerate and Bitrate Video, very gently compressed (Ffmpeg Q=&amp;lt;10) to get the best results - the &quot;Codec&quot; (your words) is not the sole determining factor (though I'd advise against an old one).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ffmpeg supports .MP4 Containers and the H.264 Codec, so use those. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;People often complain that YouTube ruins their Videos, the problem is that they didn't upload high enough quality in the first place to 'trip the switch' and cause YouTube's Compressor to tread gently upon your Upload. Pixel-peeking perfect Videos are possible. The GIGO Rule applies. &lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-06-23T03:37:05.557" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21765" PostTypeId="1" CreationDate="2017-06-23T07:01:54.177" Score="1" ViewCount="252" Body="&lt;p&gt;I am new to After Effects. I imported few images into a project before creating a composition and it worked fine. I am trying to import more files but AE is importing the whole folder and not able to choose any individual image. How to fix?&lt;/p&gt;&#xA;" OwnerUserId="19275" LastActivityDate="2017-06-23T10:02:34.863" Title="Trying to import a file but AE imports the whole folder" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21767" PostTypeId="2" ParentId="21765" CreationDate="2017-06-23T10:02:34.863" Score="1" Body="&lt;p&gt;How are you doing the import?  Press cmd+I to open the import dialogue, or double click in the empty space inside the project frame.  Then select the files you need.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-06-23T10:02:34.863" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21768" PostTypeId="5" CreationDate="2017-06-23T10:37:41.860" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2017-06-23T10:37:41.860" LastActivityDate="2017-06-23T10:37:41.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21769" PostTypeId="4" CreationDate="2017-06-23T10:37:41.860" Score="0" Body="Compositing is the combining of visual elements from separate sources into single images, often to create the illusion that all those elements are parts of the same scene." OwnerUserId="2901" LastEditorUserId="2901" LastEditDate="2017-06-23T13:22:16.803" LastActivityDate="2017-06-23T13:22:16.803" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21770" PostTypeId="1" AcceptedAnswerId="21771" CreationDate="2017-06-23T10:57:48.460" Score="2" ViewCount="1966" Body="&lt;p&gt;I have a Magewell capture device that I'm trying to preview with ffplay.  It works great, except over time the video will become choppy and lag behind the actual live feed.  Right clicking on the ffplay window will sync it back up, however continuously right clicking it is obviously not a good solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using a command similar to the following to display my capture:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f avfoundation -pix_fmt 0rgb -framerate 60 -i &quot;1:none&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How do I get it to remain synced the entire time?  Viewing ffplay stats shows that there is a buffer that gets filled over time and right clicking clears it.  You can also force this by pausing the stream and unpausing.  I need it to display without filling the buffer at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried using this and it helps to some extent, but doesn't completely disable the buffer:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-probesize 32 -sync ext&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With that it takes longer to fill as most frames are dropped if it can't read them fast enough, however it does still fill up over time.&lt;/p&gt;&#xA;" OwnerUserId="17189" LastEditorUserId="17189" LastEditDate="2017-06-23T13:18:29.243" LastActivityDate="2017-06-30T16:02:42.830" Title="ffplay - Live capture video gradually lags behind" Tags="|video|ffmpeg|video-capture|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21771" PostTypeId="2" ParentId="21770" CreationDate="2017-06-23T12:50:19.557" Score="2" Body="&lt;p&gt;So I solved this by simply adding an audio stream instead of having &quot;none&quot; selected.  Doing this makes &lt;code&gt;-framedrop&lt;/code&gt; (default) work properly.  I left the master clock as default as well (audio) instead of changing it to &lt;code&gt;ext&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="17189" LastEditorUserId="17189" LastEditDate="2017-06-30T16:02:42.830" LastActivityDate="2017-06-30T16:02:42.830" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21773" PostTypeId="1" AcceptedAnswerId="21774" CreationDate="2017-06-22T15:47:22.230" Score="1" ViewCount="6180" Body="&lt;p&gt;Could someone please explain to me how the auto focus works whilst videoing. Does it continuously auto focus or should i half press the shutter?&lt;/p&gt;&#xA;" OwnerDisplayName="L.Halfpenny" LastActivityDate="2017-06-23T13:52:42.213" Title="Nikon D3300 video auto-focus?" Tags="|nikon|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21774" PostTypeId="2" ParentId="21773" CreationDate="2017-06-22T16:30:32.523" Score="3" Body="&lt;p&gt;Nikon D3300 supports AF-S and AF-F modes for video recording. AF-F helps you to keep focus without touching the shutter release button. &lt;a href=&quot;http://www.dummies.com/photography/cameras/nikon-camera/nikon-d3300-focus-modes-for-live-view/&quot; rel=&quot;nofollow noreferrer&quot;&gt;This page&lt;/a&gt; says that you never touch the shutter release button in AF-F mode. Just turn live view on, switch your focusing mode to AF-F, and wait until the camera focuses by itself (unlike what you do with a normal autofocus system while taking stills). Once the camera has focused, you can press the record button. Focus will be updated automatically.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I usually use manual focus, and tried AF-F to answer your question. It works well, except under low-light conditions (that's the reason for some issues, I think).&lt;/p&gt;&#xA;" OwnerUserId="19285" OwnerDisplayName="Nandakumar Edamana" LastActivityDate="2017-06-22T16:30:32.523" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21777" PostTypeId="1" CreationDate="2017-06-23T23:39:31.860" Score="1" ViewCount="233" Body="&lt;p&gt;I want to fix a youtube video by capturing it an removing the spotlight effect. its a bright spot in the middle of the frame. I captured it as an MP4. How can I fix it?&lt;/p&gt;&#xA;" OwnerUserId="19286" LastActivityDate="2017-06-23T23:39:31.860" Title="How can I remove a spotlight effect from a MP4 captured from Youtube?" Tags="|after-effects|video-editor|video-quality|youtube|lighting|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21779" PostTypeId="1" CreationDate="2017-06-24T09:22:43.750" Score="1" ViewCount="129" Body="&lt;p&gt;I've been playing around with this to vary degrees of success and I'm getting slightly confused by what I'm seeing (or rather hearing in this case).  Just playing the clips in a player like QT or VLC doesn't have any issues, so I know the source files are fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I started using Shadowplay recording video at the native resolution of my monitor which is 2560x1600.  It offers limited resolution and FPS options like 1080p, 1440p 4K at 30 or 60fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All dandy, I started by just using native resolution and 60 fps.  But when I imported this into iMovie I was getting audio issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to get over these issues I just transcoded these files in Handbrake, imported and edited those and exported just fine.  I also at this point thought that it was the source resolution that was the issue so I setup shadowplay to use 1080p 60fps thinking that I could then skip the transcoding step, preserve a bit more quality and go straight into the editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nope.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Seems even these 1080p 60fps source files when imported into iMovie have  clicks and pops.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I check the source files it seems that the FPS isn't 60 but is 59.9729 and the preset I created in Handbrake is a constant 60fps.  Could this framerate difference be the source of the audio issue in iMovie?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The source file is 4.6GB but the transcoded file is only 366mb which is obviously a huge difference so I need to check the settings again.  But I'm just curious if this framerate difference is the problem.&lt;/p&gt;&#xA;" OwnerUserId="5648" LastActivityDate="2017-06-24T09:59:03.717" Title="Shadowplay Footage Import to iMovie Introduces Audio Artifacts" Tags="|audio|framerate|h.264|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21780" PostTypeId="2" ParentId="21779" CreationDate="2017-06-24T09:59:03.717" Score="1" Body="&lt;p&gt;After some more digging around and reading on various forums it seems that this is actually a very common problem (along with other effects, not just audio artifacts) with recordings produced by Shadowplay and subsequently imported to many editors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems the source of the problem is that all files produced with Shadowplay record using variable frame rates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a discussion &lt;a href=&quot;https://forums.geforce.com/default/topic/677350/geforce-experience/shadowplay-not-working-with-adobe-premierecc-/1/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;https://forums.adobe.com/thread/2188814&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; that might be useful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a Handbrake preset &lt;a href=&quot;https://www.dropbox.com/s/e3ughid68h11bys/ShadowPlay.plist&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; to convert your Shadowplay files to CFR files with no compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or alternatively you can stop using shadowplay completely, skip and transcoding steps and instead use &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS Studio (free)&lt;/a&gt; to record your footage.&lt;/p&gt;&#xA;" OwnerUserId="5648" LastActivityDate="2017-06-24T09:59:03.717" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21781" PostTypeId="5" CreationDate="2017-06-24T10:24:39.137" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2017-06-24T10:24:39.137" LastActivityDate="2017-06-24T10:24:39.137" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21782" PostTypeId="4" CreationDate="2017-06-24T10:24:39.137" Score="0" Body="In filmmaking, visual effects (abbreviated VFX) are the processes by which imagery is created or manipulated outside the context of a live action shot." OwnerUserId="2901" LastEditorUserId="2901" LastEditDate="2017-06-25T03:29:16.950" LastActivityDate="2017-06-25T03:29:16.950" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21783" PostTypeId="1" CreationDate="2017-06-24T11:40:03.367" Score="1" ViewCount="75" Body="&lt;p&gt;Hello I've made text animation with some background and it's slowly fading into video, now I want to recopy this same animation style to another Premiere video projects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do that? &lt;/p&gt;&#xA;" OwnerUserId="19292" LastActivityDate="2017-06-24T11:40:03.367" Title="Adobe Premiere - How To Copy Animation to Another Projects?" Tags="|premiere|adobe|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21790" PostTypeId="2" ParentId="21598" CreationDate="2017-06-25T20:43:48.993" Score="7" Body="&lt;p&gt;I didn't find a way of selecting a range of clips but the main problem is solved by the spacer tool which can be invoked by pressing &lt;kbd&gt;M&lt;/kbd&gt;. One then grabs the left end of the clip to the right of a gap and drags it to the left until the gab is closed. By doing so, all clips to the right are automatically moved to the left as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When browsing through the different tools, I incorrectly assumed the spacer tool to be a restricted version of the selection tool because of its mouse pointer symbol: I assumed one could use it to expand clips to the left or to the right like with the selection tool (but not select clips).&lt;/p&gt;&#xA;" OwnerUserId="16775" LastActivityDate="2017-06-25T20:43:48.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21791" PostTypeId="1" AcceptedAnswerId="21806" CreationDate="2017-06-26T01:21:24.713" Score="2" ViewCount="12153" Body="&lt;p&gt;I'm using RaspberryPi 1gen B+, for push stream to web through rtmp. But I find my CPU usage came up to 90%+. This is how I use it:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -f concat -safe 0 -i playlist.txt -vcodec copy -acodec aac -f flv &quot;rtmp://example.com:1060&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;so I want to use the GPU for decode/encode. After google research, I found &quot;h264_omx&quot;, and I've implement the h264_omx: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;pi@pi:/usr/src/ffmpeg $ sudo ./configure --enable-omx --enable-omx-rpi&#xA;sudo make&#xA;sudo make install&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;so I use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -f concat -safe 0 -i playlist.txt -vcodec h264_omx -acodec aac -f flv &quot;rtmp://example.com:1060&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;here is the output:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/YRClP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YRClP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the CPU usage still runs to 90%+, what's worse, the video become indistinct and only have 5fps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;so, what's wrong with me? Is it possible for 1gen B+ to hardware codec?&lt;/p&gt;&#xA;" OwnerUserId="19307" LastEditorUserId="19307" LastEditDate="2017-06-26T02:32:49.377" LastActivityDate="2017-06-27T15:26:50.050" Title="how to use h264_omx on RaspberryPi" Tags="|video|codec|h.264|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21792" PostTypeId="1" CreationDate="2017-06-26T14:22:35.003" Score="1" ViewCount="423" Body="&lt;p&gt;I have extracted the files from an iOS app for a video streaming site that allows you to download videos (only on the mobile app, so I had to jailbreak to get the files out), but the file extension on the video file is something completely arbitrary specific to the app. If I just open it with MPC-HC or VLC it plays just fine and according to MediaInfo both the video and audio are in mp4 format (AVC/AAC respectively). However, if I just rename the file to .mp4, Windows Media Player refuses to play it so I'm guessing that means that wasn't the original file format? Based on the service that uses the file, I'm assuming that it must have been either MP4 or FLV or something along those lines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, I can just open the video in avidemux and just re-encode it to an mp4 if I really want to but I'd like to avoid losses in quality if possible.&lt;/p&gt;&#xA;" OwnerUserId="19312" LastEditorUserId="14523" LastEditDate="2017-06-26T22:49:55.893" LastActivityDate="2017-06-26T22:49:55.893" Title="Why does a video file that appears to be an MP4 not play in Windows Media Player?" Tags="|file-formats|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21794" PostTypeId="2" ParentId="21792" CreationDate="2017-06-26T14:36:30.227" Score="4" Body="&lt;p&gt;Probably a fragmented MP4.  Remux it using &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;noreferrer&quot;&gt;ffmpeg&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i filename -c copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-06-26T14:36:30.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21796" PostTypeId="1" CreationDate="2017-06-26T21:11:15.327" Score="1" ViewCount="449" Body="&lt;p&gt;I've got Avid Media composer running on my laptop, and everything has worked fine for the past year.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I traveled from Australia to the US to visit family, and something must have changed on this laptop during that time because the composer window will no longer display video on either side. I can't resize the window - it is stuck that small. CTRL+SHIFT+F still pops up fullscreen, and I can still see video in that. Just not in this window.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've already tried reinstalling, so I figure this might be some weird problem with my laptop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any sort of settings reset I could do to try to fix this? Any suggestions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kKJ6V.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kKJ6V.png&quot; alt=&quot;Can&amp;#39;t see video monitor&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11938" LastActivityDate="2017-06-28T19:00:15.370" Title="Avid &quot;Composer&quot; window blank, won't resize" Tags="|video-editor|avid|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21797" PostTypeId="1" AcceptedAnswerId="21799" CreationDate="2017-06-27T07:07:40.493" Score="1" ViewCount="64" Body="&lt;p&gt;Rank beginner with fcpx here. I keep having trouble using the effects. Sometimes I move my cursor into the little window for a given effect, and I can scrub back and forth, and sometimes I can edit the parameters of the effect, but it seems I can never do both.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a concrete example, in this screenshot, I've moved my cursor into the &quot;censor&quot; effect which pixelates a circle in the center of the picture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I did this previously, the circle of pixelation had handles on it so I could drag it and resize it, and the inspector had a number of settings I could change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I'm in a state where I can't preview the effect, the inspector isn't showing the settings, and more often than not, double-clicking the effect has no effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some sort of mode switch or setting I'm missing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/aO1G7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aO1G7.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19316" LastActivityDate="2017-06-27T09:04:54.523" Title="How do you bring up the effects settings window?" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21799" PostTypeId="2" ParentId="21797" CreationDate="2017-06-27T09:04:54.523" Score="2" Body="&lt;p&gt;By scrubbing the thumbnail you're only previewing the effect. To add it to the clip, drag the thumbnail to the clip on the timeline in your project. The effect is then added to the effects in the thumbnail (at the top of your screenshot) and controls are available in the inspector and the viewer for manipulating the effect.&lt;/p&gt;&#xA;" OwnerUserId="5296" LastActivityDate="2017-06-27T09:04:54.523" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21800" PostTypeId="1" CreationDate="2017-06-27T11:15:09.987" Score="5" ViewCount="5902" Body="&lt;p&gt;am trying to cut a part of Video&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the code i have tried Let's say i have 6 seconds video and i want to slow down 2:5 seconds video that 3 second video&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First approach after searching is, Cut the video, then apply slow filter then concat it with original video. But this is a mid part not entire video. How can i modify below code&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -i Soon.mp4 -filter_complex&#xA;  [0:v]trim=2:5,setpts=PTS-STARTPTS[v1];[v1]setpts=0.5PTS[v1];[0:a]atempo=2[a]&#xA;  concat=n=1:v=1:a=1 -map &quot;[v]&quot; -map &quot;[a] -preset superfast -profile:v&#xA;  baseline output.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="19321" LastActivityDate="2021-09-11T14:44:20.930" Title="FFMPEG slow / fast motion part a video anywhere" Tags="|video|ffmpeg|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21801" PostTypeId="1" CreationDate="2017-06-27T11:51:10.667" Score="2" ViewCount="363" Body="&lt;p&gt;Does anyone know of a good pen software that allows you to draw on the screen? kind of similar to omnidazzle ?&lt;/p&gt;&#xA;" OwnerUserId="19322" LastActivityDate="2020-06-02T09:19:33.353" Title="Good alternatives to Omnidazzle?" Tags="|screen-casting|podcast|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21802" PostTypeId="1" AcceptedAnswerId="21803" CreationDate="2017-06-27T13:03:36.007" Score="3" ViewCount="2061" Body="&lt;p&gt;I'm trying to convert a TrueHD 7.1 soundtrack to PCM format but ffmpeg give me an error and stopped. Here's the output of ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;user:~$ ffmpeg -i source.thd -c:a pcm_s24le -ar 48000 output.wav      &#xA;ffmpeg version 2.8.11-0ubuntu0.16.04.1 Copyright (c) 2000-2017 the FFmpeg developers&#xA;      built with gcc 5.4.0 (Ubuntu 5.4.0-6ubuntu1~16.04.4) 20160609&#xA;      configuration: --prefix=/usr --extra-version=0ubuntu0.16.04.1 --build-suffix=-ffmpeg --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --cc=cc --cxx=g++ --enable-gpl --enable-shared --disable-stripping --disable-decoder=libopenjpeg --disable-decoder=libschroedinger --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-librtmp --enable-libschroedinger --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxvid --enable-libzvbi --enable-openal --enable-opengl --enable-x11grab --enable-libdc1394 --enable-libiec61883 --enable-libzmq --enable-frei0r --enable-libx264 --enable-libopencv&#xA;      libavutil      54. 31.100 / 54. 31.100&#xA;      libavcodec     56. 60.100 / 56. 60.100&#xA;      libavformat    56. 40.101 / 56. 40.101&#xA;      libavdevice    56.  4.100 / 56.  4.100&#xA;      libavfilter     5. 40.101 /  5. 40.101&#xA;      libavresample   2.  1.  0 /  2.  1.  0&#xA;      libswscale      3.  1.101 /  3.  1.101&#xA;      libswresample   1.  2.101 /  1.  2.101&#xA;      libpostproc    53.  3.100 / 53.  3.100&#xA;    Input #0, truehd, from 'source.thd':&#xA;      Duration: N/A, start: 0.000000, bitrate: N/A&#xA;        Stream #0:0: Audio: truehd, 48000 Hz, 7.1, s32 (24 bit)&#xA;    Output #0, wav, to 'output.wav':&#xA;      Metadata:&#xA;        ISFT            : Lavf56.40.101&#xA;        Stream #0:0: Audio: pcm_s24le ([1][0][0][0] / 0x0001), 48000 Hz, 7.1, s32 (24 bit), 9216 kb/s&#xA;        Metadata:&#xA;          encoder         : Lavc56.60.100 pcm_s24le&#xA;    Stream mapping:&#xA;      Stream #0:0 -&amp;gt; #0:0 (truehd (native) -&amp;gt; pcm_s24le (native))&#xA;    Press [q] to stop, [?] for help&#xA;    [wav @ 0x206a2e0] Filesize 9129246822 invalid for wav, output file will be broken&#xA;    size= 8915280kB time=02:12:04.69 bitrate=9216.0kbits/s    &#xA;    video:0kB audio:8915280kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.000001%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can I make to conversion successful?&lt;/p&gt;&#xA;" OwnerUserId="18163" LastActivityDate="2019-02-26T11:53:01.307" Title="FFMPEG stop converting from TrueHD to PCM" Tags="|ffmpeg|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21803" PostTypeId="2" ParentId="21802" CreationDate="2017-06-27T13:42:27.667" Score="6" Body="&lt;p&gt;The WAV header is typically 32-bits. Your output will need 64 bits.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source.thd -c:a pcm_s24le -ar 48000 -rf64 auto output.wav    &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-06-27T13:42:27.667" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21804" PostTypeId="2" ParentId="21800" CreationDate="2017-06-27T13:51:16.447" Score="12" Body="&lt;p&gt;This slows down one part of a video and keeps the rest as is.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i Soon.mp4&#xA;  -filter_complex&#xA;     &quot;[0:v]trim=0:2,setpts=PTS-STARTPTS[v1];&#xA;      [0:v]trim=2:5,setpts=2*(PTS-STARTPTS)[v2];&#xA;      [0:v]trim=5,setpts=PTS-STARTPTS[v3];&#xA;      [0:a]atrim=0:2,asetpts=PTS-STARTPTS[a1];&#xA;      [0:a]atrim=2:5,asetpts=PTS-STARTPTS,atempo=0.5[a2];&#xA;      [0:a]atrim=5,asetpts=PTS-STARTPTS[a3];&#xA;      [v1][a1][v2][a2][v3][a3]concat=n=3:v=1:a=1&quot;&#xA;  -preset superfast -profile:v baseline output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How does it work?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The &lt;code&gt;trim&lt;/code&gt; and &lt;code&gt;atrim&lt;/code&gt; filters cut the video into different parts, from 0–2 seconds, from 2–5, and from 5 to the end.&lt;/li&gt;&#xA;&lt;li&gt;In each part a &lt;code&gt;setpts&lt;/code&gt;/&lt;code&gt;asetpts&lt;/code&gt; filter is applied, which, when using the option &lt;code&gt;PTS-STARTPTS&lt;/code&gt;, &quot;resets&quot; the presentation timestamps of each frame in each part, so that they can later be concatenated easily.&lt;/li&gt;&#xA;&lt;li&gt;Each part is given an output label (e.g. &lt;code&gt;[v1]&lt;/code&gt; through &lt;code&gt;[v3]&lt;/code&gt;).&lt;/li&gt;&#xA;&lt;li&gt;For the video parts that need to be slowed down, every presentation timestamp is doubled (&lt;code&gt;2*(…)&lt;/code&gt;), which effectively halves the speed of the video. If you wanted to speed up the video, use a multiplier lower than 1.&lt;/li&gt;&#xA;&lt;li&gt;For audio parts to be sped up / slowed down, use the &lt;code&gt;atempo&lt;/code&gt; filter, whose parameter is the speedup (e.g., &lt;code&gt;0.5&lt;/code&gt; = half speed).&lt;/li&gt;&#xA;&lt;li&gt;These parts are finally concatenated using the &lt;code&gt;concat&lt;/code&gt; filter.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="525" LastEditDate="2019-08-18T16:04:54.973" LastActivityDate="2019-08-18T16:04:54.973" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="21806" PostTypeId="2" ParentId="21791" CreationDate="2017-06-27T15:26:50.050" Score="3" Body="&lt;p&gt;The first priority here is to determine the bottleneck, particularly on the encoding end first, then moving on elsewhere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is noted by the comment on the choppy video stream, indicating frame-skipping.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To do that, we need to isolate the task that takes up the heaviest CPU load.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try running the FFmpeg snippet with audio encoding only, as you copy the video stream, then monitor CPU load:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -f concat -safe 0 -i playlist.txt -c:v copy -c:a aac -f flv &quot;rtmp://example.com:1060&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That omits the video encoding phase, so see the new CPU load.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next step, enable the video encoder but copy the audio stream intact:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -f concat -safe 0 -i playlist.txt -c:v h264_omx -c:a copy -f flv &quot;rtmp://example.com:1060&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now, with that snippet, monitor the CPU load again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You're likely to observe that its' either workload (video or audio encoding) that takes up the larger share of the CPU load, and from there, you can then tune the encoder(s) as you see fit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To see encoder options for the &lt;code&gt;h264_omx&lt;/code&gt; encoder, run:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -h encoder=h264_omx&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And for the &lt;code&gt;aac&lt;/code&gt; encoder:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -h encoder=aac&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then tune the culprit with an acceptable preset and/or settings &lt;em&gt;until an acceptable compromise in quality vs CPU load is reached&lt;/em&gt;. Note that some functions such as auto-inserted filters tend to run on the CPU, contributing to the heavy load on the encoder's end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can confirm this by running:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loglevel debug -re -f concat -safe 0 -i playlist.txt -c:v h264_omx -c:a aac -f flv &quot;rtmp://example.com:1060&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And monitoring the output. Learn what filters are being auto-inserted, and see if modifying the filter strings (via &lt;code&gt;-vf&lt;/code&gt;) assists with the processor load.&lt;/p&gt;&#xA;" OwnerUserId="19326" LastActivityDate="2017-06-27T15:26:50.050" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21808" PostTypeId="2" ParentId="21745" CreationDate="2017-06-27T15:43:22.503" Score="1" Body="&lt;p&gt;Using Google Image Search I have found the exact template you were looking for:&#xA;&lt;a href=&quot;http://aedownload.com/wedding-invitation-2533538-project-effects-videohive/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://aedownload.com/wedding-invitation-2533538-project-effects-videohive/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The application you need to use for it is Adobe After Effects CS4, CS5&lt;/p&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2017-06-27T15:43:22.503" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21812" PostTypeId="1" AcceptedAnswerId="21813" CreationDate="2017-06-28T03:25:51.523" Score="1" ViewCount="375" Body="&lt;p&gt;I have a Dazzle DVC 100 that I'm using to connect an old 8mm camcorder up to in an attempt to digitize all our home movies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The videos are all NTSC SD I believe and I've had the best success at recording with FFmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wonder about the video size and framerates as I want the ideal recording.&#xA;Should the ratio be 720x480? From what I read 720x480 is NTSC DV but some others said it should be 640x480 (based on the pixels being square) or 720x486 NTSC SD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also is there any advantage in recording at a higher framerate? NTSC SD is 29.97 is it worth doubling the framerate to 59.94? The file size doubles due to the fact of recording two times the standard frames in a second. Is it just duplicating frames at that point and meaningless?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -thread_queue_size 1024 -f alsa -t 1500 -i hw:2 -f video4linux2 -video_size 720x480 -i /dev/video0 -framerate 29.97 -c:v mpeg2video -flags +ilme+ildct movie_0001.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19333" LastActivityDate="2017-06-28T05:18:43.983" Title="Recording Hi8 SD NTSC home movies ideal quality with ffmpeg?" Tags="|ffmpeg|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21813" PostTypeId="2" ParentId="21812" CreationDate="2017-06-28T05:18:43.983" Score="2" Body="&lt;p&gt;I would suggest encoding to H264 in MP4. Making it square-pixel is fine, Deinterlace first. Doubling framerate has no use here (Exception would be if you used an interpolation filter to generate full frames for each existing field, but that's not needed here).  &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f alsa -thread_queue_size 1024 -t 1500 -i hw:2&#xA;       -f video4linux2 -video_size 720x480 -framerate 30000/1001 -i /dev/video0&#xA;       -vf yadif,scale=640:480,setsar=1&#xA;       -c:v libx264 -crf 21 movie_0001.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-06-28T05:18:43.983" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21815" PostTypeId="2" ParentId="21801" CreationDate="2017-06-28T09:16:06.387" Score="1" Body="&lt;p&gt;here are couple of sites you should check out:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.&lt;a href=&quot;http://epic-pen.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://epic-pen.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2.&lt;a href=&quot;http://ink2go.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://ink2go.org/&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;3.&lt;a href=&quot;https://www.pencilkings.com/drawing-tools-and-drawing-software/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.pencilkings.com/drawing-tools-and-drawing-software/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;hope it helps, good luck!&lt;/p&gt;&#xA;" OwnerUserId="19108" LastActivityDate="2017-06-28T09:16:06.387" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21816" PostTypeId="2" ParentId="17228" CreationDate="2017-06-28T10:13:19.280" Score="0" Body="&lt;p&gt;Refer to this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.mp4 -loop 1 -framerate 25 -t 3 -i foo.jpg -t 3 -f lavfi -i aevalsrc=0 -i bar.png -filter_complex '[1:0]scale=640:480[curtain];[0:0][0:1][curtain][2:0] concat=n=2:v=1:a=1[out];[out][3:0]overlay=W-w-25:H-h-25' -max_muxing_queue_size 1000 output.mp4 -loglevel 'trace'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;this will add an image at end of the mp4 ,and add watermake to the mp4.&lt;/p&gt;&#xA;" OwnerUserId="19339" LastActivityDate="2017-06-28T10:13:19.280" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21817" PostTypeId="1" AcceptedAnswerId="24171" CreationDate="2017-06-28T11:58:21.310" Score="2" ViewCount="183" Body="&lt;p&gt;I have some unique footage that I unfortunately only have a corrupted DVD copy of. I have been able to use &lt;code&gt;gddrescue&lt;/code&gt; on Linux to extract most of the footage, but when I play the video in &lt;code&gt;vlc&lt;/code&gt; it stops playing at certain points, and &lt;code&gt;vlc&lt;/code&gt; returns to the playlist view. If I manually skip to the part where &lt;code&gt;vlc&lt;/code&gt; stopped playing and skip a little forward, say a few seconds, I can play the file again and it works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Is there a tool that I can use to automatically cut out the non corrupted parts of the video file so that I can play it without problem?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;What causes this problem, what's technically wrong with the DVD-files?&lt;/p&gt;&#xA;" OwnerUserId="17582" LastActivityDate="2018-05-30T07:10:02.620" Title="How to cut out corrupted parts of DVD-video extracted from disc so file can be played?" Tags="|video|dvd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21819" PostTypeId="1" CreationDate="2017-06-28T14:05:47.937" Score="1" ViewCount="117" Body="&lt;p&gt;I have several videos from which I want to trim the end. Usually it takes too long time – so I need software that does not change the original settings and does not re-encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example if my video 720&amp;times;576, encoded with H.264  at 25 fps and a bitrate of 8000, these settings should remain – also for sound – and it should export as quickly as possible.&lt;/p&gt;&#xA;" OwnerUserId="19269" LastEditorUserId="525" LastEditDate="2017-06-29T18:31:16.180" LastActivityDate="2017-06-30T00:45:47.713" Title="How to trim / edit a video and save with original settings, without encoding" Tags="|video|video-editor|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21821" PostTypeId="1" AcceptedAnswerId="21838" CreationDate="2017-06-28T15:28:49.173" Score="1" ViewCount="2304" Body="&lt;p&gt;I have a video clip with a character animation, for example the character swings his hand.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to cut out the whole animation which is ~ 3 sec long and insert it into an other clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this I need somehow to mark the character, so I can cut him out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I achieve this? Do I need to cut out frame by frame? Which programm is able to do it? I have premiere element 15 from adobe, but i cant find how to do it and its hard to search for, I only get topics on how to cut general video parts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could probably do this in photoshop frame by frame and save as gif with transparent BG.&lt;/p&gt;&#xA;" OwnerUserId="19345" LastActivityDate="2017-07-01T19:05:44.083" Title="Cut out an animation of a video clip and insert into an other" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21822" PostTypeId="2" ParentId="21796" CreationDate="2017-06-28T19:00:15.370" Score="1" Body="&lt;p&gt;You can restore the default window arrangement and size using the main menu of Media Composer:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Windows -&gt; Restore to default&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2017-06-28T19:00:15.370" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21823" PostTypeId="1" CreationDate="2017-06-28T23:02:01.567" Score="1" ViewCount="982" Body="&lt;p&gt;When you're in the Color tab and have an active Power Window selected in the Viewer, is there a keyboard shortcut to toggle it on/off to see the unencumbered view of your clip?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Deselect All&quot; doesn't seem to deselect all.&lt;/p&gt;&#xA;" OwnerUserId="5347" LastEditorUserId="5347" LastEditDate="2017-06-30T06:04:41.907" LastActivityDate="2019-11-25T08:39:41.270" Title="DaVinci Resolve 12.5.5 - Deselect Power Window" Tags="|davinci-resolve|keyboard-shortcut|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21824" PostTypeId="2" ParentId="21514" CreationDate="2017-06-29T01:15:57.907" Score="0" Body="&lt;p&gt;It is worth mentioning that you don't always have to 'convert/transcode' the file (as you have mentioned), in order to change the wrapper. There is an operation called re-wrap, which re-packages the media from one wrapper to another. This isn't the same as the 'fast container switching' that you have described, as re-wrapping works reliably and is often used in broadcast workflows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, &lt;a href=&quot;https://evs.com/en/download-area-version/3195&quot; rel=&quot;nofollow noreferrer&quot;&gt;XSquare/XTAccess&lt;/a&gt; software allows you to re-wrap media without a licence. If you refer to the &lt;a href=&quot;https://evs.com/en/download-area-version/3195/resource/8969&quot; rel=&quot;nofollow noreferrer&quot;&gt;list of supported codecs&lt;/a&gt;, you will see what re-wraps are possible.&lt;/p&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2017-06-29T01:15:57.907" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21826" PostTypeId="1" AcceptedAnswerId="21828" CreationDate="2017-06-29T11:36:32.570" Score="1" ViewCount="410" Body="&lt;p&gt;i would like to know if there is a hardware device, a software that would produce PC screen capture at more than 1000 FPS ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The highest i could get under Linux with a custom program is around 400 FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suppose there is several hardware/software limitations, if there is no hardware or software, any hints on how can this be achieved ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="19354" LastActivityDate="2017-06-30T19:29:16.630" Title="Screen capture at more than 1000 FPS" Tags="|video|video-recording|screen-casting|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21827" PostTypeId="1" AcceptedAnswerId="21847" CreationDate="2017-06-29T12:52:16.233" Score="1" ViewCount="150" Body="&lt;p&gt;The following video is made from a number of different Anime videos, masked and composed in to a single video. I am wondering if the person who made this masked the videos frame by frame or is there a faster way in achieving this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am just asking for guidelines or another way of cutting the characters from a background, in an Anime which is made of a limited number colors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=GPv6c3xGwzw&amp;amp;spfreload=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.youtube.com/watch?v=GPv6c3xGwzw&amp;amp;spfreload=1&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an example of a replaced character in the video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/g6C5i.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/g6C5i.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18468" OwnerDisplayName="K. Cinches" LastEditorUserId="2836" LastEditDate="2017-06-29T14:37:23.800" LastActivityDate="2017-07-03T23:49:13.343" Title="Is there a process faster than masking frame by frame for cutting an animated character from a background?" Tags="|compositing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21828" PostTypeId="2" ParentId="21826" CreationDate="2017-06-29T16:21:14.060" Score="2" Body="&lt;p&gt;I can't rule out specialized hardware devices that might be able to, but 1080p video at 1000fps produces 6GBps of raw data at 8 bit color.  That's 48 gbps, which exceeds the highest standards of most current connectors.  Display port 1.4 is just shy of 26gbps and barely covers half of the needed data rate for a 1000fps 1080p data stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might be able to pull it off with a quad-link 12G-SDI setup, but I'm not aware of any hardware that can work with quad link 12G-SDI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as handling it internally, no modern single SSD can handle the raw data rate.  An ultra top-end PCI express SSD can still only write around 2GBps, so you'd need over 3 of them working in parallel to keep up with the raw data rate.  At PCI express 3 speeds, you'd need 7 lanes minimum for the data transfer alone, so you could theoretically handle it with a PCI-E 3.0 x8 card, but you also need to take in to account the data that needs to be sent to the card for rendering at that rate as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might be able to reduce this a bit by processing in CUDA on the card itself, but that's still an extremely high amount of processing to be doing while also trying to render whatever it is you are rendering at 1000fps, which, btw, you can't even display at 1000fps because there's no way to get a 1000fps feed out of the computer or display it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Overall, I suspect the reason you don't find any software to do this is that it simply isn't possible or practical to do at this time.  Limits are probably set based on what seems like rational limitations for the capabilities of current hardware.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2017-06-30T19:29:16.630" LastActivityDate="2017-06-30T19:29:16.630" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="21830" PostTypeId="2" ParentId="21819" CreationDate="2017-06-30T00:45:47.713" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.squared5.com/svideo/mpeg-streamclip-win.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPEG Streamclip&lt;/a&gt; does exactly that&lt;/p&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2017-06-30T00:45:47.713" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21831" PostTypeId="2" ParentId="20659" CreationDate="2017-06-30T14:35:59.070" Score="1" Body="&lt;p&gt;Have you considered any file transfer accelerators like &lt;a href=&quot;http://asperasoft.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Aspera&lt;/a&gt; or &lt;a href=&quot;http://filecatalyst.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;File Catalyst&lt;/a&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They use a different network protocol to send your files over and give you significant transfer speed gains.&lt;/p&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2017-06-30T14:35:59.070" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21832" PostTypeId="1" AcceptedAnswerId="21835" CreationDate="2017-06-30T21:31:24.817" Score="0" ViewCount="985" Body="&lt;p&gt;When I select a clip in Final Cut Pro, and press &lt;kbd&gt;ctrl&lt;/kbd&gt;&lt;kbd&gt;d&lt;/kbd&gt; to edit the duration, I can enter &lt;code&gt;100&lt;/code&gt; then enter and it will make the clip 1:00 second long. However if I try to do &lt;code&gt;30&lt;/code&gt;, it still rounds it up to 1:00 second long. Why won't it let me make a clip appear for a fraction of a second?&lt;/p&gt;&#xA;" OwnerUserId="4899" LastActivityDate="2017-07-01T16:02:00.087" Title="Final Cut - unable to set clip duration to a fraction of a second" Tags="|final-cut-pro-x|final-cut-pro|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21833" PostTypeId="1" CreationDate="2017-07-01T03:12:23.387" Score="4" ViewCount="383" Body="&lt;p&gt;To my understanding there are basically 4 types of video:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Ordinary 2D videos - these can be viewed by pretty much any device that has a screen&lt;/li&gt;&#xA;&lt;li&gt;360 videos - these can be viewed by any smartphone that has a gyroscope&lt;/li&gt;&#xA;&lt;li&gt;3D videos - these can be viewed by 3D glasses along with the right kind of screen, or by using a VR headset&lt;/li&gt;&#xA;&lt;li&gt;VR videos - these are a combination of types 2 and 3, and can be viewed by any VR headset, like a Samsung Gear VR headset or even a Google Cardboard headset&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;But I'm interested in whether there's a 5th type of video.  My question is, is it possible to make a VR video that isn't just 360 + 3D, but also makes use of positional tracking?  Such a video, if it existed, would only be viewable on a high-end VR headset like the Oculus Rift and the HTC Vive, which utilize both rotational tracking and positional tracking.  They wouldn't be viewable on low-end headsets like Google Cardboard, or mid-tier headsets like Samsung Gear VR, since they only utilize rotational tracking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it is possible, how would you go about creating such a video?  It's the equivalent of shooting an ordinary (360+3D) VR video not just from one point in a room, but from every point in the room.  I imagine that it would be useful for creating virtual tours. In any case, even if you managed to create such a video, how exactly would you make that video by viewable by others?  Are there any apps for Oculus Rift or HTC Vive that would allow you to play a positional-tracking VR video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: I found out that there is such a type of video.  It's called a &quot;light field video&quot; or &quot;holographic video&quot;, and it can be captured with a special &lt;a href=&quot;https://en.wikipedia.org/wiki/Light-field_camera&quot; rel=&quot;nofollow noreferrer&quot;&gt;light field camera&lt;/a&gt;.  But I still don't know how you would show that video to someone.&lt;/p&gt;&#xA;" OwnerUserId="19365" LastEditorUserId="19365" LastEditDate="2018-06-01T19:51:55.013" LastActivityDate="2018-06-01T19:51:55.013" Title="Can you create a VR video that makes use of positional tracking?" Tags="|video-recording|3d|360video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="21834" PostTypeId="2" ParentId="21833" CreationDate="2017-07-01T03:50:53.037" Score="1" Body="&lt;p&gt;You can use photogrammetry if you had enough different viewpoints to build a 3d representation of the scene and apply all necessary texturing and lighting.  The video would then play as an animated 3d scene rather than a traditional movie.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The amount of processing involved is high but it is possible.  Microsoft's Hyperlapse video stabilization actually does some of this by determining a point cloud of the scene from some basic photogrammetry.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Software like Destinations on the Vive already use photogrammetry for reproducing landmarks in a fully explore-able 3D world.  There are also several animated projects which are composed of scenes that you can fully explore.  8i also has done some early work in video like you describe.  The quality level still leaves a lot to be desired, but work is being done in trying to accomplish what you are talking about.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As an early Vive owner who has tried all these things first hand, I'd say &quot;volumetric video&quot; is at the interesting experimental phase, but not really that great yet.  I'm sure we'll see significant improvements in the future though as the technology is refined, particularly since it has implications outside of just VR and AR for things like computer vision.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-07-01T03:50:53.037" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="21835" PostTypeId="2" ParentId="21832" CreationDate="2017-07-01T16:02:00.087" Score="1" Body="&lt;p&gt;:30 is 1s at 30fps, so FCPX rounds it to 1s. For half a second on a 30fps project, enter :15.&lt;/p&gt;&#xA;" OwnerUserId="5296" LastActivityDate="2017-07-01T16:02:00.087" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21836" PostTypeId="2" ParentId="21833" CreationDate="2017-07-01T18:51:25.780" Score="1" Body="&lt;p&gt;For this you are going to have to build a 3d-world. This is because if you want to move position you are going to have to be moving in 3d. The easiest way to build up the 3d scene is with photogrammetry like Aj Henderson said. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would load it into a game engine because a game engine is designed to render 3d scenes read time and already lots of them have vr features built in. For example Unreal Engine or Unity. &lt;/p&gt;&#xA;" OwnerUserId="19367" LastActivityDate="2017-07-01T18:51:25.780" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21837" PostTypeId="1" CreationDate="2017-07-01T19:00:54.450" Score="1" ViewCount="35" Body="&lt;p&gt;I sometimes get in a situation, when I have an already properly timed subtitles for a video and I have a different language subtitle file, which I would like to synchronize to the existing one. Usually it can not be done easily, because the other language subtitles can not be paired with the proper one (eg.: other language used different partitioning of the sentences, or some of the sentences simply wasn't translated, etc). Furthermore sometimes linear stretching or compression of the subtitles timings don't work (tool for this purpose available on this website: &lt;a href=&quot;http://subtitlefix.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://subtitlefix.com&lt;/a&gt; under the 2 in 1 section). In this case one have to determine 2 pairs of corresponding subtitle lines, and then solving a linear equation, an &quot;a&quot; and a &quot;b&quot; value is computed, with whom the timing data are transformed according to an a*t+b linear equation, where &quot;t&quot; is the time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For problematic cases even this method don't work well. What other automatic, and semi-automathic tools, techniques should taken into consideration for such scenarios?&lt;/p&gt;&#xA;" OwnerUserId="17313" LastActivityDate="2017-07-01T19:00:54.450" Title="Website or tool for timing other language subtitles based on a properly timed but different language one?" Tags="|subtitles|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21838" PostTypeId="2" ParentId="21821" CreationDate="2017-07-01T19:05:44.083" Score="1" Body="&lt;p&gt;When you create a mask around a part of a video it is called rotoscoping. Premiere elements doesn't have the capabilities to do rotoscoping but there are other free pieces of software which do. The following bits of software are composting software which are designed for composting clips together. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first software is Blackmagic fusion &lt;a href=&quot;https://www.blackmagicdesign.com/uk/products/fusion&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.blackmagicdesign.com/uk/products/fusion&lt;/a&gt;. Here is a simple tutorial showing you how to rotoscope in it &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/oi_yGJQwIIs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other option is &lt;a href=&quot;http://natron.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://natron.fr/&lt;/a&gt;. Here is a tutorial on how to rotoscope with it &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/85kWh-kdyR0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;. This tutorial is for a slightly different software but should work fine. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have made the clip in either of these bits of software then export it and import it into premiere elements as a new video file. &lt;/p&gt;&#xA;" OwnerUserId="19367" LastActivityDate="2017-07-01T19:05:44.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21839" PostTypeId="1" AcceptedAnswerId="21840" CreationDate="2017-07-01T22:04:04.793" Score="5" ViewCount="5883" Body="&lt;p&gt;I have a lot of videos that are either 720x1280 or 1280x720. I want to convert all of them to 1280x720, but for the ones that are portrait I would like to show the full video with the remaining space to the left and right being a darkened, blurred version of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think this is pretty close to that, but it seems to go on forever (maybe because the color keeps providing frames?)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -lavfi &quot;\&#xA;    color=color=black@.3:size=720x405[dark];&#xA;    [0:v]crop=720:405[blurbase];&#xA;    [blurbase]boxblur=lr='min(h,w)/20':lp=1:cr='min(cw,ch)/20':cp=1[blurred];&#xA;    [blurred][dark]overlay[darkened];&#xA;    [darkened]scale=1280:720[bg];&#xA;    [0:v]scale=-1:720[fg];&#xA;    [bg][fg]overlay=(W-w)/2:(H-h)/2&quot; \&#xA;    -vb 800K video_out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can see that it just starts adding duplicate frames after it hits the end of the video (in the logging below the video is ~24 sec):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; crop (graph 0)&#xA;  Stream #0:0 (h264) -&amp;gt; scale (graph 0)&#xA;  overlay (graph 0) -&amp;gt; Stream #0:0 (libx264)&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;...&#xA;Past duration 0.999992 too large    2256kB time=00:00:24.33 bitrate= 759.4kbits/s dup=1 drop=0 speed=1.36x&#xA;Past duration 0.799995 too large&#xA;frame= 3177 fps=101 q=-1.0 Lsize=    3797kB time=00:01:45.80 bitrate= 294.0kbits/s dup=407 drop=0 speed=3.37x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How do I fix the issue of the encoding not completing when the end of the video file is reached?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, is there a way to conditionally only do the blurred background work if the video is portrait so landscape videos don't spend a lot of unnecessary CPU on blurring the video?&lt;/p&gt;&#xA;" OwnerUserId="19368" LastActivityDate="2017-07-02T05:27:52.280" Title="Adding blurred background to portrait videos with ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21840" PostTypeId="2" ParentId="21839" CreationDate="2017-07-02T05:27:52.280" Score="8" Body="&lt;p&gt;Limit the color output to a few frames. In the first overlay, it will repeat the last frame of the color once that stream ends. So,   &lt;code&gt;color=black@.3:size=720x405:d=1[dark];&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Filters can't be executed conditionally, so you will need to probe the input in a separate command beforehand and then execute a command with the filters or one without.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command below&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe in.mp4 -show_entries stream=display_aspect_ratio -of compact=p=0:nk=1 -v 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;will produce an output like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;16:9&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Just wrap a script to check that value.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-07-02T05:27:52.280" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21841" PostTypeId="2" ParentId="21571" CreationDate="2017-07-03T03:34:14.563" Score="1" Body="&lt;p&gt;I don't even see how rotoscoping would help and can't think of a way to solve the issue directly with the green screen footage (if I understand the situation correctly anyway).  If the glass is transparent, it is going to cause further distortions and the green screen itself is going to impact the color of the glass.  That alteration to the color would still be there after green screening.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This sounds like something that should be done on a matte black background and luma keyed rather than chroma keyed on green.  You'd get better information about the transparency of the glass then.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, the easiest way would be just to simulate the object entirely in CG.  You can make really realistic glass objects pretty easily using the video itself as an environment and get something that works better than either a chroma or luma key is likely to work.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-07-03T03:34:14.563" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21846" PostTypeId="1" CreationDate="2017-07-03T23:32:36.360" Score="0" ViewCount="880" Body="&lt;p&gt;I am using FFMPEG in a VFX workflow to convert .png sequences to Avid friendly DNxHD. Today I ran into a situation where a video file I created had quite a bit of banding in Avid when it should not have. Long story short I found that when I'm encoding via FFMPEG it looks quite crappy compared to Adobe Media Encoder or just importing the image sequence straight into Avid. I've double checked that the codec settings are consistent across all encoders, but for whatever reason FFMPEG just looks terrible compared to the other two (banding and compression artifacts).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is if I'm doing something wrong that is limiting the bitrate? I can't see anything wrong with my code and I get no errors. Here's the command I'm using to drive FFMPEG, items in quotation are variables I feed into it:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;FFMPEG.exe -y -r 23.976 -start_number &quot;startFrame&quot; -i &quot;inFile&quot; -vcodec dnxhd -b:v 175M -vf colormatrix=bt601:bt709 &quot;outFile&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And here's the output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;2017-07-03 15:32:23:  0: STDOUT: ffmpeg version N-73361-g03b2b40 Copyright (c) 2000-2015 the FFmpeg developers&#xA;2017-07-03 15:32:23:  0: STDOUT:   built with gcc 4.9.2 (GCC)&#xA;2017-07-03 15:32:23:  0: STDOUT:   configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libdcadec --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-aacenc --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-lzma --enable-decklink --enable-zlib&#xA;2017-07-03 15:32:23:  0: STDOUT:   libavutil      54. 27.100 / 54. 27.100&#xA;2017-07-03 15:32:23:  0: STDOUT:   libavcodec     56. 46.100 / 56. 46.100&#xA;2017-07-03 15:32:23:  0: STDOUT:   libavformat    56. 40.100 / 56. 40.100&#xA;2017-07-03 15:32:23:  0: STDOUT:   libavdevice    56.  4.100 / 56.  4.100&#xA;2017-07-03 15:32:23:  0: STDOUT:   libavfilter     5. 19.100 /  5. 19.100&#xA;2017-07-03 15:32:23:  0: STDOUT:   libswscale      3.  1.101 /  3.  1.101&#xA;2017-07-03 15:32:23:  0: STDOUT:   libswresample   1.  2.100 /  1.  2.100&#xA;2017-07-03 15:32:23:  0: STDOUT:   libpostproc    53.  3.100 / 53.  3.100&#xA;2017-07-03 15:32:23:  0: STDOUT: Input #0, image2, from 'INPUT FILE_%04d.png':&#xA;2017-07-03 15:32:23:  0: STDOUT:   Duration: 00:00:05.92, start: 0.000000, bitrate: N/A&#xA;2017-07-03 15:32:23:  0: STDOUT:     Stream #0:0: Video: png, rgb24(pc), 1920x1080 [SAR 1:1 DAR 16:9], 25 fps, 25 tbr, 25 tbn, 25 tbc&#xA;2017-07-03 15:32:23:  0: STDOUT: Output #0, mov, to 'OUTPUT FILE':&#xA;2017-07-03 15:32:23:  0: STDOUT:   Metadata:&#xA;2017-07-03 15:32:23:  0: STDOUT:     encoder         : Lavf56.40.100&#xA;2017-07-03 15:32:23:  0: STDOUT:     Stream #0:0: Video: dnxhd (AVdn / 0x6E645641), yuv422p, 1920x1080 [SAR 1:1 DAR 16:9], q=2-1024, 175000 kb/s, 23.98 fps, 11988 tbn, 23.98 tbc&#xA;2017-07-03 15:32:23:  0: STDOUT:     Metadata:&#xA;2017-07-03 15:32:23:  0: STDOUT:       encoder         : Lavc56.46.100 dnxhd&#xA;2017-07-03 15:32:23:  0: STDOUT: Stream mapping:&#xA;2017-07-03 15:32:23:  0: STDOUT:   Stream #0:0 -&amp;gt; #0:0 (png (native) -&amp;gt; dnxhd (native))&#xA;2017-07-03 15:32:23:  0: STDOUT: Press [q] to stop, [?] for help&#xA;2017-07-03 15:32:24:  0: STDOUT: frame=   11 fps=0.0 q=1.0 size=    9856kB time=00:00:00.45 bitrate=175985.3kbits/s    &#xA;2017-07-03 15:32:24:  0: STDOUT: frame=   25 fps= 24 q=1.0 size=   22400kB time=00:00:01.04 bitrate=175984.9kbits/s    &#xA;2017-07-03 15:32:25:  0: STDOUT: frame=   39 fps= 25 q=1.0 size=   34944kB time=00:00:01.62 bitrate=175984.7kbits/s    &#xA;2017-07-03 15:32:25:  0: STDOUT: frame=   51 fps= 24 q=1.0 size=   45696kB time=00:00:02.12 bitrate=175984.8kbits/s    &#xA;2017-07-03 15:32:26:  0: STDOUT: frame=   65 fps= 24 q=1.0 size=   58240kB time=00:00:02.71 bitrate=175984.7kbits/s    &#xA;2017-07-03 15:32:27:  0: STDOUT: frame=   79 fps= 25 q=1.0 size=   70784kB time=00:00:03.29 bitrate=175984.7kbits/s    &#xA;2017-07-03 15:32:27:  0: STDOUT: frame=   93 fps= 25 q=1.0 size=   83328kB time=00:00:03.87 bitrate=175984.7kbits/s    &#xA;2017-07-03 15:32:28:  0: STDOUT: frame=  108 fps= 25 q=1.0 size=   96768kB time=00:00:04.50 bitrate=175984.7kbits/s    &#xA;2017-07-03 15:32:28:  0: STDOUT: frame=  122 fps= 25 q=1.0 size=  109312kB time=00:00:05.08 bitrate=175984.7kbits/s    &#xA;2017-07-03 15:32:29:  0: STDOUT: frame=  139 fps= 26 q=1.0 size=  124544kB time=00:00:05.79 bitrate=175984.7kbits/s    &#xA;2017-07-03 15:32:29:  0: STDOUT: frame=  148 fps= 26 q=1.0 Lsize=  132609kB time=00:00:06.17 bitrate=175986.5kbits/s    &#xA;2017-07-03 15:32:29:  0: STDOUT: video:132608kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.001087%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The codec settings are Avid DNxHD 175, 23.976, 8bpc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/WMGrS.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WMGrS.jpg&quot; alt=&quot;Before transcode&quot;&gt;&lt;/a&gt;&#xA;After:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/0OFWZ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0OFWZ.jpg&quot; alt=&quot;After transcode&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="19385" LastEditorUserId="19385" LastEditDate="2017-07-07T03:36:42.183" LastActivityDate="2017-07-13T11:20:58.237" Title="FFMPEG to convert img seq to DNxHD - BANDING" Tags="|ffmpeg|conversion|bitrate|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21847" PostTypeId="2" ParentId="21827" CreationDate="2017-07-03T23:49:13.343" Score="0" Body="&lt;p&gt;You can also checkout some of the various keying techniques. I've been able to color key things pretty well in After Effects or Nuke - for After Effects you can either use &quot;Change to Color&quot; to create a matte or &quot;Linear Color Key&quot;. Either way you're going to need to split up the video into a bunch of layers - each one keying in (or out) a specific color. The end result you're going for is a black-and-white matte which you can use to cut out the footage. Often times it requires a combination of all kinds of techniques - keying some colors, luminance based keying (which can be done with &quot;extract&quot; in After Effects), luminance based keying on specific channels (also &quot;extract&quot;) and a bit of hand-made roto.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need a more in depth explanation let me know.&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2017-07-03T23:49:13.343" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21854" PostTypeId="1" CreationDate="2017-07-05T09:18:51.673" Score="3" ViewCount="2371" Body="&lt;p&gt;I am using the transform effect to scale a clip. I need a scale of around 500%, however the scale control seems to be limited to 300%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way I can scale the clip more than 300% using the transform effect?&lt;/p&gt;&#xA;" OwnerUserId="11281" LastEditorUserId="636" LastEditDate="2018-01-23T15:22:39.833" LastActivityDate="2018-06-22T21:47:17.123" Title="How can I scale more than 300% in Premiere?" Tags="|premiere|effects|scale|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21857" PostTypeId="1" CreationDate="2017-07-05T15:29:51.977" Score="6" ViewCount="227" Body="&lt;p&gt;I think the risks of aiming a digital camera at the sun are pretty self-explanatory.   Sensors can quickly get damaged.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With lots of 360-degree VR-style video cameras available now, you cannot really avoid capturing the sun.   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you set a stationary 360-degree camera up for a lengthy outdoor video, I assume you're not actually going to damage the camera's sensor, but why not?&lt;/p&gt;&#xA;" OwnerUserId="19403" OwnerDisplayName="abelenky" LastEditorUserId="19367" LastEditDate="2017-07-06T16:32:24.047" LastActivityDate="2017-12-15T12:30:25.420" Title="360-degree cameras and the sun" Tags="|camera|360video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21859" PostTypeId="2" ParentId="19730" CreationDate="2017-07-06T03:57:53.687" Score="1" Body="&lt;p&gt;This has changed in the 2017 release of Premiere CC. You can now change all captions at once. Plus Adobe has added some other enhancements to the caption workflow.&lt;/p&gt;&#xA;" OwnerUserId="19405" LastActivityDate="2017-07-06T03:57:53.687" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21860" PostTypeId="2" ParentId="21752" CreationDate="2017-07-06T04:15:32.313" Score="1" Body="&lt;p&gt;I have been able to at least 10x render times in AE (depending on hardware) by rendering to image sequences and running multiple instances of AE on one machine. Because AE is so inefficient at using your resources you can get away with this in direct proportion to your hardware. I don't have a good rule of thumb for how many instances to run at a time but generally push it until your RAM maxes out (I have 64g and 40 CPU cores, so I run 10 at a time with no problems at all).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You mention aerender.exe so I assume you are already rendering via the commandline? If so then you're 90% there. All you have to do is set your composition output to an image sequence format (I use .png) and then change your Render Settings from &quot;Best Settings&quot; to &quot;Multi-Machine Settings&quot;. This will just enable an option in the Render Settings called &quot;Skip existing files.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realize this might not be the answer you were looking for in that it doesn't directly speed up aerender.exe however it is absolutely the best way of decreasing render time! Since I found out about this one I've never gone back. I then use ffmpeg to convert the image sequences to video files, but you could always use Adobe Media Encoder or something like that.&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2017-07-06T04:15:32.313" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21861" PostTypeId="2" ParentId="21695" CreationDate="2017-07-06T04:23:25.993" Score="1" Body="&lt;p&gt;This is definitely possible! Because you say you're new I'll write this out in detail, you might know some of this already but here goes:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make a new composition with just your footage, and add a new Null Object (Layer&gt;New&gt;Null Object). Make sure this is just above your footage in the layer stack. It doesn't actually have to be, but if it is then it will simplify a few things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Motion track your footage and in the motion tracking panel click &quot;Apply&quot; and then just hit &quot;OK&quot; on the dialog that opens up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now what happens is your tracking data gets applied to the Null Object (it automatically takes the layer above the footage layer - you can change this of course but no need to in this example).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select your null object and hit &quot;u&quot; which is the shortcut to show all keyframes. You'll see that there are now position keys on the null object, and those are the coordinates you want already given in X and Y, with the top right corner of the screen at (0,0).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What do you want to do with them from there?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: Just realized an even simpler method... just motion track your dot, select your footage layer and hit &quot;u&quot;. Now you will see a keyframed property called &quot;Feature Center&quot; and this is what you want. Everything in AE has (0,0) in the top left corner.&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2017-07-06T04:23:25.993" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21862" PostTypeId="1" CreationDate="2017-07-06T05:16:04.637" Score="1" ViewCount="1212" Body="&lt;p&gt;I have a lot of anime videos which are all encoded, I think, with H.264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is rather simple: How can I make my 1tb collection smaller?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know about FFMPEG. However, I do not know how to use it most efficiently. I am looking to reduce the size of the files while not causing losses in quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an i7-2700k at 4.4ghz and a GTX 770. Can I leverage my GPU's power to make this process faster and more efficient? What would be the most efficient way of doing this and what would it look like in command line form?&lt;/p&gt;&#xA;" OwnerUserId="19406" LastEditorUserId="14523" LastEditDate="2017-07-06T22:21:37.977" LastActivityDate="2017-08-06T00:38:10.137" Title="Compressing my collection of anime" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21863" PostTypeId="1" AcceptedAnswerId="24168" CreationDate="2017-07-06T14:10:07.783" Score="2" ViewCount="13932" Body="&lt;p&gt;I want to rip DVDs(MPEG2) to MKV using Handbrake for viewing on PC, and currently i am not sure about the settings of the x265 encoder.&#xA;Can anyone suggest the optimal settings for:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;CRF : 19 ? 23 ? 25 ?&lt;/li&gt;&#xA;&lt;li&gt;8-bit or 10-bit (Main or Main10) (Has 10-bit any advantages for low-res like DVD ? )&lt;/li&gt;&#xA;&lt;li&gt;Encoder tune - none / SSIM / Grain ?&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;bframes&lt;/code&gt; or other parameters ?&lt;/li&gt;&#xA;&lt;li&gt;CFR or VFR ?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Also i am open to any suggestions for tuning of an other parameteres.&#xA;I have searched by google but all guides are not specific enough for the case of DVDs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The resolution is 700x574 , source MPEG2 bitrate is 3Mbps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additional question - are there any good guides for general parameter tuning x265 like &lt;code&gt;bframes&lt;/code&gt; ?&#xA;Thank you very much.&lt;/p&gt;&#xA;" OwnerUserId="19412" LastActivityDate="2018-05-30T06:47:40.063" Title="Handbrake x265 Optimal settings for ripping DVD" Tags="|ffmpeg|encoding|dvd|handbrake|h265|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21864" PostTypeId="1" CreationDate="2017-07-06T15:29:17.077" Score="1" ViewCount="695" Body="&lt;p&gt;The use case described here is very much the same as the YouTube's feature where a lower resolution of the video is selected if the user's network speed is low. But, I'd like to do this only at the start of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently, I'm transcoding the videos uploaded by the user into &lt;em&gt;webm&lt;/em&gt; format (VP8 and Vorbis to be specific) using &lt;em&gt;Gstreamer&lt;/em&gt;. And, I'm transcoding the video into different resolutions, so I'll get many video files (of those resolutions) in webm format. I can use a good video player to render those resolutions by just giving an option to the user (so that the user can choose a resolution; of course at the start, a default resolution is played).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hence I thought of implementing &lt;em&gt;adaptive streaming&lt;/em&gt; where streams are broken into a series of small segments and those segments are made available at different qualities and bit rates. Is it possible to achieve above mentioned feature in any other way?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a few ways to achieve adaptive streaming:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;HLS (by Apple)&lt;/li&gt;&#xA;&lt;li&gt;Smooth Streaming (by Microsoft)&lt;/li&gt;&#xA;&lt;li&gt;MPEG DASH&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'd like to use &lt;em&gt;MPEG DASH&lt;/em&gt; to achieve the above mentioned feature. It is codec-agnostic and has a few other advantages.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to know how to go about implementing DASH using Gstreamer for properly encoding the video and producing the .mpd file (with different segments of the transcoded video). I'm new to videos and it'd be helpful if anyone could provide basic steps to go about it. If it is possible, then I can use Dash.js or other players which can handle DASH encoding to render the video on the client's side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also looked at other existing tools &lt;a href=&quot;https://en.wikipedia.org/wiki/Dynamic_Adaptive_Streaming_over_HTTP&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; (in Content Generator Section), but mostly the combining part (producing a .mpd file for the segments; even producing the segments) is codec-specific (H.264 encoding; mainly MP4 segments) using FFmpeg and MP4Box/Bento4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to know if there &lt;em&gt;are&lt;/em&gt; tools in Gstreamer to implement DASH for webm (or worst case, for MP4). If yes, then please let me know how to go about implementing it.&lt;/p&gt;&#xA;" OwnerUserId="19411" LastEditorUserId="19411" LastEditDate="2017-07-06T15:36:16.597" LastActivityDate="2017-07-06T15:36:16.597" Title="Change resolution according to bandwidth at the start of the video" Tags="|video|ffmpeg|video-quality|mp4|mpeg-dash|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21865" PostTypeId="2" ParentId="20853" CreationDate="2017-07-06T15:35:40.713" Score="1" Body="&lt;p&gt;I would try following this YouTube tutorial. What they do in it is make a new premiere pro project and then import the project into it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/A8hjyPOX_ok?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Summary of video:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open premiere pro and make a new project. &lt;/li&gt;&#xA;&lt;li&gt;Go to the media browser&lt;/li&gt;&#xA;&lt;li&gt;Navigate to where your project is saved&lt;/li&gt;&#xA;&lt;li&gt;Right click on it and press import&lt;/li&gt;&#xA;&lt;li&gt;Check import entire project and tick Create folder for imported items and click ok&lt;/li&gt;&#xA;&lt;li&gt;Go to the tab where it says project:[&lt;em&gt;project name&lt;/em&gt;]&lt;/li&gt;&#xA;&lt;li&gt;Expand the folder there&lt;/li&gt;&#xA;&lt;li&gt;Find the file  which has a icon which looks like lots of tracks on a timeline&lt;/li&gt;&#xA;&lt;li&gt;Drag that into the timeline&lt;/li&gt;&#xA;&lt;li&gt;Save the new project&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="19367" LastEditorUserId="19367" LastEditDate="2017-07-08T11:41:54.980" LastActivityDate="2017-07-08T11:41:54.980" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21867" PostTypeId="1" CreationDate="2017-07-06T17:58:34.390" Score="2" ViewCount="11153" Body="&lt;p&gt;What are the most efficient and high-quality methods you would recommend for reducing/eliminating the three areas of whiteboard specular glare in this video? The spot near my head might be particularly challenging since my head moves into and out of that area during the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Guw137dHyNA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="19414" LastEditorUserId="19414" LastEditDate="2017-07-06T19:02:25.040" LastActivityDate="2017-09-04T20:49:26.583" Title="Premiere Pro: reducing/eliminating whiteboard specular glare" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21869" PostTypeId="2" ParentId="21867" CreationDate="2017-07-06T20:15:29.877" Score="2" Body="&lt;p&gt;Add a lumetri colour effect to it. Then go to the curves. Click on the line quite near the top. Then click in the middle Then go right to the top and drag it down to reduce the brightness of the highlight. Then just experiment with the curves. This should help remove the glare because it makes it less bright.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/6vpcj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6vpcj.png&quot; alt=&quot;Something like this&quot;&gt;&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something like this&lt;/p&gt;&#xA;" OwnerUserId="19367" LastActivityDate="2017-07-06T20:15:29.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21870" PostTypeId="2" ParentId="21862" CreationDate="2017-07-06T23:48:07.940" Score="1" Body="&lt;p&gt;Re-encoding will introduce &lt;a href=&quot;https://en.wikipedia.org/wiki/Generation_loss&quot; rel=&quot;nofollow noreferrer&quot;&gt;generation loss&lt;/a&gt; and encoder specific artefacts. Of course you are not going to encode a &lt;a href=&quot;http://bernholdtech.blogspot.de/2013/03/Nine-different-audio-encoders-100-pass-recompression-test.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;file 100 times&lt;/a&gt; and you are trying to preserve as much quality as possible, but with such vage ctriteria as encoding 1 TB of unkown quality, noise, bitrate, picture size, framerate and so forth there is much that can go wrong. Best advice: don't re-encode at all, particularly if you are not encoding from sources e.g. disks but web formats or already re-encoded content. Save the money spent on energy to buy more hard drives and learn to manage them (hint: ZFS). If you cant wait for encoder improvements and the next generation of super high efficient video encoders, then H.265 one of the better solutions currently available, but you'd have to take a close look at each file and how it was encoded, if you find that a video was already encoded on an i7 equal or better than yours with H.264 and that already took a day or more than you know you are going to spen 2 to 4 times as much. And you'd still have a bit of generation loss even if you got everything right. Also don't expect that software always returns perfect results, you should check every re-encoded file to be sure. And you shouldn't overclock your hardware or swap version numbers of software components used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Buy a bigger drive if you don't want to go down this route, you save valuable lifetime and electricity.&lt;/p&gt;&#xA;" OwnerUserId="10541" LastActivityDate="2017-07-06T23:48:07.940" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21871" PostTypeId="2" ParentId="21863" CreationDate="2017-07-07T00:26:15.900" Score="0" Body="&lt;p&gt;What does optimal mean to you? Smallest size and time to finish an encode does not matter? If so then pick the H.265 MKV 576p25 profile (apparently you have PAL content) set &quot;optimal for source&quot; under dimensions to not stretch or modify the picture in any way. Set the refresh rate to &quot;same as source&quot;. CRF 20 should be good enough for most DVDs, you will know when you compare a CRF 17 encode of the same source and cannot make out the difference, if you can try the numbers in between or going even 3 steps further down. 10-Bit won't hurt, but won't benefit much either regarding picture quality, if it would and you're doing lots of filtering, you could even go with 12-Bit (I have it available on Ubuntu, the choice of filters though is limited and won't improve picture quality dramatically I'd say, nor would it justify changing the subsampling if it is availabe). Change the preset from slow to slower if you have no problem waiting for the encode to finish, this is one of the more important settings as it controls all the other setting depending on the profile, level and picture size. Disabling bframes was only imporant for older devices which had trouble decoding H.264 streams with bframes, since you said you care mostly about the result when watching H.265 content on a PC this shouldn't be of any concern.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simply put, if the resolution is not greater than 1080p60 and playback on current mobile devices is not considered to be important then I choose H.265 with slow or slower on Main10 and 4:2:0 subsampling. That's optimal regarding of what most desktop computers can handle today, some may require video acceleration though to display noisy 1080p 60fps content (e.g. performers dancing in front of big LED displays). That's may experience so far and I never touch the encoder tune setting, I expect the default to be good enough when I'm already throwing this much CPU time at it that the tune may be negligible.&lt;/p&gt;&#xA;" OwnerUserId="10541" LastActivityDate="2017-07-07T00:26:15.900" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21872" PostTypeId="1" AcceptedAnswerId="21873" CreationDate="2017-07-07T00:49:11.310" Score="5" ViewCount="4562" Body="&lt;p&gt;I have to export an MXF file for a program that have certain limitations:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;em&gt;Conform to SMPTE 274M, “1920 x 1080 Scanning with no visible video impairment such as blocking errors or pixelization artefacts.&#xA;  &lt;strong&gt;Luminance and color difference signals must not exceed the bounds of legal gamut.&lt;/strong&gt; Video technical standards are fully detailed in ITU-R&#xA;  BT.709.5.&lt;/em&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;em&gt;For the video levels, sync and blanking must be in accordance with EBU recommendations, &lt;strong&gt;the component video levels must not exceed&#xA;  700mV ±3% for the luminance channel and ±350 mV for the color&#xA;  difference channels.  No excursions below black level can be tolerated&#xA;  in the luminance, never below 0mV&lt;/strong&gt;.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I marked in bold the parts where I'm not confident with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say that I have already exported an intermediate ProRes or DNxHD file and I want it to be used as input in the timeline for the new export as the definitive MXF.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I meet that requests with Premiere ? I saw under the Color Correction filter category some plugins like Video Limiter and Broadcast Colors but the amount of tweaks given seems poor to me and I can't find values expressed in mV ..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oQRbv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oQRbv.png&quot; alt=&quot;Premiere Effects&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UZhYV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UZhYV.png&quot; alt=&quot;Premiere Effects II&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I am missing ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My request is how to do it with Premiere.. and if is possible do the same also with ffmpeg, thanks!!&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm already working in rec 709 environment:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MediaInfo says:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Color primaries             : BT.709&lt;br&gt;&#xA;Transfer characteristics    : BT.709&lt;br&gt;&#xA;Matrix coefficients         : BT.709&lt;br&gt;&#xA;matrix_coefficients_Origina : BT.709&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is my ProRes input.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2017-07-07T09:54:45.747" LastActivityDate="2017-07-07T09:54:45.747" Title="How match this broadcast standards with Premiere and ffmpeg" Tags="|ffmpeg|premiere|broadcasting|mxf|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21873" PostTypeId="2" ParentId="21872" CreationDate="2017-07-07T02:38:31.800" Score="3" Body="&lt;p&gt;To legalize video with the Video Limiter:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Set the &lt;strong&gt;Reduction Axis&lt;/strong&gt; to &lt;a href=&quot;https://forums.adobe.com/thread/1944578&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;em&gt;Chroma and Luma&lt;/em&gt;&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Set the &lt;strong&gt;Signal Minimum&lt;/strong&gt; to &lt;em&gt;0%&lt;/em&gt; (=0 mV).&lt;/li&gt;&#xA;&lt;li&gt;Set the &lt;strong&gt;Signal Maximum&lt;/strong&gt; to &lt;em&gt;103%&lt;/em&gt; (=700 mV + 3%).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The rest of the settings may take some experimentation to find something that looks good for your project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I strongly recommend double checking you are within limits with a good gamut visualization. I'm partial to the Tektronix split diamond display, but other test equipment vendors have other good versions. If you are going to be delivering a lot of files, a file-based QC system will also be able to check for legal colors and some can even do the correction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something to take in to consideration, depending on the broadcaster you are delivering to, they may not enforce the gamut requirements all that strictly. I know that most in the US don't, unless you are severely and noticeably out of gamut.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-07-07T02:38:31.800" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="21874" PostTypeId="2" ParentId="21323" CreationDate="2017-07-07T03:52:23.773" Score="1" Body="&lt;p&gt;I can't see your images for some reason but I suppose this is intentionally added in the template project. To remove it you would of course need to figure out which effect within AE is creating this problem, which I can not do without looking at the file... however I would look for effects like &quot;Optics Compensation&quot; or &quot;Transform&quot; (the effect, not the property). Try turning off any adjustment layers one-by-one to see if that does it. There's a 99% chance that it is an effect on an adjustment layer at the top of your composition creating something like that!&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2017-07-07T03:52:23.773" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21875" PostTypeId="2" ParentId="21282" CreationDate="2017-07-07T03:54:55.977" Score="1" Body="&lt;p&gt;Check out this video tutorial, might help: &lt;a href=&quot;http://www.videocopilot.net/tutorials/demon_face_warp/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.videocopilot.net/tutorials/demon_face_warp/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To summarize: You need to motion track the face and stabilize the footage with this tracking data. Good tracking points are the corners of the eyes, nose, etc (the new face tracker might help but I haven't used it much). Once your footage is stabilized you can apply whatever you want onto your actor's face. Then it is a matter of pre-composing everything and re-applying the motion to that precomposition.&lt;/p&gt;&#xA;" OwnerUserId="19385" LastEditorUserId="19385" LastEditDate="2017-07-07T21:22:57.850" LastActivityDate="2017-07-07T21:22:57.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21876" PostTypeId="2" ParentId="21872" CreationDate="2017-07-07T05:10:27.710" Score="2" Body="&lt;p&gt;As per pg 12 of this BBC &lt;a href=&quot;https://drive.google.com/file/d/0BxP5-S1t9VEEaTFsRGFldXZPdEE/view&quot; rel=&quot;nofollow noreferrer&quot;&gt;document&lt;/a&gt;,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;TECHNICAL STANDARDS FOR DELIVERY OF TELEVISION PROGRAMMES TO BBC&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The limits of signal levels are defined by reference to a nominal&#xA;  black level and a nominal white level. Black level comprises R, G and&#xA;  B all at zero (or 0% or 0mV) and white level is all three components&#xA;  at 100 % or 700mV.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;In a picture signal, each component is allowed to range between 0 and&#xA;  100% (or 0mV and 700mV). This equates to digital sample levels 16 and&#xA;  235 (8-bit systems) or 64 and 940 (10 bit systems).&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You don't mention which encoder you wish to use, but my fallback answer is that if the input to ffmpeg is studio/limited range i.e. 16-235 luma and BT.709, so will the output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use either the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#waveform&quot; rel=&quot;nofollow noreferrer&quot;&gt;waveform&lt;/a&gt; (visual) or &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#signalstats-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;signalstats&lt;/a&gt; (text) filter to check for out-of-range values.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-07-07T05:17:26.070" LastActivityDate="2017-07-07T05:17:26.070" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21878" PostTypeId="1" CreationDate="2017-07-07T10:12:32.487" Score="0" ViewCount="567" Body="&lt;p&gt;This question is a spin-off of a previous one focused mostly on Premiere Pro: &lt;a href=&quot;https://video.stackexchange.com/questions/21872/how-match-this-broadcast-standards-with-premiere-and-ffmpeg&quot;&gt;How match this broadcast standards with Premiere and ffmpeg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My goal in this one is learn as much as possible to handle the things with ffmpeg or ffmbc&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have to create a MXF file from a input .mov in ProRes or DNxHD with various requests by the network:      &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Video Requests&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;em&gt;Conform to SMPTE 274M, “1920 x 1080 Scanning with no visible video impairment such as blocking errors or pixelization artefacts.&#xA;  &lt;strong&gt;Luminance and color difference signals must not exceed the bounds of legal gamut.&lt;/strong&gt; Video technical standards are fully detailed in ITU-R&#xA;  BT.709.5.&lt;/em&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;em&gt;For the video levels, sync and blanking must be in accordance with EBU recommendations, &lt;strong&gt;the component video levels must not exceed&#xA;  700mV ±3% for the luminance channel and ±350 mV for the color&#xA;  difference channels.  No excursions below black level can be tolerated&#xA;  in the luminance, never below 0mV&lt;/strong&gt;.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Audio Requests&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;em&gt;Alignment Level (AL) shall be –18dBFS with respect to maximum audio coding level (PPM4 on a BBC PPM – IEC type IIa). The Permitted Maximum&#xA;  Level (PML - as defined in ITU-R BS.645-2) must comply ITU-R BR.1384.1&#xA;  and ITU-R BS.1726. Peaks should not exceed a level -10dB below the&#xA;  digital full-scale level (0 dBFS) when monitored by a “quasi-peak&#xA;  programme meter” as specified in IEC 60268-10.&lt;/em&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;em&gt;Loudness control on all audio formats The method to measure the loudness of an audio program is settled by the recommendations,&#xA;  ITU-1770, ITU 1771 and ITU-Document 6/175-E.&lt;/em&gt; &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;em&gt;Program Loudness Level represents the ordinary level of the program resulting from the measurement of the entire contents analyzed whole&#xA;  (from start to the end, and all audio channels making up the&#xA;  soundtrack).  The Program Loudness must conform to R128-EBU&lt;/em&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;em&gt;“Short-term” LKFS values shall not be higher than –21 LKFS for the whole program.  “Long-term” Loudness must be –24 LKFS ± 0,5. In both&#xA;  cases the gate must be active at a threshold at -8 relative to the&#xA;  target “Long Term” value (- 24 – 8 = -32 LKFS). Short-term and&#xA;  long-term LKFS shall be measured for each audio program accompanying&#xA;  the picture (ie: Dubbed stereo, original language stereo, M&amp;amp;E stereo&#xA;  tracks, etc.).&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;My interest is mostly on matching the Video Requests.. as for the audio ones if them can be handled also with the ffmpeg filters would be nice too..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My approach would be check with signalstats filter if everything is ok as suggested my @Mulvya in the previous answer. But i would put in output a MXF file that match already the requests.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2017-07-07T10:21:46.397" LastActivityDate="2017-07-07T10:21:46.397" Title="Check first then enforce and match various broadcaster requests with ffmpeg" Tags="|ffmpeg|video-quality|broadcasting|audio-quality|ffmbc|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21879" PostTypeId="5" CreationDate="2017-07-07T10:20:16.810" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2017-07-07T10:20:16.810" LastActivityDate="2017-07-07T10:20:16.810" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21880" PostTypeId="4" CreationDate="2017-07-07T10:20:16.810" Score="0" Body="FFmbc is a fork of FFmpeg which is targeted for professional broadcast usage, however it is basically the project of a former FFmpeg developer with a few contributions from others. FFmpeg has many developers and contributors. There are also some differences in licenses making porting features from FFmbc to FFmpeg more difficult." OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2017-07-07T19:29:46.880" LastActivityDate="2017-07-07T19:29:46.880" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21881" PostTypeId="1" CreationDate="2017-07-07T13:28:39.870" Score="0" ViewCount="238" Body="&lt;p&gt;Using Sony Movie Studio Platinum 13 on Windows 10, the output movie freezes at random points or has glitches/artifacts within the rendered movie file. Does anyone have any suggestions as to how to get a reliable output movie?&lt;/p&gt;&#xA;" OwnerUserId="18685" LastActivityDate="2018-01-03T16:08:57.513" Title="Sony Movie Studio Platinum 13 - Rendering output movie freezes, or has glitches in rendered file" Tags="|video-editor|render|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21882" PostTypeId="2" ParentId="21881" CreationDate="2017-07-07T13:38:11.990" Score="1" Body="&lt;p&gt;I have found the following to work:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Restart the PC&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Reset Movie Studio settings to default by:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Hold down &lt;kbd&gt;Ctrl&lt;/kbd&gt; and &lt;kbd&gt;Shift&lt;/kbd&gt; when starting program &lt;/li&gt;&#xA;&lt;li&gt;When the software starts to load, a window asks, &lt;em&gt;Do you want to reset all program preferences to default?&lt;/em&gt; Select &lt;strong&gt;Yes&lt;/strong&gt;. &lt;/li&gt;&#xA;&lt;li&gt;Make sure to tick the checkbox, &lt;em&gt;Delete all cached application data&lt;/em&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Deleting all .sfk files can also help with problem projects &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The default MP4 and AVCHD files seem to be pretty reasonable quality, and less error-prone.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Extracted tips from: &lt;a href=&quot;https://forums.creativecow.net/thread/208/883399&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forums.creativecow.net/thread/208/883399&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18685" LastEditorUserId="-1" LastEditDate="2017-07-07T14:14:06.427" LastActivityDate="2017-07-07T14:14:06.427" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21884" PostTypeId="1" AcceptedAnswerId="21885" CreationDate="2017-07-08T17:14:56.080" Score="0" ViewCount="437" Body="&lt;p&gt;I am trying to generate Speech with audition but option is not visible on mac pro system please see image for reference &lt;a href=&quot;https://i.stack.imgur.com/RmUGD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;click here&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Version: audition cc 2014&lt;/p&gt;&#xA;&#xA;&lt;p&gt;for system speech ref:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/g4TBh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/g4TBh.png&quot; alt=&quot;click here &quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19430" LastActivityDate="2017-07-08T18:03:57.517" Title="I am trying to generate Speech with audition but option is not visible" Tags="|audition|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21885" PostTypeId="2" ParentId="21884" CreationDate="2017-07-08T18:03:57.517" Score="2" Body="&lt;p&gt;Generate Speech was added in &lt;a href=&quot;https://www.provideocoalition.com/what-s-new-in-audition-cc-2015-1/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Audition CC 2015.1&lt;/a&gt;. You will need to update to use that feature.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-07-08T18:03:57.517" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21886" PostTypeId="1" CreationDate="2017-07-08T20:24:34.990" Score="1" ViewCount="1722" Body="&lt;p&gt;I'm new to Adobe Premiere Pro CC.&lt;br&gt;&#xA;How do I select a region in the timeline using the keyboard and then delete it, like you'd do in Sony Vegas Pro?&lt;/p&gt;&#xA;" OwnerUserId="19432" LastActivityDate="2021-08-08T09:03:15.393" Title="Adobe Premiere Pro - Select timeline region and remove it" Tags="|video|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21888" PostTypeId="1" CreationDate="2017-07-10T21:19:33.880" Score="0" ViewCount="322" Body="&lt;p&gt;I want to make a video in Adobe Premiere, I noticed that there is a certain kind of animation that video editors use in video essays, here is an example:&#xA;&lt;a href=&quot;https://www.youtube.com/watch?v=Tva0xq-eDvI&quot; rel=&quot;nofollow noreferrer&quot;&gt;Check Your Schadenfreude&lt;/a&gt;&lt;br&gt;&#xA;You can see how there is a smooth animated motion that appears when a text is highlighted or an object is being revealed, how can I make a similar effect? I was able to make something that is a bit close to it but I can't make it perfect, are there any presets for this? what should I search for?&lt;/p&gt;&#xA;" OwnerUserId="19449" LastActivityDate="2018-01-16T16:38:28.847" Title="How can I achieve a smooth animation in Adobe Premiere?" Tags="|premiere|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21889" PostTypeId="1" AcceptedAnswerId="21955" CreationDate="2017-07-10T21:20:19.390" Score="2" ViewCount="1502" Body="&lt;p&gt;I'm getting started with After Effect and I want to make some simple music videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I achieve the subtle effect of this &lt;a href=&quot;https://www.youtube.com/watch?v=7Fd5eAWvPDo&amp;amp;t=23&quot; rel=&quot;nofollow noreferrer&quot;&gt;video&lt;/a&gt; video which shows semi-transparent upwards particles in a loop?&lt;/p&gt;&#xA;" OwnerUserId="19448" LastActivityDate="2017-07-20T14:27:58.360" Title="Upwards particle effect in After Effects" Tags="|after-effects|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21892" PostTypeId="1" AcceptedAnswerId="21893" CreationDate="2017-07-11T09:18:43.950" Score="3" ViewCount="2250" Body="&lt;p&gt;I am stuck and really do not know how to explain it in correct manner. Thus I put it in the layman details.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have two 30~ second length mp4 videos saved in cloud storage. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://s3-eu-west-1.amazonaws.com/test-origin-my/origin.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;video1&lt;/a&gt; is generated by somebody else and &lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://s3-eu-west-1.amazonaws.com/test-origin-my/my.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;video2&lt;/a&gt; is generated by me on ffmpeg. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;They both have the same video content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My issue is&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I open &lt;code&gt;video2&lt;/code&gt; in Safari browser, I cannot locate the accurate time (by sec) in the video player progress bar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I mean is, for example I take steps:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I pause the video,  &lt;/li&gt;&#xA;&lt;li&gt;drag the progress bar to the first second,  &lt;/li&gt;&#xA;&lt;li&gt;I play the video.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;the video player will jump to 0 and play, instead of playing from 1 second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are multiple time-slots in &lt;code&gt;video2&lt;/code&gt; that have this issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;However, &lt;code&gt;video1&lt;/code&gt; does not have this issue.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;video1 info from ffmpeg&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'origin.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf56.4.101&#xA;  Duration: 00:00:33.78, start: 0.000000, bitrate: 584 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 640x360 [SAR 1:1 DAR 16:9], 545 kb/s, 23.98 fps, 23.98 tbr, 11988 tbn, 47.95 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 32 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;video2 info from ffmpeg&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'my.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.71.100&#xA;  Duration: 00:00:35.04, start: 0.000000, bitrate: 734 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 640x360 [SAR 90:67 DAR 160:67], 599 kb/s, 23.98 fps, 23.98 tbr, 24k tbn, 47.95 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 129 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19435" LastEditorUserId="2836" LastEditDate="2017-07-11T14:13:15.297" LastActivityDate="2017-07-11T14:13:15.297" Title="Why can't my video play from where I drag the playback bar?" Tags="|video|ffmpeg|codec|mp4|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21893" PostTypeId="2" ParentId="21892" CreationDate="2017-07-11T10:00:16.520" Score="3" Body="&lt;p&gt;&lt;code&gt;video1&lt;/code&gt; has a very short keyframe interval - it has a keyframe every few frames. &lt;code&gt;video2&lt;/code&gt; doesn't. Some players have the ability to decode upto non-KF silently and start playing from seek point. If yours doesn't, then it will start from the nearest keyframe preceding the seek point.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe origin.mp4 -show_entries frame=key_frame,pkt_pts_time -select_streams v -of compact=p=0 | grep ame=1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Result:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;key_frame=1|pkt_pts_time=0.000000&#xA;key_frame=1|pkt_pts_time=0.333667&#xA;key_frame=1|pkt_pts_time=0.667334&#xA;key_frame=1|pkt_pts_time=1.001001&#xA;key_frame=1|pkt_pts_time=1.334668&#xA;key_frame=1|pkt_pts_time=1.668335&#xA;key_frame=1|pkt_pts_time=2.002002&#xA;...&#xA;key_frame=1|pkt_pts_time=32.699366&#xA;key_frame=1|pkt_pts_time=33.033033&#xA;key_frame=1|pkt_pts_time=33.366700&#xA;key_frame=1|pkt_pts_time=33.700367&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Video2:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe my.mp4 -show_entries frame=key_frame,pkt_pts_time -select_streams v -of compact=p=0 | grep ame=1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Result:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;key_frame=1|pkt_pts_time=0.000000&#xA;key_frame=1|pkt_pts_time=2.293958&#xA;key_frame=1|pkt_pts_time=5.171833&#xA;key_frame=1|pkt_pts_time=7.257250&#xA;key_frame=1|pkt_pts_time=9.718042&#xA;key_frame=1|pkt_pts_time=13.221542&#xA;key_frame=1|pkt_pts_time=15.473792&#xA;key_frame=1|pkt_pts_time=21.271250&#xA;key_frame=1|pkt_pts_time=24.357667&#xA;key_frame=1|pkt_pts_time=29.195833&#xA;key_frame=1|pkt_pts_time=32.407375&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Add &lt;code&gt;-g 8&lt;/code&gt; to ffmpeg transcode command to place a keyframe every 8 frames.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-07-11T10:22:16.000" LastActivityDate="2017-07-11T10:22:16.000" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21894" PostTypeId="1" CreationDate="2017-07-11T09:23:19.710" Score="2" ViewCount="57" Body="&lt;p&gt;It's common for action cameras to have a lower frame rate when the electronic stability function is turned on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is if you have a gimbal, is it useful/do you need to have electronic stability enabled on the camera itself?&lt;/p&gt;&#xA;" OwnerDisplayName="Ageis" LastEditorUserId="14523" LastEditDate="2017-07-12T11:43:47.880" LastActivityDate="2017-07-14T04:41:45.887" Title="Does having a gimball mean you can disbale stability on action camera" Tags="|action-cam|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21895" PostTypeId="2" ParentId="21894" CreationDate="2017-07-11T14:43:22.753" Score="1" Body="&lt;p&gt;As Michael Clark pointed out when the question was on photography, it depends on the type of gimbal, how good the gimbal is and how skilled the operator is.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;An inertial gimbal works by giving the camera assembly a larger size and mass and then having the operator hold the assembly near the center of gravity.  When the operator moves, inertia slows changes in the orientation of the camera, resulting in smoothing of angular changes.  This requires the gimbal to be very near frictionless to minimize the impact of the operator's movement on the rotational inertia of the camera assembly.  A low quality or poorly maintained gimbal won't properly isolate the assembly and an unskilled operator may improperly balance the assembly or cause excessive motion do to the added weight and complexity of operation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A robotic or motorized gimbal, such as a Ronan, acts on a slightly different principle.  They do not require the finesse of the operator to execute changes in camera direction as this is accomplished by a joystick (less direct control, but easier to operate).  Additionally, they are not quite as balance sensitive as the orientation correction is provided by gyroscopes and motors which can tell what's actually happening vs a simple passive physics based system.  Additionally, counterweights aren't needed for stabilization so the rig can potentially be lighter overall making it easier to handle.  The down side is the previously mentioned lack of direct control and the power requirements.  Additionally, the quality of the gimbal still becomes a major factor.  If gyroscopes are not sensitive enough or the motors are too imprecise or laggy, then the quality of the stabilization will be greatly reduced.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both of these types of gimbals are designed for correcting 3 degrees of orientation and do not handle any lateral movement on their own (adding things like vest &amp;amp; arm systems can add some position stabilization as well, but weren't specifically mentioned in your question.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Image stabilization on the camera depends on the camera.  Some use movement of lens elements (optical image stabilization) to correct the direction the lens is pointed as the orientation changes.  Others use free floating sensors that are able to move in response to motion to keep the sensor in the correct orientation and location in the image circle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The amount of correction that either of these in-camera systems can provide is extremely limited since they don't govern the actual aiming of the camera body, but they can help with a degree of hand shake.  There is one noteworthy distinction though.  For the floating sensor types of camera stabilization, it is possible to correct of a limited degree of positional stabilization, not just orientation as the sensor can move up and down and side to side a bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general, I would expect that with a half way decent gimbal and even intermediate experience as an operator, you should get much better overall results with the gimbal, but depending on your shooting situation, you may still gain some additional benefit from the camera's built in stabilization if it has a floating sensor particularly.  You really need to try messing with it either way though as the movement may be sufficient to throw off the balance and cause issues with the gimbal as well.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Certainly the effects should be pretty minimal, so if your primary concern is recovering the higher frame rate, then using a gimbal and turning off the in camera stabilization won't give you a major sacrifice in stabilization quality.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-07-11T14:43:22.753" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21896" PostTypeId="1" CreationDate="2017-07-11T17:12:40.357" Score="2" ViewCount="176" Body="&lt;p&gt;The intended worklflow is following:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;my program produces 1080p frames (possibly not constantly if picture isn't&#xA;changing) 30 or 60 fps&lt;/li&gt;&#xA;&lt;li&gt;some external program captures them locally&lt;/li&gt;&#xA;&lt;li&gt;overlays on some other video&lt;/li&gt;&#xA;&lt;li&gt;saves locally (infinite playable video) or sends to youtube-like service real-time&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I've tried to find some ways for the 1st step to save video real-time in small chunks like in web DASH protocol, but now I think just frameserving is better for exchanging between 2 programs on one computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm thinking of using ffmpeg's libav api in my program. Seems real after trying.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some standard way for saving encoded infinite video stream (so that one could simultaneously play or transmit it) is still needed in the 4th step, though. See &lt;a href=&quot;https://video.stackexchange.com/questions/21897/how-to-save-playable-infinite-video&quot;&gt;this question&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2nd and 3rd steps are likely solvable with ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for the 1st step is there any standard/widely supported (by recieving processing software) format for frameserving?&#xA;Thanks for any help!&lt;/p&gt;&#xA;" OwnerUserId="19454" LastEditorUserId="19307" LastEditDate="2017-07-13T14:17:24.733" LastActivityDate="2017-08-12T15:15:22.800" Title="Is there standard protocol or way for frameserving?" Tags="|ffmpeg|intermediate|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21897" PostTypeId="1" AcceptedAnswerId="21906" CreationDate="2017-07-11T18:44:20.383" Score="2" ViewCount="69" Body="&lt;p&gt;The situation is described &lt;a href=&quot;https://video.stackexchange.com/questions/21896/is-there-standard-protocol-or-way-for-frameserving&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In short, I need a way to save infinite video real-time, playable while being saved. Suppose, there are ways to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I imagine it's done like in web DASH, in chunks, but saved locally.&#xA;Ideally (though not necessary) so that any modern player program could play it by clicking on file.&#xA;Also prefer open software and standards like ffmpeg and vp9.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for help!&lt;/p&gt;&#xA;" OwnerUserId="19454" LastEditorUserId="19454" LastEditDate="2017-07-11T19:00:24.737" LastActivityDate="2017-07-14T05:31:37.613" Title="How to save playable infinite video?" Tags="|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21901" PostTypeId="1" CreationDate="2017-07-12T23:30:56.527" Score="2" ViewCount="1028" Body="&lt;p&gt;I've got some livestreamed footage (encoded with constant bitrate), and I've been trying to reduce the file size for long-term storage.  I figured that since encoding speed is no longer a constraint for me, I could let the encoder take more time and make a smaller file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original footage was encoded at 12 Mbps, but when I tried reencoding it with FFmpeg (libx264, CRF 18, and preset veryslow), the result was at 17 Mbps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, how can using these settings make a file so dramatically larger than the original?  As I understand it, the point of the veryslow preset is to take a long time and make the most compressed H.264 video possible (ignoring the placebo preset), but in this case I'd be far better off doing nothing!  I'd understand it being slightly bigger, because it has to encode some compression artifacts, but not a 40% increase.&lt;/p&gt;&#xA;" OwnerUserId="19463" LastEditorUserId="19307" LastEditDate="2017-07-13T14:16:27.547" LastActivityDate="2017-07-13T14:16:27.547" Title="Reencoding H.264 to H.264 made it 40% larger" Tags="|ffmpeg|encoding|compression|h.264|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21902" PostTypeId="2" ParentId="21896" CreationDate="2017-07-12T23:58:45.850" Score="1" Body="&lt;p&gt;Have you looked at &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS Studio&lt;/a&gt;?  It sounds like it can do all four of your steps for you, and it's free and open-source too.  If not, then it could also just do step 1, depending on what your original video source is.  OBS can use these sources:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Webpages&lt;/li&gt;&#xA;&lt;li&gt;Displays/monitors&lt;/li&gt;&#xA;&lt;li&gt;Video games&lt;/li&gt;&#xA;&lt;li&gt;Local files&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Text files&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Webcams &amp;amp; video capture devices&lt;/li&gt;&#xA;&lt;li&gt;Windows on your computer&lt;/li&gt;&#xA;&lt;li&gt;A few others, like audio, plain colors, images, and slide shows&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="19463" LastActivityDate="2017-07-12T23:58:45.850" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21904" PostTypeId="2" ParentId="21901" CreationDate="2017-07-13T01:28:27.440" Score="3" Body="&lt;p&gt;You are using a quality based variable bitrate compression factor on something that already has artifacts.  That means it is going to attempt to preserve the video exactly as it is, artifacts included and artifacts tend to not encode well.  This means you have a video input which is likely harder to encode than the original and you chose a quality based compression that is also likely higher quality than your original 12 Mbps could manage.  This means an overall higher data rate must be used to try to avoid additional loss from the second generation of encoding, even with the extra optimizations that a slower compression cycle can handle, you aren't able to overcome the added complexity of the first encoding and the quality setting being used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this was any kind of HD stream that's not really that surprising as 12Mbps is a very heavily compressed end consumer level of compression for any HD formats.  It's not really a big surprise that it doesn't re-encode well.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-07-13T01:28:27.440" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21905" PostTypeId="1" AcceptedAnswerId="21907" CreationDate="2017-07-13T02:37:00.023" Score="3" ViewCount="18709" Body="&lt;p&gt;I want to add timestamp of current played time to a video, so I use this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mkv -filter_complex &quot;drawtext=fontfile=/Library/Fonts/Arial.ttf: &#xA;       text='timestamp: %{pts \: hms}': x=5: y=5: fontsize=16:&#xA;       fontcolor=yellow@0.9: box=1: boxcolor=blue@0.6&quot; -c:a copy -c:v libx264 -map 0 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This comes out that the timestamp was in hh:mm:ss:mm format, but I want it in hh:mm:ss format. So how can I achieve this goal?&lt;/p&gt;&#xA;" OwnerUserId="19307" LastEditorUserId="20575" LastEditDate="2018-12-30T13:13:11.047" LastActivityDate="2018-12-30T13:13:11.047" Title="How to set pts time format when using ffmpeg filter to add timestamp" Tags="|ffmpeg|filter|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="21906" PostTypeId="2" ParentId="21897" CreationDate="2017-07-13T02:41:41.730" Score="1" Body="&lt;p&gt;All you have to do is output to a &lt;a href=&quot;https://en.wikipedia.org/wiki/MPEG_transport_stream&quot; rel=&quot;nofollow noreferrer&quot;&gt;.ts container&lt;/a&gt;.  It's designed for broadcasting systems, so it works fine with incomplete files.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i INPUT -c copy OUTPUT.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You just have to put a compatible codec in the container.  I haven't been able to find a list of what's compatible, but through testing I've found that H.264 and H.265 work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;.ts containers aren't the best once the file is complete, though, because seeking can take a while and they're about 7% bigger, so you can copy the data into an .mp4 container (assuming you're using H.264) when you're finished with&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i INPUT.ts -c copy OUTPUT.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19463" LastEditorUserId="19463" LastEditDate="2017-07-14T05:31:37.613" LastActivityDate="2017-07-14T05:31:37.613" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21907" PostTypeId="2" ParentId="21905" CreationDate="2017-07-13T07:48:12.713" Score="3" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;text='timestamp \: %{pts\:gmtime\:0\:%H\\\:%M\\\:%S}'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-07-13T07:48:12.713" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21908" PostTypeId="2" ParentId="21846" CreationDate="2017-07-13T11:20:58.237" Score="1" Body="&lt;p&gt;You get banding because of colormatrix filter. Better use colorspace filter, and use it if really needed, when source is really not in rec709.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2017-07-13T11:20:58.237" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21909" PostTypeId="2" ParentId="21447" CreationDate="2017-07-13T12:03:46.917" Score="1" Body="&lt;p&gt;Actually you can use Cloudinary for video processing as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cloudinary's API allows you to build manipulation URLs and embed a &lt;a href=&quot;http://cloudinary.com/blog/html5_video_player&quot; rel=&quot;nofollow noreferrer&quot;&gt;HTML5 video player&lt;/a&gt; with all the video sources and settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Original videos are stored in the cloud and you can then dynamically create multiple resized, cropped and manipulated videos on-the-fly and deliver them via dynamic URLs or use code to either add video tags or build the URLs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example if  you want to resize a video to a width of 150 pixels and a height of 100 pixels, the dynamic URL will look like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; http://res.cloudinary.com/demo/video/upload/w_150,h_100/dog.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can also rotate the video by any arbitrary angle in degrees with the angle parameter (a in URLs). For example rotating a video by 90 degrees:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; http://res.cloudinary.com/demo/video/upload/a_90/dog.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you want to add text overlays, use the text: property of the overlay parameter ( l_text: in URLs), followed by the font name and size (separated with an underscore), a colon, and then the text string to display. &#xA;For example, to overlay the text string &quot;Sample Video&quot; in the Arial font with a size of 40 pixels:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;l_text:arial_40:Sample Video.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19108" LastActivityDate="2017-07-13T12:03:46.917" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21910" PostTypeId="1" AcceptedAnswerId="22091" CreationDate="2017-07-13T14:32:51.777" Score="1" ViewCount="604" Body="&lt;p&gt;I am currently working on a web series where we are shooting in RAW image sequences with a Black Magic Design Ursa Mini 4k.  We have a mixed post production environment where the editor is working in Premiere CC on a Mac and I'm doing the final color pass on a PC with Resolve 14, using a Final Cut XML as our intermediary timeline format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since the editor's disk space and processing power is limited and he is working in Premiere, working with the native RAW image sequence is not an option.  I need to output a proxy that he can use for editing that I can then import back into Resolve.  We'd previously been using a manual process with Resolve 12.5 on his computer to convert to a ProRes video, but this process was very slow and inefficient, both in terms of manual effort and in terms of the processing power I have on my systems vs his.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to determine a workflow to encode the RAW sequences in to a good proxy option.  I'm currently leaning towards DNxHD for the proxy format, but I'm open to any good option for NLE use.  Preferably I'm also down-converting to 1080p for editing to give the editor an easier time working with the footage.  I'm able to modify the Final Cut XML as necessary to account for format changes even if Resolve can't natively handle the adjustment.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-08-11T14:15:56.840" Title="How can I create proxy videos from Ursa Mini CinemaDNG sequences?" Tags="|post-production|workflow|blackmagic|raw|intermediate|" AnswerCount="1" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21913" PostTypeId="2" ParentId="18580" CreationDate="2017-07-13T20:39:31.300" Score="0" Body="&lt;p&gt;I didn't follow the above answer, as it wasn't clear on the steps taken - i have played with this 'scale to frame size' etc, but an easy fix for me for playback, was to click the spanner icon, in the programme window, and select 'high quality playback' - you can then do playback in 4k on a 1080p timeline - with 1/4 playback also selected.&lt;/p&gt;&#xA;" OwnerUserId="19471" LastActivityDate="2017-07-13T20:39:31.300" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21914" PostTypeId="1" CreationDate="2017-07-14T04:04:49.210" Score="1" ViewCount="56" Body="&lt;p&gt;&lt;strong&gt;When looking at the the project monitor (red circle in picture), how can I decrease the speed of the playback?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sMlq2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sMlq2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to check if my transitions and effects are OK, but it is really hard to do this at normal speed. I know I can jump by frame but I would like to keep the speed constant. All I can find on Google is how to slow down clips.&lt;/p&gt;&#xA;" OwnerUserId="19472" LastActivityDate="2017-07-14T04:04:49.210" Title="Can I play the preview at a lower speed?" Tags="|editing|preview|kdenlive|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21915" PostTypeId="2" ParentId="21894" CreationDate="2017-07-14T04:41:45.887" Score="0" Body="&lt;p&gt;Any type of stabilization requires trade-offs, IMHO. Motorized/Gyro mounts are not cheap, and are bigger and weightier than most action camera scenarios I can imagine using, especially when you get 4 and 5 axis controls. Most action cams seem to have a very short focal length lens so the apparent motion is minimized while the field of view is increased. I think this is a design criterion for them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my experience with my action cam (a Garmin VIRB Elite) I found that the built-in stabilization kinda-sorta works. (I have not used a newer Garmin or a GoPro, they may do better.) The stabilized image seems to suffer from block artifacts in the biking videos I have shot, using the stabilization. I finally got a helmet mount instead of the handlebar mount for the VIRB, and use the camera without internal stabilization. This gives me acceptable frame rates with the action camera, all by using my head.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For just walking around and fairly stable shooting, I have my handlebar mount attached to the top of a weighted walking stick. Keeping a firm but soft grip on the stick gives me a very good poor-man's steady mount for the action cam. You can do the same sort of thing with a heavy (i.e. professional) tripod and your &quot;other&quot; camera. (Light-wight computer store or big box store tripods don't have the mass to do this, again IMHO.) Just be sure not to run the bottom of your steady mount into the ground, that really spoils shots. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One last caveat. Read the Fine Manual. There are often specific situations the documentation of good cameras will recommend that certain digital features be turned off. They don't tell you to do things like that if it were not important to help get you good pictures and videos.&lt;/p&gt;&#xA;" OwnerUserId="19473" LastActivityDate="2017-07-14T04:41:45.887" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21916" PostTypeId="2" ParentId="21447" CreationDate="2017-07-14T08:32:44.323" Score="0" Body="&lt;p&gt;I'd say the best way is to get a cloud service that runs a VM for you, such as Amazon EC2, DigitalOcean, Google Compute Engine, IBM Cloud Servers, or Rackspace.  That'll also give you more flexibility to choose the resources you need, such as more CPU power and disk space.&lt;/p&gt;&#xA;" OwnerUserId="19463" LastActivityDate="2017-07-14T08:32:44.323" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21917" PostTypeId="1" CreationDate="2017-07-14T13:06:09.483" Score="3" ViewCount="58" Body="&lt;p&gt;I am looking for video editing software that has a feature, but I don't know the name of it. It was a feature I had in EditDV around 2000, but I have not found it since.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Essentially, setting the END FRAME of one scene while &quot;simultaneously&quot; setting the START FRAME of the NEXT scene. You had side-by-side, frame-by-frame control over the end and start points of 2 different scenes, at the same time. There was also a 5-second preview button that showed you just the video around your edit, which was really nice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know what this is called? And more to the point, a reasonable ($50~) video editing software package (for windows) that has this?&lt;/p&gt;&#xA;" OwnerUserId="19475" LastEditorUserId="2836" LastEditDate="2017-07-14T13:19:55.793" LastActivityDate="2017-07-14T13:31:47.207" Title="Technical Term for &quot;side by side scene editing&quot;?" Tags="|editing|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21918" PostTypeId="2" ParentId="21917" CreationDate="2017-07-14T13:26:44.183" Score="4" Body="&lt;p&gt;What you are describing is called a &quot;ripple edit&quot; (because the adjustment you make to the clip ripples through the rest of the timeline that comes after it).  It may also be called something like &quot;ripple trim&quot; as a more specific term for the precise type of ripple edit.  It is a feature available in any decent professional editing package.  Depending on your other needs, it's probably worth taking a look at DaVinci Resolve as Resolve is a high end professional product which also offers a completely free version with about 90-95% of its features included.  It's out of your price range for the full version (at $299 for a license that they haven't charged for an upgrade in the last 3-4 versions) but there is a decent possibility it will cover your needs in the free version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is lots of other software with Ripple Edit capabilities, but Resolve is the cheapest one I personally work with enough to be able to recommend.  I've been out of the consumer market for a very long time, so I'm not sure what products would be current there.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2017-07-14T13:31:47.207" LastActivityDate="2017-07-14T13:31:47.207" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="21919" PostTypeId="2" ParentId="21452" CreationDate="2017-07-14T14:34:59.033" Score="1" Body="&lt;p&gt;You can achieve something which is kind of the same by duplicating the media and changing the transform slightly in multiple times. They have to have color correction and you can tweak the opacity so it looks right. Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="19477" LastActivityDate="2017-07-14T14:34:59.033" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21920" PostTypeId="1" CreationDate="2017-07-14T14:50:35.933" Score="0" ViewCount="265" Body="&lt;p&gt;Im working on a simply animation movie and saw this cool effect were theres a computer screen or phone screen for example with a picture on, than the camera zooms into the picture, like a transition into a further story. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I make something like that? I got a magnifying glass, in which I would like to pllace a picture of a caste in small and then enlarge it, so the castle fills the screen... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would be soooo thankful for help!&lt;/p&gt;&#xA;" OwnerUserId="19478" LastActivityDate="2017-11-18T02:51:23.267" Title="How to place a picture into an object and zoom into it to make it big? (After Effects)" Tags="|after-effects|animation|zoom|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21922" PostTypeId="2" ParentId="21889" CreationDate="2017-07-15T08:24:31.787" Score="1" Body="&lt;p&gt;The plugin Particular would do this. It's by Trapcode.&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-07-15T08:24:31.787" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21923" PostTypeId="1" CreationDate="2017-07-15T18:22:03.733" Score="0" ViewCount="154" Body="&lt;p&gt;I am new to these two software and I want to do a little video for the promotion of the next show of a musical troupe. They want to recruit new people.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have done an effect for the intro in after effects, I want to add another one effect for the end to tell about what kind of people they want to recruit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I do both in one same after effects project or shoud I do several production in one project ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess I should do several projects but I'm really not sure as far as I am new and found noting about it on the Internet ...&lt;/p&gt;&#xA;" OwnerUserId="12766" LastEditorUserId="12766" LastEditDate="2017-07-17T10:15:19.607" LastActivityDate="2017-07-17T10:15:19.607" Title="Should I separate files in After Effects for different part of a Premiere Pro project?" Tags="|after-effects|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21924" PostTypeId="1" CreationDate="2017-07-15T19:16:54.303" Score="1" ViewCount="4313" Body="&lt;p&gt;During a recent talk, I used a pass-through screen capture device to record a laptop's output to a projector.  The capture went perfectly until about an hour into the talk, when the speaker switched to a demo and changed some settings (resolution, and perhaps others).  The projector continued to display his demo just fine, but the screen capture file becomes so full of video artifacts at that point that it's impossible to understand what was on the screen.  You can see that something is there, and that there are some windows, but just barely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to use ffmpeg or some other open source tool to repair a video damaged in that way?  I've tried re-encoding in the usual simple ways I've seen recommended, but that hasn't helped.  I've tried both ffmpeg and VLC for repair.  Maybe there's something I can do to extract the damaged part of the video but with the new settings active.  Is that possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks very much.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S.: Here are the results of running ffprobe on the file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;gt; ffprobe Encode_1080P_30.mp4 &#xA;ffprobe version 2.8.11-0ubuntu0.16.04.1 Copyright (c) 2007-2017 the FFmpeg developers&#xA;  built with gcc 5.4.0 (Ubuntu 5.4.0-6ubuntu1~16.04.4) 20160609&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.16.04.1 --build-suffix=-ffmpeg --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --cc=cc --cxx=g++ --enable-gpl --enable-shared --disable-stripping --disable-decoder=libopenjpeg --disable-decoder=libschroedinger --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-librtmp --enable-libschroedinger --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxvid --enable-libzvbi --enable-openal --enable-opengl --enable-x11grab --enable-libdc1394 --enable-libiec61883 --enable-libzmq --enable-frei0r --enable-libx264 --enable-libopencv&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'Encode_1080P_30.mp4':&#xA;  Metadata:&#xA;major_brand     : isom&#xA;minor_version   : 512&#xA;compatible_brands: qt  &#xA;  Duration: 01:11:01.40, start: 0.000000, bitrate: 1735 kb/s&#xA;Stream #0:0(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 189 kb/s (default)&#xA;Metadata:&#xA;  handler_name    : SoundHandler&#xA;Stream #0:1(eng): Video: h264 (Constrained Baseline) (avc1 / 0x31637661), yuv420p, 1920x1080, 1538 kb/s, 28.32 fps, 30 tbr, 30 tbn, 60 tbc (default)&#xA;Metadata:&#xA;  handler_name    : VideoHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19487" LastEditorUserId="19487" LastEditDate="2017-07-15T19:26:31.803" LastActivityDate="2017-07-15T19:26:31.803" Title="How can I repair a video file that became corrupt after a settings change during recording?" Tags="|ffmpeg|h.264|" AnswerCount="0" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="21925" PostTypeId="2" ParentId="21923" CreationDate="2017-07-16T14:57:43.640" Score="1" Body="&lt;p&gt;You can do both. I myself have used both methods. However, my recommendation would be to do each shot in its own project. Here are my thoughts on both methods.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Doing it all in one project makes things faster, because you don't have to create a new project for every shot you have. However, the problem with this is that the project gets really convoluted. It means you have to be super organized to keep the project tidy. But even when you do that, if you need to come back to the project, it usually takes you a bit of time to get your head around what is what and where can I find this specific item, especially if you are using a lot of precomps in the project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Doing each shot in its own project keeps things really simple, because you know that everything here belongs to this shot and that's it. You can quickly figure out what is happening, especially if the project is organized and tidy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, I am assuming that you are doing simple effects on each shot. If you are doing major vfx or compositing work on your shots, then you should definitely create a new project for each shot, because that project will get convoluted due to the scale of the job you are doing. So you shouldn't be making it even bigger with adding other shots to it.&lt;/p&gt;&#xA;" OwnerUserId="19493" LastEditorUserId="14523" LastEditDate="2017-07-16T16:46:02.153" LastActivityDate="2017-07-16T16:46:02.153" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21929" PostTypeId="2" ParentId="21920" CreationDate="2017-07-17T02:13:02.833" Score="1" Body="&lt;p&gt;There's a few ways to do this. The simplest is to make the castle layer the parent of the magnifying glass (use the parent drop-down or the pick whip), so that as you scale the castle up the magnifying glass scales up as well. This will let you move the magnifying glass independently, because child layers inherit the parent's transformation, but not vice-versa.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cCVro.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cCVro.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To scale up the castle:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;hit &lt;kbd&gt;s&lt;/kbd&gt; to bring up the scale property and with the playhead at the point you want the animation to start click the stopwatch to turn animation on &lt;/li&gt;&#xA;&lt;li&gt;or hit &lt;kbd&gt;alt / ⌥&lt;/kbd&gt;&lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;s&lt;/kbd&gt; which does the same thing, but ninja style.&lt;/li&gt;&#xA;&lt;li&gt;move the playhead to where you want the animation to stop, and scale the castle however you want. This will automatically create a new keyframe. A lot of people get confused because they click the stopwatch a second time, which you might think would add another keyframe - it doesn't it just turns animation off.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Now if your castle is not in the center of the screen in the zoomed-out frame you'll need to either add keyframes for motion (same technique, just substitute &lt;kbd&gt;p&lt;/kbd&gt; for &lt;kbd&gt;s&lt;/kbd&gt;), or you'll need to use the pan-behind tool to adjust its anchor point so that it's in the right spot at the end of the zoom. Often it's easiest to do it in reverse, so you frame up the castle like you want and then move the playhead backwards and zoom out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A slightly more complex (in some ways, but easier in others) way is:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;make both layers 3D layers (click the 3D box on the layer properties column) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3n91i.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3n91i.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now move the magnifying glass forward (hit &lt;kbd&gt;p&lt;/kbd&gt; and increase the value of the third column, the z coordinate).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;create a new camera (&lt;strong&gt;Layer&gt;new&gt;Camera&lt;/strong&gt; or &lt;kbd&gt;ctrl / ⌘&lt;/kbd&gt;&lt;kbd&gt;alt / ⌥&lt;/kbd&gt;&lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;c&lt;/kbd&gt;). Just use the defaults for now.&lt;/li&gt;&#xA;&lt;li&gt;use the camera tool &lt;kbd&gt;c&lt;/kbd&gt; to move the camera around. Set keyframes on its position (hit &lt;kbd&gt;p&lt;/kbd&gt; to show it) and target property (hit &lt;kbd&gt;a&lt;/kbd&gt; - a bit confusing, but it's like anchor points for normal layers). Put a keyframe where you want the camera to be at the start of the zoom, and another at the end.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For bonus points play around with the speed of the movement. A linear zoom in is going to feel a bit jerky, try adding ease to the keyframes to smooth it off, or even anticipation and follow through to make it cartoony.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-07-21T01:11:34.637" LastActivityDate="2017-07-21T01:11:34.637" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21930" PostTypeId="2" ParentId="21923" CreationDate="2017-07-17T02:19:42.933" Score="1" Body="&lt;p&gt;If you use the &lt;strong&gt;replace clip with After Effects composition&lt;/strong&gt; feature in Premiere it will automatically add the new comp to whatever After Effects project is currently open. I usually use this when I'm adding things like titles and FX to vieo that I'm editing, so everything ends up in the same project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you keep the project organised I find this isn't a problem, in fact it's easier if you want to re-use assets, or use templates. E.g. things like lower thirds I will make using one pre-comp as the background with the text for each one on its own layer, so I can just swap it out for each one.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-07-17T02:19:42.933" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21932" PostTypeId="1" AcceptedAnswerId="21933" CreationDate="2017-07-17T11:56:22.923" Score="9" ViewCount="5137" Body="&lt;p&gt;I am thinking about doing some streaming on Twitch, and I thought I would use some equipment I already have instead of buying new. I have a Sony alpha 5000 DSLR camera. Would continuous video capture (10 hours or more) damage the camera in some way? I am thinking of having it on a tripod, and filming my 3DS.&lt;/p&gt;&#xA;" OwnerUserId="19510" OwnerDisplayName="John" LastEditorUserId="19510" LastEditDate="2017-07-18T06:28:58.383" LastActivityDate="2017-07-24T13:31:39.843" Title="Can continuous video capture damage my DSLR?" Tags="|streaming|dslr|live-recording|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21933" PostTypeId="2" ParentId="21932" CreationDate="2017-07-17T14:06:38.473" Score="7" Body="&lt;p&gt;It depends on the camera.  Digital sensors such as those used in DSLRs produce heat as they capture images.  The main issue with extended video capture is the accumulation of heat in the sensor.  If it gets hot enough, it is possible that either a) quality can be reduced temporarily due to increased noise or b) at the extreme end, damage to the sensor could result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In many dedicated video cameras, even high end professional models, fans or other cooling solutions are used to keep the sensor cool, but smaller sensors (such as in devices like gopros) are able to cool from simple convection.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most modern cameras have temperature monitoring and can shut down when they get too hot, so you are unlikely to cause damage, but you might not be able to film as long as you'd like to.  The environment you are shooting in will also make a big difference.  If you are shooting inside in a cool room, it will be much easier for the sensor to keep itself cool than if you are shooting outside on a hot day.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other than thermal issues, I can't think of anything other than just the general wear on the sensor.  Video obviously requires far more constant sampling of the sensor, so it has the potential to wear the sensor out more quickly, but the sensor was also designed for video and it's unlikely that the sensor will die due to use prior to the camera being significantly outdated, so it probably isn't a major concern unless you are planning on running it 10 hours a day, every day, for a long time.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-07-17T14:06:38.473" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21934" PostTypeId="2" ParentId="20921" CreationDate="2017-07-17T20:49:56.907" Score="0" Body="&lt;p&gt;HDMI cable from camera should go to Elgato, USB cable from Elgato should go into your MacBook USB port.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to reduce delay, you need to get a capture card that doesn't compress the video, instead of the Elgato. Something like an Epiphan AV.io, which has one frame latency.&lt;/p&gt;&#xA;" OwnerUserId="19507" LastActivityDate="2017-07-17T20:49:56.907" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21935" PostTypeId="1" CreationDate="2017-07-18T00:58:24.267" Score="0" ViewCount="34" Body="&lt;p&gt;Hi guys I am pretty new in after effects.  Please guide me to create something like this.&#xA;  &lt;a href=&quot;https://i.stack.imgur.com/1dMqP.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1dMqP.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Effects's names etc.&lt;/p&gt;&#xA;" OwnerUserId="19508" LastActivityDate="2017-07-18T13:33:52.563" Title="after effects letters animation" Tags="|after-effects|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21936" PostTypeId="2" ParentId="21935" CreationDate="2017-07-18T04:20:38.720" Score="1" Body="&lt;p&gt;To do that I'd use animated masks on each letter to reveal them. First I'd make the text layer, then one by one add masks.  So for the &lt;strong&gt;M&lt;/strong&gt; I'd:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;make a small rectangular mask just below the bottom of the lower left leg, the same width as the leg.&lt;/li&gt;&#xA;&lt;li&gt;Because we want to see the letter while we're animating the mask I'd set the mask mode to &lt;strong&gt;none&lt;/strong&gt; temporarily.&lt;/li&gt;&#xA;&lt;li&gt;Turn on animation for the mask shape (hit &lt;kbd&gt;m&lt;/kbd&gt; to reveal the mask shape property and click the stopwatch to turn on animation, or just hit &lt;kbd&gt;alt / opt&lt;/kbd&gt;&lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;m&lt;/kbd&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Next I'd move the playhead a couple of frames to the right and drag the top two vertices of the mask up so that they follow the shape of the leg. If the mask was set to &lt;strong&gt;add&lt;/strong&gt; at this point you'd see a bit of the M's leg appearing. Align the top right vertex of the mask with the inside vertex of the leg, where it meets the downward stroke.&lt;/li&gt;&#xA;&lt;li&gt;move say, another frame right and drag the top left vertex of the mask so that it is aligned with the top left vertex of the M. A bit outside it is probably best.&lt;/li&gt;&#xA;&lt;li&gt;move another frame along and now add another vertex near the top left one. Move it to the top-right side of the first leg of the M&lt;/li&gt;&#xA;&lt;li&gt;move this new keyframe and the old top-right keyframe to reveal the first downward stroke&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;…and so on. Basically you just reveal the character with a mask. Remember that between keyframes mask vertices always move in straight lines. So to get them to move in a curve you need to add lots of intermediate keyframes. You can also use smart mask interpolation to help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the video above it happens twice, so you can just copy the layer, set the opacity to 50% and start it a few frames earlier.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-07-18T04:20:38.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21937" PostTypeId="2" ParentId="13266" CreationDate="2017-07-18T09:24:55.563" Score="1" Body="&lt;p&gt;I had the same problem. What worked was to save the AI file as CS3 compatible. Now it showes up again&lt;/p&gt;&#xA;" OwnerUserId="19511" LastActivityDate="2017-07-18T09:24:55.563" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21938" PostTypeId="2" ParentId="21935" CreationDate="2017-07-18T13:33:52.563" Score="0" Body="&lt;p&gt;There are actually three different effects here.  All are custom rather than canned and will require intermediate animation skill to get a similar look and feel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first is just an animated reveal like stib already did a great job describing, so I won't cover that again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second part appears to be a mix of kerning, scale, vertical positions on a wave and a bounce, though that might just be reducing the influence of the wave on vertical positioning.  Kerning is the space between letters and it gets smaller over time while the vertical position is being offset on a wave that starts at the center.  There might also be a slight vertical bounce at the end.  The letters also get bigger as they come in.  Additionally there is a quick fade in at the start.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The third part is a stretch and bounce and will likely require the most artistic animation skill.  The image is animated along the vertical axis to create the bounce and then it is stretched along the vertical axis to give the illusion of it jumping.  Timing this is key and can be rather tricky to get right as it's trying to apply the appearance of locomotion to a static object.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-07-18T13:33:52.563" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21939" PostTypeId="1" AcceptedAnswerId="21940" CreationDate="2017-07-18T07:40:05.277" Score="3" ViewCount="77" Body="&lt;p&gt;I'm using &lt;a href=&quot;https://www.sony.com/electronics/cyber-shot-compact-cameras/dsc-rx10m3/specifications&quot; rel=&quot;nofollow noreferrer&quot;&gt;SONY RX10M3&lt;/a&gt; to shoot video at 1000fps. But using conventional lighting system I get flickering. Now I'm planning to buy a LEDs light by &lt;a href=&quot;https://www.stratusleds.com/module/&quot; rel=&quot;nofollow noreferrer&quot;&gt;STRATUS&lt;/a&gt;, which they stated that :&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Flicker free at shutter speeds up to 1/3000th second&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So I wonder which parameter should I be looking at when I want to shoot at 1000fps video? At this rate, what is the shutter speed used by the camera?&lt;/p&gt;&#xA;" OwnerUserId="19517" OwnerDisplayName="Gregor Isack" LastEditorUserId="17390" LastEditDate="2018-08-21T17:23:35.080" LastActivityDate="2018-08-21T17:23:35.080" Title="Shutter Speed or frame rate we looking at when dealing with flickering issue?" Tags="|framerate|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="21940" PostTypeId="2" ParentId="21939" CreationDate="2017-07-18T14:27:37.837" Score="3" Body="&lt;p&gt;The reason you get flicker in the video is that many conventional lights don't actually stay on all the time.  When running on AC power, the power actually &quot;goes off&quot; 100-120 times a second (depending on if you have 50hz or 60hz AC).  The way this oscillation impacts things differs by type of light from a slight dimming in incandescent to a color shift in some florescent lights to other odd behaviors in LEDs (depending on the DC conversion circuitry and how power is supplied to the LEDs).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When the light says it is flicker free up to speeds of 1/3000th of a second, it means that any flicker it has should balance out for frames as fast as 1/3000th of a second (meaning the flicker, if it has one, is faster than that so that it's guaranteed to give most of the exposure in any 1/3000th second window.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as the shutter speed the camera uses, I'd assume it is whatever setting you choose.  At 1000fps shutters, the &quot;shutter&quot; is purely electronic and is just the interval between blanking and reading of the sensor.  As long as each frame has more than 1/3000th of a second to accumulate light, you should be ok.  If your camera gives shutter speeds in degrees, that means you'd want at least a 120 degree shutter at 1000fps.  If it measures it in fractions of a second, just make sure it is set for 1/3000 or higher.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may need to adjust the exposure type for HFR shooting by putting the camera in HFR mode and then using the function menu to make it either manual or shutter priority exposure so that you can keep the frame rate fixed at a slow enough setting.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-07-18T14:27:37.837" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21941" PostTypeId="2" ParentId="21932" CreationDate="2017-07-18T20:39:09.650" Score="5" Body="&lt;p&gt;With the Sony alpha 5000 camera specifically, you will run into trouble trying to do continuous video capture (10 hours or more).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;It will stop recording after 29min and 50seconds and then you will have to start it recording again.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt; Per @John this only applies to actual recording. If you plugin the HDMI out to a video capture device, you can stream the live viewer-display for as long as the battery lasts.&lt;/p&gt;&#xA;" OwnerUserId="16850" LastEditorUserId="16850" LastEditDate="2017-07-24T13:31:39.843" LastActivityDate="2017-07-24T13:31:39.843" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21943" PostTypeId="1" CreationDate="2017-07-19T07:54:27.240" Score="0" ViewCount="25" Body="&lt;p&gt;I have a series of educational videos ready to sell. I am now starting to panic about them being shared all over the internet for free. Is anyone here already selling videos and finding that it is worthwhile despite the risks? Any tips?&lt;/p&gt;&#xA;" OwnerUserId="19519" LastActivityDate="2017-07-19T13:27:42.217" Title="Is anyone in this group selling educational videos via a hosting website (in my case Expertise TV)?" Tags="|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21944" PostTypeId="1" AcceptedAnswerId="21946" CreationDate="2017-07-19T13:27:01.163" Score="-3" ViewCount="52" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xtEQ3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xtEQ3.jpg&quot; alt=&quot;image from a music video&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hello do you know the name of this effect please?&#xA;thank you&lt;/p&gt;&#xA;" OwnerUserId="19522" LastActivityDate="2017-07-19T16:20:47.177" Title="what is the name of this effect?" Tags="|after-effects|premiere|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21945" PostTypeId="2" ParentId="21943" CreationDate="2017-07-19T13:27:42.217" Score="1" Body="&lt;p&gt;I am not, but I am involved with a streaming TV series which is distributed online.  In general, online distribution channels are worth it for the accessibility and ease of use it brings you.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is always the risk of people pirating your work, but that risk exists even if you never put things online.  If you distribute DVDs, there is nothing stopping someone from ripping them and posting the content online.  If your platform of choice employs DRM, then it provides at least a minimal barrier to copying the content online trivially (though determined people will still manage to do it, but they'll succeed regardless of distribution channel).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you currently only do live events and are wondering if video is worth it vs just doing live events, that's a little more tricky as a much more limited group of people would have the opportunity to film you with their phone and post it (and the quality would be substandard at best for such videos) but if you are already recording your lectures, then online distribution carries a lot of benefit for the risk involved.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-07-19T13:27:42.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21946" PostTypeId="2" ParentId="21944" CreationDate="2017-07-19T16:20:47.177" Score="1" Body="&lt;p&gt;It appears to be an aged film effect.  There are a great many different aged film effects available.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-07-19T16:20:47.177" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21951" PostTypeId="2" ParentId="20948" CreationDate="2017-07-20T09:02:01.420" Score="1" Body="&lt;p&gt;There is a way of doing per-pixel logic such as what you want, by using Blending Modes. Basically the different transfer modes in AE can be though of as Boolean logic operations that go on at the pixel level. The different transfer modes are spelled out &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/blending-modes-layer-styles.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I think I've worked out how you'd do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the images I'm using: two depth maps and two colour maps:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Picture 1 and depth matte&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/30VB1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/30VB1.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/DKoC2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DKoC2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Picture 2 and depth matte&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SQh0a.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SQh0a.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/UJja6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UJja6.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see, no expense was spared with the render.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OK so in AE I make a comp with just the depth mattes in it. I set the blending mode of the top layer to &lt;strong&gt;Darker Color&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wl4Gz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wl4Gz.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The darker color blending mode does this logic on each pixel:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;(luminosity of this layer &amp;lt; luma of layer(s) below)? This layer: lower layer&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This means the darker object will appear wherever two objects overlap That gives me this result:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CtYwf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CtYwf.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now we have to turn this into a matte for picture 1, where the black will be opaque and white transparent. To get rid of the parts of the comp that aren't relevant to picture 1 I put this comp into a new comp, along with another copy of depth matte 1, which I put on top.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/C1uHi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/C1uHi.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I set the blending mode of the top one to &lt;strong&gt;Difference&lt;/strong&gt; which can be though of as:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;(this layer == lower layer)? 0: abs(this layer - lower layer)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and this is the result:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/u3j3L.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/u3j3L.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OK, now I put this comp in a new comp with my colour images. This comp goes above image 1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IFDMC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IFDMC.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this final comp I set the depth map comp as a Luma inverted matte for picture 1. Note that when you do that it turns off the visibility for that layer (see the eye icon is disabled on the top layer). This is the result:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/05C8i.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/05C8i.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously there's a bit of a problem in that there are semi-opaque areas. So I need some sort of threshold. I could do this a few ways, but the way &lt;em&gt;I&lt;/em&gt; like is with the curves effect. I apply curves to the top layer (the depth matte layer) like so:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3al6J.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3al6J.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I originally set this to be a hard step at 50%, but that makes the edges of the matte super sharp, so I made it slope a bit around the mid-point. You can play with this to get it right. That's the advantage of using &lt;strong&gt;Curves&lt;/strong&gt; instead of say the &lt;strong&gt;Threshold&lt;/strong&gt; effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally I got this result, with the figures correctly sorted on the &quot;z&quot; axis:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Pznmd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Pznmd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this all makes sense, and that it works in real life. Thanks for the question, it was an interesting exercise.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-07-20T09:08:25.497" LastActivityDate="2017-07-20T09:08:25.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21952" PostTypeId="1" AcceptedAnswerId="21975" CreationDate="2017-07-20T09:32:13.977" Score="0" ViewCount="1246" Body="&lt;p&gt;I have two .webm videos which I'm trying to process into a horizontally stacked single video with one video on the left and one video on the right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The individual video files are called left.webm and right.webm. They both have perfect audio/video sync when I play them. I'm using the following command to do the hstack:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/usr/bin/ffmpeg -y -i left.webm -i right.webm -filter_complex &quot;[0:v]setpts=PTS-STARTPTS[left];[1:v]setpts=PTS-STARTPTS[right];[left][right]hstack=inputs=2[v];[a:0][1:a]amerge[a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; -ac 2 merged.webm -loglevel error&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The command works fine, but I have a synchronisation issue between the audio and the video on the merged result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reading through some SE posts (audio sync appears to be quite a common issue) lead me to using ffprobe to try and understand the parameters of each of the left and right videos and to look for anomalies like frame rate differences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffprobe produces this for left.webm:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0: Video: vp9 (Profile 0), yuv420p(tv), 320x240, SAR 1:1 DAR 4:3, 1k fps, 1k tbr, 1k tbn, 1k tbc (default)&#xA;Stream #0:1: Audio: opus, 48000 Hz, stereo, fltp&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And right.webm:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0: Video: vp9 (Profile 0), yuv420p(tv), 320x240, SAR 1:1 DAR 4:3, 30 fps, 30 tbr, 1k tbn, 1k tbc (default)&#xA;Stream #0:1: Audio: opus, 48000 Hz, stereo, fltp (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I noticed that left.webm has an fps of 1k, so I tried transcoding that down to 30fps to match right.webm with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i left.webm -r 30 -vcodec copy left2.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But I still have the audio synchronisation (it's about 200-300ms off, at my best guess) in the resulting merged video when I do the hstack filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure what to check next given both videos appear to have identical parameters and play perfectly individually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any thoughts on what to look at or try next would be gratefully received!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -show_entries packet=pts_time -select_streams v -read_intervals %5 -of compact=p=0:nk=1 -v 0 left.webm&#xA;0.438000&#xA;0.439000&#xA;0.439000&#xA;0.459000&#xA;0.487000&#xA;0.516000&#xA;0.547000&#xA;0.579000&#xA;0.610000&#xA;0.642000&#xA;0.675000&#xA;0.708000&#xA;0.742000&#xA;0.774000&#xA;0.807000&#xA;0.840000&#xA;0.873000&#xA;0.906000&#xA;0.907000&#xA;0.940000&#xA;0.973000&#xA;1.006000&#xA;1.039000&#xA;1.072000&#xA;1.105000&#xA;1.139000&#xA;1.205000&#xA;1.272000&#xA;1.338000&#xA;1.339000&#xA;1.405000&#xA;1.471000&#xA;1.538000&#xA;1.604000&#xA;1.671000&#xA;1.738000&#xA;1.804000&#xA;1.871000&#xA;1.872000&#xA;1.904000&#xA;1.937000&#xA;1.971000&#xA;2.004000&#xA;2.037000&#xA;2.071000&#xA;2.104000&#xA;2.137000&#xA;2.138000&#xA;2.170000&#xA;2.204000&#xA;2.237000&#xA;2.270000&#xA;2.304000&#xA;2.337000&#xA;2.370000&#xA;2.404000&#xA;2.437000&#xA;2.470000&#xA;2.471000&#xA;2.504000&#xA;2.537000&#xA;2.570000&#xA;2.604000&#xA;2.637000&#xA;2.670000&#xA;2.704000&#xA;2.737000&#xA;2.770000&#xA;2.803000&#xA;2.804000&#xA;2.837000&#xA;2.870000&#xA;2.903000&#xA;2.937000&#xA;2.970000&#xA;3.003000&#xA;3.037000&#xA;3.070000&#xA;3.103000&#xA;3.137000&#xA;3.138000&#xA;3.170000&#xA;3.203000&#xA;3.237000&#xA;3.270000&#xA;3.303000&#xA;3.337000&#xA;3.370000&#xA;3.403000&#xA;3.437000&#xA;3.470000&#xA;3.471000&#xA;3.503000&#xA;3.537000&#xA;3.570000&#xA;3.603000&#xA;3.636000&#xA;3.670000&#xA;3.703000&#xA;3.736000&#xA;3.770000&#xA;3.803000&#xA;3.804000&#xA;3.836000&#xA;3.870000&#xA;3.903000&#xA;3.936000&#xA;3.970000&#xA;4.003000&#xA;4.036000&#xA;4.070000&#xA;4.103000&#xA;4.136000&#xA;4.137000&#xA;4.170000&#xA;4.203000&#xA;4.236000&#xA;4.270000&#xA;4.303000&#xA;4.336000&#xA;4.369000&#xA;4.403000&#xA;4.436000&#xA;4.469000&#xA;4.470000&#xA;4.503000&#xA;4.536000&#xA;4.569000&#xA;4.603000&#xA;4.636000&#xA;4.669000&#xA;4.703000&#xA;4.736000&#xA;4.769000&#xA;4.803000&#xA;4.804000&#xA;4.836000&#xA;4.869000&#xA;4.902000&#xA;4.936000&#xA;4.969000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -show_entries packet=pts_time -select_streams v -read_intervals %5 -of compact=p=0:nk=1 -v 0 right.webm&#xA;0.007000&#xA;0.040000&#xA;0.040000&#xA;0.074000&#xA;0.107000&#xA;0.140000&#xA;0.174000&#xA;0.207000&#xA;0.240000&#xA;0.274000&#xA;0.307000&#xA;0.340000&#xA;0.373000&#xA;0.374000&#xA;0.407000&#xA;0.440000&#xA;0.474000&#xA;0.507000&#xA;0.540000&#xA;0.574000&#xA;0.607000&#xA;0.640000&#xA;0.674000&#xA;0.707000&#xA;0.707000&#xA;0.740000&#xA;0.774000&#xA;0.807000&#xA;0.840000&#xA;0.874000&#xA;0.907000&#xA;0.940000&#xA;0.974000&#xA;1.007000&#xA;1.040000&#xA;1.040000&#xA;1.074000&#xA;1.107000&#xA;1.140000&#xA;1.174000&#xA;1.207000&#xA;1.240000&#xA;1.274000&#xA;1.307000&#xA;1.340000&#xA;1.373000&#xA;1.374000&#xA;1.407000&#xA;1.440000&#xA;1.474000&#xA;1.507000&#xA;1.540000&#xA;1.574000&#xA;1.607000&#xA;1.640000&#xA;1.674000&#xA;1.707000&#xA;1.707000&#xA;1.740000&#xA;1.774000&#xA;1.807000&#xA;1.840000&#xA;1.874000&#xA;1.907000&#xA;1.940000&#xA;1.974000&#xA;2.007000&#xA;2.040000&#xA;2.040000&#xA;2.074000&#xA;2.107000&#xA;2.140000&#xA;2.174000&#xA;2.207000&#xA;2.240000&#xA;2.274000&#xA;2.307000&#xA;2.340000&#xA;2.373000&#xA;2.374000&#xA;2.407000&#xA;2.440000&#xA;2.474000&#xA;2.507000&#xA;2.540000&#xA;2.574000&#xA;2.607000&#xA;2.640000&#xA;2.674000&#xA;2.707000&#xA;2.707000&#xA;2.740000&#xA;2.774000&#xA;2.807000&#xA;2.840000&#xA;2.874000&#xA;2.907000&#xA;2.940000&#xA;2.974000&#xA;3.007000&#xA;3.040000&#xA;3.040000&#xA;3.074000&#xA;3.107000&#xA;3.140000&#xA;3.174000&#xA;3.207000&#xA;3.240000&#xA;3.274000&#xA;3.307000&#xA;3.340000&#xA;3.373000&#xA;3.374000&#xA;3.407000&#xA;3.440000&#xA;3.474000&#xA;3.507000&#xA;3.540000&#xA;3.574000&#xA;3.607000&#xA;3.640000&#xA;3.674000&#xA;3.707000&#xA;3.707000&#xA;3.740000&#xA;3.774000&#xA;3.807000&#xA;3.840000&#xA;3.874000&#xA;3.907000&#xA;3.940000&#xA;3.974000&#xA;4.007000&#xA;4.040000&#xA;4.040000&#xA;4.074000&#xA;4.107000&#xA;4.140000&#xA;4.174000&#xA;4.207000&#xA;4.240000&#xA;4.274000&#xA;4.307000&#xA;4.340000&#xA;4.373000&#xA;4.374000&#xA;4.407000&#xA;4.440000&#xA;4.474000&#xA;4.507000&#xA;4.540000&#xA;4.574000&#xA;4.607000&#xA;4.640000&#xA;4.674000&#xA;4.707000&#xA;4.707000&#xA;4.740000&#xA;4.774000&#xA;4.807000&#xA;4.840000&#xA;4.874000&#xA;4.907000&#xA;4.940000&#xA;4.974000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -show_entries packet=pts_time -select_streams a -read_intervals %5 -of compact=p=0:nk=1 -v 0 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OwnerUserId="19532" LastEditorUserId="19532" LastEditDate="2017-07-20T12:30:34.833" LastActivityDate="2017-07-24T11:54:54.210" Title="ffmpeg audio sync issue when using hstack filter" Tags="|ffmpeg|" AnswerCount="1" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="21953" PostTypeId="1" AcceptedAnswerId="21954" CreationDate="2017-07-20T10:09:34.343" Score="1" ViewCount="1665" Body="&lt;p&gt;I'm recording video in windows 10 with gdigrab so want the capture as fast as possible in pass 1 and encode to a smaller file in pass 2.  No matter what I do I always get this error when executing pass 2:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[libx264 @ 000000000084ca60] 2nd pass has more frames than 1st pass&#xA;  (460) &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;[libx264 @ 000000000084ca60] continuing anyway, at constant QP=4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Pass 1 command:&#xA;    ffmpeg -y -rtbufsize 1500M  -f gdigrab -framerate 29.97 -draw_mouse 0 -offset_x 224 -offset_y 232 -video_size 1280x720 -i desktop -pix_fmt yuv420p -c:v libx264 -r 29.97 -pass 1 -an -tune zerolatency -preset ultrafast -b:v 2600k -crf 0 -f mp4 NUL&#xA;&#xA;Pass 2 command:&#xA;    ffmpeg -y -rtbufsize 1500M  -f gdigrab -framerate 29.97 -draw_mouse 0 -offset_x 224 -offset_y 232 -video_size 1280x720  -i desktop -pix_fmt yuv420p -c:v libx264 -r 29.97 -pass 2 -an -tune zerolatency -preset ultrafast -b:v 2600k -crf 22 C:/myVideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I've tried setting -crf to 0 on the second pass but always get the same error.  Also the video that does get written by the second pass just has the first frame of the first pass. &#xA;EDIT:  Also tried adding -passlogfile to no avail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="19531" LastEditorUserId="19531" LastEditDate="2017-07-20T10:35:59.567" LastActivityDate="2017-07-20T10:51:59.127" Title="Ffmpeg error: 2nd pass has more frames than 1st pass" Tags="|ffmpeg|libx264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21954" PostTypeId="2" ParentId="21953" CreationDate="2017-07-20T10:51:59.127" Score="0" Body="&lt;p&gt;Two-pass is meant for when you have a fixed input and you wish to analyze the file beforehand, so that the encode is optimized for the target bitrate and other encoder parameters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your 1st command is discarding the capture. And so your 2nd command is using the stats from pass 1 to apply to a new capture, which obviously won't match.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -rtbufsize 1500M -f gdigrab -framerate 30000/1001 -draw_mouse 0 -offset_x 224 -offset_y 232 -video_size 1280x720 -i desktop -c:v libx264 -r 30000/1001 -an -tune zerolatency -preset ultrafast -crf 0 Capture.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i Capture.mp4 -pix_fmt yuv420p -c:v libx264 -pass 1 -an -b:v 2600k -f mp4 NUL&#xA;&#xA;ffmpeg -y -i Capture.mp4 -pix_fmt yuv420p -c:v libx264 -pass 2 -an -b:v 2600k myVideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-07-20T10:51:59.127" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21955" PostTypeId="2" ParentId="21889" CreationDate="2017-07-20T14:22:52.463" Score="2" Body="&lt;p&gt;There are numerous options for particles in AE, without needing any 3rd party plugins. For example the CC Particle Systems II effect which is included with AE CS and later. A PDF manual for the cycore effects (all the &lt;strong&gt;CC-something&lt;/strong&gt; effects that are included with AE) are &lt;a href=&quot;http://cycorefx.com/downloads/cfx_hd_std/CycoreFX%20HD%201.8.1%20Manual.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you add it to a layer you'll see this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jxnme.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jxnme.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By default the effect produces particles exploding from a small spot, and they fall as if effected by gravity. We're going to change it to look more like what you posted. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/r8YNo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/r8YNo.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/LDP9jy71_Fc&quot; rel=&quot;nofollow noreferrer&quot;&gt;rendered version on YT&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, open up the effects control window, and work though the settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Change the &lt;strong&gt;producer&lt;/strong&gt; size. This is the area from which the particles are produced. We'll mke it the width of the comp, without making it any taller vertically. So the &lt;strong&gt;Radius X&lt;/strong&gt; will be 1920 for a HD comp. You might also want to wind down the birth rate, to say something like 0.1. Since we're making the particles move more slowly we'll need to increase their &lt;strong&gt;longevity&lt;/strong&gt;. 15-20 seconds might be in the ball park for gently drifting particles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They're shooting out of the producer at this point, so we'll turn that off. You do this in the &lt;strong&gt;Physics&lt;/strong&gt; section, using the &lt;strong&gt;Animation&lt;/strong&gt; drop-down. This sets the &lt;em&gt;initial&lt;/em&gt; motion for the particles. For a more interesting movement you might try &lt;strong&gt;&lt;em&gt;twirly&lt;/em&gt;&lt;/strong&gt;. Twirly adds some random directional velocity, explosion adds velocity away from the producer, vortex makes them swirl around.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You probably want to turn the &lt;strong&gt;Velocity&lt;/strong&gt; right down, maybe 0.1 or thereabouts.  For a gentle drift we'll turn &lt;strong&gt;Gravity&lt;/strong&gt; right down, and make it negative. I ended up using -0.25, see how you go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Resistance&lt;/strong&gt; acts like friction, slowing the particles down from their initial velocity. A little bit is probably good, but if you want the particles to all have random velocity you can leave it quite low, like 1 or 2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Play with the physics until you get it to look right. Reading the manual is a start, but fiddling with the controls to see how they work is the best way. Once you've got them drifting gently upwards you might want to move the &lt;strong&gt;position&lt;/strong&gt; of the producer down below the bottom of the frame, e.g a bit more than 1080px. Also, if you want the particles to be there at the start of the comp, slide the start of the layer a few seconds before the start of the comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next change the particle from the default line, to something else. I've chosen lens to create flat circles. Lens uses the original colour of the layer it's on, in this case it's a solid. You can muck around with colours, how the particle looks over time, and change the particle type here. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Remember you can also add more effects before or after the particles to change how they look, eg, blurs, colour correction, distortion, and so on. You can change the &lt;strong&gt;opacity&lt;/strong&gt; of the layer as well as its &lt;strong&gt;Blending Mode&lt;/strong&gt; to change how it interacts with other layers. Go nuts!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a screenie of settings that produce a good gentle swirling particle effect. Don't just copy them though, they literally took me like five minutes, so you could easily refine them. Try twiddling the knobs, just to get a feel for what they do. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5DgFW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5DgFW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-07-20T14:27:58.360" LastActivityDate="2017-07-20T14:27:58.360" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21956" PostTypeId="2" ParentId="21888" CreationDate="2017-07-20T14:48:29.227" Score="1" Body="&lt;p&gt;You need to add ease-in to the motion. That's where the motion slows as it approaches the final position. You can add it quickly by hitting the &lt;kbd&gt;f9&lt;/kbd&gt; key. This sets the speed of the keyframe to zero, and gives it 16% influence. To change the effect you cn edit this by opening the keyframe properties dialogue. Hit &lt;kbd&gt;ctrl/⌘&lt;/kbd&gt;&lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;k&lt;/kbd&gt;. Alternatively open the graph editor and click on the position property to show the graph. You can adjust the speed of the keyframe and its influence by dragging the Bézier handles there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might want to &lt;a href=&quot;https://duckduckgo.com/?q=12%20principles%20of%20animation&amp;amp;t=ffab&amp;amp;atb=v53-6&amp;amp;ia=web&quot; rel=&quot;nofollow noreferrer&quot;&gt;duckduckgo the 12 principles of animation&lt;/a&gt;, if you want to do some extra reading. This is a valuable guide to creating pleasing motion in animation and motion graphics, that is as true now as it was when it was written back in the days of cels and paint. &lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-07-20T14:48:29.227" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21957" PostTypeId="1" CreationDate="2017-07-20T16:44:26.767" Score="2" ViewCount="1866" Body="&lt;p&gt;I've several old VOB's (self-recorded DVD's) with 21:9 content that is embedded in 16:9 videos…&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Width                                    : 720 pixels&#xA;Height                                   : 576 pixels&#xA;Display aspect ratio                     : 16:9&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ngwrl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ngwrl.png&quot; alt=&quot;Sample screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to crop the 21:9 part from it and re-encode everything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;cat *.VOB | ffmpeg -i - -vcodec mpeg2video -q:v 0 -q:a 0 -flags +ilme+ildct -alternate_scan 1 -top 1 -vf crop=720:432:0:72 -aspect 21:9 -s 720x432 test.mpg&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This works (nearly) as expected, but the video is displayed with 2.21:1 or similar strange aspect ratios in VLC or Kodi. Any ideas what's wrong with my ffmpeg arguments?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpeg, from 'pipe:':&#xA;  Duration: N/A, start: 0.118367, bitrate: N/A&#xA;    Stream #0:0[0x1bf]: Data: dvd_nav_packet&#xA;    Stream #0:1[0x1e0]: Video: mpeg2video (Main), yuv420p(tv, bt470bg), 720x576 [SAR 64:45 DAR 16:9], max. 9400 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:2[0x80]: Audio: ac3, 48000 Hz, stereo, fltp, 256 kb/s&#xA;[mpeg @ 0x1d25880] VBV buffer size not set, using default size of 130KB&#xA;&#xA;Output #0, mpeg, to 'test.mpg':&#xA;  Metadata:&#xA;    encoder         : Lavf56.40.101&#xA;    Stream #0:0: Video: mpeg2video, yuv420p, 720x432 [SAR 7:5 DAR 7:3], q=2-31, 200 kb/s, 25 fps, 90k tbn, 25 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 mpeg2video&#xA;    Stream #0:1: Audio: mp2, 48000 Hz, stereo, s16, 384 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.60.100 mp2&#xA;&#xA;Stream mapping:&#xA;  Stream #0:1 -&amp;gt; #0:0 (mpeg2video (native) -&amp;gt; mpeg2video (native))&#xA;  Stream #0:2 -&amp;gt; #0:1 (ac3 (native) -&amp;gt; mp2 (native))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6075" LastActivityDate="2024-03-16T14:06:10.857" Title="ffmpeg: Crop 21:9 out of 16:9 video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21958" PostTypeId="1" AcceptedAnswerId="21969" CreationDate="2017-07-20T17:01:37.680" Score="2" ViewCount="1356" Body="&lt;p&gt;Basically what the title says.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My current view:&lt;/strong&gt; The &lt;a href=&quot;http://wwwimages.adobe.com/content/dam/Adobe/en/products/speedgrade/cc/pdfs/cube-lut-specification-1.0.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;Cube LUT&lt;/a&gt; appears to be a bulky, uncompressed text file with little more to offer than what is can be encoded in a lossless PNG. That the main difference is the Cube's 17 times larger size (based on a single comparison with 64 dimensions), and that the Cube is more computationally demanding to parse than the PNG. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In addition, the PNG is a visual representation which gives the user an impression of the LUT even without importing it into an editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Why I think I'm wrong:&lt;/strong&gt; The sheer number of LUT formats out there suggests that they offer more than what a PNG, or a combination of a PNG and a metadata file, can provide.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I missing?&lt;/p&gt;&#xA;" OwnerUserId="19535" LastActivityDate="2017-07-22T02:20:57.597" Title="What does a Cube LUT offer over a PNG HALD?" Tags="|adobe|color-grading|lut|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21959" PostTypeId="2" ParentId="21957" CreationDate="2017-07-20T17:54:39.463" Score="0" Body="&lt;p&gt;Best to make it a square-pixel stream:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;... -vf crop=720:432:0:72,scale=iw*sar:ih,setsar=1 test.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-07-20T17:54:39.463" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21960" PostTypeId="2" ParentId="21939" CreationDate="2017-07-20T18:09:44.473" Score="0" Body="&lt;p&gt;AJs answer is the correct one. You can also get brighter lights where the electrical current variation doesn't result in as much dimming. But ultimately it's about having high quality lights.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, you can also solve the problem in post usually with software. Flicker Free is a plugin designed to de-flicker slow motion and other causes of flicker. More info at: &lt;a href=&quot;https://digitalanarchy.com/Flicker/main.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://digitalanarchy.com/Flicker/main.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19536" LastActivityDate="2017-07-20T18:09:44.473" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21961" PostTypeId="2" ParentId="21958" CreationDate="2017-07-20T18:37:17.117" Score="1" Body="&lt;p&gt;They're essentially the same thing with different storage layouts.  A 2D LUT is just slices of a 3D LUT laid out in an image.  People use formats like Cube becasue that's what the software supports.  Because formats like Cube were invented before hardware acceleration it was probably just easier to load data already stored as 3D because the color transform was all done on CPU anyway.  You need extra math to transform an RGB value in 2D space instead of just a 3D array lookup: LUT[R][G][B] plus you have to interpolate between 3D points of your LUT is smnaller than your color space.  The file size difference is mostly due to cube files being ascii not binary.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;LUTs are also used extensively in Game development to apply looks in realtime using the GPU.  Here LUTs can be stored as 3D (volume) images.  An advantage to 3D image storage is you can take advantage of hardware pixel interpolation in 3D.  I suspect any video editing/compositing/coloring software with hardware acceleration would transcode Cube/Hald LUTs to 3D images for the actual lookup on the GPU.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Look &lt;a href=&quot;http://www.nvidia.com/content/GTC/posters/2010/V01-Real-Time-Color-Space-Conversion-for-High-Resolution-Video.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; for info on hardware color conversion.&lt;/p&gt;&#xA;" OwnerUserId="19531" LastEditorUserId="19531" LastEditDate="2017-07-20T18:47:40.543" LastActivityDate="2017-07-20T18:47:40.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21964" PostTypeId="2" ParentId="16919" CreationDate="2017-07-20T23:42:14.143" Score="-1" Body="&lt;p&gt;Band aid solution - when it's playing in Quicktime, go to 'view' and you can loop it from there. It'll loop for as long as the file is open, albeit with a minor 'hiccup' at the end of the loop. &lt;/p&gt;&#xA;" OwnerUserId="19540" LastEditorUserId="19540" LastEditDate="2017-07-21T00:24:15.240" LastActivityDate="2017-07-21T00:24:15.240" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21965" PostTypeId="1" CreationDate="2017-07-21T10:42:04.580" Score="-1" ViewCount="87" Body="&lt;p&gt;I am looking for the part to fix my canon xlh1 fire wire. I was told this is the part a need DG3-1253-000 000 C 1 PCB ASS’Y, HP&lt;/p&gt;&#xA;" OwnerDisplayName="carlton classe" LastActivityDate="2017-11-18T14:51:24.963" Title="Canon xlh1 firewire is discontinued for reapair.?" Tags="|canon|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21966" PostTypeId="2" ParentId="21965" CreationDate="2017-07-21T13:41:23.403" Score="0" Body="&lt;p&gt;At this point the XL-H1 is over a decade old.  Your best bet for finding parts is likely either from the Canon Parts Order Desk at (866) 481-2569, or if they don't have it, then checking with one of the major Canon repair centers to see if they have any parts left.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Canon Parts Order Desk will be able to tell you for certain if they no longer have more replacement parts for the XL-H1's firewire PCB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another possibility if parts aren't available is to purchase an HDV deck and transfer tapes via a playback deck rather than via the camera itself.  If you need live capture instead, an HD-SDI capture device such as a Black Magic Intensity or DeckLink card could do the job of uncompressed live capture.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-07-21T13:41:23.403" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21969" PostTypeId="2" ParentId="21958" CreationDate="2017-07-22T02:20:57.597" Score="1" Body="&lt;p&gt;In addition to what @Geordie said, keep in mind that LUT files can contain floating point values which means that they can describe values that would be between the 8-bit values in a PNG file. Additionally, they can describe values above 1 or below 0 for HDR workflows.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-07-22T02:20:57.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21970" PostTypeId="1" CreationDate="2017-07-23T03:04:52.763" Score="8" ViewCount="3120" Body="&lt;p&gt;I have a 30 fps video with a GOP 30 (1 i-frame per second).&#xA;I'd like to create a version that is '30x faster', by dropping all frames except every 30th frame. I can do that as so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -i t1.mp4 -filter:v &quot;setpts=.033333*PTS&quot; f6.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It creates the desired output, but it runs slow, and uses a lot of CPU. I presume this is because it is stepping through all the frames and decoding each one before throwing away 29/30 of them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to instruct ffmpeg to create a '[GOP]x faster' video using only the key frames, so that it need only decode the i-frames?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd also like it to do no transcode of the iframes - same size, etc. I don't mind what the GOP of the output video is. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks&lt;/p&gt;&#xA;" OwnerUserId="19555" LastActivityDate="2020-04-18T08:31:58.507" Title="Speed up a video 30x using only key frames with ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21971" PostTypeId="2" ParentId="21970" CreationDate="2017-07-23T05:27:32.187" Score="9" Body="&lt;p&gt;For a H264/5 stream, this can be done in two steps:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -discard nokey -i t1.mp4 -c copy t1.264&#xA;&#xA;ffmpeg -r 30 -i t1.264 -c copy t1keys.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-07-23T05:27:32.187" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21973" PostTypeId="1" CreationDate="2017-07-23T19:26:00.013" Score="1" ViewCount="68" Body="&lt;p&gt;Below you can see a sample of paragliding video recording. As pilot I'm trying to fly straight, but my harness (and camera) keep moving back and forth, left and right, every 2-3 seconds. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best way to do a smooth time-lapse video out of this clip? A &quot;plane alike&quot; effect? I assume that I could use 1 frame of every ~5-second clip, just not necessarly uniformly distributed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/5xAll0Ql160?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="6093" LastActivityDate="2017-07-23T19:26:00.013" Title="Video stabilization for a timelapse video of paraglider flight?" Tags="|stabilisation|time-lapse|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21974" PostTypeId="2" ParentId="21676" CreationDate="2017-07-24T10:33:40.040" Score="0" Body="&lt;p&gt;To comment two well-known statements here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;You could also have a fairly low bit depth in a very wide color space where the steps between each gradation are much coarser.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Color space and bit depth is only related to HDR in the sense that they are part of the same standards. Yes, you need more bits to represent a higher dynamic range without banding.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both don't take dithering into account. In the absence of dither, the statements are correct but with dither applied, in theory, a smooth gradient would be even possible with only one bit, although it's extremely noisy when applying spatial dithering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If one accepts a lower SNR, there won't be banding regardless of the bit depth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it is true that bit depth and colour space are not related (which makes sense as any colour space could exist in a purely analog domain as well without any bits to consider at all), then the logical conclusion would be: theoretical perfect dithering techniques assumed, a given bit depth - analog to audio - only limits the achievable signal to noise ratio and thereas the dynamic range as the noise will mask the lower end, however not the possible amount of colors, not any banding and no brightest whites or whatever.&lt;/p&gt;&#xA;" OwnerUserId="19559" LastEditorUserId="19559" LastEditDate="2017-07-24T10:56:26.743" LastActivityDate="2017-07-24T10:56:26.743" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="21975" PostTypeId="2" ParentId="21952" CreationDate="2017-07-24T11:54:54.210" Score="0" Body="&lt;p&gt;For files with differing start times of video and audio streams, the PTS values should not be changed else sync will be lost.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i left.webm -i right.webm -filter_complex &quot;[0:v][1:v]hstack=inputs=2[v];[a:0][1:a]amerge[a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; -ac 2 merged.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-07-24T11:54:54.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21976" PostTypeId="1" CreationDate="2017-07-24T12:04:27.913" Score="2" ViewCount="1780" Body="&lt;p&gt;I use ffmpeg to:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;add multiple audio into a video file and offset them &lt;/li&gt;&#xA;&lt;li&gt;discard original audio in the video &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Everything is OK &lt;strong&gt;except&lt;/strong&gt; that &#xA;1. the audio volume in the &lt;code&gt;result.mp4&lt;/code&gt; is remarkably lower than the volumes in each individual input audio&#xA;2. sound quality in &lt;code&gt;mp3&lt;/code&gt;(which is a background music) also drops&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I listened to each &lt;code&gt;3gp&lt;/code&gt; and the &lt;code&gt;mp3&lt;/code&gt; files, can confirm that the two issues above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is this happening?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mp4 -i 1.3gp -i 2.3gp -i 1.mp3&#xA;  -filter_complex &quot;[2]adelay=10000|10000[s2];[3:a][1:a][s2]amix=3[a]&quot;&#xA;  -map 0:v -map &quot;[a]&quot; -c:v copy result.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19435" LastEditorUserId="19435" LastEditDate="2017-07-24T12:13:36.320" LastActivityDate="2017-07-24T12:13:36.320" Title="Audio volume lower, quality drops after ffmpeg amix multiple audio inputs" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21978" PostTypeId="1" CreationDate="2017-07-24T13:33:01.327" Score="1" ViewCount="62" Body="&lt;p&gt;I have a video series that have a low fps by nature. The videos are in presentation format with audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video is produced using Adobe Premiere Pro CC 2015 and contains 4K image clips and 256kbps audio clips. Videos range from 2 minutes to 4 hours. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 1 minute video is around 274MB and the 4 hours video is around 60GB although most of the video is still pictures.  Is there a way to render the video with a smaller size?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a sample of the video series: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Fv-enMpZ_08?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="19561" LastActivityDate="2017-07-24T13:33:01.327" Title="Best encoding setting for presentation like video" Tags="|encoding|youtube|transcoding|4k|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21980" PostTypeId="2" ParentId="21257" CreationDate="2017-07-24T17:47:44.263" Score="1" Body="&lt;p&gt;I occasionally make a video from slide images. I find I get the best quality and compression by putting the images in the timeline in your preferred video editor (I use Vegas Pro 13), saving as a motion jpeg*, then use ffmpeg to convert that to H264. I use &lt;code&gt;-crf 28&lt;/code&gt;, which is probably called &quot;constant quality&quot; in Handbrake. At 1024x768 resolution I easily get bitrates under 100 kbps and they look great. You can increase the crf value to get more compression or decrease it to get better quality, so you can fine tune to your tastes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With this method above, I would bet H264 and VP8 are comparable. VP9 will probably be better, but it doesn't work on everything and takes a lot longer to encode. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My theory why this works: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Motion jpeg is intra-frame compression only. Each individual frame is compressed as an image, then added to the stream; there is no inter-frame compression (compression between frames). It doesn't have I-frames or any of that complicated stuff. So for a full second in your video all the frames are identical, not just &quot;look the same&quot;. They are technically identical. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;H264 then has a lot of power to compress the motion jpeg. It sees a string of identical frames then does the equivalent of saving the first frame completely then uses nearly dataless &quot;reference frames&quot; for the rest. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;*Motion jpeg will be a relatively big file. Coincidentally, when I record a slides presentation, I initially encode as motion jpeg because most of the presentation will be static slides. &lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2017-07-24T17:55:10.080" LastActivityDate="2017-07-24T17:55:10.080" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21981" PostTypeId="1" CreationDate="2017-07-25T10:47:02.380" Score="2" ViewCount="1225" Body="&lt;p&gt;I have a video that's 1280x720.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want it to be 720x720 without re-scaling it (e.g., I simply want to cut off the excess on the right). I need to embed it on a website which is why the sizing sounds strange.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I do this?&lt;/p&gt;&#xA;" OwnerUserId="19574" LastActivityDate="2017-07-25T14:11:05.010" Title="Resizing a video in Premiere without scaling" Tags="|premiere|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21982" PostTypeId="2" ParentId="15415" CreationDate="2017-07-25T12:34:32.603" Score="1" Body="&lt;p&gt;As mentioned before &lt;strong&gt;&lt;em&gt;&lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Open Broadcast Software&lt;/a&gt;&lt;/em&gt;&lt;/strong&gt; and or &lt;strong&gt;&lt;em&gt;&lt;a href=&quot;https://www.xsplit.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;XSplit&lt;/a&gt;&lt;/em&gt;&lt;/strong&gt; seems to be the standards. Both are fully functional with plugins to customize your live stream output. Though OBS is free to use and available of multiple platforms while XSplit has three different range for pricing depending on the functionalities you intend to use during production. For a more complete comparison between the two software please visit &lt;strong&gt;&lt;em&gt;&lt;a href=&quot;https://www.maketecheasier.com/obs-vs-xsplit/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/em&gt;&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="13894" LastEditorUserId="13894" LastEditDate="2017-07-25T18:10:49.683" LastActivityDate="2017-07-25T18:10:49.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21983" PostTypeId="2" ParentId="21981" CreationDate="2017-07-25T13:45:21.107" Score="5" Body="&lt;p&gt;Create a sequence that is 720x720, drag the clip on to the timeline, and in the canvas window use the arrow tool &lt;kbd&gt;v&lt;/kbd&gt; to double click the layer which brings up the layer controls. Position it the way you want, export.  I'm pretty sure Premiere doesn't scale non-uniformly by default.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it does for some reason, you'll probably want to use the conform options to adjust how it is conformed to the sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll need to use a custom sequence setting since none of the presets will match your 720 by 720.  You'll also want to make sure you use square pixels (1.0 pixel pitch) if you are looking for a perfectly square output.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="1950" LastEditDate="2017-07-25T14:11:05.010" LastActivityDate="2017-07-25T14:11:05.010" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21985" PostTypeId="1" AcceptedAnswerId="21992" CreationDate="2017-07-26T03:17:22.167" Score="2" ViewCount="1472" Body="&lt;p&gt;Now that I've found a way to record in surround sound I'd like to keep surround intact while editing the files. Features I need include trimming, appending, and adding narration to paused frames. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ease of use and cost (less than $100) are my primary concerns. There is no need for special effects or advanced transitions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I've tried Windows Movie Maker and Vegas Movie Studio Platinum. The latter looks promising, but it won't detect the audio in my 5.1 channel video files. (Windows Media Player does play the files back in surround sound.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: For reference, Windows lists the audio in the files as 4608kbps, 6 channel, and 48kHz.&lt;/p&gt;&#xA;" OwnerUserId="18857" LastActivityDate="2017-08-26T08:30:45.047" Title="Video Editors Supporting 5.1 Surround Sound?" Tags="|audio-quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21987" PostTypeId="1" CreationDate="2017-07-26T12:44:13.417" Score="2" ViewCount="35" Body="&lt;p&gt;I'm thinking of upgrading my 6-core setup (single CPU) setup to a 2x8-core/CPU setup. I'm wondering what software will allow me to fully utilize all the cores.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been using handbrake but I do not think it utilizes all the cores. I prefer software that is freeware but paid software is ok too if it's not to expensive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="19040" LastActivityDate="2017-07-26T12:44:13.417" Title="what encoder can take advantage of 16-core setup? converting/ripping Blu-ray to mp4 format" Tags="|mp4|conversion|bluray|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21988" PostTypeId="2" ParentId="21034" CreationDate="2017-07-26T21:01:16.413" Score="0" Body="&lt;p&gt;Using a &lt;a href=&quot;http://www.photopills.com/calculators/dof&quot; rel=&quot;nofollow noreferrer&quot;&gt;Depth of Field Calculator&lt;/a&gt; we can see that for a BMPC 4k with 8 meters to the subject, the near limit is 7.3m and the far limit is 8.85m.  This means you'll be a little bit shy of having everything completely in focus, but it should be pretty close to acceptably in focus.  If you can get a hair more distance it would buy you a little more space and might cover your full range.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-07-26T21:01:16.413" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21989" PostTypeId="1" AcceptedAnswerId="21990" CreationDate="2017-07-27T05:03:56.970" Score="1" ViewCount="2004" Body="&lt;p&gt;I am looking for way to extract frames from a video shot in front of a green screen. This is the source video, so nothing has been chroma keyed on to it yet. I want to save the frames as PNGs with the green replaced by transparent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I see its possible to get transparent video based &lt;a href=&quot;https://video.stackexchange.com/questions/21397/green-screen-to-transparent-with-ffmpeg&quot;&gt;this question&lt;/a&gt;, but I am looking to save as transparent PNG's, not video.&lt;/p&gt;&#xA;" OwnerUserId="19586" LastEditorUserId="14523" LastEditDate="2017-07-28T00:05:50.510" LastActivityDate="2017-07-28T00:05:50.510" Title="Green Screen Video to Transparent PNG's" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21990" PostTypeId="2" ParentId="21989" CreationDate="2017-07-27T05:37:36.277" Score="1" Body="&lt;p&gt;Assuming you are satisfied with the chroma key quality from ffmpeg, it's just&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf chromakey={...} -vsync 0 out%d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;{...}&lt;/code&gt; is replaced with your &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#chromakey&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;chromakey&lt;/code&gt;&lt;/a&gt; filter arguments.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-07-27T05:37:36.277" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="21992" PostTypeId="2" ParentId="21985" CreationDate="2017-07-27T08:02:25.120" Score="2" Body="&lt;p&gt;Davinci Resolve 14 would definitely do this as it has all new audio, otherwise Adobe Premier will work&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2017-07-27T08:02:25.120" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="21993" PostTypeId="1" CreationDate="2017-07-27T11:55:22.753" Score="0" ViewCount="200" Body="&lt;p&gt;I have captured some Mini-dv home videos to .avi.&#xA;With ffmpeg I converted to prores v2 .mov files.&#xA;Now i need to add yadiff filter.(interlaced -&gt; noninterlaced)&#xA;Is is possible to &quot;update&quot; my files with the yadif filter without write a complete new file ?&#xA;If not, how do I preserve my movie/audio quality/filesize while adding the yadif filter.&#xA;Is ffmpeg -i file1.mov -vf yadif -c:v prores_ks -profile:v 2 -c:a copy New-File1.mov the best way to do this ?&#xA;Or can I use the copy funktion for the video as I do for the audio?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;/tnx in adv&lt;/p&gt;&#xA;" OwnerUserId="19589" LastActivityDate="2017-10-25T15:27:10.550" Title="Add filter to prores file" Tags="|ffmpeg|encoding|transcoding|davinci-resolve|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21995" PostTypeId="2" ParentId="21993" CreationDate="2017-07-27T13:46:50.093" Score="1" Body="&lt;p&gt;Your best bet if you want to de-interlace and convert to prores without extra loss in quality is to do both actions at once.  Any re-encode, particularly if the encoding you are working from has had consumer level codecs and/or bitrates applied in the past, will cause (potentially significant) additional degradation.  Your best bet is to minimize the number of re-encodes needed by doing as much processing at the same time as you can and maintaining the highest possible image quality as long as possible in your tool chain.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is unfortunately not possible to make many alterations to video without a re-encode.  There's a limited number of actions that can sometimes be taken, but something like de-interlacing is not included in that list.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-07-27T13:46:50.093" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="21997" PostTypeId="1" CreationDate="2017-07-27T18:01:46.313" Score="2" ViewCount="56" Body="&lt;p&gt;How do you edit a video using Premiere Pro CC 2017 so that it goes from slow motion to normal speed or fast motion, like in &lt;a href=&quot;https://www.facebook.com/tomorrowland/videos/10154017139189177/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt;. Some parts are in slow motion and then it suddenly speeds up?&lt;/p&gt;&#xA;" OwnerUserId="18443" LastEditorUserId="14523" LastEditDate="2017-07-28T00:09:44.107" LastActivityDate="2017-10-26T17:32:13.200" Title="Video effect - slowmotion to fastmotion?" Tags="|editing|slowmotion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22000" PostTypeId="1" CreationDate="2017-07-27T23:29:40.590" Score="3" ViewCount="787" Body="&lt;p&gt;I'm using this line to record from the desktop to a video file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -framerate 24 -i desktop -preset ultrafast -pix_fmt yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this will record the whole desktop.&#xA;Is there any way to record in real time only specific area/part of the desktop ?&lt;/p&gt;&#xA;" OwnerUserId="19596" LastEditorUserId="19597" LastEditDate="2017-07-28T05:03:56.540" LastActivityDate="2017-07-28T05:03:56.540" Title="How can i crop part of a video while recording from desktop in real time using ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22002" PostTypeId="2" ParentId="17851" CreationDate="2017-07-28T03:45:22.997" Score="0" Body="&lt;p&gt;I've recently had some success with this problem.   In my case I was receiving the error converting from MKV to MP4.  The cause of the issue was that the process that created the MKV file failed silently when I ran out of disk space so the source feed to ffmpeg was already corrupt; the error was indicating there was no data to convert beyond that point in the source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fortunately I was able to recreate the MKV from it's source (after freeing up disk space of course).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Further, as mentioned in Mulvya's comment on your question, the &quot;2&quot; here seems to be what the command is complaining about.&lt;/p&gt;&#xA;" OwnerUserId="19599" LastActivityDate="2017-07-28T03:45:22.997" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22003" PostTypeId="2" ParentId="22000" CreationDate="2017-07-28T05:01:25.583" Score="2" Body="&lt;p&gt;Two ways:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#1&lt;/strong&gt; By specifying gdigrab options:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -framerate 24 -video_size 960x540 -offset_x 240 -offset_y 450 -i desktop -preset ultrafast -pix_fmt yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This captures a 960x540 video whose top-left corner is at (240,450) measured from the top-left corner of the display.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#2&lt;/strong&gt; By cropping it post-capture&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -framerate 24 -i desktop -vf crop=960:540:240:450 -preset ultrafast -pix_fmt yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The former is preferable.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-07-28T05:01:25.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22004" PostTypeId="2" ParentId="21997" CreationDate="2017-07-28T14:53:50.483" Score="1" Body="&lt;p&gt;The term your looking for is called a &lt;strong&gt;speed ramp&lt;/strong&gt;. There are lots of tutorials if you search for that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are basic instructions for one way of doing that.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Right click on the clip in your timeline&lt;/li&gt;&#xA;&lt;li&gt;Click '&lt;em&gt;Show Clip Keyframes&lt;/em&gt;' then '&lt;em&gt;Time Remapping&lt;/em&gt;' then '&lt;em&gt;Speed&lt;/em&gt;'&lt;/li&gt;&#xA;&lt;li&gt;You can then add Keyframes and drag the line on your clip to alter the speed&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="16850" LastActivityDate="2017-07-28T14:53:50.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22005" PostTypeId="1" CreationDate="2017-07-28T21:48:28.747" Score="1" ViewCount="49" Body="&lt;p&gt;I'm quite new to video editing but I am not new to graphic design.&#xA;One of the most effective methods of organizing content in design is to use a grid. A grid lets things look good, stay consistent, and be predictable. I want to use a design grid to arrange video clips beside text and images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/MJDpM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MJDpM.png&quot; alt=&quot;12 column grid for graphic design with different element widths&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wanted to know how to create a grid arrangement with columns, rows, gutters... I looked things up and all I could find were tutorials for resizing elements, without grids. If I were to start trying on my own I would go about it the following way: draw off-colour pixels in the corners of the areas where I want to put elements. It would probably take a very long time and be imprecise if I tried that though. Another idea I had was that I could use a green screen effect to create the boxes on the grid and then just place the images as the greenscreen content but that also feels like a hack and would surely end up losing parts of my clips at the edges. &#xA;The way I imagine things I would have a nice &quot;snap to grid&quot; system that would let me resize clips to fill in grid spaces easily like in indesign/illustrator.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Through my workplace I have access to Sony Vegas but I own a mac so I could jump to any editor that would allow me to have this effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help is appreciated.&lt;/p&gt;&#xA;" OwnerUserId="19607" LastEditorUserId="19607" LastEditDate="2017-07-28T21:54:56.733" LastActivityDate="2017-07-28T21:54:56.733" Title="Creating rigid grid structures for arranging video clips" Tags="|software-recommendation|recommendation|technical|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22006" PostTypeId="1" AcceptedAnswerId="22007" CreationDate="2017-07-29T00:44:32.903" Score="2" ViewCount="593" Body="&lt;p&gt;I am using ffmpeg and trying to change the color of certain pixels in a video stream using the lutrgb filter. The aim is to change any pixel with a green value greater than 145 to a white pixel.&#xA;So far I have tried the following commands:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-vf lutrgb=r='if((g &gt; 145),255,val)':g='if(val &gt; 145, 255, val)':b='if(g &gt; 145, 255, val)'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-vf lutrgb=g='if(val&gt;145,255,val)':r=255:b=255&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-vf lutrgb=r='if(gt(val,145),255,val)':g='if(val&gt;145,255,val)':b='if(gt(val,145),255,val)'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, these are not delivering the desired result. &#xA;Is it possible to have ffmpeg use a 1D LUT where the input values for r, g and b can be set based on a condition, for example, if r=ANY, g&gt;145 and b=ANY, then r=255, g=255 and b=255?&#xA;Any insight to whether this is possible is much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="19608" LastActivityDate="2017-07-29T04:54:39.520" Title="Can a 1D LUT be used in ffmpeg using lutrgb?" Tags="|ffmpeg|lut|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22007" PostTypeId="2" ParentId="22006" CreationDate="2017-07-29T04:54:39.520" Score="2" Body="&lt;p&gt;The LUT filters don't have cross-referencing of channels. Use &lt;code&gt;geq&lt;/code&gt; instead&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;geq=r='if(gt(g(X,Y),145),255,p(X,Y))':g='if(gt(g(X,Y),145),255,p(X,Y))':b='if(gt(g(X,Y),145),255,p(X,Y))'&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-07-29T04:54:39.520" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22008" PostTypeId="1" CreationDate="2017-07-29T06:18:19.347" Score="1" ViewCount="512" Body="&lt;p&gt;I typed up a transcript of a video, and inserted time stamps at the beginning of each change of speaker, using &lt;a href=&quot;https://transcribe.wreally.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://transcribe.wreally.com/&lt;/a&gt;.  Then I put everything into Excel.  I copied the timestamp column and pasted it into a new column to its right, but moving the whole thing up one row.  I figured that would make the segments abut perfectly.  I added an empty additional column where the program would expect to see where each segment ended (where the new one start.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I followed the instructions at &lt;a href=&quot;https://video.stackexchange.com/a/14518/19609&quot;&gt;https://video.stackexchange.com/a/14518/19609&lt;/a&gt; and installed &lt;a href=&quot;http://www.nikse.dk/SubtitleEdit&quot; rel=&quot;nofollow noreferrer&quot;&gt;Subtitle Edit&lt;/a&gt;.  I tried pasting the columns of data in, and I tried opening the tab-delimited file I had made.  It's giving me nonsense in the second column (which indicates the end timestamp).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What software and method can I use for getting my typed transcript into a properly formatted srt file, so I can publish it with Youtube?&lt;/p&gt;&#xA;" OwnerUserId="19609" LastEditorUserId="19609" LastEditDate="2017-07-30T18:16:47.490" LastActivityDate="2017-07-30T18:16:47.490" Title="Import Excel file with subtitles and timestamps" Tags="|video|subtitles|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22009" PostTypeId="1" CreationDate="2017-07-29T11:55:34.497" Score="2" ViewCount="269" Body="&lt;p&gt;I want to run two 24/7 livestreams at once (both on Youtube), using an intel nuc device with the assistance of obs studio software, is this possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, how can I run 2 24/7 streams at once without needing two computers?&lt;/p&gt;&#xA;" OwnerUserId="19612" LastActivityDate="2024-03-26T19:05:35.633" Title="I want to run two 24/7 livestreams at once, both these streams will be on Youtube, is it possible?" Tags="|streaming|youtube|live|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22010" PostTypeId="1" AcceptedAnswerId="22027" CreationDate="2017-07-29T14:35:07.997" Score="1" ViewCount="237" Body="&lt;h1&gt;Context:&lt;/h1&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I have Adobe Premiere Pro CC 2017&lt;/li&gt;&#xA;&lt;li&gt;I am recording interviews with Ecamm recorder for Skype in 480p resolution (size conscious)&lt;/li&gt;&#xA;&lt;li&gt;I always record separate files (audio &amp;amp; video) - track 1 and track 2.&lt;/li&gt;&#xA;&lt;li&gt;I created a fancy layout image (16:9) in Photoshop which I drop in Premiere and then I adjust the video tracks so they fit in it - the layout has the guest bit bigger than me (they are obviously more important)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I already tried two different configurations of project/export settings:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;1280x720 and 24fps - which was blurry - you could watch it but it was straining my eyes (presets were SLR 720p)&lt;/li&gt;&#xA;&lt;li&gt;4K and 25fps - which was OK (presets were RED Cinema 4K) and surprisingly the size was also comparable, which is a bit confusing.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h1&gt;Questions:&lt;/h1&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;What presets do you recommend when creating Premiere project for a YouTube video? I read that YouTube recommends uploading 720p videos, but nothing like that exists in Premiere presets.&lt;/li&gt;&#xA;&lt;li&gt;What settings should I use to render the sequence to have good quality but acceptable file size?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="19613" LastEditorUserId="14523" LastEditDate="2017-07-29T16:42:31.587" LastActivityDate="2017-08-02T09:07:54.153" Title="How to setup Adobe Premiere Pro CC to edit Interview type videos for YouTube" Tags="|premiere|editing|youtube|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22012" PostTypeId="2" ParentId="20512" CreationDate="2017-07-30T09:23:05.520" Score="-1" Body="&lt;p&gt;hey i maybe came up with a better solution : &#xA;upload it to youtube and provide your players with the timesatmps in the description this way they can click on it and see their stuff &lt;/p&gt;&#xA;" OwnerUserId="19619" LastActivityDate="2017-07-30T09:23:05.520" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22015" PostTypeId="2" ParentId="22009" CreationDate="2017-07-30T19:37:36.667" Score="0" Body="&lt;p&gt;I think that will depend on the platform. I don't think YouTube allows that, unless you use two accounts. Either way, the answer is to open two instances of the upstream program (or browser for web based). Your only technical limits are your up speed and processing. Naturally, some platforms specifically block it. If we're working with recorded material, not actual live streams, then any consumer grade laptop should work. &lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2017-07-30T22:09:03.920" LastActivityDate="2017-07-30T22:09:03.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22016" PostTypeId="2" ParentId="22010" CreationDate="2017-07-31T18:26:20.097" Score="0" Body="&lt;p&gt;Here is the recommended encoding settings from &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube help&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am puzzled why you are using a layout image that you drop in Premiere? You should read through &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/creating-changing-sequences.html#create_a_sequence&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe's Help page&lt;/a&gt; about creating sequences. That has good information that should help you out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For myself, I usually shoot in h.264 Video codec, 4K resolution, and for an interview style video, I would probably choose 30fps (frames per second).&lt;/p&gt;&#xA;" OwnerUserId="16850" LastActivityDate="2017-07-31T18:26:20.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22017" PostTypeId="1" AcceptedAnswerId="22019" CreationDate="2017-07-31T18:48:17.983" Score="0" ViewCount="1283" Body="&lt;p&gt;So I'm trying to recreate the effects used in this Envato video &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://videohive.net/item/sport-life-fast-dynamic-slideshow/19632953&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://videohive.net/item/sport-life-fast-dynamic-slideshow/19632953&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what I have so far &lt;a href=&quot;https://gfycat.com/RichAstonishingDalmatian&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gfycat.com/RichAstonishingDalmatian&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I basically want to do is to have a single text layer (selected comp) but I want it to be white on the color footage and black once the pink overlays it. Essentially, I don't want to maintain multiple copies of the text animation (or any other layer). If I change it once in one place it has to be able to cascade to all other places.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As it stands now it stays white and I can't quite figure out how to keep the layer/comp usage to a minimum while still changing the color of the text with the pink overlay. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. Yeah Mark is a crazy guy!&lt;/p&gt;&#xA;" OwnerUserId="5993" LastActivityDate="2017-07-31T21:12:06.717" Title="How to invert the color of a text layer with a sliding adjustment layer" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22018" PostTypeId="1" CreationDate="2017-07-31T20:54:43.720" Score="0" ViewCount="2827" Body="&lt;p&gt;I'm in the market for some longer HDMI cables and came across HDMI cables with &lt;a href=&quot;https://en.wikipedia.org/wiki/RedMere&quot; rel=&quot;nofollow noreferrer&quot;&gt;Redmere technology&lt;/a&gt; inside. The promise is that:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;It allows HDMI cables to be manufactured at lower cost with the same results as regular HDMI cables. By using a lot less copper, it allows for thinner and more flexible cables.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;That sounds great to me. I'm looking to get several cables at 25 feet and 50 feet and will have to travel with them. Thinner, means lighter, means money and backbones saved.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, cables seems a difficult industry with a lot of marketing ploys to get you to buy what you don't need. Is Redmere technology significantly better &lt;em&gt;in practice&lt;/em&gt;? I've looked at a lot of HDMI cables on Amazon today and only one advertised Redmere, but almost none of them tell you the wire or cable thickness, so it's hard to compare. Worse, for my needs, weight is important, but they don't tell you that either.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Example product advertising Redmere HDMI:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;RedMere chip enables a clear signal over long distances and allows for a thinner, more pliable wire gauge for improved cable flexibility and portability&lt;br&gt;&#xA;  &lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/B01JH70GBY&quot; rel=&quot;nofollow noreferrer&quot;&gt;Description on Amazon HDMI cable with Redmere&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Side note:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there's anything I &lt;em&gt;should&lt;/em&gt; want in 25 and 50 lengths of HDMI, please let me know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I &lt;em&gt;did&lt;/em&gt; buy two 50 foot lengths of the Amazon listing linked above. They work great, but don't really seem much lighter or flexible than regular cables. Maybe a little, but not much. One issue is that they are not bi-directional. They have a &quot;source&quot; end and a &quot;monitor&quot; end. I didn't realize that until I tried to use one in the field and had it revered. I almost came back here to complain about a DOA. Considering the price and solid construction, I'll probably buy more and of different lengths too, but I don't notice the Redmere doing anything special. I'll update again with actual weight and circumference when I remember and get a chance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do know anything about Redmere specs and actual quality/weight ratios or something, please do answer.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2017-12-02T16:48:44.797" LastActivityDate="2022-07-02T10:19:59.423" Title="Is &quot;redmere&quot; technology in HDMI cables useful or is it marketing?" Tags="|hdmi|cable|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22019" PostTypeId="2" ParentId="22017" CreationDate="2017-07-31T21:12:06.717" Score="1" Body="&lt;p&gt;Make the text only once inside one comp, but duplicate multiple copies of it in your main comp, so you will only need to create the text once.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then set one of them to be inverted or whatever other colour setting you want. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then make a layer that contains your moving mattes, and add a track matte to each of the text layers, pointing to your moving matte layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mark does indeed look crazy :)&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-07-31T21:12:06.717" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22020" PostTypeId="2" ParentId="17873" CreationDate="2017-07-31T21:32:19.910" Score="0" Body="&lt;p&gt;I'm taking a stab in the dark here, but you might be able to cut the ends off the coaxial cable and replace them with BNC, which might make this effectively SDI. You then get an SDI to HDMI converter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't understand coaxial very well, but I know that &quot;SDI is transmitted over 75 Ohm coax cable with BNC connectors.&quot; (&lt;a href=&quot;http://articles.triplewidemedia.com/choosing-right-video-cable-sdi/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Source&lt;/a&gt;) To me, they've always seemed like the same thing with different connectors. However, the actual wire in a coaxial might not be the same as the SDI spec requires. Often, wires have their specs printed on the pvc casing. See if it matches SDI specs, then you can try this with decent chances it will work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But in your situation, replacing with BNC connectors and trying an SDI-HDMI converter should only be about $50. That's mostly for the crimp tool and a bag of BNC connectors. You can return the SDI to HDMI converter if it doesn't work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did run across this on a similar question: &lt;a href=&quot;https://www.amazon.co.uk/Edision-HDMI-Modulator-Full-Distribution/dp/B00KBXKJ2A&quot; rel=&quot;nofollow noreferrer&quot;&gt;Edision HDMI Modulator Full HD Distribution over Coax&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2017-07-31T21:40:18.283" LastActivityDate="2017-07-31T21:40:18.283" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22021" PostTypeId="1" AcceptedAnswerId="22094" CreationDate="2017-08-01T02:26:33.377" Score="1" ViewCount="1465" Body="&lt;p&gt;The videos below show how to export markers from v12 and v13, but I don't have the View -&gt; Window -&gt; Edit Details options they're showing in v14.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Uh2Ll6ulxEg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/zeBAiCaiEsU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone know how to do it in v14?&lt;/p&gt;&#xA;" OwnerUserId="18857" LastActivityDate="2017-08-12T04:57:18.847" Title="Export Markers From Vegas Studio 14?" Tags="|vegas-pro|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22022" PostTypeId="1" AcceptedAnswerId="22032" CreationDate="2017-08-01T17:41:21.283" Score="1" ViewCount="1158" Body="&lt;p&gt;Recently I'm transcoding a lot of material that I wish to use in broadcast and production environment where they use all sort of macs and apple software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not very fan of apple computers and I already own various pc to carry out normal jobs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I wonder about is.. is ffmpeg or ffmbc or libav good in producing prores? I mean good enough (producing high compatible files) to make me not in the need of use an apple only for produce pro res files for my customers ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What documented glitch, issues or problems people who use my ffmpeg prores on final cut or other apple softwares can experience ?&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2017-09-27T03:31:40.760" Title="Are ffmpeg prores files reliable enough to be used in production/broadcast environment?" Tags="|ffmpeg|prores|libav|apple|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22023" PostTypeId="1" CreationDate="2017-08-01T19:05:11.370" Score="0" ViewCount="104" Body="&lt;p&gt;I'm new, so pardon my incorrect terminology.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say that I download different YouTube clips using an online converter. When I put them into a sequence in Adobe Premier Pro, the clips from the different videos tend to have different frame sizes. I could scale to frame size or set to frame size, but this has lead to black bars on the side or top of the video. So that isn't what I'm looking for. In the end, when I upload to YouTube, I want all of the videos to be the same size so that there are not any black bars in the final product.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second step was to create a new sequence first and have that start off the frame size I'm looking for. So, for example, I want to upload to YouTube, so I use 23.976 frames, 1920x1080, and other basic settings for the sequence. However, when I upload my clips after that to the sequence, the clip is tiny compared to the program monitor's preview display, and when I add different clips from different vids, I still have the same issue that they are not the same frame size. Is there a way to fix that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I hope I was clear enough. If anyone needs any further clarification, please let me know and I'll try to answer it. I'm new to this stuff, but I'll do my best.&lt;/p&gt;&#xA;" OwnerUserId="19636" LastActivityDate="2017-09-01T09:06:42.057" Title="How can you get clips from different YouTube videos to have the same resolution or frame size in Adobe Premier Pro CS6 2017?" Tags="|premiere|editing|cs6|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22024" PostTypeId="1" AcceptedAnswerId="36715" CreationDate="2017-08-01T20:23:56.293" Score="2" ViewCount="11284" Body="&lt;p&gt;I have this file, and would be cool use ffmpeg for extract all audio channels to separate files..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know how to extract a single channel at time in a way like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -map 0:1 -c:a copy output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However this will work for the first channel only.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Aside with for $i 0 to 15, is there a way to extract all the audio channels at one in a specific directory?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffprobe says:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'D:\myfile.mov':&#xA;  Metadata:&#xA;    creation_time   : 2016-04-25T14:10:57.000000Z&#xA;    timecode        : 10:00:00:00&#xA;  Duration: 01:30:36.32, start: 0.000000, bitrate: 193036 kb/s&#xA;    Stream #0:0(eng): Video: prores (apch / 0x68637061), yuv422p10le(bt709, progressive), 1920x1080, 174295 kb/s, SAR 1:1 DAR 16:9, 25 fps, 25 tbr, 25 tbn, 25 t&#xA;bc (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-04-25T14:10:57.000000Z&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Apple ProRes 422 (HQ)&#xA;    Stream #0:1(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-04-25T14:10:57.000000Z&#xA;      handler_name    : Apple Alias Data Handler&#xA;      reel_name       : Unnamed&#xA;      timecode        : 10:00:00:00&#xA;    Stream #0:2(eng): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 16 channels, s32 (24 bit), 18432 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-04-25T14:10:57.000000Z&#xA;      handler_name    : Apple Alias Data Handler&#xA;&#xA;Unsupported codec with id 0 for input stream 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt; It should be something like this..&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -filter_complex \&#xA;&quot;[0:a]pan=mono|c0=c0[a0]; \&#xA; [0:a]pan=mono|c0=c1[a1]; \&#xA; [0:a]pan=mono|c0=c2[a2]; \&#xA; [0:a]pan=mono|c0=c3[a3]; \&#xA; [0:a]pan=mono|c0=c4[a4]; \&#xA; [0:a]pan=mono|c0=c5[a5]; \&#xA; [0:a]pan=mono|c0=c6[a6]; \&#xA; [0:a]pan=mono|c0=c7[a7]; \&#xA; [0:a]pan=mono|c0=c8[a8]; \&#xA; [0:a]pan=mono|c0=c9[a9]; \&#xA; [0:a]pan=mono|c0=c10[a10]; \&#xA; [0:a]pan=mono|c0=c11[a11]&quot; \&#xA; [0:a]pan=mono|c0=c12[a12]&quot; \&#xA; [0:a]pan=mono|c0=c13[a13]&quot; \&#xA; [0:a]pan=mono|c0=c14[a14]&quot; \&#xA; [0:a]pan=mono|c0=c15[a15]&quot; \&#xA;&#xA;-c copy -c:a pcm_s24le&#xA;-map 0 -map -0:a -map &quot;[a0]&quot; audio_00.wav -map &quot;[a1]&quot; audio_01.wav -map &quot;[a2]&quot; audio_02.wav -map &quot;[a3]&quot; audio_03.wav \&#xA;-map &quot;[a4]&quot; audio_04.wav -map &quot;[a5]&quot; audio_05.wav -map &quot;[a6]&quot; audio_06.wav -map &quot;[a7]&quot; audio_07.wav \&#xA;-map &quot;[a8]&quot; audio_08.wav -map &quot;[a9]&quot; audio_09.wav -map &quot;[a10]&quot; audio_10.wav -map &quot;[a11]&quot; audio_11.wav&#xA;-map &quot;[a12]&quot; audio_12.wav -map &quot;[a13]&quot; audio_13.wav -map &quot;[a14]&quot; audio_14.wav -map &quot;[a15]&quot; audio_15.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2017-08-02T10:17:44.747" LastActivityDate="2023-07-28T16:28:05.297" Title="Extract all audio channels as separate wave file from a multichannel file" Tags="|ffmpeg|audio|" AnswerCount="2" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="22025" PostTypeId="2" ParentId="13164" CreationDate="2017-08-02T06:46:53.043" Score="1" Body="&lt;p&gt;I downloaded the ffmpeg from the link&#xA;&lt;a href=&quot;https://sourceforge.net/projects/ffmpeg-hi/?source=typ_redirect&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://sourceforge.net/projects/ffmpeg-hi/?source=typ_redirect&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And entered the below command to create &lt;strong&gt;4:2:2 10bit h.264&lt;/strong&gt; file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg-hi10-heaac.exe -i &amp;quot;im.mp4&amp;quot; -c:v libx264 -pix_fmt yuv422p10le yuv-high-.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19639" LastEditorUserId="24252" LastEditDate="2020-07-10T14:17:01.993" LastActivityDate="2020-07-10T14:17:01.993" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="22026" PostTypeId="2" ParentId="22023" CreationDate="2017-08-02T08:53:38.180" Score="1" Body="&lt;p&gt;There is no ideal solution to your problem, if you don't want the black bars.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pick your main timeline frame size and aspect ratio, and make all the clips fit that timeline. This, of course will reduce the resolution of your smaller clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If most of your clips have a frame size of 1280x720 and therefore a 16x9 aspect ratio, then create a timeline that has that frame size and aspect ratio. If most your clips have a frame size of 640x480, then that's your frame size, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then simply fit the clips that don't have your chosen frame size and aspect ratio to your main timeline by adjusting their scale in a way that any black area is pushed off-frame.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2017-08-02T08:53:38.180" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22027" PostTypeId="2" ParentId="22010" CreationDate="2017-08-02T09:07:54.153" Score="1" Body="&lt;p&gt;&lt;strong&gt;What presets do you recommend when creating Premiere project for a YouTube video? I read that YouTube recommends uploading 720p videos, but nothing like that exists in Premiere presets.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any preset works as long as your export settings correspond to what YouTube can ingest.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By the way, 720p presets exist in Premiere, for most codecs.&#xA;Here's a screen capture for the DNxHD codec:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8oozC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8oozC.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What settings should I use to render the sequence to have good quality but acceptable file size?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a 720p file, make sure your data rate is no smaller than 5 Mbps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a 1080p file, make sure your data rate is no smaller than 10 Mbps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Codec: H264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Field order: progressive usually (depending on your raw footage).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Aspect: square pixel usually (depending on your raw footage).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio: AAC, 4100Hz, Maximum Bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maximum render quality.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2017-08-02T09:07:54.153" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22029" PostTypeId="1" CreationDate="2017-08-02T10:22:04.937" Score="3" ViewCount="1011" Body="&lt;p&gt;I have a movie - movie.mp4. I wish to remove/delete specific contiguous frames from movie.mp4 which are located somewhere near the middle.&#xA;Specifically, total frames in movie.mp4 = 33,595.&#xA;I would like to remove frames 19,965 to 19,982&#xA;Using FFmpeg - I guess this is question of creating two temp files which exclude the deleted frames and then concatenating the two temp files back into one. My knowledge of FFmpeg is limited so I son't know how to do this. &#xA;Also if I wish to exclude other chunks ( frames e.g. 19,561 to 19581, etc) can this be achieved efficiently in one coding string.&#xA;Any suggestions greatly appreciated. Many thanks.&lt;/p&gt;&#xA;" OwnerUserId="19641" LastActivityDate="2017-08-02T10:22:04.937" Title="FFmpeg Windows MP4 - remove specific frames" Tags="|video|ffmpeg|encoding|software|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22031" PostTypeId="1" AcceptedAnswerId="23773" CreationDate="2017-08-02T19:40:28.353" Score="3" ViewCount="149" Body="&lt;p&gt;When I import AVCHD from my Sony camera into macOS via different apps (such as AVCHD to Mov from the App Store), I always end up with interlaced video and then have to pass it through additional filters to deinterlace it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I import the video while simultaneously deinterlacing it?  I have heard that it can be done, but I've not found the method to accomplish this.&lt;/p&gt;&#xA;" OwnerUserId="5647" LastActivityDate="2018-04-10T07:01:41.247" Title="How to import AVCHD to macOS while also deinterlacing during import?" Tags="|avchd|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22032" PostTypeId="2" ParentId="22022" CreationDate="2017-08-03T06:33:08.597" Score="3" Body="&lt;p&gt;I've had no problems producing prores 422 HQ .mov files with ffmpeg on my Windows machine for Mac-encumbered clients, including delivery to TV Networks for broadcast. I have had some problems with prores 4444 but only when the files have alpha channels, however that bug seems to have been &lt;a href=&quot;https://video.stackexchange.com/questions/20024/bad-quality-encodes-to-prores4444-with-alpha-from-ffmpeg/20037?noredirect=1#comment31737_20037&quot;&gt;fixed recently&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if anyone has done any head to head tests with the results you get out of ffmpeg vs a native apple app or something like adobe media encoder. That would certainly be worth doing.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-08-11T04:06:16.127" LastActivityDate="2017-08-11T04:06:16.127" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22034" PostTypeId="1" CreationDate="2017-08-03T20:41:40.913" Score="1" ViewCount="609" Body="&lt;p&gt;How can I export from Camtasia to Premiere Pro keeping the two audio tracks as separate audio tracks in Premiere Pro?&lt;/p&gt;&#xA;" OwnerUserId="19382" LastActivityDate="2017-09-04T15:46:13.097" Title="Export from Camtasia to Premiere Pro, with good audio" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22036" PostTypeId="1" AcceptedAnswerId="22046" CreationDate="2017-08-04T15:03:09.437" Score="2" ViewCount="259" Body="&lt;p&gt;I need to replicate the video effect named &quot;Glamour&quot; in the Google Photo app using Adobe Premiere or any other video editor with professional tools. Here is a &lt;a href=&quot;https://youtu.be/gz1ZgLVeczM&quot; rel=&quot;nofollow noreferrer&quot;&gt;sample&lt;/a&gt;. Can someone point me in the right direction? &lt;/p&gt;&#xA;" OwnerUserId="19656" LastEditorUserId="19657" LastEditDate="2017-08-04T16:03:28.890" LastActivityDate="2017-08-07T05:22:20.197" Title="How can I replicate Google's &quot;Glamour&quot; effect in Premiere Pro?" Tags="|premiere|animation|effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22037" PostTypeId="1" CreationDate="2017-08-04T16:53:22.690" Score="2" ViewCount="315" Body="&lt;p&gt;Recently watched this &lt;a href=&quot;https://www.youtube.com/watch?v=MtdP5KBTN6I&quot; rel=&quot;nofollow noreferrer&quot;&gt;video&lt;/a&gt; showing colour restoration of a Black &amp;amp; White film. Which software did they use for this purpose? Any guess?&lt;/p&gt;&#xA;" OwnerUserId="18971" LastEditorUserId="18971" LastEditDate="2017-08-07T18:18:26.233" LastActivityDate="2017-08-07T18:18:26.233" Title="Software used for Film Colourization" Tags="|software-recommendation|color|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22039" PostTypeId="2" ParentId="22037" CreationDate="2017-08-04T19:20:15.910" Score="3" Body="&lt;p&gt;From the youtube video description you linked:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The in-house developed and customized cutting edge software tools &#xA;  provide better image quality and colors very close to the original.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-08-04T19:20:15.910" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22040" PostTypeId="2" ParentId="22037" CreationDate="2017-08-04T21:28:01.900" Score="2" Body="&lt;p&gt;When colorizing film, filmmaker's will use a variety of commercial and custom developed tools. That mix of tools is often treated as proprietary information and is not widely discussed. For example, the team responsible for recently colorizing historical footage for the Smithsonian Channel did &lt;a href=&quot;http://www.tvtechnology.com/resources/0006/colorizing-history/281366&quot; rel=&quot;nofollow noreferrer&quot;&gt;&quot;not rely on a single commercial product, but rather a combination of software from Adobe PhotoShop, DaVinci Resolve and more.&quot;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-08-04T21:28:01.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22041" PostTypeId="2" ParentId="22034" CreationDate="2017-08-05T14:57:23.407" Score="3" Body="&lt;p&gt;If all else fails, do two different exports, one with each audio track muted and then put them on separate tracks in Premiere.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-08-05T14:57:23.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22042" PostTypeId="1" CreationDate="2017-08-05T19:40:11.070" Score="1" ViewCount="30" Body="&lt;p&gt;Do I need any Licence for including (with HTML embed tag) others YouTube videos in my website?&#xA;I just want to show some cool YouTube videos in my website, but those videos aren't neither created by me nor by my friends. I don't want to add any download link; just to include the videos&lt;/p&gt;&#xA;" OwnerUserId="19665" LastEditorUserId="19665" LastEditDate="2017-08-05T19:48:14.017" LastActivityDate="2017-08-06T02:40:49.413" Title="Licence for including (with HTML embed tag) others YouTube videos" Tags="|youtube|" AnswerCount="1" CommentCount="1" ClosedDate="2017-08-07T19:09:33.070" ContentLicense="CC BY-SA 3.0" />
  <row Id="22043" PostTypeId="2" ParentId="22042" CreationDate="2017-08-06T02:36:37.307" Score="0" Body="&lt;p&gt;If you use the YouTube embed feature then it is allowed according to the YouTube terms of service. If the uploader doesn't want their video to be embedded they can simply turn it off in the video manager.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is not allowed, whether the embed feature is enabled or not, is that you rip the video from YouTube and then distribute it from your own servers. The only exception is that the video author gave you permission to do this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, you may get a cease and desist letter if you have a habit of just putting a ton of YouTube videos on your webpages and some ads and no original content of your own. &lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2017-08-06T02:40:49.413" LastActivityDate="2017-08-06T02:40:49.413" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="22044" PostTypeId="1" CreationDate="2017-08-06T20:00:31.177" Score="1" ViewCount="13" Body="&lt;p&gt;&lt;em&gt;Sony Platinum Studio V 12&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to delete a portion of one channel and have the rest of that channel NOT SLIDE around, i.e., stay sync'd with the OTHER channels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note:the Sound Effect clip outlined in red is odd. There is no &lt;em&gt;Trim Event End&lt;/em&gt; handle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/amv1y.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/amv1y.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5183" LastActivityDate="2017-08-06T20:00:31.177" Title="How to delete a portion of timeline without having the rest of that channel &quot;slip&quot;" Tags="|video-editor|vegas-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22046" PostTypeId="2" ParentId="22036" CreationDate="2017-08-07T05:22:20.197" Score="1" Body="&lt;p&gt;There are a few things going on here:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The image is enlarged, slightly blurred and scaling up in the background&lt;/li&gt;&#xA;&lt;li&gt;Another copy of the image has a white border added to it, and both fades in and scales down in front of the background. Some of these copies are at a slight angle.&lt;/li&gt;&#xA;&lt;li&gt;Once the foreground image has reached its final position, a bloom filter is applied to the entire image with the amount of bloom increasing over time. It's used as a transition, so that the outgoing clip gets more and more bloom, and also fades into the incoming clip, which starts out with a lot of bloom and gets less and less over time.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;So you'll need 2 layers - one for the foreground and one for the background. You'll need to blur, scale, and animate the scale of the background layer. Then you'll need to add a border to the foreground layer, animate its scale over time, and possibly rotate it. You may need to precompose that into a single layer and apply the bloom filter as a transition as described above.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-08-07T05:22:20.197" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22047" PostTypeId="1" CreationDate="2017-08-07T09:35:41.583" Score="1" ViewCount="1310" Body="&lt;p&gt;I'm working with ffmpeg and processing MOVs with alpha channels. I want to generate a sequence of images and preserve the alpha channel in the images generated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any guidance or help would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="19677" LastActivityDate="2017-10-08T09:31:38.400" Title="Generate thumbnail images with alpha channel from a video which has an alpha channel using ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22048" PostTypeId="1" AcceptedAnswerId="22050" CreationDate="2017-08-07T09:55:22.333" Score="0" ViewCount="1055" Body="&lt;p&gt;I wanted to scale a video input (1.webm) and keeping it's aspect ratio,&#xA;then overlay to make it centered, with following command:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -y -hide_banner -i 1.webm -filter_complex &quot;color=color=Black:size=640x480:d=7.420[bg];[0:0]scale=w='iw&lt;em&gt;min(640/iw,480/ih)':h='ih&lt;/em&gt;min(640/iw,480/ih)'[scaled];[bg][scaled]overlay=x=(W-w)/2:y=(H-h)/2&quot; -an -f rawvideo -c:v rawvideo -s:v 640x480 -pixel_format yuv420p 1.yuv&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;the output seem corrupted, dark area in original video turns purple or pink, and it's blinking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I edited the command to remove the overlay filter, with following command:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -y -hide_banner -i 1.webm -filter_complex &quot;[0:0]scale=w='iw&lt;em&gt;min(640/iw,480/ih)':h='ih&lt;/em&gt;min(640/iw,480/ih)'&quot; -an -f rawvideo -c:v rawvideo -s:v 640x480 -pixel_format yuv420p 1.yuv&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;this time, the output seem fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't figure out what is going wrong, please help. &lt;/p&gt;&#xA;" OwnerUserId="19361" LastActivityDate="2017-08-07T10:39:37.877" Title="ffmpeg scale and overlay then output yuv got corrupted video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22049" PostTypeId="2" ParentId="22047" CreationDate="2017-08-07T10:32:06.417" Score="1" Body="&lt;p&gt;I found this solution on StackOverFlow.com: &lt;a href=&quot;https://stackoverflow.com/questions/7742506/convert-flv-video-with-alpha-channel-to-pngs-with-transparency&quot;&gt;https://stackoverflow.com/questions/7742506/convert-flv-video-with-alpha-channel-to-pngs-with-transparency&lt;/a&gt;&lt;br/&gt;&lt;br/&gt;&#xA;&lt;code&gt;./ffmpeg -i ../videos/video.mov -r 25 -vcodec png -pix_fmt rgb32 %d.png&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="19677" LastEditorUserId="19677" LastEditDate="2017-08-09T08:25:38.043" LastActivityDate="2017-08-09T08:25:38.043" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22050" PostTypeId="2" ParentId="22048" CreationDate="2017-08-07T10:39:37.877" Score="0" Body="&lt;p&gt;I suspect this has to do with lack 1-1 correspondence between the frame timings in the color and video, but in any case, you can just run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -hide_banner -i 1.webm&#xA;       -vf &quot;scale=w=640:h=480:force_original_aspect_ratio=decrease,&#xA;            pad=640:480:(ow-iw)/2:(oh-ih)/2&quot;&#xA;       -an -f rawvideo -pix_fmt yuv420p 1.yuv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-08-07T10:39:37.877" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22051" PostTypeId="1" AcceptedAnswerId="22080" CreationDate="2017-08-07T11:22:09.440" Score="1" ViewCount="91" Body="&lt;p&gt;I need to be able to add small graphical things onto a recorded movie clip. Things like arrows and text. I will need to be able to do simple animation, such as making the arrow elongate, making the text fade in, making an object rotate and such.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have seen Apple's Motion but I am  not able to use that software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What other software can do this job?&lt;/p&gt;&#xA;" OwnerUserId="19678" LastEditorUserId="4426" LastEditDate="2017-09-09T06:11:18.557" LastActivityDate="2018-05-08T11:10:49.307" Title="Best tool for adding simple graphics such as fading-in text on a video" Tags="|software-recommendation|animation|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="22054" PostTypeId="1" CreationDate="2017-08-07T17:25:28.573" Score="2" ViewCount="256" Body="&lt;p&gt;I am working on a video which includes some dropped frames ever so often. When a frame dropped, it repeated the previous frame sometimes 2 or 3 times. I am overlaying many objects on this video, and the problem is that when interpolating a property, it continues to interpolate during the dropped frames, meaning the objects move while the video remains still. Because of the huge amount of objects in my scene (100+) it is incredibly tedious to go through each and find each dropped frame, set a keyframe for the properties, and copy them for all the repetitions of that frame. Is there a way to either set a keyframe for all properties at some time, or ideally to set time ranges for the whole composition where interpolation is disabled? &lt;/p&gt;&#xA;" OwnerUserId="19681" LastEditorUserId="2836" LastEditDate="2017-08-08T14:41:03.673" LastActivityDate="2024-03-31T00:05:25.590" Title="Dealing with dropped frames in background plate when doing keyframe animation in After Effects" Tags="|video|after-effects|editing|keyframes|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22056" PostTypeId="1" AcceptedAnswerId="22087" CreationDate="2017-08-07T21:41:54.093" Score="1" ViewCount="902" Body="&lt;p&gt;I am using handbrake to compress 250mb of 3d animation stored in .mov. This is how the mov looks:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/STGkO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/STGkO.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The compressed version has some artifacts. Like it doesn't have enough shades of grey:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2kKVN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2kKVN.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I avoid that? Should I render in a .mov file in the first place? &lt;/p&gt;&#xA;" OwnerUserId="16176" LastActivityDate="2017-09-23T04:58:17.867" Title="mov to mp4 conversion produces grainy results" Tags="|video-quality|compression|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22059" PostTypeId="1" AcceptedAnswerId="28715" CreationDate="2017-08-08T13:57:07.133" Score="18" ViewCount="16529" Body="&lt;p&gt;I need to validate if a video file (HEVC encoded) is or is not an HDR video. I know that there are many HDR standards, but I did not find a way to identify it using &lt;code&gt;mediainfo&lt;/code&gt; or &lt;code&gt;ffprobe&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The need is because I have an API that receives several video profiles (different bitrates, dimensions and codecs) for a single video, which are used to deliver to users the best match based on their devices and connection speed. So now I want to allow them to select HDR profile but to achieve this I need first to validate the ingest files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know how to handle this?&lt;/p&gt;&#xA;" OwnerUserId="2927" LastEditorUserId="2927" LastEditDate="2017-08-08T17:01:57.487" LastActivityDate="2022-12-25T09:02:32.953" Title="How to identify HDR video?" Tags="|ffmpeg|hdr|" AnswerCount="5" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22060" PostTypeId="2" ParentId="12118" CreationDate="2017-08-08T15:38:21.137" Score="0" Body="&lt;p&gt;Assuming your PDF files are in your working directory, to create a movie file from a set of PDF files you can simply execute:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mogrify -verbose -density 500 -resize 800 -format png ./*.pdf &#xA;convert -delay 600 *.png movie.mp4                               &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This requires  &lt;a href=&quot;https://www.imagemagick.org/script/index.php&quot; rel=&quot;nofollow noreferrer&quot;&gt;Imagemagick&lt;/a&gt;  and  &lt;a href=&quot;https://www.ghostscript.com/download/gsdnld.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Ghostscript&lt;/a&gt; to be installed. Works on Linux/Mac OS X/Microsoft Windows. Not vectorial.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;FYI:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://stackoverflow.com/q/32466112/395857&quot;&gt;Imagemagick Convert PDF to JPEG: FailedToExecuteCommand `&quot;gswin32c.exe&quot; / PDFDelegateFailed&lt;/a&gt; --&gt; that's the error message you get if Ghostscript is not installed. &lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://unix.stackexchange.com/q/121293/16704&quot;&gt;Convert every pdf in the current directory to png&lt;/a&gt; --&gt; convert doesn't support batch conversion, unlike mogrify.&lt;/li&gt;&#xA;&lt;li&gt;ffmpeg requires the images to have some very specific naming convention, unlike convert which simply takes the lexicographical order.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2117" LastActivityDate="2017-08-08T15:38:21.137" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22061" PostTypeId="1" AcceptedAnswerId="22063" CreationDate="2017-08-08T19:27:48.343" Score="0" ViewCount="1850" Body="&lt;p&gt;I've done this before in an older version of adobe premiere but I can't seem to remember how to get the export settings correct.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to export in:&#xA;1080i at 29.97fps with resolution 1920x1080 as a .mov file&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found these settings under H.264 and HD1080i 29.97 but it forces a .mp4 file. Under quicktime I don't seem to have the 1080i presets. Am I missing the settings or is there something I can do to make this work?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a chart for the standards I'm trying to follow:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/2D4EX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2D4EX.png&quot; alt=&quot;Specs Chart&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17748" LastActivityDate="2017-08-08T20:30:51.833" Title="Export .mov 1080i60 (59.94i) 29.97 fps Adobe Premiere" Tags="|premiere|quicktime|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22062" PostTypeId="2" ParentId="20620" CreationDate="2017-08-08T19:29:00.377" Score="5" Body="&lt;p&gt;The issue is that you are using &lt;code&gt;-crf&lt;/code&gt; with &lt;code&gt;-b:v&lt;/code&gt;. ffmpeg is a well built program, so it's just ignoring &lt;code&gt;-b:v&lt;/code&gt; and using &lt;code&gt;-crf&lt;/code&gt;. If you want to have a specific bitrate, remove the crf command. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;CRF is &quot;constant rate factor&quot;, which means a quality variable is specified then a variable bitrate is calculated based on the content. It's my favorite for h.264 because it usually comes out vey well. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Setting a constant bitrate works as expected. Compression will be nearly exactly what you entered, but quality may suffer for it. I never use it for h.264. I can't think of a use case where I would. &lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2017-08-08T19:29:00.377" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22063" PostTypeId="2" ParentId="22061" CreationDate="2017-08-08T20:30:51.833" Score="0" Body="&lt;ol&gt;&#xA;&lt;li&gt;Download &lt;a href=&quot;https://support.apple.com/kb/DL837?locale=en_US&quot; rel=&quot;nofollow noreferrer&quot;&gt;Quicktime&lt;/a&gt; to enable missing codecs &lt;/li&gt;&#xA;&lt;li&gt;In export settings select &quot;Quicktime&quot; for format &lt;/li&gt;&#xA;&lt;li&gt;Ignore preset, scroll down to video codec and select H.264&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="17748" LastActivityDate="2017-08-08T20:30:51.833" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22066" PostTypeId="1" AcceptedAnswerId="22077" CreationDate="2017-08-08T22:25:10.143" Score="2" ViewCount="11601" Body="&lt;p&gt;I wanted to know if it is worth it to buy SSDs to improve render speed?&#xA;By what percent can SSDs reduce render time?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. I ask this because, some time ago, I accidentally changed hard drive cables and after that my Sony Vegas render time has increased 3 times. I couldn't solve it back after that, then I concluded that hdd speed might be problem.&lt;/p&gt;&#xA;" OwnerUserId="16354" LastEditorUserId="2836" LastEditDate="2017-08-09T14:34:59.447" LastActivityDate="2017-08-09T14:46:18.543" Title="Does SSD reduce render time significantly?" Tags="|video-editor|hardware|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22067" PostTypeId="2" ParentId="22066" CreationDate="2017-08-08T23:47:19.923" Score="1" Body="&lt;p&gt;In preview and cache, it should help. But in rendering, the cpu upgrade is the best.&lt;/p&gt;&#xA;" OwnerUserId="19694" LastActivityDate="2017-08-08T23:47:19.923" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="22068" PostTypeId="1" CreationDate="2017-08-08T23:50:19.907" Score="0" ViewCount="3022" Body="&lt;p&gt;I edited my 4k footage in a 1080p Premiere Pro project. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now If I render the project in 4k, will the 4k clips keep their Quality or will they downscale to 1080?&lt;/p&gt;&#xA;" OwnerUserId="17018" LastActivityDate="2017-08-11T04:22:18.573" Title="Editing 4k footage in 1080p project and rendering in 4k?" Tags="|premiere|4k|export|1080p|render|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22070" PostTypeId="2" ParentId="22068" CreationDate="2017-08-09T04:38:34.257" Score="1" Body="&lt;p&gt;There is two option at sequence setting. Video and video previews. If the video set 4k, and the video previews set 1080, i shoud not be downscale at rendering. &lt;/p&gt;&#xA;" OwnerUserId="19694" LastActivityDate="2017-08-09T04:38:34.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22071" PostTypeId="1" CreationDate="2017-08-09T07:52:26.193" Score="1" ViewCount="2980" Body="&lt;p&gt;I want to transmit HLS stream to RTP multicast via FFmpeg and use the following command: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -re -i HLSstream -c copy -f rtp_mpegts rtp://ip:port&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;But the output source сrumbles sometimes (I can't understand periodicity of it). I playing it via VLC and it shows the following errors: &lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[00007fe17800b508] ts demux error: libdvbpsi error (PSI decoder): TS&#xA;  discontinuity (received 7, expected 2) for PID 0&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;[00007fe17800b508] ts demux error: libdvbpsi error (PSI decoder): TS&#xA;  discontinuity (received 7, expected 2) for PID 4096&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;[00007fe17800b508] ts demux error: libdvbpsi error (PSI decoder): TS&#xA;  discontinuity (received 8, expected 7) for PID 17&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;[00007fe17800b508] ts demux error: libdvbpsi error (PSI decoder): TS&#xA;  discontinuity (received 2, expected 14) for PID 0&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;[00007fe17800b508] ts demux error: libdvbpsi error (PSI decoder): TS&#xA;  discontinuity (received 2, expected 14) for PID 4096&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It works well when I copy the HLS stream to local file and play it. &lt;br&gt;&#xA;Is the way to fix it? Or please advice other tool to transmit HLS to UDP.&lt;/p&gt;&#xA;" OwnerUserId="14107" LastEditorUserId="14107" LastEditDate="2017-08-09T08:43:44.573" LastActivityDate="2024-04-05T22:07:25.813" Title="HLS to RTP multicast FFmpeg" Tags="|ffmpeg|hls|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22075" PostTypeId="1" CreationDate="2017-08-09T13:38:20.687" Score="0" ViewCount="515" Body="&lt;p&gt;Often I use Premiere to transcode or export media where the final size isn't the main problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm used to the ultrafast preset from ffmpeg, what I wonder is.. it is possible to pick the same options that I generally use: QuickTime as container and H.264 but set also the ultrafast option ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My pc is very slow and this would be a lifesaver for encoding times.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2017-08-09T14:15:27.940" Title="Premiere encode in h264 using &quot;ultrafast&quot; preset" Tags="|ffmpeg|premiere|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22076" PostTypeId="2" ParentId="22075" CreationDate="2017-08-09T14:15:27.940" Score="1" Body="&lt;p&gt;Not out-of-the-box as far as I'm aware. Those presets are specific to the x26* encoders. Premiere bundles Mainconcept's H.264 encoder. You can try third party plugins which allow one to use x264 from within Premiere:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://sourceforge.net/projects/x264vfw/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://sourceforge.net/projects/x264vfw/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.x264pro.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.x264pro.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-08-09T14:15:27.940" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22077" PostTypeId="2" ParentId="22066" CreationDate="2017-08-09T14:46:18.543" Score="5" Body="&lt;p&gt;It depends entirely on the type of rendering you are doing and the specs of your computer.  Bottle necks can occur in many different parts of the rendering pipeline.  Generally speaking, rendering is very GPU or CPU intensive, depending on if the render engine is CUDA (or similar) enabled.  If the renderer is able to utilize a GPU, then GPUs and/or dedicated encoding cards will generally provide the largest boost to performance if they have not already been optimized, if not GPU enabled, then CPU becomes the biggest factor if not extremely fast or doing very light rendering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Memory is a potentially large factor as well and would compound with the hard drive.  If there is not enough storage space for the CPU or GPU to work on the video stream, then it will have to spend much more time moving data on and off the hard drive.  In this case (if the memory is showing high utilization during render) then increasing the amount of memory is likely to yield a significant improvement in performance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Data transfer rate is still potentially a bottleneck though.  If rendering is very minimally CPU/GPU intensive and/or the system already have very high performing CPUs or GPUs, then it is possible that a HDD would not be able to keep the render engine supplied with data to process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An easy way to tell if your disk drive is a problem is to look at how long the render takes relative to the rate at which you can playback video in the editor.  If you are encoding to a different drive than your source material is on, then if the HDD is a bottleneck, it would be expected that render speed should move at the same rate as you are able to playback.  If you can playback footage at 20fps, then your HDD is capable of feeding at least 20 frames per second (with no effects applied).  If the render engine is processing less than 20 frames a second, the processing speed is the limit.  If it is processing 20 frames a second, then it is entirely possible that the HDD is failing to keep the render engine supplied with data to process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are storing the render on the same drive you are reading your source from, it becomes much harder to tell as a HDD requires moving the read/write head between where it is reading the source data and writing the render results.  This extra seek time will drastically slow the performance of the drive.  As a rule of thumb, I'd say to consider looking in to disk related solutions if your render time is better than 1/3 of the playback rate when reading and writing to the same drive, though I'd encourage trying to do a test on different drives for source and output to be more certain.  So, if you are reading and writing to the same drive and you can play back 30fps, then if your encoding is running at 10fps or higher, an SSD might be helpful. (As might more memory as that would reduce how often the system has to switch between reading and writing and help cover the gap.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-08-09T14:46:18.543" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22078" PostTypeId="1" CreationDate="2017-08-08T20:33:58.970" Score="0" ViewCount="100" Body="&lt;p&gt;my canon DSLR stopped recording videos automatically then I deleted some videos and continued again but when I inserted my SD card to my laptop the videos are nowhere to be found. Are those videos somehow saved? if yes how can I access them? thanks&lt;/p&gt;&#xA;" OwnerDisplayName="csiro" LastActivityDate="2017-10-08T15:34:09.753" Title="the videos that I recorded on my Canon DSLR are nowhere to be found" Tags="|canon|dslr|video|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22079" PostTypeId="2" ParentId="22078" CreationDate="2017-08-08T20:48:35.210" Score="1" Body="&lt;p&gt;Usually, even deleted files are still on the disk until they are over written by some other file. Try running file recovery software such as Recuva or Puran. Be sure to read the software user guides before starting.&#xA;However, I once got caught out looking for files on a card when the device was actually saving to it's built in storage. I am not aware of any canon DSLR with built in storage though.&lt;/p&gt;&#xA;" OwnerDisplayName="user1068122" LastActivityDate="2017-08-08T20:48:35.210" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22080" PostTypeId="2" ParentId="22051" CreationDate="2017-08-10T03:42:08.227" Score="1" Body="&lt;p&gt;Adobe After Effects is what I use. It's pretty simple and there are a ton of tutorials out there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need something free there is Hit Film Express, which I hear is decent though I've never used it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly what editing software are you using? You should be able to do simple things like that in any old editing program out there.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Spencer&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2017-08-10T03:42:08.227" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22081" PostTypeId="2" ParentId="22071" CreationDate="2017-08-10T06:53:31.770" Score="0" Body="&lt;p&gt;It's not the best variant, but in my case it helped. I getting data with ffmpeg then routing output to vlc2 via pipe and transmitting it to rtp with the following command: &lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -re -i HLSstream -c copy -f mpegts - 2&gt;/dev/null | vlc -&#xA;  --ttl=255 -I dummy --sout '#rtp{access=rtp,mux=ts,dst=IP,port=PORT}' :sout-all :sout-keep&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="14107" LastActivityDate="2017-08-10T06:53:31.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22082" PostTypeId="1" CreationDate="2017-08-10T10:30:21.543" Score="2" ViewCount="439" Body="&lt;p&gt;I am using ffmpeg to convert a straight alpha .mov to a webm so I can layer videos on top of one another for a web game however when converted the duration is the right length but the frames freeze just before the end. I need the video to loop perfectly which the premult does but not the straight (videos at bottom - I apologies for the poor quality!) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I use a premultiplied alpha of the exact same video is converts fine. I need the alpha to be straight so that there is no black line silhouetting the alpha so it comps together correctly! I am not sure what is causing the problem, I thought it might be a frames per second issue (using 24fps) but specifying it doesnt change anything for both of them!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the code I have been using in my terminal for both versions of the video (unmatted and matted):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 24 -i Desktop/INO_MOV/W2.mov -c:v libvpx-vp9 -strict -2 -crf 20 -b:v 0 -pix_fmt yuva420p -auto-alt-ref 0 -r 24 Desktop/INO_MOV/Walk_2.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is what I get back from the premultiplied test video which works:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 24 -i Desktop/INO_MOV/W.mov -c:v libvpx-vp9 -strict -2 -crf 20 -b:v 0 -pix_fmt yuva420p -auto-alt-ref 0 -r 24 Desktop/INO_MOV/Walk_1.webm&#xA;ffmpeg version 3.3.3 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with Apple LLVM version 6.1.0 (clang-602.0.53) (based on LLVM 3.6.0svn)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.3.3 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-libmp3lame --enable-libvpx --enable-libx264 --enable-libxvid --enable-opencl --disable-lzma --enable-vda&#xA;  libavutil      55. 58.100 / 55. 58.100&#xA;  libavcodec     57. 89.100 / 57. 89.100&#xA;  libavformat    57. 71.100 / 57. 71.100&#xA;  libavdevice    57.  6.100 / 57.  6.100&#xA;  libavfilter     6. 82.100 /  6. 82.100&#xA;  libavresample   3.  5.  0 /  3.  5.  0&#xA;  libswscale      4.  6.100 /  4.  6.100&#xA;  libswresample   2.  7.100 /  2.  7.100&#xA;  libpostproc    54.  5.100 / 54.  5.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'Desktop/INO_MOV/W.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    creation_time   : 2017-08-10T09:51:13.000000Z&#xA;  Duration: 00:00:02.50, start: 0.000000, bitrate: 209667 kb/s&#xA;    Stream #0:0(eng): Video: qtrle (rle  / 0x20656C72), bgra(progressive), 1280x720, 206312 kb/s, SAR 1:1 DAR 16:9, 24 fps, 24 tbr, 24 tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-08-10T09:51:13.000000Z&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Animation&#xA;      timecode        : 00:00:00:00&#xA;    Stream #0:1(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-08-10T09:51:13.000000Z&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:00:00:00&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (qtrle (native) -&amp;gt; vp9 (libvpx-vp9))&#xA;Press [q] to stop, [?] for help&#xA;[libvpx-vp9 @ 0x7fcce2803c00] v1.6.1&#xA;Output #0, webm, to 'Desktop/INO_MOV/Walk_1.webm':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf57.71.100&#xA;    Stream #0:0(eng): Video: vp9 (libvpx-vp9), yuva420p, 1280x720 [SAR 1:1 DAR 16:9], q=-1--1, 24 fps, 1k tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-08-10T09:51:13.000000Z&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:00:00:00&#xA;      encoder         : Lavc57.89.100 libvpx-vp9&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;frame=   60 fps=1.6 q=0.0 Lsize=     723kB time=00:00:02.45 bitrate=2407.5kbits/s speed=0.0657x    &#xA;video:226kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 219.496933%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And this from the same video with a straight alpha (does work):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 24 -i Desktop/INO_MOV/W2.mov -c:v libvpx-vp9 -strict -2 -crf 20 -b:v 0 -pix_fmt yuva420p -auto-alt-ref 0 -r 24 Desktop/INO_MOV/Walk_2.webm&#xA;ffmpeg version 3.3.3 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with Apple LLVM version 6.1.0 (clang-602.0.53) (based on LLVM 3.6.0svn)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.3.3 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-libmp3lame --enable-libvpx --enable-libx264 --enable-libxvid --enable-opencl --disable-lzma --enable-vda&#xA;  libavutil      55. 58.100 / 55. 58.100&#xA;  libavcodec     57. 89.100 / 57. 89.100&#xA;  libavformat    57. 71.100 / 57. 71.100&#xA;  libavdevice    57.  6.100 / 57.  6.100&#xA;  libavfilter     6. 82.100 /  6. 82.100&#xA;  libavresample   3.  5.  0 /  3.  5.  0&#xA;  libswscale      4.  6.100 /  4.  6.100&#xA;  libswresample   2.  7.100 /  2.  7.100&#xA;  libpostproc    54.  5.100 / 54.  5.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'Desktop/INO_MOV/W2.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    creation_time   : 2017-08-10T09:54:51.000000Z&#xA;  Duration: 00:00:02.50, start: 0.000000, bitrate: 209667 kb/s&#xA;    Stream #0:0(eng): Video: qtrle (rle  / 0x20656C72), bgra(progressive), 1280x720, 206312 kb/s, SAR 1:1 DAR 16:9, 24 fps, 24 tbr, 24 tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-08-10T09:54:51.000000Z&#xA;      handler_name    : Apple Alias Data Handler&#xA;      encoder         : Animation&#xA;      timecode        : 00:00:00:00&#xA;    Stream #0:1(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-08-10T09:54:51.000000Z&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:00:00:00&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (qtrle (native) -&amp;gt; vp9 (libvpx-vp9))&#xA;Press [q] to stop, [?] for help&#xA;[libvpx-vp9 @ 0x7ffba400e600] v1.6.1&#xA;Output #0, webm, to 'Desktop/INO_MOV/Walk_2.webm':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf57.71.100&#xA;    Stream #0:0(eng): Video: vp9 (libvpx-vp9), yuva420p, 1280x720 [SAR 1:1 DAR 16:9], q=-1--1, 24 fps, 1k tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-08-10T09:54:51.000000Z&#xA;      handler_name    : Apple Alias Data Handler&#xA;      timecode        : 00:00:00:00&#xA;      encoder         : Lavc57.89.100 libvpx-vp9&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;frame=   60 fps=0.7 q=0.0 Lsize=    5486kB time=00:00:02.00 bitrate=22460.5kbits/s speed=0.022x    &#xA;video:5077kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 8.056586%&#xA;Thomass-iMac:~ thomasquemby$ ffmpeg -r 24 -i Desktop/INO_MOV/W2.mov -c:v libvpx-vp9 -strict -2 -crf 20 -b:v 0 -pix_fmt yuva420p -auto-alt-ref 0 -r 24 Desktop/INO_MOV/Walk_2.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Ive read through the code but I cant see whats going wrong? Is this just a bug with ffmpeg? Any help would be great!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Links to the videos:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Working Premult: &lt;a href=&quot;https://www.dropbox.com/s/y3o9j9kl8ow3gfm/Walk_1.webm?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dropbox.com/s/y3o9j9kl8ow3gfm/Walk_1.webm?dl=0&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not working Straight (ignore the discolouration): &lt;a href=&quot;https://www.dropbox.com/s/pybe3cgxw2k8c48/Walk_2.webm?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dropbox.com/s/pybe3cgxw2k8c48/Walk_2.webm?dl=0&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19705" LastActivityDate="2017-08-10T10:30:21.543" Title="FFMPEG drops end frames when converting a unmatted alpha .mov to .webm using ffmpeg but converts fine when alpha is premultiplied?" Tags="|ffmpeg|webvideos|alpha|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22084" PostTypeId="2" ParentId="21428" CreationDate="2017-08-10T15:56:11.697" Score="0" Body="&lt;p&gt;Do what you're already doing but use a Ethernet switch so you don't have to rely on the wireless network or worry about interference. If you have very new Macs, you will need Ethernet adapters, which will drive the price up. &lt;/p&gt;&#xA;" OwnerUserId="19709" LastEditorUserId="14523" LastEditDate="2017-08-10T22:56:56.430" LastActivityDate="2017-08-10T22:56:56.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22085" PostTypeId="1" CreationDate="2017-08-10T20:32:21.000" Score="1" ViewCount="7418" Body="&lt;p&gt;How to fade out audio AND video in *.mp4 file?&#xA;If I try code from &lt;a href=&quot;https://video.stackexchange.com/a/19871&quot;&gt;this answer&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;c:/input.mp4&quot; -filter:v 'fade=in:0:30,fade=out:227:30' -c:v libx264 -crf 22 -preset veryfast -c:a copy &quot;c:/testsong.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I get:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[AVFilterGraph @ 000001e0f41affc0] No such filter:  fade=in:0:30,fade=out:227:30'&#xA;Error opening filters!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Complete output:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg version N-86994-g92da230 Copyright (c) 2000-2017 the FFmpeg developers&#xA;    built with gcc 7.1.0 (GCC)&#xA;    configuration: --enable-gpl --enable-version3 --enable-cuda --enable-cuvid --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-nvenc --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-zlib&#xA;    libavutil      55. 74.100 / 55. 74.100&#xA;    libavcodec     57.102.100 / 57.102.100&#xA;    libavformat    57. 76.100 / 57. 76.100&#xA;    libavdevice    57.  7.100 / 57.  7.100&#xA;    libavfilter     6. 99.100 /  6. 99.100&#xA;    libswscale      4.  7.102 /  4.  7.102&#xA;    libswresample   2.  8.100 /  2.  8.100&#xA;    libpostproc    54.  6.100 / 54.  6.100&#xA;  Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 's:/dummy.mp4':&#xA;    Metadata:&#xA;      major_brand     : mp42&#xA;      minor_version   : 0&#xA;      compatible_brands: isommp42&#xA;      creation_time   : 2016-08-24T16:42:38.000000Z&#xA;    Duration: 00:03:50.34, start: 0.000000, bitrate: 980 kb/s&#xA;      Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, bt709), 960x720 [SAR 1:1 DAR 4:3], 851 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc (default)&#xA;      Metadata:&#xA;        creation_time   : 2016-08-24T16:42:38.000000Z&#xA;        handler_name    : ISO Media file produced by xyz...&#xA;      Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 125 kb/s (default)&#xA;      Metadata:&#xA;        creation_time   : 2016-08-24T16:42:38.000000Z&#xA;        handler_name    : ISO Media file produced by xyz...&#xA;  Stream mapping:&#xA;    Stream #0:0 -&gt; #0:0 (h264 (native) -&gt; h264 (libx264))&#xA;    Stream #0:1 -&gt; #0:1 (copy)&#xA;  Press [q] to stop, [?] for help&#xA;  [AVFilterGraph @ 0000000002d64580] No such filter: 'fade=in:0:30,fade=out:227:30'&#xA;  Error reinitializing filters!&#xA;  Failed to inject frame into filter network: Invalid argument&#xA;  Error while processing the decoded data for stream #0:0&#xA;  Conversion failed!&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;What' wrong here? Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="19712" LastEditorUserId="2836" LastEditDate="2017-08-20T15:08:05.183" LastActivityDate="2017-12-27T01:58:28.503" Title="How to fade out mp4 audio AND video with FFmpeg?" Tags="|video|ffmpeg|audio|mp4|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22086" PostTypeId="2" ParentId="22068" CreationDate="2017-08-11T04:22:18.573" Score="1" Body="&lt;p&gt;To expand on @Dul32's answer:&lt;/p&gt;&#xA;&lt;p&gt;Below is the settings dialog for a new sequence. The settings for the preview (what you see when you're editing) are at the bottom, the actual pixels settings for the sequence (what you get at the end by default) are at the top.&lt;/p&gt;&#xA;&lt;p&gt;Note that the size of the sequence also determines the placement of the video clips and any graphic elements, so if you're doing any movement etc., it might be tricky resizing later, so it's worth setting it up correctly at the start.&lt;/p&gt;&#xA;&lt;p&gt;The preview format is the codec that gets rendered as a playback preview. All I frame MPEG is fast and small, unless you're doing heavy colour owrk and need a 10 bit preview it's probably the best choice.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sxyzo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sxyzo.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Remeber that you have to also set the output settings when exporting. If your sequence is set up right you can match the dimensions and then pick your codec.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-08-11T04:22:18.573" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22087" PostTypeId="2" ParentId="22056" CreationDate="2017-08-11T04:41:25.303" Score="1" Body="&lt;p&gt;You are indeed right about shades of grey. You're encoding in 8-bit 4:2:0 (standard h.264 settings) which means that there are only 256 possible shades of grey. Think about it. If your RGB* values go from &lt;strong&gt;[0, 0, 0]&lt;/strong&gt; to &lt;strong&gt;[255, 255, 255]&lt;/strong&gt; and the red green and blue channels are equal, because grey, then your pixels will be one of these values: &lt;strong&gt;[0,0,0], [1,1,1], [2,2,2]… [255,255,255]&lt;/strong&gt;. Meaning 256 possible colours. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your gradient went from full black to full white and was 256 pixels across there would be one pixel per colour, so you'd be fine. But if it was say, 1024px wide, then there would have to be four pixels of each colour next to each other, meaning bands. And that's a gradient going from full black to full white—a subtle gradient from 45% grey to 55% grey might only have 25 possible values available–it's going to be banding city.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And just to explain what is going on in your image–especially in the middle–there's an &lt;a href=&quot;https://en.wikipedia.org/wiki/Mach_bands&quot; rel=&quot;nofollow noreferrer&quot;&gt;unfortunate optical illusion&lt;/a&gt; that makes those bands super obvious, by making the squares where the same colour is repeated look like gradients going the opposite way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Two possible workarounds:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;You can &lt;a href=&quot;https://video.stackexchange.com/questions/13164/encoding-422-in-10-bit-with-libx264&quot;&gt;encode using 10 bit h.264&lt;/a&gt;, but a lot fewer people will be able to play it back, and you'll need to get a &lt;a href=&quot;https://sourceforge.net/projects/ffmpeg-hi/&quot; rel=&quot;nofollow noreferrer&quot;&gt;10 bit build&lt;/a&gt; of ffmpeg or x.264 (I don't know of any other 10-bit h.264 software)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You can add some noise. Sounds crazy, but it will break up the bands into fuzz so they'll be less noticeable. Justify it to yourself by believing it gives it a more filmy look. It's called dithering, it was a big thing back in the days of 8-bit colour.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;*Actually it's &lt;a href=&quot;https://en.wikipedia.org/wiki/YUV&quot; rel=&quot;nofollow noreferrer&quot;&gt;YUV&lt;/a&gt;, but that's not important right now.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-09-23T04:58:17.867" LastActivityDate="2017-09-23T04:58:17.867" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22088" PostTypeId="1" AcceptedAnswerId="22095" CreationDate="2017-08-11T06:02:07.313" Score="0" ViewCount="26" Body="&lt;p&gt;I'm doing some audio deliverables for a feature film's TV package. The spec sheet I'm working from says that all media has to be provided with an MD5 checksum.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know how to compute MD5 checksums for files but is there a specific format for checksum's that's customary?  Could I use the MD5 feature of &lt;code&gt;mtree(1)&lt;/code&gt;? Or do you do a $FILENAME.md5 for each file? Or something else?&lt;/p&gt;&#xA;" OwnerUserId="6870" LastActivityDate="2017-08-12T20:51:14.820" Title="Spec sheet requires checksums, How should these be formatted?" Tags="|audio|broadcasting|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="22091" PostTypeId="2" ParentId="21910" CreationDate="2017-08-11T14:15:56.840" Score="0" Body="&lt;p&gt;Apparently I was just missing the setting.  While Optimize Media has been changed in such a way it will not work, there is now a Media Management function that will handle this perfectly.  It is available under the File menu I believe it was.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Media Management allows moving, copying and transcoding of all footage in the project, all footage in a timeline or particular clips.  You can also choose to work on only the footage in the project that is actually used (useful for discarding unused clips after final editing is done).  You also have the option to relink or not to the newly created files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Scaling it to another resolution is also an option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my case, I through all new clips that needed to be transcoded in a timeline, selected to export all clips from that timeline and setup the output settings and ran the transcode.  It pushed through 2.5 TB of footage in about 4-5 hours and produced 130GB or so of proxies.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-08-11T14:15:56.840" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22094" PostTypeId="2" ParentId="22021" CreationDate="2017-08-12T04:57:18.847" Score="1" Body="&lt;p&gt;After some experimenting it's clear this is a feature only available in Vegas Pro (Edit or better). Thankfully there is a trial version which I was able to use to confirm this is the case.&lt;/p&gt;&#xA;" OwnerUserId="18857" LastActivityDate="2017-08-12T04:57:18.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22095" PostTypeId="2" ParentId="22088" CreationDate="2017-08-12T20:51:14.820" Score="1" Body="&lt;p&gt;There is no standard used by US broadcasters for how to format checksums. I've never delivered to a broadcaster that requires it, but I've mostly been involved in delivering commercials. &lt;a href=&quot;http://amwa.tv/projects/AS-11.shtml&quot; rel=&quot;nofollow noreferrer&quot;&gt;DPP/AS-11&lt;/a&gt; doesn't specify anything about checksums and neither does &lt;a href=&quot;https://backlothelp.netflix.com/hc/en-us/categories/202282037-SPECIFICATIONS-GUIDES&quot; rel=&quot;nofollow noreferrer&quot;&gt;Netflix&lt;/a&gt;. I only know of one US broadcaster that does require checksums and they require using their proprietary software to build up the delivery package.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-08-12T20:51:14.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22096" PostTypeId="1" CreationDate="2017-08-12T21:36:35.610" Score="1" ViewCount="93" Body="&lt;p&gt;I need advice for something I want to do with VCR to PC image transfering. I have bought a video capture usb (RCA to usb) but there is a problem with the image... It's shaking right and left.&#xA;Like this &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/OwtqqhVU0I4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Firstly, let me tell you that when I connect the VCR to the TV the image is fine. Also when I connect a DVD player (a device way newer than the VCR) to the PC through the same usb, the image is also fine. So, something must be wrong when the analog-to-digital signal converting is happening. It's like the TV sees this problematic image and has a way to fix it somehow. On the other hand, the usb doesn't have a way to fix it, so I have this shaking image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, my question is: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the possible explanations/causes for this? Usb device quality? VCR quality? What system has a TV to fix a VCR shaking image?? Is there a software or some settings for PC that do the same fix a TV does?&lt;/p&gt;&#xA;" OwnerUserId="19729" LastEditorUserId="674" LastEditDate="2017-08-14T13:33:26.650" LastActivityDate="2017-08-14T13:33:26.650" Title="Need advice about VCR to PC connection" Tags="|video-capture|usb|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22097" PostTypeId="2" ParentId="22096" CreationDate="2017-08-12T21:53:28.093" Score="2" Body="&lt;p&gt;The problem is almost definitely with the tape or the VCR. Most likely the sync or black level is off or &lt;a href=&quot;https://www.youtube.com/watch?v=tMA5aH_olAQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;the control track is fluttering&lt;/a&gt;, which is throwing off the ADC in the capture dongle. You will need a &lt;a href=&quot;https://en.wikipedia.org/wiki/Time_base_correction&quot; rel=&quot;nofollow noreferrer&quot;&gt;time base corrector (TBC)&lt;/a&gt; or &lt;a href=&quot;https://en.wikipedia.org/wiki/Frame_synchronization_(video)&quot; rel=&quot;nofollow noreferrer&quot;&gt;frame synchronizer&lt;/a&gt; to correct the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally, you should also have a way to view and adjust the video levels. Usually you can adjust levels with a good quality TBC or FS. You can use software to view a waveform and vectorscope after digitization.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-08-12T21:53:28.093" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22098" PostTypeId="1" AcceptedAnswerId="22100" CreationDate="2017-08-12T23:00:35.447" Score="1" ViewCount="465" Body="&lt;p&gt;Is it possible to enter custom math/scripting formulas for keyframe animation inside Premiere Pro?&lt;/p&gt;&#xA;" OwnerUserId="19730" LastActivityDate="2017-08-14T13:31:07.537" Title="Custom formula for keyframe automation - Adobe Premiere Pro" Tags="|premiere|animation|keyframes|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22099" PostTypeId="1" CreationDate="2017-08-12T23:48:04.643" Score="1" ViewCount="91" Body="&lt;p&gt;What (if possible) is the best solution (or product) a Camera (or webcam) to get a Video Live Feed in low resolution (640x480 or if possible 960x720) but with extremely low latency (it must be the lowest possible, I hope &amp;lt;20ms) The connection must be any type of Wireless connection (not necessary wifi/BT any type of RF)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to get the feed on a computer to process it using opencv&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I'm doing some tests using my android phone and an IPWebcam app but the best result I can get is around 20fps (50ms video latency and 4ms of video processing) and that is not enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope to get 30+ fps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera will be mounted on a RC robot that can will run fast (not very fast about 2m/sec^2) so a quick autofocus should be useful&lt;/p&gt;&#xA;" OwnerUserId="19731" LastEditorUserId="16850" LastEditDate="2017-08-15T13:54:48.477" LastActivityDate="2017-08-15T13:54:48.477" Title="Low latency Camera Live Feed" Tags="|camera|25fps|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22100" PostTypeId="2" ParentId="22098" CreationDate="2017-08-13T07:33:43.067" Score="1" Body="&lt;p&gt;Not from within premiere. You would need to do that in &lt;strong&gt;AfterEffects&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;AfterEffects is better suited to do animation regardless. Once you've set up your compositions, you can then import them directly into premiere and lay them into a sequence using Bridge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This way you can easily jump back and forth between AE and PPro and any changes made to your AE Comp will immediately update in PPro provided you have Bridge and the Dynamic Link Option enabled. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-08-13T07:33:43.067" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22101" PostTypeId="1" AcceptedAnswerId="22104" CreationDate="2017-08-13T15:06:08.133" Score="1" ViewCount="16432" Body="&lt;p&gt;I know that the below command will crop 25 from top and bottom &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -i input.mp4 -vf &quot;crop=in_w:in_h-50&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However I just want to crop 25 from bottom(not top).&#xA;Also How can i remove the black portion in the output so that the output video appears as full screen?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the screenshot of the black portion after crop&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5iD5Z.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5iD5Z.png&quot; alt=&quot;aftercrop&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before crop&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rVnjU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rVnjU.png&quot; alt=&quot;Before crop&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18821" LastEditorUserId="18821" LastEditDate="2017-08-13T15:47:24.667" LastActivityDate="2017-08-14T10:48:49.737" Title="Cropping the video and removing the black portion" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22104" PostTypeId="2" ParentId="22101" CreationDate="2017-08-14T05:25:25.453" Score="2" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -i input.mp4 -vf &quot;crop=in_w:in_h-25:0:0&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you're watching this full screen, then the display will show black bars if the resized video is not the same aspect ratio as your monitor. To achieve that, you'll have to crop horizontally as well. If your crop X pixels vertically, you'll have to crop (16/9)*X pixels horizontally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To do this, use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(left and right)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -i input.mp4 -vf &quot;crop=in_w-25*16/9:in_h-25:(ow-iw)/2:0&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(right only)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -i input.mp4 -vf &quot;crop=in_w-25*16/9:in_h-25:0:0&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-08-14T10:48:49.737" LastActivityDate="2017-08-14T10:48:49.737" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22105" PostTypeId="1" AcceptedAnswerId="22143" CreationDate="2017-08-14T13:29:43.217" Score="1" ViewCount="2832" Body="&lt;p&gt;I am using Adobe After Effect and created a simple transition that moves an image from left to right, simply by using 2 keyframes for the position attribute of the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WwCyP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WwCyP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that the movement does not look smooth. The image looks very noisy and the movement stutters. You can find an example here &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/PWWg4p1xoFQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My composition uses 29,97 frames per second. I tried to increase it to 40, but it did not change anything. I rendered the movie in &lt;code&gt;avi&lt;/code&gt; and &lt;code&gt;quicktime&lt;/code&gt; but for both outputs the transition of the image stutters. I also used &lt;code&gt;MovieMaker&lt;/code&gt; to save compress it as a very small video file, but it still stutters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I doing wrong and how can I fix it? &lt;/p&gt;&#xA;" OwnerUserId="19744" LastActivityDate="2022-02-10T00:12:37.737" Title="Moving image from left to right stutters" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22106" PostTypeId="2" ParentId="22098" CreationDate="2017-08-14T13:31:07.537" Score="0" Body="&lt;p&gt;Depending on what exactly you are trying to accomplish you actually could do this by making images of the portions you want to animate and using the Motion effect on the various layers, however it will be pretty tedious to do.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As Martin Andrews mentioned, After Effects is much better equipped for handling this kind of thing, but depending on your specific goals for the animation, it is likely possible in Premiere.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-08-14T13:31:07.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22107" PostTypeId="2" ParentId="22105" CreationDate="2017-08-14T13:55:35.597" Score="1" Body="&lt;p&gt;It seems smooth to me.  I can see some of the resolution loss you are talking about, but I think that is probably due to multiple encoding passes and using too low of bandwidth levels rather than too high.  I unfortunately don't have a large screen available at the moment to check it at full resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video in question has many small images, which is typically bad for compression as the image doesn't have large areas that can be easily described, but it also has extremely regular motion, which is good for compression as the change between frames can be described clearly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using multiple compressions, particularly with any low bandwidth compressions, is likely to lose the motion accuracy and result in drastically reduced compression quality.  Effectively, what happens is that the first encoding, if it handles motion well, will do a good job, but still produce some noise.  The second pass, however, will not see it as purely fixed motion, but will instead see the noise as well and try to encode that information.  That then causes the second encoding to have to spend more data on encoding the random noise and thus ends up spending less data on the hard to describe sea of faces.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another possible issue that could be going on is drift between keyframes.  That may explain the stutter you are seeing.  One of the ways that modern compression achieves such good compression levels is that it doesn't always describe the full image.  A limited number of frames describe the complete frame.  The rest either describe themselves in relation to the image before them or in relation to the image before and after them.  The keyframe interval is the length of time between full frames being used and defines the length of a &quot;group of pictures&quot;, which is all the frames dependent on a particular keyframe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With very regular motion, if the compression isn't completely accurate in it's motion adjustments, it's possible that the image has to jump an extra couple pixels to get synced back up with the keyframe when it reaches the next one.  You could try reducing the keyframe interval to see if that reduced the amount of jump occurring (lower keyframe intervals is generally a good idea on high motion clips.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Certainly I would stop trying to improve it with a Movie Maker pass or using non-standard framerates.  Both of these are counter productive as the extra encoding will just further degrade quality since you already have your initial compression and the transcode pass that YouTube does.  Using a non-standard framerate will just result in YouTube trying to do a pulldown (change the framerate) to get it to a standard framerate and will introduce other motion issues related to frame timings not being perfect.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-08-14T13:55:35.597" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22108" PostTypeId="2" ParentId="20061" CreationDate="2017-08-14T16:46:06.943" Score="2" Body="&lt;p&gt;You may have sorted this out by now, but I saw the open question, so I thought I'd answer it.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a subscription to the Adobe Creative Cloud, you can now do this reorientation in Premiere.  In June, Adobe bought out the Skybox plugin from Mettle.  Essentially, that plugin allows you to re-orient your 360 video in AE or PR among other things.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's now an effect in Premiere called 'VR Projection' and it allows you to adjust the pan, tilt, and roll of your projection. &lt;/p&gt;&#xA;" OwnerUserId="19745" LastActivityDate="2017-08-14T16:46:06.943" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22109" PostTypeId="1" AcceptedAnswerId="22110" CreationDate="2017-08-14T19:48:46.743" Score="0" ViewCount="1073" Body="&lt;p&gt;I'm cutting audio out of files, and I'm running into an issue. When I run FFMPeg with this command&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;FFMPEG.exe -i in.webm -q:a 0 -map a -ss hh:mm:ss -to hh:mm:ss -y out.mp3&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If the &lt;code&gt;-ss&lt;/code&gt; parameter is rather large (lets say &lt;code&gt;00:30:00&lt;/code&gt;), it takes a long time before it even starts cutting -- It just sits on the below statement for a long time before finally starting.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;size=       0kB time=00:00:00.00 bitrate=N/A&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Does anyone know why it would do this and how I could fix it?&lt;/p&gt;&#xA;" OwnerUserId="19746" LastActivityDate="2017-08-14T19:53:44.250" Title="Why does FFMPeg sit at 00:00:00.00 if I start cutting a video a long ways into the file?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22110" PostTypeId="2" ParentId="22109" CreationDate="2017-08-14T19:53:44.250" Score="5" Body="&lt;p&gt;&lt;code&gt;-ss&lt;/code&gt; after the input name performs a slow seek where ffmpeg decodes all frames but discards till it reaches the seek point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With &lt;code&gt;-ss&lt;/code&gt; before &lt;code&gt;-i&lt;/code&gt;, ffmpeg performs a fast seek.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;FFMPEG.exe -ss hh:mm:ss -i in.webm -q:a 0 -map a -t hh:mm:ss -y out.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But you'll have to specify a duration instead of &lt;code&gt;to&lt;/code&gt; with most formats.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-08-14T19:53:44.250" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22111" PostTypeId="1" CreationDate="2017-08-15T04:48:41.290" Score="1" ViewCount="38" Body="&lt;p&gt;I'm on the latest Adobe Premiere CC and I have a pretty solid system I think but I'm still having freezing issues when I'm editing.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Editing System&#xA;Windows 10 64bit&#xA;i7-5820K 6Core 3.3GHz&#xA;EVGA GeForce GTX 970 4GB SSC Gaming ACX 2.0+&#xA;16GB DDR4 Ram&#xA;512GB Samsung 950 NvME System Drive&#xA;Assets are on a Raid 0 Array of 2 5TB Drives&#xA;I have a cache drive setup on a Samsung 850 SSD&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Everything is fine when I start but as I add effects and video to the sequence it starts to slow down to the point where I have to purge video memory occasionally or it just outright crashes. Nothing major as far as effects. I use the Lumetri color effects a lot and I use Red Giant plugins like the DeNoiser II plugin.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In fact the Denoiser plugin is pretty much useless during editing. I usually add it before rendering. It drives the render time up big time as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm open to any suggestions for upgrading this machine to make my editing smoother. I thought about adding a NAS to my network and offloading the 5tb drives to that, to archive footage not actively editing. I would then replace that raid0 with a new raid 0 with 4 ssds. Probably only 2tb for actively editing footage but it would speed the read and write speeds up dramatically. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I back everything up to cold storage drives now too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will say my CPU does get up to 100% when I'm watching this. I just don't see it getting maxed out on this little stuff but maybe that's the problem. I only work in 1080i5994 currently.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hopefully I dont have to replace the system as I just bought it last year but it's really annoying trying to edit like this.&lt;/p&gt;&#xA;" OwnerUserId="6369" LastActivityDate="2017-08-15T04:48:41.290" Title="Premiere issue, frame freezing" Tags="|premiere|video-editor|windows|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22112" PostTypeId="1" CreationDate="2017-08-15T12:02:15.843" Score="0" ViewCount="1652" Body="&lt;p&gt;I have a MKV file with the following encoding settings. I know the file was encoded in Handbrake because it says so in the meta data.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cabac=1&#xA;ref=5&#xA;deblock=1:0:0&#xA;analyse=0x3:0x133&#xA;me=umh&#xA;subme=9&#xA;psy=1&#xA;psy_rd=1.00:0.15&#xA;mixed_ref=1&#xA;me_range=24&#xA;chroma_me=1&#xA;trellis=2&#xA;8x8dct=1&#xA;cqm=0&#xA;deadzone=21,11&#xA;fast_pskip=1&#xA;chroma_qp_offset=-4&#xA;threads=12&#xA;lookahead_threads=1&#xA;sliced_threads=0&#xA;nr=0&#xA;decimate=1&#xA;interlaced=0&#xA;bluray_compat=0&#xA;constrained_intra=0&#xA;bframes=5&#xA;b_pyramid=2&#xA;b_adapt=2&#xA;b_bias=0&#xA;direct=3&#xA;weightb=1&#xA;open_gop=0&#xA;weightp=2&#xA;keyint=240&#xA;keyint_min=23&#xA;scenecut=40&#xA;intra_refresh=0&#xA;rc_lookahead=60&#xA;rc=crf&#xA;mbtree=1&#xA;crf=27.0&#xA;qcomp=0.60&#xA;qpmin=0&#xA;qpmax=69&#xA;qpstep=4&#xA;vbv_maxrate=10000&#xA;vbv_bufsize=10000&#xA;crf_max=51.0&#xA;nal_hrd=none&#xA;filler=0&#xA;ip_ratio=1.40&#xA;aq=1:1.00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have used FFMPEG for a while, but I am not sure what these settings are, what they do or how I can make FFMPEG encode with the same settings.&lt;/p&gt;&#xA;" OwnerUserId="12511" LastActivityDate="2020-03-16T22:27:22.887" Title="Encoding settings in FFMPEG" Tags="|ffmpeg|handbrake|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22114" PostTypeId="2" ParentId="22112" CreationDate="2017-08-15T13:14:29.387" Score="1" Body="&lt;p&gt;All of these parameters are specific to the x264 encoder which is used to produce H.264 streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;x264 has long since introduced a preset system whereby different permutations of values of these parameters can be set at once using &lt;code&gt;-preset value&lt;/code&gt; in FFmpeg, e.g. &lt;code&gt;ffmpeg -i in.mp4 -c:v ibx264 -preset slow out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AFAICT, the permutation of parameters shown in your file don't match any preset. However, you can set preset to slow, and then override the individual parameters, e.g.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -c:v ibx264 -preset slow -x264opts &quot;me=umh:subme=9:psy_rd=1.00:0.15&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For a guide to individual parameters, see &lt;a href=&quot;https://en.wikibooks.org/wiki/MeGUI/x264_Settings&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikibooks.org/wiki/MeGUI/x264_Settings&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-08-15T13:14:29.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22115" PostTypeId="2" ParentId="19867" CreationDate="2017-08-15T14:31:38.270" Score="15" Body="&lt;p&gt;It's a terrible hack, but this might work if all you want to do is audio fade in/out but don't know exactly how long the clip is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex &quot;afade=d=0.5, areverse, afade=d=0.5, areverse&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;[edit 2019-07-24:  Note that this solution is not good for streaming solutions since it requires the full track to be processed before the first byte can be streamed]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;another option I is to use &lt;code&gt;acrossfade&lt;/code&gt; with a silent track:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex &quot;aevalsrc=0:d=0.6 [a_silence]; [0:a:0] [a_silence] acrossfade=d=0.6&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19752" LastEditorUserId="19752" LastEditDate="2019-07-24T21:26:06.217" LastActivityDate="2019-07-24T21:26:06.217" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="22117" PostTypeId="1" CreationDate="2017-08-16T05:27:04.487" Score="0" ViewCount="54" Body="&lt;p&gt;Hi guys I am just getting started with video editing and I have no previous experience with video editors. I use ubuntu, I have read in a blog post that kden live is the best video opensource video editor. It's freezing up whenever I am trying to use it. Can some one suggest a solution. FYI processor usage - 20%, mem usage - 40%. I have recorded these right at the time the program got stuck. I was looking at project monitor on a secondary display(I do not know if that's causing the issue). &lt;/p&gt;&#xA;" OwnerUserId="19761" LastActivityDate="2024-03-13T11:00:00.033" Title="Kden live window freezes and does not respond?" Tags="|freeware|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22118" PostTypeId="2" ParentId="15893" CreationDate="2017-08-16T08:32:01.977" Score="0" Body="&lt;p&gt;Try these export settings:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;For a 720p export, make sure your data rate is no smaller than 5 Mbps.&#xA;For a 1080p export, make sure your data rate is no smaller than 10 Mbps.&lt;/li&gt;&#xA;&lt;li&gt;Codec: H264.&lt;/li&gt;&#xA;&lt;li&gt;Field order: progressive usually (depending on your raw footage).&lt;/li&gt;&#xA;&lt;li&gt;Aspect: square pixel usually (depending on your raw footage).&lt;/li&gt;&#xA;&lt;li&gt;Audio: AAC, 4100Hz, Maximum Bitrate.&lt;/li&gt;&#xA;&lt;li&gt;Maximum render quality.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2017-08-16T08:32:01.977" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22119" PostTypeId="2" ParentId="21174" CreationDate="2017-08-16T08:42:30.380" Score="0" Body="&lt;p&gt;White and yellow are very close so you're not going to be able to do much in post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Re-shoot and attempt to separate the faint white line from the bright yellow background. To do so, the general idea is to plunge the room in darkness to isolate the faint white line.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Change the yellow background to a black or dark grey background. Either repaint or replace the background, or, if you can't, flag it in such a way as to darken it, i.e. plunge it in a shadow.&lt;/li&gt;&#xA;&lt;li&gt;If the faint white line is traveling through empty space, like a laser beam at a music show, try and sprinkle some fine corn starch flour over it to see how the light beam interacts with the particles of corn starch. Experiment with other material to find what looks good to you.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2017-08-16T08:42:30.380" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22121" PostTypeId="1" AcceptedAnswerId="29352" CreationDate="2017-08-16T13:47:11.853" Score="0" ViewCount="154" Body="&lt;p&gt;I use this command for stripping metadata:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -map_metadata -1 -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Sometimes it works fine but occasionally the result is as&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;+----------------+----------------+&#xA;| Original video | Original video |&#xA;+----------------+----------------+&#xA;| Original sound |    No sound    |&#xA;+----------------+----------------+ &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I saved one output of such unsuccessful stripping:   &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ridiculousjump.mp4 -map_metadata -1 -c copy ridiculousjumpnomet.mp4&#xA;ffmpeg version N-85750-ga75ef15 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with gcc 6.3.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --enable-cuda --enable-cuvid --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-nv&#xA;enc --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libblur&#xA;ay --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-&#xA;libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-lib&#xA;rtmp --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amr&#xA;wbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enabl&#xA;e-libxvid --enable-libzimg --enable-lzma --enable-zlib&#xA;  libavutil      55. 61.100 / 55. 61.100&#xA;  libavcodec     57. 93.100 / 57. 93.100&#xA;  libavformat    57. 72.101 / 57. 72.101&#xA;  libavdevice    57.  7.100 / 57.  7.100&#xA;  libavfilter     6. 88.100 /  6. 88.100&#xA;  libswscale      4.  7.101 /  4.  7.101&#xA;  libswresample   2.  8.100 /  2.  8.100&#xA;  libpostproc    54.  6.100 / 54.  6.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'ridiculousjump.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp42isom&#xA;    creation_time   : 2016-09-28T00:49:17.000000Z&#xA;    encoder         : mp4creator 1.6.1d&#xA;  Duration: 00:00:26.56, start: 0.000000, bitrate: 822 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Constrained Baseline) (avc1 / 0x31637661), yuv420p, 636x396 [SAR 1:1 DAR 53:33], 694 kb/s, 25 fps, 25&#xA; tbr, 90k tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-09-28T00:49:17.000000Z&#xA;      encoder         : VC Coding&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 125 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-09-28T00:49:17.000000Z&#xA;Output #0, mp4, to 'ridiculousjumpnomet.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf57.72.101&#xA;    Stream #0:0: Video: h264 (Constrained Baseline) ([33][0][0][0] / 0x0021), yuv420p, 636x396 [SAR 1:1 DAR 53:33], q=2-31, 694 kb/s, 25&#xA; fps, 25 tbr, 90k tbn, 90k tbc (default)&#xA;    Stream #0:1: Audio: aac (LC) ([64][0][0][0] / 0x0040), 44100 Hz, stereo, fltp, 125 kb/s (default)&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame= 1328 fps=0.0 q=-1.0 Lsize=    4929kB time=00:00:53.08 bitrate= 760.8kbits/s speed= 915x&#xA;video:4504kB audio:405kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.416591%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(I'm currently not able to find that input video but I will post it as soon as I will find it — or similar one.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Had someone a similar experience or knows where is or may be the problem?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found a video with the same problem, only 430 KiB: &lt;a href=&quot;https://www.sendspace.com/file/pnbyyw&quot; rel=&quot;nofollow noreferrer&quot;&gt;Bubble_burst.mp4&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2020-01-04T19:29:33.337" LastActivityDate="2020-01-21T09:58:52.290" Title="Stripping metadata sometimes doubles video, the second half of (doubled) video is without sound" Tags="|ffmpeg|metadata|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="22122" PostTypeId="2" ParentId="22117" CreationDate="2017-08-16T13:56:43.010" Score="0" Body="&lt;p&gt;I don't know much about Kden Live specifically, but a lot of times loading freezes are related to issues with either plugins or codecs.  If you just installed it, the most likely problem is probably an issue with codecs not loading.  Without a startup log though it's not really possible to give a better guess as to what is going on (and I'm not sure how you get that from Kden.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-08-16T13:56:43.010" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22123" PostTypeId="1" CreationDate="2017-08-05T23:04:35.207" Score="0" ViewCount="8" Body="&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/iIP3b.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Don't know what is going on. This is a screenshot of a carnival ride and there seems to be color on the top and bottom of the video but not in the middle? I'm using an S8+.&lt;/p&gt;&#xA;" OwnerDisplayName="Adrianna Williams" LastActivityDate="2017-08-16T15:47:04.133" Title="Odd color split on Carnival light video" Tags="|color|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22124" PostTypeId="1" CreationDate="2017-08-17T00:35:00.013" Score="1" ViewCount="27" Body="&lt;p&gt;Is there a way to create a Smart Folder that contains just FCPX Libraries (.fcpbundle)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not sure what parameters to use for the 'Kind is Any' or 'Name Contains' search fields.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2018-01-14T05:19:18.267" Title="FCPX Libraries - Smart Folder (Mac OSX)" Tags="|osx|fcpx|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22125" PostTypeId="2" ParentId="22124" CreationDate="2017-08-17T02:28:04.063" Score="1" Body="&lt;p&gt;You can choose &quot;Kind&quot; and set it to &quot;Other&quot; then type &quot;Final Cut Pro Library&quot; into the text field. Like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/n5YYQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/n5YYQ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-08-17T02:28:04.063" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22126" PostTypeId="1" AcceptedAnswerId="22127" CreationDate="2017-08-17T03:01:05.067" Score="1" ViewCount="314" Body="&lt;p&gt;Long story short, I've been given some footage from a Sony FS5 which is in MXF. Like anything Sony working with this stuff is a nightmare. Nothing I've tried can open these files. People keep saying to just use Content Browser in PPro to import but even with file structure straight off the card I get a &quot;generic error&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sony's own Raw Viewer doesn't work either, it detects the MXF files but won't play any of them much less transcode. They have a RAW plugin on their site but it's only for CS6 and up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone help please??&lt;/p&gt;&#xA;" OwnerUserId="19768" LastActivityDate="2017-08-17T15:21:29.447" Title="Import Sony FS5 MXF into CS5.5?" Tags="|mxf|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22127" PostTypeId="2" ParentId="22126" CreationDate="2017-08-17T15:21:29.447" Score="0" Body="&lt;p&gt;You've hit the very unfortunate planned obsolescence issue.  Adobe only updates their software for a limited amount of time, so when working in RAW formats, you eventually hit a point where the old software simply will not work with the footage from new cameras anymore.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your options are unfortunately a bit limited.  You can either update to a newer version of your editing software or use a different software for transcoding.  I'm not particularly familiar with Sony's workflow as I use an Ursa Mini (which uses CinemaDNG), but I'd suspect there to be at least a few options available for ingesting and transcoding MXF as Sony is a significant enough player in the space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking at the documentation for Black Magic's DaVinci Resolve, it looks like you might be able to use that.  I can see from their documentation that MXF is a container format, so it's going to largely depend on what the video format within the MXF is, but DaVinci Resolve has a pretty long list of supported MXF codecs.  If it does support it, Resolve has a free version that could likely be used to do your transcode for you.  In the beta of Resolve 14, you can simply add the files to a project, go to Media Management (under the File menu) and it will let you transcode all videos in the project to another format of your choice.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-08-17T15:21:29.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22129" PostTypeId="1" CreationDate="2017-08-17T18:51:41.620" Score="1" ViewCount="3847" Body="&lt;p&gt;I have a clip which I have edited on a timeline, I want to go back to merging a new audio file into the original file. I try merging the audio file into the original file but this creates a new merged clip which does not have the edits.&lt;/p&gt;&#xA;" OwnerUserId="19772" LastActivityDate="2017-08-19T07:27:16.857" Title="replacing audio of a clip after editing on a timeline in Premier Pro CC 2017" Tags="|premiere|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22130" PostTypeId="2" ParentId="22129" CreationDate="2017-08-17T20:04:15.577" Score="1" Body="&lt;p&gt;Your best bet is probably to replace the source of the clip in question with the timeline that has the changed audio.  There should be a &quot;Replace Footage&quot; option or something like that.  I'm only familiar with CS6 though, so I'm a bit out of date on exact specifics in the latest version of CC.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-08-17T20:04:15.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22131" PostTypeId="2" ParentId="14928" CreationDate="2017-08-17T21:42:15.330" Score="-1" Body="&lt;p&gt;Try Davinci Resolve.  Very easy and capable burn in capability.&#xA;See my video tutorial on how to use this helpful feature.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/JTIvvWCHxks?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;Thank you.&#xA;Dan Benson&lt;/p&gt;&#xA;" OwnerUserId="19775" LastActivityDate="2017-08-17T21:42:15.330" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22132" PostTypeId="1" CreationDate="2017-08-17T23:40:57.237" Score="0" ViewCount="3730" Body="&lt;p&gt;I've been working on a service that downloads a number of images, saves them to disk, and then uses ffmpeg to create an animation (gif or mp4). This can be fairly intensive in terms of memory and CPU usage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any methods that would allow me to dynamically append and encode a new image to the animation as they're ready, rather than having to read all of the images at the end and generate the animation at the end?&lt;/p&gt;&#xA;" OwnerUserId="11000" LastActivityDate="2021-08-10T14:06:10.610" Title="Possible to stream/append images into an existing mp4?" Tags="|ffmpeg|mp4|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22133" PostTypeId="1" CreationDate="2017-08-18T00:17:17.787" Score="5" ViewCount="1272" Body="&lt;p&gt;Colour range (Limited, Expanded) is something I've only thought of recently, and I'm worried I may have introduced colour banding into some of my videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When doing a standard MP4 export from ffmpeg, melt, Handbrake, Openshot, SimpleScreenRecorder, whatever, what will the colour range likely be? I would assume the Full range of 0-255, but seeing as all DVDs and Blu-Rays are Limited, I'm not so sure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would also be good to know what range YouTube uses. I'm finding it very difficult to find out much more than &quot;TV = Limited, PC = Full&quot;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Video sources I tend to work with:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Component capture (PS2)&lt;/li&gt;&#xA;&lt;li&gt;HDMI capture (Xbox 360, laptop)&lt;/li&gt;&#xA;&lt;li&gt;DVDs&lt;/li&gt;&#xA;&lt;li&gt;MiniDV AVIs&lt;/li&gt;&#xA;&lt;li&gt;YouTube videos&lt;/li&gt;&#xA;&lt;li&gt;Screen recordings&lt;/li&gt;&#xA;&lt;li&gt;Android phone&lt;/li&gt;&#xA;&lt;li&gt;Webcam&lt;/li&gt;&#xA;&lt;li&gt;Sometimes various cameras/camcorders from various price ranges&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;All Standard Definition content is PAL - I hear NTSC is weaker in terms of colour reproduction but haven't seen any difference myself from eyeballing.&lt;/p&gt;&#xA;" OwnerUserId="14558" LastActivityDate="2017-08-23T18:06:25.530" Title="What is the colour range of most videos?" Tags="|encoding|mp4|webvideos|color|colorspace|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22135" PostTypeId="2" ParentId="22133" CreationDate="2017-08-18T05:23:55.123" Score="5" Body="&lt;p&gt;Most videos are limited range i.e. luma goes from 16 to 235, and chroma from 16 to 240. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unless expressly set, FFmpeg does not scale the range from one to another. Whatever the source is, that's the output.*&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, many inputs don't tag this property in their metadata. So, the output doesn't get tagged either. In that scenario, players tend to assume conventional values. So, a 720p video will get treated as a limited-range BT.709 picture, irrespective of the actual encoding. And some players, especially web ones, don't seem to parse this metadata, and aren't provisioned to adapt to non-default values. So, they will always the treat the input as having conventional encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For safety's sake, HD videos should be encoded to BT.709 Limited range and SD to BT.601 Limited range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;*unless the source only accepts a pixel format whose range is different.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-08-23T18:06:25.530" LastActivityDate="2017-08-23T18:06:25.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22136" PostTypeId="1" CreationDate="2017-08-18T08:21:09.720" Score="4" ViewCount="4840" Body="&lt;p&gt;I have a video with these info:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Format : MKV&#xA;Codec : HEVC (h.265)&#xA;Bit depth : 10 bits&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can I get 10-bit frame grabs from it using ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="19780" LastEditorUserId="5956" LastEditDate="2020-04-02T13:55:59.130" LastActivityDate="2020-04-02T13:55:59.130" Title="Convert video to 10 bit images" Tags="|video|ffmpeg|hdr|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22137" PostTypeId="2" ParentId="14656" CreationDate="2017-08-18T10:33:49.360" Score="12" Body="&lt;p&gt;2017 update:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;ffmpeg supports h264 and h265 NVENC GPU-accelerated video encoding&lt;/strong&gt;. You can do 1-pass or 2-pass encoding at the quality that you choose, for either hevc_nvenc or h264_nvenc, or and even with an entry-level GPU it's much faster than non-accelerated encoding and Intel Quick Sync accelerated encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2-pass high-quality encoding:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vcodec h264_nvenc -preset slow out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;1-pass default encoding:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vcodec h264_nvenc out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;NVENC ffmpeg help and options:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -h encoder=nvenc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Use it, it's much faster than CPU encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't have a GPU you can use Intel Quick Sync codec, h264_qsv, hevc_qsv, or mpeg2_qsv, which are also much faster than non-accelerated encoding.&lt;/p&gt;&#xA;" OwnerUserId="19781" LastActivityDate="2017-08-18T10:33:49.360" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22138" PostTypeId="1" CreationDate="2017-08-18T18:26:51.430" Score="0" ViewCount="662" Body="&lt;p&gt;I am trying to find a totally free screen capture application for Windows and MacOS. Is there any free apps that don't put watermark on the video ?&lt;/p&gt;&#xA;" OwnerUserId="19788" LastActivityDate="2021-10-20T12:50:08.360" Title="Is there any free video screen capture applications?" Tags="|video|video-capture|screen-casting|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22139" PostTypeId="2" ParentId="22138" CreationDate="2017-08-18T19:27:20.197" Score="2" Body="&lt;p&gt;&lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Open Broadcaster Software&lt;/a&gt; is a (good)&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Free and open source software for video recording and live streaming.&#xA;  Download and start streaming quickly and easily on Windows, Mac or&#xA;  Linux.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-08-18T19:27:20.197" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22140" PostTypeId="2" ParentId="22129" CreationDate="2017-08-19T07:27:16.857" Score="1" Body="&lt;p&gt;The steps I took:&#xA; - merge good audio with video clip&#xA; - create new sequence and add the new merged audio/video clip&#xA; - export video&#xA; - &quot;Replace footage&quot; of the original video&#xA; - all your edits are now kept and the audio should have changed as well&lt;/p&gt;&#xA;" OwnerUserId="19772" LastActivityDate="2017-08-19T07:27:16.857" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22141" PostTypeId="2" ParentId="21449" CreationDate="2017-08-19T09:30:58.747" Score="0" Body="&lt;p&gt;I think that this is not needed, both in terms of computational and bandwidth needs. H.264 and H.265 as well the vp8 and vp9 codec use a GOP line for the frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have a certain frame and big blocks of the frame are the same or there's just a small movement this is deduced and rendered in decoding phase with a small cpu and very low bandwidth usage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TL; DR: codecs do it already that for you. You concerns could apply only if you are using uncompressed or some crazy work codec, but that's not the case for the delivery on YT.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2017-08-19T09:30:58.747" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22142" PostTypeId="1" CreationDate="2017-08-19T13:32:39.023" Score="1" ViewCount="1466" Body="&lt;p&gt;when I muxyng .mkv file and .ac3 file without converting I had next errors:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;[ac3]Estimating duration from bitrate, this may be inaccurate&lt;/li&gt;&#xA;&lt;li&gt;[matroska]Starting new cluster due to timestampe &lt;/li&gt;&#xA;&lt;li&gt;muxing overhead: 0.078666%&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;ac3 error output appears before .ac3 file information&#xA;&lt;a href=&quot;https://i.stack.imgur.com/7X2p2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7X2p2.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;mkv and muxing overhead in end of console output appears&#xA;&lt;a href=&quot;https://i.stack.imgur.com/PfGuK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PfGuK.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Script that i use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.mkv -i input2.ac3 -map 0:v -map 1:a -map 0:a -map 0:s -c:v copy&#xA;-c:a:1 copy -c:s copy -metadata:s:a:0 language={lang} -metadata:s:a:0 title=&quot;title1&quot;&#xA;-metadata:s:a:1 title=&quot;title2&quot; output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I try to copy .mkv file and .ac3 separately and .mkv copying only with muxing overhead and .ac3 cppying with ac3 error(without muxing overhead).&#xA;Could you explain what the reason of this problem, and help me with it? &#xA;Also &lt;strong&gt;after muxing in the end of output video file absent small part of audio stream from second file! How To manage with this issue?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="19733" LastEditorUserId="19733" LastEditDate="2017-09-10T18:01:13.887" LastActivityDate="2017-09-10T18:01:13.887" Title="[ac3]Estimating duration from bitrate, [matroska]Starting new cluster due to timestampe and muxing overhead errors when muxing .mkv and .ac3 in .mkv" Tags="|ffmpeg|" AnswerCount="0" CommentCount="6" FavoriteCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22143" PostTypeId="2" ParentId="22105" CreationDate="2017-08-19T14:02:32.120" Score="1" Body="&lt;p&gt;Based on my observation it has nothing to do with Render Settings&lt;br&gt;&#xA;Your video has a total of 270 frames (9 seconds x 30 FPS).&lt;br&gt;&#xA;You photo moves for 1920 pixels (based on the video).&lt;br&gt;&#xA;So the speed is 7 pixels per 1 frame (1920/270=7.1) which is very high and movement wont be smooth. and that's what causes the stutter.&lt;br&gt;&lt;br&gt;&#xA;Solution:&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Increase Frame rate to 60. then the photo will move 3.5 pixels per 1 frame.&lt;/li&gt;&#xA;&lt;li&gt;keep frame rate as it is and move the photo for half the distance only.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="19791" LastActivityDate="2017-08-19T14:02:32.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22145" PostTypeId="2" ParentId="21449" CreationDate="2017-08-19T20:24:31.573" Score="1" Body="&lt;p&gt;You can't get &quot;dynamic resolution&quot; because essentially that would mean that some of the time you used a 4K display (for example) to show a 2160P image and some of the time you displayed a 1080P image by pixel doubling - so either way it's 4K but what you could gain (IF there were such a Codec) is an increase in the compression, and that's where you should look.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The h265+ Codec developed by HikVision analyses the image frame by frame and decides what is important and what can be compressed to a greater extent, relying upon prior frames to have the data to 'fix' where the extreme compression was used - it can be decoded with a standard h265 (non plus) decoder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a quote from their Website: &quot;The average decreased rate between H.264 and H.265 is 47,8%. When applying Hikvision H.265+ the decrease rate increases to an average of 83.7 percent.&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the explanation of this: &lt;a href=&quot;http://www.hikvision.com/europe/Press-Release-details_71_i14097.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.hikvision.com/europe/Press-Release-details_71_i14097.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PDF: &lt;a href=&quot;http://www.hikvision.com/upload/20161209211521855.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.hikvision.com/upload/20161209211521855.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as I know it's only available as Hardware in HikVision's cameras, if someone knows where there's an Open Source version of h265+ I'd sure like to know - thanks.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-08-19T20:24:31.573" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22146" PostTypeId="2" ParentId="21449" CreationDate="2017-08-19T21:17:03.373" Score="1" Body="&lt;p&gt;As others have mentioned, you seem to be confusing resolution and frame rate.  There are variable resolution systems for things like VR for foviated rendering (where the area being looked at is rendered in higher resolution than the surrounding areas) and there are also some large format displays where the resolution of the overall visual display may not be consistent, but you aren't talking about either of these situations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a conventional display viewed by multiple people, you aren't going to be able to meaningfully change the resolution throughout the video without it being pretty jarring.  What you are talking about instead is the idea of varying the frame rate (how often the image updates) or group of pictures compression (where surrounding frames are described in terms of their differences from another frame rather than describing the full image for every frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In fact, virtually all modern video codecs use the latter of these two.  Groups of pictures have been used in pretty much every video format since the MPEG-2 and the DVD (with some usage before as well).  This compression technique is why we can get such incredible compression with so little quality loss.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To put it in perspective, an individual raw frame of 4k video from my Ursa Mini digital cinema camera is 10MB.  At 24 frames a second, that's 240MB/sec (bytes, not bits), yet Netflix can give a reasonable quality 4k video feed at only 15Mb/sec (bits, not bytes), that's 1/128th of the data involved in the RAW video with relatively minimal visible difference (and that's before calculating the color information which would actually nearly triple the overall data rate making it less than 1/300th of the uncompressed video).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simply put, our video compression options available already are staggering using just the latter of these options and will tend to work even better on low motion video where very little changes between frames.  2 pass encoding will give the best result as it will determine the amount of change between frames in the first pass and then optimize the data storage on the second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Variable frame rate is an option you can pursue to further lower the bandwidth requirements if large portions truly do not need to change at all, but such encoders are more complicated, less commonly available and don't play back quite as reliably across devices.  Overall, I'd try seeing what you can get with careful tweaking of modern h.264 or h.265 algorithms with fairly long GOP settings (long key frame intervals).&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-08-19T21:17:03.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22147" PostTypeId="1" AcceptedAnswerId="22148" CreationDate="2017-08-20T02:25:53.903" Score="1" ViewCount="75" Body="&lt;p&gt;I'm looking for a way to burn captions into videos without using Adobe Premiere (too expensive). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any tips?&lt;/p&gt;&#xA;" OwnerUserId="19797" LastActivityDate="2017-08-21T16:31:31.337" Title="Is there a way to add text captions/subtitles to my videos on MacOS? (burn in)" Tags="|video-editor|mac|osx|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22148" PostTypeId="2" ParentId="22147" CreationDate="2017-08-20T02:29:15.527" Score="1" Body="&lt;p&gt;&lt;a href=&quot;http://www.videocaptionmaker.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;Video Caption Maker&lt;/strong&gt;&lt;/a&gt; is free (with watermark). Otherwise you can hack together title screens and png's in iMovie which takes a bit of work.&lt;/p&gt;&#xA;" OwnerUserId="19798" LastActivityDate="2017-08-20T02:29:15.527" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22151" PostTypeId="1" AcceptedAnswerId="22168" CreationDate="2017-08-20T09:43:12.520" Score="0" ViewCount="2059" Body="&lt;p&gt;If I use ffprobe to output the duration of a video file with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -i input.mkv -show_entries format=duration -v quiet -of csv=&quot;p=0&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I will get something like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;3658.342000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can I get the output in second only without the decimals? I do not mind if ffmpeg or Mediainfo has a better function for this. I just need to get the output in seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I am using CMD in Win10.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="12511" LastActivityDate="2017-08-22T22:11:16.330" Title="Echo duration of video in seconds without decimals" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22152" PostTypeId="2" ParentId="18600" CreationDate="2017-08-20T15:13:14.407" Score="1" Body="&lt;p&gt;Cerevo Liveshell 2. It,s battery powered also. As receiving-end use a laptop with vlc player. Hdmi from laptop to mixer. I used this setup a few times.&lt;/p&gt;&#xA;" OwnerUserId="19801" LastActivityDate="2017-08-20T15:13:14.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22153" PostTypeId="2" ParentId="21239" CreationDate="2017-08-20T18:33:15.100" Score="1" Body="&lt;p&gt;If the venue uses Christie Projectors; I believe the projection mapping development kit is free (for Christie Owners/Registered Units). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I owned 2 HD 10K-M Christies for a while; and the projection mapping always intrigued me. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The mapping capabilities are pretty incredible. Here is a sample video showing just how amazing the Christie Projection Mapping software (with compatible Christie Projector) is. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;AUDI PROJECTION MAPPING DEMO BY CHRISTIE&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;LINK: &lt;a href=&quot;https://www.youtube.com/watch?v=x4sVTUAdoLg&amp;amp;list=PLvlGlsoR-zO9MHHLFe75GXQ1J8E_hC116&amp;amp;index=17&quot; rel=&quot;nofollow noreferrer&quot;&gt;Christie Projection Mapping an Audi - DEMO&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously, depending on the angles of your objects, you will likely need multiple projectors to do any sort of wrap arounds. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Depending on the Venue&lt;/strong&gt;, they may stock Christie or more than likely Barco units. Barco may have similar software now for it's high end projectors. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keep in mind the projectors that do this (at the time my HD-10K units were 60K USD each); are high end. You won't get the mapping capabilities with simple conference/media units. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-08-20T18:33:15.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22156" PostTypeId="1" CreationDate="2017-08-21T05:15:06.060" Score="0" ViewCount="506" Body="&lt;p&gt;I have a source video file (@60 fps), and a &quot;list&quot; of frames of interest. I'm trying to get a &quot;compilation&quot; of 6 seconds clips (3 before, 3 after the said frame), add a fade in between them and output said video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what I'm currently using:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;melt test1.mp4 in=2340 out=2700 -mix 120 test1.mp4 in=4140 out=4500 -mix 120 test1.mp4 in=5220 out=5580 -blank 1500 -consumer sdl&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The transition between the first and second clips is done correctly, the one between the 2'nd and 3'rd however is NOT processed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;As a side note, I will have about 10-15 clips per movie, so I plan to move this to either a textfile or xml scheme later, but I'm trying to make this work from the command line for the time being.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ok, so I figured it out. Turns out you need to apply the &quot;-mix&quot; flag to the SECOND clip, and it will mix between the previous and current clip. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;melt test1.mp4 in=2340 out=2700 test1.mp4 in=4140 out=4500 -mix 120 -mixer luma test1.mp4 in=5220 out=5580 -mix 120 -mixer luma -blank 1500&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This now works correctly, and adds a fade between the first and second clip, as well as between the second and the third.&lt;/p&gt;&#xA;" OwnerUserId="19807" LastEditorUserId="19807" LastEditDate="2017-08-21T06:28:31.330" LastActivityDate="2017-11-19T07:56:27.510" Title="Melt transitions from command line" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22157" PostTypeId="2" ParentId="22156" CreationDate="2017-08-21T06:32:14.277" Score="1" Body="&lt;p&gt;Ok, so I figured it out. Turns out you need to apply the &quot;-mix&quot; flag to the SECOND clip, and it will mix between the previous and current clip.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;melt test1.mp4 in=2340 out=2700 test1.mp4 in=4140 out=4500 -mix 120 -mixer luma test1.mp4 in=5220 out=5580 -mix 120 -mixer luma -blank 1500&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This now works correctly, and adds a fade between the first and second clip, as well as between the second and the third.&lt;/p&gt;&#xA;" OwnerUserId="19807" LastActivityDate="2017-08-21T06:32:14.277" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22158" PostTypeId="1" CreationDate="2017-08-21T10:35:57.883" Score="0" ViewCount="993" Body="&lt;p&gt;I'm creating some &lt;strong&gt;How To&lt;/strong&gt; type videos to go online, and I'm looking to add a bug or DOG to the videos. The videos will contain some screen captures of a website with the full logo in the top left but it will not always be visible. I'd like to add the &lt;em&gt;glyph&lt;/em&gt; part of the logo to 95% of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Is there any established rules or general consensus on where is best to place a bug or DOG?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My first idea was to go top right (as top left would mean a logo over the top of a logo for parts of he video). This seems to fit with what most traditional TV stations would do. However I've notice a lot of YouTube creators have started to add them to the bottom right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On most of my Google searches, I've only really found people asking or explaining how to actually place a watermark, and not any advice on where to place them.&lt;/p&gt;&#xA;" OwnerUserId="12541" LastEditorUserId="12541" LastEditDate="2017-08-22T15:54:33.250" LastActivityDate="2017-08-22T15:54:33.250" Title="Is there an optimum position for placing a bug or DOG?" Tags="|editing|youtube|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22159" PostTypeId="1" CreationDate="2017-08-21T11:55:53.203" Score="3" ViewCount="2457" Body="&lt;p&gt;I have a series of high framerate (slow motion) videos and need to extract all frames with content to series of images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of the videos are of electrical events that took place in the dark and just the frames with a certain degree of lighting / actual visual output need to be extracted.  Thus the dark / black frames will not be extracted, but the other frames will be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas on how to accomplish this?&lt;/p&gt;&#xA;" OwnerUserId="5647" LastActivityDate="2017-08-31T04:41:23.590" Title="How to extract only frames from videos that have certain levels of luminosity / content?" Tags="|slowmotion|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22163" PostTypeId="2" ParentId="22158" CreationDate="2017-08-22T03:14:25.313" Score="1" Body="&lt;p&gt;If you are talking about a &lt;a href=&quot;https://en.wikipedia.org/wiki/Digital_on-screen_graphic&quot; rel=&quot;nofollow noreferrer&quot;&gt;bug or DOG&lt;/a&gt; and not a watermark for copyright protection, then the optimum placement is whatever is appropriate for your video's visual style. There is no magical location on the screen to place it. Most US broadcasters started out placing their bug's in the lower right corner, but that has evolved depending on the channel's look and feel.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-08-22T03:14:25.313" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22165" PostTypeId="1" CreationDate="2017-08-22T13:33:10.427" Score="0" ViewCount="1474" Body="&lt;p&gt;Novice w/ After Effects, but here it goes...I am looking to emulate the style/technique from this website background video &lt;a href=&quot;https://y.co/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://y.co/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a color correction effect to create this look? Or is it something like a solid color layer blended in a specific way?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have footage I am going to use as the landing page background on my website, and I want to create this effect so the text feels like it is in the &quot;foreground&quot; and stands out on top of the background video.&lt;/p&gt;&#xA;" OwnerUserId="17509" LastActivityDate="2018-02-19T07:15:11.633" Title="Color Correction filter to dull/desaturate Video" Tags="|after-effects|color-correction|color-grading|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22167" PostTypeId="1" AcceptedAnswerId="22169" CreationDate="2017-08-22T20:07:19.100" Score="1" ViewCount="2451" Body="&lt;p&gt;You can right click on a scale, hit Edit, and then enter scale in Pixels, inches , % of Comp, of source.... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to set the scale in pixels. How can set the units using expressions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried returning &lt;code&gt;[&quot;200px&quot;,&quot;200px&quot;]&lt;/code&gt;, but that is an error.&lt;/p&gt;&#xA;" OwnerUserId="16176" LastActivityDate="2017-08-23T01:52:56.033" Title="set scale in pixels in After Effects using Expressions" Tags="|after-effects|after-effects-expressions|after-effects-scripting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22168" PostTypeId="2" ParentId="22151" CreationDate="2017-08-22T22:11:16.330" Score="0" Body="&lt;p&gt;Ended up using a batch file to export the timings to a text file and then turncate the value as a set variable.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -i {filepath$} -show_entries format=duration -v quiet -of csv=&quot;p=0&quot; &amp;gt;&amp;gt; duration.txt&#xA;setlocal enabledelayedexpansion&#xA;for /f &quot;tokens=1,2,3,8 delims=\ &quot; %%a in (duration.txt) do (&#xA;  for /f &quot;tokens=1 delims=.&quot; %%i in (&quot;%%a&quot;) do set _stime=%%i&#xA;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12511" LastActivityDate="2017-08-22T22:11:16.330" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22169" PostTypeId="2" ParentId="22167" CreationDate="2017-08-23T01:52:56.033" Score="2" Body="&lt;p&gt;The size in pixels is easily computed as the source's original dimensions multiplied by the scale. Or in other words &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;p = d × s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where p=pixel dimensions required, d=source dimensions, s=scale.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So to set the scale so that it takes a given source and makes it conform to a desired dimensions:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;s = p / d&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In an expression on the scale property you'd use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var p = [123, 456]; / desired output dimension&#xA;[ p[0] / width, p[1] / height ] * 100; // the *100 is because scale is a percentage&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To be really fancy you could repurpose the scale value input so that it controlled the pixel dimensions. This means if you want the layer's dimension to be [123,456] you'd just dial it in in the scale control:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var d = value; //returns the pre-expression value of the property&#xA;[ p[0] / width, p[1] / height ] * 100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-08-23T01:52:56.033" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22170" PostTypeId="1" AcceptedAnswerId="22177" CreationDate="2017-08-23T02:44:27.510" Score="3" ViewCount="3246" Body="&lt;p&gt;I'm using Avid DNxHR HQX as an intermediate codec to go from Resolve to Premiere, but I can't find a viewer that will play it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;MPC-HC, MPC-BE, MPDN, Windows Media Player even the dreaded quicktime player all refuse to play it. The only thing that works is ffplay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone know of a player that can handle this codec yet?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-08-23T03:08:27.173" LastActivityDate="2020-01-02T08:18:15.273" Title="Viewer for DNxHR HQX files" Tags="|windows|avid|dnxhr|video-player|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22173" PostTypeId="2" ParentId="22165" CreationDate="2017-08-23T04:10:56.900" Score="1" Body="&lt;p&gt;If you do a primary color correction on your video to get it normalized (this is assuming your footage looks correct in terms of exposure, white balance, etc); I'd add the following filters to achieve that look without any plugins... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You would have to play with the parameters; I haven't seen your footage, so I can't say how strong a filter would need to be applied. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either ADD and Adjustment Layer on Top of your Footage Layers; or you can nest your comp into another comp and do your color correction there. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;FILTERS&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;em&gt;USE THIS ORDER ON YOUR FOOTAGE/ADJUSTMENT LAYER GOING TOP TO BOTTOM&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Color Correction - Brightness Contrast:   Reduce Contrast (you will have to play with this as I don't know if your footage is High Key to begin with).  But to get that look, you want low contrast footage behind your text, so that you lift your blacks and shadows up. I wouldn't increase Brightness unless you shot 4:4:4.  But you want very low contrast which basically flattens out the overall image and mutes the colors as well. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Color Correction - Hue Saturation Lightness (HSL):   Reduce Saturation by 50%. Increase Lightness: 2-10%  Leave Hue at 0. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Color Correction - Vibrance:  &lt;em&gt;Now that you've reduced your Saturation;&lt;/em&gt; adjust the Vibrance Up till you get the colors to punch through to your liking. You may need to reduce Saturation in previous filter or not reduce it so much as 50, depending on your footage. But pulling back your saturation a decent amount, and replacing it with Vibrance will give you the tonality you're looking for color space wise.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Last Filter: Add Video Limiter Filter, and soft knee your Luminance to 99.90.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Lastly;&lt;/em&gt; if you want to knock your TYPE out from your footage background, you can add even a very small amount of Blur. Gaussian Blur; or Fast Blur, Lens Blur is nice but adds render time. All options would work for this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;FOR YOUR TEXT&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adding a even small stroke will help it pop. Use video/film friendly fonts, no fine lines/hairline fonts. Some of my favorite fonts for video are:  Gotham Ultra; Gotham Book, Gotham Medium, Whitney (SemiBold, Book, Book SmallCaps) Operator in Small Caps various weights, and if you want Serif, Mercury is a great font, as is Perpetua with the right weight. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are using fine line fonts, such as Gotham ExtraLight, adding a stroke of 1px as the same color of your font, and reducing the opacity of the stroke to 50% will help. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;And lastly;&lt;/em&gt; adding a drop shadow (very subtle so almost not noticable) with 0 Distance, 0 Spread and Size 10-25 (Depending on Fontsize) and then reducing the opacity of the shadow to 10-40% works well.  I particularly don't like the drop-shadow look; but I do use it to get the text to pop out from my motion backgrounds. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regardless, you want your text to background footage to have a &lt;em&gt;wide latitude&lt;/em&gt; of contrast. So if your footage is bright, you'll either want to darken the footage down, or use a solid color layer on it, something to create a wider spectrum if you plan to use a light colored or white font. That-- or use a dark font. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your footage is dark, either brighten it up, or use a bright colored font. Same goes for color. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;FINAL TIP&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend having your project comp set to 32 Bit Floating Point as far as workspace, even if your footage is 4:2:0.  You'll get better CC results. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Hope this helps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Martin&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-08-23T04:10:56.900" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22174" PostTypeId="2" ParentId="22170" CreationDate="2017-08-23T04:26:55.473" Score="2" Body="&lt;p&gt;Here is the link to the White Paper on the codec. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.avid.com/products/avid-dnxhr-and-dnxhd&quot; rel=&quot;nofollow noreferrer&quot;&gt;AVID DNxHR CODECS&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can download the codecs for Quicktime here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://avid.force.com/pkb/articles/en_US/download/Avid-QuickTime-Codecs-LE&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://avid.force.com/pkb/articles/en_US/download/Avid-QuickTime-Codecs-LE&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-08-23T04:26:55.473" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22175" PostTypeId="2" ParentId="22159" CreationDate="2017-08-23T04:36:39.327" Score="0" Body="&lt;p&gt;Regardless, the footage would have to be analyzed/scanned with a first-pass to identify the frames (provided you coded / scripted a tool that would create a N value based on luminance characteristics of each frame- which would then need to be logged to a file). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend just exporting the footage as a JPG sequence, which is very fast to do. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then using a program like &lt;strong&gt;ACDSEE&lt;/strong&gt;, which works a lot like Bridge; but has more features and tools; you can sort the images based on luminance; discarding those with levels below an N value. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also; ACDSEE has a tool to &lt;strong&gt;&quot;Find Duplicate Images&quot;.&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would thus find all black frames as duplicate images (provided there wasn't any motion); and you could delete those. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Re-import the JPEG sequence as footage; and ignore the errors for missing frames. Then ripple delete the spaces in one swoop. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly; you could export TIF uncompressed as well. Not sure if you're dealing with just 120fps GoPro footage or Uncompressed 4:4:4 RED footage... which you'd want to retain the color depth for down the pipeline corrections. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2017-08-23T04:36:39.327" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22176" PostTypeId="2" ParentId="22159" CreationDate="2017-08-23T06:53:32.807" Score="4" Body="&lt;p&gt;Here's the gist of the ffmpeg method: use the blackframe filter to identify frames with a certain amount of non-black content. Use the metadata filter to pass through those frames and discard the rest.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Inspection&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf blackframe=amount=0:threshold=92 -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The amount (0) in the blackframe parameters refers to the percentage of pixels that have to be below the threshold (92) for the filter to tag it as a black frame. The way we'll using it, it won't matter what the amount is, so keep it at 0.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will get a readout like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_blackframe_0 @ 0000000002be5aa0] frame:1 pblack:35 pts:1 t:0.040000 type:I last_keyframe:1&#xA;[Parsed_blackframe_0 @ 0000000002be5aa0] frame:2 pblack:35 pts:2 t:0.080000 type:I last_keyframe:2&#xA;[Parsed_blackframe_0 @ 0000000002be5aa0] frame:3 pblack:35 pts:3 t:0.120000 type:I last_keyframe:3&#xA;[Parsed_blackframe_0 @ 0000000002be5aa0] frame:4 pblack:35 pts:4 t:0.160000 type:I last_keyframe:4&#xA;[Parsed_blackframe_0 @ 0000000002be5aa0] frame:5 pblack:34 pts:5 t:0.200000 type:I last_keyframe:5&#xA;[Parsed_blackframe_0 @ 0000000002be5aa0] frame:6 pblack:34 pts:6 t:0.240000 type:I last_keyframe:6&#xA;[Parsed_blackframe_0 @ 0000000002be5aa0] frame:7 pblack:34 pts:7 t:0.280000 type:I last_keyframe:7&#xA;[Parsed_blackframe_0 @ 0000000002be5aa0] frame:8 pblack:34 pts:8 t:0.320000 type:I last_keyframe:8&#xA;[Parsed_blackframe_0 @ 0000000002be5aa0] frame:9 pblack:34 pts:9 t:0.360000 type:I last_keyframe:9&#xA;[Parsed_blackframe_0 @ 0000000002be5aa0] frame:10 pblack:34 pts:10 t:0.400000 type:I last_keyframe:10&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;pblack&lt;/code&gt; value indicates that 35% of the pixels in frame 1 had a luminance value below 92 (out of 255, since I ran it on a video with 8-bit luma). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With some trial and error, figure out what threshold and pblack values will identify the frames you want to discard/keep.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Extraction&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With those values, use  &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4&#xA;       -vf &quot;blackframe=amount=0:threshold=X,&#xA;            metadata=select:key='lavfi.blackframe.pblack':value=Y:function=less&quot;&#xA;       -vsync 0 img%d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;X&lt;/code&gt; is the threshold value you calibrated to identify black pixels, and determines the pblack value (out of 100) reported by the blackframe filter. The metadata filter then keeps those frames which have at most Y% of pixels that qualify as black. These frames are then saved as images.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-08-23T06:53:32.807" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22177" PostTypeId="2" ParentId="22170" CreationDate="2017-08-23T07:12:05.223" Score="2" Body="&lt;p&gt;&lt;a href=&quot;https://www.videohelp.com/software/PotPlayer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Potplayer&lt;/a&gt; plays the HQX HR file I generated using ffmpeg. You have to tell Potplayer to use ffmpeg's MP4/QT demuxer by setting &lt;code&gt;Preferences -&amp;gt; Filter Control -&amp;gt; Source/Splitter -&amp;gt; MP4/QT&lt;/code&gt; to &lt;code&gt;FFmpeg MP4 Source/Splitter&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-08-23T07:12:05.223" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22179" PostTypeId="1" AcceptedAnswerId="22186" CreationDate="2017-08-23T10:31:42.243" Score="2" ViewCount="17451" Body="&lt;p&gt;I have a video stream I captured with &lt;code&gt;VLC&lt;/code&gt; and saved as a TS file. The codecs within the file are h.264/AAC, so I thought it would be trivial to use &lt;code&gt;ffmpeg&lt;/code&gt; to convert the file from a TS container to MP4 container, so that I can play the file in QuickTime. I used the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i vlc-output.ts -acodec copy -vcodec copy car-free\ tourism.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;All seemed fine, but whilst the resulting file can be opened in QuickTime, after playing 1s of the file, it jumps back to the beginning and then plays the audio only, with the video staying black. The video plays fine in VLC and MPlayerX. I can't understand why QuickTime won't play the file. The codecs look compatible, and the file length looks fine. Am I doing something wrong? Is there additional metadata that QuickTime needs?&lt;/p&gt;&#xA;&lt;p&gt;I somehow suspect that the issue lies with a lack of complete bit rate metadata, but am out of my depth.&lt;/p&gt;&#xA;&lt;p&gt;Thanks for any help.&lt;/p&gt;&#xA;&lt;p&gt;The output from ffprobe for both files is as follows:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;vlc-output.ts&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[~/Desktop] 113: ffprobe vlc-output.ts                                                   10:51:13 &#xA;ffprobe version 3.3.3 Copyright (c) 2007-2017 the FFmpeg developers&#xA;  built with Apple LLVM version 8.1.0 (clang-802.0.42)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.3.3 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-libmp3lame --enable-libx264 --enable-libxvid --enable-opencl --enable-videotoolbox --disable-lzma --enable-vda&#xA;  libavutil      55. 58.100 / 55. 58.100&#xA;  libavcodec     57. 89.100 / 57. 89.100&#xA;  libavformat    57. 71.100 / 57. 71.100&#xA;  libavdevice    57.  6.100 / 57.  6.100&#xA;  libavfilter     6. 82.100 /  6. 82.100&#xA;  libavresample   3.  5.  0 /  3.  5.  0&#xA;  libswscale      4.  6.100 /  4.  6.100&#xA;  libswresample   2.  7.100 /  2.  7.100&#xA;  libpostproc    54.  5.100 / 54.  5.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'vlc-output.ts':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41avc1&#xA;    creation_time   : 2015-06-23T20:48:30.000000Z&#xA;    playback_requirements: QuickTime 6.0 or greater&#xA;    playback_requirements-eng: QuickTime 6.0 or greater&#xA;    encoder         : vlc 2.2.1 stream output&#xA;    encoder-eng     : vlc 2.2.1 stream output&#xA;  Duration: 00:01:50.09, start: 0.000000, bitrate: 1149 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 640x360, 1051 kb/s, 25 fps, 25 tbr, 1000k tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-06-23T20:48:30.000000Z&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 93 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-06-23T20:48:30.000000Z&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;car-free tourism.mp4&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[~/Desktop] 114: ffprobe car-free\ tourism.mp4                                           10:51:36 &#xA;ffprobe version 3.3.3 Copyright (c) 2007-2017 the FFmpeg developers&#xA;  built with Apple LLVM version 8.1.0 (clang-802.0.42)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.3.3 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-libmp3lame --enable-libx264 --enable-libxvid --enable-opencl --enable-videotoolbox --disable-lzma --enable-vda&#xA;  libavutil      55. 58.100 / 55. 58.100&#xA;  libavcodec     57. 89.100 / 57. 89.100&#xA;  libavformat    57. 71.100 / 57. 71.100&#xA;  libavdevice    57.  6.100 / 57.  6.100&#xA;  libavfilter     6. 82.100 /  6. 82.100&#xA;  libavresample   3.  5.  0 /  3.  5.  0&#xA;  libswscale      4.  6.100 /  4.  6.100&#xA;  libswresample   2.  7.100 /  2.  7.100&#xA;  libpostproc    54.  5.100 / 54.  5.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'car-free tourism.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.71.100&#xA;  Duration: 00:01:50.09, start: 0.000000, bitrate: 1150 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 640x360, 1051 kb/s, 25 fps, 25 tbr, 1000k tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 93 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;When I use the &lt;code&gt;-report&lt;/code&gt; option when running the rewrap command, I get the following log file:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;ffmpeg-20170824-164217.log&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg started on 2017-08-24 at 16:42:17&#xA;Report written to &amp;quot;ffmpeg-20170824-164217.log&amp;quot;&#xA;Command line:&#xA;ffmpeg -i vlc-output.ts -acodec copy -vcodec copy -report &amp;quot;car-free tourism.mp4&amp;quot;&#xA;ffmpeg version 3.3.3 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with Apple LLVM version 8.1.0 (clang-802.0.42)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.3.3 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-libmp3lame --enable-libx264 --enable-libxvid --enable-opencl --enable-videotoolbox --disable-lzma --enable-vda&#xA;  libavutil      55. 58.100 / 55. 58.100&#xA;  libavcodec     57. 89.100 / 57. 89.100&#xA;  libavformat    57. 71.100 / 57. 71.100&#xA;  libavdevice    57.  6.100 / 57.  6.100&#xA;  libavfilter     6. 82.100 /  6. 82.100&#xA;  libavresample   3.  5.  0 /  3.  5.  0&#xA;  libswscale      4.  6.100 /  4.  6.100&#xA;  libswresample   2.  7.100 /  2.  7.100&#xA;  libpostproc    54.  5.100 / 54.  5.100&#xA;Splitting the commandline.&#xA;Reading option '-i' ... matched as input url with argument 'vlc-output.ts'.&#xA;Reading option '-acodec' ... matched as option 'acodec' (force audio codec ('copy' to copy stream)) with argument 'copy'.&#xA;Reading option '-vcodec' ... matched as option 'vcodec' (force video codec ('copy' to copy stream)) with argument 'copy'.&#xA;Reading option '-report' ... matched as option 'report' (generate a report) with argument '1'.&#xA;Reading option 'car-free tourism.mp4' ... matched as output url.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option report (generate a report) with argument 1.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url vlc-output.ts.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: vlc-output.ts.&#xA;[NULL @ 0x7f8f8e004200] Opening 'vlc-output.ts' for reading&#xA;[file @ 0x7f8f8ce00300] Setting default whitelist 'file,crypto'&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f8f8e004200] Format mov,mp4,m4a,3gp,3g2,mj2 probed with size=2048 and score=100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f8f8e004200] ISO: File Type Major Brand: isom&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f8f8e004200] Unknown dref type 0x206c7275 size 12&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f8f8e004200] Processing st: 0, edit list 0 - media time: 0, duration: 109960000&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f8f8e004200] Unknown dref type 0x206c7275 size 12&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f8f8e004200] Processing st: 1, edit list 0 - media time: 0, duration: 4854784&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f8f8e004200] Before avformat_find_stream_info() pos: 76497 bytes read:98304 seeks:0 nb_streams:2&#xA;[h264 @ 0x7f8f8e008400] nal_unit_type: 9, nal_ref_idc: 0&#xA;[h264 @ 0x7f8f8e008400] nal_unit_type: 7, nal_ref_idc: 3&#xA;[h264 @ 0x7f8f8e008400] nal_unit_type: 8, nal_ref_idc: 3&#xA;[h264 @ 0x7f8f8e008400] nal_unit_type: 6, nal_ref_idc: 0&#xA;[h264 @ 0x7f8f8e008400] nal_unit_type: 5, nal_ref_idc: 3&#xA;[h264 @ 0x7f8f8e008400] user data:&amp;quot;x264 - core 118 r2085 8a62835 - H.264/MPEG-4 AVC codec - Copyleft 2003-2011 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x1:0x111 me=hex subme=5 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=0 threads=36 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=0 weightp=2 keyint=50 keyint_min=25 scenecut=0 intra_refresh=0 rc_lookahead=40 rc=cbr mbtree=1 bitrate=1200 ratetol=1.0 qcomp=0.60 qpmin=10 qpmax=51 qpstep=4 vbv_maxrate=1200 vbv_bufsize=600 nal_hrd=none ip_ratio=1.40 aq=1:1.00&amp;quot;&#xA;[h264 @ 0x7f8f8e008400] Reinit context to 640x368, pix_fmt: yuv420p&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f8f8e004200] All info found&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f8f8e004200] After avformat_find_stream_info() pos: 99278 bytes read:131072 seeks:0 frames:2&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'vlc-output.ts':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41avc1&#xA;    creation_time   : 2015-06-23T20:48:30.000000Z&#xA;    playback_requirements: QuickTime 6.0 or greater&#xA;    playback_requirements-eng: QuickTime 6.0 or greater&#xA;    encoder         : vlc 2.2.1 stream output&#xA;    encoder-eng     : vlc 2.2.1 stream output&#xA;  Duration: 00:01:50.09, start: 0.000000, bitrate: 1149 kb/s&#xA;    Stream #0:0(eng), 1, 1/1000000: Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 640x360, 1051 kb/s, 25 fps, 25 tbr, 1000k tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-06-23T20:48:30.000000Z&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng), 1, 1/44100: Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 93 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-06-23T20:48:30.000000Z&#xA;      handler_name    : SoundHandler&#xA;Successfully opened the file.&#xA;Parsing a group of options: output url car-free tourism.mp4.&#xA;Applying option acodec (force audio codec ('copy' to copy stream)) with argument copy.&#xA;Applying option vcodec (force video codec ('copy' to copy stream)) with argument copy.&#xA;Successfully parsed a group of options.&#xA;Opening an output file: car-free tourism.mp4.&#xA;[file @ 0x7f8f8ce04fe0] Setting default whitelist 'file,crypto'&#xA;Successfully opened the file.&#xA;Output #0, mp4, to 'car-free tourism.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41avc1&#xA;    encoder         : Lavf57.71.100&#xA;    playback_requirements: QuickTime 6.0 or greater&#xA;    playback_requirements-eng: QuickTime 6.0 or greater&#xA;    Stream #0:0(eng), 0, 1/1000000: Video: h264 (Main) ([33][0][0][0] / 0x0021), yuv420p, 640x360, q=2-31, 1051 kb/s, 25 fps, 25 tbr, 1000k tbn, 1000k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-06-23T20:48:30.000000Z&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng), 0, 1/44100: Audio: aac (LC) ([64][0][0][0] / 0x0040), 44100 Hz, stereo, fltp, 93 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-06-23T20:48:30.000000Z&#xA;      handler_name    : SoundHandler&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;No more output streams to write to, finishing.&#xA;frame= 2749 fps=0.0 q=-1.0 Lsize=   15455kB time=00:01:50.04 bitrate=1150.5kbits/s speed= 588x    &#xA;video:14120kB audio:1258kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.503515%&#xA;Input file #0 (vlc-output.ts):&#xA;  Input stream #0:0 (video): 2749 packets read (14459053 bytes); &#xA;  Input stream #0:1 (audio): 4741 packets read (1287842 bytes); &#xA;  Total: 7490 packets (15746895 bytes) demuxed&#xA;Output file #0 (car-free tourism.mp4):&#xA;  Output stream #0:0 (video): 2749 packets muxed (14459053 bytes); &#xA;  Output stream #0:1 (audio): 4741 packets muxed (1287842 bytes); &#xA;  Total: 7490 packets (15746895 bytes) muxed&#xA;0 frames successfully decoded, 0 decoding errors&#xA;[AVIOContext @ 0x7f8f8ce050a0] Statistics: 60 seeks, 7583 writeouts&#xA;[AVIOContext @ 0x7f8f8ce00480] Statistics: 16617055 bytes read, 17 seeks&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The video file I'm trying to rewrap is an STV news report stream specified in an m3u8 file, which I captured with VLC. I've put a copy of it &lt;a href=&quot;https://www.dropbox.com/s/w7j1ag69g3nd0uj/vlc-output.ts?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="19832" LastEditorUserId="19832" LastEditDate="2021-03-07T10:58:03.637" LastActivityDate="2021-03-07T10:58:03.637" Title="Problem converting TS to MP4 container with ffmpeg" Tags="|ffmpeg|conversion|mac|quicktime|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="22180" PostTypeId="1" AcceptedAnswerId="22181" CreationDate="2017-08-23T15:16:55.210" Score="0" ViewCount="194" Body="&lt;p&gt;I have some videos on YouTube with a series of views that I do not want to miss but that are not in the quality I want. I am improving some videos with the intention of changing some already existing in the site.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question is: &lt;strong&gt;Can I change these videos without losing my views?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="18258" LastActivityDate="2017-08-23T17:20:21.593" Title="Swapping videos on YouTube" Tags="|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22181" PostTypeId="2" ParentId="22180" CreationDate="2017-08-23T17:20:21.593" Score="2" Body="&lt;p&gt;No, you can't. You can use the built-in features of the platform such as adding cards or applying 'Enhancements' (Youtube's terminology, not mine), but there's no way to replace the video itself. From the &lt;a href=&quot;https://support.google.com/youtube/answer/55770&quot; rel=&quot;nofollow noreferrer&quot;&gt;official documentation&lt;/a&gt;: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;You can’t replace a video because any new video you upload to YouTube&#xA;  will get a new URL. Instead, you can make changes to an existing&#xA;  video: &lt;/p&gt;&#xA;  &#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;&lt;strong&gt;Enhance your video:&lt;/strong&gt; You can make some editorial changes to the video using YouTube Video Enhancements. You can trim parts of your&#xA;  video, auto-fix lighting and color, blur parts of the video, apply a&#xA;  filter, and more.&lt;/li&gt;&#xA;  &lt;li&gt;&lt;strong&gt;Add cards to your video:&lt;/strong&gt; You can use cards to change elements of your videos. You can point viewers to a specific URL (from a list of&#xA;  eligible sites) and show customized images, titles, and calls to&#xA;  action, depending on the card type. &lt;/li&gt;&#xA;  &lt;li&gt;&lt;strong&gt;Change your video's title and description:&lt;/strong&gt; You can organize and make changes to your video's title, category, description, and privacy&#xA;  settings.&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If video replacement is a feature you deem necessary for whatever content you are producing, you might consider switching to a hosting platform that allows you to do this. For example, replacing the original video file while keeping views, comments et c. intact is possible on &lt;a href=&quot;https://help.vimeo.com/hc/en-us/articles/224818047-Video-settings-overview&quot; rel=&quot;nofollow noreferrer&quot;&gt;Vimeo&lt;/a&gt; (&lt;a href=&quot;https://help.vimeo.com/hc/en-us/articles/224818047-Video-settings-overview&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt;, as of August 2017).&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-08-23T17:20:21.593" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22183" PostTypeId="1" AcceptedAnswerId="22184" CreationDate="2017-08-23T19:59:40.900" Score="2" ViewCount="48" Body="&lt;p&gt;How could I replace the background of a video such as the one in the picture&#xA;&lt;a href=&quot;https://i.stack.imgur.com/3TBDN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3TBDN.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;to a bright white? I have iMovie, is it of any use here?&lt;/p&gt;&#xA;" OwnerUserId="19836" LastActivityDate="2017-08-24T10:45:09.170" Title="Replacing/changing video background" Tags="|editing|" AnswerCount="1" CommentCount="1" ClosedDate="2017-08-25T08:35:57.430" ContentLicense="CC BY-SA 3.0" />
  <row Id="22184" PostTypeId="2" ParentId="22183" CreationDate="2017-08-24T08:01:20.890" Score="3" Body="&lt;p&gt;That's a tricky one since the background color is the same as the shirt shes wearing.&lt;br&gt; This can be achieved Manually by masking your subject frame by frame, if there is no much movement and duration is little then this shouldn't be a problem, although you might have some difficulty with the hair.&lt;br&gt;&#xA;&lt;strong&gt;Note:&lt;/strong&gt; masking should not be very accurate in this case, make a fast one then feather it and increase the brightness of the layer behind &quot;background&quot; until it becomes bright white and see if you like the result.&lt;/p&gt;&#xA;" OwnerUserId="19791" LastEditorUserId="19791" LastEditDate="2017-08-24T10:45:09.170" LastActivityDate="2017-08-24T10:45:09.170" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22186" PostTypeId="2" ParentId="22179" CreationDate="2017-08-24T16:23:28.843" Score="5" Body="&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: The VLC TS is malformed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i vlc-output.ts -c copy ffmpeg-output.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ffmpeg-output.ts -c copy working.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;The main thing that looks off is the timebase &lt;code&gt;1000k tbn&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i vlc-output.ts -c copy -video_track_timescale 90k car-free\ tourism.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-08-27T12:57:51.113" LastActivityDate="2017-08-27T12:57:51.113" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="22187" PostTypeId="1" AcceptedAnswerId="22190" CreationDate="2017-08-24T19:11:08.007" Score="0" ViewCount="116" Body="&lt;p&gt;&lt;a href=&quot;https://i.imgur.com/LqzejN9.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.imgur.com/LqzejN9.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is this achieved? It seems like the camera would have to go from sitting still to moving extremely fast to capture a pan that far to the side while the wave is moving in such incredibly slow motion. Right? If the camera was changing angle at non-insane speeds, its angle change would happen in extreme slow motion just like the environment it seems like to me. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But it's over water in the waves, so it could be a drone but can drones really go from hovering still to instantly moving as fast as necessary for that shot? They could have a boat with a rig to pull the camera sideways fast but it would have to be pretty close considering the angle change and wouldn't it have problems because the waves are bouncing it around?&lt;/p&gt;&#xA;" OwnerUserId="12477" LastEditorUserId="12477" LastEditDate="2017-08-24T19:19:12.103" LastActivityDate="2017-08-25T09:32:21.580" Title="How is a shot like this done? (Smooth angle shift in extreme slow-motion)" Tags="|slowmotion|" AnswerCount="1" CommentCount="1" ClosedDate="2017-08-25T15:28:36.013" ContentLicense="CC BY-SA 3.0" />
  <row Id="22188" PostTypeId="1" AcceptedAnswerId="22189" CreationDate="2017-08-25T00:33:10.100" Score="0" ViewCount="125" Body="&lt;p&gt;The following command is producing a video of the exact length of the -to parameter:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:06:26 -i fftestinput.mp4 -to 00:06:38 -r 29.97 fftestoutput.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Again, the final product is a very nice video of length 6:38.&lt;/p&gt;&#xA;" OwnerUserId="19852" LastActivityDate="2017-08-25T05:05:17.700" Title="ffmpeg -to option acting like -t option?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22189" PostTypeId="2" ParentId="22188" CreationDate="2017-08-25T05:05:17.700" Score="1" Body="&lt;p&gt;Yes, it does. &lt;code&gt;-to&lt;/code&gt; looks at the timestamps. And input &lt;code&gt;ss&lt;/code&gt; resets them to zero from the seek point. Either use &lt;code&gt;-ss&lt;/code&gt; as output option (after &lt;code&gt;-i&lt;/code&gt;) or calculate and use duration &lt;code&gt;-t&lt;/code&gt;. The former will slow operation, as it performs a slow seek (decode and discard till inpoint).&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-08-25T05:05:17.700" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22190" PostTypeId="2" ParentId="22187" CreationDate="2017-08-25T09:32:21.580" Score="1" Body="&lt;p&gt;I would have to agree with @Michael on this one, Bullet Time (as the name suggests when opening up the image &quot;Surfing Bullet Time&quot; would probably be the best result. To be fair it was probably filmed on a small boat (cameras in waterproof housings) as take just as the boat goes over the wave (just before it turns over) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the actual video&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ZplI0jZYveM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It was shot with 12 GoPro cameras&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2017-08-25T09:32:21.580" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22192" PostTypeId="1" CreationDate="2017-08-25T17:32:29.090" Score="0" ViewCount="55" Body="&lt;p&gt;How can I limit the audio up limit like this one in Premiere? Thanks in advice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lMDy4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lMDy4.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19858" LastActivityDate="2017-11-24T03:36:31.803" Title="I don't know how to explain but it is about limiting audio" Tags="|premiere|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22193" PostTypeId="1" CreationDate="2017-08-25T19:00:48.783" Score="1" ViewCount="27" Body="&lt;p&gt;I've got an old sony handycame that record into tapes. When i try to display the videos in my samsung tv using RCA cables, the video is full screen and with a really good quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wanted to transfer the videos into my computer using usb communication. I've got the handycam's driver, installed, the handycam is recognized as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using OpenCV library, have been able to collect the pictures but in a resolution of 320*240, resolution of the screen of my handycam.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When i try to resize the pictures, the quality get really bad. I would like to have videos of more than default resolution, with a good quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, how come that the videos are displayed so well into the tv, but not in my computer ? and is there any way to solve this problem ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CAMCORDER: DCR-TRV238E&#xA;TV: SAMSUNG PS43D450A2W&lt;/p&gt;&#xA;" OwnerUserId="19862" LastActivityDate="2017-08-25T19:00:48.783" Title="Extract video from sony handycame with perfect quality" Tags="|video|encoding|camcorder|tape|usb|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22195" PostTypeId="2" ParentId="22192" CreationDate="2017-08-26T01:55:38.150" Score="2" Body="&lt;p&gt;The second one looks hella clipped, isn't it distorting? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway the effect you're after is unsurprisingly called a &lt;strong&gt;limiter&lt;/strong&gt;. A limiter is a form of compressor, so a compressor can also be used, by setting the compression ratio high. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere ships with a filter called &lt;strong&gt;hard limiter&lt;/strong&gt;, and a compressor as well, but there are plenty more free and commercial VST &lt;a href=&quot;http://bedroomproducersblog.com/2011/07/24/bpb-freeware-studio-best-free-limiter-vstau-plugins/&quot; rel=&quot;nofollow noreferrer&quot;&gt;limiter plugins&lt;/a&gt; out there, and scads of &lt;a href=&quot;http://bedroomproducersblog.com/2012/02/18/bpb-freeware-studio-best-free-compressor-vstau-plugins/&quot; rel=&quot;nofollow noreferrer&quot;&gt;compressors&lt;/a&gt; if you want more knobs to twiddle.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-08-26T02:00:39.353" LastActivityDate="2017-08-26T02:00:39.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22197" PostTypeId="1" AcceptedAnswerId="22198" CreationDate="2017-08-26T20:51:46.270" Score="16" ViewCount="19299" Body="&lt;p&gt;I tried to add 2 .srt subtitles to a video, but the resulting file has only the first subtitle. This is the command I used:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i $movie.mov -i $sub_en.srt -i $sub_de.srt \&#xA;-c:v copy -c:a copy \&#xA;-c:s:0 srt -metadata:s:s:0 language=eng \&#xA;-c:s:1 srt -metadata:s:s:1 language=ger \&#xA;$output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The full output below also shows it only encodes 1 subtitle (I replaced the long file names with the variables used above for clarity):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 3.3.2-static http://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with gcc 5.4.1 (Debian 5.4.1-11) 20170519&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc-5 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gray --enable-libass --enable-libfreetype --enable-libfribidi --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-libzimg&#xA;  libavutil      55. 58.100 / 55. 58.100&#xA;  libavcodec     57. 89.100 / 57. 89.100&#xA;  libavformat    57. 71.100 / 57. 71.100&#xA;  libavdevice    57.  6.100 / 57.  6.100&#xA;  libavfilter     6. 82.100 /  6. 82.100&#xA;  libswscale      4.  6.100 /  4.  6.100&#xA;  libswresample   2.  7.100 /  2.  7.100&#xA;  libpostproc    54.  5.100 / 54.  5.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '$movie.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 0&#xA;    compatible_brands: qt  &#xA;    creation_time   : 2017-08-23T15:33:19.000000Z&#xA;  Duration: 00:56:34.92, start: 0.000000, bitrate: 20807 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 20546 kb/s, 25 fps, 25 tbr, 25 tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-08-23T15:33:20.000000Z&#xA;      handler_name    : Core Media Data Handler&#xA;      encoder         : H.264&#xA;      timecode        : 01:00:00:00&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 255 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-08-23T15:33:20.000000Z&#xA;      handler_name    : Core Media Data Handler&#xA;    Stream #0:2(und): Data: none (tmcd / 0x64636D74) (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-08-23T15:33:20.000000Z&#xA;      handler_name    : Core Media Data Handler&#xA;      timecode        : 01:00:00:00&#xA;Input #1, srt, from '$sub_en.srt':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #1:0: Subtitle: subrip&#xA;Input #2, srt, from '$sub_de.srt':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #2:0: Subtitle: subrip&#xA;Output #0, matroska, to '$output.mkv':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 0&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf57.71.100&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 20546 kb/s, 25 fps, 25 tbr, 1k tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-08-23T15:33:20.000000Z&#xA;      timecode        : 01:00:00:00&#xA;      handler_name    : Core Media Data Handler&#xA;      encoder         : H.264&#xA;    Stream #0:1(ger): Audio: aac (LC) ([255][0][0][0] / 0x00FF), 48000 Hz, stereo, fltp, 255 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-08-23T15:33:20.000000Z&#xA;      handler_name    : Core Media Data Handler&#xA;    Stream #0:2: Subtitle: subrip (srt)&#xA;    Metadata:&#xA;      encoder         : Lavc57.89.100 srt&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;  Stream #1:0 -&amp;gt; #0:2 (subrip (srt) -&amp;gt; subrip (srt))&#xA;Press [q] to stop, [?] for help&#xA;frame=20372 fps=236 q=-1.0 Lsize= 2091417kB time=00:13:35.78 bitrate=21001.7kbits/s speed=9.45x    &#xA;video:2065455kB audio:25494kB subtitle:8kB other streams:0kB global headers:0kB muxing overhead: 0.022014%&#xA;Exiting normally, received signal 2.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I know that in this particular case I can use &lt;code&gt;mkvmerge&lt;/code&gt;, but it wouldn't work for .mp4 mov_text (.ttxt) subtitles, and anyway I would like to understand what is wrong with my ffmpeg command.&lt;/p&gt;&#xA;" OwnerUserId="3138" LastActivityDate="2021-12-21T18:15:31.980" Title="ffmpeg: how to add several subtitle streams" Tags="|ffmpeg|subtitles|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22198" PostTypeId="2" ParentId="22197" CreationDate="2017-08-27T04:42:48.740" Score="29" Body="&lt;p&gt;Whenever's there's multiple inputs fed to ffmpeg, and you need one more than video/audio/subtitle stream sent to the output, &lt;code&gt;-map&lt;/code&gt; statements are needed.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i $movie.mov -i $sub_en.srt -i $sub_de.srt \&#xA;-map 0:v -map 0:a -map 1 -map 2 \&#xA;-c:v copy -c:a copy -c:s srt \&#xA;-metadata:s:s:0 language=eng -metadata:s:s:1 language=ger \&#xA;$output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Since the subtitles are SRT, you can just do &lt;code&gt;-c:s copy&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-08-27T04:42:48.740" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22200" PostTypeId="2" ParentId="5771" CreationDate="2017-08-27T14:45:41.607" Score="4" Body="&lt;p&gt;I also have an idea, if your sequence and titles are too complicated you can save a copy of your project and then import a sequence from it to the main project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's best possible solution to copy title I've found with motion titles templates. &lt;/p&gt;&#xA;" OwnerUserId="19874" LastEditorUserId="2836" LastEditDate="2017-08-28T13:50:19.963" LastActivityDate="2017-08-28T13:50:19.963" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22201" PostTypeId="1" CreationDate="2017-08-28T02:19:35.783" Score="2" ViewCount="2235" Body="&lt;p&gt;I have some Premiere Pro project that have a lot of big files, some which are in the bin, some which are not, many that are not used and could be deleted. Is there a way to identify these files to delete them?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="19382" LastActivityDate="2017-08-31T21:29:07.283" Title="Identifying unused files in Premiere Pro" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22202" PostTypeId="1" CreationDate="2017-08-28T09:50:33.707" Score="1" ViewCount="2024" Body="&lt;p&gt;I have couple of streams recorded with couple of services which are encrypted. Is there a way to check which streams/programs are scrambled in ffmpeg. I have tried with &lt;code&gt;ffmpeg -i mpts.ts&lt;/code&gt; but it doesn't provide me a straight forward information about it. I have tried to google it but also didn't find any information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the output of &lt;code&gt;ffmpeg -i mpts.ts&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 3.3.3-1ubuntu1~16.04.york0 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with gcc 5.4.0 (Ubuntu 5.4.0-6ubuntu1~16.04.4) 20160609&#xA;  configuration: --prefix=/usr --extra-version='1ubuntu1~16.04.york0' --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared&#xA;  libavutil      55. 58.100 / 55. 58.100&#xA;  libavcodec     57. 89.100 / 57. 89.100&#xA;  libavformat    57. 71.100 / 57. 71.100&#xA;  libavdevice    57.  6.100 / 57.  6.100&#xA;  libavfilter     6. 82.100 /  6. 82.100&#xA;  libavresample   3.  5.  0 /  3.  5.  0&#xA;  libswscale      4.  6.100 /  4.  6.100&#xA;  libswresample   2.  7.100 /  2.  7.100&#xA;  libpostproc    54.  5.100 / 54.  5.100&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] SPS unavailable in decode_picture_timing&#xA;[h264 @ 0x55f7925f7ea0] non-existing PPS 0 referenced&#xA;[h264 @ 0x55f7925f7ea0] decode_slice_header error&#xA;[h264 @ 0x55f7925f7ea0] no frame!&#xA;[mpegts @ 0x55f7925d3780] Stream #10: not enough frames to estimate rate; consider increasing probesize&#xA;[mpegts @ 0x55f7925d3780] Stream #15: not enough frames to estimate rate; consider increasing probesize&#xA;[mpegts @ 0x55f7925d3780] Stream #19: not enough frames to estimate rate; consider increasing probesize&#xA;[mpegts @ 0x55f7925d3780] start time for stream 10 is not set in estimate_timings_from_pts&#xA;[mpegts @ 0x55f7925d3780] start time for stream 11 is not set in estimate_timings_from_pts&#xA;[mpegts @ 0x55f7925d3780] start time for stream 12 is not set in estimate_timings_from_pts&#xA;[mpegts @ 0x55f7925d3780] start time for stream 15 is not set in estimate_timings_from_pts&#xA;[mpegts @ 0x55f7925d3780] start time for stream 16 is not set in estimate_timings_from_pts&#xA;[mpegts @ 0x55f7925d3780] start time for stream 17 is not set in estimate_timings_from_pts&#xA;[mpegts @ 0x55f7925d3780] start time for stream 19 is not set in estimate_timings_from_pts&#xA;[mpegts @ 0x55f7925d3780] start time for stream 20 is not set in estimate_timings_from_pts&#xA;[mpegts @ 0x55f7925d3780] start time for stream 21 is not set in estimate_timings_from_pts&#xA;[mpegts @ 0x55f7925d3780] start time for stream 22 is not set in estimate_timings_from_pts&#xA;[mpegts @ 0x55f7925d3780] start time for stream 23 is not set in estimate_timings_from_pts&#xA;[mpegts @ 0x55f7925d3780] PES packet size mismatch&#xA;    Last message repeated 9 times&#xA;[mpegts @ 0x55f7925d3780] Could not find codec parameters for stream 0 (Unknown: none ([5][0][0][0] / 0x0005)): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x55f7925d3780] Could not find codec parameters for stream 10 (Video: h264 ([27][0][0][0] / 0x001B), none): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x55f7925d3780] Could not find codec parameters for stream 11 (Audio: ac3 ([6][0][0][0] / 0x0006), 0 channels): unspecified sample format&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x55f7925d3780] Could not find codec parameters for stream 12 (Audio: ac3 ([6][0][0][0] / 0x0006), 0 channels): unspecified sample format&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x55f7925d3780] Could not find codec parameters for stream 13 (Unknown: none ([5][0][0][0] / 0x0005)): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x55f7925d3780] Could not find codec parameters for stream 14 (Unknown: none ([11][0][0][0] / 0x000B)): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x55f7925d3780] Could not find codec parameters for stream 15 (Video: h264 ([27][0][0][0] / 0x001B), none): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x55f7925d3780] Could not find codec parameters for stream 16 (Audio: ac3 ([6][0][0][0] / 0x0006), 0 channels): unspecified sample format&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x55f7925d3780] Could not find codec parameters for stream 17 (Audio: ac3 ([6][0][0][0] / 0x0006), 0 channels): unspecified sample format&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x55f7925d3780] Could not find codec parameters for stream 18 (Unknown: none ([5][0][0][0] / 0x0005)): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x55f7925d3780] Could not find codec parameters for stream 19 (Video: h264 ([27][0][0][0] / 0x001B), none): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x55f7925d3780] Could not find codec parameters for stream 20 (Audio: mp3 ([4][0][0][0] / 0x0004), 0 channels): unspecified frame size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x55f7925d3780] Could not find codec parameters for stream 21 (Audio: mp3 ([4][0][0][0] / 0x0004), 0 channels): unspecified frame size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x55f7925d3780] Could not find codec parameters for stream 22 (Audio: ac3 ([6][0][0][0] / 0x0006), 0 channels): unspecified sample format&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x55f7925d3780] Could not find codec parameters for stream 23 (Audio: eac3 ([6][0][0][0] / 0x0006), 0 channels): unspecified sample format&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, mpegts, from 'TS1007_ServusTV_HD_15min.ts':&#xA;  Duration: 02:47:55.81, start: 47397.187422, bitrate: 3808 kb/s&#xA;  Program 4911&#xA;    Metadata:&#xA;      service_name    : ORF1 HD&#xA;      service_provider: ORF&#xA;    Stream #0:10[0x780]: Video: h264 ([27][0][0][0] / 0x001B), none, 90k tbr, 90k tbn&#xA;    Stream #0:11[0x781](deu): Audio: ac3 ([6][0][0][0] / 0x0006), 0 channels&#xA;    Stream #0:12[0x782](mis): Audio: ac3 ([6][0][0][0] / 0x0006), 0 channels&#xA;    Stream #0:8[0x785](ger): Subtitle: dvb_teletext&#xA;    Stream #0:13[0x1c8e]: Unknown: none ([5][0][0][0] / 0x0005)&#xA;    Stream #0:14[0x1c8f]: Unknown: none ([11][0][0][0] / 0x000B)&#xA;  Program 4912&#xA;    Metadata:&#xA;      service_name    : ORF2W HD&#xA;      service_provider: ORF&#xA;    Stream #0:15[0xb68]: Video: h264 ([27][0][0][0] / 0x001B), none, 90k tbr, 90k tbn&#xA;    Stream #0:16[0xb69](deu): Audio: ac3 ([6][0][0][0] / 0x0006), 0 channels&#xA;    Stream #0:17[0xb6a](mis): Audio: ac3 ([6][0][0][0] / 0x0006), 0 channels&#xA;    Stream #0:7[0xb6d](ger): Subtitle: dvb_teletext&#xA;    Stream #0:13[0x1c8e]: Unknown: none ([5][0][0][0] / 0x0005)&#xA;    Stream #0:14[0x1c8f]: Unknown: none ([11][0][0][0] / 0x000B)&#xA;  Program 4913&#xA;    Metadata:&#xA;      service_name    : ServusTV HD Oesterreich&#xA;      service_provider: ServusTV&#xA;    Stream #0:18[0x5c]: Unknown: none ([5][0][0][0] / 0x0005)&#xA;    Stream #0:19[0xdff]: Video: h264 ([27][0][0][0] / 0x001B), none, 90k tbr, 90k tbn&#xA;    Stream #0:20[0xe00](ger): Audio: mp3 ([4][0][0][0] / 0x0004), 0 channels (clean effects)&#xA;    Stream #0:21[0xe01](eng): Audio: mp3 ([4][0][0][0] / 0x0004), 0 channels (clean effects)&#xA;    Stream #0:22[0xe03](ger): Audio: ac3 ([6][0][0][0] / 0x0006), 0 channels (clean effects)&#xA;    Stream #0:9[0xe04](ger): Subtitle: dvb_teletext&#xA;    Stream #0:23[0xe05](ger): Audio: eac3 ([6][0][0][0] / 0x0006), 0 channels&#xA;  Program 4914&#xA;    Metadata:&#xA;      service_name    : ServusTV HD Deutschland&#xA;      service_provider: ServusTV&#xA;    Stream #0:0[0x5b]: Unknown: none ([5][0][0][0] / 0x0005)&#xA;    Stream #0:1[0x1338]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(top first), 1920x1080 [SAR 1:1 DAR 16:9], 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:2[0x1339](ger): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 160 kb/s (clean effects)&#xA;    Stream #0:3[0x133a](eng): Audio: mp2 ([4][0][0][0] / 0x0004), 48000 Hz, stereo, s16p, 160 kb/s (clean effects)&#xA;    Stream #0:4[0x133c](ger): Audio: ac3 ([6][0][0][0] / 0x0006), 48000 Hz, 5.1(side), fltp, 448 kb/s (clean effects)&#xA;    Stream #0:5[0x133d](ger): Subtitle: dvb_teletext ([6][0][0][0] / 0x0006)&#xA;    Stream #0:6[0x133e](ger): Audio: eac3 ([6][0][0][0] / 0x0006), 48000 Hz, 5.1(side), fltp, 256 kb/s&#xA;  Program 4916&#xA;    Metadata:&#xA;      service_name    : ORF2N HD&#xA;      service_provider: ORF&#xA;    Stream #0:15[0xb68]: Video: h264 ([27][0][0][0] / 0x001B), none, 90k tbr, 90k tbn&#xA;    Stream #0:16[0xb69](deu): Audio: ac3 ([6][0][0][0] / 0x0006), 0 channels&#xA;    Stream #0:17[0xb6a](mis): Audio: ac3 ([6][0][0][0] / 0x0006), 0 channels&#xA;    Stream #0:7[0xb6d](ger): Subtitle: dvb_teletext&#xA;    Stream #0:13[0x1c8e]: Unknown: none ([5][0][0][0] / 0x0005)&#xA;    Stream #0:14[0x1c8f]: Unknown: none ([11][0][0][0] / 0x000B)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19853" LastEditorUserId="19853" LastEditDate="2017-08-29T08:01:10.433" LastActivityDate="2021-11-14T14:40:30.963" Title="ffmpeg MPTS detection of scrambled streams" Tags="|ffmpeg|" AnswerCount="3" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="22203" PostTypeId="1" AcceptedAnswerId="22228" CreationDate="2017-08-28T10:00:19.423" Score="5" ViewCount="1227" Body="&lt;p&gt;I am trying to use FFMPEG (v.3.3.3) concat demuxer and as the file is stitched the audio drops at concat points. As I have files of same codecs, bitrates and so on - it doesn't make much sense to transcode again, so I really want to make concat demuxer to work. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've had this problem with h.264 and aac. Here is how to recreate so you can see what I am talking about.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Create test file with bars and tone (10s)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f lavfi -i &quot;sine=frequency=1000:sample_rate=48000:duration=10&quot; -f lavfi -i smptehdbars=size=1920x1080 -t 10 test.mp4&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Split the file into two using seeking&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i test.mp4 -ss 0 -t 5 test-1.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i test.mp4 -ss 5 -t 5 test-2.mp4&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Join the files together using concat demuxer&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i &amp;lt;(for f in ./test-*.mp4; do echo &quot;file '$PWD/$f'&quot;; done) -c copy testconcat.mp4&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This creates a file with clearly audible audio drop at 5s mark. To picture this here I've created two spectrograms by extracting audio.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Extract audio&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i test.mp4 test.wav&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i testconcat.mp4 testconcat.wav&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Create spectrograms&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;sox test.wav -n spectrogram -Y 130 -c &quot;Input file&quot; -o test.png&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;sox testconcat.wav -n spectrogram -Y 130 -c &quot;Concat file&quot; -o testconcat.png&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;And here is the result:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/U10Rl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/U10Rl.png&quot; alt=&quot;Input File&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1PsSQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1PsSQ.png&quot; alt=&quot;Concat File&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my questions are: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Can concat demuxer be used in such a way to avoid the described problem?&lt;/li&gt;&#xA;&lt;li&gt;Or what would you see as a solution (beyond full re-transcode)?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="19882" LastEditorUserId="19905" LastEditDate="2017-08-30T23:47:45.527" LastActivityDate="2024-03-10T21:21:00.000" Title="FFMPEG demux concat dropping audio at stitch points" Tags="|ffmpeg|audio|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22204" PostTypeId="1" CreationDate="2017-08-28T13:34:04.483" Score="3" ViewCount="333" Body="&lt;p&gt;My DataVideo kum-100 supports a number of different SDI specs.  What is the difference between Quad SDI,6G Link SDI,and 3G-LINK SDI?&lt;/p&gt;&#xA;" OwnerUserId="19883" LastEditorUserId="2836" LastEditDate="2017-08-28T13:56:48.387" LastActivityDate="2017-08-28T14:10:28.503" Title="What do different types of SDI mean?" Tags="|sdi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22205" PostTypeId="2" ParentId="22204" CreationDate="2017-08-28T14:10:28.503" Score="3" Body="&lt;p&gt;SDI stands for Serial Digital Interface.  Over time, the bandwidth needs of video have changed drastically, and so SDI has gone through a number of revisions and different solutions for handling the ever increasing bandwidth loads.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3G, 6G and 12G SDI all refer to single conductor bandwidth specs.  They refer to the maximum data rate supported.  3G is capable of 3 gigabit transmission, 6G up to 6 gigabit and 12G up to 12 gigabit.  Each standard uses progressively higher grade cables and more rigorous transmission standards to enable the higher data throughput.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Dual and Quad link SDI take an alternate approach.  They use the slower SDI cables, but run multiple cables to the same device.  Using this approach, it is possible to split the data and achieve higher throughput with lower grade (and potentially pre-existing) cabling, but multiple conductors are required.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The standard you use will be determined by the feeds that both your source and destination devices can support and based on the wiring constraints you decide on (length of run and cable costs being the main two factors, as well as any existing wiring).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Much more technical detail on SDI is available on &lt;a href=&quot;https://en.wikipedia.org/wiki/Serial_digital_interface&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-08-28T14:10:28.503" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22206" PostTypeId="1" CreationDate="2017-08-28T16:39:56.340" Score="0" ViewCount="81" Body="&lt;p&gt;I was able to get only one 4k camera signal into my KMU-100,to get 4 HD outputs.&#xA;The issue am facing right now is,&#xA;How do i get my two 4K cameras working on the KMU-100?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because,the format i used for section A, is the same format i do apply to section B.&lt;/p&gt;&#xA;" OwnerUserId="19883" LastEditorUserId="2836" LastEditDate="2017-08-28T16:43:22.413" LastActivityDate="2024-03-27T08:03:15.380" Title="Datavideo KMU-100 FORMAT" Tags="|live|4k|signal-processing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22208" PostTypeId="1" CreationDate="2017-08-29T09:34:45.320" Score="3" ViewCount="1094" Body="&lt;p&gt;I rendered a video using Optical Flow (it includes lots of Time Remapping). Basic cuts look as if there was a short glitch-like transition between them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frame of first shot&#xA;[&lt;img src=&quot;https://i.stack.imgur.com/mcK6W.jpg&quot; alt=&quot;Frame of first shot &quot;&gt;&lt;a href=&quot;https://i.stack.imgur.com/mcK6W.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;1&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frame between two&#xA;&lt;a href=&quot;https://i.stack.imgur.com/hxT7s.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hxT7s.jpg&quot; alt=&quot;Frame between two&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19187" LastActivityDate="2017-08-30T13:44:05.957" Title="Oprtical Flow artifacts on cuts in Premiere" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22212" PostTypeId="1" CreationDate="2017-08-29T15:08:08.547" Score="1" ViewCount="1370" Body="&lt;p&gt;Can you export a video from Premiere Pro to an SWF file?&lt;/p&gt;&#xA;" OwnerUserId="19593" LastActivityDate="2017-08-29T15:08:08.547" Title="Can you export a video from Premiere Pro to an SWF file?" Tags="|premiere|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22213" PostTypeId="1" AcceptedAnswerId="22235" CreationDate="2017-08-29T16:11:35.607" Score="1" ViewCount="473" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/a19mQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/a19mQ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The graph editor constantly displays the curves for the positions of a puppet pin, even when I'm not selecting anything and when I select something else. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Deleting the layer will get rid of it. But I want to find an alternative because I've spent a lot of time animating the pin. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any ideas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FIXED:  It seems to be a bug with AE. My solution was by just duplicating the old layer and then deleting the old layer.&lt;/p&gt;&#xA;" OwnerUserId="19789" LastEditorUserId="19789" LastEditDate="2017-08-29T17:05:40.083" LastActivityDate="2017-08-31T08:18:49.890" Title="FIXED - AfterEffect graph editor is stuck on displaying one particular curve and does not refresh" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22214" PostTypeId="2" ParentId="21296" CreationDate="2017-08-29T16:53:23.250" Score="1" Body="&lt;p&gt;I record conferences all the time, so I end up getting 10's of hours of footage at a time. I have a few tricks that help with syncing: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Run all cams all the time. If a full day shoot gets only 3 files per cam, that's a lot less work to sync than 25 files from each cam. &lt;/li&gt;&#xA;&lt;li&gt;Stop and start all cams within the same few seconds. &lt;/li&gt;&#xA;&lt;li&gt;Learn to notice key waveforms. Things like applause, audience chatter, and music have unique shapes. You can also watch for &quot;um&quot; and long pauses. &lt;/li&gt;&#xA;&lt;li&gt;There's sync tools available, like &lt;a href=&quot;http://www.redgiant.com/products/pluraleyes/&quot; rel=&quot;nofollow noreferrer&quot;&gt;PluralEyes&lt;/a&gt;, that analyze the sound from each clip, then syncs them on the timeline. &lt;/li&gt;&#xA;&lt;li&gt;There's time code methods that many pros use, but I've never had any success with them. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I depend on 1 through 3 almost exclusively. I've gotten very good at reading waveforms and I only stop cams for breaks longer than 10 minutes. All my clips are 30 seconds out of sync at most. It's pretty easy to sync a whole day in 15 minutes. I've used PluralEyes, but found it took too long to process the material, and it was off by about a half second most of the time, so I had to go though and move all the clips anyway. I only use it if I have tons of clips to sync (more than 15), instead of my typical four or five. PluralEyes will get you close, then you have to adjust manually. &lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2017-08-29T21:32:12.583" LastActivityDate="2017-08-29T21:32:12.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22215" PostTypeId="2" ParentId="22202" CreationDate="2017-08-29T23:29:57.903" Score="1" Body="&lt;p&gt;It doesn't appear that FFmpeg can decode the relevant information. You need something that can analyze the &lt;a href=&quot;https://en.wikipedia.org/wiki/Program-specific_information#CAT_.28Conditional_access_specific_data.29&quot; rel=&quot;nofollow noreferrer&quot;&gt;Conditional Access Table (CAT)&lt;/a&gt; and probably the other tables (PMT, PAT, etc.). &lt;a href=&quot;http://www.digitalekabeltelevisie.nl/dvb_inspector/&quot; rel=&quot;nofollow noreferrer&quot;&gt;DVB Inspector&lt;/a&gt; or &lt;a href=&quot;http://dvbsnoop.sourceforge.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;DVBSnoop&lt;/a&gt; might display the relevant information, but I don't have first hand experience with either and working with the CAT.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-08-29T23:29:57.903" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22219" PostTypeId="1" CreationDate="2017-08-30T13:28:25.003" Score="2" ViewCount="3536" Body="&lt;p&gt;is there any method to cut part of 360 video and convert it to plain video? I want to take half, or less of 360 footage and then edit/view as plain one.&lt;/p&gt;&#xA;" OwnerUserId="19902" LastActivityDate="2018-05-19T20:23:54.703" Title="Convert 360 to flat video" Tags="|360video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22220" PostTypeId="2" ParentId="22206" CreationDate="2017-08-30T13:40:48.447" Score="0" Body="&lt;p&gt;The DataVideo KMU-100 produces 4 1080p feeds (or 1 4k and 3 1080p feeds) from each input and has 2 different inputs.  It is possible to link the input on Signal Input A with the input to Signal Input B, but in this case, the connections for Signal Input B will not be used and the signal from Signal Input A will be sent to both splitters to make 8 1080p feeds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to have two feeds, you need to make sure each of the Signal Input sections is properly configured in DV Link.  You will want to make sure each camera is plugged in appropriately on the back.  There are 3 possible ways to plug your camera in to each bank.  Only one camera should be plugged in per input block (there's a square around each set of 1 HDMI and 4 BNC connections.)  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your camera is HDMI based, you will want to use the HDMI connection.  Note that if your camera is too far away, the HDMI signal may have trouble making it to the splitter and it may be necessary to get an HDMI to SDI converter for longer runs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For single link SDI (3G, 6G, 12G) I would connect to the 12G BNC connector.  It should be backwards compatible with both 3G and 6G and should give you the least possible headaches.  The manual is a little unclear on this, so I'm having to make an assumption, but given that the other's are all 3G, they appear to just be there for dual and quad link signals.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For dual and quad link signals (where two or four 3G cables are used from a single input source), use the necessary number of connectors regardless of if they are 12G or 3G.  The manual isn't clear on which ones should be used, so presumably the unit can figure it out on it's own.  If you have problems I might try using different connectors for the dual link.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have everything setup and the type of line selected in DV Link, the feeds should be detected provided that your cameras are outputting on a compatible video format.  It appears that the unit has it's own frame synchronization so it does not appear that video settings have to match between inputs, but if you experience problems, it couldn't hurt to verify this as well.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-08-30T13:40:48.447" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22221" PostTypeId="2" ParentId="22208" CreationDate="2017-08-30T13:44:05.957" Score="2" Body="&lt;p&gt;Did you apply the Optical Flow to a nested sequence that contains a transition?  This looks to me like Optical Flow trying to invent new frames to fill in the slow motion and getting confused by the fact that a transition is blending two different videos.  You should apply your time remaps to the base clips and then do transitions on top of the already adjusted clips.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-08-30T13:44:05.957" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22222" PostTypeId="2" ParentId="22219" CreationDate="2017-08-30T13:52:26.957" Score="1" Body="&lt;p&gt;Yes, I believe the latest versions of Premiere CC can do this natively.  It's a little bit tricky since the video needs to be unwrapped, but it is a fixed distortion to be applied depending on the size of the sphere map.  360 videos are actually rectangular videos that are texture mapped on to a sphere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Software that wants to convert can either look at the size of the sphere and use a fixed distortion to get the correct output or actually execute the spherical mapping and then shoot a flat image of the mapping in a 3d translation.  The later approach is more complicated by a bit, but allows for easy manipulation of the camera within the 360 sphere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not particularly aware of any other applications that directly support working with 360 video yet.  I know Fusion has VR capabilities now, but have not had a chance to work with the new features yet.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-08-30T13:52:26.957" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22223" PostTypeId="2" ParentId="22202" CreationDate="2017-08-30T14:22:40.557" Score="0" Body="&lt;p&gt;So I found some solution, even though, the output is not very pretty. You can use either &lt;a href=&quot;http://dvbsnoop.sourceforge.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;dvbsnoop&lt;/a&gt; or &lt;a href=&quot;http://altaisdigital.com/index.php/test-tools/ts-analyser-linux-command-line&quot; rel=&quot;nofollow noreferrer&quot;&gt;demuxtoy&lt;/a&gt; to do that. I didn't find a proper solution for dvbsnoop though. What you can do is to run: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ dvbsnoop -s ts -pd 9 -tssubdecode -nph -if mpts.ts 0x01&#xA;&#xA;TS sub-decoding (1 packet(s) stored for PID 0x0001):&#xA;    =====================================================&#xA;    TS contains Section...&#xA;    SI packet (length=88):&#xA;&#xA;    SI packet hexdump:&#xA;&#xA;        PID:  1 (0x0001)  [= assigned for: ISO 13818-1 Conditional Access Table (CAT)]&#xA;&#xA;        Guess table from table id...&#xA;        CAT-decoding....&#xA;        Table_ID: 1 (0x01)  [= Conditional Access Table (CAT)]&#xA;        section_syntax_indicator: 1 (0x01)&#xA;        (fixed): 0 (0x00)&#xA;        reserved_1: 3 (0x03)&#xA;        Section_length: 85 (0x0055)&#xA;        reserved_2: 262143 (0x3ffff)&#xA;        Version_number: 10 (0x0a)&#xA;        current_next_indicator: 1 (0x01)  [= valid now]&#xA;        Section_number: 0 (0x00)&#xA;        Last_Section_number: 0 (0x00)&#xA;&#xA;               MPEG-DescriptorTag: 9 (0x09)  [= CA_descriptor]&#xA;               descriptor_length: 4 (0x04)&#xA;                 0000:  09 04 06 48 e2 58                                  ...H.X&#xA;               CA_system_ID: 1608 (0x0648)  [= Irdeto]&#xA;               reserved: 7 (0x07)&#xA;               CA_PID: 600 (0x0258)&#xA;&#xA;               MPEG-DescriptorTag: 9 (0x09)  [= CA_descriptor]&#xA;               descriptor_length: 4 (0x04)&#xA;                 0000:  09 04 06 50 e2 59                                  ...P.Y&#xA;               CA_system_ID: 1616 (0x0650)  [= Irdeto]&#xA;               reserved: 7 (0x07)&#xA;               CA_PID: 601 (0x0259)&#xA;&#xA;               MPEG-DescriptorTag: 9 (0x09)  [= CA_descriptor]&#xA;               descriptor_length: 4 (0x04)&#xA;                 0000:  09 04 06 e2 e2 5a                                  .....Z&#xA;               CA_system_ID: 1762 (0x06e2)  [= Irdeto]&#xA;               reserved: 7 (0x07)&#xA;               CA_PID: 602 (0x025a)&#xA;&#xA;               MPEG-DescriptorTag: 9 (0x09)  [= CA_descriptor]&#xA;               descriptor_length: 4 (0x04)&#xA;                 0000:  09 04 0d 95 e2 bd                                  ......&#xA;               CA_system_ID: 3477 (0x0d95)  [= Philips (Cryptoworks)]&#xA;               reserved: 7 (0x07)&#xA;               CA_PID: 701 (0x02bd)&#xA;&#xA;               MPEG-DescriptorTag: 9 (0x09)  [= CA_descriptor]&#xA;               descriptor_length: 4 (0x04)&#xA;                 0000:  09 04 0d 98 e2 be                                  ......&#xA;               CA_system_ID: 3480 (0x0d98)  [= Philips (Cryptoworks)]&#xA;               reserved: 7 (0x07)&#xA;               CA_PID: 702 (0x02be)&#xA;&#xA;               MPEG-DescriptorTag: 9 (0x09)  [= CA_descriptor]&#xA;               descriptor_length: 4 (0x04)&#xA;                 0000:  09 04 09 8c e3 3e                                  .....&amp;gt;&#xA;               CA_system_ID: 2444 (0x098c)  [= News Datacom (Videoguard)]&#xA;               reserved: 7 (0x07)&#xA;               CA_PID: 830 (0x033e)&#xA;&#xA;               MPEG-DescriptorTag: 9 (0x09)  [= CA_descriptor]&#xA;               descriptor_length: 4 (0x04)&#xA;                 0000:  09 04 09 c4 e3 3e                                  .....&amp;gt;&#xA;               CA_system_ID: 2500 (0x09c4)  [= News Datacom (Videoguard)]&#xA;               reserved: 7 (0x07)&#xA;               CA_PID: 830 (0x033e)&#xA;&#xA;               MPEG-DescriptorTag: 9 (0x09)  [= CA_descriptor]&#xA;               descriptor_length: 32 (0x20)&#xA;                 0000:  09 20 05 00 e3 84 13 01  20 14 03 04 25 00 14 03   . ...... ...%...&#xA;                 0010:  04 25 10 14 03 04 25 02  14 03 04 25 30 14 03 05   .%....%....%0...&#xA;                 0020:  19 00                                              ..&#xA;               CA_system_ID: 1280 (0x0500)  [= France Telecom (Viaccess)]&#xA;               reserved: 7 (0x07)&#xA;               CA_PID: 900 (0x0384)&#xA;               Private Data:&#xA;                    0000:  13 01 20 14 03 04 25 00  14 03 04 25 10 14 03 04   .. ...%....%....&#xA;                    0010:  25 02 14 03 04 25 30 14  03 05 19 00               %....%0.....&#xA;&#xA;        CRC: 2807244644 (0xa7532764)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So using this command you can see the defined CAS in the CAT table PID 0x01. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With demuxtoy you can actually check which channels are scrambled and which are not:&#xA;&lt;code&gt;&#xA;$ demuxtoy --out=directory/ tmpts.ts&#xA;&lt;/code&gt; &#xA;This will save the TS data in directory/ so you can navigate to there and check in &lt;code&gt;directory/mpts/SUMMARY/&lt;/code&gt; either CASMessages.txt or Programs.txt. This is the output of &lt;code&gt;directory/mpts/SUMMARY/Programs.txt&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ cat Programs.txt&#xA;Program                                                         PID             Component                                               Tag(s)          Comments&#xA;ORF1 HD                                                         0x0078          Program 4911 ECM Irdeto (0x0648)                        -&#xA;                                                                0x007A          Program 4911 ECM Irdeto (0x0650)                        -&#xA;                                                                0x010E          Program 4911 ECM CrytoWorks (Irdeto) (0x0D95)           -&#xA;                                                                0x0110          Program 4911 ECM CrytoWorks (Irdeto) (0x0D98)           -&#xA;                                                                0x0140          Program 4911 ECM Irdeto (0x06E2)                        -&#xA;                                                                0x01CD          Program 4911 ECM France Telecom (0x0500)                -&#xA;                                                                0x01E0          Program 4911 ECM News Datacom (0x09C4)                  -&#xA;                                                                0x01EA          Program 4911 ECM News Datacom (0x098C)                  -&#xA;                                                                0x0780          Program 4911 H.264 AVC Video Stream                     1&#xA;                                                                0x0781          Program 4911 AC-3 Audio Stream (deu)                    2&#xA;                                                                0x0782          Program 4911 AC-3 Audio Stream (mis)                    3&#xA;                                                                0x0785          Program 4911 Teletext (ger)                             5&#xA;                                                                0x1C8E          Program 4911 AIT (HbbTV)                                11&#xA;                                                                0x1C8F          Program 4911 HbbTv Carousel (0x1C8F)                    12&#xA;                                                                0x0780          PCR PID                                                 -&#xA;ORF2N HD                                                        0x0079          Program 4916 ECM Irdeto (0x0648)                        -&#xA;                                                                0x007B          Program 4916 ECM Irdeto (0x0650)                        -&#xA;                                                                0x010F          Program 4916 ECM CrytoWorks (Irdeto) (0x0D95)           -&#xA;                                                                0x0111          Program 4916 ECM CrytoWorks (Irdeto) (0x0D98)           -&#xA;                                                                0x0141          Program 4916 ECM Irdeto (0x06E2)                        -&#xA;                                                                0x01CE          Program 4916 ECM France Telecom (0x0500)                -&#xA;                                                                0x01E1          Program 4916 ECM News Datacom (0x09C4)                  -&#xA;                                                                0x01EB          Program 4916 ECM News Datacom (0x098C)                  -&#xA;                                                                0x0B68          Program 4916 H.264 AVC Video Stream                     1&#xA;                                                                0x0B69          Program 4916 AC-3 Audio Stream (deu)                    2&#xA;                                                                0x0B6A          Program 4916 AC-3 Audio Stream (mis)                    3&#xA;                                                                0x0B6D          Program 4916 Teletext (ger)                             5&#xA;                                                                0x1C8E          Program 4916 AIT (HbbTV)                                11&#xA;                                                                0x1C8F          Program 4916 HbbTv Carousel (0x1C8F)                    12&#xA;                                                                0x0B68          PCR PID                                                 -&#xA;ORF2W HD                                                        0x0079          Program 4912 ECM Irdeto (0x0648)                        -&#xA;                                                                0x007B          Program 4912 ECM Irdeto (0x0650)                        -&#xA;                                                                0x010F          Program 4912 ECM CrytoWorks (Irdeto) (0x0D95)           -&#xA;                                                                0x0111          Program 4912 ECM CrytoWorks (Irdeto) (0x0D98)           -&#xA;                                                                0x0141          Program 4912 ECM Irdeto (0x06E2)                        -&#xA;                                                                0x01CE          Program 4912 ECM France Telecom (0x0500)                -&#xA;                                                                0x01E1          Program 4912 ECM News Datacom (0x09C4)                  -&#xA;                                                                0x01EB          Program 4912 ECM News Datacom (0x098C)                  -&#xA;                                                                0x0B68          Program 4912 H.264 AVC Video Stream                     1&#xA;                                                                0x0B69          Program 4912 AC-3 Audio Stream (deu)                    2&#xA;                                                                0x0B6A          Program 4912 AC-3 Audio Stream (mis)                    3&#xA;                                                                0x0B6D          Program 4912 Teletext (ger)                             5&#xA;                                                                0x1C8E          Program 4912 AIT (HbbTV)                                11&#xA;                                                                0x1C8F          Program 4912 HbbTv Carousel (0x1C8F)                    12&#xA;                                                                0x0B68          PCR PID                                                 -&#xA;ServusTV HD Oesterreich                                         0x007C          Program 4913 ECM Irdeto (0x0648)                        -&#xA;                                                                0x007D          Program 4913 ECM Irdeto (0x0650)                        -&#xA;                                                                0x0112          Program 4913 ECM CrytoWorks (Irdeto) (0x0D95)           -&#xA;                                                                0x0113          Program 4913 ECM CrytoWorks (Irdeto) (0x0D98)           -&#xA;                                                                0x011D          Program 4913 ECM News Datacom (0x09C4)                  -&#xA;                                                                0x0127          Program 4913 ECM News Datacom (0x098C)                  -&#xA;                                                                0x0142          Program 4913 ECM Irdeto (0x06E2)                        -&#xA;                                                                0x01D0          Program 4913 ECM France Telecom (0x0500)                -&#xA;                                                                0x005C          Program 4913 AIT (HbbTV)                                21&#xA;                                                                0x0DFF          Program 4913 H.264 AVC Video Stream                     1&#xA;                                                                0x0E00          Program 4913 MPEG-2 Audio Stream (ger)                  2&#xA;                                                                0x0E01          Program 4913 MPEG-2 Audio Stream (eng)                  3&#xA;                                                                0x0E03          Program 4913 AC-3 Audio Stream (ger)                    4&#xA;                                                                0x0E04          Program 4913 Teletext (ger)                             5&#xA;                                                                0x0E05          Program 4913 EAC-3 Audio Stream (ger)                   7&#xA;                                                                0x0DFF          PCR PID                                                 -&#xA;ServusTV HD Deutschland                                         0x005B          Program 4914 AIT (HbbTV)                                21&#xA;                                                                0x1338          Program 4914 H.264 AVC Video Stream                     1&#xA;                                                                0x1339          Program 4914 MPEG-2 Audio Stream (ger)                  2&#xA;                                                                0x133A          Program 4914 MPEG-2 Audio Stream (eng)                  3&#xA;                                                                0x133C          Program 4914 AC-3 Audio Stream (ger)                    4&#xA;                                                                0x133D          Program 4914 Teletext (ger)                             5&#xA;                                                                0x133E          Program 4914 EAC-3 Audio Stream (ger)                   7&#xA;                                                                0x1338          PCR PID                                                 -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;From the output is obvious that only ServusTV HD Deutschland is FTA, the only program which doesn't have ECM PIDs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also tried to get the same information using tsreport and tsinfo part of the tstools but I was unable to do that.  &lt;/p&gt;&#xA;" OwnerUserId="19853" LastActivityDate="2017-08-30T14:22:40.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22224" PostTypeId="1" AcceptedAnswerId="22227" CreationDate="2017-08-30T16:42:38.493" Score="2" ViewCount="420" Body="&lt;p&gt;I run a web service which muxes multiple elementary streams (e.g., H.264 + FLAC) into a single matroska container/wrapper/file. There is no transcoding as I only copy the streams, using a process like &lt;code&gt;ffmpeg  -i i.mkv -i i.flac   -map 0:0 -c:0 copy -map 1:0 -c:1 copy out.mkv&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that the service must provide the total file size (in bytes) of the file (&lt;code&gt;out.mkv&lt;/code&gt;) resulting from the mux up front (i.e., before the actual muxing completes).  Is it possible to calculate it?&lt;/p&gt;&#xA;" OwnerUserId="19904" LastEditorUserId="14523" LastEditDate="2017-08-30T22:36:15.173" LastActivityDate="2017-08-30T22:36:15.173" Title="How to calculate the overhead of wrapping multiple elementary streams?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22225" PostTypeId="1" CreationDate="2017-08-30T16:48:14.450" Score="1" ViewCount="27" Body="&lt;p&gt;I'm using Premier Pro CC but at a fairly basic level.  My question is probably a no-brainer for an experienced user. I've searched a lot of other sites and tutorials and haven't found anything that helps.  Here is my dilemma. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want a constant background, full size, 1080p, but on top of that,(a different track) I want a clip that is a smaller size, like an overlay, that only covers about 50% of the screen size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need a mask (or matte) around that top video, so I can zoom and pan on it, yet the borders stay constant, it never consumes more than the original 50% of the screen. If I zoom in 150%, it is still only utilizing 50% of the full screen and the background is still visible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does my description make sense?&lt;/p&gt;&#xA;" OwnerUserId="19907" OwnerDisplayName="Edward" LastActivityDate="2017-08-30T17:06:58.820" Title="How to mask in Premier Pro CC" Tags="|premiere|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22226" PostTypeId="2" ParentId="22224" CreationDate="2017-08-30T17:29:57.013" Score="2" Body="&lt;p&gt;The only exact approach is to simulate the muxing. On a *nix system this would be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i i.mkv -i i.flac -c copy -map 0:0 -map 1:0 -f matroska /dev/null&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;At the bottom of console readout, there's this line:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frame=152217 fps=71723 q=-1.0 Lsize=  551301kB time=01:41:28.66 ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;Lsize&lt;/code&gt; is what you want. This operation is pretty quick as there's nothing written to disk.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-08-30T17:29:57.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22227" PostTypeId="2" ParentId="22224" CreationDate="2017-08-30T17:30:07.897" Score="0" Body="&lt;p&gt;No, since different containers have a different overhead over actual data. But you can predict size, if you calculate average difference of source and destination files on actual files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other way - calculate size, using actual data, but it may be very slow, as you must walk throw all your data and calculate every chunk size. For this, you can use tool &lt;code&gt;ffprobe&lt;/code&gt; to get size of every frame or chunk.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-08-30T17:30:07.897" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22228" PostTypeId="2" ParentId="22203" CreationDate="2017-08-30T17:48:38.617" Score="0" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -i test.mp4 -ss 0 -t 5 test-1.mp4&#xA;ffmpeg -i test.mp4 -ss 5 -t 5 test-2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is the root of evil. You almost never can split your audio/video with very high precise. Reasons for it:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Non-integer FPS in video. You can't split non-integer number of frames, so if you use 29.997 fps, you can't get 149.985 frames in file.&lt;/li&gt;&#xA;&lt;li&gt;Audio codecs compress audio samples in blocks of samples, for example, in 1024 samples per second. So, if you split your sound in 5 second and sound has samplerate 44100Hz, you can only get 44100*5/1024=215.332 frames, this is too not integer. Actually, here you get small drop. Some codecs always add some silent frames at end, mp3 do in that way. Only one exception I know: pcm (any kind), this &quot;codec&quot; can save any count of frame, with no rough.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;So, in conclusion, if you want split and concatenate files without loss:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;use integer count for fps&lt;/li&gt;&#xA;&lt;li&gt;use codecs what can encode any count of samples without rough or padding.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-08-30T17:48:38.617" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22231" PostTypeId="2" ParentId="22132" CreationDate="2017-08-31T01:05:53.433" Score="1" Body="&lt;p&gt;Everything is possible!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's image, you have a &lt;code&gt;/directory/&lt;/code&gt; per video animation and files like &lt;code&gt;img0001.png&lt;/code&gt;, &lt;code&gt;img0002.png&lt;/code&gt;. You have 3 ways:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Wait all images, &lt;code&gt;img0001.png&lt;/code&gt;, &lt;code&gt;img0002.png&lt;/code&gt; ... &lt;code&gt;img0100.png&lt;/code&gt; to be in directory, run ffmpeg, get mp4 and remove images (current way)&lt;/li&gt;&#xA;&lt;li&gt;Write application in C with ffmpeg libraries: wait every single image, decode it in memory, remove from disk immediately and feed to encoder in libavcodec. When you got last image, for example &lt;code&gt;img0100.png&lt;/code&gt;, you feed it to encoder and call something like &lt;code&gt;flush()&lt;/code&gt; to complete image, so your mp4 will be completed. Drawback of this method is memory consumption - your process will live until all images processed, so if you downloading it long time, process will consume some memory all this time!&lt;/li&gt;&#xA;&lt;li&gt;You can try to implement same in bash script using pipes:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Here we got any input, list files for example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;`    ls -1 | grep &quot;jpg$&quot; | while read filename; do`&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then unpack images:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;`    ffmpeg -v 0 -nostdin -i &quot;$filename&quot; -f rawvideo -s 120x60 -pix_fmt rgb24 - `&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And encode it:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;`    done | ffmpeg -nostdin -f rawvideo -s 120x60 -r 10 -pix_fmt rgb24 -i - -s 320x240 -vcodec libx264 -y res.mp4`&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I think, you got idea.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-08-31T01:05:53.433" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22232" PostTypeId="1" CreationDate="2017-08-30T19:49:58.717" Score="-1" ViewCount="107" Body="&lt;p&gt;I'm trying to film guitar strings moving. So, I'm putting high shutters peed (1/1000) and slow frame rate (25). This is working. But the problem is when I'm doing it in the evening. The image is to dark. I'm putting iso up to the limit and open the lens to the maximum. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is the only solution to put more light??&lt;/p&gt;&#xA;" OwnerUserId="19910" OwnerDisplayName="chesterluck" LastEditorUserId="6207" LastEditDate="2018-01-01T04:13:08.710" LastActivityDate="2019-04-26T13:01:35.500" Title="How can I freeze motion with a high shutter speed in low light?" Tags="|slowmotion|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="22233" PostTypeId="2" ParentId="22232" CreationDate="2017-08-31T04:06:46.240" Score="-1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;Is the only solution to put more light??&quot;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;No.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is explained here and many other places: &lt;a href=&quot;https://photo.stackexchange.com/questions/6598/what-is-the-exposure-triangle&quot;&gt;https://photo.stackexchange.com/questions/6598/what-is-the-exposure-triangle&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are three ways, the three factors are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Shutter — how long you let light in&lt;/li&gt;&#xA;&lt;li&gt;Aperture — how large of an opening you let light through (how much at once)&lt;/li&gt;&#xA;&lt;li&gt;ISO — how sensitive your film or sensor is to light&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Half the Shutter Speed will double the brightness, a lens with a larger Aperture will let in more light but also reduces the Depth of Field and is more expensive, finally a camera with a more sensitive sensor will also result in a brighter image at a greater cost.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reducing the Shutter Speed is likely the better method if you want the strings to have a bit of blur and depict motion. IF you actually wanted tack sharp frames of the strings moving you would not want to film at 25FPS but instead at a very high Frame Rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you need to do this only in the evening?, if most of the Film is set in the evening then do a few closeups during the day and use multiple lights to remove all shadows and increase the light so it's extremely bright; film that and rely upon the darkening of the fast Shutter to make it appear dark.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-08-31T04:06:46.240" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22234" PostTypeId="2" ParentId="22159" CreationDate="2017-08-31T04:41:23.590" Score="1" Body="&lt;p&gt;AVISynth is more powerful than using FFMPEG (as suggested by @Mulvya) but I do like the simplicity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This Webpage from AVISynth's Help demonstrates: &lt;a href=&quot;http://avisynth.nl/index.php/ConditionalFilter&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://avisynth.nl/index.php/ConditionalFilter&lt;/a&gt; .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not only will AVISynth allow you to operate on individual frames automatically and manually with various Functions but it can also save to numbered Images if desired. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A fair learning curve is involved but 10's of thousands of examples are available. There are also Plugins available which can skip Frames that are unchanged. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Loading the AVISynth Script into VirtualDub makes for easy viewing and editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once your Script is tweaked perfectly it can be fed to FFMPEG and most other Editors or Compressors to produce a final version.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-08-31T04:41:23.590" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22235" PostTypeId="2" ParentId="22213" CreationDate="2017-08-31T08:18:49.890" Score="1" Body="&lt;p&gt;It seems to be a bug with AE. My solution was by just duplicating the old layer and then deleting the old layer.&lt;/p&gt;&#xA;" OwnerUserId="19789" LastActivityDate="2017-08-31T08:18:49.890" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22237" PostTypeId="1" CreationDate="2017-08-31T13:44:25.060" Score="0" ViewCount="57" Body="&lt;p&gt;I've made a video that was filmed with a Canon 60D. It has been graded and edited in Davinci Resolve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original footage from the camera is 8-bit. But what happens in the grading process? &lt;strong&gt;Will I use nuances from the grading if I archive it as 8-bit?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I understand there's no point in converting the 8-bit video to 16-bit when unedited, but how about when it's graded?&lt;/p&gt;&#xA;" OwnerUserId="17582" LastActivityDate="2017-09-05T13:29:23.100" Title="Is there any use in archiving graded 8-bit footage as 10-bit file?" Tags="|video-quality|color-grading|formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22238" PostTypeId="1" AcceptedAnswerId="22244" CreationDate="2017-08-31T14:06:51.590" Score="0" ViewCount="191" Body="&lt;p&gt;I want to try and create a video with one main camera angle that will be used throughout, but on occasions I want to bring up a second camera angle or picture inside the first.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is all fairly easy to achieve in itself, but I want to make sure that, assuming the dimensions are the same for the secondary picture/video, that it's always in the same place on the screen.  Is there a way to implement a template/anchor point that I can just put these extra pictures/videos into whenever I want?&lt;/p&gt;&#xA;" OwnerUserId="19913" LastActivityDate="2017-09-01T07:56:33.290" Title="Final Cut Pro Picture in Picture template" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22239" PostTypeId="1" CreationDate="2017-08-31T15:37:57.747" Score="1" ViewCount="54" Body="&lt;p&gt;I have a continuous shot video that is split into 2 parts (my camera splits them at 4GB) and want to apply the warp stabilizer to the whole video. Since the warp stabilizer is using analyzing them independently, the zoom factor is never the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to manually determine the zoom factor of the stabilizer but there is no way of setting the actual zoom. I only can set the maximum zoom and an additional % of zoom. On top of that, the center of reference for the zoom is different in each clip even if I manage to hit the same zoom factor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the best way to stabilize the whole shot? Is there a way to link them before applying the stabilizer? Or do I need to join them, export the sequence, re-import the result and then stabilize it?&lt;/p&gt;&#xA;" OwnerUserId="3866" LastEditorUserId="3866" LastEditDate="2017-09-01T04:02:20.717" LastActivityDate="2017-09-01T04:02:20.717" Title="Stabilizing split videos in Adobe Premiere" Tags="|premiere|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="22240" PostTypeId="1" CreationDate="2017-08-31T19:15:31.470" Score="2" ViewCount="14134" Body="&lt;p&gt;I have a problem with after effects, the video is alright but whenever I render or preview it the audio is delayed. The problem is not during the render it occurs during preview and its only one video that contains sound that is on my timeline, the preview is ok at first but at some points on the timeline the audio begins get mixed up. I checked the waveform of the audio of the video and it was ok, but when I preview or render it gives problem, this problem occurs in all the adobe products I have- after effects cc, cs6, 2015, and premiere pro&lt;/p&gt;&#xA;" OwnerUserId="14786" LastEditorUserId="14786" LastEditDate="2017-09-03T21:21:26.163" LastActivityDate="2020-05-17T06:13:13.673" Title="Why is the audio delayed both in preview and render in after effects" Tags="|video|after-effects|editing|audio|adobe|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22241" PostTypeId="2" ParentId="22201" CreationDate="2017-08-31T21:29:07.283" Score="2" Body="&lt;p&gt;Head into your Project Panel and check the columns you have available. You may need to scroll right, but look for one titled &quot;Video Usage.&quot; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it isn't there, right click on the columns and click &quot;Metadata Display...&quot; Drop down the Premiere Pro Project Metadata menu and check &quot;Video Usage.&quot; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, using the &quot;Video Usage&quot; column, you can see how many times each clip is referenced in a sequence. Anything without a number next to it is not used.  A quick tip, if you have any audio-only files or used just the audio of any clip, you may want to also include the &quot;Audio Usage&quot; column and cross reference the two of them together when making your decision. Either way, if any clip is referenced in a sequence, Premiere should warn you before allowing you to delete it.&lt;/p&gt;&#xA;" OwnerUserId="19754" LastActivityDate="2017-08-31T21:29:07.283" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22242" PostTypeId="1" CreationDate="2017-09-01T01:58:43.123" Score="3" ViewCount="38" Body="&lt;p&gt;So I start with a perfectly good JPG still set in the timeline 4 second long duration cross dissolve to another photo.  Not all photos change color after rendering.  And this only just stated happening.  Now I can't get it to go away.  Have tried several different export types (H264, Wide DVD, MP4, etc.) but they all look the same.  Does anyone have any suggestions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XBeRD.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XBeRD.jpg&quot; alt=&quot;Bad Render Output&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/sqwpr.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sqwpr.jpg&quot; alt=&quot;Good Photo&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19920" LastActivityDate="2019-06-06T14:14:09.677" Title="Still Photo Rendering in Premiere Pro CC 2015 is Yellowy After Export" Tags="|premiere|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22244" PostTypeId="2" ParentId="22238" CreationDate="2017-09-01T07:56:33.290" Score="1" Body="&lt;p&gt;if you have Apple Motion you could make a template which would be easy enough and just drop it on when you need it in the video and then drop the additional image onto the motion template.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OR&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I am going to assume you know how to place 2 layers of video (top one being the PiP one))&#xA;the first time you want your PiP get it placed where you want it with all the sizing, placement etc. Then when you want to do it again in the next section just copy and paste the attributes from the first one onto the second one and it should place it in exactly the same place.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2017-09-01T07:56:33.290" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22245" PostTypeId="1" AcceptedAnswerId="22252" CreationDate="2017-09-01T11:39:28.903" Score="0" ViewCount="5255" Body="&lt;p&gt;I have to follow this directives on a Sony XDCAM 4222 50Mbit 25fps PAL timeline with 8 x 24bit 48kHz audio channels .&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;em&gt;Alignment Level (AL) shall be –18dBFS with respect to maximum audio coding level (PPM4 on a BBC PPM – IEC type IIa). The Permitted Maximum&#xA;  Level (PML - as defined in ITU-R BS.645-2) must comply ITU-R BR.1384.1&#xA;  and ITU-R BS.1726. Peaks should not exceed a level -10dB below the&#xA;  digital full-scale level (0 dBFS) when monitored by a “quasi-peak&#xA;  programme meter” as specified in IEC 60268-10.&lt;/em&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;em&gt;Loudness control on all audio formats The method to measure the loudness of an audio program is settled by the recommendations,&#xA;  ITU-1770, ITU 1771 and ITU-Document 6/175-E.&lt;/em&gt; &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;em&gt;Program Loudness Level represents the ordinary level of the program resulting from the measurement of the entire contents analyzed whole&#xA;  (from start to the end, and all audio channels making up the&#xA;  soundtrack).  The Program Loudness must conform to R128-EBU&lt;/em&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;em&gt;“Short-term” LKFS values shall not be higher than –21 LKFS for the whole program.  “Long-term” Loudness must be –24 LKFS ± 0,5. In both&#xA;  cases the gate must be active at a threshold at -8 relative to the&#xA;  target “Long Term” value (- 24 – 8 = -32 LKFS). Short-term and&#xA;  long-term LKFS shall be measured for each audio program accompanying&#xA;  the picture (ie: Dubbed stereo, original language stereo, M&amp;amp;E stereo&#xA;  tracks, etc.).&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It is possible create and Adjustment Layer with Premiere CS6 or CC and easily make sure to fix the audio of all 8 channels to respect the limits?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wich effect I have to use ? With wich settings ? It must be done for each audio tracks or I can use an Adjustment Layer or an Effect directly to the Master output ?&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="14523" LastEditDate="2017-09-02T00:43:02.243" LastActivityDate="2017-09-05T13:26:44.637" Title="How can you correct EBU R128 loudness in Premiere?" Tags="|premiere|audio|broadcasting|broadcast|loudness|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22246" PostTypeId="1" AcceptedAnswerId="22273" CreationDate="2017-09-01T13:03:17.857" Score="0" ViewCount="2301" Body="&lt;p&gt;I am trying to convert couple of rather large MXF files into TS files preserving the video and audio encoding. The output TS has to be CBR Mpeg-2 TS file, which I know is not possible with ffmpeg. Any idea for another preferably Linux command line tool which could handle this task? Windows is also an option, but I want to convert couple of files on a server, so that is why it would be better if it is Linux based. &lt;/p&gt;&#xA;" OwnerUserId="19853" LastActivityDate="2018-02-01T16:38:14.893" Title="Convert MXF files into CBR TS" Tags="|ffmpeg|file-formats|transcoding|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="22247" PostTypeId="1" CreationDate="2017-09-01T08:04:17.483" Score="2" ViewCount="1283" Body="&lt;p&gt;I am new to DSLR video and wondering, how is actually working &quot;Movie digital IS&quot; stabilization of my Canon 800D. If you shoot video, there are 3 options of IS stabilization - no stabilization, IS stabilization, and IS enhanced stabilization. If i turn on IS stabilization, it looks like it crops the shot (with &quot;IS enhanced&quot; option even more).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is, on what principle is this IS stabilization working and is it lowering the resolution of final shot?&lt;/p&gt;&#xA;" OwnerDisplayName="Martin J" LastActivityDate="2017-09-01T14:58:32.857" Title="Canon 800D &quot;Movie digital IS&quot; stabilization - cropping video shot?" Tags="|canon|video|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22248" PostTypeId="1" AcceptedAnswerId="22249" CreationDate="2017-09-01T15:32:53.923" Score="0" ViewCount="32" Body="&lt;p&gt;noob here,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I took a video of myself for a wedding greeting with my phone (LG Nexus 5 [Android]) sitting (the phone that is) in a windshield suction holder.&#xA;The video is 3'42&quot; long and when downloaded to my PC from Google Photos it was 55 MB, more or less as expected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then wanted to edit out the beginning and end of the clip where I stand up from my chair to start at stop the video shooting.&#xA;At first I downloaded Lightworks, cut out the beginning and end and exported the sequence (for YouTube 720. My only other option not having the pro version was for Vimeo). The new file being 5% shorter took up 181 MB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OK, so clearly there is some format/compression thing going on that I'm trying to avoid going too deep into.&#xA;Instead I found out I could just cut the beginning and on my phone hoping to preserve the native  formatting/compression. The editing tools there were rather coarse but it did the job. It then took forever to save the edited video. The new shortened video (still 5% shrunken) takes up 905 MB of space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is. Is there a simple (and free) way to simply cut down the length of a video clip while preserving the formatting and compression so that the file will just shrink in size proportionally to the shrinkage of duration?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking forward to you advice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&#xA;Simon&lt;/p&gt;&#xA;" OwnerUserId="19924" LastActivityDate="2017-09-01T16:55:55.847" Title="mp4 file expands wildly when shortening clip" Tags="|mp4|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22249" PostTypeId="2" ParentId="22248" CreationDate="2017-09-01T16:55:55.847" Score="0" Body="&lt;p&gt;Not sure what's happening, but, when you export your edited film, keep an eye on the data rate. That's really how you keep files small. The lower the data rate is, the lesser the quality of the video image though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, when you export:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;For a 720p final file, make sure your data rate is no smaller than 5&#xA;Mbps.&lt;/li&gt;&#xA;&lt;li&gt;For a 1080p final file, make sure your data rate is no smaller than&#xA;10 Mbps.&lt;/li&gt;&#xA;&lt;li&gt;Codec: H264.&lt;/li&gt;&#xA;&lt;li&gt;Field order: progressive usually (depending on your raw footage).&lt;/li&gt;&#xA;&lt;li&gt;Aspect: square pixel usually (depending on your raw footage).&lt;/li&gt;&#xA;&lt;li&gt;Audio: AAC, 4100Hz, Maximum Bitrate.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Note: I'm not familiar with Lightworks' settings, so some of the options mentioned above might not be available to you when you set up your export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let us know if this keeps your file small.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2017-09-01T16:55:55.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22250" PostTypeId="2" ParentId="22245" CreationDate="2017-09-01T17:07:25.683" Score="-1" Body="&lt;p&gt;No &quot;audio adjustment layers&quot; in Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My suggestion would be to go the &quot;master output way&quot;: edit your piece with what you have (I assume here that everything has the same specs, audio and video wise), do an audio mix-down, and play with gain/volume etc until you get what you need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do a test before getting in the proper editing though: create a rough 30s edit, mix it, do a mix down and play with gains/volume etc. to respect your notes. Test the exported file to see if it respects the directions.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2017-09-01T17:07:25.683" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22251" PostTypeId="1" CreationDate="2017-09-01T18:30:12.740" Score="1" ViewCount="718" Body="&lt;p&gt;I met this anon on 4chan who made me notice a color issue in my webms. I generally make webm using ffmpeg and I never noticed a change in colors. He suggested me to change the color matrix into 601 but I have no idea of the criteria he used in the first place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LuERk.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LuERk.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why there is this difference in colors from source (mkv) and output (webm)? What's the best way to preserve the color scheme during conversion/compression? This is the typical command I use when I convert from mkv to webm:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -threads 4 -i &amp;lt;input&amp;gt; -c:v libvpx -b:v 1500K -vf scale=-1:360 -an -map 0:v:0 &amp;lt;output&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What is wrong? I'm going to post more info about the source in 30 minutes, if you need it.&lt;/p&gt;&#xA;" OwnerUserId="19926" LastActivityDate="2017-09-01T18:30:12.740" Title="FFMPEG, colormatrix and WEBM conversion" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22252" PostTypeId="2" ParentId="22245" CreationDate="2017-09-01T21:44:13.813" Score="2" Body="&lt;p&gt;In general loudness correction is a two step process. (There's a little more to it for full EBU R128 compliance, but I work exclusively in the US and this all that is required for A/85 / CALM Act compliance.)&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Measure the long term/infinite loudness of the asset.&lt;/li&gt;&#xA;&lt;li&gt;Shift the level of the asset by the difference between the measured loudness and the target.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Premiere does not have a built in method for automatically correcting loudness. But you do have a few options:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;You can use the built in Loudness Radar plugin to measure the long term/infinite loudness of the asset and then manually shift the level by the difference from the measured loudness and the target loudness.&lt;/li&gt;&#xA;&lt;li&gt;You can buy a third party plugin to do the correction.&lt;/li&gt;&#xA;&lt;li&gt;You can use FFmpeg as I paraphrased &lt;a href=&quot;https://video.stackexchange.com/questions/21878/check-first-then-enforce-and-match-various-broadcaster-requests-with-ffmpeg#comment31518_21878&quot;&gt;the last time you asked this question&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;You can use &lt;a href=&quot;https://helpx.adobe.com/media-encoder/using/automatic-loudness-correction.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe Media Encoder&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-09-01T21:44:13.813" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22253" PostTypeId="1" AcceptedAnswerId="22267" CreationDate="2017-09-02T03:25:19.327" Score="1" ViewCount="42" Body="&lt;p&gt;How do I do this? the way the objects appear is just so cool &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/MCzdxMWeMZE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="18468" LastActivityDate="2017-09-03T13:32:22.033" Title="How do I transition objects individually?" Tags="|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22255" PostTypeId="1" CreationDate="2017-09-02T12:29:31.120" Score="0" ViewCount="135" Body="&lt;p&gt;I have a video from which I extracted audio to clean it using Audacity. I applied both High Pass Filter (50 Hz) and Low Pass Filter (1000 Hz)  and then used Noise Gate to remove unwarranted noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, when I merge the audio back with the video, it plays fine in the Editor (I have tried several paid and free programs), but after rendering, the audio quality becomes very poor with constant random noise in background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What may be the cause of it? Any idea?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit -  I found out that the rest of the audio stays almost the same, but the voice's texture changes to be a lot noisy. I am sure I'm doing something wrong, but cannot point out what.&lt;/p&gt;&#xA;" OwnerUserId="19930" LastEditorUserId="19930" LastEditDate="2017-09-02T17:03:44.027" LastActivityDate="2019-04-26T15:02:10.410" Title="Audio quality deteriorates on Rendering" Tags="|video-editor|audio-quality|render|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="22256" PostTypeId="2" ParentId="22253" CreationDate="2017-09-02T14:49:34.210" Score="1" Body="&lt;p&gt;I can think of 2 ways:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Film all the objects separately with green screens. Apply a keyer to each one to key out the green areas, place them all on the timeline, and fade each one in as you see fit.&lt;/li&gt;&#xA;&lt;li&gt;Film them all together, and then manually mask out each object by hand. If the objects are basic shapes it might not be too hard, but if it includes people moving, etc., it could be tough. Then fade the masks out as you see fit.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-09-02T14:49:34.210" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22257" PostTypeId="1" CreationDate="2017-09-02T16:01:10.803" Score="0" ViewCount="43" Body="&lt;p&gt;I am an animal behaviorist and AfterEffects (CC) may be the key to solving my unique problem. Let's say I have a video of six small animals housed individually in circular arenas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can AfterEffects:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Track each animal simultaneously in real time or track them when the&#xA;footage is sped up. The latter bit is important since I have hours of&#xA;footage to track and it would be nice if I could expedite this&#xA;process.&lt;/li&gt;&#xA;&lt;li&gt;Export or copy/paste the 2D positional data (x,y) to a spreadsheet.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I know that AfterEffects is capable of tracking a fixed point when the camera is moving. However, I am interested to know if the app can perform the inverse of that scenario: static camera position with multiple moving objects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="19928" LastActivityDate="2017-09-02T22:15:53.050" Title="Track Multiple Moving Objects Simultaneously" Tags="|after-effects|adobe|motion|tracking|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22258" PostTypeId="2" ParentId="22257" CreationDate="2017-09-02T22:15:53.050" Score="1" Body="&lt;p&gt;After effects can definitely track 2D motion and allow you to export x,y coordinate pairs, but it does not work in realtime.  You would have to import the videos, then track each object (and correct for any mis-tracking) then export the tracked data as text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This probably isn't the best tool for the job - I'm guessing there are better realtime motion tracking systems for what you need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can read about how 2D tracking works here:&#xA;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/tracking-stabilizing-motion-cs5.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/after-effects/using/tracking-stabilizing-motion-cs5.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-09-02T22:15:53.050" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22259" PostTypeId="1" AcceptedAnswerId="22261" CreationDate="2017-09-03T00:25:49.260" Score="0" ViewCount="37" Body="&lt;p&gt;Is it better to go with a video capture card with h.264 encoding or just a raw input port? I have powerful pc but not sure best card to use for high quality image, reliability, and ease of install.&lt;/p&gt;&#xA;" OwnerUserId="19936" LastActivityDate="2017-09-03T04:21:10.773" Title="PCIe video capture card" Tags="|video-capture|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22260" PostTypeId="2" ParentId="22255" CreationDate="2017-09-03T03:38:11.803" Score="1" Body="&lt;p&gt;The audio is clipping internally somewhere from the sound of it.  The background noise gets louder and so does the speaking, but the speaking is getting crushed.  I'd double check if there are any adjustments being applied in the render.  It sounds like either an incorrectly adjusted limiter or possibly an additional signal boost being applied.  It might also be rendering in to a lower bit depth that clips.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-09-03T03:38:11.803" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22261" PostTypeId="2" ParentId="22259" CreationDate="2017-09-03T04:21:10.773" Score="1" Body="&lt;p&gt;Hardware encoders used for best performance, not quality. So, if you don't need realtime, I suggest to use software encoder with many options.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-09-03T04:21:10.773" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22262" PostTypeId="1" CreationDate="2017-09-03T04:22:55.913" Score="3" ViewCount="452" Body="&lt;p&gt;I used to create videos a lot in the past, and I am trying to get back into it. I used Windows Movie Maker back when it was 2.6 and really liked that version of it. I liked the ability to click and drag the clips into the timeline as well as when you imported the video you could click a checkbox and it would turn the video you were importing into smaller manageable clips that I could then click and drag into the timeline from the Collections section. I was hoping to find something similar to those features as well as had the ability to add in some cool effects. I was able to find something similar called Filmora. It is so close to having everything that I need. It even has a scene detection feature that is similar to the &quot;Create video clips&quot; feature that Windows Movie Maker has. But the clips stay in the timeline. I can't have them set aside in a collection out of the way so that I can click and drag them into the timeline in the order that I want. Does anybody know of any video editing program that is similar to Movie Maker that isn't too expensive? I don't need anything fancy. Just a few effects that I can add, a timeline editor, and the ability to create video clips when importing a video. Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="19938" LastActivityDate="2017-10-06T09:14:43.473" Title="Recommendations on Video Editors similar to Movie Maker" Tags="|video-editor|software-recommendation|windows-movie-maker|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22264" PostTypeId="2" ParentId="22262" CreationDate="2017-09-03T05:56:56.467" Score="0" Body="&lt;p&gt;www.windows-movie-maker.org/ if you like windows movie maker then you can use it here. If you want something easy to learn search Camtasia, which cost some money.&lt;/p&gt;&#xA;" OwnerUserId="19939" LastActivityDate="2017-09-03T05:56:56.467" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22265" PostTypeId="2" ParentId="14836" CreationDate="2017-09-03T06:01:07.700" Score="0" Body="&lt;p&gt;I think there is a way to transfer via Bluetooth from the camera's SD card to a computer folder, but sorry don't remember how I did it just know we did it using Bluetooth.&lt;/p&gt;&#xA;" OwnerUserId="19939" LastActivityDate="2017-09-03T06:01:07.700" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22266" PostTypeId="1" CreationDate="2017-09-03T06:48:30.207" Score="1" ViewCount="105" Body="&lt;p&gt;So say I build a 3d character's head how can I use real face motions   to manipulate the 3d model face details, so for example if I raise an eyebrow it will cause the 3d character to raise an eyebrow.&lt;/p&gt;&#xA;" OwnerUserId="19939" LastEditorUserId="674" LastEditDate="2017-09-03T11:38:22.230" LastActivityDate="2017-09-03T11:38:22.230" Title="How to face track a 3d model" Tags="|animation|3d|motion|tracking|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22267" PostTypeId="2" ParentId="22253" CreationDate="2017-09-03T13:32:22.033" Score="1" Body="&lt;p&gt;Use a 3d animation package and animate the surface textures of the objects. That's how I've done similar effects, and I'd be willing to bet that's how the makers of that clip did it, even though it doesn't look like 3D animation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use Non-Photo-Real (or NPR) rendering to get the anime look. &quot;Toon shading&quot; is what it used to be called, haven't kept up with the current nomenclature, but if you search for &lt;a href=&quot;https://duckduckgo.com/?q=toon%20shade%20blender&amp;amp;t=ffab&amp;amp;atb=v53-6&amp;amp;ia=web&quot; rel=&quot;nofollow noreferrer&quot;&gt;&quot;toon shade blender&quot;&lt;/a&gt; you should get enough to get you started. Blender is a free 3D animation package.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-09-03T13:32:22.033" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22268" PostTypeId="2" ParentId="22237" CreationDate="2017-09-03T13:51:54.927" Score="1" Body="&lt;p&gt;Yes, you will lose information from the grade if you save as 8-bit. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a thought experiment to illustrate. Say your original red level for a pixel was 128 out of 256 (00001111 / 11111111), and then in Resolve you grade it (using the internal 32-bit floating point colour in Resolve) to be a little bit brighter, say 128.25. Now you'll need to save it in 10 bits  or more to keep that information (e.g 0001111&lt;strong&gt;01&lt;/strong&gt; / 11111111&lt;strong&gt;11&lt;/strong&gt; where the two right-hand-side bits &lt;strong&gt;01 / 11&lt;/strong&gt; = 1/4 = 0.25). If you saved it as 8-bit it would have to be rounded to 00001111, meaning it would go back to being 128.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The upshot is, if your new colours don't fit into the 256 values per channel of 8-bit colour they will get rounded to the closest fit. So while you don't gain anything from up-depthing (that's a thing now, because I just invented it) ungraded footage, you &lt;em&gt;do&lt;/em&gt; gain by not collapsing the higher-bit-depth graded footage back down to 8-bit.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-09-05T13:29:23.100" LastActivityDate="2017-09-05T13:29:23.100" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22269" PostTypeId="1" CreationDate="2017-09-03T19:40:54.197" Score="2" ViewCount="50" Body="&lt;p&gt;I am new to AE and I am trying to edit a Photo Album template ( its a video of a photo/videos album flipping pages ). &#xA;I managed most of my requirements, but failed to make some of the transitions longer. ( I need the page to delay the turn because the videos are longer than the current duration ). Thanks&lt;/p&gt;&#xA;" OwnerUserId="19942" LastEditorUserId="19942" LastEditDate="2017-09-03T19:59:55.353" LastActivityDate="2017-12-04T21:54:26.527" Title="after affect delay layer animation" Tags="|after-effects|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22273" PostTypeId="2" ParentId="22246" CreationDate="2017-09-04T14:38:06.933" Score="1" Body="&lt;p&gt;Okay thanks to @Mulvya I have found a solution how I can create CBR MPEG-2 TS with stuffing and constant constant bitrate and inside of it VBR VPID. The command for H.264 is: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i &amp;lt;input&amp;gt; \&#xA;-c:v libx264 -x264opts nal-hrd=cbr \&#xA;-b:v 30M -minrate:v 30M -maxrate:v 30M -muxrate 35M -bufsize:v 25M \&#xA;-c:a aac -ac 2 -b:a 128k \&#xA;-f mpegts &amp;lt;output.ts&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will create 35Mbps CBR TS and inside the TS the bitrate of the VPID will fluctuate a bit around 30Mbps, and also the bitrate of PID 8191 (null PIDs).&lt;br&gt;&lt;br&gt; &#xA;The command for doing the same but with HEVC is the following: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;lt;input&amp;gt; \&#xA;-c:v libx265 -b:v 25M -muxrate 30M \&#xA;-x265-params strict-cbr=1:vbv-bufsize=25000:vbv-maxrate=25000 \&#xA;-c:a aac -ac 2 -b:a 128k \&#xA;-f mpegts &amp;lt;output.ts&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here the TS will be with 30Mbps bitrate and the VPID will be around 25Mbps, this command will create also stuffing (null PIDs) around 5Mbps. &lt;br&gt;Please also note that the bitrate after &lt;code&gt;-x265-params&lt;/code&gt; should be in Kbps. &lt;/p&gt;&#xA;" OwnerUserId="19853" LastActivityDate="2017-09-04T14:38:06.933" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22275" PostTypeId="2" ParentId="22245" CreationDate="2017-09-05T13:26:44.637" Score="1" Body="&lt;p&gt;Audition has a couple of tools that lets you measure loudness. There's the Amplitude Analysis window that lets you scan a whole mix or sound file, and tells you the LUFS loudness (&lt;a href=&quot;http://gameaudionoise.blogspot.com.au/2012/02/whats-difference-between-lkfs-and-lufs.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;which is the same as LKFS, aparently&lt;/a&gt;):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/crLkL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/crLkL.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's also the &quot;Loudness Radar&quot; that has a sexy GUI, but seems to only scan in real time (though I might be using it wrong).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hnPgZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hnPgZ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you use the former you have to manually apply gain to correct for your target loudness, if the latter you can have it apply correction to reach your desired level (hit the settings tab to choose).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-09-05T13:26:44.637" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22276" PostTypeId="2" ParentId="22269" CreationDate="2017-09-05T20:23:21.580" Score="2" Body="&lt;p&gt;In the composition where you drag and arrange individual pages. Pick the layer of the page you want to make longer, then click and drag that layer in the timeline to the desired length.&lt;/p&gt;&#xA;" OwnerUserId="19791" LastActivityDate="2017-09-05T20:23:21.580" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22277" PostTypeId="1" CreationDate="2017-09-05T20:28:35.603" Score="1" ViewCount="110" Body="&lt;p&gt;I'm using the Autopano Giga 4.4 and Autopano Video Pro 2.6 to stitch and create spherical content, but I've recently moved into wanting to create 360° tours via Unity. I know this is partly a developers question, but if anyone out there can help me with the right specs for exporting a spherical image from Giga to use to create the image for the inside of the sphere on Unity, I'd appreciate it!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even though experimenting with Premiere and FCPX to edit highlight reels of spherical content, I've had seamless experiences created. For some reason in Unity, the images appear to be stretched around the sphere wrong and it's creates issues on the top and bottom of the image.&lt;/p&gt;&#xA;" OwnerUserId="19959" LastEditorUserId="2836" LastEditDate="2017-09-06T13:33:34.893" LastActivityDate="2017-09-06T13:33:34.893" Title="What are the best export settings for Kolor or other pano-stitching software to create 360° videos in Unity?" Tags="|post-production|export|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="22278" PostTypeId="2" ParentId="21124" CreationDate="2017-09-06T02:58:45.083" Score="1" Body="&lt;p&gt;Be sure media encoder has the same LUTs in same order - otherwise it will take a different lut...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;its a better way to browse to your lut in premiere - Media Encoder will use the same path and therefore doesn't screw up the correct lut.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Took a while for me to find out!&lt;/p&gt;&#xA;" OwnerUserId="19961" LastEditorUserId="2836" LastEditDate="2017-09-06T13:32:34.563" LastActivityDate="2017-09-06T13:32:34.563" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22279" PostTypeId="1" AcceptedAnswerId="30237" CreationDate="2017-09-06T06:28:30.820" Score="5" ViewCount="12657" Body="&lt;h2&gt;History :&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Here is some background of this long lasting problem : &lt;a href=&quot;https://answers.launchpad.net/kazam/+question/218308&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://answers.launchpad.net/kazam/+question/218308&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am posting it to get some valuable suggestions from video gurus here.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;About Kazam :&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;kazam is a screen recording tool which also records audio. Once the recording is finished, a popup comes and then we can save the video into a mp4 file.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Problem :&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Sometimes, in particular when the screen recording time is large like, 2~3 hrs, in those cases, the pop up does not come up. so, basically we cannot save the recorded data into a file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We find 2 residual files. with .movie and .mux&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;kazam_5e8ob247.movie.mux&lt;/code&gt; (~ 1.2 GB)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;kazam_5e8ob247.movie&lt;/code&gt; (0 bytes)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;.movie file is of 0 bytes. So, this is just a temporary file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;.mux contains the real data and is of ~1.2 gb.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I recover the .mux file?&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Notes :&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I see from kazam source code (&lt;a href=&quot;https://github.com/sconts/kazam&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/sconts/kazam&lt;/a&gt;) that it is using Gstreamer internally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, can you please suggest an appropriate gst-pipeline that can convert .mux into a playable .mp4 file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To provide more details, I tried to get some information about the recorded stream using gst-discoverer-1.0. But it fails saying it cannot read any details.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;gst-discoverer-1.0 kazam_5e8ob247.movie.mux&#xA;Analyzing file:///home/sandeep/sw/samples/kazam_5e8ob247.movie.mux&#xA;Done discovering file:///home/sandeep/sw/samples/kazam_5e8ob247.movie.mux&#xA;An error was encountered while discovering the file&#xA; Could not determine type of stream.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;First 1 MB :&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;To analyze, the first 1 MB of the file can be found &lt;a href=&quot;https://drive.google.com/open?id=0B_ZonAmwyfqJb1hsVEgzQXhFMTg&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19963" LastEditorUserId="19963" LastEditDate="2017-09-08T08:11:30.787" LastActivityDate="2021-06-11T19:30:51.963" Title="Recover broken kazam video file (.mux)" Tags="|video|video-editor|video-recording|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="22280" PostTypeId="2" ParentId="22262" CreationDate="2017-09-06T06:59:04.523" Score="1" Body="&lt;p&gt;Avid just came out with a free version of Media Composer, looks very capable. &quot;It's a fact that over 95% of all mainstream movies released in 2016 were edited on Media Composer. And so were most TV shows, too! Media Composer | First is a completely free version of the same video editing application, available on either Mac or PC. If you are an aspiring filmmaker or vlogger looking to get a start in editing, there’s no better way...&quot;&#xA;Adobe Premiere Elements is in the price range you mention.&lt;/p&gt;&#xA;" OwnerUserId="10482" LastActivityDate="2017-09-06T06:59:04.523" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22281" PostTypeId="1" CreationDate="2017-09-06T12:28:34.317" Score="2" ViewCount="1157" Body="&lt;p&gt;According to &lt;a href=&quot;https://github.com/mpv-player/mpv/issues/4019&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/mpv-player/mpv/issues/4019&lt;/a&gt; backward stepping for example with H264 codec is slow compared to forward stepping. Other codecs, for example mjpeg works a bit better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For which other codecs/codec settings backward stepping is fast?&lt;/p&gt;&#xA;" OwnerUserId="11310" LastActivityDate="2023-11-06T14:57:32.877" Title="Codecs with allow fast backwards stepping frame by frame with mpv" Tags="|codec|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22282" PostTypeId="1" CreationDate="2017-09-06T14:40:51.943" Score="1" ViewCount="26" Body="&lt;p&gt;After years of using Adobe Photoshop &amp;amp; Premiere, I have finally run into a problem I can't solve, and I know it is very likely a relatively simple issue, but I can't figure it out for the life of me.  I have a series of still photos as part of a montage leading into the video portion of a project.  The source photos are fine but the Exported Project comes out all wrong - the stills are color shifted for some reason.  I am wondering if anyone out why&lt;a href=&quot;https://i.stack.imgur.com/qNXKq.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qNXKq.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19920" LastActivityDate="2017-09-06T14:40:51.943" Title="Premiere Export Issue With Still Photos" Tags="|premiere|adobe|export|" AnswerCount="0" CommentCount="2" ClosedDate="2018-01-26T12:37:55.570" ContentLicense="CC BY-SA 3.0" />
  <row Id="22283" PostTypeId="1" CreationDate="2017-09-06T15:40:44.387" Score="2" ViewCount="4104" Body="&lt;p&gt;I am working with a small amateur theatre group, and they would like to record their performances. We tried with a consumer-grade camcorder. positioned behind the audience, but image quality and sound quality were poor. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the sound quality, I guess the problem was that the camcorder's built-in microphone is not meant to record people on a stage ~10meters away, with ~100 people audience in between. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the image quality, well, we had some problems with the auto-focus, also the changing light conditions on stage caused trouble. e.g. sometimes the light goes off, the stage is modified in the dark and then light goes back on. In those situations, the camcorder usually tried to get a picture in the dark, which led to overexposure when the light went back on. Also, there was a situation with one actor in a spot on the left side of the stage and the rest of the stage in the dark. In this situation, the camcorder's autofocus went crazy. Apparently, it could not decide what to focus on, and tried to focus on something else every other second. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What kind of equipment/setup do you suggest for this? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: It would be a nice plus to have a live monitor, such that actors backstage can see what happens on the stage. &lt;/p&gt;&#xA;" OwnerUserId="19966" LastActivityDate="2017-10-25T20:39:36.727" Title="How to film theatre performances?" Tags="|camcorder|live-performance|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22284" PostTypeId="1" AcceptedAnswerId="22287" CreationDate="2017-09-06T15:46:24.760" Score="3" ViewCount="6310" Body="&lt;p&gt;I've several mkv files which have streams similar following. These files may have more than one audio stream and/or subtitles e.t.c. But my problem is mjpeg streams.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (h264_nvenc))&#xA;Stream #0:1 -&amp;gt; #0:1 (ac3 (native) -&amp;gt; vorbis (libvorbis))&#xA;Stream #0:2 -&amp;gt; #0:2 (mjpeg (native) -&amp;gt; h264 (h264_nvenc))&#xA;Stream #0:3 -&amp;gt; #0:3 (mjpeg (native) -&amp;gt; h264 (h264_nvenc))&#xA;Stream #0:4 -&amp;gt; #0:4 (mjpeg (native) -&amp;gt; h264 (h264_nvenc))&#xA;Stream #0:5 -&amp;gt; #0:5 (mjpeg (native) -&amp;gt; h264 (h264_nvenc))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;when i try to encode my video i get this error&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Error while opening encoder for output stream #0:2 - maybe incorrect&#xA;  parameters such as bit_rate, rate, width or height&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;my command is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;%%~nf%%~xf&quot; -c:v h264_nvenc -b:v 3000k -minrate 3000k -maxrate 3000k -vf &quot;scale=1280:-2&quot; -acodec libvorbis -ac 6 -c:s copy -map 0 &quot;done/%%~nf.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;how can i ignore mjpeg streams not to be copied to output video, or at least how to properly copy them to output video without getting error.&lt;/p&gt;&#xA;" OwnerUserId="18506" LastEditorUserId="18506" LastEditDate="2017-09-06T15:52:10.763" LastActivityDate="2018-06-16T09:21:03.857" Title="How to ignore certain type of streams (mjpeg) while encoding videos in ffmpeg" Tags="|ffmpeg|nvenc|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22285" PostTypeId="2" ParentId="22240" CreationDate="2017-09-06T18:15:42.507" Score="1" Body="&lt;p&gt;I'd been stuck with the exact problem before and in my case it was an issue of &lt;a href=&quot;https://forums.adobe.com/thread/1110005&quot; rel=&quot;nofollow noreferrer&quot;&gt;VFR&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apparently, Adobe products do not support videos with variable frame rates. So whenever you work with such videos the A/V goes out of sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try re encoding the video to a constant frame rate using FFmpeg or handbrake.&lt;/p&gt;&#xA;" OwnerUserId="17716" LastEditorUserId="17716" LastEditDate="2017-09-07T17:13:13.203" LastActivityDate="2017-09-07T17:13:13.203" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22286" PostTypeId="1" AcceptedAnswerId="22293" CreationDate="2017-09-06T19:14:08.490" Score="1" ViewCount="280" Body="&lt;p&gt;I'm working on an animation project and I want to zoom in on certain places in the canvas to see better (I don't want to actually zoom in the animation itself&quot; but I can only zoom in and out without scrolling&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I scroll with my trackpad?&lt;/p&gt;&#xA;" OwnerUserId="19969" LastActivityDate="2017-09-06T22:32:43.290" Title="How to scroll using a trackpad in After Effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22287" PostTypeId="2" ParentId="22284" CreationDate="2017-09-06T19:33:47.403" Score="12" Body="&lt;p&gt;You can avoid the MJPEG cover art by using properly ordered selective mapping:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-map 0 -map -v -map V&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What this does:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-map 0&lt;/code&gt; Map all streams from input 0 (which is the first input per &lt;code&gt;ffmpeg&lt;/code&gt; command).&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-map -v&lt;/code&gt; Then, ignore all video streams including cover art.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-map V&lt;/code&gt; Finally, include all non-cover art video streams.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;v&lt;/code&gt; matches all video streams, and &lt;code&gt;V&lt;/code&gt; only matches video streams which are not attached pictures, video thumbnails or cover arts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more info see the documentation on &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Stream-specifiers-1&quot; rel=&quot;noreferrer&quot;&gt;stream specifiers&lt;/a&gt; and the &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Advanced-options&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;-map&lt;/code&gt;&lt;/a&gt; option.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2017-09-06T19:33:47.403" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22288" PostTypeId="1" CreationDate="2017-09-06T21:05:47.580" Score="0" ViewCount="63" Body="&lt;p&gt;A customer asked me if it was possible to use Aspera FTP instead normal FTP protocol to upload files to their machines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously I got their address, credentials and so on. The fun part started when I tried to download the Aspera client in order to upload the files to their servers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems that the clients are on the aspera website, but if you want to download the file you have to provide the username and password.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this a misconfigured HTTP server or you have to pay even for the client in some ways? Tome sound weird because normally you pay if you want to implement the infrastructure not if you just want to connect to the remote server but who knows..&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2019-11-07T21:23:19.767" Title="Aspera Client availability for download" Tags="|broadcast|aspera|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22289" PostTypeId="5" CreationDate="2017-09-06T21:16:31.590" Score="0" Body="&lt;p&gt;Referred often as Aspera FASP, Aspera is a commercial suite of softwares intended to replace the common file transfer TCP based protocols like FTP and HTTP. Relying on it's patented technology the software is able to almost maximize the available bandwidth in any case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more informations: &lt;a href=&quot;http://asperasoft.com/technology/transport/fasp/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://asperasoft.com/technology/transport/fasp/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2017-09-08T13:37:28.430" LastActivityDate="2017-09-08T13:37:28.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22290" PostTypeId="4" CreationDate="2017-09-06T21:16:31.590" Score="0" Body="Aspera, a commercial high performance file transfer software often used for delivery footage and media between content creators, content reviewer and broadcasters as replacement of common FTP due it's better network utilization." OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2017-09-07T04:26:46.887" LastActivityDate="2017-09-07T04:26:46.887" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22291" PostTypeId="1" CreationDate="2017-09-06T21:34:20.440" Score="-1" ViewCount="69" Body="&lt;p&gt;So as I'm getting into the 2 minute mark of my video and starting to add a few effects, the preview/program window is becoming very choppy. It's hard to see how things are going because of the choppiness. Is there any way I can like &quot;pre-load&quot; or &quot;pre-render&quot; everything so that when I play it, it's smooth?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I sometimes now have to export my video to MP4 and watch it there in order to get a smooth preview and feel as to what's really going on. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm running macOS High Sierra on a MB Pro w/ Retina (2015 edition), 2.8 GHz i7, 16GB DDR3 and a 1TB SSD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="19971" LastActivityDate="2017-09-06T21:48:40.727" Title="Is there any way to &quot;pre-load&quot; my sequence so that the preview is smooth?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22292" PostTypeId="2" ParentId="22291" CreationDate="2017-09-06T21:48:40.727" Score="1" Body="&lt;p&gt;Nevermind. Just found a few tips that I had been looking for. Couldn't necessarily figure out the terms I was looking for. A few things to look for if anyone else is interesting:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Rendering in and out points to speed it up&lt;/li&gt;&#xA;&lt;li&gt;Reducing the preview quality from Full to 1/2, etc.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="19972" LastActivityDate="2017-09-06T21:48:40.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22293" PostTypeId="2" ParentId="22286" CreationDate="2017-09-06T22:32:43.290" Score="1" Body="&lt;p&gt;Hold down the alt (option) key on the keyboard, and do a two-finger zoom in the trackpad (make sure you've enabled two-finger zoom in system settings). &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-09-06T22:32:43.290" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22294" PostTypeId="2" ParentId="22288" CreationDate="2017-09-07T00:04:02.733" Score="1" Body="&lt;p&gt;You probably want Aspera Connect, not the client, which you should be able to &lt;a href=&quot;http://downloads.asperasoft.com/en/downloads/8?list&quot; rel=&quot;nofollow noreferrer&quot;&gt;download&lt;/a&gt; without a password. Additionally, your customer should be able to supply you with the Connect installer that matches their server.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-09-07T00:04:02.733" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22295" PostTypeId="2" ParentId="22283" CreationDate="2017-09-07T11:09:59.490" Score="2" Body="&lt;p&gt;Most cameras have a mode where you can manually control all the settings.. I would set the camera to manual mode, do some tests during a rehearsal.  Adjust the exposure so that nothing is over or underexposed when the stage is normally lit, and manually set the focus such that anyone on the stage is in focus at all times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally for audio, you would use radio mics on the actors, and record the output from these, as well as a couple of ambient mics to capture the audience, but this requires a sound mixer... If the actors are being amplified already, take a feed from the sound mixer's desk into your camera.  If not, then a stereo pair of mics placed as close to the actors as possible (but not picking up feet noise) might be the next best option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With more budget, multiple cameras, with multiple operators, long lenses, etc etc... but the points about auto exposure and auto focus would still hold true.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Monitors in the other room depend on the video output options from your camera - what model are you using?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-09-07T11:09:59.490" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22296" PostTypeId="2" ParentId="22240" CreationDate="2017-09-07T11:13:12.033" Score="1" Body="&lt;p&gt;Try making sure the video format you're using for the comp is the same as your source video file, e.g. same frame rate, same audio sample rate, and same resolution.  The suggestion about converting the file to a PCM WAV file 48kHz 16 bit is a good one too.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-09-07T11:13:12.033" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22298" PostTypeId="2" ParentId="22281" CreationDate="2017-09-07T14:57:46.493" Score="1" Body="&lt;p&gt;As @Mulvya says it depends greatly on the GOP size, but you can insure that stepping is easy at the expense of file size, by using an '&lt;strong&gt;all-I&lt;/strong&gt;' codec like Motion JPEG. In such codecs every frame appears whole and entire so there is no dependence on previous or subsequent frames.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2017-09-07T14:57:46.493" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22299" PostTypeId="2" ParentId="22281" CreationDate="2017-09-07T15:41:56.253" Score="0" Body="&lt;p&gt;I assume, you want fast codec for video editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In previous years here was &quot;codecs for editing&quot;, it was DV codec (used in miniDV cameras) and mjpeg (used in some video cards/&quot;montage&quot; cards). This codecs was implemented in hardware and mainly used for capture, but some hardware allows playback and even adding some simple effects and transitions. Yes, video transitions was implemented in hardware. Today this hardware and tricks is obsolete. But mjpeg still used in many webcameras which connected by usb! Yes, you usually got not &quot;raw signal&quot; from your webcam, but compressed by jpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Today you can use DNxHD/DNxHR/ProRes, but mjpeg still good for creating proxy footages.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other intra-only codecs: JPEG2000, lossless-jpeg, MagicYUV&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Great blog post about codecs and proxy-editing: &lt;a href=&quot;https://blog.frame.io/2017/02/15/choose-the-right-codec/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://blog.frame.io/2017/02/15/choose-the-right-codec/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If you don’t have enough storage space, or if you’re on an&#xA;  underpowered machine, then take the resolution down a notch. A lot of&#xA;  huge-budget Hollywood films were edited in 480p just a few years ago,&#xA;  so don’t sweat it if you need to lower your resolution from 4K down to&#xA;  720P for the edit.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Also, you can specify &quot;gop size=1&quot; or &quot;not use P and B frames&quot; (it same) in almost any modern codec and get similar results. If you want REALLY FAST, I suggest to see on very old codec Cinepack - it was able playback video on even 80486 machines and you can find it today! Quality of Cinepack not perfect by today standards, but it enough for editing and preview purposes.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-09-07T15:41:56.253" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22303" PostTypeId="1" CreationDate="2017-09-08T09:10:56.617" Score="2" ViewCount="1263" Body="&lt;p&gt;I'm having trouble muxing the video from one source with the audio from another because the audio drifts over time. As I mentioned in the title, the sources are at different frame rates, the video's source is at 23.976, and the audio's source is at 29.97.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe my current code will help to better understand the situation:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i source1.mkv -itsoffset 0.85 -i source2.mp4 -map 0:0 -map 1:1 -c:v libx264 -crf 23 -c:a aac -b:a 112k output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The audio source's audio starts a bit early, hence the 0.85 second delay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using FFmpeg version: 20170904-6cadbb1&lt;/p&gt;&#xA;" OwnerUserId="19955" LastActivityDate="2017-09-08T09:10:56.617" Title="How can I mux video and audio from separate sources that're at different frame rates?" Tags="|video|ffmpeg|audio|encoding|sync|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="22304" PostTypeId="1" AcceptedAnswerId="22305" CreationDate="2017-09-08T11:17:50.150" Score="2" ViewCount="181" Body="&lt;p&gt;I'm a physicist with no experience in video production. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I work with satellite imagery and I have created timelapses where one frame corresponds to one minute. It matters I preserve the time/frame rate. However, I am finding this difficult&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using Adobe Premiere Pro I track features on the satellite imagery using a coloured dot (using timeframes etc), then export this as a movie which I analyse using a script I have coded. I then get data regarding where the coloured dots are, their velocity and the interactions between them. However, my velocities are meaningless at the moment because of the frame rate issue - I can't preserve the 1 frame for one minute issue. Sometimes premiere pro skips frames or doesn't update the whole frame, etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I cannot get the frames to be preserved though my animation process. I have a counter on the timelapse which increases by 1 for each frame. In the finished video, this no longer increases by 1 for each frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really want to maintain the frame rate and stop &quot;interlacing&quot;, i.e. where the whole frame doesn't update. I just want the original video with my animations on them - no other changes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit with examples &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The interlacing problem: &#xA;&lt;a href=&quot;https://i.stack.imgur.com/QWP9T.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QWP9T.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This frame is repeated twice in the resultant video: &#xA;&lt;a href=&quot;https://i.stack.imgur.com/XwjhK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XwjhK.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Full video (2Mb) can be found here. (&lt;a href=&quot;https://www.dropbox.com/s/x0dmj9j8br2j4y3/AL_202_Tracking%20copy.mov?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dropbox.com/s/x0dmj9j8br2j4y3/AL_202_Tracking%20copy.mov?dl=0&lt;/a&gt;). When going frame by frame, note that the frame counter of the original timelapse at the bottom right hand of the screen does not match that of the resultant video with animation overlay. The solution ideally needs to have each frame of the original timelapse match that of the resultant video. i.e. each time you move forward a frame, the counter increases by an integer.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If anyone is interested what you are looking at; its x-ray imagery from the Hinode satellite (NASA/JAXA) pointing at the sun, looking at eruptions from the sun. &lt;/p&gt;&#xA;" OwnerUserId="19986" LastEditorUserId="19986" LastEditDate="2017-09-08T15:04:41.497" LastActivityDate="2017-09-08T18:06:02.727" Title="Preserving Frame Rate" Tags="|premiere|animation|framerate|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22305" PostTypeId="2" ParentId="22304" CreationDate="2017-09-08T17:59:32.087" Score="2" Body="&lt;p&gt;At first I did not understand your question, after you have supplied the example video I understood what your problem is.&lt;br&gt;&#xA;The issue is that when you import the Images, Premiere Pro assigns a default Frame Rate to them, which might be different from what you desire.&lt;br&gt;&#xA;Changing Sequence Frame Rate does not change Images default Frame Rate when you import them, to fix this you can do the following:&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create a new Project&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In Project Window &lt;strong&gt;right click&lt;/strong&gt; &gt; &lt;strong&gt;import&lt;/strong&gt; &gt; select first Image only and check &lt;strong&gt;Image Sequence&lt;/strong&gt;.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/KEWC1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KEWC1.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Right click on &lt;strong&gt;Image Sequence&lt;/strong&gt; in Project Window &gt; &lt;strong&gt;modify&lt;/strong&gt; &gt; &lt;strong&gt;interpret Footage&lt;/strong&gt;.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/mOiJg.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mOiJg.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;check &quot;&lt;strong&gt;Assume this frame rate&lt;/strong&gt;&quot; and set desired &lt;strong&gt;FPS&lt;/strong&gt; and click &lt;strong&gt;OK&lt;/strong&gt;.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ug7sK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ug7sK.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Drag Image Sequence from &lt;strong&gt;Project Window&lt;/strong&gt; to &lt;strong&gt;Timeline&lt;/strong&gt;. Then Render/Export as usual and make sure the Frame Rate at export matches the one you set up earlier.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;NOTE&lt;/strong&gt;: Image Sequence imported, Sequence in Timeline and Export Settings have to have the same Frame Rate.&lt;br&gt;&#xA;That is all. You should not have any Skipped or Extra Frames in output video.&lt;/p&gt;&#xA;" OwnerUserId="19791" LastEditorUserId="19791" LastEditDate="2017-09-08T18:06:02.727" LastActivityDate="2017-09-08T18:06:02.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22306" PostTypeId="1" CreationDate="2017-09-09T03:21:20.543" Score="-2" ViewCount="58" Body="&lt;p&gt;I have a channel on YouTube and unlike those &quot;soccer skills and tricks&quot; videos, i upload only videos of top goals from latest matches (30 to 40 seconds long).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, my channel is growing at a good rate (without any paid views) but according to new Monetisation system, you should have atleast 10,000 all-time views to be eligible for Monetisation and after reaching 10,000 views, channel will be checked for (voilating or not) community guidelines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the chances that my channel will pass this test and i can monetize.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(None of my videos have copyright strike and none of them have logo like &quot;BeinSports&quot;, &quot;FS1&quot; etc. )&lt;/p&gt;&#xA;" OwnerUserId="19991" LastEditorUserId="19991" LastEditDate="2017-09-11T12:42:15.933" LastActivityDate="2021-05-17T12:59:07.307" Title="New Monetisation system on YouTube" Tags="|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22307" PostTypeId="2" ParentId="19875" CreationDate="2017-09-10T14:13:05.640" Score="2" Body="&lt;p&gt;Have a look at &lt;a href=&quot;https://www.casparcg.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;CasparCG&lt;/code&gt;&lt;/a&gt;. It should be able to do what you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An alternative would be to create something using &lt;a href=&quot;https://www.mltframework.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;MLT&lt;/code&gt;&lt;/a&gt; and, say, Python, but that requires some programming, though it should be mostly assembling modules together.&lt;/p&gt;&#xA;" OwnerUserId="20002" LastEditorUserId="20002" LastEditDate="2017-09-10T14:40:45.560" LastActivityDate="2017-09-10T14:40:45.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22310" PostTypeId="2" ParentId="13304" CreationDate="2017-09-10T21:48:50.060" Score="3" Body="&lt;p&gt;Here is some research about this topic:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Resolution Independent 2D Cartoon Video Conversion&#xA;&lt;a href=&quot;https://www.researchgate.net/publication/305390110_Resolution_Independent_2D_Cartoon_Video_Conversion&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.researchgate.net/publication/305390110_Resolution_Independent_2D_Cartoon_Video_Conversion&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video Vectorization via Tetrahedral Remeshing&#xA;&lt;a href=&quot;http://wangchuan.github.io/archive/research/videovec/paper.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://wangchuan.github.io/archive/research/videovec/paper.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video Codec for Classical Cartoon Animations with Hardware Accelerated Playback&#xA;&lt;a href=&quot;http://dcgi.felk.cvut.cz/publications/2005/sykora-isvc-vccca&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://dcgi.felk.cvut.cz/publications/2005/sykora-isvc-vccca&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I remember reading this last one when I was watching many cartoons and anime online a few years ago. The video resolution you get with many streaming portals, 480p (or even 720p), just doesn't do justice to these nice outline drawings when viewed on full HD/4k displays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;IIRC, the authors of said paper even provided downloads of example video files and their player back then (as a proof of concept), but I cannot find them now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One problem with rule/computation-based animations (vector graphics;real-time rendered games, flash...) is that it's hard to predict whether the machine playing the video will be able to render the things quickly enough. But you can also have this performance problem with the usual video codecs. Some cheap laptops I owned could not decode full hd/4k videos at the speed necessary for playback...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Still, with vector/computation-based graphics, the problem is worse: There is potentially no limit to the computation power you might need to render a frame. Think about it: CGI movies could be distributed as just the code and assets used to produce them and your machine could render them at any framerate and resolution. The problem is that these movies where not designed for this. Computing a frame might take hours on your machine, not to mention that you probably don't even have enough harddisk space to store all the assets at full resolution which their renderfarm uses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Computers of today might be able to do &lt;em&gt;Toy Story&lt;/em&gt; in real-time though. Also, if you have a high-end gaming rig, the real-time ingame graphics cutscenes are of course also a type of resolution independent video.&lt;/p&gt;&#xA;" OwnerUserId="20006" LastActivityDate="2017-09-10T21:48:50.060" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22311" PostTypeId="2" ParentId="22306" CreationDate="2017-09-11T11:25:53.297" Score="0" Body="&lt;p&gt;YouTube came up with the &lt;a href=&quot;http://www.india.com/business/new-youtube-monetization-policy-video-creators-will-need-10000-lifetime-views-to-mint-money-2003140/&quot; rel=&quot;nofollow noreferrer&quot;&gt;10k views policy&lt;/a&gt; to prevent spammers and channels that make money with offensive content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So as long as your videos are legit without any copyright strikes, there shouldn't be any problem. In any case, your real worry should begin &lt;em&gt;after&lt;/em&gt; your channel is monetized. Countless channels, big and small, have criticized YouTube's incessant and often invalid strikes just because some big company claimed so. Watch this by &lt;a href=&quot;https://www.youtube.com/watch?v=I55seO4d1Kw&quot; rel=&quot;nofollow noreferrer&quot;&gt;Chriss Stuckmann&lt;/a&gt; to know what I mean. I highly recommend it for YouTube creators, especially those new in the game.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And finally learn more about &lt;a href=&quot;https://www.youtube.com/yt/copyright/fair-use.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Youtube Fair Use&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="17716" LastActivityDate="2017-09-11T11:25:53.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22312" PostTypeId="1" CreationDate="2017-09-11T14:16:55.080" Score="0" ViewCount="1141" Body="&lt;p&gt;I have a DVD with footage which I want to convert to h264/h265. Mediainfo says that the video is 720x576, MPEG-2 encoded, PAL 25 fps and &lt;strong&gt;interlaced&lt;/strong&gt; which is the first time I've seen that, usually 25 fps is progressive.&lt;br&gt;&#xA;Media Player Classic plays the video at 50 fps and applies deinterlacing, but VLC plays it at 25 fps without deinterlacing by default. I suspect that the metadata is incorrect, it should read 50i instead of 25i - is it possible?&lt;br&gt;&#xA;Is there a way to fix it? Avidemux, Virtualdub and others see the video as 25i and doubling the framerate to 50 either duplicates frames or uses frame-blending, both options look worse than what MPC manages to display.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the Mediainfo's readout: &lt;a href=&quot;https://pastebin.com/cWKsUraM&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pastebin.com/cWKsUraM&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20008" LastEditorUserId="20008" LastEditDate="2017-09-12T07:49:45.660" LastActivityDate="2018-04-25T16:57:38.930" Title="Metadata says the video is 25i, but MPC plays it as 50i" Tags="|framerate|vlc|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22313" PostTypeId="1" CreationDate="2017-09-11T16:44:41.080" Score="0" ViewCount="718" Body="&lt;p&gt;I need to design custom &lt;strong&gt;YouTube End Screen&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the standard size of &lt;strong&gt;Subscribe Circle&lt;/strong&gt; and &lt;strong&gt;Video Rectangle&lt;/strong&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HNAqE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HNAqE.png&quot; alt=&quot;Size of YouTube Subscribe Circle and Video Rectangle&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18971" LastEditorUserId="18971" LastEditDate="2017-09-12T03:50:30.047" LastActivityDate="2018-01-10T14:57:17.403" Title="Size of YouTube Subscribe Circle and Video Rectangle" Tags="|youtube|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22314" PostTypeId="5" CreationDate="2017-09-11T16:45:35.293" Score="0" Body="&lt;p&gt;YouTube is an American video-sharing website headquartered in San Bruno, California. The service was created by three former PayPal employees — Chad Hurley, Steve Chen, and Jawed Karim — in February 2005. Google bought the site in November 2006 for US$1.65 billion; YouTube now operates as one of Google's subsidiaries.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;YouTube allows users to upload, view, rate, share, add to favorites, report, comment on videos, and subscribe to other users. YouTube earns advertising revenue from Google AdSense, a program which targets ads according to site content and audience. &lt;/p&gt;&#xA;" OwnerUserId="18971" LastEditorUserId="18971" LastEditDate="2017-09-19T13:36:02.110" LastActivityDate="2017-09-19T13:36:02.110" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22315" PostTypeId="4" CreationDate="2017-09-11T16:45:35.293" Score="0" Body="An American video-sharing platform founded in 2005 and currently owned by Google." OwnerUserId="18971" LastEditorUserId="18971" LastEditDate="2017-09-19T13:36:20.410" LastActivityDate="2017-09-19T13:36:20.410" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22316" PostTypeId="1" AcceptedAnswerId="22319" CreationDate="2017-09-11T17:20:26.123" Score="2" ViewCount="16244" Body="&lt;p&gt;In the process of producing a video, we are creating subtitles.&#xA;We have decided to align the text object's vertical center at &lt;strong&gt;10% of the height of the frame&lt;/strong&gt; as seen on this mockup:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YcXER.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YcXER.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In &lt;strong&gt;Photoshop&lt;/strong&gt; and &lt;strong&gt;After Effects&lt;/strong&gt;, it is easy to add &lt;strong&gt;Guides&lt;/strong&gt; to your workspace area with the shortcut &lt;kbd&gt;⌘&lt;/kbd&gt; + &lt;kbd&gt;R&lt;/kbd&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, for a video 3840 x 2160 in size, one would drag a &lt;strong&gt;Guide&lt;/strong&gt; to &lt;strong&gt;1944px&lt;/strong&gt; down on the frame (height in pixels minus 10%), and align text objects to the middle with &lt;strong&gt;Snap to Guide&lt;/strong&gt; feature:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mONOA.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mONOA.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, we are stuck with a &lt;strong&gt;Premiere Pro CC&lt;/strong&gt; workflow for the moment, which doesn't have the &lt;strong&gt;Guides&lt;/strong&gt; feature. Moreover, it seems that &lt;strong&gt;Premiere Pro&lt;/strong&gt; has two different ways of handling origin points of layers whether it's a Video layer or a Text layer (which both has a &quot;Motion&quot; and a &quot;Transform&quot; panel with positions):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/R3rG9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/R3rG9.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;How do I position text objects in &lt;strong&gt;Premiere Pro&lt;/strong&gt; so that the vertical center of the text element is at 10% of the height of the video as showed on image 1?&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;(At the moment, we are using a &quot;Guide&quot; layer where a line was drawn in photoshop at the right position, but we cannot keep this imprecise process going.)&lt;/p&gt;&#xA;" OwnerUserId="11754" LastEditorUserId="11754" LastEditDate="2018-01-24T22:05:39.760" LastActivityDate="2018-01-24T22:05:39.760" Title="Positioning subtitles in Premiere Pro CC" Tags="|premiere|editing|post-production|subtitles|video-standards|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22317" PostTypeId="2" ParentId="10388" CreationDate="2017-09-11T17:40:18.243" Score="0" Body="&lt;p&gt;I get that error too, this is clearly a bug as it appears only if you move your mouse under the comp area. I removed the puppet tool effect then used a new one and it solved my problem. no need to restart.. &lt;/p&gt;&#xA;" OwnerUserId="19990" LastActivityDate="2017-09-11T17:40:18.243" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22318" PostTypeId="2" ParentId="22313" CreationDate="2017-09-11T18:11:10.157" Score="1" Body="&lt;p&gt;When using brand identifiers such as the YouTube Logo, you want to check what guidelines the brand has on using their brand resources. A quick &lt;a href=&quot;https://www.google.de/search?q=youtube%20logo%20guidelines&quot; rel=&quot;nofollow noreferrer&quot;&gt;Google search&lt;/a&gt; yields the official &lt;a href=&quot;https://www.youtube.com/yt/about/brand-resources&quot; rel=&quot;nofollow noreferrer&quot;&gt;Brand Resources guideline by YouTube&lt;/a&gt;. Here you will find all you need:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Minimum size&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;The word &quot;YouTube&quot; should always be easy to read. So in digital&#xA;  content the Logo should never appear smaller than 24dp in height.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;The minimum size for applying the Logo in print is 0.125 in/3.1 mm in&#xA;  height.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Check the linked page for more details on the usage of the Logo. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Sidenote:&lt;/strong&gt; Since YouTube belongs to Google, they use the terminology of Google's Material Design guidelines. &lt;em&gt;dp&lt;/em&gt; stands for &lt;em&gt;Density-independent pixels&lt;/em&gt;, you will find an explanation on that on the &lt;a href=&quot;https://material.io/guidelines/layout/units-measurements.html#units-measurements-pixel-density&quot; rel=&quot;nofollow noreferrer&quot;&gt;Material Design website&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="2836" LastEditDate="2017-09-12T13:50:39.967" LastActivityDate="2017-09-12T13:50:39.967" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="22319" PostTypeId="2" ParentId="22316" CreationDate="2017-09-11T18:52:24.643" Score="4" Body="&lt;h2&gt;Do the math&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;If you want to align your text using percentage offsets or any other 'round' number in pixels, you just need to perform some simple calculations. For example, 10% from the bottom of a 3840 x 2160 canvas:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;2160 - (2160/10) = 1944&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Since you want your text to be vertically centered on the line at 10%, you will have to modify this by half your font-size, for example for a font-size of 24px: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;2160 - (2160/10) - (24/2) = 1932&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So if you haven't changed the default anchor point (0, 0) which is in the upper left corner of the canvas, set the text position to (1920, 1932). This only works with center-aligned text, since in this case Premiere uses the horizontal center of the text instead of the lower left boundary as the point of origin.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are using Legacy Titles or an older version of Premiere Pro CC which doesn't have the new Essential Graphics panel, each of your titles will be a singular clip in the timeline; in this case, use the &lt;em&gt;Position&lt;/em&gt; Parameter of the &lt;em&gt;Motion&lt;/em&gt; effect to position the text. If you're using the current version of Premiere Pro and have access to the Essential Graphics toolkit, you can use text as a part of any graphic layer, in which case you can use the &lt;em&gt;Position&lt;/em&gt; Parameter of the &lt;em&gt;Transform&lt;/em&gt; setting of the Text (see Screenshot for clarification).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QL2id.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QL2id.png&quot; alt=&quot;Text layer&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By now you're probably thinking that you shouldn't have to do that much math to position your captions, and you would be right. Which leads to my main point ...&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Don't do the math&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;It's tempting to use percentages of the screen or 'round' numbers to position things such as titles, but it's really not a good habit. No reader is gonna care that you aligned the titles pixel-perfectly, all they care about is that it's easily readable. The right alignment, size and safe margins for your text depend on your target audience (old people with bad eyesight need larger text), what kind of devices your video will be watched on (CRT-TVs for some reason? you better stay within the title-safe area) and factors like this, so those factors should be considered when positioning your text, not some arbitrary geometric value that doesn't have any significance. &lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Workflow&lt;/h2&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;However, we are stuck with a Premiere Pro CC workflow for the moment, which doesn't have the Guides feature.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Now this is just a question of streamlining your workflow. In Photoshop you might use manually positioned guides and have &lt;em&gt;Snap to Guides&lt;/em&gt; toggled on so you can just drag and drop the text to the bottom and have it snap in place. With Premiere, you have several other options to make sure all your text is positioned alike (which is important indeed!), for example:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Copy the text layers and change the text, this way you retain all settings including position.&lt;/li&gt;&#xA;&lt;li&gt;Copy just the effects and paste them over your text clips (this will work well with the old Legacy Title system).&lt;/li&gt;&#xA;&lt;li&gt;Use Master Styles (Tutorials &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/essential-graphics-panel.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;https://www.videoschoolonline.com/essential-graphics-panel/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;; I haven't actually used the new Essential Graphics workflow much so far, so you'll have to play around with it a bit, but I'm sure you will find plenty of options to set different styles and defaults).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The optimal workflow for your title creation depends on the rest of your editing workflow, your version of Premiere Pro and your personal preference. Make sure to invest the time to find the optimal route based on those factors, even if the amount of time you save per added title is small - it will pay off over time. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-09-11T18:52:24.643" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22320" PostTypeId="1" AcceptedAnswerId="22321" CreationDate="2017-09-11T20:50:22.570" Score="3" ViewCount="5210" Body="&lt;p&gt;&lt;strong&gt;in short:&lt;/strong&gt; I set -r 25 , but I see in the converting process that it's fps=18. Why?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to convert a video to H.264 format using ffmpeg, and I am trying to set the framerate(out framerate) to 25. I am willing to accept more than 25 if possible but not below.&lt;br&gt;&#xA;so I use this command:  &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i Millionaire.mp4 -y -c:v libx264 -r 25 file.h264  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But I see that in the convertion process in the cmd that: &lt;code&gt;fps=18&lt;/code&gt;&lt;br&gt;&#xA;Now I understand that fps means &quot;&lt;strong&gt;frames per second&lt;/strong&gt;&quot;.&lt;br&gt;&#xA;And right after I hit the enter key, it starts as fps=25 but then it drops by 1 every few seconds until it reaches 18.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The input file is 1.61 GB&lt;br&gt;&#xA;ffmpeg version:&lt;br&gt;&#xA;ffmpeg-20170130-cba4f0e-win64-static.zip    47340467    30-Jan-2017 06:02&lt;br&gt;&#xA;from the website:  &lt;a href=&quot;https://ffmpeg.zeranoe.com/builds/win64/static/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.zeranoe.com/builds/win64/static/&lt;/a&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;System information:&lt;br&gt;&#xA;i7-4702MQ CPU 2.20 GHZ&lt;br&gt;&#xA;RAM = 8 GB&lt;br&gt;&#xA;Windows 10 x64  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anybody knows why it doesn't stay on fps=25? And how can I force it to not drop below 25 fps?&lt;br&gt;&#xA;Thank you&lt;/p&gt;&#xA;" OwnerUserId="20013" LastActivityDate="2017-09-11T23:34:31.400" Title="How to set ffmpeg encoding framerate?" Tags="|ffmpeg|h.264|25fps|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22321" PostTypeId="2" ParentId="22320" CreationDate="2017-09-11T23:34:31.400" Score="3" Body="&lt;p&gt;That's processing speed i.e. ffmpeg is encoding 18 frames per second, not the output file's framerate. You can set &lt;code&gt;-preset fast&lt;/code&gt; to speed it up but again this has nothing to do with output file's framerate.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-09-11T23:34:31.400" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22323" PostTypeId="1" AcceptedAnswerId="22324" CreationDate="2017-09-12T07:31:31.717" Score="0" ViewCount="2491" Body="&lt;p&gt;I'm trying to transcode(below just copy) a/v streams from stdin and generate a thumbnail simultaneously. The issue that I get an error &lt;code&gt;pipe:: Invalid data found when processing input&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is that and how can I fix it? Separately the map commands work just fine so I assume I'm incorrectly using the pipe functionality.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cat a2.mkv |ffmpeg -i - -y -map 0:0 -c:0 copy -f matroska 0.mkv -i - -y -map 0:0 -vf &quot;select=gt(scene\\,0.4)&quot; -frames:v 1 -vsync vfr -vf fps=fps=1/60 -codec png -f image2pipe 0.png&#xA;ffmpeg version 3.2.4 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with Apple LLVM version 8.0.0 (clang-800.0.42.1)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.2.4 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-libmp3lame --enable-libx264 --enable-libxvid --enable-opencl --disable-lzma --enable-vda&#xA;  libavutil      55. 34.101 / 55. 34.101&#xA;  libavcodec     57. 64.101 / 57. 64.101&#xA;  libavformat    57. 56.101 / 57. 56.101&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libavresample   3.  1.  0 /  3.  1.  0&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;Input #0, matroska,webm, from 'pipe:':&#xA;  Metadata:&#xA;    encoder         : libebml v1.3.1 + libmatroska v1.4.2&#xA;    creation_time   : 2017-03-11T02:56:50.000000Z&#xA;  Duration: 02:12:52.39, start: 0.000000, bitrate: N/A&#xA;    Chapter #0:0: start 0.000000, end 520.270000&#xA;    Metadata:&#xA;      title           : 00:00:00.000&#xA;    Chapter #0:1: start 520.270000, end 1135.718000&#xA;    Metadata:&#xA;      title           : 00:08:40.270&#xA;    Chapter #0:2: start 1135.718000, end 1703.660000&#xA;    Metadata:&#xA;      title           : 00:18:55.718&#xA;    Chapter #0:3: start 1703.660000, end 2314.187000&#xA;    Metadata:&#xA;      title           : 00:28:23.660&#xA;    Chapter #0:4: start 2314.187000, end 2888.594000&#xA;    Metadata:&#xA;      title           : 00:38:34.187&#xA;    Chapter #0:5: start 2888.594000, end 3499.246000&#xA;    Metadata:&#xA;      title           : 00:48:08.594&#xA;    Chapter #0:6: start 3499.246000, end 4154.692000&#xA;    Metadata:&#xA;      title           : 00:58:19.246&#xA;    Chapter #0:7: start 4154.692000, end 4646.392000&#xA;    Metadata:&#xA;      title           : 01:09:14.692&#xA;    Chapter #0:8: start 4646.392000, end 5373.660000&#xA;    Metadata:&#xA;      title           : 01:17:26.392&#xA;    Chapter #0:9: start 5373.660000, end 5882.085000&#xA;    Metadata:&#xA;      title           : 01:29:33.660&#xA;    Chapter #0:10: start 5882.085000, end 6627.871000&#xA;    Metadata:&#xA;      title           : 01:38:02.085&#xA;    Chapter #0:11: start 6627.871000, end 7144.471000&#xA;    Metadata:&#xA;      title           : 01:50:27.871&#xA;    Chapter #0:12: start 7144.471000, end 7451.944000&#xA;    Metadata:&#xA;      title           : 01:59:04.471&#xA;    Chapter #0:13: start 7451.944000, end 7972.394000&#xA;    Metadata:&#xA;      title           : 02:04:11.944&#xA;    Stream #0:0(eng): Video: h264 (High), yuv420p(tv, bt709/unknown/unknown, progressive), 720x300 [SAR 1:1 DAR 12:5], 23.98 fps, 23.98 tbr, 1k tbn, 47.95 tbc (default)&#xA;    Metadata:&#xA;      title           : X264&#xA;    Stream #0:1(eng): Audio: aac (LC), 48000 Hz, stereo, fltp (default)&#xA;pipe:: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="18727" LastEditorUserId="18727" LastEditDate="2017-09-12T07:50:31.077" LastActivityDate="2017-09-12T08:01:39.163" Title="ffmpeg - trascoding multiple streams from stdin errors out: pipe:: Invalid data found when processing input" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22324" PostTypeId="2" ParentId="22323" CreationDate="2017-09-12T08:01:39.163" Score="0" Body="&lt;p&gt;I fixed your command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;       cat a2.mkv | ffmpeg -nostdin -i - -y -map 0:0 -c:0 copy -f matroska -y 0.mkv -map 0:0 -vf &quot;select=gt(scene\\,0.4)&quot; -frames:v 1 -vsync vfr -vf fps=fps=1/60 -codec png -f image2pipe 0.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-09-12T08:01:39.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22325" PostTypeId="1" AcceptedAnswerId="22330" CreationDate="2017-09-12T10:03:37.793" Score="3" ViewCount="854" Body="&lt;p&gt;I'm trying to make a custom video wall so i need to split some videos and I'm diving video into N parts at N times using ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is any way to divide videos at once?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UDZ1x.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UDZ1x.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20014" LastActivityDate="2017-09-13T01:28:56.307" Title="How to divide the video into four parts at once?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22327" PostTypeId="1" CreationDate="2017-09-12T14:36:03.277" Score="2" ViewCount="6337" Body="&lt;p&gt;I can overlay a picture to the video stream with the following command:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -thread_queue_size 1024 -i udp_source -i watermark.png&#xA;  -filter_complex &quot;[0:v]scale=1920:1080,yadif=0 [base]; [base][1:v] overlay=main_w-overlay_w-10:10 [marked]&quot; -map &quot;[marked]&quot; -vcodec&#xA;  h264_nvenc -acodec libfdk_aac -ab 192k -ar 48000 -f flv rtmp_output&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;But if I made a hardware decoding with deinterlacing and resizing at the GPU with the following command:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -thread_queue_size 1024 -hwaccel cuvid -c:v mpeg2_cuvid -deint&#xA;  2 -drop_second_field 1 -vsync 0 -i udp_source -i watermark.png&#xA;  -filter_complex &quot;[0:v]scale_npp=1920:1080 [base]; [base][1:v] overlay=main_w-overlay_w-10:10 [marked]&quot; -map &quot;[marked]&quot; -vcodec&#xA;  h264_nvenc -acodec libfdk_aac -ab 192k -ar 48000 -f flv rtmp_output&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I got the following error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Error while decoding stream #0:1: Invalid data found when processing input&#xA;Impossible to convert between the formats supported by the filter 'Parsed_scale_npp_0' and the filter 'auto_scaler_0'&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Function not implemented&#xA;Error while processing the decoded data for stream #1:0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As I understand we can't overlay the picture to the video via NVIDIA. I added the &quot;hwdownload&quot; filter in the command to copy data to CPU:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -thread_queue_size 1024 -hwaccel cuvid -c:v mpeg2_cuvid -deint&#xA;  2 -drop_second_field 1 -vsync 0 -i&#xA;  &quot;udp://226.58.24.4:2000?overrun_nonfatal=1&quot; -i&#xA;  /home/anis/logo/2mbps.png -filter_complex&#xA;  &quot;[0:v]scale_npp=1920:1080,hwdownload [base]; [base][1:v]&#xA;  overlay=main_w-overlay_w-10:10 [marked]&quot; -map &quot;[marked]&quot; -vcodec&#xA;  h264_nvenc -aspect 16:9 -b:v 1808k -minrate 1808k -maxrate 1808k&#xA;  -bufsize 904k -g 100 -no-scenecut 1 -forced-idr 0 -preset:v medium -vprofile main -level 4.1 -map 0:#0x091d -acodec libfdk_aac -ab 192k -ar 48000 -f flv rtmp://10.150.12.104/virginandtv/abr2k_test&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;After this I got the following error:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[udp @ 0x39abda0] Circular buffer overrun. Surviving due to overrun_nonfatal option&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to increase a fifo size up to 1M, but this issue still exists.&lt;br&gt; &#xA;&lt;strong&gt;Is it possible to overlay a picture directly on NVIDIA card?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="14107" LastActivityDate="2019-12-11T15:47:52.127" Title="FFmpeg hardware cuda decoding and overlay picture" Tags="|ffmpeg|nvidia|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22329" PostTypeId="1" CreationDate="2017-09-12T21:42:01.600" Score="1" ViewCount="181" Body="&lt;p&gt;I want to upload a short video to Instagram stories. What sequence/export settings should I use in premiere pro?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried a lot of video tutorials on this theme, but I end up in endless &quot;processing&quot; when I try to upload the story. Videos shot directly from phone have no issues. It might be android only issue...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To clarify, I open Instagram, click upload story button, I can select and play the video I exported from premiere pro, but it won't upload. Tried to lower bit rate so the result video file would fit under 1mb. Tried different resolutions and aspect ratios...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Phone: Samsung Galaxy S6&lt;/p&gt;&#xA;" OwnerUserId="20020" LastEditorUserId="16850" LastEditDate="2017-09-13T13:41:43.117" LastActivityDate="2017-09-13T13:41:43.117" Title="Creating instagram stories in premiere pro" Tags="|premiere|android|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22330" PostTypeId="2" ParentId="22325" CreationDate="2017-09-13T01:28:56.307" Score="3" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -i coolpron.mp4 -filter_complex &quot;[0:v]crop=iw/2:ih/2:0:0[tl];[0:v]crop=iw/2:ih/2:iw/2:0[tr]&quot; -c:a copy -map [tl] -map 0:a -y 111.avi -map [tr] -map 0:a -c:a copy -y 222.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This produces 2 video files at same time, but you can add other parts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But use it only if you have no other choice for your video wall. Better solution: write your own custom player.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-09-13T01:28:56.307" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22331" PostTypeId="2" ParentId="15274" CreationDate="2017-09-13T09:27:38.250" Score="1" Body="&lt;p&gt;Here are some things to try:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Switch to OBS Studio. &lt;a href=&quot;https://obsproject.com/download&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;OBS classic is no longer supported&quot;&gt;OBS classic is no longer supported&lt;/a&gt; and has been replaced by the &quot;studio&quot; version.&lt;/li&gt;&#xA;&lt;li&gt;Tell your OS to run OBS in &lt;a href=&quot;http://www.wikihow.com/Change-Process-Priorities-in-Windows-Task-Manager&quot; rel=&quot;nofollow noreferrer&quot;&gt;&quot;high priority&quot; mode&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Set your encoding preset to a lower quality and/or lower FPS and/or lower definition&lt;/li&gt;&#xA;&lt;li&gt;Use your GPU to encode (NVENC). Your CPU will no longer encode your stream and will be able to run other tasks, but it will downgrade the quality of your video.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="20024" LastEditorUserId="14523" LastEditDate="2017-09-13T23:00:09.900" LastActivityDate="2017-09-13T23:00:09.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22333" PostTypeId="1" CreationDate="2017-09-13T18:54:41.390" Score="3" ViewCount="438" Body="&lt;p&gt;I would like to capture my old VHS tapes to my HDD. I already was successful installing the xvid codec which gives me an acceptable video compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But somehow I am not able to set audio compression. In the VirtualDub &lt;code&gt;Audio&lt;/code&gt; menu I can choose compression. It then shows me a list of available codecs, among them I can select &lt;code&gt;MPEG Layer-3&lt;/code&gt;. But when I go back to check the settings it is not selected anymore and it definitely is not set as compression, since I can see in the stats while capturing: &lt;code&gt;Compression ration 1.0:1&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried to download &lt;code&gt;LAME 3.99.5 ACM codec&lt;/code&gt; for Windows 64 Bit and I was able to install it (though it was a bit tricky).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am on Windows 10 64 Bit. Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="20027" LastActivityDate="2023-12-12T21:02:50.347" Title="AVI Capture in VirtualDub: MP3 Compression" Tags="|codec|compression|video-capture|virtualdub|avi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22334" PostTypeId="1" CreationDate="2017-09-13T20:40:18.930" Score="3" ViewCount="695" Body="&lt;p&gt;I am completely new both to video editing and DaVinci Resolve 14.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to apply stabilization to a clip which has a constantly moving and changing object in the middle. Therefore I only want to track points which are &lt;em&gt;outside&lt;/em&gt; of a certain region in the middle of the screen.  Is it possible to mark the middle region by drawing a power window and then track everything that is &lt;em&gt;outside&lt;/em&gt; of it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I have been trying to manually draw an &quot;inverse window&quot; which selects mostly everything except the middle.  Is this the right way to go about it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zHQ4i.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zHQ4i.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20028" LastEditorUserId="20028" LastEditDate="2017-09-14T08:46:20.967" LastActivityDate="2022-10-18T01:08:10.983" Title="DaVinci Resolve: Track with points outside of a window" Tags="|davinci-resolve|tracking|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22335" PostTypeId="1" CreationDate="2017-09-13T21:24:03.210" Score="1" ViewCount="774" Body="&lt;p&gt;I am completely new to both video editing and DaVinci Resolve, so please bear with me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have some drone footage which looks directly downwards onto a flat surface.  It has panning, rotation and zooming (up to a factor of 2.5) at the same time.  However, because I wasn't able to control all three types of motion well enough at the same time, it's not as smooth as it should be. For example, the panning stops at one point in time rather suddenly, then resumes.  It's not too bad, but I would like to make it perfect by editing it in DaVinci Resolve 14 (free version).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This was my original plan of action:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Stabilize the footage.  I expect to get a rotating and ever shrinking rectangle, with black borders.&lt;/li&gt;&#xA;&lt;li&gt;Use keyframe animation to re-create the appropriate rotation, panning and zooming in a smoother way.  It's okay to crop a bit, since the source is 4K and I output 1080p.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Since I am literally a complete beginner with Resolve, I wasn't sure how to do it. This is what I tried:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;I drew a power window to avoid the middle of the scene, which contains lots of chaotically moving objects. (&lt;a href=&quot;https://video.stackexchange.com/q/22334/20028&quot;&gt;See my other question.&lt;/a&gt;)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I went to Tracking → Window, and unchecked Tilt and 3D.  I clicked track forward, and allowed the program to track using automatically selected points within the window.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I copied the tracking data and switched to Stabilize view.  I selected &quot;Classic Mode&quot;, as I wasn't able to figure out the new stabilizer.  I pasted the tracking data.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I left Strength at 100 and Smooth at 0. I unchecked Zoom to allow black borders. I clicked the &quot;Stabilize&quot; button.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;This was the only way I could get the system to apply the stabilization to the clip.  It gave me an okay-ish result, but after stabilization there is a new and distracting jerkiness in the clip, and I do not know how to get rid of it.  If I set &quot;Smooth&quot; to any value between 1-99 (instead of 0) and click Stabilize again, then it won't stabilize at all.  Why is this?  How can I smoothen out the stabilization?  Does it have to do anything with the fact that there's zooming difference of 2.5 between the end and beginning of the clip?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The jerkiness probably comes from inaccuracies in tracking. The clip zooms into a flock of birds on a shallow lake. I can only use the somewhat blurry lake-bed for tracking because the birds are constantly moving, so I do not think the tracking itself can be improved. However, simply smoothening out the tracking data would clearly fix the problem, if only I know how to do that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other than the jerkiness problem, I can animate the pan/zoom/rotation and achieve the general effect I wanted.  But I am still not sure that I am approaching this problem in the correct way.  How would you do it?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/0cz2iypht340pvw/Lake.mov?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;This is 10 seconds from the clip (downscaled).&lt;/a&gt;  It's ungraded, so low contrast.  You can see that the panning motion stops at the 5 second mark. This is what I am trying o remedy.&lt;/p&gt;&#xA;" OwnerUserId="20028" LastEditorUserId="20028" LastEditDate="2017-09-14T08:31:53.717" LastActivityDate="2017-09-14T08:31:53.717" Title="DaVinci Resolve: Fix insufficiently smooth top-down drone footage" Tags="|davinci-resolve|stabilisation|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22336" PostTypeId="2" ParentId="22333" CreationDate="2017-09-14T00:49:55.007" Score="0" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;After you select LAME codec you also have to select the format. Did you? Note it can only support limited set of sample rates and mono/stereo.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;There is something weird about compression ratio. Looks like it shows incoming compression (when audio is already compressed by capture source).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="19396" LastActivityDate="2017-09-14T00:49:55.007" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22339" PostTypeId="1" CreationDate="2017-09-14T09:14:39.510" Score="1" ViewCount="417" Body="&lt;p&gt;I am using java to create image files that I am converting to video using FFMPEG. I am creating the midi and audio simultaneously on reaper then using the duration of the notes on the midi file to create the number of frames I need. These are the durations of the different notes I have:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;306.1224966434529&#xA;612.2449932869058&#xA;1224.4899865738262&#xA;1836.734979860732&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In order to get the frames I need I am using the formula (fps * duration) / 1000 then rounding down which results in:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;306.1224966434529 -&amp;gt; 18 frames&#xA;612.2449932869058 -&amp;gt; 36 frames&#xA;1224.4899865738262 -&amp;gt; 72 frames&#xA;1836.734979860732 -&amp;gt; 110 frames&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I combine the audio it gradually goes out of sync. I played around and realised that the 72 frames require 74 frames and the 110 frame notes require 112 frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not sure how to account for this. I need to be able to calculate the number of frames required ahead of time rather than creating them in real time.&lt;/p&gt;&#xA;" OwnerUserId="20034" LastActivityDate="2017-09-14T09:14:39.510" Title="Trying to understand the delay converting a sequence of images to video" Tags="|video|ffmpeg|audio|framerate|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22340" PostTypeId="1" CreationDate="2017-09-14T12:48:12.697" Score="4" ViewCount="3837" Body="&lt;p&gt;I have &lt;code&gt;file.avi&lt;/code&gt; which contains a h264 video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i file.AVI&#xA;Input #0, avi, from 'file.AVI':&#xA;  Duration: 00:00:20.61, start: 0.000000, bitrate: 1530 kb/s&#xA;    Stream #0:0: Video: h264 (Main) (H264 / 0x34363248), yuv420p, 640x480, 1459 kb/s, 18 fps, 18 tbr, 18 tbn, 36 tbc&#xA;    Stream #0:1: Audio: mp2 (P[0][0][0] / 0x0050), 44100 Hz, stereo, s16p, 64 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I convert to a mp4 container using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i file.AVI -vcodec copy -acodec copy test.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This produces the following file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'test.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf56.40.101&#xA;  Duration: 00:00:20.72, start: 0.000000, bitrate: 1515 kb/s&#xA;    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 640x480, 1455 kb/s, 18 fps, 18 tbr, 18432 tbn, 36864 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: mp3 (mp4a / 0x6134706D), 44100 Hz, stereo, s16p, 64 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The output mp4 file plays in chromium using html5  but is choppy / stutters as it plays. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The file plays smooth in firefox, and also in the desktop viewer (Totem), but I need it to play smooth in chromium.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any ffmpeg flags I need to set to achieve this, or is it something inherently wrong with Chromium?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: if I re-encode the file with &lt;code&gt;ffmpeg -i file.AVI test2.mp4&lt;/code&gt; the result works fine in Chromium, but I can't do this (for speed) I'd like to just re-package the h264 video... which &lt;em&gt;almost&lt;/em&gt; works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt; The choppy playback occurs on both Linux (Ubuntu) and Windows and in both Chrome and Chromium.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT 2:&lt;/strong&gt; Full output from command (note, using flag &lt;code&gt;-an&lt;/code&gt; to remove the possibility it's an audio issue.)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, avi, from 'file.AVI':&#xA;  Duration: 00:00:20.61, start: 0.000000, bitrate: 1530 kb/s&#xA;    Stream #0:0: Video: h264 (Main) (H264 / 0x34363248), yuv420p, 640x480, 1459 kb/s, 18 fps, 18 tbr, 18 tbn, 36 tbc&#xA;    Stream #0:1: Audio: mp2 (P[0][0][0] / 0x0050), 44100 Hz, stereo, s16p, 64 kb/s&#xA;[mp4 @ 0x1734d80] Codec for stream 0 does not use global headers but container format requires global headers&#xA;Output #0, mp4, to 'test.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf56.40.101&#xA;    Stream #0:0: Video: h264 ([33][0][0][0] / 0x0021), yuv420p, 640x480, q=2-31, 1459 kb/s, 18 fps, 18 tbr, 18432 tbn, 18 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[mp4 @ 0x1734d80] pts has no value&#xA;    Last message repeated 370 times&#xA;frame=  371 fps=0.0 q=-1.0 Lsize=    3664kB time=00:00:20.61 bitrate=1456.2kbits/s    &#xA;video:3661kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.066175%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Notes: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Adding &lt;code&gt;-fflags +genpts&lt;/code&gt; removes the &lt;code&gt;[mp4 @ 0x1734d80] pts has no value&lt;/code&gt; error, but does not improve the playback.&lt;/li&gt;&#xA;&lt;li&gt;Adding &lt;code&gt;-flags:v +global_header&lt;/code&gt; removes the &lt;code&gt;[mp4 @ 0x1734d80] Codec for stream 0 does not use global headers&lt;/code&gt; but does not improve the playback&lt;/li&gt;&#xA;&lt;li&gt;Setting the tbc output using &lt;code&gt;-r ##&lt;/code&gt; does not improve playback&lt;/li&gt;&#xA;&lt;li&gt;Setting tbn using &lt;code&gt;-video_track_timescale ##&lt;/code&gt; does not improve playback&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="20036" LastEditorUserId="20036" LastEditDate="2017-09-15T11:44:49.763" LastActivityDate="2021-02-26T02:53:53.160" Title="ffmpeg repackaging AVI (h264) into mp4 gives choppy playback in html5 video on chromium" Tags="|ffmpeg|avi|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22341" PostTypeId="1" AcceptedAnswerId="22343" CreationDate="2017-09-14T23:58:53.393" Score="1" ViewCount="185" Body="&lt;p&gt;I'm trying to create an animation of a slider-crank mechanism system in After Effects, but I'm finding it difficult to create a move closer to a real simulation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Would anyone have an idea how I should proceed?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The link below shows what I'm trying to get:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://sites.esm.psu.edu/courses/emch12/IntDyn/activities/kinematics/slider-crank1&quot; rel=&quot;nofollow noreferrer&quot;&gt;Slider-crank Mechanism System&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This was my attempt, but it's getting very strange:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gqgsx.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gqgsx.gif&quot; alt=&quot;Animation&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8FjvP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8FjvP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vm6LA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vm6LA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18258" LastActivityDate="2017-09-15T09:36:02.507" Title="Create an animation of a slider-crank mechanism system" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22343" PostTypeId="2" ParentId="22341" CreationDate="2017-09-15T09:30:57.677" Score="2" Body="&lt;p&gt;The setup is reasonably simple, built in functions, trigonometry and some Pythagoras will get you there. Have a look at the diagram below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FdFmY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FdFmY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The orange solid is the &lt;strong&gt;crank&lt;/strong&gt;, with its anchor point shown at the bottom. Its rotation drives the whole thing (you could drive it from the piston, but this is probably easier(?)). In your diagram the crank isn't shown, so you can just use a solid, and make it a &lt;strong&gt;guide layer&lt;/strong&gt;. Attached to the crank is a null called &lt;strong&gt;pivot&lt;/strong&gt;, lined up to the where the &lt;strong&gt;crank&lt;/strong&gt; and &lt;strong&gt;piston&lt;/strong&gt; are attached to each other, with the crank as its parent. I use that to save myself a little bit of maths, The green solid is the &lt;strong&gt;piston&lt;/strong&gt;, its anchor point is at the top, lined up with the blue solid.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now to find the position of the piston we have to find &lt;code&gt;Yc&lt;/code&gt;, &lt;code&gt;x&lt;/code&gt;, and &lt;code&gt;Yp&lt;/code&gt;. That will also allow us to find the angle &lt;code&gt;ϴ&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First we need to find the position of the pivot. Fortunately we can use the built-in function &lt;strong&gt;toComp&lt;/strong&gt;. That will return the absolute position of the &lt;strong&gt;pivot&lt;/strong&gt; null. If we subtract the position of the crank we're left with &lt;code&gt;[x, Yc]&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since we know the length of the piston—&lt;code&gt;p&lt;/code&gt; in the diagram above—and the value of &lt;code&gt;x&lt;/code&gt;, we can use Pythagoras' theorem to find &lt;code&gt;Yp&lt;/code&gt;, because &lt;code&gt;x² + Yp² = P²&lt;/code&gt;, then it follows &lt;code&gt;Yp = sqrt(P² - x²)&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Putting it all together, plus some offsets to keep the piston lined up with the crank, we get this for the position expression on the piston arm:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var PistonLength = 200; //set this to whatever length your piston is&#xA;var crankPos = thisComp.layer(&quot;crank&quot;).transform.position;&#xA;var pivot = thisComp.layer(&quot;pivot&quot;).toComp(thisComp.layer(&quot;pivot&quot;).transform.anchorPoint, t = time) - crankPos;&#xA;var y = Math.sqrt(Math.pow(PistonLength,2) - Math.pow(pivot[0], 2));&#xA;crankPos + [0, pivot[1] - y]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Once we have the lengths of the sides of the triangle we can find the angle using trigonometry. We know that &lt;code&gt;sin ϴ = x / P&lt;/code&gt; so &lt;code&gt;ϴ = asin(x / P)&lt;/code&gt;. Here's the expression:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var pistonLength = 200;&#xA;var crankPos = thisComp.layer(&quot;crank&quot;).transform.position;&#xA;var pivot = crankPos - thisComp.layer(&quot;pivot&quot;).toComp(thisComp.layer(&quot;pivot&quot;).transform.anchorPoint, t = time);&#xA;theta = Math.asin(pivot[0]/pistonLength);&#xA;radiansToDegrees(theta)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So in the diagram above these expressions are applied to the green solid on the position and rotation properties respectively.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The blue solid just has to line up with the green piston, but you don't want to parent it, or it will inherit the rotation. So just put this simple expression on its position property (obviously with all these expressions you need to change the names of the layers to match (or change your layer names):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&quot;piston arm&quot;).transform.position&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here's a screenshot of the comp, with all the expressions in place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Q4REl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Q4REl.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-09-15T09:36:02.507" LastActivityDate="2017-09-15T09:36:02.507" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22344" PostTypeId="1" AcceptedAnswerId="22441" CreationDate="2017-09-15T12:41:03.920" Score="2" ViewCount="33" Body="&lt;p&gt;As a beginner, I'm not sure how to create rectangles that form a cube so I can get something like shown below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QDsKK.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QDsKK.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I created angled rectangles in another application and tried to create an idea to show, but I'd really like to use the elements that After Effects provides.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jxLpv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jxLpv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would also like to know how to control the quality of the corners of the elements created within After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8kipp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8kipp.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone willing to help?&lt;/p&gt;&#xA;" OwnerUserId="18258" LastActivityDate="2017-09-26T16:48:41.670" Title="Creating a cube animating their faces" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22345" PostTypeId="1" CreationDate="2017-09-15T12:49:44.080" Score="1" ViewCount="2542" Body="&lt;p&gt;Aside taking screenshots of my favourite DAW software in waveform or frequency view and comparing them, what solution can I use for compare 2 audio waveforms ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example if i have 2 video with visual differences I tend to put both on a timeline with &quot;difference&quot; blending mode and check if the video resulting is full black or there's some kind of minor visible differences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm conforming to EBU R 128 one waveform, I want to check if the outputted audio file is identical to the original, or if there was some changes in terms of waveform and decibel correction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are plugins, software ways (I'm using Adobe Audition) or ffmpeg commands to show changes in a visual and / or a numeric way (such the pnsr or ssim used for video) ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best for me would be a software solution able to show both the waveform with 2 colors and overlayed one over the other for visual comparison + some kind of numeric comparison.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically I'm looking for a &quot;Compare / Diff&quot; of notepad++ but for Audio Waveforms.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2017-09-25T22:37:20.793" Title="Comparing audio waveform in a visual and / or numeric way" Tags="|ffmpeg|audio|audition|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22346" PostTypeId="1" AcceptedAnswerId="22449" CreationDate="2017-09-15T13:18:15.570" Score="3" ViewCount="151" Body="&lt;p&gt;Are there any plugins or scripts that make it easy to create Character Rigging?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just watched a video that shows something I've never seen in AE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this something I can incorporate into the software?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/IJgAUkjsomA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="18258" LastEditorUserId="18258" LastEditDate="2017-09-23T10:20:26.783" LastActivityDate="2017-09-27T02:29:57.247" Title="Plugins for Character Rigging" Tags="|after-effects|plugins|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22347" PostTypeId="1" AcceptedAnswerId="22461" CreationDate="2017-09-15T16:46:32.650" Score="2" ViewCount="120" Body="&lt;p&gt;What is the best way to position the anchor point in the exact center of the smaller circle of this PNG figure?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My methods were all manual and in this way I did not have good results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8FjvP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8FjvP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18258" LastEditorUserId="18258" LastEditDate="2017-09-15T16:55:18.873" LastActivityDate="2017-09-27T15:22:14.573" Title="Position the anchor point in the exact center of the smaller circle" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22349" PostTypeId="1" AcceptedAnswerId="22356" CreationDate="2017-09-16T08:07:30.663" Score="0" ViewCount="518" Body="&lt;p&gt;I need a professional advice for self-assessing among students. I am searching for a tool (script or scripts) that helps annotating very long videos in After Effects. I also would like to automate the process without repeating myself. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have long speeches (narrations) of students with subtitles. Subtitles are edited in Subtitle Edit. In Subtitle Edit at the beginning of some words or sentences I add symbols like &lt;strong&gt;[#]&lt;/strong&gt; or &lt;strong&gt;[$]&lt;/strong&gt;.  After importing video and subtitles (&lt;strong&gt;pt_ImportSubtitles&lt;/strong&gt;) with added &lt;strong&gt;[#]&lt;/strong&gt; and &lt;strong&gt;[$]&lt;/strong&gt; symbols I would like a specific lower third (simple text annotation or feedback) to be automatically activated (appeared on screen) (for 3 sec) for each imported word or group of words (marker or timestamp) with specific symbols.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let us say that I have two lower thirds. First lower third is associated with words starting with а [#] (valid argument ) symbol and other set of words are associated with any words starting with [$] (invalid argument).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Examples &#xA;[#] Moscow is the capital of Russian Federation&#xA;[$] Moscow is not a capital of Russian Federation&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dwORP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dwORP.png&quot; alt=&quot;ScreenShot of Subtitle Edit&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If &lt;strong&gt;[#]&lt;/strong&gt; is repeated 30 times then the firt lower third must also be appeared 30 time. Same logic is for &lt;strong&gt;[$]&lt;/strong&gt; symbol. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Texts for lower thirds preferably must be stored outside of AE in a spreadsheet for example (&lt;strong&gt;Text2Spreadsheet&lt;/strong&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please let me know if a tool (script or a set of scripts) that I am searching is indeed exists or not.&#xA;If not. How can I do it manually with scripts that I mentioned above ?&#xA;Thank you all&lt;/p&gt;&#xA;" OwnerUserId="20044" LastEditorUserId="20044" LastEditDate="2017-09-16T18:28:26.923" LastActivityDate="2018-11-09T14:12:05.327" Title="After Effects automation and annotation tools (scripts) for student work" Tags="|after-effects|subtitles|after-effects-expressions|automation|after-effects-scripting|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22350" PostTypeId="2" ParentId="14508" CreationDate="2017-09-16T08:34:26.797" Score="2" Body="&lt;p&gt;Vegas 15 has Finally fixed these issues with the new ACES 1.0 support. To render perfect colors for video AND stills you must ensure the following project project properties are as followed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://imghost.io/image/GS3sB&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://imghost.io/image/GS3sB&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20045" LastActivityDate="2017-09-16T08:34:26.797" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22351" PostTypeId="1" CreationDate="2017-09-16T13:03:17.623" Score="1" ViewCount="97" Body="&lt;p&gt;This is the motion titling of a film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/zSCeZegPrZg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to know few things. Assuming it's created using &lt;strong&gt;Afer Effects&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;If you give a closer look, you could see ink spreading after it's written. How did they achieve it?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Was there any plug-in used for this purpose? If yes, which one?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="18971" LastEditorUserId="2836" LastEditDate="2017-09-17T19:07:43.920" LastActivityDate="2017-09-18T10:20:17.407" Title="How to do this motion graphics?" Tags="|after-effects|plugins|motion-graphics|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22352" PostTypeId="2" ParentId="22351" CreationDate="2017-09-16T17:34:27.630" Score="3" Body="&lt;p&gt;If I have to make this manually, I would do the following:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create/Draw the blue Logo in Illustrator as its seen in the final frame.&lt;/li&gt;&#xA;&lt;li&gt;Breakdown and place spread ink into separate layers, like 4 or more.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;To make the drawing animation, create a path &quot;using pen tool&quot; along the lines of the blue Logo, make sure that the path is thick enough to cover the lines.&lt;br&gt;&lt;br&gt;&#xA;Using &lt;strong&gt;Trim Path&lt;/strong&gt; effect you can animate the path and as it spread it reveals the blue Logo, kinda like a mask.&lt;br&gt;&lt;br&gt;&#xA;The spread of ink is not that obvious, I think it was made using opacity. So whenever you reveal a letter or two, keyframe the opacity of the layer that contains spread ink that you made earlier in Illustrator from 0% to 100% which creates a feel like a spread.&lt;br&gt;&lt;br&gt;&#xA;I hope what I wrote does make sense.&lt;/p&gt;&#xA;" OwnerUserId="19791" LastActivityDate="2017-09-16T17:34:27.630" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22355" PostTypeId="1" AcceptedAnswerId="22357" CreationDate="2017-09-17T06:54:51.430" Score="0" ViewCount="1010" Body="&lt;p&gt;I have seen here a lot of questions regarding FFmpeg, but I didn't know it was a command line application until yesterday.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If we have GUI software like Final Cut Pro and Premiere Pro? Apart from the expense, what are the benefits of such programs? &lt;/p&gt;&#xA;" OwnerUserId="19791" LastEditorUserId="3643" LastEditDate="2017-09-18T08:43:51.070" LastActivityDate="2017-09-18T08:43:51.070" Title="What are the benefits of a CLI encoder (e.g. FFmpeg) over GUI Software?" Tags="|ffmpeg|software-recommendation|command-line|" AnswerCount="1" CommentCount="5" ClosedDate="2017-09-18T23:26:12.390" ContentLicense="CC BY-SA 3.0" />
  <row Id="22356" PostTypeId="2" ParentId="22349" CreationDate="2017-09-17T08:54:35.420" Score="0" Body="&lt;p&gt;As I've &lt;a href=&quot;http://blob.pureandapplied.com.au/using-data-from-an-external-file-to-drive-expressions/&quot; rel=&quot;nofollow noreferrer&quot;&gt;written on my blog&lt;/a&gt;, you can use the function &lt;code&gt;evalFile&lt;/code&gt; to load the contents of an external file as data or executable code.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if you have a file called &lt;code&gt;titles.txt&lt;/code&gt; that looks like this&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var titles={&#xA;    {startTime:1.23, endTime:2.23, textContent:&quot;this is the first subtitle&quot;},&#xA;    {timestamp:2.34, endTime:3.45, textContent:&quot;this is the second subtitle&quot;},&#xA;    {timestamp:4.56, endTime:5.55, textContent:&quot;and so on…&quot;}&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;…you can evaluate it as part of the source of the expression, so that the &lt;code&gt;titles&lt;/code&gt; array is now available to the expression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you could do something like this with the source text property of a text layer:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;try{&#xA;    myPath = “/path/to/my/titles.txt”; //obviously the path to the file&#xA;    $.evalFile(myPath);&#xA;    for (var i=0; i &amp;lt; titles.length; i++){&#xA;       if (time &amp;gt; titles[i].startTime &amp;amp;&amp;amp; time &amp;lt; titles[i].endTime){&#xA;           titles[i].textContent;&#xA;       } else { &quot;&quot;; } //blank text&#xA; }catch(err){&#xA; “ERROR”;&#xA;} &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What that does is:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;load up the subtitles file, &lt;/li&gt;&#xA;&lt;li&gt;scan through the titles and look at each one to see if the current time is between its start and end points&lt;/li&gt;&#xA;&lt;li&gt;if the time is right for the subtitle to display then it sets the source text to the subtitle content, if not sets it to a blank string.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Other layers could use the startTime and endTime variables to drive other properties such as opacity or anything else you can animate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your subtitle time stamps are represented as smpte timecode you'll have to add a converter to the expression. There's one &lt;a href=&quot;https://stackoverflow.com/a/31385814/432987&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use a capable text editor (notepad++, atom, sublime text, vim etc) to reformat the subtitles file, or you could use JS text processing tools (eg. regex, string.split, string.replace etc) in the script to parse the subtitles file. I'd recommend against the latter, they're going to be a lot slower. Remember that the expression is evaluated &lt;strong&gt;every time the frame is rendered&lt;/strong&gt;, which includes reading the subtitles file from disk. If you have motion blur on, that could mean dozens of times each frame.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-09-17T08:54:35.420" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22357" PostTypeId="2" ParentId="22355" CreationDate="2017-09-17T09:04:13.220" Score="7" Body="&lt;p&gt;You have 10,000 videos that need to have a logo overlayed, subtitles burned in from srt files, and a standard copyright notice attached to the end. Then you need to make three different versions of each, at different sizes and codec settings. It's a quarter to five on Friday night.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Option 1, you spend all weekend doing it in a GUI app, and you have no life.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Option 2, you do it with ffmpeg, which can do all these things, you spend fifteen minutes setting up a CLI batch encoding script, and as the big hand points to 12 you leave it running and head for the pub.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-09-17T09:04:13.220" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="22359" PostTypeId="1" CreationDate="2017-09-17T12:47:13.433" Score="0" ViewCount="120" Body="&lt;p&gt;Is there any easy way to highlight the current speaker automatically (rather than edit the video file manually) in a multi person podcast, similar to this for example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/7XGX64XfSkU?start=968&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="20056" LastActivityDate="2017-09-18T02:55:24.897" Title="Highlighting current speaker on multi person podcast?" Tags="|streaming|podcast|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22360" PostTypeId="1" CreationDate="2017-09-17T14:30:48.590" Score="2" ViewCount="787" Body="&lt;p&gt;I'm setting up a studio to make videos. My space has walls that have been covered with stucco-style paint. In other words, they're rough. I want to have a green-screen background behind me. If I paint these rough walls with chromakey &quot;video paint&quot; will little shadows mess with the chromakey effect and defeat the purpose? In other words, do I need to put some other flat surface in front of these walls? Hope this question makes sense!&lt;/p&gt;&#xA;" OwnerUserId="20057" LastActivityDate="2020-12-15T21:04:45.557" Title="Can I paint a rough wall with chromakey paint to make a green screen?" Tags="|greenscreen|chromakey|diy|studio|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22361" PostTypeId="1" CreationDate="2017-09-17T15:07:18.607" Score="0" ViewCount="492" Body="&lt;p&gt;I need to send a short video clip (30 seconds) to a client of mine, the video is 3840 × 2160 resolution.&#xA;The client is using some &lt;strong&gt;cheap&lt;/strong&gt;, 4k TV and he is using a USB to play the video which only supports JPEG, MP3, &lt;strong&gt;MKV&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to export/convert the video (.mov) to .mkv while keeping the same resolution? (3840x2160), I tried some softwares but they reduced the resoultion to Full HD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have all of Adobe CC programs if that helps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="20059" LastActivityDate="2018-02-14T17:46:40.403" Title="Converting 4k to mkv" Tags="|video|video-quality|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22362" PostTypeId="2" ParentId="22361" CreationDate="2017-09-17T15:27:20.853" Score="0" Body="&lt;p&gt;There is an open source video transcoder named &lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;HandBrake&lt;/a&gt;. &#xA;From their &lt;a href=&quot;https://handbrake.fr/docs/&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt;, it does support:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Source Formats&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;...open many common video files produced by recording software, including&#xA;  but not limited to TS/MTS/M2TS, MP4 or M4V, &lt;strong&gt;MOV&lt;/strong&gt;, MKV, MPG or MPEG, and&#xA;  AVI.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Output Formats / containers&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;HandBrake supports two widely supported formats. &lt;strong&gt;MKV&lt;/strong&gt; and MP4&#xA;  (Sometimes seen as M4v)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;And it can handle &lt;strong&gt;2160p 4K&lt;/strong&gt; videos too. Read &lt;a href=&quot;https://handbrake.fr/docs/en/latest/workflow/adjust-quality.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this doc&lt;/a&gt; for more info about quality settings.&lt;/p&gt;&#xA;" OwnerUserId="18971" LastActivityDate="2017-09-17T15:27:20.853" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22363" PostTypeId="2" ParentId="22361" CreationDate="2017-09-17T16:06:27.947" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Is there any way to export/convert the video (.mov) to .mkv while keeping the same resolution?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yes. It's called &lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;. It's an advanced high level command line tool for basically all your video conversion needs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Download the tool from &lt;a href=&quot;https://www.ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. You'll need to unpack it to any desired location. You can either add the bin folder to path or copy your .mov video file into the bin folder itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then open the command prompt and type in the following code.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;filename.mov&quot; &quot;filename.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The video should now convert to .mkv format preserving the resolution.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Note:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;.mkv is a container format. Which means the video file can have any codec, including those not supported by TV. So its useful to know which codecs the TV supports. By default, ffmpeg uses libx264, which should work in most devices. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also &lt;a href=&quot;https://video.stackexchange.com/questions/20569/mkv-file-not-playing-in-hevc-h-265-supported-player&quot;&gt;check this question&lt;/a&gt;, about a similar problem I had with my TV. It should make things a lot more clear to you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: As mentioned in the other answer, Handbrake should also work. Its the graphical tool based on ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="17716" LastActivityDate="2017-09-17T16:06:27.947" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22366" PostTypeId="2" ParentId="22359" CreationDate="2017-09-18T02:55:24.897" Score="1" Body="&lt;p&gt;Easy way: patch some client for voice conferences, save info about speakers. I did it with Mumble. Then write simple app for rendering such movies, read/write of images and footages can be done with ffmpeg, fftw3 can calculate spectrum for us, grab some filters for image scaling...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hard way: write each speaker in separate channel (mumble can do this), then place all tracks in After Effects, use there tracks for scaling avatars and adding spectrograms. You can done it without writing code, but if you have many-many podcasts, you will suffer. Also, this not applicable if you want broadcast such video in realtime, for example, with questions and calls of guests.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-09-18T02:55:24.897" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22367" PostTypeId="2" ParentId="22345" CreationDate="2017-09-18T03:17:13.963" Score="1" Body="&lt;p&gt;At this time I don't know solution to effectively compare sound. So, I worked on tool to solve my needs. Using fftw3, I calculated spectrums and make images like that:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8ER2V.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8ER2V.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Every color represents each channel. This sample from 5.1 sound.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each color has 3 tracks: 1 file. 2 file (normalized to level of 1 file, difference of 1 and 2. Top line - level RMS and maximum level, bottom line - spectral representation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I faced many problems, like different levels, normalization of both signals and so on. At some point, I lost my interest. Unfortunately, I don't finished this tool, as I don't need it anymore.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I hope, this can give any ideas for you.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-09-18T03:17:13.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22368" PostTypeId="5" CreationDate="2017-09-18T04:34:58.667" Score="0" Body="&lt;p&gt;Motion graphics are pieces of digital footage or animation which create the illusion of motion or rotation, and are usually combined with audio for use in multimedia projects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The term distinguishes still graphics from those with a transforming appearance over time, without over-specifying the form. While any form of experimental or abstract animation can be called motion graphics, the term typically more explicitly refers to the commercial application of animation and effects to video, film, TV, and interactive applications.&lt;/p&gt;&#xA;" OwnerUserId="18971" LastEditorUserId="18971" LastEditDate="2017-09-18T14:18:19.550" LastActivityDate="2017-09-18T14:18:19.550" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22369" PostTypeId="4" CreationDate="2017-09-18T04:34:58.667" Score="0" Body="Animations using various design elements which are used to create an illusion of motion." OwnerUserId="18971" LastEditorUserId="18971" LastEditDate="2017-09-18T14:18:02.027" LastActivityDate="2017-09-18T14:18:02.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22370" PostTypeId="2" ParentId="22351" CreationDate="2017-09-18T10:20:17.407" Score="0" Body="&lt;p&gt;I'd use the Quickdraw plugin - you create your artwork, then paint masks over it in the order that you'd like to reveal the elements.  It then animates the masks for you, and makes it easy to tweak the speeds of the reveals of each stroke&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://aescripts.com/quickdraw/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://aescripts.com/quickdraw/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd do the main paths as one layer, then go back and do the ink splatters spreading as a second layer&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-09-18T10:20:17.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22373" PostTypeId="1" CreationDate="2017-09-18T16:35:16.047" Score="1" ViewCount="30" Body="&lt;p&gt;I'm looking for a software to create animated gifs (or webm's) like the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://gph.is/2fvtMv7&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://gph.is/2fvtMv7&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do you think these animations are created? Of course I could do this layer by layer in e.g. Photoshop but look at the delay effect when the conveyor starts to move - wouldn't it cost days to create things like this? There must be an easier way.&lt;/p&gt;&#xA;" OwnerUserId="20068" LastActivityDate="2017-09-18T16:35:16.047" Title="Easiest way to create detailed animations" Tags="|video|animation|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22374" PostTypeId="5" CreationDate="2017-09-19T03:55:32.780" Score="0" Body="&lt;p&gt;DaVinci Resolve is a high-end colour grading application that is used to correct and enhance the colour of film and video. It has been used to colour grade more feature films and TV spots than any other system and is considered to be the benchmark or gold standard upon which all systems are measured.  It also includes non-linear editing and basic digital audio workstation functionality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They distribute both a free and paid (studio) version of the software.&lt;/p&gt;&#xA;" OwnerUserId="18971" LastEditorUserId="2836" LastEditDate="2017-09-19T13:35:28.193" LastActivityDate="2017-09-19T13:35:28.193" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22375" PostTypeId="4" CreationDate="2017-09-19T03:55:32.780" Score="0" Body="A non-linear editing software developed by Blackmagic Design which is mainly used for colour correction and grading." OwnerUserId="18971" LastEditorUserId="18971" LastEditDate="2017-09-19T13:36:17.863" LastActivityDate="2017-09-19T13:36:17.863" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22376" PostTypeId="1" CreationDate="2017-09-19T07:22:04.737" Score="2" ViewCount="219" Body="&lt;p&gt;I am new to the 3d world and Cinema 4d software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to use gradient color and apply the material to a sphere, for example, it just uses the first color in the gradient and ignores any other colors. What am I doing wrong?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/vsTBE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vsTBE.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20073" LastEditorUserId="14523" LastEditDate="2017-09-19T22:50:21.393" LastActivityDate="2020-08-06T10:02:05.133" Title="I can't use more than one color in the same material in C4D" Tags="|cinema4d|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22377" PostTypeId="1" CreationDate="2017-09-19T07:36:07.173" Score="2" ViewCount="774" Body="&lt;p&gt;I need to drive a large number of small 2D cars around on screen in a fairly random fashion... I have the Trapcode Suite.  I'd really like them not to overlap each other.  What's the easiest way to achieve this? Any good tricks using C4Dlite maybe? At the moment I'm using Particular to splatter them all over the screen, and it looks a bit rubbish.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-10-28T18:47:01.357" Title="Animating particles with collision avoidance?" Tags="|after-effects|after-effects-expressions|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22378" PostTypeId="1" CreationDate="2017-09-19T09:48:25.817" Score="1" ViewCount="1196" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/VQtonf1fv_s?start=85&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From 1:25 to 1:30.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to do something like in this video where the 3D models of candies float up, swirl around together, shoot out to the viewer, and then land softly on a pile of itself. I was wondering if After Effects can be used to accurately recreate this scene?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If writing in detail of each action is too long/time-consuming, can someone at least explain how to do the swirling &quot;tornado&quot; effect? That is my biggest question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For reference, I found a site that sells the exact 3D candy models used in the video above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.turbosquid.com/3d-models/candies-obj/1006028#&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.turbosquid.com/3d-models/candies-obj/1006028#&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18367" LastActivityDate="2019-05-01T11:03:05.627" Title="Can you put in and animate 3D models in After Effects exactly like in this video?" Tags="|after-effects|3d|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22380" PostTypeId="2" ParentId="22376" CreationDate="2017-09-19T13:30:59.040" Score="0" Body="&lt;p&gt;Cinema4D is not one of the 3d animation packages I know how to use, however it looks like you don't have any lighting in the scene.  Without lighting, there is nothing to illuminate your geometry and it will still show up as black unless your particular software has a default ambient light (some do, some do not).  I'd try adding some lighting to the scene and see if that makes it work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My guess is that it isn't showing up on the material editor as it probably isn't doing texture mapping in that editor.  I doubt the sphere you see in the editor is actually your geometry.  Most 3d software just displays the material information on a sphere to let you see the behavior of the material and texture mapping doesn't make a ton of sense there since texture mapping will depend greatly on position of the texture on the actual geometry.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-09-19T13:30:59.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22381" PostTypeId="2" ParentId="7596" CreationDate="2017-09-19T14:36:55.937" Score="-1" Body="&lt;p&gt;RG59 vs RG6 vs RG11 cable lengths&lt;/p&gt;&#xA;&#xA;&lt;p&gt;HDSDI can be 1.5GHz or 3.0 or more depending in if it is a 1080i or 1080P or 2K and at what frame rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is a far more technical question requiring a much more detailed answer.  If you are buying cable, quad shield is supposed to be muchbetter than dual shield.&lt;/p&gt;&#xA;" OwnerUserId="20076" LastActivityDate="2017-09-19T14:36:55.937" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22382" PostTypeId="2" ParentId="20956" CreationDate="2017-09-19T18:17:49.230" Score="-1" Body="&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/a/20957/5657&quot;&gt;Telion's answer&lt;/a&gt; was helpful to me in the past, but today it took me an hour to figure out that after some copying and pasting from other projects, my audio track had some Track Keyframes (notice the difference from Clip Keyframes) that were causing the volume to be 0.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I switched into the Track Keyframes mode and then used the Pen tool to highlight all of those keyframes, and I deleted them.&lt;/p&gt;&#xA;" OwnerUserId="5657" LastActivityDate="2017-09-19T18:17:49.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22383" PostTypeId="2" ParentId="20691" CreationDate="2017-09-20T00:02:16.837" Score="2" Body="&lt;p&gt;I use this script from Carlos Canto. After releasing layers it will name new top level layers based on sublayer name. The link to the adobe forum is broken now so I don't think this is accessible through there anymore.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is a little difficult to figure out how to properly select the layers  to make it work. You must select all the objects and also have the top layer selected in the layers palette, like in this screenshot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/I814L.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/I814L.png&quot; alt=&quot;How to select layers&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks Carlos for making this way back in 2014!&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;// carlos canto // 09/26/14  &#xA;// https://forums.adobe.com/thread/287812  &#xA;var idoc = app.activeDocument;  &#xA;var ilayer = idoc.activeLayer;  &#xA;for (i=0; i&amp;lt;ilayer.layers.length; i++) {  &#xA;   var sublayer = ilayer.layers[i];  &#xA;   sublayer.name = sublayer.pageItems[0].name || sublayer.pageItems[0].contents;  &#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20079" LastEditorUserId="14523" LastEditDate="2017-09-20T14:37:30.477" LastActivityDate="2017-09-20T14:37:30.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22384" PostTypeId="1" CreationDate="2017-09-20T09:51:07.113" Score="3" ViewCount="1136" Body="&lt;p&gt;I have eight icons arranged in a circle, a Null object in the centre, and a camera that's parented to the Null. Each icon is set to be a 3D layer, and Auto-Oriented towards the camera. The camera is Auto-Oriented to Point of Interest, and parented to the Null, so that I can adjust the Z rotation of the Null to have the camera orbit the circle (producing the effect that the circle of icons is carouselling around).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything else is perfect, but the icons on the sides are somehow inheriting quite a dramatic Z orientation / rotation. I've attached a screenshot below to illustrate what I mean.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried &lt;a href=&quot;http://www.motionscript.com/design-guide/auto-orient-y-only.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this expression&lt;/a&gt;, but it made the problem worse, and I don't have the expression skills to adapt it to my needs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I have each icon always face the camera, but remain fully level without manually adding keyframes to compensate?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/73FKm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/73FKm.png&quot; alt=&quot;Screenshot showing orientation&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20080" LastActivityDate="2023-12-21T21:02:35.317" Title="Auto-Orient to Camera creates unwanted Z orientation" Tags="|after-effects|adobe|3d|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22387" PostTypeId="1" CreationDate="2017-09-20T19:25:09.380" Score="0" ViewCount="281" Body="&lt;p&gt;I am new to video editing so excuse me if I am using wrong words to describe my question.&#xA;I am trying to make a video clip in adobe premier pro with two videos. First one  has no audio attached. Second video has. SO what I wanted to do is to make a small second video playing with background of first video(like 2 videos on the one screen but 1st on the background). But when I am doing:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;place 1st video on V1 &lt;/li&gt;&#xA;&lt;li&gt;place 2nd video on V2 -- it places without audio&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;But when I am doing &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;place 2nd video on V1 -- it places with audio &lt;/li&gt;&#xA;&lt;li&gt;move it to V2&lt;/li&gt;&#xA;&lt;li&gt;place 1st video on V1.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Audio from 2nd video doesnt disappear....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And I can not understand how to avoid 2nd way of doing it and still keep audio from 2nd video.&lt;br&gt;&#xA;I mean I can use this 2nd way but it is so uncomfortable if I will want to add more video in addition to 2nd one.&lt;/p&gt;&#xA;" OwnerUserId="20085" LastEditorUserId="6273" LastEditDate="2017-09-21T18:55:04.703" LastActivityDate="2017-11-20T21:11:51.390" Title="overlap silent video with video and audio" Tags="|premiere|video-editor|audio|adobe|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22388" PostTypeId="1" CreationDate="2017-09-21T10:44:44.623" Score="1" ViewCount="2986" Body="&lt;p&gt;I have bee experimenting with ffmpeg on video transitions , Now am stuck in this transition , I have no where to go ,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have two videos like this,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QbCsy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QbCsy.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;at the end of first video i have to split the first video into two from center and reveal the second video like the following, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wmG7t.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wmG7t.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;any help would be appreciated&lt;/p&gt;&#xA;" OwnerUserId="20087" LastActivityDate="2017-09-23T06:18:20.307" Title="How to get this transition using ffmpeg?" Tags="|ffmpeg|video-editor|transitions|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22389" PostTypeId="1" AcceptedAnswerId="22390" CreationDate="2017-09-21T11:12:45.797" Score="1" ViewCount="482" Body="&lt;p&gt;I'm downscaling an HD live stream to a little &quot;thumbnail&quot; stream, the command looks like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i pipe:0 -vf scale=320:240 -sws_flags fast_bilinear -an -f mpegts pipe:1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now I would think &lt;code&gt;fast_bilinear&lt;/code&gt; is the fastest possible scaler, but it still takes up about 60% of a single core.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there another scaler that might be better suited for downscaling? I'm not too interested in the quality.&lt;/p&gt;&#xA;" OwnerUserId="20089" LastActivityDate="2017-09-21T12:05:26.090" Title="FFmpeg produces high system load when downscaling 1920x1080 to 320x240" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22390" PostTypeId="2" ParentId="22389" CreationDate="2017-09-21T12:05:26.090" Score="3" Body="&lt;p&gt;As @Mulvya said, nearest neighbor is even faster, but will produce bad quality. Nothing resampled, so you can't get faster operation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But even nearest neighbor and can cause 100% CPU load, it's depends on how much you pump information through it. If you put very large image or 1000fps, you always will get high CPU usage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Only one thing you may be interested: colorspace. Try to experiment with different color spaces, like yuv420 or rgb32. Maybe some versions of scaler can be faster.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-09-21T12:05:26.090" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22391" PostTypeId="1" AcceptedAnswerId="22397" CreationDate="2017-09-21T13:16:04.187" Score="0" ViewCount="3341" Body="&lt;p&gt;I am using Abode Premiere Pro. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am working on a video which has a static background. The background is almost unicolor with a light color gradient. Please see here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/99BJx.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/99BJx.jpg&quot; alt=&quot;background.png&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to export the video. The problem is that in the rendered video the background gradient is not smooth. The background shows &quot;steps&quot; in the color gradient. This is specially visible during fade in from a black screen/ fade out to a black screen. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &quot;step effect&quot; is stronger when I use a low quality or low bitrate output fromat. But even when I use very high quality output format the problem is still visible. And with very high quality I get a filesize of 13 gigabytes for a 15 minute video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some example settings wich gives a filesize of 1.5 GB. The &quot;step effect&quot; is quite visible.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1920x1080&lt;/li&gt;&#xA;&lt;li&gt;length: 15 minutes &lt;/li&gt;&#xA;&lt;li&gt;25 fps &lt;/li&gt;&#xA;&lt;li&gt;H.264 &lt;/li&gt;&#xA;&lt;li&gt;render at maximum depth &lt;/li&gt;&#xA;&lt;li&gt;bitrate encoding: VBR, 2 pass &lt;/li&gt;&#xA;&lt;li&gt;target bitrate: 15 Mbps &lt;/li&gt;&#xA;&lt;li&gt;maximum bitrate: 17 Mbps &lt;/li&gt;&#xA;&lt;li&gt;Use maximum render quqlity &lt;/li&gt;&#xA;&lt;li&gt;resulting file size: 1562 MB&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;How to solve this problem? How do I get a smooth output and acceptable file sizes? What is the best format, the best codec for this?&lt;/p&gt;&#xA;" OwnerUserId="20091" LastActivityDate="2017-09-22T13:48:01.633" Title="Originally smooth unicolor background shows &quot;steps&quot; in the color gradient when exporting" Tags="|premiere|codec|file-formats|adobe-media-encoder|color-grading|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22392" PostTypeId="1" CreationDate="2017-09-21T14:08:24.110" Score="0" ViewCount="2087" Body="&lt;p&gt;I want to make a project about my country by combining various hyperlapse videos and adding some graphical kinetic topography to them. But every time I import a video, it appears full green...nothinge happens but the workplace appears full green. It does not happen with low quality videos like 240p,but happens with the 1080p ones. Please help!!!!!I have very less days to finish this project. (P.S.- I am a mediocre beginner)(&lt;a href=&quot;https://i.stack.imgur.com/aOoZL.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/aOoZL.jpg&lt;/a&gt;)&lt;/p&gt;&#xA;" OwnerUserId="20092" LastActivityDate="2017-12-21T18:39:32.203" Title="Adobe after effects showing green background with nothing every time I import hd videos " Tags="|after-effects|editing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22393" PostTypeId="2" ParentId="22387" CreationDate="2017-09-21T19:26:34.507" Score="1" Body="&lt;p&gt;What you want to use to control where clips are placed is &lt;strong&gt;Source Patching&lt;/strong&gt; and &lt;strong&gt;Track Targeting&lt;/strong&gt;. Those are two of the small indicators to the left of the timeline tracks. Track Targeting has a couple of functions, in general it controls which tracks varied editing operations can affect. For example, if you paste clips from the clipboard, the pasted video and audio will be placed on the lowest active (targeted) audio and video track respectively. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to control where the clips from your Project Panel go, you can use Source Patching instead. Only one audio and video track respectively can be the activated at a time in the Source Patching column, and those will be the tracks that new material is placed into by default.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can find more info on that on the &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/source-patching-track-targetting.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe support pages&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Rcuq0.png&quot; alt=&quot;Source Patching &amp;amp; Track Targeting&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-09-21T19:26:34.507" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22394" PostTypeId="1" CreationDate="2017-09-21T23:17:54.763" Score="2" ViewCount="2646" Body="&lt;p&gt;I'm using ffmpeg version 2.8.11 to convert an AVC/AAC video to HEVC/AAC: with the command &lt;code&gt;ffmpeg -loglevel error -i input.mp4 -c:a copy -c:v libx265 -preset fast -x265-params crf=25 -vf scale=-8:ih output.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command works as expected on other files, but this particular file throws:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;[matroska @ 0x88c2e0] Error parsing AAC extradata, unable to determine samplerate.&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Invalid argument&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source info from mediainfo:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Format                                   : MPEG-4&#xA;Format profile                           : Base Media&#xA;Codec ID                                 : isom (isom/iso2/avc1/mp41)&#xA;File size                                : 138 MiB&#xA;Duration                                 : 25mn 31s&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 755 Kbps&#xA;Encoded date                             : UTC 1904-01-01 00:00:00&#xA;Tagged date                              : UTC 1904-01-01 00:00:00&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Main@L3&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 1 frame&#xA;Format settings, GOP                     : M=1, N=50&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 25mn 31s&#xA;Duration_FirstFrame                      : 40ms&#xA;Bit rate                                 : 650 Kbps&#xA;Width                                    : 864 pixels&#xA;Original width                           : 854 pixels&#xA;Height                                   : 470 pixels&#xA;Original height                          : 480 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 25.000 fps&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.064&#xA;Stream size                              : 118 MiB (86%)&#xA;Writing library                          : x264 core 148 r236 a01e339&#xA;Encoding settings                        : cabac=1 / ref=1 / deblock=1:-1:-1 / analyse=0x1:0x111 / me=umh / subme=8 / psy=1 / psy_rd=1.00:0.15 / mixed_ref=0 / me_range=16 / chroma_me=1 / trellis=1 / 8x8dct=0 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-1 / threads=2 / lookahead_threads=1 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / stitchable=1 / constrained_intra=0 / bframes=0 / weightp=0 / keyint=50 / keyint_min=5 / scenecut=0 / intra_refresh=0 / rc_lookahead=50 / rc=2pass / mbtree=1 / bitrate=650 / ratetol=1.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / cplxblur=20.0 / qblur=0.5 / vbv_maxrate=850 / vbv_bufsize=850 / nal_hrd=none / filler=0 / ip_ratio=1.40 / aq=1:1.00&#xA;Encoded date                             : UTC 1904-01-01 00:00:00&#xA;Tagged date                              : UTC 1904-01-01 00:00:00&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC&#xA;Format/Info                              : Advanced Audio Codec&#xA;Codec ID                                 : 40&#xA;Duration                                 : 25mn 31s&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 98.5 Kbps&#xA;Channel(s)                               : 2 channels&#xA;Sampling rate                            : 44.1 KHz&#xA;Frame rate                               : 43.066 fps (1024 spf)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 18.0 MiB (13%)&#xA;Encoded date                             : UTC 1904-01-01 00:00:00&#xA;Tagged date                              : UTC 1904-01-01 00:00:00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I've tested playback of the source file which works as expected on both totem and mplayer. Based on the error I can only surmise that there's something off with the AAC stream description data. (extradata). My goal is to somehow repair/normalize this data so that I can successfully transcode it with HEVC encoder v.1.9&lt;/p&gt;&#xA;" OwnerUserId="12153" LastActivityDate="2017-09-23T19:53:46.037" Title="Error converting mp4 to matroska format" Tags="|ffmpeg|audio|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22395" PostTypeId="2" ParentId="22384" CreationDate="2017-09-21T23:31:26.480" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/H7BB9.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/H7BB9.gif&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I did the following:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Make 8 icons (I used text numbers).&lt;/li&gt;&#xA;&lt;li&gt;Make them 3D.&lt;/li&gt;&#xA;&lt;li&gt;Add a 3D null in the centre.&lt;/li&gt;&#xA;&lt;li&gt;Add a circle shape at the mid point of your comp as a guide.&lt;/li&gt;&#xA;&lt;li&gt;Make the circle 3D and orient it so that it's visible from top view.&lt;/li&gt;&#xA;&lt;li&gt;Add a camera.&lt;/li&gt;&#xA;&lt;li&gt;Position all the icons around the circle (more accurately than I did).&lt;/li&gt;&#xA;&lt;li&gt;Parent the icons to the centre null.&lt;/li&gt;&#xA;&lt;li&gt;Select all the icons and select &amp;quot;Auto-orient --&amp;gt; orient to camera&amp;quot;&lt;/li&gt;&#xA;&lt;li&gt;Rotate the null in x and y.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-12-01T09:21:42.080" LastActivityDate="2021-12-01T09:21:42.080" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="22396" PostTypeId="1" CreationDate="2017-09-22T09:12:13.963" Score="1" ViewCount="45" Body="&lt;p&gt;Link:-&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ZRwd2GAZ7xs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;If this animation can be make on After effects then how to make it&lt;/p&gt;&#xA;" OwnerUserId="20094" LastActivityDate="2017-09-22T09:12:13.963" Title="Hey All, want to know whether this Animation is maden on After Effect or not?" Tags="|video|" AnswerCount="0" CommentCount="4" ClosedDate="2017-09-26T07:44:17.763" ContentLicense="CC BY-SA 3.0" />
  <row Id="22397" PostTypeId="2" ParentId="22391" CreationDate="2017-09-22T13:48:01.633" Score="1" Body="&lt;p&gt;The choice of codec will largely depend on what you're doing with the material. Your problem is that there just aren't enough colours in 8-bit colour space to give you a smooth gradient over the size of the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Problem is that if you want to deliver it on the internet you're pretty much locked in to h.264 (or I guess webm or ogv, but same deal). You can encode h.264 in 10 bit, but almost no-one will be able to watch it, and certainly not in a browser.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a workaround which can help a little, which is to add some noise to your gradient. What this does is to break up the banding so that it's not as obvious. It's called dithering, it was big when 256 colour gifs ruled the earth. See &lt;a href=&quot;https://video.stackexchange.com/a/22087/1950&quot;&gt;this&lt;/a&gt; answer for a bit more detail.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-09-22T13:48:01.633" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22398" PostTypeId="1" CreationDate="2017-09-22T13:54:32.970" Score="0" ViewCount="93" Body="&lt;p&gt;Can someone help, by telling me can this transition, where frame is pushed up multiple repeatings, be made in Sony Vegas, and how?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://drive.google.com/open?id=0B41WH7tEn_XwcjVYZ2lBT3c2czA&quot; rel=&quot;nofollow noreferrer&quot;&gt;Transition Here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20104" LastActivityDate="2017-11-04T12:12:41.840" Title="Frame transition in sony vegas" Tags="|video-editor|animation|vegas-pro|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22399" PostTypeId="2" ParentId="22394" CreationDate="2017-09-22T15:03:01.997" Score="2" Body="&lt;p&gt;&lt;code&gt;ffmpeg&lt;/code&gt; will happily rewrite the incorrect extradata for you if you simply copy the streams and utilize the bit stream filter aac_adtstoasc with the command &lt;code&gt;ffmpeg -i input.mp4 -bsf:a aac_adtstoasc -c:a copy -c:v copy output.mp4&lt;/code&gt; the resulting file converts as expected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This filter creates an MPEG-4 AudioSpecificConfig from an MPEG-2/4 ADTS header and removes the ADTS header which appears was the root cause of the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;mediainfo&lt;/code&gt; reports the output file like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Format                                   : MPEG-4&#xA;Format profile                           : Base Media&#xA;Codec ID                                 : isom (isom/iso2/avc1/mp41)&#xA;File size                                : 137 MiB&#xA;Duration                                 : 25mn 31s&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 750 Kbps&#xA;Encoded date                             : UTC 1904-01-01 00:00:00&#xA;Tagged date                              : UTC 1904-01-01 00:00:00&#xA;Writing application                      : Lavf56.40.101&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Main@L3&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 1 frame&#xA;Format settings, GOP                     : M=1, N=50&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 25mn 31s&#xA;Duration_FirstFrame                      : 40ms&#xA;Duration_LastFrame                       : 23ms&#xA;Bit rate                                 : 650 Kbps&#xA;Width                                    : 854 pixels&#xA;Height                                   : 480 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Original display aspect ratio            : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 25.000 fps&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.063&#xA;Stream size                              : 118 MiB (86%)&#xA;Writing library                          : x264 core 148 r236 a01e339&#xA;Encoding settings                        : cabac=1 / ref=1 / deblock=1:-1:-1 / analyse=0x1:0x111 / me=umh / subme=8 / psy=1 / psy_rd=1.00:0.15 / mixed_ref=0 / me_range=16 / chroma_me=1 / trellis=1 / 8x8dct=0 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-1 / threads=2 / lookahead_threads=1 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / stitchable=1 / constrained_intra=0 / bframes=0 / weightp=0 / keyint=50 / keyint_min=5 / scenecut=0 / intra_refresh=0 / rc_lookahead=50 / rc=2pass / mbtree=1 / bitrate=650 / ratetol=1.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / cplxblur=20.0 / qblur=0.5 / vbv_maxrate=850 / vbv_bufsize=850 / nal_hrd=none / filler=0 / ip_ratio=1.40 / aq=1:1.00&#xA;Encoded date                             : UTC 1904-01-01 00:00:00&#xA;Tagged date                              : UTC 1904-01-01 00:00:00&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC&#xA;Format/Info                              : Advanced Audio Codec&#xA;Format profile                           : LC&#xA;Codec ID                                 : 40&#xA;Duration                                 : 25mn 31s&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 96.0 Kbps&#xA;Maximum bit rate                         : 217 Kbps&#xA;Channel(s)                               : 2 channels&#xA;Channel positions                        : Front: L R&#xA;Sampling rate                            : 44.1 KHz&#xA;Frame rate                               : 43.066 fps (1024 spf)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 17.6 MiB (13%)&#xA;Default                                  : Yes&#xA;Alternate group                          : 1&#xA;Encoded date                             : UTC 1904-01-01 00:00:00&#xA;Tagged date                              : UTC 1904-01-01 00:00:00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And a diff of the reports shows the relevant changes made:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;6c6&#xA;&amp;lt; File size                                : 138 MiB&#xA;---&#xA;&amp;gt; File size                                : 137 MiB&#xA;9c9&#xA;&amp;lt; Overall bit rate                         : 755 Kbps&#xA;---&#xA;&amp;gt; Overall bit rate                         : 750 Kbps&#xA;11a12&#xA;&amp;gt; Writing application                      : Lavf56.40.101&#xA;24a26&#xA;&amp;gt; Duration_LastFrame                       : 23ms&#xA;26,29c28,29&#xA;&amp;lt; Width                                    : 864 pixels&#xA;&amp;lt; Original width                           : 854 pixels&#xA;&amp;lt; Height                                   : 470 pixels&#xA;&amp;lt; Original height                          : 480 pixels&#xA;---&#xA;&amp;gt; Width                                    : 854 pixels&#xA;&amp;gt; Height                                   : 480 pixels&#xA;30a31&#xA;&amp;gt; Original display aspect ratio            : 16:9&#xA;37c38&#xA;&amp;lt; Bits/(Pixel*Frame)                       : 0.064&#xA;---&#xA;&amp;gt; Bits/(Pixel*Frame)                       : 0.063&#xA;47a49&#xA;&amp;gt; Format profile                           : LC&#xA;51c53,54&#xA;&amp;lt; Bit rate                                 : 98.5 Kbps&#xA;---&#xA;&amp;gt; Bit rate                                 : 96.0 Kbps&#xA;&amp;gt; Maximum bit rate                         : 217 Kbps&#xA;52a56&#xA;&amp;gt; Channel positions                        : Front: L R&#xA;56c60,62&#xA;&amp;lt; Stream size                              : 18.0 MiB (13%)&#xA;---&#xA;&amp;gt; Stream size                              : 17.6 MiB (13%)&#xA;&amp;gt; Default                                  : Yes&#xA;&amp;gt; Alternate group                          : 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Source: &lt;a href=&quot;https://ffmpeg.org/ffmpeg-bitstream-filters.html#aac_005fadtstoasc&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-bitstream-filters.html#aac_005fadtstoasc&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12153" LastActivityDate="2017-09-22T15:03:01.997" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22400" PostTypeId="1" CreationDate="2017-09-22T15:32:35.887" Score="2" ViewCount="760" Body="&lt;p&gt;I am using ffmpeg (server-side) to create a UDP video stream which is then sent over the internet. When receiving the stream and playing it back (client-side) the latency is constant and about 1 second. When the stream is stopped and started again from the server-side, then when playing back the stream the latency is increased to 1.5 seconds.&#xA;Having researched the matter further, this could be related to an ffmpeg buffer not being flushed either on the encoding side or the decoding side. Can anyone tell me if indeed this is this case, or if not, what the cause of the increased latency may be?&#xA;Just to note - when I reboot the client-side PC, the latency is back to 1 second.   &lt;/p&gt;&#xA;" OwnerUserId="19608" LastActivityDate="2017-11-23T23:35:10.543" Title="ffmpeg latency related to buffer not flushed" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22401" PostTypeId="2" ParentId="22392" CreationDate="2017-09-22T17:42:07.220" Score="1" Body="&lt;p&gt;It should be problem with codec. Found two solutions:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://forums.creativecow.net/thread/2/1029541&quot; rel=&quot;nofollow noreferrer&quot;&gt;First&lt;/a&gt; — recompile footage to different codec.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://forums.creativecow.net/docs/forums/post.php?forumid=2&amp;amp;postid=1031631&amp;amp;univpostid=1031631&amp;amp;pview=t&quot; rel=&quot;nofollow noreferrer&quot;&gt;Second&lt;/a&gt; — try to install software with codecs.Like Auicktime. Or if it will not help, some codeck pack.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-09-22T17:42:07.220" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22402" PostTypeId="2" ParentId="22394" CreationDate="2017-09-22T17:58:29.220" Score="4" Body="&lt;p&gt;Your &lt;code&gt;ffmpeg&lt;/code&gt; is outdated. Update and it will automatically insert some bitstream filters (at least aac_adtstoasc, hevc_mp4toannexb, h264_mp4toannexb). According to the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-bitstream-filters.html#aac_005fadtstoasc&quot; rel=&quot;nofollow noreferrer&quot;&gt;aac_adtstoasc documentation&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Please note that it is auto-inserted for MP4A-LATM and MOV/MP4 and&#xA;  related formats.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It also seems to also work for Matroska. You can verify the behavior by adding &lt;code&gt;-loglevel debug&lt;/code&gt; and viewing the output. Look for &lt;code&gt;Automatically inserted bitstream filter 'aac_adtstoasc'&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See the &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Download&lt;/a&gt; page (&lt;em&gt;Get the Packages&lt;/em&gt; section) for links to recent builds for Linux, macOS, and Windows. Get a build from the master branch: releases are essentially &quot;frozen&quot; branches derived from master; they are meant for distributors and those who need to stay within a particular API version. Releases receive less attention and get no new features so therefore they age quickly.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2017-09-23T19:53:46.037" LastActivityDate="2017-09-23T19:53:46.037" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="22403" PostTypeId="1" AcceptedAnswerId="22405" CreationDate="2017-09-22T19:43:18.420" Score="3" ViewCount="35" Body="&lt;p&gt;On YouTube, when the person in the video has another video as a reference to show, in the upper corner is shown a link that directs what they want to show.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Fn9Pi.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Fn9Pi.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have some videos that I would like to do, but I do not know where to do it on YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know the name of this and how can I add it?&lt;/p&gt;&#xA;" OwnerUserId="18258" LastActivityDate="2017-09-22T23:17:32.800" Title="Shortcuts to other videos on YouTube" Tags="|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22404" PostTypeId="2" ParentId="22388" CreationDate="2017-09-22T20:19:29.483" Score="2" Body="&lt;p&gt;Some variant of:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i FIRST -i SECOND -lavfi &quot;blend=all_expr='if(lte((W/2-sqrt((X-W/2)*(X-W/2)))+N*SW,W/2),A,B)'&quot; OUTPUT&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2017-09-22T20:19:29.483" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22405" PostTypeId="2" ParentId="22403" CreationDate="2017-09-22T23:17:32.800" Score="3" Body="&lt;p&gt;It is in:&#xA;Creator studio =&gt; Video Manager =&gt; (Select Video) =&gt; Card (or &quot;End screen &amp;amp; Annotations&quot;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There you select time and click on &quot;Add element&quot; button. Now you can choose, what you want to add.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/XLNu6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XLNu6.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-09-22T23:17:32.800" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22406" PostTypeId="2" ParentId="22388" CreationDate="2017-09-23T06:18:20.307" Score="2" Body="&lt;p&gt;This needs a slightly elaborate filtergraph to do as described.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex&#xA;    &quot;[0]split[b1][b2];&#xA;     [b1]crop=iw/2:ih:0:0[b1];&#xA;     [b2]crop=iw/2:ih:iw/2:0[b2];&#xA;     [1][b1]overlay=x='0-(W/2)*(t-DUR0)/D':enable=gte(t,DUR0)[ob1];&#xA;     [ob1][b2]overlay=x='W/2+(W/2)*(t-DUR0)/D':enable=gte(t,DUR0)[fv]&#xA;    &quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;0&lt;/code&gt; is video '1' and &lt;code&gt;1&lt;/code&gt; is video '2'. &lt;code&gt;DUR0&lt;/code&gt; should be replaced with duration of video '1' and &lt;code&gt;D&lt;/code&gt; with duration of the effect.  &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;A curtain effect, like what Paul described, can be done like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;blend=all_expr='if(lte((W/2-abs(X-SW*W/2))/(SW*W/2),(T-S)/D),B,A)'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;S&lt;/code&gt; is start time in seconds. (You may want/need to adjust the timestamps of the top video 'A' beforehand using &lt;code&gt;setpts&lt;/code&gt;) and &lt;code&gt;D&lt;/code&gt; is duration of effect. These two variables should be replaced with the required numeral values.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't test either of these for a few days.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-09-23T06:18:20.307" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22407" PostTypeId="1" CreationDate="2017-09-23T08:38:47.040" Score="1" ViewCount="76" Body="&lt;p&gt;I am working on a small gif image and I am finding it difficult to get a crisp gif output. The final output looks all blurred. I am using after effects to make the png sequence and using photoshop cc to convert it into a gif image. Please let me know if there is any way to attain a crisp output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kelvv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kelvv.png&quot; alt=&quot;This is the final quality I expect&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BTLVH.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BTLVH.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20111" LastActivityDate="2017-12-23T12:00:28.170" Title="Crisp Gif images" Tags="|animation|motion-graphics|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22408" PostTypeId="1" CreationDate="2017-09-23T14:04:54.660" Score="1" ViewCount="3451" Body="&lt;p&gt;The subtitles in this video look amazing.  They are able to make the words dissolve and fall off the screen as the song progresses.  Most subtitles are just plain text.  How is it possible to make animated sub-titles?  Are there any ways to make it match up with the music quickly or is it a manual process?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/8puBng8_JyY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/MDfmc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MDfmc.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18468" LastEditorUserId="2836" LastEditDate="2017-10-10T14:12:38.183" LastActivityDate="2017-12-11T01:35:24.857" Title="How do I make animated subtitles to go with music?" Tags="|subtitles|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22409" PostTypeId="1" CreationDate="2017-09-23T14:48:40.083" Score="3" ViewCount="895" Body="&lt;p&gt;I have nearly 130 files that I want to burn onto a DVD as an end result. I've gone down a bit of a rabbit hole and ended up at ffmpeg trying to combine all the files into a single giant 2 and a half hour mp4 that I can then use avidemux to burn onto a DVD. Note that combined, the videos are 4.13GB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there already is an easier method to this, I would absolutely love to hear it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I started off by trying&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i mylist.txt -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this gave a ton of &lt;code&gt;Non-monotonous DTS in output stream&lt;/code&gt; errors. I figured (after extensive googling in a topic I am not familiar with), the encodings are not the same causing some kind of desync. I resolved to re-encode them all into a standard format and then concat them.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    ffmpeg -f concat -safe 0 -i mylist.txt -c:v libx264 -crf 18 -preset superfast -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The video still has video/audio sync errors. I reduced &lt;code&gt;mylist.txt&lt;/code&gt; to be about 10 or so videos just so I don't have to wait so long. The resulting log can be viewed in full &lt;a href=&quot;https://zerobin.net/?6c1341a801af5d16#Dy65OYV/eJAWdAgZgzi6wGWFRnkcNnsYqG2Z42fpfHc=&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main points I assume the errors are coming from are lines such as;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;...&#xA;frame= 2340 fps= 69 q=21.0 size=  194048kB time=00:01:18.22 bitrate=20320.3kbits/s speed=2.29x    &#xA;frame= 2375 fps= 69 q=19.0 size=  196864kB time=00:01:19.23 bitrate=20354.3kbits/s speed=2.29x    &#xA;[mp4 @ 000000000060f760] Non-monotonous DTS in output stream 0:1; previous: 3831808, current: 3520405; changing to 3831809. This may result in incorrect timestamps in the output file.&#xA;[concat @ 00000000006084c0] DTS 1226511 &amp;lt; 7174903 out of order&#xA;[h264 @ 0000000000559960] Invalid NAL unit 1, skipping.&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000000000559960] no frame!&#xA;[mp4 @ 000000000060f760] Non-monotonous DTS in output stream 0:1; previous: 3831809, current: 3521429; changing to 3831810. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 000000000060f760] Non-monotonous DTS in output stream 0:1; previous: 3831810, current: 3522453; changing to 3831811. This may result in incorrect timestamps in the output file.&#xA;[h264 @ 0000000002820480] Invalid NAL unit 1, skipping.&#xA;[h264 @ 0000000002820480] no frame!&#xA;[mp4 @ 000000000060f760] Non-monotonous DTS in output stream 0:1; previous: 3831811, current: 3523477; changing to 3831812. This may result in incorrect timestamps in the output file.&#xA;[h264 @ 0000000002820960] Invalid NAL unit 1, skipping.&#xA;[h264 @ 0000000002820960] no frame!&#xA;[mp4 @ 000000000060f760] Non-monotonous DTS in output stream 0:1; previous: 3831812, current: 3524501; changing to 3831813. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 000000000060f760] Non-monotonous DTS in output stream 0:1; previous: 3831813, current: 3525525; changing to 3831814. This may result in incorrect timestamps in the output file.&#xA;[h264 @ 0000000002820e20] Invalid NAL unit 1, skipping.&#xA;[h264 @ 0000000002820e20] no frame!&#xA;...&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There are also a bunch of &lt;code&gt;Past duration 0.998665 too large&lt;/code&gt; errors but I read that's not a big issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm thinking now to use Vegas Pro and just render all the videos together in the timeline but ffmpeg sounds like the cleanest (and fastest) way. What am I not understanding?&lt;/p&gt;&#xA;" OwnerUserId="20116" LastActivityDate="2021-12-10T18:05:30.667" Title="Concat files of different encodings?" Tags="|ffmpeg|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22413" PostTypeId="1" CreationDate="2017-09-24T01:17:40.500" Score="0" ViewCount="24" Body="&lt;p&gt;Running premiere pro on windows 10.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm importing 3 videos into my project. When my timeline has nothing in it, the first video I drag in will have audio. However, the second one will never bring in the audio with it. This is the case even if I'm dragging the same clip twice. If I delete all clips and the project clip that shows up at the bottom of the media pane (forgive my lack of terminology) then I can drag another video and have it show up with audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only solutions I've found involve deleting the cache file in appdata, which does nothing for me. I don't know what triggers this problem, or how this could possibly be desirable behavior. What could I be doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="20122" LastActivityDate="2017-09-24T03:46:15.150" Title="Only the first video clip I drag to timeline has audio" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22414" PostTypeId="2" ParentId="22413" CreationDate="2017-09-24T03:39:52.253" Score="1" Body="&lt;p&gt;I have seen this before with camcorder clips. It was a bug in the codec used for avchd files. The workaround was to extract the audio with Adobe encoder,  and add it separately. I have not seen this since spring 2017. You might see if your deployment is up to date. &lt;/p&gt;&#xA;" OwnerUserId="19491" LastEditorUserId="19491" LastEditDate="2017-09-24T03:46:15.150" LastActivityDate="2017-09-24T03:46:15.150" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22417" PostTypeId="2" ParentId="22407" CreationDate="2017-09-24T11:01:07.747" Score="1" Body="&lt;p&gt;Try folowing steps:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Disable anti-aliasing in After Effects&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Find some fonts with embedded bitmaps (like Tahoma) which looks good after it&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Output can be almost in every format with no  quality loss (for small animations you can even use unsompressed AVI), then you can join all it in ImageMagick, it can optimize your palette.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Don't use/try to avoid any shadows, alpha-blending or gradients&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;For smaller size, try to avoid to much image changes (as you have).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If you publish your scene, I can try to render it.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-09-24T11:01:07.747" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22418" PostTypeId="1" CreationDate="2017-09-24T12:47:32.030" Score="3" ViewCount="974" Body="&lt;p&gt;In DaVinci Resolve 14, there seem to be two ways to use keyframe animations with geometric transformations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One is on the Edit page, using the Inspector. Here it seems to be possible to smoothen out transitions with curves.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/47BXh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/47BXh.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another is on the Color page, with the Sizing tab.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8B2eB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8B2eB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the difference between these?  When should I use one or the other?  Is it possible to transfer the adjustments made with one into the other?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am new to this software (and also video editing). I originally made adjustments on the Color page, but then wasn't able to smoothen the transitions, so I ended up scrapping them and re-doing the same thing on the Edit page.&lt;/p&gt;&#xA;" OwnerUserId="1561" LastEditorUserId="1561" LastEditDate="2017-09-26T13:36:26.330" LastActivityDate="2024-01-08T04:08:20.987" Title="Why are there two ways to keyframe-animate geometric transformations?" Tags="|davinci-resolve|keyframes|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22419" PostTypeId="1" AcceptedAnswerId="22423" CreationDate="2017-09-24T19:23:27.903" Score="7" ViewCount="620" Body="&lt;p&gt;Whatever you are exporting, photo or video, you can choose between an enormous amount of color spaces. sRGB, Adobe RGB 98, Apple RGB, and many more. But &lt;strong&gt;why there so many different color spaces?&lt;/strong&gt; Do they affect your photo/video production when rendering? Are there compatibility issues involved? And why is there not just one type of color space? &lt;/p&gt;&#xA;" OwnerUserId="20127" LastActivityDate="2017-09-25T05:02:17.540" Title="Why are there so many color spaces available?" Tags="|color|colorspace|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22420" PostTypeId="5" CreationDate="2017-09-24T19:24:43.257" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2017-09-24T19:24:43.257" LastActivityDate="2017-09-24T19:24:43.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22421" PostTypeId="4" CreationDate="2017-09-24T19:24:43.257" Score="0" Body="An RGB color space is any additive color space based on the RGB color model. A particular RGB color space is defined by the three chromaticities of the red, green, and blue additive primaries, and can produce any chromaticity that is the triangle defined by those primary colors. The complete specification of an RGB color space also requires a white point chromaticity and a gamma correction curve." OwnerUserId="20127" LastEditorUserId="20127" LastEditDate="2017-09-26T07:43:04.920" LastActivityDate="2017-09-26T07:43:04.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22423" PostTypeId="2" ParentId="22419" CreationDate="2017-09-25T05:02:17.540" Score="4" Body="&lt;p&gt;There are a number of reasons why there are so many color spaces:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Color resolution - sRGB and similar color spaces only cover a portion of the visible spectrum. This means that they can be represented with fewer bits per color channel. (8 in the case of sRGB.) For something like Rec. 2020 or ACEScg, you need 16 or more bits per channel. If you don't have enough bits for each color channel, you'll start to notice banding in displays of gradations of color in the color space. If your hardware is limited, you'll use one that requires fewer resources, whereas if output quality is of the utmost importance, you'll use one that can represent more colors.&lt;/li&gt;&#xA;&lt;li&gt;Output Devices - televisions and until recently computer monitors are only able to display a portion of the visible spectrum. (Likewise with printers.) If the output device can't display it, what's the point of being able to store and transmit it? Color spaces used for televisions and earlier computers were chosen based on what they could produce. Recently we've started to see wide gamut and HDR displays that can display a much larger portion of the visible spectrum (but still not all of it), so we're starting to see new color spaces for these devices.&lt;/li&gt;&#xA;&lt;li&gt;Proprietary Needs - various vendors have created color spaces that match the devices and software they sell. The vast majority of photographers and videographers are home users doing it for fun. They don't need high bit depths and wide color gamuts. But professionals do!&lt;/li&gt;&#xA;&lt;li&gt;Color spaces can also be designed to have certain properties that others don't. For example, some color spaces separate the colors based on perceptual uniformity (colors that appear similar to humans are grouped together), whereas other color spaces separate the color based on display hardware (RGB color spaces are generally used for displays that have red, green, and blue sub-pixels). Depending on what you're using the colors for, you choose a color space that makes working with colors in that way easy.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-09-25T05:02:17.540" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22427" PostTypeId="1" CreationDate="2017-09-25T17:34:18.640" Score="2" ViewCount="169" Body="&lt;p&gt;I have an Industrial camera that I am working with and I want to mount it to a standard tripod that features a quick release with video pin; otherwise known as an anti rotation pin. While I wait for the tripod to be delivered, I'm designing an adapter to mount it and I would like to also include a hole for the anti rotation pin.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Issue I need help with is figuring out the diameter, protrusion height and distance between centers of the video pin and the 1/4-20 mounting screw. Another Problem is I can't figure out if the video pin is fore or aft of the 1/4-20 screw. Does anyone have such a drawing or can take measurements? I've already spent two hours looking for this and can't find a single drawing calling out that pin.&lt;/p&gt;&#xA;" OwnerUserId="20130" LastActivityDate="2017-09-25T17:34:18.640" Title="Tripod Quick Release Video Pin Dimensions" Tags="|video|hardware|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22428" PostTypeId="1" AcceptedAnswerId="22429" CreationDate="2017-09-25T17:49:27.590" Score="-1" ViewCount="205" Body="&lt;p&gt;I've heard some system requirement info about edius from video editing engineer that compare to intel, AMD is not good supporting processor for EDIUS and AMD can't withstand video rendering load of EDIUS.I know AMD is very good for video games. But why.....?&#xA;Below is my Desktop configuration.&#xA;  &lt;a href=&quot;https://i.stack.imgur.com/VSmHy.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VSmHy.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;PROCESSOR: AMD FX 8350 -4.2GHz- 8 CORE- Wraith cooler&#xA;MOTHERBOARD: ASUS M5A78L-M/USB3&#xA;RAM: Kingston Hyper X Fury 2x4GB=8GB&#xA;HARDDISK= SATA 500GB &#xA;OS: Windows 10 PRO&lt;/p&gt;&#xA;" OwnerUserId="20131" LastEditorUserId="2836" LastEditDate="2017-10-09T04:22:10.010" LastActivityDate="2017-10-09T04:22:10.010" Title="Wiil my system configuration support Edius video editing software?" Tags="|video-editor|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22429" PostTypeId="2" ParentId="22428" CreationDate="2017-09-25T19:02:11.340" Score="0" Body="&lt;p&gt;Yes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see it from on &quot;system requirements&quot; section their page:&#xA;&lt;a href=&quot;https://www.edius.net/system_requirements.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.edius.net/system_requirements.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11523" LastEditorUserId="2836" LastEditDate="2017-10-09T04:11:13.837" LastActivityDate="2017-10-09T04:11:13.837" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22430" PostTypeId="2" ParentId="22345" CreationDate="2017-09-25T21:01:33.833" Score="3" Body="&lt;p&gt;You could try a &lt;a href=&quot;http://sox.sourceforge.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;SoX&lt;/a&gt; and &lt;a href=&quot;https://www.imagemagick.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;imagemagick&lt;/a&gt; solution, which could visually diff spectrograms, for example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# generate spectrograms with SoX&#xA;$ sox 0000001353.noframedrop_Lg.small_1_edit.ogg -n spectrogram -arl -o spectrogram_1.png&#xA;$ sox 0000001353.noframedrop_Lg.small_2_edit.ogg -n spectrogram -arl -o spectrogram_2.png&#xA;&#xA;# imagemagick&#xA;$ composite spectrogram_1.png spectrogram_2.png -compose difference spectrograms_difference.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This could give you a quick heads up if there is a difference, similar to how you do for video streams, however is not suited to precisely locating TC positions. Below is an example with one of two source SoX spectrograms generated above (10min speech), and its imagemagick comparison with the other (nonblack indicates a difference):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GHgW7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GHgW7.png&quot; alt=&quot;spectrogram_1.png&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/8HWnd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8HWnd.png&quot; alt=&quot;spectrograms_difference.png&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20134" LastEditorUserId="14523" LastEditDate="2017-09-25T22:37:20.793" LastActivityDate="2017-09-25T22:37:20.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22431" PostTypeId="1" AcceptedAnswerId="22433" CreationDate="2017-09-25T21:52:29.280" Score="2" ViewCount="595" Body="&lt;p&gt;I got my VHS tapes converted to DVD. The video quality is reasonably good. However, there is a lot of hiss and static in the audio. Unfortunately, the original VHS is not usable anymore, so I can't digitize from scratch again. This is a personal video of family recordings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The steps I tried are: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;copy the DVD to PC. ( a get couple of .VOB file)&lt;/li&gt;&#xA;&lt;li&gt;Extract and edit the audio file using Goldwave to remove noise. (the clean files are in .wav format)&lt;/li&gt;&#xA;&lt;li&gt;replace the audio track on the original .VOB and create a new video file.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I could do the first 2 steps but have not succeeded in performing step 3 as I do not know how to replace the audio file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do not have to create .vob files. Any video format with new (edited/cleaned) audio is fine. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there better ways?&lt;/p&gt;&#xA;" OwnerUserId="19999" LastEditorUserId="14523" LastEditDate="2017-09-25T22:40:24.653" LastActivityDate="2018-05-02T10:31:46.400" Title="How to remove hiss and static noise from a DVD" Tags="|video-editor|noise-reduction|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22432" PostTypeId="1" CreationDate="2017-09-25T22:14:02.557" Score="1" ViewCount="121" Body="&lt;p&gt;One of the latest features put inside AE &amp;amp; PR 2017 is the Live Text Edits..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In short you can mark an after effect composition as template and then all the texts inside that composition will be exposed in after effects as editable text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead there's a way to expose some selected after effects composition variables directly to premiere with things like sliders and such ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would be cool prepare some comps and handle the things from premiere directly and see what changes..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can think of some workaround for this but I wonder if this can be done directly! &lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2017-09-26T09:03:50.527" LastActivityDate="2017-09-26T09:03:50.527" Title="Is possible to pass variables from premiere to after effect compositions?" Tags="|premiere|after-effects|after-effects-expressions|after-effects-scripting|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22433" PostTypeId="2" ParentId="22431" CreationDate="2017-09-26T02:06:25.223" Score="1" Body="&lt;p&gt;You need a program to download the files from your DVD. Then dump them in a video editor and replace the audio tracks. I believe Windows Video Maker would allow to do everything I am talking about. I sincerely never used vob files straight out of a DVD, but I believe any video editor would be able to support them.&lt;/p&gt;&#xA;" OwnerUserId="1835" LastActivityDate="2017-09-26T02:06:25.223" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="22436" PostTypeId="1" AcceptedAnswerId="22452" CreationDate="2017-09-26T13:41:38.177" Score="4" ViewCount="6014" Body="&lt;p&gt;I am using DaVinci Resolve 14.  Is it possible to have titles on top of video which blur and fade out at the same time?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know how to fade them, but I cannot blur them. Adding a transition seem to affect not only the titles but also the background video (it will blue the video too). I attempted to apply effects to the title clip, but wasn't able to do so.&lt;/p&gt;&#xA;" OwnerUserId="1561" LastActivityDate="2020-01-27T00:33:51.163" Title="DaVinci Resolve: Blur and fade title on top of video" Tags="|subtitles|davinci-resolve|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22437" PostTypeId="2" ParentId="20237" CreationDate="2017-09-26T15:07:58.330" Score="0" Body="&lt;p&gt;I may have found the answer ... I tried a different tape, and all seemed to work well. Stupid me did not check if the error is already on the tape :D&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="17565" LastActivityDate="2017-09-26T15:07:58.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22438" PostTypeId="1" CreationDate="2017-09-26T15:23:53.907" Score="2" ViewCount="4772" Body="&lt;p&gt;Each file is around 350-650 MB.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the media information from the Files:  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kBcWf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/kBcWf.png&lt;/a&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DLeSw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DLeSw.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How could I better archive it? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Easily convert &amp;amp; archive a bunch of low res Video CD DAT files MPEG 1/2 to newer better format such as MKV or others?  &lt;/p&gt;&#xA;" OwnerUserId="12311" LastEditorUserId="12311" LastEditDate="2020-04-18T10:01:53.397" LastActivityDate="2020-04-18T10:01:53.397" Title="Easily convert &amp; archive a bunch of low res Video CD DAT files MPEG 1/2 to newer better format such as MKV or others?" Tags="|conversion|file-formats|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="22439" PostTypeId="1" AcceptedAnswerId="22447" CreationDate="2017-09-26T16:03:23.240" Score="2" ViewCount="375" Body="&lt;p&gt;I have been tasked with filming a new road bike for casual cyclists. We have a rather low budget. Does anyone have any tips on how to deliver quality footage without spending too much money? I'm am using a Canon 5d Mark III SLR to shoot. I'd appreciate some tips on how to get good wide and detail shots while the bike is moving. &lt;/p&gt;&#xA;" OwnerUserId="20142" LastEditorUserId="14523" LastEditDate="2017-09-26T22:59:36.263" LastActivityDate="2017-09-27T01:25:43.963" Title="How to film a moving bike on a budget" Tags="|video|dslr|canon|production|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22440" PostTypeId="1" AcceptedAnswerId="22442" CreationDate="2017-09-26T16:45:59.193" Score="1" ViewCount="55" Body="&lt;p&gt;I watched some videos on YouTube and for not being professional in the area, I would like to know how I could denominate the track that shows the name of the presenter?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a technical name for this kind of presentation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oCeB6.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oCeB6.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18258" LastActivityDate="2017-09-26T18:06:39.700" Title="Presentation techniques for YouTube" Tags="|youtube|technical|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22441" PostTypeId="2" ParentId="22344" CreationDate="2017-09-26T16:48:41.670" Score="1" Body="&lt;p&gt;You can use the Bezier command that will help you a lot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fqXmX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fqXmX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20110" LastActivityDate="2017-09-26T16:48:41.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22442" PostTypeId="2" ParentId="22440" CreationDate="2017-09-26T18:06:39.700" Score="1" Body="&lt;p&gt;In Russian we have term for them — плашка.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;English name I personally don't like — &lt;a href=&quot;https://en.wikipedia.org/wiki/Lower_third&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lower third&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was making them in After Effects. With animations, dynamic text, etc. There is a lot of tutorial (&lt;a href=&quot;https://www.youtube.com/watch?v=zNLcSh8Diow&quot; rel=&quot;nofollow noreferrer&quot;&gt;example&lt;/a&gt;), how you can make one. &#xA;But I believe that without animations you can make them in a lot of other video editing apps. It is basically a type of Title (Premiere Pro). Or art with alpha channel in any software, which allow to compose picture on top of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can achieve similar result directly on YouTube with annotations. Similar to &lt;a href=&quot;https://video.stackexchange.com/a/22405/11523&quot;&gt;this answer&lt;/a&gt;. It will not look so good, but can contain text information.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-09-26T18:06:39.700" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22443" PostTypeId="2" ParentId="2487" CreationDate="2017-09-26T18:44:05.303" Score="0" Body="&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.blender.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blender&lt;/a&gt; — Made for 3D, but can do video manipulations too. (open source, really hard)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://hitfilm.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;HitFilm&lt;/a&gt; — Made for video. (have free version, easear)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-09-26T18:44:05.303" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22444" PostTypeId="2" ParentId="22439" CreationDate="2017-09-26T20:03:49.733" Score="2" Body="&lt;p&gt;Here are some suggestions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Film the bike from a moving car.&lt;/li&gt;&#xA;&lt;li&gt;Have two people in the car, minimum: One for driving and one for filming.&lt;/li&gt;&#xA;&lt;li&gt;Shoot through open windows of the car, not through glass.&lt;/li&gt;&#xA;&lt;li&gt;Get every shot from every angle you need separately.&lt;/li&gt;&#xA;&lt;li&gt;Do all of your editing after recording, not in camera, using video editing software. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="11523" LastEditorUserId="14523" LastEditDate="2017-09-26T23:02:15.787" LastActivityDate="2017-09-26T23:02:15.787" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22445" PostTypeId="1" CreationDate="2017-09-26T21:25:41.230" Score="2" ViewCount="2335" Body="&lt;p&gt;DaVinci Resolve is great for hobbyists because it has a fairly capable free version. Unfortunately, the free version does not include noise reduction functionality. Are there any free tools/plugins that integrate with DaVinci Resolve on OS X and provide some sort of image noise reduction functionality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Resolve supports OpenFX plugins.&lt;/p&gt;&#xA;" OwnerUserId="1561" LastEditorUserId="1561" LastEditDate="2017-09-27T17:47:58.777" LastActivityDate="2017-09-27T17:47:58.777" Title="Noise reduction in DaVinci Resolve 14 free version" Tags="|davinci-resolve|plugins|noise-reduction|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22446" PostTypeId="1" AcceptedAnswerId="22458" CreationDate="2017-09-26T21:28:31.683" Score="3" ViewCount="4899" Body="&lt;p&gt;I'm a beginner in film making, and trying to take footage with my smartphones. To make it more professional, I'm thinking of using a Tripod or Gimbal stabilizer to create non shaky video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think gimbal will be more beneficial as I can take sliding shot, left to right movement and bottom to top etc movement with smooth footage. I think I can use it in all aspect of video production without shake. But I guess I can't use Tripod the same way, it is fixed in one position thats it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I only have enough funds to buy one, but I don't know about the difference between these tool. Please help me to understand which one to use for which purpose.&lt;/p&gt;&#xA;" OwnerUserId="20143" LastEditorUserId="674" LastEditDate="2017-09-27T07:12:45.303" LastActivityDate="2017-09-28T06:04:26.447" Title="What are a Gimbal and Tripod used for?" Tags="|video|video-recording|production|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="22447" PostTypeId="2" ParentId="22439" CreationDate="2017-09-27T01:25:43.963" Score="1" Body="&lt;p&gt;Something that might make your life considerably easier is a gimbal stabiliser. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/e3DDl.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/e3DDl.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These let you get good quality moving shots easily, without the bunmpyness that you'll get even in a car. I worked on a shoot where we even filmed a skateboarder with the camera operator on inline skates (he was a pretty good skater though, wouldn't suggest it if you're like me).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They're not super expensive to buy, but if you don't want to be buying gear you could hire one. For the time it will save and the added quality it will give it's well worth it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-09-27T01:25:43.963" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22449" PostTypeId="2" ParentId="22346" CreationDate="2017-09-27T02:29:57.247" Score="1" Body="&lt;p&gt;On this site there are some interesting scripts for you to use:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://aescripts.com/after-effects/automation/rigging/&quot; rel=&quot;nofollow noreferrer&quot;&gt;AEScripts&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20110" LastActivityDate="2017-09-27T02:29:57.247" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22451" PostTypeId="2" ParentId="22438" CreationDate="2017-09-27T04:32:46.027" Score="5" Body="&lt;p&gt;Using &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;noreferrer&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool, you can convert these DATs to MP4 (or MKV):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.dat -c:v libx264 -crf 20 -c:a aac -b:a 128k -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Your VLC output doesn't mention it but if the inputs are interlaced (likely), then use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.dat -vf yadif -c:v libx264 -crf 20 -c:a aac -b:a 128k -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-09-27T04:32:46.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22452" PostTypeId="2" ParentId="22436" CreationDate="2017-09-27T07:45:24.433" Score="5" Body="&lt;p&gt;DaVinci doesn't really have a strong toolset when it comes to working with titles and motion graphics, although given BlackMagic's current trajectory, that may change in the near future.  For now, you'll have more control over graphic element animations in other packages like AE, Motion, or even Premiere or FCPX.  Blackmagic Design also offer their own compositing software, Fusion, which is also fully capable of this type of effect, and has direct ties with DaVinci. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is &lt;em&gt;possible&lt;/em&gt; to animate both blur and fade out in DaVinci, but not gracefully.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The trick is to turn your text clip into a compound clip.  From there, DaVinci will treat it like any other piece of video.  Do this:  &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;In the edit tab, make sure your text layer is the default white on&#xA;black.  You can change the color later.&lt;/li&gt;&#xA;&lt;li&gt;Right-click on the text layer and select &quot;New Compound Clip&quot; from&#xA;the contextual menu.&lt;/li&gt;&#xA;&lt;li&gt;Switch to the Color tab and select the compound clip.  Now you can&#xA;affect it with nodes.&lt;/li&gt;&#xA;&lt;li&gt;Right-click anywhere in the background of the node editor and select&#xA;&quot;Add alpha output&quot; from the contextual menu that appears.  You&#xA;should see a little blue box appear at the right of the node editor.&lt;/li&gt;&#xA;&lt;li&gt;Right-click anywhere in the background of the node editor again, and&#xA;select &quot;Add node&quot; -&gt; corrector.  Do this twice so that you have a&#xA;total of three nodes in the node editor.  Node 01 should be wired at&#xA;this point, and 02 and 03 should not.&lt;/li&gt;&#xA;&lt;li&gt;Unwire the RGB output of node 01 (green circle) and plug it into the&#xA;alpha input of node 02 (blue triangle).&lt;/li&gt;&#xA;&lt;li&gt;Wire the alpha output of node 02 (blue triangle) into the master alpha output that you created in step 4 (far right blue box).&lt;/li&gt;&#xA;&lt;li&gt;Wire the green master RGB input on the far left of the node editor&#xA;into the green input of node 03.  This master should now be routed&#xA;into two places, node 01 and node 03.&lt;/li&gt;&#xA;&lt;li&gt;Wire the RGB output of node 03 into the input of node 02.&lt;/li&gt;&#xA;&lt;li&gt;Finally, wire the RGB output of node 02 into the master RGB output&#xA; (green box far right).&lt;/li&gt;&#xA;&lt;li&gt;In the OFX library, drag the color generator onto node 03.  This is&#xA; where you will now control the color of your text.&lt;/li&gt;&#xA;&lt;li&gt;You may have noticed that everything is inverted.  To fix this,&#xA; select node 02, move to the &quot;key&quot; tab, and invert the key input&#xA; (the black dot in the white box) &lt;strong&gt;* edit *&lt;/strong&gt; This step is no longer necessary in DVR R16.  New serial nodes used to reverse the previous node's alpha output by default.  Now, they do not.&lt;/li&gt;&#xA;&lt;li&gt;Finally, you should be able to control the blur of your text from&#xA; node 01.  You should be able to animate this parameter just like&#xA; any other color adjustment in DaVinci.  For the fade, you'll have to animate the opacity of the composite on the edit page.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Here's what everything should look like when wired up properly:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Pb2XI.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Pb2XI.jpg&quot; alt=&quot;NodeDiagram&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, this is a kludgy workaround which suffers from serious limitations (blur radius*, for one).  But hopefully, it's a good demonstration of why this type of operation is best approached from other software.  DaVinci just isn't built for it at the moment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you'd like an explanation of how to accomplish this in Fusion, I could add to this answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;em&gt;EDIT 01-24-2020&lt;/em&gt;&lt;/strong&gt;&#xA;Blur radius is no longer a limitation.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-01-27T00:33:51.163" LastActivityDate="2020-01-27T00:33:51.163" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="22454" PostTypeId="2" ParentId="22085" CreationDate="2017-09-27T09:00:02.663" Score="0" Body="&lt;p&gt;try &lt;code&gt;-filter_complex &quot;fade=t=in:st=0:d=30,fade=t=out:st=227:d=30&quot;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="20147" LastActivityDate="2017-09-27T09:00:02.663" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22455" PostTypeId="1" CreationDate="2017-09-27T09:35:46.100" Score="1" ViewCount="888" Body="&lt;p&gt;After my experience with &lt;code&gt;FFmpeg&lt;/code&gt; created content: different player, different results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what player do you use to look at you footage?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does someone know a player where you can check current frame meta information (PTS, frame number, pict type)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;manu&lt;/p&gt;&#xA;" OwnerUserId="20147" LastEditorUserId="18155" LastEditDate="2017-09-27T12:02:29.670" LastActivityDate="2017-09-27T13:31:41.643" Title="What player do you use?" Tags="|ffmpeg|video-player|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22456" PostTypeId="2" ParentId="22455" CreationDate="2017-09-27T10:04:49.900" Score="1" Body="&lt;p&gt;Different media players give different results not because of encoding software, but because of their own implementation of decoding functions or selection of the installed codecs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;IMHO the best players for serious work are &lt;code&gt;MPC&lt;/code&gt; (&lt;code&gt;MPC-HC&lt;/code&gt;) and &lt;code&gt;VLC&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2017-09-27T10:04:49.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22457" PostTypeId="2" ParentId="22455" CreationDate="2017-09-27T12:09:36.527" Score="2" Body="&lt;p&gt;I was a rusted on MPC (and more recently its derivatives MPC-HC and MPC-BE) fan until recently when the MPC devs flagged that it would not be continued. So I started looking to see what else was out there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While the MPCs are still very capable players I've increasingly been using &lt;a href=&quot;https://mpv.io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPV&lt;/a&gt;, another mplayer-derived open-source project. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;It has a fairly minimal UI (which IMHO is a good thing),&lt;/li&gt;&#xA;&lt;li&gt;it is GPU-rendered and seems to be pretty resource light–on my machine we've been watching 6K camera footage in ProRes without problems.&lt;/li&gt;&#xA;&lt;li&gt;It's easily configureable, has useful features such as colour management and HDR,&lt;/li&gt;&#xA;&lt;li&gt;plays most codecs and formats that I throw at it without problems&lt;/li&gt;&#xA;&lt;li&gt;It's cross platform, so if you swap between PC, OSX and Linux you can use it on all of them.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2xCM7.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2xCM7.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another player that is useful to know is &lt;a href=&quot;http://djv.sourceforge.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;djv-view&lt;/a&gt;. This comes with some very useful tools such as histograms, RAM-caching for smooth playback and jog-shuttling and so on. It doesn't have audio so it's nto a general purpose media player, but it's a real winner for playing image sequences that would struggle to play smoothly otherwise–as long as you have the RAM for it. This is also cross-platform, available for PC, OSX and a linux package manager near you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/p82E7.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/p82E7.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-09-27T13:31:41.643" LastActivityDate="2017-09-27T13:31:41.643" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22458" PostTypeId="2" ParentId="22446" CreationDate="2017-09-27T12:40:28.223" Score="3" Body="&lt;p&gt;Gimbals are good for adding movement without shake, they're brilliant for run-n-gun documentary work where lugging a tripod slows you down. They're perfect when you're in the thick of things, using a wide lens to shoot close to the action.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They take a bit of time to master, you need to practise steering them and think about the movement. You also need a camera with good autofocus and you probably want to shoot with more depth of field; while you can focus-pull on a gimbal-mounted camera, particularly with a remote motor driven follow focus, it's challenging.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A major disadvantage of a gimbal is that you're limited in terms of the weight of the camera. Unless you're shelling out a lot, the cheaper gimbals are limited to something the weight of a DSLR. So if you're looking at using a cinema camera or shoulder-mount style video camera you're also going to be spending more on your gimbal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A gimbal is fairly useless if you're shooting interviews, unless you're a fan of the camera-always-needlessly-moving style of interview shooting, and if you are, damn your eyes, you're a disgrace. For static interview set-ups a tripod will win hands-down.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You also wouldn't take a gimbal if you were trying to get shots of snow leopards in the wild, live sports, or candid long-lens documentary footage. You can't really stick long lenses on them, not just because of the weight, but also because even with the stabilisation the constant movement is still too much.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another consideration is ergonomics. Even though the average video tripod weighs more than the average gimbal when you're lugging it to the gig, once you're there you put the tripod on the floor. Because you have to hold it while shooting, shooting for extended amounts of time with a gimbal can be exhausting. Also, the batteries on a tripod never go flat and the software doesn't ever need resetting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, a bottom of the range gimbal is going to cost you the same as a pretty good tripod. Worth considering if money is tight. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;TL;DR&lt;/strong&gt; Both are useful parts of the kit, but they have different uses.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-09-27T12:53:45.097" LastActivityDate="2017-09-27T12:53:45.097" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22459" PostTypeId="2" ParentId="22438" CreationDate="2017-09-27T13:09:24.223" Score="2" Body="&lt;p&gt;When you say archive, do you mean for long-term storage, such as in a library or museum? If that's the case a lossless, well-documented, open-source codec and container is what you want. FFV1 in a matroska continer (.mkv file) is my preferred archival codec / container format, and it's gaining popularity in the &lt;a href=&quot;https://en.wikipedia.org/wiki/GLAM_(industry_sector)&quot; rel=&quot;nofollow noreferrer&quot;&gt;GLAM&lt;/a&gt; sector.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once again, FFMPEG is the tool of choice for making these–FFV1 is a codec developed by the creators of FFMPEG. A good page on how to encode FFV1 &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/FFV1&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, and an example would be:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input_video.dat -c:a pcm_s16le -c:v ffv1 -level 3 -coder 1  -context  1  -g 1  output.mkv &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For archival purposes I would &lt;em&gt;not&lt;/em&gt; de-interlace because of the loss of resolution, and because it alters the source substantially.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-09-27T13:09:24.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22460" PostTypeId="1" AcceptedAnswerId="22556" CreationDate="2017-09-27T14:12:33.083" Score="1" ViewCount="57" Body="&lt;p&gt;Hi I'm wanting to do a overhead shot of a bike on the road. i'm wanting to know what the best drone is on a budget. I'm wanting the best blend of quality yet affordability&lt;/p&gt;&#xA;" OwnerUserId="20142" LastActivityDate="2017-10-09T13:24:30.357" Title="What is the drone for a low budget production" Tags="|video|production|budget|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22461" PostTypeId="2" ParentId="22347" CreationDate="2017-09-27T15:22:14.573" Score="1" Body="&lt;p&gt;You can create a different file by filling in the desired region in red.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1bCia.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1bCia.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go to website: &lt;a href=&quot;https://develop.open.wolframcloud.com/app/&quot; rel=&quot;nofollow noreferrer&quot;&gt;WOLFRAM DEVELOPMENT PLATFORM&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And enter the code below:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;image=Import[&quot;C:\\Users\\Image.png&quot;]&#xA;value={ImageDimensions[image]}-{Mean[ImageValuePositions[image,Red][[All,#]]]&amp;amp;/@{1,2}}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eU7Hd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eU7Hd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Enter the values offered for the anchor point. In this case: &lt;strong&gt;386.995&lt;/strong&gt; and &lt;strong&gt;173.982&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RRUJd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RRUJd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lBuo5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lBuo5.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20110" LastActivityDate="2017-09-27T15:22:14.573" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22462" PostTypeId="1" CreationDate="2017-09-27T17:31:33.337" Score="0" ViewCount="136" Body="&lt;p&gt;I tried editing a video shot on canon 750d @1080p 25fps.&#xA;I am using premiere pro cc2015 , windows 10 , Intel i3 and Intel HD 3000 graphics . When I import the video into premiere and play there is a red line on the timeline and the video lags.&#xA;Please help me out.&#xA;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="20154" LastActivityDate="2017-09-29T11:07:19.853" Title="Premiere pro cc2015 preview lag" Tags="|premiere|post-production|" AnswerCount="1" CommentCount="0" ClosedDate="2018-01-24T12:32:45.907" ContentLicense="CC BY-SA 3.0" />
  <row Id="22464" PostTypeId="1" CreationDate="2017-09-28T00:18:48.147" Score="1" ViewCount="40" Body="&lt;p&gt;I'm creating videos to post to YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My videos are about some jobs I do on the computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I watched some of my videos posted and that the quality of the video capture was not very good and clear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What should I do to improve the quality of the screen capture?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To use better software? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using &lt;a href=&quot;https://www.microsoft.com/pt-pt/download/details.aspx?id=98&quot; rel=&quot;nofollow noreferrer&quot;&gt;Windows Media Encoder&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20110" LastActivityDate="2017-10-01T23:32:01.180" Title="What should I do to improve the quality of the screen capture?" Tags="|video-capture|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22465" PostTypeId="2" ParentId="22446" CreationDate="2017-09-28T06:04:26.447" Score="0" Body="&lt;p&gt;It depends on the video that your are going to shoot. I suggest you to analyse what video you want to shoot and then select the tool accordingly.&lt;/p&gt;&#xA;" OwnerUserId="20150" LastActivityDate="2017-09-28T06:04:26.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22466" PostTypeId="1" CreationDate="2017-09-28T08:46:11.520" Score="1" ViewCount="18" Body="&lt;p&gt;I selected all the layers of the character and opened the align panel and pressed vertical and horizontal alignment but the eyes, shadows and all the inner features of the character get aligned too into the center &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do it?&lt;/p&gt;&#xA;" OwnerUserId="19969" LastActivityDate="2017-09-28T08:46:11.520" Title="How do I align a multi-layered cartoon character in After Effects?" Tags="|after-effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22467" PostTypeId="2" ParentId="22464" CreationDate="2017-09-28T10:09:01.653" Score="2" Body="&lt;p&gt;Windows Media Encoder creates files in wmv format (I guess), which is highly compressed. Make sure you follow the &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube recommendations&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3029" LastActivityDate="2017-09-28T10:09:01.653" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22468" PostTypeId="2" ParentId="22464" CreationDate="2017-09-28T15:20:03.763" Score="2" Body="&lt;p&gt;Try to use &lt;a href=&quot;https://sourceforge.net/projects/obsproject/files/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS (Open Broadcast Software)&lt;/a&gt; for screen capture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=BHmcsVOuFVU&quot; rel=&quot;nofollow noreferrer&quot;&gt;Screen Capture with OBS&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It not best option, but it easy  to use and it free.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Best solution:&lt;/strong&gt;&#xA;Capture to lossless codec like huffyuv, edit it and then encode for youtube (you can find tons guides about it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It requires much more time to process, but you will get maximum quality.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastEditorUserId="18258" LastEditDate="2017-10-01T23:32:01.180" LastActivityDate="2017-10-01T23:32:01.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22469" PostTypeId="2" ParentId="22460" CreationDate="2017-09-28T15:37:26.140" Score="2" Body="&lt;p&gt;The DJI Mavik is one of the most affordable ready-to-fly drones with enough quality (4K) for expert-looking video production. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you could strap an action camera, like a GoPro, to a non-camera drone. You'll likely have to heavily stabilize your footage in post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the lowest of budget situations, if you just need a top-down aerial shot, simply rig a phone to some tethered, helium filled balloons. This has worked well for me in the past.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any case, there are a few extra steps you can take do to improve the footage.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Buy a lens filter kit including Neutral Density and Polarizing filters for the camera.&lt;/li&gt;&#xA;&lt;li&gt;After importing the footage, correct the wide angle lens warp in After Effects.&lt;/li&gt;&#xA;&lt;li&gt;Color grade your final cut&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="20158" LastEditorUserId="14523" LastEditDate="2017-09-29T11:58:20.353" LastActivityDate="2017-09-29T11:58:20.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22470" PostTypeId="2" ParentId="16389" CreationDate="2017-09-28T15:53:42.207" Score="0" Body="&lt;p&gt;Lynda.com has absolutely loads of pro Video courses i have learned quite a bit from them. I do however agree with MoritzLost in takes years to study and master with a lot of practice. But Lynda.com is a great resource for people who want to pick up some of the theory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.lynda.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.lynda.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20142" LastActivityDate="2017-09-28T15:53:42.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22471" PostTypeId="1" AcceptedAnswerId="22559" CreationDate="2017-09-28T22:31:45.337" Score="0" ViewCount="43" Body="&lt;p&gt;Note: this is all about editing &lt;em&gt;.ass (or Advanced SSA)&lt;/em&gt; subtitles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just happen to download Death Note series with chapters in mkv format, and found what seems to be a new subtitling method being used; instead of the usual line after line, it grabs the entire sentence and shows portions of it over-time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example of usual method:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;N-No! It can't be!&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Example of this new method:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;N-&lt;br /&gt;&#xA;  N-No!&lt;br /&gt;&#xA;  N-No! It can't be!&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The sub is always centered and uses the same space for the end sentence, in all the sequences, therefore &lt;code&gt;N-&lt;/code&gt; and &lt;code&gt;N-No!&lt;/code&gt; won't center themselves.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another detail: with MPC player I always force the font into default style (Arial) instead of the one that comes with the mkv file, and it still works perfectly, so apparently &lt;strong&gt;this method works with any font besides the one provided&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does this method have a name so that I can get started learning about it? &lt;/p&gt;&#xA;" OwnerUserId="12263" LastActivityDate="2017-10-09T21:16:09.400" Title="subtitles: show timed-fragments of the same text line" Tags="|subtitles|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22472" PostTypeId="2" ParentId="21495" CreationDate="2017-09-29T01:20:13.003" Score="0" Body="&lt;p&gt;For storage, get a real server chassis on ebay and run FreeNAS (on bare metal, not in a vm). Run a 1Gb or better network backbone. FreeNAS has dropins equivalent to gsuite (Google drive, docs,,sheets, etc). It may have some of the other facilities you are looking for,  but at the very least will work with the other suggestions here. &lt;/p&gt;&#xA;" OwnerUserId="19491" LastActivityDate="2017-09-29T01:20:13.003" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22473" PostTypeId="1" AcceptedAnswerId="22475" CreationDate="2017-09-29T09:59:06.760" Score="1" ViewCount="2572" Body="&lt;p&gt;I am trying to animate an image position and scale on top of  background video. Moving between frames, say, 1 and 15. And scaling from frame 24 to frame 42.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#overlay-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;overlay&lt;/a&gt; filter does its job moving the image at a time well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm lost with the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#zoompan&quot; rel=&quot;nofollow noreferrer&quot;&gt;zoompan&lt;/a&gt; filter. Here's my current filtergraph:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;video.avi &amp;gt;-----------------------------------&amp;gt;|-------|&#xA;                                               |overlay|-&amp;gt; out.mp4&#xA;image.png &amp;gt;-&amp;gt; scale &amp;gt;-&amp;gt; zoompan &amp;gt;-&amp;gt; zoompan &amp;gt;-&amp;gt;|-------|&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Scale up the image 10 times for jitter-free zoompan. The first &lt;em&gt;zoompan&lt;/em&gt; is set to &lt;code&gt;z=1&lt;/code&gt; and enabled till start of zoom (frame 24). Second &lt;em&gt;zoompan&lt;/em&gt; increments zoom by a step to reach from 1 to 2.3 in 18 frames (24..42). I would add third &lt;em&gt;zoompan&lt;/em&gt; to keep the image at 2.3. If second one is prolonged further it starts looping the zoom-in effect. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i $FOOTAGE -loop 1 -i $IMAGE -filter_complex \&#xA;&quot;&#xA;[1:v]&#xA;  scale=10*iw:-2&#xA;  ,zoompan=&#xA;    z=1&#xA;    :d=1&#xA;    :s=500x100&#xA;    :enable='lt(n,24)'&#xA;  ,zoompan=&#xA;    z='min(zoom+1.3/18,2.3)'&#xA;    :x='iw/2-(iw/zoom/2)'&#xA;    :y='ih/2-(ih/zoom/2)'&#xA;    :d=19&#xA;    :s=500x100&#xA;    :enable='gte( n, 24)'&#xA;[name];&#xA;[0:v][name]&#xA;  overlay=&#xA;    x = '1005 - 250 + 80 - min( 80 * n / 15, 80)'&#xA;    :y='406-50'&#xA;    :enable='lte(n,130)'&#xA;&quot; -t 7 -y  -hide_banner out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can zoom an image between certain keyframes somewhere in the middle of the sequence? I.e. zoom goes from 1 to 2.3 between frame A and frame B.&lt;/p&gt;&#xA;" OwnerUserId="20162" LastEditorUserId="20162" LastEditDate="2017-09-29T13:45:06.320" LastActivityDate="2017-09-29T13:45:06.320" Title="How to keyframe zoompan filter in ffmpeg?" Tags="|ffmpeg|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22474" PostTypeId="2" ParentId="22462" CreationDate="2017-09-29T11:07:19.853" Score="-1" Body="&lt;p&gt;1080p is a large resolution. Based on the information you've provided, you're likely hitting a hardware bottleneck and won't be able to do much to increase your performance.&lt;/p&gt;&#xA;" OwnerUserId="20161" LastActivityDate="2017-09-29T11:07:19.853" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22475" PostTypeId="2" ParentId="22473" CreationDate="2017-09-29T12:09:51.720" Score="2" Body="&lt;p&gt;With loop added, you are generating a video stream from the image. Now, &lt;code&gt;zoom&lt;/code&gt; is applicable within the processing loop of a single frame, and &lt;code&gt;pzoom&lt;/code&gt; for video streams. Also, zoompan doesn't have timeline editing support, no &lt;code&gt;enable&lt;/code&gt; won't work. So,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i $FOOTAGE -loop 1 -i $IMAGE -filter_complex \&#xA;&quot;&#xA;[1:v]&#xA; zoompan=&#xA;    z='if(gte(in,24),min(pzoom+1.3/18,2.3),19.3/18)'&#xA;    :x='iw/2-(iw/pzoom/2)'&#xA;    :y='ih/2-(ih/pzoom/2)'&#xA;    :d=1&#xA;    :s=500x100&#xA;[name];&#xA;[0:v][name]&#xA;  overlay=&#xA;    x=1005-250-3*n&#xA;    :y=406-50&#xA;    :enable='lte(n,173)'&#xA;&quot; -t 7 -y  -hide_banner  out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-09-29T12:09:51.720" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22477" PostTypeId="1" CreationDate="2017-09-29T17:18:04.713" Score="2" ViewCount="7016" Body="&lt;p&gt;I'm having some really strange behaviour of an .srt file when I import into a Premiere project. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First off, the .srt file defaults to 720 x 480 in size and 1000 fps. My project video settings are 23.976 fps. My sequence lasts 3:30:00 in duration but when I drag the .srt file over it only lasts 1:30:00. The timing info for all the subtitles are out of whack. When I modify the settings of the .srt file to 23.976 fps, the subtitles then extend to over 5 minutes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To me, it's as if Premiere is not reading the data in the .srt file properly. Do I need to export it differently than just using Notepad (or similar), changing to unicode and saving the text as a .srt file? I really thought this would be a simple import functionality on Premiere but it's not. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your help!&lt;/p&gt;&#xA;" OwnerUserId="20166" LastActivityDate="2018-02-11T20:34:04.483" Title=".SRT File Import Problem on Premiere Pro CC 2017 1.2" Tags="|premiere|adobe|subtitles|.srt|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22478" PostTypeId="1" CreationDate="2017-09-29T19:38:02.220" Score="3" ViewCount="737" Body="&lt;p&gt;A couple of years ago I reacll seeing something on a crowd funding platform.  It was a way to 'tag' or 'mark' a portion of a video during live recording. i.e. if you just had a sports play that you wanted to find, you could just &quot;click the button&quot; to mark it.  Then, later on, you could have the computer s/w search for the marks.  it seemed like it would be useful for sports recording.  Has anyone seen something like this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mark&lt;/p&gt;&#xA;" OwnerUserId="20167" LastActivityDate="2018-09-25T17:01:13.077" Title="How can I mark or tag spots in a video clip during a live recording" Tags="|editing|live|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22480" PostTypeId="2" ParentId="22478" CreationDate="2017-09-29T21:16:28.167" Score="1" Body="&lt;p&gt;The answer to this largely depends on your budget and use case. If you are a TV network, especially a sports-centric network, many &lt;a href=&quot;https://en.wikipedia.org/wiki/Digital_asset_management&quot; rel=&quot;nofollow noreferrer&quot;&gt;media asset management&lt;/a&gt; (MAM) systems add the logging capability on top of their existing search, organization, and workflow pieces. For example, Dalet has &lt;a href=&quot;http://www.dalet.com/modules/sports-logger&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sports Logger&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-09-29T21:16:28.167" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22481" PostTypeId="2" ParentId="22132" CreationDate="2017-09-30T03:31:43.450" Score="0" Body="&lt;p&gt;MP4 is a compressed file structure. Once a compressed file is closed to write, naive attempts to append to it are more likely to corrupt it than append to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;@Bukkojot got the right idea - extract the file to an uncompressed format, append your images, and recompress the file.  His description is really an optimization of the approach that streams the decompression and recompression phases for existing video in parallel thread, but it illustrates the point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since MP4 is a lossy compression, every time you decompress the video for re-rendering you lose quality. I would recommend keeping the uncompressed video in a directory and simply re-rendering the video from scratch with every file you append. &lt;/p&gt;&#xA;" OwnerUserId="19491" LastActivityDate="2017-09-30T03:31:43.450" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22482" PostTypeId="2" ParentId="22478" CreationDate="2017-09-30T12:57:55.100" Score="0" Body="&lt;p&gt;Some cameras inherently support this.  It can be achieved via several ways but most generally consists of monitoring the timecode and generating a list of interesting time codes that are stored in metadata for the file.  The first time I saw this feature was actually a mark functionality that was built in to my Canon GL2 (pro-sumer SD mini-DV camcorder).  It isn't available on all platforms directly though (I'm not aware of a mark timecode feature on my Ursa Mini for example.) However, there may also be alternatives that can measure from either external timecode generation or by monitoring timecode on the output video feed (when timecode is included).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It might also be possible to use some other form of syncronization based on a simple stopwatch, however such timing would need manual sync for each file and would potentially drift over time if not genlocked since different timers can drift slightly over time.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-09-30T12:57:55.100" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22483" PostTypeId="1" CreationDate="2017-09-30T13:10:18.870" Score="0" ViewCount="86" Body="&lt;p&gt;For most of the world, YouTube provides decent quality video hosting, and for those who want higher quality, there is Vimeo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, practically all non-Chinese video hosting services are &lt;a href=&quot;https://en.wikipedia.org/wiki/Great_Firewall&quot; rel=&quot;nofollow noreferrer&quot;&gt;blocked&lt;/a&gt; &lt;a href=&quot;https://www.comparitech.com/privacy-security-tools/blockedinchina/&quot; rel=&quot;nofollow noreferrer&quot;&gt;in China&lt;/a&gt;, and all Chinese ones I tried compress videos to abysmal quality (in addition to watermarking it with their own name).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any high-quality video hosting services that are accessible from China?&lt;/p&gt;&#xA;" OwnerUserId="1561" LastActivityDate="2017-09-30T13:10:18.870" Title="Decent quality video hosting for China" Tags="|video-quality|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22484" PostTypeId="1" CreationDate="2017-09-30T19:18:21.100" Score="3" ViewCount="2150" Body="&lt;p&gt;I've got some videos on Vimeo that I want move over to my new channel on YouTube. I can download what Vimeo lists as the 'Original' files, ~2GB H.264 MP4s (20-30mins).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does YouTube re-encode regardless of the incoming format, or does it just re-mux? I don't want any more video degradation than necessary; I figure YT will re-encode to optimize for delivery to other resolutions / bit-rates, but if my original files are 720p, will they get re-encoded / go through another lossy pass when re-uploaded to YouTube?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And to be clear, these are all /my/ videos (I'm the creator on both channels), so not trying to move someone else's content.&lt;/p&gt;&#xA;" OwnerUserId="20175" LastActivityDate="2018-04-04T01:11:22.120" Title="When does YouTube Reencode Videos?" Tags="|youtube|vimeo|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22485" PostTypeId="2" ParentId="22484" CreationDate="2017-09-30T21:59:05.693" Score="2" Body="&lt;p&gt;Yes, youtube re-encode videos. You can see more information &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, and find, which codecs most fits for youtube upload (in case you will make new ones).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a example of degradation, here is video, which was re-uploaded to youtube 1000 times in 2010 year:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/8qKz5YW5J-U?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And with different content you will see more degradation. You can see it here  at 2:33::&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/r6Rp-uo6HmI?start=153&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;About &quot;When&quot;: Re-encoding happens right after uploading in the save progress-bar will be written &quot;Processing&quot;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ePhZY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ePhZY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-09-30T21:59:05.693" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22487" PostTypeId="1" CreationDate="2017-10-01T10:12:13.017" Score="5" ViewCount="1428" Body="&lt;p&gt;I started the captions too late in the video and now I need to extend it earlier, but I'm getting this message:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/U6ahW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/U6ahW.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to extend it to the left without having to re-position each individual caption? How?&lt;/p&gt;&#xA;" OwnerUserId="19382" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2020-06-30T17:25:48.193" Title="How to extend the captions to an earlier point in Premiere Pro?" Tags="|premiere|closed-captioning|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22489" PostTypeId="1" AcceptedAnswerId="22490" CreationDate="2017-10-01T20:46:22.767" Score="2" ViewCount="49" Body="&lt;p&gt;I have some 3d objects that I want to show using After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With these objects I can create various types of extensions, like: IGS, SAT, OBJ, STL, ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would just like to rotate them on the screen with a blueprint background, as in the figure below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/G0zST.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/G0zST.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With blue background and with grids.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The object need not be solid, just highlight the outline as in the image...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I searched for something on the internet, but found nothing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do not need an explanation. If someboby find any link where I can learn the technique would be very interesting.&lt;/p&gt;&#xA;" OwnerUserId="18258" LastActivityDate="2017-10-01T20:55:18.120" Title="Rotating the 3d object with the blueprint background" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22490" PostTypeId="2" ParentId="22489" CreationDate="2017-10-01T20:52:52.653" Score="1" Body="&lt;p&gt;In this video does not appear as create showing only the outline, but it is already possible to have an idea of how to import the 3d object.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=M5hkUhQ1sU4&quot; rel=&quot;nofollow noreferrer&quot;&gt;How To Import 3D Model In After Effects CS5&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17047" LastActivityDate="2017-10-01T20:52:52.653" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22491" PostTypeId="2" ParentId="22489" CreationDate="2017-10-01T20:55:18.120" Score="1" Body="&lt;p&gt;In the video I found you should model using 3dStudioMax or other of the genre.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=PLsZr84AI1s&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to Import 3d Model in After Effects CC&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20110" LastActivityDate="2017-10-01T20:55:18.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22492" PostTypeId="1" AcceptedAnswerId="22493" CreationDate="2017-10-01T23:04:42.107" Score="0" ViewCount="416" Body="&lt;p&gt;When I use ffmpeg with this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i ~/Desktop/The_Karate_Kid_2010.mkv -c:v libx264 -c:a libfdk_aac -c:s mov_text ~/Desktop/The_Karate_Kid_2010.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It works, until this error appears:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Error while opening encoder for output stream #0:2 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What should I do to fix this?&#xA;Here is the output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ~/Desktop/The_Karate_Kid_2010.mkv -c:v libx264 -c:a libfdk_aac -c:s mov_text ~/Desktop/file.mp4&#xA;ffmpeg version 3.3.3 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with Apple LLVM version 8.1.0 (clang-802.0.42)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.3.3 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-libass --enable-libfdk-aac --enable-libfreetype --enable-libmp3lame --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-libxvid --enable-opencl --disable-lzma --enable-nonfree --enable-vda&#xA;  libavutil      55. 58.100 / 55. 58.100&#xA;  libavcodec     57. 89.100 / 57. 89.100&#xA;  libavformat    57. 71.100 / 57. 71.100&#xA;  libavdevice    57.  6.100 / 57.  6.100&#xA;  libavfilter     6. 82.100 /  6. 82.100&#xA;  libavresample   3.  5.  0 /  3.  5.  0&#xA;  libswscale      4.  6.100 /  4.  6.100&#xA;  libswresample   2.  7.100 /  2.  7.100&#xA;  libpostproc    54.  5.100 / 54.  5.100&#xA;Input #0, matroska,webm, from '/Users/Henry/Desktop/The_Karate_Kid_2010.mkv':&#xA;  Metadata:&#xA;    title           : Karate Kid, The&#xA;    encoder         : libmakemkv v1.10.7 (1.3.3/1.4.4) darwin(x64-release)&#xA;    creation_time   : 2017-10-01T21:56:39.000000Z&#xA;  Duration: 02:20:01.99, start: 0.000000, bitrate: 4488 kb/s&#xA;    Chapter #0:0: start 0.000000, end 423.055967&#xA;    Metadata:&#xA;      title           : Chapter 01&#xA;    Chapter #0:1: start 423.055967, end 627.259967&#xA;    Metadata:&#xA;      title           : Chapter 02&#xA;    Chapter #0:2: start 627.259967, end 907.273033&#xA;    Metadata:&#xA;      title           : Chapter 03&#xA;    Chapter #0:3: start 907.273033, end 1194.560033&#xA;    Metadata:&#xA;      title           : Chapter 04&#xA;    Chapter #0:4: start 1194.560033, end 1468.233433&#xA;    Metadata:&#xA;      title           : Chapter 05&#xA;    Chapter #0:5: start 1468.233433, end 1857.288767&#xA;    Metadata:&#xA;      title           : Chapter 06&#xA;    Chapter #0:6: start 1857.288767, end 2094.058633&#xA;    Metadata:&#xA;      title           : Chapter 07&#xA;    Chapter #0:7: start 2094.058633, end 2390.321267&#xA;    Metadata:&#xA;      title           : Chapter 08&#xA;    Chapter #0:8: start 2390.321267, end 2797.895100&#xA;    Metadata:&#xA;      title           : Chapter 09&#xA;    Chapter #0:9: start 2797.895100, end 2993.357033&#xA;    Metadata:&#xA;      title           : Chapter 10&#xA;    Chapter #0:10: start 2993.357033, end 3295.992700&#xA;    Metadata:&#xA;      title           : Chapter 11&#xA;    Chapter #0:11: start 3295.992700, end 3615.945667&#xA;    Metadata:&#xA;      title           : Chapter 12&#xA;    Chapter #0:12: start 3615.945667, end 3878.624750&#xA;    Metadata:&#xA;      title           : Chapter 13&#xA;    Chapter #0:13: start 3878.624750, end 4187.983800&#xA;    Metadata:&#xA;      title           : Chapter 14&#xA;    Chapter #0:14: start 4187.983800, end 4470.599467&#xA;    Metadata:&#xA;      title           : Chapter 15&#xA;    Chapter #0:15: start 4470.599467, end 4825.587433&#xA;    Metadata:&#xA;      title           : Chapter 16&#xA;    Chapter #0:16: start 4825.587433, end 5062.690967&#xA;    Metadata:&#xA;      title           : Chapter 17&#xA;    Chapter #0:17: start 5062.690967, end 5444.372267&#xA;    Metadata:&#xA;      title           : Chapter 18&#xA;    Chapter #0:18: start 5444.372267, end 5734.995933&#xA;    Metadata:&#xA;      title           : Chapter 19&#xA;    Chapter #0:19: start 5734.995933, end 6105.065633&#xA;    Metadata:&#xA;      title           : Chapter 20&#xA;    Chapter #0:20: start 6105.065633, end 6418.678933&#xA;    Metadata:&#xA;      title           : Chapter 21&#xA;    Chapter #0:21: start 6418.678933, end 6625.585633&#xA;    Metadata:&#xA;      title           : Chapter 22&#xA;    Chapter #0:22: start 6625.585633, end 6980.406767&#xA;    Metadata:&#xA;      title           : Chapter 23&#xA;    Chapter #0:23: start 6980.406767, end 7140.666867&#xA;    Metadata:&#xA;      title           : Chapter 24&#xA;    Chapter #0:24: start 7140.666867, end 7438.197433&#xA;    Metadata:&#xA;      title           : Chapter 25&#xA;    Chapter #0:25: start 7438.197433, end 7875.534333&#xA;    Metadata:&#xA;      title           : Chapter 26&#xA;    Chapter #0:26: start 7875.534333, end 7977.302667&#xA;    Metadata:&#xA;      title           : Chapter 27&#xA;    Chapter #0:27: start 7977.302667, end 8401.993600&#xA;    Metadata:&#xA;      title           : Chapter 28&#xA;    Stream #0:0(eng): Video: mpeg2video (Main), yuv420p(tv, top first), 720x480 [SAR 32:27 DAR 16:9], SAR 186:157 DAR 279:157, 29.97 fps, 29.97 tbr, 1k tbn, 59.94 tbc&#xA;    Metadata:&#xA;      BPS-eng         : 4096383&#xA;      DURATION-eng    : 02:20:01.993600000&#xA;      NUMBER_OF_FRAMES-eng: 201483&#xA;      NUMBER_OF_BYTES-eng: 4302223608&#xA;      SOURCE_ID-eng   : 0100E0&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.10.7 darwin(x64-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2017-10-01 21:56:39&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;    Stream #0:1(eng): Audio: ac3, 48000 Hz, 5.1(side), fltp, 384 kb/s (default)&#xA;    Metadata:&#xA;      title           : Surround 5.1&#xA;      BPS-eng         : 384000&#xA;      DURATION-eng    : 02:20:01.952000000&#xA;      NUMBER_OF_FRAMES-eng: 262561&#xA;      NUMBER_OF_BYTES-eng: 403293696&#xA;      SOURCE_ID-eng   : 0180BD&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.10.7 darwin(x64-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2017-10-01 21:56:39&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;    Stream #0:2(eng): Subtitle: dvd_subtitle, 720x480 (default)&#xA;    Metadata:&#xA;      BPS-eng         : 2984&#xA;      DURATION-eng    : 02:12:24.359400000&#xA;      NUMBER_OF_FRAMES-eng: 1051&#xA;      NUMBER_OF_BYTES-eng: 2963824&#xA;      SOURCE_ID-eng   : 0120BD&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.10.7 darwin(x64-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2017-10-01 21:56:39&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;File '/Users/Henry/Desktop/file.mp4' already exists. Overwrite ? [y/N] y&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (mpeg2video (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (ac3 (native) -&amp;gt; aac (libfdk_aac))&#xA;  Stream #0:2 -&amp;gt; #0:2 (dvd_subtitle (dvdsub) -&amp;gt; mov_text (native))&#xA;Error while opening encoder for output stream #0:2 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20178" LastEditorUserId="14523" LastEditDate="2017-10-01T23:35:49.173" LastActivityDate="2017-10-02T05:00:06.393" Title="FFMPEG Command Works, then stops" Tags="|video|ffmpeg|conversion|command-line|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22493" PostTypeId="2" ParentId="22492" CreationDate="2017-10-02T05:00:06.393" Score="2" Body="&lt;p&gt;&lt;code&gt;dvd_subtitle&lt;/code&gt; indicates an image-based subtitle. You can skip it, or overlay it on the video, or convert it to a text subtitle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To skip it, add &lt;code&gt;-map -s&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To overlay it, add &lt;code&gt;-filter_complex &quot;[0:0]yadif[v];[v][0:2]overlay&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To convert to text subtitle, see &lt;a href=&quot;https://stackoverflow.com/a/36327919/5726027&quot;&gt;https://stackoverflow.com/a/36327919/5726027&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-10-02T05:00:06.393" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22497" PostTypeId="1" AcceptedAnswerId="22500" CreationDate="2017-10-02T11:33:47.207" Score="1" ViewCount="304" Body="&lt;p&gt;This question has no practical importance for a regular video production pipeline, but nonetheless it's something I find fascinating because it would imply video codecs use temporal sub-sampling methods in order to reduce bitrate, and those methods are controlled by the frame rate at encode time. So, here it goes:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suppose I have a set of lossless images (like scanned frames on a film strip) I want to encode with a certain video compression algorithm, such as H.264. Assuming that the frames inside the newly compressed video stream will be later decompressed and played back at their correct speed by means of &lt;em&gt;extracting the raw frames and not playing them back over a regular player&lt;/em&gt;, the specified framerate in which I encode those images shouldn't matter at all to overall quality of every individual frame, given a constant quality setting. &lt;strong&gt;Or, is it?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It makes sense to think that modern codecs would use some form of coarser temporal estimation when frame rates are higher, due to the fact that the jitter effect of the motion compensation could be smoothed out over several frames, as opposed to a low framerate video where motion and quantization artifacts would become much more noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Were this false, this would also imply that, if I wanted to convey more data / higher quality over a bitrate-constrained medium, such as YouTube, I could simply re-encode my video with half the framerate and ask users to play it back at twice the speed, since the bitrate limit would then be doubled over the regular speed video (minus any audio issues).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't done any scientific tests yet, but before digging into the data analysis (and trying to find a lossless video corpus to do so), I'd like to ask the community if any experiments have been made about this.&lt;/p&gt;&#xA;" OwnerUserId="20164" LastActivityDate="2017-10-02T13:55:21.887" Title="Does increasing the framerate while not changing the content affects compression quality?" Tags="|codec|framerate|compression|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22500" PostTypeId="2" ParentId="22497" CreationDate="2017-10-02T13:55:21.887" Score="3" Body="&lt;p&gt;This depends on the specific encoder, and the compression standard, by itself, may not have anything to say about it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;x264, which encodes to H.264, takes frame duration, into account, in its ratecontrol algorithm.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the source code (my emphasis):&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Ratecontrol lowers relative quality at higher&#xA;  framerates and the reverse at lower framerates;&lt;/strong&gt; this serves as&#xA;  the center of the curve.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;this&lt;/code&gt; refers to the frame duration for the default fps of 25.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is further compounded by the setting of buffer sizes, important for network streaming or hardware players, and which are defined in terms of media duration, not frame count.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-10-02T13:55:21.887" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22502" PostTypeId="1" CreationDate="2017-10-02T12:48:27.237" Score="2" ViewCount="49" Body="&lt;p&gt;I'm wondering what effect makes the woods so blue and the skin so yellow.&#xA;I think it's quite a common and trendy effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If somebody knows what is there changed, it would be nice to tell me :)&#xA;Luckily I got a photo without the effect and an edited one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Cm3fO.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Cm3fO.jpg&quot; alt=&quot;original&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Ilc1J.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ilc1J.jpg&quot; alt=&quot;edited&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="duzeful" LastEditorUserId="17390" LastEditDate="2018-07-29T18:15:18.440" LastActivityDate="2018-07-29T18:15:18.440" Title="How to post-process an image to turn trees blue and a face yellow?" Tags="|color|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22504" PostTypeId="2" ParentId="22502" CreationDate="2017-10-02T20:06:12.487" Score="1" Body="&lt;p&gt;There are multiple things going on between the before and after image.  The first aspect is a color space conversion.  The original image is recorded in a &quot;log&quot; color space.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A log, or logarithmic, color space is designed to capture more detail in the shadows and bright areas of an image allowing for the image to be manipulated more easily in post production.  While RAW files can be used in digital still photography, the size is fairly limiting for video usage outside of very high end setups (and even then it is costly due to the tremendous data rates).  To provide a mix of flexibility between cost and post production adjustment, log color spaces sacrifice data about the midtones of an image to be able to capture more detail in the areas of contrast.  This gives much greater flexibility in adjusting the color and exposure of an image in post without needing pure raw data, however it makes the images take on a decidedly flat appearance as it is not a color space designed to emulate human vision, but rather to capture information about the image that can be used to produce an image in a linear color space that will look more natural to the eye.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second thing being done is a color grade pass.  Color grading is the process by which a colorist adjusts the color of a video and gets a consistent look and feel between clips and to set the look of the overall video.  A variety of tools can be used, including color balance adjustments such as RGB curves which will impact the response of different colors between various different portions of the image (based on luminosity or brightness).  Hue adjustment tools, which will adjust the hue (or color) of different colors within the image, or LUTs (look up tables) which provide a fixed set of color replacements that can be applied to an image to produce a new set of color values given a set of colors taken in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My best guess at this particular before and after is that the log color was balanced and adjusted to a normal linear color space and then a filmic LUT was applied that has a bluish tint to the greens.  It may have been an out of the box LUT from a vendor or a custom designed LUT depending on the colorist.  It is certainly attempting to emulate a more filmic look though to emulate the color response of film more so than typical video.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-10-02T20:06:12.487" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22506" PostTypeId="1" CreationDate="2017-10-02T23:24:01.927" Score="1" ViewCount="1799" Body="&lt;p&gt;&lt;code&gt;ffmpeg -i &quot;a.mov&quot; -i &quot;b.mp4&quot; -filter_complex &quot;[0:v]setsar=sar=${SAR}[a];  [1:v]setsar=sar=${SAR}[b]; [a][0:a] [b][1:a] concat=n=2:v=1:a=1 [v] [a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; -preset veryfast -crf 18 &quot;merged.mp4&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;using the above code I am able to successfully merge a.mov(1920x816) with b.mov(1920x816).  However, Youtube &lt;code&gt;end screens&lt;/code&gt; require video to be &lt;code&gt;16:9 aspect ratio.&lt;/code&gt; Thus I tried scale filter and setting SAR to &lt;code&gt;16:9&lt;/code&gt;. however this leads to the output video stretching to fit the &lt;code&gt;16:9 ratio&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I output a video with &lt;code&gt;16:9&lt;/code&gt; ratio with the actual video with resolution &lt;code&gt;1920x816&lt;/code&gt;. Essentially The remaining vertical space should just be black without stretching the &lt;code&gt;816&lt;/code&gt; height video to fit the &lt;code&gt;1080&lt;/code&gt; height.  &lt;/p&gt;&#xA;" OwnerUserId="19918" LastActivityDate="2021-08-13T23:02:05.207" Title="change aspect ratio without stretching video ffmpeg" Tags="|ffmpeg|youtube|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22508" PostTypeId="2" ParentId="22506" CreationDate="2017-10-03T05:45:00.373" Score="1" Body="&lt;p&gt;Have you tried uploading it to Youtube? Their player window will be a fixed 16:9 ratio (on YT.com), but they should accept source videos of any ratio, and simply center it in their window during playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, here's the method:&lt;br&gt;&#xA;&lt;code&gt;ffmpeg -i &quot;a.mov&quot; -i &quot;b.mp4&quot; -filter_complex &quot;[0:v]scale=iw*sar:ih,pad=if(gt(dar,16/9),iw,2*trunc(ih*16/9/2)):if(gt(dar,16/9),2*trunc(iw*9/16/2),ih):(ow-iw)/2:(oh-ih)/2,setsar=1[a];  [1:v]scale=iw*sar:ih,pad=if(gt(dar,16/9),iw,2*trunc(ih*16/9/2)):if(gt(dar,16/9),2*trunc(iw*9/16/2),ih):(ow-iw)/2:(oh-ih)/2,setsar=1[b];&#xA;[a][0:a] [b][1:a] concat=n=2:v=1:a=1 [v] [a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; -preset veryfast -crf 18 &quot;merged.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-10-03T05:45:00.373" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="22509" PostTypeId="1" CreationDate="2017-10-03T10:10:24.667" Score="4" ViewCount="1818" Body="&lt;p&gt;In DaVinci Resolve 14, some operations can be performed on all of the Y, R, G, B channels at the same time or only on one of them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the difference between adjusting only Y, or adjusting all of YRGB?  The effect looks the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JX9iM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JX9iM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1561" LastActivityDate="2017-10-03T15:38:52.730" Title="DaVinci Resolve: Difference between adjusting Y or YRGB" Tags="|davinci-resolve|color-grading|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22510" PostTypeId="1" CreationDate="2017-10-03T10:46:22.037" Score="0" ViewCount="346" Body="&lt;p&gt;A frequent task is to render a 5–30 minutes video from a single image + soundtrack and then append a pre-rendered outro logo animation sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Output is hd720 h264 mp4 for YouTube. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would be &lt;strong&gt;the fastest&lt;/strong&gt; aproach to combine a lo-motion static image part with motion-intensive tail animation and produce a quality result? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried rendering the image part and then concat the outro:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg       \&#xA;  -loop 1    \&#xA;  -r 24      \&#xA;  -i $IMAGE  \&#xA;  -i $AUDIO  \&#xA;  -t $AUDIO_LENGTH  \&#xA;  -c:a aac   \&#xA;  -profile:a aac_low  \&#xA;  -ar 48000  \&#xA;  -b:a 192k  \&#xA;  -bsf:a aac_adtstoasc  \&#xA;  -strict -2 -y  \&#xA;  -c:v libx264  \&#xA;  -profile:v high  \&#xA;  -preset veryfast  \&#xA;  -tune stillimage  \&#xA;  -crf 24  \&#xA;  -x264opts bframes=2  \&#xA;  -pix_fmt yuv420p  \&#xA;  -safe 0  \&#xA;  $RENDER&#xA;&#xA;ffmpeg  \&#xA;  -f concat  \&#xA;  -safe 0  \&#xA;  -i &amp;lt;(printf &quot;file '%s'\n&quot; ${RENDER} ${OUTRO})  \&#xA;  -c copy  \&#xA;  -y  \&#xA;  ${OUTPUT}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This renders rather fast but the appended logo reveal gets garbled. That's because of the h264 compression settings, I guess.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe I could somehow imitate the two-pass rendering of h264 mp4? I know the exact length of the first part and it contains zero motion. There's the second animation and I can &quot;prepare&quot; the 1st pass for it ahead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please advice, how would a ffmpeg Pro aproach the task?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Upd&lt;/strong&gt;. here are the properties of the appended outro:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'outro.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf55.14.101&#xA;  Duration: 00:00:03.19, start: 0.000000, bitrate: 263 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 77 kb/s, 24 fps, 24 tbr, 12288 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 181 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20162" LastEditorUserId="20162" LastEditDate="2017-10-03T12:59:09.660" LastActivityDate="2017-10-03T17:06:17.660" Title="Static frame video and a motion-intensive appendix: how to render fast?" Tags="|ffmpeg|mp4|performance|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22512" PostTypeId="2" ParentId="22509" CreationDate="2017-10-03T15:38:52.730" Score="5" Body="&lt;p&gt;My statement that the effect looks the same was incorrect. The use of these sliders is explained in the manual, in &quot;Primary Grading Controls&quot; -&gt; &quot;Color Wheels Palette&quot; -&gt; &quot;RGB Lift/Gamma/Gain Sliders&quot; (page 725 in the v14 manual).  Quoting:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;... These three controls allow easy Y-only adjustments to contrast, where an increase in contrast results in perceptually diminished color saturation.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Making Y-only adjustments to contrast is a great way to increase contrast when you’re going for muted saturation or a gritty look. This kind of adjustment is also useful in situations where you’re trying to increase shadow density without increasing image colorfulness.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1561" LastActivityDate="2017-10-03T15:38:52.730" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22513" PostTypeId="1" CreationDate="2017-10-03T16:55:17.237" Score="2" ViewCount="600" Body="&lt;p&gt;Here sample: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/o4xcTpC5PGQ?start=20&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; (from 20th second)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It clearly 3D render, as here we can see DoF effect with small defocus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, it clearly not 2D transformations of screenshot, as some elements must be pixelized in closeups. But fonts always clear, even when it becomes large.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think, they re-created every screenshot as complete scene in some editor like 3dsmax, but it must be very time-consuming to re-create every single element, redraw everything as 3D-model, add every text label and so on. But &quot;window&quot; looks totally flat, they can easily improve quality if they can spend so many time on it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;May be here some dedicated software/plugins for such effects? Maybe some tools to convert 2D screenshots to complicated scene?&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-04T06:11:36.770" Title="How they did it? (3D-like screenshots with animation)" Tags="|animation|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22514" PostTypeId="2" ParentId="22510" CreationDate="2017-10-03T17:06:17.660" Score="1" Body="&lt;p&gt;As I can see, you know duration of your song, it good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can suggest this trick:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Generate 5 second of video with static image. With good settings, good fps, slow encoding and so on. Video must be without audio.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Join this video with itself as many times, as you want, so duration will be a little more of your clip. This operation not requires reencoding, so can be performed very fast.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Split your clip to exact size as you need. (no re-encoding)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Join outro to file&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Join your file with audio (without re-encoding for video, but audio you can modify based on your needs. If you want to upload it to youtube, you can not reencode audio, youtube does it itself)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This can be pretty fast.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-03T17:06:17.660" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22515" PostTypeId="2" ParentId="22340" CreationDate="2017-10-03T22:24:12.883" Score="1" Body="&lt;p&gt;As of the date of your post, this was already a reported &lt;a href=&quot;https://bugs.chromium.org/p/chromium/issues/detail?id=337606&quot; rel=&quot;nofollow noreferrer&quot;&gt;bug.&lt;/a&gt; You stated that you had this problem both in Windows and Ubuntu. For Windows at least there was a &lt;a href=&quot;https://bugs.chromium.org/p/chromium/issues/detail?id=337606#c33&quot; rel=&quot;nofollow noreferrer&quot;&gt;reported workaround:&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;For Chrome:&lt;/strong&gt; Navigate to chrome://flags&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Enable &quot;Enable D3D11 Windows&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Chromium uses switches instead. It appears that the corresponding switch for Chromium is &lt;code&gt;-d3d11&lt;/code&gt;See: &lt;a href=&quot;https://peter.sh/experiments/chromium-command-line-switches/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://peter.sh/experiments/chromium-command-line-switches/&lt;/a&gt; for more switches to modify Chromium`s behavior. Perhaps these will help you reach a solution that you are happy with. Since other players and browsers are capable of playing the same file smoothly, it doesn't seem logical (at least to me) to blame the encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is likely no longer necessary as the aforementioned bug was reported Fixed and closed Oct 2015 (at least on Windows)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: Since Firefox and totem use gstreamer plugins, it would appear that you may be able to resolve this issue by adding a gstreamer backend to chromium. It appears that this approach was first &lt;a href=&quot;https://blogs.s-osg.org/announcing-a-new-gstreamer-backend-for-chromium/&quot; rel=&quot;nofollow noreferrer&quot;&gt;announced by the Samsung Open Source Group&lt;/a&gt; July 6, 2015 and that there is a github project &lt;a href=&quot;https://github.com/Samsung/ChromiumGStreamerBackend&quot; rel=&quot;nofollow noreferrer&quot;&gt;here.&lt;/a&gt;/ChromiumGStreamerBackend) Further information and details on how to implement this approach can be found &lt;a href=&quot;https://github.com/Samsung/ChromiumGStreamerBackend/blob/master/README.md&quot; rel=&quot;nofollow noreferrer&quot;&gt;here.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12153" LastEditorUserId="12153" LastEditDate="2017-10-06T19:59:42.053" LastActivityDate="2017-10-06T19:59:42.053" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22516" PostTypeId="2" ParentId="20650" CreationDate="2017-10-03T22:31:47.387" Score="1" Body="&lt;p&gt;My experience with handbrake mirrors &lt;a href=&quot;https://video.stackexchange.com/questions/20650/is-handbrake-tune-still-image-applicable-to-videos-with-minimal-movement#comment29835_20650&quot;&gt;Mulvya`s comment&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also get smaller file sizes with X264 Tune set to &lt;kbd&gt;None&lt;/kbd&gt; on the Video Tab.&lt;/p&gt;&#xA;" OwnerUserId="12153" LastActivityDate="2017-10-03T22:31:47.387" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22517" PostTypeId="2" ParentId="18197" CreationDate="2017-10-03T22:52:46.660" Score="1" Body="&lt;p&gt;MediaEncodingCluster is an Enterprise Class, Video Cluster Environment with a Plattform Independent Client - Server Architecture for distributed video/audio converting/encoding tool over a grid Computing Network Design. more on &lt;a href=&quot;http://docs.codergrid.de&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://docs.codergrid.de&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: I haven't personally tried this yet. I'll update with some benchmarks when I do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sources:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://sourceforge.net/projects/bripper/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://sourceforge.net/projects/bripper/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://codergrid.de/trac/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://codergrid.de/trac/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12153" LastActivityDate="2017-10-03T22:52:46.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22518" PostTypeId="2" ParentId="12597" CreationDate="2017-10-04T03:22:39.733" Score="2" Body="&lt;p&gt;It really depends on whether your video constitutes a collective work or a derivative work.  The legal deed for the CC-BY-SA licence makes this distinction:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;*&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;Collective Work&quot; means a work, such as a periodical issue, anthology&#xA;  or encyclopedia, in which the Work in its entirety in unmodified form,&#xA;  along with a number of other contributions, constituting separate and&#xA;  independent works in themselves, are assembled into a collective&#xA;  whole. A work that constitutes a Collective Work will not be&#xA;  considered a Derivative Work (as defined below) for the purposes of&#xA;  this License.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;*&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Therefore, were you to use the image as a stand-alone work within your video (like a slide in a presentation), then you would not need to license your video under a CC-BY-SA licence because the use would not constitute a derivative work.  The only exception to this is music licensed under CC-BY-SA licences and that's because when you put music to moving images, it changes the context of the music and that IS considered a derivative work.&lt;/p&gt;&#xA;" OwnerUserId="20200" LastActivityDate="2017-10-04T03:22:39.733" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22519" PostTypeId="2" ParentId="22513" CreationDate="2017-10-04T06:11:36.770" Score="5" Body="&lt;p&gt;This looks like 2.5D to me, probably in After Effects. You create high res art, perhaps by capturing web pages from a 4K display, then animate each screen. Its only a small amount of mousing. Then use the After Effects 3D camera to spin objects and place them in a depth field. turn on Motion Blur and add shallow DOF with a defocus effect driven by depth.&lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2017-10-04T06:11:36.770" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22522" PostTypeId="2" ParentId="17341" CreationDate="2017-10-04T09:20:44.780" Score="1" Body="&lt;p&gt;When overwriting happens, usually old file is removed. So, new file size is around 0 bytes. Here nothing to rescue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you realized your mistake ASAP, in a few seconds, you can press RESET button. You will lost everything unsaved. Perhaps, even file system commit with new data, so old data will be here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise, your file lost. You can try to recover file as any other deleted file (possible buy new disk, create sector copy, use any software like R-Studio), but since file here, with new content, this may not help. Try chance in specialized datarecovery company.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, here exists ultimate solution. In theory, you can scan every sector of you hdd for AVI signatures (with AVI it easy possible) and read &quot;RAW&quot; &lt;strong&gt;frames&lt;/strong&gt; from your disk directly. But here two problems:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I don't know good tools for this. I know only one tool, which &quot;in house&quot;, written for &quot;in house&quot; usage: &lt;a href=&quot;http://an-private.narod.ru/video/dvchanger/dvchanger.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://an-private.narod.ru/video/dvchanger/dvchanger.htm&lt;/a&gt; - it dedicated for DV video only. I found some other public available tools like &lt;a href=&quot;https://www.remosoftware.com/dv-file-recovery&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.remosoftware.com/dv-file-recovery&lt;/a&gt;, but it not tested by me and I can't suggets it.&lt;/li&gt;&#xA;&lt;li&gt;Even if you file was in AVI, and you restored frames from your disk, frames may be mixed together due disk fragmentation. So you may get mixed your footages with other files. If you have very costly file, you can try to spend many hours in Premiere to recover it.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Sometimes it's easier to write a program for a specific case and equipment than to use ready-made utilities designed for general purposes. I wrote such a program for a dental camera and successfully restored the video&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-04T09:20:44.780" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22525" PostTypeId="1" AcceptedAnswerId="22531" CreationDate="2017-10-04T17:10:54.130" Score="2" ViewCount="8078" Body="&lt;p&gt;A script takes a single word 3 to 11 characters long, draws it with a custom font and overlays on top of a video. The word should fit a certain width.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The animation involves pan and zoom that the word follows. Maybe this compositing job suits smth like After Effects, but the task is ffmpeg implementation. I made it work with the shortest 3-character long sample word and the longest 11-character one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;drawtext&lt;/code&gt; filter generates a transparent png with big margins around the text. &lt;code&gt;zoompan&lt;/code&gt; filter does the zooming afterwards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I determined the font size for 3- and 11-char sample words and tried linear interpolation to get font size, depending on the word length. This approach fails with some words, as the font has variable width letters, and &quot;MMM&quot; vs. &quot;III&quot; differs n times in width.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way in ffmpeg to fit a variable-width text to fixed dimensions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe some filter to detect a least-sized rectangle with non-transparent pixels? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Plan-B&lt;/strong&gt; works fine: bash function that calculates word length depending on each letter width in the particular font. Had to measure each letter width in Photoshop in pixels at 100pt font size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Still wondering if there is a way &lt;em&gt;ffmpeg&lt;/em&gt; could scale font size text to fit some fixed width.&lt;/p&gt;&#xA;" OwnerUserId="20162" LastEditorUserId="20162" LastEditDate="2017-10-04T21:23:11.263" LastActivityDate="2020-02-29T12:55:10.267" Title="How to fit word to width with ffmpeg drawtext filter?" Tags="|ffmpeg|" AnswerCount="4" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22526" PostTypeId="1" CreationDate="2017-10-05T06:47:07.837" Score="3" ViewCount="1385" Body="&lt;p&gt;I am looking to analyze the quality of videos using some no-reference methods. ie. I don't have a reference video to compare my videos with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to identify frame-freezes, jitter, jerkiness etc. Basically, temporal artifacts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a lot of academic literature available for this (eg. &lt;a href=&quot;https://link.springer.com/article/10.1186/1687-5281-2014-40&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;), but I'm trying to figure out if there is an open source library / tool that I could use. Would this be possible using tools like FFMPEG?&lt;/p&gt;&#xA;" OwnerUserId="20211" LastActivityDate="2017-10-05T22:41:54.047" Title="Video Quality Assessment (No-Reference)" Tags="|video|ffmpeg|video-quality|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="22527" PostTypeId="2" ParentId="22378" CreationDate="2017-10-05T06:58:26.277" Score="0" Body="&lt;p&gt;Yes, you can do exactly that and lots more with this awesome plug-in - &lt;a href=&quot;https://www.videocopilot.net/products/element2/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Element 3D&lt;/a&gt; for After Effects (Not free though). You can import 3D models from various programs, create primitives and 3d extrusions based on shape layers and texts right inside of After Effects with cool lighting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check the plug-in out and you'll be driven to buying and using it yourself. There are tons of possibilities with that plugin.&lt;/p&gt;&#xA;" OwnerUserId="20212" LastActivityDate="2017-10-05T06:58:26.277" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22528" PostTypeId="2" ParentId="22378" CreationDate="2017-10-05T08:20:08.097" Score="0" Body="&lt;p&gt;Yes, this can be done in After Effects, but I can suggest to use specialized 3D software, like 3dsmax. Here you will get much more tools to manipulate models and motion. Tornado effect can be done with particle systems and their &quot;gravity systems&quot;, it much more easy than animating every candy.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-05T08:20:08.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22529" PostTypeId="1" CreationDate="2017-10-05T08:59:54.483" Score="1" ViewCount="2156" Body="&lt;p&gt;I just noticed Periscope &lt;a href=&quot;https://www.pscp.tv/help/external-encoders&quot; rel=&quot;nofollow noreferrer&quot;&gt;Producer&lt;/a&gt; capability to accept live streaming from external sources. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A quick test with ffmpeg fails to fit bitrate requirements of 160kbps max for audio. Periscope says my audio bitrate is &quot;475.243 kbps&quot;, while allowd max is 160kbps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;testsrc&quot; creates a test pattern video and &quot;sine&quot; filter generates a 440Hz tone with beeps. I tried various settings to limit video and audio bitrate, but none seems to work. Here's the latest test:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i testsrc=rate=30:size=960x540,format=yuv420p \&#xA;    -f lavfi -i &quot;sine=frequency=440:sample_rate=44100:beep_factor=4&quot; \&#xA;    -vf &quot;&#xA;  drawtext&#xA;    =fontfile='/Library/Fonts/MyriadPro-Regular.otf'&#xA;    :fontcolor='#ff6600'&#xA;    :fontsize=64&#xA;    :text='%{pts}'&#xA;    :x='w/2 - text_w/2'&#xA;    :y='h/2 - text_h/2'&#xA;&quot; \&#xA;    -c:v libx264 \&#xA;        -crf:v 26 \&#xA;        -preset:v fast \&#xA;        -pix_fmt yuv420p \&#xA;        -x264opts keyint=60:no-scenecut=1 \&#xA;        -maxrate:v 600k \&#xA;        -bufsize:v 1400k \&#xA;        -bt:v 100k \&#xA;        -g 60 \&#xA;        -b:v 600k \&#xA;    -c:a aac \&#xA;        -bt:a 10k \&#xA;        -b:a  128k \&#xA;        -y  -hide_banner \&#xA;    -f flv \&#xA;    -flvflags no_duration_filesize \&#xA;    rtmp://de.pscp.tv:80/x/MYSECRETKEY&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Periscope complains:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/FRoEl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FRoEl.png&quot; alt=&quot;screen shot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Please advice how to limit aac audio bitrate so it fits under 160kbps?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg displays this while running:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, lavfi, from 'testsrc=rate=30:size=960x540,format=yuv420p':&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: rawvideo (I420 / 0x30323449), yuv420p, 960x540 [SAR 1:1 DAR 16:9], 30 tbr, 30 tbn, 30 tbc&#xA;Input #1, lavfi, from 'sine=frequency=440:sample_rate=44100:beep_factor=4':&#xA;  Duration: N/A, start: 0.000000, bitrate: 705 kb/s&#xA;    Stream #1:0: Audio: pcm_s16le, 44100 Hz, mono, s16, 705 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; h264 (libx264))&#xA;  Stream #1:0 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[libx264 @ 0x7fcd5b050800] using SAR=1/1&#xA;[libx264 @ 0x7fcd5b050800] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;[libx264 @ 0x7fcd5b050800] profile High, level 3.1&#xA;[libx264 @ 0x7fcd5b050800] 264 - core 148 - H.264/MPEG-4 AVC codec - Copyleft 2003-2017 - http://www.videolan.org/x264.html - options: cabac=1 ref=2 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=6 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=1 keyint=60 keyint_min=6 scenecut=0 intra_refresh=0 rc_lookahead=30 rc=crf mbtree=1 crf=26.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 vbv_maxrate=600 vbv_bufsize=2400 crf_max=0.0 nal_hrd=none filler=0 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, flv, to 'rtmp://de.pscp.tv:80/x/MYSECRETKEY':&#xA;  Metadata:&#xA;    encoder         : Lavf57.71.100&#xA;    Stream #0:0: Video: h264 (libx264) ([7][0][0][0] / 0x0007), yuv420p(progressive), 960x540 [SAR 1:1 DAR 16:9], q=-1--1, 600 kb/s, 30 fps, 1k tbn, 30 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.89.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 600000/0/600000 buffer size: 2400000 vbv_delay: -1&#xA;    Stream #0:1: Audio: aac (LC) ([10][0][0][0] / 0x000A), 44100 Hz, mono, fltp, 128 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc57.89.100 aac&#xA;frame= 8146 fps=156 q=32.0 size=   10323kB time=00:04:29.93 bitrate= 313.3kbits/s speed=5.17x  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;[SOLVED]&lt;/strong&gt; My fault: missed the &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Advanced-options&quot; rel=&quot;nofollow noreferrer&quot;&gt;-re&lt;/a&gt; flag that would limit speed of reading the generators at a speed of playback. My ffmpeg was streaming data to Periscope much faster than the playback, thus exceeding the bitrate limits. Following is the working code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -re \&#xA;    -f lavfi \&#xA;    -i testsrc=rate=30:size=960x540,format=yuv420p \&#xA;    -re \&#xA;    -f lavfi \&#xA;    -i &quot;sine=frequency=440:sample_rate=44100:beep_factor=4&quot; \&#xA;    -vf &quot;&#xA;  drawtext&#xA;    =fontfile='/Library/Fonts/MyriadPro-Regular.otf'&#xA;    :fontcolor='#ff6600'&#xA;    :fontsize=64&#xA;    :text='%{pts}'&#xA;    :x='w/2 - text_w/2'&#xA;    :y='h/2 - text_h/2'&#xA;&quot; \&#xA;    -c:v libx264 \&#xA;        -crf:v 22 \&#xA;        -preset:v fast \&#xA;        -pix_fmt yuv420p \&#xA;        -x264opts keyint=60:no-scenecut=1 \&#xA;        -maxrate:v 600k \&#xA;        -bufsize:v 2400k \&#xA;        -g 60 \&#xA;    -c:a aac \&#xA;        -ac 2 \&#xA;        -b:a 96k \&#xA;        -maxrate:a 96k \&#xA;        -bufsize:a 192k \&#xA;    -f flv \&#xA;    -flvflags no_duration_filesize \&#xA;    -y  -hide_banner \&#xA;    rtmp://de.pscp.tv:80/x/MYSECRETCODE&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20162" LastEditorUserId="20162" LastEditDate="2017-10-05T15:29:18.917" LastActivityDate="2018-01-04T09:12:25.920" Title="ffmpeg live streaming to Periscope: bitrate appears too high" Tags="|ffmpeg|bitrate|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22530" PostTypeId="2" ParentId="22378" CreationDate="2017-10-05T09:34:10.567" Score="1" Body="&lt;p&gt;Combining camera footage with generated objects is called &lt;a href=&quot;https://www.youtube.com/watch?v=8jOkA_vze5A&quot; rel=&quot;nofollow noreferrer&quot;&gt;compositing&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The candy scene could be created in three steps:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The girl was filmed ahead of a green screen. Green parts of the footage made transparent.&lt;/li&gt;&#xA;&lt;li&gt;3D scene was created with background furniture and the candies flying – in Cinema 4D or any other 3D package. It was rendered to a movie clip A. And the frames with candies flying towards the viewer rendered with transparent background to clib B. &lt;/li&gt;&#xA;&lt;li&gt;AfterEffects or other compositing package was used to combine the three layers (front to back): clip B, green screen, clip A.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vWhFf.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vWhFf.jpg&quot; alt=&quot;compositing&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20162" LastEditorUserId="20162" LastEditDate="2017-10-05T10:43:04.707" LastActivityDate="2017-10-05T10:43:04.707" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22531" PostTypeId="2" ParentId="22525" CreationDate="2017-10-05T10:08:47.380" Score="7" Body="&lt;p&gt;There's no way to force the drawtext filter to fit the text in a certain width.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you can do, is get the rendered text dimensions in a first pass and then run drawtext accordingly in 2nd pass, or crop and scale the output using the values from first pass.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For first pass,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video -vf drawtext=fontfile=path/to/font:fontsize=FinalSize:text='Lorem Ipsor' \&#xA;                   :x=0+0*print(tw):y=0+0*print(th) -vframes 1 -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will print the text at the top-left. The print statements will output&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;84.000000&#xA;14.000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The first value is &lt;code&gt;tw&lt;/code&gt; - the width, and the 2nd &lt;code&gt;th&lt;/code&gt; - the height, in pixels.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-10-05T10:08:47.380" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="22532" PostTypeId="2" ParentId="22529" CreationDate="2017-10-05T14:15:54.670" Score="1" Body="&lt;p&gt;You can use option &lt;code&gt;-ab&lt;/code&gt;, like &lt;code&gt;-ab 32000&lt;/code&gt; for 32kbit/s bitrate audio. But here may be problem: not all codecs (encoders) can support so small bitrate. For example, libaacplus can do even smaller, but it was removed from ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use options &lt;code&gt;-qmix&lt;/code&gt; and &lt;code&gt;-qmax&lt;/code&gt; for define video quality. Try something like &lt;code&gt;-qmin 32 -qmax 64&lt;/code&gt;. Also, check &lt;code&gt;-bufsize&lt;/code&gt;, you set it to 1400k.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-05T14:15:54.670" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22534" PostTypeId="1" CreationDate="2017-10-05T21:45:03.893" Score="1" ViewCount="171" Body="&lt;p&gt;I'm editing many videos, &gt;100 with each ~45min. The editing itself is specific to each video and can not be automated. Currently I'm using freeware to do this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I'm missing is a way to delegate the export tasks to a batch job running at night or maybe even another machine. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a program or general setup supporting batch rendering/export of multiple projects?&lt;/p&gt;&#xA;" OwnerUserId="20219" LastEditorUserId="1950" LastEditDate="2017-11-10T13:17:42.193" LastActivityDate="2018-01-09T13:50:00.923" Title="How to manage exports when editing lots of videos?" Tags="|export|windows-movie-maker|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22537" PostTypeId="2" ParentId="22526" CreationDate="2017-10-05T22:41:54.047" Score="2" Body="&lt;p&gt;Freely available video quality of experience tools are quite rare and probably aren't going to work for your use case out of the box. The &lt;a href=&quot;https://github.com/Netflix/vmaf&quot; rel=&quot;nofollow noreferrer&quot;&gt;Netflix VMAF algorithm&lt;/a&gt; recently became available as an FFmpeg filter. The &lt;a href=&quot;http://www.compression.ru/video/quality_measure/video_measurement_tool.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;MSU VQMT&lt;/a&gt; is one of the more mature tools, but is only free for non-commercial use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are several (and some even good) commercial QoE monitoring systems available, if you have the budget.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-10-05T22:41:54.047" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22539" PostTypeId="2" ParentId="22529" CreationDate="2017-10-06T08:36:32.370" Score="1" Body="&lt;p&gt;I missed the &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Advanced-options&quot; rel=&quot;nofollow noreferrer&quot;&gt;-re&lt;/a&gt; flag that would limit speed of reading the generators at a speed of playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My ffmpeg was streaming data to Periscope as fast as it can, much faster than a live stream would, thus exceeding the bitrate limits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Working code, that will stream a test table with a timecode running on top of it to Periscope:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -re \&#xA;    -f lavfi \&#xA;    -i testsrc=rate=30:size=960x540,format=yuv420p \&#xA;    -re \&#xA;    -f lavfi \&#xA;    -i &quot;sine=frequency=440:sample_rate=44100:beep_factor=4&quot; \&#xA;    -vf &quot;&#xA;  drawtext&#xA;    =fontfile='/Library/Fonts/MyriadPro-Regular.otf'&#xA;    :fontcolor='#ff6600'&#xA;    :fontsize=64&#xA;    :text='%{pts}'&#xA;    :x='w/2 - text_w/2'&#xA;    :y='h/2 - text_h/2'&#xA;&quot; \&#xA;    -c:v libx264 \&#xA;        -crf:v 22 \&#xA;        -preset:v fast \&#xA;        -pix_fmt yuv420p \&#xA;        -x264opts keyint=60:no-scenecut=1 \&#xA;        -maxrate:v 600k \&#xA;        -bufsize:v 2400k \&#xA;        -g 60 \&#xA;    -c:a aac \&#xA;        -ac 2 \&#xA;        -b:a 96k \&#xA;        -maxrate:a 96k \&#xA;        -bufsize:a 192k \&#xA;    -f flv \&#xA;    -flvflags no_duration_filesize \&#xA;    -y  -hide_banner \&#xA;    rtmp://de.pscp.tv:80/x/MYSECRETCODE&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20162" LastActivityDate="2017-10-06T08:36:32.370" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22540" PostTypeId="2" ParentId="22262" CreationDate="2017-10-06T09:14:43.473" Score="-2" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;But the clips stay in the timeline. I can't have them set aside in a&#xA;  collection out of the way so that I can click and drag them into the&#xA;  timeline in the order that I want.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So you want &quot;playlist&quot; insted of timeline?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fresh article about alternatives in 2017: &lt;a href=&quot;http://www.techradar.com/news/the-best-free-windows-movie-maker-alternative&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.techradar.com/news/the-best-free-windows-movie-maker-alternative&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Free only alternatives: &lt;a href=&quot;https://alternativeto.net/software/windows-movie-maker/alternatives/?license=free&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://alternativeto.net/software/windows-movie-maker/alternatives/?license=free&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reddit: &lt;a href=&quot;https://www.reddit.com/r/edtech/comments/63f9f2/alternative_to_movie_maker/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.reddit.com/r/edtech/comments/63f9f2/alternative_to_movie_maker/&lt;/a&gt; and &lt;a href=&quot;https://www.reddit.com/r/letsplay/comments/5pcgh2/does_anyone_here_have_a_free_alternative_to_movie/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.reddit.com/r/letsplay/comments/5pcgh2/does_anyone_here_have_a_free_alternative_to_movie/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And use google!&#xA;&lt;a href=&quot;https://i.stack.imgur.com/VBtqU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VBtqU.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-06T09:14:43.473" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22541" PostTypeId="1" CreationDate="2017-09-20T20:48:10.330" Score="0" ViewCount="1192" Body="&lt;p&gt;I'm making a short film that takes place mostly in a car at night. Will i need a polarizer to see the actors through the windshield?&lt;/p&gt;&#xA;" OwnerDisplayName="Zach Sheram" LastEditorUserId="17390" LastEditDate="2018-08-21T17:23:38.017" LastActivityDate="2018-08-21T17:23:38.017" Title="Things to consider when shooting through car window at night?" Tags="|lighting|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22542" PostTypeId="2" ParentId="22541" CreationDate="2017-09-20T21:19:35.310" Score="3" Body="&lt;p&gt;While a polarizer could reduce reflection, it can induce patterns on rear windshields. Happens all the time with my polarized sunglasses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're shooting through the windshield of a stationary car, you could try to black out around the camera so that no light reflects off the inside of the windshield.&lt;/p&gt;&#xA;" OwnerDisplayName="Calyth" LastActivityDate="2017-09-20T21:19:35.310" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22543" PostTypeId="2" ParentId="22541" CreationDate="2017-09-21T03:04:52.947" Score="4" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;I'm making a short film that takes place mostly in a car at night. Will I need a polarizer to see the actors through the windshield?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;A polarizer could help reduce reflections, but the best way to do such a shot if you desire no reflections is to shoot it in a way that there are no reflections to reduce. How you can best do this depends greatly on how you want the finished scene to look, particularly what angles you desire light to be illuminating your actors and the car's interior. One obvious solution would be to remove the windshield altogether.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just because a scene takes place in a car at night doesn't mean you must shoot the scene at night - or even in an unmodified car.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many of the tricks of the movie trade involve shooting in conditions that barely resemble the final look of the scene on screen. This was true in the film days just as it is true in the digital age. The use of green screens, CGI, etc. has expanded the possibilities of what can be done to footage after it is collected but the practice of using lighting and exposure to make a scene look different than it actually was when shot has been around almost as long as motion pictures have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of those 'night' scenes you see in old westerns were shot in daylight with an 80B filter on the camera and the film underexposed by a couple of stops. So much so that the 80B and similar blue filters were nicknamed &quot;American Midnight&quot; filters in Europe. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;More than a few scenes in films with characters in cars were shot with the windshields and other glass (or even parts of the car's roof) removed. Often such scenes could be shot with multiple sets (glassless stationary vehicle, moving intact vehicle, fabricated sets resembling parts of the interior of the car) and edited together in a way that made them appear seamless.&lt;/p&gt;&#xA;" OwnerUserId="4089" OwnerDisplayName="Michael Clark" LastActivityDate="2017-09-21T03:10:36.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22544" PostTypeId="2" ParentId="22541" CreationDate="2017-10-06T14:59:47.030" Score="0" Body="&lt;p&gt;Generally my approach to car shoots is to avoid shooting through windows whenever practically possible.  If the shot is stationary, it is possible to open car doors and shoot from far enough back.  As long as you don't get the actual frame of the car in the shot, it won't be noticeable that this is what you did.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If shooting through an open door isn't an option, shooting with a wide angle lens on a small stabilized camera (I generally use an Osmo.) can allow for a workable shot, again without having to shoot through glass.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you absolutely have to shoot from the outside, using a window mount and putting a matte box around the camera to shut out other light sources is a good option for preventing the glass from interfering with the shot, but it is a pain to setup.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also strap on mounts that can hang outside of a window for a moving car shot where you need the camera located physically outside the vehicle but still want to be able to avoid having glass in the way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another trick when shooting a car at night is to light the scene.  Just because you want it to look dark doesn't mean it has to be dark.  When trying to shoot night time footage, I normally light the car from light placements that would make sense for a car, but with far higher intensity.  This allows for a well exposed image that I can artificially darken to produce the desired look.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-10-06T14:59:47.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22545" PostTypeId="1" AcceptedAnswerId="22547" CreationDate="2017-10-06T20:36:06.280" Score="1" ViewCount="7768" Body="&lt;p&gt;Should I just use plain command like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i C:\video_input.ts -c:v copy -c:a copy -bsf:a aac_adtstoasc C:\video_output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but I have seen many using &lt;code&gt;-copyts&lt;/code&gt; to it, why is this needed I do not completely understand it's documentation?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i C:\video_input.ts -c:v copy -c:a copy -bsf:a aac_adtstoasc -copyts C:\video_output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and also every time I use &lt;code&gt;-copyts&lt;/code&gt; there is an added delay before the first frame starts, so to fix this is it safe to use &lt;code&gt;-start_at_zero&lt;/code&gt; or it breaks the point of copyts to some degree (if that makes any sense)?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i C:\video_input.ts -c:v copy -c:a copy -bsf:a aac_adtstoasc -copyts -start_at_zero C:\video_output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="20232" LastActivityDate="2017-10-07T05:26:32.913" Title="Proper command to remux mpeg-ts to mp4 with FFmpeg?" Tags="|ffmpeg|streaming|mp4|mpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22547" PostTypeId="2" ParentId="22545" CreationDate="2017-10-07T05:26:32.913" Score="4" Body="&lt;p&gt;Unless you know you have a specific need to preserve timestamps, there's no need to use &lt;code&gt;-copyts&lt;/code&gt;. MPEG-TS, being a format, used for remote viewing, will have some start time offset, by default, to allow for buffering at the player's side. MP4 for local playback, doesn't need that, &lt;code&gt;copyts&lt;/code&gt; will preserve it.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-10-07T05:26:32.913" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="22549" PostTypeId="1" CreationDate="2017-10-07T23:09:28.897" Score="1" ViewCount="132" Body="&lt;p&gt;so I'm completely new to After Effects (normally work with premiere or stop motion animation) so if I've not given enough/or the right information, just let me know what you need to know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a four frame animation, and want to use keyframes generated by audio to choose which frame to show of the animation (it's for a music video and each frame is a different position while playing an instrument). I was hoping to assign a frame to different value ranges generated by the audio, I've managed to animate other things with audio keyframes and linear expressions. The issue I seem to be having is that keyframes seem to only exist for effects, so I can't figure out how to assign each frame of the animation a value that I can then use in relation to the generated keyframes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sorry if that doesn't make any sense, but any help would be hugely appreciated!&lt;/p&gt;&#xA;" OwnerUserId="20235" LastActivityDate="2017-12-08T02:13:30.520" Title="Stop motion animation and audio keyframes in AE" Tags="|after-effects|audio|animation|keyframes|stop-motion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22550" PostTypeId="2" ParentId="22283" CreationDate="2017-10-08T10:54:05.297" Score="1" Body="&lt;p&gt;Low-budget scenario:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Place camcorder on tripod. Disable auto-focus, disable auto-exposure, disable everything... Sometimes you can do it only on &quot;PRO&quot; cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use prime lenses with proper angle, so only stage can be seen, zoom lenses is fine too, but cheap lenses / part of matrix can make not so perfect image. Make sure, you got good focused image: create some test recordings and see in on computer, NOT on camera viewfinder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Place mics on actors and record sound of them on any device, even on cellphones, today it very cheap. Also, you can use directed mics on scene - not so cheap, but may be better to get some &quot;environment noises&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And spend some time on final video edit, sound mixing and so on. With minimal cost you can get good quality results.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-08T10:54:05.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22551" PostTypeId="2" ParentId="12309" CreationDate="2017-10-08T11:14:27.770" Score="0" Body="&lt;p&gt;After studying the DASH spec, I'd say the fragmented MP4 is the must for media segment files. Therefore, it is not possible to use a full (or non-fragmented) MP4 in DASH.&lt;/p&gt;&#xA;" OwnerUserId="5880" LastActivityDate="2017-10-08T11:14:27.770" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22552" PostTypeId="2" ParentId="22283" CreationDate="2017-10-08T13:09:17.663" Score="1" Body="&lt;p&gt;My team of teenage volunteers does this every year for our church Christmas program. We use mostly canon vixia consumer cameras, augmented with a Sony handicam and other sources as needed and available. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example:  &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/6LQsJ650mBk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Use sound from the house sound system as your primary source. Augment as needed or desirable with ambient. Use a clapper board so you can later sync the sound and the video.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Shoot a dress rehearsal. I like to use dress rehearsals to get shots I could never get in a live performance (dolly shots, dramatic lighting ,  then insert them into the live performance in postproduction .&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use multiple cameras from different angles. Use tripods and monopods to stabilize the cameras. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Postproduction - get Adobe creative cloud. You lease the sections of  suite you actually use on a month to month basis. Get really good with premiere pro and audacity.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If budget permits, rent a Black magic ATEM 1 M/E flypack to . Live production is more stressful but much quicker than doing everything in postproduction. You can also use the recording from the ATEM as a rough edit template for postproduction,  rather than as the primary recording. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;EDIT:  More details as requested&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have permanently mounted vixia HFG10 and HFG30 cameras on servo PT heads, feeding a BM ATEM1 M/e with 1080P signal. You can achieve much the same (or better) effect with a good tripod and live operator for each camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In addition to the two fixed cameras, in this production we used additional hand held HFG10 and HFG20 cameras (2 more cameras), a Sony handicam, and an iPhone. Footage from the additional cameras was added into the recording in post production with Adobe Premiere Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We used the tungsten preset white balance. Only the iPhone video was white balanced in post production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We toggled the autofocus on to get focus quickly, then off again because the sparkles and christmas lights on stage play havoc with the autofocus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything else was on automatic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The most important part of the equation was the crew. This crew has been working together since 5th and 6th grade (5+ years now), doing live webcasts at least once per week with this equipment, and has on occasion put in 40 hour weeks for special events.&lt;/p&gt;&#xA;" OwnerUserId="19491" LastEditorUserId="19491" LastEditDate="2017-10-25T20:39:36.727" LastActivityDate="2017-10-25T20:39:36.727" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22553" PostTypeId="1" CreationDate="2017-10-08T19:09:06.697" Score="0" ViewCount="14615" Body="&lt;p&gt;I have several video clips that are small files -- the videos are pretty low quality. I'm on a Windows computer. I just need to trim the videos and rotate them 180 degrees. You'd think that if I trim the videos, the files would be smaller than they started, but for some reason when I do it on Windows Moviemaker it makes them bigger. I'm not willing to pay for a legit movie editor to do something this simple. Does anybody know how I can do this? I just need to trim, rotate, and potentially combine clips without changing the resolution and without increasing the files sizes. Thanks so much!&lt;/p&gt;&#xA;" OwnerUserId="20236" LastActivityDate="2021-04-01T07:24:22.847" Title="How do I edit a video clip without increasing size?" Tags="|video|video-editor|editing|file-formats|windows-movie-maker|" AnswerCount="5" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22554" PostTypeId="2" ParentId="22549" CreationDate="2017-10-09T01:24:32.207" Score="1" Body="&lt;p&gt;You can choose which frame of footage is shown by enabling &lt;strong&gt;Time Remapping&lt;/strong&gt; for the layer. Find it in the layer menu, or by right-clicking a layer in the timeline, or by using &lt;kbd&gt;ctrl / ⌘&lt;/kbd&gt;&lt;kbd&gt;alt / ⌥&lt;/kbd&gt;&lt;kbd&gt;t&lt;/kbd&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ijPy6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ijPy6.png&quot; alt=&quot;layer menu&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Turn it on for a layer and the displayed time is set by the value of the &lt;strong&gt;Time Remap&lt;/strong&gt; property, which can be keyframed or controlled with expressions. Once you've applied it hit &lt;kbd&gt;u&lt;/kbd&gt; to show it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/I4u8V.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/I4u8V.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The value of the property is in in seconds, so you'll have to convert it to frames. You'll have to check what fps value the footage is interpreted as having.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-10-09T01:24:32.207" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22555" PostTypeId="2" ParentId="22428" CreationDate="2017-10-09T04:18:09.610" Score="0" Body="&lt;p&gt;The only reason I can think of that there would be a difference in processor performance is that the instruction set available on an Intel CPU (particularly something like an i7 or i9) may include some instructions that are not present on AMD chips that helps with optimizing more in to fewer instructions.  While both manufacturers do a lot of optimized instructions, software support for a particular set of calls could be more limited.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's also possible that it's just ill informed users, but it is certainly potentially possible that the performance on a higher end Intel chip would be the performance of an AMD chip at the same clock speed.  That said, it's still very unlikely that it wouldn't work at all, it just might be a bit slower.  The system requirements for Edius appear to confirm this as well.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-10-09T04:18:09.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22556" PostTypeId="2" ParentId="22460" CreationDate="2017-10-09T04:36:39.813" Score="1" Body="&lt;p&gt;Currently DJI is pretty much your go-to for this.  They have a great mix of price range to performance ranging from the $500 Spark (which is actually a bit more if you want a physical controller which would be very helpful for what you want to do), up through multi-thousand dollar rigs that can fly a Ronan with a Red Epic or Arri Alexa on them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, I'm an FAA certified remote pilot and currently fly a Phantom 3 Professional.  The quality of the footage is very good, especially when using an ND filter and lens shade to avoid issues with shadows from the props on the lens.  The biggest limitation is that complex shots can be difficult as I have to fly both the drone and direct the camera, which can make work in tight spaces very difficult.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need to pull off advanced shots that require careful maneuvering of the drone itself, I'd highly recommend a two man configuration of an Inspire or Inspire 2 if you have the budget for it.  The quality of the camera on the Inspire and Inspire 2 can be substantially better and the dual operators allows for one person to focus on getting the shot while the other person focuses on maneuvering the aircraft itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this is out of your budget, an older Phantom or a Mavic is a great midrange option that offers solid performance for the price.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Spark is on the low end, but is a relatively cheap entry point in to automated drone space though it is also a much more limited platform compared to the Mavic or above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, be aware that total cost of ownership extends beyond just the drone itself.  You will likely need a few extra batteries to be able to get shots done and possibly extra chargers to stay up and running.  This alone can add hundreds of dollars to the total price tag.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, for commercial work, many localities require certification or licensing.  In the US for example, part 107 remote pilots have to pass a $150 licensing exam and a TSA background check after which they get a two year license for commercial operations.  While it's possible to self-study, online courses are very helpful and typically in the $125-$250 range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if you need liability insurance, you'll likely need drone specific insurance which runs a few hundred dollars a year to a little under a grand a year depending on your options for a drone in the price range you are looking at.  (This also covers your liability if you crash the drone in to something or someone.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ultimately, if you only need a few shots, your best bet is probably to find a qualified operator in your area and contract out to them for those shots specifically.  They will already have everything they need and will allow you to avoid the cost and learning curve associated with buying and learning to fly a drone well enough to get the shots you desire.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2017-10-09T13:24:30.357" LastActivityDate="2017-10-09T13:24:30.357" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22557" PostTypeId="2" ParentId="22327" CreationDate="2017-10-09T15:10:49.657" Score="3" Body="&lt;p&gt;For 1st question - Most likely you're looking at not applicable error (the default yuv420p is not usable here - you may also need to get newer ffmpeg) - while using the hwdownload you need to tell explicitly to the NPP scaler the output format of the video frames. For your case the below command should make the trick:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -thread_queue_size 1024 \&#xA;    -hwaccel cuvid -c:v mpeg2_cuvid -deint 2 \&#xA;    -drop_second_field 1 -vsync 0 \&#xA;    -i &quot;udp://226.58.24.4:2000?overrun_nonfatal=1&quot; \&#xA;    -i /home/anis/logo/2mbps.png \&#xA;    -filter_complex &quot;[0:v]scale_npp=1920:1080,hwdownload,format=nv12 [base]; [base][1:v] overlay=main_w-overlay_w-10:10 [marked]&quot; \&#xA;    -map &quot;[marked]&quot; -vcodec h264_nvenc -aspect 16:9 \&#xA;    -b:v 1808k -minrate 1808k -maxrate 1808k -bufsize 904k \&#xA;    -g 100 -no-scenecut 1 -forced-idr 0 -preset:v medium -vprofile main -level 4.1 \&#xA;    -map 0:#0x091d -acodec libfdk_aac -ab 192k -ar 48000 \&#xA;    -f flv rtmp://10.150.12.104/virginandtv/abr2k_test&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you could please always include full ffmpeg output as this makes debugging always easier.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For 2nd question - I wasn't able to find any way how to mix frames on the GPU using the current NPP library w/ ffmpeg. It certainly should be possible so whenever you find a solution let others know. I personally don't have enough time to read through all the NVIDIA docs and work on implementation but somebody else may get more time :-)&lt;/p&gt;&#xA;" OwnerUserId="20240" LastActivityDate="2017-10-09T15:10:49.657" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22559" PostTypeId="2" ParentId="22471" CreationDate="2017-10-09T21:16:09.400" Score="0" Body="&lt;p&gt;After suprisingly open the mkv with Aegisub itself, I found out that to achieve this effect, it uses a tag called alpha (like so:&lt;code&gt;{\alpha&amp;amp;HFF&amp;amp;}&lt;/code&gt;) that changes the transparency of the text. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To do this effect, you need to duplicate the same line as many times as you need (no need to cut the original transcription), then use the alpha tag to make the text invisible afterwards, like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;N-{\alpha&amp;amp;HFF&amp;amp;}No! It can't be!&#xA;N-No!{\alpha&amp;amp;HFF&amp;amp;} It can't be!&#xA;N-No! It can't be!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To achieve this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;N-&#xA;N-No!&#xA;N-No! It can't be!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Bear in mind that putting the tag before a comma or a dot could cause some trouble with text positioning (it is supposed to be centered). Instead I recommend use this &lt;strong&gt;after&lt;/strong&gt; the comma or dot.&lt;/p&gt;&#xA;" OwnerUserId="12263" LastActivityDate="2017-10-09T21:16:09.400" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22560" PostTypeId="1" CreationDate="2017-10-09T21:23:26.467" Score="1" ViewCount="161" Body="&lt;p&gt;All is in the question. For the moment, I use PNG image sequences which is cool but sometimes I wonder if a better option exists. I heard about HuffYUV but I never tried it because it wasn't easy to find informations about it. Anyway this format should be the most standard as possible. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Software I use are : Sony Vegas, Blender, Max/MSP Jitter, After Effect, Processing, etc... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any Idea ? &lt;/p&gt;&#xA;" OwnerUserId="19990" LastEditorUserId="19990" LastEditDate="2017-10-11T01:50:43.903" LastActivityDate="2017-10-11T01:50:43.903" Title="Which lossless RGBA codec should I use for share animations sequences between my different video software?" Tags="|codec|" AnswerCount="0" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="22563" PostTypeId="1" CreationDate="2017-10-10T10:44:44.357" Score="2" ViewCount="184" Body="&lt;p&gt;I have a &lt;code&gt;.mov&lt;/code&gt; video exported from Photos app (it’s the video part of live photo). The original video resolution is 960x720:&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/AQ8SS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AQ8SS.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And in Quick Time player it looks right:&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/At4Sl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/At4Sl.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Final Cut Pro I have a project with the same resolution:&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/vDrZ1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vDrZ1.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And when I add the &lt;code&gt;.mov&lt;/code&gt; video into timeline (via drag &amp;amp; drop) it squeezes it like this:&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/IPvgE.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IPvgE.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm a total newbie in FCP so maybe I missed something obvious. How to make FCP to not squeeze the video? (I’ve tried &lt;code&gt;Spatial Conform -&amp;gt; Type -&amp;gt; None&lt;/code&gt; but it does not help: it cuts the sides and enlarge the video height while keeping wrong aspect ratio)&lt;/p&gt;&#xA;" OwnerUserId="20247" LastActivityDate="2017-11-09T14:06:17.107" Title="When import video in final cut pro it’s uses wrong resolution" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22564" PostTypeId="1" CreationDate="2017-10-10T13:33:14.533" Score="2" ViewCount="80" Body="&lt;p&gt;Is the following scenario legal for a professional editor?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A family wants to make a &lt;strong&gt;birthday video&lt;/strong&gt; for their son for completely &lt;strong&gt;non commercial use&lt;/strong&gt;.&lt;/li&gt;&#xA;&lt;li&gt;In the video they would like a particular &lt;strong&gt;copyrighted song&lt;/strong&gt; to be played in the background.&lt;/li&gt;&#xA;&lt;li&gt;They hire an editor to edit this video &lt;strong&gt;using the song without licensing it&lt;/strong&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="20248" LastActivityDate="2018-10-26T02:12:30.010" Title="Can I use unlicensed music in a birthday video and take money for my editing work?" Tags="|copyright|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22565" PostTypeId="2" ParentId="22564" CreationDate="2017-10-10T13:52:45.177" Score="3" Body="&lt;p&gt;I am not a lawyer and it may depend on where you are located, but generally speaking, even if you weren't being paid, this is technically a violation of copyright that you &lt;em&gt;could&lt;/em&gt; be sued over.  It is highly unlikely that anyone would come after you for it if they only use it privately, but if it was, say, published to youtube, then there would be more chance of issues coming up and you would still be the person who sold them the video.  You would probably be liable under most jurisdictions copyright laws as this is a pretty major situation that copyright is specifically designed to prevent.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The intent or profit is generally irrelevant to most copyright law.  All that generally maters is the amount that it &lt;em&gt;should&lt;/em&gt; have cost to make use of it (the actual damage is the money the author didn't get that they would have gotten for the usage).  So even if you gave it away for free (like many file sharers do), the damages are based on what the licensing for that should have been, plus a punitive penalty.  Whether you give away the work or sell it doesn't matter because it is still a work that the creator should have been paid for as it is their work.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-10-10T13:52:45.177" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22566" PostTypeId="2" ParentId="22563" CreationDate="2017-10-10T13:58:53.247" Score="2" Body="&lt;p&gt;You were on the right track with Spatial Conform -&gt; Type -&gt; None, but you also need to adjust either the fill or the sequence settings.  You are trying to put a round peg in a square hole and FCP is trying to guess how you want it to make the peg fit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You've told it you don't want it to stretch the peg. (This makes sense as a default because some formats do not use square pixels, such as anamorphic widescreen or NTSC DV.)  Now you need to tell it either that you don't mind if the peg is too small for the hole (prevent scaling to fill) or adjust the shape of the hole (altering the sequence/timeline settings).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I unfortunately can't give you specific details on how to do this in FCP as it's been quite a while since I last used it seriously, but the general concepts are basically the same across NLEs.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-10-10T13:58:53.247" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22567" PostTypeId="2" ParentId="22534" CreationDate="2017-10-10T14:05:21.220" Score="1" Body="&lt;p&gt;I would suggest you take a look at DaVinci Resolve 14 and see if it can cover what you need.  It depends on what editing you need to do as there aren't much in the way of filters available in the free version of Resolve, but it has a reasonable basic NLE and supports a batch renderer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Virtually any decent professional software offers batch render support, but many of them have costs associated with them.  Resolve is the best free option I have personally used (though I have the paid studio version.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-10-10T14:05:21.220" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22568" PostTypeId="1" CreationDate="2017-10-10T16:15:30.107" Score="1" ViewCount="1129" Body="&lt;p&gt;I have a Folder with dozens of Action Camera Clips. For each clip, I'd like to apply the same effects (&lt;em&gt;lens distortion correction&lt;/em&gt;, &lt;em&gt;warp stabilizer&lt;/em&gt; and &lt;em&gt;color correction&lt;/em&gt;). But I want to create individual output clips, so starting with 50 Clips in Folder &lt;em&gt;Source&lt;/em&gt;, I want to end up with 50 recoded matching clips in Folder &lt;em&gt;Target&lt;/em&gt;, keep File names.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a painfully repeating job doing that clip by clip. Do you see any method of automation I can apply here?&lt;/p&gt;&#xA;" OwnerUserId="10361" LastActivityDate="2017-12-12T16:38:23.933" Title="Apply effects to multiple clips (automation/batch/macro?) in Adobe Premiere CC" Tags="|premiere|automation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22569" PostTypeId="1" AcceptedAnswerId="24358" CreationDate="2017-10-10T16:52:53.373" Score="2" ViewCount="2036" Body="&lt;p&gt;I need to pass a very large amount of video through ffmpeg to be encoded to h264.&#xA;I've figured out my processing workflow and am happy with the results.&#xA;The machine is currently sporting one GTX1070.&#xA;I'm wondering if I'll benefit from adding a second card in SLI configuration?&#xA;Will it double the performance?&#xA;Is there considerable overhead?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any input.&lt;/p&gt;&#xA;" OwnerUserId="20251" LastActivityDate="2018-06-28T14:12:21.137" Title="Does FFMPEG benefit from SLI when using h264_nvenc?" Tags="|ffmpeg|nvenc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22571" PostTypeId="2" ParentId="22534" CreationDate="2017-10-10T22:47:53.940" Score="1" Body="&lt;p&gt;The straight forward way to go about it is to use Adobe Premiere. It's probably the most widely used video editing software currently (read: a lot of third party plugins, massive amount of free information online). It comes with Adobe Media Encoder. You finish editing your video and add it to the encoding queue. You can export into multiple different formats at the same time as well. Once you are ready to encode, you press go and it will encode project after project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They have a 30 day free trial if you want to try. After that it's a monthly fee of $20.&lt;/p&gt;&#xA;" OwnerUserId="20251" LastActivityDate="2017-10-10T22:47:53.940" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22573" PostTypeId="1" AcceptedAnswerId="22580" CreationDate="2017-10-11T11:08:57.053" Score="1" ViewCount="981" Body="&lt;p&gt;I'm trying to add a music intro and outro to a video. When the music is playing, a particular image should be shown as well, both before and after.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I could overlap x seconds of the music with the video as well, that'd be even better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've done this sort of thing with only an audio file, but not sure how to do it with video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So example, let's say I have a 30-second intro and a 30-second outro, each of which I wish to overlap by 10 seconds with the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for 20 seconds, the image should show. Then the video should start for the last 10 seconds of the intro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then the first 10 seconds of outro will begin during the last 10 seconds of the video, and for the final 20 seconds of the outro, the image will appear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="20257" LastActivityDate="2017-10-12T12:58:29.930" Title="Use Ffmpeg to Add Music Intro and Outro to Video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22574" PostTypeId="1" CreationDate="2017-10-11T15:58:00.910" Score="0" ViewCount="54" Body="&lt;p&gt;I'm using &lt;a href=&quot;https://free-video-cutter-joiner.en.softonic.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;free video cutter joiner&lt;/a&gt;, it's simple and very fast. However, sometimes it's not that sharp. I mean I set cut point from A to B, for example 01:25 (1 min 25 sec)to 01:55, then the output vid is like from 01:20 rather than 01:25... a five seconds shift, which is terrible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would anyone suggest a simple video cutter that is sharp in the same time. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="20259" LastActivityDate="2017-10-12T13:34:46.017" Title="Sharp video cutter in Windows" Tags="|video|video-editor|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22577" PostTypeId="2" ParentId="22408" CreationDate="2017-10-11T22:35:48.787" Score="0" Body="&lt;p&gt;This is easy with Adobe After Effects or other linear editors.  Build your text block. Set it's track and timing, and apply the fades at the appropriate points on the timeline&lt;/p&gt;&#xA;" OwnerUserId="19491" LastActivityDate="2017-10-11T22:35:48.787" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22578" PostTypeId="1" AcceptedAnswerId="23082" CreationDate="2017-10-12T01:06:46.313" Score="2" ViewCount="87" Body="&lt;p&gt;How does Youtube decide that a video was &quot;viewed&quot;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If a video is 5 minutes long and a viewer watches for 10 seconds, will this be counted as a view?&lt;/p&gt;&#xA;" OwnerUserId="18258" LastEditorUserId="2836" LastEditDate="2017-10-12T13:37:15.623" LastActivityDate="2017-12-21T09:49:07.613" Title="What counts as a &quot;View&quot; on Youtube?" Tags="|youtube|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="22580" PostTypeId="2" ParentId="22573" CreationDate="2017-10-12T05:12:30.240" Score="1" Body="&lt;p&gt;&lt;strong&gt;Step 1&lt;/strong&gt; Get the duration of the main file.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe main.mp4 -show_entries format=duration -of compact=nk=1:p=0 -v 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will print out a single value, like this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;61.600204&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;which is the duration in seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 2&lt;/strong&gt; Perform the concat&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i main.mp4 -i intro.mp4 -i outro.mp4 \&#xA;  -filter_complex &quot;[1]trim=0:20,setpts=PTS-STARTPTS[pre]; \&#xA;                   [2]trim=10,setpts=PTS-STARTPTS[post]; \&#xA;                   [pre][0][post]concat=n=3:v=1:a=0[v]; \&#xA;                   [1:a][0:a]acrossfade=d=10[a1];[a1][2:a]acrossfade=d=10[a]&quot; \&#xA;  -map '[v]' -map '[a]' out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Since the video and audio from the intro/outro are treated differently, in terms of duration, we perform two separate concats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, the intro video is trimmed to leave out the last ten seconds. The outro is trimmed to leave out its first ten seconds. Then those two trimmed segments are sandwiched with the main video stream in the first concat.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For audio, the crossfades are performed in two stages. First, the intro with the main audio. Then, that result with the outro audio. Duration of crossfade is 10 seconds.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;In case, the intro/outro music and image are separate files, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i main.mp4 -i intro.mp3 -i outro.mp3 \&#xA;       -loop 1 -framerate X -t 20 -i pre.jpg -loop 1 -framerate X -t 20 -i post.jpg \&#xA;  -filter_complex &quot;[3][0][4]concat=n=3:v=1:a=0[v]; \&#xA;                   [1:a][0:a]acrossfade=d=10[a1];[a1][2:a]acrossfade=d=10[a]&quot; \&#xA;  -map '[v]' -map '[a]' out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here, &lt;code&gt;X&lt;/code&gt; should be replaced with the framerate of the main file. The images should be of the same resolution as the video.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-10-12T12:58:29.930" LastActivityDate="2017-10-12T12:58:29.930" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="22581" PostTypeId="1" AcceptedAnswerId="22583" CreationDate="2017-10-12T11:56:43.383" Score="0" ViewCount="1590" Body="&lt;p&gt;I'm working on a script that live streams 3 hours of video to several servers. Is there a command (or tool... maybe using something else like wireshark?) that I could run on each of the streams to automate a check for glaring audio/video sync issues?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If so, at least please point me to the relevant reading materials/documentation. Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="18408" LastActivityDate="2017-10-16T13:39:41.983" Title="ffprobe/ffplay/ffmpeg command for checking audio/video sync" Tags="|video|ffmpeg|software-recommendation|sync|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22582" PostTypeId="2" ParentId="22574" CreationDate="2017-10-12T13:34:46.017" Score="1" Body="&lt;p&gt;The issue you are seeing is a limitation of your video file format.  In order to get such high levels of compression, modern video is encoded such that only some frames are fully described.  The remaining frames are described by how they differ from those frames coming before or after them.  The frames of video that are based on a given full frame are called a GOP or group of pictures.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In many file formats, it is not possible to setup the video to start or end on a point that is not the beginning or end of a group of pictures without re-encoding which would result in quality loss.  What your file splitter/joiner is likely doing is grabbing the nearest start/end of a group of pictures that includes the part of the video you wanted and starting/ending there.  If the GOP is large, then this could potentially be some amount of time away from where you actually tried to make your cut.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could use a transcoder to re-encode the footage, but this would result in a loss of detail since you would have an additional generation of compression loss.  You could also possibly try moving it to a container that allows arbitrary start and end points when playing back (basically just skips the start and end of the GOP on playback) but that would depend on the video players you use supporting the feature and having the actual encoding in a codec that is supported by such a container format.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-10-12T13:34:46.017" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22583" PostTypeId="2" ParentId="22581" CreationDate="2017-10-12T20:23:53.807" Score="1" Body="&lt;p&gt;This tool is impossible. Almost.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To check sync of audio/video, you need something what appeared in both streams, what can be used as sync points. In old days used Clapperboard during film shooting. In television there was hidden timecode at border of frame, in zone of overscan which not displayed on TV&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you writing professional software, include timecodes to both streams. If not, just stream your video and audio in a single container, it enough.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastEditorUserId="19905" LastEditDate="2017-10-16T13:39:41.983" LastActivityDate="2017-10-16T13:39:41.983" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22584" PostTypeId="2" ParentId="22553" CreationDate="2017-10-12T20:37:48.457" Score="0" Body="&lt;p&gt;Why size increased? Because used different methods to compress frames, with different ratios. And every re-compression takes away some quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why you need to recompress file? When you change something, even single pixel, you must recompress whole image. So, rotation of image will cause image recompression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to do even smaller file? Increase ratio of compression and lost some quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, it possible in some cases do lossless recompression, for example, for mjpeg. But this method very limited and I don't know tools to end-users what can do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want just strip-out some segments of video and NOT touch frame content, I can suggest to use VirtualDub, where exist cool mode &quot;direct stream copy&quot;.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-12T20:37:48.457" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22585" PostTypeId="1" AcceptedAnswerId="22596" CreationDate="2017-10-13T04:38:33.697" Score="1" ViewCount="1212" Body="&lt;p&gt;In the Sony FDR-X3000 action cam user manual, it says:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;em&gt;About time code:&lt;/strong&gt; Time code is a useful function for advanced image editing, which records hours/minutes/seconds/frames on the image data.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;em&gt;About user bit:&lt;/strong&gt; User bit is a function that can record information (8-digit hexadecimal numbers) such as date/time/scene number. This function is useful for editing movies created using two or more cameras.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's all it says.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For time code to be useful, don't multiple devices have to be synchronized, as with a master and slaves? Is the Sony X-3000 able to synchronize multiple cameras somehow? What would the benefit be of using this time code vs. just lining up multiple clips in my editing software (as with a hand-clap audio cue, for example) and cutting away?&lt;/p&gt;&#xA;" OwnerUserId="17627" LastActivityDate="2017-10-13T14:03:01.220" Title="How to use (or should I use) time code/user bit feature on Sony FDR-X3000 action cam" Tags="|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22586" PostTypeId="1" AcceptedAnswerId="22594" CreationDate="2017-10-13T07:56:54.580" Score="2" ViewCount="11372" Body="&lt;p&gt;We have multiple reports of our h.264 video playing audio-only in IE11 on Windows 7. The video screen stays black. I can reproduce the problem. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://duvvvuzcgswqh.cloudfront.net/dpp/3/eat_well_to_prevent_t2_2017-10-09.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here is an example video&lt;/a&gt; that exhibits the problem. Downloading it and playing it in Windows Media Player also reproduces the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Visiting &lt;a href=&quot;https://www.youtube.com/html5&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.youtube.com/html5&lt;/a&gt; indicates that html5 and h.264 are supported by my Windows 7 test machine, so my thought is that the problem has to do with the particular settings I used to export the video from Premiere Pro (current CC version for Mac).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone run into this before? Are there known &quot;safe&quot; settings for exporting h.264 from Premiere so that it will play back properly on Windows 7?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="20271" LastActivityDate="2020-04-25T15:22:44.160" Title="Exporting h.264 from Premiere Pro resulting in black screen on Windows 7" Tags="|premiere|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22587" PostTypeId="1" AcceptedAnswerId="22593" CreationDate="2017-10-13T09:20:16.043" Score="2" ViewCount="57" Body="&lt;p&gt;I have a basic After Effects question, but I don't know the right words for it to find what I need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a composition that consists of three side-by-side videos. But, for now, it's just three layers on top of eachother. I created three skewed rectangles (Shapes). I want each of the layers to be shown on top ONLY of one of the shape layers. So, I want footage A to be shown on top of shape A, footage B on shape B, footage C on shape C. There is also some whitespace, between the shapes, so the background video is shown as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How would I accomplish this?&lt;/p&gt;&#xA;" OwnerUserId="20273" LastActivityDate="2017-10-13T22:43:30.120" Title="Side by side videos in shapes" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22588" PostTypeId="1" AcceptedAnswerId="22853" CreationDate="2017-10-13T09:49:12.710" Score="2" ViewCount="1500" Body="&lt;p&gt;Is there any way in final cut pro to crop a video in a different angle to the original video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my case I have recorded some footage of something within a frame, some dice rolling in a box, but the angle of the box is slightly off to the camera, and I'm trying to work out if I can rotate the original footage while cropping in the previous dimension, to re-square the box, if that makes sense..?  rotating the video seems to rotate the crop are as well :/&lt;/p&gt;&#xA;" OwnerUserId="19913" LastActivityDate="2018-10-23T21:24:46.767" Title="Final cut pro cropping at an angle" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22590" PostTypeId="2" ParentId="21905" CreationDate="2017-10-13T11:25:35.960" Score="6" Body="&lt;h2&gt;Do&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;In order to draw &lt;code&gt;Timestamp: 01:25.&lt;/code&gt;, you should specify this one to (feed) &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;drawtext = text = 'Timestamp\: %{pts\:gmtime\:0\:%M\\\:%S}.'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;Don't&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;If you specify this one to (feed) &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;drawtext = text = '%{pts\:gmtime\:0\:%M\\:%S}'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;, it gives &lt;code&gt;Unterminated %{} near '{pts:gmtime:0:%M\'&lt;/code&gt; error.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;But in &lt;code&gt;bash&lt;/code&gt;&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;But if you're using &lt;code&gt;bash&lt;/code&gt;-like shell and a weak quote, &lt;code&gt;&quot;......&quot;&lt;/code&gt;, to feed it,&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;\\&lt;/code&gt; is escaped to &lt;code&gt;\&lt;/code&gt;, and&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;\:&lt;/code&gt; is not escaped but remains without any changes because &lt;code&gt;\:&lt;/code&gt; is not an escape sequence.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;So it should be:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex &quot;drawtext = text = '%{pts\:gmtime\:0\:%M\\\\\:%S}'&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;i.e. &lt;code&gt;bash&lt;/code&gt;'s &lt;code&gt;&quot;\\\\\:&quot;&lt;/code&gt; for &lt;code&gt;ffmpeg&lt;/code&gt;'s &lt;code&gt;\\\:&lt;/code&gt; for getting a single character &lt;code&gt;:&lt;/code&gt; displayed.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Note that&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;If you only want to apply one or more filters to one video stream (e.g, &lt;code&gt;drawtext&lt;/code&gt;), you can use &lt;code&gt;-vf&lt;/code&gt; instead of using &lt;code&gt;--filter_complex&lt;/code&gt;. The latter is reserved for applying filters on multiple streams.&lt;/p&gt;&#xA;" OwnerUserId="20276" LastEditorUserId="525" LastEditDate="2017-10-13T12:55:36.823" LastActivityDate="2017-10-13T12:55:36.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22591" PostTypeId="1" AcceptedAnswerId="22600" CreationDate="2017-10-13T11:53:25.863" Score="2" ViewCount="211" Body="&lt;p&gt;When being called by the Indian &quot;Microsoft&quot; department I let them join in on my VirtualBox virtual machine, and started a video capture to catch any details on them.  Doing so, VirtualBox creates .webm video files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I now play back that webm file, I see it got mangled right where I changed the VM's resolution.  The session lasted an hour (phew...), and at the end I managed to thwart their futile hack attempts at setting a system password on my machine, and instead logged back into the connection they then broke.  I think I then saw some full-screen dashboard environment - maybe theirs?  Could have some very handy info it this is true!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The mangling seems like it's just a scanline-length issue in the video stream.  Tricky thing here is that the video itself is all correctly in 1024x768 resolution, but the payload is just an 800x600 area in the middle (with black borders around it).  That inner area is what got messed up further in the video.  The black borders remain OK, so it's just VirtualBox's source data stream for the middle part that got misaligned.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know of some procedure or software I could use to try to de-mangle this video?  I've already seen that webm video files use a Matroska-based standard and use an EBML coding; I've already tried changing some headers values in the EBML structure to fudge the display resolution (making the black borders misaligned but the middle payload OK), but that led nowhere fast (each 5 secs of video or such has it's own header block as well).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Addition:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To be precise: the video was rendered at 1024x786 pixels, while the virtual machine ran at 800x600.  This results in a fat black border surrounding the inner captured content during the entire video.  Once I increased the virtual machine's window size (to, say, 1200x650 - really couldn't say exactly), the black border remained the same in size, only the inner content in it gets mangled.  With mangled I mean that it looks like it displays the now longer scan lines of 1200 pixels and wraps them in the 800 scanline length, thus each next real scanline gets offset by the horizontal size difference since the previous line is wrapped in it.  Or at least, that's what I thought initially, but looking at it again I'm having my doubts on that theory as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Well - that's not clear at all :)  I've uploaded a frame here:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/mNDsa.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mNDsa.jpg&quot; alt=&quot;frame of scam video&quot;&gt;&lt;/a&gt;&#xA;and a short video fragment here:&#xA;&lt;a href=&quot;http://www.twologs.com/share/scamvideo.avi&quot; rel=&quot;nofollow noreferrer&quot;&gt;short fragment of scam video&lt;/a&gt;&#xA;(the issue happens halfway through the fragment)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, to be honest, I think I'd better give up.  I start to suspect that the only possible fix is to do pixelgrabbing in the old frames and build a new video out of that, if that's even a fix - i.e. too much effort.  Shame, though, since I'd really like to review the content at the end...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Solution:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks to bukkojot, I've come up with the follow (Windows targetted) app that fits in the middle of the ffmpeg cmdline he gave; maybe someone may find it useful?  Note that the &quot;RGB24&quot; in the cmdline must be &quot;rgb24&quot; when using the latest ffmpeg version on Windows, which brings the cmdline I used to:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i scamvideo_problem.webm -f rawvideo -pix_fmt rgb24 pipe: | restorer.exe | ffmpeg -f rawvideo -pix_fmt rgb24 -s 1103x436 -i pipe: -vcodec libx264 resolvedvideo.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The video came out legible (apart from color shifts), and all parties dragged into it have been notified (iTunes, gmail, TeamViewer and VICIdial).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, this is the C++ code I ended up using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#include &amp;lt;stdio.h&amp;gt;&#xA;#include &amp;lt;io.h&amp;gt;&#xA;#include &amp;lt;fcntl.h&amp;gt;&#xA;#include &amp;lt;Windows.h&amp;gt;&#xA;using namespace std;&#xA;&#xA;int main() {&#xA;    const size_t inLineSize = 1024 * 3;&#xA;    const size_t inFrameSize = 1024 * 768 * 3;&#xA;    const size_t outFrameSize = 1103 * 436 * 3;&#xA;&#xA;    const size_t inPayloadLineSize = 800 * 3;&#xA;    const size_t inPayloadNumLines = 600;&#xA;    const size_t inPayloadFrameSize = inPayloadLineSize * inPayloadNumLines;&#xA;    const size_t inTopBorderNumLines = 84;&#xA;    const size_t inLeftBorderNumPixels = 112;&#xA;    const size_t inPayloadOffset = inLineSize * inTopBorderNumLines + inLeftBorderNumPixels * 3;&#xA;&#xA;    const size_t outPadSize = outFrameSize - inPayloadFrameSize;&#xA;&#xA;    _setmode(_fileno(stdin), _O_BINARY);&#xA;    _setmode(_fileno(stdout), _O_BINARY);&#xA;&#xA;    char* inFrame = new char[inFrameSize];&#xA;    char* outPadding = new char[outPadSize];&#xA;    memset(outPadding, 0, outPadSize);&#xA;    while (!feof(stdin)) {&#xA;        size_t sizeLeft = inFrameSize;&#xA;        char* nextReadPos = inFrame;&#xA;        while (!feof(stdin) &amp;amp;&amp;amp; sizeLeft &amp;gt; 0) {&#xA;            size_t bytesRead = fread(nextReadPos, 1, sizeLeft, stdin);&#xA;            sizeLeft -= bytesRead;&#xA;            nextReadPos += bytesRead;&#xA;            if (sizeLeft &amp;gt; 0) {&#xA;                Sleep(100);&#xA;            }&#xA;        }&#xA;        if (!feof(stdin)) {&#xA;            char* inPayloadPos = inFrame;&#xA;            inPayloadPos += inPayloadOffset;&#xA;            for (size_t inLineNr = 0; inLineNr &amp;lt; inPayloadNumLines; ++inLineNr, inPayloadPos += inLineSize) {&#xA;                fwrite(inPayloadPos, 1, inPayloadLineSize, stdout);&#xA;            }&#xA;            fwrite(outPadding, 1, outPadSize, stdout);&#xA;        }&#xA;    }&#xA;    return 0;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20275" LastEditorUserId="20275" LastEditDate="2017-10-15T20:39:55.370" LastActivityDate="2017-10-15T20:39:55.370" Title="Recover mangled VirtualBox-generated WebM video" Tags="|video|file-formats|transcoding|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22592" PostTypeId="2" ParentId="4014" CreationDate="2017-10-13T11:55:59.297" Score="0" Body="&lt;p&gt;If you want to cut a sequence out of a .mov file with an alpha channel / transparency that should be preserved, use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i x.mov -ss 00:05:00 -t 00:01:00 -vcodec qtrle y.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20277" LastActivityDate="2017-10-13T11:55:59.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22593" PostTypeId="2" ParentId="22587" CreationDate="2017-10-13T12:34:24.560" Score="1" Body="&lt;p&gt;The easiest way would be to use the shapes as &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/alpha-channels-masks-mattes.html#main-pars_heading_14&quot; rel=&quot;nofollow noreferrer&quot;&gt;track mattes&lt;/a&gt; for the video layers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Put the &lt;em&gt;Footage A&lt;/em&gt; video layer directly beneath the &lt;em&gt;Shape A&lt;/em&gt; layer and in the &lt;strong&gt;Modes&lt;/strong&gt; column choose &lt;em&gt;Alpha Matte &quot;Shape A&quot;&lt;/em&gt; from the &lt;strong&gt;Track Matte&lt;/strong&gt; drop-down. Repeat for &lt;em&gt;Footage B&lt;/em&gt; and &lt;em&gt;Shape B&lt;/em&gt; and &lt;em&gt;Footage C&lt;/em&gt; and &lt;em&gt;Shape C&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YrGpH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YrGpH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What track mattes do is use the alpha (transparency) or luma (brightness) of a layer to set the transparency of the layer directly below it. The &lt;em&gt;Alpha Inverted&lt;/em&gt; option reverses wht is visible or invisible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;There's always at least two ways to do anything in After Effects&lt;/strong&gt;, so I should just mention that other ways to do the same thing include copying the shape paths and pasting as masks on the video layers, or using the silhouette alpha mode on the shape layers and pre-comping. All methods have advantages and disadvantages. Read the page &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/alpha-channels-masks-mattes.html#main-pars_heading_14&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; for more.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-10-13T22:43:30.120" LastActivityDate="2017-10-13T22:43:30.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22594" PostTypeId="2" ParentId="22586" CreationDate="2017-10-13T13:53:32.523" Score="1" Body="&lt;p&gt;h.264 has different &quot;levels&quot; of compression.  These levels have to be supported by the particular playback engine.  Windows 7 supports up to level 5.1 via it's Media Foundation library, however your video is encoded with level 5.2.  Since Windows 7 does not natively have support for this version of h.264, it is unable to play the video component.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can either re-encode with a lower level or you can suggest that viewers either install a codec pack to provide support or use a third party viewer that includes built in support.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-10-13T13:53:32.523" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22595" PostTypeId="1" CreationDate="2017-10-13T13:54:48.893" Score="0" ViewCount="503" Body="&lt;p&gt;Can the Canon XF105 be used for streaming to Facebook Live and record the service simultaneously?  We are trying to utilize an existing Canon XF105 to stream to Facebook Live during our services while connecting sound to a digital sound mixer.  Thanks.&lt;/p&gt;&#xA;" OwnerUserId="20278" LastActivityDate="2017-10-13T14:21:21.113" Title="Canon XF105 streaming" Tags="|streaming|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22596" PostTypeId="2" ParentId="22585" CreationDate="2017-10-13T14:03:01.220" Score="2" Body="&lt;p&gt;No, they don't have a way to keep it in sync.  This is why the timecode is clock based.  The idea is that if the clocks are reasonably close, you'll be able to line up multiple cameras across multiple shots once and note their offset.  You can then use this as a starting point on other shots that are done at the same time.  Clock drift is likely to require minor corrections though, but it can at least get you close.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In professional settings, there is a system called genlock where the frame timing is based on an external clock signal that keeps all cameras exactly in sync and it's even possible to provide an external timecode such that all cameras have exactly matching timecode that doesn't have to be based on real time, but can be based on shooting time instead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The user bit information is for capturing other additional data about the shot that isn't caught in the timecode.  Date isn't generally included in timecode and scene number certainly isn't.  This meta data is helpful for sorting out clips in post production and is basically a digital version of the information seen on a slate at the beginning of production shots.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More advanced cameras support additional meta-data.  My Ursa Mini for example can record the name of the project, director, camera operator, various lens and shooting conditions, scene number, reel number, take number, whether the take was good or not, if it was shot inside or outside, day or night, etc.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-10-13T14:03:01.220" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22597" PostTypeId="2" ParentId="22595" CreationDate="2017-10-13T14:21:21.113" Score="1" Body="&lt;p&gt;Looking at the capabilities of the XF105, there is no reason you could not simultaneously record to memory card and use the SDI or HDMI output of the camera.  It appears that you can get clean outputs on those feeds to avoid menus and such being present on the output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The XF105 can't directly stream however, so you will need some type of device to create the stream.  You can either use a computer with a capture card or use a dedicated stream encoder that generates the stream directly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For audio, if you have the ability to send an aux output from the mixing console, I would suggest using the XLR inputs on the XF105 in line mode to take a direct audio output feed from the sound board itself.  This way both your recording and the stream will have direct audio from the console.  If possible, doing a custom mix on an aux output is slightly preferable since ideal levels will vary slightly between the room vs a direct recording, but using room levels will produce sufficiently high quality results if you don't have the manpower to do both mixes simultaneously.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-10-13T14:21:21.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22598" PostTypeId="1" CreationDate="2017-10-13T14:51:12.157" Score="4" ViewCount="407" Body="&lt;p&gt;I'm using a projector to display the content of my computer, as one would do with a regular screen. Now I want to do the projection on several panels that have different orientations. Hence I'm looking for a projection mapping solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to do projection mapping with the HDMI output of my computer as projected content? If it is, could you recommend me a tool to do so? So far, the projection mapping softwares I've found can only project content that is internal to the computer and defined in advance, such as solid colors, video or pictures.&lt;/p&gt;&#xA;" OwnerUserId="20279" LastActivityDate="2022-04-26T15:03:35.347" Title="Projection mapping as an external display for a computer" Tags="|software-recommendation|projector|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22599" PostTypeId="2" ParentId="22568" CreationDate="2017-10-13T15:55:43.697" Score="1" Body="&lt;p&gt;you can add\modify the filters on one clip then from the effects tab select the effects &gt; &quot;save presets&quot; and apply those to the other clips.&lt;a href=&quot;https://i.stack.imgur.com/1rjw1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1rjw1.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20280" LastActivityDate="2017-10-13T15:55:43.697" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22600" PostTypeId="2" ParentId="22591" CreationDate="2017-10-14T03:20:22.253" Score="2" Body="&lt;p&gt;After a bit manipulation... You see...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iBClv.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iBClv.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most easiest way for you:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Write very simple app in C, which will read 1024*768*3 bytes and pads by zeros to 1327*768*3 bytes. It easy for you.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Dump raw pixels with ffmpeg, pipe data to your app, pipe data to ffmpeg back&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Something like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i scamvideo.avi -f rawvideo -pix_fmt RGB24 - | ./a.out | ffmpeg -f rawvideo -pix_fmt RGB24 -s 1327x768 -i - -vcodec libx264 newvideo.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;All other options to your taste. I think, you got idea.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastEditorUserId="19905" LastEditDate="2017-10-14T03:38:56.720" LastActivityDate="2017-10-14T03:38:56.720" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="22601" PostTypeId="2" ParentId="22598" CreationDate="2017-10-14T03:42:56.183" Score="0" Body="&lt;p&gt;Try &lt;code&gt;Resolume Arena&lt;/code&gt;, at &lt;a href=&quot;https://www.youtube.com/results?search_query=resolume%20arena%20projection%20mapping&quot; rel=&quot;nofollow noreferrer&quot;&gt;youtube&lt;/a&gt; you can get tons tutorials&lt;/p&gt;&#xA;" OwnerUserId="19905" LastEditorUserId="19905" LastEditDate="2017-10-15T15:18:34.893" LastActivityDate="2017-10-15T15:18:34.893" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22602" PostTypeId="1" AcceptedAnswerId="22604" CreationDate="2017-10-14T16:47:19.573" Score="0" ViewCount="443" Body="&lt;p&gt;I'm trying to replace the first few seconds of a video with a different one, while retaining the audio from the first.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This didn't work for me (the last frame of the overlay is retained after it finishes) &lt;a href=&quot;https://stackoverflow.com/questions/35269387/ffmpeg-overlay-one-video-onto-another-video&quot;&gt;https://stackoverflow.com/questions/35269387/ffmpeg-overlay-one-video-onto-another-video&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried doing it in multiple steps:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;INTRO_TIME=$(/usr/bin/ffmpeg -i intro.mkv 2&amp;gt;&amp;amp;1 | grep Duration | cut -d ' ' -f 4 | sed s/,//  )&#xA;rm temp1.mkv temp2.mkv&#xA;/usr/bin/ffmpeg -i $1 -i intro.mkv -filter_complex &quot;overlay&quot; -shortest -c:a flac -c:v libx264 -crf 18 -t ${INTRO_TIME} temp1.mkv&#xA;/usr/bin/ffmpeg -accurate_seek -ss ${INTRO_TIME} -i $1 -c:a flac -c:v libx264 temp2.mkv &#xA;DIR=$(pwd);&#xA;/usr/bin/ffmpeg -f concat -safe 0 -i &amp;lt;(echo file ${DIR}/temp1.mkv; echo file ${DIR}/temp2.mkv) -c copy $2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this appears to be corrupted after the intro ends (the audio plays but the video doesn't. N.B. both temp files look ok)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally I'd like the last frame of the intro to be frozen and then faded out to reveal the original video underneath.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, the original video(s) can be quite long, so if there's a way to do it without re-encoding the bulk of the original video, even better. (I realise re-encoding may be necessary for the duration of the intro, and maybe a few seconds beyond that)&lt;/p&gt;&#xA;" OwnerUserId="6230" LastActivityDate="2017-10-14T18:56:41.510" Title="Overlay intro video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22603" PostTypeId="1" CreationDate="2017-10-14T16:56:48.727" Score="1" ViewCount="58" Body="&lt;p&gt;I have an event coming up and i am only broadcasting on youtube via OBS,i want to have overlays(the person who is on stage name appearing from the bottom) and locally stored sponsored ads to the stream, how do i do this? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;i have searched most of the sites but i didn't find the answer i am searching for.I can have the overlays made and saved from After effects,but what is the best way to do this? &lt;/p&gt;&#xA;" OwnerUserId="18900" LastActivityDate="2017-10-14T16:56:48.727" Title="Overlays and local ad insertion for live streaming" Tags="|after-effects|streaming|live|broadcasting|obs|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22604" PostTypeId="2" ParentId="22602" CreationDate="2017-10-14T18:56:41.510" Score="1" Body="&lt;p&gt;A command of the form below will do it:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i main.mkv -i intro.mkv&#xA;   -filter_complex &quot;overlay=eof_action=pass[v]&quot;&#xA;   -map &quot;[v]&quot; -map 0:a -c:v libx264 -crf 18 -c:a copy out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If your ffmpeg build is recent, you'll need to add another option:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;overlay=eof_action=pass:repeatlast=0&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-10-14T18:56:41.510" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22605" PostTypeId="2" ParentId="21705" CreationDate="2017-10-15T15:16:42.707" Score="0" Body="&lt;p&gt;Compile x264 by yourself, then compile ffmpeg with option &lt;code&gt;--enable-libx264&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-15T15:16:42.707" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22606" PostTypeId="1" CreationDate="2017-10-16T05:01:50.717" Score="1" ViewCount="107" Body="&lt;p&gt;I've been creating a short animation (1 min) to demonstrate and showcase a FUI (Futuristic User Interface). No one else was involved, other than third party advice and support. No unions involved.&lt;/p&gt;&#xA;&lt;p&gt;A summary of potential sources to credit would include:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Myself (everything not mentioned below)&lt;/li&gt;&#xA;&lt;li&gt;Music (third party, CC BY NC)&lt;/li&gt;&#xA;&lt;li&gt;1 x 3D Model (third party, CC)&lt;/li&gt;&#xA;&lt;li&gt;based on Novel xxx.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I was also thinking of adding a &amp;quot;Special thanks to&amp;quot; the following&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Supervisor (support, feedback, etc)&lt;/li&gt;&#xA;&lt;li&gt;Employer (support in studies)&lt;/li&gt;&#xA;&lt;li&gt;Wife (long suffering in my academic pursuits)&lt;/li&gt;&#xA;&lt;li&gt;Maxon (for Cinema 3D, free for students)&lt;/li&gt;&#xA;&lt;li&gt;Adobe (for AE, discounted for students)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;However, basically I'm it in terms of direct involvement in the project.&lt;/p&gt;&#xA;&lt;p&gt;Based on comments &lt;a href=&quot;http://www.dvxuser.com/V6/archive/index.php/t-149992.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; I could just do something like:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;A film by&lt;/p&gt;&#xA;&lt;p&gt;Me&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Or alternatively I could go the path of&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Created by&lt;/p&gt;&#xA;&lt;p&gt;Me&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Then I would add something like:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Music &amp;quot;&lt;em&gt;tite&lt;/em&gt;&amp;quot;, by &lt;em&gt;composer&lt;/em&gt;, CC-SA&lt;/p&gt;&#xA;&lt;p&gt;Based on the novel &lt;em&gt;title, published, publisher?&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;Model xyz by &lt;em&gt;modeller&lt;/em&gt; CC-SA&lt;/p&gt;&#xA;&lt;p&gt;Graph Sample by &lt;em&gt;source&lt;/em&gt; CC&lt;/p&gt;&#xA;&lt;p&gt;Special thanks to&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; Supervisor&#xA;&#xA; Wife&#xA;&#xA; Employer&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Copyright &lt;em&gt;Me&lt;/em&gt; 2017, BY-NC-SA&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Does the above seem reasonable? I'm a bit iffy on how to credit the author of the novel that the short is based on. Also what do about recognising Maxon and Adobe, or maybe I don't even need to go that far? I have to mention CC for assets that include as well as obligations on my work to be CC as a result.&lt;/p&gt;&#xA;&lt;p&gt;Btw, I read through &lt;a href=&quot;https://video.stackexchange.com/questions/12729/what-titles-should-a-one-person-film-crew-receive-in-the-credit-role&quot;&gt;What title(s) should a one-person film crew receive in the credit role?&lt;/a&gt;, but it does not apply, as in my situation, I am a one person for everything, not just film.&lt;/p&gt;&#xA;" OwnerUserId="20292" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-10-16T06:46:04.577" Title="One man band short animation - crediting and credits" Tags="|post-production|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22607" PostTypeId="1" CreationDate="2017-10-15T23:22:04.000" Score="2" ViewCount="2345" Body="&lt;p&gt;The question is how can I add guitar tabs to my video? Software?&#xA;I am recording a guitar performance and would like to add the guitar tabs for the students to follow.  I watched a Japanese video with a bottom part showing  a movie of how the fingers are placed. Please see below link. &#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Z1vFSouMsE4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="Ana Elena Diaz-Viana" LastEditorUserId="17390" LastEditDate="2018-06-18T21:59:01.930" LastActivityDate="2020-04-10T10:44:07.603" Title="I'm trying to add guitar tabs to a music video, do you know any software to do it?" Tags="|video-editor|music|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22608" PostTypeId="1" CreationDate="2017-10-16T14:05:00.230" Score="1" ViewCount="667" Body="&lt;p&gt;Is there a way to create a type-on typewriter effect using the Essential Graphics Panel in Premiere 2017 that does &lt;strong&gt;not&lt;/strong&gt; require the user to manually keyframe each letter?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This tutorial shows that method:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/THZKcNl-GPo?start=86&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I'm wondering if there's a method more akin to an After Effects typewriter preset, where you set the source text, then reveal each character over time, character by character, or word by word (not unmasking pixel by pixel).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-10-16T14:05:00.230" Title="Using Premiere's essential graphics panel to create a typewriter effect" Tags="|premiere|after-effects|cc-2017|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22609" PostTypeId="2" ParentId="22607" CreationDate="2017-10-16T14:06:38.357" Score="1" Body="&lt;p&gt;Try to break your task into elementary blocks. If you can't solve the problem, break it into even smaller blocks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tabs? If which format? Maybe in form of MIDI files? Or even text on papers? Or in some form of txt files? It is a very important question. In some cases you must convert your tabs from one format to another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What do you want add to the video? You can add only sequences of images or sounds, not &quot;guitar tabs&quot;. You need draw some images first. For example, images with the fretboard and white circles on it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I had such a task, I would first convert the tabs into a form convenient for me. Then I would write a simple program that would draw pictures. This can be a C program, a Python script, or a script for 3ds max. Then I can use ffmpeg to assemble such images. And, as final task, I will use some software like Premiere or Final Cut to compose and sync my images with video.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastEditorUserId="674" LastEditDate="2017-11-16T09:34:45.960" LastActivityDate="2017-11-16T09:34:45.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22611" PostTypeId="1" CreationDate="2017-10-16T18:09:27.117" Score="0" ViewCount="35" Body="&lt;p&gt;There are a few videos I've seen where the same person, or multiple people, record their portion of the video and all videos get played back simultaneously often times in some grid usually 3x3. Most videos label themselves &amp;quot;medleys&amp;quot; and example is &lt;a href=&quot;https://www.youtube.com/watch?v=Dyo7jzaCUhk&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;QUESTION&lt;/strong&gt;: Is there a proper name for this type of video? Is there an easy macbook tool to use to create this type of video?&lt;/p&gt;&#xA;&lt;p&gt;I'd do more research on it but I can't figure out what it's called in order to do that research&lt;/p&gt;&#xA;" OwnerUserId="20291" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-10-25T11:57:30.190" Title="Video style where multiple videos play as one video" Tags="|video-editor|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22612" PostTypeId="1" AcceptedAnswerId="22616" CreationDate="2017-10-16T18:41:25.153" Score="1" ViewCount="46" Body="&lt;p&gt;Facebook generate these anniversary videos which they allow you to share. The video has your Facebook avatar (along with certain friend's avatars) imposed onto certain objects. For example, it can put your avatar on an album cover.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This made me wonder how you do this on a mass scale like Facebook does?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Surely there is some kind of &quot;video algorithm&quot; that does this? What is this technique called and how can I do it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would imagine it would be a laugh for my friends if I could take pictures of them and impose them effortlessly onto landmarks, where their pictures are perfectly warped and tracked to the surface each time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before you answer I should mention that my attempt at this would be to film a template which had some well placed markers on a flat surface and then track a plain 'placeholder' texture on top of the surface. When the time comes to render a video I would just change the texture with a friend's face or something.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However that's the long way of doing it. I am more curious if there is a way for me to set this up so that I could type into a terminal prompt:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;root@root:~$ myCoolVideoProgram.o pictureToImpose.jpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and in a matter of seconds (or however long the rendering takes) I have my funny video, without having to go through a GUI in the video editing software of my choice.&lt;/p&gt;&#xA;" OwnerUserId="20296" LastActivityDate="2017-10-17T14:04:14.390" Title="How do you do a &quot;Video Algorithm&quot;?" Tags="|compositing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22613" PostTypeId="2" ParentId="19203" CreationDate="2017-10-17T03:02:31.913" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;ASS-subtitles. Anime-fans use it for rich-style subtitles and simple drawing over frame. In theory, format supports images/videos as overlay, but I don't know player with full format support.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;MKV with linking. You can split your movies in tons of small parts and create two different sets. The you just launch file with proper link sets. Low compatibility. But seems will work. Same as playlists. Same as HLS.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Just 2 video streams. Even lower compatibility. But can works sometimes.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In DVD exists &quot;multi-view&quot; feature, you can encode multiple streams as differen views. Actually it's double stream. To be very precise, you must recode all streams with lower bitrate, as DVD has max limit for all streams, but it exists as standard!&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You can write DVD (and I think BD) with &quot;hacked filesystem&quot;. Did you remember strange CD disks which contains much more data than 700mb? For example, I have &quot;all windows versions&quot; with 2gb of data! Magic? No: there disks contains many same file duplicated, which on physical disk was written only once.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-17T03:02:31.913" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22614" PostTypeId="2" ParentId="13452" CreationDate="2017-10-17T06:23:36.563" Score="1" Body="&lt;p&gt;The common name for the effect you're talking about is &quot;Jello&quot; and it's caused by rolling shutter in combination with camera shake.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each frame is distorted by the rolling shutter because, for example, the left edge of your fence is at a different place left to right as the &quot;shutter&quot; selects the pixels as it rolls from top to bottom of the frame, resulting in a trapeziodal distortion of that frame.  Next frame the shake may cause it to distort in the other direction.  Over the course of several frames this results in the &quot;Jello&quot; effect with vertical lines apparently wobbling side to side.  Running stabilising filters sometimes makes it look even worse because the wobble can be hidden a bit when there's a lot of other global motion going on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an OSS solution, it's a plugin for VirtualDub, it corrects shake, roll, and rolling shutter / Jello:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.guthspot.se/video/deshaker.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.guthspot.se/video/deshaker.htm&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20300" LastEditorUserId="20300" LastEditDate="2018-07-25T00:41:22.273" LastActivityDate="2018-07-25T00:41:22.273" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="22616" PostTypeId="2" ParentId="22612" CreationDate="2017-10-17T14:04:14.390" Score="1" Body="&lt;p&gt;This is effectively what every professional editing software in existence does at its core.  Video editing is always done non-destructively in any professional and most consumer contexts.  What that means is that when you are editing a project, you are not actually making changes to the source files, but rather making a series of decisions about what changes should be applied to get the desired output.  When it comes time to make the final rendered output, the instructions are run by the editing software on the original sources and the output is recorded to a new video file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This series of instructions can be saved off in a variety of different formats such as EDLs (editing decision lists), Final Cut XML files (which are supported by more than just Final Cut) or any number of other formats that include the series of instructions that need to be applied.  These files can be used to move editing projects between completely different editing software.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is also possible to change the inputs that go in to these instructions.  As long as they are the same size and placement, then it should carry through consistently for different inputs.  This is why proxy workflows work.  In proxy workflows very large and difficult to work with files (such as 4k RAW video) are replaced with easy to work with files (such as much smaller compressed 1080p video).  This makes it easy to work through the edit and then only swap out with the high quality, difficult to work with footage at the end of the project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The same principle can be applied to swapping photos or videos in to a particular spot in an overall video template.  All the various effects and edits will be applied to the new source just like they were to the old, you just need a render engine capable of doing the rendering and swap automatically.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are some commercial options available for this, but much is done with custom solutions.  Depending on the complexity, it may also be possible to do it with an ffmpeg script that could be easily run by a command line, though ffmpeg would be considerably more manual to develop the template for.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-10-17T14:04:14.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22617" PostTypeId="1" CreationDate="2017-10-17T16:19:02.063" Score="2" ViewCount="1845" Body="&lt;p&gt;On my Windows 7 PC, I've used Windows Live Movie Maker and Windows Media Encoder extensively to make and edit videos (I've also used other software like &quot;Showbiz&quot;, &quot;Super C&quot; and &quot;AVIdemux&quot;). Recently I wanted to create a &quot;grid mosaic&quot; in a 2x2 arrangement of source videos in a target video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After some flailing around and gnashing of teeth, I found out about ffmpeg, downloaded the Windows &quot;build&quot; from the ffmpeg.org website, and have installed it on my PC. I tried using a command in the cmd window (aka &quot;DOS&quot;) for the simple task of converting a WMV video (with an unusual aspect ratio) to AVI, and that worked out fine. At first the output image was pretty low-grade, but adding -b:v 3M fixed that up. Then, for my real objective, following this example I had found online:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.avi -i 2.avi -i 3.avi -i 4.avi -filter_complex &quot;nullsrc=size=640x480 [base]; &#xA;[0:v] setpts=PTS-STARTPTS, scale=320x240 [upperleft]; [1:v] setpts=PTS-STARTPTS, scale=320x240 [upperright]; [2:v] setpts=PTS-STARTPTS, scale=320x240 [lowerleft]; [3:v] setpts=PTS-STARTPTS, scale=320x240 [lowerright]; [base][upperleft] &#xA;overlay=shortest=1 [tmp1]; [tmp1][upperright] overlay=shortest=1:x=320 [tmp2]; [tmp2][lowerleft] overlay=shortest=1:y=240 [tmp3]; [tmp3][lowerright] &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;overlay=shortest=1:x=320:y=240&quot; -c:v libx264 output.mkv&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based on this, I tried my own command in the cmd window, thus:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i PatrShdY.wmv -i TJC.wmv -i TwSlRawD.wmv -i NightmrC.wmv -filter_complex &quot;nullsrc=size=1056x594 [base]; &#xA;[0:v] setpts=PTS-STARTPTS, scale=528x297 [ul]; [1:v] setpts=PTS-STARTPTS, scale=528x297 [ur]; [2:v] setpts=PTS-STARTPTS, scale=528x297 [ll]; [3:v] setpts=PTS-STARTPTS, scale=528x297 [lr]; &#xA;[base][ul] overlay=shortest=1 [t1]; [t1][ur] overlay=shortest=1:x=528 [t2]; [t2][ll] overlay=shortest=1:y=297 [t3]; [t3][lr] overlay=shortest=1:x=528:y=297&quot; -b:v 3M mos1.wmv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &quot;reportage&quot; mentioned some &quot;guessing&quot; issues with the audio, but that was not a big concern. An oddity was that it repeatedly said &quot;frame=   1&quot; instead of increasing numbers, and indeed, the result mos1.wmv had four images placed properly, but which were nothing more than one still image from each source video. All four source videos were 30 seconds duration, and the output &quot;ran&quot; for 30 seconds, but doing nothing more than showing one set of still images. The output file size of about 500kb was in line with this. The full reportage:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;ffmpeg version N-87867-g0655810072 Copyright (c) 2000-2017 the FFmpeg developers&#xA;&#xA;  built with gcc 7.2.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-bzlib --e&#xA;nable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libblur&#xA;ay --enable-libfreetype --enable-libmp3lame --enable-libopenjpeg --enable-libopu&#xA;s --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --ena&#xA;ble-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-lib&#xA;x264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-z&#xA;lib --enable-gmp --enable-libvidstab --enable-cuda --enable-cuvid --enable-d3d11&#xA;va --enable-nvenc --enable-dxva2 --enable-avisynth --enable-libmfx&#xA;  libavutil      55. 79.100 / 55. 79.100&#xA;  libavcodec     57.108.100 / 57.108.100&#xA;  libavformat    57. 84.100 / 57. 84.100&#xA;  libavdevice    57. 11.100 / 57. 11.100&#xA;  libavfilter     6.108.100 /  6.108.100&#xA;  libswscale      4.  9.100 /  4.  9.100&#xA;  libswresample   2. 10.100 /  2. 10.100&#xA;  libpostproc    54.  8.100 / 54.  8.100&#xA;[wmv3 @ 000000000048b200] Extra data: 8 bits left, value: 0&#xA;Guessed Channel Layout for Input Stream #0.0 : mono&#xA;Input #0, asf, from 'PatrShdY.wmv':&#xA;  Metadata:&#xA;    title           : In the woodshed&#xA;    WMFSDKNeeded    : 0.0.0.0000&#xA;    DeviceConformanceTemplate: MP@HL&#xA;    WMFSDKVersion   : 12.0.7601.17514&#xA;    IsVBR           : 1&#xA;    VBR Peak        : 2156613&#xA;    Buffer Average  : 1555&#xA;  Duration: 00:00:30.02, start: 0.000000, bitrate: 2496 kb/s&#xA;    Stream #0:0(eng): Audio: wmav2 (a[1][0][0] / 0x0161), 32000 Hz, mono, fltp,&#xA;20 kb/s&#xA;    Stream #0:1(eng): Video: wmv3 (Main) (WMV3 / 0x33564D57), yuv420p, 1024x576,&#xA; 2441 kb/s, 30 fps, 30 tbr, 1k tbn, 1k tbc&#xA;[wmv3 @ 0000000000459ea0] Extra data: 8 bits left, value: 0&#xA;Guessed Channel Layout for Input Stream #1.0 : stereo&#xA;Input #1, asf, from 'TJC.wmv':&#xA;  Metadata:&#xA;    title           : White -- 'nuff said!!&#xA;    WMFSDKNeeded    : 0.0.0.0000&#xA;    DeviceConformanceTemplate: MP@HL&#xA;    WMFSDKVersion   : 12.0.7601.17514&#xA;    IsVBR           : 1&#xA;    VBR Peak        : 2181663&#xA;    Buffer Average  : 2514&#xA;  Duration: 00:00:30.02, start: 0.000000, bitrate: 2481 kb/s&#xA;    Stream #1:0(eng): Audio: wmav2 (a[1][0][0] / 0x0161), 32000 Hz, stereo, fltp&#xA;, 24 kb/s&#xA;    Stream #1:1(eng): Video: wmv3 (Main) (WMV3 / 0x33564D57), yuv420p, 1024x576,&#xA; 2441 kb/s, 30 fps, 30 tbr, 1k tbn, 1k tbc&#xA;[wmv3 @ 0000000000506360] Extra data: 8 bits left, value: 0&#xA;Input #2, asf, from 'TwSlRawD.wmv':&#xA;  Metadata:&#xA;    WMFSDKNeeded    : 0.0.0.0000&#xA;    DeviceConformanceTemplate: M0&#xA;    WMFSDKVersion   : 12.0.7601.17514&#xA;    IsVBR           : 0&#xA;  Duration: 00:00:30.04, start: 0.000000, bitrate: 2276 kb/s&#xA;    Stream #2:0: Video: mjpeg, yuvj420p(pc, bt470bg/unknown/unknown), 1024x576,&#xA;90k tbr, 90k tbn, 90k tbc&#xA;    Metadata:&#xA;      comment         : Movie/video screen capture&#xA;    Stream #2:1: Video: wmv3 (Main) (WMV3 / 0x33564D57), yuv420p, 1024x576, 2200&#xA; kb/s, 25 fps, 25 tbr, 1k tbn, 1k tbc&#xA;    Stream #2:2: Audio: wmapro (b[1][0][0] / 0x0162), 32000 Hz, stereo, fltp, 32&#xA; kb/s&#xA;[wmv3 @ 00000000004cc1a0] Extra data: 8 bits left, value: 0&#xA;Guessed Channel Layout for Input Stream #3.0 : stereo&#xA;Input #3, asf, from 'NightmrC.wmv':&#xA;  Metadata:&#xA;    title           : In a Nightmare&#xA;    WMFSDKNeeded    : 0.0.0.0000&#xA;    DeviceConformanceTemplate: MP@HL&#xA;    WMFSDKVersion   : 12.0.7601.17514&#xA;    IsVBR           : 1&#xA;    VBR Peak        : 3032434&#xA;    Buffer Average  : 1675&#xA;  Duration: 00:00:30.02, start: 0.000000, bitrate: 3483 kb/s&#xA;    Stream #3:0(eng): Audio: wmav2 (a[1][0][0] / 0x0161), 32000 Hz, stereo, fltp&#xA;, 24 kb/s&#xA;    Stream #3:1(eng): Video: wmv3 (Main) (WMV3 / 0x33564D57), yuv420p, 1024x576,&#xA; 3441 kb/s, 30 fps, 30 tbr, 1k tbn, 1k tbc&#xA;[wmv3 @ 0000000000451fe0] Extra data: 8 bits left, value: 0&#xA;[wmv3 @ 0000000000504b60] Extra data: 8 bits left, value: 0&#xA;[wmv3 @ 00000000004ccb40] Extra data: 8 bits left, value: 0&#xA;Stream mapping:&#xA;  Stream #0:1 (wmv3) -&gt; setpts (graph 0)&#xA;  Stream #1:1 (wmv3) -&gt; setpts (graph 0)&#xA;  Stream #2:0 (mjpeg) -&gt; setpts (graph 0)&#xA;  Stream #3:1 (wmv3) -&gt; setpts (graph 0)&#xA;  overlay (graph 0) -&gt; Stream #0:0 (msmpeg4)&#xA;  Stream #1:0 -&gt; #0:1 (wmav2 (native) -&gt; wmav2 (native))&#xA;Press [q] to stop, [?] for help&#xA;[swscaler @ 00000000034d1f20] deprecated pixel format used, make sure you did se&#xA;t range correctly&#xA;Output #0, asf, to 'mos2.wmv':&#xA;  Metadata:&#xA;    title           : Patrik Janovic in the woodshed&#xA;    WMFSDKNeeded    : 0.0.0.0000&#xA;    DeviceConformanceTemplate: MP@HL&#xA;    WMFSDKVersion   : 12.0.7601.17514&#xA;    IsVBR           : 1&#xA;    VBR Peak        : 2156613&#xA;    Buffer Average  : 1555&#xA;    WM/EncodingSettings: Lavf57.84.100&#xA;    Stream #0:0: Video: msmpeg4v3 (msmpeg4) (MP43 / 0x3334504D), yuv420p(progres&#xA;sive), 1056x594 [SAR 1:1 DAR 16:9], q=2-31, 3000 kb/s, 25 fps, 1k tbn, 25 tbc (d&#xA;efault)&#xA;    Metadata:&#xA;      encoder         : Lavc57.108.100 msmpeg4&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/3000000 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1(eng): Audio: wmav2 (a[1][0][0] / 0x0161), 32000 Hz, stereo, fltp&#xA;, 128 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc57.108.100 wmav2&#xA;frame=    1 fps=0.0 q=6.1 size=      33kB time=00:00:00.25 bitrate=1044.1kbits/s&#xA;frame=    1 fps=0.8 q=6.1 size=      33kB time=00:00:01.21 bitrate= 219.8kbits/s&#xA;frame=    1 fps=0.6 q=6.1 size=      33kB time=00:00:02.30 bitrate= 116.0kbits/s&#xA;frame=    1 fps=0.5 q=6.1 size=      33kB time=00:00:03.60 bitrate=  74.1kbits/s&#xA;frame=    1 fps=0.4 q=6.1 size=      33kB time=00:00:04.86 bitrate=  55.0kbits/s&#xA;frame=    1 fps=0.3 q=6.1 size=      33kB time=00:00:06.01 bitrate=  44.4kbits/s&#xA;frame=    1 fps=0.3 q=6.1 size=      33kB time=00:00:07.74 bitrate=  34.5kbits/s&#xA;frame=    1 fps=0.2 q=6.1 size=      33kB time=00:00:09.15 bitrate=  29.2kbits/s&#xA;frame=    1 fps=0.2 q=6.1 size=      33kB time=00:00:10.24 bitrate=  26.1kbits/s&#xA;frame=    1 fps=0.2 q=6.1 size=      33kB time=00:00:12.35 bitrate=  21.6kbits/s&#xA;frame=    1 fps=0.2 q=6.1 size=      33kB time=00:00:13.05 bitrate=  20.5kbits/s&#xA;frame=    1 fps=0.2 q=6.1 size=      33kB time=00:00:14.46 bitrate=  18.5kbits/s&#xA;frame=    1 fps=0.1 q=6.1 size=      33kB time=00:00:16.19 bitrate=  16.5kbits/s&#xA;frame=    1 fps=0.1 q=6.1 size=      33kB time=00:00:17.98 bitrate=  14.9kbits/s&#xA;frame=    1 fps=0.1 q=6.1 size=      33kB time=00:00:18.88 bitrate=  14.2kbits/s&#xA;frame=    1 fps=0.1 q=6.1 size=      33kB time=00:00:20.28 bitrate=  13.2kbits/s&#xA;frame=    1 fps=0.1 q=6.1 size=      33kB time=00:00:21.69 bitrate=  12.3kbits/s&#xA;frame=    1 fps=0.1 q=6.1 size=      33kB time=00:00:23.26 bitrate=  11.5kbits/s&#xA;frame=    1 fps=0.1 q=6.1 size=      33kB time=00:00:24.32 bitrate=  11.0kbits/s&#xA;frame=    1 fps=0.1 q=6.1 size=      33kB time=00:00:25.08 bitrate=  10.7kbits/s&#xA;frame=    1 fps=0.1 q=6.1 size=      33kB time=00:00:25.98 bitrate=  10.3kbits/s&#xA;frame=    1 fps=0.1 q=6.1 size=      33kB time=00:00:28.49 bitrate=   9.4kbits/s&#xA;frame=    1 fps=0.1 q=6.1 size=      33kB time=00:00:29.95 bitrate=   8.9kbits/s&#xA;frame=    1 fps=0.1 q=6.1 Lsize=     524kB time=00:00:29.95 bitrate= 143.2kbits/s speed=2.54x&#xA;video:31kB audio:470kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 4.417643%&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I decided to try an example sticking more closely to the example I'd found online, using a couple AVI source videos with frame size 320x240. The shorter of the two sources ran 4+ minutes, so that was the expected output duration. I put the two sources in a &quot;checkerboard&quot; 2x2 grid. In retrospect, I suppose I didn't need to NAME each of them twice, but I'm new at ffmpeg, so don't hate me! My command for this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i asianpho.avi -i WareMorg.avi -i WareMorg.avi -i asianpho.avi -filter_complex &quot;nullsrc=size=640x480 [base]; [0:v] setpts=PTS-STARTPTS, scale=320x240 [ul]; [1:v] setpts=PTS-STARTPTS, scale=320x240 [ur]; [2:v] setpts=PTS-STARTPTS, scale=320x240 [ll]; [3:v] setpts=PTS-STARTPTS, scale=320x240 [lr]; [base][ul] overlay=shortest=1 [tmp1]; [tmp1][ur] overlay=shortest=1:x=320 [tmp2]; [tmp2][ll] overlay=shortest=1:y=240 [tmp3]; [tmp3][lr] overlay=shortest=1:x=320:y=240&quot; -c:v libx264 output.mkv&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The result of THIS reported the creation of 4+ minutes of video (and not all &quot;frame= 1&quot;) -- it wasn't still images, but it was properly PLACED images that were a flickering, flashing jumbled mess with screwed-up time flow, file size 41.4 Mb. I've been requested to supply the full report on it:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://pastebin.com/6DrjGPmA&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pastebin.com/6DrjGPmA&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what am I doing, or is, wrong? How can I make it work?&lt;/p&gt;&#xA;" OwnerUserId="20304" LastEditorUserId="14588" LastEditDate="2019-03-24T18:36:17.683" LastActivityDate="2019-03-24T18:36:17.683" Title="Why isn't using ffmpeg to create a 2x2 video &quot;mosaic grid&quot; working for me?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="22618" PostTypeId="2" ParentId="16962" CreationDate="2017-10-17T18:36:16.523" Score="0" Body="&lt;p&gt;What I would do is render a 360 cinema screen where I would show the 2d footage and mix this with the actual 360 footage.&lt;/p&gt;&#xA;" OwnerUserId="20306" LastActivityDate="2017-10-17T18:36:16.523" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22619" PostTypeId="1" CreationDate="2017-10-17T20:42:49.273" Score="0" ViewCount="131" Body="&lt;p&gt;I need to edit some video files and submit my work as FCP7 XML file (XMEML). In which software it can be done? I don't need any special and exotic features, I need only file cutting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Only one thing I need: it must work on WindowsXP or Windows 7 (XP is better). Maybe exists something small, what can run on old machine?&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-18T02:11:54.453" Title="How to create Final Cut Pro files on Windows machine?" Tags="|file-formats|final-cut-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22623" PostTypeId="2" ParentId="22617" CreationDate="2017-10-17T22:05:09.613" Score="3" Body="&lt;p&gt;It occurred to me I could probably &quot;work around&quot; the problem. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My source files were all WMV files produced by Windows Media Encoder (mostly) and Windows Live Movie Maker, both of which can ONLY produce that file type. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As my first trial run with ffmpeg was to convert an individual one of those WMV files to another type, and THAT was successful, I decided to use ffmpeg to convert each source file separately to MP4. Then THOSE files could, indeed, be formed successfully into a &quot;mosaic grid&quot; with ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="20304" LastEditorUserId="2836" LastEditDate="2017-10-22T04:27:43.583" LastActivityDate="2017-10-22T04:27:43.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22624" PostTypeId="2" ParentId="22619" CreationDate="2017-10-17T23:23:57.113" Score="1" Body="&lt;p&gt;A company called &lt;a href=&quot;http://www.automaticduck.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;Automatic Duck&lt;/a&gt; used to make several products for converting between Final Cut Pro 7, Adobe Premiere Pro, Adobe After Effects, and Avid. They no longer sell those products since FCP7 was end-of-lifed 6+ years ago. But you might be able to find an editor who has an old copy they can lend you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, the FCP7 XML file format was &lt;a href=&quot;https://documentation.apple.com/en/finalcutpro/usermanual/index.html#chapter=97%26section=3%26tasks=true&quot; rel=&quot;nofollow noreferrer&quot;&gt;fairly well documented&lt;/a&gt;. If all you need are cuts, you might be able to create one by hand in a text editor.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-10-17T23:23:57.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22625" PostTypeId="2" ParentId="22619" CreationDate="2017-10-18T02:11:54.453" Score="2" Body="&lt;p&gt;If you have, or can rent Adobe Premiere you can &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/exporting-projects-applications.html#export_a_final_cut_pro_project_xml_file&quot; rel=&quot;nofollow noreferrer&quot;&gt;export as FCP XML&lt;/a&gt; from that. Davinci Resolve &lt;a href=&quot;https://video.stackexchange.com/questions/10283/fcpx-davinci-resolve-fcpx-color-grading-round-trip&quot;&gt;does too&lt;/a&gt;, but I'm not sure if the capability is included in the free version.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-10-18T02:11:54.453" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22626" PostTypeId="2" ParentId="16766" CreationDate="2017-10-18T03:10:26.123" Score="1" Body="&lt;p&gt;select all clips.  Right click &quot;remove attributes&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now be careful for this next bit:&#xA;uncheck all the effects you want to keep (leave the one you want to delete). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;the go ok. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;do it again to see if they effect you wanted is still there or gone.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;that's about it. &lt;/p&gt;&#xA;" OwnerUserId="20310" LastActivityDate="2017-10-18T03:10:26.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22627" PostTypeId="1" AcceptedAnswerId="22815" CreationDate="2017-10-18T07:59:19.120" Score="1" ViewCount="61" Body="&lt;p&gt;So, I'm not sure I'm even doing this the right way or not but I've got a video and I'm overlaying that with multiple images (up to 20 some in some area's) which pretty much stay on screen throughout the whole video, but alter at certain points, changing places, sizes and rotations etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some of these don't alter and I've grouped those up into compound clips, but the vast majority all remain free, which is a massive pain in the backside when I progress a few minutes through the footage and then need to drag the end duration point of fourteen or fifteen images up to bring everything back onto the screen to see if everything is aligned!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to select multiple images and drag the end point of them all together?  I've googled this and can't find anything that works at all...&lt;/p&gt;&#xA;" OwnerUserId="19913" LastActivityDate="2017-11-16T14:34:06.913" Title="Selecting and extending multiple image durations simultaneously" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22629" PostTypeId="1" AcceptedAnswerId="22662" CreationDate="2017-10-18T17:54:33.597" Score="0" ViewCount="545" Body="&lt;p&gt;I want to know, how we can create YouTube videos like this channel:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/hS_WqkyUah8?start=81&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In here we can notice that the Daniel Shiffman's laptop screen is projected in the background, but it doesn't look like a Projector projecting on the wall behind him.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="20318" LastActivityDate="2017-10-23T01:50:20.420" Title="How to make YouTube video with screen projection in background?" Tags="|video-editor|youtube|greenscreen|studio|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22630" PostTypeId="1" CreationDate="2017-10-18T20:14:17.400" Score="0" ViewCount="363" Body="&lt;p&gt;What would minimum hardware requirements be on Win10 desktop/server for streaming  SD channel ? Which is the simplest playout solution you can recommend ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have offers from 2.000,00 € for hardware and software up to 35.000,00 €, all basicly doing same thing. There are some new &quot;cloud&quot; services that offer it all but for enormous 80.000,00 € per year.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My requirements are very simple. Ingest - schedule - play. Graphics: only logo. And Desktop/server to handle it all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I understand that big TV channels need load of things, graphics, multiple channels, safety etc. But what about those simple channels ? Any solutions out of the box for reasonable price ?&lt;/p&gt;&#xA;" OwnerUserId="10560" LastActivityDate="2018-03-18T12:50:42.400" Title="Video playout software and hardware requirements for simple TV channel" Tags="|broadcasting|broadcast|" AnswerCount="2" CommentCount="2" ClosedDate="2018-03-19T11:11:18.187" ContentLicense="CC BY-SA 3.0" />
  <row Id="22631" PostTypeId="2" ParentId="22630" CreationDate="2017-10-19T01:50:24.500" Score="1" Body="&lt;p&gt;Cheapest solution: OBS for broadcasting, mplayer for video playback, someone who will programm simple schedule for $100. If you don't need exact schedule programming, you can just make playlists playback for free! Here no instruction how to setup it for your needs, but if you is advanced user, you can do everything youself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need advert breaks, logo overlays and so on, it can be programmed with infrastructure of OBS, but you can reach limits very fast. You can try to hire freelancers who will maintain your infrastructure and wishes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Main price for &quot;out of box&quot; solutions comes from any guarantees what will be provided to you. Cheap infrastructure guarantees nothing.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-19T01:50:24.500" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22632" PostTypeId="1" CreationDate="2017-10-19T05:59:08.457" Score="7" ViewCount="1215" Body="&lt;p&gt;I need to stabilize a video only when the video is shaky. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have successfully stabilized a video using FFmpeg, and I do not need to stabilize all the videos, I only need to stabilize the videos which appear shaky (not stable). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way I can detect that?&lt;/p&gt;&#xA;" OwnerUserId="20294" LastEditorUserId="18155" LastEditDate="2019-09-29T02:40:51.463" LastActivityDate="2020-11-22T08:01:25.237" Title="How to detect whether a video is shaky" Tags="|video|ffmpeg|stabilisation|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="22633" PostTypeId="1" AcceptedAnswerId="22637" CreationDate="2017-10-19T09:47:05.853" Score="1" ViewCount="1235" Body="&lt;p&gt;I have the following scenario: Using libx265 and a dual-socket system (thus 2 NUMA nodes) I want to encode videos using ffmpeg and libx265. libx265 can be configured to use thread-pools which are isolated to one NUMA node, using its &lt;code&gt;--pools&lt;/code&gt;-parameter (&lt;a href=&quot;http://x265.readthedocs.io/en/default/cli.html#cmdoption-pools&quot; rel=&quot;nofollow noreferrer&quot;&gt;docs&lt;/a&gt;).&lt;/p&gt;&#xA;&lt;p&gt;There a few examples in the docs which I do not fully comprehend. The examples there are for a 4-node system. Quoting from the doc:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;code&gt;'+'&lt;/code&gt;  is a special value indicating all cores detected on the node&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;'*'&lt;/code&gt;  is a special value indicating all cores detected on the node and all remaining nodes&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;'-'&lt;/code&gt;  is a special value indicating no cores on the node, same as '0'&lt;/p&gt;&#xA;&lt;p&gt;A thread pool dedicated to a given NUMA node is enabled only when the number of threads to be created on that NUMA node is explicitly mentioned in that corresponding position with the –pools option. Else, all threads are spawned from a single pool. The total number of threads will be determined by the number of threads assigned to the enabled NUMA nodes for that pool. The worker threads are be given affinity to all the enabled NUMA nodes for that pool and may migrate between them, unless explicitly specified as described above.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I am not sure how the thread-count and the pool-count can be explicitly specified and would be happy if someone could explain these examples, taken from the docs:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;&amp;quot;+,-,+&amp;quot;   - allocate one pool, using only cores on nodes 0 and 2&lt;/code&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Q&lt;/strong&gt;: Why is this not allocating 2 pools on nodes 0 &amp;amp; 2?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;&amp;quot;8,8,8,8&amp;quot; - allocate four pools with up to 8 threads in each pool&lt;/code&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Q&lt;/strong&gt;: Why is this now allocating 4 pools, &lt;strong&gt;while the next example&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;&amp;quot;8,+,+,+&amp;quot; - allocate two pools, the first with 8 threads on node 0, and the second with all cores on node 1,2,3&lt;/code&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Q&lt;/strong&gt;: .. is only allocating 2 pools?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;In my case, I will have access to 2 nodes x 12 &amp;quot;cores&amp;quot; and was thinking of 1-3 ffmpeg encoding-processes per node (which would yield pool sizes of 12, 6 or 4 &amp;quot;cores&amp;quot;).&lt;/p&gt;&#xA;" OwnerUserId="20322" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2018-05-17T15:34:01.110" Title="libx265 NUMA pool configuration misleading" Tags="|ffmpeg|encoding|h265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22634" PostTypeId="1" CreationDate="2017-10-19T10:19:50.163" Score="3" ViewCount="5622" Body="&lt;p&gt;In Premiere Pro CC; what is the difference between 'Set To Frame Size' and 'Scale To Frame Size'? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to blow up a video to fill a larger frame. I am going from SD 720x480 to HD 720x1280 frame size. If I have to do this what is the best way?&lt;/p&gt;&#xA;" OwnerUserId="6277" LastEditorUserId="636" LastEditDate="2018-01-23T15:22:33.407" LastActivityDate="2018-02-22T15:26:36.547" Title="What is the difference between 'Set To Frame Size' and 'Scale To Frame Size'?" Tags="|premiere|video-quality|scale|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22636" PostTypeId="1" CreationDate="2017-10-19T11:44:10.557" Score="3" ViewCount="226" Body="&lt;p&gt;Is there any way to provide navigation in a video file like a DVD or Blu-Ray?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that QuickTime supports Chapter Markers, but the codecs you can use with QuickTime result in very large files. As far as I know, you can't use H.264 with QuickTime (for example). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I create a lot of training videos and I need a way to provide a way to navigate though complex material.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I am looking for 2 things:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Reasonable file size (like H.264).&lt;/li&gt;&#xA;&lt;li&gt;Content navigation.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6277" LastEditorUserId="18155" LastEditDate="2019-08-16T12:43:22.663" LastActivityDate="2024-01-24T07:07:10.900" Title="Video File Navigation" Tags="|video|video-editor|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="22637" PostTypeId="2" ParentId="22633" CreationDate="2017-10-19T12:48:02.753" Score="1" Body="&lt;p&gt;As the excerpt below says, &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;A thread pool dedicated to a given NUMA node is enabled only when the&#xA;  number of threads to be created on that NUMA node is explicitly&#xA;  mentioned in that corresponding position&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&quot;+,-,+&quot;&lt;/code&gt;  --&gt; no numerals stated, hence a single pool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&quot;8,+,+,+&quot;&lt;/code&gt; --&gt; numeral for node 0, hence that's one pool. The other nodes have no numerals, hence any threads spawned there are managed within a consolidated (2nd) pool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No experience with NUMA, just parsing the quoted doc.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-10-19T12:48:02.753" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22638" PostTypeId="2" ParentId="16962" CreationDate="2017-10-19T13:33:19.067" Score="1" Body="&lt;p&gt;The other way around. Using a 3d editing software like 3dsmax create a sphere. Apply the 360 footage to this sphere as a texture. &quot;Film&quot; the inner side of this sphere with a virtual cam animating its aim and focus to the points in the 360 video you like the best. Big buts now because I tried it before. This way the result becomes a little fuzzy and besides 3dsmax shows the joint of the texture -which must be equirectangular BTW- and if you are in need to stabilize the footage you will lose a considerable amount of resolution at the end. Just in case, stabilizing 360 equirectangular footage doesn't work. The usual way at least.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: I'm trying now with Premiere but I've read that Cyberlink PowerDirector comes with a tool to achieve exactly this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Confirmed&lt;/strong&gt;: Cyberlink Powerdirector 16 has a tool to manage 360VR footage in order to use it in a 2D clip.&lt;/p&gt;&#xA;" OwnerUserId="20328" LastEditorUserId="-1" LastEditDate="2017-10-20T13:55:17.567" LastActivityDate="2017-10-20T13:55:17.567" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22640" PostTypeId="2" ParentId="22636" CreationDate="2017-10-19T15:11:41.277" Score="0" Body="&lt;p&gt;MKV/MP4 container support chapters too, it also supports h264 and almost any other codec. MP4 container based on MOV container, so you can try to include h264 in MOV too.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastEditorUserId="19905" LastEditDate="2017-10-20T16:52:37.553" LastActivityDate="2017-10-20T16:52:37.553" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22644" PostTypeId="1" CreationDate="2017-10-20T11:41:40.303" Score="-1" ViewCount="710" Body="&lt;p&gt;I'm trying to accomplish a few things at the same time with the raspberry pi camera;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;create an HLS live stream&lt;/li&gt;&#xA;&lt;li&gt;take regular interval jpg snapshots and save them to disk&lt;/li&gt;&#xA;&lt;li&gt;irregularly record short pieces of video to disk triggered by another process&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Running the HLS stream on its self works well with raspivid, psips and ffmpeg like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;raspivid -n -w 1280 -h 720 -fps 30 -t 86400000 -b 10000000 -o - | /root/psips | ffmpeg -loglevel 2 -y -analyzeduration 10M -i - -c:v copy -hls_time 5 -hls_list_size 10 -hls_wrap 20 /var/www/stream.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Since it's not possible to get access to the video device when it's already in use by raspivid, I create multiple virtual video devices for the desired scenario with v4l2loopback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first virtual device (/dev/video1) is created by running ffmpeg in the background like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f video4linux2 -video_size 1280x720 -r 24 -input_format h264 -i /dev/video0 -vcodec rawvideo -f v4l2 /dev/video1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then I try to start the HLS stream like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /dev/video1 -r 24 -f h264 - | /root/psips | ffmpeg -loglevel 2 -y -analyzeduration 10M -i - -c:v copy -hls_time 5 -hls_list_size 10 -hls_wrap 20 var/www/stream.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For some reason this results in ffmpeg producing quite a few 'Past duration 0.xxxxx too large&quot; errors and psips exiting with a 'SPS/PPS overrun!' warning.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure what's happening here or if there's something wrong with the approach I've chosen maybe?&lt;/p&gt;&#xA;" OwnerUserId="20338" LastEditorUserId="20338" LastEditDate="2017-10-20T12:09:09.813" LastActivityDate="2017-10-20T13:47:58.070" Title="Streaming HLS from a video4linux2 virtual video device" Tags="|ffmpeg|linux|hls|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22645" PostTypeId="2" ParentId="22644" CreationDate="2017-10-20T13:47:58.070" Score="0" Body="&lt;p&gt;I don't know how raspberry encodes video, but if you got encoded stream, you can:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Setup local RTMP server&lt;/li&gt;&#xA;&lt;li&gt;Transcode it to HLS on the fly (this is cheap task, build-in in nginx rtmp server)&lt;/li&gt;&#xA;&lt;li&gt;When you need, you can get screenshots with ffmpeg&lt;/li&gt;&#xA;&lt;li&gt;When you need, you can record as many videos as you want with ffmpeg/rtmpdump&lt;/li&gt;&#xA;&lt;li&gt;Feed video/images everywhere else you want&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Since here only one stream, here must be no problems with stream errors.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-20T13:47:58.070" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22646" PostTypeId="1" AcceptedAnswerId="22647" CreationDate="2017-10-20T14:08:04.403" Score="1" ViewCount="2578" Body="&lt;p&gt;I am using ffmpeg to create a composite video with multiple overlays onto a static background. I notice that ffmpeg creates a separate output stream in the output mp4 file for each overlay. Ideally, I would like these to be 'flattened' into a single stream. Is it possible to do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is simple example of what I mean - in this case I have a background 'logo' video onto which is being overlaid another video which is scaled to be a half the size of the background and is positioned in the top left corner of the output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i LOGO.mp4 -i VIDEO.mp4 &#xA;       -filter_complex &quot;[1][0]scale2ref=iw/2:-2[scaled]; &#xA;                        [0][scaled]overlay=x=0:y=0[composite]&quot; &#xA;       -map [composite] &#xA;       -y OUTPUT.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The resulting video has two video streams as shown by the output from ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Output #0, mp4, to 'OUTPUT.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.71.100&#xA;    Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], q=-1--1, 30 fps, 15360 tbn, 30 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.89.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], q=-1--1, 25 fps, 12800 tbn, 25 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.89.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20340" LastActivityDate="2017-10-20T14:46:51.743" Title="Can ffmpeg overlays be combined into a single output stream?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22647" PostTypeId="2" ParentId="22646" CreationDate="2017-10-20T14:46:51.743" Score="1" Body="&lt;p&gt;&lt;code&gt;scale2ref&lt;/code&gt; consumes two inputs and then emits them both.. In your command, the output of the reference input isn't provided a label, nor connected elsewhere, nor fed to NULL output, so ffmpeg automatically maps it as output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i LOGO.mp4 -i VIDEO.mp4 &#xA;       -filter_complex &quot;[1][0]scale2ref=iw/2:-2[scaled][ref]; &#xA;                        [ref][scaled]overlay=x=0:y=0[composite]&quot; &#xA;       -map [composite] &#xA;       -y OUTPUT.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The ref is now consumed by overlay and isn't left 'dangling' for ffmpeg to map.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As to your general query, just label the output of one overlay and feed it as the input to another, and you can combine them.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-10-20T14:46:51.743" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22648" PostTypeId="2" ParentId="22629" CreationDate="2017-10-21T05:45:35.757" Score="0" Body="&lt;p&gt;It's a green screen, otherwise known as chroma keying.  Blue is also used, especially for blonde subjects, or people in green clothing/ costume.  It's not being projected behind him.  If you were standing in the room, you'd just see a green wall.  But it is possible to key footage live, and even to stream a live chroma key.  You just need the right hardware and/ or software.  &lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2017-10-21T05:45:35.757" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="22649" PostTypeId="1" CreationDate="2017-10-21T07:12:30.560" Score="0" ViewCount="1092" Body="&lt;p&gt;I have seen this video on YouTube which has a white background effect with proper video quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=wtDSi14D4yE&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7dVNy.jpg&quot; alt=&quot;Video&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How could I do this?&lt;/p&gt;&#xA;" OwnerUserId="20346" LastEditorUserId="674" LastEditDate="2017-12-25T13:55:45.687" LastActivityDate="2017-12-25T13:55:45.687" Title="How to make a white background effect for video recording?" Tags="|video|editing|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22650" PostTypeId="2" ParentId="16962" CreationDate="2017-10-21T13:58:39.910" Score="1" Body="&lt;p&gt;I'm researching on this too. I found CyberLink PowerDirector 16 &lt;a href=&quot;https://www.cyberlink.com/products/powerdirector-ultra/360video_en_US.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;claims to edit 360 video&lt;/a&gt; but I haven't tried it yet.&lt;/p&gt;&#xA;" OwnerUserId="20347" LastEditorUserId="14523" LastEditDate="2017-10-21T21:54:34.693" LastActivityDate="2017-10-21T21:54:34.693" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22651" PostTypeId="1" CreationDate="2017-10-21T15:56:52.777" Score="2" ViewCount="389" Body="&lt;p&gt;In Sony Vegas Pro 13, I've masked the part where I want the text's black background to appear. It looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gW5gD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gW5gD.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, I want to fade one part of the background like in below picture, where right side of the text background is faded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JZfVZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JZfVZ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I do it?&lt;/p&gt;&#xA;" OwnerUserId="11999" LastEditorUserId="11999" LastEditDate="2017-10-21T16:46:03.923" LastActivityDate="2024-03-21T20:02:00.160" Title="Fade text background on one end in Sony Vegas Pro 13" Tags="|video|youtube|effects|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22652" PostTypeId="1" CreationDate="2017-10-21T18:29:37.290" Score="2" ViewCount="137" Body="&lt;p&gt;I'm going to Thailand for 16 days with GoPro Hero 6 and I have three questions because I don't have any experience in this field.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First of all I googled some stats about battery life and how much Mbps does camera take for my case (95% of the time I'm going to use 1080p with 60fps and ProTune on). If I'm correct and for this mode camera will use H.264 codec then stats are as follows:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Battery life (per one charge) : &lt;strong&gt;~1h 40min&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;60Mbps = ~ 8MB/s = &lt;strong&gt;~ 28 GB/h&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I correct?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Moving on to the second question with given calculated values I estimated that I will need around 3h of content per day. I also decided that I will buy FeiyuTech G5 gimbal which can extra charge my GoPro. I watched some videos on YT, but no one said if this gimbal can charge GoPro from 0-100%. They said that it has around 8h of battery life for itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I assume that gimbal will work 3h + charge my GoPro from 0-100% on one battery life to match my 3h target?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is my first trip with camera and I would like to know your opinion about this 3h target per day. I'm not a professional and I will use it only for myself. How much video content do you record on your vacation?&lt;/p&gt;&#xA;" OwnerUserId="20349" LastEditorUserId="674" LastEditDate="2018-06-03T22:51:51.730" LastActivityDate="2018-06-03T22:51:51.730" Title="16 days in Thailand with GoPro Hero 6 Black [Help]" Tags="|camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="22655" PostTypeId="2" ParentId="22649" CreationDate="2017-10-22T19:18:56.757" Score="2" Body="&lt;p&gt;You need a white backdrop with the appropriate backdrop stands!  For the backdrop, you have two choices:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Muslin fabric.  Easily transported since you can fold it up and bring it wherever you need. But, it does have to be ironed/steamed until it's completely wrinkle-free.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;OR:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Paper backdrop.  You don't have to iron/steam wrinkles out of this.  But it's a pain to transport it since it's a super-long roll of thick paper.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;To light this scene, you'll need three lights: key light + fill light to light your actor, and third a Fiilex light, &lt;a href=&quot;https://www.bhphotovideo.com/c/product/1021433-REG/fiilex_flxp360_p360_90w_led_light.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;like this one&lt;/a&gt;, to place on the ground behind your sitting talent, and pointing upward towards the backdrop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's best to turn off all interior lights and block out the windows and only light the scene using these three lights.&lt;/p&gt;&#xA;" OwnerUserId="18024" LastEditorUserId="14523" LastEditDate="2017-10-22T23:56:21.570" LastActivityDate="2017-10-22T23:56:21.570" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22657" PostTypeId="2" ParentId="17887" CreationDate="2017-10-22T21:27:41.403" Score="0" Body="&lt;p&gt;The most recent versions of Premiere have a totally new titling and graphics setup. I have found that changing frame size, say from SD to HD, which I have done recently, the titles don't scale at all and are unusable.&#xA;I have to remake them for the new frame size. But it is pretty easy to repurpose the graphics for a new frame size. It would be a pain if there were alot of titles. In my workflow I try to do the titles last, when I already know how I am going to output.&lt;/p&gt;&#xA;" OwnerUserId="6277" LastActivityDate="2017-10-22T21:27:41.403" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22659" PostTypeId="1" CreationDate="2017-10-22T22:38:00.047" Score="1" ViewCount="248" Body="&lt;p&gt;in the FCPX timeline, is there a way to change the standard grey color of a clip?  so i can notice it quickly between hundred other grey clips in the timeline ? Imagine the convenience...&lt;/p&gt;&#xA;" OwnerUserId="20357" LastEditorUserId="20357" LastEditDate="2017-10-23T17:18:09.487" LastActivityDate="2017-12-25T23:19:21.533" Title="How to change the grey color of a clip block in the grey timeline in FCPX" Tags="|editing|fcpx|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22660" PostTypeId="1" CreationDate="2017-10-23T00:53:57.500" Score="2" ViewCount="3811" Body="&lt;p&gt;Let's start off from the beginning: I have already configured KdenLive to point to the melt.exe file, and all the other proper plugins to allow rendering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I hit &quot;Render&quot; and try to render to a file, I am told that it has started to render, and then I am instantly told that the render completed successfully, in 00:00:00. However, there's nothing saved to disk.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried analyzing the script that generates when you select &quot;Generate Script&quot;. It seems to be giving a &quot;usage&quot; dialog due to incorrect parameters. I'm wondering if maybe this is the problem. It reads as follows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\b4ux1\Documents\Vlogs\2017-10-22&amp;gt;&quot;E:/Kdenlive-&#xA;17.08.1/kdenlive_render.exe&quot; &quot;in=0 out=100 &quot;E:/Kdenlive-&#xA;17.08.1/share/mlt/melt.exe&quot; atsc_1080p_60 avformat - &#xA;&quot;file:///C:/Users/b4ux1/Documents/Vlogs/2017-10-22/2017-10-22_001.bat.mlt&quot; &#xA;&quot;file:///C:/Users/b4ux1/Documents/Vlogs/2017-10-22/2017-10-22.webm&quot; f=webm &#xA;vcodec=libvpx acodec=vorbis crf=15 vb=0 quality=good aq=7 max-intra-&#xA;rate=1000 cpu-used=4 threads=4 real_time=-1&quot;&#xA;Kdenlive video renderer for MLT.&#xA;Usage: kdenlive_render [-erase] [-kuiserver] [-locale:LOCALE] [in=pos] &#xA;[out=pos] [render] [profile] [rendermodule] [player] [src] [dest] [[arg1] &#xA;[arg2] ...]&#xA;  -erase: if that parameter is present, src file will be erased at the end&#xA;  -kuiserver: if that parameter is present, use KDE job tracker&#xA;  -locale:LOCALE : set a locale for rendering. For example, -locale:fr_FR.UTF-8 will use a french locale (comma as numeric separator)&#xA;  in=pos: start rendering at frame pos&#xA;  out=pos: end rendering at frame pos&#xA;  render: path to MLT melt renderer&#xA;  profile: the MLT video profile&#xA;  rendermodule: the MLT consumer used for rendering, usually it is avformat&#xA;  player: path to video player to play when rendering is over, use '-' to disable playing&#xA;  src: source file (usually MLT XML)&#xA;  dest: destination file&#xA;  args: space separated libavformat arguments&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Qd6PE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Qd6PE.png&quot; alt=&quot;Rendering Job Queue showing successful render.&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IeWby.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IeWby.png&quot; alt=&quot;Output folder showing absolutely nothing having been rendered.&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20358" LastEditorUserId="20358" LastEditDate="2017-10-23T01:13:44.303" LastActivityDate="2021-08-30T03:07:20.603" Title="KdenLive: Nothing is being rendered on Windows?" Tags="|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22662" PostTypeId="2" ParentId="22629" CreationDate="2017-10-23T01:50:20.420" Score="1" Body="&lt;p&gt;I don't think you can achieve this on a live webcast with only a laptop. You will want either:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;a dedicated PC with an I7 or better CPU, appropriate video hardware (Blackmagic capture card or comparable) and software switch (Wirecast or comparable), or &lt;/li&gt;&#xA;&lt;li&gt;a hardware video switch (Blackmagic ATEM 1 M/E or comparable). &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Having purchased both types of systems in the past few years, the two options come out to about the same price, and I'm partial to the hardware solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have the hardware and software in place, you can greenscreen the entire room, which creates lighting issues, or only a section behind the lecturer and use picture-in-picture to minimize the amount of space that the green-screen requires (and the lighting problems that go with it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After that, the output of the laptop is just an input to the capture card or ATEM switch.&lt;/p&gt;&#xA;" OwnerUserId="19491" LastActivityDate="2017-10-23T01:50:20.420" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22663" PostTypeId="2" ParentId="22652" CreationDate="2017-10-23T12:54:58.963" Score="1" Body="&lt;p&gt;The important factor is not &quot;battery life&quot; as such. It's mAh (milliamp hours) which is how much current the battery pack can deliver for how long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, my battery pack can supply 20,000mAh to one of my devices, which has a battery size of 4,000mAh. So I can fully charge it 5 times from the pack.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As to your other question - I have had days of 10 hours of footage, and others of under 15 minutes. It will depend entirely on what you do and see, the weather, your preferences etc.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2017-10-23T12:54:58.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22664" PostTypeId="1" AcceptedAnswerId="22665" CreationDate="2017-10-23T13:55:09.390" Score="3" ViewCount="10199" Body="&lt;p&gt;I have a ffmpeg command that plays several videos from a folder to a live stream, but I would also like to add text overlays over it. The problem is that I used complex filter to concatenate the videos, and -vf to drawtext, but ffmpeg says I can't use complex filters and -vf in the same time. I can't use another method for concatenation, so how should I do ? (I don't mind about using several commands, as long as everything is done live and can be streamed directly)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By the way, here's an example command I use :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-i video1.mp4 -i video2.mp4&#xA;-filter_complex &quot;[0:v:0] [0:a:0] [0:v:1] [0:a:1] concat=n=2:v=1:a=1 [v] [a]&quot; \&#xA;-vf &quot;drawtext=text='SOME TEXT':x=(w-text_w):y=(h-text_h):fontfile=OpenSans.ttf:fontsize=30:fontcolor=white&quot; \&#xA;-map &quot;[v]&quot; -map &quot;[a]&quot; -deinterlace \&#xA;-vcodec libx264 -pix_fmt yuv420p -preset $QUAL -r $FPS -g $(($FPS * 2)) -b:v $VBR \&#xA;-acodec libmp3lame -ar 44100 -threads 6 -qscale 3 -b:a 712000 -bufsize 512k \&#xA;-f flv &quot;$YOUTUBE_URL/$KEY&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The problem only comes from the -vf because it works well without it.&lt;/p&gt;&#xA;" OwnerUserId="20352" LastActivityDate="2017-10-23T14:24:05.623" Title="FFMPEG - Use drawtext and complex filters" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22665" PostTypeId="2" ParentId="22664" CreationDate="2017-10-23T14:24:05.623" Score="3" Body="&lt;p&gt;Just chain the drawtext, at the end.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-i video1.mp4 -i video2.mp4&#xA;-filter_complex &quot;[0:v:0] [0:a:0] [0:v:1] [0:a:1] concat=n=2:v=1:a=1 [v][a];&#xA;[v]drawtext=text='SOME TEXT':x=(w-text_w):y=(h-text_h):fontfile=OpenSans.ttf:fontsize=30:fontcolor=white[v]&quot; \&#xA;-map &quot;[v]&quot; -map &quot;[a]&quot; -deinterlace \&#xA;-vcodec libx264 -pix_fmt yuv420p -preset $QUAL -r $FPS -g $(($FPS * 2)) -b:v $VBR \&#xA;-acodec libmp3lame -ar 44100 -threads 6 -qscale 3 -b:a 712000 -bufsize 512k \&#xA;-f flv &quot;$YOUTUBE_URL/$KEY&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-10-23T14:24:05.623" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22666" PostTypeId="1" CreationDate="2017-10-23T16:39:05.927" Score="0" ViewCount="1127" Body="&lt;p&gt;I am often rendering quite large sets of assets (lower thirds, titles, etc) from AFX and it's really annoying to eg create lower third and then duplicate it and change texts. Especially when I later need to change something globally and have to return to every single copy of that graphic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there maybe a way to load data from external file (like XML or JSON) and then repeat render for each row / set in that file? So I could basically create lower third with text fields &quot;name&quot; and &quot;company&quot; and then specify multiple values for those fields in external file and then just have AFX render my composition with each set of values?&lt;/p&gt;&#xA;" OwnerUserId="5928" LastActivityDate="2020-02-29T23:38:45.993" Title="Automate After Effects assets rendering via script and external data" Tags="|after-effects|automation|after-effects-scripting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22667" PostTypeId="2" ParentId="22651" CreationDate="2017-10-23T20:33:18.020" Score="0" Body="&lt;p&gt;What you are looking for is &lt;strong&gt;luma keying&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With luma keying, you provide a greyscale image to represent degrees of transparency (properly called an alpha channel) in addition to your background and foreground images. I have not used it in Vegas Pro, but here is a link to a tutorial:  &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/68MjjY6XQzk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="19491" LastActivityDate="2017-10-23T20:33:18.020" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22668" PostTypeId="2" ParentId="22666" CreationDate="2017-10-24T00:13:36.760" Score="2" Body="&lt;p&gt;Have you got the latest version? After Effects CC 2018 is all about &lt;a href=&quot;https://helpx.adobe.com/after-effects/how-to/create-data-driven-animations.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;data driven animation.&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either way you can use external file to drive expressions (in older versions too) using the &lt;code&gt;eval&lt;/code&gt; javascript function. I &lt;a href=&quot;http://blob.pureandapplied.com.au/using-data-from-an-external-file-to-drive-expressions/&quot; rel=&quot;nofollow noreferrer&quot;&gt;explain it on my blog&lt;/a&gt; thus:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a file that contains something like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var vals = {&quot;rotation&quot;:8, &quot;scaleX&quot;:150, &quot;scaleY&quot;:200};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;you can use this expression, e.g. in the scale property:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$.evalFile(&quot;/path/to/test.js&quot;); // or &quot;c:\path\to\test.js&quot;&#xA;[eval(vals).scaleX, eval(vals).scaleY]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the first line reads the file and treats it as source for the expression, so vals is defined as an object with rotation, scaleX and scaleY properties, which we access as the value for our scale property.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your case you'd be wanting to use the expression for the &lt;strong&gt;Source Text&lt;/strong&gt; property, so your data file might be something like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var vals = {&quot;comp1&quot;: {line1:&quot;Doctor MCDoctorface&quot;, line2:&quot;Surgeon&quot;},&#xA;            &quot;comp2&quot;: {line1:&quot;Skinner McHackett&quot;, line2:&quot;Butcher}…&#xA;           }&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So that's an array of arrays, where each comp has 2 values, line1 and line2. In your expression you'd loop through the array, until you found the member of the outer array whose name matched &lt;code&gt;thisComp.name&lt;/code&gt; and then use the appropriate member for line 1 and 2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To automate your rendering you can use the built-in command line renderer aerender (aka aerender.exe). With a bit of shell scripting you can automate the whole workflow.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-10-24T00:13:36.760" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22670" PostTypeId="1" AcceptedAnswerId="22672" CreationDate="2017-10-24T12:59:52.663" Score="1" ViewCount="518" Body="&lt;p&gt;Hi has anyone ever used a DJI Ronin MX in the rain? if so how have you protected it? &lt;/p&gt;&#xA;" OwnerUserId="20142" LastActivityDate="2017-10-24T17:52:30.140" Title="How to use DJI Ronin MX in adverse weather" Tags="|video|production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22671" PostTypeId="2" ParentId="22666" CreationDate="2017-10-24T14:04:35.570" Score="0" Body="&lt;p&gt;And also one little trick: you can copy-paste key-frames. And you can copy-paste it as text! Just copy all your animation key-frames and paste to notepad.exe or other text editor! Pretty cool? You can write own script in any language to generate text with same structure and import many data in AE in such way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, this works only with animation key-frames. But this one day saved too much time for me.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-24T14:04:35.570" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22672" PostTypeId="2" ParentId="22670" CreationDate="2017-10-24T17:52:30.140" Score="2" Body="&lt;p&gt;There are numerous simple solutions including shoulder mounted umbrellas and rain shields, or even ones mounted on the Ronin itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously, in a complete downpour you may need to consider a waterproof camera bag. These are pretty cheap anyway.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2017-10-24T17:52:30.140" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22676" PostTypeId="2" ParentId="22611" CreationDate="2017-10-25T11:57:30.190" Score="1" Body="&lt;p&gt;Try video montage or collage grids&lt;/p&gt;&#xA;" OwnerUserId="20142" LastActivityDate="2017-10-25T11:57:30.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22678" PostTypeId="1" CreationDate="2017-10-26T00:55:06.990" Score="-2" ViewCount="297" Body="&lt;p&gt;I tried to play 1000fps video on vlc, google drive,etc but the irregularity in the playback is quite visible and sometimes the video gets stuck. Kindly help me out if there is a software/server where it can be played smoothly.&lt;/p&gt;&#xA;" OwnerUserId="20385" LastEditorUserId="674" LastEditDate="2017-11-08T21:49:40.410" LastActivityDate="2017-11-08T21:49:40.410" Title="Play 1000 FPS Video at 1000 FPS" Tags="|video|playback|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22679" PostTypeId="1" CreationDate="2017-10-26T01:53:26.433" Score="2" ViewCount="118" Body="&lt;p&gt;I have recently downloaded Fusion and have seen some preloaded uses of fire and smoke in reference to particle systems. However, no matter how much I try recreating something like that, it always looks fake as either the particles is too thick or it simply doesn't flow or doesn't look realistic. This applies to other concepts as well such as snow, fireworks, etc. What makes the particle systems look so natural in those cases? How can I achieve a natural more realistic look from them?&lt;/p&gt;&#xA;" OwnerUserId="20386" LastEditorUserId="1871" LastEditDate="2017-10-26T08:39:32.283" LastActivityDate="2022-02-23T09:58:28.590" Title="How to make particle systems look more natural and realistic in Fusion?" Tags="|editing|animation|animation-rendering|fusion|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22681" PostTypeId="2" ParentId="15096" CreationDate="2017-10-26T06:23:25.390" Score="1" Body="&lt;p&gt;Just found it, might help someone else.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;In the panel there are dropdowns in the bottom bar. &#xA;Change the drop down that says &quot;quarter&quot; (see 2nd images) to full (see first image).&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's it.&lt;/p&gt;&#xA;" OwnerUserId="20388" LastActivityDate="2017-10-26T06:23:25.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22682" PostTypeId="2" ParentId="22678" CreationDate="2017-10-26T07:34:20.560" Score="0" Body="&lt;p&gt;Try ffplay, but you must have proper device for playback. Unfortunately, current monitors can show only 60 fps. Some old CRT monitors can display upto 120 fps.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-26T07:34:20.560" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22683" PostTypeId="1" CreationDate="2017-10-26T08:48:23.650" Score="4" ViewCount="36" Body="&lt;p&gt;I came accross footage, which has been shot using a drone. There appears a &quot;swimming&quot; texture effect on a roof of the building. I downloaded an example to youtube to the following link.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/-h1riAq4XZ0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is this happening and can it be solved in AE?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="20389" LastActivityDate="2017-10-26T15:02:01.330" Title="&quot;Swimming&quot; texture artefact on a drone video footage" Tags="|moire|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22684" PostTypeId="2" ParentId="22678" CreationDate="2017-10-26T14:55:46.933" Score="2" Body="&lt;p&gt;Since there aren't any monitors that I'm aware of that display 1000 frames per second, I assume you want to play back for viewing in realtime, but don't care about the lost data.  The trick of 1000fps video is that the amount of data is pretty staggering.  If the resolution is pretty limited, it might be doable on non-specialized hardware, but data rate is most likely your enemy here and is probably why you are having issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your best bet is going to be to transcode in to a proxy file that is a more reasonable framerate for viewing.  This will allow you to easily view the file in realtime without losing any information that you wouldn't already be losing due to the screen you are watching it on.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-10-26T14:55:46.933" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22685" PostTypeId="2" ParentId="22683" CreationDate="2017-10-26T15:02:01.330" Score="3" Body="&lt;p&gt;This is due to an issue with resolving an image to a set of pixels called moire.  Basically, due to the regular pattern, some parts of a straight line end up on one line of sensors and the other end up on the other.  This results in a jaggy line and the line moves around as the image moves across the sensor, producing the effect you see.  It can occur when shooting any regular repeating pattern off angle to vertical or horizontal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &quot;solution&quot; is to apply a gaussian blur (or moire reduction filter if you have one available, but it will basically do the same thing) to normalize the lines enough that they don't flicker back and forth anymore.  It results in a loss of crispness of the image, but will also deal with making the shifting less pronounced.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-10-26T15:02:01.330" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22686" PostTypeId="2" ParentId="22659" CreationDate="2017-10-26T22:27:59.383" Score="1" Body="&lt;p&gt;Modify &gt; Edit Roles&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Choose a colour, then right-click an item in the Browser or in the Timeline to Assign that new Role.&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2017-10-26T22:27:59.383" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22688" PostTypeId="2" ParentId="15406" CreationDate="2017-10-28T00:09:57.407" Score="1" Body="&lt;p&gt;The most basic principal of stop motion is taking pictures of still objects,moving them slightly for each frame, then playing them very quickly to give the illusion of movement. For example, when the bar came out of the package the animator started with a frame of the closed package. Than they opened the end of the package then they took another frame(picture).They moved the package off the bar sightly and took another picture. They slowly did this until the bar was all the way out of the package. It's not that hard, really. Give it a try!&lt;/p&gt;&#xA;" OwnerUserId="20396" LastActivityDate="2017-10-28T00:09:57.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22690" PostTypeId="1" CreationDate="2017-10-28T16:12:01.620" Score="0" ViewCount="2335" Body="&lt;p&gt;Let's say the battery dies or you take it out while recording what would happen to the video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe this camera is from 2006.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have heard new cameras have a cache that it fixes upon reboot.  Is there a date where this is assumed?  I guess does my camera have this feature?&lt;/p&gt;&#xA;" OwnerUserId="11909" LastEditorUserId="11909" LastEditDate="2017-10-30T18:07:40.187" LastActivityDate="2021-10-13T16:06:25.597" Title="Cameras battery dies. What happens to video?" Tags="|video|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22691" PostTypeId="1" CreationDate="2017-10-29T19:09:36.423" Score="1" ViewCount="747" Body="&lt;p&gt;I am  trying to transcode mp4 videos into HLS using AWS transcoder. I see that there are only few presets available which are like 1M, 1.5M and the highest 2M. I am unable to get 240, 360 , 480,720p and 1080p&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could someone help me with different transcoder settings to create these presets? I don't understand most of the fields presented in the presets. &lt;/p&gt;&#xA;" OwnerUserId="20409" LastActivityDate="2017-10-30T12:28:04.573" Title="HLS Preset Settings 240p, 360p, 480p, 720p and 1080p" Tags="|encoding|transcoding|bitrate|hls|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22692" PostTypeId="1" CreationDate="2017-10-30T03:48:45.427" Score="0" ViewCount="115" Body="&lt;p&gt;I am new to video editing and publishing and have recently started creating some content for my company. I am using Camtasia for the same which I have self learnt so high chances I may not know a lot of things about it.&lt;br&gt;&#xA;Currently I am trying to make some video which I want to show as if they are in a mobile screen. An example of my requirement can be found at: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/pAkbhPZaZL8?start=14&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; . I am planning to show some app features instead of whats shown in the video however, that mobile screen effect is something very close to what I need.&lt;br&gt;&#xA;I would like to know how to achieve this? Can this be done in Camtasia or will I need some other tool for the same?&lt;/p&gt;&#xA;" OwnerUserId="20411" LastActivityDate="2018-02-04T18:50:51.383" Title="How to get the mobile screen effect in videos?" Tags="|effects|mobile|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22693" PostTypeId="1" CreationDate="2017-10-30T03:55:50.703" Score="3" ViewCount="53" Body="&lt;p&gt;For example, a live GoPro video is being streamed to a HDMI capture software on Windows. The live stream of an office with the lights on has a bitrate of X and a latency of Y ms. If the lights in the office are turned off so all that is captured in the live video stream is a red light bulb and a black background, will the new bitrate be less than X? Will the new latency be less than Y ms? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The resolution is maintained throughout at 1080p at 60fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd appreciate any help you folks can be!&#xA;&lt;a href=&quot;https://i.stack.imgur.com/gcqGj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gcqGj.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20410" LastEditorUserId="20410" LastEditDate="2017-10-30T04:05:14.473" LastActivityDate="2018-05-29T06:32:58.840" Title="If the environment being captured on a video stream becomes less complicated, does the bit rate and latency decrease?" Tags="|streaming|live|bitrate|latency|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22695" PostTypeId="2" ParentId="22690" CreationDate="2017-10-30T07:06:53.693" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Let's say the battery dies or you take it out while recording what would happen to the video?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Why can't you try it? Just start video recording and remove battery.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I can see, you have camera using DV tape, so you will nothing lose of the recorded data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have DVD camera, sdcard or HDD, things get worse, as you must &quot;finalize&quot; recording. In case power loss with HDD/sdcard, you can lost few last seconds/minutes or whole file. Some cameras writes temporary &lt;code&gt;.dat&lt;/code&gt; files, which can not be played. But it can be repaired. Sometimes it's no easy, but it's possible to get back your data. I can't say anything about DVD, as I not expert in this area. So, just do experiment!&lt;/p&gt;&#xA;" OwnerUserId="19905" LastEditorUserId="19905" LastEditDate="2017-10-30T17:09:53.650" LastActivityDate="2017-10-30T17:09:53.650" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22696" PostTypeId="2" ParentId="22693" CreationDate="2017-10-30T07:15:13.600" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;so all that is captured in the live video stream is a red light bulb&#xA;  and a black background&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;No. You can't get black background. You will get any possible type of noises, many shadows and all kinds artifacts of camera's matrix.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;will the new bitrate be less than X?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;No. As GoPro writes constant bitrate (CBR)&lt;/li&gt;&#xA;&lt;li&gt;No. As new noises can require even more bitrate than static image.&lt;/li&gt;&#xA;&lt;li&gt;Yes, if you will fill background with black color in video editing software and select non-CBR mode for compression&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Will the new latency be less than Y ms?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;No. Delay causes by some buffers. Buffers for N frames, buffers for N bytes. If you lower bitrate, you can INCREASE delay in some cases (actually, it's true to very low bitrates).&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-30T07:15:13.600" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22697" PostTypeId="1" CreationDate="2017-10-30T09:01:44.947" Score="2" ViewCount="3579" Body="&lt;p&gt;What I would like to achieve is that a script runs through a folder of video files e.g.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;001.mp4&#xA;002.mp4&#xA;003.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and cuts these video according to a .csv or .xls or .txt with the timestamp e.g:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;001.mp4, 00:00:00 - 00:00:03, 00:05:01 - 00:09:56, &#xA;002.mp4, 00:03:00 - 00:04:01, 00:06:01 - 00:08:00,&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I would also like this to be as accurate as possible and wonder what the best approach is to get frame accuracy. I don't fully understand this, but some research suggests that the best would be to force keyframes at the edit points before cutting it.&lt;/p&gt;&#xA;&lt;p&gt;The output should be named according to the video file name and cut times.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;New folder: &#xA;&#xA;001_000000_000003.mp4&#xA;001_000501_000956.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;so in pseudo code I would think the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for i in *.mov; do &#xA;   ffmpeg -i &amp;quot;$i&amp;quot; - force_key_frames-at-all-cut-points-according-to-csv file outputfile.mov (same as start file ?)&#xA;   ffmpeg -i &amp;quot;$i&amp;quot; - cut-video-according-to-cut-points &amp;quot;$i&amp;quot;+startpoint+endpoint.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In a next step it would be great to create these timestamps (with any software, ideally ffmpeg) by clicking and creating markers for in and out.&lt;/p&gt;&#xA;&lt;p&gt;Any idea how I could achieve the first step would be great.&#xA;Also if there is already a ready script/software(open source) that can do this it would be great.&lt;/p&gt;&#xA;&lt;p&gt;Thank you for your help.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I now have a .txt file with timestamps that I can extract automatically (every line a value in second like this):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;timestamp0 (00:00)&#xA;timestamp1 (3.3 seconds)&#xA;timestamp2 (10.2 seconds)&#xA;timestamp3 (16.7 seconds)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now I would like to parse always two pairs (e.g. timestamp0, timestamp1; timestamp2, timestamp3 ) and cut them from the larger video file and save them in a file with the seconds like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss timestamp0 -i inputfile.mp4 -t timestamp1 -c copy inputfile_time0_time1.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;How can I iterate over all the files in the directory, apply the cuts and save them to file ? Or if that is too difficult, how can I do this for one video ?&lt;/p&gt;&#xA;&lt;p&gt;Thanks again&lt;/p&gt;&#xA;" OwnerUserId="5999" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2022-12-11T05:03:15.810" Title="How to batch cut a folder of videos with a list of timestamps" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22699" PostTypeId="2" ParentId="22697" CreationDate="2017-10-30T17:21:53.837" Score="1" Body="&lt;p&gt;You almost invented EDL files. It can be rendered with almost any NLE editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want cut out part of file, you can use ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;     ffmpeg -ss 3:00 -i file.mp4 -t 1:01 -c copy file_00300_00401.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As you can see, here &lt;code&gt;-copy&lt;/code&gt; option, so cut points will be only on keyframes. No quality loss. If you want more precise, you must reencode whole video (and possible move &lt;code&gt;-ss&lt;/code&gt; option after &lt;code&gt;-i&lt;/code&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To achieve your text format/file naming style, you must write script in any language. Just parse input data and paste it as ffmpeg's options.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-30T17:21:53.837" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22701" PostTypeId="2" ParentId="22693" CreationDate="2017-10-30T23:25:29.690" Score="1" Body="&lt;p&gt;Like much with technology (and life), it depends. You didn't specify what software, protocol, or codec you are streaming with, so there are quite a few variables.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Will the bit rate drop?&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;If you are using a &lt;em&gt;constant&lt;/em&gt; bit rate (CBR) codec, no it will not. As the name implies, the bit rate is always the same regardless of the content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are using a &lt;em&gt;variable&lt;/em&gt; bit rate (VBR) codec, it might be lower than when the lights are on. It may also not be significantly lower, because, as the other answer alluded to, you will get a lot of noise. When the light level drops, the camera will automatically increase the gain which will result in color artifacts in the dark area, like in the sample video below. It is very difficult for codecs to handle noise, so you might actually see an increase in the bit rate over a brightly lit scene with little movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/P2AO5fvPJTk?start=252&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Will the latency drop?&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;If you are using a codec that has several latency modes, then the it might. However, most of those codecs are commercial products that are either a proprietary codec or fudge things in incompatible ways within the standard. That makes it unlikely that you are using one of those codecs. On top of that, those codecs usually make you select the latency mode before starting the stream and it is then fixed while the stream is up.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-10-30T23:25:29.690" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22703" PostTypeId="1" AcceptedAnswerId="22704" CreationDate="2017-10-31T14:02:01.590" Score="0" ViewCount="63" Body="&lt;p&gt;I'm about to record still videos, mostly of people sitting and talking to the camera. And I would like to use internal microphones of a portable recorder with a camera and I do not want to place the recorder on top of the camera using a shoe adapter cause I'm afraid it will record a noise coming from the camera and an operator. I also don't want to use XLR microphone, cause it means additional expenses for me and additional gear to carry. So my idea is to place the record in front of the speaking person. Since there is a distance between the person and the camera, I would need quite long audio cable that will connect the recorder with the camera. So my question is - are there any issues with using long cable, like latency, quality drop or something I'm not aware of and what is the optimal cable length I'm safe to use in this case?&lt;/p&gt;&#xA;" OwnerUserId="20424" LastActivityDate="2017-11-06T16:47:13.303" Title="What is the maximum length of Portable Recorder to Camera cable that is safe to use?" Tags="|video-recording|audio-recording|audio-quality|cable|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22704" PostTypeId="2" ParentId="22703" CreationDate="2017-10-31T14:20:03.513" Score="2" Body="&lt;p&gt;Without more detail this is not directly answerable. The short answer is, the shorter the better, but the long answer depends on many factors.  &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The amount of electromagnetic noise in a room will impact how much the cable picks up noise by working as an antenna.  &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The type of cable being used will impact how much shielding prevents cross talk (between conductors if shooting stereo) and acting as an antenna.  Features like balanced signaling will also greatly reduce the amount of noise picked up over the length of the cable.  &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The signal type coming out of the recorder also matters.  If the signal is low power (mic level) then it will be more susceptible to noise, but less susceptible to cross talk.  If it is powered (line level) then it will be more susceptible to cross talk but will be much further above the noise floor. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Conversely, for just about any case, the impact of cable length is unlikely to be as significant as the quality loss expected for sound dissipating through the air, so getting as close to the subject as possible is pretty much always ideal.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a long cable run, the wired solution will always be lower latency than a shorter one.  Latency is introduced primarily by processing or by signal dropouts on a digital signal that supports retransmission.  Analog signal on a cable is going to move at the speed of light while the sound waves themselves will have to travel at the speed of sound, so if your camera is in the back of a large room, the sound from the mic coming over a wire will likely actually get to you before the physical sound waves reach you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There may be some exceptions to the noise level rule if the room is extremely EM noisy and you don't have the option of using balanced and shielded cabling with a line level signal, however sound drops off in strength EXTREMELY quickly as the pressure waves spread in all directions and lose power at an inverse square level. (Inverse square law).  The closer you are, the more signal you have to start with and it's difficult for a cable to lose signal that quickly.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-10-31T14:20:03.513" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="22705" PostTypeId="1" CreationDate="2017-10-31T15:54:04.683" Score="-1" ViewCount="78" Body="&lt;p&gt;How can I convert iTunes M4V to Mov? I try multiple free online software, but none of them work&lt;/p&gt;&#xA;" OwnerUserId="20425" LastActivityDate="2017-11-01T15:47:01.830" Title="Hi, How can I convert iTunes M4V to Mov? I try multiple free online software, but none of them work" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22706" PostTypeId="1" CreationDate="2017-10-31T18:16:40.997" Score="2" ViewCount="160" Body="&lt;p&gt;I'm using a lens with an aperture ring that allows changing the aperture in a smooth, continuous manner.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I've set up the D750 to allow me to use the aperture ring on the lens to change the aperture instead of the normal dial.&lt;/li&gt;&#xA;&lt;li&gt;When I use LiveView in photo mode, I can change the aperture from the lens as expected, and looking through the lens as I rotate the aperture ring shows a smooth transition&lt;/li&gt;&#xA;&lt;li&gt;When switching to LiveView video mode (and starting to record) however, power aperture kicks in and constantly tries to adjust the aperture to a &quot;round&quot; value, both making noise and cancelling the whole advantage offered by the lens.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Is there any way to disable this? Changing the &lt;code&gt;Multi-selector power aperture&lt;/code&gt; setting has no effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The lens has a CPU chip and the firmware version of the camera is 1.02.&lt;/p&gt;&#xA;" OwnerUserId="20427" LastActivityDate="2017-10-31T18:16:40.997" Title="How can one disable power aperture for video shooting with the Nikon D750?" Tags="|video-recording|nikon|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22707" PostTypeId="1" AcceptedAnswerId="22717" CreationDate="2017-10-31T20:23:10.100" Score="2" ViewCount="1213" Body="&lt;p&gt;I got a frame rate under 1 and can't seem to get ffmpeg to stamp the time code&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Doesn't work&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -start_number 0 -framerate 32 -y -i &quot;f0_t%d_i0_ch1_c0_r0_z0_mqdic.jpg&quot; -vframes 32 -vf &quot;drawtext=fontfile=DejaVuSans.ttf:timecode='00\:00\:00\:00':timecode_rate=0.28571:fontcolor=red:fontsize=64: box=1: boxcolor=0x00000000@1,setpts=PTS&quot; -pix_fmt yuv420p  -c:v libx264 &quot;part9_dynamics_slower_sampling_z0.avi&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;with an error&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_drawtext_0 @ 00000283dbab5f00] Timecode frame rate must be specified&#xA;[AVFilterGraph @ 00000283dbab58c0] Error initializing filter 'drawtext' with args 'fontfile=DejaVuSans.ttf:timecode=00\:00\:00\:00:timecode_rate=0.28571:fontcolor=red:fontsize=64: box=1: boxcolor=0x00000000@1'&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid argument&#xA;Error while processing the decoded data for stream #0:0&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Works as expected&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -start_number 0 -framerate 32 -y -i &quot;f0_t%d_i0_ch1_c0_r0_z0_mqdic.jpg&quot; -vframes 32 -vf &quot;drawtext=fontfile=DejaVuSans.ttf:timecode='00\:00\:00\:00':timecode_rate=1:fontcolor=red:fontsize=64: box=1: boxcolor=0x00000000@1,setpts=PTS&quot; -pix_fmt yuv420p  -c:v libx264 &quot;part9_dynamics_slower_sampling_z0.avi&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In one case &lt;code&gt;timecode_rate=0.28571&lt;/code&gt; and in the other &lt;code&gt;timecode_rate=1&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, how do I stamp in the correct, &lt;code&gt;0.28571&lt;/code&gt; frame rate?&lt;/p&gt;&#xA;" OwnerUserId="18437" LastActivityDate="2017-11-01T05:58:42.900" Title="Fractional ffmpeg timecode in draw text" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22709" PostTypeId="2" ParentId="22705" CreationDate="2017-10-31T20:44:58.527" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;M4V is a file extension for a container file defined in the systems&#xA;  part of the MPEG-4 standard (ISO 14496-1), as downloaded by iTunes. An&#xA;  M4V file can be renamed to the more common extension of MP4 to be&#xA;  played on other media players if not protected content.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;As mp4 and mov almost same, just rename it to mov&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-10-31T20:44:58.527" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22710" PostTypeId="1" CreationDate="2017-10-31T21:08:48.880" Score="1" ViewCount="34" Body="&lt;p&gt;I would like to know if it is possible to find time stamps or frame numbers where a change of the display aspect ratio occurs in a video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In more detail, I recorded a TV-show from an SD-channel which resulted in a .ts file with a pixel resolution of 720x576. Since it is an old show, the show itself has a display aspect ratio (DAR) of 4:3. The commercials however are broadcast with a DAR of 16:9.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering if it is possible to extract the positions of the video where the DAR changes since I'd like to use this information to detect the commercial breaks?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried using comskip but it seems that it always assumes quadratic pixels and therefore is not able to detect the change of the aspect ratio.&#xA;Other software is however able to respect the varying DAR.&#xA;For example, vlc always rescales the video accordingly and projectx also displays the right DAR for the respective positions in the video.&lt;/p&gt;&#xA;" OwnerUserId="20429" LastActivityDate="2017-10-31T21:08:48.880" Title="Detect changes in display aspect ratio" Tags="|video|" AnswerCount="0" CommentCount="3" ClosedDate="2017-11-01T14:50:59.903" ContentLicense="CC BY-SA 3.0" />
  <row Id="22711" PostTypeId="1" CreationDate="2017-10-31T21:34:56.703" Score="1" ViewCount="1151" Body="&lt;p&gt;I am experience an issue with audio in FCP X. In my videos, I take certain sections, turn the audio down to zero and speed the sections up to 8x. What this often does is screw up the audio in the &lt;em&gt;entire&lt;/em&gt; video. It becomes choppy and echo-y and, occasionally, the echo is so strong that it sounds like there are two people talking at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example of the issue can be seen in &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/nDM0bmkeNSI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;. There are several places where the acceleration happens (e.g you can see one at the 25min mark). But you can hear the choppy sounds throughout and especially after that mark.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions (short of switching to Premiere?)&lt;/p&gt;&#xA;" OwnerUserId="19044" LastActivityDate="2018-01-28T08:11:41.310" Title="Final Cut Pro audio issue that's driving me nuts" Tags="|audio|final-cut-pro-x|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22712" PostTypeId="1" CreationDate="2017-10-31T22:25:46.580" Score="1" ViewCount="140" Body="&lt;p&gt;How can I find out whether or not it's permissible to use a you tube video in a church service?&lt;/p&gt;&#xA;" OwnerUserId="20431" LastActivityDate="2017-11-01T14:43:26.570" Title="Use of you tube videos in a church service" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22713" PostTypeId="1" CreationDate="2017-11-01T00:07:40.437" Score="0" ViewCount="28" Body="&lt;p&gt;What is the &quot;state of the art&quot; professional software used by major Hollywood productions for storyboards and animatics?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I assume that maya would be the way the go when doing full 3D (pre-viz), right?&lt;/p&gt;&#xA;" OwnerUserId="17625" LastActivityDate="2017-11-17T15:09:54.000" Title="What is the &quot;state of the art&quot; professional software for storyboards and animatics?" Tags="|animation|preview|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22715" PostTypeId="2" ParentId="22712" CreationDate="2017-11-01T04:37:43.657" Score="2" Body="&lt;p&gt;There are two sides to this question:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1. Does the owner grant permission to use it in the church service?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before using a video in a church service, message the owner. Usually they will be happy to let you use it, and on occasion they will direct you to a higher quality download without ads. In general, YouTube is free to play.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2. Is the church okay with the ads that are likely to come along with it?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtubers make their money off of advertising, and they have no control over the ads that are likely to be presented. I recall a time when a children's church program (tee-totalling denomination) started with a beer advertisement because that what was shown with the video we had selected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Further Considerations&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are live-streaming or recording services for later playback on youtube, you have to pay extra attention to permissions on copyrighted material. Your CCLI license does not cover streaming, but the CSLP license does. Hillsong blocks re-streaming of their content, as do major networks (nbc, etc).&lt;/p&gt;&#xA;" OwnerUserId="19491" LastActivityDate="2017-11-01T04:37:43.657" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22716" PostTypeId="2" ParentId="18830" CreationDate="2017-11-01T05:32:51.463" Score="0" Body="&lt;p&gt;Based on your question, specifically the part about autofocus (a must for nature and wildlife), I would recommend Canon's 5D Mark IV or their more affordable 80D. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 80D might even be a better choice with the crop sensor as you'll likely be farther away from your subjects than other situations. Additionally, wildlife/nature shooting usually offers a lot of light so the full-frame sensor isn't as big of an advantage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both offer excellent video capabilities with their stellar dual-pixel autofocus that locks on subjects cleanly when shooting video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do agree with Martin's response above and mirrorless cameras are the way of the future. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the problem is right now there aren't a heck of a lot of mirrorless bodies on the market that are capable of providing reliable AF for video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a reference article to give you more insight on using DSLRs for video: &lt;a href=&quot;https://thetechreviewer.com/tech-tips/what-is-the-best-dslr-for-video/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://thetechreviewer.com/tech-tips/what-is-the-best-dslr-for-video/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20434" LastActivityDate="2017-11-01T05:32:51.463" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22717" PostTypeId="2" ParentId="22707" CreationDate="2017-11-01T05:58:42.900" Score="2" Body="&lt;p&gt;The timecode_rate value is rounded and then applied, so &lt;code&gt;0.2857&lt;/code&gt; gets rounded down to 0, which is considered invalid. That error message should be refined.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you seem to want timecode value to increase by 0.2857 after each 32 frames, you can supply a custom text value&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;text='%{e\:0.2857*n/32}'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Remove the timecode and timecode_rate options.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-11-01T05:58:42.900" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22718" PostTypeId="1" CreationDate="2017-11-01T10:35:35.420" Score="2" ViewCount="6574" Body="&lt;p&gt;I shot a .mp4 video from my cellphone. Turns out that the volume is very low. How can I increase it?&lt;/p&gt;&#xA;" OwnerUserId="20437" LastActivityDate="2017-11-02T09:23:37.490" Title="How do i increase the volume of a video I recorded?" Tags="|mp4|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22720" PostTypeId="2" ParentId="22712" CreationDate="2017-11-01T14:43:26.570" Score="2" Body="&lt;p&gt;It depends on how the video is licensed.  There are two main licenses used on Youtube.  The Standard Youtube Licence and the Creative Commons license.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Creative Commons license gives free reign to use the video for whatever you want, so long as you maintain attribution of the author of the content.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtube standard license is a bit more tricky.  Section 5.B of the Youtube terms of service reads (in part) &quot;Content is provided to you AS IS. You may access Content for your information and personal use solely as intended through the provided functionality of the Service and as permitted under these Terms of Service. &quot;  It comes down to the meaning of &quot;personal use&quot; and if that applies to the playback during the church service.  I'm not a lawyer, but I would tend to think that public display probably isn't personal use, so it would probably be a violation of the license.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as restreaming that pojo-guy mentioned in his answer, any CC licensed videos would be fine to re-stream as well as long as the attribution is intact for the work being used.  Youtube doesn't use a SA (share alike) CC license, so it is not necessary for your stream to also be CC licensed.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-11-01T14:43:26.570" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22722" PostTypeId="1" AcceptedAnswerId="22724" CreationDate="2017-11-01T17:12:44.147" Score="5" ViewCount="2058" Body="&lt;p&gt;The pattern for dropping frames in 29.97 drop-frame SMPTE timecode is well documented (2 frames at every minute except when minute is a multiple of 10).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering how it works with 59.94 fps drop-frame timecode? I guess it needs to be twice the amount of frames dropped, but what is the exact pattern?&lt;/p&gt;&#xA;" OwnerUserId="20442" LastActivityDate="2017-11-02T06:09:15.387" Title="How are frames in 59.94 drop-frame timecode dropped?" Tags="|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22723" PostTypeId="1" CreationDate="2017-11-01T21:10:45.403" Score="0" ViewCount="75" Body="&lt;p&gt;I'm filming a chase scene for a course and want to incorporate a bike. I've seen multiple films where the angle is on the spokes of the wheel. I am looking for any suggestions of a (much cheaper) rig or idea to get this shot. I'm working with a Mark II. I have access to a monopod, a wheel rig, and a shoulder rig. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="20445" LastActivityDate="2017-11-02T16:09:29.773" Title="Filming a Bike From The Angle of The Wheel" Tags="|video|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22724" PostTypeId="2" ParentId="22722" CreationDate="2017-11-02T06:09:15.387" Score="4" Body="&lt;p&gt;Apparently, the frames are dropped at the same cadence, but with double frequency.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From FFmpeg's timecode drop function,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;if (fps == 30) {&#xA;    drop_frames = 2;&#xA;    frames_per_10mins = 17982;&#xA;} else if (fps == 60) {&#xA;    drop_frames = 4;&#xA;    frames_per_10mins = 35964;&#xA;} &#xA;....&#xA;d = framenum / frames_per_10mins;&#xA;m = framenum % frames_per_10mins;&#xA;&#xA;return framenum + 9*drop_frames*d + drop_frames*((m - drop_frames)/(frames_per_10mins/10));&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and the string is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ff = framenum % fps;&#xA;ss = framenum / fps      % 60;&#xA;mm = framenum / (fps*60) % 60;&#xA;hh = framenum / (fps*3600) % 24;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-11-02T06:09:15.387" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22725" PostTypeId="2" ParentId="22723" CreationDate="2017-11-02T08:33:19.697" Score="2" Body="&lt;p&gt;Buy an action camera (GoPro, SJcam, Sony, knock off brand) and use one of the many accessories you can get and or some fancy duct tape work. This way you would be able to get closer to the frame and also use the camera for some other more artistic shots due to the size. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise you could build a rig using clamps and rods to support your main camera but this could make the bike side heavy and not as easy to ride.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think the professionals (hollywood films) would probably build a side frame for the bike so the bike is more stable&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2017-11-02T08:33:19.697" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22726" PostTypeId="2" ParentId="22718" CreationDate="2017-11-02T09:23:37.490" Score="6" Body="&lt;p&gt;You can use &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    ffmpeg -i file_with_quiet_sound.mp4 -af volume=150 -vcodec copy newfile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It will increase volume of your file at 150 times! Don't worry, big values can do funny effects, I like it. But I think, you will get many noises and not will love result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want really make sound better, convert your video to &lt;code&gt;.wav&lt;/code&gt; file with ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    ffmpeg -i file_with_quiet_sound.mp4 sound.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And then open it in any audio editor. I can suggest Audacity, this is free software with good features. I like old version 2.0.2 where exists old version of &quot;Noise remove&quot; filters which can produce magic with your sound (if you can do it right). If you don't like Audacity, you can to use any other audio editor. When editing of sound is done, you can join video and audio:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    ffmpeg -i file_with_quiet_sound.mp4 -i fixed_sound.wav -map 0:0 -map 1:0 -vcodec copy newfile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Pretty simple. All software is free and available on every platform.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-11-02T09:23:37.490" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22727" PostTypeId="2" ParentId="22723" CreationDate="2017-11-02T10:04:39.603" Score="0" Body="&lt;p&gt;Two ideas: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Go to local electrical store and try to find some cable/wires like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HMcxs.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HMcxs.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ask seller for very hard and most thick cable. You will need 1-2 meters. Remove isolation and take it to the bike. Make some turns around the video camera. Make a few more turns near the fork of the bicycle. Use the remaining wire, since the shaking will provoke large loads.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you have actioncam with aquabox, go to ebay/aliexpress and find any GoPro mounts with queries like &quot;gopro mount tube&quot; or &quot;gopro mount bike&quot;. But something like this for $2:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/7EfLx.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7EfLx.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-11-02T10:04:39.603" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22729" PostTypeId="2" ParentId="22723" CreationDate="2017-11-02T16:09:29.773" Score="1" Body="&lt;p&gt;None of the rigging you currently have is likely to help.  You can probably build a custom clamping solution pretty cheaply, but I'd be a bit worried about how jarring the experience could be for the camera itself given that it could be quite a bumpy ride and trying to work in shocks for the mount would increase both cost, complexity and impact on bike performance considerably.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As other's have said, an action camera with purpose built mount is probably the best bet for cost/risk, but there's not really much of a perfect answer.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-11-02T16:09:29.773" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22732" PostTypeId="1" CreationDate="2017-11-03T07:18:36.210" Score="1" ViewCount="34" Body="&lt;p&gt;I regularly shoot 720p/50fps  video at ice skating events with a Canon 7D + Samyang 85mm f/1.4 manual focus lens. I set the ISO at 6400 and with the aperture at 11, I have most of the ice rink in focus. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, light conditions sometimes force me to open up to 4, and manual focus gets really hard to get right on fast-moving ice skaters. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Canon 7D has no continuous autofocus in video mode, so I  thought of switching to an X-mount system with Fujifilm X-E3 and an XF 56mm f/1.2 lens, but did not have a chance to try it out. Is the manual focus easier with an EVF? They seem to have a few modes that help manual focus, but what about the EVF lag?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any other recommendation? Sony A7S is somewhat pricey, and I am not sure that it can autofocus well enough for my needs either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can also switch from 7D to 5DmkII and still shoot at 720p/50fps with an extra sensitivity of a bigger sensor. But this will mean losing some DOF, and I won't have continuous autofocus so what's the point?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Last but not least, is there a system that has fast enough continuous focus to track an ice skater? They move fast, but the background is mostly white and the distance varies between 10 and 40 meters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mod's Note: Please keep answers to the video portion of the question. If you want to answer recommendations based on the photo portion, it is covered &lt;a href=&quot;https://photo.stackexchange.com/questions/93847/upgrade-path-for-indoor-sports-photography-from-7d-samyang-85mm-f-1-4-mf-lens&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="20364" LastEditorUserId="2836" LastEditDate="2017-11-03T13:50:25.683" LastActivityDate="2017-11-03T13:50:25.683" Title="Upgrade path for indoor sports video from 7D + Samyang 85mm f/1.4 MF lens?" Tags="|video|camera|hardware|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22735" PostTypeId="2" ParentId="22398" CreationDate="2017-11-04T12:12:41.840" Score="1" Body="&lt;p&gt;I believe that the effect used for both the zoom in the beginning and the multiple vertical frames later on is the effect &lt;code&gt;'BlurMoCurves'&lt;/code&gt;. It's part of Sapphire OFX plugins and can be installed (and used) in Sony Vegas Pro. It's not a transition but thanks to zooming it can look like one. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The very last frames, when the clip goes down vertically, is probably one of &lt;code&gt;Roll&lt;/code&gt; transitions which are a part of NewBlueFX plugins, also compatible with Sony Vegas. &lt;a href=&quot;https://www.newbluefx.com/products/transitions/flow/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt; you can see the examples (the one I'd say was used is the second one in the &lt;code&gt;Roll&lt;/code&gt; video). Hope this helps! &lt;/p&gt;&#xA;" OwnerUserId="20462" LastActivityDate="2017-11-04T12:12:41.840" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22739" PostTypeId="1" CreationDate="2017-11-05T11:08:07.880" Score="2" ViewCount="616" Body="&lt;p&gt;Working in PremierePro CC.&lt;br&gt;&#xA;70 hours of footage (shot over several months).&#xA;6 hours of finals (60 episodes in total), each done in separate Premiere project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Problem:&lt;br&gt;&#xA;Around 60 hours of footage is left unused, which can be used for another project but can not find an easy way to pull out unused clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know how to use Premiere option for duplicate clips, but this option works fine only on small projects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a software that would grab all the finals and all the clips and do a comparison, and mark out clips (or part of the clips) that are left unused.&lt;/p&gt;&#xA;" OwnerUserId="10560" LastActivityDate="2023-05-11T12:06:00.737" Title="Is clip or part of a clip used?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22741" PostTypeId="2" ParentId="22739" CreationDate="2017-11-05T23:05:30.527" Score="0" Body="&lt;p&gt;It's ready man.&#xA;Watch the tutorial that I've created:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/bQKlymXjJXc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="20470" LastEditorUserId="20470" LastEditDate="2017-11-06T12:05:12.057" LastActivityDate="2017-11-06T12:05:12.057" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22743" PostTypeId="1" CreationDate="2017-11-06T05:31:00.313" Score="0" ViewCount="404" Body="&lt;p&gt;Lets say I have a shaped collage of photos like in below video.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/HK0MAxLGOLs#t=6m21s?start=381&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want to achieve is a small video where initially it is empty and photos fly in and fill the places in the heart shape or whatever other shape I make.&lt;/p&gt;&#xA;" OwnerUserId="20473" LastActivityDate="2017-11-06T16:20:16.827" Title="how to create photos flying in to voids video effect" Tags="|video|after-effects|video-editor|effects|special-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22746" PostTypeId="5" CreationDate="2017-11-06T15:09:04.867" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2017-11-06T15:09:04.867" LastActivityDate="2017-11-06T15:09:04.867" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22747" PostTypeId="4" CreationDate="2017-11-06T15:09:04.867" Score="0" Body="This is a special tag that is designed to be used only by the system for questions that have had all of their other tags removed. Do not add this tag to existing questions, it is reserved for use by the system to identify posts with no valid tags." OwnerUserId="17390" LastEditorUserId="17390" LastEditDate="2017-11-06T15:53:20.180" LastActivityDate="2017-11-06T15:53:20.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22748" PostTypeId="2" ParentId="22743" CreationDate="2017-11-06T16:20:16.827" Score="2" Body="&lt;p&gt;I would suggest working in reverse.  Start out by arranging all the images the way you want them to appear at the end and set position keyframes on all of them at the end of the sequence.  Then move to the beginning of the sequence and set keyframes on the positions and start dragging them all out of frame.  You can then drag the starting keyframes around to adjust when they start flying in and adjust the end keyframes to alter when they arrive in the collage.  Just keep moving the positions and the timing until you have something you like.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-11-06T16:20:16.827" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22749" PostTypeId="2" ParentId="22703" CreationDate="2017-11-06T16:47:13.303" Score="2" Body="&lt;p&gt;You may want to consider looking into another alternative as well: double-system sound. The (old school) idea being that since you have a separate recorder, you don't &lt;em&gt;need&lt;/em&gt; a connection between the camera and recorder. Instead you can record both separately and then sync them in post-production. If you do this, it's highly recommended to use a clapper board or even just clap your hands in view of the camera and near the microphone to make the syncing process easier.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also software, like Pluraleyes and some NLE software, that can make the process easier even without clapping, by matching and aligning the waveform of the audio on the camera with the one from the recorder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This option may not be applicable to you, but since you didn't describe your circumstances (distance, environment, etc), I thought I would mention it as a possibility.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, one other thing to consider when using a long cable that I don't think anyone else has mentioned so far is physical safety. In other words, preventing people from tripping on the wire and falling down or knocking equipment (like your camera) down.&lt;/p&gt;&#xA;" OwnerUserId="20457" LastActivityDate="2017-11-06T16:47:13.303" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22750" PostTypeId="2" ParentId="22692" CreationDate="2017-11-06T17:51:58.240" Score="1" Body="&lt;p&gt;You will most likely need dedicated compositing software unless your NLE has some basic functionality built-in that allows you to do this. Here are some free or low-cost examples of compositing software:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.adobe.com/products/aftereffects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;After Effects&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.blackmagicdesign.com/products/fusion/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Fusion&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://hitfilm.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;HitFilm&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://natron.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Natron&lt;/a&gt; (GPL Open Source)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="20457" LastActivityDate="2017-11-06T17:51:58.240" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22751" PostTypeId="2" ParentId="20564" CreationDate="2017-11-06T18:16:56.437" Score="4" Body="&lt;p&gt;This is an interesting question, but I don't think that you will find a good solution without changing your inputs (the video elements you are using). I'm not aware of any software that allows you to prioritize compression by area. The compressor itself usually makes all these kinds of decisions for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Aside from that, you said the magic (not good) word for compression: Youtube. Even if you could find a way to do the above, you basically give it all up when you upload it to Youtube, where they will run their own fixed compression algorithms that will ruin all your work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think there are a couple of things you can do (perhaps all of them in combination):&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;If you haven't already, try doing 2-pass compression, instead of one-pass. This will take longer, but the compressor will have a chance to analyze the video on the first pass, and that may possibly help improve your output a little.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Massage that water footage. If you can get rid of it completely and replace it with something else that causes less trouble, do it. If not, you can try things like:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Apply some blur (either chroma [color portion of the signal], luma [monochrome portion of the signal] or both) to the footage.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;It would also help to run the water footage through a denoiser first.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Both denoising and slight blurring should help reduce the amount of bandwidth that your compressor needs to dedicate to that area of your video.&lt;/p&gt;&#xA;" OwnerUserId="20457" LastActivityDate="2017-11-06T18:16:56.437" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22752" PostTypeId="1" AcceptedAnswerId="22755" CreationDate="2017-11-07T08:36:13.907" Score="0" ViewCount="70" Body="&lt;p&gt;The &lt;a href=&quot;https://www.blackmagicdesign.com/products/ultrastudio&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blackmagic UltraStudio 4k Extreme&lt;/a&gt; has some &lt;a href=&quot;https://en.wikipedia.org/wiki/Small_form-factor_pluggable_transceiver&quot; rel=&quot;nofollow noreferrer&quot;&gt;SFP&lt;/a&gt; ports.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible for that device to &lt;strong&gt;record to a network location&lt;/strong&gt; like a NAS or SAN directly using a &lt;strong&gt;fibre connection&lt;/strong&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or is the fibre connection just used as another way to connect to a Mac or PC which would then do the recording?&lt;/p&gt;&#xA;" OwnerUserId="5883" LastActivityDate="2017-11-07T22:18:06.660" Title="Blackmagic UltraStudio 4k Extreme recording through SFP" Tags="|live-recording|blackmagic|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22755" PostTypeId="2" ParentId="22752" CreationDate="2017-11-07T22:18:06.660" Score="1" Body="&lt;p&gt;According to the &lt;a href=&quot;https://www.bhphotovideo.com/c/product/1137311-REG/blackmagic_design_bdlkulsr4kextr_ultrastudio_4k_extreme.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;B&amp;amp;H details&lt;/a&gt;, the SFP cages are for 12G-SDI over fiber. They can only be used for baseband video I/O, not for an interface to a computer or network.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-11-07T22:18:06.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22756" PostTypeId="1" AcceptedAnswerId="22854" CreationDate="2017-11-08T07:43:58.887" Score="0" ViewCount="2698" Body="&lt;p&gt;So I've created a video, its in 1080p, it has a lot of images on it doing various things, fading in and out, moving around the screen etc.  It also has a picture in picture video on it and two audio streams.  I find that when I come to trying to share this as a master file even in the lowest resolution I can pick it takes hours and hours to export it!  The final file is &amp;lt;2gb in size (if I try 1080p the result is only circa 6gb and I've never completed it, it seems to grind to a halt after hours).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm running on a macbook pro which is about 2 years old, with 16gb Ram, 1tb hdd with a good 33gb of space etc.  Worth adding that when I don't have so many pictures the same video might take an hour or two but overall is much faster, is it just the sheer number of images I've got?  If so is there a way to mitigate this?  Not sure if relevant or not but I've also turned of rendering as having it on makes the mac start to sound like it's ready to take off! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions how I can speed things up?&lt;/p&gt;&#xA;" OwnerUserId="19913" LastEditorUserId="19913" LastEditDate="2017-11-08T07:59:10.827" LastActivityDate="2017-11-21T14:58:04.480" Title="Final cut pro X takes hours to export a file with lots of images" Tags="|final-cut-pro-x|" AnswerCount="2" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="22757" PostTypeId="1" AcceptedAnswerId="22763" CreationDate="2017-11-08T11:16:08.777" Score="0" ViewCount="118" Body="&lt;p&gt;Hi i have a canon 5d mark ii and it has 2 slots for memory cards one cf and one sd.I'm planning on doing some filming outdoors so was wondering if the CF card is full will it automatically start writing to an SD card or am i better off using multiple cf cards?&lt;/p&gt;&#xA;" OwnerUserId="20142" LastActivityDate="2017-11-09T08:58:06.927" Title="Writing to multiple memory cards on a canon 5d mark iii whilst filming" Tags="|video|video-recording|production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22758" PostTypeId="2" ParentId="19857" CreationDate="2017-11-08T12:59:17.487" Score="0" Body="&lt;p&gt;I use a dji ronin mx easy to use and setup supports most dslrs i used it to run along side bikes and cars and the image stays steady. Can buy for around £1300 or about £200 to hire for a day. Great for getting smooth shots can also have a second operator to operate the gimbal and controlled from an app. heres an example of what i shot on it &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/TPbWp-p_zlo?start=7&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;a href=&quot;https://i.stack.imgur.com/VhmFY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VhmFY.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20142" LastActivityDate="2017-11-08T12:59:17.487" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22759" PostTypeId="1" CreationDate="2017-11-08T13:42:34.493" Score="1" ViewCount="90" Body="&lt;p&gt;I have a list of bullet points that I'd like to hide and then display one after another with a 1 second delay between each.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is a simple way to do this in Kdenlive? The only way I can see is to create a separate title clip for each point, carefully align the text in each clip, and then set a transparency effect for each clip, but that's a ton of work for a relatively simple visual.&lt;/p&gt;&#xA;" OwnerUserId="20491" LastActivityDate="2017-11-08T13:42:34.493" Title="Timing a list if bullet points in Kdenlive?" Tags="|kdenlive|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22761" PostTypeId="1" CreationDate="2017-11-09T05:35:24.640" Score="1" ViewCount="316" Body="&lt;p&gt;I need to know if there will be any difference in the quality of the encoded video if the bitrate of the source file is, let's say 2000kbps and I encode it to 4000kbps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help will be much appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="20416" LastActivityDate="2019-01-04T00:25:45.443" Title="Encoding low bitrate video source file to a higher bitrate" Tags="|encoding|transcoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22762" PostTypeId="2" ParentId="22756" CreationDate="2017-11-09T08:43:05.027" Score="0" Body="&lt;p&gt;I found in the end the easiest way was to leave the video to render everything as I hadnt done this, it took about six or seven hours to do but once done the actual sharing in h264 format only took about an hour to do, which isn't that bad.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could change the share version to video and audio and then pick prores but the resultant file would have been nearly 40gb! I have no idea how long it'd take to spit that out, possibly shorter than the rendering and sharing time of the other filetype combined but then I'd have a file approximately 7-8 times the size and not suitable for uploading online/to youtube etc, and any resizing that I'd need to do would probably end up taking an extra chunk of time as well, in the end I'll just make sure I have my projects render overnight before I need to do stuff with them...&lt;/p&gt;&#xA;" OwnerUserId="19913" LastActivityDate="2017-11-09T08:43:05.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22763" PostTypeId="2" ParentId="22757" CreationDate="2017-11-09T08:58:06.927" Score="1" Body="&lt;p&gt;As far as I am aware it will write to both cards at the same time (dual redundancy), I dont think you are going to be able to write from one card to the next.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using 2 cameras would always be a better option as you will then have multiple angles and or if you have a failed recording on one camera you still have a backup&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2017-11-09T08:58:06.927" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22764" PostTypeId="1" CreationDate="2017-11-09T12:08:01.650" Score="3" ViewCount="8317" Body="&lt;p&gt;I have got a sequence of 25 frames from a series of photos that I shot. I have imported the images into Premiere Pro and changed the speed/duration to 00.00.02.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I preview the sequence in the preview window, it runs at the exact speed I want it. However, when I export it as an animated gif the file runs at about 1 frame per second which is too slow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I control the speed when I export the .gif file?&lt;/p&gt;&#xA;" OwnerUserId="20498" LastActivityDate="2017-11-12T18:37:26.530" Title="How to control animated gif speed when exporting from Premier Pro" Tags="|premiere|animation|adobe|adobe-media-encoder|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22765" PostTypeId="2" ParentId="22761" CreationDate="2017-11-09T14:43:30.233" Score="1" Body="&lt;p&gt;Yes, the quality will be worse. But probably not perceptually. Encoding ALWAYS loses a little information, that’s why it is called lossy compression. Increasing the bitrate will only reduce the information loss. The best you can do is lossless compression, and it will look exactly like the source&lt;/p&gt;&#xA;" OwnerUserId="4169" LastEditorUserId="4169" LastEditDate="2019-01-04T00:25:45.443" LastActivityDate="2019-01-04T00:25:45.443" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="22769" PostTypeId="1" AcceptedAnswerId="22770" CreationDate="2017-11-10T12:13:55.607" Score="1" ViewCount="1909" Body="&lt;p&gt;I am trying to understand the how FFmpeg's filtergraph works with the help of the &lt;strong&gt;graph2dot&lt;/strong&gt; utility (&lt;a href=&quot;https://video.stackexchange.com/questions/21017/ffmpeg-graph2dot-tool&quot;&gt;FFmpeg graph2dot tool&lt;/a&gt;). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using an example from one of the questions previously posted here (&lt;a href=&quot;https://video.stackexchange.com/questions/10396/how-to-concatenate-clips-from-the-same-video-with-ffmpeg/10401?newreg=50e21837bd6c4e39b140e42229104e32&quot;&gt;How to concatenate clips from the same video with ffmpeg&lt;/a&gt;). Upon trying to parse the following filtergraph which is adapted from the accepted answer,  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;echo &quot;nullsrc[vid];anullsrc[aud];[vid]trim=60:65,setpts=PTS-STARTPTS[v0];[aud]atrim=60:65,asetpts=PTS-STARTPTS[a0];[vid]trim=120:125,setpts=PTS-STARTPTS[v1];[aud]atrim=120:125,asetpts=PTS-STARTPTS[a1];[v0][a0][v1][a1]concat=n=2:v=1:a=1[out];[out]nullsink&quot; | graph2dot&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I get the following error with FFmpeg (ver 3.4):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_nullsrc_0 @ 0x55cd2c952240] size:320x240 rate:25/1 duration:-1.000000 sar:1/1&#xA;[Parsed_trim_2 @ 0x55cd2c953500] Setting 'start' to value '60'&#xA;[Parsed_trim_2 @ 0x55cd2c953500] Setting 'end' to value '65'&#xA;[Parsed_setpts_3 @ 0x55cd2c953fc0] Setting 'expr' to value 'PTS-STARTPTS'&#xA;[Parsed_atrim_4 @ 0x55cd2c954f20] Setting 'start' to value '60'&#xA;[Parsed_atrim_4 @ 0x55cd2c954f20] Setting 'end' to value '65'&#xA;[Parsed_asetpts_5 @ 0x55cd2c955960] Setting 'expr' to value 'PTS-STARTPTS'&#xA;[Parsed_trim_6 @ 0x55cd2c9568c0] Setting 'start' to value '120'&#xA;[Parsed_trim_6 @ 0x55cd2c9568c0] Setting 'end' to value '125'&#xA;[Parsed_setpts_7 @ 0x55cd2c957120] Setting 'expr' to value 'PTS-STARTPTS'&#xA;[Parsed_atrim_8 @ 0x55cd2c957fa0] Setting 'start' to value '120'&#xA;[Parsed_atrim_8 @ 0x55cd2c957fa0] Setting 'end' to value '125'&#xA;[Parsed_asetpts_9 @ 0x55cd2c9587a0] Setting 'expr' to value 'PTS-STARTPTS'&#xA;[Parsed_concat_10 @ 0x55cd2c9596c0] Setting 'n' to value '2'&#xA;[Parsed_concat_10 @ 0x55cd2c9596c0] Setting 'v' to value '1'&#xA;[Parsed_concat_10 @ 0x55cd2c9596c0] Setting 'a' to value '1'&#xA;Input pad &quot;default&quot; with type video of the filter instance &quot;Parsed_trim_6&quot; of trim not connected to any source&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As far as I understand, the &lt;code&gt;&quot;Parsed_trim_6&quot;&lt;/code&gt; filter is connected to the source &lt;code&gt;nullsrc[vid]&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone help me understand what's wrong here and how I can fix it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;: Following Mulvya's hints, the correct solution is given below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;echo &quot;nullsrc,split=2[vid1][vid2];anullsrc,asplit=2[aud1][aud2];[vid1]trim=60:65,setpts=PTS-STARTPTS[v0];[aud1]atrim=60:65,asetpts=PTS-STARTPTS[a0];[vid2]trim=120:125,setpts=PTS-STARTPTS[v1];[aud2]atrim=120:125,asetpts=PTS-STARTPTS[a1];[v0][a0][v1][a1]concat=n=2:v=1:a=1[outv][outa];[outv]nullsink,[outa]anullsink&quot; | graph2dot&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other lessons I learnt from this&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video and audio streams require separate sinks. Even with the concat filter, I wasn't able to merge them into the &lt;code&gt;[out]&lt;/code&gt; destination as I had originally done&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="20511" LastEditorUserId="20511" LastEditDate="2017-11-10T14:45:05.070" LastActivityDate="2021-10-28T17:10:37.897" Title="FFmpeg filter_complex says filter not connected to source" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22770" PostTypeId="2" ParentId="22769" CreationDate="2017-11-10T12:43:51.450" Score="2" Body="&lt;p&gt;You can consume a filter generated stream only once, unlike streams from &lt;code&gt;-i&lt;/code&gt; inputs. Since &lt;code&gt;[vid]&lt;/code&gt; is already supplied to the first trim &lt;code&gt;60:65&lt;/code&gt;, it can't be reused. You can add a split and supply a copy to each:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;nullsrc,split=2[vid1][vid2]; ... [vid1]trim=60:65, ... [vid2]trim=120:125, ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-11-10T12:43:51.450" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22771" PostTypeId="1" AcceptedAnswerId="22839" CreationDate="2017-11-10T14:37:28.687" Score="6" ViewCount="9945" Body="&lt;p&gt;I'm trying to re-encode (H.264) some videos from my movie library in order to put them on a NAS and stream them to a smartTV through WiFi.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to do so, I'm using &lt;em&gt;HandBrake&lt;/em&gt; on MacOS and – among my experiments – I noticed that it promotes more B-frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I have understood correctly, those B-frames needs more CPU time and a larger buffer in memory in order to be properly elaborated and I'm not sure if a device such as a general smartTV (of few years) can take advantage of that (with 1080p sources, I used the 4.1 high profile).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an example plotted from &lt;em&gt;FFprobe&lt;/em&gt; on the same video source (1080p) before and after re-encoding (and a little filter to reduce noise) at the target bitrate (2-pass VBR):&#xA;&lt;a href=&quot;https://i.stack.imgur.com/1zIkm.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1zIkm.png&quot; alt=&quot;Before&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/rGEVG.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rGEVG.png&quot; alt=&quot;After&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What do you think or suggest ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I ask because the resulting file size is very similar and I can't really notice a difference (apart from the noisier frames).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="20512" LastActivityDate="2017-11-19T05:40:53.223" Title="It is better to have more B-frames or more P-frame for video streaming?" Tags="|streaming|h.264|handbrake|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22773" PostTypeId="1" CreationDate="2017-11-10T17:51:39.790" Score="1" ViewCount="480" Body="&lt;p&gt;Looking to change the resolution dimensions to a square. Does anyone know how to do this?&lt;/p&gt;&#xA;" OwnerUserId="18559" LastActivityDate="2018-05-31T16:24:09.430" Title="How to change the resolution/size of iMovie so I can export square videos for Instagram?" Tags="|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22774" PostTypeId="1" AcceptedAnswerId="22786" CreationDate="2017-11-10T21:00:30.197" Score="2" ViewCount="35" Body="&lt;p&gt;Sorry if this question is out of content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm creating tutorials on a program where I will have to highlight the location of the buttons, their functions and make it enjoyable for anyone to watch.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use After Effects to edit my videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like the answers to be suggestions on how to achieve those goals.&lt;/p&gt;&#xA;" OwnerUserId="18258" LastActivityDate="2017-11-12T13:38:41.840" Title="Highlighting buttons in a program" Tags="|after-effects|tutorial|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22776" PostTypeId="2" ParentId="16962" CreationDate="2017-11-11T16:56:07.627" Score="1" Body="&lt;p&gt;I was looking for that for a while. My solution. Premiere Pro + GoPro VR Plugins (Horizon &amp;amp; Reframe). Works very well for me. &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/e5oVlGDJJXs?start=331&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; to understand.  &lt;/p&gt;&#xA;" OwnerUserId="20516" LastActivityDate="2017-11-11T16:56:07.627" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22777" PostTypeId="1" AcceptedAnswerId="22783" CreationDate="2017-11-11T21:54:42.283" Score="0" ViewCount="1308" Body="&lt;p&gt;I am writing stream into video files with ffmpeg. Each file about 15 minutes. I want to be able to play finished and unfinished files with VLC (program using &lt;a href=&quot;https://github.com/higankanshi/Meta.Vlc&quot; rel=&quot;nofollow noreferrer&quot;&gt;MetaVLC&lt;/a&gt; to be more precise). Which codec will best suit for this scenario?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried raw h264. Vlc can play them with option &quot;demux=h264&quot; but it unable to seek or change current time of playing. They play only from beginning.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried flv, but VLC can't play unfinished file.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-11-12T12:09:30.973" Title="Best codec for playing unfinished files with VLC" Tags="|ffmpeg|streaming|vlc|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22778" PostTypeId="1" CreationDate="2017-11-12T02:32:22.270" Score="0" ViewCount="658" Body="&lt;p&gt;I am using the code below as a batch file. The issue i am currently having is only one video in the folder keeps looping. How can i make all the videos play and loop?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;&#xA;set FFMPEGDIR=E:\ffmpeg\bin&#xA;set BARKERDIR=E:\slatewithsound&#xA;:start&#xA;for /F %%x in ('dir /b /d %BARKERDIR%\*.ts') do (&#xA;    @echo %BARKERDIR%\%%x &#xA;    %FFMPEGDIR%\ffmpeg.exe -re -fflags +genpts -stream_loop -1 -i %BARKERDIR%\%%x -acodec ac3 -ac 2 -ar 48000 -b:a 192K -vcodec mpeg2video -s 1920x1080 -b:v 4.5M -mpegts_start_pid 0x101 -mpegts_pmt_start_pid 0x100 -f mpegts udp://239.203.1.61:4000?pkt_size=1316&#xA;)&#xA;goto start&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20519" LastEditorUserId="1871" LastEditDate="2017-11-12T05:25:00.220" LastActivityDate="2018-02-10T06:31:27.350" Title="How to loop .TS files from Folder with FFMPEG" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22779" PostTypeId="2" ParentId="22778" CreationDate="2017-11-12T04:19:44.867" Score="-1" Body="&lt;p&gt;Edit both videos into one video.&lt;/p&gt;&#xA;" OwnerUserId="18723" LastActivityDate="2017-11-12T04:19:44.867" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22781" PostTypeId="2" ParentId="22777" CreationDate="2017-11-12T05:33:42.680" Score="1" Body="&lt;p&gt;You can use H.264 in MPEG-TS.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in -c:v libx264 out.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In Potplayer, I can play as well as seek. In VLC, as well, but timestamps are missing. Limitation is that you can only seek to keyframes. If you select a non-keyframe, then the video output will be frozen or corrupted till the player reaches a keyframe. Audio will work in any case.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-11-12T05:33:42.680" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22782" PostTypeId="2" ParentId="16767" CreationDate="2017-11-12T09:53:03.553" Score="0" Body="&lt;p&gt;I had the same issue. For me, there was a very small gap between the 2 clips, which was not visible until I expanded the time sequence to a greater extent. Once I remove the gap between clips, alignment got enabled for me&lt;/p&gt;&#xA;" OwnerUserId="20522" LastActivityDate="2017-11-12T09:53:03.553" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22783" PostTypeId="2" ParentId="22777" CreationDate="2017-11-12T12:09:30.973" Score="1" Body="&lt;p&gt;Any header-less containers: &lt;code&gt;.mjpeg&lt;/code&gt; (mjpeg raw streams, just concatenated jpeg images), &lt;code&gt;.dv&lt;/code&gt;, &lt;code&gt;.ts&lt;/code&gt;, &lt;code&gt;.mpg&lt;/code&gt; (mpeg elementary stream, mpeg program stream), &lt;code&gt;.h264&lt;/code&gt; (annex b for raw h264 streams) and maybe other few.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can edit video in these containers by direct byte manipulation. Sometime without knowledge where exact frame starts. You can build NLE video editor with bash and dd.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FLV is most simple container, this is stream format, you don't need to patch any bytes at finishing, but it have a small header (just few bytes). You can try to write it manually while opening file for writing.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-11-12T12:09:30.973" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22784" PostTypeId="2" ParentId="17956" CreationDate="2017-11-12T12:36:39.343" Score="1" Body="&lt;p&gt;You can use HITFILM EXPRESS. Its absolutely free non-linear editor.&#xA;Get Hitfilm Express here : &lt;a href=&quot;https://hitfilm.com/express&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://hitfilm.com/express&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can drop a sequence of images at once. For this you can refer this YouTube tutorial : &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/aErbBZQvCkU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you can apply some transitions between the pictures and add a music track to complete the video. &#xA;Tutorial on how to apply transitions in Hitfilm Express : &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/PdDJ1OGheXI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="20523" LastActivityDate="2017-11-12T12:36:39.343" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22785" PostTypeId="2" ParentId="22553" CreationDate="2017-11-12T12:51:19.447" Score="0" Body="&lt;p&gt;When you use a professional editing software, you don't just save the video and let the software pick the render settings, you chose exactly how you want the output to be.&lt;br&gt; Unlike Movie Maker, it does it for you.&lt;br&gt;&#xA;What you can do is, save the videos from Movie Maker then compress them using Handbrake, its a FREE software and you can find many tutorials about it online.&lt;br&gt;&#xA;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="19791" LastActivityDate="2017-11-12T12:51:19.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22786" PostTypeId="2" ParentId="22774" CreationDate="2017-11-12T13:38:41.840" Score="2" Body="&lt;p&gt;You can use shapes around that icon and animate it. Like enclosing the icon by a circle and animating the circle to reveal in clockwise or anticlockwise manner.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For description of that icon you can use some nice looking lower thirds and edit the the text of that lower third to describe the content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can search for lower thirds pack online and download for free. There are plenty of them available for free online.&lt;/p&gt;&#xA;" OwnerUserId="20523" LastActivityDate="2017-11-12T13:38:41.840" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22791" PostTypeId="2" ParentId="22764" CreationDate="2017-11-12T18:37:26.530" Score="1" Body="&lt;p&gt;when you are exporting you should be able to change the frame rate in the basic video setting. If you &quot;un-check&quot; the box of the preset option, you can select the rate between different values.&lt;/p&gt;&#xA;" OwnerUserId="20527" LastActivityDate="2017-11-12T18:37:26.530" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22792" PostTypeId="1" CreationDate="2017-11-12T23:41:01.240" Score="4" ViewCount="504" Body="&lt;p&gt;Church installation. We have the camcorder mounted 12' above the floor and I have to use a ladder to get to the camera to take out the SD card and then replace it after I have downloaded the video for edit and publishing. I use an HDMI cable to a view a remote monitor in the sound booth. Is there a way I don't have to get the ladder out each time I need to download? Is the output to the HDMI the same as the output to the SD card? &lt;/p&gt;&#xA;" OwnerUserId="20529" LastActivityDate="2021-08-25T07:09:00.803" Title="Mounted Canon VIXIA HF G20 -" Tags="|video-capture|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22795" PostTypeId="1" AcceptedAnswerId="22812" CreationDate="2017-11-13T07:46:51.393" Score="1" ViewCount="1764" Body="&lt;p&gt;I have a PNG file with white on red and no antialiasing at all - each pixel is either white or red, but when I encode it to MP4 using &lt;code&gt;ffmpeg -i test.png  -profile:v high444 -pix_fmt yuv444p  -loop 1 -crf 0 -framerate 30 -c:v libx264 -t 15  test444.mp4&lt;/code&gt; the output gets dark pixels added and the white color gets changed.  See zoomed in screenshot below for before and after.  I played the mp4 file with &lt;code&gt;ffplay&lt;/code&gt; btw.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NNqfk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NNqfk.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Original PNG below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/byjNh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/byjNh.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20530" LastEditorUserId="20530" LastEditDate="2017-11-13T10:05:41.983" LastActivityDate="2017-11-15T13:00:33.293" Title="H.264 adding dark anti-aliasing even on high444 yuv444p" Tags="|ffmpeg|encoding|h.264|libx264|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="22797" PostTypeId="2" ParentId="22792" CreationDate="2017-11-13T14:58:13.733" Score="0" Body="&lt;p&gt;As long as the HDMI output is configured properly, it should be the same as what is recorded.  I'm not sure about that particular model, but most higher end video cameras support clean HDMI or SDI output.  A clean output means it is free of any of the on screen displays.  They may also be capable of outputting different resolutions between the HDMI/SDI outputs and the recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As long as the HDMI output is configured to match the settings of the recording, then it should be the same signal.  Since it is digital, as long as the signal isn't dropping bits of data entirely, there won't be the traditional type of quality loss from analog transmissions, but you'll want to make sure the HDMI run isn't longer than necessary.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-11-13T14:58:13.733" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22798" PostTypeId="2" ParentId="22792" CreationDate="2017-11-13T16:19:43.197" Score="1" Body="&lt;p&gt;We use Canon HFG-10 and -30 cameras connected via a Blackmagic HDMI to SDI transcoder to a Blackmagic Hyperdeck. We have other equipment in the middle, but for a single camera setup this gets the job done. Any deck capable of recording HDMI could be used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The uncompressed video is visually indistinguishable from the output of a broadcast camera.&lt;/p&gt;&#xA;" OwnerUserId="19491" LastActivityDate="2017-11-13T16:19:43.197" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22800" PostTypeId="1" AcceptedAnswerId="22801" CreationDate="2017-11-13T22:25:40.803" Score="0" ViewCount="280" Body="&lt;p&gt;Hy everyone, I have some questions about color spaces and chroma subsampling that I haven't been able to solve just by searching the web.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Are &lt;code&gt;YUV&lt;/code&gt; and &lt;code&gt;YCbCr&lt;/code&gt; the same thing? When I take a look at the information of a random MP4 video file with &lt;code&gt;ffmpeg&lt;/code&gt; or &lt;code&gt;MediaInfo&lt;/code&gt;, I see that the color space is indicated as &lt;code&gt;YUV&lt;/code&gt;. Is that actually &lt;code&gt;YCbCr&lt;/code&gt; since we're talking about a digital file?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;It doesn't make any sense to say &lt;code&gt;RGB 4:2:0&lt;/code&gt;, right? Because chroma subsampling only applies to the &lt;code&gt;YCbCr&lt;/code&gt; color space, taking the (Cb, Cr) components, and deciding how many of them should be but in a 4x2 pixels region. Is that correct?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;When &lt;code&gt;ffprobe&lt;/code&gt; outputs that a video has a &lt;code&gt;bits_per_raw_sample&lt;/code&gt; (or bit depth) of 8 bits with a &lt;code&gt;yuv420p&lt;/code&gt; pixel format, what does it mean? What is the &quot;raw sample&quot; here? Is the 8 bits value referred to the number of bits used for each component (Y, Cb, Cr) before doing chroma subsampling? In that case, how should I calculate how many bits per pixel (or per 4x2 pixels region [?]) are used after chroma subsampling?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I hope it's ok to have multiple questions in the same post. Thank you.&lt;/p&gt;&#xA;" OwnerUserId="20528" LastActivityDate="2021-08-16T22:45:45.463" Title="Doubts about color spaces and chroma subsampling" Tags="|colorspace|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22801" PostTypeId="2" ParentId="22800" CreationDate="2017-11-14T05:27:13.647" Score="1" Body="&lt;p&gt;&lt;em&gt;Are YUV and YCbCr the same thing?&lt;/em&gt; → strictly, no. The former is applied to analog signals, and the latter to digital. But media apps (like Mediainfo) use YUV as the designated term.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;It doesn't make any sense to say RGB 4:2:0, right?&lt;/em&gt; → Not theoretically incoherent, but I haven't seen any codec that implements subsampling for RGB pixels except for Bayer RGB streams possibly. Don't know its details. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;What is the &quot;raw sample&quot; here?&lt;/em&gt; → a stored single value of a pixel component i.e. any of R,G,B,Y,U,V (or alpha).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Is the 8 bits value referred to the number of bits used for each component (Y, Cb, Cr) before doing chroma subsampling?&lt;/em&gt; → it is the resolved bits per individual sample i.e. a 12-bit value has to be stored as a 16-bit datum, so 12 bits is the raw sample size and 16 bits is the coded sample size. 4 bits are for padding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;how should I calculate how many bits per pixel&lt;/em&gt; → in terms of luma/chroma resolution, it's the raw sample size. In terms of storage space for a raw uncompressed stream, you sum up the counts in the sampling scheme and divide by maximum count. Multiply by (no. of components x coded sample size).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, for 4:2:2, that's&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;(4+2+2) / (4+4+4) = 2/3&lt;/code&gt; and then &lt;code&gt;2/3 x (3 x 8 bits) = 16 bits per sample&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-11-14T05:37:17.103" LastActivityDate="2017-11-14T05:37:17.103" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22802" PostTypeId="2" ParentId="20916" CreationDate="2017-11-14T12:58:38.447" Score="0" Body="&lt;p&gt;The project seems to be alive (at least was 3 months ago). There's build instructions in the repository if you want to test it. You can follow and contribute in &lt;a href=&quot;https://code.videolan.org/videolan/vlmc/commits/master&quot; rel=&quot;nofollow noreferrer&quot;&gt;GitLab&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20540" LastActivityDate="2017-11-14T12:58:38.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22803" PostTypeId="1" AcceptedAnswerId="22804" CreationDate="2017-11-14T16:56:29.413" Score="0" ViewCount="3747" Body="&lt;p&gt;I use ffmpeg like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i MyOwnSwordsman01.avi -filter_complex &quot;drawtext=fontfile=c:/Windows/Fonts/simsun.ttc: text='第01回 %{pts\:gmtime\:0\:%M：%S}/43：20': x=5: y=466: fontsize=16: fontcolor=yellow@0.9: box=1: boxcolor=blue@0.6&quot; -c:a copy -c:v libx264 -map 0 stamped/MyOwnSwordsman01.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It went wrong:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_drawtext_0 @ 00000000025fae80] Cannot find a valid font for the family Sans&#xA;[AVFilterGraph @ 0000000000e3a160] Error initializing filter 'drawtext' with args 'fontfile=c:/Windows/Fonts/simsun.ttc: text=绗?1鍥?%{pts\:gmtime\:0\:%M\\:%S}/43锛?0: x=5: y=466: fontsize=16: fontcolor=yellow@0.9: box=1: boxcolor=blue@0.6'&#xA;Error initializing complex filters.&#xA;No such file or directory&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So what's the matter? I have confirmed there is a simsun.ttc in C\ disk.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks a lot!&lt;/p&gt;&#xA;" OwnerUserId="19307" LastActivityDate="2017-11-14T17:31:14.637" Title="ffmpeg error &quot;Error initializing complex filters&quot;" Tags="|ffmpeg|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22804" PostTypeId="2" ParentId="22803" CreationDate="2017-11-14T17:00:23.847" Score="1" Body="&lt;p&gt;Font paths have to be escaped:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;fontfile='c\:\\Windows\\Fonts\\simsun.ttc'&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-11-14T17:31:14.637" LastActivityDate="2017-11-14T17:31:14.637" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22805" PostTypeId="2" ParentId="16433" CreationDate="2017-11-14T19:18:29.620" Score="0" Body="&lt;p&gt;I recently switched from GarageBand to &lt;strong&gt;Ableton Live&lt;/strong&gt;, partially because Live is known for its smooth realtime performance.  Live is geared for on stage performances so it should do fine with effects you add in realtime.  I've been bitten by GarageBand before because there have been some latencies when recording, switching instruments, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Live is definitely higher end software, but you can pick up the basic package for around $100 (closer to $80 if you get it on sale) for both macOS&lt;sup&gt;&lt;a href=&quot;https://help.ableton.com/hc/en-us/articles/115001261150-MacOS-Compatibility&quot; rel=&quot;nofollow noreferrer&quot;&gt;[1]&lt;/a&gt;&lt;/sup&gt; and Windows&lt;sup&gt;&lt;a href=&quot;https://help.ableton.com/hc/en-us/articles/209775965-Windows-Compatibility&quot; rel=&quot;nofollow noreferrer&quot;&gt;[2]&lt;/a&gt;&lt;/sup&gt;.  It's a bit tricky to learn at first but rewarding once you get the hang of it.&lt;/p&gt;&#xA;" OwnerUserId="20430" LastEditorUserId="20430" LastEditDate="2017-11-15T17:53:14.210" LastActivityDate="2017-11-15T17:53:14.210" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22807" PostTypeId="1" CreationDate="2017-11-14T21:17:23.983" Score="0" ViewCount="164" Body="&lt;p&gt;I have this LCD (usually used with cellphones) with DSI MIPI HDMI: &lt;a href=&quot;https://www.ebay.com/itm/SHARP-LS060R1SX02-HDMI-to-MIPI-DSI-6-2560-1440-2K-Screen-DIY-3D-Printer-Monitor/162711081136?ssPageName=STRK%3AMEBIDX%3AIT&amp;amp;_trksid=p2057872.m2749.l2649&quot; rel=&quot;nofollow noreferrer&quot;&gt;link.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the moment, I can only get this device to display HDMI signal from a Windows 10 desktop. This device does not display anything for an HDMI signal from a GoPro or the Nyrius ARIES Prime wireless HDMI transmitter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone please explain why my DSI MIPI HDMI device accepts HDMI signal from Windows but not from other devices?&lt;/p&gt;&#xA;" OwnerUserId="20410" LastActivityDate="2017-11-15T17:11:15.443" Title="Why would an DSI MIPI HDMI device accept Windows 10 HDMI signal but not HDMI signal from a GoPro or wireless HDMI transmitter?" Tags="|windows|hdmi|android|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22808" PostTypeId="1" CreationDate="2017-11-14T22:45:47.590" Score="1" ViewCount="11" Body="&lt;p&gt;I am starting up my own media company, where I will be focusing mostly on creating video content for clients. I've had contract with a few pent-up clients that seem promising, but it's hard to reel them in. How do I help things move forward without being insensitive?&lt;/p&gt;&#xA;" OwnerUserId="20545" LastActivityDate="2017-11-14T22:45:47.590" Title="How do I turn a contract into a client?" Tags="|client-relations|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22810" PostTypeId="1" CreationDate="2017-11-14T23:37:22.953" Score="2" ViewCount="367" Body="&lt;p&gt;I run a 2011 MacBook Pro, and it can barely handle Davinci Resolve 12. The biggest problem I have is playback. Playback is very laggy for me, and that is a problem because I need cut and sync clips with the music. Is there a way I can improve the playback speed in Davinci Resolve 12?&lt;/p&gt;&#xA;" OwnerUserId="13914" LastActivityDate="2018-08-31T18:08:16.890" Title="Best Way To Improve Davinci Resolve 12 Playback Speed?" Tags="|mac|davinci-resolve|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22811" PostTypeId="2" ParentId="17948" CreationDate="2017-11-15T05:54:58.713" Score="4" Body="&lt;p&gt;In case someone else comes looking for this, timecode in mp4 and mov files is often a &amp;quot;data&amp;quot; track, and ffmpeg usually drops data tracks. To keep all tracks, I usually use these switches to map tracks from the source to tracks in the destination&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-map 0:v (video switches)&#xA;-map 0:a (audio switches)&#xA;-map 0:d (this keeps the data track)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Which also has the advantage of keeping all the source audio tracks, rather than the default of only the first one. So your command might look like&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i [filename] -map 0:v -codec:v copy -map 0:a -codec:a copy -map 0:d [outputDirectory]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;EDIT: In modern ffmpeg you can also add a question mark (like -0:a?) which means ffmpeg will keep going if it doesn't find a track like you asked it to copy&lt;/p&gt;&#xA;" OwnerUserId="20549" LastEditorUserId="20549" LastEditDate="2022-01-05T16:37:29.040" LastActivityDate="2022-01-05T16:37:29.040" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="22812" PostTypeId="2" ParentId="22795" CreationDate="2017-11-15T08:18:55.670" Score="2" Body="&lt;p&gt;It's a rendering artifact, not an actual error.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay test444.mp4 -vf scale=iw*16:-1:flags=neighbor&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test444.mp4 roundtrip.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You should see no black pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: ffplay downsamples YUV inputs to 420 before final conversion to RGB.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[swscaler @ 0000000005a82800] bicubic scaler, from yuv444p to yuv420p using MMXEXT&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can avoid artifacts by directly calling pixel format filter.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay test444.mp4 -vf format=bgra&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-11-15T13:00:33.293" LastActivityDate="2017-11-15T13:00:33.293" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22813" PostTypeId="2" ParentId="17974" CreationDate="2017-11-15T14:19:48.253" Score="0" Body="&lt;p&gt;You could use this After Effects Free template to create the effect you mentioned.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.pond5.com/after-effect/1038234/film-strip.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.pond5.com/after-effect/1038234/film-strip.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just drop your footage/pictures in the template and your project will be complete in no time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See this video to know how it will look:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/_yap78oviXs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you can go to videohive.net and chose from hundreds of AE templates :&#xA;&lt;a href=&quot;https://videohive.net/search/filmstrip%20slideshow?as=1&amp;amp;referrer=homepage&amp;amp;type=l&amp;amp;utf8=%E2%9C%93&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://videohive.net/search/filmstrip%20slideshow?as=1&amp;amp;referrer=homepage&amp;amp;type=l&amp;amp;utf8=%E2%9C%93&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;for example :&#xA;&lt;a href=&quot;https://s3.envato.com/h264-video-previews/14110496-223e-49f8-85cb-907f086a5646/17175254.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://s3.envato.com/h264-video-previews/14110496-223e-49f8-85cb-907f086a5646/17175254.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your requirement of filmstrip effect is not so strict I can tell you one free alternative.. Checkout the link as given below from Rocketstock.com, this templates resembles very close to what you are looking but it is not exactly the filmstrip slideshow effect as you want. But it looks very elegant and your client may like it as well. The good thing about it is that it is free and wouldn't cost you a dime. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.rocketstock.com/free-after-effects-templates/fast-slides-free-slideshow-template/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.rocketstock.com/free-after-effects-templates/fast-slides-free-slideshow-template/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is how it will look:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/mVbP5bARsT8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="20523" LastEditorUserId="20523" LastEditDate="2017-11-15T14:29:20.143" LastActivityDate="2017-11-15T14:29:20.143" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22814" PostTypeId="2" ParentId="22807" CreationDate="2017-11-15T17:11:15.443" Score="1" Body="&lt;p&gt;There are two possible reasons I could see for this.  The first is that the supported resolution information is not being properly sent, resulting in a signal being sent which is not supported by the display.  It is also possible that the GoPro and the wireless HDMI transmitter do not support the same resolutions as the display you are using, in which case it wouldn't be able to send a workable signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second possible issue is that of HDCP.  HDCP is a technology used to protect copyright video data when it is being displayed.  If one of your source devices only operates with HDCP compatible devices, it is entirely possible this display is not HDCP compatible and that would prevent the display from working as well.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-11-15T17:11:15.443" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22815" PostTypeId="2" ParentId="22627" CreationDate="2017-11-16T14:34:06.913" Score="2" Body="&lt;p&gt;Select the images - use the select tool (&lt;code&gt;A&lt;/code&gt;) to rubber-band them - and hit &lt;code&gt;Control-D&lt;/code&gt;. Amend the duration and it'll be applied to all the selected images.&lt;/p&gt;&#xA;" OwnerUserId="20558" LastActivityDate="2017-11-16T14:34:06.913" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22816" PostTypeId="2" ParentId="3804" CreationDate="2017-11-16T15:29:18.777" Score="2" Body="&lt;p&gt;I made a tool which instantly downgrades Premiere projects so they can be opened in a previous version. Try it &lt;a href=&quot;http://joshcluderay.com/downgrade-premiere-project-converter/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="20559" LastActivityDate="2017-11-16T15:29:18.777" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="22817" PostTypeId="1" AcceptedAnswerId="22876" CreationDate="2017-11-16T16:12:33.237" Score="0" ViewCount="1514" Body="&lt;p&gt;PROBLEM: Video should be streamed (Youtube) with low resolution for live view, but recorded in HD resolution for later review.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;RESEARCH: I can stream and record separately. But using Android camera by two apps simultaneously is prohibited. Android 7 is used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;QUESTION: How to stream with low resolution and finally get video with high resolution?&lt;/p&gt;&#xA;" OwnerUserId="20560" LastEditorUserId="20560" LastEditDate="2017-11-16T17:32:26.353" LastActivityDate="2017-11-23T14:47:58.740" Title="Android Streaming and Recording at Once" Tags="|streaming|full-hd|android|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22818" PostTypeId="1" CreationDate="2017-11-16T16:22:44.147" Score="0" ViewCount="86" Body="&lt;p&gt;Hi i have the following graphic &lt;a href=&quot;https://i.stack.imgur.com/8xkYA.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8xkYA.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which i want to animate to the music. I would like them to animate like traditional volume bars but have each one animate at separate levels. I have tried using wiggle expression on the positison but it didn't give the desired effect. Does anyone know how to achieve this?&lt;/p&gt;&#xA;" OwnerUserId="20142" LastActivityDate="2019-01-12T17:01:40.323" Title="Animating vectors to audio in After Effects" Tags="|video|after-effects|production|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22822" PostTypeId="1" AcceptedAnswerId="22824" CreationDate="2017-11-17T01:13:44.910" Score="2" ViewCount="307" Body="&lt;p&gt;Does codec stand for compression or decompression?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also heard it stands for en&lt;strong&gt;co&lt;/strong&gt;der/&lt;strong&gt;dec&lt;/strong&gt;oder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which is it?  Maybe something entirely different.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for a source better then Wikipedia.&lt;/p&gt;&#xA;" OwnerUserId="11909" LastEditorUserId="11909" LastEditDate="2017-11-17T02:01:19.930" LastActivityDate="2017-11-17T02:13:03.983" Title="What does codec stand for?" Tags="|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22824" PostTypeId="2" ParentId="22822" CreationDate="2017-11-17T02:13:03.983" Score="4" Body="&lt;p&gt;One of the &lt;a href=&quot;http://ieeexplore.ieee.org/document/6773432/&quot; rel=&quot;nofollow noreferrer&quot;&gt;earliest articles in the IEEE database that uses the term&lt;/a&gt;, defines it as &quot;coders and decoders.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, newer material does not seem to be consistent. One of the Wikipedia page's &lt;a href=&quot;https://web.archive.org/web/20091212070305/https://www.microsoft.com/windows/windowsmedia/player/faq/codec.mspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;sources&lt;/a&gt; (at the time a page author retrieved it) alludes to both encoder-decoder and compression-decompression. &lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/0240805801&quot; rel=&quot;nofollow noreferrer&quot;&gt;This book&lt;/a&gt; defines it as compression/decompression.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-11-17T02:13:03.983" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22825" PostTypeId="2" ParentId="22817" CreationDate="2017-11-17T03:30:01.203" Score="0" Body="&lt;p&gt;Some background: when you want to use Camera in Android (as an application), you must setup it by specifying some constants. You must specify resolution, framerate, encoder options. This data usually used by internal CPU (DSP) for producing encoded stream in your hardware, you can't programm it. So, you must setup some options and get encoded stream for this options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, sorry, you can't use multiple applications at same time. At least, with different options (framerate).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But you can do workaround: you can decode HD stream, scaledown, encode again and stream to any service you want. This is very heavy task for CPU (in which apps works), so even if your phone can do it, it will very fast drain battery. Better way if to stream HD to some PC or server, recode it and re-stream to any other service.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-11-17T03:30:01.203" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22826" PostTypeId="2" ParentId="22818" CreationDate="2017-11-17T03:41:17.297" Score="0" Body="&lt;p&gt;I guess, you want volume bars as in equalizers? Each bar in equalizer is a part of spectrum. You must calculate this this data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know After Effects good enough, so I don't know way to calculate part spectral part of sound. Maybe some plugins? If I can had such task, I can write some tiny app which will analyze sound and print data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Plugin or external application must write data as keyframes in positions/scales of bars. You can copy-paste key frames and generate your own in text format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you have keyframes, just copy it to bar layout (or make this object as parent of bar-layer). Like you can do with tracking markers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As workaround: you can draw traditional spectrum on picture, then place some motion trackers on it and track bars positions. Then you can transfer data to your custom-made bars. This is not perfect and some time consume, but it will works.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-11-17T03:41:17.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22827" PostTypeId="2" ParentId="22607" CreationDate="2017-11-17T06:58:29.427" Score="0" Body="&lt;p&gt;The easiest way is to use an image editor to draw a picture of the tab. If you use a tool that allows layers, such as Photoshop, you can create a base layer with the image of the neck of the guitar, and then put the actual fret dots on higher layers. You can group the dots into folders for specific chords in specific positions. (For example, you might have a folder that contains all the dots for a-minor in one position, and another for all the dots for C-major in a different position.) Then you can easily turn on just the folder you need and export the image for use in your video.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2017-11-17T06:58:29.427" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22828" PostTypeId="1" AcceptedAnswerId="22829" CreationDate="2017-11-17T07:06:11.940" Score="2" ViewCount="318" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dPrWG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dPrWG.png&quot; alt=&quot;Video corrupted&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was capturing my video using &lt;strong&gt;Vmix Live Video Streaming &amp;amp; Video Mixer Software&lt;/strong&gt; when suddenly my computer restart itself. The file was saved with size of 3GB in my local drive. I used AVI format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I try to open the video file, it looks like the file is corrupted and couldn't be opened. What can I do to fix this??&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be very appreciated, thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE:&lt;/strong&gt;&#xA;This is the screenshot when I open the file in VirtualDub Hex editor&#xA;&lt;a href=&quot;https://i.stack.imgur.com/s6PKk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s6PKk.png&quot; alt=&quot;Using Hex Editor&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE:&lt;/strong&gt;&#xA;This is the screenshot again where the zeros end.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/UYdad.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UYdad.png&quot; alt=&quot;Zeros end&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE:&lt;/strong&gt;&#xA;This is the screenshot of a working file.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/q2DNk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/q2DNk.png&quot; alt=&quot;Screenshot of a working file&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20568" LastEditorUserId="20568" LastEditDate="2017-11-25T08:21:42.713" LastActivityDate="2017-11-25T08:21:42.713" Title="Video corrupted because of force restart when capturing" Tags="|video-recording|capturing|avi|mixer|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22829" PostTypeId="2" ParentId="22828" CreationDate="2017-11-17T08:17:19.687" Score="2" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Don't panic&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Download virtualdub and try to open in it. Try select &quot;direct stream copy&quot; and save new file. AVI container very easy to fix.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you using h264 codec inside, you can try to use my tool &lt;a href=&quot;https://github.com/bookkojot/mp4fixer&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/bookkojot/mp4fixer&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-11-17T08:17:19.687" CommentCount="20" ContentLicense="CC BY-SA 3.0" />
  <row Id="22830" PostTypeId="2" ParentId="22713" CreationDate="2017-11-17T15:09:54.000" Score="1" Body="&lt;p&gt;Technically most of the state of the art products of animatics are made from not only 1 but many software. It all starts from visualization to animation and rendering. But no matter how excellent the tools you use if the person who's operating it does not have the skills and talent, it will be a waste of time.&lt;/p&gt;&#xA;" OwnerUserId="20572" LastActivityDate="2017-11-17T15:09:54.000" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22833" PostTypeId="1" AcceptedAnswerId="22834" CreationDate="2017-11-17T20:33:23.717" Score="1" ViewCount="6322" Body="&lt;p&gt;I'am using external camera with ffmpeg to acquire underwater live stream. Now I want to add some dynamic values (text overlay) over video stream and restream that to some external provider like youtube live... My values are from different sensors (temperature, oxygen, salinity etc..) and those values must be embedded into video stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the righ or &quot;best&quot; or &quot;right&quot; way to do this?&lt;/p&gt;&#xA;" OwnerUserId="18141" LastActivityDate="2017-11-21T09:24:16.817" Title="FFmpeg text overlay add sensor values into video stream" Tags="|video|ffmpeg|streaming|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22834" PostTypeId="2" ParentId="22833" CreationDate="2017-11-18T02:52:47.600" Score="1" Body="&lt;p&gt;This question a bit similar to &lt;a href=&quot;https://video.stackexchange.com/questions/22607/im-trying-to-add-guitar-tabs&quot;&gt;I&amp;#39;m trying to add guitar tabs to a music video, do you know any software to do it?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At first, in which format your data, which protocol used from your sensors? I guess, here some closed-source software and proprietary protocol for there sensors? Obviously, you need software which can read this data format/protocol. If you creating own system with micro-controllers, try to find usable and open protocol for data. It very hard to find open protocols with needed functionality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At this point I guess, you found any appropriate protocol. For example, JSON with custom fields. Now try to find/write software, which will be use it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One possible way: write web-application, which will display video stream in your browser, loads data from sensors and display funny overlay. Then just grab video from your screen and broadcast to youtube or any other service. This is &quot;dirty&quot; way, but it will work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other way: write custom filter to ffmpeg. You can use ass-renderer for reference how to add text on image. Just add reading data from your sensors and your task completed.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;Writing fast and dirty video filters&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Sometimes we need to somehow filter the video, maybe put some text or graphic on top. Write a full application that decompresses the video stream, imbues the image with new elements or changes the image itself, and then compresses the stream anew, somewhat difficult. Today we will learn how to quickly and dirty make such applications without knowing how to encode the video in general.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To begin with, remember that the images consist of rows and columns of points, which are called pixels. Each point consists of 3 or 4 components, usually Red, Green and Blue signals, and sometimes there is an Alpha channel. Therefore, to change 1 point of the image, we need to change 3-4 components (this is usually 3-4 bytes). So, to change the entire image, we need to change all the rows and columns, in each of 3-4 elements and somehow modifying them, save back. For example, if we have a picture of 256x192 pixels in RGB24 format, then it will have 49152 pixels and 147456 color components (bytes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Therefore, we just need to read pieces of 147456 bytes, somehow modify them and write them back! It's all! No complicated libraries or algorithms are required! Where do we get these bytes? And we can get them with wonderful utility ffmpeg and its equally wonderful rawvideo mode, the exhaust of which we will give to stdout and receive in stdin your application!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's write the simplest application that will slightly change the image:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#include &amp;lt;stdio.h&amp;gt;&#xA;#include &amp;lt;stdint.h&amp;gt;&#xA;#include &amp;lt;stdlib.h&amp;gt;&#xA;&#xA;int main () {&#xA;&#xA;// allocate variables and buffer&#xA;&#xA;uint8_t *pixels = malloc (147456);&#xA;uint8_t *pix;&#xA;int q;&#xA;&#xA;while (1) {&#xA;&#xA;// read frame&#xA;if (fread (pixels, 1,147456, stdin) &amp;lt;= 0) {break;}&#xA;&#xA;// process image&#xA;pix = pixels;&#xA;for (q = 0; q &amp;lt;49152; q ++) {&#xA;*pix++ = *pix * 2; // multiple red to 2&#xA;*pix++ = *pix + 120; // shift green channel&#xA;*pix++ = *pix + q / 10; // lines in blue channel&#xA;}&#xA;&#xA;// write frame back&#xA;fwrite (pixels, 1,147456, stdout);&#xA;}&#xA;&#xA;return EXIT_SUCCESS;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Yes, that's all! Of course, here all the constants are hardcoded, never do so in real projects!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, run this and upload a video here:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -s 256x192 -f rawvideo -pix_fmt rgb24 - | ./a.out | ffmpeg -s 256x192 -f rawvideo -pix_fmt rgb24 -i - -y out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And we get the following result:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KwRtE.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KwRtE.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/4gVsn.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4gVsn.gif&quot; alt=&quot;2.gif&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's analyze what parameters in this line participated:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -s 256x192 -f rawvideo -pix_fmt rgb24 -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here we read from the file &lt;code&gt;video.mp4&lt;/code&gt;, resize the picture to &lt;code&gt;256x192&lt;/code&gt; (if your video is already 256x192 in size, then you can not do this), then we specify that it should be converted to &lt;code&gt;rgb24&lt;/code&gt; color space (if it is not already in it, what for can spend quite a lot of resources), and the result we need in the form of uncompressed video &lt;code&gt;rawvideo&lt;/code&gt;, the result we record in &lt;code&gt;-&lt;/code&gt;, i.e. in &lt;code&gt;stdout&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;| ./a.out |&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And this is our application. Vertical &quot;tubes&quot; mean that it will take data from the previous application and transfer it to the next&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -s 256x192 -f rawvideo -pix_fmt rgb24 -i - -y out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here we indicate that the input of this ffmpeg will be uncompressed video in &lt;code&gt;rawvideo&lt;/code&gt; format, size of &lt;code&gt;256x192&lt;/code&gt; and in the &lt;code&gt;rgb24&lt;/code&gt; color space. It is also may need to specify fps, as it is lost from such conversion. We will write output to &lt;code&gt;out.mp4&lt;/code&gt;, and even if such file already exists, the &lt;code&gt;-y&lt;/code&gt; parameter is responsible for this&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a very simple example of changing the image, but you can overlay text, other pictures and anything else. Of course, it's better to write a full-fledged application, or at least patch the already existing filter to the desired state, this will be a more correct solution. But if you need a working solution, while you do not want to write a lot of code, this is the solution for you.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastEditorUserId="19905" LastEditDate="2017-11-21T09:24:16.817" LastActivityDate="2017-11-21T09:24:16.817" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="22836" PostTypeId="1" CreationDate="2017-11-18T11:47:39.103" Score="-1" ViewCount="26" Body="&lt;p&gt;Does this quality now surpass what is possible using Adobe &lt;em&gt;After Effects&lt;/em&gt;? &lt;/p&gt;&#xA;" OwnerUserId="16649" LastActivityDate="2017-11-20T14:39:37.867" Title="BMD DaVinci Resolve 14.1 Studio Update : Quality of Title Text Rendering?" Tags="|video|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22837" PostTypeId="1" CreationDate="2017-11-18T12:16:14.097" Score="1" ViewCount="164" Body="&lt;p&gt;I am planning on getting myself a Steadicam Solo Stabilizer and Monopod from B&amp;amp;H Photo Video. However, for my purposes I would really need an arm and vest kit that I could mount it onto. While I saw that from B&amp;amp;H I could get the stabilizer with the Merlin arm and vest, but judging by reviews I think that the Flycam Galaxy Arm and Vest is higher in quality and more value for money. I definitely need an arm and vest, and I don't want to change my stabilizer, but I would simply like a yes or no answer: Is the Flycam Galaxy Arm and Vest compatible/can it fit onto and work with a Steadicam Solo, and if so, does it reduce performance as it is third party?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="20576" LastEditorUserId="20576" LastEditDate="2017-11-19T13:22:52.693" LastActivityDate="2018-02-27T07:47:18.317" Title="Is the Flycam Galaxy Arm and Vest compatible with a Steadicam Solo?" Tags="|video|video-recording|video-capture|stabilisation|composing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22838" PostTypeId="1" AcceptedAnswerId="22840" CreationDate="2017-11-18T14:57:55.303" Score="2" ViewCount="113" Body="&lt;p&gt;In the past I have been using a wireless lav for interviews recorded directly to my DSLR (Canon 60D).  I recently switched to a double audio system using my Zoom H4. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One  suggested setup was to channel the wireless lav directly to the Zoom then to split the headphone audio out of the Zoom to both the headphones and the DSLR audio for reference. However, this means the DSLR audio level changes if the headphone volume is adjusted. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If instead I split the audio coming out of the wireless lav to both the Zoom and DSLR audio (Rather than splitting the output of the headphone jack), then the audio levels could be adjusted appropriately and wouldn't change.  Will that degrade the audio quality? Is that recommended? &lt;/p&gt;&#xA;" OwnerUserId="20577" LastEditorUserId="1950" LastEditDate="2017-11-19T07:37:02.573" LastActivityDate="2017-11-19T07:37:02.573" Title="Can I split audio before it gets to my sound recorder?" Tags="|dslr|audio-recording|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22839" PostTypeId="2" ParentId="22771" CreationDate="2017-11-19T05:40:53.223" Score="6" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;&amp;quot;Q: Is it &lt;strong&gt;better&lt;/strong&gt; to have more B-frames or more P-frame for video streaming?&amp;quot;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;From: &lt;a href=&quot;https://en.wikipedia.org/wiki/Video_compression_picture_types&quot; rel=&quot;noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Video_compression_picture_types&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;The three major picture types used in the different video algorithms are I, P and B. They are different in the following characteristics:&lt;/p&gt;&#xA;&lt;p&gt;I‑frames are the least compressible but don't require other video frames to decode.&lt;/p&gt;&#xA;&lt;p&gt;P‑frames can use data from previous frames to decompress and are more compressible than I‑frames.&lt;/p&gt;&#xA;&lt;p&gt;B‑frames can use both previous and forward frames for data reference to get the highest amount of data compression.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So for the sake of &lt;strong&gt;better&lt;/strong&gt; compression and equal quality: B Frames are better.&lt;/p&gt;&#xA;&lt;p&gt;In &lt;em&gt;your&lt;/em&gt; case &lt;strong&gt;better&lt;/strong&gt; means that your TV better be able to decode and properly play your videos after spending hours/days transcoding them.&lt;/p&gt;&#xA;&lt;p&gt;So try one video using B-Frames, if there are glitches or you can't rewind properly use P-Frames. Be careful using a large number of B-Frames as that will use more Buffer.&lt;/p&gt;&#xA;&lt;p&gt;The &amp;quot;CPU time&amp;quot; you refer to applies on your computer, for the TV's Hardware decoding ASIC it shouldn't be a problem. As for Memory the reverse is true, your computer will have enough memory for many B-Frames but your TV might only have enough memory for a few.&lt;/p&gt;&#xA;&lt;p&gt;Blu-Ray uses 3 B-Frames so your TV ought to accept that many.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-11-19T05:40:53.223" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22840" PostTypeId="2" ParentId="22838" CreationDate="2017-11-19T07:32:19.487" Score="2" Body="&lt;p&gt;Technically if you want to be sure that you are getting the highest possible audio quality you need a pre-amp that you can use to split the signal. But the effect is going to be very small.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you split a signal you are relying on the impedance of the two input devices being high, and the output impedance of the source being low, and everything being even across the frequency spectrum. Most modern equipment has high input impedance and low output impedance, so that's generally fine–you will get a couple of dB drop because you're splitting the signal across two outputs–but what could go wrong is that you will get e.q. shifts because the impedances might not be perfectly flat across the whole range of frequencies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;However&lt;/strong&gt; it is unlikely to cause much of a problem for recording interviews, most likely it would only be a real issue if you were recording something like musical instruments. In an interview things like the room acoustics are going to have a far greater effect on the audio quality. Either way, a splitter cable is only going to cost a few bucks, so it's worth a test. &lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-11-19T07:32:19.487" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22843" PostTypeId="1" CreationDate="2017-11-19T16:52:26.893" Score="1" ViewCount="3662" Body="&lt;p&gt;I put this conf on ffserver&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;HTTPPort 1234&#xA;RTSPPort 1235&#xA;&amp;lt;Stream live.h264&amp;gt;&#xA;Format rtp&#xA;&#xA;Feed feed1.ffm&#xA;VideoCodec libx264&#xA;VideoFrameRate 24&#xA;VideoBitRate 100&#xA;VideoSize 480x272&#xA;AVOptionVideo flags +global_header&#xA;&amp;lt;/Stream&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I stream with this command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i file.h264 http://127.0.0.1:1234/feed1.ffm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I watch this stream I can watch via udp and tcp on this url:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;rtsp://127.0.0.1:1235/live.h264&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but i want to stream with rtsp over http(http tunneling).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do it please??&lt;/p&gt;&#xA;" OwnerUserId="20585" LastActivityDate="2024-02-08T09:08:01.013" Title="ffmpeg rtsp over http not working" Tags="|ffmpeg|streaming|h.264|libx264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22844" PostTypeId="1" CreationDate="2017-11-19T18:54:59.927" Score="2" ViewCount="59" Body="&lt;p&gt;(Sorry if this is off-topic. I couldn't find any place more appropriate for the subject).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of the questions that are asked in this board, and most of the courses that you find when you search online for subjects like &quot;video production&quot;, are related to the technical and creative side: how to learn Final Cut/Premiere, how to light a greenscreen, how to use a 3D program, how to format and write a screenplay... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I have found very few courses about the business side. Things like: how do film/TV rights get sold around the world, what's the decision-making process when putting together a TV schedule, how to decide which shows to develop...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To put in other words: most of the courses and questions I find are about learning how to be a good camera operator, editor, director... Where are to courses to learn how to be a... say, TV or production company executive?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suspect that I'd have to join a MBA specialized in media, or something like that. Am I right? Are there any online courses (Coursera, EdX, etc.) that cover this subject?&lt;/p&gt;&#xA;" OwnerUserId="20475" LastActivityDate="2017-11-22T15:29:45.860" Title="Sites for learning the business side?" Tags="|production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22848" PostTypeId="1" CreationDate="2017-11-20T12:41:56.677" Score="1" ViewCount="2751" Body="&lt;p&gt;I am using ffmpeg to stream my desktop. It works perfectly over the LAN with two connected PCs; however, over a WAN, the reciever gets unviewable shearing and tearing of the desktop. We figured it was because the LAN has a 5 MB/s bandwith and the WAN has a bandwidth limitation 1 MB/s. When I checked the ethernet output of the sending PC, the bandwidth was 1 MB/s +/- .02.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original ffmpeg script I used was within a batch file was:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -i video=&quot;screen-capture-recorder&quot;-vcodec&#xA;libx264 -preset ultrafast -pix_fmt yuv420p -tune zerolatency -r 30 -b:v 750k -minrate 750k -maxrate 750k  -f mpegts udp://ip:port &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;On the reciever side: 1. I opened the scream capture recorder GUI. 2. Inserted the appropriate udp address. 3. Hit &quot;Start Recieving&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did a wireshark analysis and noticed most of the packets I saw were MPEG TS packets with had &quot;MP2T fragment of a reassembled package&quot; in the description column.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is: has anyone been able to successful stream via ffmpeg over a wide area network with no issues of the recieving video? If so, what ffmpeg parameters did you use for consistent results?&lt;/p&gt;&#xA;" OwnerUserId="20592" LastActivityDate="2017-11-20T14:59:51.190" Title="FFMPEG: Streaming over UDP over Wide Area Network" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22849" PostTypeId="2" ParentId="22836" CreationDate="2017-11-20T14:39:37.867" Score="1" Body="&lt;p&gt;No, it wouldn't surpass it as After Effects has a full blown professional motion graphics system that can do whatever you want for a title.  Depending on your goals it it may be able to do as well, but Resolve isn't really a comparable product to After Effects if you want to get in to very custom work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Resolve is really more of a parallel to Premiere than it is to After Effects.  Fusion is the product that is a parallel to After Effects, so it would be more comparable and just about anything you could do in After Effects can also be done in Fusion.  Both are advanced enough products that they have some differences in features, but are both extremely capable pieces of software.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-11-20T14:39:37.867" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22850" PostTypeId="2" ParentId="22848" CreationDate="2017-11-20T14:59:51.190" Score="1" Body="&lt;p&gt;Unless you are on a network that supports multi-cast, the host computer needs to have sufficient bandwidth to send the video data independently to every single viewer.  If you have multiple viewers, this will rapidly overwhelm any slow connection (and your connection, even on the LAN, is exceptionally slow).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you need is a content delivery network or at least a media server with a sufficiently fast upload speed to feed the desired number of clients.  Your host would then upload to the media server or CDN and the clients would connect to the media server or CDN to get the relayed stream.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-11-20T14:59:51.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22853" PostTypeId="2" ParentId="22588" CreationDate="2017-11-21T14:41:14.000" Score="2" Body="&lt;p&gt;Use the &lt;code&gt;Draw Mask&lt;/code&gt; effect. You can essentially crop with curves, or polygon shapes&lt;/p&gt;&#xA;" OwnerUserId="20558" LastEditorUserId="20558" LastEditDate="2018-10-23T21:24:46.767" LastActivityDate="2018-10-23T21:24:46.767" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="22854" PostTypeId="2" ParentId="22756" CreationDate="2017-11-21T14:58:04.480" Score="0" Body="&lt;p&gt;Not so much an answer as a workflow suggestion - when you are creating image sequences, group images together in a &lt;code&gt;Compound Clip.&lt;/code&gt; Enter that clip and export it as ProRes 422. Overwrite the compound clip (this is saved in the browser) with the rendered video. This can run in the background while you continue to edit, but will save final export time as FCPX won't have to decompress/conform each still image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need to make changes later, drop the original compound clip back into the timeline, add new images etc, and export again. &lt;/p&gt;&#xA;" OwnerUserId="20558" LastActivityDate="2017-11-21T14:58:04.480" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22857" PostTypeId="1" AcceptedAnswerId="22976" CreationDate="2017-11-21T20:13:00.717" Score="0" ViewCount="117" Body="&lt;p&gt;Is it possible to change the appearance of some clips in your timeline and not others?  Basically sometimes I only care about the main video and want to shrink any overlay pictures etc I may have to be as small as possible to save space, can I do this somehow?&lt;/p&gt;&#xA;" OwnerUserId="19913" LastActivityDate="2018-05-05T09:08:15.227" Title="Final Cut Pro 10 Change clip appearance of some clips in timeline" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22858" PostTypeId="1" AcceptedAnswerId="22864" CreationDate="2017-11-21T20:26:30.617" Score="6" ViewCount="3335" Body="&lt;p&gt;As part of various broadcasters requests media provided for broadcasting environment must be PSE (Photosensitive Epilepsy) free. There should be not frames sequences that could trigger that symptoms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know if there exists some free software for quality check media in mov, mp4 and mxf with dnxhd, h264 and prores codecs and if &lt;strong&gt;ffmpeg&lt;/strong&gt; can do it showing the possible harmful patterns and passages.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2020-02-25T01:19:09.457" Title="Software for detecting Photosensitive Epilepsy content" Tags="|video|ffmpeg|broadcasting|broadcast|pse|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22859" PostTypeId="5" CreationDate="2017-11-21T20:37:25.280" Score="0" Body="&lt;p&gt;Photosensitive Epilepsy (PSE) is a type of epilepsy where seizures are caused or triggered by flashing or moving patterns. This tag is for questions on video production referring to PSE, whether preventing, detecting or discussing this.&lt;/p&gt;&#xA;" OwnerUserId="-1" LastEditorUserId="674" LastEditDate="2017-11-24T14:24:48.463" LastActivityDate="2017-11-24T14:24:48.463" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22860" PostTypeId="4" CreationDate="2017-11-21T20:37:25.280" Score="0" Body="This tag is for questions on video production referring to PSE, whether preventing, detecting or discussing this" OwnerUserId="-1" LastEditorUserId="674" LastEditDate="2017-11-24T14:27:02.153" LastActivityDate="2017-11-24T14:27:02.153" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22861" PostTypeId="1" CreationDate="2017-11-21T21:37:06.737" Score="0" ViewCount="2238" Body="&lt;p&gt;I have a video that is composed of 3 parts: intro, outro and middle. in the outro and intro I need to add some text as an overlay and on the middle part, I need to change the background (which is one color) to an image I'll provide plus add a text overlay.&#xA;All the texts will appear at certain times, be displayed for few seconds in different parts of the video and disappear. The background image too needs to be displayed only for few seconds in the middle of the video.&#xA;Can you point me to something that can help me or give me few pointers that can help me accomplish this task? Thank you.&lt;/p&gt;&#xA;" OwnerUserId="20608" LastActivityDate="2018-04-23T03:18:45.673" Title="add text overlay and image background to a video" Tags="|video|ffmpeg|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22862" PostTypeId="1" AcceptedAnswerId="22874" CreationDate="2017-11-21T22:07:36.470" Score="1" ViewCount="1221" Body="&lt;p&gt;I have in input a DNxHD 120 in mov container 25fps interlaced upper field, I have to do various kind of edits, cuts, replace some pieces with after effects compositions and at the end of all the job export everything as a MXF 25fps again interlaced upper field.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Until now I always worked only with progressive contents so I'm unsure if what I'm doing is correct:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;I imported the footage into the project&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Created a new sequence based on what i think is the correct format: 1080 25fps interlaced upper field&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Started cutting, pasting and replaced some after effects comps&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Export with media encoder using the DNxHD SD 1080i 50 (i wonder why i can't find a 1080i 25 preset), however even if is writtend 50 it seems i can pick 25 fps.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Is all this correct ? I mean what's the best practice ? I'm keeping everything interlaced upper field. I think Premiere is a professional software able to handle all the footage in interlaced without problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;or&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I instead convert and make everything progressive first and then export again back in interlaced? (i fear this solution is not very good)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also have this error if i try to rotobrush the footage:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/B8fqy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/B8fqy.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is starting to confuse me even more, why i should use a 50fps ?&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2017-11-27T10:51:23.663" LastActivityDate="2017-11-28T15:39:44.620" Title="Correct workflow in Adobe Premiere for work with interlaced content" Tags="|premiere|after-effects|editing|broadcasting|broadcast|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22863" PostTypeId="1" CreationDate="2017-11-22T01:17:11.630" Score="4" ViewCount="315" Body="&lt;p&gt;I have a bunch of TV shows in HD that I want to down-sample to SD and at the same time strip out the titles and credits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Handbrake has great encoding and can handle batches, but I can't find a way to set in and out points.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried the free &lt;a href=&quot;https://www.shotcutapp.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;ShotCut&lt;/a&gt;, which is perfectly capable to doing easy edits, but seems to be really slow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are they any recommendations for doing this sort of easy, but bulk work for macOS?&lt;/p&gt;&#xA;" OwnerUserId="18833" LastActivityDate="2024-03-28T17:07:30.910" Title="Free software for batch basic editing and down-sampling" Tags="|video-editor|encoding|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22864" PostTypeId="2" ParentId="22858" CreationDate="2017-11-22T01:17:58.650" Score="2" Body="&lt;p&gt;Unfortunately, I don't know of any free software that checks for PSE. As of 2013, the test for PSE was only available &lt;a href=&quot;https://ffmpeg.org/pipermail/ffmpeg-devel/2013-October/149085.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;closed source&lt;/a&gt;. However, all of the major commercial QC tools can check for it. (You would need to check with each vendor if it is supported for all of the codecs you need to QC.)&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.interrasystems.com/file-based-qc.php&quot; rel=&quot;nofollow noreferrer&quot;&gt;Interra Baton&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.tek.com/video-test-and-monitoring-equipment/aurora&quot; rel=&quot;nofollow noreferrer&quot;&gt;Tektronix Aurora&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.telestream.net/vidchecker/solutions.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;Telestream Vidchecker&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.veneratech.com/pulsar/checks/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Venera Pulsar&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="14523" LastEditorUserId="14523" LastEditDate="2017-11-22T15:28:26.733" LastActivityDate="2017-11-22T15:28:26.733" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22865" PostTypeId="2" ParentId="22844" CreationDate="2017-11-22T01:47:31.970" Score="2" Body="&lt;p&gt;Most undergraduate media programs have a &quot;The Business of...&quot; course in their curricula. It used to be &quot;The Business of Television&quot; or &quot;The Business of Film&quot;. Nowadays, it is probably listed as &quot;The Business of Media&quot; or &quot;The Business of Digital Media.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, those classes seem to be offered only intermittently. As an undergraduate I found the business class I managed to take essential for understanding the industry I was trying to break into. Now, as a seasoned professional, I cannot understand why those courses aren't required to graduate. But those aren't the fun or sexy classes, unlike the production classes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The most relevant MOOC I could find was on the &lt;a href=&quot;https://www.coursera.org/learn/musicbiz&quot; rel=&quot;nofollow noreferrer&quot;&gt;music industry&lt;/a&gt;. I suspect most media programs haven't adopted online delivery because of the difficulty in producing media without the group work you get with an in-person class.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastEditorUserId="14523" LastEditDate="2017-11-22T15:29:45.860" LastActivityDate="2017-11-22T15:29:45.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22866" PostTypeId="1" CreationDate="2017-11-22T06:58:42.463" Score="1" ViewCount="19" Body="&lt;p&gt;Like most, my camera splits files at a maximum length when it writes to the memory card.  I want to join them back up into one file = one take before loading the clips into Premiere, as that makes some things easier.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I’m running Windows, tried multiple versions of ffmpeg built for Win64.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The result plays in VLC just fine, but &lt;strong&gt;Premiere sees it as audio-only!&lt;/strong&gt;  The maddening this is that this worked just fine in April, and the files I created then are still working in the current version of Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command I use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i cat.txt -c copy p:\scratch\out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where the &lt;code&gt;cat.txt&lt;/code&gt; contains two consecutive files from the camera, the first about 4GB and the second less than 2GB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The newly created file shows the following with ffprobe:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 512&#xA;    compatible_brands: qt&#xA;    encoder         : Lavf57.75.100&#xA;  Duration: 00:19:53.94, start: 0.000000, bitrate: 31461 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 29920 kb/s, 23.98 fps, 23.98 tbr, 24k tbn, 48k tbc (default)&#xA;    Metadata:&#xA;      handler_name    : DataHandler&#xA;      timecode        : 01:42:10:07&#xA;    Stream #0:1(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, s16, 1536 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : DataHandler&#xA;    Stream #0:2(eng): Data: none (tmcd / 0x64636D74)&#xA;    Metadata:&#xA;      handler_name    : DataHandler&#xA;      timecode        : 01:42:10:07&#xA;Unsupported codec with id 0 for input stream 2&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;An older one that works shows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 512&#xA;    compatible_brands: qt&#xA;    encoder         : Lavf57.56.101&#xA;  Duration: 00:21:08.89, start: 0.000000, bitrate: 30955 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 29416 kb/s, 23.98 fps, 23.98 tbr, 24k tbn, 48k tbc (default)&#xA;    Metadata:&#xA;      handler_name    : DataHandler&#xA;      timecode        : 22:39:33:15&#xA;    Stream #0:1(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, s16, 1536 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : DataHandler&#xA;    Stream #0:2(eng): Data: none (tmcd / 0x64636D74)&#xA;    Metadata:&#xA;      handler_name    : DataHandler&#xA;      timecode        : 22:39:33:15&#xA;Unsupported codec with id 0 for input stream 2&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I’m trying an older version of ffmpeg, but it makes no difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don’t remember having to do anything different before, and I can’t find any difference in the files.&lt;/p&gt;&#xA;" OwnerUserId="9268" LastActivityDate="2017-11-22T06:58:42.463" Title="Concatenating video files — Primere sees audio track only" Tags="|video-editor|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22867" PostTypeId="1" CreationDate="2017-11-22T08:59:44.453" Score="3" ViewCount="12918" Body="&lt;p&gt;The only difference I've spotted is that you can edit the font in open captions but not in open subtitles. But i'm sure there's another point to it. &lt;/p&gt;&#xA;" OwnerUserId="20612" LastEditorUserId="14523" LastEditDate="2018-01-20T16:46:49.737" LastActivityDate="2018-06-12T00:19:30.430" Title="What's the difference between open Subtitles and open captions in Premiere Pro CC 2018?" Tags="|premiere|subtitles|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22868" PostTypeId="2" ParentId="22867" CreationDate="2017-11-22T09:23:53.580" Score="1" Body="&lt;p&gt;ok, I found out that the difference is in the export options of this type of caption, aside from in editing the subtitles. You can export open subtitles as a sidecar file with the same formats you get in teletext, while you can only burn open captions into video.&lt;/p&gt;&#xA;" OwnerUserId="20612" LastActivityDate="2017-11-22T09:23:53.580" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22869" PostTypeId="2" ParentId="22863" CreationDate="2017-11-22T12:04:48.753" Score="0" Body="&lt;p&gt;I'm fairly certain you can do this with &lt;code&gt;VLC&lt;/code&gt; 3.0+ or via the command line. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://wiki.videolan.org/VLC_HowTo/Transcode_multiple_videos/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://wiki.videolan.org/VLC_HowTo/Transcode_multiple_videos/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This can be done using the transcode/streaming options via the file menu in the graphical app. You can set the in and out and select all te files to process, as well as the codec and container format.&lt;/p&gt;&#xA;" OwnerUserId="20558" LastEditorUserId="20558" LastEditDate="2017-11-23T21:57:54.600" LastActivityDate="2017-11-23T21:57:54.600" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22870" PostTypeId="2" ParentId="22861" CreationDate="2017-11-22T12:09:49.713" Score="0" Body="&lt;p&gt;Pretty much any Non-Linear Editing program can do this: 'Free' versions include; iMovie (Mac), Microsoft Photos (Windows). KDNELIVE (Linux).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more Professional apps, try the free DaVinci Resolve, or trial Adobe Premiere or Apple Final Cut Pro X.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simply overlay the text on the edited video using that software’s preferes method.&lt;/p&gt;&#xA;" OwnerUserId="20558" LastEditorUserId="20558" LastEditDate="2017-11-23T22:00:15.860" LastActivityDate="2017-11-23T22:00:15.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22872" PostTypeId="2" ParentId="7145" CreationDate="2017-11-22T17:30:44.630" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt; shows you all sorts of meta data for video files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It offers you a &lt;strong&gt;GUI&lt;/strong&gt; to easily check the files by hand. Look for the field &lt;em&gt;General&lt;/em&gt; &gt; &lt;em&gt;Encoded date&lt;/em&gt;. You might have to change the &lt;em&gt;View&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to automate the job, I recommend the &lt;strong&gt;console&lt;/strong&gt; though:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mediainfo video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It is also possible to output only certain fields like the &lt;em&gt;encoded date&lt;/em&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mediainfo --Inform=&quot;General;%Encoded_Date%&quot; video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20616" LastActivityDate="2017-11-22T17:30:44.630" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22873" PostTypeId="1" AcceptedAnswerId="22881" CreationDate="2017-11-22T21:51:55.350" Score="1" ViewCount="1595" Body="&lt;p&gt;I've received an aep file and there's the following thing that drives me nuts:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are obviously two overlapping shapes that where only the exclusion is filled:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/8nVl7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8nVl7.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nothing special so far, but there are no masks included and also no Merge Paths:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/yoWdC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yoWdC.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So there are only two paths included (one for the circle and one for the rotated, overlapping rectangle), so which settings were used here to achieve the exclusion?&#xA;I personally would have used Merge Paths to achieve this result, but this is obviously not the case here.&lt;/p&gt;&#xA;" OwnerUserId="20618" LastActivityDate="2021-02-22T23:12:54.983" Title="Intersecting Shapes in After Effects" Tags="|after-effects|shape|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22874" PostTypeId="2" ParentId="22862" CreationDate="2017-11-22T23:27:30.290" Score="2" Body="&lt;p&gt;As for how to work... it all depends on what your final destination is. Are you working on a piece to be broadcasted, or for the Web? In the latter case, the final product should be progressive. If the former... the in turn it depends on your source material, which seems to be interlaced.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you should:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create an interlaced project, &quot;1080i50&quot;. The &quot;50&quot;, in this case,&#xA;doesn't mean &quot;frames per second&quot;, but &quot;fields per second&quot; (2 fields&#xA;= 1 frame).&lt;/li&gt;&#xA;&lt;li&gt;Work as you would normally in Premiere.&lt;/li&gt;&#xA;&lt;li&gt;Export it in an interlaced format too. &quot;1080i50&quot; sounds good, but again, that&#xA;depends on the final destination of your piece.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="20475" LastEditorUserId="11789" LastEditDate="2017-11-28T15:39:44.620" LastActivityDate="2017-11-28T15:39:44.620" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22876" PostTypeId="2" ParentId="22817" CreationDate="2017-11-23T14:47:58.740" Score="0" Body="&lt;p&gt;I found an easy and suitable solution: &#xA;launch Youtube &lt;strong&gt;streaming app and Android screen capture&lt;/strong&gt; app at once. Only first app has monopolian access to camera in this case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As of 2018, highest rated are &lt;a href=&quot;https://play.google.com/store/apps/details?id=com.hecorat.screenrecorder.free&quot; rel=&quot;nofollow noreferrer&quot;&gt;AZ Screen Recorder&lt;/a&gt; and &lt;a href=&quot;https://play.google.com/store/apps/details?id=com.duapps.recorder&quot; rel=&quot;nofollow noreferrer&quot;&gt;DU Recorder&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thus I can stream outside low quality live and save to tablet with HD.&lt;/p&gt;&#xA;" OwnerUserId="20560" LastActivityDate="2017-11-23T14:47:58.740" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22877" PostTypeId="1" AcceptedAnswerId="22878" CreationDate="2017-11-23T16:02:00.983" Score="2" ViewCount="767" Body="&lt;p&gt;I'm using ffmpeg to convert a &lt;code&gt;PNG&lt;/code&gt; image sequence into a &lt;code&gt;.mov&lt;/code&gt; file with alpha channel for use in my NLE.&lt;/p&gt;&#xA;&lt;p&gt;The &lt;code&gt;PNG&lt;/code&gt; sequence was rendered out of DashWare where it was generated in sync with a 4m35s (approx) 1080p50 video clip.&lt;/p&gt;&#xA;&lt;p&gt;As expected the image sequence consisted of just over 13,750 images.&lt;/p&gt;&#xA;&lt;p&gt;I used the following command to convert these into the required &lt;code&gt;PNG&lt;/code&gt; encoded, uncompressed &lt;code&gt;RGBA&lt;/code&gt; (rgb32) &lt;code&gt;.mov&lt;/code&gt; file.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i imageSeq-%06d.png -vcodec png -r 50 -pix_fmt rgb32 -y video.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And the file converted OK &lt;em&gt;but&lt;/em&gt; it's duration came out at 9m10s - exactly double what it should have been.&lt;/p&gt;&#xA;&lt;p&gt;By my reckoning 4m35s at 50fps is: &lt;code&gt;((4x60)+35)x50&lt;/code&gt; which is 13750 frames/images. So why did the duration double in conversion with the above command?&lt;/p&gt;&#xA;" OwnerUserId="14515" LastEditorUserId="14523" LastEditDate="2022-08-06T19:59:47.273" LastActivityDate="2022-08-06T19:59:47.273" Title="ffmpeg **doubled** my duration" Tags="|ffmpeg|quicktime|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="22878" PostTypeId="2" ParentId="22877" CreationDate="2017-11-23T16:08:24.670" Score="5" Body="&lt;p&gt;By default, ffmpeg treats image sequence and raw video inputs as having a native rate of 25 fps unless told otherwise. So, the &lt;code&gt;-r 50&lt;/code&gt; duplicates each frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 50 -i imageSeq-%06d.png -vcodec png -pix_fmt rgb32 -y video.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can skip the &lt;code&gt;-r 50&lt;/code&gt; since ffmpeg will use the input's framerate.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-11-23T16:08:24.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22879" PostTypeId="1" AcceptedAnswerId="22896" CreationDate="2017-11-23T19:17:30.210" Score="3" ViewCount="8125" Body="&lt;p&gt;Is there a way to export (render) audio only in kdenlive? Maybe a custom profile? Shotcut has this ability. As they're both built on MLT, I assume it should be possible in kdenlive too. Am I right?&lt;/p&gt;&#xA;" OwnerUserId="20622" LastActivityDate="2020-06-10T20:45:02.353" Title="Kdenlive - how to export audio only?" Tags="|audio|export|render|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22881" PostTypeId="2" ParentId="22873" CreationDate="2017-11-24T04:54:30.653" Score="1" Body="&lt;p&gt;It's likely due to fill-rule being set to &quot;&lt;code&gt;Even-Odd&lt;/code&gt;&quot;. Try changing it to &quot;&lt;code&gt;Non-Zero winding&lt;/code&gt;&quot; instead:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/hhPkm.jpg&quot; alt=&quot;example&quot;&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastActivityDate="2017-11-24T04:54:30.653" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22882" PostTypeId="1" AcceptedAnswerId="22884" CreationDate="2017-11-24T11:24:59.570" Score="1" ViewCount="86" Body="&lt;p&gt;In Natron, is there a reroute node to split connection into two nodes? Blender has this feature. It is called reroute node.&lt;/p&gt;&#xA;" OwnerUserId="20622" LastActivityDate="2017-11-25T10:10:42.407" Title="Natron node reroute" Tags="|video-editor|connectors|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22883" PostTypeId="1" AcceptedAnswerId="22889" CreationDate="2017-11-24T12:15:49.473" Score="7" ViewCount="2179" Body="&lt;p&gt;In Kdenlive, is it possible to cut track on current frame? In Blender I would use &quot;k&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am able to use the cut tool and click on the current frame position, but it usually involves some offset. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like a precise solution.&lt;/p&gt;&#xA;" OwnerUserId="20622" LastActivityDate="2021-02-06T13:14:13.207" Title="Kdenlive - cut on point" Tags="|kdenlive|tracks|keyboard-shortcut|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22884" PostTypeId="2" ParentId="22882" CreationDate="2017-11-24T12:57:08.240" Score="2" Body="&lt;p&gt;Figured it out. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hold Ctrl and yellow points will appear in the middle of connections.&#xA;Click on one where you would like to create the reroute.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can now move it around and connect nodes to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This apparently works on &quot;arrow connections&quot; only, which makes sense.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also use the left toolbar (or throught a node - right click) and under &quot;Other&quot;, you can find the &quot;Dot&quot; node.&#xA;Thus, in Natron it's called &quot;Dot&quot;.&lt;/p&gt;&#xA;" OwnerUserId="20622" LastEditorUserId="20622" LastEditDate="2017-11-25T10:10:42.407" LastActivityDate="2017-11-25T10:10:42.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22885" PostTypeId="2" ParentId="15253" CreationDate="2017-11-24T15:44:01.850" Score="0" Body="&lt;p&gt;The size of a 1/2.3&quot; sensor is 6.17 x 4.55 mm .   A  2/3&quot; sensor is 8.8 x 6.6 mm (about double the area).  Many broadcast cameras use 3 - 2/3&quot; sensors. Many consumer camcorders and some Gopro models use tiny 1/2.8 or 1/3.2&quot; sensors.&lt;/p&gt;&#xA;" OwnerUserId="20625" LastActivityDate="2017-11-24T15:44:01.850" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22886" PostTypeId="1" AcceptedAnswerId="22892" CreationDate="2017-11-24T20:33:02.277" Score="5" ViewCount="1886" Body="&lt;p&gt;I was looking at how JPEG compression works, and to me it seems to be really similar to what H.264 (and other video codecs) does with its intraframe prediction step.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In both algorithms the image frame is &quot;chroma-downsampled&quot;, divided into small blocks, and then DCT and quantization are applied. Finally the frame/picture is encoded into a bitstream using Huffman coding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this correct? Are there important differences between JPEG and H.264 intraframe compressions that I'm missing?&lt;/p&gt;&#xA;" OwnerUserId="20528" LastEditorUserId="20528" LastEditDate="2017-11-24T21:18:41.933" LastActivityDate="2017-11-25T14:05:12.910" Title="Are JPEG compression and H.264 intraframe compression the same process?" Tags="|compression|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22888" PostTypeId="2" ParentId="22858" CreationDate="2017-11-25T06:01:28.993" Score="5" Body="&lt;p&gt;Some Broadcasters require a &lt;a href=&quot;https://en.wikipedia.org/wiki/Harding_test&quot; rel=&quot;noreferrer&quot;&gt;Harding Test&lt;/a&gt; which is patented and proprietary, it creates a Certificate; thus getting someone to accept liability isn't going to be free.&lt;/p&gt;&#xA;&lt;p&gt;You can find a number of places online that will test a video file (or Game, Poster, Art, etc.) but those aren't free, the &lt;a href=&quot;http://hardingtest.com/index.php?page=test&quot; rel=&quot;noreferrer&quot;&gt;Harding website&lt;/a&gt; has authenticated tests and support.&lt;/p&gt;&#xA;&lt;p&gt;Free software claiming to perform the same checks (so when you submit your work, it won't be rejected) is available from the University of Maryland in the form of PEAT, their &lt;a href=&quot;https://trace.umd.edu/peat&quot; rel=&quot;noreferrer&quot;&gt;Photosensitive Epilepsy Analysis Tool&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Note: Restrictions on use&lt;/p&gt;&#xA;&lt;p&gt;The Photosensitive Epilepsy Analysis Tool (PEAT) was developed to provide a free resource for Web designers and computer software developers. Use of PEAT to assess material commercially produced for television broadcast, film, home entertainment, or gaming industries is &lt;strong&gt;prohibited&lt;/strong&gt;. For broadcast, film, home entertainment, and gaming applications, the Harding FPA software should be employed.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;To get the real thing, a Certificate, you'll need to pay. To get software that claims to do the same thing without accepting liability or providing the authentic Certificate is possible, I found that source with less than 10 min. of searching.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-11-25T06:01:28.993" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22889" PostTypeId="2" ParentId="22883" CreationDate="2017-11-25T07:37:58.680" Score="10" Body="&lt;p&gt;Figured it out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The shortcut is &quot;Shift+R&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's located in top options &gt; timeline &gt; current clip &gt; cut clip.&lt;/p&gt;&#xA;" OwnerUserId="20622" LastActivityDate="2017-11-25T07:37:58.680" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22891" PostTypeId="1" CreationDate="2017-11-25T13:42:28.370" Score="-2" ViewCount="110" Body="&lt;p&gt;Let's say I use a music in my video, which I upload to youtube. &lt;strong&gt;What are the chances&lt;/strong&gt; (probability) that the copyrightowner will contact youtube and my video will be muted?&lt;br&gt;&#xA;Are there any kind of statistics on this?&lt;br&gt;&#xA;If there is - what are this probability depends on?  &lt;/p&gt;&#xA;" OwnerUserId="17997" LastActivityDate="2017-11-26T01:03:33.787" Title="What are the chances to get copyright claim because of using a song in a youtube video?" Tags="|youtube|copyright|" AnswerCount="1" CommentCount="1" ClosedDate="2017-12-13T09:55:25.917" ContentLicense="CC BY-SA 3.0" />
  <row Id="22892" PostTypeId="2" ParentId="22886" CreationDate="2017-11-25T14:05:12.910" Score="3" Body="&lt;p&gt;This is a complex topic, so best to link and excerpt&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;https://sonnati.wordpress.com/2010/10/19/h-264-for-image-compression/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://sonnati.wordpress.com/2010/10/19/h-264-for-image-compression/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;H.264 contains a number of new features that allow it to compress&#xA;  images much more efficiently than JPG.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;New transform design&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Differently from JPG, an exact-match integer 4×4 spatial block&#xA;  transform is used instead of the well known 8×8 DCT. It is&#xA;  conceptually similar to DCT but with less ringing artifacts.  There is&#xA;  also a 8×8 spatial block transform for less detailed areas and chroma.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;A secondary Hadamard Transform (2×2 on chroma and 4×4 on luma) can be&#xA;  usually performed on “DC” coefficients to obtain even more compression&#xA;  in smooth regions.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;There is also an optimized quantization and two possible zig-zag&#xA;  pattern for Run Length Encoding of transformed coefficients.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Intra-frame compression&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;H.264 introduces complex spatial prediction for intra-frame&#xA;  compression. Rather than the “DC”-only prediction found in MPEG2 and&#xA;  the transform coefficient prediction found in H.263+, H.264 defines 6&#xA;  prediction directions (modes) to predict spatial information from&#xA;  neighbouring blocks when encoded using 4×4 transform. The encoder&#xA;  tries to predict the block interpolating the color value of adiacent&#xA;  blocks. Only the delta signal is therefore transmitted.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;There are also 4 prediction modes for smooth color zones (16×16&#xA;  blocks). Residual data are coded with 4×4 trasforms and a further 4×4&#xA;  Hadamard trasform is used for DC coefficients.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Improved quantization&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;A new logarithmic quantization step is used (compound rate 12%). It’s&#xA;  also possible to use Frequency-customized quantization scaling&#xA;  matrices selected by the encoder for perceptual-based quantization&#xA;  optimization.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Inloop deblocking filter&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;An adaptive deblocking filter is applied to reduce eventual blocking&#xA;  artifacts at high compression ratio.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Advanced Entropy Coding&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;H.264 can use the state of the art in entropy coding: Context Adaptive&#xA;  Binary Arithmetic Coding (CABAC) which is much more efficient than the&#xA;  standard Huffman coding used in JPG.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-11-25T14:05:12.910" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22893" PostTypeId="1" CreationDate="2017-11-25T16:03:32.803" Score="-2" ViewCount="31" Body="&lt;p&gt;The title says it all, How do you get the steadiest footage you can? I'm creating a film/movie/video with my friends, we hired a screenwriter too. But, back to the point how do you?&lt;h1&gt;Please help me.&lt;/h1&gt;&lt;/p&gt;&#xA;" OwnerUserId="20633" LastActivityDate="2017-11-27T13:02:49.140" Title="How do you get the steadiest footage you can" Tags="|camera|" AnswerCount="1" CommentCount="5" ClosedDate="2017-11-28T15:42:27.463" ContentLicense="CC BY-SA 3.0" />
  <row Id="22895" PostTypeId="2" ParentId="22891" CreationDate="2017-11-26T01:03:33.787" Score="1" Body="&lt;p&gt;It's hard to say. In my experience, copyright analysis is near real time, and my experience has been that the algorithm identifies and blocks copyrighted material in minutes. No one needs to contact YouTube. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most copyright holders simply monetize your video,  meaning ads will be shown and they get the advertising revenue. Others will block it until you blank out the offending material.&lt;/p&gt;&#xA;" OwnerUserId="19491" LastActivityDate="2017-11-26T01:03:33.787" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22896" PostTypeId="2" ParentId="22879" CreationDate="2017-11-26T10:41:53.853" Score="3" Body="&lt;p&gt;Figured it out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go to &quot;render&quot; and under &quot;destination&quot; select &quot;audio only&quot;.&#xA;Choose a profile and tinker the settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TIdio.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TIdio.jpg&quot; alt=&quot;Kdenlive render audio only&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;If you want to export in an undefined format, such as FLAC, you can create  new profile.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go to &quot;render&quot;, under &quot;destination&quot; select &quot;audio only&quot; and click on &quot;create new profile&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/t2yf2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/t2yf2.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will now use this as parameters:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;f=flac acodec=flac ar=48000 ab=384k vn=1 video_off=1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Fill it so it resembles this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pHsmK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pHsmK.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;group&quot; and &quot;profile name&quot; are up to you, however I'd say these are the best as they are semantic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can of course define your own format, codec, bitrate, etc., to suit your needs. The parameters &quot;vn=1 video_off=1&quot;, however, must remain.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/nwgat/shotcut-presets&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt; you can find some interesting presets you can use to create profiles. They're intended for use with Shotcut, nevertheless they should work here as well as both Kdenlive and Shotcut are built on MLT framework.&lt;/p&gt;&#xA;" OwnerUserId="20622" LastActivityDate="2017-11-26T10:41:53.853" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22897" PostTypeId="1" AcceptedAnswerId="22898" CreationDate="2017-11-26T12:13:18.637" Score="26" ViewCount="24250" Body="&lt;p&gt;In Kdenlive's render settings I can choose the option to render &quot;selected zone&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I select the zone? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Shift + left click&quot; enables a box selection. However it only selects whole clips, so this approach does not work.&lt;/p&gt;&#xA;" OwnerUserId="20622" LastActivityDate="2023-11-23T18:01:27.040" Title="In Kdenlive, how to select an area for render?" Tags="|kdenlive|render|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22898" PostTypeId="2" ParentId="22897" CreationDate="2017-11-26T12:13:18.637" Score="35" Body="&lt;p&gt;Use the keys &quot;i&quot; for &quot;start&quot; and &quot;o&quot; for &quot;end&quot; to create the selection. They use the current frame position.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Move the playhead to frame 190 and press &quot;i&quot;. Move it to 390 and press &quot;o&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This creates a selection with beginning at the frame 190 and end at 390. &lt;/p&gt;&#xA;" OwnerUserId="20622" LastActivityDate="2017-11-26T12:13:18.637" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22899" PostTypeId="1" AcceptedAnswerId="22900" CreationDate="2017-11-26T13:13:31.920" Score="2" ViewCount="352" Body="&lt;p&gt;How do I set the frame range to automatically adjust to current video input?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Explanation:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did some color correcting in Natron and I wanted to reuse the project for other video files so I changed the reader input destination. However, the second video was rendered with the frame range of the previous video. This resulted in, in this case, wastefully long render process as the original video was longer, flow of errors and practically useless output.&lt;/p&gt;&#xA;" OwnerUserId="20622" LastActivityDate="2017-11-26T13:19:05.973" Title="Natron - automatically adjust render frame range" Tags="|video|video-editor|render|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22900" PostTypeId="2" ParentId="22899" CreationDate="2017-11-26T13:19:05.973" Score="1" Body="&lt;p&gt;Go to the writer properties and change the &quot;Frame Range&quot; value from &quot;Project frame range&quot; (or less probably &quot;Manual&quot;) to &quot;Union of input ranges&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This, as the name indicates, determines the frame range as the union of inputs you pass to the writer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/boWYU.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/boWYU.jpg&quot; alt=&quot;Project frame range&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2fhM3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2fhM3.jpg&quot; alt=&quot;Union of input ranges&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20622" LastActivityDate="2017-11-26T13:19:05.973" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22902" PostTypeId="1" CreationDate="2017-11-27T01:16:21.417" Score="3" ViewCount="151" Body="&lt;p&gt;I am trying to replicate &lt;a href=&quot;http://knowyourmeme.com/memes/datamoshing&quot; rel=&quot;nofollow noreferrer&quot;&gt;Datamoshing&lt;/a&gt; with After Effects. I'm close but I need to link the displacement map to motion vectors rather than just colors and brightness values. I know AE recognizes motion vectors as it uses them for motion blur. If there is a way to extract and move P/B-frames and apply them to other I frames that would be perfect but I haven't found that yet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I figure if i could translate motion vectors into shades of black and white i could apply the displacement map to that layer using luminosity. Is there any way to do that? Perhaps extracting motion blur as a separate layer with an alpha channel?&lt;/p&gt;&#xA;" OwnerUserId="20639" LastEditorUserId="14523" LastEditDate="2017-11-28T00:25:27.167" LastActivityDate="2024-04-04T06:02:45.313" Title="After Effects P/B-frames aka motion vectors for Datamosh replication" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22905" PostTypeId="2" ParentId="22893" CreationDate="2017-11-27T13:02:49.140" Score="1" Body="&lt;p&gt;I use a DJI Ronin MX 3 axis gimbal. Recently used it to film mountain bikes and was literally running along side them without any shake in the footage. Highly recommend it &lt;a href=&quot;https://i.stack.imgur.com/1ZQLB.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1ZQLB.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20142" LastActivityDate="2017-11-27T13:02:49.140" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22909" PostTypeId="1" CreationDate="2017-11-27T20:17:45.013" Score="2" ViewCount="340" Body="&lt;p&gt;This is probably a simple question, but I do not think I know the terminology to search for it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All I want to do is move the start point of multiple layers forward without changing the sequence of them. I've tried all the features I can find to do this, but it always changes the sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first thing I tried was selecting the layers I wanted to move and then:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Animation &gt;&gt; Keyframe Assistant &gt;&gt; sequence layers&lt;/li&gt;&#xA;&lt;li&gt;In the dialogue box, I left overlap unchecked and hit ok, this failed to do anything&lt;/li&gt;&#xA;&lt;li&gt;In the dialogue box again, I checked overlap and tried all of the features, each time it changed the sequence of the layers&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Next I tried&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Moving the timeline indicators to where I wanted it&lt;/li&gt;&#xA;&lt;li&gt;Choosing the option + open bracket key &lt;/li&gt;&#xA;&lt;li&gt;This only seemed to change one layer, so I just undid it.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;All I'm doing is trying to add one simple slide into a slide show and move all the slides after it, but it appears like I'm going to have to sequence every layer again, which is hard to believe that there would not be a simple way of moving everything forward without changing the sequence order. &lt;/p&gt;&#xA;" OwnerUserId="20649" LastActivityDate="2017-11-28T09:51:59.820" Title="Moving Multiple Layers on Timeline" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22910" PostTypeId="1" CreationDate="2017-11-27T22:45:38.380" Score="1" ViewCount="334" Body="&lt;p&gt;I've been looking into FFmpeg's tools for speeding up and slowing down portions of video using their built in filters (such as &lt;a href=&quot;https://trac.ffmpeg.org/wiki/How%20to%20speed%20up%20/%20slow%20down%20a%20video&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;). For video speed filtering it discusses a little bit about you can change the PTS of each video frame to affect its playback rate, but how is this similarly done for audio?&lt;/p&gt;&#xA;" OwnerUserId="20652" LastEditorUserId="14523" LastEditDate="2017-11-28T01:21:03.470" LastActivityDate="2017-11-28T01:21:03.470" Title="How does speeding up / slowing down audio with FFMpeg work technically?" Tags="|ffmpeg|audio|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22912" PostTypeId="2" ParentId="22909" CreationDate="2017-11-28T09:51:59.820" Score="-1" Body="&lt;p&gt;There are lots of add-ons that help with stacking and layering in the way you describe - try pt_shiftlayers for example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://aescripts.com/pt_shiftlayers/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://aescripts.com/pt_shiftlayers/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-11-28T09:51:59.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22913" PostTypeId="1" CreationDate="2017-11-28T14:35:54.800" Score="1" ViewCount="170" Body="&lt;p&gt;This is less a direct problem more a query on the best way to handle things.  I do a lot of videos that end up with a lot of overlayed graphics, the videos are a boardgame and the overlays are the cards held in the players hands.  I cant video the hands so I scan the cards and overlay them afterwards in FCPX and then animate them in and out as required, but this leads me to have loooooads of layers in the end.  Im wondering if there is an easier way at all to handle this?&lt;/p&gt;&#xA;" OwnerUserId="19913" LastActivityDate="2018-01-28T21:13:17.107" Title="Final Cut Pro X editing multiple overlayed images" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22914" PostTypeId="1" CreationDate="2017-11-28T15:36:43.603" Score="2" ViewCount="3262" Body="&lt;p&gt;I have a .mov video with 24fps and 5.1 audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible change the framerate from 24 to 25 fps with no frame resampling (no frame duplication / removal - just new framerate interpretation) and keep the audio pitch the same?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Normally you do this by not resampling the frame data but setting the video flag from 24 to 25 fps however there is the need to adjust the audio so that it is shortened. Is it possible do it all in one ffmpeg command line or maybe in more than one and prepare a batch / bash file for that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, is ffmpeg's audio processing capabilities professional quality or it is low quality compared to pro algorithms like Avid Pro Tools and Adobe Audition?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; This question is different from this one &lt;a href=&quot;https://video.stackexchange.com/questions/21725/convert-video-from-24-to-25-fps-while-keeping-video-and-audio-lenght-and-also-co?rq=1&quot;&gt;Convert video from 24 to 25 fps while keeping video and audio length and also correct audio pitch&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here I want to know how to do the same thing but &lt;strong&gt;shortening the actual length of the video and adjust audio accordingly&lt;/strong&gt; keeping the pitch in a professional way.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2017-11-29T10:31:53.550" LastActivityDate="2017-12-03T04:49:14.637" Title="Convert video from 24 fps to 25, shortening length (no frame duplication), keeping audio pitch" Tags="|video|ffmpeg|audio|conversion|transcoding|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22916" PostTypeId="1" CreationDate="2017-11-28T18:52:35.390" Score="1" ViewCount="21" Body="&lt;p&gt;I am currently working on a timelapse project for a client in the construction business. I did not shoot the timelapse, but have all the video files on my computer. The camera that was used has a &quot;warmup&quot; time if you will, and the videos have a &quot;fade in&quot; effect. As you can probably tell, this presents a problem as the videos will be sped up rapidly, and it will create a strobe effect. I have hundreds of individual videos that need trimmed to get rid of this effect. Does anyone know of any software that will allow you to apply bulk edits to a large batch of videos? This would save me lots of monotonous labor going through one by one and trimming the clips. Any suggestions would be appreciated. &lt;/p&gt;&#xA;" OwnerUserId="20662" LastActivityDate="2017-11-28T18:52:35.390" Title="Bulk video clip edits." Tags="|video|time-lapse|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22918" PostTypeId="1" CreationDate="2017-11-29T03:48:29.347" Score="-1" ViewCount="34" Body="&lt;p&gt;See this website's background. It's amazing!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.weblitesolucoes.com.br/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.weblitesolucoes.com.br/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I create the same effect?&lt;/p&gt;&#xA;" OwnerUserId="20670" LastActivityDate="2017-11-29T18:42:33.847" Title="How to create a doted effect over the pic or video?" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22919" PostTypeId="2" ParentId="22913" CreationDate="2017-11-29T06:49:56.563" Score="1" Body="&lt;p&gt;You could try to use a compound clip for the hand of one player with the cards inside. That would reduce the main timeline from look confusing with too many clips attached.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastEditorUserId="2836" LastEditDate="2017-11-29T18:44:04.987" LastActivityDate="2017-11-29T18:44:04.987" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22921" PostTypeId="2" ParentId="22711" CreationDate="2017-11-29T07:11:57.257" Score="1" Body="&lt;p&gt;I second what Alan commented. I would cut the part on both sides you want to mute and do the speed change on it. You might also consider a J cut from the following normal speed clip. &#xA;Double clip in between the video and the sound and it should expand. Now you can extend the audio from the normal speed clip towards the end of the clip which was sped up. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2017-11-29T07:11:57.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22922" PostTypeId="2" ParentId="21171" CreationDate="2017-11-29T07:35:58.407" Score="0" Body="&lt;p&gt;This is a long shot as I did not try it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try to use a Multicam clip instead of a Synced clip. &#xA;I know that it is possible to add another audio line to a Multicam clip and sync it inside the Multicam clip.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastEditorUserId="2836" LastEditDate="2017-11-29T18:45:25.170" LastActivityDate="2017-11-29T18:45:25.170" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22923" PostTypeId="2" ParentId="21104" CreationDate="2017-11-29T07:43:36.183" Score="1" Body="&lt;p&gt;You could create a compound clip of your voice over and then add a Compressor effect onto this compound clip.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastEditorUserId="2836" LastEditDate="2017-11-29T18:45:11.730" LastActivityDate="2017-11-29T18:45:11.730" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22924" PostTypeId="1" CreationDate="2017-11-29T09:50:59.860" Score="0" ViewCount="9452" Body="&lt;p&gt;I am using ffmpeg to convert an HLS stream to mp4 using this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i https://example.com/xxx.m3u8 -y -vcodec copy -c copy -bsf:a aac_adtstoasc test.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I only have access to this video from the stream, and I need it in mp4 format to send on for processing, but I want to be able to set the FPS of the mp4, so that it is consistent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The HLS stream looks like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#EXTM3U&#xA;#EXT-X-STREAM-INF:BANDWIDTH=264000&#xA;xxx/xxx007e.m3u8&#xA;#EXT-X-STREAM-INF:BANDWIDTH=464000&#xA;xxx/xxx0080.m3u8&#xA;#EXT-X-STREAM-INF:BANDWIDTH=768000&#xA;xxx/xxx0082.m3u8&#xA;#EXT-X-STREAM-INF:BANDWIDTH=1200000&#xA;xxx/xxx0084.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20676" LastActivityDate="2024-01-03T03:11:46.590" Title="Convert HLS stream to fixed FPS mp4" Tags="|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22925" PostTypeId="2" ParentId="22918" CreationDate="2017-11-29T18:42:33.847" Score="1" Body="&lt;p&gt;This is simply an overlay done in the browser, not a video effect.  You can see the source video &lt;a href=&quot;http://res.cloudinary.com/contas-vx-weblite/video/upload/v1485796261/F2Conecta/static/uploads/site/video/VideoMP4.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.  It simply has a white dot repeated over it in browser using a png that's stored in-line in the CSS.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-11-29T18:42:33.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22926" PostTypeId="1" CreationDate="2017-11-29T19:45:50.257" Score="2" ViewCount="901" Body="&lt;p&gt;Some mobile phones are able to compensate for low illumination conditions by integrating every two or more frames into one. The result is a video with variable frame rate, where each image has its particular timestamp. This kind of footage shows correctly illuminated subjects, but you notice the drop in frame rate because the movement is not fluid and also the images become noisier (because you are adding too the noise produced by the electronics). Anyway it seems a technological miracle for me, taking into account that the entrance pupil of such devices may not be larger than 1 mm in diameter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But let's say you forced the phone to record at a fixed frame rate (e.g. 1280x720p30 with OpenCamera in Android). It should be possible to convert for instance 30p to 15p by &lt;strong&gt;adding&lt;/strong&gt; the values stored in the corresponding pixels of each two frames into one. I know this process is possible because it is usual in other contexts, e.g. dealing with astronomical images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My tools are ffmpeg and Blender. I would be thankful if someone can restrict the answer to these tools, though other solutions are also welcome because they might put me in the right track to look for suitable alternatives.&lt;/p&gt;&#xA;" OwnerUserId="4658" LastActivityDate="2018-10-27T00:00:26.073" Title="How to *integrate* every two frames of an existing video into one in order to compensate for low illumination?" Tags="|video|ffmpeg|editing|post-production|blender|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22927" PostTypeId="1" CreationDate="2017-11-29T20:00:58.167" Score="0" ViewCount="1204" Body="&lt;p&gt;Hi I have a circle that moves from A to B. During this path I want to change its size. However, when I do this, the ball suddenly goes up and is not following the path anymore. Heres a gif:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fY7zO.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fY7zO.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I scale the ball so that it stays on the path?&lt;/p&gt;&#xA;" OwnerUserId="19744" LastEditorUserId="1950" LastEditDate="2017-12-02T07:48:34.113" LastActivityDate="2017-12-02T12:25:26.610" Title="Adobe After Effects: Scaling circle changes its movement?" Tags="|after-effects|adobe|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22929" PostTypeId="2" ParentId="22926" CreationDate="2017-11-29T23:16:25.757" Score="0" Body="&lt;p&gt;&lt;em&gt;My own, not fully satisfactory answer that might be helpful:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This very simple line does the trick:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -i input vf &quot;tblend=addition,framestep=2&quot; {encoding options} output&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;E.g.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -i input.mp4 -vf &quot;tblend=addition,framestep=2&quot; -c:v libx264 -crf 16 -c:a copy output.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;input.mp4 was variable frame rate &amp;lt;=30, whereas output.mp4 is 15 fps. I could have specified a constant frame rate for the output file, e.g.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -i input.mp4 -vf &quot;tblend=addition,framestep=2&quot; -c:v libx264 -r 30 -crf 16 -c:a copy output.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I will not accept my own answer, because the result of this process is an ugly superposition of the moving objects between consecutive frames&lt;/strong&gt;, so that some kind of adaptive blurring is needed, hence I leave the question open for someone to give a better solution.&lt;/p&gt;&#xA;" OwnerUserId="4658" LastActivityDate="2017-11-29T23:16:25.757" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="22932" PostTypeId="2" ParentId="22926" CreationDate="2017-11-30T03:20:08.507" Score="0" Body="&lt;p&gt;With physics! All you have to do is record at 15 frames per second in the first place and use a shutter speed of 1/15th of a second (aka, a 360 degree shutter angle).  This effectively does the same thing as combining two 1/30th second, 30 fps frames with software, it just does it by letting light hit the sensor for twice as long in the first place.  No fancy math or computations necessary!&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2017-11-30T03:20:08.507" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22934" PostTypeId="1" CreationDate="2017-11-30T08:19:14.657" Score="1" ViewCount="255" Body="&lt;p&gt;I have a relatively cheap video camera (one of the Sony HandyCam models). Even when the model is recent, I think it is essentially a variation of a hardware that has been around for some time. It shoots 59.94 interlaced fields per second by default (though it has also progressive 29.97 and 59.94 modes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if the interlaced mode is there because of legacy reasons, or if it is really used and appreciated by amateurs. I see a lot of people taking progressive videos, specially with machines that resemble a traditional reflex camera instead of a video camera and apparently do not include an interlaced mode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I like interlacing, though that is not the question because I can see a lot of discussing around this preference all over the internet. My question is, are the other manufacturers of newly designed camcorders still including interlacing modes by default in non-professional cameras like my HandyCam, or is it a format that is about to disappear from amateur machines? Is there any standard regulating this?&lt;/p&gt;&#xA;" OwnerUserId="4658" LastEditorUserId="4658" LastEditDate="2017-12-18T04:22:09.883" LastActivityDate="2018-01-17T04:44:23.033" Title="Do newly designed amateur video cameras still shoot interlaced footage by default?" Tags="|video-recording|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22937" PostTypeId="1" CreationDate="2017-11-30T15:44:56.947" Score="1" ViewCount="58" Body="&lt;p&gt;I know basic video compression technique .In that it reduces spatial redundancy and temporal redundancy.If it is so why recorsing still image using camera takes more space.Why compression technique cannot remove temporal redundancy in the still image video.&lt;/p&gt;&#xA;" OwnerUserId="20706" LastEditorUserId="20707" LastEditDate="2017-12-01T05:29:02.320" LastActivityDate="2018-02-02T22:31:44.433" Title="Why recording a still image using a mobile camera is taking up more space?" Tags="|video-recording|signal-processing|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22938" PostTypeId="2" ParentId="22937" CreationDate="2017-12-01T05:28:49.773" Score="1" Body="&lt;p&gt;A still image doesn't have any temporal redundancy to exploit - it is a snapshot of a single point of time! Also, the quantization parameter will be low. Video compression uses higher quantization parameters since each individual frame is seen for a fraction of a second, so in a normal playback mode, the user doesn't get to focus on the details within each frame. Both of these contribute to the lower file sizes for the average image in a video.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-12-01T05:28:49.773" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22939" PostTypeId="1" CreationDate="2017-12-01T14:52:02.830" Score="1" ViewCount="1632" Body="&lt;p&gt;I want to digitize my VHS (PAL) home video tapes using an old video cassette player and EasyCap. Here is the photo of my EasyCap chips for reference:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YoEbu.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YoEbu.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After several days of reading how to perform video capture properly I found the VirtualDub most suitable. But I am completely lost in timing options. How to set them properly?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OHMRH.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OHMRH.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please give some suggestions.&#xA;Especially unclear:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is there sense in &quot;Drop frames...&quot; and &quot;Insert null frames...&quot; options or of I just can tick &quot;Correct video timing...&quot; while using &quot;Sync audio to video...&quot;?&lt;/li&gt;&#xA;&lt;li&gt;On the other hand maybe that is better to sync video to audio?&lt;/li&gt;&#xA;&lt;li&gt;Should I use audio/video sync at all?&lt;/li&gt;&#xA;&lt;li&gt;Should I tick &quot;Use audio timestamps...&quot;?&lt;/li&gt;&#xA;&lt;li&gt;Should I use automatic audio latency compensation?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'll appreciate any advice on all the options of the timing dialog.&lt;/p&gt;&#xA;" OwnerUserId="20727" LastActivityDate="2018-09-02T19:19:17.363" Title="What timing settings in VirtualDub should be used for VHS capture via EasyCap?" Tags="|video-capture|virtualdub|vhs|pal|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22941" PostTypeId="2" ParentId="15468" CreationDate="2017-12-01T22:41:11.737" Score="4" Body="&lt;p&gt;As per &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Concatenate&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had this same issue.  I'm running ffmpeg version 2.6.3 on a mac.  I converted my source clips to the .MTS format with an added tag of -q 0, updated the extensions in the text file and set my output file to a .MTS when I ran the concat command in ffmpeg.  It worked like a charm.  Here is my workflow.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i clip-1.MOV -q 0 clip-1.MTS&#xA;&#xA;ffmpeg -i clip-2.MOV -q 0 clip-2.MTS&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;updated the text file (mylist.txt) to read:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file clip-1.MTS&#xA;file clip-2.MTS&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;then ran the concat command as follows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i mylist.txt -c copy output.MTS&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Worked for me! You can convert the final output.MTS to whatever format you need.&lt;/p&gt;&#xA;" OwnerUserId="20735" LastEditorUserId="20735" LastEditDate="2017-12-02T01:14:35.473" LastActivityDate="2017-12-02T01:14:35.473" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22942" PostTypeId="2" ParentId="22927" CreationDate="2017-12-02T03:04:40.520" Score="2" Body="&lt;p&gt;The issue you're experiencing is that the transformation of the circle does not originate where you expect it to be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is because the &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/layer-properties.html#layer_anchor_points&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;em&gt;anchor point&lt;/em&gt;&lt;/a&gt; of the layer is very far from the center of the visual contents.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can re-position the anchor point of the layer using the &quot;Pan Behind&quot; tool (also known as &quot;Anchor Point&quot; tool.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are scripts that will do this while preserving the visual position of the layer on the canvas; one of my favorites is &lt;a href=&quot;http://www.mtmograph.com/motion/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Motion 2 by Mt. Mograph&lt;/a&gt; and a very simple, low-cost script is &lt;a href=&quot;https://aescripts.com/repositionanchorpoint/&quot; rel=&quot;nofollow noreferrer&quot;&gt;RepositionAnchorPoint by Charles Bordenave&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My suggestion would be to first experiment on a copy of your composition to see how manually adjusting the anchor point with the &quot;Pan Behind&quot; tool affects your animation, and once you have a strong grasp on how After Effects implements the changes you make, trying out one of the scripts linked above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you've mastered understanding of the Anchor Point, you'll be able to use &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/layer-properties.html#null_object_layers&quot; rel=&quot;nofollow noreferrer&quot;&gt;Null objects&lt;/a&gt; and &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/layer-properties.html#parent_and_child_layers&quot; rel=&quot;nofollow noreferrer&quot;&gt;Parenting&lt;/a&gt; to great effect.&lt;/p&gt;&#xA;" OwnerUserId="20734" LastActivityDate="2017-12-02T03:04:40.520" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22946" PostTypeId="2" ParentId="22927" CreationDate="2017-12-02T12:25:26.610" Score="0" Body="&lt;p&gt;This happens because the Circle anchor point is placed far from it.&lt;br&gt;&#xA;Its a good practice to center the Anchor Point to the center of the object before animating it, you can do that manually by:&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Clicking &lt;strong&gt;Pan Behind&lt;/strong&gt; tool then drag the anchor point to the center&#xA;of the object or,&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Ctrl + Double Click on &lt;strong&gt;Pan Behind&lt;/strong&gt; tool    to center&#xA;automatically. This won't work with all objects/layers.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="19791" LastActivityDate="2017-12-02T12:25:26.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22948" PostTypeId="1" AcceptedAnswerId="22950" CreationDate="2017-12-02T20:32:45.497" Score="0" ViewCount="2935" Body="&lt;p&gt;I have a bunch of files I've &quot;shrunk&quot; with Handbrake using a custom preset I've built after reading what each of the advanced options of the x264 encoder, at least those listed under &quot;Advanced&quot; tab, does.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I encoded these files, originally MP4 I don't have anymore, for some reason I don't remember I chose the M4V over MKV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then today I was uploading one of the files and got an error that M4V wasn't supported. Thinking I could do a &quot;lossless&quot; conversion with FFMPEG I ran:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;path/to/file.m4v&quot; -c:v copy -c:a copy &quot;path/to/file.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And all files were converted without problems, at least none FFMPEG could relate with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -v error -i &quot;path/to/file.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But then again I'm no video expert, not even close to that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I have any sort of loss doing that? I would like to know so I could delete the M4V that as I read it more proprietary in favour of the open-source and more acceptable MKV&lt;/p&gt;&#xA;" OwnerUserId="17711" LastEditorUserId="17711" LastEditDate="2017-12-02T21:22:08.683" LastActivityDate="2018-04-10T07:08:37.310" Title="Do I have any sort of loss converting an M4V file to MKV?" Tags="|ffmpeg|conversion|file-formats|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22949" PostTypeId="2" ParentId="22914" CreationDate="2017-12-03T04:49:14.637" Score="1" Body="&lt;p&gt;If your input stream has no B-pyramid i.e. B-frames used as references for other B-frames, and your ffmpeg build has librubberband linked then use the following commands:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#1&lt;/strong&gt; Extract video to raw stream&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mkv -c copy in.h264&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#2&lt;/strong&gt; Retime and process audio&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 25 -i in.h264 -i in.mkv -map 0 -map 1:a -af rubberband=tempo=1.04166 -c:a pcm_s16le out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If your H264 stream does have reference B-frames then you'll have to use mp4box as an intermediary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;i.e. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#2a&lt;/strong&gt; Retime video&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4box -add in.h264#fps=25 -new in25.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#2b&lt;/strong&gt; Process audio and add video&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in25.mp4 -i in.mkv -map 0 -map 1:a -af rubberband=tempo=1.04166 -c:a pcm_s16le out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-12-03T04:49:14.637" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22950" PostTypeId="2" ParentId="22948" CreationDate="2017-12-03T04:55:33.763" Score="3" Body="&lt;p&gt;Your command &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;path/to/file.m4v&quot; -c:v copy -c:a copy &quot;path/to/file.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;does do a lossless copy since no recompression occurs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have to note all warning or error messages during the conversion. The command below will only throw an error if the file properties can't be detected, like stream info.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -v error -i &quot;path/to/file.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i &quot;path/to/file.mkv&quot; -map 0 -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;to see if the entire file decodes fine.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-12-03T04:55:33.763" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22956" PostTypeId="1" CreationDate="2017-12-04T11:21:26.473" Score="0" ViewCount="1010" Body="&lt;p&gt;I have to convert the audio tracks of my 24 fps movie to match up with retimed 25fps so that it can be exported alongside the 25fps video (just playback speed change) for broadcast transmission.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to speed up the audio to match the new shorter duration (96% of the original speed) while keeping the quality of voice, effects and all the other things as high as possible and with the same pitch.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1) My source audio is 5.1 and it needs to be stereo for broadcast.  To keep maximum quality, should I do the mixdown or the retime first?  Does it matter?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;First mixdown to stereo still at 24fps and only after shrink the audio to 25fps duration right ? I'm not asking how to mixdown, I know how to do it, just asking in what order.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2) Do I need a VST plugin to get good results or can Audition achieve good results directly?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;A professional I know in the industry had said he had issues getting decent quality results out of Audition and I wasn't sure if a VST plugin might do a better job.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;3) If it is possible to do with Audition directly, what are the proper settings for using Audition?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think I should go for the Effects -&gt; Stretch and Pitch effect (the one in the picture). My duration will be the original * 0.96.**&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YbIHm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YbIHm.png&quot; alt=&quot;Adobe Audition CC - Effect -&amp;gt; Stretch and Pitch&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What other settings I should check inside that plugin ?&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-&amp;gt; Algorithm: iZotope Radious or Audition ?   &#xA;-&amp;gt; Lock Stretch Settings to New Duration ?   &#xA;-&amp;gt; Vocoder Mode ?   &#xA;-&amp;gt; Solo Instrument or Voice ?   &#xA;-&amp;gt; Preserve Speech Characteristics ?   &#xA;-&amp;gt; Formant Shift ???   &#xA;-&amp;gt; Pitch Coherence ???&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Could you explain why you pick some settings and not others?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;4) Does it matter if I apply the effect selecting all the channels together or do some changes need to be made on individual channels?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I'm concerned about producing panning artifacts, but my guess is to apply the effect to all the channels at same time.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="2836" LastEditDate="2017-12-05T16:28:31.617" LastActivityDate="2017-12-18T01:15:23.157" Title="How should I use Audition to convert audio for retimed 24fps to 25fps for broadcast?" Tags="|framerate|broadcasting|broadcast|audition|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="22957" PostTypeId="1" AcceptedAnswerId="22962" CreationDate="2017-12-04T13:20:24.137" Score="5" ViewCount="3087" Body="&lt;p&gt;I am new to video. I have a HandyCam (CX405). I don't like trusting in the auto-white balance because it is variable and unpredictable, but changing manually between indoor/outdoor or doing re-calibrations with a white paper can be a real pain in the neck because in that camera everything must be done through one single small button that can be pressed or pushed in four directions to navigate menus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My idea is leaving one fixed setting (either indoor or outdoor) and then doing the white balance in the post-processing stage in blender.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that some things must be done right at the recording stage and if you screw up there is little you can do afterwards, e.g. using a wrong shutter speed. And I know there are some other things that are done internally on the recorded footage inside the camera and you could do them equally well in the post-processing stage manually, and I think white balance may be well be one of them because essentially consists on a numerical multiplication of the values stored in the C_R and C_B components of the video that the CMOS has already recorded. So, probably, you will not loose any information if you do the white balance later in your editing software instead of doing it in the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is that wrong? Will I regret it later?&lt;/p&gt;&#xA;" OwnerUserId="4658" LastActivityDate="2017-12-04T19:47:33.607" Title="Leaving white balance for post-processing. Is it a bad idea?" Tags="|color-correction|color|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22958" PostTypeId="1" AcceptedAnswerId="22960" CreationDate="2017-12-04T14:12:04.423" Score="1" ViewCount="2010" Body="&lt;p&gt;I'm trying to map specific streams to specific output indexes. The command I'm using is more complex but it can be reduced to this simple example&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mkv -y -map 0:0 -c:5 copy -f mp4 out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I expected this to copy stream &lt;code&gt;0&lt;/code&gt; from &lt;code&gt;input.mkv&lt;/code&gt; into stream &lt;code&gt;5&lt;/code&gt; of &lt;code&gt;out.mp4&lt;/code&gt;. The issue is that it copies it into stream &lt;code&gt;0&lt;/code&gt; (I guess it's using a counter?). Why is that and how can I force it to assign it a different index number?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="19904" LastActivityDate="2021-09-24T07:25:51.837" Title="How to map streams to specific output streamIDs" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22959" PostTypeId="2" ParentId="22937" CreationDate="2017-12-04T14:48:23.620" Score="0" Body="&lt;p&gt;Photographs only have one instance in time without other related instances in time, so they can't make use of temporal redundancy because there is none.  You might be able to make some use of this for bursts of photos, but then if you separate any of the photos in the burst, you won't be able to view any of the dependent images, so it isn't very useful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, most photos are still larger than the size of a frame in All-I frame video, but this is because the average photo has far more information.  While we tend to think of HD as high quality and UHD or 4k as even higher quality, the fact is these are image resolutions that have been on the low end of digital photography for over a decade.  A 4K image is only around the same amount of detail as an 8MP photo and an HD frame captures around 2MP.  They seem higher quality because they make use of a lot of frames playing back over time which produces a natural anti-alias effect that makes it appear higher quality, but the actual resolution of each frame is fairly low.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So clearly, when you compare a spatially compressed image that is a fraction of the size of another image, the smaller image ends up being a smaller file size.  The photo simply has much more information to store, even if it ends up being similarly compressed.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2018-02-02T22:31:44.433" LastActivityDate="2018-02-02T22:31:44.433" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22960" PostTypeId="2" ParentId="22958" CreationDate="2017-12-04T15:38:34.207" Score="1" Body="&lt;p&gt;It's using a counter! To get it to be stream #5, map 5 streams before it :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, mp4box will allow you to set a custom track ID.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4box -set-track-id 1:5 file.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This changes existing track with ID 1 to 5. Use &lt;code&gt;mp4box -info file.mp4&lt;/code&gt; to get existing IDs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, this will still show up as stream &lt;code&gt;0&lt;/code&gt; in ffmpeg. But mediainfo and mp4box will show it as having ID 5.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-12-04T15:44:53.420" LastActivityDate="2017-12-04T15:44:53.420" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22962" PostTypeId="2" ParentId="22957" CreationDate="2017-12-04T19:47:33.607" Score="9" Body="&lt;p&gt;Don't do white balance in post, you will regret it. The problem is that the footage your camera records is compressed. That means the sensor information is not stored in RAW, but encoded using lossy compression. The encoding algorithm uses the White Balance setting to determine the encoded color values. The problem is, the original luminosity values that are measured by the CMOS sensor aren't stored in the compressed video, only the rendered color values.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your camcorder uses the H.264 codec, which means the encoding uses spatial (intra-frame) and depending on your recording settings temporal (inter-frame) compression. This means that some information on pixel-level is dropped as well to achieve a smaller file-size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To be able to set the White Balance in post without losing any quality, you will need a camera with RAW-capturing capabilities. Unfortunately, for video cameras, those are still very expensive and are pretty much exclusive to professional/commercial movie making.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So yeah, set the White Balance before you start shooting. I would also recommend you set the White Balance manually instead of using the automatic white balance adjustment, especially if you are just starting out. This has a couple of benefits: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The white balance will remain consistent for the entirety of each shot and between shots (if you don't change it too often). AWB will adjust your white balance even while shooting, so if you have some warm or cold light source moving through your image, you might get some unwanted color shifts in your recordings. &lt;/li&gt;&#xA;&lt;li&gt;In time you will learn to recognize how warm/cold a given lighting situation is, which is a valuable skill to have for a videographer. This will also in turn allow you to estimate what White Balance setting you need in every situation. &lt;/li&gt;&#xA;&lt;li&gt;You will become more conscious of the light sources illuminating your shots, as well as their temperatures. This will be helpful for your video making in general. &lt;/li&gt;&#xA;&lt;li&gt;Finally, you will naturally transition to using warmer/colder lightsources and White Balance settings for dramatic effect. The AWB will always try to achieve a neutral grey, which doesn't always work, but even if it does, it's still only neutral grey. Depending on what scene you're shooting, you may want to go for a warmer or colder look to convey different emotions. You can achieve those looks using different lightsources or White Balance.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2017-12-04T19:47:33.607" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22963" PostTypeId="1" AcceptedAnswerId="22971" CreationDate="2017-12-04T23:06:50.660" Score="0" ViewCount="1017" Body="&lt;p&gt;I got this code to append an intro and an outro to a video, along with an overlayed logo but I'm getting the error “buffer queue overflow, dropping” on Concat, I've been searching around and it's apparently caused by a matter of filters not requesting the frames fast enough and the recommended solution is to add &lt;code&gt;FIFO&lt;/code&gt; to the script, could you please explain to me why this happens and how can I use &lt;code&gt;FIFO&lt;/code&gt; to solve this? I'd like to learn more about FFMPEG but the guides I've stumbled upon are quite basic and don't get into droppings.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for %%I in (&quot;C:\Users\Administrator\Desktop\work\*.mp4&quot;) do ffmpeg.exe -y -i &quot;%%I&quot; -i logo.png -i out1.ts -filter_complex &quot;[1:v][0:v]scale2ref=iw/6:ih/18[logo][0v];[0v][logo]overlay=W-w-3:H-h-1,scale=hd720,setsar=1[vl];[2:v][2:a][vl][0:a][2:v][2:a]concat=n=3:v=1:a=1[v][a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; -r 20 -c:v libx264 -preset fast -crf 18 -ar 48000 &quot;C:\Users\Administrator\Desktop\Completed\%%~nI.mp4&quot;&#xA;&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20796" LastActivityDate="2017-12-05T18:02:55.257" Title="FFMPEG How to use FIFO to solve a &quot;buffer queue overflow, dropping&quot; error?" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22964" PostTypeId="1" CreationDate="2017-12-05T00:31:41.547" Score="0" ViewCount="1060" Body="&lt;p&gt;There is a standard for Cable TV called SCTE 35 that can signal ad insertion. I need to play around with this signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a ATSC receiver now, and I can record TV into .TS file format. How can I check if a channel includes SCTE 35 signals?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE:&lt;/strong&gt; Upon checking, unfortunately none of my current 4 channels include SCTE-35 signal (US ATSC receiver: Bounce, Escape, LAFF, Create, KUVN). Do we have any digital TV channels in the US that have that signal?&lt;/p&gt;&#xA;" OwnerUserId="43073" LastEditorUserId="43073" LastEditDate="2017-12-05T17:14:43.357" LastActivityDate="2020-10-08T14:03:35.623" Title="Digital TV SCTE 35 signal" Tags="|video|ffmpeg|video-editor|streaming|video-recording|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22965" PostTypeId="2" ParentId="22964" CreationDate="2017-12-05T01:06:58.403" Score="4" Body="&lt;p&gt;To determine if a channel has &lt;a href=&quot;http://www.scte.org/SCTEDocs/Standards/ANSI_SCTE%2035%202017.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;SCTE-35&lt;/a&gt;, you will need to have the Program Map Table (PMT) recorded. From the PMT, you should be able to find the Packet Identifiers (PIDs) of all of the streams associated with the channel you are interested in. There will be a PID for the video and at least one audio PID. If SCTE-35 is present, there will be at least one PID with a stream type of 0x52.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keep in mind, the PMT and the SCTE-35 PID will either need to be in the clear or you will need to be able to decrypt the conditional access.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The easiest way to check all of this is with a transport stream analyzer. Most of the freely available ones, like &lt;a href=&quot;http://www.digitalekabeltelevisie.nl/dvb_inspector/&quot; rel=&quot;nofollow noreferrer&quot;&gt;DVB Inspector&lt;/a&gt;, will show you the PMT. However, you will probably need a commercial analyzer to get it to display something more than just the raw SCTE-35 bytes.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-12-05T01:06:58.403" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="22966" PostTypeId="1" CreationDate="2017-12-05T02:07:54.363" Score="1" ViewCount="3684" Body="&lt;p&gt;How can I set the speed of scrolling credits? For example, I want to set a consistent duration of time that it takes from the time a name appears at the bottom of the screen to the time it takes for it to disappear of the top. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't want to just estimate it and drag the duration randomly until it LOOKS about right. I want to set a consistent scrolling speed regardless of the number of names I may have to scroll through.&lt;/p&gt;&#xA;" OwnerUserId="6403" LastActivityDate="2017-12-05T23:56:49.757" Title="Final Cut Pro (FCPX)- Scrolling credits speed" Tags="|final-cut-pro-x|fcpx|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22967" PostTypeId="1" AcceptedAnswerId="22970" CreationDate="2017-12-05T09:29:35.670" Score="0" ViewCount="192" Body="&lt;p&gt;I want to remove a portion of the video between say coordinates (x,y) and (m,n), where (x,y) are the upper left coordinates while (m,n) are the lower right ones. Is there a ffmpeg command I could use?&lt;/p&gt;&#xA;" OwnerUserId="20804" LastActivityDate="2017-12-05T16:37:03.197" Title="How to remove a rectangular region at the centre" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22968" PostTypeId="1" CreationDate="2017-12-05T10:21:42.913" Score="1" ViewCount="5362" Body="&lt;p&gt;I am working on an IP-SDI decoder using ffmpeg and a Blackmagic Decklink Mini Monitor card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I list ffmpeg supported output modes with this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test_1.mp4 -f decklink -list_formats 1 'DeckLink Mini Monitor'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I get these:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[decklink @ 0x39b8c60] Supported formats for 'DeckLink Mini Monitor':&#xA;[decklink @ 0x39b8c60]  1       720x486 at 30000/1001 fps (interlaced, lower field first)&#xA;[decklink @ 0x39b8c60]  2       720x486 at 24000/1001 fps&#xA;[decklink @ 0x39b8c60]  3       720x576 at 25000/1000 fps (interlaced, upper field first)&#xA;[decklink @ 0x39b8c60]  4       720x486 at 60000/1001 fps&#xA;[decklink @ 0x39b8c60]  5       720x576 at 50000/1000 fps&#xA;[decklink @ 0x39b8c60]  6       1920x1080 at 24000/1001 fps&#xA;[decklink @ 0x39b8c60]  7       1920x1080 at 24000/1000 fps&#xA;[decklink @ 0x39b8c60]  8       1920x1080 at 25000/1000 fps&#xA;[decklink @ 0x39b8c60]  9       1920x1080 at 30000/1001 fps&#xA;[decklink @ 0x39b8c60]  10      1920x1080 at 30000/1000 fps&#xA;[decklink @ 0x39b8c60]  11      1920x1080 at 25000/1000 fps (interlaced, upper field first)&#xA;[decklink @ 0x39b8c60]  12      1920x1080 at 30000/1001 fps (interlaced, upper field first)&#xA;[decklink @ 0x39b8c60]  13      1920x1080 at 30000/1000 fps (interlaced, upper field first)&#xA;[decklink @ 0x39b8c60]  14      1280x720 at 50000/1000 fps&#xA;[decklink @ 0x39b8c60]  15      1280x720 at 60000/1001 fps&#xA;[decklink @ 0x39b8c60]  16      1280x720 at 60000/1000 fps&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Ok. I can set my desired output format using -s for output size and -r for frame rate:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/home/ffmpeg/bin/ffmpeg \&#xA;-i udp://224.168.240.69:2069?buffer_size=262144?fifo_size=4525000&amp;amp;overrun_nonfatal=1 \&#xA;-threads 0 -vf setpts=PTS-STARTPTS \&#xA;-pix_fmt uyvy422 \&#xA;-c:a pcm_s16le -ac 2 -ar 48000 \&#xA;-s 1920x1080 -r 30000/1000 \&#xA;-f decklink DeckLink Mini Monitor&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there a way to set my desired output format using ffmpeg's Supported number from the list [1..16]?&lt;/p&gt;&#xA;" OwnerUserId="20806" LastEditorUserId="6132" LastEditDate="2019-03-16T16:26:32.130" LastActivityDate="2019-03-16T16:26:32.130" Title="How to set a specific ffmpeg Decklink device output format using format number?" Tags="|video|ffmpeg|sdi|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="22969" PostTypeId="2" ParentId="22968" CreationDate="2017-12-05T11:09:04.653" Score="2" Body="&lt;p&gt;I don't see any option in the source to set output format parameters via the serial number.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-12-05T11:09:04.653" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22970" PostTypeId="2" ParentId="22967" CreationDate="2017-12-05T16:37:03.197" Score="0" Body="&lt;p&gt;You can use the drawbox filter to umm. draw a box on top of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basic syntax is &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &quot;drawbox=X:Y:M-X:N-Y:c=black:t=fill&quot; -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where X, Y are replaced with top-left co-ordinates of box. &lt;code&gt;M-X&lt;/code&gt; and &lt;code&gt;N-Y&lt;/code&gt; are width and height of the box. The value &lt;code&gt;fill&lt;/code&gt; for thickness will make a solid box. This value was very recently changed, so if you have an older version of ffmpeg, use &lt;code&gt;max&lt;/code&gt; instead.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-12-05T16:37:03.197" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22971" PostTypeId="2" ParentId="22963" CreationDate="2017-12-05T18:02:55.257" Score="0" Body="&lt;p&gt;I went back to a 2016 FFMPEG build and it works fine again.&lt;/p&gt;&#xA;" OwnerUserId="20796" LastActivityDate="2017-12-05T18:02:55.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22973" PostTypeId="2" ParentId="17502" CreationDate="2017-12-05T22:31:31.283" Score="5" Body="&lt;p&gt;&lt;a href=&quot;https://github.com/transitive-bullshit/ffmpeg-concat&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg-concat&lt;/a&gt; is the easiest way to accomplish what you want and allows you to use a bunch of sexy OpenGL transitions, with the default being crossfade.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/transitive-bullshit/ffmpeg-gl-transition&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg-gl-transition&lt;/a&gt; is a custom ffmpeg filter which allows you to use GLSL to smoothly transition between two video streams. This filter is significantly easier to use and customize than the alternatives listed here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This filter supports a large &lt;a href=&quot;https://gl-transitions.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;list&lt;/a&gt; of transition types, with the default being crossfade.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;./ffmpeg -i 0.mp4 -i 1.mp4 -filter_complex &quot;gltransition=duration=4:offset=1.5&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20815" LastEditorUserId="20815" LastEditDate="2018-04-04T22:46:42.327" LastActivityDate="2018-04-04T22:46:42.327" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="22974" PostTypeId="2" ParentId="22966" CreationDate="2017-12-05T23:56:49.757" Score="1" Body="&lt;p&gt;The built-in Credit Tile from FCPX does not work like that. As far as I know, the scrolling speed is determined by the duration and the amount of text. &#xA;So if you have a long duration and few text the scrolling speed will be slow and vice versa short duration and lots of text fast scrolling. The Tile makes sure that all text is shown in the duration given. &#xA;You might consider to try and make your own copy with Motion 5. Left Click on the Tile &gt;&gt; &quot;Open a copy in Motion&quot; or go for a 3rd party Title or Generator.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2017-12-05T23:56:49.757" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22975" PostTypeId="1" CreationDate="2017-12-06T05:20:57.240" Score="1" ViewCount="365" Body="&lt;p&gt;AE 2017.2 Release. I'll try to be as clear as possible:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;I create a comp with two text layers:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/jcGL9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jcGL9.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I precompose those two text layers and set Nested Comp's Opacity to 30%:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/me3LH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/me3LH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In Nested Comp I apply Bevel and Emboss to the upper text (setting Shadow's and Highlight's Opacity to 0%, so B&amp;amp;E is effectively nonexistent):&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Tr9es.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Tr9es.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In Containing Comp I switch Collapse Transformation On and upper text's &lt;strong&gt;opacity goes to 100%:&lt;/strong&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/okfsS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/okfsS.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;strong&gt;The end.&lt;/strong&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Add 1. It's not like upper text's Opacity is not affected by Nested Comp Opacity parameter. More like it becomes binary. If I set it to any value &gt;0%, upper text will be 100%. If I set it to be 0%, upper text becomes 0%.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Y29C5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Y29C5.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Add 2. In Layer Styles it's not about B&amp;amp;E but rather Blending Options. I may delete B&amp;amp;E and everything remains the same:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/yOa9s.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yOa9s.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Add 3. Upper text's Opacity on the Containing Comp is not just 100%. It actually equals to the Fill Opacity parameter of Blending Options of Layer Styles of upper text in the Nested Comp:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/5bHow.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5bHow.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Add 4. The whole issue disappears if a dummy Transform Effect is applied to the Nested Comp. Moreover, not only the Transform Effect may be dummy, you can actually SWITCH OFF all the effects for the Nested Comp but the very existence of that not-applied effect fixes the problem:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LgWrm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LgWrm.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Due to the Add 4 I assume, it's a bug. Looking forward for your comments and explanations on how does it happen and further insights on how Collapse Transformation works and Layer Styles place in rendering hierarchy.&#xA;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="20820" LastActivityDate="2020-12-17T10:07:05.873" Title="Collapse Transformation and Layer Styles (bug)" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22976" PostTypeId="2" ParentId="22857" CreationDate="2017-12-06T06:59:10.660" Score="0" Body="&lt;p&gt;I am pretty sure you cannot change the clip hight for a certain timeline independent. What might help a bit is when you give your stacked clips different Roles and then click the 'show subroles'. What will move the audio to the bottom under the main timeline and will leave you with the clips only. Now click the 'Focus' button for your main timeline. Then all other audio tracks will get minimized to a narrow line. However, this does not help with the clip high.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2017-12-06T06:59:10.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22977" PostTypeId="1" AcceptedAnswerId="22984" CreationDate="2017-12-06T17:44:32.487" Score="2" ViewCount="10015" Body="&lt;p&gt;Is there a quick and easy way to time remap faster than 1000% in Adobe Premiere CC 2017?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-03-03T23:14:53.813" Title="How to time remap faster than 1000% in Premiere" Tags="|premiere|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22978" PostTypeId="1" CreationDate="2017-12-06T18:23:30.997" Score="0" ViewCount="2409" Body="&lt;p&gt;Can I convert it to a raw video ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=lSmAHUuSW0Q&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;Arduino Drone Next Step| Buying New Item&amp;#40;s&amp;#41; and Public Flight&quot;&gt;Arduino Drone Next Step| Buying New Item(s) and Public Flight&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20828" LastEditorUserId="18314" LastEditDate="2017-12-07T14:52:52.100" LastActivityDate="2017-12-07T15:02:57.667" Title="Is mp4 or avi format convertable to raw?" Tags="|video|conversion|raw|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22979" PostTypeId="1" CreationDate="2017-12-06T20:10:32.213" Score="3" ViewCount="670" Body="&lt;p&gt;I have an older server workstation with 12 cores (2x AMD Opteron hex-core 2.6GHz), 32 GB RAM, and a Sapphire HD6950 video card with 6x 2TB hard drives on SATA/SAS (motherboard has room for 12 drives). Despite not being a modern set-up, this computer has been fine with my previous projects of 4 camera angles at 1080/4K for live concerts 2+ hours long. As long as I don't edit with full effects on, I have never had to resort to proxies or any other tweaks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My current project is using 8 cameras at 1080 (with one at 4K) for a 2.5 hour concert. I have had to create proxies (480, H.264) and yet editing is still unbearably slow. First I split the proxies up between 4 drives (2 per drive), but that actually seemed to make editing almost impossible. Then I consolidated all the proxies on to one drive, and I was able to edit, but had ridiculously long wait periods as the media cached. Load time can be five or more minutes when moving across the timeline, though I can actually multi-cam in real-time with this set up. I noticed Premiere never got above 11GB of RAM usage, so I thought I could move my 16GB of proxy files on to a RAM Disk, and leave 16 GB of system RAM for Premiere. This has had mixed results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the one hand, editing section by section is fluid and real time with zero effects on right now. On the other hand, once I get through about five minutes of timeline, the video goes blank or shows the &quot;Media Processing&quot; screen and I have a wait time of several minutes before the next &quot;cache&quot; is loaded, or whatever it is doing to process the film. My question is, is there a way to convince Premiere that my proxy files are already in RAM, or is there another way to load the hard drive versions of the proxies in to RAM so that Premiere accesses them instantly and fluidly? I don't know the process going on behind the scenes, but it seems exponentially counter-intuitive that I can handle 4 files at full resolution natively but can not handle 8 considerably reduced file versions located completely in memory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(To clarify, this lag occurs both when viewing the multi-cam editor with 8 cameras playing back simultaneously, and with multi-cam editor turned off, showing only the single selected camera in the editor.)&lt;/p&gt;&#xA;" OwnerUserId="20829" LastEditorUserId="20829" LastEditDate="2017-12-06T20:15:37.217" LastActivityDate="2017-12-08T14:24:41.960" Title="How to fully optimize RAM Disks in Adobe Premiere CC 2017" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22983" PostTypeId="2" ParentId="22978" CreationDate="2017-12-07T15:02:57.667" Score="1" Body="&lt;p&gt;No, if you don't record in raw, you can't get back to it.  That's why people go through the headaches of recording in RAW.  RAW is the actual photosite exposure data and isn't actually a usable image on it's own.  Imaging sensors don't pick up all colors on each individual pixel.  Some pixels pick up red, others blue, others green.  Some fancy designs may have one or more other colors as well.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The data about the values of each of these photosites (each of which will eventually be a pixel) is fed in to an algorithm that looks at neighboring pixels and figures out the RGB value for each pixel.  During this calculation, the information about the original values is lost and only the RGB pixel values are kept.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On some sensor designs, it might still be possible to work backwards if you had full bit depth RGB data (though many can't), full understanding of the filter and conversion logic and avoided certain exposure situations, however you have an additional problem that the video has been put through one or more rounds of compression in addition to being stored in a color format that does not preserve the full bit depth of the color data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This means that the necessary color information does not exist anymore no matter if your particular camera happened to use an algorithm that was reversible (which is itself unlikely).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Practically speaking, there is no way to get back to RAW from a processed video.  If you want to work in RAW, you need to start in RAW.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't have an option to work in RAW and are trying to maximize your color correction ability, shoot with the highest color depth you can and shoot log color to avoid losing information in the brighter and darker areas.  You'll end up with a little bit less color information in the mids of the finished product, but it will buy you a ton of room for tone adjustment in post (and if you are able to shoot 4444 and are editing to a final output of 422 or lower you probably won't lose a ton anyway.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-12-07T15:02:57.667" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22984" PostTypeId="2" ParentId="22977" CreationDate="2017-12-07T15:36:14.230" Score="4" Body="&lt;p&gt;Try nested sequences.  Insert your video in a sequence, speed it up the maximum amount.  Insert that sequence into another and then speed up the original sequence.  Note that the impact will be multiplicative, so if you make the video 10 times faster and the sequence 3 times faster, you'll end up with footage 30 times faster than the original.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-12-07T15:36:14.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22986" PostTypeId="2" ParentId="20848" CreationDate="2017-12-08T01:57:22.217" Score="0" Body="&lt;p&gt;Use ffmpeg to copy your x.264 into an avi wrapper using codec:copy which will bypass transcoding. That way your file names won't change and you shouldn't have to reconnect. If you haven't already transcoded to x.264 then you can do it in one step instead of 2.&lt;/p&gt;&#xA;" OwnerUserId="8027" LastActivityDate="2017-12-08T01:57:22.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22987" PostTypeId="1" AcceptedAnswerId="22988" CreationDate="2017-12-08T10:10:23.667" Score="2" ViewCount="1592" Body="&lt;p&gt;I'm feeding ffmpeg from stdin and do several transcoding operations in one command only. The issue is that ffmpeg seems to transcode them(or at least write on disk) sequently (i.e. first it transcodes/writes audio/video and then it transcodes the subtitles). This way it takes minutes before you get any subtitle content which translates in a poor user experience(if the transcoding is &quot;on demand&quot;/live) because the client needs to wait for the subtitles even if the audio/video is ready(at least partially). &#xA;  How can I change that? How can I make ffmpeg write the subtitles to the disk as soon as they are copied/transcoded?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note:  I believe the transcoding is done concurrently for the subtitles too but for some reasons it flushes/writes them on disk only after the audio/video transcoding completes. That's because there is no way ffmpeg could start reading the input from beginning after a/v transcoding is done because it can't seek/start over from stdin. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below is a sample of my command: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -nostdin -i - -map 0:2 -c:0 webvtt -f webvtt first.vtt \&#xA;-map 0:3 -c:0 webvtt -f webvtt second.vtt \&#xA;-map 0:0 -c:0 copy -map 0:1 -c:1 aac \&#xA;-use_timeline 1 -min_seg_duration 1000000 \&#xA;-use_template 1 -init_seg_name $RepresentationID$-0.mp4s \&#xA;-media_seg_name $RepresentationID$-$Number$.mp4s \&#xA;-adaptation_sets &quot;id=mkv/0,streams=0 id=mkv/1,streams=1&quot; \&#xA;-f dash -dash 1 out.mpd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19904" LastEditorUserId="19904" LastEditDate="2017-12-08T11:36:28.727" LastActivityDate="2017-12-08T12:23:06.660" Title="How to make ffmpeg flush the subtitles in real time while transcoding?" Tags="|ffmpeg|transcoding|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22988" PostTypeId="2" ParentId="22987" CreationDate="2017-12-08T12:23:06.660" Score="2" Body="&lt;p&gt;When ffmpeg will flush to output depends on the protocol. For file protocol, atleast 256 kiB data must be waiting, unless it's end of output. So, for text formats, there will be only one payload write.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can workaround by forcing ffmpeg to flush a stream after each packet.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -nostdin -i - -map 0:2 -c:0 webvtt -flush_packets 1 -f webvtt first.vtt \&#xA;-map 0:3 -c:0 webvtt -flush_packets 1 -f webvtt second.vtt \&#xA;-map 0:0 -c:0 copy -map 0:1 -c:1 aac \&#xA;-use_timeline 1 -min_seg_duration 1000000 \&#xA;-use_template 1 -init_seg_name $RepresentationID$-0.mp4s \&#xA;-media_seg_name $RepresentationID$-$Number$.mp4s \&#xA;-adaptation_sets &quot;id=mkv/0,streams=0 id=mkv/1,streams=1&quot; \&#xA;-f dash -dash 1 out.mpd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-12-08T12:23:06.660" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22990" PostTypeId="2" ParentId="22979" CreationDate="2017-12-08T14:24:41.960" Score="2" Body="&lt;p&gt;I would think that the codec of your proxies could be the issue.&#xA;H264 is very cpu intensive and this could be your bottle neck.&#xA;Switching to QT ProRes Proxy would be my first try.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A couple of links to help you out.&#xA;&lt;a href=&quot;https://forums.adobe.com/thread/2287035&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forums.adobe.com/thread/2287035&lt;/a&gt;&#xA;&lt;a href=&quot;https://forums.creativecow.net/thread/3/994398&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forums.creativecow.net/thread/3/994398&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20844" LastActivityDate="2017-12-08T14:24:41.960" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22991" PostTypeId="1" AcceptedAnswerId="22995" CreationDate="2017-12-08T17:15:45.633" Score="1" ViewCount="1716" Body="&lt;p&gt;I am animating a rectangle with a stroke and would like to it scale up and down along its length in only one direction while keeping the stroke fixed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have managed to either keep the stroke fixed but not scale it in one direction, or to scale it in one direction but not keep the stroke fixed. :( &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have learned that in order keep the stroke fixed I can create a shape layer and edit the &quot;size&quot; rather then the scale. The problem is that I can't get it to &quot;scale&quot; in one direction now. (I know while editing the scale I can move the anchor point to the side I would like to scale from but while editing the size moving the anchor point has no effect and I haven't been able to find a solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions? :) Thanks!!&lt;/p&gt;&#xA;" OwnerUserId="20847" LastActivityDate="2017-12-09T08:11:49.560" Title="How to scale a rectangle along its length in one direction while keeping the stroke fixed in after effects?" Tags="|after-effects|animation|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22993" PostTypeId="2" ParentId="19987" CreationDate="2017-12-08T20:35:59.000" Score="4" Body="&lt;p&gt;I don't agree that the other answer is a good idea in general, because &quot;-vf yadif&quot; will drop half the frames, thus resulting in a poor substitute of the original footage. Here is the thing: 576i25 means that you have 50 interlaced fields per second, rendering motion of objects fluid and natural to the human eye. You can get a high speed video at 50 frames per second easily by means of this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mpg -vf yadif=1 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Please note the difference, i.e. yadif=1 is specified. If you don't give a value, the yadif filter defaults to yadif=0 which cuts the frame rate of TV footage in 2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some people think that, because 25 fps is close to the theatrical movie speed (24p), the resulting video should look better, right?. Big mistake. The director of any project for TV had in mind that the target medium was TV and acted accordingly, using different techniques and taking a different artistic approach, allowing for instance a lot of fast movement, pan and zoom, or a hand-held camera to give a more subjective point of view. Also, a higher shutter speed is usual in TV without producing the nasty stroboscopic look because the frame rate is high. But later, when that footage gets converted to half frame rate the result is not &quot;cinema look&quot; but simply bad TV footage with stroboscopic movement.&lt;/p&gt;&#xA;" OwnerUserId="4658" LastEditorUserId="4658" LastEditDate="2017-12-08T22:50:28.077" LastActivityDate="2017-12-08T22:50:28.077" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="22994" PostTypeId="1" CreationDate="2017-12-08T23:08:28.690" Score="3" ViewCount="1752" Body="&lt;p&gt;I have a text and an audio file. I want to create a video that simply displays the text with the audio file playing in the background.  I have to create many such videos, so I'm looking for an automated solution. What program/script  could achieve that?&lt;/p&gt;&#xA;" OwnerUserId="2117" LastActivityDate="2019-05-19T08:40:52.380" Title="Creating a video from a text and an audio file" Tags="|software-recommendation|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="22995" PostTypeId="2" ParentId="22991" CreationDate="2017-12-09T08:11:49.560" Score="0" Body="&lt;p&gt;In this situation I would right-click on the path options in your rectangle and choose &quot;convert to Bezier&quot;.  Then instead of adjusting the scale, I would keyframe the path, and change the shape of the path in this way.  &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-12-09T08:11:49.560" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22996" PostTypeId="1" CreationDate="2017-12-09T17:40:41.877" Score="1" ViewCount="13" Body="&lt;p&gt;I am trying to change the scale and position of the video with keyframes in one of my videos. I turn on animation for both scale and position and it adds a keyframe. I make the adjustments in scale and position. It changes at that point of course. I move the play head to the next appropriate position and add another keyframe at the point, so that it stays the same up until that point. Then add a third set of keyframes in the next frame over. I try to make adjustments on both scale and position, nothing, absolutely nothing happens. It's ignoring any change I make, utterly and completely ignoring me. Nothing in the video preview changes. I can change the scale to 1000, it's like I'm not doing anything. What am I doing wrong here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OeCbi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OeCbi.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17497" LastActivityDate="2017-12-09T17:40:41.877" Title="Premiere 2017: First Keyframe Works Third Does Not" Tags="|premiere|animation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22997" PostTypeId="1" AcceptedAnswerId="22998" CreationDate="2017-12-10T00:02:33.620" Score="0" ViewCount="527" Body="&lt;p&gt;So I have a null controlled named &quot;diamond_control&quot;, I'm trying to control position and wiggle using sliders, separately. This is the code that I have come up with, but it doesn't seem to work. The penultimate line seems to be overwritten by the last line:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x = thisComp.layer(&quot;diamond_control&quot;).effect(&quot;Horizontal&quot;)(&quot;Slider&quot;);&#xA;y = thisComp.layer(&quot;diamond_control&quot;).effect(&quot;Vertical&quot;)(&quot;Slider&quot;);&#xA;&#xA;wiggle_x = thisComp.layer(&quot;diamond_control&quot;).effect(&quot;wiggle_x_pos&quot;)&#xA;(&quot;Slider&quot;);&#xA;&#xA;wiggle_y = thisComp.layer(&quot;diamond_control&quot;).effect(&quot;wiggle_y_pos&quot;)&#xA;(&quot;Slider&quot;);&#xA;&#xA;[wiggle(1 * wiggle_x/100, 1 * wiggle_x/10)[0], wiggle(1 * wiggle_y/100, 1 * &#xA;wiggle_y/10)[1]];&#xA;&#xA;value + [x,y];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is it not possible to control position and wiggle in one expression? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="20852" LastActivityDate="2017-12-10T05:58:57.593" Title="Combining wiggle with position AE" Tags="|script|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22998" PostTypeId="2" ParentId="22997" CreationDate="2017-12-10T05:58:57.593" Score="0" Body="&lt;p&gt;Expressions can only ever return one result. In your expression the two last lines both return a result, so the last one is what the value will be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wiggle is a little bit confusing, in that it is not a function like Math.sin or random, that takes the value to be wiggled as a parameter. It is actually a method of the property, so when you call wiggle() in say, the position property, what you're actually calling is someLayer.transform.position.wiggle(). This returns a 'wiggly' value based on the value of the property, it doesn't actually change the value of the property itself. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So to use the result of the wiggle expression in combination with other values you have to get the result of the wiggle expression, and use that in your final result. There is no need to add &lt;code&gt;value&lt;/code&gt; to the wiggle result, because it is already added. Also, there is no point multiplying it by 1, that does nothing.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ctrl = thisComp.layer(&quot;diamond_control&quot;); //just for neatness&#xA;x = ctrl.effect(&quot;Horizontal&quot;)(&quot;Slider&quot;);&#xA;y = ctrl.effect(&quot;Vertical&quot;)(&quot;Slider&quot;);&#xA;&#xA;wiggle_x = ctrl.effect(&quot;wiggle_x_pos&quot;)(&quot;Slider&quot;);&#xA;wiggle_y = ctrleffect(&quot;wiggle_y_pos&quot;)(&quot;Slider&quot;);&#xA;&#xA;w = [wiggle(wiggle_x/100, wiggle_x/10)[0], wiggle(wiggle_y/100, wiggle_y/10)[1]];&#xA;&#xA;w + [x,y];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm not sure why you use the wiggle_x_pos and wiggle_y_pos slider for both the amplitude and frequency parameter of the wiggle. The first two values you give to wiggle are the amount of wiggliness and the frequency of the wiggle. Your expression would increase both frequency and amplitude together, that might be what you want. In the expression above this would then be added to the value given by the horizontal and vertical slider, which would be an offset, so that if x and y are equal to 0 the layer would wiggle around its base position. This seems a bit back-to-front.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want a set of controls for the rest position, the amount and the frequency of the wiggle I'd set up the 'diamond_control' layer with two point expression control effects on it and one slider control. The adfvantage of using a point control is that you can control both parameters with a single control, right from the comp window. So given that setup you'd use this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ctrl = thisComp.layer(&quot;diamond_control&quot;); //just for neatness&#xA;amplitude = ctrl.effect(&quot;Amplitude&quot;)(&quot;Point&quot;);&#xA;basePos = ctrl.effect(&quot;Base Position&quot;)(&quot;Point&quot;);&#xA;freq = ctrl.effect(&quot;Freqquency&quot;)(&quot;Slider&quot;);&#xA;w = [wiggle(amplitude[0], freq)[0], wiggle(amplitude[1], freq)[1]) - value;&#xA;&#xA;w + basePos;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can see that on the second line I subtract &lt;code&gt;value&lt;/code&gt; from the wiggle result, this means that it just returns the wiggle offset, not the original base position. So that means the base position will be only set by the &lt;code&gt;Base Position&lt;/code&gt; effect control.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-12-10T05:58:57.593" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23001" PostTypeId="2" ParentId="22408" CreationDate="2017-12-11T01:35:24.857" Score="1" Body="&lt;p&gt;The author of the subtitles, Jefferz, says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;... I animated the text to match the original subtitles use Adobe After Effects (CS6 specifically) keyframing the text movements ...&quot;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Source &lt;a href=&quot;http://jefferzkm.tumblr.com/page/11&quot; rel=&quot;nofollow noreferrer&quot;&gt;Jefferz's Tumblr Blog&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a manual process.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-12-11T01:35:24.857" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23002" PostTypeId="2" ParentId="22994" CreationDate="2017-12-11T06:00:50.470" Score="4" Body="&lt;p&gt;The &lt;a href=&quot;https://amara.org/en/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Amara website&lt;/a&gt; offers a free service that accepts audio and text files, synchronizes them, and lets you download a .srt file (synchronized SubTitle). Source of suggestion: &lt;a href=&quot;https://photography.tutsplus.com/tutorials/3-ways-to-subtitle-and-caption-your-videos-automatically-using-artificial-intelligence--cms-26834&quot; rel=&quot;nofollow noreferrer&quot;&gt;Photography TutsPlus&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;YouTube also &lt;a href=&quot;https://support.google.com/youtube/answer/2734799&quot; rel=&quot;nofollow noreferrer&quot;&gt;accepts text files without time coding as SubTitle&lt;/a&gt; files and then you can enable auto-sync, you ought to be able to download a .srt file after processing is completed (not tested by me).&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;To do it manually (with some automation) try the following.&lt;/p&gt;&#xA;&lt;p&gt;If you convert the text file to a .ass or .srt file then you can use the following commands:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg.exe -i subtitles.srt subtitles.ass&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg.exe -i video.mp4 -vf ass=subtitles.ass video-new.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;That will show the words hardsubbed on the video synchronized with the audio. The &lt;em&gt;video&lt;/em&gt; can be a moving image (video) or a static image.&lt;/p&gt;&#xA;&lt;p&gt;Using a .ass editor allows more control over color and other font features than using .srt files.&lt;/p&gt;&#xA;&lt;p&gt;Without using a SubTitle Format file you won't get synchronized text.&lt;/p&gt;&#xA;&lt;p&gt;You can add the audio to a video and upload it to YouTube, then wait 15 minutes, after which YouTube will have used audio recognition to convert the audio to subtitles (with better than 80% accuracy). Then you can download the .srt file from the Video Manager and edit the SubTitle file by comparing it to your (presumably accurate) text file.&lt;/p&gt;&#xA;&lt;p&gt;If you were hoping for a program that automatically syncs raw text files with audio and makes a video I have found nothing by Googling (outside of pay services).&lt;/p&gt;&#xA;&lt;p&gt;There are a few questions over at SO, but they remain unanswered.&lt;/p&gt;&#xA;&lt;p&gt;I will do some more searching and improve this answer in a few hours.&lt;/p&gt;&#xA;&lt;p&gt;Not a one-mouseclick solution but it's about as automated as I can suggest, for free (other than Amara).&lt;/p&gt;&#xA;&lt;p&gt;[I welcome Mulvya to edit and improve this answer.]&lt;/p&gt;&#xA;" OwnerUserId="18314" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-12-11T09:06:59.117" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23003" PostTypeId="1" AcceptedAnswerId="23005" CreationDate="2017-12-11T10:27:54.573" Score="0" ViewCount="3461" Body="&lt;p&gt;I know you can use FFmpeg to extract the album art of an mp3 file. I also know you can combine an image and audio file to create a video. But, to my surprise, I cannot figure out nor find a way to do this in one step. Has anyone ever figured this out or is it really impossible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What might be useful is FFmpeg does demux the album art, but it does not show up as video frames. E.g.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mp3 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;results in&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mp3, from '1.mp3':&#xA;  Metadata:&#xA;    artist          : Dazzled Sticks&#xA;    TST             : Dazzled Sticks - Let's Dans (Martijn Groeneveld Mashup)&#xA;    genre           : Hiphop/Rap&#xA;    title           : Dazzled Sticks - Let's Dans (Martijn Groeneveld Mashup)&#xA;    date            : 2016&#xA;  Duration: 00:02:46.84, start: 0.025056, bitrate: 154 kb/s&#xA;    Stream #0:0: Audio: mp3, 44100 Hz, stereo, s16p, 128 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc56.26&#xA;    Stream #0:1: Video: png, rgb24(pc), 1800x1800 [SAR 11811:11811 DAR 1:1], 90k&#xA; tbr, 90k tbn, 90k tbc&#xA;    Metadata:&#xA;      comment         : Other&#xA;    Stream #0:2: Video: png, rgb24(pc), 1800x1800 [SAR 11811:11811 DAR 1:1], 90k&#xA; tbr, 90k tbn, 90k tbc&#xA;    Metadata:&#xA;      comment         : Other&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19257" LastEditorUserId="19257" LastEditDate="2017-12-11T14:15:12.887" LastActivityDate="2019-10-03T18:16:27.180" Title="FFmpeg: Convert mp3 &amp; album art to video in one step?" Tags="|video|ffmpeg|audio|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23004" PostTypeId="2" ParentId="22934" CreationDate="2017-12-11T12:47:15.613" Score="2" Body="&lt;p&gt;If you take a look at &lt;a href=&quot;https://en.wikipedia.org/wiki/Blu-ray#Video&quot; rel=&quot;nofollow noreferrer&quot;&gt;Bluray video codecs&lt;/a&gt;, you'll see that the 50+ fps HD formats at 1080 row resolution are all defined as interlaced formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's a strong incentive for 1080 line interlaced formats not to go away fast in consumer grade cameras.&lt;/p&gt;&#xA;" OwnerDisplayName="user20859" LastActivityDate="2017-12-11T12:47:15.613" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23005" PostTypeId="2" ParentId="23003" CreationDate="2017-12-11T14:31:50.137" Score="1" Body="&lt;p&gt;Basic command syntax would be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp3 -filter_complex &quot;color[c];[c][0]scale2ref[c][art];[c][art]overlay&quot; -shortest out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2017-12-11T17:28:16.703" LastActivityDate="2017-12-11T17:28:16.703" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="23006" PostTypeId="1" AcceptedAnswerId="23007" CreationDate="2017-12-11T15:56:21.247" Score="5" ViewCount="6196" Body="&lt;p&gt;I recently had the following problem:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wanted, using ffmpeg, to &lt;strong&gt;concatenate several videos&lt;/strong&gt; (with audio), &lt;strong&gt;adding black clips&lt;/strong&gt; (with null audio) between them , and lastly &lt;strong&gt;fade&lt;/strong&gt; the videos from those black clips (&lt;strong&gt;fade-in&lt;/strong&gt;) and to those black clips (&lt;strong&gt;fade-out&lt;/strong&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Schematically, with 2 videos for instance:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;black (1s) --&amp;gt; part_1 (60s) --&amp;gt; black (3s) --&amp;gt; part_2 (120s) --&amp;gt; black (1s)&#xA;            ^                ^              ^                 ^&#xA;       (2s-fade-in)     (2s-fade-out)  (2s-fade-in)      (2s-fade-out)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I was looking for a &lt;strong&gt;one-liner solution&lt;/strong&gt; (to avoid re-encoding original videos more than once), but only found documentation or help for each part of the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Having figured it out, I wanted to document my solution for those after me who will stumble on a similar problem :)&lt;/p&gt;&#xA;" OwnerUserId="20860" LastEditorUserId="20860" LastEditDate="2017-12-12T10:28:55.240" LastActivityDate="2017-12-26T13:51:51.133" Title="How to concatenate multiple videos with fades (from- and to-black) in-between?" Tags="|ffmpeg|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23007" PostTypeId="2" ParentId="23006" CreationDate="2017-12-11T16:33:19.920" Score="4" Body="&lt;p&gt;So here is what I came up with.&lt;/p&gt;&#xA;&lt;h1&gt;A not &lt;em&gt;fully&lt;/em&gt; one-liner solution&lt;/h1&gt;&#xA;&lt;h2&gt;1) Generate black clips&lt;/h2&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i &amp;quot;color=black:s=1920x1080:r=30&amp;quot; \&#xA; -f lavfi -i &amp;quot;anullsrc=r=48000:cl=stereo&amp;quot; \&#xA; -c:v libx264 -c:a aac -t 3 empty_3s.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Use &lt;strong&gt;lavfi filters&lt;/strong&gt; to generate your empty clip. Of course, change the parameters according to your videos and what you want to achieve. Especially:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;in first (video) source filter:&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;s&lt;/code&gt; (size) should match that of the videos you want to concatenate.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;r&lt;/code&gt; (frame rate) should also match your videos (especially if your want a constant frame rate output)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;in second (audio) source filter:&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;r&lt;/code&gt; (sample rate) should match that of the audio tracks from the videos you want to concatenate.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;cl&lt;/code&gt; (channel layout) should also match the audio from your videos&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Output parameters (codecs for instance) should match those of your videos. Use &lt;code&gt;-t&lt;/code&gt; to set the length (in seconds) of the empty clip.&lt;/p&gt;&#xA;&lt;h2&gt;2) Concatenate and fade your videos using a &lt;strong&gt;complex filtergraph&lt;/strong&gt;&lt;/h2&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i empty_1s.mp4 -i part_1.mp4 -i empty_3s.mp4 -i part_2.mp4 -i empty_1s.mp4 \&#xA; -filter_complex \&#xA;  &amp;quot;[1:v] fade=t=in:st=0:d=2, fade=t=out:st=58:d=2 [1v]; \&#xA;   [1:a] afade=t=in:st=0:d=2, afade=t=out:st=58:d=2 [1a]; \&#xA;   [3:v] fade=t=in:st=0:d=2, fade=t=out:st=118:d=2 [3v]; \&#xA;   [3:a] afade=t=in:st=0:d=1, afade=t=out:st=118:d=2 [3a]; \&#xA;   [0:v] [0:a] [1v] [1a] [2:v] [2:a] [3v] [3a] [4:v] [4:a] concat=n=5:v=1:a=1 [v] [a]&amp;quot; \&#xA; -map &amp;quot;[v]&amp;quot; -map &amp;quot;[a]&amp;quot; -c:v libx264 -c:a aac output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Explanation:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;we first specify the &lt;strong&gt;inputs&lt;/strong&gt; (&lt;code&gt;-i&lt;/code&gt;) that we will concatenate&lt;/li&gt;&#xA;&lt;li&gt;we then set a &lt;strong&gt;complex filter&lt;/strong&gt; (&lt;code&gt;-filter_complex&lt;/code&gt;), that we use to:&#xA;&lt;ul&gt;&#xA;&lt;li&gt;first, &lt;strong&gt;fade in and out&lt;/strong&gt; our videos. To that end we use the &lt;strong&gt;&lt;code&gt;fade&lt;/code&gt;&lt;/strong&gt; (for video) and &lt;strong&gt;&lt;code&gt;afade&lt;/code&gt;&lt;/strong&gt; (for audio) filters. We specify the start (&lt;code&gt;st&lt;/code&gt;) and duration (&lt;code&gt;d&lt;/code&gt;) for each fade. We output the results with outpad names (&lt;code&gt;[1v]&lt;/code&gt;, &lt;code&gt;[1a]&lt;/code&gt;...).&lt;/li&gt;&#xA;&lt;li&gt;then, &lt;strong&gt;concatenate&lt;/strong&gt; the black clips and the previously faded videos, using the &lt;strong&gt;&lt;code&gt;concat&lt;/code&gt;&lt;/strong&gt; filter. We specify the number of input segments &lt;code&gt;n&lt;/code&gt; (i.e. the number of video+audio sets, in our case 5) we want to concat, and the number of video (&lt;code&gt;v=1&lt;/code&gt;) and audio (&lt;code&gt;a=1&lt;/code&gt;) streams for the output.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;we &lt;code&gt;map&lt;/code&gt; the final output to the output streams from the concat filter&lt;/li&gt;&#xA;&lt;li&gt;specify the encoding parameters to whatever you want :)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;Important notes:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;your videos (inputs) must have the &lt;strong&gt;same characteristics&lt;/strong&gt; (pixel and sample format for video, sample rate and channel layout for audio). See &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#concat&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;concat - FFmpeg Filters documentation&quot;&gt;concat documentation&lt;/a&gt; for more info.&lt;/li&gt;&#xA;&lt;li&gt;in the fade filter, we specify start time and duration in seconds, but you can use frames or samples as well with &lt;code&gt;s&lt;/code&gt; and &lt;code&gt;n&lt;/code&gt; (video) or &lt;code&gt;ss&lt;/code&gt; and &lt;code&gt;ns&lt;/code&gt; (audio) options. See &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#afade&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;afade - FFmpeg Filters documentation&quot;&gt;afade&lt;/a&gt; and &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#fade&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;fade - FFmpeg Filters documentation&quot;&gt;fade&lt;/a&gt; filters documentation.&lt;/li&gt;&#xA;&lt;li&gt;you must know the duration of your videos for the fade filter, especially for fade-outs. See &lt;a href=&quot;https://video.stackexchange.com/questions/19867/how-to-fade-in-out-a-video-audio-clip-with-unknown-duration&quot; title=&quot;How to fade in/out a video/audio clip with unknown duration?&quot;&gt;this question&lt;/a&gt; for hints on how two fade-out clips without having to manually specify start time.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h1&gt;True one-liner&lt;/h1&gt;&#xA;&lt;p&gt;If you really want a one-liner (and not having to encode empty black clips), you can use:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA; -f lavfi -t 1 -i &amp;quot;color=black:s=1920x1080:r=30&amp;quot; -f lavfi -t 1 -i &amp;quot;anullsrc=r=48000:cl=2&amp;quot; \&#xA; -i part_1.mp4 \&#xA; -f lavfi -t 3 -i &amp;quot;color=black:s=1920x1080:r=30&amp;quot; -f lavfi -t 3 -i &amp;quot;anullsrc=r=48000:cl=2&amp;quot; \&#xA; -i part_2.mp4 \&#xA; -f lavfi -t 1 -i &amp;quot;color=black:s=1920x1080:r=30&amp;quot; -f lavfi -t 1 -i &amp;quot;anullsrc=r=48000:cl=2&amp;quot; \&#xA; -filter_complex \&#xA;  &amp;quot;[0:v] null [0v]; [1:a] anull [0a]; [3:v] null [2v]; [4:a] anull [2a]; \&#xA;   [6:v] null [4v]; [7:a] anull [4a]; \&#xA;   [2:v] fade=t=in:st=0:d=2, fade=t=out:st=58:d=2 [1v]; \&#xA;   [2:a] afade=t=in:st=0:d=2, afade=t=out:st=58:d=2 [1a]; \&#xA;   [5:v] fade=t=in:st=0:d=1, fade=t=out:st=118:d=2 [3v]; \&#xA;   [5:a] afade=t=in:st=0:d=1, afade=t=out:st=118:d=2 [3a]; \&#xA;   [0v] [0a] [1v] [1a] [2v] [2a] [3v] [3a] [4v] [4a] concat=n=5:v=1:a=1 [v] [a]&amp;quot; \&#xA; -map &amp;quot;[v]&amp;quot; -map &amp;quot;[a]&amp;quot; -c:v libx264 -c:a aac output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In that case we must &lt;strong&gt;beware of the input indices&lt;/strong&gt;, as &lt;em&gt;black video clips and null audio clips are separated inputs&lt;/em&gt; (I didn't figure out how to put them as two streams in a single input, if you have an idea feel free to share it).&lt;/p&gt;&#xA;&lt;p&gt;Here I applied &lt;code&gt;null&lt;/code&gt; and &lt;code&gt;anull&lt;/code&gt; filters to those inputs to give them outpad tags, in order to use consistent identifiers in the &lt;code&gt;concat&lt;/code&gt; filter. But this is purely optional.&lt;/p&gt;&#xA;&lt;p&gt;Hope this helps, feel free to improve my solution with your insights :)&lt;/p&gt;&#xA;" OwnerUserId="20860" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-12-26T13:51:51.133" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23010" PostTypeId="1" AcceptedAnswerId="23021" CreationDate="2017-12-12T07:54:56.153" Score="1" ViewCount="1248" Body="&lt;p&gt;I have a video file acquired from Hikvision's NVR connected to IP cameras. The method used to download this video was Hikvision NVR's internal API that produced a flawed video file in several ways:  &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Duration of the video file is wrong (as seen in Mediainfo or VLC). My guess is this happens due to NVR storing video files in chunks and when attempting to download video by supplying specific start time and end time to NVR's API the software just creates a new video file in memory by extracting the needed parts from stored video and attaching the original video file's duration to the newly created one. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Audio cannot be played in most media players including VLC.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I have tried converting the video file using ffmpeg with different settings to try and fix these issues but the output video still has the same problems.&#xA;What's interesting is that ffmpeg's  ffplay is able to play the video file perfectly with sound and no disruptions. Therefore I figured there must be a way to convert the video file to normalize it for other players as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mediainfo output of the video file in question:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;CompleteName                     : C:\DownLoad\1.mp4&#xA;Format                           : MPEG-PS&#xA;FileSize/String                  : 8.60 MiB&#xA;Duration/String                  : 2 h 7 min&#xA;OverallBitRate/String            : 9 395 b/s&#xA;FileExtension_Invalid            : mpeg mpg m2p vob pss evo&#xA;&#xA;Video&#xA;ID/String                        : 224 (0xE0)&#xA;Format                           : AVC&#xA;Format/Info                      : Advanced Video Codec&#xA;Format_Profile                   : Baseline@L4&#xA;Format_Settings                  : 1 Ref Frames&#xA;Format_Settings_CABAC/String     : No&#xA;Format_Settings_RefFrames/String : 1 frame&#xA;Format_Settings_GOP              : M=1, N=30&#xA;Duration/String                  : 2 min 0 s&#xA;Width/String                     : 1 920 pixels&#xA;Height/String                    : 1 080 pixels&#xA;DisplayAspectRatio/String        : 16:9&#xA;FrameRate_Mode/String            : Variable&#xA;ColorSpace                       : YUV&#xA;ChromaSubsampling/String         : 4:2:0&#xA;BitDepth/String                  : 8 bits&#xA;ScanType/String                  : Progressive&#xA;&#xA;Audio&#xA;ID/String                        : 192 (0xC0)&#xA;Format                           : MPEG Audio&#xA;Duration/String                  : 2 h 7 min&#xA;Compression_Mode/String          : Lossy&#xA;Video_Delay/String               : -33 min 40 s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Output of ffmpeg:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\ffmpeg\bin&amp;gt;ffmpeg -i C:\DownLoad\1.mp4  -c:v libx264 -preset fast -crf 30 -b:v 75k -c:a aac -strict experimental -movflags faststart -threads 0 C:\DownLoad\2.mp4&#xA;ffmpeg version N-86537-gae6f6d4 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with gcc 7.1.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --enable-cuda --enable-cuvid --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-nvenc --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-zlib&#xA;  libavutil      55. 66.100 / 55. 66.100&#xA;  libavcodec     57. 99.100 / 57. 99.100&#xA;  libavformat    57. 73.100 / 57. 73.100&#xA;  libavdevice    57.  7.100 / 57.  7.100&#xA;  libavfilter     6. 94.100 /  6. 94.100&#xA;  libswscale      4.  7.101 /  4.  7.101&#xA;  libswresample   2.  8.100 /  2.  8.100&#xA;  libpostproc    54.  6.100 / 54.  6.100&#xA;Input #0, mpeg, from 'C:\DownLoad\1.mp4':&#xA;  Duration: 02:07:57.93, start: 789.820800, bitrate: 9 kb/s&#xA;    Stream #0:0[0x1e0]: Video: h264 (Baseline), yuv420p(progressive), 1920x1080, 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:1[0x1c0]: Audio: pcm_mulaw, 8000 Hz, mono, s16, 64 kb/s&#xA;File 'C:\DownLoad\2.mp4' already exists. Overwrite ? [y/N] y&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (pcm_mulaw (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[aac @ 0000000002cd0280] Too many bits 8832.000000 &amp;gt; 6144 per frame requested, clamping to max&#xA;[libx264 @ 0000000002514c80] using cpu capabilities: MMX2 SSE2Fast LZCNT SSSE3 SSE4.2 AVX XOP FMA4&#xA;[libx264 @ 0000000002514c80] profile High, level 4.0&#xA;[libx264 @ 0000000002514c80] 264 - core 150 r2833 df79067 - H.264/MPEG-4 AVC codec - Copyleft 2003-2017 - http://www.videolan.org/x264.html - options: cabac=1 ref=2 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=6 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=1 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=30 rc=crf mbtree=1 crf=30.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'C:\DownLoad\2.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf57.73.100&#xA;    Stream #0:0: Video: h264 (libx264) ([33][0][0][0] / 0x0021), yuv420p, 1920x1080, q=-1--1, 75 kb/s, 25 fps, 12800 tbn, 25 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.99.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/75000 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1: Audio: aac (LC) ([64][0][0][0] / 0x0040), 8000 Hz, mono, fltp, 48 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc57.99.100 aac&#xA;[mp4 @ 00000000010e9e00] Starting second pass: moving the moov atom to the beginning of the file speed= 116x&#xA;frame= 3269 fps= 66 q=-1.0 Lsize=   11086kB time=01:34:24.38 bitrate=  16.0kbits/s dup=269 drop=0 speed= 115x&#xA;video:10429kB audio:592kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.594114%&#xA;[libx264 @ 0000000002514c80] frame I:14    Avg QP:21.86  size: 59795&#xA;[libx264 @ 0000000002514c80] frame P:833   Avg QP:24.81  size:  8993&#xA;[libx264 @ 0000000002514c80] frame B:2422  Avg QP:28.70  size:   970&#xA;[libx264 @ 0000000002514c80] consecutive B-frames:  1.0%  0.2%  1.4% 97.4%&#xA;[libx264 @ 0000000002514c80] mb I  I16..4: 18.9% 66.3% 14.8%&#xA;[libx264 @ 0000000002514c80] mb P  I16..4:  4.0%  7.7%  0.4%  P16..4: 16.2%  2.0%  0.6%  0.0%  0.0%    skip:69.1%&#xA;[libx264 @ 0000000002514c80] mb B  I16..4:  0.6%  0.2%  0.0%  B16..8:  5.5%  0.1%  0.0%  direct: 0.7%  skip:92.9%  L0:44.0% L1:55.0% BI: 1.0%&#xA;[libx264 @ 0000000002514c80] 8x8 transform intra:59.0% inter:83.3%&#xA;[libx264 @ 0000000002514c80] coded y,uvDC,uvAC intra: 25.3% 36.1% 7.7% inter: 1.0% 2.3% 0.1%&#xA;[libx264 @ 0000000002514c80] i16 v,h,dc,p: 23% 24% 43% 10%&#xA;[libx264 @ 0000000002514c80] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 37% 26% 23%  2%  2%  3%  2%  3%  3%&#xA;[libx264 @ 0000000002514c80] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 43% 23% 12%  4%  4%  5%  4%  4%  2%&#xA;[libx264 @ 0000000002514c80] i8c dc,h,v,p: 81%  7%  9%  3%&#xA;[libx264 @ 0000000002514c80] Weighted P-Frames: Y:1.0% UV:0.0%&#xA;[libx264 @ 0000000002514c80] ref P L0: 73.6% 26.4%&#xA;[libx264 @ 0000000002514c80] ref B L0: 80.9% 19.1%&#xA;[libx264 @ 0000000002514c80] ref B L1: 90.0% 10.0%&#xA;[libx264 @ 0000000002514c80] kb/s:653.30&#xA;[aac @ 0000000002cd0280] Qavg: 64512.656&#xA;&#xA;C:\ffmpeg\bin&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Download link to sample:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/9ccptsuiqk2ntsv/1.zip?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dropbox.com/s/9ccptsuiqk2ntsv/1.zip?dl=0&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This sample is exactly 2 minutes long, but VLC will tell you otherwise.&lt;/p&gt;&#xA;" OwnerUserId="20866" LastActivityDate="2018-02-11T08:31:47.277" Title="Problematic video file for conversion ffmpeg" Tags="|video|ffmpeg|camera|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23011" PostTypeId="1" AcceptedAnswerId="23629" CreationDate="2017-12-12T10:22:22.930" Score="1" ViewCount="402" Body="&lt;p&gt;I want to put a 2D hat on a video clip of a person, whose head is tilting as he speaks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can face-track the face using After Effects CC 2017.&#xA;I end up with detailed tracking data, which includes face orientation information.&#xA;I can link the orientation information to a 3D null, but how do I link the positional information of the head?&#xA;The head appears to only be expressed as a percentage (of what?).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an easy way to connect this percentage data to 3D positional data on a null?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Equally, if I do a simple face track, I get an animated mask.  What's the right way to translate one of the points from that mask into a null that could be parented to another object?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2018-03-22T08:46:44.723" LastActivityDate="2018-03-22T11:40:46.877" Title="How to translate face tracking offset values into a 3D null position" Tags="|after-effects|after-effects-expressions|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23012" PostTypeId="2" ParentId="19373" CreationDate="2017-12-12T13:03:34.080" Score="0" Body="&lt;p&gt;You could use the Audio Track Mixer in Premiere, and add a compressor to your channel, but set its ratio to 1:1 (no compression).  Then just use the gain in the compressor's settings to increase the gain of the entire channel.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-12-12T13:03:34.080" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23013" PostTypeId="2" ParentId="22977" CreationDate="2017-12-12T13:57:46.557" Score="2" Body="&lt;p&gt;Simply right click on the clip in your timeline, and select &lt;strong&gt;&lt;em&gt;Speed/Duration...&lt;/em&gt;&lt;/strong&gt; and in the dialog box that pulls up, simply enter the length you want the clip to be in the &lt;strong&gt;&lt;em&gt;Duration:&lt;/em&gt;&lt;/strong&gt; field.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/p0VYj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/p0VYj.jpg&quot; alt=&quot;Premiere Speed/Duration screen shot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From my experience, I have been able to go up to 10,000% without nesting, doing it this way.&lt;/p&gt;&#xA;" OwnerUserId="16850" LastEditorUserId="16850" LastEditDate="2017-12-12T20:45:07.593" LastActivityDate="2017-12-12T20:45:07.593" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23014" PostTypeId="1" CreationDate="2017-12-12T15:32:59.383" Score="0" ViewCount="4993" Body="&lt;p&gt;I'm devleoping an Android application. The &lt;a href=&quot;https://developer.android.com/guide/topics/media/media-formats.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;official site&lt;/a&gt; lists all the codecs which are recommended for videos in Android platform.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have 2 videos. One of them cannot be played by Android. I would like to check the codec for both files to see is the codec the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What tool do I need in Windows 10 to check such property?&lt;/p&gt;&#xA;" OwnerUserId="20868" LastActivityDate="2017-12-12T17:04:09.143" Title="How do I check codec for a video(mp4) in windows 10?" Tags="|codec|windows|android|" AnswerCount="1" CommentCount="0" ClosedDate="2017-12-13T15:27:59.097" ContentLicense="CC BY-SA 3.0" />
  <row Id="23015" PostTypeId="2" ParentId="23014" CreationDate="2017-12-12T17:04:09.143" Score="2" Body="&lt;p&gt;With &lt;a href=&quot;https://ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffprobe&lt;/a&gt; (included in the ffmpeg build), run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe yourvideo.ext&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Or with &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt;, just use the GUI. If you set the display mode to Text you'll be able to see all the details for the streams.&lt;/p&gt;&#xA;" OwnerUserId="20528" LastActivityDate="2017-12-12T17:04:09.143" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23016" PostTypeId="1" CreationDate="2017-12-12T17:53:41.403" Score="5" ViewCount="2113" Body="&lt;p&gt;I have 3840 × 2160 videos where I want to cut out a moving person on stage (e.g. music video). The crop area is fixed (1080 x 1920). The problem is, the person is moving around. Not much, but in a 3min. video the crop area would move a couple of times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example: Frame 0-889, area(500,34,1080,1920) - Frame 950-1735, area (800,10,1080,1920) - Frame 1820-2530, area(600,40,1080,1920)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I gave some example numbers above. The solution should interpolate the crop area between Frame 889 and Frame 950; Frame 1735 and Frame 1820. Ideally I would like to define those areas in a visual editor which allows me to move a fixed size crop rectangle for the Frames and coordinates given above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Optionally I could also figure out the crop areas without visual help and then use that data to crop the video in something like ffmpeg (although I don't know how to do this properly including the interpolation step).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am on Linux and tried different video editors but their crop filters are not useful to solve my task. I have Windows available but no commercial editing software installed at the moment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for the help!&lt;/p&gt;&#xA;" OwnerUserId="20869" LastActivityDate="2022-01-23T15:48:42.457" Title="Crop a video with a moving crop area of fixed size" Tags="|ffmpeg|video-editor|post-production|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23017" PostTypeId="2" ParentId="23016" CreationDate="2017-12-12T23:30:59.670" Score="2" Body="&lt;p&gt;I recommend &lt;a href=&quot;http://avisynth.nl/index.php/Main_Page&quot; rel=&quot;nofollow noreferrer&quot;&gt;AVISynth&lt;/a&gt; (a script based video editor for VirtualDub) and the &lt;a href=&quot;http://www.guthspot.se/video/deshaker.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;DeShaker&lt;/a&gt; plugin.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can learn a minimum amount about AVISynth and simply load DeShaker, have it stabilize on the person's body and it will follow them smoothly as they move.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will have a finished product that is stabilized as a bonus. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also learn more about AVISynth, establish precise crops that are animated to follow the person, and get a perfect result (based on the quality of the input). You can set your moves with frame and pixel accuracy by typing numbers into the script and reloading the frame in VirtualDub.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It might be worth 5 mins. exploring those links to see if you want to try another video editor. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If one of the current video editors you've installed has image stabilization you can try it, but DeShaker is one of the better free ones (as of a year ago) that I've used.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2017-12-12T23:30:59.670" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23020" PostTypeId="1" CreationDate="2017-12-13T06:23:51.893" Score="1" ViewCount="781" Body="&lt;p&gt;Is it possible to convert video to panorama in android using  FFmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found below command from this &lt;a href=&quot;https://github.com/ibaaj/awesome-OpenSourcePhotography#video-to-panorama/&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;link&quot;&gt;https://github.com/ibaaj/awesome-OpenSourcePhotography#video-to-panorama&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.avi -r 5 -qscale 3  tmp/images/image-%3d.jpg&#xA;pto_gen -o tmp/hugin.pto tmp/images/*.jpg&#xA;cpfind --multirow -o tmp/hugin.pto tmp/hugin.pto&#xA;cpclean -o tmp/hugin.pto tmp/hugin.pto&#xA;linefind -o tmp/hugin.pto tmp/hugin.pto&#xA;autooptimiser -a -l -s -m -o tmp/hugin.pto tmp/hugin.pto&#xA;pano_modify -o tmp/hugin.pto --center --fov=AUTO --canvas=70% tmp/hugin.pto&#xA;pto2mk -o tmp/hugin.mk -p tmp/output tmp/hugin.pto&#xA;make -f tmp/hugin.mk all&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any idea how can I use this for Android or any other helpful command, it would be very helpful !!!&lt;/p&gt;&#xA;" OwnerUserId="16211" LastActivityDate="2017-12-13T09:12:12.117" Title="Video to Panorama in Android" Tags="|video|ffmpeg|android|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23021" PostTypeId="2" ParentId="23010" CreationDate="2017-12-13T08:02:29.470" Score="2" Body="&lt;p&gt;I was able to produce a normalized video file by doing the following:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Extracting audio stream from my MPEG-PS video file using ffmpeg and using &lt;code&gt;-acodec aac&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Removing audio stream from the original MPEG-PS video file using ffmpeg and &lt;code&gt;-v:c copy&lt;/code&gt; and using &lt;code&gt;-t&lt;/code&gt; option to specify the actual duration of the video.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Merging the two files together. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Result is a file that is playable in any video player. Tested on VLC, MPC-HC.&lt;/p&gt;&#xA;" OwnerUserId="20866" LastActivityDate="2017-12-13T08:02:29.470" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23022" PostTypeId="2" ParentId="23020" CreationDate="2017-12-13T09:12:12.117" Score="1" Body="&lt;p&gt;While that command may well be the right one to convert video to panorama in ffmpeg, you don't get ffmpeg by default on Android.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can get a version from the &lt;a href=&quot;https://sourceforge.net/projects/ffmpeg4android/&quot; rel=&quot;nofollow noreferrer&quot;&gt;SourceForge FFmpeg for Android project&lt;/a&gt;, but I'll warn you that compilation may have its challenges. We have an &lt;a href=&quot;https://stackoverflow.com/questions/4725773/ffmpeg-on-android&quot;&gt;old question on StackOverflow&lt;/a&gt; on this. Top answer there gives some detail on these headings:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Build static libraries of ffmpeg for Android. &lt;/li&gt;&#xA;&lt;li&gt;Create a dynamic library wrapping ffmpeg functionality using the Android NDK. &lt;/li&gt;&#xA;&lt;li&gt;Use the ffmpeg-wrapping dynamic library from your java sources. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Any questions on the technical implementation / compilation aspects should be raised over on Stack Overflow (or possibly Android Stack Exchange)&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2017-12-13T09:12:12.117" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23023" PostTypeId="1" CreationDate="2017-12-13T13:27:36.537" Score="3" ViewCount="42" Body="&lt;p&gt;Does such a program exist whereby I can query a keyword in a database of all my transcript and audio content, and all instances/time-stamps will be displayed? The goal is to prevent my editors from having to do the manual search, as we need to create many trailers very quickly each week.&lt;/p&gt;&#xA;" OwnerUserId="20878" LastActivityDate="2018-01-13T04:08:06.933" Title="Does a Content Management Tool/Software exist to help me quickly build video trailers from a large collection of content?" Tags="|video-editor|editing|software-recommendation|video-recording|post-production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23024" PostTypeId="1" AcceptedAnswerId="23026" CreationDate="2017-12-13T13:37:45.333" Score="3" ViewCount="1980" Body="&lt;p&gt;I would prefer to achieve this with my iPad, but I also have an iMac if necessary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want is to record my own handwriting and put the resulting video in real time on top of another video. An app called &lt;em&gt;Video Brush&lt;/em&gt; does this (by writing directly on the video), but the footage it exports is unusable due to being jumpy, like it had export issues. Another app called &lt;em&gt;Write-on Video&lt;/em&gt; gets close, but the writing just appears. It doesn’t show the writing in motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a few apps that allow me to achieve this on a white background (VideoScribe, Adobe Sketch recording the screen, etc..)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TLDR; is there any way for me to either write directly on a video and make that writing part of the video or to write/draw on video with a transparent background?&lt;/p&gt;&#xA;" OwnerUserId="20879" LastActivityDate="2019-01-06T10:01:45.370" Title="Is there a way to record my handwriting and/or drawing as a transparent video in motion?" Tags="|software-recommendation|digital-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23025" PostTypeId="1" AcceptedAnswerId="23027" CreationDate="2017-12-13T14:02:12.187" Score="3" ViewCount="767" Body="&lt;p&gt;I have been watching a lot of shows on Netflix lately in French, (please note the original language is English, so it is dubbed) with French subtitles. I find that the subtitles rarely match what is actually being spoken!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example someone will say 'bien sûr' orally, but the subtitles will say 'd'accord'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is one of many examples, long sentences will usually be completely different.&lt;/p&gt;&#xA;" OwnerUserId="20880" LastActivityDate="2017-12-13T16:08:19.163" Title="Subtitles do not match spoken dialogue. Why?" Tags="|sync|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23026" PostTypeId="2" ParentId="23024" CreationDate="2017-12-13T14:56:28.087" Score="0" Body="&lt;p&gt;I found a solution, beit a bit ineligant. I screen-record myself drawing in white on a green background using Adobe Sketch. Then use Filmaker Pro’s green screen feature to put in a different background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Still let me know if you guys have any other ideas.&lt;/p&gt;&#xA;" OwnerUserId="20879" LastActivityDate="2017-12-13T14:56:28.087" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23027" PostTypeId="2" ParentId="23025" CreationDate="2017-12-13T15:26:58.473" Score="2" Body="&lt;p&gt;This is an educated guess as I'm not sure anyone can give a concrete answer as to this particular show's specific reason, but since it was dubbed, there's a solid possibility that the subtitles are a translation of the English subtitles while the voice over may have been translated by the dubbing team and potentially altered by what the voice over actors could deliver with a decent dub.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my experience, not all shows are run with a strict adherence to the script.  Changes sometimes need to be made for actors to deliver naturally and there is often some flexibility in exact lines.  If the same flexibility was extended to the dub team, then it seems quite likely that they would deviate from the exact script translation.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If they are using the same subtitle timing for multiple languages, then it might not have been worth having someone sit through it and dictate the subtitles and try to align them to the proper markers vs simply directly translating the existing English subtitles.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2017-12-13T16:08:19.163" LastActivityDate="2017-12-13T16:08:19.163" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="23028" PostTypeId="1" CreationDate="2017-12-13T08:04:20.020" Score="1" ViewCount="139" Body="&lt;p&gt;I was wondering if there was a way of identifying how many hours of video has been shot with my canon 70d? Maybe a 3rd party software someone can recommend. It would be much appreciated thanks.&lt;/p&gt;&#xA;" OwnerDisplayName="Chester D" LastActivityDate="2017-12-13T15:31:51.930" Title="Minutes of video shot on Canon dslr" Tags="|canon|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23029" PostTypeId="2" ParentId="23028" CreationDate="2017-12-13T11:54:40.023" Score="1" Body="&lt;p&gt;To the best of my knowledge there is no way to determine how much time a Canon EOS camera has been used recording video because Canon cameras keep no record of total time recording video. If they do it is a very closely guarded secret.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most Canon cameras &lt;em&gt;do&lt;/em&gt; internally record each time the shutter is activated. It keeps a separate count for activations used to make still images using the viewfinder and for activations used to put the camera into Live View mode, whether for recording still images or video using Live View.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For many Canon EOS cameras the shutter count for still images using the viewfinder can be retrieved using tools based on the Canon &lt;em&gt;Software Developer's Kit&lt;/em&gt; for specific models. For other models it is more difficult. In either case, the total number of activations reported does &lt;em&gt;not&lt;/em&gt; include Live View shutter movements.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The internal count for shutter activations used to access Live View can only be retrieved by proprietary hardware/software available to Canon Service Centers and other Canon authorized service providers. When sending a camera to a Canon Service Center for cleaning or repair one can request a shutter count report that will include all shutter actuations in the camera's history (or, if the shutter has been replaced in the past, all actuations since the counter was reset to &quot;zero&quot; following the shutter replacement).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I can find no reference to - and have never heard of  - the option to have a report generated revealing the total video recording time for a Canon EOS camera one can probably conclude that such a capability is not built in to Canon EOS cameras.&lt;/p&gt;&#xA;" OwnerUserId="4089" OwnerDisplayName="Michael Clark" LastActivityDate="2017-12-13T11:54:40.023" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23031" PostTypeId="2" ParentId="23023" CreationDate="2017-12-14T03:20:28.963" Score="1" Body="&lt;p&gt;Convert all your transcriptions to subtitles (with timestamps) and save as one big plain text file, then just use ordinary search tools. This question more related to software for movies catalog.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I think, you want not just keywords. You want &quot;hot&quot; places from your videos. I experimented a bit with automatic trailer creation:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://files.catbox.moe/afoyu2.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://files.catbox.moe/afoyu2.mp4&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://files.catbox.moe/hu91ip.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://files.catbox.moe/hu91ip.mp4&lt;/a&gt; (same, but other song)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://files.catbox.moe/mzhc7v.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://files.catbox.moe/mzhc7v.mp4&lt;/a&gt; (funny bug: credits as scene)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;There videos was produced in full automatic way, including scene selection, beat matching and re-timing. As you can see, this is very cool, but not perfect. So, I not finished this tool.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2017-12-14T03:20:28.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23034" PostTypeId="2" ParentId="22059" CreationDate="2017-12-14T18:34:26.527" Score="5" Body="&lt;p&gt;I've found how to get this information from color primaries attribute. Considering color primaries BT.2020 as a HDR video.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mediainfo video.mp4 --Inform=&quot;Video;%colour_primaries%&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In this example above, if the return of the command is &lt;strong&gt;BT.2020&lt;/strong&gt; so I consider the video as HDR. &#xA;Otherwise SDR.&lt;/p&gt;&#xA;" OwnerUserId="2927" LastActivityDate="2017-12-14T18:34:26.527" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23035" PostTypeId="1" CreationDate="2017-12-14T18:45:52.017" Score="3" ViewCount="504" Body="&lt;p&gt;I need to run a predefined set of filters on WAV files using Audition. The commands themselves need to be executed on the command line; I don't have the option of using Audition's Batch processing because this is part of a production pipeline I'm building. How can I automate the process of Audition starting up, opening a file, running a set of filters, saving file and closing?&lt;/p&gt;&#xA;" OwnerUserId="2811" LastEditorUserId="14523" LastEditDate="2017-12-14T19:09:00.647" LastActivityDate="2017-12-14T19:09:00.647" Title="Automating audio processing in Adobe Audition" Tags="|audio|automation|audition|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23038" PostTypeId="1" CreationDate="2017-12-14T21:34:01.527" Score="2" ViewCount="23" Body="&lt;p&gt;I’m using the current version, 12.0.0 “Haberdasher” on 64-bit Windows.&lt;/p&gt;&#xA;&lt;p&gt;The auto-tracking feature did not do anything.  I suspect that it only looks at the content of the clip it appears in, rather than the whole image.  So, examples use it to blur a face (mask attached to an effect on a clip), while the common example of using masks to punch holes in a clip via the opaque control is silently ignored, and that is always illustrated without any tracking.&lt;/p&gt;&#xA;&lt;p&gt;This seems like a common thing to do!  So is there a different technique that I should be using to achieve this, or some trick I’m missing to make it work usefully?&lt;/p&gt;&#xA;&lt;h1&gt;A specific problem&lt;/h1&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/h6_x4mPubXo&quot; rel=&quot;nofollow noreferrer&quot;&gt;My video&lt;/a&gt; of a band performance did not record the projected background slides very well, as you might expect.&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/gWRyU.jpg&quot; alt=&quot;band performance 1&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;So, I imported the media that was being projected, and layered it on top of the recorded video.  I used rotation, position, and scale of that clip to put it where it belongs.&lt;/p&gt;&#xA;&lt;p&gt;That looks great, and I’m happy with the effect.  But at the end of the performance:&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/yfzfC.jpg&quot; alt=&quot;band performance 2&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;The top of the pipa blocks the screen as they take their bow and start to walk off.  (See blue circle annotation on image above)&lt;/p&gt;&#xA;&lt;p&gt;So, I added a mask to the opaque control for the screen, inverted mode, roughly outlining the incursion.&lt;/p&gt;&#xA;&lt;p&gt;However, it would not automatically track.  My guess is that the tracking logic looks at the layer or clip it is a part of, not the complete composite: the hole is in V2 and needs to track the object in V1.  Or, perhaps it’s because the clip in question is a “basic graphics” thing, with the blank screen being a drawn rectangle.&lt;/p&gt;&#xA;&lt;p&gt;For whatever reason, I had to do it completely manually.&lt;/p&gt;&#xA;&lt;h1&gt;Recap&lt;/h1&gt;&#xA;&lt;p&gt;Is there a better way to have done this?&lt;/p&gt;&#xA;" OwnerUserId="9268" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-12-14T21:46:36.697" Title="proper handling of tracking masks in Premiere" Tags="|premiere|tracking|compositing|mask|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23039" PostTypeId="1" CreationDate="2017-12-15T02:23:59.010" Score="-1" ViewCount="151" Body="&lt;p&gt;I've learnt and done some video editing in Blender and I would like to buy a computer that gives me more power. What should I look for? As much RAM as possible? Will a GPU card make a difference?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Remark: It's only video editing in Blender, and lots of encoding with ffmpeg. No 3D or gaming. I'm particularly interested in knowing wether the GPU would make a substantial difference in that context or if it's better to simply aim for as much RAM as possible.&lt;/p&gt;&#xA;" OwnerUserId="4658" LastEditorUserId="4658" LastEditDate="2017-12-15T15:37:59.220" LastActivityDate="2017-12-15T15:37:59.220" Title="What kind of desktop computer is required to edit video in Blender?" Tags="|video|editing|software|hardware|blender|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="23040" PostTypeId="2" ParentId="23039" CreationDate="2017-12-15T09:21:19.160" Score="1" Body="&lt;p&gt;Are you using it just for Video Editing or are you doing 3D graphics work as well ??&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will need to look at the minimum and recommended specs for the software you are using and make a decision really. It is hard to give a clear cut answer to these questions, as it would also depend on your budget. If you have £10000 spend then go for the biggest baddest you can get but if you only have £500 then you might be limiting yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Minimum (basic usage) hardware&#xA;32-bit dual core 2Ghz CPU with SSE2 support.&#xA;2 GB RAM.&#xA;24 bits 1280×768 display.&#xA;Mouse or trackpad.&#xA;OpenGL 2.1 compatible graphics with 512 MB RAM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is quite a low requirement but the more complex work you do it will take longer to render, so getting more Ram, CPU and GPU will make things run quicker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A Quad core CPU&#xA;8+ GB ram&#xA;A decent GPU (2gb+)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The above specs are pretty much standard for most basic gaming PC's but this is where I would start, you will need to decide on how much work you are going to do and what kind of work as 3D modeling and rendering can take a while to render depending on the complexities you are doing.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2017-12-15T09:21:19.160" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="23042" PostTypeId="2" ParentId="21857" CreationDate="2017-12-15T12:30:25.420" Score="2" Body="&lt;p&gt;Your initial assumption about damage risk is a little too general. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have taken thousands of photos, and a lot of video, having the sun within the sensor's image. No damage, and for good reason. There &lt;em&gt;could&lt;/em&gt; have been under some conditions, so don't take that as a fully general statement. I'll explain below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also driven thousands of miles with a (smart phone) digital camera sensor aimed directly at the sun (not actively taking a picture yet still aimed there!) No damage. The whole phone got hot and I had to aim car A/C at it, but that's a different issue :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what's going on? First, when IS it a problem?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The primary risk is to the human eye. You don't want to keep your eye looking at an optical viewfinder for long, with the sun in place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The big photography risk is with a long telephoto lens. Use a 500mm to take a stitchable series for 360VR, and you'll be in trouble when it aims at the sun. Even 200mm requires care (I've done this.) But a normal 360VR setup? Nope.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the difference? Two:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, our eyes, especially combined with big optical telephoto lenses, are analog and continuous: the sun's heat, focused to a spot on the retina, definitely causes damage very soon. Magnify that with a telescope or 500mm lens, and you've got tremendous heat. A DSLR only opens its shutter for brief moments under normal conditions. I'll discuss digicams/smartphones next.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, consider the light gathered and focused on the sensor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the case of a DSLR with a wide angle lens, it's not a big deal. The sun is only a tiny portion of the view. Very little heat gathered.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the case of a non-SLR digicam, smart phone or 360VR, the lens surface is not that much larger than the sensor, and again the sun isn't the only thing in view. Hence, much less heat.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, the sun IS a problem when a significant amount of its heat is gathered and focused on a point. True with our eyes, true with telephoto lenses. Not true with wide angle let alone 360VR. Not true with small lenses matched to small sensors (phones.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps!&lt;/p&gt;&#xA;" OwnerUserId="20897" LastActivityDate="2017-12-15T12:30:25.420" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23043" PostTypeId="1" AcceptedAnswerId="23045" CreationDate="2017-12-15T13:54:58.043" Score="1" ViewCount="2710" Body="&lt;p&gt;I am using ffmpeg to first trim and crop the video, then take the output and concatenate a reverse of that onto the video. The way I'm doing it now requires me to run two commands. Is there a way to simplify it into a single command?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently, I'm running&#xA;        &lt;code&gt;ffmpeg -i MVI_0289.mov -ss 00:00:10.50 -t 3 -vf &quot;crop=720:720:600:80&quot; -movflags +faststart -an OUTPUT.mp4&lt;/code&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;and then&#xA;        &lt;code&gt;ffmpeg -i OUTPUT.mp4 -filter_complex &quot;[0:v]reverse,fifo[r];[0:v][r] concat=n=2:v=1 [v]&quot; -map &quot;[v]&quot; OUTPUT2.mp4&lt;/code&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update#1: Running &lt;code&gt;ffmpeg -ss 00:00:10.50 -t 3 -i MVI_0289.mov&#xA;-filter_complex &quot;reverse,fifo[r];[0:v][r] concat=n=2:v=1,crop=720:720:600:80[v]&quot; -map &quot;[v]&quot; OUTPUT2.mp4&#xA;&lt;/code&gt; gives the following error:&#xA;&lt;code&gt;ffmpeg -ss 00:00:10.50 -t 3 -i MVI_0289.mov&#xA;ffmpeg version 3.4 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with Apple LLVM version 9.0.0 (clang-900.0.38)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.4 --enable-shared --enable-pthreads --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-gpl --enable-ffplay --enable-libmp3lame --enable-libx264 --enable-libxvid --enable-opencl --enable-videotoolbox --disable-lzma&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libavresample   3.  7.  0 /  3.  7.  0&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'MVI_0289.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&lt;br&gt;&#xA;    minor_version   : 537331968&#xA;    compatible_brands: qt  CAEP&#xA;    com.apple.quicktime.make: Canon&#xA;    com.apple.quicktime.model: Canon EOS 70D&#xA;    com.apple.quicktime.rating.user: 0.000000&#xA;    creation_time   : 2017-12-09T23:42:21.000000Z&#xA;  Duration: 00:00:19.19, start: 0.000000, bitrate: 25320 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 25277 kb/s, 23.98 fps, 23.98 tbr, 24k tbn, 48k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-12-09T23:42:21.000000Z&#xA;      timecode        : 00:16:56:04&#xA;    Stream #0:1(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2017-12-09T23:42:21.000000Z&#xA;      timecode        : 00:16:56:04&#xA;At least one output file must be specified&#xA;-filter_complex &quot;reverse,fifo[r];[0:v][r] concat=n=2:v=1,crop=720:720:600:80[v]&quot; -map &quot;[v]&quot; OUTPUT2.mp4&#xA;-bash: -filter_complex: command not found&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="20900" LastEditorUserId="20900" LastEditDate="2017-12-16T01:38:56.813" LastActivityDate="2017-12-16T03:40:12.510" Title="How to trim, crop, and concatenate a reverse into video at the same time" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23044" PostTypeId="1" AcceptedAnswerId="23051" CreationDate="2017-12-15T14:06:23.290" Score="0" ViewCount="33" Body="&lt;p&gt;With I could create an animation using arcs in After Effects as the example of the link below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://goo.gl/images/RAaKJX&quot; rel=&quot;nofollow noreferrer&quot;&gt;Animation&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to animate only the region where the arcs are opening.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In After Effects I can not create arcs. My attempts were only with circles.&lt;/p&gt;&#xA;" OwnerUserId="18258" LastActivityDate="2017-12-16T08:59:40.987" Title="Animating arcs waves" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23045" PostTypeId="2" ParentId="23043" CreationDate="2017-12-15T14:36:52.920" Score="1" Body="&lt;p&gt;Run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:00:10.50 -t 3 -i MVI_0289.mov -filter_complex &quot;reverse,fifo[r];[0:v][r] concat=n=2:v=1,crop=720:720:600:80[v]&quot; -map &quot;[v]&quot; OUTPUT2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1760" LastEditDate="2017-12-16T03:40:12.510" LastActivityDate="2017-12-16T03:40:12.510" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="23046" PostTypeId="1" CreationDate="2017-12-15T15:45:30.633" Score="1" ViewCount="220" Body="&lt;p&gt;I have a 3 minute video I'd like to embed on a web page. The problem is that despite best efforts, the file size of the video ends up being over 30 mb. I would like the size to be near 10 mb. I have over-compressed the video to the point where it is barely watchable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I have used fast start encoding, compressed bit rate and smaller frame size as low as 300 width, exported for web including moving the moov atom to the beginning. Still the file is too large.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How does one get hd mp4 video small enough for web without losing an insane amount of quality?&lt;/p&gt;&#xA;" OwnerUserId="16722" LastActivityDate="2017-12-15T15:45:30.633" Title="Optimizing HTML5 video for best quality" Tags="|encoding|video-quality|compression|webvideos|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23048" PostTypeId="1" CreationDate="2017-12-15T20:01:41.740" Score="1" ViewCount="101" Body="&lt;p&gt;My client is unhappy with the outcome of evening dance footage since we didn't use a recording of the actual music being played that evening. Instead we used clean music, the original CD recording of the particular songs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no contract signed, but client wants the actual audio recorded by the camera that evening, since it reflects the atmosphere of the evening more. The audio is mostly blown out though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would you do, offer a partial refund? &lt;/p&gt;&#xA;" OwnerUserId="20905" LastEditorUserId="18314" LastEditDate="2017-12-16T16:45:14.283" LastActivityDate="2017-12-16T16:48:40.067" Title="my client is unhappy with the video editing of the evening dancing as we havent used the actual audio but used songs that were playing that evening" Tags="|workflow|audio-quality|client-relations|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="23051" PostTypeId="2" ParentId="23044" CreationDate="2017-12-16T08:59:40.987" Score="1" Body="&lt;p&gt;I think you can achieve this effect using the built in Radio Waves effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/generate-effects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/after-effects/using/generate-effects.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think you can restrict the arc size.  If you can't, you could always mask the areas of the circle you don't want to see.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2017-12-16T08:59:40.987" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23053" PostTypeId="1" CreationDate="2017-12-10T19:59:21.823" Score="0" ViewCount="2726" Body="&lt;p&gt;I am creating a tool that generates frames of RGBA video and pipes it to ffmpeg to create an .mp4 video. Here is the command that I give ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -f rawvideo -vcodec rawvideo -s 960x540 -pix_fmt rgba -r 60 -i - &#xA;-an -c:v libx264 -pix_fmt yuv420p -b:v 995328k vigeo_demo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, the quality is very, very, poor. The video consists of around 2-px wide lines being drawn across the screen at various angles. The lines are very blurry and blocky. What could be the cause of this and how do I fix it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Things I've tried:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-q:v 0&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;crf 1&lt;/code&gt; (&lt;code&gt;crf 0&lt;/code&gt; gives me an error)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="20856" OwnerDisplayName="J''" LastActivityDate="2018-04-15T17:55:57.917" Title="Losslessly convert from RGBA rawvideo to H.264" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23054" PostTypeId="2" ParentId="23053" CreationDate="2017-12-11T05:35:58.080" Score="2" Body="&lt;p&gt;You are downsampling the chroma, so thin lines will lose definition. Either use full chroma sampling&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -f rawvideo -s 960x540 -pix_fmt rgba -framerate 60 -i - &#xA;       -c:v libx264 -pix_fmt yuv444p -crf 0 video_demo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or keep pixels as RGB.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -f rawvideo -s 960x540 -pix_fmt rgba -framerate 60 -i - &#xA;       -c:v libx264rgb -crf 0 video_demo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" OwnerDisplayName="Mulvya" LastActivityDate="2017-12-11T05:35:58.080" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23055" PostTypeId="2" ParentId="23048" CreationDate="2017-12-16T16:48:40.067" Score="2" Body="&lt;p&gt;I would suggest trying to combine the two audio feeds.  If you layer the room audio with the clean audio, it will probably help make things more usable.  Otherwise I would give the customer what they asked for.  Ultimately, I don't think it is your failing to have had blown out room audio when there would be no good reason to use the room audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As an aside, you should also consider the legal ramifications of using either the room audio or clean audio.  Unless you have rights to the songs being played, you are most likely violating copyright and if they go posting it online, there is a reasonable enough chance to find yourself sitting on the wrong end of a lawsuit, again depending on jurisdiction and how much attention the video gets.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-12-16T16:48:40.067" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23056" PostTypeId="1" CreationDate="2017-12-16T23:34:09.403" Score="0" ViewCount="60" Body="&lt;p&gt;We would like to send a video/audio stream from an auditorium in our retirement community to a large screen TV in the health center.  They are in the same building but probably 500 feet apart.  There is good wi-fi coverage in both areas. We need something VERY user friendly on the health center (receiving side) of the operation.  Anything more complicated that switching the input on the big screen TV from one HDMI port to another is not going to work.  We have demonstrated the potential of doing it using YouTube Live and with a couple of &quot;baby monitor&quot; apps using an Android TV Box but that is too complicated on the health center side. Any suggestions would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="20913" LastActivityDate="2018-07-18T19:15:37.603" Title="Video Broadcast within Retirement Community" Tags="|video|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23060" PostTypeId="2" ParentId="23056" CreationDate="2017-12-18T19:12:21.923" Score="1" Body="&lt;p&gt;Short of doing a live stream which you've already ruled out, your best bet sounds like it will be a fiber link between the auditorium and the health center.  HD-SDI has a technical limit of around 100 meters, so you would need a booster in between to make use of SDI (which would be a coax run and possibly a bit cheaper).  Neither of these options can be completed for less than a few hundred dollars in cabling alone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other than that, your best bet is to provide training on how to use the live stream and possibly setup a device like a roku that can be adjusted remotely over the network by someone in the main auditorium.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-12-18T19:12:21.923" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23061" PostTypeId="1" AcceptedAnswerId="23063" CreationDate="2017-12-18T22:08:19.987" Score="1" ViewCount="790" Body="&lt;p&gt;I'm trying to make a music video for Youtube, with a one stable non-moving image, When I tried to export it at Youtube setting 1080p, the estimated file size was around 500 MB, which is too big for me to upload it to YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering if there are any better settings to keep audio quality, but lower the video size as much as possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or should I be using another editing software?&lt;/p&gt;&#xA;" OwnerUserId="20926" LastEditorUserId="14523" LastEditDate="2017-12-19T01:15:54.280" LastActivityDate="2017-12-21T06:19:22.970" Title="Adobe Premiere Video Size with static image" Tags="|premiere|editing|youtube|adobe|music|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23062" PostTypeId="2" ParentId="23056" CreationDate="2017-12-18T23:20:06.870" Score="0" Body="&lt;p&gt;Another option would be the use of video over IP, but it tends to be pricey (~$1000). You are basically sending video over the network. I used Avenview with good results. I cannot remember the latency though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.bhphotovideo.com/c/product/1235919-REG/avenview_hdm_c6mwip_set_h264_hdmi_over_ip.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.bhphotovideo.com/c/product/1235919-REG/avenview_hdm_c6mwip_set_h264_hdmi_over_ip.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1835" LastActivityDate="2017-12-18T23:20:06.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23063" PostTypeId="2" ParentId="23061" CreationDate="2017-12-19T05:32:35.010" Score="2" Body="&lt;p&gt;If you've got your sound file &quot;input.wav&quot; and your image &quot;input.png&quot; ffmpeg can make the movie without any need to go through an editor. FFMPEG is &lt;a href=&quot;http://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;available for  free download&lt;/a&gt; for your favourite OS. If you're a'feared of the command line, &lt;a href=&quot;https://duckduckgo.com/?q=ffmpeg%20gui&amp;amp;t=ffab&amp;amp;ia=web&quot; rel=&quot;nofollow noreferrer&quot;&gt;duckduckgo for a GUI front end&lt;/a&gt;, there are lots out there.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i input.png -i input.wav -shortest -pix_fmt yuv420p -tune &quot;stillimage&quot; -r 1 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;to break it down:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the ffmpeg application is controlled by specifying the options and values thus: &lt;code&gt;-option value&lt;/code&gt;. Note the dash before the option. Some options don't have values, like the &lt;code&gt;-shortest&lt;/code&gt; option (see below). Sometimes they are specified to apply to a particular stream, like &lt;code&gt;-r:v&lt;/code&gt; sets the frame rate for the video stream, or &lt;code&gt;-c:a&lt;/code&gt; sets the codec for the audio stream.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-loop&lt;/code&gt; will repeat the png frame forever, you specify it before the input so that fffmpeg knows you mean loop the input, not the output.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-i input.png&lt;/code&gt; means input, then you specify the path to your image. Easiest way to get the path is to drag the file into the terminal window. Pretty much any image format under the sun will work&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-i input.wav&lt;/code&gt; is the sound, once again, pretty much any sound file will work, and you can get a correctly escaped path by dragginating it.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-shortest&lt;/code&gt; stops encoding when the shortest input ends—since the image is looped, and therefore infinitely long, it will literally go on encoding until your hard drive is full (or you hit &lt;kbd&gt;q&lt;/kbd&gt; or &lt;kbd&gt;ctrl&lt;/kbd&gt;&lt;kbd&gt;c&lt;/kbd&gt;) if you neglect to add this&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-pix_fmt yuv420p&lt;/code&gt; makes sure you're using &lt;a href=&quot;https://en.wikipedia.org/wiki/Chroma_subsampling#Sampling_systems_and_ratios&quot; rel=&quot;nofollow noreferrer&quot;&gt;4:2:0&lt;/a&gt; colour, as most image formats will be 4:4:4, so that will save some space&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-tune &quot;stillimage&quot;&lt;/code&gt; tells the encoder (by default the fabulous x.264 encoder, which is way better than anything Adobe use) to optimise its settings for still images. There are &lt;a href=&quot;https://superuser.com/questions/564402/explanation-of-x264-tune#564404&quot;&gt;a few other tunings&lt;/a&gt; like &quot;film&quot; and &quot;animation&quot;, they save you having to understand all the arcane tweaks that you can do to get the most out of your encode.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-r 1&lt;/code&gt; sets the fram rate to 1 fps for the video. You could perhaps go lower, I'm not sure if it would cause problems.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;output.mp4&lt;/code&gt; is the name of your output file. FFMPEG recognises the extension and automatically uses the right encoder and multiplexer, so you don't need to know what the difference between encoding and multiplexing even is. Since this isn't an option or value there is no &lt;code&gt;-&lt;/code&gt; dash at the start.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2017-12-21T06:19:22.970" LastActivityDate="2017-12-21T06:19:22.970" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23064" PostTypeId="1" AcceptedAnswerId="23065" CreationDate="2017-12-19T05:38:45.300" Score="0" ViewCount="89" Body="&lt;p&gt;I've never fully understood what histograms in LR/PS and Lumetri scopes in PP are telling me so perhaps this is why I don't understand the need for them but why can't I just look at the image and see what needs adjusting? I'm new to video but I've been doing it this way with photos for a long time and if there's a difference between the results I get and others' my eye isn't trained enough to see it. I don't have any formal education on the subjects though.&lt;/p&gt;&#xA;" OwnerUserId="5607" LastActivityDate="2017-12-19T07:25:04.710" Title="Why use Lumetri scopes?" Tags="|color-correction|color-grading|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23065" PostTypeId="2" ParentId="23064" CreationDate="2017-12-19T07:25:04.710" Score="2" Body="&lt;p&gt;The scopes are objective and absolute measures of the levels in your image. They aren't susceptible to the vagaries of human perception—colours and levels looking different depending on context—and they work even on un-calibrated monitors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Scopes are particularly important where viewing conditions aren't optimal - that's why pro cameras will usually have a histogram or scope function. If you're squinting at a monitor in bright daylight you'll have a very different idea of the exposure than if you're inside, and without an absolute measure of the levels it can be very hard to judge what's correctly exposed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your viewing setup is correctly set-up and calibrated you can certainly get away without them, but you might find that learning how to read them may give you an insight into the process that you don't get just from looking at the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course the scopes won't tell you when something looks good, that's your job, but they will ensure that what looks good for you will look good for others.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2017-12-19T07:25:04.710" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23067" PostTypeId="1" CreationDate="2017-12-19T19:56:00.030" Score="1" ViewCount="45" Body="&lt;p&gt;Is it possible to improve the quality of a movie just be rediting the finished product to have more fps?  Or do you still need the original raw footage to actually increase the quality?&lt;/p&gt;&#xA;" OwnerUserId="20935" LastActivityDate="2017-12-19T20:29:02.237" Title="Is it possible to get a better quality by increase the frame rate, even if I don't have the raw footage?" Tags="|framerate|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23068" PostTypeId="2" ParentId="23067" CreationDate="2017-12-19T20:29:02.237" Score="2" Body="&lt;p&gt;If you are really talking about frame rate, then if you tried to invent new frames while maintaining the speed of playback, your quality level would go down (likely significantly).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you didn't mind it looking like someone was watching a fast forwarded version of your video, increasing the frame rate should have some increase in quality as long as the frame rate isn't too high already due to the dithering impact over time resulting in better apparent quality (this is why still frames of video don't look as good as playing the video.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you actually meant bit rate (the amount of data being used to encode each frame), then no, all that would happen on the re-encode is that your existing problems would be preserved with less additional quality loss, but it is impossible to restore quality by increasing bitrate.  The information is already lost.  In fact, if you do highly lossy compression more than once, the quality loss starts growing exponentially as the random noise destroys the effectiveness of compression algorithms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is why renders are run from the highest available source so that the compression can make the best use of real information without having to waste bits on trying to compress noise.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2017-12-19T20:29:02.237" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23071" PostTypeId="1" CreationDate="2017-12-20T07:47:30.157" Score="1" ViewCount="737" Body="&lt;p&gt;I have a complex ffmpeg command that generates video from several static sources.  I would like to be able to seek forward and backward through the output without waiting for the whole file to be generated.  That way, I can check that it's going to come out right without waiting so long.  Is that possible with streaming?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've managed to stream the output with the following command, but when I connect to the resulting stream using ffplay, seeking is unreliable.  I'm able to move forward and backward a little bit, but the audio-video sync is frequently off and the video often stops playing or goes into slow motion.  Is there something else I need to do in order to make this work smoothly?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/usr/bin/ffmpeg \&#xA;  -ss 161.4 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 182.9 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 265.4 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 2982.4 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 2959 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 2965 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 2970 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3023 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3056.4 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 3074.4 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 3051 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3088 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3121.4 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 3231.4 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 3236.4 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 3333.4 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 3338.4 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 3472.4 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 3449 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3455 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3488.4 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 3656.4 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 3633 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3641 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3674.4 \&#xA;  -t 4 \&#xA;  -i mono.m4a \&#xA;  -ss 3650 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3666 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3699.4 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 3741.4 \&#xA;  -t 5 \&#xA;  -i mono.m4a \&#xA;  -ss 133 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 154.5 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 200 \&#xA;  -t 5 \&#xA;  -i Encode_1080P_35.mp4 \&#xA;  -ss 237 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 2917 \&#xA;  -t 5 \&#xA;  -i Encode_1080P_35.mp4 \&#xA;  -ss 2954 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 2922 \&#xA;  -t 5 \&#xA;  -i Encode_1080P_35.mp4 \&#xA;  -ss 2959 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 2928 \&#xA;  -t 5 \&#xA;  -i Encode_1080P_35.mp4 \&#xA;  -ss 2965 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 2970 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 2933 \&#xA;  -t 5 \&#xA;  -i Encode_1080P_35.mp4 \&#xA;  -ss 3023 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 2986 \&#xA;  -t 5 \&#xA;  -i Encode_1080P_35.mp4 \&#xA;  -ss 3028 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 2991 \&#xA;  -t 5 \&#xA;  -i Encode_1080P_35.mp4 \&#xA;  -ss 3046 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3009 \&#xA;  -t 5 \&#xA;  -i Encode_1080P_35.mp4 \&#xA;  -ss 3051 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3014 \&#xA;  -t 5 \&#xA;  -i Encode_1080P_35.mp4 \&#xA;  -ss 3088 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3051 \&#xA;  -t 5 \&#xA;  -i Encode_1080P_35.mp4 \&#xA;  -ss 3093 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3056 \&#xA;  -t 5 \&#xA;  -i Encode_1080P_35.mp4 \&#xA;  -ss 3203 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3166 \&#xA;  -t 5 \&#xA;  -i Encode_1080P_35.mp4 \&#xA;  -ss 3171 \&#xA;  -t 5 \&#xA;  -i Encode_1080P_35.mp4 \&#xA;  -ss 3208 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3268 \&#xA;  -t 5 \&#xA;  -i Encode_1080P_35.mp4 \&#xA;  -ss 3305 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3310 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3444 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3449 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3455 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3460 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3628 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3633 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3641 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3646 \&#xA;  -t 4 \&#xA;  -i 0-1.mov \&#xA;  -ss 3650 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3666 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3671 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -ss 3713 \&#xA;  -t 5 \&#xA;  -i 0-1.mov \&#xA;  -framerate 29.97002997002997 \&#xA;  -loop 1 \&#xA;  -i biolisp_logo.png \&#xA;  -filter_complex &quot;[text-overlay-4][0:0][text-overlay-7][1:0][text-overlay-15][2:0][text-overlay-23][3:0][text-overlay-31][4:0][text-overlay-39][5:0][text-overlay-47][6:0][text-overlay-55][7:0][text-overlay-63][8:0][text-overlay-71][9:0][text-overlay-79][10:0][text-overlay-87][11:0][text-overlay-95][12:0][text-overlay-103][13:0][text-overlay-111][14:0][text-overlay-119][15:0][text-overlay-122][16:0][text-overlay-125][17:0][text-overlay-128][18:0][text-overlay-131][19:0][text-overlay-134][20:0][text-overlay-137][21:0][text-overlay-140][22:0][text-overlay-143][23:0][text-overlay-146][24:0][text-overlay-149][25:0][text-overlay-152][26:0][text-overlay-155][27:0][text-overlay-158][28:0] concat=n=29:v=1:a=1 [concat-video-0][concat-audio-1]; 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[crop-10]; [crop-10] scale=w=384.:h=216. [scale-11]; [scale-9][scale-11] overlay=main_w-overlay_w:0:shortest=1 [overlay-top-right-12]; [overlay-top-right-12] fps=29.97002997002997 [change-fps-13]; [change-fps-13] scale=w=1920:h=1080 [scale-14]; [scale-14] drawtext=text='ms p 3m57s-49m19s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:03\\\\:57\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-15]; [33:1] fps=29.97002997002997 [change-fps-16]; [change-fps-16] scale=w=1920:h=1080 [scale-17]; [34:1] crop=w=in_w*.9:h=in_h*.9:x=in_w*0.:y=in_h*0. [crop-18]; [crop-18] scale=w=384.:h=216. [scale-19]; [scale-17][scale-19] overlay=main_w-overlay_w:0:shortest=1 [overlay-top-right-20]; [overlay-top-right-20] fps=29.97002997002997 [change-fps-21]; [change-fps-21] scale=w=1920:h=1080 [scale-22]; [scale-22] drawtext=text='ms p 3m57s-49m19s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:49\\\\:14\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-23]; [35:1] fps=29.97002997002997 [change-fps-24]; [change-fps-24] scale=w=1920:h=1080 [scale-25]; [36:1] crop=w=in_w*.9:h=in_h*.9:x=in_w*0.:y=in_h*0. [crop-26]; [crop-26] scale=w=384.:h=216. [scale-27]; [scale-25][scale-27] overlay=main_w-overlay_w:0:shortest=1 [overlay-top-right-28]; [overlay-top-right-28] fps=29.97002997002997 [change-fps-29]; [change-fps-29] scale=w=1920:h=1080 [scale-30]; [scale-30] drawtext=text='ca p 49m19s-49m30s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:49\\\\:19\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-31]; [37:1] fps=29.97002997002997 [change-fps-32]; [change-fps-32] scale=w=1920:h=1080 [scale-33]; [38:1] crop=w=in_w*.9:h=in_h*.9:x=in_w*0.:y=in_h*0. [crop-34]; [crop-34] scale=w=384.:h=216. [scale-35]; [scale-33][scale-35] overlay=main_w-overlay_w:0:shortest=1 [overlay-top-right-36]; [overlay-top-right-36] fps=29.97002997002997 [change-fps-37]; [change-fps-37] scale=w=1920:h=1080 [scale-38]; [scale-38] drawtext=text='ca p 49m19s-49m30s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:49\\\\:25\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-39]; [39:1] fps=29.97002997002997 [change-fps-40]; [change-fps-40] scale=w=1920:h=1080 [scale-41]; [40:1] crop=w=in_w*.9:h=in_h*.9:x=in_w*0.:y=in_h*0. [crop-42]; [crop-42] scale=w=384.:h=216. [scale-43]; [scale-41][scale-43] overlay=main_w-overlay_w:0:shortest=1 [overlay-top-right-44]; [overlay-top-right-44] fps=29.97002997002997 [change-fps-45]; [change-fps-45] scale=w=1920:h=1080 [scale-46]; [scale-46] drawtext=text='ca pinv 49m30s-50m28s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:49\\\\:30\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-47]; [41:1] fps=29.97002997002997 [change-fps-48]; [change-fps-48] scale=w=1920:h=1080 [scale-49]; [42:1] crop=w=in_w*.9:h=in_h*.9:x=in_w*0.:y=in_h*0. [crop-50]; [crop-50] scale=w=384.:h=216. [scale-51]; [scale-49][scale-51] overlay=main_w-overlay_w:0:shortest=1 [overlay-top-right-52]; [overlay-top-right-52] fps=29.97002997002997 [change-fps-53]; [change-fps-53] scale=w=1920:h=1080 [scale-54]; [scale-54] drawtext=text='ca pinv 49m30s-50m28s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:50\\\\:23\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-55]; [43:1] fps=29.97002997002997 [change-fps-56]; [change-fps-56] scale=w=1920:h=1080 [scale-57]; [44:1] crop=w=in_w*.9:h=in_h*.9:x=in_w*0.:y=in_h*0. [crop-58]; [crop-58] scale=w=384.:h=216. [scale-59]; [scale-57][scale-59] overlay=main_w-overlay_w:0:shortest=1 [overlay-top-right-60]; [overlay-top-right-60] fps=29.97002997002997 [change-fps-61]; [change-fps-61] scale=w=1920:h=1080 [scale-62]; [scale-62] drawtext=text='ms pinv 50m28s-50m51s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:50\\\\:28\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-63]; [45:1] fps=29.97002997002997 [change-fps-64]; [change-fps-64] scale=w=1920:h=1080 [scale-65]; [46:1] crop=w=in_w*.9:h=in_h*.9:x=in_w*0.:y=in_h*0. [crop-66]; [crop-66] scale=w=384.:h=216. [scale-67]; [scale-65][scale-67] overlay=main_w-overlay_w:0:shortest=1 [overlay-top-right-68]; [overlay-top-right-68] fps=29.97002997002997 [change-fps-69]; [change-fps-69] scale=w=1920:h=1080 [scale-70]; [scale-70] drawtext=text='ms pinv 50m28s-50m51s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:50\\\\:46\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-71]; [47:1] fps=29.97002997002997 [change-fps-72]; [change-fps-72] scale=w=1920:h=1080 [scale-73]; [48:1] crop=w=in_w*.9:h=in_h*.9:x=in_w*0.:y=in_h*0. [crop-74]; [crop-74] scale=w=384.:h=216. [scale-75]; [scale-73][scale-75] overlay=main_w-overlay_w:0:shortest=1 [overlay-top-right-76]; [overlay-top-right-76] fps=29.97002997002997 [change-fps-77]; [change-fps-77] scale=w=1920:h=1080 [scale-78]; [scale-78] drawtext=text='ca pinv 50m51s-51m33s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:50\\\\:51\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-79]; [49:1] fps=29.97002997002997 [change-fps-80]; [change-fps-80] scale=w=1920:h=1080 [scale-81]; [50:1] crop=w=in_w*.9:h=in_h*.9:x=in_w*0.:y=in_h*0. [crop-82]; [crop-82] scale=w=384.:h=216. [scale-83]; [scale-81][scale-83] overlay=main_w-overlay_w:0:shortest=1 [overlay-top-right-84]; [overlay-top-right-84] fps=29.97002997002997 [change-fps-85]; [change-fps-85] scale=w=1920:h=1080 [scale-86]; [scale-86] drawtext=text='ca pinv 50m51s-51m33s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:51\\\\:28\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-87]; [51:1] fps=29.97002997002997 [change-fps-88]; [change-fps-88] scale=w=1920:h=1080 [scale-89]; [52:1] crop=w=in_w*.9:h=in_h*.9:x=in_w*0.:y=in_h*0. [crop-90]; [crop-90] scale=w=384.:h=216. [scale-91]; [scale-89][scale-91] overlay=main_w-overlay_w:0:shortest=1 [overlay-top-right-92]; [overlay-top-right-92] fps=29.97002997002997 [change-fps-93]; [change-fps-93] scale=w=1920:h=1080 [scale-94]; [scale-94] drawtext=text='ms pinv 51m33s-53m28s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:51\\\\:33\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-95]; [53:1] fps=29.97002997002997 [change-fps-96]; [change-fps-96] scale=w=1920:h=1080 [scale-97]; [54:1] crop=w=in_w*.9:h=in_h*.9:x=in_w*0.:y=in_h*0. [crop-98]; [crop-98] scale=w=384.:h=216. [scale-99]; [scale-97][scale-99] overlay=main_w-overlay_w:0:shortest=1 [overlay-top-right-100]; [overlay-top-right-100] fps=29.97002997002997 [change-fps-101]; [change-fps-101] scale=w=1920:h=1080 [scale-102]; [scale-102] drawtext=text='ms pinv 51m33s-53m28s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:53\\\\:23\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-103]; [55:1] fps=29.97002997002997 [change-fps-104]; [change-fps-104] scale=w=1920:h=1080 [scale-105]; [56:1] crop=w=in_w*.9:h=in_h*.9:x=in_w*0.:y=in_h*0. [crop-106]; [crop-106] scale=w=384.:h=216. [scale-107]; [scale-105][scale-107] overlay=main_w-overlay_w:0:shortest=1 [overlay-top-right-108]; [overlay-top-right-108] fps=29.97002997002997 [change-fps-109]; [change-fps-109] scale=w=1920:h=1080 [scale-110]; [scale-110] drawtext=text='ms p 53m28s-55m10s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:53\\\\:28\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-111]; [57:1] fps=29.97002997002997 [change-fps-112]; [change-fps-112] scale=w=1920:h=1080 [scale-113]; [58:1] crop=w=in_w*.9:h=in_h*.9:x=in_w*0.:y=in_h*0. [crop-114]; [crop-114] scale=w=384.:h=216. [scale-115]; [scale-113][scale-115] overlay=main_w-overlay_w:0:shortest=1 [overlay-top-right-116]; [overlay-top-right-116] fps=29.97002997002997 [change-fps-117]; [change-fps-117] scale=w=1920:h=1080 [scale-118]; [scale-118] drawtext=text='ms p 53m28s-55m10s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:55\\\\:05\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-119]; [59:1] fps=29.97002997002997 [change-fps-120]; [change-fps-120] scale=w=1920:h=1080 [scale-121]; [scale-121] drawtext=text='ms cv 55m10s-57m29s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:55\\\\:10\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-122]; [60:1] fps=29.97002997002997 [change-fps-123]; [change-fps-123] scale=w=1920:h=1080 [scale-124]; [scale-124] drawtext=text='ms cv 55m10s-57m29s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:57\\\\:24\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-125]; [61:1] fps=29.97002997002997 [change-fps-126]; [change-fps-126] scale=w=1920:h=1080 [scale-127]; [scale-127] drawtext=text='ca cv 57m29s-57m40s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:57\\\\:29\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-128]; [62:1] fps=29.97002997002997 [change-fps-129]; [change-fps-129] scale=w=1920:h=1080 [scale-130]; [scale-130] drawtext=text='ca cv 57m29s-57m40s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:57\\\\:35\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-131]; [63:1] fps=29.97002997002997 [change-fps-132]; [change-fps-132] scale=w=1920:h=1080 [scale-133]; [scale-133] drawtext=text='ms cv 57m40s-1h0m33s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=00\\\\:57\\\\:40\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-134]; [64:1] fps=29.97002997002997 [change-fps-135]; [change-fps-135] scale=w=1920:h=1080 [scale-136]; [scale-136] drawtext=text='ms cv 57m40s-1h0m33s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=01\\\\:00\\\\:28\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-137]; [65:1] fps=29.97002997002997 [change-fps-138]; [change-fps-138] scale=w=1920:h=1080 [scale-139]; [scale-139] drawtext=text='ca cv 1h0m33s-1h0m46s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=01\\\\:00\\\\:33\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-140]; [66:1] fps=29.97002997002997 [change-fps-141]; [change-fps-141] scale=w=1920:h=1080 [scale-142]; [scale-142] drawtext=text='ca cv 1h0m33s-1h0m46s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=01\\\\:00\\\\:41\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-143]; [67:1] fps=29.97002997002997 [change-fps-144]; [change-fps-144] scale=w=1920:h=1080 [scale-145]; [scale-145] drawtext=text='ms cv 1h0m46s-1h0m50s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=01\\\\:00\\\\:46\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-146]; [68:1] fps=29.97002997002997 [change-fps-147]; [change-fps-147] scale=w=1920:h=1080 [scale-148]; [scale-148] drawtext=text='ca cv 1h0m50s-1h1m11s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=01\\\\:00\\\\:50\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-149]; [69:1] fps=29.97002997002997 [change-fps-150]; [change-fps-150] scale=w=1920:h=1080 [scale-151]; [scale-151] drawtext=text='ca cv 1h0m50s-1h1m11s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=01\\\\:01\\\\:06\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-152]; [70:1] fps=29.97002997002997 [change-fps-153]; [change-fps-153] scale=w=1920:h=1080 [scale-154]; [scale-154] drawtext=text='ms cv 1h1m11s-1h1m58s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=01\\\\:01\\\\:11\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-155]; [71:1] fps=29.97002997002997 [change-fps-156]; [change-fps-156] scale=w=1920:h=1080 [scale-157]; [scale-157] drawtext=text='ms cv 1h1m11s-1h1m58s\\ ':borderw=5:expansion=strftime:font=DroidSans:fontcolor=white:fontsize=36:rate=30000/1001:timecode=01\\\\:01\\\\:53\\\\:00:x=(main_w-tw)/2:y=main_h-th [text-overlay-158]; [72:v] fade=out:st=15:d=1:alpha=1 [fade-out-159]; [concat-video-0][fade-out-159] overlay=main_w-overlay_w-50:main_h-overlay_h-50:shortest=1 [overlay-watermark-160]&quot; \&#xA;  -strict -2 \&#xA;  -map [overlay-watermark-160] \&#xA;  -map [concat-audio-1] \&#xA;  -codec:a aac \&#xA;  -codec:v libx264 \&#xA;  -preset ultrafast \&#xA;  -tune zerolatency \&#xA;  -y \&#xA;  -f mpegts \&#xA;  udp://127.0.0.1:1234&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19487" LastActivityDate="2017-12-20T07:47:30.157" Title="Stream from ffmpeg with seeking" Tags="|ffmpeg|streaming|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23072" PostTypeId="1" CreationDate="2017-12-20T11:11:39.813" Score="3" ViewCount="284" Body="&lt;p&gt;What does it mean if my Lumetri Scopes in Premiere Pro look like this? &lt;a href=&quot;https://i.stack.imgur.com/0gTR9.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0gTR9.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is some kind of &quot;banding&quot; in it. Does it happen when you color grade 8-bit footage?&lt;/p&gt;&#xA;" OwnerUserId="20944" LastActivityDate="2018-10-17T05:00:28.300" Title="Banding in waveform monitor" Tags="|premiere|color-grading|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23075" PostTypeId="1" CreationDate="2017-12-20T14:42:54.340" Score="0" ViewCount="18" Body="&lt;p&gt;With Adobe Creative Cloud it seems like every few months Premiere updates and then wants to resave my project in the new version with added numbers after it. It has really cluttered and complicated things. I'm sure if I was more experienced when starting out I could've avoided this but video isn't really my specialty.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm working on an all new promo video though which makes for a good opportunity to clean this mess up and avoid it going forward. How can I do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a screenshot to show the .prproj mess:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EqNXt.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EqNXt.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5206" LastEditorUserId="5206" LastEditDate="2017-12-20T16:45:04.377" LastActivityDate="2017-12-20T16:45:04.377" Title="How to manage Premiere Files to avoid versioning duplicates?" Tags="|premiere|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23076" PostTypeId="2" ParentId="4942" CreationDate="2017-12-20T15:51:02.603" Score="-1" Body="&lt;p&gt;I had the same problem with audio being out of sync with the image, recording from my webcam using screen recorder. In my case it seems it was caused by the time it takes for the webcam to activate. I changed 'delay before capture' to 2 seconds and it seems to have fixed the problem. &lt;/p&gt;&#xA;" OwnerUserId="20948" LastActivityDate="2017-12-20T15:51:02.603" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23078" PostTypeId="2" ParentId="23072" CreationDate="2017-12-20T23:43:41.573" Score="1" Body="&lt;p&gt;The &quot;banding&quot; you are seeing is the levels of the &lt;a href=&quot;https://wolfcrow.com/blog/understanding-luminance-and-chrominance/&quot; rel=&quot;nofollow noreferrer&quot;&gt;three channels&lt;/a&gt; that make up a video signal. It isn't an 8-bit artifact. In the upper left and bottom scopes, the white/grey trace is the luminance channel and the others are the color difference channels. In the histogram in the upper right, you are seeing the white and RGB values.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can &lt;a href=&quot;https://larryjordan.com/articles/premiere-pro-cc-the-new-lumetri-video-scopes/&quot; rel=&quot;nofollow noreferrer&quot;&gt;switch between different scope configurations&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2017-12-20T23:43:41.573" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23079" PostTypeId="1" CreationDate="2017-12-21T06:49:30.537" Score="1" ViewCount="1935" Body="&lt;p&gt;I have a problem. I have recorded my videos separately, and then added sound to it. Sometimes, sound is longer or less in duration compared to video duration. Usually sound is longer, sometimes around 20 seconds. &lt;strong&gt;To me, when running on my PC through flv or some Windows Media player, that is not problem, since after video is over, last capture of video stays displayed (like an image), and sounds is still executing, and video ends after sound is over.&lt;/strong&gt; So everything is ok at my PC when running it like .flv or .mp4 file. But, when I upload that on Google drive or some other place on web (that is, when I run it in my browser for viewing after upload), I see &lt;strong&gt;my video is cutted to the lenght of the video duration (so my sound is cutted)&lt;/strong&gt;. I understand that this is because of different duration sizes of sound and video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I need a command with ffmpeg that can make my video to be extened to my sound duration. I would like not to reencode my videos with sound again (in sense that I would need to put my mp3 file in ffmpeg command) if I don't need (since I have many videos and sound is already inserted in them), but just to re-encode video with some ffmpeg command to extend video lenght to sound lenght.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have watched this (not sure at the momen if this would even help me): &lt;a href=&quot;https://superuser.com/questions/801547/ffmpeg-add-audio-but-keep-video-length-the-same-not-shortest&quot;&gt;https://superuser.com/questions/801547/ffmpeg-add-audio-but-keep-video-length-the-same-not-shortest&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But with this approach, you have to reencode video with sound (mp3 or similar) file first.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can it be done, and what would be command, or commands for it? (And if only way is to re-encode it with mp3 file, what would be command for it?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit: I don't want to cut my sound, I need to hold last frame till my sound is over. Currently last frame is holded only when viewing on my PC, when I upload that, clip is cutted immediately when video stops.&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="20954" LastEditorUserId="20954" LastEditDate="2017-12-21T06:55:54.007" LastActivityDate="2017-12-21T11:08:54.270" Title="FFmpeg - how to adjust video (clip) duration to sound duration if sound is longer, possible without re-encoding it with mp3 file?" Tags="|video|ffmpeg|encoding|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="23080" PostTypeId="1" CreationDate="2017-12-21T09:12:00.447" Score="3" ViewCount="1167" Body="&lt;p&gt;So when I stretch the two chosen layers, they do stretch together, but the collision point shifts so I need to correct it manually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I simultaneously change the length of the layers without messing the scene?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried to show the things in this picture. Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Y5YpH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Y5YpH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20955" LastActivityDate="2024-03-26T03:09:51.187" Title="Proper time stretch in After Effects for multiple layers" Tags="|after-effects|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23082" PostTypeId="2" ParentId="22578" CreationDate="2017-12-21T09:49:07.613" Score="1" Body="&lt;p&gt;YouTube now have a Creator's Academy and I think they answer your question in this video: &lt;a href=&quot;https://www.youtube.com/watch?list=PLpjK416fmKwTwoORQiQTZ9exUZPlmLCb5&amp;amp;v=UMc7ag0WPE4&quot; rel=&quot;nofollow noreferrer&quot;&gt;Why Subscribers Matter&lt;/a&gt; Basically, it matters how long a video is watched, this is measured. But a single view means a single &quot;opening&quot; of the video itself. (E.g., I can produce two views in a few seconds, but this won't matter so much to internal metrics other than views' count.)&lt;/p&gt;&#xA;" OwnerUserId="6219" LastActivityDate="2017-12-21T09:49:07.613" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23083" PostTypeId="2" ParentId="23079" CreationDate="2017-12-21T11:08:54.270" Score="2" Body="&lt;p&gt;You can hack this using &lt;a href=&quot;https://sites.google.com/site/qaacpage/cabinet/mp4fpsmod_0.25.zip?attredirects=0&amp;amp;d=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;mp4fpsmod&lt;/a&gt; (direct link to Win binary; C++ source at &lt;a href=&quot;https://github.com/nu774/mp4fpsmod&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/nu774/mp4fpsmod&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First step is to extract the timestamps of the existing video&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4fpsmod -p vid_tc.txt vid.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will produce a text file like this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# timecode format v2&#xA;0&#xA;40&#xA;80&#xA;120&#xA;... &#xA;4880&#xA;4920&#xA;4960&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Each line contains the timestamp of frame #N in milliseconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this example, each frame is 40 milliseconds long and the last frame is shown at 4960 ms and hence the video stream is 5 seconds long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now suppose your audio is 11.34 seconds == 11340 ms long. Edit the last timecode to something just under &lt;code&gt;11340&lt;/code&gt;, like &lt;code&gt;11320&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# timecode format v2&#xA;0&#xA;40&#xA;80&#xA;120&#xA;... &#xA;4880&#xA;4920&#xA;11320&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4fpsmod -x -T keep -t vid_tc.txt -o vid_new.mp4 vid.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will create a new file &lt;code&gt;vid_new.mp4&lt;/code&gt;, which you can upload. The duration shown in desktop players or tools can be wrong, but playback should be as desired, except that the last frame is shown along with the end of the audio. This skips re-encoding and is quick. You can add &lt;code&gt;-i&lt;/code&gt; and skip &lt;code&gt;-o vid_new.mp4&lt;/code&gt; if you want to edit the timecode in-place in existing file i.e. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4fpsmod -x -T keep -t vid_tc.txt -i vid.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but I don't recommend it.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-12-21T11:08:54.270" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="23084" PostTypeId="1" CreationDate="2017-12-21T16:19:30.707" Score="1" ViewCount="2427" Body="&lt;p&gt;I'm wondering if there is a way to change the video background while recording with a different background , It doesn't have to be chosen by me , Just a different background .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is that's possible?&lt;/p&gt;&#xA;" OwnerUserId="20958" LastActivityDate="2018-01-21T20:10:50.837" Title="How to record a video with different background without having a green screen?" Tags="|after-effects|premiere|editing|video-recording|greenscreen|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23085" PostTypeId="1" CreationDate="2017-12-21T16:45:31.430" Score="2" ViewCount="10303" Body="&lt;p&gt;I have a photo collage I am trying to move around, scale, position, and zoom in and out of on the images with in the collage. Whenever I go to scale out of the first image and move to the second image it messes up all of the key frames. Am I missing something while trying to do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to achieve the same effect of the linked video below&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/A31Vq8TnKqQ?start=17&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;" OwnerUserId="20960" LastEditorUserId="636" LastEditDate="2018-01-04T19:09:10.507" LastActivityDate="2020-08-23T12:05:30.743" Title="Scale, position, and zoom a still image in Premiere Pro CC" Tags="|premiere|scale|zoom|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23086" PostTypeId="1" AcceptedAnswerId="23090" CreationDate="2017-12-21T17:44:09.223" Score="3" ViewCount="415" Body="&lt;p&gt;How were special effects added in movies like The Shadow ( 1994 ) when CGI wasn't around?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the following trailer during 00:37 - 00:39 there is a face transition. It's speculated that it was &lt;a href=&quot;https://film.avclub.com/telekinetic-buddhist-cab-ride-revisiting-the-shadow-1-1798271376&quot; rel=&quot;nofollow noreferrer&quot;&gt;combination of makeup and morphing.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/XRcZ4Pw2t_8?start=35&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea how this was achieved? &lt;/p&gt;&#xA;" OwnerUserId="20961" LastEditorUserId="636" LastEditDate="2017-12-27T06:15:26.240" LastActivityDate="2017-12-27T06:17:10.697" Title="Special effects in 90's movies" Tags="|special-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23087" PostTypeId="1" CreationDate="2017-12-21T20:08:39.550" Score="3" ViewCount="3162" Body="&lt;p&gt;I would like to auto-tune the audio track of an mp4 video file. I know I can convert the mp4 to mp3 first and auto-tune the mp3 file, but I want the output to be a modified video clip with the audio track tuned to a note. Specifically, I want to loop a &amp;lt;1 second video clip of my dog barking and auto-tune each cut to different notes to create a melody track that will remain in sync with the video track, so it looks like my dog is singing happy birthday. I can't be the first brain-dead dog lover to have attempted this.  &lt;/p&gt;&#xA;" OwnerUserId="20962" LastActivityDate="2017-12-22T10:17:13.670" Title="How to auto-tune the audio track of a video file to produce a modified video file" Tags="|editing|audio|mp4|music|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23088" PostTypeId="1" CreationDate="2017-12-21T22:43:13.873" Score="0" ViewCount="420" Body="&lt;p&gt;I have a video with person moving around. But I need to make it so that the camera focuses on the person and ultimately the person stays in the center of the shot.&lt;/p&gt;&#xA;" OwnerUserId="20964" LastActivityDate="2017-12-21T23:04:33.203" Title="Make the object stay at the centre of the video" Tags="|after-effects|premiere|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23089" PostTypeId="2" ParentId="23088" CreationDate="2017-12-21T23:04:33.203" Score="1" Body="&lt;p&gt;You can make it with &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/tracking-stabilizing-motion-cs5.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;tracking&lt;/a&gt;. Find static point on person, and track from it. Better to use chest (not face), because it is more stable, when person moving.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But you need to understand, that you will have some empty space on the edges of the screen after that. If it is not recorded on green/blue screen, you may need to zoom your video. Because of that you will lose some quality. &lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-12-21T23:04:33.203" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23090" PostTypeId="2" ParentId="23086" CreationDate="2017-12-21T23:17:21.083" Score="2" Body="&lt;p&gt;If you are interested in fire overlay, than it can be done with different ways:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Projection of fire on the glass in front of actor&lt;/li&gt;&#xA;&lt;li&gt;Filming fire and person on the same part of film, and only after that was made manifestation of a film.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you are about morphing of face, it probably was made same way, how it was made in Michael Jackson music video &quot;Black &amp;amp; White&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/3Iw-vUBo7v4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can read about it &lt;a href=&quot;http://www.cartoonbrew.com/vfx/oral-history-morphing-michael-jacksons-black-white-144015.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. It was made on early computer with specific software. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WbzPR.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WbzPR.jpg&quot; alt=&quot;Morphing softaware&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-12-21T23:17:21.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23091" PostTypeId="2" ParentId="23085" CreationDate="2017-12-21T23:29:27.030" Score="0" Body="&lt;p&gt;If you already have keyframes, than you need to move all of them, not just first. The easiest way to achieve that. is by nesting your current video with all its keyframes in new composition, and add scale, zoom and etc to it. But only you can see, if this workflow fits your needs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternative way will be, to select all existing keyframes, and modify them... But it can become messy and broke pretty fast.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-12-21T23:29:27.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23092" PostTypeId="2" ParentId="23084" CreationDate="2017-12-21T23:31:57.447" Score="0" Body="&lt;p&gt;If you looking for way to do it in post-prodaction, than you can do it by &lt;a href=&quot;https://helpx.adobe.com/after-effects/how-to/rotoscoping.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;rotoscoping&lt;/a&gt; in AE. But it depends on what you shooting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you specking about &quot;while recording&quot;, then just record in different place :)&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-12-21T23:31:57.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23093" PostTypeId="2" ParentId="23080" CreationDate="2017-12-21T23:33:42.150" Score="0" Body="&lt;p&gt;You can nest this two clips in new composition, and change time starching on it.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2017-12-21T23:33:42.150" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23094" PostTypeId="2" ParentId="23087" CreationDate="2017-12-22T10:17:13.670" Score="1" Body="&lt;p&gt;Start by looping the video so that you get the timing right - so you end up with that single bark hitting the correct beats for the song.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the audio, you'll want to then use a DAW or other tool to pitch shift each sample to the desired new pitch. All major DAWs have this functionality built in, or you could use the Pitch Shift effect in Audacity if you like a free option. If you don't know the notes for Happy Birthday, you can easily find them online.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Very quick and easy to do, and you don't need any expensive software or hardware to do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And you are right - you are not the first. There are hundreds of these online. Check out &lt;a href=&quot;https://youtu.be/Mmke73EQZ08?t=6s&quot; rel=&quot;nofollow noreferrer&quot;&gt;this example&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2017-12-22T10:17:13.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23095" PostTypeId="1" CreationDate="2017-12-22T12:13:11.740" Score="1" ViewCount="1474" Body="&lt;p&gt;I am pretty new to FinalCutPro X and want to make my timelapse video with it. So far so good... I am almost finished...&#xA;But in the end, I'd like to make it a bit longer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I have are a couple of compound clips for each part of my video and then in the end I made one more compound clip with all of the parts to be able to easily adjust the length of the whole video to the music I am using.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I wanted to add some more images to my last segment but then I can't drag the clip longer. It will show a red border at the end and wont make it longer. Also, the part on the right is kind of grayed out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hard for me to explain the problem, so I made some screenshots.&#xA;First one shows the one big compound clip&#xA;&lt;a href=&quot;https://i.stack.imgur.com/JKCY1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JKCY1.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second shows the inner ones (each represents one week)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/p3r85.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/p3r85.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And inside those are individual images. Even when I add a couple of more images to the last compound clip, I am not able to make it longer...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oOSDb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oOSDb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea of what I am doing wrong would help me a lot!!!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And... just a very quick question (don't want to create a whole question for it)... When I slowmo a clip it will show this drag-handle-bar on top to adjust the speed. When I close the project and reopen it again, they are gone... Is there a quick way on how to get them back?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers,&#xA;Georg&lt;/p&gt;&#xA;" OwnerUserId="20969" LastEditorUserId="20969" LastEditDate="2017-12-22T13:28:47.700" LastActivityDate="2017-12-22T13:28:47.700" Title="Can't make a clip in FinalCutPro X longer" Tags="|final-cut-pro-x|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23096" PostTypeId="2" ParentId="23095" CreationDate="2017-12-22T12:30:41.723" Score="1" Body="&lt;p&gt;The red line is shown when there is no more source media left. You've dragged the end of the clip all the way to the end of the source file, so there's no more media to be added. Imagine a video 5 seconds long, of which you've added the first 4 seconds to the timeline, then you try to drag the end of the clip in the timeline beyond 5 seconds — you can't, because there's no more source media in the clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The end of the timeline when viewing your compound clip is greyed out because this section is beyond the end of the compound clip range in the containing timeline. The main timeline which contains the compound clip is only showing a portion of the compound clip, and the video in the compound clip beyond the greyed out area will not be played. To play this section, drag the end of the compound clip in the main timeline until the red line is shown.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To quickly show/hide the retime editor for any selected clips, press cmd-R.&lt;/p&gt;&#xA;" OwnerUserId="5296" LastActivityDate="2017-12-22T12:30:41.723" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23097" PostTypeId="2" ParentId="23084" CreationDate="2017-12-22T19:35:21.297" Score="1" Body="&lt;p&gt;If it's a static shot, you can try using a difference matte. It doesn't work as well as a chroma key, but it might do the trick. The idea is you'll set up After Effects to key out everythi&lt;/p&gt;&#xA;" OwnerUserId="20975" LastActivityDate="2017-12-22T19:35:21.297" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23098" PostTypeId="2" ParentId="23086" CreationDate="2017-12-22T19:48:57.213" Score="4" Body="&lt;p&gt;Oh, but you're very wrong that in 1994 CGI wasn't around. The very film you use as an example had a very extensive VFX and CGI &lt;a href=&quot;http://www.imdb.com/title/tt0111143/fullcredits?ref_=tt_cl_sm#cast&quot; rel=&quot;nofollow noreferrer&quot;&gt;credits list&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In 1993, Flame was already around being used on Silicon Graphics stations. It evolved into the software currently owned by Autodesk, and still one of the mostly used VFX suites in Hollywood productions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One year before that, Jurassic Park was already in post production, with lots of CGI and software specially made for that film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CGI has been around since the 70's&lt;/p&gt;&#xA;" OwnerUserId="20975" LastActivityDate="2017-12-22T19:48:57.213" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23100" PostTypeId="1" CreationDate="2017-12-22T10:49:52.210" Score="3" ViewCount="284" Body="&lt;p&gt;While browsing the video settings on my Canon 77D, I came across a &lt;a href=&quot;http://support-sg.canon-asia.com/contents/SG/EN/8200786000.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;peculiar function&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;What is the Video Snapshot function?&lt;/p&gt;&#xA;&lt;p&gt;The Video Snapshot function enables you to shoot short scenes that last for several seconds. The shooting time can be selected from 2, 4, and 8 seconds.&#xA;You can enjoy viewing movies as you play back Video Snapshot scenes along with music. Also, by changing the music, you can give your scenes an entirely new feel when you play back.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;There is also a similar feature on Panasonic cameras:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Snap Movie&lt;/p&gt;&#xA;&lt;p&gt;Users can record video in a designated short period of time (2/4/6/8 sec) as they shoot “moving photos”. In this function, rack focusing or addition of a fade effect (color in/out, black in/out, white in/out) are available.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I can understand why someone would want to create a video slideshow with music on their camera, but why are those clips limited by Canon to 2, 4 or 8 seconds? Is this a particular genre that I'm not aware of or perhaps some sort of an Instagram-like website only allows videos in this format?&lt;/p&gt;&#xA;" OwnerUserId="20998" OwnerDisplayName="Nikita Sokolsky" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2017-12-31T14:50:56.623" Title="What's the use-case of the Video Snapshot function on Canon cameras?" Tags="|video|dslr|canon|short|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23102" PostTypeId="1" CreationDate="2017-12-23T07:50:00.930" Score="-1" ViewCount="129" Body="&lt;p&gt;as I see there are two popular ffmpeg and avconv, for example what uses youtube or other popular platforms for converting one video to multiple resolutions, subtitles and audio tracks etc...are these libraries okay or is there a better solution?&lt;/p&gt;&#xA;" OwnerUserId="20979" LastActivityDate="2017-12-23T19:02:28.537" Title="what is the best library for converting video to multiple resolutions" Tags="|ffmpeg|avconv|" AnswerCount="1" CommentCount="1" ClosedDate="2018-01-02T19:06:36.077" ContentLicense="CC BY-SA 3.0" />
  <row Id="23103" PostTypeId="2" ParentId="23102" CreationDate="2017-12-23T19:02:28.537" Score="1" Body="&lt;p&gt;You have answered your own question on this one, &lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; is the de facto standard for this type of work, there really isn't any reason to use anything else. It's free, fast, works on almost any imaginable platform, and can be easily integrated into almost any workflow because of how many ways it can be called. You can even use it to apply special filters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you aren't comfortable using the command line, there are many GUI interfaces available that will give you a nice interface for using ffmpeg. One good example is &lt;a href=&quot;http://www.myffmpeg.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;myffmpeg&lt;/a&gt; but there are many others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your goal is to always convert using the same settings though, the absolute best way to achieve this is to create a simple ffmpeg batch/shell script (depend on which OS you're using) that you simply run that script and it does its thing - no effort once it's set up the first time.&lt;/p&gt;&#xA;" OwnerUserId="20980" LastActivityDate="2017-12-23T19:02:28.537" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23105" PostTypeId="1" AcceptedAnswerId="23117" CreationDate="2017-12-24T19:07:26.083" Score="3" ViewCount="1855" Body="&lt;p&gt;I'm using the following command to capture my screen cast and &#xA;laptop video camera at the same time. Video from the camera&#xA;appears in a smallish window in bottom right of the screen cast.&#xA;This works, however there is a snag; I can't see the video of&#xA;myself on screen while I'm recording and I want to be able&#xA;to see myself in the bottom right window so I can be sure I&#xA;align myself with the camera. How can I do this?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f alsa -i default \&#xA;-f x11grab -s `xdpyinfo | grep 'dimensions:'|awk '{print $2}'` -r 25 \&#xA;-i :0.0 -f video4linux2 \&#xA;-i /dev/video0 -filter_complex '[2:v]scale=380:-1[cam];[1:v][cam]overlay=W-w-8:H-h-8' \&#xA;-c:a flac \&#xA;-qscale 0 screen_and_video_grab.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20984" LastActivityDate="2017-12-28T23:54:53.833" Title="Screen cast and capture video cam and show both on screen using ffmpeg" Tags="|ffmpeg|video-recording|screen-casting|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23107" PostTypeId="2" ParentId="2487" CreationDate="2017-12-26T05:01:13.030" Score="0" Body="&lt;p&gt;Since you state a trial version will do,  Adobe CC Premiere Pro fits the bill.  It's full featured and affordable after the trial license ends. &lt;/p&gt;&#xA;" OwnerUserId="19491" LastActivityDate="2017-12-26T05:01:13.030" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23108" PostTypeId="1" CreationDate="2017-12-26T08:24:58.643" Score="0" ViewCount="55" Body="&lt;p&gt;It is my first time using Final Cut Pro and I am having trouble exporting a high quality video. The clips I used to make the video are QuickTime screen recording and they are very high quality, and when I was exporting the video, I got these settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/204Pp.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/204Pp.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which I believe it's pretty good as well, but the outputted video is only 839.4M rather than 8G and it's not as good as its original resolution and it has big black paddings around the video. Here's what it looks like in full screen in my QuickTime player:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/AZsAF.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AZsAF.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've googled it and it seems like I should modify the project's settings &lt;a href=&quot;https://i.stack.imgur.com/07mRg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;Final Cut Pro X: Modify a project’s settings&#xA;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/07mRg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;3&lt;/a&gt;: &lt;a href=&quot;https://support.apple.com/kb/PH12526?locale=en_US&amp;amp;viewlocale=en_US&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.apple.com/kb/PH12526?locale=en_US&amp;amp;viewlocale=en_US&lt;/a&gt; &quot;Final Cut Pro X: Modify a project’s settings&quot;, but this thing is greyed out in my FCPX:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/07mRg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/07mRg.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a screenshot of my editor window:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/3x1I2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3x1I2.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, what exactly should I do to output my video with at least its original quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks guys.&lt;/p&gt;&#xA;" OwnerUserId="35888" LastActivityDate="2018-04-27T09:50:37.923" Title="How do I increase my exported video quality?" Tags="|export|output|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23109" PostTypeId="2" ParentId="22085" CreationDate="2017-12-26T13:49:17.257" Score="2" Body="&lt;h1&gt;Fade both video &amp;amp; audio&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;First of all, the command you've provided won't achieve the desired effect: the &lt;strong&gt;&lt;code&gt;fade&lt;/code&gt; filter only applies to a video stream&lt;/strong&gt;, plus you specifically apply it to your input video stream with &lt;code&gt;-filter:v&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To fade both audio and video, you'll need &lt;strong&gt;both &lt;code&gt;afade&lt;/code&gt; and &lt;code&gt;fade&lt;/code&gt; filters&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;E.g.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter:v &quot;fade=in:0:30, fade=out:1770:30&quot; -filter:a &quot;afade=in:0:44100, afade=out:2601900:44100&quot; -c:v libx264 -c:a aac output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This command fades in and out the first and last 30 video frames and 44100 audio samples, on a 1800 frames-long and 2646000 samples-long video (which, if your framerate is 30 fps and samplerate 44100 Hz, will be the first and last second of your 60 seconds-long clip).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Working with frames and samples can be highly impractical, so &lt;strong&gt;to work with start and duration in seconds, use the &lt;code&gt;st&lt;/code&gt; (start) and &lt;code&gt;d&lt;/code&gt; (duration) parameters&lt;/strong&gt;, like so :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter:v &quot;fade=in:st=0:d=1, fade=out:st=59:d=1&quot; -filter:a &quot;afade=in:st=0:d=1, afade=out:st=59:d=1&quot; -c:v libx264 -c:a aac output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(fades in and out first and last second of a 60s clip)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#afade&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;afade - FFmpeg Filters documentation&quot;&gt;afade&lt;/a&gt; and &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#fade&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;fade - FFmpeg Filters documentation&quot;&gt;fade&lt;/a&gt; filters documentation for more details on parameters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you can also use a &lt;strong&gt;complex filtergraph&lt;/strong&gt; as suggested by Manul Hüttinger, which can be handy if you need to apply further filters to your clip:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex \&#xA;  &quot;fade=in:st=0:d=1, fade=out:st=59:d=1; \&#xA;   afade=in:st=0:d=1, afade=out:st=59:d=1&quot; \&#xA; -c:v libx264 -c:a aac output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;Regarding your particular error&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;I'm not sure where your error comes from, but you should try the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;First, &lt;strong&gt;update your ffmpeg&lt;/strong&gt;: your libavfilter is in version 6.99.100, latest is at least 7.6.100&lt;/li&gt;&#xA;&lt;li&gt;I guess you're on Windows, given the filepath and build number. Beware that &lt;strong&gt;you cannot use single quotes (&lt;code&gt;'&lt;/code&gt;) on Windows, you must use double-quotes (&lt;code&gt;&quot;&lt;/code&gt;)&lt;/strong&gt;. Looking at the console output, this might be the origin of your error:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;code&gt;[AVFilterGraph @ 0000000002d64580] No such filter:&#xA;  fade=in:0:30,fade=out:227:30'&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Then, if it keeps failing, &lt;strong&gt;try with a different input&lt;/strong&gt; (the error message might indicate an encoding/decoding error: &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;code&gt;Failed to inject frame into filter network: Invalid argument Error&#xA;  while processing the decoded data for stream #0:0 Conversion failed&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="20860" LastEditorUserId="14523" LastEditDate="2017-12-27T01:58:28.503" LastActivityDate="2017-12-27T01:58:28.503" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23111" PostTypeId="1" CreationDate="2017-12-26T21:51:57.263" Score="5" ViewCount="2142" Body="&lt;p&gt;I have green screen footage and have about 4 points on the green screen&#xA;but sometimes the actor moves and hide the points. He will hide all point but not at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to motion track one point and when he hides it, I continue tracking the other point until it reappears.&lt;/p&gt;&#xA;" OwnerUserId="21000" LastEditorUserId="2836" LastEditDate="2018-01-03T07:01:50.177" LastActivityDate="2019-04-14T22:01:20.243" Title="Is it possible to track continue motion tracking on another point in After Effects CC?" Tags="|after-effects|motion|tracking|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23114" PostTypeId="2" ParentId="2488" CreationDate="2017-12-27T15:04:37.060" Score="0" Body="&lt;p&gt;We are using this now. A large pane of glass ( Lexan scratches too easily) in a frame. A black backdrop. There is a string of LED ribbon lights along the top edge of the glass.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Room lights are off. Camera adjusted to bring black levels up...Once recorded, use Premier to horizontally flip the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Writing magically apprears.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If we want to see the artist/SME, we can light it. The question I have to that: what is the more critical point? The content or the person?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take a look. &lt;a href=&quot;https://vimeo.com/246090021&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/246090021&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21006" LastActivityDate="2017-12-27T15:04:37.060" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23115" PostTypeId="2" ParentId="23108" CreationDate="2017-12-28T08:15:01.550" Score="1" Body="&lt;p&gt;to get the best quality export from FCPX choose the option from the CODEC &quot;Source = ProRes 422&quot; and then see if that gives you any better results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively you can choose the option&#xA;Format = Computer then export from there &lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2017-12-28T08:15:01.550" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23116" PostTypeId="1" CreationDate="2017-12-28T09:37:30.947" Score="1" ViewCount="97" Body="&lt;p&gt;We want to do talk show live streamed to youtube where participants are in different geographical locations. We are looking for a software that allows us to split the screen between participants while showing a presentation on the background. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I know poeple are going to suggest Google's Hangouts on Air, and I know Hangouts on Air can do something like that but we are looking for a high quality live stream that can presrve the image and audio quality, just like a 'normal' live stream, except with multiple participants. Do you have any solution?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="21013" LastActivityDate="2017-12-28T09:37:30.947" Title="How can I stream to a single YouTube channel, from multiple remote locations?" Tags="|youtube|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23117" PostTypeId="2" ParentId="23105" CreationDate="2017-12-28T15:39:23.253" Score="1" Body="&lt;p&gt;This solution works in Linux. &#xA;To screen cast with inset video of yourself on screen where you have a video camera that is located at /dev/video0, paste the following into a text file and name it &lt;code&gt;start_recording.sh&lt;/code&gt; or something similar and make it executable&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;&#xA;&#xA;&#xA;#####  set variables below ####&#xA;&#xA;location_dir=$HOME/Desktop&#xA;&#xA;T=&quot;$(date +%d-%m-%Y-%H-%M-%S)&quot;.mkv&#xA;&#xA;#echo $T&#xA;&#xA;video_window_title=&quot;$T&quot;&#xA;&#xA;#echo $video_window_title&#xA;&#xA;&#xA;&#xA;&#xA;####  Place video camera on own screen &amp;amp; detach the process  ####&#xA;ffplay -window_title &quot;$video_window_title&quot; /dev/video0 &amp;amp;&#xA;&#xA;&#xA;&#xA;&#xA;####  Record everything on the screen  ####&#xA;ffmpeg -y -f x11grab -s \&#xA;`xdpyinfo | grep 'dimensions:'|awk '{print $2}'` \&#xA;-i :0.0 -f alsa \&#xA;-i default $HOME/$T&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To stop recording, paste the following into a text file and name it &lt;code&gt;stop_recording.sh&lt;/code&gt; or something similar and make it executable&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;# kills the ffmpeg and ffplay processes     &#xA;pkill ffmpeg &amp;amp;&amp;amp; pkill ffplay&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The below two line script will make your inset video the always on top window, or not. Simply put the below two lines below in a text file, call it something like &lt;code&gt;toggle_video_inset_to_always_above_layer_or_normal_layer.sh&lt;/code&gt; or something you can remember, and make it executable. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;wmctrl -r $(wmctrl -lx | grep ffplay | grep -oE &quot;[0-9a-z\._-]{20,25}$&quot;) -b toggle,above&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20984" LastEditorUserId="20984" LastEditDate="2017-12-28T23:54:53.833" LastActivityDate="2017-12-28T23:54:53.833" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23118" PostTypeId="2" ParentId="20420" CreationDate="2017-12-28T19:18:24.633" Score="4" Body="&lt;p&gt;No, ffmpeg does not use a configuration file post-install.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;lots of ways to build ffmpeg, but generally you have to configure everything &lt;strong&gt;before&lt;/strong&gt; install. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;for example, with &lt;code&gt;brew&lt;/code&gt; (macOS package manager) you have to edit the following file to supply your &lt;code&gt;--enable or --disable&lt;/code&gt; args BEFORE INSTALLING. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;/usr/local/Homebrew/Library/Taps/homebrew/homebrew-core/Formula/ffmpeg.rb&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if you didn't get your args in on your original install, then you need to uninstall and re-install again with your desired options and args.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;also: instead of supplying your options (&lt;code&gt;--with-webp&lt;/code&gt; for example) from the CLI during install, you can write them in &lt;code&gt;ffmpeg.rb&lt;/code&gt;. &lt;/p&gt;&#xA;" OwnerUserId="20985" LastActivityDate="2017-12-28T19:18:24.633" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23119" PostTypeId="1" AcceptedAnswerId="23121" CreationDate="2017-12-28T19:32:49.317" Score="0" ViewCount="2705" Body="&lt;p&gt;We have recently purchased a 6-lens 360° 8k camera. It is fantastic. However, I have only been able to find &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/kb/work-with-vr.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;instructions&lt;/a&gt; on how to export video at a max width of 4096. This is half the size that we can record in. So if we can only export at 4096, what is the point of shooting 8k? Is there a way to export at the full resolution from Adobe Premiere?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any feedback, suggestions or links on how to make use of the 8k footage would be appreciated. Thank you!&lt;/p&gt;&#xA;" OwnerUserId="20490" LastActivityDate="2017-12-29T13:42:36.847" Title="How do you export higher resolution 360° VR footage from Adobe Premiere?" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23121" PostTypeId="2" ParentId="23119" CreationDate="2017-12-29T13:42:36.847" Score="0" Body="&lt;p&gt;I did find this &lt;a href=&quot;https://www.youtube.com/watch?v=1IJPtQMzKMw&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube tutorial&lt;/a&gt; if anyone else is interested. It provides the best settings for exporting 8k video from Premiere.&lt;/p&gt;&#xA;" OwnerUserId="20490" LastActivityDate="2017-12-29T13:42:36.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23122" PostTypeId="1" CreationDate="2017-12-29T16:38:35.193" Score="2" ViewCount="1406" Body="&lt;p&gt;Is there a way to add a marker without stopping the playback? I need to mark some specific times while the sequence is playing.&lt;/p&gt;&#xA;" OwnerUserId="21021" LastEditorUserId="14523" LastEditDate="2017-12-31T20:01:16.287" LastActivityDate="2018-01-02T16:37:16.783" Title="Can I add markers in After Effects without stopping the playback?" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23123" PostTypeId="1" CreationDate="2017-12-30T02:36:39.380" Score="1" ViewCount="3959" Body="&lt;p&gt;its my first post on this community.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Im from brazil, so im sorry for bad english.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using FFMPEG on Ubuntu VPS for streaming 24/7 mp4 video on youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using this code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;VBR=&quot;2500k&quot;                                    &#xA;FPS=&quot;30&quot;                                    &#xA;QUAL=&quot;veryfast&quot;                              &#xA;YOUTUBE_URL=&quot;rtmp://a.rtmp.youtube.com/live2&quot;&#xA;&#xA;SOURCE=&quot;/stream/video.mp4&quot;           &#xA;KEY=&quot;my_Secret_key&quot;                               &#xA;&#xA;ffmpeg \&#xA;    -i &quot;$SOURCE&quot; -deinterlace \&#xA;    -vcodec libx264 -pix_fmt yuv420p -preset $QUAL -r $FPS -g $(($FPS * 2)) -b:v $VBR \&#xA;    -acodec libmp3lame -ar 44100 -threads 6 -qscale 3 -b:a 712000 -bufsize 512k \&#xA;    -f flv &quot;$YOUTUBE_URL/$KEY&quot;&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With this code, i have sucesfully put my stream online, but i need that the code loop and repeat the mp4 file, because i dont want to make a 24h mp4 file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can i make that this mp4 file (SOURCE=&quot;/stream/video.mp4&quot;) repeat itself infinitely?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I dont have imagens and notthing, i only put a mp4 file on stream!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideas?&lt;/p&gt;&#xA;" OwnerUserId="21025" LastActivityDate="2018-01-12T16:07:12.707" Title="FFMPEG - Youtube MP4 video stream loop?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23124" PostTypeId="1" AcceptedAnswerId="23125" CreationDate="2017-12-30T15:51:46.900" Score="3" ViewCount="2360" Body="&lt;p&gt;If I don't put accepted video parameters for DNXHD profile, ffmpeg will list all the possible parameters like this. And I find this very helpful.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[swscaler @ 0x539a420] deprecated pixel format used, make sure you did set range correctly&#xA;[dnxhd @ 0x55afb60] video parameters incompatible with DNxHD. Valid DNxHD profiles:&#xA;[dnxhd @ 0x55afb60] Frame size: 1920x1080p; bitrate: 175Mbps; pixel format: yuv422p10; framerate: 24000/1001&#xA;[dnxhd @ 0x55afb60] Frame size: 1920x1080p; bitrate: 185Mbps; pixel format: yuv422p10; framerate: 25/1&#xA;[dnxhd @ 0x55afb60] Frame size: 1920x1080p; bitrate: 365Mbps; pixel format: yuv422p10; framerate: 50/1&#xA;[dnxhd @ 0x55afb60] Frame size: 1920x1080p; bitrate: 440Mbps; pixel format: yuv422p10; framerate: 60000/1001&#xA;[dnxhd @ 0x55afb60] Frame size: 1920x1080p; bitrate: 115Mbps; pixel format: yuv422p; framerate: 24000/1001&#xA;[dnxhd @ 0x55afb60] Frame size: 1920x1080p; bitrate: 120Mbps; pixel format: yuv422p; framerate: 25/1&#xA;[dnxhd @ 0x55afb60] Frame size: 1920x1080p; bitrate: 145Mbps; pixel format: yuv422p; framerate: 30000/1001&#xA;[dnxhd @ 0x55afb60] Frame size: 1920x1080p; bitrate: 240Mbps; pixel ..... &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there a way to get this list for DNxHD codec dnxhr_lb or other DNxHD profiles below?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;dnxhd&#xA;dnxhr_444&#xA;dnxhr_hqx&#xA;dnxhr_hq&#xA;dnxhr_sq &#xA;dnxhr_lb&lt;/p&gt;&#xA;" OwnerUserId="21027" LastActivityDate="2017-12-30T16:32:38.097" Title="ffmpeg: How to list all possible video parameters for DNxHD dnxhr_lb profile?" Tags="|ffmpeg|dnxhr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23125" PostTypeId="2" ParentId="23124" CreationDate="2017-12-30T16:32:38.097" Score="2" Body="&lt;p&gt;The DNxHR profiles have simpler restrictions - only on pixel format and minimum frame size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Accepted Pixel formats&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;LB&lt;/strong&gt;:  YUV 4:2:2 (8-bit)&lt;br&gt;&#xA;&lt;strong&gt;SQ&lt;/strong&gt;:  YUV 4:2:2 (8-bit)&lt;br&gt;&#xA;&lt;strong&gt;HQ&lt;/strong&gt;:  YUV 4:2:2 (8-bit)&lt;br&gt;&#xA;&lt;strong&gt;HQX&lt;/strong&gt;: YUV 4:2:2 (10-bit)&lt;br&gt;&#xA;&lt;strong&gt;444&lt;/strong&gt;: YUV 4:4:4 or RGB (10-bit)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In addition, all HR profiles require the picture to be at least &lt;code&gt;256 x 120&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-12-30T16:32:38.097" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23126" PostTypeId="1" AcceptedAnswerId="23127" CreationDate="2017-12-31T02:57:25.183" Score="4" ViewCount="3674" Body="&lt;p&gt;I would like to know how to use ffmpeg to remove specific chapters from a video file. Below is an example.  I would like to remove all the Chapters marked &quot;Advertisement&quot;.  I've searched everywhere and I can't seem to find a way.  I don't even mind re-encoding, but I just don't want to do it by hand.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; Duration: 00:52:24.45, start: 0.042989, bitrate: 3290 kb/s&#xA;    Chapter #0:0: start 0.000000, end 19.142000&#xA;    Metadata:&#xA;      title           : Video&#xA;    Chapter #0:1: start 19.142000, end 34.017000&#xA;    Metadata:&#xA;      title           : Advertisement&#xA;    Chapter #0:2: start 34.017000, end 810.551000&#xA;    Metadata:&#xA;      title           : Video&#xA;    Chapter #0:3: start 810.551000, end 915.283000&#xA;    Metadata:&#xA;      title           : Advertisement&#xA;    Chapter #0:4: start 915.283000, end 1206.940000&#xA;    Metadata:&#xA;      title           : Video&#xA;    Chapter #0:5: start 1206.940000, end 1291.963000&#xA;    Metadata:&#xA;      title           : Advertisement&#xA;    Chapter #0:6: start 1291.963000, end 1614.738000&#xA;    Metadata:&#xA;      title           : Video&#xA;    Chapter #0:7: start 1614.738000, end 1694.709000&#xA;    Metadata:&#xA;      title           : Advertisement&#xA;    Chapter #0:8: start 1694.709000, end 2068.249000&#xA;    Metadata:&#xA;      title           : Video&#xA;    Chapter #0:9: start 2068.249000, end 2173.261000&#xA;    Metadata:&#xA;      title           : Advertisement&#xA;    Chapter #0:10: start 2173.261000, end 2472.440000&#xA;    Metadata:&#xA;      title           : Video&#xA;    Chapter #0:11: start 2472.440000, end 2582.395000&#xA;    Metadata:&#xA;      title           : Advertisement&#xA;    Chapter #0:12: start 2582.395000, end 3143.276000&#xA;    Metadata:&#xA;      title           : Video&#xA;    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 1280x720, 3088 kb/s, 29.97 fps, 29.97 tbr, 90k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 193 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;    Stream #0:2(eng): Data: bin_data (text / 0x74786574)&#xA;    Metadata:&#xA;      handler_name    : SubtitleHandler&#xA;    Stream #0:3: Video: png, rgb24(pc), 640x360 [SAR 2834:2834 DAR 16:9], 90k tbr, 90k tbn, 90k tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="21030" LastEditorUserId="14523" LastEditDate="2017-12-31T20:03:00.017" LastActivityDate="2017-12-31T20:03:00.017" Title="Use ffmpeg to remove specific chapters out of an MP4" Tags="|ffmpeg|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23127" PostTypeId="2" ParentId="23126" CreationDate="2017-12-31T06:10:12.657" Score="3" Body="&lt;p&gt;This can be done using the concat demuxer. If the Video chapters begin with a keyframe, then encoding can be skipped.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#1&lt;/strong&gt; Copy/Paste the following into a text file, or pipe it to the command in the next step&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    Chapter #0:0: start 0.000000, end 19.142000&#xA;    Metadata:&#xA;      title           : Video&#xA;    Chapter #0:1: start 19.142000, end 34.017000&#xA;    Metadata:&#xA;      title           : Advertisement&#xA;    Chapter #0:2: start 34.017000, end 810.551000&#xA;    Metadata:&#xA;      title           : Video&#xA;    Chapter #0:3: start 810.551000, end 915.283000&#xA;    Metadata:&#xA;      title           : Advertisement&#xA;    Chapter #0:4: start 915.283000, end 1206.940000&#xA;    Metadata:&#xA;      title           : Video&#xA;    Chapter #0:5: start 1206.940000, end 1291.963000&#xA;    Metadata:&#xA;      title           : Advertisement&#xA;    Chapter #0:6: start 1291.963000, end 1614.738000&#xA;    Metadata:&#xA;      title           : Video&#xA;    Chapter #0:7: start 1614.738000, end 1694.709000&#xA;    Metadata:&#xA;      title           : Advertisement&#xA;    Chapter #0:8: start 1694.709000, end 2068.249000&#xA;    Metadata:&#xA;      title           : Video&#xA;    Chapter #0:9: start 2068.249000, end 2173.261000&#xA;    Metadata:&#xA;      title           : Advertisement&#xA;    Chapter #0:10: start 2173.261000, end 2472.440000&#xA;    Metadata:&#xA;      title           : Video&#xA;    Chapter #0:11: start 2472.440000, end 2582.395000&#xA;    Metadata:&#xA;      title           : Advertisement&#xA;    Chapter #0:12: start 2582.395000, end 3143.276000&#xA;    Metadata:&#xA;      title           : Video&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#2&lt;/strong&gt; Prepare the text file for concat&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It should end up like this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'myfile.mp4'&#xA;inpoint 0.000000&#xA;outpoint 19.142000&#xA;file 'myfile.mp4'&#xA;inpoint 34.017000&#xA;outpoint 810.551000&#xA;file 'myfile.mp4'&#xA;inpoint 915.283000&#xA;outpoint 1206.940000&#xA;file 'myfile.mp4'&#xA;inpoint 1291.963000&#xA;outpoint 1614.738000&#xA;file 'myfile.mp4'&#xA;inpoint 1694.709000&#xA;outpoint 2068.249000&#xA;file 'myfile.mp4'&#xA;inpoint 2173.261000&#xA;outpoint 2472.440000&#xA;file 'myfile.mp4'&#xA;inpoint 2582.395000&#xA;outpoint 3143.276000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Each set of three lines corresponds to an included video chapter. The file entry is on the first line, chapter start and end times on the 2nd and 3rd lines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used the following command to generate it&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;grep -B2 'Video' chp.txt | awk '(NR-1) % 4 == 0' | sed -E 's/\ *Chapter #[0-9]:[0-9]+:/file \'myfile.mp4\'\n/g;s/\ *start/inpoint/g;s/,\ end/\noutpoint/g' &amp;gt; list.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you don't have these utilities (if you're on Windows), get them from &lt;a href=&quot;https://github.com/bmatzelle/gow/releases&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/bmatzelle/gow/releases&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#3&lt;/strong&gt; Concat the files&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i list.txt -c copy stripped.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If the Video chapters don't start with a keyframe, you'll have to re-encode.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2017-12-31T06:10:12.657" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23130" PostTypeId="2" ParentId="22975" CreationDate="2018-01-01T22:09:26.107" Score="1" Body="&lt;p&gt;it's not a bug, it's the nature of collapse transformation switch, and when you've added this dummy effect you simply have disabled the collapse transformation.&lt;/p&gt;&#xA;" OwnerUserId="21039" LastActivityDate="2018-01-01T22:09:26.107" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23131" PostTypeId="1" AcceptedAnswerId="23193" CreationDate="2018-01-02T10:40:29.967" Score="1" ViewCount="2705" Body="&lt;p&gt;I'll try and keep this as simple as possible, and thanks for any help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have two PC's one that I'm gaming on, one that I'm recording on. I also have two RME audio cards (one in each respective PC) hooked up to each other to share audio between the PC's. My main display is hooked up to a displayport splitter that splits to my recording PC's capture card and I'm also routing my game audio from the sound card in my gaming PC to the capture PC's audio card. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm running discord on the capture PC and have my game audio, discord audio, and my personal mic all on separate input channels. I have the capture card video and the game audio channel output to the same MP4 file and then have my mic audio and the discord audio output to two separate WAV files. This way I can choose to omit the voices from the video so only game audio can be heard and or I can mix the volumes independently after recording. This way I can make sure the discord, my voice, or the game audio isn't overwhelming in the final product.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything seemed to be working great, until my capture card dropped a few frames over the course of 3 hours. The resulting footage had out of sync audio and video, the discord audio and my mic were also now out of sync with the game footage. After searching around for a very long time it seemed the solution was -vsync 1 but it didn't seem to work, here was my code for that:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -guess_layout_max 0 -y -f dshow -video_size 3440x1440 -rtbufsize 2147M -pixel_format nv12 -r 100.00 -vsync 1 ^&#xA;-i video=&quot;Video (00 Pro Capture HDMI 4K+)&quot;:audio=&quot;Analog (1+2) (RME Fireface UC)&quot; -map 0:0 -map 0:1 ^&#xA;-codec:v h264_nvenc -pix_fmt nv12 -b:v 250M -maxrate 250M -bufsize 250M -b:a 320k -ac 2 ^&#xA;-segment_time 600 -segment_wrap 9 -f segment C:\Users\djcim\Videos\PC\PC%02d.mp4 ^&#xA;-guess_layout_max 0 -f dshow -rtbufsize 100M -i audio=&quot;Analog (3+4) (RME Fireface UC)&quot; -map 1:0 -b:a 320k -ac 2 ^&#xA;-segment_time 600 -segment_wrap 9 -f segment C:\Users\djcim\Videos\PC\Voices\Theirs\TheirsPC%02d.wav ^&#xA;-guess_layout_max 0 -f dshow -rtbufsize 100M -i audio=&quot;Analog (5+6) (RME Fireface UC)&quot; -map 2:0 -b:a 320k -ac 2 ^&#xA;-segment_time 600 -segment_wrap 9 -f segment C:\Users\djcim\Videos\PC\Voices\Mine\MinePC%02d.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That's all one line of code, carrots are line breaks. But after playing for a while and dropping some frames the problems persisted. I was under the impression that -vsync 1 forced the desired frame rate, duplicating frames to make sure the audio stayed in-sync. So I thought maybe I had it in the wrong place and tried this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -guess_layout_max 0 -y -f dshow -video_size 3440x1440 -rtbufsize 2147M -pixel_format nv12 -r 100.00 ^&#xA;-i video=&quot;Video (00 Pro Capture HDMI 4K+)&quot;:audio=&quot;Analog (1+2) (RME Fireface UC)&quot; -vsync 1 -map 0:0,0:1 -map 0:1 ^&#xA;-codec:v h264_nvenc -pix_fmt nv12 -b:v 250M -maxrate 250M -bufsize 250M -b:a 320k -ac 2 ^&#xA;-segment_time 600 -segment_wrap 9 -f segment C:\Users\djcim\Videos\PC\PC%02d.mp4 ^&#xA;-guess_layout_max 0 -f dshow -rtbufsize 100M -i audio=&quot;Analog (3+4) (RME Fireface UC)&quot; -map 1:0 -b:a 320k -ac 2 ^&#xA;-segment_time 600 -segment_wrap 9 -f segment C:\Users\djcim\Videos\PC\Voices\Theirs\TheirsPC%02d.wav ^&#xA;-guess_layout_max 0 -f dshow -rtbufsize 100M -i audio=&quot;Analog (5+6) (RME Fireface UC)&quot; -map 2:0 -b:a 320k -ac 2 ^&#xA;-segment_time 600 -segment_wrap 9 -f segment C:\Users\djcim\Videos\PC\Voices\Mine\MinePC%02d.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I actually have yet to drop a frame since then... is this my code causing this? With vsync working correctly would it no-longer display dropped frames in the console? Am I mapping correctly in conjunction with vsync? It almost seems like with -map 0:0,0:1 I'd be syncing the audio to the video but what I would really like is if I drop frames just take the last successful frame and duplicate it. That way (theoretically) the other two audio channels would stay in-sync too... I'm just trying to make sure that I don't screw up an important recording before it happens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any help.&lt;/p&gt;&#xA;" OwnerUserId="21040" LastActivityDate="2018-01-12T22:00:55.257" Title="Syncing Multiple Audio Streams With One Video Stream (FFMPEG)" Tags="|ffmpeg|audio|sync|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="23132" PostTypeId="2" ParentId="23122" CreationDate="2018-01-02T16:37:16.783" Score="2" Body="&lt;p&gt;Use the keyboard shortcut to add a marker&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Windows: * (multiply) on numeric keypad&lt;br&gt;&#xA;  Mac OS: * (multiply) on numeric keypad or Control+8 on main keyboard&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This works during preview and audio-only preview&lt;/p&gt;&#xA;" OwnerUserId="16850" LastActivityDate="2018-01-02T16:37:16.783" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23133" PostTypeId="1" AcceptedAnswerId="23134" CreationDate="2018-01-02T19:03:15.543" Score="1" ViewCount="374" Body="&lt;p&gt;Will the &lt;a href=&quot;https://www.amazon.co.uk/Samsung-Memory-Adapter-Exclusive-Packaging/dp/B06XFZV9JY/ref=sr_1_1?ie=UTF8&amp;amp;qid=1514919031&amp;amp;sr=8-1&amp;amp;keywords=samsung%20evo%20plus&quot; rel=&quot;nofollow noreferrer&quot;&gt;Samsung 64GB Evo Plus&lt;/a&gt; be sufficient for the &lt;a href=&quot;https://www.jessops.com/p/panasonic/lumix-dmc-gx80-mirrorless-camera-in-silver-with-12-32mm-lens-98119&quot; rel=&quot;nofollow noreferrer&quot;&gt;Panasonic GX80/85&lt;/a&gt; for 4K video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have recently purchased the Panasonic GX80 and need to get an SD card to go with it. I know nothing about cameras or SD cards. I am trying to find the cheapest, reliable card that will work well with the 4K video. My research has indicated that the Samsung card linked above should work fine with its (up to) 100 MB/s read and 60 MB/s write speed with class 10 and U3 compatibility. I've noticed that (for this product) the write speed scales with the memory size. I am really trying to determine if:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is this card overkill / insufficient / fine for a beginner?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;In addition to&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I've read that Micro SD Cards with Adapters are preferred as full sized SD cards tend to break and with the micro SD cards it is trivial to replace the adapters. Is this nonsense or does it generally hold true?&lt;/li&gt;&#xA;&lt;li&gt;Are Samsung SD cards generally reliable?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Most of my information comes from &lt;a href=&quot;https://www.dpreview.com/forums/thread/4004563&quot; rel=&quot;nofollow noreferrer&quot;&gt;this forum post&lt;/a&gt;, which would now appear to be out of date. I won't ask about memory card size as I understand that this is completely subjective and situational. First time post here, so apologies if this is subjective / not the quality of question that you expect here. If so, I'll happily delete. &lt;/p&gt;&#xA;" OwnerUserId="21051" OwnerDisplayName="1QuickQuestion" LastEditorUserId="17390" LastEditDate="2018-10-30T09:47:55.787" LastActivityDate="2018-10-30T09:47:55.787" Title="Will the Samsung 64GB Evo Plus be sufficient for the Panasonic gx80/85?" Tags="|sd-card|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23134" PostTypeId="2" ParentId="23133" CreationDate="2018-01-02T19:24:19.357" Score="2" Body="&lt;h2&gt;What speed does my SD-card need?&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;The manual states that:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cBs0R.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cBs0R.png&quot; alt=&quot;excerpt from GX80 manual&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So any card that can continually write 100 Mega&lt;strong&gt;bit&lt;/strong&gt; per second (so around 13 Mega&lt;strong&gt;Byte&lt;/strong&gt; per second) should be fast enough for recording 4K. For photography, there's no hard number: usually, it's the faster, the better, especially when shooting series of pictures in RAW. However, it will only have influence on the buffer and how fast it is cleared.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your suggested card has a write speed of &lt;strong&gt;up to&lt;/strong&gt; 60 MegaByte - but &quot;up to&quot; can mean anything in between 0.1 and 60.0 MB/s. Look for benchmarks - or look for &#xA;&lt;strong&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Secure_Digital#Speed_class_rating&quot; rel=&quot;nofollow noreferrer&quot;&gt;Speed Classes&lt;/a&gt;&lt;/strong&gt; - those will usually tell you the minimum continuous write speed of a card. Speed-classes come in all sorts of logos and are usually displayed on the card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please note that the camera has to support the protocol of the card - A U3 card will only be able to work at C6-speed (at best) in a camera that only supports up to C6.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, having a standard is all well and fine - as long as everyone is abiding by it. &quot;Premium&quot; card manufacturers have a reputation to lose, so they usually will not forge speed ratings. If you do not know if you want to trust them, again, you should look for benchmarks and reviews.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;Are µSDs more reliable than regular SDs?&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;No. I carry some of my (non-essential) SD cards in my purse - next to my coins and without protective cases. So I assume that to break an SD-card, you really have to try. SD-cards are usually cheaper than µSD-cards (at same specifications), so I would go with one of these all the time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This, of course, does not consider cross-device use of the card, e.g. in a smartphone.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;Are Samsung's cards reliable?&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Simply look for reviews in the internet (e.g. in the link you posted from Amazon). I have no experience with Samsung, though they tend to have good reputation. Their SSDs are always well-received, so I would think the same would go for their SD-cards. However, there is always the possibility that you get the one bad card of a batch - or that one specific model comes out faulty.&lt;/p&gt;&#xA;" OwnerUserId="21046" OwnerDisplayName="flolilolilo" LastEditorUserId="21046" LastEditDate="2018-01-03T13:18:50.067" LastActivityDate="2018-01-03T13:18:50.067" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23135" PostTypeId="1" AcceptedAnswerId="23305" CreationDate="2018-01-02T22:37:00.897" Score="4" ViewCount="6058" Body="&lt;p&gt;I have bought a cheap IP camera Escam QF002 producing output in RTSP.&#xA;I'd like to secure it with RTMP or HLS stream served by nginx with nginx-rtmp-module.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this I'd copy the video stream (h264) and transcode audio(pcm_alaw -&gt; aac), using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/usr/bin/ffmpeg -loglevel debug \&#xA;  -i 'rtsp://192.168.1.2:554/user=admin&amp;amp;password=******&amp;amp;channel=0&amp;amp;stream=0.sdp?real_stream--rtp-caching=100' \&#xA;  -vcodec copy -acodec aac -f flv &quot;rtmp://localhost/escam/stream&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;After ~260 seconds (same value each time) of successfull stream, no valid output is produced any longer and the message is being spammed:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Delay between the first packet and last packet in the muxing queue is 10020000 &amp;gt; 10000000: forcing output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;This seems to happen only when camera is in &quot;night/infrared&quot; mode. Some differences may be logged:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Night mode: reported framerate converges to 13 fps and inital frames are passed with 488 DTS&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;[flv @ 0x1d53710] Non-monotonous DTS in output stream 0:0; previous: 488, current: 385; changing to 488. This may result in incorrect timestamps in the output file.&#xA;....&#xA;frame= 1451 fps= 13 q=-1.0 size=    5357kB time=00:02:11.84 bitrate= 332.8kbits/s speed=1.16x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Day mode: reported fps converges to 20 fps, and and inital frames are passed with 300 DTS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But each time the input stream is defined as:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0, 0, 1/1000: Video: h264 (Main), 1 reference frame ([7][0][0][0] / 0x0007), yuvj420p(pc, bt709, progressive, left), 1280x720 (0x0), 0/1, q=2-31, 20 fps, 13 tbr, 1k tbn, 90k tbc&#xA;Stream #0:1, 0, 1/1000: Audio: pcm_alaw ([7][0][0][0] / 0x0007), 8000 Hz, mono, 64 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So far only disabling the audio stream with &lt;code&gt;-an&lt;/code&gt; allows for continuous streaming. Copying the stream without reencoding audio (&lt;code&gt;-acodec copy&lt;/code&gt;) or writing to file results in same error. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What could be the issue? Why this is specific to night-mode only?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt;&#xA;I think I need to post it as another thread, since this turns out to be an XY problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess the issue is connected with improper PTS/DTS for the video frames returned by RTP. &#xA;FFmpeg reports, that video input has 20fps, while actually it returns ~ 13fps (tbr):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0: Video: h264 (Main), yuvj420p(pc, bt709, progressive), 1280x720, 20 fps, 13 tbr, 90k tbn, 40 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Probing the input frames with &lt;code&gt;ffprobe -show_frames -read_intervals %+100 'rtsp://host/stream'&lt;/code&gt; gives the following info for video frames:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;pkt_duration_time = 0.05s, pkt_duration = 4500&lt;/li&gt;&#xA;&lt;li&gt;increment of pkt_pts is 6923, increment of pkt_pts_time is ~ 0.077s, same apllies to pkt_dts, pkt_dts_time, as well as best_effort_timestamp, best_effort_timestamp_time&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The PTS/DTS must be somehow recalculated from the default 0.05 (I'm not sure whether done by ffmpeg or source itself). However this interval is to small compared to audio stream - as seen on the graph below. This results in video being remuxed faster than audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Questions:&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Are RTP h264 DTS/PTS given by stream itself, or calculated by ffmpeg?&lt;/li&gt;&#xA;&lt;li&gt;What's the proper way to modify these to match audio DTS/PTS?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8h59J.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8h59J.png&quot; alt=&quot;RTSP&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21047" LastEditorUserId="21047" LastEditDate="2018-01-04T00:21:59.040" LastActivityDate="2018-01-29T19:14:06.537" Title="RTSP to RTMP converting fails after specific time only when IP camera enters night mode" Tags="|ffmpeg|streaming|transcoding|linux|rtmp|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23136" PostTypeId="1" CreationDate="2018-01-03T05:56:39.670" Score="1" ViewCount="108" Body="&lt;p&gt;Our freestyle ski team is looking to invest in a system that allows athletes to immediately review their competition ski runs with their coach after they get to the bottom. While they're playing back the video of their run, the camera will need to be available to shoot the next athlete. In an ideal world, a tethered camera would record directly and automatically to a folder on a laptop so that the athlete would be able to replay their run independently of the camera, leaving the camera free to keep recording the next athlete.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've experimented with a Canon 5Dmk4 and the EOS Utility, which seems to automatically detect when the camera finishes shooting a video, and then prompts you the option of saving that file to your computer. This involves a lot of manual interaction, can take 30+ seconds to transfer a minute of footage, and ties up the camera during that transfer, preventing you from shooting the next skier if the transfer isn't completed in time. It's also a bit tedious and requires a coordinated effort between the videographer and the coach doing the video review. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We are hoping to invest in the GH5 due to it's slow motion capabilities, but am uncertain if this will pose new challenges (i.e. file sizes), or offer any solutions. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm familiar with the Ninja recording monitors being able to save to an SSD, but I'm curious of a solution that would allow me to instantly view recorded footage on a laptop, while leaving the camera free to shoot more video. I'm open to anything that would allow us to achieve what we're after as cheaply as possible!&lt;/p&gt;&#xA;" OwnerUserId="21048" LastActivityDate="2018-10-03T02:01:29.290" Title="Looking for the fastest way shoot video on a camera and review it on a laptop" Tags="|video-recording|video-capture|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23137" PostTypeId="2" ParentId="23136" CreationDate="2018-01-03T12:13:23.270" Score="0" Body="&lt;p&gt;If the camera allows you to output live HDMI while recording, an idea would be to capture the live video with a capture card, and then record every athlet on the computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A capture card doesn't cost too much, there are USB HDMI external capture cards that are pretty good even for a low price.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For recording, I'm not sure of what softwares are available, but it wouldn't be difficult to go completely custom. A simple script of one line could launch ffmpeg and record the input interface until you stop the recording. This way you can have a h.264 output file ready as soon as you stop recording. I would recommend using two computers for this, one handling the recording and the other one for playback. You could easily access files from the other computer using the network.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This solution would require manually starting and stopping the recording on the computer, but if you want to avoid the time needed to transfer the recording from the camera to the computer, I'm not sure if there are other solutions (without paying for a complete live replay system, which would be an overkill other than a waste of money). &lt;/p&gt;&#xA;" OwnerUserId="20528" LastEditorUserId="20528" LastEditDate="2018-01-03T12:18:24.073" LastActivityDate="2018-01-03T12:18:24.073" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23139" PostTypeId="1" CreationDate="2018-01-03T17:18:37.613" Score="3" ViewCount="204" Body="&lt;p&gt;My playback of footage that is sped up 500% is awful in PP CC 2018 on my desktop but fine on my laptop. My CPU utilization is not maxing out on my desktop but I'm still dropping 90% of my frames. I'm using 1/4 resolution for playback, have plenty of memory allocated to PP, have memory usage set to &quot;performance&quot;, etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Desktop specs:&#xA;6700K&#xA;32GB 3200Mhz &#xA;GTX1070&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My laptops specs are not as good but seems to be fine with the playback of the exact same timeline. I'm curious if there's something I'm forgetting or not thinking about. &lt;/p&gt;&#xA;" OwnerUserId="6179" LastActivityDate="2024-01-28T22:03:10.377" Title="Dropping Frames when Playing back Sped Up Footage in PP CC 2018" Tags="|premiere|framerate|playback|performance|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23140" PostTypeId="1" AcceptedAnswerId="23141" CreationDate="2018-01-03T19:41:46.973" Score="2" ViewCount="3911" Body="&lt;p&gt;I need to transcode some high res videos (prores or dnxhd files with 5.1 uncompressed 48kHz audio in MOV container) to their low res h264 with AAC keeping the audio still in 5.1 preserving their channel mapping.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to do so I tried to use this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.mov -c:v libx264 -preset ultrafast -b:v 10000k -c:a libfdk_aac -afterburner 1 -cutoff 20000 -filter:v &quot;scale=-1:720&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The version I'm using is &lt;strong&gt;&lt;code&gt;ffmpeg version N-87584-g47d6b02f6c-Reino&lt;/code&gt;&lt;/strong&gt; a pretty new one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What happens is that even if video processing is ok, for the audio part my channels are mapped incorrectly.. to better explain what happens I made a screenshot of before and after waveforms in Adobe Audition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are the waveform of the &lt;strong&gt;input&lt;/strong&gt; file:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7tkfk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7tkfk.png&quot; alt=&quot;waveforms in my origin video&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These instead are the waveforms of the &lt;strong&gt;transcoded&lt;/strong&gt; file:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4FwZT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4FwZT.png&quot; alt=&quot;waveforms changed after transcoding&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again let me post the ffprobe parts related to the audio:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;input file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:1(eng): Audio: pcm_s24le (lpcm / 0x6D63706C), 48000 Hz, 5.1, s32 (24 bit), 6912 kb/s (default)&#xA;Metadata:&#xA;  creation_time   : 2018-01-02T09:48:58.000000Z&#xA;  handler_name    : Apple Alias Data Handler&#xA;  timecode        : 00:00:00:00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;transcoded file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, 5.1, fltp, 488 kb/s (default)&#xA;Metadata:&#xA;  handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and for finish MediaInfo Lite&lt;/p&gt;&#xA;&#xA;&lt;p&gt;original file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Audio&#xA;ID                          : 2&#xA;Format                      : PCM&#xA;Format settings             : Little / Signed&#xA;Format settings, Endianness : Little&#xA;Format settings, Sign       : Signed&#xA;Codec ID                    : lpcm&#xA;Duration                    : 1 h 30 min&#xA;Bit rate mode               : Constant&#xA;Bit rate                    : 6 912 kb/s&#xA;Channel(s)                  : 6 channels&#xA;Channel positions           : Front: L C R, Back: L R, LFE&#xA;Sampling rate               : 48.0 kHz&#xA;Bit depth                   : 24 bits&#xA;Stream size                 : 4.35 GiB (5%)&#xA;Language                    : English&#xA;Encoded date                : UTC 2018-01-02 09:48:58&#xA;Tagged date                 : UTC 2018-01-02 10:16:46&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;transcoded file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Audio&#xA;ID                          : 2&#xA;Format                      : AAC&#xA;Format/Info                 : Advanced Audio Codec&#xA;Format profile              : LC&#xA;Codec ID                    : mp4a-40-2&#xA;Duration                    : 1 h 30 min&#xA;Duration_LastFrame          : -8 ms&#xA;Bit rate mode               : Constant&#xA;Bit rate                    : 489 kb/s&#xA;Channel(s)                  : 2 channels&#xA;Channel(s)_Original         : 6 channels&#xA;Channel positions           : Front: L C R, Side: L R, LFE&#xA;Sampling rate               : 48.0 kHz&#xA;Frame rate                  : 46.875 FPS (1024 SPF)&#xA;Compression mode            : Lossy&#xA;Stream size                 : 315 MiB (5%)&#xA;Language                    : English&#xA;Default                     : Yes&#xA;Alternate group             : 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you play the mp4 file with VLC you clearly hear that something is swapped badly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm open to a solution ;)&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2018-01-03T20:03:26.803" Title="Transcode 5.1 audio in ffmpeg leads to incorrect audio mapping in output" Tags="|ffmpeg|audio|conversion|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23141" PostTypeId="2" ParentId="23140" CreationDate="2018-01-03T20:03:26.803" Score="3" Body="&lt;p&gt;FFmpeg assumes that the input's 5.1 channel mapping is the same as the one it uses. To correct that, use the channelmap filter to remap, add:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-af &quot;channelmap=4|0|1|2|3|5:5.1&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(I based it off the channel labels on the right in your images)&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-01-03T20:03:26.803" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23145" PostTypeId="1" AcceptedAnswerId="23147" CreationDate="2018-01-04T05:45:38.290" Score="1" ViewCount="730" Body="&lt;p&gt;I have two videos of different length. I need to create a new video with one video at the left and other at the right. I tried using &lt;a href=&quot;https://unix.stackexchange.com/a/233833/267627&quot;&gt;this&lt;/a&gt;. Problem is my videos are of different length. I want to start one video a few seconds after the other started. Also, I want to keep the audio of the longer video only.&lt;/p&gt;&#xA;" OwnerUserId="21062" LastEditorUserId="14523" LastEditDate="2018-01-04T13:07:05.487" LastActivityDate="2018-01-04T13:07:05.487" Title="Create splitscreen video using ffmpeg" Tags="|video|ffmpeg|video-editor|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23146" PostTypeId="2" ParentId="21643" CreationDate="2018-01-04T06:19:56.447" Score="1" Body="&lt;p&gt;The CRF 22 sample looks fine to me at 1x size. The lower the resolution, the greater the impact a high quantization parameter will have. Suggest you stick to values &amp;lt; 24.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since your video images are mostly static, slower presets won't be worth the extra time (unless you need to squeeze every bit of compression efficiency).&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-01-04T06:19:56.447" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23147" PostTypeId="2" ParentId="23145" CreationDate="2018-01-04T07:52:50.370" Score="1" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i shorter.mp4 -i longer.mp4 -filter_complex&#xA; &quot;[0]trim=0:3.5,drawbox=c=black[delay];[delay][0]concat[left];&#xA;  [left][1]hstack[v]&quot;&#xA; -map &quot;[v]&quot; -map 1:a -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;3.5&lt;/code&gt; should be replaced with the delayed start time (in seconds) of the shorter video.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-01-04T09:15:14.190" LastActivityDate="2018-01-04T09:15:14.190" CommentCount="17" ContentLicense="CC BY-SA 3.0" />
  <row Id="23148" PostTypeId="1" AcceptedAnswerId="23154" CreationDate="2018-01-04T11:53:07.393" Score="2" ViewCount="60" Body="&lt;p&gt;What editing software for MacOS allows mask selection based on frame difference?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have video footage taken from a tripod and I wish to create a tracking mask covering people and cars moving about the frame, using a frame without the people in it as reference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally I would like the software to ignore the objects that were already in the reference frame but moved away from it later (i.e., objects that are not part of the background).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this is a common feature in video-editing software or perhaps there is a plugin available for it?&lt;/p&gt;&#xA;" OwnerUserId="21065" LastActivityDate="2018-01-05T13:08:55.360" Title="Frame difference mask" Tags="|premiere|video-editor|software-recommendation|final-cut-pro|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23149" PostTypeId="1" AcceptedAnswerId="23150" CreationDate="2018-01-04T14:09:40.250" Score="1" ViewCount="832" Body="&lt;p&gt;For the project that I'm working on I have to cut some parts of same video with some subtitles. So I made a bash file that executes multiple ffmpeg commands like this.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf scale=&quot;w=640:h=-2&quot;,drawtext=&quot;fontfile=/usr/share/fonts/truetype/msttcorefonts/verdana.ttf: textfile='1.txt': fontcolor=white: fontsize=20: box=1: boxcolor=black@0.5: boxborderw=5: x=(w-text_w)/2: y=((h-text_h)/2)+90:&quot; -ss 00:00:45.674 -to 00:00:50.093 -async 1 ./out/1.mp4&#xA;&#xA;ffmpeg -i input.mp4 -vf scale=&quot;w=640:h=-2&quot;,drawtext=&quot;fontfile=/usr/share/fonts/truetype/msttcorefonts/verdana.ttf: textfile='2.txt': fontcolor=white: fontsize=20: box=1: boxcolor=black@0.5: boxborderw=5: x=(w-text_w)/2: y=((h-text_h)/2)+90:&quot; -ss 00:00:49.344 -to 00:00:52.971 -async 1 ./out/2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but it fast for first times (start) of the input file, it gets slower if I want to start seeking from middle or near end of input. So it gets nearly 7-8 minutes for 22. minute of the input file...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf scale=&quot;w=640:h=-2&quot;,drawtext=&quot;fontfile=/usr/share/fonts/truetype/msttcorefonts/verdana.ttf: textfile='226.txt': fontcolor=white: fontsize=20: box=1: boxcolor=black@0.5: boxborderw=5: x=(w-text_w)/2: y=((h-text_h)/2)+90:&quot; -ss 00:22:23.345 -to 00:22:25.846 -async 1 ./out/226.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Anybody knows better way to do that?&#xA;Can I do that without seeking file each time? (Because it seems this is a seeking problem to me....)&lt;/p&gt;&#xA;" OwnerUserId="21066" LastActivityDate="2018-01-04T15:21:21.073" Title="ffmpeg cut same video to multiple pieces" Tags="|ffmpeg|mp4|subtitles|linux|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23150" PostTypeId="2" ParentId="23149" CreationDate="2018-01-04T15:21:21.073" Score="2" Body="&lt;p&gt;Use ss/to as input options. This seeks at the demuxer stage, which is much faster.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:22:23.345 -to 00:22:25.846 -i input.mp4 ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You'll need a very recent build of ffmpeg (&gt; Nov 19 2017)&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-01-04T15:21:21.073" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="23152" PostTypeId="1" AcceptedAnswerId="23153" CreationDate="2018-01-04T17:25:55.423" Score="3" ViewCount="456" Body="&lt;p&gt;I am trying to make my video so that the main point of interest is always in the same direction. How do I chose which area of the video is in front for each scene?&lt;/p&gt;&#xA;" OwnerUserId="21069" LastActivityDate="2018-01-04T17:37:19.413" Title="How do I change the center of a 360 video within Adobe Premiere so that there is always a front side (or main point of interest) in each video?" Tags="|premiere|360video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23153" PostTypeId="2" ParentId="23152" CreationDate="2018-01-04T17:37:19.413" Score="2" Body="&lt;p&gt;Go to Effects &gt; Immersive Video &gt; VR Projection &gt; Pan.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here you can change &quot;pan&quot; to whatever point you want to focus on.&lt;/p&gt;&#xA;" OwnerUserId="20490" LastActivityDate="2018-01-04T17:37:19.413" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23154" PostTypeId="2" ParentId="23148" CreationDate="2018-01-04T22:00:11.830" Score="1" Body="&lt;p&gt;The effect is known as a &quot;difference&quot; key. It's also known as a &quot;not very good&quot; key, because unless your footage is shot on a rock-solid locked off tripod and you're shooting uncompressed 4:4:4, it works a lot less well than you'd think.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After effects has a &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/keying-effects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Colour Difference Key&lt;/a&gt; effect, as does &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/video-effects-transitions.html#main-pars_heading_110&quot; rel=&quot;nofollow noreferrer&quot;&gt;Premiere&lt;/a&gt;, and this &lt;a href=&quot;https://forums.creativecow.net/docs/forums/post.php?forumid=170&amp;amp;postid=874697&quot; rel=&quot;nofollow noreferrer&quot;&gt;forum post&lt;/a&gt; explains how to do it in Apple Motion - though the principle will work in most compositing applications.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And of course, if you're after free as in speech as well as in beer &lt;a href=&quot;https://docs.blender.org/manual/en/dev/compositing/types/matte/difference_key.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blender has a difference key node too&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1871" LastEditDate="2018-01-05T13:08:55.360" LastActivityDate="2018-01-05T13:08:55.360" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23156" PostTypeId="1" CreationDate="2018-01-06T08:02:50.767" Score="2" ViewCount="398" Body="&lt;p&gt;I want to create a splitscreen video from two video clips. &#xA;Left one is of duration 70seconds.&#xA;Right one is of duration 80seconds.&#xA;In the splitscreen video, the right video should start first. Left video shouldn't start for first 15 seconds. After 80s, i.e. after right video ends, left video should continue. So, the final splitscreen video should be of 85 seconds. For the first 80 seconds, the audio should be from right video and for the next 5 seconds, it should be from left video. Or vice-versa is also fine (i.e. first 15 seconds, audio from right video, next 70 seconds, audio from left video). How to do this? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another optional requirement: For first 15 seconds, when right video is playing, in the left part, instead of black screen, it would be preferable to have the first frame (image) of the left video. So, after 15s, when left video starts, it takes off from there. Similarly, after 80s when right video stops, instead of black screen, it would be preferable to have the last frame of right video there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Opensource software is preferred.&lt;/p&gt;&#xA;" OwnerUserId="21062" LastEditorUserId="21062" LastEditDate="2018-01-08T13:19:29.093" LastActivityDate="2022-08-16T07:01:35.140" Title="Create a splitscreen video from two videos of different lengths with delay" Tags="|video|ffmpeg|video-editor|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23159" PostTypeId="1" AcceptedAnswerId="23160" CreationDate="2018-01-07T11:37:52.997" Score="0" ViewCount="1710" Body="&lt;p&gt;I am trying to design a video for my ad in Instagram, but when I upload the video, it says:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Story media aspect ratio has to be smaller than or equal to 9:16&lt;/li&gt;&#xA;&lt;li&gt;Aspect ratios of videos need to be 1:1.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;What should be the settings?&lt;/p&gt;&#xA;" OwnerUserId="21084" LastEditorUserId="14523" LastEditDate="2018-01-07T16:20:12.433" LastActivityDate="2018-01-07T16:20:12.433" Title="What should my aspect ratio settings be for an Instagram ad?" Tags="|video|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23160" PostTypeId="2" ParentId="23159" CreationDate="2018-01-07T14:32:09.270" Score="1" Body="&lt;p&gt;It means that the ratio between the width and the height of the content (in pixels) should be the specified one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Specifically, for a video you need to have an aspect ratio (technically, a DAR - display aspect ratio) of exactly 1:1, so the width of the video should be the same as the height of the video. In other words, the video should be square. As an example, 1000 pixels x 1000 pixels is fine, because (1000 / 1000) == 1.0, while 1280 x 720 is not, because the division is not 1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For what they call &quot;story media&quot;, the aspect ratio should not exceed 9:16 (which is 16:9 in vertical). In numbers, that's 0,5625. So in this case the &quot;media&quot; you're uploading shouldn't be exceeding that 0,5625 value, when calculating the ratio between the width and the height of the content.&lt;/p&gt;&#xA;" OwnerUserId="20528" LastActivityDate="2018-01-07T14:32:09.270" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="23161" PostTypeId="1" AcceptedAnswerId="23168" CreationDate="2018-01-07T22:59:34.853" Score="2" ViewCount="612" Body="&lt;p&gt;When my SJ4000 is in video mode, I press OK to begin recording. Then, pressing the same button during recording stops recording and closes the output file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to momentarily pause the recording and then resume &lt;em&gt;without&lt;/em&gt; starting a new output file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have searched &lt;a href=&quot;https://sjcam.com/community/&quot; rel=&quot;nofollow noreferrer&quot;&gt;the SJCAM forum&lt;/a&gt; and couldn't find a definite answer.&lt;/p&gt;&#xA;" OwnerUserId="21088" LastEditorUserId="14523" LastEditDate="2018-01-09T00:06:35.867" LastActivityDate="2018-01-09T00:06:35.867" Title="SJCAM SJ4000 How can I pause video recording?" Tags="|action-cam|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23162" PostTypeId="2" ParentId="18654" CreationDate="2018-01-08T03:47:34.833" Score="0" Body="&lt;p&gt;Pick up a used server host on EBay for about $500.00 with 2 x 3GHz I5 8 core Hyperthreaded CPU's (equivalent to 32 3 GHz cores) and 128 GB RAM.  Load it up with Windows and watch the lights dim as you start rendering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Caution: wear ear plugs. They're built for speed and reliability, but sound like jet engines.&lt;/p&gt;&#xA;" OwnerUserId="19491" LastActivityDate="2018-01-08T03:47:34.833" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23163" PostTypeId="1" CreationDate="2018-01-08T05:16:19.620" Score="1" ViewCount="48" Body="&lt;p&gt;I have picked up more video clients and thus I need to be able to edit faster. I have been trying to update my machine on a budget to get the most performance for my dollar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Machine&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Windows 10 Pro OS with Adobe CC 2018&lt;/li&gt;&#xA;&lt;li&gt;Core i7 5820K 6 Core Stock Clocked&lt;/li&gt;&#xA;&lt;li&gt;16 GB Corsair DDR4 3000 Ram Running at 2133&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I have 16GB of the same model more on my desk ready to go in&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;nVidia GTX970 4GB SC&lt;/li&gt;&#xA;&lt;li&gt;NVME Boot Drive 512GB&lt;/li&gt;&#xA;&lt;li&gt;Samsung 850 PRO 256GB&lt;/li&gt;&#xA;&lt;li&gt;WD Blue 500GB Export Drive&lt;/li&gt;&#xA;&lt;li&gt;1.8 TB RAID 0 Array Assets Drive via Startech PCIE Raid Card&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;EVO 850 1TB&lt;/li&gt;&#xA;&lt;li&gt;SANDisk 960GB SSD Plus&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Corsair CX500M Modular 500W PSU&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Issues&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Renders are still taking what I consider to be longer than they should.&#xA;A 1 minute clip with Color Correction (Basic Lumitri Color Correction is taking about 9 minutes. If I try to add RedGiant Denoiser II, it'll take an hour, minimum.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Scrubbing simple timelines is not fluid at all. Sometimes I'll go to play a clip and it'll stutter. Stopping playback and starting it again will fix it but it shouldn't be that hard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's exaggerated by adding the cc layer. What I typically do is add the cc and other effects to an adjustment layer, turn it off while editing and then on when done, but I'd like to use a 4k monitor in the future and do the playback review on that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) CPU Will peak at 100% but ram never gets above 13gb or so and disk useage or saturation of the link never gets above 1%. I feel like this isnt really an issue but I want to make sure it's not. I know I can upgrade my cpu and it may still get to 100%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) Can not export with CUDA acceleration&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Thoughts&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As mentioned, I know I can upgrade the CPU but with the current cpu bugs, I'd rather wait for the next release. Feels like the smart thing to do maybe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't think the raid array is helping me or the sandisk isnt quick enough. There is definitely a stutter when I run blackmagics disk speed test.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could switch to NVMEs for all of the drives, but I don't think that disk speed is my problem but then again, I'm coming to you for help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will spend whatever makes sense here. I am hoping to grow this business so an investment would make sense but at the same time, I don't want to go mac pro yet. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've updated everything driver wise and bios wise. Still no love. I'm kind of getting frustrated with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What I'm Looking For&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What changes should I make to this rig?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can I do to fix the issues I've mentioned?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I wasting time with RAID at this point? Should I just buckle down and buy larger SSDs? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know the EVO 850 is fast but there are definitely faster drives, just way more expensive.&lt;/p&gt;&#xA;" OwnerUserId="6369" LastEditorUserId="6369" LastEditDate="2018-01-08T06:01:44.150" LastActivityDate="2018-01-08T06:01:44.150" Title="Video Editing Rig Struggles Need a Solution" Tags="|premiere|hardware|windows|adobe-media-encoder|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23166" PostTypeId="2" ParentId="19236" CreationDate="2018-01-08T09:23:42.647" Score="0" Body="&lt;p&gt;You can consider the part where the whole video freezes as lost but if you simply import it to Premiere Pro and split the video from the audio you can then cut in the audio layer and move it to where the audio syncs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there is a change in speed I would recommend to change the speed of the video in stead of the audio.&lt;/p&gt;&#xA;" OwnerUserId="16657" LastActivityDate="2018-01-08T09:23:42.647" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23167" PostTypeId="2" ParentId="23156" CreationDate="2018-01-08T09:29:25.550" Score="1" Body="&lt;p&gt;Get some basic knowledge of premiere Pro first. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Import both videos and set the settings for your output. &lt;/li&gt;&#xA;&lt;li&gt;Move the right video in the timeline to where it should start.&lt;/li&gt;&#xA;&lt;li&gt;Use effects to slow down or speedup your video&lt;/li&gt;&#xA;&lt;li&gt;Create a still of the first frame and add it to the layer. You can do this as easily as a screenshot and cut it out with photoshop. Ah hell even import the video to Photoshop.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="16657" LastActivityDate="2018-01-08T09:29:25.550" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23168" PostTypeId="2" ParentId="23161" CreationDate="2018-01-08T10:03:59.363" Score="0" Body="&lt;p&gt;Nope this is not possible. just a limitation of the camera, all cameras work in pretty much the same way&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2018-01-08T10:03:59.363" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23170" PostTypeId="1" AcceptedAnswerId="23171" CreationDate="2018-01-08T14:26:20.023" Score="3" ViewCount="2603" Body="&lt;p&gt;I often design everything in Illustrator, then import the file into AfterEffects as a composition, apply &quot;Convert Shapes from Vector Files&quot; to each layer so that I am working with vector, and then animate the new shapes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I just ran into an issue where I convert a compound shape (with solid color), and after I apply &quot;Convert Shapes from Vector Layer&quot;, it shows up as transparent. The layer is there, and I can modify the vector points, but I don't see it.  When I click on the shape, it still shows white in the Fill. Opacity is at 100%. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any thoughts?&lt;/p&gt;&#xA;" OwnerUserId="21069" LastActivityDate="2018-01-08T14:39:00.353" Title="How do I keep from losing the color when I &quot;Convert Shapes from Vector Layer&quot; in AfterEffects?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23171" PostTypeId="2" ParentId="23170" CreationDate="2018-01-08T14:39:00.353" Score="2" Body="&lt;p&gt;It could be another path within that layer in the Illustrator file. Check there first and make sure there isn't a mask of any kind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also try looking in the layer within After Effects, click the Contents dropdown, and then the Group dropdown, and check for another Group under your paths. If you see another Group, change the visibility for the Group to see if your shape color returns.&lt;/p&gt;&#xA;" OwnerUserId="20490" LastActivityDate="2018-01-08T14:39:00.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23174" PostTypeId="1" AcceptedAnswerId="23745" CreationDate="2018-01-09T10:58:04.753" Score="1" ViewCount="301" Body="&lt;p&gt;I've made a series of comps each representing a letter from the alphabet.&#xA;Is there an expression or plugin where I can convert the relevant text character on screen to be replaced by the appropriate comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;e.g. I've made a.jpg b.jpg c.jpg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I type &quot;abc&quot; into a text field, apply a magic expression/plugin, and the letters abc are overlaid/replaced by my comps?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not expecting perfect kerning, spacing etc.. Just a quick way to get a start on this.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-04-08T09:06:31.013" Title="using images as text characters in after effects" Tags="|after-effects|after-effects-expressions|after-effects-scripting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23175" PostTypeId="1" AcceptedAnswerId="23186" CreationDate="2018-01-09T13:09:32.583" Score="3" ViewCount="236" Body="&lt;p&gt;I have a video, which I have tracked and solved for camera movement, which I have imported into maya.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now that I have this scene, I would like to do a camera projection on the objects, however, I can only get it to work with a single image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I project a video on my geometry, instead of a photo?&lt;/p&gt;&#xA;" OwnerUserId="17625" LastActivityDate="2018-01-13T00:59:50.893" Title="How to do a camera projection in maya?" Tags="|effects|post-production|tracking|visual-effects|maya|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23177" PostTypeId="1" CreationDate="2018-01-09T18:14:53.757" Score="1" ViewCount="2217" Body="&lt;p&gt;I have video file (.avi) that 10 minutes long. I also have audio file (.wav) that is one minute long. I need to add the audio to the video, but the audio needs to start at one minute in to the video. How can I do this with ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've already tried this command ( with a 30 second offset instead of one minute):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-i video.avi -i audio.wav -filter_complex \&quot;[1]adelay=30000|30000[aud];[0][aud]amix\&quot; - c:v copy out.avi&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and this one also: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-i video.avi -i audio.wav -filter_complex [1]adelay=30000|30000[aud];[0][aud]amix - c:v copy out.avi&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But neither of them worked.&lt;/p&gt;&#xA;" OwnerUserId="21104" LastEditorUserId="14523" LastEditDate="2018-01-09T23:43:57.937" LastActivityDate="2018-01-09T23:43:57.937" Title="how to add audio to exist video using FFMPEG at specific time?" Tags="|video|ffmpeg|audio|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23179" PostTypeId="1" AcceptedAnswerId="23180" CreationDate="2018-01-10T14:16:02.393" Score="1" ViewCount="1479" Body="&lt;p&gt;Using overlay to move a image from left to right feels very stuttery, as if it's moving every 0.5 second instead of per frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Complete:  &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -y -loop 1 -r 2 -i 'bg.png' -i 'centerpiece.png' -t 30 -c:v libx264 -filter_complex &quot;[1:v]scale=iw*2.2:ih*2.2[scaled_cen],[0:v][scaled_cen]overlay=(main_w-overlay_w)/3+(t*10):(main_h-overlay_h)/2,format=pix_fmts=yuv420p&quot; -r 30 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The important part is this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[scaled_cen]overlay=(main_w-overlay_w)/3+(t*10):(main_h-overlay_h)/2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;According to the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#overlay-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg docs&lt;/a&gt;, &lt;code&gt;t&lt;/code&gt; is evaluated in seconds, but I've read elsewhere that its evaluated in MS, in any case I'd like my centerpiece to move a little bit every frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the result of the command showing the choppyness:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.imgur.com/PN4Ji1P.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.imgur.com/PN4Ji1P.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far i've tried things like the blur filter and minterpolate but I'm guessing the problem resides in getting &lt;code&gt;t&lt;/code&gt; more granular or doing tricks with the fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;===EDIT====&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After applying the answer of Mulvya it still seemed a bit jittery, but adding:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;tblend=average,framestep=2,setpts=0.25*PTS&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;at the end of the filter but before the &lt;code&gt;format&lt;/code&gt; filter seems to do the trick.&lt;/p&gt;&#xA;" OwnerUserId="2444" LastEditorUserId="2444" LastEditDate="2018-01-10T15:43:56.363" LastActivityDate="2018-01-10T15:43:56.363" Title="ffmpeg overlay image moving is choppy" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23180" PostTypeId="2" ParentId="23179" CreationDate="2018-01-10T14:31:49.203" Score="1" Body="&lt;p&gt;The overlay filter draws on each base or 'main' frame as given; it does not create new frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your command,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -y -loop 1 -r 2 -i 'bg.png' ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;-r 2&lt;/code&gt; sets the main video's framerate to 2, hence the result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -y -loop 1 -framerate 30 -i 'bg.png' ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-01-10T14:36:57.063" LastActivityDate="2018-01-10T14:36:57.063" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23181" PostTypeId="1" AcceptedAnswerId="23182" CreationDate="2018-01-11T01:15:24.017" Score="3" ViewCount="10095" Body="&lt;p&gt;I have three .mov files with video in Apple ProRes (apcn) and audio in PCM S24 LE (in24), of identical length and dimensions (1920x1080), frame rate (23.976024) and each with the same audio track. I'd like to: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;convert to H.264 video and AAC audio, retaining very good quality (for public exhibition), and &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;generate a single widescreen video in H.264/AAC, i.e. it'll be 1920px times 3 wide and 1080px high. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For generating the widescreen I've worked out I can use this command assuming I've prepared the individual mp4 files: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i left.mp4 -i centre.mp4 -i right.mp4 &#xA;   -filter_complex &quot;[0:v:0][1:v:0][2:v:0]hstack=inputs=3&quot; triple.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Main Question:&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I do the process in two steps -- (a) convert files, (b) make widescreen file -- or does that mean the widescreen video is re-encoded therefore it's worse quality? I'd like to keep the separate files so if there's no other impact then I'd prefer to do it as two steps. If I should do the conversion to H.264 at the same time as making the widescreen how do I combine the different commands? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Sub-Questions:&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;When preparing the widescreen I came across an alternative method using &lt;code&gt;overlay&lt;/code&gt; like below. Is there any advantage either way? It seems like the &lt;code&gt;overlay&lt;/code&gt; should be slower but in testing seemed about the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i left.mp4 -i centre.mp4 -i right.mp4 -filter_complex &quot;[0:v:0]pad=iw*3:ih[bg]; [bg][1:v:0]overlay=w[leftcentre]; [leftcentre][2:v:0]overlay=w*2&quot; triple.mp4&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;When preparing the widescreen, I &lt;em&gt;think&lt;/em&gt; ffmpeg chooses the audio from just one of the input files. Since the audio is the same on each it doesn't matter to me which one. Is that right or is it in some way combining them? &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Am I right in thinking a term like &lt;code&gt;[1:v:0]&lt;/code&gt; in the &lt;code&gt;filter_complex&lt;/code&gt; expression means 'second input, first video track only'?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Here's my command to convert the .mov files, which seems to work as desired. Is there anything obviously wrong with it? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i left.mov -c:v libx264 -preset medium -tune film -crf 16 -c:a aac -b:a 256k left.mp4&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="10559" LastEditorUserId="10559" LastEditDate="2018-01-11T09:59:57.820" LastActivityDate="2019-10-09T01:15:00.793" Title="ffmpeg to convert and merge 3 videos to a single widescreen video" Tags="|video|ffmpeg|conversion|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="23182" PostTypeId="2" ParentId="23181" CreationDate="2018-01-11T05:20:23.453" Score="4" Body="&lt;p&gt;Quality-wise, it's better to use the original MOVs, but if the MP4-based stacking looks ok, that's the final arbiter.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i left.mov -i centre.mov -i right.mov &#xA;-filter_complex &quot;[0:v:0][1:v:0][2:v:0]hstack=inputs=3&quot;&#xA;-c:v libx264 -tune film -crf 16 -b:a 256k triple.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When using the originals, it doesn't matter whether you do it in one step or two. For streamlining purposes, I would do it in two - then the two encodes aren't competing for memory or CPU.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;The &lt;code&gt;stack&lt;/code&gt; filters are somewhat more efficient. They require all inputs to have the same size in the dimension normal to the join direction i.e. same height for hstack. Overlay is a generic filter, so it doesn't. Also, stack filters will freeze on the first and last frame of inputs which start late or finish early.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In digital files, audio and video are independent i.e. they exist within the same file and are synced via timestamps but logically they are distinct entities. ffmpeg relies on -map options to select streams for inclusion in the output. In the absence of any -map option, it picks one audio - the &quot;best&quot; - from among all the inputs. See &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-selection&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg.html#Stream-selection&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;[1:v:0]&lt;/code&gt; ... &quot;&lt;em&gt;means 'second input, first video track only'?&lt;/em&gt;&quot;  --&gt; Yes.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Looks fine. The suitability of the &lt;code&gt;tune&lt;/code&gt; value depends on the material.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-01-11T05:59:15.913" LastActivityDate="2018-01-11T05:59:15.913" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="23185" PostTypeId="1" CreationDate="2018-01-11T14:10:49.363" Score="1" ViewCount="150" Body="&lt;p&gt;I want to ask if there's a software that I could pint on it with my graphics tablet where I draw on it but it has no background!!&#xA;Actually, the case that I want to make some tutorials that I need to draw or write some texts live over some pdf, slides or even some running applications.&#xA;The now way is to print screen then go and write over it on a drawing software and finally append it to my video with the voice explanation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want is to run my pdf, slides or any local or web app and start a software that makes my screen as a board but transparent so while recording my screen I could write over on anywhere with my graphics tablet.&lt;/p&gt;&#xA;" OwnerUserId="21119" LastActivityDate="2018-01-11T14:10:49.363" Title="transparent drawing software" Tags="|video-editor|video-recording|screen-casting|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23186" PostTypeId="2" ParentId="23175" CreationDate="2018-01-11T15:03:24.810" Score="4" Body="&lt;p&gt;To project a video instead of a photo:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;convert your video to an image sequence (with Nuke, AfterFX, Premiere, whatever...)&lt;/li&gt;&#xA;&lt;li&gt;load it into your file node, then click on 'Use Image Sequence'&lt;/li&gt;&#xA;&lt;li&gt;scroll in the timeline, and Maya will load the according frame&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="21122" LastEditorUserId="20968" LastEditDate="2018-01-13T00:59:50.893" LastActivityDate="2018-01-13T00:59:50.893" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23187" PostTypeId="1" CreationDate="2018-01-12T00:23:06.923" Score="6" ViewCount="87927" Body="&lt;p&gt;This is frustrating the crap out of me.  I'm putting 1920×1080 clips into a 1920×1080 sequence.  There are also some 2560×1440 clips in it, and those actually display correctly, but the 1080p clips are zoomed in the program monitor.  Before this zoom problem, there were bars on the top and bottom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/x7HXu.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/x7HXu.jpg&quot; alt=&quot;My project&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are my sequence settings.  I know the frame rate is different from the source clips but that shouldn't be causing this issue?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XjPAG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XjPAG.png&quot; alt=&quot;Sequence settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I drag a clip to the new item button and it makes a sequence, that clip works the way I want it to.  But the settings on that new sequence are the same as what I've got already.  (Also I feel like there must be some easy solution that I'm overlooking, so sorry if this is a noob question.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="21126" LastEditorUserId="18155" LastEditDate="2020-01-08T19:07:58.040" LastActivityDate="2020-11-02T00:21:26.340" Title="Clips appear &quot;zoomed&quot; in program monitor (Premiere Pro)" Tags="|premiere|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="23189" PostTypeId="2" ParentId="18468" CreationDate="2018-01-12T00:43:24.897" Score="1" Body="&lt;p&gt;Two free and open-source video editors are, &lt;a href=&quot;https://kdenlive.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Kdenlive&lt;/a&gt; and &lt;a href=&quot;https://www.openshot.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OpenShot&lt;/a&gt;. They were originally only on Linux but recently got betas for Windows. You will need to install a couple of libraries for the software to run but one should work for you.&lt;/p&gt;&#xA;" OwnerDisplayName="user21127" LastActivityDate="2018-01-12T00:43:24.897" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23191" PostTypeId="2" ParentId="23123" CreationDate="2018-01-12T16:07:12.707" Score="4" Body="&lt;p&gt;You should be able to achieve this by prepending the source with stream_loop parameter and -1 value specifying indefinite looping.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Replace&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-i &quot;$SOURCE&quot; -deinterlace \&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;with&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-stream_loop -1 -i &quot;$SOURCE&quot; -deinterlace \&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Main-options&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg.html#Main-options&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21133" LastActivityDate="2018-01-12T16:07:12.707" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23193" PostTypeId="2" ParentId="23131" CreationDate="2018-01-12T22:00:55.257" Score="1" Body="&lt;p&gt;Just thought I'd let you guys know that I got this working.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I needed to use -framerate instead of -r to get it to duplicate dropped frames, the reason I wasn't using -framerate in the first place is because it would spam the message &quot;past duration too large&quot; and the video wouldn't play back after exiting the recording. I also used an audio filter to delay the other channels so they they would start at the the same time as the video. I had to use -af &quot;adelay=200|200&quot; instead of -filter_complex &quot;[1:0] adelay=200|200 [1:0]&quot; for some reason. Ended up being cleaner anyways and it worked but I don't understand why the -filter_complex wasn't working an the -af was. I went ahead and applied -vsync 1 and -async 1 but I'm not quite sure if that is default and therefore redundant. Lastly I used -preset llhp (low latency high performance) which seemed to decrease the amount of dropped frames. The result - everything stays in-sync even if I drop frames and all tracks &quot;start&quot; at the same time:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -guess_layout_max 0 -y -f dshow -video_size 3440x1440 -rtbufsize 2147.48M -pixel_format nv12 -framerate 200 ^&#xA;-i video=&quot;Video (00 Pro Capture HDMI 4K+)&quot;:audio=&quot;SPDIF/ADAT (1+2) (RME Fireface UC)&quot; -map 0:0,0:1 -map 0:1 ^&#xA;-preset: llhp -codec:v h264_nvenc -pix_fmt nv12 -b:v 250M -maxrate:v 250M -minrate:v 250M -bufsize:v 250M -b:a 320k ^&#xA;-ac 2 -r 100 -async 1 -vsync 1 -segment_time 600 -segment_wrap 9 -f segment C:\Users\djcim\Videos\PC\PC%02d.mp4 ^&#xA;-guess_layout_max 0 -f dshow -rtbufsize 2000M -i audio=&quot;Analog (3+4) (RME Fireface UC)&quot; -map 1:0 -b:a 320k -ac 2 ^&#xA;-af &quot;adelay=200|200&quot; -segment_time 600 -segment_wrap 9 -f segment C:\Users\djcim\Videos\PC\Voices\Theirs\TPC%02d.wav ^&#xA;-guess_layout_max 0 -f dshow -rtbufsize 2000M -i audio=&quot;Analog (5+6) (RME Fireface UC)&quot; -map 2:0 -b:a 320k -ac 2 ^&#xA;-af &quot;adelay=825|825&quot; -segment_time 600 -segment_wrap 9 -f segment C:\Users\djcim\Videos\PC\Voices\Mine\MPC%02d.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I was able to get the rid of the &quot;past duration too large&quot; warning by increasing the input framerate to 200, I have absolutely no idea why this would fix that message. Put -r 100 on the output to make sure it came out as 100FPS which is what I actually wanted the framerate to be. I am confused as to why several parts work the way they do and can’t find answers but nonetheless it’s working.&lt;/p&gt;&#xA;" OwnerUserId="21040" LastActivityDate="2018-01-12T22:00:55.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23196" PostTypeId="1" AcceptedAnswerId="23198" CreationDate="2018-01-13T20:19:53.800" Score="1" ViewCount="680" Body="&lt;p&gt;I am looking for a possibility to remove the flickering from LEDs on a video under Linux on the commandline. To do that one would have to &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Put the video on one track&lt;/li&gt;&#xA;&lt;li&gt;Put the same video on a second track with 1-2 frames delay&lt;/li&gt;&#xA;&lt;li&gt;Overlay the second track with 50% transparency&lt;/li&gt;&#xA;&lt;li&gt;Use the audio from one of the tracks&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Thanks a lot in advance!&lt;/p&gt;&#xA;" OwnerUserId="21144" LastActivityDate="2018-01-14T05:19:48.880" Title="How to use MELT or FFMPEG for layering of a video (i.e. shifting an overlay of the same video by one frame to remove flicerking from LEDs)?" Tags="|video|ffmpeg|linux|command-line|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23198" PostTypeId="2" ParentId="23196" CreationDate="2018-01-14T05:19:48.880" Score="1" Body="&lt;p&gt;You would carry that out, like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -filter_complex \&#xA;  &quot;[0]split=2[base][shifted]; \&#xA;   [shifted]setpts=PTS+1/TB/FRAME_RATE,format=yuva444p,colorchannelmixer=aa=0.50[shifted]; \&#xA;   [base][shifted]overlay&quot;   out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;setpts=PTS+1/TB/FRAME_RATE&lt;/code&gt; delays the overlay by 1 frame. Change the &lt;code&gt;1&lt;/code&gt; to adjust delay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;format=yuva444p&lt;/code&gt; makes sure there's an alpha channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;colorchannelmixer=aa=0.50&lt;/code&gt; sets the alpha to 50%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't specified any encoding parameters, so the defaults will be used.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-01-14T05:19:48.880" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23201" PostTypeId="1" CreationDate="2018-01-15T21:06:01.080" Score="1" ViewCount="96" Body="&lt;p&gt;I used After Effects recently to design easing for objects in an interactive graphic I'll be programming. For example, I animated a square's position and mask using the standard eases in the graph editor. Below shows the mask's speed graph which I'm interested in reproducing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fpFrx.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fpFrx.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm fairly confident that eases on value graphs are standard &lt;a href=&quot;http://cubic-bezier.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;cubic Bezier curves&lt;/a&gt;, so position is a piece of cake. However, speed graphs behave differently: pushing both keyframes to zero makes a &lt;a href=&quot;https://i.stack.imgur.com/84VTM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;em&gt;bell-shaped speed curve&lt;/em&gt;&lt;/a&gt;, not zero. It needs to do this preserve the total amount of change (the integral), which means that it is not a cubic Bezier curve, not directly anyways.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know how speed curves work mathematically?&lt;/p&gt;&#xA;" OwnerUserId="21158" LastActivityDate="2018-01-15T21:06:01.080" Title="Reproducing speed graph curve outside of After Effects" Tags="|after-effects|motion-graphics|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23203" PostTypeId="1" CreationDate="2018-01-16T03:45:12.780" Score="1" ViewCount="420" Body="&lt;p&gt;Lately, I have been interested in Watermark &amp;amp; steganography.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And as a part of research i am working on, i have a mp4 video file that has a hidden/invisible Watermark.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is is there an easy/simple way/tool (that you experienced) to detect the hidden/invisible Watermark in videos ?&lt;/p&gt;&#xA;" OwnerUserId="21161" LastEditorUserId="1950" LastEditDate="2018-01-17T00:30:33.113" LastActivityDate="2023-10-03T20:47:01.020" Title="Detect hidden/invisible watermark in videos" Tags="|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23205" PostTypeId="1" CreationDate="2018-01-16T17:16:37.950" Score="1" ViewCount="549" Body="&lt;p&gt;I want to use OBS to record meetup presentations.&#xA;I can grab the laptop screen for the video and am looking for an inexpensive wireless Bluetooth microphone for the audio.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I managed to use OBS to successfully record a presentation with a cheap BT headset+mic.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for recommendations for a BT Lavalier microphone that transmits directly to the laptop.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of the wireless (Lavalier) microphones that I've come across come with transmitter+receiver elements. Some of these, like the Sony ECMAW4 Wireless Microphone, apparently use Bluetooth to communicate between the two TX and RX.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the laptop has a built in BT receiver (and presumable more power than a battery operated device too) so I do not understand why such BT, RX-only mics are not common.     &lt;/p&gt;&#xA;" OwnerUserId="1120" LastActivityDate="2018-01-16T18:30:13.207" Title="Recording Presentations with OBS and a Bluetooth Mic" Tags="|audio-recording|microphone|wireless|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23206" PostTypeId="2" ParentId="23205" CreationDate="2018-01-16T18:30:13.207" Score="1" Body="&lt;p&gt;You could get a Sennheiser &lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/B00XIQCFWY&quot; rel=&quot;nofollow noreferrer&quot;&gt;ClipMic&lt;/a&gt;, plug it into a cell phone, and then establish a Bluetooth connection between the cell phone and the Laptop.  I can't give any first-hand recommendations on best practices for Bluetooth audio streaming for live mics (I think most professionals prefer dedicated RF equipment to BT), but it does seem like there are options available.  &lt;a href=&quot;https://play.google.com/store/apps/details?id=com.wo.voice&amp;amp;hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here's&lt;/a&gt; one that came up in a google search for &quot;cell phone bluetooth PC audio microphone&quot; without quotes.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2018-01-16T18:30:13.207" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23207" PostTypeId="1" CreationDate="2018-01-16T19:49:24.833" Score="0" ViewCount="86" Body="&lt;p&gt;I took a video in an upright (portrait) position on my iPhone. When I watch it on a computer, the edges look black. How can I remove this blackness and display it on the wide frame? I just can not do it in iMovie. I'm not talking about rotating the video.&lt;/p&gt;&#xA;" OwnerUserId="21166" LastEditorUserId="14523" LastEditDate="2018-01-17T03:20:53.507" LastActivityDate="2018-01-17T04:18:36.540" Title="Extending the size of the video shot on iPhone" Tags="|video|video-editor|aspect|iphone|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23208" PostTypeId="1" AcceptedAnswerId="23267" CreationDate="2018-01-16T20:47:38.990" Score="1" ViewCount="775" Body="&lt;p&gt;How could I display the &lt;strong&gt;create date&lt;/strong&gt; on videos using a video editing program, such like Adobe Premiere or After effects? Is it possible? I wan't do it &lt;strong&gt;automatically&lt;/strong&gt;!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a bunch of videos and want to create a one large video with all the clips AND display the create date of each video OVER the clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found this program, but it costs 80$ and is no option for me: &lt;a href=&quot;http://dvmp.co.uk/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://dvmp.co.uk/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21167" LastEditorUserId="5495" LastEditDate="2018-01-25T22:22:27.747" LastActivityDate="2018-01-25T22:22:27.747" Title="Show create date on video" Tags="|video|adobe|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23209" PostTypeId="1" AcceptedAnswerId="23211" CreationDate="2018-01-16T22:07:04.960" Score="2" ViewCount="8238" Body="&lt;p&gt;I've a 30-second clip, which is HD 1080p, 30fps, &quot;Photo JPEG&quot; compression, 480MB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've brought it into Fusion 9, made a small change, and rendered: but the Saver options (under Quicktime) are either uncompressed (which gives me a 5GB file!!), or DNxHD (e.g. &quot;DNxHD HQ 1080p, 8 bit&quot; gives me an 820MB file). (I think the lack of choices might be a limitation of the Linux version of Fusion 9?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The next tool in the chain does not read DNxHD; I could work with the uncompressed file, but I'd like to avoid big files if I can. Can I use ffmpeg to convert it to the original &quot;Photo JPEG&quot; format?  (If not, is there something of similar quality and file size?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(&quot;it&quot; being either the uncompressed file or the DNxHD file)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to find the settings that give a nice file size reduction, but with no &lt;em&gt;noticeable&lt;/em&gt; reduction in quality. I want to have my cake and eat it ;-) &lt;/p&gt;&#xA;" OwnerUserId="21168" LastActivityDate="2018-01-17T12:33:48.737" Title="Using ffmpeg to convert to Photo Jpeg with minimal loss of quality" Tags="|ffmpeg|fusion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23210" PostTypeId="2" ParentId="23207" CreationDate="2018-01-16T23:36:39.167" Score="2" Body="&lt;p&gt;Unfortunately, the screen &lt;em&gt;is&lt;/em&gt; showing the whole frame. That is all that your camera recorded. It did not record anything to the left or right of what you see.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On YouTube, where many people shoot their videos in a vertical format as you did, it is common to enlarge the video to the full frame width - which will cut off the top and bottom of the video - and use that as a background image. Then place your regular-size vertical video over the top of it. I used iMovie in the past and I &lt;em&gt;think&lt;/em&gt; its picture-in-picture feature could accomplish this, but I'm not sure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DyekJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DyekJ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2018-01-16T23:36:39.167" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23211" PostTypeId="2" ParentId="23209" CreationDate="2018-01-17T01:22:29.757" Score="3" Body="&lt;p&gt;DNxHD and JPEG are not the only game in town as far as intermediate codecs are concerned (intermediate codecs being high-quality, visually lossless codecs designed for moving media between steps in a post-production chain). Probably the most-used intermediate codec is Apple's prores 422, which can be encoded cross platform using ffmpeg thus:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i uncompressed.mov -c:v prores -profile:v 3 -c:a pcm_s16le output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;One of the biggest advantages of prores is the support for 10-bit encoding, giving you much better colour fidelity. You can also use the &lt;a href=&quot;https://video.stackexchange.com/a/19312/1950&quot;&gt;prores 4444 variation&lt;/a&gt; to avoid chroma subsampling (reduction of the colour resolution) and alpha channel support.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Failing that you can use motion-JPEG, or even 2 flavours of lossless JPEG (I have no idea what the difference is). Oh and there's JPEG2000 if you really want, though it's not recommended. Substitute your codec of choice here:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i uncompressed.mov -c:v CODEC -c:a pcm_s16le output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;CODEC&lt;/code&gt; is one of:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;jpegls&lt;/code&gt; - lossless JPEG (?)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ljpeg&lt;/code&gt; - another lossless JPEG (?)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;mjpeg&lt;/code&gt; - &lt;a href=&quot;https://ffmpeg.org/ffmpeg-codecs.html#mjpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;motion JPEG&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;jpeg2000&lt;/code&gt; - &lt;a href=&quot;https://ffmpeg.org/ffmpeg-codecs.html#jpeg2000&quot; rel=&quot;nofollow noreferrer&quot;&gt;JPEG 2000&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Since you're on linux I won't suggest Cineform, it's a good intermediate codec on win/mac but I don't think there's a CFHD codec for linux yet, and ffmpeg can only decode it (it's been &lt;a href=&quot;https://gopro.com/news/gopro-open-sources-the-cineform-codec&quot; rel=&quot;nofollow noreferrer&quot;&gt;open-sourced&lt;/a&gt; so that will probably change). There are a couple of more obscure ones like &lt;a href=&quot;https://www.edius.net/hqx.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Grass Valley&lt;/a&gt;, &lt;a href=&quot;https://www.videohelp.com/software/HuffYUV&quot; rel=&quot;nofollow noreferrer&quot;&gt;huffyUV&lt;/a&gt;, dirac and so on, but if you can't use DNxHD it's unlikely these will be any use to you. Just as an aside, DNxHD is &lt;a href=&quot;http://avid.force.com/pkb/articles/en_US/Download/en423319&quot; rel=&quot;nofollow noreferrer&quot;&gt;freely available from Avid&lt;/a&gt;, is it possible to install the codec on the target machine?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-01-17T12:33:48.737" LastActivityDate="2018-01-17T12:33:48.737" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23212" PostTypeId="1" CreationDate="2018-01-17T02:03:15.277" Score="1" ViewCount="39" Body="&lt;p&gt;So I have access to a camera that can capture up to 5 million frames per second, that actually has decent resolution (924 x 768 pixels). One drawback is it will only capture 180 frames (less than 0.2 milli-seconds at 1 million frames per second). People use these camera for capturing cracks or bullets, for example. My question is, if you could use this camera for anything you liked, what would you film?&lt;/p&gt;&#xA;" OwnerUserId="21170" LastActivityDate="2018-01-17T06:14:52.397" Title="Film ideas at 1 million fps?" Tags="|video|video-recording|" AnswerCount="2" CommentCount="4" ClosedDate="2018-01-18T13:56:55.743" ContentLicense="CC BY-SA 3.0" />
  <row Id="23213" PostTypeId="2" ParentId="23212" CreationDate="2018-01-17T02:50:23.813" Score="0" Body="&lt;p&gt;Liquids are always an interesting subject matter. Maybe sparkling water. &lt;/p&gt;&#xA;" OwnerUserId="21171" LastActivityDate="2018-01-17T02:50:23.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23214" PostTypeId="2" ParentId="23207" CreationDate="2018-01-17T04:18:36.540" Score="1" Body="&lt;p&gt;This has already been mentioned above however scaling the video in the background roughly (300%) and adding a gaussian blur (soft) is common practice to achieve said effect. &lt;/p&gt;&#xA;" OwnerUserId="21171" LastActivityDate="2018-01-17T04:18:36.540" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23216" PostTypeId="2" ParentId="23212" CreationDate="2018-01-17T06:14:52.397" Score="0" Body="&lt;ul&gt;&#xA;&lt;li&gt;Stuff blowing up obviously. &lt;/li&gt;&#xA;&lt;li&gt;Something fragile being hit very hard with a hammer. &lt;/li&gt;&#xA;&lt;li&gt;A lot of electricity suddenly flowing through something that probably shouldn't have a lot of electricity flowing through it. &lt;/li&gt;&#xA;&lt;li&gt;Fireworks.&lt;/li&gt;&#xA;&lt;li&gt;hitting explosive fireworks in a crystal vase with a hammer that is connected to a high voltage electricity supply&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-01-17T06:14:52.397" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23217" PostTypeId="1" AcceptedAnswerId="23229" CreationDate="2018-01-17T16:29:13.167" Score="3" ViewCount="1537" Body="&lt;p&gt;I am currently trying to have ffmpeg blur part of an input video, using boxes over 1/10 seconds frames from a previous part of the program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command is along these lines:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.mp4 -pix_fmt yuv420p -filter_complex [0:v]crop='in_w*if(lt(t,0.1),0.23132270574569702,if(lt(t,0.2),0.21441733837127686,if(lt(t,0.30000000000000004),0.1499532163143158,if(lt(t,0.4),0.1259399652481079,if(lt(t,0.5),0.16647100448608398,if(lt(t,0.6),0.209006667137146,if(lt(t,0.7),0.19645869731903076,if(lt(t,0.7999999999999999),0.14811599254608154,if(lt(t,0.9),0.13625645637512207,if(lt(t,1.0),0.23812496662139893,if(lt(t,1.1),0.24143600463867188,if(lt(t,1.2000000000000002),0.21351194381713867,if(lt(t,1.3),0.15060842037200928,if(lt(t,1.4000000000000001),0.11908853054046631,if(lt(t,2.0),0.10922718048095703,0.5)))))))))))))))':'in_h*if(lt(t,0.1),0.7302078008651733,if(lt(t,0.2),0.72728231549263,if(lt(t,0.30000000000000004),0.7276445627212524,if(lt(t,0.4),0.7524535357952118,if(lt(t,0.5),0.7392034530639648,if(lt(t,0.6),0.7145015895366669,if(lt(t,0.7),0.6905231177806854,if(lt(t,0.7999999999999999),0.7224559783935547,if(lt(t,0.9),0.7534412145614624,if(lt(t,1.0),0.7607900202274323,if(lt(t,1.1),0.7299857437610626,if(lt(t,1.2000000000000002),0.7394903004169464,if(lt(t,1.3),0.7487046718597412,if(lt(t,1.4000000000000001),0.7166697978973389,if(lt(t,2.0),0.7316611707210541,0.5)))))))))))))))':'in_w*if(lt(t,0.1),0.3309709429740906,if(lt(t,0.2),0.357507586479187,if(lt(t,0.30000000000000004),0.44701889157295227,if(lt(t,0.4),0.5001536011695862,if(lt(t,0.5),0.5295754075050354,if(lt(t,0.6),0.5418452620506287,if(lt(t,0.7),0.5671597719192505,if(lt(t,0.7999999999999999),0.6490602493286133,if(lt(t,0.9),0.6897507905960083,if(lt(t,1.0),0.6941888928413391,if(lt(t,1.1),0.7210350036621094,if(lt(t,1.2000000000000002),0.7504343390464783,if(lt(t,1.3),0.8392617702484131,if(lt(t,1.4000000000000001),0.880531907081604,if(lt(t,2.0),0.890772819519043,0.5)))))))))))))))':'in_h*if(lt(t,0.1),0.24461424350738525,if(lt(t,0.2),0.255586713552475,if(lt(t,0.30000000000000004),0.2545440196990967,if(lt(t,0.4),0.2454611361026764,if(lt(t,0.5),0.25117623805999756,if(lt(t,0.6),0.2627399265766144,if(lt(t,0.7),0.275628000497818,if(lt(t,0.7999999999999999),0.25284475088119507,if(lt(t,0.9),0.2374727725982666,if(lt(t,1.0),0.23920997977256775,if(lt(t,1.1),0.25456926226615906,if(lt(t,1.2000000000000002),0.25374671816825867,if(lt(t,1.3),0.23654210567474365,if(lt(t,1.4000000000000001),0.25168418884277344,if(lt(t,2.0),0.2447432577610016,0.5)))))))))))))))',boxblur=12[fg];[0:v][fg]overlay='main_w*if(lt(t,0.1),0.3309709429740906,if(lt(t,0.2),0.357507586479187,if(lt(t,0.30000000000000004),0.44701889157295227,if(lt(t,0.4),0.5001536011695862,if(lt(t,0.5),0.5295754075050354,if(lt(t,0.6),0.5418452620506287,if(lt(t,0.7),0.5671597719192505,if(lt(t,0.7999999999999999),0.6490602493286133,if(lt(t,0.9),0.6897507905960083,if(lt(t,1.0),0.6941888928413391,if(lt(t,1.1),0.7210350036621094,if(lt(t,1.2000000000000002),0.7504343390464783,if(lt(t,1.3),0.8392617702484131,if(lt(t,1.4000000000000001),0.880531907081604,if(lt(t,2.0),0.890772819519043,0.5)))))))))))))))':'main_h*if(lt(t,0.1),0.24461424350738525,if(lt(t,0.2),0.255586713552475,if(lt(t,0.30000000000000004),0.2545440196990967,if(lt(t,0.4),0.2454611361026764,if(lt(t,0.5),0.25117623805999756,if(lt(t,0.6),0.2627399265766144,if(lt(t,0.7),0.275628000497818,if(lt(t,0.7999999999999999),0.25284475088119507,if(lt(t,0.9),0.2374727725982666,if(lt(t,1.0),0.23920997977256775,if(lt(t,1.1),0.25456926226615906,if(lt(t,1.2000000000000002),0.25374671816825867,if(lt(t,1.3),0.23654210567474365,if(lt(t,1.4000000000000001),0.25168418884277344,if(lt(t,2.0),0.2447432577610016,0.5)))))))))))))))':enable='between(t,-0.5,1.9)'[v] -map [v] -map 0:a? output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The general idea being to build &quot;brackets&quot; for width,height,x,y for every tenth of a second, and use the box coordinates to fill in the values.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While this works fine for the &quot;overlay&quot; part, for the &quot;crop&quot; part the width and height of the cropped region is only evaluated once (as the documentation mentions: &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#crop&lt;/a&gt;). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using 't' directly in a width expression outright results in a Invalid argument error.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to force ffmpeg to recalculate crop dimensions every frame, or another approach to the issue?&lt;/p&gt;&#xA;" OwnerUserId="21177" LastActivityDate="2018-01-19T10:43:30.497" Title="Variable crop width/height over time" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23219" PostTypeId="2" ParentId="23187" CreationDate="2018-01-18T01:01:48.210" Score="0" Body="&lt;p&gt;You can adjust the scale of an individual clip in the effects controls tab under transform. If you have a lot of clips like this I’d recommend copying the first clip with the proper scale, selecting all the problem clips, and using “paste attributes” selecting transform as the attribute. &lt;/p&gt;&#xA;" OwnerUserId="21160" LastActivityDate="2018-01-18T01:01:48.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23220" PostTypeId="1" AcceptedAnswerId="23231" CreationDate="2018-01-18T12:21:35.507" Score="4" ViewCount="622" Body="&lt;p&gt;Using python in Maya 2017, I'm able to reproduce the structure of my render_setup (layers, collections and overrides) except for shaderOverride.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a classic override, I use the instance function : &lt;code&gt;maya.app.renderSetup.model.collection.Collection.createOverride()&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a similar command to create a shader override or do you add some specific attributes? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="20968" LastActivityDate="2018-01-19T11:01:01.190" Title="Maya Python - How to create shaderOverride?" Tags="|maya|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23221" PostTypeId="1" CreationDate="2018-01-18T12:53:13.030" Score="2" ViewCount="35" Body="&lt;p&gt;We want to see if there is a way where the users can login to a common platform and view the movie at the same time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any open source platform where they can join a movie screening online? Similar to how gotomeetings are done. &lt;/p&gt;&#xA;" OwnerUserId="21187" LastActivityDate="2018-10-21T19:00:45.547" Title="We have two teams across Asia and Europe, and plan to show a movie. Is there a way to connect them users to a common platform?" Tags="|windows|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23222" PostTypeId="1" AcceptedAnswerId="23225" CreationDate="2018-01-18T16:45:35.927" Score="0" ViewCount="2577" Body="&lt;p&gt;I'm trying to analyze a spectrogram while simultaneously checking the video, without having to switch between them.  Something like this, but with the video combined in the same output:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JfWSR.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JfWSR.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The idea is to be able to scrub through both video and the spectrogram so that they're synced.  Most editing software only lets me see the waveforms.  The command I used for that is as follows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f lavfi 'amovie=/Users/hdl/Desktop/HDLS3K.mp4, asplit [a][out1];&#xA;[a] showspectrum=size=1280x512:mode=separate:slide=scroll [out0]'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17189" LastActivityDate="2018-01-18T17:45:05.890" Title="ffplay - Is there a way to display a video and spectrogram in the same output?" Tags="|video|ffmpeg|audio|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23224" PostTypeId="2" ParentId="22376" CreationDate="2018-01-18T17:12:26.783" Score="1" Body="&lt;p&gt;Moved from C4D a while back but It could be something to do with UV projection being set to a surface that isn't there.  Another reason for this could be flipped normals (in this case you would have to flip them back.  Have a look in the UV settings and change the projection type.  I'm not sure this is a lighting issue, you could always add a light to the scene but I'm under the impression there is ambient lighting by default.... Hope this helps. &lt;/p&gt;&#xA;" OwnerUserId="21171" LastActivityDate="2018-01-18T17:12:26.783" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23225" PostTypeId="2" ParentId="23222" CreationDate="2018-01-18T17:45:05.890" Score="1" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f lavfi 'amovie=/Users/hdl/Desktop/HDLS3K.mp4:s=dv+da[v][a];[a]asplit[asp][out1];&#xA;   [asp]showspectrum=size=1280x512:mode=separate:slide=scroll[spect];&#xA;   [v]scale=640:-1[v];[v][spect]vstack[out0]'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;amovie&lt;/code&gt; usually selects only one (audio) stream. &lt;code&gt;dv+da&lt;/code&gt; gets it to extract the best video and the best audio stream. The video output is scaled so that the vstack works.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-01-18T17:45:05.890" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23229" PostTypeId="2" ParentId="23217" CreationDate="2018-01-19T09:08:41.773" Score="2" Body="&lt;p&gt;The crop filter doesn't accept variable dimensions for output. But the end goal of blurring a variable region of the input and superimposing that on the original input can be achieved using a different route. Since your original list of conditions will be too long to make for a clear and short presentation, I've used fewer conditionals. But you should be able to easily expand it.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex&#xA;  &quot;[0]split=3[orig][blur][alpha];&#xA;   [blur]boxblur=12[blur];&#xA;   [alpha]format=gray,drawbox=color=black:t=fill,&#xA;   drawbox=w='iw*0.231':h='ih*0.730':x='iw*0.330':y='ih*0.244':t=fill:color=white:enable='between(t,0,0.1)',&#xA;   drawbox=w='iw*0.214':h='ih*0.727':x='iw*0.357':y='ih*0.255':t=fill:color=white:enable='between(t,0.1,0.2)',&#xA;   drawbox=w='iw*0.149':h='ih*0.727':x='iw*0.447':y='ih*0.254':t=fill:color=white:enable='between(t,0.2,0.3)'[alpha];&#xA;   [blur][alpha]alphamerge[blurred];&#xA;   [orig][blurred]overlay&quot; -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The gist of the method is to &lt;/p&gt;&#xA;&#xA;&lt;p&gt;1)blur a copy of the full frame of the input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2)Black out a 2nd copy of the input. Then draw a white box at the co-ordinates you wish to keep.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3)Merge this 3rd copy as an alpha plane with the blurred copy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4)Overlay the blurred stream onto the original. When the overlay has an alpha plane, the filter blends the two inputs using the alpha as a key. The overlay region where the alpha is black becomes invisible, and where the alpha is white, remains opaque.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have an older version of ffmpeg, you will have to use &lt;code&gt;max&lt;/code&gt; in place of &lt;code&gt;fill&lt;/code&gt;  in drawbox.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-01-19T10:43:30.497" LastActivityDate="2018-01-19T10:43:30.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23231" PostTypeId="2" ParentId="23220" CreationDate="2018-01-19T11:01:01.190" Score="2" Body="&lt;p&gt;You need the MTypeId of the override you want to create. Find typeIDs.py in your Maya installation folder (&lt;code&gt;.../lib/python2.7/site-packages/maya/app/renderSetup/model/typeIDs.py&lt;/code&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see, the MTypeId of a shader override is 0x58000386.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, just create a layer and a collection, and call your createOverride method:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;from maya.app import renderSetup&#xA;import maya.api.OpenMaya as OpenMaya&#xA;&#xA;renderSetup.model.renderSetup.initialize()&#xA;rs = renderSetup.model.renderSetup.instance()&#xA;&#xA;# Create layer&#xA;rsLayer = rs.createRenderLayer('MyFirstLayer')&#xA;# Create collection&#xA;rsColl = rsLayer.createCollection('MyFirstCollection')&#xA;# Create shading override&#xA;over_obj = rsColl.createOverride('MyFirstOverride', OpenMaya.MTypeId(0x58000386))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you want to create another override, just find the according MTypeId.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks to Fabrice that answered this question here: &lt;a href=&quot;https://stackoverflow.com/questions/48305522/maya-python-how-to-create-shaderoverride&quot;&gt;https://stackoverflow.com/questions/48305522/maya-python-how-to-create-shaderoverride&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20901" LastActivityDate="2018-01-19T11:01:01.190" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23232" PostTypeId="1" CreationDate="2018-01-19T14:28:20.027" Score="1" ViewCount="1000" Body="&lt;p&gt;I am trying to record a screen region on Mac using FFmpeg. I have a solution using avfoundation device to grab the screen and using a filter to crop down to the screen region. This works fine for certain situations but does not work when either the screen is scaled to different resolution or when the screen orientation is sideways. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My command looks something like &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -f avfoundation -framerate 2 -pixel_format uyvy422 -video_device_index 0&#xA; -i ':none' -c:v libopenh264 -b:v 500k -allow_skip_frames 1 &#xA;-filter:v crop=1010:600:200:200 -vsync vfr output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I've tried using the &lt;code&gt;-video_size&lt;/code&gt; parameter but it seems to just ignore it.&#xA;The performance is also not great since it its grabbing the whole screen instead of just a region. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The sideways screen not working properly I can deal with, it's not that big of a problem but the screen scaling and performance are the issues I would really like to deal with but can't seem to find any good solutions.&lt;/p&gt;&#xA;" OwnerUserId="21199" LastEditorUserId="21199" LastEditDate="2018-01-19T14:39:10.217" LastActivityDate="2018-01-19T14:39:10.217" Title="FFmpeg, record screen region on Mac" Tags="|ffmpeg|mac|screen-casting|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23233" PostTypeId="1" CreationDate="2018-01-19T15:15:17.497" Score="3" ViewCount="1508" Body="&lt;p&gt;When I'm doing to-camera commentary in my studio, a regular part of my workflow is to record some footage on my DSLR and then import it immediately into Final Cut Pro X. I'll often need another take (or ten) before I've finished so it's really annoying that when FCPX fetches the files it does it in the order they were shot, so the file I want is always the last to appear. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Djedr.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Djedr.jpg&quot; alt=&quot;Import screen&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to make Final Cut Pro X fetch the most recently recorded file &lt;em&gt;first&lt;/em&gt; instead? &lt;/p&gt;&#xA;" OwnerUserId="4487" LastActivityDate="2024-03-20T01:09:31.203" Title="Reverse order of clips when importing from card or camera in Final Cut Pro X?" Tags="|final-cut-pro-x|workflow|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23234" PostTypeId="2" ParentId="23233" CreationDate="2018-01-19T15:42:31.350" Score="0" Body="&lt;p&gt;I don't think it's possible. In my experience the contents isn't loaded in any particular order, so setting the order to ascending content created date doesn't actually change the order the files are loaded. You can still try setting the date order to ascending if you wish: click the &lt;img src=&quot;https://i.stack.imgur.com/M3hgY.png&quot; width=&quot;18&quot;&gt; button on the status bar then click the ‘content created’ header to sort ascending.&lt;/p&gt;&#xA;" OwnerUserId="5296" LastActivityDate="2018-01-19T15:42:31.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23236" PostTypeId="2" ParentId="23139" CreationDate="2018-01-19T21:56:40.833" Score="0" Body="&lt;p&gt;If you haven't done so already, you might need to pre-render the time adjusted clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select your clip(s) and from the top menu bar select &quot;&lt;em&gt;Sequence &gt; Render Selection&lt;/em&gt;&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The green bar above your tracks will indicate that the selection should run at real time during playback as you have preview files store in memory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NX2wo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NX2wo.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="636" LastEditorUserId="636" LastEditDate="2018-01-20T13:49:36.127" LastActivityDate="2018-01-20T13:49:36.127" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23238" PostTypeId="2" ParentId="23187" CreationDate="2018-01-20T13:40:46.863" Score="4" Body="&lt;p&gt;Right click on the clip you placed in your sequence and select &lt;em&gt;'Set to Frame size'&lt;/em&gt; and your clip will automatically be resized to fit the size of the current sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may also wish to reset the magnification of the Program Monitor by right clicking on the clip shown in the monitor and selecting 'Magnification &gt; Fit'.&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2018-01-20T13:40:46.863" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23240" PostTypeId="2" ParentId="22634" CreationDate="2018-01-20T19:32:34.970" Score="2" Body="&lt;p&gt;&lt;strong&gt;Scale to Frame Size&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Scales the clip to fit the size used in the current sequence whilst retaining the original aspect ratio to fit within the frame. Essentially, the clip has been rasterized to match the resolution used on the current sequence. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Despite adjustments to the size of the clip, the scale setting in the Video Effects panel for the clip will remain as 100%. This isn't a permanent change, the modification can be disabled by unchecking the option in the same way you enabled it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I place a photo which has a resolution of 3264 x 2448 and used 'Scale to Frame Size' to fit it into a widescreen 1920 x 1080 resolution, the photograph will be reduced in resolution. If I wanted to zoom in by scaling the photograph back to 100%, I would lose the original quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;'Scale to Frame Size' can improve performance when scaling down a large clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Set to Frame Size&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Scales the clip to fit the size used in the current sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere will automatically apply the scale adjustment under the clips Video Effects, which can be adjusted. The clip retains the original resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ER8zJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ER8zJ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Here are two identical photographs, the first photo I used 'Scale to Frame Size' and scaled in the Effects panel by 400%, for the second photo I used 'Set to Frame Size' and scaled by the same amount. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should be able to see a clear difference in quality when scaled.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tB3qI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tB3qI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Fw29I.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Fw29I.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You probably won't see any noticeable difference scaling UP when using either of the methods.&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2018-01-20T19:32:34.970" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23244" PostTypeId="1" AcceptedAnswerId="23245" CreationDate="2018-01-21T21:48:06.000" Score="3" ViewCount="2271" Body="&lt;p&gt;I have 2 similar videos created on the same mobile. The first one can be downloaded &lt;a href=&quot;https://drive.google.com/open?id=1vppsp6GUObZ5Tdt_UZkVkTZROu1m2rQH&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;here&quot;&gt;here&lt;/a&gt;.&#xA;If I'm using the following command the result is correctly rotated by 90 degrees:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 20180114_193135.mp4 -vf &quot;transpose=clock&quot; -r 30 -acodec copy 20180114_193135_2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But if I'm using the same command for the &lt;a href=&quot;https://drive.google.com/open?id=1ClNlsDPYvkPKXuqY_qsm9u2HAOOBLfww&quot; rel=&quot;nofollow noreferrer&quot;&gt;second video&lt;/a&gt; it is rotated by 180 degrees instead 90:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 20180115_111730.mp4 -vf &quot;transpose=clock&quot; -r 30 -acodec copy 20180115_111730_2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Can somebody explain, why? I can not rotate the second video with ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="21224" LastActivityDate="2018-01-22T05:01:22.127" Title="ffmpeg transpose=clock rotates 180 degrees instead 90" Tags="|ffmpeg|mp4|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23245" PostTypeId="2" ParentId="23244" CreationDate="2018-01-22T05:01:22.127" Score="4" Body="&lt;p&gt;FFmpeg, by default, autorotates videos if a rotation tag is detected. The output video will be oriented upright and have no rotation tag. During processing, this step happens before any filtering is done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, in this case, you can simply run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 20180115_111730.mp4 -r 30 -acodec copy 20180115_111730_2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Alternatively, to perform manual rotation, you can suppress auto-rotation&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -noautorotate -i 20180115_111730.mp4 -vf &quot;transpose=clock&quot; -r 30 -acodec copy 20180115_111730_2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-01-22T05:01:22.127" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23246" PostTypeId="2" ParentId="16962" CreationDate="2018-01-22T05:40:28.977" Score="0" Body="&lt;p&gt;If you want to turn your 360 video into a conventional video to create effects like overcapture and little planet, zoon and pan, you need to use a 360 video editor that supports that. I like this one &lt;a href=&quot;http://molanisvr.com/360-vr-video-editor/2d-project-feature/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://molanisvr.com/360-vr-video-editor/2d-project-feature/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21226" LastActivityDate="2018-01-22T05:40:28.977" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23248" PostTypeId="1" CreationDate="2018-01-22T11:09:09.193" Score="1" ViewCount="337" Body="&lt;ol&gt;&#xA;&lt;li&gt;What programs should I use for create MPEG-DASH stream and generate manifest file [may be ffmpeg but I'm not sure that it is enough]?&lt;/li&gt;&#xA;&lt;li&gt;Can I add subtitles file after I create stream?&lt;/li&gt;&#xA;&lt;li&gt;Can I store audio file as another stream and attach it in manifest?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="21228" LastActivityDate="2018-01-22T11:09:09.193" Title="Understanding mpeg-dash for VoD" Tags="|ffmpeg|streaming|mpeg-dash|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23251" PostTypeId="1" CreationDate="2018-01-22T16:21:19.160" Score="1" ViewCount="116" Body="&lt;p&gt;I cut clips from high-quality variable bitrate videos. What I'm wondering is if aiming for the same bitrate as the source video would result in a transparent-quality video. For example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;═════&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Source video: kmaccaroni.mp4&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bit rate mode               : Variable&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bit rate                    : 26.0 Mb/s&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maximum bit rate            : 37.0 Mb/s&lt;/p&gt;&#xA;&#xA;&lt;p&gt;═════&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I understand that data-loss is inevitable when transcoding. I simply want to minimize it in a reasonable manner.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;•In this case, would it be enough to set my encoder settings to the same bitrate values? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;•Would there be any benefit to using the same target rate but 50.0 MB/s for the Maximum rate?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;•If not, should I increase the bitrate by a certain amount?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;•What do you think of Premiere's &quot;Adaptive High Bitrate&quot; option?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;•Is there any meaningful gains if I set the bitrate to 50.0 Mb/s CBR?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for reading.&lt;/p&gt;&#xA;" OwnerUserId="21231" LastActivityDate="2021-12-06T08:07:30.833" Title="Bitrate Settings for Minimal Data-Loss" Tags="|video|premiere|video-editor|video-quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23253" PostTypeId="2" ParentId="23251" CreationDate="2018-01-22T20:20:18.110" Score="1" Body="&lt;p&gt;The answer is no. You need lossless encoding. The good news is, the file size will be of a reasonable size if you use the H.264 encoder (and also H.265 or VP9, but those are not as popular and widely extended as H.264).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not used to that software you mention, but there must be an option called either &quot;H.264&quot; or &quot;MPEG-4 AVC&quot; or &quot;MPEG-4 Part 10&quot; (not to be confused with &quot;MPEG-4 ASP&quot; or &quot;MPEG-4 Part 2&quot; !), with the settings to &quot;lossless&quot; or &quot;Constant Rate Factor equals zero&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the settings in case you are using Blender:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/mv2zP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mv2zP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you seem to be at the beginning of your learning curve, I recommend you switch to Blender. It is a professional alternative that was released as free software at some point and is maintained and upgraded by a very active and serious community. It is free, and there are awesome tutorials (Google for Mikeycal Meyers in YouTube). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Remark&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You want to use lossless encoding only for the intermediate steps (e.g. cutting clips from other videos and putting them together as it seems you are doing). But once you are satisfied with the final form, for practical purposes you want to convert the last lossless compilation to a lossy format, e.g. H.264 with constant rate factor between 18 and 22 for visually good results. I use ffmpeg for this, although it can be done in Blender too.&lt;/p&gt;&#xA;" OwnerUserId="4658" LastEditorUserId="4658" LastEditDate="2018-01-25T16:51:54.827" LastActivityDate="2018-01-25T16:51:54.827" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23254" PostTypeId="1" CreationDate="2018-01-23T03:20:33.183" Score="1" ViewCount="497" Body="&lt;p&gt;I got the Akaso EK7000 action cam in the mail today. The camera works almost perfectly other than one issue I noticed. The issue I noticed is a scrolling line that appears in the video at 4k 25fps. I then took about the same clip in the same conditions at 1080p 60fps and I didn't notice the issue. Here are the clips I took. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;4k 25fps:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://vimeo.com/252274311&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video on Vimeo (password: video)&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1080p 60fps:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/252274385&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video in Vimeo (password: video)&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, the lines on the walls in both clip aren't caused by the camera, they are just shadows from a railing behind me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've heard about something called rolling shutter, could this be caused by that at all?&lt;/p&gt;&#xA;" OwnerUserId="21235" LastActivityDate="2021-01-23T12:26:28.700" Title="Weird scrolling lines in video while using Akaso EK7000 in low light" Tags="|action-cam|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23255" PostTypeId="2" ParentId="23254" CreationDate="2018-01-23T09:24:20.880" Score="3" Body="&lt;p&gt;that's the frame rate and electricity frequency&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ill bet if you filmed at 1080 25fps you would get the same result. Im going to assume you are based in the US which uses the standard 30fps which is why your 1080 footage does not show it as 60fps is a multiple of 30fps but 25fps is not which is why you are getting the banding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FYI there is nothing you can do in camera unless the 4k offers a 30fps (or multiple of) to avoid the banding when filming with standard household lighting&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2018-01-23T09:24:20.880" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23257" PostTypeId="2" ParentId="21854" CreationDate="2018-01-23T15:08:54.870" Score="0" Body="&lt;p&gt;In my version of the software (Premiere Pro CC 2018) it is possible to scale up to 10,000. I am not sure which of the latest software updates included this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In earlier versions of the software, you can scale by the maximum amount, create a subclip and add another scale transformation.&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2018-01-23T15:08:54.870" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23258" PostTypeId="2" ParentId="16919" CreationDate="2018-01-23T19:17:42.903" Score="1" Body="&lt;p&gt;If you have the option to embed the video in a simple webpage you could use the HTML5 &lt;a href=&quot;https://www.w3schools.com/tags/att_video_loop.asp&quot; rel=&quot;nofollow noreferrer&quot;&gt;video player loop&lt;/a&gt; option:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;video loop=&quot;loop&quot;&amp;gt;&amp;lt;/video&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6682" LastActivityDate="2018-01-23T19:17:42.903" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23259" PostTypeId="1" CreationDate="2018-01-23T21:10:17.070" Score="1" ViewCount="24" Body="&lt;p&gt;Is there a way to revert &quot;Add edit&quot; on the track? When I press CMD+K on my track (audio or video), it will be split into two tracks. Sometimes I &quot;Add edit&quot; by mistake and realize it after few steps where press &quot;Back&quot; several times no best way and i want just connect together two pieces of the same track. Is it possible? For sure I can mark all pieces and combine them into group but i want have one whole track instead of organized group. &lt;/p&gt;&#xA;" OwnerDisplayName="user21243" LastEditorUserId="14523" LastEditDate="2018-01-24T00:20:15.203" LastActivityDate="2018-01-24T00:20:15.203" Title="Revert &quot;Add edit&quot; of the track, after CMD+K in Adobe Premiere CC 2017" Tags="|premiere|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23261" PostTypeId="2" ParentId="23259" CreationDate="2018-01-23T22:54:39.577" Score="4" Body="&lt;p&gt;On Windows:&#xA;Hold CTRL and right click the split itself. Then click &quot;Join Through Edits&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mac should be similar I guess.&lt;/p&gt;&#xA;" OwnerUserId="21245" LastActivityDate="2018-01-23T22:54:39.577" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23263" PostTypeId="1" AcceptedAnswerId="23264" CreationDate="2018-01-24T12:33:41.217" Score="5" ViewCount="323" Body="&lt;p&gt;To my understanding, there is the container format (MP4, MOV, 3GP, AVI) and the codecs (Theora, VP8, H264, XVid, DivX).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For what I understand, the container format and the codecs are independent and it seems that it would theoretically be possible to have a MP4 which contains some video encoded with DivX. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Would it work?&lt;/strong&gt; I mean, would standard video players be able to play it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I don't understand why H.264 (a codec) is defined in the MPEG-4 (a container) specification.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As H.265/HVEC is to replace H.264, will there be a new container format? Or will there be some MP4 files containing some videos encoded in H.265?&lt;/p&gt;&#xA;" OwnerUserId="21249" LastEditorUserId="21249" LastEditDate="2018-01-24T14:20:39.503" LastActivityDate="2018-01-24T14:20:39.503" Title="Understanding containers and codecs" Tags="|codec|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23264" PostTypeId="2" ParentId="23263" CreationDate="2018-01-24T14:12:37.247" Score="6" Body="&lt;p&gt;MPEG-4 is not a container specification. It's a suite of specifications. Parts 12 and 14 define containers (MP4). Part 2 defines a video codec, whose encoder implementations are DivX and Xvid. Part 10 defines another video codec AVC a.k.a. H.264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can get a list of codecs, which can theoretically be present in a MP4 at &lt;a href=&quot;http://mp4ra.org/codecs.html&quot; rel=&quot;noreferrer&quot;&gt;http://mp4ra.org/codecs.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whether a given muxer/software offers the feature to include a codec in MP4, or whether a given player accepts a codec in a MP4, depends on the software developer. Generally, MPEG-4 Part 2 should be accepted but players can be finicky about the codec tag and may only play the video if they recognize the tag.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;HEVC can be muxed in a MP4 and there's no dedicated or new container for it.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-01-24T14:12:37.247" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23266" PostTypeId="2" ParentId="18533" CreationDate="2018-01-24T15:07:50.263" Score="0" Body="&lt;p&gt;The easy but long way is using editing softwares i.e. Import the file and then export it. I will suggest Sony Vegas Pro any version you can use other paid video editing softwares too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For open source video editing softwares you have: blender&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For full featured trial version: NCH videopad (very simple and bad) : I don't recommend it tho. &lt;/p&gt;&#xA;" OwnerUserId="21250" LastActivityDate="2018-01-24T15:07:50.263" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23267" PostTypeId="2" ParentId="23208" CreationDate="2018-01-24T15:10:55.860" Score="0" Body="&lt;p&gt;One possible solution is to batch rename all your video files to match the creation date. There are a lot of free applications that can batch rename files for you. If you don't want to change the original file names of your clips, you should first make a copy of the files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Every file name will need to be different, if you have a more than one clip recorded on the same day you will need to add a incrementing number of some other value to avoid duplicates. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here I have used &lt;a href=&quot;https://www.advancedrenamer.com/user_guide/tags_datetimecreated&quot; rel=&quot;nofollow noreferrer&quot;&gt;Advanced Renamer&lt;/a&gt; to rename the files based on the meta data:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/r0r1i.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/r0r1i.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Import your footage into Premiere, arrange the clips how you like and add the 'Clip Name' effect from the Effects panel to one of your clips. An overlay on the video will display the file name.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to hide the incrementing number and file extension at the end of the file name, you can either position the text far enough right that it is out of frame or use a rectangular mask to hide it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have adjusted the text in the way you like, copy the clip, select all the other clips in your sequence and use 'Paste Attributes' under the right-click menu to add the effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ezTfd6m_Up0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2018-01-24T15:10:55.860" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23268" PostTypeId="2" ParentId="23221" CreationDate="2018-01-24T15:12:43.357" Score="1" Body="&lt;p&gt;YouTube and Twitch are the most popular platforms for both Live Broadcast and not live broadcasts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll recommend live streaming the video and making it private on twitch to prevent any copyright case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For YouTube streaming you have to have some conditions fulfilled.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://support.google.com/youtube/answer/2474026?hl=en-GB&quot; rel=&quot;nofollow noreferrer&quot;&gt;YOUTUBE TERMS FOR GOING LIVE&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21250" LastActivityDate="2018-01-24T15:12:43.357" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23269" PostTypeId="1" AcceptedAnswerId="23869" CreationDate="2018-01-24T18:25:53.520" Score="3" ViewCount="41305" Body="&lt;p&gt;I have a ripped DVD that I want to have digitally upscaled to 1080p. I have access to the editing software Adobe Premiere Pro and After Effects. I know Premiere is able to upscale when exporting, but I'm not happy with the results and I'm looking for a better solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So in short, what is the best way to upscale a 480p video to 1080p?&lt;/p&gt;&#xA;" OwnerUserId="17218" LastActivityDate="2023-05-16T11:25:02.913" Title="How to upscale a 480p video to a 1080p with minimal quality loss?" Tags="|after-effects|premiere|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23270" PostTypeId="1" CreationDate="2018-01-24T20:10:01.083" Score="2" ViewCount="316" Body="&lt;p&gt;I'm going to purchase a new iMac and my big resource hog will be Final Cut Pro X, mostly for 1080p videos. For an extra $100, Apple moves from a Radeon Pro 555 with 2 GB memory to a Radeon Pro 560 with 4 GB memory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Will the difference between the two machines be noticeable? Will it likely be noticeable in a few years, when Final Cut gets bigger and more bloated?&lt;/p&gt;&#xA;" OwnerUserId="21253" LastEditorUserId="674" LastEditDate="2018-01-26T12:38:16.490" LastActivityDate="2018-01-26T12:38:16.490" Title="Final Cut Pro - does 2GB vs 4 GB video memory make a difference" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23272" PostTypeId="2" ParentId="23208" CreationDate="2018-01-25T00:32:35.453" Score="1" Body="&lt;p&gt;Rather than render out one large video file, you can use your existing video files after a batch rename as Ambo100 mentioned previously with Advanced Renamer. A title rendering process, such as with Adobe Premiere or other editing platform, would also take time to render, especially if it's a large archive of clips.  The model below keeps them intact, and the original filename can be prefixed with your create date, which means you'd be able to keep the original filename included as a suffix. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.videolan.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;VLC&lt;/a&gt; can display the filename being played, which means you'd only need to merely save the playlist of your chosen video files versus making one video large file of all your videos.  If a user decides to stop the video once the desired video is found, VLC will also stop on that video listed in the playlist. A right-click will allow you to go to the file directly. I put nine-9s in my time for showing the video title, which equates to a video length of ~278-hours. &#xA;&lt;a href=&quot;https://i.stack.imgur.com/1zj1H.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1zj1H.png&quot; alt=&quot;snapshot of VLC on Linux, showing the video panel under preferences and then choosing advanced&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5495" LastActivityDate="2018-01-25T00:32:35.453" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23273" PostTypeId="1" AcceptedAnswerId="23302" CreationDate="2018-01-25T04:06:29.857" Score="1" ViewCount="14273" Body="&lt;p&gt;I have an interesting problem:&lt;br&gt;&#xA;When I stream to Twitch (or record), my desktop audio goes out of sync with the video over time. The microphone is perfectly synced the whole time.&lt;br&gt;&#xA;Both &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS Studio&lt;/a&gt; and &quot;playback device-&gt;Speakers&quot; have 44.1kHz.&lt;br&gt;&#xA;I have device timestamps on, started with it off, changed it because of the desync.&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/iB3HG.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iB3HG.jpg&quot; alt=&quot;OBS Settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21255" LastEditorUserId="5495" LastEditDate="2018-01-29T02:34:41.460" LastActivityDate="2020-05-06T19:08:21.570" Title="OBS Studio: desktop audio falls out of sync" Tags="|streaming|sync|obs|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23274" PostTypeId="1" CreationDate="2018-01-25T04:07:19.667" Score="2" ViewCount="10163" Body="&lt;p&gt;I understand that I'm down to the frame size on the timeline scale but I need to line these up, otherwise it sounds completely ridiculous. I can't move the two closer together since one overshoots the line-up.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;What is the best &quot;bandaid&quot; fix for now?&lt;/li&gt;&#xA;&lt;li&gt;How can I avoid this problem later? I record audio on two different mics, I need to be able to perfectly line them up.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qpwe6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qpwe6.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21256" LastActivityDate="2018-01-25T22:01:17.010" Title="How to line up two audio tracks in Premiere Pro?" Tags="|premiere|editing|audio|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23276" PostTypeId="2" ParentId="23274" CreationDate="2018-01-25T05:02:02.297" Score="0" Body="&lt;p&gt;Okay, I was able to find a band-aid quicky fix. The desired audio/video tracks to be synchronized must be unlinked and only one audio track has to be moved separately, then you can match it up to milliseconds. Now, in my case, I make commentary over a video, so my commentary will be simply early or late, depending which track you move, but only by about a frame, which is not a big deal for me - as long as the audio and video are synchronized. If you're making a song or something very &quot;flowy&quot;, this will probably not be helpful.&lt;/p&gt;&#xA;" OwnerUserId="21256" LastActivityDate="2018-01-25T05:02:02.297" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23277" PostTypeId="2" ParentId="23270" CreationDate="2018-01-25T06:43:43.373" Score="3" Body="&lt;p&gt;I would say, yes it makes a difference. Rendering in FCPX happens in tiles. The size of the tiles is determined by a combination of the amount of memory they consume, the speed of the graphics card, and other similar factors. Increasing the video RAM will allow more and/or bigger tiles to fit on the card at one time. Bigger tiles means fewer passes to make the same adjustments. More tiles means less trips back and forth to main memory or the disk to retrieve image data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whether that helps you or not depends on how you edit. If you're mainly just cutting HD clips together with no effects or color corrections, it might not make a big difference. But if you're editing 4k or 8k footage, adding 2D or 3D titles (particularly 3D), applying lots of effects and color corrections, doing retiming, using the 360° functionality, etc. then it will make a larger difference. In my experience, every little bit helps.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2018-01-25T06:43:43.373" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23278" PostTypeId="1" CreationDate="2018-01-25T07:09:04.147" Score="3" ViewCount="1038" Body="&lt;p&gt;In a live stream setup, I have 2 cameras and each one sends RTMP stream to one different application which is on my Nginx-RTMP server. On the browser I am using Videojs Hls plugin. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now my question is how can I load these two streams one after another in the same hlsplayer player instance. For example, I want to load the first 15 seconds in my first source and the next 15 seconds from my second source in the same player. Since the .ts files are named incrementally and if I have 5sec chunks of .ts files in each .m3u8 file, I want to load the first 3 .ts files to be loaded from the first source(.m3u8 file) and the next 3 from another source(.m3u8 file). How can I achieve that? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I generate some kind of master M3U8 file which has the list of these other .M3U8 files or can I develop a plugin in videojs to load the appropriate ts files directly?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;source1.m3u8&lt;br&gt;&#xA;1.ts&lt;br&gt;&#xA;2.ts&lt;br&gt;&#xA;3.ts&lt;/p&gt;&#xA;&#xA;&lt;p&gt;source2.m3u8&lt;br&gt;&#xA;1.ts&lt;br&gt;&#xA;2.ts&lt;br&gt;&#xA;3.ts&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to load 1.ts from source1.m3u8 and 2.ts from source2.m3u8 but with no delay or lag.&lt;/p&gt;&#xA;" OwnerUserId="21258" LastActivityDate="2024-03-24T03:05:50.603" Title="Switching between multiple m3u8 playlist" Tags="|ffmpeg|streaming|rtmp|hls|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23279" PostTypeId="1" CreationDate="2018-01-25T08:39:11.227" Score="3" ViewCount="2067" Body="&lt;p&gt;I was recording screencasts on Ubuntu 16.04 for youtube with my plantronics headset &lt;em&gt;C520-M&lt;/em&gt; which worked just nice. I was using ffmpeg successfully.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I wanted to add some &quot;live&quot; video explaining things at a whiteboard, to make the video more attractive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was planning to record the live view with &lt;em&gt;Logitech HD Pro Webcam C920&lt;/em&gt;, which also has builtin microphones that work not that bad. I can not use the headset for sound, since the whiteboard is too far away from the computer... (plus it might look weird).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was using this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f v4l2 -framerate 25  -video_size 1280x720 -i /dev/video1 \&#xA;       -f alsa -ac 2 -thread_queue_size 1024 -i default \&#xA;        output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That always resulted in &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[alsa @ 0x69d540] Thread message queue blocking; consider raising the thread_queue_size option (current value: 1024)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The sound then stops at this point for the rest of the recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thus I have a couple of questions:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Why does it happen that the audio queue blocks?&lt;/li&gt;&#xA;&lt;li&gt;How far should I raise the thread_queue_size?&lt;/li&gt;&#xA;&lt;li&gt;How can I avoid that the audio queue blocks?&lt;/li&gt;&#xA;&lt;li&gt;Which audio input should I use - actually I tried all of them an the sound stops at some point.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Thanks for any hints.&lt;/p&gt;&#xA;" OwnerUserId="21259" LastActivityDate="2018-01-25T08:39:11.227" Title="Recording for Youtube: ffmpeg Thread message queue blocked" Tags="|ffmpeg|youtube|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23280" PostTypeId="2" ParentId="23274" CreationDate="2018-01-25T12:03:30.123" Score="3" Body="&lt;p&gt;Audio in Premiere can be aligned by analysing two or more audio files and automatically comparing for similarity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the audio recorded on separate microphones, select both clips, right-click and select 'Synchronise'. Select 'Audio' as a synchronize point and press OK.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bOpTs.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bOpTs.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use the Source editor to fine-tune the in and out points to remove any silence before and after the microphone recording. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/z37HQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/z37HQ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This feature can be extremely useful for aligning multi-cam footage.&lt;/p&gt;&#xA;" OwnerUserId="636" LastEditorUserId="636" LastEditDate="2018-01-25T22:01:17.010" LastActivityDate="2018-01-25T22:01:17.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23281" PostTypeId="2" ParentId="21886" CreationDate="2018-01-25T21:41:40.950" Score="1" Body="&lt;p&gt;This can be done very easily be setting In and Out points in the sequence timeline. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In and Out points can be set using the &lt;kbd&gt;I&lt;/kbd&gt; and &lt;kbd&gt;O&lt;/kbd&gt; keys respectively.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lcSAe.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lcSAe.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have made your select, press the &lt;kbd&gt;Delete&lt;/kbd&gt; key to remove the selection. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure that the video and audio tracks you want deleted have 'track targeting' activated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KaMSK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KaMSK.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to quickly remove the gap between all the clips, you can also right-click in the empty area and select 'Ripple Delete'.&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2018-01-25T21:41:40.950" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23282" PostTypeId="1" AcceptedAnswerId="24351" CreationDate="2018-01-26T05:55:12.803" Score="1" ViewCount="19277" Body="&lt;p&gt;I am trying to import an SVG animated file to an After Effects project. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is not importing right now, so are there any solutions or any alternate ways to do that?&lt;/p&gt;&#xA;" OwnerUserId="20087" LastEditorUserId="674" LastEditDate="2018-01-26T12:28:20.753" LastActivityDate="2023-01-31T16:30:41.803" Title="How to import SVG file into After Effects" Tags="|after-effects|" AnswerCount="4" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23283" PostTypeId="1" CreationDate="2018-01-26T11:59:06.783" Score="1" ViewCount="406" Body="&lt;p&gt;I have an app where we allow users to create videos by choosing an After Effects template and modifying the text, images, etc.&#xA;We run AE on a windows server which renders the final video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For other scenarios where we do not use AE, we use AWS Lambda of which we can spin off 100 instances simultaneously and they all use their own resources. Whereas for AE we use a Windows server and all parallel rendering use the same resources and hence are very slow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any PaaS where I can run AE and spin up multiple instances?&lt;/p&gt;&#xA;" OwnerUserId="18948" LastEditorUserId="14523" LastEditDate="2018-01-27T00:46:17.807" LastActivityDate="2018-03-28T03:47:50.533" Title="Are there any PaaS where I can run AE?" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23287" PostTypeId="1" CreationDate="2018-01-26T16:28:46.533" Score="4" ViewCount="633" Body="&lt;p&gt;I started with an hour-long video interview and cut it down into a 4-minute sequence of clips using Adobe Premiere Pro CC 2017.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I remembered that I had a 2nd camera's video file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How can I convert my sequence to a &quot;multicam&quot; sequence even though I've already cut it up a bunch?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to sync up that 2nd video file so that all of the cuts are the same and that I'm then able to simply bounce between 2 camera angles throughout my 4 minutes of cuts.&lt;/p&gt;&#xA;" OwnerUserId="5657" LastActivityDate="2018-01-31T23:31:34.703" Title="How to enable multi-camera in Premiere *after* I've already made tons of cuts" Tags="|premiere|multi-camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23288" PostTypeId="2" ParentId="23283" CreationDate="2018-01-27T00:45:32.767" Score="1" Body="&lt;p&gt;There are no true PaaS providers for After Effects. However, there are &lt;a href=&quot;https://turborender.com/en/&quot; rel=&quot;nofollow noreferrer&quot;&gt;several&lt;/a&gt; &lt;a href=&quot;https://www.pixelplow.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;online&lt;/a&gt; &lt;a href=&quot;https://rentrender.com/after-effects-render-farms/&quot; rel=&quot;nofollow noreferrer&quot;&gt;render&lt;/a&gt; &lt;a href=&quot;https://www.findrenderfarm.com/product-category/after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;farms&lt;/a&gt; (SaaS).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that &lt;a href=&quot;https://forums.adobe.com/thread/2341225&quot; rel=&quot;nofollow noreferrer&quot;&gt;you cannot run After Effects on a public cloud&lt;/a&gt; in your own render farm.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-01-27T00:45:32.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23291" PostTypeId="2" ParentId="23287" CreationDate="2018-01-27T17:22:27.837" Score="1" Body="&lt;p&gt;Ryan, sorry, but I think it's basically too late. You can certainly turn on multicam editing mode now but Premiere is not going to recognize your existing edits. If you have more footage to edit you could use multicam mode for the remaining portion.&lt;/p&gt;&#xA;" OwnerUserId="21277" LastEditorUserId="636" LastEditDate="2018-01-31T23:31:34.703" LastActivityDate="2018-01-31T23:31:34.703" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23294" PostTypeId="1" CreationDate="2018-01-28T01:58:33.280" Score="1" ViewCount="473" Body="&lt;p&gt;I'm trying to script-cut a 24 fps video and it gets close to the right thing, except for two missing frames at the beginning of every segment I cut with seeking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've found out that index-frames (keyframes) could become an issue for seeking, so I first create an intermediate file with every frame as a index frame using this line:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mov -c:v libx264 -g 1 -c:a copy intermediate.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I proceed to make a cut with this line. Notice I'm drawing some text on top of it:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -y -i intermediate.mp4 -ss 00:00:02.083333333333 -to 00:00:02.875000000000 -vf drawtext=fontfile=DroidSans.ttf:fontsize=48:text=&quot;segment2&quot;:fontcolor=yellow:box=1:boxborderw=16:boxcolor=black@0.5:x=w/32:y=h/18 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;No matter the length of the segment, the first two frames get dropped.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using python do control ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Edit:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Running ffprobe on one of the generated segments with &lt;code&gt;ffprobe -hide_banner Nixing_0010_0010.mp4&lt;/code&gt; says the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'Nixing_0010_0010.mp4':&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.82.101&#xA;  Duration: 00:00:02.11, start: 0.000000, bitrate: 4717 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], 4751 kb/s, 24 fps, 24 tbr, 12288 tbn, 48 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      timecode        : 00:00:00:00&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 2 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;    Stream #0:2(eng): Data: none (tmcd / 0x64636D74), 0 kb/s&#xA;    Metadata:&#xA;      handler_name    : TimeCodeHandler&#xA;      timecode        : 00:00:00:00&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="21280" LastActivityDate="2018-01-28T01:58:33.280" Title="FFMPEG dropping the first two frames of segments generated through seeking" Tags="|video|ffmpeg|keyframes|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23295" PostTypeId="1" CreationDate="2018-01-28T04:09:27.753" Score="0" ViewCount="75" Body="&lt;p&gt;As a producer I know that samples need to be cleared. How are news programs treated for inclusion in musical works. Are some historical works public domain (Kennedy moon mission speech is a good example). What about current news, NPR, etc?&lt;/p&gt;&#xA;" OwnerUserId="21281" LastActivityDate="2018-09-26T09:01:41.667" Title="News media copyright?" Tags="|copyright|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23297" PostTypeId="1" AcceptedAnswerId="23298" CreationDate="2018-01-28T15:29:49.143" Score="3" ViewCount="694" Body="&lt;p&gt;I recorded a video interview using Zoom Cloud Meetings, and the 2 participants appear to be looking away from each other instead of towards each other:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/n7FXT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/n7FXT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I swap the sides?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The resolution is 1920x1080, and I want to keep the black bars on the top and bottom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have FFmpeg and Adobe Premiere Pro CC 2017 and other tools available.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. This has nothing to do with a similarly-titled question relating to 3D Vision.&lt;/p&gt;&#xA;" OwnerUserId="5657" LastActivityDate="2018-03-08T15:40:55.037" Title="How to swap sides of side-by-side video chat interview?" Tags="|ffmpeg|premiere|video-editor|interview|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23298" PostTypeId="2" ParentId="23297" CreationDate="2018-01-28T15:54:24.463" Score="3" Body="&lt;p&gt;Using ffmpeg,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i recording.mp4&#xA;  -filter_complex&#xA;     &quot;[0]split[a][b];&#xA;      [a]crop=iw/2:ih:0:0[r];&#xA;      [b]crop=iw/2:ih:iw/2:0[l];&#xA;      [l][r]hstack&quot;&#xA;  -c:a copy switched.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Two crops of the video are made and then joined in opposite order.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Using swaprect filter,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i recording.mp4 -vf &quot;swaprect=w/2:h:0:0:w/2:0&quot; -c:a copy switched.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-03-08T15:40:55.037" LastActivityDate="2018-03-08T15:40:55.037" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23299" PostTypeId="2" ParentId="23297" CreationDate="2018-01-28T17:35:54.777" Score="1" Body="&lt;p&gt;In Premiere Pro, duplicate your footage (excluding audio) and place it directly on a track directly above or below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the Effects Panel, set the one position of one clip to 0px and the second clip to the exact width of your frame (which in this case would be 1920px).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you wish to make additional edits to both clips, you should 'nest' both the video clips by right-clicking on the two videos clips and selecting 'Nest...'. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should also re-link the audio to the nested clip.&lt;/p&gt;&#xA;" OwnerUserId="636" LastEditorUserId="636" LastEditDate="2018-01-29T09:38:17.963" LastActivityDate="2018-01-29T09:38:17.963" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23300" PostTypeId="1" CreationDate="2018-01-28T22:03:14.767" Score="1" ViewCount="1806" Body="&lt;p&gt;I have static file on my disk I want to stream it with ffserver .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that ffserver is decode and encode my file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know how to pass decode and encode when I save stream to file &lt;code&gt;ffmpeg-i http://.... -c:v copy test.avi&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do that when I stream with ffserver with command &lt;code&gt;ffmpeg -i test.avi http://&amp;lt;ffserverUrl&amp;gt;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i test.264 -c:v copy http://&amp;lt;ffserverUrl&amp;gt;&lt;/code&gt; still re-encode the video&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that ffserver is not recommended but I need this option please&lt;/p&gt;&#xA;" OwnerUserId="21286" LastEditorUserId="21286" LastEditDate="2018-01-29T04:31:36.963" LastActivityDate="2018-01-29T05:27:59.070" Title="stream with ffserver without encode-decode" Tags="|ffmpeg|encoding|streaming|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23301" PostTypeId="2" ParentId="23295" CreationDate="2018-01-28T22:15:14.790" Score="2" Body="&lt;p&gt;In the US, &lt;a href=&quot;https://en.wikipedia.org/wiki/Fair_use&quot; rel=&quot;nofollow noreferrer&quot;&gt;fair use&lt;/a&gt;, the doctrine of copyright law that permits limited use of copyrighted material without needing to obtain permission first, is measured by &lt;a href=&quot;https://fairuse.stanford.edu/overview/fair-use/four-factors/&quot; rel=&quot;nofollow noreferrer&quot;&gt;four criteria&lt;/a&gt;. It doesn't matter whether the work you are including or creating is music, text, or a newscast, the same four criteria apply.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The purpose and character of the work you are including the copyrighted material in. For example, are you using it for educational purposes or are you trying to profit from what you are making?&lt;/li&gt;&#xA;&lt;li&gt;The nature of the material you are including.&lt;/li&gt;&#xA;&lt;li&gt;The amount of the work you are including, in relative and absolute terms. Are you including 5 seconds of a 1 hour work or all 10 lines of a poem?&lt;/li&gt;&#xA;&lt;li&gt;The effect on the market or value of the included work. Are you going to take sales away from the included work?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;However, there is no checklist to determine if your use of something falls under fair use. There is no guarantee that if you are, for example, using 30 seconds of a newscast for for educational purposes that will have no impact on the broadcaster's ability to sell commercials that you fall under fair use. Or that you tip the scale at 31 seconds of included material. Or that any commercial purpose of your work isn't fair use. &lt;a href=&quot;https://fairuse.stanford.edu/overview/fair-use/four-factors/&quot; rel=&quot;nofollow noreferrer&quot;&gt;&quot;The only way to get a definitive answer on whether a particular use is a fair use is to have it resolved in federal court.&quot;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Historical material is &lt;em&gt;not&lt;/em&gt; automatically public domain nor is it automatically available for fair use. Figuring out if a work's copyright is still in force is rather complex. You need to sort through the correct &lt;a href=&quot;https://www.copyright.gov/circs/circ15a.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;copyright term&lt;/a&gt; for the original work and whether any extensions have been applied.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, any &lt;a href=&quot;https://www.usa.gov/government-works&quot; rel=&quot;nofollow noreferrer&quot;&gt;U.S. government work&lt;/a&gt; is automatically in the public domain. But there are exceptions to that. You can't just assume that because you found it on a government website that it is a government work. Something, like an &lt;a href=&quot;https://www.npr.org/about-npr/179876898/terms-of-use&quot; rel=&quot;nofollow noreferrer&quot;&gt;NPR&lt;/a&gt; broadcast or a medical study, does not automatically become a government work and public domain just because it is partly or fully funded by the federal government.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-01-28T22:15:14.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23302" PostTypeId="2" ParentId="23273" CreationDate="2018-01-29T00:34:30.110" Score="3" Body="&lt;p&gt;So with everything I've tried I'm not sure if I messed anything up, but.... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Turning off &quot;Use device timestamps&quot; in the properties of &quot;desktop audio&quot; fixed the problem.&lt;/p&gt;&#xA;" OwnerUserId="21255" LastActivityDate="2018-01-29T00:34:30.110" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23303" PostTypeId="2" ParentId="23300" CreationDate="2018-01-29T05:27:59.070" Score="3" Body="&lt;p&gt;FFmpeg, by default, uses ffserver's conf file to set encoding parameters. &#xA;Add &lt;code&gt;-override_ffserver&lt;/code&gt; to the ffmpeg command to prevent that.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-01-29T05:27:59.070" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23305" PostTypeId="2" ParentId="23135" CreationDate="2018-01-29T19:14:06.537" Score="5" Body="&lt;p&gt;I've solved the issue by rebuilding the timestamps from scratch with &lt;code&gt;-use_wallclock_as_timestamps 1&lt;/code&gt; and &lt;code&gt;-fflags +genpts&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;/usr/bin/ffmpeg -use_wallclock_as_timestamps 1 -i &quot;rtsp://${source}&quot; -fflags +genpts -vcodec copy -acodec aac -f flv &quot;rtmp://${dest}&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is only a partial solution, or rather workaround, as it's still unclear to me what causes this behavior.&lt;/p&gt;&#xA;" OwnerUserId="21047" LastActivityDate="2018-01-29T19:14:06.537" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23307" PostTypeId="1" CreationDate="2018-01-30T03:23:21.267" Score="1" ViewCount="20" Body="&lt;p&gt;Is there a way to have this not happen?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This also happens on MOV exports.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sCv9U.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sCv9U.png&quot; alt=&quot;example&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21295" LastActivityDate="2018-01-30T03:23:21.267" Title="Flash CS6's &quot;Export as AVI&quot; creates lines and squares on my export" Tags="|export|flash|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23310" PostTypeId="2" ParentId="14892" CreationDate="2018-01-30T11:59:14.623" Score="0" Body="&lt;p&gt;In After Effects,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-Create the text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-Right-click on text &gt; 'Create Shapes from Text'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-Hide the fills of the shapes, unhide the stroke of the shapes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-Expand the layer properties. Beside 'Contents, &#xA;click &quot;Add: ►&quot; &gt; 'Trim Paths'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-Playing with the 'Start', 'End', and 'Offset' properties.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;that's all.&lt;/p&gt;&#xA;" OwnerUserId="21302" LastActivityDate="2018-01-30T11:59:14.623" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23311" PostTypeId="2" ParentId="23282" CreationDate="2018-01-30T12:14:53.947" Score="3" Body="&lt;p&gt;Open in Illustrator.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Save as .ai (sorting the layers according to your needs)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Import into Ae.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mind with the 'Import Kind' upon importing, suggest 'Composition' if you sorted the graphics into numbers of layers. &lt;/p&gt;&#xA;" OwnerUserId="21302" LastActivityDate="2018-01-30T12:14:53.947" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23312" PostTypeId="2" ParentId="22054" CreationDate="2018-01-30T12:28:06.427" Score="0" Body="&lt;p&gt;Try frame blending.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Show the switch column in timeline.&lt;/li&gt;&#xA;&lt;li&gt;Check, and enable the Frame Blending switch on the timeline.&lt;/li&gt;&#xA;&lt;li&gt;Check, and enable the Frame Blending option of the layer.&lt;/li&gt;&#xA;&lt;li&gt;Always check your composition frame rate.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Shortcut:&#xA;&lt;kbd&gt;ctrl&lt;/kbd&gt; + &lt;kbd&gt;k&lt;/kbd&gt; (Win) or &lt;kbd&gt;command&lt;/kbd&gt; + &lt;kbd&gt;k&lt;/kbd&gt; (Mac)&lt;/p&gt;&#xA;" OwnerUserId="21302" LastEditorUserId="14523" LastEditDate="2018-01-30T23:40:09.350" LastActivityDate="2018-01-30T23:40:09.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23316" PostTypeId="1" AcceptedAnswerId="23319" CreationDate="2018-01-30T19:20:36.620" Score="1" ViewCount="3731" Body="&lt;p&gt;I'm using VSDC video editor. I have an image that last some seconds in each layer and I want to add to them a transformation effect to all of them at the end instead of having to do it one by one. Is there any way to do this? &lt;/p&gt;&#xA;" OwnerUserId="21306" LastActivityDate="2021-02-21T14:19:06.510" Title="How to add a transition to all layers in VSDC video editor instead of having to it one by one?" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23318" PostTypeId="1" AcceptedAnswerId="23323" CreationDate="2018-01-31T16:08:15.620" Score="1" ViewCount="2341" Body="&lt;p&gt;NOTE: This question is superceded by &lt;a href=&quot;https://video.stackexchange.com/q/23344/&quot;&gt;this new one&lt;/a&gt;, please do not answer below this post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What happened?&lt;/strong&gt;  &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;[Edit] DVB file ('file1') in TS format of H.264/AC3@50i cannot be properly remuxed into any of the following formats: isom/mp4; QuickTime MOV; Matroska  &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Another DVB file ('file2') in TS format of MPEG-2/MP2@59.94i can be properly remuxed into any of the following formats: MPEG; isom/mp4. QuickTime MOV and Matroska are not tried. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;[Update] Still another one in TS format of H.264/AAC@29.97p &lt;em&gt;can&lt;/em&gt; be properly remuxed into isom/mp4 without a hitch, not requiring any ffmpeg switches other than -i, -c copy. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Technical details&lt;/strong&gt;  &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;FFMpeg reports millions of the following error messages, with or without any possible combination of these switches: -fflags +genpts, -fflags +igndts, -fflags +discardcorrupt  &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Command line is &lt;code&gt;ffmpeg.exe -fflags +igndts -fflags +genpts -fflags +discardcorrupt -i INPUT -c copy -format mp4 OUTPUT&lt;/code&gt;  &lt;/li&gt;&#xA;&lt;li&gt;Error Message 1:&lt;br&gt;&#xA;    [mp4 @ address] pts has no value&lt;br&gt;&#xA;    Last message repeated xxx times  &lt;/li&gt;&#xA;&lt;li&gt;Error Message 2:&lt;br&gt;&#xA;   [mp4 @ address] Non-monotonous DTS in output stream 0:0. Previous ... Current ... Changing to ... , blah blah  &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;AVIDemux completes operation with wrong metadata and faulty playback. File properties and playback behaviour resembles that created by FFMpeg  &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Frame-rate becomes variable, should be 50i  &lt;/li&gt;&#xA;&lt;li&gt;Average frame-rate is not the correct value, showing very strange numbers  &lt;/li&gt;&#xA;&lt;li&gt;Playback frame-rate is abnormal, oscillating btw. 59.94 and 39.xx  &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;[Edit] MP4box reports the following warnings for 2 times, and produces jagged picture with wrong frame-rate as mentioned above. If you view the resultant video very carefully you will see the image with many blocks; this is not found in the original file.  &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Command line is  &lt;code&gt;mp4box.exe -fps 50 -add &quot;INPUT#video&quot; OUTPUT&lt;/code&gt;  &lt;/li&gt;&#xA;&lt;li&gt;Error Message:&lt;br&gt;&#xA;   [MPEG-2 TS] PID xx PCR discontinuity signaled but diff is small (diff xx us - PCR diff xx vs prev PCR diff 0) - ignore it  &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My questions, in detail&lt;/strong&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;1   What on earth is &quot;DTS&quot; and &quot;PTS&quot;? They seem to be obsructing a successful remux.&lt;br&gt;&#xA;2   Is this due to corrupted file or software bug (see &lt;a href=&quot;https://trac.ffmpeg.org/ticket/4768&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/ticket/4768&lt;/a&gt; and &lt;a href=&quot;https://trac.ffmpeg.org/ticket/502&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/ticket/502&lt;/a&gt;)?&lt;br&gt;&#xA;3   If this is a software bug what are the work-arounds?&lt;br&gt;&#xA;4   Any workable solution that remuxes MPEG Transport Streams to MP4 are welcome. MPEG-TS takes up too much overhead and are not well supported across platforms and systems.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Diagnostic Information&lt;/strong&gt;&lt;br&gt;&#xA;-   MediaInfo dump of file1,  file2, and  file1 remuxed into mp4 by FFMpeg&lt;br&gt;&#xA;&lt;a href=&quot;http://pastebin.ca/3966322&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://pastebin.ca/3966322&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21312" LastEditorUserId="21312" LastEditDate="2018-02-04T13:09:37.020" LastActivityDate="2018-02-04T13:09:37.020" Title="Wrong frame-rate, corrupted playback of isom/mp4 files remuxed from H.264/AC3 MPEG-TS" Tags="|ffmpeg|mp4|file-formats|framerate|mpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23319" PostTypeId="2" ParentId="23316" CreationDate="2018-01-31T16:11:58.813" Score="2" Body="&lt;p&gt;VSDC team member is here. If you're talking about the transition effects, you can add them using the wizard. Although, you'll still have to drag each one for each transition. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if you need to copy any other effects, we have a how-to video for you: &lt;a href=&quot;https://www.youtube.com/watch?v=_gfm6-jv4aw&amp;amp;feature=youtu.be&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to apply the same effect to different objects with VSDC Free Video Editor.&lt;/a&gt; &#xA;I hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="21313" LastActivityDate="2018-01-31T16:11:58.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23320" PostTypeId="1" AcceptedAnswerId="23322" CreationDate="2018-01-31T17:33:26.360" Score="3" ViewCount="142" Body="&lt;p&gt;I consider making some kind of tutorial channel on YouTube about a specific subject where I do a voice over on my videos while using an Intuos to demonstrate on the monitor. However, I do not wish the whole world to know who I am and therefore I thought about if it is possible that my voice could be recognized from the voice over in any way. &#xA;So is it actually possible to quickly and easily change the voice audio a bit so it still sounds natural and wouldn't be recognized?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I know about Audacity. Do any of you know how to do it there and are there better software solutions?&lt;/p&gt;&#xA;" OwnerUserId="21315" LastEditorUserId="14523" LastEditDate="2018-02-01T00:07:14.053" LastActivityDate="2018-02-01T04:09:17.483" Title="Disguising the identity of a voice over" Tags="|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23321" PostTypeId="2" ParentId="20707" CreationDate="2018-01-31T23:23:07.147" Score="0" Body="&lt;p&gt;Using &lt;a href=&quot;https://autohotkey.com/download/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Autohotkey&lt;/a&gt; for Windows I could solve the Problem. If I had known this program before, I would have saved so much time!&#xA;After installing Autohotkey I just wrote a small script:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;^+m::&#xA;    WinActivate, Adobe Premiere&#xA;    Send, d&#xA;    Send, +{del}&#xA;    Send, {Down}&#xA;Return&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and saved it as &lt;em&gt;premiere.ahk&lt;/em&gt; and double clicked it. Now I can use Ctrl+Shift+m to select the clip under the playhead and ripple delete it and move playhead to the next clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So now I just need to press Ctrl+Shift+m multiple times to delete every second clip. This is so much more convenient. You obviously can set the hotkey as you like. It doesn't have to be Ctrl+Shift+m.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I needed it on Windows, if someone needs alternatives for Autohotkey on macOS maybe you find something &lt;a href=&quot;https://apple.stackexchange.com/questions/153930/autohotkey-equivalent-for-os-x&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="18100" LastActivityDate="2018-01-31T23:23:07.147" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23322" PostTypeId="2" ParentId="23320" CreationDate="2018-02-01T00:25:35.127" Score="4" Body="&lt;p&gt;You have a few options for disguising a voice, but several of them intentionally make the sound unnatural.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Have someone else record the voiceover.&lt;/strong&gt; This is the only technique that results in a truly natural sound because it is an unmodified voice. There are some relatively inexpensive &lt;a href=&quot;https://voicebunny.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;voiceover services&lt;/a&gt; available if you don't already know someone. Because the person is never seen on screen in what you describe, you don't have to worry about lip sync, just rough timing.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;A simple pitch shift.&lt;/strong&gt; Change the key of your voice with a pitch shift filter and correct the timing. This is easily reversible if you have serious concerns about your identity. &lt;a href=&quot;https://www.youtube.com/watch?v=iDkgoDGjaUk&quot; rel=&quot;nofollow noreferrer&quot;&gt;This video&lt;/a&gt; describes how to do that in Premier.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Randomize the pitch shift, layer multiple pitches, or add other distortions.&lt;/strong&gt; &lt;a href=&quot;https://www.pro-tools-expert.com/home-page/2016/1/13/help-please-how-to-disguise-an-interviewees-voice-to-protect-their-identity&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sound designers get creative with plugins&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="14523" LastEditorUserId="6207" LastEditDate="2018-02-01T04:09:17.483" LastActivityDate="2018-02-01T04:09:17.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23323" PostTypeId="2" ParentId="23318" CreationDate="2018-02-01T01:36:59.903" Score="0" Body="&lt;p&gt;To answer part of your question (and add a couple of other abbreviations you will run into):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;PTS = Presentation Time Stamp&lt;/li&gt;&#xA;&lt;li&gt;DTS = Decode Time Stamp&lt;/li&gt;&#xA;&lt;li&gt;PCR = Program Clock Reference&lt;/li&gt;&#xA;&lt;li&gt;SCR = System Clock Reference&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://download.tek.com/document/25W-11418-10.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPEG elementary streams&lt;/a&gt; reorder the frames for transmission. The PTS indicates the order that the frames should be re-assembled into. The DTS lets the decoder know if a frame needs to be decoded earlier than it is displayed (because a P or B frame references it). The PCR or SCR are the time scale that the PTS and DTS reference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/OlivierLeBozec/tstools&quot; rel=&quot;nofollow noreferrer&quot;&gt;tstools&lt;/a&gt; and other transport stream analyzers can help you determine if the PCR/PTS/DTS issue is in the source file or not.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-02-01T01:36:59.903" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23324" PostTypeId="1" CreationDate="2018-02-01T08:44:22.563" Score="1" ViewCount="30" Body="&lt;p&gt;On a micro-budget production, considering the lack of a large crew with highly specialized jobs/titles, which of a maximum of three potential crew members would be responsible for doing the continuity sheet?  Authoritative references would be wonderful. &lt;/p&gt;&#xA;" OwnerUserId="5495" LastEditorUserId="5495" LastEditDate="2018-02-01T12:14:07.867" LastActivityDate="2018-02-01T12:14:07.867" Title="Which member of the crew is responsible to fill in the continuity sheet?" Tags="|production|shooting|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23328" PostTypeId="1" AcceptedAnswerId="23329" CreationDate="2018-02-01T22:55:15.173" Score="4" ViewCount="289" Body="&lt;p&gt;Recently I recorded my old VHS tapes to my hard disk. There is one thing bothering me concerning the video quality. Whenever the camera moves, the motion produces visible &quot;stripes&quot; in the picture:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/G3DIs.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/G3DIs.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems like each line is shifted. Can this be corrected by a filter? If yes, what filter can I use? I prefer virtualdub for editing.&lt;/p&gt;&#xA;" OwnerUserId="20027" LastActivityDate="2018-02-01T23:16:26.880" Title="Correct &quot;stripes&quot; in VHS record" Tags="|video-quality|filter|virtualdub|vhs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23329" PostTypeId="2" ParentId="23328" CreationDate="2018-02-01T23:16:26.880" Score="8" Body="&lt;p&gt;Those are interlacing artifacts. They become visible when the motion in the video is faster than the field rate, so that when both fields are combined into a progressive scan image, the movement is visible in a single frame. They can be removed with a de-interlace filter. I've never personally used one with Virtualdub, but several are available:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://compression.ru/video/deinterlacer/index_en.html&quot; rel=&quot;noreferrer&quot;&gt;MSU&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://rationalqm.us/smart/smart.html&quot; rel=&quot;noreferrer&quot;&gt;Smart Deinterlace&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://sourceforge.net/projects/vddeint/&quot; rel=&quot;noreferrer&quot;&gt;vddeint&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.guthspot.se/video/&quot; rel=&quot;noreferrer&quot;&gt;Various older ones&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-02-01T23:16:26.880" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23330" PostTypeId="1" AcceptedAnswerId="23336" CreationDate="2018-02-02T03:35:43.010" Score="1" ViewCount="25" Body="&lt;p&gt;How to edit a photo to look like this clip. &lt;a href=&quot;https://youtu.be/LU02p0eN1-Q?t=11m8s&quot; rel=&quot;nofollow noreferrer&quot;&gt;link&lt;/a&gt; On the video  you can see a pic with a background moving left to right and at the same time the light changing(bright/dark). I am not sure if its filter or something else. Any suggestion accepted?&lt;/p&gt;&#xA;" OwnerUserId="21326" LastEditorUserId="21326" LastEditDate="2018-02-03T04:17:55.020" LastActivityDate="2018-02-03T06:44:48.790" Title="video or photo filter suggestion" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23331" PostTypeId="1" AcceptedAnswerId="23338" CreationDate="2018-02-02T11:01:07.490" Score="1" ViewCount="139" Body="&lt;p&gt;I am currently screen recording with OBS and then editing the resulting mp4 in vegas pro&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what happened last time i screen recorded as an example&lt;/p&gt;&#xA;&#xA;&lt;p&gt;35min screen record at 1920*1080 resulted in 260MB&#xA;After importing into Vegas and adding intro/outtro and editing mistakes then rendering as the sony mp4 using standard settings, the file came out to be 2.4GB&#xA;I then passed it through Handbrake which compressed it back to 375MB&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Im obviously doing something wrong but I have no idea where to start my research. Is there settings in vegas that can render better to get it down to what Handbrake can do?&lt;/p&gt;&#xA;" OwnerUserId="11955" LastActivityDate="2018-02-03T17:30:35.403" Title="Vegas pro file size explosion - having to use Handbrake currently" Tags="|vegas-pro|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23333" PostTypeId="1" CreationDate="2018-02-02T15:48:40.920" Score="0" ViewCount="40" Body="&lt;p&gt;Most DSLRs offer 8-bit recording, 4:2:0 with 100mb/s 50/mb/s 500mb/s in their own containers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why would shooting with an external recorder (let's say ProRes HQ or 422), make the picture look better or easier to grade?&#xA;Amount of mb/s difference is huge between internal and external.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Still did not get an external recorder, but before I do, would like to get a clear understanding of this. Of course, bigger LCD and lots of SSD space is a huge plus.&lt;/p&gt;&#xA;" OwnerUserId="10560" LastActivityDate="2018-02-03T00:54:49.420" Title="Is footage recorded through external recorder really better?" Tags="|video-quality|color-grading|recording|prores|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23334" PostTypeId="1" CreationDate="2018-02-02T21:12:28.727" Score="0" ViewCount="1329" Body="&lt;p&gt;Please tell me what is the appropriate StackExchange site to post this question if it doesn't fit here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Kazam to capture my videoconferences. It gets too CPU-demanding but the program is awesome so it doesn't crash but drop frames instead, so that the final video may have 1 frame per second in the most difficult moments but with an uninterrupted sound and full correct images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which one of these output formats for the video will be less demanding for the program, so that the frame rate does not drop to such low values? I don't mind a big file size, I can compress the video later. Here are the options:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VP8 in webm container,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;H.264 in MP4,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;RAW video in AVI,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;HUFFYUV (no darn idea what this is) in AVI,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lossless JPEG in AVI.&lt;/p&gt;&#xA;" OwnerUserId="4658" LastActivityDate="2018-02-04T01:24:19.303" Title="What output video format for Kazam requires less cpu power?" Tags="|video-capture|screen-casting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23335" PostTypeId="2" ParentId="23333" CreationDate="2018-02-03T00:54:49.420" Score="1" Body="&lt;p&gt;Unless the DSLR/Mirrorless camera you are using outputs 10-bit 4:2:2, using an external recorder to up-convert the footage to ProRes HQ will not result in a better image quality than what the camera is able to produce/output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If anything it will allow you to edit and re-compress the footage multiple times without losing the original quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using an external recorder may result in a better picture quality compared to the internal encoding, because there is more bitrate available per frame, more robust codecs, and also being able to remove the 5, 15, or 30 minutes recording limitation the camera may have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A bigger plus using an external recorder (or display) is the ability to nail the focus, assess proper exposure, and having multiple eyes monitoring the recording.&lt;/p&gt;&#xA;" OwnerUserId="21332" LastActivityDate="2018-02-03T00:54:49.420" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23336" PostTypeId="2" ParentId="23330" CreationDate="2018-02-03T06:44:48.790" Score="0" Body="&lt;p&gt;That was possibly achieved by taking a picture from several different angles simultaneously with multiple cameras. You can then flip through the images like a flip book.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can simulate this by taking a single still image and separating out the foreground (the people in this case) from the background. For example, in Photoshop you could use any selection method you want - lasso, pen tool, quick mask, etc. - to select the people. Cut them out and put them on another layer. Next, turn them off and fill in the area where they used to be with something believable. This is a case where content-aware fill comes in handy. Turn the layer with the people back on. Import the photo into any motion graphics application, but be sure to import it as separate layers and not a composite. Once in the app, move the people towards the camera and/or move the background away from the camera. Once there's some separation you can orbit the 3D camera around the image a little bit. If you go too far, it will become obvious that the people are a 2D cut-out, so be careful with how far you take it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also apply lights to the image in the motion graphics application. That should help you get a look similar to what you saw in the link.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2018-02-03T06:44:48.790" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23337" PostTypeId="1" CreationDate="2018-02-03T07:06:24.837" Score="0" ViewCount="536" Body="&lt;p&gt;Is it any template based video format? Wants to create an animation video able to use for Facebook ads. Aim is to do direct marketing with videos, so video content is based on the target audience. The video is composition of a template, static background, and some photos that are moving in the video. Video needs to render for different advertisement with different photo set. Is it possible somehow? Is it a format i.e. I put template video and photos in one folder and when &quot;starting&quot; video, video &quot;loads&quot; photos in? Or I need to use an online / cloud based video editing tool which allows programmatic video edition?&lt;/p&gt;&#xA;" OwnerUserId="17835" LastActivityDate="2018-02-05T08:01:12.580" Title="Template based video storage / online programmatic video editing tool?" Tags="|video-editor|editing|software-recommendation|file-formats|webvideos|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23338" PostTypeId="2" ParentId="23331" CreationDate="2018-02-03T17:30:35.403" Score="0" Body="&lt;p&gt;The easy answer is to analyze the resulting files in order to determine what's happening. &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;mediainfo&lt;/a&gt; is a multi-platform open source tool that will help you do exactly that. Handbrake is likely using a much lower bitrate by default than Sony Vegas Pro. If I'm not mistaken, the standard settings for SVP are pretty high. You can prove this to yourself with the aforementioned mediainfo tool, and then solve it by adjusting the SVP bitrate settings accordingly.&lt;/p&gt;&#xA;" OwnerUserId="12153" LastActivityDate="2018-02-03T17:30:35.403" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23340" PostTypeId="1" CreationDate="2018-02-03T22:28:32.857" Score="2" ViewCount="1894" Body="&lt;p&gt;I have been looking for a way to use ffmpeg to downscale some MPEG-4 (Base Media / Version 2) video files recorded with a variable frame rate, adding fade in/out effects at the head and tail of each clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based on the answer provided &lt;a href=&quot;https://video.stackexchange.com/questions/19867/how-to-fade-in-out-a-video-audio-clip-with-unknown-duration?newreg=4c241e6d6ff2416aa3f53df8a038b8ed&quot;&gt;here&lt;/a&gt;, I've been using the following command line to add a 2 second fade/out effect on to my clips:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i VID_1.mp4 -sseof -2 -copyts -i VID_1.mp4 -lavfi &quot;[1]fade=out:s=0:d=2[tail];[0][tail]overlay,fade=in:s=0:d=2[overlay]; anullsrc,atrim=0:4[audiotail];[0][audiotail]acrossfade=d=2,afade=d=2[audio];[overlay]scale=640:-1[video]&quot; -map &quot;[video]&quot; -map &quot;[audio]&quot; -vsync 2 -sws_flags gauss -c:v libx264 -crf 18 -preset slow -shortest -report -hide_banner VID_1_out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I seem to get a lot of the following error lines in the report&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it normal?&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;In the resulting output video clip, the fade-in comes out less than 2 seconds (about 1 second), and there appears no fade out, just a black-out for the last four seconds. Where is my command line wrong?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The duration of the original clip is 24s640ms, the output file is longer by 2s022ms. Why additional 22 ms? &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If I drop the &lt;code&gt;-vsync 2&lt;/code&gt; option, the output clip frame rate becomes exactly the same as that of the source video file. This, however doesn't deal away with the above issues. &lt;/p&gt;&#xA;" OwnerUserId="21341" LastActivityDate="2018-07-13T07:52:30.560" Title="How to use ffmpeg to fade in/out a veriable frame rate video clip with unknown duration" Tags="|ffmpeg|framerate|filter|scale|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="23341" PostTypeId="1" CreationDate="2018-02-03T23:22:30.987" Score="1" ViewCount="32" Body="&lt;p&gt;Even if it isn't the case on the IPhone and when reading it on my Windows 10, my .MOV file has its sound and image shifted on Adobe Premiere. I can manipulate the sound regardless of the video but do you have any better idea than faire du bricolage ?&lt;/p&gt;&#xA;" OwnerUserId="12766" LastActivityDate="2018-02-04T01:12:18.930" Title="Sound and image are shifted after importing them into Adobe Premiere" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23342" PostTypeId="2" ParentId="23341" CreationDate="2018-02-04T01:12:18.930" Score="2" Body="&lt;p&gt;If you recorded using the IPhone, it could be due to the fact that the camera records in a variable frame-rate or VFR. This means that if the camera can't record a frame, it will skip it and so that second will have 59 instead of 60, and sometimes this can be very bad for longer footage and older phones. After time it those skipped frames will add up. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe programs don't like variable frame-rates, I believe this is because they are &quot;Professional&quot; and don't think they need to support this feature because it's only a problem with low level cameras and recording software. They intend all footage to be Constant Frame Rate or CFR, meaning there is no skipped frames at all. When it comes into contact with VFR they essentially stretch out the footage and frames to fit the entire footage time, while keeping it at a CFR. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I personally don't know any amazing way of fixing this, other than re-compressing it using a program like Handbrake. Using handbrake you can change the footage frame-rate to a CFR. Handbrake is my solution, however it only supports H.264 and H.265, etc so it can be limiting. If you want to make sure you don't lose quality, try finding a different program and rendering it with a lossless codec.&lt;/p&gt;&#xA;" OwnerUserId="21340" LastActivityDate="2018-02-04T01:12:18.930" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23343" PostTypeId="2" ParentId="23334" CreationDate="2018-02-04T01:24:19.303" Score="1" Body="&lt;p&gt;VP8 and H.264 should essentially be the same demand due to them being similar. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;RAW is well, RAW, each specific pixel data, with no methods of reducing file space, this can cause very large file sizes, but is in theory the least intensive as long as your hard drive can record fast enough. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;HUFFYUV is basically the same as RAW, however it uses some methods to reduce file size. Depending on the footage it can be about half the size, or even up to 1/10th the size of RAW. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lossless JPEG, I believe is similar to HUFFYUV, however I don't personally use either of these lossless codecs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if Kazam allows you to use custom codecs, but if it does, I highly recommend using the Lagarith Lossless Codec. It's what I personally use, and it has some basic GPU support, very nice file sizes without any loss in quality, and doesn't require any tinkering which some lossless codecs do.&lt;/p&gt;&#xA;" OwnerUserId="21340" LastActivityDate="2018-02-04T01:24:19.303" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23345" PostTypeId="2" ParentId="16766" CreationDate="2018-02-04T13:45:10.000" Score="2" Body="&lt;p&gt;For me, this was the solution (with newer Premiere CC version it's gzip, for older just zip):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Copy myproject.prproj to myproject.gz&lt;/li&gt;&#xA;&lt;li&gt;Use program like 7zip to unzip that&lt;/li&gt;&#xA;&lt;li&gt;The result is myproject.xml which you can view on a text editor&lt;/li&gt;&#xA;&lt;li&gt;Now you can find whatever you want (such as instances of files, plugins, effects with cryptic codes instead of proper names etc.)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;How to find where all &quot;Filter offline ()&quot; instances are located in the .prproj? In the .xml, search for the FilterMatchName which is the code that appears when .prproj is loaded in Premiere (the error message complaining that a filter wasn't found). So search for something like &quot;3:5653545a 6e4f5269 5a6f746f 7065204f&quot;. When you find it, go a bit up and there is &lt;code&gt;&amp;lt;DisplayName&amp;gt;&lt;/code&gt;. The content of that is the name of the missing filter. You can also directly search for the filter name if it happens to appear in the .xml by its human-readable name. Go even higher and there is &lt;code&gt;&amp;lt;AudioFilterComponent ObjectID=&quot;69760&quot; ..&amp;gt;&lt;/code&gt; or something like that. This ObjectID is the code for the file which the filter has been attached to. Search for e.g. &quot;69760&quot; (with parenthesis). The other instance of this tells the filename (e.g. myclip.wav), just go a few rows down from the instance you just found and see &lt;code&gt;&amp;lt;Name&amp;gt;&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you are in Premiere and you want to delete that &quot;Filter offline ()&quot;, you may want to delete it from all clips in a sequence at once. To do this, select all clips you want in the sequence (as suggested by Ben Jones here also), right click on one of the clips, Remove Attributes. Make sure you have a tick only on [x] Effects and on the effects you want to delete (empty name = a Filter offline filter).&lt;/p&gt;&#xA;" OwnerUserId="11141" LastEditorUserId="11141" LastEditDate="2018-02-07T12:48:10.067" LastActivityDate="2018-02-07T12:48:10.067" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23346" PostTypeId="1" CreationDate="2018-02-04T15:00:35.120" Score="2" ViewCount="104" Body="&lt;p&gt;I'm trying to write a title on a video but Premiere writes in in the wrong side : from right to left. Let me show you, when I try to write HR, I have  RH&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VoYF8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VoYF8.png&quot; alt=&quot;HR is written RH&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And when I add &quot;&amp;amp;AI&quot; I got &quot;&amp;amp;AI&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/M5v2D.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/M5v2D.png&quot; alt=&quot;&amp;quot;IA&amp;amp;RH&amp;amp; rather than &amp;quot;HR&amp;amp;AI&amp;quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you help me writting it in the left to right side, that is to say to have &quot;HR&amp;amp;AI&quot; ?&lt;/p&gt;&#xA;" OwnerUserId="12766" LastActivityDate="2018-11-01T23:00:35.110" Title="Premiere writes the text in the wrong side" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23348" PostTypeId="2" ParentId="23346" CreationDate="2018-02-04T17:17:29.210" Score="1" Body="&lt;p&gt;Check under your Preferences in the 'Graphics' section that the 'Default Paragraph Dirction' is not right-to-left. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After adjusting the setting, you may need to create a new text layer to see the changes take place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eodkQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eodkQ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2018-02-04T17:17:29.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23349" PostTypeId="1" AcceptedAnswerId="23352" CreationDate="2018-02-04T21:36:23.957" Score="0" ViewCount="93" Body="&lt;p&gt;I have a MP4 that I really really want a still from.&#xA;I want to make a canvas from that still.&#xA;I have access to: Adobe premiere elements 12, ffmpeg and gimp.&#xA;I want the still to be the highest resolution and quality possible.&#xA;Using one or more of those tools, is there a method that will have higher quality than other methods?&lt;/p&gt;&#xA;" OwnerUserId="19270" LastEditorUserId="14523" LastEditDate="2018-02-04T23:36:47.217" LastActivityDate="2018-02-05T07:52:17.153" Title="Highest quality way to extract a still from video" Tags="|video|video-capture|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23350" PostTypeId="1" CreationDate="2018-02-04T21:53:24.480" Score="0" ViewCount="50" Body="&lt;p&gt;Saw this on youtube and i would really appreciate if if anyone could explain to me how to do it- The youtube video is below and the distorted libne is in the &lt;strong&gt;intro&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/TJd3jEoP8yI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Thanks,&#xA;I've tried looking around for help but cant seem to find any.&lt;/p&gt;&#xA;" OwnerUserId="21344" LastEditorUserId="21344" LastEditDate="2018-02-04T22:45:22.597" LastActivityDate="2018-02-05T19:05:53.477" Title="Adobe After Effects how can you create a distorted line moving along a video / picture? Example given in desc" Tags="|after-effects|video-editor|editing|effects|visual-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23351" PostTypeId="1" AcceptedAnswerId="23377" CreationDate="2018-02-05T06:13:36.563" Score="0" ViewCount="2626" Body="&lt;p&gt;I'm looking to convert a standard colour gamut video to a wide gamut video. For example, I have a 1080p, 2K or 4K H.264 8-bit mp4. This is normally (eg. from YouTube) in Rec709 or &quot;SRGB&quot; colour space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to test my iPad Pro or other wide-gamut monitors to see what the video may look like with a wider colour gamut (eg. Rec2020) as well as save it as a H.265 10-bit mp4.&lt;/p&gt;&#xA;" OwnerUserId="21348" LastEditorUserId="21348" LastEditDate="2018-02-09T02:35:12.060" LastActivityDate="2022-04-17T19:04:15.470" Title="How do I convert H.264 Rec709 (&quot;SRGB&quot;) to H.265 HEVC 10-Bit Rec2020 (&quot;Wide Gamut&quot;)?" Tags="|h.264|h.265|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23352" PostTypeId="2" ParentId="23349" CreationDate="2018-02-05T07:47:08.000" Score="1" Body="&lt;p&gt;I doubt there will be much difference in the rendering capabilities between any of the software you list, as long as they play the video correctly. The biggest quality loss has already happened when the video was compressed to mp4. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use whatever is easier. This is how you do it with ffmpeg&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i themovie.mp4 -ss 1.23 -t 1 -r 1 -f image2 outputImage.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;1.23&lt;/code&gt; is the time in seconds you want to capture. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How that works&lt;/strong&gt; is it tells ffmpeg to &lt;code&gt;-ss&lt;/code&gt; search to 1.23, then &lt;code&gt;-t 1&lt;/code&gt; means only export 1 second's worth of video, &lt;code&gt;-r 1&lt;/code&gt; means at frame rate 1 frame per second (i.e. export only one frame). If you don't do the &lt;code&gt;-t 1 -r 1&lt;/code&gt; dance it will complain about not being able to export the entire movie as a frame sequence. &lt;code&gt;-f image2&lt;/code&gt; just telss ffmpeg to export as a still frame (it's probably redundant because you're specifying a .png as your output).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many free, video players like &lt;a href=&quot;http://mpv.io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPV&lt;/a&gt;, &lt;a href=&quot;https://mpc-hc.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPC-HC&lt;/a&gt; or &lt;a href=&quot;https://www.videolan.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;VLC&lt;/a&gt; can do this from a gui, meaning you can line up the exact frame by eye. They all use high quality video renderers which share a lot of code with ffmpeg. Using one of these, the task would be basically &lt;a href=&quot;https://mpv.io/manual/stable/#keyboard-control&quot; rel=&quot;nofollow noreferrer&quot;&gt;hitting the s key&lt;/a&gt; (or whatever) when you find the frame you want.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-02-05T07:52:17.153" LastActivityDate="2018-02-05T07:52:17.153" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23353" PostTypeId="2" ParentId="23337" CreationDate="2018-02-05T08:01:12.580" Score="2" Body="&lt;p&gt;As well as @ElderGeek's suggestion of ffmpeg, Adobe After effects can be used to generate bespoke video for the web. It can be fully scripted using Adobe's &lt;a href=&quot;https://www.adobe.com/devnet/scripting.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;extendscript&lt;/a&gt; on the server and run as a headless process. You can thus programmatically create video templates and alter such things as text, image content, or insert clips, then render and deliver. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that the rendering does take time and CPU (for both ffmpeg and AE). To achieve real-time customisation you may want to consider using the HTML &lt;a href=&quot;http://html5doctor.com/video-canvas-magic/&quot; rel=&quot;nofollow noreferrer&quot;&gt;canvas element&lt;/a&gt;, which can support video and animation, working on the client side.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-02-05T08:01:12.580" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23354" PostTypeId="2" ParentId="23350" CreationDate="2018-02-05T19:05:53.477" Score="2" Body="&lt;p&gt;You can duplicate your footage and add a displacement map as your revealer with a black line with gradient&lt;/p&gt;&#xA;" OwnerUserId="21356" LastActivityDate="2018-02-05T19:05:53.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23357" PostTypeId="2" ParentId="22477" CreationDate="2018-02-06T00:38:02.630" Score="1" Body="&lt;p&gt;So I found a workaround. I was importing .srt files developed through Rev.com and then was editing them in Premiere. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem was each file was imported as a default of 1000fps and 720x480. This caused issues in my 23.976fps and 1920x1080 based timeline. I basically just exported the .srt files as Timed Text Files (.xml) and made the timebase 23.976, then reimported the .xml files and applied them to my sequence instead. Simple but it fixed all of my flicker/crashing issues. To fix the resolution issue you can just right click the caption file in your timeline once it's dropped in and click &quot;Scale to Frame Size&quot;. This should scale your image up to the correct size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If when you import some of your text is scattered or laid in the wrong order, try selecting all of your captions and reposition using the 3x3 placement box in the caption panel. This should reset everything to look normal for you.&lt;/p&gt;&#xA;" OwnerUserId="21360" LastActivityDate="2018-02-06T00:38:02.630" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23360" PostTypeId="1" AcceptedAnswerId="24526" CreationDate="2018-02-06T13:34:47.557" Score="0" ViewCount="65" Body="&lt;p&gt;What is the name of this type of transition &lt;a href=&quot;https://player.vimeo.com/video/254489721&quot; rel=&quot;nofollow noreferrer&quot;&gt;in this video&lt;/a&gt;? How can I recreate it in Sony Vegas or other video software?&lt;/p&gt;&#xA;" OwnerUserId="21362" LastEditorUserId="14523" LastEditDate="2018-02-06T23:22:41.860" LastActivityDate="2019-08-18T03:25:56.807" Title="What is the name of this type of transition?" Tags="|transitions|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23366" PostTypeId="1" AcceptedAnswerId="23370" CreationDate="2018-02-07T16:17:20.183" Score="0" ViewCount="33" Body="&lt;p&gt;Off topic question, but I'm wondering is there a name for the technique being used in this Falling Whistles: Be a Whistleblower for Peace video? It has a stop motion animation feel to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Link: &lt;a href=&quot;https://vimeo.com/7351545&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/7351545&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;More specific:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;How are they animating the text&lt;/li&gt;&#xA;&lt;li&gt;How are they doing the rotate in and out transitions (Are they&#xA;rotating in the entire precomp file?)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Any help would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="6424" LastActivityDate="2018-02-08T13:23:19.750" Title="What technique is used: Falling Whistles video" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23367" PostTypeId="1" AcceptedAnswerId="23395" CreationDate="2018-02-07T19:54:26.563" Score="2" ViewCount="975" Body="&lt;p&gt;Is it possible to record in 4K when you have 1920x1080 monitor?&#xA;I am currently using OBS Software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If so, please let me know how?&#xA;In my obs setting the Base Resolution and Output Resolution at maximum show 1920x1080&lt;/p&gt;&#xA;" OwnerUserId="21379" LastActivityDate="2018-05-24T06:03:48.217" Title="How to Record Screen in 4K on 1920x1080 monitor? (OBS Studio)" Tags="|video-recording|screen-casting|obs|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23369" PostTypeId="2" ParentId="15551" CreationDate="2018-02-08T09:34:03.110" Score="2" Body="&lt;p&gt;ffmpeg -i C:\Users\Developer_2\Videos\2.mkv -vf drawtext=&quot;fontfile=C\:/Regular.ttf: text='apcis.tmou.org': fontcolor=white: fontsize=24: box=1: boxcolor=black@0.4: x=w-tw:y=h-th&quot; C:\inetpub\wwwroot\videos\1.mp4&lt;/p&gt;&#xA;" OwnerUserId="21384" LastActivityDate="2018-02-08T09:34:03.110" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23370" PostTypeId="2" ParentId="23366" CreationDate="2018-02-08T13:23:19.750" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;It has a stop motion animation feel to it.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;With standard keyframes, motion is interpolated between two points smoothly.&#xA;The 'stop motion' effect is achieved by using hold keyframes instead.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;How are they animating the text&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Usually the answer to these questions are keyframes, lots and lots of keyframes. Specifically keyframes on scale, position, rotation and occasionally opacity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The timewriter effect applied to individual characters or words can be easily achieved in After Effects using the 'Animate Text' effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dyjzg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dyjzg.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The subtle 3D text effect at 00:35 can be achieved using the 'Basic 3D' effect. In the current version of AE the effect is listed as obsolete but it's easy to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also most of the text are used as masks on top of photographs to add a texture.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;How are they doing the rotate in and out transitions (Are they&#xA;  rotating in the entire precomp file?)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It's likely that individual elements such as text and images are being rotated individually with the rotation offset of each element at different places.&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2018-02-08T13:23:19.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23371" PostTypeId="1" CreationDate="2018-02-08T15:19:58.837" Score="3" ViewCount="612" Body="&lt;p&gt;I just started learning AE and video editing in general. My purpose is to animate 2d characters. I have not found an explanation online possibly because I'm not using the right terms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems very time consuming to have to rig every character for the same type of motions, say walking. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is there a way to &quot;rig a template&quot; then add a character model on top&#xA;to inherit the animation?&lt;/li&gt;&#xA;&lt;li&gt;Can &quot;templates&quot; be created so that I can just add hair, for example,&#xA;and make a new character without having to re-position&#xA;everything manually. Basically just clicking a new layer for hair and AE &quot;knows&quot; where hair goes.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I hope I'm making some sense with my fresh knowledge on animation.&lt;/p&gt;&#xA;" OwnerUserId="21386" LastEditorUserId="14523" LastEditDate="2018-02-08T23:51:10.920" LastActivityDate="2019-08-21T18:04:29.910" Title="After Effects Reusable Models and Rigs" Tags="|after-effects|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23373" PostTypeId="1" AcceptedAnswerId="23429" CreationDate="2018-02-08T16:15:34.480" Score="7" ViewCount="12436" Body="&lt;p&gt;I am trying to create small clips from video file using &lt;strong&gt;ffmpeg&lt;/strong&gt;3. The type of clip and video will be same i.e. mp4 to mp4 only. Below is command, which is being used for same.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:07:00.000 -t 0:00:02.000 -i source.mp4 -codec copy -y output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The duration for clips generated is not same, they always have additional seconds with them i.e. 4,5 or 6 seconds. I have tried this on multiple videos and behavior is same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since, the output and input type is same. So I am not using any encoding or decoding, as it will be time consuming process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please share suggestions on same.&lt;/p&gt;&#xA;" OwnerUserId="21387" LastActivityDate="2018-02-17T07:16:53.693" Title="ffmpeg not creating exact duration clip" Tags="|ffmpeg|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23376" PostTypeId="1" CreationDate="2018-02-08T23:35:02.853" Score="1" ViewCount="2115" Body="&lt;p&gt;I have a square graphic created with the rectangle tool (holding shift to create a perfect square).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to mask this square with a square shaped mask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After clicking on the rectangle mask button in the Effect Controls panel, a rectangle mask was created for me, however I want a perfect square.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/s2l0V.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s2l0V.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't see any way to turn this rectangle mask into a square mask beyond moving the points and &quot;eyeballing&quot; it, which I do not want to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've grown increasingly frustrated with the masking system because it seems like it lacks basic features, however my fingers are crossed that I'm actually just missing something obvious.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your time!&lt;/p&gt;&#xA;" OwnerUserId="21393" LastActivityDate="2018-02-08T23:35:02.853" Title="Create a perfect square mask on a graphic clip" Tags="|premiere|mask|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23377" PostTypeId="2" ParentId="23351" CreationDate="2018-02-09T02:34:31.577" Score="0" Body="&lt;p&gt;Download the relevant build for Windows, eg: &lt;a href=&quot;https://sourceforge.net/projects/ffmpegwindowsbi/files/july-01-2016/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://sourceforge.net/projects/ffmpegwindowsbi/files/july-01-2016/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use the following command line: &lt;code&gt;ffmpeg -i INPUT.mp4 -c:v libx265 -crf 20 -vf eq=gamma=1.15:saturation=0.925:brightness=0.05:contrast=1.15 -color_primaries bt2020 OUTPUT.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that you will have to adjust the various values such as brightness, contrast, saturation, etc. to your taste since this is a &quot;brute force&quot; conversion to wide-gamut Rec2020. This has been tested on iPad Pro with H.264 movie trailers. On wide-gamut displays such as the iPad Pro you should notice richer, deeper colours.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note that this is not an archival or permanent solution as Rec2020 is a very wide gamut vs Display P3 (latest Apple devices) or Adobe RGB (pro wide-gamut monitors). Newer Ultra HD TV monitors or reference monitors that can get close to Rec2020 may be more suitable.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;In any case I think this is an interesting experiment and learning experience for any amateur or pro who has just started exploring wide-gamut and/or HDR video... it is a very, very different world to SRGB that had been with digital media for decades. All that is about to change radically in the next 10 years.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="21348" LastEditorUserId="21348" LastEditDate="2018-02-11T03:10:51.433" LastActivityDate="2018-02-11T03:10:51.433" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23378" PostTypeId="2" ParentId="22136" CreationDate="2018-02-09T03:20:39.093" Score="2" Body="&lt;p&gt;To preserve as much detail as possible, convert it to a 16-bit TIFF, eg:&lt;br&gt;&#xA;&lt;code&gt;ffmpeg -i &quot;DF HDR Sampler.mp4&quot; -pix_fmt rgb48 _Frames/out%05d.tiff&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example from Digital Foundry's GT Sport HEVC 10-bit H.265 video at &lt;a href=&quot;https://www.digitalfoundry.net/2017-10-17-free-download-gran-turismo-sport-hdr-sampler&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.digitalfoundry.net/2017-10-17-free-download-gran-turismo-sport-hdr-sampler&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before (16-bit TIFF framedump, untouched, to 8-bit ProPhoto RGB)  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EbcE7.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EbcE7.jpg&quot; alt=&quot;Before Pic&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After (16-bit TIFF framedump, HDR to SDR in Photoshop(eg. Curves and Vibrance adjustments), 8-bit ProPhoto RGB)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/u6CG1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/u6CG1.jpg&quot; alt=&quot;After Pic&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21348" LastEditorUserId="21348" LastEditDate="2018-02-09T03:25:46.370" LastActivityDate="2018-02-09T03:25:46.370" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23379" PostTypeId="1" CreationDate="2018-02-09T03:20:48.887" Score="3" ViewCount="440" Body="&lt;p&gt;I'm trying to convert an audio file to an FFMPEG waveform, train it in HyperGAN, and produce an image file to convert to an audio file. What I'm asking is if there is a way to convert a waveform image back to an audio file without any loss of quality (basically, if you were to hash the original and the converted one, it would be the same hash), and if FFMPEG is the correct tool to use. Currently I have a batch script to go through all my audio files and convert them to images (ffmpeg.exe -i %1 -lavfi showwavespic=s=1024x800:colors=0971CE %1.png), but I can't convert them back to audio files, which defeats the purpose of what I'm doing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: FFMPEG converts a 5mb audio file to a 32kb image, so I don't think it would convert back. Is there anyway to make it more detailed?&lt;/p&gt;&#xA;" OwnerDisplayName="user18309" LastActivityDate="2018-05-22T04:54:55.427" Title="Convert FFMPEG Waveform Back to audio" Tags="|ffmpeg|audio|conversion|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23380" PostTypeId="2" ParentId="23379" CreationDate="2018-02-09T05:57:24.557" Score="1" Body="&lt;p&gt;FFmpeg can't do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even theoretically, the method seems unsound (no pun intended). Audios are typically sampled at 40K+ Hz per second. Max image dimension in ffmpeg is 65K. So even at that size, one can barely represent 1.5 seconds of audio at full sampling resolution. Once you go lower and rely on interpolation, your output quality will start to degrade, as your reconstruction gets coarser.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-02-09T05:57:24.557" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23381" PostTypeId="1" CreationDate="2018-02-09T13:50:07.850" Score="1" ViewCount="1378" Body="&lt;p&gt;I'm trying to create a video from a set of images, adding texts to each image that slide from one side to the center ( one left to right, another right to left ), with fading between each videos ( not between text but between video ).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Actually I have this code that generare a simple video, with text sliding and fade:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y \&#xA;    -loop 1 -t 10 -i img001.jpg  \&#xA;    -loop 1 -t 10 -i img002.jpg  \&#xA;-filter_complex \&#xA;&quot;\&#xA;[0:v]\&#xA;drawtext=fontfile='IndieFlower.ttf':enable='between(t,0,5)':\&#xA;text='Caption 1 Scena 1':\&#xA;fontsize=60:fontcolor=white:\&#xA;x=t*300*lte(t*300\,(w-text_w)/2)+(w-text_w)/2*gt(t*300\,(w-text_w)/2):y=h-line_h-10:\&#xA;shadowx=3:shadowy=3:shadowcolor=black:\&#xA;boxborderw=10:box=1:boxcolor=red@0.8,\&#xA;drawtext=fontfile='IndieFlower.ttf':enable='between(t,5,10)':\&#xA;text='Caption 2 Scena 1':\&#xA;fontsize=60:fontcolor=white:\&#xA;x=(w-(t-5)*500)*gt(w-(t-5)*500\,(w-text_w)/2)+(w-text_w)/2*lte(w-(t-5)*500\,(w-text_w)/2):y=h-line_h-10:\&#xA;shadowx=3:shadowy=3:shadowcolor=black:\&#xA;boxborderw=10:box=1:boxcolor=red@0.8\&#xA;[final1];\&#xA;[1:v]\&#xA;fade=t=in:st=0:d=1,\&#xA;drawtext=fontfile='IndieFlower.ttf':enable='between(t,0,5)':\&#xA;text='Caption 1 Scena 2':\&#xA;fontsize=60:fontcolor=red:\&#xA;x=t*300*lte(t*300\,(w-text_w)/2)+(w-text_w)/2*gt(t*300\,(w-text_w)/2):y=h-line_h-10:\&#xA;shadowx=3:shadowy=3:shadowcolor=white:\&#xA;boxborderw=10:box=1:boxcolor=black@0.8,\&#xA;drawtext=fontfile='IndieFlower.ttf':enable='between(t,5,10)':\&#xA;text='Caption 2 Scena 2':\&#xA;fontsize=60:fontcolor=red:\&#xA;x=(w-(t-5)*500)*gt(w-(t-5)*500\,(w-text_w)/2)+(w-text_w)/2*lte(w-(t-5)*500\,(w-text_w)/2):y=h-line_h-10:\&#xA;shadowx=3:shadowy=3:shadowcolor=white:\&#xA;boxborderw=10:box=1:boxcolor=black@0.8\&#xA;[final2];\&#xA;[final1][final2]concat[final]&#xA;&quot; \&#xA;-pix_fmt yuvj422p -t 20 -map '[final]' o.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It works well, but now, I'd like to add a &lt;code&gt;zoompan&lt;/code&gt; effect to both of the images; so I change the code as follow:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[0:v]\&#xA;format=yuvj422p,&#xA;scale=iw*10:ih*10,\&#xA;zoompan=z='min(zoom+0.0015,1.5)':d=500:x='iw/2-(iw/zoom/2)':y='ih/2 (ih/zoom/2)':s=640x480,\&#xA;drawtext=fontfile='IndieFlower.ttf':enable='between(t,0,5)':\&#xA;&#xA;...&#xA;&#xA;[1:v]\&#xA;format=yuvj422p,&#xA;scale=iw*10:ih*10, \&#xA;zoompan=z='min(zoom+0.0015,1.5)':d=500:x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=640x480,\&#xA;fade=t=in:st=0:d=1,\&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but this does not work; in the final video there is only the first &quot;video&quot;, with the zoompan, the second video does not appear at all!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I'm doing wrong? I'd like to create a simple zoompan between two video.&lt;/p&gt;&#xA;" OwnerUserId="21376" LastActivityDate="2018-08-08T19:01:04.197" Title="ffmpeg - Problem with zoompan" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23382" PostTypeId="1" CreationDate="2018-02-09T14:07:34.677" Score="2" ViewCount="1227" Body="&lt;p&gt;I'd like to convert a worldspace position (x,y,z) to screenspace coordinates (x,y) from the selected camera point of view. I'm a bit limited by the fact I can't load extra modules (e.g. numpy). Is there an affordable way to do this?&lt;/p&gt;&#xA;" OwnerUserId="21122" LastActivityDate="2018-04-22T12:27:28.013" Title="Maya Python: worldspace to screenspace coordinates" Tags="|maya|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23383" PostTypeId="2" ParentId="23381" CreationDate="2018-02-09T14:29:35.227" Score="3" Body="&lt;p&gt;&lt;code&gt;zoompan&lt;/code&gt; is a weirdly designed filter. It operates on individual frames, whereas most filters operate on a sequence of pictures, whether they are fed from a video file or an image sequence. &lt;code&gt;pzoom&lt;/code&gt; should be used for a looped image, and frame sequence generation should be stopped by making d=1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Change to &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;zoompan=z='min(pzoom+0.0015,1.5)':d=1:x='iw/2-(iw/zoom/2)':y='ih/2 (ih/zoom/2)':s=640x480&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will fix the zoompan.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-02-09T14:29:35.227" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23384" PostTypeId="1" CreationDate="2018-02-09T19:27:44.077" Score="10" ViewCount="11902" Body="&lt;p&gt;I have video footage shot at shutter speeds of 1/30s under artificial light here in Europe where the AC is 50Hz. Flicker occurs -- obviously I should have used 1/25s or 1/50s but I didn't, and want to save the footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried different ffmpeg filters but none did work: &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#deflicker&quot; rel=&quot;noreferrer&quot;&gt;deflicker&lt;/a&gt; for example is made specifically to remove frame-by-frame luminance changes (e.g., what happens in timelapse videos) but not to fix the banding that I see due to using a shutter speed not in sync with the frequency of the AC feeding the light bulb.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found some obscure reference to other ffmpeg filters like &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#toc-hqdn3d-1&quot; rel=&quot;noreferrer&quot;&gt;hqdn3d&lt;/a&gt; but the defaults did not work and I don't really understand how to play with the parameters and how to relate them to my specific case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for a command-line/open source solution (hence, ffmpeg) because my video editor is pretty basic (iMovie) and will not allow me to do tricks like shifting and blending footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found a 'quick tip' on &lt;a href=&quot;http://philipbloom.net/blog/newyorksnow/&quot; rel=&quot;noreferrer&quot;&gt;Philip Bloom's blog&lt;/a&gt; that says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[...] my quick trick fix [...] is simply duplicating layers, shifting top layer over by a frame and adding 50% opacity to it.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So I have spent an hour figuring out the arcane syntax of ffmpeg and tried to replicate the above steps:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i FLICKER.mov -itsoffset 0.1 -i FLICKER.mov \&#xA;-filter_complex &quot;[1:v]format=yuva420p,colorchannelmixer=aa=0.5[b]; \&#xA;[0:v][b]overlay&quot; -map 0:1 NOFLICKER.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With this command I input twice the same input file, the second one is shifted by 0.1 second (&lt;code&gt;-itsoffset 0.1&lt;/code&gt;), a 0.5 transparency is applied in the &lt;code&gt;-filter_complex&lt;/code&gt; argument (&lt;code&gt;[1:v]&lt;/code&gt; means the video stream of the second file) and then overlaid on top of the video stream of the first file (&lt;code&gt;[0:v]&lt;/code&gt;). The audio track is simply copied from the first file (&lt;code&gt;-map 0:1&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The good news is that this works as expected, no more flickering. The problem is that I had to offset the second copy too much (0.1 seconds) so I have a very clear and evident shadow effect on my final output, not a faint and what would be acceptable motion blur if only I had it shifted by a single frame like in the Bloom's recipe above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think that is due to the fact that my original footage is not high-fps but only 24 fps. A shift of a single frame would have meant &lt;code&gt;-itsoffset 0.0416&lt;/code&gt; (1/24 s = 0.0416 s) and that shift doesn't really do anything. I've also tried to understand why a 0.1 second shift is so effective, but could not come up with any reasonable explanation (I thought that could have been related to the AC frequency is 1/50 Hz but that would've meant that a shift of 0.02 seconds would do something...).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, the problem remains. I could think of a possible solution where perhaps I could instruct ffmpeg to leave a user-selected portion of the footage free from the overlay and simply copy the original stream (that's because it's a footage of my daughter talking under artificial lights, and the flickering is very disturbing on the borders of the frame where it's all dark, but her face is relatively free from the flicker), or again, like I asked before, find one of the many filters in ffmpeg to work its charm.&lt;/p&gt;&#xA;" OwnerUserId="21401" LastEditorUserId="21401" LastEditDate="2018-02-12T12:17:20.077" LastActivityDate="2018-04-11T01:29:28.430" Title="Remove flickering due to artificial light with ffmpeg" Tags="|ffmpeg|sync|lighting|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23385" PostTypeId="2" ParentId="23379" CreationDate="2018-02-10T09:04:03.760" Score="0" Body="&lt;p&gt;See spectrumsynth filter documentation. You will need to use showspectrum filter instead. And to have also phase video.&#xA;Using only showspectrumpic is not doable as it shrinks time resolution drastically.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2018-02-10T09:04:03.760" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23386" PostTypeId="2" ParentId="4942" CreationDate="2018-02-10T14:56:12.430" Score="0" Body="&lt;p&gt;I am experiencing this problem and I am implementing a solution. Presently I used a program to extract the audio into .mp3 format separate, and Windows Movie Maker to extract the video alone into a .wmv silent video. Since I have the .mp3 file I loaded it into Audacity so that I can add and subtract time in order to synchronize the audio file manually into Windows Movie Maker along with the .wmv silent video. Having split the out-of-sync video into constituent video and audio parts, I am going to use Windows Movie Maker to integrate an edited version of the audio file on the fly as I edit it in Audacity.&lt;/p&gt;&#xA;" OwnerUserId="21403" LastActivityDate="2018-02-10T14:56:12.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23388" PostTypeId="1" AcceptedAnswerId="23392" CreationDate="2018-02-11T03:15:30.980" Score="1" ViewCount="90" Body="&lt;p&gt;Moving from SRGB to P3 and soon Rec2020 for most consumer devices... perceptually, is this just an increase in saturation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I understand the chromaticity diagrams, and there is of course hue expansion from SRGB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But in real-life consumer viewing, eg. Dolby Vision on iPad Pro, perceptually I notice primarily deep, rich, saturated colours.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this what wide-gamut for the masses will be? Or is there more I’m not getting? I know with 10-bit and HDR there is a better brightness and colour range. But to the layperson, will they mainly notice “wow colours!”?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I wanted to comment here FWIW. Recently when I'm at the theatre I look out for how cinemas use Display P3, and &quot;regular&quot; digital projection vs Imax 2D. It's a subtle thing, but very interesting. Black Panther is the best recent example I can think of. There are certain scenes, and particularly costumes, where they use the saturation and/or beyond-SRGB colours to &quot;pop&quot; colours for emotional effect. It can also draw the eye, set the atmosphere, etc. Sometimes though they go for a desaturated look, eg. the start of the movie (flashback).&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="21348" LastEditorUserId="21348" LastEditDate="2018-03-18T10:27:08.153" LastActivityDate="2018-03-18T10:27:08.153" Title="Is wide-gamut video primarily an increase in saturation (for the layperson)?" Tags="|video|color|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23389" PostTypeId="2" ParentId="16213" CreationDate="2018-02-11T03:30:18.020" Score="1" Body="&lt;p&gt;You may need to perform a “trim pass” to export to Rec709 colour space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See: &lt;a href=&quot;https://images.apple.com/final-cut-pro/docs/Wide_Color_Gamut.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://images.apple.com/final-cut-pro/docs/Wide_Color_Gamut.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Matching colors in Rec. 2020 and Rec. 709 masters&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When some colors are translated to the narrower gamut of Rec. 709, they may look&#xA;different. To ensure that the Rec. 2020 master and Rec. 709 submaster look similar, you can perform a trim pass color adjustment on the Rec. 709 timeline to bring all the colors in line with broadcast specifications. When performing a trim pass in a Rec. 709 timeline, you should attempt to match the look and feel of the Rec. 2020 timeline as closely as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Prepare for the trim pass&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;In the Final Cut Pro browser, select a master Rec. 2020 project and then choose&#xA;Edit &gt; Duplicate Project as Snapshot.&lt;/li&gt;&#xA;&lt;li&gt;With the duplicated project selected in the browser, choose Window &gt;&#xA;Project Properties (or press Command-J), then click the Modify button near&#xA;the top-right corner of the inspector.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/W81sF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/W81sF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;In the dialog that appears, click the Color Space pop-up menu and choose&#xA;Standard - Rec. 709.&lt;/li&gt;&#xA;&lt;li&gt;In the browser, click the name of the duplicated project (the submaster), then type&#xA;“Rec. 709” at the end of the name.&lt;/li&gt;&#xA;&lt;li&gt;In the browser, click the name of the original project (the master), type “Rec. 2020”&#xA;at the end of the name, then press Return.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="21348" LastEditorUserId="674" LastEditDate="2018-03-13T22:31:41.080" LastActivityDate="2018-03-13T22:31:41.080" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23390" PostTypeId="1" AcceptedAnswerId="23394" CreationDate="2018-02-11T13:20:45.430" Score="4" ViewCount="13103" Body="&lt;p&gt;E.g. if video is 1 minute, but audio is 1 hour. Make video loop throughout for 1 hour of the audio track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use this solution to loop image through the lenght of the audio&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -loop 1 -r 6 -i image.jpg -i audio.mp3 -shortest -c:v libx264 -preset ultrafast -tune stillimage -pix_fmt yuv420p -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But it doesn't work for video, replacing image.jpg with video.mp4 will give error &lt;code&gt;no loop found&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="18764" LastActivityDate="2021-08-09T15:08:50.320" Title="FFMPEG: Loop video to the length of audio" Tags="|video|ffmpeg|audio|mp4|h.264|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23392" PostTypeId="2" ParentId="23388" CreationDate="2018-02-11T15:41:58.300" Score="3" Body="&lt;p&gt;Wide Gamut color space is primarily just an expanded color space that is capable of covering a larger range of values in the visible color spectrum. This, compared to sRGB and Adobe RGB. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The gamma and white / black points are roughly identical. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So yes this is primarily what Wide Gamut is designed for. Higher levels of vibrance. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The trade off is if the end user is viewing the material in an 8 bit environment, gradients can appear a bit posterized. Wide Gamut is designed to be used and viewed under 16 bit or higher colorspaces. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-02-11T15:41:58.300" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23393" PostTypeId="2" ParentId="23371" CreationDate="2018-02-11T15:52:05.593" Score="0" Body="&lt;p&gt;You can create templates using dropzones. Basically a composition that is nested later (example Hair) onto the character. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You would have to create a series of nested comps to do so. But to start, Id make for each character type (size shape height width):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bone Compostion - Using NULL objects to specify tracking points, joints, where later nested comps are placed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you can use nested comps where you can drop hair, clothes etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The same can be done for motion, animation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might want to save each character build as an independent AE project. And import them in when you need to use them. Having a large heirarchy of nested comps would, to me, be easier to work with if each character was in its own imported project folder. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-02-11T15:52:05.593" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23394" PostTypeId="2" ParentId="23390" CreationDate="2018-02-11T16:02:19.937" Score="8" Body="&lt;p&gt;For video, stream_loop option should be used.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -stream_loop -1 -i video -i audio.mp3 -fflags +shortest -max_interleave_delta 50000 -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You'll have to use a very recent version of ffmpeg (&gt; Nov '17) as stream_loop had a bug, only recently fixed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since video encoding is expensive in terms of time and CPU, I've used streamcopy. For most videos, this is fine. Else, you'll have to re-encode.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;: another bug related to stream_loop, see workaround below&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -stream_loop -1 -i 1.mp4 -c copy -v 0 -f nut - | ffmpeg -thread_queue_size 10K -i - -i 1.mp3 -c copy -map 0:v -map 1:a -shortest -y out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-02-13T16:04:18.227" LastActivityDate="2018-02-13T16:04:18.227" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="23395" PostTypeId="2" ParentId="23367" CreationDate="2018-02-11T16:14:26.110" Score="1" Body="&lt;p&gt;The easiest way I think would be to set up a virtual machine. I use VMWare Workstation 12. However Virtualbox is free. Youd have to install your OS and screen capture software (such as Bandicam which I use and recommend) on the Virtual Machine. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But you could run the VM at 4K resolution and use it to record at 4K even on a 1920x1080 host machine without issue provided you have enough RAM and CPU power to do so. (Most machines should).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another upside is you could minimze the virtual machine while its capturing and still use your computer without interfering with your screen capture. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-02-11T16:14:26.110" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23396" PostTypeId="2" ParentId="22477" CreationDate="2018-02-11T20:34:04.483" Score="3" Body="&lt;p&gt;It's a Premiere bug. Try Subtitle Edit 3.5.5, which is free, insert the .srt, export as EBU STL file (25 fps works fine, it's time coded not frame coded).  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Import to Premiere, interpret as open Captions, set the adequate resolution and..way you go. For problems with position of the titles and rows, play with 9 position squares in matrix (3 X 3), it will correct the position of both rows.&lt;/p&gt;&#xA;" OwnerUserId="21409" LastActivityDate="2018-02-11T20:34:04.483" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23398" PostTypeId="1" AcceptedAnswerId="23744" CreationDate="2018-02-12T10:35:27.813" Score="4" ViewCount="2636" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qmToc.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qmToc.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have this atom that I want to animate in after effects (yes I know you have more than one electron in carbon, but that's not the point). I want this electron to orbit around the middle of the atom. But I want to do it without actually making the minus spin as well, when I set the anchor point in the middle and I do keyframe animation on the electron, the electron spins, but the minus rotates with it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I anchor the minus to the electron? Or, for future knowledge, is there any way to make it so that the electron orbits around the middle, with the minus always lying horizontal, instead of rotating?&lt;/p&gt;&#xA;" OwnerUserId="21414" LastActivityDate="2022-04-20T22:13:39.980" Title="How do I make this object orbit around the center without making it turn" Tags="|after-effects|animation|keyframes|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23399" PostTypeId="1" CreationDate="2018-02-12T12:35:35.787" Score="2" ViewCount="4393" Body="&lt;p&gt;I'm building a video from 3 ( or more ) images, with some effects and with an mp3 in background; my issue  is that the mp3 can be shorter than the final video ( whose length dependes from the number of images ) ; is there a way to send audio background in loop, so that when it finish, it restarts and I have no silence during video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#/bin/bash&#xA;ffmpeg -y \&#xA;-loop 1 -t 10 -i     img001.jpg  \&#xA;-loop 1 -t 10 -i     img002.jpg  \&#xA;-loop 1 -t 10 -i     img003.jpg  \&#xA;-i 1.mp3  \&#xA;-filter_complex \&#xA;&quot;\&#xA;[0:v]\&#xA;format=yuv420p,\&#xA;scale=iw*10:ih*10,\&#xA;zoompan=z='min(pzoom+0.0015,1.5)':d=1:x='iw/2-(iw/zoom/2)':y='ih/2-(ih/    zoom/2)':s=640x480,\&#xA;drawtext=fontfile='IndieFlower.ttf':enable='between(    t,0,5)':\&#xA;text='Caption 1 Scena 1':\&#xA;fontsize=60:fontcolor=whit    e:\&#xA;x=t*300*lte(t*300\,(w-text_w)/2)+(w-text_w)/2*gt(t*300\,(w-t    ext_w)/2):y=h-line_h-10:\&#xA;shadowx=3:shadowy=3:shadow    color=black:\&#xA;boxborderw=10:box=1:boxcol    or=red@0.8,\&#xA;drawtext=fontfile='IndieFlower.ttf':enable='between(    t,5,10)':\&#xA;text='Caption 2 Scena 1':\&#xA;fontsize=60:fontcolor=whit    e:\&#xA;x=(w-(t-5)*500)*gt(w-(t-5)*500\,(w-text_w)/2)+(w-text_w)/2*lte(w-(t-5)*500\,(w-text_w)/2):y=    h-line_h-10:\&#xA;shadowx=3:shadowy=3:shadow    color=black:\&#xA;boxborderw=10:box=1:boxcol    or=red@0.8,\&#xA;fifo\&#xA;[final1];\&#xA;[1:v]\&#xA;format=yuv420p,\&#xA;scale=iw*10:ih*10,\&#xA;zoompan=z='min(pzoom+0.0015,1.5)':d=1:x='iw/2-(iw/zoom/2)':y='ih/2-(ih/    zoom/2)':s=640x480,\&#xA;fade=t=in:st=0:d=1,\&#xA;drawtext=fontfile='IndieFlower.ttf':enable='between(    t,0,5)':\&#xA;text='Caption 1 Scena 2':\&#xA;fontsize=60:fontcolor=red:    \&#xA;x=t*300*lte(t*300\,(w-text_w)/2)+(w-text_w)/2*gt(t*300\,(w-t    ext_w)/2):y=h-line_h-10:\&#xA;shadowx=3:shadowy=3:shadow    color=white:\&#xA;boxborderw=10:box=1:boxcol    or=black@0.8,\&#xA;drawtext=fontfile='IndieFlower.ttf':enable='between(    t,5,10)':\&#xA;text='Caption 2 Scena 2':\&#xA;fontsize=60:fontcolor=red:    \&#xA;x=(w-(t-5)*500)*gt(w-(t-5)*500\,(w-text_w)/2)+(w-text_w)/2*lte(w-(t-5)*500\,(w-text_w)/2):y=    h-line_h-10:\&#xA;shadowx=3:shadowy=3:shadow    color=white:\&#xA;boxborderw=10:box=1:boxcol    or=black@0.8,\&#xA;fifo\&#xA;[final2];\&#xA;[2:v]\&#xA;format=yuv420p,\&#xA;scale=iw*10:ih*10,\&#xA;zoompan=z='min(pzoom+0.0015,1.5)':d=1:x='iw/2-(iw/zoom/2)':y='ih/2-(ih/    zoom/2)':s=640x480,\&#xA;fade=t=in:st=0:d=1,\&#xA;drawtext=fontfile='IndieFlower.ttf':enable='between(    t,0,5)':\&#xA;text='Caption 1 Scena 3':\&#xA;fontsize=60:fontcolor=red:    \&#xA;x=t*300*lte(t*300\,(w-text_w)/2)+(w-text_w)/2*gt(t*300\,(w-t    ext_w)/2):y=h-line_h-10:\&#xA;shadowx=3:shadowy=3:shadow    color=white:\&#xA;boxborderw=10:box=1:boxcol    or=black@0.8,\&#xA;drawtext=fontfile='IndieFlower.ttf':enable='between(    t,5,10)':\&#xA;text='Caption 2 Scena 3':\&#xA;fontsize=60:fontcolor=red:    \&#xA;x=(w-(t-5)*500)*gt(w-(t-5)*500\,(w-text_w)/2)+(w-text_w)/2*lte(w-(t-5)*500\,(w-text_w)/2):y=    h-line_h-10:\&#xA;shadowx=3:shadowy=3:shadow    color=white:\&#xA;boxborderw=10:box=1:boxcol    or=black@0.8,\&#xA;fifo\&#xA;[final3];\&#xA;[final1][final2][final3]    concat=n=3:v=1:a=0\&#xA;&quot; \&#xA;-c:v libx264 \&#xA;-r 25 \&#xA;-pix_fmt yuv420p \&#xA;-t 30 \&#xA;o.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="21376" LastActivityDate="2019-08-23T14:03:15.453" Title="ffmpeg - Building video with audio in loop" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23401" PostTypeId="1" CreationDate="2018-02-12T13:03:15.970" Score="0" ViewCount="1082" Body="&lt;p&gt;I am trying to grab my DVD into an mkv-Container without loosing the predefined chapters on the DVD disk. I suppose, the chapter information is in the &amp;quot;Stream #0:0[0x1bf]: Data: dvd_nav_packet&amp;quot; track - right? Anyhow the Stream is not supprted by avconv... see last line&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;adi@venus /media/cdrom/video_ts $ ls&#xA;video_ts.bup  vts_01_0.vob  vts_02_1.vob  vts_04_0.bup  vts_05_0.ifo  vts_06_0.vob  vts_07_1.vob  vts_09_0.bup  vts_10_0.ifo  vts_10_4.vob  vts_11_0.vob  vts_12_1.vob  vts_14_0.bup&#xA;video_ts.ifo  vts_01_1.vob  vts_03_0.bup  vts_04_0.ifo  vts_05_0.vob  vts_06_1.vob  vts_08_0.bup  vts_09_0.ifo  vts_10_0.vob  vts_10_5.vob  vts_11_1.vob  vts_13_0.bup  vts_14_0.ifo&#xA;video_ts.vob  vts_02_0.bup  vts_03_0.ifo  vts_04_0.vob  vts_05_1.vob  vts_07_0.bup  vts_08_0.ifo  vts_09_0.vob  vts_10_1.vob  vts_10_6.vob  vts_12_0.bup  vts_13_0.ifo  vts_14_0.vob&#xA;vts_01_0.bup  vts_02_0.ifo  vts_03_0.vob  vts_04_1.vob  vts_06_0.bup  vts_07_0.ifo  vts_08_0.vob  vts_09_1.vob  vts_10_2.vob  vts_11_0.bup  vts_12_0.ifo  vts_13_0.vob  vts_14_1.vob&#xA;vts_01_0.ifo  vts_02_0.vob  vts_03_1.vob  vts_05_0.bup  vts_06_0.ifo  vts_07_0.vob  vts_08_1.vob  vts_10_0.bup  vts_10_3.vob  vts_11_0.ifo  vts_12_0.vob  vts_13_1.vob  &#xA;adi@venus /media/cdrom/video_ts $ avprobe vts_10_1.vob &#xA;ffprobe version 3.2.10-1~deb9u1 Copyright (c) 2007-2018 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Debian 6.3.0-18) 20170516&#xA;  configuration: --prefix=/usr --extra-version='1~deb9u1' --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libebur128 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared&#xA;  libavutil      55. 34.101 / 55. 34.101&#xA;  libavcodec     57. 64.101 / 57. 64.101&#xA;  libavformat    57. 56.101 / 57. 56.101&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libavresample   3.  1.  0 /  3.  1.  0&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;Input #0, mpeg, from 'vts_10_1.vob':&#xA;  Duration: 00:17:09.44, start: 0.287267, bitrate: 8340 kb/s&#xA;    Stream #0:0[0x1bf]: Data: dvd_nav_packet&#xA;    Stream #0:1[0x1e0]: Video: mpeg2video (Main), yuv420p(tv, top first), 720x576 [SAR 64:45 DAR 16:9], 8000 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:2[0x80]: Audio: ac3, 48000 Hz, stereo, fltp, 192 kb/s&#xA;Unsupported codec with id 100357 for input stream 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The important files for me are merged vts_10_1.vob...vts_10_6.vob. In other words:&lt;/p&gt;&#xA;&lt;p&gt;for var in {1..6}; do cat vts_10_$var.vob &amp;gt;&amp;gt; total.vob; done        #concatenate the files&lt;/p&gt;&#xA;&lt;p&gt;and afterwards encode total.vob with avconv.&lt;/p&gt;&#xA;&lt;h1&gt;Questions:&lt;/h1&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Where are the chapter marks saved and how to include them in the mkv?&lt;/li&gt;&#xA;&lt;li&gt;How can I see the content of &amp;quot;dvd_nav_packet&amp;quot;?&lt;/li&gt;&#xA;&lt;li&gt;How can I definde my own chapters in a video-file? Is it a kind of a text-file in the container?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="21418" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2018-05-30T06:23:11.330" Title="avconv grab DVD with chapter seperations - dvd_nav_packet" Tags="|video|editing|avconv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23402" PostTypeId="2" ParentId="23399" CreationDate="2018-02-12T13:41:47.827" Score="3" Body="&lt;p&gt;Set the audio to loop,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-stream_loop -1 -i 1.mp3  \&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you don't set a duration limit like &lt;code&gt;-t 30 \&lt;/code&gt;, add&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-fflags +shortest -max_interleave_delta 50000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-02-12T13:41:47.827" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="23403" PostTypeId="1" AcceptedAnswerId="23404" CreationDate="2018-02-12T18:26:31.953" Score="1" ViewCount="157" Body="&lt;p&gt;I know it's easy to change a part of a video to be slow-motion or time-lapse by using &quot;speed&quot; setting. But what if I'd like to gradually slow down or speed up over the course of two-three seconds?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I can cut the video 5 times and change the speed of individual sub-parts, but maybe there's a better way?&lt;/p&gt;&#xA;" OwnerUserId="295" LastActivityDate="2018-02-12T20:18:43.610" Title="Can you smoothly change speed of video in FCPX" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23404" PostTypeId="2" ParentId="23403" CreationDate="2018-02-12T20:18:43.610" Score="1" Body="&lt;p&gt;Next to your speed marker are greyish areas. These areas can be adjusted and you can use that to make the transition to the speed change as long as you want. &#xA;&lt;a href=&quot;https://i.stack.imgur.com/aQjyP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aQjyP.png&quot; alt=&quot;Exsample Screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2018-02-12T20:18:43.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23405" PostTypeId="1" AcceptedAnswerId="23453" CreationDate="2018-02-13T01:59:35.830" Score="1" ViewCount="29929" Body="&lt;p&gt;I installed the last VLC version (3.0.0 (Vetinari) on Windows 7 64 bits) which supports 360 video playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to do some tests I downloaded the following 360 video from Vimeo:&#xA;&lt;a href=&quot;https://vimeo.com/215984568&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/215984568&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But VLC is unable to play the 360 video correctly; the video contains all the 360 degree video information but it's showed at the same time (on Vimeo the video plays OK). The result is the following:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Isixp.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Isixp.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think that maybe the video could be reencoded with ffmpeg to be more VLC friendly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The media info of the downloaded 360 video is this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Mrpmb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Mrpmb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21425" LastEditorUserId="21467" LastEditDate="2018-02-20T04:55:11.783" LastActivityDate="2022-09-16T14:13:59.783" Title="VLC 3.0 (Vetinari): Unable to play 360 videos" Tags="|ffmpeg|vlc|360video|vimeo|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23407" PostTypeId="2" ParentId="23340" CreationDate="2018-02-13T05:27:13.927" Score="1" Body="&lt;p&gt;This works here&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i VID_1.mp4 -sseof -2 -copyts -i VID_1.mp4 -lavfi &quot;[1]fade=out:s=1:d=2[tail];[0][tail]overlay,fade=in:s=0:d=2,scale=640:-2[video];anullsrc,atrim=0:2.1[audiotail];[0][audiotail]acrossfade=d=2,afade=d=2[audio]&quot; -map &quot;[video]&quot; -map &quot;[audio]&quot; -vsync 2 -sws_flags gauss -c:v libx264 -crf 18 -preset slow -shortest -report VID_1_out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With some videos, usually those with variable FPS, the fade filter only works with start frame as non-zero. Also, the anullsrc needs to be only slightly greater than the crossfade duration.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-02-13T05:27:13.927" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23410" PostTypeId="1" CreationDate="2018-02-13T17:45:04.520" Score="0" ViewCount="2908" Body="&lt;p&gt;I'm trying to tune out ffmpeg to squeeze as much fps as possible from my server machines with lot of cores.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes expecially when there's also a scale (eg: shrinking down from 4k to full hd or from 1080p to 720p) not all cores are used. The behaviour is the same if I use -s:v 1280x720 or -filter:v &quot;scale=-1:720&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to have my machines use something as near as 90-98 % instead of the actual 20 % (on a 32 core machine using the threads 0 options make use of 22 cores but the usage is still 20%, same reasoning goes for 64 or 128 cores servers)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also have a nvidia gpu on some machines that could be used for the resizing process maybe making the things more faster.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What kind of optimization can I think of to seriously burn out FPS?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;tl;dr:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;max out the cpu usage&lt;/li&gt;&#xA;&lt;li&gt;use gpu if it can help and if it is possible (for example for the scale filter pass, it's just bicubic or linear resize cmon..)&lt;/li&gt;&#xA;&lt;li&gt;the files must be playable inside the well know h264 profiles like &lt;strong&gt;main - 4.1&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm already using ultrafast and fixed bitrate, my aim is pure encoding speed and not the quality as you can see in my command line:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i &quot;input.mov&quot; -c:v libx264 -preset ultrafast -b:v 3000k -profile:v main -level:v 4.1 -s:v 1280x720 -pix_fmt yuv420p -c:a copy -threads 0 &quot;output.mov&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2018-02-13T17:52:30.713" LastActivityDate="2018-02-13T17:52:30.713" Title="Encode or Transcode with ffmpeg and libx264 as fast as possible" Tags="|ffmpeg|transcoding|performance|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23411" PostTypeId="1" AcceptedAnswerId="23427" CreationDate="2018-02-14T04:56:02.783" Score="1" ViewCount="732" Body="&lt;p&gt;How much of the BRoll do you usually place in your videos for documentary work (not short films)? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;By documentary, I mean talking head whether that's vlogs, interviews of different descriptions etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My end product usually has about 30% of BRoll. I.e. every 7 or so seconds ill add some BRoll. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone of you have any recommendations?&lt;/p&gt;&#xA;" OwnerUserId="21435" LastEditorUserId="14523" LastEditDate="2018-02-15T14:49:51.007" LastActivityDate="2018-02-16T16:39:43.890" Title="In final video how much is B Roll and how much is A Roll percentage wise" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23415" PostTypeId="2" ParentId="5749" CreationDate="2018-02-14T21:48:15.913" Score="1" Body="&lt;p&gt;I have used the long plates on a shorter head.  Using it from a larger tripod on the monopod with no problems.&lt;/p&gt;&#xA;" OwnerUserId="21435" LastActivityDate="2018-02-14T21:48:15.913" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23417" PostTypeId="2" ParentId="15130" CreationDate="2018-02-15T03:23:12.210" Score="0" Body="&lt;p&gt;Turns out FCPX displays spanning files AS WELL as a single large file when importing MXF. See example image below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 1st file in the browser list is a single clip / full duration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All subsequent files are chunks of the single larger file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rNHEh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rNHEh.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2018-02-15T03:23:12.210" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23418" PostTypeId="1" CreationDate="2018-02-15T06:43:34.237" Score="1" ViewCount="42" Body="&lt;p&gt;I would like to know what effects are being used and how it would be possible to recreate the effect. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to recreate how the effect looks like it starts slow then a sort of sped up but slow motion looking by the way it sort of lags the frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to recreate this using NCH video editing software since what is the program I am starting out with for now. &lt;a href=&quot;http://www.nchsoftware.com/videopad/&quot; rel=&quot;nofollow noreferrer&quot;&gt;NCH VideoPad&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The clip is from &lt;em&gt;Out of my mind ft. Nicki Minaj&lt;/em&gt; by B.O.B.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/255855821&quot; rel=&quot;nofollow noreferrer&quot;&gt;Very short Clip Link&lt;/a&gt; or &lt;a href=&quot;https://youtu.be/9tZZF3Lt7HE?t=3m10s&quot; rel=&quot;nofollow noreferrer&quot;&gt;Longer version&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternative examples: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/DhSzLCCT-As?t=1m20s&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.youtube.com/DhSzLCCT-As?t=1m20s&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Jwr4RYgudD8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="21443" LastEditorUserId="21443" LastEditDate="2018-02-24T07:26:19.797" LastActivityDate="2018-02-24T07:26:19.797" Title="How to recreate this affect" Tags="|video|effects|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="23419" PostTypeId="1" AcceptedAnswerId="23424" CreationDate="2018-02-15T09:52:29.817" Score="-2" ViewCount="1692" Body="&lt;p&gt;Are MPEG and  H.264  Lossless??&#xA;I need a brief explanation about lossy and lossles... And which compression technique is generally using in CCTV Surveillance applications of video??&lt;/p&gt;&#xA;" OwnerUserId="21290" LastActivityDate="2018-02-16T05:01:11.580" Title="Lossless and lossy compression techniques" Tags="|codec|compression|h.264|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23420" PostTypeId="2" ParentId="23411" CreationDate="2018-02-15T17:20:09.200" Score="0" Body="&lt;p&gt;When doing live webcast of a sermon, we will present slides and titles as they are referenced by the preacher. A 40 minute sermon typically has 20 slides. I will occasionally introduce some B-roll footage in post production before uploading to youtube to mask serious technical errors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For special events such as concerts I will have up to 4 offline cameras to augment my two online cameras. the final cut typically ends up about 25% from the off-line footage.&lt;/p&gt;&#xA;" OwnerUserId="19491" LastActivityDate="2018-02-15T17:20:09.200" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23421" PostTypeId="1" AcceptedAnswerId="23423" CreationDate="2018-02-15T18:46:28.563" Score="3" ViewCount="104" Body="&lt;p&gt;I should say straight up, I'm not a video professional, although I've used simple tools such as VirtualDub and ffmpeg a lot over the years.  I have probably used incorrect terminology here, if so please let me know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a very simple video in mind, but I'm not sure what software would be appropriate. The video is purely to document the issues on a project - there were so many of them (like 100 - 200!) that if I ever need to give a strong overview on what went on with it, I'd rather put someone in front of a self-evident video for 3 minutes where they can see the photos and the region concerned, instead of asking them to read a dry 30 page list and hundreds of photos.  I've been told that's by far the best thing to do, to convey this aspect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm hoping for a helping hand with shortcutting whatever I can, and with getting going. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I've described, the video I have in mind is pretty functional, it's not for &quot;niceness&quot; so much as to convey a complex message about a complex 3D region and what was discovered where, and to provide the viewer with a good insight into the 3D layout of the region and what was noteworthy where, quicker and better than diagrams and a written document could do.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Intended style/content&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;As a video concept, I'm thinking of something that's almost a slideshow with annotations and overlays. The basic &quot;scenes&quot; will simply be a background track made up of stills, giving the viewer a &quot;virtual tour&quot; of the whole region. Overlaid on these &quot;scenes&quot;, I want to fade in and out, bubble-like &quot;frames&quot; that contain photos (and the occasional video snippet), and sometimes text or markings, that show the viewer what was discovered and where, with key textual comments if needed, or shapes such as arrows to point to where the items in the overlay frames were found, on the background image. There's likely to be several overlaid objects at any given time, and each will have its own fade in/out timing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of transitions, all I plan to use is fade in/fade out/crossfade. The objects and backgrounds won't be moving at all, unless their content happens to be a video and not a photo/diagram/shape (there are maybe 4-5 videos I want to include within &quot;frames&quot; in a &quot;scene&quot;). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video will probably use something like 500 - 700 photos and diagrams overall. There's no need for audio although I might add background music.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Workflow&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;In terms of my own competence and comfort level, I'd like something that supports a workflow in which this project will be as simple as possible. Ideally something like this:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Create a track for each object (an object might be a image/video/shape/text frame, and it could be a background still, or a &quot;bubble&quot; or &quot;shape&quot; within a &quot;frame&quot; that overlays it);&lt;br/&gt;&lt;br/&gt;For each object:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Mark on its track, when the object exists (between starting to be visible and vanishing) + transitions;&lt;/li&gt;&#xA;&lt;li&gt;Drag it on the storyboard/video layout frame, to set its start and end positions (I don't plan to have movement so the path is a bit redundant for me)&lt;/li&gt;&#xA;&lt;li&gt;Drag the track in front/behind other tracks, or groups of tracks, to indicate which other objects it's in front of/behind.&lt;/li&gt;&#xA;&lt;/ol&gt;&lt;/li&gt;&#xA;&lt;li&gt;Repeat for all objects and render.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h2&gt;Hardware&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I'm using Windows 8.1 which runs most things that work on Windows 10, and the PC is a fairly heavy duty hexacore workstation with 64GB and plenty of large SSDs, so it'll make short work of rendering.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Software&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Something that &quot;just works&quot;. I don't mind if it's a professional package or much more capable than my needs, as long as it supports a smooth workflow and it's very dependable, and can make this easy and hassle-free for me. The price isn't a worry - I'm happy with Open Source if it does what I need, I'm happy to pay if it does what I need. As examples of programs that are powerful and capable, but also pretty intuitive and &quot;just work&quot;, I might think of Microsoft's Excel/Access, where whatever you need, is probably there and reliable; or maybe Photoshop which I like a lot. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't have any specific video editor experience so I'm completely open between pretty much anything from Microsoft Movie Maker to Premiere Pro to Vegas - I simply have no idea what to go for. If someone tells me to use Powerpoint and convert it to a video afterwards, I even might listen to them (joking, honest!) - the reality is I'm completely unfamiliar with what's best for doing this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As it's time sensitive I'd like to prioritise the kinds of things that will help minimise time - it &quot;just works&quot;, it's a pretty intuitive program, the kinds of things I will need to do, to make this video, are nicely accessible within the UI, and if I need more capabilities it's probably got them too. Those matter much more. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't mind a professional quality editor if it'll be a good choice, and I have a good technical learning curve  - but the more I have to figure out to get the basics working, the more time gets lost, so capable, reliable, but also fairly &lt;em&gt;intuitive&lt;/em&gt; and &lt;em&gt;easy/straightforward&lt;/em&gt; for a technically-competent newcomer to get going and be productive with simple editing like this. I can play with advanced features another time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this can get me a good shortcut in getting going, it will be very helpful and worth it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="21448" LastEditorUserId="21448" LastEditDate="2018-02-15T18:51:49.657" LastActivityDate="2018-09-24T16:16:43.787" Title="Creating a one-off non-pro video to document a project - what software would be sensible?" Tags="|video-editor|editing|software-recommendation|workflow|recommendation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23422" PostTypeId="2" ParentId="23421" CreationDate="2018-02-15T20:03:35.507" Score="0" Body="&lt;p&gt;Honestly, any of them will do the job you want. For what you're doing you can pick any at random and have your video edited before the answers stop rolling in on SE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found Vegas more intuitive at first, but I feel (with no objective justification) that Premiere Pro has a better balance of price and feature set.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Renting PP at the monthly rate month, you can't really go wrong.&lt;/p&gt;&#xA;" OwnerUserId="19491" LastEditorUserId="14523" LastEditDate="2018-02-16T01:40:35.553" LastActivityDate="2018-02-16T01:40:35.553" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23423" PostTypeId="2" ParentId="23421" CreationDate="2018-02-15T20:04:03.803" Score="5" Body="&lt;p&gt;This question gets asked quite frequently, and normally the answer is to &lt;a href=&quot;https://en.wikipedia.org/wiki/Comparison_of_video_editing_software&quot; rel=&quot;noreferrer&quot;&gt;pick one from this list&lt;/a&gt;. But since you very clearly defined what you are looking for in the editing software, I think I can give you a better recommendation. &lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Premiere Elements&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Personally, I use Creative Cloud software, which means Premiere Pro for video editing and After Effects for special effects. However, there are two problems with this: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Steep pricing, only subscription models available. A single app licence is still 20$/month, which is pretty pricy for most prosumer-level customers. &lt;/li&gt;&#xA;&lt;li&gt;Steep learning curve. Normally I'd say the time investment needed to learn the basics and figure out a fast workflow with Premiere Pro is totally worth it, but since you mentioned you won't be doing any other video projects anytime soon, that's a moot point. Specifically, it's easy to work very inefficiently with Premiere Pro, which becomes very apparent when you have to do repetitive tasks such as add a couple hundred still images to a track and overlay them with text. This will become a huge time sink and you will be annoyed that it doesn't 'simply work'.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;There's a good alternative though, namely &lt;a href=&quot;https://www.adobe.com/products/premiere-elements.html&quot; rel=&quot;noreferrer&quot;&gt;Premiere Elements&lt;/a&gt;. It's basically a stripped down version of Premiere Pro with non-essential functionality removed and a streamlined interface that's optimized around the most common video editing tasks. I wouldn't normally recommend Elements, as it will pretty quickly reach it's limits for live action video and larger editing projects, however I believe it's fitting for your project. You might have to build any graphical elements in Photoshop or another image editing software, but apart from that, you should be got to go. You can get a full Premiere Elements 2018 licence for &amp;lt;100$ (I'm seeing 70$ right now, though the price in your region might differ). As far as I can tell, this won't include major version updates (i.e. a potential 2019 version), but by that time you presumably won't need it any more anyway. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Elements has enough functionality to finish a project of your scope. Of course, only you can tell if you like the software's feel/workflow or if it's missing some niche functionality that you require. Check out the link above, they have some video previews and introductory pages. There's also a free trial available. It's pretty easy to get started (as opposed to Premiere Pro), so you can just install the trial version, import some of your images/video clips and try it out. &lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Alternatives&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;A couple of notes regarding some of the programs you mentioned as well as some other options. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Windows Movie Maker&lt;/strong&gt;. I find this one so dumbed down that it's lacking even the most basic features that you will require even for simple videos. Really can't recommend it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Vegas&lt;/strong&gt;. It's an option, though a pricy one as well. What I don't like about Vegas is that it's trying to be both an editing and an SFX software, which makes for a somewhat awkward and not very beginner-friendly interface (as opposed to the Adobe suite, where you have Premiere Pro and After Effects for those jobs respectively). One of the simpler, cheaper version of Vegas might be an option though (they come in tiers, look through their website for a comparison). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Premiere Pro&lt;/strong&gt;. The best video editing software I know, but not beginner friendly enough for your requirements, see the paragraphs above. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Powerpoint&lt;/strong&gt;. I see nothing wrong with this plan. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Open Source software&lt;/strong&gt; / &lt;strong&gt;VirtualDub&lt;/strong&gt;. Most open source software in this space shares the common problem of many open source projects, which is the lack of a streamlined design philosophy, the result being a confusing and at times unintuitive interface. This makes most of those not a good choice for your use case. If you want to put some time into learning one of those, you can get pretty far with &lt;a href=&quot;https://www.blender.org/&quot; rel=&quot;noreferrer&quot;&gt;Blender&lt;/a&gt; for example. But if you want something that just works, it's probably easier to pay a couple of bucks for a software that's not necessarily more powerful than the open source alternatives, but definitely more user-friendly. VirtualDub has been discontinued by the way. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Other commercial options&lt;/strong&gt;. &lt;a href=&quot;https://www.pinnaclesys.com&quot; rel=&quot;noreferrer&quot;&gt;Pinnacle&lt;/a&gt; is pretty affordable and should have all the features you need. &lt;a href=&quot;https://www.lwks.com/&quot; rel=&quot;noreferrer&quot;&gt;Lightworks&lt;/a&gt; is another options, though it is more expensive. You have the choice between an outright one-time payment or monthly/yearly payments, which is nice. You will probably have a bit more room to grow in regards to features as compared to Premiere Elements, though I doubt you will need the extra features for the project you outlined.&lt;br&gt;&#xA;There are more options still, if you want you can look through the list I linked in the first paragraph to compare those in-depth. Corel Video Studio or Magix are also somewhat viable options, though I personally don't like them.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;In conclusion&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;If you need ALL the features, my recommendation will always be Premiere Pro. But for your project's scope, a simpler software will do just fine. With those programs (such as Premiere Elements), you will always find you're lacking some functionality or setting that you would like to have. However, more often than not there's a workaround for those, and those lacking features are the cost you pay for the beginner-friendly interface and lower price tag. Just make sure the software you choose has all the &lt;em&gt;essential&lt;/em&gt; functionality you need by looking through the features lists and tutorials on their websites and installing the trial versions, if available. Make sure to test the export as well, since it's a common trap to only allow low-quality exports in the  trial/free versions of the programs (looking at you, Lightworks). &lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="6273" LastEditDate="2018-02-15T20:09:15.480" LastActivityDate="2018-02-15T20:09:15.480" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23424" PostTypeId="2" ParentId="23419" CreationDate="2018-02-16T05:01:11.580" Score="2" Body="&lt;p&gt;OK, MPEG is the Motion Picture Experts Group, it's a group of people who decide stuff about moving picture standards. Some of these standards are well known, such as MPEG2 which includes the standards for video on DVDs and digital television. There are also lots of MPEG standards that no-one has ever heard of like MPEG-M and MPEG-21.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One standard you have probably used is MPEG4, the standard used widely to compress video for the web. The MPEG4 standard includes the compression-decompression standard MPEG-4 Part 10 (most commonly known as H.264, but also known as MPEG4 AVC). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;MPEG-2 is lossy. MPEG-4 files can be lossless, but more commonly they're lossy.H.264 is a far more efficient codec than MPEG-2, so the quality for a given bit-rate is much higher, and in many cases is &lt;em&gt;visually lossless&lt;/em&gt;, i.e. you won't see the difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Surveillance may use either or neither of these standards, it totally depends on the equipment.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-02-16T05:01:11.580" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23427" PostTypeId="2" ParentId="23411" CreationDate="2018-02-16T16:39:43.890" Score="1" Body="&lt;p&gt;I agree with @MichaelLiebman 's comment, it depends ...&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;My end product usually has about 30% of BRoll, I.E. every 7 or so seconds I'll add some BRoll.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It's possible to adjust your percentage 20-30% either way. The way you'd have 60% broll and &lt;em&gt;still&lt;/em&gt; call it B-Roll is that the A-Roll had a lot of failed shots and it was broll that saved the day.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a &lt;em&gt;rule&lt;/em&gt; seven seconds is short and &gt; than 20 but &amp;lt; than 40 is probably good, but even 7 can be long (&lt;a href=&quot;https://en.wikipedia.org/wiki/Parkour&quot; rel=&quot;nofollow noreferrer&quot;&gt;parkour&lt;/a&gt;, skateboarding, etc.) and 40 short (rowing to the crab traps, driving over the Golden Gate); it depends.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So basically what does it depend upon (limiting it somewhat to the scope of your question):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Subject and pace of the story (laidback vs. jarring).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The need to switch. If you must show wide and close with fast pace you'll be flipping back and forth in less than 7 seconds (showing what someone is doing or offering how-to advice), if you're panning around someone's surroundings or showing the parts or usage of something you can run well beyond 40 seconds.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;What you got. You either have to make an edit with the shots you have and try to cobble them into your storyline &lt;strong&gt;or&lt;/strong&gt; you need to shoot some more footage (which often, but not always, involves going back out to the location).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Style. It's yours, make it your's and be proud; assuming it's reasonably good.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Look at what other people do, read up on the subject; but make your own style.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Videos are easier than written advice for this topic but here's a mix of both:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nikon's &quot;&lt;a href=&quot;https://www.nikonusa.com/en/learn-and-explore/a/tips-and-techniques/shooting-b-roll-footage-with-a-dslr.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Shooting B-Roll Footage with a DSLR&lt;/a&gt;&quot;. In particular see near the end of the video included on that webpage how B-Roll saved Grandpa.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Look at this video on the Gear Dads YouTube channel: &quot;&lt;a href=&quot;https://www.youtube.com/watch?v=UAZwbFZppaU&quot; rel=&quot;nofollow noreferrer&quot;&gt;How To Shoot B-Roll&lt;/a&gt;&quot;. See what and how to shoot, so you come home with useful material.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Speaking of YouTube, there's &lt;strong&gt;lots&lt;/strong&gt; of professional advice, or simply work done by professionals (that isn't explained, but you can see how it's done). Erik has been a Producer for over 2 decades, here he is interviewing at a Trade Show: &quot;&lt;a href=&quot;https://www.youtube.com/watch?v=kPdGU3CeLy0&quot; rel=&quot;nofollow noreferrer&quot;&gt;CAME-TV Gimbals – Newsshooter at IBC 2017&lt;/a&gt;&quot;. Single camera, single person &lt;em&gt;crew&lt;/em&gt;, and he edits it too. Not perfect, not bad. One man job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Look and learn, practice makes perfect. There's also short courses at Colleges or offered by local talent that can provide individualized advice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you edit your question and put a link to an example of your work then fine tuned advice can be offered.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2018-02-16T16:39:43.890" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23428" PostTypeId="1" CreationDate="2018-02-16T19:20:43.627" Score="1" ViewCount="208" Body="&lt;p&gt;I need to create a brief presentation of my mobile app. I use Vegas Pro. But I have weak skills. I want to do something like this: the text and the animated image are interchanged. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to make something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/5gQUG3gMWik?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is possible make with Vegas Pro? Or is it better to use another application?&#xA;any advice and suggestions - there is already no time :)&lt;/p&gt;&#xA;" OwnerUserId="21455" LastEditorUserId="21455" LastEditDate="2018-02-17T04:38:12.300" LastActivityDate="2018-10-02T00:00:49.197" Title="Is it possible make in Vegas Pro?" Tags="|video|video-editor|animation|vegas-pro|presentation|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23429" PostTypeId="2" ParentId="23373" CreationDate="2018-02-16T19:47:44.847" Score="0" Body="&lt;p&gt;So looked into &lt;a href=&quot;https://www.ffmpeg.org/ffmpeg.html#Main-options&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg documentation&lt;/a&gt; and found that by changing position of -ss decodes and then creates the clip, which is way more faster than command posted in question&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source.mp4 -ss 0:14:42.000 -codec copy -t 0:00:02.000 -y output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="21387" LastEditorUserId="21387" LastEditDate="2018-02-17T07:16:53.693" LastActivityDate="2018-02-17T07:16:53.693" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23430" PostTypeId="2" ParentId="23373" CreationDate="2018-02-16T20:15:04.800" Score="5" Body="&lt;p&gt;The &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Seeking&quot; rel=&quot;noreferrer&quot;&gt;help for seeking using ffmpeg&lt;/a&gt; explains the problem.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Seeking while doing a codec copy&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Using -ss as input option together with -c:v copy &lt;strong&gt;might not be accurate&lt;/strong&gt; since ffmpeg is forced to &lt;strong&gt;only use/split on i-frames&lt;/strong&gt;. Though it will—if possible—adjust the start time of the stream to a negative value to compensate for that. Basically, if you specify &quot;second 157&quot; and there is no key frame until second 159, it will include two seconds of audio (with no video) at the start, then will start from the first key frame. So be careful when splitting and doing codec copy. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If you transcode (not copy) then:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;As of FFmpeg 2.1, when transcoding with ffmpeg (i.e. not just stream copying), -ss is now also &quot;frame-accurate&quot; even when used as an input option.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Your options are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Accept splits on i-frames and work with the output as-is, based on the options used. This is what you have now.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Recompress:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Fast Input Seeking&lt;/strong&gt;: The &lt;strong&gt;-ss&lt;/strong&gt; parameter needs to be specified somewhere &lt;strong&gt;before -i&lt;/strong&gt;. The input will be parsed using keyframes, which is very fast. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -ss 00:23:00 -i Mononoke.Hime.mkv -frames:v 30 out1.mkv&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Slow Output Seeking&lt;/strong&gt;: The &lt;strong&gt;-ss&lt;/strong&gt; parameter needs to be specified &lt;strong&gt;after -i&lt;/strong&gt;. This will be done very slowly, frame by frame. As of FFmpeg 2.1, the main advantage is that when applying filters to the output stream, the timestamps aren't reset prior to filtering (i.e. when ​burning subtitles into a video, you don't need to modify the subtitle timestamps), but the drawback is that it will take a lot of time until it finally reaches that time point. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -i Mononoke.Hime.mkv -ss 00:23:00 -frames:v 30 out2.mkv&lt;/p&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Adjust the start time forward so that when it ends on an i-frame the total duration is &lt;strong&gt;close to&lt;/strong&gt; the desired duration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Slow Combined Seeking&lt;/strong&gt;: For this we specify the -ss parameter before and after -i. This approach uses keyframes to seek until 00:22:30, and then seeks frame-by-frame until it reaches 00:00:30 (00:22:30 + 00:00:01), continue increasing the second &lt;strong&gt;-ss&lt;/strong&gt; option until the duration is short enough; unfortunately you'll lose an exact start and end time and the duration may only be approximately close to the desired amount.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -ss 00:22:30 -i Mononoke.Hime.mkv -ss 00:00:01 -frames:v 30 out3.mkv&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; Cutting small sections&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;To extract only a small segment in the middle of a movie, it can be used in combination with -t which specifies the duration, like -ss 60 -t 10 to capture from second 60 to 70. Or you can use the -to option to specify an out point, like -ss 60 -to 70 to capture from second 60 to 70. -t and -to are mutually exclusive. If you use both, -t will be used.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;If you specify -ss before -i only, the timestamps will be reset to zero, so -t and -to have not the same effect. If you want to keep the original timestamps, add the -copytsoption.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Cut from 00:01:00 to 00:03:00 (in the original), using the faster seek:&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  ffmpeg -ss 00:01:00 -i video.mp4 -to 00:02:00 -c copy cut.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Cut from 00:01:00 to 00:02:00, as intended, using the slower seek:&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  ffmpeg -i video.mp4 -ss 00:01:00 -to 00:02:00 -c copy cut.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Cut from 00:01:00 to 00:02:00, as intended, using the faster seek:&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  ffmpeg -ss 00:01:00 -i video.mp4 -to 00:02:00 -c copy -copyts cut.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If you cut with stream copy (-c copy) you need to use the &lt;strong&gt;-avoid_negative_ts 1&lt;/strong&gt; option if you want to use that segment with the ​&lt;strong&gt;concat&lt;/strong&gt; demuxer. Example:&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  ffmpeg -ss 00:03:00 -i video.mp4 -t 60 -c copy -avoid_negative_ts 1 cut.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Valid values for the &lt;strong&gt;avoid_negative_ts&lt;/strong&gt; variable are:&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;avoid_negative_ts&lt;/strong&gt; &lt;strong&gt;&lt;em&gt;integer&lt;/em&gt;&lt;/strong&gt; (output)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;‘make_non_negative’&#xA;&#xA;Shift timestamps to make them non-negative. Also note that this affects only &#xA;leading negative timestamps, and not non-monotonic negative timestamps. &#xA;&#xA;‘make_zero’&#xA;&#xA;Shift timestamps so that the first timestamp is 0. &#xA;&#xA;‘auto’ (default)&#xA;&#xA;Enables shifting when required by the target format. &#xA;&#xA;‘disabled’&#xA;&#xA;Disables shifting of timestamp. &#xA;&#xA;When shifting is enabled, all output timestamps are shifted by the same &#xA;amount. Audio, video, and subtitles desynching and relative timestamp&#xA;differences are preserved compared to how they would have been without &#xA;Shifting. &#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2018-02-16T20:15:04.800" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23431" PostTypeId="1" CreationDate="2018-02-16T20:29:48.533" Score="1" ViewCount="68" Body="&lt;p&gt;I am editing video in Final Cut Pro X.  Within a video, I would like to create a title that uses a font color that matches a color within the video itself.  How do I do that?&lt;/p&gt;&#xA;" OwnerUserId="21456" LastActivityDate="2018-03-18T22:27:20.183" Title="How to Replicate a Color in Final Cut Pro X" Tags="|final-cut-pro-x|color-grading|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23432" PostTypeId="2" ParentId="23431" CreationDate="2018-02-16T20:30:40.280" Score="1" Body="&lt;p&gt;The key thing to realize is that double-clicking the text color within the Inspector brings up a separate color wheel window which contains an eyedropper.  Dragging the eyedropper to the color of interest within the video is how the color gets chosen for the title.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a video on how to &lt;a href=&quot;https://youtu.be/-eNxhLsOZUY&quot; rel=&quot;nofollow noreferrer&quot;&gt;replicate a color&lt;/a&gt; within Final Cut Pro X.&lt;/p&gt;&#xA;" OwnerUserId="21456" LastActivityDate="2018-02-16T20:30:40.280" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23434" PostTypeId="1" CreationDate="2018-02-14T14:18:51.050" Score="2" ViewCount="1105" Body="&lt;p&gt;I need to capture live video (1280x720-60 fps) from a Nikon D750, with a capture card that does not support HDCP signal. The capture card is equipped with a classic HDMI input, while the Nikon comes with a mini-HDMI output. To capture the video, with the capture card, using the classic HDMI cable, I have to use a mini HDMI-HDMI adapter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does the Nikon D750 use HDCP on its outputs (mini-HDMI)? If Nikon does not use HDCP, using the adapter, can it create HDCP?&lt;/p&gt;&#xA;" OwnerUserId="21464" OwnerDisplayName="Edward" LastActivityDate="2018-10-15T05:00:11.993" Title="Does the HDMI output of a Nikon D750 use HDCP?" Tags="|nikon|video|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23435" PostTypeId="2" ParentId="23434" CreationDate="2018-02-14T16:50:59.527" Score="0" Body="&lt;p&gt;It uses a Data &lt;a href=&quot;http://www.kenrockwell.com/nikon/d750.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;Type C mini-pin HDMI connector&lt;/a&gt; and this does indeed &lt;a href=&quot;https://www.hdmi.org/manufacturer/hdmialtmodeusbtypec.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;support HDCP&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to &lt;a href=&quot;http://www.dvxuser.com/V6/showthread.php?337547-Nikon-D750-and-Marshall-monitor-compatibility&quot; rel=&quot;nofollow noreferrer&quot;&gt;this post&lt;/a&gt; here, the D750 does indeed use HDCP, however, this seems incredibly hard to find much information on and it's not an &quot;official&quot; source.&lt;/p&gt;&#xA;" OwnerDisplayName="Matthew" LastActivityDate="2018-02-14T16:50:59.527" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23436" PostTypeId="2" ParentId="23434" CreationDate="2018-02-16T21:57:20.810" Score="1" Body="&lt;p&gt;A mini-HDMI to HDMI adapter will not impact the presence of HDCP on the signal, it merely changes the connector passively.  As to whether your Nikon uses HDCP or not, I'm unsure.  My Canon 5D Mark iii also uses a mini-HDMI output and the first couple cables and adapters I got didn't connect very reliably, so I had signal issues until I found a cable that worked well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may be having a similar problem to this or it could be HDCP causing issues.  I'd recommend two things you can try in order to troubleshoot this issue.  First, try connecting a known HDCP signal, such as a bluray player to your capture card and see what happens.  It may simply give no signal or it may give an error.  If it gives an error, then you will know that your camera is simply not connecting (unless you get the same error about HDCP being present).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this is inconclusive, you could also try connecting the camera to a TV that supports HDCP or connecting another mini-HDMI device to the capture device and see if either of those situations work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is possible that Nikon may have actually included HDCP in an anti-consumer move intended to prevent use of DSLRs for high end video production, but this seems like an odd choice for them as they have no product in that market segment.  (HDCP would allow connecting to TVs, but prevent use in recording and most video mixers for event production.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2018-02-16T21:57:20.810" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23437" PostTypeId="1" CreationDate="2018-02-16T23:23:42.083" Score="1" ViewCount="661" Body="&lt;p&gt;I've noticed that in movies download from iTunes Store there is duplicated audio track - the first one is AAC and the second one is AC3 but this is visible as one audio track with option &quot;Prefer AC3 passthrough&quot;. I've compressed a movie in handbrake with AAC and AC3 audio but when I load this to iTunes, I see 2 audio tracks (same language) instead of 1. I've also noticed that when you put 2 audio tracks in the latest HandBrake, where the first one is AAC and the second one is AC3, iTunes displays this as one audio track. I wonder if there is any possibility to change my M4V file, so iTunes will display 1 audio track instead of 2 without recompressing the video? I'm thinking about using ffmpeg or mp4box to do that but have no idea how to deal with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For better results I've created new files. One using HandBrake 0.10 and second using HandBrake 1.0.7. Both files are the same movie, same settings, the only difference is HandBrake version I've used. FFprobe output seems to be the same (except creation date).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below is the output from ffprobe for the file that is desirable and the file that has 2 audio tracks visible in iTunes:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version 3.4 Copyright (c) 2007-2017 the FFmpeg developers&#xA;  built with gcc 7.2.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-bzlib --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-cuda --enable-cuvid --enable-d3d11va --enable-nvenc --enable-dxva2 --enable-avisynth --enable-libmfx&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'd:\tbbb_ok.m4v':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    creation_time   : 2018-02-17T09:09:52.000000Z&#xA;    title           : Big Buck Bunny&#xA;    artist          : Big Buck Bunny artist&#xA;    date            : 2018-01-01&#xA;    encoder         : HandBrake 1.0.7 2017040900&#xA;    genre           : Comedy&#xA;  Duration: 00:09:56.48, start: 0.000000, bitrate: 4857 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1280x720 [SAR 1:1 DAR 16:9], 4048 kb/s, 24 fps, 24 tbr, 90k tbn, 48 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2018-02-17T09:09:52.000000Z&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 160 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2018-02-17T09:09:52.000000Z&#xA;      handler_name    : Stereo&#xA;    Stream #0:2(und): Audio: ac3 (ac-3 / 0x332D6361), 48000 Hz, stereo, fltp, 640 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2018-02-17T09:09:52.000000Z&#xA;      handler_name    : Stereo&#xA;    Side data:&#xA;      audio service type: main&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version 3.4 Copyright (c) 2007-2017 the FFmpeg developers&#xA;  built with gcc 7.2.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-bzlib --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-cuda --enable-cuvid --enable-d3d11va --enable-nvenc --enable-dxva2 --enable-avisynth --enable-libmfx&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'd:\tbbb_nok.m4v':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    title           : Big Buck Bunny&#xA;    artist          : Big Buck Bunny artist&#xA;    date            : 2018-01-01&#xA;    encoder         : HandBrake 0.10.1 2015030800&#xA;    genre           : Comedy&#xA;  Duration: 00:09:56.46, start: 0.000000, bitrate: 4806 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1280x720 [SAR 1:1 DAR 16:9], 3997 kb/s, 24 fps, 24 tbr, 90k tbn, 48 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 160 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : Stereo&#xA;    Stream #0:2(und): Audio: ac3 (ac-3 / 0x332D6361), 48000 Hz, stereo, fltp, 640 kb/s&#xA;    Metadata:&#xA;      handler_name    : Stereo&#xA;    Side data:&#xA;      audio service type: main&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="21460" LastEditorUserId="21460" LastEditDate="2018-02-17T09:43:08.223" LastActivityDate="2019-04-13T23:01:25.273" Title="AAC and AC3 audio tracks in M4V file" Tags="|ffmpeg|audio|mp4|apple|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23438" PostTypeId="1" AcceptedAnswerId="23439" CreationDate="2018-02-17T00:08:20.393" Score="0" ViewCount="416" Body="&lt;p&gt;I'm trying to work with a bunch (hundreds) of 4k HEVC video clips, and so far it seems like my laptop is a bit too slow to edit them effectively. I have read &lt;a href=&quot;https://blog.frame.io/2017/03/20/premiere-pro-proxies/&quot; rel=&quot;nofollow noreferrer&quot;&gt;guides&lt;/a&gt; that talk about ingesting proxy files, which is great but involves running Adobe Media encoder on my macbook.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally I don't want to do any proxy file encoding on my macbook since it slows down my laptop too much. I want to create the proxy files on a separate unix server using ffmpeg, then copy them onto my laptop when they're done. Is this possible? &lt;/p&gt;&#xA;" OwnerUserId="21461" LastEditorUserId="21461" LastEditDate="2018-02-17T02:54:44.540" LastActivityDate="2018-02-17T02:54:44.540" Title="Import Adobe Premiere Proxy files encoded separately with FFmpeg" Tags="|ffmpeg|premiere|intermediate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23439" PostTypeId="2" ParentId="23438" CreationDate="2018-02-17T00:09:59.010" Score="3" Body="&lt;p&gt;It appears that you can attach proxies later in Premiere by right clicking on your source files and going to the Proxy &gt; Attach Proxies menu. In there, clicking attach brings up a file dialog to get the proxy files.&lt;a href=&quot;https://i.stack.imgur.com/9OGiO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9OGiO.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21461" LastActivityDate="2018-02-17T00:09:59.010" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23440" PostTypeId="1" CreationDate="2018-02-17T11:45:46.193" Score="6" ViewCount="182" Body="&lt;p&gt;I have an idea for a video project (that I will need to commission a studio to produce for me), but at this early stage I don't even know whether my idea is feasible.&lt;/p&gt;&#xA;&lt;p&gt;The idea involves turning (hours of) continuous/uninterrupted footage from a single camera into a short (circa half-hour) film by varying the speed of playback so as to speed over &amp;quot;boring&amp;quot; sections whilst still drawing attention to key moments of interest: that is, some parts might be sped up by as much as 64x, whilst other parts could be slowed right down (even to a frozen frame).  &lt;strong&gt;Is this sort of sped-up/slowed-down effect from a single continuous shot known by some particular name?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Where this idea gets more complicated is that playback is to begin &lt;em&gt;whilst the footage is still being shot&lt;/em&gt;, becoming real-time/live once it catches up to the present.  &lt;strong&gt;Is this sort of transition from recorded footage to live broadcast known by some particular name?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;h2&gt;Practicalities&lt;/h2&gt;&#xA;&lt;p&gt;I envisage the recorded footage being transferred from camera to editor in &amp;quot;chunks&amp;quot; (e.g. initially of a half-hour each, reducing in duration toward the end until the feed is live).  Each such chunk could then be worked on to produce a (shorter) &amp;quot;chunk&amp;quot; of final film that is immediately forwarded to the presentation display and enqueued for playback.&lt;/p&gt;&#xA;&lt;p&gt;When it is time for playback to begin, the enqueued chunks would start playing in turn whilst further chunks continue to be added to the queue.  Once the footage is live, these chunks would amount to little more than a typical video stream (so some small buffer will be required to cope with network and processing delays—but the smaller the delay, the better).&lt;/p&gt;&#xA;&lt;p&gt;I appreciate that (in order for the different sections of film to playback smoothly and comfortably, without any judder/strobing/etc, yet have sufficient definition to be interesting), various camera settings such as shutter speed will need to be varied according to how that particular section of footage is to be played-back.&lt;/p&gt;&#xA;&lt;p&gt;I also understand that some computationally expensive interpolation may be required to smooth out the transitions, and this will add delay to the editing process...&lt;/p&gt;&#xA;&lt;h2&gt;Questions&lt;/h2&gt;&#xA;&lt;p&gt;My principal question is whether this idea is feasible, or completely unrealistic?  Perhaps the time that would be required to edit the footage would alone make such a project impossible?&lt;/p&gt;&#xA;&lt;p&gt;If it is feasible, then I'd like to understand the key risks to the project from the videographer's perspective (aside from network/comms failure between camera/editor/presentation).  What other challenges do you foresee, and how might one tackle them?&lt;/p&gt;&#xA;&lt;p&gt;I've tried contacting a few professional studios about this idea, but so far haven't had much response.  I've probably approached the wrong sorts of places, who perhaps don't have the resources that would be necessary to turn such a crazy idea into reality.  What sorts of studios should I be looking for, and what capabilities should I ensure they have?&lt;/p&gt;&#xA;" OwnerUserId="21457" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2018-09-17T15:00:25.733" Title="One long continuous shot, sped-up until it becomes &quot;live&quot;" Tags="|editing|streaming|live|playback|producing|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23441" PostTypeId="1" CreationDate="2018-02-17T13:33:03.153" Score="2" ViewCount="723" Body="&lt;p&gt;In ffmpeg, there are options &lt;code&gt;full_chroma_int&lt;/code&gt; and &lt;code&gt;full_chroma_inp&lt;/code&gt; that can be passed to the video scaling filter. These options are sometimes present in command line examples for the resizing filter, such as in &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Scaling&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki: Scaling&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The documentation just describes these options as &quot;Enable full chroma interpolation.&quot; and &quot;Select full chroma input.&quot; respectively. However, it is not clear to me what these options are for and how they affect quality or encoding time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have an intuitive explanation and/or a rule of thumb when to use these options?&lt;/p&gt;&#xA;" OwnerUserId="21467" LastActivityDate="2018-02-17T13:33:03.153" Title="What do the options &quot;full chroma interpolation&quot; and &quot;full chroma input&quot; do in video scaling? [ffmpeg]" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23442" PostTypeId="2" ParentId="23437" CreationDate="2018-02-17T13:44:15.350" Score="1" Body="&lt;p&gt;I've found solution. To achieve this I used MP4Box and group audio tracks, so I've put AAC tracks in group 1 and AC3 tracks in group 2.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4box -add &quot;track1.h264:fps=24.000:delay=0:lang=en:name=Video&quot; -add &quot;track2.aac:delay=0:lang=en:name=English:group=1&quot; -add &quot;track3.ac3:delay=0:lang=en:name=English:group=2&quot; -add &quot;track4.aac:delay=0:lang=fr:name=French:group=1&quot; -add &quot;track5.ac3:delay=0:lang=fr:name=French:group=2&quot; -new &quot;muxed.m4v&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The above command creates new m4v file with 2 AAC tracks and 2 AC3 tracks, so iTunes will display &quot;English&quot; and &quot;French&quot; once and &quot;Prefer AC3 Passthrough&quot; option as well.&lt;/p&gt;&#xA;" OwnerUserId="21460" LastActivityDate="2018-02-17T13:44:15.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23443" PostTypeId="1" AcceptedAnswerId="23445" CreationDate="2018-02-17T19:52:05.553" Score="2" ViewCount="87" Body="&lt;p&gt;I'm using After Effects cc2017 and I am wondering if it is possible to group two or more objects in order to align them to the composition? I have two graphics I wish to center. You can do this in other Adobe software applications such as Illustrator by going to the &lt;strong&gt;object&lt;/strong&gt; menu and selecting group**.**&lt;/p&gt;&#xA;" OwnerUserId="21469" LastActivityDate="2018-03-10T20:34:44.873" Title="Grouping multiple objects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23444" PostTypeId="2" ParentId="15723" CreationDate="2018-02-18T03:42:14.177" Score="0" Body="&lt;p&gt;I was recently having a lot of trouble with rejoining retimed segments, but the solution that came to me seemed a little too obvious to actually be the recommended way of doing this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems, however, that if you simply select a range that contains both retimed segments, and set a new speed for both of them, you can quickly &quot;join&quot; them, effectively removing the marking made when blading the speed originally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, being able to quickly select more than one speed segments would make this much more practical if you had to do it often.&lt;/p&gt;&#xA;" OwnerUserId="21471" LastActivityDate="2018-02-18T03:42:14.177" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23445" PostTypeId="2" ParentId="23443" CreationDate="2018-02-18T07:06:11.917" Score="3" Body="&lt;p&gt;Yes- you can connect objects together using something called parenting. &#xA;There’s a tutorial here&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.surfacedstudio.com/tutorials/adobe-effects-basics-tutorial-parenting&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.surfacedstudio.com/tutorials/adobe-effects-basics-tutorial-parenting&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also pre-comp the objects together. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://greyscalegorilla.com/tutorials/fun-with-precomping-in-after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://greyscalegorilla.com/tutorials/fun-with-precomping-in-after-effects/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Parenting is like one object controlling another (or one object controlling many other objects). Precomping is more like making a new video and placing your objects inside it (sometimes called nesting in video editors). &lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2018-03-10T20:34:44.873" LastActivityDate="2018-03-10T20:34:44.873" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23446" PostTypeId="1" CreationDate="2018-02-18T18:07:25.243" Score="3" ViewCount="94" Body="&lt;p&gt;I have a list of timecode in and out points for the source footage, (the best takes etc). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to process a file like logging and capture, processing the in and outs and saving as individual files? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Rather than my current method of using the source monitor, key in the the in point time, then pushing the mark in button, key in the end point time, push the mark out button, the inserting into a sequence. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to cut a file as individual clips based on the list.&lt;/p&gt;&#xA;" OwnerUserId="21475" LastEditorUserId="636" LastEditDate="2018-02-19T19:18:15.587" LastActivityDate="2024-03-23T10:09:01.073" Title="Is there a way in Premiere to process a file like logging and capture?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23447" PostTypeId="1" CreationDate="2018-02-18T21:45:54.373" Score="0" ViewCount="539" Body="&lt;p&gt;I want to encode many little 10s-videos in 720p. As I want to play them in a big matrix (6 by 6 videos) in chrome, I am wondering what codec / encoding to use so that the stress on my cpu/gpu is as low as possible when playing them back. I want playback to be as smooth as possible. I don't care for the specific format, audio or filesize.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4 by 4 plays back fine but at 6 by 6 it becomes a bit stuttering.&lt;/p&gt;&#xA;" OwnerUserId="21476" LastActivityDate="2018-05-24T02:38:01.900" Title="What codec to use for fastest playback" Tags="|ffmpeg|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="23448" PostTypeId="1" CreationDate="2018-02-18T23:02:05.170" Score="-5" ViewCount="53" Body="&lt;p&gt;What software should I use for making the color grading like in this video and the slow motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/6QMyCFaflvU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="18373" LastActivityDate="2018-02-19T10:26:22.343" Title="What software is recommended for videos like these?" Tags="|editing|software-recommendation|software|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23449" PostTypeId="2" ParentId="23448" CreationDate="2018-02-19T10:26:22.343" Score="0" Body="&lt;p&gt;Im going to give you a pretty simple answer here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ANY modern NLE will be able to do this. Your other option is shoot it all in camera and then just touch up a little in you NLE&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2018-02-19T10:26:22.343" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23450" PostTypeId="1" AcceptedAnswerId="23451" CreationDate="2018-02-19T16:18:15.173" Score="0" ViewCount="87" Body="&lt;p&gt;I have a recording with two audio channels, one is a lapel mic for my audio and the other is someone else sitting across the table from me (we do this because we're recording in a fairly echoey room so a single mic in the middle would sound echoey and I wasn't sure that there was an easy way to solve that and thought this would do...).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem I have is that I can be heard on the other mic and vice versa to a lesser extent, and when I add both audio channel to the video this slight alignment issue then recreates the echoey effect, is there a way to get FCPX to automatically mute one audio channel when the first is louder?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or is there a better way in software of handling this that I'm missing (aside from better kit/soundproofing or moving one person to another room, the only one of which I could possibly do there is mayb slightly better microphones)&lt;/p&gt;&#xA;" OwnerUserId="19913" LastActivityDate="2018-02-19T19:35:37.390" Title="Final Cut Pro X multiple audio channels auto muting" Tags="|audio|final-cut-pro-x|final-cut-pro|audio-recording|audio-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23451" PostTypeId="2" ParentId="23450" CreationDate="2018-02-19T18:54:24.507" Score="1" Body="&lt;p&gt;To my knowledge, there is no feature or even a plugin what can monitor one audio channel and adjust another. I would see that as it is the job of the editor or sound engineer. That's the reason you get paid the big bucks I guess. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Better microphones definitely can help. If you get microphones which have a very distinct range you can limit the echo effect. You might consider asking in sound engineer group what microphone would be best for your situation.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastEditorUserId="20675" LastEditDate="2018-02-19T19:35:37.390" LastActivityDate="2018-02-19T19:35:37.390" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23453" PostTypeId="2" ParentId="23405" CreationDate="2018-02-19T22:23:53.573" Score="1" Body="&lt;p&gt;The 360° video you downloaded is encoded as an equirectangular projection, meaning the video was projected onto a rectangular surface. This makes the video indistinguishable from a normal video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to be recognized as a 360° video, the video must contain specific metadata. You can use a tool provided by Google for uploading videos to YouTube: &lt;a href=&quot;https://support.google.com/youtube/answer/6178631?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;Upload 360-degree videos&lt;/a&gt;. Apply this tool to your video and VLC will correctly recognize it as a 360° video.&lt;/p&gt;&#xA;" OwnerUserId="21467" LastActivityDate="2018-02-19T22:23:53.573" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23454" PostTypeId="1" CreationDate="2018-02-20T00:12:29.683" Score="1" ViewCount="32" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CbMah.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CbMah.png&quot; alt=&quot;Example&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, in the picture I have video stream A and video stream B. How can I sent each video stream into separate video outputs, so that each video stream can be sent to its own monitor or video capture device? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please note, I am not looking to extend the display as used in the Windows 10 display settings.&lt;/p&gt;&#xA;" OwnerUserId="20410" LastEditorUserId="20410" LastEditDate="2018-02-20T00:50:40.983" LastActivityDate="2018-02-20T00:50:40.983" Title="Two different video streams on PC. How do I sent each video stream into a separate monitor?" Tags="|software-recommendation|software|hardware|output|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23455" PostTypeId="1" CreationDate="2018-02-20T09:28:15.737" Score="1" ViewCount="83" Body="&lt;p&gt;How they manage to dissolve text only and not themselves??&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In some videos text even go over there hands but still texts dissolves and they remains intact..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example is in this video please go through it 1st is at 4 seconds then at 1:30.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/T1h71v-u3SQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="21486" LastEditorUserId="21486" LastEditDate="2018-02-20T09:33:49.200" LastActivityDate="2018-02-20T19:19:05.690" Title="How to edit video like this?" Tags="|premiere|after-effects|final-cut-pro-x|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23456" PostTypeId="2" ParentId="23447" CreationDate="2018-02-20T11:49:13.750" Score="2" Body="&lt;p&gt;I'd say your encoding &lt;em&gt;settings&lt;/em&gt; are going to be more crucial, given you're limited to the codecs that Chrome can play. Unless I'm wrong &lt;a href=&quot;https://developers.google.com/cast/docs/media&quot; rel=&quot;nofollow noreferrer&quot;&gt;you can only use&lt;/a&gt; MP4 / h.264 and WebM / VP8 unless you install plugins. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try lowering the &lt;a href=&quot;http://blog.mediacoderhq.com/h264-profiles-and-levels/&quot; rel=&quot;nofollow noreferrer&quot;&gt;profile&lt;/a&gt; of your mp4, e.g. encode using baseline profile. That will mean less compression–so larger files for the same quality or lower quality at the same size–but it reduces the processing power needed to display it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is worth noting that there are more &lt;a href=&quot;https://en.wikipedia.org/wiki/H.264/MPEG-4_AVC_products_and_implementations#Decoding&quot; rel=&quot;nofollow noreferrer&quot;&gt;hardware decoders&lt;/a&gt; commonly available for h.264 encoded video than there are for &lt;a href=&quot;https://en.wikipedia.org/wiki/VP8#Decoding&quot; rel=&quot;nofollow noreferrer&quot;&gt;vp8&lt;/a&gt;, meaning that it's more likely to be handled at the hardware level than vp8.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-05-24T02:38:01.900" LastActivityDate="2018-05-24T02:38:01.900" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="23459" PostTypeId="1" CreationDate="2018-02-20T17:22:59.450" Score="1" ViewCount="32" Body="&lt;p&gt;&lt;em&gt;We got to the point where multiple editors working alone can no longer effectively tackle certain projects and move towards collaborative editing (and entire production) seems like a good idea. However, I have zero experience with something like that.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The situation is that we have two geographically separate locations, on each of those locations there are multiple people who would need to collaborate. My idea is that we would have some sort of data server on each location, all of the media would be stored there and those two servers would sync from time to time over the internet (every night or something like that). &lt;strong&gt;Is that possible?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another part then is the local level. I have noticed there are specialized storage solutions, usually very expensive or without publicly available price (so very very expensive I guess). &lt;strong&gt;Is there some advantage to those over let's say some Synology RAID network storage connected via 10G ethernet?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Last part of that is, should the editing itself happen on the storage, or is usual practice something like mirroring the project folder to local SSD and editing on that? I want to employ proxies (have Premiere ingest data into project folder on the server and generate proxies on ingest), but I have no idea if that will curb the data size enough to make it viable for editors to have media from the network location on the timeline. Possibly I would imagine (and that might be just my wild dream) to see mounted network drive on my PC and be able to use everything from the network storage, but being able to cache selected project folders locally on a fast SSD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks ahead for any input!&lt;/p&gt;&#xA;" OwnerUserId="5928" LastActivityDate="2018-02-20T17:22:59.450" Title="Collaborative editing network storage workflow" Tags="|editing|software|hardware|workflow|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23460" PostTypeId="2" ParentId="23455" CreationDate="2018-02-20T19:19:05.690" Score="3" Body="&lt;p&gt;Sit behind a sheet of glass, write, flip video, key dissolve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/jZc76WDylEg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2018-02-20T19:19:05.690" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23461" PostTypeId="1" AcceptedAnswerId="23464" CreationDate="2018-02-20T20:20:27.170" Score="2" ViewCount="64" Body="&lt;p&gt;Live playback is almost fully flawless. Software like OBS can do transitions and greenscreen / chroma key effects live, without the need of rendering. So it would make sence if &quot;rendering&quot; would at least be as fast as realtime video playback is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do understand that videos produced with rendering are not compressed (are they?), but it's very hard to see the compression on the video, especially if video sharing sites like YouTube also compress the video. It would make sence in this case as well to have an option to export the video without rendering.&lt;/p&gt;&#xA;" OwnerDisplayName="user21489" LastActivityDate="2018-02-21T14:53:40.423" Title="Why is there a need to render the video if live playback is flawless?" Tags="|render|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23462" PostTypeId="2" ParentId="23440" CreationDate="2018-02-20T20:28:27.143" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;The idea involves turning (hours of) continuous/uninterrupted footage from a single camera into a short (circa half-hour) film by varying the speed of playback so as to speed over &quot;boring&quot; sections whilst still drawing attention to key moments of interest: that is, some parts might be sped up by as much as 64x, whilst other parts could be slowed right down (even to a frozen frame). Is this sort of sped-up/slowed-down effect from a single continuous shot known by some particular name?&quot;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It's called &quot;Speed Ramp&quot;, assuming it's a smooth transition and not a '&lt;a href=&quot;https://en.wikipedia.org/wiki/Jump_cut&quot; rel=&quot;nofollow noreferrer&quot;&gt;jump cut&lt;/a&gt;'. See &quot;ARRI Ramp Tutorial - David E. Elkins&quot; (&lt;a href=&quot;http://www.davidelkins.com/download/download_files/arri/technical_info/ramp_tutorial.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;.PDF&lt;/a&gt;) or &lt;a href=&quot;http://www.arrirental.com/camera/d21.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ARRIFlex D-21&lt;/a&gt;, but it only goes from 1 to 60 FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In summary: Continuous long shot video, with duplicate or low activity, frames deleted; alternatively, manually control the frame rate with smooth ramping.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Use AVISynth on a Laptop with a Camera tethered.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use a &quot;&lt;a href=&quot;http://avisynth.nl/index.php/External_filters#Duplicate_Frame_Detectors&quot; rel=&quot;nofollow noreferrer&quot;&gt;Duplicate Frame Detector&lt;/a&gt;&quot; or Fizick's &quot;&lt;a href=&quot;http://avisynth.org.ru/getdups/getdups.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;GetDupe&lt;/a&gt;&quot; and &quot;&lt;a href=&quot;http://avisynth.org.ru/mvtools/mvtools2.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;MvTools V2&lt;/a&gt;&quot; to detect motion more precisely and in specific portions of the frame.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The output can be a smooth video of single frame rate from variable frame rate input. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Technical Note: It goes without saying: If you speed up 64x and there's one boring hour then either it will show in less than a minute or take 64 hours to create one boring hour - whichever way, AVISynth can automate the process. If you want a half hour output and there's nothing interesting, so it's sped up 64x, then from the time you start shooting until the time you can go live will be (30*64)-30 minutes ; a 31.5 hour delay, then a half hour video can be streamed live. Of course that's a worst case scenario.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Create &lt;strong&gt;one&lt;/strong&gt; continuous video or &lt;strong&gt;chunks&lt;/strong&gt; that you can join. Whatever mashing you want can be done in AVISynth either directly or with one (or several) of the 1000's of Plugins; if by chance there isn't precisely what you want then the source code is available and you can create a new effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are 10,000's of experts but it's easy enough to do yourself; since you're willing to pay finding someone is all that much easier. There are dozens of Forums where people will help for free.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a 'hardware only solution' consider a '&lt;a href=&quot;https://www.networkworld.com/article/2761095/it-management/how-motion-detection-cameras-work.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;motion detecting camera&lt;/code&gt;&lt;/a&gt;', that will shoot a series of stills at a regular rate while there's motion and slow to a preset value when there's no activity (depending upon the camera and the settings). That will give you 'jump cut video' (no smooth ramping) that you'll need to edit before you can go 'almost live'.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastEditorUserId="18314" LastEditDate="2018-02-20T21:00:26.687" LastActivityDate="2018-02-20T21:00:26.687" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23463" PostTypeId="1" CreationDate="2018-02-20T21:08:30.587" Score="1" ViewCount="55" Body="&lt;p&gt;There is a weird character showing up on the beginning of each subtitle line on Avid even though the srt is “fine” and said character doesn’t show up on movie players... I’m kinda lost, could it be some Avid charset setting or a RTL language issue etc?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gp61E.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gp61E.jpg&quot; alt=&quot;Screenshot&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/c4W47.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/c4W47.jpg&quot; alt=&quot;Character Detail&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21490" LastActivityDate="2018-02-20T21:08:30.587" Title="Hebrew subtitles issue on Avid" Tags="|video-editor|subtitles|avid|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23464" PostTypeId="2" ParentId="23461" CreationDate="2018-02-21T08:35:26.827" Score="3" Body="&lt;p&gt;When you export a movie from a video editing software, there are, broadly speaking, three steps involved.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Rendering&lt;/strong&gt;: reading each frame from source media and applying assigned effects to each individual clip. Compositing all tracks to form a final image. This part happens during live playback as well. However, most software will use faster and cruder methods during live playback, depending on hardware capabilities. So, the results may not be mathematically equivalent. But the average viewer may not notice the difference.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Encoding&lt;/strong&gt;: This is the compression part. One or more rendered frames are fed to the encoder, which then performs motion estimation and other methods to identify exploitable redundancies. Using that information, the encoder generates an encoded bitstream. This part, depending on the encoder chosen, takes significant CPU time.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Writing&lt;/strong&gt;: The encoded bitstream is then written to disk. If the frame sizes achieved in step 2 are small enough, then this constitutes a minor portion of the export process. But if not, disk I/O can add delay. This will usually be the case if step 2 is skipped and uncompressed frames are written to the file on disk.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;During live playback, steps 2 and 3 are skipped. The rendered frames are stored in RAM and played from there. If the buffer overflows, earliest rendered frames are dropped, and re-rendered if requested. So, the difference in duration between live playback and render to disk is due to the better methods used in step 1 and the addition of steps 2 and 3.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-02-21T08:35:26.827" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23465" PostTypeId="2" ParentId="23382" CreationDate="2018-02-21T11:09:22.793" Score="2" Body="&lt;p&gt;I finally found how to do this on the internet. Just call this procedure with a camera name and the worldspace coordinate of a point as attributes.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;def worldSpaceToScreenSpace(camera, worldPoint):&#xA;&#xA;    # get current resolution&#xA;    resWidth = mc.getAttr('defaultResolution.width')&#xA;    resHeight = mc.getAttr('defaultResolution.height')&#xA;&#xA;    # get the dagPath to the camera shape node to get the world inverse matrix&#xA;    selList = om.MSelectionList()&#xA;    selList.add(camera)&#xA;    dagPath = om.MDagPath()&#xA;    selList.getDagPath(0,dagPath)&#xA;    dagPath.extendToShape()&#xA;    camInvMtx = dagPath.inclusiveMatrix().inverse()&#xA;&#xA;    # use a camera function set to get projection matrix, convert the MFloatMatrix &#xA;    # into a MMatrix for multiplication compatibility&#xA;    fnCam = om.MFnCamera(dagPath)&#xA;    mFloatMtx = fnCam.projectionMatrix()&#xA;    projMtx = om.MMatrix(mFloatMtx.matrix)&#xA;&#xA;    # multiply all together and do the normalisation&#xA;    mPoint = om.MPoint(worldPoint[0],worldPoint[1],worldPoint[2]) * camInvMtx * projMtx;&#xA;    x = (mPoint[0] / mPoint[3] / 2 + .5) * resWidth&#xA;    y = (mPoint[1] / mPoint[3] / 2 + .5) * resHeight&#xA;&#xA;    return [x,y]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="21122" LastActivityDate="2018-02-21T11:09:22.793" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23466" PostTypeId="2" ParentId="1843" CreationDate="2018-02-21T12:30:18.557" Score="0" Body="&lt;p&gt;Proprietary video files are one of the biggest issue for law enforcement investigating on video evidence. If you don't have the native player by the system producer, my company &lt;a href=&quot;https://ampedsoftware.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;Amped Software&lt;/a&gt; has developed &lt;a href=&quot;https://ampedsoftware.com/dvrconv&quot; rel=&quot;nofollow noreferrer&quot;&gt;DVRConv&lt;/a&gt; a tool to convert most of the formats on the market. We support hundreds of video formats, included the DV4.&lt;/p&gt;&#xA;" OwnerUserId="2756" LastActivityDate="2018-02-21T12:30:18.557" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23468" PostTypeId="2" ParentId="23461" CreationDate="2018-02-21T14:39:21.640" Score="0" Body="&lt;p&gt;My team live webcasts and records church services weekly using a hardware mixing solution (BM ATEM 1 M/E). The live stream goes out immediately, where it is buffered, re-rendered, re-encoded, and written to cloud storage by our live stream provider. You don't skip the steps 2 and 3 in @Mulvya 's answer, you merely delegate them to your live stream vendor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The live stream is actually reduced quality because it is re-encoded from 1040p to 720p, and is subject to dropped frames and the vagaries of the internet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After recording, a 40 minute sermon's raw footage is roughly 200 GB in size. We edit the recording to polish the presentation, hide production errors, remove dead space, and ensure copyright/license compliance, then render the edited presentation for archival and delivery on YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For special occasions, we will add several offline cameras to the mix, and up to 25% of the final rendered video will be from footage that was not part of the live webcast, often footage that was taken during dress rehearsals that would not be possible during the live presentation.&lt;/p&gt;&#xA;" OwnerUserId="19491" LastEditorUserId="19491" LastEditDate="2018-02-21T14:53:40.423" LastActivityDate="2018-02-21T14:53:40.423" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23469" PostTypeId="1" CreationDate="2018-02-21T16:30:52.323" Score="3" ViewCount="2976" Body="&lt;p&gt;I'd like to apply a dynamic drawbox before a drawtext, for example, with a fixed Y , X and H but with a dynamic W.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a trivial example: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/usr/bin/ffmpeg -y -loop 1 -t 5 -i img001.jpg -vf drawbox=x=0:y=0:w=t*300:h=100:color=red@0.5 -y out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I expect to see a rectangle with the base width that increase with the time; it does not work, the box width is alwais fixed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to create a dynamic drawbox? if not, is there an alternative?&lt;/p&gt;&#xA;" OwnerUserId="21376" LastActivityDate="2018-10-21T11:00:51.123" Title="ffmpeg- dynamic drawbox" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23470" PostTypeId="1" CreationDate="2018-02-22T03:14:28.010" Score="0" ViewCount="56" Body="&lt;p&gt;I currently have a 1 minute long video where in the beginning of the video someone says something inappropriate. I was wondering what the easiest way to silence that part of the video would be. I am wondering if Quicktime or iMovie can do the job in Mac.&lt;/p&gt;&#xA;" OwnerUserId="21499" LastEditorUserId="14523" LastEditDate="2018-02-23T04:26:48.420" LastActivityDate="2021-05-11T14:08:24.437" Title="How to remove a small 2 second portion of audio from an mpeg video file in Mac?" Tags="|video-editor|audio|mac|imovie|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23471" PostTypeId="1" AcceptedAnswerId="24627" CreationDate="2018-02-22T06:40:38.703" Score="2" ViewCount="5312" Body="&lt;h2&gt;The Goal&lt;/h2&gt;&#xA;&lt;p&gt;I'm creating short tutorials by recording my screen (720p30fps). The content is just a recording of using some desktop software - so mouse moving and opening dialogs, typing, drawing shapes, etc. No high speed action like in a game, no live footage, no talking head or anything like that. After basic editing of the original screen recording, I want to encode the videos to webm and mp4 formats at exactly the same resolution and framerate that I recorded and I want the playback quality to be as close to the original recording quality as possible. So there should be no visible compression artifacts after final encoding.&lt;/p&gt;&#xA;&lt;p&gt;Regarding the original recording: Resolution is 1280x720 pixels. Framerate is 30 frames per second. Recording software is Simple Screen Recorder. Encoding is H.264 at Constant Rate Factor of 10 (so close enough to lossless) in a Matroska container. Playback of the original shows no artifacts at all.&lt;/p&gt;&#xA;&lt;p&gt;Then I add some very basic effects like cross fades and text overlays to the original MKV using blender. Then render out to an image sequence (PNG format). I use high quality image export from Blender, and again the output images show no sign of compression artifacts.&lt;/p&gt;&#xA;&lt;h2&gt;The problem&lt;/h2&gt;&#xA;&lt;p&gt;The problem occurs after I encode the image sequence to an mp4 video using the x264 encoder with ffmpeg. Sometimes, some parts of some of the hard edges / shape outlines flicker. These are not moving objects. They are motionless in the background compared to where the mouse is moving. It seems random. For example, I could have two yellow rectangles side-by-side, each with a black outline and just the top part of one of the rectangle outlines flickers for a few frames, then stops. It's a bit distracting and ugly for what should be a really clean/easy encode based on a screen recording.&lt;/p&gt;&#xA;&lt;p&gt;I generally see this for the horizontal dark lines / hard edges. Occasionally I've seen similar for vertical edges.&lt;/p&gt;&#xA;&lt;p&gt;I haven't noticed this problem yet with the output webm files produced by ffmpeg, only with the x264 encoded mp4 files. The ffmpeg command I use is like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -pix_fmt yuv420p -movflags +faststart -crf 22 -r 30 -g 300 -y myvideo.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;For webm, I use the same basic command and the same crf value, but obviously a different encoder (libvpx-vp9). The webm file is about 9+MB for 2 minutes of footage. The mp4 is about 3.5MB. Generally, the quality between the two is impossible to distinguish, only at those times where the mp4 has some hard line segments flicker.&lt;/p&gt;&#xA;&lt;p&gt;I've roughly illustrated the problem below using ASCII art, where I'm trying to show one rectangle across four frames. At first it's fine then for some frames part of rectangle's outline draws with some extra thickness in some parts, making it appear to flicker or jiggle a bit. Then it goes back to being perfect again.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-----------------&#xA;|               |&#xA;-----------------&#xA;&#xA;&#xA;------=====------&#xA;|               |&#xA;-----------------&#xA;&#xA;&#xA;______=====______&#xA;|               |&#xA;-----------------&#xA;&#xA;&#xA;-----------------&#xA;|               |&#xA;-----------------&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h2&gt;Examples&lt;/h2&gt;&#xA;&lt;p&gt;Compare the following images. Notice in the second image the bottom 2 rectangles have an extra grey line appear above or below part of their black border. I captured these images while VLC was replaying my x264 encoded mp4 at 100% (no scale). This is not a really dramatic example, but it's hopefully enough to show whats going on. Because the extra lines appear and disappear, it creates a kind of flicker effect.&lt;/p&gt;&#xA;&lt;p&gt;Notes:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The recording was captured using Simple Screen Recorder on a 1280x720 screen with LibreOffice Draw maximised. You can't see artifacts in the original recording, nor in the PNG image sequence I exported from Blender.&lt;/li&gt;&#xA;&lt;li&gt;The command I used to generate the mp4 video was: &lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -coder ac -pix_fmt yuv420p -movflags +faststart -crf 22 -bf 16 -b_strategy 2 -refs 16 -direct-pred spatial -me_method umh -me_range 16 -r 30 -g 300 -y myvideo.mp4&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yh37X.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yh37X.png&quot; alt=&quot;screen grab when no artifacts are showing when playing mp4 in VLC&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nsmKm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nsmKm.png&quot; alt=&quot;screen grab when artifacts appear while playing the same mp4 in VLC&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;(It's easier to notice the artifacts if you cycle between the two images at original size)&lt;/p&gt;&#xA;&lt;h2&gt;Questions&lt;/h2&gt;&#xA;&lt;p&gt;What is this kind of compression artifact called?&lt;/p&gt;&#xA;&lt;p&gt;What flag can I pass ffmpeg to try suppress it?&lt;/p&gt;&#xA;&lt;h2&gt;What I have tried so far&lt;/h2&gt;&#xA;&lt;p&gt;Lots of experimentation with the CRF and speed values. For CRF I have dropped down to 18 and that does seem to reduce the flicker a bit, but not eliminate it. But that rate factor seems way too low to get a decent encoding of content as simple as a low action screen recording in 720p.&lt;/p&gt;&#xA;&lt;p&gt;I have also tried manually setting b frames and reference frames to values between 1 and 16, varied the gop size between 30 and 300 and tried different values for the -me_method option. And I tried a couple of the deinterlace settings via the yadif option, but I'm fairly sure that's not relevant to this problem and it only seems to make the output video quality worse. I've ended up with ffmpeg commands looking more like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -coder ac -pix_fmt yuv420p -movflags +faststart -crf 22 -bf 16 -b_strategy 2 -refs 16 -direct-pred spatial -me_method umh -me_range 16 -r 30 -g 300 -y myvideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But so far only varying the CRF value has had any noticeable effect. I don't want to drop that much lower, because it's going to blow the video size out too much.&lt;/p&gt;&#xA;&lt;h2&gt;Update: Test Results&lt;/h2&gt;&#xA;&lt;p&gt;I used the above example with LibreOffice Draw and a 1280x720p screen to record a clip of about 47 seconds to an H.264 encoded MKV file. I imported this to Blender and exported straight back out as a PNG image sequence- no effects or edits at all. Then I ran the image sequence through ffmpeg with the x264 encoder to produce the mp4 video file.&lt;/p&gt;&#xA;&lt;p&gt;I started varying my original ffmpeg command one parameter at a time to see the difference. I focused on the CRF value mainly, because that was the only way I could definitely see a reduction in the compression artifacts. Even with the CRF set to 10, I could still see the weird flickering/banding on the edges in a couple of places. Finally I dropped the value to 5 and didn't notice any artifacts at all. The ideal value is possibly somewhere between 5 and 10 for this content.&lt;/p&gt;&#xA;&lt;p&gt;That left me with video that's way too big for what it is. After messing around with B-frame and reference frame values to eke out marginal decreases in file size, I finally went back to varying the gop value and that had a relatively big impact. Setting the gop to 300 instead of 30, basically halved the file size. So my final ffmpeg command was this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -crf 5 -bf 16 -refs 16 -r 30 -g 300 -me_method umh -me_range 16 -y myvideo.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;(Update: I originally posted the above command as -crf 10... now corrected to -crf 5)&lt;/p&gt;&#xA;&lt;p&gt;The main parameters I dropped were:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-pix_fmt yuv420p&lt;/code&gt; (it could degrade the quality)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-coder ac&lt;/code&gt; (I couldn't see any positive impact with or without this)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-b_strategy 2&lt;/code&gt; (this actually increased the file size slightly in some cases)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-direct-pred spatial&lt;/code&gt; (absolutely no impact on the output file quality/size that I could observe)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;If I was delivering the output file to YouTube, I'd consider putting back &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt; and &lt;code&gt;-coder ac&lt;/code&gt; and &lt;code&gt;-flags cgop&lt;/code&gt;, just because they recommend those.&lt;/p&gt;&#xA;&lt;p&gt;These parameters yielded marginal improvement/decrease in file size (as in fractions of 1MB):&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-bf 16&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-refs 16&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-me_method umh -me_range 16&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;You can see the variation in file size in the screen below where I have named each output file according the ffmpeg parameters I varied. Anything that doesn't have crf05 in the name manifests the artifacts problem.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/x5YAO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/x5YAO.png&quot; alt=&quot;Output files created by varying ffmpeg and x264 parameters&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As a comparison, I ran a similar command to produce a webm file, but with a much worse/higher CRF value. At a CRF value of 22 the resultant mp4 file was 1.4MB with no noticeable compression artifacts at all. The ffmpeg command I used was:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libvpx-vp9 -b:v 0 -tile-columns 2 -crf 22 -r 30 -g 300 -y myvideo.webm&lt;/code&gt;&lt;/p&gt;&#xA;&lt;h2&gt;Update: More Test Results&lt;/h2&gt;&#xA;&lt;p&gt;Following suggestions by stib and Mulvya, I tried the &lt;code&gt;-tune&lt;/code&gt; and &lt;code&gt;-trellis&lt;/code&gt; options and varied the &lt;code&gt;crf&lt;/code&gt; value between 5 and 10. I did likewise for my own experiments with &lt;code&gt;-me_method&lt;/code&gt; and &lt;code&gt;-bf&lt;/code&gt; options. The output mp4, based on my input mkv video, all had visible, flickering compression artifacts at the same place until I turned the crf down to 6 when using &lt;code&gt;-trellis&lt;/code&gt;, and down to 5 with the &lt;code&gt;-bf -refs&lt;/code&gt; options or when using &lt;code&gt;-tune&lt;/code&gt;. Here are screen shots showing the final bit of artifacting I’m trying to eliminate while using higher crf values. The first screen is the input mkv video, the second is a sample encoded mp4 video created using the -trellis 0 option. You can see the artifacts on the top border of one of the rectangles. (There is a thick gray band in the black background also – that’s not a compression artifact though, I think it’s a dialog in the process of vanishing after clicked cancel in my demo/sample recording.)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/f8kM7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/f8kM7.png&quot; alt=&quot;part of the frame in the original mkv vido with no compression artifacts&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Z4tar.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Z4tar.png&quot; alt=&quot;almost the same part of the encoded mp4 video, showing compression artifacts&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here are the commands and resultant file sizes&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;-tune animation:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -crf 5 -tune animation -r 30 -g 300 -y myvideo.mp4&lt;/code&gt;&lt;br /&gt;&#xA;Size: 2,757,370&lt;br /&gt;&#xA;Visible artifacts: &lt;strong&gt;No&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -crf 6 -tune animation -r 30 -g 300 -y myvideo.mp4&lt;/code&gt;&lt;br /&gt;&#xA;Size: 2,593,711&lt;br /&gt;&#xA;Visible artifacts: &lt;strong&gt;Yes&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;-trellis 0:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -crf 6 -pix_fmt yuv420p -x264opts trellis=0 -r 30 -g 300 -y myvideo.mp4&lt;/code&gt;&lt;br /&gt;&#xA;Size: 2,214,534 bytes&lt;br /&gt;&#xA;Visible artifacts: &lt;strong&gt;No&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -crf 7 -pix_fmt yuv420p -x264opts trellis=0 -r 30 -g 300 -y myvideo.mp4&lt;/code&gt;&lt;br /&gt;&#xA;Size: 2,074,544 bytes&lt;br /&gt;&#xA;Visible artifacts: &lt;strong&gt;Yes&lt;/strong&gt; (though a minuscule amount – literally a few pixels over a fraction of a second)&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;-fast_skip 0:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -crf 7 -pix_fmt yuv420p -x264opts fast_pskip=0 -r 30 -g 300 -y myvideo.mp4&lt;/code&gt;&lt;br /&gt;&#xA;Size: 2,012,596 bytes&lt;br /&gt;&#xA;Visible artifacts: &lt;strong&gt;No&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -crf 8 -pix_fmt yuv420p -x264opts fast_pskip=0 -r 30 -g 300 -y myvideo.mp4&lt;/code&gt;&lt;br /&gt;&#xA;Size: 1,883,919 bytes&lt;br /&gt;&#xA;Visible artifacts: &lt;strong&gt;Yes&lt;/strong&gt; (very small/brief amount)&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;-psy 0 -fast_pskip 0:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -crf 7 -pix_fmt yuv420p -x264opts psy=0:fast_pskip=0 -r 30 -g 300 -y myvideo.mp4&lt;/code&gt;&lt;br /&gt;&#xA;Size: 1,886,919 bytes&lt;br /&gt;&#xA;Visible artifacts: &lt;strong&gt;No&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -crf 8 -pix_fmt yuv420p -x264opts psy=0:fast_pskip=0 -r 30 -g 300 -y myvideo.mp4&lt;/code&gt;&lt;br /&gt;&#xA;Size: 1,764,771 bytes&lt;br /&gt;&#xA;Visible artifacts: &lt;strong&gt;Yes&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;-bf -refs:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -crf 5 -bf 16 -refs 16 -r 30 -g 300 -me_method umh -me_range 16 -y myvideo.mp4&lt;/code&gt;&lt;br /&gt;&#xA;Size: 2,257,420 bytes&lt;br /&gt;&#xA;Visible artifacts: &lt;strong&gt;No&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -crf 6 -bf 16 -refs 16 -r 30 -g 300 -me_method umh -me_range 16 -y myvideo.mp4&lt;/code&gt;&lt;br /&gt;&#xA;Size: 2,106,439 bytes&lt;br /&gt;&#xA;Visible artifacts: &lt;strong&gt;Yes&lt;/strong&gt; (though a minuscule amount)&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;-deblock:&lt;/strong&gt;&lt;br /&gt;&#xA;&lt;code&gt;ffmpeg -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -preset veryslow -crf 14 -pix_fmt yuv420p -x264opts fast_pskip=0:psy=0:deblock=-3,-3 -r 30 -g 300 -y myvideo.mp4&lt;/code&gt;&lt;br /&gt;&#xA;Size: 982,549 bytes&lt;br /&gt;&#xA;Visible artifacts: &lt;strong&gt;No&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -preset veryslow -crf 14 -pix_fmt yuv420p -x264opts fast_pskip=0:psy=0:deblock=-3,-3 -bf 16 -refs 16 -me_method umh -me_range 64 -r 30 -g 300 -y myvideo.mp4&lt;/code&gt;&lt;br /&gt;&#xA;Size: 961,460 bytes&lt;br /&gt;&#xA;Visible artifacts: &lt;strong&gt;No&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;h2&gt;Conclusion&lt;/h2&gt;&#xA;&lt;p&gt;Either the vp9 encoder is much better at handling this kind of video content, or there is some x264 parameter that I'm not aware of that would improve things. Does anyone have any ideas for an option I can give ffmpeg to get a better result with x264/mp4? (And I'm not trying to start some codec war - I need to publish in both formats!)&lt;/p&gt;&#xA;" OwnerUserId="21500" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2018-08-06T01:48:09.213" Title="How do I avoid objects having flickering edges when I encode a screen recording to mp4 using x264 and ffmpeg?" Tags="|ffmpeg|encoding|video-quality|compression|x264|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="23472" PostTypeId="1" AcceptedAnswerId="23479" CreationDate="2018-02-22T09:48:12.113" Score="1" ViewCount="535" Body="&lt;p&gt;I imported a screen recording into Sony Vegas. When I play the original clip with Windows Media Player, it looks the way I expect it, with the whole screen visible. But when I play the clip in Vegas, it's zoomed in on the left side and the right side is just CUT out. Trying to change the crop or resize doesn't have any effect, everything on the rest of the screen is just gone, it's not there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EeG1j.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/EeG1j.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;In the first image, you can see the original clip and everything is visible.&lt;/li&gt;&#xA;&lt;li&gt;In the second image, you can see the clip inside of Vegas and how it's cut off.&lt;/li&gt;&#xA;&lt;li&gt;In the third image, you can see that after i crop/pan it doesn't matter the clip is just cut off inside of Vegas.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;How can I import the full screen?&lt;/p&gt;&#xA;" OwnerUserId="21501" LastEditorUserId="1871" LastEditDate="2018-02-23T06:16:19.333" LastActivityDate="2018-02-23T06:40:52.513" Title="Clip that plays fine in WMP is cut off in Sony Vegas" Tags="|video|video-editor|vegas-pro|h.264|video-game|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23473" PostTypeId="1" CreationDate="2018-02-22T10:15:02.320" Score="2" ViewCount="4530" Body="&lt;p&gt;Edit: Found to be a small bug in FFmpeg. It should hopefully soon be patched.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm having issues with setting the timecode for some .MXF files that I have. If I run the command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test.MXF -vcodec copy -acodec copy -timecode &quot;00:05:00;10&quot; tmp.MXF&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then check using ffprobe:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe tmp.MXF&#xA;dpc3:tmp me475$ ffprobe tmp.MXF&#xA;ffprobe version 3.4 Copyright (c) 2007-2017 the FFmpeg developers&#xA;  built with Apple LLVM version 8.0.0 (clang-800.0.42.1)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.4 --enable-shared --enable-pthreads --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-gpl --enable-libmp3lame --enable-libx264 --enable-libxvid --enable-opencl --enable-videotoolbox --disable-lzma&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libavresample   3.  7.  0 /  3.  7.  0&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;[h264 @ 0x7fb652816600] Truncating likely oversized PPS (9469 &amp;gt; 4096)&#xA;    Last message repeated 4 times&#xA;[mxf @ 0x7fb652815200] decoding for stream 0 failed&#xA;Input #0, mxf, from 'tmp.MXF':&#xA;  Metadata:&#xA;    uid             : adab4424-2f25-4dc7-92ff-29bd000c0000&#xA;    generation_uid  : adab4424-2f25-4dc7-92ff-29bd000c0001&#xA;    company_name    : FFmpeg&#xA;    product_name    : OP1a Muxer&#xA;    product_version : 57.83.100&#xA;    product_uid     : adab4424-2f25-4dc7-92ff-29bd000c0002&#xA;    modification_date: 0000-01-02T00:00:00.000000Z&#xA;    material_package_umid: 0x060A2B340101010501010D0013E30DF252947134C9E30DF20052947134C9E300&#xA;    timecode        : 00:05:00;30&#xA;  Duration: 00:00:08.01, start: 0.000000, bitrate: 577647 kb/s&#xA;    Stream #0:0: Video: h264 (High 4:2:2 Intra), yuv422p10le(progressive), 3840x2160 [SAR 1:1 DAR 16:9], 59.94 fps, 59.94 tbr, 59.94 tbn, 119.88 tbc&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D0013E30DF252947134C9E30DF20052947134C9E301&#xA;    Stream #0:1: Audio: pcm_s24le, 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    Metadata:&#xA;      file_package_umid: 0x060A2B340101010501010D0013E30DF252947134C9E30DF20052947134C9E301&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then the timecode is clearly later than the requested timecode (00:05:00;20 -&gt; 00:05:00;30)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tested with various different valid input timecodes, and the output timecode is always different from what I request.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;e.g. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;00:10:00;00 -&amp;gt; 00:10:00;18&#xA;09:58:34;00 -&amp;gt; 09:58:51;58&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="21502" LastEditorUserId="21502" LastEditDate="2018-02-22T16:03:22.837" LastActivityDate="2020-04-13T17:02:25.320" Title="Problem setting first frame timecode using ffmpeg - timecode always different from requested for 59.94fps video" Tags="|ffmpeg|timecode|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23474" PostTypeId="2" ParentId="23470" CreationDate="2018-02-22T11:18:19.720" Score="0" Body="&lt;p&gt;You'll probably need a Non Linear editing tool such as the one you mentioned (iMovie) to achieve this, as you'd need the ability to separate your audio from video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://wmsnewmacs.wordpress.com/2011/11/15/how-to-separate-audio-from-a-video-track-in-imovie/&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to separate audio from a video track in iMovie&lt;/a&gt; to guide you using iMovie.&lt;/p&gt;&#xA;" OwnerUserId="16118" LastEditorUserId="18155" LastEditDate="2019-08-19T12:56:43.313" LastActivityDate="2019-08-19T12:56:43.313" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23475" PostTypeId="2" ParentId="23446" CreationDate="2018-02-22T11:43:37.180" Score="0" Body="&lt;p&gt;Try this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Create a bin in your project window, lets call it &quot;selected-clips&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use your source window to mark your &quot;in and out&quot; points then drag that 'clip' into your &quot;selected-clips&quot; bin.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have all your clips in, right-click on EACH clip and select &quot;Make Subclip&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, highlight all the 'Subclips', right-click and select &quot;Export Media&quot;. A window should appear - add it to a queue - Media Encoder should open - then batch export your 'Subclips'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Done.&lt;/p&gt;&#xA;" OwnerUserId="16118" LastActivityDate="2018-02-22T11:43:37.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23477" PostTypeId="2" ParentId="23471" CreationDate="2018-02-23T03:05:49.053" Score="0" Body="&lt;p&gt;Vary the CRF value down until you don't see compression artifacts. Go ridiculously low if needed, like CRF = 5.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Vary the GOP value up to compensate for the larger output file size. For example, for video at 30 frames per second, try gop=300&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your ffmpeg command could look like this:&#xA;&lt;code&gt;ffmpeg -speed 1 -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -crf 5 -bf 16 -refs 16 -r 30 -g 300 -me_method umh -me_range 16 -y myvideo.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; (Using the correct speed option for x264, adding pix_fmt and other x264 options)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -preset veryslow -crf 5 -pix_fmt yuv420p -x264opts fast_pskip=0:psy=0 -bf 16 -refs 16 -me_method umh -me_range 16 -r 30 -g 300 -y myvideo.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="21500" LastEditorUserId="21500" LastEditDate="2018-07-26T01:51:55.213" LastActivityDate="2018-07-26T01:51:55.213" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="23478" PostTypeId="2" ParentId="23469" CreationDate="2018-02-23T05:54:36.047" Score="3" Body="&lt;p&gt;Since drawbox doesn't support time reference, you need to use a workaround&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -loop 1 -t 5 -i img001.jpg&#xA;  -filter_complex &quot;color=red@0.5:s=Wx100[c];&#xA;                   [0][c]overlay='-W+300*t':0&quot;&#xA;  -y out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;A color source is created equal to the final size of the box you wanted to draw i.e. image width (W) x 100. Then it is overlaid on the image and animated so that it starts revealing at the rate of &lt;code&gt;300*t&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-02-23T05:54:36.047" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23479" PostTypeId="2" ParentId="23472" CreationDate="2018-02-23T06:40:52.513" Score="0" Body="&lt;p&gt;This isn't a Vegas issue. The recording application has registered the video resolution as &lt;code&gt;1024x768&lt;/code&gt; in the MP4 global header (&lt;code&gt;../stsd/avc1&lt;/code&gt;) but the full 1080p stream is captured and stored.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Vegas is using the header metadata to crop the video stream at the stage of loading the file. So, any Vegas functions/plugins downstream to this stage don't, know of, or have access to the full image data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the full resolution is correctly stored in the metadata (SPS) of the video stream itself. So remuxing the file with ffmpeg will resolve the issue as ffmpeg constructs a new global header, based on reading the stream metadata.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i recorded.mp4 -c copy fixed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Get a FFmpeg Windows binary from &lt;a href=&quot;https://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.zeranoe.com/builds/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-02-23T06:40:52.513" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23480" PostTypeId="2" ParentId="23473" CreationDate="2018-02-23T10:47:21.720" Score="1" Body="&lt;p&gt;The user-supplied timecode value is converted to an integer value that represents the frame number which is associated with that timecode. It is this integer which is stored in the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In drop-frame timecode, since some timecode labels are periodically skipped, timecode and (frame count/fps) do not correspond anymore i.e. &lt;code&gt;timecode * fps != frame count&lt;/code&gt;. This necessitates an adjustment in order to derive the corresponding frame number. The code assumed a fixed 30 fps, but has now been fixed.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-02-23T10:47:21.720" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23481" PostTypeId="1" CreationDate="2018-02-23T13:52:34.500" Score="2" ViewCount="1624" Body="&lt;p&gt;Here is a new question on drawtext; actually, my drawtexts move from the left to right and from right to left, depending on the order ( 1,3,5... from left, 2,4,6 from right).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each drawtext has a box; it would be nice to have each drawtext disappear with a fade out before other drawtext come in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I see that there is the &quot;fontcolor_exr&quot;, but I don't want to change the color of my text, I'd like to change the alpha, so I suppose I have to play with &quot;alpha&quot; props.&#xA;Unfortunatly, I cannot figure out how to set an expression to add the alpha trasparency after x seconds to my drawtext. Any Idea?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to use something like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;alpha='if(gt(t,4),--- some expresson --- ,1)'&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;so that after 4 seconds, the drawtext will disappear. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;SOLVED&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found this graceful solution; let the drawtext be enabled between 0 and 6 seconds; this command will fade out the text after 5 seconds:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;alpha='if(lt(t,5)\,1\,if(lt(t\,6)\,(1-(t-5))/1\,0))'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The entire drawbox disappear at second 6. Hope it helps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See you next time!&lt;/p&gt;&#xA;" OwnerUserId="21376" LastEditorUserId="21376" LastEditDate="2018-02-24T14:35:39.163" LastActivityDate="2018-02-24T14:35:39.163" Title="ffmpeg - Drawtext Fade Out" Tags="|ffmpeg|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23485" PostTypeId="1" CreationDate="2018-02-24T12:59:58.383" Score="0" ViewCount="248" Body="&lt;p&gt;I am pretty new to Premiere, so this is probably going to be a &quot;noob&quot; question. So I want to make keyframed adjustments in my clips position (it just moves from one place to another) and I want to make this effect look more natural by making the movement build up speed. The clip would start moving slow then it speeds up, and finally it slows down to the end.&#xA;I saw a few random videos including Premiere, where at the place of the keyframe timeline,  there is a curve timeline window. I mean, a window where you can adjust the speed and the direction of a certain effect value by dragging the curve's point on the 2 axises.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope I composed this clearly and that I didn't ask something dumb :D&#xA;Thank you for the answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a screenshot of my test project:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZYePs.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZYePs.png&quot; alt=&quot;My project&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And these are the curves I am referring to (I'm sorry for the resoltuion, but it's from a video):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2tiVf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2tiVf.png&quot; alt=&quot;These cheeky little curves...&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21519" LastEditorUserId="21519" LastEditDate="2018-02-24T18:11:10.447" LastActivityDate="2018-02-24T21:08:24.380" Title="Premiere Pro: Curves for adjusting video effects and its keyframes?" Tags="|premiere|editing|effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23487" PostTypeId="2" ParentId="2535" CreationDate="2018-02-24T18:13:36.847" Score="1" Body="&lt;p&gt;There is no automated way to analyse scene changes in Premiere.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Ideally I'd just like them labelled in some way with support for&#xA;  &quot;jump to the next label&quot;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I recommend you use &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/markers.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Markers&lt;/a&gt; in Premiere to manually mark scene changes. You can very quickly scan through the timeline and use the &lt;kbd&gt;M&lt;/kbd&gt; key to add a Marker at the current position.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use &lt;kbd&gt;Shift + M&lt;/kbd&gt; and &lt;kbd&gt;Ctrl + Shift + M&lt;/kbd&gt; to iterate through each marker (forwards and backwards respectively). Use the Up and Down keys to find the start/end of each clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make it easier to find scene changes, you can drag the divider on the top of the track to adjust the height and therefore get a better preview of the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WTrBy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WTrBy.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2018-02-24T18:13:36.847" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23489" PostTypeId="1" CreationDate="2018-02-24T19:20:56.333" Score="1" ViewCount="49" Body="&lt;p&gt;I am recording from screen&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3umqX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3umqX.png&quot; alt=&quot;source&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;however, the video when recording with a recording program, (screen around cursor mode) gets grayish&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TyWWE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TyWWE.png&quot; alt=&quot;recorded&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;why?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video settings are H264 - NVENC (VBR)&#xA;30 fps, 100q&lt;/p&gt;&#xA;" OwnerUserId="21523" LastEditorUserId="21523" LastEditDate="2018-02-24T20:00:30.323" LastActivityDate="2018-09-23T04:05:21.873" Title="Getting gray instead of white when recording screen activity" Tags="|video|video-recording|h.264|nvenc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23490" PostTypeId="2" ParentId="23489" CreationDate="2018-02-24T19:44:48.253" Score="1" Body="&lt;p&gt;Wow, this was a VLC problem. Its the playback of the video recording that has got darkened!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The left program is &quot;Film &amp;amp; TV&quot; provided by windows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I in VLC was unchecking the option &quot;use hardware conversions YUV -&gt; RGB&quot;, the playback was not washed out anymore. Describe in &lt;a href=&quot;https://wiki.videolan.org/VSG:Video:Color_washed_out/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://wiki.videolan.org/VSG:Video:Color_washed_out/&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vcpjd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vcpjd.png&quot; alt=&quot;comparision&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21523" LastEditorUserId="21523" LastEditDate="2018-02-24T20:00:57.610" LastActivityDate="2018-02-24T20:00:57.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23491" PostTypeId="2" ParentId="23485" CreationDate="2018-02-24T21:08:24.380" Score="1" Body="&lt;p&gt;You can toggle the display of the keyframe timeline by clicking the little arrowhead to the left of each individual effect in the &lt;em&gt;Effect Controls&lt;/em&gt; panel. If you can't see the panel, you can open it from the &lt;em&gt;Window&lt;/em&gt; menu. If you don't see any effects in that panel, make sure to select the correct clip from your current timeline. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's your image with the arrowhead encircled in red (in the top left): &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/p7bdZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/p7bdZ.png&quot; alt=&quot;Premiere Pro: Keyframe display toggle&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more information on setting smooth transitions using keyframes, check out &lt;a href=&quot;https://video.stackexchange.com/questions/20874/why-does-adobe-premiere-cc-change-my-ease-out-keyframe-interpolation-to-bezie/20884#20884&quot;&gt;my answer here&lt;/a&gt;. &lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2018-02-24T21:08:24.380" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23492" PostTypeId="1" CreationDate="2018-02-24T22:05:46.997" Score="0" ViewCount="62" Body="&lt;p&gt;I'm interested in using a smartphone as an expensive tool to capture speech audio and video. Perhaps equipped with a tripod, add-on wide-angle lens and wireless microphone for the speaker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone with experience in doing something like this willing to share your experiences?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are the add-on wide-angle lenses any good for this? I have a Galaxy S8. What about video capture software? Is the built-in camera app ok for this purpose or should I use a 3rd party app?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any experiences with non-bluetooth wireless mics? I'm worried about BT range and other connectivity issues.&lt;/p&gt;&#xA;" OwnerUserId="21522" LastEditorUserId="674" LastEditDate="2018-02-25T15:10:16.620" LastActivityDate="2018-09-07T18:02:56.547" Title="Capturing speech audio and video with a smartphone?" Tags="|video|audio|software-recommendation|hardware|recommendation|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23494" PostTypeId="2" ParentId="23492" CreationDate="2018-02-25T15:57:40.840" Score="1" Body="&lt;p&gt;Were I work we used an iPhone 7 and a Samsung S8+ for an experimental web series  to capture video. The result was awesome, specially when you use stuff like the &lt;a href=&quot;https://www.bhphotovideo.com/c/product/1383438-REG/dji_cp_zm_00000064_01_osmo_mobile_2.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;DJI Osmo Mobile 2 Smartphone Gimbal&lt;/a&gt;. (The series is not yet released, will updated when the editing is finished)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At first we used Bluetooth microphones but there is a lot of issues with the range and sound quality. We used the &lt;a href=&quot;https://www.bhphotovideo.com/c/product/618739-REG/Sennheiser_EW_112P_G3_A_EW112_p_G3_Camera_Mount.html?sts=pi&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sennheiser ew 112-p&lt;/a&gt; and recorded the audio on a &lt;a href=&quot;https://www.bhphotovideo.com/c/product/757065-REG/Tascam_DR_05_DR_05_Portable_Handheld_Digital.html?sts=pi&quot; rel=&quot;nofollow noreferrer&quot;&gt;Tascam DR-05 &lt;/a&gt;. This is a little expensive, an alternative will be to use another cellphone and record the audio there with a wired microphone. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;No need for a third party app, specially on the Samsung S8, where you can manually edit all the settings. You should consider the Samsung S8 has a 10 minute time limit when recording 4K video.&lt;/p&gt;&#xA;" OwnerUserId="19655" LastActivityDate="2018-02-25T15:57:40.840" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23495" PostTypeId="1" CreationDate="2018-02-25T17:55:53.813" Score="3" ViewCount="299" Body="&lt;p&gt;I am looking to convert a file with ffmpeg into a side-by-side video without cropping or resizing. can you give me an example?&lt;/p&gt;&#xA;" OwnerUserId="21527" LastActivityDate="2018-02-25T17:55:53.813" Title="convert a normal video file into an SBS video in ffmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23496" PostTypeId="1" AcceptedAnswerId="23501" CreationDate="2018-02-25T18:08:32.507" Score="3" ViewCount="731" Body="&lt;p&gt;Is it possible to rename cameras in a multi-camera sequence?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why I need this:&#xA;I have a multicam sequence that shows footage that has to be synced with audio for certain people. However it is hard to tell which person's camera it is from what can be seen on the footage. In order to be able to quickly figure out who's view is being shown and what audio to sync with it, it would be nice to be able to rename those cameras to something more descriptive than &quot;camera 1, camera 2, etc ...&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/p2UBx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/p2UBx.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10977" LastEditorUserId="456" LastEditDate="2018-03-11T19:09:34.860" LastActivityDate="2018-03-11T19:09:34.860" Title="Premiere: Renaming cameras in a multi-camera sequence" Tags="|premiere|multi-camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23497" PostTypeId="1" AcceptedAnswerId="23513" CreationDate="2018-02-25T20:28:04.513" Score="4" ViewCount="9732" Body="&lt;p&gt;So, I have nested some audio tracks and now the nested sequences look like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ff3bD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ff3bD.png&quot; alt=&quot;picture of sequneces with no visible waveform&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I get premiere to display my waveforms in the timeline again? Because this is not very helpful ... to say the least.&lt;/p&gt;&#xA;" OwnerUserId="10977" LastActivityDate="2020-09-09T09:03:35.923" Title="Premiere: Waveforms missing on nested sequences" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23498" PostTypeId="2" ParentId="21052" CreationDate="2018-02-26T10:04:02.370" Score="0" Body="&lt;p&gt;If the video in question is in grayscale, you can always just remove the colour by &lt;strong&gt;reducing the colour saturation by 100%&lt;/strong&gt;. You can do this in OBS by adding the Effect Filter &quot;Color Correction&quot; on the Video Capture Device.&lt;/p&gt;&#xA;" OwnerDisplayName="user21534" LastActivityDate="2018-02-26T10:04:02.370" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23499" PostTypeId="5" CreationDate="2018-02-26T10:16:32.920" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2018-02-26T10:16:32.920" LastActivityDate="2018-02-26T10:16:32.920" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23500" PostTypeId="4" CreationDate="2018-02-26T10:16:32.920" Score="0" Body="For questions directly involving the Video Home System (VHS) standard." OwnerDisplayName="user21534" LastEditorDisplayName="user21534" LastEditDate="2018-03-11T19:09:40.897" LastActivityDate="2018-03-11T19:09:40.897" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23501" PostTypeId="2" ParentId="23496" CreationDate="2018-02-26T15:44:19.010" Score="3" Body="&lt;p&gt;When you create a Multi-Cam sequence, the prompt will give you the option to name the cameras based on the track or clip name.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sSEpZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sSEpZ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't believe there is a way to rename the cameras after setting up Multi-Cam.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One other option would be to put each clip into a sequence with a text layer as an overlay. After you have finished arranging your Multi-Cam composition, the text layer can be hidden or deleted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mOdqZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mOdqZ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="636" LastEditorUserId="636" LastEditDate="2018-02-26T15:52:50.853" LastActivityDate="2018-02-26T15:52:50.853" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23503" PostTypeId="1" AcceptedAnswerId="32860" CreationDate="2018-02-26T19:50:26.773" Score="4" ViewCount="333" Body="&lt;p&gt;When you’re on a Mac with Retina Display (HiDPI), and you make a screen recording using QuickTime Player, whenever that video is played in QuickTime Player, it is shown with the expected 2:1 pixel density.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if you attempt to re-encode this video using ffmpeg (&lt;a href=&quot;https://stackoverflow.com/questions/31586732/how-can-i-specify-pixel-density-in-ffmpeg-for-video-captured-on-retina-screen#_=_&quot;&gt;like in this question on Stack Overflow&lt;/a&gt;) the outputted file will instead be played back at a too-big/fuzzy 1:1 pixel density.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if you attempt to play the QuickTime-generated screen recording in a player like VLC, you’ll notice it plays at the blurry 1:1 instead of the sharp 2:1. So it seems like there’s a feature in QuickTime Player that knows this video was captured at a 2x pixel density, so it needs to be played-back at a 2x pixel density.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How does QuickTime Player know when to play a video back in HiDPI/Retina mode? Is there &lt;a href=&quot;https://developer.apple.com/library/content/documentation/QuickTime/QTFF/QTFFChap2/qtff2.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;some special metadata that’s written to the file&lt;/a&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to reproduce:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Use QuickTime Player to create a Screen Recording on a Retina Mac.&lt;/li&gt;&#xA;&lt;li&gt;Play the video you recorded in QuickTime Player using the &lt;code&gt;⌘1 Actual Size&lt;/code&gt; view. Notice that it’s playing 2:1 on your Retina Display, so the video looks sharp. It’s playing in half the space of the actual recorded pixels.&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use ffmpeg to encode the video using a command like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i retina_sample.mov -c:v libx264 -crf 23 retina_sample_compressed.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;li&gt;Play the new ffmpeg-compressed video in QuickTime Player using the &lt;code&gt;⌘1 Actual Size&lt;/code&gt; view. Notice that it’s playing 1:1, so the video looks fuzzy.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;To clarify, the video does not look blurry because it was compressed. Rather, it looks blurry because the video is being played twice as big as it should be, at a 1:1 pixel density, instead of the required 2:1 pixel density, presumably because some metadata is being discarded when encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are links to example videos:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Before: &lt;a href=&quot;https://www.dropbox.com/s/5a9l23jdlmhtqut/retina_sample.mov?dl=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dropbox.com/s/5a9l23jdlmhtqut/retina_sample.mov?dl=1&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;After: &lt;a href=&quot;https://www.dropbox.com/s/v0ek4k981b0y2jn/retina_sample_compressed.mov?dl=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dropbox.com/s/v0ek4k981b0y2jn/retina_sample_compressed.mov?dl=1&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1062" LastEditorUserId="1062" LastEditDate="2018-03-07T19:13:26.763" LastActivityDate="2020-12-16T17:58:30.430" Title="How does QuickTime Player know when do play a video in HiDPI/Retina/@2x mode?" Tags="|ffmpeg|quicktime|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="23504" PostTypeId="1" AcceptedAnswerId="23515" CreationDate="2018-02-26T22:03:55.817" Score="0" ViewCount="229" Body="&lt;p&gt;I have been trying to understand ffMPEG and outputting a file with the DNxHD codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I keep getting an error &lt;code&gt;[swscaler @ 0x7feec601a200] deprecated pixel format used, make sure you did set range correctly&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what I've been working with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i image.jpg -i audio.mp3 -shortest -c:v dnxhd -b:v 120M -s 1920x1080 -pix_fmt yuv422p -r 25 -c:a pcm_s16le -ar 48000 out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But I was wondering if it was possible to make an AvidDV SD version of the output? 1024x576 or 720x576 at 25fps? I know you can make other codecs, but an Avid one would make for fast import.&lt;/p&gt;&#xA;" OwnerUserId="14221" LastEditorUserId="14221" LastEditDate="2018-02-26T22:11:43.557" LastActivityDate="2018-02-28T23:06:42.937" Title="Loop image over audio, as AvidDV codec with ffMPEG" Tags="|ffmpeg|avid|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23506" PostTypeId="2" ParentId="2612" CreationDate="2018-02-26T22:58:34.610" Score="0" Body="&lt;p&gt;You may make 2 time lapse movies. the object and the clock&#xA;and use PIP to join them&lt;/p&gt;&#xA;" OwnerUserId="21541" LastActivityDate="2018-02-26T22:58:34.610" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23508" PostTypeId="1" AcceptedAnswerId="23511" CreationDate="2018-02-27T19:47:50.537" Score="0" ViewCount="597" Body="&lt;p&gt;The beam effect is a plugin in AE in which I can basically decide a &quot;beginning&quot; or &quot;ending&quot;-coordinate and AE will draw a line between these two coordinates, the line can be customized but that irrelevant for now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The beam effect also has the property &quot;length&quot;, which is a percentage that decides how long the line is. lets say length is 80%, which means the length will be 10% shorter on each side. 100% means the line fully reaches the beginning and ending coordinates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is the following: How do I make the line &lt;strong&gt;extend&lt;/strong&gt; the end/beginning coordinates? The beam would then basically be a line with a two fixed points.&#xA;I might be missing something, but is this possible? I googled every possible combination of &quot;extend beam line in ae&quot; or &quot;line with fixed point&quot; but couldnt find anything relevant. Help is greatly appreciated, thanks!&lt;/p&gt;&#xA;" OwnerUserId="21548" LastActivityDate="2020-07-21T14:00:57.247" Title="After Effects: Make beam effect go over end/beginning" Tags="|after-effects|animation|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23511" PostTypeId="2" ParentId="23508" CreationDate="2018-02-28T06:39:08.113" Score="4" Body="&lt;p&gt;You can't do it with the beam effect as it stands. &lt;strong&gt;But…&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;A workaround would be to move your start and end points further out along the line that they define. A bit of maths and an expression will do that for you. Don't worry, skip to the tl;dr section at the bottom if you are allergic to maths (Though if you do, note that that look on my face is pity, not scorn, really it is).&lt;/p&gt;&#xA;&lt;h2&gt;The maths&lt;/h2&gt;&#xA;&lt;p&gt;Two points can be thought about as defining a &lt;strong&gt;vector&lt;/strong&gt;, i.e. a line with direction and magnitude. The cool thing is that you can multiply vectors by scalars (normal numbers with just a magnitude) very easily. So what you need to do is to take the vector defined by the two points, then multiply by magnitudes smaller than 0% or greater than 100% to extend the vector off &lt;em&gt;to infinity and beyond&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;To get the vector without the initial offset, simply subtract one point from the other. This leaves us with a single value that contains the magnitude and direction of the end point, as seen from the start point. This is basically our line. Any points on that line can be found by multiplying this vector.&lt;/p&gt;&#xA;&lt;p&gt;Since this vector is from the starting point, once we've multiplied it we need to add back the position of the starting point, so that we're using the comp co-ordinates. So any point along the line is expressed as &lt;code&gt;starting point + distance along the line * (end point - starting point)&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Just to show this works, consider when the length along the line is zero. The point will be &lt;code&gt;starting point + 0 * (end point - starting point) = starting point&lt;/code&gt;, and when the lenght along the line is 100% its co-ordinates will be &lt;code&gt;starting point + 100/100 * (end point - starting point) = end point&lt;/code&gt;. Now any percentages smaller than 0 or greater than 100% will extend the line further.&lt;/p&gt;&#xA;&lt;h2&gt;the setup&lt;/h2&gt;&#xA;&lt;p&gt;to control this effect we need a slider that can go below 0 and above 100 for the start and the end point of the beam. Since the beam length slider won't let us do that, use an expression control slider to do the job. So apply the &lt;strong&gt;Effects&amp;gt;Expression Controls&amp;gt;Slider&lt;/strong&gt; effect, and for the sake of your own sanity rename the effect to &lt;strong&gt;length&lt;/strong&gt;. So that the beam will be initially visible as we set up the expression, set the slider to 100% or thereabouts.&lt;/p&gt;&#xA;&lt;p&gt;Obviously you'll also need the &lt;strong&gt;Beam&lt;/strong&gt; effect applied. Set up the position of the &lt;strong&gt;Starting Point&lt;/strong&gt; and &lt;strong&gt;Ending point&lt;/strong&gt; now, once we apply the expression you can still edit them using the value controls, but you have to turn the expression off to edit them visually in the comp window. Since we're using the expression to fake the length, set the &lt;strong&gt;Length&lt;/strong&gt; property to 100%.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3vnah.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3vnah.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;h2&gt;the expression&lt;/h2&gt;&#xA;&lt;p&gt;So this is where the maths rubber hits the javascript road. First we'll do the expression for the start point. &lt;kbd&gt;alt&lt;/kbd&gt;-click the beam &lt;strong&gt;Starting Point&lt;/strong&gt; stopwatch to set an expression for that property.&lt;/p&gt;&#xA;&lt;p&gt;Start by creating variables linked to the original values (use the pick whip near the expressions editor to pick the &lt;strong&gt;Starting Point&lt;/strong&gt; and &lt;strong&gt;Ending Point&lt;/strong&gt; property to get the correct syntax. Your line should look like this (don't forget the &lt;code&gt;;&lt;/code&gt; at the end of every line. Expressions will &lt;em&gt;sometimes&lt;/em&gt; work without them, but other times you'll get hard to trace errors):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;var startPt = effect(&amp;quot;Beam&amp;quot;)(&amp;quot;Starting Point&amp;quot;);&#xA;var endPt = effect(&amp;quot;Beam&amp;quot;)(&amp;quot;Ending Point&amp;quot;);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;We also need a variable linked to the &lt;strong&gt;length&lt;/strong&gt; slider effect we made earlier.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;var percentage = 1 - effect(&amp;quot;length&amp;quot;)(&amp;quot;Slider&amp;quot;) / 100;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;We divide it by 100 because it's a percentage. You could omit this and just use a slider value of 1 to mean 100%, this just makes it a bit easier to use.&lt;/li&gt;&#xA;&lt;li&gt;We subtract the percentage from 1 because we're applying it to the start point. When the length is 100% the starting point will be at 0 on the vector (and the end point will be at 1).&lt;/li&gt;&#xA;&lt;li&gt;Note that the &lt;code&gt;&amp;quot;length&amp;quot;&lt;/code&gt; bit relates to whatever you named it. If you were lazy it will just say &lt;code&gt;effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;)&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;So we've got the beginning, end and percentage all defined. Now like we said, we subtract the beginning from the end, multiply that by the percentage and add it back to the beginning. In Javascript this looks like:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;percentage * (endPt - startPt) + startPt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Wow, that was easy. Because you can add vectors to other vectors, and you can multiply vectors by scalars we never need to expand the components out into their individual dimensions (took me years to discover that, I'm embarrassed to say). Note that since it's the last line, where we return the value we don't need an &lt;code&gt;=&lt;/code&gt; or &lt;code&gt;var&lt;/code&gt; or anything—expressions just use the last line that evaluates as the value for the property.&lt;/p&gt;&#xA;&lt;p&gt;Now for the end point we repeat the process, but we don't subtract the slider control from 1. So the line above looks like&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;var percentage = effect(&amp;quot;length&amp;quot;)(&amp;quot;Slider&amp;quot;) / 100;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'll let you work out the rest of code for that yourself.&lt;/p&gt;&#xA;&lt;p&gt;Oh, ok, stop sobbing, here's the expression for both, for your copy-pasting pleasure:&lt;/p&gt;&#xA;&lt;h2&gt;tl;dr&lt;/h2&gt;&#xA;&lt;p&gt;&lt;strong&gt;Starting Point property&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;var startPt = effect(&amp;quot;Beam&amp;quot;)(&amp;quot;Starting Point&amp;quot;);&#xA;var endPt = effect(&amp;quot;Beam&amp;quot;)(&amp;quot;Ending Point&amp;quot;);&#xA;var percentage = 1 - effect(&amp;quot;length&amp;quot;)(&amp;quot;Slider&amp;quot;) / 100;&#xA;percentage * (endPt - startPt) + startPt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Ending Point property&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;var startPt = effect(&amp;quot;Beam&amp;quot;)(&amp;quot;Starting Point&amp;quot;);&#xA;var endPt = effect(&amp;quot;Beam&amp;quot;)(&amp;quot;Ending Point&amp;quot;);&#xA;var percentage = effect(&amp;quot;length&amp;quot;)(&amp;quot;Slider&amp;quot;) / 100;&#xA;percentage * (endPt - startPt) + startPt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now using the slider control you can set your length to whatever you like, and the beam will extend along the line described by the original points.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-07-21T14:00:57.247" LastActivityDate="2020-07-21T14:00:57.247" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="23512" PostTypeId="1" AcceptedAnswerId="23523" CreationDate="2018-02-28T13:26:21.877" Score="0" ViewCount="335" Body="&lt;h1&gt;Blu-ray transcode to &lt;a href=&quot;https://en.wikipedia.org/wiki/High_Efficiency_Video_Coding&quot; rel=&quot;nofollow noreferrer&quot;&gt;H.265&lt;/a&gt; using &lt;a href=&quot;https://en.wikipedia.org/wiki/Intel_Quick_Sync_Video&quot; rel=&quot;nofollow noreferrer&quot;&gt;Intel Quick Sync Video&lt;/a&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;I just started a process of transcoding about 100 video discs (with &lt;strong&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/DTS-HD_Master_Audio&quot; rel=&quot;nofollow noreferrer&quot;&gt;DTS-HD Master Audio&lt;/a&gt; on passthrough&lt;/strong&gt;) from my collection of Blu-rays and want to store them for backup purposes solely.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Source video codec&lt;/strong&gt;: &lt;a href=&quot;https://en.wikipedia.org/wiki/H.264/MPEG-4_AVC&quot; rel=&quot;nofollow noreferrer&quot;&gt;Advanced Video Codec&lt;/a&gt; at profile High@L4.1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Target video codec&lt;/strong&gt;: &lt;a href=&quot;https://en.wikipedia.org/wiki/High_Efficiency_Video_Coding&quot; rel=&quot;nofollow noreferrer&quot;&gt;H.265&lt;/a&gt; using &lt;a href=&quot;https://en.wikipedia.org/wiki/Intel_Quick_Sync_Video&quot; rel=&quot;nofollow noreferrer&quot;&gt;Intel Quick Sync Video&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Hardware being a new laptop with:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;CPU&lt;/strong&gt;: &lt;a href=&quot;https://ark.intel.com/products/97185/Intel-Core-i7-7700HQ-Processor-6M-Cache-up-to-3_80-GHz&quot; rel=&quot;nofollow noreferrer&quot;&gt;Intel Core i7 7700HQ (Kaby Lake)&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;GPU&lt;/strong&gt;: Intel HD Graphics 630 integrated in the CPU, capable of &lt;a href=&quot;https://en.wikipedia.org/wiki/Intel_Quick_Sync_Video&quot; rel=&quot;nofollow noreferrer&quot;&gt;Intel Quick Sync Video&lt;/a&gt; hardware encode of &lt;a href=&quot;https://en.wikipedia.org/wiki/High_Efficiency_Video_Coding&quot; rel=&quot;nofollow noreferrer&quot;&gt;H.265&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I do this with &lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;HandBrake&lt;/a&gt; software version 1.0.7 under Windows 10 Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In short I have applied Constant quality with RF20 and Quality preset for the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Originals are all at fixed 7.5 GiB size (it is a series on a Blu-ray Double-layer, so on 1 disc there are 5 episodes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The sizes of my encodes are usually around 3 GiB +/- 0.5 GiB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is about 40 % of the original size overall.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;Problem&lt;/h1&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://mpc-hc.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Media Player Classic - Home Cinema&lt;/a&gt; plays the video using &lt;a href=&quot;https://en.wikipedia.org/wiki/DirectX_Video_Acceleration#DXVA2_implementations:_native_and_copy-back&quot; rel=&quot;nofollow noreferrer&quot;&gt;Native DXVA2&lt;/a&gt; with some unexpected effects, I am unable to describe it, so here's an image in &lt;a href=&quot;https://en.wikipedia.org/wiki/Graphics_display_resolution#4K_UHD_(3840%C3%972160)&quot; rel=&quot;nofollow noreferrer&quot;&gt;4K UHD&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UKjZX.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UKjZX.jpg&quot; alt=&quot;Some unexpected effects while playback in MPC-HC&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I own a license for &lt;a href=&quot;https://www.cyberlink.com/products/powerdvd-ultra/features_en_EU.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;PowerDVD 17 Ultra&lt;/a&gt;, it plays the video just fine, but it does play the video only, not playing the audio at all.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Only &lt;a href=&quot;https://www.videolan.org/vlc/&quot; rel=&quot;nofollow noreferrer&quot;&gt;VLC Media Player&lt;/a&gt; plays both video and audio well.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;Question&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Could anyone point me to the right direction as to if I am doing anything wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or are these effects of &lt;a href=&quot;https://en.wikipedia.org/wiki/Intel_Quick_Sync_Video&quot; rel=&quot;nofollow noreferrer&quot;&gt;Intel Quick Sync Video&lt;/a&gt; &lt;em&gt;normal&lt;/em&gt;?&lt;/p&gt;&#xA;" OwnerUserId="17396" LastEditorUserId="17396" LastEditDate="2018-03-02T16:57:03.053" LastActivityDate="2018-03-02T16:57:03.053" Title="Blu-ray transcode to H.265 using Intel Quick Sync Video" Tags="|transcoding|playback|h.265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23513" PostTypeId="2" ParentId="23497" CreationDate="2018-02-28T17:07:57.507" Score="8" Body="&lt;p&gt;When you nest a sequence with more than one audio clip, your nested sequence will not have a single waveform to reference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To generate the waveforms you must select the nested sequence and go to &lt;em&gt;Sequence &gt; Render Audio&lt;/em&gt; in the top menu bar.&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2018-02-28T17:07:57.507" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23515" PostTypeId="2" ParentId="23504" CreationDate="2018-02-28T23:06:42.937" Score="0" Body="&lt;h1&gt;&lt;code&gt;deprecated pixel format used&lt;/code&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;This is a warning, not an error, and you can ignore it.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;DNxHD&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;The FFmpeg DNxHD encoder only supports valid DNxHD profiles. &lt;code&gt;ffmpeg&lt;/code&gt; will output the list if you attempt to output unsupported width x height, frame rate, bitrate, and/or pixel format. Or &lt;a href=&quot;https://askubuntu.com/a/907515/59378&quot;&gt;view the list&lt;/a&gt; at another answer.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;DV&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;FFmpeg can output DV, but I'm not quite sure why you would want to. This is an old format and there are better, modern, lossless alternative intermediate formats for editing such as UT video (&lt;code&gt;ffmpeg&lt;/code&gt; can encode and decode that too). Like DNxHD it will only output certain DV profiles, but it can use the &lt;code&gt;-target&lt;/code&gt; option to make it arguably easier to use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -target ntsc-dv output.dv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2018-02-28T23:06:42.937" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23516" PostTypeId="1" AcceptedAnswerId="23518" CreationDate="2018-03-01T15:35:41.610" Score="0" ViewCount="958" Body="&lt;p&gt;How can apply an effect to the RESULT of multiple composited clips in Final Cut Pro X? Googling all I see is how to apply the same effect to multiple clips but that's not what I'm trying to do. I'm trying to apply a single effect to the result of compositing multiple clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, one way would be to render my video without effects. Then start a new project, load the rendered video, apply the effect. It seems like I shouldn't have to render the video and start an entire new project to achieve this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To give a simple example. Start a new project. Make the project 1280x720p, drop in a iPhone portrait mode video (make sure the project stays 1280x720p), apply the colorize event. Since the colorize event only applies to the clip I get this&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/s2k4c.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s2k4c.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I want it to apply to the entire video (the result of all the clips)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VPwoK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VPwoK.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note I am not try to achieve the effect shown above. I just needed to throw together an example showing the issue (effect applies to clip instead of to entire video).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to do it short of rendering out the entire video, starting a new project and applying the effects to the rendered video?&lt;/p&gt;&#xA;" OwnerUserId="17303" LastEditorUserId="17303" LastEditDate="2018-03-01T16:30:54.933" LastActivityDate="2019-05-17T23:33:31.333" Title="How do I apply an effect to the entire result of multiple stacked clips in FCPX" Tags="|final-cut-pro-x|effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23518" PostTypeId="2" ParentId="23516" CreationDate="2018-03-01T19:13:14.297" Score="1" Body="&lt;p&gt;I’m not entirely sure what you explain. However I try. &#xA;Did you look into the option of an adjustment layer?&#xA;&lt;a href=&quot;http://www.fcp.co/final-cut-pro/tutorials/945-how-to-build-and-use-adjustment-layers-in-final-cut-pro-x&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.fcp.co/final-cut-pro/tutorials/945-how-to-build-and-use-adjustment-layers-in-final-cut-pro-x&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2018-03-01T19:13:14.297" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23519" PostTypeId="1" CreationDate="2018-03-01T20:11:09.630" Score="1" ViewCount="48" Body="&lt;p&gt;We recently adopted a pet hamster for our office, and are interested in setting up a live feed for evenings and weekends so that employees and customers can tune in to the lil guy during his most active hours, and so we can additionally make sure he's doing alright when there are not as many people in the office to check up on him.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We'd be working with close quarters here - he's in a plastic DIY hamster cage that measures 12.62 inches (H) x 18.75 inches (W) x 34.62 inches (L). Because the plastic is not 100% clear the camera would need to be mounted inside the lid of the enclosure, in a corner. We need a fairly small camera as a result, just to ensure he can't climb up to it and chew on it. (It's a dwarf hamster though, so as long as it's a few inches off of the bottom of the enclosure that should be fine... he's short!) If need be, we could probably make a hole in the enclosure for the lens to peek through, but I'd like to avoid that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The cage currently isn't terribly close to an ethernet switch, so WiFi would be ideal, but the cage could likely be moved to be connected to either my extra Linux box via USB or directly to ethernet. I would then be running broadcasting software on the Linux box to send the stream to Twitch or YouTube or whatever works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know nearly enough about cameras to know where to start. If it could be done for under $100, that would be a great start - not looking for super high quality, just like a nanny cam situation but on a smaller scale. I've felt a little lost looking online, as it seems many of these consumer surveillance cameras all have their own specific apps you have to view the feed through, with limits, etc, and I just want to be able to access the feed directly so that I can forward it on to the internet.&lt;/p&gt;&#xA;" OwnerUserId="21569" LastActivityDate="2018-03-01T20:55:42.140" Title="Compact Camera for nighttime live streaming?" Tags="|streaming|webvideos|recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23520" PostTypeId="2" ParentId="23519" CreationDate="2018-03-01T20:55:42.140" Score="1" Body="&lt;p&gt;You can use old(&lt;em&gt;ish&lt;/em&gt;) Android phone to have all-in-one solution or you can use go-pro camera with laptop.&lt;/p&gt;&#xA;" OwnerUserId="21570" LastActivityDate="2018-03-01T20:55:42.140" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23521" PostTypeId="1" CreationDate="2018-03-02T12:36:12.077" Score="2" ViewCount="113" Body="&lt;p&gt;A friend and I recently launched a model rocket. We had installed an altitudemeter that exports all it's data for each quarter second into an Excel document. I want to take the data of the time and height of this document (about 1000 time steps) and use it to have a live altimeter in the top of the screen on the video using Vegas Pro 13. I basically want it to count the height live with the video. Does anyone know if this is possible in Sony Vegas?&#xA;The best thing for me would be that it follows a graph so that the text doesn't change every quarter second, but every frame. If this can be done, it would be easier, because then I don't have to use every single step of time from Excel, but every 10 steps or so. It will still be accurate and smooth, though less of an annoying job.&lt;/p&gt;&#xA;" OwnerUserId="21571" LastEditorUserId="21571" LastEditDate="2018-03-03T15:46:57.520" LastActivityDate="2024-04-04T13:02:00.263" Title="Text according to Excel document" Tags="|vegas-pro|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23523" PostTypeId="2" ParentId="23512" CreationDate="2018-03-02T16:56:39.353" Score="1" Body="&lt;h1&gt;Wrong container format (&lt;a href=&quot;https://en.wikipedia.org/wiki/MPEG-4_Part_14&quot; rel=&quot;nofollow noreferrer&quot;&gt;MP4&lt;/a&gt;)&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;I omitted the information about the container format. I used &lt;a href=&quot;https://en.wikipedia.org/wiki/MPEG-4_Part_14&quot; rel=&quot;nofollow noreferrer&quot;&gt;MP4&lt;/a&gt; in preliminary tests in an effort to increase compatibility with portable devices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It did not cross my mind that this would be the cause for the missing audio in &lt;a href=&quot;https://www.cyberlink.com/products/powerdvd-ultra/features_en_EU.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;PowerDVD 17 Ultra&lt;/a&gt; player. So the container has been changed to &lt;a href=&quot;https://en.wikipedia.org/wiki/Matroska&quot; rel=&quot;nofollow noreferrer&quot;&gt;MKV&lt;/a&gt;. It did not, however, change anything on the artifacts in &lt;a href=&quot;https://mpc-hc.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Media Player Classic - Home Cinema&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;Probably buggy implementation of &lt;a href=&quot;https://en.wikipedia.org/wiki/DirectX_Video_Acceleration#DXVA2_implementations:_native_and_copy-back&quot; rel=&quot;nofollow noreferrer&quot;&gt;Native DXVA2&lt;/a&gt; in &lt;a href=&quot;https://mpc-hc.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Media Player Classic - Home Cinema&lt;/a&gt;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Thanks to &lt;a href=&quot;https://video.stackexchange.com/users/1871/mulvya&quot;&gt;Mulvya&lt;/a&gt;, we have found a work-around (not a solution). It seems to be buggy implementation of &lt;a href=&quot;https://en.wikipedia.org/wiki/DirectX_Video_Acceleration#DXVA2_implementations:_native_and_copy-back&quot; rel=&quot;nofollow noreferrer&quot;&gt;Native DXVA2&lt;/a&gt; in &lt;a href=&quot;https://mpc-hc.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Media Player Classic - Home Cinema&lt;/a&gt;. Switching to &lt;code&gt;Video Mixing Renderer 9 (renderless)&lt;/code&gt; works well.&lt;/p&gt;&#xA;" OwnerUserId="17396" LastActivityDate="2018-03-02T16:56:39.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23524" PostTypeId="2" ParentId="23521" CreationDate="2018-03-02T18:22:19.557" Score="0" Body="&lt;p&gt;I think you want this to be done automatically. But f course you could create 1000 text overlays, each one showing a particular altitude, and place the correct overlay at the correct point in the timeline for the correct duration (1/4 second). That would be a terribly tedious job!&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2018-03-02T18:22:19.557" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23525" PostTypeId="1" CreationDate="2018-03-02T18:31:35.143" Score="2" ViewCount="89" Body="&lt;p&gt;A few days ago i was browsing a forum, and I came across this person's signature which was underneath their comment. I contacted them a few days ago because I was interested in how this sort of motion graphic was create but I had no response due to me only realising that they had been offline for over 2 years. I couldn't find out anything about them. But I wondered if anyone knew what I might have to search to find out how I would make this? Or if any of you knew how/what software is required to do it? I have after effects along with other adobe products but I doubt it's the only thing required.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance,&#xA;David&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zaopJ.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zaopJ.gif&quot; alt=&quot;Video&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user21574" LastEditorDisplayName="user21574" LastEditDate="2018-03-02T18:39:59.423" LastActivityDate="2018-03-05T11:55:41.670" Title="How are motion graphics like this created?" Tags="|after-effects|animation|workflow|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23530" PostTypeId="1" AcceptedAnswerId="23532" CreationDate="2018-03-03T15:14:50.160" Score="5" ViewCount="10348" Body="&lt;p&gt;I trying to create a video using FFmpeg from a few images. I tried several ffmpeg commands but I can't repeat each image for several frames, instead, each image is one frame size and the video result is too short.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The idea, in general, is to obtain a video like:&#xA;Firs_image during X seconds, Second_image during X seconds, Third_image during x seconds...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is any command to accomplish this?&lt;/p&gt;&#xA;" OwnerUserId="21582" LastActivityDate="2023-05-11T21:40:26.307" Title="Use ffmpeg to create a video from a few images" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23532" PostTypeId="2" ParentId="23530" CreationDate="2018-03-03T16:54:48.697" Score="6" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 1/X -i img%d.png -r 25 -pix_fmt yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;e.g. for each image to show for 2.5 seconds,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 1/2.5 -i img%d.png -r 25 -pix_fmt yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-03-03T16:54:48.697" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23533" PostTypeId="1" AcceptedAnswerId="23534" CreationDate="2018-03-04T00:32:22.520" Score="2" ViewCount="2017" Body="&lt;p&gt;My scenario is this: I have a few .mp4 files containing H264 video with AAC audio. Each file was encoded from a DVR source. There are a few frames too many at both the beginning and end of the file (less than 1 second worth). I want to edit off these few frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that I can tell that the first keyframe falls a couple seconds into the desired video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to chop the first few undesired frames off of the video, but I'd like to not have to re-encode the entire file because this comes with the inherent generation loss of re-encoding already compressed video (and the time taken).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I'm ignoring audio issues for the moment - for MP3 there are frame-level editors like MP3DirectCut and I think there's something similar for AAC audio. I can use ffmpeg to split the two streams out and work with them independently and then later remux them into a new .mp4 file.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a simple illustration of what I'd like to do:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Source file&#xA;|------GOP---------|------GOP---------|------GOP-----|&#xA;IBBPBBPBBPBBPBBPBBPIBBPBBPBBPBBPBBPBBPIBBPBBPBBPBBPBBI...&#xA;^   ^     &#xA;|   first desired frame&#xA;- undesired frame(s)&#xA;&#xA;Re-encoded first GOP, other GOPs copied losslessly:&#xA;|----New GOP----|------GOP---------|------GOP-----|&#xA;IBPBBPBBPBBPBBBPIBBPBBPBBPBBPBBPBBPIBBPBBPBBPBBPBBI&#xA;|               |&#xA;+---------------+&#xA;re-encode just these&#xA;frames to a new short&#xA;GOP, copy all remaining&#xA;GOPs losslessly&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I could be completely wrong, but my understanding of video encoding leads me to believe that GOPs are independent sets of frames that can stand alone; you need all of the frames of a GOP to decode the GOP, but one GOP will not be dependent upon another GOP. So, unless that assumption is completely wrong, I imagine something like this should work, theoretically:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Re-encode the first couple of seconds of the video, starting at the desired frame, using the same settings (profile, level, etc.) that encoded the original source. I'd need to be able to do one of the following: &#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Extract off the first GOP of this newly-encoded file, and truncate that GOP so it ends on the frame right before the keyframe of the next GOP in the original file.&lt;/li&gt;&#xA;&lt;li&gt;Specify a hard limit on the number of frames per GOP during encoding, so that I could then extract off the first GOP and it would already be the correct size.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Take this new shortened GOP and append all but the first GOP of the original file. The end result would be a new H264 stream where &lt;em&gt;only the first GOP&lt;/em&gt; has been re-encoded; all the rest of the GOPs would be copied losslessly.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I'm not necessarily against a paid tool, but pretty much any NLE is going to involve re-encoding the video at some stage. My goal is to bring as much as possible over from the original video losslessly. (Basically, if I could do this, the only area I'd be suffering any generation loss is in the first second of the file, which is likely to be a fade-in or even some black frames and of little importance to the overall presentation.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can this be done??&lt;/p&gt;&#xA;" OwnerUserId="21587" LastEditorUserId="21587" LastEditDate="2018-03-04T15:36:08.093" LastActivityDate="2019-08-16T07:18:08.280" Title="Can you losslessly ediit H264 at the GOP level?" Tags="|editing|h.264|gop|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23534" PostTypeId="2" ParentId="23533" CreationDate="2018-03-04T06:53:45.280" Score="2" Body="&lt;p&gt;This is possible to do, in theory. The key is to match all relevant source bitstream properties when encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#1&lt;/strong&gt; Segment source video&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source.mp4 -c copy -an -f segment -segment_time 0.01 seg%d.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Since the segment muxer by default only splits at keyframes, by providing a very low segment time, each produced segment will be one GOP long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I suggest using the whole audio from the source, we don't extract it here)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#2&lt;/strong&gt; Re-encode first segment&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i seg1.ts {-encoding args} -copyts -x264opts stitchable{+any-other-args} new1.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It's important here to match source settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#3&lt;/strong&gt; Rejoin segments&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;concat:new1.ts|seg2.ts|...&quot; -i source.mp4 -c copy -map 0 -map 1:a new.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-03-04T06:53:45.280" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23538" PostTypeId="2" ParentId="23525" CreationDate="2018-03-05T11:55:41.670" Score="4" Body="&lt;p&gt;Totally doable using After Effects as it comes out of the box. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd be making each letter a separate layer, turning that layer into a matte for the colour, which would be provided by the gradient ramp effect (there's a subtle red-purple gradient in the letters). The reveal would be done by either making an animated mask to control the moving colour, or the stroke effect with the brush size large enough to fill the strokes of the letters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3D extrusion is done with the &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/extruding-text-shapes.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;built-in 3D extrusion&lt;/a&gt; in the ray-traced 3d renderer. You'd have to pre-comp the coloured layer probably ifyou're using track mattes etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The movement would be a combination of keyframes and the &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/expression-language-reference.html#property_attributes_and_methods_expression_reference&quot; rel=&quot;nofollow noreferrer&quot;&gt;wiggle expression&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are probably a dozen more ways to do something like this–this is true for anything in AE.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-03-05T11:55:41.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23542" PostTypeId="2" ParentId="23533" CreationDate="2018-03-06T19:24:54.677" Score="0" Body="&lt;p&gt;I gave answer credit to @Mulvya since that post got me in the right direction. Here is what I did to trim off the beginning of the video files:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg -i source.mp4 -c copy -an -f segment -segment_time 0.01 seg%04d.ts&lt;/code&gt; - This split the source stream into hundreds of segments, one per GOP of source video.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg -ss 00:00:01.5 -i seg0000.ts -c:v libx264 -copyts -start_at_zero -x264opts stitchable -profile:v high -level 5.0 -crf 18 seg0000a.ts&lt;/code&gt; - This encodes the first GOP to a new ts stream, truncating off the beginning 1.5 seconds. &#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A few files wouldn't truncate correctly, so I first converted them to lossless &lt;code&gt;FFV1&lt;/code&gt; video: &lt;code&gt;ffmpeg -i seg0000.ts -c:v ffv1 -level 1 -coder 1 -context 1 -g 1 seg0000.mkv&lt;/code&gt; and then executed the above command against the &lt;code&gt;.mkv&lt;/code&gt; file. &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;To trim off from the end of the video, I encoded the final GOP truncating it: &lt;code&gt;ffmpeg -t 00:00:03.20 -i seg1044.ts  -c:v libx264 -copyts -x264opts stitchable -profile high -level 5.0 seg1044a.ts&lt;/code&gt; - This encodes only the first 3.2 seconds of the final GOP, truncating the rest. (GOPs in the source video were about 5 seconds each, so this truncated 1.8 seconds.)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg -i source.mp4 -c copy -vn audio.m4a&lt;/code&gt; - extract the audio&lt;/li&gt;&#xA;&lt;li&gt;Trim the audio using an external tool. &lt;code&gt;MP3DirectCut&lt;/code&gt; can do frame-accurate trimming of M4A/AAC audio, and &lt;code&gt;delaycut&lt;/code&gt; can do frame-accurate trimming of AC3/EAC3/DTS audio.&lt;/li&gt;&#xA;&lt;li&gt;Used a python script to generate a string containing all the &lt;code&gt;.ts&lt;/code&gt; files. There's lots of ways to accomplish this sort of thing. I ended up with a long string on the clipboard: &lt;code&gt;seg0000.ts|seg0001.ts|...|seg1044.ts&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Pasted this long string into a text editor and changed &lt;code&gt;seg0000.ts&lt;/code&gt; and &lt;code&gt;seg1044.ts&lt;/code&gt; to &lt;code&gt;seg000a.ts&lt;/code&gt; and &lt;code&gt;seg1044a.ts&lt;/code&gt; respectively.&lt;/li&gt;&#xA;&lt;li&gt;Combine the video segments: &lt;code&gt;ffmpeg -fflags +igndts -i &quot;concat:{string generated in steps 6-7 here}&quot; -c copy -fflags +genpts video.mkv&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Finally, re-combine the trimmed audio: &lt;code&gt;ffmpeg -i video.mkv -i audio.m4a -c copy -map 0:0 -map 1:0 final-video.mp4&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I imagine this process could probably be optimized further, but this is what ultimately worked after messing with it for over an hour.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Hint: I found it convenient to extract all the frames of one GOP to .png files for easy browsing to determine which frame to cut at. For example: &lt;code&gt;ffmpeg -i seg0000.ts seg0000-frame%03d.png&lt;/code&gt;)&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;EDIT: This is the Python script I wrote to generate the &lt;code&gt;concat:&lt;/code&gt; list:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# ffconcat.py&#xA;&#xA;import sys&#xA;from os.path import basename&#xA;from os import listdir&#xA;&#xA;if (len(sys.argv) &amp;lt; 2):&#xA;        print(&quot;Syntax: %s [extension]&quot; % (sys.argv[0], ))&#xA;        exit(1)&#xA;&#xA;filelist = list(filter(lambda y: y.endswith(&quot;.&quot;+sys.argv[1]), sorted([basename(x) for x in listdir('.')])))&#xA;filestring = &quot;|&quot;.join(filelist)&#xA;&#xA;sys.stdout.write(&quot;concat:&quot;+filestring)&#xA;sys.stdout.flush()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You could use it in step 7 by first removing the &quot;original&quot; .ts files (e.g. &lt;code&gt;seg000.ts&lt;/code&gt;) and then using it like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -fflags +igndts -i `python3 ffconcat.py ts` -c copy -fflags +genpts video.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This script is very simple (it only scans the current directory) so if you wanted to put the muxed video elsewhere you could, for example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -fflags +igndts -i &quot;concat:{string generated in steps 6-7 here}&quot; -c copy -fflags +genpts ../video.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Feel free to use/improve this script.&lt;/p&gt;&#xA;" OwnerUserId="21587" LastEditorUserId="21587" LastEditDate="2018-03-06T23:18:46.053" LastActivityDate="2018-03-06T23:18:46.053" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23548" PostTypeId="2" ParentId="12859" CreationDate="2018-03-07T23:31:22.973" Score="0" Body="&lt;p&gt;How to speed up Media Encoder to use 100% of your cpu?&#xA;Here is an example:&#xA;Create a file: settings.ini&#xA;place inside of it&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[Settings]&#xA;mode=developer&#xA;mthread=enabled&#xA;mthreadcount=3  (for a 4 core 8 threaded machine say, 7)&#xA;sli=false&#xA;slimode=all&#xA;priority=high&#xA;scaling=low&#xA;cloud=false&#xA;loadwhenneeded=true&#xA;speakers=2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Place in Adobe Premiere, After Effects, and Media Encoders executable folders.&lt;/p&gt;&#xA;&lt;p&gt;For a quad core / 4 threadded machine like mine, this made Media Encoder jump from 1 core to using 96% of all four.  You must watch the youtube video &amp;quot;Render 300X FASTER | Premiere / After Effects / Media Encoder &amp;quot;  I'm successfully using this with CC 2018 products.&lt;/p&gt;&#xA;" OwnerUserId="21616" LastEditorUserId="-1" LastEditDate="2023-06-05T01:12:40.840" LastActivityDate="2023-06-05T01:12:40.840" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="23550" PostTypeId="1" CreationDate="2018-03-08T09:03:59.870" Score="0" ViewCount="2547" Body="&lt;p&gt;let you have a phrase where there is a word ( or a list of words ) that you want to underline, with a different color.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apparently, you have to &quot;split&quot; your phrase into 3 different drawtext ( with different colors, but how can you set the exact &quot;x&quot; position for the second and third drawtext?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the ffmpeg site , there is this example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;drawtext=fontfile=FreeSans.ttf:text=DOG:fontsize=24:x=10:y=20+24-max_glyph_a,&#xA;drawtext=fontfile=FreeSans.ttf:text=cow:fontsize=24:x=80:y=20+24-max_glyph_a&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but I don't understand how to calculare the exact position of second element: &quot;80&quot; ? how &quot;80&quot; is calculated? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And finally, is there another graceful option to draw a word inside a phrase with a different color? ( best would be to use a single drawtext )&lt;/p&gt;&#xA;" OwnerUserId="21376" LastEditorUserId="1760" LastEditDate="2018-09-27T17:00:21.767" LastActivityDate="2018-09-27T17:00:21.767" Title="ffmpeg - horizontal align of multiple drawtext" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23551" PostTypeId="1" AcceptedAnswerId="23552" CreationDate="2018-03-08T10:18:57.130" Score="0" ViewCount="2871" Body="&lt;p&gt;I'm trying to overlay a 15 second video transition on the beginning of an image sequence (png sequence with an alpha to reveal the image below), which I can do fine with the overlay filter.  But I want to hold the first frame of the image sequence for 5 seconds before playing the animation.  I've tried trim/select but I can't seem to get it be a duration of 5 seconds, I also can't seem to concat it back with the other video to do the transition. So my questions are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;How do I get the first frame and hold it for 5 seconds, the method below works but doesn't seem like the best method? &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;-start_number 501 -framerate 30 -t 60.0 -i input1.%04d.jpg -framerate 30 -t 15.0 -i transition1_%03d.png -filter_complex &quot;color=c=red:d=5:s=480x270:r=30[bg]; [bg][1:v]overlay[transhold]; [0:v][transhold]overlay=repeatlast=0[out]&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Can I then easily concat that with the original or is it better to do two overlays with the start of the actual transition offset by the length of the hold?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nick&lt;/p&gt;&#xA;" OwnerUserId="21620" LastActivityDate="2018-03-08T11:11:22.727" Title="FFMPEG, Extract first frame and hold for 5 seconds" Tags="|video|ffmpeg|filter|programming|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23552" PostTypeId="2" ParentId="23551" CreationDate="2018-03-08T11:11:22.727" Score="0" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -start_number 501 -framerate 30 -t 60.0 -i input1.%04d.jpg &#xA;       -framerate 30 -t 15.0 -i transition1_%03d.png&#xA;       -filter_complex &quot;[0]loop=149:1:0[bgheld5];&#xA;                        [1]loop=149:1:0[fgheld5];&#xA;                        [bgheld5][fgheld5]overlay=eof_action=pass&quot;  out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The first frames of both sequences are repeated 149 times, so that there are 150 instances (30 fps x 5s). The &lt;code&gt;0&lt;/code&gt; at the end of loop is the starting index of the frame(s) to loop. The middle &lt;code&gt;1&lt;/code&gt; is the number of frames to loop starting at the index in the 3rd argument.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-03-08T11:11:22.727" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23553" PostTypeId="2" ParentId="22843" CreationDate="2018-03-08T12:20:54.217" Score="0" Body="&lt;p&gt;For requesting an RTSP over HTTP stream you would do:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay rtsp://127.0.0.1:1235/live.h264 -rtsp_transport http&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="21624" LastEditorUserId="18155" LastEditDate="2019-12-30T19:09:42.843" LastActivityDate="2019-12-30T19:09:42.843" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23555" PostTypeId="2" ParentId="23550" CreationDate="2018-03-08T17:59:49.320" Score="1" Body="&lt;p&gt;Make ASS (Advanced SubStation Alpha) subtitles and use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#subtitles-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;subtitles filter&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TC28w.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TC28w.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -filter_complex &quot;subtitles=your_subtitles.ass&quot; -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;You can make the subtitles manually or with &lt;a href=&quot;http://aegisub.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Aegisub&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;SRT (Subrip) subtitles are much simpler than ASS and would be easier to make manually, but they will lack features that ASS can support. SRT will suffice for simple styling however (underline, bold, italics, etc), but not individual per-word color changing as far as I know.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2018-03-08T18:04:57.123" LastActivityDate="2018-03-08T18:04:57.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23556" PostTypeId="2" ParentId="12384" CreationDate="2018-03-09T00:45:17.650" Score="0" Body="&lt;p&gt;Miro is a good (easy to use) free one&#xA;&lt;a href=&quot;http://www.mirovideoconverter.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.mirovideoconverter.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2018-03-09T00:45:17.650" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23557" PostTypeId="1" CreationDate="2018-03-09T14:11:31.197" Score="2" ViewCount="423" Body="&lt;p&gt;Unbeknownst to me at the time, the camera I was using to record a talking head (so fixed environment and lighting) seems to have drastically altered its colour temperature part-way through recording. I put my hand in front of the lens at one point, and as well as refocusing to the hand (thankfully temporarily) the camera appears to have shunted everything toward blue from that point on. &lt;strong&gt;The talking head goes from warm and 'naturally skin-coloured' to beyond pallid.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It was recording to an Atomos Ninja in ProRes 422 HD, which I understand 'bakes' white balance directly into the recorded data as opposed to storing it as metadata like RAW.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Q1: Am I correct here, or &lt;strong&gt;is it actually possible to retrieve per-frame colour balance settings from a ProRes .mov file?&lt;/strong&gt; If so, this would be my preferred option as I can then 'objectively' reverse it. I've tinkered with ffprobe but it doesn't yield anything useful-looking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Q2: &lt;strong&gt;If I am correct that the colour shift exists in the video data itself, what's the best post-recording correction method?&lt;/strong&gt; Working in my favour is a) the background never changes so before/after can be compared on a per-pixel basis, and b) The shift occurs at a single time, with the colour stable before and after. So only one correction need be applied, and I know when.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using MATLAB (this is computer-vision related), which at first glance offers white point, grey world, and PCA-based correction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For visualisation here's two frames from before and after the camera auto-corrected, with pixels plotted in RGB space. Right now I'm thinking of computing some rigid transform in RGB space to overlap one with the other, but this question is asking whether there's a more 'standard' solution.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/CJDOu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CJDOu.png&quot; alt=&quot;Two frames before/after auto-colour correction in RGB space&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21633" LastEditorUserId="21633" LastEditDate="2018-03-11T17:15:48.153" LastActivityDate="2018-03-13T17:26:10.127" Title="White balance auto-adjusted half way through recording" Tags="|color-correction|prores|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23559" PostTypeId="1" CreationDate="2018-03-10T09:49:46.087" Score="0" ViewCount="113" Body="&lt;p&gt;How to create an effect of eyes opening and closing in first person perspective when awaking from syncope? AE, PR or Final Cut Pro any software is OK. How to create this effect? Or are there any templates or tutorials relating to this?&lt;/p&gt;&#xA;" OwnerUserId="21638" LastActivityDate="2018-03-15T07:57:34.417" Title="How to create an effect of eyes opening and closing in first person perspective when awaking from syncope?" Tags="|after-effects|premiere|final-cut-pro-x|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23561" PostTypeId="1" CreationDate="2018-03-10T13:54:21.850" Score="3" ViewCount="1716" Body="&lt;p&gt;When I shot the video, I forgot to fix the exposure, so now the brightness constantly changes. How can i stabilize exposure in video, I can't reshoot it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Plugin Flicker Free didn't help. The video goes for an hour, not possible to fix it manually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example of &lt;a href=&quot;https://youtu.be/fpEYCaAd5UA&quot; rel=&quot;nofollow noreferrer&quot;&gt;video&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21640" LastEditorUserId="674" LastEditDate="2018-03-11T18:57:04.067" LastActivityDate="2023-09-02T21:23:01.857" Title="How to stabilize exposure of video?" Tags="|premiere|stabilisation|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23562" PostTypeId="1" CreationDate="2018-03-10T20:10:49.653" Score="1" ViewCount="1099" Body="&lt;p&gt;Is there any app that can copy timecode values to clipboard?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm playing a video.  I want to stop the video, press a keyboard shortcut, then go to a google doc and paste the timecode value (not a video frame).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using a Mac.  Tried googling for solutions in Quicktime Player, Adobe Premiere, Final Cut, but can't find anything.  Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-08-19T19:34:16.730" Title="How to copy timecode value from a video to clipboard on a mac" Tags="|premiere|mac|quicktime|timecode|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23563" PostTypeId="2" ParentId="23562" CreationDate="2018-03-11T01:47:36.260" Score="1" Body="&lt;p&gt;This can be done in Apple's Motion (but not FCPX for some reason). To do so, create a new project and import your footage. You'll want the project's frame rate and starting timecode to match the footage's. Next, set the timeline to display timecode by clicking on the downward facing arrow next to the timecode:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ciVZH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ciVZH.png&quot; alt=&quot;Timecode controls&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select the Timecode option:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/46wJx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/46wJx.png&quot; alt=&quot;Show Timecode&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then double-click to select the timecode:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5ZZ3Q.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5ZZ3Q.png&quot; alt=&quot;Select It&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you can copy/paste it or type in a new value to jump there.&lt;/p&gt;&#xA;" OwnerUserId="6207" LastActivityDate="2018-03-11T01:47:36.260" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23564" PostTypeId="2" ParentId="23561" CreationDate="2018-03-11T05:15:37.510" Score="1" Body="&lt;p&gt;Q: When I shot the video, forgot to fix the exposure, so now constantly changes the brightness ... The video goes for an hour, not possible to fix it manually&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Use &amp;quot;Tonal Exposure&amp;quot; in Lightroom.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;The thinking and theory behind dynamic and tonal range:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;TutsPlus - &amp;quot;&lt;a href=&quot;https://photography.tutsplus.com/articles/light-photography-exposure-and-tonal-range-considerations--photo-5685&quot; rel=&quot;nofollow noreferrer&quot;&gt;Light &amp;amp; Photography: Exposure and Tonal Range Consideration&lt;/a&gt;&amp;quot;:&lt;/p&gt;&#xA;&lt;p&gt;&amp;quot; Ansel Adams devised what is known as the Zone System. The zone system can be applied for obtaining correct exposures under different circumstances no matter how tricky&amp;quot;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Use Lightroom's tonal exposure to match all images to a mid-range image by choosing that image first and individually; then select the rest. You need to treat the video as a series of images if you feel there's to much to adjust, you may want to break it into scenes since you wouldn't want bright outdoor scenes to be too dark and very dark scenes to be overly brightened. Even if you broke 60 minutes into 60 scenes it's not going to take an hour to fix.&lt;/p&gt;&#xA;&lt;p&gt;Adobe Help - &amp;quot;&lt;a href=&quot;https://helpx.adobe.com/photoshop-elements/using/color-tonal-correction-basics.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Color and tonal correction basics&lt;/a&gt;&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;YouTube Tutorial: Terry White: &amp;quot;&lt;a href=&quot;https://www.youtube.com/watch?v=4f3XwNpA9tI&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to Match the Exposure Across Photos In Lightroom 5&lt;/a&gt;&amp;quot;.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2018-03-11T05:15:37.510" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23567" PostTypeId="2" ParentId="23492" CreationDate="2018-03-11T14:50:38.430" Score="0" Body="&lt;p&gt;For audio, I would suggest using a Rode SmartLav+ - it's only £42 but the audio it provides is nice and crisp, but even more so with the mini 'deadcat' you can get as an accessory. For tripods/stabilisers, I would suggest a Steadicam Solo (this has a built-in monopod, and is a bit overkill, but would work fine) and for a tighter budget maybe this (&lt;a href=&quot;https://www.amazon.co.uk/Handheld-Stabilizer-Adjustable-Steadicam-Monopod/dp/B06Y67P6LC/ref=sr_1_1?ie=UTF8&amp;amp;qid=1520779509&amp;amp;sr=8-1&amp;amp;keywords=steadicam+with+tripod&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.amazon.co.uk/Handheld-Stabilizer-Adjustable-Steadicam-Monopod/dp/B06Y67P6LC/ref=sr_1_1?ie=UTF8&amp;amp;qid=1520779509&amp;amp;sr=8-1&amp;amp;keywords=steadicam+with+tripod&lt;/a&gt;) white-label one? In my opinion, lenses aren't usually necessary, but if you insist take a look at 'Moment': they seem to be the industry standard, and make amazing quality lenses with minimal distortion or abboration, and best of all they support the S8 as well. I'm not sure what type of budget you're going for, but this is my suggestion for a pro-sumer/enthusiast.&lt;/p&gt;&#xA;" OwnerUserId="20576" LastActivityDate="2018-03-11T14:50:38.430" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23569" PostTypeId="1" CreationDate="2018-03-12T01:04:48.330" Score="0" ViewCount="668" Body="&lt;p&gt;I'm trying to extract a segment from an .mpg file using ffmpeg, using this command.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 0:00:06 -t 0:01:39 -i capture(0).mpg -vcodec copy -acodec copy test.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The input file has both video and audio, but the resulting file has only video--no audio. I verified this in VLC Player and ffplay.exe.  What am I missing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the output of the above ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Guessed Channel Layout for Input Stream #0.1 : stereo&#xA;Input #0, mpeg, from 'capture(0).mpg':&#xA;  Duration: 01:06:14.08, start: 0.224400, bitrate: 9680 kb/s&#xA;    Stream #0:0[0x1e0]: Video: mpeg2video (Main), yuv420p(tv, top first), 720x480 [SAR 8:9 DAR 4:3], 29.97 fps, 29.97 tbr, 90k tbn, 59.94 tbc&#xA;    Stream #0:1[0xa0]: Audio: pcm_dvd, 48000 Hz, stereo, s16, 1536 kb/s&#xA;File 'test.mpg' already exists. Overwrite ? [y/N] y&#xA;[mpeg @ 0000028434ef5c40] VBV buffer size not set, using default size of 130KB&#xA;If you want the mpeg file to be compliant to some specification&#xA;Like DVD, VCD or others, make sure you set the correct buffer size&#xA;Output #0, mpeg, to 'test.mpg':&#xA;  Metadata:&#xA;    encoder         : Lavf57.71.100&#xA;    Stream #0:0: Video: mpeg2video (Main), yuv420p(tv, top first), 720x480 [SAR 8:9 DAR 4:3], q=2-31, 29.97 fps, 29.97 tbr, 90k tbn, 29.97 tbc&#xA;    Stream #0:1: Audio: pcm_dvd, 48000 Hz, stereo, s16, 1536 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame= 2977 fps=915 q=-1.0 Lsize=  119500kB time=00:01:39.22 bitrate=9866.2kbits/s speed=30.5x&#xA;video:100235kB audio:18659kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.510136%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ffplay console output (on the resulting output file):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mp2 @ 00000181ee26fee0] Header missingvq=    0KB sq=    0B f=0/0&#xA;    Last message repeated 8 times&#xA;...many similar results omitted here&#xA;[mp2 @ 00000181ee26fee0] Header missingvq=    0KB sq=    0B f=0/0&#xA;    Last message repeated 9 times&#xA;[mpeg @ 00000181ee25b400] decoding for stream 1 failed&#xA;[mpeg @ 00000181ee25b400] Could not find codec parameters for stream 1 (Audio: mp2, 0 channels, s16p): unspecified frame size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, mpeg, from 'test.mpg':&#xA;  Duration: 00:01:39.47, start: 0.500000, bitrate: 9841 kb/s&#xA;    Stream #0:0[0x1e0]: Video: mpeg2video (Main), yuv420p(tv, top first), 720x480 [SAR 8:9 DAR 4:3], 29.97 fps, 29.97 tbr, 90k tbn, 59.94 tbc&#xA;    Stream #0:1[0x1c0]: Audio: mp2, 0 channels, s16p&#xA;   3.98 M-V: -0.032 fd=   4 aq=    0KB vq=  988KB sq=    0B f=0/0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I &lt;strong&gt;am&lt;/strong&gt; able to get both video and audio if I change the audio codec and container format, using the following options, e.g.: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; video codec: copy     audio codec: aac         output file .mkv&#xA; video codec: copy     audio codec: aac         output file .mp4&#xA; video codec: copy     audio codec: libopus     output file .mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, I prefer to just copy the streams for performance reasons.&lt;/p&gt;&#xA;" OwnerUserId="21653" LastActivityDate="2018-03-12T06:01:40.163" Title="Extracting segment from .mpg file using ffmpeg; why does result have video but no audio?" Tags="|ffmpeg|mpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23570" PostTypeId="2" ParentId="23569" CreationDate="2018-03-12T06:01:40.163" Score="1" Body="&lt;p&gt;Until very recently (&lt;a href=&quot;http://git.videolan.org/?p=ffmpeg.git;a=commit;h=f0809bc0fa634afe8b7c3f2682b8e51e87d0861e&quot; rel=&quot;nofollow noreferrer&quot;&gt;2018-02-17&lt;/a&gt;), ffmpeg wasn't able to correctly remux pcm_dvd streams in MPEG-PS. You'll have to upgrade to a recent version. Get a git snapshot binary from &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; (under More Downloading Options)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also just re-encode using &lt;code&gt;-acodec pcm_s16be&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-03-12T06:01:40.163" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23571" PostTypeId="1" CreationDate="2018-03-12T08:40:39.660" Score="1" ViewCount="56" Body="&lt;p&gt;I was just wondering whether one is able to use, operate, and record on a GoPro without connecting to a mobile device or GoPro's mobile applications. Some insight would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="21655" LastActivityDate="2018-03-12T13:40:45.407" Title="GoPro Recording Without A Phone Connection" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23572" PostTypeId="2" ParentId="23571" CreationDate="2018-03-12T13:40:45.407" Score="2" Body="&lt;p&gt;Yes, it is entirely possible to use, operate and record on a GoPro. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You won't be able to view any of the photos/video you have taken without either connecting to a mobile device OR viewing the footage you have taken on the MicroSD with another device such as a PC or Mac.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The GoPro cameras have a fairly wide angle lens which is helpful considering the cameras don't have a display built-in. GoPro sell removable LCD touch screens that can help you to frame your shot.&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2018-03-12T13:40:45.407" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23573" PostTypeId="2" ParentId="23561" CreationDate="2018-03-12T17:45:23.073" Score="3" Body="&lt;p&gt;I have planned for a long time to make a video luma stabilizing software, and when I saw this question I gave myself a kick in the butt and built something (hopefully) useful during the night. Now, it's by far a finished and polished product, of course, but if you feel bold and want to give it a shot, here is how you can use it (currently).&lt;/p&gt;&#xA;&lt;p&gt;The best part: it's free... (and runs locally directly in the browser).&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Prerequisites:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;You will need After Effects&lt;/li&gt;&#xA;&lt;li&gt;You video need to be stored as frames/images (they don't need to full size for the analysis though). JPEG, PNG sequences are fine.&lt;/li&gt;&#xA;&lt;li&gt;You need to run this on a desktop or tablet with somewhat high resolution. It targets FHD but it may work in smaller screens - I have not tried or accounted for responsiveness quite yet...&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;Go to this web page to start:&lt;br /&gt;&#xA;&lt;a href=&quot;https://epistemex.github.io/Video-Luma/&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strike&gt;https://epistemex.github.io/Video-Luma/&lt;/strike&gt;&lt;/a&gt; --- DEAD LINK&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;As mentioned, everything will run inside the browser (there is no upload) and will require a newer HTML5 browser. I am using Firefox v59 beta for this myself, but you should be able to use v58 stable as well as Chrome, Opera, Edge, Safari etc (although the latter ones may be slower and I have not yet fully tested with these browsers except Chrome).&lt;/p&gt;&#xA;&lt;h2&gt;Browser Steps&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Select all your files/frames from the button at the top of the web page.&lt;/li&gt;&#xA;&lt;li&gt;Then select the &lt;em&gt;base frame&lt;/em&gt; and region to use as analyze area (I hope you don't mind I'm using your video example for these steps). The base frame is to indicate a &lt;em&gt;goal&lt;/em&gt; luma for the selected region - &lt;strong&gt;also&lt;/strong&gt;: the bigger the selection the more to calculate and will take longer time, but may also produce better result. Avoid selecting areas with movements (incl. shadow):&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ELBBj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ELBBj.jpg&quot; alt=&quot;selection step&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Then hit the &lt;strong&gt;&amp;quot;Analyze&amp;quot;&lt;/strong&gt; button and wait until end. How fast it will finish depends largely on your computer specs. There is no escape in this version, but you can always reload the page or close the browser if you feel it will be too slow (in that case consider using lower size frames).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JgAih.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JgAih.jpg&quot; alt=&quot;analysing&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;When done you can hit the &lt;strong&gt;&amp;quot;PREVIEW&amp;quot;&lt;/strong&gt; button to get a impression of how it will look. It's not gonna be perfect. Currently I'm just using luma to adjust the values (I plan to support white-balance as well) but you will, depending on the footage, see variations in contrast. Not perfect but hopefully better.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Finally in the web page, hit &lt;strong&gt;1) &amp;quot;Export&amp;quot;&lt;/strong&gt; and &lt;strong&gt;2)&lt;/strong&gt; select+copy all the text AS-IS:&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Hk2kK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Hk2kK.jpg&quot; alt=&quot;text copy&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;h2&gt;After Effects Steps&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Next: Start up After Effects&lt;/strong&gt; and load the sequence into a comp.&lt;/li&gt;&#xA;&lt;li&gt;Then drop the effect &lt;strong&gt;&amp;quot;Brightness &amp;amp; Contrast&amp;quot;&lt;/strong&gt; on top of your image sequence.&lt;/li&gt;&#xA;&lt;li&gt;Make sure the play head is at the 1) &lt;strong&gt;first frame&lt;/strong&gt;, expand effects and select the above mentioned effect and its &lt;strong&gt;&amp;quot;Brightness&amp;quot;&lt;/strong&gt; property - then &lt;strong&gt;paste&lt;/strong&gt; (still holding the copy from the browser):&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4BjOI.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4BjOI.jpg&quot; alt=&quot;AE effect selection&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The key-frames should now show in the right pane and you're ready to go! Preview and check if everything looks fine.&lt;/p&gt;&#xA;&lt;h2&gt;Troubleshooting&lt;/h2&gt;&#xA;&lt;p&gt;I noticed a bug in the browser's image loading process which can produce &amp;quot;spikes&amp;quot; in the data from time to time (unclear why but I'm working on it):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4IuSb.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4IuSb.jpg&quot; alt=&quot;spikes example&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The only current way to get rid these is to open the 1) &lt;strong&gt;graph panel&lt;/strong&gt; in After Effects and 2) &lt;strong&gt;manually remove&lt;/strong&gt; those:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Gp6KS.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Gp6KS.jpg&quot; alt=&quot;AE graph&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I did implement a &amp;quot;Spike filter&amp;quot; button that is activated if these are detected, but there is a chance it will affect the other data as well so I would recommend not using it for the time being.&lt;/p&gt;&#xA;&lt;p&gt;I have not run exhausted memory tests but the images are loaded one by one directly from disk as to not to fill up the memory too much so you should be able to run through long sequences although they may take some time.&lt;/p&gt;&#xA;&lt;p&gt;And that's it, let me know if it's useful in your case (or if something went horrible wrong - which reminds me to add a disclaimer: use at your own risk! :) ).&lt;/p&gt;&#xA;" OwnerDisplayName="user2995" LastEditorUserId="-1" LastEditorDisplayName="user2995" LastEditDate="2023-09-02T21:23:01.857" LastActivityDate="2023-09-02T21:23:01.857" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23574" PostTypeId="2" ParentId="23557" CreationDate="2018-03-13T17:26:10.127" Score="2" Body="&lt;p&gt;A1: Links like these mention that ProRes 'bakes in' the white balance (as opposed to storing it as separate metadata): &lt;a href=&quot;https://forum.blackmagicdesign.com/viewtopic.php?t=11980&quot; rel=&quot;nofollow noreferrer&quot;&gt;blackmagicdesign.com forum&lt;/a&gt; ; &lt;a href=&quot;http://www.reduser.net/forum/showthread.php?117147-What-are-the-pros-and-cons-of-recording-Pro-res-versus-Raw&amp;amp;p=1371076&amp;amp;viewfull=1#post1371076&quot; rel=&quot;nofollow noreferrer&quot;&gt;reduser.net forum&lt;/a&gt; ; &lt;a href=&quot;http://www.reduser.net/forum/showthread.php?151249-Color-space-for-ProRes-422-HQ&amp;amp;p=1685814&amp;amp;viewfull=1#post1685814&quot; rel=&quot;nofollow noreferrer&quot;&gt;reduser.net forum&lt;/a&gt; ; &lt;a href=&quot;http://www.cinematography.com/index.php?showtopic=71863&amp;amp;p=459462&quot; rel=&quot;nofollow noreferrer&quot;&gt;cinematography.com forum&lt;/a&gt; ; &lt;a href=&quot;http://www.bmcuser.com/archive/index.php/t-837.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;bmcuser.com archive&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I am surprised this is not more obviously stated on the web anywhere - it seems to be assumed knowledge)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A2: I did end up computing the least-squares solution that brings the 'bad' pixels over to the 'good' ones in RGB space. This gave me a 3x3 transformation matrix that could be applied to each pixel of the bad frames. After this their colour looked very much like that of the good frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In MATLAB this is as simple as reshaping one's image matrices into long 3xN lists of pixels (A = the bad frames, B = the good frames) and computing &lt;code&gt;M = B/A&lt;/code&gt;, i.e. solving MA=B for M.&lt;/p&gt;&#xA;" OwnerUserId="21633" LastActivityDate="2018-03-13T17:26:10.127" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23575" PostTypeId="1" CreationDate="2018-03-14T10:45:30.327" Score="1" ViewCount="170" Body="&lt;p&gt;I have created a mo graph video using After Effects and Premier in HD 1920X1080. The client wants a much smaller version in 320x240 but every time I render out the smaller version pixilates. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way I can fix this&lt;/p&gt;&#xA;" OwnerUserId="21669" LastEditorUserId="674" LastEditDate="2018-03-14T11:12:30.340" LastActivityDate="2018-04-19T18:13:00.380" Title="How can I export 1920X1080 to 320X240 without losing quality?" Tags="|video-editor|video-quality|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23576" PostTypeId="1" CreationDate="2018-03-14T10:58:42.383" Score="1" ViewCount="260" Body="&lt;p&gt;as you know, we can add &quot;time&quot; variable to &quot;x&quot; parameter on Drawtext, to move the text; usually we have linear transformation ( t+100 ), buy I'd like to reproduce a kind of &quot;Cubic Bezier&quot; effect to my text, while it cames into the scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a final effect:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://cubic-bezier.com/#.6,.01,.4,.99&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://cubic-bezier.com/#.6,.01,.4,.99&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has someone ever tried to reproduce this kind of effect?!!&lt;/p&gt;&#xA;" OwnerUserId="21376" LastActivityDate="2018-03-14T10:58:42.383" Title="ffmpeg - cubic-bezier for drawtext movement" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23577" PostTypeId="2" ParentId="23575" CreationDate="2018-03-14T11:16:22.380" Score="2" Body="&lt;p&gt;No matter what you try, you will lose quality as you are reducing the resolution significantly. So you are creating each new pixel from an aggregate of 36 - and depending on how you do that it can look okay or terrible, but it will not look anywhere near as good as the original. There is no way to avoid this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Experiment with the settings for down sizing - for your video some may work better than others.&lt;/p&gt;&#xA;" OwnerUserId="674" LastEditorUserId="674" LastEditDate="2018-04-19T18:13:00.380" LastActivityDate="2018-04-19T18:13:00.380" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23584" PostTypeId="2" ParentId="23559" CreationDate="2018-03-15T07:57:34.417" Score="1" Body="&lt;p&gt;Syncope is also called &quot;blacking out&quot;. So it kinda follows that you might fade in from black…? This effect is in every NLE usually as the default transition. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you wanna get artsy, maybe you could add say, a blur that gets progressively less blurry as the transition proceeds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But really, it totally depends on what you want it to look like. Is there a director for this video? Making creative decisions about stuff like this is their job.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-03-15T07:57:34.417" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23586" PostTypeId="1" CreationDate="2018-03-14T04:52:29.190" Score="0" ViewCount="399" Body="&lt;p&gt;I want to start my own YouTube channel for various games that I play. I've watched way more than I care to admit from other YouTube gamers. The ones that I really like and find most engaging have 30-45 minute videos of a play through. However, it's often edited to remove the &quot;boring parts&quot; - think of this as the planning time in some games where you can pause it, set stuff up and the unpause it. There is a short jump and everything is set up - the channel creator describes what was set up but didn't show the 15-20 minutes that it actually took to do so. It keeps the video and game play moving forward.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I'm looking for longer playthroughs, I often find live streams on YouTube. This, obviously, shows everything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, what kind of set up would I need to do the first option? My computer can run the game, but what do I need to know about recording the gameplay and my voice, editing the video, and stitching it together?&lt;/p&gt;&#xA;" OwnerUserId="21685" OwnerDisplayName="DjangoNoob" LastEditorUserId="17390" LastEditDate="2018-06-18T21:57:59.717" LastActivityDate="2018-06-18T21:57:59.717" Title="Streaming vs Let's Play on YouTube" Tags="|youtube|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23587" PostTypeId="2" ParentId="23586" CreationDate="2018-03-15T14:43:35.617" Score="1" Body="&lt;p&gt;You have a lot of different options for something like this.  At the most basic, NVidia shadowplay can capture your gameplay and the audio from your mic to a video, but this is somewhat limiting of your options for changing stuff later on as the game and voice audio are pre-combined, you are limited to the quality of shadowplay and some computing resources have to be used to do the data handling for the encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To move things up a step, you could use a stand alone recorder for your voice and only capture the video game audio with Shadowplay.  Another further step up would be to setup an external recorder that could offload the entire capture process to dedicated hardware.  This rapidly gets more complex and more expensive, but allows for the best overall output quality and least load on your computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are many different capture devices out there, some consumer, some professional.  Some require you to use a distribution amplifier or a cloned output from your graphics card to feed your monitor and the capture device separately.  Some capture devices have a pass through output that lets you plug the monitor in to the capture device and capture everything going to the monitor.  It really depends on how much you want to spend and how complicated you want to get.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once everything is captured, it's no different from typical video editing.  You go through, review your footage, identify the parts you think will fit your narrative and assemble it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option with post produced videos like this is that you can do your initial playthrough with no voice over and then add the voice over after you've finished your editing.  This can allow for your voice over to better flow with the editing and how you tell the story of your gameplay.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2018-03-15T14:43:35.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23589" PostTypeId="1" AcceptedAnswerId="23598" CreationDate="2018-03-15T19:23:31.940" Score="4" ViewCount="2877" Body="&lt;p&gt;I have problematic footage from diving due to my camera/SD card - every 4th or so frame is just black, and I want to replace all those black frames with either an interpolation between the previous and next frame or just duplicate the previous frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found this question &lt;a href=&quot;https://video.stackexchange.com/questions/10383/remove-black-frames-from-vob-files-with-ffmpeg&quot;&gt;&quot;remove black frames from vob files with ffmpeg&quot;&lt;/a&gt;, but I don't want to cut out the frames but instead want to interpolate between the two frames or duplicate the previous frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think I might be able to get all the relevant positions with the black-frame filters etc, but what kind of actions would I use to replace those frames with an interpolation or a duplicate of the previous frame in a fully automatic way (so I only pass my movie file into the script)? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;All I've found so far is the &quot;shuffleframes&quot; method, which I could somehow (how?) feed with the position of the black frames and then thereby duplicate the previous frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Demo footage detailing the probem can be found &lt;a href=&quot;https://cl.ly/qCr1&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="21686" LastEditorUserId="636" LastEditDate="2018-03-16T12:58:42.813" LastActivityDate="2018-03-16T13:48:24.853" Title="replace black frames with previous frames" Tags="|ffmpeg|filter|blackmagic|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23590" PostTypeId="2" ParentId="1773" CreationDate="2018-03-15T20:31:05.217" Score="0" Body="&lt;p&gt;If possible, film in 48 FPS. You can remove every-other frame to make 24 FPS, and you've got up to a 2x slowmotion effect available in post where you want to add it.&lt;/p&gt;&#xA;" OwnerUserId="21687" LastActivityDate="2018-03-15T20:31:05.217" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23592" PostTypeId="2" ParentId="16213" CreationDate="2018-03-16T04:52:17.343" Score="0" Body="&lt;p&gt;Your browser/quicktime plugin is likely to blame for inaccurately displayed colors.  There's a simple test for this.  After you export your master file, re-import it into FCPX.  Does it look the same as your project?  If so, then don't worry about the mismatch because the colors actually exist in the file as you mastered them.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2018-03-16T04:52:17.343" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="23593" PostTypeId="1" AcceptedAnswerId="23616" CreationDate="2018-03-16T11:16:16.430" Score="0" ViewCount="48" Body="&lt;p&gt;I need a video hosting online service like Youtube or Vimeo who lets me organize in a useful way videos I upload (which need to stay private) with tags/labels and filter them with a search function. Is there something like this on the net? Thank you in advance.&lt;/p&gt;&#xA;" OwnerUserId="20944" LastActivityDate="2018-03-19T22:32:20.343" Title="Video hosting platform with tags" Tags="|video|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23595" PostTypeId="1" CreationDate="2018-03-16T12:35:26.563" Score="2" ViewCount="305" Body="&lt;p&gt;I'm trying to use the option line_h of drawtext filter, with last build of ffmpeg&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-45325-gb173e0353-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc-6 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gray --enable-libfribidi --enable-libass --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx     --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-libzimg&#xA;  libavutil      56.  9.100 / 56.  9.100&#xA;  libavcodec     58. 14.100 / 58. 14.100&#xA;  libavformat    58. 10.100 / 58. 10.100&#xA;  libavdevice    58.  2.100 / 58.  2.100&#xA;  libavfilter     7. 13.100 /  7. 13.100&#xA;  libswscale      5.  0.102 /  5.  0.102&#xA;  libswresample   3.  0.101 /  3.  0.101&#xA;  libpostproc    55.  0.100 / 55.  0.100&#xA;Input #0, image2, from 'source/img001.jpg':&#xA;  Duration: 00:00:00.04, start: 0.000000, bitrate: 12723 kb/s&#xA;    Stream #0:0: Video: mjpeg, yuvj420p(pc, bt470bg/unknown/unknown), 1024x768 [SAR 1:1 DAR 4:3], 25 fps, 25 tbr, 25 tbn, 25 tbc&#xA;[Parsed_drawtext_4 @ 0x45699c0] Option 'line_h' not found&#xA;[AVFilterGraph @ 0x4581440] Error initializing filter 'drawtext' with args 'fontfile=Roboto-Regular.ttf:enable=between(t,0,6):line_h=20:text=&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm talking about this filter option:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;line_h, lh&#xA;the height of each text line&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is this a deprecated feature? how is possible that this option is not found in last version of ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="21376" LastActivityDate="2018-10-12T18:00:50.647" Title="ffmpeg - line_h option not found in latest version of ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23596" PostTypeId="2" ParentId="23595" CreationDate="2018-03-16T12:41:42.480" Score="2" Body="&lt;p&gt;&lt;code&gt;line_h&lt;/code&gt; is not an option. It is a variable that can be used in expressions and its value is the height of the tallest character in the text.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-03-16T12:41:42.480" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23598" PostTypeId="2" ParentId="23589" CreationDate="2018-03-16T13:48:24.853" Score="5" Body="&lt;p&gt;It's possible to have the black frames removed and earlier frames duplicated.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf blackframe=0,metadata=select:key=lavfi.blackframe.pblack:value=50:function=less -vsync cfr -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The blackframe filter analyses and registers the proportion of a frame's pixels which are black. The metadata filter keeps all frames which have at most 50% of pixels black. The removed frames create a gap in the video stream. So by setting the video sync method to constant frame rate, ffmpeg duplicates earlier (non-black) frames to fill in those gaps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll have to experiment with the metadata selection value &lt;code&gt;50&lt;/code&gt; to get the right threshold.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-03-16T13:48:24.853" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="23599" PostTypeId="1" CreationDate="2018-03-16T17:46:25.093" Score="2" ViewCount="6055" Body="&lt;p&gt;Property &quot;Size&quot; scale rectangle in two directions, like a mirror. And &quot;Scale&quot; distort roundness.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How scale rectangle in one direction without roundness scale without expressions?&lt;/p&gt;&#xA;" OwnerUserId="21697" LastActivityDate="2021-06-30T22:00:34.757" Title="How scale rectangle in one direction without roundness scale" Tags="|after-effects|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23600" PostTypeId="2" ParentId="4491" CreationDate="2018-03-16T17:51:31.233" Score="1" Body="&lt;p&gt;you can try the gopro studio that can create a 3d video using a proprietary codec as output ( hold the 2 video stream synchronized). After that you can use more traditionnal editor that recognize the codec (need to be installed on windows) and make you final video (including most of video modification) and export in several 3d format (anaglyphe, SBS, ...). In fact this is the codec manager that hold the 3D until export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main problem (not tested because i use footage from gopro) is that gopro studion need to recognize your 2 video stream as source.&lt;/p&gt;&#xA;" OwnerUserId="21696" LastActivityDate="2018-03-16T17:51:31.233" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23601" PostTypeId="1" AcceptedAnswerId="23602" CreationDate="2018-03-16T18:00:27.940" Score="2" ViewCount="916" Body="&lt;p&gt;I need to reduce the file size of an mp4 video. I don't need color information at all but pixel brightness resolution must be preserved. Videos consist of white background with a few (important) black dots of about 5px diameter. I am confused about what the best method/output would be.&lt;/p&gt;&#xA;" OwnerUserId="21674" LastEditorUserId="21674" LastEditDate="2018-03-19T00:02:26.897" LastActivityDate="2018-03-19T12:57:51.923" Title="Lossless color compression" Tags="|ffmpeg|codec|file-formats|colorspace|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23602" PostTypeId="2" ParentId="23601" CreationDate="2018-03-16T19:00:51.413" Score="3" Body="&lt;p&gt;Without knowing the video properties, my generic answer is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf geq=lum='p(X,Y)':cb=128:cr=128 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will reset the color information, but pass the luma plane intact. Add &lt;code&gt;-crf 0&lt;/code&gt; for truly lossless re-encoding.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;This is the faster way,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf extractplanes=y,format=yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The luma plane is extracted, and then neutral chroma planes are added in the pixel format conversion. This 2nd step is added because otherwise ffmpeg will auto-convert pixel format to yuv444 which isn't widely compatible.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-03-19T12:57:51.923" LastActivityDate="2018-03-19T12:57:51.923" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23604" PostTypeId="2" ParentId="17061" CreationDate="2018-03-18T12:50:23.773" Score="1" Body="&lt;p&gt;(This for Linux) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you all probably know, pressing 'q' ends the recording file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffplay has the 'p'-possibility. Why doesn't ffmpeg have the same thing?&#xA;Maybe because it can lead to desync between video and audio?...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just ffmpeg-encode to x264-aac-mkv with crf (23) and always with the same video conditions, &#xA;'quit' (q) the recordings and join all the segments in a specific dir, where this script resides,&#xA; to 1 file in streamcopy mode with this bash-script:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;# FFMPEG MERGE&#xA;&#xA;# File path must be absolutely absolute...&#xA;&#xA;ffmpeg -f concat -safe 0 -i &amp;lt;(printf &quot;file '%s'\n&quot; /home/me/Videos/FFmpeg/FFmpeg_Merge/*.mkv) -c copy merged.mkv&#xA;&#xA;exit &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After that I check the resulting merged video and paste it to another dir.&#xA;The segments are removed from the merge dir.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, a hasslefree 'Pause &amp;amp; Resume' button would be welcome indeed;)&lt;/p&gt;&#xA;" OwnerUserId="21709" LastActivityDate="2018-03-18T12:50:23.773" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23605" PostTypeId="2" ParentId="22630" CreationDate="2018-03-18T12:50:42.400" Score="0" Body="&lt;p&gt;Have a look to vMix , a software that take advantage of NDI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you use MPlayer/VLC as playout on another machine and use OBS + NDI to capture back the playout and broadcast&lt;/p&gt;&#xA;" OwnerUserId="21708" LastActivityDate="2018-03-18T12:50:42.400" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23606" PostTypeId="2" ParentId="23601" CreationDate="2018-03-18T18:21:20.370" Score="2" Body="&lt;p&gt;Much faster solution: &lt;code&gt;ffmpeg -i in.mp4 -vf extractplanes=y out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2018-03-18T18:21:20.370" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23607" PostTypeId="1" CreationDate="2018-03-18T19:24:40.590" Score="1" ViewCount="4171" Body="&lt;p&gt;&lt;strong&gt;The problem with my clip:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It was recorded on a fashion show and my recording for some reason stopped, but I quickly restarted it, so approximately 2 seconds are missing. On the visuals, not much was happening at that moment, so a cut is not that noticable luckily.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;BUT:&lt;/strong&gt; music was playing in the background, so it doesn't matter how I cut, in the audio, you obviously hear the cut. My solution for this problem is to download the original song, bring it to Premiere, put it in place between/under the 2 pieces of clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;QUESTION:&lt;/strong&gt;&#xA;I need this audio to sound like it was recorded &quot;on-set&quot;, like the song was played on a huge speaker in a 10m x 20m hall. I tried the audio effect highpass, but with that, it sounds like it was played on a phone, since it eliminates lower frequencies. I tried a few other filters, but since I'm not really into that topic, I couldn't make it convincing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for the help.&lt;/p&gt;&#xA;" OwnerUserId="21519" LastActivityDate="2018-06-22T05:09:35.090" Title="Premiere: Make music sound like it's coming from huge speakers?" Tags="|premiere|audio|effects|filter|" AnswerCount="4" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23613" PostTypeId="2" ParentId="10128" CreationDate="2018-03-19T14:19:19.670" Score="-1" Body="&lt;p&gt;It's 2018 now and here's what I do, in case anyone else is wondering about this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suppose I've created a video as a wmv or whatever (e.g. via PowerPoint).  I use an online conversion tool to &lt;strong&gt;convert to mp4.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This gives great results when uploading to youtube.&lt;/p&gt;&#xA;" OwnerUserId="19609" LastActivityDate="2018-03-19T14:19:19.670" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23614" PostTypeId="2" ParentId="23607" CreationDate="2018-03-19T18:10:29.483" Score="0" Body="&lt;p&gt;Try looking for software that implements the &quot;LMS algorithm&quot; for echo compensation and let it &quot;compensate&quot; the &quot;echo&quot; from the original track in the available parts of your recording.  The sign-reversed &quot;compensation&quot; will fit well in the gap you have to fill.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry, I just know the technology to use, not which end user tools are generally available implementing them.&lt;/p&gt;&#xA;" OwnerDisplayName="user21719" LastActivityDate="2018-03-19T18:10:29.483" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23616" PostTypeId="2" ParentId="23593" CreationDate="2018-03-19T22:32:20.343" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;I need a video hosting online service like Youtube or Vimeo who lets me organize in a useful way videos I upload (which need to stay private) with tags/labels and filter them with a search function. Is there something like this on the net? &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;YouTube lets you do it for free.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Create a new Channel. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Upload videos as &quot;Private&quot;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Create a new Playlist as &quot;Private&quot;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Tag your videos.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use the  &quot;Auto-add&quot; with Tags to place the videos automatically into one or more Playlists. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HU8dD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HU8dD.png&quot; alt=&quot;YouTube ScreenShot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2018-03-19T22:32:20.343" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23617" PostTypeId="1" CreationDate="2018-03-20T12:37:23.683" Score="0" ViewCount="2234" Body="&lt;p&gt;I recently filmed some content of a thin line of a projected image. The video footage is flickering a little and I am wondering if there's any solution to fix the footage once it's been filmed. I have tried to speed up and slow down the footage and it doesn't seem to change it. Is there any way of editing it out on imovie? Thanks!&lt;/p&gt;&#xA;" OwnerUserId="21718" LastActivityDate="2019-04-06T17:33:40.443" Title="How can I edit out the flicker from a projector from existing video footage?" Tags="|video|editing|post-production|imovie|footage|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23618" PostTypeId="2" ParentId="23617" CreationDate="2018-03-20T20:12:49.383" Score="0" Body="&lt;p&gt;I am sure you could do it in another program, like PowerDirector but iMovie is a stretch.  If it is random black frame, you may be able to cut those black frames out of the movie so it looks like a completely smooth video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You would do this by doing frame by frame and when there is a black frame, click the &lt;em&gt;Split&lt;/em&gt; button and then find the end of the black, split it again and then delete the part that you  separated &lt;/p&gt;&#xA;" OwnerUserId="17575" LastEditorUserId="17575" LastEditDate="2018-03-23T15:26:09.787" LastActivityDate="2018-03-23T15:26:09.787" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23619" PostTypeId="1" AcceptedAnswerId="23743" CreationDate="2018-03-20T20:45:31.487" Score="1" ViewCount="308" Body="&lt;p&gt;Is there any shortcut where I can apply a 0% opacity at the beginning of the layer and 100% opacity after 10 frames after the beginning of the layer and can do the reverse as well?&lt;/p&gt;&#xA;" OwnerUserId="18258" LastActivityDate="2018-04-08T08:44:18.317" Title="Opacity depending on the layer" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23620" PostTypeId="2" ParentId="23599" CreationDate="2018-03-20T22:38:16.027" Score="2" Body="&lt;p&gt;Assuming this is a shape layer created with the rectangle tool, you can solve this by going to Shape Layer 1 -&gt; Contents -&gt; Rectangle 1 -&gt; Rectangle Path 1 -&gt; Size, and unchecking the icon that looks like two chain links, and then changing either of the two numeric values independently to change either the width or height of the rectangle, without changing or distorting the roundness.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cwRLj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cwRLj.png&quot; alt=&quot;screen shot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21303" LastEditorUserId="21303" LastEditDate="2018-03-20T22:44:39.513" LastActivityDate="2018-03-20T22:44:39.513" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23622" PostTypeId="1" CreationDate="2018-03-21T17:15:05.990" Score="1" ViewCount="89" Body="&lt;p&gt;I'm capturing 240 FPS footage from the Go Pro Hero 6 Black in a lab setting, and I need to be able to review the footage frame by frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right now, I'm attempting to transcode the h.265 video output (from the go pro) using &quot;HandBrake&quot; so that I can open it in a free video editor (DaVinci Resolve). I have tried toying around with the handbrake settings, specifically changing &quot;Framerate&quot; (in the video tab) to &quot;same as source&quot;, but have had no success.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not tied to any software or method, I just need to view the 240 FPS footage frame-by-frame somehow. My boss would prefer a way of doing this without paying for any software licenses, but obviously employee time has a cost too so if a method requiring paid software is much faster, then so be it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help or advice is greatly appreciated!&lt;/p&gt;&#xA;" OwnerUserId="21741" LastActivityDate="2018-03-21T17:15:05.990" Title="Frame-by-frame h.265 transcoding" Tags="|handbrake|h.265|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23625" PostTypeId="1" AcceptedAnswerId="23628" CreationDate="2018-03-22T07:57:28.457" Score="1" ViewCount="9869" Body="&lt;p&gt;As far as I know, cd quality for mp3s is at least 128 kbps.&#xA;What should the video bitrate be to obtain dvd quality? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note I'm using mp4 container with mp3 audio and mpeg4 video.&lt;/p&gt;&#xA;" OwnerUserId="21750" LastEditorUserId="21750" LastEditDate="2018-03-22T08:14:43.963" LastActivityDate="2018-03-22T11:28:34.133" Title="Which bitrate is needed for dvd quality?" Tags="|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23626" PostTypeId="2" ParentId="23011" CreationDate="2018-03-22T08:53:39.113" Score="0" Body="&lt;p&gt;Finally I found this answer&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://forums.creativecow.net/thread/2/868241&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forums.creativecow.net/thread/2/868241&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But it's pretty involved.  Is there a better way?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-03-22T08:53:39.113" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23628" PostTypeId="2" ParentId="23625" CreationDate="2018-03-22T11:28:34.133" Score="1" Body="&lt;p&gt;Of course it depends on the used codec as well, it is not all about bitrate. But it is possible to have a reasonable quality @3,5 Mbit/s. But using the maximum range of ~9Mbit/s. usually looks much better, but the space of a DVD is limited, so that it is not enough for a 90 minute movie. The best thing is to try different settings for your mpeg4. Remember that this video must obey DVD restriction in order to be played in a DVD player.&lt;/p&gt;&#xA;" OwnerDisplayName="user21266" LastActivityDate="2018-03-22T11:28:34.133" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="23629" PostTypeId="2" ParentId="23011" CreationDate="2018-03-22T11:40:46.877" Score="1" Body="&lt;p&gt;You can access the position of a point in a mask with expressions (in AE CC 2017+) with expressions. To access the first point of a mask called &quot;Mask 1&quot; on layer called &quot;my Layer&quot; you'd use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;pts = thisComp.layer(&quot;my Layer&quot;).mask(&quot;Mask 1&quot;).maskPath.points();&#xA;pts[0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;note that the points are numbered from 0, so the second point is pts[1], etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not 100% sure I understand what you';re trying to do, have you tried doing a standard motion track using the inbuilt motion tracker or Mocha?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-03-22T11:40:46.877" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23631" PostTypeId="1" CreationDate="2018-03-22T15:27:30.910" Score="6" ViewCount="4503" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YQlvS.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YQlvS.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;How does ffprobe identifies I frame as an IDR and sets &lt;code&gt;key_frame=1&lt;/code&gt;.&#xA;Is it for the scene change?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My requirement is to filter out IDR frames: the steps I am following are&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;code&gt;ffprobe output_file -show_frames -select_streams v:0&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Filter above command results with &lt;code&gt;key_frame=1&lt;/code&gt; values(as per ffprobe IDR)&lt;/li&gt;&#xA;&lt;li&gt;The total count i got is 259. Using ffprobe I am getting wrong sets of &lt;code&gt;key_frame=1&lt;/code&gt; values.&lt;/li&gt;&#xA;&lt;li&gt;When i analyzed the same file with textronic analyzer I got correct values &lt;code&gt;idr = 118&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Textronix analyzer gives me below details for a a file verification.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;TotalPictures:Count[ 5864]&#xA;I Pictures: Count[  259]&#xA;P Pictures: Count[ 1059]&#xA;B Pictures: Count[ 4546]&#xA;&#xA;RAP Pictures:Count[259]&#xA;IDR Pictures:Count[118] &#xA;BLA Pictures:Count[0] &#xA;CRA Pictures:Count[141]&#xA;&#xA;Frames:     Count[ 5864]    Percentage[100.00]&#xA;Fields:     Count[    0]    Percentage[0.00]&#xA;&#xA;GOP (in Pictures, between I): Count[258] AverageSize[22] MinSize[1] MaxSize[50]&#xA;CVS (in Pictures, between IDR):Count[117] AverageSize[50]MinSize[50]MaxSize[50]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now how to identify correct IDR count using ffprobe?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmpeg is setting iskey to 1 for CRA frames as well(tried with -skip_frame nokey). I need to collect only IDR frames &lt;/p&gt;&#xA;" OwnerUserId="21487" LastEditorUserId="21487" LastEditDate="2018-03-27T15:13:56.333" LastActivityDate="2018-04-20T18:00:26.993" Title="How does ffprobe identifies I frame and IDR, when it sets key_frame=1" Tags="|ffmpeg|hevc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23632" PostTypeId="2" ParentId="23631" CreationDate="2018-03-22T16:49:45.060" Score="3" Body="&lt;p&gt;It sounds like you're analyzing a HEVC bitstream. HEVC has multiple types of Random Access Pictures, only one of which clears the buffer. But ffmpeg flags all of them as keyframes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have to use the HEVC decoder to parse this info out. The skip_frame option, as implemented in the HEVC decoder, only decodes IDR frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -skip_frame nokey -i in.mp4 -vf showinfo -vsync 0 -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The number of frames output is the IDR count.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;For the sample file, you can use the filter_units bitstream filter to keep only IDR frames&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -copyts -i HEVC-1080i25-STB_02_576i25.ts -an -c copy -bsf:v filter_units=&quot;19-20&quot; -f mpegts - | ffmpeg -copyts -i - -vf showinfo -f null NUL&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will show the data of 118 frames, same as the analyzer.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-04-20T18:00:26.993" LastActivityDate="2018-04-20T18:00:26.993" CommentCount="12" ContentLicense="CC BY-SA 3.0" />
  <row Id="23633" PostTypeId="1" CreationDate="2018-03-22T17:11:03.213" Score="3" ViewCount="82" Body="&lt;p&gt;I have a project in Premier Pro. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I added lot of text and clips to my timeline and when I have returned to it the next day I can't seem to find a way to edit the text anymore, all I am seeing is yellow and red line on top of the timeline indicating where the text starts and ends but no way of actually grabbing it to edit it. &lt;/p&gt;&#xA;" OwnerUserId="21757" LastEditorUserId="636" LastEditDate="2018-03-27T14:49:45.157" LastActivityDate="2019-12-17T23:00:50.143" Title="Editing text in Premiere Pro" Tags="|premiere|editing|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23634" PostTypeId="2" ParentId="23607" CreationDate="2018-03-22T17:29:01.727" Score="0" Body="&lt;p&gt;You should try adding a reverb effect on the original audio. Something like a big hall or church setting, tweaking with the parameters (a small change can have huge effect !) and blending level might sound &quot;realistic&quot;. It will probably work better than just high or low pass.&lt;br&gt;&#xA;Although you might also try to apply some EQ on the reverb, it works usually well to shape the reverb sound.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a lot of free VSTs that simulate reverb, you might have to try several to find one you like.&#xA;I use a lot &lt;a href=&quot;https://varietyofsound.wordpress.com/downloads/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Variety Of Sounds epicVerb&lt;/a&gt; for music production, not sure how it would work as an prominent effect.&lt;/p&gt;&#xA;" OwnerUserId="28" LastActivityDate="2018-03-22T17:29:01.727" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23635" PostTypeId="1" CreationDate="2018-03-22T09:02:34.783" Score="0" ViewCount="263" Body="&lt;p&gt;I'm using a GoPro Hero 4 black edition and a fyg4s hand held stabilizer.. in fyg4s I have the option to connect the GimBall to an analog monitor using a USB connector from GoPro (not an HDMI connector)... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My goal is to use my Android phone as live preview while I'm shooting the video. How do I connect my Android to GoPro to see what my GoPro captured using the USB connector passing through the fyg4s GimBall? Because the output cable from the GimBall looks like a 3.5 mm audio jack...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gXcBW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gXcBWm.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="Dwija putra" LastEditorUserId="17390" LastEditDate="2018-05-01T13:11:04.277" LastActivityDate="2024-01-05T08:06:25.780" Title="Live preview GoPro on Android" Tags="|android|preview|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23638" PostTypeId="1" AcceptedAnswerId="23639" CreationDate="2018-03-23T07:11:25.757" Score="0" ViewCount="52" Body="&lt;p&gt;How to achieve the &quot;magic swipe&quot; effect in this video (at 0:16)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.facebook.com/diplycrafty/videos/1867777256617888/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.facebook.com/diplycrafty/videos/1867777256617888/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it necessary to use After Effects? Can other open source software do so too?&lt;/p&gt;&#xA;" OwnerUserId="21748" LastEditorUserId="21748" LastEditDate="2018-03-23T07:18:54.217" LastActivityDate="2018-03-23T08:21:52.277" Title="How to achieve the &quot;magic swipe&quot; effect in this video?" Tags="|after-effects|special-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23639" PostTypeId="2" ParentId="23638" CreationDate="2018-03-23T08:21:52.277" Score="3" Body="&lt;p&gt;Assuming you're using a layer based compositor (like After Effects) you need two layers. The top layer has the half-painted box with the hand swiping over it. The bottom has the fully painted box, and no hand, but everything else is the same as the first shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you need to make a matte that corresponds to the trailing edge of the hand, and extending (roughly) to the the top left of the screen and down the left side. As the hand moves across this matte will follow it, so that at the start it is not over the box, and at the end it completly covers it. the easiest way to do this would be to trace the hand, but there are other ways like rotobrush in After Effects. Apply this matte to the top layer so that it hides everything inside it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively you could shoot the hand over a green background and use chroma keying to remove the background. Then use a simple matte to reveal the painted box, with the transition hidden by the hand layer. You could even get away with a single still image of the hand, animated to look like it was moving, if the movement is fast and simple enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's certainly doable with After Effects, but You could use Blender or any compositor or NLE that has the capability to create moving mattes&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-03-23T08:21:52.277" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23641" PostTypeId="1" AcceptedAnswerId="23642" CreationDate="2018-03-23T16:26:30.550" Score="6" ViewCount="6296" Body="&lt;p&gt;I'm trying to find frames in a video that match a certain input image.  I'm currently using this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i video.mp4 -loop 1 -i image.jpg -an -filter_complex &quot;blend=difference,blackframe=99:32&quot; -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This spits out the frames whose difference between the input image is less than 32 for 99% of the pixels.  The problem is the process doesn't appear to stop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sample output (exited manually - video is only 8mins long):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;[Parsed_blackframe_1 @ 0000000003421660] frame:6498 pblack:100 pts:3326976 t:216.600000 type:P last_keyframe:6496&#xA;[Parsed_blackframe_1 @ 0000000003421660] frame:6499 pblack:99 pts:3327488 t:216.633333 type:P last_keyframe:6496&#xA;[Parsed_blackframe_1 @ 0000000003421660] frame:9839 pblack:99 pts:5037568 t:327.966667 type:P last_keyframe:9832&#xA;[Parsed_blackframe_1 @ 0000000003421660] frame:9840 pblack:99 pts:5038080 t:328.000000 type:P last_keyframe:9832&#xA;frame=18321 fps=495 q=-0.0 Lsize=N/A time=00:10:25.26 bitrate=N/A speed=16.9x&#xA;video:8731kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;Exiting normally, received signal 2.&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there a way to tell ffmpeg to stop once it reaches the end of the file, or is there maybe a different way to achieve what I'm trying to do?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using version &lt;code&gt;ffmpeg version n3.2.9-1-g519a54c&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="21766" LastActivityDate="2020-02-15T23:24:32.307" Title="Finding frames in video that match an image" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23642" PostTypeId="2" ParentId="23641" CreationDate="2018-03-23T16:38:00.283" Score="4" Body="&lt;p&gt;The blend filter can be told to terminate with the shortest input, which in your command, will be the video.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex &quot;blend=difference:shortest=1,blackf...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-03-23T16:38:00.283" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23643" PostTypeId="2" ParentId="23607" CreationDate="2018-03-23T18:15:22.250" Score="0" Body="&lt;p&gt;Thank you all for the answers!&#xA;Honestly, I didn't really want to download new programs and stuff so I worked in Premiere and finally I managed to make it sound decent enough.&#xA;I worked with a couple of audio effects:&#xA;1. I used a Convolution Reverb with the Classroom preset and a little bit of tweaking.&#xA;2. Then I applied a Fill left with right, since the CV made the singer's voice sound too much to the left due to the mixing.&#xA;3. EQ: I turned a little bit down the higher frequencies.&#xA;4. I added a Bass boost of 3 dB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This solution probably doesn't work that well in other scenarios, but it made convincing-enough results for me this time, but I'll try out your advices in the future.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&#xA;AJ&lt;/p&gt;&#xA;" OwnerUserId="21519" LastActivityDate="2018-03-23T18:15:22.250" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23644" PostTypeId="1" AcceptedAnswerId="23655" CreationDate="2018-03-24T06:19:43.663" Score="0" ViewCount="61" Body="&lt;p&gt;I know about CC Mesh Warp and I use it to move static pictures in simple cartoon scenes, but is there anything more convenient?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Like for example I need this pony to slowly sway left and right while staying on the same spot. What is the best way to do it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CyWoa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CyWoa.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20955" LastActivityDate="2018-04-25T13:47:48.893" Title="How can I make pseudo 3D movements to static PNG in AE?" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23645" PostTypeId="2" ParentId="9954" CreationDate="2018-03-24T10:23:26.033" Score="0" Body="&lt;h1&gt;Use &quot;animate text&quot;&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Here's my workflow.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Play video and tap &quot;M&quot; letter on you keyboard to insert markers in&#xA;places where you need your subtitles&lt;/li&gt;&#xA;&lt;li&gt;Insert generated media, change it's duration to longer &lt;/li&gt;&#xA;&lt;li&gt;Use the &quot;animate&quot; button&lt;/li&gt;&#xA;&lt;li&gt;Change the keyframe transition to &quot;hold&quot; so that texts are not moving&lt;/li&gt;&#xA;&lt;li&gt;Choose &quot;sync cursor to media timeline&quot;&lt;/li&gt;&#xA;&lt;li&gt;Move your timeline cursor to different markers and just enter a different text in the media generator. You can use Ctrl+Arrow Right to jump to next marker&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;See this video that helped me to figure this out &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/xQOEBmA8GxM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;" OwnerUserId="21768" LastActivityDate="2018-03-24T10:23:26.033" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23648" PostTypeId="1" AcceptedAnswerId="23715" CreationDate="2018-03-26T02:20:17.943" Score="0" ViewCount="980" Body="&lt;p&gt;I know this is doable because many higher-dollar televisions on the market today are able to take a 24fps input and smooth out the frames for an effective framerate up to 960fps (for Sony).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would it be possible to take footage that was shot at 24fps and increase it, say, to 60fps? Surely there exists software which can do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm interested in increasing the framerate of the footage itself rather than relying on a display to smooth out the frames just for compatibility's sake.&lt;/p&gt;&#xA;" OwnerUserId="21780" LastActivityDate="2018-04-05T05:56:13.653" Title="Increase framerate in post-production?" Tags="|framerate|post-production|footage|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23649" PostTypeId="2" ParentId="23648" CreationDate="2018-03-26T05:35:05.477" Score="0" Body="&lt;p&gt;TV is rated in Hz...and most, even the ones listed above, only have an effective rate of 120Hz which is 120fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What most of these tvs do and what you might be able to get away with is the use of Time Interpolation...but I highly doubt you will get any software that will generate 2.5x additional frames per frame, for a full video, without some serious artifacts ruining the video.&lt;/p&gt;&#xA;" OwnerUserId="21781" LastActivityDate="2018-03-26T05:35:05.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23651" PostTypeId="1" CreationDate="2018-03-26T10:50:05.730" Score="1" ViewCount="4637" Body="&lt;p&gt;I'd like to apply a Zoompan effect but instead of zoom in or zoom out, I'd like to mix both of them: the zoom will start with zoom in, and, after some period of time, the zoom continue with zoom out, and so on, alternatively.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I'm thinking how to archieve this, has someone some tips?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks !&lt;/p&gt;&#xA;" OwnerUserId="21376" LastActivityDate="2020-09-21T20:52:27.357" Title="ffmpeg - Zoompan IN and Out alternately" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23652" PostTypeId="1" CreationDate="2018-03-26T11:51:49.917" Score="1" ViewCount="31" Body="&lt;p&gt;I was watching this episode and was amazed by the effect that they did to the streamers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How would they pull this off?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I couldn't capture a picture of this but ill try to explain it.&#xA;The streamers glow but they are also behind, in front and on the characters. There is no glowing on anything else. The streamers are real objects that have been glowed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks. &lt;/p&gt;&#xA;" OwnerUserId="21785" LastActivityDate="2018-03-26T11:51:49.917" Title="Streamer Glow Effect: Star Trek New Generation - S.7 E.11" Tags="|after-effects|special-effects|visual-effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23653" PostTypeId="2" ParentId="23651" CreationDate="2018-03-26T12:06:41.967" Score="4" Body="&lt;p&gt;You need to use state e.g.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i src.png&#xA; -vf zoompan=d=300:z='if(gte(zoom,2)+eq(ld(1),1)*gt(zoom,1),zoom-0.04*st(1,1),zoom+0.04+0*st(1,0))'&#xA;o.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This expression zooms from &lt;code&gt;zoom=1&lt;/code&gt; to &lt;code&gt;zoom=2&lt;/code&gt; in steps of &lt;code&gt;0.04&lt;/code&gt;. Remember, zoom is initialized to &lt;code&gt;1&lt;/code&gt;. The above will create 6 loops.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In &lt;code&gt;st&lt;/code&gt;(store) and &lt;code&gt;ld&lt;/code&gt;(load) functions, the first argument is variable id (0 to 9), and the second is the value.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-03-26T12:06:41.967" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="23654" PostTypeId="2" ParentId="23648" CreationDate="2018-03-26T12:51:12.930" Score="1" Body="&lt;p&gt;There are several methods for interpolating additional frames if you want to slow down footage beyond its original frame rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;First: duplicating frames&lt;/strong&gt;. &lt;strong&gt;Pros&lt;/strong&gt;: very fast, easy. &lt;strong&gt;Cons&lt;/strong&gt;: low quality, causes stuttering, even with fairly small decreases in playback speed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Second: cross fading between neighbouring frames&lt;/strong&gt;. Basically each frame is dissolved into the next one. This will work well for a lot of footage down to say 1/3 of the original speed, after that it gets a bit obvious. &lt;strong&gt;Pros&lt;/strong&gt;: fast, relatively easy, lots of software does it. &lt;strong&gt;Cons&lt;/strong&gt;: limited capability.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Third: using motion estimation algorithms&lt;/strong&gt; to create frames from neighbouring frames. Basically you apply a morph between neighbouring frames, with some intelligent tracking of pixel motion to create realistic motion. &lt;strong&gt;Pros&lt;/strong&gt;: very good results with some footage, even with large slow-down. &lt;strong&gt;Cons&lt;/strong&gt;: compute intensive, so slow to render. Not many apps do it, especially free/cheap ones. Can cause weird and very obvious artefacts when the tracking goes wrong–in fact, I've rarely been able to get this to give satisfactory results with real-world footage. If you have simple movement against a plain background, e.g. green-screen footage, it can work really well, but for any complex scene you generally get all sorts of really obvious weirdness.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final techniques is still under development, and will probably keep getting better. AI is looking very promising as a tool for this kind of thing, so we may see some quality gains soon.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. I'd say that Sony claim about interpolating 24fps to 960fps is 99.999% marketing bullshit.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-03-26T12:51:12.930" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23655" PostTypeId="2" ParentId="23644" CreationDate="2018-03-26T13:03:49.013" Score="1" Body="&lt;p&gt;Use &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/animating-puppet-tools.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Puppet Tools&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;kbd&gt;⌘/ctrl&lt;/kbd&gt;&lt;kbd&gt;p&lt;/kbd&gt; will switch to the puppet-pin tool. Click on the layer where you want to be able to drag it, say on the head, then click any other areas that you want to have control over - so, if you want the feet to stay still, put a pin on the three visible feet, and maybe the tail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now move the playhead down the timeline, and select one of the little yellow dots and drag it. This will deform the layer like it was stretchy. By default when you put a pin on a layer it is already animated, so if you wind the playhead back to the original point you'll see the pony moving. The other puppet tools let you adjust the stiffness of parts of the mesh, and control which parts overlap.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get really hardcore you can rig the layer, as you would a 3D character. One of the best tools for rigging IMHO is &lt;a href=&quot;https://rainboxprod.coop/en/tools/duik/&quot; rel=&quot;nofollow noreferrer&quot;&gt;DUIK&lt;/a&gt;, and not only because it's free.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-03-26T13:03:49.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23656" PostTypeId="1" CreationDate="2018-03-26T15:08:12.870" Score="0" ViewCount="701" Body="&lt;p&gt;I have Black magic UltraStudio Express that captures SDI or HDMI and Connected to MacBook via Thunderbolt when I list devices I get the Audio but not the video :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -f avfoundation -list_devices true -i &quot;&quot;&#xA;&#xA;ffmpeg version 3.4.2 Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with Apple LLVM version 9.0.0 (clang-900.0.39.2)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.4.2 --enable-shared --enable-pthreads --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --disable-jack --enable-gpl --enable-ffplay --enable-frei0r --enable-libass --enable-libfdk-aac --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopus --enable-librtmp --enable-libspeex --enable-libtheora --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libxvid --enable-opencl --enable-videotoolbox --disable-lzma --enable-libopenjpeg --disable-decoder=jpeg2000 --extra-cflags=-I/usr/local/Cellar/openjpeg/2.3.0/include/openjpeg-2.3 --enable-nonfree&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libavresample   3.  7.  0 /  3.  7.  0&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;&#xA;[AVFoundation input device @ 0x7fa261600d80] AVFoundation video devices:&#xA;&#xA;[AVFoundation input device @ 0x7fa261600d80] [0] FaceTime HD Camera&#xA;&#xA;[AVFoundation input device @ 0x7fa261600d80] [1] Capture screen 0&#xA;&#xA;[AVFoundation input device @ 0x7fa261600d80] [2] Capture screen 1&#xA;&#xA;[AVFoundation input device @ 0x7fa261600d80] AVFoundation audio devices:&#xA;&#xA;[AVFoundation input device @ 0x7fa261600d80] [0] Blackmagic Audio&#xA;&#xA;[AVFoundation input device @ 0x7fa261600d80] [1] Built-in Microphone&#xA;&#xA;: Input/output error&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any Idea why my FFMPEG does not see the device, Btw, other application sees the video just fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks &lt;/p&gt;&#xA;" OwnerUserId="21789" LastEditorUserId="1871" LastEditDate="2018-03-26T15:33:23.860" LastActivityDate="2024-03-26T02:05:50.673" Title="FFMPEG - MAC OS Cannot Capture from Black Magic UltraStudio (Thunderbolt)" Tags="|ffmpeg|codec|blackmagic|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23657" PostTypeId="1" CreationDate="2018-03-26T19:20:25.327" Score="2" ViewCount="1508" Body="&lt;p&gt;Based on some of my videos I would like to make time-lapse videos with motion blur. My inspiration is this YouTube video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/60PwmV-_1vg?t=402&quot; rel=&quot;nofollow noreferrer&quot;&gt;Time-lapse with motion blur from video with Avidemux, AviSynth and VirtualDub&lt;/a&gt;   (starting at 6:42)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the video the man uses VirtualDub with &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;AviSource(&quot;path&quot;) &#xA;Merge(selectEven(), SelectOdd()) &#xA;Merge(selectEven(), SelectOdd()) &#xA;Merge(selectEven(), SelectOdd()) &#xA;Merge(selectEven(), SelectOdd()) &#xA;AssumeFPS(30)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My source video has 60fps. Based on the tips given here I tried:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i IN.MOV \&#xA;  -vf &quot;tblend=average,framestep=2,tblend=average,framestep=2,setpts=0.25*PTS&quot; \&#xA;  -r 60 -an OUT.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Unfortunately my results are not similar, not so good as in the video. Difficult to say where the different is: the time-lapse effect is missing a bit, the motion blur is “different”? I am sorry, I cannot explain.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe some of you have a tip how to switch die VirtualDub approach to FFmpeg regardless of my poor explanation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;astefan&lt;/p&gt;&#xA;" OwnerUserId="21791" LastEditorUserId="18155" LastEditDate="2019-08-21T15:34:10.827" LastActivityDate="2024-01-29T12:04:45.767" Title="Time lapse video with motion blur" Tags="|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="23658" PostTypeId="1" CreationDate="2018-03-26T23:06:46.227" Score="2" ViewCount="244" Body="&lt;p&gt;I've been trying for hours to import an mpg along with its secondary audio track into Adobe Premiere Pro.  Only the primary track is imported.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know this mpg has two tracks because I can play the file in the VLC player with the setting Audio &gt; Audio Track &gt; Track 2 [Spanish] and the secondary audio track plays.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I have tried setting audio preferences insuring all default audio&#xA;tracks are using &quot;Use File&quot;.&lt;/li&gt;&#xA;&lt;li&gt;I have tried setting the track tab in a new sequence to&#xA;&quot;multichannel&quot; with &quot;number of channels&quot; = 2.&lt;/li&gt;&#xA;&lt;li&gt;I have also tried modifying the imported mp3's audio channels.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I have also searched online and in YouTube but still no answers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please advise.  Thanks!&lt;/p&gt;&#xA;" OwnerUserId="21792" LastActivityDate="2024-01-12T04:11:11.270" Title="Import secondary audio track along with video mpg into Adobe Premiere Pro" Tags="|premiere|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23659" PostTypeId="2" ParentId="23656" CreationDate="2018-03-27T05:18:17.537" Score="0" Body="&lt;p&gt;Manaf-2:~ manaf$ ffmpeg -f -format_code Hi50 -f decklink -i 'UltraStudio Express' -c:a copy -c:v copy output.avi&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg version 2.8.3 Copyright (c) 2000-2015 the FFmpeg developers&#xA;  built with Apple LLVM version 9.0.0 (clang-900.0.39.2)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/2.8.3 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-opencl --enable-libx264 --enable-libmp3lame --enable-libvo-aacenc --enable-libxvid --enable-decklink --enable-vda&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;[decklink @ 0x7f893a801200] Cannot enable video input&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Segmentation fault: 11&lt;/p&gt;&#xA;" OwnerUserId="21789" LastActivityDate="2018-03-27T05:18:17.537" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23660" PostTypeId="2" ParentId="22525" CreationDate="2018-03-27T06:14:00.313" Score="0" Body="&lt;p&gt;My solution that works well was to manually measure every letter width. I typed letters in Photoshop at a relatvely large font size to minimize rounding effect of pixel size and measured widths in pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given the word I determine its length and calculate the scale factor to make it fit required length.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Function that calculates the word width for the Cyrilllic alphabet and a paricular typeface:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# Given string calculate its length based on the font metrics.&#xA;# Letter widhts measured in pixels at 100pt font size in Photoshop.&#xA;function textWidth {&#xA;    local word=$1&#xA;    local varname=$2&#xA;&#xA;    local widths=(73 59 65 52 80 56 56 105 66 73 73 75 76 102 69 78 70 62 67 64 74 86 76 81 66 90 102 75 84 63 60 105 70)&#xA;    local alpha=&quot;абвгдеёжзийклмнопрстуфхцчшщъыьэюя&quot;&#xA;    local total=0&#xA;    local i&#xA;&#xA;    strindex() { &#xA;        local x=&quot;${1%%$2*}&quot;&#xA;        local length=${widths[&quot;${#x}&quot;]}&#xA;        total=$(( length &amp;gt; 0 ? total + length : total + 74 )) &#xA;    }&#xA;&#xA;    for i in $(seq 1 ${#word}); do&#xA;        strindex $alpha ${word:i-1:1}&#xA;    done&#xA;&#xA;    eval $varname=&quot;\&quot;$total\&quot;&quot;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20162" LastActivityDate="2018-03-27T06:14:00.313" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23661" PostTypeId="2" ParentId="23657" CreationDate="2018-03-27T07:36:17.643" Score="0" Body="&lt;p&gt;Perhaps something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&quot;split[v1][v2],[v1]select='eq(mod(n,2),0)'[v1],[v2]select='eq(mod(n,2),1)'[v2],[v1][v2]mix,split[v1][v2],[v1]select='eq(mod(n,2),0)'[v1],[v2]select='eq(mod(n,2),1)'[v2],[v1][v2]mix,split[v1][v2],[v1]select='eq(mod(n,2),0)'[v1],[v2]select='eq(mod(n,2),1)'[v2],[v1][v2]mix,split[v1][v2],[v1]select='eq(mod(n,2),0)'[v1],[v2]select='eq(mod(n,2),1)'[v2],[v1][v2]mix&quot;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2018-03-27T07:36:17.643" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23663" PostTypeId="2" ParentId="23633" CreationDate="2018-03-27T17:46:30.350" Score="1" Body="&lt;p&gt;Try Selecting your Text Tool... the Capital &quot;T&quot; in the tool bar. Using that Click or double Click on the text you want to edit. That should get you there.&lt;/p&gt;&#xA;" OwnerUserId="21797" LastActivityDate="2018-03-27T17:46:30.350" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23665" PostTypeId="1" AcceptedAnswerId="23666" CreationDate="2018-03-28T16:06:42.957" Score="0" ViewCount="1479" Body="&lt;p&gt;I would like to find all frames in a clip that are likely to contain an image at a known position.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My idea is to grab a still from the video, cut the image and create a mask, feed the video and mask into ffmpeg, use a filter to apply the mask over the video, calculate the difference between the current frame and mask and try to detect if the entire image is black which would indicate that the image is present in the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, suppose I have a video where the logo on the right appears at exactly the same spot with the same dimensions several times throughout the video:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/n1tqT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/n1tqT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My idea is to create a mask that looks like this:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/1wc1s.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1wc1s.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And apply it to the video such that when the image is not present the resulting frame &quot;looks&quot; like this:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/NyfUF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NyfUF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when it does match the blended difference should result in a black screen which I can detect using blackframe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've gotten as far as blacking out the actual image, but I'm not sure how to black out the surrounding part of the frame.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible using ffmpeg, or is there perhaps a different way of doing the same thing?  &lt;/p&gt;&#xA;" OwnerUserId="21766" LastActivityDate="2018-03-28T16:25:43.040" Title="Find frames in video that contain an image" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23666" PostTypeId="2" ParentId="23665" CreationDate="2018-03-28T16:25:43.040" Score="1" Body="&lt;p&gt;You don't need to black out the entire frame. Once you've blacked out the logo portion, apply crop filter to select a rectangular portion entirely within the logo area. Then run blackframe/blackdetect on that canvas. The cropped result will srill retain the original timestamps.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-03-28T16:25:43.040" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23667" PostTypeId="1" CreationDate="2018-03-29T01:38:46.313" Score="3" ViewCount="12873" Body="&lt;p&gt;In Adobe Priemiere Pro CC 2018, when I use the &lt;code&gt;File &amp;gt; Export &amp;gt; Media&lt;/code&gt; menu item, the export media window does not appear!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've confirmed that it's not merely hidden behind other windows or on another monitor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have up-to-date software (currently version 12.0.0 and I'm running Adobe Media Encoder CC 2018.&lt;/p&gt;&#xA;" OwnerUserId="21803" LastActivityDate="2018-03-31T22:18:36.343" Title="In Adobe Priemiere Pro CC, export media window does not appear" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23668" PostTypeId="2" ParentId="23667" CreationDate="2018-03-29T01:38:46.313" Score="7" Body="&lt;p&gt;Called Adobe support, and they quickly solved the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The export media window apparently &lt;em&gt;only appears if the currently selected/highlighted workspace panel is either the video timeline panel or the playback panel&lt;/em&gt;. If &lt;strong&gt;&lt;em&gt;any other panels&lt;/em&gt;&lt;/strong&gt; are currently selected instead, the window will fail to appear.&lt;/p&gt;&#xA;" OwnerUserId="21803" LastEditorUserId="14523" LastEditDate="2018-03-31T22:18:36.343" LastActivityDate="2018-03-31T22:18:36.343" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23671" PostTypeId="1" AcceptedAnswerId="24186" CreationDate="2018-03-29T19:25:48.190" Score="2" ViewCount="837" Body="&lt;p&gt;I have some footage shot with a &lt;code&gt;Lumix DMC-FZ38&lt;/code&gt; with the video format set to &lt;code&gt;AVCHD&lt;/code&gt; and the &lt;code&gt;SH&lt;/code&gt; (super high?) quality setting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The manual says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[AVCHD Lite] (With audio)&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;When set to [SH]: 1280x720 pixels&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;(50p recording * /17 Mbps, only when card is used) /&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;When set to [H]: 1280x720 pixels&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;(50p recording * /13 Mbps, only when card is used) /&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;When set to [L]: 1280x720 pixels&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;(50p recording * /9 Mbps, only when card is used)&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;*CCD output is at 25 fps&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I think &lt;code&gt;50p&lt;/code&gt; means 50 progressive frames per second. According to advice given in the comments, CCD means &quot;Charge Coupled Device&quot;, which is the type of sensor my camera uses. That would seem to indicate that the sensor outputs 25 frames per second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I import a video from the camera (&lt;code&gt;00000.MTS&lt;/code&gt;) into &lt;code&gt;Blender&lt;/code&gt;'s &lt;code&gt;Video Sequence Editor&lt;/code&gt; and tell it to use the frame rate from the video, it sets the project frame rate to 50fps. However, when I render it, the video plays at double speed, which seems to indicate that it was 25fps after all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I extract PNGs from the first second of the video using &lt;code&gt;ffmpeg -i 00000.MTS -to 1 tmp%d.png&lt;/code&gt;, it gives me 25 &lt;code&gt;png&lt;/code&gt; files, indicating 25fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffprobe 00000.MTS&lt;/code&gt; reports:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpegts, from '01.MTS':&#xA;  Duration: 00:29:58.18, start: 0.366667, bitrate: 14025 kb/s&#xA;  Program 1 &#xA;    Stream #0:0[0x1011]: Video: h264 (High) (HDMV / 0x564D4448), yuv420p(tv, progressive), 1280x720 [SAR 1:1 DAR 16:9], 50 fps, 25 tbr, 90k tbn, 100 tbc&#xA;    Stream #0:1[0x1100]: Audio: ac3 (AC-3 / 0x332D4341), 48000 Hz, stereo, fltp, 192 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;According to &lt;a href=&quot;http://www.ffmpeg-archive.org/What-does-the-output-of-ffmpeg-mean-tbr-tbn-tbc-etc-td941538.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this mailing list&lt;/a&gt;,&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;tbr is guessed from the video stream and is the value users want to&#xA;  see when they look for the video frame rate, except sometimes it is&#xA;  twice what one would expect because of field rate versus frame rate.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So &lt;code&gt;ffprobe&lt;/code&gt; reports both 50 fps and 25 tbr. Here &lt;code&gt;tbr&lt;/code&gt; is &lt;strong&gt;half&lt;/strong&gt; of &lt;code&gt;fps&lt;/code&gt;, not double. What's the distinction here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;SMPlayer and VLC both report 50 frames per second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the actual frame rate of my footage?&lt;/p&gt;&#xA;" OwnerUserId="19562" LastEditorUserId="19562" LastEditDate="2018-03-30T03:34:13.127" LastActivityDate="2018-05-31T18:56:25.323" Title="Is this video 50p or 25p?" Tags="|framerate|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23672" PostTypeId="1" AcceptedAnswerId="23711" CreationDate="2018-03-29T20:59:05.340" Score="1" ViewCount="95" Body="&lt;p&gt;Hoping this is the right place to ask this and that what Im asking isn't nonsense.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I record some top down videos of board games, the camera is on a boom arm fastened in place overhead pointing down (I can't work out a better way to do that at the moment but it works for now and isn't the main issue of this question anywho...), the boards in question have a white grid on them and when I edit and produce the footage I find afterwards that the lines seem to wobble, see &lt;a href=&quot;https://youtu.be/mvDiWCOPshU&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; for an example of what I mean if you scroll to 6.47 (as a random point without things obscuring the view).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering what the cause might be and if I can stop it happening.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do have to use the distort tool in fcpx to drag out the edges and rotate things a bit as usually my camera is never centred on the board and so one end has a noticeable slant/narrowing to it as the camera is pointing at a slight angle, could that cause it and if so anyone have any tips or suggestions as to how I can ensure my camera is pointing square to the table? :/&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers!&lt;/p&gt;&#xA;" OwnerUserId="19913" LastActivityDate="2018-05-04T08:08:08.607" Title="Wobbly lines on static camera videos" Tags="|fcpx|" AnswerCount="1" CommentCount="10" ContentLicense="CC BY-SA 3.0" />
  <row Id="23674" PostTypeId="1" AcceptedAnswerId="23675" CreationDate="2018-03-30T14:00:14.307" Score="3" ViewCount="9322" Body="&lt;p&gt;I have lots of large &lt;code&gt;mjpeg&lt;/code&gt; timelapse videos, and I would like to speed them up with ffmpeg without loosing quality, dropping or creating frames.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video: mjpeg (MJPG / 0x47504A4D), yuvj420p(pc, bt470bg/unknown/unknown), 1280x720, 605 kb/s, 1 fps, 1 tbr, 1 tbn, 1 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The only way I got it working is &lt;code&gt;ffmpeg -r 10 -i video.avi -vsync 0 output.mp4&lt;/code&gt;, but this encodes the output with mpeg4. If I use &lt;code&gt;-vcodec copy&lt;/code&gt;, the &lt;code&gt;-r 10&lt;/code&gt; looses its power. The &lt;code&gt;PTS&lt;/code&gt; rescaling method creates and drops frames. I do not care about timestamps, I want a file with all of the input frames at a fixed (higher) frame rate. &#xA;Is there a simpler solution than &lt;a href=&quot;https://superuser.com/questions/1088382/change-framerate-in-ffmpeg-without-reencoding&quot;&gt;this&lt;/a&gt;? Maybe with &lt;code&gt;image2pipe&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="21812" LastActivityDate="2018-04-01T07:16:01.670" Title="How to change framerate with ffmpeg without re-encoding?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23675" PostTypeId="2" ParentId="23674" CreationDate="2018-03-30T14:35:28.750" Score="3" Body="&lt;p&gt;This can't normally be done, but luckily for you, MJPEG is a codec for which streamcopy + piping can work&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.avi -c copy -f image2pipe - | ffmpeg -f image2pipe -framerate 50 -i - -c copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;The JPEG frames in your input are malformed. For such streams, it's a two step process&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.avi -c copy frames%d.jpg&#xA;&#xA;ffmpeg -framerate 50 -i frames%d.jpg -c copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-04-01T07:16:01.670" LastActivityDate="2018-04-01T07:16:01.670" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="23676" PostTypeId="1" CreationDate="2018-03-31T00:16:53.463" Score="0" ViewCount="72" Body="&lt;p&gt;thank you for clicking on my thread! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've recorded a video with my phone (android), after trying an edit with movie maker (Weather I click &quot;Save for youtube&quot; or &quot;Recommended for this project&quot;), the audio seems choppy here and there. It's almost as if it's a robot speaking. If I say, &quot;hello&quot;, it will be &quot;H-e-e-e-ello&quot;. Also, it seems like it's echoing, a bit, tho that may be because of the source file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to save it in a different format, the problem strangely enough shifts. I mean, sometimes this part of the video is affected but another one isn't, whereas at other times, that part is affected but this one is not. It appears to be random. However, the image looks good and the audio is synched in. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can I do to fix this issue? The original file does not have this problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know what else I can say, except that I will add that it's frustrating that youtube removed it's free video editor, because for a beginner as myself, that thing was a godsend! &lt;/p&gt;&#xA;" OwnerUserId="21815" LastEditorUserId="14523" LastEditDate="2018-03-31T23:18:20.830" LastActivityDate="2024-02-26T02:03:35.493" Title="Problems editing smartphone clips. Audio seems robotic after saving in movie maker" Tags="|audio-quality|windows-movie-maker|render|android|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23677" PostTypeId="1" CreationDate="2018-03-31T01:17:19.557" Score="2" ViewCount="911" Body="&lt;p&gt;I bought a Xiaomi Mijia MI SPHERE 360 Camera, it has an embedded gyroscope. The iOS app allows exporting stabilized movies combining the video and gyro data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera records .mp4 files of the following format: &lt;code&gt;ISO Media, MPEG v4 system, 3GPP JVT AVC [ISO 14496-12:2005]&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to retrieve the gyro information of my movie along the movie. I can imagine there is exif like metadata for each frame where the camera would store specific information but I have not found any way yet to put the hand on it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How could I retrieve the metadata per frame containing this information?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[Edit]&#xA;Here is a &lt;a href=&quot;https://github.com/Xample/mi-sphere-gyro-extractor/tree/master/data&quot; rel=&quot;nofollow noreferrer&quot;&gt;github&lt;/a&gt; project containing 2 short (10sec) clips I made. I recorded in the dark. One is steady (camera laid on the ground) the second one shaking. Both have a useless? audio track.&lt;/p&gt;&#xA;" OwnerUserId="21816" LastEditorUserId="21816" LastEditDate="2018-04-01T21:43:02.667" LastActivityDate="2018-09-04T19:30:41.220" Title="Mi Sphere 360, where is stored the gyro data?" Tags="|360video|metadata|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="23678" PostTypeId="1" CreationDate="2018-03-31T14:18:25.117" Score="0" ViewCount="32" Body="&lt;p&gt;I have a Panasonic HC-X920 video camera which overall I really like, however it seems very prone to wind noise on the audio when played back. The camera has a connection point for an external mike and I have recently purchased an adapter to take an external mike.  I now don't know which type of mike would be best, I would like a shotgun mike which attaches to the camera, has anyone any experience of this situation and can perhaps recommend an external mike for this purpose.&lt;/p&gt;&#xA;" OwnerUserId="21820" LastEditorUserId="14523" LastEditDate="2018-03-31T23:17:03.077" LastActivityDate="2018-04-03T20:24:12.750" Title="Wind noise on recorded video" Tags="|audio-recording|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23680" PostTypeId="1" CreationDate="2018-04-01T05:48:17.197" Score="1" ViewCount="2487" Body="&lt;p&gt;I have been searching all the web on how to downscale 4k video so that it can play on my non 4k TV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My 4k video has a resolution of 3840 x 2160 with an audio format of pcm_s16be in a mp4 container. I am trying to convert it to 1920 x 1080 with an audio format of aac.&#xA;I use Lubuntu and have been experimenting with the command lines without success.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update -- After further searching I found this code which converts the audio from pcw to aac&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -y -i C0010.MP4 -vcodec copy -strict experimental  -c:a aac output-fileC0010.MP4&lt;/p&gt;&#xA;" OwnerUserId="21822" LastEditorUserId="21822" LastEditDate="2018-04-02T22:18:52.933" LastActivityDate="2018-04-06T05:34:35.190" Title="how to downscale 4k with ffmpeg" Tags="|ffmpeg|4k|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23682" PostTypeId="1" CreationDate="2018-04-01T16:04:49.813" Score="2" ViewCount="410" Body="&lt;p&gt;There's a great app for iPhones called &quot;Motion Stills&quot;. It can make a handheld &quot;Live Photo&quot; with a minimal movement, totally stable. You can see original Live Photo &lt;a href=&quot;https://drive.google.com/open?id=1moLKoq8vHRjvCo7Fhhxu5HHh9bJH0bJs&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;Original video&quot;&gt;here&lt;/a&gt; and edited with the app &lt;a href=&quot;https://drive.google.com/open?id=1eS5_4CuDaMALXvPwv63nd13v5huWAEyW&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;Edited video&quot;&gt;here&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only problem is that the application works only with previously mentioned iPhone's &quot;Live Photos&quot;. Can I find there any program for Mac to make the same results with videos? Is it possible in Adobe Premiere?&lt;/p&gt;&#xA;" OwnerUserId="21828" LastEditorUserId="636" LastEditDate="2018-04-11T01:28:53.280" LastActivityDate="2019-08-09T02:02:25.317" Title="Make videos still and stable?" Tags="|video|premiere|stabilisation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23685" PostTypeId="1" AcceptedAnswerId="23688" CreationDate="2018-04-01T20:35:38.920" Score="0" ViewCount="4337" Body="&lt;p&gt;I would like to be able to add slow motion where ever I need in post so I would like to shoot only in 60fps. &#xA;The export target is youtube and since I would like to keep a sort of cinematic look, the export frame rate I would like to keep in 24fps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I previously did some tests in Premiere Pro, and it alloved me to add and edit clips with various frame rates and export them in the lowest of them - 24fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video looks good, hovewer from informations I'm reading, it's not good to do that for my future workflows...&#xA;Can you please explain me why ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it's bad, will it helps if I will for future shoot in 60fps and export in 30fps ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you &lt;/p&gt;&#xA;" OwnerUserId="17386" LastActivityDate="2018-05-03T01:02:38.523" Title="Shooting at 60fps, export in 24fps" Tags="|premiere|video-editor|editing|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23686" PostTypeId="1" CreationDate="2018-04-01T20:45:36.313" Score="2" ViewCount="92" Body="&lt;p&gt;I have seen in different software product videos that the UI is assembling during the video. How is such an effect produced?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are a couple of examples:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lumiar: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/9FCHmJiF894?start=4&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Salesforce: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/XD0awb4rO68?start=29&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How are these sequences produced? Which tools are getting used?&lt;/p&gt;&#xA;" OwnerUserId="21833" LastActivityDate="2019-12-23T13:03:25.477" Title="How to produce assemble effect in software product videos" Tags="|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23687" PostTypeId="2" ParentId="23686" CreationDate="2018-04-02T00:08:54.153" Score="1" Body="&lt;p&gt;These sequences are produced using Animation™. Animation™ is the technique of manipulating objects or images to create the appearance of motion. If you look closely at the sequences, maybe slowing them down so you can step through them frame by frame you'll be able to see what's going on, and then you just have to work out how to do it with whatever tools you use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd say screen shots of the UI elements have been chopped up with an image editor (e.g. , CinePaint, Darktable, DigiKam, F-Spot, G'MIC, GIMP, GimPhoto, GIMPshop, GNU Paint, GrafX2, GraphicsMagick, gThumb, Hugin, ImageJ, ImageMagick, Inkscape, KolourPaint, Krita, LazPaint, LightZone, MyPaint, Panorama Tools, Pencil2D, Phatch, Pinta, Rawstudio, RawTherapee, Seashore, Shotwell, Tile Studio, Tux Paint, UFRaw, XPaint, Brush Strokes Image Editor, Chasys Draw IES, FastStone Image Viewer, Fatpaint, Fire Alpaca, Fotografix, IrfanView, MediBang Paint Pro, Moai[1], Paint.NET, PhotoScape, PixBuilder Photo Editor, Pixia, Project Dogwaffle 1.2 Free Version, XnView, Ability Photopaint, ACD Canvas X (formerly Deneba Canvas), ACDSee, Acorn Image Editor, Adobe Photoshop, Adobe Photoshop Lightroom, Adobe Photoshop Elements, Affinity Photo, ArcSoft PhotoImpression, Artipic, ArtRage, Autodesk SketchBook Pro, Bloom Image Editor, Capture One, CodedColor PhotoStudio Pro, Corel Painter, Corel Painter Essentials, Corel PaintShop Pro, Corel Photo-Paint, Erdas Imagine, GraphicConverter, Helicon Filter, Iridient Developer, LView Pro, Manga Studio, Microsoft Paint, NeoPaint, OpenCanvas, Paint Tool SAI, Photogenics, PhotoLine, Photo Mechanic, Photos (Apple app), Photo Raster, PicMaster, Pixelmator, Pixen, PMview, Portrait Professional, Project Dogwaffle, QFX, Serif PhotoPlus, TVPaint, Xara Photo &amp;amp; Graphic Designer, Zoner Photo Studio, Mara, Pixlr, PicMonkey, PicsArt).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then the separate elements were then moved around in an animation / compositing app, e.g. Blender, Cinelerra, Kdenlive, Natron, OpenShot, Shotcut, Adobe After Effects, Apple Motion, Autodesk 3ds Max, Autodesk Inferno, Flame and Flint, Autodesk Maya, Autodesk Smoke, CompTime, FXhome HitFilm, Saber, Houdini, Blackmagic Fusion, Mistika, Nuke, Piranha, SilhouetteFX, Autodesk Combustion, Autodesk Softimage, Autodesk Toxik, Aviary, Peacock, Avid DS, Avid Elastic Reality, Avid Matador, Avid Media Illusion, Kodak Cineon, FXhome Lab, Range, Pinnacle Commotion, Silicon Grail's RAYZ and Chalice or Shake.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-04-02T00:08:54.153" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23688" PostTypeId="2" ParentId="23685" CreationDate="2018-04-02T02:03:27.340" Score="0" Body="&lt;p&gt;I always shoot videos with slowest 50fps in my camera, Full HD. like you said, it provided slow motion &amp;amp; this setting has clearer movement. Sometimes I change back to 25fps when I meet some conditions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Export in 24fps can be used for website, for example published for vevo, youtube channels etc. Because fast buffering and light file size. It also for animation &amp;amp; Music Video (MV). Full HD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Export in 30fps is for NTSC Television Boardcasting &amp;amp; it smooth for NTSC live, like TV shows in America &amp;amp; Japan. If you published a video in 30fps alike TV shows.&#xA;Other countries used slow motion, able to published in 25fps for PAL TV. FHD, QHD. Mosty they're 4k now, their videos are very sharp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cinematic will be more optional and more setting &amp;amp; editing, mostly people used as many as fps their camera have, until 4k/8k 120fps+lighting achieved proffessional result. Export in 25fps, 60fps, etc. It is optional.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You want to be videographer,editor for Music Video, web, etc? Export in 24fps. (Actually your camera fps setting &amp;amp; export is good enough, just remember the quality of camera shoot, quality of resolution FHD or above)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or Videographer,editor for live or non-live boardcasting TV shows? Export in 30fps. (The researched answer is for Television Boardcasting, 30fps)&lt;/p&gt;&#xA;" OwnerUserId="19937" LastEditorUserId="19937" LastEditDate="2018-04-02T23:30:14.427" LastActivityDate="2018-04-02T23:30:14.427" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23689" PostTypeId="1" CreationDate="2018-04-02T06:05:56.407" Score="1" ViewCount="17" Body="&lt;p&gt;I'm shopping for a video camera that I will use to record lectures that I give at my university. My setup is going to be a camcorder on a tripod plus a Lavalier wireless microphone, which I will attach to my shirt while I am presenting. There won't be a person controlling the camera; I'll just set up the camera at the beginning of class and leave it there to record. Also, I can't guarantee that I'll have external power for the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to choose a camcorder or action camera for this. Here are the features I am looking for:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;3.5mm input jack for external mic (must have)&lt;/li&gt;&#xA;&lt;li&gt;usb-c or micro-usb port for charging and data access (must have)*&lt;/li&gt;&#xA;&lt;li&gt;screw hole for tripod (must have)&lt;/li&gt;&#xA;&lt;li&gt;1h30m recording time without external power (must have)&lt;/li&gt;&#xA;&lt;li&gt;at least 720p resolution (not too fussy)&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;price under $300 US&lt;/p&gt;&#xA;&#xA;&lt;p&gt;*I already have usb-c and micro-usb devices in my life. I see that a lot of camcorders still use mini-usb-B, which feels ancient now. I don't want an other type of cable to carry around.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Can anyone offer any advice on this?&lt;/p&gt;&#xA;" OwnerUserId="21835" LastActivityDate="2018-04-02T06:05:56.407" Title="Advice on camcorder that supports USB-C and 3.5mm external microphone?" Tags="|camcorder|action-cam|presentation|" AnswerCount="0" CommentCount="0" ClosedDate="2018-04-19T18:07:15.137" ContentLicense="CC BY-SA 3.0" />
  <row Id="23690" PostTypeId="1" CreationDate="2018-04-02T07:27:14.717" Score="1" ViewCount="1126" Body="&lt;p&gt;I see a lot of tips for getting h264 renders onto web streaming sites in 4K but not much on TV. Should I just go with Animation/lossless for my “master”? seems crazy for a 22 minute program but HDD is cheap now so it’s doable. The content consists of detailed animation including 3d rendered scenes source material. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Would 4k on h264 5.2 be adequate? Any artifacts going h264 -&gt; broadcast?&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="21836" LastEditorUserId="6685" LastEditDate="2018-04-03T09:29:59.297" LastActivityDate="2018-04-03T09:29:59.297" Title="Best render settings for broadcast/4k TV" Tags="|after-effects|broadcasting|4k|television|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23693" PostTypeId="1" CreationDate="2018-04-02T17:58:49.663" Score="2" ViewCount="483" Body="&lt;p&gt;I am trying to use FFMPEG's filter_complex_script option to crop a video in different places depending on the time. I have a file that shows the bounding box of where an object should be and have written a text file called &quot;myscript.txt&quot; that has commands as follows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;crop=x=125:y=190:w=105:h=98&#xA;crop=x=124:y=193:w=106:h=99&#xA;crop=x=124:y=194:w=106:h=99&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My command line call for ffmpeg is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.mp4 -filter_complex_script &quot;myscript.txt&quot; -c:v libx264 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will run fine and produce an output, but the crop window only uses the first line of the file and does not change over time. Currently I have cropping details at the frame level but I can find a way to make this work by second if there is a solution out there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am running FFMPEG version 3.4.1 on windows 10.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="21843" LastActivityDate="2018-04-02T17:58:49.663" Title="FFMPEG Filter_Complex_Script crop by time" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23694" PostTypeId="2" ParentId="23676" CreationDate="2018-04-02T22:55:50.850" Score="0" Body="&lt;p&gt;Check your original &amp;amp; edited video file, right click on it, check for details. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is maybe movie maker software already accidently reduced your audio kHz... Or your video original speed is 24 fps, you save it as 30 fps maybe (this wrong setting will appear double outlines). (These mistakes are very common happened around beginners.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try to use save as, select save movie/project as, .mp4 or h264, rename it, this setting will not reduce your video too much, you can publish it on youtube too, just a bit longer the time taken, some use save for High Definition for publish video on youtube.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Umm... I figured out now, issue is about Web reduced your Audio KHz, you need to correctly set Video &amp;amp; Audio Export setting for Web. .mp4 (H264) is the best format for web included Video and Audio. Set it to Published for Web or Youtube. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;More technically, is &lt;strong&gt;Software &quot;Recommended for This Project Editing Feature&quot; auto-removed your Audio's noise, after noise removed, audio will become robotic.&lt;/strong&gt; And, something is low spec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtube Auto-edit is really awesome for People, but only who studied Video &amp;amp; Audio Editing know what the problem was and editing it, fix it. I really answered all issue why Audio like these, you won't understand it because it need to manual editing. I can't edit it for you here, I'm apologized. You can find Online Video Editing Service Designers edit for you. I just can answer why it happened.&lt;/p&gt;&#xA;" OwnerUserId="19937" LastEditorUserId="19937" LastEditDate="2019-06-21T15:13:30.670" LastActivityDate="2019-06-21T15:13:30.670" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="23695" PostTypeId="1" AcceptedAnswerId="23699" CreationDate="2018-04-02T23:12:40.940" Score="1" ViewCount="2340" Body="&lt;p&gt;On macOS, Adobe Media Encoder has options for hardware-accelerated rendering utilizing OpenCL, which seems to speed up encoding time. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand, according to the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/HWAccelIntro&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg wiki&lt;/a&gt;, ffmpeg's hardware acceleration &quot;typically generate output of significantly lower quality than good software encoders&quot;. Is this true of both Media Encoder and ffmpeg, or does Media Encoder somehow better utilize hardware for encoding?&lt;/p&gt;&#xA;" OwnerUserId="21845" LastActivityDate="2018-04-22T09:08:08.547" Title="Hardware acceleration in Adobe Media Encoder vs ffmpeg" Tags="|ffmpeg|encoding|adobe-media-encoder|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23697" PostTypeId="2" ParentId="22632" CreationDate="2018-04-02T23:37:54.040" Score="0" Body="&lt;p&gt;You can cut the part you want to stabillize, you can count the seconds you want to stabillize, then you stabillize it, cropping may appear. You need to edit, whether you want to scale and enlarge all video parts or other editing ways based on what you want.&lt;/p&gt;&#xA;" OwnerUserId="19937" LastActivityDate="2018-04-02T23:37:54.040" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23698" PostTypeId="2" ParentId="23690" CreationDate="2018-04-03T03:11:09.080" Score="3" Body="&lt;p&gt;The reason for mastering out to an uncompressed / minimally lossy format is so that you have a master copy, which you can then use to make other copies, without generation loss, or having to re-render.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;You don't have to use Animation&lt;/strong&gt;. There, I've said it. While it's mathematically lossless, it's only 8-bit, so swings ± roundabouts. While I used to only ever render Aniamtion ever, these days I prefer &lt;a href=&quot;https://en.wikipedia.org/wiki/DNxHR_codec&quot; rel=&quot;nofollow noreferrer&quot;&gt;DNxHR&lt;/a&gt; or &lt;a href=&quot;https://en.wikipedia.org/wiki/CineForm&quot; rel=&quot;nofollow noreferrer&quot;&gt;Cineform&lt;/a&gt; with 10-bit colour, the file size is better and you have four times as much colour information. If you're on a mac &lt;a href=&quot;https://en.wikipedia.org/wiki/Apple_ProRes&quot; rel=&quot;nofollow noreferrer&quot;&gt;ProRes 4444&lt;/a&gt; is a good option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the first step is &lt;strong&gt;check with the broadcaster&lt;/strong&gt; to see what their tech specs are. The broadcaster where I work mostly take ProRes, so I make proRes submasters from my master copy using ffmpeg. No seriously, check, because they will reject stuff that doesn't pass their quality control.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="6685" LastEditDate="2018-04-03T09:26:34.560" LastActivityDate="2018-04-03T09:26:34.560" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23699" PostTypeId="2" ParentId="23695" CreationDate="2018-04-03T05:27:32.270" Score="2" Body="&lt;p&gt;Media Encoder and ffmpeg should generate the same quality if given the same encoding parameters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;GPU encoders are provided by GPU vendors. I haven't heard of any third-party implementations. The possible differences lie in the wrappers i.e. the code which initializes the encoder parameters, and written by the interfacing app. There, I would expect ffmpeg to offer more fine-grained choices although I haven't look at AME's offerings as of late.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-04-03T05:27:32.270" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23700" PostTypeId="2" ParentId="12559" CreationDate="2018-04-03T06:57:57.890" Score="0" Body="&lt;p&gt;At Premier Pro, see Effect control tab on the top left, select scale. Then you adjust the percentage of size of video match your sequences setting.&#xA;If your sequence setting are HD 1280×720 then you 0r FHD 1920×1080p videos all need to scale smaller. Final of your video will be 1280×720. Same to if your sequence setting in FHD then your HD video need to be scale up enlargement, it will blurer the videos, need to add smart sharpen at Effect tab below left to an adjustment layer .&lt;/p&gt;&#xA;" OwnerUserId="19937" LastActivityDate="2018-04-03T06:57:57.890" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23701" PostTypeId="1" AcceptedAnswerId="23703" CreationDate="2018-04-03T15:53:18.503" Score="1" ViewCount="456" Body="&lt;p&gt;I'm trying to create a .bat file for ffmpeg that:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Applies a timecode overlay (e.g. 00:17:23:02)&lt;/li&gt;&#xA;&lt;li&gt;Speeds up the video x4 (but AFTER the timecode is applied)&lt;/li&gt;&#xA;&lt;li&gt;Doesn't &quot;touch&quot; the quality of the original video&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;This is what I got:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;for %%a in (&quot;*.avi&quot;) do (&#xA;    ffmpeg.exe -i &quot;%%a&quot; -vf &quot;drawtext=fontfile=C\\:/Windows/Fonts/arial.ttf:timecode='00\:00\:00\:00':rate=5:text='Real \time\:':fontsize=46:fontcolor=white:x=30:y=30: box=1: boxcolor=0x00000000@1&quot; -f avi &quot;%%~na_with-time.avi&quot;&#xA;)&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;It works but I can't speed up x4 the video and it also losses a lot of the quality (very pixelated when moving around in the video)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what code I could use to speed up x4 the video but I can't get it in the code above (to work):&#xA;&lt;code&gt;&quot;setpts=0.25*PTS&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also this is the quality:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How the video looks before:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/VHFR4.png&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After conversion with the ffmpeg .bat code above:&#xA;&lt;img src=&quot;https://i.stack.imgur.com/zmS6e.png&quot; alt=&quot;&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to speed-up the video x4 (but with the normal time timecode) and also don't change the quality of the exported video)? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also is there a way to make the black box behind the timecode a bit bigger (5 pixels in all directions: left, up, right, down)? Or maybe a stroke effect to the text instead of the black box?&lt;/p&gt;&#xA;" OwnerUserId="21852" LastActivityDate="2018-04-05T06:55:04.293" Title="How do I apply a timecode and then I speed up x4 a video with ffmpeg without losing quality?" Tags="|ffmpeg|video-quality|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23702" PostTypeId="1" CreationDate="2018-04-03T16:12:56.483" Score="1" ViewCount="1391" Body="&lt;p&gt;I am using the concat demuxer in ffmpeg. I use the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i concat.txt -c copy out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and it works, except that it adds short gaps of black frames in between the concatenated files (there are three of them). How do I make it stop? If it helps, the audio is cut at those points, too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that a parameter for this exists, but I can't find the original question anywhere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="21853" LastActivityDate="2018-10-01T08:02:20.317" Title="How to disable putting black frames between concatenated media with ffmpeg?" Tags="|ffmpeg|matroska|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23703" PostTypeId="2" ParentId="23701" CreationDate="2018-04-03T16:28:30.817" Score="0" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for %%a in (&quot;*.avi&quot;) do (&#xA;    ffmpeg.exe -i &quot;%%a&quot; -vf &quot;drawtext=fontfile=C\\:/Windows/Fonts/arial.ttf:timecode='00\:00\:00\:00':rate=5:text='Real \time\:':fontsize=46:fontcolor=white:x=30:y=30:box=1:boxcolor=0x00000000@1:boxborderw=5,setpts=0.25*PTS&quot; -c:v libx264 -f avi &quot;%%~na_with-time.avi&quot;&#xA;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Added &lt;code&gt;boxborderw=5&lt;/code&gt; for border width.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Added setpts after the drawtext.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Added encoder explicitly &lt;code&gt;-c:v libx264&lt;/code&gt; - its default settings should produce good images. You can also stick with the default encoder (mpeg4) and just add &lt;code&gt;-q:v 5&lt;/code&gt; for decent quality - the default of 200 kbps is too low.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;For a custom timecode string, remove &lt;code&gt;timecode='00\:00\:00\:00':rate=5&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and change &lt;code&gt;text&lt;/code&gt; to &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;text='Real \time\: %{eif\:trunc(t/3600)\:d\:2}h %{eif\:trunc(mod(t/60\,60))\:d\:2}m %{eif\:trunc(mod(t\,60))\:d\:2}s'&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-04-05T06:55:04.293" LastActivityDate="2018-04-05T06:55:04.293" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="23704" PostTypeId="2" ParentId="23678" CreationDate="2018-04-03T20:24:12.750" Score="1" Body="&lt;p&gt;Id recommend going with a Rode Mic. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Rode Shoe Mount Video Mic (around $250-$300) is more compact than even a short short shotgun. Secondly, there is a selector switch on the back that allows the user to select various pickup patterns, from cardiod, to stereo, directional, etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Theres a few models, but check BH and Amazon. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;An entry level Shotgun would be a Sennheiser, but 1.) Its far less compact, and 2.) Price point for the capsule and power supply will run $500 and up. Lastly, youre going to be limited to XLR out without an adapter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Rode Mics to be honest, sound fantastic for their price point. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can add an accessory Rycote Furry Windjammer to cut down the wind even further beyond the included Foam Windscreen. A Furry Windjammer will give you the best results (pricey but worth it), and last, you can add a lo-cut filter either on the Rode or in post to further reduce wind rumble. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-04-03T20:24:12.750" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23705" PostTypeId="2" ParentId="20847" CreationDate="2018-04-03T20:30:17.867" Score="0" Body="&lt;p&gt;1 - Colour Chart / LUT: Start from your desired color workspace. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2 - Denoise: First after LUT. Especially if footage is noisy. Steps 3 and 4 will likely only worsen noise issues, depending on how you grade. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;3 - Primaries&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4 - Saturation / Vibrance&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5 - Denoise Again on per Channel Level&lt;/p&gt;&#xA;&#xA;&lt;p&gt;6 - Sharpening&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-04-03T20:30:17.867" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23706" PostTypeId="2" ParentId="22484" CreationDate="2018-04-03T20:33:11.293" Score="2" Body="&lt;p&gt;Always. As does Vimeo. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can as the publisher still access the original upload. That file is retained on youtube’s server. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But even when posting 1080, the public 1080 is a re-encode from your upload. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-04-03T20:33:11.293" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23707" PostTypeId="1" CreationDate="2018-04-03T22:25:35.403" Score="1" ViewCount="34" Body="&lt;p&gt;Newbie issue!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was given 12 miniDV tapes and the Canon ZR900 camera they were recorded on to transfer onto memory sticks.  I used FW400 into a Dell XPS 9100 to capture using Filmora. No problems at all. Excellent AVI's&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the same time I was also given 12 other miniDV tapes that were recorded but using a 'professional' camera of an unknown brand.  When capturing those tapes using the consumer camera I have no audio.  Actually I can hear waaay in the distance the audio with occasional 'bursts' of sound when I crank up the volume.  What Might be the first obvious issue I may be having.  Thank you.&lt;/p&gt;&#xA;" OwnerUserId="21857" LastActivityDate="2018-04-03T22:25:35.403" Title="Consumer grade vs professional audio" Tags="|audio|tracks|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="23708" PostTypeId="2" ParentId="22484" CreationDate="2018-04-04T01:11:22.120" Score="0" Body="&lt;p&gt;The videos you upload are always reencoded to a list of preset sizes. For the videos already uploaded you can see the list of sizes the original has been reencoded to by using some video download browser extension. This allows streaming an appropriate size depending on the screen size, browser window size, available bandwidth, etc. The goal is to save bandwidth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original is reencoded even when the parameters are similar with one of the presets to not send to the users content potentially with viruses, exploits, etc.&lt;/p&gt;&#xA;" OwnerUserId="5747" LastActivityDate="2018-04-04T01:11:22.120" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23709" PostTypeId="2" ParentId="23702" CreationDate="2018-04-04T01:17:04.007" Score="1" Body="&lt;p&gt;This can happen if the &quot;streams do not have exactly the same length&quot;. You have to specify the range to include for the items in &lt;code&gt;concat.txt&lt;/code&gt;. Try specifying the &lt;code&gt;duration&lt;/code&gt; or &lt;code&gt;outpoint&lt;/code&gt; or &lt;code&gt;in point&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#concat&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-formats.html#concat&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The duration of each file is used to adjust the timestamps of the next file: if the duration is incorrect (because it was computed using the bit-rate or because the file is truncated, for example), it can cause artifacts. The duration directive can be used to override the duration stored in each file.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="5747" LastEditorUserId="5747" LastEditDate="2018-04-04T06:01:56.800" LastActivityDate="2018-04-04T06:01:56.800" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23710" PostTypeId="1" CreationDate="2018-04-04T05:01:56.283" Score="5" ViewCount="86" Body="&lt;p&gt;I want to turn a set of high-resolution satellite images of the Earth (10,000x10,000 pixels) into a time-lapse video. But instead of downsizing the images, I would like that people could zoom into specific areas of the video in real-time, and pan through it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Is that possible?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Is there any web player with such feature?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen videos of cameras that film in all directions and as the video plays you can choose in which direction to look. How is that technique called? Something similar would be extraordinary.&lt;/p&gt;&#xA;" OwnerUserId="21860" LastEditorUserId="21860" LastEditDate="2018-04-04T12:52:47.463" LastActivityDate="2020-02-10T05:02:00.213" Title="Is there an online video server that can show paneable extremely large videos?" Tags="|video|webvideos|video-player|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 3.0" />
  <row Id="23711" PostTypeId="2" ParentId="23672" CreationDate="2018-04-04T07:51:34.477" Score="2" Body="&lt;p&gt;After much help above it looks like its because the camera I was recording on was recording in 50i but the project I had created in fcpx was set to 60p, this was causing issues with the final result as it tried to convert 50i to 60p...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I restarted one of the projects as 25p instead and copied in some of the source video again and a quick repeat of my normal output process (export as mov, use handbrake to convert to a reduced size mp4 for youtube upload) seems to give a much better result (I'm comparing the mp4 on my machine to youtube but there is 0 wobble and I don't think its youtube adding it in) so I think this is the solution, make sure your projects are set to the same fps as the source!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks all&lt;/p&gt;&#xA;" OwnerUserId="19913" LastActivityDate="2018-04-04T07:51:34.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23712" PostTypeId="1" CreationDate="2018-04-04T11:17:33.317" Score="-2" ViewCount="133" Body="&lt;p&gt;What is the best codec at the moment without losses? HEVC, or is it faster / more compact? In HEVC there is a lossless mode. On the Internet did not find the actual information for this year.&lt;/p&gt;&#xA;" OwnerUserId="21862" LastActivityDate="2018-04-09T02:08:09.010" Title="Best lossless codec" Tags="|codec|" AnswerCount="1" CommentCount="1" ClosedDate="2018-04-19T18:02:18.723" ContentLicense="CC BY-SA 3.0" />
  <row Id="23713" PostTypeId="2" ParentId="23712" CreationDate="2018-04-04T13:35:34.447" Score="2" Body="&lt;p&gt;It entirely depends on your definition of &lt;em&gt;best&lt;/em&gt;. Different codecs do different jobs:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Do you require greater bit depth than 8-bit? Some codecs encode 10,&#xA;12 or 16 bits per channel, giving much higher colour fidelity, and&#xA;lower quantisation errors.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Do you need an alpha channel? Some codecs support an alpha channel to&#xA;encode transparency information, important for intermediates used in&#xA;the post production chain.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;How efficient do you need the codec to be, i.e. how much file&#xA;compression does it offer? Lossless codecs are usually fairly&#xA;storage-hungry.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;How fast is it to encode/decode? This is usually roughly inversely proportional to the efficiency. However speed also depends on the speed of the storage, so a codec that requires less processing per frame might have a bottleneck at the point where the frame is retrieved from disk especially for high resolution video.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Do you need to edit with it? Codecs that use GOP can be slower to use&#xA;in editing or post production.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you're giving the footage to someone is it likely that they'll be&#xA;able to use it on another system without too many hurdles? Is it free&#xA;to use? HEVC is free for a limited number of views, but if you're&#xA;using it to distribute content to a mass audience you'll be up for&#xA;royalties.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Other considerations like is it an open source codec with publicly&#xA;available description of the bitstream. Of critical importance for&#xA;long term archival, but generally unimportant for any other use.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-04-09T02:08:09.010" LastActivityDate="2018-04-09T02:08:09.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23714" PostTypeId="1" CreationDate="2018-04-05T02:20:17.677" Score="2" ViewCount="46" Body="&lt;p&gt;I have a main video recording and audio recordings from 2 phone-based lav mic's. One subject's lav recording has 2 audio channels and the other has 1. (The video also has 1 audio channel) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can synchronize the 1-CH recording to my video, but trying this with the 2-CH recording says &lt;code&gt;could not synchronize one or more clips in the current selection because a match could not be found&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I sync the 2-CH audio file to my video? I'd assume that there should be a feature to automatically synchronize based on the lowest common number of Channels. Thank you!&lt;/p&gt;&#xA;" OwnerUserId="21868" LastActivityDate="2018-04-05T02:20:17.677" Title="Synchronize Video / Audio with different numbers of audio channels" Tags="|premiere|sync|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23715" PostTypeId="2" ParentId="23648" CreationDate="2018-04-05T05:56:13.653" Score="0" Body="&lt;p&gt;So I stumbled across this great little utility called &lt;code&gt;butterflow&lt;/code&gt;. It works on all of the Big Three OS's, and seems to produce quality results. I'm running it right now on a 1080p24 copy of Star Wars VIII, and the only downside is that it seems to take a great deal of time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll update with the quality of the results once it's done rendering (probably in the next few days) but here's the link:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/dthpham/butterflow&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/dthpham/butterflow&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21780" LastActivityDate="2018-04-05T05:56:13.653" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23716" PostTypeId="1" AcceptedAnswerId="23882" CreationDate="2018-04-05T09:32:01.100" Score="0" ViewCount="216" Body="&lt;p&gt;Hi all i'm wanting some advice on set lighting. i'm wanting to create a set similar to the below using fluorescent lights. Just wanting to know what equipment is needed to achieve this look. Obviously there are using red fluorescent lights but how are they powered etc and some kind of blue fill light? I'll admit i'm a bit of a newbie when it comes to lighting so any advice will be greatly appreciated. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/icj4d.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/icj4d.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LCX4V.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LCX4V.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20142" LastActivityDate="2018-04-22T08:14:59.070" Title="How to light a set using coloured fluorescent lights" Tags="|video|editing|lighting|filming|color-grading|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23717" PostTypeId="1" AcceptedAnswerId="23763" CreationDate="2018-04-05T10:27:48.937" Score="2" ViewCount="13977" Body="&lt;p&gt;I would like to edit my subtitles in Premiere Pro (CC 2018) but can't change the fonts or size or anything like that. I did try to use open and closed captions but both didn't work. I think I miss a part in my workspace but don't know how to get it back. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Resetting the workspace or selecting multiple options through 'Window' did not help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/16bdv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/16bdv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21871" LastActivityDate="2022-10-31T14:56:25.083" Title="Not able to edit subtitles in Premiere Pro" Tags="|premiere|closed-captioning|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23718" PostTypeId="1" CreationDate="2018-04-05T14:13:33.943" Score="1" ViewCount="3098" Body="&lt;p&gt;I have a sequence with various clips, one came from a multi-cam and the other one straight from a video. I had no problem applying the filter to the multicam one:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Lzyiq.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Lzyiq.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I try to apply it to the other one, it won't let me:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/29JB7.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/29JB7.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas why?&lt;/p&gt;&#xA;" OwnerUserId="19382" LastActivityDate="2018-10-12T13:00:07.280" Title="Why is Adobe Premiere not letting me apply a filter to this sound clip?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23721" PostTypeId="1" CreationDate="2018-04-05T20:23:23.330" Score="1" ViewCount="46" Body="&lt;p&gt;There is lower thirds in which a title and sometimes, a subtitle appears. They usually appears at bottom left of the screen. However, I am looking for examples in which a speaker (or focus of object) is on the right side of the screen and the text and graphics animate in on the left side of the screen. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I couldn't find any good examples of text animation that animate in on the left side. It should be something like &lt;a href=&quot;https://www.youtube.com/watch?v=dFSia1LZI4Y&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the video that I am using, &lt;a href=&quot;https://www.istockphoto.com/video/medical-colleagues-chatting-in-a-stairwell-of-a-hospital-gm484157288-71668137&quot; rel=&quot;nofollow noreferrer&quot;&gt;Medical colleagues chatting&lt;/a&gt;. There's plenty of space at the left side in which I was planning to add the logo and three bullet points.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wanted to find some good simple text animations for left side in adobe after effects or some free templates or something like that. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what keywords should I use to search for left side thirds?&lt;/p&gt;&#xA;" OwnerUserId="21879" LastActivityDate="2018-04-05T20:23:23.330" Title="What is the word for left thirds?" Tags="|after-effects|animation|adobe|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23722" PostTypeId="1" AcceptedAnswerId="23752" CreationDate="2018-04-05T20:27:56.323" Score="1" ViewCount="78" Body="&lt;p&gt;With a Y splitter Svideo cable&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;   ---F&#xA;M--&#xA;   ---F&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Would plugging the input in to the F side allow the output to come out of both the M and other F side?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;End setup would be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Camera       M - F---&#xA;                    --- M - F Monitor&#xA;Capture F - MM - F---&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I basically want to make sure the M side doesn't need to be the Input, couldn't seem to find an answer, sorry if it's a simple question.&lt;/p&gt;&#xA;" OwnerUserId="21880" LastActivityDate="2018-04-09T03:01:33.620" Title="With an SVideo Y splitter 1M 2F, does the video input need to go in to the male end?" Tags="|camera|cable|" AnswerCount="1" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="23726" PostTypeId="1" CreationDate="2018-04-06T07:51:49.620" Score="1" ViewCount="975" Body="&lt;p&gt;A client wants me to write some software, perhaps &lt;strong&gt;ffmpeg&lt;/strong&gt; wrapped in scripting, which will monitor a streaming video feed, and copy clips from it in near real-time, delivering them as self-contained video files. It is not acceptable for me to wait for the feed to finish, and the video to be completely stored as a local file, before I copy the clips. On the other hand, I can take say tens of seconds after the end time of the clip before delivering it. Can I do this without building a video processing suite from scratch? Do I need to require that the streaming video feed be a certain format?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So say the video feed is of a 1-hour live event. At some point, maybe 5 minutes in, my software may get the command, &quot;clip from 4 minutes 30 seconds to 6 minutes 0 seconds, save as file X.mpg&quot;. I have to tap into the video feed, copy 90 seconds of video, and store it as file X.mpg, by about 7 minutes in.  The actual times are more flexible, I just want to emphasise that I must be able to tap into the streaming feed in progress, I can't wait for a static video file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't even know if streaming video formats permit this kind of operation. If a receiver writes the feed to disc, will the beginning of the file be legal syntax which a normal tool like &lt;strong&gt;ffmpeg&lt;/strong&gt; can parse?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know details of encoding formats, but I understand that they store key frames every so often, and intermediate video frames are stored as differences from the key frame and/or preceding frames. Is it important to know when the key frames are added?  Can normal tools parse video past the most recent key frame to the frame just being written, or would the data in the stored file be still be in some temporary state, and thus not yet parseable?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or, is copying video clips from streaming video a difficult task which requires more sophisticated software than &lt;strong&gt;ffmpeg&lt;/strong&gt; or the like, wrapped with scripts?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Advice on specific formats, and tool chains which make this possible are welcome.&lt;/p&gt;&#xA;" OwnerUserId="21887" LastActivityDate="2018-06-13T09:38:06.323" Title="How can I extract clips from a streaming video feed in near real-time?" Tags="|video|ffmpeg|editing|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23727" PostTypeId="2" ParentId="23726" CreationDate="2018-04-06T09:22:59.907" Score="1" Body="&lt;p&gt;This is fairly straightforward if you save to a streaming format like &lt;a href=&quot;https://en.wikipedia.org/wiki/Flash_Video&quot; rel=&quot;nofollow noreferrer&quot;&gt;Flash Video (FLV)&lt;/a&gt; or &lt;a href=&quot;https://en.wikipedia.org/wiki/MPEG_transport_stream&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPEG-Transport Stream (MPEG-TS)&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say this is your full feed capture command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source {-transcoding options} localfile.flv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can then run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 6:12 -i localfile.flv -t 1:05 -c copy extract.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Ideally, the stream should be past 7:17 or close to it when you run the latter command. Note that since the 2nd command doesn't transcode, inpoint seek isn't precise. The extract will start from the nearest keyframe earlier to the specified inpoint.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="21887" LastEditDate="2018-06-13T09:38:06.323" LastActivityDate="2018-06-13T09:38:06.323" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23729" PostTypeId="1" AcceptedAnswerId="24596" CreationDate="2018-04-06T14:42:42.150" Score="1" ViewCount="45" Body="&lt;p&gt;I have a monitor with 2 connections labeled as output. CVBS1 and CVBS2 look like &lt;a href=&quot;https://i.stack.imgur.com/WuPIq.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;This&lt;/a&gt;. Looking at them I'm not a hundred percent on what kind of cable I need to use. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After trying to search online I'm fairly sure its a coaxial cable with a BNC connector, but I would like to find out for sure before I order a cable.&lt;/p&gt;&#xA;" OwnerUserId="21880" LastActivityDate="2018-08-01T14:42:18.910" Title="What cable do I need for this connection" Tags="|cable|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23730" PostTypeId="1" CreationDate="2018-04-06T14:56:19.773" Score="0" ViewCount="61" Body="&lt;p&gt;As a computer scientist, I know that it is possible to decompose two signal streams (such as audio) using the SVD (Singular Value Decomposition), to get the most natural bases for the signals.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is very useful because you could, in theory, record with two microphones to remove background noise. For example, one microphone near the speaker, and another far from the speaker. The one that is near the speaker will have a stronger speech and weaker noise, on the other hand, the far microphone will record stronger noise and weaker speech.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that I don't know of tools to accomplish this. Also I don't have a clue of what to look for, since I am not a professional in video editing. All I can find is tools to remove noise based on one audio only.&lt;/p&gt;&#xA;" OwnerUserId="21893" LastActivityDate="2018-04-09T02:28:18.140" Title="Getting audio components from two audio streams to remove noise" Tags="|audio|noise-reduction|noise|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23731" PostTypeId="1" AcceptedAnswerId="25102" CreationDate="2018-04-06T16:08:34.273" Score="6" ViewCount="7896" Body="&lt;p&gt;In ffmpeg, I have the following filter_complex:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;color=c=Chartreuse:s=1920x1080:d=8640.059,setpts=PTS-STARTPTS[t];&#xA;[1:v] trim=start=114.149:end=124.149,setpts=PTS-STARTPTS [v0];&#xA;[t][v0]overlay=0:0:enable='between(t,0,10)' [o0];&#xA;[2:v] trim=start=118.112:end=135.112,setpts=PTS-STARTPTS [v1];&#xA;[o0][v1]overlay=0:0:enable='between(t,10,27)' [o1];&#xA;[o0][o1]concat=n=2:v=1:a=0 [vout]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But when I run the command with 3 inputs (the first one is an audio file), I get:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Stream specifier 'o0' in filtergraph description&#xA;  color=c=Chartreuse:s=1920x1080:d=8640.059,setpts=PTS-STARTPTS[t];&#xA;  [1:v] trim=start=114.149:end=124.149,setpts=PTS-STARTPTS [v0];&#xA;  [t][v0]overlay=0:0:enable='between(t,0,10)' [o0]; [2:v]&#xA;  trim=start=118.112:end=135.112,setpts=PTS-STARTPTS [v1];&#xA;  [o0][v1]overlay=0:0:enable='between(t,10,27)' [o1];&#xA;  [o0][o1]concat=n=2:v=1:a=0 [vout]  matches no streams.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using a git version from ~1 week ago.&lt;/p&gt;&#xA;" OwnerUserId="21894" LastActivityDate="2018-10-27T12:11:40.880" Title="ffmpeg &quot;Stream specifier matches no streams&quot;, but it exists" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23732" PostTypeId="2" ParentId="23731" CreationDate="2018-04-06T16:32:41.663" Score="2" Body="&lt;p&gt;It looks like an intermediary stream, as produced by the color filter, cannot be reused more than once, so we have to use the split filter on it:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;color=c=Chartreuse:s=1920x1080:d=8640.059,setpts=PTS-STARTPTS[t];&#xA;[t] split=2 [s0][s1];&#xA;[1:v] trim=start=114.149:end=125.149,setpts=PTS-STARTPTS [v0];&#xA;[s0][v0]overlay=0:0:enable='between(t,0,11)' [o0];&#xA;[2:v] trim=start=115.629:end=123.629,setpts=PTS-STARTPTS [v1];&#xA;[s1][v1]overlay=0:0:enable='between(t,11,19)' [o1];&#xA;[o0][o1]concat=n=2:v=1:a=0 [vout]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I couldn't find any explicit documentation on that limitation, altough I'm sure it exists somewhere.&lt;/p&gt;&#xA;" OwnerUserId="21894" LastActivityDate="2018-04-06T16:32:41.663" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23733" PostTypeId="1" CreationDate="2018-04-06T20:54:25.993" Score="3" ViewCount="745" Body="&lt;p&gt;By default, the tile command builds the output one row at a time, from left to right.&#xA;I would like instead for my output to be built in columns, top to bottom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is, for a 4x4 tiling, the tile command by default arranges the frames like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    1  2  3  4&#xA;    5  6  7  8&#xA;    8  10 11 12&#xA;    13 14 15 16&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Whereas I would like for them to be arranged like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    1  5  9  13&#xA;    2  6  10 14&#xA;    3  7  11 15&#xA;    4  8  12 16&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What is the easiest way to make this happen?&lt;/p&gt;&#xA;" OwnerUserId="21895" LastActivityDate="2022-08-06T23:01:40.147" Title="ffmpeg tile command: ordering frames top to bottom rather than left to right" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23734" PostTypeId="2" ParentId="14749" CreationDate="2018-04-07T01:53:48.643" Score="0" Body="&lt;p&gt;Yes to LINK a title and clip you can right click, go to &quot;nest,&quot; and then create your new nested sequence like KR1DL1 said above. This is the best and its awesome. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Link two clips, link video, premier pro cc, premier cc&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Took me a while to find this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nesting. &lt;/p&gt;&#xA;" OwnerUserId="21897" LastActivityDate="2018-04-07T01:53:48.643" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23735" PostTypeId="2" ParentId="23733" CreationDate="2018-04-07T05:21:35.523" Score="1" Body="&lt;p&gt;You can't change the behaviour of the tile filter, but you can adjust your inputs before and after to get the desired result.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf hflip,transpose=cclock,tile=4x4,transpose=clock,hflip out.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that the layout supplied to tile is transposed, so if you want the final result to be 6x4, tile should be given 4x6.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-04-07T05:21:35.523" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23737" PostTypeId="1" AcceptedAnswerId="23739" CreationDate="2018-04-07T15:45:40.877" Score="0" ViewCount="62" Body="&lt;p&gt;I am dealing with long clips inside which I have several different moments I want to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So when logging, I create multiple sequences I use as folders, and I put extracts (i/o) of these clips in the timelines. Then, before starting to edit, I have a master sequence and several others with all my i/o extracts I copy/paste in the master (instead of dragging clips to the timeline).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way I could have all these extracts (of all clips) displayed as clip icon view, like registering multiple extracts of same clips as one clip, so I could use the Icon View?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope I'm clear!&#xA;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="21900" LastEditorUserId="21900" LastEditDate="2018-04-07T16:39:56.380" LastActivityDate="2018-04-07T20:35:59.283" Title="Premiere: Make clips from extracts of same clip" Tags="|premiere|workflow|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23739" PostTypeId="2" ParentId="23737" CreationDate="2018-04-07T20:35:59.283" Score="0" Body="&lt;p&gt;You can create &lt;strong&gt;subclips&lt;/strong&gt; of the sequences in the source material that you want to use seperately. This will create a second instance of the source material in the Project Panel that is limited to a specific part of the source. A subclip is sort of a virtual copy of the original clip (the source material on the disk is not copied).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To create a subclip, you first have to set In- and Out-Points. The subclip will use those as boundaries, so only the part between them will be available in the subclip. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can set In- and Out-Points at the current playhead position using the &lt;kbd&gt;I&lt;/kbd&gt;- and &lt;kbd&gt;O&lt;/kbd&gt;-keys. After you have set those points for the active clip in the Source Panel, right-click on the clip in the Project Panel and select &lt;em&gt;Make Subclip&lt;/em&gt;. You can then set a name for the subclip, after that it's available in the Project Panel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also edit your subclips after you created them, which is useful if you realize you need a longer part of the sequence after you created the subclip. The &lt;em&gt;Edit Subclip&lt;/em&gt; option is available from the context menu as well, you can shift the start/end timecodes of the supclip this way. There's also an option to restrict the sequence to the subclip's boundaries, which is active by default, you might want to turn it off depending on your workflow. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/h1HYh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/h1HYh.png&quot; alt=&quot;&amp;quot;Edit Subclip&amp;quot; menu&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6273" LastActivityDate="2018-04-07T20:35:59.283" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23741" PostTypeId="1" AcceptedAnswerId="26076" CreationDate="2018-04-08T01:08:21.680" Score="57" ViewCount="62015" Body="&lt;p&gt;When I am simply copying &lt;code&gt;a.MOV&lt;/code&gt; (from my iPhone) to &lt;code&gt;c.MOV&lt;/code&gt;, &lt;a href=&quot;https://en.wikipedia.org/wiki/FFmpeg&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg&lt;/a&gt; drops a lot of metadata, including the time and location of the video.&lt;/p&gt;&#xA;&lt;p&gt;I tried &lt;code&gt;-metadata&lt;/code&gt;, but FFmpeg still drops the information. It seems that the metadata is not dropped when FFmpeg prints &lt;code&gt;Output #0&lt;/code&gt;, but is dropped when I use &lt;a href=&quot;https://ffmpeg.org/ffprobe.html&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;ffprobe&lt;/code&gt;&lt;/a&gt; to see metadata of the output file.&lt;/p&gt;&#xA;&lt;p&gt;What should I do to make FFmpeg preserve these metadata?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i a.MOV -c copy c.MOV -y&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'a.MOV':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 0&#xA;    compatible_brands: qt  &#xA;    creation_time   : 2018-03-...&#xA;    com.apple.quicktime.location.ISO6709: .../&#xA;    com.apple.quicktime.make: Apple&#xA;    com.apple.quicktime.model: iPhone ...&#xA;    com.apple.quicktime.software: 11....&#xA;    com.apple.quicktime.creationdate: 2018-03-...&#xA;  Duration: 00:00:01.77, start: 0.000000, bitrate: 7868 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1280x720, 7707 kb/s, 30 fps, 30 tbr, 600 tbn, 1200 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2018-03-...&#xA;      handler_name    : Core Media Data Handler&#xA;      encoder         : H.264&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 87 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2018-03-...&#xA;      handler_name    : Core Media Data Handler&#xA;    Stream #0:2(und): Data: none (mebx / 0x7862656D), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2018-03-...&#xA;      handler_name    : Core Media Data Handler&#xA;    Stream #0:3(und): Data: none (mebx / 0x7862656D), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2018-03-...&#xA;      handler_name    : Core Media Data Handler&#xA;Output #0, mov, to 'c.MOV':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 0&#xA;    compatible_brands: qt  &#xA;    com.apple.quicktime.creationdate: 2018-03-...&#xA;    com.apple.quicktime.location.ISO6709: .../&#xA;    com.apple.quicktime.make: Apple&#xA;    com.apple.quicktime.model: iPhone ...&#xA;    com.apple.quicktime.software: 11....&#xA;    encoder         : Lavf57.71.100&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1280x720, q=2-31, 7707 kb/s, 30 fps, 30 tbr, 19200 tbn, 600 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2018-03-...&#xA;      handler_name    : Core Media Data Handler&#xA;      encoder         : H.264&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 87 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2018-03-...&#xA;      handler_name    : Core Media Data Handler&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame=   23 fps=0.0 q=-1.0 Lsize=     732kB time=00:00:01.76 bitrate=7827.5kbits/s speed= 971x    &#xA;video:921kB audio:9kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.291216%&#xA;$ ffprobe c.MOV&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'c.MOV':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 512&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf57.71.100&#xA;  Duration: 00:00:00.77, start: 0.000000, bitrate: 7819 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1280x720, 7707 kb/s, 30 fps, 30 tbr, 19200 tbn, 38400 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : DataHandler&#xA;      encoder         : H.264&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 92 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : DataHandler&#xA;$ &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="21903" LastEditorUserId="38451" LastEditDate="2022-05-22T17:32:50.183" LastActivityDate="2023-12-18T19:41:06.980" Title="How to prevent FFmpeg from dropping metadata?" Tags="|ffmpeg|metadata|" AnswerCount="6" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="23743" PostTypeId="2" ParentId="23619" CreationDate="2018-04-08T08:44:18.317" Score="1" Body="&lt;p&gt;You can do this with an expression on the Opacity property:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;fade = framesToTime(10);&#xA;fadeIn = (time - inPoint) / fade;&#xA;fadeOut = (outPoint - time) / fade;&#xA;if (time &amp;lt; inPoint + fade) { ease(fadeIn, 0, 1) * value }&#xA;else if (time &amp;gt; outPoint - fade) { ease(fadeOut, 0, 1) * value }&#xA;else { value }&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This expression will fade the layer from 0% to 100% Opacity across the first 10 frames, then fade from 100% to 0% on the last 10 frames of the layer. This is based on the layer's in and out points on the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Full tutorial (starts at 3:08):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/BOPfs49VfLE?start=188&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="3161" LastActivityDate="2018-04-08T08:44:18.317" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23744" PostTypeId="2" ParentId="23398" CreationDate="2018-04-08T08:55:09.717" Score="1" Body="&lt;p&gt;Try this:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol&gt;&#xA;  &lt;li&gt;Parent the atom to the ring or a null in the center&lt;/li&gt;&#xA;  &lt;li&gt;Rotate the ring/null which will rotate the electron around the middle&lt;/li&gt;&#xA;  &lt;li&gt;Apply an expression to the rotation property of the electron layer&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Rotation Expression:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;parent.transform.rotation * -1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This simple expression will rotate the electron in the opposite direction from its parent (ring/null) layer, which keeps the minus from rotating.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="3161" LastActivityDate="2018-04-08T08:55:09.717" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23745" PostTypeId="2" ParentId="23174" CreationDate="2018-04-08T09:06:31.013" Score="1" Body="&lt;p&gt;The Characteristic plugin for After Effects is built specifically for this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://aescripts.com/characteristic/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://aescripts.com/characteristic/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can set  kerning and spacing parameters for each character. Check out this tutorial to see how the font is set up:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/72438545&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/72438545&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this helps your situation!&lt;/p&gt;&#xA;" OwnerUserId="3161" LastActivityDate="2018-04-08T09:06:31.013" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23747" PostTypeId="1" CreationDate="2018-04-08T14:10:31.487" Score="1" ViewCount="815" Body="&lt;p&gt;I overlay using the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i logo.png -filter_complex &quot;[1]geq=r='r(X,Y)':a=0.1[a];[0][a] overlay=x='if(gte(t,2), -w+(t-2)*20, NAN)':y=0&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried adjusting the opacity using &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;fmpeg -i video.mp4 -i logo.png -filter_complex &quot;[1]format=rgba,geq=r='r(X,Y)':a='1*alpha(X,Y)'[a];[0][a] overlay=x='if(gte(t,2), -w+(t-2)*20, NAN)':y=0&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but it is still transparent at the white color part.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems like the white color part has a transparency of 0, causing the second command to not work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any reason why this is happening? The logo I tried is &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dMICv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dMICv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I preserve the white color?&lt;/p&gt;&#xA;" OwnerUserId="21908" LastActivityDate="2018-04-08T14:29:22.160" Title="Why when I overlay a logo on top of the video, the white color part of the logo is transparent?" Tags="|video|ffmpeg|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23748" PostTypeId="2" ParentId="23747" CreationDate="2018-04-08T14:29:22.160" Score="1" Body="&lt;p&gt;There is no white color. That's the background color of the page showing through. Your input PNG is palettized 8-bit image where black color indicates transparency.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apply the following filter to the image to convert black pixels to white and set a uniform transparency.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;geq=r='if(p(X,Y),p(X,Y),255)':g='if(p(X,Y),p(X,Y),255)':b='if(p(X,Y),p(X,Y),255)':a=0.1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-04-08T14:29:22.160" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23749" PostTypeId="2" ParentId="23384" CreationDate="2018-04-08T14:45:37.127" Score="9" Body="&lt;p&gt;The following worked well for me, based on the same ideas&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.premiumbeat.com/blog/quick-trick-for-de-flickering-your-video-shots/&quot; rel=&quot;noreferrer&quot;&gt;http://www.premiumbeat.com/blog/quick-trick-for-de-flickering-your-video-shots/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://superuser.com/questions/1025794/merge-two-videos-with-transparency-in-ffmpeg&quot;&gt;https://superuser.com/questions/1025794/merge-two-videos-with-transparency-in-ffmpeg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's more than a year, so I don't remember exactly how I arrived at this. The VOB was a video shot from a projected screen with serious projector pulldown flicker, alternating lighter and darker frames. The VOB was interlaced at 29.970 fps, where 1 frame would be 0.033 sec. The result was amazingly good, way beyond what I could get with various other deflicker filters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -fflags +genpts -i FLICKER.VOB -fflags +genpts -i FLICKER.VOB -filter_complex &quot;[0:v]setpts=PTS-STARTPTS[top]; [1:v]setpts=PTS-STARTPTS+.033/TB, format=yuva420p, colorchannelmixer=aa=0.5[bottom]; [top][bottom]overlay=shortest=1&quot; -c:v libx264 -crf 26 -an NOFLICKER.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="21909" LastEditorUserId="-1" LastEditDate="2018-04-11T01:29:28.430" LastActivityDate="2018-04-11T01:29:28.430" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23751" PostTypeId="2" ParentId="23730" CreationDate="2018-04-09T02:28:18.140" Score="1" Body="&lt;p&gt;So, you'd be inverting the phase of the noise signal, adjusting its amplification to match the level of the noise in the other clip, and then summing the two to obtain speech minus noise. You might find that adding EQ. to the noise signal as well as amplification might also help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any audio app that can mix two signals could do this, if you want a good free one Audacity is the most widely used. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This technique is used in a electomechanical sense in a &lt;a href=&quot;https://en.wikipedia.org/wiki/Lip-ribbon_microphone&quot; rel=&quot;nofollow noreferrer&quot;&gt;lip-ribbon microphone&lt;/a&gt;, commonly used in sports commentary.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-04-09T02:28:18.140" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23752" PostTypeId="2" ParentId="23722" CreationDate="2018-04-09T03:01:33.620" Score="0" Body="&lt;p&gt;Analog cables are thin bits of metal with connectors at each end. The signal that comes out of the source is present instantly* at all of the other connectors whether they are male or female.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, connecting two outputs does change the impedance that the signal is seeing. Since you're dealing with an analogue signal, where the amplitude of the signal directly relates to the brightness of the image this could cause problems. To oversimplify it, it's like you had a battery and two light bulbs connected in parallel: they're each going to be less bright than a battery connected to only one light bulb. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So where possible you're better off connecting one source to one input. To split the signal use the output from the equipment, as it will be buffered by an internal amplifier.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;*ignoring the time it takes for the signal to propogate which will be based on the electomechanical properties of the wire, but will probably be better than 0.5c (where c is the speed of light), or in other words for a 1 metre cable the signal reaches the end ~ 6.7 nanoseconds after it appears at the other.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-04-09T03:01:33.620" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23754" PostTypeId="1" AcceptedAnswerId="23837" CreationDate="2018-04-09T08:37:57.757" Score="0" ViewCount="98" Body="&lt;p&gt;How can I used dashed or dotted line (instead of the default solid line) for drawbox in ffmpeg? In general, is there anyway I can customize the look of objects drawn?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't find anything that allows me to do that in the documentation.&lt;/p&gt;&#xA;" OwnerUserId="21908" LastActivityDate="2018-04-16T07:03:24.237" Title="How can I used dashed or dotted line for drawbox in ffmpeg?" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23755" PostTypeId="1" AcceptedAnswerId="23756" CreationDate="2018-04-09T09:50:26.527" Score="2" ViewCount="3637" Body="&lt;p&gt;I have 2 video files. One file is the main content and the other file has an alpha channel emulated with black and white (white = opacity 100 and black = opacity 0). Sometimes the emulated alpha channel file has only full black and full white frames, but I think some videos that I want to create will have complex alpha channel emulation with gray scales.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to make with ffmpeg an vp8,vp9 -pix_fmt yuva420p ready .webm movie?&lt;/p&gt;&#xA;" OwnerUserId="21917" LastEditorUserId="14523" LastEditDate="2018-04-09T20:02:06.430" LastActivityDate="2018-04-09T20:02:06.430" Title="Create Alpha channel-Videos (obs stinger compatible) with ffmpeg and 2 files" Tags="|ffmpeg|alpha|vp9|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23756" PostTypeId="2" ParentId="23755" CreationDate="2018-04-09T10:41:21.823" Score="3" Body="&lt;p&gt;The alphaextract/alphamerge filters are meant for this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since your alpha reference is already greyscale, we only need the alphamerge filter&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i main.mp4 -i alpha.mp4 -filter_complex [0][1]alphamerge,format=yuva420p -c:v libvpx -auto-alt-ref 0 out.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-04-09T10:41:21.823" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23757" PostTypeId="1" AcceptedAnswerId="24003" CreationDate="2018-04-09T11:11:33.727" Score="0" ViewCount="457" Body="&lt;p&gt;Running video over ethernet isn't something new, but is it possible to split the video signal (over short runs) without losing video signal - or at all?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know you can buy these sort of items (just an example): &lt;a href=&quot;http://www.aten.com/global/en/products/professional-audiovideo/video-extenders/ve800/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.aten.com/global/en/products/professional-audiovideo/video-extenders/ve800/&lt;/a&gt; but if you were to run the ethernet into a switch, would the receiving end be able to be multiple Rx boxes?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know this deviates from the normal ffmpeg question, but was curious if anyone had any proper insight into the way these boxes work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/php6a.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/php6a.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14221" LastEditorUserId="14221" LastEditDate="2018-04-09T11:17:59.973" LastActivityDate="2018-05-10T15:49:18.667" Title="Can running a video over ethernet be split?" Tags="|video|signal-processing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23759" PostTypeId="2" ParentId="23677" CreationDate="2018-04-09T12:53:03.417" Score="1" Body="&lt;p&gt;There is a &lt;code&gt;madv&lt;/code&gt; box in the &lt;code&gt;udta&lt;/code&gt; atom that is not normally seen in MP4s&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;type:'madv' parent:'udta' sz: 3145728 115 3145835&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It has sufficient size for it to be a candidate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a dump of the first ~350 bytes&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;madv: s=   3145728 (0x00300000), o=   1950821 (0x001dc465)&#xA;  000000   00 00 00 ac 63 75 74 6c  00 00 00 00 00 00 00 00  |....cutl........|&#xA;  000010   00 00 00 00 00 00 00 00  00 00 00 00 00 00 00 00  |................|&#xA;  000020   00 00 00 00 00 00 00 00  00 00 00 00 00 00 00 00  |................|&#xA;  000030   00 00 00 00 00 00 00 00  00 00 00 00 00 00 00 00  |................|&#xA;  000040   00 00 00 00 00 00 00 00  00 00 00 00 00 00 00 00  |................|&#xA;  000050   00 00 00 00 00 00 00 00  00 00 00 00 00 00 00 00  |................|&#xA;  000060   00 00 00 00 00 00 00 00  00 00 00 00 00 00 00 00  |................|&#xA;  000070   00 00 00 00 00 00 00 00  00 00 00 00 00 00 00 00  |................|&#xA;  000080   00 00 00 00 00 00 00 00  00 00 00 00 00 00 00 00  |................|&#xA;  000090   00 00 00 00 00 00 00 00  00 00 00 00 00 00 00 00  |................|&#xA;  0000a0   00 00 00 00 00 00 00 00  00 00 00 00 00 00 00 0c  |................|&#xA;  0000b0   66 6c 74 72 00 00 00 00  00 00 00 88 63 61 69 66  |fltr........caif|&#xA;  0000c0   32 30 31 38 30 33 33 31  00 00 00 00 00 00 00 00  |20180331........|&#xA;  0000d0   31 31 00 00 30 00 00 00  00 00 00 00 00 00 00 00  |11..0...........|&#xA;  0000e0   00 00 00 00 00 00 00 00  00 00 00 00 00 00 00 00  |................|&#xA;  0000f0   51 4a 58 4a 30 31 46 4a  00 00 00 00 00 00 00 00  |QJXJ01FJ........|&#xA;  000100   31 2e 33 2e 31 30 34 2e  31 31 31 2e 35 2e 31 37  |1.3.104.111.5.17|&#xA;  000110   33 33 32 00 00 00 00 00  00 00 00 00 00 00 00 00  |332.............|&#xA;  000120   31 35 39 30 38 2f 30 30  30 30 38 30 36 32 00 00  |15908/00008062..|&#xA;  000130   00 00 00 00 00 00 00 00  00 00 00 00 00 00 00 00  |................|&#xA;  000140   00 00 02 5c 67 70 73 78  00 00 00 00 00 00 00 00  |...\gpsx........|&#xA;  000150   00 00 00 00 00 00 00 00  00 00 00 00 00 00 00 00  |................|&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Although not knowing the storage format, I can't confirm it or parse it.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-04-09T12:53:03.417" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23760" PostTypeId="1" CreationDate="2018-04-09T13:35:31.987" Score="2" ViewCount="166" Body="&lt;p&gt;I have a &lt;a href=&quot;https://ctan.org/pkg/beamer/&quot; rel=&quot;nofollow noreferrer&quot;&gt;LaTeX Beamer presentation&lt;/a&gt; that I output into a PDF slide show. I want to turn into a video file (with the ability to add sound later) so that I can generate animations from Beamer . How can one do this? I've tried importing the PDF to iMovie, but the quality of the frames drops dramatically.&lt;/p&gt;&#xA;" OwnerUserId="21920" LastEditorUserId="14523" LastEditDate="2018-04-10T19:58:14.923" LastActivityDate="2018-04-11T10:34:00.883" Title="Converting a PDF slide show to a video file" Tags="|conversion|imovie|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23761" PostTypeId="1" AcceptedAnswerId="23781" CreationDate="2018-04-09T14:44:03.510" Score="0" ViewCount="240" Body="&lt;p&gt;&lt;a href=&quot;https://gyazo.com/6cb8bcf6193716407790a11205bd060c&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gyazo.com/6cb8bcf6193716407790a11205bd060c&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea how I can create this effect in illustrator on a (rectangle) shape? Are there any effect presets for it? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/peVpXjb4bJ8?t=7&quot; rel=&quot;nofollow noreferrer&quot;&gt;The gif is from here.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21921" LastActivityDate="2018-04-10T13:47:11.097" Title="AE - Creating speed/motion lines?" Tags="|after-effects|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23763" PostTypeId="2" ParentId="23717" CreationDate="2018-04-09T18:07:47.433" Score="0" Body="&lt;p&gt;The answer depends on whether you want actual captions or just some text in the video. The difference is that subtitles/captions are actual streams in the video container or separate files altogether that can be turned on and off, whereas normal text in the video is part of the video stream, so it's burned in and can't be turned off (which also means the playback device/software doesn't have to support the subtitle standard that is used, so there are benefits to both methods).&lt;/p&gt;&#xA;&lt;h2&gt;Captions&lt;/h2&gt;&#xA;&lt;p&gt;If you want actual captions, you have very limited formatting options. The way it works is the subtitle file/stream contains only the timecodes and corresponding text for all the subtitles you create and &lt;em&gt;very&lt;/em&gt; limited formatting information as well as some metadata. The appearance of the captions (i.e. font family, font size and position) is controlled by the playback device/software. This way, the captions can be optimized for different displays and controlled by user settings (for example, people with bad eyesight can set a larger font size).&lt;/p&gt;&#xA;&lt;p&gt;If you want to control the display aspects of your subtitles, you can create Open Captions that are burned into the video stream. Make sure to select 'Open Captions' as the standard when you create the captions in Premiere Pro:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AZAlc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AZAlc.png&quot; alt=&quot;Create captions modal in Premiere Pro 2018&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you create Open Captions this way, you have more control over the caption display:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NAXAa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NAXAa.png&quot; alt=&quot;Open captions settings&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you can see in the screenshot above (taken in Premiere Pro 2018), you can control the font size, family and style, as you asked. If you create captions this way, you can still export the captions as an individual file (File → Export → Captions…), for example to the SubRip format (.srt). However, this will again only export the timecodes and text, not the display options set by you. If you want to have different font families, sizes etc. in your video, you will have to burn the subtitles in, which you can do if you create them as Open Captions.&lt;/p&gt;&#xA;&lt;h2&gt;Text in Video&lt;/h2&gt;&#xA;&lt;p&gt;If you want the most control over appearance, animation etc. of your text-in-video, use Text / Graphics layers. Working with text used to be really tedious in earlier versions of Premiere, but with the new &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/essential-graphics-panel.html#CreategraphicsinPremierePro&quot; rel=&quot;nofollow noreferrer&quot;&gt;Graphics Workflow&lt;/a&gt; it's rather straightforward and elegant. Take a look at &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/essential-graphics-panel.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this page&lt;/a&gt; for an introduction. Keep in mind though that Graphics can't be exported as subtitle streams/files, so they will always be burned in the video stream.&lt;/p&gt;&#xA;" OwnerUserId="6273" LastEditorUserId="17147" LastEditDate="2022-10-31T14:56:25.083" LastActivityDate="2022-10-31T14:56:25.083" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23764" PostTypeId="1" CreationDate="2018-04-09T18:18:50.050" Score="0" ViewCount="7853" Body="&lt;p&gt;I have a one precomp animations (from stocks). And I am searching for a script /expression that will automate a certain animation for my project. &#xA;I have a long videos with premade subtitles srt file and I want to use subtitles timestamps  (not a subtitle text content!) convert them to markers an link that one animation precomp to each and every starting marker on a specific AE layer. Finally I wanto to trigger an animation precomp by starting markers of on a layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Suppose I have 3 hour video with 30 captions in a one .srt file. &#xA;I import a video then I import .srt file via pt_importsubtitles (it will convert stamps to markers) and I will have a video already in sync with 30 imported markers on a АЕ layer from a one .srt file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Importantly, I do not interested of any imported text captions (although it will be good if text will be imported to marker's comment field) but only thing I am interested is (markers) timstamps of a srt file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to buy a script that will link a precomp to bunch of (timestamps) markers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Only thing i found is this video&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/gD1V_7x4iLE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help for a complete dummy in AE?&lt;/p&gt;&#xA;" OwnerUserId="21924" LastEditorUserId="21924" LastEditDate="2019-06-16T10:44:05.073" LastActivityDate="2022-06-30T17:00:07.217" Title="Use markers in After Effects as triggers for a particular animation" Tags="|after-effects|after-effects-expressions|after-effects-scripting|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="23765" PostTypeId="2" ParentId="23677" CreationDate="2018-04-09T19:10:35.250" Score="2" Body="&lt;p&gt;The data are stored within the file disregarding of the .mp4 file standard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the chunk containing those per frame data starts with: &lt;code&gt;#¿Ttlyd&lt;/code&gt; or &lt;code&gt;23C05474 6C7964&lt;/code&gt;in hex&#xA;&lt;a href=&quot;https://i.stack.imgur.com/qAIyv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qAIyv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each frame has 36 bytes of data, those seem to be 9 floats of normalized (from -1 to 1) numbers&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Those numbers seem to be a 3x3 matrix representing the current coordinate system for this frame.&lt;/p&gt;&#xA;" OwnerUserId="21816" LastEditorUserId="21816" LastEditDate="2018-04-28T20:43:30.163" LastActivityDate="2018-04-28T20:43:30.163" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23766" PostTypeId="2" ParentId="23764" CreationDate="2018-04-09T22:10:09.357" Score="1" Body="&lt;p&gt;Markers are a special time of key, basically you can think of them as keys on a property of the layer called &quot;marker&quot;, just like you can use keys on say, the position property. To access a marker on a layer you use&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var myMarker = marker.key(n)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;em&gt;n&lt;/em&gt; is the number of the key you want (counting from 1, not zero. WTF Adobe?) or alternatively:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var myMarker = marker.nearestKey(time)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Which will give you the nearest key, which can be ahead of or behind the current time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have the markerKey object you can get its time, duration, index (useful if you used the nearestKey method), and all of the metadata that can be stored in markers (quite a lot). Details about all the marker properties &lt;a href=&quot;http://expressions.aenhancers.com/markerkey.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. For example, if your marker has a comment, you can get the text of the comment thus&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var myMarker = marker.key(n);&#xA;var theComment = myMarker.comment;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can access comp markers too, just use&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var myMarker = thisComp.marker.key(n); //or&#xA;var myOtherMarker = thisCom.marker.nearestKey(time);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-04-09T22:10:09.357" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23767" PostTypeId="2" ParentId="23757" CreationDate="2018-04-09T22:25:35.010" Score="0" Body="&lt;p&gt;&lt;strong&gt;Short answer:&lt;/strong&gt; No. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Long answer:&lt;/strong&gt; Cat5 ≠ ethernet. Just because you're using the same cables as ethernet doesn't mean you're using the same protocols. The boxes you link to just boosts the HDMI signal so that it can go further down a copper wire without too much electrical interference, they don't turn it into TCP/IP packets that a router would understand.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'd need a HDMI splitter with enough outputs, and then either more extender boxes or HDMI cable to go from the splitter to the TVs. Random example just to illustrate, not recommend &lt;a href=&quot;https://elbo.in/GzFb&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-04-09T22:25:35.010" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23768" PostTypeId="2" ParentId="21660" CreationDate="2018-04-10T05:02:39.027" Score="1" Body="&lt;p&gt;Yes, you can select the desired length by chapters, time or even frames.&#xA;BUT this only works properly when Audio and Video have the same length (video is always cutted correctly, audio not).&#xA;So you have to either &#xA;1. cut the audio track with Audacity or any DAW (Tracktion is really good and free) to the correct length and mux it back together afterwards (Yamb for MP4, MKVToolnix for MKV) or you can &#xA;2.add a chapter mark at the end of your video and put the video into fre:ac (the best audio converter I know), check &quot;encode to a single file&quot; and unselect the last of the appearing titles (everything after your chapter mark). Now you can convert your audio into anything you want. fre:ac only detects mp4 chapters, you can edit/add them with Drax and you have to use fre:ac alpha version to use this feature.&lt;/p&gt;&#xA;" OwnerUserId="21926" LastActivityDate="2018-04-10T05:02:39.027" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23769" PostTypeId="2" ParentId="13406" CreationDate="2018-04-10T05:29:39.587" Score="1" Body="&lt;p&gt;What tool do you use for showing the Audio bitrate?&#xA;Try MediaInfo to make sure that Handbrake is the problem here.&#xA;But as far as I can see, you aren't doing anything wrong (besides setting the audio bitrate this low ;) ).&#xA;The avcodec AAC encoder also has quality settings, you can try these out as well, should give better compression efficiency. However, avcodec AAC is generally not a good AAC encoder, you'd have to compile Handbrake with FDK-AAC support for good AAC encoding quality in Handbrake.&#xA;The alternative would be to use Vorbis or Opus instead, which won't go into an MP4 container though, but provide higher compression efficiency, especially Opus is just superior to any AAC encoder.&lt;/p&gt;&#xA;" OwnerUserId="21926" LastEditorUserId="21926" LastEditDate="2021-11-04T16:52:34.523" LastActivityDate="2021-11-04T16:52:34.523" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23770" PostTypeId="2" ParentId="4212" CreationDate="2018-04-10T06:14:36.533" Score="0" Body="&lt;p&gt;I would like to add that MP4 has restrictions of what can be muxed to MP4 and what not, while MKV has nearly no limitations at all.&lt;/p&gt;&#xA;" OwnerUserId="21926" LastActivityDate="2018-04-10T06:14:36.533" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23771" PostTypeId="2" ParentId="15772" CreationDate="2018-04-10T06:27:34.403" Score="0" Body="&lt;p&gt;There is free software like DVD Flick and DVDStyler, but video on a DVD is limited to 720 Pixel in width (less than HD ready with 1280 Pixel in width) and as the video has to be reencoded you will allways loose quality, so I would also recommend to first try it with an USB-Stick or a data DVD.&lt;/p&gt;&#xA;" OwnerUserId="21926" LastActivityDate="2018-04-10T06:27:34.403" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23772" PostTypeId="2" ParentId="4525" CreationDate="2018-04-10T06:53:51.850" Score="1" Body="&lt;p&gt;There are two freeware-tools (for Windows) I know:&lt;/p&gt;&#xA;&lt;p&gt;LosslessCut&lt;/p&gt;&#xA;&lt;p&gt;Free Video Cutter Joiner&lt;/p&gt;&#xA;&lt;p&gt;They both work fine, but remember that you can't make exact cuts where you want, as they can only cut at keyframes (Avidemux ignores this, so the Video is always destroyed at the beginning). But this accuracy depends on the keyframe interval of your video.&lt;/p&gt;&#xA;" OwnerUserId="21926" LastEditorUserId="21926" LastEditDate="2022-01-22T07:06:40.737" LastActivityDate="2022-01-22T07:06:40.737" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23773" PostTypeId="2" ParentId="22031" CreationDate="2018-04-10T07:01:41.247" Score="0" Body="&lt;p&gt;Handbrake is really good for deinterlacing video. Under Filters choose Yadif for best result or Decomb for automatic recognition of interlaced frames.&lt;/p&gt;&#xA;" OwnerUserId="21926" LastActivityDate="2018-04-10T07:01:41.247" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23774" PostTypeId="2" ParentId="22948" CreationDate="2018-04-10T07:08:37.310" Score="0" Body="&lt;p&gt;Use MKVToolNix:&#xA;Drag and drop your video into the Multiplexer Input and click on &quot;Start multiplexing&quot;.&#xA;No quality loss, even all metadata is preserved (in my experience).&lt;/p&gt;&#xA;" OwnerUserId="21926" LastActivityDate="2018-04-10T07:08:37.310" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23775" PostTypeId="2" ParentId="4212" CreationDate="2018-04-10T07:20:10.267" Score="1" Body="&lt;p&gt;One thing I have found with video creating/playing software on GNU/Linux is that the MP4 container format can only be replayed once a video is finished while mkv (Matroska) containers will replay even on partially completed files.  So at least when using the common Free Software toolchains on GNU/Linux, mkv appears better suited for streaming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use the same codecs either way.  WEBM is a subset of Matroska with a restricted list of permissible codecs.&lt;/p&gt;&#xA;" OwnerDisplayName="user21929" LastActivityDate="2018-04-10T07:20:10.267" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23776" PostTypeId="1" CreationDate="2018-04-10T07:47:35.000" Score="0" ViewCount="515" Body="&lt;p&gt;The camera here is a Samsung HMX-Q10P (P likely stands for PAL: the N model would have 60fps instead).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The videos I upload usually are 25fps either way, but strictly speaking 1080/50i will never give me the odd lines when dropping every second frame, so I rely on the deinterlacing algorithm of my video editor (Shotcut in this case which may use ffmpeg or other stuff internally) to deliver reasonable content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've made a few attempts at fast moves of the camera shooting 1080/50i and I have not been able to see noticeable staircasing when creating 25fps output from that by reexporting from the video editor.  However, I am not sure how much quality deterioration the interpolation of the odd scanlines will cause.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So assuming the desire for best results, would I be better off shooting in 1080/50i or in 720/50p for videos without global movement (fixed mount, no zoom while shooting) and moderate local movement (close-captured single musician), and how would those considerations change given different material?&lt;/p&gt;&#xA;" OwnerDisplayName="user21930" LastEditorUserId="5747" LastEditDate="2018-04-11T01:29:06.897" LastActivityDate="2018-04-11T01:29:06.897" Title="Should I rather be shooting 1080/50i or 720/50p for 25fps web use?" Tags="|framerate|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23777" PostTypeId="2" ParentId="19921" CreationDate="2018-04-10T07:54:24.377" Score="1" Body="&lt;p&gt;A camera that can shoot in raw will have the ability to do so. Also you need full frame or even medium format for the depth of field and of course the higher quality per pixel.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Raw shooting = a must&lt;/li&gt;&#xA;&lt;li&gt;Full frame = minimum must&lt;/li&gt;&#xA;&lt;li&gt;Medium Format = best option (but may be too expensive)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Large format video cameras do not exist, only photo cameras&lt;/p&gt;&#xA;" OwnerUserId="21931" LastEditorUserId="14523" LastEditDate="2018-04-13T00:44:09.000" LastActivityDate="2018-04-13T00:44:09.000" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23778" PostTypeId="1" CreationDate="2018-04-10T10:59:22.250" Score="3" ViewCount="3882" Body="&lt;p&gt;I tried doing this &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i tcp://192.168.1.41:5000?listen -c copy out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and have another client publish to this server using&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.avi -map 0 -c copy -f mjpeg tcp://192.168.1.41:5000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, the ffprobe results I get for these two files are&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Invalid return value 0 for stream protocol&#xA;    Last message repeated 1 times&#xA;Input #0, avi, from 'out2.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf57.83.100&#xA;  Duration: 00:00:08.04, start: 0.000000, bitrate: 31181 kb/s&#xA;    Stream #0:0: Video: mjpeg (MJPG / 0x47504A4D), yuvj420p(pc, bt470bg/unknown/unknown), 2048x1536, 31321 kb/s, 50 fps, 50 tbr, 50 tbn, 50 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mjpeg @ 0x177aea0] Changeing bps to 8&#xA;Input #0, avi, from '1.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf54.20.4 &#xA;  Duration: 00:00:40.20, start: 0.000000, bitrate: 6235 kb/s&#xA;    Stream #0:0: Video: mjpeg (MJPG / 0x47504A4D), yuvj420p(pc, bt470bg/unknown/unknown), 2048x1536, 6264 kb/s, 5 fps, 5 tbr, 5 tbn, 5 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Although the file size is the same, I am not sure if they are still the same. Based on the output, it seems not. Can I know why?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What should be the command to send exact same stream to a remote server?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;em&gt;Update with the suggestion from @Mulvya&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The output of using &lt;code&gt;-f nut&lt;/code&gt; is as follows, which I don't quite understand why:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Invalid return value 0 for stream protocol&#xA;    Last message repeated 1 times&#xA;[nut @ 0x55cdee5959c0] No main startcode found.&#xA;tcp://192.168.1.41:5000?listen: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="21908" LastEditorUserId="21908" LastEditDate="2018-04-12T17:18:32.900" LastActivityDate="2018-04-12T17:18:32.900" Title="How to use ffmpeg to send video stream to another server that gives exactly same quality as manually copying the file to that server?" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="11" ContentLicense="CC BY-SA 3.0" />
  <row Id="23780" PostTypeId="2" ParentId="23776" CreationDate="2018-04-10T12:18:45.020" Score="1" Body="&lt;p&gt;If you're mainly concerned about the staircasing, consider where the video will be watched. If interlaced video is shown on a display made for interlaced video, it appears ok. If you play it on a progressive display (such as a computer monitor) the staircasing is easily noticeable even for little horizontal movements (of the camera or of the subjects). For details see &lt;a href=&quot;https://cardinalpeak.com/blog/interlaced-video-and-computer-monitors/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://cardinalpeak.com/blog/interlaced-video-and-computer-monitors/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best is if you never have to deal with interlaced video if possible.&lt;/p&gt;&#xA;" OwnerUserId="5747" LastActivityDate="2018-04-10T12:18:45.020" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23781" PostTypeId="2" ParentId="23761" CreationDate="2018-04-10T13:47:11.097" Score="0" Body="&lt;p&gt;I have found a good tutorial explaining this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/2ligfZ4WKE0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="21921" LastActivityDate="2018-04-10T13:47:11.097" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23782" PostTypeId="2" ParentId="2952" CreationDate="2018-04-10T19:42:33.123" Score="0" Body="&lt;p&gt;Yes, there is one: Youtube!&#xA;As Youtube now supports all common video codecs (just tested it for H.264, H.265 and VP9) and practically all audio codecs and then converts the uploaded video to VP9 based video (MKV or webm) and H.264 based video (MP4), you can just upload your MKV and then use a tool like 4k Video Downloader, JDownloader 2 or aTube Catcher to download the created MP4.&#xA;BUT Youtube deletes all protected content (even if you upload it to private), so this might not help you at all.&lt;/p&gt;&#xA;" OwnerUserId="21926" LastActivityDate="2018-04-10T19:42:33.123" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23783" PostTypeId="1" CreationDate="2018-04-10T19:43:28.763" Score="0" ViewCount="556" Body="&lt;p&gt;I've been trying to split a tv show episode into two seperate parts, but whenever I try to rejoin the split files, I get a pixelation look on the merge locations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been using MKVToolNix to try and do the splitting/joining.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I made an example of the problem I am having.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.imgur.com/2V35u2B.gifv&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.imgur.com/2V35u2B.gifv&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right as the credits start you can see the screen blips grey, and then after that some of the credits become pixelated also.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anyway to fix this problem and just have one smooth video?&lt;/p&gt;&#xA;" OwnerUserId="21934" LastActivityDate="2023-12-12T02:06:25.793" Title="MKVToolNix Splitting and Joining Stutter" Tags="|video|video-editor|mkv|hevc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23784" PostTypeId="2" ParentId="23760" CreationDate="2018-04-10T20:54:52.057" Score="2" Body="&lt;p&gt;Convert the presentation to a series of image files. The classic image format for that is a &lt;a href=&quot;https://en.wikipedia.org/wiki/Truevision_TGA&quot; rel=&quot;nofollow noreferrer&quot;&gt;TARGA&lt;/a&gt; sequence. But you can use any format that your LaTeX tool chain can output and a video generator can import. For generating the image sequence, there are &lt;a href=&quot;https://en.wikibooks.org/wiki/LaTeX/Export_To_Other_Formats#Convert_to_image_formats&quot; rel=&quot;nofollow noreferrer&quot;&gt;several vector and raster formats&lt;/a&gt; that LaTeX can export. You can then use ffmpeg to &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Slideshow&quot; rel=&quot;nofollow noreferrer&quot;&gt;turn the image sequence into video&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a reminder, be sure to set the &lt;a href=&quot;https://tex.stackexchange.com/questions/14336/latex-beamer-presentation-package-169-aspect-ratio&quot;&gt;aspect ratio of your presentation&lt;/a&gt; appropriately.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-04-10T20:54:52.057" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23787" PostTypeId="2" ParentId="23760" CreationDate="2018-04-11T10:34:00.883" Score="2" Body="&lt;p&gt;You could convert the PDF file to PNGs (use density 144 for double the size):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;convert -density 72 in.pdf out-%04d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then import the images in any decent video editor, add a sound track, fine tune the result and export/render the video.&lt;/p&gt;&#xA;" OwnerUserId="5747" LastActivityDate="2018-04-11T10:34:00.883" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23788" PostTypeId="2" ParentId="23783" CreationDate="2018-04-11T10:46:43.437" Score="0" Body="&lt;p&gt;Try using a different video encoder when you create the original file. If that's not under your control, you can file a bug agains MKVToolNix, the author is &quot;always grateful for good bug reports&quot;: &lt;a href=&quot;https://mkvtoolnix.download/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://mkvtoolnix.download/&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, try using ffmpeg to join the two parts: &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Concatenate&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5747" LastActivityDate="2018-04-11T10:46:43.437" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23790" PostTypeId="2" ParentId="23682" CreationDate="2018-04-11T12:42:51.740" Score="2" Body="&lt;p&gt;You should be able to use any software for video stabilization. With ffmpeg you can use either &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#deshake&quot; rel=&quot;nofollow noreferrer&quot;&gt;deshake&lt;/a&gt;, or &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#vidstabdetect-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;vidstabdetect&lt;/a&gt;/&lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#vidstabtransform-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;vidstabtransform&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on how shaky the original video is, you can get rid of the black distracting margins by zooming with the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#zoompan&quot; rel=&quot;nofollow noreferrer&quot;&gt;zoompan&lt;/a&gt; filter, or cropping with the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;nofollow noreferrer&quot;&gt;crop&lt;/a&gt; filter. See the links for examples.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll probably have to experiment a bit to find out what works for your material. Use &lt;code&gt;ffplay&lt;/code&gt; with the same syntax to see directly how the filters work.&lt;/p&gt;&#xA;" OwnerUserId="5747" LastActivityDate="2018-04-11T12:42:51.740" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23791" PostTypeId="1" CreationDate="2018-04-11T16:35:30.353" Score="0" ViewCount="96" Body="&lt;p&gt;In a nutshell I want to place a basic object, specifically a line, over a live feed of video from camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use case scenario: Simple camera connected to Arduino is capturing scenery which is displayed on LCD screen with simple line placed in fixed &quot;height&quot; of the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have done practically no video production before.&#xA;I tried searching but everything I found was either big hardware solution or it would not be possible to run on Arduino.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would be really grateful if someone can give me some clues.&lt;/p&gt;&#xA;" OwnerUserId="21953" LastEditorUserId="14523" LastEditDate="2018-04-13T00:55:59.717" LastActivityDate="2024-03-14T18:04:10.497" Title="Adding graphics into video real time (lightweight)" Tags="|software-recommendation|live|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23792" PostTypeId="1" CreationDate="2018-04-11T18:57:04.250" Score="3" ViewCount="1362" Body="&lt;p&gt;In &lt;em&gt;Star Wars: &lt;strong&gt;A New Hope&lt;/em&gt;&lt;/strong&gt;, right &lt;strong&gt;before&lt;/strong&gt; the Millennium Falcon exits hyperspace, we see a &quot;tunnel&quot; through which the ship is traveling:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Z2HcQ.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Z2HcQ.gif&quot; alt=&quot;The Millennium Falcon in hyperspace&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How did ILM create this effect in 1976?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;NOTE:&lt;/strong&gt; I am &lt;em&gt;not&lt;/em&gt; referring to the &quot;&lt;em&gt;stretching star lines&lt;/em&gt;&quot; effect shown when a ship enters or exits hyperspace as detailed by John Dykstra in a &lt;a href=&quot;https://ia800606.us.archive.org/11/items/Fantasy_Film_Journal_01_Winter_1977-78/Fantasy_Film_Journal_01_Winter_1977-78.pdf#page=11&quot; rel=&quot;nofollow noreferrer&quot;&gt;1978 interview with the Fantasy Film Journal&lt;/a&gt;. I am specifically referring to the &lt;a href=&quot;https://www.youtube.com/embed/JGp_5gOww0E?start=0&amp;amp;end=3&quot; rel=&quot;nofollow noreferrer&quot;&gt;blue tunnel&lt;/a&gt; effect seen while the ship is still in hyperspace.&lt;/p&gt;&#xA;" OwnerUserId="21907" LastEditorUserId="21907" LastEditDate="2018-04-11T19:04:26.937" LastActivityDate="2018-10-04T14:31:02.667" Title="How did ILM create the hyperspace tunnel effect?" Tags="|editing|filming|special-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23793" PostTypeId="1" AcceptedAnswerId="23795" CreationDate="2018-04-11T21:06:47.133" Score="2" ViewCount="4548" Body="&lt;p&gt;I have some 3-4 year old AE projects which use bigger png textures. When I created, them they looked amazing in the preview. The quality was render quality. The images were displayed as they look like when I open the source png files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the problem is that when I open them now (with the exact same computer, with a newer AE version), the images look terrible with the preview. The quality of the textures has been lowered a lot. Changing the preview resolution to &quot;Full&quot; doesn't help. I am unable to preview my composition with normal quality while I can render it in almost real time, so it's not because the file ate all of my RAMs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would really appreciate if somebody could give me some tips about how could I try to solve the issue. &lt;/p&gt;&#xA;" OwnerUserId="21954" LastEditorUserId="14523" LastEditDate="2018-04-13T00:48:55.790" LastActivityDate="2018-04-13T00:48:55.790" Title="After Effects preview with decreased image quality" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23795" PostTypeId="2" ParentId="23793" CreationDate="2018-04-12T06:08:00.243" Score="4" Body="&lt;p&gt;You're probably using &quot;Fast Draft&quot; as your preview. This is a new preview mode which uses the GPU to provide &quot;fast&quot;* rendering for previews. This mode will generally look pretty bad, with less or no antialising, lower resolution textures, and less accurate colour.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can go back to the old adaptive resolution rendering for previews, or use final quality (it actually works faster sometimes, go figure) using the little widget at the bottom of the comp window:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/N3ndm.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/N3ndm.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;*Adobe's words, not mine, IMHO the latest versions of AE are the slowest yet&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-04-12T06:08:00.243" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23796" PostTypeId="1" CreationDate="2018-04-12T11:11:41.050" Score="0" ViewCount="136" Body="&lt;p&gt;How to send stream to server without any compression (output should be exactly the same as the video stream being sent)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg doesn't seem to be able to do that. It always lose something (based on filesize and ffprobe output). Is there any alternative?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This question is asking for alternative to ffmpeg that may do the job more easily than ffmpeg. &lt;/p&gt;&#xA;" OwnerUserId="21908" LastEditorUserId="21908" LastEditDate="2018-04-14T03:36:48.760" LastActivityDate="2018-04-14T03:36:48.760" Title="How to send stream to server without any compression?" Tags="|video|streaming|" AnswerCount="1" CommentCount="4" ClosedDate="2018-04-19T18:09:35.870" ContentLicense="CC BY-SA 3.0" />
  <row Id="23797" PostTypeId="2" ParentId="18528" CreationDate="2018-04-12T11:56:28.237" Score="2" Body="&lt;p&gt;Here's an example of how to crop landscape videos to square (1:1 aspect), while &lt;strong&gt;not&lt;/strong&gt; cropping portrait videos:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-filter_complex &quot;[0:v]crop='if(lt(in_h,in_w),in_h,in_w):in_h'[out]&quot;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="21958" LastEditorUserId="14523" LastEditDate="2018-04-13T00:59:48.763" LastActivityDate="2018-04-13T00:59:48.763" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23799" PostTypeId="1" AcceptedAnswerId="23808" CreationDate="2018-04-12T21:38:57.913" Score="1" ViewCount="3448" Body="&lt;p&gt;I'm doing this to add a keyframe at &lt;code&gt;00:00:14.0000&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;1. ffmpeg -i trailer.mp4 -to 13.92 -copyts -c copy first-bun.mp4&#xA;&#xA;2. ffmpeg -ss 14 -i trailer.mp4 -to 15 -video_track_timescale 90000 -copyts bun.mp4&#xA;&#xA;3. ffmpeg -ss 16 -i trailer.mp4 -copyts -c copy third-bun.mp4&#xA;&#xA;4.  create text file &#xA;        file 'first-bun.mp4'&#xA;        file 'bun.mp4'&#xA;        file 'third-bun.mp4'&#xA;&#xA;5.  ffmpeg -f concat -i concat.txt -c copy trailer-keyframed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This works, and the resulting file plays without a visible hitch, however, when I inspect the frames of the final output file to see if my keyframe is at the place where I expect it to be, I see that the keyframe is actually at &lt;code&gt;14.022&lt;/code&gt; instead of &lt;code&gt;14&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;        &quot;media_type&quot;: &quot;video&quot;,&#xA;        &quot;stream_index&quot;: 0,&#xA;        &quot;key_frame&quot;: 1,&#xA;        &quot;pkt_pts&quot;: 1261980,&#xA;        &quot;pkt_pts_time&quot;: &quot;14.022000&quot;,&#xA;        &quot;pkt_dts&quot;: 1261980,&#xA;        &quot;pkt_dts_time&quot;: &quot;14.022000&quot;,&#xA;        &quot;best_effort_timestamp&quot;: 1261980,&#xA;        &quot;best_effort_timestamp_time&quot;: &quot;14.022000&quot;,&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Further, there is no frame at &lt;code&gt;14&lt;/code&gt;, but rather at &lt;code&gt;13.96&lt;/code&gt; and &lt;code&gt;14.04&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Inspecting &lt;code&gt;bun.mp4&lt;/code&gt;, I see a keyframe at &lt;code&gt;14&lt;/code&gt;, as I expect:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;        &quot;media_type&quot;: &quot;video&quot;,&#xA;        &quot;stream_index&quot;: 0,&#xA;        &quot;key_frame&quot;: 1,&#xA;        &quot;pkt_pts&quot;: 1260000,&#xA;        &quot;pkt_pts_time&quot;: &quot;14.000000&quot;,&#xA;        &quot;pkt_dts&quot;: 1260000,&#xA;        &quot;pkt_dts_time&quot;: &quot;14.000000&quot;,&#xA;        &quot;best_effort_timestamp&quot;: 1260000,&#xA;        &quot;best_effort_timestamp_time&quot;: &quot;14.000000&quot;,&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Further inspecting the frames reveals that: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;first-bun.mp4 goes from 0 to 13.96&lt;/li&gt;&#xA;&lt;li&gt;bun.mp4 goes from 14 to 14.96&lt;/li&gt;&#xA;&lt;li&gt;third-bun.mp4 goes from 15 to the end.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;An inspection of the original trailer.mp4 shows that there are no frames between 13.96 and 14, nor are there frames between 14.96 and 15.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where is this adjustment coming from, and how can I prevent it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;full output of all commands:&#xA;&lt;a href=&quot;https://pastebin.com/10Zcdh4P&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pastebin.com/10Zcdh4P&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user21952" LastEditorDisplayName="user21952" LastEditDate="2018-04-12T21:50:55.090" LastActivityDate="2018-04-13T16:36:20.813" Title="concat files with ffmpeg and preserve exact frame timestamps" Tags="|ffmpeg|keyframes|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23800" PostTypeId="2" ParentId="23796" CreationDate="2018-04-13T02:15:14.197" Score="0" Body="&lt;p&gt;Any video you plan to stream from a host machine to another endpoint, or multiple endpoints, will have to be encoded. The question is what is your source? Are you streaming a live video feed? If so, in order to stream uncompressed you’d first have to have your capture setup to injest the video as an uncompressed format, 4:4:4. Even with just 1080, you are talking huge amounts of data. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For uncompressed, to stream over the internet, youre going to need a serious rock solid network uplink... 1000mbps up or greater depending on the frame size. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-04-13T02:15:14.197" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23801" PostTypeId="2" ParentId="23710" CreationDate="2018-04-13T02:21:56.820" Score="0" Body="&lt;p&gt;You may want to look into &lt;a href=&quot;https://prezi.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Prezi&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think it might be the right tool for the job, as it allows for a nearly infinite canvas and has a user interface that allows for users to navigate around the canvas to view different media, video, photos, etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not familiar enough with Prezi to give advice on a specific workflow. But it's the program I'd look at first. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A second option, would be to build it in Flash. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastEditorUserId="18155" LastEditDate="2019-09-13T03:05:57.160" LastActivityDate="2019-09-13T03:05:57.160" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23802" PostTypeId="1" CreationDate="2018-04-13T09:54:29.090" Score="1" ViewCount="48" Body="&lt;p&gt;I need to fix this in post. Can I do it? &lt;a href=&quot;https://i.stack.imgur.com/ZioUX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZioUX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20944" LastActivityDate="2018-04-13T12:30:26.550" Title="How can I fix a dark spot on my lens in post-production?" Tags="|post-production|cleaning|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23803" PostTypeId="2" ParentId="23802" CreationDate="2018-04-13T10:49:24.053" Score="0" Body="&lt;p&gt;It depends, which software you want to use. The easiest one is probably After Effects, which has a function to replace an object completey by analyzing the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But you could as well try to set a new alpha layer on the film over its complete length, masking the dark spot and light the spot area up a tiny little bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This might result in a loss of contrast and sharpness, though.&lt;/p&gt;&#xA;" OwnerDisplayName="user21266" LastActivityDate="2018-04-13T10:49:24.053" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23804" PostTypeId="2" ParentId="23802" CreationDate="2018-04-13T12:30:26.550" Score="1" Body="&lt;p&gt;If you shoot an evenly lit white frame you could invert it, adjust the levels so that the non-affected areas of the frame were completely black, and then add the result to the original footage. It might take some tweaking of the levels to get it right.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-04-13T12:30:26.550" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23805" PostTypeId="1" CreationDate="2018-04-13T14:09:15.047" Score="0" ViewCount="415" Body="&lt;p&gt;I'm trying to create a new Essential Graphics template in After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an animation (at its most basic, it's a rectangle that expands from a set, small size to - hopefully! - a user defined size) that can be controlled by moving 4 sliders (it took some fiddling about but I've got a Top Left Null and Bottom Right Null and the 4 sliders control their positions (TL X &amp;amp; Y and BR X &amp;amp; Y), which - in turn - determine the positions for the four corners of the rectangle).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, having begun setting up the template, I'm slightly worried that this is not going to work. Moving the slider control from within the template window just sets new keyframes (so the animation is all over the place) and, thinking about it now, even if using the template in PP doesn't create new keyframes, how will the EG panel know which keyframe (if any) to affect?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess what I'm really wondering is if we can, using an expression, cause the slider controls to affect only the LAST keyframe of an animation (I'm no expression whizz but I can't find anything like that out there following some extensive Googling and I cannot figure out a way to write this myself).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if you think there might be an easier way to do any of this, please let me know!&lt;/p&gt;&#xA;" OwnerUserId="21965" LastEditorUserId="14523" LastEditDate="2018-04-13T20:58:53.373" LastActivityDate="2021-07-31T22:48:49.450" Title="After Effects - EG Template: Of 2 keyframes I only want to change the 2nd in EG, help!" Tags="|after-effects|animation|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23806" PostTypeId="1" AcceptedAnswerId="23895" CreationDate="2018-04-13T15:09:42.733" Score="1" ViewCount="782" Body="&lt;p&gt;Why video call has no (even if there is, it is lower than human perception can discern) latency,  but no matter what options of ffmpeg I tried to transmit video to a remote server, the lowest I can get is ~0.2s latency (estimated, not sure how to profile)? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;em&gt;What is the technology behind video call that allows it to be much faster than ffmpeg?&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried sending to the server and make the server send back the stream using the following commands:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CLIENT:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;termimal 1-&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -pixel_format mjpeg -s hd720 -r 30 -i /dev/video1 -c libx264 -preset ultrafast -tune zerolatency -crf 18 -b 5M -f matroska -vf hflip tcp://X:5000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;termimal 2-&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mplayer -benchmark ffmpeg://tcp://Y:5000?listen&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;SERVER:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i tcp://X:5000 -c copy -f matroska tcp://Y:5000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, the video I got back has a slight delay of about 0.5s (estimated, not sure how to profile). Is sending to and fro different that causes it to have longer delay?&lt;/p&gt;&#xA;" OwnerUserId="21908" LastEditorUserId="21908" LastEditDate="2018-04-17T11:02:55.490" LastActivityDate="2018-04-23T23:59:49.970" Title="Why video call has no latency, but no matter what options of ffmpeg I tried to transmit video, the lowest I can get is ~0.2s latency?" Tags="|video|ffmpeg|latency|" AnswerCount="3" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="23807" PostTypeId="1" AcceptedAnswerId="23841" CreationDate="2018-04-13T15:28:52.613" Score="2" ViewCount="1178" Body="&lt;p&gt;I have a hundred of visually (!) corrupt video clips in H.264 'hiding' within a larger set of files.&#xA;As they have been re-transcoded, all of them are now &lt;strong&gt;technically&lt;/strong&gt; OK and will play fine, but will have green flash on every other frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have noticed that if I run a file through QCTools then I can identify them by the 'temporal outliers' value, as every other frame is drastically different from the previous one (because of those green flashes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to point QCTools to each file in this large set, but only:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;process a small portion of it - there is no time to go through every file in its entire duration&lt;/li&gt;&#xA;&lt;li&gt;fetch only one value - temporal outliers&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I have looked through the help of the QCTools CLI version and could not find a way to do this. Does anyone have any other ideas on identifying these files? Is there still a way to do this with QCTools?&lt;/p&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2022-03-27T01:03:45.670" Title="Automating QC to find corrupt video files" Tags="|video-quality|automation|analysis|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23808" PostTypeId="2" ParentId="23799" CreationDate="2018-04-13T16:36:20.813" Score="2" Body="&lt;p&gt;Audio codecs like AAC or MP3 have a priming sample before the first audio sample. The priming sample has a negative timestamp. For a 48 kHz stream, the timestamp will be &lt;code&gt;-1024/48000 s&lt;/code&gt; = &lt;code&gt;-0.0213s&lt;/code&gt;. What the concat demuxer does is add an offset to the timestamps of all files after the first one. The priming sample created in step 2 is affecting the timestamp post-offset.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you skip audio during extraction and concat, and add it only at the end, you can avoid that.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-04-13T16:36:20.813" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23809" PostTypeId="1" AcceptedAnswerId="23810" CreationDate="2018-04-13T17:17:39.277" Score="0" ViewCount="1729" Body="&lt;p&gt;I'm cutting a file into two parts, and concatenating them together, but certain frames around the boundary of the two files appear out of order, like this:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;clip 1: [..12,13,14]&lt;br&gt;&#xA;  clip 2: [15,16,17...]&lt;br&gt;&#xA;  clip 3: [...13,&lt;strong&gt;15&lt;/strong&gt;,14,&lt;strong&gt;15&lt;/strong&gt;,16,17... ]&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Why does this happen and how can I stop this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg version N-90649-g9825f77ac7&lt;br&gt;&#xA;File:  &lt;a href=&quot;https://nofile.io/f/8gC27TobzyX/trailer.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://nofile.io/f/8gC27TobzyX/trailer.mp4&lt;/a&gt;&lt;br&gt;&#xA;Commands:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i trailer.mp4 -to 13.92  -an -copyts -c copy first-bun.mp4&#xA;ffmpeg -ss 14 -i trailer.mp4 -to 15 -an -video_track_timescale 90000 -copyts bun.mp4&#xA;ffmpeg -f concat -i concat.txt -c copy -copyts trailer-keyframed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;concat.txt&lt;/code&gt; is &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'first-bun.mp4'&#xA;file 'bun.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;inspecting the frames with:  &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -of json -select_streams v -show_frames [input]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Gives me, for the last frame of first-bun.mp4:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;        {&#xA;            &quot;media_type&quot;: &quot;video&quot;,&#xA;            &quot;stream_index&quot;: 0,&#xA;            &quot;key_frame&quot;: 0,&#xA;            &quot;pkt_pts&quot;: 1256400,&#xA;            &quot;pkt_pts_time&quot;: &quot;13.960000&quot;,&#xA;            &quot;best_effort_timestamp&quot;: 1256400,&#xA;            &quot;best_effort_timestamp_time&quot;: &quot;13.960000&quot;,&#xA;            &quot;pkt_duration&quot;: 3600,&#xA;            &quot;pkt_duration_time&quot;: &quot;0.040000&quot;,&#xA;            &quot;pkt_pos&quot;: &quot;4821742&quot;,&#xA;            &quot;pkt_size&quot;: &quot;1074&quot;,&#xA;            &quot;width&quot;: 1920,&#xA;            &quot;height&quot;: 1080,&#xA;            &quot;pix_fmt&quot;: &quot;yuv420p&quot;,&#xA;            &quot;sample_aspect_ratio&quot;: &quot;1:1&quot;,&#xA;            &quot;pict_type&quot;: &quot;B&quot;,&#xA;            &quot;coded_picture_number&quot;: 349,&#xA;            &quot;display_picture_number&quot;: 0,&#xA;            &quot;interlaced_frame&quot;: 0,&#xA;            &quot;top_field_first&quot;: 0,&#xA;            &quot;repeat_pict&quot;: 0,&#xA;            &quot;color_range&quot;: &quot;tv&quot;,&#xA;            &quot;color_space&quot;: &quot;smpte170m&quot;,&#xA;            &quot;color_primaries&quot;: &quot;bt470bg&quot;,&#xA;            &quot;color_transfer&quot;: &quot;bt709&quot;,&#xA;            &quot;chroma_location&quot;: &quot;left&quot;&#xA;        }&#xA;    ]&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And for the first few frames of bun.mp4:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;{&#xA;    &quot;frames&quot;: [&#xA;        {&#xA;            &quot;media_type&quot;: &quot;video&quot;,&#xA;            &quot;stream_index&quot;: 0,&#xA;            &quot;key_frame&quot;: 1,&#xA;            &quot;pkt_pts&quot;: 1260000,&#xA;            &quot;pkt_pts_time&quot;: &quot;14.000000&quot;,&#xA;            &quot;pkt_dts&quot;: 1260000,&#xA;            &quot;pkt_dts_time&quot;: &quot;14.000000&quot;,&#xA;            &quot;best_effort_timestamp&quot;: 1260000,&#xA;            &quot;best_effort_timestamp_time&quot;: &quot;14.000000&quot;,&#xA;            &quot;pkt_duration&quot;: 3600,&#xA;            &quot;pkt_duration_time&quot;: &quot;0.040000&quot;,&#xA;            &quot;pkt_pos&quot;: &quot;48&quot;,&#xA;            &quot;pkt_size&quot;: &quot;163733&quot;,&#xA;            &quot;width&quot;: 1920,&#xA;            &quot;height&quot;: 1080,&#xA;            &quot;pix_fmt&quot;: &quot;yuv420p&quot;,&#xA;            &quot;sample_aspect_ratio&quot;: &quot;1:1&quot;,&#xA;            &quot;pict_type&quot;: &quot;I&quot;,&#xA;            &quot;coded_picture_number&quot;: 0,&#xA;            &quot;display_picture_number&quot;: 0,&#xA;            &quot;interlaced_frame&quot;: 0,&#xA;            &quot;top_field_first&quot;: 0,&#xA;            &quot;repeat_pict&quot;: 0,&#xA;            &quot;chroma_location&quot;: &quot;left&quot;&#xA;        },&#xA;        {&#xA;            &quot;media_type&quot;: &quot;video&quot;,&#xA;            &quot;stream_index&quot;: 0,&#xA;            &quot;key_frame&quot;: 0,&#xA;            &quot;pkt_pts&quot;: 1263600,&#xA;            &quot;pkt_pts_time&quot;: &quot;14.040000&quot;,&#xA;            &quot;pkt_dts&quot;: 1263600,&#xA;            &quot;pkt_dts_time&quot;: &quot;14.040000&quot;,&#xA;            &quot;best_effort_timestamp&quot;: 1263600,&#xA;            &quot;best_effort_timestamp_time&quot;: &quot;14.040000&quot;,&#xA;            &quot;pkt_duration&quot;: 3600,&#xA;            &quot;pkt_duration_time&quot;: &quot;0.040000&quot;,&#xA;            &quot;pkt_pos&quot;: &quot;163781&quot;,&#xA;            &quot;pkt_size&quot;: &quot;5015&quot;,&#xA;            &quot;width&quot;: 1920,&#xA;            &quot;height&quot;: 1080,&#xA;            &quot;pix_fmt&quot;: &quot;yuv420p&quot;,&#xA;            &quot;sample_aspect_ratio&quot;: &quot;1:1&quot;,&#xA;            &quot;pict_type&quot;: &quot;P&quot;,&#xA;            &quot;coded_picture_number&quot;: 1,&#xA;            &quot;display_picture_number&quot;: 0,&#xA;            &quot;interlaced_frame&quot;: 0,&#xA;            &quot;top_field_first&quot;: 0,&#xA;            &quot;repeat_pict&quot;: 0,&#xA;            &quot;chroma_location&quot;: &quot;left&quot;&#xA;        },&#xA;        {&#xA;            &quot;media_type&quot;: &quot;video&quot;,&#xA;            &quot;stream_index&quot;: 0,&#xA;            &quot;key_frame&quot;: 0,&#xA;            &quot;pkt_pts&quot;: 1267200,&#xA;            &quot;pkt_pts_time&quot;: &quot;14.080000&quot;,&#xA;            &quot;pkt_dts&quot;: 1267200,&#xA;            &quot;pkt_dts_time&quot;: &quot;14.080000&quot;,&#xA;            &quot;best_effort_timestamp&quot;: 1267200,&#xA;            &quot;best_effort_timestamp_time&quot;: &quot;14.080000&quot;,&#xA;            &quot;pkt_duration&quot;: 3600,&#xA;            &quot;pkt_duration_time&quot;: &quot;0.040000&quot;,&#xA;            &quot;pkt_pos&quot;: &quot;168796&quot;,&#xA;            &quot;pkt_size&quot;: &quot;3639&quot;,&#xA;            &quot;width&quot;: 1920,&#xA;            &quot;height&quot;: 1080,&#xA;            &quot;pix_fmt&quot;: &quot;yuv420p&quot;,&#xA;            &quot;sample_aspect_ratio&quot;: &quot;1:1&quot;,&#xA;            &quot;pict_type&quot;: &quot;P&quot;,&#xA;            &quot;coded_picture_number&quot;: 2,&#xA;            &quot;display_picture_number&quot;: 0,&#xA;            &quot;interlaced_frame&quot;: 0,&#xA;            &quot;top_field_first&quot;: 0,&#xA;            &quot;repeat_pict&quot;: 0,&#xA;            &quot;chroma_location&quot;: &quot;left&quot;&#xA;        },&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, in the output file: trailer-keyframed.mp4, I see this around the point of concatenation:&#xA;&lt;strong&gt;UPDATE:&lt;/strong&gt; now with &lt;code&gt;show_packets&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    {&#xA;        &quot;type&quot;: &quot;packet&quot;,&#xA;        &quot;codec_type&quot;: &quot;video&quot;,&#xA;        &quot;stream_index&quot;: 0,&#xA;        &quot;pts&quot;: 1263600,&#xA;        &quot;pts_time&quot;: &quot;14.040000&quot;,&#xA;        &quot;dts&quot;: 1256400,&#xA;        &quot;dts_time&quot;: &quot;13.960000&quot;,&#xA;        &quot;duration&quot;: 3600,&#xA;        &quot;duration_time&quot;: &quot;0.040000&quot;,&#xA;        &quot;size&quot;: &quot;5015&quot;,&#xA;        &quot;pos&quot;: &quot;4986758&quot;,&#xA;        &quot;flags&quot;: &quot;__&quot;&#xA;    },&#xA;    {&#xA;        &quot;type&quot;: &quot;frame&quot;,&#xA;        &quot;media_type&quot;: &quot;video&quot;,&#xA;        &quot;stream_index&quot;: 0,&#xA;        &quot;key_frame&quot;: 0,&#xA;        &quot;pkt_pts&quot;: 1263600,&#xA;        &quot;pkt_pts_time&quot;: &quot;14.040000&quot;,&#xA;        &quot;pkt_dts&quot;: 1256400,&#xA;        &quot;pkt_dts_time&quot;: &quot;13.960000&quot;,&#xA;        &quot;best_effort_timestamp&quot;: 1263600,&#xA;        &quot;best_effort_timestamp_time&quot;: &quot;14.040000&quot;,&#xA;        &quot;pkt_duration&quot;: 3600,&#xA;        &quot;pkt_duration_time&quot;: &quot;0.040000&quot;,&#xA;        &quot;pkt_pos&quot;: &quot;4809688&quot;,&#xA;        &quot;pkt_size&quot;: &quot;12222&quot;,&#xA;        &quot;width&quot;: 1920,&#xA;        &quot;height&quot;: 1080,&#xA;        &quot;pix_fmt&quot;: &quot;yuv420p&quot;,&#xA;        &quot;sample_aspect_ratio&quot;: &quot;1:1&quot;,&#xA;        &quot;pict_type&quot;: &quot;P&quot;,&#xA;        &quot;coded_picture_number&quot;: 348,&#xA;        &quot;display_picture_number&quot;: 0,&#xA;        &quot;interlaced_frame&quot;: 0,&#xA;        &quot;top_field_first&quot;: 0,&#xA;        &quot;repeat_pict&quot;: 0,&#xA;        &quot;color_range&quot;: &quot;tv&quot;,&#xA;        &quot;color_space&quot;: &quot;smpte170m&quot;,&#xA;        &quot;color_primaries&quot;: &quot;bt470bg&quot;,&#xA;        &quot;color_transfer&quot;: &quot;bt709&quot;,&#xA;        &quot;chroma_location&quot;: &quot;left&quot;&#xA;    },&#xA;    {&#xA;        &quot;type&quot;: &quot;packet&quot;,&#xA;        &quot;codec_type&quot;: &quot;video&quot;,&#xA;        &quot;stream_index&quot;: 0,&#xA;        &quot;pts&quot;: 1267200,&#xA;        &quot;pts_time&quot;: &quot;14.080000&quot;,&#xA;        &quot;dts&quot;: 1260000,&#xA;        &quot;dts_time&quot;: &quot;14.000000&quot;,&#xA;        &quot;duration&quot;: 3600,&#xA;        &quot;duration_time&quot;: &quot;0.040000&quot;,&#xA;        &quot;size&quot;: &quot;3639&quot;,&#xA;        &quot;pos&quot;: &quot;4991773&quot;,&#xA;        &quot;flags&quot;: &quot;__&quot;&#xA;    },&#xA;    {&#xA;        &quot;type&quot;: &quot;frame&quot;,&#xA;        &quot;media_type&quot;: &quot;video&quot;,&#xA;        &quot;stream_index&quot;: 0,&#xA;        &quot;key_frame&quot;: 1,&#xA;        &quot;pkt_pts&quot;: 1260000,&#xA;        &quot;pkt_pts_time&quot;: &quot;14.000000&quot;,&#xA;        &quot;pkt_dts&quot;: 1260000,&#xA;        &quot;pkt_dts_time&quot;: &quot;14.000000&quot;,&#xA;        &quot;best_effort_timestamp&quot;: 1260000,&#xA;        &quot;best_effort_timestamp_time&quot;: &quot;14.000000&quot;,&#xA;        &quot;pkt_duration&quot;: 3600,&#xA;        &quot;pkt_duration_time&quot;: &quot;0.040000&quot;,&#xA;        &quot;pkt_pos&quot;: &quot;4822984&quot;,&#xA;        &quot;pkt_size&quot;: &quot;163774&quot;,&#xA;        &quot;width&quot;: 1920,&#xA;        &quot;height&quot;: 1080,&#xA;        &quot;pix_fmt&quot;: &quot;yuv420p&quot;,&#xA;        &quot;sample_aspect_ratio&quot;: &quot;1:1&quot;,&#xA;        &quot;pict_type&quot;: &quot;I&quot;,&#xA;        &quot;coded_picture_number&quot;: 350,&#xA;        &quot;display_picture_number&quot;: 0,&#xA;        &quot;interlaced_frame&quot;: 0,&#xA;        &quot;top_field_first&quot;: 0,&#xA;        &quot;repeat_pict&quot;: 0,&#xA;        &quot;color_range&quot;: &quot;tv&quot;,&#xA;        &quot;color_space&quot;: &quot;smpte170m&quot;,&#xA;        &quot;color_primaries&quot;: &quot;bt470bg&quot;,&#xA;        &quot;color_transfer&quot;: &quot;bt709&quot;,&#xA;        &quot;chroma_location&quot;: &quot;left&quot;&#xA;    },&#xA;    {&#xA;        &quot;type&quot;: &quot;packet&quot;,&#xA;        &quot;codec_type&quot;: &quot;video&quot;,&#xA;        &quot;stream_index&quot;: 0,&#xA;        &quot;pts&quot;: 1270800,&#xA;        &quot;pts_time&quot;: &quot;14.120000&quot;,&#xA;        &quot;dts&quot;: 1263600,&#xA;        &quot;dts_time&quot;: &quot;14.040000&quot;,&#xA;        &quot;duration&quot;: 3600,&#xA;        &quot;duration_time&quot;: &quot;0.040000&quot;,&#xA;        &quot;size&quot;: &quot;2865&quot;,&#xA;        &quot;pos&quot;: &quot;4995412&quot;,&#xA;        &quot;flags&quot;: &quot;__&quot;&#xA;    },&#xA;    {&#xA;        &quot;type&quot;: &quot;frame&quot;,&#xA;        &quot;media_type&quot;: &quot;video&quot;,&#xA;        &quot;stream_index&quot;: 0,&#xA;        &quot;key_frame&quot;: 0,&#xA;        &quot;pkt_pts&quot;: 1263600,&#xA;        &quot;pkt_pts_time&quot;: &quot;14.040000&quot;,&#xA;        &quot;pkt_dts&quot;: 1263600,&#xA;        &quot;pkt_dts_time&quot;: &quot;14.040000&quot;,&#xA;        &quot;best_effort_timestamp&quot;: 1263600,&#xA;        &quot;best_effort_timestamp_time&quot;: &quot;14.040000&quot;,&#xA;        &quot;pkt_duration&quot;: 3600,&#xA;        &quot;pkt_duration_time&quot;: &quot;0.040000&quot;,&#xA;        &quot;pkt_pos&quot;: &quot;4986758&quot;,&#xA;        &quot;pkt_size&quot;: &quot;5015&quot;,&#xA;        &quot;width&quot;: 1920,&#xA;        &quot;height&quot;: 1080,&#xA;        &quot;pix_fmt&quot;: &quot;yuv420p&quot;,&#xA;        &quot;sample_aspect_ratio&quot;: &quot;1:1&quot;,&#xA;        &quot;pict_type&quot;: &quot;P&quot;,&#xA;        &quot;coded_picture_number&quot;: 351,&#xA;        &quot;display_picture_number&quot;: 0,&#xA;        &quot;interlaced_frame&quot;: 0,&#xA;        &quot;top_field_first&quot;: 0,&#xA;        &quot;repeat_pict&quot;: 0,&#xA;        &quot;color_range&quot;: &quot;tv&quot;,&#xA;        &quot;color_space&quot;: &quot;smpte170m&quot;,&#xA;        &quot;color_primaries&quot;: &quot;bt470bg&quot;,&#xA;        &quot;color_transfer&quot;: &quot;bt709&quot;,&#xA;        &quot;chroma_location&quot;: &quot;left&quot;&#xA;    },&#xA;    {&#xA;        &quot;type&quot;: &quot;packet&quot;,&#xA;        &quot;codec_type&quot;: &quot;video&quot;,&#xA;        &quot;stream_index&quot;: 0,&#xA;        &quot;pts&quot;: 1285200,&#xA;        &quot;pts_time&quot;: &quot;14.280000&quot;,&#xA;        &quot;dts&quot;: 1267200,&#xA;        &quot;dts_time&quot;: &quot;14.080000&quot;,&#xA;        &quot;duration&quot;: 3600,&#xA;        &quot;duration_time&quot;: &quot;0.040000&quot;,&#xA;        &quot;size&quot;: &quot;8918&quot;,&#xA;        &quot;pos&quot;: &quot;4998277&quot;,&#xA;        &quot;flags&quot;: &quot;__&quot;&#xA;    },&#xA;    {&#xA;        &quot;type&quot;: &quot;frame&quot;,&#xA;        &quot;media_type&quot;: &quot;video&quot;,&#xA;        &quot;stream_index&quot;: 0,&#xA;        &quot;key_frame&quot;: 0,&#xA;        &quot;pkt_pts&quot;: 1267200,&#xA;        &quot;pkt_pts_time&quot;: &quot;14.080000&quot;,&#xA;        &quot;pkt_dts&quot;: 1267200,&#xA;        &quot;pkt_dts_time&quot;: &quot;14.080000&quot;,&#xA;        &quot;best_effort_timestamp&quot;: 1267200,&#xA;        &quot;best_effort_timestamp_time&quot;: &quot;14.080000&quot;,&#xA;        &quot;pkt_duration&quot;: 3600,&#xA;        &quot;pkt_duration_time&quot;: &quot;0.040000&quot;,&#xA;        &quot;pkt_pos&quot;: &quot;4991773&quot;,&#xA;        &quot;pkt_size&quot;: &quot;3639&quot;,&#xA;        &quot;width&quot;: 1920,&#xA;        &quot;height&quot;: 1080,&#xA;        &quot;pix_fmt&quot;: &quot;yuv420p&quot;,&#xA;        &quot;sample_aspect_ratio&quot;: &quot;1:1&quot;,&#xA;        &quot;pict_type&quot;: &quot;P&quot;,&#xA;        &quot;coded_picture_number&quot;: 352,&#xA;        &quot;display_picture_number&quot;: 0,&#xA;        &quot;interlaced_frame&quot;: 0,&#xA;        &quot;top_field_first&quot;: 0,&#xA;        &quot;repeat_pict&quot;: 0,&#xA;        &quot;color_range&quot;: &quot;tv&quot;,&#xA;        &quot;color_space&quot;: &quot;smpte170m&quot;,&#xA;        &quot;color_primaries&quot;: &quot;bt470bg&quot;,&#xA;        &quot;color_transfer&quot;: &quot;bt709&quot;,&#xA;        &quot;chroma_location&quot;: &quot;left&quot;&#xA;    },&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;output of the concat command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i concat.txt -c copy -copyts trailer-keyframed.mp4&#xA;ffmpeg version N-90649-g9825f77ac7 Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with gcc 7.3.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-bzlib --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth&#xA;  libavutil      56. 13.100 / 56. 13.100&#xA;  libavcodec     58. 17.100 / 58. 17.100&#xA;  libavformat    58. 11.101 / 58. 11.101&#xA;  libavdevice    58.  2.100 / 58.  2.100&#xA;  libavfilter     7. 14.100 /  7. 14.100&#xA;  libswscale      5.  0.102 /  5.  0.102&#xA;  libswresample   3.  0.101 /  3.  0.101&#xA;  libpostproc    55.  0.100 / 55.  0.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 000001ceada64880] Auto-inserting h264_mp4toannexb bitstream filter&#xA;Input #0, concat, from 'concat.txt':&#xA;  Duration: N/A, start: 0.000000, bitrate: 2755 kb/s&#xA;    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, smpte170m/bt470bg/bt709), 1920x1080 [SAR 1:1 DAR 16:9], 2755 kb/s, 25 fps, 25 tbr, 90k tbn, 180k tbc&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;Output #0, mp4, to 'trailer-keyframed.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf58.11.101&#xA;    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, smpte170m/bt470bg/bt709), 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 2755 kb/s, 25 fps, 25 tbr, 90k tbn, 90k tbc&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 000001ceada6d0c0] Auto-inserting h264_mp4toannexb bitstream filter&#xA;frame=  375 fps=0.0 q=-1.0 Lsize=    4959kB time=00:00:14.88 bitrate=2730.1kbits/s speed= 476x&#xA;video:4954kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.106020%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerDisplayName="user21952" LastEditorDisplayName="user21952" LastEditDate="2018-04-13T20:43:01.047" LastActivityDate="2018-04-13T20:43:01.047" Title="ffmpeg concat duplicating single frame" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23810" PostTypeId="2" ParentId="23809" CreationDate="2018-04-13T19:28:39.950" Score="0" Body="&lt;p&gt;Frame 15 isn't repeated. During streamcopy, ffmpeg has no ability to duplicate or drop frames from the middle of a stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check these details of the relevant frames&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    &quot;pkt_pts_time&quot;: &quot;13.960000&quot;,&#xA;    &quot;pkt_pos&quot;: &quot;4821910&quot;,&#xA;    &quot;pkt_size&quot;: &quot;1074&quot;,&#xA;    &quot;pict_type&quot;: &quot;B&quot;,&#xA;    &quot;coded_picture_number&quot;: 349,&#xA;&#xA;    &quot;pkt_pts_time&quot;: &quot;14.040000&quot;,&#xA;    &quot;pkt_pos&quot;: &quot;4809688&quot;,&#xA;    &quot;pkt_size&quot;: &quot;12222&quot;,&#xA;    &quot;pict_type&quot;: &quot;P&quot;,&#xA;    &quot;coded_picture_number&quot;: 348,&#xA;&#xA;    &quot;pkt_pts_time&quot;: &quot;14.000000&quot;,&#xA;    &quot;pkt_pos&quot;: &quot;4822984&quot;,&#xA;    &quot;pkt_size&quot;: &quot;163774&quot;,&#xA;    &quot;pict_type&quot;: &quot;I&quot;,&#xA;    &quot;coded_picture_number&quot;: 350,&#xA;&#xA;    &quot;pkt_pts_time&quot;: &quot;14.040000&quot;,&#xA;    &quot;pkt_pos&quot;: &quot;4986758&quot;,&#xA;    &quot;pkt_size&quot;: &quot;5015&quot;,&#xA;    &quot;pict_type&quot;: &quot;P&quot;,&#xA;    &quot;coded_picture_number&quot;: 351,&#xA;&#xA;    &quot;pkt_pts_time&quot;: &quot;14.080000&quot;,&#xA;    &quot;pkt_pos&quot;: &quot;4991773&quot;,&#xA;    &quot;pkt_size&quot;: &quot;3639&quot;,&#xA;    &quot;pict_type&quot;: &quot;P&quot;,&#xA;    &quot;coded_picture_number&quot;: 352,&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note the &lt;code&gt;coded_picture_number&lt;/code&gt; and byte position. The 2nd frame is a &lt;code&gt;P&lt;/code&gt; frame needed for the decoding of the first frame, a &lt;code&gt;B&lt;/code&gt;-frame, but it won't be displayed itself. If you do a show_packets, you should see a discard flag for that 2nd frame (&lt;code&gt;_D&lt;/code&gt;)&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-04-13T19:28:39.950" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23811" PostTypeId="1" CreationDate="2018-04-13T19:51:38.883" Score="3" ViewCount="54" Body="&lt;p&gt;This question might be a little complex, but here's the situation:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We are a small team and we shoot almost every day, we do correspondence-type shooting. We are backing up our footage to external encrypted drives, there are three now. When I edit, I pull the folders that I want in the edit from the backup drive onto my Editing SSD drive. Because we shoot in MXF and MTS, I usually then transcode everything to ProRes. After that, I delete the original MXFs and MTS' to conserve space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With this, I end up with duplicated clips on my editing drive. When I edit in Final Cut Pro X, I choose several clips from these folders to be in the final edit from inside the FCPX, and after I render, there are unused, but linked files left behind. I have no way to automatically delete what was not used, and I don't want to delete the folders with transcoded footage if I were to revise the project at a later date.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to delete files not used in the timeline? How do I conserve on space? Is there anything in my workflow that could be optimized?&lt;/p&gt;&#xA;" OwnerUserId="21970" LastActivityDate="2019-04-16T01:01:30.283" Title="Editing involving several backup drives: how to assemble a project with minimal clip duplication?" Tags="|editing|final-cut-pro-x|workflow|storage|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23812" PostTypeId="1" CreationDate="2018-04-13T20:46:04.330" Score="0" ViewCount="1040" Body="&lt;p&gt;I have a quick questions. Has anybody examples or links for the use of FFmpeg with the Media Source Extension for pure JavaScript adaptive VOD-, or Live-Streaming? I mean really pure not HLS or DASH.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I prefer the chunkless, so say inline-container-segmenting:). So that i have a full files like so:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;video_1080p_5000k.webm  &lt;/li&gt;&#xA;&lt;li&gt;video_720p_5000k.webm  &lt;/li&gt;&#xA;&lt;li&gt;video_480p_5000k.webm  &lt;/li&gt;&#xA;&lt;li&gt;audio_128k.opus  &lt;/li&gt;&#xA;&lt;li&gt;audio_256k.opus  &lt;/li&gt;&#xA;&lt;li&gt;and so on ...&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What I search are JavaScript snippets and FFmpeg examples for a pure mse-js-adaptive-vod-player;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thx&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: A deeper explain why i not use DASH or HLS? I try to understand the deeper functions that JavaScript chunk the Videos on the fly, to prevent and memory low error and make a very simple and basic adaptive streaming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can load small Videos and Music files into a blob/string. Cool thing but when I try to use the chunking functions I have many problems with some things. That is why I search compact FFmpeg encoder params and JavaScript examples preferably links to sites with that preferably for all free codecs that I can use.&lt;/p&gt;&#xA;" OwnerUserId="21917" LastEditorUserId="18155" LastEditDate="2019-08-15T10:56:24.140" LastActivityDate="2023-12-23T04:05:05.650" Title="FFmpeg Media Source Extension Examples and Adaptive VOD and Live Streaming" Tags="|ffmpeg|mpeg-dash|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23813" PostTypeId="1" CreationDate="2018-04-13T21:52:20.793" Score="0" ViewCount="216" Body="&lt;p&gt;i'm experimenting with dash-media source extension and purejs-media source extension and i have seen i have the choice between chunked and inline fragmented videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My questions is what codecs are support inline fragmenting, i mean that i have only one file per resolutions and bitrate and one ore two audio files (and no billions of chunks;)) and which ffmpeg options i must use for the options:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope and prefer free codes like vorbis,vp8,vp8,ogg,opus and so on and hope all containers (webm) can produce one-segmented-single-files:).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thx&lt;/p&gt;&#xA;" OwnerUserId="21917" LastActivityDate="2018-04-14T21:04:33.860" Title="Dash, Hls and pure Media Source Extension chunkless options" Tags="|ffmpeg|mpeg-dash|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23814" PostTypeId="1" AcceptedAnswerId="23818" CreationDate="2018-04-13T22:37:06.860" Score="1" ViewCount="84" Body="&lt;p&gt;Video camera has a brightness correction algorithm and it was used incorrectly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I want to apply similar algorithm to the video. The video is static (camera stays in place and doesn't move) but brightness and contrast varies because of autocorrection. I want to freeze them at some appropriate level. I can select a large area (more than 15%), where the picture never changes. I want that area to become reference area, i. e. basis for color correction of the whole frame. It should correct colors in that way, that average brightness and contrast of the reference area is the same for all frames (and I want to specify corresponding values).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What tools and options I can use to achieve that?&lt;/p&gt;&#xA;" OwnerUserId="21971" LastActivityDate="2018-04-14T16:47:20.133" Title="Reapply video color autocorrection" Tags="|software-recommendation|color-correction|recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23815" PostTypeId="2" ParentId="23805" CreationDate="2018-04-14T02:52:27.000" Score="1" Body="&lt;p&gt;To use the keyframed value of a property in an expression, there is a &lt;code&gt;value&lt;/code&gt; attribute. And properties also have the &lt;code&gt;key()&lt;/code&gt; method to access their keys, as well as the &lt;code&gt;numKeys&lt;/code&gt; attribute to find out how many keys the property has. Lastly, there's the global &lt;code&gt;time&lt;/code&gt; attribute. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So now we've assembled the list of ingredients, here's how you could put it all together. This expression will use the keyframed value up to the last keyframe, and then hand over the reins to the result of an expression, in this case the value of the slider:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;// link to your slider, or any calculated value:&#xA;var sliderVal = effect(&quot;Slider Control&quot;)(&quot;Slider&quot;); &#xA;var lastKey = key(numKeys);&#xA;if (time &amp;lt;= lastKey.time){ // before the last keyframe&#xA;  // use the keyframe value before the last keyframe&#xA;  value;&#xA;} else {  // after the last keyframe&#xA;  // control using the sliders, or any expression&#xA;  sliderVal;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Of course this will jump from the keyframed value to the expression value instantly at the last keyframe. You can interpolate between the values by using one of the interpolation functions. So to interpolate between the keyframed value and the expression value between the second last keyframe and the last keyframe, you might use:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var sliderVal = effect(&quot;Slider Control&quot;)(&quot;Slider&quot;); &#xA;var k2 = key(numKeys); //last key&#xA;var k1 = key(numKeys - 1); //second last key    &#xA;// linear can take 5 arguments: &#xA;// time, start time, end time, start val, end val&#xA;// and interpolates between start val and end val&#xA;linear(time, k1.time, k2.time, value, sliderVal)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You could also take advantage of the &lt;code&gt;ease()&lt;/code&gt;, &lt;code&gt;easeIn()&lt;/code&gt; or &lt;code&gt;easeOut()&lt;/code&gt; interpolation functions, which you can just substitue for &lt;code&gt;linear()&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-04-14T03:07:35.953" LastActivityDate="2018-04-14T03:07:35.953" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23816" PostTypeId="1" AcceptedAnswerId="23817" CreationDate="2018-04-14T05:12:27.460" Score="2" ViewCount="1289" Body="&lt;p&gt;Using FFmpeg &lt;code&gt;configure&lt;/code&gt;, I can list available parsers:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ./configure --list-parsers&#xA;aac                        dvdsub                     png&#xA;aac_latm                   flac                       pnm&#xA;ac3                        g729                       rv30&#xA;adx                        gsm                        rv40&#xA;bmp                        h261                       sbc&#xA;cavsvideo                  h263                       sipr&#xA;cook                       h264                       tak&#xA;dca                        hevc                       vc1&#xA;dirac                      mjpeg                      vorbis&#xA;dnxhd                      mlp                        vp3&#xA;dpx                        mpeg4video                 vp8&#xA;dvaudio                    mpegaudio                  vp9&#xA;dvbsub                     mpegvideo                  xma&#xA;dvd_nav                    opus&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but how do I list the parsers actually included with my build? &lt;code&gt;ffmpeg -h&lt;/code&gt;&#xA;reveals:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-formats            show available formats&#xA;-muxers             show available muxers&#xA;-demuxers           show available demuxers&#xA;-devices            show available devices&#xA;-codecs             show available codecs&#xA;-decoders           show available decoders&#xA;-encoders           show available encoders&#xA;-bsfs               show available bit stream filters&#xA;-protocols          show available protocols&#xA;-filters            show available filters&#xA;-pix_fmts           show available pixel formats&#xA;-layouts            show standard channel layouts&#xA;-sample_fmts        show available audio sample formats&#xA;-colors             show available color names&#xA;-sources device     list sources of the input device&#xA;-sinks device       list sinks of the output device&#xA;-hwaccels           show available HW acceleration methods&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and &lt;code&gt;ffmpeg -parsers&lt;/code&gt; creates error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Unrecognized option 'parsers'.&#xA;Error splitting the argument list: Option not found&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3912" LastActivityDate="2018-05-14T16:25:38.823" Title="FFmpeg list parsers" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23817" PostTypeId="2" ParentId="23816" CreationDate="2018-04-14T14:28:37.707" Score="2" Body="&lt;p&gt;As a workaround, you can use this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ grep --null-data 'ff_.*_parser' ffmpeg | tr '\0' '\n' | head&#xA;ff_aac_latm_parser&#xA;ff_aac_parser&#xA;ff_ac3_parser&#xA;ff_adx_parser&#xA;ff_bmp_parser&#xA;ff_cavsvideo_parser&#xA;ff_cook_parser&#xA;ff_dca_parser&#xA;ff_dirac_parser&#xA;ff_dnxhd_parser&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3912" LastActivityDate="2018-04-14T14:28:37.707" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23818" PostTypeId="2" ParentId="23814" CreationDate="2018-04-14T16:47:20.133" Score="1" Body="&lt;p&gt;If you want the “best possible results” I would recommend the following workflow, or similar variation thereof:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Export your captured video source to a JPG Image Sequence. This will create a JPG for each discrete frame of the video. If you want ultimate color control, with no loss of quality due to JPG compression, you can export instead a TIF sequence, but the size of your output will be 30-50 times larger for HD content. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Second, using Photoshop, open a single frame. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Being your camera is a lockdown shot, choose your reference pixel to be used to determine brightness. I would recommend picking a pixel that has a luminance value of medium grey. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Save your Frame as “Reference.jpg”&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Close the File. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now open a new different frame from the JPG sequence. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Record an Action Sequence that:&lt;/strong&gt; &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;1) Opens Reference.jpg. Then uses the Adobe Keyboard command for select previous document. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Uses the Match Color Edit Command -&gt; Under Edit Tab&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Grabs the color value on the open new frame (the one you just opened). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) Matches the color value to the Reference.jpg file for the exact same reference area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5) Youll have to play with the parameters adjusting Fuzziness, Threshold, Etc, to get the settings right. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;6) Apply Match Color Command. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;7.) Close Reference.jpg&lt;/p&gt;&#xA;&#xA;&lt;p&gt;8.) End Recording of Action Sequence. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then... Use Image Processor within Bridge to Batch your JPG Sequence Files. Select your input directory, output directory, and check th box “Run Action on Processed Files” - Select the Recorded Action. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Run the Image Processor. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will give you the best possible results, specifically if you use TIF and work in a 16 Bit Workspace. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-04-14T16:47:20.133" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23821" PostTypeId="2" ParentId="23812" CreationDate="2018-04-14T21:01:22.360" Score="0" Body="&lt;p&gt;Chunkless and Adaptive is a contradiction. You can concatenate chunks, and request with a byte range however. Both HLS and DASH support that mode.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2018-04-14T21:01:22.360" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="23822" PostTypeId="2" ParentId="23813" CreationDate="2018-04-14T21:04:33.860" Score="1" Body="&lt;p&gt;what you are calling &lt;code&gt;inline fragmented videos&lt;/code&gt; are just the chunks concatenated into one file, The manifest then records the start position and length of the chunk. The &quot;billions of chunks&quot; tend to be more performant on a CDN.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2018-04-14T21:04:33.860" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23823" PostTypeId="1" CreationDate="2018-04-14T23:12:28.837" Score="0" ViewCount="1512" Body="&lt;p&gt;So I had my Panasonic HC-V180 camera ready on a tripod extended to its maximum height, and then it lost balance and tipped over. The camera is able to show its storage videos and displays things like the date, whether there is an SD card or not, and its battery, menu, etc. fine but the screen is otherwise black when in video taping mode. Then after a while, the camera suddenly shows a blurry display of the camera along with an error saying &quot;ERROR OCCURRED. PLEASE TURN UNIT OFF, THEN TURN ON AGAIN.&quot; It won't record anything. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is wrong with it? Perhaps the viewfinder?  I have no idea where to go take it to fix (I live in Bay Area of CA, USA)&lt;/p&gt;&#xA;" OwnerUserId="21980" LastActivityDate="2019-05-17T23:17:32.007" Title="I dropped my Panasonic HC-V180 Camera, and now camera doesn't work?" Tags="|camcorder|" AnswerCount="1" CommentCount="2" ClosedDate="2019-05-19T12:32:57.013" ContentLicense="CC BY-SA 3.0" />
  <row Id="23824" PostTypeId="2" ParentId="23823" CreationDate="2018-04-15T06:48:43.257" Score="2" Body="&lt;p&gt;As far as what is technically wrong with your camera; the answer is it’s busted. You dropped it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as repair, go to the Panasonic Website, navigate to support, cameras, repairs. Depending on your camera model, it will give you your options on repairing it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some companies use vendors, some charge a fee up front just to accept it to determine what needs to be repaired, then quote a price for parts and labor. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the answer to where to get it fixed is on the Panasonic website. Youll have to mail it to a service center. Then decide if its worth repairing. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-04-15T06:48:43.257" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23825" PostTypeId="2" ParentId="23791" CreationDate="2018-04-15T07:33:05.143" Score="0" Body="&lt;p&gt;I doubt an Arduino or Raspberry Pi solution would be practical, or even possible, due to the limited processing power of those units and the processing power required to do what you want to do: Add an Overlay&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Overlays are acheived using Alpha Channels. An Arduino, may be able to handle video, do certain encoding, input/output functions, but adding an overlay which requires the use of a larger bit-depth and different approach to color space due to the 4th Channel: The Alpha Channel, in addition to the Primary RGB Channels. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your best bet is a simply HDMI capture card, or using a GPU that has HDMI capture, in conjunction with a software package like Livestream, which can handle overlays, logos, etc. They have different options, but their Producer / Studio Software, which goes from free to paid plans depending on usage and features, can do what you want. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are others out there. You can also look at Bandicam. Bandicam is a great Screen Capture application, and it may have the abilty to apply its features, such as adding overlays to its recordings, to a camera input feed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Its also very user friendly. Supports H264 and other codecs, and is very affordable (I think $30). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Worth looking at. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-04-15T07:33:05.143" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23826" PostTypeId="2" ParentId="23718" CreationDate="2018-04-15T07:46:02.353" Score="1" Body="&lt;p&gt;Check to see if the filter is restricted to specific audio file / stream / track types. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For instance, I believe you’ll get the same issue if you tried to drop filters that apply only to Stereo Tracks to a Mono File Track, such as Swap Channels, Fill Left, Fill Right, etc. Because its impossible to swap left and right channels when youre on a mono track. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You dont specify what filter, but thats my guess. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Same goes with Video Filters... there are some filters you cant drop onto video tracks with Alpha, or vice versa. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-04-15T07:46:02.353" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23827" PostTypeId="1" AcceptedAnswerId="23836" CreationDate="2018-04-15T08:25:49.907" Score="0" ViewCount="30" Body="&lt;p&gt;Why I get the following when I try to get camera feed from Logitech webcam?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;The driver changed the time per frame from X to Y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Sometimes it happens sometimes it doesn't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How should I resolve this problem?&lt;/p&gt;&#xA;" OwnerUserId="21908" LastActivityDate="2018-04-16T06:55:32.683" Title="Why sometimes I can set framerate sometimes I can't?" Tags="|video|ffmpeg|framerate|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23832" PostTypeId="1" CreationDate="2018-04-15T19:41:49.617" Score="0" ViewCount="2340" Body="&lt;p&gt;I'm doing a lot of small videos, often using the same open captions styles. But for every video, I have to re-enter every parameter (font, font size, color, etc.), repeating those steps for ever caption object. (I use different captions objects for different persons talking, simply changing the color.)&#xA;That means that I sometimes have to open the very same parameters 4 times, with the only difference being the color.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a faster way to do that? I would have assumed you can save a &quot;caption style preset&quot; or something similar, but I could not find such a feature. Any idea?&lt;/p&gt;&#xA;" OwnerUserId="20638" LastEditorUserId="14523" LastEditDate="2018-04-16T18:02:03.953" LastActivityDate="2018-04-18T08:40:56.487" Title="Save caption style / create preset" Tags="|video|premiere|editing|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23833" PostTypeId="1" CreationDate="2018-04-15T20:00:45.100" Score="0" ViewCount="216" Body="&lt;p&gt;Is there a way to control whether or not an animation preset it applied to an item programmatically through After Effects?&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Let's say, for example, I have some sample text, that just says &quot;hello world&quot;.&lt;/li&gt;&#xA;&lt;li&gt;I then go and drag &amp;amp; drop a &quot;slide &amp;amp; swoop&quot; onto the hello world text.&lt;/li&gt;&#xA;&lt;li&gt;I then add another transition, say a 'slide straight' from the effects &amp;amp; presets&lt;/li&gt;&#xA;&lt;li&gt;I then want to add a 'slider' control to the essential graphics panel, so if slider is set 0, none of the effects are applied. If it is to 1, it applies animation effect #1, and if it is set to to 2, it shows animation #2?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="21988" LastEditorUserId="14523" LastEditDate="2018-04-16T17:59:47.147" LastActivityDate="2024-03-16T11:05:30.733" Title="Controlling animation presets programmatically" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23835" PostTypeId="2" ParentId="23833" CreationDate="2018-04-16T00:15:07.757" Score="0" Body="&lt;p&gt;Yes, that's perfectly possible, though it might be more work than just doing the animation yourself. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll have to find all of the changes that the presets apply to the layer and adapt them with expressions that respond to the value of the slider. To find all of the changed properties of a layer use &lt;kbd&gt;u&lt;/kbd&gt;&lt;kbd&gt;u&lt;/kbd&gt; (double tap the &lt;kbd&gt;u&lt;/kbd&gt; key). You'll have to apply preset 1, find all of the changes it makes, and write an expression that mimics them, then revert the layer and apply preset 2 and do the same thing. Then in your expression for each changed property you'd have:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var ctrl = effect(&quot;Slider Control&quot;)(&quot;Slider&quot;);&#xA;if (ctrl === 0){&#xA;    value; //use the current value of the property&#xA;} else if( ctrl === 1){&#xA;    // the expression that mimics preset 1&#xA;} else {&#xA;    // the expression that mimics preset2&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-04-16T00:15:07.757" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23836" PostTypeId="2" ParentId="23827" CreationDate="2018-04-16T06:55:32.683" Score="0" Body="&lt;p&gt;Note that camera has many different pixel_formats supported and they have different framerates specification. Check the pixel_format you used, it is likely that the default pixel_format does not support the framerate you want. &lt;/p&gt;&#xA;" OwnerUserId="21908" LastActivityDate="2018-04-16T06:55:32.683" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23837" PostTypeId="2" ParentId="23754" CreationDate="2018-04-16T07:03:24.237" Score="1" Body="&lt;p&gt;This function is not implemented by ffmpeg&lt;/p&gt;&#xA;" OwnerUserId="21908" LastActivityDate="2018-04-16T07:03:24.237" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23841" PostTypeId="2" ParentId="23807" CreationDate="2018-04-16T14:41:27.370" Score="0" Body="&lt;p&gt;Since QCTools wraps the ffmpeg/ffprobe and uses the signalstats filter, here is how to achieve what I wanted:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -f lavfi movie=&quot;Bad.mp4&quot;,&quot;signalstats=tout&quot; -read_intervals %00:01 -show_frames&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;-show_frames&lt;/strong&gt; outputs the frame summary into STDOUT. It contains the value that I need: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;TAG:lavfi.signalstats.TOUT=0&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;-read_intervals&lt;/strong&gt; allows me to process only a small part of the file to get signal stats from only a small portion of the file&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We can also check how QCTools does it by looking at the source code here:&#xA;&lt;a href=&quot;https://github.com/bavc/qctools/blob/master/Source/GUI/BigDisplay.cpp#L844-L845&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/bavc/qctools/blob/master/Source/GUI/BigDisplay.cpp#L844-L845&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2018-04-16T14:41:27.370" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23842" PostTypeId="1" AcceptedAnswerId="23853" CreationDate="2018-04-16T15:04:17.473" Score="0" ViewCount="63" Body="&lt;p&gt;&lt;strong&gt;Issue Summary&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I am testing MovieStudio 14&lt;/li&gt;&#xA;&lt;li&gt;I have a Dell M4500, i7, 8-core, 8Gb RAM, NVIDIA quadro&lt;/li&gt;&#xA;&lt;li&gt;Editing has good performance, no complaints.&lt;/li&gt;&#xA;&lt;li&gt;9 minute video w/4 transitions and oldtime movie effect takes 12 hours to render HD quicktime.  &lt;/li&gt;&#xA;&lt;li&gt;My machine does not grind to a halt while rendering.&lt;/li&gt;&#xA;&lt;li&gt;Per post I read,  I downgraded NVIDIA  driver, now it takes 5-6 hours to render.&lt;/li&gt;&#xA;&lt;li&gt;For comparison, I own Adobe premiere elements 12 on the same machine and that takes about 3-4 hours.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question&lt;/strong&gt;&#xA;I am asking how to improve the performace of MovieStudio 14?  Or any of these editing tools.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I don't want to do is buy all new software and/or upgrades (or even a new laptop) if these tools need certain settings, drivers, optical drives or new hardware.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks to everyones input I bought Vegas MovieStudio platinum 15, diabled all services not needed and installed my SSD.&#xA;I was able to render a 7 minute video in Quicktime HD in 70 minutes!  Acceptable to me.&lt;/p&gt;&#xA;" OwnerUserId="19270" LastEditorUserId="19270" LastEditDate="2018-05-01T13:58:58.120" LastActivityDate="2018-05-01T13:58:58.120" Title="Rendering performacne of Vegas MovieStudio 14" Tags="|video-editor|vegas-pro|performance|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23843" PostTypeId="1" AcceptedAnswerId="23844" CreationDate="2018-04-16T15:29:21.317" Score="0" ViewCount="5569" Body="&lt;p&gt;Why setting -r 30 still gives fps=15 in ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;fmpeg -loglevel verbose -pixel_format mjpeg -s hd720 -r 30 -i /dev/video1 -f libx264 -preset ultrafast -tune zerolatency -crf 23 -f matroska tcp://192.168.1.43:5000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frame=10497 fps= 15 q=22.0 Lsize=  253990kB time=00:11:39.76 bitrate=2973.4kbit&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="21908" LastActivityDate="2018-04-16T15:38:02.517" Title="Why setting -r 30 still gives fps=15 in ffmpeg?" Tags="|video|ffmpeg|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23844" PostTypeId="2" ParentId="23843" CreationDate="2018-04-16T15:38:02.517" Score="2" Body="&lt;p&gt;&lt;code&gt;fps= 15&lt;/code&gt; represents the encoding speed, not the output file framerate.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-04-16T15:38:02.517" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="23846" PostTypeId="5" CreationDate="2018-04-16T19:32:59.137" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2018-04-16T19:32:59.137" LastActivityDate="2018-04-16T19:32:59.137" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23847" PostTypeId="4" CreationDate="2018-04-16T19:32:59.137" Score="0" Body="Fusion is an advanced compositing software for visual effects artists, broadcast and motion graphic designers, and 3D animators." OwnerUserId="6396" LastEditorUserId="6396" LastEditDate="2018-04-19T18:13:09.480" LastActivityDate="2018-04-19T18:13:09.480" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23848" PostTypeId="1" CreationDate="2018-04-16T19:33:11.347" Score="2" ViewCount="6279" Body="&lt;p&gt;I know that Adobe After Effects allows adding typewriter effect to text in videos but how to do the same in Davinci Resolve or Fusion?&lt;/p&gt;&#xA;" OwnerUserId="6396" LastActivityDate="2018-12-05T05:44:46.680" Title="How to add typewriter effect in Davinci Resolve or Fusion?" Tags="|davinci-resolve|fusion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23851" PostTypeId="1" AcceptedAnswerId="23852" CreationDate="2018-04-17T02:54:05.277" Score="0" ViewCount="52" Body="&lt;p&gt;I am streaming raw video at &lt;code&gt;-r 30&lt;/code&gt; and the bitrate is as follows&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frame=  228 fps=6.3 q=-1.0 Lsize=  410406kB time=00:00:31.03 bitrate=108341.2kbits/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Does that mean that I need 100Mb/s internet to support sending raw frame, that bitrate is also the internet speed I need to have? And since my internet cannot support the fps drops to 6.3 instead of 30?&lt;/p&gt;&#xA;" OwnerUserId="21908" LastActivityDate="2018-04-17T04:56:31.833" Title="Does bitrate also mean the internet speed I need to have?" Tags="|ffmpeg|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23852" PostTypeId="2" ParentId="23851" CreationDate="2018-04-17T04:56:31.833" Score="1" Body="&lt;p&gt;Yes. But you should have a little overhead as well, so you probably need about 150Mbps for this. Something like huffyuv could give about a 50% reduction, or a lossy codec would give 95% or more reduction.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2018-04-17T04:56:31.833" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23853" PostTypeId="2" ParentId="23842" CreationDate="2018-04-17T10:33:36.480" Score="0" Body="&lt;p&gt;It is normal, that different software outputs different results in different time ranges. Maybe the effect you use in AP Elements is much simpler than the one in MovieStudio. Or Movie Studio uses more ressources to run. Or the settings were not exactly equal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general you improve rendering perfomance with the following steps:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Close internet connection&lt;/li&gt;&#xA;&lt;li&gt;Remove all media from the computer that is not needed for the rendering&lt;/li&gt;&#xA;&lt;li&gt;Deactivate temporarily all programs in background (e.g. anti virus) that are not needed ( ATTENTION: Don't take any risks. &quot;Maybe&quot; always means &quot;Leave it!&quot;)&lt;/li&gt;&#xA;&lt;li&gt;Only open data that is directly related to the media you render. ( No other projects in background )&lt;/li&gt;&#xA;&lt;li&gt;Leave the system alone during work&lt;/li&gt;&#xA;&lt;li&gt;For Windows: Defrag Harddisk before rendering&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerDisplayName="user21266" LastActivityDate="2018-04-17T10:33:36.480" CommentCount="7" ContentLicense="CC BY-SA 3.0" />
  <row Id="23855" PostTypeId="1" AcceptedAnswerId="23856" CreationDate="2018-04-17T16:45:15.600" Score="1" ViewCount="1977" Body="&lt;p&gt;I have 2 videos of the same resolution, but I need to crop one of them and then merging them side by side, so that general height would be equal of height of non cropped video. I.e. they should look the same size after merge. Just cropped video should look like it zoomed in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to do that, but &lt;strong&gt;&lt;em&gt;uncropped video being cropped during merge&lt;/em&gt;&lt;/strong&gt;.&lt;br&gt;&#xA;I &lt;strong&gt;cropped&lt;/strong&gt; like that:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i L.MOV -filter:v &quot;crop=in_w-28:in_h-28&quot; -c:a copy LC.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then &lt;strong&gt;merge&lt;/strong&gt; which crops right video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i LC.MOV -i R.MOV -filter_complex '[0:v]pad=iw*2:ih[int];[int][1:v]overlay=W/2:0[vid]' -map [vid] -c:v libx264 -crf 23 -preset veryfast LCR.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here I drew what I need:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/k2Q7U.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/k2Q7U.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And here what I'm getting:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/WVW0r.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WVW0r.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22009" LastActivityDate="2018-04-18T05:35:55.117" Title="How to merge videos side by side if one of them is cropped" Tags="|ffmpeg|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23856" PostTypeId="2" ParentId="23855" CreationDate="2018-04-17T17:08:59.630" Score="4" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i L.MOV -i R.MOV -filter_complex '[0:v]crop=in_w-28:in_h-28,scale=640:480,setsar=1,pad=iw*2:ih[int];[int][1:v]overlay=W/2:0[vid]' -map [vid] -c:v libx264 -crf 23 -preset veryfast LR.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Since you want a zoomed-in effect, after cropping, you should rescale it back to 640x480. Your crop dimensions are disproportionate to the input dimensions so I have reset SAR to 1. You can skip this if you apply &lt;code&gt;crop=in_w-28:in_h-21&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;To apply the crop to the right video, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i L.MOV -i R.MOV -filter_complex '[1:v]crop=in_w-28:in_h-21,scale=640:480[int];[0:v]pad=iw*2:ih[left];[left][int]overlay=W/2:0[vid]' -map [vid] -c:v libx264 -crf 23 -preset veryfast LR.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-04-18T05:35:55.117" LastActivityDate="2018-04-18T05:35:55.117" CommentCount="9" ContentLicense="CC BY-SA 3.0" />
  <row Id="23857" PostTypeId="1" CreationDate="2018-04-17T17:49:01.473" Score="2" ViewCount="45811" Body="&lt;p&gt;I want to make 1:1 ratio Instagram videos using Davinci Resolve. But I am unable to find how to change the aspect ratio to 1:1 using Davinci Resolve.&lt;/p&gt;&#xA;" OwnerUserId="6396" LastActivityDate="2019-02-09T14:59:04.580" Title="How to make 1:1 ratio video in Davinci Resolve?" Tags="|davinci-resolve|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23858" PostTypeId="1" CreationDate="2018-04-17T20:37:05.347" Score="1" ViewCount="3018" Body="&lt;p&gt;Using Premier Pro CC and through the speed/duration menu i have reversed the clip and it plays back choppy but also exports as choppy. Dont know WTF im supposed to do with that. Was trying to change field option and change and time interpolation in different combinations but its not working, video is still choppy.&#xA;Im using GPU acceleration. &#xA;Hardware: GTX 1060, 8GB RAM.&lt;/p&gt;&#xA;" OwnerUserId="22012" LastActivityDate="2024-03-17T17:06:45.740" Title="Choppy reversed video in premier pro" Tags="|premiere|video-editor|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23859" PostTypeId="1" AcceptedAnswerId="23872" CreationDate="2018-04-17T22:09:12.410" Score="0" ViewCount="39" Body="&lt;p&gt;I would like to do audio live streaming on facebook.&#xA;I intend to get audio feed from myself, from a guest sitting next to me, from a guest over the phone and a guest on Skype. And then stream it on facebook.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of equipments: I got a laptop which has 8th Gen Intel® Core™ i7-8550U mobile processor, 12GB Memory and Intel® HD Graphics 620&#xA;An internet connection which has upload speed 300 kbs to 1.2 mbs. (Not steady :( but enough for audio, I think.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I got OBS software, but it is designed for video transmission not audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What else do I need?&#xA;Any equipment, software, etc?&lt;/p&gt;&#xA;" OwnerUserId="22014" LastActivityDate="2018-04-20T05:00:26.660" Title="What do I need for facebook Audio Live streaming?" Tags="|streaming|live|broadcasting|radio|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23860" PostTypeId="1" CreationDate="2018-04-17T23:51:18.897" Score="0" ViewCount="78" Body="&lt;p&gt;Does anyone know the legal side of including obvious brands such as Facebook/Instagram in commercial video projects? Or replicating a Facebook messenger motion graphic? For example, visuals of Young adults scrolling through an Instagram feed or typing into messenger to promote sharing of content? Are their licenses for these things or is it fine to use without in video projects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance. &lt;/p&gt;&#xA;" OwnerUserId="22016" LastActivityDate="2024-03-18T07:07:35.907" Title="Use of big name apps in a commercial video projects" Tags="|video-editor|video-recording|production|legal|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23861" PostTypeId="2" ParentId="23860" CreationDate="2018-04-18T08:24:32.180" Score="0" Body="&lt;p&gt;I'm no legal expert, certainly - so do take this 'advice' with a pinch of salt - and I'm not sure what you mean by commercial, but I'd probably err on the side of caution and, instead of replicating a Facebook post exactly, just do an approximation of it with motion graphics if you've got the time/budget.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To be honest, though, unless this is going out on TV, you're probably fine to use FB/Insta/Whateveragram provided that you're not suggesting that you're affiliated in any way and that those programs aren't the cause of crime/immoral action in the film.&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-04-18T08:24:32.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23862" PostTypeId="2" ParentId="23832" CreationDate="2018-04-18T08:40:56.487" Score="1" Body="&lt;p&gt;That would depend on what software you're using - would you be able to clarify?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Premiere Pro you can use Essential Graphics to drive your captions (there is a number of captions presets in the EG panel already, just go to Essential Graphics\Captions and Subtitles and select the one that best suits your video) - the editor has plenty of useful options and you can save your styles as 'Masters' and reuse that style for each subsequent video. Alternatively, you can create your own Essential Graphics template for captions via After Effects to have full control over them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More info on &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/essential-graphics-panel.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe's help site&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-04-18T08:40:56.487" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23863" PostTypeId="2" ParentId="23806" CreationDate="2018-04-18T13:28:19.830" Score="0" Body="&lt;p&gt;Your ffmpeg command is very strange at best:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Using hflip filter: you need fairly recent ffmpeg, otherwise it will add additional processing overhead.&lt;/li&gt;&#xA;&lt;li&gt;Conflicting encoding options, you should use only preset for h264.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Some other remarks: have you benchmarked your encoding command without network transfer, how fast it is, 1x or 10x realtime?&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2018-04-18T13:28:19.830" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23864" PostTypeId="2" ParentId="23858" CreationDate="2018-04-18T13:35:58.240" Score="0" Body="&lt;p&gt;Is you timeline setting the same as your video file, in terms of framerate and size? And you should also change the timeline interpolation to optical flow. &lt;/p&gt;&#xA;" OwnerUserId="22021" LastEditorUserId="14523" LastEditDate="2018-04-19T01:46:28.333" LastActivityDate="2018-04-19T01:46:28.333" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23866" PostTypeId="1" AcceptedAnswerId="23868" CreationDate="2018-04-18T23:44:58.867" Score="6" ViewCount="7533" Body="&lt;p&gt;I'm currently using the following batch script to run an ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;title Convert videos to Mp4 h.264 with FFMPEG. &#xA;echo This script will find all video files of a given extension then make an mp4 h.264 file out of them.&#xA;set /p folder=&quot;Enter the folder path (cannot contain spaces; must have trailing slash \): &quot;&#xA;set /p ft=&quot;Enter file type extension: &quot;&#xA;set /p abitrate=&quot;Enter the audio bitrate in kbps (usually 48): &quot;&#xA;set /p size=&quot;Enter video width and height (w:h) (usually 852:480): &quot;&#xA;set /p vcrf=&quot;Enter the video crf value (usually 24): &quot;&#xA;for %%f in (%folder%*.%ft%) do ffmpeg -i &quot;%%f&quot; -vf &quot;scale=%size%,setsar=1&quot; -crf %vcrf% -c:a aac -b:a %abitrate%k -ac 1 -movflags +faststart &quot;%folder%%%~nf.mp4&quot;&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The script says what it does in the description at the top. I built it to convert HDV .m2t files to web-ready mp4 files. If I extract the ffmpeg command from the script loop, it looks like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i input.m2t -vf &quot;scale=852:480,setsar=1&quot; -crf 24 -c:a aac -b:a 48k -ac 1 -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have some videos that need color correction, so I just want to toss a filter on them before I encode. I've fiddled with ffplay and determined that the look I want will require the following command, which &lt;a href=&quot;https://video.stackexchange.com/a/20963/3643&quot;&gt;has been modified from this answer&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; -vf eq=brightness=0.1:saturation=1.5&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The issue I'm having is integrating this new &lt;code&gt;-vf&lt;/code&gt; line into the main command. If I put it separately, ffmpeg ignores the first one for the second one. If it put them together in the quotes, it throws errors. I assume this is a syntax issue, but maybe not. The main command seems to be using commas for separators, but this new command uses colons.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2018-04-19T05:12:18.020" Title="How to combine ffmpeg vf commands for resizing and color correction?" Tags="|ffmpeg|color-correction|scale|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23867" PostTypeId="2" ParentId="23866" CreationDate="2018-04-19T00:16:58.583" Score="0" Body="&lt;p&gt;Through trial and error, imitating different people's syntax used in similar commands, plus at the suggestion of an ffmpeg error message, I've come up with the following, and it worked as expected:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i input.m2t -filter_complex &quot;scale=852:480,setsar=1&quot;,&quot;eq=brightness=0.1:saturation=1.5&quot; -crf 24 -c:a aac -b:a 48k -ac 1 -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The first change is &lt;code&gt;-vf&lt;/code&gt; needed to be changed to &lt;code&gt;-filter_complex&lt;/code&gt;. ffmpeg suggested this in an error message. After that, just separating the two commands with a comma, then also quoting the new command did the trick. So the syntax is very much like a csv.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have more insight, please post an answer.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2018-04-19T00:16:58.583" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23868" PostTypeId="2" ParentId="23866" CreationDate="2018-04-19T05:12:18.020" Score="6" Body="&lt;p&gt;Filter complex isn't needed. When a series of filters are to be applied to a single input in sequence, they are to be separated with a comma and passed along as a single filterchain (&lt;code&gt;-vf&lt;/code&gt;, &lt;code&gt;-af&lt;/code&gt;). You already did that with the setsar. So,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i input.m2t -vf &quot;scale=852:480,setsar=1,eq=brightness=0.1:saturation=1.5&quot; -crf 24 -c:a aac -b:a 48k -ac 1 -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-04-19T05:12:18.020" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23869" PostTypeId="2" ParentId="23269" CreationDate="2018-04-19T13:12:23.903" Score="6" Body="&lt;p&gt;You can upscale Premiere Pro footage using the &lt;strong&gt;Detail-preserving Upscale&lt;/strong&gt; effect in After Effects via Dynamic Link. The results will never be as good as actual HD footage, but the Detail-preserving Upscale effect does a great job at scaling footage without losing too much quality.&#xA;There's a short tutorial on how to do this at the following link:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Urnt6XeP0FA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="22029" LastEditorUserId="14523" LastEditDate="2018-04-20T15:53:31.110" LastActivityDate="2018-04-20T15:53:31.110" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23870" PostTypeId="1" AcceptedAnswerId="23877" CreationDate="2018-04-19T13:18:31.430" Score="6" ViewCount="9585" Body="&lt;p&gt;I have a raw H.264 file. I would like to retrive both length and frame number of every NAL unit in this file. The result must be printed to file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any tool to do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried using H.264 Stream Analysis on Windows and it works well, but I cannot find an option for printing to file.&lt;/p&gt;&#xA;" OwnerUserId="21273" LastEditorUserId="21273" LastEditDate="2018-04-29T14:24:15.453" LastActivityDate="2020-04-03T23:07:06.670" Title="Print to file: Details of every NAL unit in raw H.264 file" Tags="|h.264|decoding|analysis|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23871" PostTypeId="2" ParentId="23857" CreationDate="2018-04-20T04:37:58.813" Score="1" Body="&lt;p&gt;I would try to make a 1080x1080 (1:1) and import your 1920x1080 footage (I'm assuming) and scale the footage to your liking. You either can use part of the footage (crop to fill 1:1), or fit the whole 1920x1080p video within the 1:1 ratio square (it will show black bars).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;edit: look at this video for Davinci Resolve Image Scaling... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/gAPrg7jykTg?t=1m48s&quot; rel=&quot;nofollow noreferrer&quot;&gt;Look into image scaling preset in Project settings / also click here for DaVinci Resolve tutorial.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To change the scale of your video/images in the Edit Page, you'll need to open up the Inspector (top-right corner)&lt;/p&gt;&#xA;" OwnerUserId="22035" LastEditorUserId="22035" LastEditDate="2018-04-26T05:50:57.457" LastActivityDate="2018-04-26T05:50:57.457" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="23872" PostTypeId="2" ParentId="23859" CreationDate="2018-04-20T05:00:26.660" Score="0" Body="&lt;p&gt;I would consider just using your phone (use Wi-Fi depending on situation) :) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found this great video of how to do Facebook Live Audio cast (&lt;a href=&quot;https://www.youtube.com/watch?v=Tv453NIo3N8&quot; rel=&quot;nofollow noreferrer&quot;&gt;click here&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For your situation I find it quite suitable to use your phone instead of your laptop. It will make it easier since both you and the guest are using a phone. Then it makes the whole process seamless.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can buy external stereo mics for phones to improve audio drastically.   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can gradually build up a better setup over time once you get more comfortable with Facebook live. To be very good... it takes time :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try to have at least a 5-10mbps for a video live stream.&lt;/p&gt;&#xA;" OwnerUserId="22035" LastActivityDate="2018-04-20T05:00:26.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23873" PostTypeId="2" ParentId="23233" CreationDate="2018-04-20T05:15:25.083" Score="0" Body="&lt;p&gt;Try the other answer first. Just import it, and press the organize button.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From looking at your picture (book by it's cover analysis): &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Where do you get the file name? Ex. PQ9A3..(confusing to ordering program?) (How does the computer supposed to know if it is (0, 1, 2, 3, and 4?) &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Try to rename a few of your clips to (0, 1, 2, 3, 4) and see what happens. If the ordering works... you have problems with your filename system. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The computer understands this order for File Explorer:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QHj3W.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QHj3W.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See if it works on Mac. I usually use Windows, but the concepts should be very similar.&lt;/p&gt;&#xA;" OwnerUserId="22035" LastActivityDate="2018-04-20T05:15:25.083" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23876" PostTypeId="2" ParentId="23811" CreationDate="2018-04-20T17:30:51.133" Score="1" Body="&lt;p&gt;I am not sure why you end up with duplicates. However you might be interested in having a look at the proxy workflow from &lt;a href=&quot;https://www.youtube.com/watch?v=U5cjY5NQbMA&quot; rel=&quot;nofollow noreferrer&quot;&gt;Felipe&lt;/a&gt;. It probably can help you to get rid of duplicates and conserve space. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2018-04-20T17:30:51.133" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23877" PostTypeId="2" ParentId="23870" CreationDate="2018-04-20T17:33:38.660" Score="5" Body="&lt;p&gt;You can use the trace_headers bitstream filter in ffmpeg&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.264 -c copy -bsf:v trace_headers -f null - 2&amp;gt; NALUS.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The text file will have data like this,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[AVBSFContext @ 00000000027d3580] Packet: 102 bytes, no pts, dts -31999, duration 40000.&#xA;[AVBSFContext @ 00000000027d3580] Slice Header&#xA;[AVBSFContext @ 00000000027d3580] 0           forbidden_zero_bit                                          0 = 0&#xA;[AVBSFContext @ 00000000027d3580] 1           nal_ref_idc                                                10 = 2&#xA;[AVBSFContext @ 00000000027d3580] 3           nal_unit_type                                           00001 = 1&#xA;[AVBSFContext @ 00000000027d3580] 8           first_mb_in_slice                                           1 = 0&#xA;[AVBSFContext @ 00000000027d3580] 9           slice_type                                              00110 = 5&#xA;[AVBSFContext @ 00000000027d3580] 14          pic_parameter_set_id                                        1 = 0&#xA;[AVBSFContext @ 00000000027d3580] 15          frame_num                                                0001 = 1&#xA;[AVBSFContext @ 00000000027d3580] 19          pic_order_cnt_lsb                                      000100 = 4&#xA;[AVBSFContext @ 00000000027d3580] 25          num_ref_idx_active_override_flag                            1 = 1&#xA;[AVBSFContext @ 00000000027d3580] 26          num_ref_idx_l0_active_minus1                                1 = 0&#xA;[AVBSFContext @ 00000000027d3580] 27          ref_pic_list_modification_flag_l0                           0 = 0&#xA;[AVBSFContext @ 00000000027d3580] 28          luma_log2_weight_denom                                      1 = 0&#xA;[AVBSFContext @ 00000000027d3580] 29          chroma_log2_weight_denom                                    1 = 0&#xA;[AVBSFContext @ 00000000027d3580] 30          luma_weight_l0_flag[i]                                      0 = 0&#xA;[AVBSFContext @ 00000000027d3580] 31          chroma_weight_l0_flag[i]                                    0 = 0&#xA;[AVBSFContext @ 00000000027d3580] 32          adaptive_ref_pic_marking_mode_flag                          0 = 0&#xA;[AVBSFContext @ 00000000027d3580] 33          cabac_init_idc                                              1 = 0&#xA;[AVBSFContext @ 00000000027d3580] 34          slice_qp_delta                                      000010011 = -9&#xA;[AVBSFContext @ 00000000027d3580] 43          disable_deblocking_filter_idc                               1 = 0&#xA;[AVBSFContext @ 00000000027d3580] 44          slice_alpha_c0_offset_div2                                  1 = 0&#xA;[AVBSFContext @ 00000000027d3580] 45          slice_beta_offset_div2                                      1 = 0&#xA;[AVBSFContext @ 00000000027d3580] 46          cabac_alignment_one_bit                                     1 = 1&#xA;[AVBSFContext @ 00000000027d3580] 47          cabac_alignment_one_bit                                     1 = 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You'll have to parse the file to count frames.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Alternatively, H.264 Stream Analysis appears to be a frontend for h264_bitstream. Latest source available from &lt;a href=&quot;https://sourceforge.net/projects/h264bitstream/files/h264bitstream/0.1.9/&quot; rel=&quot;noreferrer&quot;&gt;https://sourceforge.net/projects/h264bitstream/files/h264bitstream/0.1.9/&lt;/a&gt;. It can be easily compiled on Windows under MinGW/MSYS2.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-04-20T17:33:38.660" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23879" PostTypeId="1" CreationDate="2018-04-21T04:08:19.057" Score="0" ViewCount="1946" Body="&lt;p&gt;I'm trying to follow this tutorial: &lt;a href=&quot;https://www.reddit.com/r/brokenanimegifs/wiki/tutorial&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.reddit.com/r/brokenanimegifs/wiki/tutorial&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything works perfectly. On the basis of this tutorial, I even created my own little tool. It just removes original I-frames and replaces with new one, all works fine with h264 (libx264).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I want to repeat this on the basis of x265, as it has a better algorithm for detecting motion and smearing the picture. But unfortunately, nothing works! I tried about such coding options:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i source.avi -vcodec libx265 -an -bf 0 -x265-params no-pme:subme=1:\&#xA; no-weightp:no-constrained-intra:no-temporal-layers:no-temporal-mvp:no-open-gop:\&#xA; crf=15:bframes=0:radl=0:ctu-info=0:rc-lookahead=0:gop-lookahead=0:\&#xA; lookahead-slices=0:lookahead-threads=0:b-adapt=0:bframe-bias=0:no-b-pyramid:\&#xA; force-flush=1:frame-threads=1 -t 30 -y result.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But it did not help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I learned that x265 has many types of I-frames, I suspect that it's all about this. I can replace only the first I-frame in file, it works as before. But I can not change any other I-Frames and get the error in place of replacement, errors like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  [hevc @ 0xb372940] Could not find ref with POC -60:00:09.17 bitrate=62974.5kbits/s dup=2 drop=0 speed=9.14x    &#xA;  [hevc @ 0xb372940] Could not find ref with POC -12:00:20.56 bitrate=62974.5kbits/s dup=2 drop=0 speed=10.2x &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Do you think you can repeat this with x265? Here exists any options to force IDR-frames and disable advanced coding techniques?&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2018-04-21T04:08:19.057" Title="Replacing I-frames in h265 stream" Tags="|video|ffmpeg|encoding|h.264|h265|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 3.0" />
  <row Id="23880" PostTypeId="1" AcceptedAnswerId="23881" CreationDate="2018-04-21T19:18:32.063" Score="0" ViewCount="49" Body="&lt;p&gt;I am very happy with my Handbrake settings for my final encodes but I have a video that needs to be edited first. I intend to use Vegas Pro to do this but the default encoding settings create terribly large files. I know I can experiment and find a closer bitrate to my Handbrake settings but I'd like to avoid this for simplicity. Can I still make a final encode with Handbrake without losing quality if I first encode at or above source?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: My question is slightly different, I wanted to know about encoding first to a higher or equal to source bitrate and then re-encoding to a final bitrate. Based on my answer I got, it seems that unless you encode to lossless, some quality will always be lost.&lt;/p&gt;&#xA;" OwnerUserId="22045" LastEditorUserId="22045" LastEditDate="2018-04-23T16:23:49.857" LastActivityDate="2018-04-23T16:23:49.857" Title="If I encode a video above source and then later do a final encode, will I lose extra quality vs the final encode directly?" Tags="|encoding|video-quality|vegas-pro|handbrake|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23881" PostTypeId="2" ParentId="23880" CreationDate="2018-04-22T05:30:21.823" Score="0" Body="&lt;p&gt;Yes, if you save your video in loseless codec. Unfortunately, this can produce very large files. Also you can try to find frameservers to avoid intermediate files, for frameservers was for older versions of Vegas, I don't know support of this feature in modern versions of Vegas.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2018-04-22T05:30:21.823" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23882" PostTypeId="2" ParentId="23716" CreationDate="2018-04-22T08:14:59.070" Score="2" Body="&lt;p&gt;Try searching for &quot;LED Neon Tube&quot;.  Nowadays LEDs are so common for venue lighting, maybe the set designers might went that route.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this is fluorescent, they could be white fluorescent bulbs wrapped in theatrical gel roll material, such as &lt;a href=&quot;https://www.stagelightingstore.com/home/31385-rosco-roscolux-120-red-diffusion-24-x-25-roll&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;.  For the power supply (called a ballast) and housing, you can buy fluorescent bulb track lighting from any commercial lighting store. The ballasts for traditional T8 and T12 size bulbs are being phased out due to regulation.  But my local supplier still had a couple in stock a few years ago.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The bulbs could also be neon, producing a native red color without a filter.  I believe those would have to be handmade by a signage company.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, the shot has pretty obvious red stage lighting to the lower-left, and blue to the upper-right.  I'm judging from the red light and shadows striking the ceiling, and the diagonal blue light shadows on the actor's body.  My guess is that almost none of the light in the shot is from the vertical bulbs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm a newbie at this too, but hope some of my information is accurate :)  I had a similar project for a party production a few years ago, which involved fluorescent ballasts and housings with vertically mounted blacklights.&lt;/p&gt;&#xA;" OwnerUserId="22017" LastActivityDate="2018-04-22T08:14:59.070" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23883" PostTypeId="2" ParentId="23695" CreationDate="2018-04-22T08:56:57.560" Score="0" Body="&lt;p&gt;Speaking from a computer programming background, MPEG and H.264 encoding do not lend themselves to GPU hardware.  The encoding requires a lot of conditional logic and &quot;if statements&quot; where a CPU is superior.  The dedicated encoder chip in your camera does not work the same as the GPU in your computer; both are intended for video work, but specialize on different types of tasks.  Note a GPU works fine for decoding, which is an easier task.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My personal experience is that few decent GPU encoders exist, and the best ones have slightly higher performance but noticeably poorer quality than CPU encoders.  Overall, I cannot recommend OpenCL or CUDA based encoders.  But - my experience is from a few years ago.  Software may have improved.  Side-by-side quality comparison with your particular footage is always best.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&#xA;Looks like GPUs do have dedicated encoder circuits these days.  Support is available in select software on Linux and Windows.  See &lt;a href=&quot;https://en.wikipedia.org/wiki/Video_Coding_Engine&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;https://en.wikipedia.org/wiki/Nvidia_NVENC&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.  Adobe Media Encoder is not listed.  If it uses OpenCL, then it's using the main part of the GPU and not the encoder circuit, so above comments on quality still stand.&lt;/p&gt;&#xA;" OwnerUserId="22017" LastEditorUserId="22017" LastEditDate="2018-04-22T09:08:08.547" LastActivityDate="2018-04-22T09:08:08.547" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23885" PostTypeId="1" CreationDate="2018-04-22T20:00:18.483" Score="2" ViewCount="51" Body="&lt;p&gt;Does anyone know of software (preferably free) which can be used to divide up a video or audio file into a number of smaller sized pieces at regular intervals? (e.g. to turn a 3-hour video file into nine 20-minute video files)?&lt;/p&gt;&#xA;" OwnerUserId="22052" LastActivityDate="2018-04-23T06:32:29.767" Title="Splitting files automatically" Tags="|video|editing|freeware|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23886" PostTypeId="2" ParentId="21265" CreationDate="2018-04-22T20:45:07.843" Score="0" Body="&lt;p&gt;&lt;strong&gt;You can't!&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See supported GPU list here on Videocopilot website:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.videocopilot.net/docs/element/installation_and_compatibility/specifications/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.videocopilot.net/docs/element/installation_and_compatibility/specifications/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22053" LastActivityDate="2018-04-22T20:45:07.843" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23887" PostTypeId="2" ParentId="22861" CreationDate="2018-04-23T03:18:45.673" Score="1" Body="&lt;p&gt;The comments all suggest using an &lt;a href=&quot;https://en.wikipedia.org/wiki/Non-linear_editing_system&quot; rel=&quot;nofollow noreferrer&quot;&gt;NLE&lt;/a&gt; (I agree), but given that your question is tagged with &lt;a href=&quot;https://video.stackexchange.com/questions/tagged/ffmpeg&quot;&gt;ffmpeg&lt;/a&gt;, here are a few pointers to documentation:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can accomplish text overlay with the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#drawtext-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;drawtext&lt;/a&gt; filter.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Draw a text string or text from a specified file on top of a video, using the libfreetype library.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;For changing the background, you should look into the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#colorkey&quot; rel=&quot;nofollow noreferrer&quot;&gt;colorkey&lt;/a&gt; filter. From the docs, here's an example to &quot;make every green pixel in the input image transparent&quot;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.png -vf colorkey=green out.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As for timing, you should cross-reference if they support &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#Timeline-editing&quot; rel=&quot;nofollow noreferrer&quot;&gt;timeline editing&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Some filters support a generic enable option. For the filters supporting timeline editing, this option can be set to an expression which is evaluated before sending a frame to the filter. If the evaluation is non-zero, the filter will be enabled, otherwise the frame will be sent unchanged to the next filter in the filtergraph.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Again, this is probably better suited for an NLE, but it's certainly possible with &lt;code&gt;ffmpeg&lt;/code&gt;, and will likely render &lt;em&gt;significantly&lt;/em&gt; faster (at the tradeoff of likely taking much longer to craft the &lt;code&gt;ffmpeg&lt;/code&gt; invocation vs. using an NLE). Good luck!&lt;/p&gt;&#xA;" OwnerUserId="22056" LastActivityDate="2018-04-23T03:18:45.673" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23888" PostTypeId="2" ParentId="23885" CreationDate="2018-04-23T05:02:28.617" Score="0" Body="&lt;p&gt;Try &lt;a href=&quot;http://avidemux.sourceforge.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;avidemux&lt;/a&gt;. Alternatively, if you're comfortable with command-line tools, you can use &lt;code&gt;ffmpeg&lt;/code&gt;. Here's an answer from &lt;a href=&quot;https://askubuntu.com/questions/35605/splitting-an-mp4-file?utm_medium=organic&amp;amp;utm_source=google_rich_qa&amp;amp;utm_campaign=google_rich_qa&quot;&gt;Ask Ubuntu&lt;/a&gt; that shows how to do it.&lt;/p&gt;&#xA;" OwnerUserId="22056" LastActivityDate="2018-04-23T05:02:28.617" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23889" PostTypeId="2" ParentId="23885" CreationDate="2018-04-23T06:32:29.767" Score="2" Body="&lt;p&gt;FFmpeg's segment muxer is designed for this.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -c copy -f segment -segment_time 1200 -reset_timestamps 1 in%d.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Output files will be &lt;code&gt;in0.mp4&lt;/code&gt;, &lt;code&gt;in1.mp4&lt;/code&gt;...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since the video keyframes in the source file may not be present exactly at the start of each 20 minute interval, the output segments won't be exactly 20 minutes each. Expect a deviation of a few seconds.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-04-23T06:32:29.767" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23890" PostTypeId="1" CreationDate="2018-04-23T08:23:27.630" Score="1" ViewCount="46" Body="&lt;p&gt;I have a Video lets say LargeVideo.mp4 and I have 2 other small videos as SmallVideo_1.mp4 and SmallVideo_2.mp4. I want to insert the full SmallVideo_1.mp4 and SmallVideo_2.mp4  at 10th sec and 40th sec of LargeVideo respectively. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i concat.txt -c:v libx264 -crf 23 -fflags +genpts output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;contact.txt is &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'LargeVideo.mp4'&#xA;inpoint 0.0&#xA;outpoint 10&#xA;file 'SmallVideo_1.mp4'&#xA;inpoint 0&#xA;file 'LargeVideo.mp4'&#xA;inpoint 10&#xA;outpoint 40&#xA;file 'SmallVideo_2.mp4'&#xA;inpoint 0&#xA;file 'LargeVideo.mp4'&#xA;inpoint 40&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The above code works perfectly fine in Windows, But I want to implement this in Android I have added &lt;code&gt;-safe 0&lt;/code&gt; also in android command but still it is not working&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Android is as follows with the same contact.txt&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;String[] cmdConcatVideo = new String[]{&quot;-f&quot;, &quot;concat&quot;, &quot;-safe&quot;, &quot;0&quot;, &quot;-i&quot;, inpCmdFile, &quot;-c:v&quot;, &quot;libx264&quot;, &quot;-crf&quot;, &quot;23&quot;, &quot;-fflags&quot;, &quot;+genpts&quot;, outVideo};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I don't know what I'm missing, Any help would be thankful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;--In android It is not failing it works but I'm not getting the desired output. The SmallVideos are not present in the output.&lt;/p&gt;&#xA;" OwnerUserId="22058" LastEditorUserId="22059" LastEditDate="2018-04-25T19:14:32.170" LastActivityDate="2018-04-25T19:14:32.170" Title="Inserting one or more Video s inside a video" Tags="|ffmpeg|android|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23891" PostTypeId="2" ParentId="23842" CreationDate="2018-04-23T10:08:53.670" Score="0" Body="&lt;p&gt;12 hours render time for 9 minutes of HD footage is extrem, especially on that powerfull machine of yours. Either your &quot;old time movie effect&quot; is extremely demanding, or there's something seriously broken in your setup. I would expect a render time of far less than one hour.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Five guesses from my side:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;You have a powerfull processor, and Vegas/Movie Studio is sometimes a bit special when it comes to GPU support, especially with CUDA. Try to disable GPU support and see what happens. Watch out though - there are multiple places where parts of the GPU support can be activated/deactivated in Vegas.&lt;/li&gt;&#xA;&lt;li&gt;Check in the task manager, if indeed all of your 8 cores are active during rendering. You can set the number of render threads in the Movie Studio options. Maybe it's set to a low value. The optimum would be around 16 for your CPU.&lt;/li&gt;&#xA;&lt;li&gt;Do a test run without the old time movie effect to see, whether this effect is the problem. &lt;/li&gt;&#xA;&lt;li&gt;As romeoyankee already suggested: Try to figure out whether your AV software interferes with Movie Studio.&lt;/li&gt;&#xA;&lt;li&gt;And just to be on the safe side: Check, whether there's enough available RAM during the render process. When the system needs to start swapping, this would have a huge impact on your performance. But with 8GB I doubt this is the case here.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2018-04-23T10:08:53.670" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23892" PostTypeId="1" AcceptedAnswerId="23897" CreationDate="2018-04-23T11:07:26.923" Score="0" ViewCount="111" Body="&lt;p&gt;This question is location based, and hoping to get some ideas at the very least.  I work for a company that manufactures products for the construction industry, such as secure storage units, tool chests, manual handling products such as sack trucks, etc - you get the idea.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to start shooting product video, but for maximum effect I think they really need to be in situ - ie, shot on a construction site, however such sites, especially in the UK are restricted, and only authorised personnel are allowed on site.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With this in mind, what is the best way to shoot the video I want?  Do I try and contact construction sites near me and get them to allow me on site (bearing in mind that construction sites are only suitable for filming for a few months - our products wouldn't get used very early in the construction stage, and they also wouldn't be used nearer the end fitout stage).  Would it be simpler and cheaper long term to build a film set?  I'm thinking that CGI is likely to be too costly to be viable?  Are there any other options?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Really appreciate any experience or ideas that can be shared.&lt;/p&gt;&#xA;" OwnerUserId="22062" LastActivityDate="2018-04-23T22:01:28.440" Title="How to shoot in-situ product videos in restricted locations?" Tags="|video|premiere|video-recording|filming|render|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23893" PostTypeId="1" CreationDate="2018-04-23T13:05:03.373" Score="2" ViewCount="60909" Body="&lt;p&gt;I have a short animation clip made with PyMOL software (visualizing molecules), in the MP4 format. I am going to use this animation in future presentations, and it would look much better if the background was transparent. Is there an easy way to achieve this? I am working on a Mac. Obviously free/open source software would be best, but I am interested in any software capable of this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also have the option in PyMOL to save each frame of the video as PNG files, which do have an alpha channel. But once I convert this to mpeg or MP4, the alpha channel disappears.&lt;/p&gt;&#xA;" OwnerUserId="22063" LastActivityDate="2020-12-16T07:54:49.520" Title="Make white background in MP4 movie transparent" Tags="|alpha|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23894" PostTypeId="2" ParentId="23893" CreationDate="2018-04-23T15:16:06.643" Score="5" Body="&lt;p&gt;The MP4 format doesn't support an Alpha channel.  The question you've asked is very broad, and I've tried to answer to a certain extent below.  However you may need to decide what route you're going to try and then researching that route or asking further, more specific questions.&lt;/p&gt;&#xA;&lt;p&gt;The file types that currently support an Alpha (transparency) channel are FLV, F4V, AVI, Quicktime, and WebM.  If you're using free programs, you may find they can export in these formats.  Often, there will be a named codec for an Alpha channel within the settings of these, or a PNG option.  Firstly, I would see if there's an option to export video within your PyMOL software in any of these formats - try exporting them in different ways to see if they have the Alpha channel.&lt;/p&gt;&#xA;&lt;p&gt;Alternatively, if it's a one off video, you could use the free trial of Premiere Pro or After Effects to create and export your video, although it can be a learning curve if it's a complex project and you have never used Adobe Creative Cloud before.  Lastly, you could export your video and try and remove the background in a video editor. (If you want to use WebM, you need a &lt;a href=&quot;https://www.fnordware.com/WebM/&quot; rel=&quot;nofollow noreferrer&quot;&gt;third-party WebM codec&lt;/a&gt; for Adobe Media Encoder.)&lt;/p&gt;&#xA;&lt;h3&gt;PNG import /export&lt;/h3&gt;&#xA;&lt;p&gt;You could import the png sequence into either After Effects or Premiere Pro (free trials available for each).  I'm sure several free programs can import a PNG sequence automatically, or you could manually arrange the images on the timeline, one image per frame.&lt;/p&gt;&#xA;&lt;p&gt;I mainly use Premiere Pro so below I've listed a couple of ways I can use it to export a transparent video directly from Premiere.  HOWEVER - there are likely to be similar options in other programs - most video programs will export in a variety of formats / codecs.&lt;/p&gt;&#xA;&lt;p&gt;###Export a movie file with an alpha channel in Premiere Pro ###&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select the sequence.&lt;/li&gt;&#xA;&lt;li&gt;Choose File &amp;gt; Export &amp;gt; Media.&lt;/li&gt;&#xA;&lt;li&gt;In the Export Settings dialog box, choose one of the following&#xA;options:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Option 1 - QuickTime&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Select &amp;quot;QuickTime&amp;quot; in the file format&lt;/li&gt;&#xA;&lt;li&gt;Select &amp;quot;PNG&amp;quot; from the video codecs&lt;/li&gt;&#xA;&lt;li&gt;Under Channels, select &amp;quot;RGB + Alpha&amp;quot;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Option 2 - Microsoft AVI&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Select &amp;quot;AVI&amp;quot; in the file format&lt;/li&gt;&#xA;&lt;li&gt;Select &amp;quot;RGBA + &amp;quot; from the video codecs&lt;/li&gt;&#xA;&lt;li&gt;Under Channels, select &amp;quot;RGB + Alpha&amp;quot;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;ol start=&quot;6&quot;&gt;&#xA;&lt;li&gt;Once you have changed settings as per one of the sets of options above, continue to set other settings and click Export or Queue to export as you normally would.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;h3&gt;Remove background&lt;/h3&gt;&#xA;&lt;p&gt;Another option is that if the background is a consistent colour - white, grey, green etc, most advanced video editors will have options to remove the background using a colour match.&lt;/p&gt;&#xA;&lt;p&gt;In Premiere Pro, this is done using the Chroma key effect.  In essence, add the effect to the video, take a sample of the background colour, and the background should be removed, it's just left for you to export the video in one of the methods mentioned previously.&lt;/p&gt;&#xA;" OwnerUserId="22062" LastEditorUserId="-1" LastEditDate="2020-12-16T07:54:49.520" LastActivityDate="2020-12-16T07:54:49.520" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23895" PostTypeId="2" ParentId="23806" CreationDate="2018-04-23T16:33:25.180" Score="1" Body="&lt;p&gt;Try using UDP. It should be faster than TCP but with possibility of losing paackets.&lt;/p&gt;&#xA;" OwnerUserId="21908" LastActivityDate="2018-04-23T16:33:25.180" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23896" PostTypeId="1" CreationDate="2018-04-23T17:21:29.783" Score="1" ViewCount="81" Body="&lt;p&gt;I often see in demo videos, whenever text is required to be filled in (such as when filling out forms), that the text is entered smoothly, not actually typed by the person shooting the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wondering if anyone knows of a good method(s) of achieving said effect, as it looks much more professional than manually typing text while recording. I'm assuming there is an app(s) that allows someone to paste in text so that it is entered like this, but I can't find anything online so far.&lt;/p&gt;&#xA;" OwnerUserId="22065" LastActivityDate="2018-04-24T13:01:03.527" Title="Method of pasting &quot;smoothly-typed&quot; text for demo videos?" Tags="|video|webvideos|tutorial|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23897" PostTypeId="2" ParentId="23892" CreationDate="2018-04-23T22:01:28.440" Score="1" Body="&lt;p&gt;Many people apart from construction workers need to visit building sites, so there are processes for that to safely happen. I used to have a job where we often shot in restricted locations like building sites and factories. It usually involved the producer contacting whoever controlled the site and asking permission, and then we usually had to go through the site induction process (so many induction videos, so, so many).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A few things to note: when you're on site be aware that you will probably wear out your welcome–most people don't realise how long it takes to shoot a video, they expect you to turn up, wave the camera around and go. So it's worth being clear to whoever is going to accompany you on site about how long you think the shoot will take.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also be aware that the camera operator needs to have support people. If they're in a location like a building site there are lots of dangers around, and if they're focussed on the camera, they may not be fully aware of their surroundings. At the same time, you want to keep the crew to a minimum, so you don't have unnecessary stragglers wandering around.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-04-23T22:01:28.440" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23898" PostTypeId="2" ParentId="23806" CreationDate="2018-04-23T23:59:49.970" Score="0" Body="&lt;p&gt;Sources of any delays:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;TCP protocol. Long handshake, possible error with time loss in future&lt;/li&gt;&#xA;&lt;li&gt;Long encoder initialization (video call already prepared it)&lt;/li&gt;&#xA;&lt;li&gt;Long decoder initialization (video call already prepared it), buffering for analyze data&lt;/li&gt;&#xA;&lt;li&gt;Unoptimized protocol / format for low-time communication, like MKV&lt;/li&gt;&#xA;&lt;li&gt;Prebuffering in encoder for B-frames and other optimizations&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Video conferencing software also have many tricks to detect delays and resync streams. It why in video conferencing has frame drops and it not suitable for transmitting high quality video.&lt;/p&gt;&#xA;" OwnerUserId="19905" LastActivityDate="2018-04-23T23:59:49.970" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23899" PostTypeId="2" ParentId="23896" CreationDate="2018-04-24T13:01:03.527" Score="1" Body="&lt;p&gt;Allmost any video editing software has a &quot;typewriter&quot;-effect or similar called. This one should do exactly what you want and you have the control of several parameters as smoothiness and speed.&lt;/p&gt;&#xA;" OwnerDisplayName="user21266" LastActivityDate="2018-04-24T13:01:03.527" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23900" PostTypeId="1" AcceptedAnswerId="23901" CreationDate="2018-04-24T21:41:38.330" Score="0" ViewCount="1198" Body="&lt;p&gt;I have a video I'd like to convert to HLS, however, when I run the command, it only records the last few segments to the master manifest. How can I get all of the fragments and their associated data into the same manifest?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Output manifest:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#EXTM3U&#xA;#EXT-X-VERSION:3&#xA;#EXT-X-TARGETDURATION:7&#xA;#EXT-X-MEDIA-SEQUENCE:16&#xA;#EXTINF:4.800000,&#xA;out-316.ts&#xA;#EXTINF:7.000000,&#xA;out-317.ts&#xA;#EXTINF:4.800000,&#xA;out-318.ts&#xA;#EXTINF:6.360000,&#xA;out-319.ts&#xA;#EXTINF:1.920000,&#xA;out-320.ts&#xA;#EXT-X-ENDLIST&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Command and output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i segment-3.mp4 -c copy -copyts -hls_time 6 out-3.m3u8&#xA;ffmpeg version N-90649-g9825f77ac7 Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with gcc 7.3.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-bzlib --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth&#xA;  libavutil      56. 13.100 / 56. 13.100&#xA;  libavcodec     58. 17.100 / 58. 17.100&#xA;  libavformat    58. 11.101 / 58. 11.101&#xA;  libavdevice    58.  2.100 / 58.  2.100&#xA;  libavfilter     7. 14.100 /  7. 14.100&#xA;  libswscale      5.  0.102 /  5.  0.102&#xA;  libswresample   3.  0.101 /  3.  0.101&#xA;  libpostproc    55.  0.100 / 55.  0.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'segment-3.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.11.101&#xA;  Duration: 00:02:03.18, start: 39.915011, bitrate: 188 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 320x240 [SAR 1:1 DAR 4:3], 111 kb/s, 24.98 fps, 25 tbr, 12800 tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 72 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;[hls @ 0000028f6faf5380] Opening 'out-30.ts' for writing&#xA;Output #0, hls, to 'out-3.m3u8':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.11.101&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 320x240 [SAR 1:1 DAR 4:3], q=2-31, 111 kb/s, 24.98 fps, 25 tbr, 90k tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 72 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[hls @ 0000028f6faf5380] Opening 'out-31.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-32.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-33.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-34.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-35.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-36.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-37.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-38.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-39.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-310.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-311.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-312.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-313.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-314.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-315.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-316.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-317.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-318.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-319.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-320.ts' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing&#xA;frame= 3076 fps=0.0 q=-1.0 Lsize=N/A time=00:02:43.07 bitrate=N/A speed= 696x&#xA;video:1674kB audio:1083kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerDisplayName="user21952" LastActivityDate="2018-05-07T18:23:18.093" Title="ffmpeg hls creation overwriting master manifest" Tags="|ffmpeg|conversion|hls|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23901" PostTypeId="2" ParentId="23900" CreationDate="2018-04-24T21:59:57.860" Score="1" Body="&lt;p&gt;Add &lt;code&gt;-hls_playlist_type vod&lt;/code&gt; to the output parameters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Doing this will write all the fragments to the same manifest, as well as add a &#xA;&lt;code&gt;#EXT-X-PLAYLIST-TYPE:VOD&lt;/code&gt; tag to the manifest.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also do &lt;code&gt;-hls_list_size 0&lt;/code&gt;. The default for this is 5, which means the output manifest will contain up to 5 segments by default. Setting it to 0 will tell ffmpeg to contain all the fragments&lt;/p&gt;&#xA;" OwnerDisplayName="user21952" LastEditorDisplayName="user21952" LastEditDate="2018-05-07T18:23:18.093" LastActivityDate="2018-05-07T18:23:18.093" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23903" PostTypeId="2" ParentId="19860" CreationDate="2018-04-25T09:39:40.213" Score="2" Body="&lt;p&gt;I think you can achieve what you need with my ffmpeg Windows front-end, where you can easily select output destination folder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://sourceforge.net/projects/ffmpeg-batch&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://sourceforge.net/projects/ffmpeg-batch&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It adds to ffmpeg a window fashion interface, progress bars and time remaining info, features I always missed when using ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="22076" LastEditorUserId="2836" LastEditDate="2018-04-25T18:57:35.580" LastActivityDate="2018-04-25T18:57:35.580" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23904" PostTypeId="2" ParentId="22312" CreationDate="2018-04-25T16:57:38.930" Score="1" Body="&lt;p&gt;25i and 50i are the same thing. 25i means &quot;25 frames per second, interlaced&quot;. 50i means &quot;50 fields per second&quot;, the latter implies interlaced video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Likewise, 30i and 60i are the same thing. Basically, if the number before &quot;i&quot; is larger than 30 then it means number of fields, otherwise it is number of frames. All the existing interlaced systems I know of use 2 fields per frame. There were some systems that used 4 or even 8 fields per frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DVD are encoded to produce interlaced output. They also have flags that allow to save space by not repeating unneeded fields or frames. These flags are widely used in 60 Hz DVDs, I don't know how commonplace they are in 50 Hz DVDs. If the original title was a movie, you likely should treat it as 25p, not as 25i/50i or 50p.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-04-25T16:57:38.930" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23905" PostTypeId="2" ParentId="18807" CreationDate="2018-04-25T17:15:50.230" Score="0" Body="&lt;p&gt;&lt;strong&gt;Export to 60p for preservation&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will preserve all the frames and the look of your 60p sources, and the 30p frames will be doubled, but with a decent codec this will likely not affect the size of the file because the encoder will use a &quot;frame-repeat&quot; flag.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Export to 30p for uniform look&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;60p video looks &quot;live&quot;, while 30p video looks more &quot;film-like&quot;. Combining the two in one video may look jarring to your viewers. Then again, some viewers do not notice differences in frame rates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Export to 30p and use 60p for slo-mo&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can export a 30p project and create true slo-mo from your 60p content, just navigate to clips' properties and set their speed to 0.5 -- no frames lost, and no fake frames added.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for whether your viewers will be able to watch 60p - yes, they will. Any TV set supports 720p60 and most do support 1080p60. YouTube supports 60p for several years now. If you want to be extra safe, when exporting to 60p use 720 resolution, that is, export to 720p60.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-04-25T17:15:50.230" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23906" PostTypeId="2" ParentId="19646" CreationDate="2018-04-25T20:15:13.577" Score="0" Body="&lt;p&gt;I don't know if this counts as an answer so much as a workaround but I was getting the same error message when I was manually typing in the layer name. There was no typo; the layer definitely existed. It was maddening. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I used the pickwhip to link it to the layer, After Effects would automatically generate the 'thisComp.layer(&quot;Layer Name Here&quot;)' code. Then I just built the rest of my expression around that line. That seemed to work fine. &lt;/p&gt;&#xA;" OwnerUserId="22080" LastActivityDate="2018-04-25T20:15:13.577" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23907" PostTypeId="1" CreationDate="2018-04-25T22:38:34.640" Score="0" ViewCount="90" Body="&lt;p&gt;I read somewhere its better watching 1080p content on native 1080p (Full HD) TVs, because they keep ORIGINAL video resolution without down\upconverting .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that's true, so buying 4k TVs without any much 4k sources around (While many FHD and HD contents available) , mean wasting both money and quality, isn't that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On CNET's article:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;we've found that 1080p Blu-ray upconverted to the 4K screens looks&#xA;  great, &lt;em&gt;although not appreciably better than 1080p on a 1080p TV&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="22082" LastEditorUserId="22082" LastEditDate="2018-04-25T23:15:40.220" LastActivityDate="2018-05-14T12:54:24.327" Title="Can upconverting 1080p videos on 4k TVs, lower their quality?" Tags="|4k|full-hd|1080p|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23909" PostTypeId="2" ParentId="23907" CreationDate="2018-04-26T08:57:10.040" Score="0" Body="&lt;p&gt;Any resulution changes cause a loss of quality. For the case of upscaling you need to calculate data for the pixels and allthough there are devices with hardware and software that has powerful tools to do so, they will never be able to keep sharpness and detailed textures and fast movements in the original quality. Always remember that you need four pixels to reproduce one if you double resolutions to height and width.&lt;/p&gt;&#xA;" OwnerDisplayName="user21266" LastActivityDate="2018-04-26T08:57:10.040" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23910" PostTypeId="1" AcceptedAnswerId="23912" CreationDate="2018-04-26T15:17:10.267" Score="2" ViewCount="2501" Body="&lt;p&gt;I have 239 small MKV video files with identical characteristics (they were cut from the original video with the same command but different &lt;code&gt;-ss -t&lt;/code&gt; parameters).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I concatenate them all back into one long video and this video gets longer duration than the sum of durations of the small files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All small files have &lt;code&gt;29.95 fps&lt;/code&gt; but the concatenated video has &lt;code&gt;29.75 fps&lt;/code&gt; and I do the &lt;code&gt;-c copy&lt;/code&gt;, why does it change?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I concatenate the files and get the expected duration without frame rate change?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I counted frames of all input files and frames of the resulting video and the number of frames is the same, so the problem is in fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also I tried to re-encode instead of copy and get proper 29.95 fps but the duration is still longer than the original, number of frames also increased...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm lost here, please advise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my original &lt;code&gt;concat&lt;/code&gt; command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i lst -c copy -y concat.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;List file 'lst' contains:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file test_000.mkv&#xA;file test_001.mkv&#xA;file test_002.mkv&#xA;....&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ffprobe for the first two files, they all differ by duration only:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version 4.0-static https://johnvansickle.com/ffmpeg/  &#xA;Copyright (c) 2007-2018 the FFmpeg developers&#xA;built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc-6 --enable-libxml2 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gray --enable-libaom --enable-libfribidi --enable-libass --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzimg&#xA;libavutil      56. 14.100 / 56. 14.100&#xA;libavcodec     58. 18.100 / 58. 18.100&#xA;libavformat    58. 12.100 / 58. 12.100&#xA;libavdevice    58.  3.100 / 58.  3.100&#xA;libavfilter     7. 16.100 /  7. 16.100&#xA;libswscale      5.  1.100 /  5.  1.100&#xA;libswresample   3.  1.100 /  3.  1.100&#xA;libpostproc    55.  1.100 / 55.  1.100&#xA;Input #0, matroska,webm, from 'test_000.mkv':&#xA;Metadata:&#xA;ENCODER         : Lavf58.10.100&#xA;Duration: 00:00:19.07, start: 0.064000, bitrate: 12639 kb/s&#xA;Stream #0:0: Video: h264 (High), yuv420p(progressive), 1920x1080, 29.95 fps, 29.95 tbr, 1k tbn, 59.90 tbc (default)&#xA;Metadata:&#xA;  ENCODER         : Lavc58.14.100 libx264&#xA;  DURATION        : 00:00:19.065000000&#xA;Stream #0:1: Audio: vorbis, 48000 Hz, mono, fltp&#xA;Metadata:&#xA;  ENCODER         : Lavc58.14.100 libvorbis&#xA;  DURATION        : 00:00:19.068000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Second file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    ffprobe version 4.0-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2007-2018 the FFmpeg developers&#xA;        built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;    configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc-6 --enable-libxml2 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gray --enable-libaom --enable-libfribidi --enable-libass --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzimg&#xA;    libavutil      56. 14.100 / 56. 14.100&#xA;    libavcodec     58. 18.100 / 58. 18.100&#xA;    libavformat    58. 12.100 / 58. 12.100&#xA;    libavdevice    58.  3.100 / 58.  3.100&#xA;    libavfilter     7. 16.100 /  7. 16.100&#xA;    libswscale      5.  1.100 /  5.  1.100&#xA;    libswresample   3.  1.100 /  3.  1.100&#xA;    libpostproc    55.  1.100 / 55.  1.100&#xA;    Input #0, matroska,webm, from 'test_001.mkv':&#xA;    Metadata:&#xA;        ENCODER         : Lavf58.10.100&#xA;    Duration: 00:00:12.07, start: 0.064000, bitrate: 10773 kb/s&#xA;    Stream #0:0: Video: h264 (High), yuv420p(progressive), 1920x1080, 29.95 fps, 29.95 tbr, 1k tbn, 59.90 tbc (default)&#xA;    Metadata:&#xA;        ENCODER         : Lavc58.14.100 libx264&#xA;    DURATION        : 00:00:12.053000000&#xA;    Stream #0:1: Audio: vorbis, 48000 Hz, mono, fltp&#xA;    Metadata:&#xA;        ENCODER         : Lavc58.14.100 libvorbis&#xA;    DURATION        : 00:00:12.067000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Resulting video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version 4.0-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2007-2018 the FFmpeg developers&#xA;    built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc-6 --enable-libxml2 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gray --enable-libaom --enable-libfribidi --enable-libass --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzimg&#xA;libavutil      56. 14.100 / 56. 14.100&#xA;libavcodec     58. 18.100 / 58. 18.100&#xA;libavformat    58. 12.100 / 58. 12.100&#xA;libavdevice    58.  3.100 / 58.  3.100&#xA;libavfilter     7. 16.100 /  7. 16.100&#xA;libswscale      5.  1.100 /  5.  1.100&#xA;libswresample   3.  1.100 /  3.  1.100&#xA;libpostproc    55.  1.100 / 55.  1.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'concat.mp4':&#xA;Metadata:&#xA;    major_brand     : isom&#xA;minor_version   : 512&#xA;compatible_brands: isomiso2avc1mp41&#xA;encoder         : Lavf58.10.100&#xA;Duration: 00:41:23.73, start: 0.000000, bitrate: 9392 kb/s&#xA;Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1920x1080, 9313 kb/s, 29.75 fps, 29.97 tbr, 16k tbn, 59.90 tbc (default)&#xA;Metadata:&#xA;    handler_name    : VideoHandler&#xA;Stream #0:1(und): Audio: vorbis (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 66 kb/s (default)&#xA;Metadata:&#xA;    handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22086" LastActivityDate="2018-04-26T18:04:05.820" Title="ffmpeg - concatenate multiple almost identical files ends up in longer video than expected" Tags="|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 3.0" />
  <row Id="23911" PostTypeId="1" CreationDate="2018-04-26T17:14:17.420" Score="1" ViewCount="18" Body="&lt;p&gt;Consider the following video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Tw8SQk5DKzI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This was recorded with a Panasonic X1. Those containers were around 400 meters away; I was zooming all I could, but I was only using the optical zoom, not the digital one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll see that there is a certain area of some of those grey containers which appears very noisy. The video has been compressed with a quite low bitrate; I can assure that in the original video it was much worse.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Normally I'd think that's because of the gain, but in this case there was zero gain. I tried to play with the iris and the shutter, but it stayed the same. I checked all the various settings I could think of, but nothing changed, except when I set the knee master slope to zero, in which case the noise was reducing itself a little, and when I set it to 100, where that gray became even noisier.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to know why it gets so noisy. Maybe you have an idea?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Consider it was quite of an hot day (around 28°C) and that noisy part seems like it was made with little reflective foils. It's possible that the air was hot enough to create those tipical optical distortions, which, given the distance, were maybe creating a continous series of hyper-illuminated dots, which ended up being perceived as noise by the camera. This might explain why I was having some success playing with the slope. But I don't know, this just looks like a whole lotta noise, not like hot-air optical distortions.&lt;/p&gt;&#xA;" OwnerUserId="11090" LastActivityDate="2018-04-26T17:14:17.420" Title="Certain shades cause the video to become noisy" Tags="|noise-reduction|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23912" PostTypeId="2" ParentId="23910" CreationDate="2018-04-26T18:04:05.820" Score="2" Body="&lt;p&gt;What the concat demuxer does is to zero out the starting timestamps of each file and make the last timestamp of a file and the starting timestamp of the next file smooth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your files have Vorbis audio, which has a codec delay of 70ms. The difference in total duration is the accumulation of these delays over all segments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Skip the audio during concat and add it afterwards.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-04-26T18:04:05.820" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23913" PostTypeId="1" CreationDate="2018-04-27T09:27:26.207" Score="1" ViewCount="103" Body="&lt;p&gt;I want to see the benefits of 10-bit footage in software like Premiere Pro. To me it behaves exactly like 8-bit video. How can I &quot;see&quot; the benefits?&lt;/p&gt;&#xA;" OwnerUserId="20944" LastActivityDate="2018-05-09T01:47:46.257" Title="How can I really see the benefits of 10-bit footage?" Tags="|video|premiere|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23917" PostTypeId="1" AcceptedAnswerId="23977" CreationDate="2018-04-27T21:16:58.437" Score="0" ViewCount="2646" Body="&lt;p&gt;So I recently got a Nvidia 1050 ti for my editing rig but was wondering if it would be possible buy another 1050 ti and install it to get Davinci to use two graphics cards (perhaps using SLI?).&lt;/p&gt;&#xA;" OwnerUserId="22099" LastActivityDate="2018-05-07T20:38:55.987" Title="Using multiple graphics cards in Davinci Resolve" Tags="|davinci-resolve|nvidia|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23918" PostTypeId="2" ParentId="23913" CreationDate="2018-04-28T02:48:45.583" Score="1" Body="&lt;p&gt;Only when an image Is pastel like or has low gamma where the depth of colour is stretched to see the visual resolution steps .  These quantum affects of eight bit colour that will be four times better (smaller) with 10 bit.  However DAC linearity must be equally better which are often not so great if viewing such content. In high contrast imaging , it would be hard to notice the improvement , but in shades of grey quite an improvement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use DPT.exe a free tool to calibrate my desktop and video and these weaknesses are obvious there. But the LowFi listener probably won’t recognize the difference.&lt;/p&gt;&#xA;" OwnerUserId="22100" LastEditorUserId="22100" LastEditDate="2018-04-30T18:14:38.433" LastActivityDate="2018-04-30T18:14:38.433" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23919" PostTypeId="2" ParentId="17928" CreationDate="2018-04-28T09:25:48.650" Score="-1" Body="&lt;p&gt;In my opinion, most converting software on the market don't support to convert DAV files, except &lt;a href=&quot;http://www.faasoft.com/downloads/dhavi.exe&quot; rel=&quot;nofollow noreferrer&quot;&gt;Dahua AVI Convert&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0iBYM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0iBYM.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But it only can convert DAV to AVI, not all video formats. &lt;/p&gt;&#xA;" OwnerUserId="22101" LastActivityDate="2018-04-28T09:25:48.650" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23921" PostTypeId="1" AcceptedAnswerId="23932" CreationDate="2018-04-29T04:58:38.857" Score="0" ViewCount="2860" Body="&lt;p&gt;Is it possible to change the indeterminate time-base in Adobe Primeiere Pro to something small like 12 fps (the &lt;a href=&quot;https://i.stack.imgur.com/QHwN5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;figure&lt;/a&gt; below shows only a few pre-fixed values) ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, how do I render a 5 second video with 60 images at 12 fps ? I do NOT want to use time-remapping as an effect since I am worried that will try to interpolate frame, whereas I have 60 frames, which is required for 5 second at 12 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QHwN5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QHwN5.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22105" LastActivityDate="2018-04-30T13:58:17.477" Title="Premiere Pro - Change indeterminate Media Time-base to custom value (say 12 fps)" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23923" PostTypeId="1" AcceptedAnswerId="23938" CreationDate="2018-04-29T19:04:03.993" Score="0" ViewCount="459" Body="&lt;p&gt;I tried consequentially commands below. On output I'm getting video with a mess (even.mp4).&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.MOV -an -vcodec rawvideo -pix_fmt yuv420p rawbitstream.yuv&#xA;&#xA;ffmpeg -r 2 -s 640x480 -i rawbitstream.yuv -vf select=&quot;not(mod(n-1\,2))&quot; -c:v rawvideo -r 1 -format rawvideo -pix_fmt yuv420p -an even.yuv&#xA;&#xA;ffmpeg -f rawvideo -vcodec rawvideo -s 640x480 -r 25 -pix_fmt yuv420p -i even.yuv -c:v libx264 -preset ultrafast -qp 0 even.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DMuje.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DMuje.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is &lt;a href=&quot;https://drive.google.com/open?id=1SQEPPZGB4ogf6cbczejbiyTdwK-1twfm&quot; rel=&quot;nofollow noreferrer&quot;&gt;full log&lt;/a&gt;.&#xA;Video files are &lt;a href=&quot;https://drive.google.com/open?id=1YfIwWo4FloOONNA8Fw05czAmWg3K__ei&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="22009" LastEditorUserId="22009" LastEditDate="2018-04-29T21:35:44.317" LastActivityDate="2018-04-30T16:44:00.553" Title="ffmpeg. Converting through rawbitstream results to noise" Tags="|ffmpeg|editing|conversion|raw|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 3.0" />
  <row Id="23924" PostTypeId="1" AcceptedAnswerId="23929" CreationDate="2018-04-29T19:14:09.660" Score="1" ViewCount="104" Body="&lt;p&gt;I'm an amateur that recently made a video clip using the &lt;em&gt;DJI Mavic Pro&lt;/em&gt; drone.&#xA;The footage itself turned out great, but the coloring is off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is, I can't tell what exactly is off, it just looks awful.&#xA;I tried to do some color correction in my video software, but I couldn't get it right. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a single frame of the video, with no color correction:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GIXmz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GIXmz.jpg&quot; alt=&quot;Snapshot of the video&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I came here to ask what parameters I have to consider to make it look more natural, or if that isn't enough, what I should change when recording the video. (exposure, filters?)&lt;/p&gt;&#xA;" OwnerUserId="22110" LastActivityDate="2018-04-30T13:02:10.220" Title="My colors look awful, I can't tell why" Tags="|color-grading|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23925" PostTypeId="2" ParentId="16455" CreationDate="2018-04-29T20:03:45.350" Score="0" Body="&lt;p&gt;True Log recording is not possible in iOS till date. There is no access to raw sensor data when it comes to shooting video on iOS. RAW is possible only when you click a picture, not video. I hope iPhone was fast enough to process 30 RAW pictures per second but right now it can't handle more than 3 per second. I hope iOS 12.0 offers developers better access to the sensor to shoot real LOG videos, i.e. when developers can apply gamma curve of their choice when A2D conversion takes place in Bayer array filter. &lt;/p&gt;&#xA;" OwnerUserId="22006" LastActivityDate="2018-04-29T20:03:45.350" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23927" PostTypeId="1" AcceptedAnswerId="23928" CreationDate="2018-04-30T01:57:13.653" Score="1" ViewCount="52" Body="&lt;p&gt;My question if you are able to change the white balance of your camera why does it matter what your LED lighting temperature is capable of.&lt;/p&gt;&#xA;" OwnerUserId="21498" LastActivityDate="2018-05-04T00:16:29.043" Title="LED light temperature why does it matter?" Tags="|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23928" PostTypeId="2" ParentId="23927" CreationDate="2018-04-30T12:37:36.700" Score="1" Body="&lt;p&gt;You can change the temp of the lights individually so that you can have different lighting on a shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The white balance will enable you to set your baseline lighting/colour profile and then you can hit the shot with different light temps to  change the look of it (higher temp = bluer light, lower temp = orange light) - it's a similar principle to using different types of light/bulb.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you light, set your WB for a neutral look, then change the lighting temps to alter the look/feel of the scene.&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-04-30T12:37:36.700" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23929" PostTypeId="2" ParentId="23924" CreationDate="2018-04-30T13:02:10.220" Score="1" Body="&lt;p&gt;'Awful' is pretty extreme - I don't actually think it looks that bad.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps it's a little bit over exposed (the car is almost glowing, it's that white) so you might want to consider an ND filter if you're filming outdoors (and you can get one of those for your drone).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Colour-wise, it does look like it's tipping towards the blue-end of the spectrum. Maybe try throwing a little more yellow/orange into the mix. However, that could just be my monitor. Do, please, check your monitor settings, too, they may be throwing off your perception.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This guy seems to know his stuff in regards to Mavic colour grading: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/PLKl5gWuiD8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe give that a watch and see if it helps :)&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-04-30T13:02:10.220" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23931" PostTypeId="1" CreationDate="2018-04-30T13:57:25.207" Score="1" ViewCount="89" Body="&lt;p&gt;How do I crop and resize about 6000 mp4-movies? They are all 1280 x 800. I need to crop the bottom 100 px and remove the first 4 seconds of each movie. Can this be done with ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="22117" LastEditorUserId="14523" LastEditDate="2018-04-30T15:46:39.657" LastActivityDate="2018-04-30T15:46:39.657" Title="Resize, crop, and trim videos" Tags="|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23932" PostTypeId="2" ParentId="23921" CreationDate="2018-04-30T13:58:17.477" Score="0" Body="&lt;p&gt;When you create a new project, on the 'Settings' page, select 'Custom' from the 'Editing Mode' drop-down, then you can select '12fps' as the 'Intermediate Media Timebase'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you already have a project, you can create a new sequence and select 'Custom' and '12fps' as above in the 'Sequence Settings' menu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JJZEP.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JJZEP.jpg&quot; alt=&quot;Selecting 12fps from the Sequence Settings menu&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-04-30T13:58:17.477" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23933" PostTypeId="2" ParentId="23931" CreationDate="2018-04-30T14:37:04.950" Score="1" Body="&lt;p&gt;You need to re-encode all vids to crop the bottom 100 px - you have to decide which codecs you want to use.... and think about the filters - this depends on the sourcefile.... The ffmpeg code is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i INPUTFILE -ss 00:00:04 -map v -vf &quot;crop=out_h=in_h-100:y=0&quot; -c:v libx264 -c:a copy OUTPUTFILE &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The best would be to iterate the INPUTFILEs by a for-loop. put the new files in a new directory and you won't have any problems with the names.&lt;/p&gt;&#xA;" OwnerUserId="21418" LastActivityDate="2018-04-30T14:37:04.950" CommentCount="1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23934" PostTypeId="1" AcceptedAnswerId="23935" CreationDate="2018-04-30T14:42:46.740" Score="2" ViewCount="5798" Body="&lt;p&gt;I want to crop black border, then scale to video to &lt;code&gt;1280x720&lt;/code&gt;, however, the following command does not work，&lt;code&gt;crop&lt;/code&gt; works well, but &lt;code&gt;scale&lt;/code&gt; has no effect:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex '[0:v]crop=1424:720:0:40[c0];[c0]scale=1280:720[bg]' -map '[bg]' -map 0:a -pix_fmt yuv420p output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="21892" LastEditorUserId="21892" LastEditDate="2018-04-30T15:35:13.270" LastActivityDate="2018-04-30T15:35:13.270" Title="ffmpeg: crop then scale does not work" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23935" PostTypeId="2" ParentId="23934" CreationDate="2018-04-30T14:53:54.497" Score="6" Body="&lt;p&gt;The scale filter adjusts the aspect ratio, so that the display ratio remains the same. Assuming you don't want that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf crop=1424:720:0:40,scale=1280:720,setsar=1 -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-04-30T14:53:54.497" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23936" PostTypeId="2" ParentId="19628" CreationDate="2018-04-30T16:16:05.950" Score="0" Body="&lt;p&gt;Every other frame has been thrown away, so your final frame rate is 25fps. You need to use cinematic techniques to reduce stutter. Use slower shutter speed. Follow the subject. Blur the background. Do not pan fast: either pan slowly or do a whip-pan. Do not pan over vertical objects like trees or a fence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you cannot re-shoot, try using motion blur setting in your NLE.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-04-30T16:16:05.950" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23937" PostTypeId="2" ParentId="19464" CreationDate="2018-04-30T16:20:12.827" Score="-1" Body="&lt;p&gt;If you want &quot;live&quot; look and less stutter, then use 60p. If you want film-like motion then use 30p. Use 24p if you want to filmout (no one this nowadays) or you want to make a DVD (DVD support for progressive content is best in 24p mode, and it kinda spotty for 30p). Blu-ray can be made 24p, 30p or 60p, so see the first two points.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-04-30T16:20:12.827" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23938" PostTypeId="2" ParentId="23923" CreationDate="2018-04-30T16:44:00.553" Score="1" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.MOV -an -vcodec rawvideo -pix_fmt yuv420p rawbitstream.yuv&#xA;&#xA;ffmpeg -s 640x480 -i rawbitstream.yuv -vf select=&quot;not(mod(n+1\,2))&quot; -c:v rawvideo -vsync 0 -an even.yuv&#xA;&#xA;ffmpeg -f rawvideo -s 640x480 -pix_fmt yuv420p -i even.yuv -c:v libx264 -preset ultrafast -profile:v high -qp 1 even.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-04-30T16:44:00.553" CommentCount="2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23939" PostTypeId="2" ParentId="23913" CreationDate="2018-05-01T01:58:11.080" Score="1" Body="&lt;p&gt;Most of the time your video is going to be viewed in 8-bit colour, often with lower chroma resolution. If it's on the web or broadcast it's also going to be compressed to a varying amount. So it's a good question why you would bother with 10 or more bits per-channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main advantage of 10+ bit footage is &lt;em&gt;before&lt;/em&gt; the final delivery. When you are grading or adjusting the colour having 10+ bits is massively useful, because you have a lot more information available to work with. For every level in 8 bit footage there are 4 more in-between levels in 10 bit footage per channel, meaning 64 times as many available colours. So if you're pulling down the highlights of an exterior shot that's a bit overexposed, you'll see details in clouds, instead of your whites just going uniformly grey, or if you're changing the colour balance it won't start to look solarised.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;10 bit footage also has four times as many steps available in a gradient. Say you have a gradient that goes from black to white across the width of a frame (1920 pixels), in 8 bit footage there are only 256 possible colours the pixels can be: [0,0,0] to [255,255,255]. That means each of those colours will have to be spread out across a few pixels: 1920/256 = 7.5 pixels wide (on average). So you'll clearly see the bands. A 10 bit image with the same gradient will have bands less than 2 pixels wide. Go to 4k and the problem is magnified by 2, and for more subtle gradients the problem is even worse. Even for display purposes 8-bits starts to show a lot of banding in 4k.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even if you're delivering in 8-bit having the extra information available when processing the video will lead to visibly better results.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-05-09T01:47:46.257" LastActivityDate="2018-05-09T01:47:46.257" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23942" PostTypeId="1" CreationDate="2018-05-01T12:46:20.233" Score="1" ViewCount="45" Body="&lt;p&gt;The idea of &quot;shooting&quot; makes some people uncomfortable, so we're trying to change our terminology for a particular client (big 6-month project). We need to come up with appropriate alternatives to use for terms in all of our written plans and processes for this project. And though there are many terms we can use, I'm wondering if there is a new standard or commonly used alternatives. We need alternatives for &quot;shoot,&quot; &quot;shooting,&quot; and &quot;shot.&quot;&lt;/p&gt;&#xA;" OwnerUserId="22127" LastActivityDate="2018-05-01T18:56:07.390" Title="Need culturally sensitive alternatives to standard videography terminology such as &quot;shoot,&quot; &quot;shooting,&quot; and &quot;shot.&quot;" Tags="|video|video-recording|production|shooting|terminology|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23944" PostTypeId="2" ParentId="23635" CreationDate="2018-05-01T17:26:38.267" Score="0" Body="&lt;p&gt;As the stabilizer got a USB female port things are lot easier. Let me break your question into these two:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;In order to use your Android device as a live preview device you need a capture card.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;To view what you captured from the camera, you need an application for that.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Re: GoPro Hero4 Black edition has Wi-Fi as in the specs though some cameras lack in Wi-Fi. If you have Wi-Fi you don't need the equipment, you just need the GoPro app on your phone, and it will show you the moments you captured.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let me answer.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;You need an OTG cable with a &lt;a href=&quot;https://www.febon.net/products/usb20-febon168-uvc-driver-free-hdmi-capture-card&quot; rel=&quot;nofollow noreferrer&quot;&gt;Capture card&lt;/a&gt; for live-streaming. You can refer to the link for purchasing the capture card. &lt;a href=&quot;https://youtu.be/PnIe4VtCcEg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Check this link for the video&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;There is no possible way to view what you have captured unless you are connected via Wi-Fi or via the USB to PC.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;You can try out connecting the camera to the phone via the OTG cable, you need a USB Male-to-Male cable for that.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Recommended Answer&lt;/strong&gt;: Use an FPV (First-person view) cable for live streaming, easy and fast. You can find all the info related to it &lt;a href=&quot;https://youtu.be/ZYIUB6-BS_A&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps. Good day!&lt;/p&gt;&#xA;" OwnerUserId="18900" LastEditorUserId="18155" LastEditDate="2019-08-28T22:51:25.440" LastActivityDate="2019-08-28T22:51:25.440" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23945" PostTypeId="1" AcceptedAnswerId="23949" CreationDate="2018-05-01T18:21:49.000" Score="0" ViewCount="2659" Body="&lt;p&gt;Let's say I have 1080p display, if I would set 1080p in OS settings then overall performance would go down (noticeably if laptop is low-specs).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But what gonna be if set system to 720p (fine for my laptop), but with the same 1080p display.&lt;br&gt;&#xA;Will I loose performance in that case ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just had idea: what if watch 1080p movies on such display, but set lower resolution for another tasks.&lt;/p&gt;&#xA;" OwnerUserId="22009" LastEditorUserId="22009" LastEditDate="2018-05-01T18:31:23.307" LastActivityDate="2018-05-02T06:59:27.113" Title="Does amount of display's pixels affects computer's performance on lower resolution settings?" Tags="|hdmi|performance|monitors|laptop|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23946" PostTypeId="2" ParentId="23942" CreationDate="2018-05-01T18:56:07.390" Score="2" Body="&lt;p&gt;What about:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;film, filming, filmed&lt;/li&gt;&#xA;&lt;li&gt;record, recording, recorded&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="636" LastActivityDate="2018-05-01T18:56:07.390" CommentCount="0" ContentLicense="CC BY-SA 3.0" />
  <row Id="23949" PostTypeId="2" ParentId="23945" CreationDate="2018-05-02T06:59:27.113" Score="2" Body="&lt;p&gt;Setting your graphic card to work at a lower resolution will provide a &lt;strong&gt;small&lt;/strong&gt; increase in performance in the case you described. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;1920 * 1080 = 2,073,600&#xA;&#xA;1280 *  720 =   921,600&#xA;&#xA;2,073,600 - 921,600 = 1,152,000, or 56% fewer pixels.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you spend &lt;strong&gt;all&lt;/strong&gt; your computer's time working to create text to fill the entire screen with new information then you would be able to do that almost 180% faster - but that is an extremely rare use case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One way to understand how that's a rare use case is: when you look at this webpage it's the graphics card that updates your screen (and not your computer's CPU), for 1/10th of a second your computer will be faster and for the remainder of the time you will gain no speed increase (and suffer with lower resolution).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A more realistic way to estimate is that if 10% of the CPU's effort went into creating a &lt;strong&gt;screen full&lt;/strong&gt; of text, each second, then you would speed up that 10% by almost 180%. Put another way, your computer would be 8% quicker if &lt;strong&gt;all you did&lt;/strong&gt; was have text go flying past your eyes all day.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's not a good tradeoff to suffer too low a resolution for a small increase in performance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Don't confuse the above with watching videos. Watching videos involves decompressing a highly compressed data stream, &lt;strong&gt;most of the effort&lt;/strong&gt; is running the algorithm to undo the compression; writing the pixels to the screen is the easy part. In fact a lot of compression algorithms rely on the fact that not every pixel changes constantly, deciding what can be skipped and what needs to be updated, along with how to reduce the data stream's size, represents most of the effort.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Going from 1920x1080 to 3840x2160 is a much bigger jump, and in fast paced video games where everything is constantly changing indeed there's a &lt;strong&gt;lot&lt;/strong&gt; of effort going on in the background to create new data to display (or decide if it would not be visible, and not display it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, you'll get a bigger jump in performance going from 4K to 1080p in a gaming scenario but at a huge loss in resolution (and enjoyment); it would really be a waste of money to buy a 4K capable computer and run it at 1080p and a waste of money to go halfway and have the components but not enough horsepower to run them - thus the big market for upgrades.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Your&lt;/strong&gt; &lt;em&gt;savings&lt;/em&gt; going from 1080 to 720 will be much smaller, and likely only increase your frustration with too small a screen, over any small increase in CPU performance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you had a 4K laptop and kept is at 1080P, and only bumped it up for watching videos or playing games, &lt;strong&gt;you would have&lt;/strong&gt; more CPU power available, &lt;strong&gt;but&lt;/strong&gt; that's not the difference you are asking about (you only want to go from 1080 to 720). &lt;strong&gt;AND&lt;/strong&gt; since you're not doing intensive work at the lower resolution the savings gained is even smaller.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope that was clearly explained.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a personal example: I want my cellphone to operate quickly, to save power, and I have a tiny screen that can only display up to a certain resolution; I'm not going to be able to see over 4K if I wanted to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I run it at 2K all the time (and with Android there's no auto-switching resolution based upon what you're doing). I get an average of 20 hours per charge and my phone benchmarks as the fastest. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't need to go to 720p to squeeze more life out of the battery nor would I want the beautiful screen to operate at so low a resolution. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With such a fast CPU (SD845) I don't worry about scraping a small increase in performance out of my phone (and in &lt;strong&gt;my&lt;/strong&gt; case my gain would be greater than what you are asking about).&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2018-05-02T06:59:27.113" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23950" PostTypeId="2" ParentId="22431" CreationDate="2018-05-02T10:31:46.400" Score="0" Body="&lt;p&gt;After various trials trying to edit separate audio and video files, I realized that mixing such audio and video poses a problem of synchronization.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only practical solution was to procure a dedicated Video editing software with capabilities to edit audio in the original file itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;so I recommend not to spend time and energy in free software for any such project.&lt;/p&gt;&#xA;" OwnerUserId="19999" LastActivityDate="2018-05-02T10:31:46.400" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23951" PostTypeId="1" CreationDate="2018-05-02T10:59:58.000" Score="0" ViewCount="595" Body="&lt;p&gt;I have old DVDs containing personal (family) recordings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to copy the DVD files to PC, add menu and titles to these files using standard Video editor and share/stream video files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The windows copy function or video programs hang after copying about 20% of files on DVD. Apparently, there are scratches on DVD that causes an error and the program keeps re-trying for a long time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any commands / Windows utilities / programs that will ignore errors and continue to copy/display as much as possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks and regards.&lt;/p&gt;&#xA;" OwnerUserId="19999" LastEditorUserId="18155" LastEditDate="2019-08-28T22:50:37.303" LastActivityDate="2024-01-05T14:02:55.347" Title="Read error while copying VOB files from DVD drive to hard disk" Tags="|windows|dvd|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="23952" PostTypeId="2" ParentId="23927" CreationDate="2018-05-02T13:43:51.147" Score="3" Body="&lt;p&gt;If I'm adding light to a scene that already has a light source - say I'm shooting near a window, and I'm adding a key or some fill light - I need to be able to match the colour of the existing light so that my light doesn't have a colour cast. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the olden days, we were mostly stuck with tungsten (3200ºK) for artificial lights (unless you were using expensive HMI lights), so we'd have to add blue gels to our lights if we wanted to mix them with daylight (5400ºK), reducing the output of the light, and generally being a bit of a pain (ask a sound recordist, gels make a tonne of noise when they flutter). It's so much easier to just dial in the colour on an LED panel than it was to try and peg a piece of plastic film to the front of a hot light while balancing on a ladder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Worth noting that the big disadvantage of LEDs is that the spectrum of light they emit is not as smooth as tungsten. Although they may appear white overall, if you look at their &lt;a href=&quot;https://www.popularmechanics.com/technology/gadgets/reviews/g164/incandescent-vs-compact-fluorescent-vs-led-ultimate-light-bulb-test/?slide=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;emission across the spectrum&lt;/a&gt; there will be peaks and troughs. This means that some colours will be brighter and others less so, depending on whether they're in a peak or trough, and this makes the footage harder to grade. The cheaper the LED, the worse this effect is. That's why the expensive LED lights aren't necessarily brighter, it's just that their colour is better (it's also why CFLs are rubbish for film).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/MNeCO.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MNeCO.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-05-04T00:16:29.043" LastActivityDate="2018-05-04T00:16:29.043" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="23953" PostTypeId="1" AcceptedAnswerId="23954" CreationDate="2018-05-02T17:40:33.023" Score="0" ViewCount="297" Body="&lt;h2&gt;I have 4 files with same encoding to concatenate&lt;/h2&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;&quot;video1.mp4&quot;: duration 3 seconds. Show time from 00:00 to 00.03&lt;/li&gt;&#xA;  &lt;li&gt;&quot;video2.mp4&quot;: duration 1 second. Show time from 00:01 to 00.02&lt;/li&gt;&#xA;  &lt;li&gt;&quot;video3.mp4&quot;: duration 2 seconds. Show time from 00:01 to 00.03&lt;/li&gt;&#xA;  &lt;li&gt;&quot;video4.mp4&quot;: duration 2 seconds. Show time from 00:03 to 00.05&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;h2&gt;What commands to get the following output?&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;00:00&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SRRiL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SRRiL.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;00:01 to 00:02&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nlMnd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nlMnd.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;00:03&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2y4Wx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2y4Wx.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;00:03 to 00:05&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bTzxG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bTzxG.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22139" LastEditorUserId="22139" LastEditDate="2018-05-02T17:49:10.017" LastActivityDate="2018-05-02T18:52:25.440" Title="FFmpeg concat plus video inside video with different times" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23954" PostTypeId="2" ParentId="23953" CreationDate="2018-05-02T18:52:25.440" Score="2" Body="&lt;p&gt;Basic syntax is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video1 -i video2 -i video3 -i video4&#xA;       -filter_complex &quot;[1]scale=0.40*iw:-1,setpts=PTS-STARTPTS+1/TB[v2];&#xA;                        [2]scale=0.40*iw:-1,setpts=PTS-STARTPTS+1/TB[v3];&#xA;                        [0][v2]overlay=x=W-w-20:y=H-h-20:eof_action=pass[m2];&#xA;                        [m2][v3]overlay=x=W-2*w-40:y=H-h-20:eof_action=pass[m3];&#xA;                        [m3][3]concat=n=2:v=1:a=0&quot;   out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I assume all videos have same resolution and framerate. I've scaled videos 2 and 3 to 40% before overlay and offset their start time to 1 second.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-05-02T18:52:25.440" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23955" PostTypeId="1" CreationDate="2018-05-02T20:48:38.773" Score="1" ViewCount="114" Body="&lt;p&gt;Rendering 45 seconds of 8K video on latest iMac Pro using Adobe Premiere takes about 24 hours.&#xA;&lt;strong&gt;How blockbusters producers deal with such a high-res format to edit and transform a large amount of scenes and render them without spending a year?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Idea 1:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They use clusters of &quot;general public computers&quot; (eg. iMac Pro) to dispatch rendering and increase CPU performance (and therefore rendering duration)? If so, how many of them in average?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Idea 2:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They deal with a lower resolution format, then all modifications applied are saved as an &quot;history&quot;, and this history is then applied to the higher resolution format, on a distant high-scaled server cluster which only replicates transformations recorded?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Disclaimer: I'm totally noob in this field but my i7 MacBook Pro almost die when playing a compressed 4K video, so I'm pretty curious of various techniques used by professionals to seamlessly deal with 8K videos on such a volume of data&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks a lot!&lt;/p&gt;&#xA;" OwnerUserId="22141" LastActivityDate="2018-05-07T20:31:35.453" Title="How blockbusters movie producers deal with 8K videos editing" Tags="|editing|post-production|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="23956" PostTypeId="2" ParentId="23136" CreationDate="2018-05-03T15:08:07.667" Score="0" Body="&lt;p&gt;This is a pretty low-tech solution but it would definitely work: buy more than one memory card for the camera and just switch it between runs - shouldn't take more than a few seconds to get the camera recording again and then you just pop the card with the previous run on into your laptop and then it's just how long it takes to find the file before you can review the run.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I said, low tech but it definitely works and is practically idiot-proof.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: Ah - sorry, you already suggested this yourself in your first comment! Apologies :D&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-05-03T15:08:07.667" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23958" PostTypeId="1" AcceptedAnswerId="23959" CreationDate="2018-05-03T21:06:45.087" Score="0" ViewCount="32" Body="&lt;p&gt;I can't really explain it so I'm finding it hard to Google for tutorials. I was wondering how to get this effect:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.instagram.com/p/BiSHVDylPb2/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Instagram Video&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By using something like Photoshop CS6 or a freeware program. I'm familiar with using the timeline to create normal timelapses, just not ones where the previous images linger on. Am I right in guessing a lighten blending mode is used?&lt;/p&gt;&#xA;" OwnerUserId="22146" LastEditorUserId="14523" LastEditDate="2018-05-04T02:15:57.823" LastActivityDate="2018-05-04T07:37:54.207" Title="How to Achieve This Timelapse Effect" Tags="|post-production|time-lapse|photos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23959" PostTypeId="2" ParentId="23958" CreationDate="2018-05-04T07:37:54.207" Score="1" Body="&lt;p&gt;That is something called Starlapse. In short it is a form of time-lapse, as you use the same techniques to shoot it but you use a different method to produce the final video. there are many ways in doing this using different programs and plugins. All you need to do is do a search (in a very popular web search program that rhymes with &quot;poodle&quot; and there are hundreds of posts, tutorials, and videos on how to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do it myself and use &lt;a href=&quot;https://www.markus-enzweiler.de/software/software.html&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;StarStaX&quot;&gt;https://www.markus-enzweiler.de/software/software.html&lt;/a&gt; simple and easy to use but you are limited to editing the images outside of the app. There are other options of using plugins in LightRoom, PhotoShop etc&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that answers your question&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2018-05-04T07:37:54.207" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23960" PostTypeId="1" CreationDate="2018-05-04T10:11:30.237" Score="-1" ViewCount="50" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2Qipf.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2Qipf.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AFAIK, the Chroma key happens in the vision mixer or something?; after the camera picked up the green colored cloth(?) then the vision mixer applies the CGI images to the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry for confusing you guys..&#xA;This is a snapshot from a video about Chroma keying. Though the adjacent scenes doesn't tell exactly that what in this frame is a green screening too, I thought it is because of the video's topic.&#xA;So, I need to know if this is possible? &lt;/p&gt;&#xA;" OwnerUserId="14021" LastEditorUserId="14021" LastEditDate="2018-05-04T13:44:06.477" LastActivityDate="2018-05-04T15:12:12.647" Title="Does and/or how chroma keyed image show on the studio cameras?" Tags="|chromakey|television|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="23961" PostTypeId="2" ParentId="23960" CreationDate="2018-05-04T15:12:12.647" Score="2" Body="&lt;p&gt;You are correct that the chroma key is typically performed in the vision mixer/video switcher. In order to assist camera operators in framing shots around chroma keys (and other downstream effects like DVE moves, lower thirds, and over the shoulder graphics), professional studio cameras have one or more program returns that allow the vision mixer/technical director or engineer to route an appropriate composited video source back to the camera. The camera operator then presses a button to select the return instead of the through the lens video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On productions that don't have too many different framing setups, you can also go low-tech and use a grease pencil or apply tape to mark framing areas directly on the viewfinder. Some cameras also have simple box generators that can also mark framing references or safe areas.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-05-04T15:12:12.647" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="23962" PostTypeId="2" ParentId="19730" CreationDate="2018-05-04T15:45:20.620" Score="0" Body="&lt;p&gt;If you select all the captions in the Captions window (not the timeline) you can change the font parameters there.&lt;/p&gt;&#xA;" OwnerUserId="22156" LastActivityDate="2018-05-04T15:45:20.620" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23963" PostTypeId="1" CreationDate="2018-05-04T21:20:28.667" Score="2" ViewCount="3166" Body="&lt;p&gt;I want to build a transport stream with multiple programs. To simplify the original post, I'm using three files that are the same video, but with different watermarks to track them. (Went this way b/c Gyans request for full log makes this shorter)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i KeanuRambo.ts -i KeanuLincoln.ts -i KeanuBush.ts \&#xA;-map 0:0 -map 0:1 -map 1:0 -map 1:1 -map 2:0 -map 2:1 \&#xA;-program program_num=1:title=Ram:s0:s1 -program program_num=2:title=Linc:s2:s3 \ &#xA;-program program_num=3:title=Bush:s4:s5 \&#xA;-report -f mpegts out5.ts &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The output file is zero bytes. Here is what the -report produced:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;fmpeg started on 2018-05-07 at 22:33:23&#xA;Report written to &quot;ffmpeg-20180507-223323.log&quot;&#xA;Command line:&#xA;ffmpeg -i KeanuRambo.ts -i KeanuLincoln.ts -i KeanuBush.ts -map 0:0 -map 0:1 -map 1:0 -map 1:1 -map 2:0 -map 2:1 -program &quot;program_num=1:title=Ram:s0:s1&quot; -program &quot;program_num=2:title=Linc:s2:s3&quot; -program &quot;program_num=3:title=Bush:s4:s5&quot; -report -f mpegts out5.ts&#xA;ffmpeg version 3.4.1 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with Apple LLVM version 9.0.0 (clang-900.0.39.2)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.4.1 --enable-shared --enable-pthreads --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-gpl --enable-libmp3lame --enable-libx264 --enable-libxvid --enable-opencl --enable-videotoolbox --disable-lzma&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libavresample   3.  7.  0 /  3.  7.  0&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;Splitting the commandline.&#xA;Reading option '-i' ... matched as input url with argument 'KeanuRambo.ts'.&#xA;Reading option '-i' ... matched as input url with argument 'KeanuLincoln.ts'.&#xA;Reading option '-i' ... matched as input url with argument 'KeanuBush.ts'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '0:0'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '0:1'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '1:0'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '1:1'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '2:0'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '2:1'.&#xA;Reading option '-program' ... matched as option 'program' (add program with specified streams) with argument 'program_num=1:title=Ram:s0:s1'.&#xA;Reading option '-program' ... matched as option 'program' (add program with specified streams) with argument 'program_num=2:title=Linc:s2:s3'.&#xA;Reading option '-program' ... matched as option 'program' (add program with specified streams) with argument 'program_num=3:title=Bush:s4:s5'.&#xA;Reading option '-report' ... matched as option 'report' (generate a report) with argument '1'.&#xA;Reading option '-f' ... matched as option 'f' (force format) with argument 'mpegts'.&#xA;Reading option 'out5.ts' ... matched as output url.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option report (generate a report) with argument 1.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url KeanuRambo.ts.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: KeanuRambo.ts.&#xA;[NULL @ 0x7fc093801000] Opening 'KeanuRambo.ts' for reading&#xA;[file @ 0x7fc091d00de0] Setting default whitelist 'file,crypto'&#xA;[mpegts @ 0x7fc093801000] Format mpegts probed with size=2048 and score=50&#xA;[mpegts @ 0x7fc093801000] stream=0 stream_type=2 pid=100 prog_reg_desc=&#xA;[mpegts @ 0x7fc093801000] stream=1 stream_type=3 pid=101 prog_reg_desc=&#xA;[mpegts @ 0x7fc093801000] Before avformat_find_stream_info() pos: 0 bytes read:32768 seeks:0 nb_streams:2&#xA;[mpegts @ 0x7fc093801000] max_analyze_duration 5000000 reached at 5000000 microseconds st:0&#xA;[mpegts @ 0x7fc093801000] After avformat_find_stream_info() pos: 0 bytes read:2576528 seeks:2 frames:346&#xA;Input #0, mpegts, from 'KeanuRambo.ts':&#xA;  Duration: 00:03:26.31, start: 1.422422, bitrate: 2569 kb/s&#xA;  Program 1 &#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;    Stream #0:0[0x100], 152, 1/90000: Video: mpeg2video (Main) ([2][0][0][0] / 0x0002), yuv420p(tv, progressive), 1280x720 [SAR 1:1 DAR 16:9], 30 fps, 30 tbr, 90k tbn, 60 tbc&#xA;    Stream #0:1[0x101](und), 194, 1/90000: Audio: mp2 ([3][0][0][0] / 0x0003), 44100 Hz, stereo, s16p, 384 kb/s&#xA;Successfully opened the file.&#xA;Parsing a group of options: input url KeanuLincoln.ts.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: KeanuLincoln.ts.&#xA;[NULL @ 0x7fc09280be00] Opening 'KeanuLincoln.ts' for reading&#xA;[file @ 0x7fc091f00000] Setting default whitelist 'file,crypto'&#xA;[mpegts @ 0x7fc09280be00] Format mpegts probed with size=2048 and score=50&#xA;[mpegts @ 0x7fc09280be00] stream=0 stream_type=2 pid=100 prog_reg_desc=&#xA;[mpegts @ 0x7fc09280be00] stream=1 stream_type=3 pid=101 prog_reg_desc=&#xA;[mpegts @ 0x7fc09280be00] Before avformat_find_stream_info() pos: 0 bytes read:32768 seeks:0 nb_streams:2&#xA;[mpegts @ 0x7fc09280be00] max_analyze_duration 5000000 reached at 5000000 microseconds st:0&#xA;[mpegts @ 0x7fc09280be00] After avformat_find_stream_info() pos: 0 bytes read:2543760 seeks:2 frames:346&#xA;Input #1, mpegts, from 'KeanuLincoln.ts':&#xA;  Duration: 00:03:26.31, start: 1.422422, bitrate: 2560 kb/s&#xA;  Program 1 &#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;    Stream #1:0[0x100], 152, 1/90000: Video: mpeg2video (Main) ([2][0][0][0] / 0x0002), yuv420p(tv, progressive), 1280x720 [SAR 1:1 DAR 16:9], 30 fps, 30 tbr, 90k tbn, 60 tbc&#xA;    Stream #1:1[0x101](und), 194, 1/90000: Audio: mp2 ([3][0][0][0] / 0x0003), 44100 Hz, stereo, s16p, 384 kb/s&#xA;Successfully opened the file.&#xA;Parsing a group of options: input url KeanuBush.ts.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: KeanuBush.ts.&#xA;[NULL @ 0x7fc092833a00] Opening 'KeanuBush.ts' for reading&#xA;[file @ 0x7fc091f00b00] Setting default whitelist 'file,crypto'&#xA;[mpegts @ 0x7fc092833a00] Format mpegts probed with size=2048 and score=50&#xA;[mpegts @ 0x7fc092833a00] stream=0 stream_type=2 pid=100 prog_reg_desc=&#xA;[mpegts @ 0x7fc092833a00] stream=1 stream_type=3 pid=101 prog_reg_desc=&#xA;[mpegts @ 0x7fc092833a00] Before avformat_find_stream_info() pos: 0 bytes read:32768 seeks:0 nb_streams:2&#xA;[mpegts @ 0x7fc092833a00] max_analyze_duration 5000000 reached at 5000000 microseconds st:0&#xA;[mpegts @ 0x7fc092833a00] After avformat_find_stream_info() pos: 0 bytes read:1626256 seeks:2 frames:346&#xA;Input #2, mpegts, from 'KeanuBush.ts':&#xA;  Duration: 00:03:26.31, start: 1.422422, bitrate: 1549 kb/s&#xA;  Program 1 &#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;    Stream #2:0[0x100], 152, 1/90000: Video: mpeg2video (Main) ([2][0][0][0] / 0x0002), yuv420p(tv, progressive), 1280x720 [SAR 1:1 DAR 16:9], 30 fps, 30 tbr, 90k tbn, 60 tbc&#xA;    Stream #2:1[0x101](und), 194, 1/90000: Audio: mp2 ([3][0][0][0] / 0x0003), 44100 Hz, stereo, s16p, 384 kb/s&#xA;Successfully opened the file.&#xA;Parsing a group of options: output url out5.ts.&#xA;Applying option map (set input stream mapping) with argument 0:0.&#xA;Applying option map (set input stream mapping) with argument 0:1.&#xA;Applying option map (set input stream mapping) with argument 1:0.&#xA;Applying option map (set input stream mapping) with argument 1:1.&#xA;Applying option map (set input stream mapping) with argument 2:0.&#xA;Applying option map (set input stream mapping) with argument 2:1.&#xA;Applying option program (add program with specified streams) with argument program_num=1:title=Ram:s0:s1.&#xA;Applying option program (add program with specified streams) with argument program_num=2:title=Linc:s2:s3.&#xA;Applying option program (add program with specified streams) with argument program_num=3:title=Bush:s4:s5.&#xA;Applying option f (force format) with argument mpegts.&#xA;Successfully parsed a group of options.&#xA;Opening an output file: out5.ts.&#xA;[file @ 0x7fc091c0f8a0] Setting default whitelist 'file,crypto'&#xA;[AVIOContext @ 0x7fc091c0fd40] Statistics: 0 seeks, 0 writeouts&#xA;[AVIOContext @ 0x7fc091d00f20] Statistics: 2576528 bytes read, 2 seeks&#xA;[AVIOContext @ 0x7fc091f00f20] Statistics: 2543760 bytes read, 2 seeks&#xA;[AVIOContext @ 0x7fc091f03d60] Statistics: 1626256 bytes read, 2 seeks&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22157" LastEditorUserId="22157" LastEditDate="2018-05-08T02:40:33.240" LastActivityDate="2018-07-07T08:09:09.957" Title="FFMPEG - build transport stream with multiple programs" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="23964" PostTypeId="1" CreationDate="2018-05-05T02:09:09.983" Score="-2" ViewCount="136" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/W4hvneKcPZI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please provide camera models if possible. Not knowing this is driving me crazy haha&lt;/p&gt;&#xA;" OwnerUserId="22161" LastActivityDate="2018-05-12T01:59:27.180" Title="What kind of camera do I need to record a video with the quality that is in the linked YouTube video?" Tags="|video|video-quality|video-recording|camera|" AnswerCount="2" CommentCount="4" ClosedDate="2018-05-19T07:52:56.127" ContentLicense="CC BY-SA 4.0" />
  <row Id="23967" PostTypeId="1" CreationDate="2018-05-06T06:03:50.460" Score="1" ViewCount="45" Body="&lt;p&gt;I'm converting video files to watch on my iPad from .mkv to .mp4 as per the settings in avc.&#xA;What i'm finding thou is that the original .mkv of 147mb is being converted to .mp4 of size 560mb.&#xA;Nearly increasing 4 times.&#xA;Any advice?&lt;/p&gt;&#xA;" OwnerUserId="22169" LastActivityDate="2018-09-28T23:00:03.000" Title="Video files are larger after conversion" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="23969" PostTypeId="1" AcceptedAnswerId="23970" CreationDate="2018-05-07T05:44:32.893" Score="4" ViewCount="48589" Body="&lt;p&gt;This maybe a pretty simple question, but I can't get around it for some reason.&#xA;When I speed up a video to say 1.5x or 2x, how do I get the total time that video would take?&lt;/p&gt;&#xA;" OwnerUserId="22173" LastEditorUserId="14523" LastEditDate="2018-05-07T15:39:25.500" LastActivityDate="2019-12-28T22:01:40.203" Title="Calculating duration when changing playback speed" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23970" PostTypeId="2" ParentId="23969" CreationDate="2018-05-07T06:41:35.477" Score="4" Body="&lt;p&gt;If you speed up, you simply devide the length by the factor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For 1,5 : 1 / 1,5 = 0,666...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For 2,0 : 1 / 2,0 = 0,5&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For 3,0 : 1 / 3,0 = 0,333...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is similar to fast forward a video tape in good old times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you forward, you usually have factor 2,0, which means it takes 90 minutes to go through a 180 minute tape. If you fast forward, it is - let's say - factor 120,0, it can fast forward/rewind the tape in 90 seconds.&lt;/p&gt;&#xA;" OwnerDisplayName="user21266" LastActivityDate="2018-05-07T06:41:35.477" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23971" PostTypeId="1" CreationDate="2018-05-07T08:56:02.583" Score="1" ViewCount="79" Body="&lt;p&gt;I'm writing a Python script that loads a file node and sets up some of its attributes. Then I question that node about its coverage. I want to get those values to later set up scene resolution:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;import maya.cmds as mc&#xA;...&#xA;&#xA;covX = mc.getAttr('fileNodeShape.coverageX')&#xA;covY = mc.getAttr('fileNodeShape.coverageY')&#xA;&#xA;mc.setAttr('defaultResolution.width', covX)&#xA;mc.setAttr('defaultResolution.height', covY)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, if I print covX and covY, I always get 1 and 1. It's just as if the file node wasn't fully loaded during script runtime, and that coverage had only its final values at the end (if I later check my file node in the attribute editor, both values are OK).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there something to do? I tried to check Preferences &gt; Settings &gt; Files/Projects &gt; Image Files &gt; Automatically reload updated image files, but this doesn't change anything...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="21122" LastActivityDate="2018-05-07T08:56:02.583" Title="Maya Python - File node not updated during script runtime" Tags="|maya|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23974" PostTypeId="1" CreationDate="2018-05-07T13:10:57.360" Score="1" ViewCount="39" Body="&lt;p&gt;I got the following command for concatenating 2 videos, now if I want to concatenate more than 2 videos then how could I do?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i intro.mp4 -c copy -bsf:v h264_mp4toannexb -f mpegts intermediate1.ts&#xA;ffmpeg -i outro.mp4 -c copy -bsf:v h264_mp4toannexb -f mpegts intermediate2.ts&#xA;ffmpeg -i &quot;concat:intermediate1.ts|intermediate2.ts&quot; -c copy -bsf:a aac_adtstoasc output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Kindly help me with this. I saw other questions also but those commands are different.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TIA&lt;/p&gt;&#xA;" OwnerUserId="22177" LastActivityDate="2018-05-07T13:10:57.360" Title="How could I concatenate 3 videos with ffmpeg?" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="0" ClosedDate="2018-05-19T07:52:12.987" ContentLicense="CC BY-SA 4.0" />
  <row Id="23975" PostTypeId="1" CreationDate="2018-05-07T15:59:33.273" Score="1" ViewCount="13138" Body="&lt;p&gt;I try to create a Picture In Picture effect where a smaller video playing in parallel on top of a background video. I dragged two videos of same size and codec into timeline and scale one of the video size to 60% from its original, keeping the background video to its original size. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After I down scale the video I notice the quality of the video deteriorate, as shown in the screenshot the text clearly gets blurry. Why this is happening and how to resolve this problem?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HtpGY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HtpGY.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="17171" LastActivityDate="2022-01-04T04:08:48.630" Title="Scaling video lowers quality in Premiere Pro" Tags="|premiere|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="23976" PostTypeId="2" ParentId="23955" CreationDate="2018-05-07T20:31:35.453" Score="1" Body="&lt;p&gt;The answers are easily discovered by reading trade publications and reviewing videos posted by industry insiders.  Industry professionals don't keep secret things as simple as how they deal with 8K workflows. &#xA; Indeed, they talk about it so as to signal to prospective employees and customers that they are 8K-ready.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, your question is impossible to answer because it relies on false assumptions: I have an iMac Pro, and I can render 8K video in realtime or near-realtime (I don't have the most powerful model).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your question is also vague, because 8K video can mean many things: it can describe the acquisition format, the exhibition format, or both.  Again, it is straightforward (with the right CPU/GPU/IO subsystems, costing less than $10,000) to render 8K source material to a variety of exhibition formats.  With the recently released &quot;consumer&quot; 8K displays (costing ~ $4000), Linus Tech Tips [showed how to hook up not one, but two 8K displays to a single GPU],&lt;a href=&quot;https://www.youtube.com/watch?v=7DTpFz8QJoM&quot; rel=&quot;nofollow noreferrer&quot;&gt;1&lt;/a&gt; further demonstrating that while it's not cheap, it's neither esoteric nor prohibitively expensive for anybody who can afford to spend sports car money on their computers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, and this may be the most helpful aspect of the answer to your question: proxy files remain the preferred way to scale video assets to gigabit network bandwidths and laptop levels of performance.  It is also preferred by VFX houses which may have hundreds or thousands of layers of textures, plates, effects, etc.  Compositing thousands of layers is not a real-time process, and there an 8K rendering pipeline can really gum up the works.  Again, the trade publications have many articles explaining the process for creating the proxies, applying the effects, and then rescaling to exhibition format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As tools, techniques, and technologies are rapidly advancing, the best way to get the latest answer to such a question would be to search for &quot;8k workflow&quot;.  Add &quot;youtube&quot; if you want to see a video that answers your question.  Add &quot;vfx&quot; if you care about that.  Add your favorite movie title and maybe that will hit as well.  For example: searching for &quot;8k workflow vfx guardians of the galaxy&quot; led to &lt;a href=&quot;http://www.studiodaily.com/2017/06/guardians-galaxy-vol-2-aces-workflow/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this article&lt;/a&gt; about Guardians of the Galaxy2, which covers in detail your question.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-05-07T20:31:35.453" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23977" PostTypeId="2" ParentId="23917" CreationDate="2018-05-07T20:38:55.987" Score="1" Body="&lt;p&gt;The free version of Resolve doesn't support multiple GPUs.  The Studio (paid) version does.  However, combining multiple GPU cards generally doesn't increase VRAM (i.e., if you only have 4GB per card, a pair of cards presents 4GB of VRAM).  If you are thinking about a second card to increase your VRAM, it won't work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, the general story from the Resolve users group forums is that multiple cards are really only helpful if you are using lots of temporal noise reduction (which eats VRAM very quickly). If that's the case, you need both lots of VRAM &lt;em&gt;and&lt;/em&gt; lots of GPU compute capacity.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-05-07T20:38:55.987" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23978" PostTypeId="2" ParentId="23963" CreationDate="2018-05-08T07:20:55.883" Score="3" Body="&lt;p&gt;This should work.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i KeanuRambo.ts -i KeanuLincoln.ts -i KeanuBush.ts \&#xA;-map 0:0 -map 0:1 -map 1:0 -map 1:1 -map 2:0 -map 2:1 \&#xA;-program program_num=1:title=Ram:st=0:st=1 -program program_num=2:title=Linc:st=2:st=3 \ &#xA;-program program_num=3:title=Bush:st=4:st=5 \&#xA;-f mpegts out5.ts &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-05-08T07:20:55.883" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23979" PostTypeId="1" CreationDate="2018-05-08T07:32:26.423" Score="0" ViewCount="1869" Body="&lt;p&gt;I want to recreate the on-screen text messages technique seen in things like House of Cards or Jane the Virgin. How can you do so and what would you use? Thank you! I use Final Cut Pro to edit my videos, if that's important at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://pbblogassets.s3.amazonaws.com/uploads/2016/01/House-Of_Cards_Text.jpg&quot; alt=&quot;house of cards text msg&quot;&gt;&#xA;&lt;img src=&quot;https://3.bp.blogspot.com/-NNPpqZwg9cA/VVCnP8MHQBI/AAAAAAAAW5o/8oneMfsPMiA/s1600/1.21p.jpg&quot; alt=&quot;Jane the virgin text msg&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="22181" LastActivityDate="2018-05-08T14:29:52.157" Title="How can you create on-screen text messages using video editing programs?" Tags="|editing|final-cut-pro-x|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23981" PostTypeId="2" ParentId="22051" CreationDate="2018-05-08T11:10:49.307" Score="1" Body="&lt;p&gt;Blender is wonderful, but only the most dedicated use it for making text annotations.  Davinci Resolve 15 (currently at beta 2) runs on Mac, Windows, and Linux (with constraints).    Its big new feature is the integration of Fusion, a comprehensive 2d and 3d compositing and effects package.  It also offers templates that animate text fades (against backgrounds if you like).  YouTube tutorial videos show these features in detail.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-05-08T11:10:49.307" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23982" PostTypeId="1" AcceptedAnswerId="23989" CreationDate="2018-05-08T13:01:36.203" Score="0" ViewCount="470" Body="&lt;p&gt;I installed the GoPro CineForm codec recently and used VDub to create a CineForm AVI file. Works fine in MPCHC, VDub, etc.&#xA;It won't import into Premiere Pro CS6 though. I get an error about an unsupported or damaged file.&#xA;When exporting, &quot;CineForm AVI&quot; and &quot;CineForm MOV&quot; are both options, and I can export timelines as CineForm AVI that, again, works fine in MPCHC and VDub but won't import into Premiere.&#xA;For a while I was getting this error when opening AME, but it stopped after a reboot:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Monitor: PProHeadless.exe - System Error&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The program can't start because CFHDDecoder64.dll is missing from your computer. Try reinstalling the program to fix this problem. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;OK   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm still getting this error when I open After Effects:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects warning: The following plugins have failed to load.  Please reinstall these plugins:&#xA;C:\Program Files\Adobe\Common\Plug-ins\CS6\MediaCore\CineForm\CFHD_AVI_Importer.prm&#xA;C:\Program Files\Adobe\Common\Plug-ins\CS6\MediaCore\CineForm\CFHD_MOV_Importer.prm&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OK   &lt;/p&gt;&#xA;" OwnerUserId="22186" LastActivityDate="2018-05-08T19:27:22.867" Title="Issue Importing CineForm to Premiere CS6" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23983" PostTypeId="2" ParentId="23979" CreationDate="2018-05-08T13:35:05.557" Score="1" Body="&lt;p&gt;These are actually really simple shape/text overlays with a bit of animation. You could probably do a quick and dirty version (though, honestly, it wouldn't even look that dirty!) right in your editor by dropping on some shapes and writing over them in text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you can create high-resolution versions of the messages in something like Photoshop or Illustrator (or GIMP, if they aren't available) and export them as PNGs which you'll then drop into your project (I use Premiere Pro so I don't know how well FCP talks to Adobe programs - sorry!).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, I use After Effects for things like this and, again, you can either create the text messages in Ae or use Ps/Ai to create the individual layers then import that into your project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of making it work, there are multiple ways of doing this, too. You could just create a single image and mask areas off until you need to see them (at which point you can animate the mask to reveal the messages or just remove it for simplicity). Or you could animate each message coming in with a swipe or a pop or, perhaps, you could have the sender scale on, the message bubble pop on and the message write on one at a time - entirely up to you!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One more thing - don't worry about sticking too close to a particular design, or about copying the little flick at the bottom of the bubble - as long as you can tell at a glance (ie: without reading the sender info) which messages are incoming and which are outgoing (different colours/left and right margins) you'll be fine ;)&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-05-08T13:35:05.557" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23984" PostTypeId="2" ParentId="20861" CreationDate="2018-05-08T13:46:15.357" Score="1" Body="&lt;p&gt;The term &quot;frame doubling&quot; is occasionally used to describe the result of animators who &quot;shoot on twos&quot;.  Namely, when an animator draws only every other image for a given frame rate, the image is displayed twice before the next image is displayed.  That &quot;frame doubling&quot; is an observable property of the animation, but it is not the key idea.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The key idea is that frame rates can be subdivided (shot on ones, twos, threes, or even fours) and the look and effect of each can be appropriate for a given instant.  Generally, lead animators generate key frames and junior animators (or computers) generate the in-between frames.  Shooting on ones requires generating twice as many in-between images as shooting on twos.  But it also creates a smoothness that may or may not better serve the aesthetic of the animation.  Nick Park's classic Wallace and Grommit animations look &quot;right&quot; because of frame doubling.  Pixar's Toy Story films look &quot;right&quot; because they shoot on the ones (and integrate motion blur on every frame to look as if shot on a cinema camera).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would argue that a camera that shoots at 1/15th of a second and then doubles those frames for a 30fps playback will create a highly stylized look that combines (in a &quot;wrong&quot; way) the motion blur one would expect from shooting on the ones with the pacing of shooting on the twos.  As Blues music teaches, the wrong note at the right time could be the right note.  But generally, animation shot on twos rarely integrates motion blur as such would be &quot;too obvious&quot;.  So if going for a frame doubling effect, one should use a small shutter angle, like 30 or 45 degrees, not 180 or 360, when shooting 15 fps.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-05-08T13:46:15.357" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23985" PostTypeId="2" ParentId="23975" CreationDate="2018-05-08T14:14:20.510" Score="0" Body="&lt;p&gt;Since no one else has done so yet, I'm going to attempt a super low-tech answer to your question here: when you downscale you're literally user fewer pixels to display the image so any downscaled image is going to lose some image sharpness and fine detail (due to how the software is resampling the image); to my knowledge, the only thing you can do about this in Premiere is to use a Sharpen effect on the scaled footage to reintroduce some image sharpness - don't overdo it, though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure what sort of resampling Premiere does but I'm guessing that you might get better results going into a program like After Effects to do your picture in picture because you can alter the sampling method that the program uses (draft, bicubic, bilinear) which might give a better result.&#xA;&lt;strong&gt;&lt;em&gt;Please, please correct me on this if I'm wrong!&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-05-08T14:14:20.510" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23986" PostTypeId="2" ParentId="23979" CreationDate="2018-05-08T14:29:52.157" Score="1" Body="&lt;p&gt;If you have Motion you can create this yourself. Publish them for FCPX and you can change the text and other parameters directly in your timeline.&#xA;&lt;a href=&quot;https://support.apple.com/kb/PH16056?locale=en_US&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.apple.com/kb/PH16056?locale=en_US&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2018-05-08T14:29:52.157" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23987" PostTypeId="2" ParentId="23913" CreationDate="2018-05-08T17:36:09.003" Score="3" Body="&lt;p&gt;REC 709, the current standard for HD delivery (and YouTube), really only requires 5 stops of dynamic range (since the legal range is 16..235 out of a full scale 8-bit encoding 0..255).  Now, in much the same way that a 2x4 piece of lumber is milled from a starting point of 2&quot;x4&quot; down to 1.5&quot;x3.5&quot;, an 8-bit encoding gives one the freedom to shave down the highest and lowest bits (where noise lives in the shadows and where clipping occurs in the highlights) and still have one more bit of slop to adjust brightness.  Which is not very much room to be creative.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A 10-bit source file allows for two bits more dynamic range that can be used to pull down highlights or lift shadows.  That may not sound like very much, but against a delivery format that encodes a total of 5 bits, it's quite a lot!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, it's true that with careful processing (especially noise reduction), one can make more use of the top and bottom bits of dynamic range, which means even more opportunity to stretch the dynamic range of the source material to conform to the intended tonal range of the output format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another place where 10 bits becomes essential is in the world of HDR video.  YouTube now supports HDR playback on devices that support HDR10 (and Dolby PQ).  HDR 10 really does can use all 10 bits of dynamic range, but as Ansel Adams teaches in his books on The Zone System (The Camera, The Negative, The Print), the art of photography (drawing with light) is not merely creating a 1:1 mapping between acquisition and exposition, but in how one chooses to distribute the tonal range to best effect.  Starting with a full tonal range in the source makes it that much easier to push things around to get them where you want them to be on output.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-05-08T17:36:09.003" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23989" PostTypeId="2" ParentId="23982" CreationDate="2018-05-08T19:27:22.867" Score="0" Body="&lt;p&gt;Just browsing around C:/, and stumbled across CFHDDecoder.dll and CFHDDecoder64.dll in C:/Program Files (x86)/CineForm/Tools. Copied them to C:/Program Files/Adobe/Adobe Premiere Pro CS6, and the file now imports successfully.&lt;/p&gt;&#xA;" OwnerUserId="22186" LastActivityDate="2018-05-08T19:27:22.867" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23990" PostTypeId="1" CreationDate="2018-05-09T02:52:20.693" Score="1" ViewCount="63" Body="&lt;p&gt;Should I try to output family movies/slideshows to a DVD or a Blu-ray, if my video content is mostly SD, and some of my images from are high-quality RAW photos?  I'm thinking on just going the DVD route if the quality potential won't matter much?  Thanks for your opinions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please also suggest the best authoring software to use at a good price if you have opinion as well.&lt;/p&gt;&#xA;" OwnerUserId="22196" LastEditorUserId="19140" LastEditDate="2018-05-09T17:28:33.983" LastActivityDate="2019-01-07T18:20:56.830" Title="Best medium for mixed content - High quality pictures and SD video" Tags="|dvd|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23995" PostTypeId="2" ParentId="23990" CreationDate="2018-05-09T11:09:51.350" Score="1" Body="&lt;p&gt;It depends on your goal:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you must deliver to viewers with only a classic DVD player then make it a DVD.&#xA;If they only have a Blu-Ray player then make it a Blu-Ray.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For content preservation I would recommend to basically write all original content onto a disk with highest possible quality in wrappers/containers that are widely supported (high-quality JPEG for photos and MPEG4 or MPEG2 for videos). Then most modern players will be able to present the content, as well as allowing you to keep good mezzanine quality.&lt;/p&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2018-05-09T11:09:51.350" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23997" PostTypeId="1" AcceptedAnswerId="23998" CreationDate="2018-05-09T21:50:54.843" Score="0" ViewCount="1502" Body="&lt;p&gt;I trying to create a video from a landscape image that moves from left to right of the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One form that I thought I can get this done is firstly generating N cropped images from the original one, each of them cropped more and more to the right and then apply some command like this one:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&#xA;  ffmpeg -framerate 1/X -i img%d.png -r 25 -pix_fmt yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This for sure works but is not the quickest and cleaning form to do it.&#xA;Are there a better method to accomplish this?&lt;/p&gt;&#xA;" OwnerUserId="21582" LastActivityDate="2018-05-10T14:45:00.317" Title="Create a video from a landscape image with ffmpeg" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="23998" PostTypeId="2" ParentId="23997" CreationDate="2018-05-10T05:30:59.503" Score="1" Body="&lt;p&gt;You can just use the crop filter.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -t 10 -i img.png&#xA;       -vf &quot;crop=w=W:h=ih:x='(iw-W)*t/10':y=0&quot;&#xA;       -r 25 -pix_fmt yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The crop filter crops the image to &lt;code&gt;Wxih&lt;/code&gt; pixels where ih is the original height. You should substitute W with your target width in pixels. The position of the top-left corner of the crop window is set by the x and y expressions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you only want to move left-to-right, y is set to a fixed 0. For x, the expression &lt;code&gt;(iw-W)*t/10&lt;/code&gt; governs the horizontal position of the crop window. &lt;code&gt;t&lt;/code&gt; is the processed frame's timestamp in fractional seconds. &lt;code&gt;W&lt;/code&gt; is substituted with the target width. &lt;code&gt;iw&lt;/code&gt; is the input width. The crop will start from the left edge and end at the right edge at t = 10 seconds.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;For an image sequence of 10 seconds, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i img%d.png&#xA;       -vf &quot;crop=w=W:h=ih:x='(iw-W)*t/10':y=0&quot;&#xA;       -r 25 -pix_fmt yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-05-10T14:45:00.317" LastActivityDate="2018-05-10T14:45:00.317" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="24000" PostTypeId="1" AcceptedAnswerId="24001" CreationDate="2018-05-10T12:28:32.967" Score="0" ViewCount="1089" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -y -i intro.mp4 -i video.mp4  -i outro.mp4 -f lavfi -i color=black:s=1280x720 -filter_complex \&#xA;&quot;[0:v]format=pix_fmts=yuva420p,fade=t=out:st=10:d=1:alpha=1,setpts=PTS-STARTPTS[v0]; \&#xA; [1:v]format=pix_fmts=yuva420p,fade=t=in:st=0:d=1:alpha=1,fade=t=out:st=10:d=1:alpha=1,setpts=PTS-STARTPTS+10/TB[v1]; \&#xA; [2:v]format=pix_fmts=yuva420p,fade=t=in:st=0:d=1:alpha=1,fade=t=out:st=10:d=1:alpha=1,setpts=PTS-STARTPTS+20/TB[v2]; \&#xA; [3:v]trim=duration=30[over]; \&#xA; [over][v0]overlay[over1]; \&#xA; [over1][v1]overlay[over2]; \&#xA; [over2][v2]overlay=format=yuv420[outv]&quot; \&#xA;-vcodec libx264 -map '[outv]' merge.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22182" LastActivityDate="2018-05-11T12:50:20.683" Title="how to set duration, fading start time and end time video wise in below command?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24001" PostTypeId="2" ParentId="24000" CreationDate="2018-05-10T13:45:34.340" Score="0" Body="&lt;p&gt;Your fade out timings are one second too late - the fade out should start at 9 seconds of each clip so that it can end by 10 seconds.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i intro.mp4 -i video.mp4  -i outro.mp4 -f lavfi -i color=black:s=1280x720:d=30 -filter_complex \&#xA;&quot;[0:v]format=pix_fmts=yuva420p,fade=t=out:st=9:d=1:alpha=1,setpts=PTS-STARTPTS[v0]; \&#xA; [1:v]format=pix_fmts=yuva420p,fade=t=in:st=0:d=1:alpha=1,fade=t=out:st=9:d=1:alpha=1,setpts=PTS-STARTPTS+10/TB[v1]; \&#xA; [2:v]format=pix_fmts=yuva420p,fade=t=in:st=0:d=1:alpha=1,fade=t=out:st=9:d=1:alpha=1,setpts=PTS-STARTPTS+20/TB[v2]; \&#xA; [3][v0]overlay[over1]; \&#xA; [over1][v1]overlay[over2]; \&#xA; [over2][v2]overlay=format=yuv420[outv]&quot; \&#xA;-vcodec libx264 -map '[outv]' merge.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;If you have audio as well in the 3 files, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i intro.mp4 -i video.mp4  -i outro.mp4 -f lavfi -i color=black:s=1280x720:d=30 -filter_complex \&#xA;&quot;[0:v]format=pix_fmts=yuva420p,fade=t=out:st=9:d=1:alpha=1,setpts=PTS-STARTPTS[v0]; \&#xA; [1:v]format=pix_fmts=yuva420p,fade=t=in:st=0:d=1:alpha=1,fade=t=out:st=9:d=1:alpha=1,setpts=PTS-STARTPTS+10/TB[v1]; \&#xA; [2:v]format=pix_fmts=yuva420p,fade=t=in:st=0:d=1:alpha=1,fade=t=out:st=9:d=1:alpha=1,setpts=PTS-STARTPTS+20/TB[v2]; \&#xA; [3][v0]overlay[over1]; \&#xA; [over1][v1]overlay[over2]; \&#xA; [over2][v2]overlay=format=yuv420[outv]; \&#xA; [0][1][2]concat=n=3:v=0:a=1[outa]&quot; \&#xA;-vcodec libx264 -map '[outv]' -map '[outa]' merge.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This command assumes that all 3 files have 10 seconds of audio each, eolse sync will be lost.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-05-11T12:50:20.683" LastActivityDate="2018-05-11T12:50:20.683" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24003" PostTypeId="2" ParentId="23757" CreationDate="2018-05-10T15:49:18.667" Score="2" Body="&lt;p&gt;Not with those boxes, but the broadcast industry version of video over IP (SMPTE 2022-6 and the 2110 suite) can do this as they are actually IP Multicast based. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The gotcha is that they typically run uncompressed so you are looking at up to several Gb/s per multicast flow (4k60 you are looking at 12Gb/s), and you really want non blocking switching fabric. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It does work, but you will hate the price.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;HDCP with consumer gear is also a bit of a pain (There are ways around that however). &lt;/p&gt;&#xA;" OwnerUserId="22212" LastActivityDate="2018-05-10T15:49:18.667" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24004" PostTypeId="2" ParentId="23964" CreationDate="2018-05-10T16:04:27.357" Score="0" Body="&lt;p&gt;Pretty much anything modern from Grass Valley, Sony Broadcast or Panasonics Broadcast division would be well capable of this, if combined with decent glass and a skilled camera and rack operator. It is after all only HD, so nothing particularly state of the art. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;All of that kit is well north of £2k however (Maybe 10 - 20 times that), even before you consider the glass which is just a bit important, and the skill of the operators for which there really is no substitute.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would bet that that crew could shoot something that looked substantially the same on a modern DSLR with a few trimmings (Matte box, some rails, some decent video glass, and a case of filters).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For many of those shots there is clearly plenty of light and given the shallow depth of field the apertures are clearly wide open so sensor noise should not be a big issue, this is not that big an ask of a camera chain.&lt;/p&gt;&#xA;" OwnerUserId="22212" LastActivityDate="2018-05-10T16:04:27.357" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="24005" PostTypeId="2" ParentId="23907" CreationDate="2018-05-10T16:24:15.913" Score="1" Body="&lt;p&gt;Upsample by an integer ratio can be completely blameless, just repeating pixels and lines gets it done, no new information, and you get only the original resolution displayed, but no losses either. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This zero order hold based approach tends however not to be popular, and the amount of processing to do anything else rises rapidly especially if you either want to apply filtering over more then a very localised area or play dynamic games to try to give the impression of more resolution (Popular with consumer gear which compounds the messing about by not having sufficient processing to do it well).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just doing a 2D sinc interpolation is pretty close to blameless (potentially 90% bandwidth or so if you can afford to throw sufficient processing at it), and takes the edges off the pixel doubling.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However for most reasonably sized tellies at reasonable viewing distances, HD is in fact just fine, 4k is nice on a computer monitor where you are sat 18 inches away from a 30 inch screen, but that is not the usual use case for telly. &#xA;You may find a search on the term &quot;Circles of confusion&quot; to be informative.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now HDR (On a set that has the brightness and contrast ratio to pull it off, not technically easy) is a real win even on a SD screen.&lt;/p&gt;&#xA;" OwnerUserId="22212" LastActivityDate="2018-05-10T16:24:15.913" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24006" PostTypeId="1" CreationDate="2018-05-10T20:59:40.913" Score="0" ViewCount="249" Body="&lt;p&gt;Are there any video cameras (recording over 30 minutes of footage length) that have live streaming services (RTMP) built-in to the camera? I know there are a ton of cameras with YouTube (etc.) uploading capabilities with built-in Wi-Fi, but I'm asking specifically for live streaming.&lt;/p&gt;&#xA;" OwnerUserId="16999" LastActivityDate="2018-05-15T12:57:46.207" Title="Live Streaming Video Camera?" Tags="|streaming|youtube|camcorder|rtmp|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24007" PostTypeId="2" ParentId="23599" CreationDate="2018-05-11T01:39:55.363" Score="0" Body="&lt;p&gt;Yeah, it's really annoying that it does that, the shape layer defaults to an anchor point that is centered in the box. The workaround that I use is to use an expression to link the anchor point the box dimensions like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5aHfI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5aHfI.png&quot; alt=&quot;AE expressions for rectangle shape&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I think it will work the way you want it to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use the expression by following the steps below and in &lt;a href=&quot;https://youtu.be/ivcrBtQifeY&quot; rel=&quot;nofollow noreferrer&quot;&gt;this screen capture video&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Option click to enable expressions for the anchor point of the shape layer.&lt;/li&gt;&#xA;&lt;li&gt;Pickwhip to the box size to get the expression started.&lt;/li&gt;&#xA;&lt;li&gt;Make some adjustments so the 2 anchor point values are negative one half of the size values.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If anyone knows an easier way to accomplish this, I'd love to learn it.&lt;/p&gt;&#xA;" OwnerUserId="21303" LastEditorUserId="14523" LastEditDate="2018-05-12T16:56:00.793" LastActivityDate="2018-05-12T16:56:00.793" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24008" PostTypeId="1" AcceptedAnswerId="24009" CreationDate="2018-05-11T06:01:47.897" Score="2" ViewCount="1543" Body="&lt;p&gt;I'm trying to burn timecode onto a video file with ffmpeg. &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#drawtext&quot; rel=&quot;nofollow noreferrer&quot;&gt;Documentation&lt;/a&gt; notes that frame rate is a required parameter. It confuses me that I need to specify it manually when the information is available for the source file. This confusion suggests I'm missing an important assumption.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm batch-processing source files with different frame rates depending on their source (24, 29.97, 30). How can I set the frame rate automatically?&lt;/p&gt;&#xA;" OwnerUserId="22216" LastEditorUserId="14523" LastEditDate="2018-05-11T14:49:12.597" LastActivityDate="2018-05-11T15:13:41.057" Title="ffmpeg drawtext timecode source framerate" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24009" PostTypeId="2" ParentId="24008" CreationDate="2018-05-11T06:26:00.337" Score="1" Body="&lt;p&gt;FFmpeg has a modular design. The module which unpacks a stream from a file and discovers/sets its properties, including framerate, is ffmpeg base code. drawtext is a filter module that operates upon decoded frames. It has no concept of a framerate because it receives a sequence of individual frames in series, and only gets to see the metadata pertaining to that frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Usual M.O. when performing such operations is to get the framerate information by running ffprobe beforehand and saving it to a variable, referencing that variable in the drawtext options so that the shell can substitute the value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That ffprobe command is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;FPS=$(ffprobe -v 0 -show_entries stream=r_frame_rate -select_streams v:0 -of compact=p=0:nk=1 &quot;$file&quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-05-11T15:13:41.057" LastActivityDate="2018-05-11T15:13:41.057" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24011" PostTypeId="2" ParentId="24006" CreationDate="2018-05-11T08:22:48.460" Score="1" Body="&lt;p&gt;The JVC  GY-HM200 has live streaming capabilities - &lt;a href=&quot;http://pro.jvc.com/prof/attributes/features.jsp?model_id=MDL102319&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://pro.jvc.com/prof/attributes/features.jsp?model_id=MDL102319&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've never used that particular model (so have no personal experience of the live streaming functions) but I do use the 170 and it's a solid little camcorder with a great range of options (including shooting in 4K and at high speed - though not at the same time), it's fairly robust and delivers great quality for the price.&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-05-11T08:22:48.460" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24012" PostTypeId="1" AcceptedAnswerId="24015" CreationDate="2018-05-11T10:02:19.990" Score="7" ViewCount="4439" Body="&lt;h2&gt;Digitize a VHS tape with FFmpeg&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;On &lt;a href=&quot;https://gordonlesti.com/digitize-a-vhs-tape-with-ffmpeg-and-easycap-on-linux/&quot; rel=&quot;noreferrer&quot;&gt;this&lt;/a&gt; thread, I found a perfect command to digitize a VHS tape with FFmpeg using a USB video grabber. All good with that; it works like a charm. Acceptable bitrate, no dropped frames and, most importantly, a good output file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Working command:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-f v4l2 -standard PAL -thread_queue_size 2048 -i /dev/video1 \&#xA;-f alsa -thread_queue_size 2048 -i hw:2,0 \ &#xA;-vcodec libx264 -preset superfast -crf 23 -vf yadif=1 \&#xA;-acodec libmp3lame -b:a 128k -channels 2 -ar 48000 \&#xA;vhs_output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;Question: How to get a live preview?&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I've read numerous threads talking about pipes and tee objects, but I still haven't figured out how to get a live preview. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My try for a ffplay pipe:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-f v4l2 -standard PAL -thread_queue_size 2048 -i /dev/video1 \&#xA;-f alsa -thread_queue_size 2048 -i hw:2,0 \ &#xA;-vcodec libx264 -preset superfast -crf 23 -vf yadif=1 \&#xA;-acodec libmp3lame -b:a 128k -channels 2 -ar 48000 \&#xA;vhs_output.mov \&#xA;-f h264 - | ffplay -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The problem with this command is that there are now two x264 encoders active. Secondly, the preview isn't as fluid as the output since there are now lot's of dropped frames. Where have I gone wrong? How can I reuse the first output? Raw piping isn't an option since ffplay can't handle it. &lt;/p&gt;&#xA;" OwnerUserId="22218" LastEditorUserId="14523" LastEditDate="2018-05-11T14:56:39.560" LastActivityDate="2018-05-11T16:54:21.090" Title="Digitize a VHS tape with FFmpeg and get a live preview" Tags="|ffmpeg|encoding|vhs|preview|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24015" PostTypeId="2" ParentId="24012" CreationDate="2018-05-11T12:46:12.897" Score="8" Body="&lt;p&gt;The tee muxer is suitable for this.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-f v4l2 -standard PAL -thread_queue_size 2048 -i /dev/video1 \&#xA;-f alsa -thread_queue_size 2048 -i hw:2,0 \&#xA;-map 0 -map 1 \&#xA;-vf yadif=1 \&#xA;-vcodec libx264 -preset superfast -crf 23 -flags +global_header \&#xA;-acodec libmp3lame -b:a 128k -ac 2 -ar 48000 \&#xA;-f tee &quot;vhs_output.mov|[f=nut:onfail=ignore]pipe:1&quot; | ffplay -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-05-11T16:54:21.090" LastActivityDate="2018-05-11T16:54:21.090" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24016" PostTypeId="2" ParentId="13322" CreationDate="2018-05-11T16:27:42.123" Score="-1" Body="&lt;p&gt;Your question is not about common rates, it is about what rate you should use to digitize your movie. The answer: you should use the original rate if possible, because you want to preserve the source in digital form. Then you can convert it to whatever frame rate you need for viewing. In the olden times it would usually mean 24fps for theatrical presentation and 29.97fps, interlaced for video. Nowadays you can do almost anything, but you need to have a good source, that matches the original as cleanly as possible.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-05-11T16:27:42.123" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24017" PostTypeId="2" ParentId="23964" CreationDate="2018-05-12T01:59:27.180" Score="1" Body="&lt;p&gt;Netflix, the BBC, Amazon, and others that commission and/or broadcast content maintain a set of professional standards that specify everything from acceptable cameras to file naming conventions.  The Netflix list of approved cameras is &lt;a href=&quot;https://partnerhelp.netflixstudios.com/hc/en-us/articles/360000579527-Cameras-and-Image-Capture&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.  I would offer that by studying these lists (which talk about not only resolution, but also bit depth, chroma sampling, bit rate, compression rates, etc) you can see where the professionals draw the line between claims made by prosumer camera models and what is standard industry practice in 2018.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are people who are shooting &lt;a href=&quot;https://en.wikipedia.org/wiki/Unsane_(film)&quot; rel=&quot;nofollow noreferrer&quot;&gt;real feature-length productions for theatrical distribution on iPhones&lt;/a&gt;.  Because that's the director prerogative: their movie, their aesthetic.  But I would say that the approved camera lists give a good idea of what sort of camera produces the mainstream image quality you see in professional-quality productions, which that YouTube video seems to demonstrate.  And those cameras typically more than $2,000.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And, as noted before, you could have a $80,000 RED Monstro with a $45,000 Zeiss Master Prime lens and you won't get that quality without proper lighting, set design, etc.  But if you have a great set with great lighting, then you can do a lot with cameras in the $2,500-$45,000 range (and lenses in the $2,000-$20,000 range), which you can find on the Netflix approved camera list, or elsewhere (for other broadcast/streaming specifications).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-05-12T01:59:27.180" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24018" PostTypeId="1" CreationDate="2018-05-12T02:41:42.037" Score="0" ViewCount="1055" Body="&lt;p&gt;Is it possible to animate a photo/video so that it continuously rotates about an axis within the xy-plane? For example, rotate it about the y-axis. I know how to regularly rotate a video (rotation about z-axis), and I know you can keyframe using distort with keyframe, but was wondering if there is a way to continuously have a shape rotating about a vertical axis. This would be like 3D-rotation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, having the image of a card continuously &quot;spin&quot; vertically.    &lt;/p&gt;&#xA;" OwnerUserId="22223" LastActivityDate="2024-03-01T22:06:00.680" Title="Rotating image/video about an axis within xy-plane in FCP" Tags="|editing|final-cut-pro-x|effects|special-effects|visual-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24019" PostTypeId="2" ParentId="24018" CreationDate="2018-05-12T08:42:03.183" Score="0" Body="&lt;p&gt;If you don’t want to use keyframes than it sounds more like a job for Motion or you might be lucky and find a plug-in for this behaviour. &#xA;I couldn’t think of anything else than keyframes. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2018-05-12T08:42:03.183" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24020" PostTypeId="1" AcceptedAnswerId="24022" CreationDate="2018-05-12T10:46:51.920" Score="0" ViewCount="582" Body="&lt;p&gt;I was wondering if there’s a converter out there that would take a HD-SDI in, as well as a LTC in, and an SDI out. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We currently have video feeds with no timecode embedded and was trying to loop through a feed of timecode which we can feed from a BNC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I’m also seeing if it’s possible to make too! I know it is a thing that can happen considering Atomos Shoguns can feed in and LTC. I just need that without the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If i fed to BNCs (a T Bar) into one out would that work? Is video and timecode able to be merged or would it be read as two feed signals?&lt;/p&gt;&#xA;" OwnerUserId="14221" LastActivityDate="2022-06-08T12:19:43.160" Title="SDI loop through with LTC embedder" Tags="|video|sync|timecode|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24021" PostTypeId="1" AcceptedAnswerId="24029" CreationDate="2018-05-12T15:20:28.483" Score="1" ViewCount="175" Body="&lt;p&gt;Is it possible to integrate an editor for voiceover texts and other scripts into Premiere Pro CC? Adobe Story will discontinue this year.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do not mean texts sticking to a clip or a time in the sequence. This can be done using markers or titles. The editor should be independent of clips and exact seconds as this can change while the voiceover text stays the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A perfect editor would stick text to a clip but keep it when the clip is replaced later. But a very simple text editor would be enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the moment I open my texts in a separate window while every other function is integrated into Premiere Pro. While speaking voiceover, the mouse and eyes jump between the controls and preview in Premiere and the editor on the other screen.&lt;/p&gt;&#xA;" OwnerUserId="22224" LastEditorUserId="22224" LastEditDate="2018-05-14T13:56:17.240" LastActivityDate="2018-05-14T13:56:17.240" Title="Script editor in Premiere Pro" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24022" PostTypeId="2" ParentId="24020" CreationDate="2018-05-12T18:53:53.723" Score="1" Body="&lt;p&gt;It is quite possible to make, but think FPGA with 3 Gig SERDES (so probably a modest Kintex 7 or something similar) with a couple of SDI line IO parts (TI) and maybe a PLL from SI Labs, add some power conversion and a mess of VHDL, job done. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe a few months work.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously if you have LTC you can stripe that onto an audio track just using any old audio embedder, but I am guessing that does not really do it for you? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would be a little surprised if YellowBrix or maybe Decimator Designs do not have a box that does this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regards, Dan.&lt;/p&gt;&#xA;" OwnerUserId="22212" LastActivityDate="2018-05-12T18:53:53.723" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24023" PostTypeId="1" CreationDate="2018-05-13T13:03:37.027" Score="1" ViewCount="385" Body="&lt;p&gt;When extracting audio and video separately from a mp4 and recombining again &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -accurate_seek -ss 30 -t 10 -i input.mp4 -vn output-audio.mp4&#xA;ffmpeg -accurate_seek -ss 30 -t 10 -i input.mp4 -an output-video.mp4&#xA;ffmpeg -i output-audio.mp4 -i output-video.mp4 output-combine.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the three mp4-s have different length according to ffprobe:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe output-video.mp4&#xA;Duration: 00:00:10.00, start: 0.000000, ...&#xA;ffprobe output-audio.mp4&#xA;Duration: 00:00:10.03, start: 0.033333, ...&#xA;ffprobe output-combine.mp4&#xA;Duration: 00:00:10.08, start: 0.033333, ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;when combining audio and video with &lt;code&gt;-shortest&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i output-audio.mp4 -i output-video.mp4 test-combine.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the length is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe output-combine.mp4&#xA;Duration: 00:00:10.04, start: 0.033333, ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can the start-offset (0.033333) be avoided so that all parts have the same length and the original part can be restored by combining audio and video?&lt;/p&gt;&#xA;" OwnerUserId="22229" LastActivityDate="2024-03-13T05:00:40.090" Title="ffmpeg: How to avoid &quot;start: 0.033333&quot; when extraction audio from mp4" Tags="|video|ffmpeg|audio|mp4|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24024" PostTypeId="2" ParentId="24023" CreationDate="2018-05-13T13:51:01.007" Score="0" Body="&lt;p&gt;Correction: instead of&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i output-audio.mp4 -i output-video.mp4 test-combine.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;it should be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i output-audio.mp4 -i output-video.mp4 -shortest output-combine.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Kind of answer:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i output-video.mp4 -itsoffset 0.033333 -t 9.966666 -i output-audio.mp4  output-combine.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;seems to do the job, although the result differs in file-size slightly from an direct extraction (direct is bigger than combine) done with&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -accurate_seek -ss 30 -t 10 -i input.mp4 output-direct.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22230" LastActivityDate="2018-05-13T13:51:01.007" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24025" PostTypeId="1" AcceptedAnswerId="24044" CreationDate="2018-05-13T23:24:51.370" Score="1" ViewCount="24" Body="&lt;p&gt;If I have, for example, a 1080p project in wich I have to add some 4K videos which needs to be stabilized and noise reduced. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which is the way to go?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;add the clip in 4k into premiere and replace it with a AE comp where I fix it?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;correct the clip in AE, export it into a single video file already scaled to 1080p, and then add that into premiere sequence?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Would the second method be faster while working inside premiere? I think so since it is already in 1080p and the software is not rendering a preview of noise reduction + stabilization, etc.&lt;/p&gt;&#xA;" OwnerUserId="22232" LastEditorUserId="14523" LastEditDate="2018-05-14T18:02:36.143" LastActivityDate="2018-05-15T13:18:08.587" Title="Should I export all edited clips before final composition?" Tags="|premiere|after-effects|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24029" PostTypeId="2" ParentId="24021" CreationDate="2018-05-14T12:42:38.137" Score="1" Body="&lt;p&gt;Unfortunatley no. Adobe Premiere dropped what would have been your best possible “tool” when CC replaced CS6. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;CS6 has a tool called Analyze Speech, used primarily for automated transcribing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This tool could be used to substitute a rolling message box within the MetaData Window, tied to Key Frames. So you could use it manually in that sense to drop in a script and change the timings. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Your Best Bet&lt;/strong&gt; is to either use basic slates/titles using the titler window. You could try playing with the rolling title feature, making a single rolling slate the length of your program... Or just block it out. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do a ton of VO heavy productions however, and have never really thought of this as being an issue, even with CS6. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not sure what your workflow is. But just recording a scratch track of your VO and dropping in temporary slates to indicate the placement of graphics, future media, tittles, etc, should get you there. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-05-14T12:42:38.137" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24031" PostTypeId="2" ParentId="22598" CreationDate="2018-05-14T12:48:45.823" Score="1" Body="&lt;p&gt;Youre likely going to have a tough time accomplishing this without the right toolset. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Im not aware of any opensource projection mapping software that could accurately output a signal to a projector or series of projectors to accomplish a decent map. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Christie (you can visit their website and search youtube for examples) is the only projection mapping software / hardware solution Ive toyed with... back when I had two Christie HD10K rigs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But good projection mapping typically requires at least 4 projectors all tied into the same video engine. You need up down left and right, otherwise shadows will be a major issue. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Typically, 6 or 8 units are used on a single simple object for wrap around effects. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-05-14T12:48:45.823" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24032" PostTypeId="2" ParentId="23907" CreationDate="2018-05-14T12:54:24.327" Score="0" Body="&lt;p&gt;Matched resolutions will typically yield best percieved visual results. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If youve ever watched an “actual” 525/480 SD signal on an HD set you know exactly what I mean. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Did TV really used to look that bad?  No. A 50” Standard Def Tube TV will produce a FAR better image of Standard Def material than a Sony Bravia 50” 1080 Set with the same feed. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-05-14T12:54:24.327" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24033" PostTypeId="1" AcceptedAnswerId="24038" CreationDate="2018-05-14T18:21:05.743" Score="0" ViewCount="210" Body="&lt;p&gt;I encoded two videos (ParkJoy and Sintel) in FFMPEG by H.264 with same parameters (GOP size, QP, frame rate, resolution etc.) and obtained rate-distortion plots (mean PSNR of Y channel vs bitrate). I am trying to understand the possible causes for the difference between those two plots; although they have the same resolution, GOP size etc.. The plots that I obtained are given in the following links, and any help would be appreciated.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/CysLR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CysLR.png&quot; alt=&quot;Figure 1&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VFGrY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VFGrY.png&quot; alt=&quot;Figure 2&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22241" LastActivityDate="2018-05-15T01:21:46.813" Title="Different rate distortion curves for two videos encoded with same parameters in FFMPEG" Tags="|ffmpeg|encoding|compression|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24035" PostTypeId="2" ParentId="23586" CreationDate="2018-05-14T21:48:16.470" Score="3" Body="&lt;p&gt;I think your actual question is for a list of resources to get starting making gameplay videos (Let's Play is actually owned by Roosterteeth as a title).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I think your premise is wrong, you shouldn't go into the game play planning to do &quot;boring parts&quot;.  Today, creators usually stream for a long format &quot;livestream&quot; video, then they cut down that footage for a &quot;gameplay&quot; video, and then they will sometimes do &quot;trailers&quot; or &quot;highlights&quot;, and this is a good business model.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By all means set up cool stuff and show us what you want, but you'll notice, for single player, that it will feel more organic to just play through.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They also require the same resources, as your first option is a subset of the 2nd option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recommend OBS, it's free and works great.  In theory, you need twice the graphics capability of the game to capture it cleanly.  It will stream or just record.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Past that you really just need a headset with microphone, any headset will do, but spring for a Snowball when you can, great quality and affordable.  I can help (sometimes) to have voice recorded separately, but most times it really doesn't matter if you're having trouble with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you feel ready, find an affordable webcam, and you can do face cam straight from OBS, whether or not you create a second instance of OBS to record it separately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Eventually you'll need some basic lighting, and maybe a green screen, but leave that down the road until you're already super serious.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you get to a point where you feel like editing, you'll need GIMP (basically free photoshop) or any picture editor you have handy that will let you work in LAYERS, very important.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And of course you'll eventually want to actually edit, I recommend Da Vinci for your first free editor.  It has most of the functionality that Adobe Premier Pro or Sony Vegas has, but it's just not very intuitive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I highly recommend you keep an eye on HumbleBundle, I got Sony Vegas for $20 through them because they occasionally do software bundles, and it's a good deal to find games (check out Monthly, it's fantastic).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hit me back if I managed to leave anything out.&lt;/p&gt;&#xA;" OwnerUserId="22242" LastActivityDate="2018-05-14T21:48:16.470" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24038" PostTypeId="2" ParentId="24033" CreationDate="2018-05-15T01:21:46.813" Score="2" Body="&lt;p&gt;The difference in the content of the two samples could explain the different performance of the codec. A given configuration of a codec might perform well for a static shot but not perform well for fast motion. At higher bit rates, the effects of codec settings are usually less noticeable.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-05-15T01:21:46.813" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24039" PostTypeId="1" AcceptedAnswerId="24042" CreationDate="2018-05-15T06:54:17.603" Score="1" ViewCount="854" Body="&lt;p&gt;So the problem is -- I moved .ai file into sub-composition and then zoomed this composition inside of the main composition.&#xA;And now it's blurry.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know for the vector files I can choose &quot;Continuously Rasterize&quot;, but in my case it's not just a vector layer, it's vector layer inside of the composition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a option called &quot;Collapse Transformations&quot;, it helps and makes vector layer nice and smooth, but it ruins the puppet-animation that is inside of the comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What should I do?&lt;/p&gt;&#xA;" OwnerUserId="20955" LastActivityDate="2018-05-15T12:56:57.377" Title="Vector layer is blurry if it's in composition" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24040" PostTypeId="1" CreationDate="2018-05-15T08:35:34.297" Score="0" ViewCount="2321" Body="&lt;p&gt;Better describe &quot;steps to reproduce&quot;, than wrote bunch of text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What has been made:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Clips has been captured by iPhone 8 Plus with 4K and 60fps.&lt;/li&gt;&#xA;&lt;li&gt;Clips has been added to iMovie project from Photos.app library.&lt;/li&gt;&#xA;&lt;li&gt;Clips has been trimmed and rearranged in iMovie.&lt;/li&gt;&#xA;&lt;li&gt;Sound has been added as a separated track from .mp3 file.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rsUFW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rsUFW.jpg&quot; alt=&quot;Result in iMovie&quot;&gt;&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;5&quot;&gt;&#xA;&lt;li&gt;Menu button &quot;File/Send Movie To Final Cut Pro&quot; has been pressed.&lt;/li&gt;&#xA;&lt;li&gt;Imovie project has been successfully transferred without warnings.&lt;/li&gt;&#xA;&lt;li&gt;All clips video, graphic parts turn to solid black.&lt;/li&gt;&#xA;&lt;li&gt;Sound plays with no problems screen shows solid black rectangle.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2hppK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2hppK.png&quot; alt=&quot;Result in Final Cut Pro X&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What has been tried to solve problem:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Preferences restoration to default for iMovie.&lt;/li&gt;&#xA;&lt;li&gt;Preferences restoration to default for Final Cut Pro X.&lt;/li&gt;&#xA;&lt;li&gt;Library has been trashed and new one was created for iMovie.&lt;/li&gt;&#xA;&lt;li&gt;Library has been trashed and new one was created for Final Cut Pro X.&lt;/li&gt;&#xA;&lt;li&gt;Videofiles from another source (YouTube) has been tried.&lt;/li&gt;&#xA;&lt;li&gt;Another projects has been created.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Suffering through with no luck. Looking for help.&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="22246" LastActivityDate="2020-04-14T23:10:56.243" Title="Imovie 10.1.9 clips turn solid black in Final Cut Pro X 10.3.4 after &quot;Send Movie To Final Cut Pro&quot;" Tags="|video|imovie|fcpx|apple|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24041" PostTypeId="2" ParentId="23682" CreationDate="2018-05-15T12:48:07.910" Score="0" Body="&lt;p&gt;The effect in Premiere you want to look for is the warp stabiliser effect: &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/stabilize-motion-warp-stabilizer-effect.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/using/stabilize-motion-warp-stabilizer-effect.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As mentioned, this works by moving the video frame to try to keep the contents of the frame in the same place on screen. Obviously this means that the edges of frame become visible, meaning you need to crop or scale to hide them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another problem that is a bit more subtle is that perspective and parallax gets messed up by over-use of stabilisation. When you move the camera the position of foreground items to background items changes. If you then take out the movement you're left with the relative motion of the foreground and background, with nothing to explain it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On top of that, any &lt;a href=&quot;https://www.premiumbeat.com/blog/3-tips-for-dealing-with-rolling-shutter/&quot; rel=&quot;nofollow noreferrer&quot;&gt;rolling shutter artefacts&lt;/a&gt; will remain, once again, without any motion to explain / mask it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This can leave you with a steady frame that looks like it's made of jelly, which is really disconcerting. So don't expect motion-stabilisation to be a fix for bad camera work.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-05-15T12:48:07.910" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24042" PostTypeId="2" ParentId="24039" CreationDate="2018-05-15T12:56:57.377" Score="0" Body="&lt;p&gt;About the only thing to do is scale up the nested comp (the one with the puppet animation in it), so that it matches the size it needs to be in the outer comp without having to zoom it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a script that will do this for you, if you look at the &lt;strong&gt;File&gt;Scripts&gt;&lt;/strong&gt; menu there should be one called &lt;strong&gt;scale composition&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This script basically just attaches everything in the comp to a null, resizes the comp using the comp settings, then scales the null to match. So if the script doesn't work for you you can do it manumatically.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-05-15T12:56:57.377" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24043" PostTypeId="2" ParentId="24006" CreationDate="2018-05-15T12:57:46.207" Score="0" Body="&lt;p&gt;Unless you're attempting to be out and about and live streaming from a hotspot, look into just outputting the camera directly to a computer (or a switchboard if you need it), and capturing that footage with something like OBS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Provided you're on a budget, you can probably just connect whatever camera to your existing laptop with the right cords and use OBS to connect to the RTMP, and that works for both options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option is to use a gopro, so the camera can be wirelessly connected to the hotspot, the footage can be displayed and window/monitor captured from the computer.&lt;/p&gt;&#xA;" OwnerUserId="22242" LastActivityDate="2018-05-15T12:57:46.207" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24044" PostTypeId="2" ParentId="24025" CreationDate="2018-05-15T13:18:08.587" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Would the second method be faster while working inside premiere? I think so since it is already in 1080p and the software is not rendering a preview of noise reduction + stabilization, etc.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yes… and no. While the 1080p footage may play better in Premiere, doing the post work on all your rushes will chew up your time trying to correct clips that you may not end up using. If you do the noise reduction in After Effects first you will either have to render the clips, or if you use dynamic linking Premiere will be doing the render on the fly, which definitely will slow it down.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My usual workflow is to do the cut in Premiere. The footage will be ungraded, with no post effects or noise reduction etc.. Once the cut is locked off (ish) then I will select any clips that need post-work in my PP timeline and choose &lt;strong&gt;Replace with After Effects Composition&lt;/strong&gt;. This will create an AE comp with the selected clips already cut to length and in order, ready to be worked on in AE. Once I've done the AE work the comp is already dynamically linked to Premiere, so changes I make in AE show up in the Premiere timeline. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This means I only have to export the final timeline from Premiere, thus saving an intermediate render. Obviously if there's a heap of After Effects stuff happening on it it will slow down your Premiere previews, that's why you do it after all the editing is done and dusted.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-05-15T13:18:08.587" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24045" PostTypeId="1" CreationDate="2018-05-15T16:50:00.743" Score="2" ViewCount="41" Body="&lt;p&gt;We're recently purchased a new lighting console in our small theatre that supports video output over HDMI. We want to run the signal from the control room out to the proscenium but don't want to settle for a consumer grade HDMI extender. What is a quality device that we can permanently install that can transmit a strong HDMI signal? What are most theatre spaces using for this application? &lt;/p&gt;&#xA;" OwnerUserId="10584" LastActivityDate="2018-05-16T17:47:25.067" Title="Industry standard HDMI extension?" Tags="|hdmi|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24049" PostTypeId="2" ParentId="14820" CreationDate="2018-05-16T02:48:53.597" Score="0" Body="&lt;p&gt;power Director is a very good software for Video editing. The current version of the software is not free however occasionally there are offers for free older versions. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried the older version and find that it suffices for most routine editing work and meeting the requirements listed in the question.&lt;/p&gt;&#xA;" OwnerUserId="19999" LastActivityDate="2018-05-16T02:48:53.597" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24050" PostTypeId="2" ParentId="24040" CreationDate="2018-05-16T06:23:18.127" Score="1" Body="&lt;p&gt;Sorry for panic. &lt;strong&gt;Answer&lt;/strong&gt; has been found.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Problem: Final Cut Pro X was unable to see 4k 60fps videos captured by iOS devices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reason: Unknown.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Solution: &lt;strong&gt;Need to update Final Cut Pro X to 10.4.1 version.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source: &lt;a href=&quot;https://support.apple.com/en-us/HT208131&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.apple.com/en-us/HT208131&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22246" LastActivityDate="2018-05-16T06:23:18.127" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24051" PostTypeId="2" ParentId="14820" CreationDate="2018-05-16T06:30:20.683" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://zulko.github.io/moviepy/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MoviePy&lt;/a&gt; allows to edit videos with Python, which is more flexible in many situations where you don't remember where to find some control at UI.&lt;/p&gt;&#xA;" OwnerUserId="10371" LastActivityDate="2018-05-16T06:30:20.683" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24052" PostTypeId="1" AcceptedAnswerId="24054" CreationDate="2018-05-16T06:39:46.597" Score="2" ViewCount="136" Body="&lt;p&gt;I'm new to using expressions in after effects and I've also hardly touched Java before.  However using some online tutorials and common sense, I managed to create a lower thirds title graphic yesterday, the java is used to change it's position based on how much text is written inside.  The title graphic bleeds off to the left of the screen, so when text is written on it, it moves left or right to match the length of text.  I've included the code below.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;s =thisComp.layer(&quot;Header title&quot;);&#xA;x = s.sourceRectAtTime(time-s.inPoint,true).width;&#xA;&#xA;subl =thisComp.layer(&quot;Sub title&quot;);&#xA;subt = subl.sourceRectAtTime(time-subl.inPoint,true).width;&#xA;&#xA;text = Math.max(subt, x) -100;&#xA;&#xA;max = 659.4;&#xA;m = Math.min(max, text);&#xA;&#xA;[m, 871]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So with a little bit of text:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/f7fyp.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/f7fyp.jpg&quot; alt=&quot;graphic position with less text&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With more text:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/JSR9G.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JSR9G.jpg&quot; alt=&quot;graphic position with more text&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where I'm struggling is I want to make this into an animated motion graphic, where the graphic just slides in and out at the right time.  However, if there's less text, it's position is further out the frame and it takes longer to slide in - which means that it's out of sync with other parts of the animation.  I'm not worried about consistent speed, I just want it to appear in at the same time as it has to match other animations.  The only way I can see this happening accurately is by further encoding, where it gets a little beyond me!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried animating using &lt;code&gt;if&lt;/code&gt; expressions dependant on the &lt;code&gt;time&lt;/code&gt; function, but this didn't create a transition, the graphic jumped instantly from point to point.  I can't find anything on creating keyframes in java either so not sure the best way to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Really appreciate any help to put me on the right track.&lt;/p&gt;&#xA;" OwnerUserId="22062" LastActivityDate="2018-05-16T13:11:41.227" Title="help to animate an lower thirds that's positioned by expressions" Tags="|after-effects|animation|after-effects-expressions|after-effects-scripting|script|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24053" PostTypeId="1" CreationDate="2018-05-16T12:50:26.057" Score="3" ViewCount="4256" Body="&lt;p&gt;I've recorded 7 videos yesterday. All recorded on a Canon 5D Mark III. The files are playing fine from Finder and Quicktime. But when I import them to After Effects, &lt;strong&gt;only one of them&lt;/strong&gt; is not playing any video but just sound. After Effects imports the file as audio file, as it looks to me, still, it says, it is a file of the type &quot;Quicktime&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have an idea, what I could look into or what I could try?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finder's file info says:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Dimensions: 1920x1080&lt;/li&gt;&#xA;&lt;li&gt;Codecs: H.264, Linear PCM, Timecode Color&lt;/li&gt;&#xA;&lt;li&gt;Profile: HD (1-1-1)&lt;/li&gt;&#xA;&lt;li&gt;Duration: 11:49&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Adobe Premiere CC 2018 does also play the video as it should. I'm quite a bit confused and have no idea, where to look or what to try.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help is much appreciated. Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="22255" LastEditorUserId="22255" LastEditDate="2018-05-16T13:00:34.127" LastActivityDate="2024-03-17T02:03:10.583" Title=".mov file is not playing video in After Effects" Tags="|after-effects|quicktime|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24054" PostTypeId="2" ParentId="24052" CreationDate="2018-05-16T13:05:56.617" Score="1" Body="&lt;p&gt;There are some &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/expression-language-reference.html#interpolation_methods_expression_reference&quot; rel=&quot;nofollow noreferrer&quot;&gt;built-in functions&lt;/a&gt; just for this purpose. You'll find them in the &lt;strong&gt;interpolation&lt;/strong&gt; folder in the expression drop-down. The simplest is the &lt;code&gt;linear()&lt;/code&gt; function:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;linear(t, value1, value2)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This function interpolates in a linear fashion between value1 and value2 based on the value of t, where &lt;code&gt;0 ≤ t ≤ 1&lt;/code&gt;. So if &lt;code&gt;t=0&lt;/code&gt; the function returns &lt;code&gt;value1&lt;/code&gt; and if &lt;code&gt;t=1&lt;/code&gt; it returns &lt;code&gt;value2&lt;/code&gt;. It can also take five parameters, in the form&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;linear(t, tMin, tMax, value1, value2)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;in this form, instead of using the range 0-1 for &lt;code&gt;t&lt;/code&gt; it uses the range &lt;code&gt;tMin&lt;/code&gt; to &lt;code&gt;tMax&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Along with &lt;code&gt;linear()&lt;/code&gt; there are also &lt;code&gt;ease()&lt;/code&gt;, &lt;code&gt;easeIn()&lt;/code&gt; and &lt;code&gt;easeOut()&lt;/code&gt;. These interpolate with easing - meaning the animation slows down at the beginning or end, or both.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So in your example you could add this before the last line:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;startTime = inPoint; //if you want the animation to start at the start of the layer&#xA;m = ease(time-startTime, 0, animationLength, 0, m)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;this will smoothly animate from the layer's in-point for &lt;code&gt;animationLength&lt;/code&gt; seconds to the calculated position.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Oh, BTW&lt;/strong&gt; it's Java&lt;em&gt;script&lt;/em&gt; not Java. They are completely different languages. As they say, Java and Javascript are similar in the same way that &quot;car&quot; and &quot;carpet&quot; are similar.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-05-16T13:11:41.227" LastActivityDate="2018-05-16T13:11:41.227" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24055" PostTypeId="1" AcceptedAnswerId="24058" CreationDate="2018-05-15T12:05:22.530" Score="6" ViewCount="22833" Body="&lt;p&gt;Everytime I point a digital camera of some sort (webcam, phone, camcorder...) at my LED desk lamp or its light reflected off an object (only if the object is very reflective and/or near the lamp), I see some scrolling black lines that shift thickness and scrolling speed as I change white balance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They make it impossible for me to film uboxing and other videos using my desk lamp as light source. What is the cause of this? I also noticed my ceiling-mounted LED light produces a similar pattern as well albeit with thicker lines. Finally, my bedside lamp - also LED - creates no such phenomenon.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;A photo of the LED light on my desk&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IlfBr.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IlfBr.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22303" OwnerDisplayName="alex2003super" LastActivityDate="2019-03-20T15:12:22.577" Title="Digital cameras see black scrolling lines when filming light from my desk lamp" Tags="|camera|" AnswerCount="7" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24056" PostTypeId="2" ParentId="24055" CreationDate="2018-05-15T12:17:10.413" Score="9" Body="&lt;p&gt;The reason is very simple. LED's are not constantly turned on, but flicker at a very high rate, usually due to fluctuations in your powerline. Your video camera records at a fixed framerate and as such, you can see these black lines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One way to counteract this is by not using an LED light source. But you may be able to work around this by setting a slower shutter speed (thanks to ths in the comments for this suggestion). You will likely need a tripod then though.&lt;/p&gt;&#xA;" OwnerUserId="22258" OwnerDisplayName="LPChip" LastActivityDate="2018-05-15T18:36:35.537" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="24057" PostTypeId="2" ParentId="24055" CreationDate="2018-05-15T15:20:17.117" Score="1" Body="&lt;p&gt;As @LPChip said, LEDs flicker at a high rate. This rate is equal to twice the frequency of your powerline (afaik, 50Hz in Europe, 60Hz in USA). If your exposure time is a few times the flicker rate, you'll have no trouble. Also possible is a exposure time of &lt;em&gt;exactly&lt;/em&gt; a low multiple of the flicker frequency (so if your power is using 60 Hz, you can safely use 1/120 s or 1/60 s). For video, I'm not sure how to deal with the flicker, but a frame rate of exactly the power frequency might work. (if you use a framerate even slightly different from the net frequency, you'll catch a different phase of the light cycle at each image, so some frames will get full light, some will catch the full dark period, and the others will be somewhere in between.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;hr&gt;&#xA;The differences you noticed between different lamps can have a few causes.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One is the driver needed to transform the incoming alternating current into direct current. More expensive circuits can remove the pulsing that remains after the initial transformation of the alternating current.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another might be related to the composition of the lamp: white leds are actually (blue?) LEDS within a (fluorescent) material that converts part of the LED light to  longer wavelengths (green, yellow, and red light). If that material shows some phosphorescence, the lamp will continue emitting light for a short time (ms or µs) after the LED &quot;switches off&quot;. That can diminish the flickering.&lt;/p&gt;&#xA;" OwnerDisplayName="remco" LastActivityDate="2018-05-15T15:20:17.117" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24058" PostTypeId="2" ParentId="24055" CreationDate="2018-05-15T16:18:36.223" Score="11" Body="&lt;p&gt;Cheap (to make) LED lights will flicker at twice the mains frequency. There are many ways of overcoming this in the design of lights, such as using a larger smoothing capacitor (which makes the light bulky), using a dedicated progressive LED driver IC (which turns off some of the LEDs but not all of them, so the light dims rather than going out every half cycle) or using a switched mode converter at a higher frequency (which is more complex than the more common capacitive dropper, but allows dimming - adjustable LED panels sold for use in photography will have this technology). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Put a different bulb in the lamp, such as the one that's in your bedside lamp. Generally the more expensive and branded ones will have better smoothing circuitry.&lt;/p&gt;&#xA;" OwnerUserId="22304" OwnerDisplayName="Pete Kirkham" LastEditorUserId="22304" LastEditDate="2018-05-22T14:54:25.220" LastActivityDate="2018-05-22T14:54:25.220" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24059" PostTypeId="2" ParentId="24055" CreationDate="2018-05-15T16:35:22.827" Score="1" Body="&lt;p&gt;Yes, this is a shutter speed issue. Or rather it's your camera getting (almost) in sync with the flicker of your lamp. LED and fluorescent lamps (either CFLs or the longer tubes) only produce light for instants within any given second. Good old-fashioned incandescent bulbs also flicker, but the thermal inertia in the wire means that the degree of flicker will be much reduced and will barely be noticeable in many photos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The solution is easy - either change the bulb in your desk lamp, or choose a smaller aperture &amp;amp; longer exposure for your shots. Do experiment, but something like 1/30th or 1/15th second exposure should mean that the illumination flicker is eliminated. If you need to be hand-held, then consider a high-frequency bulb. That would then allow you to have a shorter exposure time.&lt;/p&gt;&#xA;" OwnerDisplayName="John Smith" LastActivityDate="2018-05-15T16:35:22.827" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24060" PostTypeId="2" ParentId="24055" CreationDate="2018-05-15T17:27:22.930" Score="0" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;Everytime I point a digital camera of some sort (webcam, phone, camcorder...) at my LED desk lamp or its light reflected off an object (only if the object is very reflective and/or near the lamp), I see some scrolling black lines that shift thickness and scrolling speed as I change white balance.&lt;/p&gt;&#xA;&lt;p&gt;What is the cause of this?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Pulse-width_modulation&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;Pulse width modulation.&lt;/strong&gt;&lt;/a&gt; A common way to vary the brightness of LED lights is to turn them on and off rapidly. The &lt;em&gt;duty cycle&lt;/em&gt;, or the percentage of time when the light is on, determines the brightness. I assume that when you say you're changing the &amp;quot;white balance,&amp;quot; you mean that you're actually adjusting the lamp and not the camera. Decreasing the brightness of the lamp will result in wider black bars because the lamp spends more time off.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Finally, my bedside lamp - also LED - creates no such phenomenon.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;The difference may simply be that your bedside lamp isn't dimmable, and so always runs at full brightness and, effectively, 100% duty cycle.&lt;/p&gt;&#xA;&lt;p&gt;Another difference may be in the way your bedside lamp is powered compared to your desk and ceiling lights. High-power LEDs are typically powered with a constant current driver, which prevents too much current from flowing through the LED modules and causing them to overheat. Lower-power LEDs, like those found in strip lights or lamps that use dozens of small LEDs instead of a few large ones, can be powered with constant voltage drivers instead. In this case, a current-limiting resistor or just the combined internal resistance of a number of LEDs powered in series can limit the amount of current that flows and keep the LEDs from overheating. So, your bedside lamp might use a constant voltage driver (or even just a battery) that doesn't work by turning the light off part of the time.&lt;/p&gt;&#xA;" OwnerUserId="22261" OwnerDisplayName="Caleb" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2018-05-15T17:27:22.930" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24061" PostTypeId="2" ParentId="24055" CreationDate="2018-05-15T17:52:52.507" Score="4" Body="&lt;p&gt;LEDs are a very fast reacting light source, far faster reacting than incandescents or even flouresecents. So if the current through the LED varies rapidly the light output will vary equally rapidly. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cameras often have a &quot;rolling shutter&quot;. Different parts of the frame are captured at different times. So time variation in the lighting becomes spacial variation in the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are several different possible causes of rapid variation in LED drive current and hence light output.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Some very cheap LED lights just rectify the mains and feed is straight to the LEDs. &lt;/li&gt;&#xA;&lt;li&gt;Some LED drivers use the LEDs themselves as the diodes in a switched-mode converter.&lt;/li&gt;&#xA;&lt;li&gt;Some LED lights use pulse width modulation to adjust the brightness. Due to implementation even with the brightness control set to it's maximum value the on-time may not be quite 100%.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Personally of the three possible causes I think you are dealing with number 3. The reason I think this is that the lines are very hard edged. With mains-derived flicker I would expect to see a gradual ramp up and down. With switchmode converter derived flicker I would expect to see a sharp transition from black to full brightness followed by a gradual fade out.&lt;/p&gt;&#xA;" OwnerUserId="22267" OwnerDisplayName="Peter Green" LastActivityDate="2018-05-15T17:52:52.507" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24062" PostTypeId="2" ParentId="24055" CreationDate="2018-05-15T20:26:22.887" Score="0" Body="&lt;p&gt;Creating an answer as I don't have enough rep. to add to another answer...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issue is that the LEDs are flickering, either at 2x mains frequency, or at a (probably much higher) PWM speed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The solution is either to use another light source, or to &lt;strong&gt;alter the frame rate of your camera – not the shutter speed&lt;/strong&gt;. I encountered this issue a while ago on a laptop screen which flickered at 60fps. Unfortunately, my main cameras weren't capable of 30fps frame rate, only 24, 25, or 29.97. Another camera offered a true 30fps, and problem solved. Similarly, lots of lights in the UK flicker at 50 or 100Hz; setting the camera to any multiple of 50Hz (25, 50, even 200 for slow-motion) solves this.&lt;/p&gt;&#xA;" OwnerDisplayName="Dan" LastActivityDate="2018-05-15T20:26:22.887" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24064" PostTypeId="2" ParentId="24053" CreationDate="2018-05-16T15:34:43.830" Score="0" Body="&lt;p&gt;Can you give us the codec informations from your video file using &lt;a href=&quot;https://mediaarea.net/fr/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;mediainfo&lt;/a&gt; or FFMPEG ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As Premiere Pro plays well the video, you can export it to a lossless format such as Apple ProRes and then re-open it in After Effect.&lt;/p&gt;&#xA;" OwnerUserId="21603" LastActivityDate="2018-05-16T15:34:43.830" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24065" PostTypeId="2" ParentId="24053" CreationDate="2018-05-16T17:35:32.147" Score="0" Body="&lt;p&gt;Strange. You could try installing K Lite Codec Pack. Reboot&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I’d also clear your Media Cache. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-05-16T17:35:32.147" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24066" PostTypeId="2" ParentId="24045" CreationDate="2018-05-16T17:47:25.067" Score="2" Body="&lt;p&gt;If you’re going wired, you’re going to be limited to roughly 25 feet before you need to reclock the signal. HDMI simply isnt designed for long runs. There are 50’ cables out there, my experience is their performance is spotty. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could go with a Wireless Solution HDMI solution. I recommend the Nyrius line of transmitters/receivers which you can buy on Amazon. The Pro version is roughly $300 and you can get a solid HD signal to reach 100+ feet line of sight. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise, buy the Black Magic Design converters, one to convert HDMI to HD-SDI and one to convert HD-SDI to HDMI and run a long BNC cable. That solution will give you 300 Feet. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need longer, do same as HD-SDI concept but do Fiber LCLC instead. you can run it 25 Miles. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-05-16T17:47:25.067" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24067" PostTypeId="1" CreationDate="2018-05-16T17:51:33.613" Score="1" ViewCount="506" Body="&lt;p&gt;I have a project with two video clips, made with smartphone, one is horizontally aligned and the other vertically aligned.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want my project to be horizontally aligned (landscape), but I can't find where to set it, and I don't know why kdenlive set my project settings according to my second video clip, the one that is vertically aligned (portrait). Therefore my landscape video is now cropped.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rMCYd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rMCYd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How to set the project (project, not clip) video orientation, landscape ou portrait?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I went to project settings and it didn't help, since it is already 16x9&lt;/p&gt;&#xA;" OwnerUserId="22265" LastActivityDate="2018-05-16T17:51:33.613" Title="kdenlive - select project video orientation" Tags="|kdenlive|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24068" PostTypeId="1" CreationDate="2018-05-16T19:06:25.187" Score="0" ViewCount="2349" Body="&lt;p&gt;I'm new in programming, I have some movies and want to convert them to hevc format to reduce storage space but keep quality video, i tried with my code through ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;**&lt;code&gt;for %b in (*.mp4) DO ffmpeg -y -i &quot;%b&quot; -r 30 -g 50000 -q 22  -filter:v scale=650:-1 -c:v libx264 -c:a aac -b:a 320k -ar 96000 -f hevc -pix_fmt yuv420p -b:v 10500k -strict experimental -shortest -x264-params -lossless 1 -tag:v hvc1 -movflags +faststart -threads 4 &quot;output\%%~nb.hevc&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://pastebin.com/raw/6HAurdFz&amp;quot;https://pastebin.com/raw/6HAurdFz&amp;quot;&quot; rel=&quot;nofollow noreferrer&quot;&gt;Raw in pastebin&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(The directory I tested: &lt;a href=&quot;https://secufiles.com/i54x/MyTest.rar&amp;quot;https://secufiles.com/i54x/MyTest.rar&amp;quot;&quot; rel=&quot;nofollow noreferrer&quot;&gt;secufiles&lt;/a&gt;!&#xA;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried changing a lot of code but the result is still the same, the video only has images without sound, ffmpeg says me: &quot;-qscale is ignored, -crf is recommended.&quot;, Please help me Or give me an idea for this code.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am really grateful for any help from you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you very much.&lt;/p&gt;&#xA;" OwnerUserId="22266" LastActivityDate="2022-11-02T16:15:38.620" Title="FFMPEG - The result of converting video to hevc format lost audio (video only)" Tags="|video|ffmpeg|audio|hevc|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24069" PostTypeId="2" ParentId="24068" CreationDate="2018-05-16T19:28:48.177" Score="2" Body="&lt;p&gt;There is so much wrong with your command that it would take too long to list every issue. It will be simplest to just provide a corrected command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c:v libx265 -crf 28 -c:a aac -b:a 128k -filter:v &quot;scale=650:-2,format=yuv420p&quot; -tag:v hvc1 -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;If the input audio is already AAC consider stream copying with &lt;code&gt;-c:a copy&lt;/code&gt; instead of re-encoding.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Depending on the input format this may not be worth the time, energy, and effort. Results may not be satisfactory if you are re-encoding lossy content. The artifacts present in the input can complicate the compression and result in a higher than expected file size and/or lower than expected quality.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For more info see:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.265&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki: H.265&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/AAC&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki: AAC&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2018-05-16T19:28:48.177" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24070" PostTypeId="1" CreationDate="2018-05-17T08:10:18.677" Score="0" ViewCount="52" Body="&lt;p&gt;Instead of its key purpose, can I apply that effect (the effect we get when applied to a face) to other objects as well? If I can't do that with this method, is there an another way? &#xA;Thanks in advance&lt;/p&gt;&#xA;" OwnerUserId="14021" LastActivityDate="2018-05-17T08:10:18.677" Title="Morph cut anything in Premiere" Tags="|premiere|transitions|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24073" PostTypeId="2" ParentId="24053" CreationDate="2018-05-17T09:59:13.170" Score="0" Body="&lt;p&gt;Don't know why it's not working.  But for a quick fix, I'd transcode the video in Premiere to 1920x1080 ProRes 422 and see if that works in After Effects.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-05-17T09:59:13.170" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24074" PostTypeId="1" AcceptedAnswerId="24075" CreationDate="2018-05-17T10:15:07.160" Score="0" ViewCount="58" Body="&lt;p&gt;Videos usually are described by a set of parameters including: &lt;code&gt;bit rate&lt;/code&gt;, &lt;code&gt;frame rate&lt;/code&gt;, &lt;code&gt;width &amp;amp; height&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I came to realize that there are more parameters including &lt;code&gt;B-frames&lt;/code&gt; and &lt;code&gt;I frames&lt;/code&gt; (or I guess they are the KEY-FRAMES).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I noticed that they exist when I was working on a custom video capturing technique in which I have the ability to control how often they appear in terms of seconds, so they are either 1 sec away from each other or 2 sec away or 3.....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But some weird things happened when I tried to change the appearance of these frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;First case:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I encoded a video with (2 sec or 1 between I Frames) I got a video that doesn't seek well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now If I try to merge the encoded video with an equal length audio file for some reason when I seek forward or backward I see black screen before I seek to the requested frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Second case:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I encoded a video with (0 sec between I frames) I got a video that seeks fine, but for some reason the size increased.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now if I try to merge the encoded video with audio of equal length I get a video mixed with audio that works well and seeks well with no black screen on seeking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are I frames?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why do they affect seek behavior?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why do they affect the merging of video with audio?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why do they affect the size of the video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="22269" LastActivityDate="2018-05-17T12:01:45.050" Title="Video: What are I-frames and why do they affect the size of the video?" Tags="|video|keyframes|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24075" PostTypeId="2" ParentId="24074" CreationDate="2018-05-17T12:01:45.050" Score="0" Body="&lt;p&gt;You should do some research about GOPs ( Group of Pictures ) to find the definition of I frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will answer the second and fourth question as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In generall, the more I frames a GOP has:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;the better is the seeking qualitiy. (If the seek lands to a non I frame, it takes ressources to calculate the frame. To avoid this, sometimes seeking is only possible from one I frame to another)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;the bigger is the video ( as I frames are saved as full frames )&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The GOP has usually no effect on sound, but the codec does.&lt;/p&gt;&#xA;" OwnerDisplayName="user21266" LastActivityDate="2018-05-17T12:01:45.050" CommentCount="16" ContentLicense="CC BY-SA 4.0" />
  <row Id="24076" PostTypeId="1" AcceptedAnswerId="24077" CreationDate="2018-05-17T13:02:00.500" Score="1" ViewCount="1070" Body="&lt;p&gt;I have two below command that is works perfectly for this question but how to work with one command?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Commands:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i audio.mp3 -filter_complex \&#xA;&quot;[0:a][1:a]amerge=inputs=2[a]&quot; \&#xA;-map 0:v -map &quot;[a]&quot; -c:v copy -c:a libvorbis -ac 2 -shortest output.mp4&#xA;&#xA;&#xA;ffmpeg -i audio.mp3 -af &quot;volume=150:enable='between(t,10,20)'&quot; audiochange.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="22182" LastActivityDate="2018-05-17T13:10:10.627" Title="how to change volume of audio at specific time in audio and add that audio to video(with audio) using ffmpeg command?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24077" PostTypeId="2" ParentId="24076" CreationDate="2018-05-17T13:10:10.627" Score="0" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i audio.mp3 -filter_complex \&#xA;&quot;[1:a]volume=150:enable='between(t,10,20)'[1a];[0:a][1a]amerge=inputs=2[a]&quot; \&#xA;-map 0:v -map &quot;[a]&quot; -c:v copy -c:a libvorbis -ac 2 -shortest output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-05-17T13:10:10.627" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24079" PostTypeId="2" ParentId="16697" CreationDate="2018-05-17T20:07:46.507" Score="2" Body="&lt;p&gt;You can capture a live-view feed from your USB-connected Canon DSLR with gphoto2 (param: --capture-movie). The biggest limitation here is that the resulting mjpeg stream resolution is 1056x704, and that's the highest possible quality via USB. This mjpeg stream can be piped to ffmpeg. As an alternative, you could get yourself an USB&amp;lt;&gt;Mini-HDMI recording dongle (e.g. &quot;Elgato Cam Link&quot;), this will give you a FullHD (1920x1080) resolution and you can use your Canon DSLR like any USB webcam, which can also be piped to ffmpeg.&lt;/p&gt;&#xA;" OwnerDisplayName="user12120" LastActivityDate="2018-05-17T20:07:46.507" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24080" PostTypeId="1" CreationDate="2018-05-18T01:21:10.817" Score="0" ViewCount="104" Body="&lt;p&gt;I am a teacher and I am trying to sync my slideshow presentation to a video of me speaking about the slideshow presentation. I'm trying to make it so that the presentation takes up most of the screen, and the recorded video of me speaking takes up a corner just outside of the slideshow area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a Mac, so any suggestions with mac-based programs would be preferable. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="22276" LastActivityDate="2024-03-20T22:01:10.113" Title="How to make a video presentation with a video of the slideshow and a video of me speaking in the corner?" Tags="|video|video-editor|editing|mac|presentation|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24081" PostTypeId="1" AcceptedAnswerId="24083" CreationDate="2018-05-18T02:44:07.720" Score="1" ViewCount="624" Body="&lt;p&gt;I'm not good with this stuff, so please dumb things down as much as humanly possible and assume that what I type is probably all i know about ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Okay so I rendered a 1080p video as thousands of 16 bit png images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to take these images and create a 10 bit h.264 video file with either a matroska or avi container. I'll need to add in a .wav file as the sound without re-encoding as well. I'm guessing I can just use this command at any time to do so after its in mkv format in this example:&#xA;ffmpeg -i original.mkv -i audio.wav -c copy output.mkv&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So this is what I have so far: Note I have no idea what the input for PNG images is so I just left it as &quot;input&quot; as you see below. When I do the command below on a normal video file it uses 8 bit. So I need to know the command to specify 10 bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i input -c:v libx264 -preset veryslow -crf 0 output.mkv&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ORRkg.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ORRkg.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Bm8BL.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Bm8BL.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;(1) ffmpeg -i input.mkv -i audio.wav -c copy output.mkv &#xA;(2) ffmpeg -i input.mkv -i audio.wav -acodec copy output.mkv&#xA;(3) ffmpeg -i input.mkv -i audio.wav -c:a copy output.mkv &#xA;(4) ffmpeg -i input.mkv -i audio.wav -vcodec libx264 -acodec copy output.mkv &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Which of these 4 is the best to use if I JUST want to combine video with audio without re-encoding? or is there an even better one to use?I was told -acodec copy is necessary to ensure it doesn't re-encode, but others have told me differently. should I use -acodec copy instead of -c:a copy?&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="21882" LastEditDate="2018-05-19T04:53:46.127" LastActivityDate="2018-05-19T04:53:46.127" Title="How to make PNG video render into 10bit h.264 matroska/avi file?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24082" PostTypeId="2" ParentId="24080" CreationDate="2018-05-18T07:05:36.330" Score="0" Body="&lt;p&gt;Preferable depends... But possibilities are for example: MacOS offers the App iMovie which is available with no further cost. For more professional video editing you can use e.g. Adobe Premiere or Final Cut, but then you need to pay and you need much more effort doing research to get familiar with it. To sync two videos and the iMovie App will be fine.&lt;/p&gt;&#xA;" OwnerDisplayName="user21266" LastActivityDate="2018-05-18T07:05:36.330" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24083" PostTypeId="2" ParentId="24081" CreationDate="2018-05-18T07:24:42.920" Score="0" Body="&lt;p&gt;You can use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i %04d.png -i audio.wav -c:v libx264 -crf 0 -c:a copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;%04d.png&lt;/code&gt; represents the pattern for the image filenames. The &lt;code&gt;%&lt;/code&gt; is a prefix indicating a numbering pattern is specified afterwards. &lt;code&gt;04&lt;/code&gt; represents a 4 character pattern, padded with zeros as necessary. &lt;code&gt;d&lt;/code&gt; indicates that the characters are numbers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The particular filename pattern captured in &lt;code&gt;%04d.png&lt;/code&gt; is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;0001.png&#xA;0002.png&#xA;0003.png&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If instead they are &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;1.png&#xA;2.png&#xA;3.png&#xA;...&#xA;999.png&#xA;...&#xA;9999.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;you would supply &lt;code&gt;%d.png&lt;/code&gt; i.e. no padding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it's&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;myimages_00001.png&#xA;myimages_00002.png&#xA;myimages_00003.png&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;you would use &lt;code&gt;myimages_%05d.png&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-05-18T07:24:42.920" CommentCount="12" ContentLicense="CC BY-SA 4.0" />
  <row Id="24085" PostTypeId="1" AcceptedAnswerId="24091" CreationDate="2018-05-18T10:59:29.647" Score="0" ViewCount="3319" Body="&lt;p&gt;I run below command for this question that is working and give output file in mp4 but that file is not open in QuickTime Player but open in VLC Player and not open in other PC also.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Command:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i EnergyVideo.mp4 -i EnergyAudio.mp3 -filter_complex \&#xA;&quot;[1:a]volume=enable='between(t,27,33)':volume=0, volume=enable='between(t,38,42)':volume=0[1a];[0:a][1a]amerge=inputs=2[a]&quot; \&#xA;-map 0:v -map &quot;[a]&quot; -c:v copy -c:a libvorbis -ac 2 -shortest energyvideooutput2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Output file Log:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.0 Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with Apple LLVM version 9.0.0 (clang-900.0.39.2)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/4.0 --enable-shared --enable-pthreads --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-gpl --enable-libfreetype --enable-libmp3lame --enable-libvorbis --enable-libx264 --enable-libxvid --enable-opencl --enable-videotoolbox --disable-lzma&#xA;  libavutil      56. 14.100 / 56. 14.100&#xA;  libavcodec     58. 18.100 / 58. 18.100&#xA;  libavformat    58. 12.100 / 58. 12.100&#xA;  libavdevice    58.  3.100 / 58.  3.100&#xA;  libavfilter     7. 16.100 /  7. 16.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  1.100 /  5.  1.100&#xA;  libswresample   3.  1.100 /  3.  1.100&#xA;  libpostproc    55.  1.100 / 55.  1.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'EnergyVideo.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.83.100&#xA;  Duration: 00:00:42.03, start: 0.000000, bitrate: 9889 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1280x720 [SAR 1:1 DAR 16:9], 9779 kb/s, 30 fps, 30 tbr, 19200 tbn, 38400 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 101 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;Input #1, mp3, from 'EnergyAudio.mp3':&#xA;  Metadata:&#xA;    TCM             : Jimmy Tran&#xA;    TT1             : This video is about ENERGY Track #1 Clip 1&#xA;    title           : ENERGY Track #1 Clip 1&#xA;    encoded_by      : iTunes 9.1&#xA;  Duration: 00:00:42.27, start: 0.000000, bitrate: 258 kb/s&#xA;    Stream #1:0: Audio: mp3, 44100 Hz, stereo, fltp, 258 kb/s&#xA;Stream mapping:&#xA;  Stream #0:1 (aac) -&amp;gt; amerge:in0&#xA;  Stream #1:0 (mp3float) -&amp;gt; volume&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  amerge -&amp;gt; Stream #0:1 (libvorbis)&#xA;Press [q] to stop, [?] for help&#xA;[Parsed_amerge_2 @ 0x7fe0db617100] No channel layout for input 1&#xA;[Parsed_amerge_2 @ 0x7fe0db617100] Input channel layouts overlap: output layout will be determined by the number of distinct input channels&#xA;Output #0, mp4, to 'energyvideooutput.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.12.100&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1280x720 [SAR 1:1 DAR 16:9], q=2-31, 9779 kb/s, 30 fps, 30 tbr, 19200 tbn, 19200 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1: Audio: vorbis (libvorbis) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp (default)&#xA;    Metadata:&#xA;      encoder         : Lavc58.18.100 libvorbis&#xA;frame=  711 fps=0.0 q=-1.0 size=   29696kB time=00:00:23.63 bitrate=10293.5kbitsframe= 1261 fps=0.0 q=-1.0 Lsize=   50650kB time=00:00:41.96 bitrate=9886.9kbits/s speed=45.8x&#xA;video:50177kB audio:415kB subtitle:0kB other streams:0kB global headers:4kB muxing overhead: 0.114199%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Thank You.&lt;/p&gt;&#xA;" OwnerUserId="22182" LastEditorUserId="1871" LastEditDate="2018-05-19T06:17:08.077" LastActivityDate="2018-05-19T06:18:49.633" Title="merge audio and video(having audio) using ffmpeg command" Tags="|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24086" PostTypeId="1" CreationDate="2018-05-18T16:20:15.703" Score="2" ViewCount="175" Body="&lt;p&gt;I want to write software which peforms a pan, zoom, rotate, and resample on a 3840x2160 input video, yielding a 960x540 output video. I have an keyframe data file, exported from Adobe After Effects, which specifies the pans, zoom, and rotate actions I want, in terms of key frames. I could let Adobe After Effects render the output video, but instead I want my own software to do this part.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The file looks like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Adobe After Effects 8.0 Keyframe Data&#xA;&#xA;    Units Per Second    29.97&#xA;    Source Width    3840&#xA;    Source Height   2160&#xA;    Source Pixel Aspect Ratio   1&#xA;    Comp Pixel Aspect Ratio 1&#xA;&#xA;Transform   Scale&#xA;    Frame   X percent   Y percent   Z percent   &#xA;    0   200 200 0   &#xA;    150 300 300 0   &#xA;Transform   Anchor Point&#xA;    Frame   X pixels    Y pixels    Z pixels    &#xA;        1920    1080    0   &#xA;&#xA;Transform   Position&#xA;    Frame   X pixels    Y pixels    Z pixels    &#xA;    0   480 270 0   &#xA;    150 -4800.88    2356.12 0   &#xA;&#xA;Transform   Rotation&#xA;    Frame   degrees &#xA;    150 30  &#xA;&#xA;End of Keyframe Data&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I don't understand the algebraic relationship between pixel coordinates in the input video frame and pixel coordinates in the output video frame, in terms of the keyframe data in this file. I understand translate, scale, and rotate operations in the abstract, as linear transformations. I don't understand, for example, if the &lt;code&gt;Transform Position&lt;/code&gt; values are absolute or relative motions, or how they are affected by the &lt;code&gt;Transform Scale&lt;/code&gt; values, or if they are in terms of input frame coordinates or output frame coordinates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realise that the actual transformation is based on per-frame values interpolated between these keyframes. I think that's not a problem for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the algebraic relationship between pixel coordinates relative to the input video frame, and pixel coordinates relative to the output frame, for a frame described by the keyframe, given the width and height of input and output, and the values in the Adobe After Effects Keyframe Data file?&lt;/p&gt;&#xA;" OwnerUserId="21887" LastActivityDate="2024-03-19T03:09:06.170" Title="What is algebraic effect of transforms in Adobe After Effects Keyframe Data file?" Tags="|after-effects|animation-rendering|keyframes|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24087" PostTypeId="1" CreationDate="2018-05-18T16:20:29.363" Score="2" ViewCount="151" Body="&lt;p&gt;Im trying to do an expression to my object. I want to make him come out from the side to center. I searched a lot but I didnt find any expression. I can do it with keyframes but I need expression only. &#xA;Please, can someone help me with expression?&lt;/p&gt;&#xA;" OwnerUserId="22280" LastActivityDate="2018-05-21T21:31:33.503" Title="position expression" Tags="|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24088" PostTypeId="1" CreationDate="2018-05-18T16:41:15.033" Score="2" ViewCount="867" Body="&lt;p&gt;I have recorded over-the-air digital TV broadcasts from my own antenna.  Due to reception blips, the MPEG-TS file can have corrupted packets, and thus corrupted timestamps, in the middle of a recording.  These timestamp problems cause A/V de-synchronization during transcoding, even with -async and -vsync flags.  -fflags +discardcorrupt gets rid of some of the corrupted timestamps, but not all of them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've poured a LOT of effort into trying to fix these recordings such that A/V de-synchronization doesn't happen.  I've developed several methods that work to varying degrees of satisfaction, but I'm still looking to develop a better way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what I want to do: I want to use ffmpeg -fflags +discardcorrupt and -codec copy to copy streams that completely preserves timestamps, even non-monotonous timestamps, so that I can later develop methods to further correct the timestamps.  Essentially, I want to take advantage of +discardcorrupt, but preserve the remaining bad timestamps so I can go back later and deal with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So here's my question:&#xA;&lt;strong&gt;Is there a container format, possibly coupled with ffmpeg options, I can use where I can copy A/V streams such that non-monotonous timestamps are completely preserved, where ffmpeg doesn't try to fix/guess PTS/DTS values?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="22249" LastActivityDate="2018-05-18T16:41:15.033" Title="Is there a container format in ffmpeg that supports non-monotonous timestamps?" Tags="|ffmpeg|file-formats|sync|timecode|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24091" PostTypeId="2" ParentId="24085" CreationDate="2018-05-19T06:18:49.633" Score="0" Body="&lt;p&gt;Drop the vorbis audio&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i EnergyVideo.mp4 -i EnergyAudio.mp3 -filter_complex \&#xA;&quot;[1:a]volume=enable='between(t,27,33)+between(t,38,42)'[1a];[0:a][1a]amerge=inputs=2[a]&quot; \&#xA;-map 0:v -map &quot;[a]&quot; -c:v copy -c:a aac -ac 2 -shortest energyvideooutput2.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-05-19T06:18:49.633" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24092" PostTypeId="2" ParentId="24087" CreationDate="2018-05-19T11:55:27.503" Score="1" Body="&lt;p&gt;Expressions work by returning a value to the property to which they are applied. So if you apply an expression to the position property and you put in the expression&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[1,2]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;in the expression editor, it will return the value [1,2] so that will be the position of that layer, i.e x= 1 y=2. Because the values 1 and 2 don't change, it will stay there forever.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have an expression on the position where the x value increases over time then the layer will move right. So for example if you put the expression&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[time, thisComp.height / 2]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the layer will start at [0, 540] (if the comp is 1080 px high) and move right at the rate of 1 pixel per second. For a HD frame it will reach the right side at around 1:17:20. That might be too slow, but you can use maths to adjust it. For example to make it twenty times as fast you could multiply it by 2, like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[time * 20, thisComp.height / 2]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So in the expressions editor you can see the drop-down with the available objects, properties and methods. You can use these along with the pick-whip to build up the expression to do whatever you need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might want to start looking at &lt;a href=&quot;http://motionscript.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Dan Ebbert's&lt;/a&gt; site. I can't quite believe that anyone could spend any time researching expressions and &lt;em&gt;not&lt;/em&gt; find this site in the search results.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-05-21T21:31:33.503" LastActivityDate="2018-05-21T21:31:33.503" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24093" PostTypeId="2" ParentId="24086" CreationDate="2018-05-19T12:05:43.763" Score="0" Body="&lt;p&gt;Have you tried using after effects? You can get a demo, it will give you an idea of the metaphor behind it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The position of a layer is the position of its anchor point in the comp space. The anchor point is expressed in terms of the layer space and is the point that the layer rotates around and scales from. By default the anchor point of a layer is its center. In both layer space and comp space the origin [0,0] is the top left, and increasing values move the point to the right and down. E.g. for a 1920x1080 comp / layer the point [1920,1080] is the bottom right.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-05-19T12:05:43.763" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24094" PostTypeId="2" ParentId="19673" CreationDate="2018-05-19T20:16:46.470" Score="2" Body="&lt;p&gt;A new Playstation Media Player has been released. As of version 5.0, more possibilities exist for media. At least photos worked very good so far, I watch equirectangular 360° images that I took with my Xiaomi Mi Sphere camera, stitched with the camera's software. But it didn't play any videos I tried.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I managed to watch videos that I took in 3.5k (3456x1728) with the Xiaomi Mi Sphere, stitched with the camera's software and then converted with &quot;Littlstar PSVR Encoder&quot; by Stormware: &lt;a href=&quot;http://stormwave.uk/#downloads&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://stormwave.uk/#downloads&lt;/a&gt;. It even kept the original resolution of 3456px width, but the result still doesn't look awesome. For macOS and Linux, you can try littlestar's official ffmpeg wrapper tool: &lt;a href=&quot;https://github.com/littlstar/ls-psvr-encoder&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/littlstar/ls-psvr-encoder&lt;/a&gt;, I haven't tried it so far.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Littlstar will play stereoscopic videos, too. You can read more on &quot;sideloading&quot; in Littlstar (means: Not streamed from the Littlstar cloud) here: &lt;a href=&quot;https://medium.com/@littlstarmedia/side-loading-now-available-on-the-ps-vr-app-fe362f6c3e94&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://medium.com/@littlstarmedia/side-loading-now-available-on-the-ps-vr-app-fe362f6c3e94&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used a PS4 Slim, so a PS4 Pro is not required. I dunno whether the results might be any better on a PS4 Pro.&lt;/p&gt;&#xA;" OwnerUserId="22288" LastActivityDate="2018-05-19T20:16:46.470" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24095" PostTypeId="2" ParentId="22219" CreationDate="2018-05-19T20:23:54.703" Score="0" Body="&lt;p&gt;Pinnacle Studio should be able to do this in the latest version, in Ultimate edition:&#xA;&lt;a href=&quot;https://www.pinnaclesys.com/en/landing/360video/#convert-360&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.pinnaclesys.com/en/landing/360video/#convert-360&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22288" LastActivityDate="2018-05-19T20:23:54.703" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24096" PostTypeId="2" ParentId="23440" CreationDate="2018-05-20T12:39:07.383" Score="1" Body="&lt;p&gt;The answer above answers half of your question, and yes, it is trivial for anybody who has used a non-linear editor (NLE) such as Premiere Pro, Final Cut, Resolve, etc., to do speed ramp effects.  The film &lt;a href=&quot;https://en.wikipedia.org/wiki/Koyaanisqatsi&quot; rel=&quot;nofollow noreferrer&quot;&gt;Koyaanisqatsi&lt;/a&gt; features many visual effects that include speeding up and slowing down time, which may help you better imagine the possibilities of the medium.  But NLEs are really only for off-line production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To answer your second question about doing this while actually shooting, the short answer is no, nobody has built an off-the-shelf system for doing this.  The concept of &quot;instant replay&quot; (encompassed in a system such as the &lt;a href=&quot;https://www.newtek.com/3play/425/&quot; rel=&quot;nofollow noreferrer&quot;&gt;NewTek 3Play 425&lt;/a&gt;) illustrates how live feeds and recently (immediately) recorded clips can be used together while slowing down the playback rate.  And while it's theoretically possible to speed up playback rate (subject to available content in some buffer), it's not anything anybody has tried to do.  Instead, people edit offline and present a finished product after editing.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-05-20T12:39:07.383" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24098" PostTypeId="1" AcceptedAnswerId="24099" CreationDate="2018-05-20T20:48:32.350" Score="0" ViewCount="466" Body="&lt;p&gt;I am making a home vacation video set to music. The song I selected has a BPM of 90.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want the video clips to match the beat, so for example, every time you hear the beat a new video clip begins. &lt;strong&gt;How would I determine how long the video clips should be?&lt;/strong&gt; If there is an equation I can use for other BPMs as well that would be great.&lt;/p&gt;&#xA;" OwnerUserId="15988" LastEditorUserId="14523" LastEditDate="2018-05-21T01:08:53.677" LastActivityDate="2018-05-21T01:08:53.677" Title="How long should video clips be to be in sync with a 90 BPM song?" Tags="|sync|music|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24099" PostTypeId="2" ParentId="24098" CreationDate="2018-05-20T21:33:27.710" Score="1" Body="&lt;p&gt;If you want a new image at every beat, start with the frame rate of your video. 30 frames per second gives 1800 frames per minute. Divide that by 90 to get the number of frames per beat, in this case 20. So if you change the image every 20 frames the pace will be the same. You do have to align the cuts with the beat; just matching the pace is only part of the battle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the general case:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(FPS x 60) / BPM = number of frames per beat&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2018-05-20T21:33:27.710" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24100" PostTypeId="1" CreationDate="2018-05-20T22:53:18.620" Score="3" ViewCount="140" Body="&lt;p&gt;Someone knows how to solve this?&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/A-0q8qpTbF0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/cm3nCmkrxFU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;h1&gt;Hardware:&lt;/h1&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;DRIVER: 396.24&lt;/li&gt;&#xA;&lt;li&gt;CPU: Ryzen 1700&lt;/li&gt;&#xA;&lt;li&gt;GPU: Nvidia MSI 1050 TI&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h1&gt;Settings&lt;/h1&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mLXsq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mLXsq.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22297" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2018-12-21T02:01:35.313" Title="Nvenc produces corrupted video" Tags="|linux|nvenc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24101" PostTypeId="1" AcceptedAnswerId="24106" CreationDate="2018-05-21T03:31:05.067" Score="1" ViewCount="3705" Body="&lt;p&gt;I would like to use ffmpeg, mencoder or still something free.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I cannot concatenate two videos because of different video codecs:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ mkvmerge -o merged.mkv 1.mkv \+ 2.mp4&#xA;mkvmerge v19.0.0 ('Brave Captain') 64-bit&#xA;'1.mkv': Using the demultiplexer for the format 'Matroska'.&#xA;'2.mp4': Using the demultiplexer for the format 'QuickTime/MP4'.&#xA;'1.mkv' track 0: Using the output module for the format 'MPEG-4'.&#xA;'1.mkv' track 1: Using the output module for the format 'AAC'.&#xA;'2.mp4' track 0: Using the output module for the format 'AVC/h.264'.&#xA;'2.mp4' track 1: Using the output module for the format 'AAC'.&#xA;No append mapping was given for the file no. 1 ('2.mp4'). A default mapping of 1:0:0:0,1:1:0:1 will be used instead. Please keep that in mind if mkvmerge aborts with an error message regarding invalid '--append-to' options.&#xA;Error: The track number 0 from the file '2.mp4' cannot be appended to the track number 0 from the file '1.mkv'. The formats do not match.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Output of &lt;code&gt;ffmpeg -i 1.mkv -i 2.mp4&lt;/code&gt; :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 3.4.2-2 Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with gcc 7 (Ubuntu 7.3.0-16ubuntu2)&#xA;  configuration: --prefix=/usr --extra-version=2 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-librsvg --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libavresample   3.  7.  0 /  3.  7.  0&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;Input #0, matroska,webm, from '1.mkv':&#xA;  Metadata:&#xA;    encoder         : libebml v1.3.5 + libmatroska v1.4.8&#xA;    creation_time   : 2018-05-21T03:04:06.000000Z&#xA;  Duration: 00:00:34.42, start: 0.000000, bitrate: 9455 kb/s&#xA;    Stream #0:0: Video: mpeg4 (Simple Profile) (FMP4 / 0x34504D46), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 59.94 fps, 59.94 tbr, 1k tbn, 60k tbc (default)&#xA;    Metadata:&#xA;      BPS             : 9319990&#xA;      BPS-eng         : 9319990&#xA;      DURATION        : 00:00:34.417000000&#xA;      DURATION-eng    : 00:00:34.417000000&#xA;      NUMBER_OF_FRAMES: 1758&#xA;      NUMBER_OF_FRAMES-eng: 1758&#xA;      NUMBER_OF_BYTES : 40095766&#xA;      NUMBER_OF_BYTES-eng: 40095766&#xA;      _STATISTICS_WRITING_APP: mkvmerge v19.0.0 ('Brave Captain') 64-bit&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v19.0.0 ('Brave Captain') 64-bit&#xA;      _STATISTICS_WRITING_DATE_UTC: 2018-05-21 03:04:06&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2018-05-21 03:04:06&#xA;      _STATISTICS_TAGS: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;    Stream #0:1: Audio: aac (LC), 48000 Hz, stereo, fltp (default)&#xA;    Metadata:&#xA;      BPS             : 128301&#xA;      BPS-eng         : 128301&#xA;      DURATION        : 00:00:34.410000000&#xA;      DURATION-eng    : 00:00:34.410000000&#xA;      NUMBER_OF_FRAMES: 1613&#xA;      NUMBER_OF_FRAMES-eng: 1613&#xA;      NUMBER_OF_BYTES : 551855&#xA;      NUMBER_OF_BYTES-eng: 551855&#xA;      _STATISTICS_WRITING_APP: mkvmerge v19.0.0 ('Brave Captain') 64-bit&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v19.0.0 ('Brave Captain') 64-bit&#xA;      _STATISTICS_WRITING_DATE_UTC: 2018-05-21 03:04:06&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2018-05-21 03:04:06&#xA;      _STATISTICS_TAGS: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;Input #1, mov,mp4,m4a,3gp,3g2,mj2, from '2.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.83.100&#xA;  Duration: 00:00:55.74, start: 0.000000, bitrate: 44754 kb/s&#xA;    Stream #1:0(und): Video: h264 (Constrained Baseline) (avc1 / 0x31637661), yuvj420p(pc, smpte170m/bt709/bt709), 1280x720, 44627 kb/s, SAR 1:1 DAR 16:9, 59.92 fps, 59.94 tbr, 16k tbn, 32k tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #1:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;At least one output file must be specified&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22009" LastEditorUserId="29249" LastEditDate="2022-04-03T13:42:43.617" LastActivityDate="2022-04-03T13:42:43.617" Title="How to concatenate MPEG-4 and AVC/h.264?" Tags="|ffmpeg|mp4|conversion|h.264|concatenation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24102" PostTypeId="1" CreationDate="2018-05-21T13:35:07.177" Score="2" ViewCount="7654" Body="&lt;p&gt;I'm looking to purchase a borescope, and many of them state their video quality as &quot;1200p&quot; HD.  Surprisingly, I've found &lt;em&gt;nothing&lt;/em&gt; definitive as to what that means.  The closest answer I could find was &lt;a href=&quot;https://forums.anandtech.com/threads/does-1920x1200-mean-i-have-1200p.2475572/#post-38275936&quot; rel=&quot;nofollow noreferrer&quot;&gt;this answer here on another forum&lt;/a&gt; which says &quot;As far as 1200p, most commonly I think that would be interpreted as 1920x1200&quot;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So here's the question: is it a &quot;real&quot; term, like &lt;a href=&quot;https://en.wikipedia.org/wiki/1080p&quot; rel=&quot;nofollow noreferrer&quot;&gt;&quot;1080p&quot;&lt;/a&gt;, and if so, why doesn't it have a canonical reference like the Wikipedia article for 1080p?  Does it refer to any resolutions that have 1200 lines of progressive scanning, such as 1600x1200 (4:3 aspect ratio) or 1920x1200 (16:10 aspect ratio)?  If someone only says their product is 1200p, then what resolution (and thus aspect ratio) can I assume that is? &lt;/p&gt;&#xA;" OwnerUserId="22299" LastActivityDate="2018-05-21T16:44:27.547" Title="What is 1200p HD?" Tags="|video|video-quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24103" PostTypeId="2" ParentId="24102" CreationDate="2018-05-21T16:44:27.547" Score="1" Body="&lt;p&gt;1080p is aspect ration 16:9 and 1200p is 16:10 - exactly as you wrote. You find useful information here: &lt;a href=&quot;http://www.tomshardware.co.uk/answers/id-2132850/1080p-1200p-gaming.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.tomshardware.co.uk/answers/id-2132850/1080p-1200p-gaming.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user21266" LastActivityDate="2018-05-21T16:44:27.547" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24104" PostTypeId="1" AcceptedAnswerId="24118" CreationDate="2018-05-21T19:08:02.973" Score="3" ViewCount="3677" Body="&lt;p&gt;I can't seem to find an answer to this anyplace online.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I zoom in on the Program Monitor window, there is no way for me to easily pan around the window:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tzWX0.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tzWX0.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other Adobe programs, you hold &lt;kbd&gt;Space&lt;/kbd&gt; and drag with a mouse or even just slide a finger along the Magic Mouse to change which area you're zoomed in on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there something like this in Premiere?  It's driving me nuts having to use the scroll bars manually...&lt;/p&gt;&#xA;" OwnerUserId="10892" LastActivityDate="2022-09-12T14:29:50.390" Title="Premiere Pro - How to pan around zoomed in Program Monitor" Tags="|premiere|keyboard-shortcut|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24106" PostTypeId="2" ParentId="24101" CreationDate="2018-05-21T21:27:59.480" Score="2" Body="&lt;h1&gt;concat filter&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#concat&quot; rel=&quot;nofollow noreferrer&quot;&gt;concat filter&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mkv -i 2.mp4 -filter_complex &quot;[0:v][0:a][1:v][1:a]concat=n=2:v=1:a=1[v][a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In your case it should work without needing any additional filters because the inputs match parameters such as width, height, stream types, etc.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;concat demxuer&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Alternatively you could re-encode one segment to match parameters of the other then concatenate using the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#concat-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;concat demuxer&lt;/a&gt;. Advantage is that one segment can avoid re-encoding unlike the concat filter. Disadvantage is that you have to properly match formats and parameters for it to work and it will require multiple steps.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mkv -c:v libx264 -vf format=yuvj420p -c:a copy 1b.mp4&#xA;ffmpeg -f concat -i inputs.txt -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Contents of &lt;code&gt;inputs.txt&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file &quot;1b.mp4&quot;&#xA;file &quot;2.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Also see &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki: Concatenate&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2018-05-21T21:27:59.480" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24107" PostTypeId="2" ParentId="24100" CreationDate="2018-05-21T23:11:49.410" Score="1" Body="&lt;p&gt;Ok, this is a known bug in ssrr: &lt;a href=&quot;https://github.com/MaartenBaert/ssr/issues/658&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/MaartenBaert/ssr/issues/658&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;SOLUTION:&lt;/strong&gt; You can use &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS&lt;/a&gt;, which is compatible with NVENC.&lt;/p&gt;&#xA;" OwnerUserId="22297" LastEditorUserId="22297" LastEditDate="2018-10-22T00:48:47.297" LastActivityDate="2018-10-22T00:48:47.297" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24109" PostTypeId="1" CreationDate="2018-05-22T06:11:02.900" Score="1" ViewCount="1030" Body="&lt;p&gt;I have two clips taken at the same time: one taken from a camera, one taken from an iPhone. I am going to switch between the clips to change angles, so I need to create a &quot;New Multicam Clip&quot; in Final Cut Pro X which I use for editing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is, that the clip from an iPhone for some reason is taken vertically, so I need to rotate it by 90 degrees. While it is easy to rotate a single clip back once it is on a storyline, there seems to be no option either to rotate the clip when it is in the library nor after it was combined into a multicam clip. What I get is a combination of a horizontal footage from a camera and a vertical footage from an iPhone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I:&#xA;a) either rotate the clip when it is still located in the library, so it will be horizontal when multicam clip is being created?&#xA;b) or rotate by 90 degrees only one clip (angle) of a multicam clip?&lt;/p&gt;&#xA;" OwnerUserId="22301" LastEditorUserId="22301" LastEditDate="2018-05-22T06:16:34.980" LastActivityDate="2024-03-23T11:08:41.193" Title="How to rotate a (vertical) clip for multicam in Final Cut Pro X" Tags="|multi-camera|fcpx|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24110" PostTypeId="1" CreationDate="2018-05-22T07:52:02.707" Score="0" ViewCount="32" Body="&lt;p&gt;I want to shoot open class videos that require  teacher's face and blackboard writing to be clear. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which is a better choice, a &lt;strong&gt;DSLR&lt;/strong&gt; or a &lt;strong&gt;shoulder-mounted video camera&lt;/strong&gt;?&lt;/p&gt;&#xA;" OwnerUserId="22302" LastActivityDate="2018-05-22T13:54:36.190" Title="Which is a better choice for shooting classroom teaching, a DSLR or a shoulder-mounted video camera**?" Tags="|video|camera|dslr|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24111" PostTypeId="1" AcceptedAnswerId="24117" CreationDate="2018-05-22T07:57:36.163" Score="0" ViewCount="1440" Body="&lt;p&gt;I have four commands that is working perfectly but i want only one command to do this task.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Commands:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ' . config('medialibrary.s3.domain') . '/listing_video/intro.mp4' . ' -vf &quot;drawtext=fontfile=' . storage_path('assets/video/FutuMd.ttf') . ': text=' . $this-&amp;gt;listing-&amp;gt;car-&amp;gt;name . ': x=300: y=450: fontsize=40: fontcolor=white: enable='between(t,2,5)'&quot; introfinal.mp4&#xA;&#xA;ffmpeg -i mainvideo.mp4 -i '.config('medialibrary.s3.domain').'/listing_video/EnergyAudio.mp3'.' -filter_complex &quot;[1:a]volume=enable='between(t,0,32)':volume=-10dB[1a];[0:a][1a]amerge=inputs=2[a]&quot; -map 0:v -map &quot;[a]&quot; -c:v copy -c:a aac -ac 2 -shortest mainvideooutput.mp4&#xA;&#xA;ffmpeg -i mainvideooutput.mp4 -i ' . storage_path('assets/image/vcs-watermark-video.png') . ' -filter_complex &quot;overlay=main_w-overlay_w-5:main_h-overlay_h-5&quot; -codec:a copy mainvideofinal.mp4&#xA;&#xA;ffmpeg -y -i introfinal.mp4 -i mainvideofinal.mp4  -i ' . config('medialibrary.s3.domain') . '/listing_video/outro.mp4' . ' -f lavfi -i color=black:s=1280x720:d=30 -filter_complex \&#xA;&quot;[0:v]format=pix_fmts=yuva420p,fade=t=out:st=5:d=1:alpha=1,setpts=PTS-STARTPTS[v0]; \&#xA;[1:v]format=pix_fmts=yuva420p,fade=t=in:st=0:d=1:alpha=1,fade=t=out:st=31:d=1:alpha=1,setpts=PTS-STARTPTS+6/TB[v1]; \&#xA;[2:v]format=pix_fmts=yuva420p,fade=t=in:st=0:d=1:alpha=1,setpts=PTS-STARTPTS+38/TB[v2]; \&#xA;[3][v0]overlay[over1]; \&#xA;[over1][v1]overlay[over2]; \&#xA;[over2][v2]overlay=format=yuv420[outv]; \&#xA;[0][1][2]concat=n=3:v=0:a=1[outa]&quot; \&#xA;-vcodec libx264 -map &quot;[outv]&quot; -map &quot;[outa]&quot; '.$fileName.'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="22182" LastActivityDate="2018-06-21T15:19:05.497" Title="Add text to first video, add audio and watermark to second video and then add crossfading to these two videos and one another video using one command?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24112" PostTypeId="2" ParentId="24110" CreationDate="2018-05-22T09:05:10.070" Score="2" Body="&lt;p&gt;Shoulder Mounted video camera? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think that's a little over the top, A decent 1080p or even 4k video camera (Canon, Sony, Panasonic) would give you a decent image, your main thing would be audio, you want something that would give you decent audio, a camera with a XLR input and a shotgun mic to start with and then maybe mic yourself up using a wireless kit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obvisouly this would all depend on budgets, time, amount of editing you want to do, maybe if you want to live stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other things like decent tripod, recording media, etc will affect your budget.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2018-05-22T09:05:10.070" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24113" PostTypeId="2" ParentId="24109" CreationDate="2018-05-22T10:53:15.140" Score="0" Body="&lt;p&gt;Paste the clip into the timeline, do the rotation and render it with a lossless codec. This will take much more space on the harddisk for the raw material, but will be an easy way to have both videos in the same format. If necessary, check for other format corrections to match both videos.&lt;/p&gt;&#xA;" OwnerDisplayName="user21266" LastActivityDate="2018-05-22T10:53:15.140" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24115" PostTypeId="2" ParentId="24110" CreationDate="2018-05-22T13:54:36.190" Score="0" Body="&lt;p&gt;The other problem with using a DSLR is that you have a 30 minute recording limit per video.  You don't have this with a normal video camera, assuming you have space on whatever medium you are recording to.&lt;/p&gt;&#xA;" OwnerUserId="21271" LastActivityDate="2018-05-22T13:54:36.190" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24116" PostTypeId="1" CreationDate="2018-05-22T13:56:04.593" Score="1" ViewCount="2206" Body="&lt;p&gt;Why in ffmpeg do I have VAAPI encoders but no VAAPI decoders?  I have used VAAPI encoders successfully, but would like to use VAAPI for decoding as well (specifically, mpeg2_vaapi decoding).  I build my own ffmpeg from git master branch, so am I missing configure options or libraries for decoding?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -version&#xA;ffmpeg version N-91119-g2940af9389 Copyright (c) 2000-2018 the FFmpeg developers&#xA;built with gcc 7 (Ubuntu 7.3.0-16ubuntu3)&#xA;configuration: --prefix=/usr/local --enable-shared --enable-pic --enable-rpath --extra-ldflags='-Wl,-rpath,/usr/local/lib' --enable-libx264 --enable-libx265 --enable-libxvid --enable-libvorbis --enable-nonfree --enable-gpl --enable-zlib --enable-libmp3lame --enable-libfdk-aac --enable-libv4l2 --enable-libbluray --enable-libvpx --enable-libwebp --enable-libmfx --enable-vaapi --enable-vdpau --enable-opencl&#xA;libavutil      56. 18.102 / 56. 18.102&#xA;libavcodec     58. 19.102 / 58. 19.102&#xA;libavformat    58. 14.100 / 58. 14.100&#xA;libavdevice    58.  4.100 / 58.  4.100&#xA;libavfilter     7. 24.100 /  7. 24.100&#xA;libswscale      5.  2.100 /  5.  2.100&#xA;libswresample   3.  2.100 /  3.  2.100&#xA;libpostproc    55.  2.100 / 55.  2.100&#xA;$&#xA;&#xA;$ ffmpeg -encoders 2&amp;gt;&amp;amp;1|grep _vaapi&#xA; V..... h264_vaapi           H.264/AVC (VAAPI) (codec h264)&#xA; V..... hevc_vaapi           H.265/HEVC (VAAPI) (codec hevc)&#xA; V..... mjpeg_vaapi          MJPEG (VAAPI) (codec mjpeg)&#xA; V..... mpeg2_vaapi          MPEG-2 (VAAPI) (codec mpeg2video)&#xA; V..... vp8_vaapi            VP8 (VAAPI) (codec vp8)&#xA; V..... vp9_vaapi            VP9 (VAAPI) (codec vp9)&#xA;$&#xA;&#xA;$ ffmpeg -decoders 2&amp;gt;&amp;amp;1|grep _vaapi&#xA;$ &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22249" LastActivityDate="2018-05-22T13:56:04.593" Title="Why in ffmpeg do I have VAAPI encoders but no VAAPI decoders?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24117" PostTypeId="2" ParentId="24111" CreationDate="2018-05-22T15:03:20.187" Score="1" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i intro.mp4 -i mainvideo.mp4 -i outro.mp4 -i EnergyAudio.mp3 \&#xA;       -i vcs-watermark-video.png \&#xA;       -filter_complex \&#xA;&quot;[0:v]drawtext=...,fade=t=out:st=5:d=1,setpts=PTS-STARTPTS[v0]; \&#xA; [1:v][4]overlay=W-w-5:H-h-5,fade=t=in:st=0:d=1,fade=t=out:st=31:d=1,setpts=PTS-STARTPTS[v1]; \&#xA; [2:v]fade=t=in:st=0:d=1,setpts=PTS-STARTPTS[v2]; \&#xA; [3:a]volume=enable='between(t,0,32)':volume=-10dB[3a];[1:a][3a]amerge=inputs=2,pan=stereo[maina]; \&#xA; [v0][0][v1][maina][v2][2]concat=n=3:v=1:a=1[outv][outa]&quot; \&#xA;       -vcodec libx264 -c:a aac -ac 2 -map &quot;[outv]&quot; -map &quot;[outa]&quot; '.$fileName.'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-05-22T15:03:20.187" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24118" PostTypeId="2" ParentId="24104" CreationDate="2018-05-22T15:28:13.447" Score="2" Body="&lt;p&gt;I figured it out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Press &lt;kbd&gt;H&lt;/kbd&gt; to switch to the Hand Tool, then you can drag the viewport around&lt;/p&gt;&#xA;" OwnerUserId="10892" LastActivityDate="2018-05-22T15:28:13.447" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24120" PostTypeId="1" AcceptedAnswerId="24123" CreationDate="2018-05-22T19:03:48.873" Score="2" ViewCount="647" Body="&lt;p&gt;I am encoding a video with ffmpeg into H.264 stored in an FLV container. I would like to be able to trim segments of this video out as it is still encoding. The video contains no audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am encoding the video like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i recording.mp4 -c libx264 output.flv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And I'm attempting to trim the video with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i output.flv -ss 00:00:00.000 -t 00:00:01.000 -c copy output2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;While the video is still encoding, I see this error when I try to trim:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Output file is empty, nothing was encoded (check -ss / -t / -frames parameters if used)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Also while encoding, using ffprobe, I get information like the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Duration: 00:00:26.96, start: 0.080000, bitrate: 126 kb/s&#xA;  Stream #0:0: Video: h264 (High), yuv420p, 640x480, 25 fps, 25 tbr, 1k tbn, 50 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can I go about trimming this file while it's still encoding? I am willing to change container formats from flv to something else if needed. Ultimately, I need to be in mp4, but I don't mind doing some container shuffling to allow me to trim out portions while still encoding. &lt;/p&gt;&#xA;" OwnerUserId="22306" LastActivityDate="2018-05-23T05:20:13.420" Title="Trim a segment of live, still-encoding H.264/FLV with ffmpeg" Tags="|ffmpeg|mp4|live|libx264|flash|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="24123" PostTypeId="2" ParentId="24120" CreationDate="2018-05-23T05:20:13.420" Score="2" Body="&lt;p&gt;Keep FLV but trim using demuxer seek and duration.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:00:03.000 -t 00:00:01.000 -i output.flv -c copy output2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Also, skip &lt;code&gt;-ss&lt;/code&gt; if it's &lt;code&gt;0&lt;/code&gt; i.e. stream start.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-05-23T05:20:13.420" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24124" PostTypeId="1" AcceptedAnswerId="24126" CreationDate="2018-05-23T06:29:01.880" Score="3" ViewCount="1911" Body="&lt;p&gt;One of those videos lower resolution, another one is higher&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay.exe -i [PATHTOFILE][org] -i[PATHTOFILE][enc];\&#xA;[org][enc]blend=all_mode=difference&quot;enter code here&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but i got error &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    No such filter: [filename1][org][filename2][enc];&#xA;[org][enc]blend=all_mode=difference: Invalid argument&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I Just want to compare my videos utilizing &lt;strong&gt;FFPLAY&lt;/strong&gt; with many inputs to save some memory.&lt;/p&gt;&#xA;" OwnerUserId="21776" LastActivityDate="2018-05-23T13:16:45.587" Title="I want to compare two video files using FFPLAY" Tags="|ffmpeg|video-editor|signal-processing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24126" PostTypeId="2" ParentId="24124" CreationDate="2018-05-23T06:57:54.070" Score="1" Body="&lt;p&gt;ffplay is designed to play a single input. So, a workaround is needed.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f lavfi &quot;movie=org[a];movie=enc[b];[a][b]blend=all_mode=difference&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;A filtergraph is created and movie source filters used to open the files, then blended.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-05-23T13:16:45.587" LastActivityDate="2018-05-23T13:16:45.587" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="24127" PostTypeId="2" ParentId="5749" CreationDate="2018-05-23T07:09:49.813" Score="1" Body="&lt;p&gt;Yes this will work fine. Many people prefer the longer plates because it allows you to balance a long lens. &lt;/p&gt;&#xA;" OwnerUserId="5125" LastActivityDate="2018-05-23T07:09:49.813" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24128" PostTypeId="2" ParentId="24109" CreationDate="2018-05-23T14:16:12.613" Score="0" Body="&lt;p&gt;I think you can do this without having to transcode your footage. Create the multicam clip with both videos as-is, then double-click the multicam clip to get to the multicam editor where you can select each clip individually and make changes to their rotation etc, individually. I've put together a quick screen capture of the steps here: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/83UyqSOAPu0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="21303" LastActivityDate="2018-05-23T14:16:12.613" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24132" PostTypeId="1" AcceptedAnswerId="24141" CreationDate="2018-05-24T06:49:07.263" Score="1" ViewCount="171" Body="&lt;p&gt;I have a video that I shot for scientific purposes. I would like to measure the colour information in a single spot and export for example the RGB or CMYK values of that spot through every frame into a text file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video itself is a .MOV file which I colour-balanced with a white card. I just couldn't find any information on how to extract the information with any software. My university provides Adobe Photoshop in which I am able to open the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know a software which enables me to extract that data? Or does someone know how I can do that with Photoshop?&lt;/p&gt;&#xA;" OwnerUserId="22319" LastEditorUserId="22319" LastEditDate="2018-05-24T14:17:32.410" LastActivityDate="2018-05-25T06:17:00.767" Title="Histogram measurement in single spot" Tags="|software-recommendation|color|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24134" PostTypeId="1" CreationDate="2018-05-24T13:43:57.447" Score="1" ViewCount="440" Body="&lt;p&gt;I have couple of video files with sudden transition from black frame to blue frame, both frames have burned-in frame numbers, I would like to use ffmpeg to define the timestamp of this transition in order to automate the cutting of these files. Is there a possibility to do that. I guess I can either do it with some form of scene detection or by using OCR tool to check the frame number of the current frame and then extract the timestamp. &lt;/p&gt;&#xA;" OwnerUserId="19853" LastActivityDate="2018-08-30T09:01:59.197" Title="FFMPEG frame extraction" Tags="|video|ffmpeg|codec|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24137" PostTypeId="1" AcceptedAnswerId="24147" CreationDate="2018-05-24T20:10:02.637" Score="2" ViewCount="196" Body="&lt;p&gt;Looking for a ffmpeg command that would convert IphoneX HEVC 4K 25fps videos to any format that will work on PC - PremierePro and keep it lossless.&lt;/p&gt;&#xA;" OwnerUserId="10560" LastActivityDate="2018-10-23T09:00:39.947" Title="Loseless conversion from IphoneX HEVC for PC - PPro" Tags="|ffmpeg|standards-converter|hevc|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24138" PostTypeId="1" AcceptedAnswerId="24139" CreationDate="2018-05-24T21:04:55.073" Score="3" ViewCount="1737" Body="&lt;p&gt;If I have one or more Vegas Pro projects, sometimes I want to combine them, but just copy and paste on the timeline, even with auto ripple selected, doesn't copy the markers and regions. How can I copy all the clips, markers, and regions from one Vegas Pro project to another?&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2018-05-24T21:04:55.073" Title="How to copy markers and regions between projects in Vegas Pro" Tags="|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24139" PostTypeId="2" ParentId="24138" CreationDate="2018-05-24T21:04:55.073" Score="3" Body="&lt;p&gt;It's a little counter-intuitive that Vegas Pro will not copy/paste markers and regions, but this is doable and it's not too difficult.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the following steps to merge &lt;code&gt;project A&lt;/code&gt; with &lt;code&gt;project B&lt;/code&gt; into a new &lt;code&gt;project C&lt;/code&gt;, copying all clips, markers, and regions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Copy all the clips from &lt;code&gt;project A&lt;/code&gt; timeline.&lt;/li&gt;&#xA;&lt;li&gt;Turn on auto ripple on &lt;code&gt;project B&lt;/code&gt;. Make sure to select &lt;em&gt;&quot;All Tracks, Markers, and Regions&quot;&lt;/em&gt; in the drop down.&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/RLhsL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RLhsL.png&quot; alt=&quot;Turn on auto ripple in Vegas Pro&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Paste the clips from &lt;code&gt;project A&lt;/code&gt; (copied in step 1) at the beginning of &lt;code&gt;project B&lt;/code&gt;. All &lt;code&gt;project B&lt;/code&gt; clips, markers, and regions should have been shifted to the right. All &lt;code&gt;project A&lt;/code&gt; clips are at the beginning of the timeline on &lt;code&gt;project B&lt;/code&gt;, but the markers and regions have not been copied.&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/vRUhO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vRUhO.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Save &lt;code&gt;project B&lt;/code&gt; as a new file, &lt;code&gt;project C&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;In &lt;code&gt;project A&lt;/code&gt; go to &lt;code&gt;View &amp;gt; Window &amp;gt; Edit Details&lt;/code&gt; or type &lt;code&gt;ALT+6&lt;/code&gt;.&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/3NqVW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3NqVW.png&quot; alt=&quot;Open Edit Details in Vegas Pro&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;In the Edit Details, select Markers or Regions, whichever you want to copy, in the &quot;Show&quot; drop down.&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/BBJsv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BBJsv.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Select all the items by clicking the empty space on the header row in the first column.&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/L9syO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/L9syO.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Type &lt;code&gt;CTRL+C&lt;/code&gt; to copy the items.&lt;/li&gt;&#xA;&lt;li&gt;In &lt;code&gt;project C&lt;/code&gt; go to &lt;code&gt;View &amp;gt; Window &amp;gt; Edit Details&lt;/code&gt; or type &lt;code&gt;ALT+6&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Select Markers or Regions, whichever you copied from &lt;code&gt;project A&lt;/code&gt; in steps 6-8.&lt;/li&gt;&#xA;&lt;li&gt;Select the first empty row, then type &lt;code&gt;CTRL+V&lt;/code&gt;.&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Mxeer.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Mxeer.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Repeat steps 6-11 as needed, to copy all markers and regions, whichever you haven't done yet.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;project C&lt;/code&gt; now contains all clips, markers, and regions from &lt;code&gt;project A&lt;/code&gt; and &lt;code&gt;project B&lt;/code&gt;. Don't forget to save your work.&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/fh39k.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fh39k.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Optionally, you can re-order all the markers and regions in &lt;code&gt;project C&lt;/code&gt;. Simply select all the rows by clicking the empty space on the header row in the first column, then type &lt;code&gt;CTRL+X&lt;/code&gt; then &lt;code&gt;CTRL+V&lt;/code&gt;.&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/vM2Bk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vM2Bk.png&quot; alt=&quot;Re-order Markers and Regions in Vegas Pro&quot;&gt;&lt;/a&gt;&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/QTC3Y.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QTC3Y.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2018-05-24T21:04:55.073" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24140" PostTypeId="2" ParentId="24132" CreationDate="2018-05-25T03:47:25.163" Score="1" Body="&lt;p&gt;The first thing I'd be looking at is &lt;a href=&quot;https://processing.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Processing&lt;/a&gt;. There's a library that lets you read video, there's an example &lt;a href=&quot;https://processing.org/reference/libraries/video/Movie_read_.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; that shows how to to sequentially grab frames from a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then (instead of displaying the frame like it does in that example) you need to find the channel values for the spot which you could do by copying the frame to a &lt;a href=&quot;https://processing.org/reference/PImage.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;PImage&lt;/a&gt;. Then the value of the pixel (x,y) is found in the PImage property &lt;code&gt;pixels[x,y]&lt;/code&gt;. Finally use &lt;a href=&quot;https://processing.org/reference/createWriter_.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;createWriter()&lt;/a&gt; to output the data to a file. You could even get fancy and use the mouse to control your sample point, and so on.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-05-25T03:47:25.163" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24141" PostTypeId="2" ParentId="24132" CreationDate="2018-05-25T06:17:00.767" Score="1" Body="&lt;p&gt;Using &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;, a free command-line tool, you can do&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &quot;crop=1:1:234:541:exact=1,tile=50x10,format=rgb24,histogram&quot; out.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;A series of filters are run on the input video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;nofollow noreferrer&quot;&gt;crop&lt;/a&gt; filter takes each frame and extracts a 1x1 sized window i.e. a single pixel at co-ordinates (234,541) measured from top-left of frame. Numbering starts at 0.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#tile&quot; rel=&quot;nofollow noreferrer&quot;&gt;tile&lt;/a&gt; filter collects all of these single pixel frames into a single frame of dimensions 50x10. It is important that the product of these dimensions (500) match the total number of frames in the video. If it's greater, the difference will be black pixels added by the tile filter and throw off your histogram; if less, frames will be skipped. Worst case scenario, your frame count is prime, so you can either do &lt;code&gt;Countx1&lt;/code&gt; or &lt;code&gt;MxN&lt;/code&gt; where M*N is &lt;code&gt;count + 1&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The next filter converts the tile output to a RGB pixel format, since videos typically are YUV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#histogram&quot; rel=&quot;nofollow noreferrer&quot;&gt;histogram&lt;/a&gt; filter generates a graphical RGB histogram which is saved to a PNG. See the filter doc for options to change layout or image size.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-05-25T06:17:00.767" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24144" PostTypeId="1" AcceptedAnswerId="24280" CreationDate="2018-05-25T21:40:52.180" Score="1" ViewCount="1189" Body="&lt;p&gt;Does anyone know hot to create this zoom transition in Blender? I don't know how to create directional blur.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Nl1jjCDrP8w?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="22326" LastActivityDate="2018-06-14T12:36:25.657" Title="Zoom in/out transition in Blender" Tags="|blender|zoom|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24147" PostTypeId="2" ParentId="24137" CreationDate="2018-05-26T04:10:02.293" Score="1" Body="&lt;p&gt;Conversion always will involve &lt;em&gt;some&lt;/em&gt; loss, only copy (-c) is lossless. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are some suggestions for &quot;lossless&quot; encoding in this &lt;a href=&quot;https://stackoverflow.com/questions/6701805/h264-lossless-coding&quot;&gt;Q&amp;amp;A&lt;/a&gt;, but I can't test them on my phone. There are UpVoted and have an accepted answer: the intermediate and output file will be uncompressed, and huge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can minimize loss when converting your &lt;strong&gt;existing&lt;/strong&gt; videos by choosing an excessively high bitrate, since it's a cellphone video it will be of a limited length and thus only expand so much. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;http://trac.ffmpeg.org/wiki/Encode/H.264#LosslessH.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg H.264 Video Encoding Guide&lt;/a&gt; claims to offer lossless encoding using the &lt;code&gt;-crf 0&lt;/code&gt; command. It also mentions that you should expect incompatibility problems with some programs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The section: &lt;strong&gt;Choose a CRF value&lt;/strong&gt; says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The range of the CRF scale is 0–51, where 0 is lossless, 23 is the default, and 51 is worst quality possible. A lower value generally leads to higher quality, and a subjectively sane range is 17–28. Consider 17 or 18 to be visually lossless or nearly so; it should look the same or nearly the same as the input but it isn't technically lossless. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Using '0' isn't so much a &quot;conversion&quot; as it is a decompression and wrapping up the uncompressed video, the so-called converted video isn't recompressed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can correct the &lt;em&gt;problem&lt;/em&gt; at it's source (in future) by:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On your iPhone, go to Settings &gt; Camera &gt; Formats &gt; change &quot;High Efficiency&quot; to &quot;Most Compatible&quot;.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2018-05-26T04:10:02.293" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="24149" PostTypeId="1" CreationDate="2018-05-27T18:00:37.437" Score="-1" ViewCount="26" Body="&lt;p&gt;So i am trying to edit a montage for football so i trying to get some videoa to work with but all I can find are videos with layouts which doesn't look good in the video and I think with layouts it may get me in some trouble beacuse of the copyrights so i would appreciate it if anyone could tell me how to find videos withou channel names or stuff like that.&lt;/p&gt;&#xA;" OwnerUserId="22341" LastActivityDate="2018-05-31T17:32:01.873" Title="Getting football(soccer) videos without channel name on the top or any sort of layout" Tags="|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24150" PostTypeId="1" CreationDate="2018-05-27T18:31:39.660" Score="2" ViewCount="1216" Body="&lt;p&gt;I'm currently converting a few mp4 file to mkv. In the process they lose their file thumbnails and I wanted to keep them. So I'm searching for a way to extract the custom thumbnails from the mp4 files before converting them. To clarify the thumbnails are not scenes from the mp4 but custom made ones that were copied into the mp4.&lt;/p&gt;&#xA;" OwnerUserId="22342" LastActivityDate="2018-05-27T18:31:39.660" Title="Extract file thumbnail from mp4 file" Tags="|video|mp4|mkv|thumbnails|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24151" PostTypeId="2" ParentId="24149" CreationDate="2018-05-27T18:42:21.833" Score="0" Body="&lt;p&gt;Finding sport events video without any copyrights attached will be a difficult task. (Like there are none).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, actually, you cannot (as in you are not allowed to) make your own sport event video by using copyrighted videos and either finding them without marks or removing these marks.&lt;/p&gt;&#xA;" OwnerUserId="9147" LastActivityDate="2018-05-27T18:42:21.833" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24153" PostTypeId="1" CreationDate="2018-05-28T09:40:52.610" Score="1" ViewCount="48" Body="&lt;p&gt;can any one help me about how can i deliver this specs for a broadcast tv channel ? :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;im using fcpx and compressor 4. do i need any other app or can i manage it with those ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;which specs i do on fcp and which ones i do on compressor?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;File format - IMX/D10&#xA;WRAPPER - MXF OP-1A&#xA;MPEG-2 GOP stucture - I-FRAME&#xA;Chroma Sampling - 4:2:2&#xA;Frame Rate - 25&#xA;Frame Size - 720 x 576&#xA;Audio Levels - -10dBFS (ref)&#xA;File Naming Structure - NAME_DURATION&#xA;Aspect Ratio - 16x9&#xA;Field order - Upper Field - (WHAT IS THIS ?)&#xA;AUDIO CHANNELS ( 1 AND 2) - 2 CHANNELS&#xA;Sampling Rate - 48000Hz&#xA;Sample Format - 16/24 bit &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sory the noobness. &lt;/p&gt;&#xA;" OwnerUserId="22347" LastActivityDate="2018-05-29T04:58:22.613" Title="broacast tv specs." Tags="|encoding|transcoding|broadcast|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24155" PostTypeId="1" CreationDate="2018-05-28T12:28:56.720" Score="4" ViewCount="910" Body="&lt;p&gt;I'm doing a time-lapse film project about a six-month period. Now I write a script to process the thousands of photos. I use ffmpeg. The paths to the photos are in the list.tmp file and i'm using the concat option.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -r 400 -f concat -safe 0 -i list.tmp -video_size hd1080 -vcodec libx264 -preset medium -crf 23 timelapse.mkv&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;With this command I get a time lapse with 400fps. &#xA;If I now set the frame rate of the output video to 25fps, the film still looks the same &lt;strong&gt;subjective&lt;/strong&gt;, but is a lot smaller (15mb instead of 60mb).&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -r 400 -f concat -safe 0 -i list.tmp &lt;strong&gt;-r 25&lt;/strong&gt; -video_size hd1080 -vcodec libx264 -preset medium -crf 23 timelapse.mkv&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;ffmpeg also reports that most images were droped.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;frame= 201 fps=3.7 q=-1.0 Lsize= 15647kB time=00:00:07.92 bitrate=16181.8kbits/s dup=0 &lt;strong&gt;drop=2989&lt;/strong&gt; speed=0.148x&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Is it so, that I don't see the difference between 25fps and 400fps because people perceive 25fps as a smooth video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry for my English.&lt;/p&gt;&#xA;" OwnerUserId="22349" LastActivityDate="2018-05-28T13:10:29.013" Title="Framerate Timelapse" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24156" PostTypeId="2" ParentId="24155" CreationDate="2018-05-28T13:10:29.013" Score="1" Body="&lt;p&gt;Even though the first output is 400 fps. Normal graphics adapters or displays can't show 400 fps. Common refresh rates are 60 to 75 Hz, so the max number of frames per second that could have been displayed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With a timelapse edit, the material naturally features higher stepping of scene changes between consecutive frames, so there's greater leeway to drop output framerate without a significant subjective difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;ffmpeg also reports that most images were droped.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The input framerate is 400 and output is 25, so ffmpeg will select 25 out of every 400 input frames and drop the rest, in your command.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;because people perceive 25fps as a smooth video&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think a century of cinema and video at similar rates should be confirmation.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-05-28T13:10:29.013" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24158" PostTypeId="2" ParentId="16965" CreationDate="2018-05-28T15:37:37.310" Score="1" Body="&lt;p&gt;The following is my solution, for an &lt;strong&gt;.mp4 video file&lt;/strong&gt;, using ffmpeg in Windows 7. This command, run in a .bat &lt;em&gt;batch file&lt;/em&gt;, will copy a section of the input file (i.e. extract it as the output file), starting 30 seconds into the input file, with the extract having a duration of 60 seconds, and &lt;em&gt;without&lt;/em&gt; re-encoding either stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This can be modified for a different video type, such as a .ts stream (transport stream), as required. But don't alter the mapping commands in line 2 as that line is the key to maintaining audio synchronisation (the &lt;strong&gt;itsoffset&lt;/strong&gt; option).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The mapping commands preserve the synchronisation of the audio stream with the video stream, by preventing any change in the offset between them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The metadata in the input file is copied to the output file, also without modification.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The flags commands are needed to write the output file, as mp4 is a container format. The flags commands recreate the mp4 format of the input file (i.e. the container within which the audio and the video streams are housed and synchronised).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final two lines will display key data from both the input and output files on screen, after the operation, so that you can compare them and be sure that what you intended to achieve has been achieved.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;SET file=movie.mp4&#xA;&#xA;SET mapping=-i &quot;%file%&quot; -itsoffset 0 -i &quot;%file%&quot; -map 0:v -map 1:a -copyts&#xA;&#xA;SET flags=-flags global_header -movflags faststart&#xA;&#xA;ffmpeg %mapping% -c:v copy -c:a copy -map_metadata 0 -ss 30 -t 60 %flags% out.mp4&#xA;&#xA;echo. &amp;amp; echo. ffmpeg  -i &quot;%file%&quot; -f nul&#xA;echo. &amp;amp; echo. ffmpeg  -i out.mp4  -f nul&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm not an expert on the .ts format, but it's not a reliable video format. It doesn't provide the global file data that the .mp4 and .mkv video formats provide, so a .ts file is not easily seekable, is slow to start playing, and may not accurately report some file data (such as the overall duration of the video). Hence it is better tactics to convert from .ts to .mp4 or .mkv because those formats don't have the shortcomings of the .ts format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To convert from .ts to .mp4 video, just delete line 1 in my above batch script and substitute this:  &lt;strong&gt;SET file=movie.ts&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;.&lt;/p&gt;&#xA;" OwnerUserId="17648" LastEditorUserId="17648" LastEditDate="2018-05-28T15:57:45.767" LastActivityDate="2018-05-28T15:57:45.767" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24159" PostTypeId="1" CreationDate="2018-05-29T00:46:21.727" Score="0" ViewCount="76" Body="&lt;p&gt;I wanted to remove a part of the video itself not removing a clip from it if you know what I mean, like making to horizontal black bars on the top and bottom or something similar I wonder if someone could tell me how.&#xA;I am using Adobe Premier Pro CC 2015.&lt;/p&gt;&#xA;" OwnerUserId="22352" LastEditorUserId="4426" LastEditDate="2020-12-14T13:02:10.030" LastActivityDate="2021-09-10T15:07:20.747" Title="How to cut a part of a video to make two horizontal black bars on the top and bottom" Tags="|video|premiere|video-editor|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24160" PostTypeId="1" AcceptedAnswerId="24192" CreationDate="2018-05-29T02:51:06.577" Score="1" ViewCount="40" Body="&lt;p&gt;I wonder what's the smallest component of a video file.&#xA;I know, in graphics, it's the pixel, in sound,, it's the sample.&#xA;I also know video is made by frames + audio, so, is it pixels + samples?&lt;/p&gt;&#xA;" OwnerUserId="22353" LastActivityDate="2018-06-01T10:15:44.273" Title="Equivalent to audio samples in video" Tags="|video|audio|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24163" PostTypeId="2" ParentId="15078" CreationDate="2018-05-29T08:54:27.650" Score="0" Body="&lt;p&gt;You can change &#xA;Disable GPU acceleration of effects&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Choose Project &gt; Project Settings &gt; General.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In the Video Rendering And Playback section, select the appropriate renderer: Mercury Playback Engine GPU Acceleration or Mercury Playback Engine Software Only.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;It Worked For Me&lt;/p&gt;&#xA;" OwnerUserId="22355" LastEditorUserId="14523" LastEditDate="2018-05-29T20:53:46.747" LastActivityDate="2018-05-29T20:53:46.747" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24165" PostTypeId="2" ParentId="13266" CreationDate="2018-05-29T15:50:40.880" Score="0" Body="&lt;p&gt;I had the same issue over and over again. I finally realized that my computer was so slow that it was showing me layers as if they were all black at first and after a couple of minutes they started showing up.&lt;/p&gt;&#xA;" OwnerUserId="22357" LastActivityDate="2018-05-29T15:50:40.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24166" PostTypeId="2" ParentId="22926" CreationDate="2018-05-29T21:15:09.080" Score="1" Body="&lt;p&gt;As you note, just adding (integrating) each pair of adjacent frames to make one new frame decreases the frame rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if all you want to do is integrate adjacent frames, consider duplicating the video into a separate timeline, shifted by exactly one frame. Integrating these two streams would give you a new video with the same frame rate, but shorter by one frame overall.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All the rest of the noted issues might surface, but at least the frame rate wouldn't change.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2018-05-29T21:15:09.080" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24167" PostTypeId="2" ParentId="23401" CreationDate="2018-05-30T06:23:11.330" Score="2" Body="&lt;p&gt;The chapter marks are part of the DVD metadata that's on the disc (or its ripped contents). It's not contained in the nav packets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to get the chapters, you're going to have to use a separate application to get them out. There's two applications that I know of that can do it -- dvd_info (which I wrote, see github) and ogmtools.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;mkvmerge supports two chapter formats -- the spec one of the XML with lots of detailed information in it, or the simplified OGM format designed for that container, which is a simple chapter name + start time format on each line. I recommend using that one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using those two apps, here's how, assuming you're using track 1.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ dvd_info --ogm -t 1 /media/cdrom/video_ts &amp;gt; chapters.txt&#xA;$ dvdxchap --title 1 /media/cdrom/video_ts &amp;gt; chapters.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here's a sample output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;CHAPTER01=00:00:00.000&#xA;CHAPTER01NAME=Chapter 01&#xA;CHAPTER02=00:00:13.500&#xA;CHAPTER02NAME=Chapter 02&#xA;CHAPTER03=00:06:04.867&#xA;CHAPTER03NAME=Chapter 03&#xA;CHAPTER04=00:13:42.667&#xA;CHAPTER04NAME=Chapter 04&#xA;CHAPTER05=00:22:37.867&#xA;CHAPTER05NAME=Chapter 05&#xA;CHAPTER06=00:28:29.933&#xA;CHAPTER06NAME=Chapter 06&#xA;CHAPTER07=00:28:42.433&#xA;CHAPTER07NAME=Chapter 07&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I don't know how to get the chapter metadata in a matroska file using libav directly, or if it even supports doing that, but mkvmerge certainly can.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ mkvmerge -o track1.mkv --chapters chapters.txt track1.vob&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;On a side note, if you don't want to cat the VOBs into one giant file, you can use dvd_copy to extract it and dump it directly into a MKV. You'd still have to mux in the chapters, but it would skip the step of having to use cat. Note that I've only tested this with libav:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ dvd_copy -t 1 /media/cdrom/video_ts -o - | avconv -i - -codec copy dvd.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22360" LastActivityDate="2018-05-30T06:23:11.330" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24168" PostTypeId="2" ParentId="21863" CreationDate="2018-05-30T06:47:40.063" Score="2" Body="&lt;p&gt;Summary response for summary question :)&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;CRF 20 will look really nice&lt;/li&gt;&#xA;&lt;li&gt;8-bit (no advantages over 10-bit)&lt;/li&gt;&#xA;&lt;li&gt;No tuning. Grain tuning is for grainy source (old content). SSIM is for testing.&lt;/li&gt;&#xA;&lt;li&gt;No additional parameters needed.&lt;/li&gt;&#xA;&lt;li&gt;VFR (same as source)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I could really, really, reallly go down the rabbit hole with a more detailed answer, but I'll leave it at this for now.&lt;/p&gt;&#xA;" OwnerUserId="22360" LastActivityDate="2018-05-30T06:47:40.063" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24169" PostTypeId="2" ParentId="23951" CreationDate="2018-05-30T06:52:50.907" Score="0" Body="&lt;p&gt;I could tell you in Linux (ddrescue), but for Windows, I'd start out looking at apps that get data from broken disk drives. Something that will skip over sectors it can't read.&lt;/p&gt;&#xA;" OwnerUserId="22360" LastActivityDate="2018-05-30T06:52:50.907" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24170" PostTypeId="2" ParentId="22409" CreationDate="2018-05-30T07:05:42.483" Score="1" Body="&lt;p&gt;So, you've got two targets there -- on one hand you said you want to go to DVD, and the other, you're encoding to H.264. Pick one. :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming you want DVD still, use -target ntsc-dvd&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i mylist.txt -target ntsc-dvd video.vob&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22360" LastActivityDate="2018-05-30T07:05:42.483" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24171" PostTypeId="2" ParentId="21817" CreationDate="2018-05-30T07:10:02.620" Score="2" Body="&lt;p&gt;Remuxing it will &lt;em&gt;probably&lt;/em&gt; help, as the apps are generally smart enough to detect random crap and skip over it, as well as fix the timing information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You didn't mention if it's a ripped as in copied direct MPEG-2 file or one ripped using HandBrake or something else.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Either way, use ffmpeg, avconv, or mkvmerge to remux them.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  ffmpeg (or avconv) -i source.mpg -codec copy dest.mkv&#xA;  mkvmerge -o dest.mkv source.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22360" LastActivityDate="2018-05-30T07:10:02.620" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24172" PostTypeId="2" ParentId="20255" CreationDate="2018-05-30T07:17:07.933" Score="1" Body="&lt;p&gt;Please tell me you didn't spend thousands of dollars. You can get the hardware you need in under 50.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I rip my VHS tapes with a PVR card as well, the Hauppauge (WinTV) are good ones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just use an RCA cable from my VHS player into the TV card, and record the input using V4L tools on Linux.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll need to use v4l utils to set the proper input on your card, and then use ffmpeg to copy the stream directly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here, I know what the length of the video is, and do a straight codec copy:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /dev/video0 -vcodec copy -acodec copy -t &amp;lt;hours:minutes&amp;gt; vhs.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22360" LastActivityDate="2018-05-30T07:17:07.933" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24173" PostTypeId="2" ParentId="24159" CreationDate="2018-05-30T09:24:26.640" Score="0" Body="&lt;p&gt;There are plenty of YouTube videos on how to do this and various different ways, such as cropping the top and bottom, or using a PNG image to the correct format you want to show, you could also even make the timeline the aspect ratio you want to use and expand the image up to fill the area. &lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2018-05-30T09:24:26.640" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24174" PostTypeId="1" CreationDate="2018-05-30T13:37:54.410" Score="2" ViewCount="621" Body="&lt;p&gt;I want to simultaneously create rtsp and livehttp video streams from the same live H.264 source in cvlc. I can individually create either kind of stream just fine, and I can also create two rtsp streams simultaneously using the 'duplicate' tag, so my basic setup is right. Something is wrong when I try to do the two kinds of streams at the same time in a single command.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This runs in linux and the commands are written in bash. My frame rate, $fps, is 10 fps. /home/vout1 is my live H.264 source. Folders and the server URL are defined by variables. Note that I had to add dst= when I went from the single command to the combined command.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the working rtsp command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cvlc -vvv stream:///home/vout1 --sout '#rtp{sdp=rtsp://:8554/}' --demux=h264 --h264-fps=$fps&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here's the working livehttp command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cvlc -vvv stream:///home/vout1 --sout &quot;#standard{access=livehttp{seglen=5,delsegs=true,numsegs=2,index=$streaming_video_folder/stream.m3u8,index-url=$server_URL/stream-###.ts},mux=ts{use-key-frames},dst=$streaming_video_folder/stream-###.ts}}&quot; --h264-fps=$fps --demux=h264&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here's a working command that creates two rtsp streams:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cvlc -vvv stream:///home/vout1 --sout '#duplicate{dst=rtp{sdp=rtsp://:8554/},dst=rtp{sdp=rtsp://:9554/}}' :demux=h264 :h264-fps=$fps&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here's the non-working combined, rtsp and livehttp command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cvlc -vvv stream:///home/vout1 --sout '#duplicate{dst=rtp{sdp=rtsp://:8554/},dst=standard{access=livehttp{seglen=5,delsegs=true,numsegs=2,index=$streaming_video_folder/stream.m3u8,index-url=$server_url/stream-###.ts},mux=ts{use-key-frames},dst=$streaming_video_folder/stream-###.ts}}' :demux=h264 :h264-fps=$fps&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I don't get any streams and I get a multitude of these errors:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[0xca4540] access_output_livehttp access out error: cannot open `-treaming_video_folder/stream-001.ts' (No such file or directory)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For some reason, the previously working variable name, $streaming_video_folder, has been transformed to the erroneous, -treaming_video_folder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone tell me the proper syntax for the combined command ? Thank you in advance.&lt;/p&gt;&#xA;" OwnerUserId="22250" LastEditorUserId="22250" LastEditDate="2018-05-30T13:43:36.020" LastActivityDate="2024-04-01T22:01:50.317" Title="how to simultaneously create rtsp and livehttp video streams in vlc from the same live source?" Tags="|streaming|vlc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24175" PostTypeId="1" AcceptedAnswerId="24177" CreationDate="2018-05-30T15:33:33.440" Score="1" ViewCount="8059" Body="&lt;p&gt;Recently been working on a TV Commercial and they asked for it as upper field first rather than progressive can any one explain the difference between the two and why upper field first is requested for TV?&lt;/p&gt;&#xA;" OwnerUserId="20142" LastActivityDate="2020-03-31T22:59:20.807" Title="Progressive vs Upper" Tags="|video|render|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24176" PostTypeId="2" ParentId="24159" CreationDate="2018-05-30T16:29:39.893" Score="0" Body="&lt;p&gt;In adobe Premier CC if you go to the effects panel and search for crop you can add the effect to your clip and then control how much you want to crop from the top and the bottom i usually set mine to 11% top and bottom.&lt;/p&gt;&#xA;" OwnerUserId="20142" LastActivityDate="2018-05-30T16:29:39.893" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24177" PostTypeId="2" ParentId="24175" CreationDate="2018-05-30T21:28:44.913" Score="3" Body="&lt;p&gt;Upper field first is a form of &lt;a href=&quot;https://www.provideocoalition.com/field_order/&quot; rel=&quot;nofollow noreferrer&quot;&gt;interlacing&lt;/a&gt;. Interlacing divides each frame of video into two fields, with each field containing half of the scan lines of the frame. One field contains the first, third, fifth, and so on lines while the other frame contains the second, fourth, sixth, etc. lines. That alternation of lines is what makes it interlaced.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Different coding methodologies define whether the field that contains the first line of video is described first or second. Upper field first means that the field that contains the first line of video is sent first in a frame. Lower field first sends the field with the first line of video second in the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Progressive video does not divide a frame into fields. Every line of video is described every time a frame changes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The region and the specifications of the individual broadcaster will determine whether they want a progressive, top-first interlaced, or bottom-first interlaced vide. In general, HD video is always upper field first. SD video is &lt;em&gt;usually&lt;/em&gt; lower field first, but it depends on the exact standard being used. These settings are true whether you are delivering to an over the air broadcaster, a cable service provider, or just playing your video on a TV. &lt;/p&gt;&#xA;" OwnerUserId="14523" LastEditorUserId="14523" LastEditDate="2020-03-31T22:59:20.807" LastActivityDate="2020-03-31T22:59:20.807" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24178" PostTypeId="1" AcceptedAnswerId="24852" CreationDate="2018-05-31T13:32:25.743" Score="0" ViewCount="8328" Body="&lt;p&gt;I've just bought a Canon 800d to use that as live cam recorder (using elgato game capture).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that the hdmi output has the focus box and I've managed to remove that only in manual focus mode, but I'd really like to have auto focus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know any solution?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think that magic lantern is not yet compatible with the 800d.&lt;/p&gt;&#xA;" OwnerUserId="22367" LastActivityDate="2021-02-24T18:47:26.973" Title="Canon 800d/T7i clean-hdmi?" Tags="|live|hdmi|live-recording|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24179" PostTypeId="1" AcceptedAnswerId="24184" CreationDate="2018-05-31T16:19:04.017" Score="0" ViewCount="747" Body="&lt;p&gt;I want minimize encoding latency per frame. Right now, there is a high increase in encoding latency on the 46th frame. I think lowering the lookahead value might help with this. How do I do this? &#xA;Capture Resolution is 1080p. &lt;/p&gt;&#xA;" OwnerUserId="22368" LastEditorUserId="1871" LastEditDate="2018-06-01T05:18:05.620" LastActivityDate="2018-06-01T05:18:05.620" Title="I'm using H264 encoding to encode video capture from a webcam. How do I turn of rc lookahead?" Tags="|h.264|x264|latency|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24180" PostTypeId="2" ParentId="22773" CreationDate="2018-05-31T16:24:09.430" Score="-1" Body="&lt;p&gt;You might crop each slide.  I haven't looked but if you have a lot of slide thee might be a way to set the crop as a 'default'&lt;/p&gt;&#xA;" OwnerUserId="22369" LastActivityDate="2018-05-31T16:24:09.430" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24181" PostTypeId="2" ParentId="19285" CreationDate="2018-05-31T17:25:11.957" Score="0" Body="&lt;p&gt;The format is called &lt;a href=&quot;https://en.wikipedia.org/wiki/AVCHD#AVCHD_as_distribution_format&quot; rel=&quot;nofollow noreferrer&quot;&gt;AVCHD Disk&lt;/a&gt;. You can also author Blu-Ray file structure onto a DVD. Depending on the Blu-Ray player you have, it may prefer one or another or play both, although I assume that nowadays Blu-Ray players play pretty much any variation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Besides file structure, mind the resolution and frame rate. 1080p60 / 1080p50 is not officially supported by Blu-Ray Disc spec, but usually is played by the players. In the 60 Hz land, 720p30 is also not officially supported (720p60 is the proper format for 720-line video) but usually is played by modern players. If your player is not multi-region, it may reject some frame rates, like it may not play 1080p25 Blu-Ray or AVCHD Disk on a 60 Hz machine even if your disk is not region-locked and the machine can play bare 25p files like AVI or MKV.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-05-31T17:25:11.957" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24182" PostTypeId="2" ParentId="24149" CreationDate="2018-05-31T17:32:01.873" Score="0" Body="&lt;p&gt;What you are looking for, is called &quot;feed&quot;.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-05-31T17:32:01.873" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24183" PostTypeId="2" ParentId="23967" CreationDate="2018-05-31T17:51:48.067" Score="1" Body="&lt;p&gt;MKV and MP4 are container formats. AVC is encoding format. File size does not depend much on container type, although some containers allow for smaller file sizes, like MKV takes less space than TS because metadata is not repeated in the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The single defining parameter of file size is data rate. Depending on the encoding format, frame size and frame rate you should select a reasonable data rate when encoding. Say, 5 Mbit/s for MPEG-2 Part 2 may be too low for HD video, but more than enough if you choose AVC/H.264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, &quot;mb&quot; means &quot;millibits&quot;. If you wanted to write &quot;megabytes&quot; you should have capitalized both &quot;m&quot; and &quot;b&quot;.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-05-31T17:51:48.067" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24184" PostTypeId="2" ParentId="24179" CreationDate="2018-05-31T18:00:17.870" Score="0" Body="&lt;p&gt;If you're using x264 directly, it's &lt;code&gt;--rc-lookahead 20&lt;/code&gt; for 20 frames. If it's via ffmpeg, it's &lt;code&gt;-x264-params rc_lookahead=10&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although I would suggest to use faster &lt;a href=&quot;http://dev.beandog.org/x264_preset_reference.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;presets&lt;/a&gt;. Default is medum.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-05-31T18:00:17.870" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="24186" PostTypeId="2" ParentId="23671" CreationDate="2018-05-31T18:56:25.323" Score="2" Body="&lt;p&gt;AVCHD Lite uses 25p/30p shooting rate and records it to 50p/60p container using frame doubling. Panasonic did that because, I presume, they were unable to shoot true 50p/60p at that time, on the other hand AVCHD and Blu-Ray specifications do not support 720p25 and 720p30 videos. Panasonic did this to stay compatible with the AVCHD format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess the reason was that this way you can author the original clips as-is onto AVCHD Disc or Blu-Ray Disc, and they will be fully compliant and playable by standard Blu-Ray Player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nowadays a camera simply stores whatever it records in one of the standard containers like MP4, then you edit/author in whatever format you prefer. But ten years ago the compatibility between AVCHD and Blu-Ray was a selling point for both formats.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-05-31T18:56:25.323" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24189" PostTypeId="2" ParentId="20691" CreationDate="2018-06-01T08:16:03.530" Score="1" Body="&lt;p&gt;found the non-script answer:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/AAESBjlo1-o?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select toplevel layer.&#xA;select release to layers.&#xA;Shift drag sublayers out the top layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(from 'learning illustrator')&lt;/p&gt;&#xA;" OwnerUserId="22375" LastActivityDate="2018-06-01T08:16:03.530" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24190" PostTypeId="2" ParentId="24134" CreationDate="2018-06-01T08:16:46.210" Score="1" Body="&lt;p&gt;See signalstats filter description, it works in YUV colorspace only.&#xA;With it one can extract various per frame video statistics and even graph it in real time.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2018-06-01T08:16:46.210" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24192" PostTypeId="2" ParentId="24160" CreationDate="2018-06-01T10:15:44.273" Score="0" Body="&lt;p&gt;It's a matter of semantics. Both audio and video are expressed as samples, where a continuous analog signal is encoded into discrete chunks. These chunks are expressed as numbers, and the numbers are composed of bytes, and the bytes are composed of bits. But saying that doesn't really give you any deeper understanding of the process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio is encoded in samples where each sample has a magnitude, representing the sound pressure on the microphone at a particular time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video is also encoded as samples, where each sample is a representation of the amount of light that falls on a sensor in a certain period. Due to the fact that light is coloured, each sample is usually composed of three components, representing the three visible primaries, red, green and blue (often encoded as YUV, but that's beyond the scope here). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unlike sound, more than one sample is recorded at a time; an array of them (a grid, aka a &quot;raster&quot;) makes up a frame, which is the same as the picture a stills camera would record if it was fired at that particular time. By taking successive still pictures the camera is able to create the illusion of movement due to the persistence of vision. All of the pixels in each picture are recorded at (more or less, search for &quot;rolling shutter&quot; and &quot;interlacing&quot; if you want to dig deeper) the same time.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-06-01T10:15:44.273" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24195" PostTypeId="1" AcceptedAnswerId="24196" CreationDate="2018-06-02T10:35:25.923" Score="1" ViewCount="1655" Body="&lt;p&gt;I have the code below I want it to automatically increment up like this:&lt;br&gt;&#xA;&lt;code&gt;(t, 30,33)&lt;/code&gt; and &lt;code&gt;(t, 60,63)&lt;/code&gt;, &lt;code&gt;(t, 90,93)&lt;/code&gt; and so on it adds &lt;code&gt;30&lt;/code&gt; units.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;     ffmpeg -i in.mov -vcodec copy -af &quot;volume=enable='between(t,30,33)':volume=0&quot;out2.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22386" LastEditorUserId="18155" LastEditDate="2018-06-23T19:54:09.790" LastActivityDate="2018-06-23T19:54:09.790" Title="Increase volume with ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24196" PostTypeId="2" ParentId="24195" CreationDate="2018-06-02T12:32:33.773" Score="2" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-af &quot;volume=enable='gte(t,30)*lt(mod(t,30),3)':volume=0&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-06-02T12:52:22.543" LastActivityDate="2018-06-02T12:52:22.543" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24199" PostTypeId="1" CreationDate="2018-06-03T06:40:19.203" Score="0" ViewCount="2655" Body="&lt;p&gt;I want to change the menu color in premiere pro cc 2018 from white to black so that it matches the inner interface.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OtiT8.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OtiT8.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22394" LastActivityDate="2024-03-13T07:02:15.290" Title="How to change menu bar color in premiere pro cc 2018 in windows 10?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24201" PostTypeId="1" CreationDate="2018-06-04T14:02:08.643" Score="0" ViewCount="316" Body="&lt;p&gt;I know how to extract frames and audio from a video using ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But what I want to is, to pick a random frame in that video, and then picking a random 1 second audio clip that overlaps in time with the sampled frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As of now I'm doing this by preprocessing the videos for frames and audio, but that is consuming a lot of disk-space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The way I'm doing it now is: I extract the frames and audio before hand I'm finding the number of frames and picking one from them randomly. By finding the name of that frame, which gives me it's number, say 100th out of 3000 frames, I'm picking audio which overlaps with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So is there a easier way of achieving this?&lt;/p&gt;&#xA;" OwnerUserId="22398" LastActivityDate="2020-12-21T05:06:55.660" Title="picking a frame and an overlapping audio from a video" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24202" PostTypeId="2" ParentId="24201" CreationDate="2018-06-04T15:02:22.743" Score="1" Body="&lt;p&gt;The inverse way of doing this is faster.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Get file duration&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe in.mp4 -show_entries format=duration -of compact=p=0:nk=1 -v 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will print the duration in fractional seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pick a random value between (0, duration - 1)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss value -t 1 -i in.mp4 -map 0:a -c:a copy audio.m4a -vf thumbnail -vframes 1 img.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The thumbnail filter will pick one frame out of the 1 second of video provided to it.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-06-04T15:02:22.743" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="24203" PostTypeId="1" AcceptedAnswerId="24204" CreationDate="2018-06-04T15:36:35.723" Score="1" ViewCount="3489" Body="&lt;p&gt;Following up on this question: &lt;a href=&quot;https://video.stackexchange.com/questions/24008/ffmpeg-drawtext-timecode-source-framerate/24009&quot;&gt;ffmpeg drawtext timecode source framerate&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to change the frame rate of a file, scale it down and burn the timecode in one operation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i in.mpg -r 24 -vf &quot;scale=-2:360, drawtext=timecode='00\:00\:00\:00': r=24:&quot; out.mpg&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I do this, the timecode is relative to the source frame rate, not the output. So if my input FPS is 59.94, I get this timecode sequence: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;00:00:00:02&#xA;00:00:00:04&#xA;00:00:00:07&#xA;00:00:00:09&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can I tell &lt;code&gt;drawtext&lt;/code&gt; to use destination frame numbers instead of source?&lt;/p&gt;&#xA;" OwnerUserId="22216" LastActivityDate="2018-06-04T15:51:19.473" Title="ffmpeg timecode and -r" Tags="|ffmpeg|framerate|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24204" PostTypeId="2" ParentId="24203" CreationDate="2018-06-04T15:51:19.473" Score="2" Body="&lt;p&gt;Use a filter to reduce the framerate beforehand&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mpg -vf &quot;fps=24,scale=-2:360,drawtext=timecode='00\:00\:00\:00': r=24&quot; out.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-06-04T15:51:19.473" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24205" PostTypeId="1" AcceptedAnswerId="24206" CreationDate="2018-06-04T16:42:14.090" Score="1" ViewCount="1791" Body="&lt;p&gt;I am trying to convert a H.264 video to rawvideo using the following command: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 50 -i test.ts -c:v rawvideo -r 50 -pix_fmt yuv420p -filter_complex &quot;[0:v] setpts=PTS-STARTPTS&quot; -y test.yuv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And here the raw video file is expected to have 50fps: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Output #0, rawvideo, to 'test.yuv':&#xA;  Metadata:&#xA;    encoder         : Lavf57.71.100&#xA;    Stream #0:0: Video: rawvideo (I420 / 0x30323449), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], q=2-31, 552960 kb/s, 50 fps, 50 tbn, 50 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.89.100 rawvideo&#xA;frame=15599 fps=111 q=-0.0 Lsize=21058650kB time=00:05:11.98 bitrate=552960.0kbits/s speed=2.22x&#xA;video:21058650kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.000000%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But when I check the file with ffmpeg it shows it as 25fps and the duration is double the original duration of the video: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -s:v 1280x720 -i test.yuv&#xA;&#xA;[rawvideo @ 0x55ad594ad840] Estimating duration from bitrate, this may be inaccurate&#xA;Input #0, rawvideo, from 'test.yuv':&#xA;  Duration: 00:10:23.96, start: 0.000000, bitrate: 276480 kb/s&#xA;    Stream #0:0: Video: rawvideo (I420 / 0x30323449), yuv420p, 1280x720, 276480 kb/s, 25 tbr, 25 tbn, 25 tbc&#xA;At least one output file must be specified&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Why when I check the raw video file with ffmpeg the frame rate is stated as 25fps and the duration is reported to be double the original duration? &lt;/p&gt;&#xA;" OwnerUserId="19853" LastActivityDate="2018-06-04T16:51:59.620" Title="Frame rate mismatch when converting to raw video" Tags="|video|ffmpeg|framerate|raw|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24206" PostTypeId="2" ParentId="24205" CreationDate="2018-06-04T16:51:59.620" Score="1" Body="&lt;p&gt;Raw video is just that - a raw dump of video content payload - there is no packetization or metadata.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Output to Y4M for a format with metadata&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 50 -i test.ts -pix_fmt yuv420p -vf &quot;setpts=PTS-STARTPTS&quot; -y test.y4m&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-06-04T16:51:59.620" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24207" PostTypeId="1" CreationDate="2018-06-04T18:56:04.423" Score="5" ViewCount="10128" Body="&lt;p&gt;I found this page (I can't comment or answer there so here's a new question):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/5160/render-srt-subtitles-to-video?newreg=ca036f1e34f94d65918b40afdb90f786&quot;&gt;Render srt subtitles to video?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;with this line which works fine:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter:v subtitles=subtitle.srt -c:a copy -c:v libx264 -crf 22 -preset veryfast output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I need the following and can't get it done:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;subtitles lines start from the TOP of the canvas&lt;/li&gt;&#xA;&lt;li&gt;subtitles have bigger character size and thicker stroke&lt;/li&gt;&#xA;&lt;li&gt;subtitles area has a semi-transparent dark background&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;mencoder&lt;/strong&gt; might be another viable manner to do it.&lt;/p&gt;&#xA;" OwnerUserId="22401" LastEditorUserId="22401" LastEditDate="2018-06-04T19:37:19.757" LastActivityDate="2019-05-21T18:30:50.233" Title="ffmpeg hardcoded subtitles from the top, bigger, with thicker stroke, on a dark background" Tags="|ffmpeg|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24208" PostTypeId="1" AcceptedAnswerId="24220" CreationDate="2018-06-04T22:59:55.417" Score="2" ViewCount="508" Body="&lt;p&gt;I am trying to combine 2 or more .mp4 videos into a single video (concatenation). But I am getting timestamps errors (with ffmpeg concat demuxer protocol). The videos are very similar (same resolution, fps, etc.), so I'm not sure what is causing this. I am open to trying different tools (hopefully something that runs on linux).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Apparently they are slightly different in some way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I concatenate them, without losing quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need more information please tell me what command I should run to print the required details.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt; I am trying to concatenate 4 files. I am using the command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i list.txt -c copy full.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;list.txt&lt;/code&gt; is a text file with the contents:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 1.mp4&#xA;file 2.mp4&#xA;file 3.mp4&#xA;file 4.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;By request I executed the same command with &lt;code&gt;-report&lt;/code&gt; as added as the first option. This produced a large log file (110 MB) that you can see here: &lt;a href=&quot;http://www.filedropper.com/ffmpeg-20180606-024711&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.filedropper.com/ffmpeg-20180606-024711&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also ran &lt;code&gt;ffprobe&lt;/code&gt; on each file, and uploaded the results here:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;code&gt;ffprobe 1.mp4&lt;/code&gt;: &lt;a href=&quot;https://justpaste.it/64pih&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://justpaste.it/64pih&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ffprobe 2.mp4&lt;/code&gt;: &lt;a href=&quot;https://justpaste.it/6r4ig&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://justpaste.it/6r4ig&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ffprobe 3.mp4&lt;/code&gt;: &lt;a href=&quot;https://justpaste.it/77iij&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://justpaste.it/77iij&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ffprobe 4.mp4&lt;/code&gt;: &lt;a href=&quot;https://justpaste.it/3xdoi&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://justpaste.it/3xdoi&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="22396" LastEditorUserId="22396" LastEditDate="2018-06-06T21:54:13.880" LastActivityDate="2018-06-07T05:55:46.703" Title="Lossless concatenation of slightly different MP4 files" Tags="|mp4|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24210" PostTypeId="1" CreationDate="2018-06-05T03:51:12.393" Score="5" ViewCount="2818" Body="&lt;p&gt;I've been encoding some clips and then analyzing them with the VMAF tool from Netflix, but I don't know how to understand the results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the overall &lt;code&gt;mean&lt;/code&gt; section of one of my tests.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;VMAF_feature_adm2_score:0.982934&#xA;VMAF_feature_motion2_score:2.262897&#xA;VMAF_feature_vif_scale0_score:0.727423&#xA;VMAF_feature_vif_scale1_score:0.946992&#xA;VMAF_feature_vif_scale2_score:0.975502&#xA;VMAF_feature_vif_scale3_score:0.986295&#xA;VMAF_score:94.240835&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22404" LastActivityDate="2020-09-28T02:01:50.420" Title="How should I interpret the results from Netflix VMAF" Tags="|encoding|video-quality|transcoding|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24211" PostTypeId="1" CreationDate="2018-06-05T04:54:03.573" Score="3" ViewCount="168" Body="&lt;p&gt;Is there any (Open Source or Low Cost) software that can track x,y position of objects in live video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example would be tracking the position of a player in a soccer match.&lt;/p&gt;&#xA;" OwnerUserId="22405" LastActivityDate="2018-06-06T07:56:12.577" Title="Live Video object tracking" Tags="|video|live|broadcasting|tracking|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24213" PostTypeId="2" ParentId="24210" CreationDate="2018-06-05T15:04:14.037" Score="2" Body="&lt;p&gt;The numbers don’t mean anything. They only have value when compared to other values. You can compare the results between two encodes of the same file and determine which encode produced better results.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2018-06-05T15:04:14.037" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="24214" PostTypeId="2" ParentId="24210" CreationDate="2018-06-05T15:16:57.973" Score="3" Body="&lt;p&gt;In general, the higher the &lt;a href=&quot;https://medium.com/netflix-techblog/toward-a-practical-perceptual-video-quality-metric-653f208b9652&quot; rel=&quot;nofollow noreferrer&quot;&gt;VMAF score&lt;/a&gt;, the higher the quality of the video will be perceived by the viewer. Lower VIF component and ADM scores indicate problems caused by intra-frame compression artifacts. A lower motion score indicates problems caused by inter-frame compression artifacts.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-06-05T15:16:57.973" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24215" PostTypeId="2" ParentId="24207" CreationDate="2018-06-05T19:26:29.850" Score="5" Body="&lt;h1&gt;Aegisub&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Use ASS subtitles. Style them in &lt;a href=&quot;http://aegisub.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;Aegisub&lt;/a&gt;. You can style each letter or word individually, or apply the desired styling to all subtitles. See the &lt;a href=&quot;http://docs.aegisub.org/3.2/Main_Page/&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt; for detailed instructions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uFoRI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uFoRI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example ASS file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Script Info]&#xA;; Script generated by Aegisub 3.2.2&#xA;; http://www.aegisub.org/&#xA;Title: Default Aegisub file&#xA;ScriptType: v4.00+&#xA;WrapStyle: 0&#xA;ScaledBorderAndShadow: yes&#xA;YCbCr Matrix: None&#xA;&#xA;[Aegisub Project Garbage]&#xA;Last Style Storage: Default&#xA;&#xA;[V4+ Styles]&#xA;Format: Name, Fontname, Fontsize, PrimaryColour, SecondaryColour, OutlineColour, BackColour, Bold, Italic, Underline, StrikeOut, ScaleX, ScaleY, Spacing, Angle, BorderStyle, Outline, Shadow, Alignment, MarginL, MarginR, MarginV, Encoding&#xA;Style: Default,Arial,48,&amp;amp;H00FFFFFF,&amp;amp;H000000FF,&amp;amp;H00000000,&amp;amp;H80000000,0,0,0,0,100,100,0,0,1,6,0,8,10,10,20,1&#xA;&#xA;[Events]&#xA;Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text&#xA;Dialogue: 0,0:00:00.00,0:00:05.00,Default,,0,0,0,,Top of canvas. Bigger font size. Thicker stroke.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h1&gt;Without Aegisub&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;You can apply styling via the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#subtitles&quot; rel=&quot;nofollow noreferrer&quot;&gt;subtitles filter&lt;/a&gt; &lt;code&gt;force_style&lt;/code&gt; option in &lt;code&gt;ffmpeg&lt;/code&gt;. This should work with any format that the subtitles filter accepts.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf &quot;subtitles=subs.srt:force_style='Alignment=6,Fontsize=48,Outline=8'&quot; output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Refer to the example ASS file for accepted &lt;code&gt;force_style&lt;/code&gt; options, but it will not allow you to style each letter or word individually as you can in Aegisub.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that &lt;code&gt;ScaleX&lt;/code&gt; and &lt;code&gt;ScaleY&lt;/code&gt; values when used in &lt;code&gt;force_style&lt;/code&gt; are a factor, not a percentage, so the accurate values would be &lt;code&gt;1,1&lt;/code&gt; (not &lt;code&gt;100,100&lt;/code&gt;) in that case.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Transparent background&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;This can be tricky due to some limitations of libass, but it is possible. See &lt;a href=&quot;https://stackoverflow.com/a/25880038/1109017&quot;&gt;How to set background to subtitle in ffmpeg?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2019-05-21T18:30:50.233" LastActivityDate="2019-05-21T18:30:50.233" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="24216" PostTypeId="2" ParentId="24211" CreationDate="2018-06-06T07:56:12.577" Score="1" Body="&lt;ul&gt;&#xA;&lt;li&gt;OpenCV is a good repository of computer vision resources. An example of how to select and track a region of interest is given here: &lt;a href=&quot;https://docs.opencv.org/3.4.0/d2/d0a/tutorial_introduction_to_tracker.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://docs.opencv.org/3.4.0/d2/d0a/tutorial_introduction_to_tracker.html&lt;/a&gt; &#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Also see an example blog post here: &lt;a href=&quot;https://www.learnopencv.com/object-tracking-using-opencv-cpp-python/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.learnopencv.com/object-tracking-using-opencv-cpp-python/&lt;/a&gt; &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;More state of the art research results and code in visual object tracking are maintained at the following website: &lt;a href=&quot;http://www.votchallenge.net/vot2017/trackers.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.votchallenge.net/vot2017/trackers.html&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="22416" LastActivityDate="2018-06-06T07:56:12.577" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24220" PostTypeId="2" ParentId="24208" CreationDate="2018-06-07T05:55:46.703" Score="1" Body="&lt;p&gt;Your 2nd file is different. You can re-encode it this way,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 2.mp4 -map 0:a -map 0:v&#xA;       -c:v libx264 -profile:v main -c:a aac -ar 48000 &#xA;       -video_track_timescale 2500   2-new.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Depending on how the video in the other files was encoded, you may need to try adding &lt;code&gt;-bf 1&lt;/code&gt; or &lt;code&gt;-bf 0&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-06-07T05:55:46.703" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24221" PostTypeId="2" ParentId="19873" CreationDate="2018-06-07T07:44:59.307" Score="3" Body="&lt;p&gt;You can also use: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss XXX -i input.mp4 -vframes 1 output.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where XXX is the time in seconds. If you know which exactly frame you want to extract you can calculate the XXX by multiplying the number of the wanted frame * frame duration which is 1/fps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please also note that since H.264 is using I, P and B frames it would be best if you first decode your video to some intra-frame codec or raw. You can easily do that by: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vsync 0 output.y4m&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And then you can extract the desired frame. But y4m is a format with no compression which means that the output file will be huge. You can also use ffv1 to do that since it is lossless codec, but make sure you use &lt;code&gt;-g 1&lt;/code&gt; option, since you need only I-frames at the output. &lt;/p&gt;&#xA;" OwnerUserId="19853" LastActivityDate="2018-06-07T07:44:59.307" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24222" PostTypeId="1" AcceptedAnswerId="24223" CreationDate="2018-06-07T07:53:12.583" Score="0" ViewCount="2826" Body="&lt;p&gt;I have noticed today that when I use ffmpeg 4.0 stable to decode some TS files into y4m or ffv1 it occasionally skips some frames. My input file has all the frames burned into the picture and I am extracting some frames at regular intervals. Sometimes it works just fine without any skipped frames but sometimes it skips one or two frames. I am using the following command to decode my input:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.ts -vsync 0 output.y4m&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and I am extracting the frames using: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss xxx -i output.y4m -vframes 1 xxx.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I am substituting xxx with 0, 100, 200, etc and sometimes I see 1-2-3 frame dropped which is very annoying since I am trying to evaluate the PSNR afterwards and this is messing up the whole PSNR/SSIM evaluation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;[EDIT] I have executed the command which @Gyan suggested:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -v 99 -loglevel 99 -i test.ts \&#xA;-c:v rawvideo -vsync 0 \&#xA;-enc_time_base 1/1000 output.nut &amp;amp;&amp;gt; test.log&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And here is the log file &lt;a href=&quot;https://we.tl/ePLv1JdfrT&quot; rel=&quot;nofollow noreferrer&quot;&gt;test.log&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19853" LastEditorUserId="19853" LastEditDate="2018-06-07T13:03:22.813" LastActivityDate="2018-06-13T13:06:09.957" Title="FFMPEG 4.0 skipping frames" Tags="|video|ffmpeg|raw|decoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24223" PostTypeId="2" ParentId="24222" CreationDate="2018-06-07T10:52:40.180" Score="2" Body="&lt;p&gt;Y4M has no timestamps, only framerate in its header. So, if your source has any variability in its framerate, you'll see a shift in apparent timestamp in the Y4M.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;e.g.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;n     src     y4m&#xA;0       0       0&#xA;1    0.04    0.04 &#xA;2    0.07    0.08&#xA;3    0.12    0.12&#xA;4    0.21    0.16&#xA;5    0.24    0.20&#xA;6    0.27    0.24 &#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Over a long period, these perturbations can add up. Here frame #6 in src is at TS of src #5 in Y4M.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;: the sample TS file has VFR timestamps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use &lt;code&gt;-c:v rawvideo -vsync 0 -vf setpts=N/FRAME_RATE/TB -an&lt;/code&gt; and save to &lt;code&gt;.nut&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-06-13T13:06:09.957" LastActivityDate="2018-06-13T13:06:09.957" CommentCount="20" ContentLicense="CC BY-SA 4.0" />
  <row Id="24224" PostTypeId="1" CreationDate="2018-06-07T11:39:57.023" Score="2" ViewCount="1450" Body="&lt;p&gt;In the process of creating a preview of what ffmpeg, is streaming i came up with this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i colony.mkv -c:v libx264 -f mpegts udp://127.0.0.1:1234 -vf fps=1 -s 320x240 d:\preview\out%d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is great, but it is outputting to a series of image files that are difficult to track:out1.jpg, out2.jpg ... etc...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When i remove the %d parameters, it throws an error saying &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[image2 @ 00000162c6a3d840] Could not get frame filename number 2 from pattern 'd:\preview\out.jpg' (either set update or use a pattern like %03d within the filename pattern)&#xA;av_interleaved_write_frame(): Invalid argument&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there a way to do this please?&lt;/p&gt;&#xA;" OwnerUserId="18819" LastEditorUserId="14523" LastEditDate="2018-06-07T14:43:44.247" LastActivityDate="2018-10-05T18:01:01.540" Title="ffmpeg export video to 1 image" Tags="|ffmpeg|preview|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24225" PostTypeId="2" ParentId="24224" CreationDate="2018-06-07T12:30:56.510" Score="2" Body="&lt;p&gt;You have to use the update option.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf fps=1 -s 320x240 -update 1 d:\preview\out.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will rewrite onto the same file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To avoid a possible read op in the middle of the updating, you can add &lt;code&gt;-atomic_writing 1&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-06-07T12:30:56.510" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24226" PostTypeId="1" CreationDate="2018-06-07T13:36:44.597" Score="4" ViewCount="7731" Body="&lt;p&gt;I am currently grabbing a live stream video with the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i https://urlToTheStream/playlist.m3u8 -f image2 -q:v 30 C:\pathToOutputFolder\%01d.bmp&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;video is running in 24 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am then live-processing the bmp files with a self written java program.&#xA;My processing program is a bit faster than the output of ffmpeg. i can see that ffmpeg produces packages of bmp files. Around 25 and then pauses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to tell ffmpeg not to buffer anything and instead just producing &quot;in realtime&quot;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At first I used jpg format which was clearly slower than bmp. I changed quality to 30 which helped too. But I still have a latency about 0.7 seconds compared watching the stream in the browser. I also tried the no buffering option with no efford.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any tips!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;edit: code format settings in text&lt;/p&gt;&#xA;" OwnerUserId="22425" LastEditorUserId="22425" LastEditDate="2018-06-12T17:12:37.090" LastActivityDate="2018-10-11T04:00:26.083" Title="how to get realtime output from ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24227" PostTypeId="1" AcceptedAnswerId="24233" CreationDate="2018-06-07T14:03:04.127" Score="0" ViewCount="2383" Body="&lt;p&gt;I have previously made an .mp4 video file in Adobe Premiere Pro. I don't have any of the original files (or the project file) still. I've now noticed a very small mistake that really bothers me, but if I were to import the .mp4 file into Premiere, cut out the split-second mistake (it's an unwanted sound that I for some reason didn't catch when I made it) and then re-export/encode it, it would &quot;lose a generation&quot; of picture (and sound?) quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is unacceptable to me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to export the exact same video minus the split-second mistake. Zero changes in video/audio quality. Note that I cannot export it losslessly, because then it's no longer an .mp4 and will take a HUGE amount of storage space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there really no way to accomplish this? It's so annoying that I will have to suffer serious loss of quality unless I keep all the lossless source files around forever for everything. It's just not practical, and I frankly see no reason why it couldn't allow us to do this.&lt;/p&gt;&#xA;" OwnerUserId="22426" LastActivityDate="2018-06-08T14:22:46.463" Title="Is there any way to avoid losing a generation of quality when re-exporting an .mp4 after making changes to it?" Tags="|video|premiere|video-editor|adobe|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="24228" PostTypeId="1" AcceptedAnswerId="24229" CreationDate="2018-06-07T16:35:49.943" Score="1" ViewCount="265" Body="&lt;p&gt;I am using ffmpeg to stream first 35 seconds of a movie over udp ..&#xA;in the process of showing a preview of this movie while streaming i reached this command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -re -t 00:00:35.000 -i input.mp4 -i overlay.png -filter_complex &quot;[0:v]scale=1200:720[scaled];[1:v]scale=150:-1[overl],[scaled][overl]overlay=main_w-overlay_w-10:10[logo]&quot; -map &quot;[logo]&quot; -map 0:a -c:a copy  -c:v libx264 -f mpegts udp://224.2.2.1:1234 -vf fps=4 -s 320x240 -update 1 -y preview.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the problem is .. if i don't use the overlay i get my preview.jpg perfectly, but when i do .. ffmpeg streams ok but without creating the jpg image ..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;any idea ?? please.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thank you.&lt;/p&gt;&#xA;" OwnerUserId="18819" LastActivityDate="2018-06-07T16:59:58.840" Title="ffmpeg stops exporting images when using overlay" Tags="|ffmpeg|preview|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24229" PostTypeId="2" ParentId="24228" CreationDate="2018-06-07T16:59:58.840" Score="1" Body="&lt;p&gt;The final processed stream has to be cloned and mapped, so for the given command,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -re -t 00:00:35.000 -i input.mp4 -i overlay.png -filter_complex &quot;[0:v]scale=1200:720[scaled];[1:v]scale=150:-1[overl];[scaled][overl]overlay=main_w-overlay_w-10:10,split=2[logo][preview];[preview]fps=4,scale=320x240[preview]&quot; -map &quot;[logo]&quot; -map 0:a -c:a copy  -c:v libx264 -f mpegts udp://224.2.2.1:1234 -map &quot;[preview]&quot; -update 1 -y preview.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(The issue corrected here has nothing to do with the updating of a single image).&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-06-07T16:59:58.840" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24230" PostTypeId="2" ParentId="24226" CreationDate="2018-06-07T18:16:08.517" Score="1" Body="&lt;p&gt;&lt;code&gt;ffmpeg -i https://urlToTheStream/playlist.m3u8 -f yuv4mpegpipe -&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Read from stdout pipe, The format is documented here &lt;a href=&quot;https://wiki.multimedia.cx/index.php/YUV4MPEG2&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://wiki.multimedia.cx/index.php/YUV4MPEG2&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2018-06-07T18:16:08.517" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="24231" PostTypeId="2" ParentId="24227" CreationDate="2018-06-07T20:44:57.713" Score="0" Body="&lt;p&gt;ffmpeg can use a &lt;code&gt;-codec copy&lt;/code&gt; parameter for either sound or image.  So you can easily demultiplex your file into video and sound, edit the sound, and then reassemble.  That way only the sound quality would be affected by reencoding.  Using a higher bitrate here would alleviate most of the problems (depending on codec) and the video bandwidth will very likely make the difference look like a drop in the bucket.&lt;/p&gt;&#xA;" OwnerDisplayName="user22428" LastActivityDate="2018-06-07T20:44:57.713" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24233" PostTypeId="2" ParentId="24227" CreationDate="2018-06-08T08:22:12.493" Score="2" Body="&lt;p&gt;@user2248 is on the money. The only software I know of that can do this sort of thing is ffmpeg. I'll expand on his answer:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Import &lt;em&gt;mymovie.mp4&lt;/em&gt; into Premiere Pro, or audition or whatever.&lt;/li&gt;&#xA;&lt;li&gt;Do your sound edit, and export just the audio to &lt;em&gt;myfixedaudio.wav&lt;/em&gt; (or .aiff). &lt;/li&gt;&#xA;&lt;li&gt;Now comes the scary command line stuff:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i mymovie.mp4 -i myfixedaudio.wav -c:v copy -map 0:v -map 1:a myfixedmp4.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Wow, a whole line of typing, that's going to take forever. Seriously, it might seem that it's mysterious and difficult, but it's actually less work than doing it with the GUI. let's break down that command so you can see what it's doing:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-i mymovie.mp4 -i myfixedaudio.wav&lt;/code&gt; import the movie, and the audio. FFMPEG numbers from 0, so &lt;em&gt;mymovie.mp4&lt;/em&gt; is source 0 and &lt;em&gt;myfixedaudio.wav&lt;/em&gt; is source 1&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-c:v copy&lt;/code&gt; set the codec for video to copy, aka completely lossless copy of the original encoded video, copied bit for bit. We don't need to set the codec for audio because it sets the appropriate audio codec for mp4 by default (aac).&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-map 0:v -map 1:a&lt;/code&gt; map the video from the first source and the audio from the second source to the first and second streams of the output. I.e. the output now has an identical video stream to the original movie, and a re-encoded audio stream from the fixed version in the wav file.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;myfixedmp4.mp4&lt;/code&gt; ffmpeg uses the first thing it sees as a filename without a -option in front of it as the output.&lt;/li&gt;&#xA;&lt;li&gt;if you wanted to preserve more audio quality, you could muck around with the audio settings, you'd do that before the output name.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Compare that to what you'd do in Premiere:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;import the movie and the audio&lt;/li&gt;&#xA;&lt;li&gt;create a new timeline&lt;/li&gt;&#xA;&lt;li&gt;add the just video to the timeline by deactivating the audio and then dragging the video into the timeline, or by selecting the original audio track from the movie and deleting it&lt;/li&gt;&#xA;&lt;li&gt;add the new audio&lt;/li&gt;&#xA;&lt;li&gt;export the movie, after adjusting the export settings&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Same same, only you do it with a lot more clicking and dragging and keystrokes. Not to mention that it can't actually do what ffmpeg can.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will not preserve your audio losslessly, but nothing will. It will however avoid a generation loss with your video, and it is the &lt;em&gt;only&lt;/em&gt; way I know of that will.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-06-08T14:22:46.463" LastActivityDate="2018-06-08T14:22:46.463" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24235" PostTypeId="2" ParentId="21341" CreationDate="2018-06-09T02:25:31.117" Score="0" Body="&lt;p&gt;I found the &lt;em&gt;free&lt;/em&gt; program &lt;a href=&quot;https://mediaarea.net/en/MediaInfo/Download/Mac_OS&quot; rel=&quot;nofollow noreferrer&quot;&gt;Media Info&lt;/a&gt; for macOS that does exactly what I'm after. It displays a movie's codec details incl:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;H.264 Profile setting&lt;/li&gt;&#xA;&lt;li&gt;H.264 Encoding string&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="18833" LastActivityDate="2018-06-09T02:25:31.117" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24236" PostTypeId="1" CreationDate="2018-06-09T05:29:40.760" Score="1" ViewCount="484" Body="&lt;p&gt;I am using Warp Stabilizer on some footage and it's almost perfect but there's a random erroneous rotation in the middle. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way I can fix this manually, maybe go into the keyframes or correct some points? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; or just disable rotation all together? (while keeping position and scaling)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/GZMKS7etJqc&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here is an example clip&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;(btw I lowered the frame-rate to make the stabilization faster)&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="21868" LastEditorUserId="21868" LastEditDate="2018-06-11T19:15:46.113" LastActivityDate="2019-09-30T16:03:15.470" Title="How to Fix Warp Stabilizer Incorrect Rotation" Tags="|premiere|after-effects|stabilisation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24237" PostTypeId="1" CreationDate="2018-06-09T06:17:17.160" Score="1" ViewCount="717" Body="&lt;p&gt;I am using kdenlive to create mp4 files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I indicate which image (or which point on the timeline) that will appear as the mp4 file icon when I display the mp4 file in Microsoft File Explorer?&lt;/p&gt;&#xA;" OwnerUserId="22438" LastActivityDate="2022-01-24T21:06:10.693" Title="Kdenlive: MP4 file icon" Tags="|kdenlive|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24238" PostTypeId="2" ParentId="23990" CreationDate="2018-06-09T10:35:31.180" Score="0" Body="&lt;p&gt;MDisc. Requires special writer but has amazing long duration - archival rated for 1000 years. THe higher powered laser actually burns holes into the media.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/M-DISC&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/M-DISC&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reading compatible with blue ray.&lt;/p&gt;&#xA;" OwnerUserId="22439" LastActivityDate="2018-06-09T10:35:31.180" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24239" PostTypeId="1" CreationDate="2018-06-09T10:50:18.270" Score="-1" ViewCount="46" Body="&lt;p&gt;I am doing a project in my summer holidays, where I want to produce 2 - 3 youtube clips where people should learn something. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need volunteers for this, writing the scripts, searching the content, etc. and some for doing the design stuff. The video should be in the style of &quot;In a nutshell&quot;, so I'm producing it with the help of Illustrator and AfterEffects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, how much time is needed to write a script for a 3 minute video, when 2 people work together. In best case, the volunteers writing the script know something about that topic already and don't have to do that much research.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other question is, how long does it take to make all the graphics and design the video itself, when 3 people are working togehter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to know that in order to find out how much money I should give them. Although it's voluntary, I want to give them something and I really don't know how much I should give them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: I have 1000 € for the whole production and about 10 people should help me.&lt;/p&gt;&#xA;" OwnerUserId="21134" LastActivityDate="2018-06-09T17:28:18.493" Title="How long does it take to write a script" Tags="|after-effects|youtube|script|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24240" PostTypeId="2" ParentId="23990" CreationDate="2018-06-09T12:55:08.843" Score="1" Body="&lt;p&gt;Have you considered uploading to Youtube? Upload as unlisted, so only people who you give the link can find it (or if you're really concerned, password protect it). It's going to be easier for most people to watch than an optical disk, you can use whatever resolution you want, and I'd be willing to bet that Google is going to be around longer than the DVD format. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Speaking personally, I'd be hard pressed to find a DVD player in my house (I know there's one somewhere, but it's probably in a cupboard under a pile of USB cables and defunct plug packs for devices that I don't own anymore).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course I'd keep a couple of copies of the master in geographically separate locations (e.g. your place and some other family members). You can put it on removable drives or burn to disk for that. Or you could outsource the storage - keep a copy on Google drive, and another on Amazon E3 / oneDrive / dropBox / iCloud / SpiderOak etc…&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-06-10T14:12:23.710" LastActivityDate="2018-06-10T14:12:23.710" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24241" PostTypeId="1" CreationDate="2018-06-09T15:09:50.603" Score="0" ViewCount="32" Body="&lt;p&gt;I have LGv30+ which is capable of recording video at 2k &amp;amp; 4k resolution and most smart phones available in market have capable of recording video in 2k resolution. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is video shot with these  mobiles good enough to display on theatre screens without pixel out and can you make cinema with smart phone?  if it possible, why do most movie maker still using dslr cameras which can do same as phones?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Movies shot with smart phone are Unsane(2018) and Tangerine  &lt;/p&gt;&#xA;" OwnerUserId="22442" LastEditorUserId="1950" LastEditDate="2018-06-12T03:55:34.907" LastActivityDate="2018-06-12T14:20:45.657" Title="Is it possible to make a movie with todays smart phone?" Tags="|video|video-quality|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24242" PostTypeId="2" ParentId="24239" CreationDate="2018-06-09T17:28:18.493" Score="1" Body="&lt;p&gt;You are thinking about this the wrong way.  First, you already have an established budget and the number of people you want as collaborators.  You can say &quot;I am looking to work with 10 people to write 2-3 minute scripted educational videos.  You pick the topic and send me a super-rough outline.  If I like it, you write the script, and I'll produce the video content using Adobe Illustrator and After Effects.  In addition to receiving writing credit, I'll pay you 100 € if I accept your script for production.&quot;  This way, the process is self-selecting.  Whether it takes them 2-3 minutes or 2-3 days to write the script, you'll get the scripts you want within the budget you have and nobody should be disappointed because all the conditions are stated up-front.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-06-09T17:28:18.493" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24243" PostTypeId="2" ParentId="24241" CreationDate="2018-06-09T17:35:18.217" Score="1" Body="&lt;p&gt;Most movie-makers use the best tools for the job.  For some people that tool is an inexpensive camera they can afford to blow up (crash cam).  For some it's light enough they can fly it on a drone.  For some, it has a large sensor so they can get shallow depth of field.  For some, it means being able to synchronize with other cameras so that edits are aligned to whole frames.  For some it means being able to use a specific lens that provides a specific look, or flare, or angle of view, or zoom ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Merely capturing 2K or 4K resolution doesn't begin to describe the requirements for making a film.  The script, the actors, the wardrobe and makeup, the set design, the props, the lighting, the color scheme, the use of contrast, color, transitions, music, sound design, etc., are all as important, if not more important, than the camera.  When the time comes to bring all these elements together and make an actual movie, it becomes readily apparent what sort of camera, camera operator, and camera department will do the movie justice.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-06-09T17:35:18.217" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24245" PostTypeId="1" CreationDate="2018-06-09T18:43:37.510" Score="2" ViewCount="346" Body="&lt;p&gt;Beginner to After Effects here. I'm trying to do a basic transition: text starts out at 50% of its size, centered to the composition. After a few seconds I want the text to increase to 150% while staying in the center. But anytime I do this the text shifts. Can anyone help?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xV8UG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xV8UG.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SrJqr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SrJqr.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22445" LastActivityDate="2019-05-24T17:27:36.200" Title="Keeping text centered during a transition" Tags="|video|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24247" PostTypeId="1" AcceptedAnswerId="24272" CreationDate="2018-06-11T03:59:07.843" Score="0" ViewCount="2292" Body="&lt;p&gt;The specs of the camcorder Sony HDR CX455 states that it can record videos in the following formats:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1920 x 1080p at 24/30/60 fps (50 Mb/s XAVC S)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1440 x 1080i at 60 fps (5 Mb/s AVCHD)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1280 x 720p at 30 fps (3 Mb/s MP4)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It also says that &quot;&lt;strong&gt;The HDR-CX455 records 4K and HD movies in the XAVC S format, which uses MPEG-4 AVC/H.264 for video compression and linear PCM for audio compression, while saving files in a MP4 wrapper which allows for extensive record times and easy editing. Additionally, you can chose to record HD in AVCHD (ideal for HDTV and Blu-ray disc burning) or MP4 (ideal for sharing over the internet).&lt;/strong&gt;&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Please note the part in the paragraph above that says &quot;&lt;strong&gt;MPEG-4&lt;/strong&gt;&quot;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, unless I am mistaken, YouTube does not take the format &lt;strong&gt;XAVC S&lt;/strong&gt; and &lt;strong&gt;AVCHD&lt;/strong&gt;. Instead, YouTube does take the &lt;strong&gt;MP4&lt;/strong&gt; format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, I don't want to use the format MP4 at 1280 x 720p, which is a low resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use this camcorder, can I record videos in the &lt;strong&gt;MP4 format at 1920 x 1080i&lt;/strong&gt; so that I can load the videos to YouTube ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: The specs of  Sony HDR CX455 can be found at this link: &lt;a href=&quot;https://www.bhphotovideo.com/c/product/1211907-REG/sony_hdrcx455_b_hdr_cx455_full_hd_handycam.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.bhphotovideo.com/c/product/1211907-REG/sony_hdrcx455_b_hdr_cx455_full_hd_handycam.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22453" LastActivityDate="2018-06-13T07:33:20.397" Title="Can camcorder Sony HDR CX455 record videos in MP4 at 1920 x 1080i to be uploaded to YouTube?" Tags="|video|mp4|video-recording|youtube|avchd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24249" PostTypeId="1" CreationDate="2018-06-11T10:53:40.417" Score="2" ViewCount="313" Body="&lt;p&gt;I 'd like to create a 16/9 video from an image that is not exactly 16/9; &#xA;I can add black lines aside, to fit 16/9, but I'd like to create a background with same image, with a boxblur applied; the result will be the original image, fit at 16/9, with the same image, blurry, visible instead of blank side lines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to do with split filter, something similar to this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[0:v]split=2[v0i][v1i];\&#xA;[v0i]scale=iw*3:ih*3,boxblur=5[v0f];\&#xA;[v1i][v0f]overlay=(W-w/2):(H-h)/2[v0];\&#xA;[v0]\&#xA;scale=iw*min(640/iw\,360/ih):ih*min(640/iw\,360/ih),&#xA;pad=640:360:(640-iw)/2:(360-ih)/2\&#xA;[v00];\&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but I think I miss something ... can someone help me? thanks ...&lt;/p&gt;&#xA;" OwnerUserId="21376" LastActivityDate="2018-06-11T11:40:07.680" Title="Video from image with same image as background" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24250" PostTypeId="2" ParentId="24249" CreationDate="2018-06-11T11:40:07.680" Score="1" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[0:v]split=2[vblur][vmain];\&#xA;[vblur]scale=640:360:force_original_aspect_ratio=increase,boxblur=5,crop=640:360[vblurred];\&#xA;[vmain]scale=640:360:force_original_aspect_ratio=decrease[vmain];\&#xA;[vblurred][vmain]overlay=(W-w)/2:(H-h)/2[out]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-06-11T11:40:07.680" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24252" PostTypeId="1" CreationDate="2018-06-11T13:49:38.027" Score="0" ViewCount="421" Body="&lt;p&gt;I want to shoot outdoor road videos looking through windshield of car in broad day around noon time moving at about 25 MPH. I want to document what the road and surrounding areas look like for web display which means videos would be downscaled. What is the recommended settings like mode, focal length, shutter, aperture fstop etc?&lt;/p&gt;&#xA;" OwnerUserId="22455" LastActivityDate="2018-06-14T12:38:21.233" Title="What is best setting of Nikon D3300 camera to shoot daytime video from a moving car?" Tags="|video|dslr|nikon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24254" PostTypeId="1" AcceptedAnswerId="24262" CreationDate="2018-06-11T17:28:13.123" Score="2" ViewCount="206" Body="&lt;p&gt;I have videos shot with Nikon D3300 like DSC_0027.MOV. I tried using ffprobe program but it does not give camera settings. I am looking for settings like focal length, fstops, what mode the camera was like Manual, S or Landscape etc. in which the video was shot. How can I get such info?&lt;/p&gt;&#xA;" OwnerUserId="22455" LastActivityDate="2018-06-12T13:49:56.230" Title="How to get camera settings from video file shot with Nikon D3300 DSLR?" Tags="|dslr|nikon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24255" PostTypeId="1" CreationDate="2018-06-11T19:18:51.967" Score="0" ViewCount="28" Body="&lt;p&gt;In this &lt;a href=&quot;https://www.youtube.com/watch?v=A3PDXmYoF5U&quot; rel=&quot;nofollow noreferrer&quot;&gt;GoPro HERO3&lt;/a&gt; ad, they use what looks like almost seamless transitions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To me it looks too smooth to be just some hard transitions. Can anyone tell me how to mimic this effect? I use After Effects for video editing.&lt;/p&gt;&#xA;" OwnerUserId="17227" LastActivityDate="2018-06-13T19:46:30.780" Title="Seamless transitions" Tags="|after-effects|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24257" PostTypeId="2" ParentId="22867" CreationDate="2018-06-12T00:19:30.430" Score="1" Body="&lt;p&gt;This bothered me too. From what I see, &quot;Open subtitling&quot; is a special EBU standard, and is subject to the restrictions of captioning spec (probably Teletext, but I'm no PAL expert). Therefore there's no raster resolution, no fonts, colors etc., just a &quot;grid size&quot; for the number of (unformatted) characters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open captions are intended to be burned into the video, but offer the handy benefit of import and export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looks like both types can export to STL and XML. But &quot;Open subtitling&quot; can also export to EBU N19 format.&lt;/p&gt;&#xA;" OwnerUserId="22461" LastActivityDate="2018-06-12T00:19:30.430" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24258" PostTypeId="2" ParentId="24241" CreationDate="2018-06-12T03:46:07.120" Score="0" Body="&lt;p&gt;The resolution of the sensor is only a small part of what makes a camera suitable for movie making. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you look at any cinema camera in use on a feature today you'll probably find that the lens on the front of it costs at least as much as the body. For example, this little baby will &lt;a href=&quot;https://www.bhphotovideo.com/c/search?setNs=p_PRICE_2%7C1&amp;amp;Ns=p_PRICE_2%7C1&amp;amp;ci=25249&amp;amp;srtclk=sort&amp;amp;N=3908282151&quot; rel=&quot;nofollow noreferrer&quot;&gt;set you back&lt;/a&gt; over $100k (2018 prices):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/aeAyE.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aeAyE.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The quality of the lens will make a big difference to the look of the final picture. It affects the sharpness, the saturation depth-of-field, bokeh and speed, to name a few. Lenses are part of the creative process: choosing the length (zoom) of the lens has an impact on the dramatic feel of the shot, focus can be used to isolate or include elements in different parts of the picture, and things like flare can add atmosphere. You get none of this creative control with the lens on a phone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then there's the sensor. Today's phones may be able to match entry-level cinema cameras in terms of the number of pixels they have, but I don't know any that come close in terms of dynamic range. Dynamic range put simply, is the range between the brightest part of the picture and the darkest. These days it's not unusual for cinema quality sensors to have 16 stops of range, meaning that the brightest point can be 2^16 times as bright, compared to the 8 stops you get on a phone (if that). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How the sensor handles both the extremes, and the way the camera processes colour are big factors that differentiate high-end cameras from consumer ones (&lt;a href=&quot;https://www.eoshd.com/2013/02/red-epic-versus-blackmagic-cinema-camera-part-1-grain-workflow-and-form-factor/&quot; rel=&quot;nofollow noreferrer&quot;&gt;and from each other&lt;/a&gt;. The look of the film can be affected by the choice of camera, so it becomes part of the creative process).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the pictures, so for audio. While many cinema shoots will record audio separately, most high-end and even prosumer cameras have a couple of balanced audio inputs, so that proper microphones can be attached.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are other things like timecode, sync, storage media, frame rates, output capabilities for monitoring, built in ND filters, the ability to show technical information to the operator like histograms and waveforms, and finally general useability that separate higher end cameras from cheaper ones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All that said, there is no reason why you couldn't make a movie on a smart phone. If the script calls for the kind of look you get from a phone, go for it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-06-12T03:57:51.527" LastActivityDate="2018-06-12T03:57:51.527" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24260" PostTypeId="1" CreationDate="2018-06-12T09:01:10.847" Score="0" ViewCount="8837" Body="&lt;p&gt;I need to convert flv video into mp4 video, so I used this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.flv -c -vcodec libx264 -acodec copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But output video has little bit worse video quality, how can I fix it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MP4 info (output):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;video: 472kb/s bitrate, 680*480, 24 FPS&lt;/li&gt;&#xA;&lt;li&gt;audio: 112kb/s bitrate, 44.1 kHz, mpeg audio, stereo&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;FLV info (input):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;video: 1500kb/s bitrate, 680*480, 24 FPS&lt;/li&gt;&#xA;&lt;li&gt;audio: 112kb/s bitrate, 44.1 kHz, mpeg audio, stereo&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried with &lt;code&gt;-crf 18&lt;/code&gt; and this is result (colors of output are more bright and look at that yellow line on the cap, on the output image that yellow line contains  something like noise).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Input:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/R2XMr.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/R2XMr.jpg&quot; alt=&quot;INPUT&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Output:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/U4o8e.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/U4o8e.jpg&quot; alt=&quot;OUTPUT&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22466" LastEditorUserId="22466" LastEditDate="2018-06-12T11:16:33.510" LastActivityDate="2021-02-19T19:01:04.047" Title="Low conversion quality using ffmpeg" Tags="|ffmpeg|mp4|quality|flash|" AnswerCount="2" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="24261" PostTypeId="1" CreationDate="2018-06-12T11:30:22.847" Score="0" ViewCount="28" Body="&lt;p&gt;I'm working on a top-down projection game where i detect objects from the real world and project contours on them. My problem is with the output of the projector, I would like to know how to eliminate the feedback/not pick up the projector's output. Will using an infrared camera guarantee that or should i use other things? &#xA;I tried placing a solar filter (from a floppy disk) in front of the camera which helped but i had to have a bigger light source in order to see the real objects.&#xA;This is my first time working on such a project so i would appreciate your help.&lt;/p&gt;&#xA;" OwnerUserId="22467" LastEditorUserId="22467" LastEditDate="2018-06-12T11:58:52.477" LastActivityDate="2018-06-13T13:04:22.803" Title="Camera-projector installation and reducing projector feedback" Tags="|camera|projector|" AnswerCount="1" CommentCount="0" ClosedDate="2018-06-18T21:56:38.850" ContentLicense="CC BY-SA 4.0" />
  <row Id="24262" PostTypeId="2" ParentId="24254" CreationDate="2018-06-12T13:49:56.230" Score="1" Body="&lt;p&gt;You can extract all the available metadata using a free Exif Tool which you can read about &lt;a href=&quot;https://www.scantips.com/lights/exif.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. You need to bear in mind that you're less likely to extract as much Exif data from video as you are with photo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is due to things like ISO, shutter and aperture changing all the time during the recording of video, and therefore is not logged to a specific value/setting like it is with photo. However, you're likely to find just about all you're able to using this tool (and many of the others just like it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A highly recommended tool known for extracting more data than others is &lt;a href=&quot;https://sno.phy.queensu.ca/~phil/exiftool/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Exif Tool by Phil Harvey&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22270" LastActivityDate="2018-06-12T13:49:56.230" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24263" PostTypeId="2" ParentId="24241" CreationDate="2018-06-12T14:20:45.657" Score="1" Body="&lt;p&gt;The answer to your question is that it &lt;em&gt;is possible&lt;/em&gt; to shoot a movie using a smart phone. In fact, the feature film &lt;a href=&quot;https://www.imdb.com/title/tt7153766/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Unsane&lt;/a&gt;, which recently left the theatres, was shot entirely on an iPhone. And the model of smart phone you have mentioned in your post has higher quality camera specifications than the iPhone they used in that movie (as you've already mentioned).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason why the far more expensive camera's are used more commonly by film makers is due to their ability to achieve remarkable results when used by the most skilled camera men. A huge subject on it's own if one goes into the technical content of it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, the professional camera's offer a great deal more in the post production environment (if you compared colour grading Raw Alexa footage to smart phone footage you would be sold on that fact alone).&lt;/p&gt;&#xA;" OwnerUserId="22270" LastActivityDate="2018-06-12T14:20:45.657" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24264" PostTypeId="2" ParentId="22553" CreationDate="2018-06-12T14:30:25.707" Score="0" Body="&lt;p&gt;This can easily be achieved with &lt;a href=&quot;http://www.squared5.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPEG Streamclip&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 1&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right-Click your video and 'open with MPEG Streamclip'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 2&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the player window, use keys 'I' and 'O' to mark IN/OUT over the section you want to trim down to&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 3.&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go to 'File &gt; Save As &gt; MOV'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Hint:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure you use the 'Save As' function and not the 'Export' function. If you use export you will end up re-encoding the video to a new compression which will make the file larger than the original. If you use 'Save As', the software will simply copy the existing video data into a new MOV container file for you, keeping the file small like you intend.&lt;/p&gt;&#xA;" OwnerUserId="22270" LastActivityDate="2018-06-12T14:30:25.707" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24265" PostTypeId="2" ParentId="24237" CreationDate="2018-06-12T14:36:20.930" Score="-1" Body="&lt;p&gt;This question has been answered in a previous post &lt;a href=&quot;https://superuser.com/questions/597945/set-mp4-thumbnail&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best way to do it is by using &lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you save the frame of video you want as the thumbnail in .png format, you can use the following command to apply the thumbnail to your file in ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i INPUT.mp4 -i IMAGE.png -acodec copy -vcodec copy -map 0 -map 1:0 OUTPUT.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22270" LastActivityDate="2018-06-12T14:36:20.930" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24266" PostTypeId="2" ParentId="24199" CreationDate="2018-06-12T14:52:30.847" Score="0" Body="&lt;p&gt;The answer to your question lies &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/workspaces.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. You may not be able to change the appearance to the point where is also affects scroll bars, title bars and menus that aren't inside panels. I have highlighted the related section of text in that link below:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Brighten or darken the interface&lt;/strong&gt; You can lower the brightness, as when working in a darkened editing suite or when making color&#xA;  corrections. Changing the brightness affects panels, windows, and&#xA;  dialog boxes but does not affect scroll bars, title bars, and menus&#xA;  that aren’t inside panels. In addition, the change doesn’t affect the&#xA;  application background on Windows.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Choose Edit &gt; Preferences &gt; Appearance (Windows) or Premiere Pro &gt;&#xA;  Preferences &gt; Appearance (Mac OS). Drag the User Interface Brightness&#xA;  slider to the left or right. Click Default to restore the default&#xA;  brightness level.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="22270" LastActivityDate="2018-06-12T14:52:30.847" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24269" PostTypeId="2" ParentId="12859" CreationDate="2018-06-12T20:00:55.883" Score="0" Body="&lt;p&gt;Close After Effects while rendering with Media Encoder.&#xA;By doing so my CPU usage went from 30% to 60%. &#xA;I guess because Adobe isn't sparing CPU power for working simulatiously in AE.&lt;/p&gt;&#xA;" OwnerUserId="22474" LastActivityDate="2018-06-12T20:00:55.883" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24270" PostTypeId="2" ParentId="19730" CreationDate="2018-06-12T21:04:55.833" Score="1" Body="&lt;p&gt;Select all the captions in the Captions window; then go to the top right are of the window, right above the first caption -- here, you'll find a grid made up of 9 little squares. Select the bottom middle and all of your subtitles will align in the center of the frame. Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="22475" LastActivityDate="2018-06-12T21:04:55.833" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24271" PostTypeId="1" AcceptedAnswerId="24282" CreationDate="2018-06-13T04:12:02.720" Score="1" ViewCount="11472" Body="&lt;p&gt;I have many videos and I need to put an image in them for about 20 seconds, I am adding them manually and it works fine if only the image is small in size....&#xA;please, help me out to set height and width on the image&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original command is this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mkv -i 3.png -filter_complex &quot;[0:v][1:v] overlay=25:25:enable='between(t,0,20)'&quot; -pix_fmt yuv420p -c:a copy tout.mkv pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But it give me output as these image below&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YM5Zb.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Image - 1&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/P4xko.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Image - 2&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22256" LastActivityDate="2018-06-14T14:15:50.007" Title="How to set an image height &amp; width on a video in ffmpeg" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24272" PostTypeId="2" ParentId="24247" CreationDate="2018-06-13T07:33:20.397" Score="0" Body="&lt;p&gt;Finally, I got the official answer from Sony Customer Service as follow:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Yes, You can record MP4 at 1920 x 1080p. Please be advised that the video format for the XAVC S is in MP4, while the AVCHD is for m2ts files. And please make sure that the File Format that is set in your camcorder is XAVC S HD:&#xA;- Press Menu.&#xA;- Select Image Quality/ Size.&#xA;- File Format (film icon) and select  XAVC S HD.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://helpguide.sony.net/cam/1610/v1/en/contents/TP0000945876.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://helpguide.sony.net/cam/1610/v1/en/contents/TP0000945876.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22453" LastActivityDate="2018-06-13T07:33:20.397" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24273" PostTypeId="2" ParentId="24261" CreationDate="2018-06-13T13:04:22.803" Score="1" Body="&lt;p&gt;If you place an IR-blocking filter in front of the projector and a IR-pass filter in front of an IR-sensitive camera and illuminate your objects with IR light, then the camera will see nothing from the projector, and you can color your contours with any visible light colors.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-06-13T13:04:22.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24275" PostTypeId="2" ParentId="24245" CreationDate="2018-06-13T13:16:02.997" Score="0" Body="&lt;p&gt;After you create your text, go to the 'Paragraph' panel and make sure the centered icon selected, you should then see that the anchor point shows up in the middle of the text. Then look at the x position of your text to make sure it's in the center of the comp (if its 1080p, that would be 960) Here's a screenshot that may help:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rgudz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rgudz.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21303" LastActivityDate="2018-06-13T13:16:02.997" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24276" PostTypeId="2" ParentId="24255" CreationDate="2018-06-13T19:46:30.780" Score="3" Body="&lt;p&gt;Playing the video at 1/4 speed on YouTube, there's no discernible transition other than a hard cut.  If there were some sort of cross-fade or dip-to-black or luma fade, it should be visible at that speed.  And it's not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suspect that part of what makes the hard cut transition successful in that video is that the motion and the balance of the center of interest in the &quot;from&quot; clip leads the eye perfectly to the center of interest in the &quot;to&quot; clip.  Hard transitions look harsh when the eye must find and acquire a subject in a different part of the frame across the cut.  If the eye is already properly aimed and focused, the hard cut just looks like a seamless transition.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-06-13T19:46:30.780" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24277" PostTypeId="2" ParentId="24252" CreationDate="2018-06-13T20:19:38.340" Score="1" Body="&lt;p&gt;Shooting through a windshield is a very dicey proposition.  There is an amazing amount of glare that you don't see when you are in the car, but which you will see when you look at your camera footage.  A far better solution would be to mount a GoPro (or some other small, disposable camera) on the exterior.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nevertheless, if you insist on using a DSLR, then only with a wide-angle lens will you get &quot;the surrounding areas&quot; to give context to your road.  You can think of angle of view this way: if you have a 90 degree field of view, then you have (in the left half of the frame) something that sees the range from 45 degrees left to the center of the road and (in the right half of the frame) something that sees the range from 45 degrees right to the center of the frame.  45 degrees to one side or another is not very wide-angle (compared to turning your head and looking sideways), but wide enough to show some very limited context.  To achieve that with a DX format, you need a 10 or 11mm lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For shutter speed, you don't want too much blur.  25 miles per hour is 36.7 feet per second.  Since you are shooting at max 45 degrees, 36.7 * cos(45) = 26 feet per second.  If you shoot at 60 fps with a 180 degree shutter (1/120th of a second), then the largest blur on the sides will be 26/60 = 2.5 inches.  2.5&quot; may be an acceptable amount of blur for a building-sized object that's on the way out of the frame.  If you look closer to the center of the frame, say 22.5 degrees off center, the blur will be 36.7 * cos(67.5) = 1.4 inches.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wide-angle lenses tend to have deep depths of field, so you can safely use an aperture that gives you the right exposure (but check your depth-of-field charts).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But a GoPro will give you a better result for many reasons, not least because they have built-in very wide-angle lenses.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastEditorUserId="10931" LastEditDate="2018-06-14T12:38:21.233" LastActivityDate="2018-06-14T12:38:21.233" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24278" PostTypeId="1" CreationDate="2018-06-13T23:44:26.697" Score="3" ViewCount="4492" Body="&lt;p&gt;I'm trying to created live event broadcast on my VPS server , to make the audience able watch my broadcast I use &lt;code&gt;Nginx RTMP&lt;/code&gt; that's produce link at this format &lt;code&gt;http://192.168.1.5:8080/hls/live.m3u8&lt;/code&gt; this is my ffmpeg command &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg  -re -i &amp;lt;input&amp;gt; -s 634x360 -vb 110k  -c:v libx265 -preset ultrafast -c:a aac -ab 38k  -ar 44100 -f mpegts  rtmp://localhost/hls/live&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;command output &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frame= 1465 fps= 25 q=-0.0 size= 1231kB time=00:00:58.56 bitrate= 172.2kbits/s speed=0.999x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Nginx config file &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;server {&#xA;listen      8080;&#xA;server_name  localhost;&#xA; location /hls &#xA;   {&#xA;     types &#xA;       {&#xA;                application/dash+xml mpd;&#xA;                application/vnd.apple.mpegurl m3u8;&#xA;       }&#xA;      root /tmp;&#xA;      add_header Cache-Control no-cache;&#xA;    }&#xA;  }&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;so the encoding runs on mealtime but when I try to access &lt;code&gt;live.m3u8&lt;/code&gt; url I got &lt;code&gt;nginx 404 Not Found&lt;/code&gt; error message like Nginx didn't generate .m3u file at all .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;==update &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alright I found workaround solution to generate &lt;code&gt;.m3u8&lt;/code&gt; file directly from ffmpeg using this command &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  ffmpeg -i &amp;lt;input&amp;gt; -map 0 -c:v libx265 -vb 300k -c:a aac -ab 38k -ar 44100 -preset veryfast -f ssegment -segment_list /var/www/vhl/live.m3u8 -segment_list_type hls -segment_list_size 10 -segment_list_flags +live -segment_time 10 -segment_wrap 30 /var/www/vhl/live%01d.ts &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I was able to play it via VLC for which is good for now&#xA;to gain more performance e.g you have huge number of audience mount your output folder &lt;code&gt;/var/www/vhl/&lt;/code&gt; as &lt;code&gt;tmpfs&lt;/code&gt; &lt;/p&gt;&#xA;" OwnerUserId="22348" LastEditorUserId="22348" LastEditDate="2018-11-10T14:26:19.000" LastActivityDate="2023-10-26T03:55:29.677" Title="Nginx RTMP didn't accept HEVC h265 input format" Tags="|ffmpeg|h265|hevc|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24279" PostTypeId="1" CreationDate="2018-06-14T05:30:13.013" Score="1" ViewCount="111" Body="&lt;p&gt;I have Davinci Resolve 15 Public Beta. The bar on the bottom that enables you to switch from editing to color grading is covering up the settings for RGB, and I cannot drag the window up to make the settings visible. Is this a bug? I have looked through just about every Davinci Resolve tutorial and nobody has this problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Aside from uninstalling and reinstalling Resolve, is there a way to make the settings visible?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/arPnq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/arPnq.png&quot; alt=&quot;The bar covers everything up&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22481" LastActivityDate="2018-06-14T05:30:13.013" Title="Davinci Resolve 15 Beta workflow bar covering up color settings" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24280" PostTypeId="2" ParentId="24144" CreationDate="2018-06-14T12:36:25.657" Score="1" Body="&lt;p&gt;Directional Blur is a feature of the VSE (video sequence editor), aka compositor.  When you open up Blender, select Video Editing as the Screen Layout.  Make one window a Node Editor (where you will introduce your &lt;a href=&quot;https://docs.blender.org/manual/en/dev/compositing/types/filter/directional_blur.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;directional blur&lt;/a&gt; node), and choose the Compositing view. Open another window as a Video Sequence Editor (where you will put your clips) and view it as a Sequence.  Then, either enable Backdrop in the Node Editor (so you can see your rendered result) or open a third window as a UV/Image Editor displaying Rendered Result.  You might have to set your render resolution to get 100% of your image (because the default is to render at 50% resolution, and while that just shrinks things for 3D worlds, it crops things for the compositor).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the first frame, set the number of iterations to 1 and set a keyframe (right click).  Set the zoom factor to 0 and set a keyframe.  At the last frame, set the zoom to 1.0 or 2.0 or whatever you consider to be a maximum.  Tune up the number of iterations to whatever makes it smooth (could be 10, 20, whatever).  Keyframe those.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With your second clip (that you are zooming to), set the first frame of the effect to the same zoom and iteration numbers that you used for the last frame of your first clip.  Keyframe those.  For the last frame of the effect, set the iteration count to 1 and the zoom amount to 0.0 and keyframe those.  Then cross fade between the two.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the middle you should have two very zoomed images that, when blended 50/50, look like they could logically belong to either image (because it's mostly just blurred pixels).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The above was checked with the latest release of Blender: 2.79b.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-06-14T12:36:25.657" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24281" PostTypeId="1" AcceptedAnswerId="24285" CreationDate="2018-06-14T13:45:34.587" Score="0" ViewCount="776" Body="&lt;p&gt;I'm trying to display zebras (colorize totally black pixels one color and totally white pixels a second color) on a selected frame from a video using ffmpeg.  Using an rgb lookup table expression I'm getting a workable solution: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;lutrgb=r='if(eq(val,0),0,val)':g='if(eq(val,0),153,val)':b='if(eq(val,0),254,val)',lutrgb=r='if(eq(val,255),254,val)':g='if(eq(val,255),102,val)':b='if(eq(val,255),0,val)'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The problem with this expression is that it's testing each pixel for clipping by color, then modding only if that color component = 0 or 255.  My video is largely black and white, but a slight pixel level color shift results in a two toned zebra pattern.  You can see the two shades of blue in this sample zebra frame:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tw8VC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tw8VC.jpg&quot; alt=&quot;inconsistent zebras&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I could test for the maxval for clipping into 0 and minval for 255 I would think this problem would be solved, but this code below doesn't work:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;lutrgb=r='if(eq(maxval,0),0,val)':g='if(eq(maxval,0),153,val)':b='if(eq(maxval,0),254,val)',lutrgb=r='if(eq(minval,255),254,val)':g='if(eq(minval,255),102,val)':b='if(eq(minval,255),0,val)'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The if/then code for filters is poorly documented on the ffmpeg wiki.  Any LUT experts out there?&lt;/p&gt;&#xA;" OwnerUserId="11825" LastActivityDate="2018-06-14T17:45:50.690" Title="ffmpeg lutrgb to create zebras" Tags="|ffmpeg|lut|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="24282" PostTypeId="2" ParentId="24271" CreationDate="2018-06-14T14:15:50.007" Score="4" Body="&lt;p&gt;You can add a scale filter. This will scale the image to 50x50:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mkv -i 3.png -filter_complex &quot;[1]scale=50:50[b];[0][b] overlay=25:25:enable='between(t,0,20)'&quot; -pix_fmt yuv420p -c:a copy tout.mkv pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you want to scale the width or height and maintain the aspect ratio, use -1. For example, this scales the width to 50 and the height according to the aspect ratio. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;scale=50:-1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Conversely, this scales the height to 50 and the width is adjusted by aspect ratio.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;scale=-1:50&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22487" LastActivityDate="2018-06-14T14:15:50.007" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24283" PostTypeId="1" AcceptedAnswerId="24291" CreationDate="2018-06-14T14:20:40.613" Score="0" ViewCount="8271" Body="&lt;p&gt;I want to extract a frame from the h264 video stream using NVIDIA card. &lt;br&gt;&#xA;First of all we need to decode this stream via h264_cuvid decoder: &lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -hwaccel cuvid -c:v h264_cuvid -i ...&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;As I understand currently we can't extract a video frame using only NVIDIA card in FFmpeg as this functional doesn't exist, like doesn't exist a codec like mjpeg_nvenc or something else. Please correct me if I wrong.&lt;/strong&gt; &lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think we should be able to decode a video stream on the NVIDIA card then extract a frame via CPU codec, for example, mjpeg:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -hwaccel cuvid -c:v h264_cuvid -i video_source -vcodec mjpeg&#xA;  -vframes 1 /tmp/frame.jpg&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In this case we will get the following error:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Impossible to convert between the formats supported by the filter 'Parsed_null_0' and the filter 'auto_scaler_0' &lt;br&gt; &#xA;  Error reinitializing&#xA;  filters! &lt;br&gt; Failed to inject frame into filter network: Function not&#xA;  implemented&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;NVIDIA decode video to NV12(by default) or NV21 pixel format and it's not appropriate format for the mjpeg codec. Please also correct me if I wrong. &lt;br&gt;&#xA;Let's try to change the output resolution and convert the pixel format via scale_npp to yuvj420p as mjpeg codes support it:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -hwaccel cuvid -c:v h264_cuvid -i video_source -vcodec mjpeg&#xA;  -vf &quot;hwupload_cuda,scale_npp=w=1024:h=70:format=nv12:interp_algo=lanczos,hwdownload,format=yuvj420p&quot; -vframes 1 /tmp/frame.jpg&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I got the same error:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Impossible to convert between the formats supported by the filter 'Parsed_null_0' and the filter 'auto_scaler_0' &lt;br&gt; &#xA;  Error reinitializing&#xA;  filters! &lt;br&gt; Failed to inject frame into filter network: Function not&#xA;  implemented&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;According the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#scale_005fnpp&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg documentation&lt;/a&gt; format conversation isn't supported: &quot;&lt;em&gt;Note that automatic format negotiation and conversion is not yet supported for hardware frames&lt;/em&gt;&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to decode an input h264 stream via h264_cuvid decoder then convert the decoded video pixel format to yuvj420p and extract a frame via mjpeg codec? &lt;br&gt; Or please share your thoughts how to extract a frame from a video stream with decoding or decoding and encoding on NVIDIA card to any picture format.&lt;/p&gt;&#xA;" OwnerUserId="14107" LastActivityDate="2018-06-28T14:31:35.487" Title="How to extract a video frame using NVIDIA card" Tags="|ffmpeg|nvidia|cuvid|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="24285" PostTypeId="2" ParentId="24281" CreationDate="2018-06-14T16:58:46.343" Score="3" Body="&lt;p&gt;Assuming your input is full range RGB when fed to the filter, then something like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;geq=r='if(between(st(1,r(X,Y)+g(X,Y)+b(X,Y)),15,750),p(X,Y),if(lt(ld(1),15),C1R,C2R))':&#xA;    g='if(between(st(1,r(X,Y)+g(X,Y)+b(X,Y)),15,750),p(X,Y),if(lt(ld(1),15),C1G,C2G))':&#xA;    b='if(between(st(1,r(X,Y)+g(X,Y)+b(X,Y)),15,750),p(X,Y),if(lt(ld(1),15),C1B,C2B))'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here the two colors are &lt;code&gt;(C1R,C1G,C1B)&lt;/code&gt; and &lt;code&gt;(C2R,C2G,C2B)&lt;/code&gt;. with each component range being 0-255.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 15 and 750 are the thresholds for selecting black and white pixels. The sum of the values of the three components for each pixel is compared to those values.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The st and ld functions are store and load functions with the first argument being the 'register no.'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also try the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#colorkey&quot; rel=&quot;nofollow noreferrer&quot;&gt;colorkey&lt;/a&gt; filter.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-06-14T17:45:50.690" LastActivityDate="2018-06-14T17:45:50.690" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="24286" PostTypeId="1" CreationDate="2018-06-14T19:05:43.837" Score="-2" ViewCount="54" Body="&lt;p&gt;Is streaming video from one PC to a physical second PC with recording it there, without getting any frame drops, artefacts, basicly everything what the source video don't have, in todays world doable or is that even in the highend industry (that do that on daily basis) a well known thing that they have to control/manage?&lt;/p&gt;&#xA;" OwnerUserId="22436" LastActivityDate="2018-06-15T08:23:42.920" Title="Is failure free streaming possible in todays world?" Tags="|streaming|video-recording|video-capture|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24287" PostTypeId="2" ParentId="24286" CreationDate="2018-06-14T19:43:11.047" Score="0" Body="&lt;p&gt;&quot;doable&quot; absolutely. But it requires you control every aspect of the environment. And depending on your definition of &quot;failure free&quot; requires hardened hardware/software and infrastructure. Otherwise its best effort.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TLDR. Yes, but it will cost you.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2018-06-14T19:43:11.047" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24288" PostTypeId="1" CreationDate="2018-06-14T21:07:03.240" Score="1" ViewCount="285" Body="&lt;p&gt;I am composing two 'Solid Color' media generator sources in Vegas Pro: a green background and a red rectangle on top of it (using Pan/Crop).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/X8QBc.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/X8QBc.jpg&quot; alt=&quot;Composition&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My goal is to have the edges of the red rectangle completely sharp, but no matter what I do, upon rendering I end up with a very annoying sort of anti-aliasing which creates a visibly black border at the edges.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/scOSP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/scOSP.png&quot; alt=&quot;Blurred edges&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried a handful of quality presets, rendering presets, turning GPU acceleration on or off, the result ends up roughly the same. It even renders this way if I use &quot;save as an image&quot; in the Preview window, despite the Preview showing sharp edges.&lt;/p&gt;&#xA;" OwnerUserId="22490" LastEditorUserId="22490" LastEditDate="2018-06-14T21:13:05.217" LastActivityDate="2018-07-04T19:23:31.110" Title="Vegas Pro blurring the edges of my sources" Tags="|video-editor|vegas-pro|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24289" PostTypeId="1" CreationDate="2018-06-15T02:56:35.710" Score="0" ViewCount="111" Body="&lt;p&gt;I was wondering about a expression that sticks a layer position on to the top left corner of a square solid in After Effects, so that when the scale of the solid changes, the stuck position follows the corner around. Can someone help with this?&lt;/p&gt;&#xA;" OwnerUserId="22495" LastEditorUserId="4426" LastEditDate="2022-03-30T16:12:55.303" LastActivityDate="2022-03-30T16:12:55.303" Title="Stick a layer position on another top left corner of a square layer in After Effects" Tags="|video|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24290" PostTypeId="2" ParentId="24286" CreationDate="2018-06-15T08:03:40.947" Score="2" Body="&lt;p&gt;Streaming video between internally networked systems has become the standard in the Video Production / Post Production professional environment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a lot to &lt;a href=&quot;https://www.thebroadcastbridge.com/content/entry/4266/ip-means-integrated-production&quot; rel=&quot;nofollow noreferrer&quot;&gt;read about this&lt;/a&gt; but the answer to your question is yes, it is possible in today's world. In fact, it's done every day in the broadcast industry. Everything changed since we've had the ability to stream SDI over IP, and nowadays, production companies with a good enough infrastructure can transmit and receive multiple streams of high quality video at very low latency.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a professional set-up that achieves this with every aspect thought through. Everything from your &lt;a href=&quot;http://www.avid.com/products/avid-nexis&quot; rel=&quot;nofollow noreferrer&quot;&gt;storage solution&lt;/a&gt;, to your &lt;a href=&quot;https://www.cisco.com/c/en/us/products/switches/avb.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;LAN switch&lt;/a&gt; to your &lt;a href=&quot;http://www8.hp.com/uk/en/products/workstations/product-detail.html?oid=6978828&quot; rel=&quot;nofollow noreferrer&quot;&gt;workstation&lt;/a&gt; (with a lot of technical knowhow in between).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Media in these environments are hosted by shared media storage systems which are literally built for purpose though, unlike one PC sharing/streaming media to another. So you may first want to look into workflows used by the broadcast industry and scale it down to something that's possible at home for a reasonable cost.&lt;/p&gt;&#xA;" OwnerUserId="22270" LastEditorUserId="22270" LastEditDate="2018-06-15T08:23:42.920" LastActivityDate="2018-06-15T08:23:42.920" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24291" PostTypeId="2" ParentId="24283" CreationDate="2018-06-15T10:16:24.140" Score="4" Body="&lt;p&gt;Since the video bitstream is being decoded on the GPU, CUDA upload isn't required.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Command with format conversion is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hwaccel cuvid -c:v h264_cuvid -resize 1024x70 -i video_source \&#xA;       -vf &quot;scale_npp=format=yuv420p,hwdownload,format=yuv420p&quot; \&#xA;       -pix_fmt yuvj420p -color_range 2 -vframes 1 -y /tmp/frame.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="14107" LastEditDate="2018-06-15T12:32:20.793" LastActivityDate="2018-06-15T12:32:20.793" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24293" PostTypeId="2" ParentId="22284" CreationDate="2018-06-16T09:21:03.857" Score="1" Body="&lt;p&gt;&lt;br&gt;&#xA;I'm here also playing with ffmpeg and nvdec/nvenc.&lt;br&gt;&#xA;I've found that some options is not good.&lt;br&gt;&#xA;I've played with nvdec also, and found that it's better to use &lt;code&gt;-filter&lt;/code&gt; (&lt;a href=&quot;https://www.ffmpeg.org/ffmpeg-all.html#Simple-filtergraphs&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg documentation says it's a &quot;per-stream filtering option&quot;&lt;/a&gt;) instead of &lt;code&gt;-vf&lt;/code&gt; or &lt;code&gt;-af&lt;/code&gt; aliases as those aliases touch &quot;all streams of video or audio&quot;. Here is a quote from there:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;3.1.1 Simple filtergraphs&lt;/strong&gt;&lt;br&gt;&#xA;  Simple filtergraphs are those that have exactly one input and output, both of the same type. In the above diagram they can be represented by simply inserting an additional step between decoding and encoding:&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt; _________                        ______________&#xA;|         |                      |              |&#xA;| decoded |                      | encoded data |&#xA;| frames  |\                   _ | packets      |&#xA;|_________| \                  /||______________|&#xA;             \   __________   /&#xA;  simple     _\||          | /  encoder&#xA;  filtergraph   | filtered |/&#xA;                | frames   |&#xA;                |__________|&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Simple filtergraphs are configured with the per-stream -filter option (with -vf and -af aliases for video and audio respectively). A simple filtergraph for video can look for example like this:&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt; _______        _____________        _______        ________&#xA;|       |      |             |      |       |      |        |&#xA;| input | ---&gt; | deinterlace | ---&gt; | scale | ---&gt; | output |&#xA;|_______|      |_____________|      |_______|      |________|&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Note that some filters change frame properties but not frame contents. E.g. the fps filter in the example above changes number of frames, but does not touch the frame contents. Another example is the setpts filter, which only sets timestamps and otherwise passes the frames unchanged.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Also, there is a stream_type specifiers for video: v and uppercase V. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;’v’ matches all video streams, ’V’ only matches video streams which are not attached pictures, video thumbnails or cover arts.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So, my example of command I have &quot;constructed&quot; to mess with nvdec/nvenc on a nVidia GTX755M SLI:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\soft\ffmpeg_cuda\media-autobuild_suite\local64\bin-video\ffmpeg.exe -y -vsync 0 -hwaccel cuvid -hwaccel_device 1 -c:V:0 h264_cuvid -i &quot;C:\torrent\Video\Movies\Love's Enduring Promise (2004) [Amazon] WEB-DL 1080p [Ukr.Eng Sub.Eng] [Hurtom].mkv&quot; -f matroska -map 0 -c copy -c:V:0 h264_nvenc -filter:V:0 &quot;scale_npp=w=-2:h=720&quot; -b:V:0 20M -gpu 1 &quot;C:\torrent\Video\Movies\Love's Enduring Promise (2004) [Amazon] WEB-DL 720p [Ukr.Eng Sub.Eng] [Hurtom].mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm using ffmpeg, built with this bundle: &quot;media-autobuild_suite&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-y&lt;/code&gt; overwrites output file without asking. Be careful to not to make output path the same as input path, I think you may ERASE input mediafile that way using this option.&lt;br&gt;&#xA;&lt;code&gt;-vsync 0&lt;/code&gt; I think says to disable vsync for processing, haven't played with it, so for now I can't say if it is useful or so, may be omitted. You may give opinions in comments to say your findings.&lt;br&gt;&#xA;&lt;code&gt;-hwaccel cuvid&lt;/code&gt; says to decode input videostream with nVidia's video decoder.&lt;br&gt;&#xA;&lt;code&gt;-hwaccel_device 1&lt;/code&gt; says to use GPU 1 (zero-based counting) for video DECODING (I have SLI, but seems that ffmpeg is not in friendship with SLI configurations). I use second videocard as it's mainly doing nothing, so works at lesser temperatures (it's dedicated videodevice, connected to PCI-E in my notebook).&lt;br&gt;&#xA;&lt;code&gt;-c:V:0 h264_cuvid&lt;/code&gt; says to use &lt;code&gt;h264_cuvid&lt;/code&gt; input media decoder for stream 0, a &lt;code&gt;V&lt;/code&gt;ideo (not an embedded picture)&lt;br&gt;&#xA;&lt;code&gt;-i &quot;C:\torrent\Video\Movies\Love's Enduring Promise (2004) [Amazon] WEB-DL 1080p [Ukr.Eng Sub.Eng] [Hurtom].mkv&quot;&lt;/code&gt; here I give an input filepath.&#xA;&lt;code&gt;-f matroska&lt;/code&gt; an output container, I choose an MKV as input is in this format too.&lt;br&gt;&#xA;&lt;code&gt;-map 0&lt;/code&gt; that says &quot;map all the input streams to output file in the same order&quot;.&lt;br&gt;&#xA;&lt;code&gt;-c copy&lt;/code&gt; works in conjunction with previous option. Says to use &lt;code&gt;copy&lt;/code&gt; codec for all streams, so all audio, embedded media will be just copied to output file without reencoding. For video transcoding I do there is nothing to do with audio, I just make &quot;lesser-reolution&quot; video in output file.&lt;br&gt;&#xA;&lt;code&gt;-c:V:0 h264_nvenc&lt;/code&gt; here is (at last!) I say to apply &lt;code&gt;nvenc&lt;/code&gt; encoder to output &lt;code&gt;V&lt;/code&gt;ideo stream &lt;code&gt;0&lt;/code&gt;. See next option!&lt;br&gt;&#xA;&lt;code&gt;-filter:V:0 &quot;scale_npp=w=-2:h=720&quot;&lt;/code&gt; and here I say to apply a filter to &lt;code&gt;V&lt;/code&gt;ideo stream &lt;code&gt;0&lt;/code&gt; (exactly one stream in input file). I here use an &lt;code&gt;h=720&lt;/code&gt; to make video in &quot;720p&quot; format. Be careful, as videostream may be more wider as 16:9, and you may need to set &quot;w=1280:h=-2&quot; instead for that case to limit using width instead of height. That will be &quot;720p&quot; too, but videoframe is &quot;wider&quot; than needed. Also, you need to check for an existence of &lt;code&gt;scale_npp&lt;/code&gt; filter in your ffmpeg bundle, it is available if you installed CUDA bundle WITH Visual Studio integration.&lt;br&gt;&#xA;&lt;code&gt;-b:V:0 20M&lt;/code&gt; saying to use bitrate of 20Mbit/s as an upper limit. For VBR it's like an &quot;upper, cut limit&quot;, it even can not reach it. You can make it even higher if you will work with higher resolutions. I'm still playing with that parameter and video options, so in this my post I may add some edits comcerning video quality of output stream.&lt;br&gt;&#xA;&lt;code&gt;-gpu 1&lt;/code&gt; says to use a GPU 1 (second GPU) too. An video encode and Video decode conveyors in videocard is a different modules, so you can use them seamlessly.&lt;br&gt;&#xA;&lt;code&gt;&quot;C:\torrent\Video\Movies\Love's Enduring Promise (2004) [Amazon] WEB-DL 720p [Ukr.Eng Sub.Eng] [Hurtom].mkv&quot;&lt;/code&gt; output filepath.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More examples:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\soft\ffmpeg_cuda\media-autobuild_suite\local64\bin-video\ffmpeg.exe -y -i &quot;C:\temp\Video\MOVI0004.avi&quot; -f matroska -map 0 -c copy -c:V:0 h264_nvenc 20M -gpu 1 &quot;C:\temp\Video\Reencoded\MOVI0004.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Fast reencode of video file which makes transcoding of &quot;Airon Simple Full HD&quot; videofile to MKV using &lt;code&gt;h264_nvenc&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\soft\ffmpeg_cuda\media-autobuild_suite\local64\bin-video\ffmpeg.exe -i &quot;C:\torrent\Video\Series\Death_Note_[BDRip_720p]\Death Note - 01 [BDRip 1280x720 x264].mkv&quot; -f matroska -map 0 -c copy -codec:v h264_nvenc -pix_fmt yuv420p -b:v 8M -vf pad=&quot;width=ceil(iw/2)*2:height=ceil(ih/2)*2&quot; -gpu 1 &quot;C:\torrent\Video\Series\Reencoded\DeathNote_ffmpeg_hvenc5_try1\Death Note - 01 [BDRip 1280x720 x264].mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here all almost the same, but introducing an option to use &quot;older&quot; format of videoframe - &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt;, which is supported by osmc@Raspberry Pi 3. Take a look also at &lt;code&gt;-vf pad=&quot;width=ceil(iw/2)*2:height=ceil(ih/2)*2&quot;&lt;/code&gt; (actually, it should be &lt;code&gt;-filter:V:0 pad=&quot;width=ceil(iw/2)*2:height=ceil(ih/2)*2&quot;&lt;/code&gt;). I've found a recommendation to use &quot;pad&quot; filter instead of scale filter, as with scale you may obtain bad video (bloated, lapped image) in output file. Those maths is a workaround for an error about &quot;not 2-based number in width or height of a video stream&quot;. NVENC can complain on width or height of output stream, and this is a workaround: using pad as a video container for &quot;not changing video contents&quot;, but adding one line to width or height to make it dividable by 2.&lt;br&gt;&#xA;Also, there I'm not using NVDEC as my input video is an anime wiht Hi10P profile, which is niot supported by my GTX755M, unfortunately. :(&lt;/p&gt;&#xA;" OwnerUserId="22217" LastActivityDate="2018-06-16T09:21:03.857" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24294" PostTypeId="1" AcceptedAnswerId="24397" CreationDate="2018-06-16T14:04:34.913" Score="0" ViewCount="2014" Body="&lt;p&gt;So I filmed with my Go Pro with a Stretched screen for 16:9 when I resized it to get everything. Is there a way to stretch the video instead of moving the camera to adjust to the 4:3 the video is in a the moment? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using VEGAS Movie Studio 15.0 Platinum&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there is another way I can do things that is more efficient I would like to know what as well.&lt;/p&gt;&#xA;" OwnerUserId="22505" LastActivityDate="2018-09-01T21:02:26.100" Title="How to Stretch Video Vegas Movie Studio" Tags="|video|video-editor|vegas-pro|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24296" PostTypeId="2" ParentId="24289" CreationDate="2018-06-18T05:24:49.063" Score="1" Body="&lt;p&gt;The position of any point on a layer in terms of its location in the composition frame is given by the layer space transform function &lt;code&gt;toComp()&lt;/code&gt;. Since the top left of a layer is the origin in After Effects, from the point of view of the solid its top left is going to be [0, 0]. So we find the position of the point [0, 0] on the layer in terms of the comp thus:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer('&amp;lt;name of the solid&amp;gt;').toComp([0,0])&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Apply that to the position property of the layer you want to stick to the solid.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-06-18T05:24:49.063" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24298" PostTypeId="1" AcceptedAnswerId="24300" CreationDate="2018-06-18T15:18:41.080" Score="1" ViewCount="250" Body="&lt;p&gt;I am trying to compare two videos using the libvmaf in ffmpeg 4.0. I have compiled and installed from source VMAF and FFMPEG and FFMPEG has built-in support for &lt;code&gt;libvmaf&lt;/code&gt;. That's the ffmpeg configuration: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -version&#xA;ffmpeg version 4.0 Copyright (c) 2000-2018 the FFmpeg developers&#xA;built with gcc 5.4.0 (Ubuntu 5.4.0-6ubuntu1~16.04.9) 20160609&#xA;configuration: --pkg-config-flags=--static --extra-libs='-lpthread -lm' --toolchain=hardened --enable-gpl --enable-nonfree --enable-version3 --disable-stripping --enable-avisynth --enable-libass --enable-libfontconfig --enable-libfreetype --enable-libvmaf --enable-libfribidi --enable-libgme --enable-libgsm --enable-librubberband --enable-libshine --enable-libsnappy --enable-libssh --enable-libtwolame --enable-libwavpack --enable-libzvbi --enable-openal --enable-sdl2 --enable-libdrm --enable-frei0r --enable-ladspa --enable-libpulse --enable-libsoxr --enable-libspeex --enable-avfilter --enable-postproc --enable-pthreads --enable-libfdk-aac --enable-libmp3lame --enable-libopus --enable-libtheora --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --disable-ffplay --enable-libopenjpeg --enable-libsrt --enable-libwebp --enable-libxvid --enable-libvidstab --enable-libopenh264 --enable-zlib --enable-openssl&#xA;libavutil      56. 14.100 / 56. 14.100&#xA;libavcodec     58. 18.100 / 58. 18.100&#xA;libavformat    58. 12.100 / 58. 12.100&#xA;libavdevice    58.  3.100 / 58.  3.100&#xA;libavfilter     7. 16.100 /  7. 16.100&#xA;libswscale      5.  1.100 /  5.  1.100&#xA;libswresample   3.  1.100 /  3.  1.100&#xA;libpostproc    55.  1.100 / 55.  1.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My VMAF is version: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;VMAF Development Kit (VDK) Version 1.3.5&#xA;VMAF Version 0.6.3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I try to run the VMAF on both files using the following command I get a segmentation fault error and error about unknown format and segmentation fault. The syntax of my command is the following: &#xA;&lt;code&gt;&#xA;ffmpeg -i distorted.nut -i reference.nut -lavfi libvmaf -f null -&#xA;&lt;/code&gt;&#xA;The NUT files in this case are both in raw format. I have tried to convert the nut to mp4 using &lt;code&gt;libx264&lt;/code&gt; but the result was exactly the same. I have uploaded the log file to &lt;a href=&quot;https://we.tl/gUNY9Adoky&quot; rel=&quot;nofollow noreferrer&quot;&gt;wetransfer_link&lt;/a&gt; with the debug information. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I run the VMAF manually from the VMAF install directory I got the results: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;./run_vmaf yuv420p 1280 720 reference.nut distorted.nut --out-fmt json&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is the aggregated VMAF score: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;aggregate&quot;: {&#xA;        &quot;VMAF_feature_adm2_score&quot;: 0.989985319391465,&#xA;        &quot;VMAF_feature_motion2_score&quot;: 12.065062245699426,&#xA;        &quot;VMAF_feature_vif_scale0_score&quot;: 0.6955497705160056,&#xA;        &quot;VMAF_feature_vif_scale1_score&quot;: 0.956442334512976,&#xA;        &quot;VMAF_feature_vif_scale2_score&quot;: 0.9785004960696057,&#xA;        &quot;VMAF_feature_vif_scale3_score&quot;: 0.9873306412919364,&#xA;        &quot;VMAF_score&quot;: 99.37877231666236,&#xA;        &quot;method&quot;: &quot;mean&quot;&#xA;    }&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have checked and the library header &lt;code&gt;libvmaf.h&lt;/code&gt; is under &lt;code&gt;/usr/local/include&lt;/code&gt;, the library &lt;code&gt;libvmaf.a&lt;/code&gt; under &lt;code&gt;/user/local/lib&lt;/code&gt; and all the model files under &lt;code&gt;/usr/local/share&lt;/code&gt;, so everything looks OK. &lt;/p&gt;&#xA;" OwnerUserId="19853" LastEditorUserId="19853" LastEditDate="2018-06-18T15:29:18.840" LastActivityDate="2018-06-18T16:23:19.417" Title="FFMPEG LIBVMAF segmentation fault" Tags="|video|ffmpeg|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24300" PostTypeId="2" ParentId="24298" CreationDate="2018-06-18T16:23:19.417" Score="2" Body="&lt;p&gt;VMAF have changed their API yet again. Compile against 1.3.4.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-06-18T16:23:19.417" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24301" PostTypeId="2" ParentId="20432" CreationDate="2018-06-18T18:20:25.307" Score="2" Body="&lt;p&gt;What you're asking for is called &lt;a href=&quot;https://en.wikipedia.org/wiki/Inpainting&quot; rel=&quot;nofollow noreferrer&quot;&gt;Inpainting&lt;/a&gt; and is difficult enough for still images. The result is passable to distracting depending on the size and transparency of the text, the surrounding image, and compression. I found only one mention of inpainting at video stack exchange &lt;a href=&quot;https://video.stackexchange.com/questions/1981/sources-to-learn-more-about-audio-video-compression-codecs-algorithms-etc/10536?s=1%7C9.4386#10536&quot;&gt;here&lt;/a&gt;. You can see a demonstration of the algorithm &lt;a href=&quot;https://www.webinpaint.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using ffmpeg and mathematica, the following procedure is a quick and dirty solution. The result can be better than blurring, again depending on the characteristics of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Export frames:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i vid.mp4 D:\data\vid\frames-%06d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Create a text mask using the average of every 100 frames or so.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;fnames = FileNames[&quot;D:/data/vid/frames-*.jpg&quot;];&#xA;mfnames = fnames[[1 ;; All ;; Floor[0.005*Length[fnames]]]];&#xA;imgs = Import /@ mfnames;&#xA;mimg = Mean[imgs]&#xA;mask = Dilation[Binarize[mimg, {0.37, 1}], 1]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note: the parameters in Binarize will need to be tweaked for every video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the video contains a fixed camera or other parts similar in color to the text throughout its entire length, you must exclude those parts by multiplying by a 2nd mask (the numbers are positions of the lower left and upper right corners of a rectangle that surround the text to be removed):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Image[Graphics[{&#xA;{Black, Rectangle[{0, 0}, ImageDimensions[mask]]},&#xA;{White, Rectangle @@ {{377.84411276948595`, &#xA;    161.72470978441106`}, {163.44941956882255`, &#xA;    127.76119402985057`}}},&#xA;}, PlotRangePadding -&amp;gt; None],&#xA;ImageSize -&amp;gt; ImageDimensions[mask]];&#xA;mask = mask*%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Apply inpaint algorithm:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Inpaint[Import[fnames[[1]]], mask]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This line processes all frames and saves them to a new directory:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Export[FileNameJoin[MapAt[# &amp;lt;&amp;gt; &quot;.output&quot; &amp;amp;, FileNameSplit[#], -2]], &#xA;    Inpaint[Import[#], mask]] &amp;amp; /@ fnames&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Or if you want it done 1000 times faster use this C++ code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#include &amp;lt;iostream&amp;gt;&#xA;#include &amp;lt;vector&amp;gt;&#xA;#include &amp;lt;thread&amp;gt;&#xA;#include &amp;lt;opencv2/opencv.hpp&amp;gt;&#xA;#include &amp;lt;boost/filesystem.hpp&amp;gt;&#xA;&#xA;// args: D:\data\text_remove\frames_full  D:\data\text_remove\frames_full\mask.png&#xA;&#xA;using namespace std;&#xA;namespace fs = boost::filesystem;&#xA;&#xA;&#xA;void process_files(const vector&amp;lt;string&amp;gt;&amp;amp; infile, const vector&amp;lt;string&amp;gt;&amp;amp; outfile, const cv::Mat&amp;amp; mask, int i0, int i1)&#xA;{&#xA;    for (int i = i0; i &amp;lt; i1; ++i)&#xA;    {&#xA;        cv::Mat img = cv::imread(infile[i]);&#xA;&#xA;        if (img.empty())&#xA;        {&#xA;            cout &amp;lt;&amp;lt; &quot;process_files(): imread(): &quot; &amp;lt;&amp;lt; &quot;[&quot; &amp;lt;&amp;lt; i0 &amp;lt;&amp;lt; &quot;,&quot; &amp;lt;&amp;lt; i1 &amp;lt;&amp;lt; &quot;)  : &quot; &amp;lt;&amp;lt; i1 - i0 &amp;lt;&amp;lt; endl;&#xA;            break;&#xA;        }&#xA;&#xA;        cv::Mat out;&#xA;        cv::inpaint(img, mask, out, 3, cv::INPAINT_NS);&#xA;&#xA;        cv::imwrite(outfile[i], out);&#xA;    }&#xA;}&#xA;&#xA;void threaded_process_files(const vector&amp;lt;string&amp;gt;&amp;amp; in, const vector&amp;lt;string&amp;gt;&amp;amp; out, const cv::Mat&amp;amp; mask, int threads)&#xA;{&#xA;    int step = in.size() / threads;&#xA;    int rem = in.size() % threads;&#xA;&#xA;    vector&amp;lt;thread&amp;gt; pool;&#xA;&#xA;    for (int i = 0; i &amp;lt; (threads - 1); ++i)&#xA;    {&#xA;        int i0 = i * step;&#xA;        int i1 = (i + 1) * step;&#xA;        pool.push_back(thread(process_files, in, out, mask, i0, i1));&#xA;    }&#xA;&#xA;    int i0 = (threads - 1) * step;&#xA;    int i1 = in.size();&#xA;    pool.push_back(thread(process_files, in, out, mask, i0, i1));&#xA;&#xA;    for (auto&amp;amp; th : pool)&#xA;        th.join();&#xA;}&#xA;&#xA;int main(int argc, char** argv)&#xA;{&#xA;    if (argc &amp;lt; 2)&#xA;    {&#xA;        cout &amp;lt;&amp;lt; &quot;argv &amp;lt; 2: Missing input directory&quot; &amp;lt;&amp;lt; endl;&#xA;        return EXIT_FAILURE;&#xA;    }&#xA;&#xA;    if (argc &amp;lt; 3)&#xA;    {&#xA;        cout &amp;lt;&amp;lt; &quot;argv &amp;lt; 3: Missing mask image&quot; &amp;lt;&amp;lt; endl;&#xA;        return EXIT_FAILURE;&#xA;    }&#xA;&#xA;    cv::Mat mask(cv::imread(argv[2], cv::IMREAD_GRAYSCALE));&#xA;&#xA;    if (mask.empty())&#xA;    {&#xA;        cout &amp;lt;&amp;lt; &quot;imread(): failed to read mask&quot; &amp;lt;&amp;lt; endl;&#xA;        return EXIT_FAILURE;&#xA;    }&#xA;&#xA;    cout &amp;lt;&amp;lt; &quot;mask image: &quot; &amp;lt;&amp;lt; mask.size() &amp;lt;&amp;lt; endl;&#xA;&#xA;    fs::path infile(argv[1]);&#xA;    fs::path ifstem = infile.stem();&#xA;    fs::path ifleaf = infile.leaf();&#xA;    fs::path ifparent = infile.parent_path();&#xA;&#xA;    if (!fs::is_directory(infile))&#xA;    {&#xA;        cout &amp;lt;&amp;lt; infile &amp;lt;&amp;lt; &quot; is not a directory&quot; &amp;lt;&amp;lt; endl;&#xA;        return EXIT_FAILURE;&#xA;    }&#xA;&#xA;    string fstr = ifleaf.string() + &quot;.output&quot;;&#xA;    fs::path outdir = ifparent / fstr;&#xA;&#xA;    if (!fs::exists(outdir))&#xA;    {&#xA;        if (!fs::create_directory(outdir))&#xA;        {&#xA;            cout &amp;lt;&amp;lt; &quot;create_directory() failed on: &quot; &amp;lt;&amp;lt; outdir &amp;lt;&amp;lt; endl;&#xA;            return EXIT_FAILURE;&#xA;        }&#xA;    }&#xA;&#xA;    vector&amp;lt;string&amp;gt; fnames;&#xA;    vector&amp;lt;string&amp;gt; fnames_out;&#xA;&#xA;    clock_t t0 = clock();&#xA;&#xA;    cout &amp;lt;&amp;lt; &quot;Scanning directory images&quot; &amp;lt;&amp;lt; endl;&#xA;&#xA;    int i = 0;&#xA;    for (fs::directory_iterator di(infile); di != fs::directory_iterator(); ++di)&#xA;    {&#xA;        fs::path fpath = di-&amp;gt;path();&#xA;        fs::path leaf = fpath.leaf();&#xA;        fs::path fpath_new = outdir / leaf;&#xA;&#xA;        fnames.push_back(fpath.string());&#xA;    }&#xA;&#xA;    cout &amp;lt;&amp;lt; (double)(clock() - t0) / CLOCKS_PER_SEC &amp;lt;&amp;lt; endl;&#xA;    cout &amp;lt;&amp;lt; &quot;Processing images&quot; &amp;lt;&amp;lt; endl;&#xA;    t0 = clock();&#xA;&#xA;    threaded_process_files(fnames, fnames_out, mask, 16);&#xA;&#xA;    clock_t t1 = clock();&#xA;    double dt = (double)(t1 - t0) / CLOCKS_PER_SEC;&#xA;    cout &amp;lt;&amp;lt; dt &amp;lt;&amp;lt; endl;&#xA;    cout &amp;lt;&amp;lt; dt / fnames.size() &amp;lt;&amp;lt; endl;&#xA;&#xA;    return EXIT_SUCCESS;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22511" LastEditorUserId="22511" LastEditDate="2018-06-18T20:47:21.970" LastActivityDate="2018-06-18T20:47:21.970" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24302" PostTypeId="1" CreationDate="2018-06-18T20:39:01.793" Score="2" ViewCount="66" Body="&lt;p&gt;I am trying to understand how to get perfect exposure using gray card.&#xA;With my Sony a6500 using ITU709 gamma, I locked exposure by doing spot metering on the gray card.&#xA;When importing in final cut pro the waveform monitor show IRE value near 25 for the gray card.&#xA;Shouldn't it show between 40 and 43 for 18% reflectance mid gray?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/chRXD.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/chRXD.jpg&quot; alt=&quot;final cut waveform scope&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22513" LastActivityDate="2018-10-16T23:00:21.243" Title="why exposing with 18% gray card does not give IRE near 40" Tags="|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24303" PostTypeId="2" ParentId="24302" CreationDate="2018-06-18T21:06:41.650" Score="1" Body="&lt;p&gt;I was stupid and using spot focusing and not spot metering.&#xA;So the metering was wrong even if the focus was right in the middle of the card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I repeated the test and it now give me 40 IRE as expected.&lt;/p&gt;&#xA;" OwnerUserId="22513" LastActivityDate="2018-06-18T21:06:41.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24305" PostTypeId="1" CreationDate="2018-06-19T18:43:37.293" Score="1" ViewCount="46" Body="&lt;p&gt;We're considering building an Adobe video production environment and we need a shared storage solution. We have had impressive presentations from &lt;strong&gt;EditShare&lt;/strong&gt; and &lt;strong&gt;OpenDrives/CatDV&lt;/strong&gt;.  Our production environment includes 4 video edit suites and 3 motion graphics workstations in a mixed PC/Mac environment. I'd be interested in hearing any first hand experience with latency/speed, and ease of user interface.&lt;/p&gt;&#xA;" OwnerUserId="4957" LastActivityDate="2018-06-19T18:43:37.293" Title="Advice for Adobe CC shared storage solutions" Tags="|premiere|software-recommendation|storage|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24306" PostTypeId="1" AcceptedAnswerId="24310" CreationDate="2018-06-20T12:10:44.123" Score="2" ViewCount="164" Body="&lt;p&gt;This is a bit of an odd application but I figured I'd post here. We have a EIKI EK-623U projector mounted approximately 10 feet from a white glossy surface.  The projector is mounted parallel to the surface and mirror mounted at 45 degrees is in front of the lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The projector is plugged in to a Windows PC via HDMI and is set to the recommended resolution of 1920x1200, &quot;extended&quot; display and &quot;landscape, flipped&quot;.  Focus, keystone, etc are set via the remote and at this distance when the center of the image is in focus the edges are a bit blurry. The projector is set to rear projection mode to correct for the mirror.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PD6hJ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PD6hJ.jpg&quot; alt=&quot;Projected X&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That photo is of a straight, 1 pixel wide line intersecting another.  The lines are white on a black background.  The photo was taken at an angle to reduce glare.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you look at the lines they appear to be ~2 pixels wide (compared to the &quot;grid&quot; that you can see the projector throwing), however they also appear to vary in brightness along the length of the line, almost like it thinks the lines are on an angle and it needs to dither to present them correctly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/V3mLp.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/V3mLp.jpg&quot; alt=&quot;Highlighted Issue&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's going on here?&lt;/p&gt;&#xA;" OwnerUserId="22523" LastActivityDate="2018-06-21T04:44:22.410" Title="Why do one pixel wide lines look like a twisted ribbon on this DLP projector?" Tags="|projector|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24307" PostTypeId="2" ParentId="24260" CreationDate="2018-06-20T14:21:30.337" Score="1" Body="&lt;p&gt;Lossy codecs such as x264 degrade the image quality by design, if you don't want to lose image quality you either have to use a lossless codec or better yet, not re-encode at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I assume the source material is either H.264 or MPEG-2, so the best solution in your case would be to simply copy all the streams into the new container:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.flv -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here's the command for using x264's lossless mode if you &lt;em&gt;have to&lt;/em&gt; re-encode for whatever reason:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.flv -c:a copy -c:v libx264 -crf 0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16771" LastActivityDate="2018-06-20T14:21:30.337" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24308" PostTypeId="1" AcceptedAnswerId="24309" CreationDate="2018-06-20T19:08:32.563" Score="-1" ViewCount="1357" Body="&lt;p&gt;I want to convert avi and wmv to mp4 for web and I use below code:&lt;br&gt;&#xA;ffmpeg -I input.wmv output.mp4&lt;br&gt;&#xA;Is that enough?&lt;/p&gt;&#xA;" OwnerUserId="22525" LastActivityDate="2019-05-18T03:57:31.043" Title="How convert avi and wmv to mp4 for html video tag?" Tags="|ffmpeg|mp4|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24309" PostTypeId="2" ParentId="24308" CreationDate="2018-06-21T04:12:03.167" Score="0" Body="&lt;p&gt;Yes it is. This will give you the default encoding settings, which are generally fine for web use. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can specify settings to tweak the size, speed and quality, but you don't &lt;em&gt;need&lt;/em&gt; to to get good results. The best guide I know of is the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg h.264 encoding guide&lt;/a&gt; wiki page.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, you could adjust the quality with the Constant Rate Factor setting (don't worry too much about what constant rate factor actually means, it's really just the quality setting) using &lt;code&gt;-crf x&lt;/code&gt; where x is an interger between 0 (lossless, large file size not generally compatible with web delivery) and 51 (pretty crappy, small file size). The default is 23, which is pretty good, 17 is regarded as visually lossless, and somewhere between 17-28 is a sane value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another setting is the speed. If you're using CRF, adjusting the speed won't affect the &lt;em&gt;quality&lt;/em&gt; of the output, it will just affect the &lt;em&gt;file size&lt;/em&gt;—faster compression basically means the software will spend less time optimising, so the file will be larger. Speed is controlled by using the option&lt;br/&gt;&lt;code&gt;-preset presetname&lt;/code&gt;, where &lt;code&gt;presetname&lt;/code&gt; is one of (in decreasing order of speed / increasing file size): &lt;code&gt;ultrafast&lt;/code&gt;, &lt;code&gt;superfast&lt;/code&gt;, &lt;code&gt;veryfast&lt;/code&gt;, &lt;code&gt;faster&lt;/code&gt;, &lt;code&gt;fast&lt;/code&gt;, &lt;code&gt;medium&lt;/code&gt;, &lt;code&gt;slow&lt;/code&gt;, &lt;code&gt;slower&lt;/code&gt;, &lt;code&gt;veryslow&lt;/code&gt;, and &lt;code&gt;placebo&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The playback devices that you expect the video to be played on is another thing you might want to consider. Setting the &lt;code&gt;-profile:v&lt;/code&gt; and &lt;code&gt;-level&lt;/code&gt; option (the &lt;code&gt;:v&lt;/code&gt; bit means you're setting the profile for the video stream only) means that you can choose between more efficient compression with a higher profile/level, and greater compatibility with older or less powerful devices with lower profile/  level. &lt;code&gt;-profile main&lt;/code&gt; is probably wise if you're expecting a general web audience, it's compatible with all iPads, apple tv2 and iPhone4 and their non-fruity equivalents. If your target audience is likely to be using an iPod touch gen 2 you might want to go with &lt;code&gt;-profile:v baseline&lt;/code&gt; and if you want to be certain it can be played by as many devices as possibel you could specify the level as well, &lt;code&gt;-profile:v baseline -level 3.0&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As @LordNeckbeard pointed out, if you're encoding for web use where the video will be embedded in an HTML5 &lt;code&gt;&amp;lt;video&amp;gt;&lt;/code&gt; tag then adding the option &lt;code&gt;-movflags +faststart&lt;/code&gt; will allow the video to start playing as it downloads.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Putting it all together, this is an example of how you chain options together in ffmpeg. This is a very basic example, ffmpeg is extremely powerful and your commands can be as complicated as you want them to be. This example will give you high quality, be playable on older/less powerful machines, and chooses smaller file size over encoding speed. It is not a recommended setting, just an example of how you specify the encoding options:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i thefile.wmv -profile:v main -crf 20 -preset slow output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-06-22T01:58:07.473" LastActivityDate="2018-06-22T01:58:07.473" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24310" PostTypeId="2" ParentId="24306" CreationDate="2018-06-21T04:44:22.410" Score="3" Body="&lt;p&gt;Since the pixel grid that the projector displays is a rectangular grid of rectangular pixels, how do you display something that isn't rectangular? Think about a pixel where the outline of the line falls half-way across it—half the pixel is in the line, and half out. How does that pixel display?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a couple of ways of doing it. You could set a threshold at which the pixel is either on or off and switch between the two. This would create a staircase on the horizontal line, where pixels were close to the point above and below the threshold. This wouldn't look that great unless the projector was extremely high resolution, where the jagginess was too small to see. The projector in the picture is nowhere near that level of resolution, so another technique to smooth out the jagginess is needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lsb5h.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lsb5h.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The technique is called Anti Aliasing. Where pixels are not fully illuminated or fully dark they have an in-between value of grey, proportional to the amount that the line covers them (this is a gross oversimplification, there is a &lt;a href=&quot;https://en.wikipedia.org/wiki/Spatial_anti-aliasing&quot; rel=&quot;nofollow noreferrer&quot;&gt;whole science of signal processing&lt;/a&gt; behind how it happens in real anti-aliasing techniques). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So a pixel that is half covered by the line might be 50% illuminated. This smooths out the appearance of the diagonal line, meaning that you get the appearance of a higher resolution and smoother image. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However the anti-aliasing is not always exactly right. The variations in response curves for viewing devices (screens, projectors etc) means that sometimes the in-between levels that you see aren't what they are supposed to be in theory, meaning that some of the pixels are slightly too bright or dark, adding artefacts to the result. That's what you're seeing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To improve the image try adjusting or calibrating the projector or the device it is connected to, particularly the contrast or gamma.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-06-21T04:44:22.410" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24311" PostTypeId="1" AcceptedAnswerId="24315" CreationDate="2018-06-21T12:29:24.653" Score="0" ViewCount="899" Body="&lt;p&gt;I've been reading about codecs lately and found out, that the 4.2.0 codec combines 4 pixels color to one used for all 4 of them, effectively lowering the filesize.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now how does this compare to a normal HD image with 4.4.4 (which is 1/4 of the image size, but with full resolution)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the difference and what gives the better end result?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I assume that the resolution would be the same, however, the 4K having more accurate colors, due to the fact that it had 4x more pixels recording it.&lt;/p&gt;&#xA;" OwnerUserId="17625" LastActivityDate="2018-06-22T03:44:50.683" Title="Is 4K 4.2.0 just HD 4.4.4" Tags="|codec|4k|h.264|full-hd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24314" PostTypeId="2" ParentId="24283" CreationDate="2018-06-21T14:32:02.263" Score="1" Body="&lt;p&gt;Actually we can extract a video frame using only NVIDIA card via thumbnail_cuda filter. For it is necessary to configure FFmpeg with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;--enable-cuda-sdk --enable-filter=scale_cuda --enable-filter=thumbnail_cuda&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;We can resize frames at the decoding step then not necessary to use scale_npp filter. When we use the thumbnail_cuda filter we can set NV12 as the output format to prevent additional pixel format convertation. NV12 will be converted to yuvj420p without yuv420p in the middle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The FFmpeg command to perform it for a h264 stream looks as follow:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hwaccel cuvid -c:v h264_cuvid -resize 120x70 -i video_source \&#xA;       -vf &quot;thumbnail_cuda=2,hwdownload,format=nv12&quot; \&#xA;       -vframes 1 frame.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If we need to deocde mpeg2, hevc, vp8, etc then we should choose an appropriate decoder from the list:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -decoders | grep cuvid&#xA;&#xA; V..... h264_cuvid           Nvidia CUVID H264 decoder (codec h264)&#xA; V..... hevc_cuvid           Nvidia CUVID HEVC decoder (codec hevc)&#xA; V..... mjpeg_cuvid          Nvidia CUVID MJPEG decoder (codec mjpeg)&#xA; V..... mpeg1_cuvid          Nvidia CUVID MPEG1VIDEO decoder (codec mpeg1video)&#xA; V..... mpeg2_cuvid          Nvidia CUVID MPEG2VIDEO decoder (codec mpeg2video)&#xA; V..... mpeg4_cuvid          Nvidia CUVID MPEG4 decoder (codec mpeg4)&#xA; V..... vc1_cuvid            Nvidia CUVID VC1 decoder (codec vc1)&#xA; V..... vp8_cuvid            Nvidia CUVID VP8 decoder (codec vp8)&#xA; V..... vp9_cuvid            Nvidia CUVID VP9 decoder (codec vp9)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14107" LastEditorUserId="14107" LastEditDate="2018-06-28T14:31:35.487" LastActivityDate="2018-06-28T14:31:35.487" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24315" PostTypeId="2" ParentId="24311" CreationDate="2018-06-22T03:32:08.607" Score="2" Body="&lt;p&gt;4:2:0 means that only the &lt;em&gt;colour&lt;/em&gt; information is &lt;a href=&quot;https://en.wikipedia.org/wiki/Chroma_subsampling&quot; rel=&quot;nofollow noreferrer&quot;&gt;subsampled&lt;/a&gt;. So while that the colour is at a lower resolution the brightness information is at full resolution. This works because human vision is more sensitive to brightness than colour.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A 4K 4:2:0 image has 3840×2160 luma samples (luma ≈ brightness) and 1920×1080 chroma samples (chroma ≈ colour). So it's still going to have more information than a HD 4:4:4 image which has 1920×1080 pixels of both luma and chroma. What's more, human vision will notice the difference more, so it will look more detailed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also it's worth noting that while I've been talking about luma and chroma the information is actually &lt;a href=&quot;https://en.wikipedia.org/wiki/YUV&quot; rel=&quot;nofollow noreferrer&quot;&gt;YUV&lt;/a&gt; encoded (or more correctly Y,Cb,Cr), where the Y channel is a combination of the red green and blue channels, but it is weighted so that the green channel most strongly influences it (a bit under 60%). This takes into account the fact that human vision is more sensitive to green than red or blue. The U and V channels are the weighted differences between the Y and the Red and Blue channels. This means that more information is recorded for green, and is the reason why video predominantly uses green screen, rather than blue for chroma key.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-06-22T03:44:50.683" LastActivityDate="2018-06-22T03:44:50.683" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24316" PostTypeId="2" ParentId="23607" CreationDate="2018-06-22T05:09:35.090" Score="1" Body="&lt;p&gt;I've had good luck by sampling a bit of the video's audio from another point, and splicing that in.  The tone will be dead-on consistent.  You just have to find a point in the song where it basically repeats itself (or close enough).  If you lost &lt;em&gt;verse&lt;/em&gt; lyrics, this gets much more problematic fast.  But if you lost chorus, or instrumental bridge, intro, or outro, you could make a patch that manages to not distract.  It the song was well-known, a forced splice will be more evident, but might not seem &lt;em&gt;your&lt;/em&gt; doing (you know?).  At the other extreme, if the song is house music, you're golden: no one will know what it was supposed to do for those two seconds.&lt;/p&gt;&#xA;" OwnerUserId="22530" LastActivityDate="2018-06-22T05:09:35.090" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24318" PostTypeId="2" ParentId="21854" CreationDate="2018-06-22T21:47:17.123" Score="3" Body="&lt;p&gt;If you're using an older Version of Premiere:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As mentioned above, you can apply the maximum scale on the original clip,&#xA;then nest the clip (right click &gt; Nest), and here apply another scale transformation.&#xA;With every iteration of this step you will gain 300%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="11464" LastActivityDate="2018-06-22T21:47:17.123" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24319" PostTypeId="1" AcceptedAnswerId="24320" CreationDate="2018-06-22T23:49:32.963" Score="2" ViewCount="1040" Body="&lt;p&gt;I am compositing a modeled sea scene in AE. Here's what I have:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4N3xE.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4N3xE.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adding in my AO layer gives nice strong shadows as shown:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/HZkB3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HZkB3.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However it also covers my blue sea (primarily an AE 4color background)....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I keep the AO benefits to the shadows on my critters, but also keep my background?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As rendered, I have alpha, color pass with alpha, AO and depth (which is driving AE lens blur). I can render anything else needed.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Q9kBj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Q9kBj.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22536" LastEditorUserId="22536" LastEditDate="2018-06-23T00:17:12.730" LastActivityDate="2018-06-23T10:21:00.610" Title="Adding AO render pass in After Effects" Tags="|after-effects|compositing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24320" PostTypeId="2" ParentId="24319" CreationDate="2018-06-23T10:21:00.610" Score="3" Body="&lt;h2&gt;Let's try to make it work. :D&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;1) Place 'Alpha' layer above 'Ambient Occulsion',&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Change setting in 'TrkMat' of the layer 'Ambient Occulusion' to 'Luma Matte'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;if Luma Matte is not working, try with 'Alpha Matte' (I'm not sure about your alpha layer :))&lt;/em&gt;,&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ltpmK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ltpmK.png&quot; alt=&quot;trkmat&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Precompose 'Alpha' + 'Ambient Occulsion' layers &lt;em&gt;ctrl+shift+c&lt;/em&gt;,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) Set precomposed layer to 'Multiply' Mode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Done!&lt;/p&gt;&#xA;" OwnerUserId="22538" LastActivityDate="2018-06-23T10:21:00.610" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24321" PostTypeId="1" CreationDate="2018-06-23T13:37:06.103" Score="1" ViewCount="41" Body="&lt;p&gt;Is it possibile to cancel out an image superimposed on an another one if we know the overlaid image's alpha channel and pixel values?&lt;/p&gt;&#xA;" OwnerUserId="20944" LastActivityDate="2018-06-23T17:22:02.713" Title="Getting rid of a superimposed image?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24322" PostTypeId="2" ParentId="24321" CreationDate="2018-06-23T17:22:02.713" Score="1" Body="&lt;p&gt;It sounds like you're tying to remove a watermark from a copyrighted image.  The best way to do that is to pay the copyright owner for permission to use their image.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2018-06-23T17:22:02.713" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24324" PostTypeId="1" CreationDate="2018-06-25T07:20:33.557" Score="0" ViewCount="106" Body="&lt;p&gt;here i have one command that is working properly but i want to add audio to second and third video not only second video.So, how to proceed?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;fmpeg -y -i intro-17may.mp4 -i video.mp4 -i outro.mp4 -i energy-song.mp3 -i vcs-watermark-video.png -filter_complex &quot;[0:v]drawtext=fontfile=FutuMd.ttf: text='Hello World': x=300: y=450: fontsize=40: fontcolor=white: enable='between(t,2,5)',fade=t=out:st=5:d=1,setpts=PTS-STARTPTS[v0]; \&#xA;[1:v][4]overlay=W-w-5:H-h-5,fade=t=in:st=0:d=1,fade=t=out:st=63:d=1,setpts=PTS-STARTPTS[v1]; \&#xA;[2:v]fade=t=in:st=0:d=1,setpts=PTS-STARTPTS[v2]; \&#xA;[3:a]volume=enable='between(t,34,36)':volume=-8dB,volume=enable='between(t,36,42)':volume=-10dB,volume=enable='between(t,47,51)':volume=-8dB,volume=enable='between(t,51,58)':volume=-10dB[3a];[1:a][3a]amix=inputs=2:duration=shortest[maina]; \&#xA;[v0][0][v1][maina][v2][2]concat=n=3:v=1:a=1[outv][outa]&quot; -vcodec libx264 -c:a aac -ac 2 -map &quot;[outv]&quot; -map &quot;[outa]&quot; c4.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22182" LastActivityDate="2019-12-17T12:02:00.233" Title="add Audio to two Video in below command" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24325" PostTypeId="2" ParentId="24324" CreationDate="2018-06-25T08:18:36.783" Score="1" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i intro-17may.mp4 -i video.mp4 -i outro.mp4 -i energy-song.mp3 -i vcs-watermark-video.png -filter_complex &quot;[0:v]drawtext=fontfile=FutuMd.ttf: text='Hello World': x=300: y=450: fontsize=40: fontcolor=white: enable='between(t,2,5)',fade=t=out:st=5:d=1,setpts=PTS-STARTPTS[v0]; \&#xA;[1:v][4]overlay=W-w-5:H-h-5,fade=t=in:st=0:d=1,fade=t=out:st=63:d=1,setpts=PTS-STARTPTS[v1]; \&#xA;[2:v]fade=t=in:st=0:d=1,setpts=PTS-STARTPTS[v2]; \&#xA;[3:a]volume=enable='between(t,34,36)':volume=-8dB,volume=enable='between(t,36,42)':volume=-10dB,volume=enable='between(t,47,51)':volume=-8dB,volume=enable='between(t,51,58)':volume=-10dB,adelay=6000|6000[3a]; \&#xA;[v0][0][v1][1:a][v2][2]concat=n=3:v=1:a=1[outv][outa];[outa][3a]amix=inputs=2:duration=shortest[outa]&quot; -vcodec libx264 -c:a aac -ac 2 -map &quot;[outv]&quot; -map &quot;[outa]&quot; c4.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The BG music is delayed by 6000 ms (duration of intro) and then mixed with the audio after concat.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-06-25T08:18:36.783" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24327" PostTypeId="1" CreationDate="2018-06-25T14:46:02.460" Score="1" ViewCount="40" Body="&lt;p&gt;I know, smartphone cameras are maybe not the primary interest of professional videographers, but I am interested into the &lt;strong&gt;technical aspects.&lt;/strong&gt;&#xA;They can also be relevant for real cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are irrational video recording specifications in some smartphones compared to others:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;2160p@30fps = 1080p@120fps = &lt;strong&gt;248832000 pixels per second.&lt;/strong&gt; Keep this magic number in mind.&lt;/li&gt;&#xA;&lt;li&gt;The Galaxy Note 3 from 2013 records at 2160p@30fps (248832000 pixels per second), yet only 1080p@60fps (124416000 pixels per second) instead of 1080p@120fps (248832000 pixels per second). The same is still valid for &lt;strong&gt;Galaxy Note 8 (late 2017).&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;The Galaxy S4 has around 80% as much processing power as the Note 3. Yet th S4 is limited to 1080p@30fps (62208000 pixels per second), while the Note 3 hit 24832000 pixels per second?&lt;/li&gt;&#xA;&lt;li&gt;The front camera of the most phones is still limited to 1080p at 30fps, despite the image sensor has a much higher resolution and should also cope with 60fps.&lt;/li&gt;&#xA;&lt;li&gt;Galaxy S7 doubles framerate at 720p (120fps→240fps or 110592000→221184000 pixels per second), yet the framerate at 1080p@60fps and 2160p@30fps compared to predecessor stayed the same?&lt;/li&gt;&#xA;&lt;li&gt;The new iPhones (8,8+,X) are able to capture 2160p@60fps(497664000 pixels per second) and 1080p@240fps(497664000), which is even beyond the Lumix GH5's 1080p@180fps (373248000) How is that technically possible?&lt;/li&gt;&#xA;&lt;li&gt;The OnePlus 5 from 2017 still had 720p@120fps, which the Note 3 had in 2013 already (let's disregard framerate distortion, because this is about the recording capabilities), and the OnePlus 6 suddenly jumped to 720p@480fps (I wonder what causes the 1 minute limitation)? &lt;strong&gt;The iPhone 6 from 2014 reached 240fps despite the OnePlus 5 (720p@only120fps) has more powerful hardware.&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;The Galaxy S7 (2016) allowed 2160p video recording without any fixed time limitation on Android Marshmallow. On Android Nougat, it got limited to 10 minutes. Earlier Samsung phones: 5 minutes, Galaxy Alpha: 4 minutes.&lt;/li&gt;&#xA;&lt;li&gt;The Galaxy Note 3 plays back 1080p@120fps and 720p@240fps without &lt;strong&gt;any&lt;/strong&gt; lagging. Frameskipping?&lt;/li&gt;&#xA;&lt;li&gt;The Huawei Mate 8 still did not offer 2160p video capture, despite being a flagship in 2016, and equipped with similar hardware as other flagships that offer 2160p.&lt;/li&gt;&#xA;&lt;li&gt;Some phones phones such as UleFone Armor 2 and Galaxy A series are limited to 1080p@30fps and have no high framerate mode &lt;strong&gt;at all&lt;/strong&gt;, despite it has 65000 points in AnTuTu, while Galaxy Note 3 with 1080p@60fps and 2160p@30fps and 720p@120fps has just 44000 points, and even the Galaxy Note 2 has 480p@120fps with only ~30000 points?&lt;/li&gt;&#xA;&lt;li&gt;iPhone 5s (2013) records 720p at 120fps, and Apple has always proven to be a framerate king in the years after. Yet 5s only has 1080p at 30fps despite 60fps should have technically been possible. The Note 3 (2013) was the peak of Samsung's superiority. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I need help understanding the background behind these limitations.&lt;br&gt;I would appreciate a technical explaination.&lt;/p&gt;&#xA;" OwnerUserId="21148" LastEditorUserId="21148" LastEditDate="2018-06-29T23:30:24.613" LastActivityDate="2018-06-29T23:30:24.613" Title="Video recording framerate limitation causes? (e.g. 1080p at only 60fps despite same camera records in 2160p?)" Tags="|video-capture|camcorder|slowmotion|iphone|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24329" PostTypeId="1" AcceptedAnswerId="24338" CreationDate="2018-06-26T03:27:11.087" Score="0" ViewCount="54" Body="&lt;p&gt;I have the following animation, in which a ball goes from the flashlight to the end of the frame. However, how do I create multiple iterations of this animation, except with the ball following the same path, except with some variation? I'm using Adobe After Effects V15.1.1.&lt;a href=&quot;https://i.stack.imgur.com/ymxmn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ymxmn.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt; &lt;a href=&quot;https://i.stack.imgur.com/fH7gW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fH7gW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/MyHuw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MyHuw.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="22560" LastActivityDate="2018-06-27T23:51:48.520" Title="Applying identical keyframes to identical objects w/variation" Tags="|after-effects|animation|keyframes|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24330" PostTypeId="1" AcceptedAnswerId="24331" CreationDate="2018-06-26T05:17:17.933" Score="1" ViewCount="4339" Body="&lt;p&gt;The folliwng &lt;em&gt;should&lt;/em&gt; basically have an image appear on frame 438, and then the same image move to a different position on frame 339, then basically disappear for the rest of the video. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i C:\src\assets\video\base.mp4 -r 25 -i C:\card.png -y \&#xA;    -filter_complex [1:v]setpts=PTS-STARTPTS+(1/TB)[1v]; \&#xA;    [0:v][1v]overlay=x=0:y=0:enable='between(t,438/25,439/25)'[1v]; \&#xA;    [0:v][1v]overlay=x=300:y=300:enable='between(t,439/25,440/25)'[2v]; \&#xA;    [1v][2v]concat=n=2:v=1:a=0[out] -map [out] -map 0:a -ss 17 C:\temp\j7kthb0v\composit.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I can't seem to get the actual command correct or output anything that resembles what I need. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I'm close, I can get one frame overlayed, but I can't get more than that. &lt;/p&gt;&#xA;" OwnerUserId="22561" LastEditorUserId="22561" LastEditDate="2018-06-26T05:23:00.797" LastActivityDate="2018-06-26T05:38:33.747" Title="How to have an overlay move to specific points at specific frames using ffmpeg" Tags="|video|ffmpeg|animation|animation-rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24331" PostTypeId="2" ParentId="24330" CreationDate="2018-06-26T05:38:33.747" Score="2" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i C:\src\assets\video\base.mp4 -i C:\card.png -y \&#xA;       -filter_complex &quot;[0:v][1:v]overlay=x='if(eq(n,439),300,0)':y='if(eq(n,439),300,0)':enable='eq(n,438)+eq(n,439)'[out]&quot; \&#xA;       -map [out] -map 0:a -ss 17 C:\temp\j7kthb0v\composit.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You may need to escape the commas in filters depending on your shell i.e. &lt;code&gt;n,438&lt;/code&gt; -&gt; &lt;code&gt;n\,438&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-06-26T05:38:33.747" CommentCount="18" ContentLicense="CC BY-SA 4.0" />
  <row Id="24332" PostTypeId="2" ParentId="20233" CreationDate="2018-06-26T05:49:55.177" Score="2" Body="&lt;p&gt;On a US format windows keyboard, you can press shift + ~ to get full screen, to exit this full screen do shift + ~ again and to zoom in control + ~, same this to exit zoomed in screen to full screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;.&lt;/p&gt;&#xA;" OwnerUserId="22562" LastActivityDate="2018-06-26T05:49:55.177" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24333" PostTypeId="1" CreationDate="2018-06-26T06:53:04.723" Score="1" ViewCount="888" Body="&lt;p&gt;This may sound odd but I'll try and describe it properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have my main video in the timelime all ok, I then drag in a picture on top of that, or possible a compound clip of multiple pictures, still all ok.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then drop in another image on top of that compound clip/first image (possible an element like a shape).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes when I drop something in rather than the clip sitting on top of the clips underneath it like normal it drops into the same line as the clip underneath and is not visible, I try removing the last added object and re-adding but it doesn't work, usually the only way round this I've found is re-adding the clip underneath that the above clip is falling &quot;into&quot; if that makes sense?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All clips (barring the last one thats dropping into the clip below it) are visible in the video fine, am I accidentally setting a property on that clip item with a random accidental key press somehow?&lt;/p&gt;&#xA;" OwnerUserId="19913" LastActivityDate="2020-06-04T01:22:38.777" Title="Clips not sitting on top of each other in FCPX" Tags="|final-cut-pro-x|fcpx|clipping|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24334" PostTypeId="1" CreationDate="2018-06-26T07:22:33.797" Score="0" ViewCount="196" Body="&lt;p&gt;I want to perform a simple calculation to move an image along the video with given frames as the length of the animation:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;overlay=x='( 1 * INDEX)':y='(1 * INDEX)':enable='between(t,438/25,450/25)'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Obviously INDEX doesn't exist, but for the start frame of 438, I want index to equal 0, for the frame 439 I want INDEX to equal 1, and so on and so forth. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The goal is to have the image move one pixel for every frame after 438 and hide it at frame 450&lt;/p&gt;&#xA;" OwnerUserId="22561" LastActivityDate="2018-10-24T09:00:52.350" Title="Is there a way to basically start a counter from a given frame in ffmpeg?" Tags="|ffmpeg|animation|animation-rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24335" PostTypeId="2" ParentId="24334" CreationDate="2018-06-26T07:58:40.390" Score="1" Body="&lt;p&gt;Just subtract the first frame index from the expression:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;overlay=x='n-438':y='n-438':enable='between(t,438/25,450/25)'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-06-26T07:58:40.390" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24336" PostTypeId="1" CreationDate="2018-06-26T09:02:12.797" Score="1" ViewCount="291" Body="&lt;p&gt;I recently saw the Jetson Xavier from NVIDIA (&lt;a href=&quot;https://developer.nvidia.com/embedded/jetson-xavier-faq&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://developer.nvidia.com/embedded/jetson-xavier-faq&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to connect 16 12MP cameras like this one: &lt;a href=&quot;https://www.baumer.com/it/en/product-overview/image-processing-identification/industrial-cameras/lx-series/10-gige-interface/vlxt-123c-i/p/38561&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.baumer.com/it/en/product-overview/image-processing-identification/industrial-cameras/lx-series/10-gige-interface/vlxt-123c-i/p/38561&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have 2 questions:&#xA;1) can the interface provided manage at least 8 of them? These are the specs:&#xA;- 16x CSI-2 Lanes (40 Gbps in D-PHY V1.2 or 109 Gbps in CPHY v1.1)&#xA;- 8x SLVS-EC lanes (up to 18.4 Gbps)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Xavier boasts (2x) 4Kp60 | HEVC video decoding. 4k is too little for 12MP...can I split the 8 cameras video stream in 2, and encode the upper and lower part of the images in 2 separate videos, leveraging the HW encoder? Can it encode 16 video streams (2x8) at the same time?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="22565" LastActivityDate="2018-06-26T09:02:12.797" Title="Jetson Xavier and 16 12MP cameras" Tags="|encoding|nvidia|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24338" PostTypeId="2" ParentId="24329" CreationDate="2018-06-26T13:04:05.163" Score="0" Body="&lt;p&gt;I would use a particle engine of some kind to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You set up the Emitter to start from the same position as your torch (in a layer behind it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You set your particles to look like the ball.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You emit them at an appropriate rate, and use air or wind adjustments to &quot;blow&quot; them across the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects has a built in particle engine called Particle World&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/simulation-effects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/after-effects/using/simulation-effects.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you could use Particular from Trapcode&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Screen shots below showing roughly how you could do it in Particle World:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uZ0xl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uZ0xl.png&quot; alt=&quot;screen grab&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/abywD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/abywD.png&quot; alt=&quot;screen grab 2&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/06hGO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/06hGO.png&quot; alt=&quot;screen grab 3&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-06-26T13:04:05.163" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24342" PostTypeId="1" AcceptedAnswerId="24343" CreationDate="2018-06-27T06:20:10.127" Score="0" ViewCount="979" Body="&lt;p&gt;I want to create a wave interference in Adobe After Effects, such as &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/PCYv0_qPk-4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;. I've already started with a radio wave, as shown below.&lt;a href=&quot;https://i.stack.imgur.com/reHym.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/reHym.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;However, I'm not sure how to &#xA;a) Make the wave interact with other layers, such as those below:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/SHwP1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SHwP1.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;b) Make 2 waves interfere with each other&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Adobe After Effects 15.1.1, and I have Trapcode.&lt;/p&gt;&#xA;" OwnerUserId="22560" LastActivityDate="2018-06-27T13:56:31.367" Title="Creating wave interference in After Effects" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24343" PostTypeId="2" ParentId="24342" CreationDate="2018-06-27T06:23:34.750" Score="0" Body="&lt;p&gt;I think this requires a 3D effect rather than a 2D effect like Radio Waves. You might be able to achieve something like this using Trapcode Form.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adding a bit more detail:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make a radio wave using a black background and white waves..  Make the white waves quite thick, and have the radio waves start on the left of the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Precomp the radio waves into their own comp&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ini the outer comp, add a blur to make the waves fall off gently instead of being hard black/white transitions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Duplicate the inner comp in the Project tab, to make a second unique version of the comp&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Drag this second comp into your main comp&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit the origin position of the second radio wave comp, so that the second one starts towards the right of the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should now have something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tDKlC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tDKlC.jpg&quot; alt=&quot;screengrab&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make a new solid layer in your outer comp&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Add Trapcode Form to it&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Set it up using Strings, using settings as shown:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7a492.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7a492.jpg&quot; alt=&quot;screen2&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Key thing is to set the Displacement on the Z axis to correspond to the radio waves pre-comp you've made (and make the radio waves pre-comp invisible).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HdeXA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HdeXA.png&quot; alt=&quot;screen3&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2018-06-27T13:56:31.367" LastActivityDate="2018-06-27T13:56:31.367" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24345" PostTypeId="1" AcceptedAnswerId="24346" CreationDate="2018-06-27T18:24:02.803" Score="1" ViewCount="648" Body="&lt;p&gt;The png codec in ffmpeg can result large pngs in certain cases. I know pngs are supposed to be non-lossy but there are libraries such as libpngquant that difference between the pixel and the value predicted by the average filter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ffmpeg doesn't seem to support these libraries. It will be great if it could. Does anyone know if this is planned? How easy is it to port libpngquant over to ffmpeg's png encoder?&lt;/p&gt;&#xA;" OwnerUserId="22579" LastActivityDate="2018-06-27T19:43:28.623" Title="ffmpeg png optimization like libpngquant?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24346" PostTypeId="2" ParentId="24345" CreationDate="2018-06-27T19:43:28.623" Score="0" Body="&lt;p&gt;I'm not aware of anyone working on this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this the library you're referring to - &lt;a href=&quot;https://pngquant.org/lib/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pngquant.org/lib/&lt;/a&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This appears to generate a palette and then perform the usual PNG encoding upon the palettized image. If so, this can already be reproduced in FFmpeg.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i image -filter_complex palettegen[pal];[0][pal]paletteuse,format=pal8 out.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See docs for &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#paletteuse&quot; rel=&quot;nofollow noreferrer&quot;&gt;paletteuse&lt;/a&gt; for dithering options.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;If the specific algorithm were to be added to FFmpeg, it would be as a libav filter, not as changes to the PNG encoder. Although given existing functionality, most acceptable way forward is to improve the palettegen/use filters if their quality isn't acceptable.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-06-27T19:43:28.623" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24348" PostTypeId="2" ParentId="24329" CreationDate="2018-06-27T23:51:48.520" Score="0" Body="&lt;p&gt;An alternative to using particles is to make copies of the layer with an expression that adds some variability to their motion. For example you could add some wiggle by adding this expression to the position property:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;wiggle(1, 10);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will randomly wiggle the layer around its keyframed position with a frequency of about 1 wiggle / second. If you want them all to start in the same position and get increasingly wiggly you could use this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var wigglyness = 100; //how wiggly&#xA;var wiggleFreq = 1;  //how quickly to wiggle&#xA;var wiggleStartTime = inPoint; //you could also use a marker etc.&#xA;var timeWhenFullyWiggly = inPoint + 2; //seconds until full wiggliness&#xA;&#xA;wiggle(wiggleFreq, linear(time, wiggleStartTime, timeWhenFullyWiggly, 0 wigglyness));&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will ramp up the wiggle from the inPoint of the layer for 2 seconds.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-06-27T23:51:48.520" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24351" PostTypeId="2" ParentId="23282" CreationDate="2018-06-28T06:12:39.933" Score="3" Body="&lt;p&gt;Turns out We cannot import svg inside HTML . so I directly used illustrator .ai file instead.&lt;/p&gt;&#xA;" OwnerUserId="20087" LastActivityDate="2018-06-28T06:12:39.933" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24353" PostTypeId="1" AcceptedAnswerId="24367" CreationDate="2018-06-28T07:47:45.027" Score="3" ViewCount="11614" Body="&lt;p&gt;I've started work at a company doing video work and trying to create videos that are consistent with their previous videos.  However, the more I look at the previous videos, the less I'm sure about one of the techniques, so want some help.  It was an external video company that created them so it's possible they used some fancy techniques.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the image below, it shows a toolbox: in the video it zooms in on this and it's definitely a video because the perspective changes as it zooms in.  What i'm not sure about is how they clipped the toolbox out so neatly?  My colleagues that worked with the company previously said they didn't use green screen, although they used a white backdrop at times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second image is another example, someone picking a worktop off a bench, but background is perfectly keyed out.  I can get it this perfect with a green screen but I don't have any luck in doing it any other way - how would they have cut the products out so well?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I can provide links to the videos if it's helpful - let me know)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2Rskc.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2Rskc.jpg&quot; alt=&quot;TuffBank vid clipped out&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NH9kA.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NH9kA.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22062" LastActivityDate="2020-03-08T12:34:04.063" Title="How to remove background from video without using green screen" Tags="|video|editing|greenscreen|chromakey|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24354" PostTypeId="1" AcceptedAnswerId="24355" CreationDate="2018-06-28T08:53:10.473" Score="1" ViewCount="250" Body="&lt;p&gt;I am trying to encode batch mkv videos which will give a output with a watermark in it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I add the &lt;code&gt;-vf 840:480&lt;/code&gt; or other resolution (like &lt;strong&gt;720p&lt;/strong&gt; or &lt;strong&gt;1080p&lt;/strong&gt;),&#xA;it don't run but without &lt;code&gt;-vf scale&lt;/code&gt; it works fine but I need to set resolution for the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Without -vf&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for %%I in (&quot;*.mkv&quot;) do ffmpeg.exe -i &quot;%%I&quot; -i a.png -filter_complex &quot;[0:v][1:v] overlay=25:25:enable='between(t,0,20)'&quot; -map 0 -vf scale=840:480 -codec:v libx264 -preset veryfast -crf 18 -codec:a copy &quot;480\%%~nI.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;With -vf&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for %%I in (&quot;*.mkv&quot;) do ffmpeg.exe -i &quot;%%I&quot; -i a.png -filter_complex &quot;[0:v][1:v] overlay=25:25:enable='between(t,0,20)'&quot; -map 0 -vf scale=840:480 -codec:v libx264 -preset veryfast -crf 18 -codec:a copy &quot;480\%%~nI.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Please help me with how to run the command with &lt;code&gt;-vf scale&lt;/code&gt; &lt;/p&gt;&#xA;" OwnerUserId="22256" LastActivityDate="2018-06-28T09:31:50.560" Title="ffmpeg : error when added scale" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24355" PostTypeId="2" ParentId="24354" CreationDate="2018-06-28T09:31:50.560" Score="0" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for %%I in (&quot;*.mkv&quot;) do ffmpeg.exe -i &quot;%%I&quot; -i a.png -filter_complex &quot;[0:v][1:v] overlay=25:25:enable='between(t,0,20)',scale=840:480[v]&quot; -map [v] -map 0:a -codec:v libx264 -preset veryfast -crf 18 -codec:a copy &quot;480\%%~nI.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;All filters acting upon a stream should be within the same filtergraph.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-06-28T09:31:50.560" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24358" PostTypeId="2" ParentId="22569" CreationDate="2018-06-28T14:12:21.137" Score="2" Body="&lt;p&gt;There is not necessary to add a card in SLI. Is enough to buy another card to double the performance. By default NVIDIA supports only 2 encoding streams in parallel for consumer level cards. For your goals it should be enough.&lt;br&gt;&#xA;You may buy another one GTX 1070, but it's not necessary as you need to transcode a vary large amount of video files in 2 parallel streams.&#xA;Will be better to buy another video card on the Pascal architecture. In this case you will safe some money and get very similar result as on GTX 1070. GTX 1050 should be enough, because the NVENC SIP which uses for encoding the same as on GTX 1070, as on GTX 1050. &lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In FFmpeg you can specify the gpu for encoding via &lt;strong&gt;-gpu key&lt;/strong&gt; like follow:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video_for_gtx1070.mpg -vcodec h264_nvenc \&#xA;       -gpu 0 -acodec copy -f mpegts transcoded_on_gtx1070.mpg&#xA;&#xA;ffmpeg -i video_for_other_card.mpg -vcodec h264_nvenc \&#xA;       -gpu 1 -acodec copy -f mpegts transcoded_on_other_card.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;We can use the &lt;strong&gt;nvidia-smi&lt;/strong&gt; tool &lt;strong&gt;to find an index for each video card&lt;/strong&gt;. Also we can check it via other tools like GPU-Z or any afterburner, but nvidia-smi is installing together with the video driver. &lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;About overhead: you will get CPU load by decoding video as the video files be decode on CPU and encode on GPU, but you can keep CPU almost clean if you'll also decode the video on GPU. The same examples with decoding h264 on different GPUs:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg hwaccel cuvid -c:v h264_cuvid -gpu 0 \&#xA;       -i video_for_gtx1070.mpg -vcodec h264_nvenc \&#xA;       -gpu 0 -acodec copy -f mpegts transcoded_on_gtx1070.mpg&#xA;&#xA;ffmpeg hwaccel cuvid -c:v h264_cuvid -gpu 1 \&#xA;       -i video_for_other_card.mpg -vcodec h264_nvenc \&#xA;       -gpu 1 -acodec copy -f mpegts transcoded_on_other_card.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If we need to decode other codecs then we can choose the appropriate one from the following list:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -decoders | grep cuvid&#xA; V..... h264_cuvid           Nvidia CUVID H264 decoder (codec h264)&#xA; V..... hevc_cuvid           Nvidia CUVID HEVC decoder (codec hevc)&#xA; V..... mjpeg_cuvid          Nvidia CUVID MJPEG decoder (codec mjpeg)&#xA; V..... mpeg1_cuvid          Nvidia CUVID MPEG1VIDEO decoder (codec mpeg1video)&#xA; V..... mpeg2_cuvid          Nvidia CUVID MPEG2VIDEO decoder (codec mpeg2video)&#xA; V..... mpeg4_cuvid          Nvidia CUVID MPEG4 decoder (codec mpeg4)&#xA; V..... vc1_cuvid            Nvidia CUVID VC1 decoder (codec vc1)&#xA; V..... vp8_cuvid            Nvidia CUVID VP8 decoder (codec vp8)&#xA; V..... vp9_cuvid            Nvidia CUVID VP9 decoder (codec vp9)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Please make sure that FFmpeg configured correctly with support nvenc and cuvid. You can find correct configuration parameters on the &#xA;&lt;a href=&quot;https://developer.nvidia.com/ffmpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;NVIDIA site&lt;/a&gt; (scroll down)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need to transcode a lot of streams|files in parallel then need to buy the video card(s) with unrestricted amount of encoding sessions. You can find the information &lt;a href=&quot;https://developer.nvidia.com/video-encode-decode-gpu-support-matrix&quot; rel=&quot;nofollow noreferrer&quot;&gt;there&lt;/a&gt;. &lt;br&gt;&#xA;&lt;strong&gt;OR&lt;/strong&gt; you can go by the hack way and remove the sessions limitation for the consumer level video cards. It's possible as this limitation managed on the video driver level. In this case I recommend you to buy GTX 1060 6GB or GTX 1070 as in this situation the amount of video memory is also very important. You can find more useful info about multiple streams transcoding in&#xA;&lt;a href=&quot;https://video.stackexchange.com/a/17943/14107&quot;&gt;this old answer&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="14107" LastActivityDate="2018-06-28T14:12:21.137" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24361" PostTypeId="2" ParentId="18076" CreationDate="2018-06-28T18:23:16.257" Score="2" Body="&lt;p&gt;You are a little confused in the MoCap process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most mocap is captured live on either a soundstage or direct to your computer with a webcam/video camera with specialized software. This software converts the action footage with markers into data (usually xyz coordinates for each marker on the model for the time of the motion. This data is then used to move the 3D model with the motion file (there are several file formats, 'bvh' being the most generic).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also purchase motion data of a variety of actions from certain companies that sell their data online. The motion data will only work with models that have a 'skeleton' file embedded with the object file. There are several file formats that ave used for this. Models by 3D Studio, Maya, Poser, Daz Studio have their models available with the 'skeleton' file available.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Learning this on your own will be quite a challenge! I used to teach whole classes in college dedicated to these individual parts of 3D computer graphics!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend going to the Daz Studio site, or the Poser site for a ton of information about this subject. Have fun!&lt;/p&gt;&#xA;" OwnerUserId="22572" LastEditorUserId="14523" LastEditDate="2018-06-29T02:18:29.743" LastActivityDate="2018-06-29T02:18:29.743" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24362" PostTypeId="1" AcceptedAnswerId="24366" CreationDate="2018-06-28T20:05:36.047" Score="2" ViewCount="1721" Body="&lt;p&gt;I created a mask around one part of a radio wave in after effects, to hide that part of the wave. However, when I lowered the opacity of the mask, that left part of the wave doesn't disappear. I've attached a photo below. &#xA;&lt;a href=&quot;https://i.stack.imgur.com/Difx9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Difx9.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Adobe After Effects 15.1.1. Any help is appreciated. &lt;/p&gt;&#xA;" OwnerUserId="22560" LastEditorUserId="22560" LastEditDate="2018-06-28T22:57:04.727" LastActivityDate="2018-06-29T04:58:33.787" Title="Masking Radio Waves in After Effects" Tags="|after-effects|animation|mask|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24363" PostTypeId="1" CreationDate="2018-06-28T20:31:19.100" Score="0" ViewCount="396" Body="&lt;p&gt;My understanding is that GPU acceleration is not beneficial to encoding using x264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question is if there is any benefit to having a GPU if you are also adding a watermark.&lt;/p&gt;&#xA;" OwnerUserId="22590" LastEditorUserId="22590" LastEditDate="2018-06-29T17:56:58.183" LastActivityDate="2018-06-29T18:01:42.687" Title="Benefit of having a GPU for adding watermark using FFMPEG using x.264" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24366" PostTypeId="2" ParentId="24362" CreationDate="2018-06-29T04:58:33.787" Score="2" Body="&lt;p&gt;Yeah, that's a weird thing with the radio waves effect. It seems to be applied after the layer masks, and thus ignores the masks for the layer. This happens for a few effects, particularly ones that generate alpha. It might have something to do with that effect dating back at least to the Bronze Age—you'll have noticed how dog slow it is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way to get the masks to do what you want is to precomp the layer with the effect on it (cut the mask off the layer, then hit &lt;kbd&gt;cnd / ctrl&lt;/kbd&gt;&lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;c&lt;/kbd&gt; and choose &lt;strong&gt;move all properties into new composition&lt;/strong&gt;), and then paste the mask on to the precomp in your original composition.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-06-29T04:58:33.787" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24367" PostTypeId="2" ParentId="24353" CreationDate="2018-06-29T05:13:13.937" Score="4" Body="&lt;p&gt;Looking at your first example, I woul guess green screen, and not a particularly good one. It looks like they really need to increase the spill suppression, judging by the green spill evident on the feet of the bin.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An alternative approach is to shoot in a studio with an infinite white cyc, for example something &lt;a href=&quot;https://m3studiosmiami.com/cyclorama-wall/&quot; rel=&quot;nofollow noreferrer&quot;&gt;like this one&lt;/a&gt; (randomly selected from a duckduckgo search, not necessarily endorsed). When lit correctly it will look like the second example, though that too could totally have been done with greenscreen—the forearms look a lot like there's spill that's been corrected. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rSe56.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rSe56.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason for shooting against green, rather than shooting against white or black is when you want to do background replacement. If you know that the background is going to just be white, then shooting against white is the way to go. But if you want to replace the background and you use white (or black) then any highlights (or shadows) are going to become transparent. It's much easier to keep green out &#xA;of your foreground than stopping it having any highlights or shadows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another approach is to use &lt;a href=&quot;https://www.pluralsight.com/blog/film-games/understanding-rotoscoping-process-every-vfx-artist-know&quot; rel=&quot;nofollow noreferrer&quot;&gt;rotoscoping&lt;/a&gt;. This is where masks are drawn around the foreground to cut it out from the background. While software like After Effects includes tools to automate this task somewhat, it is still a very time and labour-intensive process, and generally the results are inferior to other techniques. I would use rotoscoping only as a last resort, and I don't think I'm alone here.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-05-24T01:02:03.470" LastActivityDate="2019-05-24T01:02:03.470" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24368" PostTypeId="2" ParentId="24363" CreationDate="2018-06-29T05:29:07.197" Score="1" Body="&lt;p&gt;GPU acceleration is beneficial to encoding; that is its main use. But it has no benefit with x264 which is entirely CPU-based.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a H/W overlay filter but the speed improvements are negligible, AFAIK, because of the memory ops transferring data to and from GPU memory. It's primary benefit is for when the entire pipeline is GPU-bound.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-06-29T18:01:42.687" LastActivityDate="2018-06-29T18:01:42.687" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24370" PostTypeId="1" AcceptedAnswerId="24385" CreationDate="2018-06-29T13:18:24.603" Score="0" ViewCount="3111" Body="&lt;p&gt;Fast blur is marked as Legacy in CC 2018. What's the best (and/or fastest) equivalent to use now?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-02-16T17:06:09.463" Title="Fast blur is marked as Legacy in CC 2018. What's the best (and/or fastest) equivalent to use now?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24371" PostTypeId="1" AcceptedAnswerId="24374" CreationDate="2018-06-29T19:20:30.287" Score="0" ViewCount="1120" Body="&lt;p&gt;I have a music album in one FLAC file. There is no CUE file. When I try to play it with VLC or CMUS, it doesn't recognize individual tracks and plays it as one large file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BUT if I import it into Vox player, it automatically recognizes individual tracks and splits it (gives it proper names and all). How is it possible? What am I missing? How do I make VLC and CMUS recognize the splits without CUE?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&#xA;When I opened the flac file in a hexeditor, after a couple hundreds of symbols I found a long string starting with &quot;CUETools 2.1.&quot; and containing all the cue information. How is it possible? Can I extract it? Why does almost no program recognize this type of internal cue instead of external cue file? It even contains the album cover image which is otherwise nowhere to be found in the file folder!&lt;/p&gt;&#xA;" OwnerUserId="22597" LastEditorUserId="22597" LastEditDate="2018-06-29T19:25:54.610" LastActivityDate="2018-06-30T06:29:29.667" Title="One flac file - many tracks - no cue - yet it's 'split' somehow" Tags="|codec|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24372" PostTypeId="1" CreationDate="2018-06-30T00:27:00.257" Score="2" ViewCount="67" Body="&lt;p&gt;I have an AllieCam camera to record 720 videos 360x2 lenses.&lt;/p&gt;&#xA;&lt;p&gt;The format it use is &lt;code&gt;.ts&lt;/code&gt; and the program requires you to login online. Now the manufacturers drop the business and the web site is offline.&lt;/p&gt;&#xA;&lt;p&gt;How can I now convert the videos to mp4?&lt;/p&gt;&#xA;&lt;p&gt;I tried a lot of converters but no one solve the problem. If one of them managed to convert to mp4 then I only obtained a sphere with half of the video.&lt;/p&gt;&#xA;" OwnerUserId="22600" LastEditorUserId="29249" LastEditDate="2022-04-15T08:19:27.477" LastActivityDate="2022-04-15T08:19:27.477" Title="How to convert a 720° &quot;.ts&quot; video recorded with an AllieCam360?" Tags="|mp4|conversion|file-formats|360video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24373" PostTypeId="1" AcceptedAnswerId="24389" CreationDate="2018-06-30T03:39:14.210" Score="0" ViewCount="1002" Body="&lt;p&gt;I have a video, which was recorded by kurento.  But the video can't replay. after I checked it,  I think the reason is the scan type is incorrect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The work video,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Tony-MacBook-Pro:ios tony$ ffmpeg -i good.webm&#xA;ffmpeg version 3.4.1 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with Apple LLVM version 9.0.0 (clang-900.0.39.2)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.4.1_2 --enable-shared --enable-pthreads --enable-version3 --enable-hardcoded-tables --enable-avresample --disable-jack --cc=clang --host-cflags= --host-ldflags= --enable-gpl --enable-libmp3lame --enable-libx264 --enable-libxvid --enable-opencl --enable-videotoolbox --disable-lzma&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libavresample   3.  7.  0 /  3.  7.  0&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;Input #0, matroska,webm, from 'good.webm':&#xA;  Metadata:&#xA;    encoder         : GStreamer matroskamux version 1.8.1.1&#xA;    creation_time   : 2018-06-29T17:15:35.000000Z&#xA;  Duration: 00:00:57.52, start: 0.000000, bitrate: 438 kb/s&#xA;    Stream #0:0(eng): Video: vp8, yuv420p(progressive), 480x640, SAR 1:1 DAR 3:4, 1k tbr, 1k tbn, 1k tbc (default)&#xA;    Metadata:&#xA;      title           : Video&#xA;    Stream #0:1(eng): Audio: opus, 48000 Hz, stereo, fltp (default)&#xA;    Metadata:&#xA;      title           : Audio&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The bad video,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Tony-MacBook-Pro:ios tony$ ffmpeg -i bad.webm&#xA;ffmpeg version 3.4.1 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with Apple LLVM version 9.0.0 (clang-900.0.39.2)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.4.1_2 --enable-shared --enable-pthreads --enable-version3 --enable-hardcoded-tables --enable-avresample --disable-jack --cc=clang --host-cflags= --host-ldflags= --enable-gpl --enable-libmp3lame --enable-libx264 --enable-libxvid --enable-opencl --enable-videotoolbox --disable-lzma&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libavresample   3.  7.  0 /  3.  7.  0&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;Input #0, matroska,webm, from 'bad.webm':&#xA;  Metadata:&#xA;    encoder         : GStreamer matroskamux version 1.8.1.1&#xA;    creation_time   : 2018-06-29T13:52:20.000000Z&#xA;  Duration: 00:00:35.19, start: 0.000000, bitrate: 367 kb/s&#xA;    Stream #0:0(eng): Video: vp8, yuv420p, 480x640, SAR 1:1 DAR 3:4, 1k tbr, 1k tbn, 1k tbc (default)&#xA;    Metadata:&#xA;      title           : Video&#xA;    Stream #0:1(eng): Audio: opus, 48000 Hz, stereo, fltp (default)&#xA;    Metadata:&#xA;      title           : Audio &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I compared both, the only difference is the 1st one has &lt;strong&gt;yuv420p(progressive)&lt;/strong&gt;, the 2nd one has &lt;strong&gt;yuv420p&lt;/strong&gt;; so I guess that's the root cause, and want to change the scan type to try.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;bad file: &lt;a href=&quot;https://www.dropbox.com/s/t07pfe69a78h1tg/bad.webm?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dropbox.com/s/t07pfe69a78h1tg/bad.webm?dl=0&lt;/a&gt;&lt;br&gt;&#xA;good file: &lt;a href=&quot;https://www.dropbox.com/s/uivgb1trobhrg5n/good.webm?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dropbox.com/s/uivgb1trobhrg5n/good.webm?dl=0&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22602" LastEditorUserId="22602" LastEditDate="2018-07-02T01:53:24.913" LastActivityDate="2018-07-02T06:37:17.853" Title="Can I update the scan type by ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24374" PostTypeId="2" ParentId="24371" CreationDate="2018-06-30T06:29:29.667" Score="0" Body="&lt;p&gt;You can use &lt;a href=&quot;https://xiph.org/flac/documentation_tools_metaflac.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;metaflac&lt;/a&gt; to export both the cuesheet and cover image.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;metaflac--export-cuesheet-to=out.cue --export-picture-to=out.png input.flac&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-06-30T06:29:29.667" CommentCount="13" ContentLicense="CC BY-SA 4.0" />
  <row Id="24375" PostTypeId="1" CreationDate="2018-06-30T07:13:26.560" Score="1" ViewCount="162" Body="&lt;p&gt;So, im new to video editing, im about to start vlogging. I notice on vlogs theres an effect, its like some one talking, sitting in a chair, seems like when they switch points when theyre talking, seems like a new clip comes on, even tho its them in the same spot? Does that make sense? My friend told me it was called cuts, but ive been searching and that brings me back nothing. &lt;/p&gt;&#xA;" OwnerUserId="21554" LastActivityDate="2019-01-03T23:21:45.580" Title="How do you do the vlog style cuts? Im new and dont know the name of the effect." Tags="|after-effects|premiere|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24376" PostTypeId="2" ParentId="24372" CreationDate="2018-06-30T13:37:22.107" Score="3" Body="&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; can see both views as separate video streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can remux the file to MP4 simply by using&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.ts -c copy -map 0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Hopefully, your video editor can work with distinct streams, else they will need to be combined in some way.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-06-30T13:37:22.107" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24377" PostTypeId="2" ParentId="24333" CreationDate="2018-06-30T14:13:03.440" Score="1" Body="&lt;p&gt;Sounds weird. Maybe try deleting the FCPX preferences: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hold Command Option and start FCPX. A window will pop up and ask you if you want to delete the preferences.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastEditorUserId="674" LastEditDate="2018-07-03T14:28:37.397" LastActivityDate="2018-07-03T14:28:37.397" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24379" PostTypeId="1" AcceptedAnswerId="24384" CreationDate="2018-06-30T17:49:36.753" Score="0" ViewCount="251" Body="&lt;p&gt;I'm trying to create a transverse wave in Adobe after effects, much like: &#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/-wKALLNGSWM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To start off, I've got a Water World animation going, but it's obviously not the type of look I'm going for. Any help on this matter would be appreciated. &#xA;&lt;a href=&quot;https://i.stack.imgur.com/zGQQ3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zGQQ3.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22560" LastActivityDate="2018-07-01T11:13:06.193" Title="Transverse Waves in After Effects" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24380" PostTypeId="2" ParentId="19442" CreationDate="2018-06-30T20:14:24.137" Score="0" Body="&lt;p&gt;There are some of them:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) &lt;a href=&quot;http://cnfpv.com/portal.php?mod=view&amp;amp;aid=89&quot; rel=&quot;nofollow noreferrer&quot;&gt;Hawkeye Firefly 8S/8SE&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As from the official web site:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The camera comes with two lens option 170 and 90 degrees lens: &lt;/p&gt;&#xA;  &#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;170 degrees wide angle lens for action sports and&lt;/li&gt;&#xA;  &lt;li&gt;90 degree with linear lens for trips with your family.&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I think the last variant should do the job.&lt;/p&gt;&#xA;" OwnerUserId="22608" LastActivityDate="2018-06-30T20:14:24.137" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24381" PostTypeId="1" CreationDate="2018-06-30T23:28:31.310" Score="1" ViewCount="860" Body="&lt;p&gt;I'm trying to make a video with an overlay video inside (PiP) but I can't get the sound source right, I need the sound from the underlay video but I keep getting the sound from the overlay video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't have very much experience with or knowledge of ffmpeg, but after some searching around on the internet I found some ffmpeg commands and managed to put the following command together:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;ffmpeg.exe -itsoffset 35 -i overlay-race-replay.mp4 -i underlay-race-live.mp4 &#xA;-filter_complex &quot;[0]scale=700:-1 [overlay]; &#xA;[1][overlay] overlay=main_w-overlay_w-30:30:enable='between(t,35,552)'&quot; &#xA;-profile:v high -level 4.1 -ar 44100 -ab 128k -s 1920x1080 -vcodec h264 &#xA;-acodec libmp3lame output.mp4&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It works great to create a video with an overlay video in it which shows up and starts at 35 seconds and ends and disappears somewhere before the underlay video ends which is just what I want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Only the problem is the sound! In the output file you only hear the sound from the overlay video, and I want to keep the sound from the underlay video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know how to do this right? &#xA;What I need is, overlay-race-replay.mp4 resized to a width of 700 with kept ratio, inside underlay-race-live.mp4, showing up after 35 seconds, placed in the top right corner with about 30 pixels margin and only the sound of underlay-race-live.mp4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would be very grateful for a solution, I think I've injured my brain in the documentations of ffmpeg I really can't make anything of it, it's like algebra to me.&lt;/p&gt;&#xA;" OwnerUserId="22610" LastEditorUserId="22610" LastEditDate="2018-06-30T23:35:50.423" LastActivityDate="2020-08-19T08:04:00.377" Title="Keeping sound from underlay video in creating PIP video with ffmpeg" Tags="|video|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24382" PostTypeId="2" ParentId="24381" CreationDate="2018-07-01T00:21:37.307" Score="2" Body="&lt;p&gt;Ah I found the answer to my question, I ventured into the ffmpeg documentations again and found that all I had to do was add &lt;strong&gt;-map 1:a&lt;/strong&gt; in front of output.mp4 and I also added -c:a copy cause I thought that copies the same codec settings from the original videos or something, not really sure but it seemed better then putting all those specifications in like I did which I actually just left in there from the site that I found the main part of this ffmpeg command on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My code is now working as I want it and I'll share it below:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;ffmpeg.exe -itsoffset 35 -i overlay.mp4 -i underlay.mp4 -filter_complex &#xA;&quot;[0]scale=700:-1 [overlay]; [1][overlay] &#xA;overlay=main_w-overlay_w-30:30:enable='between(t,35,552)'&quot; &#xA;-map 1:a -c:a copy output.mp4&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The itsoffset is the time before the overlay video starts playing, between(t,35,552) means the overlay video is visible between the 35th second and the 552nd second on the timeline of the output video.&lt;/p&gt;&#xA;" OwnerUserId="22610" LastEditorUserId="22610" LastEditDate="2018-07-01T00:42:24.140" LastActivityDate="2018-07-01T00:42:24.140" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24384" PostTypeId="2" ParentId="24379" CreationDate="2018-07-01T11:13:06.193" Score="1" Body="&lt;p&gt;You could use an image or vector of a sine wave and move it to the right, with the second keyframe at exactly the distance between the zero crossing of each cycle, cropping the sides so it looks like the waves are travelling. Use the &lt;code&gt;loopOut()&lt;/code&gt; function on the position channel to have it loop continuously. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then for the nodes you could use shape or image layers. Apply an expression to their position channel like this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var wavelength = 100; //the width of the sin wave in pixels&#xA;var magnitude = 120; //the height &quot;&quot; &#xA;xPos = value[0];&#xA;yPos = value[1];&#xA;[xPos, Math.sin(time*freq + xPos/wavelength)*magnitude);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the first line could use the distance between the two keyframes of the sinewave like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var wavelength = thisComp.layer(&quot;sine wave layer name&quot;).transform.position.key(1).value[0]-thisComp.layer(&quot;sine wave layer name&quot;).transform.position.key(2).value[0];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-07-01T11:13:06.193" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24385" PostTypeId="2" ParentId="24370" CreationDate="2018-07-01T11:34:15.650" Score="2" Body="&lt;p&gt;Gaussian Blur is now GPU accelerated, and it's the one that they suggest as the successor to fast blur. They've even included a script to update old projects to use the new blur, look for it in &lt;strong&gt;file&gt;Scripts&gt;UpgradeLegacyBlurs&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want one that uses the same maths as fast blur, i.e. is the most visually similar, then I think Box Blur is the one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The official announcement is &lt;a href=&quot;https://theblog.adobe.com/after-effects-cc-2015-3-in-depth-gpu-accelerated-effects&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-07-01T11:34:15.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24386" PostTypeId="1" CreationDate="2018-07-01T19:58:35.120" Score="1" ViewCount="1347" Body="&lt;p&gt;I have CCTV footage exported from a motion activated camera system. When the camera is not active the exported file keeps time by overlaying a black rectangle on the most recent captured image, and then repeating that single frame until there is action again. (Kinda dumb.) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to get rid of all of the no-action frames. I have successfully used mpdecimate in the past to remove duplicate frames, but that always keeps the first frame in the duplicate sequence. In my case I want the first frame gone too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a straightforward solution to this?&lt;/p&gt;&#xA;" OwnerUserId="22614" LastEditorUserId="14523" LastEditDate="2018-07-04T00:36:57.527" LastActivityDate="2018-07-04T00:36:57.527" Title="How can I delete ALL duplicated frames with ffmpeg and mpdecimate?" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24387" PostTypeId="2" ParentId="22924" CreationDate="2018-07-02T03:07:52.803" Score="0" Body="&lt;p&gt;You can use &lt;code&gt;-r 30&lt;/code&gt; to designate 30 fps for your mp4 output. &#xA;The whole cmd can be like this&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i https://example.com/xxx.m3u8 -y -vcodec copy -c copy -bsf:a aac_adtstoasc test.mp4&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="19223" LastActivityDate="2018-07-02T03:07:52.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24388" PostTypeId="2" ParentId="17816" CreationDate="2018-07-02T03:11:34.703" Score="-2" Body="&lt;p&gt;I'm working in a Live Streaming company in Singapore, and we use Nginx as the web server for HLS. Since Nginx is way better at processing static files. You never need to worry about the performance, nginx can utilize the 10G network card easily. &lt;/p&gt;&#xA;" OwnerUserId="19223" LastActivityDate="2018-07-02T03:11:34.703" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24389" PostTypeId="2" ParentId="24373" CreationDate="2018-07-02T05:30:40.297" Score="0" Body="&lt;p&gt;The issue isn't the scan type but the timestamps for the video stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i bad.webm -c copy -an badv.nut&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i badv.nut -i bad.webm -c copy -map 0:v -map 1:a new.,webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;The video timestamps start at some large non-zero number but the audio TS start at zero. That throws stream queueing out-of-whack since the sync relies on the stream with earliest start time within the file. The two step method works around that by isolating the video first into its own file.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-07-02T06:37:17.853" LastActivityDate="2018-07-02T06:37:17.853" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="24392" PostTypeId="2" ParentId="24375" CreationDate="2018-07-02T21:56:28.307" Score="3" Body="&lt;p&gt;&lt;strong&gt;Straight cut&lt;/strong&gt; is a change of shot without transition effect. &lt;strong&gt;Jump cut&lt;/strong&gt; is a straight cut between two very similar shots, which would be perceived as a single shot if not for a slight change in position or lightning.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Professionals used to consider jump cuts a sign of an amateur, unacceptable for movies and broadcast TV. In the 1960s the French New Wave directors broke a lot of movie rules, including the &quot;no jump cuts&quot; rule. Nowadays you can see them in most vlogs, although the professionals still try to avoid them by using &lt;strong&gt;cutaway&lt;/strong&gt;, which usually is sourced from &lt;strong&gt;B-roll&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastEditorUserId="22079" LastEditDate="2019-01-03T23:21:45.580" LastActivityDate="2019-01-03T23:21:45.580" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24394" PostTypeId="1" CreationDate="2018-07-03T13:46:17.923" Score="0" ViewCount="306" Body="&lt;p&gt;I have an image-based processing module that takes photos for some computer vision processing. I have many videos, but I need to sample representative frames as its inputs, preferably those frames with higher attention.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are some good and effective algorithms or approaches to take K sample frames in a video? Interesting feature is that usually camera doesn't move much in successive frames with higher attention. So basically we have more stable scenes when a person is focusing on something important. Is there any ways to take this into account for our samlping?&lt;/p&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2018-07-03T13:46:17.923" Title="Sample K representative frames within a video" Tags="|video|ffmpeg|video-capture|photos|signal-processing|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24395" PostTypeId="1" CreationDate="2018-07-03T14:01:16.253" Score="1" ViewCount="55" Body="&lt;p&gt;I looked at tutorials, but I don't see the quiz button in the toolbar on the left, only &quot;advertisement&quot; button.&lt;/p&gt;&#xA;" OwnerUserId="22621" LastActivityDate="2023-12-10T03:02:25.283" Title="How to add quiz to video in kaltura kmc editor on vpaas?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24397" PostTypeId="2" ParentId="24294" CreationDate="2018-07-03T19:37:13.187" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;There is a third option which is to stretch the 16:9 event to be taller so that it matches the 4:3 ratio. This must be done at the Track level. Open up &lt;strong&gt;Track Motion&lt;/strong&gt; and disable &lt;strong&gt;Lock Aspect Ratio&lt;/strong&gt; and resize the 16:9 media to fill the 4:3 frame. Everything will be tall and thin but there will be no black bars from letterboxing and no loss of picture data from cropping. (i think it looks bad but some people watch TV like this all the time)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://forums.creativecow.net/thread/24/976641#976651&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forums.creativecow.net/thread/24/976641#976651&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="7946" LastActivityDate="2018-07-03T19:37:13.187" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24398" PostTypeId="1" CreationDate="2018-07-03T19:40:13.160" Score="1" ViewCount="17" Body="&lt;p&gt;YouTube marked part of a video I uploaded as containing copyrighted audio. When I remove that audio segment on the YouTube website, does YouTube re-encode the audio of my whole video? Or is the removal or substitution of audio on YouTube a lossless operation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems it is lossy, as it takes quite a while for it process the audio removal. There's really no reason it should be lossy.&lt;/p&gt;&#xA;" OwnerUserId="20407" LastActivityDate="2018-07-03T19:40:13.160" Title="Is removing an audio segment on YouTube a lossless operation?" Tags="|encoding|youtube|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24399" PostTypeId="2" ParentId="23428" CreationDate="2018-07-03T19:41:05.070" Score="1" Body="&lt;p&gt;It is possible but animations are much better suited for a speciality program like After Effects. Vegas on its own will only provide you basic video effects and nothing close to animations like these.&lt;/p&gt;&#xA;" OwnerUserId="7946" LastActivityDate="2018-07-03T19:41:05.070" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24400" PostTypeId="2" ParentId="23521" CreationDate="2018-07-03T19:51:34.567" Score="0" Body="&lt;p&gt;The best way to do it is with Vegas scripting. I have not used it myself but it should be able to accomplish what you're looking for. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.vegascreativesoftware.com/us/downloads/#c24726&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.vegascreativesoftware.com/us/downloads/#c24726&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="7946" LastActivityDate="2018-07-03T19:51:34.567" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24401" PostTypeId="1" CreationDate="2018-07-04T06:39:37.643" Score="0" ViewCount="28" Body="&lt;p&gt;Why does my footage captured with s-log3 gamma curve on a Sony FS5 seems to clip before 100% if I see it on a waveform? &lt;a href=&quot;https://i.stack.imgur.com/Wnh4m.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Wnh4m.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20944" LastActivityDate="2018-07-04T10:24:55.253" Title="Why doesn't my s-log3 footage reach 100% value?" Tags="|video|color-grading|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24402" PostTypeId="2" ParentId="24401" CreationDate="2018-07-04T10:24:55.253" Score="2" Body="&lt;p&gt;A log curve is a mathematical transfer function.  SONY have defined a LOG curve (as many vendors do) that imagines future/alternative sensors having larger electron well capacity (higher clipping) and lower noise (lower clipping) than your current silicon design supports. In other words, you are seeing where your sensor's designs fits into an idealized LOG space.  You are not seeing a LOG curve that is limited by only what your particular sensor can achieve at the present moment.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-07-04T10:24:55.253" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24403" PostTypeId="2" ParentId="23085" CreationDate="2018-07-04T10:37:49.943" Score="0" Body="&lt;p&gt;The best way to achieve this, as far as I can see, is by creating a single image file (in Photoshop or GIMP or something) and then importing that into Premiere - unless, of course, you're animating all of the images in or something - then just moving/scaling on one 'clip' as opposed to trying to move and scale across a lot of different clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are animating the images in, nesting the video would be the best thing to do (as Shultc suggested) though the terminology in Premiere is a 'subsequence', not a 'composition'. To do this, select all of the clips, right click and go down to 'Make subsequence' - this will create a new sequence in your project that you can drop into your main sequence. Edit the content in the subsequence by loading it (double-click) as you would a normal sequence. Any changes you make will be reflected in the subsequence clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have After Effects, I'd suggest building this effect in there as it's far more useful for creating effects like this than Premiere is, though the process would be fairly similar, you'd just create a pre-composition with your collage in it, then edit (move/scale) the pre-comp in your main comp.&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-07-04T10:37:49.943" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24404" PostTypeId="2" ParentId="24375" CreationDate="2018-07-04T10:53:36.253" Score="2" Body="&lt;p&gt;Just to add on to what Rusty Core has already said in their excellent answer...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With vloggers there's a good chance that it's not a different clip that 'comes on'; it's the same take but the vlogger/editor has chopped out some content, which results in the jump cut (usually it's a pause or they've said something wrong or they just want to remove something that they have said). This is easier than constantly stopping and starting the recording every time you pause or make a mistake - you carry on shooting and then just trim down the take in the edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, that's not a hard and fast rule and you will see times when there are more than one take - especially if the vlogger is making an addendum/amendment to something that they previously said.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The most important thing to remember with vlogging is that it's a very open and free-spirited form of content creation. There are almost no rules and doing things your way is one of the defining traits of vlogging.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can find a load of great resources online to help you get started in editing, just search for 'Editing for beginners' on the search engine of your choice and you should find something - or just keep asking on here! Good luck!&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-07-04T10:53:36.253" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24406" PostTypeId="1" CreationDate="2018-07-04T11:59:41.730" Score="1" ViewCount="2373" Body="&lt;p&gt;I'm working on a video for a client and they are wanting to tell a story in video shot entirely in POV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My initial thoughts were GoPro but i think it doesn't give the same quality as a DSLR. I'm thinking about using a helmet mount what are your thoughts on this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything i need to consider when filming POV footage for example&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which lens should i use for POV? (i have a canon mark 5d III)&#xA;Is there a particular camera set up or filming techniques should i use to get the most of the POV footage?&#xA;How should i instruct my actors who will be wearing the camera? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or is it just as simple as mounting a camera to your head?&lt;/p&gt;&#xA;" OwnerUserId="20142" LastActivityDate="2018-07-07T05:02:26.680" Title="Tips for shooting professional POV footage" Tags="|video-quality|video-production|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="24407" PostTypeId="2" ParentId="24406" CreationDate="2018-07-04T13:02:55.367" Score="1" Body="&lt;p&gt;I wouldn't mount a camera to your head - that might result in a) really nausea-inducingly wobbly footage that's much higher than the average eye-height and b) a sore neck. Instead, I'd go for a shoulder rig (something like this: &lt;a href=&quot;http://amzn.eu/ixifFeM&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://amzn.eu/ixifFeM&lt;/a&gt; - DISCLAIMER: I haven't got one of these or used this model so this is not an endorsement, just an example). I've shot a POV film before and this was absolutely the best way we found to do it and gave great results (make sure your operator is of average height, though, otherwise you'll be looking up/down at the scene, unless, of course, that's the look you're going for - don't mean to be mean, just something to consider).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll get the camera to eye-height and will have much more stability and the ability to capture some excellent shots without having to stretch up with a gimbal or whatever.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best thing about this is that you can use whatever body/lens combo you'd like (within reason :P).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Remember, though, that humans do have selective focus so you'll need a focus puller and some way for them to operate.&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-07-04T13:02:55.367" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="24410" PostTypeId="1" AcceptedAnswerId="24494" CreationDate="2018-07-04T20:48:08.390" Score="-1" ViewCount="24" Body="&lt;p&gt;Tell me that I'd better use. From below, a diamond should emerge and be placed in the center. then it turns by 45° and increases in size and becomes a square. I created layers in Photoshop. on one - a diamond in the center. on the second - a square in the center with enlarged dimensions. then imported psd in after effects. And... What should I do next? Have I made the layers correctly?&lt;/p&gt;&#xA;" OwnerDisplayName="user22634" LastActivityDate="2018-07-18T06:12:51.107" Title="Animation from bottom to center, then rotate to 45°" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24415" PostTypeId="2" ParentId="23848" CreationDate="2018-07-05T12:58:00.163" Score="3" Body="&lt;p&gt;In the Text+ tool there is a control for write-on that does exactly what you want. To quote from the &lt;a href=&quot;http://documents.blackmagicdesign.com/Fusion/20170801-2d196b/Fusion_9_Tool_Reference.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;Fusion 9 Tool Reference&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Write On &#xA;  This range control is used to quickly apply simple Write On&#xA;  and Write Off effects to the text. To create a Write On effect,&#xA;  animate the End portion of the control from 1 to 0 over the length of&#xA;  time required. To create a Write Off effect, animate the Start portion&#xA;  of the range control from 0 to 1.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;When they say Write-On, unfortunately they don't mean the hand writing effect more commonly called write-on (I got too excited when I first saw it), but rather what you called the &quot;typewriter effect&quot;. Video tutorial &lt;a href=&quot;https://youtu.be/1J4vUYNBI8w?t=1m45s&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-12-05T05:44:46.680" LastActivityDate="2018-12-05T05:44:46.680" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24416" PostTypeId="2" ParentId="9179" CreationDate="2018-07-05T13:16:04.213" Score="3" Body="&lt;p&gt;Also - try holding the space bar down.. It temporarily turns your cursor into a hand grabber.  Very &quot;handy&quot; (sorry)&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-07-05T13:16:04.213" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24417" PostTypeId="2" ParentId="22377" CreationDate="2018-07-05T14:09:37.823" Score="1" Body="&lt;p&gt;I solved this using the built in &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/simulation-effects.html#foam_effect&quot; rel=&quot;nofollow noreferrer&quot;&gt;Foam particle render&lt;/a&gt; - it does have basic collision avoidance&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-07-05T14:09:37.823" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24420" PostTypeId="1" AcceptedAnswerId="24421" CreationDate="2018-07-06T17:56:46.313" Score="0" ViewCount="812" Body="&lt;p&gt;So I have found this neat guide on converting video quality &lt;a href=&quot;https://gist.github.com/dvlden/b9d923cb31775f92fa54eb8c39ccd5a9&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gist.github.com/dvlden/b9d923cb31775f92fa54eb8c39ccd5a9&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To convert a video to 480p I run the following&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -preset slow -codec:a libfdk_aac -b:a 128k -codec:v libx264 -pix_fmt yuv420p -b:v 1000k -minrate 500k -maxrate 2000k -bufsize 2000k -vf scale=854:480 intro-480p.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However currently I am doing this to transcode and add a watermark to all our videos in a directory&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;find /home/video/archive -type f -execdir ffmpeg -i '{}' -filter:v drawtext=&quot;fontfile=/root/FreeSans.ttf:text='www.website.com':fontcolor=white@1.0:fontsize=26:y=h-line_h-30:x=w/20*mod(t\,120)&quot; -f mp4 -vcodec libx264 -preset fast -profile:v main -acodec aac -movflags +faststart '/home/video/watermarked/{}.mp4' \;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However I am having trouble combining these two commands into one. Whatever I try the watermark doesn't show, just the quality changes to 480p. How can I achieve both with one command? Also please add it to the command above so I can convert all files in a folder.&lt;/p&gt;&#xA;" OwnerUserId="22588" LastActivityDate="2018-07-06T18:54:15.013" Title="ffmpeg - Trouble adding watermark + convert video quality in same command" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24421" PostTypeId="2" ParentId="24420" CreationDate="2018-07-06T18:54:15.013" Score="0" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;find /home/video/archive -type f -execdir ffmpeg -i '{}' -filter:v &quot;drawtext=fontfile=/root/FreeSans.ttf:text='www.website.com':fontcolor=white@1.0:fontsize=26:y=h-line_h-30:x=w/20*mod(t\,120),scale=854:480&quot; -pix_fmt yuv420p -c:v libx264 -preset slow -b:v 1000k -minrate 500k -maxrate 2000k -bufsize 2000k -c:a libfdk_aac -b:a 128k -movflags +faststart '/home/video/watermarked/{}.mp4' \;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-07-06T18:54:15.013" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24422" PostTypeId="2" ParentId="24406" CreationDate="2018-07-07T05:02:26.680" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;I'm working on a video for a client and they are wanting to tell a story in video shot entirely in POV. My initial thoughts were GoPro but i think it doesn't give the same quality as a DSLR. I'm thinking about using a helmet mount what are your thoughts on this?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Use a lightweight 360° Camera. You can edit the footage to provide a normal (non-360°) video from multiple angles and pan smoothly sideways or up and down. Stabilization isn't so much of a problem because you have the &lt;em&gt;edges&lt;/em&gt; and somewhere to pull into your shot. You can jump (instead of smooth pan) too, of course. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have several skiers or skateboarders you'll have more footage than you know what to do with. You'll have all the angles covered and always get the shot. Read the reviews for specific suggestions to meet your budget and level of quality desired. A motorcycle helmet will accept a heavier camera comfortably without worries about losing your hat.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QMDNM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QMDNM.png&quot; alt=&quot;360° Hat&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2018-07-07T05:02:26.680" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24423" PostTypeId="2" ParentId="20402" CreationDate="2018-07-07T10:02:56.763" Score="0" Body="&lt;p&gt;The workaround I used with a camera that had similar &quot;functionality&quot; was to use a sheet of paper with a grid on it (that I could easily remove in post) and this gave the camera enough to focus on.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2018-07-07T10:02:56.763" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24429" PostTypeId="2" ParentId="24395" CreationDate="2018-07-08T10:24:16.273" Score="0" Body="&lt;p&gt;You don't add quiz to video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead, you create a video quiz by selecting Add New, then Video Quiz&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;https://knowledge.kaltura.com/kaltura-video-editing-tools-quiz-tab&quot; rel=&quot;nofollow noreferrer&quot;&gt;Kaltura knowledge pages&lt;/a&gt; on this give you a full tutorial, and should be your first stop for this sort of thing.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2018-07-08T10:24:16.273" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24430" PostTypeId="1" AcceptedAnswerId="24620" CreationDate="2018-07-08T13:42:43.360" Score="0" ViewCount="2156" Body="&lt;p&gt;I've been working on a video project and output should be for DVD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Video from camera&lt;/strong&gt;:&#xA;1920×1080; 50 fps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;65 min. after cut&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Software&lt;/strong&gt;: Vegas Pro 12.0&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to render it in the best quality possible, but on the other hand, I need it to be max. 4 GB big in size (because of DVD limitations).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could you please give me advice for best render settings and format choice?&lt;/p&gt;&#xA;" OwnerUserId="22665" LastActivityDate="2023-09-28T18:08:45.933" Title="Render settings for DVD in Vegas Pro" Tags="|vegas-pro|render|setup|" AnswerCount="3" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="24435" PostTypeId="1" CreationDate="2018-07-09T13:18:36.053" Score="15" ViewCount="83308" Body="&lt;p&gt;I can watch videos on a website with MPEG-DASH technology.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can obtain the video's &lt;code&gt;manifest.mpd&lt;/code&gt; file from the website. (I am not sure whether the file contains any user credentials or not, so I am not going to post it)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video contains 3 tracks (1 video track + 2 audio tracks), and I found 3 &lt;code&gt;&amp;lt;AdaptationSet/&amp;gt;&lt;/code&gt; elements with attribute &lt;code&gt;mimeType&lt;/code&gt; in &lt;code&gt;manifest.mpd&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They both contain a &lt;code&gt;&amp;lt;SegmentTemplate/&amp;gt;&lt;/code&gt; element which has an attribute &lt;code&gt;media&lt;/code&gt; containing the segment filename template which is being used to download the segment files in the browser from time to time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The values to be used to construct the segment file URL are inside &lt;code&gt;SegmentTemplate.SegmentTimeline.S&lt;/code&gt; elements.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;&amp;lt;AdaptationSet mimeType=&quot;video/mp4&quot; ...other attributes&amp;gt;&#xA;  &amp;lt;SegmentTemplate&#xA;    presentationTimeOffset=&quot;0&quot;&#xA;    timescale=&quot;90000&quot;&#xA;    media=&quot;chunk_video_$RepresentationID$_cs$Time$_mpd.m4s&quot;&#xA;    initialization=&quot;chunk_video_$RepresentationID$_cinit_mpd.m4s&quot;&#xA;  &amp;gt;&#xA;    &amp;lt;SegmentTimeline&amp;gt;&#xA;      &amp;lt;S t=&quot;0&quot; d=&quot;900000&quot;/&amp;gt;&#xA;      &amp;lt;S d=&quot;900000&quot; r=&quot;352&quot;/&amp;gt;&#xA;      &amp;lt;S d=&quot;638370&quot;/&amp;gt;&#xA;    &amp;lt;/SegmentTimeline&amp;gt;&#xA;  &amp;lt;/SegmentTemplate&amp;gt;&#xA;  &amp;lt;Representation id=&quot;SOME-ID&quot; codecs=&quot;avc1.640029&quot; sar=&quot;1:1&quot; bandwidth=&quot;1268094&quot;/&amp;gt;&#xA;&amp;lt;AdaptationSet/&amp;gt;&#xA;&amp;lt;AdaptationSet mimeType=&quot;audio/mp4&quot; ...other attributes&amp;gt;&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;will produce requests to&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;https://some-website-domain/some-path/chunk_video_SOME-ID_cinit_mpd.m4s&#xA;https://some-website-domain/some-path/chunk_video_SOME-ID_cs0_mpd.m4s&#xA;https://some-website-domain/some-path/chunk_video_SOME-ID_cs900000_mpd.m4s&#xA;https://some-website-domain/some-path/chunk_video_SOME-ID_cs1800000_mpd.m4s&#xA;https://some-website-domain/some-path/chunk_video_SOME-ID_cs2700000_mpd.m4s&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;some-website-domain/some-path&lt;/code&gt; is not sure at this moment, but I could figure this out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The real question is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to download and encode all the segment files into one single video file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;---- EDIT ----&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After running the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -v 48 -i manifest.mpd -c copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I got this output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Splitting the commandline.&#xA;Reading option '-v' ... matched as option 'v' (set logging level) with argument '48'.&#xA;Reading option '-i' ... matched as input url with argument 'manifest.mpd'.&#xA;Reading option '-c' ... matched as option 'c' (codec name) with argument 'copy'.&#xA;Reading option 'out.mp4' ... matched as output url.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option v (set logging level) with argument 48.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url manifest.mpd.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: manifest.mpd.&#xA;[NULL @ 0x7feff2000800] Opening 'manifest.mpd' for reading&#xA;[file @ 0x7feff1c0b100] Setting default whitelist 'file,crypto'&#xA;[AVIOContext @ 0x7feff1c0b2c0] Statistics: 28989 bytes read, 0 seeks&#xA;manifest.mpd: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22672" LastEditorUserId="22672" LastEditDate="2018-07-09T16:43:53.803" LastActivityDate="2024-04-03T04:35:09.607" Title="How to download and encode a video from a MPD manifest?" Tags="|ffmpeg|mpeg-dash|" AnswerCount="5" CommentCount="13" ContentLicense="CC BY-SA 4.0" />
  <row Id="24437" PostTypeId="2" ParentId="17978" CreationDate="2018-07-09T22:29:41.007" Score="0" Body="&lt;p&gt;I just write an &quot;O&quot; and align it in the middle with the align tool. Then zoom in and set the guides so there's a perfectly placed cross in the middle of the O. Hope you find this useful.&lt;/p&gt;&#xA;" OwnerUserId="22676" LastActivityDate="2018-07-09T22:29:41.007" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24438" PostTypeId="1" AcceptedAnswerId="24442" CreationDate="2018-07-10T01:25:43.393" Score="2" ViewCount="947" Body="&lt;p&gt;I have many hundreds of videos, each a few minutes long and to which was appended an intro and outro sequence that I would like to automatically remove. There is always an all-black frame immediately following the intro sequence and immediately preceding the outro sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to batch (for all videos in a folder, macOS High Sierra) detect and remove all the material preceding the first black frame in a video? (I have the same question for removing the outro sequence, if a workable solution exists.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="22614" LastActivityDate="2018-07-10T20:03:05.877" Title="How can I batch remove from videos all material that comes before the first all-black frame?" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24440" PostTypeId="1" CreationDate="2018-07-10T08:22:43.607" Score="1" ViewCount="35" Body="&lt;p&gt;Are there (open source) codecs that support additional recovery information to be added during encoding to allow for an improved recovery from corruption?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Application would be data archival of videos - thus a somewhat overhead of ~10% is acceptable to be allow for a better error handling.&lt;/p&gt;&#xA;" OwnerUserId="22680" LastActivityDate="2018-07-11T01:01:16.087" Title="codec/container with additional reconstruction information for archival?" Tags="|encoding|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24441" PostTypeId="2" ParentId="17978" CreationDate="2018-07-10T08:51:32.893" Score="3" Body="&lt;p&gt;Updating my answer as this is now possible in CC 2019 onwards:&#xA;Create a guide, right click on it and enter a numeric value. Simple!&lt;/p&gt;&#xA;" OwnerUserId="21965" LastEditorUserId="4426" LastEditDate="2020-08-25T08:21:51.680" LastActivityDate="2020-08-25T08:21:51.680" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24442" PostTypeId="2" ParentId="24438" CreationDate="2018-07-10T13:19:50.743" Score="2" Body="&lt;p&gt;You can try using &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffprobe&lt;/a&gt; &lt;a href=&quot;https://www.ffmpeg.org/ffprobe-all.html#select_002c-aselect&quot; rel=&quot;nofollow noreferrer&quot;&gt;scene detection&lt;/a&gt; tool to find the black frame time, then use &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; to &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Seeking&quot; rel=&quot;nofollow noreferrer&quot;&gt;seek&lt;/a&gt; and trim.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not very good at scripting, but here is something you can try. It is very important that the black frame be only a single frame for this to work! Also, ffprobe's scene tool is very picky about file paths, so make sure there are no spaces or special characters in the filename or file path of any of the videos you need to edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Copy and paste the following code into a bash or command script file. I'll walk through each step to explain what's happening after.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;echo &quot;Enter Source Folder&quot;&#xA;&#xA;read input&#xA;&#xA;cd &quot;$input&quot;&#xA;&#xA;mkdir -p &quot;$input&quot;/output&#xA;&#xA;dir=&quot;$input&quot;/output&#xA;&#xA;for video in *; do&#xA;&#xA;if [[ -f &quot;$video&quot; ]]; then&#xA;&#xA;filename=&quot;${video%.*}&quot;&#xA;extension=&quot;${video##*.}&quot;&#xA;&#xA;mkdir &quot;$dir&quot;/&quot;$filename&quot;&#xA;&#xA;dest=&quot;$dir&quot;/&quot;$filename&quot;&#xA;&#xA;ffprobe -show_frames -of compact=p=0 -f lavfi &quot;movie=&quot;$video&quot;,select=gt(scene\,0.9)&quot; -show_entries frame=best_effort_timestamp_time &amp;gt; tmp.txt&#xA;&#xA;sed -e 's/.*best_effort_timestamp_time=\(.*\)|tag:lavfi.scene_score.*/\1/' tmp.txt &amp;gt; chapter.txt&#xA;rm tmp.txt&#xA;&#xA;file=chapter.txt&#xA;while read line&#xA;do&#xA;    time+=($line)   &#xA;done &amp;lt;&quot;$file&quot;&#xA;&#xA;ffmpeg -i &quot;$video&quot; -ss &quot;${time[0]}&quot; -to &quot;${time[1]}&quot; &quot;$dest&quot;/middle-&quot;$filename&quot;.&quot;$extension&quot;&#xA;&#xA;rm chapter.txt&#xA;&#xA;fi&#xA;&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Breakdown&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Determine the folder that contains the videos you want to trim and set it as the working directory.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;echo &quot;Enter Source Folder&quot;&#xA;read input&#xA;cd &quot;$input&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Make output directory&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkdir -p &quot;$input&quot;/output&#xA;dir=&quot;$input&quot;/output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For each file in the folder do this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;make sure it's a file and not a folder &lt;/li&gt;&#xA;&lt;li&gt;save the filename and extension as a variable&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;create a new output directory for each video&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for video in *; do&#xA;if [[ -f &quot;$video&quot; ]]; then&#xA;filename=&quot;${video%.*}&quot;&#xA;extension=&quot;${video##*.}&quot;&#xA;mkdir &quot;$dir&quot;/&quot;$filename&quot;&#xA;dest=&quot;$dir&quot;/&quot;$filename&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Find any frames that are 9/10 different than the frame before and save the time to a txt file.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -show_frames -of compact=p=0 -f lavfi &quot;movie=&quot;$video&quot;,select=gt(scene\,0.9)&quot; -show_entries frame=best_effort_timestamp_time &amp;gt; tmp.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Clean up and replace text file.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;sed -e 's/.*best_effort_timestamp_time=\(.*\)|tag:lavfi.scene_score.*/\1/' tmp.txt &amp;gt; chapter.txt&#xA;rm tmp.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Create array variable from the text file times.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file=chapter.txt&#xA;while read line&#xA;do&#xA;    time+=($line)   &#xA;done &amp;lt;&quot;$file&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Cut video between the two black frames.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;$video&quot; -ss &quot;${time[0]}&quot; -to &quot;${time[1]}&quot; &quot;$dest&quot;/middle-&quot;$filename&quot;.&quot;$extension&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Delete no longer needed text file and end.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;rm chapter.txt&#xA;fi&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="22487" LastEditorUserId="22487" LastEditDate="2018-07-10T20:03:05.877" LastActivityDate="2018-07-10T20:03:05.877" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24443" PostTypeId="1" CreationDate="2018-07-10T21:38:16.847" Score="0" ViewCount="1114" Body="&lt;p&gt;I made a .webm by compiling a series of rendered out images with FFMPEG. I'm intending for it to loop in background. The problem is, the first frame/frames (not sure) come out very blocky. I used this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2 -i img%05d.png -vf fps output3.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;anything I am missing to avoid this issue?&lt;/p&gt;&#xA;" OwnerUserId="22681" LastActivityDate="2020-03-20T12:15:36.207" Title=".webm blocky in initial frames, terrible for looping :(" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24444" PostTypeId="2" ParentId="24440" CreationDate="2018-07-11T01:01:16.087" Score="2" Body="&lt;p&gt;Typically, &lt;a href=&quot;https://en.wikipedia.org/wiki/Error_correction_code&quot; rel=&quot;nofollow noreferrer&quot;&gt;error correcting code&lt;/a&gt; (ECC) is added to the storage mechanism as with &lt;a href=&quot;https://en.wikipedia.org/wiki/Reed%E2%80%93Solomon_error_correction&quot; rel=&quot;nofollow noreferrer&quot;&gt;Reed-Solomon&lt;/a&gt; on DVD and Blu-ray and the modifications for &lt;a href=&quot;https://en.wikipedia.org/wiki/Forward_error_correction&quot; rel=&quot;nofollow noreferrer&quot;&gt;forward error correction&lt;/a&gt; in &lt;a href=&quot;https://en.wikipedia.org/wiki/Digital_Video_Broadcasting#Transmission&quot; rel=&quot;nofollow noreferrer&quot;&gt;DVB&lt;/a&gt; and &lt;a href=&quot;https://www.tvtechnology.com/expertise/error-correction-in-atsc-mobile-dtv&quot; rel=&quot;nofollow noreferrer&quot;&gt;ATSC&lt;/a&gt; transports. Another common video archival medium, LTO tape, has &lt;a href=&quot;http://www.fujitsu.com/global/products/computing/storage/tape/eternus-lt/feature/STRSYS_a01.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;two levels of ECC&lt;/a&gt;. Building ECC into the codec would be redundant and wasteful, so they mostly focus on &lt;a href=&quot;https://books.google.com/books?id=8jxbbRKVbkIC&amp;amp;lpg=PA251&amp;amp;ots=bel75kJtH-&amp;amp;dq=video%20codec%20ecc&amp;amp;pg=PA251#v=onepage&amp;amp;q=video%20codec%20ecc&amp;amp;f=false&quot; rel=&quot;nofollow noreferrer&quot;&gt;error concealment&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-07-11T01:01:16.087" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24445" PostTypeId="1" CreationDate="2018-07-11T09:52:10.370" Score="1" ViewCount="751" Body="&lt;p&gt;I am saving an After effects file in a watch folder which is being watched by Adobe media encoder using extendscript , the problem is all the compositions are rendered to a video by adobe media encoder, I want to instruct the AME to export only one composition(the main comp) from the project, Is there any way around to achieve this?&lt;/p&gt;&#xA;" OwnerUserId="20294" LastEditorUserId="1950" LastEditDate="2019-09-10T06:39:53.887" LastActivityDate="2019-09-11T04:00:26.900" Title="Adobe After effects watch folder render all composition" Tags="|after-effects|adobe-media-encoder|after-effects-scripting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24446" PostTypeId="1" CreationDate="2018-07-11T12:50:58.550" Score="2" ViewCount="2045" Body="&lt;p&gt;I'm trying to merge a few video files through &lt;code&gt;mkvmerge&lt;/code&gt; but I get the following error after running&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkvmerge -o '/home/videos/marged/new.mp4' '/home/videos/intro.mp4' \+ 'old.mp4' \+ '/home/videos/intro.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Error: The track number 1 from the file 'old.mp4' cannot be appended to the track number 1 from the file '/home/videos/intro.mp4'. The sample rate of the two audio tracks is different: 44100 and 22050&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there a way to force this? If not how can I change the audio to the same rate as &lt;code&gt;old.mp4&lt;/code&gt; in ffmpeg for &lt;code&gt;/home/videos/intro.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="22588" LastActivityDate="2020-08-29T19:00:55.063" Title="&quot;The sample rate of the two audio tracks is different&quot;" Tags="|ffmpeg|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24447" PostTypeId="2" ParentId="24446" CreationDate="2018-07-11T12:52:27.167" Score="2" Body="&lt;p&gt;To force to 44100 Hz, command template is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i old.mp4 -map 0 -c:v copy -c:a aac -ar 44100 new.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-07-11T12:52:27.167" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24448" PostTypeId="2" ParentId="15080" CreationDate="2018-07-11T14:36:54.883" Score="8" Body="&lt;p&gt;Maybe I'm a bit late, but I'd use &lt;a href=&quot;https://www.bento4.com/documentation/mp4dump/&quot; rel=&quot;noreferrer&quot;&gt;bento4 mp4dump&lt;/a&gt;, it's really easy to install on mac with brew &lt;code&gt;brew install bento4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4dump 1.mp4 &#xA;&#xA;[ftyp] size=8+16&#xA;  major_brand = iso5&#xA;  minor_version = 200&#xA;  compatible_brand = iso6&#xA;  compatible_brand = mp41&#xA;[moov] size=8+740&#xA;  [mvhd] size=12+96&#xA;    timescale = 1000&#xA;    duration = 0&#xA;    duration(ms) = 0&#xA;....&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22684" LastActivityDate="2018-07-11T14:36:54.883" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24449" PostTypeId="2" ParentId="24443" CreationDate="2018-07-12T01:33:39.140" Score="0" Body="&lt;p&gt;You don’t declare a codec or quality. Try this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2 -i img%05d.png -c:v libvpx -crf 10 -vf fps output3.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Reducing the 10 after crf should increase the quality. Also, “-vf fps”, I think defaults to 25 FPS. If you want something different, say 30 FPS, you would write it:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf fps=“fps=30”&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22487" LastEditorUserId="1871" LastEditDate="2018-07-12T10:07:35.010" LastActivityDate="2018-07-12T10:07:35.010" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24450" PostTypeId="1" CreationDate="2018-07-12T02:02:09.190" Score="0" ViewCount="1161" Body="&lt;p&gt;I'm trying to make a video in Hitfilm Express.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've imported a folder full of .png files which were rendered in Blender.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then dragged them into the editor &gt; Video 1 section.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead of playing 29.97fps, Hitfilm is playing one single .png image per ~5 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="22686" LastEditorUserId="14523" LastEditDate="2018-07-14T18:56:27.100" LastActivityDate="2020-04-26T08:41:12.633" Title="Make video from .png files in Hitfilm Express" Tags="|video|blender|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24453" PostTypeId="1" AcceptedAnswerId="24454" CreationDate="2018-07-12T12:26:16.340" Score="1" ViewCount="2263" Body="&lt;p&gt;As per ffmpeg bitstream filter documentation, if we use  -bsf:a aac_adtstoasc  then the AAC stream from a raw ADTS AAC or an MPEG-TS container to MP4A-LATM.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-bitstream-filters.html#aac_005fadtstoasc&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-bitstream-filters.html#aac_005fadtstoasc&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when i try below command the file is not getting converted or adding the bitstream filter&lt;/p&gt;&#xA;&#xA;&lt;p&gt;./ffmpeg -i ~/Downloads/test_audio.aac -c:a copy  -bsf:a aac_adtstoasc aac_try_with_bsf.aac&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have checked the output format with help fo mediainfo binary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could someone help me to figure out the issue ?&lt;/p&gt;&#xA;" OwnerUserId="22693" LastActivityDate="2018-07-12T16:32:18.770" Title="AAC with no global headers is currently not supported" Tags="|ffmpeg|audio|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24454" PostTypeId="2" ParentId="24453" CreationDate="2018-07-12T16:32:18.770" Score="3" Body="&lt;p&gt;I assume you're the same poster as at ffmpeg-user who posted &lt;a href=&quot;http://ffmpeg.org/pipermail/ffmpeg-user/2018-July/040487.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;.aac&lt;/code&gt; stores a raw bitstream and the demuxer has no facility to extract the stream parameters as extradata. So, you can try streaming like this,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;./ffmpeg -re -i ~/Downloads/test_audio.aac -acodec copy -vn -rtpflags latm -f rtsp rtsp://shafi:shafi at 192.168.1.135:1935/live/myStream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-07-12T16:32:18.770" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24455" PostTypeId="1" AcceptedAnswerId="24456" CreationDate="2018-07-12T20:35:58.160" Score="1" ViewCount="958" Body="&lt;p&gt;I'm tearing my hair out trying to get this to work, i assume it's a syntax issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm experimenting with the curves video filter in ffmpeg. When I enter the coordinates in the standard form;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i 0.jpg -vf curves=r='0/0 .83/.88 1/1':g='0/0 0.84/0.88 1/1':b='0/0 0.88/0.88 1/1' curves.png;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;....I have no issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying, however, to use variables vs fixed numbers for the curve points and i cannot in anyway get ffmpeg to accept it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example if i simply type;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var3=0.88&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then repeat the code with;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i 0.jpg -vf curves=r='0/0 .83/$var3 1/1':g='0/0 0.84/$var3 1/1':b='0/0 0.88/$var3 1/1' curves.png;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;it won't work, it's sees $var3 as being 0.000000&lt;/p&gt;&#xA;&#xA;&lt;p&gt;also tried;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i 0.jpg -vf curves=r='0/0 .83/${var3} 1/1':g='0/0 0.84/${var3} 1/1':b='0/0 0.88/${var3} 1/1' curves.png;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i 0.jpg -vf curves=r='0/0 .83/`echo $var3` 1/1':g='0/0 0.84/`echo $var3 1/1':b='0/0 0.88/`echo $var3 1/1' curves.png;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm out of ideas. Could anyone help in this situation, really need these to be variables vs fixed numbers for my purposes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="22698" LastActivityDate="2018-07-12T21:08:56.813" Title="FFMPEG - Using variables in curves video filer expression" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24456" PostTypeId="2" ParentId="24455" CreationDate="2018-07-12T21:08:56.813" Score="0" Body="&lt;p&gt;Assuming you're using bash or a similar shell, you need double quotes. Single quotes conveys its contents literally.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;curves=r=&quot;0/0 .83/$var3 1/1&quot;:g=&quot;0/0 0.84/$var3 1/1&quot;:b=&quot;0/0 0.88/$var3 1/1&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-07-12T21:08:56.813" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24458" PostTypeId="1" CreationDate="2018-07-13T01:37:40.453" Score="1" ViewCount="330" Body="&lt;p&gt;Quickly wave your hand in front of your face right now. Looks really blurry right? Now watch a 60 fps video. How come it looks so smooth? To me 60 FPS videos look even smoother than real life. Why?&lt;/p&gt;&#xA;" OwnerUserId="22700" LastActivityDate="2018-07-14T04:03:23.983" Title="Why do high FPS videos look less blurry than real life?" Tags="|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24459" PostTypeId="2" ParentId="24445" CreationDate="2018-07-13T04:07:57.827" Score="2" Body="&lt;p&gt;Make sure that only the comps you want rendered are in the top level of the project. If there are compositions that you don't want rendered, such as subcomps, put them in a folder in your project window&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dUhgs.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dUhgs.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-09-11T04:00:26.900" LastActivityDate="2019-09-11T04:00:26.900" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24462" PostTypeId="1" AcceptedAnswerId="24495" CreationDate="2018-07-13T11:10:54.060" Score="18" ViewCount="56925" Body="&lt;p&gt;I am using below command to push the video to Wowza server, since we are pushing raw H.264 video, the RTP packet does not have the timestamp,  and we could observe audio video sync issue while playing video using VLC Media Player. While executing the FFmpeg command, there is a warning showing as &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;[rtsp @ 0xb754bda0] Timestamps are unset in a packet for stream 0. This is deprecated and will stop working in the future. Fix your code to set the timestamps properly&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;IS there any option available in FFmpeg to add timestamp in RTP packet and push the video and audio?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ffmpeg -f h264 -i /tmp/enc_sd_stream.h264 -f aac -i /tmp/aud_rec_stream  -acodec copy -vcodec copy -r 23 -f rtsp &#xA; rtsp://shafi:shafi@192.168.1.135:1935/live/myStream&#xA;&#xA;Input #0, h264, from '/tmp/enc_sd_stream.h264':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (Baseline), yuv420p, 720x576, 25 fps, 25 tbr, 1200k tbn, 50 tbc&#xA;Input #1, aac, from '/tmp/aud_rec_stream':&#xA;  Duration: N/A, bitrate: 57 kb/s&#xA;    Stream #1:0: Audio: aac (LC), 32000 Hz, mono, fltp, 57 kb/s&#xA;[udp @ 0xb7553290] 'circular_buffer_size' option was set but it is not supported on this build (pthread support is required)&#xA;[udp @ 0xb7553320] 'circular_buffer_size' option was set but it is not supported on this build (pthread support is required)&#xA;[udp @ 0xb754c520] 'circular_buffer_size' option was set but it is not supported on this build (pthread support is required)&#xA;[udp @ 0xb758d670] 'circular_buffer_size' option was set but it is not supported on this build (pthread support is required)&#xA;Output #0, rtsp, to 'rtsp://shafi:shafi@192.168.1.135:1935/live/myStream':&#xA;  Metadata:&#xA;    encoder         : Lavf57.25.100&#xA;    Stream #0:0: Video: h264, yuv420p, 720x576, q=2-31, 25 fps, 25 tbr, 90k tbn, 15 tbc&#xA;    Stream #0:1: Audio: aac (LC), 32000 Hz, mono, 57 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #1:0 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[h264 @ 0xb752e2b0] Thread message queue blocking; consider raising the thread_queue_size option (current value: 8)&#xA;&#xA;    [rtsp @ 0xb754bda0] Timestamps are unset in a packet for stream 0. This is deprecated and will stop working in the future. Fix your code to set the timestamps properly&#xA;&#xA;[aac @ 0xb75f7880] Thread message queue blocking; consider raising the thread_queue_size option (current value: 8)&#xA;frame=10213 fps= 14 q=-1.0 Lsize=N/A time=00:06:48.80 bitrate=N/A speed=0.574x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22693" LastEditorUserId="18155" LastEditDate="2019-07-02T23:12:29.017" LastActivityDate="2021-11-15T18:23:12.023" Title="Timestamps are unset in a packet for stream 0. This is deprecated and will stop working in the future. Fix your code to set the timestamps properly" Tags="|video|ffmpeg|audio|codec|sync|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24463" PostTypeId="2" ParentId="24245" CreationDate="2018-07-13T14:02:51.630" Score="1" Body="&lt;p&gt;In addition to rbd-dc's answer, you can centre your text in the composition by going to the 'Align' menu and pressing both the horizontal and vertical alignment buttons.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note, too, that the anchor point for text never starts in the middle. Press [Y] to edit the anchor point (Pan Behind), select the text object and you can move the anchor point yourself so that it's in the centre of the text (it should snap to the middle).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please bear in mind, though, that you'll need to do ALL of this before you start dropping in your scale keyframes, otherwise you'll notice that the word starts moving all over the place (you can amend things with already active keyframes but it's a bit of a faff so it's always a good idea to get your objects and anchor points set up where you want them before you begin animating).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wU18z.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wU18z.jpg&quot; alt=&quot;Basic flow of centring text&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;NB: You'll notice that, in my images, I've messed up a bit - I centred the anchor point AFTER aligning the text, so I had to align it again. The numbers listed here are the correct way to do this. Technically, you don't need to centre the anchor point first but I find it's easier to control when you're wanting to keep things central. Skip this step if you don't need it.&lt;/p&gt;&#xA;" OwnerUserId="21965" LastEditorUserId="21965" LastEditDate="2018-07-13T14:19:40.287" LastActivityDate="2018-07-13T14:19:40.287" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24464" PostTypeId="1" CreationDate="2018-07-13T20:53:41.477" Score="1" ViewCount="14" Body="&lt;p&gt;I know that motion compensation is the process of using the motion estimaton MV information and then compensating it to describe only the differences between reference frame and the motion estimation mv. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why do we need the decoder to do this motion compensation. We already have the reference frame and the motion vectors. We just need to translate and then send the residual information over as encoded bits.&lt;/p&gt;&#xA;" OwnerUserId="22708" LastActivityDate="2018-07-13T20:53:41.477" Title="Why does motion compensation need a decoder?" Tags="|compression|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24465" PostTypeId="2" ParentId="24458" CreationDate="2018-07-13T22:01:42.753" Score="2" Body="&lt;p&gt;Well this answer is just based on my knowledge of video cameras and is largely a best guess.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In video cameras motion blur is not (necessarily) determined by the fps but by the shutter speed (in cinema: shutter angle). The quicker/higher the less motion blur (I guess you can liken this to a screens refresh rate). Thus, things filmed at 24fps (cinema standard) but with a faster shutter speed will have a sort of other-worldly appearance as if everything is faster than in the real world. A good example of this is the opening Normandy scene in &lt;em&gt;Saving Private Ryan&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you combine a fast shutter speed with more than traditional fps (generally anything over 30) the motion looks surreal. Likely any other phenomenon is related to the way we process images and that I cannot adrquently speak of as I believe research in this field is largely mixed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a good link on shutter speed: &lt;a href=&quot;http://www.red.com/learn/red-101/shutter-angle-tutorial&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.red.com/learn/red-101/shutter-angle-tutorial&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10619" LastEditorUserId="10619" LastEditDate="2018-07-14T04:03:23.983" LastActivityDate="2018-07-14T04:03:23.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24468" PostTypeId="1" CreationDate="2018-07-14T17:49:30.677" Score="0" ViewCount="4861" Body="&lt;p&gt;A four Gig .MOV video file plays perfectly on VLC, Windows Media Player and PotPlayer but when imported into Adobe Premiere Pro 5.5 the following error message appears : &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;The file has no audio or video streams&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried four different video file converter / repair tools (including Remo, Stellar Phoenix and StreamClip). All three tools actually worsened the problem instead of fixing it. Most of them made the file unplayable (as well as not editable). As a precaution, I only tried the repair tools on a backup of the file so as not to ruin the original.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've searched but cannot find an example of a video file that plays back perfectly but cannot be imported into Premiere.&lt;/p&gt;&#xA;" OwnerUserId="22711" LastActivityDate="2019-08-18T01:51:28.000" Title="Video File (.MOV) Opens in VLC and Other Players But Not in Premiere" Tags="|premiere|video-editor|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24469" PostTypeId="1" CreationDate="2018-07-14T23:16:03.263" Score="0" ViewCount="25" Body="&lt;p&gt;I am working on a Kickstarter project video, and I would like to use footage from the website the project is raising funds for. I know I could use screen recorders, but if I am for example scrolling down the page or moving the mouse it would look uneven as it would have to be done manually. I saw some adverts for Wix, for example &lt;a href=&quot;https://www.youtube.com/watch?v=irYluSTChIY&quot; rel=&quot;nofollow noreferrer&quot;&gt;this one&lt;/a&gt;, which use some sort of digitalised version of the website for the shots where the screen is visible to make everything smooth. Are there any tools to do this? If so, what are they called and are there any free/open source examples?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, what would be easier: to write an AutoHotKey or similar script to make the mouse movement, or to use Premiere to animate a fake mouse onto it and to move a zoomed-out video recording with keyframes to simulate scrolling? Or do you have any other ideas?&lt;/p&gt;&#xA;" OwnerUserId="20576" LastActivityDate="2018-07-14T23:16:03.263" Title="What are the website simulators used in adverts called?" Tags="|editing|software-recommendation|digitisation|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24470" PostTypeId="2" ParentId="23682" CreationDate="2018-07-15T00:20:09.630" Score="1" Body="&lt;p&gt;There are differences, firstly, between still and stable. If you want a video to be still, as if it were filmed on a tripod, then you can use a tracking stabilisation technique. This is when you track a point in the background, and since the background is meant to remain motionless when on a tripod, the computer can compensate by moving the video in the opposite direction to the motion. By zooming in, you can remove the bars at the side that would appear from moving the image out of the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if you want steadiness, where the camera still moves, but without violent shaking, such as if you were using a Steadicam, and have the privilege of using professional software such as Premiere, there are methods to achieve this. In Premiere, you can use the 'Warp Stabiliser' effect, and if you ensure that the 'effect' drop-down is set to Smooth Motion instead of No Motion, you should be good to go. But remember that if there is too much shake in the camerawork, Warp Stabiliser could make it look even worse. If you do not have access to Premiere, you can use the previous technique of removing motion completely and adding something like Cinecom's handheld camera effect package in Hitfilm to simulate handheld motion, smoothly.&lt;/p&gt;&#xA;" OwnerUserId="20576" LastActivityDate="2018-07-15T00:20:09.630" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24473" PostTypeId="1" CreationDate="2018-07-15T07:14:16.213" Score="1" ViewCount="1456" Body="&lt;p&gt;Is it possible to create animation that would be similar to &quot;page turn / curl&quot; effect in FFmpeg between two videos? The basic idea: the first video is playing and after some time the second video is replacing the first video with this effect. On images below, blue color means the first video, black color means the second video and yellow color means the transition color between two videos.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/oireD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oireD.png&quot; alt=&quot;An example in images&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22331" LastActivityDate="2018-07-15T08:01:00.623" Title="How to create “page turn / curl” effect in FFmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24474" PostTypeId="2" ParentId="24473" CreationDate="2018-07-15T08:01:00.623" Score="2" Body="&lt;p&gt;You'll need (to compile) a ffmpeg build with a custom filter: &lt;a href=&quot;https://github.com/transitive-bullshit/ffmpeg-gl-transition&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/transitive-bullshit/ffmpeg-gl-transition&lt;/a&gt;, or use node.js script here: &lt;a href=&quot;https://github.com/transitive-bullshit/ffmpeg-concat&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/transitive-bullshit/ffmpeg-concat&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The transition is at &lt;a href=&quot;https://gl-transitions.com/editor/InvertedPageCurl&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gl-transitions.com/editor/InvertedPageCurl&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-07-15T08:01:00.623" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24475" PostTypeId="1" CreationDate="2018-07-15T08:38:17.093" Score="1" ViewCount="40" Body="&lt;p&gt;I wonder if any of you guys know some solution and can help a small team of inexprienced (in terms of video) podcasters. We're producing our Audio podcast in a purely audio editing software (Reaper) and do quite some cuts after the show to trim it as good as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We're thinking about adding video for some shows and wonder if there's a way to bring these cuts to the video. The video will mostly be just recorded faces talking to each other so there's no need for perfection in terms of video - it's basically just a by-product. The idea is to find a way to minimize the additional work and to be able to use the audio that runs through some layers of cutting and effects as a base for the video but that would mean the cuts made on the audio needed to go into the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We're hoping for some solution that's similar to syncing multicam through audio. Any idea?&lt;/p&gt;&#xA;" OwnerUserId="22716" LastActivityDate="2018-07-15T08:38:17.093" Title="Is it possible to cut video based on audio?" Tags="|audio|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24476" PostTypeId="1" AcceptedAnswerId="24483" CreationDate="2018-07-15T10:22:36.513" Score="2" ViewCount="4520" Body="&lt;p&gt;I want to start producing videos and looking around the internet for usual bitrate ranges (VBR) and H.264 profiles and levels for Web Video exports.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found some guides with &lt;a href=&quot;https://vimeo.com/help/compression&quot; rel=&quot;nofollow noreferrer&quot;&gt;Vimeo&lt;/a&gt; and &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube&lt;/a&gt; and construct my own export settings, based on the previous mentioned guides.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am producing the videos mostly within the EU, so I am shooting my videos in either 25p or 50p to reduce the light flicker effect due to the power frequency (50 Hz).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I came up with the following settings for HD-ready, Full-HD, (true) UHD, and (true) 4K.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1280×720p25.000,     5-10 Mbps,  H.264 High Profile Level 4.0,   &lt;strong&gt;HDp25&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;1280×720p50.000,     10-15 Mbps, H.264 High Profile Level 4.2,   &lt;strong&gt;HDp50&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;1920×1080p25.000,    10-20 Mbps, H.264 High Profile Level 4.0,   &lt;strong&gt;FHDp25&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;1920×1080p50.000,    15-25 Mbps, H.264 High Profile Level 4.2,   &lt;strong&gt;FHDp50&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;3840×2160p25.000,    40-60 Mbps, H.264 High Profile Level 5.1,   &lt;strong&gt;UHDp25&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;3840×2160p50.000,    60-80 Mbps, H.264 High Profile Level 5.2,   &lt;strong&gt;UHDp50&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;4096×2160p25.000,    40-60 Mbps, H.264 High Profile Level 5.2,   &lt;strong&gt;4Kp25&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;4096×2160p50.000,    60-80 Mbps, H.264 High Profile Level 5.2,   &lt;strong&gt;4Kp50&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The container format will be MP4, with the moov atom at the start of the file (&lt;em&gt;fast start&lt;/em&gt;). I will introduce the moov atom as a post process (ffmpeg), since my primary transcoding software does not support the moov atom at all.&#xA;The audio is AAC-LC, stereo with 96 KHz and 320 kbps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is: Are those settings suitable for &lt;em&gt;better quality&lt;/em&gt; Web Video presentation? Did I miss something while merging the various guides on how to setup the transcoding process?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to point out again, that the above mentioned settings are for the Web Video exports &lt;em&gt;only&lt;/em&gt;. When I author Blu-ray releases, I will do much higher bitrates etc.. However this question is only about the Web Video presentation.&lt;/p&gt;&#xA;" OwnerUserId="2486" LastActivityDate="2018-07-16T12:32:09.897" Title="How to choose the right bitrate, H.264 profile and level for Web Video presentation?" Tags="|mp4|transcoding|h.264|webvideos|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24479" PostTypeId="1" AcceptedAnswerId="24481" CreationDate="2018-07-16T03:54:22.087" Score="12" ViewCount="15806" Body="&lt;p&gt;I just read &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;noreferrer&quot;&gt;Recommended upload encoding settings&lt;/a&gt; article from official google support. I think this is the best settings for encoding my youtube videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you help me find out how to encode that settings in ffmpeg for 720p or 1080p videos?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Here's the settings&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vBZAT.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vBZAT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="16996" LastEditorUserId="3592" LastEditDate="2019-01-28T15:40:26.067" LastActivityDate="2022-10-29T09:46:43.550" Title="How to encode for YouTube with ffmpeg?" Tags="|video|ffmpeg|encoding|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24481" PostTypeId="2" ParentId="24479" CreationDate="2018-07-16T08:51:36.707" Score="14" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf yadif,format=yuv420p -force_key_frames &amp;quot;expr:gte(t,n_forced/2)&amp;quot; -c:v libx264 -crf 18 -bf 2 -c:a aac -q:a 1 -ac 2 -ar 48000 -use_editlist 0 -movflags +faststart out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;-vf&lt;/code&gt; specifies video filters&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;yadif&lt;/code&gt; will deinterlace videos if they're interlaced.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;format=yuv420p&lt;/code&gt; will produce pixel format with 4:2:0 chroma subsampling.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-force_key_frames &amp;quot;expr:gte(t,n_forced/2)&amp;quot;&lt;/code&gt; will place keyframes every half-second, so that will be the GOP size.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-c:v libx264&lt;/code&gt; will use the x264 encoder to produce a H264 video stream.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-crf 18&lt;/code&gt; will produce a visually lossless file. Better than setting  a bitrate manually.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-bf 2&lt;/code&gt; will limit consecutive B-frames to 2&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-c:a aac&lt;/code&gt; will use the native encoder to produce an AAC audio stream.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-q:a 1&lt;/code&gt; sets the highest quality for the audio. Better than setting  a bitrate manually.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-ac 2&lt;/code&gt; rematrixes audio to stereo.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-ar 48000&lt;/code&gt; resamples audio to 48000 Hz.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-use_editlist 0&lt;/code&gt; avoids writing edit lists.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-movflags +faststart&lt;/code&gt; places moov atom/box at front of the output file.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="29623" LastEditDate="2022-10-29T09:46:43.550" LastActivityDate="2022-10-29T09:46:43.550" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="24482" PostTypeId="2" ParentId="24053" CreationDate="2018-07-16T12:26:15.327" Score="0" Body="&lt;p&gt;I'd reccomend installing the official &lt;strong&gt;Microsoft Camera Codec Pack&lt;/strong&gt; if you haven't already. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.microsoft.com/en-us/download/details.aspx?id=26829&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.microsoft.com/en-us/download/details.aspx?id=26829&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See if that solves it. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-07-16T12:26:15.327" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24483" PostTypeId="2" ParentId="24476" CreationDate="2018-07-16T12:32:09.897" Score="2" Body="&lt;p&gt;If you are looking to get the best possible quality, &lt;strong&gt;&lt;em&gt;encode at the highest bitrates you can factoring file size / upload time.&lt;/em&gt;&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regardless of what you bitrate you transcode at; nearly all streaming platforms - &lt;strong&gt;YouTube and Vimeo&lt;/strong&gt; included, will re-transcode the files using their own settings for Various Resolutions. Youtube for instance will take a 1080 file and transcode it into 1080, 720, 480, 360, and 240 versions for people who have slow connections. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your original file on both Vimeo and YouTube will remain available for download later from your Video's Setting Page. I am not sure if you can make that public, but they do retain it if you wish to pull the file back at a later date. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-07-16T12:32:09.897" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24488" PostTypeId="1" AcceptedAnswerId="24625" CreationDate="2018-07-17T12:39:02.583" Score="2" ViewCount="1347" Body="&lt;p&gt;Reposted from superuser: &lt;a href=&quot;https://superuser.com/questions/1340574/ffmpeg-copy-hls-high-cpu-usage&quot;&gt;https://superuser.com/questions/1340574/ffmpeg-copy-hls-high-cpu-usage&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a set of batch scripts (Windows 10) to create an &quot;instant replay&quot; for some (11) HLS streams using FFMPEG. When everything is working each instance uses less than 1% CPU. The problem I have is that FFMPEG regularly hangs and does not continue looping. When this happens, the instance jumps to 10-15% CPU usage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first time I had this problem, I updated my graphics card drivers and FFMPEG version and that worked for a while but the problem came back. I assumed that it was the graphics card going bad. I now have a brand new computer (Precision 7520 with Xeon E3-1535M v6, Quadro M2200, and 32GB ECC RAM) and the problem persists. I have no idea what the cause is. I have tried updating FFMPEG again to no avail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If anybody has a fix that would be the best; however, if you know a way to monitor the processor usage and automatically kill ffmpeg when it spikes for more than 10s that would be an acceptable solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The recorder script is as follows:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Set Event=%1&#xA;Set CamName=%4&#xA;::SegLength is normally 30 to 60 seconds&#xA;Set SegLength=%2&#xA;Set BasePath=%3&lt;/p&gt;&#xA;&#xA;&lt;p&gt;mkdir &quot;%BasePath%\%Event%\%CamName%\&quot;&#xA;for /f %%i in ('yt-dl PATH_TO_master.m3u8 -f best --get-url') do set url=&quot;%%i&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;:beg&#xA;Set &quot;FileName=%CamName%.%TIME::=-%.mp4&quot;&#xA;ffmpeg -n -i %url% -t %SegLength% -c:v copy -c:a copy -f mp4 &quot;%BasePath%\%Event%\%CamName%\%FileName%&quot;&#xA;goto :beg&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="22728" LastActivityDate="2018-10-04T23:00:10.903" Title="High cpu usage with FFMPEG copying video codec from HLS" Tags="|ffmpeg|streaming|video-recording|live|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24489" PostTypeId="2" ParentId="23056" CreationDate="2018-07-17T12:50:43.443" Score="0" Body="&lt;p&gt;I would use Youtube live with a Raspberry pi set to autostart chromium in kiosk mode on boot. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;See: &lt;a href=&quot;https://raspberrypi.stackexchange.com/questions/69204/open-chromium-full-screen-on-start-up&quot;&gt;https://raspberrypi.stackexchange.com/questions/69204/open-chromium-full-screen-on-start-up&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22728" LastActivityDate="2018-07-17T12:50:43.443" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24490" PostTypeId="1" CreationDate="2018-07-17T20:11:36.760" Score="1" ViewCount="344" Body="&lt;p&gt;I want to make movies, but I currently have a Sony A6000.  I currently use a neutral profile and drop all the values to -3,-3,+3 or -3,-3,-3.  The Sony A6000, however, has only 8bit video.  I also raised the bit rate to maximize the information.  So is it worth it to use a slog-2 like the profile? Also, if the xavcs codec worth using to get more information?&lt;/p&gt;&#xA;" OwnerUserId="22732" LastActivityDate="2018-07-17T20:11:36.760" Title="Is using a slog-2 and xavcs like profile worth it on the Sony A6000?" Tags="|color-grading|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24492" PostTypeId="2" ParentId="22487" CreationDate="2018-07-18T05:36:44.273" Score="1" Body="&lt;p&gt;The default commands for any clip edit are: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Extend Next Edit to Playhead (Shift-W) &#xA;Extend Previous Edit to Playhead (Shift-Q)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So selecting those captions, you should be able to use those hotkeys and it will match the next edit or the previous one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this isn't what you're looking for, dig into the hotkeys.   Hotkeys are the lifeblood of navigating premiere effectively. &lt;/p&gt;&#xA;" OwnerUserId="22735" LastActivityDate="2018-07-18T05:36:44.273" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24493" PostTypeId="2" ParentId="21227" CreationDate="2018-07-18T06:01:29.797" Score="1" Body="&lt;p&gt;If you haven't found it yet, the Puppet tool likely what you're looking for.  You will create specific anchor points and you can keyframe their motion. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's several tutorials out there for the right way to use the tool, but the best advice I can offer is to just play with it till you get the desired effect. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally I put more points where I DONT want it to move and use fewer points where I do.    To practice just create a solid and drop points on it, then grab a point and start moving it around.   It will become clear.&lt;/p&gt;&#xA;" OwnerUserId="22735" LastActivityDate="2018-07-18T06:01:29.797" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24494" PostTypeId="2" ParentId="24410" CreationDate="2018-07-18T06:12:51.107" Score="0" Body="&lt;ol&gt;&#xA;&lt;li&gt;Create a square shape.  Center it to the screen using align.&lt;/li&gt;&#xA;&lt;li&gt;Move the time indicator forward in the timeline.&lt;/li&gt;&#xA;&lt;li&gt;Go into the transform of the shape layer, and keyframe the position, rotation, and scale, by clicking the little stopwatch next to each of these.&lt;/li&gt;&#xA;&lt;li&gt;Go back in the time line and move the object down to the bottom, by dragging or lowering the Y value under position.  &lt;/li&gt;&#xA;&lt;li&gt;Go passed the first point you made in the timeline when you keyframed and you should already see the shape moving up.   Now just increase scale size.&lt;/li&gt;&#xA;&lt;li&gt;Adjust keyframes to the timing you want. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;That's the basic premise.&lt;/p&gt;&#xA;" OwnerUserId="22735" LastActivityDate="2018-07-18T06:12:51.107" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24495" PostTypeId="2" ParentId="24462" CreationDate="2018-07-18T09:51:34.927" Score="4" Body="&lt;p&gt;this worked for me as an option to ffmpeg: &lt;code&gt;-use_wallclock_as_timestamps 1&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="22693" LastActivityDate="2018-07-18T09:51:34.927" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24496" PostTypeId="2" ParentId="24462" CreationDate="2018-07-18T18:06:32.920" Score="12" Body="&lt;p&gt;The usual solution for this situation: &lt;code&gt;-fflags +genpts&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It should eliminate the warning, but there's no guarantee your sync issues will be solved.&lt;/p&gt;&#xA;" OwnerUserId="22696" LastActivityDate="2018-07-18T18:06:32.920" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24501" PostTypeId="1" AcceptedAnswerId="24515" CreationDate="2018-07-19T13:05:48.023" Score="0" ViewCount="956" Body="&lt;p&gt;I need a video effect to show a big count of video on my youtube channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to show a grid of small 64 videos (or more). The camera will start with one video in the center and will be moving away, increase the scale, more and more videos will fall to the scope of the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I find such a video effect and buy it?&#xA;I tried on &lt;a href=&quot;https://videohive.net&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://videohive.net&lt;/a&gt; but do not have success with it.&#xA;In what film or video I can find such an effect? I saw it in some films, but do not remember where.&lt;/p&gt;&#xA;" OwnerUserId="22738" LastActivityDate="2018-07-21T09:25:54.023" Title="I want to find video effect" Tags="|after-effects|effects|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24502" PostTypeId="2" ParentId="11898" CreationDate="2018-07-19T13:37:19.040" Score="2" Body="&lt;p&gt;If your output container can handle the relevant codecs, then you can simply copy both audio and video streams using ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i audio.m4a -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22749" LastActivityDate="2018-07-19T13:37:19.040" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24503" PostTypeId="2" ParentId="24501" CreationDate="2018-07-19T14:11:24.223" Score="2" Body="&lt;p&gt;My first port of call was to look on videohive too. But in the end i ended up creating the grid of videos then using the parent tool to assign all videos to the central video as the parent and just apply a scale to that video which controls the scale of the rest.&lt;/p&gt;&#xA;" OwnerUserId="20142" LastActivityDate="2018-07-19T14:11:24.223" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24504" PostTypeId="1" CreationDate="2018-07-18T03:04:02.213" Score="1" ViewCount="39" Body="&lt;p&gt;As I can see Canon currently lacks native wide (assuming crop sensor) fast prime lenses adopted for video recording that have built-in image stabilization at the same time. As an example, you can either pick Canon EF-S 24mm f/2.8 STM or Canon EF 24mm f/2.8 IS USM, which means you can't enjoy both IS and STM in this case. So my question is, what is generally considered as more &quot;nice to have&quot; and does STM has any other advantages beside being silent?&lt;/p&gt;&#xA;" OwnerUserId="20424" OwnerDisplayName="Mike" LastActivityDate="2018-07-19T17:20:15.633" Title="What's more important for video recording - STM or IS?" Tags="|canon|video|" AnswerCount="0" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24506" PostTypeId="1" AcceptedAnswerId="29812" CreationDate="2018-07-19T18:30:43.367" Score="2" ViewCount="3473" Body="&lt;p&gt;I'm looking for a program that can synchronize audio and video from separate files. PluralEyes does this. I'm looking for something that runs on Linux and preferably is open source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I imagine a CLI that goes like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ clappersyncoffsets in.pm4 in.wav&#xA;0s 3.876s&#xA;$&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22216" LastActivityDate="2023-06-16T10:25:15.183" Title="Audio/video sync software for Linux (preferably open source)" Tags="|sync|linux|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24507" PostTypeId="1" CreationDate="2018-07-19T18:32:55.563" Score="0" ViewCount="326" Body="&lt;p&gt;I have a video file from my Hikvision NVR which I cannot play on Windows 10 in either VLC or Windows Media Player - all I get is a black video and the seek bar just whizzes along...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can play this video in VLC on Windows 7 so I'm pretty sure it has something to do with the fact that it is a new computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Media Info gives me the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Complete name               : C:\Users\cos\Web\PlaybackFiles\2018-07-18\192.168.1.250_02_20180718224704172.mp4&#xA;Format                      : MPEG-PS&#xA;File size                   : 3.40 MiB&#xA;Duration                    : 1 min 51 s&#xA;Overall bit rate            : 257 kb/s&#xA;FileExtension_Invalid       : mpeg mpg m2p vob pss evo&#xA;&#xA;Video&#xA;ID                          : 224 (0xE0)&#xA;Format                      : AVC&#xA;Format/Info                 : Advanced Video Codec&#xA;Format profile              : Main@L5&#xA;Format settings             : CABAC / 2 Ref Frames&#xA;Format settings, CABAC      : Yes&#xA;Format settings, ReFrames   : 2 frames&#xA;Duration                    : 1 min 51 s&#xA;Width                       : 2 560 pixels&#xA;Height                      : 1 440 pixels&#xA;Display aspect ratio        : 16:9&#xA;Color space                 : YUV&#xA;Chroma subsampling          : 4:2:0&#xA;Bit depth                   : 8 bits&#xA;Scan type                   : Progressive&#xA;Color range                 : Full&#xA;Color primaries             : BT.709&#xA;Transfer characteristics    : BT.709&#xA;Matrix coefficients         : BT.709&#xA;&#xA;Audio&#xA;ID                          : 192 (0xC0)&#xA;Format                      : MPEG Audio&#xA;Duration                    : 1 min 51 s&#xA;Compression mode            : Lossy&#xA;Delay relative to video     : -5 min 7 s&#xA;&#xA;Text&#xA;ID                          : 189 (0xBD)&#xA;Format                      : RLE&#xA;Format/Info                 : Run-length encoding&#xA;Duration                    : 1 min 41 s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm sure this is a codec, or perhaps lack of codec, issue but I need some help to determine what the cause of the issue is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone experienced thisbefore?&lt;/p&gt;&#xA;" OwnerUserId="16361" LastActivityDate="2018-08-19T20:01:05.213" Title="What codec do I need for this video file?" Tags="|video|codec|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24509" PostTypeId="2" ParentId="24507" CreationDate="2018-07-20T06:56:22.947" Score="-1" Body="&lt;p&gt;There is hardly any video in your AVC file. The data rate is 0.2Mb and the frame is a full size PC desktop resolution (WQHD) instead of a  &quot;real&quot; video resolution such as 1920x1080. &#xA;Based on its size, I'd guess you only have 2 frames in there. That would be stretching a bit if you need a real video file. A low bandwidth (25Mb) AVC source of this size would be 100x bigger.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try using a standard HD res at the source, a bigger bitrate and more key frames.&lt;/p&gt;&#xA;" OwnerUserId="22753" LastEditorUserId="22753" LastEditDate="2018-07-20T19:01:37.030" LastActivityDate="2018-07-20T19:01:37.030" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24510" PostTypeId="2" ParentId="17061" CreationDate="2018-07-20T12:39:24.300" Score="0" Body="&lt;p&gt;This is just an idea, but if you have some budget, it'd be a good idea to upgrade either the processor (to 8th gen Intel) or even better, the video card (to NVIDIA GTX 1050 or above) so you can encode h.265/HEVC with hardware acceleration instead of CPU-intensive &lt;code&gt;x265&lt;/code&gt;. Your video encoding will be finished in much less than 20 hours, saving you electricity costs too.&lt;/p&gt;&#xA;" OwnerUserId="22755" LastActivityDate="2018-07-20T12:39:24.300" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24511" PostTypeId="1" AcceptedAnswerId="24562" CreationDate="2018-07-20T13:42:49.657" Score="0" ViewCount="338" Body="&lt;p&gt;am trying to scale the stroke width of a shape in AE in only one direction instead of all direction equally. Please assist&lt;/p&gt;&#xA;" OwnerUserId="22756" LastActivityDate="2018-07-27T01:26:56.783" Title="How to expand stroke width in one direction" Tags="|after-effects|scale|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24512" PostTypeId="1" CreationDate="2018-07-20T18:09:07.903" Score="0" ViewCount="67" Body="&lt;p&gt;I just purchased a cheap dashboard video-camera that is advertised to have a H.264 codec inside. However, after the first video test I have seen that a 43sec movie takes 123MB! How is this possible. I thought that H.264 has a MUCH better compression!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Question:&lt;br&gt;&#xA;1. Does my video camera really incorporate a true H.264 codec or is it a fake?&lt;br&gt;&#xA;2. If it is a true H264 why is the compression ratio so poor?  &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;UPDATE:&lt;br&gt;&#xA;I contacted the producer and they said that &quot;The compression ratio system setting of the H.264 AVC codec is 102:1. This setting cannot be set manually&quot;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;000000 File Type (20 bytes)&#xA;000000  Header (8 bytes)&#xA;000000   Size:                                 20 (0x00000014)&#xA;000004   Name:                                 ftyp&#xA;000008  MajorBrand:                            qt  &#xA;00000C  MajorBrandVersion:                     512 (0x00000200)&#xA;000010  CompatibleBrand:                       qt  &#xA;000014 ----------------------------&#xA;000014 ---   MPEG-4, accepted   ---&#xA;000014 ----------------------------&#xA;000014 Data (3774264 bytes)&#xA;000014  Header (8 bytes)&#xA;000014   Size:                                 3774264 (0x00399738)&#xA;000018   Name:                                 mdat&#xA;00001C  Data:                                  (3774256 bytes)&#xA;39974C File header (2128 bytes)&#xA;39974C  Header (8 bytes)&#xA;39974C   Size:                                 2128 (0x00000850)&#xA;399750   Name:         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                  1080.000&#xA;399824   Media (1447 bytes)&#xA;399824    Header (8 bytes)&#xA;399824     Size:                               1447 (0x000005A7)&#xA;399828     Name:                               mdia&#xA;39982C    Media Header (32 bytes)&#xA;39982C     Header (8 bytes)&#xA;39982C      Size:                              32 (0x00000020)&#xA;399830      Name:                              mdhd&#xA;399834     Version:                            0 (0x00)&#xA;399835     Flags:                              0 (0x000000)&#xA;399838     Creation time:                      3118707150 (0xB9E3B1CE)&#xA;39983C     Modification time:                  3118707150 (0xB9E3B1CE)&#xA;399840     Time scale:                         1000 (0x000003E8)&#xA;399844     Duration:                           2221 (0x000008AD)&#xA;399848     Language:                           0 (0x0000)&#xA;39984A     Quality:                            0 (0x0000)&#xA;39984C    Handler Reference (45 bytes)&#xA;39984C     Header (8 bytes)&#xA;39984C      Size:                              45 (0x0000002D)&#xA;399850      Name:                              hdlr&#xA;399854     Version:                            0 (0x00)&#xA;399855     Flags:                              0 (0x000000)&#xA;399858     Component type:                     mhlr&#xA;39985C     Component subtype:                  vide&#xA;399860     Component manufacturer:             &#xA;399864     Component flags:                    0 (0x00000000)&#xA;399868     Component flags mask:               0 (0x00000000)&#xA;39986C     Component name size:                12 (0x0C)&#xA;39986D     Component name:                     VideoHandler&#xA;399879    Media Information (1362 bytes)&#xA;399879     Header (8 bytes)&#xA;399879      Size:                              1362 (0x00000552)&#xA;39987D      Name:                              minf&#xA;399881     Video Media Header (20 bytes)&#xA;399881      Header (8 bytes)&#xA;399881       Size:                             20 (0x00000014)&#xA;&#xA;    ................&#xA;25E131   ------------------------&#xA;25E131   ---   AVC, filling   ---&#xA;25E131   ------------------------&#xA;25E131   slice_data (21876 bytes)&#xA;25E131    (ToDo):                              (Data)&#xA;2636A8   --------------------------------------------&#xA;2636A8   ---   MPEG-4, jumping to offset 3004D4   ---&#xA;2636A8   --------------------------------------------&#xA;3004D4  2 (64000 bytes)&#xA;3004D4   Channel grouping data:                (64000 bytes)&#xA;3004D4   Block (64000 bytes)&#xA;3004D4    Data:                                (64000 bytes)&#xA;30FED4   -------------------------&#xA;30FED4   ---   PCM, accepted   ---&#xA;30FED4   -------------------------&#xA;30FED4   ------------------------&#xA;30FED4   ---   PCM, filling   ---&#xA;30FED4   ------------------------&#xA;30FED4   --------------------------------------------&#xA;30FED4   ---   MPEG-4, jumping to offset 399FCB   ---&#xA;30FED4   --------------------------------------------&#xA;3204D4 ---------------------------&#xA;3204D4 ---   MPEG-4, filling   ---&#xA;3204D4 ---------------------------&#xA;3204D4 ----------------------------&#xA;3204D4 ---   MPEG-4, finished   ---&#xA;3204D4 ----------------------------&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22758" LastEditorUserId="22758" LastEditDate="2018-07-31T07:13:05.753" LastActivityDate="2018-07-31T07:13:05.753" Title="Video cam with poor compression ratio (H.264 produces videos at 2.9MB/sec)" Tags="|encoding|mp4|compression|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24514" PostTypeId="2" ParentId="24512" CreationDate="2018-07-21T05:46:24.137" Score="1" Body="&lt;p&gt;H264 allows for much better compression, but image acquisition should be as good as feasible, so cameras will capture at a high bitrate, say, 10+ Mbps, depends on resolution and framerate. Nothing unusual about that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The full bouquet of H.264 compression methods i.e. lookahead for rate-control, better motion estimation ..etc is usually applied when producing a file for web playback. You can use ffmpeg with libx264 to achieve that.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-07-21T05:46:24.137" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="24515" PostTypeId="2" ParentId="24501" CreationDate="2018-07-21T06:33:49.300" Score="0" Body="&lt;p&gt;Try to look for &quot;Multi Video&quot; on VideoHive. It gives me some results similar to what you are looking for.&lt;/p&gt;&#xA;" OwnerUserId="20424" LastActivityDate="2018-07-21T06:33:49.300" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24517" PostTypeId="2" ParentId="4853" CreationDate="2018-07-21T09:59:58.743" Score="0" Body="&lt;p&gt;I create animation for 2D game, and use both 2D (Inkscape) and 3D (Blender) software. Because I create game animation I use need 3 or 4 frames for most characters but some need 7+ frames (need save space in texture for each level, need limit animations).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use 2D Inkscape for most game character, have color out line style like Disney's Alice In Wonderland but have shading/shadow too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But some object have rotate animation (spike ball), special lighting/shading (hard draw with vector graphic) but very easy create with Blender. Some time I draw outline on 3D object render look more like vector object or help people see object, other time I use direct render image and not change it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Game is little different from cartoon, people busy play game shoot/fight enemy, not easy notice lighting error when flip object, few animation frame, mix 2D/3D style.&lt;/p&gt;&#xA;" OwnerUserId="22761" LastActivityDate="2018-07-21T09:59:58.743" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24518" PostTypeId="1" CreationDate="2018-07-21T10:01:56.543" Score="1" ViewCount="597" Body="&lt;p&gt;Question for old animators at Hanna Barbara: 1960s - 1980s. Do Hanna Barbara cartoons use 30 frames/s or 24 frames/s, and did they draw most animation on 2s for real 15 frames/s or 12 frames/s?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess 30 frame/s (15 frames/s on 2s) because US company make cartoons for TV (US TV during that time is NTSC ≈ 30 frames/s). &lt;/p&gt;&#xA;" OwnerUserId="22761" LastEditorUserId="1950" LastEditDate="2018-07-23T04:19:57.320" LastActivityDate="2020-02-23T02:11:53.197" Title="Hanna Barbara animation frame rate" Tags="|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24519" PostTypeId="1" AcceptedAnswerId="24520" CreationDate="2018-07-21T13:48:31.773" Score="1" ViewCount="3409" Body="&lt;p&gt;I just bought a cheap action camera that I plan to use when freediving and my first test shows that the video quality is quite good. The only thing that isn't good enough are the colors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I started iMovie and managed to get good colors above water and under water but never both at the same time. I realise that I would need to gradually change color as the depth changes and this doesn't seem to be supported in iMovie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which software or app, preferably free but not necessarily, can be used to do color grading that changes over time?&lt;/p&gt;&#xA;" OwnerUserId="22763" LastEditorUserId="22763" LastEditDate="2018-07-21T13:54:05.977" LastActivityDate="2018-07-21T16:25:45.787" Title="How can I do color grading that changes over time?" Tags="|color-grading|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24520" PostTypeId="2" ParentId="24519" CreationDate="2018-07-21T16:25:45.787" Score="3" Body="&lt;p&gt;DaVinci Resolve seems to be an industry standard software for color grading that exists as a free version. Here is a tutorial on how to use keyframes to animate color grading that worked for me:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/TUtotE4a_Dk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="22763" LastActivityDate="2018-07-21T16:25:45.787" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24522" PostTypeId="1" AcceptedAnswerId="24530" CreationDate="2018-07-22T16:31:11.000" Score="1" ViewCount="268" Body="&lt;p&gt;Is there any way to produce a DVD set of files that can be played off a network drive ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason I ask is that authoring on a fairly powerful modern PC using windows 10 and a recent version of Power Director 14+ is creating Discs that break up badly and freeze during playback. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've wasted no end of discs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to produce something from the Power Director that will have chapters so that for example a week's holiday you could select Monday,Tuesday,Wednesday etc&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Jumping to points rather than having to fast forward the whole film is of course a big advantage of DVD's.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope someone can help - power director don't even reply or if they do nothing they suggest works.&lt;/p&gt;&#xA;" OwnerDisplayName="user11187" LastActivityDate="2018-07-24T02:07:30.160" Title="How to produce Video with DVD Chapters on a Network Drive?" Tags="|dvd|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24523" PostTypeId="1" CreationDate="2018-07-22T21:24:37.983" Score="1" ViewCount="15" Body="&lt;p&gt;I'm supporting some friends for a small web series and we're trying to figure out a budget. As I research, I'm reading a lot about permits and insurance and so forth. We are not even a real production company and are mostly hiring friends and such. To what extent do we need get workers comp and other forms of insurance to make this small budget short?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;We live in Los Angeles.&lt;/li&gt;&#xA;&lt;li&gt;We will need permits for public locations.&lt;/li&gt;&#xA;&lt;li&gt;We do plan on hiring friends for cast and crew.&lt;/li&gt;&#xA;&lt;li&gt;We were also thinking about hiring kids but I'm starting to think that is not possible with our budget.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="22774" LastActivityDate="2018-07-23T01:15:25.480" Title="Small Indie Production and Insurance" Tags="|producing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24524" PostTypeId="2" ParentId="23741" CreationDate="2018-07-22T22:20:46.250" Score="25" Body="&lt;p&gt;The &lt;code&gt;-metadata&lt;/code&gt; option is for manipulating the metadata. If you just want to copy the metadata from an input file to an output file, you should use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Advanced-options&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;-map_metadata&lt;/code&gt;&lt;/a&gt; option:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i a.MOV -map_metadata 0 -c copy c.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The file specifier is a zero-indexed number, so '0' takes the metadata from the first input file.&lt;/p&gt;&#xA;&lt;p&gt;Note that &lt;code&gt;-map_metadata&lt;/code&gt; and &lt;code&gt;-movflags&lt;/code&gt; can be used in conjunction to preserve more metadata:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -crf 27 -movflags use_metadata_tags -map_metadata 0 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="15822" LastEditorUserId="38451" LastEditDate="2022-06-30T07:20:17.287" LastActivityDate="2022-06-30T07:20:17.287" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24525" PostTypeId="2" ParentId="24523" CreationDate="2018-07-23T01:15:25.480" Score="3" Body="&lt;p&gt;I've struggled with a similar question, although everything that I have done has been so small that I've usually been able to dance around it. I'll say this, from a liability standpoint the greater the size of your cast &amp;amp; crew and the greater your production, the more that you want to at least look into &quot;General Liability&quot;. If you're working with animals, pyro, a lot of moving traffic, swimming/diving, aerial cinematography, things like that. You really have to look at the scale of what you're doing. Once you move away from a one-person or small-group hobbyist into hiring cast &amp;amp; crew, it's time to at least talk to insurance brokers. If for no other reason than to protect yourself, your employees, and your overall production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You want to make sure that you go through a broker who is primarily an Entertainment Insurance Broker. I could go on for hours however my knowledge here is limited. I found an article last year that really helped me with the bullet points on all of this. I used this to educate myself on what I need going forward. Check out this link...&#xA;&lt;a href=&quot;https://www.studiobinder.com/blog/the-producers-guide-to-film-production-insurance/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.studiobinder.com/blog/the-producers-guide-to-film-production-insurance/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22775" LastActivityDate="2018-07-23T01:15:25.480" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24526" PostTypeId="2" ParentId="23360" CreationDate="2018-07-23T11:01:20.090" Score="1" Body="&lt;p&gt;Found this double linear wipe as &lt;em&gt;&quot;Barn doors&quot;&lt;/em&gt; transition in Sony Vegas video editor.&lt;/p&gt;&#xA;" OwnerUserId="21362" LastEditorUserId="21362" LastEditDate="2018-07-31T07:32:54.300" LastActivityDate="2018-07-31T07:32:54.300" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24527" PostTypeId="2" ParentId="14907" CreationDate="2018-07-23T13:52:53.593" Score="1" Body="&lt;p&gt;Use &lt;strong&gt;avconv&lt;/strong&gt; if you want:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i 4kfile.mp4 -s hd1080 -c:v libx264 -c:a copy fullhdfile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22779" LastActivityDate="2018-07-23T13:52:53.593" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24528" PostTypeId="2" ParentId="18133" CreationDate="2018-07-23T17:44:47.607" Score="1" Body="&lt;p&gt;I can recommend you to one nicely done piece of software which can enable you to compress this file, it is called &lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;HandBrake&lt;/a&gt;. Its encoder options provide for manipulating the Frame width, rate, quality and resulting format size. &lt;/p&gt;&#xA;" OwnerUserId="11917" LastActivityDate="2018-07-23T17:44:47.607" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24529" PostTypeId="2" ParentId="20500" CreationDate="2018-07-23T23:02:06.390" Score="-1" Body="&lt;p&gt;I know Disney first make cartoon movie 60+ minutes (use public domain story) and created list of 12 principles of animation influence animation industry. But Disney Corp probably not first use these principles. 1914 Gertie Dinosaur animation use most principles already. Felix Cat cartoons from 1920s also use repeat background motion like Hanna Barbara, and use correct joint motion for characters instead hose style in later 1920s, animation cycles, and early 1930s (Felix Cat: Stone Age 1922). Fleischer Studio first use sound 1926, two years before Disney. Fleischer Studio also use real people with animation in the Out Of The Inkwell series (1918-29) and this series use limited animation method only redraw changing parts of characters (Hanna Barbara use this method from late 1950s).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Book Illusion Of Life tell about Disney animation invention and experiments with different animation effects (authors two Disney animators, maybe have bias). But I think Disney improve art quality and fluid motion in animation more than other company before.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Disney is probably first and best for cheat public domain (after take much from public domain) prevent their character become domain by buy politician in US Congress for extend their copyright (monopoly) two times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some modern methods at Disney Research (research paper):&#xA;&lt;a href=&quot;https://www.disneyresearch.com/publication/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.disneyresearch.com/publication/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22761" LastEditorUserId="22761" LastEditDate="2018-07-30T03:14:18.687" LastActivityDate="2018-07-30T03:14:18.687" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24530" PostTypeId="2" ParentId="24522" CreationDate="2018-07-24T02:07:30.160" Score="0" Body="&lt;p&gt;Check the format and bitrate that you are burning your DVDs at, it should be &quot;MPEG-2 DVD&quot; format, &lt;a href=&quot;http://dvd.sourceforge.net/dvdinfo/dvdmpeg.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;maximum video 9800Kbps, maximum audio 912Kbps&lt;/a&gt;. Buy a small package of rewritable DVDs to practice, and burn DVDs that you know you don't want to keep for a long time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;First save a backup copy.&lt;/strong&gt; Edit your &quot;C:\Users\your user here\AppData\Roaming\CyberLink\PowerDirector\10.0\profile.ini&quot; file and change these parameters:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BC6MK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BC6MK.png&quot; alt=&quot;PowerDirector Parameters&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See Cyberlink's &quot;&lt;a href=&quot;https://www.cyberlink.com/stat/product-tutorial/enu/technologies/video-technologies-burning.jsp&quot; rel=&quot;nofollow noreferrer&quot;&gt;Burning&lt;/a&gt;&quot; &lt;strong&gt;and&lt;/strong&gt; &quot;&lt;a href=&quot;https://www.cyberlink.com/stat/product-tutorial/enu/dv-entertainment/video-format.jsp&quot; rel=&quot;nofollow noreferrer&quot;&gt;Quick Guide to Choosing the Right Video Output Format&lt;/a&gt;&quot; &lt;strong&gt;or&lt;/strong&gt; Apple's &quot;&lt;a href=&quot;https://documentation.apple.com/en/dvdstudiopro/usermanual/index.html#chapter=4%26section=6%26tasks=true&quot; rel=&quot;nofollow noreferrer&quot;&gt;Encoding Video Materials for DVD&lt;/a&gt;&quot; for more information on choosing formats and rates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PowerDirector University's YouTube channel has this video: &quot;&lt;a href=&quot;https://www.youtube.com/watch?v=YRYhQw-RJgk&quot; rel=&quot;nofollow noreferrer&quot;&gt;CyberLink PowerDirector 13 Ultimate | DVD Menu &amp;amp; Disc Authoring Tutorial&lt;/a&gt;&quot; along with many others, as does Sharper Turtle's channel: &quot;&lt;a href=&quot;https://www.youtube.com/watch?v=t4RoqHof_JQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;PowerDirector 15 - How to create and edit chapter titles&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A video is a better format for explaining the intricacies of DVD menus and chapters, rather than a StackExchange answer with an endless series of menu screenshots each explaining one way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have created your .ISO file save it to your network drive rather than burning it to DVD, and use a Player that doesn't object to reading .ISOs off of a storage disk rather than a DVD.&lt;/p&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2018-07-24T02:07:30.160" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24531" PostTypeId="1" AcceptedAnswerId="24532" CreationDate="2018-07-24T03:08:02.540" Score="0" ViewCount="74" Body="&lt;p&gt;Theres a definite technique where the cameraman is focusing solely on character A who is speaking to character B, and character B is not within view for the TV viewer. Then, when it is revealed who person B is, it is completely surprising and often to comedic effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to read more about this technique, but without a name there is little to search for. Is there one?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are 2 examples where I see this semi-frequently:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Simpsons: (I may not have this accurately recalled) Homer Simpson is giving a stern warning that her daughter's radical behavior will not be tolerated in this house. Then the footage cuts to what turns out to be Maggie, the baby.&lt;/li&gt;&#xA;&lt;li&gt;WWE: at least every couple of weeks, there is a wrestler backstage and he is talking to someone off-camera about something very specific and serious with the storyline he's involved in. But when the camera pans to the recipient, it's someone unexpected (e.g. a midget, a female valet etc.) which is funny but still makes 100% sense by the speaker.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Does this technique/trope have an name?&lt;/p&gt;&#xA;" OwnerUserId="2097" LastEditorUserId="18314" LastEditDate="2018-07-26T10:18:28.987" LastActivityDate="2018-07-26T10:18:28.987" Title="TV trope name for monologue to unexpected off-camera recipient?" Tags="|transitions|shooting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24532" PostTypeId="2" ParentId="24531" CreationDate="2018-07-24T04:32:40.270" Score="1" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;TV trope name for monologue to unexpected off-camera recipient?&lt;/p&gt;&#xA;&lt;p&gt;Theres a definite technique where the cameraman is focusing solely on character A who is speaking to character B, and character B is not within view for the TV viewer. Then, when it is revealed who person B is, it is completely surprising and often to comedic effect.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;It is close to the &lt;a href=&quot;https://tvtropes.org/pmwiki/pmwiki.php/Main/TrickDialogue&quot; rel=&quot;nofollow noreferrer&quot;&gt;Trick Dialogue&lt;/a&gt;, with a bit of &lt;a href=&quot;https://tvtropes.org/pmwiki/pmwiki.php/Main/SubvertedTrope&quot; rel=&quot;nofollow noreferrer&quot;&gt;Subverted Trope&lt;/a&gt;, not a &lt;a href=&quot;https://tvtropes.org/pmwiki/pmwiki.php/Main/FourthWallPsych&quot; rel=&quot;nofollow noreferrer&quot;&gt;Fourth Wall Psych&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Trick Dialogue:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;A subversion of the most fundamental aspect of Dialogue: whether a character is talking to someone else or not.&lt;/p&gt;&#xA;&lt;p&gt;Commonly, a character will appear to be making a brave confession, and then be revealed to have just been practicing before a mirror. Or, he will seem to be explaining his life to someone, and then be shown to be talking to a gravestone.&lt;/p&gt;&#xA;&lt;p&gt;Alternatively, a character will clearly be talking to himself, but we find out that someone just happened to overhear. (Bonus points if it was the intended recipient of a difficult request.) This can follow on the first kind for a &lt;a href=&quot;https://tvtropes.org/pmwiki/pmwiki.php/Main/DoubleSubversion&quot; rel=&quot;nofollow noreferrer&quot;&gt;Double Subversion&lt;/a&gt; of dialogue.&lt;/p&gt;&#xA;&lt;p&gt;Visual media typically use a &lt;a href=&quot;https://tvtropes.org/pmwiki/pmwiki.php/Main/RevealShot&quot; rel=&quot;nofollow noreferrer&quot;&gt;Reveal Shot&lt;/a&gt;, often a Close-Up on Head, to execute Trick Dialogue. Compare &lt;a href=&quot;https://tvtropes.org/pmwiki/pmwiki.php/Main/FourthWallPsych&quot; rel=&quot;nofollow noreferrer&quot;&gt;Fourth Wall Psych&lt;/a&gt; (where the character appears to be speaking to the audience but is actually talking to another person). See also Not So Dire.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Subverted Trope:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Basically, this is playing bait and switchnote  with a trope. A work makes you think a trope is going to happen, but it doesn't.&lt;/p&gt;&#xA;&lt;p&gt;But how could people know a trope is going to happen? Well, tropes live in the minds of the audience. As such, sufficiently Trope Savvy audience members can predict a familiar trope coming based on the hints dropped by the writer. So when the writer decides to build on this expectation, only to reveal that the expected &amp;quot;trope&amp;quot; was a Red Herring while an entirely different situation results, you have a Subverted Trope.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="18314" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2018-07-24T04:32:40.270" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24534" PostTypeId="2" ParentId="24159" CreationDate="2018-07-24T10:58:35.423" Score="1" Body="&lt;h3&gt;The specific effect you are referencing is &lt;a href=&quot;https://en.wikipedia.org/wiki/Cropping_(image)#Cropping_in_cinematography_&amp;amp;_broadcasting&quot; rel=&quot;nofollow noreferrer&quot;&gt;CROPPING&lt;/a&gt;, which logically affects &lt;a href=&quot;https://en.wikipedia.org/wiki/Aspect_ratio&quot; rel=&quot;nofollow noreferrer&quot;&gt;ASPECT RATIO&lt;/a&gt; in the context of &lt;a href=&quot;https://en.wikipedia.org/wiki/List_of_motion_picture_film_formats&quot; rel=&quot;nofollow noreferrer&quot;&gt;FILM FORMATS&lt;/a&gt;.&lt;/h3&gt;&#xA;&lt;p&gt;Along those lines, the &amp;quot;widescreen&amp;quot; format that many associate with cinematic imagery originally came from the use of anamorphic lenses (which resulted in a characteristic &lt;a href=&quot;https://en.wikipedia.org/wiki/Anamorphic_format&quot; rel=&quot;nofollow noreferrer&quot;&gt;anamorphic aspect ratio&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Anamorphic lenses impart more than just an aspect ratio to the image, but that's beyond the scope of this answer.  Nevertheless, because people have become used to viewing video in this &amp;quot;widescreen&amp;quot; format, it's become popular to clone this effect on YouTube videos etc.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;If you are going to do this I would recommend changing your timeline aspect ratio rather than using a &amp;quot;crop bars&amp;quot; overlay on a normal 1080p ratio for example.&lt;/p&gt;&#xA;&lt;p&gt;This is because people on widescreen monitors or mobile devices in landscape mode will be able to view the video using the screen's entire real estate. If you use the &amp;quot;crop bars&amp;quot; overlay then they will get a smaller image.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;The 2.4:1 aspect ratio is a common widescreen format.  A 1920 x 800 timeline setting gives the anamorphic appearance nicely. (Using horizontal dimensions divisible by 8 or 16, which both 1920 and 800 are, make for more friendly encoding of macroblocks used by H.264 and H.265.)  On platforms like YouTube, the crop bars will automatically be added for normal 1080p display purposes.&lt;/p&gt;&#xA;" OwnerUserId="22767" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2018-07-26T13:26:01.070" CommentCount="5" CommunityOwnedDate="2018-07-26T16:36:14.127" ContentLicense="CC BY-SA 4.0" />
  <row Id="24536" PostTypeId="1" CreationDate="2018-07-24T20:00:47.980" Score="1" ViewCount="620" Body="&lt;p&gt;I shoot almost all my video footage on Canon DSLRs (APS-C sensors if this makes any difference). I know that true C-LOG isn't available on DSLRs and I've seen many sites that claim to sell &quot;C-LOG&quot; profiles however my understanding is that these are just custom presets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;a) Is there actually any difference between these &quot;C-LOG&quot; profiles online and me just changing the settings in-camera?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;b) Is this actually the best way to get the most amount of data out of my Canon DSLRs?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know about &quot;Exposing to the right&quot; for example, but should this be used in conjunction with other settings?&lt;/p&gt;&#xA;" OwnerUserId="22767" LastActivityDate="2018-07-25T21:44:15.900" Title="How can I replicate C-LOG in a Canon DSLR?" Tags="|video-quality|video-recording|canon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24537" PostTypeId="1" CreationDate="2018-07-25T06:59:41.747" Score="0" ViewCount="2886" Body="&lt;p&gt;I work at a movie production company and we have a lot of film post production and release happening. All types of formats are handed to us by filmmakers and other studios. Now we want to archive all the files to a storage device and start moving them to LTO devices. What do you think is the best file format for storing the films? Note that the files are supposed to be ready to be accessed later for the purpose of preparing for screening and subtitling.&lt;/p&gt;&#xA;" OwnerUserId="22789" LastActivityDate="2018-07-26T19:57:11.813" Title="What is the best format for archiving digital movies?" Tags="|file-formats|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24538" PostTypeId="2" ParentId="24537" CreationDate="2018-07-25T08:10:01.940" Score="3" Body="&lt;p&gt;Ah yes, the age-old question without a definitive answer that is straightforward and cost-effective.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In short, you want to store them in the highest-quality you can, in a format that you'll hopefully not have trouble opening in a few years.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some of this depends on the quality of your source material and your workflow. Archivists will often tell you to use uncompressed 10-bit video streams, or something like TIFF or PNG sequences. This, of course, can send the size of your project north of 1TB/hour, is not terribly practical, and not at all necessary for most projects out there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I should first provide the disclaimer that the following recommendations are common practice but not technically true archival formats. But it is my opinion that it doesn't really matter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're a Mac-based facility (or can export the masters from a Mac) then ProRes is still probably the best balance. If you're working with very high-quality source material with a lot of VFX/color information, ProRes 4444 is available, but honestly most people would be find with ProRes 422 HQ.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're on Windows/Premiere, there are other options. I'm personally a can of CineForm, which began as GoPro's codec but has since been open-sourced. It has 10-bit 4:2:2 and 12-bit 4:4:4 modes with output quality on par with ProRes but, in my experience, is a bit less resource-intensive to decode. It's also not ubiquitous -- not all software can decode CineForm, so beware of that, but as it is open source, it should not be difficult to find a tool that can handle it. (Premiere and FFmpeg both handle it fine.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As an additional option, and what the movie studios tend to use (out of habit), is Avid's DNxHD/DNxHR codecs. Similar settings and output as the previously-mentioned choices, though it is arguably inferior in a few ways and has some licensing caveats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing that negates the fears about these not-quite-archival-caliber formats is to also just archive the video project itself with all raw footage, project files, assets, etc. self-contained. But this is expensive and down the road someone will need to open up the project and export something, so, not always ideal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tend to use CineForm and occasionally ProRes HQ, and hold onto the raw footage and project files when possible. You'll have to play around with options and decide what is best for your use-case.&lt;/p&gt;&#xA;" OwnerUserId="10784" LastActivityDate="2018-07-25T08:10:01.940" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24540" PostTypeId="1" CreationDate="2018-07-25T15:06:06.230" Score="-2" ViewCount="137" Body="&lt;p&gt;I'm wondering which software was used to create the demo video you can see in Piktochart's website.&#xA;The embedded Youtube video is this: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/LdRMqJWyvik?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know it is an infographics service (nothing related), but I wonder which tool or techniques they used to create the video stated above.&lt;br&gt;&#xA;Or any alternative tools to generate such video type/kind&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks a lot&lt;/p&gt;&#xA;" OwnerUserId="22793" LastActivityDate="2018-07-26T09:48:56.357" Title="Which software was used to produce this demo video?" Tags="|video|animation|windows|shape|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24541" PostTypeId="1" CreationDate="2018-07-25T15:38:20.197" Score="0" ViewCount="83" Body="&lt;p&gt;Quite simply; I've never come across this aspect ratio in video before and I just wanted to know if there is a standard in video (that I'm unaware of) that routinely uses this aspect ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a little extra background: an outsourced company in the States produced a video for us (we're based in the UK) and they delivered the video in 1920x964 and I really don't want to go back to them and ask 'why?' in case I seem like an idiot, so I'm checking with you gals and guys first :D&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I've never heard of that ratio but I didn't know if it were more standard either in the US or in a different branch of film-making that I'm not party to.&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-07-26T10:59:28.393" Title="Why would you deliver a video in 1920x964?" Tags="|video|aspect|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24542" PostTypeId="5" CreationDate="2018-07-25T19:15:13.227" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2018-07-25T19:15:13.227" LastActivityDate="2018-07-25T19:15:13.227" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24543" PostTypeId="4" CreationDate="2018-07-25T19:15:13.227" Score="0" Body="For questions about words, phrases and definitions that are specific to video production." OwnerUserId="17390" LastEditorUserId="17390" LastEditDate="2018-07-29T18:14:56.167" LastActivityDate="2018-07-29T18:14:56.167" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24544" PostTypeId="1" CreationDate="2018-07-25T20:37:11.137" Score="1" ViewCount="3888" Body="&lt;p&gt;Subclips are great for organizing. This makes a lot of sense when you either do it in prelude ahead of time etc. But what about when you want to make clips from say an interview. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a sequence for each interview, each sequence has a video clip, audio track, and adjustment layer for effects. I want to now be able to create subclips of this as if it were a single video clip. (Yes I know I could export it as a video clip and then make clips but the point is I want to have a bunch of clips that are linked to the sequence so that way if I go back and make changes to the audio or the adjustment layer it will effect all the clips.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know you can right click on the sequence and &quot;Open in Source Monitor&quot; and create clips that way, however I noticed when you then make changes to the original sequence they do not update the clips. I.E. the clips are separate pieces and not linked. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to create linked subclips from sequences in premiere pro CC?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;—-&#xA;Note:&#xA;Though there are workarounds with nested sequences there really isn’t a feature like this in Premiere. To me it seems like with professional editing this should be something that’s used way more often, or maybe there is a different methodology for how to edit those. I think this would be a really useful feature&lt;/p&gt;&#xA;" OwnerUserId="17748" LastEditorUserId="17748" LastEditDate="2018-07-26T14:24:50.807" LastActivityDate="2018-07-26T14:49:51.663" Title="How / can you make subclips from sequences in Adobe Premiere CC?" Tags="|premiere|editing|adobe|clipping|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24545" PostTypeId="2" ParentId="24541" CreationDate="2018-07-25T21:38:01.467" Score="1" Body="&lt;p&gt;I cannot think of a good reason why 1920x964.  It is not uncommon to see 2:1 aspect ratios, which would be 1920x960.  The extra 4 pixels are a mystery, especially because 960 divides by 8 and 16, which make it very JPG friendly.  964 does not divide evenly by 8, either.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-07-25T21:38:01.467" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24546" PostTypeId="2" ParentId="24536" CreationDate="2018-07-25T21:44:15.900" Score="3" Body="&lt;p&gt;The &lt;a href=&quot;https://magiclantern.fm/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Magic Lantern&lt;/a&gt; firmware transforms Canon DSLR cameras into RAW-capable video cameras that are not half bad.  The native Canon video codecs are universally among the worst of any current DSLR, not only because of their weak codecs, but because their line-skipping algorithms really destroy the image quality from the start.  If you are shooting RAW video, then RAW-&gt;C-LOG is a valid transformation and one that will make your videos very easy to edit in most NLEs.  If your are shooting a native Canon profile, you've already lost resolution, bit-depth, and color gamut.  Any profile that reads a native Canon video file and converts it to C-LOG is merely memorializing all the bad that has been done to the image and offers none of the good that could have come from using RAW data to begin with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TL;DR To get the most amount of data from your Canon DLSRs, use Magic Lantern firmware and scrap the Canon codecs.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-07-25T21:44:15.900" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24547" PostTypeId="2" ParentId="10461" CreationDate="2018-07-25T22:55:32.400" Score="0" Body="&lt;p&gt;After Effects has an concept of 'region of interest', and you can &lt;a href=&quot;https://www.premiumbeat.com/blog/after-effects-quick-tip-cropping-a-comp/&quot; rel=&quot;nofollow noreferrer&quot;&gt;crop a video clip visually to the size you want.&lt;/a&gt; You can then crop the composition to the same size and export that. This was  a much better solution for me trying to crop a video where the subject moved within the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere is first and foremore a video editing program, so if you're looking to arbitratily crop a video/sequence you're going to get a headache trying to do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another important thing to be aware of it that if your final destination is web you'll need to make sure that you don't end up with single black pixel border around the image. For instance I just used the above technique and on iOS I get a single pixel black border at the bottom and on Windows I get a single pixel black border on the right hand size. It is some kind of rounding problem with the video encoder or decoder and not due to anything in the source video. I'm still struggling with this particular issue - and I've heard that mp4 prefers multiples of 16 for dimensions but that doesn't seem to be helping. Something to be aware of though if you have a video that needs to 'float' on the page seamlessly.&lt;/p&gt;&#xA;" OwnerUserId="22797" LastActivityDate="2018-07-25T22:55:32.400" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24548" PostTypeId="1" CreationDate="2018-07-25T23:37:35.727" Score="1" ViewCount="258" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/yCHPTbi1BTM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;I want to edit in premiere pro cc and maybe after effects, to show vfx and grading.&lt;/p&gt;&#xA;" OwnerUserId="22732" LastActivityDate="2018-07-27T02:53:44.043" Title="How do you edit a sliding effects for a behind the scenes reel in the below video" Tags="|premiere|editing|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24552" PostTypeId="2" ParentId="24548" CreationDate="2018-07-26T09:36:45.327" Score="1" Body="&lt;p&gt;That effect is known as a wipe, it's a transition effect in Premiere. Have the graded and ungraded effects above each other in the timeline and apply a wipe to the top one. Adjust the timing as you like.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-07-26T09:36:45.327" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24553" PostTypeId="2" ParentId="24540" CreationDate="2018-07-26T09:48:56.357" Score="1" Body="&lt;p&gt;Sigh.Impossible to say. It was probably something like After Effects, but could have been any number of things, including Resolve, Nuke, Blender, Natron, Flash, ToonBoom, or even Windows Paint, just to name a few. But knowing what the software was doesn't really help you: none of those packages comes with a &quot;make me an animation&quot; button. It's like knowing that the Mona Lisa was done with oil paints, it's not going to help you paint your own Rennaissance masterpieces is it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want an animation done, just hire an animator for heaven's sake.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-07-26T09:48:56.357" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24554" PostTypeId="2" ParentId="24548" CreationDate="2018-07-26T09:51:40.687" Score="1" Body="&lt;p&gt;I'd just like to (humbly) help flesh out Stib's answer a little:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a few ways of doing this in Premiere. The easiest way is to use the wipe preset in the effects list (Video Transitions &gt; Wipe &gt; Wipe); pop your footage side-by-side (or one on top of the other) and drag and drop the effect from the list onto the cut in the timeline (or onto the end of the shot if you're stacking them).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you can use the 'Crop' effect on the top shot in a stack (as Stib suggested) and animate it or you can create a mask (within the 'Opacity' section of that shot's effects panel) and animate the mask path.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While you'll get better control and results by doing this in After Effects (and you'll have an easier time of animating a nice bisecting line to show where the wipe happens), it is entirely possible in Premiere.&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-07-26T09:51:40.687" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24555" PostTypeId="2" ParentId="24537" CreationDate="2018-07-26T10:12:57.120" Score="3" Body="&lt;p&gt;If you're looking for an open source codec that is finding favour in archives and museums as an archival format, you might want to look at FFV1 from the FFMPEG project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/FFV1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/FFV1&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is reasonably fast, reasonably efficient, cross-platform (including linux), free, and supports up to 16-bit per channel colour. Storage size is similar to ProRes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However the main advantage is that it is 100% open source and non-proprietary, so it's not going to suddenly disappear come the &lt;a href=&quot;https://blog.codinghorror.com/the-coming-software-patent-apocalypse/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Patent Apocalypse&lt;/a&gt;. It comes with ffmpeg, which is hands-down the best tool for doing these kind of conversions anyway.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-07-26T10:12:57.120" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24556" PostTypeId="2" ParentId="24541" CreationDate="2018-07-26T10:59:28.393" Score="0" Body="&lt;p&gt;Just in case anyone else comes up against something similar, I think I've found an answer: websites or, more specifically, web browsers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've spoken to our front-end developer and he's informed me that it's incredibly likely that this aspect ratio was chosen so that the film could be displayed at full resolution on a website (taking into account the address-bar at the top of the browser window and any footer (like the Windows taskbar, for example) at the bottom. The ~120 pixel difference means that the video will appear to be 'full-screen' with the header and footer of the browser/OS visible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I still think it's weird because playing this in actual full-screen on a monitor/TV will result in letterboxing but... whatever.&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-07-26T10:59:28.393" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24557" PostTypeId="2" ParentId="24544" CreationDate="2018-07-26T13:28:04.520" Score="1" Body="&lt;p&gt;If you convert all the clips in your timeline (video, audio, adjustment layer) into a Compound Clip, then underlying changes will be properly reflected in your Compound Clip.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-07-26T13:28:04.520" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24558" PostTypeId="2" ParentId="24544" CreationDate="2018-07-26T14:16:24.567" Score="1" Body="&lt;p&gt;&lt;strong&gt;NOTE:&lt;/strong&gt; &lt;em&gt;This isn't the answer that OP was looking for but I'll leave it here for now in case it is of help to anyone else looking to do something similar. Sorry OP!&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try selecting the necessary items on the timeline, right click and select 'Make Subsequence' - this will create a brand new sequence out of those items and leave them where they are (R-click &amp;amp; 'Nest' will REPLACE those items with the nested sequence). You can then drag and drop the subsequence onto a timeline in another sequence and, when you double-click to open the subsequence, any changes you make in there will be reflected in the parent timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also just create a brand new sequence and drag any other sequence into it, then amend the original sequences to have those changes reflected in the parent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hopefully this makes it a bit clearer:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4PUEB.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4PUEB.jpg&quot; alt=&quot;Subsequence Creation &amp;amp; Editing&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I said above, you can use 'Make Subsequence' instead of 'Nest' to create a new sequence but NOT replace the footage in the timeline, or skip this step and create a new MASTER sequence and drop existing sequences into it.&lt;/p&gt;&#xA;" OwnerUserId="21965" LastEditorUserId="21965" LastEditDate="2018-07-26T14:49:51.663" LastActivityDate="2018-07-26T14:49:51.663" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24561" PostTypeId="2" ParentId="23360" CreationDate="2018-07-26T20:59:25.777" Score="0" Body="&lt;p&gt;You can make it with animation composer plugin&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://misterhorse.tv/animation-composer&quot; rel=&quot;nofollow noreferrer&quot;&gt;animation composer plugin&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22807" LastActivityDate="2018-07-26T20:59:25.777" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24562" PostTypeId="2" ParentId="24511" CreationDate="2018-07-27T01:26:56.783" Score="0" Body="&lt;p&gt;you can't scale the stroke in AE it's fixed. But you can adjust it's stroke thickness. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4HPhO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4HPhO.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However the stroke thickness is also fixed. So if you increase the number it will be applied to all sides. So if you want to increase the TOP thickness that's not possible&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In addition: By defaul AE allows you to adjust the scale on all sides but you can adjust the scale by not affecting other sides(constrain proportions)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;just unclick the link icon(see image below) and adjust &#xA;&lt;a href=&quot;https://i.stack.imgur.com/9TVWf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9TVWf.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first value allows you to adjust the length of the shape&#xA;&lt;a href=&quot;https://i.stack.imgur.com/VKuCV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VKuCV.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second value allows you to adjust the height of the shape&#xA;&lt;a href=&quot;https://i.stack.imgur.com/1Gn5s.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1Gn5s.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adjusting the position of the anchor point has a different result. Positioning the anchor point to the end points allows you to increase or decrease that specific end point&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the picture below the anchor point is positioned at the mid bottom end point. Increasing the second value will increase the TOP HEIGHT without increasing the BOTTOM HEIGHT. Moving the anchor point on top MID end point will have an opposite effect..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/moHwq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/moHwq.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Same goes for positioning the anchor point on the side&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/S6OSu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/S6OSu.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16727" LastActivityDate="2018-07-27T01:26:56.783" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24563" PostTypeId="2" ParentId="17573" CreationDate="2018-07-27T02:35:21.077" Score="0" Body="&lt;p&gt;This can be accomplished both in Adobe Premiere and After Effects just like Shultc said.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can start and use the After Effects Preset(default text effects) as you go along and start to use more advance effects and animation such as lower thirds, text reveal etc...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?time_continue=24&amp;amp;v=SRnepJMsd98&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to access and use adobe presets&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CuXEs.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CuXEs.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I usually do is to create a templates for different overlay text effects in after effects so whenever I want to use those specific effects I will just open that file and drag the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Same goes for intro and outro were in this allows you to save more time from creating the effect again from scratch.&lt;/p&gt;&#xA;" OwnerUserId="16727" LastActivityDate="2018-07-27T02:35:21.077" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24564" PostTypeId="2" ParentId="24548" CreationDate="2018-07-27T02:53:44.043" Score="0" Body="&lt;p&gt;you can get these effects on both premiere and after effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3msSp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3msSp.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Duplicate the original video/pic&lt;/li&gt;&#xA;&lt;li&gt;Add color adjustment on the duplicate video/pic&lt;/li&gt;&#xA;&lt;li&gt;Apply the wipe transition&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=28p49BwN-BQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;watch video tutorial here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After effects&#xA;1. Duplicate the original video/pic&#xA;&lt;a href=&quot;https://i.stack.imgur.com/FK2rG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FK2rG.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Apply the transition effect using Linear Wipe on all files&lt;/li&gt;&#xA;&lt;li&gt;Adjust the linear wipe to the desired time the wipe applies&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Another way to apply the transition with color effect is by using mask&#xA;the tutorial starts at 3:07 &lt;a href=&quot;https://www.youtube.com/watch?v=UkJQk2388_s&quot; rel=&quot;nofollow noreferrer&quot;&gt;click here to view the video&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16727" LastActivityDate="2018-07-27T02:53:44.043" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24568" PostTypeId="2" ParentId="23282" CreationDate="2018-07-27T16:24:31.163" Score="0" Body="&lt;p&gt;It's worth noting that &lt;code&gt;.eps&lt;/code&gt; files are acceptable. In my case, I own Sketch but not Illustrator so exporting &lt;code&gt;.svg&lt;/code&gt; to &lt;code&gt;.eps&lt;/code&gt; was more accessible than &lt;code&gt;.ai&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also be aware when you import them they might look blurry when transforming. In order to scale properly: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right-click the layer and hit &lt;code&gt;Create &amp;gt; Create Shapes From Vector Layer&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="22812" LastActivityDate="2018-07-27T16:24:31.163" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24569" PostTypeId="1" CreationDate="2018-07-27T17:51:04.637" Score="2" ViewCount="2290" Body="&lt;p&gt;I've already read the other articles about concatenating but couldn't find any that discuss specifying the output bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have 2 MP4 videos. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What I want to do is speed up the first video to 110% speed (without changing audio pitch) and then concatenate it with the second video (which will remain at normal speed), and I want the resulting video to have a bitrate of 2.5 Mbps&lt;/strong&gt; (since that's what Wistia told me should be the minimum for my upload).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently, my first attempt results in a video where the 2nd part is all mangled and shows bright green, etc. My second attempt (of Step 4) results in a video that has a total bitrate of only 1645kbps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 1:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Adobe Premiere Pro CC 2017, I've exported 2 videos, each using these settings:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Frame Rate: 30&#xA;Field Order: Progressive&#xA;Aspect: Square Pixels (1.0)&#xA;Profile: Main&#xA;Bitrate Encoding: CBR&#xA;Target Bitrate [Mbps]: 2.5&#xA;Audio Format: AAC&#xA;Audio Codec: AAC&#xA;Sample Rate: 48000 Hz&#xA;Bitrate [kbps]: 320&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 2.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video1.mp4 -filter_complex &quot;setpts=PTS/1.1;atempo=1.1&quot; -c:v libx264 -x264-params &quot;nal-hrd=cbr&quot; -b:v 2.5M -minrate 2.5M -maxrate 2.5M -bufsize 5M video1_faster.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 3.&lt;/strong&gt;&#xA;Create a text file of this content:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'video1_faster.mp4'&#xA;file 'video2.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 4 (first attempt).&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i ffmpeg_concat_list.txt -c copy final.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 4 (second attempt) (with re-encoding).&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video1_faster.mp4 -i video2.mp4 -filter_complex &quot;[0:v] [0:a] [1:v] [1:a] concat=n=2:v=1:a=1 [v] [a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; -b:v 2.5M -minrate 2.5M -maxrate 2.5M -bufsize 5M final.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What am I doing wrong? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="5657" LastActivityDate="2018-07-27T18:35:23.727" Title="How to concatenate 2 MP4 videos to output of certain bitrate?" Tags="|ffmpeg|premiere|transcoding|bitrate|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24570" PostTypeId="2" ParentId="24569" CreationDate="2018-07-27T18:11:40.943" Score="2" Body="&lt;p&gt;&lt;em&gt;Step 4 (first attempt)&lt;/em&gt; will work if you re-encode the 2nd video like the first (without the filters).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's happening is that besides the timescale difference between CC's output and ffmpeg's (which will only result in timing errors), x264 is producing a High profile stream with a different parameter set than CC's encoder. Re-encode the 2nd video with ffmpeg and your files should be matching. Alternatively, you can speed up in CC and export the 1st video.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-07-27T18:11:40.943" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24571" PostTypeId="2" ParentId="24569" CreationDate="2018-07-27T18:35:23.727" Score="0" Body="&lt;p&gt;This seemed to work (roughly*):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video1_faster.mp4 -i video2.mp4 -filter_complex &quot;[0:v] [0:a] [1:v] [1:a]  concat=n=2:v=1:a=1 [v] [a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; -c:v libx264 -x264-params &quot;nal-hrd=cbr&quot; -b:v 2.5M -minrate 2.5M -maxrate 2.5M -bufsize 5M final.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Notice how I'd been missing the &lt;code&gt;-c:v libx264 -x264-params &quot;nal-hrd=cbr&quot;&lt;/code&gt; part in &quot;Step 4 (second attempt)&quot; in my question above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;*It decreased the bitrate of the audio to 103kbps even though the audio bitrates of the 2 input files were 317kbps and 127kbps. So my next project will be to try to figure out how to improve Step 2 to preserve the audio bitrate of the original file and then improve Step 4 to preserve the audio bitrates again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd definitely prefer to accept someone else's (better) answer.&lt;/p&gt;&#xA;" OwnerUserId="5657" LastActivityDate="2018-07-27T18:35:23.727" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24574" PostTypeId="1" CreationDate="2018-07-28T08:06:25.023" Score="0" ViewCount="306" Body="&lt;p&gt;Where would I start if I would like to have a spider animation that I can put over a video of a person sleeping and have the spider crawl out of their mouth. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried looking into Blender but that seems more for 3D models and less about animations.  &lt;/p&gt;&#xA;" OwnerUserId="21443" LastActivityDate="2018-12-02T00:12:28.637" Title="Create CGI spider animation" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24576" PostTypeId="1" AcceptedAnswerId="24578" CreationDate="2018-07-28T17:42:32.367" Score="2" ViewCount="2507" Body="&lt;p&gt;&lt;strong&gt;Source video&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a screencast recorded from iPad with QuickTime Player on macOS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I open the original recording in QuickTime Player for playback, I can see the playback controls as below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8zpUJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8zpUJ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Processing&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I processed the video with the following command (&lt;a href=&quot;https://pastebin.com/mDQK4RE1&quot; rel=&quot;nofollow noreferrer&quot;&gt;full log&lt;/a&gt;):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test-source.mov test-result.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Resulting video in QuickTime Player&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, when I open the result in QuickTime Player, I see the controls as below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DDPi2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DDPi2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The part with more sparse &quot;dots&quot; plays in slow motion, I can drag the bars to change the start and end of this part and minimise it to zero-length (the overall length changes from 03:06 to 01:00 then and full video plays at normal speed).&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Resulting video in iMovie 10&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly, when add the video in iMovie with Import Media, I see &quot;Speed&quot;-control already applied on the source:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lW6t8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lW6t8.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can turn it off before adding to the timeline, but if I don't, the clip shows with the following decorators indicating normal speed (left and right) and slow (the middle section with the turtle):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;sup&gt;(for this screenshot I added a black overlay to hide the video)&lt;/sup&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tIZqP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tIZqP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both the limits of the speed sections and slowdown rate differ between QuickTime Player (1 min. movie expanded to 3:06) and iMovie (expanded to 1:30).&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;VLC does not notice it, plays the video at normal speed.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Questions&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;What is this feature called?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;How to avoid this slow motion part in the output of FFmpeg?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="22816" LastEditorUserId="22816" LastEditDate="2018-07-28T23:18:05.913" LastActivityDate="2018-07-29T04:56:26.007" Title="Output of FFmpeg has a &quot;slow motion&quot; part - what is it and how to avoid?" Tags="|ffmpeg|quicktime|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24577" PostTypeId="1" CreationDate="2018-07-29T02:45:32.747" Score="0" ViewCount="477" Body="&lt;p&gt;I have a Diamond One Touch Video Capture.  When I view the video on my computer is is great, but when I select capture, the video and audio flicker.  These are old home videos.  I tried a commercial movie video and it didn't flicker.  I don't think it is the One Touch because the videos do not flicker when viewed on my computer, only when being captured.  The capture software is Power Director and EZ Grabber.  I have tried two different VCRs.  Diamond has sent me a second One Touch.  Any suggestions?  &lt;/p&gt;&#xA;" OwnerUserId="22821" LastActivityDate="2024-04-04T00:09:06.130" Title="vhs to digital conversion flickers only when captured" Tags="|vhs|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24578" PostTypeId="2" ParentId="24576" CreationDate="2018-07-29T04:56:26.007" Score="3" Body="&lt;p&gt;Your source is variable frame-rate with a peak rate of 120 and an average rate of close to 60. Editors tend to want constant frame rate streams. If you can interpret your whole transcoded file as 120 fps, then you should get the expected result. Alternatively, you can preserve the original variable frame rate,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test-source.mov -vsync vfr test-result.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or transcode to a constant 60 fps,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test-source.mov -r 60 test-result.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-07-29T04:56:26.007" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24580" PostTypeId="1" CreationDate="2018-07-29T15:18:44.610" Score="1" ViewCount="20" Body="&lt;p&gt;Can mathematical data (for example, stop watch/timer values) from a smartphone recorded video be extracted to a computer file for plotting graphs ??&lt;/p&gt;&#xA;&#xA;&lt;p&gt;*I have recorded a video of an on-screen measurements which are changing very fast (of the order of milliseconds). I need to get those values in output of any format (say MS word file) and plot them in any software (say MS office).&lt;/p&gt;&#xA;" OwnerUserId="22826" LastEditorUserId="22826" LastEditDate="2018-07-29T18:21:51.020" LastActivityDate="2018-07-29T18:21:51.020" Title="Can mathematical data from a recorded video be extracted to a computer file?" Tags="|video|video-recording|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24582" PostTypeId="1" AcceptedAnswerId="24584" CreationDate="2018-07-30T01:17:21.353" Score="5" ViewCount="8190" Body="&lt;p&gt;I am encoding png image sequences to both webm and mp4 formats using ffmpeg. My goal is to achieve perceptually lossless videos, with the smallest file size I can reasonably achieve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The webm videos I produced worked fine and were playable in many browsers, until I switched to a later version of ffmpeg, which I compiled from source. (The reported ffmpeg version is N-91380-g46fb150, whatever that means).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The output webm videos still played fine in VLC, but browsers like Chromium and Opera would display them with the colors totally messed up. It seems like the blue in the video is mostly replaced with green - anyway it looks really weird.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I checked the color mode with ffprobe on the videos produced with old and new versions of ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The old ffmpeg webm videos that worked everywhere:&lt;br&gt;&#xA;&lt;code&gt;vp9 (Profile 1), yuv444p(tv)&lt;/code&gt;&lt;br&gt;&#xA;The new ffmpeg webm videos, which work in VLC, but have messed up colors in browsers:&lt;br&gt;&#xA;&lt;code&gt;vp9 (Profile 1), gbrp(pc, gbr/unknown/unknown, progressive)&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The ffmpeg command I was using didn't specify any &lt;code&gt;pix_format&lt;/code&gt; - and I'm pretty sure it was something like this accross old and new ffmpeg versions:&lt;br&gt;&#xA;&lt;code&gt;ffmpeg -framerate 30 -f image2 -i frames/%04d.png -i my_audio.flac -c:v libvpx-vp9 -b:v 0 -tile-columns 2 -crf 18 -c:a libopus -b:a 128k -r 30 -g 300 -y my_video.webm&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I read somewhere about &lt;code&gt;pix_format&lt;/code&gt; and tried this (note the yuva420p option):&lt;br&gt;&#xA;&lt;code&gt;ffmpeg -framerate 30 -f image2 -i frames/%04d.png -i my_audio.flac -c:v libvpx-vp9 -pix_fmt yuva420p -b:v 0 -tile-columns 2 -crf 18 -c:a libopus -b:a 128k -r 30 -g 300 -y my_video.webm&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I chose &lt;code&gt;yuva&lt;/code&gt; instead of &lt;code&gt;yuv&lt;/code&gt; in the hopes it would enable the alpha channel, because my input png images have transparency. It seemed to work... the videos now play fine in browsers, like with the old version of ffmpeg. Compared to the old ffmpeg result with default &lt;code&gt;pix_format&lt;/code&gt;, ffprobe shows a slight difference. It reports:&lt;br&gt;&#xA;&lt;code&gt;vp9 (Profile 0), yuv420p(tv, progressive)&lt;/code&gt; and &lt;code&gt;alpha_mode: 1&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Interestingly, the output webm file size using &lt;code&gt;yuva420p&lt;/code&gt; is smaller than if I omit the &lt;code&gt;pix_format&lt;/code&gt; option. With &lt;code&gt;yuva420p&lt;/code&gt; it's about 2/3 the size of the output file that uses the default &lt;code&gt;gbrp&lt;/code&gt; mode and messes up colors in browser playback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So it seems like &lt;code&gt;pix_fmt yuva420p&lt;/code&gt; is the way to go. But since I really have no idea about color spaces / pixel formats, my question is: What color mode / &lt;code&gt;pix_format&lt;/code&gt; option should I choose, given I want high quality webms, small'ish file size, and compatibility with many browsers? Are there any drawbacks with using &lt;code&gt;yuva420p&lt;/code&gt; instead of the default &lt;code&gt;gbrp&lt;/code&gt;, or another &lt;code&gt;pix_format&lt;/code&gt; option?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And for bonus points ;) if &lt;code&gt;yuva420p&lt;/code&gt; is OK, why would ffmpeg change the default &lt;code&gt;pix_format&lt;/code&gt; value away from &lt;code&gt;yuv&lt;/code&gt; to &lt;code&gt;gbrp&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="21500" LastActivityDate="2018-07-30T07:09:54.077" Title="Is it safe to use the yuva420 pix_format option with ffmpeg to encode webm videos?" Tags="|ffmpeg|encoding|colorspace|vp9|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24583" PostTypeId="1" AcceptedAnswerId="24585" CreationDate="2018-07-30T01:58:22.737" Score="0" ViewCount="3442" Body="&lt;p&gt;I'm currently creating webm videos using ffmpeg to encode an image sequence. My command is:&lt;br&gt;&#xA;&lt;code&gt;ffmpeg -framerate 30 -f image2 -i frames/%04d.png -i my_audio.flac -c:v libvpx-vp9 -pix_fmt yuva420p -b:v 0 -tile-columns 2 -crf 18 -c:a libopus -b:a 128k -r 30 -g 300 -y my_video.webm&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The webm VP9 encoding guide only seems to list examples of 2-pass encoding with ffmpeg. And for image sequences, their example doesn't even seem to use ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I wonder, is it possible to do 2-pass encoding of image sequences using ffmpeg and libvp9? If so, what would be the equivalent to my single-pass command? Is there any advantage in using the 2-pass approach instead of a single pass in this scenario?&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;References:&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;webm wiki &gt; FFmpeg &gt; VP9 Encoding Guide: &lt;a href=&quot;http://wiki.webmproject.org/ffmpeg/vp9-encoding-guide&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://wiki.webmproject.org/ffmpeg/vp9-encoding-guide&lt;/a&gt;&lt;br&gt;&#xA;webm wiki &gt; HOWTOs‎ &gt; ‎Convert PNG frames to WebM video: &lt;a href=&quot;http://wiki.webmproject.org/howtos/convert-png-frames-to-webm-video&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://wiki.webmproject.org/howtos/convert-png-frames-to-webm-video&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21500" LastActivityDate="2018-08-02T02:25:54.540" Title="Is it possible to use 2-pass encoding to create vp9 / webm videos from an image sequence?" Tags="|ffmpeg|encoding|vp9|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24584" PostTypeId="2" ParentId="24582" CreationDate="2018-07-30T07:09:54.077" Score="4" Body="&lt;p&gt;YUV color encoding with 4:2:0 chroma subsampling is the only widely safe pixel format for web playback, although for certain codecs, other pixel formats may be supported.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmpeg auto-selects the pixel format for the output as not all encoders support all pixel formats. It will select the pixel format which best preserves the source bit depth, chroma sampling scheme and the color encoding scheme, from among the formats supported by the encoder. PNGs have RGB pixel format and until two years ago, ffmpeg did not support encoding RGB formats for the VPx encoders, so it would select a YUV format with full chroma (4:4:4). Since RGB became supported in FFmpeg for VPx, it will select a RGB variant like &lt;code&gt;gbrp&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Auto-selection is overriden by manually specifying &lt;code&gt;-pix_fmt&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;YUV streams can be more efficiently compressed than RGB.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-07-30T07:09:54.077" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24585" PostTypeId="2" ParentId="24583" CreationDate="2018-07-30T07:36:37.850" Score="0" Body="&lt;p&gt;You would use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -f image2 -i frames/%04d.png -pass 1 -c:v libvpx-vp9 -pix_fmt yuva420p -b:v 0 -tile-columns 2 -crf 18 -r 30 -g 300 -y -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -f image2 -i frames/%04d.png -i my_audio.flac -pass 2 -c:v libvpx-vp9 -pix_fmt yuva420p -b:v 0 -tile-columns 2 -crf 18 -c:a libopus -b:a 128k -r 30 -g 300 -y my_video.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In FFmpeg the container format or encoding of the input is, in itself, irrelevant in terms of using encoder features like two-pass.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-07-30T07:36:37.850" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24586" PostTypeId="1" CreationDate="2018-07-30T13:31:35.863" Score="2" ViewCount="1287" Body="&lt;p&gt;Can anyone help me out, I don't even know how to search this on google, I just do small editing from time to time...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UUgOg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UUgOg.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The red lines where put by me on the screenshot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The image (is the text) is cropping when it reaches some &quot;virtual line&quot;, both on top and bottom, how can I correct that to crop only on the black bars?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Sony Vegas Pro 15&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you all&lt;/p&gt;&#xA;" OwnerUserId="20918" LastEditorUserId="3643" LastEditDate="2019-02-27T05:52:01.877" LastActivityDate="2019-02-27T05:52:01.877" Title="How to fix invisible image cropping in Vegas Pro" Tags="|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24590" PostTypeId="2" ParentId="13066" CreationDate="2018-07-31T13:04:06.583" Score="2" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -i img%03d.png output.mp4  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;will be sufficient in the latest version of ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="22836" LastActivityDate="2018-07-31T13:04:06.583" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24593" PostTypeId="1" AcceptedAnswerId="24599" CreationDate="2018-08-01T11:45:42.277" Score="0" ViewCount="30" Body="&lt;p&gt;Recently saw &lt;a href=&quot;https://www.instagram.com/p/Bl6sWSBnevz/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; motion graphics on Instagram which reveals a Malayalam letter. I assume it is created using After Effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How could I create something similar like this?&lt;/p&gt;&#xA;" OwnerUserId="18971" LastActivityDate="2018-08-01T19:57:46.607" Title="How to recreate this motion?" Tags="|after-effects|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24594" PostTypeId="2" ParentId="24174" CreationDate="2018-08-01T12:06:19.680" Score="0" Body="&lt;p&gt;Your working livehttp command has double quotes, and your non-working duplicate command has single quotes.  Your shell is interpolating the variables in the double-quote example but passing them as a string literal in the latter case.  You can see what the shell is doing by changing &lt;code&gt;cvlc&lt;/code&gt; to &lt;code&gt;echo&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="22830" LastActivityDate="2018-08-01T12:06:19.680" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24596" PostTypeId="2" ParentId="23729" CreationDate="2018-08-01T14:42:18.910" Score="1" Body="&lt;p&gt;It is a composite signal being output via BNC connection.  This connector is used in most professional applications as it is heavier duty and can lock to the connector so that it does not accidentally come detached.  I'm not 100% certain if this standard is compatible with RCA connectors (I started working with BNC with component video and mostly with SDI, so I'm not that familiar with composite on BNC), but it may be possible to run this in to a normal component video input (the little yellow RCA connectors on VCRs for example) via an adapter.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2018-08-01T14:42:18.910" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24597" PostTypeId="1" CreationDate="2018-08-01T16:35:26.197" Score="0" ViewCount="31" Body="&lt;p&gt;It seems I can find an answer to this question for every version of iMovie except 10.1.9. There is no Adjust menu in the upper menu bar. There is no Advanced Tools option in the preferences. The only menu that appears when I drop the clip over another is the green screen/cutaway menu. I'm assured that all the advanced tools you need will simply appear when you need them -- ain't happening. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I simply want to flip a clip shot upside down on a GoPro. Surely this is within the capabilities of iMovie?&lt;/p&gt;&#xA;" OwnerUserId="22847" LastEditorUserId="14523" LastEditDate="2018-08-01T23:51:56.253" LastActivityDate="2024-04-02T09:08:21.137" Title="How to flip a clip in iMove 10.1.9 for OSX" Tags="|mac|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24598" PostTypeId="2" ParentId="24597" CreationDate="2018-08-01T16:37:46.753" Score="0" Body="&lt;p&gt;To the right of the CROP menu, there are options to rotate left and rotate right.&lt;/p&gt;&#xA;" OwnerUserId="22847" LastEditorUserId="14523" LastEditDate="2018-08-01T23:53:06.293" LastActivityDate="2018-08-01T23:53:06.293" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24599" PostTypeId="2" ParentId="24593" CreationDate="2018-08-01T19:57:46.607" Score="2" Body="&lt;p&gt;The author in the comments says it was made using Cinema4D.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It looks a lot like this tutorial:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://cgterminal.com/2017/08/10/cinema-4d-hyper-realistic-3d-acrylic-paint-stroke-tutorial/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://cgterminal.com/2017/08/10/cinema-4d-hyper-realistic-3d-acrylic-paint-stroke-tutorial/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-08-01T19:57:46.607" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24600" PostTypeId="2" ParentId="24583" CreationDate="2018-08-02T02:25:54.540" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;is it possible to do 2-pass encoding of image sequences using ffmpeg and libvp9?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yes, it is possible to do 2-pass encoding from a PNG image sequence using ffmpeg and VP9.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If so, what would be the equivalent to my single-pass command?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Gyan's answer provides a close equivalent to the single-pass command used in the original post. An alternative command is listed below, which is likely to yield better results in terms of compression, while maintaining at least as good visual quality and potentially improving on it.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Is there any advantage in using the 2-pass approach instead of a single pass in this scenario?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Here are three advantages of the 2-pass approach rather than a single pass for the VP9 codec specifically:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Certain codec options only become possible with 2-pass encoding and these can impact quality. For example &lt;code&gt;auto-alt-ref&lt;/code&gt; to enable the use of alternate reference frames, which can enhance visual quality. (See webm project's VP9 encoding guide for details)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Potential for better compression, meaning smaller output video file. See tests results below, where I get about 10% improvement using 2-pass.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The ability to control your target bitrate, which might impact you in a VoD/streaming scenario, since you'll likely have specific bandwidth constraints.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;There may be other advantages/reasons to do 2-pass encoding with VP9, depending on your use case. So far, 2-pass with VP9 works well for me. In fact, &lt;strong&gt;&lt;em&gt;as long as I have the time for a 2-pass encode, I wouldn't even consider using a single-pass encode now&lt;/em&gt;&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: I generally don't use 2-pass encoding for x264, but for VP9 it seems to be recommended over single-pass.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Alternative 2-pass command for the OP's single-pass&lt;/h1&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -f image2 -i frames/%04d.png                  -c:v libvpx-vp9 -pass 1 -pix_fmt yuva420p -b:v 0 -tile-columns 6 -frame-parallel 1 -row-mt 1 -crf 18 -threads 8 -quality good -speed 4 -r 30 -g 300 -an -nostdin -y -f webm /dev/null&#xA;ffmpeg -framerate 30 -f image2 -i frames/%04d.png -i my_audio.flac -c:v libvpx-vp9 -pass 2 -pix_fmt yuva420p -b:v 0 -tile-columns 6 -frame-parallel 1 -row-mt 1 -crf 18 -threads 8 -quality good -speed 0 -auto-alt-ref 1 -lag-in-frames 25 -c:a libopus -b:a 128k -r 30 -g 300 -nostdin -y my_video.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The difference in flags compared to the original post and Gyan's solution are as follows:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-frame-parallel 1&lt;/code&gt; : Per webm project VP9 encoding guide, can enable multi-threaded decoding&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-row-mt 1&lt;/code&gt; : Enable row-based multi-threaded encoding for VP9&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-threads 8&lt;/code&gt; : Per webm project VP9 encoding guide, bump encoding performance&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-quality good -speed &amp;lt;integer&amp;gt;&lt;/code&gt; : This is the quality preset I want, and I'd use speed 4 on the first pass, and speed 0 on the second if you have the time to wait. Speed 1 or 2 for the second pass give reasonable results as well.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-an&lt;/code&gt; : Explicitly tells ffmpeg to ignore audio on the first pass. It may not actually matter whether this flag is present, especially given the PNG-only input on first pass&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-nostdin&lt;/code&gt; : I run ffmpeg in a loop in a script. This is one way to stop ffmpeg from reading from stdin and choking itself in that scenario&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-auto-alt-ref 1 -lag-in-frames 25&lt;/code&gt; : Per webm project VP9 encoding guide, turns on VP9's alt-ref frames... can enhance quality&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h1&gt;Test results using 2-pass instead of single pass&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;I performed a test on a video of about 2 minutes length, with the content being just a screen recording at 720p with a few very simple visual effects. I used the above command to do a 2-pass encode, but the second pass speed was set to 1. Then I did a single pass encode, using exactly the same settings where possible, such as CRF, quality, speed 1, tile columns, etc. I used the same low-spec machine for each encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The output video for the 2-pass encode was smaller by about 10% of the single pass result. But the 2-pass encode time was significantly longer... about 160% of the original, or roughly 10mins vs 6mins. &lt;/p&gt;&#xA;&#xA;&lt;h1&gt;References&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;webm project VP9 encoding guide: &lt;a href=&quot;http://wiki.webmproject.org/ffmpeg/vp9-encoding-guide&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://wiki.webmproject.org/ffmpeg/vp9-encoding-guide&lt;/a&gt;&#xA;webm project VP8 encoding options: &lt;a href=&quot;https://sites.google.com/a/webmproject.org/wiki/ffmpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://sites.google.com/a/webmproject.org/wiki/ffmpeg&lt;/a&gt;&#xA;ffmpeg VP9 codec options: &lt;a href=&quot;https://ffmpeg.org/ffmpeg-codecs.html#libvpx&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-codecs.html#libvpx&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21500" LastActivityDate="2018-08-02T02:25:54.540" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24601" PostTypeId="2" ParentId="24574" CreationDate="2018-08-02T05:56:13.333" Score="1" Body="&lt;p&gt;No, Blender does animation as well. Here's an example of a spider animated with it:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/j0dRP82EzLY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However rigging and animating a realistic octopod is not exactly the kind of project you'd start with as a newbie. There's a lot to learn.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you want to have a go, you could start with this tutorial on rigging a spider's leg in Blender:&#xA;&lt;a href=&quot;https://www.blendernation.com/2011/03/16/how-to-rig-a-spider-leg-in-blender-2-5-tutorial/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.blendernation.com/2011/03/16/how-to-rig-a-spider-leg-in-blender-2-5-tutorial/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-08-02T05:56:13.333" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24602" PostTypeId="2" ParentId="16636" CreationDate="2018-08-02T08:32:44.177" Score="1" Body="&lt;p&gt;You can use &lt;a href=&quot;https://itunes.apple.com/us/app/laconia-trim/id1339130898?ls=1&amp;amp;mt=8&quot; rel=&quot;nofollow noreferrer&quot;&gt;Laconia Trim&lt;/a&gt; for iOS &#xA;or&#xA;&lt;a href=&quot;https://LaconiaTrimVideo.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;LaconiaTrimVideo.com&lt;/a&gt; for online trimming&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both trims silence in video automatically.&lt;/p&gt;&#xA;" OwnerUserId="6571" LastActivityDate="2018-08-02T08:32:44.177" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24603" PostTypeId="1" CreationDate="2018-08-02T20:55:34.317" Score="2" ViewCount="1027" Body="&lt;p&gt;I have two videos of the same event. You can see people walking, making the same moves, from a different angle. There is music playing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I want to edit both videos in FCP 10.4.3 and fade from one video into the other. I'll use one audio track and mute the other. Video 2 starts later and ends earlier. Video 2 is layered upon (overlaps) video 1. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is there a way to move video 2 relative to video 1 with keys instead of the mouse? I need steps that are just 1 frame. &lt;/li&gt;&#xA;&lt;li&gt;Is there a way to see both layers at the same time, video 1 and video 2, to sync the steps?&lt;/li&gt;&#xA;&lt;li&gt;Is there a way to sync audio while keeping the video in sync with the audio? Like audio 1 in left ear, audio 2 in right ear or something like that? &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Maybe there are excellent tutorials for this, but I'm probably using the wrong words for searching. I can't find them. &lt;/p&gt;&#xA;" OwnerUserId="17830" LastActivityDate="2018-08-03T07:15:43.513" Title="How to align two videos from different angles of the same event" Tags="|final-cut-pro-x|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24605" PostTypeId="2" ParentId="24603" CreationDate="2018-08-02T21:55:18.663" Score="2" Body="&lt;p&gt;Sounds like you should try Multicam &lt;a href=&quot;https://support.apple.com/kb/PH12656?locale=en_US&quot; rel=&quot;nofollow noreferrer&quot;&gt;Multicam workflow - Apple support&lt;/a&gt;. &#xA;The cut you make between both angles can be anything e.g. dissolve or blend. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To move clips with the keyboard you need to select it and type comma or full stop. &lt;a href=&quot;https://support.apple.com/kb/PH12724&quot; rel=&quot;nofollow noreferrer&quot;&gt;FCPX keyboard shortcuts - Apple support&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastEditorUserId="20675" LastEditDate="2018-08-02T22:01:40.413" LastActivityDate="2018-08-02T22:01:40.413" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24607" PostTypeId="2" ParentId="24603" CreationDate="2018-08-03T07:15:43.513" Score="2" Body="&lt;p&gt;To elaborate on this as long as both files has reasonable audio of the same event you can sync by both files into a single Multicam clip using sync by audio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now when you can cut by switching angles&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://support.apple.com/kb/PH12659?locale=en_AU&amp;amp;viewlocale=en_US&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.apple.com/kb/PH12659?locale=en_AU&amp;amp;viewlocale=en_US&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;has more on sync by audio, alternatively search on youtube for a Multicam tutorial. &lt;/p&gt;&#xA;" OwnerUserId="22861" LastActivityDate="2018-08-03T07:15:43.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24608" PostTypeId="1" AcceptedAnswerId="24616" CreationDate="2018-08-03T07:39:17.457" Score="3" ViewCount="1827" Body="&lt;p&gt;Is it possible to create &quot;diagonal wipe&quot; effect in FFmpeg between two videos? An example: the first video is playing and after some time the second video is replacing the first video starting from the right upper angle. On images below, blue color means the first video, green color means the second video.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/s4P2x.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s4P2x.png&quot; alt=&quot;An example in images&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22331" LastActivityDate="2020-04-20T21:19:00.547" Title="How to create “diagonal wipe” effect in FFmpeg?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24609" PostTypeId="2" ParentId="23136" CreationDate="2018-08-03T07:54:30.837" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;look for a camera that can trigger recording on/off by it's HDMI output (used when you have something like a atomos recorder), not sure which current models can/can't but any dslr that's marketed as a video camera should do it. &lt;/li&gt;&#xA;&lt;li&gt;run a hdmi cable to a hdmi capture box ( I think HDMI can do 15m without a repeater ) &lt;/li&gt;&#xA;&lt;li&gt;hook the capture box to a laptop &lt;/li&gt;&#xA;&lt;li&gt;use software that will start recording when the camera presses record. &lt;/li&gt;&#xA;&lt;li&gt;use software like &lt;a href=&quot;https://www.zqueue.com/streamtome/&quot; rel=&quot;nofollow noreferrer&quot;&gt;stream to me&lt;/a&gt; &lt;/li&gt;&#xA;&lt;li&gt;coaches can use another device ( tablet/laptop etc ) to display the recorded run&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Using this setup you can have the camera recording runs while multiple people can stream any previously recorded run at the same time. As long as the software can detect the record flag from the camera the whole process is automatic, playback can begin for a file the moment after recording has stopped. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd recommend a &lt;a href=&quot;https://www.blackmagicdesign.com/products/ultrastudio&quot; rel=&quot;nofollow noreferrer&quot;&gt;black magic thunderbolt ultra studio mini&lt;/a&gt;&#xA;for the capture box, it comes with Media Express software which will auto trigger when it receives a record flag from the camera. The mini is bus powered &amp;amp; small so it's keeping your cables down &amp;amp; means everything is running of batteries if needed&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Stream to me is an iOS app for the playback but the companion app Serve to me is Windows &amp;amp; Mac &amp;amp; that lives on the laptop watching the folder that Media Express records too. Alternatively I'm sure a bit of google will find an android substitute for this part of the link. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;All that reasonable cheap, meets the need of recording while simultaneously playback (actually a pretty hard thing to do without spending big bucks) &amp;amp; once it's setup should take care of itself, while you concentrate on practice. &lt;/p&gt;&#xA;" OwnerUserId="22861" LastEditorUserId="14523" LastEditDate="2018-08-04T00:50:18.660" LastActivityDate="2018-08-04T00:50:18.660" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24610" PostTypeId="2" ParentId="24577" CreationDate="2018-08-03T08:06:40.513" Score="0" Body="&lt;p&gt;So once captured the file plays without these issues it's only during recording ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or are you saying that while the video is playing from the recorder but the computer is not recording it's okay &amp;amp; then when you try to record it has those issues ?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It could be an incorrect field setting in the software or buffering during recording. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have a look at the software recorders settings &amp;amp; see if there's something for fields &quot;upper&quot; or &quot;lower&quot; or possible even deinterlace. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are you recording to an external drive or straight to your hard drive ? If you have the option try recording to a different drive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And like Michael said if you upload a sample we can better see the issue&lt;/p&gt;&#xA;" OwnerUserId="22861" LastActivityDate="2018-08-03T08:06:40.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24611" PostTypeId="2" ParentId="22902" CreationDate="2018-08-03T09:39:04.473" Score="0" Body="&lt;p&gt;The easiest way to get this kind of effect is to use &lt;a href=&quot;https://aescripts.com/data-glitch/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Glitch&lt;/a&gt; - a plugin from aescripts.  It's not going to let you properly combine two sources, but it will go a long way towards giving you &quot;broken&quot; looking digital video...&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-08-03T09:39:04.473" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24615" PostTypeId="2" ParentId="18311" CreationDate="2018-08-04T02:18:13.060" Score="0" Body="&lt;p&gt;Over-the-air broadcast stations in the U.S. may not transmit more than about 19 Mbps. This number depends on whether a station has digital subchannels. They are confined to the same 6 MHz RF-channel bandwidth they have been since the dawn of TV. Anything over 19 Mbps is definitely overkill. The station will likely transcode your footage to a format suitable to them depending on whether they need 1080i or 720p. Best to contact the individual stations if possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As of 2018, just about all broadcast TV stations still transmit MPEG-2, even though the ATSC spec now allows for H.264. Audio is always AC3 stereo. 192 kHz is a good audio bit rate for broadcast TV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is all going to change with ATSC 3.&lt;/p&gt;&#xA;" OwnerUserId="18906" LastEditorUserId="18906" LastEditDate="2018-08-04T02:42:23.173" LastActivityDate="2018-08-04T02:42:23.173" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24616" PostTypeId="2" ParentId="24608" CreationDate="2018-08-04T12:21:25.143" Score="2" Body="&lt;p&gt;Basic syntax is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i old.mp4 -i new.mp4 -filter_complex&#xA;       &quot;[1]format=yuva444p,&#xA;           geq=lum='p(X,Y)':&#xA;           a='st(1,(1+W/H/TN)*H/D);if(lt(W-X,((ld(1)*T-Y)/(ld(1)*T))*ld(1)*T*TN),p(X,Y),0)':&#xA;           enable='lte(t,D)',setpts=PTS+D/TB[new];&#xA;        [0:v][new]overlay&quot; wipe.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will unveil the new video over the old starting from the top-right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What this basically does is add an alpha plane to the new video and then manipulate transparency so that when overlaid a wipe is effected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Two of the variables will need to be replaced with numbers by you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;D is the duration or the wipe, in seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TN is the tangent of the acute angle between the wipe frontier and the vertical. This is the ratio of the horizontal wipe speed to the vertical wipe speed. So, &lt;code&gt;TN = 1&lt;/code&gt; represents a wipe at &lt;code&gt;45 deg&lt;/code&gt; and &lt;code&gt;TN = 2&lt;/code&gt; represents a wipe at &lt;code&gt;atan (2)&lt;/code&gt; = &lt;code&gt;63.4 deg&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-03-05T18:08:42.227" LastActivityDate="2019-03-05T18:08:42.227" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24617" PostTypeId="1" CreationDate="2018-07-31T10:19:51.700" Score="0" ViewCount="347" Body="&lt;p&gt;I render my AE project using Media Encoder, but when I check the output, its audio level clearly changes and go up at some parts and down on other parts! and its not consistent at all.&#xA;The thing is that sound doesn't have any problem. I check sound in Audition and its good, I even check the sound in AE and it doesn't have any problem on RAM preview.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's the first time that this problem occurs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea for what to check in AE or AME?&#xA;Thanks.&lt;/p&gt;&#xA;" OwnerDisplayName="startToday" LastEditorUserId="17390" LastEditDate="2018-09-23T21:39:06.250" LastActivityDate="2023-12-27T17:06:50.837" Title="Audio level goes up and down in rendered output [After Effects]" Tags="|after-effects|audio|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24618" PostTypeId="1" CreationDate="2018-08-04T16:35:56.117" Score="1" ViewCount="339" Body="&lt;p&gt;For an art installation I need to set up a synchronized projection of 3 separate videos:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;hardware&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1 PC with Windows 7&lt;/li&gt;&#xA;&lt;li&gt;NVIDIA GeForce GTX 980 with 4 simultaneous outputs&lt;/li&gt;&#xA;&lt;li&gt;3 projectors 1920 x 1080 (I don't know the type yet)&lt;/li&gt;&#xA;&lt;li&gt;if necessary: 1 monitor 1920 x 1080 for user interface&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;video files&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;3 separate video files&lt;/li&gt;&#xA;&lt;li&gt;resolution 1920 x 1080&lt;/li&gt;&#xA;&lt;li&gt;all 3 videos have exactly the same length: 18 minutes&lt;/li&gt;&#xA;&lt;li&gt;one video has sound, the two other videos are without sound&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I need to play the videos synchronized with one player software which controls all 3 videos. The videos will be looped over 8 hours. They need to stay in exact sync frame by frame even after 8 hours.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The presentation is for a major art event with a large number of visitors. Therefore I am looking for a very stable, professional solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After some research (e.g. &lt;a href=&quot;https://video.stackexchange.com/questions/15170/how-to-set-up-a-3-screen-video-installation-to-sync-correctly&quot;&gt;How to set up a 3-screen video installation to sync correctly?&lt;/a&gt;) I see the following possibilities:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.&#xA;I could combine all 3 videos in one large video with a width of 3 x 1920 = 5760 and a height of 1080. Then I can play one single video (e.g. with VLC player).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;advantages:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I reduced the problem to showing one video. Everything will stay in sync.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;problems:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The player software has to able to show the video fullscreen without window borders on the complete desktop (3 monitors with 1920 x 1080). (However I can use NVIDIA's Surround to combine the 3 monitors to one single monitor with 5760 x 1080)&lt;/li&gt;&#xA;&lt;li&gt;If there is a slight shift in the player software or some processing/rounding errors in the projectors I might have some pixel lines of the center video show up in the other projections. (I had already experienced such effects with projectors before).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;2.&#xA;I could use a software which can show the 3 separate videos in sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I had a look at VJ software like Resolume Avenue (&lt;a href=&quot;https://resolume.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://resolume.com/&lt;/a&gt;) or Arkaos GrandVJ XT (&lt;a href=&quot;https://www.arkaos.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.arkaos.net/&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;problems:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Will the videos stay exactly in sync even after hours?&lt;/li&gt;&#xA;&lt;li&gt;These software programs might to be to complex for the task.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Are there other possible solutions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If someone has some experience on this field I would be nice to share his/her ideas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;regarding possible solution 2.: Are there other specialized professional software for playing the 3 videos in sync?&lt;/p&gt;&#xA;" OwnerUserId="20091" LastActivityDate="2018-08-04T16:35:56.117" Title="project 3 separate videos synchronized" Tags="|video|sync|playback|video-player|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24620" PostTypeId="2" ParentId="24430" CreationDate="2018-08-05T02:23:05.937" Score="2" Body="&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Use variable bitrate to cut down on filesize&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;4 GB / 65 min = 8.2 Mb/s which is in the norm for DVD quality so fixed bitrate should be fine. &lt;a href=&quot;https://en.wikipedia.org/wiki/DVD-Video#Data_rate&quot; rel=&quot;nofollow noreferrer&quot;&gt;The max DVD data bitrate is 10.08 Mb/s anyway.&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="7946" LastEditorUserId="7946" LastEditDate="2023-09-28T18:08:45.933" LastActivityDate="2023-09-28T18:08:45.933" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24621" PostTypeId="2" ParentId="24430" CreationDate="2018-08-05T04:34:37.733" Score="-1" Body="&lt;p&gt;Your DVD authoring software should do this automatically. If you’ve got DNxHD (cross platform free) use something in the middle or higher range codecs. Take that nice HD file &amp;amp; let the software crunch it into the needed mpeg TS file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the DVD spec it’s mpeg2 either PAL 720x576 interlaced 25fps or NTSC 720x480 interlaced both are upper field first. If your exporting from a lower field first source like dv pal deinterlace befoe export. The bit rate is technically 10mbps but you need to leave 1mbps for audio (. Remember to encode your DVD audio to ac3 to maximise the bit rate available for video. Also use a 2 pass Variable Bit Rate for best results. &lt;/p&gt;&#xA;" OwnerUserId="22861" LastActivityDate="2018-08-05T04:34:37.733" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24622" PostTypeId="2" ParentId="24617" CreationDate="2018-08-05T04:42:14.187" Score="0" Body="&lt;p&gt;Have you export the audio only from audition &amp;amp; does it have the problem then ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does the audio have a compressor on it? You could use one to keep the levels consistent. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are you sending from AE to encoder with the sound file ? Try using premier as a middle man. Bring the AE sequence &amp;amp; Audition project into premier and export from there. Could be that AE is ignoring your mix because it’s AE. Alternatively you could export direct from AE the vision and the audio only from audition and stick the two together in premier.&lt;/p&gt;&#xA;" OwnerUserId="22861" LastActivityDate="2018-08-05T04:42:14.187" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24623" PostTypeId="2" ParentId="18311" CreationDate="2018-08-05T04:46:46.427" Score="0" Body="&lt;p&gt;I’d sub prores for dnxhd. Not everyone is running a Mac based workflow or has a prores license with their windows one. The various standards of prores proxy lt etc roughly equal the numbers in dnxhd the lowest being a proxy the next an lt and so on. Depending on the station you could get away with an LT quality export if your uploading to the stations. I’ve used it as a broadcast codec befoe with out issue. &lt;/p&gt;&#xA;" OwnerUserId="22861" LastActivityDate="2018-08-05T04:46:46.427" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24624" PostTypeId="1" AcceptedAnswerId="24633" CreationDate="2018-08-05T16:00:37.847" Score="1" ViewCount="49" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/nq285v6rCJs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any explanations or tutorials? People don't seem to discuss how they're done in the comments at all and google doesn't help either.&#xA;I looked up some sheet music and pitched and adapted the horn sample to it in Audacity but 1) it takes unbearably long, 2) it does not help with the video and 3) made mistakes are difficult to correct. So what would be a better and faster way?&lt;/p&gt;&#xA;" OwnerUserId="22879" LastActivityDate="2018-08-10T09:35:24.940" Title="How can I make videos like this? (mostly samples pitched into iconic pop or meme melodies)" Tags="|video|audio|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24625" PostTypeId="2" ParentId="24488" CreationDate="2018-08-05T20:04:03.140" Score="0" Body="&lt;p&gt;I switched to a 32-bit binary and the problem has gone away.  &lt;/p&gt;&#xA;" OwnerUserId="22728" LastActivityDate="2018-08-05T20:04:03.140" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24626" PostTypeId="1" CreationDate="2018-08-05T21:27:23.687" Score="1" ViewCount="642" Body="&lt;p&gt;I am creating timelapse from PNG single frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using the first and last frame as stills I create a header and a trailer with a text and a fade filter. In the end I use &lt;code&gt;concat&lt;/code&gt; to put all parts together. What I see happen is that in the final video there is a jump between the end of the main body and the trailer. It seems as if the concat process has cut away some frames (at the end) from the main body. That makes the transition from the main body to the trailer look very bad. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What do I have to do to fix this?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Header&#xA;------&#xA;/home/tools/bin/ffmpeg -loop 1 -i Timelapse_1080/IMG_7255.png -c:v libx264 -vf drawtext=&quot;fontsize=60:fontcolor=yellow:fontfile=/usr/share/fonts/truetype/freefont/FreeSans.ttf:textfile=./Scripts/header_text.txt:x=(w-text_w)/2:y=(h-text_h-line_h)/2&quot; -t 5 -pix_fmt yuv420p  -crf 16 -r 24 -y ./Video/header_txt.mp4&#xA;/home/tools/bin/ffmpeg -i ./Video/header_txt.mp4 -vf fade=in:0:48 -crf 16 -r 24 -y ./Video/header_txt_fade.mp4&#xA;&#xA;Timlapse body&#xA;------------------&#xA;/home/tools/bin/ffmpeg -start_number 7255 -i Timelapse_1080/IMG_%04d.png -pix_fmt yuv420p  -crf 16 -r 24 -y ./Video/body.mp4&#xA;&#xA;Trailer&#xA;--------&#xA;/home/tools/bin/ffmpeg -loop 1 -i Timelapse_1080/IMG_7490.png -c:v libx264 -t 6 -pix_fmt yuv420p -crf 16 -r 24 -y ./Video/trailer.mp4&#xA;/home/tools/bin/ffmpeg -i ./Video/trailer.mp4 -vf fade=out:20:60 -crf 16 -y ./Video/trailer_fade.mp4&#xA;&#xA;Concat all together&#xA;-------------------&#xA;/home/tools/bin/ffmpeg -safe 0 -f concat -i ./scripts/ffmpeg_concat_all.txt -c copy -y ./Video/Timelapse_crf16_24fps.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22880" LastEditorUserId="18155" LastEditDate="2019-09-03T12:34:30.387" LastActivityDate="2021-09-22T18:05:55.493" Title="FFmpeg concat creating time jumps" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24627" PostTypeId="2" ParentId="23471" CreationDate="2018-08-06T01:38:35.707" Score="2" Body="&lt;p&gt;The parameter that seems to have the greatest impact on removing this artifact (for the type of content in the original post), while allowing higher CRF values is &lt;code&gt;deblock&lt;/code&gt;. Using &lt;code&gt;-deblock -3,-3&lt;/code&gt; allowed for a CRF value of 14 with the artifacts completely eliminated. Using CRF values of 15 and 16 reintroduce the artifact, albeit in tiny amounts and not really noticeably unless you are specifically looking for it. Also deblock values of -3 -1 and -3 -0 worked reasonably well, but didn't elminiate the artifact completely at CRF 14.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final command was:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -framerate 30 -f image2 -i frames/%04d.png -c:v libx264 -movflags +faststart -preset veryslow -crf 14 -pix_fmt yuv420p -x264opts fast_pskip=0:psy=0:deblock=-3,-3 -r 30 -g 300 -y myvideo.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To squeeze out some more kb of compression you could readd the &lt;code&gt;bf&lt;/code&gt; &lt;code&gt;refs&lt;/code&gt; &lt;code&gt;me_method umh&lt;/code&gt; and &lt;code&gt;me_range&lt;/code&gt; parameters. But I found I needed the &lt;code&gt;me_range&lt;/code&gt; set at 64. Lesser values would reintroduce the compression artifact.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: I had some success with varying &lt;code&gt;aq-mode&lt;/code&gt; and &lt;code&gt;aq-strength&lt;/code&gt;, but that wasn't as good as deblock for removing the artifacts.&lt;/p&gt;&#xA;" OwnerUserId="21500" LastActivityDate="2018-08-06T01:38:35.707" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24628" PostTypeId="2" ParentId="19860" CreationDate="2018-08-06T08:42:19.383" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;I'm trying to batch encode 45 video files, and copy the encoded files into an existing subfolder called &quot;encode&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Try this: &lt;a href=&quot;https://github.com/alessandro893/ffmpeg-batch-remux&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/alessandro893/ffmpeg-batch-remux&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22887" LastActivityDate="2018-08-06T08:42:19.383" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24629" PostTypeId="2" ParentId="24626" CreationDate="2018-08-06T08:52:04.220" Score="1" Body="&lt;p&gt;There's no need to work with individual files; you can put everything into one ffmpeg command. This is also much faster and will result in better quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Define your three inputs (intro image, outro image, and the image sequence), then create individual filters to draw the text, trim the intro/outro clips, and run the fade filters. Finally &lt;code&gt;concat&lt;/code&gt; everything into one stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have omitted some specific text options and image file names for the sake of brevity.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -y \&#xA;    -loop 1 -framerate 24 -t 5 -i intro.png \&#xA;    -loop 1 -framerate 24 -t 5 -i outro.png \&#xA;    -start_number 1 -framerate 1 -i frame-%04d.png \&#xA;    -filter_complex &quot; \&#xA;    [0:v] \&#xA;        drawtext=fontsize=500:fontcolor=white:text=foo:x=(w-text_w)/2:y=(h-text_h-line_h)/2,&#xA;        fade=in:0:48 \&#xA;    [intro]; \&#xA;    [1:v] \&#xA;        drawtext=fontsize=500:fontcolor=white:text=foo:x=(w-text_w)/2:y=(h-text_h-line_h)/2,&#xA;        fade=out:20:60 \&#xA;    [outro]; \&#xA;    [intro][2:v][outro] \&#xA;        concat=n=3:v=1:a=0&#xA;    [outv] \&#xA;    &quot; \&#xA;    -map &quot;[outv]&quot; -c:v libx264 -pix_fmt yuv420p -crf 16 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;-t 5&lt;/code&gt; sets the duration of the intro/outro directly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can replace the input &lt;code&gt;-framerate&lt;/code&gt; parameters with the desired frame rates of the intro and outro, and also change it in order to set the slideshow speed. That is, if you want one image every second, use 1, if you want one every two seconds, use 0.5, etc.&lt;/p&gt;&#xA;" OwnerUserId="525" LastEditorUserId="525" LastEditDate="2018-08-06T09:51:48.060" LastActivityDate="2018-08-06T09:51:48.060" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24631" PostTypeId="1" CreationDate="2018-08-07T14:36:07.790" Score="0" ViewCount="417" Body="&lt;p&gt;I am planning a scene where the lead character sees a mother and child, it triggers a memory from his childhood. Instead of flashing back showing him as a child with his mum, we thought just have the audio over the top would work with an echo or other effect etc.  Does anyone know of any examples of this in other movies, as our DOP is&#xA;struggling to visualise how the final would work? I am sure I have seen it in other movies.&lt;/p&gt;&#xA;" OwnerUserId="22897" LastEditorUserId="14523" LastEditDate="2018-08-08T00:56:01.127" LastActivityDate="2019-05-11T05:35:35.907" Title="Example of film/tv scene where visual triggers audio only flashback?" Tags="|shooting|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24632" PostTypeId="2" ParentId="24631" CreationDate="2018-08-07T18:17:44.043" Score="1" Body="&lt;p&gt;I can't think of specific examples, but what I can &quot;see and hear in my mind&quot; is:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a single shot of the character who's having the flashback&lt;/li&gt;&#xA;&lt;li&gt;the actor's face is reacting to the audio in the flashback&lt;/li&gt;&#xA;&lt;li&gt;the camera slowly zooms or trucks in on the actor's face&lt;/li&gt;&#xA;&lt;li&gt;sounds in the present-time scene have become quieter and/or muffled&lt;/li&gt;&#xA;&lt;li&gt;the audio flashback may have an echo or reverb added to it&lt;/li&gt;&#xA;&lt;li&gt;there &lt;em&gt;may be&lt;/em&gt; visual flashbacks subtly transposed over the present-time shot&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2018-08-07T18:17:44.043" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24633" PostTypeId="2" ParentId="24624" CreationDate="2018-08-07T18:23:40.193" Score="0" Body="&lt;p&gt;I can't think of a quick way to do this. It's probably going to be, as you said, an unbearably long process. I'd create the music separately from the video. That is:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;First, compose some the background parts of all the songs you want to use (without the melody line). Sample the car horn.  Include that sample in a musical keyboard. Use that keyboard sample to play the melody line over your background music. Keep a recording of that.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Then bring that track into your video editor. Remove the video's sound and only allow the music you wrote. Then, cut up little tiny clips of your video - like the cat mid-air for a few frames. Pick 1-2 clips per &quot;song&quot;. Repeat that same clip every time the sampled horn plays a note from the melody, and occasionally vary the clip a little (zoom in, reverse it, or some other variation).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;That's going to be a very tedious project as you suspected. It took me hours to make &lt;a href=&quot;https://youtu.be/Ea8NhE_WUYk&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt;, but I used the 2-step process above (though step 2 was obviously somewhat different).&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2018-08-07T18:23:40.193" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24634" PostTypeId="1" CreationDate="2018-08-07T18:45:57.123" Score="1" ViewCount="661" Body="&lt;p&gt;Premiere keeps running in the background, eating up a lot of RAM, but I can't figure out why. I have to keep manually stopping it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/APhHi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/APhHi.png&quot; alt=&quot;Premiere Background Processes&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In addition to this, the program keeps refusing to have video playback. It will do audio of the videos but not the videos themselves. I've tried everything that I can find on the internet and NOTHING works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have any of you experienced this before?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="22899" LastActivityDate="2024-01-29T23:04:55.637" Title="Adobe Premiere Background Processes" Tags="|premiere|adobe|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24637" PostTypeId="1" CreationDate="2018-08-08T22:21:21.093" Score="2" ViewCount="1700" Body="&lt;p&gt;I would like to create a short movie from a collection of clips, shot with an action cam, where the video transitions are synced with the beats in my audio. I have done some research and the options I have found are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Quik - not suitable as I don't have a GoPro&#xA;2 . Final cut Pro - I don't own an Mac&lt;/li&gt;&#xA;&lt;li&gt;Premiere Pro - An annual subscription of £200+ is not worth it just to make a few short videos&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The key feature is the synchronization of clips to the audio track. I know there are plenty of video editors out there. But I need something fast that will be able to achieve this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are these the only options? Are there any other fast editing programs that can generate synced video -audio transitions without spending a fortune? I would be interested in any other solutions&lt;/p&gt;&#xA;" OwnerUserId="22906" LastEditorUserId="22906" LastEditDate="2018-08-09T05:10:17.617" LastActivityDate="2021-04-17T17:37:10.027" Title="Editing software to quickly match audio and video transitions" Tags="|action-cam|" AnswerCount="6" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24639" PostTypeId="2" ParentId="24637" CreationDate="2018-08-09T11:10:53.617" Score="1" Body="&lt;p&gt;From a quick Google search, I can see that Movavi has something like this and (as far as I can tell) is free. However, it only marks the beats for you; you'd still need to actually roll up your sleeves and cut the clips down yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe Premiere Elements also has a beat detector thing (I believe) but, again, I suspect that it'll just help by marking the beats on your timeline, leaving you to do the cutting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't actually find something that does it all for you but, to be honest, you'll probably get better results cutting the thing yourself and it really won't take that long (I reckon about an hour or so for a 2-3 min track, if that - especially if you've already selected your clips).&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-08-09T11:10:53.617" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24640" PostTypeId="2" ParentId="24631" CreationDate="2018-08-09T11:28:37.450" Score="0" Body="&lt;p&gt;I guess that this all depends on the nature of the flashback.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it's something sort of happy or sinister that we're going to dwell on (as a viewer), then (as Brett said) slow is the way to go (really play on those reactions - dolly zoom if you want to play the Spielberg card).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're going for maximum impact and a shocking/scary reaction from the character, I'd play this out quicker - smash cut from the character's face to a CU/XCU of the parent &amp;amp; child then back again (throw some Dutch in there for memes), perhaps some flashes of light and the character visibly moves their head/flinches when they hear the sound, as though it's disorienting. Make the memory noises nice and loud or cutting - again, as Brett said, you'll need to keep them higher in the mix, probably by lowering other noises or having them combine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think Sherlock does stuff like this when he's in the throes of cogitation, perhaps some scenes from Hannibal... I'll try and think of some more examples.&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2018-08-09T11:28:37.450" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24641" PostTypeId="2" ParentId="24624" CreationDate="2018-08-10T09:35:24.940" Score="0" Body="&lt;p&gt;I don't have After Effects to test it right now, but most probably you can do it like that:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Enable Time-Remapping of original clip&lt;/li&gt;&#xA;&lt;li&gt;Add background music&lt;/li&gt;&#xA;&lt;li&gt;Convert music to keyframes&lt;/li&gt;&#xA;&lt;li&gt;Connect music-keyframes to Time-Remappng keyframes.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Need to wiggle a bit. But theoretically shall work.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastActivityDate="2018-08-10T09:35:24.940" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24642" PostTypeId="2" ParentId="23658" CreationDate="2018-08-10T11:01:28.543" Score="0" Body="&lt;p&gt;According to &lt;a href=&quot;https://forums.adobe.com/message/7470396#7470396&quot; rel=&quot;nofollow noreferrer&quot;&gt;this post&lt;/a&gt;, it should work with Adobe Premiere CC.&#xA;And after importing it should look like this:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/q89kg.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/q89kg.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you are using a really old version of Adobe Premiere, you could download the latest trial version to check it.&lt;/p&gt;&#xA;" OwnerUserId="11523" LastEditorUserId="4426" LastEditDate="2021-04-26T20:38:38.433" LastActivityDate="2021-04-26T20:38:38.433" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24643" PostTypeId="1" AcceptedAnswerId="24671" CreationDate="2018-08-10T20:21:20.250" Score="0" ViewCount="69" Body="&lt;p&gt;My wife reads little kid books on YouTube like &lt;a href=&quot;https://www.youtube.com/watch?v=2_MSzhc0hz8&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;. It displays each page in a scrolling pan as she reads it. Our video creator is not longer working with us, so I need to learn how to do it. She had a Mac. I have Windows 10. I'm a software developer, but I don't speak this jargon so I don't even know what to search for. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need help.&lt;/p&gt;&#xA;" OwnerUserId="22918" LastActivityDate="2018-08-18T08:03:16.673" Title="How do I make a professional slide show type video?" Tags="|video-editor|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24646" PostTypeId="2" ParentId="19637" CreationDate="2018-08-11T15:24:02.537" Score="-1" Body="&lt;p&gt;huh?&#xA;I would just use ffmpeg v4.x now and just use a command like&#xA;ffmpeg -i &quot;infile&quot; -c:v libx265 -pix_fmt yuv444p -crf 18 &quot;outfile&quot;&lt;/p&gt;&#xA;" OwnerUserId="22923" LastActivityDate="2018-08-11T15:24:02.537" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24647" PostTypeId="1" CreationDate="2018-08-11T16:37:29.663" Score="1" ViewCount="80" Body="&lt;p&gt;People seem transparent in that video. What does explain that? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I posted on the Physics community, believing that it was related to some optical effect. But I've been told that it may be related to video compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.instagram.com/p/BmJDU1Snd1O/?utm_source=ig_share_sheet&amp;amp;igshid=1qwkhrbxglb3q&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.instagram.com/p/BmJDU1Snd1O/?utm_source=ig_share_sheet&amp;amp;igshid=1qwkhrbxglb3q&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22925" LastActivityDate="2018-08-11T16:37:29.663" Title="Why does people seem transparent in this video" Tags="|compression|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24649" PostTypeId="2" ParentId="24634" CreationDate="2018-08-11T21:30:23.810" Score="0" Body="&lt;p&gt;That's not really a large allocation of memory for Premiere. It's only holding as private memory just under 4GB. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My recommendation would be to add additional memory to you system. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I personally would recommend a minimum of 32 GB, but if your overhead is low in general, you can get away with less and not have any issues. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-08-11T21:30:23.810" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24650" PostTypeId="2" ParentId="17985" CreationDate="2018-08-12T11:05:47.093" Score="1" Body="&lt;p&gt;There is a &quot;new&quot; &quot;Morph Cut&quot; as Premiere Video Transition. You could just place all images in a new Sequence and then copy paste the Video Transition. Remember to adjust the length of the transition itself before copy´n paste and also the length of the images.&lt;/p&gt;&#xA;" OwnerUserId="22928" LastActivityDate="2018-08-12T11:05:47.093" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24654" PostTypeId="1" AcceptedAnswerId="24668" CreationDate="2018-08-14T14:12:25.960" Score="0" ViewCount="43" Body="&lt;p&gt;I found this &quot;3D Character Template&quot; which can be used in after effects:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://videohive.net/item/martin-3d-character-man-presentermanager-product-promotion/6886216?s_rank=52&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://videohive.net/item/martin-3d-character-man-presentermanager-product-promotion/6886216?s_rank=52&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I make these 3D animated characters myself? Because I'd hate to use templates, it makes the work unprofessional so I want to learn to create these myself?&lt;/p&gt;&#xA;" OwnerUserId="22731" LastEditorUserId="22731" LastEditDate="2018-08-14T17:30:21.057" LastActivityDate="2018-08-17T13:26:36.630" Title="How is this basic 3D animation template created?" Tags="|after-effects|animation|3d|blender|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24657" PostTypeId="1" CreationDate="2018-08-15T17:45:22.137" Score="2" ViewCount="1311" Body="&lt;p&gt;For an art installation I need to project on 3 projectors (1920×1080).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My playback setup is: 1 PC with Windows 7, SSD, NVIDIA GeForce GTX 980 and 3 projectors (1920×1080).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video I need to project has a width of 3 x 1920 = 5760 and a height of 1080.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The editing is done with Premier Pro CC 2018 (version 12.1) under Windows 10.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What video format and what codec should I use for the final export from Premier Pro&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;to allow the oversized width,&lt;/li&gt;&#xA;&lt;li&gt;to have a good quality for a large screen projection,&lt;/li&gt;&#xA;&lt;li&gt;so that it is not too heavy for the system?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="20091" LastEditorUserId="18155" LastEditDate="2020-01-08T22:41:52.627" LastActivityDate="2024-01-18T04:09:11.080" Title="Format and codec for a video with 5760×1080" Tags="|premiere|codec|file-formats|formats|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24658" PostTypeId="2" ParentId="24657" CreationDate="2018-08-16T01:12:12.057" Score="0" Body="&lt;p&gt;For playback the best codec is unarguably h.264 (AKA MPEG-4 Part 10, or MPEG-4 AVC, or just plain 'mp4'). H.264 in an mp4 container allows for small files with good visual quality, the ability to tune the settings to achieve tradeoffs between size, compatibilty and quality, and almost universal playability with modern devices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the Premiere export window choose H.264 as the format. There are numerous presets available, but most won't be relevant because of the unusual dimensions of your video. The ones you should be looking at are the ones called &lt;strong&gt;Match Source-[...] bitrate&lt;/strong&gt;. Depending on the playback machine you should try the High bitrate first. Adaptive High Bitrate will give you a lower file size by increasing the compression (= lowering the quality) in parts of the video that don't need it, but for local playback this is not really an advantage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Match Source bit means that the encode will be done at the same frame size as your sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gYtnT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gYtnT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are having trouble playing back the mp4 you might want to look at the &lt;strong&gt;profile&lt;/strong&gt; in the &lt;strong&gt;Video&lt;/strong&gt; tab of the encoding settings. Simply put, this determines how comlex the task of de-encoding the file is. For lower-powered or older machines use the Main profile, but if your playback machine can support it use High Profile.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/aQ06M.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aQ06M.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;High10 lets you use 10-bit encoding. For a final playback file this is usually unnecessary, unless you're using a 10-bit monitor (if you don't know then you're almost certainly using an 8-bit monitor) it won't make any perceivable difference, and will limit the compatibilty for playback.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-08-16T01:17:40.080" LastActivityDate="2018-08-16T01:17:40.080" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24660" PostTypeId="1" CreationDate="2018-08-16T04:38:32.150" Score="0" ViewCount="26" Body="&lt;p&gt;Are there video codecs, which automatically and effectively compress static scenes? For example, if we have the same room shown at the same light, this codec should produce zero or very low extra bytes.&lt;/p&gt;&#xA;" OwnerUserId="2122" LastActivityDate="2018-08-16T04:38:32.150" Title="Codec for video surveillance assuming non-changing scenes" Tags="|video|codec|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24661" PostTypeId="1" CreationDate="2018-08-16T17:22:04.050" Score="1" ViewCount="21" Body="&lt;p&gt;I've been using the software Pamela for Skype for recording podcasts.  The newest versions of Skype no longer support 3rd party applications.  What is a good alternative going forward?  I was able to install an older version of Skype, but support for older versions of Skype will soon be discontinued.&lt;/p&gt;&#xA;" OwnerUserId="22955" LastActivityDate="2018-08-16T17:22:04.050" Title="Looking for an alternative to Pamela for Skype for podcast recordings" Tags="|software-recommendation|podcast|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24665" PostTypeId="1" AcceptedAnswerId="24721" CreationDate="2018-05-30T15:28:03.800" Score="1" ViewCount="1042" Body="&lt;p&gt;Is there a way of forcing ffmpeg to encode each audio stream in a different thread?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg&#xA;    -i audio1.ac3 -c:a libopus&#xA;    -i audio2.ac3 -c:a libopus&#xA;    -i audio3.ac3 -c:a libopus&#xA;    output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I mean only ffmpeg's own instruments, without multiple processes and other OS features.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Normally, there is only one core saturated, so encoding a file with many audio streams is very long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Exact command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loglevel verbose&#xA;    -i 'Ярость (Fury).mkv'&#xA;    -i 'Fury (2014) [Ukr &amp;amp; Eng, Sub Eng] BDRip-AVC [Hurtom &amp;amp; HELLYWOOD].mkv'&#xA;    -threads 0 -max_muxing_queue_size 65536 -avoid_negative_ts 1 -metadata title=2014.Fury.BDRip.HEVC.1080p&#xA;    -map 0:0 -c:v copy -metadata:s:v:0 title=2014.Fury.BDRip.HEVC.1080p -disposition:v:0 +default-forced&#xA;    -map 0:2 -c:a libopus -application audio -vbr on -packet_loss 0 -frame_duration 20 -mapping_family 255 -compression_level 10 -metadata:s:a:0 language=eng -metadata:s:a:0 title=Original -disposition:a:0 +default-forced&#xA;    -map 1:1 -c:a libopus -application audio -vbr on -packet_loss 0 -frame_duration 20 -mapping_family 255 -compression_level 10 -metadata:s:a:1 language=ukr -disposition:a:1 -default-forced&#xA;    -map 0:1 -c:a libopus -application audio -vbr on -packet_loss 0 -frame_duration 20 -mapping_family 255 -compression_level 10 -metadata:s:a:2 language=rus -metadata:s:a:2 title=Dub -disposition:a:2 -default-forced&#xA;    -map 0:10 -c:s copy -metadata:s:s:0 language=eng -metadata:s:s:0 title=Original -disposition:s:0 -default-forced&#xA;    -f matroska ./2014.Fury.BDRip.HEVC.1080p.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Log:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;... inputs ...&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:2 -&amp;gt; #0:1 (dts (dca) -&amp;gt; opus (libopus))&#xA;  Stream #1:1 -&amp;gt; #0:2 (ac3 (native) -&amp;gt; opus (libopus))&#xA;  Stream #0:1 -&amp;gt; #0:3 (ac3 (native) -&amp;gt; opus (libopus))&#xA;  Stream #0:10 -&amp;gt; #0:4 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[graph_2_in_0_1 @ 0000019ca2cb29c0] tb:1/48000 samplefmt:fltp samplerate:48000 chlayout:0x60f&#xA;[format_out_0_3 @ 0000019ca2cb20c0] auto-inserting filter 'auto_resampler_0' between the filter 'Parsed_anull_0' and the filter 'format_out_0_3'&#xA;[auto_resampler_0 @ 0000019ca2cb27c0] ch:6 chl:5.1(side) fmt:fltp r:48000Hz -&amp;gt; ch:6 chl:5.1(side) fmt:flt r:48000Hz&#xA;[libopus @ 0000019ca2c9f3c0] No bit rate set. Defaulting to 384000 bps.&#xA;[graph_0_in_0_2 @ 0000019ca2cb1ac0] tb:1/48000 samplefmt:fltp samplerate:48000 chlayout:0x60f&#xA;[format_out_0_1 @ 0000019ca2cb1bc0] auto-inserting filter 'auto_resampler_0' between the filter 'Parsed_anull_0' and the filter 'format_out_0_1'&#xA;[auto_resampler_0 @ 0000019ca2cb14c0] ch:6 chl:5.1(side) fmt:fltp r:48000Hz -&amp;gt; ch:6 chl:5.1(side) fmt:flt r:48000Hz&#xA;[libopus @ 0000019ca292c980] No bit rate set. Defaulting to 384000 bps.&#xA;[graph_1_in_1_1 @ 0000019ca2cb2bc0] tb:1/48000 samplefmt:fltp samplerate:48000 chlayout:0x60f&#xA;[format_out_0_2 @ 0000019ca2cb26c0] auto-inserting filter 'auto_resampler_0' between the filter 'Parsed_anull_0' and the filter 'format_out_0_2'&#xA;[auto_resampler_0 @ 0000019ca2cb0dc0] ch:6 chl:5.1(side) fmt:fltp r:48000Hz -&amp;gt; ch:6 chl:5.1(side) fmt:flt r:48000Hz&#xA;[libopus @ 0000019ca292e980] No bit rate set. Defaulting to 384000 bps.&#xA;Output #0, matroska, to './2014.Fury.BDRip.HEVC.1080p.mkv':&#xA;  Metadata:&#xA;    DATE_RELEASED   : 2014&#xA;    title           : 2014.Fury.BDRip.HEVC.1080p&#xA;    Released by     : Buba5473 for NNM-Club&#xA;    Copyright       : Encoded by Goor80&#xA;    encoder         : Lavf58.12.100&#xA;    Chapter #0:0: start 0.000000, end 478.228000&#xA;    Metadata:&#xA;      title           : Chapter 01&#xA;    ... chapters ...&#xA;    Stream #0:0: Video: hevc (Main 10), 1 reference frame, yuv420p10le(tv), 1920x800 (0x0) [SAR 1:1 DAR 12:5], q=2-31, 23.98 fps, 23.98 tbr, 1k tbn, 1k tbc (default)&#xA;    Stream #0:1(eng): Audio: opus (libopus) ([255][255][255][255] / 0xFFFFFFFF), 48000 Hz, 5.1(side), flt, delay 312, 384 kb/s (default)&#xA;    Stream #0:2(ukr): Audio: opus (libopus) ([255][255][255][255] / 0xFFFFFFFF), 48000 Hz, 5.1(side), flt, delay 312, 384 kb/s&#xA;    Stream #0:3(rus): Audio: opus (libopus) ([255][255][255][255] / 0xFFFFFFFF), 48000 Hz, 5.1(side), flt, delay 312, 384 kb/s&#xA;    Stream #0:4(eng): Subtitle: subrip&#xA;[matroska @ 0000019ca2d17f00] Starting new cluster due to timestamp=6175.5kbits/s speed=10.2x&#xA;[matroska @ 0000019ca2d17f00] Starting new cluster due to timestamp=7530.8kbits/s speed=8.74x&#xA;[matroska @ 0000019ca2d17f00] Starting new cluster due to timestamp=7955.1kbits/s speed=9.02x&#xA;frame=156607 fps=205 q=-1.0 size= 8321971kB time=01:48:51.85 bitrate=10437.1kbits/s speed=8.55x&#xA;... not finished yet ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;fps is always around 3000/number_of_audio_channels, meaning all audio transcoding is done with the only thread.&lt;/p&gt;&#xA;" OwnerUserId="22950" OwnerDisplayName="hedgar2017" LastActivityDate="2018-08-26T17:42:01.767" Title="Transcode each stream in a different thread with ffmpeg" Tags="|ffmpeg|transcoding|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="24668" PostTypeId="2" ParentId="24654" CreationDate="2018-08-17T13:26:36.630" Score="1" Body="&lt;p&gt;You answered your own question in your tags: use &lt;strong&gt;Animation&lt;/strong&gt; in a &lt;strong&gt;3D&lt;/strong&gt; package like &lt;strong&gt;Blender&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But TBH your question is too broad to be answerable. To tell you how to make those 3D characters yourself we'd have to explain modelling, rigging, skinning lighting and rendering, not to mention the principles of animation. To give even a basic explanation of any one of those topics would be way beyond the scope of a Stack Exchange anser. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's complex and takes a good while to master. If you want to do 3D animation, get a copy of Blender and start watching tutorials, reading books and practising. It's like any other skill set that has to be learned. There is no short cut... apart from buying templates.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-08-17T13:26:36.630" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24669" PostTypeId="2" ParentId="24643" CreationDate="2018-08-17T16:14:49.557" Score="1" Body="&lt;p&gt;I found &lt;a href=&quot;https://filmora.wondershare.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Filmora&lt;/a&gt; for Windows. It seems affordable. The feature therein is called Pan and Zoom. This looks like it will work and be pretty easy. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="22918" LastActivityDate="2018-08-17T16:14:49.557" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24671" PostTypeId="2" ParentId="24643" CreationDate="2018-08-18T08:03:16.673" Score="2" Body="&lt;p&gt;This video is very simple to do.&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Record voice.&lt;/li&gt;&#xA;&lt;li&gt;Use a proper camera/phone that takes high resolution images (so that when you zoom in the software, it will retain the quality), then take a photo of each page of the book.&lt;/li&gt;&#xA;&lt;li&gt;Import images and sound into the software.&lt;/li&gt;&#xA;&lt;li&gt;Do those effects in video which are basically (tilt, pan, zoom-in, zoom-out) mix between them and adjust speed accordingly.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; its always better to record sound first, and animate based on that, so that you know how long is each shot and when to cut. &lt;br&gt;&lt;br&gt;&#xA;&lt;strong&gt;What software:&lt;/strong&gt; Personally I only use After Effects and Premier Pro, they are not free but there is a Trial. Check this article for PAID and FREE editing software and try some of them: &lt;a href=&quot;https://www.techradar.com/news/best-video-editing-software-paid-and-free&quot; rel=&quot;nofollow noreferrer&quot;&gt;The best video editing software 2018: paid and free&lt;/a&gt;&#xA;&lt;br&gt;&lt;br&gt;&#xA;Basically the effects/transitions mentioned above can be done with any of those softwares, a couple of tutorials should make it possible.&lt;/p&gt;&#xA;" OwnerUserId="19791" LastActivityDate="2018-08-18T08:03:16.673" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24672" PostTypeId="1" CreationDate="2018-08-18T17:45:35.070" Score="1" ViewCount="570" Body="&lt;p&gt;I've been struggling with this issue for a while now as I record and upload video game footage onto YouTube. I record using OBS Studio then usually edit/render the video in Premiere Pro before uploading. I have noticed the video on YouTube looked a little washed out and I always thought it was just YouTube compressing things. However, recently I did a test where I uploaded the OBS Studio recorded footage directly to YouTube and realised it looked a lot better and upon closer inspection there seems to be a loss of colour or vibrancy going on. It's not just a flat desaturation though, as upping the saturation on the Premiere Pro render just makes all the colours look overly saturated while some points still look under saturated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an image that includes the two footage samples that were screenshotted off of YouTube &lt;strong&gt;after&lt;/strong&gt; uploading, not in any media player on my PC, along with a detail comparison and my Premiere Pro render settings: &lt;a href=&quot;https://cdn.discordapp.com/attachments/282488029346791424/480420735580635136/Video-Render-Colour-Issue.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://cdn.discordapp.com/attachments/282488029346791424/480420735580635136/Video-Render-Colour-Issue.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video is recorded to h.264 in OBS Studio and exported to h.264 from Premiere Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if there is a solution to this or not but I would love to know why this would be happening in the first place. If anyone has an idea of what's going on I would greatly appreciate hearing your input or idea.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="22974" LastActivityDate="2024-03-23T14:07:25.897" Title="Loss of Colour Detail After Premiere Pro Render" Tags="|premiere|youtube|color-correction|color|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24673" PostTypeId="1" AcceptedAnswerId="24685" CreationDate="2018-08-19T06:45:59.493" Score="3" ViewCount="392" Body="&lt;p&gt;The &lt;a href=&quot;https://en.wikipedia.org/wiki/WebM&quot; rel=&quot;nofollow noreferrer&quot;&gt;WebM format&lt;/a&gt; says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;WebM is an audiovisual media file format. It is primarily intended to offer a royalty-free alternative to use in the HTML5 video and the HTML5 audio elements.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I am not too familiar with &lt;a href=&quot;https://en.wikipedia.org/wiki/Comparison_of_video_container_formats&quot; rel=&quot;nofollow noreferrer&quot;&gt;video formats&lt;/a&gt; or copyright as related to videos, so wondering what exactly this means (I'm a web developer). Wondering if it means video formats such as mpeg you are supposed to pay royalties to i.e. Microsoft if you use AVI format, or &lt;a href=&quot;https://en.wikipedia.org/wiki/Moving_Picture_Experts_Group&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPEG&lt;/a&gt; if you use an mpg, and if so, how that works. Or if the royalty is paid somehow else, or if it means something entirely different.&lt;/p&gt;&#xA;" OwnerUserId="22977" LastActivityDate="2018-08-22T01:55:29.070" Title="What it means &quot;a royalty free alternative&quot; to video/audio (WebM format)" Tags="|file-formats|webvideos|copyright|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24674" PostTypeId="1" CreationDate="2018-08-19T08:53:27.083" Score="1" ViewCount="1456" Body="&lt;p&gt;I'm trying to superimpose a transparent video on another video. If the original video has a longer duration than the transparent video, then the transparent video should be looped until the end of the original video.&#xA;I wrote the following operation, but the transparent video does not repeat.&#xA;How can I change this ffmpeg command to make the overlay video loop?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-i preresult.mp4 -c:v libvpx-vp9 -i Overlay.webm -filter_complex &quot;&quot;[1]loop=0,setpts=N/FRAME_RATE/TB[bg];[0][bg]overlay=shortest=1:x=(W-w)/2:y=(H-h)/2&quot;&quot; -preset ultrafast output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22976" LastEditorUserId="14523" LastEditDate="2018-08-21T00:55:56.670" LastActivityDate="2022-04-02T09:03:30.330" Title="ffmpeg overlay tranparency video loop" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24675" PostTypeId="2" ParentId="24674" CreationDate="2018-08-19T10:21:26.140" Score="1" Body="&lt;p&gt;If you're using a recent git build, use stream_loop and drop the loop filter:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-stream_loop -1 -c:v libvpx-vp9 -i Overlay.webm -filter_complex &quot;[0][1]overlay=...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For older builds, you'll have to supply the loop filter with full details,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[1]loop=-1:C:0,setpts=N/FRAME_RATE/TB[bg]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;C&lt;/code&gt; is a value greater than the frame count of the file.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-08-19T10:21:26.140" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24677" PostTypeId="1" CreationDate="2018-08-19T18:52:50.923" Score="1" ViewCount="36" Body="&lt;p&gt;I have several long text files and I'm looking forward to convert them into a video with synced text-to-speech voice. Because texts are long, an animation/slide/pagination will be required on video. Also if possible I would like to add background image too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A good example can be seen &lt;a href=&quot;http://bit.do/euWvy&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to automate this task? And also the result videos license should allow me to freely distribute videos. If automation is not an option, how can I create this videos easily?&lt;/p&gt;&#xA;" OwnerUserId="22982" LastActivityDate="2018-08-19T18:52:50.923" Title="Converting text file to a video with speech" Tags="|video|video-editor|editing|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24679" PostTypeId="1" CreationDate="2018-08-20T06:50:01.213" Score="1" ViewCount="81" Body="&lt;p&gt;I'm using Adobe After Effects 2014 and I have got a royalty-free template of a typography effect. And it's really fast, I want to increase the duration of the effect(when the text is in focus in the video so I can give it a bit more reading time) without distorting it by like slowing the whole video down. How can I do that?&lt;/p&gt;&#xA;" OwnerUserId="22983" LastActivityDate="2019-04-17T14:03:45.723" Title="How to slow down a typography effect in after effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24680" PostTypeId="1" AcceptedAnswerId="24684" CreationDate="2018-08-20T08:17:58.077" Score="16" ViewCount="24486" Body="&lt;p&gt;I am absolutely new to video processing, I am building a video streaming site and worked with ffmpeg to generate the formats I need for ShakaPackager.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sadly I don't understand some of the options being provided, especially &lt;code&gt;keyInt&lt;/code&gt;, &lt;code&gt;min-keyint&lt;/code&gt; and &lt;code&gt;no-scenecut&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below you will find the code I use to generate the required formats for my videos.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i ${1} -c:a aac -ac 2 -ab 256k -ar 48000 -c:v libx264 -x264opts &quot;keyint=24:min-keyint=24:no-scenecut&quot; -b:v 1500k -maxrate 1500k -bufsize 1000k -vf &quot;scale=-2:720&quot; &quot;${2}/${3}720.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I did a bit of research and they talked about &lt;code&gt;IDR-frames&lt;/code&gt; I don't even understand those, maybe my needs go way more than that?&lt;/p&gt;&#xA;" OwnerUserId="22984" LastActivityDate="2022-01-05T20:02:03.230" Title="What is KeyInt and min-keyint and no-scenecut" Tags="|video|ffmpeg|audio|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24681" PostTypeId="1" AcceptedAnswerId="24689" CreationDate="2018-08-20T10:14:07.917" Score="1" ViewCount="2148" Body="&lt;p&gt;I have a number of videos that overlap in time that were downloaded from an online video stream:&#xA;&lt;code&gt;&#xA;0m00s  - 15m10s&#xA;14m50s - 30m20s&#xA;...&#xA;&lt;/code&gt;&#xA;The first few seconds (usually around 20 seconds) of a video segment duplicate last few seconds of the previous segment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to concat the video segments and form a single video file without duplicate parts. I can do it programmatically using &lt;code&gt;ffmpeg&lt;/code&gt; libraries to find the cut points by minimizing error between a frame of the current segment and the last frame of the previous segment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to achieve this with an ffmpeg command?&lt;/p&gt;&#xA;" OwnerUserId="22985" LastEditorUserId="26767" LastEditDate="2021-01-03T00:27:28.197" LastActivityDate="2023-03-18T19:30:56.337" Title="Concat overlapping videos with ffmpeg using python3" Tags="|ffmpeg|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="24682" PostTypeId="2" ParentId="24680" CreationDate="2018-08-20T10:24:52.133" Score="7" Body="&lt;p&gt;Most video encoders apply temporal compression i.e. most frames only store the difference in image content relative to other frames, thus saving storage space, while a few frames store the whole image. The frames with whole pictures are called key frames since they are required in order to reconstruct the whole picture of frames which only store differences. IDR frame in H264 stream denotes a keyframe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your code tells ffmpeg to generate a H264 video stream using the x264 encoder, and the options below are used by the encoder to decide keyframe placement.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-x264opts &quot;keyint=24:min-keyint=24:no-scenecut&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;keyint=24&lt;/code&gt; tells x264 to forcibly generate a keyframe 24 frames after the last keyframe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;min-keyint=24&lt;/code&gt; sets the minimum keyframe distance. The encoder may decide to place a keyframe on its own even if &lt;code&gt;keyint&lt;/code&gt; # of frames haven't elapsed if it comes across an image which is more efficient to store as a complete picture rather than as a set of differences. &lt;code&gt;min-keyint&lt;/code&gt; tells the encoder to never do this if the distance isn't at least &lt;code&gt;24&lt;/code&gt;. Since in this case keyint is the same value as min-keyint, all KFs will be 24 frames apart.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;no-scenecut&lt;/code&gt; - scenecut is the value used by the encoder to calculate if it should force a keyframe if min-keyint allows it to. It can range from 0-100. &lt;code&gt;no-scenecut&lt;/code&gt; tells the encoder to skip this evaluation.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-08-20T10:24:52.133" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24683" PostTypeId="2" ParentId="24679" CreationDate="2018-08-20T13:48:26.983" Score="1" Body="&lt;p&gt;Assuming that it is a template applied to a text layer in a comp, select the text layer and press &quot;u&quot; to reveal any keyframes on that layer.  Drag the keyframes out to the duration you need.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the comp isn't long enough, press Command K to reveal the comp settings, extend the duration.  Extend the duration of the text layer by dragging the end of it further to the right.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-08-20T13:48:26.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24684" PostTypeId="2" ParentId="24680" CreationDate="2018-08-20T17:31:24.727" Score="32" Body="&lt;p&gt;The frames in your H.264 video are grouped into units called &lt;code&gt;GOP&lt;/code&gt;s (Group Of Pictures). Inside these &lt;code&gt;GOP&lt;/code&gt;s frames are classified into three types:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;I-frame&lt;/code&gt;: frame that stores the whole picture&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;P-frame&lt;/code&gt;: frame that stores only the changes between the current picture and previous ones&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;B-frame&lt;/code&gt;: frame that stores differences with previous or future pictures&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Additionally, I-frames can be classified as &lt;code&gt;IDR&lt;/code&gt; frames and &lt;code&gt;non-IDR&lt;/code&gt; frames. The difference is that frames following an &lt;code&gt;IDR&lt;/code&gt; frame cannot reference any frame that comes before the &lt;code&gt;IDR&lt;/code&gt; frame, while in the case of a &lt;code&gt;non-IDR&lt;/code&gt; frame there are no limitations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Every &lt;code&gt;GOP&lt;/code&gt; starts with an I-frame, also called a &lt;code&gt;keyframe&lt;/code&gt;, but may contain &lt;em&gt;more than one&lt;/em&gt;. To create further confusion, a &lt;code&gt;GOP&lt;/code&gt; can start with an &lt;code&gt;IDR&lt;/code&gt; frame &lt;em&gt;or&lt;/em&gt; with a &lt;code&gt;non-IDR&lt;/code&gt; frame. This means that frames in the &lt;code&gt;GOP&lt;/code&gt; can sometimes refer to previous &lt;code&gt;GOP&lt;/code&gt;s (in this case the &lt;code&gt;GOP&lt;/code&gt; is said to be &quot;open&quot;), and sometimes not (in this case it's closed).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's common to see the structure of a &lt;code&gt;GOP&lt;/code&gt; represented as in this example: &lt;code&gt;IBBBPBBBPBBBI&lt;/code&gt;. Here the length of the the &lt;code&gt;GOP&lt;/code&gt; is 12 frames, with 3 B-frames between each P-frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now your questions:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;keyint&lt;/code&gt; specifies the &lt;em&gt;maximum&lt;/em&gt; length of the &lt;code&gt;GOP&lt;/code&gt;, so the maximum interval between each keyframe, which remember that can be either an IDR frame or a non-IDR frame. I'm not completely sure but I think that by default ffmpeg will require every I-frame to be an IDR frame, so in practice you can use the terms IDR frame and I-frame interchangeably&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;min-keyint&lt;/code&gt; specifies the &lt;em&gt;minimum&lt;/em&gt; length of the &lt;code&gt;GOP&lt;/code&gt;. This is because the encoder might decide that it makes sense to add a keyframe before the &lt;code&gt;keyint&lt;/code&gt; value, so you can put a limit &lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;no-scenecut&lt;/code&gt;. When the encoder determines that there's been a scene cut, it may decide to insert an additional I-frame. The issue is that I-frames are very expensive if compared to other frame types, so when encoding for streaming you want to disable it.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;A couple of other related parameters:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;bframes&lt;/code&gt; specifies the number of consecutive B-frames&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ref&lt;/code&gt; specifies the number of references frames that are used when encoding. It means that when encoding a picture, &lt;code&gt;ref&lt;/code&gt; previous frames are looked at for encoding the current frame&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="20528" LastActivityDate="2018-08-20T17:31:24.727" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24685" PostTypeId="2" ParentId="24673" CreationDate="2018-08-20T18:57:28.643" Score="4" Body="&lt;p&gt;It's a quite complex topic, but yes, when dealing with non-royalty-free technologies you are in some cases required to pay royalties to the patent holders, depending on your usage. This usually applies when you are the distributor of the video/audio content, but it depends from technology to technology.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Patent pools are groups of companies that claim fees for the usage of a particular technology that includes something protected by patents. An example of a patent pool is the one managed by the popular MPEG LA, which is concerned about technologies developed by the MPEG group (like AVC and HEVC).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's also important to understand that while royalty-free technologies don't require you to pay, it doesn't mean that they don't include patented technologies. The creator of the technology (Google in this case) is risking for the usage of those technologies. They're basically saying &quot;don't worry, we'll take care for you&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/e9T4J.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/e9T4J.jpg&quot; alt=&quot;Patents and their safeness to use&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source: &lt;a href=&quot;http://carlodaffara.conecta.it/an-analysis-of-webm-and-its-patent-risk/&quot; rel=&quot;nofollow noreferrer&quot;&gt;An analysis of WebM and its patent risk&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A perfect example of a royalty-free technology is the new AV1 coding standard, developed by an alliance called AOMedia. For the fact that this alliance is composed of pretty much every important technology company that exists out there, the AV1 codec doesn't require content distributors to pay royalties to them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;John Luther&lt;/em&gt; from JW Player &lt;a href=&quot;https://www.jwplayer.com/blog/av1-codec/&quot; rel=&quot;nofollow noreferrer&quot;&gt;says&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;AV1 could be different because collectively the AOM membership owns a vast trove of intellectual property. These assets can be used to defend the technology against patent claims from interests who might not want “a next-generation video format that is…interoperable and open.”&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In the same way, the existence of a patent pool doesn't mean that companies in the pool are going to ask for money. For example, the HEVC decoding standard is composed of multiple patent pools, but one of the pools has still to decide whether it's going to ask for fees, and how much it's going to ask. Additionally, not all the companies holding patents regarding HEVC are included in the pools. This is one of the main reasons why HEVC hasn't spread so much so far.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some resources:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.vcodex.com/video-compression-patents/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Introduction to video compression patents&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.mpegla.com/main/programs/AVC/Documents/avcweb.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;AVC fees&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.mpegla.com/main/programs/HEVC/Documents/HEVCweb.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;HEVC fees&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;About the MPEG disaster:&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.streamingmedia.com/Articles/Editorial/Featured-Articles/The-Future-of-HEVC-Licensing-Is-Bleak-Declares-MPEG-Chairman-122983.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;The Future of HEVC Licensing Is Bleak, Declares MPEG Chairman&#xA;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.thebroadcastbridge.com/content/entry/11204/to-deploy-hevc-users-must-choose-what-patent-pool-to-dive-into&quot; rel=&quot;nofollow noreferrer&quot;&gt;To Deploy HEVC, Users Must Choose What Patent Pool To Dive Into&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.streamingmedia.com/Articles/News/Online-Video-News/HEVC-Advance-Cuts-Content-Fees-on-Streaming-123828.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;HEVC Advance Cuts Content Fees on Streaming&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.jwplayer.com/blog/encouraging-development-hevc-patent-mess/&quot; rel=&quot;nofollow noreferrer&quot;&gt;An Encouraging Development in the HEVC Patent Mess&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://carlodaffara.conecta.it/an-analysis-of-webm-and-its-patent-risk/&quot; rel=&quot;nofollow noreferrer&quot;&gt;An analysis of WebM and its patent risk&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.zdnet.com/article/google-and-mpeg-la-settle-long-running-vp8h-264-patent-dispute/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Google and MPEG LA settle long-running VP8/H.264 patent dispute&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://news.ycombinator.com/item?id=16796422&quot; rel=&quot;nofollow noreferrer&quot;&gt;Discussione about: &quot;The AV1 format is and will always be royalty-free&quot;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="20528" LastActivityDate="2018-08-20T18:57:28.643" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24686" PostTypeId="1" CreationDate="2018-08-20T21:23:49.303" Score="1" ViewCount="96" Body="&lt;p&gt;I'd like to convert quite a few BDMV files to MKV files. I know you can do this with MakeMKV, which isn't freeware. Are there any good freeware programs out there to accomplish this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, is the only file I need MovieObject.bdmv? Can I delete the rest of the files?&lt;/p&gt;&#xA;" OwnerUserId="11884" LastActivityDate="2020-07-15T04:30:37.570" Title="Video conversion" Tags="|video|conversion|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24688" PostTypeId="1" CreationDate="2018-08-21T09:37:00.697" Score="1" ViewCount="864" Body="&lt;p&gt;I simply want to open an AVI file with AviSynth and feed it into VirtualDub. However, when I open my &lt;code&gt;.avs&lt;/code&gt; script (consisting of just one &lt;code&gt;AviSource()&lt;/code&gt; call), I get the following error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Avisynth open failure:&#xA;AVISource: Couldn't locate a decompressor for fourcc dvds&#xA;(H:\Videos\QTGMC\test.avs, line 1)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The required dvsd codec seems to be installed, according to software called GSpot (which identifies a video file's required codec's). Does anyone know why I can't open this file and how to fix it?&lt;/p&gt;&#xA;" OwnerDisplayName="user22994" LastActivityDate="2019-08-18T15:01:05.147" Title="AviSynth can't open my AVI file: &quot;AVISource: Couldn't locate a decompressor for fourcc dvds&quot;" Tags="|codec|virtualdub|avi|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24689" PostTypeId="2" ParentId="24681" CreationDate="2018-08-21T14:03:53.893" Score="1" Body="&lt;p&gt;I wrote the following script to solve my problem. It uses &lt;code&gt;framemd5&lt;/code&gt; checksums to find the inpoints in time and then uses the &lt;code&gt;concat&lt;/code&gt; demuxer (thanks @Gyan for the tip!).&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-py prettyprint-override&quot;&gt;&lt;code&gt;# Usage: ffmpeg $(python3 script.py input1.mp4 input2.mp4) -y -an output.mp4&#xA;&#xA;import os&#xA;import sys&#xA;import subprocess&#xA;&#xA;ffmpeg_concat_echo, md5_last_frame = '', None&#xA;&#xA;for video_path in map(os.path.abspath, sys.argv[1:]):&#xA;        framemd5 = subprocess.check_output(['ffmpeg', '-nostats', '-hide_banner', '-i', video_path, '-an', '-f', 'framemd5', '-c', 'copy', '-'], stderr = open(os.devnull, 'w'))&#xA;        tb_num, tb_den = 1, 1&#xA;        inpoint = 0.0&#xA;        for line in framemd5.split(b'\n'):&#xA;                if line.startswith(b'#tb'):&#xA;                        tb_num, tb_den = list(map(int, line.split()[-1].split(b'/')))&#xA;                elif line and not line.startswith(b'#'):&#xA;                        splitted = line.split(b',')&#xA;                        md5 = splitted[-1].strip()&#xA;                        pts_time = float(splitted[2]) * tb_num / tb_den&#xA;                        if md5_last_frame is not None and md5 == md5_last_frame:&#xA;                                inpoint = pts_time&#xA;        md5_last_frame = md5&#xA;        ffmpeg_concat_echo += 'echo &amp;quot;file {}&amp;quot;; echo &amp;quot;inpoint {}&amp;quot;;'.format(video_path, inpoint);&#xA;&#xA;print('-nostats -hide_banner -avoid_negative_ts make_zero -fflags +genpts -f concat -safe 0 -i &amp;lt;({}) -c copy'.format(ffmpeg_concat_echo))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Below is another version (&lt;a href=&quot;https://gist.github.com/yar/5056e5bd303a23de98139365d2ff5d18&quot; rel=&quot;nofollow noreferrer&quot;&gt;source&lt;/a&gt;, &lt;a href=&quot;https://web.archive.org/web/20230311234256/https://gist.github.com/yar/5056e5bd303a23de98139365d2ff5d18&quot; rel=&quot;nofollow noreferrer&quot;&gt;archived&lt;/a&gt;) which supports exact PTS inpoints using &lt;code&gt;concat&lt;/code&gt; video filter; computing inpoints using explicit frame differences.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-py prettyprint-override&quot;&gt;&lt;code&gt;# Usage: ffmpeg $(( echo input1.mp4; echo input2.mp4 ) | python3 concat_overlapping_video_framemd5_demuxer.py concat_file.txt) -y -an output.mp4&#xA;&#xA;import os&#xA;import sys&#xA;import subprocess&#xA;&#xA;ffmpeg_concat_file, md5_last_frame = open(sys.argv[1], 'w'), None&#xA;for video_path in map(os.path.abspath, list(map(str.strip, sys.stdin))):&#xA;        framemd5 = subprocess.check_output(['ffmpeg', '-nostats', '-hide_banner', '-i', video_path, '-an', '-f', 'framemd5', '-c', 'copy', '-'], stderr = open(os.devnull, 'w'))&#xA;        inpoint, tb_num, tb_den = 0, 1, 1&#xA;        for line in framemd5.split(b'\n'):&#xA;                if line.startswith(b'#tb'):&#xA;                        tb_num, tb_den = list(map(int, line.split()[-1].split(b'/')))&#xA;                elif not line.startswith(b'#') and len(line) &amp;gt; 0:&#xA;                        splitted = line.split(b',')&#xA;                        md5, pts_time = splitted[-1].strip(), float(splitted[2]) * tb_num / tb_den&#xA;                        if md5 == md5_last_frame:&#xA;                                inpoint = pts_time&#xA;        md5_last_frame = md5&#xA;        ffmpeg_concat_file.write('file {}\ninpoint {}\n'.format(video_path, inpoint))&#xA;&#xA;print('-nostats -hide_banner -avoid_negative_ts make_zero -fflags +genpts -f concat -safe 0 -i {} -c copy'.format(sys.argv[1]))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22985" LastEditorUserId="25245" LastEditDate="2023-03-18T19:30:56.337" LastActivityDate="2023-03-18T19:30:56.337" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="24690" PostTypeId="2" ParentId="23617" CreationDate="2018-08-21T15:35:15.340" Score="0" Body="&lt;p&gt;It would help a lot if you provided a sample showing the problem.&#xA;The flicker usually comes from a mismatch between the camera recording the footage and the projector projecting it.  If it's a film projector it might be running at 24fps.  Most video recorders run at 25, 29.97 or 30fps.  But even if you have a matched frame rate you will still get flicker because the camera and projector's clocks are not synchronised - so one will be in the process of closing a frame when the other is still recording a frame, hence the flicker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can sometimes reduce the visibility of the flicker by duplicating the video track, moving it forward by one frame, setting the upper track to be semi-transparent, and see if this helps... Example tutorial here (but not for iMovie);&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://nofilmschool.com/2018/08/super-simple-editing-hack-will-fix-your-flicker-quick&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://nofilmschool.com/2018/08/super-simple-editing-hack-will-fix-your-flicker-quick&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise you might need to use a more advanced programme like Premiere or After Effects with a de-flicker plugin of some kind - a few below (most are designed for removing flicker in time lapse videos though, not what you have...).  Try a demo before you commit to buying these.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://revisionfx.com/products/deflicker/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://revisionfx.com/products/deflicker/&lt;/a&gt;&#xA;&lt;a href=&quot;http://granitebaysoftware.com/Products/ProductGBD.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://granitebaysoftware.com/Products/ProductGBD.aspx&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-08-21T15:35:15.340" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24691" PostTypeId="1" AcceptedAnswerId="24692" CreationDate="2018-08-21T15:47:28.730" Score="3" ViewCount="453" Body="&lt;p&gt;I'm trying to figure out how to add a time remaining clock to Premiere Pro 2018. My school's TV program recently switched over from AVID to Premiere and - while that's great for students who are editing - none of us can figure out how to find a time remaining function for the control room, which is an issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't think this is the right place to ask this question, but I can't figure out how to do anything like this on Google myself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for any help you guys can provide.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[I know that APP has third-party plugin support, but I wasn't able to find any that serve the purpose I want. If anyone can think of one that adds a reverse-timecode or time remaining clock where the normal sequence timer would be, that would be greatly appreciated.]&lt;/p&gt;&#xA;" OwnerUserId="21419" LastActivityDate="2022-12-16T15:43:29.797" Title="Is there any way to add a time remaining (.e.g. from 30 seconds to 1 second) clock to Premiere Pro 2018?" Tags="|premiere|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24692" PostTypeId="2" ParentId="24691" CreationDate="2018-08-22T00:32:58.147" Score="1" Body="&lt;p&gt;If you're looking to have the GUI Timecode display a reverse timecode (time remaining), that feature isn't possible. You can create a positive offset by clicking the timeline panel icon (upper right), and add positive time to the timeline/sequence. But it doesn't allow for negative values. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Burned in/visible on screen reverse timecode is possible.&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simply setup a new sequence. Create a new transparent video clip. Add the timecode filter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Set the transparent video clip length to the exact countdown length you need for your program time. Adjust the timecode filter for position/opacity/size. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Return to your program sequence. Nest the &quot;timecode&quot; sequence you've just created within your program sequence on the very top track, or better add a few video tracks and hide it a few tracks above (to give you working room). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right click the nested sequence clip -&gt; click speed -&gt; check reverse speed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will give you an on screen burned in timecode that counts down. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can adjust the position of the TC display using the effects window. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If used only for editing purposes / pacing, you can use this sequence to reference time left within a given program, then simply disable visibility of the track to render out. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But as for a GUI / Worldclock display of TRT, that's not possible. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-08-22T00:32:58.147" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24693" PostTypeId="2" ParentId="24672" CreationDate="2018-08-22T00:43:10.310" Score="0" Body="&lt;p&gt;First, Youtube re-encodes anything you upload to it's own streaming format(s), creating multiple down-res'd versions from the file you upload. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So it's possible that:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.) OBS is outputting a higher-bit rate or better codec than what you're outputting using Premiere. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2.) Browsers ignore for the most part (Chome), color profiles for video and photos, this can cause a lot of frustration wondering why colors look different in Photoshop/Premiere vs in Chrome. That said:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3.) From Bridge make sure your Color Settings are synced across all programs under the Edit Menu. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;4.) Set to Web Color sRGB. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the end, the hard truth is that you CANNOT control the &quot;end result&quot; in terms of how your video will look on youtube on any given computer. Because people have different monitors, different browsers, their monitors may be setup to non-sRGB profiles, etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's very much the same as handing someone a Blu-Ray, that you've quality checked on your studio reference monitor to get the tonality you're aiming for. You have no idea what TV they will use when they take it home, and what Picture Profile they will have set, which can drastically alter the image they see. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously however, whatever OBS is outputting is being converted into a format that Youtube is re-encoding to a file which you are more pleased with. The only solution is to try different output settings from Premiere. But honestly, it's a bit of a fruitless endeavor, as you have no control over how other people will see it; due to browser, color profile, monitor setup, etc. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-08-22T00:43:10.310" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="24694" PostTypeId="2" ParentId="24673" CreationDate="2018-08-22T01:55:29.070" Score="1" Body="&lt;p&gt;It's worth noting in addition to @mcont's excellent answer, royalties for h.264 (the most popular encoder on the internet) are only applicable if you are charging viewers to watch, and then only when the viewer numbers go over a certain volume, or if you're charging per view only when the video is over a certain length. If your content is free to view then you won't need to pay royalties.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://video.stackexchange.com/questions/14694/mp4-h-264-patent-issues&quot;&gt;this answer&lt;/a&gt; for more details.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-08-22T01:55:29.070" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24695" PostTypeId="1" CreationDate="2018-08-22T06:28:07.860" Score="0" ViewCount="11905" Body="&lt;p&gt;I have After Effects CC running on Windows 10.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have this template with resolution of 1920x1080. After rendering with this resolution my video player keeps on buffering, possibly because the resolution is really too high.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So when I try to render, where settings should I go to change resolution?&lt;/p&gt;&#xA;" OwnerUserId="22998" LastEditorUserId="14523" LastEditDate="2018-08-26T16:30:30.447" LastActivityDate="2024-01-03T08:07:05.880" Title="How to decrease resolution from 1920x1080 to 720?" Tags="|after-effects|rendering|" AnswerCount="5" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24696" PostTypeId="1" CreationDate="2018-08-22T06:36:00.110" Score="0" ViewCount="191" Body="&lt;p&gt;Wondering what exporting best practice is when working on source clips that are captured ProRes 422 Proxy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've c-corrected/graded these clips in DaVinci.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When it's time to 'Add to Render Queue', do I select ProRes 422 Proxy again or LT or higher?&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2018-08-26T11:04:06.790" Title="Source ProRes 422 Proxy / Edit / Export to ProRes 422 proxy?" Tags="|color-correction|davinci-resolve|color-grading|prores|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24705" PostTypeId="1" AcceptedAnswerId="24706" CreationDate="2018-08-22T18:15:35.907" Score="1" ViewCount="70" Body="&lt;p&gt;I’m attempting to remove a head mounted GoPro in a mirror shot, exactly as seen in this video, around the 15 second mark: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/s20V23kCEVY?start=15&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I’m using premier pro cc 2018, and I’m just looking for some ideology, or methodology on how to do so. Obviously a clear cut solution would be ideal. Thank you.&lt;/p&gt;&#xA;" OwnerUserId="23008" LastActivityDate="2018-08-22T19:15:04.973" Title="How can I remove an object from a shot?" Tags="|premiere|video-editor|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24706" PostTypeId="2" ParentId="24705" CreationDate="2018-08-22T19:15:04.973" Score="1" Body="&lt;p&gt;Object removal is usually done by masking, tracking and inserting a clean plate into the masked area.&#xA;Easier done in After Effects than in Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It looks like in the above video it is a different shot inserted into the mirror.&lt;/p&gt;&#xA;" OwnerUserId="22450" LastActivityDate="2018-08-22T19:15:04.973" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24708" PostTypeId="2" ParentId="24688" CreationDate="2018-08-23T11:12:51.867" Score="1" Body="&lt;p&gt;In case anyone has the same issue in the future, I solved it by installing Cedocida codec: &lt;a href=&quot;http://www.cithraidt.de/cedocida/index.html#download&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.cithraidt.de/cedocida/index.html#download&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using &lt;code&gt;DirectShowSource()&lt;/code&gt; instead of &lt;code&gt;AviSource()&lt;/code&gt; also works.&lt;/p&gt;&#xA;" OwnerDisplayName="user22994" LastActivityDate="2018-08-23T11:12:51.867" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24709" PostTypeId="2" ParentId="24695" CreationDate="2018-08-23T12:36:36.307" Score="0" Body="&lt;p&gt;I would reccomend downscaling after, maybe using handbrake. Also, when you upload the video to YouTube, it may just be your pc that lags.&lt;/p&gt;&#xA;" OwnerUserId="17575" LastActivityDate="2018-08-23T12:36:36.307" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24711" PostTypeId="1" AcceptedAnswerId="25029" CreationDate="2018-08-24T09:07:49.447" Score="2" ViewCount="94" Body="&lt;p&gt;I have a 4k clip in after effects, in which I have used the Keylight effect. The shot looks like this (I have to blur the face for privacy reasons):&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ejkJD.png&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;Ignore that circle near the neck&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ejkJD.png&quot; alt=&quot;enter image description here&quot; title=&quot;Ignore that circle near the neck&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Anyway, but in some frames, towards the end of the video, the shot flashes briefly to this and back to the original:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Dffxb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Dffxb.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This sometimes happens during preview while I am working if I start running out of RAM, but I don't know for sure. Sometimes, the shot stays green like that for quite a while before switching back.&lt;/p&gt;&#xA;&lt;p&gt;I have had this happen in other after effects projects that were not 4k...&lt;/p&gt;&#xA;&lt;p&gt;I don't know what is going on. Can someone please tell me how to fix this?&lt;/p&gt;&#xA;" OwnerUserId="21414" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2018-10-17T11:33:01.287" Title="Why does this clip go green and how do I fix it?" Tags="|after-effects|greenscreen|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24713" PostTypeId="1" CreationDate="2018-08-24T14:25:26.610" Score="1" ViewCount="1867" Body="&lt;p&gt;I want to streaming RTMP signal to RTP(multicast, mpegts container) via GStreamer. As I understand, I need to perform the following actions (please correct me if I wrong):&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Demuxing RTMP stream &lt;/li&gt;&#xA;&lt;li&gt;Muxing tracks to MPEGTS &lt;/li&gt;&#xA;&lt;li&gt;Streaming data into RTP&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I can perform it via FFmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i rtmp://184.72.239.149/vod/mp4:bigbuckbunny_750.mp4 \&#xA;       -c copy -f rtp_mpegts rtp://127.0.0.1:10001&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I need to achive the same results via GStreamer and I've tried the next command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;gst-launch-1.0 -v rtmpsrc \&#xA;           location=rtmp://184.72.239.149/vod/mp4:bigbuckbunny_750.mp4 \&#xA;           ! flvdemux ! h264parse ! rtph264pay \&#xA;           ! udpsink host=127.0.0.1 port=10001&#xA;&#xA;Setting pipeline to PAUSED ...&#xA;Pipeline is PREROLLING ...&#xA;ERROR: from element /GstPipeline:pipeline0/GstRTMPSrc:rtmpsrc0: Internal data flow error.&#xA;Additional debug info:&#xA;gstbasesrc.c(2948): gst_base_src_loop (): /GstPipeline:pipeline0/GstRTMPSrc:rtmpsrc0:&#xA;streaming task paused, reason not-linked (-1)&#xA;ERROR: pipeline doesn't want to preroll.&#xA;Setting pipeline to NULL ...&#xA;/GstPipeline:pipeline0/GstFlvDemux:flvdemux0.GstPad:audio: caps = &quot;NULL&quot;&#xA;Freeing pipeline ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Please help figure out with. &lt;strong&gt;What is the correct command to streaming RTMP to RTP without transcoding via GStreamer?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="14107" LastActivityDate="2018-08-24T14:25:26.610" Title="GStreamer: RTMP to RTP" Tags="|streaming|rtmp|rtp|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24715" PostTypeId="2" ParentId="24695" CreationDate="2018-08-25T07:14:20.810" Score="0" Body="&lt;p&gt;Your video player might keeps buffering for other reasons, try this before changing resolution: &lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video player might be buffering due to a huge file size, especially if you render as AVI. Try H.264 and see how it goes.&lt;/li&gt;&#xA;&lt;li&gt;Video player might be buffering due to the player itself, try other video players on your PC, you might also try &quot;Media Player Classic&quot; &lt;a href=&quot;https://mpc-hc.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; its light weight and free. Most probably its your PC that can't handle the file.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;To change resolution in After Effects do this:&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;In the composition you want to render, select all layers and Right Click &gt; Pre-compose.&lt;/li&gt;&#xA;&lt;li&gt;Click composition in the upper panel and chose Composition Settings &gt; Change Width &amp;amp; Height and click ok.&lt;/li&gt;&#xA;&lt;li&gt;Scale down your Pre-composed layer to composition size and render.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="19791" LastActivityDate="2018-08-25T07:14:20.810" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24717" PostTypeId="1" CreationDate="2018-08-25T13:18:36.930" Score="1" ViewCount="84" Body="&lt;p&gt;I hope that you can first understand my problem ..then suggest me on how to do... I am doing 3D VR videos. in AE i put the 2 footage (Left and Right eye) cut/paste/edit/render etc is not a problem... the problem happen when I in some occasions need to &quot;zoom in&quot; which can be done by enlarging the 2 footage. problem is that when I do that one of the 2 footage overlap the other!! I tried with masks and solid but didn't work (maybe i did wrong) I feel that using different composition maybe is the right way to avoid overlapping ..but I am not so sure how to do. If I could show you some screenshot would be more easy for you to understand... Please Help me!&lt;img src=&quot;https://i.stack.imgur.com/PUagx.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EWJqN.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="23028" LastEditorUserId="1950" LastEditDate="2018-08-27T07:47:51.987" LastActivityDate="2019-12-22T06:01:25.343" Title="Masks, layers, solids or multi composition to solve my problem?" Tags="|after-effects|compositing|mask|vr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24718" PostTypeId="2" ParentId="24717" CreationDate="2018-08-26T08:14:49.000" Score="1" Body="&lt;p&gt;The answer to your question is &lt;strong&gt;yes&lt;/strong&gt;. Masks, solids or multi-compositions will help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What, you want more? Oh ok. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thing about After Effects is that there is almost always at least two valid ways of doing anything: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To fix your problem you could use &lt;strong&gt;masks&lt;/strong&gt; on each eye. Now because you're scaling the layers, and masks are attached to a layer and scale with it, that won't really work (You could scale down the mask to match the scale of the layer, but getting that right might be really tricky, so I wouldn't recommend it). So if you want to use a mask on the layer you have to pre-compose the layers, with the attributes included, so the scale keyframes are inside the new pre-comp, and then apply the mask in the original comp. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Pros&lt;/strong&gt;: simpler timeline, &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;cons&lt;/strong&gt;: the keyframes are now in two other comps, so you have to be switching between them, and copying-pasting to make any edits (you could synchronise them with expressions though).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Another method would be to make &lt;strong&gt;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/alpha-channels-masks-mattes.html#track_mattes_and_traveling_mattes&quot; rel=&quot;nofollow noreferrer&quot;&gt;track mattes&lt;/a&gt;&lt;/strong&gt; for each eye. You do this by using any layer–usually a solid–and putting it above the layer you want to mask, and then turning on &lt;strong&gt;alpha matte&lt;/strong&gt; on the layer you want to mask - each eye in this case. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ko2q2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ko2q2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This works a bit like stencil/silhouette alpha mode, except that it only affects one layer. You can either resize the matte layer or use a mask to make the matte the right size. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Pros&lt;/strong&gt;: everything is on the one timeline, easy to edit. &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;cons&lt;/strong&gt;: more layers on your timeline, you have to remember to keep the track matte and footage layer together if you're changing the position of your layers.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-11-27T03:16:17.687" LastActivityDate="2018-11-27T03:16:17.687" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24719" PostTypeId="2" ParentId="24696" CreationDate="2018-08-26T11:04:06.790" Score="2" Body="&lt;p&gt;Definitely proRes 422HQ. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;While you won't &lt;em&gt;gain&lt;/em&gt; anything by encoding in a higher quality codec, what you will do is avoid &lt;em&gt;losing&lt;/em&gt; more. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Proxy codecs are just that: stand-ins for the real content, their job is not to faithfully encode the material, it's to be lightweight and easy to play, so you can swap in the full quality copy later. Whoever it was that shot Proxy, give them a whack upside the head to remind them not to do it again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Export to proRes422 HQ as your master, if you need copies that don't take up so much space, say for delivery on the web, then transcode to h.264.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-08-26T11:04:06.790" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24720" PostTypeId="2" ParentId="24686" CreationDate="2018-08-26T11:18:53.287" Score="3" Body="&lt;p&gt;If you're up for using the command line, the best tool hands-down is &lt;a href=&quot;https://ffmpeg.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;. It can convert pretty much any video format out there into pretty much any other video format, it's free, open source, and in many cases faster and better than paid-for software (I use it in preference to Adobe media converter when I can). Downside is that you need to know a little about the command line shell of your OS. Actually that's not a downside–ffmpeg is a great gateway drug to the awesome power contained within the command line. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0sISc.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0sISc.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're not ready to take the red pill (or is it the blue one?), then &lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Handbrake&lt;/a&gt; is probably the next cab off the rank. A very useful GUI video converter that has long outlived its original purpose of being the tool of choice for ripping DVDs (shiny disks with standard definition video content from a mythical time long ago). Handbbrake uses ffmpeg tech to do its magic, and it's open source and free as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If those two don't do it then it's actually highly likely that nothing else actually will. As a side note, a lot of the commercial video converters out there are just graphical front-ends for ffmpeg, and if you read the fine print you might find out you're essentially paying for a free product.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-08-26T11:18:53.287" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24721" PostTypeId="2" ParentId="24665" CreationDate="2018-08-26T17:42:01.767" Score="1" Body="&lt;p&gt;Most (all ?) audio encoders are single-threaded and afaict, all encoding will occur in the main thread.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe worth filing a feature request at trac.ffmpeg.org&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-08-26T17:42:01.767" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24725" PostTypeId="1" AcceptedAnswerId="24726" CreationDate="2018-08-27T12:55:51.393" Score="-1" ViewCount="1014" Body="&lt;p&gt;During watching H.264 compressed videos one faced several times with an artifacts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example 1:&lt;a href=&quot;https://i.stack.imgur.com/AT7gc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AT7gc.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;Example 2:&lt;a href=&quot;https://i.stack.imgur.com/R8QVP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/R8QVP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wikipedia's article [1] tells that the typical reason is «Data errors in the compressed bit-stream, possibly due to transmission errors...». However, in case of local decoding there are no transmission errors. Then I noticed that during viewing the locally decoded video these artifacts appear at the same place in the timeline. The duration of these artifacts is about 0.5-1 seconds. These artifacts appear in the 1.5 hours video only once.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the possible reasons of these artifacts?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;References:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Compression_artifact&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Compression_artifact&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;PS. The question is also copied to dsp.stackexchange.com.&lt;/p&gt;&#xA;" OwnerUserId="23040" LastActivityDate="2018-09-08T04:24:43.903" Title="Grime-like blocking compression artifacts on the decompressed video (H.264)" Tags="|compression|h.264|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24726" PostTypeId="2" ParentId="24725" CreationDate="2018-08-27T14:31:45.947" Score="1" Body="&lt;p&gt;&lt;em&gt;Data errors in the compressed bit-stream, &lt;strong&gt;possibly&lt;/strong&gt; due to transmission errors&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(emphasis mine).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It may just be corruption in the bitstream. Another possibility is that the &lt;a href=&quot;https://en.wikipedia.org/wiki/H.264/MPEG-4_AVC#Levels&quot; rel=&quot;nofollow noreferrer&quot;&gt;level&lt;/a&gt; flagged in the bitstream is under-specified. But that shouldn't be an issue in software playback, and it should probably occur more than once during playback, so I lean on the first candidate - corrupt bitstream.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-08-27T14:31:45.947" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24727" PostTypeId="2" ParentId="17329" CreationDate="2018-08-27T19:14:56.943" Score="1" Body="&lt;p&gt;Have you tried the Sketch2Ae plugin by the Google Motion Design team? It works amazingly well. Here's a link to it:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://google.github.io/sketch2ae/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://google.github.io/sketch2ae/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I usually couple this plugin with the RepositionAnchorPoint plugin from aescripts, as Sketch2Ae seems to mess up anchor points. I personally prefer my anchor points to be aligned center to an element within AE. Here's a link to it: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://aescripts.com/repositionanchorpoint/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://aescripts.com/repositionanchorpoint/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once Sketch2Ae builds all your layers, select them all and reposition all anchor points with one click using this plugin. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both plugins are free, with RepositionAnchorPoint being optionally free. &lt;/p&gt;&#xA;" OwnerUserId="23043" LastActivityDate="2018-08-27T19:14:56.943" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24729" PostTypeId="1" CreationDate="2018-08-27T21:16:56.263" Score="4" ViewCount="359" Body="&lt;p&gt;If the shutter wasn't in the picture, what would you get? Are there any examples of this available? I've searched, but couldn't come up with anything. Is this an impossible thing? Or are the results so unremarkable it's not worth showing? Would it just be a continuous blur of motion? &lt;/p&gt;&#xA;" OwnerDisplayName="FirstTimeCaller" LastActivityDate="2018-08-28T05:46:47.833" Title="What would a video look like without the shutter separating frames?" Tags="|video|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="24730" PostTypeId="2" ParentId="24729" CreationDate="2018-08-28T02:00:21.303" Score="0" Body="&lt;p&gt;I think it would be unremarkable as to be not worth showing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Knowing that motion pictures are just a regular sequence of still images, what separates frames is, well, holding the image frame still for the exposure time (which is somewhat controllable, but generally about half of the frame rate period). Yes, the shutter does blank the light from exposing the film or sensor for a brief period of time (or in the case of electronic shutter, blanking and resetting the sensor).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The excellent YouTube video &lt;a href=&quot;https://youtu.be/En__V0oEJsU&quot; rel=&quot;nofollow noreferrer&quot;&gt;How a Film Projector Works&lt;/a&gt; (only 9 minutes) by Bill Hammack, a.k.a. &lt;a href=&quot;https://www.youtube.com/channel/UC2bkHVIDjXS7sgrgjFtzOXQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;engineerguy&lt;/a&gt;, shows how a movie projector operates. I can't recommend this video enough (as well as all of his videos). There is so much information presented, incredibly clearly demonstrated. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Early in the video, note that the projector does not smoothly move the film strip past the lamp and lens. If that were the case, it would be a blur of information, and you could barely make out some of the film detail. Instead, the film frame is held stationary while its image is projected. Then, when the film is advanced, a rotating shutter blocks the lamp from projecting the image through the lens. I like to make the analogy of a stage play closing the curtains while the stage set is changed, then the curtains are drawn to display the new set. You didn't see the stagehands and props moving. You only get to see the placed sets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The process of &lt;em&gt;capturing&lt;/em&gt; film is almost exactly the same, only rather than using a lamp to project through a developed frame, light coming through the lens has to expose a stationary frame of film for a fixed period of time. In the projector video, note that a single frame is actually projected 3 times by use of a 3-bladed shutter wheel, in order to increase the flicker rate (&lt;em&gt;apparent&lt;/em&gt; frame rate) beyond the &lt;a href=&quot;https://en.wikipedia.org/wiki/Flicker_fusion_threshold&quot; rel=&quot;nofollow noreferrer&quot;&gt;flicker fusion threshold&lt;/a&gt; of about 60-70 flickers per second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But in a film video camera, a single shutter wheel exposes the stationary image frame for (about) half of the single frame period. This is controllable by a sort-of variable-sized &lt;a href=&quot;https://en.wikipedia.org/wiki/Rotary_disc_shutter&quot; rel=&quot;nofollow noreferrer&quot;&gt;rotary disc shutter wheel&lt;/a&gt;. This control over the single-frame exposure time is known as the &lt;em&gt;shutter angle&lt;/em&gt;. The reason to control the shutter angle is to allow for more or less motion blur to be recorded in the film frames.&lt;/p&gt;&#xA;" OwnerUserId="18216" OwnerDisplayName="scottbb" LastActivityDate="2018-08-28T02:00:21.303" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24731" PostTypeId="2" ParentId="24729" CreationDate="2018-08-28T05:46:47.833" Score="1" Body="&lt;p&gt;The answer to this will differ based on if you are really talking video or film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In either case, you'd have no control over shutter speed, which would mean you were locked at the exposure time of the frame rate you were shooting in.  This would greatly limit your exposure options which would either impact ISO/film grain or the depth of field or both.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With no shutter on film, the film would be exposing as it advanced and would thus be a streaked mess.  It would be stopped for a longer time than it's moving in most cameras, but you'd still be able to see the streaks distorting the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With no shutter on video, you fair a lot better.  Since the sensor itself isn't moving, you'd just have continuous scanning that wouldn't be that noticeably different.  Practically speaking, you still have an electronic shutter though because there is a blanking interval where the sensor has to read and dump charges, so there is going to be down time when the sensor isn't collecting photons and during this time, the &quot;shutter&quot; is effectively closed.  In fact, it's fairly common for video cameras to use a pure electronic shutter rather than a mechanical one.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2018-08-28T05:46:47.833" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24733" PostTypeId="1" CreationDate="2018-08-28T09:03:06.523" Score="1" ViewCount="20" Body="&lt;p&gt;I need to find a low cost dolly setup for a round table shoot.  I'd ideally use a &lt;a href=&quot;http://www.wallydolly.com.au&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wally Dolly&lt;/a&gt;, but they don't make the tracks in curved sections.  Can anyone recommend dolly setups of a roughly similar cost which will work in this situation?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-08-28T09:03:06.523" Title="Recommendations needed for a low cost dolly in an arc, not a straight line" Tags="|filming|video-production|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24736" PostTypeId="2" ParentId="20956" CreationDate="2018-08-28T17:13:07.600" Score="-1" Body="&lt;p&gt;I used to solo the tracks, and then the audio would play and that usually does the trick. This time, that didn't work. After several restarts and quitting Premiere, I gave up and duplicated my project. Now audio works! &lt;/p&gt;&#xA;" OwnerUserId="23055" LastActivityDate="2018-08-28T17:13:07.600" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24738" PostTypeId="2" ParentId="22810" CreationDate="2018-08-28T20:34:03.020" Score="1" Body="&lt;p&gt;Try generating optimized media (i.e. proxy files). Optimized Media is a nice feature that will allow you to playback, edit and grade video files that are optimized for smooth playback, but Resolve will still render from the original video files when you are ready to deliver.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Head over the Media tab and right click on the file(s) you want to optimize, and select &quot;Generate Optimized Media&quot;. This may take a little while to run, so grab a coffee while you wait. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can choose what compression format to use as optimized media (ProRes, DNxHD, etc) by opening Project Settings &gt; General Options. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a nice video tutorial that will walk you through it in more detail:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/wDa_DqKQo-0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="23057" LastEditorUserId="23057" LastEditDate="2018-08-31T18:08:16.890" LastActivityDate="2018-08-31T18:08:16.890" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24739" PostTypeId="1" CreationDate="2018-08-29T03:33:39.230" Score="1" ViewCount="37" Body="&lt;p&gt;I Have a massive timeline (image below). I scroll above the fold (yes there are even more clips above these)....yet I need to go back to the primary story line and it is becoming VERY tedious to do so. Is there not a key command to bring the primary story line into view?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/MGB4O.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MGB4O.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="327" LastActivityDate="2024-04-01T02:05:05.620" Title="Do key commands exist to navigate up and down Final Cut Pro Timeline?" Tags="|final-cut-pro-x|final-cut-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24740" PostTypeId="2" ParentId="24739" CreationDate="2018-08-29T07:37:23.697" Score="0" Body="&lt;p&gt;This article might help. &#xA;&lt;a href=&quot;http://www.fcp.co/final-cut-pro/tutorials/1741-selecting-a-connected-clip-without-a-mouse-in-final-cut-pro-x&quot; rel=&quot;nofollow noreferrer&quot;&gt;Select a clip with the keyboard&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2018-08-29T07:37:23.697" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24742" PostTypeId="1" CreationDate="2018-08-31T05:50:58.547" Score="2" ViewCount="8588" Body="&lt;p&gt;I have a video track that is a 4:3 video with pillarboxing/black bars on the side making it a 16:9 video. The resolution of the video is 960x540 (16:9).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How would I remove the blackbars and then stretch it to 16:9 to be a proper 16:9 video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I have:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/2OEu6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2OEu6.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/EVg7k.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EVg7k.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm assuming I want to use a -vf &quot;crop=720:528:120:6&quot; to remove the black bars from the side and the small one at the bottom, but how would I then stretch that to 16:9?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By the way, im hoping to end up with this video in the resolution: 960x540, meaning with the small 6 pixel removal of the small border under the video, im hoping to stretch that BACK to 540 from 534.&lt;/p&gt;&#xA;" OwnerUserId="23072" LastActivityDate="2018-08-31T08:32:18.943" Title="ffmpeg - Stretch 4:3 video to 16:9" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24743" PostTypeId="2" ParentId="24742" CreationDate="2018-08-31T08:32:18.943" Score="3" Body="&lt;p&gt;Add a scaler after the crop.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf &quot;crop=720:528:120:6,scale=960:540,setsar=1&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The setsar is added to prevent players squashing the video during playback.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-08-31T08:32:18.943" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24744" PostTypeId="1" CreationDate="2018-08-31T10:54:46.810" Score="1" ViewCount="209" Body="&lt;p&gt;I have a &lt;code&gt;GoPro Hero 4 Black&lt;/code&gt; and a &lt;code&gt;Rollei 5S Wifi&lt;/code&gt; looking at the same scene from a different angle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I hardware - or later in software using ffmpeg - gen-lock them?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My ideas:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Software&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;interpolate between frames and align matching frames using machine learning&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Hardware&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Control them via wifi to start them at the same time. Still the question is when they actually start after getting the command and how to control them using only one wifi adapter or bluetooth adapter or whatever protocol they use. Without knowing that it will work, it's a lot of effort to do it.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="23074" LastActivityDate="2018-09-30T15:00:51.057" Title="Hardware or software Gen-Lock for different actioncams" Tags="|video|ffmpeg|video-editor|software-recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24745" PostTypeId="2" ParentId="24744" CreationDate="2018-08-31T14:19:23.807" Score="1" Body="&lt;p&gt;I'm not sure there is really a good answer to this problem without custom hardware.  General wireless products aren't really going to be a great option as wifi and bluetooth will both have variable latency issues and missed packets.  What you'd really want is something akin to flash triggers, but capable of firing repeatedly at your frame rate.  It would need to be a custom wireless solution for the problem though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the software side, you can try frame interpolation, but I'm not sure that the quality loss associated wouldn't be worse than the minor timing difference of not being gen-locked.  It still isn't going to match up exactly as it is a guess rather than what actually happened.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is also ignoring the fact that rolling shutter greatly reduces the advantage of gen-lock to begin with.  The sensor itself is taking time to read the scene and so not even the top and bottom of the frame are truly in sync.  Genlocking is really something that more mattered for doing live switching where you needed to be able to keep a constant frame sequence and needed a frame to send.  It can also be useful in fine tuning audio/video sync, but that's pretty secondary to the technical needs to it, especially if you are shooting high framerate video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That may actually be the real solution to your problem too.  If you shoot at a higher frame rate than your intended final product, you'll have frames much closer in timing to each other and can pick which frames to use.  This will work best if it's an even multiple, but pull downs may also work acceptably.  So if you shot 60 fps and were planning on going with 30, you could pick your frames to pull out to make sure you were at most half a frame off and on average be only 1/4 frame off.  That's a pretty tight sync without needing any weird magic.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2018-08-31T14:19:23.807" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24749" PostTypeId="1" CreationDate="2018-09-01T16:09:18.450" Score="3" ViewCount="45" Body="&lt;p&gt;I'm recording commentary over a video, and when I'm talking in the commentary I'd like the other channel's audio to get quieter to compensate for my voice. If anyone is familiar with discord, I know that when talking to people in a group chat it makes other programs quieter, if that helps make sense of what I'm trying to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm really inexperienced with video editing, but I have access to audacity, Adobe audition, and premiere. I'm also open to other programs (free or cheap) if they can do this easier.&lt;/p&gt;&#xA;" OwnerUserId="23087" LastEditorUserId="14523" LastEditDate="2018-09-04T12:22:03.203" LastActivityDate="2018-10-17T11:43:11.293" Title="Decreasing levels of other channels when voice channel comes in" Tags="|premiere|audio|audio-recording|audio-quality|audition|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24750" PostTypeId="2" ParentId="24749" CreationDate="2018-09-01T18:24:15.113" Score="4" Body="&lt;p&gt;&quot;Ducking&quot; is the canonical term for what you want, usually done with a compressor in the main program chain with the sidechain taken from your mic channel.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audition 2018 has a auto ducking feature that may be of use, but really anything that lets you drop an audio compressor across the program bus and sidechain it to the mic input will work. &lt;/p&gt;&#xA;" OwnerUserId="22212" LastActivityDate="2018-09-01T18:24:15.113" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24751" PostTypeId="1" CreationDate="2018-09-02T17:08:42.743" Score="1" ViewCount="170" Body="&lt;p&gt;I'm wondering what the Format Profile tag/field refers to. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Backstory: I have a couple MPEG-4 videos (I made) on a NAS which won't stream through my X-box 360 (but will stream on any other computer, ditto a Roku box) so I ran them through mediainfo to see if there were any difference with other videos that stream fine  -- made with the same settings.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Format Profile shows a value of &quot;Sony PSP&quot; which is odd to me, since I've not intentionally chosen anything to do Sony. I'm making these with a custom profile I made (from a very slightly tweaked preset in Powerdirector) that's pretty much a medium-high quality 720p x.264 profile. I assume that powerdirector is somehow filling in that field (though I can't see it anywhere in the settings for the profile) or is this something that Mediainfo is assuming based on the characteristics of the video?&lt;/p&gt;&#xA;" OwnerUserId="23092" LastActivityDate="2018-09-02T17:08:42.743" Title="MPEG-4 Mediainfo, what's &quot;Format Profile&quot;?" Tags="|file-formats|mpeg4|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24753" PostTypeId="1" CreationDate="2018-09-02T19:55:52.737" Score="0" ViewCount="393" Body="&lt;p&gt;If I do this&#xA;ffmpeg -f dshow -video_size 720x480 -framerate 29.97 -i video=&quot;Roxio Video Capture USB&quot;:audio=&quot;Line (Roxio Video Capture USB)&quot; -c:v mjpeg -c:a pcm_s16le -map 0:v -map 0:a -f fifo -fifo_format nut -drop_pkts_on_overflow 1 tcp://localhost:6600&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can connect to TCP from a player only once.  The NUT headers are in the FIFO and part of the video stream is dropped so I stay close to real-time, but if I disconnect I've lost the nut headers and no player will reconnect even though the TCP port is still sending data.  Is there any way, BESIDES USING MPEG Transport Stream, to resend the headers?&lt;/p&gt;&#xA;" OwnerUserId="22864" LastActivityDate="2024-04-05T16:08:31.100" Title="resend headers NUT formats" Tags="|ffmpeg|streaming|video-capture|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24755" PostTypeId="1" CreationDate="2018-09-03T07:29:31.553" Score="7" ViewCount="4651" Body="&lt;p&gt;I have a file of resolution 3840x1632, but my TV stretches the picture vertically to fill up all 2160 pixels of height.  Is it possible to use ffmpeg to add blank / black height, while preserving the video and audio quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tried doing this, which seemed to work (took about 2 hours, the same length of the video), but greatly reduced the file size/video quality):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -filter:v &quot;pad=3840:2160:0:280&quot; -c:a copy my_output_video.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there a switch to say &quot;keep everything else the same&quot;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="23098" LastEditorUserId="2836" LastEditDate="2022-01-03T18:35:50.890" LastActivityDate="2022-01-04T14:25:55.023" Title="Using ffmpeg to add height (as black bars) to video file without quality loss" Tags="|ffmpeg|encoding|compression|lossless|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24756" PostTypeId="2" ParentId="24755" CreationDate="2018-09-03T07:56:45.743" Score="2" Body="&lt;p&gt;You'll have to manually set encoding parameters.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -filter:v &quot;pad=3840:2160:0:280,setsar=1&quot; -crf 18 -preset faster -c:a copy my_output_video.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The CRF option sets the tradeoff for size/quality. Lower values produce better quality but larger files. The preset will increase speed, but for same quality, the file size will be larger.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The setsar filter has been added as a precaution in case your player reads the SAR stored in the file and stretches the video based on that value.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-09-03T07:56:45.743" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24758" PostTypeId="2" ParentId="24753" CreationDate="2018-09-03T18:18:18.377" Score="0" Body="&lt;p&gt;Although probably not best practice, this seems to do the trick:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take a NUT file, same codec and dimensions;&#xA;ffmpeg -i nutfile1.nut -frames 2 -c:a copy -c:v copy -f nut nutheader.nut&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And then a little piping hijinks:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;nc 192.168.1.161 6600 | cat nutheader.nut - | ffmpeg -i pipe:0 -c:a copy -c:v copy -map 0:a -map 0:v -f fifo -fifo-format nut -drop_pkts_on_overflow 1 pipe:1 | nc -L -p 6601&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You get a 'discontinuous DTS' when you connect the first time and headers are duplicated, but whatever.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And you get one 'packet damaged' when you start the standard input after the headers, but it immediately and with extremely low latency resynchronizes.&lt;/p&gt;&#xA;" OwnerUserId="22864" LastActivityDate="2018-09-03T18:18:18.377" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24759" PostTypeId="1" AcceptedAnswerId="24784" CreationDate="2018-09-04T11:33:11.107" Score="0" ViewCount="48" Body="&lt;p&gt;Its an animation video. Can someone specify the software ? &lt;a href=&quot;https://www.youtube.com/watch?v=w5LICH9PiIU&quot; rel=&quot;nofollow noreferrer&quot;&gt;LINK&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23106" LastActivityDate="2018-09-08T04:39:56.700" Title="Which software is used to produce this video?" Tags="|animation|software|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24762" PostTypeId="1" AcceptedAnswerId="24775" CreationDate="2018-09-04T22:46:44.197" Score="3" ViewCount="481" Body="&lt;p&gt;I recently committed the &lt;a href=&quot;http://saynotoverticalvideos.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;crime of shooting video vertically&lt;/a&gt;, and now when played anywhere except on my phone the video renders sideways. What is the best method to rotate it (using PC software), without losing any pixels?&lt;/p&gt;&#xA;" OwnerUserId="23109" LastActivityDate="2019-01-05T00:02:55.583" Title="How to fix video shot vertically on a smartphone?" Tags="|video|video-editor|video-quality|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24764" PostTypeId="1" CreationDate="2018-09-05T10:49:16.573" Score="0" ViewCount="59" Body="&lt;p&gt;During an insert edit all clips (video and audio) shift right except the keyframes (track volume) themselves on the audio tracks. Similar if I select all and move, keyframes are not included. How can I shift the audio track along with its keyframes during an insert?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eo6M6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eo6M6.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23114" LastEditorUserId="23114" LastEditDate="2018-10-05T12:52:40.890" LastActivityDate="2018-10-05T12:52:40.890" Title="Premiere Pro shifting keyframes during an insert edit" Tags="|premiere|editing|keyframes|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24765" PostTypeId="1" CreationDate="2018-09-05T10:57:12.970" Score="1" ViewCount="373" Body="&lt;p&gt;I am facing a problem to set video streams framerates with FFmpeg when using the map option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what I want to do:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given an input video file of 60 fps, I want to generate an output file containing two video streams: one with 60 fps (as the source) and the other with 30 fps (half the source's framerate).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I executed this command: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;  -i input_60fps.mov \&#xA;  -map 0:v \&#xA;  -map 0:v \&#xA;  -crf:v:0 23 &#xA;  -c:v:0 libx264 \&#xA;  -s:v:0 640x360 \&#xA;  -vf:v:0 fps=fps=30/1 \&#xA;  -crf:v:1 23 \&#xA;  -c:v:1 libx264 \&#xA;  -s:v:1 1920x1080 \&#xA;  -vf:v:1 fps=fps=60/1 \&#xA;  -f mp4 \&#xA;  out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This gave me the wanted output file but with streams of 60 fps!!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I missing something? I did many tests, I am wondering if FFmpeg has a problem to set different framerates when using the &lt;code&gt;-map&lt;/code&gt; option!!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Waiting for your help! Thank you … &lt;/p&gt;&#xA;" OwnerUserId="23113" LastEditorUserId="18155" LastEditDate="2020-01-26T23:33:48.990" LastActivityDate="2020-01-26T23:33:48.990" Title="Problem setting different framerates with FFmpeg map option" Tags="|ffmpeg|encoding|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24766" PostTypeId="2" ParentId="24765" CreationDate="2018-09-05T11:42:03.983" Score="1" Body="&lt;p&gt;&lt;code&gt;-vf&lt;/code&gt; does not accept stream specifiers. You can use e.g. &lt;code&gt;-filter:v:1&lt;/code&gt; for that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, you need not use the fps filter at all; output &lt;code&gt;-r&lt;/code&gt; will do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input_60fps.mov -map 0:v -map 0:v -c:v libx264 -crf 23 -s:v:0 640x360 -r:v:0 30 -s:v:1 1920x1080 -f mp4 out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-09-05T11:42:03.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24767" PostTypeId="2" ParentId="23975" CreationDate="2018-09-05T18:38:25.700" Score="0" Body="&lt;p&gt;The best solution here, to prevent blurriness, is to have your main workspace video in 4k despite if the main video is only 1080p.  This way as you scale down the clips, it will retain most of it's pixels at least until you hit 1/4th size (1/2 high, 1/2 tall) anything further than that and you will start to get blur again but since it's 4k, the blurred pixels will be much smaller and harder to notice.  By taking a 1080p video and shrinking it, you are throwing away pixels so Premier scales the video into less pixels giving you blur and losing fidelity.&lt;/p&gt;&#xA;" OwnerUserId="23117" LastEditorUserId="23117" LastEditDate="2018-09-05T18:54:02.947" LastActivityDate="2018-09-05T18:54:02.947" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24768" PostTypeId="1" AcceptedAnswerId="24769" CreationDate="2018-09-05T20:35:34.577" Score="0" ViewCount="2489" Body="&lt;p&gt;I use a Decklink to capture video and ffmpeg to stream it to a localhost rtmp server (low compression, HD) and to a remote CDN (high compression, low resolution). I have used this command with success for many mounths:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -loglevel info -xerror -err_detect buffer -format_code Hi59 -threads 1 -thread_queue_size 32 -f decklink -i 'DeckLink Mini Recorder' -vsync cfr -pix_fmt yuv420p -g 60 -preset medium -vf scale=1280:720 -profile:v high -level 4.1 -b:a 192k -b:v 3500K -r 30000/1001 -vcodec libx264 -acodec aac -f flv rtmp://127.0.0.1:1935/live/alta -vsync cfr -pix_fmt yuv420p -g 60 -preset medium -vf scale=896:504 -profile:v high -level 3.1 -b:a 96k -b:v 900k -r 30000/1001 -vcodec libx264 -acodec aac -f flv rtmp://user:pass@srv3.zoeweb.tv:1935/z474-live/aovivo 2&amp;gt; &amp;gt;(tee /mnt/ramdisk/ffmpeg_error.log &amp;gt;&amp;amp;2)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Some day I need a box for telephone number over HD output in a way that number can be script changed. So I used ZMQ library with sucess:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -loglevel info -xerror -err_detect buffer -format_code Hi59 -threads 1 -thread_queue_size 32 -f decklink -i 'DeckLink Mini Recorder' -vsync cfr -pix_fmt yuv420p -g 60 -preset medium -filter_complex '[0:v] zmq=bind_address=tcp\\\://127.0.0.1\\\:5557,drawtext=text=:fontfile=hp_impact.ttf:x=870:y=850:fontcolor=white:fontsize=105:bordercolor=black:borderw=3:boxcolor=0xC12235:box=1:boxborderw=20,scale=1280:720' -profile:v main -level 4.1 -b:a 192k -b:v 3500K -r 30000/1001 -vcodec libx264 -acodec aac -f flv rtmp://127.0.0.1:1935/live/alta -vsync cfr -pix_fmt yuv420p -g 60 -preset medium -vf scale=896:504 -profile:v high -level 3.1 -b:a 96k -b:v 900k -r 30000/1001 -vcodec libx264 -acodec aac -f flv rtmp://user:pass@srv3.zoeweb.tv:1935/z474-live/aovivo 2&amp;gt; &amp;gt;(tee /mnt/ramdisk/ffmpeg_error.log &amp;gt;&amp;amp;2)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(to change the text I use this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;echo Parsed_drawtext_1 reinit text='xxxxxxxxxx' | zmqsend -b tcp://127.0.0.1:5557&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and the result (working) is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[decklink @ 0x555668d3bb40] Found Decklink mode 1920 x 1080 with rate 29.97(i)&#xA;Guessed Channel Layout for Input Stream #0.0 : stereo&#xA;Input #0, decklink, from 'DeckLink Mini Recorder':&#xA;  Duration: N/A, start: 0.000000, bitrate: 995869 kb/s&#xA;    Stream #0:0: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s&#xA;    Stream #0:1: Video: rawvideo (UYVY / 0x59565955), uyvy422(top first), 1920x1080, 994333 kb/s, 29.97 tbr, 1000k tbn, 1000k tbc&#xA;[rtmp @ 0x555668d49d80] Ignoring unsupported var reason&#xA;Stream mapping:&#xA;  Stream #0:1 (rawvideo) -&amp;gt; zmq (graph 0)&#xA;  scale (graph 0) -&amp;gt; Stream #0:0 (libx264)&#xA;  Stream #0:0 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; aac (native))&#xA;  Stream #0:1 -&amp;gt; #1:0 (rawvideo (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:0 -&amp;gt; #1:1 (pcm_s16le (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[libx264 @ 0x555668d6d180] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x555668d6d180] profile Main, level 4.1&#xA;[libx264 @ 0x555668d6d180] 264 - core 150 - H.264/MPEG-4 AVC codec - Copyleft 2003-2017 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x1:0x111 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=60 keyint_min=6 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=abr mbtree=1 bitrate=3500 ratetol=1.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;[libx264 @ 0x555668d4bc40] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x555668d4bc40] profile High, level 3.1&#xA;[libx264 @ 0x555668d4bc40] 264 - core 150 - H.264/MPEG-4 AVC codec - Copyleft 2003-2017 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=60 keyint_min=6 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=abr mbtree=1 bitrate=1100 ratetol=1.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, flv, to 'rtmp://127.0.0.1:1935/live/alta':&#xA;  Metadata:&#xA;    encoder         : Lavf58.3.100&#xA;    Stream #0:0: Video: h264 (libx264) ([7][0][0][0] / 0x0007), yuv420p(top coded first (swapped)), 1280x720, q=-1--1, 3500 kb/s, 29.97 fps, 1k tbn, 29.97 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.9.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/3500000 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1: Audio: aac (LC) ([10][0][0][0] / 0x000A), 48000 Hz, stereo, fltp, 192 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc58.9.100 aac&#xA;Output #1, flv, to 'rtmp://pass:pass@srv3.zoeweb.tv:1935/z474-live/aovivo':&#xA;  Metadata:&#xA;    encoder         : Lavf58.3.100&#xA;    Stream #1:0: Video: h264 (libx264) ([7][0][0][0] / 0x0007), yuv420p(top coded first (swapped)), 896x504, q=-1--1, 1100 kb/s, 29.97 fps, 1k tbn, 29.97 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.9.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/1100000 buffer size: 0 vbv_delay: -1&#xA;    Stream #1:1: Audio: aac (LC) ([10][0][0][0] / 0x000A), 48000 Hz, stereo, fltp, 96 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc58.9.100 aac&#xA;frame=   67 fps= 67 q=21.0 q=35.0 size=      90kB time=00:00:02.17 bitrate= 340.2kbits/s speed=2.16x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Great. It´s working!!  :-)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I need to create a box for another number over the second output too, with different numbers for eath output and in a way that can be manually/script changed. So I think in use ZMQ library again...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;The problem is&lt;/em&gt;: When I try to use the same complex_filter (only with the  correct scale and another udp port) on the second (lowres) rtmp output I receive this error message:  &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -loglevel info -xerror -err_detect buffer -format_code Hi59 -threads 1 -thread_queue_size 32 -f decklink -i 'DeckLink Mini Recorder' -vsync cfr -pix_fmt yuv420p -g 60 -preset medium -filter_complex ' zmq=bind_address=tcp\\\://127.0.0.1\\\:5557,drawtext=text=:fontfile=hp_impact.ttf:x=870:y=850:fontcolor=white:fontsize=105:bordercolor=black:borderw=3:boxcolor=0xC12235:box=1:boxborderw=20,scale=1280:720' -profile:v main -level 4.1 -b:a 192k -b:v 3500K -r 30000/1001 -vcodec libx264 -acodec aac -f flv rtmp://127.0.0.1:1935/live/alta -vsync cfr -pix_fmt yuv420p -g 60 -preset medium -filter_complex ' zmq=bind_address=tcp\\\://127.0.0.1\\\:5558,drawtext=text=:fontfile=hp_impact.ttf:x=870:y=850:fontcolor=white:fontsize=105:bordercolor=black:borderw=3:boxcolor=0xC12235:box=1:boxborderw=20,scale=896:504' -profile:v main -level 3.1 -b:a 96k -b:v 900k -r 30000/1001 -vcodec libx264 -acodec aac -f flv rtmp://user:pass@srv3.zoeweb.tv:1935/z474-live/aovivo 2&amp;gt; &amp;gt;(tee /mnt/ramdisk/ffmpeg_error.log &amp;gt;&amp;amp;2)&#xA;&#xA;[decklink @ 0x56316fb6dcc0] Found Decklink mode 1920 x 1080 with rate&#xA;29.97(i) Guessed Channel Layout for Input Stream #0.0 : stereo Input #0, decklink, from 'DeckLink Mini Recorder':   Duration: N/A, start: 0.000000, bitrate: 995869 kb/s&#xA;    Stream #0:0: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s&#xA;    Stream #0:1: Video: rawvideo (UYVY / 0x59565955), uyvy422(top first), 1920x1080, 994333 kb/s, 29.97 tbr, 1000k tbn, 1000k tbc Cannot&#xA;find a matching stream for unlabeled input pad 0 on filter&#xA;Parsed_zmq_0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I think that is a mapping case, but as much as I read and try I could not get it right. :-(  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone put me in the right way?&lt;/p&gt;&#xA;" OwnerUserId="21694" LastEditorUserId="21694" LastEditDate="2018-09-06T00:09:16.713" LastActivityDate="2018-09-06T05:44:11.333" Title="FFmpeg - One input, two outputs each one w/ different complex_filter - Map error?" Tags="|ffmpeg|rtmp|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24769" PostTypeId="2" ParentId="24768" CreationDate="2018-09-06T05:44:11.333" Score="0" Body="&lt;p&gt;Your input has only one video stream. To reuse it for multiple filter chains, you need either express labelled input pads or a split filter. You'll also need &lt;code&gt;-map&lt;/code&gt; option for each output.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -loglevel info -xerror -err_detect buffer -format_code Hi59 -threads 1&#xA;       -thread_queue_size 32 -f decklink -i 'DeckLink Mini Recorder'&#xA;       -filter_complex '[0]zmq=bind_address=tcp\\\://127.0.0.1\\\:5557,split=2[720p][504p];[720p]drawtext@720p=text=:fontfile=hp_impact.ttf:x=870:y=850:fontcolor=white:fontsize=105:bordercolor=black:borderw=3:boxcolor=0xC12235:box=1:boxborderw=20,scale=1280:720[720p];[504p]drawtext@504p=text=:fontfile=hp_impact.ttf:x=870:y=850:fontcolor=white:fontsize=105:bordercolor=black:borderw=3:boxcolor=0xC12235:box=1:boxborderw=20,scale=896:504[504p]' &#xA;       -map '[720p]' -map 0:a -vsync cfr -pix_fmt yuv420p -g 60 -preset medium  -profile:v main &#xA;       -level 4.1 -b:a 192k -b:v 3500K -r 30000/1001 -vcodec libx264 -acodec aac &#xA;       -f flv rtmp://127.0.0.1:1935/live/alta &#xA;       -map '[504p]' -map 0:a -vsync cfr -pix_fmt yuv420p -g 60 -preset medium -profile:v main &#xA;       -level 3.1 -b:a 96k -b:v 900k -r 30000/1001 -vcodec libx264 -acodec aac &#xA;       -f flv rtmp://user:pass@srv3.zoeweb.tv:1935/z474-live/aovivo 2&amp;gt; &amp;gt;(tee /mnt/ramdisk/ffmpeg_error.log &amp;gt;&amp;amp;2)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-09-06T05:44:11.333" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24770" PostTypeId="1" AcceptedAnswerId="24777" CreationDate="2018-09-06T09:42:30.720" Score="3" ViewCount="395" Body="&lt;p&gt;I would like to live-stream from a camera, but replace the audio from the camera with a higher-quality mixed soundtrack, ready for sending over HDMI to a transmission device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that the Tascam DR-701D has two HDMI ports (in and out). Could I use this as the mixer to replace the soundtrack on the HDMI video feed, ready for transmission, or is there a better way?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Details&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video will come from the micro-HDMI port on the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The audio will come from one of three sources:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;XLR stream from the event&lt;/li&gt;&#xA;&lt;li&gt;Directional XLR mic&lt;/li&gt;&#xA;&lt;li&gt;MP3 player&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The audio will be mixed together by a mixer during the event as appropriate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I now need to mix the audio from the sound mixer with the video from the camera’s HMDI port (which will have an unusable poor-quality audio track from the camera). How can I do this?&lt;/p&gt;&#xA;" OwnerUserId="23121" LastEditorUserId="9147" LastEditDate="2018-09-13T15:22:51.353" LastActivityDate="2018-09-13T15:22:51.353" Title="Mixing audio with HDMI video to replace the sound from the camera" Tags="|audio|hdmi|mixing|embedding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24771" PostTypeId="1" AcceptedAnswerId="24785" CreationDate="2018-09-06T09:54:35.943" Score="2" ViewCount="3490" Body="&lt;p&gt;So I've got my a7iii and continuous autofocus (AF-C) with Wide focus area is blazingly fast when shooting stills. It recognizes faces and can clearly keep the running man's eyes in focus when looking thought the viewfinder and shooting bursts at 10fps — green squares are there and jumping like they should.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/XMYSN.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XMYSN.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I switch to video, autofocus becomes slow and laggy, even with the AF Drive Speed set to Fast. Pressing AF-ON or shutter button works not continuous, ignoring AF-C mode. I can tap the screen to set the Lock On AF object. White rectangle appear and it works, but slow — clearly not capable of keeping fast moving objects in focus.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Pn9CH.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Pn9CH.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to make a7iii to focus the same fast way in video as in stills?&lt;br&gt;&#xA;Are there some settings that I miss or it's the way it's designed and I'm out of luck?&lt;/p&gt;&#xA;" OwnerUserId="17433" LastEditorUserId="17433" LastEditDate="2018-09-12T09:43:30.340" LastActivityDate="2018-09-12T09:43:30.340" Title="Continuous video autofocus speed on Sony a7 iii" Tags="|video|focus|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24772" PostTypeId="1" CreationDate="2018-09-06T14:54:11.580" Score="1" ViewCount="147" Body="&lt;p&gt;I'm editing an incredibly complex template I've bought. I want to zoom in deeply on a line in the composition. Now this line will turn into a blurry mess without 'continuously rasterize' turned on. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I have to use that feature. When I turn it on, the line changes position for no apparent reason. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PygLp.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PygLp.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I avoid this?&lt;/p&gt;&#xA;" OwnerUserId="17218" LastActivityDate="2018-09-06T14:54:11.580" Title="Continuously rasterize changes the position of a line" Tags="|after-effects|effects|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24773" PostTypeId="1" CreationDate="2018-09-06T18:21:39.777" Score="1" ViewCount="76" Body="&lt;p&gt;I have a mp4 from a video created in iMovie 10.&#xA;  The original output is about 1.5 GB. &#xA;I uploaded it to youtube to use their compression and re-downloaded. &#xA;I now have an mp4 at 236mb. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to upload this video for a submission but it needs to be under 100mb and a wmv format. At this point I don't know if I can get it lower than 236mb without sacrificing quality (with my limited knowledge of video production). I also do not currently have a way to convert the mp4 to a wmv. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any assistance would be greatly appreciated. &#xA;Best,&#xA;-Josh&lt;/p&gt;&#xA;" OwnerUserId="23124" LastActivityDate="2023-12-10T11:07:30.930" Title="mp4 to wmv AND file compression" Tags="|video-editor|conversion|compression|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24774" PostTypeId="2" ParentId="24773" CreationDate="2018-09-06T21:39:32.717" Score="0" Body="&lt;p&gt;YouTube automatically transcodes all files uploaded to it's server into it's own streaming codecs, and also creates down-converted files which are lower in resoultion and bit-rate to allow for different streaming options based on the viewers connection speed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How long is your original video? If YouTube transcoded your native resolution video file from 1.5GB to 250 ish MB, (hypothetically assuming this 1080p we're talking about), then your file is bloated as far as YouTube is concerned. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;100 MB isn't a lot of space to work with. And you are not going to find any highly adjustable tools to hit that 100MB mark online. Your options will  be limited to either something like Adobe Media Encoder (pay per month), or FFMPEG, command line/learning curve, or VLC, which is robust but not very good with encoding. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to PM me a dropbox link with the 1.5 GB file, I can run it through AME and hit your 100mb mark. It's just a drag and drop, and I'll simply re-encode it back to your shared dropbox folder. Or you can simply subscribe to a 1 month rental of Adobe Premiere which comes with AME, and adjust/play with the settings. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-09-06T21:39:32.717" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24775" PostTypeId="2" ParentId="24762" CreationDate="2018-09-06T21:43:47.477" Score="2" Body="&lt;p&gt;VLC Media player, which is free, allows under it's Tools -&gt; Effects and Filters a Geometry Tab, which you could try for rotation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you could use the Encode/Stream option under File - to try to get a decent output. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, unless your camera has some sort of ccd/cmos rotation feature, if the video was shot vertically, you shot it using only a fraction of the sensor, discarding the vertical space on the top and bottom to create a letter box version at a lower resolution. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can up-res it, either simply, or with an expensive plugin, but it's never going to be &quot;full resolution&quot; because the information simply isn't there. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-09-06T21:43:47.477" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24776" PostTypeId="2" ParentId="24586" CreationDate="2018-09-07T03:14:30.487" Score="2" Body="&lt;p&gt;The easiest way to fix this is to right-click on the pan/crop area and select Match Output Aspect.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-09-07T03:14:30.487" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24777" PostTypeId="2" ParentId="24770" CreationDate="2018-09-07T06:15:54.553" Score="1" Body="&lt;p&gt;It seems that what you are looking for is an &lt;strong&gt;HDMI audio embedder&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems that the Tascam DR-701D offers this functionality as described in &lt;a href=&quot;https://tascam.jp/downloads/tascam/896/e_dr-701d_rm_vb.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;Outputting this unit's audio as the HDMI output audio&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Examples of external alternative such products can be found here (I am not affiliated with these manufacturers, other products might exist):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.kramerav.com/us/product/FC-69&quot; rel=&quot;nofollow noreferrer&quot;&gt;Kramer FC-69&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.extron.com/product/hai1004k&quot; rel=&quot;nofollow noreferrer&quot;&gt;Extron HAI 100 4K&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="9147" LastEditorUserId="9147" LastEditDate="2018-09-07T06:26:11.320" LastActivityDate="2018-09-07T06:26:11.320" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24779" PostTypeId="1" AcceptedAnswerId="24780" CreationDate="2018-09-07T07:47:54.380" Score="0" ViewCount="896" Body="&lt;p&gt;I'd like to encode a video, say, in 960 x 720 but have video players automatically play it in 1280 x 720.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know how to do this in 2 steps, by first encoding in 960 x 720 (ffmpeg with -vf scale=960:720) and then modifying the display ratio with MKVToolNix/mkvmerge, but it would be a lot more convenient if I could do it all directly with a single ffmpeg command. Is it possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't think that matters, but my current code looks like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;input.mkv&quot; -vf scale=960:720 -ac 2 -codec:a libopus -b:a 96k -vbr on -compression_level 10 -frame_duration 60 -application audio -codec:v libx265 -preset slow -x265-params crf=21 &quot;output.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="23128" LastActivityDate="2018-09-07T09:19:03.367" Title="Setting different resolution for encoding and display when encoding in ffmpeg" Tags="|ffmpeg|encoding|scale|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24780" PostTypeId="2" ParentId="24779" CreationDate="2018-09-07T09:19:03.367" Score="1" Body="&lt;p&gt;There's the setsar and setdar &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#setdar_002c-setsar&quot; rel=&quot;nofollow noreferrer&quot;&gt;filters&lt;/a&gt; for this purpose&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf scale=960:720,setdar=16/9&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Since you know the output display ratio, it's convenient to use setdar here, although both filters only alter the SAR.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-09-07T09:19:03.367" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24781" PostTypeId="2" ParentId="4525" CreationDate="2018-09-07T16:35:39.237" Score="1" Body="&lt;p&gt;I know for sure that Corel VideoStudio version 7 and up can do straight cuts in AVC-encoded HD video, and then output without re-encoding. You must be careful to use exactly the same output format as input format. I don't know whether it can do the same with 4K. You can download a trial version and see for yourself.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-09-07T16:35:39.237" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24782" PostTypeId="2" ParentId="24725" CreationDate="2018-09-08T04:24:43.903" Score="1" Body="&lt;p&gt;The data stream is missing sections of data. If the entire image suddenly goes highly blocky (edge to edge), that means the data loss includes the header frame of whatever structure (GOP) / codec was used to encode the file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have small horizontal chunks missing, then there was data loss after the header frame, which can't be filled in by subsequent frames thereafter- as the loss was greater than the &quot;error correction rate&quot; of the encoding algorithm. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My guess is the top example is a case where the data loss included a full or partial loss of the GOP header frame, and the second example provided is one where a small packet of data was either encoded incorrectly, corrupted thereafter, or lost somehow. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way to correct this is to fill in the data, which would require recovery volumes (such as PAR files), to re-encode and hope it's not on the master; or 3 paint it out frame by frame in photoshop. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-09-08T04:24:43.903" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24784" PostTypeId="2" ParentId="24759" CreationDate="2018-09-08T04:39:56.700" Score="1" Body="&lt;p&gt;My guess is maybe ToonBoom. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But regardless what software they used to stitch the final cut together, there were a host of software applications involved. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Illustration, likely Adobe Illustrator and Photoshop, Compositing, Could be ToonBoom, AfterEffects, or others. Audio was done separately, on the tail end. And I jumped over myself, they likely storyboarded all of the animations out in advance, ToonBoom, likely a good choice for that even if it's not what they used for the final mesh. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In addition, they undoubtably used a host of plugins, perhaps some free, some paid, some very expensive to assist with the motion control and character animation. And last, they likely also relied of pre-existing works, templates, which can be purchased. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-09-08T04:39:56.700" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24785" PostTypeId="2" ParentId="24771" CreationDate="2018-09-08T06:43:12.863" Score="1" Body="&lt;p&gt;I haven't yet handled the A7s mkIII or A7 mkIII, but I'm familiar and own the A7s and A7r line, and before that shot for years on Canon 5D mkIIs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, video cameras are not DSLRs, and DSLRs really aren't video cameras. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Canon's landmark 5D mkI Camera was a game changer for people, creatives, working or aspiring to work in film on a &quot;creative&quot; level. The reason simply was the size of the gate, which directly correlates to very shallow hyperfocal which is realized within the final image. It gave everyone a camera that could pretty much look, at least on a small screen, like they had shot it using an Arri 435 35mm camera system. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the camera is still a DSLR. And the A7/A7r/A7s mkIII is still a DSLR. The lenses designed for the the A7s By Sony- which is their &quot;video model&quot; within the A7 line, are not &quot;video lenses&quot;. They are still lenses. They are designed first and formost to shoot stills. To keep up with fast action sports, shooting at high frame rates using the A7r mkIII. They are not designed in any way to continuously autofocus... even though Sony has &quot;Included that as a feature&quot;. It's a feature of the camera sure, but it's not really a feature anyone with video shooting skills would use. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I shoot a lot of content. I've done narrative fiction, I've done live theatrics, I've even shot news both studio camera and eng/efp which included a lot of fast moving objects and scenarios. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I almost never shoot on auto, actually, I never shoot on auto really. I might in some very rare cases, but 99% of the time I shoot on manual focus with push for auto as an assigned button to 1, and push for focus assist on another (near my trigger finger). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is because regardless of whether you're shooting with an Sony FS7 or, 5, A shoulder style ENG camera, or a DSLR, you are not going to ever get accurate focus without learning to manually pull focus. The camera simply cannot do it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even in the world of high end sports, The NFL, those camera operators shoot using 120X lenses on pedestal cameras from hundreds of yards away acheiving amazingly tight shots with very shallow depth of field. But those cameras are grounded to a block of cement, isolated from vibration, the lenses are stabilized, and the cameras with glass cost $500,000. Those guys... focus manually. Left hand on focus servo and right hand on zoom. They constantly breath the lens to find tack sharp, and their monitors are highly specific for focus showing exactly where that tack point is. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess my long winded point is, if you are shooting wide, as in a wide shot, or you're shooting with a small CCD camera, like a 1/4&quot; chip old school camera, auto-focus does an ok Job. But good camera work means you have to practice a lot, and I speak from the standpoint of someone who has trained, and tried to train people to shoot great content. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many can't do it, because they lack the laser type focus that shooting &quot;anything moving&quot;, requires... Constantly watching the shot, for tack sharp focus, and adjusting for every move. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even when I shoot interviews for documentary/PR/Commercial work, the shallow depth of field on the full frame cameras is so shallow, that if I'm shooting with an 85 at f4 or even smaller- if the interviewee leans in just a half inch- suddenly, his eye lashes are soft, and his ears at the back tip are now the focal point. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;So my opinion is you are out of luck&lt;/strong&gt;. No camera operator, in film, tv, or whatever, who does top notch work would &quot;rely&quot; on an autofocus system unless it was for a very specific need be reason. Autofocus for stills, sure. But that's 12-14 FPS max. And it's a whole other art form. The technology has pushed ahead and made lenses work for that, - but you have to remember, with photo---&lt;/p&gt;&#xA;&#xA;&lt;p&gt;99% of the shots they take are outtakes. A sports photographer takes 1000s of photos at a game. Perhaps he gets 1, 2, or 3 great shots- perfectly focused, the right moment... they edit out nearly every other shot. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video is much much harder in that respect. And I have a lot of photographer friends who have noted that... it's harder. You gotta get the shot, hold the shot, the entire time. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-09-08T06:43:12.863" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24786" PostTypeId="1" CreationDate="2018-09-08T12:11:55.397" Score="2" ViewCount="44" Body="&lt;p&gt;I am editing &lt;a href=&quot;https://www.youtube.com/watch?v=dJuPeoe5isw&quot; rel=&quot;nofollow noreferrer&quot;&gt;this after effects template&lt;/a&gt;. Two flares are there in the package as two separate videos. How do I use them in the video? &lt;a href=&quot;https://i.stack.imgur.com/LJFzl.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;When I add like this&lt;/a&gt;, it shows only the flare without background video. Thank you.&lt;/p&gt;&#xA;" OwnerUserId="23136" LastActivityDate="2018-09-10T11:38:27.513" Title="Video to Lens Flare on After Effects" Tags="|after-effects|video-editor|effects|special-effects|visual-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24788" PostTypeId="2" ParentId="24786" CreationDate="2018-09-10T11:38:27.513" Score="1" Body="&lt;p&gt;It's because the template you're using is referencing video files, or still images - the Lens Flare effect, which do not use an alpha channel. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This was likely done deliberatly by the template author to prevent bloating the template file size, especially if it's a motion/video file. A video flare that moves, using an alpha channel would be huge in size depending on resolution and length. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So thats WHY. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The work around is you need to set the layer's Blending Mode to a setting other than Normal. Normal will simply place the file as is... what you are now seeing. Black with Flare, nothing underneath. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;RIGHT CLICK THE CLIP -&gt; Blending Modes -&gt; SET AS:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will get different results with different Modes. Typically for flares, I'd use either Screen, Soft Light, Hard Light, or Multiply. You may get interesting effects with other options such as Vivid Light. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But these modes will essentially matte out areas, depending on setting, to get a superimposed effect of the flare over underlying layers. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-09-10T11:38:27.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24790" PostTypeId="1" AcceptedAnswerId="24804" CreationDate="2018-09-10T20:39:08.313" Score="4" ViewCount="536" Body="&lt;p&gt;The following two low-budget, crude green screen lighting setups differ in the positioning of the screen lights relative to the talent. Which is better?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Screen lights further away from the screen than the talent:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rfXY3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rfXY3.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Screen lights equidistant with the talent from the screen:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Sgcox.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Sgcox.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user23142" LastActivityDate="2018-10-17T11:40:28.380" Title="Which of these two crude green screen lighting setups is better?" Tags="|lighting|greenscreen|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24791" PostTypeId="2" ParentId="12224" CreationDate="2018-09-11T01:43:48.413" Score="2" Body="&lt;p&gt;OBS (Open Broadcaster Software) is multi-platform (OBS is widely used in video game streaming). I haven't tried it yet myself for multiple cameras, but I know it supports at least one (as many streamers put a small video of themselves playing the game on their streams) and it does real-time preview.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: I did run two c920 webcams with it on Linux (Ubuntu 16.04) and it works fine.&lt;/p&gt;&#xA;" OwnerUserId="23144" LastEditorUserId="-1" LastEditDate="2019-01-19T20:04:28.677" LastActivityDate="2019-01-19T20:04:28.677" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24793" PostTypeId="1" AcceptedAnswerId="24794" CreationDate="2018-09-11T07:45:10.963" Score="1" ViewCount="499" Body="&lt;p&gt;The video has length of t and is 30fps. I want it to have a length of 2*t.&#xA;I just want each frame to be shown a little longer. According to VLC the codec is H264-MPEG4 AVC.&#xA;Is there some simple command with ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="23147" LastEditorUserId="23147" LastEditDate="2018-09-11T08:37:43.860" LastActivityDate="2018-09-11T08:53:17.237" Title="How to double every frame (and the length of the video itself) in an mp4 video (timelapse)?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24794" PostTypeId="2" ParentId="24793" CreationDate="2018-09-11T08:53:17.237" Score="0" Body="&lt;p&gt;&lt;code&gt;setpts&lt;/code&gt; filter can be used to retime frames. Basic usage is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in -vf setpts=PTS*2 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;PTS*2&lt;/code&gt; sets output timestamp of each frame to 2x its input value.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-09-11T08:53:17.237" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24795" PostTypeId="1" CreationDate="2018-09-11T13:15:19.143" Score="1" ViewCount="603" Body="&lt;p&gt;I have several media:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;one video file&lt;/li&gt;&#xA;&lt;li&gt;several audio files&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I would like to create a new MXF media with the video file and mixing the audio files at specific timestamp and tracks:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Starting time of the video file on the track 0: &lt;code&gt;00:00:00:00&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Starting time of the audio clip 1 on the track 1: &lt;code&gt;00:00:30:00&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Starting time of the audio clip 2 on the track 2: &lt;code&gt;00:00:35:00&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Starting time of the audio clip 3 on the track 2: &lt;code&gt;00:00:45:00&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;...&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I made a first try with just with one video and one audio. I used the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i picsou.mp4 \&#xA;  -itsoffset 2 \&#xA;  -i picsou.wav \&#xA;  -shortest \&#xA;  out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, when I import it in &lt;em&gt;Pro Tools&lt;/em&gt;, I cannot see the audio.&lt;/p&gt;&#xA;" OwnerUserId="16374" LastEditorUserId="16374" LastEditDate="2018-09-14T16:59:06.880" LastActivityDate="2020-08-04T22:05:15.480" Title="Create a MXF media with a video and audio clip at specific timing compatible with Pro Tools" Tags="|ffmpeg|timecode|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="24797" PostTypeId="2" ParentId="22968" CreationDate="2018-09-11T15:53:54.593" Score="2" Body="&lt;p&gt;Not sure exactly if this will help at all but you used to be able to do something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f decklink -i &quot;DeckLink Mini Recorder (1)@7&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where 7 is the number that is outputed in the supported formats list and the (1) is used if you have multiple decklink cards.  Again not sure if this helps you or not as I was using it for capture cards.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note on Aug of 2018 I updated my SDK version for Decklink and the firmware on my capture cards and lost the above ability.  I was still able to select the format in ffmpeg but I had to use the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -format_code Hp30 -f decklink -i &quot;DeckLink Mini Recorder (1)&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I got the Hp30 from the output of the command:&#xA;&lt;code&gt;ffmpeg -f decklink -list_formats 1 -i &quot;DeckLink Mini Recorder (1)&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command also now does not output the numbers for the formats but instead has the format_code and description.  &lt;/p&gt;&#xA;" OwnerUserId="23152" LastEditorUserId="14523" LastEditDate="2018-09-12T02:46:09.387" LastActivityDate="2018-09-12T02:46:09.387" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24798" PostTypeId="1" AcceptedAnswerId="24886" CreationDate="2018-09-11T16:25:32.220" Score="3" ViewCount="968" Body="&lt;p&gt;I'm trying to capture various frames within a x264-encoded video files into &lt;code&gt;png&lt;/code&gt; files (in &lt;code&gt;python&lt;/code&gt;), and then compare the quality of them:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cap = cv2.VideoCapture(filename);&#xA;//get frame_number for saving, and save the frame&#xA;cap.set(cv2.CAP_PROP_POS_FRAMES,frame_no);&#xA;ret, frame = cap.read()&#xA;&#xA;cv2.imwrite(dir_path+'uniform_frame_'+str(frame_no)+&quot;.png&quot;, frame);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now I was wondering if I fetch an &lt;strong&gt;I-Frame&lt;/strong&gt;, does it mean that it has a higher quality than other frames, e.g. &lt;strong&gt;P-frames&lt;/strong&gt; and &lt;strong&gt;B-Frames&lt;/strong&gt;? (inherently, keyframes are not compressed, so they must have higher quality and less noise).&lt;/p&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2019-06-05T15:07:45.320" Title="Frame capture from videos: I-frame vs P-frames" Tags="|video|video-quality|video-capture|keyframes|gop|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24799" PostTypeId="2" ParentId="24798" CreationDate="2018-09-11T23:45:30.597" Score="-1" Body="&lt;p&gt;I-frames are uncompressed frames and are what p and b frames reference to for compression. Yes I frames are higher quality. &lt;/p&gt;&#xA;" OwnerUserId="23155" LastActivityDate="2018-09-11T23:45:30.597" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24802" PostTypeId="1" CreationDate="2018-09-12T06:40:38.737" Score="1" ViewCount="535" Body="&lt;p&gt;I’ve got a multicam sequence and I spent a lot of time on it cutting out lots of material.&#xA;Now I decided to show two cams simultaneously for a while.&#xA;But how to do this? Can anybody help?&lt;/p&gt;&#xA;" OwnerUserId="18066" LastEditorUserId="18066" LastEditDate="2018-09-15T19:15:00.503" LastActivityDate="2020-04-07T22:02:00.290" Title="Show cams of the multicam sequence simultaneously in Adobe Premiere" Tags="|premiere|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24803" PostTypeId="1" CreationDate="2018-09-12T13:33:36.630" Score="1" ViewCount="409" Body="&lt;p&gt;I want to know how to make those particle-like spots and you see the transparent effects and the fast moving text? I want to know what that effect is called and how to make it. Please help me!(Please watch the video first)&#xA;Also, how do I make that smoke effect behind the text? &#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/kzi92q5B1io?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="23159" LastActivityDate="2020-08-06T20:04:35.447" Title="How to make flickering white spots and moving effects in After Effect" Tags="|after-effects|after-effects-expressions|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24804" PostTypeId="2" ParentId="24790" CreationDate="2018-09-12T13:54:37.860" Score="4" Body="&lt;p&gt;Well the 2nd is better. But the correct way is to light your Green Screen first, and you want to have it lit so it's a flat 70 IRE. You'll need a monitor with a Waveform option, and the waveform should pretty much be a flat and very thin line at 70 IRE. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can't do that visually (eyeballing). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you place your talent so that they are separated as much from the BG as possible, casting no shadows onto it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Light you talent with the same color temperature light as the green screen. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hitting your talent with a hairlight that is gelled 1/4 magenta will help reduce edge issues. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-09-12T13:54:37.860" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24808" PostTypeId="1" CreationDate="2018-09-12T19:44:11.037" Score="1" ViewCount="1402" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/k5C7u.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/k5C7u.jpg&quot; alt=&quot;What I got&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's as far as I had gone, I am trying to fit the image in the box but I just can't figure it out. no matter how much I stretch it or rotate it,  it just doesn't work&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's another image so you guys know my pan/crop settings&#xA;&lt;a href=&quot;https://i.stack.imgur.com/6tXTM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6tXTM.png&quot; alt=&quot;Pan/crop settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and if you need to try it yourself, here's a green screen. if you at least get a still frame I guess I can animate it from there (Though, actually tell me how did you get it to work)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Jgh2S.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Jgh2S.jpg&quot; alt=&quot;Green screen of what I am trying to do&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/VDoGs.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VDoGs.jpg&quot; alt=&quot;Image that I am trying to fit in&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also wonder, if I already have the mask, and it's already animated and stuff, could that help me?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:Wait, do you guys need a green screen lol? I am going to leave it there just in case but I don't think you guys need it (Note:The green screen was made by me, by using the mask. I got the mask with the keyframes, I really hope that's useful)&lt;/p&gt;&#xA;" OwnerUserId="23164" LastActivityDate="2023-12-18T12:05:10.590" Title="How to stretch an image in vegas? Tips? (Reference image in body)" Tags="|video-editor|editing|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24809" PostTypeId="2" ParentId="21091" CreationDate="2018-09-13T20:39:17.680" Score="0" Body="&lt;p&gt;Based on &quot;motion is slightly flickering especially under sunlight&quot; I would venture a guess that you do not use ND filter, hence you are shooting with fast shutter speed. For traditional film-like effect you should be shooting at 1/50 s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suggest learning tricks that film camera operators know and use daily, like appropriate shutter speed, appropriate panning speed, appropriate depth of field, following the subject when it moves, usage of neutral density filter, turning off built-in image stabilizer when shooting from a tripod (including panning and tilting), not using shakycam techniques when using a CMOS-based camera, etc.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-09-13T20:39:17.680" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24810" PostTypeId="1" CreationDate="2018-09-13T21:55:46.470" Score="0" ViewCount="72" Body="&lt;p&gt;how can I have more than 1 audio source at the same time for the Audio Spectrum effect of After Effects? Thank you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I tried to upload an image, but it there is an error)&lt;/p&gt;&#xA;" OwnerUserId="22560" LastActivityDate="2019-08-28T19:03:50.543" Title="Multiple Audio Sources for Audio Spectrum" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24812" PostTypeId="1" CreationDate="2018-09-14T07:16:30.890" Score="2" ViewCount="2977" Body="&lt;p&gt;I had a HDR video and the format is ProRes. The colour bit depth of ProRes is 10-bit. I would like to extract the 10-bit RGB values from the HDR video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As per &lt;a href=&quot;https://video.stackexchange.com/questions/22136/convert-video-to-10-bit-images&quot;&gt;this&lt;/a&gt; link, I have first converted the 10-bit HDR video to a number of 16-bit TIFF images. However, when I use some program like python to read back the RGB values from the TIFF image, some of the 16-bit RGB values are larger than 1024 (=2^10). It looks to me the 10-bit RGB value has been expanded to 16-bit and store the expanded value in the TIFF image but I am not sure if that is the case. How can I obtain the original 10-bit RGB values from the 16-bit RGB values stored in the TIFF image?&lt;/p&gt;&#xA;" OwnerUserId="23172" LastActivityDate="2022-02-08T06:11:02.783" Title="How to read 10-bit RGB values from HDR video?" Tags="|video|ffmpeg|conversion|color|hdr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24813" PostTypeId="2" ParentId="24812" CreationDate="2018-09-14T09:05:57.657" Score="2" Body="&lt;p&gt;The ProRes input will have YUV encoding, not RGB. If you need a raw dump, save as rawvideo.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mov -f rawvideo raw.yuv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that bit depths which aren't multiples of 8 are still stored in data layouts which are, with padding. So, if ProRes is yuv422p10le in limited / studio range, the 10-bit luma value for a white pixel will be 940 or &lt;code&gt;1110101100&lt;/code&gt; but will be stored as 16 bits in the file: &lt;code&gt;1110110000000011&lt;/code&gt; where the order is little-endian.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can however save as RGB 10-bit (with padding),&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mov -pix_fmt gbrp10be -f rawvideo raw.rgb&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where the green plane is stored first, then blue, then red. The above is for big-endian so the byte order isn't reversed.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-09-14T09:05:57.657" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="24814" PostTypeId="2" ParentId="24802" CreationDate="2018-09-14T10:38:14.233" Score="2" Body="&lt;p&gt;You don't say what video editing software you are using, but assuming it's either Adobe's Premiere Pro, Davinci Resolve, or FinalCut Pro X, the general answer is the same.  Multicam is a convenience for you as an editor to use a special viewer in your NLE to view (and cut) multiple camera angles at the same time.  To output two cameras simultaneously, you need to have two video layers visible at the same time, one for each angle.  If you zoom and pan one video layer so that it occupies the left side of your output and you zoom and pan the other video layer so that it occupies the right side of your output, you can show two cameras at the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another way to show two video camera views at the same time is picture-in-picture.  In this case, one layer can be full-sized and a second layer, placed on top, can be zoomed and panned to wherever you want the picture-in-picture image to be (usually lower right).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It doesn't really matter whether the video layer source is an active mulicam or a flattened multicam (which resolves to a simple video layer).  What matters a lot is that you have scaled and located the video footage so that both layers are visible at the same time.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2018-09-14T10:38:14.233" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24815" PostTypeId="1" AcceptedAnswerId="30390" CreationDate="2018-09-14T13:00:58.283" Score="2" ViewCount="1581" Body="&lt;p&gt;I'm trying to overlay 2 videos which both have depth layers (e.g. how far a pixel is away from the camera) using ffmpeg filters. (I have a few hundred of those videos so I'd like to do batch job out of this)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the video files are perfectly in sync with each other and their depth layers. The Files are saved in the lagarith lossless encoding (which ffmpeg can read). The video files are also using a greenscreen which I already filter using this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loglevel info -hide_banner -i &quot;%fst%&quot; -i &quot;%snd%&quot; -filter_complex &quot;[1:v]chromakey=0x00ff00:0.5:0.0[ckout];[0:v][ckout]overlay[out]&quot; -map [out] -c:v hevc_nvenc -preset lossless -c:a aac &quot;result.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This command takes video %snd% makes the greenscreen transparent and puts the result on top of %fst% and writes it to result.mp4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issue is, that I'd like also include the depth layers into the merge process, so that the nearer pixel is selected from both videos (the pixel with the brighter depth layer pixel). (the greenscreen can be rendered transparent in a later iteration, so we don't have to worry about that)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the depth layers the variables %fst_depth% and %snd_depth% are defined.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone an idea at what filter I should take look at or even a full solution for this issue?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE:&lt;/strong&gt;&#xA;I have partially a working solution:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;@ffmpeg -i %fst% -i %snd% -i %fst_depth% -i %snd_depth% -filter_complex  &quot;[2:v][3:v] blend=all_expr='if(lt(A,B),0,255)' [mask] ;[0:v][1:v][mask] maskedmerge [out]&quot; -shortest -map [out] -c:v hevc_nvenc -preset lossless -c:a aac &quot;result2.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The issue with this one is, that for some reason, the second video objects are missing most of the colors and are partially transparent for some reason. The weird blocky glitches got solved (depth map inaccurate), but the colors are still weird: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/dggKmFpeIdE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example of a Video Frame: &lt;a href=&quot;https://i.stack.imgur.com/kzSu9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kzSu9.png&quot; alt=&quot;Video frame&quot;&gt;&lt;/a&gt;&#xA;Example of the according depth Frame (black near, white far): &lt;a href=&quot;https://i.stack.imgur.com/xeTXz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xeTXz.png&quot; alt=&quot;Depth frame&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23175" LastEditorUserId="23175" LastEditDate="2018-09-17T13:01:20.523" LastActivityDate="2020-05-25T11:03:31.243" Title="How to overlay 2 videos using depth layers" Tags="|ffmpeg|editing|filter|" AnswerCount="1" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24817" PostTypeId="1" AcceptedAnswerId="24819" CreationDate="2018-09-14T15:17:56.703" Score="4" ViewCount="37" Body="&lt;p&gt;I was re-watching for the upteenth time &lt;a href=&quot;https://www.youtube.com/watch?v=UGJV6cJkFcc&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;10 seconds in, when they start performing, the effect I would like to talk about is evident: the band members seem to move as if the video was sped up, yet their movements are in sync with the song (look at the drummer and most noticeably the singer lips).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It does not seem to me that they where filmed at a lower speed (i.e. also the song was being played slowly), so I am wondering, how can such an effect be obtained? Am I mistaken and the method is indeed the one I am discarding, or is there some more clever video editing process at play here?&lt;/p&gt;&#xA;" OwnerUserId="20571" LastActivityDate="2018-09-14T16:06:25.430" Title="How can a similar effect to the one seen here be obtained?" Tags="|visual-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24818" PostTypeId="1" CreationDate="2018-09-14T15:31:32.903" Score="1" ViewCount="258" Body="&lt;p&gt;I recorded some video footages with my voiceover, both with &lt;strong&gt;Fraps&lt;/strong&gt; and &lt;strong&gt;OBS&lt;/strong&gt;. (Also streamed with the latter)&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;While I was &lt;strong&gt;playing&lt;/strong&gt; everything was &lt;strong&gt;fine&lt;/strong&gt;. (I played with a headset)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;When I played the videos on my notebook &lt;strong&gt;speaker&lt;/strong&gt;, they were &lt;strong&gt;fine&lt;/strong&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;But when I played them with my &lt;strong&gt;headset on&lt;/strong&gt;, they had &lt;strong&gt;too much bass&lt;/strong&gt;. But only the &lt;strong&gt;desktop sounds&lt;/strong&gt;. The mic input was fine.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="23178" LastActivityDate="2023-12-12T19:01:00.113" Title="Too much bass in desktop sounds with a headset, but not during recording, only afterwards" Tags="|audio|video-recording|audio-recording|audio-quality|obs|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24819" PostTypeId="2" ParentId="24817" CreationDate="2018-09-14T16:06:25.430" Score="5" Body="&lt;p&gt;It looks like a mix of factors to me.  Certainly re-timing (speeding up and jumping frames around) is a part of it, but mostly, I think they had a lot of wind on a green screen and then cut it over an environment where it doesn't make sense.  It's hard to tell how much the excess blinking is the wind and how much is re-timing, but some of it does appear to be retimes.  They vary the retiming of the composited content while keeping the background constant though which gives your brain less to latch on to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as retiming in sync with the music, there is an easy trick to pull that off for songs.  You simply slow down a recording of the music by the desired amount and have them play along.  When sped back up, things match perfectly.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2018-09-14T16:06:25.430" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24820" PostTypeId="2" ParentId="24795" CreationDate="2018-09-14T17:45:46.117" Score="1" Body="&lt;p&gt;The method in my comment still stands.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say you have two audio tracks. Basic command syntax is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i picsou.mp4 \&#xA;       -i audio1.wav \&#xA;       -i audio2.wav \&#xA;       - filter_complex &quot;[1:a]adelay=30000|30000[1a];\&#xA;                         [2:a]adelay=35000|35000[2a]&quot; \&#xA;      -map 0:v -map &quot;[1a]&quot; -map &quot;[2a]&quot; -c:v copy -shortest \&#xA;  out.mxf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The adelay filter here expects two channels per input stream. Channel delay values are in milliseconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On linux / OSX you may have to use single quotes around the arguments.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-09-14T17:45:46.117" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24821" PostTypeId="1" AcceptedAnswerId="24822" CreationDate="2018-09-15T15:18:37.130" Score="0" ViewCount="187" Body="&lt;p&gt;Apologies for being a ffmpeg noob, but I'm having trouble with modifying the answer to &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/14519/add-image-under-the-video-with-ffmepg/14532#14532?newreg=4a36ee24267d464390a1582c3b5f3221&quot;&gt;Add image under the video with ffmepg&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;to place the image above instead of below the video... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My questions is in regard to modifying the command &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i image.png -filter_complex &quot;[1:v]scale=320:-1[bottom];[0:v][bottom]vstack&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried many different variations of this command to no avail and I think its my misunderstand of filter_complex and the meaning of &quot;[1:v]&quot; &quot;[bottom]&quot; and &quot;[0:v]&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for your help!&lt;/p&gt;&#xA;" OwnerUserId="23182" LastActivityDate="2018-09-15T15:40:09.477" Title="Add image above the video with ffmepg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24822" PostTypeId="2" ParentId="24821" CreationDate="2018-09-15T15:40:09.477" Score="0" Body="&lt;p&gt;The basic form will be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i image.png -filter_complex &quot;[1:v]scale=320:-1[top];[top][0:v]vstack&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;A label of the form &lt;code&gt;1:v&lt;/code&gt;, equivalent to &lt;code&gt;1:v:0&lt;/code&gt; within filters, is a stream specifier - it means use the first video stream of the 2nd input. &lt;code&gt;0:v&lt;/code&gt; refers to the first video stream of the first input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;bottom&lt;/code&gt; in your command and &lt;code&gt;top&lt;/code&gt; in mine are arbitrary labels assigned to the result of the scale filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then that resulting stream is fed first to the vstack so that it gets stacked on top.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-09-15T15:40:09.477" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24823" PostTypeId="2" ParentId="24803" CreationDate="2018-09-15T23:43:08.867" Score="1" Body="&lt;p&gt;Stock footage. The spots and fast moving text are from old film leaders. When you are projecting film the first dozen feet or so is the &quot;leader&quot; it protects the inner film from dust and scratches, and lets you thread the projector. It often has the name of the reel written on it. That's what you're seeing over the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Prelinger film archive has plenty of old films with leaders, many of which are in the public domain. Composite one over your footage with the luma inverted, and adjust the brigtness / contrast and opacity until you get the look you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &quot;smoke&quot; is probably ink in water. It's a common stock footage effect. &lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-09-15T23:43:08.867" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24824" PostTypeId="2" ParentId="24790" CreationDate="2018-09-16T07:05:46.813" Score="1" Body="&lt;p&gt;As well as avoiding shadows, another reason you want to get the green screen as far away behind the talent as possible is to avoid any green spill. (that is, green color cast light being reflected off the green screen and hitting the talent)&lt;/p&gt;&#xA;" OwnerUserId="23185" LastActivityDate="2018-09-16T07:05:46.813" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24825" PostTypeId="1" AcceptedAnswerId="24826" CreationDate="2018-09-17T09:31:48.657" Score="0" ViewCount="597" Body="&lt;p&gt;I'm using ffmpeg to do two things - add a transparent watermark to the whole video, and also add a title intro image. I'm using the following command to add the watermark:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i original.mp4 -i watermark.png -filter_complex &quot;overlay=W-w-45:H-h-35&quot; watermarked.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And this command to add the intro:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -itsoffset 2 -i watermarked.mp4 -r 25 -loop 1 -i intro.png -filter_complex &quot;[1:v] fade=out:50:10:alpha=1 [intro]; [0:v][intro] overlay=shortest=1 [v]&quot; -map &quot;[v]&quot; -map 0:a output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm concerned that by processing the video twice, I'm losing quality. Is there a way to add the watermark and the intro with just one ffmpeg command / just one pass on the video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I understand the first ffmpeg command above, but I'm a bit lost with the second one - I managed to get it working based on code I saw somewhere)&lt;/p&gt;&#xA;" OwnerUserId="23192" LastActivityDate="2018-09-17T12:58:30.540" Title="Is it possible to merge two ffmpeg commands into one?" Tags="|ffmpeg|post-production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24826" PostTypeId="2" ParentId="24825" CreationDate="2018-09-17T10:55:16.833" Score="1" Body="&lt;p&gt;Can't test the below now, but it should be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -itsoffset 2 -i original.mp4 -i watermark.png -loop 1 -t 2.5 -i intro.png -filter_complex &quot;[2:v] fade=out:50:10:alpha=1 [intro]; [0][1]overlay=W-w-45:H-h-35[main];[main][intro] overlay=eof_action=pass [v]&quot; -map &quot;[v]&quot; -map 0:a output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-09-17T12:58:30.540" LastActivityDate="2018-09-17T12:58:30.540" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24827" PostTypeId="1" AcceptedAnswerId="25861" CreationDate="2018-09-17T20:42:17.220" Score="2" ViewCount="392" Body="&lt;p&gt;I have a Nikon D750 and cannot figure out the logic behind video (or still photos in live view) and flickering. I live in Norway, so the electricity is 50 Hz. If I shoot video at 1/50 or 1/100 second I get no flickering when using indoors (1080p 24 fps). However, if my shutter speed is increased to 1/200, 1/400 and so on I get flickering again. Does anyone know why this is happening? I also tried to record video at 1/200 and play back (to ensure that it is &quot;real&quot; flickering and not just an issue with the live view preview) and the issue persists. I though any multiplier of 50 should provide a flicker free video, but this appears to just be the case for 1/50 and 1/100 second. Does it have anything to do with the readout time of the sensor/rolling shutter somehow?&lt;/p&gt;&#xA;" OwnerUserId="23196" LastActivityDate="2019-02-04T08:21:53.297" Title="Flickering when doubling shutter speed" Tags="|framerate|nikon|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24828" PostTypeId="1" AcceptedAnswerId="25039" CreationDate="2018-09-17T22:28:57.227" Score="1" ViewCount="26" Body="&lt;p&gt;I've notests this for a while now, but it seems Premiere Pro CS6 is making the edited video more soft / less sharp. I'm using a GoPro Hero4 / Session2 in 1080p/60fps and it seems the only way I can get the production video to be as sharp as the original is by encoding it in 4k. If I encode it on 1080p/60fps (same as input) the image gets washed out no matter what encodig settings I use. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've used FFmpeg for other encoding jobs, and that generates much more sharp video's than PP CS6 does in much smaller formats. So it can't be the encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could this be some wrong setting? Maybe this is a known &quot;feature&quot; of Premiere? It doesn't matter if I encode the video at 10mbps or 100mbps, the output is just washed out. It's not much, but its enough to get on my nerves.&lt;/p&gt;&#xA;" OwnerUserId="23197" LastActivityDate="2018-10-18T14:51:24.717" Title="Original video sharper than editted (PP CS6)" Tags="|premiere|cs6|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="24829" PostTypeId="1" AcceptedAnswerId="34176" CreationDate="2018-09-18T09:22:50.440" Score="4" ViewCount="293" Body="&lt;p&gt;Are there any disadvantages (like worse image quality/more compression artefacts) when encoding a video in H.265 with dimensions that are not a multiple of 16 or 8, but instead a multiple of 4 or 2?&#xA;For example 1920x816 vs. 1920x818.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At least in file size there seems to be no difference, as far as my tests go.&lt;/p&gt;&#xA;" OwnerUserId="19541" LastActivityDate="2021-07-28T17:00:35.183" Title="H.265 disadvantages with video dimensions not multiple of 8" Tags="|encoding|video-quality|h.265|h265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24835" PostTypeId="1" CreationDate="2018-09-19T18:53:32.127" Score="1" ViewCount="698" Body="&lt;p&gt;In some executions of the following command, ffmpeg freezes at certain time and after some minutes starts to encode the stream again. The problem don't happen always. The stream server is an avigilon camera.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -hwaccel cuda -hex -rtsp_transport tcp -t 60 -i rtsp://user:passwd@ip/defaultPrimary?streamType=u -c:v h264_nvenc -s:v 1080x720 -dn -an -b:v 2.4M -maxrate 2.4M -bufsize 1M -profile:v high&#xA;-pix_fmt yuv420p -preset llhq -qmin:v 19 -qmax:v 21 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See the log when it freezes:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/N2dnu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/N2dnu.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Am I doing something wrong?This is a known bug?There is a work around solution?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;ffmpeg version&lt;/strong&gt;: N-91936-g776cdd1dc8 Copyright (c) 2000-2018 the FFmpeg developers built with gcc 7 (Ubuntu 7.3.0-16ubuntu3)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;CUDA toolkit version&lt;/strong&gt;: 9.2&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;NVidia driver&lt;/strong&gt;: nvidia-396&lt;/p&gt;&#xA;" OwnerUserId="23214" LastActivityDate="2018-09-19T18:53:32.127" Title="FFmpeg NVENC rtsp stream encoding freezes randomly" Tags="|ffmpeg|encoding|streaming|nvenc|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24836" PostTypeId="1" AcceptedAnswerId="24837" CreationDate="2018-09-20T03:46:25.550" Score="0" ViewCount="312" Body="&lt;p&gt;I have an video with this resolution: 1920x1080,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to scale it to 480x852, like this video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://scontent-frx5-1.cdninstagram.com/vp/d7b76fe78c9ad72016b98dcda320a6ca/5BA532D8/t50.16885-16/10000000_232772710752607_772643665699930112_n.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://scontent-frx5-1.cdninstagram.com/vp/d7b76fe78c9ad72016b98dcda320a6ca/5BA532D8/t50.16885-16/10000000_232772710752607_772643665699930112_n.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;but it seems it's not working correctly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;here is my command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-i input.mp4 -vf scale=480x852,setdar=1:009 -c:v libx264 -preset veryfast -profile:v main -crf 18 -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Where do I wrong?&lt;/p&gt;&#xA;" OwnerUserId="23217" LastActivityDate="2018-09-20T04:46:42.843" Title="FFmpeg scale video to desire size" Tags="|video|ffmpeg|scale|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24837" PostTypeId="2" ParentId="24836" CreationDate="2018-09-20T04:46:42.843" Score="0" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf scale=480:-1,pad=480:852:(ow-iw)/2:(oh-ih)/2,setdar=1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-09-20T04:46:42.843" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24838" PostTypeId="1" CreationDate="2018-09-20T05:16:58.370" Score="1" ViewCount="3313" Body="&lt;p&gt;I am working on a recipe to convert Avid DNxHD files which are rec.709 &quot;legal&quot; range (15-235 in 8bpc) to .png files which are &quot;full&quot; range (0-255). In looking around it seems that &quot;colorspace&quot; could do this, but I am quite new to FFMPEG filters and I can't seem to get it to work... I've looked all over the place but not found a solution to this simple question&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-i video.mov -fv yadif=0:0:0,colorspace=srgb transcode_%04d.png&lt;/code&gt; just throws an error, and I assume I just don't know the proper syntax (no real example for this in the manual, that I could find).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Separately i thought this might work: &lt;code&gt;-i video.mov -vf yadif=0:0:0,scale=in_range=tv:out_range=full transcode_%04d.png&lt;/code&gt;. This runs without complaining, but the output .png's are still in legal range.&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2019-08-22T04:03:40.410" Title="FFMPEG expand limited range to full range" Tags="|ffmpeg|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="24840" PostTypeId="1" CreationDate="2018-09-19T18:25:07.307" Score="1" ViewCount="31" Body="&lt;p&gt;I want to send control output of an auto mic mixer (AT mx341/non Midi) to a Roland V1HD video switcher that accepts MIDI using an Arduino Uno in between. When mic one is hot, I want camera one selected, mic 2 to camera 2--up to 4.&lt;br&gt;&#xA;This should be simple, but I don't want to use a computer or other controller in between.  &lt;/p&gt;&#xA;" OwnerDisplayName="tonyg" LastEditorUserId="17390" LastEditDate="2018-11-04T17:32:53.443" LastActivityDate="2018-11-04T17:32:53.443" Title="Voice activated camera using USB MIDI" Tags="|video-recording|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24842" PostTypeId="1" AcceptedAnswerId="24843" CreationDate="2018-09-20T21:04:45.517" Score="2" ViewCount="573" Body="&lt;p&gt;Is MP4 a valid or common container for ProRes? I've only seen it in MOVs and MXFs.&lt;/p&gt;&#xA;" OwnerUserId="21845" LastActivityDate="2018-09-21T04:32:00.660" Title="Is MP4 a valid or common container for ProRes?" Tags="|codec|mp4|prores|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24843" PostTypeId="2" ParentId="24842" CreationDate="2018-09-21T04:32:00.660" Score="4" Body="&lt;p&gt;No, officially, ProRes is not a &lt;a href=&quot;http://mp4ra.org/#/codecs&quot; rel=&quot;nofollow noreferrer&quot;&gt;registered codec&lt;/a&gt; for the ISOBMFF family, of which MP4 is a member.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-09-21T04:32:00.660" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24846" PostTypeId="1" CreationDate="2018-09-21T23:24:49.960" Score="1" ViewCount="1290" Body="&lt;p&gt;I'm trying to convert all non-transparent pixels of an image to white using the geq filter in ffmpeg:&#xA;&lt;code&gt;ffmpeg -y -i in.png -vf &quot;format=rgba,geq='r=if(lt(alpha(X,Y),10),255):g=if(lt(alpha(X,Y),10),255):b=if(lt(alpha(X,Y),10),255):a=alpha(X,Y)'&quot; x.png&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But ffmpeg is giving me black pixels instead of white. Any ideas what is going on?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;in.png: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Dh36M.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Dh36M.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;out.png: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/g8q1L.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/g8q1L.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22579" LastActivityDate="2022-08-06T17:01:50.157" Title="ffmpeg convert non transparent pixel to white" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24848" PostTypeId="2" ParentId="24846" CreationDate="2018-09-22T06:11:13.123" Score="1" Body="&lt;p&gt;The two operand &lt;code&gt;if&lt;/code&gt; expression returns 0 if the condition isn't met. You need the three operand version.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;if(lt(alpha(X,Y),10),255,p(X,Y))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-09-22T06:11:13.123" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24851" PostTypeId="2" ParentId="18533" CreationDate="2018-09-22T11:44:09.647" Score="2" Body="&lt;p&gt;Use ffmpeg with &lt;code&gt;-vf scale=1200:900&lt;/code&gt; option. For example&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf scale=1200:900 -c:a copy output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="23212" LastActivityDate="2018-09-22T11:44:09.647" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24852" PostTypeId="2" ParentId="24178" CreationDate="2018-09-22T22:30:22.120" Score="1" Body="&lt;p&gt;I have been looking foe the same answer for the US version Rebel T7i. Unfortunately only the Pro versions of Canon have the true Mirroring or Clean HDMI out feature BUT by using Cannon Utilities and the USB connection rather than the HDMI mini a clean signal can be accomplished. Canon customer support agreed that this is possible but warned against an over heat issue while using this camera for streaming this way for longer than 20 minutes. They explained the over heat is in the focusing hardware. &lt;/p&gt;&#xA;" OwnerUserId="23231" LastActivityDate="2018-09-22T22:30:22.120" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24855" PostTypeId="1" CreationDate="2018-09-24T14:53:49.910" Score="1" ViewCount="60" Body="&lt;p&gt;I've been learning about using different numbers of claps or finger-clicks when shooting my video/audio, so that later in editing they can act as markers as to which takes were good and which can just be ignored.[1] I'm not sure this approach would be used in a multi-person pro environment, but it's in a course on making videos by yourself and I'm finding it really useful since it means I don't have to stop/re-start my camera and sound every time I screw up in my dialog (which is &lt;em&gt;a lot&lt;/em&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, for example, you might use three claps to mark the end of a good take. That way, when it comes to editing time, you can scan through the audio channel and know that you can ignore any sections not ending with the three tell-tale audio spikes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is: &lt;strong&gt;Is there any kind of &lt;em&gt;standard&lt;/em&gt; or more comprehensive approach to this?&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess I'm wondering if there's maybe any kind of overall system of &quot;clap codes&quot; that would include not only the 3-clap &quot;&lt;em&gt;Good Take&lt;/em&gt;&quot; indicator but also have, for example, a 2-clap &quot;&lt;em&gt;Mostly Good Take&lt;/em&gt;&quot; one. So suppose you were recording yourself speaking a long block of dialog but you screwed up on the very last line. Rather than re-take the whole thing, you might just immediately bash on and try to repair it, re-doing only the messed up last line (and maybe the one or two preceding it), with the intention of then stitching both parts together later, in post. So you'd get something like the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;[CLAP!]&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Lots and&#xA;lots and&#xA;...&#xA;lots of dialog&#xA;Second last line&#xA;Last line but we made a mistake&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;[CLAP! x 2]&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Second last line&#xA;Last line done correctly this time&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;[CLAP! x 3]&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;[1] Note that this is in addition to the standard single audio/video sync clap/click inserted at the start of a take. &lt;/p&gt;&#xA;" OwnerUserId="23238" LastActivityDate="2018-09-24T14:53:49.910" Title="Marking good and bad takes to help in editing" Tags="|editing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24856" PostTypeId="2" ParentId="23421" CreationDate="2018-09-24T16:16:43.787" Score="0" Body="&lt;p&gt;I'm probably too late to the party at this stage, but I'll offer a suggestion. Unless I've missed some detail, to me the slam-dunk answer is &lt;a href=&quot;https://www.techsmith.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;Camtasia&lt;/a&gt;. It is in itself a very capable video editor, but it is targeted at non-video-pro types, especially in business, teaching, and the like. There are three aspects about it that I think make it the best choice here. Compared with Adobe, for example, Camtasia:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Has a much shorter, more gentle learning curve than Premiere Pro. You'll get to produce useful stuff much more quickly with it.&lt;/li&gt;&#xA;&lt;li&gt;Has additional not-strictly-video features, useful to the business person, teacher etc, that Premiere Elements (nor Pro for that matter) even pretends to have. For example, it lets you create stopping points at which the viewer gets to answer review questions. It can also modify a viewer's path through a complex video according to their answers. So it's useful for training, or for video-based documentation.&lt;/li&gt;&#xA;&lt;li&gt;Is much cheaper than Pro. Roughly the same amount gets you a fully-owned copy of Camtasia versus only one year of Premiere Pro.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;On that learning curve, part of that is the way the basic use model has been conceived. It is aimed at the content producer, not the video expert. It is nothing more than that content producer sitting at their computer running a PowerPoint presentation, or working live on some Excel, etc and than recording one or more of: that screen activity; their own video headshot from their computer's webcam; their own dialog from their computer's mic; and any &quot;system&quot; sounds from the computer itself. That recording can be triggered by a couple of mouse clicks, and then when it's done the program drops the whole lot -- channels for each of the sources chosen -- automatically into the editor for subsequent post processing. And you can do that once only, or many times, accumulating a range of takes for subsequent combining. But in addition to that basic workflow, you can also import still images, video from other sources, sound from additional and/or better mics, and so on. Then using the editor itself, you have access to a wide range of the usual types of activities, including cuts, joins, video and audio effects and so on. It is a fully capable NLE in every way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now all that said, Camtasia definitely is focused on those for whom high degrees of visual precision and artistry take second place to content delivery. I've argued the learning curve is easier with Camtasia, one reason being the basic use model. But another reason is the sheer power and size of Premiere Pro. My experience, having used Camtasia first, but then working with Premiere Pro (and associated CC) was much the same as my experience of watching the Avengers. At first encounter, Loki (Camtasia), is pretty awesome. But inevitably you have to see him go &lt;a href=&quot;https://youtu.be/uZzoOc85Csk&quot; rel=&quot;nofollow noreferrer&quot;&gt;face to face with The Hulk&lt;/a&gt; (Premiere Pro) and you kinda have to re-calibrate what awesome means :-)&lt;/p&gt;&#xA;" OwnerUserId="23238" LastActivityDate="2018-09-24T16:16:43.787" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24857" PostTypeId="2" ParentId="17777" CreationDate="2018-09-24T18:51:53.630" Score="0" Body="&lt;p&gt;The single parameter I would care most is the frame rate. Make sure there are no odd frame conversions that produce hiccups or excessive smear or ghosting. So, either shoot at the same frame rate, or convert in a way to avoid visible artefacts. Everything else is not important. Of course, one can see the difference between shallow-DOF shot from a DSLR and a long-DOF shot from a smartphone, but this is fine as long as you stick to some convention, say shallow-DOF for interviews and long-DOF for B-shots. Inconsistent sound and color would irritate a viewer more than inconsistent resolution.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-09-24T18:51:53.630" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24859" PostTypeId="2" ParentId="17777" CreationDate="2018-09-24T19:24:55.180" Score="0" Body="&lt;p&gt;It is definitely possible to see the difference between two cameras, even the same model! The trick is mainly getting them to match together in post production. For example Black Swan was famously shot on an Arri Alexa, with some scenes shot on a Cannon DSLR. So yes it is definitely possible - but if you read up on the production notes you'll see that they did quite a bit of post-work to get the images to line up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As mentioned frame rate is key (you won't even be able to cleanly edit two different frame rates on one timeline) but so are many other things. You'll want to match shutter speed, white balance and ideally ISO. Though realize that matching these settings does not mean you'll get the same image across cameras, color in particular (white balance) will not match exactly and that's where color correction will come in. But given you roughly match your settings, and spend a bit of time tweaking color you can get something that cuts perfectly without too much worry.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And to answer your question about cheaper point-and-shoot cameras I would say absolutely not. Not if you are half-serious about your production.&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2018-09-24T19:24:55.180" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24860" PostTypeId="2" ParentId="7300" CreationDate="2018-09-24T20:03:39.387" Score="5" Body="&lt;p&gt;For the missing sequence part, I used 2 liner&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;CONCAT=$(echo $(ls *.png | sort -n -t _ -k 2) | sed -e &quot;s/ /|/g&quot;)&#xA;ffmpeg -framerate 25 -i &quot;concat:$CONCAT&quot; -c:v libx264 -profile:v high -pix_fmt yuv420p output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Hope this will help someone in future&lt;/p&gt;&#xA;" OwnerUserId="21991" LastActivityDate="2018-09-24T20:03:39.387" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24862" PostTypeId="1" CreationDate="2018-09-25T06:05:54.537" Score="1" ViewCount="501" Body="&lt;p&gt;I have started video recording some of my game sessions recently. Some of the consoles I am using output 720p and I was wondering what the effect would be, if I record them with 1080p:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;How does that impact the file size?&lt;/li&gt;&#xA;&lt;li&gt;How does that impact the sharpness of the imagery?&lt;/li&gt;&#xA;&lt;li&gt;Do I gain some advantage this way?&lt;/li&gt;&#xA;&lt;li&gt;Should I record 720p always with 720p?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="23247" LastActivityDate="2018-10-19T17:52:59.440" Title="Recording 720p source with 1080p" Tags="|video-recording|video-capture|digital-recording|recording|video-game|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24863" PostTypeId="1" CreationDate="2018-09-25T17:26:25.727" Score="1" ViewCount="34" Body="&lt;p&gt;I used tripod to film a subject which is speaking and their head is moving around ever so slightly.&#xA;I want to to position the subject based on their eyes so that their eyes do not move at all. I am projecting this video on a Styrofoam head and it is critical the the eye position remain fixed.&#xA;I've tried stabilizer, but it still produces a moving subject. I've attempted to use transform and keyframes, but it does not look that good. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a better way to stabilize a subject at a fixed position using a tracker in Davinci Resolve? &lt;/p&gt;&#xA;" OwnerUserId="23249" LastActivityDate="2018-09-25T17:26:25.727" Title="Track and apply fixed positioning in frame for subject" Tags="|davinci-resolve|blackmagic|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24864" PostTypeId="2" ParentId="24695" CreationDate="2018-09-25T21:58:48.870" Score="0" Body="&lt;p&gt;As mentioned by other users I don't think down-res'ing is the right option. But I thought I'd chime in to at least answer the question directly so you have that data too!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The easiest way to down-res the clip would be to take the composition you are rendering and place it into a precomposition by dragging it onto the comp icon at the bottom of the project panel. Then open the new composition and under the menu bar click &lt;code&gt;Composition&amp;gt;Composition Settings&lt;/code&gt; and change the width and height to 1280 x 720 respectively. And lastly select the one layer in your new composition and right-click it, then choose &lt;code&gt;Transform&amp;gt;Fit to Comp&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2018-09-25T21:58:48.870" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24865" PostTypeId="2" ParentId="24838" CreationDate="2018-09-25T22:51:33.067" Score="1" Body="&lt;p&gt;Whelp finally figured this one out when I stumbled across the answer in another forum. Pretty simple really, just needed to study  up on &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#Filtergraph-syntax-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;filtergraphs&lt;/a&gt;. And for the record bwdif deinterlacing is FAR better than yadif! Not sure why anyone even recommends yadif anymore with bwdif out there...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-i inputfile -vf bwdif=0:0:0,scale=in_range=tv outputfile.mov&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2018-09-25T22:51:33.067" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24866" PostTypeId="1" AcceptedAnswerId="24871" CreationDate="2018-09-26T08:34:14.127" Score="2" ViewCount="666" Body="&lt;p&gt;I want to crop a video frame sequence by frame number. For example for 10000 frames  sequence, i want to crop it 750 frame from beginning.&lt;/p&gt;&#xA;" OwnerUserId="23253" LastActivityDate="2018-09-26T19:10:43.627" Title="How can i crop a frame sequence with ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24867" PostTypeId="2" ParentId="24862" CreationDate="2018-09-26T09:51:22.960" Score="2" Body="&lt;p&gt;It is best to match the source dimensions with your recoding dimensions. Using a larger number of pixels requires more data or bandwidth to encode the scaled source. You wont be able to make a sharper image as there isnt any additional information being generated and in fact the scale up might make the image softer or add artifacts like aliasing. &lt;/p&gt;&#xA;" OwnerUserId="11997" LastActivityDate="2018-09-26T09:51:22.960" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24870" PostTypeId="1" CreationDate="2018-09-26T17:41:40.840" Score="3" ViewCount="58" Body="&lt;p&gt;Hope you are doing well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am working on a &lt;strong&gt;Slow Motion Video&lt;/strong&gt; in which Camera is &lt;strong&gt;rotating around&lt;/strong&gt; a person on a dolly. I want to do &lt;strong&gt;3D Camera Tracking&lt;/strong&gt; of this Shot. I have tried it Using &lt;strong&gt;Adobe After Effects Camera Tracker&lt;/strong&gt; but I am getting following error:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Unable to solve camera&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not sure what to do about it. So here I need help with that, I need suggestions, and guidelines about how to do it actually and which software should I use for this kind of Camera Tracking.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is &#xA;&lt;a href=&quot;https://youtu.be/dJKyP1_CMl8&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video for Camera Tracking&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please have a look at above video and help me to do Camera Tracking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Waiting for response.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="22988" LastActivityDate="2018-10-01T09:18:35.023" Title="How can I do Camera Tracking of turnaround Camera Shot?" Tags="|after-effects|tracking|compositing|visual-effects|360video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24871" PostTypeId="2" ParentId="24866" CreationDate="2018-09-26T19:10:43.627" Score="1" Body="&lt;p&gt;FFmpeg's image sequence demuxer has a start_number option, so if you want to skip img_0749.jpg and start from img_0750.jpg, you would start your command as follows,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -start_number 750 -i img_%04d.jpg ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See the docs for the image2 demuxer at &lt;a href=&quot;http://ffmpeg.org/ffmpeg-formats.html#image2-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://ffmpeg.org/ffmpeg-formats.html#image2-1&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-09-26T19:10:43.627" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24872" PostTypeId="1" CreationDate="2018-09-26T20:11:51.553" Score="5" ViewCount="1395" Body="&lt;p&gt;I have a H264 video that is, for the most part, just a video of presentation slides.&lt;br&gt;&#xA;It doesn't seem to me that it's as well-compressed as it could be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given that it's a video of presentation slides, the vast, vast majority of the frames should be &lt;strong&gt;exactly&lt;/strong&gt; the same as each other.&#xA;To the extent that they are &lt;em&gt;not&lt;/em&gt; identical, it would be due to encoding noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, is there any way (e.g. in FFMPEG, or via other tools) I could automatically &quot;detect and repeat&quot; such similar frames in these videos, so that any consecutive frames that are identical to within some small epsilon tolerance are automatically deduplicated and merely repeated from prior frames, so that the frames are encoded once?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that there &lt;em&gt;are&lt;/em&gt; random bits of normal film video in between, so I can't assume the &lt;em&gt;entire&lt;/em&gt; video is like this. But maybe 90% of it is like this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Ideally unaffected parts of the stream would be copied directly without being re-encoded, but if this isn't possible then I can live with a bit of quality loss.)&lt;/p&gt;&#xA;" OwnerUserId="23257" LastActivityDate="2018-10-17T20:53:10.957" Title="How to optimize already-encoded videos of still images (e.g. presentation slides)?" Tags="|ffmpeg|encoding|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24873" PostTypeId="2" ParentId="24872" CreationDate="2018-09-26T22:49:58.863" Score="2" Body="&lt;p&gt;Video codecs already do this. They will insert key frames regularly however to make sure you can still seek to random times within the file without having to decode the entire thing. Most encoding tools let you change that interval. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2018-09-26T22:49:58.863" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24874" PostTypeId="1" CreationDate="2018-09-27T10:15:57.947" Score="4" ViewCount="869" Body="&lt;p&gt;In the &lt;a href=&quot;https://ffmpeg.org/~michael/ffv1.html&quot; rel=&quot;noreferrer&quot;&gt;docs&lt;/a&gt; for FFV1 there's a parameter &lt;code&gt;-context&lt;/code&gt;, which can be set to 'small' or 'large'. That's all the documentation I can find. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Y1gnj.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Y1gnj.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I'm at it, what are the relative benefits of the different encoders: Golomb Rice vs Range Coder?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-12-28T14:37:18.703" Title="What does the `-context` parameter mean when using FFV1 in ffmpeg" Tags="|ffmpeg|encoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24875" PostTypeId="2" ParentId="24874" CreationDate="2018-09-27T12:33:25.863" Score="2" Body="&lt;p&gt;The coder here refers to the process used for &lt;a href=&quot;https://en.wikipedia.org/wiki/Entropy_encoding&quot; rel=&quot;nofollow noreferrer&quot;&gt;entropy coding&lt;/a&gt; the error residuals. The context size sets how many neighbouring residuals are considered in this process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As to the relative benefits, have no particular experience here, but since this is a lossless process, the tradeoff will be between time, size and resource use. This latter question is better suited for &lt;a href=&quot;https://dsp.stackexchange.com/&quot;&gt;https://dsp.stackexchange.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-09-27T12:33:25.863" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24883" PostTypeId="2" ParentId="23686" CreationDate="2018-09-29T10:34:17.007" Score="0" Body="&lt;p&gt;I believe it's just an animation video composed with several (SEVERAL; see below) layers of objects moving around in a scripted way. Probably they took a screenshot or a screen recording of those programs, disassembled them through an editing program, and then assembled them back again with the same editing program, scripting all the movements.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the first case I guess such a video is exported at a ridicolously high definition, and is then re-edited after exportation, so that it can be moved around, tilted...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the second video I think they attached it on the screens of the various devices using After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I specified &quot;several&quot; because I once did something like that, with a composing interface, for an interactive Youtube video, this one&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/7Oro6lv-t4g?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I made it with Premiere. That menu at the beginning of the video, alone, and the way it assembles, required around 20 layers. They were quite simple, since they included only shapes with different opacities, colours and movements; yet it was impossible for my usual PC, a laptop with which I'm even able to export 4K movies, to process all those layers. I had to go to a friend's house and use his semi-pro PC made for this kind of jobs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's possible, though, that there are programs, such as the ones mentioned above, that can make such an animation easier compared to Premiere.&lt;/p&gt;&#xA;" OwnerUserId="11090" LastActivityDate="2018-09-29T10:34:17.007" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24886" PostTypeId="2" ParentId="24798" CreationDate="2018-09-30T00:42:02.450" Score="3" Body="&lt;p&gt;&quot;I, B and P&quot; don't refer to the viewed frames, they refer to the encoded, stored forms of the frames. However the frame is encoded in the file or stream, when it appears on the screen or is extracted as a still it is a complete frame, reconstructed from the IBP information as needed.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2018-09-30T00:42:02.450" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24887" PostTypeId="1" CreationDate="2018-09-30T14:52:19.573" Score="0" ViewCount="2112" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Bxni0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Bxni0.png&quot; alt=&quot;The image to be overlaid&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an image which is a frame of 1024×1024 resolution which is half empty or transparent... I have various number of videos of different resolutions and I want to scale them to the empty space width and height(might be 1024×512) by keeping the aspect ratio of the video unchanged and I want to add padding for the empty space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whenever I'm trying to overlay the image over the video, the output video is in the resolution same as the input video's because of which half of the frame (input image) is getting cut in the output video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need help... I want the output video to have the resolution of the input image not of the input video's. It should more or less look like PIP. Can I do that on FFmpeg??&lt;/p&gt;&#xA;" OwnerUserId="23282" LastEditorUserId="18155" LastEditDate="2020-04-24T11:02:25.250" LastActivityDate="2020-04-24T11:02:25.250" Title="Overlay an Image onto a resized video. FFMPEG" Tags="|ffmpeg|video-editor|editing|android|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24889" PostTypeId="1" AcceptedAnswerId="24961" CreationDate="2018-09-30T21:57:45.430" Score="1" ViewCount="224" Body="&lt;p&gt;in  &lt;a href=&quot;https://www.cisco.com/c/en/us/td/docs/solutions/Enterprise/Video/pktvideoaag.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.cisco.com/c/en/us/td/docs/solutions/Enterprise/Video/pktvideoaag.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;it says:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another type of video compression is MJPEG … the resulting video stream is larger but the packet sizes are more consistent at 1316 bytes (payload)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;is that true?&lt;/p&gt;&#xA;" OwnerUserId="22864" LastActivityDate="2018-10-09T12:29:56.513" Title="MJPEG Streaming" Tags="|streaming|compression|" AnswerCount="1" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="24890" PostTypeId="1" CreationDate="2018-09-30T22:38:57.860" Score="1" ViewCount="440" Body="&lt;p&gt;I have a lav mic with a threaded jack at the end. It came with a Sennheiser Transmitter/Receiver pair and has a threaded jack to connect into the Transmitter which has a threaded socket to match.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I often don't need the distance the RF gives me and it would be easier just to plug the lav mic directly into my recorder -- usually a Zoom H6, but sometimes even just an iPhone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Trouble is, neither the H6 nor iPhone have a threaded socket and the construction of the threaded jack on the lav is such that it can't fit all the way into a normal unthreaded socket. In fact it even bounces out since the threading is on a little spring-loaded collar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've hunted all through my kit to find some combination of my existing bits and pieces that would let me connect lav to H6, but no joy. But now I'm wondering if maybe what I'm trying to do is in some way &lt;em&gt;verboten&lt;/em&gt; , and the threaded-osity (it &lt;em&gt;could&lt;/em&gt; be a word!) is kinda like a key or warning not to do it!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, is it OK to do what I'm trying to do -- connect lav to H6, or lav to iPhone -- or is it a recipe for frying some wee input or output component? Or if it's a legit thing to do, then what's the normal way to do it? Is there a name for the converter/doofer/widget I should be looking for to allow me to connect my threaded 3.5mm male to connect to an unthreaded 3.5mm female? &lt;/p&gt;&#xA;" OwnerUserId="23238" LastActivityDate="2018-09-30T22:38:57.860" Title="Connecting threaded 3.5mm jack plug to non-threaded socket?" Tags="|conversion|audio-recording|connectors|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24892" PostTypeId="1" AcceptedAnswerId="24972" CreationDate="2018-10-01T05:56:24.840" Score="4" ViewCount="54" Body="&lt;p&gt;I'm working on a project that will have a camera onboard the object for FPV as it moves in the air at very high speeds. What kind of frame rates are good to transmit and/or record onboard the flight, and what kind of characteristics in  action cameras should I look for. I know asking for 1080p can be hard but nowadays cameras have improved. DO suggest compromises in different areas and their effects on the transmitted video. I'm new to community so do help improve the question with edits and help me out. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: This will be onboard a plane so under 100-200g with mount and casing(etc) should be ideal for each camera. 30-60 fps of 1080p is more than good enough for FPV as well as other onboard cameras. We aim to supply electricity as part of the electronics onboard, so any battery it has is more an inconvenience and can be bypassed to maintain electronic supply. FPV maybe live(low latency preferred), but other onboard cameras can be just recorded. I found most budget action cameras(60-200$) are around 64GB compatible and 1080p video consumes about 20-40MB/s depending on the camera. Budget is flexible but for 3-4 cameras I have about 700$ but I can stretch by little it if needed. Should I focus on 720p if data consumption limits my flight time, and/or is there any way to have them store onboard a larger data storage system(?)&#xA;Thanks a lot. Came here on the recommendation from photography stack exchange.&lt;/p&gt;&#xA;" OwnerUserId="23287" LastEditorUserId="23287" LastEditDate="2018-10-02T14:00:32.513" LastActivityDate="2018-10-12T10:09:02.770" Title="what kind of action cameras are good for 1080p video onboard a high moving object(more than 800kph)?" Tags="|video-quality|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24893" PostTypeId="2" ParentId="24892" CreationDate="2018-10-01T09:12:27.583" Score="0" Body="&lt;p&gt;You can check Phantom high speed cameras, they can reach 12500 fps at 1080p.&lt;/p&gt;&#xA;" OwnerUserId="4999" LastActivityDate="2018-10-01T09:12:27.583" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24894" PostTypeId="2" ParentId="24870" CreationDate="2018-10-01T09:18:35.023" Score="1" Body="&lt;p&gt;You can check PFTrack.&#xA;Also there are another good trackers options like Boujou, Syntheyes, Mocha Pro, Match mover, 3D Equializer ...&#xA;NukeX has also a good tracking suite.&lt;/p&gt;&#xA;" OwnerUserId="4999" LastActivityDate="2018-10-01T09:18:35.023" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24895" PostTypeId="2" ParentId="16793" CreationDate="2018-10-01T09:23:44.723" Score="-1" Body="&lt;p&gt;Almost every professional video suite can do it. Try premiere pro.&lt;/p&gt;&#xA;" OwnerUserId="4999" LastActivityDate="2018-10-01T09:23:44.723" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24896" PostTypeId="2" ParentId="16793" CreationDate="2018-10-01T09:35:41.887" Score="1" Body="&lt;p&gt;I think Premiere can easily reach 80x. And you can go past that putting sequences one into the other&lt;/p&gt;&#xA;" OwnerUserId="11090" LastActivityDate="2018-10-01T09:35:41.887" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24897" PostTypeId="1" CreationDate="2018-10-01T13:01:25.883" Score="0" ViewCount="395" Body="&lt;p&gt;Im trying to use a expression from NUKE (to convert an exr sequence from its native format into AlexaLogC. Now ive got an expression from nuke which is the following&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x &amp;gt; 0.14996582 ? (pow(10,0, (x - 0.385537) / 0.2471896) - 0.0522720) / 5.5555556 : (x - 0.092809) / 5.367655 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;been trying to find a spot to place this inside a FFMPEG filter to allow it to bring my footage to the right starting point so i can apply the lut from on set on it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Was wondering if anybody here had advice on how to correctly filter this into ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="23289" LastActivityDate="2024-03-28T09:00:35.107" Title="Where to input a log expression in FFMPEG" Tags="|ffmpeg|" AnswerCount="1" CommentCount="16" ContentLicense="CC BY-SA 4.0" />
  <row Id="24900" PostTypeId="2" ParentId="23521" CreationDate="2018-10-02T03:16:27.970" Score="0" Body="&lt;p&gt;If you have Excel, presumably you have PowerPoint? If so, there may be a way to get what you’re looking for that way. The basic idea would be something like this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Construct a chart using the Excel data;&lt;/li&gt;&#xA;&lt;li&gt;Put that into PowerPoint as a single slide;&lt;/li&gt;&#xA;&lt;li&gt;Animate the slide, suppressing the visual items you do not want to appear;&lt;/li&gt;&#xA;&lt;li&gt;Capture the actual running of that animation with something like Screenflow;&lt;/li&gt;&#xA;&lt;li&gt;Pull the resulting clip into Vegas and stretch it to cover the required time of the rocket flight&lt;/li&gt;&#xA;&lt;li&gt;Lie down in a dark room to recover from the effort&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The trick is to choose the most appropriate chart to begin with, with the appropriate chart options, and to then suppress the undesired elements in PP. Done right, you could get anything from as complex as the actual chart series lines, all the way down to nothing but the simple numbers you talk about. I’d do as much as possible of the heavy lifting &lt;em&gt;in&lt;/em&gt; Excel, and even prior to creating the chart. Consider things like splitting the data points into series that then all use the same x axis values. That’s the kind of thing that would let you get the consecutive numbers to be located at the same point in your video.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Dunno. If you’re strong on Excel and on PowerPoint animations, give it a ponder?&lt;/p&gt;&#xA;" OwnerUserId="23238" LastEditorUserId="23238" LastEditDate="2018-10-02T17:38:55.580" LastActivityDate="2018-10-02T17:38:55.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24901" PostTypeId="2" ParentId="24887" CreationDate="2018-10-02T05:18:41.023" Score="1" Body="&lt;p&gt;I'll assume the window area is 1004x512. You can adjust the command below after getting the exact values.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video -i frame -filter_complex&#xA;       &quot;[0]scale=1004x512:force_original_aspect_ratio=decrease,&#xA;           pad=1024:1024:10+(1004-iw)/2:10+(512-ih)/2[vid];&#xA;        [vid][1]overlay&quot;  output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;10&lt;/code&gt; in the pad expressions represent the border thickness.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-10-02T05:18:41.023" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24902" PostTypeId="2" ParentId="24897" CreationDate="2018-10-02T05:57:38.397" Score="0" Body="&lt;p&gt;This is the original expression to be implemented.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x &amp;gt; 0.14996582 ? (pow(10,0, (x - 0.385537) / 0.2471896) - 0.0522720) / 5.5555556 : (x - 0.092809) / 5.367655&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;x&lt;/code&gt; is the pixel intensity normalized to [0,1]. &lt;code&gt;x&lt;/code&gt; is linear, so gamma returns identity. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm going to assume the &lt;code&gt;0&lt;/code&gt; in the pow expression is an extraneous arg since the linked reference at &lt;a href=&quot;http://strattoncamera.com/pdf/11-06-30_Alexa_LogC_Curve.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://strattoncamera.com/pdf/11-06-30_Alexa_LogC_Curve.pdf&lt;/a&gt; depicts pow() as having only two arguments. I'm also assuming that the input is 16-bit full-range integer RGB.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -apply_trc linear -i in%d.exr&#xA;       -vf &quot;lutrgb=r='if(gt(val/maxval,0.14996582),maxval*((pow(10, (val/maxval-0.385537)/0.2471896)-0.0522720)/5.5555556),maxval*((val/maxval-0.092809)/5.367655))':&#xA;                   g='if(gt(val/maxval,0.14996582),maxval*((pow(10, (val/maxval-0.385537)/0.2471896)-0.0522720)/5.5555556),maxval*((val/maxval-0.092809)/5.367655))':&#xA;                   b='if(gt(val/maxval,0.14996582),maxval*((pow(10, (val/maxval-0.385537)/0.2471896)-0.0522720)/5.5555556),maxval*((val/maxval-0.092809)/5.367655))'&quot;&#xA;        out%d.tiff&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-10-02T05:57:38.397" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="24903" PostTypeId="1" AcceptedAnswerId="24904" CreationDate="2018-10-02T10:09:49.370" Score="2" ViewCount="46" Body="&lt;p&gt;Normally, when putting a video clip over another in Davinci Resolve, the latter can be seen where the former ends if you move it out of the way. However, this doesn't seem to be the case when working with images. In the screenshot below, I have a png file on top of a mp4 file. I've shifted the position of the image and the black boarder represents part of the frame which the image no longer cover. However, the video underneath it still doesn't show up, which would be the case if I used two videos. What's going on here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Y5wVA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Y5wVA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1236" LastActivityDate="2018-10-02T12:18:29.583" Title="Image blocks anything that's underneath it to be shown" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24904" PostTypeId="2" ParentId="24903" CreationDate="2018-10-02T12:18:29.583" Score="2" Body="&lt;p&gt;I've had Resolve behave unpredictably when using PNGs as watermarks.  Does the same thing happen if you turn it into a JPG with the same resolution as your project?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-10-02T12:18:29.583" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24906" PostTypeId="2" ParentId="24810" CreationDate="2018-10-02T16:00:48.650" Score="1" Body="&lt;p&gt;Place your multiple audio sources into a comp, then place that comp into the comp where your audio spectrum effect is going to be.  Point the Audio Spectrum effect at the comp with your multiple layers within it, and they should all affect it together.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/4pr7c.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4pr7c.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/tBDfl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tBDfl.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2018-10-02T16:09:31.840" LastActivityDate="2018-10-02T16:09:31.840" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24907" PostTypeId="2" ParentId="9786" CreationDate="2018-10-02T16:51:47.597" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Smooth horizontal and vertical camera movement with a Canon EOS 60D camera&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Revolve Automated Motion &lt;a href=&quot;https://www.revolvecamera.com/products/ram-motorized-dolly-slider-bundle&quot; rel=&quot;nofollow noreferrer&quot;&gt;Motorized Dolly + Slider Bundle&lt;/a&gt; - U$400&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are 2 motor speed options supporting 6-10 lbs vertically, 15-20 horizontal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They sell a slider but with accessories you can use 3 to 10 foot pipes. Also available are reversing switches and interval timing for sliding time lapse videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qv1ld.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qv1ld.jpg&quot; alt=&quot;RAM Motorized Dolly + Slider Bundle&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XxvQy.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XxvQy.jpg&quot; alt=&quot;Accessories&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;https://neewer.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Neewer&lt;/a&gt; 70in/177cm Aluminum Alloy &lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/B01M8FR5ZR&quot; rel=&quot;nofollow noreferrer&quot;&gt;Jib Arm Camera Crane&lt;/a&gt; - U$100&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZIP0a.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZIP0a.jpg&quot; alt=&quot;Neewer Jib Arm Camera Crane&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not motorized and there's a bit of dolly motion along with the pedestal movement, an arc motion, but it keeps the camera level. For distant shots it wouldn't be noticeable.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Compare those to a professional system:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;FloatCam &lt;a href=&quot;http://www.floatcampro.com/products/dollycrane.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;DollyCrane SD / DC Slider&lt;/a&gt; - U$4400&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tspYs.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tspYs.png&quot; alt=&quot;Floatcam DollyCrane SD&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="18314" LastActivityDate="2018-10-02T16:51:47.597" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24909" PostTypeId="2" ParentId="17705" CreationDate="2018-10-03T01:46:43.213" Score="2" Body="&lt;p&gt;This code works well now. It has several text animations with FFMpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;[in]drawtext=fontfile=/path/to/font.ttf: text='First Line': fontcolor=red: fontsize=40: x=(w-text_w)/2: y=if(lt(t\,3)\,(-h+((3*h-200)*t/6))\,(h-200)/2):enable='between(t,2.9,50)',drawtext=fontfile=/path/to/font.ttf: text='Second Line': fontcolor=yellow: fontsize=30: x=if(lt(t\,4)\,(-w+((3*w-tw)*t/8))\,(w-tw)/2): y=(h-100)/2:enable='between(t,3.5,50)',drawtext=fontfile=/path/to/font.ttf: text='Third Line': fontcolor=blue: fontsize=50: x=if(lt(t\,5)\,(2*w-((3*w+tw)*t/10))\,(w-tw)/2): y=h/2:enable='between(t,4.5,50)',drawtext=fontfile=/path/to/font.ttf: text='Fourth Line': fontcolor=black: fontsize=20: x=(w-text_w)/2: y=if(lt(t\,6)\,(2*h-((3*h-100)*t/12))\,(h+100)/2):enable='between(t,5.5,50)'[out]&quot; out.mp4&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="23298" LastEditorUserId="14523" LastEditDate="2018-10-05T00:59:34.797" LastActivityDate="2018-10-05T00:59:34.797" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24910" PostTypeId="2" ParentId="17705" CreationDate="2018-10-03T08:58:50.137" Score="2" Body="&lt;p&gt;Looking at the video, I'd say it's highly likely it was made with Adobe Premiere, Final Cut, or Adobe After Effects.  You could achieve the same thing in FFMPEG, but I doubt that's how they actually made it.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-10-03T08:58:50.137" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24915" PostTypeId="1" AcceptedAnswerId="24918" CreationDate="2018-10-03T14:35:52.340" Score="-1" ViewCount="372" Body="&lt;p&gt;Does a video stream compressed with MJPEG have a less variable output bit rate than others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I make a little list, start with YUYP420, MJPEG, MPEG2, MPEG4, MPEG4_Part10HEVC(h264), SNOW? Given the same test input content consisting of some highly complex still scenes, some extremely simplistic still scenes, some high similar temporal shifted frames, some extremely dissimilar temporal shifted frames, what's the variation in bitrate for each codec. The point of this is basically when you put the datastream on the LEO transponder, I bet you 50% 60% of the bandwidth is MUXED WITH NULLs anyway so....why would I care if the bitrate for x264 is highly variable.&lt;/p&gt;&#xA;" OwnerUserId="22864" LastEditorUserId="674" LastEditDate="2018-10-10T09:01:45.497" LastActivityDate="2018-10-10T09:01:45.497" Title="MJPEG Compression" Tags="|streaming|codec|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="24917" PostTypeId="2" ParentId="8574" CreationDate="2018-10-03T19:17:23.193" Score="0" Body="&lt;p&gt;iMovie does it because it is (or was? it is 2018 now) a crap video editor. It cannot handle proper AVC HD with interframe encoding, so it converts it into 960x540 with intraframe encoding, much easier to handle but lower resolution and larger files. See &lt;a href=&quot;https://en.wikipedia.org/wiki/IFrame_(video_format)&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/IFrame_(video_format)&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just throw iMovie away and use a proper editor that does not require you to convert your source files into specific format for editing. On Windows, Vegas proved to be a very fast editor that accepts tons of formats and does not require pre-rendering, that is, converting to some internal format. Not sure what you can use on Mac.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-10-03T19:17:23.193" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24918" PostTypeId="2" ParentId="24915" CreationDate="2018-10-04T11:39:56.013" Score="0" Body="&lt;p&gt;I have seen MJPEG produce highly variable bitrate, when you encode 1000 frames of a banner screen, all white background with big black blocky letters, you get 1000 encoded frames at about 2MB/s.  When you get more complex content, a leopard &lt;em&gt;standing&lt;/em&gt;, a static rainbow, a silhouette of a mountain, static clouds, you'll get 1000 frames out at about 8M/s.&#xA;So the bitrate is actually very variable with each 2000 frame sample.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now if you do the same thing with H264, you'll get one keyframe at 1MB/S super burst, then you'll get 999 frames out at 400 KB/S. And then you'll get 1 keyframes at 1MB/S super burst and then you'll get 999 frames out at 700 KB/S.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So it is very variable, even over a two frame sample, if you look to the first keyframes and the next delta frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I guess it could be said MJPEG is less variable, but not really, all you have to do is look a little further back and forth in the stream and you find just as much magnitude of variation.  I would say, in conclusion, the &quot;VARIATION OF THE VARIATION&quot; the VARITION of the first derivative, the instantaneous velocity vector of variation, will VARY MORE in H264.&lt;/p&gt;&#xA;" OwnerUserId="22864" LastActivityDate="2018-10-04T11:39:56.013" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24919" PostTypeId="2" ParentId="23792" CreationDate="2018-10-04T14:31:02.667" Score="3" Body="&lt;p&gt;Although it looks like a slit-scan effect similar to the Tom Baker era Dr. Who titles, in this case, the effect was very simply made with mylar - a reflective plastic.  Due to time and budget constraints, there wasn't much they could do, so they made a tunnel out of mylar and flew the camera through it.  They apparently had a lot of mylar left from making the reflective background behind the starfield.&lt;/p&gt;&#xA;" OwnerUserId="23310" LastActivityDate="2018-10-04T14:31:02.667" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24920" PostTypeId="2" ParentId="17978" CreationDate="2018-10-04T15:08:48.397" Score="0" Body="&lt;p&gt;Looks like this will be available in CC 2019:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/WKpejnYE3s0?start=90&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-10-04T15:08:48.397" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24921" PostTypeId="2" ParentId="24764" CreationDate="2018-10-04T15:45:57.477" Score="1" Body="&lt;p&gt;When I do an insert edit (using the shortcut '.' key) in CC 2018, I do not see this problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure the Source Patching on the audio tracks is selected correctly, otherwise the audio tracks won't move when you do the insert?  Apologies if this is teaching you to suck eggs - maybe a screen recording would better demo what's going wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before insert edit&#xA;&lt;a href=&quot;https://i.stack.imgur.com/mfplV.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mfplV.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After insert edit (note keyframes have moved)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/OGDmY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OGDmY.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-10-04T15:45:57.477" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24922" PostTypeId="1" CreationDate="2018-10-04T16:11:29.843" Score="2" ViewCount="103" Body="&lt;p&gt;I'm trying to create a mogrt file that has the option of moving a layer using a control (instead of just moving it on the timeline). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to create a slider control for example that allows to adjust some kind of &quot;offset&quot;?&lt;/p&gt;&#xA;" OwnerUserId="5117" LastActivityDate="2018-10-05T03:16:05.417" Title="How to move a layer using a slider control?" Tags="|after-effects|after-effects-scripting|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24923" PostTypeId="2" ParentId="1773" CreationDate="2018-10-04T20:00:30.567" Score="0" Body="&lt;p&gt;As @JaredK said above, 48fps would be the frame rate to use, the problem is that consumer cameras do not shoot with this frame rate. Therefore, use 50p instead with at least 1/50 shutter speed. You will be able to convert to clean 25p by throwing out every other frame, or to 25p with 0.5x slo-mo. 25p is fine for YouTube. If you want actual 24p, just slow it down 4%.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-10-04T20:00:30.567" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24924" PostTypeId="2" ParentId="24922" CreationDate="2018-10-05T03:16:05.417" Score="-2" Body="&lt;p&gt;Yes, in short. But you will need to learn Expression Controls. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Search YouTube for &quot;Expression Control Slider After Effects&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a lot of good tutorials which will walk you through the process. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-10-05T03:16:05.417" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24927" PostTypeId="1" AcceptedAnswerId="24931" CreationDate="2018-10-05T16:30:01.067" Score="2" ViewCount="2173" Body="&lt;p&gt;I never worked with ffmpeg before and I'm wondering which optimization I can take for my situation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In a loop I have multiple input.mp4 files which I first convert one by one to have a common scale and audio rate with this command: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input_01.mp4 -vf 'scale=1280:720,setdar=16/9' -ar 44100 -ac 1 input_01_tmp.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Later I add images to each input.mp4 files again one by one:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input_01_tmp.mp4 -i input_01_logo.png -filter_complex &quot;[0:v][1:v]overlay=10:10:enable='between(t,2,11)',fade=t=in:start_time=1.5:d=0.5:alpha=1,fade=t=out:start_time=10.5:d=0.5:alpha=1[fg];[0][fg]overlay=format=auto,format=yuv420p&quot; -c:a copy input_01_unified.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally after the loop I combine them with mkvmerge:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;mkvmerge -o output.mkv \+ input_01_unified.mp4 +\ input_02_unified.mp4 ...&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sure this is not the optimal solution and wondering how I should change it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to do all of this in one command? Either for each file or for the whole process.&lt;/p&gt;&#xA;" OwnerUserId="23317" LastEditorUserId="23317" LastEditDate="2018-10-05T17:29:03.390" LastActivityDate="2018-10-06T05:01:25.843" Title="How to combine and optimize ffmpeg filters to avoid encoding multiple times?" Tags="|ffmpeg|encoding|video-quality|scale|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24928" PostTypeId="1" CreationDate="2018-10-05T16:40:01.787" Score="2" ViewCount="56" Body="&lt;p&gt;I'm not sure how to phrase the question: I'm taking on a project for remembrance day; we're doing a video for the honour roll. Someone is going to be reading the honour roll while a band plays and a video plays in the background displaying all the names and photos of the individuals on the honour roll.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 'slides' of each veteran are all going to be an identical layout, just the portrait and name will change, and maybe an old war scene BG. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I figure there has to be away to create some sort of &lt;em&gt;template&lt;/em&gt; and then automate each individual slide for all the veterans by pointing to a folder or database and pre-composing a composition for each veteran, as opposed to manually replacing the portrait and name for each veteran and rendering them all out separately. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even just knowing what performing this type of task is specifically called in After Effects would be helpful. &lt;/p&gt;&#xA;" OwnerUserId="10584" LastActivityDate="2018-10-11T11:49:15.577" Title="Automating a large series of significantly similar clips in After Effects?" Tags="|after-effects|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24929" PostTypeId="1" CreationDate="2018-10-05T23:07:18.750" Score="1" ViewCount="2440" Body="&lt;p&gt;The videos directly from the Sony a7iii set to 4k 100mbps are quite large. I've tested compressing them separately and see little video loss. I wonder if the camera has an option to by default apply some minimal lossy/lossless compression to keep the quality but reduce file-size?&lt;/p&gt;&#xA;" OwnerUserId="3837" LastActivityDate="2018-10-07T01:30:08.620" Title="The 4k videos from Sony a7iii are quite large by default, suggestions on HQ ways to compress?" Tags="|4k|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24930" PostTypeId="2" ParentId="4014" CreationDate="2018-10-06T00:30:40.840" Score="3" Body="&lt;p&gt;I wrote a Python wrapper around FFMpeg that allows to do video splitting into equal chunks and since then other folks in the community enhanced it to support splitting at arbitrary points in time (using manifest files), and splitting by target file size, number of chunks etc. Here it is: &lt;a href=&quot;https://github.com/c0decracker/video-splitter&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/c0decracker/video-splitter&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23319" LastActivityDate="2018-10-06T00:30:40.840" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24931" PostTypeId="2" ParentId="24927" CreationDate="2018-10-06T05:01:25.843" Score="3" Body="&lt;p&gt;The single command will be long, but here's an example for 3 inputs.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input_01.mp4 -loop 1 -t 11 -i input_01_logo.png&#xA;       -i input_02.mp4 -loop 1 -t 11 -i input_02_logo.png&#xA;       -i input_03.mp4 -loop 1 -t 11 -i input_03_logo.png&#xA;       -filter_complex&#xA;        &quot;[0]scale=1280:720,setsar=1[0v];&#xA;         [1]fade=t=in:st=1.5:d=0.5:alpha=1,fade=t=out:st=10.5:d=0.5:alpha=1[0l];&#xA;         [2]scale=1280:720,setsar=1[1v];&#xA;         [3]fade=t=in:st=1.5:d=0.5:alpha=1,fade=t=out:st=10.5:d=0.5:alpha=1[1l];&#xA;         [4]scale=1280:720,setsar=1[2v];&#xA;         [5]fade=t=in:st=1.5:d=0.5:alpha=1,fade=t=out:st=10.5:d=0.5:alpha=1[2l];&#xA;         [0v][0l]overlay=10:10:format=auto:enable='between(t,2,11)'[0vl];&#xA;         [1v][1l]overlay=10:10:format=auto:enable='between(t,2,11)'[1vl];&#xA;         [2v][2l]overlay=10:10:format=auto:enable='between(t,2,11)'[2vl];&#xA;         [0]pan=1c,aresample=r=44100[0a];&#xA;         [2]pan=1c,aresample=r=44100[1a];&#xA;         [4]pan=1c,aresample=r=44100[2a];&#xA;         [0vl][0a][1vl][1a][2vl][2a]concat=n=2:v=1:a=1[v][a]&quot;&#xA;        -map &quot;[v]&quot; -map &quot;[a]&quot; -pix_fmt yuv420p output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You may need single quotes in the &lt;code&gt;map&lt;/code&gt; depending on your shell.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use a recent version of ffmpeg, at least 4.0&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-10-06T05:01:25.843" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="24932" PostTypeId="1" AcceptedAnswerId="24943" CreationDate="2018-10-06T07:46:04.803" Score="3" ViewCount="188" Body="&lt;p&gt;Big productions using pro cinema cameras (RED Weapon etc...) still use manual focus and still have someone who's sole job is just to pull focus for a camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With today's technology, I would always trust auto-focus over my own eyesight. I know in some instances focal length is literally measured from the sensor which is probably more accurate - but is that extra effort actually noticeable? I also know you could argue cinematic effects such as &quot;racking focus&quot; need manual, but you could still have Auto/Manual setting like DSLRs do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So why do we still have focus pullers and manual focus in productions with top-end cameras?&lt;/p&gt;&#xA;" OwnerUserId="22767" LastEditorUserId="22767" LastEditDate="2018-10-06T23:50:33.303" LastActivityDate="2018-10-10T07:02:27.250" Title="Why do pro cameras still need to pull focus?" Tags="|filming|production|focus|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24937" PostTypeId="1" AcceptedAnswerId="24938" CreationDate="2018-10-06T18:20:55.073" Score="1" ViewCount="502" Body="&lt;p&gt;I have pngs starting from &lt;code&gt;temp0000.png&lt;/code&gt; and ending at &lt;code&gt;temp7085.png&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After reading the &lt;a href=&quot;https://ffmpeg.org/faq.html#How-do-I-encode-single-pictures-into-movies_003f&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg manual&lt;/a&gt; I tried the command:&#xA;&lt;code&gt;&#xA;ffmpeg -i temp%d.png -i a.mp3 -framerate 60  -start_number 0000 output.webm&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But get the error:&#xA;&lt;code&gt;&#xA;Could find no file with path 'temp%d.png' and index in the range 0-4&#xA;temp%d.png: No such file or directory&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What must I change please?&lt;/p&gt;&#xA;" OwnerUserId="23318" LastActivityDate="2018-10-06T18:25:55.853" Title="Which ffmpeg command to use convert pngs to video?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24938" PostTypeId="2" ParentId="24937" CreationDate="2018-10-06T18:25:55.853" Score="2" Body="&lt;p&gt;&lt;code&gt;temp%d&lt;/code&gt; expands to &lt;code&gt;temp0&lt;/code&gt;, &lt;code&gt;temp1&lt;/code&gt; ... &lt;code&gt;temp10&lt;/code&gt; ... and so on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For temp0000, you need &lt;code&gt;temp%04d&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and the full command should be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 60 -i temp%4d.png -i a.mp3 -pix_fmt yuv420p output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-10-06T18:25:55.853" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24943" PostTypeId="2" ParentId="24932" CreationDate="2018-10-07T01:00:03.197" Score="6" Body="&lt;p&gt;Well there's a number of factors that come into play, but first and foremost, the reason a camera operator pulls focus (if shooting alone) or having a 1st AC/2nd AC pull focus is because if you care about what you're shooting, you want focus to be &lt;strong&gt;&lt;em&gt;tack sharp&lt;/em&gt;&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Focus pulling is required on today's full frame and large sensor cameras because the &lt;strong&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Hyperfocal_distance&quot; rel=&quot;noreferrer&quot;&gt;Hyperfocal&lt;/a&gt;&lt;/strong&gt; is extremely tight/small due to the gate (sensor) size, especially so when using fast lenses, shooting at wide apertures, or long focal lengths. The Hyperfocal Distance is in today's digital cinema world, a very specific and critically narrow point in space, or better put, distance from the the camera's gate. Large sensor cameras also typically need faster lenses, due to the fact that the light entering the lens is refracted over larger plane than on a small sensor capture device. (More info below on that). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many DSLR cameras have AF features, but they are relatively limited, and require the user to set a focus point, such as center, or another XY or pattern of XY points on the screen in which the camera would attempt to lock to. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Professional systems by RED, ARRI, and others, have 3rd party accesories which can assist with Auto Focus, but again, they are only as good as how you program them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;em&gt;That said:&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With a large sensor, shooting on a fast lens with even a moderately wide aperture at anything other than a &quot;wide/medium wide&quot; focal length will produce an image which has such as shallow depth of field that you have to visually adjust the focus based off the precise distance from gate to your desired focal point. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you want the eyes and eye lashes to be tack sharp? Or the tip of the nose? If you focus the camera to be tack sharp on the front/tip of the persons nose, the eye lashes and eyes especially, will appear soft, especially at 4K and above. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also focus too deep, which is a very easy mistake to make, making the hairline/front of ears tack sharp, again, leaving the eyes and eye lashes, and even more, the nose, soft and out of focus. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even shooting a simple sit down interview with someone on a HD camera (not 4K), using a 100mm focal length, at f2.8, this becomes highly noticeable. Tip of the nose, ear lobes, or eye lashes... You want to focus on the eyes... because that's what viewers focus on when watching the footage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Theres no way a camera can &quot;know&quot; exactly what you want it to focus on. Secondly, automatic systems never work perfectly. This happens often even at short focal lengths using wide lenses; where the cameras AF system will latch onto a brighter spot, such as a light bulb or candle flame far in the background behind the subject- so even on wide shots AF doesn't do a great job. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, if the AF system gets confused or if something moves in the frame, the AF system will fish for a new focus point, often times over and undershooting the focus point in the process. This fishing effect is highly distracting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So in closing, if you're shooting anything with actors where their performance matters and you may not get a second chance to capture that exact moment or performance, you have to have someone watching and pulling critical focus on a monitor that is designed to do so (showing pixel to pixel or magnification on a specific zone). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now with cameras that have a very small sensor, such as the old video cameras from the 90s and early 2000s, the sensor was so small (sometimes as small as 1/5&quot;), that A.) The small gate/sensor size created a very deep depth of field/large hyperfocal, B.) The small sensor received a much higher level of light concentration from the lens (described below); and C.) The small sensor cameras in the past typically shot at lower resolutions and focus could be slightly off, and due to the low resolution it wasn't visually noticeable. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When shooting with a small sensor, the light entering the camera was far more concentrated on the small sensor area (think of a magnifying glass with the sun trying to burn a leaf). The smaller you focus the light into a smaller area, the brighter it becomes. If you pull the magnifying glass up the focus of the sun becomes larger, less bright and less hot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I only mention this because this is why large sensor cameras require more light. Because the image entering in through the lens is being spread out over a larger canvas, and thus is not as concentrated / bright - requiring either more light, or shooting at a wider aperture. Wider apertures = shallower depth of field. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the small sensor cameras can shoot in AF mode with greater ease- the reason being &quot;everything&quot; is in focus, due to the small gate, and the fact that the small sensor requires a smaller aperture/f-stop. These factors create a hyperfocal which is so large, that everything is reasonably in focus and there's no discernible difference between the tip of the nose and the front of the eyes. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastEditorUserId="14504" LastEditDate="2018-10-07T01:12:49.200" LastActivityDate="2018-10-07T01:12:49.200" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24944" PostTypeId="2" ParentId="24929" CreationDate="2018-10-07T01:30:08.620" Score="2" Body="&lt;p&gt;Well first, the a7iii at 100mbps is far from lossless or even minimally lossless. It's highly compressed in a 4:2:0 or 4:2:2 colorspace depending on your recording selection. The files are incredibly compressed when compared to what's considered minimally lossless or lossless compression algorithms. Shooting 4K at a &quot;near&quot; lossless level would require 4:4:4 and a codec such as REDCode at a compression of 4:1 or 3:1. These files are astronomically larger. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as in camera, you're limited to what the camera provides as options, in terms of 50mbps, 100mbps, and so on. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your only real option to compress down and reduce file size would be to run the files through an encoder, either a real time &quot;live&quot; encoder which captures the video from the camera's HDMI out, or in post production, using Adobe Media Encoder or a similar application. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With 4K, you could compress down, if you are happy with the color and don't plan to do any additional color correction later, to a 4:2:0 H.264 or H.265 codec using an MP4 wrapper. Using a Variable Bitrate, depending on your content/how much motion/detail/etc, you could likely get very good results with bitrates in the 25-50mbps VBR, allowing a Max Bitrate to be set up to 100mbps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe Media Encoder is available from Adobe and comes with Adobe Premiere. Your best bet if this is something you need, is to run some trials, and to find the best &quot;acceptable&quot; bitrate you can live with for archival purposes. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-10-07T01:30:08.620" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24945" PostTypeId="2" ParentId="24928" CreationDate="2018-10-07T03:11:12.540" Score="0" Body="&lt;p&gt;If you want to make slides, you should use a slide making app, like powerpoint. You can then export power point slides as image files, which are usable in After Effects. I can't recall exactly how, but I'm pretty sure you can import data from excel to powerpoint. I have a memory of doing something similar about 10 years ago. &lt;a href=&quot;https://answers.microsoft.com/en-us/msoffice/forum/msoffice_excel-mso_winother-mso_2007/importing-excel-data-to-multiple-powerpoint-slides/3e795f98-743e-49e7-9b2c-df584d0a0e98&quot; rel=&quot;nofollow noreferrer&quot;&gt;Try this help file&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2018-10-07T03:11:12.540" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24947" PostTypeId="1" CreationDate="2018-10-07T11:52:06.467" Score="0" ViewCount="1551" Body="&lt;p&gt;For a video.How can i keep a moving person from a video,and move that person (moving person) to another video.I mean something like that &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/hMpCh3DAIuc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What software i need and what i have to do to accomplish that.&lt;/p&gt;&#xA;" OwnerUserId="23329" LastActivityDate="2018-10-17T11:28:48.033" Title="Transport moving object/person to another video" Tags="|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24948" PostTypeId="1" AcceptedAnswerId="24957" CreationDate="2018-10-07T14:13:11.983" Score="2" ViewCount="112" Body="&lt;p&gt;I've been reading up on video compression. I understand that 'raw' media file sizes are to big for practical usage so they have to be compressed, but I'm wondering what happens when the video is being played back.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I mean is the whole video decoded (decompressed) and stored somewhere in memory (this doesn't seem possible) or are the individual frames decoded one at the time and then forgotten, so that when you want to replay a portion of the video you need to decode it again?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's probably a very noob question and it's because I am one, so would appreciate any info.&lt;/p&gt;&#xA;" OwnerUserId="23331" LastEditorUserId="14523" LastEditDate="2018-10-07T23:14:31.307" LastActivityDate="2021-08-10T19:28:17.143" Title="What happens when a compressed video is played back?" Tags="|video|compression|decoding|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24949" PostTypeId="1" CreationDate="2018-10-07T18:26:45.773" Score="1" ViewCount="860" Body="&lt;p&gt;What is more important number of CUDA cores on GPU or VRAM for video editing and graphics? What are benefits from good graphic card? Better preview when working with 4k files with effects on them?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using Adobe Premiere and After Effects, sometimes Davinci Resolve...&#xA;Rendering times is not important to me much as smoother preview of 4k files when I edit them on timeline, smaller lagging when I put Magic Bullet Looks or something similar on clips...&lt;/p&gt;&#xA;" OwnerUserId="23332" LastEditorUserId="23332" LastEditDate="2018-10-08T20:21:36.843" LastActivityDate="2018-10-08T20:21:36.843" Title="What is more important number of CUDA cores on GPU or VRAM for video editing and graphics?" Tags="|hardware|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24952" PostTypeId="1" CreationDate="2018-10-08T03:34:29.880" Score="1" ViewCount="1083" Body="&lt;p&gt;I know the answer, which is probably &quot;there is no way&quot;, but bear with me for a moment. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am uploading videos to YouTube, and on my Android phone I am downloading them using YouTube Red. I am playing these downloaded videos in the YouTube app in the background, when the screen is off. This works with the vast majority of the videos, except the ones that I am uploading. I did read the recommended upload formats, I tried several codecs, but no luck. My audios stop the second I am shutting off the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I finally found using &lt;code&gt;youtube-dl -F&lt;/code&gt; is that my videos do not have audio-only streams with webm extension, only as m4a (after Youtube processed them). So my question is: what makes Youtube create webm audio files for some videos, but not for the others? Is there a way to force this (I suppose not). Is there a way to suggest it? As I mentioned, I tried a wide variety of codecs - video and audio, and the combinations - when generating my files for the upload.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A sample output for a file that works with Youtube Red playback in background:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;format code  extension  resolution note&#xA;249          webm       audio only DASH audio   52k , opus @ 50k, 73.58KiB&#xA;250          webm       audio only DASH audio   66k , opus @ 70k, 92.62KiB&#xA;251          webm       audio only DASH audio  114k , opus @160k, 161.14KiB&#xA;171          webm       audio only DASH audio  115k , vorbis@128k, 161.27KiB&#xA;140          m4a        audio only DASH audio  127k , m4a_dash container, mp4a.40.2@128k, 180.79KiB&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and the output for one file which does not:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;format code  extension  resolution note&#xA;139          m4a        audio only DASH audio   49k , m4a_dash container, mp4a.40.5@ 48k (22050Hz), 1.20MiB&#xA;140          m4a        audio only DASH audio  129k , m4a_dash container, mp4a.40.2@128k (44100Hz), 3.20MiB&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="23336" LastActivityDate="2018-10-08T12:56:34.167" Title="How can I force YouTube to convert my video's audio stream to Opus or Vorbis / Youtube Red issue" Tags="|audio|youtube|android|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24954" PostTypeId="2" ParentId="24952" CreationDate="2018-10-08T12:56:34.167" Score="1" Body="&lt;p&gt;YouTube currently does not have any encoding options for content creators. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as why some videos are encoded as webm and others in different container types, I don't believe there is any documentation on that whatsoever. YouTube may be beta-testing specific codecs, to see how codecs perform/stream for end users, or there may be a specific matching system whereas input = specific output attributes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you upload a video to YouTube, the video is re-encoded using a Variable Bitrate at the highest resolution / matching resolution of the original upload. If the uploaded video is larger =&gt; 360p then smaller versions are also encoded for multiple streaming options (240p as an example). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But there is no current way to force the YouTube encoding platform to encode to a specific codec, and even you were able to figure out what input codec would result in a specific desired output codec, it may only be temporary. I only mention this because YouTube has stated it is currently experimenting with new codecs, including closed source proprietary codecs and encoding algorithms... so what works today may not tomorrow. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-10-08T12:56:34.167" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24955" PostTypeId="2" ParentId="24928" CreationDate="2018-10-08T13:11:09.697" Score="1" Body="&lt;p&gt;AfterEffects unfortunately lacks the built in batch operation features like you'd find in Bridge/Photoshop. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would suggest a workflow where you set up your &quot;Master Template&quot;. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Use drop zones, as in sub-compositions which are nested into a final master composition which is used to render the final file. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The drop zones would be specifically sized comps for the elements you plan to use. So if you drop a photo of a veteran into &quot;Photo-Drop-Zone-Comp&quot;, and it's &quot;crop ready&quot; as in, all of your photos are the same size, cropped correctly, etc, it will frame up correctly. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use Bridge/Photoshop to size all of your photos to the same exact dimensions with the same safezones so when dropped into the AE project they are ready to render out. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Do the same for the Names, a specific drop-zone composition which allows for short and long names so no issues come up. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;FOR AUTOMATING:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your best bet would be to write a simple automation script/program which works off an excel sheet with the Veterans names. &lt;a href=&quot;https://www.autoitscript.com/site/&quot; rel=&quot;nofollow noreferrer&quot;&gt;AutoIt&lt;/a&gt; would be a good &quot;free choice&quot;, but there is a learning curve. I personally use WinAutomation Enterprise, but it's a pricey platform. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But you could create a simple script in AutoIt to query each line in Column A from an Excel sheet, which contains the names of the Vets. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Column B would contain the &quot;photo file name&quot; which you could batch process in Bridge using a specific syntax. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Auto it would then open the Master Template and then:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Save Project As -&gt; Column A(Vets Name).aep&#xA;Import -&gt; Image from Row X Column B (Corresponding Photo)&#xA;Automate the drop-zone process&#xA;Automate the replace text process, pulling the name from the Column A data. &#xA;Add to Render Queue - Render Out&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also script it to instead work within &quot;One Master Project&quot;, and instead of saving a project file for each vet, it could create comps instead, so you could do a batch render when it's finished. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;AutoIt would be a good choice to do this kind of automation. It's also free, with tons of resources and sample projects you can download online. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-10-08T13:11:09.697" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24956" PostTypeId="2" ParentId="24949" CreationDate="2018-10-08T13:16:21.607" Score="2" Body="&lt;p&gt;It depends entirely on which software you are using, as well as plugins. Adobe Premiere takes advantage of CUDA, which radically increases rendering speeds and playback of specific file types. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you've applied filters, or 3rd party plugin filters that do not take advantage of CUDA optimization, your bottleneck will be the speed of your CPU. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, certain 3D platforms are only accelerated by NVIDIA cards, others, require AMD. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The amount of VRAM affects how much data the card can handle in one single load (typically 1 frame), which comes into play mostly with 3D work. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-10-08T13:16:21.607" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24957" PostTypeId="2" ParentId="24948" CreationDate="2018-10-08T13:42:23.633" Score="1" Body="&lt;p&gt;In most common compression schemes, there isn't a 1::1 correspondence between &quot;video&quot; frames and &quot;file&quot; (or stream) frames **. Any particular video frame may require the contents of several file frames to become a complete viewable image. So a player will read and buffer as many file frames as needed to reconstruct the video frame in question. The player may buffer much more, but it's not required to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, if some video frame ends up as a P frame when encoded in the file, the player will need to look back to find the previous I frame, decode that, then apply the differences encoded in the intervening P frames to get the complete result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;** EDIT: There is of course a file frame for each video frame, but the point is that you can't usually read one frame from the file and get a complete video frame: that's only true for I frames.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastEditorUserId="3908" LastEditDate="2018-10-08T15:09:16.513" LastActivityDate="2018-10-08T15:09:16.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24958" PostTypeId="1" CreationDate="2018-10-09T01:23:31.960" Score="2" ViewCount="77" Body="&lt;p&gt;I want Particular in After Effects to animate a flow of particles moving from left to right and bouncing into the perimeter of the mask space around the EXPO logo. Is this possible to create in Particular and if so please tell me how to do it?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Pq9G9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Pq9G9.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Many thanks.&lt;/p&gt;&#xA;" OwnerUserId="23345" LastEditorUserId="4426" LastEditDate="2021-12-03T10:09:15.673" LastActivityDate="2023-04-27T13:08:51.063" Title="Particles flowing around a masked area" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24961" PostTypeId="2" ParentId="24889" CreationDate="2018-10-09T12:29:56.513" Score="0" Body="&lt;p&gt;Although MJPEG may have a more stable and higher temporally local average bitrate, it's bitrate can vary widely given the input content.  See &lt;a href=&quot;https://video.stackexchange.com/questions/24915/mjpeg-compression?noredirect=1#comment35435_24915&quot;&gt;MJPEG Compression&lt;/a&gt;&#xA;; the assertion that the resulting network frames/packets will be more consistent is totally unsubstantiated.  It may be, at a macro level, given, say a 10Mb/s Ku Band spotbeam satellite transponder, MJPEG may actually simulate a HARD MUXRATE function that the MPEG Transport Stream muxer typically would perform, but even this is questionable, given MJPEG's highly variable bitrate given very simple content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hard Muxrate: &lt;a href=&quot;https://stackoverflow.com/questions/44392689/ffmpeg-vbr-cbr-conversion-and-streaming-of-mpeg-2-ts-video-files&quot;&gt;https://stackoverflow.com/questions/44392689/ffmpeg-vbr-cbr-conversion-and-streaming-of-mpeg-2-ts-video-files&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22864" LastActivityDate="2018-10-09T12:29:56.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24962" PostTypeId="1" CreationDate="2018-10-09T14:04:58.153" Score="1" ViewCount="1475" Body="&lt;p&gt;Folks, I am trying to add text to an mp4 file.  Seems easy enough right?  But once the new mp4 file is generated, the new file has half the width of the original file and is higher.  It is almost like it switches the mp4 file from landscape to portrait?  Here is the command I am using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i file01.mp4 -vf drawtext=&quot;text='Text Here': fontcolor=white: fontsize=24: box=1: boxcolor=black@0.5: boxborderw=5: x=(w-text_w)/2: y=(h-text_h)/2: enable='between(t,20,30)'&quot; -codec:a copy file01Text01.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I then attempted to stop drawtext from distorting the video stream but this results in an error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i file01.mp4 -vf drawtext=&quot;text='Text Here': fontcolor=white: fontsize=24: box=1: boxcolor=black@0.5: boxborderw=5: x=(w-text_w)/2: y=(h-text_h)/2: enable='between(t,20,30)'&quot; -c copy file01Text01.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any help on seeing how I can modify the command so that the video width/height is not changed would be appreciated.  Thank you.&lt;/p&gt;&#xA;" OwnerUserId="23350" LastActivityDate="2019-01-07T18:00:24.890" Title="How to use ffmpeg drawtext without changing the width of a video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24965" PostTypeId="2" ParentId="24962" CreationDate="2018-10-09T14:53:54.333" Score="1" Body="&lt;p&gt;Gyan solved it: (see comment above)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;drawtext cannot alter the video frame size. Your video is most likely portrait but stored as landscape with a rotation tag, and ffmpeg auto-rotates the video for you. Add &lt;strong&gt;-noautorotate&lt;/strong&gt; before -i to avoid that.&lt;/p&gt;&#xA;" OwnerUserId="23350" LastActivityDate="2018-10-09T14:53:54.333" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24966" PostTypeId="2" ParentId="24947" CreationDate="2018-10-09T16:40:57.193" Score="2" Body="&lt;p&gt;The answer you're looking for is called &quot;masking.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can find this tool in the majority of professional editing software, but I personally recommend adobe after effects. There is also a chance that some of &quot;moving objects/people&quot; are already presented on green screens-- where as masking would usually be necessary, a &quot;chroma key&quot; would instead take the job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simply &quot;cutting out&quot; the moving figures isn't the only technique seen in this video. If you plan to execute a video in this fashion, you'll need to both cut out the &quot;moving figure,&quot; but also motion track these figures onto the new composition. From there you'll need to manipulate their positions in order to make a convincing and visually appealing effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="23352" LastActivityDate="2018-10-09T16:40:57.193" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24968" PostTypeId="1" CreationDate="2018-10-09T20:43:35.403" Score="0" ViewCount="51" Body="&lt;p&gt;I have been borrowing my library's camera the past few months and am getting sick of it. I want to buy my own camera, but the camera I want costs around $1600. I do not have that money but really want to get a camera to embark on a film project that would mean a lot to me and has an inspirational message. Can organizations, schools, and individuals provide funds or grants to help?&lt;/p&gt;&#xA;" OwnerUserId="23356" LastActivityDate="2018-10-17T11:22:44.740" Title="Do people fundraise to help someone buy a camera?" Tags="|video|video-recording|camera|photos|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24969" PostTypeId="2" ParentId="24932" CreationDate="2018-10-10T06:56:46.460" Score="5" Body="&lt;p&gt;@Martin A provided an very in-depth answer, but I feel that it's worth noting one more thing: focus is part of the creative toolbox that filmakers use. Pulling focus from one actor to another in a 2 shot can be used to emphasise a reaction, or it can be used to reveal foreground or backgrounds, or pick out a subject from a crowd. Autofocus is not always able to do this, just as auto-exposure can't use light creatively the way you can if you set exposure manually.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-10-10T07:02:27.250" LastActivityDate="2018-10-10T07:02:27.250" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24970" PostTypeId="1" CreationDate="2018-10-10T08:56:14.230" Score="1" ViewCount="49" Body="&lt;p&gt;I'm not &lt;code&gt;ffmpeg&lt;/code&gt; and encodding expert and am trying to encode a &lt;code&gt;MP4&lt;/code&gt; file to &lt;code&gt;MPEG-4 h264&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When &lt;code&gt;Elecard stream analyzer&lt;/code&gt; is analyzing my result &lt;code&gt;.ts&lt;/code&gt; file, it shows &lt;code&gt;slice_type = 7&lt;/code&gt; for all of &lt;code&gt;i-frame&lt;/code&gt;s as you can see in the attached screenshot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I change all these to &lt;code&gt;slice_type = 2&lt;/code&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My &lt;code&gt;ffmpeg&lt;/code&gt; command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-i Source.mp4 \&#xA;-filter:v 'setpts=0+PTS-STARTPTS' -metadata:s:v:0 start_time=0 \&#xA;-f adts -c:a libfdk_aac  -profile:a aac_he  -strict -2 -ar 48000 -b:a 48k \&#xA;-f mpegts -c:v libx264  -vbsf h264_mp4toannexb -strict experimental -    profile:v main -level:v 3.0 -preset:v slow -movflags faststart -pat_period 100 \&#xA;-x264opts nal-hrd=cbr:force-cfr=1 -crf 25 -vf scale=w=640:h=360 -aspect 16:9 \&#xA;-bf 1  -sc_threshold 0 -keyint_min 2*25 -g 2*25 \&#xA;-force_key_frames &quot;expr:gte(t,n_forced*50)&quot; -max_muxing_queue_size 1500k \&#xA;-coder 1  -refs 2 \&#xA;-b:v 750k -minrate 750k -maxrate 750k -bufsize 1500k \&#xA;-vsync 1 -framerate 25000/1001 \&#xA;-x264opts &quot;bitrate=750:vbv-maxrate=750:vbv-bufsize=1500&quot;\&#xA;-pix_fmt yuv420p  -r 25 -x264opts force-cfr \&#xA;-mbs_per_slice 1 -y dest.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XMZRr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XMZRr.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23359" LastActivityDate="2018-10-10T08:56:14.230" Title="How can I change slice_type which is show in Elecard stream analyzer using ffmpeg?" Tags="|ffmpeg|mpeg4|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24971" PostTypeId="2" ParentId="24968" CreationDate="2018-10-11T06:59:16.747" Score="2" Body="&lt;p&gt;I remember when I was in high school I used to borrow their Canon 600D to use over the weekends. I loved it, but it was upsetting to have to return it every Monday. Like you, I couldn't afford to buy one at the time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It wasn't until I got a casual retail job that was able to buy my first camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I'm a little older and have a steady(ish) income, I'm able to lease more expensive cameras and pay them off over time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd argue that if you're after an individual/organisation to offer you a grant, you'd need a solid portfolio to convince them to do so. If no-one seems interested, then I'm afraid you'll need to wait and buy one yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It doesn't need to be a $1600 camera right now, it can be an older second-hand one, because ultimately, if you have a good story, it doesn't matter what camera you use to tell it.&lt;/p&gt;&#xA;" OwnerUserId="23360" LastActivityDate="2018-10-11T06:59:16.747" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24972" PostTypeId="2" ParentId="24892" CreationDate="2018-10-11T07:33:15.523" Score="2" Body="&lt;p&gt;The usual solution here, used by many pilots is actually the ubiquitous GoPro. They are robust, housings are built for most purposes and the tech is tried and tested, and compatible with everything. Solutions already exist for continuous power.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And the new GoPro 360 cameras will give you views in every direction - may or may not be useful for your use case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are budget versions/copies, but GoPro are the most robust I have used for high-g, high exposure uses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are expecting extreme temperatures, then make sure your housing has the temperature control you need. That's what everyone does for mounting cameras on fast/high aircraft :-)&lt;/p&gt;&#xA;" OwnerUserId="674" LastEditorUserId="674" LastEditDate="2018-10-12T10:09:02.770" LastActivityDate="2018-10-12T10:09:02.770" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="24973" PostTypeId="1" CreationDate="2018-10-11T08:38:09.633" Score="3" ViewCount="6666" Body="&lt;p&gt;I currently use a regular 50 foot power cord rated for 15 amps. I use it only for two laptops and one camera, making a draw of about 5 amps according to the &quot;input&quot; label on the power supplies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 50 foot cord is heavy, while I notice 100 foot XLRs I have are a pound lighter. Considering both are three wire cords, I thought that there might be &quot;power over XLR&quot; in some way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, would it be safe to snip off the ends of an XLR and attach standard power plugs that you can buy at the hardware store, assuming I never try to draw higher than 5 amps?&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="17390" LastEditDate="2019-04-28T14:03:47.737" LastActivityDate="2024-02-29T18:48:38.610" Title="Use XLR for power?" Tags="|cable|" AnswerCount="5" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24974" PostTypeId="2" ParentId="24973" CreationDate="2018-10-11T11:35:52.687" Score="2" Body="&lt;p&gt;You would best off speaking with an electrician as there is more to this than just wires, you have to consider things like current, draw, heat, limits to voltage with thinner cables etc.&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2018-10-11T11:35:52.687" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24975" PostTypeId="2" ParentId="24928" CreationDate="2018-10-11T11:49:15.577" Score="1" Body="&lt;p&gt;I would use &lt;a href=&quot;https://aescripts.com/templater/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Templater Rig&lt;/a&gt; to achieve this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can specify lines of text to be replaced from a spreadsheet, .csv file or a Google Sheet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can specify images to be replaced in the spreadsheet&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can automate the repeated rendering of a comp with different content inserted for each render, and a relevant filename change for each render.  It's exactly the kind of thing you need, I reckon.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-10-11T11:49:15.577" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24976" PostTypeId="1" AcceptedAnswerId="25001" CreationDate="2018-10-11T12:59:15.773" Score="2" ViewCount="4224" Body="&lt;p&gt;I have a set of images that I extracted from a GIF animation for the purpose of enhancement (which I have done), but now that it's time to convert the still images into a video (I'm going to use webm for higher quality output) I've run into a problem. The GIF format allows individual frames to be displayed for an artificial amount of time and this specific GIF animation makes use that feature, with most frames being displayed for 125 milliseconds but some remaining on the screen for as long as 3000 milliseconds. So just generating a video with a set frame rate isn't going to work as that would break the flow of the animation; I need a way import the frame duration data from the original GIF file and encode the extracted, modified frames into a video using that data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to do this with FFmpeg or maybe a combination of FFprobe and FFmpeg? I ran the GIF through &lt;code&gt;ffprobe -show_frames&lt;/code&gt; and it would seem that the information I need is &lt;code&gt;pkt_duration_time&lt;/code&gt; which shows the duration the frame is displayed.&lt;/p&gt;&#xA;" OwnerUserId="22468" LastActivityDate="2018-10-15T19:50:02.123" Title="Set display time of individual frames in FFmpeg" Tags="|ffmpeg|framerate|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="24977" PostTypeId="5" CreationDate="2018-10-11T13:28:25.383" Score="0" Body="&lt;p&gt;Vegas Pro was previously known as Sony Vegas, however it was sold by Sony.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2018-10-11T13:28:25.383" LastActivityDate="2018-10-11T13:28:25.383" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24978" PostTypeId="4" CreationDate="2018-10-11T13:28:25.383" Score="0" Body="Vegas Pro is a video editing software package for non-linear editing systems (NLE)" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2018-10-11T13:28:25.383" LastActivityDate="2018-10-11T13:28:25.383" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24979" PostTypeId="1" CreationDate="2018-10-11T15:23:58.323" Score="2" ViewCount="286" Body="&lt;p&gt;My business partner and I are working on our company's portfolio, we decided to add some animations in order to make it more fun. We are really new to After Effects but we both learn quickly and we have a big Flash background knowledge from the good old days.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As we started with our first element to animate we already encountered an obstacle, when adding the radio wave effect we cant make it start from a desired size, we've seen many videos using masks to achieve it but we failed to make them work. Have in mind that the mouse shape has no background at all, just a border, and we'd like to keep it transparent if possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Is there a simple way of achieving it?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EWVmf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EWVmf.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23361" LastEditorUserId="23361" LastEditDate="2018-10-11T16:56:40.100" LastActivityDate="2024-03-18T09:08:01.027" Title="After Effects Radio Waves FX Initial Size" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24980" PostTypeId="2" ParentId="24973" CreationDate="2018-10-11T16:46:16.080" Score="3" Body="&lt;h2&gt;Hard NO.&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Not as a high voltage extension cord.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You're drawing only 5 Amps, sure, and XLR cables can carry from 2 to 10 amps, but &lt;em&gt;not&lt;/em&gt; &lt;strong&gt;120 volts of alternating power&lt;/strong&gt;. XLR cables are not meant to conduct that kind of voltage, if you attempt it, the wire could overheat, melt your connections, and potentially start a fire. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;XLR is commonly used for low-voltage applications (mostly 4 and 5 pin XLR though), so you could rig up something to carry the DC power from your device transformers. Plug your power adapters into the wall, then use the XLR cable to carry the low-voltage DC power to your electronics. This will require some more fine-wiring, and there's no guarantee the wires will carry the DC 100 ft to the satisfaction of your devices. They may not power on at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You're better off using your proper power cable.  &lt;/p&gt;&#xA;" OwnerUserId="10584" LastActivityDate="2018-10-11T16:46:16.080" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24982" PostTypeId="1" CreationDate="2018-10-12T05:29:43.803" Score="1" ViewCount="67" Body="&lt;p&gt;i am trying to recode a video from 4096 to 3840 which i did succesfully with this line:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i C:\Alien.mkv -vf scale=3840:2160 -c:v libx265 -crf 18 -acodec copy D:\Alien1.mkv -hide_banner&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the result video seems jumpy, like there is a pause between frames and it happens only when the scene has movement. The input and output framerate is the same (23976). Dont know what to do.&lt;/p&gt;&#xA;" OwnerUserId="23363" LastActivityDate="2018-10-12T05:29:43.803" Title="Jumpy video in scenes with movement" Tags="|ffmpeg|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="24985" PostTypeId="1" CreationDate="2018-10-12T21:03:47.233" Score="3" ViewCount="36" Body="&lt;p&gt;I am a content provider and have an instagram account with 86K followers. I need to upload at least 4 videos everyday. Until now, I created about 300 videos. All of them have been edited in just one premiere project. My problem is that the more videos that I add to this project, the slower it gets, logarithmically.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One solution is to create each video in its own project. While this works from the point of performance, it poses a new problem in reusing common resources across projects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, my question is how do people manage large numbers of similar videos for social media?&lt;/p&gt;&#xA;" OwnerUserId="23370" LastEditorUserId="14523" LastEditDate="2018-10-12T22:03:26.050" LastActivityDate="2019-04-11T19:03:00.553" Title="Creating series of instagram videos with the same templates in premieme pro" Tags="|premiere|video-editor|workflow|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24989" PostTypeId="2" ParentId="24985" CreationDate="2018-10-13T18:51:05.857" Score="1" Body="&lt;p&gt;I would recommend creating a master template project which is setup with all of your folder hierarchies and the common assets you need to access for the edits. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could save this project as &quot;Master Project Template&quot;, and save it within it's own folder with all of the assets, or if the common assets you access take up a lot of disk space, you may want to have two folders- 1.) Master Project File, 2.) Assets. You'll want a 3rd folder where you have all of your unique project specific assets; 3.)Instagram Videos, with subfolders for each day, using a simple naming convention YYMMDD. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regardless of whether it's one or two folders; to make sure you don't have issues linking project assets down the road if you migrate to a new system or drive; I'd set them up on a drive so they are one level above the root directory for that drive:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;D:\Instagram Videos\Master Project Template\Master Project Template.prproj&#xA;D:\Instagram Videos\Master Project Assets\ (Here you can host all of your common assets in one folder or organized into multiple folders. I personally recommend if using multiple folders, to name your Premiere Pro Bins identically to the naming convention and folder structure so what's on the drive in your assets folder, can be found in the exact corresponding system folder). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now that you've set up a &quot;Master Project Template&quot;, you'll want to make your first &quot;Project&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Copy the Master Project Folder, and paste it into the same directory. When prompted by Windows, select create a 2nd copy. Now you'll have a 2nd Copy with &quot;copy(1)&quot; added to the end of the folder name. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now right click the &quot;copy&quot; and rename the folder. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Just my recommendation,&lt;/em&gt; but create a folder naming scheme either using a simple three or four digit numeric prefix &quot;0001 - Instagram Videos&quot;, or use YYMMDD (Not DDMMYY), so you can sort the list of project folders by date correctly: &quot;181013 - Instagram Videos&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You now have a new project folder which regardless if your assets are located in the master project folder, or in a sidecar folder (same root directory), which you can open and create your videos from. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can choose how many videos per &quot;master folder&quot; you want to create, perhaps 1 folder per week, or month. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Final thought, for your master project &quot;project&quot;, set up all of your timelines, including nested timelines, with all of your audio filters already applied, your adjustment layers already in place, etc, so you just have to drop your video assets in. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would also recommend creating a simple TXT file in the master project folder named &quot;README.txt&quot; which you can write notes/add info on updates to the master project folder, such as adding assets, etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll want a 3rd folder in the root directory that contains your assets that are not common; organized likely by folder using a simple YYMMDD naming scheme. It would look like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;D:\Instagram Videos\Online Assets\181013&#xA;D:\Instagram Videos\Online Assets\181014&#xA;D:\Instagram Videos\Online Assets\181015&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will keep everything organized, it will keep your Premiere Pro project file lightweight so you don't have performance issues, it will allow you to easily update the &quot;Master&quot; project file at any time, which for each time you copy for a new batch of videos, would thus include the new version with new added common assets. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-10-13T18:51:05.857" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24990" PostTypeId="2" ParentId="24973" CreationDate="2018-10-13T18:58:48.123" Score="1" Body="&lt;p&gt;Absolutely not. XLR (off the shelf) is rated for mA, not Amps, and at 48v at the high end... which is basically phantom power. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you COULD have a custom cable made. Markertek does this, and they do a great job making custom cables. They certainly could use an AWG 18 4 Wire, and put Neutrik connectors at both ends, one male and one female. But I don't see why you would need this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to only carry 1 cable, just so everything is run on a single path, I'd recommend having Markertek make a custom cable with break away tails. They would set it up with a shielded AC 120v rated main for your power, and run what ever you need along that same path (3 pin xlr, 4 pin xlr, multi-xlr, bnc). At each end you could have them either wire a small breakout similar to a malt box, or just have break away connectors with &quot;x&quot; amount of lead at each end. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But definitely do not run Amps of power through a cable rated for 1/1000th of that current. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2018-10-13T18:58:48.123" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24991" PostTypeId="1" AcceptedAnswerId="24992" CreationDate="2018-10-13T21:51:33.577" Score="1" ViewCount="2829" Body="&lt;p&gt;I have a whole bunch of sports video clips that range from 6 to 25 seconds each, all recorded at 240fps but slowed down to 23.97, 25, 29.97 and 30fps (so they're in super slow motion).  I need to speed them back up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I got the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -vf &quot;setpts=(PTS-STARTPTS)/10&quot; -crf 18 output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;...from another stackexchange question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was able to use this successfully, but I have 3 questions:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1)  How do I preserve all of the frames?  The resulting video is only 30fps, which means the conversion process dropped the vast majority of frames - I'd like it to actually be a full 240fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2)  Some of the videos were truncated at the end.  For example, an 11 second video that originally showed an entire tennis forehand swing ends up stopping before the swing is completed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3)  I read the documentation for probably a good 30 minutes trying to figure out what &quot;-crf 18&quot; does and for the life of me couldn't - would love if someone could explain this!&lt;/p&gt;&#xA;" OwnerUserId="23379" LastActivityDate="2018-10-15T19:04:02.820" Title="How do I speed up slower video framerates with ffmpeg and get full 240fps and no truncated videos?" Tags="|ffmpeg|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24992" PostTypeId="2" ParentId="24991" CreationDate="2018-10-14T04:35:06.517" Score="1" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -vf &quot;setpts=N/240/TB&quot; -r 240 -crf 18 output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The only thing the setpts filter does is retime frames, but the designated frame rate of the stream is still its original framerate, whatever that is (25,30..). &lt;s&gt;Use the fps filter to change that - the fps filter may also drop or duplicate frames, but not in this case.&lt;/s&gt; There's a bug in the fps filter which makes it ineffectual for this purpose. Use output &lt;code&gt;-r&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The default encoder for MOV in FFmpeg is libx264. Its default ratecontrol mode is CRF. Lower values retain more of the original quality but produce larger files - 18 to 28 is a decent range. This has no effect on which frames are included in your output. &lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-10-15T19:04:02.820" LastActivityDate="2018-10-15T19:04:02.820" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="24993" PostTypeId="2" ParentId="20967" CreationDate="2018-10-14T12:14:35.740" Score="3" Body="&lt;p&gt;ffmpeg v4.0.2 or higher can encode/transcode VP9 in mp4.&lt;/p&gt;&#xA;&lt;p&gt;Commandline (when transcoding):&#xA;ffmpeg -i INPUT.MKV -c:v libvpx-vp9 OUTPUT.MP4&lt;/p&gt;&#xA;&lt;p&gt;Commandline (when remuxing (Super fast)):&#xA;ffmpeg -i INPUT.MKV -c:v copy OUTPUT.MP4&lt;/p&gt;&#xA;" OwnerUserId="23383" LastEditorUserId="-1" LastEditDate="2021-07-09T07:21:58.733" LastActivityDate="2021-07-09T07:21:58.733" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24994" PostTypeId="1" CreationDate="2018-10-14T12:35:09.910" Score="1" ViewCount="55" Body="&lt;p&gt;Some movies seem to move the camera amongst the people in a crowded scene, but everyone and everything is completely still.  For example, in the series &quot;The Flash&quot;, season 3, episode 16 starts off with such an effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In &quot;The Matrix&quot;, various angles on a still situation were shot by having a series of adjacent cameras, and I suppose some image processing was used to interpolate between their images to achieve the effect of continuous panning. This can't, however, be used to seemingly weave a camera among the people in a crowd.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Was the effect achieved by computer-generated imagery (CGI)?&lt;/strong&gt;  The characters looked so real, and CGI characters are usually pretty bad.  Unless the technology has advanced so much, and the challenge of achieving realism is simplified by the fact that they characters aren't moving.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To those who marked this question as duplicate: I already referred to the Matrix in my post.  I explained that the puzzling aspect of this question was that the POV seemed to traverse &lt;em&gt;amongst&lt;/em&gt; the group of people.  Hence, this seems to differ from the previous question that was referenced, the answers to which contained links about techniques involving cameras positioned outside the group of people in the scene, i.e., as per the Matrix film that I mentioned.&lt;/p&gt;&#xA;" OwnerUserId="23385" LastEditorUserId="23385" LastEditDate="2018-10-14T23:07:29.057" LastActivityDate="2023-12-19T06:08:06.070" Title="How do movie makers navigate point-of-view among still characters" Tags="|special-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="24997" PostTypeId="1" CreationDate="2018-10-15T00:14:40.730" Score="1" ViewCount="1186" Body="&lt;p&gt;I have 4 videos I am trying to string together and here is my command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;bin/ffmpeg.exe -f concat -safe 0 -i concat.txt out/documentary_full.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here is what's in concat.txt&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file '/path/to/clip_with_audio1.MOV'&#xA;file '/path/to/clip_with_no_audio1.MOV'&#xA;file '/path/to/clip_with_no_audio2.MOV'&#xA;file '/path/to/clip_with_audio2.MOV'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I noticed in the output that when it ends attaching the second clip it gives the following error&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mov,mp4,m4a,3gp,3g2,mj2 @ 05cac5a0] Auto-inserting h264_mp4toannexb bitstream filter&#xA;[aac @ 062e05e0] Reserved bit set.&#xA;[aac @ 062e05e0] decode_band_types: Input buffer exhausted before END element found&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I play the final output video, I notice the player when it reaches the point where it begins the second clip portion, it skips the whole portion, seeks a few seconds forward and continues playing the video after seeking from that point. How do I fix this?&lt;/p&gt;&#xA;" OwnerUserId="17561" LastActivityDate="2024-03-29T01:05:50.703" Title="ffmpeg concat videos, some have audio some don't" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24998" PostTypeId="1" CreationDate="2018-10-15T00:53:52.047" Score="0" ViewCount="52" Body="&lt;p&gt;I wanted to know how HDR would be useful for fast movement as I want to look into cameras that will move through regions of bright light and shadows and so, I want to see how I can make the footage more clear rather than get bland too bright and too dark components largely in the video. I want to check how action cameras implement such huge dynamic ranges. I'm a beginner and am slowly learning, so I might not have understood this right, but please help&lt;/p&gt;&#xA;" OwnerUserId="23287" LastActivityDate="2020-08-07T22:29:39.967" Title="How compatible are high dynamic range and fast movements?" Tags="|action-cam|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="24999" PostTypeId="1" CreationDate="2018-10-15T05:57:10.287" Score="1" ViewCount="735" Body="&lt;p&gt;I tried to create mpeg dash. here's my flow :&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;source.mp4 (UHD 4k) converted to 1080p, 720p ... 144p using following command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i {source.mp4} -c:v libvpx-vp9 {size} -b:v 1500k -keyint_min 150 -tile-columns 4 -frame-parallel 1 -an -f webm -dash 1 {output.webm}&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;audio get splitted using:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;mpeg -i {source.mp4} -c copy {sound.m4a}&#xA;then convert to webm using:&#xA;mpeg -i {sound.m4a} -c:a libvorbis -b:a 128k -vn -f webm -dash 1 {audio.webm}&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;3 create manifest using :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;&#xA;-f webm_dash_manifest -i output-1080p.mp4 \&#xA;-f webm_dash_manifest -i output-720p.mp4 \&#xA;-f webm_dash_manifest -i output-480p.mp4 \&#xA;-f webm_dash_manifest -i output-360p.mp4 \&#xA;-f webm_dash_manifest -i output-240p.mp4 \&#xA;-f webm_dash_manifest -i output-144p.mp4 \&#xA;-f webm_dash_manifest -i audio.m4a \&#xA;-c copy -map 0 -map 1 -map 2 -map 3 -map 4 -map 5 -map 6 \&#xA;-f webm_dash_manifest \ &#xA;-adaptation_sets &quot;id=0,streams=0,1,2,3,4,5 id1,streams=6&quot; {manifest.mpd}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the question is. why after step 3 manifest.mpd is empty, what should be the contain of manifest.mpd file?&lt;/p&gt;&#xA;" OwnerUserId="23395" LastActivityDate="2018-10-15T05:57:10.287" Title="webm dash manifest." Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25000" PostTypeId="2" ParentId="24994" CreationDate="2018-10-15T11:51:45.417" Score="0" Body="&lt;p&gt;You assume that the Matrix technique cannot be used to weave a camera among people. The exact same technique - a combination of multiple cameras, cgi, and interpolation - can do exactly this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, the Flash has much more mature cgi technology than the Matrix, and in fact is famous for the cgi quality. Check out &lt;a href=&quot;https://www.youtube.com/watch?v=qPPvv-ZNQcw&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt; for some behind the scenes info. The majority of the intro you mention appears to be cgi.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2018-10-15T11:51:45.417" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="25001" PostTypeId="2" ParentId="24976" CreationDate="2018-10-15T13:11:19.307" Score="1" Body="&lt;p&gt;It took me quite a while of Googling and trial-and-error but I finally figured out how to actually do this. Thanks to Gyan for pointing me in the right direction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to do more of the process as one-liners but it always turned into a non-functional, undebuggable mess. If you think you could script this, please do so, &lt;em&gt;test it&lt;/em&gt;, and then post it as a new answer.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Print &lt;code&gt;pkt_duration_time&lt;/code&gt; line and save it into a file:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffprobe -show_frames input.gif | grep pkt_duration_time= &amp;gt;frames.txt&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Modify the line to the format that FFmpeg's concat filter requires:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;sed 's/pkt_duration_time=/duration /g' frametimes.txt &amp;gt;frametimes.txt&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Print a list of your input files (frames) located in &lt;code&gt;folder/&lt;/code&gt; and modify the list to be the format FFmpeg's concat filter requires:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ls --quoting-style=shell folder/ &amp;gt;filenames.txt &amp;amp;&amp;amp; sed -i -e 's/^/file /' filenames.txt&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Combine your frame-time file and filenames file to a concat file that FFmpeg accepts:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;paste -d \\n filenames.txt frametimes.txt &amp;gt; folder/concatfile.txt&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We saved the concat file to where the input files are located because otherwise FFmpeg won't accept it. One more thing before we can encode the video: the data for the last frame needs to be present in the concat file twice for some reason. I don't have a CLI for that so just copy-paste it manually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now we can use FFmpeg to turn the image files to an animated video with correct frame times:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;cd folder/&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i concatfile.txt -pix_fmt yuv420p -c:v libvpx-vp9 -b:v 0 -cpu-used 0 -tile-columns 2 -row-mt 1 -lag-in-frames 25 -threads 16 -crf 35 ../output.webm&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The &lt;code&gt;-safe 0&lt;/code&gt; switch is required because otherwise FFmpeg complains about unsafe file names. At least it did in my case, possibly because the file names contained square brackets.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt; ensures the correct color space is used. If you omit this, a color space that isn't standard for web video will be used and in the case of VP9 the resulting file will use Profile 1 which doesn't have as wide hardware decoding support as Profile 0. You could use &lt;code&gt;-profile:v 0&lt;/code&gt; to make sure that this doesn't happen without you noticing.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The rest of the parameters are quality and rate control features for libvpx-vp9. Remember to at least use &lt;code&gt;-b:v 0&lt;/code&gt;, otherwise CRF won't behave as you'd expect. Also note that setting &lt;code&gt;-tile-columns&lt;/code&gt; and &lt;code&gt;-threads&lt;/code&gt; manually is required, otherwise encoding is limited to a single thread.&lt;/p&gt;&#xA;" OwnerUserId="22468" LastEditorUserId="22468" LastEditDate="2018-10-15T19:50:02.123" LastActivityDate="2018-10-15T19:50:02.123" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25002" PostTypeId="2" ParentId="24998" CreationDate="2018-10-15T13:53:35.510" Score="1" Body="&lt;p&gt;There is rarely a direct relationship between HDR, or dynamic range in general, and motion artifacts. There may be an indirect relationship when trade offs are made for transmitting or storing the increased dynamic range. A specific implementation might reduce the frame rate or increase the compression in ways that introduce motion artifacts.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-10-15T13:53:35.510" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25003" PostTypeId="2" ParentId="24872" CreationDate="2018-10-15T15:30:45.077" Score="4" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;(Ideally unaffected parts of the stream would be copied directly without being re-encoded, but if this isn't possible then I can live with a bit of quality loss.)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;First of all, I doubt there's a way to do this losslessly. Very few things that touch the actual, encoded video content in any way can be done without re-encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, I tried out a few things just now and found that a very effective way of doing this is making the video frame rate variable and dropping duplicate frames using FFmpeg's mpdecimate filter:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mp4 -vsync vfr -vf mpdecimate output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The mpdecimate filter has a bunch of additional options that can be set but I found the default worked just fine. I downloaded &lt;a href=&quot;https://www.youtube.com/watch?v=umxwLTUBZ1w&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt; with youtube-dl, encoded the first 5 minutes of it with standard options &lt;code&gt;-c:v libx264 -an -t 300 -crf 22 -preset medium&lt;/code&gt;. I then encoded the same part of the video with the additional options &lt;code&gt;-vsync vfr -vf mpdecimate&lt;/code&gt; and the resulting file was 42% smaller than the one encoded with a constant framerate. 30.8 MB vs 18.0 MB. The encoding process was also significantly faster since there were much fewer frames to encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I've heard that some players may have trouble playing variable frame rate video and that it can also cause audio sync issues. So I also encoded a version with the same settings but included audio as 64k Opus. I played the video in mpv and Firefox and didn't observe any audio synchronisation issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I did notice was that this does affect seeking, sometimes quite dramatically. Firefox was able to seek fine for the most part, but when seeking to some parts of the video FF would display a frame that was long past (like a picture of the speaker at 2:03) and only start playing from a more recent frame about two seconds later but sometimes this would continue for a long time, like 40 seconds. However, when playing the video without seeking playback was perfect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;mpv played the file perfectly too and seemed more adept at seeking. However, some parts of the video couldn't be seeked to (presumably due to the same issue/property of the file which caused FF to have trouble with seeking) and would jump ahead or behind the spot I attempted to seek to. Both of these player issues probably have something to do with the general lack of frames inside the video. AFAIK most players use keyframes for seeking and services like Youtube use a keyframe interval of about two seconds to make videos easier to seek. So this issue probably can't be fixed without sacrificing the file size decrease gained from throwing away duplicate frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Due to these issues I wouldn't really recommend this method for video that's intended for wide distribution. However, it's probably fine for video that's inteded for personal use or archival. With the latter purpose in mind I attempted to re-encode the variable framerate video back into a constant framerate one using the &lt;code&gt;-r 30000/1001&lt;/code&gt; switch, just to check that it works, and ran into &lt;a href=&quot;https://stackoverflow.com/questions/49686244/ffmpeg-too-many-packets-buffered-for-output-stream-01&quot;&gt;this issue&lt;/a&gt; with the audio. I used the &lt;code&gt;-max_muxing_queue_size 9999&lt;/code&gt; switch and the encode worked just fine and the resulting file played without issue. So as long as your tools are up to the task this should be a viable method of archiving video material.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since this method does involve re-encoding you're going to lose some quality. However, since getting rid of duplicate frames significantly reduces the file size with this type of content, you can probably lower the CRF value to a point where the visible quality loss is almost insignificant and still end up saving a lot of space.&lt;/p&gt;&#xA;" OwnerUserId="22468" LastEditorUserId="22468" LastEditDate="2018-10-17T20:53:10.957" LastActivityDate="2018-10-17T20:53:10.957" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25004" PostTypeId="2" ParentId="24979" CreationDate="2018-10-15T16:11:23.983" Score="0" Body="&lt;p&gt;Generate radio waves on a solid, adjust settings so they're looking appropriate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Drag the time cursor forward until the waves have expanded to the point where you want them to start.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cut your layer using the alt + left square bracket ( alt + [ )&#xA;Drag your layer left until it is at the beginning of your comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make a solid layer that goes between your radio waves layer and your mouse image.&#xA;Mask the solid to the same size as your mouse image.&#xA;Set the Track Matte on your radio waves layer to &quot;Alpha Inverted&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oUT7F.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oUT7F.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-10-15T16:11:23.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25005" PostTypeId="2" ParentId="24443" CreationDate="2018-10-15T18:19:55.960" Score="1" Body="&lt;p&gt;Try something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f image2 -framerate 30 -i img%05d.png -c:v libvpx-vp9 -b:v 0 -pix_fmt yuv420p -crf 30 -cpu-used 1 -tile-columns 2 -threads 8 -row-mt 1 output.webm&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Placing &lt;code&gt;-framerate 30&lt;/code&gt; before the input specifies it as the frame rate of the input to be 30. This is then inherited as the output frame rate as well.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-c:v libvpx-vp9&lt;/code&gt; specifies that you want to use VP9. If you want to use VP8, use &lt;code&gt;-c:v libvpx&lt;/code&gt; instead. VP8 has lower compression efficiency but is also less demanding to decode.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-b:v 0&lt;/code&gt; is required for &lt;code&gt;-crf&lt;/code&gt; to work the way most people expect when using libvpx or libvpx-vp9. This is very important when it comes to quality, if you forget this your video is going to look bad at a CRF that would normally look good.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-pix_fmt yuv420p&lt;/code&gt; set the colorspace to 4:2:0 which is important for wide player compatibility and hardware acceleration. This is essential when converting a series of images into a video since forgetting to set this leads to higher file sizes due to increased color representation capability and can make some players display the video incorrectly or to not play it at all.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-crf 30&lt;/code&gt; sets the bitrate control mode to Constant Quality and the value to 30. In my experience this is a good value to start with. Lower values lead to higher quality. Try out different values to find out what works best for your content.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-cpu-used 1&lt;/code&gt; sets the encoding speed, lower values equal better compression. 0 is the lowest speed and highest compression efficiency while 5 is the fastest speed and lowest compression efficiency.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-tile-columns 2&lt;/code&gt; specifies that the video will use two tile columns. These are used to achieve multi-threaded encoding and depending on how old your version of FFmpeg is this might not be set automatically. 2 columns is suitable for 720p and 1080p video. Refer to &lt;a href=&quot;https://developers.google.com/media/vp9/settings/vod/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Google's VP9 encoding guide&lt;/a&gt; for the suitable amount of tile columns and the amount of threads they allow you to use.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-threads 8&lt;/code&gt; defines the amount of processing threads available for encoding. Set this to the amount of cores (or threads if you have HyperThreading/SMT available) on your CPU for the fastest encoding. This option still needs to be set manually even in latest versions of FFmpeg or else libvpx will only use one thread, which slows down encoding significantly.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-row-mt 1&lt;/code&gt; enables better multithreading for libvpx. Setting this manually doesn't seem to be necessary in recent versions of FFmpeg but it doesn't hurt either.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="22468" LastActivityDate="2018-10-15T18:19:55.960" CommentCount="0" CommunityOwnedDate="2018-10-15T18:19:55.960" ContentLicense="CC BY-SA 4.0" />
  <row Id="25008" PostTypeId="2" ParentId="24997" CreationDate="2018-10-16T06:14:29.610" Score="0" Body="&lt;p&gt;It looks like the first input's audio is corrupted, but it it hard to say without accessing to the input sources. Could you try to build the transcoding pipeline by following the tutorial here? &lt;a href=&quot;https://www.bugcodemaster.com/article/concatenate-videos-using-ffmpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.bugcodemaster.com/article/concatenate-videos-using-ffmpeg&lt;/a&gt;&#xA;It might tell FFMPEG more clear which stream to choose to avoid confusion.&lt;/p&gt;&#xA;" OwnerUserId="23394" LastActivityDate="2018-10-16T06:14:29.610" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25012" PostTypeId="1" CreationDate="2018-10-16T12:10:02.487" Score="1" ViewCount="29" Body="&lt;p&gt;I have a Premiere Pro video project in which the subtitles have been created as titles with the Type Tool. Is there any way to convert the text clips on the timeline into captions, with the already set durations, or to export them as a subtitle file such as .srt?&lt;/p&gt;&#xA;" OwnerUserId="23405" LastActivityDate="2018-10-17T11:13:57.770" Title="Can text clips be converted into captions in Premiere Pro?" Tags="|premiere|closed-captioning|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25013" PostTypeId="2" ParentId="24711" CreationDate="2018-10-16T13:55:05.643" Score="1" Body="&lt;p&gt;This happens to me sometimes using Keylight.  I find that if I make a tiny adjustment to the settings (holding down CMD and dragging on one of the controls (eg Screen Gain or Screen Balance), it usually disappears.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-10-16T13:55:05.643" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25014" PostTypeId="1" CreationDate="2018-10-16T14:06:54.153" Score="1" ViewCount="63" Body="&lt;p&gt;In windows 7, I used to use windows explorer to click on a video, press the play button, and decide if it was worth keeping. If it was worth keeping, I'd move it to a &quot;use&quot; folder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, Windows 10 explorer doesn't seem to support this play feature. Without this function in Windows 10 explorer, I have to open many videos in a media player to view them, find the filename of the one I'm viewing, then go back to explorer to move to the &quot;use&quot; folder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) I've looked for a way of re enabling this feature in explorer, but don't seem to be able to do this. Is it possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Is there other software that's a file manager and viewer combined? I can not seem to find one.&lt;/p&gt;&#xA;" OwnerUserId="22087" LastEditorUserId="14523" LastEditDate="2018-10-18T23:23:39.010" LastActivityDate="2023-12-22T14:01:05.193" Title="Video sorting workflow" Tags="|windows|workflow|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25015" PostTypeId="2" ParentId="24803" CreationDate="2018-10-16T14:32:31.940" Score="0" Body="&lt;p&gt;The stock footage that Stib is referring to is being overlaid on top of the original footage using a different composition mode - maybe multiply, overlay, or screen.  Try out several and see which works for you.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.premiumbeat.com/blog/6-useful-blending-modes-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.premiumbeat.com/blog/6-useful-blending-modes-effects/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The text is being inverted by the footage behind it - could be achieved using Invert and Stencil Alpha&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-10-16T14:32:31.940" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25016" PostTypeId="1" CreationDate="2018-10-16T15:43:54.613" Score="1" ViewCount="3430" Body="&lt;p&gt;I'm trying to convert H.264 footage from a Panasonic EVA1 camera to Apple ProRes with ffmpeg. However no matter which setting I use, the output file has slightly more contrast than the original input file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some of the commands I've tried are:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /Users/roy/Desktop/devnull/ffmpeg\ test/ffmpeg.MOV -vcodec prores -acodec copy /Users/roy/Desktop/devnull/ffmpeg\ test/prores_auto.mov&#xA;&#xA;ffmpeg -i /Users/roy/Desktop/devnull/ffmpeg\ test/ffmpeg.MOV -c:v prores_ks -profile:v 2 -c:a copy /Users/roy/Desktop/devnull/ffmpeg\ test/prores_ks_standard.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I convert the input footage with the Quicktime Animation codec first ffmpeg does not introduce extra contrast in the output footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an extra flag that I'm supposed to be using? Does is it have something to do with a wrongly interpreted colourspace in ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The log for the first command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;gt; Roy-iMac:~ roy$ ffmpeg -i /Users/roy/Desktop/devnull/ffmpeg\&#xA;&amp;gt; test/ffmpeg.MOV -vcodec prores -acodec copy&#xA;&amp;gt; /Users/roy/Desktop/devnull/ffmpeg\ test/prores_auto.mov ffmpeg version&#xA;&amp;gt; 4.0.2 Copyright (c) 2000-2018 the FFmpeg developers   built with Apple LLVM version 9.1.0 (clang-902.0.39.2)   configuration:&#xA;&amp;gt; --prefix=/usr/local/Cellar/ffmpeg/4.0.2 --enable-shared --enable-pthreads --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-gpl --enable-libmp3lame --enable-libx264 --enable-libxvid --enable-opencl --enable-videotoolbox --disable-lzma   libavutil      56. 14.100 / 56. 14.100   libavcodec     58. 18.100 / 58. 18.100   libavformat    58. 12.100 / 58. 12.100   libavdevice    58.  3.100 /&#xA;&amp;gt; 58.  3.100   libavfilter     7. 16.100 /  7. 16.100   libavresample   4.  0.  0 /  4.  0.  0   libswscale      5.  1.100 /  5.  1.100   libswresample   3.  1.100 /  3.  1.100   libpostproc    55.  1.100 /&#xA;&amp;gt; 55.  1.100 [mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fd96c800000] decoding for stream 0 failed Guessed Channel Layout for Input Stream #0.1 : stereo&#xA;&amp;gt; Input #0, mov,mp4,m4a,3gp,3g2,mj2, from&#xA;&amp;gt; '/Users/roy/Desktop/devnull/ffmpeg test/ffmpeg.MOV':   Metadata:&#xA;&amp;gt;     major_brand     : qt  &#xA;&amp;gt;     minor_version   : 537986816&#xA;&amp;gt;     compatible_brands: qt  pana&#xA;&amp;gt;     creation_time   : 2018-10-12T13:49:01.000000Z&#xA;&amp;gt;     com.panasonic.Semi-Pro.metadata.xml: &amp;lt;?xml version=&quot;1.0&quot; encoding=&quot;UTF-8&quot; standalone=&quot;no&quot; ?&amp;gt;&#xA;&amp;gt;                     : &amp;lt;ClipMain xmlns:xsi=&quot;http://www.w3.org/2001/XMLSchema-instance&quot;&#xA;&amp;gt; xmlns=&quot;urn:schemas-Professional-Plug-in:Semi-Pro:ClipMetadata:v1.0&quot;&amp;gt;&#xA;&amp;gt; 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                    :       &amp;lt;Access&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;CreationDate&amp;gt;2018-10-12T14:49:01+01:00&amp;lt;/CreationDate&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;/Access&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;Device&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;Manufacturer&amp;gt;Panasonic&amp;lt;/Manufacturer&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;SerialNo.&amp;gt;K7TAA0323&amp;lt;/SerialNo.&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;ModelName&amp;gt;AU-EVA1&amp;lt;/ModelName&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;/Device&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;Shoot&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;StartDate&amp;gt;2018-10-12T14:49:01+01:00&amp;lt;/StartDate&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;/Shoot&amp;gt;&#xA;&amp;gt;                     :     &amp;lt;/ClipMetadata&amp;gt;&#xA;&amp;gt;                     :   &amp;lt;/ClipContent&amp;gt;&#xA;&amp;gt;                     :   &amp;lt;UserArea&amp;gt;&#xA;&amp;gt;                     :     &amp;lt;AcquisitionMetadata xmlns=&quot;urn:schemas-Professional-Plug-in:P2:CameraMetadata:v1.2&quot;&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;CameraUnitMetadata&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;ISOSensitivity&amp;gt;2500&amp;lt;/ISOSensitivity&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;WhiteBalanceColorTemperature&amp;gt;4500K&amp;lt;/WhiteBalanceColorTemperature&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;Gamma&amp;gt;&#xA;&amp;gt;                     :           &amp;lt;CaptureGamma&amp;gt;V-Log&amp;lt;/CaptureGamma&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;/Gamma&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;Gamut&amp;gt;&#xA;&amp;gt;                     :           &amp;lt;CaptureGamut&amp;gt;V-Gamut&amp;lt;/CaptureGamut&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;/Gamut&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;/CameraUnitMetadata&amp;gt;&#xA;&amp;gt;                     :     &amp;lt;/AcquisitionMetadata&amp;gt;&#xA;&amp;gt;                     :   &amp;lt;/UserArea&amp;gt;&#xA;&amp;gt;                     : &amp;lt;/ClipMain&amp;gt;&#xA;&amp;gt;                     :    Duration: 00:00:16.80, start: 0.000000, bitrate: 150123 kb/s&#xA;&amp;gt;     Stream #0:0(eng): Video: h264 (High 4:2:2) (avc1 / 0x31637661), yuv422p10le(pc, bt709), 3840x2160 [SAR 1:1 DAR 16:9], 147693 kb/s, 25&#xA;&amp;gt; fps, 25 tbr, 90k tbn, 50 tbc (default)&#xA;&amp;gt;     Metadata:&#xA;&amp;gt;       creation_time   : 2018-10-12T13:49:01.000000Z&#xA;&amp;gt;       timecode        : 03:19:16:01&#xA;&amp;gt;     Stream #0:1(eng): Audio: pcm_s24be (lpcm / 0x6D63706C), 48000 Hz, stereo, s32 (24 bit), 2304 kb/s (default)&#xA;&amp;gt;     Metadata:&#xA;&amp;gt;       creation_time   : 2018-10-12T13:49:01.000000Z&#xA;&amp;gt;       timecode        : 03:19:16:01&#xA;&amp;gt;     Stream #0:2(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)&#xA;&amp;gt;     Metadata:&#xA;&amp;gt;       creation_time   : 2018-10-12T13:49:01.000000Z&#xA;&amp;gt;       reel_name       : A014&#xA;&amp;gt;       timecode        : 03:19:16:01 File '/Users/roy/Desktop/devnull/ffmpeg test/prores_auto.mov' already&#xA;&amp;gt; exists. Overwrite ? [y/N] y Stream mapping:   Stream #0:0 -&amp;gt; #0:0&#xA;&amp;gt; (h264 (native) -&amp;gt; prores (native))   Stream #0:1 -&amp;gt; #0:1 (copy) Press&#xA;&amp;gt; [q] to stop, [?] for help [prores @ 0x7fd96e003a00] encoding with&#xA;&amp;gt; ProRes standard (apcn) profile [prores @ 0x7fd96e006200] encoding with&#xA;&amp;gt; ProRes standard (apcn) profile [prores @ 0x7fd96e008a00] encoding with&#xA;&amp;gt; ProRes standard (apcn) profile [prores @ 0x7fd970066400] encoding with&#xA;&amp;gt; ProRes standard (apcn) profile [prores @ 0x7fd9700cf800] encoding with&#xA;&amp;gt; ProRes standard (apcn) profile [prores @ 0x7fd96e00b200] encoding with&#xA;&amp;gt; ProRes standard (apcn) profile [prores @ 0x7fd96e00da00] encoding with&#xA;&amp;gt; ProRes standard (apcn) profile [prores @ 0x7fd96e806200] encoding with&#xA;&amp;gt; ProRes standard (apcn) profile [prores @ 0x7fd96c80a400] encoding with&#xA;&amp;gt; ProRes standard (apcn) profile Output #0, mov, to&#xA;&amp;gt; '/Users/roy/Desktop/devnull/ffmpeg test/prores_auto.mov':   Metadata:&#xA;&amp;gt;     major_brand     : qt  &#xA;&amp;gt;     minor_version   : 537986816&#xA;&amp;gt;     compatible_brands: qt  pana&#xA;&amp;gt;     com.panasonic.Semi-Pro.metadata.xml: &amp;lt;?xml version=&quot;1.0&quot; encoding=&quot;UTF-8&quot; standalone=&quot;no&quot; ?&amp;gt;&#xA;&amp;gt;                     : &amp;lt;ClipMain xmlns:xsi=&quot;http://www.w3.org/2001/XMLSchema-instance&quot;&#xA;&amp;gt; xmlns=&quot;urn:schemas-Professional-Plug-in:Semi-Pro:ClipMetadata:v1.0&quot;&amp;gt;&#xA;&amp;gt;                     :   &amp;lt;ClipContent&amp;gt;&#xA;&amp;gt;                     :     &amp;lt;GlobalClipID&amp;gt;060A2B340101010501010D431300000060F44F8E038405C6008045821D6BD519&amp;lt;/GlobalClipID&amp;gt;&#xA;&amp;gt;                     :     &amp;lt;Duration&amp;gt;420&amp;lt;/Duration&amp;gt;&#xA;&amp;gt;                     :     &amp;lt;EditUnit&amp;gt;1/25&amp;lt;/EditUnit&amp;gt;&#xA;&amp;gt;                     :     &amp;lt;EssenceList&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;Video&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;Codec BitRate=&quot;150&quot;&amp;gt;H264_422_LongGOP&amp;lt;/Codec&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;ActiveLine&amp;gt;2160&amp;lt;/ActiveLine&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;ActivePixel&amp;gt;3840&amp;lt;/ActivePixel&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;BitDepth&amp;gt;10&amp;lt;/BitDepth&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;FrameRate&amp;gt;25p&amp;lt;/FrameRate&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;TimecodeType&amp;gt;NonDrop&amp;lt;/TimecodeType&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;StartTimecode&amp;gt;03:19:16:01&amp;lt;/StartTimecode&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;StartBinaryGroup&amp;gt;00000000&amp;lt;/StartBinaryGroup&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;/Video&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;Audio&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;Channel&amp;gt;2&amp;lt;/Channel&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;SamplingRate&amp;gt;48000&amp;lt;/SamplingRate&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;BitsPerSample&amp;gt;24&amp;lt;/BitsPerSample&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;/Audio&amp;gt;&#xA;&amp;gt;                     :     &amp;lt;/EssenceList&amp;gt;&#xA;&amp;gt;                     :     &amp;lt;ClipMetadata&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;UserClipName&amp;gt;A014C005_181012_K7B3&amp;lt;/UserClipName&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;Access&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;CreationDate&amp;gt;2018-10-12T14:49:01+01:00&amp;lt;/CreationDate&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;/Access&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;Device&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;Manufacturer&amp;gt;Panasonic&amp;lt;/Manufacturer&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;SerialNo.&amp;gt;K7TAA0323&amp;lt;/SerialNo.&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;ModelName&amp;gt;AU-EVA1&amp;lt;/ModelName&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;/Device&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;Shoot&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;StartDate&amp;gt;2018-10-12T14:49:01+01:00&amp;lt;/StartDate&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;/Shoot&amp;gt;&#xA;&amp;gt;                     :     &amp;lt;/ClipMetadata&amp;gt;&#xA;&amp;gt;                     :   &amp;lt;/ClipContent&amp;gt;&#xA;&amp;gt;                     :   &amp;lt;UserArea&amp;gt;&#xA;&amp;gt;                     :     &amp;lt;AcquisitionMetadata xmlns=&quot;urn:schemas-Professional-Plug-in:P2:CameraMetadata:v1.2&quot;&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;CameraUnitMetadata&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;ISOSensitivity&amp;gt;2500&amp;lt;/ISOSensitivity&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;WhiteBalanceColorTemperature&amp;gt;4500K&amp;lt;/WhiteBalanceColorTemperature&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;Gamma&amp;gt;&#xA;&amp;gt;                     :           &amp;lt;CaptureGamma&amp;gt;V-Log&amp;lt;/CaptureGamma&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;/Gamma&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;Gamut&amp;gt;&#xA;&amp;gt;                     :           &amp;lt;CaptureGamut&amp;gt;V-Gamut&amp;lt;/CaptureGamut&amp;gt;&#xA;&amp;gt;                     :         &amp;lt;/Gamut&amp;gt;&#xA;&amp;gt;                     :       &amp;lt;/CameraUnitMetadata&amp;gt;&#xA;&amp;gt;                     :     &amp;lt;/AcquisitionMetadata&amp;gt;&#xA;&amp;gt;                     :   &amp;lt;/UserArea&amp;gt;&#xA;&amp;gt;                     : &amp;lt;/ClipMain&amp;gt;&#xA;&amp;gt;                     : &#xA;&amp;gt;     encoder         : Lavf58.12.100&#xA;&amp;gt;     Stream #0:0(eng): Video: prores (apcn / 0x6E637061), yuv422p10le, 3840x2160 [SAR 1:1 DAR 16:9], q=2-31, 200 kb/s, 0.04 fps, 12800 tbn,&#xA;&amp;gt; 25 tbc (default)&#xA;&amp;gt;     Metadata:&#xA;&amp;gt;       creation_time   : 2018-10-12T13:49:01.000000Z&#xA;&amp;gt;       timecode        : 03:19:16:01&#xA;&amp;gt;       encoder         : Lavc58.18.100 prores&#xA;&amp;gt;     Stream #0:1(eng): Audio: pcm_s24be (in24 / 0x34326E69), 48000 Hz, stereo, s32 (24 bit), 2304 kb/s (default)&#xA;&amp;gt;     Metadata:&#xA;&amp;gt;       creation_time   : 2018-10-12T13:49:01.000000Z&#xA;&amp;gt;       timecode        : 03:19:16:01 frame=  420 fps= 20 q=-0.0 Lsize= 1036081kB time=00:00:16.78 bitrate=505533.8kbits/s speed=0.797x    &#xA;&amp;gt; video:1031347kB audio:4725kB subtitle:0kB other streams:0kB global&#xA;&amp;gt; headers:0kB muxing overhead: 0.000812%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="23406" LastEditorUserId="23406" LastEditDate="2018-10-17T16:39:35.180" LastActivityDate="2023-08-01T21:38:46.330" Title="Convert to ProRes with ffmpeg adds unwanted contrast to footage" Tags="|ffmpeg|codec|mac|prores|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25018" PostTypeId="2" ParentId="24711" CreationDate="2018-10-16T19:23:49.477" Score="1" Body="&lt;p&gt;When Keylight acts that way, usually emptying the cache helps. If it doesn't help, just add a new adjustment layer to force everything render again.&lt;/p&gt;&#xA;" OwnerUserId="3179" LastActivityDate="2018-10-16T19:23:49.477" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25019" PostTypeId="2" ParentId="23111" CreationDate="2018-10-16T20:57:06.280" Score="2" Body="&lt;p&gt;When you put a track point to a feature, you can notice the white crosshair in the middle of the tracking marker. That is the tracking point. If your tracked feature is covered by something else or moves out of frame, you can re position your marker before that happens. Just before that moment: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Place your cursor over the marker, &lt;strong&gt;but not the crosshair&lt;/strong&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Press &lt;code&gt;ALT&lt;/code&gt; on your keyboard, your cursor arrow will turn white.&lt;/li&gt;&#xA;&lt;li&gt;While &lt;code&gt;ALT&lt;/code&gt; is pressed, hold your marker and move to a new feature. You can notice that the crosshair remains at it's initial position. When you place the marker, release &lt;code&gt;ALT&lt;/code&gt; button.&lt;/li&gt;&#xA;&lt;li&gt;Continue tracking, After Effects will keep your tracking point's crosshair in it's initial position, while tracking your new feature. So even your initial tracking point moves out of the frame or obscured by something else it will be OK.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;But selection of the second feature is important. It must be on the same surface or plane as the first one. If your first point is on the wall, choosing the second point on the ground or another feature in the foreground, will cause a lot of problems, as there will be plenty of parallax motion (Foreground will move faster than background etc.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or if your footage is shot with a wide lens, features on the edge of the frame will have a different motion when compared to a feature in the middle of the frame, due to the lens distortion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See the explained steps in a &lt;a href=&quot;https://streamable.com/iryjq&quot; rel=&quot;nofollow noreferrer&quot;&gt;screencast video&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3179" LastActivityDate="2018-10-16T20:57:06.280" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25021" PostTypeId="2" ParentId="25014" CreationDate="2018-10-17T07:32:15.373" Score="0" Body="&lt;p&gt;what you are looking for is a DAM (Digital Asset Management) software. There are many many options available some free some paid.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most NLE's have this built in, again there are free and paid versions&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2018-10-17T07:32:15.373" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25022" PostTypeId="2" ParentId="22384" CreationDate="2018-10-17T08:46:55.190" Score="0" Body="&lt;p&gt;A solution would be parenting the icon to a 3D null and applying auto orientation to the null, afterwards you can rotate your icon back.&lt;/p&gt;&#xA;" OwnerUserId="3179" LastActivityDate="2018-10-17T08:46:55.190" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25025" PostTypeId="2" ParentId="24968" CreationDate="2018-10-17T11:22:44.740" Score="0" Body="&lt;p&gt;You can always hire a camera cheaply for a project or if you have a project that you want to film then you could crowdfund that.&lt;/p&gt;&#xA;" OwnerUserId="23412" LastActivityDate="2018-10-17T11:22:44.740" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25027" PostTypeId="2" ParentId="24947" CreationDate="2018-10-17T11:28:48.033" Score="0" Body="&lt;p&gt;You need to rotoscope/mask the footage with After Effects you want to move and render with an alpha channel then overlay on to the other footage&lt;/p&gt;&#xA;" OwnerUserId="23412" LastActivityDate="2018-10-17T11:28:48.033" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25029" PostTypeId="2" ParentId="24711" CreationDate="2018-10-17T11:33:01.287" Score="0" Body="&lt;p&gt;I fixed this issue by changing the renderer from OpenGL to Software based. The problem is still there when previewing in the timeline, but it's gone after exporting.&lt;/p&gt;&#xA;" OwnerUserId="21414" LastActivityDate="2018-10-17T11:33:01.287" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25030" PostTypeId="2" ParentId="24862" CreationDate="2018-10-17T11:35:25.807" Score="0" Body="&lt;p&gt;If you're going to reduce to 720p anyway then record in 720p as you'll get more footage on the storage device and use less space.&lt;/p&gt;&#xA;" OwnerUserId="23412" LastActivityDate="2018-10-17T11:35:25.807" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25032" PostTypeId="2" ParentId="24790" CreationDate="2018-10-17T11:40:28.380" Score="1" Body="&lt;p&gt;Neither are great options, you should have an extra light on the subject and side light with an overhead fill (third light).&lt;/p&gt;&#xA;" OwnerUserId="23412" LastActivityDate="2018-10-17T11:40:28.380" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25033" PostTypeId="2" ParentId="24749" CreationDate="2018-10-17T11:43:11.293" Score="-2" Body="&lt;p&gt;You could also keyframe the volume in premiere so that in decreases/increases when you need it to.&lt;/p&gt;&#xA;" OwnerUserId="23412" LastActivityDate="2018-10-17T11:43:11.293" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25034" PostTypeId="1" AcceptedAnswerId="25036" CreationDate="2018-10-17T19:23:51.407" Score="1" ViewCount="3205" Body="&lt;p&gt;I’ve been attempting to do lossless game capture as I’ve been working on a program to do frame rate analysis. I haven’t had much luck finding a program that does lossless capture as AmaRecTV, Dxtory, and Virtualdub all seem to be abandoned.  I’m trying to use FFmpeg and have come up with the following command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -f dshow -rtbufsize 500M -i video=&quot;Game Capture 4K60 Pro Video 01&quot; -framerate 60 -vsync 0 -c:v libx264 -preset ultrafast -crf 0 -pix_fmt yuv420p &quot;e:\Captures\out.mkv&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, the file size doesn’t seem large enough to be lossless.  For example, according to MediaInfo, I got an overall bit rate of 132 Mb/s (16.5 MB/s) for a 720p 60 fps capture.  However, I’m pretty sure that a lossless 720p, 60 fps, 4:2:0 file should be closer to 640 Mb/s (80MB/s).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I’m using Windows 10 1809 x64, a nightly build of FFmpeg x64 that is newer than 4.0.2, Nvidia 399.24, and an Elgato 4K60 Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does this command produce lossless capture?  And how can I improve it?&lt;/p&gt;&#xA;" OwnerUserId="23414" LastActivityDate="2020-10-03T17:28:29.207" Title="Lossless Capture with FFmpeg" Tags="|ffmpeg|video-capture|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25035" PostTypeId="2" ParentId="25016" CreationDate="2018-10-17T19:29:21.247" Score="1" Body="&lt;p&gt;Ok, so your input is full-range &lt;code&gt;(pc, bt709)&lt;/code&gt; which is unusual, so let's try to correct that.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ffmpeg.MOV -vf scale=in_range=pc:out_range=tv -c:v prores -c:a copy prores_auto.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-10-17T19:29:21.247" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25036" PostTypeId="2" ParentId="25034" CreationDate="2018-10-17T19:37:23.723" Score="2" Body="&lt;p&gt;libx264 is a very efficient encoder, so that bitrate isn't unusual. In fact, it's on the higher side, but since you're capturing a game, I expect there is constant motion involved, and your preset is ultrafast which disables some of the aggressive compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you say &lt;code&gt;80MB/s&lt;/code&gt;, I believe you're thinking of uncompressed full raster i.e. 1280 x 720 x 12 bits/pixel x 60 fps. Lossless does not mean uncompressed, just like there can be a compressed ZIP of a binary program.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;BTW, the &lt;code&gt;-framerate 60&lt;/code&gt; goes before &lt;code&gt;-i video=&quot;Game Capture 4K60 Pro Video 01&quot;&lt;/code&gt; as it's an input option.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-10-17T19:37:23.723" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25039" PostTypeId="2" ParentId="24828" CreationDate="2018-10-18T14:51:24.717" Score="0" Body="&lt;p&gt;I tried a subscription for Premiere CC, and it seems to be much better. So TravisO was right, CS6 is just too old.&lt;/p&gt;&#xA;" OwnerUserId="23197" LastActivityDate="2018-10-18T14:51:24.717" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25042" PostTypeId="2" ParentId="24958" CreationDate="2018-10-19T06:48:18.687" Score="2" Body="&lt;p&gt;You could do this using the built in Foam particle render - it does have basic collision avoidance&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/simulation-effects.html#foam_effect&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/after-effects/using/simulation-effects.html#foam_effect&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You would get a better effect with a physics-based simulator, in 2D using &lt;a href=&quot;https://www.motionboutique.com/newton-physics-simulator-engine-after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Newton&lt;/a&gt;, in 3D using Cinema4D or Blender.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-12-03T09:21:22.287" LastActivityDate="2021-12-03T09:21:22.287" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25044" PostTypeId="1" AcceptedAnswerId="25045" CreationDate="2018-10-19T11:07:14.557" Score="1" ViewCount="3315" Body="&lt;p&gt;I'm sure there are other use cases for this as well, but the major one that I can think of is creating a bin out of the synced sequence pluraleyes creates. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When pluraleyes syncs your footage with audio, it will create a sequence that looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2Q4Eg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2Q4Eg.png&quot; alt=&quot;pluraleyes synced sequence&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get these clips into a bin, one method, (documented &lt;a href=&quot;http://web.archive.org/web/20181019094726/https://people.ucsc.edu/~ilusztig/196c/downloads/sync_handout.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;) is for each clip in the timeline, you have to shift click on the footage + the layers of audio underneath. Select merge clips and then it'll create a merged clip in your project. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This can go from tedious to impractical, depending on how many clips you have. Is there a way to speed up this process?&lt;/p&gt;&#xA;" OwnerUserId="18870" LastActivityDate="2018-10-19T11:07:14.557" Title="How do you batch merge many clips in a premiere pro timeline?" Tags="|premiere|editing|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25045" PostTypeId="2" ParentId="25044" CreationDate="2018-10-19T11:07:14.557" Score="0" Body="&lt;p&gt;There are at least two ways I have found to do this so far. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;&lt;em&gt;Out of the box method&lt;/em&gt;&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;The easiest possible way to speed this process up is to set a few keyboard shortcuts and close the project window. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open the keyboard shortcut manager. &lt;code&gt;Edit &amp;gt; Keyboard Shortcuts&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Search for &lt;code&gt;merge&lt;/code&gt; and set &lt;code&gt;Merge Clips&lt;/code&gt; to a shortcut. I picked &lt;code&gt;Ctrl+Shift+Y&lt;/code&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nOIiO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nOIiO.png&quot; alt=&quot;Merge Clips&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;li&gt;Search for &lt;code&gt;select next clip&lt;/code&gt; and set &lt;code&gt;Select Next Clip&lt;/code&gt; to a shortcut. I picked &lt;code&gt;Ctrl+Down&lt;/code&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GIG18.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GIG18.png&quot; alt=&quot;Select Next Clip&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;li&gt;Close the project folder pane. This will make things 10X faster. Without doing this every time you merge a clip, focus will be given to the project pane. If you don't do this, the process will be. &lt;code&gt;ctrl+shift+Y &amp;gt; enter &amp;gt; ctrl+down &amp;gt; click back to timeline&lt;/code&gt;. If you do this you never have to leave the keyboard you can just do &lt;code&gt;ctrl+shift+Y &amp;gt; enter &amp;gt; ctrl+down &amp;gt; ctrl+shift+Y&lt;/code&gt; until the end of your timeline. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If you do all of that, and close the project pane, the process would look something like this: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.imgur.com/7Yyy1T4.gifv&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.imgur.com/7Yyy1T4.gifv&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;&lt;em&gt;Super hacky, but I guess it works, method&lt;/em&gt;&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;While the above does work fine, and will probably speed up doing this with a mouse by a factor of ten. If you have a timeline with hundreds of clips, this is going to get really tedious. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, all we need to automate this, is something to do these keyboard shortcuts for us while we go and... do something else &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/udGMY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/udGMY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can't find a &lt;a href=&quot;https://gfycat.com/SleepyQueasyAssassinbug&quot; rel=&quot;nofollow noreferrer&quot;&gt;rocking bird&lt;/a&gt;. The next best thing is going to be &lt;a href=&quot;https://autohotkey.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;autohotkey&lt;/a&gt;. I don't know what the MacOS equivalent of this is, but at least on windows the process would look something like this. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Estimate how many clips are in your timeline 100ish, 200ish?&lt;/li&gt;&#xA;&lt;li&gt;Download and install AutoHotkey&lt;/li&gt;&#xA;&lt;li&gt;Download &lt;a href=&quot;https://gist.github.com/spookyUnknownUser/d3094bcf865bf54331a785d0712ed36f#file-mergeclips-ahk&quot; rel=&quot;nofollow noreferrer&quot;&gt;this Autohotkey script&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    ^j::&#xA;    Loop, x ; Set x to estimate of clips in timeline, 100, 200, etc. &#xA;    {&#xA;    Send, ^+y ; Merge clips shortcut &#xA;    Sleep, 100 ; Wait for dialogue&#xA;    Send, {Enter} ; Press enter&#xA;    Sleep, 100 ; Wait for merge&#xA;    Send, ^{Down} ; Select next clip shortcut&#xA;    Sleep, 100 ; Wait for next clip&#xA;    }&#xA;    return&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ol start=&quot;4&quot;&gt;&#xA;&lt;li&gt;Right click on &lt;code&gt;mergeclips.ahk&lt;/code&gt; on your desktop &gt; select edit script&lt;/li&gt;&#xA;&lt;li&gt;Set x to the number of clips you want to merge. Save the file. &lt;/li&gt;&#xA;&lt;li&gt;Double click on the script on your desktop. This will listen in the background for your keyboard shortcut press. &lt;/li&gt;&#xA;&lt;li&gt;Go to premiere, &lt;strong&gt;make sure your project pane is closed&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Make sure your premiere keyboard shortcuts are set to the ones I listed above. &lt;/li&gt;&#xA;&lt;li&gt;Select the first clip on the timeline you want to merge. &lt;/li&gt;&#xA;&lt;li&gt;Press &lt;code&gt;ctrl+j&lt;/code&gt; to start the script :)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Demo: &lt;a href=&quot;https://i.imgur.com/N4hD09d.gifv&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.imgur.com/N4hD09d.gifv&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18870" LastActivityDate="2018-10-19T11:07:14.557" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25046" PostTypeId="2" ParentId="24862" CreationDate="2018-10-19T17:52:59.440" Score="1" Body="&lt;p&gt;While it is true that you can sometimes gain additional sharpness by recording at higher resolution and then downsampling after you have finished any other changes you plan to make, that isn't applicable in this case as your source material is only 720p.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only reason that downsampling matters is that it can make sure that information that would have otherwise been destroyed is included, but since the source is 720p, there is no additional information to capture and you gain nothing by recording at higher resolution.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2018-10-19T17:52:59.440" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25048" PostTypeId="1" AcceptedAnswerId="25258" CreationDate="2018-10-20T21:04:46.420" Score="3" ViewCount="5028" Body="&lt;p&gt;In example,&#xA;I have this exported Image from a video001&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/d1ijk.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/d1ijk.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;then someone enter to the room without move anything from the image and then leave.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a way to use the image as a keymap to remove every match from the video001 with the image?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The result should be only the differences between the video001 and the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Adobe Premiere Pro CC 2018, but if there is other tools to obtain that result, tell me please.&#xA;Thanks! :)&lt;/p&gt;&#xA;" OwnerUserId="23440" LastActivityDate="2022-07-08T04:22:01.220" Title="How can I remove the background of a video if the background is still?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25050" PostTypeId="1" CreationDate="2018-10-21T09:35:17.863" Score="0" ViewCount="139" Body="&lt;p&gt;After exporting a time lapse video as H.246 mp4 using Adobe Premiere I realized I wanted a second copy without sound, but I had already changed the settings.  To save time I simply imported the mp4 to Premiere and then exported it again with the same H.246 settings but without the audio channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After close analysis of the 2 files I can't perceive any loss in quality, but I worry that I may have lost a tiny bit of quality through this process. Would repeating this process eventually result in noticeable loss of quality?  &lt;/p&gt;&#xA;" OwnerUserId="23444" LastActivityDate="2018-10-22T12:46:11.393" Title="Would repeatedly importing and exporting H.246 video result in loss of quality?" Tags="|video|premiere|quality|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25052" PostTypeId="2" ParentId="25050" CreationDate="2018-10-21T20:18:04.883" Score="1" Body="&lt;p&gt;If you give same bitrate setting (I assume it is configurable in Adobe Premiere), I don't expect you perceive the quality difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could use FFMPEG to remove the audio on your first output with &lt;code&gt;-an&lt;/code&gt; flag. Command will be like&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i first_output.mp4-c copy -an nosound_output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-doc.html#SEC8&quot; rel=&quot;nofollow noreferrer&quot;&gt;Reference&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23394" LastActivityDate="2018-10-21T20:18:04.883" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25053" PostTypeId="1" CreationDate="2018-10-22T03:54:24.507" Score="0" ViewCount="40" Body="&lt;p&gt;We are trying to replace an older Optima projector, but we'd like to upgrade to something that can be used to show higher resolution, has more lumens, a longer lamp life, but will still work with our audio equipment.  We bought something and had to return it, because we couldn't get the display small enough in our room.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The wall area we have to use is 43&quot; high, 70&quot; wide, so about an 80&quot; diagonal.  The projector itself is set at 12&quot; 7&quot; (152&quot;) away.  To get it any closer, we'd have to have it hanging above our heads.  And the room is designed with the ceiling angling down, so ceiling mount is out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The audio equipment has ordinary analog input.  We have a blu-ray player (not yet used) with HDMI and digital audio output.  Ideally, the projector would have plugs for RCA phono-jacks.  In other words, we have a nice library with a wall, nice old speakers, and would like to upgrade so we can watch blu-ray without replacing everything and perhaps also having to move to a completely different space.&lt;/p&gt;&#xA;" OwnerUserId="23448" LastActivityDate="2024-03-25T07:04:55.597" Title="What HD projectors have a 80&quot; screen at about 13 feet?" Tags="|projector|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25054" PostTypeId="1" CreationDate="2018-10-22T07:24:56.900" Score="3" ViewCount="1894" Body="&lt;p&gt;I am very new to dealing with video, so apologies if this is a completely inane question: I was wondering if you could advise me on how to transcode 10bit H.265 All-I 4k footage into some other 10bit format for the purposes of colour grading in Davinci Resolve? I am using the free edition of the software, which does not support H.265. H.265 is also exceedingly tough on my CPU, which I didn't think about when buying a 4k video camera!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am on Windows. It looks like it would need to be some variant of DNxHR, but I get completely(!) lost trying to construct the terminal commands to make the conversion. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a very short video in the format that I need to transcode from:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;drive.google.com/file/d/1MLaXKDzwaZvbVBp2rlyf7SfxReVbcxID/view &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd be really grateful if you could help me out with this!&lt;/p&gt;&#xA;" OwnerUserId="23449" LastActivityDate="2022-12-02T10:40:42.437" Title="ffmpeg: How can I convert from H.265 into another 10bit format for colour grading?" Tags="|ffmpeg|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25056" PostTypeId="2" ParentId="25054" CreationDate="2018-10-22T08:57:03.530" Score="0" Body="&lt;p&gt;Sorry, just missed out on free version of resolve.. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For conversion you gotta use ffmpeg. I'm afraid that's the only solution I can think of right now. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/q/13164/23450&quot;&gt;CONVERT H. 265 &lt;/a&gt;&lt;a href=&quot;https://video.stackexchange.com/q/13164/23450&quot;&gt;encoding 4:2:2 in 10-bit with libx264&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your system cannot handle it, try using a proxy workflow or the optimized media.&#xA;It converts the file internally..&#xA;Check out this tutorial for furthermore&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/d6T91vNZkv0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="23450" LastEditorUserId="23450" LastEditDate="2018-10-22T09:18:42.530" LastActivityDate="2018-10-22T09:18:42.530" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25059" PostTypeId="2" ParentId="25054" CreationDate="2018-10-22T12:15:00.837" Score="2" Body="&lt;p&gt;I'm not familiar with DaVinci Resolve, but if the free version supports 10-bit H.264 you can use &lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;HandBrake&lt;/a&gt; to transcode to that format with CRF 0 and see if that works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If that doesn't work you'll need to use FFmpeg. With a bit of fiddling I was able to convert your source file to DNxHR using this command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i DSCF1265.MOV -c:v dnxhd -profile:v dnxhr_hqx -color_range 2 -c:a copy DSCF1265.dnxhr_hqx.mov&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This also copies the audio over, if you want to exclude it for some reason use &lt;code&gt;-an&lt;/code&gt; instead of &lt;code&gt;-c:a copy&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;-color_range 2&lt;/code&gt; bit is important, without it the output looked different from the input (at least when watched with mpv).&lt;/p&gt;&#xA;" OwnerUserId="22468" LastActivityDate="2018-10-22T12:15:00.837" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25060" PostTypeId="2" ParentId="25050" CreationDate="2018-10-22T12:46:11.393" Score="2" Body="&lt;p&gt;Compression by default is removing information. “Lossless” compression, if repeated, will indeed result in degradation after a few generations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Higher compression rates will degrade after fewer generations.&lt;/p&gt;&#xA;" OwnerUserId="6066" LastActivityDate="2018-10-22T12:46:11.393" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25061" PostTypeId="1" AcceptedAnswerId="25070" CreationDate="2018-10-22T12:52:22.667" Score="2" ViewCount="710" Body="&lt;p&gt;I'm currently trying to achieve a mosaic including 4 videos using FFmpeg and hardware acceleration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm working on Ubuntu 16.04, I've installed NVIDIA drivers using apt repo aswell as CUDA. I'm using FFmpeg in version 3.3.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've succeeded to create it without hardware acceleration but I'm stuck. Here is the command line I use : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hwaccel cuvid -c:v h264_cuvid \&#xA;-i bbb_sunflower_2160p_30fps_normal.mp4 \&#xA;-i bbb_sunflower_2160p_30fps_normal.mp4 \&#xA;-i bbb_sunflower_2160p_30fps_normal.mp4 \&#xA;-i bbb_sunflower_2160p_30fps_normal.mp4 \&#xA;-filter_complex &quot;nullsrc=size=1440x960 [base]; \&#xA;[0:v] hwdownload, format=nv12, scale_npp=720x480 [upperleft]; \&#xA;[1:v] hwdownload, format=nv12, scale_npp=720x480 [upperright]; \&#xA;[2:v] hwdownload, format=nv12, scale_npp=720x480 [lowerleft]; \&#xA;[3:v] hwdownload, format=nv12, scale_npp=720x480 [lowerright]; \&#xA;[base][upperleft] overlay=shortest=1 [tmp1]; \&#xA;[tmp1][upperright] overlay=shortest=1:x=720 [tmp2]; \&#xA;[tmp2][lowerleft] overlay=shortest=1:y=480 [tmp3]; \&#xA;[tmp3][lowerright] overlay=shortest=1:x=720:y=480; \&#xA;hwupload_cuda&quot; \&#xA;-c:v h264_nvenc -f matroska pipe:1 | ffplay -i -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It doesn't work and I get :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Cannot find a matching stream for unlabeled input pad 0 on filter Parsed_hwupload_cuda_17&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I think the issue is about the upload of modified frames by filters into the card but I can't figure how to achieve it. I've tried to add &lt;code&gt;[base]&lt;/code&gt; before &lt;code&gt;hwupload_cuda&lt;/code&gt; but it doesn't help, and honestly, I'm a bit lost.&lt;/p&gt;&#xA;" OwnerUserId="23427" LastActivityDate="2018-10-23T08:38:01.637" Title="FFmpeg mosaic with hardware acceleration on Quadro P4000" Tags="|ffmpeg|nvidia|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25064" PostTypeId="1" AcceptedAnswerId="25068" CreationDate="2018-10-22T20:46:06.320" Score="1" ViewCount="1044" Body="&lt;p&gt;If I have an interview or lecture style video and the audio is out of sync, by how much can it be out of sync before the average person would easily notice?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm currently trying to create an HTML5 player that sometimes has the video and audio in separate elements, meaning the video and the audio buffer and play at separate times. I've developed a decent code that keeps them synced (it's a harder problem then it should be). The current code pauses the video and the audio elements if they are off by 0.1 seconds, adjusts the time of the video element to the audio element, waits for &lt;code&gt;oncanplay&lt;/code&gt; event, then plays both. My question is whether 0.1 seconds off in audio/video sync is too much. Would a common user notice a 0.1 seconds sync disparity? What's the highest I can go before the common user might notice the lips don't quite match the voice? Does any large organization have an official standard on this?&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2020-10-23T02:28:25.530" Title="By how much can video and audio be out of sync?" Tags="|audio|sync|video-standards|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25065" PostTypeId="2" ParentId="25053" CreationDate="2018-10-22T21:56:04.420" Score="0" Body="&lt;p&gt;You need to look for the lens throw ratio. That number will tell you how big the size of the image is going to be. Also many projectors have zoom capabilities.&#xA;A lens with a 2.0 throw ratio means that for every unit you go away from the projecting surface, the size of the image will grow 2 times (simplest example, you won't find that specific throw distance). So 152&quot;/ 70&quot; gives you a throw ratio of around 2.17. &lt;/p&gt;&#xA;" OwnerUserId="1835" LastActivityDate="2018-10-22T21:56:04.420" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25066" PostTypeId="1" CreationDate="2018-10-23T00:16:25.037" Score="1" ViewCount="1271" Body="&lt;p&gt;Suppose I have a drone video not properly shot, but the subject is always in the frame but not a constant point. Now, I want to crop that 16:9 drone video to a 4:5, and have the subject always in the centre of the video frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this equal to motion tracking or, perhaps, the reverse application of motion tracking? How would I go about this?&lt;/p&gt;&#xA;" OwnerUserId="12209" LastEditorUserId="12209" LastEditDate="2018-10-23T02:51:02.887" LastActivityDate="2020-09-13T22:17:40.487" Title="How do I crop a video with a particular point of the video always in the centre of the frame?" Tags="|premiere|editing|adobe|final-cut-pro|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25067" PostTypeId="2" ParentId="16391" CreationDate="2018-10-23T01:12:43.683" Score="1" Body="&lt;p&gt;Try the &quot;Time Remapping&quot; in After Effects to sync your animation with the recorded voice over easily and efficiently. &#xA;You just need to move around the key frames in the timeline to match the animation to the sound track.&lt;/p&gt;&#xA;" OwnerUserId="23456" LastActivityDate="2018-10-23T01:12:43.683" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25068" PostTypeId="2" ParentId="25064" CreationDate="2018-10-23T02:11:28.020" Score="5" Body="&lt;p&gt;There are, in fact, several standards on audio/video or lip sync. The problem is, they can't all agree on what the acceptable error is. What is well understood is that if the audio lags the video it is less noticeable, because &lt;a href=&quot;https://web.archive.org/web/20150328054944/https://www.smpte.org/sites/default/files/2013-12-10-Lip-Sync-Briscoe-V2-Handout.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;that is natural&lt;/a&gt;. Something that is further away will be seen before it is heard. In the list below, a negative number is the audio lagging the video and positive is the audio leading the video.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;&lt;a href=&quot;https://www.webcitation.org/60UbU5Ziv&quot; rel=&quot;nofollow noreferrer&quot;&gt;ATSC IS-191&lt;/a&gt;:&lt;/strong&gt; -45ms to 15ms&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;&lt;a href=&quot;https://tech.ebu.ch/docs/r/r037.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;EBU R37-2007&lt;/a&gt;:&lt;/strong&gt; -60ms to 40ms&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;&lt;a href=&quot;https://www.itu.int/rec/R-REC-BT.1359-1-199811-I/en&quot; rel=&quot;nofollow noreferrer&quot;&gt;ITU BT.1359-1&lt;/a&gt;:&lt;/strong&gt; -125ms to 45ms&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;&lt;a href=&quot;https://www.itu.int/rec/R-REC-BR.265-9-200402-W/en&quot; rel=&quot;nofollow noreferrer&quot;&gt;ITU BR.265-9&lt;/a&gt;:&lt;/strong&gt; -22ms to 22ms&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;ITU BT.1359 was based off studies done with average viewers, but relied on significantly older technology. The ATSC and EBU recommendations rely on expert opinions. The methodologies don't give you a hint at which one is right. I've worked at facilities that used -2 frames to 1 frame (roughly -33ms to 16ms at 60fps) as an easy to remember guideline with very few viewer complaints about lip sync.&lt;/p&gt;&#xA;&lt;p&gt;Even with the disagreement, 0.1s (100ms) of error will almost always be noticeable, unfortunately.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastEditorUserId="14523" LastEditDate="2020-10-23T02:28:25.530" LastActivityDate="2020-10-23T02:28:25.530" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25069" PostTypeId="1" CreationDate="2018-10-23T08:16:56.027" Score="1" ViewCount="6918" Body="&lt;p&gt;I tried to encode mp4 4K with H.264 format to webm format using ffmpeg libvpx, I need to convert them to multi resolution 1080p - 144p. &#xA;I was run following command :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i  source-4K.h264.mp4  -c:v libvpx-vp9 -s hd720 -b:v 1500k -keyint_min 150 -g 150 -tile-columns 4 -frame-parallel 1 -an -f webm -dash 1 out-hd720.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and I found that video from 360p and above are slowly processed, so I am thinking to use nvidia card (P4 card on Google Cloud) to accelerate the process. but I haven't found any articles / resources nor command to do video encoding using libvpx with hardware acceleration. &lt;/p&gt;&#xA;" OwnerUserId="23395" LastActivityDate="2018-10-23T13:33:00.243" Title="FFMPEG: hardware acceleration for libvpx" Tags="|ffmpeg|nvidia|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25070" PostTypeId="2" ParentId="25061" CreationDate="2018-10-23T08:38:01.637" Score="2" Body="&lt;p&gt;Regarding,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Cannot find a matching stream for unlabeled input pad 0 on filter Parsed_hwupload_cuda_17&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;in&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[tmp3][lowerright] overlay=shortest=1:x=720:y=480;hwupload_cuda&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;you have to replace the &lt;code&gt;;&lt;/code&gt; with a &lt;code&gt;,&lt;/code&gt; else the overlay filterchain is terminated and the hwupload starts a new chain.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Input options like &lt;code&gt;-hwaccel cuvid -c:v h264_cuvid&lt;/code&gt; only apply to the input immediately following them. These options have to be prefixed before each input for which they're intended.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;scale_npp&lt;/code&gt; is a CUDA scaler, so for a hardware-decoded stream, no filter is required to transfer frames. After scaling, frames will have to be transported to system memory using &lt;code&gt;hwdownload,format=nv12&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-10-23T08:38:01.637" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25071" PostTypeId="1" AcceptedAnswerId="25073" CreationDate="2018-10-23T08:53:00.377" Score="1" ViewCount="1325" Body="&lt;p&gt;I cannot figure out how to add video over video circular at specific time&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The following command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i blank.mp4 -i yellow.mp4 -filter_complex &quot;[1:v]scale=0.15*iw:-1,pad=iw+20:ih+20:10:10:color=red,setpts=PTS-STARTPTS+2/TB[v1];[0:0][v1]overlay=W-w-20:H-h-20:eof_action=pass:enable='between(t\,2,4)'[vo1]; [0:a]adelay=0|0[a0]; [1:a]adelay=2000|2000[a1];[a0][a1]amix=inputs=2[outa]&quot; -map &quot;[vo1]&quot; -map &quot;[outa]&quot; -c:a aac -c:v libx264 -preset slow output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Return&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/o08sj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/o08sj.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's great, but I need it circular like this&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7Izaa.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7Izaa.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying with&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i blank.mp4 -i yellow.mp4 -filter_complex &quot;[1:v]geq='st(3,pow(X-(W/2),2)+pow(Y-(H/2),2));if(lte(ld(3),pow(min(W/2,H/2),2)),255,0)':128:128,scale=0.15*iw:-1,pad=iw+20:ih+20:10:10:color=red,setpts=PTS-STARTPTS+2/TB[v1];[0:0][v1]overlay=W-w-20:H-h-20:eof_action=pass:enable='between(t\,2,4)'[vo1]; [0:a]adelay=0|0[a0]; [1:a]adelay=2000|2000[a1];[a0][a1]amix=inputs=2[outa]&quot; -map &quot;[vo1]&quot; -map &quot;[outa]&quot; -c:a aac -c:v libx264 -preset slow output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The result is not what I expect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To fast generate blank.mp4 and yellow.mp4 use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -f lavfi -i &quot;color=black:s=1280x720:r=25&quot; -f lavfi -i &quot;anullsrc=r=44100:cl=stereo&quot; -c:a aac -c:v libx264 -preset slow -t 5 blank.mp4&#xA;ffmpeg -y -f lavfi -i &quot;color=yellow:s=1280x720:r=25&quot; -f lavfi -i &quot;anullsrc=r=44100:cl=stereo&quot; -c:a aac -c:v libx264 -preset slow -t 2 yellow.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22139" LastEditorUserId="22139" LastEditDate="2018-10-23T09:01:45.773" LastActivityDate="2018-10-23T10:27:37.713" Title="FFmpeg video over video circular at specific time" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25073" PostTypeId="2" ParentId="25071" CreationDate="2018-10-23T10:27:37.713" Score="1" Body="&lt;p&gt;Here's the filtergraph for the video portion,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[1:v]format=yuva444p,geq=lum='p(X,Y)':a='st(1,pow(min(W/2,H/2),2))+st(3,pow(X-(W/2),2)+pow(Y-(H/2),2));if(lte(ld(3),ld(1)),255,0)',split[vid][border];[border]drawbox=c=red:t=fill,geq=lum='p(X,Y)':a='st(1,min(W/2,H/2))+st(3,abs(pow(pow(X-(W/2),2)+pow(Y-(H/2),2),0.5)));if(between(ld(3),ld(1),ld(1)-10),255,0)'[border];[vid][border]overlay,scale=0.15*iw:-1,setpts=PTS-STARTPTS+2/TB[v1];[0:0][v1]overlay=W-w-20:H-h-20:eof_action=pass:enable='between(t\,2,4)'[vo1];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-10-23T10:27:37.713" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25075" PostTypeId="2" ParentId="25069" CreationDate="2018-10-23T13:33:00.243" Score="4" Body="&lt;p&gt;Libvpx has no hardware encoding or acceleration support of any kind, it's purely a software implementation. There are &lt;a href=&quot;https://en.wikipedia.org/wiki/VP9#Hardware_implementations&quot; rel=&quot;nofollow noreferrer&quot;&gt;some VP9 hardware encoders&lt;/a&gt; out there but they're few in number and neither Nvidia or AMD have one. However, if you have an Intel CPU from the Skylake architecture or newer you should be able to use Intel's QuickSync hardware encoder built into their CPUs. I don't have the hardware to test it and don't know which OS you're on, but to use it on Linux I think you'd do something like this: &lt;code&gt;ffmpeg -vaapi_device /dev/dri/renderD128 -i 16.mov -vf 'format=nv12,hwupload' -c:v vp9_vaapi -g 150 -bf 4 -compression_level 1 -bsf:v vp9_raw_reorder,vp9_superframe -b:v 15M -an 16_vp9.webm&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may find that the quality leaves much to be desired which is often the case with hardware encoders, most of them are built for speed over quality. So a better approach might be tuning libvpx for faster encoding. For starters you should use &lt;code&gt;-row-mt 1&lt;/code&gt; to enable row-based multithreading which can speed up encoding quite a bit, especially at higher resolutions and when you have lots of cores/threads available. Next you might want to adjust the encoding speed for HD resolution videos by setting &lt;code&gt;-cpu-used 2&lt;/code&gt;. This is similar to x264's &lt;code&gt;-preset&lt;/code&gt; option and it adjusts the speed/efficiency tradeoff. The default in FFmpeg is 1 which is the slowest most people would want to go; 0 basically triples the encoding time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on how old your version of FFmpeg and libvpx are, you might also want to set the number of encoding threads manually. I'm not sure which version of FFMpeg or libvpx changed this, but in the past you had to set your &lt;code&gt;-threads&lt;/code&gt; by hand or else FFmpeg would only use a single thread for encoding. Also, the &lt;code&gt;-frame-parallel&lt;/code&gt; option was removed from libvpx quite some time ago. It's ignored in the libvpx code so there's no detriment to using it, but it offers no benefit either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also recommend checking out &lt;a href=&quot;https://developers.google.com/media/vp9/settings/vod/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Google's VP9 Encoding Guide&lt;/a&gt;. It's a pretty good reference on which parameters and bitrates you might want to use for different resolutions.&lt;/p&gt;&#xA;" OwnerUserId="22468" LastActivityDate="2018-10-23T13:33:00.243" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25076" PostTypeId="2" ParentId="23080" CreationDate="2018-10-23T14:02:15.157" Score="-1" Body="&lt;p&gt;I don't know if it works, but you may add a marker on each layer when the transition without stretching starts pressing this key: * &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, I think the markers should be paired with the original frames and then you just have to match them in the timeline again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry if this doesn't work or there's a better way, it's just an idea.&lt;/p&gt;&#xA;" OwnerUserId="23466" LastActivityDate="2018-10-23T14:02:15.157" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25078" PostTypeId="1" AcceptedAnswerId="25086" CreationDate="2018-10-24T10:30:55.433" Score="2" ViewCount="1532" Body="&lt;p&gt;I'm using a NVIDIA Quadro P4000 and my config is Intel i7 2.4 GHz with 8 Go of RAM. I'm working on Ubuntu 16.04, I've installed NVIDIA drivers using apt repo aswell as CUDA. I'm using FFmpeg in version 3.3.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've managed to display a mosaic of 4 x 4K videos (same videos for test purpose) with FFmpeg, using hardware acceleration (&lt;a href=&quot;https://video.stackexchange.com/questions/25061/ffmpeg-mosaic-with-hardware-acceleration-on-quadro-p4000&quot;&gt;previous post&lt;/a&gt;), using this command line :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-hwaccel cuvid -c:v h264_cuvid -i bbb_sunflower_2160p_30fps_normal.mp4 \&#xA;-hwaccel cuvid -c:v h264_cuvid -i bbb_sunflower_2160p_30fps_normal.mp4 \&#xA;-hwaccel cuvid -c:v h264_cuvid -i bbb_sunflower_2160p_30fps_normal.mp4 \&#xA;-hwaccel cuvid -c:v h264_cuvid -i bbb_sunflower_2160p_30fps_normal.mp4 \&#xA;-filter_complex &quot;nullsrc=size=2560x1440 [base]; \&#xA;[0:v] scale_npp=1280:720, hwdownload, format=nv12 [upperleft]; \&#xA;[1:v] scale_npp=1280:720, hwdownload, format=nv12 [upperright]; \&#xA;[2:v] scale_npp=1280:720, hwdownload, format=nv12 [lowerleft]; \&#xA;[3:v] scale_npp=1280:720, hwdownload, format=nv12 [lowerright]; \&#xA;[base][upperleft] overlay=shortest=1:eval=init [tmp1]; \&#xA;[tmp1][upperright] overlay=shortest=1:eval=init:x=1280 [tmp2]; \&#xA;[tmp2][lowerleft] overlay=shortest=1:eval=init:y=720 [tmp3]; \&#xA;[tmp3][lowerright] overlay=shortest=1:eval=init:x=1280:y=720, hwupload_cuda&quot; \&#xA;-c:v h264_nvenc -preset llhp -profile:v baseline -f matroska pipe:1 | ffplay -i -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now my issue is about performance, videos are played at 80% of their original speed, so close to my goal...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I understand from now, this manipulation has several steps :&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The four videos are decoded by the GPU.&lt;/li&gt;&#xA;&lt;li&gt;Scaling to 720p is also performed by the GPU.&lt;/li&gt;&#xA;&lt;li&gt;The four flux are downloaded in the CPU and formated in NV12.&lt;/li&gt;&#xA;&lt;li&gt;Mosaic is made by the CPU using overlay filter.&lt;/li&gt;&#xA;&lt;li&gt;Mosaic video flux is uploaded in the GPU.&lt;/li&gt;&#xA;&lt;li&gt;The GPU encodes it in H.264.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;After this I'm not sure if the encoded video is retrieved by the CPU and then piped to ffplay or if it's stays in the GPU and directly displayed on the monitor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Moreover, I'd like ffplay to use hardware acceleration but I didn't manage to force it to use &lt;code&gt;h264_cuvid&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="23427" LastEditorUserId="23427" LastEditDate="2018-10-24T13:53:34.520" LastActivityDate="2018-10-25T12:26:43.900" Title="Improve performance on 4 x 4K mosaic with FFmpeg" Tags="|ffmpeg|nvidia|" AnswerCount="1" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="25082" PostTypeId="1" AcceptedAnswerId="25115" CreationDate="2018-10-24T22:38:30.507" Score="3" ViewCount="5509" Body="&lt;p&gt;I'm writing a program that interprets LTC timestamps from audio channels in video files. The goal is to remove the LTC track and replace it with some kind of native timestamps directly in the video file--in a way that downstream NLEs can interpret correctly e.g. for multi-camera timelines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've got the LTC parsing done, so for each frame of the video, I can tell what its timestamp is. How do I encode that in containers like .MP4 and .MOV? It would be simplest if I could do it with &lt;code&gt;ffmpeg&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="22216" LastActivityDate="2018-10-28T15:51:22.187" Title="Add timecode information to file" Tags="|ffmpeg|codec|sync|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="25083" PostTypeId="1" CreationDate="2018-10-25T00:04:06.743" Score="1" ViewCount="853" Body="&lt;p&gt;I don't even know if it's possible, but if anybody could help me would be really great! :)&lt;/p&gt;&#xA;&lt;p&gt;So first of all I resize my video with this command:&lt;/p&gt;&#xA;&lt;p&gt;CODE №1&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libx264 -crf 20 -crf 16 -vf scale=750:1334 output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then I add Gif overlay with chroma key to it like that:&lt;/p&gt;&#xA;&lt;p&gt;CODE №2&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -ignore_loop 0 -i watermark.gif -filter_complex &amp;quot;[1:v]colorkey=0x54FF5F:0.1:0.2[ckout];[0:v][ckout]overlay=x=705:y=25:shortest=1[out]&amp;quot; -map &amp;quot;[out]&amp;quot; output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And then 2 more overlays:&lt;/p&gt;&#xA;&lt;p&gt;CODE №3&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -i arrow.png -i Dots.png -filter_complex &amp;quot;overlay=x=310:y=1230,overlay=x=705:y=25&amp;quot; output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And for the last part, I concatenate vid that I've made with another one like this:&lt;/p&gt;&#xA;&lt;p&gt;CODE №4&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;concat:vid1.avi|input.avi&amp;quot; -c copy output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Would be really great if anybody could help me to show few examples on how to merge all those scripts in 1 :) Or at least №3 and №3. Thank you in advance!&lt;/p&gt;&#xA;" OwnerUserId="23476" LastEditorUserId="18155" LastEditDate="2024-03-28T13:38:27.853" LastActivityDate="2024-03-28T13:38:27.853" Title="How to combine so many ffmpeg filters in 1?" Tags="|video|ffmpeg|video-editor|file-formats|chromakey|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25084" PostTypeId="2" ParentId="25083" CreationDate="2018-10-25T04:35:27.003" Score="0" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -ignore_loop 0 -i watermark.gif -i arrow.png -i Dots.png -filter_complex &quot;[0]scale=750:1334,setsar=1[v];[1]colorkey=0x54FF5F:0.1:0.2[ckout];[v][ckout]overlay=x=705:y=25:shortest=1[gif];[gif][2]overlay=x=310:y=1230[arw];[arw][3]overlay=x=705:y=25&quot; -c:v libx264 -crf 20 -crf 16 output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You should do the concat separately.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-10-25T04:35:27.003" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25086" PostTypeId="2" ParentId="25078" CreationDate="2018-10-25T12:26:43.900" Score="2" Body="&lt;p&gt;The problem was about the overlay filter which is too slow. I've changed for a combination of &lt;code&gt;hstack&lt;/code&gt; and &lt;code&gt;vstack&lt;/code&gt; as you can see here :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-hwaccel cuvid -c:v h264_cuvid -i bbb_sunflower_2160p_30fps_normal.mp4 \&#xA;-hwaccel cuvid -c:v h264_cuvid -i bbb_sunflower_2160p_30fps_normal.mp4 \&#xA;-hwaccel cuvid -c:v h264_cuvid -i bbb_sunflower_2160p_30fps_normal.mp4 \&#xA;-hwaccel cuvid -c:v h264_cuvid -i bbb_sunflower_2160p_30fps_normal.mp4 \&#xA;-filter_complex &quot; \&#xA;[0:v] scale_npp=1280:720, hwdownload, format=nv12 [upperleft]; \&#xA;[1:v] scale_npp=1280:720, hwdownload, format=nv12 [upperright]; \&#xA;[2:v] scale_npp=1280:720, hwdownload, format=nv12 [lowerleft]; \&#xA;[3:v] scale_npp=1280:720, hwdownload, format=nv12 [lowerright]; \&#xA;[upperleft][upperright] hstack [upperline]; \&#xA;[lowerleft][lowerright] hstack [lowerline]; \&#xA;[upperline][lowerline] vstack [mosaic]; \&#xA;[mosaic] hwupload_cuda&quot; \&#xA;-c:v h264_nvenc -preset llhp -profile:v baseline -f matroska pipe:1 | ffplay -i -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It works very well and I even can build a 1080p mosaic using &lt;code&gt;lossless&lt;/code&gt; preset and &lt;code&gt;high444p&lt;/code&gt; profile.&lt;/p&gt;&#xA;" OwnerUserId="23427" LastActivityDate="2018-10-25T12:26:43.900" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25087" PostTypeId="1" AcceptedAnswerId="25091" CreationDate="2018-10-25T22:18:06.830" Score="0" ViewCount="144" Body="&lt;p&gt;One of the challenges, in creating a tutorial video via screen video capture, is that it becomes a challenge to make obvious which mouse action was used to produce a certain action on the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The creator of &lt;a href=&quot;https://www.youtube.com/watch?v=sNhN3X3MvD4&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt; has a little mouse icon in the bottom left of the screen (see image below) that makes clear whether he's using the left, the middle, or the right mouse click button action.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kQNUN.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kQNUN.jpg&quot; alt=&quot;screen video capture, with mouse icon in bottom left that indicates which mouse action is being performed (left, middle, or right mouse click)&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How does one add such a mouse icon (or alternatively, which software allows this) to a screen video capture? (I've asked the original creator on multiple fora, but haven't heard back for months).&lt;/p&gt;&#xA;" OwnerUserId="6593" LastEditorUserId="6593" LastEditDate="2018-10-26T18:30:39.543" LastActivityDate="2018-10-26T18:30:39.543" Title="making mouse click action obvious in a screen-cast video-capture" Tags="|video-capture|screen-casting|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25088" PostTypeId="1" AcceptedAnswerId="25089" CreationDate="2018-10-26T00:23:47.820" Score="1" ViewCount="231" Body="&lt;p&gt;I shot 45 minutes of stereo VR footage (6400x6400 frame size, 29.97 fps) and after adding color correction, rotation, adaptive de-noise and re-sharpen I got 2000 hours estimate to render and encode to H264. This is on maxed out MacBook Pro 2018.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm thinking it's time to build a video rendering machine, so I can edit, render and encode larger projects without keeping a laptop running for months. Any recommendations for what kind of hardware to get? Number of cores vs base clock vs memory speed and so on?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The render times break down like this:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;2-pass VBR and all effects = 2000 hours, CPU at 100%, GPU at 5%&lt;/li&gt;&#xA;&lt;li&gt;1-pass VBR and all effects = 800 hours, CPU at 100%, GPU at 5%&lt;/li&gt;&#xA;&lt;li&gt;1-pass VBR and Lumetri Color + VR Re-Orient = 400 hours, CPU at 20%, GPU at 5%&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;It seems like I need to hit hard on CPU power and disk/memory speed, since that last estimate means I am I/O bound.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YYuT2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YYuT2.jpg&quot; alt=&quot;Rendering with few effects and VBR-1&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23485" LastEditorUserId="23485" LastEditDate="2018-10-26T19:08:10.570" LastActivityDate="2018-10-26T19:08:10.570" Title="2000 hours to render/encode 45 minute video, what machine should I build to make this manageable?" Tags="|after-effects|premiere|adobe-media-encoder|render|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25089" PostTypeId="2" ParentId="25088" CreationDate="2018-10-26T01:39:28.057" Score="0" Body="&lt;p&gt;Before you go out and spend a lot more money on hardware, optimize your process.  Run tests on short pieces of your video, and see what you can adjust to get faster results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, H.264 is pretty taxing to encode, especially at higher frame sizes.  Experiment with writing to intermediate codecs first, and then transcoding to your delivery format.  Often, that method is faster than writing directly to the delivery format.  See how long it takes your setup to churn out a five second clip directly to h.264, then time the same export to an intermediate codec + transcode.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing you can optimize is your disk caching strategy.  If your disk cache is on your system drive, try moving it to something speedy and external.  Some NLE's give you the option to use the disk cache at render time.  Experiment with these settings.  Also maybe try changing your GPU driver settings if your system allows (OSX mojave deprecates OpenCl.  Depending on your NLE/OS, Metal may be your only option).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another small piece of advice, get a good process monitoring utility and use it to help clue you in on where bottlenecks occur.  I use XRG for Mac.  It's free, and provides more information than Activity Moitor.  If you notice that your GPU's are pegged, then think about adding GPU horsepower.  If they're not pegged, your CPU isn't either, but you notice a lot of disk activity, then think about how you might improve that.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2018-10-26T01:39:28.057" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25090" PostTypeId="2" ParentId="22564" CreationDate="2018-10-26T02:12:30.010" Score="0" Body="&lt;p&gt;&quot;Unlicensed&quot; is the red flag here. You have no rights to copy the song. You as the editor are responsible for purchasing a license to use the song. Unfortunately, the license for a popular song would be in the thousands and there has not been any solution for small businesses who just produce wedding and birthday videos. So, no it is not legal. Will you be sued? If your business becomes worthy of suing, then yes, you can and will be sued.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Commercial purpose is not the same as publishing. If you are being paid to create something with someone else's copyrighted material, you are infringing copyrights. If you are creating it for fun, no payment, and not publishing it then you are probably protected under fair use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Disclaimer:This is all for educational purposes only. &lt;/p&gt;&#xA;" OwnerUserId="18583" LastActivityDate="2018-10-26T02:12:30.010" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25091" PostTypeId="2" ParentId="25087" CreationDate="2018-10-26T02:17:03.323" Score="1" Body="&lt;p&gt;That is a Blender specific plugin that you can activate in the scripts menu.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.blender.org/index.php/Extensions:2.6/Py/Scripts/3D_interaction/Screencast_Key_Status_Tool&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.blender.org/index.php/Extensions:2.6/Py/Scripts/3D_interaction/Screencast_Key_Status_Tool&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18583" LastActivityDate="2018-10-26T02:17:03.323" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25092" PostTypeId="1" CreationDate="2018-10-26T11:26:33.423" Score="1" ViewCount="209" Body="&lt;p&gt;I have tried using both VSDC and VideoPad for editing videos, and both of them randomly darken the videos I put into them. Is this a common issue? If not, what information do you need me to give to solve this problem?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a problem I have had on multiple computers now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some side-by-side comparisons, with each pair being first the input video and then second the output video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qG0oP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qG0oP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Uj9i2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Uj9i2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see that this second image is darker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jjIWA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jjIWA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XghPb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XghPb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see that this second image is darker also.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; I tried editing the video with FFmpeg, and it did the same thing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit 2:&lt;/strong&gt; Here are the outputs of &lt;code&gt;ffmpeg -i [videofile]&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Original video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Metadata:&#xA;    encoder         : Lavf58.12.100&#xA;Duration: 00:01:32.75, start: 0.000000, bitrate: 1012233 kb/s&#xA;    Stream #0:0: Video: huffyuv (HFYU / 0x55594648), bgr0, 1920x1080, 1012406 kb/s, 60 fps, 60 tbr, 60 tbn, 60 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Edited video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Duration: 00:01:36.98, start: 0.000000, bitrate: 514031 kb/s&#xA;    Stream #0:0: Video: mjpeg (MJPG / 0x47504A4D), yuvj422p(pc, bt470bg/unknown/unknown), 1920x1080, 512695 kb/s, 59.99 fps, 59.99 tbr, 59.99 tbn, 59.99 tbc&#xA;    Stream #0:1: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 44100 Hz, stereo, s16, 1411 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit 3:&lt;/strong&gt; The original video was compiled from a series of &lt;code&gt;.png&lt;/code&gt; files. Here is the command I used to do so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 60 -i %05d.png -c:v huffyuv -pix_fmt rgb24 output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="23488" LastEditorUserId="23488" LastEditDate="2018-11-16T07:53:58.593" LastActivityDate="2018-11-16T07:53:58.593" Title="Why do I keep getting videos darker than the frames from which they were made regardless of the software I use?" Tags="|software|lighting|export|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25096" PostTypeId="1" AcceptedAnswerId="25099" CreationDate="2018-10-26T21:32:05.343" Score="3" ViewCount="3783" Body="&lt;p&gt;I'm trying to make a single ffmpeg command that will take multiple inputs, seek specific times within them, then output to a single file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, I have &lt;code&gt;inputA.avi&lt;/code&gt; and &lt;code&gt;inputB.avi&lt;/code&gt; and each is 1 hour long. I want a single output file that takes &lt;code&gt;inputA.avi&lt;/code&gt; from 00:00:00 to 00:20:00 for the beginning and &lt;code&gt;inputB.avi&lt;/code&gt; from 00:00:00 to 00:10:00 for the end. The end result should be a 30 minute video file that has the first 20 minutes of &lt;code&gt;inputA&lt;/code&gt; then the first 10 minutes of &lt;code&gt;inputB&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I currently can do the following three commands to get the job done:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:00:00 -t 00:20:00 -i inputA.avi [rest of command] inputA-trim.avi&#xA;ffmpeg -ss 00:00:00 -t 00:10:00 -i inputB.avi [rest of command] inputB-trim.avi&#xA;ffmpeg -f concat -i inputList.txt [rest of command] final.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where inputList.txt contains only&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file inputA-trim.avi&#xA;file inputB-trim.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This works, but has unnecessary steps and creates intermediary files. I also have to create a batch file and txt file to get everything to run in succession. I'd like to be able to create a single ffmpeg command that can take multiple inputs with individual &lt;code&gt;-ss&lt;/code&gt; and &lt;code&gt;-t&lt;/code&gt; commands, then put them in a single output.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2019-05-18T05:18:14.503" Title="How to take multiple inputs with specific trim times to one output, single command ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25098" PostTypeId="1" CreationDate="2018-10-27T01:00:16.313" Score="1" ViewCount="47" Body="&lt;p&gt;The editor won't respect the space that I insert with the TAB key, it does (unsurprisingly) with regular spaces (won't match the same space length between lines at all, however). Is there a way to make Vegas respect them? Perhaps by using some special character instead?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The workaround would be to make another text clip in parallel with this one, but I want to know if this can be achieved without doing that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/syfRa.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/syfRa.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12263" LastEditorUserId="12263" LastEditDate="2018-10-27T01:06:21.227" LastActivityDate="2018-10-27T01:06:21.227" Title="Tabify text inside Sony Titles &amp; Text" Tags="|vegas-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25099" PostTypeId="2" ParentId="25096" CreationDate="2018-10-27T05:59:33.220" Score="5" Body="&lt;p&gt;&lt;strong&gt;#1&lt;/strong&gt; Using concat filter i.e. without textfile&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 0 -t 20:00 -i inputA.avi -ss 0 -t 10:00 -i inputB.avi -filter_complex &quot;[0:v][0:a][1:v][1:a]concat=n=2:v=1:a=1&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;--OR--&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;#2&lt;/strong&gt; Using concat demuxer i.e. with textfile&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file inputA-trim.avi&#xA;inpoint 0&#xA;outpoint 20:00&#xA;file inputB-trim.avi&#xA;inpoint 0&#xA;outpoint 10:00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then your final command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i inputList.txt [rest of command] final.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Concatenate&lt;/a&gt; for details.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="25245" LastEditDate="2019-05-18T05:18:14.503" LastActivityDate="2019-05-18T05:18:14.503" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25100" PostTypeId="1" CreationDate="2018-10-27T10:42:21.403" Score="1" ViewCount="380" Body="&lt;p&gt;I have a video file and I want to post-process it using AviSynth. Different parts of the movie require different filters to be used (noise reduction etc.). How can one use different filters for different parts of the input video?&lt;/p&gt;&#xA;&lt;p&gt;What I once did is to trim the video into segments, apply different filters on them and then concatenate the segments back together. Something like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;a = clip.Trim(0, 100).RemoveNoise(&amp;quot;high&amp;quot;)&#xA;b = clip.Trim(101, 200).RemoveNoise(&amp;quot;low&amp;quot;)&#xA;clip = a + b&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is there any other way to do this? I am asking, because the more segments you create, the more cumbersome the script becomes.&lt;/p&gt;&#xA;&lt;p&gt;I've read that AviSynth+ supports arrays. So one might create an array with the frame indices and then build the final clip using a loop. Something like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;original = last&#xA;segments = [ \&#xA;    [ 0,  100, &amp;quot;high&amp;quot;], \&#xA;    [101, 200, &amp;quot;low&amp;quot;] \&#xA;]&#xA;clip = BlankClip()&#xA;for (i = 0; i &amp;lt; segments.Size; ++i)&#xA;{&#xA;    clip += original.Trim(segments[i][0], segments[i][1]).RemoveNoise(segments[i][2])&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This way one could create an array, holding the segments. But, it seems to me that despite &lt;a href=&quot;https://forum.doom9.org/showthread.php?p=1785253#post1785253&quot; rel=&quot;nofollow noreferrer&quot;&gt;this post here&lt;/a&gt;, AviSynth+ does not support arrays at the moment.&lt;/p&gt;&#xA;" OwnerUserId="23496" LastEditorUserId="18155" LastEditDate="2023-09-03T01:25:50.227" LastActivityDate="2023-09-03T14:35:17.903" Title="How to apply different filters to different parts of a video using AviSynth?" Tags="|filter|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25102" PostTypeId="2" ParentId="23731" CreationDate="2018-10-27T12:11:40.880" Score="6" Body="&lt;p&gt;For future reference:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;as specified, you cannot reuse an intermediate stream more than once so you have 2 options:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;either save it, input the saved file and reuse it as many times you need in your filter;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;code&gt;ffmpeg -i file1 -i file2 -i savedStream -filter_complex &quot;...&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#split_002c-asplit&quot; rel=&quot;noreferrer&quot;&gt;split&lt;/a&gt; filter and create as many outputs you need; default value for split is 2 outputs so:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;code&gt;[o0]split[split1][split2]&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;would be your case.&lt;/p&gt;&#xA;" OwnerUserId="21076" LastActivityDate="2018-10-27T12:11:40.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25106" PostTypeId="1" CreationDate="2018-10-27T15:03:29.877" Score="0" ViewCount="512" Body="&lt;p&gt;I'm working in Adobe Premiere on some sequences (Full HD, Progressive, 8bit).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In these sequences I added also some matte black backgrounds and after effects comps with black background and other plain colors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I export normally from premiere in h264 .mp4 the resulting file have it's colors shifted because Premiere tends to always apply a Limited Range (16-235) to the colors instead of Full Range (0-255).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What normally is a Pure Black RGB 0,0,0 becomes a Dark Gray 16,16,16 and the same happens to the other colors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the ones who are wondering why there are these ranges, the Limited Range (16-235) is used in HDTVs and I fear that Premiere enforce this settings always.. But in Youtube and Vimeo you can fully use the 0-255!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the correct workflow to have Premiere export h264 video files in full range 0-255 ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It isn't a problem is given by the REC 709 space right? Could be that premiere only exports h264/h265 files in Limited range ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried export in DNX and convert in h264 with ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i &quot;dnx.mov&quot; -c:v libx264 -preset ultrafast -b:v 12000k -profile:v main -level:v 4.1 -pix_fmt yuv420p -vf format=yuv420p -dst_range 1 -color_range 2 -c:a copy h264.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But even doing this, the result is just a file marked somewhat in full range, VLC uses 0-255 even if some gradients are clipped in my opinion and if exported on Vimeo the result is still with the black shifted from 0 to 16 with a nice gray instead of black :(&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do the maximum color depth inside the premiere export panel make something?&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2018-10-27T15:12:08.540" LastActivityDate="2018-10-27T15:12:08.540" Title="Correct export in Premiere to Vimeo &amp; YouTube in FULL RANGE 0-255" Tags="|ffmpeg|premiere|color-correction|h.264|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25107" PostTypeId="2" ParentId="25100" CreationDate="2018-10-27T15:44:13.553" Score="1" Body="&lt;p&gt;This can be done using the filter &lt;a href=&quot;https://forum.doom9.org/showthread.php?t=162266&amp;amp;highlight=ClipClop&quot; rel=&quot;nofollow noreferrer&quot;&gt;ClipClop&lt;/a&gt;. Here is an &lt;strong&gt;example script&lt;/strong&gt; from the docs of the filter:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Avisource(&quot;D:\avs\test.avi&quot;)&#xA;ORG=Last&#xA;&#xA;V1 = FFT3DFilter(Plane=0,Sigma=1.6)     # Light Luma&#xA;V2 = FFT3DFilter(Plane=0,Sigma=2.0)     # Med   Luma&#xA;V3 = FFT3DFilter(Plane=0,Sigma=4.0)     # High  Luma&#xA;V4 = FFT3DFilter(Plane=3,Sigma=1.6)     # Light Chroma&#xA;V5 = FFT3DFilter(Plane=3,Sigma=2.0)     # Med   Chroma&#xA;V6 = FFT3DFilter(Plane=3,Sigma=4.0)     # High  Chroma&#xA;V7 = FFT3DFilter(Plane=4,Sigma=1.6)     # Light Luma+Chroma&#xA;V8 = FFT3DFilter(Plane=4,Sigma=2.0)     # Med   Luma+Chroma&#xA;V9 = FFT3DFilter(Plane=4,Sigma=4.0)     # High  Luma+Chroma&#xA;V10= FlipHorizontal()                   # Flip-H&#xA;V11= FlipVertical()                     # Flip-V&#xA;V12= Invert()                           # Invert&#xA;&#xA;NickNames =&quot;&quot;&quot;  # Psuedonyms for clips (clip index number)&#xA;    L0   = 1    # Light Luma&#xA;    L1   = 2    # Med   Luma&#xA;    L2   = 3    # High  Luma&#xA;    C0   = 4    # Light Chroma&#xA;    C1   = 5    # Med   Chroma&#xA;    C2   = 6    # High  Chroma&#xA;    LC0  = 7    # Light Luma + Chroma&#xA;    LC1  = 8    # Med   Luma + Chroma&#xA;    LC2  = 9    # High  Luma + Chroma&#xA;    FH   = 10   # Flip-H&#xA;    FV   = 11   # Flip-V&#xA;    INV  = 12   # Invert&#xA;&quot;&quot;&quot;&#xA;&#xA;SCMD=&quot;&quot;&quot;          # Clip editing commands in string, can also use commands in file&#xA;    C0  0,99      # Light Chroma frames @ 0 -&amp;gt; 99&#xA;    L0  100,-200  # Light Luma frames @ 100, 200 frames ie frames 100-&amp;gt;299&#xA;    INV 300,399   # Invert 300-&amp;gt;399&#xA;    L0  400,499   # Light Luma frames 400-&amp;gt;499&#xA;    FH  500,599   # Flip-H 500-&amp;gt;599&#xA;    LC2 600,699   # High Luma + Chroma&#xA;    C1  800       # Med Chroma, Single frame&#xA;    1   900,999   # Light Luma, We used the clip number instead of a NickName&#xA;    FV  1000,1099 # Flip-V&#xA;    LC1 2000,0    # Med   Luma + Chroma, 2000 -&amp;gt; lastframe&#xA;&quot;&quot;&quot;&#xA;&#xA;SHOW=True&#xA;&#xA;ClipClop(ORG,V1,V2,V3,V4,V5,V6,V7,V8,V9,V10,V11,V12,scmd=SCMD,nickname=NickNames,show=SHOW)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How to do it:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;You define different versions of the original clip (&lt;code&gt;V1&lt;/code&gt; - &lt;code&gt;V12&lt;/code&gt;) using your desired filters.&lt;/li&gt;&#xA;&lt;li&gt;You can assign nicknames to those versions.&lt;/li&gt;&#xA;&lt;li&gt;You define the segments using the &lt;code&gt;scmd&lt;/code&gt; parameter of the filter. Here you can define which frame ranges of the original clip should be replaced by which nicknamed versions.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="23496" LastActivityDate="2018-10-27T15:44:13.553" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25108" PostTypeId="1" CreationDate="2018-10-27T16:57:37.023" Score="0" ViewCount="925" Body="&lt;p&gt;I have bought Ableton Live Suite but I cannot create a video from an audio track. Is it even possible? The create video functionality is greyed. Do I need to install some code or something?&lt;/p&gt;&#xA;" OwnerUserId="3480" LastEditorUserId="3480" LastEditDate="2018-12-30T14:48:19.697" LastActivityDate="2018-12-30T14:48:19.697" Title="Ableton Live create video is greyed out" Tags="|ableton-live|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25110" PostTypeId="1" CreationDate="2018-10-28T01:57:13.050" Score="0" ViewCount="1093" Body="&lt;p&gt;I have a large collection of videos to sort out, and for that purpose I want to create a thumbnail preview for each one of them, as quickly and efficiently as possible. I have tested several tools which have that capacity, with a varying degree of satisfaction.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Media Player Classic : Does not allow command line interaction or batch directory processing. The presentation of timestamps and other informations is good enough as it is, but not customizable. The aspect of the screenshots, as I found out, depends upon the settings of the graphic driver : whether there are “enhancements” active or disabled, or whether the entry levels are set to full range or restricted range. With the default “restricted range”, the picture appears more vivid, with more contrast, but the blacks are crushed and the highlights are blown ; with entry levels set to “full range”, the picture is rather dull, with slightly faded / washed-out colors, similar to the representation of the other tools below.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ihwwe.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ihwwe.jpg&quot; alt=&quot;MPC-HC default graphic settings&quot;&gt;&lt;/a&gt;&#xA;{default graphic settings}&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Vg0IV.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Vg0IV.jpg&quot; alt=&quot;MPC-HC “full range” in Intel graphic settings&quot;&gt;&lt;/a&gt;&#xA;{“full range” in Intel graphic settings}&#xA;&lt;a href=&quot;https://i.stack.imgur.com/dgUc4.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dgUc4.jpg&quot; alt=&quot;MPC-HC all “enhancements” disabled in Intel graphic settings&quot;&gt;&lt;/a&gt;&#xA;{all “enhancements” disabled in Intel graphic settings}&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;SMPlayer : Does not allow command line interaction or batch directory processing. The display of information is not customizable (does not allow to display the file size in bytes for instance). The colors on the screenshots appear shifted compared with the other tools, i.e. the greens are darker / less saturated while the reds are lighter / more saturated, which I know is related with the matrix used for YUV&gt;RGB conversion (Bt.601 vs. Bt.709), but it's hard to determine which of these provide the most accurate representation.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/6mrmx.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6mrmx.jpg&quot; alt=&quot;SMPlayer&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Scorp Video Thumbnail Maker (GUI tool) : The display of information is fairly customizable, it allows to treat a whole directory recursively, but there's a huge logo / watermark covering one tile with the free license.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9vIXd.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9vIXd.jpg&quot; alt=&quot;Scorp Video Thumbnail Maker&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;MTN / Movie Thumbnailer (CLI tool, also included in StaxRip) : The display of informations is fairly customizable, but the aspect of the screenshots is slightly blurry compared with the others (perhaps it creates JPEG-compressed temporary files ?). That tool, which apparently hasn't been updated since 2008, comes as an already compiled .exe file interacting with a bunch of DLL (based on libavcodec), so I don't know how to see which commands it uses internally.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qNQJy.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qNQJy.jpg&quot; alt=&quot;MTN&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;VCSI (Python script) : The display of informations is fairly customizable, but some useful items are missing (video bitrate for instance). A small drawback is that it seems to be creating a temporary PNG file for each tile before generating the actual thumbnails file, it's still quick enough with 4 tiles but could make it slower for more complex presentations. Since it comes as a script interacting with ffmpeg, I could modify some parameters if necessary.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Unbz9.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Unbz9.jpg&quot; alt=&quot;VCSI&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;QUESTIONS : &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;My main issue is the color accuracy and sharpness of the screenshots. MTN would have been fine as it's simple and quick and provides all the relevant informations in the description, but the resulting files are definitely blurry : what are the likely causes of this ? When comparing the results, how can I determine which color representation is the most accurate, and is there a way to modify this behaviour, either by tweaking each tool's parameters or by adjusting global, system-wide parameters ?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Are there other similar tools which would be worth trying ?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="23505" LastEditorUserId="23505" LastEditDate="2018-10-28T06:59:41.797" LastActivityDate="2023-12-30T15:05:20.673" Title="Generating video thumbnails preview / contact sheet in batch, color issue" Tags="|colorspace|thumbnails|screenshot|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25112" PostTypeId="2" ParentId="3856" CreationDate="2018-10-28T10:38:49.707" Score="1" Body="&lt;p&gt;I'm using always ffprobe from FFmpeg.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2018-10-28T10:38:49.707" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25115" PostTypeId="2" ParentId="25082" CreationDate="2018-10-28T15:51:22.187" Score="2" Body="&lt;p&gt;@Gyan gives the answer in comments:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;MP4s and MOVs store only the TC of the first frame, as a literal frame count, along with the framerate. The consuming app converts that frame count back to a TC string using the framerate. For drop-frame TC, ffmpeg only supports 30 and 60 fps. I'll add 24/48 when I have time and a SMPTE reference that I can consult. For non-drop TC, any fps is fine. Add -timecode HH:MM:SS:FF to your cmd. Use ; for the final separator if TC is drop frame.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="22216" LastActivityDate="2018-10-28T15:51:22.187" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25117" PostTypeId="1" AcceptedAnswerId="25121" CreationDate="2018-10-28T16:13:43.077" Score="0" ViewCount="1361" Body="&lt;p&gt;As a followup to &lt;a href=&quot;https://video.stackexchange.com/questions/25082/add-timecode-information-to-file/25115#25115&quot;&gt;Add timecode information to file&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg documents the &lt;code&gt;-timecode&lt;/code&gt; parameter:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;-timecode hh:mm:ssSEPff&lt;/p&gt;&#xA;&lt;p&gt;Specify Timecode for writing. SEP is ’:’ for non drop timecode and ’;’ (or ’.’) for drop.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Two questions come up:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Which container formats support the &lt;code&gt;-timecode&lt;/code&gt; option? Are there any that don't?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The option to specify DF/NDF timecode implies the ability to store DF flag in the file alongside the framerate. Is that how it works, or does ffmpeg convert DF timecode to a corresponding NDF frame count and stores that?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="22216" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2018-10-29T05:58:29.973" Title="How does ffmpeg record -timecode in different file formats?" Tags="|ffmpeg|file-formats|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25119" PostTypeId="1" CreationDate="2018-10-28T21:55:28.787" Score="0" ViewCount="1031" Body="&lt;p&gt;I am looking for an automated method to identify duplicated video files from my large collection of videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have used fslint to do this in the past, but I started fixing the EXIF tags on my videos, which makes fslint identify them as different files.  The only difference between the original file and the modified files are the EXIF tags, which in most cases have simply been time-shifted to correct for timezone or camera offset.  The videos have not had any encoding or conversion of any type.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a tool something that I can use to identify duplicate videos based only on the AV streams, i.e. ignoring the tags?  I'm essentially looking to duplicate fslint-like functionality, but ignoring the EXIF tags.  Does such a tool exist?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a suspicion that ffmpeg can be used to do this, but all I've been able to find so far is &lt;a href=&quot;https://stackoverflow.com/questions/25774996/how-to-compare-show-the-difference-between-2-videos-in-ffmpeg&quot;&gt;this answer&lt;/a&gt;, which shows how to blend two video streams together and display the difference.  Doing so &quot;works&quot; in the sense that I get a solid green screen with my duplicate files (indicating no pixel differences), but I can't use that in a script to handle hundreds of comparisons because I still have to visually inspect the result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to get ffmpeg to give a yes/no answer?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen &lt;a href=&quot;https://video.stackexchange.com/questions/5307/how-can-i-find-duplicate-videos-from-a-large-set-of-videos-of-varying-formats&quot;&gt;this answer&lt;/a&gt;, but found the answer to be entirely too manual.  I need an automated process that can go through large filesets in one run.   &lt;/p&gt;&#xA;" OwnerUserId="23514" LastActivityDate="2022-03-16T13:40:33.627" Title="Tool to find Duplicate Video files ignoring tags" Tags="|video|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25120" PostTypeId="1" AcceptedAnswerId="25162" CreationDate="2018-10-28T23:26:33.510" Score="1" ViewCount="67" Body="&lt;p&gt;I have a video that I would like to zoom in/out and pan to keep my subjects centered. I tried to do this by splitting the video and cropping the individual segments, however that will be too choppy. I know there has to be a feature to move the frame of zoom live, while playing the video so it is smooth and the zooms are fluid. New to this so any suggestions for software would be much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="23515" LastActivityDate="2018-11-04T16:39:30.550" Title="How to zoom and pan a video fluidly" Tags="|video|after-effects|video-editor|editing|software-recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25121" PostTypeId="2" ParentId="25117" CreationDate="2018-10-29T05:58:29.973" Score="2" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;FFmpeg only supports timecode in a limited set of formats. They are the MOV family (MOV/MP4/3GP..), MXF family, raw DV and Grass Valley GXF.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;How the timecode is stored and flagged is specific to the format. MOV stores a DF flag, integer framerate and the timecode as a rate-adjusted integer frame index. MXF does essentially the same.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-10-29T05:58:29.973" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25122" PostTypeId="1" AcceptedAnswerId="25123" CreationDate="2018-10-29T07:59:49.877" Score="1" ViewCount="232" Body="&lt;p&gt;I have three .mp4  files and I want to generate a single widescreen video&#xA;For generating the widescreen I've worked out I can use this command assuming I've prepared the individual mp4 files:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i teacher.mp4 -i student1.mp4 -i student2.mp4 -filter_complex &quot;[0:v:0][1:v:0][2:v:0]hstack=inputs=3&quot; -c:v libx264 -tune film -crf 16 -b:a 256k triple.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Main Question:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.triple.mp4 only has one audio,But I do need three audio tracks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2.three video playtogether in triple.mp4,can I controll the start time that   I set before?&lt;/p&gt;&#xA;" OwnerUserId="23516" LastActivityDate="2018-10-29T08:52:40.223" Title="ffmpeg merge 3 videos to a single widescreen video" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25123" PostTypeId="2" ParentId="25122" CreationDate="2018-10-29T08:52:40.223" Score="1" Body="&lt;p&gt;For 1. use amix filter.&#xA;For 2. You could use trim filter to trim some of inputs. To delay one of videos, with black? frame, you could concat it with color source filter. But that needs quite convoluted filtergraph.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2018-10-29T08:52:40.223" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25125" PostTypeId="2" ParentId="24739" CreationDate="2018-10-29T12:26:51.393" Score="0" Body="&lt;p&gt;Would be super useful to 'select main stroyline' or some such, but the best I have found is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select the clip &lt;strong&gt;under&lt;/strong&gt; the pointer in the timeline &lt;code&gt;c&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select the clip &lt;strong&gt;above&lt;/strong&gt; the current timeline selection at the skimmer or playhead location &lt;code&gt;⌘↑&lt;/code&gt; (cmd + up-arrow)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select the clip &lt;strong&gt;below&lt;/strong&gt; the current timeline selection at the skimmer or playhead location &lt;code&gt;⌘↓&lt;/code&gt; (cmd + down-arrow)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other possibility is use &lt;code&gt;⇧⌘-&lt;/code&gt; (Shift + Cmd + Hyphen) to decrease the clip size quickly to see more of the timeline, and increase with &lt;code&gt;⇧⌘=&lt;/code&gt; (Shift + Cmd + Equals)&lt;/p&gt;&#xA;" OwnerUserId="20558" LastEditorUserId="20558" LastEditDate="2018-10-29T12:35:37.593" LastActivityDate="2018-10-29T12:35:37.593" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25126" PostTypeId="1" CreationDate="2018-10-29T13:27:42.577" Score="2" ViewCount="256" Body="&lt;p&gt;I have 90 individual video files.  I would like each individual file to loop itself, until I manually advance to the next file.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We are conducting an auction of 90 items.  We have a video of each item.  I want the item being sold to continue to be displayed until the auctioneer sells it and begins the next item.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="23518" LastEditorUserId="14523" LastEditDate="2018-10-30T02:34:39.703" LastActivityDate="2018-10-30T02:34:39.703" Title="Looping Videos until manually advanced" Tags="|video|playback|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25127" PostTypeId="2" ParentId="25126" CreationDate="2018-10-29T18:53:55.027" Score="1" Body="&lt;p&gt;This is very easy with most video player software included with your computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Windows 10, your computer comes with &quot;Movies and TV&quot; app, which can easily do this for you. Follow these steps:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Copy all your video files to a single folder&lt;/li&gt;&#xA;&lt;li&gt;Rename them so they alphabetically sort in the order you want them to play&lt;/li&gt;&#xA;&lt;li&gt;Highlight all, right click on one of them, select open. From there, the first video will start playing. If a different player is your default player, it will open in that instead. Just change your default player before this step.&lt;/li&gt;&#xA;&lt;li&gt;To set a video on repeat, click the menu button in the bottom right corner, then click Repeat.&lt;/li&gt;&#xA;&lt;li&gt;You can advance to the next video when you are ready by clicking the advance arrow that overlays the right side of the video.&lt;/li&gt;&#xA;&lt;li&gt;When you advance to the next video, you have to set the repeat again or it will auto-advance to the next video.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Other players like WMP, VLC, and iTunes will all do this about the same, but may have different ways that you would have to set it up. For example, WMP and iTunes will only play multiple files in succession if you add them to your Library first, then a playlist.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All three of those are free, so you can fiddle with them and see what you like best.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a robust professional experience, you need a software that offers &quot;instant replay&quot;. My first thought would be vMix, but it's pretty pricey and more geared toward capture, though it has a &quot;replay&quot; function. These kinds of software will show you all the videos you've imported for the instant replay and have all kinds of functions like repeat and advance. They are designed to do exactly what you are looking for, but none of them are free.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2018-10-29T18:53:55.027" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25136" PostTypeId="1" AcceptedAnswerId="25137" CreationDate="2018-10-31T10:11:50.100" Score="1" ViewCount="1166" Body="&lt;p&gt;I just want to add black video at the beginning of the video &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found following commands.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i s1.mp4 -f lavfi -i color=c=black -t 10 -filter_complex &quot;[1:v][0:v]scale2ref=1*iw/1/sar:ih/1[wm][base];[base][wm]concat=2&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;MainQuestion:&lt;/strong&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/WR6RI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WR6RI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I solve this issue?&lt;/p&gt;&#xA;" OwnerUserId="23516" LastActivityDate="2018-10-31T10:52:09.177" Title="FFmpeg concat problem" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25137" PostTypeId="2" ParentId="25136" CreationDate="2018-10-31T10:52:09.177" Score="1" Body="&lt;p&gt;concat requires videos to have the same sample aspect ratio as well as the same resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, in this case,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i s1.mp4 -f lavfi -i color=c=black -t 10 -filter_complex &quot;[1:v][0:v]scale2ref[wm][base];[wm]setsar=1[wm];[base][wm]concat=2&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i s1.mp4 -f lavfi -i color=c=black -t 10 -filter_complex &quot;[1:v][0:v]scale2ref[wm][base];[base][wm]concat=2:unsafe=1&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-10-31T10:52:09.177" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25138" PostTypeId="1" AcceptedAnswerId="25139" CreationDate="2018-10-31T18:13:04.803" Score="2" ViewCount="3478" Body="&lt;p&gt;I have a video file with audio. &lt;code&gt;ffprobe&lt;/code&gt; reports two different numbers: Sampling rate and Frame rate. I understand the 48kHz rate--there are 48,000 audio samples every second. What is the other number, and what is a &quot;frame&quot; in this context?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; Audio&#xA; ID                                       : 2&#xA; Format                                   : AAC&#xA; ...&#xA; Sampling rate                            : 48.0 kHz&#xA; Frame rate                               : 46.875 FPS (1024 SPF)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22216" LastActivityDate="2018-10-31T18:57:35.557" Title="What is the difference between audio Sampling rate and Frame rate?" Tags="|audio|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25139" PostTypeId="2" ParentId="25138" CreationDate="2018-10-31T18:57:35.557" Score="5" Body="&lt;p&gt;Audio samples are encapsulated into frames as well. For PCM, the framing is notional, but for DCT-based codecs, it's a basic requirement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AAC typically bundles 1024 &lt;strong&gt;s&lt;/strong&gt;amples &lt;strong&gt;p&lt;/strong&gt;er &lt;strong&gt;f&lt;/strong&gt;rame, so 1 second of 48000 samples represents 48000/1024 = 46.875 FPS&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-10-31T18:57:35.557" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25141" PostTypeId="1" CreationDate="2018-10-31T23:54:13.187" Score="0" ViewCount="284" Body="&lt;p&gt;I have a raw file that's in gray10le format. Each gray value is 2 bytes but only the first 10 bits are used. I can't seem to get x264-10b to accept it as an input.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x264-10b.exe --profile high10 --input-csp gray10le --input-depth 16 --fps 30 -o out.264 0_400x400_gray10le.yuv&#xA;raw [error]: unsupported colorspace `gray10le'&#xA;x264 [error]: could not open input file `0_400x400_gray10le.yuv'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm using the latest 10bit build at &lt;a href=&quot;http://download.videolan.org/pub/videolan/x264/binaries/win64/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://download.videolan.org/pub/videolan/x264/binaries/win64/&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="23536" LastActivityDate="2024-04-04T16:08:16.087" Title="Encode a 10bit raw video file" Tags="|x264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25144" PostTypeId="2" ParentId="25141" CreationDate="2018-11-01T10:46:35.590" Score="0" Body="&lt;p&gt;AFAICT, it should be &lt;code&gt;--input-csp i400 --input-depth 10&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-11-01T10:46:35.590" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25145" PostTypeId="1" AcceptedAnswerId="28702" CreationDate="2018-11-01T14:06:16.173" Score="14" ViewCount="112924" Body="&lt;p&gt;This is really annoying me a lot. I have two clips with the exact same properties next to each other. I usually add a 'dip to white' transition between clips, but somehow I can't apply it between those two.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/e4EP5.gif&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/e4EP5.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is this possible?&lt;/p&gt;&#xA;" OwnerUserId="17218" LastActivityDate="2021-02-22T17:54:44.627" Title="Can't apply transition effect between clips in Premiere Pro" Tags="|premiere|transitions|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25146" PostTypeId="2" ParentId="25145" CreationDate="2018-11-01T16:21:52.817" Score="12" Body="&lt;p&gt;When you apply a transition between two clips, Premiere needs to use the frames of footage for each clip that go to the start and end of the transition. If there's no footage past that point, it won't allow you to apply the transition. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Consider my illustration below. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may need to have some footage remaining after the end of your clip to allow for this. Re-import or trim your clips to allow some footage to 'show' underneath the dip to white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OiuA2.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OiuA2.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23465" LastEditorUserId="23465" LastEditDate="2019-10-23T14:54:07.687" LastActivityDate="2019-10-23T14:54:07.687" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25149" PostTypeId="1" AcceptedAnswerId="25155" CreationDate="2018-11-02T10:40:16.967" Score="1" ViewCount="7208" Body="&lt;p&gt;I have recorded a 50 minute video, edited it in Hitfilm Express to censor/blur people, and exported it in Hitfilm's high resolution format, generating an 80GB file. When I try to transcode this file into something more manageable, ffmpeg makes the audio drift. In the beginning everything sounds fine, but slowly the audio goes &lt;em&gt;faster&lt;/em&gt; than the video. The input file as reported by ffmpeg is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Guessed Channel Layout for Input Stream #0.1 : stereo&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/Volumes/BakaTres/witness.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;  Duration: 00:50:31.42, start: 0.000000, bitrate: 230875 kb/s&#xA;    Stream #0:0(eng): Video: cfhd (CFHD / 0x44484643), yuv422p10le, 1920x1080, 229401 kb/s, 59.96 fps, 59.96 tbr, 90k tbn, 90k tbc (default)&#xA;    Metadata:&#xA;      encoder         : CineForm HD&#xA;    Stream #0:1(eng): Audio: pcm_s16le (lpcm / 0x6D63706C), 48000 Hz, stereo, s16, 1536 kb/s (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After running the following transcode command &lt;code&gt;ffmpeg  -i witness.mov  -filter:v scale=640:-1 mini.mkv&lt;/code&gt; which reencodes everything, this is the stats of the output file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, matroska,webm, from 'mini.mkv':&#xA;  Metadata:&#xA;    COMPATIBLE_BRANDS: qt  &#xA;    MAJOR_BRAND     : qt  &#xA;    MINOR_VERSION   : 537199360&#xA;    ENCODER         : Lavf57.56.100&#xA;  Duration: 00:50:30.42, start: 0.000000, bitrate: 785 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High 4:2:2), yuv422p(progressive), 640x360, 59.96 fps, 59.96 tbr, 1k tbn, 119.92 tbc (default)&#xA;    Metadata:&#xA;      ENCODER         : Lavc57.64.101 libx264&#xA;      DURATION        : 00:50:30.422000000&#xA;    Stream #0:1(eng): Audio: vorbis, 48000 Hz, stereo, fltp (default)&#xA;    Metadata:&#xA;      ENCODER         : Lavc57.64.101 libvorbis&#xA;      DURATION        : 00:50:28.403000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The first sign that something goes wrong is that the original file specifies a duration of 50:31.42, while the transcode generates a 50:30.42 file. I wouldn't mind the second less if it weren't because the produced audio is 50:28.4, two seconds less than the video, which explains the delay difference. Unfortunately ffmpeg doesn't show the input length, but if I copy the source audio to an aiff file, Audacity tells me it's indeed 50:28.4 long, so is Hitfilm exporting the audio incorrectly with a shorter length than video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen &lt;a href=&quot;https://video.stackexchange.com/a/19238/6553&quot;&gt;the following answer for a similar problem&lt;/a&gt; but I don't understand how the values are calculated or how to apply these values to my input files. What values should I look for in the information of input/output to compare?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even if the final transcoded length is slightly different, how can I prevent the audio from going out of sync (or fix Hitfilm's exported difference in video vs audio)?&lt;/p&gt;&#xA;" OwnerUserId="6553" LastActivityDate="2019-01-11T04:44:08.343" Title="Long video ffmpeg transcode makes audio go out of sync" Tags="|video|ffmpeg|audio|sync|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25154" PostTypeId="1" CreationDate="2018-11-03T09:38:43.853" Score="1" ViewCount="1313" Body="&lt;pre&gt;&lt;code&gt;-f mp4 -c:v libx264 -preset veryslow -tune grain -profile:v high422 -flags +ildct+ilme &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I am preparing video to be streamed (DLNA) from my NAS to an older Sony Bravia. I have successfully created playable m2t files (1080i) with VideoStudio (AVC, high@L4, Cabac, h264, vbr max 20 Mbps, 25 fps, interlaced). Interlaced is important because it seems the TV cannot handle 1080p from NAS or USB. &#xA;I have some old family video in prores/mov that VideoStudio does not accept as input, so I am trying to convert that to something acceptable to the TV using FFmpeg. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;I haven't found a way to create m2t files with FFmpeg.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The TV is supposedly capable of handling MP4, but regardless of the settings tried — and I have tried dozens that all plays well on VLC (including BD compatible, PSP profiles and other) the TV just says 'not playable' &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Anyone has ideas for any of the two routes?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Searching the internet I have learned that the Sony Bravia is known for being very picky, but I am sure someone has found the key...? (other than those at pavtube, who claims to have a commercial tool, that does the trick)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFprobe of working m2t file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0[0x1011]: Video: h264 (High) (HDMV / 0x564D4448), yuv420p(top first), 1920x1080 [SAR 1:1 DAR 16:9], 25 fps, 50 tbr, 90k tbn, 50 tbc &#xA;Stream #0:1[0x1100]: Audio: ac3 (AC-3 / 0x332D4341), 48000 Hz, stereo, fltp, 384 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Properties of working m2t by MediaTab:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;===================== General =====================&#xA;Id                          : 0 (0x0)&#xA;Complete name               : D:\ThisWorks.m2t&#xA;Format                      : BDAV&#xA;Format info                 : Blu-ray Video&#xA;File size                   : 2.21 GB&#xA;Duration (ms)               : 21mn 10s&#xA;Overall bit rate mode       : Variable&#xA;Overall bit rate            : 14.9 Mbps&#xA;Maximum Overall bit rate    : 25.5 Mbps&#xA;&#xA;===================== Video =====================&#xA;Id                          : 4113 (0x1011)&#xA;Menu ID                     : 1 (0x1)&#xA;Format                      : AVC&#xA;Format info                 : Advanced Video Codec&#xA;Formatprofile               : High@L4&#xA;Formatsettings, CABAC       : Yes&#xA;Formatsettings, ReFrames    : 2 frames&#xA;Formatsettings, GOP         : N=1&#xA;Codec Id                    : 27&#xA;Duration (ms)               : 21mn 10s&#xA;Bit rate mode               : Variable&#xA;Bit rate                    : 13.9 Mbps&#xA;Maximum bit rate            : 20.0 Mbps&#xA;Width                       : 1 920 pixels&#xA;Height                      : 1 080 pixels&#xA;Display aspect ratio        : 16:9&#xA;Frame rate                  : 25.000 fps&#xA;Color space                 : YUV&#xA;Chroma subsampling          : 4:2:0&#xA;Bit depth                   : 8 bits&#xA;Scan type                   : Interlaced&#xA;Scan type, store method     : Separated fields&#xA;Scan order                  : Top Field First&#xA;Bits/(Pixel*Frame)          : 0.269&#xA;Stream size                 : 2.06 GB (93%)&#xA;&#xA;===================== Audio =====================&#xA;Id                          : 4352 (0x1100)&#xA;Menu ID                     : 1 (0x1)&#xA;Format                      : AC-3&#xA;Format info                 : Audio Coding 3&#xA;Mode extension              : CM (complete main)&#xA;Formatsettings, Endianness  : Big&#xA;Codec Id                    : 129&#xA;Duration (ms)               : 21mn 10s&#xA;Bit rate mode               : Constant&#xA;Bit rate                    : 384 Kbps&#xA;Channel(s)                  : 2 channels&#xA;Channel positions           : Front: L R&#xA;Sampling rate               : 48.0 KHz&#xA;Frame rate                  : 31.250 fps (1536 spf)&#xA;Compression mode            : Lossy&#xA;Stream size                 : 58.2 MB (3%)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="23550" LastEditorUserId="18155" LastEditDate="2019-08-15T10:56:33.770" LastActivityDate="2023-12-23T05:04:50.553" Title="FFmpeg for m2t and Sony Bravia - not working" Tags="|ffmpeg|encoding|conversion|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25155" PostTypeId="2" ParentId="25149" CreationDate="2018-11-03T12:54:19.607" Score="1" Body="&lt;p&gt;After trying a few random things, I managed to make the audio/video sync by changing the rate of the audio:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -i witness.mov -af asetrate=48018 resampled.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;resampled.mkv&lt;/code&gt; has correct sync, but unfortunately the audio is &lt;em&gt;shorter&lt;/em&gt; than the remaining video for a few seconds. Which means the problem is really that the frame rate is slightly slower than it should in the input file. According to my calculations, the problem is that the frame rate is set to 59.96, and setting it to exactly 60.0 would make the video match the audio. I tried using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -i witness.mov -framerate 60 resampled.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But the video frame rate did not change.&lt;/p&gt;&#xA;" OwnerUserId="6553" LastActivityDate="2018-11-03T12:54:19.607" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25157" PostTypeId="1" CreationDate="2018-11-03T15:55:37.253" Score="2" ViewCount="78" Body="&lt;p&gt;When editing sport videos one of the most tedious and time consuming parts is actually watching the footage and describing where, what and what is quality of the part of the video. &#xA;For now I haven't found better technique than just watching it, pausing on the spot, typing time and description in excel like : &#xA;GOPRO1234.mp4 | time : 02:34 | quite decent jump ! | rating 5/5 | category : jump&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I can sort and filter this..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But this takes a lot of time. I know that editing software gives flags and markers in different colors but I need more than that to think later what should go where in my video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know any software which allows to do it efficiently? Like photo categorization software but for videos. My dream workflow would be to be able to stop a video and get an easily keyboard navigated popup with time marked automatically, then just type description, set tags and hit ENTER and go further. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions? Free software would be the best, but of course if there are also any paid alternatives - give me a hint!&lt;/p&gt;&#xA;" OwnerUserId="23553" LastActivityDate="2018-11-04T00:21:10.280" Title="Software for marking AND describing places in video" Tags="|editing|metadata|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25158" PostTypeId="2" ParentId="25157" CreationDate="2018-11-04T00:21:10.280" Score="1" Body="&lt;p&gt;I don't know of any sports video shot logging tools designed for personal use. Most are part of &lt;a href=&quot;https://video.stackexchange.com/a/22480/14523&quot;&gt;MAM systems&lt;/a&gt;. &lt;a href=&quot;https://wolfcrow.com/blog/a-comparison-of-15-on-set-ingest-logging-dailies-grading-and-backup-software/&quot; rel=&quot;nofollow noreferrer&quot;&gt;This site&lt;/a&gt; compares logging tools for cinematic production, but you can extrapolate from that. Both Adobe Premiere and Prelude include logging tools that let you set ratings and enter comments. You can use subclipping and bins to replicate the category part of your workflow.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-11-04T00:21:10.280" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25160" PostTypeId="2" ParentId="25154" CreationDate="2018-11-04T05:05:49.060" Score="0" Body="&lt;p&gt;Try&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in -vf format=yuv420p,setsar=1 -g 25 -c:v libx264 -tune grain -profile:v high -refs 2 -x264opts bluray-compat=1:fake-interlaced=1:nalhrd=vbr:aud=1 -maxrate 20M -bufsize 20M -c:a ac3 -ac 2 out.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;FFmpeg can't replicate &lt;code&gt;Scan type, store method     : Separated fields&lt;/code&gt; but it may not matter.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-11-04T05:05:49.060" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="25162" PostTypeId="2" ParentId="25120" CreationDate="2018-11-04T16:39:30.550" Score="1" Body="&lt;p&gt;&lt;strong&gt;Keyframes&lt;/strong&gt;&lt;br /&gt;&#xA;Most video editors have some kind of keyframes feature. By using keyframes, you can change the values of the position and scale of the video for a single frame and have different values for another frame. The video editor will then calculate what the values should be for all the frames between these two keyframes so that these change gradually over time. This way you can make subtle and continuous changes to the framing of your video and you could use this to make your subject stay in the center of the frame without it being too distracting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Tracking&lt;/strong&gt;&lt;br /&gt;&#xA;In the case that manually setting all the values is too much work, professional video editing software often have some kind of tracking tool which can track the subject for you. You can then let the position of the video follow the path of the subject. But for just keeping the subject in the center, tracking would most likely be too much of a hassle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;So what kind of software could do this?&lt;/strong&gt;&lt;br /&gt;&#xA;This would be possible to do in most modern professional video editors. But for example, you could do this in Premiere Pro. Make sure to check the documentation and help forums of the software for the specifics on how to do this and I also suggest looking up a tutorial. Also bare in mind that cropping part of the video will result in a loss of quality since there will be less pixels to be displayed, no matter what software you use.&lt;/p&gt;&#xA;" OwnerUserId="20937" LastActivityDate="2018-11-04T16:39:30.550" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25163" PostTypeId="1" CreationDate="2018-11-04T18:03:23.893" Score="0" ViewCount="463" Body="&lt;p&gt;I have a 30fps video that is 234 minutes long and want to shrink it down to 2 minutes.  &lt;code&gt;1-(234-2)/234)&lt;/code&gt; gives me 0.0085 which I use &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i source.mp4 -vf setpts=PTS*0.0085,palettegen palette.png&lt;/code&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;followed by &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i source.mp4 -i palette.png --filter_complex setpts=PTS*0.0085,paletteuse survey.gif&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Actually making the gif is excruciatingly slow compared to extracting the desired frames into a massive directory of png's which I can then combine with &lt;code&gt;convert&lt;/code&gt; into a gif.  Aside from my main question, it doesn't seem like ImageMagick's convert supports user supplied palette files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I understand that PTS is just adjusting how long a single frame is shown in a video but setpts has felt like the only reliably precise way of cutting the source.mp4 down.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I looked at &lt;code&gt;framestep&lt;/code&gt; and it is much better for speed but I couldn't figure out an ideal value for &lt;code&gt;framestep&lt;/code&gt; that wouldn't make the resulting gif step from one frame to the next like what I would get from using &lt;code&gt;convert&lt;/code&gt; and a delay of 0.5 between frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Aside from above, these survey are meant to quickly scan through hours of video for various points of concern in a gif format able to be uploaded privately to imgur or giphy so others on my team could review them remotely and without ftp/dropbox/etc.&lt;/p&gt;&#xA;" OwnerUserId="23324" LastActivityDate="2018-11-05T05:53:03.110" Title="ffmpeg alternative to setpts for making a survey gif" Tags="|ffmpeg|time-lapse|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25165" PostTypeId="2" ParentId="25163" CreationDate="2018-11-05T05:53:03.110" Score="1" Body="&lt;p&gt;Assuming you want a 30 fps 2.5m GIF, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source.mp4 -vf &quot;select='not(mod(n,trunc(234/2.5)))',palettegen&quot; palette.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source.mp4 -i palette.png -filter_complex &quot;[0]select='not(mod(n,trunc(234/2.5)))',setpts=N/30/TB[v];[v][1]paletteuse&quot; survey.gif&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-11-05T05:53:03.110" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25172" PostTypeId="1" CreationDate="2018-11-07T06:30:44.423" Score="0" ViewCount="61" Body="&lt;p&gt;In most of the official screen-recorded &lt;a href=&quot;https://www.youtube.com/channel/UCL0iAkpqV5YaIVG7xkDtS4Q&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe CC tutorials&lt;/a&gt;, they use a [&lt;em&gt;bubble kinda popping up&lt;/em&gt;] effect as in the screenshot below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Vq49w.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Vq49w.png&quot; alt=&quot;screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=5831yFbRhho&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video link&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;How could I recreate this effect in Adobe Premiere or After Effects?&lt;/li&gt;&#xA;&lt;li&gt;Is there a plugin or script involved in this?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="18971" LastActivityDate="2018-11-18T23:23:13.080" Title="How to create this effect?" Tags="|after-effects|premiere|editing|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25173" PostTypeId="1" CreationDate="2018-11-07T08:53:26.743" Score="2" ViewCount="77" Body="&lt;p&gt;I was watching &lt;a href=&quot;https://www.youtube.com/watch?v=WqsZJjqCXlI&quot; rel=&quot;nofollow noreferrer&quot;&gt;the following video on youtube&lt;/a&gt;, and as you can see, the whole frame just jumps up for single frames at random intervals, always to the same height. It seems to me that this would be fairly easy to correct in software, yet my attempts at searching only revealed expensive hardware solutions and claims that this is impossible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's easy to imagine a (tedious) workflow in which one manually marks affected frames and enters the vertical offset to shift those frames by, converting a jarring jump to a much-less-irritating flickering out at the top bit of the frame. With modern motion estimation algorithms (or even just detecting a black bar along the bottom of the frame), this process would be trivial to automate. Do such filters exist? Is this actually a common thing and I'm just using the wrong search terms?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm curious to watch these videos but I'd like to post-process them with something to make them watchable.&lt;/p&gt;&#xA;" OwnerUserId="23578" LastActivityDate="2018-11-07T08:53:26.743" Title="Remove vertical jumps from captured VHS video" Tags="|vhs|analog|signal-processing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25174" PostTypeId="1" CreationDate="2018-11-07T09:31:17.343" Score="1" ViewCount="13" Body="&lt;p&gt;I am looking for a tool that recognizes live action and graphics content in a video, and output the duration used of each style. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am searching for something more automated than scene detection feature from video editing software or color grading.&lt;/p&gt;&#xA;" OwnerUserId="23579" LastActivityDate="2018-11-07T09:31:17.343" Title="Simple Video Content Recognition Software" Tags="|video|analysis|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25175" PostTypeId="1" AcceptedAnswerId="25181" CreationDate="2018-11-07T11:50:34.507" Score="3" ViewCount="7713" Body="&lt;p&gt;I have three videos s1.mp4,s2.mp4 s3.mp4 and I need to combine three videos side by side I know use hstack but my three videos has different size?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've found  following commands.It works,but only support two videos.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i s1.mp4 -i s2.mp4 -filter_complex &quot;[1:v][0:v]scale2ref[wm][base];[base][wm]hstack=2&quot; final.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="23516" LastActivityDate="2019-04-07T17:13:56.720" Title="ffmpeg combine three videos side by side" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25177" PostTypeId="1" AcceptedAnswerId="25178" CreationDate="2018-11-07T14:59:02.507" Score="1" ViewCount="1433" Body="&lt;p&gt;I'm trying to concat two videos, side by side, using ffmpeg. One of them is &lt;code&gt;1280x720&lt;/code&gt;, and the other &lt;code&gt;1920x1080&lt;/code&gt;. One will be left, one will be right side. The higher resolution will be resized to the lower resolution one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the command to do that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried this command (they used 4 videos, I tried to edit it for 2), but somewhere is wrong and it cuts the first video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i activity.mp4 -i mobile.mp4 -filter_complex &quot; nullsrc=size=2560x720 [base];[0:v] setpts=PTS-STARTPTS, scale=1280x720 [upperleft]; [1:v] setpts=PTS-STARTPTS, scale=1280x720 [upperright]; [base][upperleft] overlay=shortest=1 [tmp1]; [tmp1][upperright] overlay=shortest=1:x=720&quot; -c:v libx264 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2018-11-07T15:47:11.177" Title="Concat two MP4 files (side by side) with FFmpeg" Tags="|video|ffmpeg|video-editor|editing|encoding|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25178" PostTypeId="2" ParentId="25177" CreationDate="2018-11-07T15:37:41.423" Score="2" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i activity.mp4 -i mobile.mp4 -filter_complex &quot; nullsrc=size=2560x720 [base];[0:v] setpts=PTS-STARTPTS, scale=1280x720 [upperleft]; [1:v] setpts=PTS-STARTPTS, scale=1280x720 [upperright]; [base][upperleft] overlay=shortest=1 [tmp1]; [tmp1][upperright] overlay=x=720&quot; -c:v libx264 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;shortest&lt;/code&gt; should be applied only to the first overlay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, you can skip scale for the video which is already 1280x720. This output will only audio from one of the inputs.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-11-07T15:47:11.177" LastActivityDate="2018-11-07T15:47:11.177" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25179" PostTypeId="1" CreationDate="2018-11-07T17:14:49.087" Score="0" ViewCount="380" Body="&lt;p&gt;I am transcoding some of my videos to mpeg-dash so I can use html5 players. But I am not able to play them on any player. It might be something wrong with my files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;These is a sample&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://d19cwas8lp55sz.cloudfront.net/archivos/1048/mpegDash/playlist.mpd&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://d19cwas8lp55sz.cloudfront.net/archivos/1048/mpegDash/playlist.mpd&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried playing it on this test player &#xA;&lt;a href=&quot;https://bitmovin.com/demos/stream-test?format=dash&amp;amp;manifest=https://d19cwas8lp55sz.cloudfront.net/archivos/1048/mpegDash/playlist.mpd&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://bitmovin.com/demos/stream-test?format=dash&amp;amp;manifest=https://d19cwas8lp55sz.cloudfront.net/archivos/1048/mpegDash/playlist.mpd&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can see that the duration of the video is displayed correctly but I cannot play the video.&#xA;I was using amazon elastic transcoder to transcode this files&lt;/p&gt;&#xA;" OwnerUserId="23581" LastActivityDate="2018-11-09T16:32:12.050" Title="Is it possible to verify if mpeg dash video was correctly transcoded" Tags="|mpeg-dash|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25180" PostTypeId="1" CreationDate="2018-11-07T17:56:14.847" Score="0" ViewCount="44" Body="&lt;p&gt;I have a security camera on my car which is triggered by motion detection.&lt;br&gt;&#xA;Each time it happens it records about 10 seconds in dual cameras which end up with two files &lt;code&gt;A_[timestamp]&lt;/code&gt;for front, &lt;code&gt;B_[timestamp]&lt;/code&gt; for rear view.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want a suggestions for free/paid software which can do the following: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Open all videos of type &lt;code&gt;A&lt;/code&gt; or &lt;code&gt;B&lt;/code&gt; at once and linking them to one  timeline viewable video- please note I prefer not to create a new long video out of all, just to view them sequential with being able to adjust time more fast/slow in the timeline.  &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Being able to analyze video and tagging the sections which persons are recognized.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="23582" LastActivityDate="2018-12-08T22:01:10.257" Title="Looking for video software for analysing videos" Tags="|video|video-editor|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25181" PostTypeId="2" ParentId="25175" CreationDate="2018-11-07T18:41:02.480" Score="5" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i s1.mp4 -i s2.mp4 -i s3.mp4 -filter_complex &quot;[1:v][0:v]scale2ref=oh*mdar:ih[1v][0v];[2:v][0v]scale2ref=oh*mdar:ih[2v][0v];[0v][1v][2v]hstack=3,scale='2*trunc(iw/2)':'2*trunc(ih/2)'&quot; final.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-11-08T06:11:03.277" LastActivityDate="2018-11-08T06:11:03.277" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25183" PostTypeId="2" ParentId="19373" CreationDate="2018-11-07T20:46:09.880" Score="1" Body="&lt;p&gt;If you're willing to use third party plug-ins: Alex Audio Butler (&lt;a href=&quot;https://alexaudiobutler.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;alexaudiobutler.com&lt;/a&gt;) is perfect for this: it'll create correct voice levels (even withing clips) automatically for you while you edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(disclaimer, I am the developer of this tool)&lt;/p&gt;&#xA;" OwnerUserId="23584" LastActivityDate="2018-11-07T20:46:09.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25184" PostTypeId="2" ParentId="25180" CreationDate="2018-11-07T22:32:10.360" Score="0" Body="&lt;p&gt;I use an editing software called Sony Vegas pro 13. It can handle as many video clips as I want. And it will give you the advantage of stitching the footage together, zooming in and also taking images from the footage.&lt;/p&gt;&#xA;" OwnerUserId="23586" LastEditorUserId="14523" LastEditDate="2018-11-08T04:29:10.557" LastActivityDate="2018-11-08T04:29:10.557" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25185" PostTypeId="2" ParentId="24637" CreationDate="2018-11-07T22:36:10.420" Score="0" Body="&lt;p&gt;I'd recommend Sony Vegas! You can align your audio in the timeline and split what you want. Use a clap when filming to align it for editing.&lt;/p&gt;&#xA;" OwnerUserId="23586" LastEditorUserId="14523" LastEditDate="2018-11-09T00:09:46.870" LastActivityDate="2018-11-09T00:09:46.870" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25186" PostTypeId="2" ParentId="24818" CreationDate="2018-11-08T10:57:57.340" Score="0" Body="&lt;ol&gt;&#xA;&lt;li&gt;The fact that is sounds fine on your laptop speakers is probably because they do not reproduce much bass anyway.&lt;/li&gt;&#xA;&lt;li&gt;To be sure that there is a difference in the recording, and the &quot;live&quot; sound, you could directly compare your recording after doing something like listening to a song on youtube, without changing volume. This allows you to go back and forth. If you're sure there is a difference you could post the example here. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="23584" LastActivityDate="2018-11-08T10:57:57.340" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25187" PostTypeId="2" ParentId="25180" CreationDate="2018-11-08T14:24:26.537" Score="1" Body="&lt;p&gt;It's possible that this question is a duplicate of one of the questions below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/3018/what-beginner-video-editing-software-should-i-use&quot;&gt;What Beginner Video Editing Software Should I Use?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/14820/free-video-editing-software&quot;&gt;Free video editing software&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23465" LastEditorUserId="23465" LastEditDate="2018-11-08T20:29:27.853" LastActivityDate="2018-11-08T20:29:27.853" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25188" PostTypeId="2" ParentId="25179" CreationDate="2018-11-08T15:51:08.847" Score="2" Body="&lt;p&gt;This is not an issue of the player, but it appears to be related to your Cloudfront setup and/or your S3 bucket, as it doesn't provide the required CORS configuration, therefore the player can't download your video/audio content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can check that yourself by opening the debug console of your browser (F12 on Windows, or CMD SHIFT I on Mac). In the console tab you will find error messages like that:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Access to XMLHttpRequest at 'https://d19cwas8lp55sz.cloudfront.net/archivos/1048/mpegDash/mpegDash4800k/3d3b437408996f42ed668f17cbe10408e0059e8914fcb12c775ad92d002cc88f' from origin 'https://bitmovin.com' has been blocked by CORS policy: Response to preflight request doesn't pass access control check: No 'Access-Control-Allow-Origin' header is present on the requested resource. &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;CORS is a security policy enforced by the browser in order to allow/deny XHR requests to resources which are hosted on a different domain than the site the request is coming from. XHR requests are commonly used by javascript applications web apps as well as HTML5 players to request your video content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The decision of the browser, if it blocks this request or not, depends on additional headers which are returned by the server the XHR request is sent to (Cloudfront and/or your S3 bucket in this case). If the CORS configuration whitelists the domain the request is coming from, the browser will allow this request.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;In your case this CORS configuration seems to be missing. Therefore, please see your S3 CORS settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;S3 Bucket CORS configuration: &lt;a href=&quot;https://docs.aws.amazon.com/AmazonS3/latest/user-guide/add-cors-configuration.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://docs.aws.amazon.com/AmazonS3/latest/user-guide/add-cors-configuration.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This CORS configuration allows every origin to access your content&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;?xml version=&quot;1.0&quot; encoding=&quot;UTF-8&quot;?&amp;gt;&#xA;&amp;lt;CORSConfiguration xmlns=&quot;http://s3.amazonaws.com/doc/2006-03-01/&quot;&amp;gt;&#xA;&amp;lt;CORSRule&amp;gt;&#xA;    &amp;lt;AllowedOrigin&amp;gt;*&amp;lt;/AllowedOrigin&amp;gt;&#xA;    &amp;lt;AllowedMethod&amp;gt;GET&amp;lt;/AllowedMethod&amp;gt;&#xA;    &amp;lt;MaxAgeSeconds&amp;gt;1800&amp;lt;/MaxAgeSeconds&amp;gt;&#xA;    &amp;lt;AllowedHeader&amp;gt;*&amp;lt;/AllowedHeader&amp;gt;&#xA;&amp;lt;/CORSRule&amp;gt;&#xA;&amp;lt;/CORSConfiguration&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This CORS configuration only allows bitmovin.com to access your content&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;?xml version=&quot;1.0&quot; encoding=&quot;UTF-8&quot;?&amp;gt;&#xA;&amp;lt;CORSConfiguration xmlns=&quot;http://s3.amazonaws.com/doc/2006-03-01/&quot;&amp;gt;&#xA;&amp;lt;CORSRule&amp;gt;&#xA;    &amp;lt;AllowedOrigin&amp;gt;https://bitmovin.com&amp;lt;/AllowedOrigin&amp;gt;&#xA;    &amp;lt;AllowedMethod&amp;gt;GET&amp;lt;/AllowedMethod&amp;gt;&#xA;    &amp;lt;MaxAgeSeconds&amp;gt;1800&amp;lt;/MaxAgeSeconds&amp;gt;&#xA;    &amp;lt;AllowedHeader&amp;gt;*&amp;lt;/AllowedHeader&amp;gt;&#xA;&amp;lt;/CORSRule&amp;gt;&#xA;&amp;lt;/CORSConfiguration&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How to configure Cloudfront to respect CORS:&lt;/strong&gt;&#xA;&lt;a href=&quot;https://medium.com/@dmitter/amazon-cloudfront-and-cors-57dd43cdfd30&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://medium.com/@dmitter/amazon-cloudfront-and-cors-57dd43cdfd30&lt;/a&gt;&#xA;OR&#xA;&lt;a href=&quot;https://docs.aws.amazon.com/AmazonCloudFront/latest/DeveloperGuide/header-caching.html#header-caching-web-cors&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://docs.aws.amazon.com/AmazonCloudFront/latest/DeveloperGuide/header-caching.html#header-caching-web-cors&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As soon as this is done, the playback at this demo page should work just fine. &lt;a href=&quot;https://bitmovin.com/demos/stream-test?format=dash&amp;amp;manifest=https%3A%2F%2Fbitmovin-a.akamaihd.net%2Fcontent%2FMI201109210084_1%2Fmpds%2Ff08e80da-bf1d-4e3d-8899-f0f6155f6efa.mpd&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://bitmovin.com/demos/stream-test?format=dash&amp;amp;manifest=https%3A%2F%2Fbitmovin-a.akamaihd.net%2Fcontent%2FMI201109210084_1%2Fmpds%2Ff08e80da-bf1d-4e3d-8899-f0f6155f6efa.mpd&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this is helpful and understandable :)&lt;/p&gt;&#xA;" OwnerUserId="23590" LastActivityDate="2018-11-08T15:51:08.847" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25189" PostTypeId="1" AcceptedAnswerId="25191" CreationDate="2018-11-08T16:00:59.250" Score="6" ViewCount="16395" Body="&lt;p&gt;I want to extract the video frames and get the PTS timestamp for each one of them. I have an input MPEG-2 TS file and I prefer to use some open source tool like ffmpeg or something similar. The problem is that when I am using &lt;code&gt;-vf showinfo&lt;/code&gt; option it shows me a restamped PTS. This is the command I am using: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -i input.ts -vf showinfo -vsync 0 -start_number 0 fr%05d.jpg &amp;amp;&amp;gt; log.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So here my result is something similar to:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_showinfo_0 @ 0x5629810a2000] n: 435 pts:1593000 pts_time:17.7    pos: 55729780 fmt:yuv420p sar:1/1 s:1920x1080 i:T iskey:0 type:B checksum:27AB3255 plane_checksum:[B27F2CE8 F1689963 59E56BFB] mean:[142 127 129] stdev:[36.5 2.8 4.1]&#xA;[Parsed_showinfo_0 @ 0x5629810a2000] n: 436 pts:1596600 pts_time:17.74   pos: 55690112 fmt:yuv420p sar:1/1 s:1920x1080 i:T iskey:0 type:B checksum:94AD9CBE plane_checksum:[FB0C9721 C477122C 2AA6F362] mean:[142 127 129] stdev:[36.5 2.8 4.1]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;While when I execute the ffprobe command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe -i input.ts -show_frames -select_streams v:0 -print_format flat | grep pkt_pts=&#xA;&#xA;frames.frame.435.pkt_pts=4205067450&#xA;frames.frame.436.pkt_pts=4205071050&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And I need to find out the pkt_pts timestamp on the extracted files possibly with only one command. On top of that, I was checking the SCTE-35 and there I had an offset with 150 frames between the insert intervals. For example according to the PKT_PTS the start and stop frames are 1650 and 2550 which are signaled over SCTE-35 but the actual frames are 1500 2400 when I look only on the extracted frames. &lt;/p&gt;&#xA;" OwnerUserId="19853" LastActivityDate="2018-11-08T16:49:32.923" Title="How to decode the PTS timestamps and extract the video frames" Tags="|ffmpeg|mpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25191" PostTypeId="2" ParentId="25189" CreationDate="2018-11-08T16:49:32.923" Score="6" Body="&lt;p&gt;FFmpeg will, by default, remove the starting offset. To preserve it, add &lt;code&gt;-copyts&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The description of &lt;code&gt;-vsync 0&lt;/code&gt; isn't accurate and was written 8+ years ago: &lt;em&gt;Each frame is passed with its timestamp from the demuxer to the muxer.&lt;/em&gt;. Video sync takes effect only once the frame has exited the decoder(+filtergraph) pipeline. But you should keep it to avoid dropping/duplicating frames.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-11-08T16:49:32.923" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25193" PostTypeId="1" CreationDate="2018-11-08T21:38:30.017" Score="1" ViewCount="569" Body="&lt;p&gt;I built a statically linked binary of FFMPEG-3.4.4 from source. When I attempt to list the available filters in this binary, I get the following output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&#xA;% ffmpeg -filters&#xA;ffmpeg version 3.4.4 Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with gcc 4.1.2 (GCC) 20070626 (Red Hat 4.1.2-14)&#xA;  configuration: --prefix=/local/workspace/src/FFmpeg/build/private/install --pkg-config-flags=--static --enable-gpl --enable-nonfree --enable-libx264 --enable-libfdk-aac --enable-libvpx --enable-libspeex --enable-encoder=vorbis --enable-libvorbis --enable-libmp3lame --enable-static --disable-protocol=hls --disable-demuxer=hls --disable-decoder=prores --disable-decoder=prores_lgpl --disable-ffplay --disable-ffserver --disable-shared&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;Filters:&#xA;  T.. = Timeline support&#xA;  .S. = Slice threading&#xA;  ..C = Command support&#xA;  A = Audio input/output&#xA;  V = Video input/output&#xA;  N = Dynamic number and/or type of input/output&#xA;  | = Source or sink filter&#xA; ... abench            A-&amp;gt;A       Benchmark part of a filtergraph.&#xA; ... acompressor       A-&amp;gt;A       Audio compressor.&#xA; ... acopy             A-&amp;gt;A       Copy the input audio unchanged to the output.&#xA; ... acrossfade        AA-&amp;gt;A      Cross fade two input audio streams.&#xA; ... acrusher          A-&amp;gt;A       Reduce audio bit resolution.&#xA; T.. adelay            A-&amp;gt;A       Delay one or more audio channels.&#xA; ... aecho             A-&amp;gt;A       Add echoing to the audio.&#xA; ... aemphasis         A-&amp;gt;A       Audio emphasis.&#xA; ... aeval             A-&amp;gt;A       Filter audio signal according to a specified expression.&#xA; T.. afade             A-&amp;gt;A       Fade in/out input audio.&#xA; ... afftfilt          A-&amp;gt;A       Apply arbitrary expressions to samples in frequency domain.&#xA; .S. afir              AA-&amp;gt;A      Apply Finite Impulse Response filter with supplied coefficients in 2nd stream.&#xA; ... aformat           A-&amp;gt;A       Convert the input audio to one of the specified formats.&#xA; ... agate             A-&amp;gt;A       Audio gate.&#xA; ... ainterleave       N-&amp;gt;A       Temporally interleave audio inputs.&#xA; ... alimiter          A-&amp;gt;A       Audio lookahead limiter.&#xA; ... allpass           A-&amp;gt;A       Apply a two-pole all-pass filter.&#xA; ... aloop             A-&amp;gt;A       Loop audio samples.&#xA; ... amerge            N-&amp;gt;A       Merge two or more audio streams into a single multi-channel stream.&#xA; T.. ametadata         A-&amp;gt;A       Manipulate audio frame metadata.&#xA; ... amix              N-&amp;gt;A       Audio mixing.&#xA; ..C anequalizer       A-&amp;gt;N       Apply high-order audio parametric multi band equalizer.&#xA; ... anull             A-&amp;gt;A       Pass the source unchanged to the output.&#xA; T.. apad              A-&amp;gt;A       Pad audio with silence.&#xA; ... aperms            A-&amp;gt;A       Set permissions for the output audio frame.&#xA; ... aphaser           A-&amp;gt;A       Add a phasing effect to the audio.&#xA; ... apulsator         A-&amp;gt;A       Audio pulsator.&#xA; ... arealtime         A-&amp;gt;A       Slow down filtering to match realtime.&#xA; ... aresample         A-&amp;gt;A       Resample audio data.&#xA; ... areverse          A-&amp;gt;A       Reverse an audio clip.&#xA; ... aselect           A-&amp;gt;N       Select audio frames to pass in output.&#xA; ... asendcmd          A-&amp;gt;A       Send commands to filters.&#xA; ... asetnsamples      A-&amp;gt;A       Set the number of samples for each output audio frames.&#xA; ...........&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recently tried doing the same with the source code for FFMPEG-4.0.2, but it doesn't show me any of the above filters. I've used the same configure options as the ones used with FFMPEG-3.4.4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&#xA;% ffmpeg -filters&#xA;ffmpeg version 4.0.2 Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with gcc 4.1.2 (GCC) 20070626 (Red Hat 4.1.2-14)&#xA;  configuration: --prefix=/local/workspace/src/FFmpeg/build/private/install --pkg-config-flags=--static --enable-gpl --enable-nonfree --enable-libx264 --enable-libfdk-aac --enable-libvpx --enable-libspeex --enable-encoder=vorbis --enable-libvorbis --enable-libmp3lame --enable-static --disable-protocol=hls --disable-demuxer=hls --disable-decoder=prores --disable-decoder=prores_lgpl --disable-ffplay --disable-shared&#xA;  libavutil      56. 14.100 / 56. 14.100&#xA;  libavcodec     58. 18.100 / 58. 18.100&#xA;  libavformat    58. 12.100 / 58. 12.100&#xA;  libavdevice    58.  3.100 / 58.  3.100&#xA;  libavfilter     7. 16.100 /  7. 16.100&#xA;  libswscale      5.  1.100 /  5.  1.100&#xA;  libswresample   3.  1.100 /  3.  1.100&#xA;  libpostproc    55.  1.100 / 55.  1.100&#xA;Filters:&#xA;  T.. = Timeline support&#xA;  .S. = Slice threading&#xA;  ..C = Command support&#xA;  A = Audio input/output&#xA;  V = Video input/output&#xA;  N = Dynamic number and/or type of input/output&#xA;  | = Source or sink filter&#xA; ... abuffer           |-&amp;gt;A       Buffer audio frames, and make them accessible to the filterchain.&#xA; ... buffer            |-&amp;gt;V       Buffer video frames, and make them accessible to the filterchain.&#xA; ... abuffersink       A-&amp;gt;|       Buffer audio frames, and make them available to the end of the filter graph.&#xA; ... buffersink        V-&amp;gt;|       Buffer video frames, and make them available to the end of the filter graph.&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I missing a configure option to have these filters available in 4.0?&lt;/p&gt;&#xA;" OwnerUserId="20893" LastActivityDate="2019-09-05T10:00:39.460" Title="FFMPEG filters missing after upgrade to 4.0" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25194" PostTypeId="2" ParentId="25193" CreationDate="2018-11-09T07:22:44.813" Score="1" Body="&lt;p&gt;So after about spending nearly a day on this I realized that the problem was with a &lt;code&gt;sed&lt;/code&gt; command change introduced in the &lt;code&gt;configure&lt;/code&gt; script in version 4.0. I was building the source on a machine that has a non-GNU version of &lt;code&gt;sed&lt;/code&gt; installed and didn't support the '-E' option. I ended up replacing it with '-r'. The specific line where I made the change is this: &lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/master/configure#L3723&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/blob/master/configure#L3723&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20893" LastActivityDate="2018-11-09T07:22:44.813" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25195" PostTypeId="1" AcceptedAnswerId="25198" CreationDate="2018-11-09T14:02:16.607" Score="3" ViewCount="3198" Body="&lt;p&gt;I would like to add multiple mp3 files to an mp4 file.&#xA;For adding a single mp3 to an mp4, I used this command with success:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;-i /path/to/mp4File -i /path/to/soundmp3File -codec copy -shortest path/to/output/fileWithSound&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But I'm stuck with adding another mp3. I tried this, but it didn't work:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;-i /path/to/mp4File -i /path/to/soundmp3File1 -i path/to/soundmp3File2 -codec copy -shortest path/to/output/fileWithSounds&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can I make it work with multiple audio files?&lt;/p&gt;&#xA;" OwnerUserId="23598" LastActivityDate="2018-11-09T14:34:35.573" Title="Add multiple mp3 files to an mp4 file with ffmpeg" Tags="|ffmpeg|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25196" PostTypeId="2" ParentId="23764" CreationDate="2018-11-09T14:09:22.633" Score="0" Body="&lt;p&gt;Check out Marker Remap at www.aescripts.com/marker-remap . It takes the principles from the video you reference above and adds a powerful After Effects panel to control marker additions and timing.&lt;/p&gt;&#xA;" OwnerUserId="23599" LastActivityDate="2018-11-09T14:09:22.633" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25197" PostTypeId="2" ParentId="22349" CreationDate="2018-11-09T14:12:05.327" Score="0" Body="&lt;p&gt;Check out Marker Remap at www.aescripts.com/marker-remap . It takes the principles you mention above and adds a powerful After Effects panel to control marker additions and timing. You won't be able to customize it to your tags, but I think it offers the functionality you're looking for.&lt;/p&gt;&#xA;" OwnerUserId="23599" LastActivityDate="2018-11-09T14:12:05.327" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25198" PostTypeId="2" ParentId="25195" CreationDate="2018-11-09T14:34:35.573" Score="5" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-i /path/to/mp4File&#xA;-i /path/to/soundmp3File1&#xA;-i path/to/soundmp3File2&#xA;-map 0 -map 1:a -map 2:a&#xA;-codec copy -shortest path/to/output/fileWithSounds&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;FFmpeg will automatically select one video and one audio stream from among all the inputs. &lt;code&gt;-map&lt;/code&gt; options are required to include all streams.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-11-09T14:34:35.573" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25199" PostTypeId="2" ParentId="25179" CreationDate="2018-11-09T16:32:12.050" Score="0" Body="&lt;p&gt;Apparently I needed &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;AllowedHeader&amp;gt;range&amp;lt;/AllowedHeader&amp;gt; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For my cors problem to go away&lt;/p&gt;&#xA;" OwnerUserId="23581" LastActivityDate="2018-11-09T16:32:12.050" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25202" PostTypeId="2" ParentId="25154" CreationDate="2018-11-10T10:05:21.340" Score="0" Body="&lt;p&gt;Eureka!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After many late nights and a lot of searching I managed to create a ffmpeg setup that creates an interlaced 1080i which my old (2009) Sony Bravia can stream from my NAS. This is the command line:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i in.mov -c:v libx264 -pix_fmt yuv420p -level 4.0 -refs 1 ^&#xA;-x264opts b-pyramid=0:bluray-compat=1:interlaced=1:nal-hrd=vbr:aud=1 -maxrate 20M -bufsize 30M ^&#xA;-c:a ac3 -b:a 384k -f mpegts out.m2ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I think one of the critical elements was setting the right level. The TV can handle -refs 1 and 2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I cannot say that I understand the full depth of all settings and options, and any improvement suggestions are more than welcome! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The m2ts generated by ffmpeg has a tbr of 25:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0[0x100]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(top first), 1920x1080 [SAR 1:1 DAR 16:9], 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;Stream #0:1[0x101](eng): Audio: ac3 ([129][0][0][0] / 0x0081), 48000 Hz, stereo, fltp, 384 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;...while the original &quot;working m2t file&quot; had a tbr of 50. Don't know what it means, and at least it doesn't seem to be making a difference&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The input is a 1080i dnxhd from Davinci Resolve (unfortunately DR has very few options for delivering interlaced output). &lt;/p&gt;&#xA;" OwnerUserId="23550" LastActivityDate="2018-11-10T10:05:21.340" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25203" PostTypeId="1" CreationDate="2018-11-10T13:18:18.527" Score="1" ViewCount="558" Body="&lt;p&gt;I've got a final version of a movie I co-produced, ca. 20 minutes in a below 3GB file. There's a few-second-long fragment that needs to be deinterlaced, but I can't do it on a project file before rendering, since the original director/editor is a weirdo, so I have to make do with the version I have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Therefore I split the movie to isolate the fragment I need to deinterlace, and I intend to concatenate it later on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used this advice: &lt;a href=&quot;https://askubuntu.com/questions/866186/how-to-get-good-quality-when-converting-digital-video&quot;&gt;https://askubuntu.com/questions/866186/how-to-get-good-quality-when-converting-digital-video&lt;/a&gt; and it works well, however it results in a 50 fps file instead of 25 fps (which is understandable due to the intricacies of the process, but not compatible with my original file) and quite different quality settings.&#xA;How would I formulate the command to get the output file compatible with the source file in order to concatenate? Should it be two-pass to take advantage of 50 fps deinterlacing process?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance, Antoni.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The source file specs are:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Format                                   : MPEG-4&#xA;Format profile                           : Base Media&#xA;Codec ID                                 : isom (isom/iso2/avc1/mp41)&#xA;File size                                : 75.2 MiB&#xA;Duration                                 : 34 s 987 ms&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 18.0 Mb/s&#xA;Writing application                      : Lavf57.34.103&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Main@L4.1&#xA;Format settings                          : CABAC / 3 Ref Frames&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, RefFrames               : 3 frames&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 34 s 760 ms&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 17.9 Mb/s&#xA;Maximum bit rate                         : 24.0 Mb/s&#xA;Width                                    : 1 920 pixels&#xA;Height                                   : 1 080 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 25.000 FPS&#xA;Standard                                 : NTSC&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.346&#xA;Stream size                              : 74.3 MiB (99%)&#xA;Language                                 : English&#xA;Color range                              : Limited&#xA;Codec configuration box                  : avcC&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC LC&#xA;Format/Info                              : Advanced Audio Codec Low Complexity&#xA;Codec ID                                 : mp4a-40-2&#xA;Duration                                 : 34 s 987 ms&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 192 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Channel layout                           : L R&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 46.875 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 820 KiB (1%)&#xA;Language                                 : English&#xA;Default                                  : Yes&#xA;Alternate group                          : 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;[Edit 1:]&#xA;As per request, my original command and result (I pressed 'q' for quitting, as it takes quite a long time and here's for demonstration purposes only):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\Antoni\Videos\zwycięstwo&amp;gt;ffmpeg -i gotowy_na_poprawki.mp4 -vf yadif=1:-1:0,mcdeint=2:1:10 poprawiony_tmp.mp4&#xA;ffmpeg version N-79690-g78baa45 Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 5.3.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmfx --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib&#xA;  libavutil      55. 23.100 / 55. 23.100&#xA;  libavcodec     57. 38.100 / 57. 38.100&#xA;  libavformat    57. 34.103 / 57. 34.103&#xA;  libavdevice    57.  0.101 / 57.  0.101&#xA;  libavfilter     6. 44.100 /  6. 44.100&#xA;  libswscale      4.  1.100 /  4.  1.100&#xA;  libswresample   2.  0.101 /  2.  0.101&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'gotowy_na_poprawki.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.34.103&#xA;  Duration: 00:00:34.99, start: 0.016000, bitrate: 18023 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv), 1920x1080 [SAR 1:1 DAR 16:9], 17941 kb/s, 25 fps, 25 tbr, 12800 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 192 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;[libx264 @ 0000000002d609e0] using SAR=1/1&#xA;[libx264 @ 0000000002d609e0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 AVX2 LZCNT BMI2&#xA;[libx264 @ 0000000002d609e0] profile High, level 4.2&#xA;[libx264 @ 0000000002d609e0] 264 - core 148 r2694 3b70645 - H.264/MPEG-4 AVC codec - Copyleft 2003-2016 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;[mp4 @ 0000000002f90020] Using AVStream.codec to pass codec parameters to muxers is deprecated, use AVStream.codecpar instead.&#xA;    Last message repeated 1 times&#xA;Output #0, mp4, to 'poprawiony_tmp.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.34.103&#xA;    Stream #0:0(eng): Video: h264 ([33][0][0][0] / 0x0021), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 50 fps, 12800 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      encoder         : Lavc57.38.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1(eng): Audio: aac (LC) ([64][0][0][0] / 0x0040), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      encoder         : Lavc57.38.100 aac&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[snow @ 000000000070dc60] pass:4mv changed:200&#xA;[snow @ 000000000070dc60] pass:4mv changed:552400:00:00.49 bitrate=   0.8kbits/s dup=15 drop=0 speed=0.294x&#xA;[snow @ 000000000070dc60] pass:4mv changed:144&#xA;[snow @ 000000000070dc60] pass:4mv changed:612400:00:00.53 bitrate=   0.7kbits/s dup=15 drop=0 speed=0.146x&#xA;[snow @ 000000000070dc60] pass:4mv changed:120&#xA;[snow @ 000000000070dc60] pass:4mv changed:639200:00:00.57 bitrate=   0.7kbits/s dup=15 drop=0 speed= 0.1x&#xA;[snow @ 000000000070dc60] pass:4mv changed:136&#xA;[snow @ 000000000070dc60] pass:4mv changed:501600:00:00.59 bitrate=   0.6kbits/s dup=15 drop=0 speed=0.0851x&#xA;frame=   23 fps=2.4 q=-1.0 Lsize=     166kB time=00:00:00.64 bitrate=2122.3kbits/s dup=15 drop=0 speed=0.066x&#xA;video:154kB audio:10kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.158849%&#xA;[libx264 @ 0000000002d609e0] frame I:1     Avg QP:20.47  size:124507&#xA;[libx264 @ 0000000002d609e0] frame P:6     Avg QP:24.42  size:  3213&#xA;[libx264 @ 0000000002d609e0] frame B:16    Avg QP:29.37  size:   808&#xA;[libx264 @ 0000000002d609e0] consecutive B-frames:  4.3%  8.7%  0.0% 87.0%&#xA;[libx264 @ 0000000002d609e0] mb I  I16..4: 22.7% 62.9% 14.4%&#xA;[libx264 @ 0000000002d609e0] mb P  I16..4:  1.3%  2.4%  0.0%  P16..4: 10.8%  0.7%  0.4%  0.0%  0.0%    skip:84.3%&#xA;[libx264 @ 0000000002d609e0] mb B  I16..4:  0.1%  0.1%  0.0%  B16..8:  8.6%  0.1%  0.0%  direct: 0.0%  skip:91.1%  L0:26.7% L1:72.8% BI: 0.5%&#xA;[libx264 @ 0000000002d609e0] 8x8 transform intra:62.4% inter:96.1%&#xA;[libx264 @ 0000000002d609e0] coded y,uvDC,uvAC intra: 76.6% 82.7% 58.9% inter: 0.5% 1.1% 0.0%&#xA;[libx264 @ 0000000002d609e0] i16 v,h,dc,p: 14% 20% 44% 22%&#xA;[libx264 @ 0000000002d609e0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 17% 21% 23%  5%  6%  7%  8%  8%  6%&#xA;[libx264 @ 0000000002d609e0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 21% 27% 11%  6%  8%  8% 10%  6%  4%&#xA;[libx264 @ 0000000002d609e0] i8c dc,h,v,p: 47% 24% 21%  9%&#xA;[libx264 @ 0000000002d609e0] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0000000002d609e0] ref P L0: 74.5%  9.2% 14.4%  1.9%&#xA;[libx264 @ 0000000002d609e0] ref B L0: 79.0% 20.9%  0.0%&#xA;[libx264 @ 0000000002d609e0] ref B L1: 98.6%  1.4%&#xA;[libx264 @ 0000000002d609e0] kb/s:2725.30&#xA;[aac @ 000000000114c640] Qavg: 319.544&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="23609" LastEditorUserId="24071" LastEditDate="2019-01-05T21:39:33.050" LastActivityDate="2019-01-05T21:39:33.050" Title="How to deinterlace a fragment of a movie and retain the exact original quality with FFmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25204" PostTypeId="1" CreationDate="2018-11-10T16:39:43.837" Score="1" ViewCount="30" Body="&lt;p&gt;Whatever display you watch 4k and 8k demo footage on (I'm watching it in 1080p), the colours are so much more vibrant and engaging than 4k footage shot on phones, filmed for and shown on broadcast TV, and often films too. (See &lt;a href=&quot;https://www.youtube.com/watch?v=yyKZoqe8NdY&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; and &lt;a href=&quot;https://www.youtube.com/watch?v=1La4QzGeaaQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is this and what would I need to capture similarly colourful content? I'm aware that you can fake it in post-processing, is that all that's been done here?&lt;/p&gt;&#xA;" OwnerUserId="23611" LastActivityDate="2018-11-10T16:39:43.837" Title="What makes the colours in UHD demo footage so vibrant?" Tags="|color|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25208" PostTypeId="1" CreationDate="2018-11-11T00:53:15.347" Score="0" ViewCount="336" Body="&lt;p&gt;I generally use ffmpeg for encode in h264 and also resize media&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My common command is something like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mov -c:v libx264 -preset ultrafast -b:v 5000k -s:v 1280x720 out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have an Nvidia GeForce 1060 card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also use the Zeranoe Builds or various generated with the crosscompile scripts (but i'm not very pro with it)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What i would like to know is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) It is possible to SCALE for example from 4k or FHD (1080p) to HD (720p) by taking advantage of GPU acceleration instead of using the normal SCALE ? It is possible also to specify if use bicubic, bilinear and so on?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) It is possible to encode in h264 faster by taking advantage of GPU acceleration ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And what syntax/options to specify in ffmpeg to do so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2018-11-13T14:05:43.437" Title="If I use a normal build of ffmpeg how take advantage of video acceleration for scale?" Tags="|ffmpeg|transcoding|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25210" PostTypeId="1" AcceptedAnswerId="25211" CreationDate="2018-11-11T15:09:58.943" Score="0" ViewCount="2947" Body="&lt;p&gt;I have a Canon 6D Mark II and am shooting video with a Canon EW-83H lens. The videos come out great but are plagued by audible creaking and clicking sounds during playback. My guess is that this noise is due to autofocus of the lens. I tried two other lenses (one prime and one telephoto) but both basically have the same issue. The camera is brand new but the lenses are not (but in good condition).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this an issue with my set up in particular or is the always an issue with shooting a video with a DSLR and a lens with autofocus + IS? What's the recommended solution?&lt;/p&gt;&#xA;" OwnerUserId="23619" LastActivityDate="2018-11-11T15:27:04.983" Title="Noise (from autofocus?) during Video on DSLR" Tags="|microphone|noise|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25211" PostTypeId="2" ParentId="25210" CreationDate="2018-11-11T15:27:04.983" Score="1" Body="&lt;p&gt;The noise you talk about is usually caused by lens motors related to autofocus and motors, related to image stabilization. The best you can do is to use external microphone and connect it to microphone port of the camera. This will give you better isolation of the recorded sound from camera noises and better sound quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course you can always use external sound recorder and sync video and sound in post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: to avoid the noise from focus motors you can use manual focus. To avoid noise from stabilization motors (if any) you can switch off image stabilization (VR, OS, IS or whatever it is named) and use rig with stabilization or tripod.&lt;/p&gt;&#xA;" OwnerUserId="7976" LastActivityDate="2018-11-11T15:27:04.983" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25213" PostTypeId="1" CreationDate="2018-11-11T22:24:36.320" Score="2" ViewCount="1794" Body="&lt;p&gt;I have to transcode with FFMpeg some video with multiple audio where various audio track are not language related, just music and so on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to assing as language something like Unspecified, Unknown, Not Applicable, Multilanguage, or so on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything that is not a specific named language (English, French, Spanish, ...) works fine for me .&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mov -map 0:a -metadata:s:a:0 language=&quot;und&quot; -metadata:s:a:0 title=&quot;Just Music&quot; out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For what I researched FFMPeg uses the ISO 639-2 codes:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/List_of_ISO_639-2_codes&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/List_of_ISO_639-2_codes&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my example I tried to use the &lt;strong&gt;und&lt;/strong&gt; that stands for Undetermined..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the wikipedia list there are also other possible interesting options:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;The standard includes some codes for special situations:&#xA;&#xA;    mis, for &quot;uncoded languages&quot;;&#xA;    mul, for &quot;multiple languages&quot;;&#xA;    qaa-qtz, a range reserved for local use.&#xA;    und, for &quot;undetermined&quot;;&#xA;    zxx, for &quot;no linguistic content, not applicable&quot;;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Non of them seems to work, everytime I try to set that values with ffmpeg it just assume &quot;English&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Following the Apple Documentation for Moov Format we have:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://developer.apple.com/library/archive/documentation/QuickTime/QTFF/QTFFChap4/qtff4.html#//apple_ref/doc/uid/TP40000939-CH206-34353&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://developer.apple.com/library/archive/documentation/QuickTime/QTFF/QTFFChap4/qtff4.html#//apple_ref/doc/uid/TP40000939-CH206-34353&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A very small list compared to the Wikipedia one but there's at least a &lt;strong&gt;Unspecified 32767&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried with &lt;code&gt;-metadata:s:a:0 language=&quot;und&quot;&lt;/code&gt; or &lt;code&gt;-metadata:s:a:0 language=&quot;32767&quot;&lt;/code&gt; but is not working the same :(&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I tried to read the source code of ffmpeg, at &lt;strong&gt;ffmpeg/libavformat/isom.c&lt;/strong&gt; line &lt;strong&gt;382&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/* map numeric codes from mdhd atom to ISO 639 */&#xA;/* cf. QTFileFormat.pdf p253, qtff.pdf p205 */&#xA;/* http://developer.apple.com/documentation/mac/Text/Text-368.html */&#xA;/* deprecated by putting the code as 3*5 bits ASCII */&#xA;static const char mov_mdhd_language_map[][4] = {&#xA;    /* 0-9 */&#xA;    &quot;eng&quot;, &quot;fra&quot;, &quot;ger&quot;, &quot;ita&quot;, &quot;dut&quot;, &quot;sve&quot;, &quot;spa&quot;, &quot;dan&quot;, &quot;por&quot;, &quot;nor&quot;,&#xA;    &quot;heb&quot;, &quot;jpn&quot;, &quot;ara&quot;, &quot;fin&quot;, &quot;gre&quot;, &quot;ice&quot;, &quot;mlt&quot;, &quot;tur&quot;, &quot;hr &quot;/*scr*/, &quot;chi&quot;/*ace?*/,&#xA;    &quot;urd&quot;, &quot;hin&quot;, &quot;tha&quot;, &quot;kor&quot;, &quot;lit&quot;, &quot;pol&quot;, &quot;hun&quot;, &quot;est&quot;, &quot;lav&quot;,    &quot;&quot;,&#xA;    &quot;fo &quot;,    &quot;&quot;, &quot;rus&quot;, &quot;chi&quot;,    &quot;&quot;, &quot;iri&quot;, &quot;alb&quot;, &quot;ron&quot;, &quot;ces&quot;, &quot;slk&quot;,&#xA;    &quot;slv&quot;, &quot;yid&quot;, &quot;sr &quot;, &quot;mac&quot;, &quot;bul&quot;, &quot;ukr&quot;, &quot;bel&quot;, &quot;uzb&quot;, &quot;kaz&quot;, &quot;aze&quot;,&#xA;    /*?*/&#xA;    &quot;aze&quot;, &quot;arm&quot;, &quot;geo&quot;, &quot;mol&quot;, &quot;kir&quot;, &quot;tgk&quot;, &quot;tuk&quot;, &quot;mon&quot;,    &quot;&quot;, &quot;pus&quot;,&#xA;    &quot;kur&quot;, &quot;kas&quot;, &quot;snd&quot;, &quot;tib&quot;, &quot;nep&quot;, &quot;san&quot;, &quot;mar&quot;, &quot;ben&quot;, &quot;asm&quot;, &quot;guj&quot;,&#xA;    &quot;pa &quot;, &quot;ori&quot;, &quot;mal&quot;, &quot;kan&quot;, &quot;tam&quot;, &quot;tel&quot;,    &quot;&quot;, &quot;bur&quot;, &quot;khm&quot;, &quot;lao&quot;,&#xA;    /*                   roman? arabic? */&#xA;    &quot;vie&quot;, &quot;ind&quot;, &quot;tgl&quot;, &quot;may&quot;, &quot;may&quot;, &quot;amh&quot;, &quot;tir&quot;, &quot;orm&quot;, &quot;som&quot;, &quot;swa&quot;,&#xA;    /*==rundi?*/&#xA;       &quot;&quot;, &quot;run&quot;,    &quot;&quot;, &quot;mlg&quot;, &quot;epo&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,&#xA;    /* 100 */&#xA;       &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,&#xA;       &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,&#xA;       &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;,    &quot;&quot;, &quot;wel&quot;, &quot;baq&quot;,&#xA;    &quot;cat&quot;, &quot;lat&quot;, &quot;que&quot;, &quot;grn&quot;, &quot;aym&quot;, &quot;tat&quot;, &quot;uig&quot;, &quot;dzo&quot;, &quot;jav&quot;&#xA;};&#xA;&#xA;int ff_mov_iso639_to_lang(const char lang[4], int mp4)&#xA;{&#xA;    int i, code = 0;&#xA;&#xA;    /* old way, only for QT? */&#xA;    for (i = 0; lang[0] &amp;amp;&amp;amp; !mp4 &amp;amp;&amp;amp; i &amp;lt; FF_ARRAY_ELEMS(mov_mdhd_language_map); i++) {&#xA;        if (!strcmp(lang, mov_mdhd_language_map[i]))&#xA;            return i;&#xA;    }&#xA;    /* XXX:can we do that in mov too? */&#xA;    if (!mp4)&#xA;        return -1;&#xA;    /* handle undefined as such */&#xA;    if (lang[0] == '\0')&#xA;        lang = &quot;und&quot;;&#xA;    /* 5 bits ASCII */&#xA;    for (i = 0; i &amp;lt; 3; i++) {&#xA;        uint8_t c = lang[i];&#xA;        c -= 0x60;&#xA;        if (c &amp;gt; 0x1f)&#xA;            return -1;&#xA;        code &amp;lt;&amp;lt;= 5;&#xA;        code |= c;&#xA;    }&#xA;    return code;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;They talk of &quot;und&quot; inside the code, but if you use -metadata:s:a:0 language=&quot;und&quot; it just return English.. :\&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the correct way to specify it? It could be a ffmpeg bug? I'm using the last zeranoe nightly build N-92405-ge24a754916&lt;/p&gt;&#xA;" OwnerUserId="11789" LastActivityDate="2020-01-07T22:24:24.797" Title="FFMpeg set language as Unknown or unspecified in a QuickTime MOV" Tags="|ffmpeg|transcoding|metadata|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25218" PostTypeId="1" CreationDate="2018-11-12T11:32:41.050" Score="1" ViewCount="547" Body="&lt;p&gt;I've got a Blackmagic hyperdeck and a computer. Their are both connected on the same network.&#xA;The network settings of the hyperck are :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Remote : ON&#xA;DHCP:OFF&#xA;IP address:192.168.1.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I can ping the ip address provided by the hyperdeck.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ping 192.168.1.100&#xA;&amp;gt;&amp;gt;11 packets transmitted, 11 packets received, 0.0% packet loss&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But when I try to connect myself with telnet for a TCP connection it failed :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ telnet 192.168.1.100 9993&#xA;&amp;gt;&amp;gt;Trying 192.168.1.100...&#xA;&amp;gt;&amp;gt;telnet: connect to address 192.168.1.100: Connection refused&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Do I have to configure something else on the hyperdeck or the computer ?&lt;/p&gt;&#xA;" OwnerUserId="23625" LastEditorUserId="23625" LastEditDate="2018-11-12T15:39:53.160" LastActivityDate="2018-12-13T10:01:20.393" Title="BlackMagic hyperdeck Connection failed" Tags="|blackmagic|" AnswerCount="1" CommentCount="1" ClosedDate="2018-12-13T17:45:13.303" ContentLicense="CC BY-SA 4.0" />
  <row Id="25222" PostTypeId="1" CreationDate="2018-11-13T03:22:18.970" Score="0" ViewCount="309" Body="&lt;p&gt;I understand that sometimes when editing, converting, and rendering new videos you can end up with duplicate frames. In other words, two successive frames can be exactly identical.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To what extent can duplicate frames affect the appearance of motion in a video? I've seen the charge that it can make motion appear faster or slower, but I don't really buy this as one frame in a 30 FPS video is only 0.033 seconds. One frame on a 15 FPS video might be noticeable, but again, I doubt it. &lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2018-11-13T03:33:13.017" LastActivityDate="2018-11-13T23:49:35.973" Title="Can duplicate frames effect motion?" Tags="|framerate|motion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25224" PostTypeId="2" ParentId="25218" CreationDate="2018-11-13T09:41:34.650" Score="0" Body="&lt;p&gt;We made a new set up but my computer had a new IP which was the old hyperdeck IP. And the switch of the hyperdeck was off.&#xA;So if was pinging my own computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I switch on the switch, change the ip adress, it work back again.&lt;/p&gt;&#xA;" OwnerUserId="23625" LastActivityDate="2018-11-13T09:41:34.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25225" PostTypeId="2" ParentId="25208" CreationDate="2018-11-13T14:05:43.437" Score="2" Body="&lt;p&gt;The answer to your second question is yes. Change &lt;code&gt;-c:v libx264&lt;/code&gt; to &lt;code&gt;-c:v h264_nvenc&lt;/code&gt;.  I use those builds as well.  If you use the option &lt;code&gt;-encoders&lt;/code&gt; you can see a list of included video and audio codecs. &#xA;&lt;a href=&quot;https://gist.github.com/Brainiarc7/4b49f463a08377530df6cecb8171306a&quot; rel=&quot;nofollow noreferrer&quot;&gt;This&lt;/a&gt; is a good resource for encoding with FFMPEG.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;See the warning on &lt;a href=&quot;https://stackoverflow.com/questions/44510765/gpu-accelerated-video-processing-with-ffmpeg&quot;&gt;this question&lt;/a&gt; if you try this&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="22728" LastActivityDate="2018-11-13T14:05:43.437" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25226" PostTypeId="1" AcceptedAnswerId="25227" CreationDate="2018-11-13T16:05:50.317" Score="3" ViewCount="5639" Body="&lt;p&gt;I'm new to using ffmpeg, but I want to extract 15 consecutive frames (resized to 320x240) at specific time intervals from an existing video.&#xA;What I have so far is this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 30 -i inVideo.mp4 -vframes 15 out%d.png -s 320x240&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;While this does create 15 frames at the 30 second mark, they are not resized.&#xA;Also, if I have this in a loop, the output images will be overwritten. &#xA;I want to create a total of 9 time intervals with 15 frames/images each.&#xA;Any idea of how I can accomplish that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for all your help!&lt;/p&gt;&#xA;" OwnerUserId="23638" LastActivityDate="2021-04-26T11:59:00.370" Title="Use ffmpeg to extract 15 frames at specific intervals" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25227" PostTypeId="2" ParentId="25226" CreationDate="2018-11-13T16:26:55.937" Score="3" Body="&lt;p&gt;The basic template is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inVideo.mp4&#xA;  -vf &amp;quot;select='between(t,30,30.5)+between(t,45,45.5)+between(t,73,73.5)'&amp;quot;&#xA;  -s 320x240 -vsync 0 out%d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The select filter expression selects all frames in each of the three ranges. I've chosen an endpoint 0.5 seconds greater than the start point under the assumption that the video is 30 frames per second. Adjust accordingly.&lt;/p&gt;&#xA;&lt;p&gt;Frame sizing is an output option so it has to appear &lt;em&gt;before&lt;/em&gt; the output it is meant for.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2021-04-26T11:59:00.370" LastActivityDate="2021-04-26T11:59:00.370" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25229" PostTypeId="1" CreationDate="2018-11-13T22:02:12.620" Score="2" ViewCount="2781" Body="&lt;p&gt;I'm trying to use ffmpeg to create a &quot;boomerrang&quot; video. Where it would take in one video, play that video forward, then play it backward, and once more forward all at 1.5x speed. I'm been able to do the forward/backwards process with this command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -i input.mp4 -filter_complex [0]reverse[r];[0][r]concat,setpts=0.5*PTS output/boomerrang.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I've been unable to get that final 3rd play with the video playing forward. I'm assuming I would just need to concat the video on the end but I'm not really sure how to do that. &lt;/p&gt;&#xA;" OwnerUserId="23640" LastActivityDate="2018-11-14T06:39:55.007" Title="ffmpeg creating a boomerrang video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25230" PostTypeId="2" ParentId="24808" CreationDate="2018-11-13T23:33:59.353" Score="0" Body="&lt;p&gt;I believe most of this effect can be achieved using &lt;strong&gt;Deform FX&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For true perspective, you need &lt;strong&gt;3D track motion&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have not used either but here are some links:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://forums.creativecow.net/docs/forums/post.php?forumid=24&amp;amp;postid=959092&amp;amp;univpostid=959092&amp;amp;pview=t&quot; rel=&quot;nofollow noreferrer&quot;&gt;Perspective&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.vegascreativesoftware.info/us/forum/how-do-i-skew-a-video-clip--69260/&quot; rel=&quot;nofollow noreferrer&quot;&gt;How do I skew a video clip?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="7946" LastEditorUserId="18155" LastEditDate="2019-08-11T01:34:12.410" LastActivityDate="2019-08-11T01:34:12.410" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25231" PostTypeId="2" ParentId="25222" CreationDate="2018-11-13T23:49:35.973" Score="1" Body="&lt;p&gt;What effect you see will depend on the content, and your own perception. In a static scene dupes will have no visual effect, but they always lengthen the clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With motion in the scene, a duplicated or skipped frame might be quite noticeable. I usually find them visually disruptive, but others might not -- it depends partly on what you're trained to see, and how engaged you are in the content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand, a repetitive sequence of duplicated images will generally not be disturbing, though a trained eye may see it. This is the essence of 3::2 pulldown, for example. That doesn't serve to lengthen or shorten the scene, but to convert a &lt;strong&gt;taking&lt;/strong&gt; frame rate to a &lt;strong&gt;presentation&lt;/strong&gt; frame rate. &lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2018-11-13T23:49:35.973" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25232" PostTypeId="2" ParentId="25229" CreationDate="2018-11-14T06:39:55.007" Score="2" Body="&lt;p&gt;You just need to add the original input to the concat.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.mp4 -filter_complex [0]reverse[r];[0][r][0]concat=n=3,setpts=0.5*PTS output/boomerrang.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-11-14T06:39:55.007" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25235" PostTypeId="1" AcceptedAnswerId="25605" CreationDate="2018-11-14T17:46:37.803" Score="0" ViewCount="2116" Body="&lt;p&gt;I have a &lt;em&gt;text layer&lt;/em&gt; (property: &lt;em&gt;Source Text&lt;/em&gt;) connected to a &lt;em&gt;slider control&lt;/em&gt;, in the way that the slider goes from &lt;em&gt;0&lt;/em&gt; to &lt;em&gt;40&lt;/em&gt; and the text layer simply follows the same amount. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, I want to have a fixed symbol which it will be &quot;&lt;em&gt;%&lt;/em&gt;&quot; next to the number but of course with the current expression:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;effect(&quot;Slider Control&quot;)(&quot;Slider&quot;)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It is not possible to have a symbol since the expression tells the text layer to follow the value of the slider.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Must be super simple but I don't have the knowledge to fix the expression.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The final result would be the text layer going from 0% to 40%&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="6118" LastActivityDate="2019-01-04T04:48:11.987" Title="Keep fixed symbol on a source text linked expression" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25236" PostTypeId="1" CreationDate="2018-11-14T21:29:58.160" Score="3" ViewCount="927" Body="&lt;p&gt;I am trying to understand the benefits of SRT over other protocols like RTP. Haivision has a &lt;a href=&quot;https://github.com/Haivision/srt/blob/master/docs/why-srt-was-created.md&quot; rel=&quot;nofollow noreferrer&quot;&gt;decent introductory explanation for SRT&lt;/a&gt; as well as a white paper, but I am unclear how it compares to RTP. There is even a &lt;a href=&quot;https://github.com/Haivision/srt/issues/136&quot; rel=&quot;nofollow noreferrer&quot;&gt;github issue&lt;/a&gt; about using RTP with SRT. Don't RTP and SRT address the same problem? Why would you use one over the other (or both together)?&#xA;I found a &lt;a href=&quot;http://pdf.textfiles.com/manuals/STARINMANUALS/Envivio/Manual/White%20Paper%20-%20IP%20Streaming%20of%20MPEG-4%20-%20Native%20RTP%20vs%20MPEG-2%20Transport%20Stream.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;white paper discussing RTP vs MPEG-TS&lt;/a&gt;, it'd be helpful if there were a similar comparison made with SRT.&lt;/p&gt;&#xA;" OwnerUserId="21845" LastActivityDate="2018-11-14T21:29:58.160" Title="What is the difference between SRT and RTP?" Tags="|streaming|rtp|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25237" PostTypeId="1" CreationDate="2018-11-15T10:07:54.407" Score="0" ViewCount="2711" Body="&lt;p&gt;I am trying to write a Python script which will connect the TDT with the PTS in a MPEG-2 TS. So far I have managed to convert the TS file into a &lt;code&gt;.dat&lt;/code&gt; file where I have all the hex representation of the 188 bytes on a different line. I have couple of problems:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I want to separate the frames and put an incremental number in front of the packets from this frame. For example, all the packets belonging to frame Nr. 1 to have fr%5d in front. I can easily do that using Python as long as I know how I can separate between the frames. &lt;/li&gt;&#xA;&lt;li&gt;I want to decode the PTS from the PCR. So far I have extracted the PTS values using FFMPEG and I have a list for each frame which PTS it has. I have tried to grep the &lt;code&gt;.dat&lt;/code&gt; file for the hex representation of the PTS but it doesn't find any matches. So I guess the PTS is coded in a different form, but so far I wasn't able to figure out the syntax of it. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;My &lt;code&gt;.dat&lt;/code&gt; file has the following content: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;b'4700ff1de05ca7686c2b43f5e37e6dafd388761c36900ab37e10409a1dcbdd95dd1b9492ccbf4d75518e357d00cdb41536b54c2e5eb093d46f006835f9ebc39d6e5fe2401f1495cb8d2f9a6190ac3f3d2e519115ca05df63295d94a2c4b4b1c1b921e1a5610e9b7f6ccc69693a142807f4d09ac1ae53b61125f8a0e3efe1f11cb95f0e75dd49231dc0aa02aa3e72045783cb27ecfb591cdae658b04fd75e3f68968da6710f3a08ec3dc84d1eb04fac0e337b21d47560d457b58ad7f6'  b'4700ff1e59ab778d0013a08a07f9733c31daab4375ce1b44b39e9426d26963dff9a87601533d3a7c326849248ee8f0ab6f9677c8b19c198f3da107a76a10bda99dfec628136c5dd7508ec2c7546db32eef7027ed91d8dffe1c64672d41b5d848478bb2ae8c41c62f3305b29005912965a222948a77a81de7cf59cfd745c4a469d595d50432ce05704e7e4e8edadeb250cb792780a410223d4810e72bc67ddba39b7c5d0bf48e6aea508f2dec5c1a2573210610c412f4020d3e0bd130'&#xA;b'4700ff1f2b05cbec47587f67c444b52f95d51cf52f2e54ad60cb2089015c1286b88bde1ada2290f7de9a8955c112d122dd83884127a85d60d783d0c7ac62ce7d2176d98f8b7ffa82c45d661394e3f6765ba4226e030c485f709f8cd57da40dfbaceed7332d82f4dc8bce05ca6ed5bc3262399b606f9c16daada74b65691729a48659f63aa847c96d41467a98134ee2eda6edf7e5569f3b5ec04fc274d8026bf182542be6529985159df52fda6db38908853577ac3ecb716126186b3a'&#xA;b'4700ff10625a2814a692660f91c9802011f0cfefd21029bc4d574921a5ff61daed60f4865765272d7885a5f6d1f00a6b911566041f9b09d5fb8543286f027e5d1790c883e9fc30f11e67e64b4eba58845563976d5055333c9b5292c28b202dd74457d7900356ce4581e63e7be76ac741685039f37f345adcaab4d77c38b9cc98c9969dbd5016b361c6a641b60f76773f3b0e11fee995bded7012f80fad299ca44c4a7c4715114c52edcaf44521d1bbe12cddb89a4711094a8853920d'&#xA;b'4700ff1179fb10469aedae24c5e85cdda33de151c1bd83e8f7573f44d101d3a11b42ba9599c02f134a4bd4795e5afcdade291bc1a3e8a1da4da150cbe94c863e8cd0c04ce686333af6ba25f2f645170c387c4346df8c7e85cda2be546136e09e12b612104ada9990c12d745e1de68a587114c9e268b1e14dd5f68c5037ed2c3acb2aa65e988ac990f2ae1089e962ffd495e5580e8f3525fa3386ed752432d443ff3ca93ce86a20b9114c3d2554b5e701e41d9548c903a3c17498a49b'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So as you can see each packet starts with 0x47 which is the sync byte. I have all kind of PIDs inside the TS. Here I have shown only the VPID 0x00ff. The 0x47 is the sync byte and immediately after it comes the PID. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;[EDIT]: I have uploaded the binary file here: &lt;a href=&quot;https://wetransfer.com/downloads/bc970064ed13e9480f694bc4298393a420181115204357/456ae9&quot; rel=&quot;nofollow noreferrer&quot;&gt;wetransfer_link&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19853" LastEditorUserId="19853" LastEditDate="2018-11-15T20:58:47.023" LastActivityDate="2018-11-20T14:02:00.877" Title="Extract PTS, Frame Number from a TS file using the bytes representation of it" Tags="|ffmpeg|mpeg|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25239" PostTypeId="1" CreationDate="2018-11-16T05:30:50.233" Score="1" ViewCount="2451" Body="&lt;p&gt;So I've been able to combine two different clips shot by two different cameras at different angles at the same time by creating Multicam clip and choose to sync by sound. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I try to edit this multicam clip, it seems that I could only choose to show one camera clip at a time. &lt;strong&gt;I want my two clips to show side by side, like&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lwkk1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lwkk1.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know to do that in a normally created project, we can just put two clips together in the timeline and edit transformations for both clips from &quot;Transform&quot; in here&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZRa7c.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZRa7c.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But how can I do the similar thing to a multicam clip?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe from here? (Seems that in here I can only choose to switch between angles at different timeline but not show both angels at the same time)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/UPNgy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UPNgy.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks guys!&lt;/p&gt;&#xA;" OwnerUserId="35888" LastActivityDate="2020-04-14T12:02:35.417" Title="How to show multiple camera angles together in a Multicam clip in FCPX?" Tags="|final-cut-pro-x|multi-camera|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25240" PostTypeId="2" ParentId="25237" CreationDate="2018-11-16T05:59:25.160" Score="1" Body="&lt;p&gt;As per my reading of the demuxer, this is the method to derive the PTS from a base 16 dump.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;b'4700ff1de05ca7686c2b43f5e37e6dafd388761c36900ab37...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Skip the first 7 bytes, or more precisely, the first 3 bytes after the PID (&lt;code&gt;00ff&lt;/code&gt;). The timestamp is derived from the next 6 bytes.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;a7686c2b43f5&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There are two components to the PCR - the 90 kHz clock and a 27 Mhz extension.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First left-shift the initial 4 bytes by 1&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;a7686c2b &amp;lt;&amp;lt; 1 = 14ed0d856&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then right-shift the 5th byte by 7 i.e. isolate the high bit.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;43 &amp;gt;&amp;gt; 7 = 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Bitwise-OR the above two results.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;14ed0d856 | 0 = 14ed0d856&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The above result is the first component C1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, isolate the low bit of the 5th byte and left-shift it by 8&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;(43 &amp;amp; 1) &amp;lt;&amp;lt; 8 = 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Bitwise-OR this result with the 6th byte&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;100000000 | f5 = 01f5&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is the 2nd component C2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The timestamp in the 27 Mhz timebase is &lt;code&gt;C1 * 300 + C2&lt;/code&gt;. In seconds, that is &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;(5617277014 * 300 + 501) / 27000000 = 62414.189063s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can ignore C2 and just divide C1 by 90000 to get a less precise timestamp.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-11-20T14:02:00.877" LastActivityDate="2018-11-20T14:02:00.877" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25241" PostTypeId="1" AcceptedAnswerId="25243" CreationDate="2018-11-16T10:27:23.333" Score="3" ViewCount="1287" Body="&lt;p&gt;I'd like to combine three videos into one vertically stacked video. The three videos have different width and height.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can combine them horizontally successfully with this command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i s1.mp4 -i s2.mp4 -i temp.mp4 -filter_complex &quot;[1:v][0:v]scale2ref=oh*mdar:ih[1v][0v];[2:v][0v]scale2ref=oh*mdar:ih[2v][0v];[0v][1v][2v]hstack=3,scale='2*trunc(iw/2)':'2*trunc(ih/2)';[0:a:0][1:a:0][2:a:0] amix=inputs=3:duration=first:dropout_transition=0,dynaudnorm&quot; final.mp4&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I modify this command to stack them vertically?&lt;/p&gt;&#xA;" OwnerUserId="23656" LastEditorUserId="14523" LastEditDate="2018-11-18T15:41:30.273" LastActivityDate="2018-11-18T15:41:30.273" Title="How to stack three videos side by side with ffmpeg" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25242" PostTypeId="2" ParentId="25239" CreationDate="2018-11-16T11:07:53.430" Score="1" Body="&lt;p&gt;That’s not what Multicam clips are for, quite the opposite. Multicam clips are designed for showing only one angle out of multiple source angles. &#xA;Did you try an synchronized clip instead? When the synchronization is done you can double click the clip and transform the individual clips to fit your screen. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2018-11-16T11:07:53.430" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25243" PostTypeId="2" ParentId="25241" CreationDate="2018-11-16T11:44:48.400" Score="0" Body="&lt;p&gt;For vertical stacking, the widths have to be equalized.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;[1:v][0:v]scale2ref=iw:ow/mdar[1v][0v];[2:v][0v]scale2ref=iw:ow/mdar[2v][0v];[0v][1v][2v]vstack=3&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-11-16T11:44:48.400" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25244" PostTypeId="1" CreationDate="2018-11-16T12:26:41.397" Score="1" ViewCount="167" Body="&lt;p&gt;I created an animation in AE, rendered it as a .MOV file, the video looks great, however the file size was huge and I saw that the recommended codec used to reduce file size is h.264 mp4. So i downloaded AME, and every time i render the video using it, whatever format i use, the video comes out with inverted colours.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I fix this?&lt;/p&gt;&#xA;" OwnerUserId="23657" LastEditorUserId="674" LastEditDate="2018-11-19T14:09:27.377" LastActivityDate="2018-11-19T14:09:27.377" Title="Inverted colour on output using Adobe Media Encoder" Tags="|after-effects|adobe-media-encoder|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25245" PostTypeId="2" ParentId="25066" CreationDate="2018-11-16T18:53:11.220" Score="0" Body="&lt;p&gt;To my knowledge there is no build in function in FCPX to do that.&#xA;Either you could do it by hand with key frames, buy a plugin or maybe better use Apple Motion.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastEditorUserId="20675" LastEditDate="2020-08-13T22:19:57.780" LastActivityDate="2020-08-13T22:19:57.780" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25246" PostTypeId="1" AcceptedAnswerId="25250" CreationDate="2018-11-16T20:34:20.373" Score="0" ViewCount="2412" Body="&lt;p&gt;I'm trying to convert some old WMVs into MP4s, but ffmpeg will not do it. I keep getting the following error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; input contains (near) nan/+-inf&#xA; audio encoding failed&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Exact command used is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i input.wmv -vf &quot;scale=320:240,setsar=1&quot; -crf 24 -c:a aac -b:a 48k -ac 1 -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If it helps, ffprobe gives the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Users\name&amp;gt;ffprobe input.wmv&#xA;ffprobe version N-90143-gb6652f5100 Copyright (c) 2007-2018 the FFmpeg developers&#xA;  built with gcc 7.3.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-bzlib --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libmfx --enable-amf --enable-cuda --enable-cuvid --enable-d3d11va --enable-nvenc --enable-dxva2 --enable-avisynth&#xA;  libavutil      56.  7.101 / 56.  7.101&#xA;  libavcodec     58. 12.102 / 58. 12.102&#xA;  libavformat    58.  9.100 / 58.  9.100&#xA;  libavdevice    58.  2.100 / 58.  2.100&#xA;  libavfilter     7. 12.100 /  7. 12.100&#xA;  libswscale      5.  0.101 /  5.  0.101&#xA;  libswresample   3.  0.101 /  3.  0.101&#xA;  libpostproc    55.  0.100 / 55.  0.100&#xA;[wmv3 @ 0000020416485e40] Extra data: 8 bits left, value: 0&#xA;Input #0, asf, from 'input.wmv':&#xA;  Metadata:&#xA;    WMFSDKNeeded    : 0.0.0.0000&#xA;    DeviceConformanceTemplate: MP@LL&#xA;    WMFSDKVersion   : 11.0.5358.4827&#xA;    IsVBR           : 0&#xA;  Duration: 00:27:02.46, start: 0.000000, bitrate: 205 kb/s&#xA;    Stream #0:0(eng): Audio: wmav2 (a[1][0][0] / 0x0161), 32000 Hz, 2 channels, fltp, 32 kb/s&#xA;    Stream #0:1(eng): Video: wmv3 (Main) (WMV3 / 0x33564D57), yuv420p, 320x240, 168 kb/s, 14.99 fps, 14.99 tbr, 1k tbn, 1k tbc&#xA;[wmv3 @ 00000204164fe740] Extra data: 8 bits left, value: 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2018-11-17T11:08:56.597" Title="How to resolve ffmpeg error &quot;input contains (near) nan/+-inf&quot;?" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25248" PostTypeId="1" AcceptedAnswerId="25249" CreationDate="2018-11-17T01:56:07.430" Score="2" ViewCount="2833" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 500/21 -i %d.png -i audio.wav -c:v libx264 -crf 0 -pix_fmt yuv422p10le -c copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have the above command for converting a PNG sequence of images into 10 bit h.264 video file.&lt;/p&gt;&#xA;&lt;p&gt;I want to know: how do I modify it to render my PNG sequences as a 12 bit h.265 video? Or do I need a completely different command and what would that be?&lt;/p&gt;&#xA;&lt;p&gt;Aside:&#xA;I noticed it in Handbrake, but I see a lot of complaints that Handbrake isn't as clean an encode as raw ffmpeg? I don't know if there's any basis to that or if I should just do it in Handbrake instead.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="17147" LastEditDate="2022-10-06T14:24:19.433" LastActivityDate="2022-10-06T14:24:19.433" Title="How to render png's as h.265 12 bit video?" Tags="|ffmpeg|h.265|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25249" PostTypeId="2" ParentId="25248" CreationDate="2018-11-17T05:43:28.060" Score="0" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 500/21 -i %d.png -i audio.wav -c:v libx265 -x265-params lossless=1 -pix_fmt yuv422p12le -c:a copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You'll need a ffmpg with a libx265 that supports a bit depth of 12. At this time, I can't find such a precompiled binary so you'll have to compile ffmpeg using the auto-build script at &lt;a href=&quot;https://github.com/jb-alvarado/media-autobuild_suite&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/jb-alvarado/media-autobuild_suite&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-11-17T07:41:21.443" LastActivityDate="2018-11-17T07:41:21.443" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="25250" PostTypeId="2" ParentId="25246" CreationDate="2018-11-17T06:26:16.160" Score="1" Body="&lt;p&gt;If you have a ffmpeg build with &lt;code&gt;libfdk_aac&lt;/code&gt; then you can use that encoder since it doesn't report that error.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With your current build, you have to convert the audio to 16 bit integer samples first.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.wmv -vf &quot;scale=320:240,setsar=1&quot; -crf 24 -af aformat=s16p -c:a aac -b:a 48k -ac 1 -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-11-17T11:08:56.597" LastActivityDate="2018-11-17T11:08:56.597" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25253" PostTypeId="1" AcceptedAnswerId="25259" CreationDate="2018-11-17T16:23:57.067" Score="0" ViewCount="1791" Body="&lt;p&gt;So I'm a long time user of ffmpeg, and I know perfectly well how to install it for command line use using the environmental variable editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What I want to know is how to run ffmpeg by directly addressing the .exe file.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to do this is so that I can pass someone a folder containing ffmpeg and a batch script and just tell them to double click the .bat file to perform a certain action (like converting mkv to mp4) using the copy of ffmpeg that is in that folder. Effectively, I want to make it portable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason for this is that less technical users are not confident/comfortable with changing environmental variables.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I expected that the batch script would work something like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;%~dp0\bin\ffmpeg.exe &amp;lt;ffmpeg command here&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;instead of the usual&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg &amp;lt;ffmpeg command here&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but this doesn't seem to work. The code crashes before the &quot;pause&quot; command (i.e. on hitting the &quot;if&quot; statement)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;setlocal enabledelayedexpansion&#xA;REM cycle through files&#xA;for %%a in (*.mkv) do (&#xA;&#xA;    set b=%%a&#xA;    echo !b!&#xA;    REM only do files without &quot;_mod&quot; in file name.&#xA;    REM (This works by seeing if replacing any &quot;_mod.mkv&quot; with &quot;.mkv&quot; results in the same file name as no action)&#xA;    if &quot;x!b:_mod.mkv=.mkv!&quot;==&quot;x!b!&quot; (&#xA;        pause&#xA;        REM Export the subtitles (Note that these must be 'ass' format subtitles)&#xA;        %~dp0\bin\ffmpeg.exe -i &quot;%%a&quot; -map 0:s:0 -y &quot;Temp.ass&quot;&#xA;        ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This doesn't occur with just &quot;ffmpeg ___&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions? I'd ideally like to avoid changing the current directory as I'd like to keep the top level folder clean of everything except the batch script and the files to be converted.&lt;/p&gt;&#xA;" OwnerUserId="23663" LastEditorUserId="23663" LastEditDate="2018-11-18T23:56:55.317" LastActivityDate="2018-11-18T23:56:55.317" Title="Running ffmpeg WITHOUT editing path variable" Tags="|ffmpeg|script|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25256" PostTypeId="1" CreationDate="2018-11-18T22:29:13.297" Score="1" ViewCount="526" Body="&lt;p&gt;Scenario: I have 5 minutes of gameplay footage. I wanted a 10 second clip in the middle of it as a webm to share.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 3:36 -i gameplay.mp4 -copyts -to 3:46 -c:v libvpx -an -b:v 2500 -threads 7 -f webm clip.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This generates a clip that's 10 seconds long, but the timestamp starts at 3:36, not 0. To fix this, I ran:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i clip.webm -c:v copy -f webm clip-tsfix.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This fixed the timestamps, but now my video still has a metadata tag claiming the total duration is 5 minutes, not 10 seconds. How do I fix this? Is there a way to do all of this in one go? I did try this, which seems to fix the timestamps but still has the duration metadata problem:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 3:36 -i gameplay.mp4 -copyts -to 3:46 -c:v libvpx -an -b:v 2500 -filter_complex [v]scale=-1:720[vs] -map [vs] -threads 7 -f webm clip.webm &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I think everything starts getting messed up once I use the -copyts flag, but without it, it doesn't process &quot;-to&quot; properly. &lt;/p&gt;&#xA;" OwnerUserId="23673" LastActivityDate="2018-11-18T22:29:13.297" Title="FFMPEG gives improper &quot;duration&quot; in metadata" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25257" PostTypeId="2" ParentId="25172" CreationDate="2018-11-18T23:23:13.080" Score="1" Body="&lt;p&gt;It looks like the contents of the bubble is a zoomed in view of a video clip or a series of still frames. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The animation uses manually set keyframes to alter the position of the clip to create a pan effect. The cursor is also animated using manual keyframes. The acceleration of the pan is smoothed, probably with 'Easy Ease' transitions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video is then masked using an ellipse graphic with a shadow included, which can be easily be created in Illustrator.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;It is possible to replicate the effect by taking a clip of a screen recording and tracking the motion of the mouse cursor to directly follow the action. This would be a lot easier to do (provided the cursor does not change and is always visible) but the results would be very rough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best way to replicate this effect would be to add manual keyframes as shown in the example video.&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2018-11-18T23:23:13.080" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25258" PostTypeId="2" ParentId="25048" CreationDate="2018-11-18T23:42:27.030" Score="4" Body="&lt;p&gt;In your sequence, place a still frame of the background with your footage place above. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;V2: Footage&lt;/li&gt;&#xA;  &lt;li&gt;V1: Still frame of background&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In the Effects panel, find Video Effects &gt; Keying &gt; Difference Mask. Drag this effect onto your footage (the top-most track). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zIc9I.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zIc9I.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the Effects Control panel, set the 'Difference Layer' to match the track with the still frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hQWiD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hQWiD.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hide the still frame (bottom track) using the 'Toggle Track Output'. The background will now be transparent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bZT6I.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bZT6I.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Inconsistencies of lighting, shadows and movement of the background will have a big effect on the quality of the outcome. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Avoid casting shadows on the background by keeping the scene well lit. Be aware of objects in the background moving. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If necessary, use a combination of color keying (a wall with a solid colour that contrasts with the subject) as well as masks to hide parts of the footage where no movement occurs.&lt;/p&gt;&#xA;" OwnerUserId="636" LastEditorUserId="636" LastEditDate="2018-11-21T13:29:32.177" LastActivityDate="2018-11-21T13:29:32.177" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25259" PostTypeId="2" ParentId="25253" CreationDate="2018-11-18T23:54:07.657" Score="0" Body="&lt;p&gt;I solved it. Silly me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Turns out you have to use quotation marks around the file path.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;%~dp0\bin\ffmpeg.exe&quot; -i &quot;%%a&quot; -map 0:s:0 -y &quot;Temp.ass&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;not&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;%~dp0\bin\ffmpeg.exe -i &quot;%%a&quot; -map 0:s:0 -y &quot;Temp.ass&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="23663" LastActivityDate="2018-11-18T23:54:07.657" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25261" PostTypeId="1" CreationDate="2018-11-19T07:49:30.873" Score="2" ViewCount="462" Body="&lt;p&gt;Is there an ideal &lt;em&gt;FFmpeg&lt;/em&gt; codec to use when the video file is designated to be imported into &lt;em&gt;Final Cut Pro X&lt;/em&gt;?&lt;/p&gt;&#xA;" OwnerUserId="16374" LastActivityDate="2018-11-19T07:49:30.873" Title="Best FFmpeg codec for Final Cut import" Tags="|ffmpeg|codec|final-cut-pro-x|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25262" PostTypeId="1" AcceptedAnswerId="25265" CreationDate="2018-11-19T10:32:13.567" Score="2" ViewCount="128" Body="&lt;p&gt;I would like to create a background/backdrop for a video, but I am having quite a hard time deciding on the best dimensions for the backdrop. I will be shooting at 3840 x 2160. Is there a way to determine the dimensions based on the resolution? The idea would be to have a backdrop that completeoly 'fills' the frame of the camera, if that makes sense.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried playing with different options in Photoshop and Illustrator. i.e. I created a document with the dimensions 3840 x 2160 at 300DPI (since it's for print), determined it would come out as roughly 32.51 x 18.29cm, and then multiplied until I got a reasonable set of dimensions (i.e. multiplying 8 times = 260.8 x 146.32cm). But somehow, it seems wrong because I would need to place the camera at a certain distance from the background to capture it all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm quite sure there's no rule or anything like that for this, but I would really appreciate any help/pointers on this one!&lt;/p&gt;&#xA;" OwnerUserId="23677" LastEditorUserId="674" LastEditDate="2018-11-19T14:13:43.140" LastActivityDate="2018-11-19T21:12:55.640" Title="Background size for 4K UHD Shooting" Tags="|shooting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25263" PostTypeId="2" ParentId="21555" CreationDate="2018-11-19T15:48:19.710" Score="1" Body="&lt;p&gt;Old question, but in Media Management, there should be an option to relink the new footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This should allow you use the new transcoded footage within the same project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's under the &quot;+ more options&quot; section.&lt;/p&gt;&#xA;" OwnerUserId="23679" LastActivityDate="2018-11-19T15:48:19.710" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25265" PostTypeId="2" ParentId="25262" CreationDate="2018-11-19T21:02:18.447" Score="1" Body="&lt;p&gt;There is a rule for something like this, however, it has nothing to do with image resolution.  To calculate the area of a scene a camera will cover, you need to know a few things:  A) &lt;strong&gt;Distance to subject&lt;/strong&gt;.  This one's easy.  B) the &lt;strong&gt;focal length&lt;/strong&gt; of the lens, and C) the &lt;strong&gt;sensor size&lt;/strong&gt;, also sometimes called &quot;film back&quot; or &quot;gate&quot;.  If your image width to height ratio is the same as your sensor's you probably won't need to know D) &lt;strong&gt;aspect ratio&lt;/strong&gt;, but for some cameras you will, so I'll include it for good measure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From there, you should be able to use any number of online FOV calculators to tell you the area of your image.  &lt;a href=&quot;https://www.scantips.com/lights/fieldofview.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here is a link&lt;/a&gt; to one I found with a Google search.  The website also explains most of this better than I can and includes the mathematical formulae.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you've ever used a magnifying glass to focus light onto a point, you're probably aware that the shape of the light it creates is circular.  The same phenomenon happens inside a camera.  Your camera's sensor sits inside of this circle.  Now, if you imagine your sensor divided into many tiny pixels, you should get an appreciation for why resolution does not affect this equation.  It doesn't matter how finely you chop up the rectangle -- whether it's 3840, 1920, 960, or eight pixels wide -- the sensor doesn't grow or shrink.  It always fits within the image circle.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2018-11-19T21:12:55.640" LastActivityDate="2018-11-19T21:12:55.640" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25266" PostTypeId="2" ParentId="17024" CreationDate="2018-11-19T21:50:56.370" Score="1" Body="&lt;p&gt;By late 2018, the category &quot;HDMI recorder&quot; (#2 of your 3 questions) has become a commodity.  Passthrough is taken for granted.  Online retailers and auction websites have dozens of models for around USD 100, with new clones appearing every month at half that price.&lt;/p&gt;&#xA;" OwnerUserId="6132" LastActivityDate="2018-11-19T21:50:56.370" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25267" PostTypeId="1" AcceptedAnswerId="25268" CreationDate="2018-11-19T22:23:38.820" Score="1" ViewCount="706" Body="&lt;p&gt;What are the WebM (VP9+opus) encoding settings compatible for YouTube import for a video with a still image ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried PAL and NTSC framerates with 48kHz stereo and and image size of 640x360 and kept every other parameters' defaults :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i myOriginialPureAudioFile-CUT.opus -i myAudioFile.png -ac 2 -s 640x360 -strict strict -r pal myAudioFile.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But YouTube says :&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The video has failed to process. Please make sure you are uploading a&#xA;  supported file type.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="14444" LastEditorUserId="14444" LastEditDate="2018-11-22T10:20:24.173" LastActivityDate="2018-11-22T10:20:24.173" Title="What are the WebM (VP9+opus) encoding settings compatible for YouTube import for a video with a still image?" Tags="|ffmpeg|encoding|youtube|vp9|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25268" PostTypeId="2" ParentId="25267" CreationDate="2018-11-20T05:43:41.950" Score="2" Body="&lt;p&gt;Rather than framerate, the issue is there's only one frame. You'll have to loop the image.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i Audio.opus -loop 1 -i image.png -pix_fmt yuv420p -ac 2 -s 640x360 -strict strict -r pal -shortest myAudioFile.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-loop 1&lt;/code&gt; : infinitely loops over the same image&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-shortest&lt;/code&gt; : stops encoding when the shortest input stream has entirely been encoded&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="14444" LastEditDate="2018-11-21T05:12:58.260" LastActivityDate="2018-11-21T05:12:58.260" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="25269" PostTypeId="2" ParentId="25237" CreationDate="2018-11-20T13:14:01.637" Score="0" Body="&lt;p&gt;The PCR is constructed by two components PCR base and PCR extension. In order to extract it you need to get the binary(hex) data between the 7th and 12th bytes (6 in total). So the first 33 bits are constructing the pcr_base, then there are 6 bits which are reserved and 9 bits constructing the pcr_extension. The &lt;code&gt;PCR = pcr_base * 300 + pcr_extension&lt;/code&gt;. So in my example for this VPID:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;4700ff1de05ca7686c2b43f5e37e6dafd388761c36900ab37e10409a1dcbdd95dd1b9492ccbf4d75518e357d00cdb41536b54c2e5eb093d46f006835f9ebc39d6e5fe2401f1495cb8d2f9a6190ac3f3d2e519115ca05df63295d94a2c4b4b1c1b921e1a5610e9b7f6ccc69693a142807f4d09ac1ae53b61125f8a0e3efe1f11cb95f0e75dd49231dc0aa02aa3e72045783cb27ecfb591cdae658b04fd75e3f68968da6710f3a08ec3dc84d1eb04fac0e337b21d47560d457b58ad7f6&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The PCR will be &lt;code&gt;0xa7686c2b43f5&lt;/code&gt; so when we convert the bytes into binary we have &lt;code&gt;0b101001110110100001101100001010110100001111110101&lt;/code&gt;, so the first 33 bits constitute the pcr_base and the last 9 the pcr_extension, the six bits in between are reserved, so you can ignore them. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;pcr_base = 0b101001110110100001101100001010110 = 5617277014&#xA;pcr_extension = 0b111110101 = 501 &#xA;PCR = 5617277014 * 300 + 501 = 1685183104701&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19853" LastActivityDate="2018-11-20T13:14:01.637" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25271" PostTypeId="1" CreationDate="2018-11-20T19:18:06.723" Score="1" ViewCount="31" Body="&lt;p&gt;I have a project where I have one video and two audio tracks. The first audio is from the line-in microphone, the second one is from the room environment. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I only want the second audio to play when the db level is above -5db (meaning, only when the track gets loud). The point is for the second audio to just provide the laughter (loud part) and ignore its calm parts, which just adds unnecessarily noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an effect or a filter for this? (it's like a cutoff limiter at X db, but the opposite, cutting off anything below a determined level of volume)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="23691" LastEditorUserId="23652" LastEditDate="2018-11-22T10:52:00.377" LastActivityDate="2018-11-22T10:52:00.377" Title="Filter out calm parts of audio, let through really loud ones" Tags="|premiere|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25272" PostTypeId="2" ParentId="25271" CreationDate="2018-11-20T19:59:11.443" Score="1" Body="&lt;p&gt;Found it! From the [Adobe Premiere effects help][1]:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Dynamics effect The Dynamics effect provides a set of controls that&#xA;  can be combined or used independently to adjust audio. Use either the&#xA;  graphical controls in the Custom Setup view, or adjust values in the&#xA;  Individual Parameters view. This effect is available for 5.1, stereo,&#xA;  or mono clips.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;AutoGate&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Cuts off a signal when the level falls below the specified threshold.&#xA;  Use this control to remove unwanted background signals in recordings,&#xA;  such as a background signal in a voice-over. Set the gate to close&#xA;  whenever the speaker stops, thus removing all other sounds. The LED&#xA;  display colors indicate the gate’s mode: open (green), attack or&#xA;  release (yellow), and closed (red). Use the following controls for&#xA;  Gate: Threshold&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Specifies the level (between –60 and 0 dB) that the incoming signal&#xA;  must exceed to open the gate. If the signal level falls below this&#xA;  level, the gate closes, muting the incoming signal. Attack&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Specifies the time the gate takes to open after the signal level&#xA;  exceeds the threshold. Release&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Sets the time (between 50 and 500 milliseconds) the gate takes to&#xA;  close after the signal level has fallen below the threshold. Hold&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Specifies the time (between 0.1 and 1000 milliseconds) the gate stays&#xA;  open after the level has fallen below the threshold.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;[1]:&#xA;  &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/audio-effects-transitions.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/using/audio-effects-transitions.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="23691" LastActivityDate="2018-11-20T19:59:11.443" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25273" PostTypeId="1" CreationDate="2018-11-21T02:32:09.367" Score="1" ViewCount="2592" Body="&lt;p&gt;I have little-to-no prior video editing experience, but am trying to edit together a video from when a friend and I flew in a full-motion flight simulator for a website.&lt;/p&gt;&#xA;&lt;p&gt;I shot the video with my DSLR, but unfortunately the frame rate of my DSLR was apparently very close to that of the simulator's projector, which resulted in visible yellow lines moving across the video from bottom to top somewhere around once or twice per minute (presumably the projector's scan lines.)&lt;/p&gt;&#xA;&lt;p&gt;Unfortunately, re-shooting the video with a different frame rate isn't really a feasible option in this case, as I'd have to travel again to the city with the simulator and it also costs a small fortune to rent it even if I were there. If I had thought about this problem, I'd have shot in a different frame rate the first time, but I unfortunately didn't notice it until after the fact (I was a bit too busy flying the plane to review the video in real time.)&lt;/p&gt;&#xA;&lt;p&gt;The lines look like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XokL7.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XokL7.jpg&quot; alt=&quot;Image of scan line on simulator's sky #1&quot; /&gt;&lt;/a&gt;&lt;br /&gt;&#xA;The curved yellow line on the runway is supposed to be there. The straight yellow line across the sky is what I'm trying to get rid of.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fnhAw.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fnhAw.jpg&quot; alt=&quot;Image of scan line on simulator's sky #2&quot; /&gt;&lt;/a&gt;&lt;br /&gt;&#xA;Again with the straight yellow scan line across the sky ruining the scene. Note the relatively featureless sky.&lt;/p&gt;&#xA;&lt;h2&gt;What I've done, so far:&lt;/h2&gt;&#xA;&lt;p&gt;I'm editing the video in DaVinci Resolve 15 (the free version, which now also includes Fusion) and am trying to get rid of the lines as much as possible.&lt;/p&gt;&#xA;&lt;p&gt;I can get a key on the lines without too much trouble using Resolve's qualifier tool in combination with a power window and the tracker.&lt;/p&gt;&#xA;&lt;p&gt;Here are the strategies I've tried for getting rid of the line after keying it:&lt;/p&gt;&#xA;&lt;h3&gt;Color Correction Curves&lt;/h3&gt;&#xA;&lt;p&gt;I've tried using color curves (especially hue vs. saturation and hue vs. luminosity) to remove the yellow hue and match the brightness to the scene. This works well enough for when the line is passing over the ground, as I can turn the line into a shade of grey or white that blends in very well with the ground scenery (white in the case of the runway stripes/numbers, grey otherwise.)&lt;/p&gt;&#xA;&lt;p&gt;Unfortunately, however, my tinkering with the color correction wheels and curves hasn't been able to produce anything that blends the line well with the sky. I can git rid of the yellow hue easily enough, but I don't know enough about video color correction to get the result to be something that blends in with the white and blue in the sky. I just end up with a grey or black line across the sky instead of a yellow one, which is still no good.&lt;/p&gt;&#xA;&lt;h3&gt;Match Move with a Matte&lt;/h3&gt;&#xA;&lt;p&gt;I've also tried creating a matte by exporting a still of the scene when the yellow line was not passing over the sky. I then fed the matte into a Match Move node and had the Match Move track the scene in order to get the proper scaling, panning, and rotation on the still as the scene progressed (the airplane is pitching, rolling, and yawing a bit, so the sky moves around.) I then keyed the line in the video, inverted the key, and fed both the clip with everything but the line being keyed and the match-moved matte into a layer mixer node so that the line was replaced with the image of the sky behind it.&lt;/p&gt;&#xA;&lt;p&gt;My node graph for this setup looked like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qGxY6.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qGxY6.jpg&quot; alt=&quot;Resolve node graph for match move&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;(The key mixer shown is being used in order to blend a few different qualifier and power window based keys together in order to fully track the line as it moved across different colors.)&lt;/p&gt;&#xA;&lt;p&gt;This strategy worked alright for some of the scenes, though some of the other scenes contained skies that were so featureless that the tracker in the Match Move node refused to track the sky. It would either never track at all or only track 2-3 frames and then give up. Unfortunately, tracking the terrain instead wasn't really an option, as the jet was moving across the terrain quite quickly (and, even when I did try that, the terrain was also rather featureless and not being tracked well.)&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;So, what strategies would you recommend for getting rid of these lines?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;If I could just blur the lines into their surroundings enough to not be noticeable, that would be great, but I'm too much of an editing/color correction novice to know how to do that properly (especially for the sky.)&lt;/p&gt;&#xA;&lt;p&gt;If there's something in Fusion I could use to get a decent track on the mostly-featureless sky, apply that track to a still without the line, and then composite the video with the lined alpha-ed out on top of the still, that would be great, too.&lt;/p&gt;&#xA;" OwnerUserId="23693" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2018-11-21T02:32:09.367" Title="How do I remove video scan lines in DaVinci Resolve (or Fusion?)" Tags="|dslr|color-correction|davinci-resolve|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="25274" PostTypeId="1" CreationDate="2018-11-21T10:30:21.117" Score="0" ViewCount="978" Body="&lt;p&gt;I use this command to create &amp;quot;myFile.webm&amp;quot;, a VP9 video with one still image :&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;$ ffmpeg -i myOriginialPureAudioFile.opus -loop 1 -i myAudioFile_640x360.png -shortest -threads 4 -speed max -c:a copy myFile.webm&#xA;Input #0, ogg, from 'myOriginialPureAudioFile.opus':&#xA;  Duration: 01:53:19.80, start: 0.000000, bitrate: 24 kb/s&#xA;    Stream #0:0(eng): Audio: opus, 48000 Hz, mono, fltp&#xA;    Metadata:&#xA;      LANGUAGE        : eng&#xA;      TITLE           : unnamed&#xA;      ENCODER         : Lavf57.83.100&#xA;Input #1, png_pipe, from 'myAudioFile_640x360.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #1:0: Video: png, rgb24(pc), 640x360 [SAR 72:72 DAR 16:9], 25 fps, 25 tbr, 25 tbn, 25 tbc&#xA;File 'myFile.webm' already exists. Overwrite ? [y/N] y&#xA;Stream mapping:&#xA;  Stream #1:0 -&amp;gt; #0:0 (png (native) -&amp;gt; vp9 (libvpx-vp9))&#xA;  Stream #0:0 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[libvpx-vp9 @ 0x5655578268c0] v1.3.0&#xA;Output #0, webm, to 'myFile.webm':&#xA;  Metadata:&#xA;    encoder         : Lavf57.83.100&#xA;    Stream #0:0: Video: vp9 (libvpx-vp9), yuv420p, 640x360 [SAR 1:1 DAR 16:9], q=-1--1, 200 kb/s, 25 fps, 1k tbn, 25 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.107.100 libvpx-vp9&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1(eng): Audio: opus, 48000 Hz, mono, fltp&#xA;    Metadata:&#xA;      LANGUAGE        : eng&#xA;      TITLE           : unnamed&#xA;      ENCODER         : Lavf57.83.100&#xA;frame= 4863 fps= 22 q=0.0 Lsize=     987kB time=00:03:14.48 bitrate=  41.6kbits/s speed=0.879x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The speed is about 0.88x, how can I make this encoding much faster ?&lt;/p&gt;&#xA;" OwnerUserId="14444" LastEditorUserId="14444" LastEditDate="2022-01-17T14:43:21.780" LastActivityDate="2022-01-17T14:43:21.780" Title="Fast VP9 still image encoding" Tags="|ffmpeg|encoding|vp9|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="25275" PostTypeId="1" AcceptedAnswerId="25276" CreationDate="2018-11-21T15:00:06.730" Score="1" ViewCount="735" Body="&lt;p&gt;I've been learning about the blanking intervals in video signals and often see diagrams like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/um2oE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/um2oE.png&quot; alt=&quot;Shows vertical and horizontal blanking portions of image&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;http://www.sbe24.org/wba-sbe-shows/archives/Clinic2009/Conrad-Harris-2009.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;(Ref)&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, I often also see the blanking regions describes as being on both sides of the image:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zDZ8Z.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zDZ8Z.png&quot; alt=&quot;Shows vertical and horizontal blanking portions of image&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;http://csweb.cs.wfu.edu/~torgerse/Kokua/Irix_6.5.21_doc_cd/usr/share/Insight/library/SGI_bookshelves/SGI_Developer/books/VFC_PG/sgi_html/ch03.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;(Ref)&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which is correct? I would have thought the latter as I would have thought for CRTs the electron beam would be blanked at the end of a line so it can return to the start of the next line and then un-blanked. Same for vertical.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which image/description is correct?&lt;/p&gt;&#xA;" OwnerUserId="23697" LastEditorUserId="14523" LastEditDate="2018-11-21T18:54:12.647" LastActivityDate="2018-11-21T19:16:45.940" Title="Do blanking intervals appear on both sides of a frame or just the top and left?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25276" PostTypeId="2" ParentId="25275" CreationDate="2018-11-21T19:16:45.940" Score="1" Body="&lt;p&gt;They are both right, depending on the context and level of detail. The latter accurately describes what happens within the waveform. If you look further down in your reference, it shows that there is a &quot;front porch&quot; and &quot;back porch&quot; of the horizontal and vertical intervals.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the former describes what happens practically, especially in terms of the useful parts of the vertical blanking interval (VBI). Closed captioning, teletext, VITS, VITC, AMOL all use the blanked lines at the top of the field to transmit their data. (You should also note that your reference intentionally chose this layout in order to draw parallels with digital VANC and HANC, which are only at the top and left of the picture.)&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-11-21T19:16:45.940" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25278" PostTypeId="1" CreationDate="2018-11-22T14:13:29.860" Score="1" ViewCount="40" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8td3v.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8td3v.gif&quot; alt=&quot;moving scooter&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have this lines in illustrator and imported whole art as layers and i want to animate these lines like above animation.is there any other way to make things easy&#xA;i had imported ai file as layers and then animated everything. i had tried converting it into shape layers and use trim path but the problem is bottom line has several small lines.&lt;/p&gt;&#xA;" OwnerUserId="23704" LastActivityDate="2018-11-22T14:13:29.860" Title="how to move these bottom line under scooter in after effects" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25279" PostTypeId="2" ParentId="19850" CreationDate="2018-11-22T15:09:47.017" Score="0" Body="&lt;p&gt;I know this is an old post, but for whoever ends up here and doesn't know the answer; use proxies. They are lowres prerenders that you can toggle on and off, thus taking less space in your hard drive and increasing performance. Just right click on a comp in the projects panel and select &quot;Create proxy/movie&quot;. Hope that helps! &lt;/p&gt;&#xA;" OwnerUserId="23705" LastActivityDate="2018-11-22T15:09:47.017" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25280" PostTypeId="2" ParentId="25274" CreationDate="2018-11-22T15:16:55.547" Score="0" Body="&lt;p&gt;One solution (found &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/YouTube#BasicExamples&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;) is to use a very small &lt;code&gt;-framerate&lt;/code&gt; value.&lt;/p&gt;&#xA;" OwnerUserId="14444" LastActivityDate="2018-11-22T15:16:55.547" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25282" PostTypeId="1" AcceptedAnswerId="25544" CreationDate="2018-11-22T17:58:57.907" Score="0" ViewCount="520" Body="&lt;p&gt;The two white shapes are virtually the same but on different layers in picture 1. I don't know why I'm getting these jagged edges on one of them. I've already toggled 'quality and sampling' but it doesn't fix it. I tought it was just a preview issue but they end up being rendered like this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It happens in another comp also, but in footage's borther (picture 2).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using after effects CC 2017&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pPMfh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pPMfh.png&quot; alt=&quot;pic 1&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hv932.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hv932.png&quot; alt=&quot;pic 2&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19017" LastActivityDate="2018-12-29T05:55:12.233" Title="After Effects: Jagged edges on shape layer and white borders in general" Tags="|after-effects|shape|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25283" PostTypeId="1" AcceptedAnswerId="25285" CreationDate="2018-11-22T19:54:34.373" Score="0" ViewCount="440" Body="&lt;p&gt;I downloaded &lt;a href=&quot;https://www.youtube.com/watch?v=XhmQxZiUYzg&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt; but its' audio has approximately a 600ms advance compared to its' audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I fix that in a lossless manner (i.e &lt;code&gt;-c copy&lt;/code&gt;) with ffmpeg ?&lt;/p&gt;&#xA;" OwnerUserId="14444" LastActivityDate="2018-11-23T05:40:26.857" Title="Lossless A/V delay with ffmpeg" Tags="|ffmpeg|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25285" PostTypeId="2" ParentId="25283" CreationDate="2018-11-23T05:40:26.857" Score="1" Body="&lt;p&gt;Basic method is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -itsoffset -0.6 -i in.mp4 -map 0:v -map 1:a -c copy new.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;FFmpeg will write an editlist in new.mp4. Players like VLC, Potplayer which parse the editlist will honor the delay whereas players like WMP, which don't, will start the streams at the same time.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-11-23T05:40:26.857" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25286" PostTypeId="1" CreationDate="2018-11-23T08:22:03.377" Score="1" ViewCount="58" Body="&lt;p&gt;I have binary data stream from analogue camera and convert it to .avi with this&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;λ ffmpeg -f rawvideo -pix_fmt gray -s:v 700x220 -i orbita_d.bin -c:v rawvideo -pix_fmt yuv420p out.avi&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;what do I need to deinterlace it? I read about yadiff, but it looks like it doesn't work with raw pixel data.&lt;/p&gt;&#xA;" OwnerUserId="23709" LastEditorUserId="23709" LastEditDate="2018-11-23T08:32:02.843" LastActivityDate="2018-11-23T12:02:54.350" Title="How to deinterlace GRAY video and convert it to .avi?" Tags="|ffmpeg|avi|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25287" PostTypeId="2" ParentId="25286" CreationDate="2018-11-23T12:02:54.350" Score="-2" Body="&lt;p&gt;&lt;code&gt;ffmpeg -f rawvideo -pix_fmt gray -s:v 700x220 -i test1.bin -c:v rawvideo -pix_fmt gray -vf tinterlace,setpts=0.5*PTS out.avi&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do the trick for me.&lt;/p&gt;&#xA;" OwnerUserId="23709" LastActivityDate="2018-11-23T12:02:54.350" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25291" PostTypeId="1" CreationDate="2018-11-23T21:24:49.853" Score="8" ViewCount="21633" Body="&lt;p&gt;To put this plainly, &lt;code&gt;-ss&lt;/code&gt; and &lt;code&gt;-t&lt;/code&gt; don't work very well or even consistently.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to take a single input file&lt;sup&gt;1&lt;/sup&gt; and only encode from a certain start point, &lt;code&gt;-ss&lt;/code&gt;, and for only a certain time, &lt;code&gt;-t&lt;/code&gt;. I've checked and double checked my in times are what I want, down to the frame (calculated to milliseconds&lt;sup&gt;2&lt;/sup&gt;), but ffmpeg adds anywhere from 10 to 19 frames to the beginning, which is more than a half a second. I need frame precise cuts at the in points. Out points can be off by a few if necessary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've run the following commands all with exactly the same results on 13 different files. All add the 10 to 19 frames to the beginning.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:00:34.600 -t 00:26:40.400 -i 002.m2t [commands] 01.mp4&#xA;ffmpeg -i 002.m2t -ss 00:00:34.600 -t 00:26:40.400 [commands] 01.mp4&#xA;ffmpeg -ss 00:00:34.600 -i 002.m2t -t 00:26:40.400 [commands] 01.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The [commands] section is exactly&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex &quot;scale=852:480,setsar=1&quot;,&quot;eq=brightness=0.05:saturation=1.0&quot; -crf 24 -c:a aac -b:a 64k -ac 1 -loglevel quiet -stats -movflags +faststart&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I find many with the same issue, but no solutions. I thought at first that putting &lt;code&gt;-ss&lt;/code&gt; and &lt;code&gt;-t&lt;/code&gt; before &lt;code&gt;-i&lt;/code&gt; would work, but as you can see I've tried moving them around and get exactly the same results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there really no way to cut a video with frame precision in ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;In the documentation I found &lt;code&gt;-seek_timestamp&lt;/code&gt; which says&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;This option enables or disables seeking by timestamp in input files with the -ss option. It is disabled by default. If enabled, the argument to the -ss option is considered an actual timestamp, and is not offset by the start time of the file. This matters only for files which do not start from timestamp 0, such as transport streams.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I know m2t (see footnote 1) is a transport stream, so I tried using &lt;code&gt;-seek_timestamp&lt;/code&gt;, but I get errors that seem to be about parsing the arguments. I've tried putting it in different places in the command too. Maybe the answer is here, but I'm having trouble with the syntax.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Footnotes&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;The input files are MT2 HDV recorded via firewire from an old Sony cam direct to Vegas Pro.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I import the files to Vegas Pro and trim them on the timeline like any other edit job, but instead of rendering in Vegas Pro, I export the events to eventually derive the ffmpeg commands, with &lt;code&gt;-ss&lt;/code&gt; and &lt;code&gt;-t&lt;/code&gt; effectively pulled directly from the Vegas Pro timeline. When I do this, the &lt;code&gt;-ss 00:00:34.600&lt;/code&gt; in the command above  actually came from the Vegas Pro events like this: &lt;code&gt;00:00:34;18&lt;/code&gt;. The 18 at the end is 18 &lt;em&gt;frames&lt;/em&gt;. Since this is 30 fps footage, I calculate the milliseconds needed for the ffmpeg command by dividing by 30. &lt;code&gt;18/30 = .6&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2018-11-23T21:33:28.240" LastActivityDate="2019-08-26T08:01:25.197" Title="How to precisely trim video with ffmpeg? -ss and -t are off by more than a half second" Tags="|ffmpeg|" AnswerCount="1" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="25292" PostTypeId="1" CreationDate="2018-11-24T03:06:45.193" Score="1" ViewCount="2496" Body="&lt;p&gt;Basically I need to take a h.264 8 bit 1080p render and  upscale it to 4k without re-encode. Is it possible? And if it is, does the container matter? Cause ideally it needs to be mp4 container, otherwise avi, otherwise mkv.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reason:&#xA;I made a video project in a 1080p space. But now I need the final output as a 4k. So the problem is if I change the resolution of the space it offsets and shrinks all the effects in the video editor. So I could render everything as a high format like png 16 bit (or something better...?) but that's alot of rendering and data for a 30 minute project. The other problem is the footage in the video editor is h.264 already, so I need to vehemently avoid double renders.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastActivityDate="2018-11-25T03:32:03.860" Title="Is there a way to upscale without re-encoding?" Tags="|ffmpeg|4k|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25294" PostTypeId="1" CreationDate="2018-11-24T10:02:43.767" Score="1" ViewCount="266" Body="&lt;p&gt;I would like to calculate the average/median color of a whole video clip (not single frames). Is there a straight forward way to calculate such statistics with ffmpeg or any similar open source tool? I use R for scripting, but a python (or even bash?) solution would also be welcome &lt;/p&gt;&#xA;" OwnerUserId="23541" LastActivityDate="2018-11-24T10:02:43.767" Title="Calculate Average Color for Whole Video with ffmeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25295" PostTypeId="1" AcceptedAnswerId="25298" CreationDate="2018-11-24T17:41:03.803" Score="6" ViewCount="75" Body="&lt;p&gt;As shutter speed affects the coming light on sensor.But has it any affect on movement of subjects in video?&lt;/p&gt;&#xA;" OwnerUserId="23719" LastActivityDate="2018-11-29T23:04:57.447" Title="How does shutter speed affect the video?" Tags="|video|camera|filming|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25296" PostTypeId="2" ParentId="25110" CreationDate="2018-11-24T18:44:53.187" Score="0" Body="&lt;p&gt;So here is what I found out, if anyone's interested (however unlikely this might be, considering the poor popularity of that question ! :)) :&lt;br&gt;&#xA;– Scorp Video Thumbnails Maker gets the colors right for Bt.709 footage with its “Engine 2” rendering module (not the other three with the current 11.0.0.3 version) and the CCCP codec pack. I created &lt;a href=&quot;http://www.suu-design.com/forum/viewtopic.php?f=7&amp;amp;t=1893&quot; rel=&quot;nofollow noreferrer&quot;&gt;a thread about that issue on the support forum for that tool&lt;/a&gt;.&lt;br&gt;&#xA;– I managed to tweak VCSI by adding &lt;code&gt;&quot;-vf&quot;, &quot;zscale=matrixin=709:matrix=709,format=rgb24&quot;,&lt;/code&gt; to each &lt;code&gt;ffmpeg&lt;/code&gt; call, so that it preserves Bt.709 colors; it's still slower and less convenient than Scorp VTM (and that modified script won't get accurate colors for Bt.601 footage so both versions would have to be installed and used accordingly), but it's free.&lt;br&gt;&#xA;– Since I created this thread I found a few other tools which can perform this task : StaxRip (which has an internal thumbnails preview generation module, in addition to the older MTN), PotPlayer, BSPlayer, Auto Movie Thumbnailer. The latter is based on MPlayer, and is supposed to give control over the rendering engine, but I couldn't get it to use Bt.709. Otherwise it's a good free dedicated GUI alternative to Scorp Movie Thumbnails Maker, with many customization options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also created &lt;a href=&quot;https://forum.videohelp.com/threads/390691-Generating-video-thumbnails-preview-contact-sheet-in-batch-color-issue&quot; rel=&quot;nofollow noreferrer&quot;&gt;a thread on VideoHelp regarding that specific issue&lt;/a&gt;, and &lt;a href=&quot;https://forum.videohelp.com/threads/390710-Screenshots-and-respect-of-the-YUV-RGB-colorspace-conversion&quot; rel=&quot;nofollow noreferrer&quot;&gt;another about the color accuracy of screenshots in general&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="23505" LastActivityDate="2018-11-24T18:44:53.187" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25297" PostTypeId="1" AcceptedAnswerId="25307" CreationDate="2018-11-24T22:50:53.070" Score="0" ViewCount="826" Body="&lt;p&gt;Edit: These should probably be merged as they both go back to the same issue now:&#xA;&lt;a href=&quot;https://sound.stackexchange.com/questions/45177/exporting-wav-as-m4a-creating-sync-issue-in-audacity&quot;&gt;https://sound.stackexchange.com/questions/45177/exporting-wav-as-m4a-creating-sync-issue-in-audacity&lt;/a&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I need to convert a .wav f32 track into the highest quality format possible that fits in a mp4 container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It says Mp4 will support: MP2, MP3, LC-AAC, HE-AAC, AC3&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From what I read online, LC-AAC is the highest quality of the bunch.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basic command seems to be:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.wav output.m4a&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But I get an out of sync issue where the m4a is playing about half a second later throughout than the original wav. And the bit rate of this output seems to be very low, 100's.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;When compatibility with hardware players does matter then use libmp3lame or ac3 in a MP4/MKV container when libfdk_aac isn't available.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this...what I'd want below? Or are there other things to improve quality I can specify? or maybe its just wrong syntax already.    &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.wav -c:a &quot;something&quot; -q:a 330 output.m4a&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;LOG AND IMAGE TEST UPDATE:&lt;/strong&gt;&#xA;First picture is a wav audio file at the top. Then the aac created in ffmpeg, sync issue is present.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pGoBC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pGoBC.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iIQal.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iIQal.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="21882" LastEditDate="2018-11-26T02:18:04.737" LastActivityDate="2019-09-03T17:37:52.970" Title="Highest quality convert of wav to aac to fit in mp4 container?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25298" PostTypeId="2" ParentId="25295" CreationDate="2018-11-24T22:51:12.580" Score="1" Body="&lt;p&gt;Two things&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;The video gets brighter&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The lower the shutter speed means more motion blur which makes it look more natural for the viewer&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="23721" LastEditorUserId="1950" LastEditDate="2018-11-27T03:13:26.637" LastActivityDate="2018-11-27T03:13:26.637" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25299" PostTypeId="1" CreationDate="2018-11-25T02:05:29.413" Score="-1" ViewCount="17" Body="&lt;p&gt;The video on our computer stutters or flickers. Cannon help and a computer tech told my wife that it is because our computer is 3 cores  and you need 5 cores really core i5 which is quite different of course- most core i5 are 4 cores and low ends are 3 or 2 cores. Does that make sense- why isn't it just you need more computer power or graphics power? What is requirements to show directly from the camera- wife is so cryptic?  &lt;/p&gt;&#xA;" OwnerUserId="23722" LastActivityDate="2018-11-26T22:39:05.207" Title="Does it make sense to say a computer needs core 5 to display video from a camera (Cannon SX720HS) correctly?" Tags="|camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25300" PostTypeId="2" ParentId="25292" CreationDate="2018-11-25T03:32:03.860" Score="3" Body="&lt;p&gt;To get from 1080p to 4K you're going to need to re-encode, but container won't matter (much), so 16bit png is overkill just for the sake of 4K.  H.264 works fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But before you spend the time to upsample, you should double-check to make sure that you actually need to.  Most modern 4K televisions upsample 1080p on the fly.  Most mobile devices aren't high enough resolution to display 4K.  If you can leave your project in 1080p and let the display device do the work, then you're already done!  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you're sure that's what you need, remember that normal, traditional methods of upsampling such as bicubic or bilinear interpolation don't really increase the actual resolution of the image.  Sure, the output pixel dimensions will change from 1920x1080 to 3840x2160, but the new image size just comes from (to over-simplify) doubling each pixel's width and height.  In other words, the basic scaling algorithms don't add any information to the image, they just make the 1080p &quot;bigger.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are newer, fancier upsampling algorithms which use sophisticated methods to scale images.  Photoshop calles theirs &quot;Preserve details 2.0.&quot; DaVinci Resolve calls it &quot;Super Scale.&quot;  After effects calls it a &quot;Detail Preserving Upscale&quot; effect, but they're all very similar methods of upscaling an image while preserving sharpness.  Bear in mind that none of these methods actually add information to the image, either.  They're just a tad better than ordinary, re-scaled 1080p.  They're also fairly computationally expensive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In a perfect world, the best thing to do is to shoot in a resolution that's at least as high as your deliverable, but preferably higher, and then downsample.  When that doesn't happen, you'll have to evaluate the importance of having a higher resolution and weigh that against the extra time and effort it takes to generate such an image.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;4K is still pretty difficult to work with under many circumstances, in terms of bandwidth requirements, latency, storage, etc.  There's a lot of overhead that goes into those extra pixels, and it's not exactly a 1:1 relationship.  Quadrupling the number of a pixels means you can expect MORE than four times the effort to complete a project, especially if you're working with long timelines, multiple streams, multicam, effects, etc. &lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2018-11-25T03:32:03.860" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="25302" PostTypeId="1" CreationDate="2018-11-25T11:14:31.717" Score="3" ViewCount="1994" Body="&lt;p&gt;I have a lot of video files but also a lot of duplicate with different encoding differences (eg 720p and 4K versions). I wasn't able to find an open source solutions. I tried a Windows paid program who did half the job.&lt;/p&gt;&#xA;" OwnerUserId="23726" LastEditorUserId="23726" LastEditDate="2018-11-27T19:00:53.113" LastActivityDate="2022-03-16T13:23:34.430" Title="How can I find duplicate videos by content" Tags="|video|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25303" PostTypeId="2" ParentId="25119" CreationDate="2018-11-25T11:16:53.577" Score="0" Body="&lt;p&gt;I had the same question and I managed to answer it by creating an open source program around ffmpeg and findimagedupes. Feel free to try it :&#xA;&lt;a href=&quot;https://github.com/PierreCrette/VideoDedup/blob/master/README.md&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/PierreCrette/VideoDedup/blob/master/README.md&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23726" LastActivityDate="2018-11-25T11:16:53.577" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25304" PostTypeId="1" CreationDate="2018-11-25T17:38:53.203" Score="0" ViewCount="80" Body="&lt;p&gt;I recently had an opportunity to publish video for broadcast television. I need to know what the correct aspect ratio is to publish video to the broadcaster. U.S. television broadcast. I have not received additional information of what the specifications are for the videos just yet. I'm just trying to be one step ahead. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="23729" LastEditorUserId="23729" LastEditDate="2018-11-25T19:00:45.443" LastActivityDate="2024-03-29T10:01:50.030" Title="What is the correct aspect ratio to publish video for broadcast television" Tags="|broadcasting|aspect|television|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25305" PostTypeId="2" ParentId="25304" CreationDate="2018-11-25T21:48:57.037" Score="0" Body="&lt;p&gt;Please provide more information as commented by @MichaelLiebman&#xA;But default would be:&#xA;30FPS, 16:9 (1920x1080, 1280x720) either Progressive or interlaced.&#xA;Mostly you'll need 4:2:2&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2018-11-25T21:48:57.037" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25306" PostTypeId="1" CreationDate="2018-11-25T21:52:39.027" Score="2" ViewCount="53" Body="&lt;p&gt;How do you organise and remember all the people that helped in the project?&#xA;Do you simply have an excel sheet with the names and what the person did?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-10-15T06:00:50.113" Title="How to handle credit" Tags="|workflow|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25307" PostTypeId="2" ParentId="25297" CreationDate="2018-11-26T05:05:44.587" Score="1" Body="&lt;p&gt;The output is fine. Audacity uses an old version of ffmpeg, which does not skip the &lt;a href=&quot;https://stackoverflow.com/a/42415886/5726027&quot;&gt;priming sample&lt;/a&gt;. Other players should skip it. AAC streams &lt;strong&gt;will&lt;/strong&gt; be encoded with that sample, so it's all about the player's handling.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-11-26T05:05:44.587" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25310" PostTypeId="2" ParentId="25299" CreationDate="2018-11-26T22:39:05.207" Score="0" Body="&lt;p&gt;No. That really doesn't make sense. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Faster is better, yes, but often the bottleneck is disk io. &lt;/li&gt;&#xA;&lt;li&gt;More cores should also be better as well, to prevent other applications causing stuttering.&lt;/li&gt;&#xA;&lt;li&gt;Faster core speed is better too.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;But running video from a camera can be done on much older machines so the tech is talking nonsense.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2018-11-26T22:39:05.207" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25312" PostTypeId="1" CreationDate="2018-11-27T01:41:08.513" Score="0" ViewCount="76" Body="&lt;p&gt;I am thinking of implementing this by daisy-chaining multiple splitters but I am not sure if it will work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know of a cost-effective solution to this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="23750" LastActivityDate="2020-06-01T05:06:10.710" Title="How to split video output signal from 1 PC to 40 projectors?" Tags="|video|hardware|video-capture|cable|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25313" PostTypeId="1" CreationDate="2018-11-27T01:52:32.167" Score="1" ViewCount="2145" Body="&lt;p&gt;&lt;strong&gt;Edit: its not liking it when I specify .exr as the output file....not sure if there's a fix to support exr in ffmpeg. Just pretends its .png then unless you can help with that as well&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hi so I transcoded a 30 min video into a 16 bit 1080p.exr image strip. I then plan on upscaling these images with ffmpeg to 4k. I then want to render it out again as an 8 bit h.264 .avi.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Somewhere here I want to apply sharpening to make the upscale a bit cleaner (this command looked nice when applied to the exr on their own):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter &quot;unsharp=1x=13:ly=13&quot;la=2.0&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Will unsharpening re-encode? Because my final video output is h.264 8/10bit I don't want to re-encode that.   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is where in my commands should I be applying the unsharp? And should I only apply it once or as many times throughout that it makes things look nice?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought for simplicity I would divide my commands up, but maybe they should be done as a single command? Will a single command lessen the number of re-encodes any?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 1. Upscale:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i %d.exr -vf scale=3840:-1 C:\Users\Me\Desktop\Test\output_3840.exr&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Step 2: Turn images into .avi (not sure if this works for avi, i kno it works for mkv tho)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 500/21 -i %d.exr -c:v libx264 -crf 18 -pix_fmt yuv422p10le output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Step 3: Unsharpen...but when/where?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter &quot;unsharp=1x=13:ly=13&quot;la=2.0&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm not even sure how to combine these, or like I said if doing so will limit the re-encodes. Is there a single command I can/should be using here based on the 3 above? I'll just do the audio as a separate command with -c copy so it doesn't re-encode, it makes it less confusing for me.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="21882" LastEditDate="2018-11-27T02:27:47.660" LastActivityDate="2018-11-27T04:04:24.273" Title="Where/when should I specify unsharpen when converting images to video?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="25314" PostTypeId="2" ParentId="25313" CreationDate="2018-11-27T03:41:54.047" Score="1" Body="&lt;p&gt;Just do it all as one step and forget about up-sampling to 16 bit. That just adds complexity, processing time, extra storage and for no gain in quality in the end result that anyone could possibly perceive. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;fmpeg myinputVideo.avi -vf &quot;scale=3840:2160,unsharp=1x=13:ly=13&quot;la=2.0&quot; myoutput.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The internal process of ffmpeg works basically like this: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; _______              ______________&#xA;|       |            |              |&#xA;| input |  demuxer   | encoded data |   decoder&#xA;| file  | ---------&amp;gt; | packets      | -----+&#xA;|_______|            |______________|      |&#xA;                                           v&#xA;                                       _________&#xA;                                      |         |&#xA;                                      | decoded |&#xA;                                      | frames  |&#xA;                                      |_________|&#xA; ________             ______________       |&#xA;|        |           |              |      |&#xA;| output | &amp;lt;-------- | encoded data | &amp;lt;----+&#xA;| file   |   muxer   | packets      |   encoder&#xA;|________|           |______________|&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &quot;decoded frames&quot; box basically is where the pixels in the image are stored in memory as uncompressed RGB or YUV (or whatever) samples. That's the point where your footage is as good as it is going to get. Any extra filtering or processing will notionally degrade the image due to quantisation loss, or compression etc.. That image is what is sent to the filter chain. What you're doing is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;demux → decode → [decoded frames] → resample → encode → mux → save → &#xA;demux → decode → [decoded, resampled frames] → upscale → sharpen → encode → mux → save&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;so you're applying your filters to frames that have had an extra resample and encode step added, not to mention taking up a whole bunch'a space on your HDD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you filter something the output of one filter goes to the input of the next filter in the chain, so if you put scale first the scaled image is then sent to the sharpen filter. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; _______        ________        _________        ________&#xA;|       |      |        |      |         |      |        |&#xA;| input | ---&amp;gt; | scale  | ---&amp;gt; | sharpen | ---&amp;gt; | output |&#xA;|_______|      |________|      |_________|      |________|&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can get more complex by using &lt;code&gt;-filter_complex&lt;/code&gt; which allows you to have various inputs and outputs for filters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Filtering&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg.html#Filtering&lt;/a&gt; for more ascii-art empowered knowledge&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-11-27T04:04:24.273" LastActivityDate="2018-11-27T04:04:24.273" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25315" PostTypeId="2" ParentId="24695" CreationDate="2018-11-27T07:16:30.837" Score="0" Body="&lt;p&gt;Try reducing the file's data rate, not just it's resolution.  If your data rate's set too high (and a lot of programs' default settings are higher than they need to be), that'll cause your player to buffer more frequently without necessarily increasing image quality enough to justify the choppy playback.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2018-11-27T07:16:30.837" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25316" PostTypeId="2" ParentId="25295" CreationDate="2018-11-27T08:02:32.000" Score="3" Body="&lt;p&gt;A high shutter speed can make individual frames look more crisp but make large motion look like it is stuttering. e.g. fast panning looks like it is flickering or jumping&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A low shutter speed can make individual frames look blurred and make the motion look smooth.&lt;/p&gt;&#xA;" OwnerUserId="1697" LastActivityDate="2018-11-27T08:02:32.000" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25318" PostTypeId="1" AcceptedAnswerId="25319" CreationDate="2018-11-27T13:41:08.010" Score="0" ViewCount="573" Body="&lt;p&gt;When I type the following &lt;code&gt;ffmpeg&lt;/code&gt; command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;```&#xA;ffmpeg -i input.mov -c:v prores -profile:v 3 -c:a pcm_s16le -bsf:v prores_metadata=bt709 output.mov&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have the following error:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&#xA;Unknown bitstream filter prores_metadata&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However this bitstream filter is documented here: &lt;a href=&quot;https://ffmpeg.org/ffmpeg-bitstream-filters.html#prores_005fmetadata&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-bitstream-filters.html#prores_005fmetadata&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My &lt;code&gt;ffmpeg&lt;/code&gt; version is 4.1 downloaded from &lt;em&gt;Homebrew&lt;/em&gt; on &lt;em&gt;macOS 10.13&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea what is going wrong?&lt;/p&gt;&#xA;" OwnerUserId="16374" LastActivityDate="2018-11-27T14:27:24.207" Title="Unknown bitstream filter prores_metadata" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25319" PostTypeId="2" ParentId="25318" CreationDate="2018-11-27T14:27:24.207" Score="1" Body="&lt;p&gt;The bitstream filter was added after 4.1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Get a recent static git binary, like this one: &lt;a href=&quot;https://ffmpeg.zeranoe.com/builds/macos64/static/ffmpeg-20181127-1035206-macos64-static.zip&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.zeranoe.com/builds/macos64/static/ffmpeg-20181127-1035206-macos64-static.zip&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-11-27T14:27:24.207" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25321" PostTypeId="1" AcceptedAnswerId="25324" CreationDate="2018-11-27T16:43:43.463" Score="0" ViewCount="828" Body="&lt;p&gt;Since I and Everyone else watched too many 24/30FPS throught our lives, whenever We see 60FPS or faster motion picture we feel like its fast forwarded thus makes it terribly unnatural.   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to shoot some 60FPS movies but I am afraid of the audience unconciously disliking my movies (due to the movies feel anormal) so the question is: In the future where 60FPS (hopefully) gets more and more into the Youtube videos, will the current generation and future teenagers get used to the 60FPS video and thus the movies wont feel fast forwarded and anormal ?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Short:Is it possible to get used to the 60FPS video so it wont feel fast forwarded?&lt;/p&gt;&#xA;" OwnerUserId="23721" LastEditorUserId="23721" LastEditDate="2018-11-27T19:46:22.037" LastActivityDate="2018-11-27T21:24:32.220" Title="Is it possible for the viewers to get rid of the 60FPS fast forward effect?" Tags="|video|framerate|filming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25324" PostTypeId="2" ParentId="25321" CreationDate="2018-11-27T21:24:32.220" Score="1" Body="&lt;p&gt;60 fps does not look like &quot;fast forward&quot;. It simply looks natural. It breaks the old-school film look, so people start paying more attention to what is happening on the screen, including acting and dialogs. A crappy movie, barely watchable in 24p, falls apart when interpolated to 60p or 120p by modern TV sets. Just shoot better movies ;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By the way, for quite a long time in the U.K. they used movie cameras for shooting outside on location, and TV cameras for shooting inside on the set, so for the British &quot;film look&quot; used to mean outside, &quot;smooth look&quot; used to mean inside.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-11-27T21:24:32.220" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25325" PostTypeId="2" ParentId="25312" CreationDate="2018-11-27T22:53:29.840" Score="1" Body="&lt;p&gt;You can't use a passive splitter for this as the signal level would drop far too low, however it should be trivial to accomplish with some simple active distribution amplifiers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two real solutions for this and the best bet really depends on the details of where the projectors are.  More than just splitting the signal, the amount of distance to the projectors may also be an issue as most video signals degrade over long distance cable runs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If all the runs are fairly short or you are able to use either fiber or signal boosters, you can use a large distribution amplifier or matrix switch to feed one signal to all 40 outputs at one location.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternately, you could use a series of smaller distribution amplifiers to spider out from the middle.  As each DA will also act as a repeater, it should help you cover a longer distance and you only need a chain of about 3 to cover all 40 projectors if you are using 4 way DAs.  You'd start with the signal in the middle, run it in to a distribution amplifier and run each of the 4 outputs in to another distribution amplifier heading off towards your other projectors.  Those 4 DAs would give you 16 total outputs.  Each one of those would run in to another 4 way DA and give you a total of up to 64 outputs, which easily covers your 40 projectors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option if exact timing doesn't matter and you already have a solid Ethernet network in place would be to stream the video over the network and have each projector play back the stream independently.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A final option would be to setup a short range broadcast using wireless gear, however this is probably the most costly and potentially most error prone of the options though it can also be the easiest to setup if the environment supports it as it doesn't require multiple splitters or any complicated wiring, however transmitters tend to not be cheap as the range gets longer and beyond a certain range, you start needing licenses.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2018-11-27T22:53:29.840" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25329" PostTypeId="1" CreationDate="2018-11-28T08:25:00.940" Score="0" ViewCount="494" Body="&lt;p&gt;I’ve been asked to flip a video clip and display it so it plays alongside the original clip as a mirror image. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I’m using DaVinci Resolve 15 and I’ve found how to flip a clip. I’ve also found how to shrink, crop and move it around on top of the original but when shrinking it does it proportionally so it becomes a quater of the screen size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anyway to make it take up a full half of the screen so they play side by side of the same size and without any of the image being cropped?&lt;/p&gt;&#xA;" OwnerUserId="23764" LastActivityDate="2018-12-02T05:02:31.583" Title="Half Screen Mirror Image" Tags="|editing|davinci-resolve|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25330" PostTypeId="1" CreationDate="2018-11-28T05:28:32.257" Score="4" ViewCount="107" Body="&lt;p&gt;In Unity 3D I have a series of camera movements, but some don't successfully complete. Instead of the camera coming to rest, it ends up vibrating around the target location.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have the video of my problem here so you can see what I mean:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/39mexfSWssI&quot; rel=&quot;nofollow noreferrer&quot;&gt;Youtube video of my problem&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final two transitions demonstrate it very clearly of you want to jump straight to them, but the first but shows how I have the transitions set up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you let me know how to stop this oscillation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camera is shaking because it is updating it's position Constantly the ( flag boolean must be false ).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the code.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;using System.Collections;&#xA;using System.Collections.Generic;&#xA;using UnityEngine;&#xA;using UnityEngine.UI;&#xA;&#xA;public class camMOVE : MonoBehaviour {&#xA;    public Transform  handleview;&#xA;    public Transform pressureview;&#xA;    public Transform wallview;&#xA;    public Transform sechandleview;&#xA;    public Transform pressuretwoview;&#xA;    public Transform switchview;&#xA;&#xA;    public GameObject handlebtn;&#xA;    public GameObject pressurebtn;&#xA;    public GameObject wallbtn;&#xA;    public GameObject handletwobtn;&#xA;    public GameObject pressuretwobtn;&#xA;    public GameObject switchbtn;&#xA;&#xA;&#xA;    public float transitionSPEED;&#xA;    Transform currentVIEW;&#xA;    public bool flag = false;&#xA;    public bool isReached = false;&#xA;    Vector3 currentangel;&#xA;    public List&amp;lt;GameObject&amp;gt; modelparts;&#xA;&#xA;    private void Start(){&#xA;        handlebtn.SetActive (true);&#xA;        pressurebtn.SetActive (false);&#xA;        wallbtn.SetActive (false);&#xA;        handletwobtn.SetActive (false);&#xA;        pressuretwobtn.SetActive (false);&#xA;        switchbtn.SetActive (false);&#xA;&#xA;        foreach (GameObject obj in modelparts) {&#xA;            obj.GetComponent&amp;lt;BoxCollider&amp;gt; ().enabled = false;&#xA;        }&#xA;    }&#xA;&#xA;    private void Update(){&#xA;        if (flag) {&#xA;            transform.position = Vector3.Lerp (transform.position, currentVIEW.position, Time.deltaTime * transitionSPEED);&#xA;            //transform.position = Vector3.MoveTowards (transform.position, currentVIEW.position, Time.deltaTime * transitionSPEED);&#xA;&#xA;            //for camera rotation&#xA;            currentangel = new Vector3 (Mathf.LerpAngle (transform.rotation.eulerAngles.x, currentVIEW.transform.rotation.eulerAngles.x, Time.deltaTime * transitionSPEED),&#xA;            Mathf.LerpAngle (transform.rotation.eulerAngles.y, currentVIEW.transform.rotation.eulerAngles.y, Time.deltaTime * transitionSPEED),&#xA;            Mathf.LerpAngle (transform.rotation.eulerAngles.z, currentVIEW.transform.rotation.eulerAngles.z, Time.deltaTime * transitionSPEED));&#xA;&#xA;            transform.eulerAngles = currentangel;&#xA;        }&#xA;    }&#xA;&#xA;    public void Handleview(){&#xA;        currentVIEW = handleview;&#xA;        handlebtn.SetActive (false);&#xA;        flag = true;&#xA;    }&#xA;&#xA;    public void Pressureview(){&#xA;        currentVIEW = pressureview;&#xA;        pressurebtn.SetActive (false);&#xA;        flag = true;&#xA;    }&#xA;&#xA;    public void Wallview(){&#xA;        currentVIEW = wallview;&#xA;        wallbtn.SetActive (false);&#xA;        flag = true;&#xA;    }&#xA;&#xA;    public void Secondhandleview(){&#xA;        currentVIEW = sechandleview;&#xA;        handletwobtn.SetActive (false);&#xA;        flag = true;&#xA;    }&#xA;&#xA;    public void Pressuretwoview(){&#xA;        currentVIEW = pressuretwoview;&#xA;        pressuretwobtn.SetActive (false);&#xA;        flag = true;&#xA;    }&#xA;&#xA;    public void Switchview(){&#xA;        currentVIEW = switchview;&#xA;        switchbtn.SetActive (false);&#xA;        flag = true;&#xA;    }&#xA;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerDisplayName="Nouman Khan" LastEditorUserId="4426" LastEditDate="2021-10-04T10:12:55.027" LastActivityDate="2024-02-21T14:07:30.973" Title="Camera Is Shaking Slowly After Changing Its Position" Tags="|animation|unity|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25331" PostTypeId="1" AcceptedAnswerId="25343" CreationDate="2018-11-28T09:46:58.933" Score="1" ViewCount="874" Body="&lt;p&gt;I'm trying to improve some VHS-C home video recordings for my mother. I used &lt;code&gt;VirtualDub&lt;/code&gt; to capture the recordings as avi files and now I wish to modify them with &lt;code&gt;Avisynth&lt;/code&gt; but I can't get the frame server function to work. Has anyone got the &lt;code&gt;VirtualDub&lt;/code&gt; frame server connection with &lt;code&gt;Avisynth&lt;/code&gt; working in Windows 10? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried this with the latest versions of &lt;code&gt;VirtualDub&lt;/code&gt;, &lt;code&gt;Avisynth&lt;/code&gt;, and both &lt;code&gt;AvsP_v2.0.2&lt;/code&gt; with &lt;code&gt;bugfix3&lt;/code&gt; and &lt;code&gt;AvsPmod&lt;/code&gt;. Also, I've tried it with &lt;code&gt;VirtualDub_1910.exe&lt;/code&gt;, &lt;code&gt;Avisynth_258.exe&lt;/code&gt;, &lt;code&gt;AVSPluginPack.exe&lt;/code&gt; and &lt;code&gt;AvsPmod_205.exe&lt;/code&gt; from AnimeMusicVideos.org (&lt;code&gt;AMVapp31.zip&lt;/code&gt;). I'm using Windows 10 64-bit however I've only downloaded 32-bit version software and codecs because that seems to be the generally recommended route. (Is the &lt;code&gt;AVSPluginPack&lt;/code&gt; necessary? If so, is there somewhere other than AMV that maintains it?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In VirtualDub, I open &lt;code&gt;homevideo.avi&lt;/code&gt;, &quot;Crop to selection&quot; for a desired range of frames and then &lt;code&gt;File &amp;gt; Start frame server...&lt;/code&gt; and name the Avi-File Handler &lt;code&gt;video.vdr&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In AvsP and AvsPmod the commands:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;video = AVISource(&quot;c:\VHSC\video.avs&quot;)&#xA;return video&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;video.avs&lt;/code&gt; is a file that contains only the line &lt;code&gt;AviSource(&quot;c:\VHSC\video.vdr&quot;)&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;produce the error message:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Avisynth open failure:AVIFileSource: couldn't open file 'c:\VHSC\video.vdr'&#xA;(C:\VHSC\video.avs, line 1)&#xA;(New File, line 1)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, replacing &lt;code&gt;video.avs&lt;/code&gt; with &lt;code&gt;homevideo.avi&lt;/code&gt; does display the frames in the AvsP/mod window.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen this similar question &lt;a href=&quot;https://video.stackexchange.com/questions/24688/avisynth-cant-open-my-avi-file-avisource-couldnt-locate-a-decompressor-for&quot;&gt;AviSynth can&amp;#39;t open my AVI file: &amp;quot;AVISource: Couldn&amp;#39;t locate a decompressor for fourcc dvds&amp;quot;&lt;/a&gt;. The virtualdub website &amp;lt; &lt;a href=&quot;http://www.virtualdub.org/docs_frameserver.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.virtualdub.org/docs_frameserver.html&lt;/a&gt; &gt; says &quot;Use the AVISource filter. DirectShowSource is unreliable&quot;. I've tried both.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To capture the VHS tapes in VirtualDub I followed a YouTube tutorial, which involved the following steps:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Downloaded and install Virtual Dub + Lagarith codec&#xA;File &amp;gt; Capture AVI&#xA;File &amp;gt; Set capture file[name]&#xA;Device &amp;gt; [chose my capture device]&#xA;Video &amp;gt; Video source &amp;gt; [chose the source]&#xA;Video &amp;gt; Capture filter &amp;gt; PAL_B&#xA;Video &amp;gt; Compression &amp;gt; Lagarith&#xA;-then in Configure &amp;gt; [mode=]YUY2;&#xA;-Checking both Use Multithreading and Prevent Upsampling When Decoding.&#xA;Video &amp;gt; Set custom format -- settings: 820 576 YUY2*&#xA;(*actually set as UYVY [the default setting] because YUY2 is not compatible with my capture device)&#xA;Capture &amp;gt; Settings &amp;gt; 25.0&#xA;At the bottom of the capture window -- selected 44.10 kHz, 16 bit, Stereo&#xA;Start: Capture &amp;gt; Capture video&#xA;End: Capture &amp;gt; Stop capture&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="23766" LastEditorUserId="23766" LastEditDate="2018-12-01T05:29:10.333" LastActivityDate="2018-12-01T05:29:10.333" Title="How to use Avisynth+AvsP with VirtualDub frame server?" Tags="|virtualdub|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25332" PostTypeId="1" CreationDate="2018-11-28T11:40:12.907" Score="0" ViewCount="40" Body="&lt;p&gt;I have multiple layers I now wish edit them in 3 dimensions. So I check the 3d layer attribute, but I still cant move the elements in that layer. In a &lt;a href=&quot;https://www.youtube.com/watch?v=kD73GVXwLXg&quot; rel=&quot;nofollow noreferrer&quot;&gt;youtube video&lt;/a&gt; (7:45) i have been following, when the user clicks on the 3d layer option, an axis appears on the the element, and it can be enlarged and moved. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;See picture: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/a4Nho.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/a4Nho.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However no such axis appears when I check the 3d layer option. Do I need to enable it somewhere in the options?&lt;/p&gt;&#xA;" OwnerUserId="23657" LastActivityDate="2019-08-03T13:02:25.253" Title="How do I adjust things in 3d in after effects" Tags="|after-effects|3d|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25334" PostTypeId="1" CreationDate="2018-11-28T17:40:01.480" Score="0" ViewCount="514" Body="&lt;p&gt;I currently have ~200 short 30 second teaser youtube video that link to articles. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking for the best way to add captions to these videos. These will eventually go out on social media. Because the videos are short and clear, the youtube default captions are actually quite good. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I want the captions to be part of the mp4 file so that when I share it on social networks (uploading the video directly) then the captions appear. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best way to do this? This is the ideas I have so far: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) I could manually download the captions for each video, then use some service (which one) to merge the captions with the videos, and then post it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) I could download the captions for each video, then use the social networks service to add the caption as an add-on, you can do this with fb at least. The downside of this is that it would have to be done again and again for each social network. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is for a volunteer run non-profit so there is no money to get this stuff done with super expensive software (though we have the adobe suite including premiere). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any thoughts would be greatly appreciated!&lt;/p&gt;&#xA;" OwnerUserId="23771" LastActivityDate="2018-12-06T05:42:01.863" Title="Best way to add subtitles to videos" Tags="|video|webvideos|closed-captioning|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25335" PostTypeId="1" CreationDate="2018-11-28T21:59:42.480" Score="1" ViewCount="2153" Body="&lt;p&gt;I have two video that I'm working through filter_complex.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First video is 1280x720 [SAR 1:1 DAR 16:9] and the second video is 1280x720 [SAR 203:640 DAR 203:360]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to merge the files with filter_complex keeping original sar and dar both each on final output. Please notice I'm using inputs dynamically, so I need a command that keeps sar and dar regardless of the source files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried using the command&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;setsar=1,setdar=1&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;But nothing, second video not preserve original aspect (1280x720 [SAR 203:640 DAR 203:360]) and the output is like first video (1280x720 [SAR 1:1 DAR 16:9]). I would like to keep the original parameters also on second video that seems to become SAR 1:1 DAR 16:9.&lt;/p&gt;&#xA;" OwnerUserId="22139" LastActivityDate="2024-04-05T19:05:55.627" Title="FFmpeg keep different sar and dar in multiple videos" Tags="|ffmpeg|aspect|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25337" PostTypeId="2" ParentId="3064" CreationDate="2018-11-29T00:46:39.087" Score="0" Body="&lt;p&gt;If you expect your users to play the videos in a computer instead of a DVD player, then I recommend a web based player. With the power of web languages, you can make a very rich menu-driven experience. Added benefit of this is that you can switch media if you want/need to. For example, we used to do DVD discs very successfully, but fully switched to USB thumb drives about a year ago. Nothing about the player had to change. It all works the same on any storage media. Further benefit is that you are fully web-ready. You might have to change some path names, but your player will work from a server over the Internet just as well as from a DVD disc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will need to have/develop/decide the following things:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;What media to use&lt;/li&gt;&#xA;&lt;li&gt;Web-based menu so users can make their selections&lt;/li&gt;&#xA;&lt;li&gt;The web-based player itself&lt;/li&gt;&#xA;&lt;li&gt;Your videos converted and optimized for the above player&lt;/li&gt;&#xA;&lt;li&gt;Auto-run solution&lt;/li&gt;&#xA;&lt;li&gt;A duplication workflow&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h1&gt;1 - What media to use&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;You mention DVD discs, which are great. They hold 4.7 or 8 GB of data, depending on type, and are cheap to produce. There's also a variety of printing and case options that are equally cheap. If you're making enough of them, there's tons of duplicating services that will mass produce your DVD disc product for at little as $2 each.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But even in 2012 when this question was asked, I'd recommend against DVDs for any general public delivery for one reason: obsolescence. This once ubiquitous media is now missing from more than half of the computer models made today. If you include smart phones and tablets as &quot;computers&quot; then it's less than one quarter. You don't want to choose a delivery mechanism that is becoming less and less used every year.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Enter the USB thumb drive. Thumb drives are not too cheap, but they are so much more affordable than they used to be. You can get 8GB versions for under $5 each these days, if you buy in bulk. The benefits of USBs include variable sizes, reusable (i.e. unlike discs that can only burn once)&lt;sup&gt;1&lt;/sup&gt;, durable, customized albums (e.g. &lt;a href=&quot;https://www.premiumusb.com/search?Q=flash%20pac&amp;amp;As=false&amp;amp;Cid=0&amp;amp;Isc=false&amp;amp;Mid=0&amp;amp;Pf=&amp;amp;Pt=&amp;amp;Sid=false&quot; rel=&quot;nofollow noreferrer&quot;&gt;flash pacs&lt;/a&gt;), and all the same printing and duplication services around. Further, aside from smartphones and most tablets, your market penetration is potentially 3 to 5 times higher. If you do go USBs, make sure you get a good supplier. A discount supplier from Amazon will probably just disappoint you.&lt;sup&gt;2&lt;/sup&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to tap virtually all of the market, then you'll need to deliver online these days. That would be either streaming or download. If you're using a web-based player already, the switch is trivial. Just build or have built for you a website to host the pages.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;2 - Web-based menu so users can make their selections&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;The menu is basically a series of web pages that run directly off of the media is the user's default browser. If you know JavaScript, CSS, and HTML, you can build this portion pretty easily. If you don't know it, any web developer can pound this out for you in a day or two, and shouldn't cost much.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;3 - The web-based player itself&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Like the menu, this is a series of web-files that are run in the user's default browser. Developing this will be a bit more involved and you can expect the need to update it every now and then. If you don't know web languages, I recommend you just pay someone to do this part for you, especially if you're player is more involved than a simple video playback.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;4 - Your videos converted and optimized for the above player&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;This is part of the &quot;more involved&quot; part above. Web-ready video is a complicated and fluid thing. We are currently in a state of relative calm, with h.264 MP4s being a virtually ubiquitous standard, but that will change eventually. You you were involved in web video in 2010, it was way more complicated, which added to your workflow.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;5 - Auto-run solution&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Users are both stupid and lazy. Or, you should at least assume that they are. If you can get a decent auto-run going on your USBs, then use it. Currently, I just put the menu file in the root and title it &lt;code&gt;RUN_ME&lt;/code&gt;. Most users get that they are supposed to open the file to watch the videos. I still get a call or email every now and then, but this was definitely a huge problem in 2010. Oddly, this might be because people understand that then need to navigate to a USB to use what's on it. For DVDs users still expect auto-run, so if it doesn't auto-run they assume it's broken.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;6 - A duplication workflow&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;If you are going to make any decent amount of these you'll want a duplication workflow that's better than copying files from your computer, one unit at a time. If you have any experience with DVD duplication, you know there are &quot;duplicator towers&quot; that will take one disc as your &quot;master&quot; and copy all the data on it to multiple discs at one time. You can make DVDs by the hundreds per hour with the right duplicator tower.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good news. USBs have duplicator towers too. They are a lot more compact, but price per bay is still expensive in my opinion. &lt;a href=&quot;https://www.premiumusb.com/accutower-flash-vx-standalone-usb-duplicator&quot; rel=&quot;nofollow noreferrer&quot;&gt;About $100 per bay for this model&lt;/a&gt;. But if you're going to make hundreds of USBs every month, it's worth it for the time savings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Producing online has no duplication workflow. Instead, all your work is infrastructure based. You have to make sure the servers are delivering well and pointing to the right resource files. After that, you actually have to upload your videos and other data. If you live in an area with crappy internet uplink then this can be a real dent in your workflow and time spent. The best part about serving online data is that it pushes you one step further to an automated customer experience. In other words, from attention to purchase decision to delivery to support, your website can be designed to handle almost all cases, thereby minimizing your time spent on it.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Footnotes&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;The ability to change the data on a USB should not be underestimated. If you want to change a disc, you have to chuck it and make a new one. Even your customers can change the contents of their USB if they need to. A perfect use case is that the new version of a popular web browser breaks your player. You simply provide your users with a CMD batch file (or UNIX equivalent for Macs) and have them run it from the root of the USB. Behind the scenes, you've designed this batch file to update all the player files. Put this on your website support pages for download and never take a tech call again.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I purchased 100 4GB USBs from a supplier on Amazon. They were 25% less, came with free Prime shipping, and looked nearly identical to the ones I was already using. 35 copies in, I get one that won't take data at all from the duplicator. I try it on a computer and it seems like it's DOA. Another 40 in, same thing happens. Over the next few weeks I begin fielding calls for bad USBs that either can do nothing or obviously corrupted the data on them. In some of my USBs retained as masters, I also begin seeing issues. Long story short, I estimate more than 15 of the 100 were bad and could not hold their data. I gave a poor review on Amazon noting all of this and the seller asked what they could do to make it right. I replied &quot;fix your product, send me another 100 for free and I'll test them, then I'll let you know if it worked out and change my review if necessary&quot;. They haven't gotten back to me yet, after 6 months.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2018-11-29T00:46:39.087" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25338" PostTypeId="2" ParentId="25291" CreationDate="2018-11-29T06:04:42.863" Score="9" Body="&lt;p&gt;Transport Stream files are meant for streaming, have no global header, and may be sliced or joined together without the help of a format-aware utility. Because of this, there'a a lot of metadata structure within a TS file that allows them to be playable even after such operations. What that allows, in turn, is having multiple streams of different duration starting and stopping at different times. A format-aware utility like ffmpeg will parse the metadata and respect these features whereas a video editor which is mainly designed for a static file-based and indexed media usually won't - not with full fidelity anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the sample, there are two streams - 1 video and 1 audio. Run the following to identify the start_time of each stream&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -show_entries stream=codec_type,start_time -v 0 -of compact=p=1:nk=0 sample.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For your file, this results in&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;program|stream|codec_type=video|start_time=1.978233&#xA;stream|codec_type=audio|start_time=1.400000&#xA;&#xA;stream|codec_type=video|start_time=1.978233&#xA;stream|codec_type=audio|start_time=1.400000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Ignore the first two lines. You can see that the video start is delayed relative to the audio. FFmpeg respects this delay. Your editor likely doesn't. It will either ignore the surplus audio or desync it with respect to the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, &lt;code&gt;00:00:34.600&lt;/code&gt; in the editing timeline actually references absolute timestamp of &lt;code&gt;34.6 + 1.978233 = 36.578233&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, to accurately extract the desired frame, you need to know the delay of the video stream. Now, ffmpeg, by default, removes the starting offset i.e. it subtracts the start_time of the earliest starting stream before ingesting into its processing pipeline (unless copyts is set).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, without copyts, the video start_time will be modified to &lt;code&gt;1.978233 - 1.400000 = 0.578233&lt;/code&gt; and the desired frame will be at &lt;code&gt;34.6 + 0.578233 = 35.178233&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, run&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i sample.ts -ss 00:00:35.178233 -t 00:26:40.400 [commands] out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -show_entries format=start_time:stream=start_time -select_streams v -v 0 -of compact=p=1:nk=0 sample.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;to get&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;program|stream|start_time=1.978233&#xA;&#xA;stream|start_time=1.978233&#xA;format|start_time=1.400000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where the relative offset for the video is &lt;code&gt;1.978233 - 1.400000 = 0.578233&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-11-29T06:04:42.863" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25339" PostTypeId="2" ParentId="21328" CreationDate="2018-11-29T09:57:11.627" Score="1" Body="&lt;p&gt;No, they did not misunderstand anything. There's actually a difference between what the OP observed and shared and the series playlist feature you're talking about. The former is possible through a series editor tool that is not yet available to everyone - it's in beta and has been, reportedly, available on YouTube Red. &lt;a href=&quot;https://productforums.google.com/forum/#!topic/youtube/IBMNlSLSCJ8&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://productforums.google.com/forum/#!topic/youtube/IBMNlSLSCJ8&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23775" LastActivityDate="2018-11-29T09:57:11.627" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25342" PostTypeId="2" ParentId="25332" CreationDate="2018-11-29T12:40:25.107" Score="1" Body="&lt;p&gt;I pressed CTRL + SHIFT + H and my controls were back&lt;/p&gt;&#xA;" OwnerUserId="23657" LastActivityDate="2018-11-29T12:40:25.107" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25343" PostTypeId="2" ParentId="25331" CreationDate="2018-11-29T13:29:15.060" Score="1" Body="&lt;p&gt;Did you install the frameserver support with auxsetup.exe? You can test if it is working by trying to open your video.vdr with another instance of virtualdub.exe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From your description it doesn't look you really need the frameserver. You can trim the video with avs itself (e.g. Trim(100,200)), this is more robust and efficient.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Btw did you know there is active avisynth community on forum.doom9.org, forum.videohelp.com&lt;/p&gt;&#xA;" OwnerUserId="19396" LastActivityDate="2018-11-29T13:29:15.060" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25345" PostTypeId="2" ParentId="25334" CreationDate="2018-11-29T16:21:39.247" Score="1" Body="&lt;p&gt;1) Is probablly the easyest. You can download it from YouTube and merge it in Premiere Pro. Easyest way is to burn it in, so you wont have any struggles with other social media plattforms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have basic programming knowledge, ypu could write a script whoch automatocally downloads and adds the sub titles from YT.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2018-11-29T16:21:39.247" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25348" PostTypeId="1" AcceptedAnswerId="25384" CreationDate="2018-11-29T21:49:58.237" Score="0" ViewCount="142" Body="&lt;p&gt;I have coordinates, descrambling codes, et al for a live satellite broadcast.  I'm looking to capture that feed into a digital stream that I can feed into AWS's Video services.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My experience is software side - once the stream is digital I'm good. I'm wondering what kind of equipment / hardware is needed to tune to and capture that satellite feed? Are there companies that offer this as a service? Is this a dumb question?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Adding Some more context based on questions in the comments&lt;/em&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Is the feed on a LEO, MEO, or GEO satellite? If it is GEO, which satellite and transponder?&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is GEO. Azerspace-1 / Azercosmos 46degrees East.  Not exactly sure what transponder but I think its C-band. Does that make sense? I have frequency ranges for Bandwidth,  U/L and D/L. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What is your budget?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TBD - Part of this exercise is determining costs to capture the feed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;When you say &quot;once the stream is digital&quot; what exactly do you mean? Once you have an MPEG TS or something else?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Exactly that - I'm looking to get an MPEG TS that I can plug into AWS services like &lt;a href=&quot;https://www.elemental.com/products/aws-elemental-live&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.elemental.com/products/aws-elemental-live&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23782" LastEditorUserId="23782" LastEditDate="2018-12-04T15:05:07.573" LastActivityDate="2018-12-04T18:55:39.250" Title="How to capture / digitise a live satellite stream" Tags="|video-capture|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25349" PostTypeId="2" ParentId="25295" CreationDate="2018-11-29T23:04:57.447" Score="2" Body="&lt;p&gt;A simple rule of thumb is to set shutter speed to double (x2) your project framerate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EG: PAL project 25fps / Choose 50 shutter speed&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2018-11-29T23:04:57.447" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25354" PostTypeId="1" CreationDate="2018-12-01T10:26:13.003" Score="4" ViewCount="3735" Body="&lt;p&gt;I have a video clip which shows clouds in a sunset and it lasts half an hour. During that time the light conditions changed and my camera (Fuji X-e1) tried to compensate the changes of exposure. In the final clip i have sudden exposure changes from time to time. The problem is i want to process the clip as a timelapse which lasts only a few seconds and then the sudden exposure changes appear like a really annoying flicker effect. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that there are tools for deflickering a set of photographic images shot for a timelapse clip. But is there also a way to deflicker an already existing videoclip within Adobe premiere?&lt;/p&gt;&#xA;" OwnerUserId="23794" LastActivityDate="2019-05-01T11:03:44.690" Title="How to smooth/correct sudden exposure changes caused by camera while filming?" Tags="|premiere|adobe|time-lapse|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25357" PostTypeId="2" ParentId="25354" CreationDate="2018-12-01T21:53:03.877" Score="1" Body="&lt;p&gt;Do you have AE?&#xA;In AE you can use the color stabilizer effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Import your project to AE, add the color stabilizer onto the clip, change stabilizer to brightness, qnd choose a point that should be black/really dark&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2018-12-01T21:53:03.877" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25358" PostTypeId="1" AcceptedAnswerId="25367" CreationDate="2018-12-01T22:33:04.177" Score="0" ViewCount="364" Body="&lt;p&gt;I have digitalized a set of old family VHS tapes. As you know, VHS relied on chroma subsampling. And the capture device creates files with the 4:2:2 tag. Now, when I encode again with ffmpeg to get smaller files but for archival purposes, should I specify '-pix_fmt yuv444p' to make sure the chroma images do not get further degradation, or by using the same subsampling scheme as the source (i.e. yuv422p) the chroma images are not difuminated further due to subsampling?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking for a technical, objective answer. I don't mind if the degradation is subjectively small or something.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To better explain the question, let's say we are transcoding video A into B, where A was done originalyy with a 4:2:2 subsampling and we specify the same 4:2:2 scheme to create B. Then, &lt;strong&gt;which one of the following possibilities is true?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Ffmpeg reads some tags inside video A and &quot;knows&quot; it was done using a 4:2:2 subsampling. Then, since the destination image has the same 4:2:2 scheme, it translates directly the chroma images into the destination video without performing any subsampling.&lt;/li&gt;&#xA;&lt;li&gt;Ffmpeg reads the original chroma image blindly and applies a 4:2:2 subsampling, no matter where the original material comes from.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The first option seems more logical but in that case, what would happen if the subsampling scheme we ask for in the destination video is different than the original? How do you &quot;translate&quot; consistently from, say, 4:2:0 to 4:2:2?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; From my own tests, the accepted answer, and a little bit of thinking about it, it seems clear that using the same chroma scheme does not produce degradation, as long as the resolution and size of the image is kept unchanged. It's difficult to explain without doing some drawings, but there is an analog working with audio. A signal sampled at 44.1 kHz for instance, can be resampled at the same frequency without losing information. If, e.g. a square cluster of 4 luma pixels corresponds to one unique color value (4:2:0), then resampling that image will assign the same color value to that 4 pixels.&lt;/p&gt;&#xA;" OwnerUserId="4658" LastEditorUserId="4658" LastEditDate="2018-12-02T16:58:43.313" LastActivityDate="2018-12-02T16:58:43.313" Title="Is there image degradation when you apply the same chroma subsampling iteratively?" Tags="|ffmpeg|video-capture|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25360" PostTypeId="1" CreationDate="2018-12-01T23:15:00.193" Score="0" ViewCount="57" Body="&lt;p&gt;I am editing video on Premiere CC 2014. I have second hand video from YouTube that I need to take bits from as per a client's suggestion. Once I've done this I want to remake the fresh edits with the raw footage. Is there any way to match video based on audio. Any program to compare edits with raw footage? &lt;/p&gt;&#xA;" OwnerUserId="23798" LastActivityDate="2018-12-02T06:26:51.677" Title="Find raw footage based on second hand video?" Tags="|premiere|editing|raw|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25361" PostTypeId="2" ParentId="25360" CreationDate="2018-12-02T00:05:45.237" Score="0" Body="&lt;p&gt;If your downloaded videos from youtube aren't cut, you can simply make the clip offline and relink it again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the downloaded video is edited though, this gets a bit harder.&#xA;For good audio Quality, you can use Sync. Simply Google &quot;Premiere Pro Sync Video&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this isn't possible, you'll probablly need to align it manually.&#xA;Roughly match the videos and put them above each other, make the top one a bit transparent and fine-align.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastEditorUserId="3592" LastEditDate="2018-12-02T06:02:34.137" LastActivityDate="2018-12-02T06:02:34.137" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25362" PostTypeId="2" ParentId="23085" CreationDate="2018-12-02T00:07:56.373" Score="1" Body="&lt;p&gt;That's very easy. Simply select all images, press right click -&gt; Nest.&#xA;Give it a name and you are done. Now on this single &quot;clip&quot; apply your movement.&#xA;If you want to edit the single images, double click the new clip.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastEditorUserId="23732" LastEditDate="2018-12-02T08:13:11.620" LastActivityDate="2018-12-02T08:13:11.620" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25364" PostTypeId="1" AcceptedAnswerId="25366" CreationDate="2018-12-02T00:23:31.093" Score="1" ViewCount="165" Body="&lt;p&gt;I'm a bit confused regarding color in bits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know of two color &quot;types&quot;:&#xA;Many more expansive displays offer 10-bit panels with 1 billion, instead of 16 million different colors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Better video cameras use 10-bit 4:2:2 subsampling to save storage space by only giving 4 color values, for 8 pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are those two different types of color-types?&#xA;Or how does one translate to the other?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="23797" LastEditorUserId="23797" LastEditDate="2018-12-02T08:22:22.377" LastActivityDate="2018-12-02T08:22:22.377" Title="Difference between 10bit 4:2:2 and 10bit display panels" Tags="|color|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25365" PostTypeId="1" AcceptedAnswerId="25387" CreationDate="2018-12-02T01:39:37.013" Score="1" ViewCount="527" Body="&lt;p&gt;I'm trying to split a video (50-100Mo) into several small clips of a few seconds each. I don't need re-encoding, hence my use of &lt;code&gt;codec copy&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However some of the resulting clips don't have any video.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Fast but no video in some files&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;  -y \&#xA;  -i ./data/partie-1:-Apprendre-300-mots-du-quotidien-en-LSF.jauvert-laura.hd.mkv \&#xA;  -ss 0:00:07.00 \&#xA;  -codec copy \&#xA;  -loglevel error \&#xA;  -to 0:00:10.36 \&#xA;  'raw/0:00:07.00.au revoir.mkv'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I also tried &lt;code&gt;-map 0 -c copy&lt;/code&gt;, &lt;code&gt;-acodec copy -map 0:a -vcodec copy -map 0:v&lt;/code&gt; or no option related to codec.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Slow but complete&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;No argument related to audio/video encoding, it's working but pretty slow.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y \&#xA;  -i &quot;$SOURCE_VIDEO_FILE&quot; \&#xA;  -ss 0:05:37.69 \&#xA;  -to 0:05:40.64 \&#xA;  -loglevel error&#xA;  'raw/0:05:37.69.pas la peine.mkv'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;Question&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;How do I split a video into small chunk &lt;code&gt;~2-4s&lt;/code&gt; when I have no need for re-encoding?&lt;/p&gt;&#xA;" OwnerUserId="23799" LastEditorUserId="23799" LastEditDate="2018-12-02T01:49:46.847" LastActivityDate="2018-12-05T05:07:02.157" Title="How to split video in small clip?" Tags="|ffmpeg|encoding|linux|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25366" PostTypeId="2" ParentId="25364" CreationDate="2018-12-02T02:05:02.130" Score="1" Body="&lt;p&gt;The bit depth and the sub-sampling method are related but different parameters of the imaging system. As you noted, the bit depth determines how many different colors the system can display. The more colors that can be imaged, the closer to reality the image looks. You also get fewer &lt;a href=&quot;https://en.wikipedia.org/wiki/Color_quantization&quot; rel=&quot;nofollow noreferrer&quot;&gt;quantizing&lt;/a&gt; artifacts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;https://en.wikipedia.org/wiki/Chroma_subsampling&quot; rel=&quot;nofollow noreferrer&quot;&gt;sub-sampling&lt;/a&gt; method is a form of compression. Human vision is less sensitive to colors than it is to luminance, or black/gray/white, information. By only sampling some pixels for color, the system saves data by trading off some resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(You should note that the &quot;better film cameras&quot; you reference in your question probably use 4:4:4 sub-sampling and better/professional video equipment use 4:2:2.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can have any combination of bit depth and sub-sampling. So a system can be, among other possible configurations:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;8-bit 4:2:2&lt;/li&gt;&#xA;&lt;li&gt;8-bit 4:4:4&lt;/li&gt;&#xA;&lt;li&gt;10-bit 4:2:2&lt;/li&gt;&#xA;&lt;li&gt;10-bit 4:4:4&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-12-02T02:05:02.130" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25367" PostTypeId="2" ParentId="25358" CreationDate="2018-12-02T04:47:28.447" Score="1" Body="&lt;p&gt;If the target chroma subsampling is the same as the source subsampling, then any ffmpeg scaling will be a no-op in that regard, so it's not subsampling 'further'.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmpeg does not determine chroma sampling scheme from a &lt;em&gt;tag&lt;/em&gt;. It is a basic property of the decoded bitstream. If it's 4:2:0, then the decoder will emit chroma planes of half-width and height with respect to the luma plane; for 4:2:2, half-width and full-height. A scaling operation will be carried out if the input and output schemes are different. A scaler will resize each row of the chroma plane to the target width of the output chroma plane and then rescale the resized rows to obtain the target height of the chroma planes. The &quot;translation&quot; is done as per the choice of scaling algorithm - see list at &lt;a href=&quot;https://ffmpeg.org/ffmpeg-scaler.html#Scaler-Options&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-scaler.html#Scaler-Options&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-12-02T15:32:51.803" LastActivityDate="2018-12-02T15:32:51.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25368" PostTypeId="2" ParentId="25329" CreationDate="2018-12-02T05:02:31.583" Score="2" Body="&lt;p&gt;Depends on whether or not you care about the image appearing squashed/stretched.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't care, then you can hold the shift key while dragging the corners of the transform tool to unlock the aspect ratio.  You can also do this by clicking the chain link icon between the x and y values of the &quot;Zoom&quot; item in the inspector pane, and then altering the numeric values.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you care about squashing/stretching, you care about cropping, you care about the image not being too small, &lt;strong&gt;and you have a fixed screen size&lt;/strong&gt;, then the answer is no. There's nothing you can do.  It's just the geometry of rectangles, not a limitation of the software.  You have to compromise in one of these areas.  Maybe you crop an equal amount off of each mirrored half, for instance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when you say, &quot;take up half the &lt;em&gt;screen&lt;/em&gt;,&quot; many of us make automatic assumptions about the size and shape of the rectangle you're trying to fill.  We assume that you're talking about a television, most likely, or maybe a YouTube video, but almost certainly something with a 16:9 aspect ratio (a width which is 1.7777 of the height).  But DaVinci Resolve will let you arbitrarily decide the dimensions of the movie file you're trying to create.  So, you could just set your timeline resolution to twice the width of your source media.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To do this, in the Project Settings -&gt; Master Settings, set the &quot;Timeline Resolution&quot; dropdown to &quot;Custom&quot; and enter numeric values in the boxes below.  The left field is width, so you'd enter double the source media's width in that field, and keep the other field the same as the original.  If you set it up right from the beginning, when you go to the Deliver tab to export, you shouldn't have to touch the &quot;Resolution&quot; dropdown menu.  If you do find yourself reaching for that menu, chances are you've made a mistake in the Project Settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, If you do try to play a double-wide movie on a 16:9 television screen, you're going to run into the same problems you had in the first place.  Most likely, the TV will add black bars to the top and bottom, and scale your image down to smaller than you wanted.  But it could also stretch, or crop, depending on it's default behavior.  However, if your end goal was always a movie file that would play back windowed on a computer, you're golden.  Just don't think too much about how that window fits into the rectangular display of whatever device the viewer uses ;-}&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2018-12-02T05:02:31.583" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25369" PostTypeId="2" ParentId="25360" CreationDate="2018-12-02T06:26:51.677" Score="2" Body="&lt;p&gt;In Premiere, you can align clips based on audio by putting the clips on separate tracks, selecting them both, right-clicking on one, and choosing, &quot;Synchronize.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as &quot;programs to compare edits with raw footage,&quot; DaVinci Resolve has a pretty robust conform process that lets you play a reference video along with any xml you've got from Premiere (or FCPX, Avid, whatever).  It also has a Scene Cut detection feature, which is helpful when there are a lot of &quot;bits&quot; to extract.  I don't remember which features are included in the free version of Resolve, but BlackMagic typically only restricts features meant for Hollywood studios.  It's worth learning, if you have the chance, just to use whichever tool meets your needs.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you don't have time to dive into another full NLE, you could just stack your reference video at the top of your Premiere timeline, turn the opacity down, and lock the track.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2018-12-02T06:26:51.677" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25370" PostTypeId="1" CreationDate="2018-12-02T12:42:07.203" Score="1" ViewCount="95" Body="&lt;p&gt;I want to switch from Adobe Pr to Resolve.&#xA;I downloaded it and now have some questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;How can I put any of the windows (Timeline, Preview...) on another screen?&#xA;All in all the customisation seems very limited, which is kinda a deal breaker for me because I highly customise my programs. Do they plan to add this in the near future?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;How can I zoom in the timeline? I only can zoom in and out and up and down. But I want to see all 10 Videos stacked on each other.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;3. How do I make a video bigger? My Project is 4096x1716p and my Video 3840x2160 the video has black bars and if I zoom, it zooms inside the black bars and doesnt scale it up to project size&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;4&quot;&gt;&#xA;&lt;li&gt;Do I need to go to Fusion for EVERY effect? Isn't there a Effects Windows like in Pr?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="23797" LastEditorUserId="23652" LastEditDate="2018-12-05T12:06:19.867" LastActivityDate="2018-12-05T12:06:19.867" Title="Switching from Adobe to Resolve" Tags="|premiere|adobe|software|workflow|davinci-resolve|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25371" PostTypeId="5" CreationDate="2018-12-02T12:47:38.017" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2018-12-02T12:47:38.017" LastActivityDate="2018-12-02T12:47:38.017" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25372" PostTypeId="4" CreationDate="2018-12-02T12:47:38.017" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2018-12-02T12:47:38.017" LastActivityDate="2018-12-02T12:47:38.017" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25373" PostTypeId="2" ParentId="25370" CreationDate="2018-12-02T12:52:06.123" Score="0" Body="&lt;p&gt;Found solution to 3.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Go to inspector in editing panel, to retime and scaling and put scaling to Fill.&lt;/p&gt;&#xA;" OwnerUserId="23797" LastActivityDate="2018-12-02T12:52:06.123" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25375" PostTypeId="1" AcceptedAnswerId="25377" CreationDate="2018-12-02T22:35:58.080" Score="1" ViewCount="215" Body="&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Comparison_of_video_container_formats&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Comparison_of_video_container_formats&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/23263/understanding-containers-and-codecs&quot;&gt;Understanding containers and codecs&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm just confused because the information above seems to indicate containers are simply chosen based on what codecs you want in your video, and that they are independent of the actual output which is determined by the codecs.&#xA;But then why is it when i output a h.264 in an .mp4 container the quality is much worse and shading different than h.264 in an .avi or .mkv?&#xA;And  if there is a reason is there a table or compilation somewhere showing this kind of information for each container so I know short of trying them all?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Extra&lt;/strong&gt;&lt;br&gt;&#xA;I ask because I'm trying to find an acceptable container to hold a .wav32 (or mbe .wav 16bit signed) and 4k h.265 video that will be supported by youtube specifically in this case, .avi isn't working. .mkv isnt listed as beings supported but does upload. it seems to be the same as a working .avi, but I don't pretend to understand what's really going on....it re-encodes anyways so its irrelevant so long as it seems to be the same as a supported format..?&lt;br&gt;&#xA;People say to convert .mkv to mp4 but I don't see any reason why....mkv supports going to mp4 without a re-encode but whyyy would you limit your audio options and do so....? Especially when mp4 seems to degrade quality as talked about above, although I don't know if going mkv to mp4 produces similar quality changes as straight out rendering into such a container. Other non supported containers like .ts produces favourable visual results as well.&lt;br&gt;&#xA;So this is relating to the posed question of does ur video container just hold the codecs and not affect anything really whether it be &quot;supported&quot; by a streaming site or not? It's all irrelevant and its the codecs that determine everything?&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="21882" LastEditDate="2018-12-02T22:56:32.613" LastActivityDate="2018-12-03T05:57:22.463" Title="Do video containers influence the video quality?" Tags="|ffmpeg|video-quality|codec|audio-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25376" PostTypeId="2" ParentId="16936" CreationDate="2018-12-03T04:24:23.933" Score="0" Body="&lt;p&gt;Probably &quot;-threads&quot; option may help. Try this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -threads 6 -report ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Add more thread as your CPU can handle.&lt;/p&gt;&#xA;" OwnerUserId="22365" LastActivityDate="2018-12-03T04:24:23.933" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25377" PostTypeId="2" ParentId="25375" CreationDate="2018-12-03T05:57:22.463" Score="2" Body="&lt;p&gt;The choice of container has no bearing on stream quality, which is determined solely by encoder parameters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What may happen is that the stream could have non-standard or at least unexpected colorimetry properties and some containers can't store that metadata or may have stored them incorrectly. Also possible is that the metadata is correct but the &lt;em&gt;player&lt;/em&gt; doesn't parse them correctly or at all depending on the container. This can lead to a difference in rendering, which you perceive as a change in quality.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-12-03T05:57:22.463" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25378" PostTypeId="2" ParentId="25335" CreationDate="2018-12-03T09:52:47.580" Score="0" Body="&lt;p&gt;Problem was in the source file (second input) that did not respect the correct scales and pads. I solved thanks to this answer &lt;a href=&quot;https://superuser.com/a/991412&quot;&gt;https://superuser.com/a/991412&lt;/a&gt;. Credits to @LordNeckbeard&lt;/p&gt;&#xA;" OwnerUserId="22139" LastActivityDate="2018-12-03T09:52:47.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25379" PostTypeId="1" AcceptedAnswerId="25431" CreationDate="2018-12-03T16:01:55.870" Score="1" ViewCount="1014" Body="&lt;p&gt;I am grading a clip of video in Premiere CC 2018 using Lumetri.&#xA;I have a clip where I have done an overall Basic Correction.&#xA;I now want to brighten faces using the HSL Secondary.  There are other areas of my clip which contain similar colours, which I do not want the HSL Secondary to affect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I do this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Make the basic grade&lt;/li&gt;&#xA;&lt;li&gt;Copy my lumetri settings&lt;/li&gt;&#xA;&lt;li&gt;Paste them onto the same clip again so there are now two sets of Lumetri effects on the clip. &lt;/li&gt;&#xA;&lt;li&gt;Switch off everything except Secondary HSL on my new copy of&#xA;the Lumetri effect. &lt;/li&gt;&#xA;&lt;li&gt;Mask the area I want to brighten on the second version of Lumetri&lt;/li&gt;&#xA;&lt;li&gt;Apply Secondary HSL to the masked area.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;My question is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I have to use two Lumetri effects on a single clip to achieve this with a mask?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2018-12-03T16:29:18.973" LastActivityDate="2018-12-11T22:58:17.663" Title="Using Secondary HSL in Lumetri on a masked part of a clip" Tags="|premiere|adobe|color-grading|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25380" PostTypeId="2" ParentId="25370" CreationDate="2018-12-03T16:42:43.920" Score="2" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;The customization options for window arrangement &lt;em&gt;are&lt;/em&gt; limited in Resolve, compared to some applications.  The customization options are flexible enough to have your timeline on a second monitor, though.  To do this, under the workspace menu, check both Dual Screen-&amp;gt; On and Dual Screen-&amp;gt; Full Screen Timeline. To switch which monitor the timeline's on, go to Workspace-&amp;gt; Primary Display.&lt;/p&gt;&#xA;&lt;p&gt;Your program monitor can be on either screen by switching which display is &amp;quot;Primary,&amp;quot; also.   In the color tab, there are three options for how your program monitor is displayed; Cinema, Enhanced Viewer, or Full Screen Viewer.  These options are found under Workspace -&amp;gt; Viewer mode.  In the edit tab, there is no Enhanced Viewer, but you can get the same effect by closing other panels and using Single Viewer mode.&lt;/p&gt;&#xA;&lt;p&gt;Besides having different panels open or closed, breaking out Scopes into a floating window (which you can drag to another monitor if you want to devote a monitor to scopes), resizing sections by dragging the divider between them, having tabbed timelines, multiple bin views, FCPX-like hover-scrubbing with strip or icon view and single view program monitor, or a more Premiere-like Source/Program,  there's not much more you can do to customize its layout.  You can't &amp;quot;skin&amp;quot; it like winamp.  You can't move panel positions relative to each other.  In short, everything you need to do your job is in there, with nothing superfluous.&lt;/p&gt;&#xA;&lt;p&gt;Whether or not BMD plans to add these features is anyone's guess, but their development team is extremely responsive to user feedback on their forums.  They've implemented changes that I've recommended on multiple occasions (the thin red line designating panel focus with the 15.2 update was something I suggested.)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Command +/- is one way to zoom, alt/option mousewheel or two-finger drag is another, dragging on the +/- zoom slider is another.  If you want to adjust track height, so that you can see more stacked layers, click on the &amp;quot;timeline view options&amp;quot; icon in the center of the screen, next to the zoom slider.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;There are multiple ways to scale in DaVinci, and a couple of points in the signal chain where the scaling might occur.  You've found edit scaling, but there's also project-wide scaling under Project Settings-&amp;gt; Image Scaling -&amp;gt;Mismatched resolution files.&lt;/p&gt;&#xA;&lt;p&gt;Then under the color tab, there's input sizing, output sizing, node sizing, and reference sizing.  The order of operations for color page sizing is covered in chapter 119 of the user manual.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Probably not, depending on what kind of effect you're after.  Fusion is to DaVinci what After Effects is to Premiere, except it's built in, and it's node-based, so conceptually it's more like Nuke than AE.  But if you just need simple things like blurs, keys, object removal, lens flares, etc, you can find those things in the OpenFX tab of the color page, or the Effects Library tab of the Edit page.  You can also install any plugin that supports OpenFX.  Genarts Sapphire, BorisFX Mocha, and filmconvert are all popular.   Premiere supports effects presets and templates better at the moment than DaVinci, but Fusion integration is new, and this should change soon.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2018-12-03T16:42:43.920" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25381" PostTypeId="1" AcceptedAnswerId="25382" CreationDate="2018-12-04T01:40:47.470" Score="0" ViewCount="101" Body="&lt;p&gt;I was rendering a video in ffmpeg and accidentally pressed &quot;shift&quot; and &quot;+&quot;, and the below started happening.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is this doing and how do I stop it and is it creating something I need to delete or worry about? And what do I do to delete it if so?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/3AuOG.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3AuOG.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21882" LastActivityDate="2018-12-04T05:00:32.723" Title="&quot;shift +&quot; while rendering in ffmpeg, how to undo?" Tags="|ffmpeg|command-line|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25382" PostTypeId="2" ParentId="25381" CreationDate="2018-12-04T05:00:32.723" Score="2" Body="&lt;p&gt;Don't worry, all you did is increase verbosity. The &lt;kbd&gt;Shift&lt;/kbd&gt; had no effect, but the &lt;kbd&gt;+&lt;/kbd&gt; increased it. Press &lt;kbd&gt;-&lt;/kbd&gt; to cycle back to a lower verbosity level.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Press &lt;kbd&gt;?&lt;/kbd&gt; to see a list of all available commands.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to not worry about accidental keypresses, you can add &lt;code&gt;-nostdin&lt;/code&gt; to the command. Don't do this if one of your inputs is a pipe.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-12-04T05:00:32.723" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25384" PostTypeId="2" ParentId="25348" CreationDate="2018-12-04T18:55:39.250" Score="0" Body="&lt;p&gt;It looks like most of the content on &lt;a href=&quot;https://www.lyngsat.com/AzerSpace-1-Africasat-1a.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Azerspace-1&lt;/a&gt; is &quot;in the clear&quot;, or not encrypted, which makes things easier. But there is still a lot of &quot;it depends&quot; for exactly what equipment you need. Aside from all of the earth station equipment (dish, &lt;a href=&quot;https://en.wikipedia.org/wiki/Low-noise_amplifier&quot; rel=&quot;nofollow noreferrer&quot;&gt;LNA&lt;/a&gt;, down converter, etc.), you will need a DVB-S2 or MPEG-4 receiver. That could be a vanilla receiver with an external encapsulator or gateway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are definitely companies that provide teleport and satellite media services. I'm not familiar with Azerspace-1's footprint to give concrete recommendations. However, two examples of companies that might be appropriate are &lt;a href=&quot;http://www.intelsat.com/global-network/intelsatone/teleports/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Intelsat&lt;/a&gt; (Fuchsstadt teleport) and &lt;a href=&quot;https://www.encompass.tv/encompass-riga/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Encompass&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-12-04T18:55:39.250" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25385" PostTypeId="2" ParentId="22761" CreationDate="2018-12-04T23:26:36.753" Score="0" Body="&lt;p&gt;&quot;Quality&quot; is a tricky term. You need to define &quot;quality&quot; before asking whether it will be better or worse. What you surely will not get is more information — you will have only as much or less information that you started with. Visual quality, though may be improved depending on what you do to your video. If your video is interlaced, you can deinterlace it to get rid of combing. Moreover, if it has been incorrectly deinterlaced and the combing artefacts are already baked in, you can remove them. You can change contrast or color. You can change aspect ratio. You can digitally zoom into certain sections. If your video has visible tiling artefacts, a good decoder will smoothen them out, so you can get visually more pleasant video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you are not planning any of the above, then better leave it as is, unless a specific format is required.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2018-12-04T23:26:36.753" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25387" PostTypeId="2" ParentId="25365" CreationDate="2018-12-05T05:07:02.157" Score="1" Body="&lt;p&gt;General speaking, you can not split already encoded video into some chunks with arbitrary length without re-encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The simplest way to make a cut is to get content between IDR frames. You could split your video sequence into segments that contain arbitrary number of GOPs (sequence of frames starting with IDR frame with length to next IDR) each. In this case, you could just copy the content without re-encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, you goal is to find out appropriate IDR frames, that satisfy you clip duration, and make a cut with copy. You lucky &lt;code&gt;ffmpeg&lt;/code&gt; use &lt;code&gt;-noaccurate_seek&lt;/code&gt; for copy. You could point start position by &lt;code&gt;-ss&lt;/code&gt; and duration with &lt;code&gt;-to&lt;/code&gt; near IDR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could face some challenges here:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;original video sequence has a variable GOP length - clip duration&#xA;won't be the same; &lt;/li&gt;&#xA;&lt;li&gt;original video sequence has an infinite GOP&#xA;length (only first frame is IDR) - impossible to split it without re-encoding;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;In your example you should move &lt;code&gt;-ss&lt;/code&gt; and &lt;code&gt;-to&lt;/code&gt; options before &lt;code&gt;-i&lt;/code&gt;, because you want to seek start position in the input video.&lt;/p&gt;&#xA;" OwnerUserId="23824" LastActivityDate="2018-12-05T05:07:02.157" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25389" PostTypeId="2" ParentId="24435" CreationDate="2018-12-05T08:04:18.000" Score="11" Body="&lt;p&gt;Regarding your FFMPEG issue, you need to build/obtain &lt;em&gt;FFmpeg&lt;/em&gt; with &lt;code&gt;--enable-libxml2&lt;/code&gt; configuration enabled to correctly parse a &lt;code&gt;manifest.mpd&lt;/code&gt; file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can check whether your &lt;em&gt;FFmpeg&lt;/em&gt; supports &lt;code&gt;libxml2&lt;/code&gt; by simply running it without any arguments. Here is the output from &lt;em&gt;FFmpeg&lt;/em&gt; 4.1 I built with -&lt;code&gt;-enable-libxml2&lt;/code&gt; (see &lt;code&gt;--enable-libxml2&lt;/code&gt; in the start of the 4&lt;sup&gt;th&lt;/sup&gt; line of the output):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;%./ffmpeg&#xA;&#xA;ffmpeg version n4.1-10-g59e30c05d7 Copyright (c) 2000-2018 the FFmpeg developers   &#xA;built with gcc 5.4.0 (Ubuntu 5.4.0-6ubuntu1~16.04.6) 20160609&#xA; configuration: --enable-gpl --enable-version3 --enable-openssl &#xA;--enable-libxml2 --enable-libssh --enable-libvorbis --enable-libvpx &#xA;--enable-libwavpack --enable-libwebp --enable-libx264 &#xA;--enable-libx265 --enable-libxvid --enable-libzmq &#xA;--enable-libzvbi --enable-libopus --enable-libpulse --enable-gmp --enable-libmodplug --enable-nonfree&#xA;          libavutil      56. 22.100 / 56. 22.100&#xA;          libavcodec     58. 35.100 / 58. 35.100&#xA;          libavformat    58. 20.100 / 58. 20.100&#xA;          libavdevice    58.  5.100 / 58.  5.100&#xA;          libavfilter     7. 40.101 /  7. 40.101&#xA;          libswscale      5.  3.100 /  5.  3.100&#xA;          libswresample   3.  3.100 /  3.  3.100&#xA;          libpostproc    55.  3.100 / 55.  3.100&#xA;        Hyper fast Audio and Video encoder&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Regarding your question above, once you have a working &lt;em&gt;FFmpeg&lt;/em&gt; with &lt;code&gt;--enable-libxml2&lt;/code&gt;, you can transcode the &lt;code&gt;.mpd&lt;/code&gt; to &lt;code&gt;.mp4&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i manifest.mpd -codec copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note: I use &lt;code&gt;-codec copy&lt;/code&gt; above to avoid transcoding of actual video and audio.&lt;/p&gt;&#xA;" OwnerUserId="23828" LastEditorUserId="18155" LastEditDate="2019-06-12T11:58:15.023" LastActivityDate="2019-06-12T11:58:15.023" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25390" PostTypeId="1" CreationDate="2018-12-05T09:53:33.567" Score="8" ViewCount="27396" Body="&lt;p&gt;I'm building an application, that is basically a video chat, where a user connects using WebRTC with another users (operator) browser, and should be able to talk to a third person. The WebRTC part is already done, and works properly.&#xA;The other part - the problematic one - is that the third person, will be recorded by some video equipment, and a stream will be handled to me using ffmpeg. So I need to, somehow stream this into a browser (and then stream it using WebRTC - that part I've got covered).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since the stream will be handled to me using ffmpeg, it would be best to use ffmpeg, to stream into a browser, but this is the part where it gets tricky. From what I understand, the only protocol I can use is HTTP (as browsers don't support udp or pretty much anything and using flash player is not an option), but it is not clear how.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One way was to use ffserver, but it got deprecated earlier this year, and I'd rather avoid using obsolete software. Another option is to use some other media streaming server, but I'd rather avoid installing anything. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;From what I've read ffmpeg should support what I need out of the box, but I'm not sure how to configure it. For now I've got this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f video4linux2 -s 640x480 -r 30 -i /dev/video0 -thread_queue_size 512 -ac 1 -f alsa -i pulse -f webm -listen 1 -seekable 0 -multiple_requests 1 http://localhost:8090&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;...and a HTML video tag to display this.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;video src=&quot;http://localhost:8090&quot;&amp;gt;&amp;lt;/video&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;... which almost works with &lt;code&gt;ffmpeg version 2.8.15-0ubuntu0.16.04.1&lt;/code&gt;. I get the browser to play my video, but only after recording stops. It seems, that the browser sees my ffmpeg output as a file and tries to download it, before it starts playing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This same command, run with &lt;code&gt;ffmpeg version 4.1&lt;/code&gt; gives me errors:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[vp8_v4l2m2m @ 0x3dede80] driver 'uvcvideo' on card 'ASUS USB2.0 WebCam'&#xA;[vp8_v4l2m2m @ 0x3dede80] Could not find a valid device&#xA;[vp8_v4l2m2m @ 0x3dede80] can't configure encoder&#xA;Error initializing output stream 0:0 -- Error while opening encoder for output stream #0:0 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How do I live stream from ffmpeg to a browser using http? If I need some sort of segment muxer, then how do I use it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Notes:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I use my webcam as an input, as this seems to be close to what I can&#xA;expect to get on production.&lt;/li&gt;&#xA;&lt;li&gt;this is a Linux (Ubuntu) enviorment&lt;/li&gt;&#xA;&lt;li&gt;this whole setup will be installed on our clients hardware and after&#xA;that I will no longer have access to it. Therefore I want to avoid&#xA;using anything other then ffmpeg (which they already use), as I'm not&#xA;sure if they will be able to manage this long term.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="23829" LastEditorUserId="14523" LastEditDate="2018-12-07T01:39:28.853" LastActivityDate="2019-01-09T22:00:45.327" Title="ffmpeg - live stream into a browser video tag (localhost only)" Tags="|ffmpeg|streaming|live|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25392" PostTypeId="1" AcceptedAnswerId="25394" CreationDate="2018-12-05T21:49:28.353" Score="1" ViewCount="771" Body="&lt;p&gt;As we all know, a DSLR camera works by moving a mirror out the sensors way when taking a picture and then going back to start, not exposing the sendor.&#xA;How does this process work, on an optical motion picture camera, while filming?&#xA;How can the dop/camera operator see what's beeing recorded?&lt;/p&gt;&#xA;" OwnerUserId="17625" LastActivityDate="2018-12-06T04:15:42.310" Title="How does an optical viewfinder on a film camera work?" Tags="|camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25394" PostTypeId="2" ParentId="25392" CreationDate="2018-12-06T04:15:42.310" Score="3" Body="&lt;p&gt;There are three ways that film cameras do this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Using a rangefinder, i.e. a viewfinder that doesn't actually view&#xA;through the lens. Common on cheaper consumer format cameras such as&#xA;super-8 &lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Using a beam splitter. The ubiquitous Bolex 16mm cameras&#xA;have a prism in the light path that splits the light coming through&#xA;the lens, so that some of it goes to the film gate, and the rest&#xA;goes to the eyepiece. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This has the advantage of being through the&#xA;lens, and continuous, but at the cost of brightness for the viewer&#xA;and a stop or so of exposure for the film. From personal experience,&#xA;in low light it can be really hard to focus a Bolex. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Using a rotating mirror. In this setup a reflective mirror interrupts the&#xA;light path to the film, similar to a DSLR, but instead of hinging up it rotates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When the camera is&#xA;stopped the mirror is parked so that it sends the light to the&#xA;viewer, and when shooting it rotates, acting as the shutter. While&#xA;the mirror is sending light to the viewfinder the film is being&#xA;pulled down to get the next frame in position in the gate. Then the&#xA;frame is exposed, during which time the viewfinder will be black. This cycle is repeated for each frame&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This has the advantage that all the light available goes to expose&#xA;the film, but at the cost of some flickering in the viewfinder (I&#xA;found that helpful: it lets you know that the camera is running—on&#xA;silent cameras it can be almost impossible to tell otherwise).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-12-06T04:15:42.310" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25395" PostTypeId="2" ParentId="25334" CreationDate="2018-12-06T05:35:25.067" Score="0" Body="&lt;p&gt;If you upload the videos to youtube then you can download the transcriptions as srt files. You can then &quot;burn them in&quot; fairly easily with ffmpeg, and just a leeetle bit of shell script. The basic ffmpeg command you need to burn in subtitles to a video file is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf subtitles=subs.srt out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where input.mp4 is your source video, subs.srt is your subtitles and out.mp4 is your output video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have a lot of videos it makes sense to use some sort of scripting to speed up the process. If you're on windows then powershell is a good option (actually it's cross-platform so you can also do this on a mac). Run powershell by hitting Windows-R and typing in powershell.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Say you have a folder of videos and srt files, and each video has an srt file with the same name. You could do this to join them all:&lt;/p&gt;&#xA;&#xA;&#xA;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;cd &quot;c:\the\path\to\your folder with\the movies&quot;&#xA;mkdir &quot;processed&quot;&#xA;get-childItem *.mp4|%{&#xA;    ffmpeg -i $_ -vf subtitles=($_.name.replace(&quot;mp4&quot;, &quot;srt&quot;)) (&quot;.\processed\&quot; + $_.name.replace(&quot;.mp4&quot;, &quot;_subs.mp4&quot;))&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;the first line &lt;strong&gt;c&lt;/strong&gt;hanges &lt;strong&gt;d&lt;/strong&gt;irectory to &lt;code&gt;c:\the\path\to\your folder with\the movies&lt;/code&gt;. Obviously you replace this with the actuall path to your movie folder (you can drag the folder into the powershell console to have it auto-filled for you)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;the next line &lt;strong&gt;m&lt;/strong&gt;a&lt;strong&gt;k&lt;/strong&gt;es a &lt;strong&gt;dir&lt;/strong&gt;ectory called &quot;processed&quot;. If we dump the output movies in the same folder as the originals it might confuse the script.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;then we start a loop. &lt;code&gt;get-childItem&lt;/code&gt; (aka &lt;code&gt;ls&lt;/code&gt;) means list the contents of the current directory. In this case we only want the items that match &lt;em&gt;something&lt;/em&gt;.mp4 so we use &lt;code&gt;*.mp4&lt;/code&gt; where the &lt;code&gt;*&lt;/code&gt; is a wildcard. The output of this command is piped to a foreach-object loop. The pipe is represented by the &lt;code&gt;|&lt;/code&gt; character, it sends the output of one command to another command. I've used &lt;code&gt;%&lt;/code&gt; which is the shorthand for &lt;code&gt;foreach-object&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What this does is repeat everything inside the &lt;code&gt;{&lt;/code&gt;curly braces&lt;code&gt;}&lt;/code&gt;, for each member of the list. Inside the curly braces, the current list member that we're working on is represented by the weird looking variable &lt;code&gt;$_&lt;/code&gt;. So if the folder contains file1.mp4, file2.mp4, file3.mp4… then &lt;code&gt;$_&lt;/code&gt; will stand for file1.mp4 the first time, file2.mp4 the second and so on.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;then comes the real hoo-hah. ffmpeg is called, and the &lt;code&gt;-i&lt;/code&gt; input is whatever file we're working on this time round. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The subtitles file has the same name as the video but with a &lt;code&gt;.srt&lt;/code&gt; extension. So for the subtitles filter we replace the &lt;code&gt;.mp4&lt;/code&gt; part of the name with &lt;code&gt;.srt&lt;/code&gt;. It's in brackets so that powershell knows to do the text replacement before calling the ffmpeg command. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Same deal for the output file. The relative path to the new &lt;code&gt;processed&lt;/code&gt; directory is added to the start, and the text &quot;_subs&quot; is added to the end of the name. So what ffmpeg sees when the input is &lt;code&gt;file1.mp4&lt;/code&gt; is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i file1.mp4 -vf subtitles=file1.srt .\processed\file1_subs.mp4&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-12-06T05:42:01.863" LastActivityDate="2018-12-06T05:42:01.863" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25398" PostTypeId="1" AcceptedAnswerId="25413" CreationDate="2018-12-06T18:17:42.187" Score="1" ViewCount="338" Body="&lt;p&gt;&lt;strong&gt;Backstory&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to learn about After Effects' different abilities.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I make a function using extend script like so&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;function alertStuff() {&#xA;    alert(&quot;stuff&quot;)&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Can I call this using a layer expression?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;alertStuff();&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="6206" LastActivityDate="2022-08-30T13:41:32.247" Title="After Effects - Can Expressions read from Extend Script?" Tags="|after-effects-expressions|after-effects-scripting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25406" PostTypeId="1" CreationDate="2018-12-08T17:31:03.227" Score="2" ViewCount="1209" Body="&lt;p&gt;What is the keyboard shortcut for split clip on German keyboards in daVinci Resolve 15 ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While a clip was selected in the edit tab's timeline and the playhead was over it, I tried &lt;code&gt;Ctrl+\&lt;/code&gt; (=&lt;code&gt;Strg+AltGr+ß&lt;/code&gt;), &lt;code&gt;Crtl+ß&lt;/code&gt; , &lt;code&gt;Ctrl+&amp;lt;&lt;/code&gt; and &lt;code&gt;Ctrl+&amp;gt;&lt;/code&gt; , but none of these worked.&lt;/p&gt;&#xA;" OwnerUserId="5074" LastEditorUserId="5074" LastEditDate="2018-12-13T08:29:14.670" LastActivityDate="2021-08-12T17:06:52.727" Title="daVinci Resolve: Split-clip shortcut on German keboard" Tags="|davinci-resolve|keyboard-shortcut|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25408" PostTypeId="1" AcceptedAnswerId="25427" CreationDate="2018-12-09T15:40:53.880" Score="1" ViewCount="45" Body="&lt;p&gt;I was watching vertigo last night which is directed by alfared hitchcock and I saw some scenes in which he used 'dolly effect' I was wondering how do you make that effect?&lt;/p&gt;&#xA;" OwnerUserId="23719" LastEditorUserId="1950" LastEditDate="2018-12-10T04:51:37.807" LastActivityDate="2018-12-12T07:05:41.723" Title="How to make a dolly effect?" Tags="|video|after-effects|video-production|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25411" PostTypeId="2" ParentId="25408" CreationDate="2018-12-10T00:52:07.873" Score="2" Body="&lt;p&gt;The &quot;Vertigo effect&quot; is achieved by zooming in while tracking out, or zooming out while tracking in. When done right the size of the subject stays the same in frame, while the perspective shifts unnaturally, giving an uncanny feel to the footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The effect is achieved in-camera. It could be replicated in post by separating the planes of the image along the depth axis and replicating the real-world camera movement, but it would be highly labour intensive, compared to doing it on set.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. Just to be suuuper pedantic, a &quot;dolly&quot; is a sideways movement, a movement forward or backward is a &quot;track&quot;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-12-12T07:05:41.723" LastActivityDate="2018-12-12T07:05:41.723" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25413" PostTypeId="2" ParentId="25398" CreationDate="2018-12-10T05:05:25.450" Score="1" Body="&lt;p&gt;&lt;strong&gt;Short answer&lt;/strong&gt;: no. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Long answer&lt;/strong&gt;: There may be an unknown, undocumented hack that enables this, like modifying some of the core classes, or a workaround, like writing to a file and reading the results, but I've never heard of such a thing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You probably know this, but it might be worth spelling out the differences between the two.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Expressions are evaluated every time a frame is rendered, either during preview or final render (this can be multiple times per frame when motion blur is turned on). They can access the properties of layers and compositions and other project items, as well as making some system calls and &lt;a href=&quot;https://blob.pureandapplied.com.au/using-data-from-an-external-file-to-drive-expressions/&quot; rel=&quot;nofollow noreferrer&quot;&gt;reading external files&lt;/a&gt; and a few other undocumented JS functions like &lt;a href=&quot;https://blob.pureandapplied.com.au/huh-lookit-that-you-can-auto-insert-the-date-in-an-expression/&quot; rel=&quot;nofollow noreferrer&quot;&gt;time and date&lt;/a&gt;. They can not change any part of the project, they are limited to returning one value—the value applied to the property they belong to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is different to the way scripts work, which is to basically replicate anything the user could do, but programatically. They are not called at render time. Since scripts can change the content of compositions, there would be problems with calling them at render time: just using your example, the alert might be displayed 64 times &lt;em&gt;per frame&lt;/em&gt; if motion blur was set really high—that would get old pretty quickly. But even for a non-trivial example: suppose you had a script that added a layer to the current comp. If it was called from an expression it would run every time the frame was rendered, whether it was at final render time, or during previewing, or when the user parked the playhead on the frame. With MB on that could mean 64 new layers could be added per frame—&lt;em&gt;while the comp was being rendered&lt;/em&gt;. The results would get pretty messy.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-12-10T06:09:26.160" LastActivityDate="2018-12-10T06:09:26.160" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25415" PostTypeId="1" AcceptedAnswerId="25417" CreationDate="2018-12-10T12:00:40.003" Score="1" ViewCount="2371" Body="&lt;p&gt;I have a video clip I want to get the positions of all keyframes from. To achieve this, I tried running various ffmpeg/ffprobe commands, but all of them return similar output. From first 20 seconds of the video I always get keyframes at:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frame,0.000000&#xA;frame,3.000000&#xA;frame,5.000000&#xA;frame,6.416667&#xA;frame,10.000000&#xA;frame,15.000000&#xA;frame,19.041667&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;All of those also have the is_key value set to 1. The problem is, that the 'real' keyframes are only at intervals of 5. So of those above, the working keyframes are:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frame,0.000000&#xA;frame,5.000000&#xA;frame,10.000000&#xA;frame,15.000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but if I try actually using other ones to, for instance, -c copy a part of video out, ffmpeg actually skips the non-idr keyframes and copies from previous keyframe to the point I requested.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also in Avidemux if I load the file into it, the option 'jump to next/previous keyframe' only jumps between the keyframes at interval of 5.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I get ffmpeg/ffprobe to only return information about the usable keyframes, without knowing the file beforehand?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;link to the file I worked on (it's big, but it's the only one I have right now)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://drive.google.com/open?id=1aV3BLCrxNMhZX4uSBJzoiuNUhSm9CFap&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/open?id=1aV3BLCrxNMhZX4uSBJzoiuNUhSm9CFap&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;full log output&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -loglevev verbose -skip_frame nokey -select_streams v -show_entries frame=key_frame,pkt_pts_time -of&quot; csv=print_section=1 -read_intervals 0%+20 srcFile.mp4&#xA;&#xA;ffprobe version n4.0-39-gda39990 Copyright (c) 2007-2018 the FFmpeg developers&#xA;  built with gcc 4.9.x (GCC) 20150123 (prerelease)&#xA;  configuration: --target-os=linux --cross-prefix=/root/bravobit/ffmpeg-android/toolchain-android/bin/arm-linux-androideabi- --arch=arm --cpu=cortex-a8 --enable-runtime-cpudetect --sysroot=/root/bravobit/ffmpeg-android/toolchain-android/sysroot --enable-pic --enable-libx264 --enable-ffprobe --enable-libopus --enable-libvorbis --enable-libfdk-aac --enable-libfreetype --enable-libfribidi --enable-libmp3lame --enable-fontconfig --enable-libvpx --enable-libass --enable-yasm --enable-pthreads --disable-debug --enable-version3 --enable-hardcoded-tables --disable-ffplay --disable-linux-perf --disable-doc --disable-shared --enable-static --enable-runtime-cpudetect --enable-nonfree --enable-network --enable-avresample --enable-avformat --enable-avcodec --enable-indev=lavfi --enable-hwaccels --enable-ffmpeg --enable-zlib --enable-gpl --enable-small --enable-nonfree --pkg-config=pkg-config --pkg-config-flags=--static --prefix=/root/bravobit/ffmpeg-android/build/armeabi-v7a --extra-cflags='-I/root/bravobit/ffmpeg-android/toolchain-android/include -U_FORTIFY_SOURCE -D_FORTIFY_SOURCE=2 -fno-strict-overflow -fstack-protector-all' --extra-ldflags='-L/root/bravobit/ffmpeg-android/toolchain-android/lib -Wl,-z,relro -Wl,-z,now -pie' --extra-cxxflags=&#xA;  libavutil      56. 14.100 / 56. 14.100&#xA;  libavcodec     58. 18.100 / 58. 18.100&#xA;  libavformat    58. 12.100 / 58. 12.100&#xA;  libavdevice    58.  3.100 / 58.  3.100&#xA;  libavfilter     7. 16.100 /  7. 16.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  1.100 /  5.  1.100&#xA;  libswresample   3.  1.100 /  3.  1.100&#xA;  libpostproc    55.  1.100 / 55.  1.100&#xA;Adding 'key_frame' to the entries to show in section 'frame'&#xA;Adding 'pkt_pts_time' to the entries to show in section 'frame'&#xA;Parsed log interval id:0 start:0 end:+20&#xA;[h264 @ 0xe9fa9380] Reinit context to 1280x720, pix_fmt: yuv420p&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/storage/emulated/0/Movies/Capture/bobross.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2016-08-22T05:06:42.000000Z&#xA;  Duration: 10:00:27.90, start: 0.000000, bitrate: 1127 kb/s&#xA;    Stream #0:0(und): Video: h264, 1 reference frame (avc1 / 0x31637661), yuv420p(left), 1280x720 [SAR 1:1 DAR 16:9], 997 kb/s, 24 fps, 24 tbr, 90k tbn, 48 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-08-22T05:06:42.000000Z&#xA;      handler_name    : ISO Media file produced by Google Inc.&#xA;    Stream #0:1(und): Audio: aac (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 125 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-08-22T05:06:42.000000Z&#xA;      handler_name    : ISO Media file produced by Google Inc.&#xA;Processing read interval id:0 start:0 end:+20&#xA;Seeking to read interval start point 0&#xA;[h264 @ 0xe9fa9e00] Reinit context to 1280x720, pix_fmt: yuv420p&#xA;ffprobe version n4.0-39-gda39990 Copyright (c) 2007-2018 the FFmpeg developers&#xA;  built with gcc 4.9.x (GCC) 20150123 (prerelease)&#xA;  configuration: --target-os=linux --cross-prefix=/root/bravobit/ffmpeg-android/toolchain-android/bin/arm-linux-androideabi- --arch=arm --cpu=cortex-a8 --enable-runtime-cpudetect --sysroot=/root/bravobit/ffmpeg-android/toolchain-android/sysroot --enable-pic --enable-libx264 --enable-ffprobe --enable-libopus --enable-libvorbis --enable-libfdk-aac --enable-libfreetype --enable-libfribidi --enable-libmp3lame --enable-fontconfig --enable-libvpx --enable-libass --enable-yasm --enable-pthreads --disable-debug --enable-version3 --enable-hardcoded-tables --disable-ffplay --disable-linux-perf --disable-doc --disable-shared --enable-static --enable-runtime-cpudetect --enable-nonfree --enable-network --enable-avresample --enable-avformat --enable-avcodec --enable-indev=lavfi --enable-hwaccels --enable-ffmpeg --enable-zlib --enable-gpl --enable-small --enable-nonfree --pkg-config=pkg-config --pkg-config-flags=--static --prefix=/root/bravobit/ffmpeg-android/build/armeabi-v7a --extra-cflags='-I/root/bravobit/ffmpeg-android/toolchain-android/include -U_FORTIFY_SOURCE -D_FORTIFY_SOURCE=2 -fno-strict-overflow -fstack-protector-all' --extra-ldflags='-L/root/bravobit/ffmpeg-android/toolchain-android/lib -Wl,-z,relro -Wl,-z,now -pie' --extra-cxxflags=&#xA;  libavutil      56. 14.100 / 56. 14.100&#xA;  libavcodec     58. 18.100 / 58. 18.100&#xA;  libavformat    58. 12.100 / 58. 12.100&#xA;  libavdevice    58.  3.100 / 58.  3.100&#xA;  libavfilter     7. 16.100 /  7. 16.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  1.100 /  5.  1.100&#xA;  libswresample   3.  1.100 /  3.  1.100&#xA;  libpostproc    55.  1.100 / 55.  1.100&#xA;Adding 'key_frame' to the entries to show in section 'frame'&#xA;Adding 'pkt_pts_time' to the entries to show in section 'frame'&#xA;Parsed log interval id:0 start:0 end:+20&#xA;[h264 @ 0xe9fa9380] Reinit context to 1280x720, pix_fmt: yuv420p&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/storage/emulated/0/Movies/Capture/bobross.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2016-08-22T05:06:42.000000Z&#xA;  Duration: 10:00:27.90, start: 0.000000, bitrate: 1127 kb/s&#xA;    Stream #0:0(und): Video: h264, 1 reference frame (avc1 / 0x31637661), yuv420p(left), 1280x720 [SAR 1:1 DAR 16:9], 997 kb/s, 24 fps, 24 tbr, 90k tbn, 48 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-08-22T05:06:42.000000Z&#xA;      handler_name    : ISO Media file produced by Google Inc.&#xA;    Stream #0:1(und): Audio: aac (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 125 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-08-22T05:06:42.000000Z&#xA;      handler_name    : ISO Media file produced by Google Inc.&#xA;Processing read interval id:0 start:0 end:+20&#xA;Seeking to read interval start point 0&#xA;[h264 @ 0xe9fa9e00] Reinit context to 1280x720, pix_fmt: yuv420p&#xA;frame,1,0.000000frame,1,3.000000frame,1,5.000000frame,1,6.416667frame,1,10.000000frame,1,15.000000frame,1,19.041667&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="23874" LastActivityDate="2022-09-07T12:25:38.030" Title="FFmpeg/FFprobe marks non-idr keyframes as keyframes" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25416" PostTypeId="1" AcceptedAnswerId="25422" CreationDate="2018-12-10T18:36:38.197" Score="1" ViewCount="1450" Body="&lt;p&gt;I want to edit after effects project (.aep file) with aerender. i used this command &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;aerenderer -project E:/AE/template.aep -comp Example -output E:/AE/video.avi&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;to render .aep file to .avi and every thing is fine. now i want to change the text in the .aep file and then render it with the new text. the question is: Is it possible to change the text with just &lt;code&gt;aerender&lt;/code&gt; or i have to use extend script?&lt;/p&gt;&#xA;" OwnerUserId="23860" LastActivityDate="2023-08-08T05:31:47.210" Title="edit after effects projects with aerender and extend script" Tags="|after-effects|video-editor|aerender|extendscript|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25417" PostTypeId="2" ParentId="25415" CreationDate="2018-12-10T19:09:26.967" Score="5" Body="&lt;p&gt;The decoder is marking recovery points as keyframes&lt;/p&gt;&#xA;&#xA;&lt;p&gt;e.g. take the frame with PTS 3.00s&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a recovery point* and the packet contains an I-slice (slice_type 7). Furthermore, as &lt;code&gt;recovery_frame_cnt&lt;/code&gt; is 0, the decoder can immediately display frames from this point onwards.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Packet: 25021 bytes, pts 270000, dts 266250, duration 3750.&#xA;Supplemental Enhancement Information&#xA;0           forbidden_zero_bit                                          0 = 0&#xA;1           nal_ref_idc                                                00 = 0&#xA;3           nal_unit_type                                           00110 = 6&#xA;8           last_payload_type_byte                               00000110 = 6&#xA;16          last_payload_size_byte                               00000001 = 1&#xA;Recovery Point&#xA;24          recovery_frame_cnt                                          1 = 0&#xA;25          exact_match_flag                                            1 = 1&#xA;26          broken_link_flag                                            0 = 0&#xA;27          changing_slice_group_idc                                   00 = 0&#xA;29          bit_equal_to_one                                            1 = 1&#xA;30          bit_equal_to_zero                                           0 = 0&#xA;31          bit_equal_to_zero                                           0 = 0&#xA;32          rbsp_stop_one_bit                                           1 = 1&#xA;33          rbsp_alignment_zero_bit                                     0 = 0&#xA;34          rbsp_alignment_zero_bit                                     0 = 0&#xA;35          rbsp_alignment_zero_bit                                     0 = 0&#xA;36          rbsp_alignment_zero_bit                                     0 = 0&#xA;37          rbsp_alignment_zero_bit                                     0 = 0&#xA;38          rbsp_alignment_zero_bit                                     0 = 0&#xA;39          rbsp_alignment_zero_bit                                     0 = 0&#xA;Slice Header&#xA;0           forbidden_zero_bit                                          0 = 0&#xA;1           nal_ref_idc                                                10 = 2&#xA;3           nal_unit_type                                           00001 = 1&#xA;8           first_mb_in_slice                                           1 = 0&#xA;9           slice_type                                            0001000 = 7&#xA;16          pic_parameter_set_id                                        1 = 0&#xA;17          frame_num                                                1111 = 15&#xA;21          pic_order_cnt_lsb                                       10000 = 16&#xA;26          adaptive_ref_pic_marking_mode_flag                          0 = 0&#xA;27          slice_qp_delta                                        0001111 = -7&#xA;34          disable_deblocking_filter_idc                               1 = 0&#xA;35          slice_alpha_c0_offset_div2                                  1 = 0&#xA;36          slice_beta_offset_div2                                      1 = 0&#xA;37          cabac_alignment_one_bit                                     1 = 1&#xA;38          cabac_alignment_one_bit                                     1 = 1&#xA;39          cabac_alignment_one_bit                                     1 = 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;*see &lt;a href=&quot;https://mailman.videolan.org/pipermail/vlc-commits/2010-October/003615.html&quot; rel=&quot;noreferrer&quot;&gt;https://mailman.videolan.org/pipermail/vlc-commits/2010-October/003615.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;If your inputs are MP4s, you can examine the packets to get the IDR key status&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -loglevel verbose -skip_frame nokey -select_streams v -show_entries packet=pts_time,flags -of csv=print_section=1 -read_intervals 0%+20 srcFile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For the first 6 seconds, this will show only the frames at 0 and 5.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;packet,0.000000,K_&#xA;...&#xA;packet,3.000000,__&#xA;...&#xA;packet,5.000000,K_&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-12-10T19:09:26.967" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25420" PostTypeId="2" ParentId="25390" CreationDate="2018-12-10T21:45:19.840" Score="3" Body="&lt;p&gt;I think that the issue is the video tag.  The video tag does not support live streaming directly, see &lt;a href=&quot;https://stackoverflow.com/questions/5858936/html5-live-streaming.&quot;&gt;this question on SO&lt;/a&gt;.  Specifically:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A. &lt;a href=&quot;https://stackoverflow.com/a/39750043/3935060&quot;&gt;This answer&lt;/a&gt; for a technical description of what you want to implement&lt;/p&gt;&#xA;&#xA;&lt;p&gt;B. &lt;a href=&quot;https://stackoverflow.com/a/44987330/3935060&quot;&gt;This answer&lt;/a&gt; for a code sample&lt;/p&gt;&#xA;" OwnerUserId="22728" LastActivityDate="2018-12-10T21:45:19.840" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25421" PostTypeId="1" CreationDate="2018-12-10T22:24:24.980" Score="-2" ViewCount="42" Body="&lt;p&gt;What are the free livecast/livestream services with very low latency (below 3 seconds) ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried YouTube Live but I couldn't keep the latency below 10 seconds. &lt;/p&gt;&#xA;" OwnerUserId="14444" LastEditorUserId="14444" LastEditDate="2018-12-10T23:32:45.503" LastActivityDate="2018-12-12T14:13:48.320" Title="What are the free livecast/livestream services with very low latency" Tags="|streaming|broadcasting|live-recording|latency|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25422" PostTypeId="2" ParentId="25416" CreationDate="2018-12-11T06:43:12.973" Score="4" Body="&lt;p&gt;Aerender does what it says on the tin: it just renders. It can save a comp after rendering if there's a post-render action like setting proxies, but AFAIK it has no other capability to modify projects (figures, because it is available to put on as many machines as you want, so they don't want to be giving away a program capable of editing .aep files).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To modify an After Effects project you &lt;em&gt;have&lt;/em&gt; to have a licensed instance of After Effects running. You can do it with extendscript in headless mode, so AE will run, but won't show the UI, but you can't run extendscripts without AE installed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A better way to do what you want is to use the new &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/data-driven-animations.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;data-driven animation&lt;/a&gt; features. You can use an expression so that the content of the text layer is linked to an external data file. Changing this file (which can be JSON, a piece of JS or just plain text) will change the contents of the text layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using that workflow you &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Set up your template with AE, &lt;/li&gt;&#xA;&lt;li&gt;set the data file with Node (or whatevs) render, &lt;/li&gt;&#xA;&lt;li&gt;replace the data in the file,&lt;/li&gt;&#xA;&lt;li&gt;move the previous render, &lt;/li&gt;&#xA;&lt;li&gt;render again, change the data, render, and so on. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;One gotcha with that technique is that you have to move the rendered file between renders, because you can't change the destination of the comp in the render queue so it will try to over-write the old one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're using older versions of AE you can still use external data files to drive the contents of a text layer using &lt;code&gt;eval()&lt;/code&gt; in an expression. The technique is explained &lt;a href=&quot;https://blob.pureandapplied.com.au/using-data-from-an-external-file-to-drive-expressions/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; (full disclosure: my personal blog).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2018-12-12T07:03:02.197" LastActivityDate="2018-12-12T07:03:02.197" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="25425" PostTypeId="1" AcceptedAnswerId="25428" CreationDate="2018-12-11T16:45:18.227" Score="0" ViewCount="31" Body="&lt;p&gt;I followed a similar process of precomposing a number of layers but the last time it gave me something I hadn't seen yet and I'm trying to understand what happened.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the image you see a green bar about 5 cm wide. To the right you see a further extending semi-transparent bar that extends off the screen. What is this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7NYDZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7NYDZ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6206" LastEditorUserId="6206" LastEditDate="2018-12-12T19:08:43.077" LastActivityDate="2018-12-12T19:08:43.077" Title="Screenshot - what is this on my layer?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25426" PostTypeId="1" AcceptedAnswerId="25433" CreationDate="2018-12-11T17:32:00.813" Score="0" ViewCount="38" Body="&lt;p&gt;&lt;strong&gt;The Setup&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;- PreComp1&#xA;-- PreCompLayer1&#xA;--- simpleRectangleLayer&#xA;&#xA;- Main Timeline&#xA;-- layer1&#xA;--- [PreComp1]&#xA;-- layer2&#xA;--- [PreComp1]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using only scripting is it possible to modify the inside of a single precomp instance? eg. change the color of &lt;code&gt;layer1.PreComp1.simpleRectangleLayer&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="6206" LastActivityDate="2018-12-12T07:15:33.257" Title="Is it possible to modify a single precomp instance via scripting?" Tags="|after-effects|after-effects-expressions|after-effects-scripting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25427" PostTypeId="2" ParentId="25408" CreationDate="2018-12-11T19:05:56.803" Score="1" Body="&lt;p&gt;I simply explain it to you.you just go near or far from your subject but maintain your frame same by zooming out or in (by changing focal length) so in this way you get background compression or expansion and when you combine all these pictures just like you do in hyperlapse. Hope you got it...&lt;/p&gt;&#xA;" OwnerUserId="23886" LastActivityDate="2018-12-11T19:05:56.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25428" PostTypeId="2" ParentId="25425" CreationDate="2018-12-11T20:04:21.273" Score="4" Body="&lt;p&gt;That means there's extra media after the end of the clip.  If you hover the mouse over the intersection of the semi-transparent part and the opaque part, it will turn into a double arrow &amp;lt;--&gt;.  If you then click and drag to the right and play back the file, you'll notice extra media appear as part of your composition.  &lt;em&gt;I.e.&lt;/em&gt; something more will happen in the video.  Drag it to the left, and the clip will disappear when the playhead hits that part of the timeline.  The transparency just lets you know that whatever recorded the media file (a camera, for example) recorded &lt;em&gt;something&lt;/em&gt; more than what you're seeing play back in the viewer.  In other words, you could potentially extend the edit.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2018-12-11T21:29:08.973" LastActivityDate="2018-12-11T21:29:08.973" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25429" PostTypeId="1" CreationDate="2018-12-11T21:15:59.570" Score="1" ViewCount="1276" Body="&lt;p&gt;I have the &lt;a href=&quot;http://pdf.myprojectorlamps.com/projector-manuals/pdf/EPSON/EPSON%20EH-DM3.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;EPSON EH-DM3 projector&lt;/a&gt; and it supports the following formats only:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sY90Q.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sY90Q.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and here are more specific info:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/6M7ME.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6M7ME.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;now I'd like to be able to reproduce my videos on it by simply converting them before reproducing on the projector.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Linux, what command could I use to convert a video?&#xA;I think I should re-encode any video to &lt;code&gt;.avi&lt;/code&gt; right?&#xA;Is there a general command I can use for all my video files and that does not required too much time to convert?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -profile:v mpeg4_asp -vf scale=720x576 output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but the projector keeps saying &lt;code&gt;Codec is not supported&lt;/code&gt; when entering the USB drive and trying to reproduce the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks a lot!&lt;/p&gt;&#xA;" OwnerUserId="23888" LastEditorUserId="23888" LastEditDate="2018-12-12T19:20:26.143" LastActivityDate="2018-12-12T19:20:26.143" Title="Convert video files to supported formats and with correct codec to reproduce on Epson projector" Tags="|ffmpeg|projector|avi|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25430" PostTypeId="2" ParentId="18455" CreationDate="2018-12-11T21:27:03.257" Score="0" Body="&lt;p&gt;Glad you found a solution, but to set the record straight, DaVinci's stabilization tool can limit its effect to a single axis.  Here are steps which work on as of version 15.2.1:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Open the color tab.&lt;/li&gt;&#xA;&lt;li&gt;Activate the tracker panel (it looks like a crosshairs reticle)&lt;/li&gt;&#xA;&lt;li&gt;Change the tracker's mode from window to stabilize.  Do this by clicking on the dropdown disclosure triangle next to the word &quot;Window&quot; or on the word itself.  (this UI behavior is inconsistent in other parts of DaVinci).&lt;/li&gt;&#xA;&lt;li&gt;Change the Stabilizer mode to &quot;Classic Stabilizer.&quot;  This option exists under the ellipsis dots menu just to the right of the word &quot;Stabilizer.&quot;  It's the second item from the bottom of the list.&lt;/li&gt;&#xA;&lt;li&gt;You should now see boxes for Pan, Tilt, Zoom, and Rotate.  What you call &quot;vertical pan&quot; is usually called, &quot;tilt&quot; in the industry, so make sure that's the only box that's checked.&lt;/li&gt;&#xA;&lt;li&gt;At the bottom of the tracker interface, change the dropdown menu from &quot;Point Tracker&quot; to &quot;Cloud Tracker&quot; if necessary.&lt;/li&gt;&#xA;&lt;li&gt;Click &quot;Stabilize.&quot;  Additional settings and options are described in the Chapter 119 of the user manual, &quot;Sizing and Image Stabilization.&quot;  DaVinci's manual is pretty unwieldy, so it's easy to miss.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2018-12-11T21:27:03.257" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25431" PostTypeId="2" ParentId="25379" CreationDate="2018-12-11T22:51:42.363" Score="1" Body="&lt;p&gt;You do need a second copy of the Lumetri effect, but you don't need to duplicate the clip, whether or not you keep the extra copy.  Instead of your current workflow, try using Adjustment Layers:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Perform your primary color corrections as you normally would on a single lumetri instance.  By &quot;primary color corrections,&quot; I mean white balance, exposure, overall adjustments, and anything that affects the whole frame equally.  No matter what color grading software you use, it's best practice to keep these &quot;color primary&quot; operations logically distinct from operations which require keys, masks, mattes, windows, etc.  One reason for this is that keeping primary adjustments logically distinct allows them to be baked into LUTs (a topic for another discussion).  But as you've discovered, it also helps keeps your work organized so that local adjustments can be accurately targeted.&lt;/li&gt;&#xA;&lt;li&gt;Add an adjustment layer.  To do this, make sure your project panel is active by clicking in it, go the the File menu, and select New-&gt;Adjustment layer.&lt;/li&gt;&#xA;&lt;li&gt;Drag the new adjustment layer from the project panel to your timeline and drop it on a layer that's above your footage.  In a sense, Adjustment layers are &quot;empty&quot; because they don't contain any video information, but in another sense, they're &quot;transparent&quot; and let you stack effects.  It's because of this transparency that you don't have to duplicate the underlying lumetri primary correction that you performed earlier.  The white balance, exposure adjustments, etc, &quot;show through&quot; to the adjustment layer.&lt;/li&gt;&#xA;&lt;li&gt;Draw your mask on the adjustment layer, and perform your &quot;color secondaries&quot; there by adding a new instance of the Lumetri effect to the it.  There, you can brighten the faces as you see fit, you can keyframe the movement of the matte if you need to (aka &quot;rotoscoping&quot;), and your color primaries will remain intact.&lt;/li&gt;&#xA;&lt;li&gt;In this way, you can add as many adjustment layers as you like, and isolate as many different areas of the image as necessary, each with its own unique color transformation.  You can even use mask blending modes to perform boolean operations to the masks, generating complex unions, intersections, cutouts, etc.  &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;There are some limitations and restrictions to Adobe's color workflow, which is why people turn to other software as their grades become more complex.  Tracking multiple masks is problematic, for instance.  However, for basic color work, Premiere is often a simple, quick, and effective solution.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2018-12-11T22:58:17.663" LastActivityDate="2018-12-11T22:58:17.663" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25433" PostTypeId="2" ParentId="25426" CreationDate="2018-12-12T07:15:33.257" Score="2" Body="&lt;p&gt;Scripting can do anything you can do with the UI. This isn't something you can do with the UI, so no, you can't do it with scripting. If you change the colour of precomp1.layer1.simpleRectangleLayer then it changes for all instances of precomp1. That's how precomps work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'd have to make a script that would do the same thing you'd have to do with the UI—duplicate precomp1 to make precomp2, change the colour of the layer and replace the source of layer2 to precomp2. I did make a script that does this kinda. It lets you duplicate a layer and make a duplicate of its source so that it can be changed. Available (free, open source) &lt;a href=&quot;https://blob.pureandapplied.com.au/the-cloninator/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; (caveat: there are some bugs I've never found the time to iron out).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-12-12T07:15:33.257" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25434" PostTypeId="1" AcceptedAnswerId="25435" CreationDate="2018-12-12T08:21:25.273" Score="0" ViewCount="239" Body="&lt;p&gt;I have a simple video with some background noises added and a background audio track.&lt;br&gt;&#xA;However, background audio track is too long, so I carefully cut it into multiple pieces and seamlessly mix:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/woT7t.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/woT7t.png&quot; alt=&quot;Final Cut Pro X — Mixing Background Music&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It works fine, but my second audio part is now connected to the video on top — every next change in the timeline will break my carefully mixed audiotracks.&lt;br&gt;&#xA;I want it to be connected to the first &lt;em&gt;audio&lt;/em&gt; part instead.&lt;br&gt;&#xA;Is it possible?&lt;/p&gt;&#xA;" OwnerUserId="17433" LastActivityDate="2018-12-12T11:51:27.803" Title="Final Cut Pro X — Connect audio clip to another audio (not video)" Tags="|video-editor|audio|final-cut-pro-x|mixing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25435" PostTypeId="2" ParentId="25434" CreationDate="2018-12-12T11:51:27.803" Score="1" Body="&lt;p&gt;Create a compound clip with the music on the audio track. This will fix them in place. Replace the individual clips with the compound clip. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2018-12-12T11:51:27.803" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25437" PostTypeId="2" ParentId="25421" CreationDate="2018-12-12T14:13:48.320" Score="0" Body="&lt;p&gt;This first part should be a comment, but I don't have the reputation to add it as such:&#xA;Can you add more details as to your end goal is?  I suspect that you are not streaming to the general public if you need a less than 3 second latency and are instead trying to get video from one device to another.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Answer: If I am right, and you are technically inclined, look into using netcat. See &lt;a href=&quot;https://www.youtube.com/watch?v=e_frYStbf-M&quot; rel=&quot;nofollow noreferrer&quot;&gt;Demo video&lt;/a&gt;,  &lt;a href=&quot;http://www.sauravag.com/2015/02/low-latency-video-streaming-from-raspberry-pi-and-camera-module/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Tutorial&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22728" LastActivityDate="2018-12-12T14:13:48.320" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25438" PostTypeId="1" AcceptedAnswerId="25439" CreationDate="2018-12-12T15:02:33.903" Score="0" ViewCount="1236" Body="&lt;p&gt;I played a recorded video to test this, so video content would be same in both cases. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recorded video length is 1 Minute in both cases.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There may be a split second difference in the videos as I start FFMpeg command in cmd window and then switch to VLC player to playback video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) command to record:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -framerate 30 -i desktop -f segment -segment_time 60 out12Dec1%03d.flv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This recorded video of 1 min is 9.99 MB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) command to compress:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i out12Dec1000.flv -vcodec libx264 -crf 20 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This compresses the video to 1.76 MB&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Now I am trying to use the parameters to directly capture in compressed mode instead of using 2 steps.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -framerate 30 -i desktop -f segment -segment_time 60 -vcodec libx264 -crf 20  outvcodec12Dec19%03d.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried both with and without framerate option, and used flv / mp4 for output.&#xA;The output videos are between 2.24 to 2.57 MB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is the recorded output in case 3 not close to 1.76 MB? &lt;/p&gt;&#xA;" OwnerUserId="23896" LastActivityDate="2018-12-13T05:00:19.747" Title="FFMpeg - why recording a video and then compressing it produces a smaller size video than recording with combined options" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25439" PostTypeId="2" ParentId="25438" CreationDate="2018-12-12T17:16:16.143" Score="0" Body="&lt;p&gt;Your first command is transcoding using FLV1 codec to store in &lt;code&gt;.flv&lt;/code&gt;. This is not the same input provided to the x264 encoder as when directly encoded to H264. In fact, it's quite worse, since the default target bitrate set for FLV1 is 200 kbps (although for full desktop capture, it will overshoot by a lot). This has less complex detail in general so it's easier for x264 to encode than the full fidelity raw desktop input.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2018-12-13T05:00:19.747" LastActivityDate="2018-12-13T05:00:19.747" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25441" PostTypeId="1" AcceptedAnswerId="25442" CreationDate="2018-12-12T21:34:36.493" Score="1" ViewCount="27" Body="&lt;p&gt;is there a way in Premier Pro 2019 with a keyboard shortcut to extend a static png to the end of a clip?  For instance, I've edited the program and its ready.  I then insert the program or network logo (think the CBS EYE as an example) onto the its own video layer.  I want that watermark now to stay up for the entire program.  I've been doing it manually for quite a while, just dragging the end point to the end of the program, but that is quite tedious.  Anyone know of a shorter way?&lt;/p&gt;&#xA;" OwnerUserId="23900" LastActivityDate="2018-12-13T00:30:33.530" Title="Extending a static PNG" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25442" PostTypeId="2" ParentId="25441" CreationDate="2018-12-13T00:30:33.530" Score="2" Body="&lt;p&gt;Select the end of the png clip, so that the edit is highlighted. Then move your playhead to the end of the program, and hit &lt;kbd&gt;e&lt;/kbd&gt;, which is the shortcut for extend edit. More info can be found by &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/trimming-clips1.html#Trimwithkeyboardshortcuts&quot; rel=&quot;nofollow noreferrer&quot;&gt;reading the manual&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2018-12-13T00:30:33.530" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25443" PostTypeId="1" AcceptedAnswerId="25456" CreationDate="2018-12-13T09:54:17.827" Score="0" ViewCount="426" Body="&lt;p&gt;I tried to solve this for quite some time now and could not find the solution. I would like to select a certain &quot;subarea&quot; of a video and rotate/flip only that &quot;subarea&quot;. Like a combination of these two one liners:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i IN.mov -filter:v &quot;hflip,vflip&quot; -c:a copy out.mov&#xA;ffmpeg -i IN.MOV -filter:v &quot;crop=out_w:out_h:x:y&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Thank you for any help. &lt;/p&gt;&#xA;" OwnerUserId="5999" LastActivityDate="2018-12-15T08:25:46.130" Title="Rotate only a certain part of a frame" Tags="|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25446" PostTypeId="2" ParentId="22818" CreationDate="2018-12-13T16:42:43.677" Score="1" Body="&lt;p&gt;I would build one of the &quot;stacks&quot; as a comp.  On the first frame of the comp, I'd have the first layer in the stack, and on each progressive frame I'd add the next layer.&#xA;Then in my main comp, I would put the music track, and use something like &lt;a href=&quot;https://www.redgiant.com/products/trapcode-sound-keys/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sound Keys from Trapcode&lt;/a&gt; or generate keyframes from the audio using a technique like this:&#xA;&lt;a href=&quot;https://www.surfacedstudio.com/blog/vfx-vlog/after-effects-audio-to-keyframes/2&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.surfacedstudio.com/blog/vfx-vlog/after-effects-audio-to-keyframes/2&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have the audio keyframes, then you could use an expression to display a specific frame of your comp based on how loud the sound is on that frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;once you've got that working, then I would think about applying this to more than one stack, and thinking about how to apply different behaviours to different stacks, either based on different EQ settings or maybe on a time delay, so the audio appears to ripple across the stack.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-12-13T16:42:43.677" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25447" PostTypeId="1" AcceptedAnswerId="25455" CreationDate="2018-12-13T18:13:08.017" Score="0" ViewCount="145" Body="&lt;p&gt;I have a Panasonic X1 camera that can be connected to a pc using an acquisition card. In that case its video stream could be broadcasted using OBS or similar programs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I miss are the requirements of the pc hardware and of the internet line. If I understood well the first should be pretty low considering that all the videomaking would be demanded to the camera and to the acquisition card, and OBS would only have to throw it online. Yet, I don't even know which parte of the PC would be needed for such a job. The CPU? The video card? The RAM?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Concerning the line, I really have no clue. Streaming 1080/30p sounds heavy but there are cell phones able to do that with a 3G connection. Would a tethering connection to a 3G/4G phone be enough?&lt;/p&gt;&#xA;" OwnerUserId="11090" LastActivityDate="2018-12-15T04:37:19.210" Title="Hardware and internet requirements for 1080/30p streaming, if video source is external" Tags="|streaming|broadcasting|broadcast|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25449" PostTypeId="1" CreationDate="2018-12-13T23:06:23.493" Score="0" ViewCount="221" Body="&lt;p&gt;I followed ffmpeg guide to install debugmode frameserver.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All works fine except with the fact that the frames served does not goes up to 25 fps. FFmpeg reports a speed of 0.9x..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My initial goal would have been use ffmpeg for encode very fast instead using native NLE export..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would have expected something like 50x ! How can I improve the performances of the frameserver? The signpost avi is on a NVME professional drive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are other frameservers compatible with AviSynth that I can use instead of the debugmode one?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The string I used is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i D:\frameserver_test\frameserver.avs -map 0 -c:v libx264 -preset ultrafast -b:v 3000k -c:a copy D:\frameserver_test\out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;while frameserver.avs contains:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;AviSource(&quot;D:\frameserver_test\output.avi&quot;);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2018-12-22T11:39:40.203" LastActivityDate="2023-01-13T08:01:46.363" Title="Improve FrameServer performances" Tags="|ffmpeg|transcoding|live|performance|live-performance|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25452" PostTypeId="1" CreationDate="2018-12-14T11:42:19.450" Score="1" ViewCount="322" Body="&lt;p&gt;in below command final video is created but sound of second video is muted after some time.&#xA;here duration of audio and video is same.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i intro.mp4 -i videoaction.mp4 -i outro.mp4 -i audio1.mp3 -i vcs-watermark-video.png -filter_complex &quot;[0:v]drawtext=fontfile=FutuMd.ttf: text=helloworld: x=300: y=450: fontsize=40: fontcolor=white: enable='between(t,2,5)',fade=t=out:st=5:d=1,setpts=PTS-STARTPTS[v0]; \&#xA;[1:v][4]overlay=W-w-5:H-h-5,fade=t=in:st=0:d=1,fade=t=out:st=63:d=1,setpts=PTS-STARTPTS[v1]; \&#xA;[2:v]fade=t=in:st=0:d=1,setpts=PTS-STARTPTS[v2]; \&#xA;[3:a]volume=enable='between(t,36,44)':volume=-10dB[3a];[1:a][3a]amix=inputs=2:duration=shortest[maina]; \&#xA;[v0][0][v1][maina][v2][2]concat=n=3:v=1:a=1[outv][outa]&quot; -vcodec libx264 -c:a aac -ac 2 -map &quot;[outv]&quot; -map &quot;[outa]&quot; finalvideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22182" LastActivityDate="2018-12-14T14:26:20.693" Title="ffmpeg add audio to video not working in below command" Tags="|video|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25453" PostTypeId="2" ParentId="25452" CreationDate="2018-12-14T14:26:20.693" Score="1" Body="&lt;p&gt;The audio.mp3 is likely shorter. Set &lt;code&gt;duration=first&lt;/code&gt; in amix.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-12-14T14:26:20.693" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="25454" PostTypeId="2" ParentId="21067" CreationDate="2018-12-14T17:11:33.947" Score="1" Body="&lt;p&gt;Right click and hit &quot;Clear all keyframes&quot;&lt;a href=&quot;https://i.stack.imgur.com/e92Bi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/e92Bi.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23910" LastActivityDate="2018-12-14T17:11:33.947" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25455" PostTypeId="2" ParentId="25447" CreationDate="2018-12-15T04:20:29.380" Score="2" Body="&lt;p&gt;&lt;strong&gt;Connection Speed&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For H.264 1080p30 streaming with typical compression (6 Mbps), I would recommend an Internet upload speed of around 10 Mbps minimum.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Hardware&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OBS Studio suggests the following system requirements:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;AMD FX series or Intel i5 2000-series processor (dual or 4-core&#xA;preferable) or higher.&lt;/li&gt;&#xA;&lt;li&gt;At least 4 GB of RAM (recommended, but not necessary).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For Windows:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;DirectX 10.1 compatible GPU.&lt;/li&gt;&#xA;&lt;li&gt;Windows 7 SP1 or newer.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For macOS:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Intel CPU (PPC is not supported).&lt;/li&gt;&#xA;&lt;li&gt;OpenGL 3.2 compatible GPU.&lt;/li&gt;&#xA;&lt;li&gt;macOS 10.11 or newer.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;As for mobile streaming, 4G LTE (between 2-5 Mbps) can manage 1080p30 - albeit with high compression.&lt;/p&gt;&#xA;" OwnerUserId="23890" LastEditorUserId="23890" LastEditDate="2018-12-15T04:37:19.210" LastActivityDate="2018-12-15T04:37:19.210" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25456" PostTypeId="2" ParentId="25443" CreationDate="2018-12-15T08:25:46.130" Score="1" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i IN.MOV&#xA;        -filter_complex &quot;[0]split=2[full][crop];&#xA;                         [crop]crop=W:H:X:Y,transpose=cclock[crop];&#xA;                         [full][crop]overlay='X+h/2-w/2':'Y+w/2-h/2'&quot;   out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The video is split with one copy getting cropped and rotated. The other full copy remains full-sized. Then the edited portion is overlaid on the full portion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The variables in capital letters should be replaced with your numerical values.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-12-15T08:25:46.130" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25457" PostTypeId="2" ParentId="15506" CreationDate="2018-12-15T09:10:46.527" Score="1" Body="&lt;p&gt;Motion graphics are pieces of digital footage or animation which create the illusion of motion or rotation, and are usually combined with audio for use in multimedia projects&#xA;It's the industry standard now and it's very important to know the benefits from the clients' perspective. Here is a great resource on that &#xA;&lt;a href=&quot;https://yansmedia.com/2d-motion-graphics-is-the-best-animation-style-for-corporate-video-production/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://yansmedia.com/2d-motion-graphics-is-the-best-animation-style-for-corporate-video-production/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23914" LastActivityDate="2018-12-15T09:10:46.527" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25461" PostTypeId="1" AcceptedAnswerId="25486" CreationDate="2018-12-16T19:50:10.573" Score="1" ViewCount="1291" Body="&lt;p&gt;I've seen several posts regarding how to resize a video to have a 1:1 aspect ratio, but all of the posts show how to do it by making a Sequence in Adobe Premiere Pro CC and crop to 1080x1080 or 720x720. My video is 774x632, and I'd like to export it to 480x480. I tried importing a 480x480 image and overlaying it on the video, then cropping the video to fit that, but when I went to export it, the settings were stuck at 720x480 with black spacing on the sides of the video, and I couldn't change settings. Is there a good way to do this with Premiere or any other software? For what it's worth, I'm a DevOps engineer and not proficient in video editing so there may be an obvious solution I missed, and any advice would be appreciated!&lt;/p&gt;&#xA;" OwnerUserId="23926" LastActivityDate="2018-12-20T16:14:14.640" Title="How can I crop and export a video to be 480x480 in Premiere?" Tags="|premiere|video-editor|editing|adobe|aspect|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25463" PostTypeId="1" AcceptedAnswerId="25465" CreationDate="2018-12-17T08:50:30.673" Score="0" ViewCount="202" Body="&lt;p&gt;Say I have a video file with contained audio file. So a container with audio and video codecs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I'm applying an operation in ffmpeg that will re-encode the video, such as applying filters or changing the container (assume it supports the audio codec) or video codec or whatever, does this also re-encode or affect the audio of the output file in any way?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does the audio codec just automatically get a kinda pseudo -c copy command applied and translated over to new video file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to understand whether I need to specify a -c copy for the audio every-time I do an operation to the video part. Whether for the purpose of speeding up the operation or for avoiding quality-loss.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Like when setting an audio input and a video input and combining you need to specify a -c copy to get it to simply combine them. But I'm just a bit confused if you need to worry about it once the audio codec is already safely in the container and I'm applying operations to this video afterthefact.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastActivityDate="2018-12-17T11:00:42.667" Title="Do video re-encoding operations affect the container's audio file?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25465" PostTypeId="2" ParentId="25463" CreationDate="2018-12-17T10:54:55.250" Score="2" Body="&lt;p&gt;In ffmpeg, &lt;code&gt;copy&lt;/code&gt; mode for &lt;code&gt;-codec / -c&lt;/code&gt; always needs to be expressly set.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in -c copy out&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ffmpeg will perform automatic &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-selection&quot; rel=&quot;nofollow noreferrer&quot;&gt;stream selection&lt;/a&gt; and copy all those streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in -c:a copy out&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ffmpeg will perform automatic stream selection and copy audio stream. Video stream will be transcoded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suggest you read the above link on stream selection fully. It covers stream handling.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-12-17T10:54:55.250" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="25466" PostTypeId="2" ParentId="25463" CreationDate="2018-12-17T11:00:42.667" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Does the audio codec just automatically get a kinda pseudo -c copy command applied and translated over to new video file?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;No, use &lt;code&gt;-c:v&lt;/code&gt; for your video codec, and then &lt;code&gt;-c:a copy&lt;/code&gt; to instruct the stream copy of the audio stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &quot;inputfile&quot; -vf &quot;filter&quot; -c:v libx264 -crf 18 -c:a copy &quot;output.mp4&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Another note about ffmpeg defaults:&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not all things need to be explicit, only experience and reading the documentation gives you the best feel for this.  Notice that we had to explicitly specify the audio stream copy, yet in my example above, I haven't explicitly set &lt;code&gt;-f mp4&lt;/code&gt; container.  This is because the file extension of the output file (mp4) selects the default container for that file extension, which is something one may or may not want.&lt;/p&gt;&#xA;" OwnerUserId="17075" LastActivityDate="2018-12-17T11:00:42.667" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25467" PostTypeId="1" AcceptedAnswerId="25481" CreationDate="2018-12-17T13:33:50.447" Score="0" ViewCount="98" Body="&lt;p&gt;I have a hard time reading and understanding the official ffmpeg manual due to the lack of full command line examples per sections. Sections are completely hit and miss for me based on whether they provide these examples. For example I can understand the wiki ffmpeg pages on certain things cause they generally go into alot of detail and give alot of examples I can do on my own and just tinker with the values.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any third party guides people can recommend that are very example heavy? As I said I need to see all the commands in a full command line example, or at least an explicit example and then just the separate callup parts in full....like -vf &quot;filter1withfulldetails_onsetting_up_eachsetting&quot;. Many I find seem to be outdated or limited...both video and text, cause the commands just don't work right even when I copypaste....or the settings seem to have been changed cause on the ffmpeg guide they are different setting names entirely in some cases. I need to see the modern commands that work alongside the explanations to understand things better.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="21882" LastEditDate="2018-12-19T08:43:02.433" LastActivityDate="2018-12-19T18:03:08.173" Title="Can anyone recommend any good guides to ffmpeg outside of the official manual?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25468" PostTypeId="2" ParentId="25467" CreationDate="2018-12-17T20:33:56.560" Score="0" Body="&lt;h1&gt;Official FFmpeg Help Resources&lt;/h1&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.org/documentation.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Documentation&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.org/contact.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg-user mailing list&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;#ffmpeg IRC channel on Freenode&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h1&gt;Unofficial Help Resources&lt;/h1&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Stack Exchange sites: [video.se], [su], [so] - Might be easiest for you to just search/ask here.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.zeranoe.com/forum/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Zeranoe Forum&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.reddit.com/r/ffmpeg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;r/ffmpeg&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://ffmpeg.tv/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg.tv&lt;/a&gt; - FFmpeg Basics Book. I haven't looked at it. A few users told me they liked it, but it is not free ($9.50 USD) and I'm not sure if it is kept up to date.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2018-12-17T20:33:56.560" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25469" PostTypeId="1" AcceptedAnswerId="25476" CreationDate="2018-12-17T23:38:38.307" Score="0" ViewCount="2057" Body="&lt;p&gt;I'm a new user of &lt;strong&gt;Davinci Resolve&lt;/strong&gt;. I would like to know if I can use it for converting a video into its pictures ? Do you have a tutorial that explains to me how is the workflow ? maybe on Youtube ? very thanks.&lt;/p&gt;&#xA;" OwnerUserId="14198" LastActivityDate="2018-12-19T08:56:32.030" Title="Can Davinci Resolve convert a movie into (png) pictures...?" Tags="|video|conversion|davinci-resolve|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25470" PostTypeId="1" CreationDate="2018-12-18T10:33:34.733" Score="1" ViewCount="12" Body="&lt;p&gt;This is a very odd issue that I have been experiencing with a particular video clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a 2 hour long clip that stops the audio at exactly 00:45:21:03 and starts over, as in the audio from the start of the clip continues right at this mark. The clip plays perfectly in VLC (and every other video player) but is consistently an issue in premiere, even in new sequences and projects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried importing through File&gt;Import with no difference.&#xA;I've tried renaming and moving the file with no difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The clip is a movie ripped from a dvd, which hasn't been a problem in the past.&lt;/p&gt;&#xA;" OwnerUserId="23934" LastActivityDate="2018-12-18T10:33:34.733" Title="Audio in source footage cuts out and starts over a third of the way through (Premiere Pro CS6)" Tags="|premiere|mp4|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25473" PostTypeId="1" AcceptedAnswerId="25474" CreationDate="2018-12-19T03:06:10.897" Score="3" ViewCount="320" Body="&lt;p&gt;For example say I use the command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -c copy output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(In my case I need to add -bsf:v h264_mp4toannexb)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Well I can also just copy and rename the file from input.mkv to output.avi manually in windows. When I callup their info in ffmpeg...it's almost same. With the exception that ffmpeg also does slightly different video durations...which is kinda worrisome but from the listed information online it doesn't affect anything other than if you potentially gutted the video into 2 sections and were trying to recombine it using the old times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I mean between the two, windows is providing a more accurate and possibly more easy method...no?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there just exceptions and for some formats windows won't let you change the containers with filename changes by default?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or is this just a generic function ffmpeg does in order to facilitate its more advanced commands?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just curious if I'm missing something.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastActivityDate="2018-12-19T03:48:44.027" Title="Is there any difference between changing video containers with ffmpeg vs just renaming with windows?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25474" PostTypeId="2" ParentId="25473" CreationDate="2018-12-19T03:48:44.027" Score="3" Body="&lt;p&gt;No, a Windows (or Mac or Linux) file rename will not change the container. They are inherently different file formats. They store data differently. They reference the audio and video tracks differently. Re-wrapping from one container to another can actually be a fairly complex operation depending on how the two formats store essence tracks. It may seem like ffmpeg isn't doing any &quot;real work&quot; compared to a transcode, but that is because the video doesn't have to be decoded in a re-wrap. The compressed bits only need to be re-written in a new order with some new metadata.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Think about it this way: just renaming a Word document from &lt;code&gt;.docx&lt;/code&gt; to &lt;code&gt;.xlsx&lt;/code&gt; doesn't make it an Excel workbook. Your story doesn't get turned into a spreadsheet just because you changed the extension. You need to a use a program to convert every tab into a cell.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only exception where a simple rename works is where the extensions are synonyms of each other. For example, if you have a program that is expecting all QuickTime wrapped files to be &lt;code&gt;.qt&lt;/code&gt;, but you have a &lt;code&gt;.mov&lt;/code&gt;, you can rename the file to get it to work. But that is only because they are two different extensions that identify the same container format.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-12-19T03:48:44.027" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25475" PostTypeId="1" AcceptedAnswerId="25477" CreationDate="2018-12-19T08:25:39.807" Score="2" ViewCount="1634" Body="&lt;p&gt;I have a video that was rendered as 26.51 fps h.264 into an mkv by my video editor. Calling the file up in ffmpeg it displayed this file as 1k fps, 26.51 tbr.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I applied an operation to separate a 1 minute segment of this video into its own video I used&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:00:00 -i input.mkv -to 00:01:00 -c copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Calling the output up in ffmpeg showed this video as 27.4 fps, 26.51 tbr.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then changed the container of this short 1 minute section in two independent operations:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Displayed the fps as: 26.51fps, 26.51 tbr&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -c copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Displayed the fps as: 27.4fps, 27.4 tbr&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm very confused, what exactly is going on here? I wanted all my videos fps to be 26.51fps. What do I go about doing to prevent this from happening in the future? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;tbr = tbr is guessed from the video stream and is the value users want to see when they look for the video frame rate&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my understanding from that definition is in the first video I &quot;wanted to see&quot; 26.51fps instead of 1k fps. Which is true. So something *first went wrong at this point that I need to fix?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then from the second video I wanted to see 26.51fps instead of 27.4fps? Which is true.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then from the third video my tbr and fps matched at 26.51. Wonderful!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The fourth video the fps and tbr matched at 27.4fps but I didn't want 27.4fps  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And with the -c copy command above I'm guessing it forced the 27.4 fps value onto the video and that's why it became the new tbr and fps values. But this doesn't explain how in the top command where I yielded out my 1 minute partition of the original video, which also used -c copy, that it created a new fps value rather than use the 1k fps value of the original.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; I see you can force the fps with -r 26.51; but this is requiring a re-encode, which I need to avoid. Is there something else I can do at one of the steps? I already rendered it with 26.51 as my fps to begin with afterall.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="21882" LastEditDate="2018-12-19T08:57:54.740" LastActivityDate="2018-12-19T11:50:26.670" Title="ffmpeg operations yielding changing fps values" Tags="|ffmpeg|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25476" PostTypeId="2" ParentId="25469" CreationDate="2018-12-19T08:56:32.030" Score="0" Body="&lt;p&gt;From the Blackmagic Forum &quot;You can only export TIFF files (which then can be converted to png's with an external tool), not PNG's directly. &quot;&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2018-12-19T08:56:32.030" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25477" PostTypeId="2" ParentId="25475" CreationDate="2018-12-19T11:50:26.670" Score="2" Body="&lt;p&gt;What the &lt;code&gt;fps&lt;/code&gt; and &lt;code&gt;tbr&lt;/code&gt; values indicate is the average and peak framerate detected within the file. When the container doesn't have valid metadata, either or both of these values can be wrong.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A tbr like &lt;code&gt;26.51&lt;/code&gt; indicates a variable frame-rate file. After you extracted a segment with &lt;code&gt;-c copy&lt;/code&gt;, ffmpeg will display the rates detected in the new clip. Since the source is VFR, the rate may not match but the individual frame timings won't have changed, and can't, since no frame operations can occur*.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you transcoded instead, ffmpeg sets the output rate to the detected &lt;code&gt;tbr&lt;/code&gt; and drops frames in regions with a greater framerate. (When saving to a constant rate muxer like MP4, it will clone frames if input rate is lower). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;*true within this context&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-12-19T11:50:26.670" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25479" PostTypeId="1" CreationDate="2018-12-19T16:27:01.920" Score="1" ViewCount="26" Body="&lt;p&gt;I'm working on a software application that needs to process the video of legal depositions, which is just someone talking for a potentially long period of time. Potentially, they could leave the camera running for 8 straight hours, but certainly a single session of testimony could run for an hour or more without pause.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even with decent compression, this will produce enormous files, and I'm concerned about how to manage these files, how to prevent them getting corrupted, and how to minimize the amount of testimony lost if a file does get corrupted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there tools or techniques for splitting a video &lt;em&gt;during capture&lt;/em&gt; so that I could, for example, break up the capture into 5 minute chunks, so that each chunk has a manageable file? Or is there a better way of handling this problem?&lt;/p&gt;&#xA;" OwnerUserId="2065" LastActivityDate="2018-12-19T16:27:01.920" Title="How can I handle extremely long recordings?" Tags="|software|workflow|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25480" PostTypeId="2" ParentId="15903" CreationDate="2018-12-19T17:06:30.367" Score="3" Body="&lt;p&gt;I know it's a long time since you asked this and likely no longer need it, but in case anyone else comes across this thread looking for the same kind of case (as I did!), look for &quot;pop up&quot; rackmount cases for audio mixers.&lt;/p&gt;&#xA;" OwnerUserId="23943" LastActivityDate="2018-12-19T17:06:30.367" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25481" PostTypeId="2" ParentId="25467" CreationDate="2018-12-19T18:03:08.173" Score="1" Body="&lt;p&gt;I found this site by coincidence yesterday! It explains things in a bit more human readable format, perhaps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://amiaopensource.github.io/ffmprovisr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://amiaopensource.github.io/ffmprovisr/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11900" LastActivityDate="2018-12-19T18:03:08.173" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25482" PostTypeId="1" AcceptedAnswerId="25500" CreationDate="2018-12-20T10:22:19.433" Score="0" ViewCount="51" Body="&lt;p&gt;Is there a good free way to convert iPhone HEVC footage to .mov prores or something similar using a Mac (MacOS 10.12) with Premiere CC 2017?  Googling provides lots of unreliable looking apps from companies I haven't heard of. Any good (preferably free) recommendations?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-12-22T22:44:36.347" Title="How to transcode HEVC footage on a mac if you don't have CC2018 yet" Tags="|premiere|transcoding|mac|hevc|" AnswerCount="2" CommentCount="3" ClosedDate="2019-01-13T00:19:17.103" ContentLicense="CC BY-SA 4.0" />
  <row Id="25483" PostTypeId="1" AcceptedAnswerId="25484" CreationDate="2018-12-20T10:58:00.323" Score="0" ViewCount="19" Body="&lt;p&gt;Does ffmpeg only re-encode a maximum of 1 times per stream, when you execute any command no matter the number/kinds of operations/flags?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example very simply I tried:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -r 33 -r 54 output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To see if there was any indication that it did re-encode twice, and the streams seemed to show the same changes as if there was only a single &lt;code&gt;-r&lt;/code&gt; flag there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given my limited understanding of the information on the official site (I looked through this stuff again: &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#toc-Detailed-description&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg.html#toc-Detailed-description&lt;/a&gt;) documentation I'm leaning towards the notion that there's only 0-1 re-encodes happening per stream based solely on whether I specify copy or not (outside of errors). Is this the correct understanding of things?&lt;/p&gt;&#xA;" OwnerUserId="21882" LastActivityDate="2018-12-20T11:04:16.283" Title="Are there only a maximum of 1 re-encodes per stream in an ffmpeg command?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25484" PostTypeId="2" ParentId="25483" CreationDate="2018-12-20T11:04:16.283" Score="2" Body="&lt;p&gt;Yes, each output stream undergoes, at most, one encoding. If you map an input stream to multiple output files or multiples times in one output file, those count as distinct output streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;copy&lt;/code&gt; must be set as the codec value for an output stream in order to avoid re-encoding it.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-12-20T11:04:16.283" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25486" PostTypeId="2" ParentId="25461" CreationDate="2018-12-20T16:14:14.640" Score="0" Body="&lt;h1&gt;Downscaling video&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;By scaling down a video, you are essentially compressing an amount of pixels to a less amount, which per definition means quality loss. While modern techniques and algorithms are not bad at their job, scaling videos, especially to odd multiples, can give odd results. But if you are really sure that this is what you want, here's how you can do it in Premiere Pro:&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Setting up the sequence&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;In Premiere, you first create a new sequence of the desired resolution for your video. In the New Sequence pop-up, under the Settings tab, select Editing Mode: Custom. Now fill in the Frame Size to 480 horizontal and 480 vertical. Fill in other values in the screen as desired and appropiate for the project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/x0VV4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/x0VV4.png&quot; alt=&quot;New Sequence pop-up window&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Resizing the video&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Add your video to the just created sequence. Now we need to calculate the values at which we are going to scale the video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;480 / 774 ≈ .62 as vertical scale value&#xA;480 / 632 ≈ .76 as horizontal scale value&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So then we simply fill in these values in the Effect Controls of the video. (Make sure the Uniform Scale option is not selected, otherwise you wont be able to set a different value for the width.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/72ju4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/72ju4.png&quot; alt=&quot;Effect Controls window&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And thats it! You can now export the sequence, Premiere Pro will automaticly take over the sequence settings.&lt;/p&gt;&#xA;" OwnerUserId="20937" LastActivityDate="2018-12-20T16:14:14.640" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25488" PostTypeId="2" ParentId="25482" CreationDate="2018-12-20T20:21:49.403" Score="1" Body="&lt;p&gt;Install &lt;a href=&quot;https://brew.sh/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Homebrew&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open Terminal.&#xA;Install FFMPEG with extra features by entering the following on a single line:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;brew install ffmpeg --with-fdk-aac --with-ffplay --with-freetype --with-libass  --with-libvorbis --with-libvpx --with-opus --with-x26&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Wait about 10 minutes for it to install.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the Terminal, run FFMPEG, using a line like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -c:v prores -profile:v 3 -c:a pcm_s16le output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;input.mov&lt;/code&gt; is the name of your HEVC file.  It can also include a full path, but spaces need to be preceded by backslashes  “\”&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;output.mov&lt;/code&gt; is an exported ProRes quicktime movie that will play in Premiere&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do process more than one file at a time:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terminal, go to the directory where your files are.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for i in *.mov; do ffmpeg -i &quot;$i&quot; -c:v prores -profile:v 3 -c:a pcm_s16le &quot;${i%.*}_out.mov&quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Output files will appear in the same folder appended with “_out.mov”&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2018-12-20T20:21:49.403" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25489" PostTypeId="1" CreationDate="2018-12-20T20:31:29.053" Score="1" ViewCount="1660" Body="&lt;p&gt;I've read about dash profiles and from what I understood the difference between live and on-demand profiles are that live furthermore splits each representation into segments (which is critical for live videos, as the video is streamed live, but can also be used to play on demand), while onDemand uses one segment (aka the whole file), and take advantage of the Range HTTP header for &quot;segmented&quot; video loads.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After I've explored some more I read in this &lt;a href=&quot;http://docs.unified-streaming.com/documentation/vod/recommended-settings.html#playout-options&quot; rel=&quot;nofollow noreferrer&quot;&gt;link&lt;/a&gt; the following:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The DASH ‘On Demand Profile’ is only used when offline packaging, as&#xA;  outlined in Packaging for MPEG-DASH.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So I'm a bit confused about whether this is good for me or not.&#xA;Basically, I'm trying to build a VOD application and this is what I currently do:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;transcode the video into multiple quality representations in&#xA;different resolutions.&lt;/li&gt;&#xA;&lt;li&gt;use MP4Box to build an MPD file along with the encoded representations.&lt;/li&gt;&#xA;&lt;li&gt;upload these file into Amazon S3.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I'm able to stream the videos just fine. But the quote I've mentioned just above gives me second thoughts on whether I take the right approach, or I've missed something.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the differences between the live profile and the on-demand profile for MPEG-DASH? And by differences, I also mean when would you use either one. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any explanation would be helpful, thanks!&lt;/p&gt;&#xA;" OwnerUserId="23949" LastEditorUserId="674" LastEditDate="2018-12-30T13:05:31.553" LastActivityDate="2022-05-16T14:03:40.303" Title="DASH Live vs OnDemand profiles" Tags="|ffmpeg|streaming|live|mpeg-dash|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25490" PostTypeId="1" AcceptedAnswerId="25492" CreationDate="2018-12-20T21:25:24.660" Score="1" ViewCount="1620" Body="&lt;p&gt;I'm trying to convert iTunes movies that were previously decrypted to an mkv file with FFmpeg for use with Kodi. I want to keep stereo audio and h264 video the same, which I can do. Subtitles I want to convert to some other format, like subrip. On some movies this works, namely ones with &quot;mov_text&quot; subtitles. However some iTunes movies have eia_608 subtitles which, when I try to convert them, throw this error:&lt;br&gt;&#xA;&lt;code&gt;[Closed caption Decoder @ 0000014b2b92eec0] Data Ignored since exceeding screen width&lt;/code&gt;&lt;br&gt;&#xA;It continues to throw this error hundreds of times until it finishes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an example of the output. The eia_608 stream isn't the default subtitle format for this one, but you get the idea: &lt;a href=&quot;https://pastebin.com/uerFwFna&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pastebin.com/uerFwFna&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything I can do to fix this? I've tried updating FFmpeg to the latest build, copying the subtitles format (Matroska is apparently incompatible with it), and extracting it to a separate .srt file results in garbled subtitles. What can I do to fix this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, this warning message cuts off the progress text a bit which is funny. Idk why that's happening, lol.&lt;/p&gt;&#xA;" OwnerUserId="23950" LastActivityDate="2020-06-08T19:33:04.980" Title="FFmpeg can't convert eia_608 subtitles: &quot;Data Ignored since exceeding screen width&quot;" Tags="|ffmpeg|mp4|subtitles|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25492" PostTypeId="2" ParentId="25490" CreationDate="2018-12-21T05:05:39.673" Score="1" Body="&lt;p&gt;It's a warning, not an error. The subs are still converted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The EIA-608 standard specifies a maximum of 32 characters per line and the ffmpeg decoder is enforcing that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A workaround is to use &lt;a href=&quot;https://github.com/CCExtractor/ccextractor&quot; rel=&quot;nofollow noreferrer&quot;&gt;ccextractor&lt;/a&gt; to get a SRT file, and then proceed with that.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-12-21T05:05:39.673" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25494" PostTypeId="2" ParentId="21330" CreationDate="2018-12-21T13:15:49.770" Score="1" Body="&lt;p&gt;you can attach &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt;to make it compatible with VLC and QuickTime&lt;/p&gt;&#xA;" OwnerUserId="23955" LastActivityDate="2018-12-21T13:15:49.770" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25497" PostTypeId="1" AcceptedAnswerId="25498" CreationDate="2018-12-21T23:01:57.627" Score="-1" ViewCount="3806" Body="&lt;p&gt;I'm trying to use FFMpeg to adapt 4:3 (SD) to 16:9 (HD) and reverse function. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;When SD is converted to HD, I need to add pillarboxes around the content.&lt;/li&gt;&#xA;&lt;li&gt;When HD is converted to SD, I need to add textboxes.&lt;/li&gt;&#xA;&lt;li&gt;Reverse of 1, I need to remove the pillarbox to convert to SD.&lt;/li&gt;&#xA;&lt;li&gt;Reverse of 2, I need to remove the textbox to convert to HD.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;For 1, I already found a solution:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input43.mp4 -vf &quot;scale=640x480,setsar=1,pad=854:480:107:0&quot; out43HD.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But what are the commands to do 2, 3, and 4?&lt;/p&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2019-12-19T15:04:46.540" Title="4:3 - 16:9 Aspect Ratio Conversion with Pillarbox and Textbox" Tags="|video|ffmpeg|video-editor|conversion|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25498" PostTypeId="2" ParentId="25497" CreationDate="2018-12-22T05:12:00.483" Score="2" Body="&lt;p&gt;A small bit on terminology :- SD and HD refers to resolution - in the basic sense of the word, not dimensions. A given video can be wide or tall or square while being SD or HD. It's the legacy of television broadcast standards that SD content is 4:3 and HD 16:9 but display aspect ratio and visual definition aren't connected. That nitpick aside..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For 4:3 to 16:9 and back.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input43.mp4 -vf &quot;scale=iw*sar:ih,setsar=1,pad=ih*16/9:ih:(ow-iw)/2:0&quot; out43in169.mp4&#xA;&#xA;ffmpeg -i out43in169.mp4 -vf &quot;crop=ih*4/3:ih&quot; backto43.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For 16:9 to 4:3 and back.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input169.mp4 -vf &quot;scale=iw*sar:ih,setsar=1,pad=iw:iw*3/4:0:(oh-ih)/2&quot; out169in43.mp4&#xA;&#xA;ffmpeg -i out169in43.mp4 -vf &quot;crop=iw:iw*9/16&quot; backto169.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The crop filter automatically crops from the center of the input frame so it's not necessary to specify the x and y offsets. Audio is transcoded, always. Add &lt;code&gt;-c:a copy&lt;/code&gt; to avoid that.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-12-22T05:12:00.483" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25500" PostTypeId="2" ParentId="25482" CreationDate="2018-12-22T22:44:36.347" Score="1" Body="&lt;p&gt;Go with handbrake.  It's a free GUI program for performing transcodes.  It is even used to benchmark processors and graphics cards.&lt;/p&gt;&#xA;" OwnerUserId="22728" LastActivityDate="2018-12-22T22:44:36.347" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25505" PostTypeId="1" AcceptedAnswerId="25724" CreationDate="2018-12-23T11:34:06.280" Score="1" ViewCount="478" Body="&lt;p&gt;I'm currently looking which camera that I should buy.&#xA;I narrowed it down to the BMPCC4k or the Fujifilm X-T3, but not sure which one I should pick...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I mainly make music and event videos, but next year I will film a feature length film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The RAW and color of BMPCC4k is really nice, but it doesn't really have a low bitrate codec for smaller music videos... So the storage can get quite expansive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also I'm not a huge fan of MFT, but with a Speedbooster this is not so important. Allthough a Speedbooster is quite costly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would you say is better for this type of shooting?&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-01-18T03:30:35.037" Title="Fujifilm X-T3 or BMPCC4k for musicvideos and feature film" Tags="|camera|blackmagic|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25506" PostTypeId="1" AcceptedAnswerId="25507" CreationDate="2018-12-23T15:29:05.873" Score="1" ViewCount="2514" Body="&lt;p&gt;I'm totally new to ffmpeg and use it on windows.&#xA;I want to encode the audio from a mkv video to opus, using&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i abc.mkv -map 0:v -c copy -map 0:a -c libopus -b:a 128000 xyz.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but I get the error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;invalid encoder type &quot;libopus&quot;. &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="23966" LastEditorUserId="674" LastEditDate="2018-12-29T12:44:44.183" LastActivityDate="2018-12-29T12:44:44.183" Title="convert audio to libopus with ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25507" PostTypeId="2" ParentId="25506" CreationDate="2018-12-23T16:26:50.663" Score="1" Body="&lt;p&gt;Just &lt;code&gt;-c&lt;/code&gt; on its own will set the encoder for all types of streams: video, audio..etc. libopus can't encode video, obviously. You need to attach a stream specifier to limit it to audio, so&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i abc.mkv -map 0:v -c copy -map 0:a -c:a libopus -b:a 128k xyz.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See the section on &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-specifiers-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;stream specifiers&lt;/a&gt; and also this &lt;a href=&quot;https://superuser.com/a/1219824/114058&quot;&gt;answer&lt;/a&gt; on how multiple codec settings in a command works.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-12-23T16:26:50.663" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25508" PostTypeId="1" CreationDate="2018-12-23T19:08:26.583" Score="0" ViewCount="24" Body="&lt;p&gt;I do AV work at our church. We have a stage TV monitor that sits outside of and above the sound booth where it can be seen from the stage, but not from the booth. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to output from the TV to a small LCD monitor inside the sound booth so I can monitor exactly what they're seeing from the stage. I do &lt;em&gt;not&lt;/em&gt; want to output from the video switcher to a 2nd monitor inside the booth, I want the output from that screen going to a daisy-chained monitor that I can see. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are 2 reasons for wanting to do it this way:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;The IR repeater that we're using for this monitor isn't quite as reliable as I'd like it to be. With a secondary monitor daisy-chained from it, I can turn on the &quot;inside&quot; monitor and, when I see an image on it, I'll know the &quot;outside&quot; monitor is on.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Should I ever happen to hit the wrong button on the video switcher (like I did this morning), a quick glance at this &quot;inside&quot; monitor will help me resolve why there are panicked looks on the faces of the musicians on stage.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I've got a old, small LCD monitor that I don't use for anything. It's only got a VGA input, but I don't mind picking up a component-to- or HDMI-to-VGA converter to use it, but I need to be able to grab the signal from that stage monitor so I know what's going on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realize that I could put an HDMI splitter on the cable leading to the TV to resolve issue #2, but that won't tell me if the TV is on/off which I need to resolve issue #1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do TVs generally have a video out that could be used for this? Since this was purchased on a church budget, it's probably not a super high-end TV. I haven't had a chance to get up on a ladder and look for a model number, and I forgot to check what brand it is. If it doesn't have a video out, what other options might I have to handle this?&lt;/p&gt;&#xA;" OwnerUserId="23968" LastActivityDate="2018-12-23T20:46:42.437" Title="Output from a TV to a 2nd monitor" Tags="|output|monitors|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25509" PostTypeId="2" ParentId="25508" CreationDate="2018-12-23T20:46:42.437" Score="1" Body="&lt;p&gt;I have not ever heard of a TV that has this feature (I have encountered a few).  Some high-end monitors have this, it's called &lt;a href=&quot;https://www.displayport.org/cables/driving-multiple-displays-from-a-single-displayport-output/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Display Port daisy-chaining&lt;/a&gt;.  As the name implies, it uses DisplayPort and not HDMI.  It's quite a hack; but, I think that your cheapest option would be to put a camera outside the booth looking back at the screen.  Amazon has some very good deals on decent performing cameras, look at Dericam.&lt;/p&gt;&#xA;" OwnerUserId="22728" LastActivityDate="2018-12-23T20:46:42.437" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25510" PostTypeId="2" ParentId="25406" CreationDate="2018-12-23T21:06:13.827" Score="1" Body="&lt;p&gt;It seems like this key simply doesn't work on German keyboards.&lt;/p&gt;&#xA;&lt;p&gt;It's probably because you have to press Alt-Gr to get the &amp;quot;&amp;quot; sign on a German keyboard, and the software doesn't accept that additional key.&lt;/p&gt;&#xA;&lt;p&gt;You can, however, redefine this function to another key. In contrast to some documentation, this cannot be found in the project settings, but directly in the first main menu entry &amp;quot;DaVinci Resolve|Keyboard Customization&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mQopy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mQopy.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can search for &lt;em&gt;split&lt;/em&gt; there and choose the command in the &lt;em&gt;timeline&lt;/em&gt; group:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ztmzS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ztmzS.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5074" LastEditorUserId="32812" LastEditDate="2021-08-12T17:06:52.727" LastActivityDate="2021-08-12T17:06:52.727" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25511" PostTypeId="1" CreationDate="2018-12-24T03:23:57.407" Score="1" ViewCount="1317" Body="&lt;p&gt;I would like to create a blank video and add images (occupying the entire screen) throughout the video for a very short amount of time (a frame or a second). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found a command to create the blank video:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -t 7200 -s 640x480 -f rawvideo -pix_fmt rgb24 -r 25 -i /dev/zero empty.mpeg&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Now let's say I have an image. I want to insert the image into the video at the 8th second (or some other arbitrary second), and I want it to remain there only briefly. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do this?&lt;/p&gt;&#xA;" OwnerUserId="23969" LastActivityDate="2019-09-22T22:01:35.230" Title="How to add images to video at specific timestamps for a short time?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25512" PostTypeId="1" CreationDate="2018-12-24T08:17:04.087" Score="2" ViewCount="109" Body="&lt;p&gt;I have a scene where I want to sit on a chair with a big 43 inch monitor and a big window behind me. I am having headaches. I already put a shader in front of the window that reduces its brightness. I also lowered the brightness of my monitor as far as possible and it is getting better. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I need some advice on how to execute 3-point lightning to achieve a nice and bright scene like in an interview. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to use the window and monitor to my advantage as a backlight? How would you set up the scene? I would be happy if you can post a sketch and some explanation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ig8Pm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ig8Pm.png&quot; alt=&quot;my scene location&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3922" LastEditorUserId="3643" LastEditDate="2018-12-25T20:23:16.137" LastActivityDate="2018-12-25T20:23:16.137" Title="How to light a scene with a window and monitor in the background?" Tags="|lighting|interview|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25514" PostTypeId="2" ParentId="24450" CreationDate="2018-12-24T20:11:56.817" Score="1" Body="&lt;p&gt;By default, images put into hitfilm won't be single frames, a good way to counteract this is by setting your scrubber on the timeline to a frame after the first image, cutting it and dragging the next image to it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my experience, this is tedious and there are editors built more specifically for this task, such as ffmpeg. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also the option to export directly to the mp4 format. (here are some instructions): &lt;a href=&quot;https://blender.stackexchange.com/questions/34586/save-as-a-video-as-mp4&quot;&gt;https://blender.stackexchange.com/questions/34586/save-as-a-video-as-mp4&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23972" LastEditorUserId="674" LastEditDate="2018-12-29T12:45:11.013" LastActivityDate="2018-12-29T12:45:11.013" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25515" PostTypeId="1" CreationDate="2018-12-24T20:25:34.913" Score="1" ViewCount="29" Body="&lt;p&gt;I'm trying to record some Wii footage using a Silvercrest capture card. I've managed to get the drivers working and recorded a snippet via an RCA A/V cable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, there's a weird kind of noise - some of the lines are randomly displaced to the left.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know it's not interlacing, but different kind of noise that I don't know how to fix:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FSkWQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FSkWQ.png&quot; alt=&quot;noise sample&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Are there ways to prevent this noise from appearing on capture output?&lt;/li&gt;&#xA;&lt;li&gt;Are there ways to fix such errors in post?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="3060" LastActivityDate="2018-12-24T20:25:34.913" Title="Horizontal noise on RCA capture" Tags="|video-capture|noise|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25516" PostTypeId="2" ParentId="25512" CreationDate="2018-12-25T04:33:29.927" Score="2" Body="&lt;p&gt;Your foreground lighting must exceed your background lighting, or else you'll have to manually increase your iris/gain a lot, which is not ideal because it will washout the window and monitor. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend minimizing the amount of window in the shot. Daylight is both extremely bright and inconsistent, even minute by minute. I'd settle with your second still shot and blocking the window completely with a shade. Daylight interviews are atypical mostly because of inconsistency, but also, the closed and controlled nature of a slightly darkened room gives the intimate feel most interviewers are going for. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;By &quot;3-point lighting&quot; I assume you mean to say that you have three light sources to illuminate the foreground. This is plenty to work with, but using the monitor and window to your advantage is not worthwhile. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With three light sources you'll want to put one low and center and the others slightly high and on each side. (By low and high, I mean relative to the subject's face). The low center fills the deep parts of the face, like the eyes, under the nose, and neck. The high sides fill everything else. Generally, low center will not need to be as bright af the high sides. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I expect the room has a ceiling light, so you can use that to your advantage. It's likely the shot will look better with it on. If not, I recommend changing the bulb, because ceiling light off will leave a lot of your background dark. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd try the follow and adjust as necessary. The green arrow is the cam and the purple arcs are the lights. The gray circle is a mystery of mobile image editing ;)&#xA;&lt;img src=&quot;https://i.stack.imgur.com/eCSbm.png&quot; alt=&quot;set for this room&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2018-12-25T04:33:29.927" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25517" PostTypeId="1" CreationDate="2018-12-25T08:27:39.860" Score="1" ViewCount="10772" Body="&lt;p&gt;Most photo-cameras (canon or whatever) has the limit, as most of them stop the video-recording after 12 minutes. AFAIK, it is related to SD-CARD limits (as FAT format can hold max 4gb file). However, how to force it to auto-continue recording in the same moment, when overgoes 12 minutes? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, we no longer need to MANUALLY push the record button again? very annoying...&lt;/p&gt;&#xA;" OwnerUserId="16354" OwnerDisplayName="T.Todua" LastActivityDate="2018-12-25T23:37:27.473" Title="How to force to automatically continue VIDEO-Recording after being stopped (after 12 mins or so)" Tags="|video|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25519" PostTypeId="2" ParentId="25517" CreationDate="2018-12-25T13:22:00.073" Score="1" Body="&lt;p&gt;Well, if your camera doesn't support it natively your out of luck. Some Magiclantern Versions for Canon support this feature.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For every other camera, the only way I found sofar is to buy an external timer, set it to 12min and the camera that it starts recording via the external trigger.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keep in mind though,that this will result short breake.&#xA;You need to test it, as some cameras need q few seconds of cool down.&#xA;Safest way if pauses are no problem is to set timer to 12.5 minutes&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2018-12-25T13:22:00.073" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25520" PostTypeId="2" ParentId="25517" CreationDate="2018-12-25T23:37:27.473" Score="3" Body="&lt;p&gt;Alternatives:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on the camera model used, one could expand the recording time a 4GB file can take up by reducing the recording quality (compression, bit rate, resolution...) of your video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With SOME cameras, you might be able to use an SDHC card forcibly formatted to a file system that does not have a 4G file size limit, eg exFAT or NTFS. If you can make it work, test THOROUGHLY.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Be aware that certain cameras also have a hard coded 30 minute video limit, which is there for reasons all unrelated to file size: In some markets, video cameras are taxed higher than still cameras, and the definition of a video camera in the relevant tax codes is continuous video recording capability beyond 30 minutes. In some cases, the camera might also not be THERMALLY designed to handle more than 30 minutes uninterrupted recording load.&lt;/p&gt;&#xA;" OwnerUserId="23975" LastActivityDate="2018-12-25T23:37:27.473" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25521" PostTypeId="1" AcceptedAnswerId="25559" CreationDate="2018-12-26T06:50:54.120" Score="1" ViewCount="303" Body="&lt;p&gt;Has 4 nvidia devices:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;nvidia-smi topo --matrix&#xA;        GPU0    GPU1    GPU2    GPU3    CPU Affinity&#xA;GPU0     X      PHB     SYS     SYS     0-5,12-17&#xA;GPU1    PHB      X      SYS     SYS     0-5,12-17&#xA;GPU2    SYS     SYS      X      PHB     6-11,18-23&#xA;GPU3    SYS     SYS     PHB      X      6-11,18-23&#xA;&#xA;Legend:&#xA;&#xA;  X    = Self&#xA;  SYS  = Connection traversing PCIe as well as the SMP interconnect between NUMA nodes (e.g., QPI/UPI)&#xA;  NODE = Connection traversing PCIe as well as the interconnect between PCIe Host Bridges within a NUMA node&#xA;  PHB  = Connection traversing PCIe as well as a PCIe Host Bridge (typically the CPU)&#xA;  PXB  = Connection traversing multiple PCIe switches (without traversing the PCIe Host Bridge)&#xA;  PIX  = Connection traversing a single PCIe switch&#xA;  NV#  = Connection traversing a bonded set of # NVLinks&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;We want to re-code h264 videos to lower resolution. &#xA;When we run 2-3 processes per 0 and 1 devices:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -v error -y -hwaccel cuvid -hwaccel_device 0 -c:v:0 h264_cuvid -gpu 0 -i /mnt/worker/6797/be2c96e8f0fd7/objects/133607/fb3/8279fb61a4d0bf66c3f871bdb30e5fb3/1530758904.34570.data -map_metadata -1 -map_chapters -1 -map 0:v:0 -map 0:a:0 -c:v:0 h264_nvenc -gpu 0 -b:v:0 650000 -filter:v:0 scale_npp=-2:360 -c:a:0 aac -gpu 0 -b:a:0 96000 -ac:a:0 2 -max_muxing_queue_size 9999 -movflags +faststart -f mp4 /home/uploads/tmp/out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;all works fine&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;nvidia-smi dmon -c 1&#xA;# gpu   pwr gtemp mtemp    sm   mem   enc   dec  mclk  pclk&#xA;# Idx     W     C     C     %     %     %     %   MHz   MHz&#xA;    0   102    48     -    20     9    14   100  3304  1189&#xA;    1   105    54     -    25     9    17    99  3304  1201&#xA;    2    15    27     -     0     0     0     0   405   135&#xA;    3    15    27     -     0     0     0     0   405   135&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but when works 2-3 processes per each device, then performance gets low. &#xA;Summary compared to 2 devices:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;nvidia-smi dmon&#xA;# gpu   pwr gtemp mtemp    sm   mem   enc   dec  mclk  pclk&#xA;# Idx     W     C     C     %     %     %     %   MHz   MHz&#xA;    0    89    45     -     8     3     5    37  3304  1189&#xA;    1    92    50     -     9     3     6    30  3304  1201&#xA;    2    76    42     -     9     3     6    29  3304  1201&#xA;    3    87    44     -     9     3     6    33  3304  1189&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;htop,top,iftop,atop show nothing overloaded&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes performance rises higher, or drops below (i`m suspect it depending on input files)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to I can utilize all decoders ?&lt;/p&gt;&#xA;" OwnerUserId="23978" LastActivityDate="2018-12-31T07:42:42.927" Title="cuvid - slow performance when used 4 devices" Tags="|ffmpeg|cuvid|" AnswerCount="2" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="25522" PostTypeId="2" ParentId="25108" CreationDate="2018-12-26T08:54:48.237" Score="1" Body="&lt;p&gt;It may be caused by a not supported QuickTime Version.&#xA;If QT is installed, try downgrading it. For eg with Haali Media Splitter &amp;amp; ffdshow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This  ug was found 2015. But it may still be the problem.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2018-12-26T08:54:48.237" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25524" PostTypeId="1" CreationDate="2018-12-26T18:01:24.090" Score="1" ViewCount="192" Body="&lt;p&gt;When on the radio I want the studio monitors to mute automatically when I open the mic (normal radio station stuff) so there is no feedback. I have read that some boards do and some don't but I can never find this info when reading descriptions. How can I achieve this?&lt;/p&gt;&#xA;" OwnerUserId="23983" LastEditorUserId="23995" LastEditDate="2018-12-30T13:13:21.193" LastActivityDate="2021-01-18T18:04:15.473" Title="How to mute monitors automatically" Tags="|audio-recording|recommendation|radio|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25525" PostTypeId="2" ParentId="25511" CreationDate="2018-12-26T19:12:41.420" Score="1" Body="&lt;p&gt;Use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#color&quot; rel=&quot;nofollow noreferrer&quot;&gt;color&lt;/a&gt;, &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#scale2ref&quot; rel=&quot;nofollow noreferrer&quot;&gt;scale2ref&lt;/a&gt;, and &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#overlay&quot; rel=&quot;nofollow noreferrer&quot;&gt;overlay&lt;/a&gt; filters. Include the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#Timeline-editing&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;enable&lt;/code&gt; option&lt;/a&gt; with an &lt;a href=&quot;https://ffmpeg.org/ffmpeg-utils.html#Expression-Evaluation&quot; rel=&quot;nofollow noreferrer&quot;&gt;expression&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i color=c=black:s=640x480:d=7200 -i iamge.png -filter_complex &quot;[1][0]scale2ref=oh*mdar:ih[fg][bg];[bg][fg]overlay=(W-w)/2:(H-h)/2:enable='eq(t,8)'[v]&quot; -map &quot;[v]&quot; output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2018-12-26T19:34:18.273" LastActivityDate="2018-12-26T19:34:18.273" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25526" PostTypeId="2" ParentId="24468" CreationDate="2018-12-26T20:04:08.550" Score="2" Body="&lt;p&gt;I had this same issue. I found 2 different solutions for my file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issue has to do with some kind of codec issue with newer versions of Adobe that no longer support certain .mov encoding types (or something like that)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Solution 1: Rename the file extension to .mp4&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Believe it or not, this is actually working for some people. Read toward the end of &lt;a href=&quot;https://forums.adobe.com/thread/2488825&quot; rel=&quot;nofollow noreferrer&quot;&gt;this thread&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried it myself and was finally able to open the file in Adobe CS5. However, only the audio appeared in the timeline. No video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Solution 2: Re-encode using VLC&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a fix in &lt;a href=&quot;https://forums.adobe.com/thread/2473026&quot; rel=&quot;nofollow noreferrer&quot;&gt;this thread&lt;/a&gt; from Sasha L. (dated April 11, 2018) that involves re-encoding the file using VLC. I tried this and it worked. The steps once opening VLC are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Click &quot;Media&quot; in the menu bar&lt;/li&gt;&#xA;&lt;li&gt;Select &quot;Convert/Save&quot;&lt;/li&gt;&#xA;&lt;li&gt;Choose your source file&lt;/li&gt;&#xA;&lt;li&gt;Select your destination file type (click the toggle icon in order to access more advanced encoding settings)&lt;/li&gt;&#xA;&lt;li&gt;Choose your destination file name&lt;/li&gt;&#xA;&lt;li&gt;Export&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;When I used this method I was able to export a visual-only video (no audio).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Between the 2 methods I was able to export audio and visual and import them into Adobe Premiere so that they could be combined.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best of luck!&lt;/p&gt;&#xA;" OwnerUserId="23984" LastActivityDate="2018-12-26T20:04:08.550" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25527" PostTypeId="2" ParentId="25524" CreationDate="2018-12-27T01:27:11.447" Score="1" Body="&lt;p&gt;You should be able to find monitor muting as a default or configurable setup on most radio consoles. Make sure you looking at sound boards that are specifically marketed as radio consoles. Something like this &lt;a href=&quot;http://wheatstone.com/radio-products1/radio-consoles/2016-11-28-09-21-45/2016-11-28-09-23-58&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wheatstone Audioarts&lt;/a&gt; analog console or this &lt;a href=&quot;https://www.lawo.com/products/radio-consoles/crystalclear.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lawo&lt;/a&gt; digital console. If not specifically called out in the features, you can also look for consoles that can trigger on air lights, as those contact closures can also be used to mute the monitors with some simple, inexpensive outboard gear. A Mackie or other inexpensive all purpose audio board isn't likely to have either feature.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2018-12-27T01:27:11.447" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25529" PostTypeId="2" ParentId="25521" CreationDate="2018-12-27T06:43:09.210" Score="1" Body="&lt;p&gt;NVidia boards has a limit number of concurrent encoding tasks, according number of encode engine chips on board. Look at &lt;a href=&quot;https://developer.nvidia.com/video-encode-decode-gpu-support-matrix&quot; rel=&quot;nofollow noreferrer&quot;&gt;specifications&lt;/a&gt; of boards you are using.&lt;p&gt;&#xA;Even if you have a board with unrestricted number of sessions to it, you will have a speed degradation, because of some task pipelining on host side.&lt;/p&gt;&#xA;" OwnerUserId="23824" LastActivityDate="2018-12-27T06:43:09.210" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25530" PostTypeId="1" AcceptedAnswerId="25531" CreationDate="2018-12-27T07:11:52.463" Score="1" ViewCount="70" Body="&lt;p&gt;Sorry for the rushed question I don't have time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my good old DSC W610 could  shoot MJPEG but I always wanted an RAW video so I could make wallpapers from the scenery videos I Shoot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible? I want to shoot FHD 30FPS Raw video.&lt;/p&gt;&#xA;" OwnerUserId="23721" OwnerDisplayName="Jonathan Irons" LastEditorUserId="674" LastEditDate="2018-12-28T11:14:23.877" LastActivityDate="2018-12-28T11:14:23.877" Title="Motion RAW Videos possible?" Tags="|raw|video|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25531" PostTypeId="2" ParentId="25530" CreationDate="2018-12-27T08:43:04.483" Score="3" Body="&lt;p&gt;This camera can't shoot RAW for still, not talking about video. And according to the specifications this camera can shoot 640x480x30 which is not very much by contemporary measures.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For shooting RAW video you should jump to much higher class cameras. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;About DSLRs I found on &lt;a href=&quot;https://wolfcrow.com/blog/a-comparison-of-seven-cheap-raw-cameras-for-video/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this site&lt;/a&gt; &lt;a href=&quot;https://wolfcrow.com/wp-content/uploads/2013/05/RAWComparisonCameras2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;sample table&lt;/a&gt; with cheapest DSLRs for RAW video: &lt;/p&gt;&#xA;" OwnerUserId="7976" OwnerDisplayName="Romeo Ninov" LastEditorUserId="7976" LastEditDate="2018-12-27T09:00:07.357" LastActivityDate="2018-12-27T09:00:07.357" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25532" PostTypeId="2" ParentId="25530" CreationDate="2018-12-27T10:23:16.017" Score="2" Body="&lt;p&gt;An FHD image has 2Mpixels.  A raw image from that would have 6MB.  At 30FPS, you are talking about 180MB/s sustained data rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What media were you planning to use?&lt;/p&gt;&#xA;" OwnerDisplayName="user23990" LastActivityDate="2018-12-27T10:23:16.017" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25533" PostTypeId="1" AcceptedAnswerId="25536" CreationDate="2018-12-27T11:10:19.317" Score="0" ViewCount="662" Body="&lt;p&gt;Sometime after upgrading to MacOS 10.14 Mojave, FCPX has resized wider and seems to have a minimal width. I can't make the main window smaller than the screen width. This means it either hides behind the dock (located on the left side of the screen) or part of it disappears on the right side of the screen. I don't want to move the dock to the bottom, I don't want the autohide, and don't want the full screen option. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I resize FCPX to fit on the screen with the dock on the left visible?&lt;/p&gt;&#xA;" OwnerUserId="17830" LastActivityDate="2018-12-27T18:05:17.850" Title="How can I resize Final Cut Pro X to fit on the screen with the dock on the left visible?" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25534" PostTypeId="1" AcceptedAnswerId="25535" CreationDate="2018-12-27T14:40:09.723" Score="0" ViewCount="777" Body="&lt;p&gt;When i use hexadecagonal audio channel layout in an mpegts container, I can receive and play back the stream fine &lt;strong&gt;only if&lt;/strong&gt; I configure the hls server to allow serving the very first segment, and then concatenating subsequent segments.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I.e. If I probe segment 1414:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mpegts @ 0x7faf58001200] Could not find codec parameters for stream 1 (Audio: aac (LC) ([15][0][0][0] / 0x000F), 0 channels, fltp, 1464 kb/s): unspecified sample rate&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;&#xA;Input #0, mpegts, from '&lt;strong&gt;1414.ts&lt;/strong&gt;':&#xA;  Duration: 00:00:02.07, start: 2834.393367, bitrate: 9079 kb/s&#xA;  Program 1 &#xA;    Stream #0:0[0x100]: Audio: aac (LC) ([15][0][0][0] / 0x000F), &lt;strong&gt;0 channels, fltp, 1430 kb/s&lt;/strong&gt;&#xA;    Stream #0:1[0x101]: Audio: aac (LC) ([15][0][0][0] / 0x000F), &lt;strong&gt;0 channels, fltp, 1464 kb/s&lt;/strong&gt;&#xA;    Stream #0:2[0x102]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 59.94 fps, 59.94 tbr, 90k tbn, 119.88 tbc&#xA;    Stream #0:3[0x103]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 60 fps, 60 tbr, 90k tbn, 120 tbc&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;However&lt;/strong&gt; if I probe the first segment:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpegts, from '0.ts':&#xA;  Duration: 00:00:02.02, start: 1.412033, bitrate: 11598 kb/s&#xA;  Program 1 &#xA;    Stream #0:0[0x100]: Audio: aac (LC) ([15][0][0][0] / 0x000F), 48000 Hz, &lt;strong&gt;16 channels, fltp, 1353 kb/s&lt;/strong&gt;&#xA;    Stream #0:1[0x101]: Audio: aac (LC) ([15][0][0][0] / 0x000F), 48000 Hz, &lt;strong&gt;16 channels, fltp, 744 kb/s&lt;/strong&gt;&#xA;    Stream #0:2[0x102]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 59.94 fps, 59.94 tbr, 90k tbn, 119.88 tbc&#xA;    Stream #0:3[0x103]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 60 fps, 60 tbr, 90k tbn, 120 tbc&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The playlist file is very simple and looks like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#EXTM3U&#xA;#EXT-X-VERSION:3&#xA;#EXT-X-MEDIA-SEQUENCE:0&#xA;#EXT-X-TARGETDURATION:4&#xA;&#xA;#EXTINF:2.000,&#xA;0.ts&#xA;#EXTINF:2.000,&#xA;1.ts&#xA;#EXTINF:2.000,&#xA;2.ts&#xA;#EXTINF:2.000,&#xA;3.ts&#xA;#EXTINF:2.000,&#xA;&#xA;etc ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With say an 8 channel layout, this does not happen.. every segment contains the correct headers.  But my preference is to keep 16 channels because my application at the receiving end uses 16 channel files, and this avoids the need to transcode when downloading.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using FFmpeg to upload the mpegts stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any insight to the mechanics behind what's going on here, and what I can do to achieve the desired independence of segments ?&lt;/p&gt;&#xA;" OwnerUserId="17075" LastActivityDate="2018-12-28T07:33:34.423" Title="MPEGTS &amp; HLS: Only second segment onwards is valid" Tags="|ffmpeg|audio|streaming|mpeg|hls|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25535" PostTypeId="2" ParentId="25534" CreationDate="2018-12-27T17:48:37.520" Score="2" Body="&lt;p&gt;For non-conventional layouts, the native AAC encoder writes a PCE section in the bitstream header as part of the AudioSpecificConfig. However, it does so only at the beginning, therefore subsequent files have AAC streams with this missing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Workaround is to change to a different packetization scheme for AAC in MPEG-TS.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Add &lt;code&gt;-hls_ts_options mpegts_flags=latm&lt;/code&gt; when generating the HLS package.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="17075" LastEditDate="2018-12-28T07:33:34.423" LastActivityDate="2018-12-28T07:33:34.423" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25536" PostTypeId="2" ParentId="25533" CreationDate="2018-12-27T18:05:17.850" Score="1" Body="&lt;p&gt;Try under the ”Window” menu the ”Zoom” function. That should resize the FCPX window (and any other Mac OS window) so that all is visible. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2018-12-27T18:05:17.850" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25537" PostTypeId="1" CreationDate="2018-12-27T20:23:01.857" Score="10" ViewCount="9558" Body="&lt;p&gt;&lt;em&gt;To illustrate: Say I want to delete the 10-11 minute point of a 20 minute video and create the new video of 19 minutes without re-encode. Same as described in the link below; think: removing commercials from a tv show.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://superuser.com/questions/681885/how-can-i-remove-multiple-segments-from-a-video-using-ffmpeg&quot;&gt;https://superuser.com/questions/681885/how-can-i-remove-multiple-segments-from-a-video-using-ffmpeg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was trying to do the above with ffmpeg, but without re-encoding. I currently can do it by using each command separately i.e.:&#xA;    ffmpeg -ss 00:00:00 -i input -to 00:00:00 -c copy output &#xA;And then I'd concaticate the pieces I want together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I looked up how to find the nearest i frame to try and get more accuracy when choosing times. But putting all this together and checking the video after getting each piece of information...turned into a very inefficient process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I wanted to know if there are any gui (video editors) that support this functionality of ffmpeg in a more manageable manner. I mean the simplest and ideal process I can think of is: I toss the videos in the editor, i click an option to disable re-encoding, i choose the sections I want. Then it just chooses the nearest i frame to my cut choices (if it displayed the i frame that would be good too) and does all the above stuff.&#xA;I don't have much experience with the modern capabilities of video editors. The ones I have used have very limited functionality when it comes to rewrapping/'no-encoding' compared to ffmpeg command prompt, or just always re-encode to begin with. So I'm just curious if there are editors that have the kind of re-wrapping functionality that ffmpeg command prompt has. Otherwise I'll need to pursue the solution from a scripting perspective, of which I know nothing about.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="21882" LastEditDate="2018-12-27T20:33:35.257" LastActivityDate="2023-01-27T03:31:09.597" Title="What are some GUI that allow me to cut sections from a video without re-encode?" Tags="|ffmpeg|video-editor|" AnswerCount="4" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25538" PostTypeId="2" ParentId="18419" CreationDate="2018-12-27T22:57:03.583" Score="1" Body="&lt;p&gt;There is a way to achieve this result that may be more relevant to your interests:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Problem&lt;/strong&gt;: Resize videos centering them in the middle of a pre-determined rectangle, letterboxing if needed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Answer&lt;/strong&gt;: &lt;a href=&quot;https://superuser.com/questions/547296/resizing-videos-with-ffmpeg-avconv-to-fit-into-static-sized-player&quot;&gt;https://superuser.com/questions/547296/resizing-videos-with-ffmpeg-avconv-to-fit-into-static-sized-player&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The key line from the answer:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf &quot;scale=1280:720:force_original_aspect_ratio=decrease,pad=1280:720:(ow-iw)/2:(oh-ih)/2&quot; output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="23994" LastActivityDate="2018-12-27T22:57:03.583" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25539" PostTypeId="1" CreationDate="2018-12-28T01:46:40.333" Score="1" ViewCount="222" Body="&lt;p&gt;My Sony CX405 is a small miracle of technology but the designers have put a lot of effort on making sure it has some strict limitations, so they do not interfere with the market demand for more expensive models. One of those limitations is the impossibility to adjust a filter. As a result of that, you cannot avoid an absurdly short exposure time (like 1/10000 s) when recording outdoors on a sunny day and the resulting footage of moving objects has that broken, stroboscopic look that ruins the smooth experience of 60i video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any software that can take that footage and emulate a low shutter speed by directionally blurring only the moving parts? &lt;/p&gt;&#xA;" OwnerUserId="4658" LastActivityDate="2018-12-29T15:04:53.323" Title="How to recreate a low shutter speed effect on 1/10000 footage?" Tags="|ffmpeg|motion|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25540" PostTypeId="1" AcceptedAnswerId="25541" CreationDate="2018-12-28T14:45:05.450" Score="0" ViewCount="1801" Body="&lt;p&gt;&lt;a href=&quot;https://stevens.li/guides/video/converting-hdr-to-sdr-with-ffmpeg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;This&lt;/a&gt; article describes how you can use &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; to export a frame of a video file as a PNG image using the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i input.mkv -vf select=gte(n\,360) -vframes 1 output.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My question is what &lt;code&gt;-vf select=gte(n\,360)&lt;/code&gt; really does and how it works. I could not find any documentation on this, neither in the official documentation or elsewhere on the internet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the context I know this tells FFmpeg to use the 360th frame, but I would like some further documentation on how to use this. What does &lt;code&gt;gte&lt;/code&gt; mean and what is &lt;code&gt;n\,&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="12511" LastActivityDate="2018-12-28T15:46:22.493" Title="Export an image frame with FFmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25541" PostTypeId="2" ParentId="25540" CreationDate="2018-12-28T15:46:22.493" Score="0" Body="&lt;p&gt;In&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-vf select=gte(n\,360)&lt;/code&gt;,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-vf&lt;/code&gt; declares a video filterchain i.e. a sequence of one or more filters to be applied to the video stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;select&lt;/code&gt; filter allows the user to keep or discard individual frames, based on the result of the expression presented to it. For each frame, the expression is evaluated. If the result is zero, the frame is discarded, else kept. Here, the expression is &lt;code&gt;gte(n\,360)&lt;/code&gt; which checks if the index i.e. presentation serial number, of the current frame is equal to or greater than 360. So, this expr will result in all frames with index 0 to 359 to be discarded, and &lt;em&gt;all&lt;/em&gt; frames with a higher index to be selected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://ffmpeg.org/ffmpeg-utils.html#Expression-Evaluation&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-utils.html#Expression-Evaluation&lt;/a&gt; for a list of functions available.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#select_002c-aselect&quot; rel=&quot;nofollow noreferrer&quot;&gt;docs&lt;/a&gt; for the select filter to see the list of variables which can be tested. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since &lt;code&gt;-vframes 1&lt;/code&gt; is present, ffmpeg will stop after one frame has been received from the select filter.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2018-12-28T15:46:22.493" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25544" PostTypeId="2" ParentId="25282" CreationDate="2018-12-29T05:55:12.233" Score="1" Body="&lt;p&gt;It's embarrasing, but it was a blending mode issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I must have accidentaly fiddled with blending and couldnt percieve it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;sorry for the dumbness.&lt;/p&gt;&#xA;" OwnerUserId="19017" LastActivityDate="2018-12-29T05:55:12.233" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25546" PostTypeId="2" ParentId="25539" CreationDate="2018-12-29T15:04:53.323" Score="1" Body="&lt;p&gt;Even if the camera has no (suitable?) filter thread, you should be able to fix some Cokin filter holder to a flash bracket.  While I cannot vouch for ready made solutions here, I should be surprised if you cannot combine a few stock components.  The main problem of course when using such a contraption on an ND filter is to prevent side glare.  You might need to work with some light-proof drapings or stuff.  It may be feasible with a flash bracket or similar (macro bracket?) to move the filter right up to the camera, greatly reducing the problem.&lt;/p&gt;&#xA;" OwnerDisplayName="user24007" LastActivityDate="2018-12-29T15:04:53.323" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25547" PostTypeId="1" AcceptedAnswerId="25548" CreationDate="2018-12-29T20:23:15.880" Score="2" ViewCount="73" Body="&lt;p&gt;I recently bought Google Pixel and have gotten into blogging. Occasionally I'll turn off image stabilization when using a tripod, but if I forget to turn it back on it drastically affects the quality of videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recently filmed an entire evening worth of un-stabilized video and tried to fix it in iMovie with the &quot;stabilize shaky video&quot; feature, but it did a bad job and couldn't match what the Pixel is ordinarily capable of.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is it a tiny smartphone can do such a better job in real time compared to post production? Is it all just algorithms, or is something else going on in hardware?&lt;/p&gt;&#xA;" OwnerUserId="24008" LastActivityDate="2018-12-29T21:22:29.937" Title="Why is image stabilization in my smartphone so much better than in post production?" Tags="|imovie|stabilisation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25548" PostTypeId="2" ParentId="25547" CreationDate="2018-12-29T21:22:29.937" Score="3" Body="&lt;p&gt;The smartphone has acceleration sensors it needs for various things: knowing its orientation (so that it can keep the display content upright), interpolating between GPS fixes in order to give better navigation (and compass readings) than GPS alone would.  These acceleration sensors tell it how much it needs to compensate.  Dedicated cameras tend to use the acceleration signals for then either moving either a compensation lens (optical image stabilisation) or the sensor appropriately which means that they can still work with long continuous exposures on the same pixel sensor and compensate for sub-pixel shakes.  I don't know whether smartphones do that kind of thing: they probably just shift by multiples of whole pixels and read out faster.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At any rate, they don't need to rely on image processing in order to get reliable data for how much should be shifted where in case both smartphone and observed scene are in movement (and if they weren't, why would we be recording a movie rather than a still image in the first place?).  They can just use their motion sensors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even if they do the compensation purely digitally, they will do it at a faster rate than the final frame rate.  And since you are recording not raw but with a motion-optimized lossy encoder, the encoder can well decide &quot;I'll just record a smear here since people will not be able to tell the difference to the details of the blur I have&quot;.  Except that after motion compensation, the details of the blur might become the details of a static scene and if they have been thrown away, you cannot reconstitute them just because they would be more visible than the encoder reasonably expected them to be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for one, the smartphone has better information what motion it should compensate and what not.  And for another, it has the raw input before reduction to the frame rate and lossy perception-based encoding to work with.&lt;/p&gt;&#xA;" OwnerDisplayName="user24009" LastActivityDate="2018-12-29T21:22:29.937" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25549" PostTypeId="1" CreationDate="2018-12-30T00:21:59.850" Score="4" ViewCount="245" Body="&lt;p&gt;Now before you quickly jump in and say:&#xA;Premier got an update...&#xA;Use handbrake...&lt;/p&gt;&#xA;&lt;p&gt;What I'm asking none of the big players seem to support.&#xA;Rendering a video that's frame rate changes through the course of it run time.&lt;/p&gt;&#xA;&lt;p&gt;There are three line in &lt;a href=&quot;https://en.wikipedia.org/wiki/Variable_frame_rate&quot; rel=&quot;nofollow noreferrer&quot;&gt;wikipedia&lt;/a&gt; for VFR. One of the &lt;a href=&quot;https://books.google.com/books?id=InWZYVRH6vcC&amp;amp;pg=PA150&quot; rel=&quot;nofollow noreferrer&quot;&gt;sources&lt;/a&gt; says:&#xA;&amp;quot;More modern formats like MPEG-4 allow variable frame rates as well, where the timebase itself changes between parts of the file. However, most tools don't support that directly&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;Are there any programs that fully or partially support this?&lt;/p&gt;&#xA;" OwnerUserId="24010" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2024-01-03T10:02:20.253" Title="Is there a NLE that supports Variable frame rate?" Tags="|video-editor|framerate|video-production|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="25550" PostTypeId="2" ParentId="25549" CreationDate="2018-12-30T02:00:12.747" Score="0" Body="&lt;p&gt;You could render the scenes to single files and combine them in ffmpeg to one .mp4 container.&#xA;Allthough Indont know why you would want that.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2018-12-30T02:00:12.747" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25551" PostTypeId="1" AcceptedAnswerId="25555" CreationDate="2018-12-30T06:20:42.493" Score="0" ViewCount="151" Body="&lt;p&gt;Something that can generate fairly nice displays for videos would be good. Can just be the generic type where it displays differing frequencies as bars, but something nicer than the harsh ffmpeg generated ones for example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wondering if there's something via a player like vlc I can use, i tried their built-in ones though alrdy and they were bad.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;State if you do not have personal experience with the programs suggested.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="21882" LastEditDate="2018-12-30T22:49:49.943" LastActivityDate="2018-12-30T22:49:49.943" Title="Can anyone recommend a good/safe free spectrum visualizer?" Tags="|video-editor|audio|visual-effects|" AnswerCount="2" CommentCount="5" ClosedDate="2019-01-03T13:42:18.660" ContentLicense="CC BY-SA 4.0" />
  <row Id="25555" PostTypeId="2" ParentId="25551" CreationDate="2018-12-30T18:07:12.670" Score="-1" Body="&lt;p&gt;use elgato its pretty good&#xA;they make the stream deck&lt;/p&gt;&#xA;" OwnerUserId="24016" LastActivityDate="2018-12-30T18:07:12.670" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25556" PostTypeId="2" ParentId="25551" CreationDate="2018-12-30T19:08:21.443" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://www.foobar2000.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Foobar2000&lt;/a&gt;&#xA;Is what I use for visualizations. &lt;/p&gt;&#xA;" OwnerUserId="24010" LastActivityDate="2018-12-30T19:08:21.443" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25558" PostTypeId="1" CreationDate="2018-12-31T01:37:35.910" Score="0" ViewCount="917" Body="&lt;p&gt;&lt;em&gt;I'm kind of at a loss on how to do this. I have access to gimp/inkscape/ffmpeg/vlc, and I can download font styles as needed off the web.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I have a movie. I play the movie in vlc player, I display the subtitles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I need is to take the displayed subtitles, change what they say and make them into an image overlay. So png RGBA I suppose, so I can overlay them onto a different scene. In other words I want to recreate the font and spacing and all the characteristics displayed in vlc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Calling it up in ffmpeg:&#xA;The movie contains the sub file as a .ass file. As well as a single .ttf attachment stream. All I know is that those .ttf streams contain formatting information that make the text look the way it does, I'm unsure what to do with it though. I can separate the .ass stream out of the container with ffmpeg and open it in a text editor. I look at it and I think this is the information I want to use to create new text in the style:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Format: Name, Fontname, Fontsize, PrimaryColour, SecondaryColour, OutlineColour, BackColour, Bold, Italic, Underline, StrikeOut, ScaleX, ScaleY, Spacing, Angle, BorderStyle, Outline, Shadow, Alignment, MarginL, MarginR, MarginV, Encoding&#xA;&#xA;Style: Main,Open Sans Semibold,36,&amp;amp;H00FFFFFF,&amp;amp;H000000FF,&amp;amp;H00020713,&amp;amp;H00000000,-1,0,0,0,100,100,0,0,1,1.7,0,2,0,0,28,1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I don't know what to do with this information though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In inkscape I create text and go through my fonts and apply a stroke with differing thickness and nothing comes close to the desired font, which seems to be the default vlc player subtitle font shared across many movies i tryout. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I get the feeling there is a much better and easier way to go about doing this. &#xA;Can I create an overlay with this info as desired with ffmpeg? That would be great.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; I tried this on the isolated subfile.ass, figuring I could just modify the .ass file with the new text I want if this worked. I got it to work, but the formatting is still a bit off. I need whatever is in the .ttf stream to do its thing here, not sure how to include it in the command.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:01:87 -f lavfi -i &quot;color=color=white@0.0:size=1920x1080,format=rgba,subtitles=subfile.ass:alpha=1&quot; -frames:v 1 out.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; I read that the Stream # 0:3: Attachment: ttf&#xA;is just a font style and doesn't contain positioning or anything other than teh font incase u don't already have it. So the solution would be to grab that file and put it in my windows font folder? I tried to grab it out using:  &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -map 0:3 -c:t copy output.ttf &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But it says .ttf isn't the right extension to use. How do you export .ttf files out of a video?&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="21882" LastEditDate="2018-12-31T02:44:29.783" LastActivityDate="2024-01-05T01:02:25.230" Title="I need to modify a movie's displayed subtitles and display as an image overlay" Tags="|ffmpeg|subtitles|vlc|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25559" PostTypeId="2" ParentId="25521" CreationDate="2018-12-31T07:42:42.927" Score="1" Body="&lt;p&gt;Problem was resolved by replace &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;scale_npp=-2:360&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;to &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;scale_npp=-2:360,hwdownload,format=nv12&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;now decoders fully loaded:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;nvidia-smi dmon -c 1&#xA;# gpu   pwr gtemp mtemp    sm   mem   enc   dec  mclk  pclk&#xA;# Idx     W     C     C     %     %     %     %   MHz   MHz&#xA;    0   101    50     -    27     8    15   100  3304  1189&#xA;    1   105    54     -    25     8    12   100  3304  1201&#xA;    2   104    52     -    48    10    19   100  3304  1316&#xA;    3    97    50     -    23     9     8   100  3304  1189&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="23978" LastActivityDate="2018-12-31T07:42:42.927" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25561" PostTypeId="1" CreationDate="2018-12-31T12:52:09.017" Score="1" ViewCount="32" Body="&lt;p&gt;I am trying to make a video of a simple cushion which is on a rotating disk. But I am getting so much moire that the video is unusable. At this moment I am using a Canon 5d Mark2 with a zoom lens 24-70mm. See the link below for a picture of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pbgWB.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/pbgWB.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am ready to buy some new equipment to get rid of this moire effect (around € 1000,-). But I have no idea what to buy. As far as I can find it is not a simple problem which can be fixed with a simple filter. However I found the filter in the link below. I emailed the company to ask if this filter will fix my problem but didn’t get an answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.mosaicengineering.com/products/vaf/5d2.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.mosaicengineering.com/products/vaf/5d2.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At this moment I have no idea what to do, buy a new camera? And which one? Or buy that filter?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am leaning to a new camera because I can test it before I buy it, the filter have to be ordered in the US and send to the Netherlands which makes it really difficult to return, if it is not working.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone please give me some advice how to tackle this moire problem. I will be really happy to read your advice's&lt;/p&gt;&#xA;" OwnerUserId="24025" LastActivityDate="2018-12-31T12:52:09.017" Title="Which camera to use to film without moire effect" Tags="|moire|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25562" PostTypeId="2" ParentId="25558" CreationDate="2018-12-31T15:39:36.443" Score="0" Body="&lt;p&gt;Ok great. So 3 steps really:&#xA;1. Make sure you have the .ttf on ur computer installed, if not extract it from the streams&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -dump_attachment:t:0 OpenSans-Semibold.ttf -i input.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In my case I had 4 streams and the .ttf was my only t stream so its 0. And the filename to be used is the one listed in the stream info which is OpenSans-Semibold.ttf in my case.&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;Take the sub file, .ass in this case out of the video container. and save it as a .ass file&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use this command here on the subfile. Open the subfile in a text editor and see the timestamps, and just change the text for a specific timestamp with the formatting you want. And write the time of that timestamps in the -ss. Then after you render out ur output. Just change the .ass in the text editor to have the new text you want. Save. And repeat the command changing the output to something new each time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -ss 00:01:87 -f lavfi -i &quot;color=color=white@0.0:size=1920x1080,format=rgba,subtitles=subfile.ass:alpha=1&quot; -frames:v 1 out.png&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="21882" LastActivityDate="2018-12-31T15:39:36.443" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25565" PostTypeId="1" AcceptedAnswerId="25585" CreationDate="2019-01-01T16:10:09.960" Score="0" ViewCount="35" Body="&lt;p&gt;I am going to record a short (approximately 5 minute) video of myself talking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want the background (which will be &quot;bla&quot; and perhaps a bit grainy, as I will probably just be using the built-in photo app on my iPad) to be &quot;blacked out&quot; (it will be whitish (the sliding doors of my clothes closet will be my &quot;background&quot;)).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is an app/web site that removes the background of still images of people (&lt;a href=&quot;https://www.remove.bg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;remove.bg&lt;/a&gt;); I want to do the same with this video (and then turn the background black, rather than leave it white, as I do with Paint's &quot;bucket&quot; feature after downloading the background-removed picture after using the site above).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible? Of course it is; I guess my real question is, &quot;How can I do this using the built-in video capabilities of my iPad or via a free or inexpensive video creation/editing app&quot;?&lt;/p&gt;&#xA;" OwnerUserId="5629" LastEditorUserId="5629" LastEditDate="2019-01-01T16:15:25.937" LastActivityDate="2019-01-03T13:54:43.427" Title="Can I suppress (&quot;blue-screen&quot;?) the background of a video?" Tags="|video-editor|video-recording|post-production|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25566" PostTypeId="2" ParentId="25565" CreationDate="2019-01-01T17:47:20.067" Score="1" Body="&lt;p&gt;Well, white could get quite difficult, it would need to clearly differnce you from the white background. (Dark clothes, dark hair...)&#xA;Else I'd guess this won't give a good result.&#xA;It would be better if you hang a green/blue clothe behind you. Something like a bath towel will do it just fine enough. Make sure to hang it really tight and put some good lighting on it.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-01-01T17:47:20.067" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25567" PostTypeId="1" CreationDate="2019-01-01T20:32:44.137" Score="2" ViewCount="40" Body="&lt;p&gt;I am new into video production. I am a maker, I do a lot of electronic projects and write the step by step guides about it in several places of internet. From now I would like to make video about my projects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is my lab is in a low light condition even in day time, there is no enough light in the room. The video always look dull and noisy grain in the videos that I take. I have two 32w cfl lab laying around and I used it but the video not perfect. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My gear is a Canon EOS t3i(600D) along with a 55-135mm lens and a 50mm prime lens. Here is a similar YouTube video that I would like to produce. &lt;a href=&quot;https://youtu.be/ts-JqEVzvDo&quot; rel=&quot;nofollow noreferrer&quot;&gt;Similar video&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am a student so I don't have a big budget. I have some led strips(15meters), 2x 32w cfl and 200w led flood light in my lab, may be can I make them useful for this? Or please help me to setup a good video light to take good quality videos.&lt;/p&gt;&#xA;" OwnerUserId="24033" LastEditorUserId="14523" LastEditDate="2019-01-02T00:04:21.790" LastActivityDate="2019-01-03T20:54:29.553" Title="Cheap or diy lighting for video production" Tags="|video-quality|video-recording|lighting|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25568" PostTypeId="1" CreationDate="2019-01-02T05:39:28.027" Score="3" ViewCount="6084" Body="&lt;p&gt;I noticed my GH5 via &lt;code&gt;ffprobe&lt;/code&gt; has metadata such as:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; Metadata:&#xA;      creation_time   : 2018-12-31T09:17:48.000000Z&#xA;      timecode        : 06:19:42;19&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is actually my local time, so off that bat, the timezone of UTC is wrong IIUC. Nonetheless is there a date/time video standard format for times?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I am not 100% sure what format that is, or how to create it via ffmpeg. Is it &lt;code&gt;-metadata creation_time=&quot;$(date -u &quot;+%FT%T.%6NZ&quot; -r &quot;${input}&quot;)&quot;&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="5670" LastActivityDate="2019-03-29T02:29:18.223" Title="What is the correct format of media creation time?" Tags="|ffmpeg|h.264|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25569" PostTypeId="2" ParentId="25568" CreationDate="2019-01-02T06:45:18.310" Score="1" Body="&lt;p&gt;There is no standard for representation of date-time across all video formats. However, &lt;a href=&quot;https://en.wikipedia.org/wiki/ISO_8601&quot; rel=&quot;nofollow noreferrer&quot;&gt;ISO 8601&lt;/a&gt; is most commonly used (as seen in your video). Note that MP4s require that the UTC time be stored, so it's up to the MP4-creating app to convert the local time since readers have to expect only UTC. So, unless you know that, there will be uncertainty as to what the actual time is.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-01-02T06:45:18.310" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25570" PostTypeId="1" CreationDate="2019-01-02T09:13:46.763" Score="1" ViewCount="1541" Body="&lt;p&gt;I have some screencast video files in mp4 container (h.264/mp3 codecs) that I want at times merge (i.e. C.mp4 =  A.mp4+B.mp4) or at times cut removing some intervals (e.g. D.mp4 = A.mp4[0,320{seconds}]+A.mp4[325,340]+C.mp4).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am now using kdenlive, it woks but it re-encode everything and it seems a bit too much for such a task.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a simpler way to do that without re-encoding (even, and perhaps preferred, command line or stable Python/Julia/R/.. library way) ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am thinking at something like PDFtk for the pdfs :-))&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: Following suggestions from &lt;a href=&quot;https://video.stackexchange.com/questions/23149/ffmpeg-cut-same-video-to-multiple-pieces&quot;&gt;a related question&lt;/a&gt; I did try &lt;code&gt;ffmpeg -ss 00:00:05 -to 00:00:10 -i test1.mp4 test2.mp4&lt;/code&gt; but I got the error:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Option to (record or transcode stop time) cannot be applied to input&#xA;  url test1.mp4 -- you are trying to apply an input option to an output&#xA;  file or vice versa. Move this option before the file it belongs to.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I would like to be able to specify several start/stop times from a single or perhaps multiple input files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: More I look, more I find complicate solutions. My files are exactly the same codec/container/resolution..&lt;/p&gt;&#xA;" OwnerUserId="24037" LastEditorUserId="24037" LastEditDate="2019-01-02T09:20:36.263" LastActivityDate="2024-02-06T02:08:45.983" Title="How to cut and merge mp4 video segments without re-encoding?" Tags="|ffmpeg|video-editor|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25572" PostTypeId="1" CreationDate="2019-01-02T11:13:24.740" Score="1" ViewCount="66" Body="&lt;p&gt;is there a way to edit the linear curve (see picture) in Premiere afterwards? I cannot seem to find a way to do that. As far as I remember that is possible in After Effects so why not also in Premiere?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/psmRl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/psmRl.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24039" LastEditorUserId="14523" LastEditDate="2019-01-03T03:30:15.493" LastActivityDate="2024-02-08T07:06:35.790" Title="Adobe Premiere: edit effect curve manually" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25573" PostTypeId="2" ParentId="25570" CreationDate="2019-01-02T12:53:27.440" Score="0" Body="&lt;p&gt;Well, this doesn't solve the problem of the re-encoding, but at least it is an handy interface. Just use it (in Linux) with &lt;code&gt;vcat -i inputfile1,inputfile2[start-end],... -o &amp;lt;outputfile&amp;gt;&lt;/code&gt; (it needs python3 and the &lt;code&gt;moviepy&lt;/code&gt; package)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/usr/bin/python3&#xA;&#xA;import sys, getopt, re&#xA;&#xA;def printerror(errormsg):&#xA;  print(&quot;*** vcat - concatenate video segments using moviepy ***\n&quot;)&#xA;  print(&quot;ERROR:&quot;, errormsg,&quot;\n&quot;)&#xA;  print(&quot;Usage: vcat -i inputfile1,inputfile2[start-end],... -o &amp;lt;outputfile&amp;gt;&quot;)&#xA;  print(&quot;Optional start and end points should be given in seconds. If files have spaces should be quoted (e.g. \&quot;input file.mp4[5-30]\&quot;).&quot;)&#xA;&#xA;try:&#xA; from moviepy.editor import VideoFileClip, concatenate_videoclips&#xA;except ImportError:&#xA; printerror(&quot;You don't seem to have moviepy installed. Install it with `pip install moviepy`.&quot;)&#xA; exit(1)&#xA;&#xA;def main(argv):&#xA;    inputfiles_arg = ''&#xA;    outputfile = ''&#xA;    try:&#xA;        opts, args = getopt.getopt(argv,&quot;hi:o:&quot;,[&quot;input=&quot;,&quot;output=&quot;])&#xA;    except getopt.GetoptError as err:&#xA;        printerror(str(err))&#xA;        sys.exit(2)&#xA;    for opt, arg in opts:&#xA;        if opt == '-h':&#xA;            printerror(&quot;&quot;)&#xA;            sys.exit()&#xA;        elif opt in (&quot;-i&quot;, &quot;--input&quot;):&#xA;            inputfiles_arg = arg&#xA;        elif opt in (&quot;-o&quot;, &quot;--output&quot;):&#xA;            outputfile = arg&#xA;    if outputfile =='':&#xA;        printerror(&quot;Output file not specified&quot;)&#xA;&#xA;    iFiles = inputfiles_arg.split(',')&#xA;&#xA;    clips=[]&#xA;    for iFile in iFiles:&#xA;        subclip = re.search(r&quot;\[([0-9\-\.]+)\]&quot;, iFile)&#xA;        if subclip is None:&#xA;            clips.append(VideoFileClip(iFile))&#xA;        else:&#xA;            dims = subclip.group(1).split('-')&#xA;            if len(dims) != 2:&#xA;                printerror(&quot;If a specific segment of a file is specified, this should be given as [startseconds-endseconds]&quot;)&#xA;            iFile = iFile.replace(&quot;[&quot;+subclip.group(1)+&quot;]&quot;,'')&#xA;            clips.append(VideoFileClip(iFile).subclip(float(dims[0]),float(dims[1])))&#xA;&#xA;    f = concatenate_videoclips(clips)&#xA;    f.write_videofile(outputfile)&#xA;&#xA;&#xA;if __name__ == &quot;__main__&quot;:&#xA;   main(sys.argv[1:])&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Disclaimer: I don't use Python by a while, so sure there could be better approaches.. bdw it's really nice to be able to do what you want to do in a few hours because of the enormous documentation you can find on the net about python..&lt;/p&gt;&#xA;" OwnerUserId="24037" LastEditorUserId="24037" LastEditDate="2019-01-02T13:57:03.927" LastActivityDate="2019-01-02T13:57:03.927" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25574" PostTypeId="1" AcceptedAnswerId="25575" CreationDate="2019-01-02T16:47:11.747" Score="5" ViewCount="10515" Body="&lt;p&gt;I'm using the following &lt;code&gt;ffmpeg&lt;/code&gt; command to create an H.264 encoded MPEG transport stream from a single png file with a text overlay.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -loop 1 -i smpte-color-bars-1080p.png -vf drawtext=&quot;fontfile=monofonto.ttf: fontsize=96: box=1: boxcolor=black@0.75: boxborderw=5: fontcolor=white: x=(w-text_w)/2: y=(h-text_h)/2: text='MY OVERLAY'&quot; -r 25 -vcodec libx264 -f mpegts udp://0.0.0.0:1234&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This seems to be working well, but as it is static you cannot easily tell if the encode has stopped. I'd therefore also like to add a timecode overlay so that the image has some changing content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is important that the stream is generated from a single static frame as I want the stream to be absolutely continuous and not a looped pre-encoded TS file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to add this dynamic overlay using ffmpeg? (I'm currently thinking piping one stream into another but that seems a bit hacky)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to do this on a linux (Ubuntu) platform.&lt;/p&gt;&#xA;" OwnerUserId="14515" LastActivityDate="2019-01-03T16:47:41.190" Title="Realtime time overlay with ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25575" PostTypeId="2" ParentId="25574" CreationDate="2019-01-02T17:26:01.077" Score="9" Body="&lt;p&gt;Wow... ffmpeg never ceases to amaze.. it's built in!&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -loop 1 -i smpte-color-bars-1080p.png -vf drawtext=&quot;fontfile=monofonto.ttf: fontsize=96: box=1: boxcolor=black@0.75: boxborderw=5: fontcolor=white: x=(w-text_w)/2: y=((h-text_h)/2)+((h-text_h)/4): text='%{gmtime\:%H\\\\\:%M\\\\\:%S}'&quot; -r 25 -vcodec libx264 -f mpegts udp://127.0.0.1:1234&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The important bit for the timecode being: &lt;code&gt;text='%{gmtime\:%H\\\\\:%M\\\\\:%S}'&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is some crazy escaping in there to get the colons to display(in &lt;code&gt;bash&lt;/code&gt;), but that is UTC/GMT time of day timecode burnt in... just need to figure out the syntax for multiple &lt;code&gt;drawtext&lt;/code&gt; functions now and I'm all set...&lt;/p&gt;&#xA;" OwnerUserId="14515" LastEditorUserId="14515" LastEditDate="2019-01-03T16:47:41.190" LastActivityDate="2019-01-03T16:47:41.190" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25577" PostTypeId="1" AcceptedAnswerId="25604" CreationDate="2019-01-02T22:33:34.750" Score="1" ViewCount="244" Body="&lt;p&gt;I have two lines (The lines are imaginary, i have two Nulls as endpoints for each line)&#xA;I want a fifth Null two appear where the lines intersect.&#xA;I have used this code so far:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;p1 = thisComp.layer(&quot;red_end&quot;).transform.position;&#xA;p2 = thisComp.layer(&quot;red_start&quot;).transform.position;&#xA;p3 = thisComp.layer(&quot;blue_end&quot;).transform.position;&#xA;p4 = thisComp.layer(&quot;blue_start&quot;).transform.position;&#xA;&#xA;m1vert = Math.abs(p1[0]-p2[0]) &amp;lt; .0001;&#xA;m2vert = Math.abs(p3[0]-p4[0]) &amp;lt; .0001;&#xA;&#xA;if (! m1vert){&#xA;m1 = (p2[1]-p1[1])/(p2[0]-p1[0]);&#xA;b1 = p1[1]-m1*p1[0];&#xA;}&#xA;if (! m2vert){&#xA;  m2 = (p4[1]-p3[1])/(p4[0]-p3[0]);&#xA;  b2 = p3[1]-m2*p3[0];&#xA;}&#xA;if (m1vert &amp;amp;&amp;amp; m2vert){&#xA;  x = value[0];&#xA;  y = value[1];&#xA;}else if(m1vert){&#xA;  x = p1[0];&#xA;  y = m2*x + b2;&#xA;}else if (m2vert){&#xA;  x = p3[0];&#xA;  y = m1*x + b1;&#xA;}else if (m1 == m2){&#xA;  x = value[0];&#xA;  y = value[1];&#xA;}else{&#xA;  x = (b1-b2)/(m2-m1);&#xA;  y = m1*x +b1;&#xA;}&#xA;[x,y]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The fifth Null does appear in the intersections when the lines intersect, but also miserably stumble around on screen when the lines don't intersect.&#xA;I want the Null to go to a specific position whenever the lines don't intersect.&#xA;So how would I do that?&#xA;Any help is appreciated.&lt;/p&gt;&#xA;" OwnerUserId="24045" LastEditorUserId="1950" LastEditDate="2019-01-04T04:30:16.037" LastActivityDate="2019-01-04T04:30:16.037" Title="After Effects: Detect if Lines are Intersecting" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25580" PostTypeId="2" ParentId="20128" CreationDate="2019-01-03T07:15:07.843" Score="1" Body="&lt;p&gt;In project properties, set your pixel aspect ratio to 1.333 as well. Furthermore, make sure that when you right-click a video on your timeline that both resample is disabled, and try fiddling around with the &quot;maintain aspect ratio&quot; option. I have a hunch that it has got to do with these settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try using different formats/encoders as well to see what effect that gives.&lt;/p&gt;&#xA;" OwnerUserId="24046" LastActivityDate="2019-01-03T07:15:07.843" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25581" PostTypeId="1" CreationDate="2019-01-03T08:41:17.143" Score="3" ViewCount="70" Body="&lt;p&gt;On my GoPro Hero 7 Black, I can choose to video in 720, 1080, 2.7k, or 4k. I can choose 24, 30, 60, 120, or 240 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wanted to take a video that I didn't need to be able to slow down, and did't need super high quality, so I tried to set it to 720 at 30fps. However, it bounced back to 60fps and told me &quot;30 FPS is supported at 4k, 2.7k, and 1080.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can understand not being able to video in the higher resolutions at a higher frame rate, such as not being able to video in 4k at 240 (no matter how cool that would be). But why would 30fps in 720 be a limitation? Is it somehow more difficult to video in 720 at 30 FPS?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This also applies to 24fps, BTW.&lt;/p&gt;&#xA;" OwnerUserId="18145" LastActivityDate="2019-01-03T21:03:20.363" Title="Why would it make sense to not be able to video in 30fps in a 720 resolution, and have to video in a higher resolution to get 30fps?" Tags="|framerate|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25582" PostTypeId="1" CreationDate="2019-01-03T11:29:03.537" Score="3" ViewCount="2783" Body="&lt;p&gt;Here is basically what I'm trying to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have two files : 1. image.png 2. video.mp4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm trying to create a new video file (mp4) with :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;IMAGE.PNG for the first 5 seconds&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VIDEO.MP4 for the duration of the file VIDEO.MP4 (example 60 seconds)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;IMAGE.PNG for 5 seconds&lt;/p&gt;&#xA;&#xA;&lt;p&gt;is it possible in FFMPEG?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks a lot !&lt;/p&gt;&#xA;" OwnerUserId="24053" LastActivityDate="2019-01-03T20:14:19.413" Title="Add image as intro and outro to video" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25584" PostTypeId="1" CreationDate="2019-01-03T13:33:00.953" Score="0" ViewCount="350" Body="&lt;p&gt;This question differs from &lt;a href=&quot;https://video.stackexchange.com/questions/19285/how-to-burn-full-hd-movies-1080px720p-in-dvd&quot;&gt;how to burn full hd movies (1080px720p) in DVD&lt;/a&gt; because I would like to know how to convert the video in this resolution to DVD without giving up too much quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used &lt;a href=&quot;https://www.any-video-converter.com/products/for_video_free/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Any video converter&lt;/a&gt; to convert my 1920x1080 video to a PAL-DVD. Since the max resolution of a PAL-DVD is 720x576 the video looks very pixelated. Also the original video with a 16:9 format filled my full screen. The dvd has now black bars on the edge, since 720x576 is not 16:9 ratio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that great movies like lord of the rings are out on DVD, in 16:9 format and look great. How did they make this possible with a 720x576  resolution? &lt;/p&gt;&#xA;" OwnerUserId="19744" LastActivityDate="2024-02-21T20:01:50.183" Title="Convert 1920x1080 to PAL - DVD" Tags="|dvd|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25585" PostTypeId="2" ParentId="25565" CreationDate="2019-01-03T13:54:43.427" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://natrongithub.github.io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Natron&lt;/a&gt; is a free and open source software that allows for keying (removing a specific color from your video, helpful if you actually have a blue or greenscreen) as well as rotoscoping which is a technique to mask out specific parts of a video through a mix of manual and automated masking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have the possibility it will be a lot easier if you record yourself infront of a single color background that is in contrast to yourself, also avoid wearing colors that are similar to your background color. It does not always have to be a blue or green screen.&#xA;Lighting is also important.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course the best approach of all is to do it right while recording and get a black sheet instead of residing to digital editing which is a LOT harder to achieve a reasonable result with.&#xA;This will change with machine learning becoming more and more available but at the moment the most natural looks is always achieved in front of the camera.&lt;/p&gt;&#xA;" OwnerUserId="3295" LastActivityDate="2019-01-03T13:54:43.427" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25586" PostTypeId="1" CreationDate="2019-01-03T14:09:54.697" Score="4" ViewCount="6451" Body="&lt;p&gt;I am looking at a Video from Germany that was posted to YouTube 2014 and I want to know if I can license it? How would I find this out?&lt;/p&gt;&#xA;" OwnerUserId="24055" LastActivityDate="2019-10-01T00:01:45.183" Title="How do I know if a YouTube video is available to license?" Tags="|video|post-production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25587" PostTypeId="1" CreationDate="2019-01-03T15:07:27.343" Score="2" ViewCount="35" Body="&lt;p&gt;Where do I find the licensing agreement on a video so I know if I can use it or not?&lt;/p&gt;&#xA;" OwnerUserId="24055" LastEditorUserId="6169" LastEditDate="2019-01-25T15:06:32.350" LastActivityDate="2019-01-25T15:06:32.350" Title="Where do I find the standard licensing agreement on a video that's on YouTube?" Tags="|video|post-production|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25588" PostTypeId="1" AcceptedAnswerId="25590" CreationDate="2019-01-03T15:11:12.387" Score="0" ViewCount="749" Body="&lt;p&gt;I'm generating an MPEG transport stream from a PNG file with &lt;code&gt;ffmpeg&lt;/code&gt; succesfully with the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -loop 1 -i smpte-color-bars-1080p.png -r 25 -vcodec libx264 -tune zerolatency -f mpegts udp://0.0.0.0:1234&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'd like to add an audio track to this usingthe sine function but am falling at the first hurdle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -loop 1 -i smpte-color-bars-1080p.png -r 25 -vcodec libx264 -tune zerolatency -i sine=frequency=1000 -f mpegts udp://0.0.0.0:1234&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and get the error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Unknown decoder 'libx264'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Which implies that my arguments order is wrong.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I then tried:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -loop 1 -i sine=frequency=1000 -i smpte-color-bars-1080p.png -r 25 -vcodec libx264 -tune zerolatency -f mpegts udp://0.0.0.0:1234&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and get the error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;sine=frequency=1000: No such file or directory&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What is the correct syntax for adding a sine generated audio in this case?&lt;/p&gt;&#xA;" OwnerUserId="14515" LastActivityDate="2019-01-03T15:39:37.340" Title="Adding a sine generated audio track to a video stream with ffmepg" Tags="|video|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25589" PostTypeId="1" CreationDate="2019-01-03T15:20:13.100" Score="1" ViewCount="34" Body="&lt;p&gt;I' ve been recording clips with a Canon 80D and a Lexxar Profesional x633 SDXC card 64 GB class 10, 95 MB/s max read speed. Video format was MOV at 1080p, 25 fps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I never had a problem for almost a year with 80D and two years using this Lexxar SD card. But yesterday I just took my cam, (which was off and cool) tried to film, immediately saw the low recording speed bar adviser, and video stopped automatically. Same happened once and again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is my card is losing performance due to intense use? Or might the issue be related to used storage (around 75% of SD total was filled, mostly with cr2 raw photo files and JPEGs, at moment of filming).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know if it makes any difference, but battery charge was at its half. Video stopped just some seconds after start, so file size issues are out of debate.&lt;/p&gt;&#xA;" OwnerUserId="22273" LastEditorUserId="18155" LastEditDate="2019-10-15T13:39:43.847" LastActivityDate="2020-07-11T16:03:20.323" Title="Automatic video stop on SDCX class 10 card" Tags="|video-recording|filming|sd-card|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25590" PostTypeId="2" ParentId="25588" CreationDate="2019-01-03T15:39:37.340" Score="0" Body="&lt;p&gt;&lt;code&gt;sine&lt;/code&gt; is a source &lt;em&gt;filter&lt;/em&gt;, so the input format needs to be set as a filter using &lt;code&gt;-f lavfi&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -loop 1 -i smpte-color-bars-1080p.png -re -f lavfi -i sine=frequency=1000 -r 25 -vcodec libx264 -tune zerolatency -acodec aac -f mpegts udp://0.0.0.0:1234&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-01-03T15:39:37.340" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25591" PostTypeId="1" AcceptedAnswerId="25593" CreationDate="2019-01-03T19:27:59.077" Score="1" ViewCount="13268" Body="&lt;p&gt;I have a video project and i want to put a png image on top of the video for a few seconds at the beginning. The png file only contains some white writing without any background color. However, when i put it over my video there is a weird blending effect where the opacity declines circularly with very ugly contours. It is hard to describe but here is a screenshot:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Z67wJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Z67wJ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The writing from the image is on the top and the blurred content is from the background video. The black area with the hard border however should not be there and i don't get where it is coming from. I created the png file with photoshop and tried different export setting such as &quot;save for web&quot; as PNG-24 with transparency checked and RGB Color.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Adobe CS6.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know what i might do wrong here? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="23794" LastActivityDate="2021-05-31T16:41:21.870" Title="Adobe Premiere: PNG transparency ist not interpreted correctly" Tags="|premiere|adobe|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25592" PostTypeId="2" ParentId="25582" CreationDate="2019-01-03T20:14:19.413" Score="4" Body="&lt;p&gt;One method is to use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#concat&quot; rel=&quot;nofollow noreferrer&quot;&gt;concat&lt;/a&gt; filter:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 25 -loop 1 -t 5 -i image.png -i video.mp4 -f lavfi -t 0.1 -i anullsrc -filter_complex &quot;[0][2][1:v][1:a][0][2]concat=n=3:v=1:a=1[v][a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#anullsrc&quot; rel=&quot;nofollow noreferrer&quot;&gt;anullsrc&lt;/a&gt; filter generates silent audio as filler for proper concatenation. The concat filter will automatically pad the silent audio, so you only need a very short duration for anullsrc (this example uses &lt;code&gt;-t 0.1&lt;/code&gt;).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;This assumes your image is the same width, height, and aspect ratio as &lt;code&gt;video.mp4&lt;/code&gt;. If it is not then you'll have to filter the image to match with the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#scale&quot; rel=&quot;nofollow noreferrer&quot;&gt;scale&lt;/a&gt;, &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#pad&quot; rel=&quot;nofollow noreferrer&quot;&gt;pad&lt;/a&gt;, &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;nofollow noreferrer&quot;&gt;crop&lt;/a&gt;, or &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#scale2ref&quot; rel=&quot;nofollow noreferrer&quot;&gt;scale2ref&lt;/a&gt; filters. There are plenty of example of how to do this on Stack Exchange.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You didn't provide any info on your inputs or &lt;code&gt;ffmpeg&lt;/code&gt; build so I only provided this basic example.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;An alternative method is to use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#concat&quot; rel=&quot;nofollow noreferrer&quot;&gt;concat demuxer&lt;/a&gt; which can avoid re-encoding &lt;code&gt;video.mp4&lt;/code&gt;, but it can be somewhat harder to use because you'll have to make the video from the image first and made sure all of the parameters are the same as &lt;code&gt;video.mp4&lt;/code&gt;. See the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki&lt;/a&gt;, and again search Stack Exchange for dozens of examples.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-01-03T20:14:19.413" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25593" PostTypeId="2" ParentId="25591" CreationDate="2019-01-03T20:39:54.663" Score="1" Body="&lt;p&gt;I don't have the files to look at, so I can't say for sure, but if you're importing a flat PNG Premiere should interpret the transparency correctly and convert it with transparency on the alpha layer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thought, make sure you're using layer the PNG on layer 2 or above. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, make sure you are placing the PNG above a filled video layer (Black Video), File -&gt; New -&gt; Black Video&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Third, if that still gives you problems, try saving your file as a layered PSD file in Photoshop. Import it in and when prompted/select the import the layers as individual layers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then place the layers as needed and in what order on your timeline. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, it could possibly be your timeline/sequence settings - importing in a 24 bit PNG to a lower bit depth sequence could and would cause color issues if the sequence doesnt support that bit depth. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Last, you should be working in sRGB unless there's a specific need for another workspace.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2019-01-03T20:39:54.663" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25594" PostTypeId="2" ParentId="25581" CreationDate="2019-01-03T20:47:26.197" Score="2" Body="&lt;p&gt;720 is typically captured at 60fps, not always, it's not required (different video capture devices have different abilities), but 720p60 is more common than 720p30, so it may simply may not be, and likely is not a supported format. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You also shouldn't have to speed it up (as it should play back at it's base frame rate). This is common on higher end camera systems such as RED and ARRI, where you can set your base frame rate of say 24fps, but record 240fps thus it would play back at 1/10th speed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The base frame rate is encoded into the file's wrapper, and most if not all programs would recognize that for correct playback. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2019-01-03T20:47:26.197" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25595" PostTypeId="2" ParentId="25572" CreationDate="2019-01-03T20:50:52.620" Score="0" Body="&lt;p&gt;It's possible in AfterEffects because AE has far more detailed controls for keyframing and the controls for it's effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for film dissolve, The only way it would be possible would be to make sure you the effects panel, and keyframe the dissolve point (which I believe is possible with that specific filter). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But you don't access it from the pop up window, you select the transition once it's applied, then control it using keyframing on the effects control / modify panel. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2019-01-03T20:50:52.620" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25596" PostTypeId="2" ParentId="25567" CreationDate="2019-01-03T20:54:29.553" Score="2" Body="&lt;p&gt;LED's especially strip LED strands may give you flicker problems, especially if your shutter isn't locked to the same Hz of the AC the LEDs are running off of. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best bet, cheap shop lights from a Home Depot type store. Buy tungsten oldschool bulbs, highest wattage the lamps support, and bounce the light off of sheets of foam core board. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will give you nice white soft light provided you white balance to 4300K. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2019-01-03T20:54:29.553" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25598" PostTypeId="2" ParentId="25581" CreationDate="2019-01-03T21:03:20.363" Score="1" Body="&lt;p&gt;Nothing technically precludes shooting in 720p30, and it is not technically difficult than shooting 1080p30. It is just the choices the manufacturers make. Most consumer AVCHD camcorders do not shoot in 720p, for example. 24p was not supported at all on consumer camcorders 10-15 years ago, so consider yourself lucky to be able to use it :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You do not need to slow down 60p video for 30p project, most editing tools will simply drop every other frame. The editing program will also scale down 1080 to 720. You will lose nothing compared to shooting straight in 30p. On another hand, you can use some 60p source material for 0.5x slo-mo with no fake frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only downside is that some cameras do not allow selecting shutter speed longer than the duration of a frame, say you cannot select 1/30 when shooting 60p, but can do it when shooting 30p. This can cost you one stop of sensitivity. Anyway, I don't know what GoPro does in this case. Shooting active sports videos at 1/30 will look quite fuzzy anyway.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2019-01-03T21:03:20.363" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25599" PostTypeId="1" AcceptedAnswerId="27792" CreationDate="2019-01-03T22:28:23.760" Score="4" ViewCount="5084" Body="&lt;p&gt;I was trying to do some video editing and encoding. I have a so-called SD video that should supposedly be in &lt;code&gt;4:3&lt;/code&gt; aspect ratio. But instead of &lt;code&gt;640x480&lt;/code&gt;, it is &lt;code&gt;720x480&lt;/code&gt;. Interestingly, when I play it with a media player, what I see is &lt;code&gt;640x480&lt;/code&gt;- it is not played as &lt;code&gt;720x480&lt;/code&gt;!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is going on?! How could it be possible?&lt;/p&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2022-06-09T05:36:46.910" Title="4:3 video has 720x480 resolution" Tags="|video|encoding|video-quality|playback|aspect|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25600" PostTypeId="2" ParentId="25599" CreationDate="2019-01-03T22:42:08.423" Score="5" Body="&lt;p&gt;525/60 digitized SD video according to Rec. 601 is indeed 720 pixels wide, 480 pixels high, including some blanking on the sides. Digital equivalent of 625/50 is 720x576. In both cases, frame aspect ratio is 4:3, this simply means that the pixels are not square. See &lt;a href=&quot;https://en.wikipedia.org/wiki/D-1_(Sony)&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/D-1_(Sony)&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make matters more complex, only a subset of the frame has 4:3 proportions. I believe, only the 704x480 (for 525/60) and 704x576 (for 625/50) has 4:3 proportions. See discussion here: &lt;a href=&quot;https://lurkertech.com/lg/video-systems/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://lurkertech.com/lg/video-systems/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, 480 pixels are 10/11 in proportion, 576 pixels are 59/54 in proportion. Also see here: &lt;a href=&quot;https://en.wikipedia.org/wiki/Pixel_aspect_ratio&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Pixel_aspect_ratio&lt;/a&gt; And do not forget, that both 480-line and 576-line formats can also be widescreen (16:9) yet having the same number of pixels per line! Plus, numbers like 59/54 are not easy to work with. All of this caused that for 576-line format pixel aspect ratio has been chosen as 12/11 for 4:3 screen aspect ratio, and as 16/11 for 16:9.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Square pixels became the norm starting from VGA video adapter I believe, and then from HD specs for 720-line and 1080-line video. By the way, there are some HD formats that record 1440x1080 or 960x720, yet having 16:9 frame aspect ratio, they also have non-square pixels. Square pixels are relatively recent development and should not be automatically expected.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastEditorUserId="22079" LastEditDate="2019-01-03T23:00:13.877" LastActivityDate="2019-01-03T23:00:13.877" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25601" PostTypeId="2" ParentId="25586" CreationDate="2019-01-03T23:58:23.497" Score="2" Body="&lt;p&gt;Generally, the only license that's built in to YouTube is the YouTube terms of service. That license is basically that you have to watch through YouTube. You cannot download, reuse, etc. That leaves you with two options: 1) Link to the video, or 2) use the YouTube embed feature, assuming it's been made available for this video. Outside of that, you'll have to ask the video owner.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, some &lt;a href=&quot;https://support.google.com/youtube/answer/2797468?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;content creators licence their YouTube videos&lt;/a&gt; under the &lt;a href=&quot;https://creativecommons.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Creative Commons&lt;/a&gt; license (which is only valid if the uploader is the owner, naturally). If a YouTube video is under the Creative Commons or anything other than the standard YouTube licence, then it will say so in the video description. See the following snapshot:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zo5QB.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zo5QB.jpg&quot; alt=&quot;YouTube license category found in the video description.&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=Qo3OM5sPUPM&quot; rel=&quot;nofollow noreferrer&quot;&gt;Source&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also &lt;a href=&quot;https://www.wikihow.com/Find-Creative-Commons-Videos-on-YouTube&quot; rel=&quot;nofollow noreferrer&quot;&gt;filter YouTube search results to include only Creative Commons uploads&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;YouTube also recognizes the &quot;Fair Use&quot; doctrine, and lists their understanding of it and how you may use it with regards to YouTube videos &lt;a href=&quot;https://support.google.com/youtube/answer/6396261?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2019-01-03T23:58:23.497" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25602" PostTypeId="2" ParentId="25584" CreationDate="2019-01-04T00:31:15.370" Score="0" Body="&lt;p&gt;I have not tried Any Video Converter, but I did try HandBrake, and it works reasonably well. DVD-Video allows up to 9.5 Mbit/s bitrate, so do not be stingy, allow at least 5 Mbit/s or so, considering that free encoders are not very efficient. Make sure frame rates match, or convert without judder or ghosting. Make sure you convert between progressive and interlaced correctly. Make sure your luma is encoded within DVD legal range, otherwise your image will have too much contrast and will lose near-black and near-white detail. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;704x576 can be 4:3 or 16:9, plus 8 pixels on each side for digital blanking. The best looking DVDs I authored were 24p ones because they have full vertical resolution. I am not sure whether 25p DVDs can be authored as true progressive DVDs though. Interlaced DVDs look rather sad on a big screen.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2019-01-04T00:31:15.370" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25603" PostTypeId="2" ParentId="12566" CreationDate="2019-01-04T01:30:10.147" Score="0" Body="&lt;p&gt;Having version control for video files themselves is impractical because first, they are huge, second they are moving (are you going to preserve every frame?), third, they are immutable. That is, the original files do not ever change when editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But version control for project files makes a lot of sense. Presently, after every significant change I create a new project file and give it some descriptive name - what did I do, what did I add and what did I remove. In essence, I have to maintain the history manually by means of file names. Having project files under version control is a great idea, why I haven't thought of this before!&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2019-01-04T01:30:10.147" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25604" PostTypeId="2" ParentId="25577" CreationDate="2019-01-04T02:58:18.473" Score="0" Body="&lt;p&gt;The fifth null doesn't wander randomly, it just extends the red and blue lines off beyond their ends. You need to detect whether the intersection point is on the segment between the start and end nulls for each line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can test for it with this rather horrifying conditional: basically it tests to see if the intersection is outside the bounds of each point's x then y coordinates. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Replace the last line of your expression with this:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;if ((x &amp;gt; p1[0] &amp;amp;&amp;amp; x &amp;gt; p2[0])||(x &amp;gt; p3[0] &amp;amp;&amp;amp; x &amp;gt; p4[0])||(x &amp;lt; p1[0] &amp;amp;&amp;amp; x &amp;lt; p2[0])||(x &amp;lt; p3[0] &amp;amp;&amp;amp; x &amp;lt; p4[0])||(y &amp;gt; p1[1] &amp;amp;&amp;amp; y &amp;gt; p2[1])||(y &amp;gt; p3[1] &amp;amp;&amp;amp; y &amp;gt; p4[1])||(y &amp;lt; p1[1] &amp;amp;&amp;amp; y &amp;lt; p2[1])||(y &amp;lt; p3[1] &amp;amp;&amp;amp; y &amp;lt; p4[1])){&#xA;    value&#xA;}else{&#xA;    [x,y]&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Another version, does the same thing but with nice readable code, and a re-useable function:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;function outsideBounds(samplePt, p1, p2){&#xA;  if (samplePt[0] &amp;gt; Math.max(p1[0], p2[0])) {return true}&#xA;  if (samplePt[1] &amp;gt; Math.max(p1[1], p2[1])) {return true}&#xA;  if (samplePt[0] &amp;lt; Math.min(p1[0], p2[0])) {return true}&#xA;  if (samplePt[1] &amp;lt; Math.min(p1[1], p2[1])) {return true}&#xA;  return false &#xA;} &#xA;&#xA;if (outsideBounds([x,y], p1, p2)||outsideBounds([x,y], p3, p4)){&#xA;    value&#xA;}else{&#xA;    [x,y]&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/X_p8SrIqbug?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-01-04T04:07:50.207" LastActivityDate="2019-01-04T04:07:50.207" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25605" PostTypeId="2" ParentId="25235" CreationDate="2019-01-04T04:39:00.827" Score="1" Body="&lt;p&gt;To add text items together in Javascript is super easy, you just use the &lt;code&gt;+&lt;/code&gt; operator, which is 'overloaded' so that when the either term in an expression &lt;code&gt;x + y&lt;/code&gt; is a string, the output is the first and second terms concatenated, as a string.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you can just use &lt;code&gt;+ &quot;%&quot;&lt;/code&gt; to add a &quot;%&quot; symbol to the end of a number. Works for any character, e.g. &lt;code&gt;123 + &quot;-foo&quot;&lt;/code&gt; would result in &lt;em&gt;123-foo&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;TL;DR:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;effect(&quot;Slider Control&quot;)(&quot;Slider&quot;) + &quot;%&quot; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note&lt;/strong&gt; that the result of the slider will be a float (i.e. a number with lots of decimal places). That might not be what you're looking for. You can round it to an integer by using the &lt;code&gt;Math&lt;/code&gt; functions, specifically &lt;code&gt;Math.round&lt;/code&gt; (rounds to nearest integer) or &lt;code&gt;Math.floor&lt;/code&gt; (always rounds down).&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Math.round(effect(&quot;Slider Control&quot;)(&quot;Slider&quot;)) + &quot;%&quot; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;For extra credit&lt;/strong&gt;: If you did want some decimal places, say 2 decimal places, then multiply the number by 100, round it and then divide by 100:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Math.round(100 * effect(&quot;Slider Control&quot;)(&quot;Slider&quot;))/100 + &quot;%&quot; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-01-04T04:48:11.987" LastActivityDate="2019-01-04T04:48:11.987" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25606" PostTypeId="2" ParentId="25537" CreationDate="2019-01-04T07:06:12.670" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dzHA4.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dzHA4.jpg&quot; alt=&quot;Free Studio 1.4.12 running on Windows XP&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DVDVideoSoft makes a tool called Free Video Editor. It is free, but certain features are only available to premium users who buy a license. Free Video Editor can cut out scenes without re-encoding when using compatible formats such as H.264. You can export as a single file, or individual pieces. This feature was free (up until at least version 1.4), but is now only available to premium users.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MP4Splitter (part of MP4Tools) can be used to break an MP4 into multiple parts, and MP4Joiner (part of MP4Tools) can be used to join the parts you wish to keep. It is free.&lt;/p&gt;&#xA;" OwnerUserId="24061" LastActivityDate="2019-01-04T07:06:12.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25609" PostTypeId="1" CreationDate="2019-01-04T12:30:59.087" Score="0" ViewCount="36" Body="&lt;p&gt;I need a video tool in which has the following features. Could you please help to find the best vendor who offers the below features at the best rate.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Convert text into speech.&lt;/li&gt;&#xA;&lt;li&gt;Screen recording feature with high resolution.&lt;/li&gt;&#xA;&lt;li&gt;Video Editor (synchronize the audio and video file).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="24062" LastEditorUserId="14523" LastEditDate="2019-01-05T15:26:18.337" LastActivityDate="2019-01-05T15:26:18.337" Title="Video tool with text to speech and video editor (synchronize feature)" Tags="|video-editor|software-recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25610" PostTypeId="2" ParentId="25589" CreationDate="2019-01-04T13:14:08.553" Score="1" Body="&lt;p&gt;You could try a new card. Could be the issue. My guess it's the camera and the heatsink on the sensor. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try a different card first to see if that solves it. Card's can go bad. But with the Canon line (and all DSLR cameras really) do have issues with overheating- especially as they age. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If a new card doesnt fix it, you can try to service the camera, perhaps it just needs a good blow out/dusting of the heatsink. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Canon, Sony, Nikon, most models have had some sort of issue at higher resolution video/frame rates with heat issues, and as the cameras age the cameras don't behave as well as when they were new. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2019-01-04T13:14:08.553" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25611" PostTypeId="1" CreationDate="2019-01-04T17:22:09.753" Score="1" ViewCount="1075" Body="&lt;p&gt;I've used this code for merging three videos together with ffmpeg :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -f concat -safe 0 -i list.txt -c copy done.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the list.txt contains :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'first.mp4'&#xA;duration 2.5&#xA;file 'second.mp4'&#xA;duration 20.0&#xA;file 'third.mp4'&#xA;duration 1.5&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But the output video doesn't have any sound! I want sound of each one remains on the output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;what code should i use?&lt;/p&gt;&#xA;" OwnerUserId="24063" LastActivityDate="2019-01-04T17:22:09.753" Title="ffmpeg concat removing sound of videos" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25612" PostTypeId="2" ParentId="25609" CreationDate="2019-01-04T19:15:00.350" Score="1" Body="&lt;p&gt;For audio/video synchroniziation check out Pluraleyes. &#xA;&lt;a href=&quot;https://www.redgiant.com/products/shooter-pluraleyes/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.redgiant.com/products/shooter-pluraleyes/&lt;/a&gt;&#xA;If you are a student at a film school they offer better prices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recommend reading the manual carefully and watching the vendor's video tutorials before going for the trial version and then deciding on the purchase.&lt;/p&gt;&#xA;" OwnerUserId="24054" LastActivityDate="2019-01-04T19:15:00.350" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25614" PostTypeId="1" CreationDate="2019-01-04T22:06:15.703" Score="1" ViewCount="1124" Body="&lt;p&gt;&lt;strong&gt;Summary:&lt;/strong&gt;&lt;br&gt;&#xA;&lt;strong&gt;1.&lt;/strong&gt; Is it normal among lossey codecs?&lt;br&gt;&#xA;&lt;strong&gt;2.&lt;/strong&gt; what are the effects of this specifically when handling this 'cutoff' audio file?&lt;br&gt;&#xA;&lt;strong&gt;3.&lt;/strong&gt; Why is it still saving the file as 48khz if it doesn't contain that data anymore?&#xA;+++++++++++++++++++++++++++++++++++++++++++++++++++++&lt;br&gt;&#xA;I was reading the wiki for Opus. And the bottom notes caught my eye, mainly:&#xA;&lt;a href=&quot;https://en.wikipedia.org/wiki/Opus_(audio_format)&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Opus_(audio_format)&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Opus cuts audio above 20 kHz, the generally accepted upper limit of&#xA;  the human hearing range.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It lists very specific sample rates that are supported as well for opus on that page: 8khz, 12khz, 16khz, 24khz, 48khz  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if I intend to use opus as my audio format does it mean I need only record at a sample rate of 24khz? Anything above 20khz is just extra data for transforming the waveform before export? So no intent to transform would mean you might as well just record at 24khz?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not overly familiar with the specifics of audio codecs, but is this normal for codecs to cutoff such a large range of sounds? That just seemed concerning to me, given everyone records at ~44.1khz minimum and in general 48khz is well used. Is it better to use a different 'lossey' codec than opus if I intend on possibly editing/re-encoding the audio again at some point? Or would there be no real difference between the loss experienced when editing and re-encoding an opus vs the loss when editing an aac/etc?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm also confused why when I re-encode from a 48khz f32 .wav to opus it saves itself as a 48khz sample rate still. Isn't all data above 20khz gone...? That's confusing to me. edit: well I guess when you merge different sample rates they sound of different speeds so that's why it would keep the original format..?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And yes I'm aware that lossless is the ideal format if I intend to re-encode/edit at some point, but for the sake of argument let's pretend we have to choose between lossey formats (at least for the initial export, we can trans-code later to lossless)&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="21882" LastEditDate="2019-01-04T22:26:18.387" LastActivityDate="2019-01-05T17:40:47.127" Title="&quot;Opus cuts audio above 20kHz&quot; - Is this normal for lossey audio codecs?" Tags="|audio|codec|audio-recording|audio-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25616" PostTypeId="2" ParentId="4105" CreationDate="2019-01-05T01:18:23.903" Score="0" Body="&lt;p&gt;I am a longtime Vegas user, but have never used FCP. I will list some pros and cons I have for Vegas, and you decide whether any of these important for you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pros:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Extremely flexible for setting up project's resolution, frame rate, interlaced/progressive, etc. Can change the settings anytime for the existing project, which, AFAIK, Premiere cannot do.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Similarly, very flexible rendering options - choose encoder and full range of parameters. If you render from interlaced to progressive, need to pay attention to deinterlacing options in the project.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If Vegas can read video file, then it simply loads it, allows to scrub it, and to do all the regular editing tasks without re-encoding into internal format, this is what Apple products (FCP and iMovie) usually do, especially for formats they consider heavy. In particular, when AVCHD was unveiled a decade ago, Vegas had no issues with loading and editing it as is, while iMovie would convert it into something internal. Then Apple came with an idiotic iFrame format because they could not chew through AVCHD. I really like Vegas for no-nonsense editing of whatever you throw at it. On the other hand, if it cannot read it, you need to convert your source clips using external tools.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Vegas has a reasonable set of editing tools like levels, curves, color correction, chroma keying, it shows whether your luma and color in proper range, etc. It does not have a whole lot of pretty filters like Instagram, and its titling is quite basic.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Starting from version 9 or 10 its processing of AVC-encoded files became much faster, I was able to edit 1080p60 AVCHD on a modest 2008 Phenom machine. Presently, I can edit 4K AVC-encoded files on a mid-range i7 CPU without stuttering. Out of Vegas, Premiere and Corel, Vegas is the fastest.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Cons:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Cannot attach marker to a clip, only to a track. This is stupid. This feature was requested more than 10 years ago, yet have not been implemented. On the other hand, if you ripple-edit with markers included, they move along with clips. Not perfect, but some workaround.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Cannot set deinterlacing options per track, only per project. I may have an almost static shot, that I want to deinterlace by combining fields, or I may have a moving shot, that I want to deinterlace by throwing one field away. If I could set deinterlacing options per track, I would arrange my clips accordingly, but Vegas does not allow this.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Vegas starts to choke when the project gets long. If you undo something in a long project, you can see how all the clips on the timeline blink - it seems that Vegas's approach to store the sequence of edit commands it case of undo is not very efficient.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If all you want are straight cuts without additional effects, then Vegas can do DV and HDV without re-encoding, so it renders very quickly by joining pieces together and only re-encoding the broken GOPs. But it cannot render from AVC to AVC without re-encoding. Considering that most modern video uses AVC, this is a huge downside when you need something quickly.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Vegas understands 24p in DV and HDV streams that have flags, but does not seem to understand 24p in AVCHD streams. It does not have built-in standalone pulldown removal either (only as part of DV and HDV decoders). So if I have 24p in 60i stream encoded with AVCHD, I have to remove pulldown using external application, which means extra re-encoding.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="22079" LastEditorUserId="22079" LastEditDate="2019-01-05T01:23:31.660" LastActivityDate="2019-01-05T01:23:31.660" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25618" PostTypeId="2" ParentId="25614" CreationDate="2019-01-05T17:40:47.127" Score="4" Body="&lt;p&gt;You mistake the sample rate for the audio cutoff rate.  If the sample rate is 48kHz, the absolute maximum frequency that could even theoretically be represented with a lowpass signal is 24kHz (I am not getting into bandpass theories since the 20Hz subsonic band is just too small to be useful for transferring high frequency content).  In practice, you need more leeway to avoid aliasing problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So 48kHz is a reasonable sample frequency to use for signals cutting off at about 20kHz.  Now you are asking whether this is customary for lossy audio codecs.  The principal of lossy audio encoding is to throw away information that psychoacoustically is supposed to not be relevant.  Since human hearing is supposed to basically be constrained to the 20Hz-20kHz range, it is not in the least surprising that the range above 20kHz would not be subject to encoding.&lt;/p&gt;&#xA;" OwnerDisplayName="user24074" LastActivityDate="2019-01-05T17:40:47.127" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25620" PostTypeId="1" AcceptedAnswerId="25853" CreationDate="2019-01-05T20:21:08.097" Score="1" ViewCount="249" Body="&lt;p&gt;I have a 10 second video clip. At about the 5 second mark, I'm showing a text overlay. I want the video to keep on playing, but I'd like it to be darker when the text is showing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't want an abrupt transition of:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;0:00: normal video (100% bright), no text&lt;/li&gt;&#xA;&lt;li&gt;0:05: darkened video (50% bright) w/ text overlay&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I want a more smooth transition such as:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;0:00: normal video (100% bright), no text&lt;/li&gt;&#xA;&lt;li&gt;0:04: begin darkening the video&lt;/li&gt;&#xA;&lt;li&gt;0:05: darkened video (50% bright) w/ text overlay&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;How do I do this in iMovie?&lt;/p&gt;&#xA;" OwnerUserId="24076" LastActivityDate="2019-02-03T19:48:28.023" Title="How do I darken a video smoothly halfway through?" Tags="|editing|imovie|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25622" PostTypeId="1" AcceptedAnswerId="25623" CreationDate="2019-01-05T21:56:32.653" Score="3" ViewCount="89" Body="&lt;p&gt;I have a folder with 212 videos in 4k in it, I'd like to make kinda like proxy files out of them, low quality 360p.&#xA;It should end up in a seconde folder and still be h.264 so that it can easily be shared and opened everywhere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way inside Adobe Creative Cloud to make that?&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-01-18T03:19:31.807" Title="Adobe Software: Make low quality videos out of folder with videos" Tags="|adobe|intermediate|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25623" PostTypeId="2" ParentId="25622" CreationDate="2019-01-05T22:10:08.103" Score="3" Body="&lt;p&gt;This feature is supported through Adobe Media Encoder (AME) which is basically the background rendering engine for a number of the cloud apps including Premiere and AE. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need to set up watch folders. So long as AME is running, (I also believe you can have AME run as a background service now - but you may want to double check that) - and you have your preferences in AME correctly set up, any files placed into a watch folder will be processed based on attributes you specify - per watch folder. So you can have a folder where any files that you download or place there will be automatically trans-coded into XYZ format, only when system is idle, etc, then original file should be kept, or moved, or renamed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;AME also allows you to do a number of post processing on the files automatically, such as watermarking, basic image enhancements, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Essentially you specify a watch this folder, then create a template to bake the files placed there. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Documentation for this is online at Adobe and countless tutorial videos exist on YouTube detailing basic and advanced setup solutions. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2019-01-05T22:10:08.103" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25624" PostTypeId="1" CreationDate="2019-01-05T23:08:41.230" Score="1" ViewCount="1330" Body="&lt;p&gt;I have a set of Super 8 movies, digitized to Full HD MP4. This results in black bars left and right. I've imported the movies into Final Cut Pro x 10.4, with those bars. After doing some editing, I prefer to export them without the bars to a 1440x1080 resolution. I can create a project with that resolution. I can crop the clips to that resolution, but if I export it, I get 1920x1080. I don't know what I doing wrong. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Handbrake removes these bars automatically, but exports to 30fps while the movies are 24fps. And I prefer to export directly from FCP. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How can I export movies without the black bars?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="17830" LastActivityDate="2019-01-07T14:53:38.140" Title="FCPX: change export resolution and remove black bars" Tags="|final-cut-pro-x|handbrake|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25627" PostTypeId="2" ParentId="25624" CreationDate="2019-01-06T00:53:39.377" Score="1" Body="&lt;p&gt;This article should help &#xA;&lt;a href=&quot;https://www.premiumbeat.com/blog/custom-resolution-frame-rates-fcpx/&quot; rel=&quot;nofollow noreferrer&quot;&gt;custom resolution and frame rate in FCPX &lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2019-01-06T00:53:39.377" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25628" PostTypeId="1" CreationDate="2019-01-06T13:45:05.673" Score="1" ViewCount="143" Body="&lt;p&gt;Vegas newbie here. I started working on Vegas Pro 14 and I somehow hid one panel.  I don't know it's name, so I can't even Google it. It is the red one on the left side of timeline tracks.) How can I turn that panel back on?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RN1tQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RN1tQ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24081" LastEditorUserId="14523" LastEditDate="2019-01-08T00:14:08.380" LastActivityDate="2019-02-19T09:38:42.447" Title="Show a hidden panel" Tags="|vegas-pro|windows|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25630" PostTypeId="1" CreationDate="2019-01-06T19:36:16.673" Score="0" ViewCount="33" Body="&lt;p&gt;I'm trying to get an overview of which options I have to get a list of audible music used on a Premiere Pro, Avid Media Compoaer and Final Cut Pro timeline. I mention audible, because I would not be interested in music on the timeline which is e.g. muted - and thus not audible. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would be interested in knowing e.g. the filename, start and stop positions to build a summary of the music used - and audible - on a timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Such a list could simply be the name of files (containing the music) used on the timeline. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know these applications can extract EDL lists, but I am uncertain how precise these are. Is this the best I can get in terms of timeline summaries, or do I have other options?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not interested in 3rd party applications, but only functionality provided by the applications themselves.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best way to extract a summary of e.g. filenames, start and stop positions - and how can i make sure that these extracts only include audible music?&lt;/p&gt;&#xA;" OwnerUserId="17417" LastEditorUserId="17417" LastEditDate="2019-01-06T19:50:17.250" LastActivityDate="2024-01-11T12:03:20.463" Title="Which options exist for exporting music used on the timeline?" Tags="|premiere|final-cut-pro-x|avid|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25631" PostTypeId="2" ParentId="25630" CreationDate="2019-01-06T21:29:26.710" Score="0" Body="&lt;p&gt;To my knowledge FCPX does not have anything built in for this. You would need 3rd party. &#xA;If you willing to use 3rd party my best bet would be &lt;a href=&quot;http://intelligentassistance.com/producer-s-best-friend.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Producer’s Best Friend&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2019-01-06T21:29:26.710" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25632" PostTypeId="1" AcceptedAnswerId="25658" CreationDate="2019-01-06T22:31:44.637" Score="0" ViewCount="451" Body="&lt;p&gt;My comp setup is as follows:&#xA;- layer 1: image&#xA;- layer 2: duplicated from layer one&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for an expression or any other method (Could be a plugin recommendation) so when I change the image of layer 1, it automatically updates layer 2!&lt;/p&gt;&#xA;" OwnerUserId="24084" LastEditorUserId="24084" LastEditDate="2019-01-08T20:22:32.430" LastActivityDate="2019-01-09T17:00:33.073" Title="After effects | How do I copy an image source from layer to another programatically?" Tags="|after-effects|after-effects-expressions|after-effects-scripting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25633" PostTypeId="2" ParentId="18284" CreationDate="2019-01-07T11:04:37.997" Score="11" Body="&lt;p&gt;&lt;a href=&quot;https://github.com/mifi/lossless-cut/pull/13&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/mifi/lossless-cut/pull/13&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;When I run ffmpeg with the arguments in this order -i ... -ss ... -t ..., it produces a video file that has no video for a few initial seconds. (as far as I can understand this is because it doesn't seek to a keyframe?)&lt;/p&gt;&#xA;&lt;p&gt;If I change the order to -ss ... -i ... -t ..., then the resulting cut videos play properly.&lt;/p&gt;&#xA;" OwnerUserId="24088" LastEditorUserId="41003" LastEditDate="2023-04-13T17:57:59.793" LastActivityDate="2023-04-13T17:57:59.793" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="25634" PostTypeId="2" ParentId="18468" CreationDate="2019-01-07T13:24:38.957" Score="2" Body="&lt;p&gt;You could use Davinci Resolve. The free version can do all the things you want.&#xA;It's a professional software tho, so you'll maybe need to read into it.&#xA;But you can allways ask here, we can guide you further if you're stuck.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-01-07T13:24:38.957" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25635" PostTypeId="1" CreationDate="2019-01-07T14:37:56.787" Score="0" ViewCount="448" Body="&lt;p&gt;I am recording footage for my music video and I am using chroma keying for eliminating the green screen and changing the background of my video. &#xA;I am using &lt;strong&gt;After Effects CC 14&lt;/strong&gt; video production/editing software. I don't have any third party plugin to remove the green screen background and so I am using &lt;strong&gt;Keylight 1.2&lt;/strong&gt;. The steps that I am following for changing the background can be found in this &lt;a href=&quot;https://www.youtube.com/watch?v=baLLa_6zx14&amp;amp;t=6s&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;em&gt;tutorial&lt;/em&gt;&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My questions about the issues which I am getting here are as follows:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The main problem I am getting here is that when I am removing the background using Keylight 1.2, I am getting white light borders on the body of the subject. These borders keep coming after the edit even while I am recording the footage from even different cameras. &lt;/li&gt;&#xA;&lt;li&gt;The second problem is, after creating the garbage matte and editing the clip at different levels as shown in the above-mentioned tutorial, some parts of the elbow of the subject/model are also becoming transparent. I cannot understand why.&lt;/li&gt;&#xA;&lt;li&gt;Which color will be the best for my subject/model to wear during the shoot, so that it does not reflect the green color and will have the least reflection.&lt;/li&gt;&#xA;&lt;li&gt;What will be some best camera settings for recording the footage in order to remove the green screen? My Camera is &lt;a href=&quot;https://www.amazon.in/Nikon-D5300-Digital-Camera-NIKKOR/dp/B00I4SGE0K&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;&lt;em&gt;Nikon D5300&lt;/em&gt;&lt;/strong&gt;&lt;/a&gt; and the lens which I am using with it is &lt;a href=&quot;https://www.amazon.in/Nikon-Nikkor-18-55-3-5-5-6G-Camera/dp/B01AI8H58I/ref=sr_1_4?s=electronics&amp;amp;ie=UTF8&amp;amp;qid=1546871175&amp;amp;sr=1-4&amp;amp;keywords=18-55%20lens%20for%20nikon&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;em&gt;18-55MM&lt;/em&gt;&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;As an example, you may get my test videos &lt;a href=&quot;https://drive.google.com/open?id=1na5P7BpgFrYwnl18uF-h9pka92PHq8I3&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;&lt;em&gt;here&lt;/em&gt;&lt;/strong&gt;&lt;/a&gt;. &lt;/p&gt;&#xA;" OwnerUserId="24091" LastEditorUserId="14523" LastEditDate="2019-01-08T00:05:59.457" LastActivityDate="2019-01-09T17:07:36.750" Title="What are some Best Camera Settings for Recording for Chroma Keying and which color of cloth reflects least green color?" Tags="|after-effects|dslr|greenscreen|chromakey|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25636" PostTypeId="2" ParentId="25624" CreationDate="2019-01-07T14:53:38.140" Score="1" Body="&lt;p&gt;Hi This article might help as well, sending direct from FCPX to Handbrake&#xA;&lt;a href=&quot;http://tpayton.com/handbrake-and-fcpx/?fbclid=IwAR2R6DuU0hjV2xb42dW4Bi4ypMO00gJR4-xmkI_DnGBF3i6aZUFmNV8JzoY&quot; rel=&quot;nofollow noreferrer&quot;&gt;FCPX to Handbrake&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6921" LastActivityDate="2019-01-07T14:53:38.140" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25637" PostTypeId="2" ParentId="25620" CreationDate="2019-01-07T14:59:23.403" Score="0" Body="&lt;p&gt;First of all the transition that you are willing to do &lt;em&gt;is&lt;/em&gt; according to my knowledge an &lt;em&gt;abrupt transition&lt;/em&gt; and according to me dimming 50% of brightness in just 1 second will look less smooth and more immediate than the dimming/reduction of brightness in 5 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Preferably, I would like you to use &lt;strong&gt;Adobe Premiere Pro&lt;/strong&gt; &lt;em&gt;and/or&lt;/em&gt; &lt;strong&gt;Adobe After Effects&lt;/strong&gt;, if you like such transitions, in which &quot;&lt;em&gt;keyframes&lt;/em&gt;&quot; do a nice job. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, in iMovie, you don't have a good keyframe feature. So, what you can do here is answered by &lt;em&gt;AppleMan1958&lt;/em&gt; (quoting it in his own words below):-&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Mar 9, 2012, 5:07 AM AppleMan1958 in response to Penfold941&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;iMovie does not contain keyframes like FCP, but you can simulate it quite a bit. Just drag your mouse from your first &quot;keyframe&quot; to the end &quot;keyframe&quot; within a clip so that you have selected a range of clips. Then right-click within the range and select &quot;Split Clip&quot;. Now you can apply a Ken Burns zoom to this section. This works for many effects.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;What you cannot do is keyframe the location of a motion graphic to simulate movement, for example.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You may read the full thread &lt;a href=&quot;https://discussions.apple.com/thread/3791787&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;&lt;em&gt;here&lt;/em&gt;&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, you might have got your answer, if there remains any other confusion, you may ask in the comment section below. But, try this solution out before asking or assuming any confusion. Hopefully, you might get rid of your problem yourself.&lt;/p&gt;&#xA;" OwnerUserId="24091" LastActivityDate="2019-01-07T14:59:23.403" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25638" PostTypeId="1" CreationDate="2019-01-07T16:33:03.980" Score="5" ViewCount="3060" Body="&lt;p&gt;I have a certain number of pictures that I want to repeat until the melody ends. The problem is that when I make settings it does not work.&#xA;the process goes on forever&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -pattern_type glob -loop 1 -r:v 1/4 -i &quot;folder/*.jpg&quot;  -i &quot;folder/voice.mp3&quot; -acodec libvo_aacenc -shortest  -c:v libx264  -preset veryslow -pix_fmt yuv420p -b 20M -pix_fmt yuv420p  -y /folder.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24093" LastActivityDate="2021-01-07T13:10:18.413" Title="How can I make a slideshow with ffmpeg?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25639" PostTypeId="2" ParentId="23990" CreationDate="2019-01-07T18:20:56.830" Score="1" Body="&lt;p&gt;Keep the original files on two different storage units, preferably different storage types, say external HDD and Blu-ray. Keep the distro of your editing app and the license key. Keep the OS version you used to run the editing app including the license key. Keep the project file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Author a DVD-Video for your family to watch, especially the elders who are not at ease with YouTube and the likes. Will play in Blu-ray player too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Upload to YouTube for everyone else. If it is interlaced, deinterlace it first. Make it unlisted or private. Share the link.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2019-01-07T18:20:56.830" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25640" PostTypeId="2" ParentId="25638" CreationDate="2019-01-07T21:43:37.947" Score="3" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Your &lt;code&gt;ffmpeg&lt;/code&gt; is old. Update it before doing anything else. See &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Downloads&lt;/a&gt; for links to builds for Linux, Windows, and macOS.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use &lt;code&gt;-framerate&lt;/code&gt; instead of &lt;code&gt;-r&lt;/code&gt; for input.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Change &lt;code&gt;-acodec libvo_aacenc&lt;/code&gt; to &lt;code&gt;-c:a aac&lt;/code&gt;. libvoaac_enc is a low quality encoder and support for it has been removed from FFmpeg.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Some players do not like a low frame rate. Declare an output frame rate with &lt;code&gt;-r&lt;/code&gt; or the fps filter when the input &lt;code&gt;-framerate&lt;/code&gt; is below ~5 fps.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;-crf&lt;/code&gt; instead of &lt;code&gt;-b&lt;/code&gt; / &lt;code&gt;-b:v&lt;/code&gt;&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Output MP4 instead of AVI.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Example command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -pattern_type glob -loop 1 -framerate 1/4 -i &quot;folder/*.jpg&quot;  -i &quot;folder/voice.mp3&quot; -c:v libx264 -preset veryslow -crf 22 -pix_fmt yuv420p -r 25 -shortest -movflags +faststart folder.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-01-07T21:43:37.947" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25642" PostTypeId="1" AcceptedAnswerId="25650" CreationDate="2019-01-08T04:00:53.220" Score="0" ViewCount="703" Body="&lt;p&gt;Our workflow involves huge 8K clips(i.e., 8192x8192). The inputs are mostly very high bitrates 264/265 clips, though we are using ProRes or  DNxHD for post-production within the process, we do not want to archive such huge files as the &quot;master&quot; copies(easily over 100GB for 1 minute).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My current approach is, using FFMPEG to compress the ProRes/DHxHD clips into H.265 clips using a very high-quality setting (crf=12, slow profile).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another quality related setting is the pixel format config. Then my question comes up:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Targeting the same clips(5 of them), using the same compress settings, one with yuv420 8-bit, one with yuv444 10-bit, yuv444 outputs are constantly smaller than yuv420 outputs(5%-10%), i.e, lower bitrates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If yuv444 10-bit needs to store more information, how could this be possible?&lt;/p&gt;&#xA;" OwnerUserId="24100" LastActivityDate="2019-01-08T18:46:41.177" Title="H.265(libx265) codec for 8K videos, using same compress settings, why yuv444 10-bit is saving bitrates than yuv420 8-bit?" Tags="|ffmpeg|h.265|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25643" PostTypeId="1" CreationDate="2019-01-08T04:36:12.613" Score="6" ViewCount="28696" Body="&lt;p&gt;&lt;strong&gt;*Edit:&lt;/strong&gt; changing the render to &lt;code&gt;-preset veryfast&lt;/code&gt; will no longer display the warning message. I also noticed that the video itself for the versions where the warning displayed had the last few minutes cutoff on both the audio and the video. I'm quite lost as to why this is.&lt;br&gt;&#xA;+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Thread message queue blocking; consider raising the thread_queue_size option &#xA;  (current value: 8)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I'm trying to find information on this warning message and what it means. The information I found online is indicating that not increasing my &lt;code&gt;thread_queue_size&lt;/code&gt; can create artifacts and sync issues..? However the postings are many years old, and I'm unsure if they are true or still apply etc. They also apply towards screencasting specifically, which I am not knowingly doing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command I use that prompts this message is as follows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 500/21 -start_number 1518 -i %d.png -i audio.ogg -c:a copy -vf &quot;scale=3840:-1&quot; -c:v libx265 -preset fast -crf 19 -pix_fmt yuv422p10le output.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So basically I'm turning thousands upon thousands of 1080p png into a 10 bit 4k h.265 .ts video. Whether I use a preset or not, or do audio separately, the warning still displays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I'm doing my command ffmpeg uses 90%-100% of my cpu and 80%-90% of my ram. I want to know if my render is suffering in some way by ignoring the warning message. The stuff I read online was concerning. For the sake of argument &lt;a href=&quot;https://nowardev.wordpress.com/2015/03/24/ffmpeg-and-the-message-thread-message-queue-blocking-consider-raising-the-thread_queue_size-option-current-value-8-alsa-buffer-xrun/&quot; rel=&quot;noreferrer&quot;&gt;I'll link the info I found, just note the language is nsfw.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will add that my content is just over 30 minutes long. Also I noticed that after rendering it out and lining it up with the original content in my Video editor, that there is a slight audio echo. Meaning the audio does not sync 100% correctly as it should. It's irrelevant for my video in the grand scheme, but I'd like to know if its related in any way as the linked info suggests. I'd also like to know what I can/should do to address the warning, if anything.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;s speed = 0.117x&lt;br&gt;&#xA;using preset fast&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I came across information in my search that said speed needs to be 1.0 or faster...? I don't know if that was related to a specific situation in the post read, or if there's something I never knew about happening here. Almost all my renders occur under 1.0x speed unless I'm rewrapping/copying streams.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="18155" LastEditDate="2019-07-03T19:15:28.927" LastActivityDate="2022-09-20T18:16:52.350" Title="ffmpeg thread_queue_size warning: What does this mean?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25644" PostTypeId="2" ParentId="18468" CreationDate="2019-01-08T06:07:29.467" Score="0" Body="&lt;p&gt;Blender VSE is an option that can do those things you need. It uses ffmpeg to do its renders. The main drawback is it renders very slowly, forcing things to a single cpu core, as well it lacks certain things you might want such as sharpeners and support for specific formats like textfiles and gif. Or if you were making 2d text for example it has only basic single font functionality as a preset.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However it offers, in conjunction with the 3d viewport and python scripting, ways to address many of these issues. For the most part it's an open toolbox, it can go as far as you program it to.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="674" LastEditDate="2019-01-19T16:43:31.277" LastActivityDate="2019-01-19T16:43:31.277" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25645" PostTypeId="1" CreationDate="2019-01-08T06:22:07.530" Score="0" ViewCount="1085" Body="&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=ZyFVzZWhLQs&quot; rel=&quot;nofollow noreferrer&quot;&gt;Spinning globe with orbiting texts&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does someone know how to make the orbiting text shown at the bottom right corner of the linked clip or where to such a tutorial online by using Davinci Resolve?&lt;/p&gt;&#xA;" OwnerUserId="24101" LastEditorUserId="14523" LastEditDate="2019-10-10T22:51:47.623" LastActivityDate="2024-03-20T20:03:45.413" Title="How do you make orbiting text in Davinci Resolve 15?" Tags="|video|video-editor|animation|davinci-resolve|fusion|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25646" PostTypeId="2" ParentId="17195" CreationDate="2019-01-08T10:26:49.787" Score="1" Body="&lt;p&gt;I have tried the following command to generate output file with repeating audio track and it is working fine&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-stream_loop 2 -i input.mp3 -c copy -y output.mp3&lt;/p&gt;&#xA;&#xA;&lt;p&gt;it will create output.mp3 output file with repeating input track 3 times&lt;/p&gt;&#xA;" OwnerUserId="24105" LastActivityDate="2019-01-08T10:26:49.787" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25647" PostTypeId="2" ParentId="15468" CreationDate="2019-01-08T16:45:14.247" Score="3" Body="&lt;p&gt;Based on Duncan's really helpful answer:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for f in *.mp4; do ffmpeg -i ${f} -q 0 &amp;quot;${f%.*}.mts&amp;quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i &amp;lt;(for f in *.mts; do echo &amp;quot;file '$PWD/${f}'&amp;quot;; done) -c copy All.mts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Or if videos are all the same format:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i &amp;lt;(find . -name '*.mp4' -printf &amp;quot;file '$PWD/%p'\n&amp;quot; | sort) -c copy all.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24107" LastEditorUserId="24107" LastEditDate="2021-03-12T18:58:37.693" LastActivityDate="2021-03-12T18:58:37.693" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25650" PostTypeId="2" ParentId="25642" CreationDate="2019-01-08T18:46:41.177" Score="1" Body="&lt;p&gt;From &lt;a href=&quot;http://x264.nl/x264/10bit_02-ateme-why_does_10bit_save_bandwidth.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;Why does 10-bit save bandwidth (even when content is 8-bit)?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;When encoding with the 10-bit tool, the compression process is&#xA;  performed with at least 10-bit accuracy compared to only 8-bit&#xA;  otherwise. So there is less truncation errors, especially in the&#xA;  motion compensation  stage, increasing the efficiency of compression &#xA;  tools. As a consequence, there is less need to quantize to achieve a&#xA;  given bit-rate.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;The net result is a better quality for the same bit-rate or conversely&#xA;  less bit-rate for the same quality: between 5% and 20% on typical&#xA;  sources.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;See the link for additional info.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-01-08T18:46:41.177" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25653" PostTypeId="1" AcceptedAnswerId="25655" CreationDate="2019-01-08T23:08:00.057" Score="0" ViewCount="196" Body="&lt;p&gt;We are planning to shoot our first feature film with a budget of around 100'000-2'000'000$. And we'd like to master it in 5.1 Surround sound.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Normal procedure would be to do it with Dolby Surround, is there a source where I can find out how much this will cost? Or do I need to contact them?&#xA;Will it be realistic for our budget?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, what is the best way to make Surround sound for cinema?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We use Adobe CC and probabbly easyDCP for export.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-01-09T06:31:11.123" Title="Surround sound for cinema feature film (Pricing of Dolby Surround)" Tags="|audio|codec|post-production|mixing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25654" PostTypeId="2" ParentId="25628" CreationDate="2019-01-09T04:46:39.227" Score="1" Body="&lt;p&gt;If you open the Help and navigate to The Vegas Pro Window section, you will see a picture with all main components of the Vegas UI explained.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The area you pointing to is the Track List. It seems that it is not a separate sub-window, but a part of the timeline window. What most likely happened you moved the vertical divider all the way to the left. Try hovering the mouse at the left edge of the timeline window and see whether it will change to a double vertical line with two arrows pointing left and right. Click and drag to the right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/owHnr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/owHnr.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2019-01-09T04:46:39.227" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25655" PostTypeId="2" ParentId="25653" CreationDate="2019-01-09T06:31:11.123" Score="2" Body="&lt;p&gt;If your plan is to deliver the end product as a DCP, you don't need any Dolby licensing or approval, you can just deliver the theater mix as a 6 discrete channels 5.1 mix in the DCP container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nevertheless, you will need an experienced sound mixer and appropriate dubbing theater. Budgeting the audio production and post-production will depend on many factors and the help of a sound person might be needed.&lt;/p&gt;&#xA;" OwnerUserId="9147" LastActivityDate="2019-01-09T06:31:11.123" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25657" PostTypeId="2" ParentId="25645" CreationDate="2019-01-09T14:30:46.083" Score="0" Body="&lt;p&gt;I can put this in a video tutorial later if you need it but here is what I did to achieve an effect like that. I took an animated PNG and recorded a 20 second clip of it doing its thing on the my screen. The PNG was a bouncing Firefox logo and by default is was a transparent animation but I used IrfanView to play the animation, which gave it a solid black background for recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4inPm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4inPm.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next I imported the clip into Resolve, added it to the video track above the main video, sized and positioned it to the lower left of the screen. Next I went into the color grading page and removed all the black (background) from the animated clip, which left just the bouncing logo over the original video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This end result is not perfect because I put this together fast to answer your question. But this is what I ended up with in less than a half hour of effort.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=TXHGfrtvQn4&quot; rel=&quot;nofollow noreferrer&quot;&gt;Bouncing Firefox Video&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22835" LastEditorUserId="22835" LastEditDate="2019-01-09T16:23:16.777" LastActivityDate="2019-01-09T16:23:16.777" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25658" PostTypeId="2" ParentId="25632" CreationDate="2019-01-09T17:00:33.073" Score="1" Body="&lt;p&gt;It depends how you mean: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Option 1:&#xA;If you put the image in Layer 1 inside a Comp, then any change to the image inside the Comp will change in both Layer 1 and Layer 2 (assuming you also put the Comp on Layer 2).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Option 2:&#xA;You could put a load of different images inside a comp, a different one on each frame.&#xA;Then in your master comp, place this comp, but assign Time Remap to the comp, to choose to hold on a specific frame.  Then when you want to change the held frame, just keyframe to the different time in your first comp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Option 3: &#xA;If you really mean to change the image programmatically, you could use something like &lt;a href=&quot;https://aescripts.com/templater/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Templater Rig&lt;/a&gt;, where you can set a load of different file paths to images, and then assign them to different comps programmatically.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-01-09T17:00:33.073" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="25659" PostTypeId="2" ParentId="25635" CreationDate="2019-01-09T17:07:36.750" Score="1" Body="&lt;p&gt;Lighting is the biggest factor in improving this setup.  Move the subject further away from the sheet, use a lens that has a shallow depth of field so that any imperfections in the sheet are harder to see.  Light the sheet and the subject using diffuse lighting - large soft lights, or bright lights shone through large soft sheets, to make as few shadows as possible.  Backlight the subject slightly to get separation from the green screen and to reduce spill.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camera-wise, use a camera which records as much colour depth as possible, and doesn't &lt;a href=&quot;https://en.wikipedia.org/wiki/Chroma_subsampling&quot; rel=&quot;nofollow noreferrer&quot;&gt;subsample the colour&lt;/a&gt;.  (Don't know how the Nikon samples colour)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're using After Effects, &lt;a href=&quot;https://www.youtube.com/watch?v=jLaR8C1tcMg&quot; rel=&quot;nofollow noreferrer&quot;&gt;this is a very useful tutorial&lt;/a&gt; to get a good clean key, but without doing the steps above, you may still have difficulty getting a good key.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-01-09T17:07:36.750" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25660" PostTypeId="1" CreationDate="2019-01-09T21:31:33.767" Score="1" ViewCount="80" Body="&lt;p&gt;I'm working on a project that is using an old &quot;film roll&quot; as a base for it: &lt;a href=&quot;https://i.stack.imgur.com/1Pc16.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1Pc16.png&quot; alt=&quot;image here&quot;&gt;&lt;/a&gt; I want to have different clips for each color, and I plan on moving the film to the left, but I want to somehow scale the clips down to fit in their respected color, and move with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: I know I accidently still have a green in the corner, I fixed that but not re-uploading&lt;/p&gt;&#xA;" OwnerUserId="24123" LastActivityDate="2019-01-12T22:52:49.013" Title="Moving clip with green screen" Tags="|premiere|greenscreen|tracking|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25661" PostTypeId="1" CreationDate="2019-01-10T05:02:33.740" Score="0" ViewCount="685" Body="&lt;p&gt;I was wondering if anyone knows from where I could get a few (short) video  assets in high bitrate to check the quality output of a transcoder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some context: A few years ago I was working on a VOD project and the person who was configuring the transcoders had a set of 4 videos that really pushed the transcoder (e.g. very clear water ripples, a few bees on top of a yellow flower... and I cannot recall the other 2). I remember this person telling me that he had picked those videos as they pushed different aspects of transcoders, so I was wondering if there's something out there I could reuse.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;edit&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I haven't found so far a good set of free videos to push the transcoder, but I have found the following sources.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://4kmedia.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;4k media&lt;/a&gt;: Has quite a few free high bitrate 4k (30-60 fps) videos.   &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1522" LastEditorUserId="1522" LastEditDate="2019-01-17T07:17:49.887" LastActivityDate="2019-01-17T07:17:49.887" Title="Video Assets to test transcode quality" Tags="|video-quality|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25662" PostTypeId="1" CreationDate="2019-01-10T15:19:00.743" Score="0" ViewCount="1136" Body="&lt;p&gt;I'm using Windows and batch converting some SD captures that are 544x576, I want to deinterlace them and scale them to show at the proper aspect ratio. When I use the following command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;FOR /F &quot;tokens=*&quot; %%G IN ('dir /s/b *.576p.mkv') DO c:\bin\ffmpeg.exe -i &quot;%%~fG&quot; -y -filter:v yadif -filter:v scale=in_w:in_h,setsar=1.4118/1 -c:v libx264 -crf 18 -level 3.1 -preset slow -c:a copy &quot;%%~dpnG.out.mkv&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The resultant file is still clearly interlaced, but the video specs show as progressive. Any ideas what would cause this? I'm having to do it in two stages using:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;FOR /F &quot;tokens=*&quot; %%G IN ('dir /s/b *.576p.mkv') DO c:\bin\ffmpeg.exe -i &quot;%%~fG&quot; -y -filter:v yadif  -c:v libx264 -crf 17 -level 3.1 -preset slow -c:a copy &quot;%%~dpnG.di.mkv&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;then &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;FOR /F &quot;tokens=*&quot; %%G IN ('dir /s/b *.576p.di.mkv') DO c:\bin\ffmpeg.exe -i &quot;%%~fG&quot; -y -filter:v scale=in_w:in_h,setsar=1.4118/1 -c:v libx264 -crf 17 -level 3.1 -preset slow -c:a copy &quot;%%~dpnG.x264.mkv&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;..which is sub-optimal as it would do two separate encodes. However the .di.mkv file is not interlaced (looking at the video with left to right motion there's no combing present)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would cause the first (yadif) filter to be ignored?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many thanks!&lt;/p&gt;&#xA;" OwnerUserId="24131" LastActivityDate="2021-12-09T22:03:00.357" Title="ffmpeg.exe ignores yadif filter when using &gt;1 filter on the command line" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25664" PostTypeId="2" ParentId="25662" CreationDate="2019-01-10T18:40:27.013" Score="1" Body="&lt;p&gt;Use one &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#Filtergraph-syntax-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;filtergraph&lt;/a&gt; and join &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Simple-filtergraphs&quot; rel=&quot;nofollow noreferrer&quot;&gt;simple filters&lt;/a&gt; with a comma:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter:v &quot;filter1,filter2,filter3&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Your scale isn't doing anything. For example, a 320x240 input with &lt;code&gt;scale=in_w:in_h&lt;/code&gt; is the same as &lt;code&gt;scale=320:240&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-01-10T18:40:27.013" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25666" PostTypeId="1" AcceptedAnswerId="25669" CreationDate="2019-01-10T20:23:36.127" Score="0" ViewCount="184" Body="&lt;p&gt;I'm trying to retrieve and decode V-chip data from my TV streams (NTSC/ATSC digital streams). Apparently these data are embedded somewhere in the stream itself, but I have no clue how they are embedded inside, if they are inside visual frames, or a different hidden channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How are they embedded in the stream? And how can I retireve these data? Is there a software tool to get those signals? I need to do this programmatically in code.&lt;/p&gt;&#xA;" OwnerUserId="43073" LastEditorUserId="43073" LastEditDate="2019-01-10T21:22:34.150" LastActivityDate="2019-01-11T01:31:45.847" Title="Retrieve and decode V-Chip data from an aired digital TV stream" Tags="|video|streaming|video-capture|broadcasting|decoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25667" PostTypeId="1" CreationDate="2019-01-10T21:48:53.740" Score="0" ViewCount="3463" Body="&lt;p&gt;CPI files accompany MTS files in AVCHD containers created by camcorders. &#xA;Various posts on video forums suggest that CPI files should be archived together with MTS files, as they contain metadata about the video. Usually it's even &lt;a href=&quot;https://video.stackexchange.com/q/15657/10579&quot;&gt;recommended to keep the whole structure of SD card&lt;/a&gt;. However, it only works fine as long as an SD card contains recording from a single event. In my case, the videos may be completely unrelated and even taken in different years. Therefore I typically store MTS files only, and organize them by date. Sometimes I also rename the MTS files to something descriptive. Maintaining the AVCHD directory structure or even just MTS+CPI files is an extra burden I'd like to avoid.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my few attempts MediaInfo seems to extract at least as much information from MTS files as it does from CPI files. Frame rate, resolution, bitrate, recording date and time etc. seem to be all saved in MTS. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what is the added value of keeping the CPI files?&lt;/p&gt;&#xA;" OwnerUserId="10579" LastActivityDate="2019-01-10T23:50:24.640" Title="Do I really need to keep CPI file from AVCHD container?" Tags="|file-formats|avchd|metadata|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25668" PostTypeId="2" ParentId="25667" CreationDate="2019-01-10T23:50:24.640" Score="1" Body="&lt;p&gt;None of the editing tools I know of uses any files other than MTS/M2TS. Supposedly, these CPI files can be used by a Blu-ray player when it plays the content of a card - which is why the structure of AVCHD media resembles the structure of Blu-ray media - but I never play raw videos from my cards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I preserve MTS/M2TS files only and throw away everything else. Not once in twelve years I needed them.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2019-01-10T23:50:24.640" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25669" PostTypeId="2" ParentId="25666" CreationDate="2019-01-11T01:31:45.847" Score="2" Body="&lt;p&gt;V-Chip is encoded in the Extended Data Services (XDS) that is part EIA-608 captions. How it is actually transported in/with the video depends the signal type and medium.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Analog:&lt;/strong&gt; Encoded with the captions on line 21 field 2.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;SD SDI:&lt;/strong&gt; Probably also on line 21 field 2.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;HD SDI:&lt;/strong&gt; On &lt;a href=&quot;https://www.smpte.org/sites/default/files/section.../2014_July_Closed_Captioning.pptx&quot; rel=&quot;nofollow noreferrer&quot;&gt;line 9&lt;/a&gt; of the HANC encoded as per SMPTE ST 334.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;ATSC over the air:&lt;/strong&gt; In the &lt;a href=&quot;https://evertz.com/resources/eia_608_708_cc.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;DTVCC transport channel&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;In a file:&lt;/strong&gt; &lt;a href=&quot;http://bento.cdn.pbs.org/hostedbento-prod/filer_public/2013/04/18/kudrle_cc_ancillarydata_v03.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;It depends on the wrapper&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;It can be decoded in software. However, I don't know of any tools that aren't part of something larger, like transcoding, that can do it. &lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2019-01-11T01:31:45.847" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25670" PostTypeId="2" ParentId="25661" CreationDate="2019-01-11T01:42:46.317" Score="1" Body="&lt;p&gt;Here are a few resources I'm aware of.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The &lt;a href=&quot;https://www.its.bldrdoc.gov/vqeg/downloads.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video Quality Experts Group&lt;/a&gt; has a variety of test material available.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://peach.blender.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Big Buck Bunny&lt;/a&gt;, with a CC license, is often used as a test asset.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.tek.com/picture-quality-analyzer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Tektronix&lt;/a&gt; at least used sell some test assets to complement their monitoring tools.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.sri.com/engage/products-solutions/sarnoff-video-test-tools&quot; rel=&quot;nofollow noreferrer&quot;&gt;SRI&lt;/a&gt; has several test patterns and compliance checking assets for sale.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2019-01-11T01:42:46.317" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25681" PostTypeId="2" ParentId="19749" CreationDate="2019-01-11T05:13:57.550" Score="2" Body="&lt;p&gt;AVCHD as a format is a combination of containers, file naming conventions, and directory structure. It is not inherently better or worse than any other container types.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Interlaced video is a thing of the past, forget about it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your final product is 30p, you can shoot at 30p, edit at 30p and render at 30p. Or you can shoot at 60p and edit at 30p - this allows you to use 60p for 0.5x slo-mo. If you don't want slo-mo, then just drop 60p into 30p timeline, and any decent editor will simply throw away every other frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, deinterlacing reduces quality unless you shoot PsF or 24P with pulldown. Even then, if you do not properly remove the pulldown, your video will be ruined. Even if you remove the pulldown, your chroma still may remain interlaced. Long story short, prefer native progressive formats for any and all frame rates. If you really need to deliver interlaced, converting from progressive to interlaced is much easier than deinterlacing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Clearly, your camera shoots with better quality in MP4 mode simply because it provides higher bitrate, which is always better provided all other settings are equal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe that 1080p30 is included in AVCHD standard. Many camcorders shoot in this format.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2019-01-11T05:13:57.550" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25684" PostTypeId="2" ParentId="18500" CreationDate="2019-01-12T22:46:07.200" Score="1" Body="&lt;p&gt;This may be due to framerate problems.There are two types of 24 fps.&#xA;&quot;True&quot; 24 fps and 23.98 FPS.&#xA;This mostly doesn't make any issues, but stretched over a longer time, this can change the video duration. For a 45min video, this makes 64800 frames, instead of 64746.&#xA;This gives a difference if about 2.25 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After trying to delete the pre-rendered files as you said before, try to change the sequenze settings.&#xA;&lt;strong&gt;Before you do this, MAKE A COPY!&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this doesn't help, another way would be to try another codec and or container. So try h.265 or HDx or avi... It may be that those codecs don't have these problem&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-01-12T22:46:07.200" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25685" PostTypeId="2" ParentId="25660" CreationDate="2019-01-12T22:52:49.013" Score="1" Body="&lt;p&gt;Leave the color out and make a png out of it.&#xA;Then, create a sequenz which has the length of the bar you want.&#xA;Insert as many filmframes as you like.&#xA;Now simply draw masks around one frame each.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Put the sequenz in your final sequenze where you can animate it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Keep in mind that the holes (little squares) normally don't contain images, as they are holes.)&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-01-12T22:52:49.013" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25686" PostTypeId="1" CreationDate="2019-01-12T23:38:31.127" Score="2" ViewCount="8528" Body="&lt;p&gt;I am trying to move image using pan/crop tool, but I have no idea how to do that, because there is not any &quot;F frame&quot;. &#xA;Thank you for advice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JEcQE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JEcQE.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24145" LastActivityDate="2019-02-19T09:42:23.633" Title="Sony Vegas pro 15: Can not move Image in Pan/Crop" Tags="|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25689" PostTypeId="2" ParentId="20174" CreationDate="2019-01-14T08:26:23.860" Score="8" Body="&lt;p&gt;The current way to accomplish this is to either:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Toggle the menu [Workspace] &gt; [Single Viewer Mode] &lt;/p&gt;&#xA;&#xA;&lt;p&gt;- or - &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Toggle the [ ] / [][] button (top right of the viewer)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sVyLX.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sVyLX.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;NOTE:&lt;/strong&gt; Resolve will only enable the options and allow the use of two viewers if it has enough screen space (&lt;em&gt;screen real estate&lt;/em&gt;) to do so. And that is probably the reason why opening/closing the Inspector affected the dual view.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Resolve 15)&lt;/p&gt;&#xA;" OwnerUserId="24155" LastActivityDate="2019-01-14T08:26:23.860" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25690" PostTypeId="2" ParentId="21823" CreationDate="2019-01-14T08:48:49.400" Score="1" Body="&lt;p&gt;You can use the key combination: Shift + `  (&lt;em&gt;Shift and Backtick&lt;/em&gt;) to toggle the Power Window overlay on the [&lt;strong&gt;Color&lt;/strong&gt;] page.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This also works for viewer overlays on the [&lt;strong&gt;Edit&lt;/strong&gt;] page in Resolve 16.&lt;/p&gt;&#xA;" OwnerUserId="24155" LastEditorUserId="24155" LastEditDate="2019-11-25T08:39:41.270" LastActivityDate="2019-11-25T08:39:41.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25693" PostTypeId="1" AcceptedAnswerId="25694" CreationDate="2019-01-14T14:01:14.027" Score="0" ViewCount="3226" Body="&lt;p&gt;I'm trying to figure out how this works, but I couldn't find the final solution.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -i overlayvideo \&#xA;-filter_complex \&#xA;&quot;[0:v] setpts=PTS-STARTPTS [v01]; \&#xA;[1:v] setpts=PTS-STARTPTS [gradient]; \&#xA;[2:v] drawtext=fontfile=...font.ttf: text='Test': fontcolor=white:fontsize=54: shadowcolor=black@0.6:shadowx=4:shadowy=2: \&#xA;box=1: boxcolor=a60000@0.4:boxborderw=10:x='310':y='350',format=yuva444p,fade=t=in:st=1:d=1:alpha=1,fade=t=out:st=7:d=1:alpha=1, setpts=PTS-STARTPTS[v1][txt]; \&#xA;[v01][gradient] overlay [v02]; \&#xA;[v02][txt] overlay=[outv]&quot; \&#xA;-c:v libx264 -profile:v main -level:v 3.1 -pix_fmt yuv420p -c:a aac -map [outv] \&#xA;-f mp4 -y 'output.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The error message:&#xA;&lt;em&gt;No output pad can be associated to link label 'txt'.&lt;/em&gt;&#xA;Error initializing complex filters.&#xA;Invalid argument*&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I've studied these solutions, but for the time being, I don't understand where I made the mistake.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://stackoverflow.com/questions/47322739/ffmpeg-overlay-multiple-fading-texts-with-different-colors&quot;&gt;https://stackoverflow.com/questions/47322739/ffmpeg-overlay-multiple-fading-texts-with-different-colors&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Create%20a%20mosaic%20out%20of%20several%20input%20videos&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Create%20a%20mosaic%20out%20of%20several%20input%20videos&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;What have I forgotten why the output is not good?&#xA;Thank you for your advice and help.&lt;/p&gt;&#xA;" OwnerUserId="24159" LastActivityDate="2019-01-14T15:48:15.997" Title="Add overlay video and animated text (textbox and shadow) with FFmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25694" PostTypeId="2" ParentId="25693" CreationDate="2019-01-14T15:48:15.997" Score="1" Body="&lt;p&gt;You only have two inputs, so &lt;code&gt;2:v&lt;/code&gt; can't exist. Instead, you'll need a base canvas to draw the text upon. I've used the color source filter for that. And you probably want that canvas to be the same size as the video. I've used scale2ref for that. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -i overlayvideo \&#xA;-filter_complex \&#xA;&quot;[0:v] setpts=PTS-STARTPTS [v01]; \&#xA;[1:v] setpts=PTS-STARTPTS [gradient]; \&#xA;color=black@0:duration=8,format=yuva444p[txtbase];[txtbase][v01]scale2ref[txtbase][v01];[txtbase] drawtext=fontfile=...font.ttf: text='Test': fontcolor=white:fontsize=54: shadowcolor=black@0.6:shadowx=4:shadowy=2: \&#xA;box=1: boxcolor=a60000@0.4:boxborderw=10:x='310':y='350',fade=t=in:st=1:d=1:alpha=1,fade=t=out:st=7:d=1:alpha=1[txt]; \&#xA;[v01][gradient] overlay [v02]; \&#xA;[v02][txt] overlay[outv]&quot; \&#xA;-c:v libx264 -profile:v main -level:v 3.1 -pix_fmt yuv420p -c:a aac -map [outv] \&#xA;-f mp4 -y 'output.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-01-14T15:48:15.997" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25697" PostTypeId="1" AcceptedAnswerId="25733" CreationDate="2019-01-14T20:24:36.097" Score="3" ViewCount="393" Body="&lt;p&gt;I'm editing a video recorded in a car workshop. The video is about 30 minutes long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the background there is a car whose license plate has to be hidden. Unfortunately, the camera moves a lot so it's not possible to censor many frames at a time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm censoring using a mosaic effect over the plate, which has to be added to each frame, but it's taking a very long time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you offer any tips that would help make this process faster?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Wondershare Filmora 9 for this job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="1432" LastEditorUserId="1432" LastEditDate="2019-01-15T13:47:13.267" LastActivityDate="2019-01-23T03:38:35.917" Title="Censoring license plate in a long video" Tags="|editing|post-production|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25698" PostTypeId="1" AcceptedAnswerId="25735" CreationDate="2019-01-15T00:20:20.590" Score="0" ViewCount="59" Body="&lt;p&gt;Attempting to replicate this graphic. How can I replicate and be sure to have the squeezing effect as well as the subtle motion blur&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I plan for the graphic I'm working on have text that remains static to the left with additional text to the right compresses to the right and changes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oo9pE.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oo9pE.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24164" LastActivityDate="2019-01-22T05:37:35.350" Title="after effects - motion graphics/kinetic text" Tags="|after-effects|motion|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25699" PostTypeId="1" CreationDate="2019-01-15T03:23:47.933" Score="0" ViewCount="702" Body="&lt;p&gt;I have several movies and shows, such as Breaking Bad, into which I want to add both soft (optional) subtitles for English, but hard (always on) subtitles for the non-English languages. Is this possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All of these files are in mp4 format, and I can find the subtitle files online, or learn to edit them, but have downloaded none yet. &lt;/p&gt;&#xA;" OwnerUserId="24167" LastActivityDate="2019-02-14T13:03:05.587" Title="Adding hard and soft subtitles to a video" Tags="|subtitles|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25700" PostTypeId="1" CreationDate="2019-01-15T08:58:48.020" Score="1" ViewCount="38" Body="&lt;p&gt;I'm making films and videos for the past 3 years and now would like to go into a more professional enviroment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One of the big tasks for this is to figure out pricing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do you calculate your price for videos? And do you openly write the price on your website, or do you ask the customer to take an offer?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I film on BMPCC4k, mostly wedding/event video, music video and maybe commercials.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-06-17T04:06:10.630" Title="How to calculate pricing" Tags="|bmcc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25702" PostTypeId="2" ParentId="25699" CreationDate="2019-01-15T12:27:41.417" Score="1" Body="&lt;p&gt;You can do this via ffmpeg.exe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a guide to installing ffmpeg check the first part of this video here: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/MPV7JXTWPWI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For hardsubbing you can check this video here:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/BJSDgPEUPco?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming the above is now known:&#xA;In your specific case you are going to want to make copies of the video stream and then hardsub the copies with the subfile desired.&#xA;To learn about mapping streams you can read here:&#xA;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Map&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Map&lt;/a&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;All the information is above in those 3 links to get you going with ffmpeg for the purposes needed. If you need help formatting the command for your specific situation please provide a thumbnail of the streams in ur video you want to modify and I can help you with the specifics. Pay close attention to the specific tidbits mentioned in the content above, as there are many traps you can fall into along the way. I'll help you with those though if needed.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="21882" LastEditDate="2019-01-15T12:48:36.603" LastActivityDate="2019-01-15T12:48:36.603" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25703" PostTypeId="1" AcceptedAnswerId="25705" CreationDate="2019-01-15T13:17:42.987" Score="1" ViewCount="8215" Body="&lt;p&gt;If I have a video, say an mkv with h.264 codec @ 25 fps. Can I play it in ffplay with a different fps, say 30fps?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know if the video was in still images, ffplay lets you assign a -framerate 30. But the -framerate and -r commands don't seem to function given my input is a video to begin with. I tried finding more information in the documentation and online, but I only found references to changing the fps when I have still image formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is the solution to use &lt;code&gt;ffplay -vf &quot;setpts=0.5*PTS&quot; -i input&lt;/code&gt;to simply modify the speed of playback? I was curious about the PTS value and how to confirm what that is and how it changed my command if I have a weird framerate like 24.4444534634. Cause the generic is listed as 0.5 equating to 2x faster, and 2.0 equating to 0.5x slower. I find this doesn't addup though, especially when you get to higher values like 60x speed, etc. i.e. &lt;code&gt;ffplay -vf &quot;setpts=1/60*PTS&quot; -i input&lt;/code&gt; This is outputting a speed the exact the same as 1/100000000000 and etc for many values. Is this a case of my pc not being able to generate the output within the presets of the system fast enough? Or just the weird fps of my footage is doing something? Or I need to confirm the PTS value and do the calculation properly for the specific video in question?&lt;/p&gt;&#xA;" OwnerUserId="21882" LastActivityDate="2019-01-15T16:53:27.233" Title="Changing the fps of playback in ffplay" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25704" PostTypeId="2" ParentId="21124" CreationDate="2019-01-15T13:42:30.770" Score="-1" Body="&lt;p&gt;I had a problem with exporting as well. After almost two weeks of trial and error, we realized that using a picture before your footage causes the rest of the file to transform to the dimensions and the form of the picture. So, if the picture is very large, the whole sequence of video will be too large to see anymore. It would show up on the preview correctly, but wouldn't export how I wanted it to. So if you have a picture at the beginning, try reformatting it to a smaller size to work for the entire sequence?&lt;/p&gt;&#xA;" OwnerUserId="24173" LastActivityDate="2019-01-15T13:42:30.770" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25705" PostTypeId="2" ParentId="25703" CreationDate="2019-01-15T16:53:27.233" Score="0" Body="&lt;p&gt;At the very least, you are limited by the speed of the video decoder. But ffplay does seem to have some barrier to speed increase.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For now, a workaround is to pipe from ffmpeg&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in -an -vf setpts=PTS/60 -f yuv4mpegpipe - | ffplay -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-01-15T16:53:27.233" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25708" PostTypeId="1" CreationDate="2019-01-15T21:10:30.890" Score="3" ViewCount="608" Body="&lt;p&gt;Not sure if this is the correct community, but I have a question about video encoding and decoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a video that gets served in MP4 or WebM formats, depending on browser support. I noticed that in chrome, the WebM is noticeably darker than when viewing the files locally in VLC, or even another browser such as Firefox:&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Chrome&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/trukn.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/trukn.gif&quot; alt=&quot;Chrome WebM vs MP4&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Firefox&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AKbbU.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AKbbU.gif&quot; alt=&quot;Firefox WebM vs MP4&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original issue was with videos that I was re-encoding myself with &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libvpx-vp9 -b:v 2M output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I thought it might be related to the CLI options I was passing in, so I tried playing around with some other &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/VP9&quot; rel=&quot;nofollow noreferrer&quot;&gt;encoding option&lt;/a&gt; (such as using Constant Quality (CQ) mode and two-pass encoding) but still saw the brightness differences in Chrome. After that, I noticed these same issues on media that was automatically encoded from &lt;a href=&quot;https://cloudinary.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;cloudinary&lt;/a&gt;, and I figured if I am seeing the differences there, it probably doesn't have anything to do with my encoding option flags.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before I go too much down the rabbit hole here, is there anything I can control with this? Or is this just an issue with the decoder Chrome happens to be using (which is different that what VLC or Firefox is using).&lt;/p&gt;&#xA;" OwnerUserId="24177" LastEditorUserId="1871" LastEditDate="2019-01-17T05:23:34.703" LastActivityDate="2023-12-29T10:58:39.803" Title="Chrome renders WebM Video &quot;darker&quot; than other browsers / media players" Tags="|ffmpeg|color|vp9|rendering|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25711" PostTypeId="1" AcceptedAnswerId="25822" CreationDate="2019-01-16T18:02:18.253" Score="0" ViewCount="387" Body="&lt;p&gt;I would like to put text on screen that would have non-even colour. I.e. if the text were &quot;subtitle&quot;, &quot;s&quot; would be in say white and &quot;e&quot; in gray. Is there a way to accomplish this using Aegisub/ASS subtitle format? So far, it let me do anything I needed with graphical subtitles, but I cannot figure how to do this one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(On a related note - what is the best way to ask ASS-related questions since the aegisub forum is down?)  &lt;/p&gt;&#xA;" OwnerUserId="10853" LastActivityDate="2019-01-29T17:14:17.687" Title="How would I produce unevenly colored subtitles with aegisub" Tags="|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25712" PostTypeId="1" CreationDate="2019-01-16T20:14:03.457" Score="2" ViewCount="158" Body="&lt;p&gt;I am looking to parse a collection downloaded YouTube videos that are actually compilations containing clips from several different videos all over the web. I would like for this program to automatically separate the individual scenes/clips from a given video file and export them as each individual video files into a folder. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have done hours upon hours of searching and tried different programs on my Linux system but to no avail any luck at all with anything that can do this fairly simple task. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would be really nice to have some program that did this via the command line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you so very much for your time and expertise.&lt;/p&gt;&#xA;" OwnerUserId="24182" LastActivityDate="2019-01-18T03:06:49.777" Title="Is there an app that can automatically separate scenes/clips from a video file and export them?" Tags="|video|linux|automation|programming|clipping|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25717" PostTypeId="1" AcceptedAnswerId="25720" CreationDate="2019-01-17T20:10:43.937" Score="3" ViewCount="1400" Body="&lt;p&gt;I vaguely understand that an old CRT monitor/TV's screen is a section of a sphere, and since the section lines of a sphere curved, the edges of the screen are curved as well. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kpa5B.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kpa5B.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, if you take a 4:3 image and one of these CRTs, is that image being stretched and 'fish-eyed' to fit the curved edges of this monitors, or does it appear square, but with its corners cut off?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words, is A or B correct? Note that the blue lines are straight. On A the image is square and orthogonal, and on B the image is warped to conform to the borders of the screen.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/kT5Wd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kT5Wd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24192" LastEditorUserId="24192" LastEditDate="2019-01-18T05:45:06.617" LastActivityDate="2019-01-18T05:45:06.617" Title="Do old CRT TVs and monitors distort their image, or cut it off?" Tags="|monitors|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25719" PostTypeId="1" CreationDate="2019-01-17T22:11:00.120" Score="0" ViewCount="6742" Body="&lt;p&gt;I recently imported a 59.94 fps mp4 file into After Effects, and due to myself wanting the edit to be smoother, I changed up the fps to 120, but it changes the video speed to a much higher rate. How can I make it so that the fps can be at 120, but the video stays the same speed?&lt;/p&gt;&#xA;" OwnerUserId="24195" LastActivityDate="2024-01-25T14:02:55.360" Title="How to change After Effects frame rate so that it doesn't speed up" Tags="|after-effects|video-editor|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25720" PostTypeId="2" ParentId="25717" CreationDate="2019-01-18T01:38:51.973" Score="3" Body="&lt;p&gt;CRTs were originally round, as can be seen in this &lt;a href=&quot;http://www.earlytelevision.org/images/farnsworth_prototype-1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;1945 prototype&lt;/a&gt;. The cabinet masks off the outer parts of the tube to create the square viewing area. This is called &lt;a href=&quot;https://en.wikipedia.org/wiki/Overscan&quot; rel=&quot;nofollow noreferrer&quot;&gt;overscan&lt;/a&gt;. Later tubes were &lt;a href=&quot;https://upload.wikimedia.org/wikipedia/commons/7/7b/Crt14.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;more rectangular&lt;/a&gt;, but still relied on overscan. This was partly because as the tube aged, the scanned area shrank, so the cabinet would hide the blank parts of the screen. The front to back curvature of the tube is not accounted for in the image because every model tube had a different curvature and I don't think it added much distortion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Curves at the rounded corners of the cabinet were also not accounted for because of the differences in cabinet. But that was part of the motivation for overscanning and for limiting important picture elements to &lt;a href=&quot;https://en.wikipedia.org/wiki/Safe_area_(television)&quot; rel=&quot;nofollow noreferrer&quot;&gt;safe areas&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2019-01-18T01:38:51.973" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25721" PostTypeId="2" ParentId="25712" CreationDate="2019-01-18T03:06:49.777" Score="1" Body="&lt;p&gt;Most professional quality video editing software has this kind of functionality.  You can take a look at &lt;a href=&quot;https://www.blackmagicdesign.com/support/download/09b6a86402cd4892b29b33da6eb8075e/Linux&quot; rel=&quot;nofollow noreferrer&quot;&gt;DaVinci Resolve&lt;/a&gt;, which is available for free on Linux.  &lt;a href=&quot;https://www.premiumbeat.com/blog/speed-color-workflow-using-scene-cut-detection/&quot; rel=&quot;nofollow noreferrer&quot;&gt;This article&lt;/a&gt; has more details about how to do it, but &quot;Scene Cut Detection&quot; is the name of the feature you are looking for and it's available when right clicking on a video file.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2019-01-18T03:06:49.777" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25722" PostTypeId="2" ParentId="25700" CreationDate="2019-01-18T03:14:22.590" Score="1" Body="&lt;p&gt;Simple answer, prices aren't a calculation, they are marketing and deal making.  You should do calculations on what a job will cost you before you bid it to make sure you can do it profitably enough to be worth your time, but ultimately, what you charge for a project is much more about the price you can demand for the work being done for the customer it's being done for.  If I'm doing a small video shoot for a small non-profit or a mom and pop business, my cost is going to be much lower per hour and per resource than if I'm doing a complicated shoot for a large commercial for a major business with deep pockets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a complex interplay of what can be afforded, what is expected, what you are capable of delivering and what the customer needs.  The mom and pop shop can't afford that much and doesn't expect the world if they are a decent customer.  They don't need anywhere near my full capability, so it's a nice easy, low stress job that I can cut them a good deal on and get some filler.  A major corporation on the other hand is going to have much more rigorous demands, require a high degree of quality and I'll need to triple check my prep and work on the job.  They have deep pockets and are willing to pay for the attention and focus, so the job is going to cost them a lot more, even for the same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no magical equation to solve it for you.  It's business and you need to figure it out as you go by figuring out your market and adjusting your prices up or down for a given context based on if you are getting enough work in that segment of the market or not.  If you have too much work or want less of that segment, raise your prices.  If you have too little work or want to move more in to a segment, lower your prices.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2019-01-18T03:14:22.590" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25723" PostTypeId="2" ParentId="25622" CreationDate="2019-01-18T03:19:31.807" Score="0" Body="&lt;p&gt;Adobe Premiere appears to support a managed proxy workflow.  &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/kb/ingest-proxy-workflow-premiere-pro-cc-2015.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;This article&lt;/a&gt; includes details on using the official proxy workflow through the Premiere Pro Media Browser, using the Create Proxies option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are looking at doing distributed editing, you may also want to consider looking at something like DaVinci Resolve Studio.  It has an even nicer managed proxy workflow and also supports shared distributed projects to make working in a team easier.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2019-01-18T03:19:31.807" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25724" PostTypeId="2" ParentId="25505" CreationDate="2019-01-18T03:30:35.037" Score="1" Body="&lt;p&gt;As long as you can do the job right, there is no contest here.  BMPCC4k all the way.  The X-T3 is a nice mid-range photo camera, but it's a still camera first and a video camera second with all the limitations that entails.  The BMPCC4K is a very solid entry level digital cinema camera.  It lacks the more full featured functionality of it's bigger brothers like the BMPC or Ursa Mini, but it inherits from their roots.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, the file sizes are large and you shouldn't underestimate the cost of data storage.  If you are planning on shooting a feature length film in 4K RAW, expect to be using around 10-17TB of footage (I am working through post on a six episode TV series shot in 4K on a mix of Ursa Mini and BMPC4k currently.)  What you get for that extra data is well worth the cost though, especially on a large project.  You get a degree of flexibility in your color that is unmatched in the DSLR/Mirrorless camera video shooting world, which will greatly assist in your color grade efforts in post.  Also make sure you get your hands on a color target to simplify fine tuning your color as you go and save yourself lots of time in post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do make sure you have sufficient lighting and know what you are doing when it comes to exposure though.  While the Black Magic line of digital cinema cameras is a great line, it does not hold your hand.  It expects you know what you are doing and doesn't do a great job of covering for your mistakes, even up in to the Ursa end of their product line.  They can produce amazing images if you use them right, but used incorrectly, you'll have far better results out of the DSLR/Mirrorless world.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have experience shooting video professionally with both a Canon 5D Mark iii (with Magic Lantern installed) and most of the Black Magic line of digital cinema cameras.  There is no comparison between them when used properly.  There are a few special cases I'd choose my 5D over my Ursa Mini, but they are few and far between (mostly low light shooting where it actually has to look like low light.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The one thing that might be a gotcha for you would be that if you do weddings, the Black Magic line is really not well suited for weddings compared to the X-T3, but for music videos and feature film production where you can control the light to fit your needs vs the other way around, Black Magic wins hands down by a significant margin.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2019-01-18T03:30:35.037" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25725" PostTypeId="2" ParentId="25306" CreationDate="2019-01-18T03:36:05.990" Score="2" Body="&lt;p&gt;Paperwork is important.  Beyond a simple Excel spreadsheet, you should have appropriate releases from everyone involved in your project.  Depending on your jurisdiction, it is likely that you can't make commercial use of someone's likeness without their consent, and if they decide they don't like your project for some reason they could force it to be taken down until you can edit them out of it without a release.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly, for crew, by default, copyright sits with the person producing the work in most jurisdictions, unless there is an agreement otherwise or there is an employee relationship.  You need agreements with everyone from the project and you need to keep these organized so you can present them if necessary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, having a master list somewhere like Excel or in a text file is helpful for being able to more quickly add them to the credits, but you need far more than just a simple list of names to properly document a project.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2019-01-18T03:36:05.990" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25729" PostTypeId="1" CreationDate="2019-01-18T13:56:21.927" Score="1" ViewCount="3064" Body="&lt;p&gt;I am use FFmpeg v4.1 . I want to change H264 profile and level but I want other settings to stay the same. I just want to change the profile of H264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using this code, but I'm getting the error.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vcodec copy -profile:v high -level 4.0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can I do that?&lt;/p&gt;&#xA;" OwnerDisplayName="user18109" LastActivityDate="2022-09-11T21:05:00.483" Title="FFmpeg only and only change H264 profile and level?" Tags="|ffmpeg|h.264|" AnswerCount="1" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="25730" PostTypeId="1" AcceptedAnswerId="25736" CreationDate="2019-01-18T20:14:12.913" Score="1" ViewCount="1931" Body="&lt;p&gt;I am using following command to merge two audio file, which works fine.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i main.mp3 -filter_complex &quot;amovie=tag.wav:loop=0,asetpts=N/SR/TB[tag]; [0][tag]amix=duration=shortest,volume=2&quot; tag-out.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But what I really need to do is repeat and delay 10 seconds the audio tag depending on the main song length. Also, the main song audio volume lowers while the audio tag plays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas/help appreciated. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="24204" LastEditorUserId="14523" LastEditDate="2019-01-19T00:48:17.090" LastActivityDate="2019-01-19T12:49:58.513" Title="FFMPEG : Merging Two Audio Files" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25733" PostTypeId="2" ParentId="25697" CreationDate="2019-01-19T10:10:25.733" Score="3" Body="&lt;p&gt;I am not sure about Filmora 9, but Google Motion Tracking. You just need to roughly track the sign and make a blur bigger than the sign, so it's allways covered. If you want to exactly censor the sign, you need to track the corners. But I'd think filmora can't do that&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-01-19T10:10:25.733" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25734" PostTypeId="1" CreationDate="2019-01-19T10:26:49.473" Score="0" ViewCount="2345" Body="&lt;p&gt;I have imported my Camera Footage of the Sony Alpha 68 and it is a 50 FPS footage as it shows in the metadata in the below image but when importing into timeline it gets converted to 50 FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/MvCTR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MvCTR.png&quot; alt=&quot;Metadata showing 50 fps&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Vpust.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Vpust.png&quot; alt=&quot;Timeline FPS is 24&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Earlier also I have used this type of footage in DaVinci and it played well.&#xA;With the recent projects I am getting this problem.&#xA;Why is this problem occurring. I am in the middle of my edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="24213" LastActivityDate="2019-01-23T04:46:04.420" Title="My 50 FPS footage automatically converted to 24FPS by DaVinci Resolve" Tags="|video|video-editor|davinci-resolve|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25735" PostTypeId="2" ParentId="25698" CreationDate="2019-01-19T12:10:22.880" Score="0" Body="&lt;p&gt;Text in after effects can have animators applied at the character, word or line level. The animators work kinda differently to normal animated properties in that the property that gets animated usually doesn't have keyframes, but is instead controlled by a &lt;strong&gt;selector&lt;/strong&gt; which is comprised of a group of controls that determine what part of the text is to have the modification applied. Normally you animate the selector to add animation to the individual parts of the text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select your text layer and choose &lt;code&gt;Animation&amp;gt;Animate Text&amp;gt;Position&lt;/code&gt; from the top menu or from the &lt;code&gt;Add&lt;/code&gt; menu for the animator group in the Timeline panel. If you add some X offset to the position property that appears in the new animator group, and play with the selector beginning, end, and offset values you'll get a bit of an idea.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now once you've fiddled with it for a bit, and probably got confused, head on over to the &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/animating-text.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;manual&lt;/a&gt; and give it a read.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as Motion Blur goes, if you turn on motion blur for the layer, and make sure it is on in your render settings you'll be golden. If you want to see it while you're working (at the price of much slower previews) turn on motion blur in the timeline window. How you do all that is also (surprise!) in the &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/assorted-animation-tools.html#motion_blur&quot; rel=&quot;nofollow noreferrer&quot;&gt;manual&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-01-22T05:37:35.350" LastActivityDate="2019-01-22T05:37:35.350" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25736" PostTypeId="2" ParentId="25730" CreationDate="2019-01-19T12:49:58.513" Score="0" Body="&lt;p&gt;Since you wish to alter effective length of the tag, skip the amovie looping and use the aloop filter after padding the audio to 10s. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i main.mp3 -filter_complex &quot;amovie=tag.wav,asetpts=N/SR/TB,apad=whole_dur=10,aloop=-1:1M:0[tag]; [0][tag]amix=duration=shortest,volume=2&quot; -vn tag-out.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-01-19T12:49:58.513" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="25738" PostTypeId="1" CreationDate="2019-01-19T13:57:22.963" Score="1" ViewCount="181" Body="&lt;ul&gt;&#xA;&lt;li&gt;One audio source is the camera, (its sound is more for reference 'cause the distance is approximately 10 meters from the source).&lt;/li&gt;&#xA;&lt;li&gt;The second audio source is a mixing table getting mics.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The total shooting is around 3 hours on different tapes for the video.&#xA;And 1 chunk for the audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have several claps or evident sync during the total event.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think the camera is not precise, because its sound (and video too) drifts of -5% of the other audio.&#xA;Total audio time 3h, video ref 2h50.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My first approach is to treat the sound in Audacity separately first.&#xA;But I wonder if Kdenlive or any video editing soft can sync on several references (2 at least)?&lt;/p&gt;&#xA;" OwnerUserId="24216" LastEditorUserId="14523" LastEditDate="2019-01-19T20:06:22.647" LastActivityDate="2019-01-19T20:06:22.647" Title="How to sync drifting audio(s)?" Tags="|sync|kdenlive|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25739" PostTypeId="2" ParentId="25587" CreationDate="2019-01-19T17:31:44.490" Score="2" Body="&lt;p&gt;From YouTube's &lt;a href=&quot;https://support.google.com/youtube/answer/2797468?hl=en-GB&amp;amp;ref_topic=2778546&quot; rel=&quot;nofollow noreferrer&quot;&gt;help pages&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;The standard YouTube licence remains the default setting for all uploads.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;And Fair Use typically does not apply on the standard licence. See &lt;a href=&quot;https://support.google.com/youtube/answer/6396261?hl=en-GB&amp;amp;ref_topic=2778546&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; for specifics, and when it does apply. The other option is Creative Commons:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Creative Commons licences provide a standard way for content creators to grant someone else permission to use their work. YouTube allows users to mark their videos with a Creative Commons CC BY licence.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Videos licenced under CC by Attribution 3.0 have this in the info under the video (you may need to click on Show More)&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Licensed under Creative Commons: By Attribution 3.0 License&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;http://creativecommons.org/licenses/by/3&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://creativecommons.org/licenses/by/3&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="674" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-01-19T17:31:44.490" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25740" PostTypeId="1" AcceptedAnswerId="25895" CreationDate="2019-01-20T02:24:04.040" Score="1" ViewCount="2895" Body="&lt;p&gt;I'm attempting to set headers (&lt;a href=&quot;https://www.jokecamp.com/blog/passing-http-headers-to-ffmpeg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;as suggested here&lt;/a&gt;) for my ffmpeg &lt;code&gt;concat&lt;/code&gt; command like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -f concat \&#xA;    -safe 0 \&#xA;    -protocol_whitelist file,http,https,tcp,tls \&#xA;    -headers $'Content-Type: audio/wav\r\n' \&#xA;    -i 'inputs.txt' \&#xA;    -c 'copy' 'output.wav' \&#xA;    -v trace&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where my input file is structured as such: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'https://path/to/file1'&#xA;file 'https://path/to/file2'&#xA;file 'https://path/to/file3'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, when I run the command, ffmpeg doesn't set the headers, as seen by the output of -v:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[http @ 0x7fa133d01080] request: GET / HTTP/1.1&#xA;User-Agent: Lavf/58.20.100&#xA;Accept: */*&#xA;Range: bytes=0-&#xA;Connection: close&#xA;Host: localhost:3001&#xA;Icy-MetaData: 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What's strange is if I set my input not through an input txt and just through  &lt;code&gt;-i /path/to file&lt;/code&gt; (as seen below) it works just fine.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -f concat \&#xA;    -safe 0 \&#xA;    -protocol_whitelist file,http,https,tcp,tls \&#xA;    -headers $'Content-Type: audio/wav\r\n' \&#xA;    -i 'https://google.com' \&#xA;    -c 'copy' 'output.wav' \&#xA;    -v trace&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Output of -v:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[https @ 0x7fed3ac03940] request: GET / HTTP/1.1&#xA;User-Agent: Lavf/58.20.100&#xA;Accept: */*&#xA;Range: bytes=0-&#xA;Connection: close&#xA;Host: google.com&#xA;Icy-MetaData: 1&#xA;Content-Type: audio/wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Not sure why reading the inputs through a file would affect the headers getting sent. For now the workaround is to use a string concatenating all of the inputs (a bit messier than I'd like), but I'm curious if anyone might know why this is happening.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE: According to &lt;a href=&quot;https://video.stackexchange.com/questions/21728/ffmpeg-concat-error&quot;&gt;this post&lt;/a&gt; I have to read inputs through a text file, so I'm back to square one....&lt;/p&gt;&#xA;" OwnerUserId="24220" LastActivityDate="2019-02-06T01:52:36.613" Title="Can't set ffmpeg request header when using file for input" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25741" PostTypeId="1" AcceptedAnswerId="25742" CreationDate="2019-01-20T04:28:16.023" Score="0" ViewCount="215" Body="&lt;p&gt;I have a python script, that generates a ffmpeg command for creating a slideshow with the &quot;Ken Burns&quot; filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, I have 10 images and want to create an 1-minute video at 30 FPS. It generates the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/usr/local/bin/ffmpeg -i /Users/user/src/python/VideoMaker2/input/images/test/1.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/2.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/3.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/4.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/5.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/6.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/7.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/8.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/9.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/10.jpg -r 30 -t 60 -vcodec libx264 -preset ultrafast -tune zerolatency -pix_fmt yuv420p -filter_complex [0:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=237.6,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=0.0:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+0.0/TB[0v];[1:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=237.6,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+5.28/TB[1v];[2:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=237.6,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+10.56/TB[2v];[3:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=237.6,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+15.84/TB[3v];[4:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=237.6,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+21.12/TB[4v];[5:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=237.6,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+26.400000000000002/TB[5v];[6:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=237.6,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+31.68/TB[6v];[7:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=237.6,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+36.96/TB[7v];[8:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=237.6,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+42.24/TB[8v];[9:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=237.6,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=10.0:alpha=0,setpts=PTS-STARTPTS+47.52/TB[9v];[0v][1v]overlay[1v];[1v][2v]overlay[1v];[1v][3v]overlay[1v];[1v][4v]overlay[1v];[1v][5v]overlay[1v];[1v][6v]overlay[1v];[1v][7v]overlay[1v];[1v][8v]overlay[1v];[1v][9v]overlay -y /Users/user/src/python/VideoMaker2/output/videos/1547957911138.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And the resulting video's duration ends up as 57 seconds (3 seconds difference) for some reason. If I create a longer video, the difference will grow proportionally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if I create a video with same parameters but at 60 FPS, it's OK:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/usr/local/bin/ffmpeg -i /Users/user/src/python/VideoMaker2/input/images/test/1.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/2.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/3.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/4.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/5.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/6.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/7.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/8.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/9.jpg -i /Users/user/src/python/VideoMaker2/input/images/test/10.jpg -r 60 -t 60 -vcodec libx264 -preset ultrafast -tune zerolatency -pix_fmt yuv420p -filter_complex [0:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=475.2,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=0.0:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+0.0/TB[0v];[1:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=475.2,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+5.28/TB[1v];[2:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=475.2,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+10.56/TB[2v];[3:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=475.2,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+15.84/TB[3v];[4:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=475.2,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+21.12/TB[4v];[5:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=475.2,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+26.400000000000002/TB[5v];[6:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=475.2,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+31.68/TB[6v];[7:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=475.2,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+36.96/TB[7v];[8:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=475.2,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=0.6600000000000001:alpha=0,setpts=PTS-STARTPTS+42.24/TB[8v];[9:v]format=yuv420p,format=yuv420p,scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=475.2,scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,fade=t=in:st=0:d=1.3200000000000003:alpha=1,fade=t=out:st=7.920000000000001:d=10.0:alpha=0,setpts=PTS-STARTPTS+47.52/TB[9v];[0v][1v]overlay[1v];[1v][2v]overlay[1v];[1v][3v]overlay[1v];[1v][4v]overlay[1v];[1v][5v]overlay[1v];[1v][6v]overlay[1v];[1v][7v]overlay[1v];[1v][8v]overlay[1v];[1v][9v]overlay -y /Users/user/src/python/VideoMaker2/output/videos/1547958267849.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Can someone please say where the mistake is in this command?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Upd. Class that is responsible for filter creation:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;class KenBurnsCreator(object):&#xA;    HALF_TRANSITION_RATIO = 0.1&#xA;&#xA;    __width: float&#xA;    __height: float&#xA;    __images: List[str]&#xA;    __duration: float&#xA;    __frame_rate: int&#xA;&#xA;    __half_transition_duration: float&#xA;    __animation_duration: float&#xA;&#xA;    __logger = get_logger(__qualname__)&#xA;&#xA;    def __init__(self, width: float, height: float, images: List[str], duration: float, frame_rate: int) -&amp;gt; None:&#xA;        super().__init__()&#xA;&#xA;        self.__width = width&#xA;        self.__height = height&#xA;        self.__images = images&#xA;        self.__duration = duration&#xA;        self.__frame_rate = frame_rate&#xA;&#xA;        self.__animation_duration = duration / float(len(self.__images)) * (1 + self.HALF_TRANSITION_RATIO)&#xA;        self.__half_transition_duration = self.__animation_duration * self.HALF_TRANSITION_RATIO&#xA;&#xA;        self.__logger.debug(f'Animation duration: {self.__animation_duration}, half transition duration: {self.__half_transition_duration}')&#xA;&#xA;    def __create_ken_burns_translation_filter(self) -&amp;gt; str:&#xA;        upscale_ratio = max(3, int(3000 / self.__height))&#xA;&#xA;        w = int(self.__ceil(self.__width * upscale_ratio))&#xA;        h = int(self.__ceil(self.__height * upscale_ratio))&#xA;&#xA;        translation_duration = self.__frame_rate * (self.__animation_duration + self.__half_transition_duration * 2)&#xA;&#xA;        filter_str = 'format=yuv420p'&#xA;        filter_str += ','&#xA;        filter_str += f'scale=trunc(min(iw*{h}/ih\\,{w})/2)*2:-2'&#xA;        filter_str += ','&#xA;        filter_str += f'pad={w}:{h}:'&#xA;        filter_str += f'({w}-iw)/2:'&#xA;        filter_str += f'({h}-ih)/2:'&#xA;        filter_str += f'color=black'&#xA;        filter_str += ','&#xA;        filter_str += 'zoompan='&#xA;        filter_str += 'z=\'zoom+0.002\':'&#xA;        filter_str += 'x=\'iw/2-(iw/zoom/2)\':'&#xA;        filter_str += 'y=\'ih/2-(ih/zoom/2)\':'&#xA;        filter_str += f's={w}x{h}:'&#xA;        filter_str += f'd={translation_duration:.1f}'&#xA;&#xA;        return filter_str&#xA;&#xA;    def __stitch(self, count: int) -&amp;gt; str:&#xA;        filter_str = '[0v][1v]'&#xA;        filter_str += 'overlay'&#xA;&#xA;        for i in range(2, count):&#xA;            filter_str += '[1v];'&#xA;            filter_str += '[1v]'&#xA;            filter_str += f'[{i}v]'&#xA;            filter_str += 'overlay'&#xA;&#xA;        return filter_str&#xA;&#xA;    def __create_filter_content_for_ken_burns(self, count: int, index: int, animation: str) -&amp;gt; str:&#xA;        fade_duration_1 = 0.0 if index == 0 else self.__half_transition_duration * 2.0&#xA;        fade_start = self.__animation_duration + self.__half_transition_duration * 2.0&#xA;        fade_duration_2 = 10.0 if index == count - 1 else self.__half_transition_duration&#xA;        pts = (self.__animation_duration - self.__half_transition_duration * 2.0) * float(index)&#xA;&#xA;        filter_str = f'[{index}:v]'&#xA;        filter_str += 'format=yuv420p'&#xA;        filter_str += ','&#xA;        filter_str += animation&#xA;        filter_str += ','&#xA;        filter_str += 'scale='&#xA;        filter_str += f'trunc(min(iw*{int(self.__height)}/ih\\,{int(self.__width)})/2)*2:-2'&#xA;        filter_str += ','&#xA;        filter_str += 'fade=t=in:st=0:'&#xA;        filter_str += f'd={fade_duration_1}:'&#xA;        filter_str += 'alpha=1'&#xA;        filter_str += ','&#xA;        filter_str += 'fade=t=out:'&#xA;        filter_str += f'st={fade_start}:'&#xA;        filter_str += f'd={fade_duration_2}:'&#xA;        filter_str += 'alpha=0'&#xA;        filter_str += ','&#xA;        filter_str += f'setpts=PTS-STARTPTS+{pts}/TB'&#xA;        filter_str += f'[{index}v];'&#xA;&#xA;        return filter_str&#xA;&#xA;    # ceil and round to 2-divisible&#xA;    def __ceil(self, number: float):&#xA;        new = math.ceil(number)&#xA;        if new % 2 != 0:&#xA;            new += 1&#xA;        return new&#xA;&#xA;    def create_animation_filter(self) -&amp;gt; str:&#xA;        filter_str = ''&#xA;&#xA;        images_count = len(self.__images)&#xA;&#xA;        for index in range(images_count):&#xA;            ken_burns_translation_filter = self.__create_ken_burns_translation_filter()&#xA;            content = self.__create_filter_content_for_ken_burns(images_count, index, ken_burns_translation_filter)&#xA;&#xA;            filter_str += content&#xA;&#xA;        filter_str += self.__stitch(images_count)&#xA;&#xA;        return filter_str&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="23734" LastEditorUserId="14523" LastEditDate="2019-01-20T15:14:33.873" LastActivityDate="2019-01-20T15:14:33.873" Title="Invalid video duration when frame rate is not 60" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25742" PostTypeId="2" ParentId="25741" CreationDate="2019-01-20T06:08:02.343" Score="1" Body="&lt;p&gt;Within each image filtering block,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[9:v]format=yuv420p,&#xA;format=yuv420p,&#xA;scale=trunc(min(iw*2880/ih\,5120)/2)*2:-2,&#xA;pad=5120:2880:(5120-iw)/2:(2880-ih)/2:color=black,&#xA;zoompan=z='zoom+0.002':x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=5120x2880:d=237.6,&#xA;scale=trunc(min(iw*720/ih\,1280)/2)*2:-2,&#xA;fade=t=in:st=0:d=1.3200000000000003:alpha=1,&#xA;fade=t=out:st=7.920000000000001:d=10.0:alpha=0,&#xA;setpts=PTS-STARTPTS+47.52/TB[9v];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;zoompan is generating output at 25 fps. so you'll want to add &lt;code&gt;fps=30&lt;/code&gt; to see smoother zoom in the output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main issue is that the start time of the last image. It's 47.52 s and at present, 237 frames at 25 fps generates 10.48 s, leading to a 58 s output. After changing to 30 fps, each zoompan filter will generate 7.9 s stream. If that is desired, then for the last image, starting PTS should be 53.1 and all other starting timestamps should be adjusted as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The fade filter can only operate effectively if the stream is long enough. Take &lt;code&gt;fade=t=out:st=7.920000000000001:d=10.0&lt;/code&gt;. Since, at present, each image is &lt;code&gt;237/25&lt;/code&gt; = 10.48 s long, fade out will start at 7.92s and continue upto 10.48s and then end with a partial fade-out. Don't think this is what you want. &lt;code&gt;st&lt;/code&gt;+&lt;code&gt;d&lt;/code&gt; should be equal to or less than stream duration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, you don't need to set format twice, and since overlay defaults to yuv420p output, it's not needed at all.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-01-20T06:08:02.343" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25743" PostTypeId="1" AcceptedAnswerId="25762" CreationDate="2019-01-20T09:24:09.643" Score="0" ViewCount="581" Body="&lt;p&gt;I am currently figuring out which lens I should get. I found the Sigma 18-35mm, f/1.8 DC HSM ART which looks quite interesting as I want to have a nice bokeh and shallow DOF.&#xA;But it is for APS-C only.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will use the Metabones Speedbooster 0.71x on my BMPCC4k, so the crop factor is 1.349, so slightly bigger than 1.5 of APS-C. Is the image circle of the Sigma big enough to support 1.349 crop without much vignette?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nj0sj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nj0sj.png&quot; alt=&quot;Image Circle&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found this image on &lt;a href=&quot;https://www.the-digital-picture.com/Comparisons/Sigma-18-35mm-f-1.8-DC-HSM-Lens.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.the-digital-picture.com/Comparisons/Sigma-18-35mm-f-1.8-DC-HSM-Lens.aspx&lt;/a&gt; and if I have done it right, the red circle is my &quot;MFT&quot; and the golden one is APS-C. Could anyone check if it's done right?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, does anybody know if it has a direct focus or a servo focus?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="23732" LastEditorUserId="14523" LastEditDate="2019-01-20T15:10:20.863" LastActivityDate="2019-01-22T20:19:54.647" Title="Sigma 18-35mm, f/1.8 DC HSM ART Image Circle / BMPCC4k with 0.71x" Tags="|lenses|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25744" PostTypeId="1" CreationDate="2019-01-20T09:52:02.993" Score="1" ViewCount="58" Body="&lt;p&gt;Currently I am using:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -hwaccel cuvid -i input -c:v hevc_nvenc -qp 1 output&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I want to know how to compress the file but lossless.&lt;/p&gt;&#xA;" OwnerUserId="24223" LastActivityDate="2019-01-20T09:52:02.993" Title="Decrease Output file size, without loss in quality" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25745" PostTypeId="2" ParentId="25719" CreationDate="2019-01-20T13:15:39.607" Score="0" Body="&lt;p&gt;If I get the question right, what you're wanting to do is add more frames to the footage to make it play smoother. You have to add the frames because your footage was shot at 59.94 frames per second, and you want to double(ish) the number of frames displayed every second to 120. So every frame there has to be an extra 60 (ish) frames to display to make up the shortfall.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ok so the first thing to do is to make a comp containing the footage and set your comp to 120fps. You do that in the Composition settings dialog. &lt;kbd&gt;ctrl/cmd&lt;/kbd&gt;&lt;kbd&gt;k&lt;/kbd&gt; will summon &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/composition-basics.html#composition_settings&quot; rel=&quot;nofollow noreferrer&quot;&gt;that boi&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So now the composition has two frames for every frame of the source. Being the professional program that it is it will still display your footage at the correct &lt;em&gt;speed&lt;/em&gt;, and by default it will do that by displaying every frame twice. This is pretty much the same as playing back your footage at the original fps. We need to make up some frames that don't exist in your footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To generate the in-between frames you have to turn on &lt;strong&gt;frame blending&lt;/strong&gt;. This can be done in the layer switches for the layer (Hit &lt;kbd&gt;f4&lt;/kbd&gt; to hide/show them). Clicking in the frame blending square once turns on frame-mix blending &lt;a href=&quot;https://i.stack.imgur.com/r2uoD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/r2uoD.png&quot; alt=&quot;frame mix icon&quot;&gt;&lt;/a&gt;, clicking again turns on pixel-motion blending &lt;a href=&quot;https://i.stack.imgur.com/6Skqw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6Skqw.png&quot; alt=&quot;pixel motion icon&quot;&gt;&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rgoyB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rgoyB.png&quot; alt=&quot;dat boi&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two options. Cheap and cheerful frame mix basically makes a 50% blend of the previous and the next frame to come up with the new frame. The second mode is the computationally intensive, sometimes brilliant, sometimes very weird pixel motion. It uses all sorts of clever algorithms to create a new frame by looking at the motion in previous and following frames and warping your pixels to match. A bit like you added a morph between successive frames.There are also 3rd party plugins for time-stretching, notably Twixtor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you won't see anything when you turn on frame blending for a layer, because by default it's not shown in the preview you see in the comp window, because it slows rendering down a bit. You can turn it on for the preview by hitting the frame blending button in the timeline window, as seen below. It goes blue when it's on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VIrUK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VIrUK.png&quot; alt=&quot;frame blending switch on&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You also have to make sure that frame blending is on in your render settings if you want the final result to render out with frame blending.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should prolly &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/time-stretching-time-remapping.html#frame_blending&quot; rel=&quot;nofollow noreferrer&quot;&gt;read the documentation&lt;/a&gt;, it sounds like you're a bit confused about things like &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/importing-interpreting-footage-items.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;interpret footage&lt;/a&gt; and &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/time-stretching-time-remapping.html#time_stretch_a_layer&quot; rel=&quot;nofollow noreferrer&quot;&gt;time stretching&lt;/a&gt; and so on.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-01-21T05:18:46.093" LastActivityDate="2019-01-21T05:18:46.093" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25746" PostTypeId="1" CreationDate="2019-01-20T13:56:29.400" Score="1" ViewCount="832" Body="&lt;p&gt;I am use FFmpeg v4.1 .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I convert all '.mp3' files in the &quot;ab1&quot; folder to the &quot;cd2&quot; folder with the same file names as '.mp3'?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The process I'm going to do is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-acodec libmp3lame -b:a 192k -ar 48000 -map_metadata -1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerDisplayName="user18109" LastActivityDate="2021-09-24T09:03:35.380" Title="FFmpeg - Folder Convert" Tags="|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25747" PostTypeId="1" CreationDate="2019-01-20T13:57:14.513" Score="1" ViewCount="432" Body="&lt;p&gt;Using the recent &lt;code&gt;ffmpeg&lt;/code&gt; I am trying to split an arbitrary video to 10 equal parts of 1 seconds every given interval. The Audio is not important to me and should not be in the output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -ss 18.946 -t 1 -i &quot;input.mp4&quot; -c:v  libx264  -an &quot;output-001.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;this is running in a loop for the next 10 slices&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And it works fine but the re-encoding of 10 frames just kills my CPU and it take &lt;strong&gt;very&lt;/strong&gt; long time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -ss 18.946 -t 1 -i &quot;input.mp4&quot; -c copy -an &quot;output-001.mp4&quot;&#xA;ffmpeg -y -ss 37.892 -t 1 -i &quot;input.mp4&quot; -c copy -an &quot;output-002.mp4&quot;&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Some of the parts are not playable and some have wrong duration. &#xA;For example some part may show &lt;code&gt;2.80&lt;/code&gt; seconds instead of the wanted &lt;code&gt;1&lt;/code&gt; seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to use &lt;code&gt;-t&lt;/code&gt;, &lt;code&gt;-to&lt;/code&gt;, &lt;code&gt;-avoid_negative_ts make_zero&lt;/code&gt; and all sort of &quot;solutions&quot; I found on the internet. but I simply can't make it work &lt;strong&gt;without re-encoding&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't care about the output video format as long as the quality is reasonably OK.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything that can be done, or am I doomed to re-encode each video?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;The command and the full output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -ss 18.946 -t 1 -i &quot;input.mp4&quot; -c copy -an &quot;output-001.mp4&quot;&#xA;&#xA;ffmpeg version 4.0 Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with gcc 7.3.0 (GCC)&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-bzlib --e&#xA;nable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libblur&#xA;ay --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-&#xA;libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enab&#xA;le-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-li&#xA;bvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --en&#xA;able-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-&#xA;libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enabl&#xA;e-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enabl&#xA;e-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enab&#xA;le-dxva2 --enable-avisynth&#xA;  libavutil      56. 14.100 / 56. 14.100&#xA;  libavcodec     58. 18.100 / 58. 18.100&#xA;  libavformat    58. 12.100 / 58. 12.100&#xA;  libavdevice    58.  3.100 / 58.  3.100&#xA;  libavfilter     7. 16.100 /  7. 16.100&#xA;  libswscale      5.  1.100 /  5.  1.100&#xA;  libswresample   3.  1.100 /  3.  1.100&#xA;  libpostproc    55.  1.100 / 55.  1.100&#xA;Input #0, flv, from 'D:\input.mp4':&#xA;  Metadata:&#xA;    starttime       : 0&#xA;    totalduration   : 189&#xA;    totaldatarate   : 802&#xA;    bytelength      : 19039608&#xA;    canseekontime   : true&#xA;    sourcedata      : BADC20088MM1286981312657773&#xA;    purl            :&#xA;    pmsg            :&#xA;    httphostheader  : v24.nonxt5.c.youtube.com&#xA;  Duration: 00:03:09.46, start: 0.000000, bitrate: 803 kb/s&#xA;    Stream #0:0: Video: h264 (Main), yuv420p(progressive), 640x480 [SAR 1:1 DAR&#xA;4:3], 693 kb/s, 29.97 fps, 29.97 tbr, 1k tbn, 59.94 tbc&#xA;    Stream #0:1: Audio: aac (LC), 44100 Hz, stereo, fltp, 120 kb/s&#xA;Output #0, mp4, to 'D:\output-001.mp4':&#xA;  Metadata:&#xA;    starttime       : 0&#xA;    totalduration   : 189&#xA;    totaldatarate   : 802&#xA;    bytelength      : 19039608&#xA;    canseekontime   : true&#xA;    sourcedata      : BADC20088MM1286981312657773&#xA;    purl            :&#xA;    pmsg            :&#xA;    httphostheader  : v24.nonxt5.c.youtube.com&#xA;    encoder         : Lavf58.12.100&#xA;    Stream #0:0: Video: h264 (Main) (avc1 / 0x31637661), yuv420p(progressive), 6&#xA;40x480 [SAR 1:1 DAR 4:3], q=2-31, 693 kb/s, 29.97 fps, 29.97 tbr, 16k tbn, 1k tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame=   84 fps=0.0 q=-1.0 Lsize=     234kB time=00:00:00.97 bitrate=1963.8kbits&#xA;/s speed= 974x&#xA;video:232kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing o&#xA;verhead: 0.699095%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;FFProbe of the Output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'output-001.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.12.100&#xA;  Duration: 00:00:02.80, start: 0.000000, bitrate: 682 kb/s&#xA;    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 640x480 [&#xA;SAR 1:1 DAR 4:3], 677 kb/s, 29.97 fps, 29.97 tbr, 16k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As you can see the Duration: &lt;code&gt;00:00:02.80&lt;/code&gt; instead of &lt;code&gt;1&lt;/code&gt; second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The sample &lt;code&gt;input.mp4&lt;/code&gt; video file &lt;a href=&quot;https://drive.google.com/file/d/1oILmktXJLqMvTu5juVBjYKC51dnd6SdT/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;Download&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24189" LastEditorUserId="24189" LastEditDate="2019-01-20T16:23:06.253" LastActivityDate="2019-01-20T16:23:06.253" Title="FFmpeg spliting video without re-encode" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25748" PostTypeId="2" ParentId="20271" CreationDate="2019-01-20T22:55:44.713" Score="0" Body="&lt;p&gt;There is a really good trick for this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;just place whatever picture you want above the main video bar(into the 2nd track line) and then start to drag that image into the video while holding down the Ctrl key. this will move the whole video sequence to the right and then you can delete the image that you just used to create this new gap.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;you can also pull the image to be a bit longer first to get a bigger gap&lt;/p&gt;&#xA;" OwnerUserId="24225" LastActivityDate="2019-01-20T22:55:44.713" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25753" PostTypeId="1" CreationDate="2019-01-21T21:01:14.297" Score="2" ViewCount="42" Body="&lt;p&gt;I am going to make a short film for the 2019 Cinespace contest created by NASA. &#xA;The short is going to take place inside a space capsule. It has to look something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tGcwM.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tGcwM.jpg&quot; alt=&quot;Soyuz capsule&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do you guys suggest I do it? Do I build a set from scratch? If so... how do I construct it? &#xA;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="24232" LastActivityDate="2019-01-22T20:37:16.207" Title="How to make a set of a space capsule?" Tags="|filming|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25754" PostTypeId="2" ParentId="25746" CreationDate="2019-01-21T21:16:19.203" Score="1" Body="&lt;p&gt;You can use a bash &lt;em&gt;for loop&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cd ab1&#xA;mkdir cd2&#xA;for f in *.mp3; do ffmpeg -i &quot;$f&quot; -c:a libmp3lame -b:a 192k -ar 48000 -map_metadata -1 &quot;cd2/${f%.*}.mp3&quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This assumes your OS supports bash shell scripting.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-01-21T21:16:19.203" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25755" PostTypeId="1" CreationDate="2019-01-21T22:15:45.013" Score="1" ViewCount="1192" Body="&lt;p&gt;Using Final Cut Pro X 10.4.5 (Macos Mojave 10.14), I notice that sometimes the timeline pointer is white, then red. With the timeline pointer I mean the point in the timeline where I've clicked, and where a vertical line appears. I don't know the proper name for it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, when this line is white, skimming the timeline works. When it's red, skimming doesn't work. If I click on the film strip, selecting it, then the line goes to white and skimming does work again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know why the line goes red. I suppose I do something that changes this, but I have no idea what it is. &lt;/p&gt;&#xA;" OwnerUserId="17830" LastActivityDate="2020-06-28T20:39:53.273" Title="Timeline skimming while pointer is red or white" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25756" PostTypeId="1" AcceptedAnswerId="25758" CreationDate="2019-01-22T00:02:04.840" Score="0" ViewCount="1510" Body="&lt;p&gt;Is there any free video editing software that will follow a subject through a cropped area of the video? A friend of mine is trying to make a video for a nonprofit and is using iPhoto but when she crops it, at certain places in the video it ends up cutting off her head. Is there software that will allow you to specify a certain object or outline in a frame of the video to remain visible while it crops?&lt;/p&gt;&#xA;" OwnerUserId="24234" LastActivityDate="2019-01-22T10:28:05.990" Title="Video editing software that will follow a subject in a cropped area of the video" Tags="|software-recommendation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25757" PostTypeId="2" ParentId="25746" CreationDate="2019-01-22T08:00:29.977" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://docs.microsoft.com/en-us/powershell/scripting/install/installing-powershell?view=powershell-6&quot; rel=&quot;nofollow noreferrer&quot;&gt;Cross platform&lt;/a&gt; solution with Powershell (Cross-platform, but only Windows has powershell installed by default. Mac or Linux users have to install it).&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ls &quot;\path\to\source\folder\&quot;|?{$_.extension -match (&quot;.mp3&quot;)}|%{&#xA;  ffmpeg -i $_.fullname -acodec libmp3lame -b:a 192k -ar 48000 -map_metadata -1 (&quot;\path\to\destination\folder\&quot; + $_.name)&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;the &lt;code&gt;|?{$_.extension -match (&quot;.mp3&quot;)}&lt;/code&gt; means &lt;em&gt;where the item's extension matches &quot;.mp3&quot;&lt;/em&gt; and is only necessary if you have other files in the source folder. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;&quot;\path\to\source\folder\&quot;&lt;/code&gt; or &lt;code&gt;&quot;\path\to\destination\folder\&quot;&lt;/code&gt; need to be replaced with, er, the path to the folders. One or the other can be omitted if your current directory is the source folder, or destination folder respectively. This can be an absolute or relative path.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;to make the folder if it doesn't exist just &lt;code&gt;mkdir &quot;\path\to\destination\folder\&quot;&lt;/code&gt; before running the command.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-01-22T08:00:29.977" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25758" PostTypeId="2" ParentId="25756" CreationDate="2019-01-22T10:28:05.990" Score="2" Body="&lt;p&gt;You have two options:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Keyframes:&#xA;Most a bit more advanced video editing programs have key frames, with them you say at time X, crop to Position Y. The computer will automatically fill the motion.&#xA;Depending on the scene, this method needs a lot of work tho.&lt;/li&gt;&#xA;&lt;li&gt;Tracking:&#xA;Another way is to track the subject. That's about what you said in the question. You specify an area and the computer follows it. A freeware with this feature would be DAVINCI RESOLVE or Hitfilm. But both software require some basic knowledge of video editing.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-01-22T10:28:05.990" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25759" PostTypeId="2" ParentId="25755" CreationDate="2019-01-22T11:09:05.100" Score="2" Body="&lt;p&gt;Make sure you are not have Transform, Crop or Distort icon active under the player. This disables skimming until you deselect it.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastEditorUserId="20675" LastEditDate="2020-06-28T20:39:53.273" LastActivityDate="2020-06-28T20:39:53.273" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25760" PostTypeId="1" CreationDate="2019-01-22T15:28:07.783" Score="0" ViewCount="388" Body="&lt;p&gt;I just bought a Feelworld MA7 and did some test yesterday regarding false colors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are my tests:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) video capture of the scene, together Final Cut Pro X's oscilloscope:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/GOotd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GOotd.png&quot; alt=&quot;video capture of the scene, with Final Cut Pro X oscilloscope&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) photo of what the Feelworld MA7 field monitor was displaying:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/5bCOI.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5bCOI.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Close-up on the scale:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/6Cv4c.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6Cv4c.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We can see that although pink should be for totally black areas (IRE &amp;lt; 0), MA7's false Colors show pink even in areas holding information, like the left side of the t-shirt which, according to the oscilloscope (and according to our eyes), hold some luminance values.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To push the test a little bit further, I used a lut which applies false colors onto clips in FCPX (&lt;a href=&quot;https://luts.iwltbap.com/false-color-lut/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://luts.iwltbap.com/false-color-lut/&lt;/a&gt;). Here's the result with the corresponding scale (I think it's Atomos' scale):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/s2CMK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s2CMK.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this case, the results are much more intuitive (and better corresponding to the oscilloscope): nowhere do we see dark purple (IRE &amp;lt; 0 on this scale).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is that? And ultimately, can I trust the Feelworld MA7 field monitor to help me accurately expose my scenes?&lt;/p&gt;&#xA;" OwnerUserId="23742" LastActivityDate="2019-01-22T20:25:13.073" Title="Strange behaviour of false colors mode on field monitor" Tags="|monitors|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25762" PostTypeId="2" ParentId="25743" CreationDate="2019-01-22T20:19:54.647" Score="2" Body="&lt;p&gt;Your calculations are right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you take a look here: &lt;a href=&quot;https://www.fredmiranda.com/forum/topic/1279757/0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.fredmiranda.com/forum/topic/1279757/0&lt;/a&gt;&#xA;The vignette is much stronger. With the images provided by Aloicious I get a vignette.&lt;/p&gt;&#xA;" OwnerUserId="23797" LastActivityDate="2019-01-22T20:19:54.647" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25763" PostTypeId="2" ParentId="25760" CreationDate="2019-01-22T20:25:13.073" Score="2" Body="&lt;p&gt;Such cheaper monitors often don't have enough power to calculate it correctly.&#xA;Often they are just added as a sales pitch.&#xA;I wouldn't totaly trust it, but you can take it as a rough estimate.&lt;/p&gt;&#xA;" OwnerUserId="23797" LastActivityDate="2019-01-22T20:25:13.073" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25764" PostTypeId="2" ParentId="25587" CreationDate="2019-01-22T20:31:38.490" Score="0" Body="&lt;p&gt;Most videos aren't free to use.&#xA;The ones specifically made for free use often have a CC or Free Use in the title or in the description.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CC standing for creative commons.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, you may need to contact the creator&lt;/p&gt;&#xA;" OwnerUserId="24240" LastActivityDate="2019-01-22T20:31:38.490" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25765" PostTypeId="2" ParentId="25753" CreationDate="2019-01-22T20:35:01.257" Score="2" Body="&lt;p&gt;This really depends on your budget.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Low Budget:&#xA;Find a room which allready looks futuristic with a lot of tech or stuff that looks like buttons and displays. Like in your image, you could make a little bole eye windows with some salad dish, put a screen behind which plays space stuff.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;High budget:&#xA;Build a little wood cage, also add a little window which shows space and adds natural light.&#xA;Then go to home depo and just buy a lot of diffrent knobs and buttons.&lt;/p&gt;&#xA;" OwnerUserId="24240" LastActivityDate="2019-01-22T20:35:01.257" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25766" PostTypeId="2" ParentId="25753" CreationDate="2019-01-22T20:37:16.207" Score="1" Body="&lt;p&gt;to addition to ITnoob, you might like to add some green screen and cgi to enhance the look. But this depence on your skills.&#xA;If you have a bit of electronical knowledge, also include some blinking leds and lights&lt;/p&gt;&#xA;" OwnerUserId="23797" LastActivityDate="2019-01-22T20:37:16.207" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25769" PostTypeId="2" ParentId="25697" CreationDate="2019-01-23T03:38:35.917" Score="0" Body="&lt;p&gt;To make this process faster - you would either need to use KeyFrames or Motion Tracking, but Wondershare Filmora 9 does not support either. There are other free software packages that do support KeyFrames and Motion Tracking like Davinci Resolve.&lt;/p&gt;&#xA;" OwnerUserId="24155" LastActivityDate="2019-01-23T03:38:35.917" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25770" PostTypeId="2" ParentId="25643" CreationDate="2019-01-23T03:45:42.870" Score="4" Body="&lt;p&gt;The &quot;Thread message queue blocking&quot; message is an indicator that your computer cannot keep up with encoding in real-time. It's recommending the &quot;thread_queue_size&quot; parameter because it thinks you want to process data in real-time (based on your command). By setting &quot;thread_queue_size&quot; to a higher value, you are increasing the buffer size for packets which are waiting to be encoded. If you exceed the packet buffer size (i.e., buffer gets full), ffmpeg will start to drop packets to keep up in real-time; increasing the buffer will &lt;em&gt;hopefully&lt;/em&gt; allow your computer to process the packets before it has to drop them... But that won't work if you eventually run out of memory or exceed the new buffer size anyway since you are processing in less than real-time (less than 1.0x speed). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With your command, the reason ffmpeg is trying to process in realtime is because you are using -framerate 500/21 as an &lt;em&gt;input&lt;/em&gt; instead of your desired output fps. So basically, ffmpeg is trying to encode 500/21 worth of images per second, which your computer can't keep up with when using the fast preset. Using -preset veryfast lowers the output quality, and your computer can apparently keep up with that, but I doubt that's what you want...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you really don't need to process in real-time (you're using a file-based source and not something live), you should use -r for the &lt;em&gt;output&lt;/em&gt; instead of using framerate on the input.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -start_number 1518 -i %d.png -i audio.ogg -c:a copy -vf &quot;scale=3840:-1&quot; -c:v libx265 -preset fast -crf 19 -pix_fmt yuv422p10le -r 500/21  output.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24243" LastActivityDate="2019-01-23T03:45:42.870" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25771" PostTypeId="2" ParentId="25734" CreationDate="2019-01-23T04:46:04.420" Score="1" Body="&lt;p&gt;This is related to your default Project timeline framerate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As soon as you add your first timeline to the Project the Project timeline framerate gets locked, and when you add subsequent imported media it will inherit the same playback framerate as the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you start a new Project and first add a New Timeline - it will lock to the Project default timeline framerate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you start a new Project and first import Video media with a different framerate to the Project timeline default - it will ask you if you wish to change framerate to match the media, and then lock the timeline framerate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So probably best to set your framerate on a new Project before you start editing in: &lt;strong&gt;Project Settings&lt;/strong&gt; &gt; &lt;strong&gt;Master Settings&lt;/strong&gt; &gt; &lt;strong&gt;Timeline frame rate&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also create default/loadable settings in: &lt;strong&gt;Project Settings&lt;/strong&gt; &gt; &lt;strong&gt;Presets&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="24155" LastActivityDate="2019-01-23T04:46:04.420" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25772" PostTypeId="1" CreationDate="2019-01-23T10:53:41.697" Score="0" ViewCount="342" Body="&lt;p&gt;Is there any way one could generate LUT by comparing the graded and ungraded variant of the same frame?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say I have footage straight from the camera and I also have some of the clips already graded, but I don't have the project. This means I have no way of just extending the same basic grading to the other clips. But maybe some software could just take the graded and ungraded clip, compare them and generate LUT from that, no?&lt;/p&gt;&#xA;" OwnerUserId="5928" LastActivityDate="2019-01-23T15:29:40.057" Title="Generate LUT from pre- and post-grade image" Tags="|software|lut|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25773" PostTypeId="2" ParentId="22024" CreationDate="2019-01-23T14:01:29.397" Score="4" Body="&lt;p&gt;For me the &lt;code&gt;-map_channel&lt;/code&gt; option did the trick:&#xA;get the file layout using &lt;code&gt;ffprobe multichannelinputfile.mov&lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version 4.1 Copyright (c) 2007-2018 the FFmpeg developers&#xA;  built with Apple LLVM version 10.0.0 (clang-1000.11.45.5)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/4.1 --enable-shared --enable-pthreads --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-ffplay --enable-gpl --enable-libmp3lame --enable-libopus --enable-libsnappy --enable-libtheora --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-libxvid --enable-lzma --enable-opencl --enable-videotoolbox&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;[aac @ 0x7f903d01fa00] Assuming an incorrectly encoded 7.1 channel layout instead of a spec-compliant 7.1(wide) layout, use -strict 1 to decode according to the specification instead.&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'set1permeke.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 0&#xA;    compatible_brands: qt&#xA;    creation_time   : 2019-01-05T22:00:13.000000Z&#xA;    com.apple.quicktime.make: Apple&#xA;    com.apple.quicktime.model: MacBookPro15,1&#xA;    com.apple.quicktime.software: Mac OS X 10.13.6 (17G4015)&#xA;    com.apple.quicktime.creationdate: 2019-01-05T21:58:54+0100&#xA;  Duration: 00:57:02.28, start: 0.000000, bitrate: 23693 kb/s&#xA;    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1040 [SAR 1:1 DAR 24:13], 22756 kb/s, 60 fps, 60 tbr, 6k tbn, 12k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-01-05T22:00:13.000000Z&#xA;      handler_name    : Core Media Video&#xA;      encoder         : H.264&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, 7.1, fltp, 928 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-01-05T22:00:13.000000Z&#xA;      handler_name    : Core Media Audio&#xA;[aac @ 0x7f903d019600] Assuming an incorrectly encoded 7.1 channel layout instead of a spec-compliant 7.1(wide) layout, use -strict 1 to decode according to the specification instead.`&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I then mapped all the audio channels to separate files for easier editing in my DAW:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i multichannelinputfile.mov -map_channel 0.1.0 ch0.wav -map_channel 0.1.1 ch1.wav -map_channel 0.1.2 ch2.wav -map_channel 0.1.3 ch3.wav&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;and so on producing the required separate wav files.&lt;/p&gt;&#xA;" OwnerUserId="24247" LastEditorUserId="17147" LastEditDate="2022-11-17T16:42:24.640" LastActivityDate="2022-11-17T16:42:24.640" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25774" PostTypeId="2" ParentId="18746" CreationDate="2019-01-23T14:22:58.013" Score="-1" Body="&lt;p&gt;I had this happen to me when importing a single .png. No matter what I did once the file was in AE, I just couldn't adjust it.&#xA;Turns out that when you import a .png there is an option to import as a &quot;PNG Sequence&quot; at the bottom of the import file dialog. It was checked. So, I unchecked it. POW, worked like a charm. Imported PNG assumed the full length of the composition when I dropped it in.&lt;/p&gt;&#xA;" OwnerUserId="24248" LastActivityDate="2019-01-23T14:22:58.013" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25775" PostTypeId="2" ParentId="25772" CreationDate="2019-01-23T15:29:40.057" Score="1" Body="&lt;p&gt;One method would be &lt;em&gt;MatchGrade&lt;/em&gt; in &lt;strong&gt;Nuke&lt;/strong&gt; (available only in NukeX and Nuke Studio). It can calculate LUT/CDL from two inputs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://learn.foundry.com/nuke/content/reference_guide/color_nodes/matchgrade.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://learn.foundry.com/nuke/content/reference_guide/color_nodes/matchgrade.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Blackmagic Resolve has feature for automatic shot matching, but I don't know if you can export LUT from that.&lt;/p&gt;&#xA;" OwnerUserId="24250" LastActivityDate="2019-01-23T15:29:40.057" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25779" PostTypeId="1" CreationDate="2019-01-23T19:26:18.700" Score="2" ViewCount="3460" Body="&lt;p&gt;I've always joined my MOV recordings with&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i &amp;lt;(printf &quot;file '$PWD/%s'\n&quot; ./*.mov) -c copy o.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;however, due to a small glitch in one particular file, I get &lt;strong&gt;h264_mp4toannexb filter failed to receive output packet&lt;/strong&gt;. I may discard the part with the glitch, which is around 01m40s into the file. Copying the problematic input file with &lt;code&gt;-c copy&lt;/code&gt; works, but using the new output for joining still fails.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Things I tried without success:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-fflags discardcorrupt&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-err_detect ignore_err&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-ignore_unknown&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-copy_unknown&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-ss 00:03:00&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;A Google search for the error above only returns the source code itself for the &lt;code&gt;concat&lt;/code&gt; option: &lt;a href=&quot;ftp://opensource.tambov.ru/ffmpeg/ffmpeg/libavformat/concatdec.c&quot; rel=&quot;nofollow noreferrer&quot;&gt;ftp://opensource.tambov.ru/ffmpeg/ffmpeg/libavformat/concatdec.c&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="13823" LastActivityDate="2020-06-16T21:06:45.660" Title="Joining files fail with &quot;h264_mp4toannexb filter failed to receive output packet&quot;" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25780" PostTypeId="2" ParentId="25779" CreationDate="2019-01-23T19:26:18.700" Score="2" Body="&lt;p&gt;One easy workaround I found while writing this question is simply discarding the broken piece of the input file before trying to concatenate the files, &lt;strong&gt;in a separate command&lt;/strong&gt;, since &lt;code&gt;-f concat&lt;/code&gt; and &lt;code&gt;-ss 00:03:00&lt;/code&gt; don't work together when &lt;em&gt;&quot;h264_mp4toannexb filter failed to receive output packet&quot;&lt;/em&gt; is present.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, to discard the first 3 minutes of the file, then concatenate separately:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i broken.mov -c copy -ss 00:03:00 fixed.mov&#xA;$ mv broken.mov broken.mov.ignore&#xA;$ ffmpeg -f concat -safe 0 -i &amp;lt;(printf &quot;file '$PWD/%s'\n&quot; ./*.mov) -c copy o.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I still can't understand why concatenating is the only operation that fails with that error, but the source code linked above might give some hint.&lt;/p&gt;&#xA;" OwnerUserId="13823" LastEditorUserId="13823" LastEditDate="2019-01-23T19:38:07.807" LastActivityDate="2019-01-23T19:38:07.807" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25781" PostTypeId="1" CreationDate="2019-01-23T21:02:17.973" Score="2" ViewCount="33" Body="&lt;p&gt;I will need to film on 10 cameras soon, as I can't afford to rent 10 cameras, I will collect them from friends, which means I will have many diffrent cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I try to color match them in camera with internal saturation, contrast and sharpness or should I match them in post?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They are all lower quality cameras like Canon 700D, Nikon D3500, Panasonic G70...&lt;/p&gt;&#xA;" OwnerUserId="23797" LastActivityDate="2019-05-29T23:02:00.707" Title="Match color between 10 cameras" Tags="|camera|multi-camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25782" PostTypeId="1" AcceptedAnswerId="25783" CreationDate="2019-01-24T07:33:07.337" Score="4" ViewCount="2429" Body="&lt;p&gt;I'm using lenscorrection filter on a video and the result contains green background as canvas!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How Can i replace this color with different one or an image?&#xA;This is the command i used:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i out.mp4 -vf &quot;lenscorrection=cx=0.5:cy=0.5:k1=0.4:k2=0.4&quot; sss.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YlZJj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YlZJj.jpg&quot; alt=&quot;result&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24254" LastEditorUserId="14523" LastEditDate="2019-01-24T15:55:41.560" LastActivityDate="2019-01-24T15:55:41.560" Title="How to replace background green color" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25783" PostTypeId="2" ParentId="25782" CreationDate="2019-01-24T08:34:29.740" Score="3" Body="&lt;p&gt;This is a byproduct of the lenscorrection algorithm, originally meant to work on RGB pixels only. If the output pixel has no corresponding input pixel mapped, it is populated with 0, but in a YUV format, that's a shade of green.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a workaround, you'll have to force manual format conversion before and after the filter.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i out.mp4 -vf &quot;format=gbrp,lenscorrection=cx=0.5:cy=0.5:k1=0.4:k2=0.4,format=yuv420p&quot; sss.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-01-24T08:34:29.740" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25784" PostTypeId="1" CreationDate="2019-01-24T09:56:50.233" Score="0" ViewCount="318" Body="&lt;p&gt;I'm aiming to reduce the bit rate of a video contained in a transport stream.&#xA;The command (ffmpe.exe) is as follows :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;udp://127.0.0.1:40101&quot; -map 0:v -c:v libx264 -b:v 256k -maxrate 256k -bufsize 256k -map 0:d -c copy -f mpegts &quot;udp://127.0.0.1:10101&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The result is a tranport stream with the same bit rate.&#xA;What I'm doing wrong?&#xA;Thank you.&#xA;sb&lt;/p&gt;&#xA;" OwnerUserId="24255" LastEditorUserId="14523" LastEditDate="2019-01-24T15:56:12.923" LastActivityDate="2024-01-29T00:01:55.223" Title="ffmpeg : how to reduce bit rate of transport stream" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25785" PostTypeId="2" ParentId="25784" CreationDate="2019-01-24T14:36:09.900" Score="0" Body="&lt;p&gt;Place the &lt;code&gt;-c copy&lt;/code&gt; before &lt;code&gt;-c:v libx264&lt;/code&gt;. See &lt;a href=&quot;https://superuser.com/a/1219824&quot;&gt;https://superuser.com/a/1219824&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-01-24T14:36:09.900" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25786" PostTypeId="2" ParentId="18982" CreationDate="2019-01-24T20:05:09.590" Score="5" Body="&lt;p&gt;ffmpeg concat demuxer supports nested scripts &#xA; with the header &quot;&lt;em&gt;ffconcat version 1.0&lt;/em&gt;&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example of endless recursive playlist script &quot;&lt;em&gt;test.txt&lt;/em&gt;&quot;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffconcat version 1.0&#xA;file 'video1.mp4'&#xA;file 'video2.mp4'&#xA;file 'video3.mp4'&#xA;file 'test.txt'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ffmpeg command: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -f concat -i ./test.txt  -c copy -f flv rtmp://....&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note: all file paths must be &quot;safe&quot;, &#xA;  because the header &quot;concat version 1.0&quot; also resets the &lt;em&gt;safe&lt;/em&gt; option to 1.&lt;/p&gt;&#xA;" OwnerUserId="24258" LastEditorUserId="24258" LastEditDate="2019-01-26T18:29:03.337" LastActivityDate="2019-01-26T18:29:03.337" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25791" PostTypeId="1" CreationDate="2019-01-25T08:50:59.373" Score="2" ViewCount="21" Body="&lt;p&gt;I want to record double bass, so I need a microphone. What type mic can be used for recording double bass?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I interested in micing multiple instrument is there any overview table which shows which mic can be used to record a given instrument?&lt;/p&gt;&#xA;" OwnerUserId="24264" LastActivityDate="2019-01-25T15:56:37.337" Title="What kind of mic can be used for double bass?" Tags="|microphone|recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25793" PostTypeId="2" ParentId="25791" CreationDate="2019-01-25T15:56:37.337" Score="2" Body="&lt;p&gt;You &lt;strong&gt;can&lt;/strong&gt; use any microphone for any instrument. However which one you use will depend on your specifics - is the instrument going to be moving, do you want to be very directional to just record one out of an orchestra, do you want an omnidirectional mic to record a group of instruments? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you want to record the vibration of the wood through a contact mic, the string vibration through a piezo pickup, or the air vibration using a microphone attached to the instrument or fixed to a stand?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are the most important questions you need to answer - and then of course you'll end up choosing based on cost :-)&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2019-01-25T15:56:37.337" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25794" PostTypeId="1" CreationDate="2019-01-25T20:58:42.763" Score="0" ViewCount="242" Body="&lt;p&gt;I would like to apply some kind of super-resolution (SR) to the keyframes in an H.264 video. The SR process should target the keyframes and upscale them by a factor of 2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the past few days, I've been trying to see where can I hold the key frame, in the C src code, in order to scale it. I'm confused whether to apply the scaling in the parsing packet part, or in the decoding part.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also don't know if upscaling the B &amp;amp; P frames would be enough to not damage the video frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope you guide me as there are no sufficient documentation about FFmpeg. If you have any suggestions please let me know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="24270" LastActivityDate="2019-01-25T20:58:42.763" Title="Upscale the key frames while decoding!" Tags="|ffmpeg|codec|keyframes|scale|decoding|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25796" PostTypeId="1" AcceptedAnswerId="25797" CreationDate="2019-01-26T05:12:56.037" Score="1" ViewCount="671" Body="&lt;p&gt;I am trying to output both an .264 and .mkv at the same time, while not having to encode it twice. The way to do this is of course with the &quot;tee&quot; muxer, however I am getting an error that I cannot figure out. If I encode each output separately as below it works fine:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-i input.mov -vcodec libx264 -map 0:v output.mkv&#xA;-i input.mov -vcodec libx264 -map 0:v output.264&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However the following gives me an error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-i input.mov -vcodec libx264 -map 0:v -f tee &quot;output.mkv|output.264&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The error is &lt;code&gt;Cound not write header for output file #0 (incorrect codec parameters ?): Invalid data found when processing input. Error initializing output stream 0:0&lt;/code&gt;. How could there be an error in the codec, when each worked just fine on their own?&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2019-01-26T06:10:39.327" Title="Error when using the tee pseudo-muxer in FFMPEG" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25797" PostTypeId="2" ParentId="25796" CreationDate="2019-01-26T06:10:39.327" Score="2" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-i input.mov -c:v libx264 -map 0:v -flags +global_header -f tee &quot;output.mkv|[bsfs/v=dump_extra=freq=keyframe]output.264&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The required format of H264 bitstreams can differ based on how it is stored. Containers like MKV and MP4 require that the bitstream parameters be stored globally. Usually the encoder embeds them within the bitstream itself, which is how raw H264 bitstream (&lt;code&gt;.264&lt;/code&gt;, &lt;code&gt;.h264&lt;/code&gt;) is stored. Now, the encoder normally separates out this metadata or not based on how ffmpeg signals what the output muxer wants. But the tee muxer doesn't represent any container. It is an intermediate layer added to allow reuse of payload packets into multiple outputs. So there is no effective signaling from muxer to encoder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your particular use, the added complication is that the two output formats require different bitstream formats. The added global header tells the encoder to generate a MP4/MKV-compatible bitstream and then the bsf filter reinserts the metadata for the .264 output.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-01-26T06:10:39.327" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25799" PostTypeId="1" CreationDate="2019-01-26T20:04:55.570" Score="0" ViewCount="1171" Body="&lt;p&gt;I am trying to encode 2 video files from: 1 source video, 2 source audio files, and 1 source chapter marks file. Because the video file only needs to be encoded once I am using tee muxing for efficiency, however this means I need to explicitly map my streams and for some reason the chapters stream seems to be getting lost. Here is what I am trying to map:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;video.mov        -&amp;gt;  output_stereo.mkv&#xA;audio_stereo.wav -&amp;gt;  output_stereo.mkv&#xA;chapters.txt     -&amp;gt;  output_stereo.mkv&#xA;&#xA;video.mov        -&amp;gt;  output_5.1.mkv&#xA;audio_5.1.wav    -&amp;gt;  output_5.1.mkv&#xA;chapters.txt     -&amp;gt;  output_5.1.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And here's my FFMPEG command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-i video.mov -i stereo.wav -i 5.1.wav -i chapters.txt \&#xA;-c:v libx264 -flags +global_header \&#xA;-map 0:v -map 1:a -c:a copy -map 2:a -c:a copy -map_chapters 3 \&#xA;-f tee &quot;[select=\'0:v,1:a]output_stereo.mkv|[select=\'0:v,2:a]output_5.1.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I assumed that &lt;code&gt;-map_chapters 3&lt;/code&gt; would take the 4th input (the chapters file) and just copy it over to both outputs, but when I inspect the encoded files there is no metadata stream for the chapter marks. Is there some other way I should be doing this?&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2019-01-26T20:04:55.570" Title="FFMPEG tee muxing, map chapters to all outputs" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25800" PostTypeId="1" AcceptedAnswerId="25802" CreationDate="2019-01-26T20:22:08.743" Score="0" ViewCount="461" Body="&lt;p&gt;This works to change the speed, but it also changes the codec to MPEG4 Video (H264). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -r 16 -i at25fps.mov -filter:v &quot;setpts=25/16*PTS&quot; at16fps.mov&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need the codec to stay untouched: prores (HQ) (apch / 0x68637061), yuv422p10le(tv, progressive).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found many similar post, but nothing worked:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/23674/how-to-change-framerate-with-ffmpeg-without-re-encoding&quot;&gt;How to change framerate with ffmpeg without re-encoding?&lt;/a&gt;, &#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/21431/lower-framerate-without-re-encode&quot;&gt;Lower framerate without re-encode&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://superuser.com/questions/1159056/ffmpeg-recreate-timestamps-without-reencoding/1358974#1358974&quot;&gt;This post&lt;/a&gt; suggest I first extract the raw stream - how would I do that for a ProRes file?&lt;/p&gt;&#xA;" OwnerUserId="24252" LastEditorUserId="24252" LastEditDate="2019-01-26T20:32:25.623" LastActivityDate="2019-01-26T21:47:39.787" Title="How to slow down ProRes file from 25fps to 16fps without re-encoding?" Tags="|video|ffmpeg|framerate|prores|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25801" PostTypeId="1" CreationDate="2019-01-26T20:32:59.063" Score="1" ViewCount="906" Body="&lt;p&gt;I would like to combine high-resolution video in English with a foreign-language audio track from a low-resolution version of the same movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is good software (for Windows 7) to combine audio from one video file with video (same video content) from another?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideally, it would also automatically correct for time offset based on the video content (frame similarity).&lt;/p&gt;&#xA;" OwnerUserId="24275" LastEditorUserId="24275" LastEditDate="2019-01-27T16:49:49.993" LastActivityDate="2022-10-09T06:40:28.663" Title="Combine audio from one video file with video from another" Tags="|audio|software-recommendation|software|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25802" PostTypeId="2" ParentId="25800" CreationDate="2019-01-26T21:20:32.990" Score="0" Body="&lt;p&gt;I just found a way to do this by changing the parameters help by &lt;strong&gt;fps&lt;/strong&gt; &lt;strong&gt;tbr&lt;/strong&gt; &lt;strong&gt;tbn&lt;/strong&gt; &lt;strong&gt;tbc&lt;/strong&gt;; answer is derived from &lt;a href=&quot;https://stackoverflow.com/a/52713677/6500909&quot;&gt;this post&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -i at25fps.mov -c:v copy -video_track_timescale 16 at16fps.mov&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am getting these remarks from Apple Sound Media Handler (so I am not sure if this is the best way to do it)&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Non-monotonous DTS in output stream 0:0; previous: 0, current: 0; changing to 1. This may result in incorrect timestamps in the output file.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Non-monotonous DTS in output stream 0:0; previous: 1, current: 1; changing to 2. This may result in incorrect timestamps in the output file.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;...&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="24252" LastEditorUserId="24252" LastEditDate="2019-01-26T21:47:39.787" LastActivityDate="2019-01-26T21:47:39.787" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25803" PostTypeId="1" CreationDate="2019-01-27T04:52:13.360" Score="0" ViewCount="285" Body="&lt;p&gt;At our church we have an older 4:3 projector we'd like to upgrade.  Funding does not currently allow us to go with a 16:9 screen, but we don't want to be stuck with a 4:3-only projector if we're going to be going widescreen in the next 2-3 years.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I thought we might get a 16:9 projector now, use it to project our existing 4:3 song slides (1024x768), then upgrade the screen in the future and do full 16:9 projecting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However I'm unsure what the video quality will be.  &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Can 16:9 projectors project in 4:3 at the same quality that a native 4:3 projector would?  (I know that computer monitors have their native resolutions, and anything else looks fuzzy.  Not sure if the same is true of projectors)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If a 16:9 projector is filling a 4:3 screen with a 4:3 projected image, will the lamp show faint bars going off the sides of the screen?  (i.e. does it project several black pillarboxes on the side?)  &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="24276" LastActivityDate="2020-03-24T22:25:46.943" Title="4:3 source going to a 16:9 projector" Tags="|aspect|projector|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25804" PostTypeId="2" ParentId="25803" CreationDate="2019-01-27T09:09:10.780" Score="0" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;This depends on the projector you want to get. You can simply take the height-resolution, in the best case, you should get a projector with 768 pixels in the height, but I don't think that this exists. The fuzzyness is the same on a screen as it is on a projector. But you could simply up/down scale the image so the pixel fits.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;This also depends on your projector. Most cheaper projector don't have a true black or are even near to it, so you will get light at the sides, but this shouldn't be too bad&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="23732" LastEditorUserId="4426" LastEditDate="2019-02-26T16:11:08.613" LastActivityDate="2019-02-26T16:11:08.613" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25805" PostTypeId="2" ParentId="25801" CreationDate="2019-01-27T09:12:56.770" Score="1" Body="&lt;p&gt;IF you have Win7, Movie Maker will do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, almost every video editing software where you can have more than 1 clip will do it.&#xA;If you thinking about doing some more stuff, you could use Hitfilm or Davinci Resolve.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-01-27T09:12:56.770" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25808" PostTypeId="1" CreationDate="2019-01-27T22:45:29.317" Score="0" ViewCount="44" Body="&lt;p&gt;I trying to add a timecode to my video but the timer is not synchronise with the video time&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EvVR8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EvVR8.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Settings: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BFOCm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BFOCm.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea ?&lt;/p&gt;&#xA;" OwnerUserId="24281" LastActivityDate="2019-01-27T22:45:29.317" Title="Adobe premiere Pro: timecode not synchronize" Tags="|premiere|adobe|timecode|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25809" PostTypeId="1" AcceptedAnswerId="25816" CreationDate="2019-01-28T11:23:30.820" Score="1" ViewCount="295" Body="&lt;p&gt;Is it possible to trigger animation from parent comp layer? I have been trying this expression with my basic coding skills but couldn't make it work. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;n = comp(&quot;myparentComp&quot;).layer(&quot;myLayer&quot;).marker.key(time); &#xA;if(time &amp;lt; marker.key(n).time){ n=n-1;&#xA;}&#xA;if(n==0){ n=1&#xA;}&#xA;t=time-marker.key(n).time;&#xA;thisProperty.valueAtTime(t)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24284" LastActivityDate="2019-01-29T01:54:18.600" Title="Marker animation trigger from parent composition" Tags="|video|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25811" PostTypeId="1" AcceptedAnswerId="25813" CreationDate="2019-01-28T13:07:11.827" Score="1" ViewCount="2130" Body="&lt;p&gt;I have a large group (tens of thousands) of images which were captured to an SSD at the max speed possible, which was therefore not a constant frame rate. Because of this, when using FFMPEG to turn these into a constant frame-rate video it seems to speed up and slow down when it shouldn't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to tell FFMPEG to time the images based on the timestamp in the filename rather than a constant framerate?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, consider the following (contrived) list of files:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;2019-01-28-08-00-28-000-000.tiff&#xA;2019-01-28-08-00-28-700-000.tiff&#xA;2019-01-28-08-00-28-900-000.tiff&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;These should be three sequential frames, but should have varying times between them. Then I can use the minterpolate filter to make it a smooth transition.&lt;/p&gt;&#xA;" OwnerUserId="24288" LastActivityDate="2019-01-28T18:21:11.857" Title="FFMPEG: Make video with non-constant framerate from image filenames" Tags="|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25812" PostTypeId="1" CreationDate="2019-01-28T18:19:37.977" Score="0" ViewCount="1194" Body="&lt;p&gt;I saw one app and I'm willing to add photos similar to how that app does.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Following is the screenshot of the video that I got from that app:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure what is the black part in there on the right-hand side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below is the end result after a photo has been added:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now the photo that I've added seems like it's behind the video, so any help how to do that and an answer to what the black part the right side of the video is, then it will be great and highly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="22177" LastEditorUserId="22177" LastEditDate="2019-02-21T14:04:34.457" LastActivityDate="2019-02-21T14:04:34.457" Title="How to add Photos in background to a Video using FFMPEG" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25813" PostTypeId="2" ParentId="25811" CreationDate="2019-01-28T18:21:11.857" Score="1" Body="&lt;p&gt;The below answer was provided as a comment on the question by &lt;a href=&quot;https://video.stackexchange.com/users/1871/gyan&quot;&gt;Gyan&lt;/a&gt;. I've reposted it as an answer so this question can be marked as solved.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The image2 reader in ffmpeg can assign timestamps based on the modification time of the file, with nanosecond precision. Not possible on Win, AFAICT. So, on a linux box, you can parse the filename and generate a timestamp and touch the mtime of the file. The absolute timestamps don't matter, just need to make sure the deltas in the mtimes correspond to the desired deltas. Then rename or symlink the images to form a smooth numbered sequence. Once done, read as follows: ffmpeg -f image2 -ts_from_file 2 -i images%d.jpg -vf minterpolate=... – &lt;a href=&quot;https://video.stackexchange.com/users/1871/gyan&quot;&gt;Gyan&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;This worked for me! I was able to use the &lt;code&gt;touch -d&lt;/code&gt; command to set the timestamp on each file based on the filename, then use &lt;code&gt;ffmpeg -f image2 -ts_from_file 2 -i %d.png out.mp4&lt;/code&gt; to create the video. Interpolation ended up being time-prohibitive, but shouldn't really be necessary in my final video.&lt;/p&gt;&#xA;" OwnerUserId="24288" LastActivityDate="2019-01-28T18:21:11.857" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25814" PostTypeId="2" ParentId="25812" CreationDate="2019-01-28T18:47:31.500" Score="3" Body="&lt;p&gt;I'm going to call the video/image on top, overlay, and the bottom one, the photo.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i photo -i overlay&#xA;       -filter_complex &quot;[1]split=2[color][alpha];&#xA;                        [color]crop=iw/2:ih:0:0[color];[alpha]crop=iw/2:ih:iw/2:0[alpha];&#xA;                        [color][alpha]alphamerge[ovrly];&#xA;                        [0][ovrly]overlay=0:0&quot; output.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I assume that if the resolution of the video is WxH then the resolution of the photo is W/2 X H. If it's not, add a crop filter to the photo and then use that result in the overlay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the resulting video has uneven dimensions, add a scale filter after the overlay to rectify that: &lt;code&gt;[0][ovrly]overlay=0:0,scale=2*trunc(iw/2):2*trunc(ih/2)&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;If you have a sequence of images of the same resolution, then you can use the concat demuxer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, create a text file,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'image1'&#xA;duration 2.0&#xA;file 'image2'&#xA;duration 4.0&#xA;file 'image3'&#xA;duration 2.0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i text -i overlay&#xA;       -filter_complex &quot;[0]fps=25[bg];&#xA;                        [1]split=2[color][alpha];&#xA;                        [color]crop=iw/2:ih:0:0[color];[alpha]crop=iw/2:ih:iw/2:0[alpha];&#xA;                        [color][alpha]alphamerge[ovrly];&#xA;                        [bg][ovrly]overlay=0:0,scale=2*trunc(iw/2):2*trunc(ih/2)&quot; output.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-01-30T17:26:50.570" LastActivityDate="2019-01-30T17:26:50.570" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25815" PostTypeId="1" CreationDate="2019-01-28T23:17:26.800" Score="0" ViewCount="437" Body="&lt;p&gt;Is there a video editing software that allows you to record video from a tethered device (like a webcam) directly to the timeline while the project preview is playing back?  This would basically be like if Audacity also allowed video recording and editing.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to be able to record video directly to the timeline at a specific time so that the video and audio will automatically match up rather than recording the video separately, importing it, dragging it to the timeline and trying to line it up.&lt;/p&gt;&#xA;" OwnerUserId="24291" LastActivityDate="2020-07-23T06:04:50.440" Title="Record video to timeline during playback" Tags="|video-recording|playback|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25816" PostTypeId="2" ParentId="25809" CreationDate="2019-01-29T01:54:18.600" Score="0" Body="&lt;p&gt;Totally possible, but there are some problems with your expression.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;n = comp(&quot;myparentComp&quot;).layer(&quot;myLayer&quot;).marker.key(time); &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In this line &lt;code&gt;n&lt;/code&gt; is going to return a marker key object. However the last part of the line uses the current time in the method &lt;code&gt;marker.key(time)&lt;/code&gt;. This won't work. The &lt;code&gt;marker.key()&lt;/code&gt; function expects an int referring to the number of the marker (1-indexed, so the first marker is &lt;code&gt;marker.key(1)&lt;/code&gt;, because WTF adobe). A marker key has a &lt;code&gt;time&lt;/code&gt; property, which is probably where you're getting confused. Also then you're treating &lt;code&gt;n&lt;/code&gt; as if it's an integer, and you use a variable &lt;code&gt;marker&lt;/code&gt; without declaring it or giving it a value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want the animation to trigger on the first marker, it should look like this:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var marker1time = comp(&quot;myparentComp&quot;).layer(&quot;myLayer&quot;).marker.key(1).time;&#xA;if(time &amp;lt; marker1time){ &#xA;  t = 0; //hold the animation until the first marker&#xA;} else {&#xA;    t=time-marker1time; //will start at 0 at the point where time == marker1time&#xA;}&#xA;thisProperty.valueAtTime(t);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Some basic JS tutorials would probably help. I recommend the &lt;a href=&quot;https://www.w3schools.com/js/default.asp&quot; rel=&quot;nofollow noreferrer&quot;&gt;w3Schools&lt;/a&gt; ones, they're web-design focused, but almost all JS tutes are.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-01-29T01:54:18.600" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25818" PostTypeId="1" AcceptedAnswerId="25819" CreationDate="2019-01-29T03:34:10.623" Score="3" ViewCount="3170" Body="&lt;p&gt;I'm trying to convert a webm file that has a transparent background to an mp4 file. Mp4 doesn't have transparency so I'm trying to using this color: #D9DADB. How can I make this conversion happen with a single command in ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried the following command and I seem to get a black background instead of a gray one: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i color=c=0xD9DADB -i 123.webm 123.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24293" LastEditorUserId="24293" LastEditDate="2019-01-29T04:01:24.940" LastActivityDate="2019-01-29T21:02:50.127" Title="How can you convert a WebM with transparency to MP4 with a background color using ffmpeg?" Tags="|ffmpeg|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25819" PostTypeId="2" ParentId="25818" CreationDate="2019-01-29T05:02:23.673" Score="4" Body="&lt;p&gt;The native VP8/9 decoders don't support transparency, so a) you'll have to force a decoder, b) the way to change transparent pixels is to overlay the video onto the color.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -c:v libvpx -i 123.webm -f lavfi -i color=c=0xD9DADB,format=rgb24&#xA;       -filter_complex &quot;[1][0]scale2ref[bg][vid];[bg][vid]overlay=format=rgb:shortest=1,setsar=1&quot;&#xA;       -pix_fmt yuv420p -c:a copy 123.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-01-29T21:02:50.127" LastActivityDate="2019-01-29T21:02:50.127" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25820" PostTypeId="2" ParentId="25815" CreationDate="2019-01-29T11:52:59.637" Score="-1" Body="&lt;p&gt;So basically a Live Broadcast program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think a better way is to use timecode. This will automatically line up your video and audio&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-01-29T11:52:59.637" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25821" PostTypeId="1" AcceptedAnswerId="25824" CreationDate="2019-01-29T16:41:30.013" Score="2" ViewCount="2989" Body="&lt;p&gt;...without having to carefully select everything after the gap, and shift it all up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All articles/videos I see only talk about  trimming the timeline at the beginning or end, but I can't find anything about cutting out a piece in the middle. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, I want the inverse of &lt;a href=&quot;https://m.youtube.com/watch?v=IrPQR7UIVaI&quot; rel=&quot;nofollow noreferrer&quot;&gt;Trim Comp to Work Area&lt;/a&gt;. I want to remove a piece of the full comp in the middle of the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is that possible?&lt;/p&gt;&#xA;" OwnerUserId="24298" LastEditorUserId="24298" LastEditDate="2019-01-29T17:01:09.370" LastActivityDate="2022-08-31T22:27:41.427" Title="How to delete a gap in an After Effects timeline" Tags="|after-effects|adobe|time|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25822" PostTypeId="2" ParentId="25711" CreationDate="2019-01-29T17:14:17.687" Score="0" Body="&lt;p&gt;One can use the Hydra Aegisub plugin from here: &lt;a href=&quot;https://unanimated.github.io/ts/scripts-manuals.htm#hydra&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://unanimated.github.io/ts/scripts-manuals.htm#hydra&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And it all works.&lt;/p&gt;&#xA;" OwnerUserId="10853" LastActivityDate="2019-01-29T17:14:17.687" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25823" PostTypeId="1" CreationDate="2019-01-29T17:58:37.350" Score="0" ViewCount="315" Body="&lt;p&gt;I'm using ffmpeg over 3 years now mainly I'm doing live broadcasting on my site , currently I'm preparing to do 5 livebroadcast on the same time using my VPS server &lt;code&gt;CPU E3-1240 v5&lt;/code&gt; &lt;code&gt;OpenVZ&lt;/code&gt; Since I'm only allowed to use 1 vCore CPU usage jumps high very fast . What I ask , I know H264 algorithm based on calculation of previous frame (ref frame) and I frame So I tried -copyinkf and -break_non_keyframes 1 with no effect on the speed BTW here is my main broadcast command :-&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -i &quot;http://sorce.m3u &quot; -s 720x406 -r 23.976 -vcodec libx264  -profile:v high444  \ &#xA;-crf 35 -copyinkf - break_non_keyframes 1 -preset slow -acodec libfdk_aac \&#xA;-profile:a aac_he_v2 -b:a 8k -map_metadata -1 -f flv rtmp://localhost/hls/live &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Current I use &lt;code&gt;-preset slow&lt;/code&gt; to improve image quality little bit CPU usage &lt;code&gt;60%&lt;/code&gt; even with &lt;code&gt;preset fast&lt;/code&gt; CPU usage were &lt;code&gt;47%&lt;/code&gt; -preset veryfast CPU-usage &lt;code&gt;35%&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="22348" LastEditorUserId="22348" LastEditDate="2019-01-30T20:02:16.577" LastActivityDate="2019-01-30T20:02:16.577" Title="Reduce CPU usage when downscaling HD&gt;SD&gt;Low on the same codec (H264)" Tags="|ffmpeg|h.264|rtmp|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25824" PostTypeId="2" ParentId="25821" CreationDate="2019-01-30T08:28:10.817" Score="5" Body="&lt;p&gt;There's a script that does it for you (I just wrote it). You can get it (free, open source, &lt;a href=&quot;https://en.wikipedia.org/wiki/WTFPL&quot; rel=&quot;noreferrer&quot;&gt;WTFPL&lt;/a&gt; license) here on &lt;a href=&quot;https://blob.pureandapplied.com.au/removing-gaps-in-ae-comps/&quot; rel=&quot;noreferrer&quot;&gt;my blog&lt;/a&gt;. With the playhead in a gap, run the script and it will pull the layers after the gap along so the gap disappears. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW all care, no responsibility. It works on my machine, but I've tested it like, twice. Save before using.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-01-30T08:28:10.817" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25826" PostTypeId="1" CreationDate="2019-01-30T12:17:43.400" Score="0" ViewCount="165" Body="&lt;p&gt;I have enormous video collection dating back from 2003. until today, almost 9 TB on material from varios sources with various formats and resolution. There are also some shortened version of same video (documentaries that was cut), and i think that there is a lot of duplicates.&#xA;I would ask you is there any tool that can find which videos are same or which short video clips are part of one bigger video file? &#xA;After lot of searching I found only one tool called Video Comparer that is able to do that job, but it has limitations in number of videos processed (except pro version) and also is not free.&#xA;Is there any free tool that can do that job ( it may be for windows or linux) ???&#xA;Thank you&lt;/p&gt;&#xA;" OwnerUserId="24307" LastActivityDate="2019-03-01T16:01:20.293" Title="How to find same video but with other format and resolution from very big video collection" Tags="|video|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25827" PostTypeId="2" ParentId="25826" CreationDate="2019-01-30T15:14:52.423" Score="1" Body="&lt;p&gt;Paid tools exists for this because it is not an easy job. With such a large library and the extent of your use case, you will need a budget to accomplish the job. &lt;/p&gt;&#xA;" OwnerUserId="18815" LastActivityDate="2019-01-30T15:14:52.423" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25828" PostTypeId="2" ParentId="16860" CreationDate="2019-01-30T17:43:08.690" Score="0" Body="&lt;p&gt;I know the easiest way: first select all the clips you want to move to the right to create space, right click on them and tap 'group' now they are all considered as one clip. Now all you have to is drag it to the right and later if you want to select only one file just right click on the whole group and then press 'ungroup'. That's it, you're done.&lt;/p&gt;&#xA;" OwnerUserId="24310" LastEditorDisplayName="user10383" LastEditDate="2019-02-11T18:59:34.433" LastActivityDate="2019-02-11T18:59:34.433" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25829" PostTypeId="1" AcceptedAnswerId="25907" CreationDate="2019-01-30T20:10:42.780" Score="0" ViewCount="274" Body="&lt;p&gt;I have a video project including 40 clips, in average 2/3 minutes, at high quality (400MB /min).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I import a single clip in the project, the video preview is fine, however, having many of them lined after each others eventually causes the video preview to lag. If I pause and give it a few seconds, the preview after resume is fine for a while then starts lagging again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CPU usage is bellow 20%, RAM is 1.5GB used out of 6.5GB, however disk usage is high. I assume the software can't keep up loading the video fast enough due to the heavy weight.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to fix this issue ?&lt;/p&gt;&#xA;" OwnerUserId="24311" LastEditorUserId="24311" LastEditDate="2019-01-30T20:23:51.523" LastActivityDate="2019-02-07T17:24:37.757" Title="Adobe Premiere CS6 has laggy preview with high disk access but low memory use" Tags="|premiere|adobe|preview|cs6|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25830" PostTypeId="2" ParentId="25829" CreationDate="2019-01-30T20:36:13.570" Score="0" Body="&lt;p&gt;I am working in Adobe Premiere CC 2018, but if memory serves you should be able to still do this in your CS6 version. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Set an out point 'O' at the end of the clips you want to preview. &#xA;Go up to 'Sequence' in the upper left - and select 'Render In to Out' &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once they're rendered on your timeline they should play with no lag. &lt;/p&gt;&#xA;" OwnerUserId="23465" LastEditorUserId="23465" LastEditDate="2019-02-07T17:24:37.757" LastActivityDate="2019-02-07T17:24:37.757" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25831" PostTypeId="1" CreationDate="2019-01-31T18:36:30.403" Score="0" ViewCount="183" Body="&lt;p&gt;Is there a reliable and somewhat user-friendly way to convert between different LUT formats? I have been searching for a way and find pretty much nothing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My specific problem at hand is that I have .csp LUT created in Nuke and I would like to apply it directly in my NLE (Premiere or possibly Resolve), however no software I have at hand supports .csp format. I assume it should not be that hard to convert between LUT formats, but it seems like there is almost no software capable of doing that.&lt;/p&gt;&#xA;" OwnerUserId="5928" LastActivityDate="2024-02-05T06:01:30.157" Title="Convert LUT formats" Tags="|software-recommendation|conversion|nuke|lut|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25832" PostTypeId="1" AcceptedAnswerId="25833" CreationDate="2019-01-31T20:20:36.913" Score="1" ViewCount="194" Body="&lt;p&gt;I have a video file and I want to quadruple the video and audio play speed. I followed the instructions here&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/How%20to%20speed%20up%20/%20slow%20down%20a%20video&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/How%20to%20speed%20up%20/%20slow%20down%20a%20video&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I tried these commands:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 02.mp4 -strict -2 -filter_complex &quot;[0:v]setpts=0.25*PTS[v];[0:a]atempo=2.0[a];[0:a]atempo=2.0[a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; -map &quot;[a]&quot; 02ff.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This command quadrupled the video play speed but only doubled the audio play speed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So then I tried this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 02.mp4 -strict -2 -filter_complex &quot;[0:v]setpts=0.25*PTS[v];[0:a]atempo=2.0[a];[0:a]atempo=2.0,atempo=2.0[a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; -map &quot;[a]&quot; 02ff.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But still the same issue.  I've tried a few other variations of this command but I just get errors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the correct command to quadruple video play spdd and audio play speed?&lt;/p&gt;&#xA;" OwnerUserId="24319" LastActivityDate="2019-01-31T20:24:42.283" Title="ffmpeg quadruple video and audio play speed" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25833" PostTypeId="2" ParentId="25832" CreationDate="2019-01-31T20:24:42.283" Score="3" Body="&lt;p&gt;The audio filters should be chained one after the another. Your syntax generates two audio tracks, each doubled in speed. Also, since you're dealing with one input and one output, you can just use simple filters.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 02.mp4 -vf &quot;setpts=0.25*PTS&quot; -af &quot;atempo=2.0,atempo=2.0&quot; 02ff.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-01-31T20:24:42.283" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25834" PostTypeId="2" ParentId="25831" CreationDate="2019-01-31T20:57:25.277" Score="0" Body="&lt;p&gt;YOu could take a look here:&#xA;&lt;a href=&quot;http://opensource.mikrosimage.eu/ColorPipe-tools/LUTLab/LUT_to_LUT/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://opensource.mikrosimage.eu/ColorPipe-tools/LUTLab/LUT_to_LUT/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But this may not give you 100% color accuracy&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-01-31T20:57:25.277" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25835" PostTypeId="1" AcceptedAnswerId="25838" CreationDate="2019-01-31T23:29:45.290" Score="-1" ViewCount="38" Body="&lt;p&gt;I want the videos that I will shoot to feel natural and I don't know what I have to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The research I did in the internet says aperture of our eyes are around F/8 in bright conditions and around F/2 in the dark so what aperture should I use for realistic depth of field? .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as I learned. The filmmakers use the shutter speed of 1/48 for 24 FPS movies and these movies feel natural to my eyes so what shutter speed I should use? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have read any FPS can be received by the eye but for some reason. Every 60 FPS video I have ever watched in my life feels like plastic fruit and the internet says it's because we got used to the low FPS moviesthrought our lives do what FPS I should use?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bit irrevelant but I did some research and it points out the classic 4:3 aspect ratio is actually closest to our vision so should I shoot in 4:3 aspect ratio? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what is the best way to get that &quot;realistic and natural feeling&quot; in the videos with a 30 FPS APS-C camera? &lt;/p&gt;&#xA;" OwnerUserId="23721" LastEditorUserId="23721" LastEditDate="2019-02-01T10:53:29.813" LastActivityDate="2019-02-01T11:05:06.727" Title="How do you make video look natural?" Tags="|video|video-recording|video-capture|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25836" PostTypeId="1" CreationDate="2019-02-01T07:28:45.853" Score="0" ViewCount="77" Body="&lt;p&gt;Is there a software which can generate a 2d map which shows the position of the walls based on a video where I film the interior of a room?&lt;/p&gt;&#xA;" OwnerUserId="24320" LastEditorUserId="23732" LastEditDate="2019-02-03T20:25:01.793" LastActivityDate="2019-02-03T20:25:01.793" Title="Automatically create 2d map from a video" Tags="|video|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25838" PostTypeId="2" ParentId="25835" CreationDate="2019-02-01T11:05:06.727" Score="2" Body="&lt;p&gt;You pretty much found it out yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use 24FPS, 1/48, Aperture around f4. (Depending on your sensor size)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You really can't get a 1:1 look as our eyes have a diffrent way to see the world than a camera. But those settings will feel natural when used right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also think about how you film, many people say shoulder rigs feel the most natural as you have a slight wobble.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For me shoulder rig + lens stabilizer has done the job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, keep in mind how the scene looked so you can match the colors.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-01T11:05:06.727" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25839" PostTypeId="1" AcceptedAnswerId="25849" CreationDate="2019-02-01T11:33:55.713" Score="-1" ViewCount="37" Body="&lt;p&gt;I was surfing the net and I found this &lt;a href=&quot;https://video.stackexchange.com/a/17529&quot;&gt;answer&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Bottom line with the &lt;strong&gt;canon rebel series cameras is that the video is&#xA;  pulled from a low resolution capture of the chip&lt;/strong&gt; which is normally&#xA;  used for high resolution photos. The photos from these cameras will&#xA;  resolve many thousands of lines but the video compression chip in the&#xA;  camera cannot deal with these in real time so &lt;strong&gt;they just grab the image&lt;/strong&gt;&#xA;  &lt;strong&gt;that goes to the rear LCD screen&lt;/strong&gt;.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;This image is achieved by throwing away the&lt;/strong&gt; &lt;strong&gt;high res photo lines (or&lt;/strong&gt;&#xA;  &lt;strong&gt;pixels), this is called binning (discarding)&lt;/strong&gt;. This makes high contrast&#xA;  edges very aliased or have a stair stepped effect. To fix this Canon&#xA;  soften or blur the image to make it more acceptable. Guess what, all&#xA;  of this results in a video image that ends up resolving at about 480&#xA;  vertical lines or standard TV resolution 'not' HD resolution. So no&#xA;  amount of sharp lenses or post sharpening will ix the matter. The soft&#xA;  is baked in&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So my question is. What is the cheapest Canon DSLR that doesn't do the crappy &quot;use the LCD viewfinder feed for video capture&quot; stuff but properly records video? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The brand must be Canon&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sensor size must be at least APSC . &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The camera must have GPS and WIFI along with an hot shoe. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't want something from the last decade and the camera must be max 5 years old. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Budget is not yet decided but will be properly low and second hand is a big possibility. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to be flexible and change lenses as I wish also I will shoot all photos in the smallest aperture ppssible because I believe every photo should contain max information and art should be done in the photoshop. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I Will probably just shoot photos but I am interested in shooting videos and probably turning the camera to an makeshift go pro. &lt;/p&gt;&#xA;" OwnerUserId="23721" LastEditorUserId="23721" LastEditDate="2019-02-02T22:44:21.193" LastActivityDate="2019-02-03T13:10:32.170" Title="What is the good video equveilent of 1300D?" Tags="|video|video-quality|dslr|video-capture|canon|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25840" PostTypeId="1" AcceptedAnswerId="25891" CreationDate="2019-02-01T16:42:38.327" Score="0" ViewCount="98" Body="&lt;p&gt;I would be very glad if someone could put me in the right direction as to how to achieve text effects like this: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/wX1IvF4nJuM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've researched and still can't make out how to create them easily on OSX. &lt;/p&gt;&#xA;" OwnerUserId="24322" LastEditorUserId="674" LastEditDate="2019-02-06T21:03:10.453" LastActivityDate="2019-02-06T21:03:10.453" Title="How to create the text effects in short videos like this" Tags="|video|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25842" PostTypeId="1" CreationDate="2019-02-02T00:23:26.983" Score="1" ViewCount="285" Body="&lt;p&gt;I am currently attempting to animate a character using Duik 16 but I am having trouble linking some of the body parts so they stay connected.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I imported an illustrator layered file into After Effects and was methodical in my approach creating layers for the body parts of the character. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To illustrate further, I used the puppet warp tool at 3 separate positions on the leg, then I created the bones from those pins using the DUIK 16 rigging plugin. From those bones I was then able to create a controller using the auto rig button to allow the body part to bend about. The eventual goal is to be able to create a walking cycle. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I followed suit with this method using the tutorial in the &lt;a href=&quot;https://www.youtube.com/watch?v=SxGmEAC4Rsw&quot; rel=&quot;nofollow noreferrer&quot;&gt;video link here&lt;/a&gt; as a basis. I would like the rear foot (in its own layer) to move as a child of the rear leg layer. For example when the leg moves upwards the rear foot should stay connected. I understand you can use the auto rig feature on the entire body if the parts are carefully named, however I wish to just warp the leg with the controller to get the same effect. I have uploaded an attached image to illustrate the problem. There is a parent constraint button which looks like it was designed for this sort of issue but I am having difficulty finding any documentation on how to use it online. I tried parenting the rear leg and rear foot layer but to no avail.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/1H7kG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1H7kG.png&quot; alt=&quot;Foot and leg disconnect&quot;&gt;&lt;/a&gt;&#xA;Any help would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="24328" LastActivityDate="2019-03-06T11:24:29.430" Title="Character animation. Linking child and parent layers in After Effects using Duik 16" Tags="|after-effects|animation|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25844" PostTypeId="1" CreationDate="2019-02-03T00:52:35.990" Score="0" ViewCount="49" Body="&lt;p&gt;This is the way I'm trying to apply fade in inside a filtercomplex of FFmpeg command.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[v]fade=t=in:s=0:n=30[vfadein]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This command doesn't return error but the result is a video without fade in effect. What's the problem?&lt;/p&gt;&#xA;" OwnerUserId="10894" LastEditorUserId="10894" LastEditDate="2019-02-03T11:56:59.000" LastActivityDate="2019-02-03T11:56:59.000" Title="FFmpeg for fade in doesn't get applied to the final video" Tags="|ffmpeg|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="25845" PostTypeId="1" AcceptedAnswerId="25846" CreationDate="2019-02-03T05:53:57.880" Score="1" ViewCount="1205" Body="&lt;p&gt;So I'm trying to make a YouTube video and I have recorded some gameplay and some facecam footage. When I went over to edit in Kdenlive (my video editor of choice) I tried to import my facecam footage (.mkv formatted) which was shot using the default camera app on my Chromebook. It crashed Kdenlive but before it crashed I looked at the time it predicted to be the end of the video which seemed to be extraordinarily long! Just dragging the clip to my timeline caused my computer to freeze up and then the program to eventually crash. I opened the clip in VLC and the playhead doesn't even move. In fact, VLC says that the video is 0 minutes and 0 seconds long even though I know for a fact that it is 42 minutes long. Attempting to move the playhead makes strange artifacts appear on my video clip and then the playhead jumps to 0:00 and it plays fine. This is extremely frustrating because I don't know how I can convert this so that it has a correct start and end time. I cannot edit the video of course because my video editor tries to import an infinite (or at least really massive) video. Strangely enough it plays fine in the Google Drive video player and I believe the native Chrome OS video player.&lt;/p&gt;&#xA;" OwnerUserId="24336" LastActivityDate="2020-12-11T20:12:17.943" Title="I have a .mkv video file I need to use but it is apparently infinite" Tags="|video-editor|youtube|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25846" PostTypeId="2" ParentId="25845" CreationDate="2019-02-03T05:58:46.537" Score="3" Body="&lt;p&gt;So I've found the issue to be related to inconsistent framerates. I found that running the video through ffmpeg with &lt;code&gt;ffmpeg -i yourfile.mkv -c:v copy -c:a copy -r 30 newfile.mkv&lt;/code&gt; actually fixed the issue entirely. Now I can open the file correctly and it appears to be 42 minutes as expected. More information &lt;a href=&quot;https://blender.stackexchange.com/questions/92285/mkv-file-has-too-many-frames/92338&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="24336" LastActivityDate="2019-02-03T05:58:46.537" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25849" PostTypeId="2" ParentId="25839" CreationDate="2019-02-03T13:10:32.170" Score="1" Body="&lt;p&gt;Well, you are asking for a lot of things here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd guess the best option would be a Canon M50, it is not a DSLR camera, but the industry tends away from DSLRs anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It can shoot good 4k footage, is new and also shoots good images. You can get it with a double lens kit for around 900$. You can also adapt it to Canon EF.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;She has Connectivity to your phone and as far as I understand GPS over your phone. So no GPS if you ain't connected to it.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;smallest aperture ppssible&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I'd guess you're refering to the physical size, so biggest possible aperture number.&#xA;I wouldn't suggest that, as many lenses lose sharpness and get color aborations at over F/11.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But this should give you enough DOF anyways.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are not satisfied with a mirrorless camera and want for what ever reason to have a DSLR, just write me a comment.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-03T13:10:32.170" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25850" PostTypeId="1" CreationDate="2019-01-26T13:47:24.817" Score="0" ViewCount="889" Body="&lt;p&gt;I would like to know how big artists send their videos to YouTube and in what format to have VP09 with OPUS 251 in Audio ? &#xA;I tried a lot of format HD H.264 AVI but Youtube keep my video in mp4 with bad audio quality . &#xA;How can i do to have the same format like professional videos youtube ?&lt;/p&gt;&#xA;" OwnerUserId="30278" OwnerDisplayName="Najib Flata" LastActivityDate="2024-02-08T05:07:30.927" Title="How to upload video to YouTube with VP09 &amp; Opus 251" Tags="|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25851" PostTypeId="2" ParentId="25850" CreationDate="2019-02-03T15:25:57.230" Score="0" Body="&lt;p&gt;What device are you reading the VP9 and Orbis codec information from? These are hardware limited, so the options may not be available on your device.&lt;/p&gt;&#xA;" OwnerUserId="18815" LastActivityDate="2019-02-03T15:25:57.230" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25852" PostTypeId="1" CreationDate="2019-02-03T19:41:45.130" Score="2" ViewCount="352" Body="&lt;p&gt;I selected a 10 clips of the same event and &lt;a href=&quot;https://www.youtube.com/watch?v=kmFmyXWaQHM&quot; rel=&quot;nofollow noreferrer&quot;&gt;created a new Multicam clip&lt;/a&gt;. The videos aligned perfectly via &lt;strong&gt;Use audio for synchronization&lt;/strong&gt;. I edited the entire clip and chose different angles at the exact times I want them to show. Everything is great.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Problem is I just found another clip that should have been added, but I forgot to add it (i.e. I should have 11 clips in the multicam clip, not only 10). I want to add this 11th clip and tweak the multicam clip a bit to show it at certain times. I don't want to restart the process as 90% of my work is already done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I can add a new angle and drag the clip in there, but the problem is I would have manually &quot;synchronize&quot; it, by dragging it in the correct location. I don't see any way to choose to synchronize it (e.g. via audio).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I see &lt;strong&gt;Clip &gt; Synchronize clip&lt;/strong&gt;, but that is disabled, and I wouldn't even know which two or more clips I should choose.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I add a new clip/angle to an existing multicam clip, and have it automatically synchronize its position via audio?&lt;/p&gt;&#xA;" OwnerUserId="24076" LastEditorUserId="24076" LastEditDate="2019-02-03T19:58:47.620" LastActivityDate="2019-02-03T19:58:47.620" Title="How do I add a synchronized clip/angle to a multi-cam clip?" Tags="|final-cut-pro-x|multi-camera|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25853" PostTypeId="2" ParentId="25620" CreationDate="2019-02-03T19:48:28.023" Score="0" Body="&lt;p&gt;As Naved mentioned, you need to split the clip. The most important part, however, is using a Cross Dissolve, which smoothly transitions from one clip to another.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Split the two clips in half so you go from &lt;code&gt;[clipA]&lt;/code&gt; to &lt;code&gt;[clipA1][clipA2]&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Modify &lt;code&gt;clipA2&lt;/code&gt; to have whatever effects you want such as darkening the video.&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Add a Cross Dissolve between the two clips&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(The cross dissolve is so common it has a keyboard shortcut,&#xA;&lt;kbd&gt;⌘T&lt;/kbd&gt;, to add it to both sides.)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;In fact these three steps are so common, you can find a one-click solution for doing the same with these effects via the &lt;strong&gt;Modify &gt; Fade to&lt;/strong&gt; menu:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Black and White&lt;/li&gt;&#xA;&lt;li&gt;Sepia&lt;/li&gt;&#xA;&lt;li&gt;Dream&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;A third and final shortcut/tip is even if you want to darken the video, you could use the &quot;Fade to Black and White&quot; feature, then remove the Black and White effect and apply whatever other transformations you want to the video.&lt;/p&gt;&#xA;" OwnerUserId="24076" LastActivityDate="2019-02-03T19:48:28.023" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25854" PostTypeId="2" ParentId="25852" CreationDate="2019-02-03T19:58:30.407" Score="3" Body="&lt;p&gt;One (probably dumb) way to do this is:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select all 11 clips again and create a new, temporary Multicam clip.&lt;/li&gt;&#xA;&lt;li&gt;Double-click the temporary multicam clip and find out the exact &lt;a href=&quot;https://support.apple.com/kb/ph12558?locale=en_US&quot; rel=&quot;nofollow noreferrer&quot;&gt;timecode&lt;/a&gt; where the new, 11th clip was added.&lt;/li&gt;&#xA;&lt;li&gt;Copy the 11th clip.&lt;/li&gt;&#xA;&lt;li&gt;Delete the newly created temporary multicam clip&lt;/li&gt;&#xA;&lt;li&gt;Double-click the original multicam clip&lt;/li&gt;&#xA;&lt;li&gt;Navigate to that exact same timecode&lt;/li&gt;&#xA;&lt;li&gt;Paste the clip into that location&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="24076" LastActivityDate="2019-02-03T19:58:30.407" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25855" PostTypeId="1" AcceptedAnswerId="25883" CreationDate="2019-02-03T20:02:16.760" Score="1" ViewCount="123" Body="&lt;p&gt;This might be an easy question, but I'm not able to find the answer.&#xA;Sometimes the audio clip is slightly small than the video clip. I need to move the audio just a little bit (like less than 1 second), however final cut moves it to the opposite border straight away.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Nv8b82bicwI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="24340" LastActivityDate="2019-02-05T19:17:12.963" Title="How to avoid audio border magnetics on Final Cut Pro X?" Tags="|audio|final-cut-pro-x|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25856" PostTypeId="1" AcceptedAnswerId="25857" CreationDate="2019-02-03T22:12:04.597" Score="1" ViewCount="4429" Body="&lt;p&gt;Imagine I made a bunch of changes to a project, I have a bunch of videos lined up like &lt;code&gt;[clipA][clipB][clipC]&lt;/code&gt;. Now I want to tweak clipB's start/end times without changing it's duration such that the audio for all the other clips is still aligned properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I can drag the left/right edges of clipB, but that'll mess with the audio and where all the other clips start/end. All I want to do is adjust the start time of clipB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm assuming there is a way to specify the timecode for the start via typing it in, but I want a way to do this with the UI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;iMovie has this feature. You just go to Window &gt; Show Clip Trimmer. Then you drag the clip left and right to change its start time while keeping the duration intact.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I couldn't find a way to do this in Final Cut Pro. The closest I could find is I can go Clip &gt; Open Clip, and then there is an interface that &lt;em&gt;looks like&lt;/em&gt; it would allow me to drag the clip to adjust the start time, but the text always shows &lt;code&gt;+00:00.00&lt;/code&gt;, and after dropping it, it resets back to the default.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I adjust the start time of a clip via the GUI without affecting its duration?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt; Here is a screengrab from iMovie that shows exactly what I'm trying to do. Notice how I can tweak the start/end times of the clip &lt;em&gt;without&lt;/em&gt; affecting the clip's duration:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fwYtI.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fwYtI.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I do the same thing in Final Cut Pro?&lt;/p&gt;&#xA;" OwnerUserId="24076" LastEditorUserId="24076" LastEditDate="2019-02-11T08:42:52.637" LastActivityDate="2021-08-24T21:24:15.527" Title="How do I change the start/end time of a clip in Final Cut Pro X without changing the duration?" Tags="|editing|final-cut-pro-x|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25857" PostTypeId="2" ParentId="25856" CreationDate="2019-02-03T22:14:12.500" Score="1" Body="&lt;p&gt;With the Open Clip option, the reason that it's not taking any of the changes is because the Arrow tool is selected. Hit the tool icon and choose Position and it'll start taking your changes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/loMF6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/loMF6.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Clip Trimmer feature in iMovie does not seem to have an equivalent in Final Cut Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is unfortunate, because one of the other really cool features of the clip trimmer, is that it shows you the start/end frame as you drag the clip which saves you time.&lt;/p&gt;&#xA;" OwnerUserId="24076" LastEditorUserId="24076" LastEditDate="2019-02-11T08:43:51.437" LastActivityDate="2019-02-11T08:43:51.437" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25858" PostTypeId="1" CreationDate="2019-02-03T23:04:09.223" Score="0" ViewCount="1334" Body="&lt;p&gt;I'm new to Logic Pro, more experienced with FCP. I have a video project in FCP with may different sound situations, and I need to level the audio. I've tried to do this in FCP, and that works reasonably well, but now I have Logic Pro, I hope to have a better tool available. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pNWjS.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pNWjS.jpg&quot; alt=&quot;Logic Pro X Import Menu&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried to export to XML in FCP, but can't open or import that in LP. I read somewhere that you need to publish from FCP to LP, but I don't see that option and have no idea how to do that. What I found online was for older versions - no idea if that is the problem here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I edit audio from a Final Cut Pro X (10.4.5) project in Logic Pro X (10.4.4)?&lt;/p&gt;&#xA;" OwnerUserId="17830" LastEditorUserId="17830" LastEditDate="2019-02-04T10:12:13.937" LastActivityDate="2022-02-18T17:07:30.687" Title="Edit audio from Final Cut Pro X 10.4.5 in Logic Pro X 10.4.4" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25859" PostTypeId="1" CreationDate="2019-02-04T05:43:32.093" Score="0" ViewCount="65" Body="&lt;p&gt;In reading to understand shutter speed better, I found a consistent claim that setting shutter speed to &lt;code&gt;1/(2×fps)&lt;/code&gt; makes &quot;cinematic&quot; motion and &lt;code&gt;1/fps&lt;/code&gt; makes &quot;TV&quot; motion. &lt;a href=&quot;https://video.stackexchange.com/a/7411/3643&quot;&gt;Example&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's great and all, if I knew what it's supposed to mean. I understand that a slower shutter will make more blur on individual frames, so a more natural motion. Is that all this cinema vs TV motion example meant to say? &lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2019-02-04T13:20:18.457" Title="What's the difference between TV and cinema motion?" Tags="|motion|television|shutter|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25860" PostTypeId="2" ParentId="24827" CreationDate="2019-02-04T05:53:45.170" Score="0" Body="&lt;p&gt;Lag. The time between shutter close and shutter open, when the cam is processing and saving the image, is real and adds up. Just guessing, but I'm pretty sure I'm right. If you can set exact shutter speeds, try just a bit higher than 1/200, like 1/205, and see what happens.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2019-02-04T05:53:45.170" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25861" PostTypeId="2" ParentId="24827" CreationDate="2019-02-04T08:21:53.297" Score="1" Body="&lt;p&gt;Sadly this isn't how it works.&#xA;It could work with 25FPS and 1/200 if the shutter is precisly on the light impulse.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also keep in mind that even if the electricity is 50Hz, the light could have a refresh of 100Hz.&#xA;Or you were just lucky that the shutter allways was on the light impulse.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Solution:&lt;/strong&gt;&#xA;Well, sadly you don't really have a direcr solution for this one. But youbhave two Options:&#xA;1. Buy yourself some Video Lights (Sometimes also normal lights have a label &quot;Flicker free&quot; those should work too)&#xA;2. Do not shoot with such high shutter speeds.&#xA;If you know 180° rule and just do it for artistic reasons, skip this part:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should allways record with dpuble the shutter of your FPS: 25FPS=&gt;1/50 50FPS=&gt;1/100&#xA;This will give you the most natural look.&#xA;If you choose a higher Shutterspeed, the footage will kinda look robot-erisch and unnatural.&#xA;If you choose a lower shutterspeed, it will have more motion blur and feel almost dreamy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But you may want to use this for artistic reasons, a slow shutter for a dream sequence or a faster shutter for sport video where you wsnt to see everything and stop the video.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-04T08:21:53.297" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25862" PostTypeId="2" ParentId="25858" CreationDate="2019-02-04T10:21:57.720" Score="1" Body="&lt;p&gt;The solution is to open the menu Preferences &gt; Advanced, then select all. Then the FCP Import menu becomes available. The Help menu did help me, but could be more directly explaining that you need to set this option in the advanced preferences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/57elA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/57elA.png&quot; alt=&quot;Logic Pro - Import Media Files&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eHo14.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eHo14.png&quot; alt=&quot;Logic Pro X - Advanced Preferences&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KDv8C.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KDv8C.png&quot; alt=&quot;Logic Pro X - Import Final Cut Pro XML&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unbelievable that they hide this import option. &lt;/p&gt;&#xA;" OwnerUserId="17830" LastEditorUserId="17830" LastEditDate="2019-02-04T10:36:01.550" LastActivityDate="2019-02-04T10:36:01.550" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25863" PostTypeId="1" AcceptedAnswerId="26023" CreationDate="2019-02-04T10:48:11.073" Score="0" ViewCount="320" Body="&lt;p&gt;I have a multicam setup mixed with 1080p cameras and 2160p cameras (So I can zoom in on them)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I import the 4k clips into my 1080p sequence, they are &quot;zoomed in 200%&quot;.&#xA;Is there a way to automatically set UHD clips to 50% size on import?&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-21T06:32:23.210" Title="Automatically scale video on import to sequence resolution" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25864" PostTypeId="1" CreationDate="2019-02-04T11:33:54.017" Score="0" ViewCount="23" Body="&lt;p&gt;Here is the video link: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/-RJSbO8UZVY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below are the time stamps&#xA;1:00-1:03 &#xA;1:15&#xA;2:17-2:19&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am still quite a novice. I would like to attempt these myself, but do not know the names of the effects, which will allow me to do research and self teach.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help will be much appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="24344" LastActivityDate="2019-02-04T11:33:54.017" Title="What are the names of the video effects used in this video link" Tags="|video|after-effects|premiere|editing|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25865" PostTypeId="2" ParentId="25859" CreationDate="2019-02-04T13:20:18.457" Score="1" Body="&lt;p&gt;I don't know where they have &quot;TV motion&quot; from as at least in my area we use 1/(2×fps) for TV too. Or higher for sports.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1/(2×fps) simply has a &quot;natural&quot; motion blur to it which is often used in cinema as it is often the best choise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A shutter slower than that has much more shutter, I describe it as dream like.&#xA;A shutter faster than that often looks like a robot, with each image being sharp and jumpy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first can be used in slow scenes as it won't be really notable.&#xA;The seconde one can be used in for example sports TV so you can really see each detail and it isn't blured out&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-04T13:20:18.457" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25866" PostTypeId="1" CreationDate="2019-02-04T14:54:22.030" Score="0" ViewCount="895" Body="&lt;p&gt;I was looking to put an audio visualiser filter on my podcast file(mp3)and got the necessary code from &lt;a href=&quot;https://www.youtube.com/watch?v=H5dCKuN9Ius&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.But on running the code,the terminal gave an error&quot;height not divisible by 2&quot;.I tried my best to apply the solution from &lt;a href=&quot;https://stackoverflow.com/questions/20847674/ffmpeg-libx264-height-not-divisible-by-2&quot;&gt;here&lt;/a&gt; but it didn't work.Any suggestions would be helpful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Code:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -y -i audio.mp3 -loop 1 -i image.jpg -filter_complex &quot;[0:a]showwaves=s=1280x175:colors=White:mode=p2p,format=yuv420p[v];[1:v][v]overlay=0:200[outv]&quot; -map &quot;[outv]&quot; -pix_fmt yuv420p -map 0:a -c:v libx264 -c:a copy -shortest output12.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Error Log:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg version N-90762-g223f3dff8c Copyright (c) 2000-2018 the FFmpeg developers&#xA;    built with gcc 7.3.0 (GCC)&#xA;    configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-bzlib --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth&#xA;    libavutil      56. 15.100 / 56. 15.100&#xA;    libavcodec     58. 19.100 / 58. 19.100&#xA;    libavformat    58. 13.100 / 58. 13.100&#xA;    libavdevice    58.  4.100 / 58.  4.100&#xA;    libavfilter     7. 18.100 /  7. 18.100&#xA;    libswscale      5.  2.100 /  5.  2.100&#xA;    libswresample   3.  2.100 /  3.  2.100&#xA;    libpostproc    55.  2.100 / 55.  2.100&#xA;  [mp3 @ 000001fa2ffdabc0] Estimating duration from bitrate, this may be inaccurate&#xA;  Input #0, mp3, from 'fast.mp3':&#xA;    Duration: 00:00:13.98, start: 0.000000, bitrate: 128 kb/s&#xA;      Stream #0:0: Audio: mp3, 44100 Hz, stereo, fltp, 128 kb/s&#xA;  Input #1, png_pipe, from 'scott.png':&#xA;    Duration: N/A, bitrate: N/A&#xA;      Stream #1:0: Video: png, rgb24(pc), 244x207 [SAR 1:1 DAR 244:207], 25 fps, 25 tbr, 25 tbn, 25 tbc&#xA;  Stream mapping:&#xA;    Stream #0:0 (mp3float) -&gt; showwaves&#xA;    Stream #1:0 (png) -&gt; overlay:main&#xA;    overlay -&gt; Stream #0:0 (libx264)&#xA;    Stream #0:0 -&gt; #0:1 (copy)&#xA;  Press [q] to stop, [?] for help&#xA;  [libx264 @ 000001fa2ffdd080] height not divisible by 2 (244x207)&#xA;  Error initializing output stream 0:0 -- Error while opening encoder for output stream #0:0 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;  Conversion failed!&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="24346" LastActivityDate="2024-01-28T10:02:45.367" Title="Error:-[libx264 @ 000001fa2ffdd080] height not divisible by 2 (244x207)" Tags="|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25867" PostTypeId="1" CreationDate="2019-02-04T15:06:07.050" Score="2" ViewCount="136" Body="&lt;p&gt;How would you stabilise footage in post to the smoothness level of GoPro Hypersmooth automatically?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From what I have seen from online videos, the videos are way more stable than warp stabilised hyperlapses. I have also noticed that the faster (longer) the GoPro footage, the more stable it is. I suspect that they are selecting the best frames to put in the video and then run another round of electronic stabilisation. If I am not mistaken, warp stabiliser uses every single frame and warps them and thus will never be able to reach the GoPro stability of skipping unwanted frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to do this automatically or semi-automatically? If GoPro can do it in a small package in seconds, it should be achievable in a powerful computer rig.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is not only useful for handheld footage, but also gimbal/steadicam footage.&lt;/p&gt;&#xA;" OwnerUserId="24347" LastActivityDate="2023-10-13T06:01:40.437" Title="How to Stabilize Hyperlapse Footage Like GoPro Hypersmooth?" Tags="|stabilisation|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25869" PostTypeId="2" ParentId="25866" CreationDate="2019-02-04T15:52:47.077" Score="0" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -i audio.mp3 -loop 1 -i image.jpg -filter_complex &quot;[1:v]scale=2*trunc(iw*sar/2):2*trunc(ih/2)[bg];[0:a]showwaves=s=1280x175:colors=White:mode=p2p,format=yuv420p[v];[bg][v]overlay=0:200[outv]&quot; -map &quot;[outv]&quot; -pix_fmt yuv420p -map 0:a -c:v libx264 -c:a copy -shortest output12.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since the image is the base layer, its dimensions should be made even.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-02-04T15:52:47.077" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25870" PostTypeId="2" ParentId="25866" CreationDate="2019-02-04T16:09:17.363" Score="0" Body="&lt;p&gt;It looks like FFmpeg scaling doesn't work well on &lt;strong&gt;&amp;quot;odd dimensions&amp;quot;&lt;/strong&gt;. I manually changed the image dimensions to 244×207 to 244×208 [&lt;strong&gt;even&lt;/strong&gt;] (using MS Paint resize option) now everything works fine!&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GWeEQ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GWeEQ.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uyxDE.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uyxDE.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24346" LastEditorUserId="18155" LastEditDate="2021-01-13T00:24:20.907" LastActivityDate="2021-01-13T00:24:20.907" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25871" PostTypeId="1" CreationDate="2019-02-04T16:19:23.073" Score="0" ViewCount="508" Body="&lt;p&gt;I have a stock video that is transparent but when I import the footage into after effects it has a greyish/blue background (even when toggling transparency on). Is there something I need to specifically do to get it to be transparent?&#xA;It's a .mov file.&lt;/p&gt;&#xA;" OwnerUserId="24348" LastActivityDate="2024-02-11T01:02:00.263" Title="Transparent Footage - After Effects" Tags="|after-effects|adobe|footage|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25872" PostTypeId="2" ParentId="25871" CreationDate="2019-02-04T17:27:39.507" Score="0" Body="&lt;p&gt;I think what you're looking for is to &lt;em&gt;toggle the transparency grid&lt;/em&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do this by finding the checkerboard-looking icon in the toolbar below the viewer. &lt;a href=&quot;https://i.stack.imgur.com/2INv4.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2INv4.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="23465" LastActivityDate="2019-02-04T17:27:39.507" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25873" PostTypeId="1" CreationDate="2019-02-04T17:34:00.310" Score="0" ViewCount="105" Body="&lt;p&gt;The code below runs a perfect red audiovisualizer when run on a “black” colored background. But when used with any other colored jpg image the visualizer just doesn't show up. What's missing? &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i music.mp3 -loop 1 -i black.jpg -filter_complex \&#xA;   &quot;[0:a]showwaves=s=1280x175:colors=Red:mode=p2p,format=yuv420p[v];[1:v][v]overlay=0:200[outv]&quot; \&#xA;   -map &quot;[outv]&quot; -pix_fmt yuv420p -map 0:a -c:v libx264 -c:a copy -shortest output_bg.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lKCoz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lKCoz.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/FmKVc.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FmKVc.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24346" LastEditorUserId="18155" LastEditDate="2019-07-19T09:31:05.330" LastActivityDate="2019-07-19T09:31:05.330" Title="Audiovisualiser not visible" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25874" PostTypeId="2" ParentId="25873" CreationDate="2019-02-04T20:44:39.493" Score="1" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -i music.mp3 -loop 1 -i image.jpg -filter_complex &quot;[0:a]showwaves=s=1280x175:colors=Red:mode=p2p[v];[1:v][v]overlay=(W-w)/2:(H-h)/2:format=auto,format=yuv420p[outv]&quot; -map &quot;[outv]&quot; -map 0:a -c:v libx264 -c:a copy -shortest -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Remove the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#format&quot; rel=&quot;nofollow noreferrer&quot;&gt;format&lt;/a&gt; filter after showwaves.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use &lt;code&gt;format=auto&lt;/code&gt; in the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#overlay&quot; rel=&quot;nofollow noreferrer&quot;&gt;overlay&lt;/a&gt; filter.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Do all of the filtering within the filtergraph, so remove &lt;code&gt;-pix_fmt&lt;/code&gt; and replace it with the format filter.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you want &lt;code&gt;image.jpg&lt;/code&gt; to fit within a specific size such as 1280x720:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i music.mp3 -loop 1 -i image.jpg -filter_complex &quot;[0:a]showwaves=s=1280x175:colors=Red:mode=p2p[fg];[1:v]scale=1280:720:force_original_aspect_ratio=increase,crop=1280:720,setsar=1[bg];[bg][fg]overlay=(W-w)/2:(H-h)/2:format=auto,format=yuv420p[outv]&quot; -map &quot;[outv]&quot; -map 0:a -c:v libx264 -c:a copy -shortest -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2019-02-05T17:51:54.727" LastActivityDate="2019-02-05T17:51:54.727" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25875" PostTypeId="1" CreationDate="2019-02-04T22:44:06.767" Score="0" ViewCount="63" Body="&lt;p&gt;My macbook spins off the fan like crazy which is audible when I'm recording a video when I show some stuff in Photoshop for instance. I'm thinking I could try to filter it out in Premiere Pro with high/low pass filters or an equalizer and I'm wondering what frequency might that sound of the fan have?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone tried to remove the fan sound with this method or maybe there is a better solution?&lt;/p&gt;&#xA;" OwnerUserId="24349" LastActivityDate="2019-02-06T15:25:40.360" Title="Frequency of Macbook fan sound" Tags="|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25876" PostTypeId="1" CreationDate="2019-02-05T01:54:37.527" Score="0" ViewCount="281" Body="&lt;p&gt;Wav Agent outputs the following when I drag the same file in, so the data has to be in the file somewhere, and I just don't know how to look for it:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;WavAgent: StartTC: 13:09:21:18&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Now, FFmpeg with the following arguments creates the following :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -i &amp;quot;_Audio Test_CRO_01.wav&amp;quot; -print_format json -show_streams -show_format&#xA;&#xA;ffprobe version 3.4.4-0ubuntu0.18.04.1 Copyright (c) 2007-2018 the FFmpeg developers&#xA;  built with gcc 7 (Ubuntu 7.3.0-16ubuntu3)&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.18.04.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-librsvg --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libavresample   3.  7.  0 /  3.  7.  0&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;{&#xA;Input #0, wav, from '_Audio Test_CRO_01.wav':&#xA;  Metadata:&#xA;    encoded_by      : Pro Tools&#xA;    originator_reference: JTFyPBDM2GpaaaGk&#xA;    date            : 2018-02-01&#xA;    creation_time   : 13:28:24&#xA;    time_reference  : 2273356800&#xA;  Duration: 00:00:48.22, bitrate: 1197 kb/s&#xA;    Stream #0:0: Audio: pcm_s24le ([1][0][0][0] / 0x0001), 48000 Hz, 1 channels, s32 (24 bit), 1152 kb/s&#xA;    &amp;quot;streams&amp;quot;: [&#xA;        {&#xA;            &amp;quot;index&amp;quot;: 0,&#xA;            &amp;quot;codec_name&amp;quot;: &amp;quot;pcm_s24le&amp;quot;,&#xA;            &amp;quot;codec_long_name&amp;quot;: &amp;quot;PCM signed 24-bit little-endian&amp;quot;,&#xA;            &amp;quot;codec_type&amp;quot;: &amp;quot;audio&amp;quot;,&#xA;            &amp;quot;codec_time_base&amp;quot;: &amp;quot;1/48000&amp;quot;,&#xA;            &amp;quot;codec_tag_string&amp;quot;: &amp;quot;[1][0][0][0]&amp;quot;,&#xA;            &amp;quot;codec_tag&amp;quot;: &amp;quot;0x0001&amp;quot;,&#xA;            &amp;quot;sample_fmt&amp;quot;: &amp;quot;s32&amp;quot;,&#xA;            &amp;quot;sample_rate&amp;quot;: &amp;quot;48000&amp;quot;,&#xA;            &amp;quot;channels&amp;quot;: 1,&#xA;            &amp;quot;bits_per_sample&amp;quot;: 24,&#xA;            &amp;quot;r_frame_rate&amp;quot;: &amp;quot;0/0&amp;quot;,&#xA;            &amp;quot;avg_frame_rate&amp;quot;: &amp;quot;0/0&amp;quot;,&#xA;            &amp;quot;time_base&amp;quot;: &amp;quot;1/48000&amp;quot;,&#xA;            &amp;quot;duration_ts&amp;quot;: 2314530,&#xA;            &amp;quot;duration&amp;quot;: &amp;quot;48.219375&amp;quot;,&#xA;            &amp;quot;bit_rate&amp;quot;: &amp;quot;1152000&amp;quot;,&#xA;            &amp;quot;bits_per_raw_sample&amp;quot;: &amp;quot;24&amp;quot;,&#xA;            &amp;quot;disposition&amp;quot;: {&#xA;                &amp;quot;default&amp;quot;: 0,&#xA;                &amp;quot;dub&amp;quot;: 0,&#xA;                &amp;quot;original&amp;quot;: 0,&#xA;                &amp;quot;comment&amp;quot;: 0,&#xA;                &amp;quot;lyrics&amp;quot;: 0,&#xA;                &amp;quot;karaoke&amp;quot;: 0,&#xA;                &amp;quot;forced&amp;quot;: 0,&#xA;                &amp;quot;hearing_impaired&amp;quot;: 0,&#xA;                &amp;quot;visual_impaired&amp;quot;: 0,&#xA;                &amp;quot;clean_effects&amp;quot;: 0,&#xA;                &amp;quot;attached_pic&amp;quot;: 0,&#xA;                &amp;quot;timed_thumbnails&amp;quot;: 0&#xA;            }&#xA;        }&#xA;    ],&#xA;    &amp;quot;format&amp;quot;: {&#xA;        &amp;quot;filename&amp;quot;: &amp;quot;_Audio Test_CRO_01.wav&amp;quot;,&#xA;        &amp;quot;nb_streams&amp;quot;: 1,&#xA;        &amp;quot;nb_programs&amp;quot;: 0,&#xA;        &amp;quot;format_name&amp;quot;: &amp;quot;wav&amp;quot;,&#xA;        &amp;quot;format_long_name&amp;quot;: &amp;quot;WAV / WAVE (Waveform Audio)&amp;quot;,&#xA;        &amp;quot;duration&amp;quot;: &amp;quot;48.219375&amp;quot;,&#xA;        &amp;quot;size&amp;quot;: &amp;quot;7215254&amp;quot;,&#xA;        &amp;quot;bit_rate&amp;quot;: &amp;quot;1197071&amp;quot;,&#xA;        &amp;quot;probe_score&amp;quot;: 99,&#xA;        &amp;quot;tags&amp;quot;: {&#xA;            &amp;quot;encoded_by&amp;quot;: &amp;quot;Pro Tools&amp;quot;,&#xA;            &amp;quot;originator_reference&amp;quot;: &amp;quot;JTFyPBDM2GpaaaGk&amp;quot;,&#xA;            &amp;quot;date&amp;quot;: &amp;quot;2018-02-01&amp;quot;,&#xA;            &amp;quot;creation_time&amp;quot;: &amp;quot;13:28:24&amp;quot;,&#xA;            &amp;quot;time_reference&amp;quot;: &amp;quot;2273356800&amp;quot;&#xA;        }&#xA;    }&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is &lt;code&gt;time_reference&lt;/code&gt; a clue? I have calculated that from Jan 1 1970, but that's not accurate. I'd like to know how I can get the start frame of timecode from this WAV file.&lt;/p&gt;&#xA;" OwnerUserId="24352" LastEditorUserId="18155" LastEditDate="2022-02-19T19:53:38.767" LastActivityDate="2024-03-11T04:05:20.597" Title="Comparing FFprobe to Wave Agent Beta" Tags="|ffmpeg|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25877" PostTypeId="2" ParentId="25876" CreationDate="2019-02-05T02:25:32.403" Score="0" Body="&lt;p&gt;Ok I think I figured it out &quot;time_reference&quot;: &quot;2273356800&quot; isn't epoch time, it's samples since midnight. So that worked out at 48khz to 13:09:21:18 &#xA;time_reference is a really horrible way of labeling that :O&#xA;Also this is assuming 30 fps, so I'll have to look and see where I can grab that from. Maybe there's more metadata to dig through.... ugh...&lt;/p&gt;&#xA;" OwnerUserId="24352" LastActivityDate="2019-02-05T02:25:32.403" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25879" PostTypeId="1" CreationDate="2019-02-05T11:12:45.473" Score="4" ViewCount="29705" Body="&lt;p&gt;Is this possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use others or your own Facebook or YouTube live stream as source in obs or any broadcast software and then broadcast it on another page or channel. &lt;/p&gt;&#xA;" OwnerUserId="17581" LastActivityDate="2022-11-01T16:34:53.663" Title="Use Streaming Online Video/Live As Source In OBS Studio" Tags="|streaming|live|obs|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25882" PostTypeId="2" ParentId="25856" CreationDate="2019-02-05T16:04:20.073" Score="0" Body="&lt;p&gt;I'm not 100% sure I understand the question, but one possible solution is to select clipB and press &lt;code&gt;option+cmd+uparrow&lt;/code&gt; to lift it from the Storyline. Then use the &lt;code&gt;position&lt;/code&gt; tool (&lt;code&gt;P&lt;/code&gt;) to move the clip, or &lt;code&gt;Trim&lt;/code&gt; (&lt;code&gt;T&lt;/code&gt;) to edit the in/out points. That should preserve the video length by adding a slug in place of the clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/l13SH.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/l13SH.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: looks like you just need to select all the clips (or group together as a &lt;code&gt;compound clip&lt;/code&gt;) and use the &lt;code&gt;position&lt;/code&gt; tool to move the sequence to the correct place on the timeline.&lt;/p&gt;&#xA;" OwnerUserId="20558" LastEditorUserId="20558" LastEditDate="2019-02-06T22:51:46.617" LastActivityDate="2019-02-06T22:51:46.617" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25883" PostTypeId="2" ParentId="25855" CreationDate="2019-02-05T16:17:20.890" Score="2" Body="&lt;p&gt;It looks like &lt;code&gt;Snapping&lt;/code&gt; is turn on. Toggle it with &lt;code&gt;N&lt;/code&gt; or use the snapping icon (next to clip view options and transitions etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nSyFS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nSyFS.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20558" LastActivityDate="2019-02-05T16:17:20.890" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25885" PostTypeId="2" ParentId="25873" CreationDate="2019-02-05T16:44:39.577" Score="0" Body="&lt;p&gt;Scale does matter while creating ffmpeg videos with images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the above case, some background images were really small (eg 512 x 210 etc).&#xA;On doing a batch size conversion  of all the background images (using Imagemagick)to 1280x720 (same as render size) the above code works fine &lt;/p&gt;&#xA;" OwnerUserId="24346" LastEditorUserId="24346" LastEditDate="2019-02-05T16:59:10.100" LastActivityDate="2019-02-05T16:59:10.100" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25886" PostTypeId="2" ParentId="25855" CreationDate="2019-02-05T19:17:12.963" Score="1" Body="&lt;p&gt;Zoom in for more precise placements and turn snapping off.&lt;/p&gt;&#xA;" OwnerUserId="17029" LastActivityDate="2019-02-05T19:17:12.963" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25888" PostTypeId="2" ParentId="25867" CreationDate="2019-02-05T19:24:53.107" Score="1" Body="&lt;p&gt;These use a combination of sensory input to counteract movement and crop the video so it resides inside of a larger one allowing it to move around and remove movement. It's a software based gimbal. I'm not sure if there is any plugins for AE or similar yet to achieve such effects. As most software is closed source that does this.&lt;/p&gt;&#xA;" OwnerUserId="17029" LastActivityDate="2019-02-05T19:24:53.107" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25889" PostTypeId="1" AcceptedAnswerId="25898" CreationDate="2019-02-05T19:28:50.487" Score="0" ViewCount="27" Body="&lt;p&gt;We are planning on shooting our first feature film based in Switzerland. As we have never done that or anything near it, especially the publishing side and official documents and contracts, we want to get a legal adviser who can tell us everything we'll need to know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How many hours do you normally employ an adviser for a feature film?&#xA;Our budget is around 100k dollars.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastEditorUserId="14523" LastEditDate="2019-02-08T03:46:02.610" LastActivityDate="2019-02-08T03:46:02.610" Title="How much time to calculate for legal advice on a feature film based in Switzerland" Tags="|filming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25890" PostTypeId="1" AcceptedAnswerId="25896" CreationDate="2019-02-05T20:24:26.010" Score="0" ViewCount="1819" Body="&lt;p&gt;I am trying to animate the position of my text to create a text animation (&lt;a href=&quot;https://youtu.be/b1_p2qQf_Ts?t=282&quot; rel=&quot;nofollow noreferrer&quot;&gt;as seen here&lt;/a&gt;) and I have followed these exact steps:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Created a text layer Clicked &quot;animate&quot; and chose &quot;position&quot; &lt;/li&gt;&#xA;&lt;li&gt;Renamed my Range Selector to &quot;initial position&quot; &lt;/li&gt;&#xA;&lt;li&gt;Added a keyframe with the End set to 100 &lt;/li&gt;&#xA;&lt;li&gt;Moved forward a few frames &lt;/li&gt;&#xA;&lt;li&gt;Added another keyframe with the End set to 0&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;When I play the animation, nothing is happening. The text remains on screen without any movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I missing? I followed the YouTube tutorial step-by-step so I'm lost as to why it doesn't work for me.&lt;/p&gt;&#xA;" OwnerUserId="24348" LastActivityDate="2019-02-06T06:10:53.873" Title="Text Animations - Range Selector Not Moving - After Effects" Tags="|after-effects|animation|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25891" PostTypeId="2" ParentId="25840" CreationDate="2019-02-05T20:36:17.703" Score="1" Body="&lt;p&gt;You will be able to create something similar to this with iMovie on your Mac.&#xA;You will simply gather all of the video clips you want to use, the music you want, and then plan out your text (in a &lt;a href=&quot;https://en.wikipedia.org/wiki/Storyboard&quot; rel=&quot;nofollow noreferrer&quot;&gt;storyboard&lt;/a&gt; if it's easier). Make sure your video and music is licensed for you to use (not stolen from someone else or used without permission).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can find lots of resources for stock videos, like &lt;a href=&quot;https://videos.pexels.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;.&#xA;You can find lots of stock music &lt;a href=&quot;https://www.youtube.com/audiolibrary/music&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&#xA;You can research about &lt;a href=&quot;https://www.youtube.com/watch?v=t7-bfAfAhzI&quot; rel=&quot;nofollow noreferrer&quot;&gt;lower thirds&lt;/a&gt; for the text effects at the bottom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, there are lots of other ways to achieve this, and tonnes of resources. But this is where you can start to achieve something like the video you provided.&lt;/p&gt;&#xA;" OwnerUserId="24348" LastActivityDate="2019-02-05T20:36:17.703" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25892" PostTypeId="2" ParentId="20779" CreationDate="2019-02-05T22:24:35.767" Score="0" Body="&lt;p&gt;I had the same problem. My solution was as follows: I dragged and dropped the file in the project window. Then, right click the file which was &quot;duplicated&quot; and click on &quot;Replace material&quot;. Apparently something went wrong when importing the file.&lt;/p&gt;&#xA;" OwnerUserId="24358" LastActivityDate="2019-02-05T22:24:35.767" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25893" PostTypeId="1" CreationDate="2019-02-06T00:31:04.760" Score="2" ViewCount="416" Body="&lt;p&gt;I have an youtube channel that makes a lot of live streams.&#xA;But i have different countries watching at the same hour in its own time zone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a live streaming on Brazil starting 6PM and finishing 9/9:30 PM (GMT -2). But i can't finish my live stream because people on USA start to watch the live stream at 6PM (GMT -5) from the start of live stream. I need to stream black until they finish to watch at their 9/9:30PM (GMT -5).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If i finish the stream, they can't watch. There is somo way to do not have this problem? Thanks!&lt;/p&gt;&#xA;" OwnerUserId="24360" LastEditorUserId="24360" LastEditDate="2019-02-06T00:38:22.300" LastActivityDate="2024-02-12T05:08:51.033" Title="Make Youtube live streaming available to another country after end streaming" Tags="|streaming|youtube|live|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25894" PostTypeId="1" CreationDate="2019-02-06T01:30:31.997" Score="2" ViewCount="1651" Body="&lt;p&gt;I am using FFmpeg's built-in &lt;strong&gt;&lt;em&gt;gdigrab&lt;/em&gt;&lt;/strong&gt; &amp;amp; &lt;strong&gt;&lt;em&gt;dshow&lt;/em&gt;&lt;/strong&gt; to record the display &amp;amp; audio of my system. I am encoding to uncompressed H.264/AVC video &amp;amp; uncompressed PCM/WAV audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had been having two problems with audio/video synchronization:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Video &amp;amp; audio not aligned (video &amp;amp; audio do not start at same time).&lt;/li&gt;&#xA;&lt;li&gt;Audio drift (audio progressively becomes out of sync with video).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Originally I was using a single command for capture/encode. Something like the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -rtbufsize 1000M -f gdigrab -framerate 60 -draw_mouse 0 \&#xA;  -i &quot;title=&amp;lt;window_name&amp;gt;&quot; -f dshow -i audio=&quot;&amp;lt;sys_audio/mic&amp;gt;&quot; -c:v libx264 \&#xA;  -preset ultrafast -qp 0 -x264opts keyint=1 -c:a pcm_s16le -ac 1 &quot;&amp;lt;out_file&amp;gt;.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But I was able to solve my second problem (drifting) by capturing video &amp;amp; audio in separate FFmpeg processes. Note that I am using a UNIX-like shell (&lt;a href=&quot;https://www.msys2.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MSYS2&lt;/a&gt; with BASH). The following is an example of a shell script I am running:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# capture audio &amp;amp; get PID&#xA;ffmpeg -hide_banner -rtbufsize 500M -f dshow -i audio=&quot;&amp;lt;sys_audio/mic&amp;gt;&quot; \&#xA;  -c:a pcm_s16le -ac 1 &quot;&amp;lt;out_file&amp;gt;-audio.wav&quot; &amp;amp; APID=$!&#xA;&#xA;# capture video&#xA;ffmpeg -hide_banner -rtbufsize 1000M -f gdigrab -framerate 60 -draw_mouse 0 \&#xA;  -i &quot;&amp;lt;window_name&amp;gt;&quot; -c:v libx264 -preset ultrafast -qp 0 -x264opts keyint=1 \&#xA;  &quot;&amp;lt;out_file&amp;gt;-video.mkv&quot;&#xA;&#xA;# get exit code of video process&#xA;VIDRET=$?&#xA;&#xA;# send interrupt signal to audio process after video process exits&#xA;kill -s SIGINT ${APID}&#xA;&#xA;# mux video &amp;amp; audio if video process exited okay&#xA;if [ &quot;${VIDRET}&quot; -eq &quot;0&quot; ]; then&#xA;    ffmpeg -hide_banner -i &quot;${OUTVID}&quot; -i &quot;${OUTAUD}&quot; -map 0:0 -map 1:0 \&#xA;      -c copy &quot;&amp;lt;out_file&amp;gt;.mkv&quot;&#xA;&#xA;    # delete temp video &amp;amp; audio streams if muxing succeeded&#xA;    if [ &quot;$?&quot; -eq &quot;0&quot; ]; then&#xA;        rm &quot;${OUTVID}&quot; &quot;${OUTAUD}&quot;&#xA;    fi&#xA;fi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So the problem left is that video &amp;amp; audio data do not start aligned correctly. The audio is generally somewhere between 0ms-300ms ahead of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It can be easily solved by running the output file through FFmpeg again, or a separate program such as &lt;a href=&quot;http://avidemux.sourceforge.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Avidemux&lt;/a&gt;, to adjust the audio delay. This can be done without re-encoding in Avidemux (not sure about FFmpeg).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I would prefer to solve this issue within the capture process/script so I can avoid the extra step of aligning the data manually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recently I have done a system cleanup by removing junk files, making sure fragmentation on my drive is low, &amp;amp; turning off unnecessary background processes. But audio/video alignment is still often off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So finally, to the plain-&amp;amp;-simple question: Is there a way to get the two FFmpeg processes to begin capture at the same time to get video &amp;amp; audio as close to being synchronized as possible? Can I use the system clock as a seed?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or, is there a better method than I am using right now? E.g., a single FFmpeg process that will capture both while keeping data aligned &amp;amp; avoiding audio drift.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It appears to me that the problem is simply that the audio process is starting before the video process. I've heard about piping FFmpeg commands, but am not sure of the correct way to do it. I have found some information on piping that I am trying to figure out:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Creating%20multiple%20outputs#Pipedprocesses&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Creating%20multiple%20outputs#Pipedprocesses&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://superuser.com/questions/1057388/pipe-ffmpeg-output-to-other-process&quot;&gt;https://superuser.com/questions/1057388/pipe-ffmpeg-output-to-other-process&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;FFmpeg information: Official static 64-bit build from &lt;a href=&quot;https://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Zeranoe&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-92511-g0279cb4f69 Copyright (c) 2000-2018 the FFmpeg developers&#xA;    built with gcc 8.2.1 (GCC) 20181017&#xA;    configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig&#xA;        --enable-gnutls --enable-iconv --enable-libass --enable-libbluray&#xA;        --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb&#xA;        --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine&#xA;        --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame&#xA;        --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264&#xA;        --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib&#xA;        --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc&#xA;        --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom&#xA;        --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va&#xA;        --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;These are my system specs:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;&lt;strong&gt;Model:&lt;/strong&gt; &lt;a href=&quot;https://support.hp.com/us-en/document/c05381021&quot; rel=&quot;nofollow noreferrer&quot;&gt;HP Pavilion 24-b217c&lt;/a&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;strong&gt;OS:&lt;/strong&gt; Windows 10 64-bit&lt;/li&gt;&#xA;  &lt;li&gt;&lt;strong&gt;CPU:&lt;/strong&gt; &lt;a href=&quot;https://ark.intel.com/products/97184&quot; rel=&quot;nofollow noreferrer&quot;&gt;Intel Core i5-7400T @ 2.40GHz, 2401 MHz, 4 cores&lt;/a&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;strong&gt;RAM:&lt;/strong&gt; 12GB&lt;/li&gt;&#xA;  &lt;li&gt;&lt;strong&gt;GPU(s):&lt;/strong&gt;&#xA;  &#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;&lt;a href=&quot;https://www.geforce.com/hardware/notebook-gpus/geforce-930mx/specifications&quot; rel=&quot;nofollow noreferrer&quot;&gt;nVidia GeForce 930MX&lt;/a&gt;&#xA;  &#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;&lt;strong&gt;RAM:&lt;/strong&gt; 2GB dedicated&lt;/li&gt;&#xA;  &lt;/ul&gt;&lt;/li&gt;&#xA;  &lt;li&gt;&lt;a href=&quot;https://www.intel.com/content/www/us/en/support/products/98909/graphics-drivers/graphics-for-7th-generation-intel-processors/intel-hd-graphics-630.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Intel HD Graphics 630&lt;/a&gt;&lt;/li&gt;&#xA;  &lt;/ul&gt;&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;-- Edit --&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did figure out a pipe command, but the result is the same. Audio is slightly ahead:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -rtbufsize 500M -f dshow -ac 1 -i audio=&quot;&amp;lt;sys_audio/mic&amp;gt;&quot; \&#xA;  -c:a pcm_s16le -f s16le pipe: | ffmpeg -y -hide_banner -rtbufsize 1500M -f gdigrab \&#xA;  -thread_queue_size 128 -framerate 60 -draw_mouse 0 -i title=&quot;&amp;lt;window_name&amp;gt;&quot; -f s16le \&#xA;  -thread_queue_size 128 -i pipe: -map 0:0 -map 1:0 -c:v libx264 -preset ultrafast -qp 0 \&#xA;  -x264opts keyint=1 -c:a copy &quot;&amp;lt;out_file&amp;gt;.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="21963" LastEditorUserId="21963" LastEditDate="2019-02-06T07:04:42.687" LastActivityDate="2024-01-26T20:02:40.340" Title="FFmpeg: Align Video &amp; Audio of Desktop Capture" Tags="|video|ffmpeg|audio|sync|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25895" PostTypeId="2" ParentId="25740" CreationDate="2019-02-06T01:52:36.613" Score="0" Body="&lt;p&gt;When a single input is directed fed to ffmpeg (-i), various options can be set on it, depending on what the input reader allows and recognizes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, FFmpeg does not natively read an input list from a text file. There's a bespoke module called the concat demuxer, invoked by -f concat, which parses the input list, opens each file and concatenates them. To the main ffmpeg pipeline, this is presented as a single input, generated by the concat module. And the concat module does not recognize or carry over options meant for the individual files listed within the text file. All listed files can only be opened with default parameters of their respective demuxers/decoders/protocols..etc. This is a limitation. You may open a feature request at trac.ffmpeg.org to change this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you could do is read all inputs directly.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -headers $'Content-Type: audio/wav\r\n' \&#xA;    -i 'https://google1.com' \&#xA;    -headers $'Content-Type: audio/wav\r\n' \&#xA;    -i 'https://google2.com' \&#xA;    -headers $'Content-Type: audio/wav\r\n' \&#xA;    -i 'https://google3.com' \&#xA;    -headers $'Content-Type: audio/wav\r\n' \&#xA;    -i 'https://google4.com' \&#xA;    -filter_complex &quot;[0][1][2][3]concat=n=4:v=0:a=1&quot; \&#xA;    'output.wav'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For WAV inputs, re-encoding to WAV won't lose quality.&lt;/p&gt;&#xA;" OwnerUserId="24220" LastActivityDate="2019-02-06T01:52:36.613" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25896" PostTypeId="2" ParentId="25890" CreationDate="2019-02-06T06:10:53.873" Score="1" Body="&lt;p&gt;Have you adjusted the Transform Position, to make the letters move downwards? The Range Selector only tells AE which letters you want to affect. The transform position tells it how far and which way you want the lettters to move. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-02-06T06:10:53.873" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25897" PostTypeId="1" CreationDate="2019-02-06T07:35:19.227" Score="0" ViewCount="148" Body="&lt;p&gt;When I am creating videos using the Handbrake software, it puts the filename I am using in white text on the start of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a setting to stop this or some way around this? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to create some high-quality files and do not want the filename like this to mess it up! Thanks!&lt;/p&gt;&#xA;" OwnerUserId="24363" LastEditorUserId="14523" LastEditDate="2019-02-08T00:09:08.223" LastActivityDate="2019-02-08T00:09:08.223" Title="Stop Handbrake showing filenames in Text on 1st second of video" Tags="|video|conversion|handbrake|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25898" PostTypeId="2" ParentId="25889" CreationDate="2019-02-06T13:24:11.923" Score="1" Body="&lt;p&gt;The service you are looking for is &lt;strong&gt;Consulting&lt;/strong&gt;. The best thing to do is to e-mail this question to the public institutions or organizations of Switzerland that promote film Industry, if you are shooting there.&#xA;Or any other country that is your homeland.&#xA;You can start from here:&#xA;&lt;a href=&quot;https://www.mediadesk.ch/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.mediadesk.ch/&lt;/a&gt;&#xA;&lt;a href=&quot;https://www.swissfilms.ch/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.swissfilms.ch/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24054" LastActivityDate="2019-02-06T13:24:11.923" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25899" PostTypeId="2" ParentId="25871" CreationDate="2019-02-06T15:21:10.297" Score="0" Body="&lt;p&gt;Maybe the video isn't perfectly transparent?  In this case, I would try adding a levels effect to the video, and selecting the Alpha option in the effect, then adjust the lower level control to see if the issue gets better or worse.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KwwQh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KwwQh.png&quot; alt=&quot;levels alpha adjustment&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-02-06T15:21:10.297" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25900" PostTypeId="2" ParentId="25875" CreationDate="2019-02-06T15:25:40.360" Score="1" Body="&lt;p&gt;Screen recording definitely taxes laptop graphics cards and makes the fans whir. There's no easy way to avoid that.  I would instead try to use a mic that gets as close to your lips as possible (without popping), and move the laptop as far from your mouth as possible (external monitor / keyboard / mouse). The results will be better than trying to use noise reduction to improve the audio afterwards.  Noise follows an &lt;a href=&quot;https://en.wikipedia.org/wiki/Inverse-square_law&quot; rel=&quot;nofollow noreferrer&quot;&gt;inverse square law&lt;/a&gt;, so a small increase in distance from your lips will result in a big decrease in noise, if your mic is much closer to the desirable source than it is to the undesirable source.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-02-06T15:25:40.360" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25901" PostTypeId="1" CreationDate="2019-02-06T16:07:08.383" Score="3" ViewCount="3758" Body="&lt;p&gt;I am new to video codec(encoding/decoding) stuff. I am trying to understand the difference between H.264(AVC) and H.265(HEVC) HDR video content. I thought HDR video 'means' it has 10 bit color depth and H.264 does not support 10 bit HDR content. I would appreciate any clarification on this matter. Thank you.&lt;/p&gt;&#xA;" OwnerUserId="24368" LastEditorUserId="4426" LastEditDate="2022-06-08T17:43:59.403" LastActivityDate="2022-06-30T06:11:17.650" Title="Does HDR content have anything to do with codecs?" Tags="|h.264|h.265|hevc|hdr|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25902" PostTypeId="2" ParentId="21052" CreationDate="2019-02-06T17:02:48.927" Score="-1" Body="&lt;p&gt;Caused by not enough back pressure on the tape as it goes to the head try cleaning the head if that doesn't work the machine needs to be checked by a tech. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;dca productions &lt;/p&gt;&#xA;" OwnerUserId="24369" LastActivityDate="2019-02-06T17:02:48.927" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25903" PostTypeId="1" CreationDate="2019-02-06T18:44:31.403" Score="1" ViewCount="257" Body="&lt;p&gt;I want to make a Dorkly animation (&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ZVTLsQ8iNCM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;), that is, 8-bit puppets opening and closing their mouths. The difference I want to add is when the mouth is open the puppet get stretched (scaled) in the Y axis and when is closed the puppet returns to its original size. I have managed to get an automatic sync method so the problem now lies with the scale thing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've assigned a null that responds to the values adopted by the mouth so I ordered it when the mouth is open, stretch the puppet. To do this, I've used the following expression:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;x=thisComp.layer(&quot;SIDE MOUTH GREEN&quot;).effect(&quot;LJ - visemes - MSD&quot;)(&quot;viseme nr.&quot;)&#xA;if(x==1)[148,199];&#xA;else if (x==3) [148,199];&#xA;else if (x==7) [148,199];&#xA;else if (x==10) [148,199];&#xA;else if (x==11) [148,199];&#xA;else [148,189];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The problem is as follows. When there are two consecutive sounds that are equivalent to an open mouth (FOR - GO - tten), the puppet doesn't move and that's a pretty dull stuff. What should be said to AF is: if after an open mouth value goes another open mouth value, on the changed value disable the stretching for X time. What'd be the expression that would be needed to achieve that? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I could do it manually but I want to broaden my skills.&lt;/p&gt;&#xA;" OwnerUserId="24370" LastEditorUserId="674" LastEditDate="2019-02-07T18:40:06.507" LastActivityDate="2024-02-20T07:05:40.630" Title="Modify the scale depending on the order of the keyframe values" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25904" PostTypeId="2" ParentId="25879" CreationDate="2019-02-06T19:37:33.973" Score="7" Body="&lt;p&gt;This would be possible using OBS's &lt;code&gt;BrowserSource&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, find the embed code for the stream (in YouTube you can click &quot;Share&quot; and then &quot;Embed&quot;). Find the &lt;code&gt;src=&quot;&quot;&lt;/code&gt; and copy the URL that's inside the quotes. In OBS, create a new &lt;code&gt;Browser&lt;/code&gt;. Paste the previously copied URL into the &lt;code&gt;URL&lt;/code&gt; field, and set the &lt;code&gt;Width&lt;/code&gt; and &lt;code&gt;Height&lt;/code&gt; to your canvas size (or your preferred size).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need to press a play button, you can right-click the Browser and click &lt;code&gt;Interact&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="24371" LastActivityDate="2019-02-06T19:37:33.973" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25905" PostTypeId="1" CreationDate="2019-02-06T21:50:14.303" Score="2" ViewCount="138" Body="&lt;p&gt;Most of my films are 21:9 in DCI-Scope:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4096x1716p&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can record inside my camera with UHD or DCI 4k, and I'm not sure what is better for playback quality?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shooting in UHD and cropping to about 3840x1608 so that on a UHD screen, each pixel can be mapped to one real pixel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or shooting DCI4k and cropping it to DCI4k Scope. Which means there isn't one pixel for each real pixel on the screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or to better ask:&#xA;Does it improve quality when the screen has the exact same resolution as the video?&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-14T10:16:44.487" Title="Film DCI4k or UHD for exporting DCI-Scope but watching on UHD screen" Tags="|playback|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25907" PostTypeId="2" ParentId="25829" CreationDate="2019-02-07T11:30:31.060" Score="0" Body="&lt;p&gt;I haven't found any way to smooth up the &quot;on the fly&quot; preview, however, from Joshjurg's suggestion, I found the procedure to &quot;pre-render&quot; the preview instead. This is quite time consuming since this is basically a video rendering, however once it is done, the cache will stay up and you'll only need to pre-render the frames that have been modified.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The procedure is as follow :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Open your shortcut panel and find the lines &quot;Define workspace entry point&quot; and &quot;Define Workspace exit point&quot; &lt;em&gt;(may not be exactly those words depending on your version)&lt;/em&gt;. If necessary you can add new key binds for easy access.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Based on the previous step, mark the entry and exit on your sequence, which will be the beginning and ending of the generated cache.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;From the &quot;Sequence&quot; menu, click &quot;render workspace&quot; &lt;em&gt;(or press enter)&lt;/em&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Note that if you pre-render a portion of the sequence, but start to preview before the first frame of the cached video, the software may not actually use the cache, and use on the fly rendering instead.&lt;/p&gt;&#xA;" OwnerUserId="24311" LastActivityDate="2019-02-07T11:30:31.060" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25908" PostTypeId="2" ParentId="25903" CreationDate="2019-02-07T12:32:15.427" Score="0" Body="&lt;p&gt;To shorten what you've already written you could pack all the open mouth values into an array and then find if the x value is in it:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var scaleYVals = [1 , 3, 7, 10, 11];&#xA;(scaleYVals.indexOf(x) &amp;gt; -1)? [148,199] : [148, 189];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The second line uses the &lt;a href=&quot;https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Operators/Conditional_Operator&quot; rel=&quot;nofollow noreferrer&quot;&gt;ternary&lt;/a&gt; form of &lt;code&gt;if (foo){bar} else {baz}&lt;/code&gt;, which can be written as &lt;code&gt;(foo)? bar : baz&lt;/code&gt;. &lt;a href=&quot;https://www.w3schools.com/jsref/jsref_indexof_array.asp&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;IndexOf&lt;/code&gt;&lt;/a&gt; returns the index of an element of an array, so if the value of x (bad name for a variable except if you're referring to an x coordinate, BTW) is 7 then &lt;code&gt;indexOf&lt;/code&gt; will return &lt;code&gt;2&lt;/code&gt;. If the value is not in the array it returns &lt;code&gt;-1&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem with looking at the previous mouth shape is that you could still end up with no movement: say there was a sequence: open, open, closed. If you disable the stretching on the second open mouth you'll have the sequence stetched, unstretched, unstretched. It also greatly complicates the expression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How about you make it so that the stretch happens at the beginning of the open mouth and then goes back briefly before the next phoneme? &lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-02-07T12:32:15.427" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25909" PostTypeId="2" ParentId="16997" CreationDate="2019-02-07T16:09:02.867" Score="1" Body="&lt;p&gt;You could try using &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS streaming software&lt;/a&gt; (which is free), and then check out &lt;a href=&quot;https://www.youtube.com/watch?v=t6EFtempbKA&quot; rel=&quot;nofollow noreferrer&quot;&gt;this tutorial&lt;/a&gt; for how to add delay to your stream. Basically you go into the advanced settings of OBS and go to the delay settings. There you can choose to add a delay of your choosing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also record from the software too. Hope that helps.&lt;/p&gt;&#xA;" OwnerUserId="24348" LastEditorUserId="24348" LastEditDate="2019-02-14T20:00:10.633" LastActivityDate="2019-02-14T20:00:10.633" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25910" PostTypeId="1" AcceptedAnswerId="25943" CreationDate="2019-02-07T18:23:31.920" Score="1" ViewCount="465" Body="&lt;p&gt;I have a very specific pipeline I need to set up, it starts with an mov file from Avid which gets transcoded to mkv for internal review and .264 for burning to Blu-ray in Scenarist. It goes:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;.mov (DNxHD) -&amp;gt; .mkv (h264) -&amp;gt; .264&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For purposes of quality and speed I transcode to .mkv in FFMPEG and then when the time comes to make a Blu-ray I demux the mkv to the .264, however I'm told this is throwing a very ambiguous error in scenarist and I can't figure out what I'm doing wrong. Interestingly if I transcode directly to .264 instead of demuxing it there is no problem, so this appears to be a metadata issue. Here's the demux recipe I'm using:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-i input.mkv -codec copy -bsf:v h264_mp4toannexb output.264&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the transcode recipe if that is useful:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-i input -c:v libx264 -preset fast -tune film -b:v 20000k -maxrate 35000k -bufsize 30000k -level 4.1 -pix_fmt yuv420p -x264opts bluray-compat=1:open-gop=1:slices=4:keyint=24 -r fps outfile.mkv&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2019-02-12T05:38:03.197" Title="FFMPEG demux .264 for burning in scenarist" Tags="|ffmpeg|libx264|bluray|" AnswerCount="1" CommentCount="11" ContentLicense="CC BY-SA 4.0" />
  <row Id="25911" PostTypeId="2" ParentId="25893" CreationDate="2019-02-07T18:44:31.160" Score="0" Body="&lt;p&gt;YouTube can record the live stream so that it can be played back any time afterwards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need to select archiving of the live stream, and then publish that archive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm pretty certain the default is to archive the live stream, so you should check it in your settings, in case you have disabled it for some reason.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2019-02-07T18:44:31.160" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25913" PostTypeId="1" AcceptedAnswerId="25967" CreationDate="2019-02-07T20:56:51.273" Score="0" ViewCount="404" Body="&lt;p&gt;On some of Sony's new 4K cams they claim the following: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The new model incorporates a 25x optical zoom lens to cover a wide focal range for multiple shooting requirements, with three independent lens rings to support intuitive operation. Using optical zoom lens with Digital Extender in an HD mode, a 50x zoom equivalent image without any picture degradation can be captured thanks to its 4K resolution sensor.&lt;br&gt;&#xA;  &lt;a href=&quot;https://pro.sony/ue_US/press/pxw-z190-handheld-camcorder&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sony Z190&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Basically, Sony claims that this &quot;digital extender&quot; feature can digitally double your zoom, but still send full HD resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm skeptical there's no significant difference. I would think that using only a portion of the sensor with the extender means less light and color information goes into making the image compared to down scaling the 4K image. Also, I'm not a physicist, but my understanding is that it's physically not the same as more optical zoom with more exposure. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I right? What are the differences I should notice? I actually do own this cam and personally think there is a loss in clarity, but can't explain why that would be. Exposure and color look the same to me. &lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2019-02-07T21:01:56.537" LastActivityDate="2019-02-12T22:25:45.887" Title="What are the pros and cons of using a 4k to HD digital extender zoom" Tags="|lenses|digital|zoom|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25914" PostTypeId="1" AcceptedAnswerId="25922" CreationDate="2019-02-07T21:31:39.013" Score="3" ViewCount="102" Body="&lt;p&gt;What is the name of the effect where every other frame is dropped and the remaining frames are duplicated?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Like this...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ABCDEFG   // 1: original&#xA;ACEG      // 2: every other frame deleted&#xA;AACCEEGG  // 3: remaining frames duplicated&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Does Final Cut have this feature?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, how do I do this?&lt;/p&gt;&#xA;" OwnerUserId="24377" LastActivityDate="2019-02-09T14:59:44.317" Title="What is the name of the effect where every other frame is dropped and the remaining frames are duplicated?" Tags="|premiere|final-cut-pro-x|effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25915" PostTypeId="2" ParentId="21052" CreationDate="2019-02-07T23:42:45.730" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://www.neatvideo.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Neat Video&lt;/a&gt; has been working miracles on footage for us so far, you can give the trial a go! We've never tried it on this specific artifact (that I know of) but it does have features for restoration/archival type damage, and I highly recommend it.&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2019-02-07T23:42:45.730" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25916" PostTypeId="1" AcceptedAnswerId="29405" CreationDate="2019-02-07T23:46:18.573" Score="1" ViewCount="2644" Body="&lt;p&gt;I have a video clip with an audio track that has a recording of SMPTE linear timecode.  I would like to apply a real timecode to the video, derived from this audio track so that I can more easily sync up the video to an audio clip later on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've read that older versions of Premiere Pro can't handle timecode in audio this way.  Can the current version (CC 2019) do it?  If so, how?  Thank you.&lt;/p&gt;&#xA;" OwnerUserId="129" LastActivityDate="2020-01-31T10:35:30.150" Title="Reading aux timecode with Premiere Pro" Tags="|premiere|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25917" PostTypeId="1" AcceptedAnswerId="25953" CreationDate="2019-02-08T08:37:22.357" Score="2" ViewCount="3518" Body="&lt;p&gt;I have a Qt application running, i hijack the openGL frameBuffer when a new frame has been rendered. A new frame is drawned when only some changes appear in the scene, so no constant frameRate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now i want to send those raw rgba pixels value to ffmpeg, I use this wonderfull link &lt;a href=&quot;http://blog.mmacklin.com/2013/06/11/real-time-video-capture-with-ffmpeg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://blog.mmacklin.com/2013/06/11/real-time-video-capture-with-ffmpeg/&lt;/a&gt; to encode my input stream, but in the end i have a video where each frame has been concatenate with a constant time between each. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To clarify, if i am not updating my application for 1 sec, this halt won't appear in the final video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use this command line to encode:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -f rawvideo -vsync 1 -pix_fmt rgba -s 1172x768 -i - -threads 0 -y -pix_fmt yuv420p -b:v 8000K -vf vflip output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and i write in to my stream with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;uchar* buffer = (uchar*)malloc(count);&#xA;fwrite(buffer, sizeof(char), count, m_ffmpeg);&#xA;fflush(m_ffmpeg);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I saw the vsync option, i use it with different values as output and input options, but it seems to have no effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I might be able to store the delta time in a .txt file if it can help.&lt;/p&gt;&#xA;" OwnerUserId="24385" LastActivityDate="2019-02-11T19:31:37.930" Title="FFmpeg encode variable input framerate" Tags="|ffmpeg|framerate|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25918" PostTypeId="2" ParentId="22679" CreationDate="2019-02-08T20:04:27.733" Score="0" Body="&lt;p&gt;Fusion doesn't have fluid dynamics simulation built in.  To get a realistic particle flow of a natural system, you'll need to use software specifically built for that task, import the results into Fusion, then use Fusion for compositing the smoke by adjusting the way each particle appears on screen and how they blend with the other scene elements.  SideFX Houdini with pyro, or Cinema 4D with X-particles are two pieces of software which might be better suited to fluid particle simulation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most people don't think of fire or smoke as fluid because they're gaseous and aren't wet.  However, in the context of particle VFX, fire and smoke are fluids and require decent fluid dynamic simulation to appear natural.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2019-02-08T20:04:27.733" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25919" PostTypeId="2" ParentId="22679" CreationDate="2019-02-08T23:03:00.947" Score="1" Body="&lt;p&gt;Jason isn't incorrect, however it is absolutely possible to achieve a realistic effect without fluids. I've done major FX in 3DS Max for years and yet many times I've been able to solve some pretty cool simulations in Trapcode Particular alone. The key is usually to get the turbulence right, which is what gives it that &quot;fluid&quot; effect. (also called voritcity, or wind in some applications). I don't know fusion well but one trick I've used many times is to combine 2 different turbulence's - one which is large and gives you the random shape, and one which is smaller and gives you detail. If you think of a campfire you can see big loopy curls of fire, which often fork off into 3-4 small jagged edges so to speak.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another good tip is to find footage of your desired effect and study it's motion. Finding a good fire/snow/smoke reference online and watching it over and over you will learn things you never knew about how it moves and reacts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And lastly as a compositor I HIGHLY suggest getting some real elements to layer into your effect any way you can. For fire you're going to want to find some sparks to put over the flames, etc. Don't underestimate this one! It's easy to find free footage online (mitchmartinez.com) and layering a few of these on top of your simulation is how the pros do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All that said check out the new Trapcode Particular. It has a &quot;fluid effects&quot; system which is kind of blowing my mind. For someone relatively new to CG effects it is a dream come true. It took me weeks to fully understand FumeFX (which has been an industry standard for fire/smoke) to where I could use it efficiently, so I don't really suggest going down that route unless you want to make it your job. Particular however you can pick up in a few hours and it is relatively cheap. Only downside is you'll need to also buy/learn After Effects.&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2019-02-08T23:03:00.947" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25921" PostTypeId="2" ParentId="23857" CreationDate="2019-02-09T14:59:04.580" Score="3" Body="&lt;p&gt;You can do this by going to File&gt;Project Settings...  Under the Master Settings tab on Timeline resolution choose Custom and change For 1920x1080 processing to For 1080x1080 processing.&lt;/p&gt;&#xA;" OwnerUserId="24389" LastActivityDate="2019-02-09T14:59:04.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25922" PostTypeId="2" ParentId="25914" CreationDate="2019-02-09T14:59:44.317" Score="0" Body="&lt;p&gt;Back in the days of analog video, TBCs used to call that a strobe effect. It looks like Premiere has a strobe filter, but I don't know if it can be configured to do the freezing, instead of flashes.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2019-02-09T14:59:44.317" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25923" PostTypeId="1" CreationDate="2019-02-09T19:46:54.133" Score="1" ViewCount="269" Body="&lt;p&gt;Is there a way one can compress captured video input before saving to file? I have raspberry pi that I am using to record youtube videos. 1-2 min video takes over a Gb of space. I cant compress the recorded file because the pi does not have enough space to record the initial video. Is there a way using ffmpeg I can compress my webcam video directly after its captured before saving the file versus waiting until I am done recording then compressing the saved file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg \ -f v4l2 \ -thread_queue_size 5000 -framerate 25 -video_size 640x480 -i /dev/video0 -y -c:v libx264 ~/Desktop/ffmpegTesting/money.mp4 \ -thread_queue_size 5000 -f alsa -ac 1 -ar 44100 -i hw:1,0 -t 30 -c:v copy -c:a ~/Desktop/ffmpegTesting/money.mp4 \&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="24391" LastEditorUserId="674" LastEditDate="2019-02-11T18:45:28.090" LastActivityDate="2019-02-11T18:45:28.090" Title="ffmpeg video compression : Compress captured video being before saving to file" Tags="|ffmpeg|compression|" AnswerCount="0" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="25925" PostTypeId="1" CreationDate="2019-02-09T21:57:53.220" Score="2" ViewCount="360" Body="&lt;p&gt;So let me explain, I have a json file with numbers and the duration of how long each number should be displayed which is 4 seconds.&#xA;I want the slider to show the first number (which is 1,000) and then four seconds later display 2,000 (which is second number) . But have it showing all the numbers in between 1,000-2,000.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My array looks like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[&#xA;{ &#xA;    &quot;ID&quot;: 1,&#xA;    &quot;slider&quot;: 1000,&#xA;    &quot;duration&quot;: .4&#xA;},&#xA;{ &#xA;    &quot;ID&quot;: 2,&#xA;    &quot;slider&quot;: 2000,&#xA;    &quot;duration&quot;: .4&#xA;},&#xA;{ &#xA;    &quot;ID&quot;: 3,&#xA;    &quot;slider&quot;: 3828.52,&#xA;    &quot;duration&quot;: .4&#xA;}&#xA;]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And I have found a code that works, it starts at 0 seconds and animates 1,000 counting up to 2,000. The only problem with this code is that it has a delay, So when the animation starts it stays at 1,000 for about one whole second and then starts to animate counting up to 2,000 at the four second mark. Then same thing at the four second mark, it stays at 2,000 for a second and then animates. How do i prevent this delay? I would like it to be constant. Here is the code which works but causes the numbers to delay:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;data = footage(&quot;example.json&quot;).sourceData;&#xA;rampTime = 3;&#xA;done = false;&#xA;i = t = tPrev = 0;&#xA;while (t &amp;lt;= time){&#xA;  tPrev = t;&#xA;  t += rampTime + parseFloat(data[i].duration)/ .4;&#xA;  i++;&#xA;  if (i &amp;gt;= data.length){&#xA;    done = true;&#xA;    break;&#xA;  }&#xA;}&#xA;if (done){&#xA;  parseFloat(data[data.length-1].slider);&#xA;}else{&#xA;  if ((time - tPrev) &amp;lt; parseFloat(data[i-1].duration)/ .4){&#xA;    parseFloat(data[i-1].slider);&#xA;  }else{&#xA;    v1 = parseFloat(data[i-1].slider);&#xA;    v2 = parseFloat(data[i].slider);&#xA;    t1 = parseFloat(data[i-1].duration)/ .4;&#xA;    t2 = t1 + rampTime;&#xA;    linear(time-tPrev,t1,t2,v1,v2);&#xA;  }&#xA;}&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can help find the solution please explain to me i am very new to coding and this is pretty complicated to me.Thank you!&lt;/p&gt;&#xA;" OwnerUserId="24393" LastActivityDate="2023-02-20T06:03:05.477" Title="Animate a Slider With Json File Import?" Tags="|after-effects|after-effects-expressions|after-effects-scripting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25926" PostTypeId="2" ParentId="22553" CreationDate="2019-02-10T02:58:28.470" Score="0" Body="&lt;p&gt;I recommend FFMPEG for that task.  It is lighter weight than the other proposed solutions.  The command you need is &lt;code&gt;ffmpeg -i INPUTFILE -ss STARTTIME -to ENDTIME -c:v copy -c:a copy OUTPUTFILE&lt;/code&gt;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use seconds, minutes:seconds and other time formats for &lt;code&gt;STARTTIME&lt;/code&gt; and &lt;code&gt;ENDTIME&lt;/code&gt;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Make sure that &lt;code&gt;-ss STARTTIME&lt;/code&gt; comes after &lt;code&gt;-i INPUTFILE&lt;/code&gt;.&lt;/strong&gt;  It may work before the input for some videos; but, with my test video, it looked horrible when used before the input and fine when used after.  I assume that there was not a keyframe shortly after the start time I specified so the output looked horrible because FFMPEG loaded the file from that point in time.  If someone does know the reason for that please let me know.&lt;/p&gt;&#xA;" OwnerUserId="22728" LastActivityDate="2019-02-10T02:58:28.470" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25928" PostTypeId="1" CreationDate="2019-02-10T22:36:45.997" Score="0" ViewCount="39" Body="&lt;p&gt;I am looking for a program that can help me sync lyrics.&#xA;I mean, I have txt with lyrics and I want program to be able to sync them with just press and release of any button. At end I want program to export to srt ar any other popular subtitle format.&lt;/p&gt;&#xA;" OwnerUserId="24392" LastActivityDate="2019-02-11T17:45:59.747" Title="Help me with lyrics sync" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25929" PostTypeId="1" CreationDate="2019-02-10T23:18:11.763" Score="4" ViewCount="115" Body="&lt;p&gt;According to &lt;a href=&quot;https://support.google.com/youtube/answer/2797468?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube help center&lt;/a&gt;, Creative Commons licensed videos can be reused and edit. &#xA;But it is not allowed to download videos from YouTube, so how can i edit it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;YouTube Studio beta only allows to edit your uploaded videos.&lt;/p&gt;&#xA;" OwnerUserId="24405" LastActivityDate="2020-08-07T20:03:25.327" Title="How to use Creative Commons licensed videos on YouTube?" Tags="|editing|youtube|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25930" PostTypeId="2" ParentId="25925" CreationDate="2019-02-10T23:39:27.197" Score="1" Body="&lt;p&gt;Good question Xavier! I had a similar job recently, here's how I did it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First I would suggest re-working your json file to be a little easier to parse. For example (hopefully I got your intention correctly):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;{&#xA;    &quot;slider1&quot;: {&#xA;        &quot;start&quot;: 1000,&#xA;        &quot;end&quot;: 2000,&#xA;        &quot;duration&quot;: 4,&#xA;        &quot;ID&quot;: 1&#xA;    }&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then add two sliders to your layer, one called &lt;code&gt;Anim Duration (seconds)&lt;/code&gt; with a default value of 4. If you want to read this value from the json file add the following expression instead:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var data = footage(&quot;example.json&quot;).sourceData;&#xA;&#xA;data.slider1.duration&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Okay now to the second slider (which is the one that actually animates) add the following expression:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var data = footage(&quot;example.json&quot;).sourceData;&#xA;&#xA;start_value = data.slider1.start;&#xA;end_value = data.slider1.end;&#xA;&#xA;step = (end_value - start_value) / effect(&quot;Anim Duration (seconds)&quot;)(&quot;Slider&quot;).value; // alternately you can just plug data.slider1.duration here instead of using a second slider...&#xA;count = Math.floor(step * (time - thisLayer.inPoint)); // you don't need to use the in-point here, but it is conventient if you know that's where you want to start your animation&#xA;&#xA;if (count &amp;lt; e_value) {&#xA;    count;&#xA;} else {&#xA;    end_value;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(if you have any trouble with this let me know, I don't have AE handy for testing so this was mainly done from memory and a snipped I have on me...)&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2019-02-10T23:39:27.197" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25931" PostTypeId="1" CreationDate="2019-02-11T07:06:00.243" Score="1" ViewCount="31" Body="&lt;p&gt;I have about 10 minutes of footage which includes what is supposed to be a 100% white background (no gradients).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The person who shot the footage apparently used 2 overlapping sheets of white background paper.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This left a horizontal line across the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's really faint, but still noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a relatively easy way to get rid of this without having to deal with it on a frame by frame basis?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Note: to make matters worse, sometimes — though rarely — the line is directly behind the subject — a product being unboxed)&lt;/p&gt;&#xA;" OwnerUserId="24377" LastActivityDate="2024-02-15T19:03:10.383" Title="What's the easiest way to cover up a seam in background paper behind video footage in Final Cut Pro?" Tags="|final-cut-pro-x|post-production|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25932" PostTypeId="1" CreationDate="2019-02-11T07:23:39.410" Score="4" ViewCount="921" Body="&lt;p&gt;While using iMovie, I want to easily create snapshots of my project so that I can easily go back in time and grab things that I need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, if I'm making large scale changes, and I accidentally messed up a clip or a nice transition, I want to be able to go back in time to grab the version of the clip before it was messed up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In its default state, iMovie has you working on one single version of a project, and your only way to go back in time is by using the undo feature. However, this is not preserved between app launches, and probably has a limit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I could copy an entire library, but that would take up a ton of disk space as all the videos would be copied too.&lt;/p&gt;&#xA;" OwnerUserId="24076" LastActivityDate="2019-05-14T23:01:33.707" Title="iMovie workflow for creating different versions or snapshots?" Tags="|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25933" PostTypeId="2" ParentId="25932" CreationDate="2019-02-11T07:23:39.410" Score="4" Body="&lt;p&gt;TL;DR&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Use separate iMovie Libraries for each video project.&lt;/li&gt;&#xA;&lt;li&gt;Duplicate projects for each version.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;This is the current workflow I've come up with:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Very importantly, create a separate iMovie Library for each of your video projects (not to be confused with a Project in iMovie). This will make versioning and &lt;a href=&quot;https://video.stackexchange.com/questions/25934/how-to-create-a-lightweight-backup-for-an-imovie-project-i-e-without-all-the-v&quot;&gt;backup much easier&lt;/a&gt;. By default, iMovie has you saving everything in one giant Library, making it both hard to find what you need, but also hard to backup or share a specific project. &lt;/li&gt;&#xA;&lt;li&gt;Create a new Project, and call it &lt;code&gt;master&lt;/code&gt;. This will be the &lt;em&gt;only&lt;/em&gt; Project you ever edit directly and will always represent the latest changes.&lt;/li&gt;&#xA;&lt;li&gt;Start editing your Project. Once you get into a state where you want to &quot;save&quot; it as a version, go to Projects, and duplicate &lt;code&gt;master&lt;/code&gt;. Rename it to &lt;code&gt;v0.1&lt;/code&gt; and optionally add a description. E.g. &lt;code&gt;v0.1 - initial transitions done, still missing credits&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Continue working on &lt;code&gt;master&lt;/code&gt; and creating more versions as you go along. E.g. &lt;code&gt;v0.2 - before making large scale changes to the contrast of all the clips&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Once you're at a point where you want to share your video (e.g. via uploading to YouTube), create a &lt;a href=&quot;https://semver.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;major version&lt;/a&gt; number (E.g. &lt;code&gt;v1.0&lt;/code&gt;). This will make it really easy to come back to the &quot;YouTube&quot; edit of your video, for example.&lt;/li&gt;&#xA;&lt;li&gt;If you continue making changes, continue using the same versioning scheme to make &lt;code&gt;v1.1 - Credits fixed&lt;/code&gt;, for example.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;By duplicating Projects within the same Library, you save a ton of disk space since each project copy is lightweight and doesn't copy over all the video files.&lt;/p&gt;&#xA;" OwnerUserId="24076" LastEditorUserId="24076" LastEditDate="2019-02-11T07:39:01.147" LastActivityDate="2019-02-11T07:39:01.147" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25934" PostTypeId="1" CreationDate="2019-02-11T07:38:02.713" Score="1" ViewCount="69" Body="&lt;p&gt;I'm using a &lt;a href=&quot;https://video.stackexchange.com/a/25933/24076&quot;&gt;single iMovie Library&lt;/a&gt;  for my video project so that I can create versions easily.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once I'm done with my project and have, say 10 different versions in there, I want to upload it somewhere (e.g. to Box) to save it for the future. Even though the duplicate projects for versioning don't create duplicate video files, it still contains a single copy of each video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I have 5 videos at 1 GB each, my iMovie Library is at least 5 GB big. My videos are already on Box.com, so adding the iMovie Library will take up an extra 5 GB that is not needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way I can back up an iMovie Library without having copies of the videos?&lt;/p&gt;&#xA;" OwnerUserId="24076" LastEditorUserId="14523" LastEditDate="2019-07-16T22:11:19.623" LastActivityDate="2020-04-12T00:01:25.420" Title="How to create a lightweight backup for an iMovie project (i.e. without all the videos)?" Tags="|imovie|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25935" PostTypeId="2" ParentId="25934" CreationDate="2019-02-11T07:38:02.713" Score="1" Body="&lt;p&gt;This may not be the best workflow, but here is one that works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To create a lightweight backup of a project:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;First, create a backup of your Library in case things break.&lt;/li&gt;&#xA;&lt;li&gt;Ensure you're only using a &lt;a href=&quot;https://video.stackexchange.com/a/25933/24076&quot;&gt;single library for each of your projects&lt;/a&gt;. Otherwise it'll be harder to backup only the project you care about.&lt;/li&gt;&#xA;&lt;li&gt;In Finder, show package contents of your iMovie library.&lt;/li&gt;&#xA;&lt;li&gt;Delete all the &quot;Original Media&quot; videos. You can also delete other large files such as &quot;Render Files&quot;.&lt;/li&gt;&#xA;&lt;li&gt;You should now have a lightweight backup of your iMovie project without all the videos.&lt;/li&gt;&#xA;&lt;li&gt;Ensure your backup can be restored by duplicating it and following the steps below.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;To restore a lightweight backup of a project:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open the iMovie Library for your lightweight backup.&lt;/li&gt;&#xA;&lt;li&gt;You'll see that a bunch of videos are marked as missing.&lt;/li&gt;&#xA;&lt;li&gt;Reimport your original video files, and everything will just work!&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Another thing that will make this entire process easier/possible is making sure not to rename/edit/delete your original video files.&lt;/p&gt;&#xA;" OwnerUserId="24076" LastEditorUserId="24076" LastEditDate="2019-02-11T07:46:06.020" LastActivityDate="2019-02-11T07:46:06.020" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25937" PostTypeId="1" AcceptedAnswerId="25938" CreationDate="2019-02-11T08:00:37.453" Score="1" ViewCount="410" Body="&lt;p&gt;I'm &lt;a href=&quot;https://video.stackexchange.com/questions/25932/imovie-workflow-for-creating-different-versions-or-snapshots&quot;&gt;creating different libraries&lt;/a&gt; for each of my projects. When I attempt to open a new library via File &gt; Open Library, it has both the old library open and the new one open.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to close the old one so I don't accidentally create projects within the old library. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;File &gt; Close Library is disabled. If I try to close iMovie and re-open it, it remembers the last library that was opened.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I open just a new iMovie Library?&lt;/p&gt;&#xA;" OwnerUserId="24076" LastActivityDate="2019-03-13T08:01:40.767" Title="How do I open only one library in iMovie?" Tags="|imovie|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25938" PostTypeId="2" ParentId="25937" CreationDate="2019-02-11T08:00:37.453" Score="1" Body="&lt;p&gt;Find the Library in finder (e.g. ~/Movies), and double click it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can be sure that it's the only open Library by using the drop down menu in Projects:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/d9u8K.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/d9u8K.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24076" LastActivityDate="2019-02-11T08:00:37.453" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25939" PostTypeId="2" ParentId="25931" CreationDate="2019-02-11T08:14:02.410" Score="0" Body="&lt;p&gt;For the parts you have nothing in the way I would duplicate the clip above, them mask out a part without the seam and move this over the seam. &#xA;When the product come over the seam I don’t see another solution then to track the mask frame by frame. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2019-02-11T08:14:02.410" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25940" PostTypeId="1" CreationDate="2019-02-11T08:21:03.783" Score="0" ViewCount="89" Body="&lt;p&gt;Imagine I have a single clip, &lt;code&gt;[clipA]&lt;/code&gt;. I now want to transition from normal colors to black and white. So I split the clip, and I add the black and white filter to the second clip &lt;code&gt;[clipA1][clipA2]&lt;/code&gt;. Imagine the transition point is at time &lt;code&gt;1:20&lt;/code&gt;. Everything is great, and I continue editing. The clip transitions gracefully at 1:20 from normal color to black and white. &lt;code&gt;[clipA1 0:00-1:20][clipA2 1:20-2:00]&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now imagine I want to change when the two clips transition point so that instead of doing a smooth transition at 1:20, it does it at 1:30. Naively, I may attempt to drag the transition point:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AXtkb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AXtkb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Problem is it only edits one clip when you drag the transition point and so I now have &lt;code&gt;[clipA1 0:00-1:20][clipA2 1:30-2:00]&lt;/code&gt;. So there's a very drastic jump in the video from 1:20 to 1:30.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could attempt to manually tweak clipA1, but I was hoping there is a GUI way to do this, similar to how in Final Cut Pro, I can tweak the transition point in multi-cam clips:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ApRSd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ApRSd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: In Premiere, they call this the &quot;rolling edit&quot; tool. As you drag one clip to the increase it's duration, it'll decrease the other the exact same amount.&lt;/p&gt;&#xA;" OwnerUserId="24076" LastEditorUserId="4426" LastEditDate="2021-09-01T14:19:35.203" LastActivityDate="2024-01-19T18:06:10.687" Title="How to change the transition point between two clips in iMovie? (I.e. how to perform a rolling edit)" Tags="|imovie|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25941" PostTypeId="2" ParentId="25940" CreationDate="2019-02-11T08:27:21.973" Score="0" Body="&lt;p&gt;There doesn't seem to be an easy way to do this either in iMovie nor in Final Cut Pro (except for Multicam clips).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even these two methods will sometimes fail when they should have succeeded because the two clips might have gotten so out of sync that iMovie no longer recognizes them as two versions of the same clip.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Method 1 - rejoin clips&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;One way you can do this is to:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select both clips&lt;/li&gt;&#xA;&lt;li&gt;Join the clips&lt;/li&gt;&#xA;&lt;li&gt;Re-split them somewhere else&lt;/li&gt;&#xA;&lt;li&gt;Re-apply all the filters you had&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Notably, this seems to be the only way to do it in Final Cut Pro as the following method only seems to work in iMovie...&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;Method 2 - dragging clips&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Another way to do this is to drag the clip as you did normally. Notice how there is now a &quot;break&quot; between the two clips:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pKpgf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pKpgf.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Drag the other clip until this &quot;break&quot; disappears:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/X812Q.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/X812Q.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This functionality does not seem to be available in Final Cut Pro, so this appears to be one instance where iMovie actually helps you more than Final Cut Pro.&lt;/p&gt;&#xA;" OwnerUserId="24076" LastEditorUserId="24076" LastEditDate="2019-02-11T08:49:41.700" LastActivityDate="2019-02-11T08:49:41.700" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25943" PostTypeId="2" ParentId="25910" CreationDate="2019-02-11T08:48:51.840" Score="0" Body="&lt;p&gt;The demuxed H264 stream has the same metadata content, however it is rearranged, compared to the directly produced .264 stream. So far, I don't see a way to rearrange it to match.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, transcode directly to 264 and use mp4box to generate a stream inside a container&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4box -add direct.264 -new muxed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can then use ffmpeg to mux to MKV.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i muxed.mp4 -c copy muxed.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;mp4box is part of the GPAC project. Get a nightly build from &lt;a href=&quot;https://gpac.wp.imt.fr/downloads/gpac-nightly-builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gpac.wp.imt.fr/downloads/gpac-nightly-builds/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;To do this entirely within ffmpeg, you can use the tee muxer to pipe a AVI mux to another ffmpeg instance&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mov -map 0:v -vsync cfr -r fps -pix_fmt yuv420p -c:v libx264 -preset fast -tune film -b:v 20000k -maxrate 35000k -bufsize 30000k -level 4.1 -x264opts bluray-compat=1:open-gop=1:slices=4:keyint=24 -f tee &quot;scenarist.264|[f=avi]pipe:1&quot; | ffmpeg -f avi -i - -c copy -y playback.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Verify the &lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-02-12T05:38:03.197" LastActivityDate="2019-02-12T05:38:03.197" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="25944" PostTypeId="1" CreationDate="2019-02-11T09:09:18.593" Score="0" ViewCount="80" Body="&lt;p&gt;I want to add an image want to animate an image just like this: &lt;a href=&quot;https://streamable.com/qvqed&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://streamable.com/qvqed&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Input video is this: &lt;a href=&quot;https://streamable.com/y68e0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://streamable.com/y68e0&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How would I achieve this?&lt;/p&gt;&#xA;" OwnerUserId="22177" LastActivityDate="2019-02-11T09:09:18.593" Title="How to give puzzle like effect to the image inside the video using FFMEPG" Tags="|ffmpeg|transitions|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25945" PostTypeId="1" CreationDate="2019-02-11T13:17:46.640" Score="1" ViewCount="261" Body="&lt;p&gt;I'm trying to capture two webcams on /dev/video0 and /dev/video1 and write the live feed to disk. I'd like to be able to switch between the two sources every 10 seconds so the resulting video on disk shows only one video stream at a time for 10 seconds and then the other. I hope I'm clear enough :/&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I played around with filter_complex without understanding much, but could only get the stream to show video0 for 10 seconds and from then on video1 - I don't know, how to switch back. Something like a command to loop the filter_complex commands...&lt;/p&gt;&#xA;" OwnerUserId="24407" LastActivityDate="2019-02-11T13:17:46.640" Title="ffmpeg - switch between two streams from /dev/video* and record to disk" Tags="|ffmpeg|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25946" PostTypeId="1" CreationDate="2019-02-11T15:07:22.667" Score="1" ViewCount="1342" Body="&lt;p&gt;So I use OBS (latest ver) to record my gameplay on Windows 10. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;OBS settings are:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;recording format: MP4&lt;/li&gt;&#xA;&lt;li&gt;Recording quality: indistinguishable quality, large file size&lt;/li&gt;&#xA;&lt;li&gt;Encoder: Software (x264 low CPU usage preset, increases file size)&lt;/li&gt;&#xA;&lt;li&gt;Downscale filter: Lanczos (sharpened scaling, 32 samples)&lt;/li&gt;&#xA;&lt;li&gt;FPS value for recording: 60&lt;/li&gt;&#xA;&lt;li&gt;Base and output resolution are both the same, 1080P and my monitor is&#xA;1080p as well as my in-game resolution.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So when i'm recording from a less demanding games like the new Resident Evil 2 (RE2) the video file looks perfect, both on my computer (using VLC) and on YouTube they look great. I run the game on fixed 60 FPS using V-sync and ultra graphic settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the videos i'm talking about:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/vyrzq-6eeoM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/sCo2GspC-jE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, when I record from a more demanding game like Assassin's Creed Odyssey, I can't get a fixed 60 FPS, average is 45 FPS and it varies between 32 to 60 FPS.&#xA;after i finish recording i play the video file on VLC and it looks great, just like my gameplay, but when I upload it to YouTube, it looks awful, blurry and so much noise in it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/84ZPY1bnj4I?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My YouTube channel doesn't have so much subscribers (almost 200) so YouTube doesn't use VP9 to convert my videos, it only uses x264, I don't know it's relatable though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;so my question is, where is the problem exactly? is it YouTube's fault converting my videos so poorly? because they look fine on my computer when i play them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or&lt;/p&gt;&#xA;&#xA;&lt;p&gt;is it my fault and i'm doing something wrong in the settings? if so what should i change?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;PS:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried setting the recording FPS in OBS to 30 FPS but the gameplay looked so slow on YouTube and on my PC.&lt;/p&gt;&#xA;" OwnerUserId="24410" LastActivityDate="2024-01-29T04:03:05.327" Title="Video quality degrades when uploading to YouTube with variable frame rate" Tags="|video-quality|video-recording|obs|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25947" PostTypeId="1" CreationDate="2019-02-11T15:55:15.793" Score="1" ViewCount="673" Body="&lt;p&gt;I was wanting to know if anyone is aware of a GUI tool that mimics or is similar to the eq video filter parameters in ffmpeg.  The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#eq&quot; rel=&quot;nofollow noreferrer&quot;&gt;eq filter&lt;/a&gt; is used to set brightness, contrast, saturation, gamma, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a general sense of the parameters and how to control them at the command line...however, sometimes having a GUI-equivalent for such a tool can more easily/quickly allow for fine tuning or adjustments to the 8+ &quot;knobs and switches&quot; for ffmpeg's eq video filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did find a plugin that's installed as part of Avidemux that's pretty close to ffmpeg's eq filter -- in Avidemux it's called &lt;a href=&quot;http://www.avidemux.org/admWiki/doku.php?id=using:video_filter_mplayer_eq2&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPlayer eq2&lt;/a&gt; --  but the results displayed in the preview window in Avidemux don't match the results I get when I transfer the syntax over to ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any pointers or ideas as to how to more easily manage changing the various eq parameters in ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="24408" LastActivityDate="2019-02-11T15:55:15.793" Title="GUI equivalent for ffmpeg eq filter parameters" Tags="|video|ffmpeg|filter|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25948" PostTypeId="1" CreationDate="2019-02-11T17:28:04.167" Score="2" ViewCount="13177" Body="&lt;p&gt;I want to make video from multiple still photos (some kind of slideshow). When I drag&amp;amp;drop photos from media pool, they appear on timeline, but last too long. When I select all frames, press right mouse button and choose &quot;change clip duration&quot; I can set some value. Unfortunately, they are changing duration but stay at previous position leaving some gaps:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wXAzX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wXAzX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any other ways to set duration of all frames to the same, fixed value (0.5 second for example), and at the same time keep them all together?&lt;/p&gt;&#xA;" OwnerUserId="24412" LastActivityDate="2019-12-15T17:21:31.670" Title="Changing duration of multiple still frames at once (stopmotion animation)" Tags="|davinci-resolve|blackmagic|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25949" PostTypeId="2" ParentId="25928" CreationDate="2019-02-11T17:45:59.747" Score="1" Body="&lt;p&gt;&lt;strong&gt;MX&lt;/strong&gt; player allows the lyrics (*.srt file) to be synchronized in mobile using its app .(subtitle-&gt;synchronization)&#xA;For laptop, you can use &lt;strong&gt;VLC&lt;/strong&gt; player. &lt;/p&gt;&#xA;" OwnerUserId="24415" LastActivityDate="2019-02-11T17:45:59.747" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25950" PostTypeId="2" ParentId="25929" CreationDate="2019-02-11T18:48:44.880" Score="0" Body="&lt;p&gt;If you can see video, it is possible to reuse it - there are various applications that will let you use YouTube video, or you could record the screen using a camera, or your mobile phone etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you could ask the author.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are many possibilities.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2019-02-11T18:48:44.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25951" PostTypeId="1" CreationDate="2019-02-11T19:21:01.977" Score="0" ViewCount="1076" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kg1ju.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kg1ju.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/PEuQy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PEuQy.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;I've edited several videos over the last month or so on Adobe Premier Pro and exported them at 1280 x 720 with zero issues.  Now all of a sudden my aspect ratio looks all buggered up when I go to export my video.  Everything will look fine on the timeline but there's a ton of extra space around the video when I preview and export.  Not sure what the heck I did. &lt;/p&gt;&#xA;" OwnerUserId="24416" LastEditorUserId="4426" LastEditDate="2022-12-18T10:47:50.703" LastActivityDate="2024-01-12T13:00:50.123" Title="My export preview and video doesn't match the timeline in Adobe Premiere Pro" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25952" PostTypeId="1" AcceptedAnswerId="25954" CreationDate="2019-02-11T19:28:58.787" Score="0" ViewCount="1130" Body="&lt;p&gt;I'm using &lt;strong&gt;Adobe Premiere CS3&lt;/strong&gt; and I can't determine how to move an imported image around. To move text I double-click on the text item on the items panel. I've tried hiding the text layer that keeps moving (the website URL that is displayed for the full length of the video) though a white box gets moved instead. Double-clicking on the image in the items panel doesn't do anything. This has nothing to do with animation or movement, I just need to change the image's position (it's dead-center by default).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I move an image to a different position in the &lt;em&gt;Timeline&lt;/em&gt; panel?&lt;/p&gt;&#xA;" OwnerUserId="24417" LastEditorUserId="24417" LastEditDate="2019-02-15T21:02:23.600" LastActivityDate="2019-02-15T21:02:23.600" Title="Can't move imported images" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25953" PostTypeId="2" ParentId="25917" CreationDate="2019-02-11T19:31:37.930" Score="5" Body="&lt;p&gt;When receiving frames from a raw input i.e. one without embedded timestamps, ffmpeg will assign timestamps in serial order, thus losing the temporal relation between the incoming frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When the difference in times is important, you can add &lt;code&gt;-use_wallclock_as_timestamps 1&lt;/code&gt; before the input &lt;code&gt;-i&lt;/code&gt;. This will assign the system time at time of receipt as the timestamp. Not perfect, as there may be jitter during the transport of the input, but better than the default behaviour.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;vsync&lt;/code&gt; is somewhat of a misnomer. It takes effect after filtering and is generally used to select between generating a constant (&lt;code&gt;cfr&lt;/code&gt;) or variable frame rate (&lt;code&gt;vfr&lt;/code&gt;) stream.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-02-11T19:31:37.930" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25954" PostTypeId="2" ParentId="25952" CreationDate="2019-02-11T19:54:15.353" Score="0" Body="&lt;p&gt;Apparently I had to move the image to &quot;Video 5&quot; (if there are four video layers) to be able to move the image around. Obnoxious though effective enough. If someone knows how to still move images around while avoiding having to add tons of video layers I'd appreciate it though.&lt;/p&gt;&#xA;" OwnerUserId="24417" LastActivityDate="2019-02-11T19:54:15.353" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25955" PostTypeId="1" CreationDate="2019-02-11T22:02:34.940" Score="1" ViewCount="55" Body="&lt;p&gt;I am currently figguring out which gimbal I should use for my BMPCC4k with SIGMA 18-35 in a TILTA cage and SSD recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I sorted it down to Ronin M, S or Zhiyun Crane 2 but am stuck here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The things I figured out/think about them:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Ronin M:&#xA;  +Most ways to hold it, most max weight.&#xA;  -Not so much space to balance and handle cables&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Ronin S:&#xA;  +Reputable brand&#xA;  +Better interface&#xA;  +Barrel roll&#xA;  +Slightly more payload&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Zhiyun Crane 2:&#xA;  +Cheaper&#xA;  +Follow Focus (Which I don't need)&#xA;  +Slightly more pitch (I don't think thats needed)&#xA;  - Slower turning&#xA;  +Longer battery&#xA;  -Seen some jittering in Potato Jets Videos&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It looks like the Ronin S is the best match for BMPCC4k, but is it worth the 120$ more? (For me it is 699$ vs 579$)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-11T22:02:34.940" Title="Ronin M, S or Zhiyun Crane 2 for BMPCC4k" Tags="|stabilisation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25956" PostTypeId="1" AcceptedAnswerId="25957" CreationDate="2019-02-12T03:47:12.980" Score="0" ViewCount="193" Body="&lt;p&gt;I see that in Final Cut Pro, I can go to File &gt; Library Properties &gt; Storage Locations &gt; Modify Settings and see the following screen:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LXmoC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LXmoC.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Set storage locations for the library...&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Newly imported or generated media, custom Motion content, cache files, and library backups will be stored in the locations you choose. Existing media, Motion content, and backup files remain in their original locations.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This seems like a great way to create a lightweight backup (e.g. similar to how I had to &lt;a href=&quot;https://video.stackexchange.com/questions/25934/how-to-create-a-lightweight-backup-for-an-imovie-project-i-e-without-all-the-v&quot;&gt;manually do it in iMovie&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I accidentally started editing my project before having this setting enabled. My Final Cut Pro contains duplicates of all the media I imported, and is now Gigabytes larger than I'd like it to be. (Since I already have the original media saved in another location.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I retroactively extract my media from my Final Cut Pro library, in such a way that preserves all the editing I've done?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt; In Preferences, there also seems to be a setting that affects how media is imported:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/u8LbX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/u8LbX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Import&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Files: Leave files in place (instead of Copy to library storage location)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;However, this also appears to only work for new media that is imported rather than retroactively applying to existing media.&lt;/p&gt;&#xA;" OwnerUserId="24076" LastActivityDate="2019-02-12T08:18:46.043" Title="How to retroactively extract media out of a Final Cut Pro library?" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25957" PostTypeId="2" ParentId="25956" CreationDate="2019-02-12T08:18:46.043" Score="1" Body="&lt;p&gt;I think the best way would be to create a new library with a new project, then select the entire timeline in the old project, then drag all into the new project in the new library. That should give only the media used. Make sure that in the settings the leave file is selected. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2019-02-12T08:18:46.043" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25958" PostTypeId="1" CreationDate="2019-02-12T09:55:02.990" Score="0" ViewCount="1644" Body="&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; I am using the terms &quot;primary&quot; &amp;amp; &quot;secondary&quot; cards below loosely. I'm just assuming the Intel card is considered the first card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recently discovered how to use my secondary graphics card (nVidia GeForce 930MX) to render a game on my Windows 10 system. However, when I do so, FFmpeg no longer captures what is displayed in that window. It captures whatever is displayed from the primary card (Intel(R) HD Graphics 630) at the coordinates of said window. Is there an argument that can be passed to FFmpeg's &lt;strong&gt;&lt;em&gt;gdigrab&lt;/em&gt;&lt;/strong&gt; or &lt;strong&gt;&lt;em&gt;dshow&lt;/em&gt;&lt;/strong&gt; formats to specify on which card the window/app is being rendered?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example of command with &lt;em&gt;gdigrab&lt;/em&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -format gdigrab -i title=&quot;&amp;lt;window name&amp;gt;&quot; -c:v libx264 -preset ultrafast -qp 0 \&#xA;  -x264opts keyint=&quot;1&quot; &quot;&amp;lt;outfile&amp;gt;&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Example of command with &lt;em&gt;dshow&lt;/em&gt; (window info read from registry):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -format dshow -i video=&quot;video-capture-recorder&quot; -c:v libx264 -preset ultrafast \&#xA;  -qp 0 -x264opts keyint=&quot;1&quot; &quot;&amp;lt;outfile&amp;gt;&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have been searching around the internet for quite a while, but haven't found much information on it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did try using the &lt;strong&gt;&lt;em&gt;hwaccel&lt;/em&gt;&lt;/strong&gt; &amp;amp; &lt;strong&gt;&lt;em&gt;hwaccel_device&lt;/em&gt;&lt;/strong&gt; arguments, but still Intel card is captured. I'm thinking these are actually to allow FFmpeg to take advantage of the hardware resources for its own performance?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hwaccel_device 0 -hwaccel nvdec -f gdigrab -i title=&quot;&amp;lt;window name&amp;gt;&quot; \&#xA;  -c:v libx264 -preset ultrafast -qp 0 -x264opts keyint=&quot;1&quot; &quot;&amp;lt;outfile&amp;gt;&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hwaccel_device 1 -hwaccel nvdec -f gdigrab -i title=&quot;&amp;lt;window name&amp;gt;&quot; \&#xA;  -c:v libx264 -preset ultrafast -qp 0 -x264opts keyint=&quot;1&quot; &quot;&amp;lt;outfile&amp;gt;&quot;&#xA;&#xA;...&#xA;&#xA;[AVHWDeviceContext @ 000001f78689ef40] cu-&amp;gt;cuDeviceGet(&amp;amp;cu_device, device_idx) failed -&amp;gt; CUDA_ERROR_INVALID_DEVICE: invalid device ordinal&#xA;Device creation failed: -1313558101.&#xA;[bmp @ 000001f7883ada40] No device available for decoder: device type cuda needed for codec bmp.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hwaccel_device 1 -hwaccel cuvid -f gdigrab -i title=&quot;&amp;lt;window name&amp;gt;&quot; \&#xA;  -c:v libx264 -preset ultrafast -qp 0 -x264opts keyint=&quot;1&quot; &quot;&amp;lt;outfile&amp;gt;&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; Perhaps because the command using &lt;code&gt;-hwaccel_device 0 -hwaccel nvdec&lt;/code&gt; doesn't exit with an error, this means that the nVidia GPU is considered card 0 &amp;amp; Intel is card 1?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In case it helps, I am on an &lt;a href=&quot;https://support.hp.com/us-en/document/c05381021&quot; rel=&quot;nofollow noreferrer&quot;&gt;HP Pavilion 24-b217c&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="21963" LastEditorUserId="21963" LastEditDate="2019-02-13T05:19:37.050" LastActivityDate="2024-02-07T20:07:45.927" Title="FFmpeg Can't Capture Window Rendered with Secondary GPU" Tags="|ffmpeg|video-capture|screen-casting|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="25959" PostTypeId="2" ParentId="25946" CreationDate="2019-02-12T10:11:38.057" Score="0" Body="&lt;p&gt;Not sure why YouTube would be degrading the video quality because of the lower framerate. Perhaps, after recording at the lower framerate, re-encode the videos using 60fps before uploading. It'll make the file bigger without the actual benefit of the higher framerate (just creates duplicate frames), but maybe worth it if it prevents video quality from degrading.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; OBS uses FFmpeg, &amp;amp; FFmpeg has some &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/YouTube&quot; rel=&quot;nofollow noreferrer&quot;&gt;recommended settings specific for YouTube&lt;/a&gt;. If you are using the same settings for both videos, this is probably irrelevant.&lt;/p&gt;&#xA;" OwnerUserId="21963" LastEditorUserId="21963" LastEditDate="2019-02-13T03:20:51.457" LastActivityDate="2019-02-13T03:20:51.457" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25960" PostTypeId="1" CreationDate="2019-02-12T10:17:58.347" Score="4" ViewCount="9258" Body="&lt;p&gt;I have about 100 videos. I would like to add a 30 pixel horizontal black bar to the top and bottom of each video without ruining the dimenions(so even if they go over the video). How can I achieve this? Also what's the command to have it run on every video in the folder without doing it for each one? I'm a complete beginner and I'm lost. Any help would be really appreciated!&lt;/p&gt;&#xA;" OwnerUserId="24424" LastActivityDate="2019-07-13T07:01:45.283" Title="FFMPEG - How can I add black bars to top and bottom of my video?" Tags="|ffmpeg|command-line|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25961" PostTypeId="1" CreationDate="2019-02-12T12:29:02.077" Score="5" ViewCount="11061" Body="&lt;p&gt;Encoding on CPU can be done via:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vcodec h264 -crf 23 -acodec copy h264.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;GPU's alternative for the codec is &lt;code&gt;h264_nvenc&lt;/code&gt;. How can I pass the same options to it?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I googled and came to following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vcodec h264_nvenc -rc constqp -qp 23 -acodec copy h264_nvenc.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But the file I get is much larger. And with other options quality is much worther.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: &lt;a href=&quot;//ru.stackoverflow.com/q/943877/178988&quot;&gt;Same question in Russian.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21971" LastEditorUserId="21971" LastEditDate="2019-05-08T07:39:30.603" LastActivityDate="2020-11-16T16:08:20.853" Title="Configure CQP (CRF) for h264_nvenc" Tags="|ffmpeg|h.264|nvidia|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25962" PostTypeId="2" ParentId="25961" CreationDate="2019-02-12T13:40:53.933" Score="3" Body="&lt;p&gt;CRF != CQP. The former may have variable QP but tries to maintain quality. CQP is a cruder form of rate-control.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For nvenc, use &lt;code&gt;-rc vbr_hq -qmin 0&lt;/code&gt; and add &lt;code&gt;-cq X&lt;/code&gt; where X sets a quality level; range is 0-51. Smaller is better.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-02-12T13:59:15.477" LastActivityDate="2019-02-12T13:59:15.477" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25964" PostTypeId="2" ParentId="25948" CreationDate="2019-02-12T18:57:31.033" Score="2" Body="&lt;p&gt;You can use &lt;strong&gt;Edit&lt;/strong&gt; &gt; &lt;strong&gt;Delete Gaps&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will remove all gaps on all tracks. To exclude a particular track, you can lock the track before you Delete Gaps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also change the default Image/Still duration before the import in the application &lt;strong&gt;Preferences&lt;/strong&gt; &gt; &lt;strong&gt;User&lt;/strong&gt;  &gt; &lt;strong&gt;General&lt;/strong&gt; &gt; &lt;strong&gt;Standard still duration&lt;/strong&gt; setting&lt;/p&gt;&#xA;" OwnerUserId="24155" LastActivityDate="2019-02-12T18:57:31.033" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25965" PostTypeId="1" CreationDate="2019-02-12T19:19:09.383" Score="2" ViewCount="856" Body="&lt;p&gt;I am new to color grading in Davinci Resolve (Studio) and am not sure about how the workflow should go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as I understand there are three options:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Color Correct all Clips and render in losless codec (More work as unused clips get processed too)&lt;/li&gt;&#xA;&lt;li&gt;Edit the film, than only grade used clips and relink them in premiere (Not so nice as you can't see the hole think while grading)&lt;/li&gt;&#xA;&lt;li&gt;Somehow import the Premiere Project to Davinci with all cuts&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I am not sure how the third one would work, espacially while using many Nested sequences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what is the best/official way to do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-12T19:25:32.900" Title="Workflow of editing in Premiere and Color Grading in Davinci" Tags="|premiere|davinci-resolve|workflow|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25966" PostTypeId="2" ParentId="25965" CreationDate="2019-02-12T19:25:32.900" Score="2" Body="&lt;p&gt;What works for me is the following: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Sync audio in PluralEyes and export to Premiere. &lt;/li&gt;&#xA;&lt;li&gt;Edit in Premiere before color correction or grading. Yeah, log footage looks crap, but you should be able to edit just fine. Apply a LUT temporarily if you absolutely can't stand it.&lt;/li&gt;&#xA;&lt;li&gt;Export to FCPro XML from Premiere and import into DaVinci. &lt;/li&gt;&#xA;&lt;li&gt;Color correct in DaVinci&lt;/li&gt;&#xA;&lt;li&gt;Color grade and add any other color effects&lt;/li&gt;&#xA;&lt;li&gt;Correct audio in DaVinci using Fairlight (yum!) &lt;/li&gt;&#xA;&lt;li&gt;Export&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;That's what works for me. YMMV and others may have a totally different flow. But this lets me use PluralEyes which does way better and more complex syncing based on audio than DaVinci or Premiere. It also gives me my hotkeys for editing in Premiere and the best color grader in the biz which is DaVinci along with Fairlight which is great for audio. &lt;/p&gt;&#xA;" OwnerUserId="24431" LastActivityDate="2019-02-12T19:25:32.900" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25967" PostTypeId="2" ParentId="25913" CreationDate="2019-02-12T22:25:45.887" Score="3" Body="&lt;p&gt;I've shot 4k footage since 2014, and when mastering in 1080p, I often use digital zoom in post. There are multiple factors I would look at.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Cameras that use a single sensor will display debeyering artefacts when examining the direct pixel readout (mushier detail and reduced colour information). This issue is nicely improved when downsampling 4k to 1080p, but is revealed when digitally zooming. The Z190, however, uses a 3-chip design. If each chip is full 4k (which the marketing copy certainly implies), the quality difference between downsampled and a direct pixel crop should be significantly less noticeable than on single-chip competitors.&lt;/li&gt;&#xA;&lt;li&gt;Lens resolution can be a contributing factor as well. If the lens barely keeps up with the 4k resolution of the sensors, or the three-chip design introduces optical issues, then downsampling will likely hide minor softness. Digital zoom will reveal these optical shortcomings simply by magnifying what's being projected onto the sensor. On the upside, lens performance is typically best near the centre, so a centre crop is at least likely to be optically stronger than the edges.&lt;/li&gt;&#xA;&lt;li&gt;While exposure and colour should look identical because nothing is changing (aperture, shutter speed, gain, pixel pitch), you're right that the exposure &lt;em&gt;performance&lt;/em&gt; will change, as measured by the amount or type of visible grain. From user reports I've read, this is best demonstrated in the Sony A7 series of cameras where similar light sensitivity (based on the amount of visual noise) can be seen in direct pixel readouts from the A7s (giant pixels, lower resolution) and downsampled readouts from the A7r (smaller pixels, higher resolution, but the subsequent higher noise is reduced during downsampling). Digital zoom will reveal the per-pixel noise that downsampling would have averaged out, which can impact perceptual sharpness.&lt;/li&gt;&#xA;&lt;li&gt;If you decide to record in 4k and downsample to 1080p afterward, zooming as needed in post, compression may come into play as well. While the Z190 records 4:2:2 10-bit, digital zoom can reveal minor compression softness in colour detail that would have been reduced during downsampling. However, I would expect this to apply only to downsampling/zooming 4k footage in post. If the camera is recording a 1080p 4:2:2 image directly, switching between a downsampled full sensor readout and a crop of the centre pixels should have little to no impact on compression results.&lt;/li&gt;&#xA;&lt;li&gt;Some cameras may simply process things slightly differently when performing downsampling versus direct pixel readout.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;When tracking down the source of the softness, I'd recommend starting by recording 4k footage and cropping it in post, then comparing it to footage shot using the 1080p zoom mode. Though highly unlikely, if poor camera processing of 1080p footage is to blame you'll see the difference here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's more likely a combination of lens resolution, optical performance of the three-chip design, and perceptual sharpness improvements from reduced noise when downsampling. But by all means, try some locked down resolution tests first! After tracking down the source(s) of the softness, then it's a question of how to combat it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My approach has always been to shoot in 4k and rely on &quot;digital zoom&quot; in post while &lt;em&gt;never reaching a full 2x zoom (direct pixel crop).&lt;/em&gt; This ensures the footage is always downsampled to &lt;em&gt;some&lt;/em&gt; extent, maintaining the higher relative quality we're used to seeing now.&lt;/p&gt;&#xA;" OwnerUserId="24433" LastActivityDate="2019-02-12T22:25:45.887" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25968" PostTypeId="2" ParentId="25960" CreationDate="2019-02-13T04:13:00.140" Score="6" Body="&lt;h2&gt;Adding Bars&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;You can do it with a combination of the &lt;em&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;noreferrer&quot;&gt;crop&lt;/a&gt;&lt;/em&gt; &amp;amp; &lt;em&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#pad&quot; rel=&quot;noreferrer&quot;&gt;pad&lt;/a&gt;&lt;/em&gt; video filters:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter:v crop=&quot;in_w:in_h-60:0:30&quot;,pad=&quot;in_w:in_h+60:0:-30&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Both filters use the same format: &lt;em&gt;width:height:x-offset:y-offset&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the &lt;em&gt;crop&lt;/em&gt; filter, you want width to be same as the video's input width (you can use the variable &lt;strong&gt;&lt;em&gt;in_w&lt;/em&gt;&lt;/strong&gt;). You want to crop 60 pixels (30*2) from the input height (&lt;em&gt;in_h-60&lt;/em&gt;). X offset stays at zero so nothing is changed horizontally. And set the Y offset to 30 so that 30 pixels are cropped from the top &amp;amp; bottom each. Otherwise, it will just crop 60 pixels from the bottom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the &lt;em&gt;pad&lt;/em&gt; filter, the &lt;strong&gt;&lt;em&gt;in_w&lt;/em&gt;&lt;/strong&gt; &amp;amp; &lt;strong&gt;&lt;em&gt;in_h&lt;/em&gt;&lt;/strong&gt; variables will be whatever is output from the &lt;em&gt;crop&lt;/em&gt; filter (you can just replace these with the actual video dimensions if you prefer). Use &lt;strong&gt;&lt;em&gt;in_w&lt;/em&gt;&lt;/strong&gt; again to preserve horizontal dimension. Add 60 black pixels back to the vertial dimension (&lt;em&gt;in_h+60&lt;/em&gt;). Leave the X offset at &lt;em&gt;0&lt;/em&gt; &amp;amp; set Y offset to &lt;em&gt;-30&lt;/em&gt; so pixels are added at top &amp;amp; bottom. Otherwise, it will just add 60 pixels to bottom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other option, as I think @Quertiy was pointing out, is to create a PNG image the same dimensions as your video with black bars at the top &amp;amp; bottom, &amp;amp; transparent in the middle, then overlay it onto the image:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i overlay.png -filter_complex &quot;overlay&quot; -c:v libx264 &quot;out.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It may be wise to list the streams in the filter arguments: &lt;code&gt;-filter_complex &quot;[0:0][1:0]overlay&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;Multiple Files&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;If you were using a Unix shell (I believe this is what MacOS uses), you could use a &lt;em&gt;for&lt;/em&gt; loop to convert all videos in a directory:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for V in *; do ffmpeg -i &quot;$V&quot; -c:v libx264 -filter:v crop=&quot;in_w:in_h-60:0:30&quot;,pad=&quot;in_w:in_h+60:0:-30&quot; &quot;padded-$V&quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But I'm not sure what the equivalent is using the Windows command prompt.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; &lt;a href=&quot;http://www.informit.com/articles/article.aspx?p=1154761&amp;amp;seqNum=10&quot; rel=&quot;noreferrer&quot;&gt;Windows command prompt has a &lt;em&gt;for&lt;/em&gt; loop as well&lt;/a&gt;. So it should be something like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for %V in (*) do ffmpeg -i &quot;%V&quot; -c:v libx264 -filter:v crop=&quot;in_w:in_h-60:0:30&quot;,pad=&quot;in_w:in_h+60:0:-30&quot; &quot;padded-%V&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But, I haven't tested it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; Use &lt;strong&gt;&lt;em&gt;%%V&lt;/em&gt;&lt;/strong&gt; within batch files, &lt;strong&gt;&lt;em&gt;%V&lt;/em&gt;&lt;/strong&gt; if using the command prompt directly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; According to &lt;a href=&quot;https://www.mssqltips.com/sqlservertip/2754/parsing-all-the-files-in-a-directory-using-powershell/&quot; rel=&quot;noreferrer&quot;&gt;this article&lt;/a&gt;, you should be able to do it in Windows PowerShell like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;foreach ($V in Get-ChildItem .\) {ffmpeg -i &quot;$V&quot; -c:v libx264 -filter:v crop=&quot;in_w:in_h-60:0:30&quot;,pad=&quot;in_w:in_h+60:0:-30&quot; &quot;padded-$V&quot;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Again, I haven't fully tested it.&lt;/p&gt;&#xA;" OwnerUserId="21963" LastEditorUserId="21963" LastEditDate="2019-02-13T05:04:08.280" LastActivityDate="2019-02-13T05:04:08.280" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25969" PostTypeId="1" CreationDate="2019-02-13T07:24:21.040" Score="0" ViewCount="1336" Body="&lt;p&gt;Recently, videos produced by capturing a window on my system using FFmpeg have become choppy/jerky, as if frames have been dropped or duplicated. FFmpeg will sometimes report that a number of frames were dropped when recording began, but not throughout the video. Videos I had recorded a few months ago did not suffer from this. Encoding speed reports to be between 1.0x &amp;amp; 0.996x.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suspected that the problem might have to do with system performance related to the hard drive. So I cleaned up junk files on my system &amp;amp; defragmented the drive. But the resulting video output did not change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reading through &lt;a href=&quot;https://ffmpeg.org/pipermail/ffmpeg-user/2017-March/035518.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this thread&lt;/a&gt;, one user recomends recording at 30 fps instead of 60. But I had no problem recording at 60 before.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The dimensions of the window I am recording are 512x448. I record the audio &amp;amp; video in separate FFmpeg processes (this prevents audio drift).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The following is an example portion of a script I use for recording:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -rtbufsize 500M -thread_queue_size 512 -f dshow -ac 1 -i audio=&quot;&amp;lt;audio_device&amp;gt;&quot; -c:a pcm_s16le audio-tmp.wav &amp;amp; APID=$!&#xA;&#xA;ffmpeg -hide_banner -rtbufsize 1500M -thread_queue_size 512 -f gdigrab -framerate 60 -i title=&quot;&amp;lt;window_name&amp;gt;&quot; -c:v libx264 -preset ultrafast -qp 0 -x264opts keyint=&quot;1&quot; video-tmp.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The entire script can be found &lt;a href=&quot;https://gist.github.com/AntumDeluge/75f63661c75cdc77c3497a3515b1b2fe/d3e7302128bd70c7df0913dde711c892aa4ec289&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;System specs:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://support.hp.com/us-en/document/c05381021&quot; rel=&quot;nofollow noreferrer&quot;&gt;HP Pavilion 24-b217c&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;CPU:&lt;/strong&gt; Intel Core i5-7400T&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;2.4GHz&lt;/li&gt;&#xA;&lt;li&gt;4 cores&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;RAM:&lt;/strong&gt; 12GB&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;GPU (hybrid):&lt;/strong&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;NVIDIA GeForce 930MX&lt;/li&gt;&#xA;&lt;li&gt;2GB dedicated RAM&lt;/li&gt;&#xA;&lt;li&gt;Intel HD Graphics 630&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; Here is the video output from the terminal:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, gdigrab, from 'title=Mega Man Unlimited':&#xA;  Duration: N/A, start: 1550055137.876177, bitrate: 440427 kb/s&#xA;    Stream #0:0: Video: bmp, bgra, 512x448, 440427 kb/s, 60 fps, 60 tbr, 1000k tbn, 1000k tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (bmp (native) -&amp;gt; h264 (libx264))&#xA;Press [q] to stop, [?] for help&#xA;[libx264 @ 000001d2881a15c0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 000001d2881a15c0] profile High 4:4:4 Intra, level 3.1, 4:4:4, 8-bit&#xA;[libx264 @ 000001d2881a15c0] 264 - core 157 r2935 545de2f - H.264/MPEG-4 AVC codec - Copyleft 2003-2018 - http://www.videolan.org/x264.html - options: cabac=0 ref=1 deblock=0:0:0 analyse=0:0 me=dia subme=0 psy=0 mixed_ref=0 me_range=16 chroma_me=1 trellis=0 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=0 chroma_qp_offset=0 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=0 weightp=0 keyint=1 keyint_min=1 scenecut=0 intra_refresh=0 rc=cqp mbtree=0 qp=0&#xA;Output #0, matroska, to 'C:/users/antum/Videos/Captures/output-2019-02-13_10.52.17.456113800-video.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf58.26.101&#xA;    Stream #0:0: Video: h264 (libx264) (H264 / 0x34363248), yuv444p, 512x448, q=-1--1, 60 fps, 1k tbn, 60 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.47.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;frame=14587 fps= 60 q=-1.0 Lsize= 1625062kB time=00:04:03.13 bitrate=54753.8kbits/s speed=   1x&#xA;video:1624328kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.045149%&#xA;[libx264 @ 000001d2881a15c0] frame I:14587 Avg QP: 0.00  size:114027&#xA;[libx264 @ 000001d2881a15c0] mb I  I16..4: 100.0%  0.0%  0.0%&#xA;[libx264 @ 000001d2881a15c0] coded y,u,v intra: 46.0% 44.6% 44.6%&#xA;[libx264 @ 000001d2881a15c0] i16 v,h,dc,p: 77% 23%  0%  0%&#xA;[libx264 @ 000001d2881a15c0] kb/s:54725.45&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And here is some of the audio output (output to file):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Guessed Channel Layout for Input Stream #0.0 : mono&#xA;Input #0, dshow, from 'audio=Stereo Mix (Realtek High Definition Audio)':&#xA;  Duration: N/A, start: 11732.800000, bitrate: 705 kb/s&#xA;    Stream #0:0: Audio: pcm_s16le, 44100 Hz, mono, s16, 705 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (pcm_s16le (native) -&amp;gt; pcm_s16le (native))&#xA;Press [q] to stop, [?] for help&#xA;Output #0, wav, to 'C:/users/antum/Videos/Captures/output-2019-02-13_10.52.17.456113800-audio.wav':&#xA;  Metadata:&#xA;    ISFT            : Lavf58.26.101&#xA;    Stream #0:0: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 44100 Hz, mono, s16, 705 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc58.47.100 pcm_s16le&#xA;size=       0kB time=00:00:01.01 bitrate=   0.6kbits/s speed=   2x    &#xA;size=       0kB time=00:00:01.51 bitrate=   0.4kbits/s speed= 1.5x    &#xA;size=       0kB time=00:00:02.01 bitrate=   0.3kbits/s speed=1.33x    &#xA;size=       0kB time=00:00:02.51 bitrate=   0.2kbits/s speed=1.25x    &#xA;size=     256kB time=00:00:03.01 bitrate= 696.7kbits/s speed= 1.2x    &#xA;size=     256kB time=00:00:03.51 bitrate= 597.7kbits/s speed=1.16x    &#xA;size=     256kB time=00:00:04.01 bitrate= 523.0kbits/s speed=1.14x    &#xA;size=     256kB time=00:00:04.51 bitrate= 465.1kbits/s speed=1.12x    &#xA;size=     256kB time=00:00:05.01 bitrate= 418.6kbits/s speed= 1.1x    &#xA;size=     256kB time=00:00:05.51 bitrate= 380.7kbits/s speed=1.09x    &#xA;size=     512kB time=00:00:06.01 bitrate= 697.9kbits/s speed=1.09x    &#xA;size=     512kB time=00:00:06.51 bitrate= 644.3kbits/s speed=1.08x    &#xA;size=     512kB time=00:00:07.01 bitrate= 598.3kbits/s speed=1.07x    &#xA;...&#xA;...&#xA;size=   20224kB time=00:03:55.01 bitrate= 705.0kbits/s speed=   1x    &#xA;size=   20224kB time=00:03:55.51 bitrate= 703.5kbits/s speed=   1x    &#xA;size=   20224kB time=00:03:56.01 bitrate= 702.0kbits/s speed=   1x    &#xA;size=   20224kB time=00:03:56.51 bitrate= 700.5kbits/s speed=   1x    &#xA;size=   20224kB time=00:03:57.01 bitrate= 699.0kbits/s speed=   1x    &#xA;size=   20224kB time=00:03:57.51 bitrate= 697.5kbits/s speed=   1x    &#xA;size=   20480kB time=00:03:58.01 bitrate= 704.9kbits/s speed=   1x    &#xA;size=   20480kB time=00:03:58.51 bitrate= 703.4kbits/s speed=   1x    &#xA;size=   20480kB time=00:03:59.01 bitrate= 701.9kbits/s speed=   1x    &#xA;size=   20480kB time=00:04:00.01 bitrate= 699.0kbits/s speed=   1x    &#xA;size=   20480kB time=00:04:00.51 bitrate= 697.6kbits/s speed=   1x    &#xA;size=   20736kB time=00:04:01.01 bitrate= 704.8kbits/s speed=   1x    &#xA;size=   20736kB time=00:04:01.51 bitrate= 703.4kbits/s speed=   1x    &#xA;size=   20736kB time=00:04:02.01 bitrate= 701.9kbits/s speed=   1x    &#xA;size=   20736kB time=00:04:02.51 bitrate= 700.5kbits/s speed=   1x    &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="21963" LastEditorUserId="21963" LastEditDate="2019-02-13T11:09:47.643" LastActivityDate="2019-02-13T11:09:47.643" Title="Desktop Capture Has Become Choppy/Jerky with FFmpeg" Tags="|ffmpeg|video-capture|screen-casting|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25970" PostTypeId="1" CreationDate="2019-02-13T13:23:01.187" Score="0" ViewCount="817" Body="&lt;p&gt;I've got an ffmpeg command that overlays a line on a video and moves it from left to right while the video plays:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i clip.mp4 -i line-with-transparent-white.png -filter_complex &quot;[0:v][1:v]overlay=x=t/15*1280&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(the numbers 15 and 1280 are duration and width of the clip; they are set in a shell script from ffprobe's output).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That works, but only when clip.mp4 is a &quot;normal&quot; video; not when it has been produced by ffmpeg with the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i music.mp3 -filter_complex &quot;[0:a]showwavespic=split_channels=0:colors=white|lightgrey,format=pix_fmts=yuv420p&quot; -map 0:a audio.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The latter file plays fine: it shows the wave, and the music plays, but when I use it as input for the first command, the line graphic doesn't move. It's as if the variable &quot;t&quot; stays at 0 throughout.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have the vague suspicion that it's related to the fact that the image doesn't change, and hence that there's no progress in the overlay (the mp4 file is barely larger than the mp3 file).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know how to proceed: do I need to change the format of &quot;audio.mp4&quot;, is there another trick or tool I can use, or should I file a bug perhaps?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW, the first command requires the addition of &lt;code&gt;-max_muxing_queue_size 9999&lt;/code&gt; when using audio.mp4 as input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Output from ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-48132-ga84af760b8-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc-6 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gmp --enable-gray --enable-libfribidi --enable-libass --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzimg&#xA;  libavutil      56. 26.100 / 56. 26.100&#xA;  libavcodec     58. 47.100 / 58. 47.100&#xA;  libavformat    58. 26.101 / 58. 26.101&#xA;  libavdevice    58.  6.101 / 58.  6.101&#xA;  libavfilter     7. 48.100 /  7. 48.100&#xA;  libswscale      5.  4.100 /  5.  4.100&#xA;  libswresample   3.  4.100 /  3.  4.100&#xA;  libpostproc    55.  4.100 / 55.  4.100&#xA;Input #0, mp3, from 'BayesXMas.mp3':&#xA;  Metadata:&#xA;    TSS             : Logic Pro X 10.3.3&#xA;    iTunNORM        :  000001A6 000001B0 00000FCE 0000170A 00000B53 000064B6 0000543B 00006520 00000772 00000E63&#xA;    iTunSMPB        :  00000000 00000210 000008F0 00000000001F0000 00000000 00185D01 00000000 00000000 00000000 00000000 00000000 00000000&#xA;  Duration: 00:00:46.16, start: 0.000000, bitrate: 278 kb/s&#xA;    Stream #0:0: Audio: mp3, 44100 Hz, stereo, fltp, 277 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 (mp3float) -&amp;gt; showwavespic (graph 0)&#xA;  tpad (graph 0) -&amp;gt; Stream #0:0 (libx264)&#xA;  Stream #0:0 -&amp;gt; #0:1 (mp3 (mp3float) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[libx264 @ 0xceef480] using SAR=1/1&#xA;[libx264 @ 0xceef480] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0xceef480] profile High, level 3.1, 4:2:0, 8-bit&#xA;[libx264 @ 0xceef480] 264 - core 157 r2935 545de2f - H.264/MPEG-4 AVC codec - Copyleft 2003-2018 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=7 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'audio5.mp4':&#xA;  Metadata:&#xA;    TSS             : Logic Pro X 10.3.3&#xA;    iTunNORM        :  000001A6 000001B0 00000FCE 0000170A 00000B53 000064B6 0000543B 00006520 00000772 00000E63&#xA;    iTunSMPB        :  00000000 00000210 000008F0 00000000001F0000 00000000 00185D01 00000000 00000000 00000000 00000000 00000000 00000000&#xA;    encoder         : Lavf58.26.101&#xA;    Stream #0:0: Video: h264 (libx264) (avc1 / 0x31637661), yuv420p, 600x240 [SAR 1:1 DAR 5:2], q=-1--1, 73.50 fps, 18816 tbn, 73.50 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.47.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1: Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc58.47.100 aac&#xA;More than 1000 frames duplicated      0kB time=00:00:24.93 bitrate=   0.0kbits/s speed=49.9x    &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24437" LastEditorUserId="24437" LastEditDate="2019-02-14T15:00:38.400" LastActivityDate="2024-03-28T15:09:01.113" Title="Question about ffmpeg's overlay variable t" Tags="|video|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25972" PostTypeId="2" ParentId="25970" CreationDate="2019-02-13T14:16:14.093" Score="0" Body="&lt;p&gt;&lt;code&gt;showwavespic&lt;/code&gt; generates only one frame, so there's no substrate on which for overlay to take effect after that first frame. Use the tpad filter and -shortest option to clone frames till audio length.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i music.mp3 -filter_complex &quot;[0:a]showwavespic=split_channels=0:colors=white|lightgrey,format=pix_fmts=yuv420p,fps=10,tpad=stop=-1:stop_mode=clone&quot; -map 0:a -shortest audio.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-02-14T15:22:36.360" LastActivityDate="2019-02-14T15:22:36.360" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="25973" PostTypeId="2" ParentId="25929" CreationDate="2019-02-13T22:03:00.267" Score="1" Body="&lt;p&gt;As Dr Mayhem mentioned, if you can see it and it has an appropriate license, you are allowed to reuse it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend also as they suggested to ask the author first if they can send you a copy somehow. Alternately, I think &lt;a href=&quot;https://youtube-dl.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;youtube-dl&lt;/a&gt; should have you covered for downloading directly. It's a command-line tool so you will have to use the shell of your OS (e.g. Command Prompt in Windows) to use it, but it's fairly easy to use and has a plethora of options for getting the exact quality you require. Generally you can probably get by with just calling it without any parameters e.g.:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;youtube-dl www.youtube.com/watch?v=xxxxxx&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="456" LastEditorUserId="23732" LastEditDate="2019-03-16T16:15:30.827" LastActivityDate="2019-03-16T16:15:30.827" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25975" PostTypeId="1" AcceptedAnswerId="25976" CreationDate="2019-02-14T00:52:11.527" Score="0" ViewCount="1444" Body="&lt;p&gt;I'm trying to upload a video to YouTube from Final Cut Pro X. When I use the Share &gt; YouTube option, the upload happens pretty well. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are bugs though: it asks me for my password 10+ times, it uses defaults that are different than the ones on YouTube.com, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Furthermore, I also want to have a copy of the exact exported file so I can upload on other sites too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because of all of these, I'd prefer to export my video into the file system, and go to YouTube.com and manually upload it there (rather than having Final Cut Pro X upload it for me automatically).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I go to export the video, I'm not sure what is the best format to use when uploading to YouTube:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kuxzv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kuxzv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Presumably Final Cut Pro X already figured it out and is using the best format settings when you choose to upload to YouTube. However, it doesn't show you which settings it uses:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wxkto.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wxkto.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What settings is it using to export a video when I choose the YouTube option?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I tried doing my own investigation by uploading to YouTube and then downloading the vide, but the problem is that the downloaded video from YouTube is significantly smaller (and in a different format) than the ones you upload.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, when I chose to export using the following Video codecs, I got these file sizes, and these download sizes:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Source (Apple ProRes 422)&lt;/strong&gt;: Exported a .mov at 4GB. When downloaded via YouTube, it was an mp4 at 18MB.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;H.264&lt;/strong&gt;: Exported a .mov at 400MB. When downloaded via YouTube, it was an mp4 at 18MB.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Interestingly enough, when uploading to YouTube on the website, it said:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Video / Audio quality:&lt;br&gt;&#xA;  Your videos will process faster if you encode into a streamable file format. For more information, visit our &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;Help Center&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;... which shows these ideal settings:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/W3eJF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/W3eJF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;However, even when I try to upload an H.264 encoded .mov file, it shows me this warning. Is it because it's not in .mp4 format? And if so, how do I export as .mp4 format?&lt;/p&gt;&#xA;" OwnerUserId="24076" LastEditorUserId="24076" LastEditDate="2019-02-14T01:11:33.817" LastActivityDate="2019-02-14T19:01:33.763" Title="What are the default export settings when I choose to upload to YouTube in Final Cut Pro X?" Tags="|youtube|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25976" PostTypeId="2" ParentId="25975" CreationDate="2019-02-14T01:19:02.817" Score="1" Body="&lt;p&gt;I'm not 100% sure this is the correct settings, but it does seem to be closer to the real thing since YouTube no longer shows the warning when you use these settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They key seems to use H.264 &lt;em&gt;with&lt;/em&gt; the .mp4 format. The way to &lt;a href=&quot;https://www.mediatraining.ltd.uk/blog2.php?BlogID=94&quot; rel=&quot;nofollow noreferrer&quot;&gt;choose mp4&lt;/a&gt;, is to change the Format from &lt;strong&gt;Video and Audio&lt;/strong&gt; (.mov), to &lt;strong&gt;Computer&lt;/strong&gt; (.mp4):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rA6CY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rA6CY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This uploads cleanly to YouTube with no warnings, and also produces a video that is half the size of the .mov file (200MB instead of 400MB).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you find yourself wanting to use this solution many times, you might as well create a new destination, Prepare for YouTube:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FOA4Q.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FOA4Q.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that the resolution settings are not 16:9 in the last screenshot (i.e. they are 4096 x 2160 instead of what is ideal on YouTube for 4K: 3840 x 2160). This means you'll need to manually choose this setting each time in the share screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: When you try to download the video on YouTube, you might expect it to download the original mp4 you uploaded (200MB), but you'll find that the video that is downloaded is much smaller (18MB). You can therefore not use YouTube as a way to backup your exported mp4. You should still store it on some other medium or service.&lt;/p&gt;&#xA;" OwnerUserId="24076" LastEditorUserId="24076" LastEditDate="2019-02-14T19:01:33.763" LastActivityDate="2019-02-14T19:01:33.763" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25977" PostTypeId="1" CreationDate="2019-02-14T05:17:12.270" Score="0" ViewCount="338" Body="&lt;p&gt;I have created a VFR (variable frame rate) video from a list of images by using the following &lt;code&gt;ffmpeg&lt;/code&gt; command.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i concat.txt -vsync vfr -pix_fmt yuv420p output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where the &lt;code&gt;concat.txt&lt;/code&gt; is a text file which contains the list of the image locations and durations in the below format.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file image01.png&#xA;duration 3&#xA;file image02.png&#xA;duration 5&#xA;file image02.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have a subtitle file (&lt;code&gt;.srt&lt;/code&gt; file) that I would like to add to the generated video by using the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#subtitles-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;subtitles&lt;/a&gt; filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to use the &lt;code&gt;subtitles&lt;/code&gt; filter by running the following command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i output.mp4 -codec:a copy -vf subtitles=subtitles.srt -max_muxing_queue_size 4096 outputWithSubtitles.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I find that the resultant output file does not show any subtitles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I find that if instead of VFR video if constant frame rate video is generated, then this issue is not observed i.e., during the generation of the first video from images if &lt;code&gt;-vsync vfr&lt;/code&gt; option is not used, then a constant frame rate video is generated and using subtitles filter works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to use the subtitles filter on a VFR video?&lt;/p&gt;&#xA;" OwnerDisplayName="user24445" LastActivityDate="2019-02-14T05:46:05.247" Title="How to use subtitles filter to a video VFR ( variable frame rate ) video?" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25978" PostTypeId="2" ParentId="25905" CreationDate="2019-02-14T10:16:44.487" Score="1" Body="&lt;p&gt;I researched a bit more on my own and it looks like there is a diffrence but no big one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While a native image will look better, the image quality isn't much diffrent when &quot;downscaling&quot; to UHD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It might be noticable on a high quality projector screen, but on desktop and espacially on mobile screens it shouldn't be a problem.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-14T10:16:44.487" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25979" PostTypeId="1" CreationDate="2019-02-14T10:51:57.660" Score="0" ViewCount="1468" Body="&lt;p&gt;There is a padding (default black) under the audio visualiser in the script below ,how could one change the color of this padding ? &#xA;&lt;a href=&quot;https://i.stack.imgur.com/IWUDx.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IWUDx.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;I tried adding option &quot;overlay :colors= Blue&quot; but received an error= &quot;Option 'colors' not found&quot; &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;fmpeg -y -i music.mp3 -loop 1 -i whiteImage.jpg -filter_complex &quot;[0:a]showwaves=s=1280x175:colors=Red:mode=p2p,format=yuv420p[v];[1:v][v]overlay=0:200[outv]&quot; -map &quot;[outv]&quot; -pix_fmt yuv420p -map 0:a -c:v libx264 -c:a copy -shortest output_bg.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="24346" LastActivityDate="2022-07-16T22:01:15.080" Title="FFmpeg change overlay color (with audiovisualiser)" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25980" PostTypeId="2" ParentId="25979" CreationDate="2019-02-14T11:56:13.717" Score="1" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -i music.mp3 -loop 1 -i image -filter_complex &quot;[0:a]showwaves=s=1280x175:colors=Red:mode=p2p,format=yuva420p,split=2[w][b];[b]format=yuv420p,drawbox=c=blue:t=fill[b];[b][w]overlay[wv];[1:v][wv]overlay=0:200:shortest=1[outv]&quot; -map &quot;[outv]&quot; -pix_fmt yuv420p -map 0:a -c:v libx264 -c:a copy output_bg.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The showwaves will make the background transparent if the filter can output to a frame format with alpha. &lt;code&gt;yuv420p&lt;/code&gt; does not have alpha, so the value of the format filter should be changed to a format that does, like &lt;code&gt;yuva420p&lt;/code&gt;. Then this picture is cloned; one copy is made opaque and has a color drawn on it. The other copy with the transparent BG is overlaid on top. Finally, this result is overlaid on the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's better to limit the video stream within the overlay filter, if possible. So, &lt;code&gt;-shortest&lt;/code&gt; removed.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-03-04T14:55:38.847" LastActivityDate="2019-03-04T14:55:38.847" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25981" PostTypeId="1" CreationDate="2019-02-14T14:43:29.897" Score="0" ViewCount="1131" Body="&lt;p&gt;I noticed if I extract frames with this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i sample_nosound.mp4 $filename%03d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It will extract depends on fps by default. &lt;code&gt;ffmpeg -i&lt;/code&gt; shows this video has 6 fps, so it extracted 1630 jpg frame files, which 1630/6 = 271.6 seconds equivalent to the 4:32 total video duration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But 1630 jpg frames total size is 13 MB:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ du -h extracted_jpg_folder&#xA;13M      extracted_jpg_folder&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;, while the file size of the mp4 is 1.8 MB, far  lower than the total frames size:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ls -la sample_nosound.mp4&#xA;-rw-rw-r-- 1 xiaobai xiaobai 1814889 Feb  13 15:42 'sample_nosound.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;That means ffmpeg extract frames by referring fps info.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Therefore my question is, &lt;strong&gt;how to make ffmpeg extract frames by &quot;real frames&quot; without rely on fps ?&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I expect I can get total frames size which almost equivalent with the mp4 files size.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't expect exact match file size, since mp4 may contains some metadata.&lt;/p&gt;&#xA;" OwnerUserId="16879" LastActivityDate="2019-02-14T18:38:52.727" Title="How to extract the &quot;real frames&quot; without rely on fps?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25982" PostTypeId="1" CreationDate="2019-02-14T14:55:41.357" Score="0" ViewCount="214" Body="&lt;p&gt;I would like to purchase a Blackmagic camera but it doesn't have any follow focus system. When searching further, I noticed that many professional cinema cameras doesn't have an integrated follow focus system (Arri, Red...), while a basic Sony A7sii does have one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know please how do these cameras work. I saw that they are used with a separate follow focus system (be it wired or wireless) but technically when an object is moving, should the operator grope and try to match the focus on the moving object or is there any automatic recognition system ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks, &#xA;Cheers&lt;/p&gt;&#xA;" OwnerUserId="24447" LastActivityDate="2020-12-06T05:07:25.803" Title="Follow focus on cinema camera?" Tags="|camera|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="25983" PostTypeId="2" ParentId="25982" CreationDate="2019-02-14T18:01:01.177" Score="1" Body="&lt;p&gt;On professio al sets with a camera crew, there is an extra person which pulls the focus.&#xA;We don't really use automatic focus.&#xA;This needs some training, but it's not so hard to pull off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Normally, you attach 15mm rods to the camera body, on which you then mount the FF system, &quot;wired&quot; systems start at around 20$, useable ones at around 100$.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Wireless you could take a Tilta Nucleus Nano for 230$&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-14T18:01:01.177" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25984" PostTypeId="1" CreationDate="2019-02-14T18:07:19.387" Score="0" ViewCount="13" Body="&lt;p&gt;I have a few LUT's which I quite like, but a few settings aren't quite what I would like.&#xA;I know, that I could simply adjust those settings within the Lumetri Panel, but I would prefere to get the &quot;raw&quot; settings with which the LUTs where created.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to get this done in Premiere Pro?&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-14T18:07:19.387" Title="Get Lumetri Settings from 3D LUT" Tags="|premiere|lut|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25985" PostTypeId="2" ParentId="25981" CreationDate="2019-02-14T18:38:52.727" Score="1" Body="&lt;p&gt;You don't quite understand how this works.&#xA;h.264 doesn't save single images, but much rather one image, than f.e. 4 estimations what should come after.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example:&#xA;Imagine a ball rolling from left to right, you could noe either store 30 frames of the ball rolling, or you store 1 frame of the ball in the beginning and one in the end, and when you play the video, just take the first image, and copy the ball a bit to the right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This means, that I Frame compression can be smaller, than single frames.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-14T18:38:52.727" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="25986" PostTypeId="1" CreationDate="2019-02-14T19:01:40.803" Score="2" ViewCount="114" Body="&lt;p&gt;An uncompressed digitized VHS tape is like 60 gigs. Obviously way too big. I can compress it down using H.265 and get basically the same quality. But before I do that, is there any production techniques I can use on the uncompressed files to get a better image? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've only ever dealt with raw photo images. I know that with raw photos I can do a ton more post processing because the bitdepth is deeper than the human eye can gather so there's a lot more information for the post processor to access. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this true of a digitized VHS video tape too? Is there any post processing I can do that will improve the image that I should do BEFORE I compress it?&lt;/p&gt;&#xA;" OwnerUserId="22871" LastEditorUserId="14523" LastEditDate="2019-02-15T00:26:47.310" LastActivityDate="2019-02-15T00:26:47.310" Title="Before I throw away these massive uncompressed VHS digitizations, what kind of post processing can I do to improve them?" Tags="|video-quality|compression|vhs|digitisation|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="25987" PostTypeId="1" CreationDate="2019-02-14T20:11:10.647" Score="3" ViewCount="90" Body="&lt;p&gt;I'm just getting started and have some user-level equipment, not professional grade.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My Sony Handycam outputs MTS and MP4 at 29.97 FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My LG K30 smartphone outputs MP4 at 29.98FPS&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using Davinci Resolve, I notice a slight stutter in my rendered files. Is this .01 FPS difference the cause? If so, how can I get them to match before I import them into the project? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm working on a fairly modest laptop with an intel core i5 processor 1.7GHz - 2.4Ghz and 8GB Ram. Video controller just says &quot;Intel(R) HD Graphics Family&quot;. I'd assume it uses part of that 8G of ram.&lt;/p&gt;&#xA;" OwnerUserId="23779" LastActivityDate="2021-07-06T06:02:20.187" Title="Two video sources framerates vary by .01 FPS. Will this cause problems?" Tags="|framerate|davinci-resolve|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25988" PostTypeId="2" ParentId="25987" CreationDate="2019-02-14T22:23:24.983" Score="1" Body="&lt;p&gt;This shouldn't really be a problem and probablly is just a rounding error.&#xA;The shutter may come from somewhere else, are the export settings matching the 29.97FPS?&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-14T22:23:24.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25989" PostTypeId="1" CreationDate="2019-02-14T22:55:26.413" Score="2" ViewCount="333" Body="&lt;p&gt;So in my project, I need to capture a video stream, decode the video, run the individual frames through an object detection algorithm and then play the output as a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This whole operation is running on a Linux server with a couple of Tesla V100's, 40 core CPU (can't recall exact model right now) and a ridiculous amount of RAM. It should play the video which is 720x576i at 25fps (progressive), so de-interlacing also needs to be happening on the fly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Needless to say, the object detection is by far the slowest operation happening here, but I'm currently looking on how best to approach the transcoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, since I have access to such a powerful GPU I thought it would be smart to utilize it, but I also read in a few places that transcoding on GPU sucks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any case, I have cuda 9.0 installed so I built ffmpeg with the following options enabled:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;--enable-libavcodec  --enable-libx264 --enable-gpl --enable-cuda --enable-cuvid --enable-nvenc --enable-nonfree --enable-libnpp&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(I'm 95% sure these are all, but if it really matters ill check once I have access to the server, which should be in a couple of days)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the best way to proceed from here? I'm not very familiar with ffmpeg and even less so when it comes to all the gpu related options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried de-interlacing with &lt;code&gt;-vf: yadif_cuda&lt;/code&gt;, but it failed, saying that this filter is not available. I thought it would be available if i enabled cuda in the build options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have no clue which options to use when decoding (e.g., &lt;code&gt;-hwaccel&lt;/code&gt; ???, &lt;code&gt;-c:v libx264&lt;/code&gt; or &lt;code&gt;h264_cuvid&lt;/code&gt;, etc..) and also I'm not sure how should I display the frames once the detection algorithm spits them out. Do I just 'play' them? Do I re-encode, and if so, how?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help is much appreciated, and if any more information is needed ill happily provide what I can.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've made a diagram to clarify how the entire thing should play out: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QuC9u.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QuC9u.png&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Python is used for the algorithm, with probably skvideo for capture and playback. I could also just use ffmpeg directly (with a bash command, executed from the python script) though if necessary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything that is between Capture and Play should happen live, i.e. while the video is transmitted to the end user.&lt;/p&gt;&#xA;" OwnerUserId="24453" LastEditorUserId="24453" LastEditDate="2019-02-15T13:03:36.297" LastActivityDate="2019-02-15T13:03:36.297" Title="Best way to handle stream with ffmpeg and GPU" Tags="|ffmpeg|streaming|transcoding|nvenc|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25990" PostTypeId="2" ParentId="25934" CreationDate="2019-02-15T07:00:57.797" Score="1" Body="&lt;p&gt;If you have Final Cut Pro X, there is a much better way to do this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Choose the project you want to export (unfortunately you can only take one, so your versions will be lost), and open it in Final Cut Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will create a giant Final Cut Pro file.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now create a new library, make sure all the settings are set up to not store media in the library, and copy the timeline from the old library to the new. &lt;a href=&quot;https://video.stackexchange.com/a/25957/24076&quot;&gt;Credit goes to this answer&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You now have a highly optimized Final Cut Pro file with all the media/cache/etc stored externally.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="24076" LastActivityDate="2019-02-15T07:00:57.797" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25991" PostTypeId="1" AcceptedAnswerId="25993" CreationDate="2019-02-15T13:29:57.103" Score="1" ViewCount="1216" Body="&lt;p&gt;Back in the day they were everywhere [There was even a handheld Panasonic one!] but today they dont exist at all?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't find any 3CCD camcorders with SD card video recording because I don't want to fiddle with Mini DV&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What happened? Are there any Full HD or 4k 3CCD camcorders these days?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looks like the ugly CMOS replaced them... &lt;/p&gt;&#xA;" OwnerUserId="23721" LastEditorUserId="23721" LastEditDate="2019-02-15T18:20:07.503" LastActivityDate="2022-08-08T02:33:02.083" Title="What happened to the 3CCD camcorders?" Tags="|camcorder|image-sensors|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25992" PostTypeId="1" AcceptedAnswerId="26000" CreationDate="2019-02-15T17:30:07.123" Score="1" ViewCount="299" Body="&lt;p&gt;I started using my Action camera as Webcam via USB - works good. I wanted longer cable so googled a bit how to extend USB cable and found solution two USB extenders via RJ45 cable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Computer &amp;lt;--&gt; usb 2.0 to RJ45 &amp;lt;--&gt; RJ45 UTP cable &amp;lt;--&gt; RJ45 to micro USB &amp;lt;--&gt; action camera&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is, camera is not turning on - basically I bought extenders which are converting RJ45 to USB (and micro usb on the other side).&#xA;Question is how to make it happen ? Invert signal or something is possible ? Camera is dead and extenders are not showing any traffic on led lights. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;More details&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;USB 2.0 port on motherboard has not been modified. Both USB to RJ45 are working - tested when plugging in etrhent cable to usb. To give you more information, here are the models I am using - so from motherboard USB is going Edimax EU-4208 which is connected to RJ45 cable, that cable (1m) is going to ICY BOX IB-AC510 and from this, its going via microusb to action camera Eken H9. I am very afraid that this will not work as they are only converters or is there any hope ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="24458" LastEditorUserId="24458" LastEditDate="2019-02-17T00:25:34.487" LastActivityDate="2019-02-17T00:27:31.160" Title="Action camera connected via two usb extenders and RJ45 doesnt work?" Tags="|action-cam|usb|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="25993" PostTypeId="2" ParentId="25991" CreationDate="2019-02-15T18:18:15.090" Score="4" Body="&lt;p&gt;&quot;The ugly CMOS replaced CCD&quot; because of cost, complexity, power consumption, pixel density, light sensitivity, etc. In every regard — except of the rolling shutter artefacts, of course — CMOS sensors are better. They also do not exhibit the saturation trail effect, the vertical &quot;ray of light&quot; that occurs when pointing a CCD camera towards very bright light source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can find a 10-year old tapeless 3CCD-based camcorder on eBay for less than $100. For example, Panasonic HDC-SD5 or HDC-SD9, the latter records progressive HD at 24 fps. Better than Super8 ;-)&lt;/p&gt;&#xA;" OwnerUserId="22079" LastEditorUserId="22079" LastEditDate="2019-02-15T22:30:22.867" LastActivityDate="2019-02-15T22:30:22.867" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="25994" PostTypeId="1" CreationDate="2019-02-16T03:55:37.417" Score="0" ViewCount="260" Body="&lt;p&gt;I've got some super 8 video from 1975 that I had digitized, and the color is pretty wonky (here's a screen capture, we're actually skiing down a snow-covered road)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KhiWu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KhiWu.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I assume it's the film itself and not the digitization, but now what?  I don't have a professional editing setup, but I do have Sony Vegas Movie Studio HD Platinum 11.0 which has a color corrector filter but I have no idea how to set the color corrector to improve the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JoN1d.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JoN1d.png&quot; alt=&quot;color corrector&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I figure out what settings to use?  Will this tool do what I need?&lt;/p&gt;&#xA;" OwnerUserId="10919" LastActivityDate="2019-02-17T01:17:11.143" Title="Color-correcting super 8 video from 1975" Tags="|video-editor|color-correction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25996" PostTypeId="1" CreationDate="2019-02-16T11:56:36.817" Score="1" ViewCount="71" Body="&lt;p&gt;I've got two source clips, and I want specific frames to line up across the merged playback sequence. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Eg.&#xA; clip1@frame38 &amp;amp; clip2@frame27 &amp;gt;&amp;gt; merge1@frame27&#xA; clip1@frame56 &amp;amp; clip2@frame40 &amp;gt;&amp;gt; merge1@frame56&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This requires the playback-speed of at least one source clip to be modulated between the synchronization points on the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Resolve, but if you know how to do this in fcpx or premiere that's fine too.&lt;/p&gt;&#xA;" OwnerUserId="24463" LastActivityDate="2019-02-17T09:35:55.920" Title="Merge clips with playback-speed automation" Tags="|premiere|final-cut-pro-x|davinci-resolve|fcpx|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25998" PostTypeId="2" ParentId="25996" CreationDate="2019-02-16T16:13:33.260" Score="2" Body="&lt;p&gt;I'm a novice in Resolve, Premiere, and FCPX, but in case none emerges to write up an in-built or automatic procedure, in your place I would think of it as two ops:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First calculate and apply the correct playback speed adjustment. For your example:&lt;br&gt;&#xA;clip1: 56-38 = 18 frames difference, 19 frames inclusive&lt;br&gt;&#xA;clip2: 40-27= 13 frames difference, 14 frames inclusive&lt;br&gt;&#xA;so to show those frames across the same time span for synchronized playback of both clips, your choices are to&lt;br&gt;&#xA;play clip1 at nineteen fourteenths as fast: 19/14 = 1.357 = 135.7% or&lt;br&gt;&#xA;play clip2 at fourteen nineteenths as fast: 14/19 = 7.368 = 73.68%&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, now that they'll both be playing at the correct speed, it's just a matter of aligning any frame you can conveniently match up between clip1 and clip2.&lt;/p&gt;&#xA;" OwnerUserId="21105" LastEditorUserId="21105" LastEditDate="2019-02-16T16:38:44.043" LastActivityDate="2019-02-16T16:38:44.043" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="25999" PostTypeId="2" ParentId="25987" CreationDate="2019-02-16T23:18:36.380" Score="1" Body="&lt;p&gt;This may be an issue with the Variable Frame Rate (VFR) of either the Sony or LG footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can try two new separate projects with only each of source files at their 'native' framerate and see if either stutters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could then try covert the stuttering source footage to Constant Bit Rate (CBR) using software like Handbrake (&lt;a href=&quot;https://handbrake.fr&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://handbrake.fr&lt;/a&gt;). Where you can transcode (convert) the footage after setting the &lt;strong&gt;Framerate (FPS)&lt;/strong&gt; to 29.97 and selecting &lt;strong&gt;Constant Framerate&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iXWFf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iXWFf.png&quot; alt=&quot;Handbrake example&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24155" LastActivityDate="2019-02-16T23:18:36.380" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26000" PostTypeId="2" ParentId="25992" CreationDate="2019-02-17T00:27:31.160" Score="0" Body="&lt;p&gt;Unfortunately, given the models you mentioned in comments, the purpose of both of your ethernet adapters is to connect usb host devices, like computers, to ethernet network devices, like switches and routers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There do exist purpose-built USB extenders (see: &lt;a href=&quot;https://www.newegg.com/Product/ProductList.aspx?Description=usb%20cat5%20extension&amp;amp;Submit=ENE&quot; rel=&quot;nofollow noreferrer&quot;&gt;example NewEgg search&lt;/a&gt;), some of which have RJ-45 ports to operate over cat5 or cat6 cables just for availability and cost savings—but sadly, that's not what you have. They're also usually considerably more expensive. And they do not work with ethernet data networks, instead only as a matched pair. I'm afraid you'll need to work up another solution.&lt;/p&gt;&#xA;" OwnerUserId="21105" LastActivityDate="2019-02-17T00:27:31.160" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26001" PostTypeId="2" ParentId="25994" CreationDate="2019-02-17T01:17:11.143" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wkwK0.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wkwK0.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Play with color corrector controls. Use &quot;High&quot; control to adjust snow to the tint you prefer, use &quot;Mid&quot; and &quot;Low&quot; to adjust face and hat. As you see, I moved &quot;High&quot; and &quot;Mid&quot; to the green/blue zone to offset red tint, but I moved &quot;Low&quot; to the red/yellow zone because this way the face and the hat looks better to me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you can convert it to black and white with the Black and White effect.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2019-02-17T01:17:11.143" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26002" PostTypeId="2" ParentId="25996" CreationDate="2019-02-17T09:35:55.920" Score="0" Body="&lt;p&gt;This can be achieved with a Fit-to-Fill edit using 4-point editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We will assume: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Clip1&lt;/strong&gt; (38,56) - to be played at 'normal' speed   &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Clip2&lt;/strong&gt; (27,40) - to be fitted / re-timed&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Perform the 4-Point Edit:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Arrange &lt;strong&gt;Clip1&lt;/strong&gt; on the timeline with the desired position/duration&lt;/li&gt;&#xA;&lt;li&gt;Set the In and Out points on the timeline (&lt;em&gt;move playhead on timeline and then key I (in) and O (out)&lt;/em&gt;) - using the positions of the 38th and 56th frame of &lt;strong&gt;Clip1&lt;/strong&gt; as reference&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Fill-To-Fit Clip2&lt;/strong&gt;:&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Load &lt;strong&gt;Clip2&lt;/strong&gt; into the source viewer (&lt;em&gt;double click it in Media Pool&lt;/em&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Set the In and Out points of &lt;strong&gt;Clip2&lt;/strong&gt; in the source viewer (&lt;em&gt;move playhead on source viewer and then key I (in) and O (out)&lt;/em&gt;) - at its 27th and 40th frame respectively &lt;/li&gt;&#xA;&lt;li&gt;Set the target/destination video track (Click the V&lt;em&gt;n&lt;/em&gt; of the desired track - which becomes [V1]). If necessary - add a new track first. &lt;/li&gt;&#xA;&lt;li&gt;Add &lt;strong&gt;Clip2&lt;/strong&gt; to the timeline using &lt;strong&gt;Shift+F11&lt;/strong&gt;. &lt;em&gt;Or&lt;/em&gt; drag/drop onto the Timeline viewer [Fit to Fill] overlay by either dragging from Source viewer to Timeline viewer (when using dual viewer mode), or from Media Pool to Timeline viewer (when using single or dual viewer mode)&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="24155" LastActivityDate="2019-02-17T09:35:55.920" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26004" PostTypeId="1" CreationDate="2019-02-17T21:19:11.803" Score="0" ViewCount="1139" Body="&lt;p&gt;Can ffmpeg count size of stream in bytes? I want to write &lt;code&gt;NUMBER_OF_BYTES&lt;/code&gt; tag for every stream in file output on the fly. Like &lt;code&gt;MKVToolNix&lt;/code&gt; does.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, matroska,webm, from 'm:\S01E18.mkv':   Metadata:&#xA;    encoder         : libebml v1.3.6 + libmatroska v1.4.9&#xA;    creation_time   : 2019-01-02T12:02:39.000000Z   Duration: 00:21:28.83, start: 0.000000, bitrate: 2742 kb/s&#xA;    Stream #0:0: Video: h264 (High), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 25 fps, 25 tbr, 1k tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      BPS-eng         : 2577777&#xA;      DURATION-eng    : 00:21:28.800000000&#xA;      NUMBER_OF_FRAMES-eng: 32220&#xA;&#xA;      NUMBER_OF_BYTES-eng: 415279992 &amp;lt;--- !!!!!!!!!!!!!!!!!!!!&#xA;&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v29.0.0 ('Like It Or Not') 64-bit&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-01-02 12:02:39&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;    Stream #0:1(rus): Audio: aac (LC), 48000 Hz, stereo, fltp (default)&#xA;    Metadata:&#xA;      BPS-eng         : 162801&#xA;      DURATION-eng    : 00:21:28.832000000&#xA;      NUMBER_OF_FRAMES-eng: 60414&#xA;&#xA;      NUMBER_OF_BYTES-eng: 26227949 &amp;lt;--- !!!!!!!!!!!!!!!!!!!!&#xA;&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v29.0.0 ('Like It Or Not') 64-bit&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-01-02 12:02:39&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24071" LastActivityDate="2024-02-22T16:03:45.513" Title="How to make ffmpeg to generate NUMBER_OF_BYTES tag for every stream in file output?" Tags="|video|ffmpeg|mkv|metadata|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26005" PostTypeId="2" ParentId="11980" CreationDate="2019-02-18T01:06:13.213" Score="3" Body="&lt;p&gt;I had a similar need as yours - to produce shorter videos with different scenes from a single large video. I came across &lt;a href=&quot;https://github.com/Breakthrough/PySceneDetect&quot; rel=&quot;nofollow noreferrer&quot;&gt;PySceneDetect&lt;/a&gt; which provides two kinds of cutting method:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;threshold scene detection (detect-threshold): analyzes video for changes in average frame intensity/brightness&lt;/li&gt;&#xA;&lt;li&gt;content-aware scene detection (detect-content): based on changes between frames in the HSV color space&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;More information can be found on &lt;a href=&quot;https://pyscenedetect.readthedocs.io/en/latest/features/&quot; rel=&quot;nofollow noreferrer&quot;&gt;their website&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="24472" LastActivityDate="2019-02-18T01:06:13.213" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26006" PostTypeId="2" ParentId="26004" CreationDate="2019-02-18T05:48:36.047" Score="0" Body="&lt;p&gt;FFmpeg can't do this. These tags are not part of the Matroska specification; they are &lt;a href=&quot;https://gitlab.com/mbunkus/mkvtoolnix/wikis/Automatic-tag-generation&quot; rel=&quot;nofollow noreferrer&quot;&gt;idiosyncratic&lt;/a&gt; to mkvtoolnix (7.0+).&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-02-18T05:48:36.047" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26008" PostTypeId="1" CreationDate="2019-02-18T21:32:01.830" Score="0" ViewCount="1591" Body="&lt;p&gt;I've got a long video (2 hours at high resolution). We might as well assume it's in mp4 format, because it's in an AVCHD, and I'll have to extract and convert it to mp4 anyhow. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to extract from it about 40 clips, of varying lengths. I know the &quot;start&quot; and &quot;stop&quot; time for each. It might look like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;0:00:15 to 0:01:30 -&amp;gt; clip1.mp4&#xA;0:01:55 to 0:03:10 -&amp;gt; clip2.mp4&#xA;0:03:45 to 0:05:12 -&amp;gt; clip2.mp4&#xA; ... (many more lines)&#xA;1:55:45 to 1:57:11 -&amp;gt; clip41.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I can certainly write a script to extract each of these individually (via something like what's described &lt;a href=&quot;https://video.stackexchange.com/questions/3274/what-is-a-good-efficient-way-to-isolate-clips-from-long-movies&quot;&gt;here&lt;/a&gt;), but that requires &quot;reading through&quot; the source forty times, which can be slow. Is there a way to get ffmpeg to do this in some sort of sequential fashion in a single pass? Or do I just resign myself to an overnight background process? &lt;/p&gt;&#xA;" OwnerUserId="24475" LastEditorUserId="24475" LastEditDate="2019-02-18T22:44:55.740" LastActivityDate="2019-05-03T17:25:38.020" Title="(Efficiently) Extract multiple clips from a long video, possibly with ffmpeg" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="26010" PostTypeId="1" CreationDate="2019-02-19T09:33:05.930" Score="2" ViewCount="335" Body="&lt;p&gt;I own a Canon 77D DSLR and am just getting started with filmmaking. I have a variable ND filter etc. I wonder if this DSLR would produce better quality videos than my iPhone X (with FiLMiC pro)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that 77D doesn't shoot in 4K whereas iPhone X does. But what about the quality of 1080p at 24fps?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;iPhone X also seems to have some optical image stabilization. Is it better than Canon's electronical stabilizer for videos in Digic 7 chip?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know much about codecs and stuff hence why I ask here.&lt;/p&gt;&#xA;" OwnerUserId="24349" LastActivityDate="2019-11-18T23:01:55.213" Title="iPhone X or Canon 77D - which will produce better quality?" Tags="|dslr|iphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26012" PostTypeId="2" ParentId="25686" CreationDate="2019-02-19T09:42:23.633" Score="2" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IKzWJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IKzWJ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use the track motion where you can move and resize images&lt;/p&gt;&#xA;" OwnerUserId="24479" LastActivityDate="2019-02-19T09:42:23.633" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26015" PostTypeId="1" CreationDate="2019-02-19T12:25:21.060" Score="0" ViewCount="24" Body="&lt;p&gt;How can I create a time lapsed image like &lt;a href=&quot;https://www.researchgate.net/profile/Rajnikant_Sharma/publication/304816948/figure/fig11/AS:667925484695559@1536257253259/Time-lapse-image-of-the-quadrotor-following-a-circular-path-in-the-capture-volume-at-RISC.ppm&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;? (they are the same drone at 6 different time instances)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/xJ9jM.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xJ9jM.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;I am not a professional video editor, but rather just an end user.&#xA;So is there any online service or free software that allows me to achieve this effect? My video is shot from a tripod and the camera is not moved/zoomed during the whole process.&lt;/p&gt;&#xA;" OwnerUserId="24485" LastActivityDate="2019-02-19T12:25:21.060" Title="How could I create a time lapsed image" Tags="|video|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="26016" PostTypeId="2" ParentId="26008" CreationDate="2019-02-19T14:02:53.703" Score="1" Body="&lt;p&gt;According to @Gyan, the referenced command does an efficient job, and won't read through MP4s but use an index to jump to the inpoint. So there's no real need to optimize. &lt;/p&gt;&#xA;" OwnerUserId="24475" LastActivityDate="2019-02-19T14:02:53.703" CommentCount="0" CommunityOwnedDate="2019-02-19T14:02:53.703" ContentLicense="CC BY-SA 4.0" />
  <row Id="26018" PostTypeId="1" CreationDate="2019-02-19T19:12:46.160" Score="0" ViewCount="654" Body="&lt;p&gt;I am having this ridiculous problem in Cinema 4D. Trying to render it gives me a black screen. I tried adding lights, infinite lights sky, turning off OpenGL rendering... but nothing happens!! I have searched everywhere for a solution but nobody seems to have a problem like this. It worked about a day ago. I updated my graphics driver too.. still nothing happens. Also, EVERYTHING is black, not just one object.&lt;a href=&quot;https://i.stack.imgur.com/K6gGO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/K6gGO.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24488" LastActivityDate="2019-02-19T19:12:46.160" Title="BLACK SCREEN IN CINEMA 4D" Tags="|cinema4d|" AnswerCount="0" CommentCount="2" ClosedDate="2019-02-20T10:10:03.133" ContentLicense="CC BY-SA 4.0" />
  <row Id="26019" PostTypeId="1" AcceptedAnswerId="26024" CreationDate="2019-02-20T09:30:35.790" Score="0" ViewCount="3992" Body="&lt;p&gt;I have a composition &quot;A&quot; with subcomposition &quot;B&quot;. When one duplicates composition &quot;A&quot; to &quot;A2&quot;, then both reference to the same subcomposition &quot;B&quot;. I need that they reference independent subcompositions. How can I achive this?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;This is what I tried&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;I followed the instructions from &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/XwzX9Urbxbw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;clicked &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;D&lt;/kbd&gt; to duplicate Layer A and B&lt;/li&gt;&#xA;&lt;li&gt;selected copy B2 and reference B from A2, clicked &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;Alt&lt;/kbd&gt;+&lt;kbd&gt;/&lt;/kbd&gt; to replace, but didnt work ( I have a german keyboard, maybe this shortcut doesn't work, because nothing happend.)&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Also I simply tried to follow &lt;a href=&quot;https://video.stackexchange.com/questions/15767/copying-all-settings-of-one-composition-in-ae&quot;&gt;Copying All Settings Of One Composition in AE&lt;/a&gt; by just duplicating &quot;B&quot; to &quot;B2&quot; and inserting &quot;B2&quot; in &quot;A2&quot;. However I also need that &quot;B2&quot; has the same transform and masksettings as &quot;B&quot; in composition &quot;A2&quot;. If I select the transform settings, press &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;C&lt;/kbd&gt;, click on reference &quot;B2&quot; and press &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;V&lt;/kbd&gt; nothing happens. It seems that I can't copy the settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using Adobe After Effect 2015 CC&lt;/p&gt;&#xA;" OwnerUserId="19744" LastActivityDate="2019-02-25T14:09:24.863" Title="How to duplicate composition and subcompositions?" Tags="|after-effects|compositing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26021" PostTypeId="2" ParentId="18320" CreationDate="2019-02-20T23:58:29.303" Score="1" Body="&lt;p&gt;I work with DataClay have built out several automated AE Comps allowing for thousands of personalized videos to be rendered based on data. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would highly recommend dataclay.com&lt;/p&gt;&#xA;" OwnerUserId="24501" LastEditorUserId="2836" LastEditDate="2019-02-21T03:01:22.473" LastActivityDate="2019-02-21T03:01:22.473" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26022" PostTypeId="1" CreationDate="2019-02-21T03:11:58.037" Score="0" ViewCount="973" Body="&lt;p&gt;I would like to create an animation to open circumference of a circle as a straight line exactly. I am currently learning After Effects and i have some idea about it but i could not do it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is very important to me. Can anyone help me to do it?&lt;/p&gt;&#xA;" OwnerUserId="24503" LastActivityDate="2019-08-24T12:17:06.057" Title="How can i open circumference of circle as straight line in After Effects?" Tags="|after-effects|animation|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26023" PostTypeId="2" ParentId="25863" CreationDate="2019-02-21T06:32:23.210" Score="1" Body="&lt;p&gt;You can achieve this by the using Default Media Scaling preference, which takes effect when you subsequently import media and/or add to the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt; &gt; &lt;strong&gt;Preferences&lt;/strong&gt; &gt; &lt;strong&gt;Media&lt;/strong&gt; &gt; &lt;strong&gt;Default Media Scaling&lt;/strong&gt; and choose &quot;None&quot;, &quot;Scale to Frame size&quot; or &quot;Set to Frame size&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Scale to Frame size&lt;/strong&gt;: Will resize the media clip &lt;em&gt;virtually&lt;/em&gt; at import - such that when added to the timeline at 100% it fits the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Set to Frame size&lt;/strong&gt;: Will set the media scaling dynamically using the effects control, such that at 50% (in your example) it fits the frame. Importantly - you can then rescale the media up on the timeline without loosing the original quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also use Clip &gt; Video Options &gt; Scale/Set ... (with clips selected in the Media Library or Timeline) to rescale clips in the manner stated above. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EWVtO.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EWVtO.gif&quot; alt=&quot;Set Import Scaling&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24155" LastActivityDate="2019-02-21T06:32:23.210" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26024" PostTypeId="2" ParentId="26019" CreationDate="2019-02-21T07:52:11.440" Score="1" Body="&lt;p&gt;Make all your duplications in the Project Panel, not in the Layer/Timeline panels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Duplicate Comp A&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Duplicate Comp B&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Double click Comp A2 to open it in the timeline.  It will still contain Comp B. We need to fix this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure Comp A2 is still open and visible in the timeline&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select Comp B 2 in the Project Panel&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select the Comp B layer in your Comp A 2 timeline&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hold down the &lt;kbd&gt;option&lt;/kbd&gt; key on a mac (&lt;kbd&gt;alt&lt;/kbd&gt; on a PC)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Drag Comp B 2 from your Project Panel over the top of Comp B in your timeline panel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let go of the dragging. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Comp B in your timeline panel should now be replaced with Comp B 2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a bit of a faff, but gets easier after you've done it a few times.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2019-02-25T14:09:24.863" LastActivityDate="2019-02-25T14:09:24.863" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="26027" PostTypeId="1" CreationDate="2019-02-21T14:45:08.087" Score="0" ViewCount="187" Body="&lt;p&gt;I'm italian, and I was commissioned a video composed by several interviews to old people living among some hills. The final product now is a 70 minutes long video composed by interviews that are mostly spoken in italian language.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Seldom, though, these elders switch language, and start speaking in the local dialect. That happens quite often for a few words; sometimes, albeit rarely, they speak entire phrases in their dialect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the beginning this didn't seem like an issue because that's a pretty common thing here, and more or less everybody in this region would understand those words, so we didn't ask the elders to just repeat the phrase in italian during the interview. Now, though, those who commissioned the work started to worry about people not getting those words, in case the video gets some distribution outside of this region.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Consequently, I find myself in the necessity to create some proper subtitles (dialect to italian). The issue is that I'm not sure about how to format them in those situations where the dialect appears only for a few words in the middle of a phrase.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course when the phrase is entirely in dialect it would get entirely subtitled. But what when it's just a word or two? Is there some international standard? Did you ever happen to find a precedent to this situation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The options I'm currently thinking of are these:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;subtitling the entire phrase like it was entirely spoken in dialect;&lt;/li&gt;&#xA;&lt;li&gt;making a subtitle which includes only the dialect word and its translation.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Per fare il &lt;strong&gt;savorèt&lt;/strong&gt; prendi delle mele, e le grattugi.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;meaning:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;To make jam you take apples, and you shred them.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The bold word is spoken in dialect, not in italian.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Subtitles' option 1:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Per fare la marmellata prendi le mele, e le grattugi.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Subtitles' option 2:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Savorèt = marmellata.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;While the first option is certainly clearer, it also sounds excessive and I fear it wouldn't fit well in the overall aesthetic of the video. Putting an entire phrase, written in the exactly same way it is spoken except for one word, in front of the spectator, thus implying it has to read it, seems almost offensive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second option sounds more interesting. The subtitle might appear by fading, so that it doesn't come in too abruptly. At the same time I fear that they'd require the viewer to give even more attention to the phrase being spoken, to recognize the weird words and fitting the translated word in their place. That might be confusing to some.&lt;/p&gt;&#xA;" OwnerUserId="11090" LastActivityDate="2024-03-27T17:03:30.393" Title="How to manage subtitles for dialects" Tags="|subtitles|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26031" PostTypeId="2" ParentId="26027" CreationDate="2019-02-21T20:33:34.107" Score="0" Body="&lt;p&gt;I wouldn't do the second option at all. Subtitles should flow with the text, an comparision sign disturbs the flow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I personally would prefere to simply rewrite the entire sentence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on your distribution media, I would make it closed captions, so people can turn off or on the translation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe, you could consider to translate the entire project, as this could be a less intrusive than switching subtitles on and off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I would handle it like most documentarys, when there are other languages involved. Simply translate the sentence.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-21T20:33:34.107" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26032" PostTypeId="2" ParentId="26022" CreationDate="2019-02-21T20:38:10.093" Score="0" Body="&lt;p&gt;See &lt;a href=&quot;https://forums.adobe.com/thread/1601711&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to transform a Circle into a Straight line?&lt;/a&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here, Rick Gerard gives a few suggestions how you could do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess the best way would be to make a line and bend it like a circle, zoom really far in and put the end points near each other, but don't connect them.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastEditorUserId="18155" LastEditDate="2019-08-24T12:17:06.057" LastActivityDate="2019-08-24T12:17:06.057" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26033" PostTypeId="2" ParentId="26010" CreationDate="2019-02-21T20:43:17.267" Score="1" Body="&lt;p&gt;Well, this hardly depends on what you want to do and need.&#xA;If you simply want to create cinematic images, 77D will be a lot better because of the bigger sensor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need highly technical and sharp images, like I would expect it from a tech YT channel, I would take the iPhone X.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the end, it matters more how you handle the camera, than what it can.&#xA;Espacially lighting will make a huge difference on both cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So facts are, iPhone X video will look cleaner, but 77D will be more easily to achieve cinematic footage and give character to the image&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-21T20:43:17.267" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26037" PostTypeId="1" CreationDate="2019-02-23T00:15:43.107" Score="0" ViewCount="502" Body="&lt;p&gt;I have 2 video clips and their start time differs in a few seconds, as in the first camera started recording at 13:20:35, and the second camera started the recording at 13:21:00. &#xA;These cameras have a syncbac attached to it which inserts timecode into the mp4 stream. I want to extract the timecode from the mp4 and then trim the 25 seconds from the first video so that the timecode on the starting frame of each video is EXACTLY the same. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So basically - I want the first frame of both the videos to have the EXACT timecode. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions how to get this? I am guessing ffprobe or ffmpeg is the solution, but any exact command?&lt;/p&gt;&#xA;" OwnerUserId="24522" LastActivityDate="2019-02-23T00:15:43.107" Title="Extract timecode per frame" Tags="|video|timecode|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26038" PostTypeId="1" CreationDate="2019-02-23T04:23:18.040" Score="0" ViewCount="280" Body="&lt;p&gt;all...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to do a two camera shoot but one camera records 10-bit 4:2:2 and the other 8-bit 4:2:2. Can I put clips from both cameras on the same timeline in Premiere Pro?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Steve&lt;/p&gt;&#xA;" OwnerUserId="17623" LastActivityDate="2024-04-04T02:06:15.750" Title="Premiere Pro: Multiple bit depths in same timeline?" Tags="|premiere|video-recording|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26040" PostTypeId="1" AcceptedAnswerId="26041" CreationDate="2019-02-24T06:21:52.313" Score="0" ViewCount="2297" Body="&lt;p&gt;You can specify multiple inputs to FFMPEG and mix them into a single output. I understand the basics of this, for example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i vid1.mp4 -i vid2.mp4 [commands] output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What I can't figure out is how I can specify different commands for each input. For example, I have the following I'm trying to do:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i vid1.m2t -i vid2.mp4 -map 0:a -filter_complex &quot;[0:v:0][1:v:0]vstack=inputs=2&quot; -crf 24 -c:a aac -b:a 128k -ac 1 -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;vid1.m2t&lt;/code&gt; is a 1440 anamorphic hdv mpeg stream, and &lt;code&gt;vid2.mp4&lt;/code&gt; is a regular 1920 h.264. Using &lt;code&gt;-filter_complex &quot;[0:v:0][1:v:0]vstack=inputs=2&quot;&lt;/code&gt; I'm trying to stack vid1 on top of vid2, but I get the error that says it can't proceed because the two videos are not the same width. Well, yes, except in &lt;em&gt;display&lt;/em&gt; the m2t is actually 1920 wide, not 1440.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I'm converting just the hdv by itself, I use &lt;code&gt;-filter_complex &quot;scale=1920:1080,setsar=1&quot;&lt;/code&gt; to ensure square pixels. I know that works well, but how can I incorporate that into this vstack command? If I put it in with the other I get errors. I've tried a variety of different ways, including before the input (thinking that would make ffmpeg apply it only to the input before sending it to the other commands for output), but they all make errors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, I wonder if the &lt;code&gt;-crf 24&lt;/code&gt; command can be specified for each input. When converting individually the m2t needs to be at 24 or less, or it looks bad, while the mp4 can be as high as 30. I might be misunderstanding what vstack does, but I would think that if I can tell ffmpeg to give different attention to quality for each input would lessen file size.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I have the same issue with &lt;code&gt;hstack&lt;/code&gt;. FFMPEG will render the output, but the m2t file comes out 1440 wide, therefore skewed. So the total video width is 3360 wide, instead of 3840.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Maybe more specific to this exact problem, how can I use vstack or hstack when the inputs have different dimensions?&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2019-02-24T06:27:41.467" LastActivityDate="2019-02-24T08:57:17.303" Title="How to specify different flags for inputs with FFMPEG?" Tags="|ffmpeg|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26041" PostTypeId="2" ParentId="26040" CreationDate="2019-02-24T07:34:42.487" Score="1" Body="&lt;p&gt;Suppose a video stream is 1440x1080 with sample/pixel aspect ratio of 1.333, leading to a display of 1920x1080. Realize that the actual resolution of the stream, and what's stored in the file, is 1440x1080. The aspect ratio flag tells the consuming app (player/editor..) that the intended display proportion is different than the raw ratio of the width to height and that it should use the aspect ratio to rescale the video to produce an accurate display. FFmpeg will not automatically make a video square-pixel since the user may not want that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The stack filters require that all streams have the same size at the interface that they are joined at - for hstack, that's height, and for vstack, that's width. Only the raw size matters, the aspect ratio is just an informational flag.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, you'll have to rescale the first input before stacking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i vid1.m2t -i vid2.mp4 -filter_complex &quot;[0:v:0]scale=iw*sar:ih,setsar=1[vid1];[vid1][1:v:0]vstack=inputs=2&quot; -map 0:a -crf 24 -ac 1 -c:a aac -b:a 128k -movflags +faststart output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as the encoder is concerned, it is just presented with one stream of 1920x2160 - the historical provenance and composition is lost. Now, if you want to apply different levels of compression to parts of the frame, that's called &lt;strong&gt;R&lt;/strong&gt;egion &lt;strong&gt;O&lt;/strong&gt;f &lt;strong&gt;I&lt;/strong&gt;nterest encoding. Some initial patches were applied last month to allow this for x264 and x265, but it is not operational yet. I'll update this answer when it becomes so, but for now, you can only assign a single CRF value for the whole frame.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-02-24T08:57:17.303" LastActivityDate="2019-02-24T08:57:17.303" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26042" PostTypeId="1" CreationDate="2019-02-24T16:18:00.887" Score="2" ViewCount="3094" Body="&lt;p&gt;all day I'm trying through ffmpeg to add this frame to this video ..&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    mpca86@mpca86-HPPro6300SFF:~/sklad/Stiahnuté$ ffmpeg -i 20190224_081118.mp4 -hide_banner&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '20190224_081118.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    ro.build.version.sdk: 28&#xA;    ro.build.version.release: 9&#xA;    creation_time   : 2019-02-24T07:11:42.000000Z&#xA;  Duration: 00:00:17.81, start: 0.000000, bitrate: 4564 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Constrained Baseline) (avc1 / 0x31637661), yuv420p, 896x1920, 4553 kb/s, SAR 1:1 DAR 7:15, 27.29 fps, 90k tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-02-24T07:11:42.000000Z&#xA;      handler_name    : VideoHandle&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vsTtr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vsTtr.png&quot; alt=&quot;Frame to video&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is anyone willing to help me?&lt;/p&gt;&#xA;" OwnerUserId="24531" LastActivityDate="2019-02-24T18:16:09.670" Title="Add an image as frame of video using ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26043" PostTypeId="2" ParentId="26042" CreationDate="2019-02-24T18:16:09.670" Score="2" Body="&lt;p&gt;Basic syntax is&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i 20190224_081118.mp4 -framerate 30 -i frame.png -filter_complex &quot;[0]pad=1920:1080:576:0[vid];[vid][1]overlay&quot; -c:a copy -movflags +faststart out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This pads the video to the size of the frame image, and then overlays the frame on top. You may need to adjust the horizontal placement of the video by adjusting the &lt;code&gt;x&lt;/code&gt; value ib the pad filter, currently &lt;code&gt;576&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-02-24T18:16:09.670" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26044" PostTypeId="1" AcceptedAnswerId="26051" CreationDate="2019-02-24T18:42:55.380" Score="0" ViewCount="438" Body="&lt;p&gt;I am trying to use a shape layer with set matte to mask off everything behind the screen, but it does not appear to be working here is a video &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/zGA80iToL2A?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;Please help&lt;/p&gt;&#xA;" OwnerUserId="24533" LastActivityDate="2019-11-14T14:05:13.280" Title="Set Matte not masking layers the same" Tags="|after-effects|effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26045" PostTypeId="2" ParentId="24506" CreationDate="2019-02-24T19:04:33.077" Score="2" Body="&lt;p&gt;I assume that you have a sound channel recorded on the camera which is in sync with the picture. In that case you only have to find the offset between the audio channels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This tool claims just that: &lt;a href=&quot;https://github.com/bbc/audio-offset-finder&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/bbc/audio-offset-finder&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I never tried it yet, but I would be very interested on your experiences if you would give it a try. &lt;/p&gt;&#xA;" OwnerUserId="24532" LastActivityDate="2019-02-24T19:04:33.077" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26046" PostTypeId="1" CreationDate="2019-02-24T19:59:16.203" Score="2" ViewCount="2515" Body="&lt;p&gt;I’ve discovered some corrupt frames in the footage I am working on (.mxf format, shot on Sony PXW 70, I only have access to the files copied to the hard drive, and the broken frames are in the unedited files).&#xA;I’ve checked the file with ffmpeg -v error -i (“[h264 @ 0x7fedd70abe00] error while decoding MB 15 37, bytestream -5”) and tried to repair it with ffmpeg -y -i. Not an experienced user though, so unsurprisingly that didn’t work, same broken frame in the same place in the output file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here’s the frame itself: &lt;a href=&quot;https://i.stack.imgur.com/pwVkj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/pwVkj.jpg&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I guess my questions are: What might be the cause of that? Is there a way to fix it/avoid it in the future?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would be super thankful for any advice (googling hints included).&lt;/p&gt;&#xA;" OwnerUserId="24535" LastActivityDate="2019-02-24T19:59:16.203" Title="Corrupt frames: what to do" Tags="|ffmpeg|video-quality|software-recommendation|recommendation|mxf|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="26047" PostTypeId="1" CreationDate="2019-02-24T22:11:38.270" Score="0" ViewCount="94" Body="&lt;p&gt;I am using a Rapsberry pi zero with a camera. For my use-case i need to pack the output of the camera directly into a mp4 container. Encoding it afterwards is for now not an option.&#xA;I tried to start a recording with the following code but this results in a recording that has frozen frames for a few secs followed by either a cut or a speed up untill it catches up to realtime again.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/usr/bin/raspivid -o - --framerate 30 -b 3000000 --width 1920 --height 1080 --sharpness 0 --contrast 0 --saturation 0 --brightness 50 --timeout 0 | sudo ffmpeg -r 30 -use_wallclock_as_timestamps true -i - -y -vcodec copy /media/video/testingNOW.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried to run everything with the standart settings which again results in said behaviour.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/usr/bin/raspivid -o - --width 1920 --height 1080 --timeout 0 | sudo ffmpeg -use_wallclock_as_timestamps true -i - -y -vcodec copy /media/video/testingNOW.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What am i doing wrong ?&lt;/p&gt;&#xA;" OwnerUserId="24536" LastActivityDate="2019-02-24T22:11:38.270" Title="Raspivid piped into ffmpeg results in jumps and frozen screens in the recording" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26048" PostTypeId="2" ParentId="26038" CreationDate="2019-02-25T04:40:55.193" Score="0" Body="&lt;p&gt;Yes. Premiere can handle different codecs, dimensions, frame rates, and bit depths etc. just fine.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-02-25T04:40:55.193" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26049" PostTypeId="2" ParentId="26019" CreationDate="2019-02-25T06:16:25.367" Score="0" Body="&lt;p&gt;I wrote a script to do this automagically, with the option of recursing into all the sources of the precomps, to enable totally independent versions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Available free on my &lt;a href=&quot;https://blob.pureandapplied.com.au/the-cloninator/&quot; rel=&quot;nofollow noreferrer&quot;&gt;blog here&lt;/a&gt;. Full disclosure: the software is completely free and open source, I wrote it for my own use and don't get anything whether or not you choose to install it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-02-25T06:16:25.367" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26051" PostTypeId="2" ParentId="26044" CreationDate="2019-02-25T08:14:13.670" Score="0" Body="&lt;p&gt;Not sure about Set Matte, but you could try setting the transfer mode of the shape layer to Silhouette Alpha? That will cut out everything beneath that layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(You currently have the transfer modes hidden. Right click on the title bar above your layer names, click to Columns-&gt;Modes)&lt;/p&gt;&#xA;" OwnerUserId="11938" LastActivityDate="2019-02-25T08:14:13.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26052" PostTypeId="2" ParentId="16720" CreationDate="2019-02-25T10:35:49.003" Score="1" Body="&lt;p&gt;The easiest way to do this is to NEST each clip. Select the Video portion and Audio portion together. Right click with your mouse and select &quot;Nest...&quot;. Rename to desired sequence name (Remember to copy this name and use for every new Nest you create, so you can have the sequence name be same, like, CUT_01, CUT_02, etc..). Then, once finished, create a new bin in project and organize all cuts there. Not only is this the fastest way to do this, but also helps you keep all Nested Sequences in the same timeline. This will save you a lot of time. &lt;/p&gt;&#xA;" OwnerUserId="24545" LastActivityDate="2019-02-25T10:35:49.003" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26053" PostTypeId="1" CreationDate="2019-02-25T11:09:00.213" Score="0" ViewCount="3886" Body="&lt;p&gt;I am trying to record an input SRT stream with &lt;code&gt;ffmpeg 4.0&lt;/code&gt; and even though it is recognized as a valid stream and the input stream is around 2.5Mbps, the recording is with only 80-120Kbps. I understand that &lt;code&gt;ffmpeg&lt;/code&gt; by default is cutting the null PIDs but even though I would have expected an input bitrate of around 2.2Mbps. This is the command I am using: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -re -i srt://10.88.159.70:10000 -c copy -f mpegts /tmp/srt_listener_recording_ffmpeg.ts&#xA;Input #0, mpegts, from 'srt://10.88.159.70:10000':&#xA;  Duration: N/A, start: 4155.366989, bitrate: N/A&#xA;  Program 1&#xA;    Stream #0:0[0x1e1]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(top first), 1920x1080 [SAR 1:1 DAR 16:9], 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:1[0x1e2]: Audio: aac (LC) ([15][0][0][0] / 0x000F), 48000 Hz, stereo, fltp, 133 kb/s&#xA;Output #0, mpegts, to '/tmp/srt_listener_recording_ffmpeg.ts':&#xA;  Metadata:&#xA;    encoder         : Lavf58.12.100&#xA;    Stream #0:0: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(top first), 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 25 fps, 25 tbr, 90k tbn, 90k tbc&#xA;    Stream #0:1: Audio: aac (LC) ([15][0][0][0] / 0x000F), 48000 Hz, stereo, fltp, 133 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame=    0 fps=0.0 q=-1.0 Lsize=    1808kB time=00:01:44.32 bitrate= 142.0kbits/s speed=0.994x&#xA;video:0kB audio:1623kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 11.393347%&#xA;Exiting normally, received signal 2.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is my &lt;code&gt;ffprobe&lt;/code&gt; output: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe -i /tmp/srt_listener_recording_ffmpeg.ts&#xA;ffprobe version 4.0 Copyright (c) 2007-2018 the FFmpeg developers&#xA;  built with gcc 7 (Ubuntu 7.3.0-16ubuntu3)&#xA;  configuration: --pkg-config-flags=--static --extra-libs='-lpthread -lm' --toolchain=hardened --enable-gpl --enable-nonfree --enable-version3 --disable-stripping --enable-avisynth --enable-libass --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-librubberband --enable-libshine --enable-libsnappy --enable-libssh --enable-libtwolame --enable-libwavpack --enable-libzvbi --enable-openal --enable-sdl2 --enable-libdrm --enable-frei0r --enable-ladspa --enable-libpulse --enable-libsoxr --enable-libspeex --enable-avfilter --enable-postproc --enable-pthreads --enable-libfdk-aac --enable-libmp3lame --enable-libopus --enable-libtheora --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --disable-ffplay --enable-libopenjpeg --enable-libsrt --enable-libwebp --enable-libxvid --enable-libvidstab --enable-libopenh264 --enable-zlib --enable-openssl&#xA;  libavutil      56. 14.100 / 56. 14.100&#xA;  libavcodec     58. 18.100 / 58. 18.100&#xA;  libavformat    58. 12.100 / 58. 12.100&#xA;  libavdevice    58.  3.100 / 58.  3.100&#xA;  libavfilter     7. 16.100 /  7. 16.100&#xA;  libswscale      5.  1.100 /  5.  1.100&#xA;  libswresample   3.  1.100 /  3.  1.100&#xA;  libpostproc    55.  1.100 / 55.  1.100&#xA;[mpegts @ 0x55b24141afc0] start time for stream 0 is not set in estimate_timings_from_pts&#xA;[mpegts @ 0x55b24141afc0] Could not find codec parameters for stream 0 (Video: h264 ([27][0][0][0] / 0x001B), none): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, mpegts, from '/tmp/srt_listener_recording_ffmpeg.ts':&#xA;  Duration: 00:01:44.26, start: 1.400000, bitrate: 142 kb/s&#xA;  Program 1&#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;    Stream #0:0[0x100]: Video: h264 ([27][0][0][0] / 0x001B), none, 90k tbr, 90k tbn, 180k tbc&#xA;    Stream #0:1[0x101]: Audio: aac (LC) ([15][0][0][0] / 0x000F), 48000 Hz, stereo, fltp, 120 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And &lt;code&gt;mediainfo&lt;/code&gt; is not even showing me the video stream: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ mediainfo /tmp/srt_listener_recording_ffmpeg.ts&#xA;General&#xA;ID                                       : 1 (0x1)&#xA;Complete name                            : /tmp/srt_listener_recording_ffmpeg.ts&#xA;Format                                   : MPEG-TS&#xA;File size                                : 1.77 MiB&#xA;Duration                                 : 1 min 44 s&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 142 kb/s&#xA;&#xA;Audio&#xA;ID                                       : 257 (0x101)&#xA;Menu ID                                  : 1 (0x1)&#xA;Format                                   : AAC&#xA;Format/Info                              : Advanced Audio Codec&#xA;Format version                           : Version 4&#xA;Format profile                           : LC&#xA;Muxing mode                              : ADTS&#xA;Codec ID                                 : 15&#xA;Duration                                 : 1 min 44 s&#xA;Bit rate mode                            : Variable&#xA;Channel(s)                               : 2 channels&#xA;Channel positions                        : Front: L R&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 46.875 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;&#xA;Menu&#xA;ID                                       : 4096 (0x1000)&#xA;Menu ID                                  : 1 (0x1)&#xA;List                                     : 257 (0x101) (AAC)&#xA;Service name                             : Service01&#xA;Service provider                         : FFmpeg&#xA;Service type                             : digital television&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;At the same time if I try to play the input SRT stream with &lt;code&gt;VLC&lt;/code&gt; it works just fine and I have picture and audio.&lt;br&gt; &#xA;[EDIT: 25.02.2019] I have created two log files with the following commands:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i udp://225.0.0.0:3000 -c copy -y -f mpegts -loglevel debug /tmp/test_c_copy.ts &amp;amp;&amp;gt; ffmpeg_udp_recording_c_copy.txt&#xA;&#xA;$ ffmpeg -i udp://225.0.0.0:3000 -c:v libx264 -c:a copy -y -f mpegts -loglevel debug /tmp/test_cv_libx264_ca_copy.ts &amp;amp;&amp;gt; ffmpeg_udp_recording_cv_libx264_ca_copy.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The log files, as well as the recordings, could be found at &lt;a href=&quot;https://goo.gl/2fkNpr&quot; rel=&quot;nofollow noreferrer&quot;&gt;Google Drive&lt;/a&gt; &#xA;In addition in the &lt;code&gt;ffmpeg_udp_recording_c_copy.txt&lt;/code&gt; file I see a lot of errors like: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[mpegts @ 0x55ed3b9c7000] Delay between the first packet and last packet in the muxing queue is 10016645 &amp;gt; 10000000: forcing output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19853" LastEditorUserId="19853" LastEditDate="2019-02-25T16:09:06.517" LastActivityDate="2019-02-25T16:09:06.517" Title="FFmpeg with input SRT stream very low bitrate" Tags="|ffmpeg|streaming|vlc|.srt|ffprobe|" AnswerCount="0" CommentCount="13" ContentLicense="CC BY-SA 4.0" />
  <row Id="26054" PostTypeId="1" CreationDate="2019-02-25T11:33:41.043" Score="0" ViewCount="52" Body="&lt;p&gt;I really like these effects and I would like to reproduce it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to point that I don't know how this effect is called. Whether it is made within a camera or in post production?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is 2 videos that have this. They are not identical but I think they are quite similar. I like how the video has some kind of distortion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the first video it is like fast forward with a lot of camera movement. You can see it starting from here&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Xci8hM42Cz0?start=197&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Xci8hM42Cz0?start=226&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the second video it is like fast forward but is slow motion. The effect can be seen when the drummer is in a frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/xg48S4Ino0k?start=664&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/xg48S4Ino0k?start=841&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my questions are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;If it is in camera effect how is it made?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;How to achieve it in video editing software?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="24546" LastActivityDate="2019-02-25T15:57:07.417" Title="Can you give a tip how to create a video with such effect?" Tags="|video|after-effects|video-editor|camera|effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26056" PostTypeId="2" ParentId="26054" CreationDate="2019-02-25T15:22:29.397" Score="1" Body="&lt;p&gt;The lower clip looks like it was shot on film, with a slow shutter speed and slow frame rate, to get lots of motion blur within each frame.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-02-25T15:22:29.397" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26057" PostTypeId="2" ParentId="26054" CreationDate="2019-02-25T15:57:07.417" Score="2" Body="&lt;p&gt;The first one is a so called hyperlapse. Just not a smooth one. It is basically just speed up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Same goes for the second one, just that it also has a diffrent shutter speed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So how to do them:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simply record the walking video and speed it up in post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To achieve the special look in the second one, not every camera can do that. You need a camera with a really low FPS, for example 10, then you also expose 1/10 second. You should get a similair look, then you will need to experiment. But that effect may be hard to achieve on a digital/cheaper camera.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-02-25T15:57:07.417" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26058" PostTypeId="1" CreationDate="2019-02-25T21:34:26.617" Score="0" ViewCount="55" Body="&lt;p&gt;I have an MPEG-TS video file of 60 seconds that was split in half (30 sec x 2 files). When I concatenate back (cat unix) the two video parts, during the play of the video   right at the moment when there's the transition from first half to the second half of the video, I'm getting a gray frame and frames get scrambled for ~1 second until the video continues to play normally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could someone tell me why is this happening ? I only want to understand why it happens and how to theoretically avoid such thing, nothing more. &lt;/p&gt;&#xA;" OwnerUserId="24136" LastEditorUserId="14523" LastEditDate="2019-02-26T02:15:02.913" LastActivityDate="2019-02-26T02:15:02.913" Title="Joining video files together getting gray/scrambled frames at transition point" Tags="|linux|mpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26059" PostTypeId="2" ParentId="16720" CreationDate="2019-02-25T22:22:32.690" Score="-1" Body="&lt;p&gt;Once you have one clip already cut up inside a single sequence, the easiest workaround is probably to make several copies of your current sequence. Within each new sequence, delete all the extra pieces, so that each sequence ends up as just one separate portion of the original clip.&lt;/p&gt;&#xA;" OwnerUserId="17638" LastActivityDate="2019-02-25T22:22:32.690" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26060" PostTypeId="1" CreationDate="2019-02-25T23:29:41.113" Score="0" ViewCount="1447" Body="&lt;p&gt;In &lt;strong&gt;Adobe Media encoder CC&lt;/strong&gt;, the Settings in the drop-down menu have a &lt;em&gt;Match Source&lt;/em&gt; option that will preserve the pixel size of the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1xaL9.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1xaL9.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this &lt;em&gt;&lt;a href=&quot;https://helpx.adobe.com/media-encoder/using/whats-new-ame-cs6.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe Help article&lt;/a&gt;&lt;/em&gt;, the authors of the page state that &lt;strong&gt;Adobe Media Encoder CS6&lt;/strong&gt; can let the user chose &quot;Match Source&quot; in an &quot;&lt;strong&gt;Output&lt;/strong&gt;&quot; panel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/K3GsL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/K3GsL.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have seen this panel in the &lt;strong&gt;Export&lt;/strong&gt; window of &lt;strong&gt;Premiere Pro&lt;/strong&gt; before, but my version of &lt;strong&gt;Adobe Media Encoder&lt;/strong&gt; doesn't seem to have this panel:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/s4Hs1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s4Hs1.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I add projects to &lt;strong&gt;Adobe Media Encoder&lt;/strong&gt;, they show up in the &lt;strong&gt;Queue&lt;/strong&gt; panel, and the settings are in the top right &lt;strong&gt;Preset Browser&lt;/strong&gt; panel. None of them has a &quot;Match Source&quot; option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;em&gt;If I am directly adding video files to the Encoder, which isn't in one of the preset pixel sizes, how do I encode it properly in Adobe Media Encoder CS6?&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="11754" LastActivityDate="2020-11-18T05:06:15.670" Title="Where are the Source Scaling Options in Adobe Media Encoder CS6?" Tags="|encoding|adobe-media-encoder|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26061" PostTypeId="1" CreationDate="2019-02-26T00:04:02.470" Score="0" ViewCount="45" Body="&lt;p&gt;Why does a DVR or CCTV system randomly drop time or frames? I am viewing footage that says it is 12fps but, it is scanning at 10fps. These files were exported as AVI.&#xA;Thanks &lt;/p&gt;&#xA;" OwnerUserId="24551" LastActivityDate="2021-11-18T03:04:15.327" Title="Security video missing time and frames" Tags="|keyframes|avi|footage|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26063" PostTypeId="2" ParentId="24018" CreationDate="2019-02-26T10:49:11.880" Score="0" Body="&lt;p&gt;FCPX doesn't have this behavior built in - My suggestion is to build the effect in Motion using either the spin behavior or keyframes and &lt;code&gt;dropzones&lt;/code&gt; (placeholder layers), and export as an FCPX Template. You can then use it repeatedly from the &lt;code&gt;effects&lt;/code&gt; pane in FCPX directly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://help.apple.com/motion/mac/5.4.2/#/motn1374713f&quot; rel=&quot;nofollow noreferrer&quot;&gt;Spin Behavior&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://help.apple.com/motion/mac/5.4.2/#/motn72925de5&quot; rel=&quot;nofollow noreferrer&quot;&gt;Motion -&gt; FCPX Templates&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20558" LastActivityDate="2019-02-26T10:49:11.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26066" PostTypeId="1" CreationDate="2019-02-26T16:36:18.867" Score="0" ViewCount="43" Body="&lt;p&gt;I'm trying to create a &quot;highlights&quot; gallery for an event that's been livestreamed (say an Apple product launch keynote or similar H264 stream) - is there a way using FFMPEG to dump all the keyframes / a frame every 5 seconds into a folder as images? I can then curate the most interesting ones. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd think that keyframes are a better bet because they'd represent a scene or camera angle change, which would correspond to &quot;interestingness&quot;, but are there any other better ways to do this? &lt;/p&gt;&#xA;" OwnerUserId="24556" LastActivityDate="2019-02-26T16:47:29.987" Title="Dump keyframes of a livestream" Tags="|ffmpeg|live|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26067" PostTypeId="2" ParentId="26066" CreationDate="2019-02-26T16:47:29.987" Score="1" Body="&lt;p&gt;Basic form is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i livestream -vf select=key -vsync 0 -q:v 1 snaps%d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-02-26T16:47:29.987" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26069" PostTypeId="1" CreationDate="2019-02-26T20:45:29.710" Score="1" ViewCount="10" Body="&lt;p&gt;This is my first time posting on this forum.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do a lot of flatlay filming, timelapses, and my videos tend to have lots of cuts. I've noticed that my film gradually shifts between purple tones to greenish tones during filming, and it is incredibly noticeable during timelapses and when cutting from one point in the video to the next. I use a Canon 70D body, but I've experienced this on a Canon Rebel SL2 and on a Canon EOS 6D Mark ii. It might be a default camera setting on all of the cameras, but I think it is more likely that it is my lighting rig.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use a LimoStudio lighting rig ( &lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B00E4YS2XU&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.amazon.com/LimoStudio-Photography-Lighting-Equipment-AGG814/dp/B00E4YS2XU/ref=sr_1_3?keywords=limostudio&amp;amp;qid=1551213285&amp;amp;s=gateway&amp;amp;sr=8-3&lt;/a&gt; ) with fluorescent bulbs. Recently, I bought another lighting rig ( &lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B00MBVOIJU&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.amazon.com/gp/product/B00MBVOIJU/ref=ppx_yo_dt_b_asin_title_o00_s00?ie=UTF8&amp;amp;psc=1&lt;/a&gt; ) and did a test video to see that this lighting rig produces the same warm to cool oscillation, though not quite as pronounced. So now I'm looking for help because I don't know what else to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I film at 60 fps to avoid banding. I usually film at 100 iso and around 5.6 aperture, depending on the lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone else experienced this or found a solution? Is this a fluorescent issue? I am appreciative of anyone who can point me in the right direction.&lt;/p&gt;&#xA;" OwnerUserId="24559" LastActivityDate="2019-02-26T20:45:29.710" Title="Lighting in footage oscillates between warm tones and greenish tones" Tags="|lighting|color-correction|lightworks|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26070" PostTypeId="2" ParentId="26060" CreationDate="2019-02-27T02:15:50.373" Score="1" Body="&lt;p&gt;If you're just looking for the h.264 match source settings preset, you'll find it in the &lt;strong&gt;Preset Browser&lt;/strong&gt; under &lt;strong&gt;System Presets &gt; Broadcast &gt; H.264&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1gfEX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1gfEX.png&quot; alt=&quot;preset browser&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have another preset that you want to use, or if you're wanting to customise one, then if you look at the presets in the queue item you'll see that you can click on the name of the preset to edit the settings—note the blue line when you hover.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mAmog.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mAmog.png&quot; alt=&quot;preset name&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you do that the familiar export settings window will appear, with the great big &lt;strong&gt;Match Source&lt;/strong&gt; button.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pQIdK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pQIdK.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-02-27T02:15:50.373" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26072" PostTypeId="1" CreationDate="2019-02-27T11:50:23.540" Score="2" ViewCount="58" Body="&lt;p&gt;I am a Software Engineer but my knowledge on cameras and/or codecs is very limited. I know that recording a video 9 days on 3 MP and 30 FPS would generate a huge file (probably 60 TB+). So compressing the video with an encoder is probably what I need here. I am mainly developing on the .NET Platform. I found ffmpeg to be able to encode existing videos but also Live Input from Webcams or industrial cameras. &#xA;However I am asking how I can achieve this type of task and what I have to take care of. Do you have any tips on this? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My aim would be to generate a video over a time of 9 days in total. Maybe the video cannot be in one file, but I think it would be good to have one file for each hour or something like this. Is that possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance&lt;/p&gt;&#xA;" OwnerUserId="24567" LastActivityDate="2020-08-16T16:06:15.853" Title="Record video 3MP/30 FPS for 9 days" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26073" PostTypeId="1" CreationDate="2019-02-27T15:18:46.860" Score="0" ViewCount="486" Body="&lt;p&gt;I'm working on a project where I've to do a batch. What i would want its make an animation all long of movie: this animation is mostly in two parts :&#xA;-1st part   Animated apparition of a picture  (0-5s)&#xA;-2nd part   Loop picture animation  (5s-end)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Separately these filters works but i cant make it working together, specifically for the loop filter starting after 5s &lt;/p&gt;&#xA;&#xA;&lt;p&gt;with fade :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -framerate 15 -i &quot;cover.jpg&quot; -i &quot;input.mp3&quot; -i &quot;part1.avi&quot; -i &quot;part2.avi&quot; -filter_complex &quot;[3:v]loop=-1:500:0,setpts=N/FRAME_RATE/TB [B];[B]fade=in:st=0:d=5:alpha=1 [part2];[0:v][2:v] overlay=enable='lte(t,5)': [part1];[part1][part2]overlay=x=0:y=0 [outx]&quot; -map &quot;[outx]&quot; -map 1:a -c:v libx264 -preset ultrafast -tune stillimage -crf 25 -c:a aac -b:a 64k -ar 48000 -shortest -pix_fmt yuv420p &quot;output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;with delay :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -framerate 15 -i &quot;cover.jpg&quot; -i &quot;input.mp3&quot; -i &quot;part1.avi&quot; -i &quot;part2.avi&quot; -filter_complex &quot;[3:v]loop=-1:500:0,setpts=N/FRAME_RATE/TB [B];[B]setpts=PTS-STARTPTS+5/TB [part2];[0:v][2:v] overlay=enable='lte(t,5)': [part1];[part1][part2]overlay=x=0:y=0 [outx]&quot; -map &quot;[outx]&quot; -map 1:a -c:v libx264 &quot;output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Both overlay output are freezing at 25s so not looping as i would want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your help and sorry for my english &lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: I'm on windows ffmpeg version N-93214-g7e4d3dbe18 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8.2.1 (GCC) 20190212&lt;/p&gt;&#xA;" OwnerUserId="24570" LastEditorUserId="24570" LastEditDate="2019-02-27T23:30:52.900" LastActivityDate="2019-02-27T23:30:52.900" Title="FFmpeg Filter Loop freezing when using delay or fade on overlay" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26074" PostTypeId="1" CreationDate="2019-02-27T23:28:22.360" Score="0" ViewCount="449" Body="&lt;p&gt;I am building some software that does analysis of video. Each frame has metadata associated with it. We save the video so we can play it back later. We would like to be able to play it back with that metadata association (perhaps displaying the info overlayed on the video for instance).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What do you think is the best way to store this information?&lt;/strong&gt; I was thinking MKV could be used, as it naturally has a concept of tracks. If it helps, I am using GStreamer for all my video manipulation&lt;/p&gt;&#xA;" OwnerUserId="24573" LastActivityDate="2019-02-27T23:28:22.360" Title="Saving metadata per frame. What format to use?" Tags="|formats|metadata|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26076" PostTypeId="2" ParentId="23741" CreationDate="2019-02-28T05:21:17.140" Score="54" Body="&lt;p&gt;Other answers here only work with the &amp;quot;known&amp;quot; meta keys, but for custom/arbitrary meta keys, &lt;code&gt;-map_metadata 0&lt;/code&gt; is not sufficient to keep them all.&lt;/p&gt;&#xA;&lt;p&gt;In my transcoder project, a lot of camera makers like to inject custom meta keys in the MP4/MOV container, and I want to keep them in the transcoded MP4/MOV files. After a lot of head scratching, FFmpeg does seem to have a switch for this purpose:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-movflags use_metadata_tags&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Note that this has to go after the input file, as for example in:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i $input_file -movflags use_metadata_tags -crf 22 $output_file&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Credit goes to the author of this thread and Google:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://superuser.com/questions/1208273/add-new-and-non-defined-metadata-to-a-mp4-file&quot;&gt;https://superuser.com/questions/1208273/add-new-and-non-defined-metadata-to-a-mp4-file&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24100" LastEditorUserId="38451" LastEditDate="2022-05-22T14:25:45.640" LastActivityDate="2022-05-22T14:25:45.640" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="26078" PostTypeId="1" CreationDate="2019-02-28T08:39:37.800" Score="2" ViewCount="350" Body="&lt;p&gt;I am trying to write a script that compares a version of a video file to a master file that has been quality checked and outputs any frames that differ from the master as .jpeg files with timecode burned in. I'm using this command (wrapped in an Automator script):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i file_to_test.mp4 -i master_file.mov -filter_complex &quot;scale2ref[1:v] [0:v],[1:v]format=yuva444p,lut=c3=128,negate[video2withAlpha],[0:v][video2withAlpha]overlay[out1],[out1]drawtext=timecode='00\:00\:00\:00': r=24: x=(w-tw)/2: y=h-(2*lh): fontcolor=white:fontsize=42[out2],[out2]select='gt(scene,0.001)'[out3]&quot; -map [out3] -vsync 0 output%05d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It works fairly well. The script creates a 50% grey video with only differences showing. I then run that trough select='gt(scene,0.001)' to only output frames that differ from the previous frames. It successfully detects glitches that are a bit bigger. Like lines going through the frame. But it doesn't detect single black pixels for example.&#xA;Now my idea is to look for ymin and ymax values and output all the frames, which have pixels differing from 50% grey by a certain amount. I'm sure this could be done trough signalstats. But I am stuck here. Can anyone of the pros here advise how to do this? In the best case keeping everything in a single command.&lt;/p&gt;&#xA;" OwnerUserId="24574" LastActivityDate="2019-02-28T08:39:37.800" Title="help with ffmpeg quality check script" Tags="|ffmpeg|filter|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26079" PostTypeId="1" AcceptedAnswerId="26107" CreationDate="2019-02-28T15:10:14.553" Score="1" ViewCount="87" Body="&lt;h2&gt;The Goal&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I am looking at purchasing a &lt;a href=&quot;https://shop.gopro.com/cameras/fusion/CHDHZ-103.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;GoPro Fusion&lt;/a&gt; in order to record a group of people gaming. The games will last for between 3 and 6 hours. I'm looking at the fusion because of how very unobtrusive it can feel relative to something like a multi-cam setup.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;The Question&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Is it possible to create a setup for the GoPro Fusion or a competitor that will record for that kind of duration?&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Additional Notes&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;We will be in my home. I will therefore have access to pretty much anything I can afford: wall power, computers, wifi control, etc.&lt;/p&gt;&#xA;" OwnerUserId="24576" LastActivityDate="2019-03-03T18:07:54.403" Title="GoPro Fusion extended recording?" Tags="|video-recording|360video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26080" PostTypeId="1" AcceptedAnswerId="26089" CreationDate="2019-02-28T16:13:57.973" Score="1" ViewCount="150" Body="&lt;p&gt;I have a long live feed recorded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It has different camera angles switching after one another but unpredictable timing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The cameras do not zoom or move so what is recorded has parts that don't change that could be used to identify camera angles. There should be a way to cut the film into small segments and group them by angle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could do this using iMovie by hand but that would take forever as I would like to do this for many hours of this live feed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to do this using some free software?&lt;/p&gt;&#xA;" OwnerUserId="24579" LastActivityDate="2019-03-01T21:41:40.453" Title="How to slice a video at camera angle changes" Tags="|editing|software-recommendation|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26081" PostTypeId="1" CreationDate="2019-02-28T18:25:37.253" Score="1" ViewCount="260" Body="&lt;p&gt;I am trying to figure out the sharpness while shooting video with the Canon 80d. I find that the video kind of never appears to be in focus. If I take pictures of the same things the image quality and sharpness is fantastic. It's just the video that bothers me. I should say that I am speaking about 1080p video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is the video from a Canon 80d low quality? Maybe due to a low bitrate or something? Is it the codec that messes up the video sharpness? Is there a software setting for sharpening up the videos to get the same sharpness as with photos? Is there maybe such a feature within Magic Lantern?&lt;/p&gt;&#xA;" OwnerUserId="24568" LastActivityDate="2019-03-01T17:32:08.070" Title="Sharpness of Canon 80d" Tags="|video|video-quality|video-recording|canon|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="26082" PostTypeId="1" CreationDate="2019-02-28T22:05:21.230" Score="1" ViewCount="204" Body="&lt;p&gt;I've got this &lt;a href=&quot;https://www.videvo.net/video/smartphone-scrolling-chroma-key/4240/&quot; rel=&quot;nofollow noreferrer&quot;&gt;video&lt;/a&gt;, where the lady is scrolling an app. I could simply use chroma key, but the guy's hand is moving all the time and the app image layer wouldn't follow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do that, in addition to the scrolling effect?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Ps: any editing tool solution would work for me. Although Sony Vegas would be really cool.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user24581" LastActivityDate="2022-03-19T14:07:15.697" Title="How to lock and scroll image, using smartphone green screen mockup?" Tags="|chromakey|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26084" PostTypeId="2" ParentId="23741" CreationDate="2019-03-01T06:42:46.760" Score="7" Body="&lt;p&gt;FFmpeg, by default, makes all metadata from the first input file &lt;strong&gt;available&lt;/strong&gt;, to the output file muxer, for writing. &lt;code&gt;-map_metadata&lt;/code&gt; allows to override that, by either pointing to a different input, or by telling ffmpeg to discard input global metadata (value of &lt;code&gt;-1&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, which of the available metadata, is &lt;strong&gt;actually written&lt;/strong&gt; to the output file, depends on the output muxer. The QT/ISOBMFF muxer (for MOV/MP4/3GP..) only considers a limited number of tags, primarily iTunes-related. As @JerryTian noted, with &lt;code&gt;-movflags use_metadata_tags&lt;/code&gt;, all other tags are written to the file. However, these are written in an unconventional manner - Quicktime, in particular, does not recognize these additional metadata entries. Other, ffmpeg-based s/w, should read them. Or anyone who's using custom s/w, like @JerryTian, can adapt their s/w to read them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that movflags only applies to output from the QT muxer. Matroska (MKV) will write anything. Other muxers vary.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-03-01T06:42:46.760" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26086" PostTypeId="1" CreationDate="2019-03-01T16:21:55.943" Score="1" ViewCount="369" Body="&lt;p&gt;I have a Sony UWP-D Wireless Lav Mic set and I'm experiencing difficulties with audio in my office building. I can film any exterior shots with no issue. I also have no audio issues with audio within an enclosed staircase in a parking garage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I use the UWP-D Mics when filming in my office building, the sound drops out every two or three seconds. Due to this only being observed in my office building (so far), I'm inclined to believe it's in the building and not the devices - but I'm more than willing to try any suggestions if anyone else has experienced the same issues with these or other wireless lav setups. &lt;/p&gt;&#xA;" OwnerUserId="23465" LastActivityDate="2022-05-18T13:51:07.823" Title="Sony UWP-D Audio Issues" Tags="|audio|microphone|wireless|lavaliere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26087" PostTypeId="2" ParentId="26086" CreationDate="2019-03-01T16:21:55.943" Score="1" Body="&lt;p&gt;After searching forums and YouTube videos, I believe I've found the culprit:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My building's ultrasonic motion detectors.&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;They emit an ultrasonic chirp every few seconds that the mics 'hear' and turn the volume down (attenuate?) for that portion. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've contacted Sony Professional Equipment support and I've been issued a Beta Firmware upgrade for the transmitters (that's where the issue is, apparently) that's worked on one of my UTX-BO3's and my UTX-PO3. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other BO3 got the firmware but has developed an issue where it can't stay on for more than 2 seconds on battery power. So it looks like I'll have to send it in. I'll update once I hear more. &lt;/p&gt;&#xA;" OwnerUserId="23465" LastActivityDate="2019-03-01T16:21:55.943" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26088" PostTypeId="2" ParentId="26081" CreationDate="2019-03-01T17:32:08.070" Score="3" Body="&lt;p&gt;If the stills look sharp and detailed, then the sensor and optics are not to blame. I would blame the encoder and whatever sacrifices Canon made for the video mode. The 80d has the same Digic 6 processor as the older and cheaper models like the T6i.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an older model T4i, and it is very low-res in 1080p mode, while in 720p mode it is chock full of aliasing, completely unusable. I presume Canon improved its cameras, yet Canon DSLRs are not known for being particularly detailed when used for video, you will be better off with a Sony or a Panasonic. &lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2019-03-01T17:32:08.070" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26089" PostTypeId="2" ParentId="26080" CreationDate="2019-03-01T21:41:40.453" Score="0" Body="&lt;p&gt;To correctly detect the scene changes (almost correctly some changes were still not detected) I used Davinci Resolve. Then I had to type the wanted scene's start frame and end frame into a program that automatically cut it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From Davinci Resolve it was extremely hard to copy the frame numbers as they could not be selected. I am sure there is a better way of getting the start frames and end frames from Davinci Resolve but I couldn't find it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The cutting can be done using &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i example.mp4 -vf trim=start_frame=10:end_frame=50 -an -fflags +genpts output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But it takes really long to get a clip from the end of a long movie for example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It can also be done using applescript and that is much faster:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;tell application &quot;QuickTime Player&quot;&#xA;    activate&#xA;&#xA;    set startFrame to 84361&#xA;    set endFrame to 84452&#xA;&#xA;    set fps to 23.976&#xA;&#xA;    set startTime to startFrame / fps&#xA;    set endTime to endFrame / fps&#xA;&#xA;    set inFile to &quot;Users:me:Documents:folder:infile.mov&quot;&#xA;    set outFile to &quot;Users:me:Documents:folder:outfile.mov&quot;&#xA;&#xA;    try&#xA;        set theOpenedFile to open for access file outFile with write permission&#xA;        set eof of theOpenedFile to 0&#xA;    end try&#xA;&#xA;    open file inFile&#xA;    trim front document from startTime to endTime&#xA;    export front document in outFile using settings preset &quot;1080p&quot;&#xA;&#xA;    try&#xA;        close access theOpenedFile&#xA;    end try&#xA;&#xA;    close every document saving no&#xA;end tell&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24579" LastActivityDate="2019-03-01T21:41:40.453" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26091" PostTypeId="1" CreationDate="2019-03-02T05:58:56.937" Score="3" ViewCount="122" Body="&lt;p&gt;I haven't found an easy way to splice a slide into a video. I can save the presentation to a QuickTime movie in Keynote, but I need to do this twice a week for a number of slides. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm recording a live evening lecture series that is shown at a number of sites the following day. Since the sites only have one projector, I need to give them a video feed that has both video of the speaker(s) and the slides.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been doing this manually, but it's an hour-long lecture that ends at 9 PM. I'm often up into the wee hours of the morning trying to get everything sorted and rendered and posted to Vimeo for a 6 AM first showing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're doing something like this, please share your workflow.&lt;/p&gt;&#xA;" OwnerUserId="24473" LastActivityDate="2019-04-01T12:06:05.040" Title="Are there any Final Cut Pro, Motion or Premiere plug-ins that allow insertion of PowerPoint or Keynote slides?" Tags="|premiere|final-cut-pro-x|motion|plugins|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26095" PostTypeId="2" ParentId="26091" CreationDate="2019-03-02T10:46:38.133" Score="1" Body="&lt;h2&gt;If your show requires some level of postproduction, then:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;1 Record the live video feed of the presenter's slideshow.  Don't just export the slides as a movie from Keynote.  Syncing slides manually will definitely keep you up into the wee hours of the morning, so don't do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2 Import the camera feed(s) of the speaker, any extra audio sources, and the slides, group them in a multicam clip, and sync them all together.  Again, for fastest postproduction turnaround, the more automated you can make the sync process, the earlier you get to go home.  Timecode based sync is the fastest, but most expensive.  A hand clap is free, but won't help you sync the slides to the speaker.  You've obviously already figured out how to do that manually, but finding one sync point per hour of footage is way better than doing it for x number of slides.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3 Once you've been through a couple of episodes of your show, and ironed out the kinks in look dev and process, save an extra copy of your project file and strip it of reference to any of the media you imported in step 2.  Leave everything else about this file alone; titles, intros/outros, etc. Use this file as a template for your show.  If your process involves complex file hierarchies, do the same with your file hierarchies: have a &quot;template&quot; project folder which includes your project files, working directories, output directories, stock graphics, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4 Now, each time you do a new show, duplicate the template structure, rename it accordingly, populate it with your fresh content, fill in the blanks, and start over at #1.  As you work through more iterations, tweak the template files to incorporate as much repetition as you can automate.  You might want to pick up a scripting language or two, maybe look into some machine vision algorithms, keep an eye on github. Automate anything that gives you carpel tunnel.  Reschedule every progress bar you see to a time when you won't see it.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;But if you don't need to make any kind of postproduction edit, then the answer's simple: Don't.&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;You've now left the world of digital film production and entered the land of broadcast.  To pursue this avenue, you'll need to be able to mix and switch all of your live a/v, and record or OTT the program.  Your requirements are minimally a $100-ish converter box and a laptop, but again, the more money you can throw at it, the better.  Blackmagic ultra studio mini recorder or whatever Aja's equivalent product is called would get you started.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2019-03-02T10:54:48.983" LastActivityDate="2019-03-02T10:54:48.983" CommentCount="14" ContentLicense="CC BY-SA 4.0" />
  <row Id="26096" PostTypeId="1" CreationDate="2019-03-02T12:06:33.473" Score="-1" ViewCount="1901" Body="&lt;p&gt;I know that YouTube no allows 96kHz audio. But I also worry about second thing the bitrate. How much is possible maximum to get from YouTube stream? I'v only found recommended value of 384kbps, but I need to know if this number will be reduced by YouTube if I use bigger and if using bigger number is possible at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also what are other services that allows this or higher quality of audio being streamed along with video.&lt;/p&gt;&#xA;" OwnerUserId="24594" LastActivityDate="2019-03-02T12:10:57.427" Title="Maximum YouTube video stream audio bitrate" Tags="|encoding|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26097" PostTypeId="2" ParentId="26096" CreationDate="2019-03-02T12:10:57.427" Score="0" Body="&lt;p&gt;YouTube support indicates that they stream at 128 kbps AAC for normal users, and 256 kbps AAC for premium ones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source 1: &lt;a href=&quot;https://support.google.com/youtubemusic/thread/168815?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.google.com/youtubemusic/thread/168815?hl=en&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source 2: &lt;a href=&quot;https://support.google.com/youtubemusic/thread/338369?msgid=348540&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.google.com/youtubemusic/thread/338369?msgid=348540&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11090" LastActivityDate="2019-03-02T12:10:57.427" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26099" PostTypeId="1" CreationDate="2019-03-02T18:32:16.280" Score="0" ViewCount="41" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ycpHe.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ycpHe.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I create any 2D animation to do this type of animation? What programs can I use?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have AfterEffects and Cinema4D. I am not too well-versed in these platforms. It would be great if you can recommend the best workflow for this. :)&lt;/p&gt;&#xA;" OwnerUserId="24597" LastActivityDate="2019-03-05T16:18:42.217" Title="How can I create an animating GIF 2D illustration in 3D?" Tags="|after-effects|animation|motion-graphics|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26102" PostTypeId="1" CreationDate="2019-03-02T19:25:53.003" Score="0" ViewCount="4499" Body="&lt;p&gt;I have just bought a Hero 7 Black, which sports a USB-C port. I can use it to charge the battery etc. but I would expect it to also allow me to connect to another device, like my MacBook Pro, with a USB-C port.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried a few configurations:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a few USB-C to USB-C cables, including one with Thunderbolt 3&lt;/li&gt;&#xA;&lt;li&gt;the USB-C to USB-A cable that comes with my GoPro, and the USB-A side goes in an adapter that is then connected via USB-C to my Mac (works with a lot of other devices, so the adapter is fine)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;No matter what I do, however, the only thing I succeed in doing is charging the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do GoPros support a direct USB-C connection to another device?&lt;/p&gt;&#xA;" OwnerUserId="24604" OwnerDisplayName="wujek" LastEditorUserId="17390" LastEditDate="2019-03-12T13:18:34.077" LastActivityDate="2019-08-30T22:20:26.437" Title="Connect GoPro Hero 7 Black to Macbook Pro 2017 via USB-C" Tags="|usb|gopro|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26103" PostTypeId="2" ParentId="26102" CreationDate="2019-03-03T05:40:47.413" Score="2" Body="&lt;p&gt;According to page 61 of the Hero7 Black manual, you can transfer files to your computer using USB-c.  The manual only mentions being able to do this with the Quik application on your computer.  Most likely your computer is missing the drivers necessary to exchange data with the camera due to either not using or not installing this application.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2019-03-03T05:40:47.413" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26104" PostTypeId="2" ParentId="16066" CreationDate="2019-03-03T07:35:00.270" Score="1" Body="&lt;p&gt;Once the Rotobrush tool has been selected to use (assuming you used Rotobrush based on the pink outline) a small box in the bottom right of the comp will appear and should say &quot;Freeze.&quot; Literally just press that and it'll freeze the mask... fixed my masking render glitch and I hope it does for you too! Best of luck, happy editing. &lt;/p&gt;&#xA;" OwnerUserId="24603" LastActivityDate="2019-03-03T07:35:00.270" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26106" PostTypeId="1" CreationDate="2019-03-03T15:22:26.913" Score="1" ViewCount="2765" Body="&lt;p&gt;When encoding to webm (specifically VP8, i.e. libvpx), the color range gets reduced from 0-255 to 15-235. This causes a washed-out look; blacks become faded and not as sharp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found &lt;a href=&quot;https://stackoverflow.com/a/35652676/1204434&quot;&gt;solutions&lt;/a&gt; to this problem for mp4, but can't find one for webm. (With an mp4, you can add &lt;code&gt;-pix_fmt yuvj420p&lt;/code&gt;. I have tested that and it works for mp4. However, libvpx does not recognize this option.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command I'm using is &lt;code&gt;ffmpeg -i in.avi -c:v libvpx -crf 8 -b:v 5M -an out.webm&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Update: while the below comment fixed the problem for me, I've noticed that browsers seem to do some of their own color conversion when displaying video. It looks like they do a TV-&gt;PC conversion, eliminating a lot of the washed-out look of video. Possibly they do this to account for the fact that most video is in the clipped range. When playing my improved version, the blacks look overly dark, and I prefer the original version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when played in VLC, the improved version shows the full color range I wanted. So I think whether you use this technique depends on where the intend the video to be played. In VLC I would; in a browser, I wouldn't.&lt;/p&gt;&#xA;" OwnerUserId="20647" LastEditorUserId="20647" LastEditDate="2019-03-05T01:03:21.083" LastActivityDate="2019-03-05T01:03:21.083" Title="ffmpeg: color loss when encoding to .webm" Tags="|ffmpeg|colorspace|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="26107" PostTypeId="2" ParentId="26079" CreationDate="2019-03-03T18:07:54.403" Score="0" Body="&lt;p&gt;This is very straightforward to set up, yes. Because you can fill up SD cards very quickly with the resolutions these are capable of, you could run one at 1080p for longer duration, but that's still not going to stretch to 6 hours.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For that length of game you will want to have it connected via USB to a PC of some kind recording the video feed directly to disk, and providing power.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Relatively simple - and in fact using the default software that comes with the GoPro Fusion, you can pretty much do that out of the box.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As the Fusion has voice commands, that can also make for a very unobtrusive recording station.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2019-03-03T18:07:54.403" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26108" PostTypeId="2" ParentId="26061" CreationDate="2019-03-03T18:18:42.787" Score="1" Body="&lt;p&gt;Usually dropped frames are down to processor or disk bottleneck issues. If the frame cannot be compressed or stored in time, most applications will drop in order to move on to the next one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The solution is often simple - increase the processing power or disk i/o speed.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2019-03-03T18:18:42.787" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26109" PostTypeId="2" ParentId="25951" CreationDate="2019-03-03T20:46:15.053" Score="0" Body="&lt;p&gt;Check your Sequence settings, you may set higher resolution that the most of the content is. Also your videos may to not fit well: right click - Set to Frame size.&lt;/p&gt;&#xA;" OwnerUserId="24608" LastEditorUserId="14523" LastEditDate="2019-03-08T15:18:22.367" LastActivityDate="2019-03-08T15:18:22.367" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26111" PostTypeId="2" ParentId="22977" CreationDate="2019-03-03T23:14:53.813" Score="2" Body="&lt;p&gt;Not exactly a fix but I have a very simple work around that will allows me up to 10000x, simply change the 'speed/duration' setting of the clip to 1000%, then using the time remapping and ramping tools as normal. Make the normal speed areas 10% (10% of 1000 equals 100%, normal speed) and then speed up areas by what you want, 500 or 1000% will be equivalent to 5000 or 10000 percent. You just have to think of it all scaled down by a factor of ten. Hope this helps someone! I'm very happy with how simple this makes my edits and find this is fast enough speeds for my needs. Cheers, Bill &lt;/p&gt;&#xA;" OwnerUserId="24610" LastActivityDate="2019-03-03T23:14:53.813" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26114" PostTypeId="1" CreationDate="2019-03-04T06:18:22.117" Score="1" ViewCount="1647" Body="&lt;p&gt;I need to create multiple copies of a source video file stamped with a logo. Also, each copy is overlaid with a unique version number, intermittently appearing throughout the video.&#xA;Since I’m transcoding to HLS, I thought I could use a master HLS package and stitch the numbered segments in the video, thus transcode only a fractions of the source for each numbered copy.&lt;/p&gt;&#xA;&lt;p&gt;I created two FFmpeg scripts.&#xA;Script one creates the ‘main” HLS video of the whole file, with a logo overlay.&#xA;Script two generates 2 segments at specified intervals, which are overlaid with unique numbers.&#xA;The final variant playlist looks something like this:&lt;br&gt;&#xA;&lt;em&gt;Seg001.ts&lt;br&gt;&#xA;Seg002.ts&lt;br&gt;&#xA;&lt;strong&gt;Seg003_alt.ts&lt;br&gt;&#xA;Seg004_alt.ts&lt;/strong&gt;&lt;br&gt;&#xA;Seg005.ts&lt;br&gt;&#xA;seg006.ts…&lt;br&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;Command to create the ‘main’ HLS package is:&#xA;(all vars expanded for debugging. The actual command is dynamic to encompass different input file size, fps, vmaf score…)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ffmpeg -y -analyzeduration 1000000 -copyts -r 25 -hide_banner -i $inputFile -i $logo -t 120 -filter_complex \&#xA;&amp;quot;[0:a]aformat=channel_layouts=stereo,aresample=async=1000[a1]; \&#xA;[0:v]setpts=PTS-STARTPTS,yadif=0:-1:1,overlay,setdar=16/9,split=3[v1][v2][v3]; \&#xA;[v1]scale=640x360:force_original_aspect_ratio=decrease:sws_dither=ed:flags=lanczos[v1]; \&#xA;[v2]scale=1024x576:force_original_aspect_ratio=decrease:sws_dither=ed:flags=lanczos[v2]; \&#xA;[v3]scale=1600x900:force_original_aspect_ratio=decrease:sws_dither=ed:flags=lanczos[v3]&amp;quot; \&#xA;-map &amp;quot;[a1]&amp;quot; -vn -c:a libfdk_aac -ac 2 -b:a 96k -ar 48000 -bitexact -r 25 -y -f segment -segment_list_type m3u8 -segment_format mpegts -segment_time 6 -segment_list path/to/playlist0.m3u8 path/to/segments0.aac \&amp;lt;br&amp;gt;&#xA;-map &amp;quot;[v1]&amp;quot; -an -c:v libx264 -crf 23 -muxpreload 0 -vsync 0 -write_tmcd 0 -maxrate 550k -bufsize 1100k -bsf:v h264_mp4toannexb -forced-idr 1 -sc_threshold 0 -shortest -r 25 -g 75 -profile:v main -level 3.1 -preset medium -tune film -coder 0 -pix_fmt yuv420p -individual_header_trailer 0 -flags +loop+mv4+cgop -flags2 +local_header -movflags faststart -cmp chroma -keyint_min 75 -threads 14 -y -f segment -segment_list_type m3u8 -segment_list_flags -cache -segment_format mpegts -segment_time 6 -segment_list path/to/playlist1.m3u8 path/to/segments1.ts \&#xA;-map &amp;quot;[v2]&amp;quot; -an -c:v libx264 -crf 23 -muxpreload 0 -vsync 0 -write_tmcd 0 -maxrate 1400k -bufsize 2800k -bsf:v h264_mp4toannexb -forced-idr 1 -sc_threshold 0 -shortest -r 25 -g 75 -profile:v main -level 4 -preset medium -tune film -coder 1 -pix_fmt yuv420p -individual_header_trailer 0 -flags +loop+mv4+cgop -flags2 +local_header -movflags faststart -cmp chroma -keyint_min 75 -threads 14 -y -f segment -segment_list_type m3u8 -segment_list_flags -cache -segment_format mpegts -segment_time 6 -segment_list path/to/playlist2.m3u8 path/to/segments2.ts \&#xA;-map &amp;quot;[v3]&amp;quot; -an -c:v libx264 -crf 23 -muxpreload 0 -vsync 0 -write_tmcd 0 -maxrate 3100k -bufsize 6200k -bsf:v h264_mp4toannexb -forced-idr 1 -sc_threshold 0 -shortest -r 25 -g 75 -profile:v high -level 4 -preset medium -tune film -coder 1 -pix_fmt yuv420p -individual_header_trailer 0 -flags +loop+mv4+cgop -flags2 +local_header -movflags faststart -cmp chroma -keyint_min 75 -threads 14 -y -f segment -segment_list_type m3u8 -segment_list_flags -cache -segment_format mpegts -segment_time 6 -segment_list path/to/playlist3.m3u8 path/to/segments3.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;After the above run, I run the following command for the ‘child’ (stitched) segments:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ffmpeg -y -analyzeduration 1000000 -r 25 -hide_banner -ss $from -t $time -i $inputFile -i $logo -filter_complex \&#xA;&amp;quot;[0:v]setpts=PTS,yadif=0:-1:0,overlay,setdar=16/9[logo]; \&#xA;[logo]drawbox=x=400:y=52:w=210:h=80:t=fill:c=black@1,drawtext=fontfile=$font:text='1234':fontcolor=c1ff30:fontsize=42:x=410:y=76,split=3[v1][v2][v3]; \&#xA;[v1]scale=640x360:force_original_aspect_ratio=decrease:sws_dither=ed:flags=lanczos[v1]; \&#xA;[v2]scale=1024x576:force_original_aspect_ratio=decrease:sws_dither=ed:flags=lanczos[v2]; \&#xA;[v3]scale=1600x900:force_original_aspect_ratio=decrease:sws_dither=ed:flags=lanczos[v3]&amp;quot; \&#xA;-map &amp;quot;[v1]&amp;quot; -an -c:v libx264 -crf 23 -r 25 -muxpreload 0 -async 0 -maxrate 550k -bufsize 1100k -bsf:v h264_mp4toannexb -forced-idr 1 -sc_threshold 0 -shortest -g 75 -profile:v main -level 3.1 -preset medium -tune film -coder 0 -pix_fmt yuv420p -individual_header_trailer 0 -flags +loop+mv4+cgop -flags2 +local_header -movflags faststart -cmp chroma -keyint_min 75 -threads 0 -y -f segment -segment_format mpegts -segment_time path/to/playlist1.m3u8 path/to/segments1.ts \&#xA;-map &amp;quot;[v2]&amp;quot; -an -c:v libx264 -crf 23 -r 25 -muxpreload 0 -async 0 -maxrate 1400k -bufsize 2800k -bsf:v h264_mp4toannexb -forced-idr 1 -sc_threshold 0 -shortest -g 75 -profile:v main -level 4 -preset medium -tune film -coder 1 -pix_fmt yuv420p -individual_header_trailer 0 -flags +loop+mv4+cgop -flags2 +local_header -movflags faststart -cmp chroma -keyint_min 75 -threads 0 -y -f segment -segment_format mpegts -segment_time path/to/playlist2.m3u8 path/to/segments2.ts \&#xA;-map &amp;quot;[v3]&amp;quot; -an -c:v libx264 -crf 23 -r 25 -muxpreload 0 -async 0 -maxrate 3100k -bufsize 6200k -bsf:v h264_mp4toannexb -forced-idr 1 -sc_threshold 0 -shortest -g 75 -profile:v high -level 4 -preset medium -tune film -coder 1 -pix_fmt yuv420p -individual_header_trailer 0 -flags +loop+mv4+cgop -flags2 +local_header -movflags faststart -cmp chroma -keyint_min 75 -threads 0 -y -f segment -segment_format mpegts -segment_time path/to/playlist3.m3u8 path/to/segments3.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The ‘child’ command generates 2 segments which I stitch in the ‘main’ playlist, using &lt;code&gt;#EXT-X-DISCONTINUITY&lt;/code&gt; where needed.&lt;/p&gt;&#xA;&lt;p&gt;The generated playlists look like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#EXTM3U&#xA;#EXT-X-VERSION:6&#xA;#EXT-X-MEDIA-SEQUENCE:0&#xA;#EXT-X-DISCONTINUITY-SEQUENCE:0&#xA;#EXT-X-ALLOW-CACHE:NO&#xA;#EXT-X-TARGETDURATION:7&#xA;#EXTINF:6.080000,&#xA;Master_3100_0000.ts&#xA;#EXTINF:6.000000,&#xA;Master_3100_0001.ts&#xA;#EXTINF:6.000000,&#xA;Master_3100_0002.ts&#xA;#EXT-X-DISCONTINUITY&#xA;#EXTINF:6.000000,&#xA;Master_3100_0003.ts&#xA;#EXTINF:6.000000,&#xA;Master_3100_0004.ts&#xA;#EXT-X-DISCONTINUITY&#xA;#EXTINF:6.000000,&#xA;Master_3100_0005.ts&#xA;#EXTINF:6.000000,&#xA;Master_3100_0006.ts&#xA;#EXT-X-ENDLIST&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I also write the master.m3u8 file like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#EXTM3U&#xA;#EXT-X-VERSION:6&#xA;#EXT-X-INDEPENDENT-SEGMENTS&#xA;&#xA;#EXT-X-MEDIA:TYPE=AUDIO,GROUP-ID=&amp;quot;a1&amp;quot;,LANGUAGE=&amp;quot;en&amp;quot;,NAME=&amp;quot;a1&amp;quot;,DEFAULT=YES,AUTOSELECT=YES,URI=&amp;quot;96/Master_96.m3u8&amp;quot;&#xA;#EXT-X-STREAM-INF:BANDWIDTH=550000,NAME=&amp;quot;Main&amp;quot;,CODECS=&amp;quot;avc1.4d001f,mp4a.40.2&amp;quot;,RESOLUTION=0,AUDIO=&amp;quot;a1&amp;quot;&#xA;550/Master_550.m3u8&#xA;#EXT-X-STREAM-INF:BANDWIDTH=1400000,NAME=&amp;quot;Main&amp;quot;,CODECS=&amp;quot;avc1.4d0028,mp4a.40.2&amp;quot;,RESOLUTION=1024x576,AUDIO=&amp;quot;a1&amp;quot;&#xA;1400/Master_1400.m3u8&#xA;#EXT-X-STREAM-INF:BANDWIDTH=3100000,NAME=&amp;quot;Main&amp;quot;,CODECS=&amp;quot;avc1.640028,mp4a.40.2&amp;quot;,RESOLUTION=1600x900,AUDIO=&amp;quot;a1&amp;quot;&#xA;3100/Master_3100.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In practice, the HLS package plays back fine in hls.js. In Safari/iOS the video starts fine but gets stuck at the first stitched segment (debugger doesn’t show anything).&lt;/p&gt;&#xA;&lt;p&gt;I believe the problem is that the timestamps on the ‘main’ videos are different from the ‘child’ segments.&#xA;When I add -copyts to the ‘child’s input parameters, the command just starts encoding from the beginning of the input file, ignoring the -ss, -to switches.&lt;br&gt;&#xA;Also, in the &lt;a href=&quot;https://datatracker.ietf.org/doc/html/draft-pantos-http-live-streaming-13#section-3.4.11&quot; rel=&quot;nofollow noreferrer&quot;&gt;pantos HLS RFC&lt;/a&gt; it says that the DISCONTINUITY tag is supposed to help with timestamp discontinuity. It looks like it doesn't.&lt;/p&gt;&#xA;&lt;p&gt;So my questions are:&lt;br&gt;&#xA;How can I copy an input video’s timestamps, while using -ss (before the input)?&lt;br&gt;&#xA;Why doesn't iOS work the DISCONTINUITY tag as expected (as written in the RFC) and doesn't recover from timestamp discontinuity?&lt;br&gt;&#xA;Any other suggestions of making those commands work in iOS?&lt;br&gt;&#xA;Any other creative method to achieve my goal?&lt;br&gt;&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="18756" LastEditorUserId="-1" LastEditDate="2021-10-07T07:24:50.413" LastActivityDate="2019-03-10T13:58:43.047" Title="FFmpeg to create HLS and replace (stitch) segments" Tags="|ffmpeg|ios|hls|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26115" PostTypeId="1" CreationDate="2019-03-04T07:16:24.140" Score="0" ViewCount="379" Body="&lt;p&gt;I'm simply trying to setup a 1080p video. All the video sources are 1080p, here are the initial settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vm3Ch.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vm3Ch.png&quot; alt=&quot;Initial 1080p Settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However when I import and drag a new (and definitively confirmed 1080p) video to the timeline the preview shows a small black border on the left and right sides. I even removed the &quot;Tile Safe Area&quot; and &quot;Action Safe Area&quot; and the left/right black borders still appear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only thing I've noticed is that on the &lt;em&gt;project&lt;/em&gt; panel is that the video info column shows the video at &quot;0.75&quot; [unknown units]. I am absolutely certain that the video is 1080p (1920x1080).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I fix this to get an &lt;em&gt;exact&lt;/em&gt; one-to-one ratio for 1920x1080? The input videos are recorded via Open Broadcast Studio and the settings &lt;em&gt;seem&lt;/em&gt; to be good. I've been trying to test things out to figure out what Premiere CS3 &lt;em&gt;does&lt;/em&gt; support (very &lt;em&gt;very&lt;/em&gt; little) to increase compatibility.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/54J0H.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/54J0H.png&quot; alt=&quot;Wrong Aspect Ratio&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24417" LastActivityDate="2019-03-04T07:16:24.140" Title="Adobe Premiere wrong Aspect Ratio for 1080p video" Tags="|premiere|video-editor|1080p|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26116" PostTypeId="1" AcceptedAnswerId="26117" CreationDate="2019-03-04T07:33:42.197" Score="2" ViewCount="93" Body="&lt;p&gt;I recently learned about rule of thirds in my photography class and it's really cool. But how can I take this technique and apply it to a video?&lt;/p&gt;&#xA;" OwnerUserId="24615" LastActivityDate="2019-03-04T08:07:29.960" Title="Does rule of thirds apply to videos?" Tags="|video-recording|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26117" PostTypeId="2" ParentId="26116" CreationDate="2019-03-04T08:07:29.960" Score="2" Body="&lt;p&gt;It is basically the same.&#xA;In a movie, you should have a motivated camera.&#xA;Meaning that the camera itself has or delivers an emotion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A simple example:&#xA;Place someone really small into a corner of the screen, darken the lights. The person will look depressed and pushed to the edge from society.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Place someone in the entire frame into the middle and film them slightly from below and they will look powerfull and important.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You don't need to allways use rule of thirds in film, but you should consider it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example bringin an emotion into walking scene:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Person in right thirds, walking to left; Looks like the person walks into an open world&#xA;Person in right thirds, walking to right; Wlaking against a wall, not comming further...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There can be much meaning hidden inside a camera framing/move&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-03-04T08:07:29.960" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26118" PostTypeId="1" AcceptedAnswerId="26123" CreationDate="2019-03-04T10:44:11.360" Score="0" ViewCount="91" Body="&lt;p&gt;I have shot a video with 23,976 FPS and now need to expand the timeline to double that, so I can make more precise edits with the music.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But Premiere Pro only allows certain FPS&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/f7e3u.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/f7e3u.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to set custom FPS? As there isn't even a 48p Option like Hobbit used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or are there other better ways to edit music more precisly within Pr?&lt;/p&gt;&#xA;" OwnerUserId="23732" LastEditorUserId="23465" LastEditDate="2019-03-13T20:37:29.677" LastActivityDate="2019-03-13T20:37:29.677" Title="Help needed editing music more precisely in Premiere" Tags="|premiere|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26120" PostTypeId="1" CreationDate="2019-03-04T15:23:23.000" Score="0" ViewCount="2529" Body="&lt;p&gt;I would like to edit a video, but as I import it into AfterEffects it does not show the correct colors. VLC does show the correct colors. It's not the codec, because h264 is supported by aftereffects. It is not the &lt;a href=&quot;https://video.stackexchange.com/questions/24466/issues-in-after-effects-with-imported-mp4-mov-clips&quot;&gt;edit lists&lt;/a&gt;. The imported video looks like this.&lt;a href=&quot;https://i.stack.imgur.com/7XZjC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7XZjC.png&quot; alt=&quot;incorrect colored video&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suspect alpha has somethin to do with it, because if I decativate alpha (ALT + 4) the screen becomes white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After rendering it still looks like this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm at a loss where to look for the cause, please give me some hints where this is coming from and/or how to get rid of it.&lt;/p&gt;&#xA;" OwnerUserId="24616" LastActivityDate="2023-02-07T16:35:37.950" Title="Why does my video show wrong colors after import into after effects?" Tags="|after-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26121" PostTypeId="1" AcceptedAnswerId="26122" CreationDate="2019-03-04T18:40:01.193" Score="0" ViewCount="1919" Body="&lt;p&gt;Normally when you have a multicam video (or any video for that matter) in your timeline, you'll see a yellow bar across the entire length of the timeline showing that there is something that will be output in the final video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UwCj9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UwCj9.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just finished editing a project, closed Premiere, then reopened, and I noticed that parts of the video were black screens. These lined up to those that didn't have yellow bars on top:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Pw69E.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Pw69E.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I get the bars back on top?&lt;/p&gt;&#xA;" OwnerUserId="24076" LastActivityDate="2021-01-31T00:25:01.430" Title="Timeline isn't yellow above a section of a Multicam video" Tags="|premiere|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26122" PostTypeId="2" ParentId="26121" CreationDate="2019-03-04T18:40:01.193" Score="2" Body="&lt;p&gt;Looks like this one was a bug in Premiere. First, I noticed that the yellow bar was only missing for one of the clips that was part of the Multicam video. E.g. I noticed there were multiple &quot;holes&quot; in the timeline, but these only happened whenever the multicam sequence was trying to use &quot;Video1&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I went into Multicam edit more by right-clicking the Multicam video in the project editor, and choosing &lt;strong&gt;Open in Timeline&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not sure what fixed it, but I toggled both the &lt;strong&gt;Toggle Track Output&lt;/strong&gt; (eye icon) off then on again, and also Disabled and then Enabled the clip in question. This resolved the issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hdzuT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hdzuT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24076" LastActivityDate="2019-03-04T18:40:01.193" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26123" PostTypeId="2" ParentId="26118" CreationDate="2019-03-04T18:58:29.037" Score="1" Body="&lt;p&gt;Perhaps the quickest option for better accuracy of audio editing would be to right-click on the actual numbers of the timeline and select &quot;Show Audio Time Units&quot; ? &lt;/p&gt;&#xA;" OwnerUserId="23465" LastActivityDate="2019-03-04T18:58:29.037" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26125" PostTypeId="1" AcceptedAnswerId="26126" CreationDate="2019-03-04T19:52:44.013" Score="1" ViewCount="1522" Body="&lt;p&gt;I'm adding a Cross Dissolve transition to a video. In preview mode it looks great. When I export to H.264, it shows blocky artifacts, even if I have the &quot;Use Maximum Rendering Quality&quot; checkbox checked.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to get high quality cross dissolves in Premiere?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: I'm creating a 4K video (source was filmed in 4K at 30fps), and using all of the other default settings for Video output.&lt;/p&gt;&#xA;" OwnerUserId="24076" LastEditorUserId="24076" LastEditDate="2019-03-04T20:00:03.653" LastActivityDate="2019-04-15T00:44:38.273" Title="Cross dissolve introduces blocky artifacts" Tags="|premiere|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26126" PostTypeId="2" ParentId="26125" CreationDate="2019-03-04T20:02:09.253" Score="1" Body="&lt;p&gt;As &lt;a href=&quot;https://forums.creativecow.net/docs/forums/post.php?forumid=3&amp;amp;postid=942511&amp;amp;univpostid=942511&amp;amp;pview=t&quot; rel=&quot;nofollow noreferrer&quot;&gt;this answer&lt;/a&gt; alludes to, it's probably an issue with the target bitrate:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;800kbps is very low for 1080p. It probably works for lecture notes&#xA;  because there isn't much change from frame to frame, but blocking&#xA;  occurs during the transition because there isn't enough bandwidth to&#xA;  handle all the changes. Here are a few alternatives:&lt;/p&gt;&#xA;  &#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;Keep average bitrate low but increase the maximum bitrate; this will potentially provide headroom for the transitions&lt;/li&gt;&#xA;  &lt;li&gt;Use a wipe or slide transition instead of fade so that only part of the image changes at a given time&lt;/li&gt;&#xA;  &lt;li&gt;Do not use a transition; just cut to black (or white, or a new title); this alternative will likely produce the best results&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;  &#xA;  &lt;p&gt;A few notes about your other settings:&lt;/p&gt;&#xA;  &#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;Render at Maximum Bit Depth matters if processing and exporting at 10+ bits per channel; you can leave it unchecked for H.264&lt;/li&gt;&#xA;  &lt;li&gt;Maximum Render Quality is intended for use when exporting at smaller dimensions than the sequence&lt;/li&gt;&#xA;  &lt;li&gt;Changing Stream Compatibility to Standard and Profile to Main or High will provide better compression via CABAC encoding; however, the&#xA;  compressed file might not play on some devices (Main Profile will be&#xA;  more compatible than High)&lt;/li&gt;&#xA;  &lt;li&gt;Consider publishing low-bitrate versions at lower resolution (1280x720 or even 854x480) and encode 1080p at higher bitrate;&#xA;  similarly, retangular pixels (1440x1080) can help, but the video won't&#xA;  play correctly in many media players&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Turns out when I chose &lt;strong&gt;H.264&lt;/strong&gt; as the format and &lt;strong&gt;Match Source - High Bitrate&lt;/strong&gt; as the preset, the default target bitrate was very low (10 Mbps). For a 4K video, you &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;probably want to use&lt;/a&gt; &lt;strong&gt;VBR, 2 pass&lt;/strong&gt; with Target Bitrate set to &lt;strong&gt;44 Mbps&lt;/strong&gt;, and Maximum Bitrate set to &lt;strong&gt;56 Mbps&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This also explains why my resulting videos in Premiere were originally much smaller than similar ones created in Final Cut Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're uploading to YouTube, you can use the &lt;strong&gt;YouTube 2160p 4K Ultra HD&lt;/strong&gt; present, which will choose a respectable 40 Mbps. The one caveat is that there are two versions of &quot;4K&quot; and there's a possibility that your source clips will get cropped with these export settings. To verify, you should temporarily &quot;match source&quot; on the width/height of the video, and verify that those are the same as the YouTube preset you chose.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although even with this preset, you may want to follow some of the suggestions in &lt;a href=&quot;https://blog.pond5.com/12628-social-media-export-settings-in-adobe-premiere-pro-the-ultimate-guide/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this article&lt;/a&gt; and tweak it to use &lt;strong&gt;VBR, 2 pass&lt;/strong&gt;. Although the low bitrate mentioned in the article should probably be avoided.&lt;/p&gt;&#xA;" OwnerUserId="24076" LastEditorUserId="24076" LastEditDate="2019-04-15T00:44:38.273" LastActivityDate="2019-04-15T00:44:38.273" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26127" PostTypeId="1" AcceptedAnswerId="26133" CreationDate="2019-03-04T21:44:27.773" Score="3" ViewCount="122" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/sWQK5CUE1zY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the video they seem to be creating new frames inbetween the medium's original frames and then slowing/speeding it up with speed control.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It looks like the equivalent of going every frame and defining a new frame that's a gamma cross between the surrounding 2 frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simply increasing the fps or changing the speed alone can't facilitate this effect. What programs can do the effect as shown, and what's it called specifically? Or do they manually have to take 1 frame, toss it in a vector image editor of some kind and create all those inbetween frames?&lt;/p&gt;&#xA;" OwnerUserId="21882" LastActivityDate="2019-03-05T16:16:15.030" Title="How was this slow motion effect created? what programs can do this?" Tags="|video-editor|editing|slowmotion|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26129" PostTypeId="2" ParentId="26082" CreationDate="2019-03-05T07:05:42.473" Score="1" Body="&lt;p&gt;You will need to:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;track the motion of the screen, using whatever tracking tools you have at your disposal. A 3D track or a corner pin type track will both work, because it's a flat rectangular screen. The quality of the track is what will sell this shot.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;key out the green screen, using whatever keyer you have. Looks like a good key, so you shouldn't have too many problems&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;create the animation of the screen scrolling. This is probably best to do manually using keyframes, perhaps with the original video as a guide layer if your software allows it. There is no point tracking the movement of the fingers, as the scrolling continues after you flick with your fingers on a phone screen, so it has to scroll independently.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;composite the app screen animation behind the original layer, using the tracking data to fit it to the original screen's position, size and rotation. You might want to add additional layers to the composite: e.g. a subtle reflection layer would help sell it.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-03-05T07:05:42.473" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26130" PostTypeId="2" ParentId="2847" CreationDate="2019-03-05T07:22:48.870" Score="1" Body="&lt;p&gt;Worth noting that like all tools, a professional will use the right tool for the job.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PEjBx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PEjBx.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're shooting a cinematic feature something like the Red One would be a great tool for the job. However if you're shooting news footage you'd be an idiot to take a Red One - it's designed to be used by several people at once, and is optimised for the greatest creative control of the picture by having manual controls for exposure, depth of field and focus; while an ENG (Electronic News Gathering) camera is designed for one person to put on their shoulder and get the shot in the heat of the moment, with automatic settings that make it easier to do that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A professional cinematographer will choose the tool that best suits the job. Are you shooting as part of a crew of hundreds, or is it you and the director? Is the result going to be seen in cinemas or on YouTube? Are you after a certain look, such as shallow focus or do you need ease of use? Are you strapping it on someone's helmet when they jump out of a plane? Do you want to shoot documentary footage while keeping a low profile? Is weight a consideration, say if you're using a gimbal or drone?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-03-05T07:27:55.110" LastActivityDate="2019-03-05T07:27:55.110" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26132" PostTypeId="1" AcceptedAnswerId="27713" CreationDate="2019-03-05T12:23:31.070" Score="0" ViewCount="950" Body="&lt;p&gt;Basically, I want to take two rectangles ouf of sixth minute of the video and overlay them at an earlier point in the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use ffmpeg three times like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i a.mp4 -filter_complex &quot;[0:v]trim=start_frame=9000:end_frame=9001,crop=1280:100:0:0,null,setpts=PTS-STARTPTS[v]&quot; -map [v] -c:v libx264 -c:a null -crf 15 -preset slow -y -t 0.1 still1.mp4&#xA;ffmpeg -i a.mp4 -filter_complex &quot;[0:v]trim=start_frame=9000:end_frame=9001,crop=100:100:600:500,null,setpts=PTS-STARTPTS[v]&quot; -map [v] -c:v libx264 -c:a null -crf 15 -preset slow -y -t 0.1 still2.mp4&#xA;ffmpeg -i a.mp4 -i still1.mp4 -i still2.mp4 -filter_complex \&#xA;&quot;[0:v][1:v]overlay=0:0:enable='between(t,60,61)'[v0]; \&#xA;[v0][2:v]overlay=600:500:enable='between(t,60,61)'[v1]&quot; \&#xA;-map [v1] -c:v libx264 -crf 17 -preset slow -y -t 362 p.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The consumption of RAM as measured by &lt;code&gt;top&lt;/code&gt; stays around 3 GB. However, when I  try it in one command, it quickly eats up 13GB of my free memory and the process quickly gets killed by OOM killer:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i a.mp4 -filter_complex \&#xA;&quot;[0:v]trim=start_frame=9000:end_frame=9001,crop=1280:100:0:0,setpts=PTS-STARTPTS[still1]; \&#xA;[0:v]trim=start_frame=9000:end_frame=9001,crop=100:100:600:500,setpts=PTS-STARTPTS[still2]; \&#xA;[0:v][still1]overlay=0:0:enable='between(t,61,62)'[v0]; \&#xA;[v0][still2]overlay=600:500:enable='between(t,61,62)'[v1]&quot; \&#xA;-map [v1] -c:v libx264 -crf 17 -preset slow -y  p.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I suspect ffmpeg keeps all the frames decoded in memory when trimming, but is there any way around this? It sounds wastefull, I am interested in two little frames, that should not eat up GB of memory!&lt;/p&gt;&#xA;" OwnerUserId="10853" LastActivityDate="2019-06-25T14:02:15.220" Title="Why trimming in ffmpeg eats up so much memory?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26133" PostTypeId="2" ParentId="26127" CreationDate="2019-03-05T16:16:15.030" Score="6" Body="&lt;p&gt;There are methods to generate frames in between frames, mostly giving you mixed results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For one, the plugin &quot;twixtor&quot; (~330$) actually does a somewhat decent job at assuming missing frames, so much so, that a 30fps video can be played back at half the speed, making it look like 60fps slow-mo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand side, you can sample the frames directly in premiere for example. I wouldn't recommend it however, as the results don't usually live up to the expectations.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-05T16:16:15.030" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26135" PostTypeId="2" ParentId="26120" CreationDate="2019-03-05T18:23:16.310" Score="1" Body="&lt;p&gt;I'd recommend trying to convert the source file to another file type before importing into After Effects.&#xA;Maybe try the media encoder, vlc or an ffmpeg variant.&#xA;If you can, convert to an intermediate mov-codec or an image sequence like tiff.&#xA;If your file seems fine in VLC etc. this might work.&lt;/p&gt;&#xA;" OwnerUserId="24630" LastEditorUserId="4426" LastEditDate="2020-11-24T21:54:11.150" LastActivityDate="2020-11-24T21:54:11.150" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26136" PostTypeId="1" CreationDate="2019-03-05T18:28:10.737" Score="0" ViewCount="123" Body="&lt;p&gt;can I put information of mask tracker to another object's position??&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&#xA;&lt;p&gt;can I do parent other object to other object masked by mask tracker??&lt;/p&gt;&#xA;" OwnerUserId="24631" LastActivityDate="2023-12-11T20:07:30.850" Title="can I do parent other object to other object masked by mask tracker?" Tags="|video|after-effects|production|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26137" PostTypeId="1" CreationDate="2019-03-05T18:49:38.053" Score="0" ViewCount="126" Body="&lt;h1&gt;Introduction&lt;/h1&gt;&#xA;&lt;p&gt;I have already searched for this topic, but sadly most of the time I just find articles about &lt;code&gt;frame rate&lt;/code&gt; and/or &lt;code&gt;shutter speed&lt;/code&gt; which doesn't reflect what I am looking for, really. This question is somewhat long, but I hope this doesn't bother anyone.&lt;/p&gt;&#xA;&lt;p&gt;I started using a &lt;code&gt;GoPro&lt;/code&gt; to film &lt;code&gt;POV&lt;/code&gt; motorcycle shots using a chest mount in &lt;code&gt;4K&lt;/code&gt;, &lt;code&gt;60FPS&lt;/code&gt;, &lt;code&gt;1/120&lt;/code&gt; shutter speed, &lt;code&gt;Flat&lt;/code&gt; color profile, using &lt;code&gt;ND8&lt;/code&gt; filter for overcast and &lt;code&gt;ND16&lt;/code&gt; filter for sunny conditions. &lt;code&gt;ISO&lt;/code&gt; is set to &lt;code&gt;100-400&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;For post production I use &lt;code&gt;Final Cut Pro X&lt;/code&gt;&#xA;The filter reel has the following items in the exact order: &lt;code&gt;White balance&lt;/code&gt;, &lt;code&gt;Color board&lt;/code&gt;, &lt;code&gt;Neat Video Reduce Noise v4&lt;/code&gt;, &lt;code&gt;Sharpen&lt;/code&gt;, &lt;code&gt;LUT&lt;/code&gt; and &lt;code&gt;Vignette&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;The result of this looks like that:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/PGiCqKVzhWw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;Thoughts&lt;/strong&gt;:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;It seems like &lt;code&gt;Neat Video&lt;/code&gt; is killing some of the road details which improve the speed sensation thing, but without the plugin, the footage would contain allot more noise, which I try to avoid.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;At the moment the &lt;code&gt;GoPro&lt;/code&gt; &lt;code&gt;Hypersmooth&lt;/code&gt; seems to be the only image stabilization option available at the chosen resolution and frame rate. Not sure if there is a not so smooth alternative (plugin or setting) out there.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;This video (the intro) here is fantastic as to show what I would gladly try to achieve: &lt;a href=&quot;https://www.youtube.com/watch?v=aHkPt5YDXqE&amp;amp;t&quot; rel=&quot;nofollow noreferrer&quot;&gt;Example video&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h1&gt;QUESTION:&lt;/h1&gt;&#xA;&lt;p&gt;What can I do while filming or post production to get a better sensation of speed without using &lt;code&gt;Retime Editor&lt;/code&gt;? Please point me to helpful tutorials and plugins or simply give hints. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="24629" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-03-25T07:51:03.797" Title="Which techniques/filters do improve sensation of speed on a motorcycle?" Tags="|final-cut-pro-x|post-production|stabilisation|recommendation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26138" PostTypeId="2" ParentId="26102" CreationDate="2019-03-05T19:17:02.267" Score="0" Body="&lt;p&gt;There is no option to open the GoPro as an external disk.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But you can use the import functions of &lt;code&gt;Final Cut Pro X&lt;/code&gt;, &lt;code&gt;iMovie&lt;/code&gt; and the &lt;code&gt;GoPro Quik&lt;/code&gt; application instead.&lt;/p&gt;&#xA;" OwnerUserId="24629" LastActivityDate="2019-03-05T19:17:02.267" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26139" PostTypeId="1" AcceptedAnswerId="26155" CreationDate="2019-03-05T19:24:49.107" Score="2" ViewCount="1695" Body="&lt;p&gt;I have a camera set up in a room. I take a picture without any foreground as a clean slate. Then, I record a video with a moving foreground while the camera stays in the same position.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way I could use Adobe Premiere Pro or After Effects to &quot;subtract&quot; the clean slate from the footage so that it would key the background out, leaving only the foreground?&lt;/p&gt;&#xA;" OwnerUserId="24632" LastActivityDate="2019-03-13T12:41:34.243" Title="&quot;Subtracting&quot; image with clean slate on Premiere Pro/After Effects" Tags="|after-effects|premiere|chromakey|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26140" PostTypeId="1" CreationDate="2019-03-05T19:56:14.083" Score="1" ViewCount="2152" Body="&lt;p&gt;I am running a compression script to compress my large AVI files to small mp4 files. The script look like this:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;FILEPATH=&amp;quot;$1&amp;quot;&#xA;COMPRESSIONPATH=&amp;quot;$2&amp;quot;&#xA;&#xA;ffmpeg -i $FILEPATH -vcodec h264 -acodec mp2 $COMPRESSIONPATH&#xA;sudo rm $FILEPATH&#xA;curl -H &amp;quot;Content-Type:application/json&amp;quot; -X GET &amp;quot;http://localhost:3000/clovis/api/led&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Whenever I save a compressed video with a filename of &lt;code&gt;compressedVideo#0.mp4&lt;/code&gt; and open it; the newly compressed mp4 file contains footage of a very old video that I recorded and deleted about a week ago. It's almost as &lt;code&gt;ffmpeg&lt;/code&gt; is cache that delete video and compressing any filename with &lt;code&gt;compressVideo#0.mp4&lt;/code&gt; with the cached video. What might be the case here? How do I clear &lt;code&gt;ffmpeg&lt;/code&gt; cache? Changing the filename fixes this issue, but I wanted to use the filename &lt;code&gt;compressedVideo#0.mp4&lt;/code&gt;. There are a few filenames that won't work actually; &lt;code&gt;compressedVideo#0-4.mp4&lt;/code&gt; all won't work. Depending on the filename used it loads the corresponding video that was created and delete long ago.&lt;/p&gt;&#xA;" OwnerUserId="24391" LastEditorUserId="14523" LastEditDate="2023-08-11T02:17:42.990" LastActivityDate="2023-08-11T02:17:42.990" Title="ffmpeg clear video cache" Tags="|ffmpeg|mp4|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26141" PostTypeId="2" ParentId="26140" CreationDate="2019-03-05T20:30:16.980" Score="3" Body="&lt;p&gt;Solved by clearing browser cache.&lt;/p&gt;&#xA;" OwnerUserId="24391" LastEditorUserId="24391" LastEditDate="2022-10-14T05:22:09.967" LastActivityDate="2022-10-14T05:22:09.967" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26142" PostTypeId="2" ParentId="26137" CreationDate="2019-03-05T22:16:16.217" Score="1" Body="&lt;p&gt;I think you should consider to lower the frame rate or if possible change shutter angle. 60fps make the footage more crisp and take away the effect you looking for. &#xA;&lt;a href=&quot;https://photography.tutsplus.com/articles/quick-tip-how-does-shutter-speed-affect-video--photo-12092&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://photography.tutsplus.com/articles/quick-tip-how-does-shutter-speed-affect-video--photo-12092&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or consider a plug-in to add motion blur. &#xA;&lt;a href=&quot;https://sellfy.com/p/phtl/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://sellfy.com/p/phtl/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2019-03-05T22:16:16.217" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26144" PostTypeId="1" CreationDate="2019-03-06T01:11:12.430" Score="0" ViewCount="283" Body="&lt;p&gt;I've been struggling for a long time to get good at animation. I'm a storyteller at heart, so I have been trying to write books for a long time. It's just that I'm a visual person and while I am getting into books, it's not something that I value above the other ways I can tell a story. Animation is something I know really well, since I grew up with cartoons, anime, and video games.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When it comes to digital art I always have trouble getting used to the interface and making good art on it. This involves any program really. I have been reading The Animators Survival Kit, but so far it hasn't helped me much. No matter what tutorial I watch, read, or listen to it doesn't really help. I don't know if it has to do with my mentality or procrastination or anxiety or whatever. I'm just a beginner artist, I haven't developed my style. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I seek to revolutionize animation. Since (in my opinion anyway) we're kind of limiting it with American animation almost always being comedic, web animation always being parody and usually not original, I'd talk about it more but I'd be here all day and it's not what I'm focusing on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I only got into digital art and animation recently (2016 I think, it was when I was turning into an adult.)&lt;/p&gt;&#xA;" OwnerUserId="24561" LastActivityDate="2019-09-03T18:01:21.053" Title="How do I get good at animation even though I'm not good at drawing and digital art?" Tags="|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26145" PostTypeId="2" ParentId="26137" CreationDate="2019-03-06T10:04:30.500" Score="2" Body="&lt;p&gt;I agree with my fellow German dude. Lowering the framerate (until 24) can increase the feeling of uncontrolled speed and momentum. If you already did that and didn't get the effect you were looking for, here's how you can use some trickery to fake it:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Motion blur! It helps selling the effect big time. I recommend using a radial blur which is going outwards from a defined point. Put this point in the center of the screen and use a feathered mask to cut the effect from the center, so the blur only effects the edges of the screen. This way, it appears as if the road is flashing by way faster than it actually did.&#xA;Also, when it comes to filming vehicles, it's surprisingly easy to get away with simply speeding up the footage. Don't overdo it obviously, but 125%-135% should look just fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Combining all these effects, lowering the frame-rate to 24/25, adding a radial blur towards the edges of the screen and speeding up the footage slightly should give you a convincing effect.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-06T10:04:30.500" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26146" PostTypeId="1" CreationDate="2019-03-06T11:06:41.377" Score="1" ViewCount="19" Body="&lt;p&gt;Is it possible to take a project created in pftrack and transfer it to a different machine that also runs pftrack?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far, the documentation I found via google was quite poor, I also couldn't find out whether pftrack is upward-/downward compatible.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastEditorUserId="24627" LastEditDate="2019-03-06T16:55:22.023" LastActivityDate="2019-03-06T16:55:22.023" Title="PfTrack: Exchange Projects to different machine?" Tags="|tracking|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26148" PostTypeId="2" ParentId="25332" CreationDate="2019-03-06T11:29:17.093" Score="0" Body="&lt;p&gt;Maybe your toggle mask / path visibility was off?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1BZDE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1BZDE.png&quot; alt=&quot;Try this button.&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24630" LastActivityDate="2019-03-06T11:29:17.093" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26149" PostTypeId="1" CreationDate="2019-03-06T11:37:14.670" Score="1" ViewCount="25" Body="&lt;p&gt;I'd like to know if there is a way to record from several android phones at the same time (at least 2) and send the data in real-time to a computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't need to watch the recording in real-time, just to save it. The idea is to use the computer as a server, so the phones are not storing anything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any clue?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="24646" LastEditorUserId="14523" LastEditDate="2019-03-07T00:14:39.873" LastActivityDate="2019-08-04T01:02:55.393" Title="Stream from several android phones to pc" Tags="|video|streaming|android|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26151" PostTypeId="1" CreationDate="2019-03-06T11:59:41.683" Score="1" ViewCount="11921" Body="&lt;p&gt;I am launching a series of videos to Youtube.  These videos have a black background and lots of colored gradient changes.  4k, 60fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately this picture style is causing &lt;em&gt;terrible&lt;/em&gt; banding issues in H264.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Accordingly I want to upload my videos to Youtube in &lt;strong&gt;10bit&lt;/strong&gt; - is this possible?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If so, which codec would you recommend? &lt;/p&gt;&#xA;" OwnerUserId="24644" LastEditorUserId="24644" LastEditDate="2019-03-06T12:12:43.067" LastActivityDate="2023-12-29T23:00:35.187" Title="Does Youtube accept 10bit uploads? If so, what codec should I use?" Tags="|youtube|h.264|4k|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26152" PostTypeId="2" ParentId="26151" CreationDate="2019-03-06T12:20:13.183" Score="0" Body="&lt;p&gt;Youtube converts files in two main containers, flv and MPEG-4 AVC (or h.264). For everything below 720p, youtube usually switches to flv, for everything above it uses h.264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your file will get compressed by youtube's own bitrate indeed, but upping the bitrate in the encoder will still give you vast improvements in image-quality.&#xA;You need to keep in mind that the file will get compressed about three times in your case. When the camera records the image, it compresses it according to the filetype and codec it is set to. Then, after editing, the file will get rendered and compressed furthermore. And at last, youtube will also convert and compress your file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, to minimize loss of quality, it's worth considering upping your bitrate of the encoder you use (Adobe Media Encoder, Premiere, After Effects, etc.), since this is the only thing you could change as of now. A bitrate of 25-30 should be what you want. If file-size is not to be considered, I would even recommend pumping it up to about 50. Also, make sure to tick the &quot;use maximum render-quality&quot; when you're using adobe's encoders.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only limit youtube has for uploading is 124gb file-size if I remember correctly. It's a value videos should never reach tho.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-06T12:20:13.183" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26153" PostTypeId="2" ParentId="26149" CreationDate="2019-03-06T12:33:32.053" Score="1" Body="&lt;p&gt;You can use streaming apps for android which transmit the screen to a desktop-machine from which you can capture the image. I wouldn't recommend it though, as the aforementioned streaming will make your image-quality suffer big-time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let me propose a different solution:&#xA;using the cable of the phone in question, you can directly capture the image from the device. The only issue would be bringing the recordings in sync (if that's important). To fix this, you could open up an online clock for example which displays the exact time, so when stitching together the recordings in post, you'll be able to synchronize the recordings.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-06T12:33:32.053" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26154" PostTypeId="1" CreationDate="2019-03-06T15:39:40.833" Score="1" ViewCount="569" Body="&lt;p&gt;Anyone got Davinci Resolve to run on Debian?&#xA;Version 15.x installs great without error on debian but it crashes upon startup.&#xA;I would like to hear from anyone who runs it with Debian, what video cards you are using etc.&lt;/p&gt;&#xA;&lt;p&gt;for the record, here is the terminal output of the crash.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;/opt/resolve/bin/resolve&#xA;ActCCMessage Already in Table: Code= c005, Mode= 13, Level=  1, CmdKey= -1, Option= 0&#xA;ActCCMessage Already in Table: Code= c006, Mode= 13, Level=  1, CmdKey= -1, Option= 0&#xA;ActCCMessage Already in Table: Code= c007, Mode= 13, Level=  1, CmdKey= -1, Option= 0&#xA;ActCCMessage Already in Table: Code= 2282, Mode=  0, Level=  0, CmdKey= 8, Option= 0&#xA;PnlMsgActionStringAdapter Already in Table: Code= 615e, Mode=  0, Level=  0, CmdKey= -1, Option= 0&#xA;log4cxx: No appender could be found for logger (UI).&#xA;log4cxx: Please initialize the log4cxx system properly.&#xA;15.2.4 (#006) Linux/Clang&#xA;Main thread starts: 99B99AC0&#xA;resolve: AppConfig.cpp:171: void AppConfig::LoadAllSiteInfo(): Assertion `m_SiteEnabledIdx &amp;gt; 0' failed.&#xA;&#xA;&#xA;==========[CRASH DUMP]==========&#xA;Please send this to support:&#xA;&#xA;# TIME Wed Mar  6 10:36:48 2019 - Uptime 00:00:00 (hh:mm:ss)&#xA;# PROGRAM_NAME DaVinci Resolve v15.2.4.006 (Linux/Clang)&#xA;&#xA;/opt/resolve/bin/resolve() [0x467c199]&#xA;/opt/resolve/bin/resolve() [0x18b0893]&#xA;/lib/x86_64-linux-gnu/libpthread.so.0(+0x110e0) [0x7f72800a90e0]&#xA;/lib/x86_64-linux-gnu/libc.so.6(gsignal+0xcf) [0x7f727e11afff]&#xA;/lib/x86_64-linux-gnu/libc.so.6(abort+0x16a) [0x7f727e11c42a]&#xA;/lib/x86_64-linux-gnu/libc.so.6(+0x2be67) [0x7f727e113e67]&#xA;/lib/x86_64-linux-gnu/libc.so.6(+0x2bf12) [0x7f727e113f12]&#xA;/opt/resolve/bin/resolve() [0x189ddf0]&#xA;/opt/resolve/bin/resolve() [0x189c5c6]&#xA;/opt/resolve/bin/resolve() [0x189be98]&#xA;/opt/resolve/bin/resolve() [0x1d58051]&#xA;/opt/resolve/bin/resolve() [0x1d57dc4]&#xA;/opt/resolve/bin/resolve() [0x18af69e]&#xA;/opt/resolve/bin/resolve() [0x1897944]&#xA;/lib/x86_64-linux-gnu/libc.so.6(__libc_start_main+0xf1) [0x7f727e1082e1]&#xA;/opt/resolve/bin/resolve() [0x189679d]&#xA;Signal Number = 6&#xA;&#xA;================================&#xA;resolve: AppConfig.cpp:171: void AppConfig::LoadAllSiteInfo(): Assertion `m_SiteEnabledIdx &amp;gt; 0' failed.&#xA;&#xA;&#xA;==========[CRASH DUMP]==========&#xA;Please send this to support:&#xA;&#xA;# TIME Wed Mar  6 10:36:48 2019 - Uptime 00:00:00 (hh:mm:ss)&#xA;# PROGRAM_NAME DaVinci Resolve v15.2.4.006 (Linux/Clang)&#xA;&#xA;/opt/resolve/bin/resolve() [0x467c199]&#xA;/opt/resolve/bin/resolve() [0x18b0893]&#xA;/lib/x86_64-linux-gnu/libpthread.so.0(+0x110e0) [0x7f72800a90e0]&#xA;/lib/x86_64-linux-gnu/libc.so.6(gsignal+0xcf) [0x7f727e11afff]&#xA;/lib/x86_64-linux-gnu/libc.so.6(abort+0x16a) [0x7f727e11c42a]&#xA;/lib/x86_64-linux-gnu/libc.so.6(+0x2be67) [0x7f727e113e67]&#xA;/lib/x86_64-linux-gnu/libc.so.6(+0x2bf12) [0x7f727e113f12]&#xA;/opt/resolve/bin/resolve() [0x189ddf0]&#xA;/opt/resolve/bin/resolve() [0x189c5c6]&#xA;/opt/resolve/bin/resolve() [0x189be98]&#xA;/opt/resolve/bin/resolve() [0x18d0e0d]&#xA;/opt/resolve/bin/resolve() [0x18b0ade]&#xA;/lib/x86_64-linux-gnu/libpthread.so.0(+0x110e0) [0x7f72800a90e0]&#xA;/lib/x86_64-linux-gnu/libc.so.6(gsignal+0xcf) [0x7f727e11afff]&#xA;/lib/x86_64-linux-gnu/libc.so.6(abort+0x16a) [0x7f727e11c42a]&#xA;/lib/x86_64-linux-gnu/libc.so.6(+0x2be67) [0x7f727e113e67]&#xA;/lib/x86_64-linux-gnu/libc.so.6(+0x2bf12) [0x7f727e113f12]&#xA;/opt/resolve/bin/resolve() [0x189ddf0]&#xA;/opt/resolve/bin/resolve() [0x189c5c6]&#xA;/opt/resolve/bin/resolve() [0x189be98]&#xA;/opt/resolve/bin/resolve() [0x1d58051]&#xA;/opt/resolve/bin/resolve() [0x1d57dc4]&#xA;/opt/resolve/bin/resolve() [0x18af69e]&#xA;/opt/resolve/bin/resolve() [0x1897944]&#xA;/lib/x86_64-linux-gnu/libc.so.6(__libc_start_main+0xf1) [0x7f727e1082e1]&#xA;/opt/resolve/bin/resolve() [0x189679d]&#xA;Signal Number = 6&#xA;&#xA;================================&#xA;Aborted&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24648" LastEditorUserId="24378" LastEditDate="2020-10-22T07:38:36.717" LastActivityDate="2020-10-22T07:38:36.717" Title="Debian &amp; Blackmagic Davinci Resolve" Tags="|video|video-editor|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26155" PostTypeId="2" ParentId="26139" CreationDate="2019-03-06T16:43:24.647" Score="2" Body="&lt;p&gt;Haven't tried it, but this might work by dragging both shots in after effects, setting the layer with the subject to &quot;difference&quot;, which shows the parts that are different. You can then pre-compose both layers, drag in the footage with the subject again, put it on top of the precomp and then add levels to the precomp, dragging the rgb curve up so that the image becomes only fully black and fully white, giving you the luma-mask for the subject. If you now set this precomp as the luma-mask for the shot with the subject, it should subtract only the subject and cut out the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some reasons why this shouldn't be an alternative to greenscreens:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;You really need to make sure that the camera, as well as the background stays &lt;em&gt;exactly&lt;/em&gt; the same for both shots. Any difference will produce bits you need to mask out using a garbage-mask.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Because nearly all cameras compress the captured images, those blocky compression-artifacts will get masked out as well. This might result in messy edges and ugly smudges, especially while moving rapidly.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;When for example a hand is in rapid motion, the background will shine through the blurry hand, because the difference will detect it as if its a completely opaque foreground.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Now some reasons for why you &lt;em&gt;should&lt;/em&gt; use it under some circumstances:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;You won't have to deal with &quot;spill&quot;, which is the color of the key-screen (usually green) that gets bounced onto your subject. Cleaning up spill isn't magic, but not having to think about this issue might save you some time.&lt;/li&gt;&#xA;&lt;li&gt;You don't need to buy and set up a proper greenscreen, which - especially for indie-filmmakers - can be a pain in the rear.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I hope I was able to help :)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-06T16:43:24.647" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26156" PostTypeId="1" CreationDate="2019-03-06T21:33:04.017" Score="2" ViewCount="290" Body="&lt;p&gt;I'm looking for setup that I can use to record field sports (like soccer) unattended, for coaching/review purposes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I'm using a Chinese GoPro knockoff mounted to a tall fence, however the 170degree lens is not wide enough to capture the whole field because the fence is too close to the field.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm considering a 360 camera like the &lt;a href=&quot;https://store.insta360.com/product/one_x&quot; rel=&quot;nofollow noreferrer&quot;&gt;Insta360 One X&lt;/a&gt;, but it seems like an inefficient use of money if I only need a single ~200 degrees lens. I'm also not going to need many of the `action cam features' like image stabilization.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone have any setup or specific camera suggestions? I'd like to stay under $500.&#xA;I also considered using two Chinese GoPro knockoffs but from looking at other questions on this site it seemed like too much work to stitch them together in post.&lt;/p&gt;&#xA;" OwnerUserId="24653" LastActivityDate="2019-04-06T12:33:11.430" Title="setup for recording full field sports unattended?" Tags="|camera|field-recording|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26157" PostTypeId="1" CreationDate="2019-03-06T22:44:46.367" Score="0" ViewCount="1651" Body="&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-scaler.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-scaler.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.png -vf scale=3840:2160 -sws_flags lanczos out.png&#xA;&#xA;-vf scale=3840x2160:flags=lanczos&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I went down the list upscaling a 720p image to 4k using the various ones on the documentation, lanczos is input above. I tried the variation below as well. I noticed 0 difference after tossing them in gimp and zooming in and comparing....exact same. I also noticed it doesn't matter what I type, i could call them something wrong or spell them wrong and the command works the same. They don't seem to be applying at all. Is there any indication in command prompt as to what scaling algorithm is being used so I can confirm ? I didn't see any difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oE3hJ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oE3hJ.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="21882" LastEditDate="2019-03-07T05:07:26.513" LastActivityDate="2021-03-29T02:03:55.360" Title="ffmpeg scaler options not working" Tags="|ffmpeg|scale|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26158" PostTypeId="1" AcceptedAnswerId="26162" CreationDate="2019-03-06T23:05:41.357" Score="0" ViewCount="28" Body="&lt;p&gt;I have recently been tasked with setting up a live stream for a Karate Tournament.  Never did anything like it before but I'm the organization's technical wiz so its landed on my lap.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for some advise on where to start equipment wise.  I have a cropped sensor Nikon d3400 with a 35mm lens.  So looking on advise on whether to use that or to look at a goPro or similar camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My other requirement is to have a laptop available that if the referee would like to see a replay of recent footage to determine if there is a foul we can do this without interrupting the live stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So really I am looking for advise on the following.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Should I stick with the entry dslr or investing in a sports camera?&lt;/li&gt;&#xA;&lt;li&gt;Will there be any issues with streaming and also recording for instant playback from the same camera.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I have almost a year to get this setup working so really just looking for a bit of advise so i can get started.&lt;/p&gt;&#xA;" OwnerUserId="24654" LastEditorUserId="14523" LastEditDate="2019-03-07T00:18:05.797" LastActivityDate="2019-03-07T09:24:57.263" Title="looking for some advise on setting up a sports event livestream with local playback" Tags="|streaming|live-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26159" PostTypeId="2" ParentId="26151" CreationDate="2019-03-07T03:51:36.220" Score="0" Body="&lt;p&gt;Atm a 10 bit h.265 in NUT container is the best of what I've tried. Depending on how popular ur channel is, rather whether you'll get vp9 encoding or not, u should scale to 2k or 4k. But ur doing 4k anyways so its irrelevant u should get good treatment on youtube. So give it a test at:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;10 bit h.265 NUT (.nut) @ 4k .wav audio&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;use a perceptually lossless setting, so fairly high bitrate but not insane. an h.265 crf of 19 is my recommendation, no more no less.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;alternatively as a lossey option to save on filesize u can do h.265 10 bit .ts with opus. You'll get a nicer kick with .wav, assuming the audio is any good to begin with. Even just transcoding to wav and using that is gonna show some difference when uploaded to youtube. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you go mkv as your container, expect problems @ 10 bit. Similar with other containers...they don't work over 8 bit or have very poor results on youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If file size is irrelevant you could just do an image format stored in an mkv. 16 bit png or higher in an mkv..it's insane but its pretty. They've uploaded fine in the past, haven't done it recently though so do a small test first. If I had to choose between the three for just image quality I'd go .ts, for some reason that container looks really nice on youtube. Containers influence the final picture quality on youtube...cause reasons.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Further Information for ffmpeg rendering (quickstart guide):&lt;/strong&gt;&lt;br&gt;&#xA;****Generally in my case things are pumped out as an image strip from whatever video editor I use; use a high bit depth. Then in the folder the pictures are stored in, where the starting picture is called 21.png and the subsequent images are sequentially increasing by 1..22.png...23.png etc; Further naming convention data can be found on the wiki. Sometimes commands start at 0 sometimes at 1, so I suggest you specify the start_number so you don't have to care**** &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 24000/1001 -start_number 21 -i %d.png -vf &quot;scale=3840:-1&quot; -c:v libx265 -crf 19 -pix_fmt yuv422p10le 4k_output.nut&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After ffmpeg is called up each argument is started with a &quot;-&quot; known as a flag, with the exception of the output.* &lt;em&gt;Where -framerate is expressed as an integer (24, 30, 60 etc); -start_number just sets the start point as noted above; -i signals the input you are gonna do stuff to. In this case it's an image strip so %d is the generic callup for image strips, the .png is the format of the image (most formats supported, .exr may have problems); -vf &quot;scale&quot; is included incase you need to upscale/downscale (you don't tho), in ur case take it out, if you are dealing with jpg you either use -2 or specify the height numerically i.e. &quot;3840:2160&quot;. Alternatively  you can specify the algorithm used for the scale with -vf scale=3840x2160:flags=lanczos -v 40; where you change lanczos with whatever you want...'neighbour'...'experimental' by default its bicubic which is fine; specified is libx265 which is just h.265, libx264 is h.264 etc; crf 19 is the quality, for h.265 you would use a value +2 higher than the value u use for h.264 (i.e. 17 crf in h.264 = 19 crf in h.265), the value shown is generally labelled as 'perceptually lossless'; pix_fmt specified the bit depth...in this case we want yuv422p10le for 10 bit, yuv480p for 8 bit, yuv422p12le for 12 bit (requires custom build), rgb48be for 16 bit png etc; the output is custom named, in this case I chose &quot;4k_output&quot;. Note: the file extension of output/input are labelled accordingly, .nut = NUT.&lt;/em&gt; You can stick a '-preset veryfast' or '-preset slow' after you specify h.265, depending on the file size desired otherwise it'll do the normal speed/size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I generally recommend a separate command for combining ur audio with video to prevent problems.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 4k_output.nut -i audio.wav -c copy final_upload.nut&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Where '-c copy' is a command that signals to copy the audio and video streams over so that no re-encoding takes place. You should check the streams information which will be displayed right after you initiate the command and right before it goes frame by frame encoding, this will tell you what is happening to each stream. Look for (copy) to be displayed to confirm where no re-encoding takes place.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For opus you can convert your audio using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i audio.wav -c:a libopus -b:a 510000 opus.ogg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Where -b specifies the bit rate, with opus u need to write it out,but otherwise u could write 510k I believe for aac and others. Although I would use 384k for aac. And someone reading this would suggest 128k...but whatever. So this would be 3 separate commands, but if you are confident in your computer (and luck) you could do it all in a single command. I'll leave that to you to figure out, just mix and match in an order where reading it left to right makes sense. And for transport stream just use .ts instead of .nut. It's the same command as with .nut, just .ts can't store lossless audio.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can preview your video using ffplay (included in same folder as ffmpeg.exe), .nut doesn't play well in many video players.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay final_upload.nut -fs&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The format is the same between ffplay and ffmpeg, but the -i is optional, and the inputs are specified at the end of the argument...i always do -fs at the end where its used tho. -fs just signals full screen; it'll fix any zoomed display problems, alternatively you can specify the window size with the scale filter.&lt;br&gt;&#xA;i.e.) ffplay -vf &quot;scale=1280:-1,unsharp=lx=10:ly=10:la=2.0&quot; final_upload.nut&lt;br&gt;&#xA;filters and effects can be tested in ffplay before rendering, similarly you can play ur entire image sequence in ffplay if ur computer can handle it just re-arrange the commands given and realize you don't have to specify codecs. I really like unsharp so I included it here, it functions as a sharpener when you use positive values.     &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Worth noting to anyone using command prompt: control+c (3 times in a row is hardstop) will stop any command including ffplay. The 'Pause' key will pause any render operation; control+z will resume any paused operation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you wanted to store the images in an mkv video you could use the ffmpeg command originally specified but include a '-c:v copy' and change the output file extension to .mkv. If successful (check the streams as mentioned above) this will ignore all ur video codec settings and simply copy it into the container. ffmpeg reads left to right, so generally you can just specify your copy command anywhere after the input, certain things are better specified before the input but you can research that yourself. If dealing with video you can use '-r' instead of '-framerate', be careful where you place your framerate though. Note 1's and l's look the same but they can make or break ur command. If you have multiple streams in ur video (subfiles, information, fonts, multiple audio/video) specify '-map 0' after the input and this will bring all the streams over to the output. If things are specified, presets will be applied based on stuff like output container chosen. So if I could do ffmpeg -i input.avi output.mkv; and this will automatically carry over the single best quality audio and video stream, re-encoding them to vorbis and h.264. The copy commands in general are (the newer notation):&lt;br&gt;&#xA;-c:v copy&lt;br&gt;&#xA;-c:a copy&lt;br&gt;&#xA;-c:s copy&lt;br&gt;&#xA;-c copy&lt;br&gt;&#xA;Where v is video streams, a is audio stream, s is subtitle stream. c copy is a short form for saying copy ALL streams. If you specify -map 0 and need to re-encode video you would do -c:a copy and -c:s copy in ur command. Otherwise using -c copy you'd overwrite any video codec settings applied in most cases.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As well be careful not to include spaces where there shouldn't be any. If doing spaces in your notation enclose the argument with a &quot; &quot;, same with input  and output names. i.e. -i &quot;my video&quot;.mkv. I included quotes with the filter command up top just cause I generally put spaces after each filter (separated by a ,) and elsewhere just to see better etc. And make sure when your command is running through the frames its not displaying a &quot;frames dropped&quot; display...that would be bad, make sure fps is in the right place. it should display the speed while it's working and that's it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need more help see the official documentation. If you can't read it, it's kinda hard, use &lt;a href=&quot;https://amiaopensource.github.io/ffmprovisr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://amiaopensource.github.io/ffmprovisr/&lt;/a&gt; first then reference the command information on the docs/wiki. The wiki pages, where offered, are easier to understand.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="21882" LastEditDate="2019-03-12T05:39:36.903" LastActivityDate="2019-03-12T05:39:36.903" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="26160" PostTypeId="1" CreationDate="2019-03-07T04:01:42.227" Score="0" ViewCount="353" Body="&lt;p&gt;I'm trying to edit some video clips recorded on a Samsung Gallaxy Note 9, at a high FPS (60, or 120), and the mp4 files won't play on my Mac. More specifically, they play the audio, but the video just shows a black screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Videos recorded at 30 fps look fine, but anything at a higher FPS shows with a black screen, either when I play it with Quicktime, or if I try to import it into a video editing app like Final Cut Pro or iMovie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone have any idea if a certain video codec is required to get it to play on a Mac?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="24655" LastActivityDate="2019-08-29T02:38:12.827" Title="Samsung Note 9 high FPS videos won't play on Mac? (black screen)" Tags="|file-formats|formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26162" PostTypeId="2" ParentId="26158" CreationDate="2019-03-07T09:24:57.263" Score="0" Body="&lt;p&gt;Yes, there will be problems trying to stream the live-image from a dslr. Usually, you would use a multicam-setup for a livestream such as this, including scenes for intermissions, transitions, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Normally, you would use a mixer like the ones from black-magic, &lt;a href=&quot;https://www.videodata.de/shop/products/de/Studiotechnik/Videomischer/Blackmagic-ATEM-Television-Studio-HD.html?refID=GOOGLE_RSS_FEED_REFID&amp;amp;gclid=Cj0KCQiAn4PkBRCDARIsAGHmH3epXnlnktBKWuCk1WJBo73YUxb-_sWw1Z4hkQpaW0l5LqEFdlODhCMaAkDWEALw_wcB&quot; rel=&quot;nofollow noreferrer&quot;&gt;here's&lt;/a&gt; a link to it. Using it, you would want to feed an sdi signal from the camera into the mixer and send the image from the mixer to a distributer (like a pc or laptop) which will then be able to stream the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, you can't just plug a gopro into your pc and press &quot;stream image&quot;.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-07T09:24:57.263" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26163" PostTypeId="2" ParentId="26156" CreationDate="2019-03-07T09:51:38.840" Score="0" Body="&lt;p&gt;When it comes to capturing the sport only for reviewing purposes, it should be the most affordable idea to mount two cheap, wide-angle (around 20mm) camera to each goal. You shouldn't go overboard with wider lenses though, because although you see a wider range, the center point will get further away the wider your lens gets. So, buying two ~200$ gopro-knockoffs and putting them at each end of the playing-field.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-07T09:51:38.840" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26164" PostTypeId="2" ParentId="26160" CreationDate="2019-03-07T09:55:04.040" Score="1" Body="&lt;p&gt;Try the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;use the adobe media encoder preferably, or some other encoder to encode the file as something like prores422 or prores4444.&lt;/li&gt;&#xA;&lt;li&gt;use a different player, like vlc, djv, etc.&lt;/li&gt;&#xA;&lt;li&gt;Check if you have all codecs installed, for quicktime and h.264, etc.&lt;/li&gt;&#xA;&lt;li&gt;Open the file on a different machine. If it still won't work, it's probably the file that's the root of the problem.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;How big is the video-file? If it's around 3mb or something, that might indicate that there is no visual information in the file in the first place. If the file is moderately big, the problem might be with the player and/or the codecs on your machine.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-07T09:55:04.040" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26165" PostTypeId="2" ParentId="26144" CreationDate="2019-03-07T09:59:26.613" Score="2" Body="&lt;p&gt;Hard work. One does not become a god in animation overnight.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Learn to master Illustrator, Photoshop, After Effects. That's virtually all you need for professional animation. Or go and look for programs that fit your workflow best and stick with them. Don't try to be &quot;moderate&quot; at every program, master your few.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are great books and masterclasses and guides on sites such as pluralsight. Create something, realize it sucks, do it again, improve. That's the natural way all of us had to learn design, animation, compositing etc.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-07T09:59:26.613" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26166" PostTypeId="2" ParentId="26136" CreationDate="2019-03-07T11:26:55.537" Score="0" Body="&lt;p&gt;So that's two questions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1: You sure can _put information of mask tracker to another object's position.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;what information are you talking about?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2: Yes.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-07T11:26:55.537" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26167" PostTypeId="1" CreationDate="2019-03-07T14:54:23.360" Score="2" ViewCount="94" Body="&lt;p&gt;I have a video of a concert, and a list of timestamps (5:06-15:49, 17:56-29:14...) that correspond to songs I would like to make into separate videos. Can anyone recommend a simple program I can use to do this? The one built into windows is troublesome to use and I can only make one clip at a time.&lt;/p&gt;&#xA;" OwnerUserId="24658" LastEditorUserId="26178" LastEditDate="2020-08-16T23:02:19.883" LastActivityDate="2021-01-14T00:04:00.403" Title="Simple program for trimming video" Tags="|windows|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26170" PostTypeId="2" ParentId="26167" CreationDate="2019-03-08T08:32:07.700" Score="-1" Body="&lt;p&gt;The quickest, dirtiest way of doing this would be using Windows Movie Maker. The program is easy to use, free and terrible, but totally fit for what you're trying to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're looking for (free) alternatives, try:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;test version of Sony Vegas&lt;/li&gt;&#xA;&lt;li&gt;test version of Adobe Premiere&lt;/li&gt;&#xA;&lt;li&gt;test version of Camtasia (eugh)&lt;/li&gt;&#xA;&lt;li&gt;free version of Davinci Resolve (a bit more advanced)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="24627" LastEditorUserId="18155" LastEditDate="2019-03-13T20:37:14.813" LastActivityDate="2019-03-13T20:37:14.813" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26171" PostTypeId="1" CreationDate="2019-03-08T13:06:04.397" Score="4" ViewCount="12592" Body="&lt;p&gt;I was able to remove metadata titles in mkv files through mkvtoolnix with this code&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;for /r %%g in (*.mkv) do (&quot;D:\Programs\MKVToolsNix\mkvpropedit&quot; &quot;%%~g&quot; --tags all:&quot;&quot; --delete title )&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I want to do the same thing with mp4 files too which probably cant be done with mkvtoolnix. How do I do it?&lt;/p&gt;&#xA;" OwnerUserId="24666" LastActivityDate="2021-09-07T02:54:22.770" Title="Removing Metadata Title in mp4 files" Tags="|editing|mp4|metadata|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26173" PostTypeId="1" AcceptedAnswerId="26174" CreationDate="2019-03-08T15:33:23.590" Score="0" ViewCount="716" Body="&lt;p&gt;I generate two test videos (the first a test pattern, the second solid red) with &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i testsrc=duration=5:size=1280x720:rate=30 pattern.mp4&#xA;ffmpeg -f lavfi -i color=c=red@0.2:duration=5:size=1280x720:r=10 red.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If I blend these together with the solid red as background, I see the expected output: left half test pattern, right half solid red. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i pattern.mp4 -i red.mp4 -filter_complex &quot;[0:v][1:v]blend=all_expr=if(lt(X\,600)\,A\,B)&quot; output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, when blending in the opposite order, the output is not as expected, with the solid red &quot;bleeding&quot; over the entire image.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i red.mp4 -i pattern.mp4 -filter_complex &quot;[0:v][1:v]blend=all_expr=if(lt(X\,600)\,A\,B)&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Why is the &quot;A&quot; video leaking into the &quot;B&quot; zone?&lt;/p&gt;&#xA;" OwnerUserId="24668" LastActivityDate="2019-03-08T16:28:58.080" Title="Color leakage effects with ffmpeg blend=all_expr" Tags="|ffmpeg|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26174" PostTypeId="2" ParentId="26173" CreationDate="2019-03-08T16:28:58.080" Score="4" Body="&lt;p&gt;The default pixel format for &lt;code&gt;testsrc&lt;/code&gt; filter is &lt;code&gt;rgb24&lt;/code&gt;, which gets converted to &lt;code&gt;yuv444p&lt;/code&gt; for encoding to H264. The default pixel format for color is &lt;code&gt;yuv420p&lt;/code&gt;, which is kept as-is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The blend filter requires both inputs to have the same pixel format, and will, where possible, convert the pixel format of the 2nd input to match that of the first. When &lt;code&gt;red.mp4&lt;/code&gt; is the first input, the frames from &lt;code&gt;pattern.mp4&lt;/code&gt; are converted to &lt;code&gt;yuv420p&lt;/code&gt;. In &lt;code&gt;yuv420p&lt;/code&gt;. the chroma planes are half the width (and height) of the luma plane, so in this case, 640x360.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your blend expression, which is applied to all planes is, &lt;code&gt;if(lt(X\,600)\,A\,B)&lt;/code&gt;. For the chroma planes of a 1280x720 frame in yuv420p format, &lt;code&gt;X = 600&lt;/code&gt; is at ~6% from the right edge, hence the result you're seeing. You can modify the expr to &lt;code&gt;if(lt(X\,SW*600)\,A\,B)&lt;/code&gt; to get the expected result. &lt;code&gt;SW&lt;/code&gt; is the scale factor for the processed plane and represents the ratio of the current plane to the luma plane.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-03-08T16:28:58.080" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26175" PostTypeId="2" ParentId="26171" CreationDate="2019-03-08T16:43:59.577" Score="6" Body="&lt;p&gt;You can try FFMpeg.  There are &lt;a href=&quot;https://superuser.com/questions/441361/strip-metadata-from-all-formats-with-ffmpeg&quot;&gt;examples&lt;/a&gt; showing how to strip all metadata and removing just a single item isn't much different.&lt;/p&gt;&#xA;&lt;p&gt;Try&lt;br /&gt;&#xA;&lt;code&gt;ffmpeg -i in.mp4 -metadata title= -c:v copy -c:a copy out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This can also be done with exiftool as of version 11.39. Exiftool can also do it in batch without need of a script.&lt;br /&gt;&#xA;&lt;code&gt;exiftool -ext mp4 -Title= /path/to/files/&lt;/code&gt;&lt;br /&gt;&#xA;This command creates backup files.  Add &lt;a href=&quot;https://exiftool.org/exiftool_pod.html#overwrite_original&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;-overwrite_original&lt;/code&gt;&lt;/a&gt; to suppress the creation of backup files.  Add &lt;a href=&quot;https://ExifTool.org/exiftool_pod.html#r-.--recurse&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;-r&lt;/code&gt;&lt;/a&gt; to recurse into subdirectories.&lt;/p&gt;&#xA;" OwnerUserId="24669" LastEditorUserId="24669" LastEditDate="2021-02-02T15:05:30.537" LastActivityDate="2021-02-02T15:05:30.537" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="26176" PostTypeId="1" CreationDate="2019-03-08T20:07:36.440" Score="1" ViewCount="263" Body="&lt;p&gt;I have a series of PNG images created in Blender that I need to combine into an mp4, or really any video format playable on the Oculus Go VR headset. &lt;a href=&quot;https://creator.oculus.com/distribute/oculus-video/&quot; rel=&quot;nofollow noreferrer&quot;&gt;This page&lt;/a&gt; has detailed information about video specifications for their platform Oculus Video, although I'm actually trying to use the apps Oculus Gallery and Skybox VR for local playback, so I'm not sure it applies the same.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 24 -vcodec h264 -i my_images_%04d.png -pix_fmt yuv420p output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This command is failing and giving me the following output: &lt;a href=&quot;https://pastebin.com/xyNck7fa&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pastebin.com/xyNck7fa&lt;/a&gt;. If I add the corresponding audio with &lt;code&gt;-i my_audio.wav&lt;/code&gt;, I get an audio-only file with a .mp4 file extension.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was previously able to produce video that was playable on my PC but didn't play back at the correct speed to match the corresponding audio. (This is quite clear because it is specifically a music visualization video.) When transferred to the headset, it was unable to play at all in Oculus Gallery (would try to load indefinitely), and it would kind of play in Skybox VR but at maybe 1 fps, clearly struggling. To be honest, I'm not sure what I was doing differently before that allowed me to at least get a video. I had thought this was the exact command I was using, but I let some time go by and I guess I forgot some option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I played the video I was able to create before in VLC and pulled up codec information to compare to other MP4 files I had downloaded. There were only two significant differences: the resolutions and the 'decoded format.' The resolution of my frames is 2880x810 (which I'm aware now is not the ideal aspect ratio for VR, but I can work on that once I have playable video), whereas a typical video I have is 864x480. All of my downloaded MP4s have the decoded format field blank when viewed in VLC, but the video I created reads 'Planar 4:4:4 YUV.'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is all the relevant information I can think of. Can someone help me figure out what I need to do differently?&lt;/p&gt;&#xA;" OwnerUserId="24674" LastActivityDate="2019-03-10T06:00:53.513" Title="Can't Get Playable Video From Images in FFMPEG for Oculus Go" Tags="|ffmpeg|blender|vr|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26177" PostTypeId="1" CreationDate="2019-03-08T21:29:21.770" Score="0" ViewCount="59" Body="&lt;p&gt;Take a look at this short iPhone 4 advert...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/8X-2g7VqMdo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do they keep the phone so stable throughout the video? If you have ever tried to hold something completely still in close up, it’s extremely difficult. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you look very closely, the left hand appears to shift very slightly in relation to the phone. This would imply the phone is fixed onto a mount, but the initial section amd the move at 25s show that it’s not. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried using software stabalisation in post, but this does not look convincing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is the screen of the iPhone superimposed in post, over a still hand and device? This seems unlikely I think. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any thoughts on this would be very welcome. &lt;/p&gt;&#xA;" OwnerUserId="24675" LastActivityDate="2019-03-09T09:08:59.573" Title="How do Apple do this? (iPhone 4 commercial)" Tags="|stabilisation|iphone|apple|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26178" PostTypeId="1" CreationDate="2019-03-08T22:36:14.517" Score="0" ViewCount="25" Body="&lt;p&gt;How to make blurry, washed out effect like in this video the more far object location is the more blurry that object is.  And then object is moving bluriness also moving. How to do that?  Timestamp 32:48- 33:20&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/hwOY8_abJGI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="24678" LastEditorUserId="24678" LastEditDate="2019-03-08T23:01:39.330" LastActivityDate="2019-03-08T23:31:37.783" Title="How to make that effect in After Effects?" Tags="|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26179" PostTypeId="2" ParentId="26178" CreationDate="2019-03-08T23:31:37.783" Score="2" Body="&lt;p&gt;I think what you mean is called &quot;depth of field&quot; and is the way cameras work, no effect.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-08T23:31:37.783" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="26180" PostTypeId="2" ParentId="26177" CreationDate="2019-03-08T23:33:54.387" Score="2" Body="&lt;p&gt;It's a still. For commercial beauty shots like those, you hire a hand model and freeze frame the video once the phone is held. The screen is obviously just a Greenscreen or simply black so it can be replaced afterwards. Then, the finger swipes etc are recorded seperately (probably in front of a Greenscreen) and then composited onto the screen to fit the animation. &lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-08T23:33:54.387" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26181" PostTypeId="1" AcceptedAnswerId="26186" CreationDate="2019-03-09T05:03:52.250" Score="1" ViewCount="14" Body="&lt;p&gt;I want to take video of one part of the of production process of glass pressing: gob delivery. I want to assess the shape of the gob, dimensions, and position in the mold. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do not know much about video techniques, so I tried to use my cellphone camera with very bad results. The main problem seems to be the brightness of the glass.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I was wondering, what are the most important factors to take into consideration when taking this kind of footage? Should I use special camera? Maybe I should use filters, or maybe I need to know a particular postprocessing technique.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anybody shed some light on this issue?&lt;/p&gt;&#xA;" OwnerUserId="24679" LastActivityDate="2019-03-10T03:13:08.503" Title="What do I need to take into consideration to take video of molten glass which I will later postprocess?" Tags="|filter|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26182" PostTypeId="2" ParentId="26177" CreationDate="2019-03-09T09:08:59.573" Score="0" Body="&lt;p&gt;The hand with phone is freezed. Than they overlay the hand motions (Probablly shot with green screen) and animate the phone screen.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-03-09T09:08:59.573" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26184" PostTypeId="2" ParentId="26157" CreationDate="2019-03-09T21:48:15.900" Score="1" Body="&lt;p&gt;Use the &lt;strong&gt;print_info&lt;/strong&gt; flag to see what the scaler is doing, example from an actual conversion:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter:v &quot;scale=w=1280:h=-2:flags=print_info+bicubic&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Part of the relevant output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_scale_0 @ 000001d8187fef00] w:1280 h:-2 flags:'print_info+bicubic' interl:0&#xA;[swscaler @ 000001d819bc7fc0] bicubic scaler, from yuv420p to yuv420p using MMXEXT&#xA;[swscaler @ 000001d819bc7fc0] 1920x804 -&amp;gt; 1280x536&#xA;Parsed_scale_0 @ 000001d8187fef00] w:1920 h:804 fmt:yuv420p sar:1/1 -&amp;gt; w:1280 h:536 fmt:yuv420p sar:1/1 flags:0x1004&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Edit:  I also always use &quot;-loglevel verbose&quot;, don't know if that changes the level of detail the scaler filter outputs.&lt;/p&gt;&#xA;" OwnerUserId="24684" LastActivityDate="2019-03-09T21:48:15.900" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26185" PostTypeId="1" CreationDate="2019-03-10T02:32:49.523" Score="0" ViewCount="1578" Body="&lt;p&gt;Disk usage while rendering with ffmpeg is hitting 100% most of the render. Cpu and ram though are only using half of what is available.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would moving components to an ssd improve the operation time? And which components exactly would need to be moved to get the benefit? i.e. the ffmpeg.exe, the output files, the input files&lt;/p&gt;&#xA;" OwnerUserId="21882" LastActivityDate="2020-04-18T16:00:35.100" Title="ffmpeg Does using SSD improve render times when disk usage 100%?" Tags="|ffmpeg|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26186" PostTypeId="2" ParentId="26181" CreationDate="2019-03-10T03:13:08.503" Score="1" Body="&lt;p&gt;What this comes down to is what's referred to as dynamic range. The wider the dynamic range the more detail you will see between the darkest darks and brightest lights. The human eye has a very large dynamic range, much larger than a camera. Cell phones are alright but dont have a very large dynamic range compared to a dslr or camcorder.  (This is immediately evident if youve ever tried to take a photo with your phone of a beautiful sunset only to be underwhelmed by the resulting photo compared to the reality.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It sounds like all you need to do is manually adjust the exposure down a few stops until just the glass is exposed. If you have a dslr try snagging a set of ND filters for the lens you'll shoot with. The ND filter (neutral density filter) works to allow you to adjust the exposure of the image if you are dealing with extreme brightness either from the environment or due to your aperture/shutter/ISO settings. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps! Feel free to message me if you need any help!&lt;/p&gt;&#xA;" OwnerUserId="24606" LastActivityDate="2019-03-10T03:13:08.503" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26188" PostTypeId="2" ParentId="26176" CreationDate="2019-03-10T05:53:07.880" Score="2" Body="&lt;p&gt;Thanks to u/jesus_is_imba on Reddit for the following answer:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 24 -i my_images_%04d.png -c:v libx264 -crf 18 -preset slow -g 48 -pix_fmt yuv420p -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The -g argument defines keyframe interval in frames and according to Oculus should be 2 seconds, ie. 2x your frame rate.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This command produces video that plays back perfectly both in VLC and in Oculus Gallery.&lt;/p&gt;&#xA;" OwnerUserId="24674" LastEditorUserId="24674" LastEditDate="2019-03-10T06:00:53.513" LastActivityDate="2019-03-10T06:00:53.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26191" PostTypeId="2" ParentId="26185" CreationDate="2019-03-10T18:40:36.953" Score="0" Body="&lt;p&gt;If you have that option of moving to SSD there's no better way to find out if it improves, other than just trying to see if it does.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, input and output files on the SSD should greatly improve read and write speed. Moving the exe is less of an issue since its commands aren't demanding and are usually cached in memory (RAM).&lt;/p&gt;&#xA;" OwnerUserId="24680" LastActivityDate="2019-03-10T18:40:36.953" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26192" PostTypeId="2" ParentId="26185" CreationDate="2019-03-11T08:42:57.860" Score="0" Body="&lt;p&gt;An SSD has a faster read and write-speed compared to HDDs. However, if you're looking to use a drive for years, you should rather opt for an HDD. Reason is, that SSDs wear out over time and are definitely not made to last years on end. Additionally, HDDs give you an idea when their demise is inbound, because they make nasty noises when the time has come, giving you the opportunity to save and backup your files. SSDs don't care about your feelings and just die at some point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the money aspect is not your greatest worry though, going for an SSD will improve the speed with which you operate due to the higher transfer-speed. In your case, I would go for a 1-2 tb SSD on which you run your os and keep files that you're working on right now. Additionally, I'd buy like 5-10 tb as an HDD to keep the files I'm done with or didn't start yet. &lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-11T08:42:57.860" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26196" PostTypeId="1" CreationDate="2019-03-11T12:15:38.697" Score="1" ViewCount="56" Body="&lt;p&gt;I'm looking to take a video feed and multiple audio channels into a Windows laptop. The audio channels are essentially live event commentary in various languages, which the laptop will then stream to different Youtube channels. The production team embeds all 16 audio feeds onto an SDI cable alongwith the video feed and essentially gives me just one SDI cable to do what I have to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Blackmagic Ultrastudio Mini does a good job getting 16 embedded audio channels in, but it has a thunderbolt interface, which is not too common among Windows laptops.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've got a Magewell USB Capture SDI plus, but that only brings in 2 audio channels embedded in the SDI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any alternatives that are capable of pulling in all 16 embedded audio channels in the SDI?&lt;/p&gt;&#xA;" OwnerUserId="23549" LastActivityDate="2019-03-25T07:26:00.997" Title="SDI or HDMI to USB3 interface with 16 audio channel support" Tags="|audio|hdmi|sdi|usb|embedding|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26197" PostTypeId="1" CreationDate="2019-03-11T12:49:00.600" Score="1" ViewCount="1152" Body="&lt;p&gt;I just exported a horizontal video that I've edited to a vertical video but when it's exported it just didn't come out as I expected, it became vertical and zoomed. This happened for the first time I've experienced in premiere pro since I used proxy for this first time. Does anyone has experienced or gone through this before?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;here's what I edit&lt;a href=&quot;https://i.stack.imgur.com/LOE1v.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LOE1v.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;and when it's exported&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/i6RVY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/i6RVY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24694" LastActivityDate="2024-03-15T07:07:25.800" Title="Export - exported video but didn't look like the preview within Adobe Premiere" Tags="|premiere|pro|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26198" PostTypeId="2" ParentId="21592" CreationDate="2019-03-11T15:27:28.367" Score="0" Body="&lt;p&gt;When you asked this question, there was no solution for what you wanted. Since a VHS tape is analog, in a sense, there never will be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But there is work on something as close as possible. Over at &lt;a href=&quot;https://github.com/happycube/ld-decode&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/happycube/ld-decode&lt;/a&gt; there is software to capture, as accurately as possible, LaserDiscs. These are also analog. There is work underway to capture VHS tapes as well as possible too. You still need a VHS tape deck. But you attach a special capture hardware, before any (analog) signal processing is done - and capture the analog data almost directly from the tape pickup heads.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All the other best practices of VHS tape restoration then become obsolete. You don't need a hardware Time Base Corrector, for instance. All of that is done in software in post processing. Since you are bypassing most of the signal path in the VHS player, you don't need a very high end VHS player either. This solution, when finished, has the potential to get out from a VHS tape better quality than was previously possible. Of course, it's still VHS, so it will never be &lt;em&gt;good&lt;/em&gt;, but these rips will be better than any other solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(However, the software at the time of this writing only really works for LaserDisc. Currently, as far as I know, VHS tapes can be copied in black and white. Stay tuned though, it's very interesting and high end video restoration labs should keep an eye on this project.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issue with copy protected VHS tapes, (IIRC) is that the sync pulse is non-standard and can confuse some capture cards. (As well as back in the day, tape decks recording, that was the point of the copy protection after all.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the happycube software, that would not be an issue. I am sure there are other ways to &quot;clean up&quot; the sync pulse so you can copy VHS tapes with copy protection.&lt;/p&gt;&#xA;" OwnerUserId="14026" LastActivityDate="2019-03-11T15:27:28.367" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26199" PostTypeId="1" CreationDate="2019-03-11T16:08:02.120" Score="2" ViewCount="6" Body="&lt;p&gt;I have just added an SCC file to my premier project.  I can see each caption &quot;box&quot; in the timeline, including the handles.  However, if I try to drag the handle of one caption box left or right, it moves all of the captions as a group.  I cannot unlink them.  Advice?&lt;/p&gt;&#xA;" OwnerUserId="24697" LastActivityDate="2019-03-11T16:08:02.120" Title="Cannot select individual caption in premier timeline" Tags="|closed-captioning|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26201" PostTypeId="1" CreationDate="2019-03-11T20:06:21.010" Score="0" ViewCount="293" Body="&lt;p&gt;I was looking to upgrade to the EOS M6 from the EOS 1200D/T5, but one thing that confused me was that the M6 has a listed video bitrate (at DPreview.com) at 1080p60 of 35 Mbps, and for lower framerates at 24 Mbps. Meanwhile, while I can't seem to find any actual bitrate specs for the 1200D, opening up a 1080p24 video file in Windows Explorer and switching to the Details tab  under the Video section lists Data rate as 46541 kbps, with Total Bitrate just below as 48077 kbps, which if I'm not mistaken, is equal to 48.07 Mbps (division by 1000 to get Mega-bits from Kilo-bits). So how is it that the newer Canon APS-C camera has a lower bitrate with a higher framerate? Or am I just reading it wrong?&lt;/p&gt;&#xA;" OwnerUserId="24703" LastActivityDate="2019-03-13T23:34:26.133" Title="Why is the EOS M6 Video Bitrate lower than the EOS 1200D/T5?" Tags="|canon|bitrate|gear|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26202" PostTypeId="2" ParentId="26197" CreationDate="2019-03-11T21:36:11.333" Score="0" Body="&lt;p&gt;First of all, if you are using proxies, don't use Proxies, and see if that solves the issue.&#xA;If it doesn't, move on to the next step below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issue is that there can sometimes be a problem when the final export doesn't match the sequence created by dragging the source clips onto the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When creating the Sequence, instead of dragging clips onto the Timeline directly, create a new Sequence in the Project bin while at the Assembly page (by clicking on File option in the menu bar, New &gt; Sequence, click on the Settings tab in the following dialog box, then change the Editing Mode dropdown to Custom, whic lets you edit all the settings), that has the exact resolution and FPS settings as you want in the export. Then double click this new Sequence to load it onto the timeline. Drag the clip onto the timeline and when Premiere asks if you want to change the Sequence settings to match the clip, select No. Now transform the clip from the Edit tab. Rotate and zoom or crop, whatever your operation is. This should hopefully solve the problem.&lt;/p&gt;&#xA;" OwnerUserId="24703" LastActivityDate="2019-03-11T21:36:11.333" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26203" PostTypeId="1" CreationDate="2019-03-11T23:51:07.017" Score="0" ViewCount="2330" Body="&lt;p&gt;I obtained this video from directly reading the memory of a hardware encoder. The encoder supposedly produces a HEVC (H.265) or H.264 video stream, but I can't accurately play or convert the file with &lt;code&gt;ffplay&lt;/code&gt; or &lt;code&gt;ffmpeg&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given the information below, is this something I might be able to play correctly? Is it incomplete data, and something more may be needed to reconstruct the video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://drive.google.com/file/d/1yRWzAhVp7SJeUS2gX80jnM5NsM3Q2WqS/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;Link to the file I'm trying to play.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what &lt;code&gt;ffmplay&lt;/code&gt; is producing when trying to play the file. It's possible to view the outlines of the actual recorded objects. Seems like information about the pixels that change? That would be something to be expected from a H264 or H265 stream...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffplay -f rawvideo -video_size 1920x1088 -framerate 5 -pixel_format yuv420p stream.bin&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uC3I9.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uC3I9.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And this is a sample of the actual recorded footage, for comparison purposes:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9lXOw.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9lXOw.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to play it using &lt;code&gt;ffplay&lt;/code&gt;, no arguments:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffplay stream.bin&#xA;[NULL @ 00000183f45bee20] [IMGUTILS @ 0000001b95bfef00] Picture size 1280x5222400 is invalid&#xA;[bin @ 00000183f45ac600] Failed to open codec in avformat_find_stream_info&#xA;[bintext @ 00000183f45bee20] [IMGUTILS @ 0000001b95bfedd0] Picture size 0x0 is invalid&#xA;[bintext @ 00000183f45bee20] video_get_buffer: image parameters invalid&#xA;[bintext @ 00000183f45bee20] get_buffer() failed&#xA;[bintext @ 00000183f45bee20] reget_buffer() failed&#xA;[bin @ 00000183f45ac600] Stream #0: not enough frames to estimate rate; consider increasing probesize&#xA;[bin @ 00000183f45ac600] decoding for stream 0 failed&#xA;[bin @ 00000183f45ac600] Could not find codec parameters for stream 0 (Video: bintext, pal8): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, bin, from '238F.bin':&#xA;  Duration: N/A, bitrate: N/A&#xA;25 tbn, 25 tbc0: Video: bintext, pal8, 25 tbr,     nan    :  0.000 fd=   0 aq=    0KB vq=    0KB sq=    0B f=0/0&#xA;[bintext @ 00000183f45bf7c0] [IMGUTILS @ 0000001b95dff340] Picture size 0x0 is invalid&#xA;[bintext @ 00000183f45bf7c0] video_get_buffer: image parameters invalid&#xA;[bintext @ 00000183f45bf7c0] get_buffer() failed&#xA;[bintext @ 00000183f45bf7c0] reget_buffer() failed&#xA;    nan M-V:    nan fd=   0 aq=    0KB vq=    0KB sq=    0B f=0/0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Trying to force H265 and H264:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffplay -f hevc stream.bin&#xA;[hevc @ 00000130c4fe6e60] Invalid NAL unit 0, skipping.  0B f=0/0&#xA;[hevc @ 00000130c4fe6e60] Invalid NAL unit 0, skipping.  0B f=0/0&#xA;    Last message repeated 5 times&#xA;    Last message repeated 5 times&#xA;Invalid NAL unit 8, skipping. nan    :  0.000 fd=   0 aq=    0KB vq=    0KB sq=    0B f=0/0&#xA;[hevc @ 00000130c4fe6e60] Invalid NAL unit 0, skipping.&#xA;    Last message repeated 1 times&#xA;[hevc @ 00000130c4fe6e60] Invalid NAL unit 0, skipping.  0B f=0/0&#xA;    Last message repeated 1 times&#xA;    Last message repeated 1 times&#xA;Invalid NAL unit 24, skipping.nan    :  0.000 fd=   0 aq=    0KB vq=    0KB sq=    0B f=0/0&#xA;[hevc @ 00000130c4fe6e60] Invalid NAL unit 0, skipping.&#xA;    Last message repeated 2 times&#xA;[hevc @ 00000130c4fe6e60] Invalid NAL unit 0, skipping.  0B f=0/0&#xA;    Last message repeated 4 times&#xA;    Last message repeated 4 times&#xA;[hevc @ 00000130c4fe6e60] missing picture in access unit 0B f=0/0&#xA;(...)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffplay -f h264 stream.bin&#xA;[h264 @ 0000022a70567080] non-existing PPS 1 referenced  0B f=0/0&#xA;[h264 @ 0000022a70567080] data partitioning is not implemented. Update your FFmpeg version to the newest one from Git. If the problem still occurs, it means that your file has a feature which has not been implemented.&#xA;[h264 @ 0000022a70567080] If you want to help, upload a sample of this file to ftp://upload.ffmpeg.org/incoming/ and contact the ffmpeg-devel mailing list. (ffmpeg-devel@ffmpeg.org)&#xA;[h264 @ 0000022a70567080] slice type 22 too large at 1&#xA;[h264 @ 0000022a70567080] decode_slice_header error&#xA;[h264 @ 0000022a70567080] non-existing PPS 2 referenced&#xA;[h264 @ 0000022a70567080] decode_slice_header error&#xA;[h264 @ 0000022a70567080] no frame!&#xA;[h264 @ 0000022a70567080] non-existing PPS 2 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000022a70567080] decode_slice_header error&#xA;[h264 @ 0000022a70567080] no frame!&#xA;[h264 @ 0000022a70567080] non-existing PPS 0 referenced  0B f=0/0&#xA;    Last message repeated 1 times&#xA;[h264 @ 0000022a70567080] decode_slice_header error&#xA;(...)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's another dump I'd like you to take a look at: &lt;a href=&quot;https://drive.google.com/file/d/1nTcFvyOvm1rNtZ-wnwmRyjt4WYeUqVpJ/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;link to file&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffplay -f rawvideo -video_size 1920x1088 -framerate 5 -pixel_format yuyv422 -vf scale=320:-1 0x239F.bin&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iOW9Q.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iOW9Q.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And the correct image, for reference:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KVqY2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KVqY2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23777" LastEditorUserId="23777" LastEditDate="2019-03-12T10:20:08.187" LastActivityDate="2019-03-12T10:20:08.187" Title="Help decoding video from hardware encoder" Tags="|ffmpeg|hardware|h.264|h265|decoding|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26204" PostTypeId="2" ParentId="15857" CreationDate="2019-03-12T07:58:12.857" Score="-1" Body="&lt;p&gt;When a 60 fps clip is sped up or slowed down, the frames are skipped or duplicated accordingly. For example if we speed up a 3 second video which has (3x60frames) 180 frames, the frames are dropped according to the speed up ratio. To be more clear, if you speed up your clip from 100% to 150%, the frames will be reduced by skipping automatically, giving a feeling that the clip is running faster now. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When we slow down a clip from 100% to lower than 100%, lets say 50%, the frames are duplicated at a specific interval to give a feeling that the clip is slower. To be more clear, if a 180frame 3sec video is slowed down to 50%, now it will have 360frames for 6sec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No editing software has the magic power to create a new frame out of thin air. It can either drop frames or duplicate them. &lt;/p&gt;&#xA;" OwnerUserId="24707" LastActivityDate="2019-03-12T07:58:12.857" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26205" PostTypeId="2" ParentId="3917" CreationDate="2019-03-12T12:06:20.880" Score="-1" Body="&lt;p&gt;On Mac, select footage that you want to move. Hold down ALT, use Up or Down arrows to move the entire track.&lt;/p&gt;&#xA;" OwnerUserId="24709" LastActivityDate="2019-03-12T12:06:20.880" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26209" PostTypeId="1" CreationDate="2019-03-12T20:37:03.523" Score="1" ViewCount="1379" Body="&lt;p&gt;I'm trying to find a tool or library (possibly an open-source tool) to parse or convert .&lt;code&gt;scc&lt;/code&gt; closed caption subtitle files to a human readable text, say .&lt;code&gt;srt&lt;/code&gt; or &lt;code&gt;xml&lt;/code&gt; or any text formats. Is there a strong tool or library to do that? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Previously, I was trying to use &lt;code&gt;PyCaption&lt;/code&gt; library in Python. But it fails to parse certain .&lt;code&gt;scc&lt;/code&gt; files.&lt;/p&gt;&#xA;" OwnerUserId="43073" LastEditorUserId="43073" LastEditDate="2019-03-12T20:42:13.027" LastActivityDate="2024-02-23T14:25:58.847" Title="How to convert .scc closed caption subtitles into human readable text" Tags="|video|streaming|subtitles|closed-captioning|.srt|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26210" PostTypeId="1" CreationDate="2019-03-13T00:57:38.260" Score="0" ViewCount="929" Body="&lt;p&gt;I have 2 videos. One from cam1 and other from cam6. &#xA;Below is the timecode information of the 2 videos:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;fprobe -v error -show_format -show_streams cam1.MP4 | grep 'TAG:timecode'&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Output-&gt;&gt;&gt;&gt;TAG:timecode=16:31:13:13&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;fprobe -v error -show_format -show_streams cam6.MP4 | grep 'TAG:timecode'    &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Output-&gt;&gt;&gt;&gt;TAG:timecode=16:31:36:14&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see, cam6 video started a bit late (approx 22 seconds late)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to &lt;strong&gt;PRECISELY&lt;/strong&gt; cut the cam1 video and make it start EXACTLY from the timecode of cam6 (which is 16:31:36:14)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically, both the videos (cam6 and the newly trimmed cam1 video) should start at the &lt;strong&gt;EXACT&lt;/strong&gt; same frame of 16:31:36:14&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whats the best way to do this?&lt;/p&gt;&#xA;" OwnerUserId="24522" LastActivityDate="2019-03-13T00:57:38.260" Title="Cutting video using timecodes" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="26211" PostTypeId="2" ParentId="26139" CreationDate="2019-03-13T02:20:05.147" Score="0" Body="&lt;p&gt;There's a built-in effect called &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/keying-effects.html#difference_matte_effect&quot; rel=&quot;nofollow noreferrer&quot;&gt;&quot;Difference Matte&quot;&lt;/a&gt; which does what Florian describes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another one for the list of reasons not to use it: any foreground areas that are close in colour to the background will be partially (or fully) transparent. E.g. you have someone wearing a white shirt against a white wall—it's not going to work. Skin tones are pretty close to a lot of other colours in common environments, and things like highlights and shadows will also cause problems, because they tend towards white and black, just like the highlights and shadows in the BG plate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a reason why green screen is much more commonly used than difference mattes. A bit more trouble to set up, but a lot better result.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-03-13T02:20:05.147" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26212" PostTypeId="2" ParentId="26209" CreationDate="2019-03-13T02:58:02.620" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://www.nikse.dk/SubtitleEdit/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Subtitle Edit&lt;/a&gt; can convert to/from &lt;code&gt;.scc&lt;/code&gt;, &lt;code&gt;.srt&lt;/code&gt;, and many other formats. It is &lt;a href=&quot;https://github.com/SubtitleEdit/subtitleedit&quot; rel=&quot;nofollow noreferrer&quot;&gt;GPLv3&lt;/a&gt; (and possibly also LGPL licensed). It also has a BSD licensed DLL. The downside is that it is C# code.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2019-03-13T02:58:02.620" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26213" PostTypeId="2" ParentId="17328" CreationDate="2019-03-13T11:13:33.927" Score="1" Body="&lt;p&gt;If you are using Adobe Afer Effects CC 2019, you can do the following to edit the Shape dimensions in pixels.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Right click on the Shaper layer. In the menu that shows up, find the option &quot;Transform&quot;. Highlight it to reveal the &quot;Scale...&quot; option. Click on it. Check the screenshot below.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vAScQ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vAScQ.jpg&quot; alt=&quot;Right Click options on a Shape Layer&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Doing so will launch a small dialog asking you to select the &quot;Units&quot; and will also give you the provision to enter the dimensions in digits. Enter the digits as you like. I entered 1920 &amp;amp; 1080. Then click on Ok. Check the screen below.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pi7XZ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pi7XZ.jpg&quot; alt=&quot;Small dialog to edit Shape Dimensions in Pixels&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's it. &lt;strong&gt;Enjoy!!!&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="24714" LastActivityDate="2019-03-13T11:13:33.927" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26214" PostTypeId="1" CreationDate="2019-03-13T11:53:14.973" Score="0" ViewCount="101" Body="&lt;p&gt;I was recently looking to purchase Game Of Thrones Season 1 on 4k Blu-Ray however after doing some research it seems that the first season was actually all shot in 1080p so the 4k blu ray discs are is just upscaled versions of the original content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering if letting a TV upscale 1080p content to 4K would be any lesser quality than buying the 4k Blu-Ray discs of the upscaled 1080p content.&lt;/p&gt;&#xA;" OwnerUserId="24715" LastActivityDate="2019-03-13T12:24:51.653" Title="4k upscaled Blu-Ray vs 4k upscaling on a TV" Tags="|4k|bluray|1080p|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26215" PostTypeId="2" ParentId="26214" CreationDate="2019-03-13T12:24:51.653" Score="1" Body="&lt;p&gt;It really depends on the methods of upscaling in both cases, but your TV upscales &quot;on the fly&quot; for each moment, which is meant to be fast while compromising on quality. One would imagine a studio releasing a 4k version took their time processing and rendering that 4k upscale to their liking and only then release it.&lt;/p&gt;&#xA;" OwnerUserId="24680" LastActivityDate="2019-03-13T12:24:51.653" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26216" PostTypeId="2" ParentId="26139" CreationDate="2019-03-13T12:41:34.243" Score="0" Body="&lt;p&gt;Another reason not to do it is noise - all video signals contain noise - if you look closely at a zoomed in image of a video clip, you will see that even areas that appear to be solid colours contain small variations over time, due to many different factors.  So even if two images seem similar, there will be constant small changes, making it harder to subtract the two images.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-03-13T12:41:34.243" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26217" PostTypeId="1" AcceptedAnswerId="26218" CreationDate="2019-03-13T14:11:56.517" Score="0" ViewCount="142" Body="&lt;p&gt;After editing a Premiere project and seeing a final video, I often want to change the underlying media, whether that means processing the audio file differently or re-rendering some frames of an animation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far, I've been achieving this effect by appending '_old' to the names of the old media files and then saving new versions with the name I used when importing to Premiere, so Premiere will be oblivious to the difference. To be safe and organized, though, I want to do this without the renaming trickery.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Searching so far, I've only been able to find solutions for relinking missing or moved media. I can't seem to figure out how to link to different media. If I could just break the link between a clip and media without deleting/moving the media, that would be good enough, since I could just break the link and then pick the new file when repairing the link. (I think)&lt;/p&gt;&#xA;" OwnerUserId="24613" LastActivityDate="2019-03-13T15:43:51.110" Title="Make clip reference (link to) different media file(s) in Premiere" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26218" PostTypeId="2" ParentId="26217" CreationDate="2019-03-13T15:43:51.110" Score="0" Body="&lt;p&gt;Right click, set Media Offline&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right click again, Relink Media&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select your new clip.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-13T15:43:51.110" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26219" PostTypeId="1" CreationDate="2019-03-13T16:46:08.837" Score="1" ViewCount="462" Body="&lt;p&gt;I am using FFmpeg to create MPEG dash segments from my camera and playing it using Shaka Player. But I want to change the segment size (For example 2 seconds to 1 second) without creating a new process and without exiting the current process. Is there a change to change the parameter value in FFmpeg on the fly?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f avfoundation -video_size 1280x720  -rtbufsize 100M  -r 30  -i 0 -qscale 100 -g 1 -vcodec libx264 seg_duration 1 -f dash -use_timeline 0 -use_template 0 -single_file 0 ffmpeg.mpd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is the command where I want to change the segment_duration to 2, without exiting the current process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ie.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f avfoundation -video_size 1280x720  -rtbufsize 100M  -r 30  -i 0 -qscale 100 -g 1 -vcodec libx264 -seg_duration 2 -f dash -use_timeline 0 -use_template 0 -single_file 0 ffmpeg.mpd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Or is there any other MPEG DASH Encoder for this use case?&lt;/p&gt;&#xA;" OwnerUserId="24717" LastActivityDate="2019-03-13T17:49:51.940" Title="Changing DASH Parameters in FFmpeg on the fly?" Tags="|ffmpeg|live|mpeg-dash|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26224" PostTypeId="1" CreationDate="2019-03-13T20:39:42.350" Score="1" ViewCount="154" Body="&lt;p&gt;I'm trying to process frames of video in FFMPEG; while processing, I'll crop and resize various areas of the frames in separate streams so that I can perform specific processing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've done &lt;a href=&quot;https://superuser.com/q/1411297/78515&quot;&gt;something similar (as outlined on Super User) in FFMPEG&lt;/a&gt;, but as I expand the requirements, I need a different approach.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To recap:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm doing something like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -i &amp;lt;input&amp;gt; \&#xA;    -filter_complex \&#xA;        split=2[in1][in2];[in1]&amp;lt;some filter&amp;gt;[out1];[in2]&amp;lt;some other filter&amp;gt;[out2]; \&#xA;       [out1][out2]interleave,setpts=N/25/TB[out] \&#xA;    -map [out] -r 25 -codec png -f image2pipe pipe:1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Namely:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Get an input from a URL (it will never be loaded from disk, always from a URL)&lt;/li&gt;&#xA;&lt;li&gt;Split multiple streams (the example here has two)&lt;/li&gt;&#xA;&lt;li&gt;For each stream, apply a series of filters to crop, scale, and perform other operations&lt;/li&gt;&#xA;&lt;li&gt;Interleave the streams, so that I can tell which stream is which in the output, which is piped (and read from STDOUT in my application) as a series of PNG images&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The reason the above works is that the stream's outputs are both the same size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I find myself now wanting to process a third stream from the original input of a &lt;em&gt;different&lt;/em&gt; size, which is causing a problem, as FFMPEG doesn't know how to handle the mismatch in frame sizes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One option I've considered is not interlacing and supplying a black video frame to use as a delimiter between different streams.  I can pick up this video frame (it will be distinct from all others) easily within my application.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I'm sure I can get this to work, the issue is that I would like to be able to process video on-the-fly with this at some point, and the above won't work for that scenario, as we'd have to wait for the first stream to finish, then the second, etc. etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've considered trying trying to stamp the PNGs with a piece of data, but there doesn't seem to be a way of doing that&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note, I don't necessarily &lt;em&gt;have&lt;/em&gt; to interlace the streams; as long as I can tell them apart when processing the PNG frames, that's fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to do this?&lt;/p&gt;&#xA;" OwnerUserId="1776" LastActivityDate="2019-03-13T20:39:42.350" Title="Processing different sections of video frames with FFMPEG" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26225" PostTypeId="1" AcceptedAnswerId="26228" CreationDate="2019-03-13T22:07:14.310" Score="0" ViewCount="81" Body="&lt;p&gt;So, I'm not really into video editing, but I wanted to know, is there a way for example, when you hold and drag an image on an image editor, but record that movement that you do, but I can't record an image software since there's a lot of stuffs going on, I just wanted to get a video from the image with that. Hope made sense, I want to do this to do some animation things&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Something like this, but recorded to a video editor, in real time:&#xA;&lt;a href=&quot;https://drive.google.com/open?id=1OfOGT0EGxNq-23CAmEkmGqGFAq4qSEKL&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/open?id=1OfOGT0EGxNq-23CAmEkmGqGFAq4qSEKL&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24723" LastEditorUserId="24723" LastEditDate="2019-03-13T22:36:14.233" LastActivityDate="2019-03-14T06:34:15.893" Title="How to record the movement of an image with the mouse?" Tags="|video|video-editor|animation|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26226" PostTypeId="1" CreationDate="2019-03-13T22:20:25.897" Score="4" ViewCount="2735" Body="&lt;p&gt;I am trying to delete the very last frame of a video using ffmpeg / mencoder / transcode / or any other free linux application.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what I have so far, and it's only extracting it, it's not deleting it from the actual video file.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;fn=&quot;$1&quot;&#xA;of=${fn%.*}.jpg&#xA;&#xA;lf=`ffprobe -show_streams &quot;$fn&quot; 2&amp;gt; /dev/null | awk -F= '/^nb_frames/ { print $2-1 }'`&#xA;rm -f &quot;$of&quot;&#xA;ffmpeg -i &quot;$fn&quot; -vf &quot;select='eq(n,$lf)'&quot; -vframes 1 &quot;$of&quot; 2&amp;gt; /dev/null&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24182" LastEditorUserId="24182" LastEditDate="2019-03-13T22:48:43.867" LastActivityDate="2023-08-22T20:08:35.937" Title="How to delete the very last frame of a video using ffmpeg / mencoder / transcode or any other?" Tags="|video|ffmpeg|encoding|script|command-line|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26227" PostTypeId="2" ParentId="26201" CreationDate="2019-03-13T23:34:26.133" Score="1" Body="&lt;p&gt;That would be a great question for Canon, because only the manufacturer can provide the reasons considered when producing a new model. I only can venture a guess that the M6 is a smaller camera that presumably is a lower-level compared to full-body T5. Maybe higher bitrate results in more heat, and the smaller body may have issues with dissipating it. Your guess is as good as anyone else's. It seems that the M6 uses the same H.264 as the prior models instead of the more efficient H.265, so seems that this is not the reason for decreasing the bitrate.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2019-03-13T23:34:26.133" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26228" PostTypeId="2" ParentId="26225" CreationDate="2019-03-14T06:34:15.893" Score="0" Body="&lt;p&gt;This is a brilliant demonstration of yours I must say :D&#xA;This is possible in after effects using the &quot;sketch movement&quot;. Just set the image as the target and record the movement.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-14T06:34:15.893" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26230" PostTypeId="1" CreationDate="2019-03-14T10:44:49.483" Score="0" ViewCount="60" Body="&lt;p&gt;In the tutorial I am viewing online, the teacher is able to view the mesh outline without the mesh triangles by selecting the mesh in the effects list within the layer. Its unclear even from putting the question into Google how to do this? Can anyone help? Hopefully the attached image illustrates what I mean.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kHhVC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kHhVC.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24328" LastActivityDate="2024-03-18T00:05:15.623" Title="Viewing mesh outline in After Effects" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26233" PostTypeId="2" ParentId="26230" CreationDate="2019-03-14T12:21:01.303" Score="0" Body="&lt;p&gt;Try enabling paths and alike by clicking on the button next to the one for your safe areas and rulers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can't upload a screenshot unfortunately, Stackexchange keeps crashing when I try...&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-14T12:21:01.303" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26234" PostTypeId="2" ParentId="15316" CreationDate="2019-03-14T13:20:34.847" Score="1" Body="&lt;p&gt;This is an old topic, but I'll add anyway. Focus and distraction are difficult for me. To stay motivated and to keep from burning out, try the &lt;a href=&quot;https://tomato-timer.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;The Pomodoro Technique&lt;/a&gt; The technique uses a timer to break down work into intervals, traditionally 25 minutes in length, separated by short breaks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll edit for twenty five minutes, then take a five minute break to stretch, or whatever. Then, repeat the process again and again. This keeps me disciplined, productive yet offers a  reward at the end of each session. It can help anyone get through a time consuming project. Regular breaks AWAY from the editing station will allow you to recharge yet the timer keeps you disciplined.  Try it. &lt;a href=&quot;https://tomato-timer.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;The Pomodoro technique&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24726" LastActivityDate="2019-03-14T13:20:34.847" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26235" PostTypeId="1" CreationDate="2019-03-14T14:58:55.113" Score="1" ViewCount="373" Body="&lt;p&gt;I have some 5 minute footage that I have, I simply want to add my intro and outro to that video before putting it on YouTube, if I do that within after effects, I have to render all of that which would take forever on my computer, is there an easier option?&lt;/p&gt;&#xA;" OwnerUserId="23657" LastActivityDate="2019-03-14T16:14:33.967" Title="How do I add an intro to a video without having to render the entire video again?" Tags="|after-effects|youtube|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26236" PostTypeId="2" ParentId="26235" CreationDate="2019-03-14T16:14:33.967" Score="1" Body="&lt;p&gt;Using After Effects, I don't think there is.  But there are ways to make your life easier.&#xA;If you have a complex comp, if you've rendered the whole thing out to a format like ProRes (even though the files are large), it's relatively quick to drop in an extra intro and outro either side of your ProRes file, so you won't have to re-render the entire project again. You could also look at pre-renders to speed up your projects.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-03-14T16:14:33.967" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26237" PostTypeId="1" CreationDate="2019-03-14T19:19:10.383" Score="0" ViewCount="75" Body="&lt;p&gt;I am working on a drone to capture a soccer game. What should be ideal minimum frame rate for the camera? Does it depend on velocity of objects(ball, players) in the game?&lt;/p&gt;&#xA;" OwnerUserId="24728" LastActivityDate="2019-03-15T10:09:43.700" Title="Ideal frame rate for video with moving objects" Tags="|video|camera|framerate|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26238" PostTypeId="2" ParentId="26237" CreationDate="2019-03-15T07:34:01.113" Score="1" Body="&lt;p&gt;There are two distinct types of frame rates and how they're captured and played back.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;interlaced&lt;/li&gt;&#xA;&lt;li&gt;progressive&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;A progressive frame rate transmits whole images at once, depending on whether you use NTSC or PAL, you'll start on the low end with 25/24 FPS. From there, you can go up as much as you want, but the conventional frame rates are usually 25, 30 and 60. Because you're filming a soccer game, 60fps will give you a more crisp, clear and even slower viewing experience, without actually slowing down the footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When it comes to interlacing, it's a bit more complex. TV and broadcasts used and still use interlacing for the most part. With it, you'll only send half the picture, first the even or uneven rows, and after that the other half. Using interlacing, you can safe a lot of data and make the image still look quite good, however, in rapid movements (be it a whip pan or alike), you'll be able to make out interlacing lines which I absolutely detest.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, you should most likely opt for 60p (p standing for progressive) or, if you can't get progressive frame rates, 60i or 120i. Interlaced frame rates get confusing, because for example 25i and 50i is practically the same, only the name differs, since you're sending 50 half-frames a second, but 25 whole frames. &lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-15T07:34:01.113" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26239" PostTypeId="2" ParentId="26237" CreationDate="2019-03-15T10:09:43.700" Score="1" Body="&lt;p&gt;A few considerations - the key one is - where is the final video going to be shown?  If it's on television, different regions require different frame rates.  If it's online, e.g. youtube can show content up to 60 fps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are you planning to slow down any of the footage?  For example, if your delivery frame rate is 25fps (as it would be for UK TV), you could shoot at 50fps, and slow down by 50% without losing smoothness of motion when viewed at 25fps.  Shoot at 100fps, and you could slow down to 25% original speed etc etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, in many countries there are strict rules about flying drones over professional sports games.  There are also safety issues about flying drones over anyone.  There are ways to mitigate these issues and work around them, but definitely also worth considering when shooting video from drones.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-03-15T10:09:43.700" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26241" PostTypeId="1" CreationDate="2019-03-15T15:50:05.860" Score="1" ViewCount="202" Body="&lt;p&gt;I'm a total newbie to After Effects, and I've been trying to follow this tutorial to create an animated callout: &lt;a href=&quot;https://www.youtube.com/watch?v=2BcbtVKt69U&quot; rel=&quot;nofollow noreferrer&quot;&gt;Youtube Advanced Callout&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The relevant bit is about 9:00 - 11:30 in the video...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've got it working nicely (though not as good as his!) except that I would like the right hand tip of the first animated beam ('Path 1' in his tutorial) to target the EDGE of the outer circle ('Shape Layer 1' in his tutorial) rather than the centre, so that it appears out of the stroke rather than the middle...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried to move the position relative to the null object but every time I link its position to the null object with the pick whip it snaps to the centre of the null object, meaning that the beam still ends up starting in the middle of the circle...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried moving the handle for null object 1, but that just means the centre of the circle and the beam then both target that handle and the problem remains...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I move the handle for the circle then it screws the circle animation, because it then appears from the edge...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions for how I could make the first beem target the edge (the stroke) of the circle rather than the centre would be greatly appreciated... I'm a complete n00b to AE so please speak slowly and imagine you're explaining it to a very dopey Golden Retriever... ;-)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="24734" LastActivityDate="2024-03-23T13:07:31.010" Title="target edge of null object rather than centre" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26242" PostTypeId="2" ParentId="15316" CreationDate="2019-03-15T17:09:51.820" Score="1" Body="&lt;p&gt;I asked this question 4 years ago, here's what I've learned since then (in no specific order):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Break it down&lt;/strong&gt; into sub-sequences, and finish one short sub-sequence at a time&lt;/li&gt;&#xA;&lt;li&gt;Get into a &lt;strong&gt;mindset&lt;/strong&gt; of &quot;It doesn't have to be perfect, it just has to be good enough&quot;. This helps me, especially when I'm paralyzed from overwhelm. Doing &lt;em&gt;something&lt;/em&gt; can be better than doing nothing in such case, and usually the result it still very good.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Make a list&lt;/strong&gt; with extremely specific tasks (e.g. &quot;finish the project&quot; is too unspecific, you need to say &quot;edit the recap sequence&quot;). Having very specific tasks helps to have &lt;strong&gt;clearly defined next action&lt;/strong&gt;, followed by the rewarding dopamine kick of &quot;yes, I completed it!&quot;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Motivation&lt;/strong&gt;: Why do it, and why avoid failing at it? What's your goal beyond finishing this project? You've got hell to run from, and heaven to run for. Become clear on your reasons and desired outcomes. Be clear on the negative consequences for not completing it. But motivation alone is not enough, you also need:&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Inspiration&lt;/strong&gt;: This goes beyond &quot;time away from the editing station&quot;. You gotta recharge your battery. Do something that reminds you of your motivation (If money is your motivation, go to a store to look at all the stuff you'll buy. Or socialize with friends. Or spend time with a woman. Or go to the movies) Do something that will take your mind off the project and recharge your battery, regularly.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Passion&lt;/strong&gt; = Motivation + Inspiration. At the end of the day you've gotta love it, you've gotta be excited about what you do and why you're doing it. &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Streamline your work by eliminating (recurring) tasks.&lt;/strong&gt; It has really helped me to become more productive by finding ways to eliminate tasks. Moving away from tapes and to SD cards has obviously helped tremendously. Or another example: I had to re-encode screen capture footage first, before I could import it into my project. Also I had audio recorded on a separate device, so I had to pull it off the device, import it, sync it. Now I figured out how to immediately produce a video file from my screen capture, that's importable and includes the sound. No more re-encoding, no more syncing first, instead I can get right to editing, without any dreadful tasks.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Write scripts!&lt;/strong&gt; This obviously is too late if you're in the middle of a difficult project right now, but I used to get a lot of &quot;ad lib&quot; footage of people trying to get a point across. 3 takes of rambling makes it very hard to produce something coherent. Writing a script in advance and having your presenter stick to it as much as possible makes deciding on the right take a LOT easier.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Find out what time of the day you're most productive, and protect that time.&lt;/strong&gt; I've been very bad at that lately, because my schedule has been off. But if I get up at 6 am and start working for 2 or 3 hours before even having breakfast, I get SO MUCH done (if the tasks are clearly defined). The two hours after breakfast from 10 to 12 are still quite productive. But after that it's all downhill. So any day I'm sleeping in, I'm not getting as much done, as I could, therefore delaying the completion of my project.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="10672" LastEditorUserId="10672" LastEditDate="2019-03-15T17:15:49.747" LastActivityDate="2019-03-15T17:15:49.747" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26245" PostTypeId="1" CreationDate="2019-03-16T09:37:46.913" Score="0" ViewCount="233" Body="&lt;p&gt;If i download an av1 file, then vlc player will play it perfectly&lt;/p&gt;&#xA;&#xA;&lt;p&gt;however, if i convert an mp4 (avc video, aac audio) to av1, then vlc player won't play it&lt;/p&gt;&#xA;&#xA;&lt;p&gt;this is the command i'm using with ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\l\Desktop\6-app\ffmpeg -i y.mp4 -c:v libaom-av1 -crf 30 -b:v 0 -strict &#xA;experimental -vf scale=640:360 -r 30 -ab 192k -ar 48k -map_chapters -1 -map_metadata -1 z.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;? why won't vlc player play this&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't post the ffprobes here because of charachter limits&lt;/p&gt;&#xA;&#xA;&lt;p&gt;however, i have the ffprobe results here&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/awa5x8ez5s4h0wo/ffprobe.txt&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffprobe.txt&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;here's the file that was used to convert to av1&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/wze3ley4s7bi956/club-1-head-roll-vert-half.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;club-1-head-roll-vert-half.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;here's the non-working file&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/ncq9oihvgggnh4r/club-test-2.mkv&quot; rel=&quot;nofollow noreferrer&quot;&gt;club-test-2.mkv&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24744" LastEditorUserId="1950" LastEditDate="2019-03-20T04:14:51.870" LastActivityDate="2019-03-20T04:14:51.870" Title="ffmpeg av1-converted files don't play" Tags="|ffmpeg|" AnswerCount="0" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="26247" PostTypeId="2" ParentId="15316" CreationDate="2019-03-16T14:03:31.573" Score="1" Body="&lt;p&gt;To understand what is happening to You in full. I'd suggest getting to know Yerkes-Dodson law which was established in psychology.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Wikipedia might be helpfull in that manner:&#xA;&lt;a href=&quot;https://en.wikipedia.org/wiki/Yerkes%E2%80%93Dodson_law&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;Yerkes-Dodson law&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It just depends on the goals that You have while editing the project. You stated that there is lots of repetetive tasks that have to be made while video editing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try optimizing the process. Set up Your own dedicated set of hotkeys. In my experience that brings more pleasure at the basic level.&lt;/p&gt;&#xA;" OwnerUserId="24746" LastActivityDate="2019-03-16T14:03:31.573" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26249" PostTypeId="1" CreationDate="2019-03-16T19:28:24.483" Score="0" ViewCount="93" Body="&lt;p&gt;With audio files A and B:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A : &lt;code&gt;|--- Some content ---|--- Extra content --- |&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;B : &lt;code&gt;|--- Some content ---|&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assume the end of B is where the start of the extra content in A.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to append that extra content at the end of B.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I achieve this with some command line programs, such as ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="22672" LastActivityDate="2023-12-23T01:02:45.320" Title="Append part of the audio at the end of another audio" Tags="|ffmpeg|audio|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26251" PostTypeId="2" ParentId="25982" CreationDate="2019-03-17T00:27:56.053" Score="0" Body="&lt;p&gt;Follow Focus is used in professional Cinematography.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a specific role created for the purpose of getting the right focus called &quot;Focus Puller&quot; - 1 person that controls the follow focus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How accurate Your focus is mostly depends on the brightness of Your surroundings. While shooting on F2.8 You have really low depth of field (so it is hard to pull the focus). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then You can sacrifice some of that light hitting the sensor and go into F4.0 or higher but then there is the risk that if You don't have enough light and Your scene is dark.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most of the cameras have a marker on the body stating where the sensor is placed and in professional environement it is used to measure the distance between sensor and the object being filmed. Then focus puller can mark the focus whell or try hitting it by any other mark that might be used for that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But to directly answer the question - There is a system that is allowing You to mimick follow focus, it is called Auto Focus. But then You need to use it consciously. If there is no auto focus allowed (either body or lens) then You're left with manual or wireless follow focus servo systems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think it also depends heavily on the sensor being used but that is for another thread.&lt;/p&gt;&#xA;" OwnerUserId="24746" LastActivityDate="2019-03-17T00:27:56.053" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26252" PostTypeId="2" ParentId="25982" CreationDate="2019-03-17T01:13:30.457" Score="1" Body="&lt;p&gt;The feature you are describing on your a7 is &quot;Auto Focus&quot; the problem with auto-focus is that focus is actually a relatively hard problem to solve.  An automated system has to figure out what you want to focus on and then has to achieve focus on it.  There are two major problems with this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, for video, having a computer guess at what you want to be focused on is very dangerous.  Having things very mildly out of focus is much less distracting than having the focus jump around because the computer gets confused about what it should be focusing on.  Auto focus is generally just as likely to ruin a video shot as it is to save it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, there are two main ways to handle auto focus.  The first is contrast based detection, which doesn't require altering the sensor, but requires going past the point of focus and then returning after things start being less sharp rather than more sharp.  This results in the focus &quot;breathing&quot; which is, again, very distracting.  The other option is phase detect auto-focus.  This can tell if something is in focus or not, but requires that the focus point be on a particular pixel which has to be altered to be able to both capture the visual information as well as capture phase information to determine if things are in focus.  This complicates the sensor and means there is less room for light gathering, so these hybrid sensors aren't really super desirable due to their limited areas of being able to focus and cost to the consistency of the sensor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For these reasons, professional camera bodies don't generally have auto-focus while shooting.  Many of the Black Magic cameras actually do have Auto-focus, but it's contrast based and intended to be used before you begin shooting, not while the shot is going.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That doesn't mean these cameras don't give you tools to help with focusing.  The main aid they give is a feature called &quot;focus peaking&quot;.  Focus peaking analyses the image and looks for the areas of the image that are the sharpest.  It then highlights the edged detected for the top x% of sharpest lines and/or points in the image.  This is typically configurable on better camera bodies.  This visual information lets the operator know where the focal plain in the image is and easily make manual adjustments on the fly without overshooting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's possible to do this as a single camera operator with a little bit of practice, even for relatively complicated shots, but on higher end productions, 2-3 people actually operate the camera to simplify things.  One person would be the &quot;follow focus&quot; operator.  A follow focus is simply a system of gears that rig the focus ring of the lens to a dial that can be controlled by another operator.  This ring can normally be marked with a dry erase marker to label what spots they need to hit and they'll also typically have a monitor with focus peaking to allow them to see what they are doing.  This operator can then remotely adjust focus for the camera without taking the main camera operator's attention away from framing and executing the shot itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes these follow focus controls may actually be used by a single camera operator as well since they can pivot the orientation of the ring to be more logically following in and out and to give a finer grained control over the focus ring by not gearing 1:1.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2019-03-17T01:13:30.457" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26253" PostTypeId="1" CreationDate="2019-03-17T09:35:33.017" Score="1" ViewCount="18" Body="&lt;p&gt;im trying to make a speed art video in premiere pro cc 2018&#xA;the original video is almost 2 hours long and i speed it up by 6000% to get it down to the time i want the video to be &lt;/p&gt;&#xA;&#xA;&lt;p&gt;but after speeding it up it only shows like every 10 frame or something which makes it really laggy to look at&#xA;it lags in premiere but it also still lags after rendering/exporting it &lt;/p&gt;&#xA;&#xA;&lt;p&gt;ive tried alot of different settings before and while exporting&lt;/p&gt;&#xA;&#xA;&lt;p&gt;but i cant seem to find anything onlne that solves my prolem tried alot of what i could find online but either it just get exportet as an unplayable file or it get exported really laggy&lt;/p&gt;&#xA;" OwnerUserId="24753" LastActivityDate="2019-03-17T09:35:33.017" Title="im trying to make a speed art video in premiere pro cc 2018 but after speeding up the footage it keeps being laggy" Tags="|premiere|" AnswerCount="0" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26254" PostTypeId="1" CreationDate="2019-03-17T17:06:01.260" Score="1" ViewCount="220" Body="&lt;p&gt;I wanted to know if my way of editing is going to hurt anything on my computer or not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I have my cache, scratch, and project folder set to the same drive separate from OS and adobe app drive and 16 GB of ram.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I drop files from the drive onto my premier timeline, RAM and disk usage shoots up taking all the RAM then goes down to 11 GB or so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it normal, or is there a problem I'm not seeing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your time and patience, I'm completely new to editing.&lt;/p&gt;&#xA;" OwnerUserId="24755" LastEditorUserId="18155" LastEditDate="2019-08-21T15:34:19.770" LastActivityDate="2024-01-29T02:06:35.903" Title="RAM in Premiere Pro" Tags="|premiere|adobe|memory|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26255" PostTypeId="2" ParentId="26254" CreationDate="2019-03-17T17:20:31.867" Score="0" Body="&lt;p&gt;Try setting the RAM usage inside Premiere Pro performing the following actions:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit -&gt; Preferences -&gt; Memory -&gt; RAM reserved for other applications.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try setting it up to comfortable amount of RAM as You might have it set too low.&lt;/p&gt;&#xA;" OwnerUserId="24746" LastActivityDate="2019-03-17T17:20:31.867" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26256" PostTypeId="1" CreationDate="2019-03-17T18:51:46.270" Score="0" ViewCount="16" Body="&lt;p&gt;What I want to do is, to animate a pressing of a perfume spray top. But since mesh warp only works in X and Y axes, I cannot do it in the traditional way.&lt;br&gt;&#xA;So, is there a way to do that?&lt;/p&gt;&#xA;" OwnerUserId="14021" LastActivityDate="2019-03-17T18:51:46.270" Title="Is there a way to mesh-warp downwards?" Tags="|after-effects|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="26257" PostTypeId="1" AcceptedAnswerId="26258" CreationDate="2019-03-17T22:59:23.583" Score="5" ViewCount="48686" Body="&lt;p&gt;I'd like to use a Teradek Cube connected to a broadcast camera to push to a server running ffmpeg with an open RTMP port, and have ffmpeg re-stream that feed to a decoder using RTMP or RTSP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Monaserver does this, but I need to duplicate this functionality using ffmpeg. I would use the Cube as a server, except it could be broadcasting anywhere so opening ports at every location the camera goes to is not an option. Our decoder is a Teradek Slice. Any other suggestions about how to do this would be greatly appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="23890" LastActivityDate="2022-04-01T19:55:01.787" Title="RTMP server using ffmpeg" Tags="|ffmpeg|streaming|rtmp|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26258" PostTypeId="2" ParentId="26257" CreationDate="2019-03-18T00:09:04.450" Score="20" Body="&lt;p&gt;You can use FFmpeg as an RTMP server as following&#xA;&lt;code&gt;ffmpeg -f flv -listen 1 -i rtmp://localhost:1935/live/app -c copy rtsp://YOUR_RTSP_HOST&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Notes:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-listen 1&lt;/code&gt; makes FFmpeg act as a RTMP server when used with RTMP protocol&lt;/li&gt;&#xA;&lt;li&gt;Use &lt;code&gt;rtmp://localhost:1935/live/app&lt;/code&gt; as the RTMP server url on the source &lt;/li&gt;&#xA;&lt;li&gt;You can set any playpath &lt;code&gt;rtmp://localhost:1935/any/thing&lt;/code&gt; and any port&lt;/li&gt;&#xA;&lt;li&gt;The main advantage with this way is simplicity, the disadvantage is server stops if source stopped or had encoding errors&lt;/li&gt;&#xA;&lt;li&gt;The other option is to use nginx with &lt;a href=&quot;https://github.com/arut/nginx-rtmp-module&quot; rel=&quot;noreferrer&quot;&gt;nginx-rtmp-module&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="15986" LastEditorUserId="15986" LastEditDate="2019-03-18T13:04:11.030" LastActivityDate="2019-03-18T13:04:11.030" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="26260" PostTypeId="2" ParentId="21159" CreationDate="2019-03-18T06:38:39.040" Score="2" Body="&lt;p&gt;Newer ffmpeg since version 4.1 includes new &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#tmix&quot; rel=&quot;nofollow noreferrer&quot;&gt;tmix&lt;/a&gt; video filter that mixes N adjacent frames together using weights. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now it is possible to do exactly what you have suggested: take an animation rendered with a N times higher framerate, merge every N frames together and lower framerate N times down to normal one, dropping out extra frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a script I created to test this flow:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;let WIDTH=640&#xA;let HEIGHT=480&#xA;&#xA;let MID=$WIDTH/2&#xA;&#xA;let BUFFER=16&#xA;let FRAMERATE=30&#xA;&#xA;let XRATE=$BUFFER\*$FRAMERATE&#xA;&#xA;let DURATION=8&#xA;let FPERIOD=$XRATE\*$DURATION&#xA;&#xA;&#xA;ffmpeg \&#xA;  -filter_complex \&#xA;  &quot; \&#xA;    color=white:${WIDTH}x${HEIGHT}:d=$DURATION:r=$XRATE,format=rgb24[bg];  \&#xA;    color=black:8x${HEIGHT}:d=$DURATION:r=$XRATE,format=rgb24[bar];  \&#xA;    [bg][bar]overlay=x='$MID + $MID * sin(8 * PI * n / $FPERIOD)':y=0:format=yuv444,format=yuv420p[motion]; \&#xA;    [motion]tmix=frames=$BUFFER \&#xA;  &quot; \&#xA;  -c:v libx264  \&#xA;  -r $FRAMERATE  \&#xA;  -an  \&#xA;  -hide_banner \&#xA;  -y  \&#xA;  output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It creates an 8-seconds long animation of a black bar running left-right in a sine speed motion. See it &lt;a href=&quot;https://youtu.be/dfJilRiDap4&quot; rel=&quot;nofollow noreferrer&quot;&gt;on YouTube&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks &lt;a href=&quot;https://superuser.com/users/114058/gyan&quot;&gt;Gyan&lt;/a&gt; for &lt;a href=&quot;https://superuser.com/a/1352740/127090&quot;&gt;the tip&lt;/a&gt; on achieving smooth animation by forcing full chroma sampling.&lt;/p&gt;&#xA;" OwnerUserId="20162" LastEditorUserId="20162" LastEditDate="2019-03-18T10:52:09.647" LastActivityDate="2019-03-18T10:52:09.647" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26261" PostTypeId="2" ParentId="26249" CreationDate="2019-03-18T06:49:14.540" Score="0" Body="&lt;p&gt;Assuming the duration of B is X (in seconds), you would use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i A -i B -filter_complex &quot;[0]volume=0:enable='lt(t,X)'[a];[a][1]amix=duration=first:dropout_transition=0,volume=2&quot; out&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-03-18T06:49:14.540" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26262" PostTypeId="1" CreationDate="2019-03-18T08:49:23.563" Score="1" ViewCount="2150" Body="&lt;p&gt;I have a list of raw bitmap in rgba format, captured with an openGL frameBuffer.&#xA;I want to export them in a video, currently i am using the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f rawvideo -r 30 -pix_fmt rgba -s 1920x1018 -i - -threads 0 -y -c:v libx264 -pix_fmt yuv420p -b:v 8000K -vf vflip,drawbox=10:20:200:60:red@1:t=fill result.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I open the output video in different viewers (vlc, windows media player), the resulting color are shifted and appears more green. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example I draw a solid red rectangle (255, 0, 0) got translated to (255, 24, 0)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have played with pix_fmt and the format filter with no result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ycj2U.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ycj2U.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24385" LastActivityDate="2022-08-07T16:01:35.163" Title="Color shift FFmpeg raw RGBA images to YUV format" Tags="|ffmpeg|colorspace|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26263" PostTypeId="2" ParentId="17758" CreationDate="2019-03-18T11:50:24.923" Score="1" Body="&lt;p&gt;The style You mentioned is called &quot;Explainer Videos&quot;. There is plenty techniques that might be used to make such videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One would be that You record Your own voice first and then You try to make the drawings / illustrations match what You were just saying.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other way is to have drawings ready and try to commentate over them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where it comes to software itself try exploring multiple options.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Adobe Illustrator&lt;/li&gt;&#xA;&lt;li&gt;Adobe After Effects&lt;/li&gt;&#xA;&lt;li&gt;Adobe Premiere Pro&lt;/li&gt;&#xA;&lt;li&gt;Adobe Audition&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The list mentioned above would be my choice If I would start trying to get into such things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The direct answer to the question &quot;What can I learn to make this kind of videos?&quot; would be:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Drawing and or illustrating&lt;/li&gt;&#xA;&lt;li&gt;Animation&lt;/li&gt;&#xA;&lt;li&gt;Basic audio manipulation&lt;/li&gt;&#xA;&lt;li&gt;Composition in film&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Or just try writing &quot;How to make explainer videos&quot; in any search engine for lots of material.&lt;/p&gt;&#xA;" OwnerUserId="24746" LastActivityDate="2019-03-18T11:50:24.923" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26265" PostTypeId="1" CreationDate="2019-03-19T09:12:23.120" Score="0" ViewCount="309" Body="&lt;p&gt;I exported a 9:16 video (vertical, for Instagram stories) from Premiere Pro 2018, encoded with H.264 and AAC audio, VBR 2 pass.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the video shows nothing but black screen on both my Samsung Note9 and iPhone 6, if I play it back in default players. If I use VLC on my Note9, it plays back just fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the issue of this and how can I fix it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many thanks!&lt;/p&gt;&#xA;" OwnerUserId="22846" LastActivityDate="2024-03-23T00:08:41.033" Title="Premiere Pro export black screen on mobile, just audio" Tags="|premiere|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26266" PostTypeId="1" CreationDate="2019-03-19T09:14:06.327" Score="1" ViewCount="975" Body="&lt;p&gt;I converted an &lt;strong&gt;avc (h264)&lt;/strong&gt; file to an &lt;strong&gt;hevc (h265)&lt;/strong&gt; file and an &lt;strong&gt;av1&lt;/strong&gt; file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Relative to the &lt;strong&gt;hevc (h265)&lt;/strong&gt; file, the &lt;strong&gt;av1&lt;/strong&gt; file is far larger in size, and the &lt;strong&gt;av1&lt;/strong&gt; file has worse psnr and ssim results too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the &lt;strong&gt;hevc (h265)&lt;/strong&gt; file, i used the default crf setting (28)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;av1&lt;/strong&gt; doesn't have a default crf amount, but i used the ffmpeg recommendation of 30&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the command i used to do the &lt;strong&gt;hevc (h265)&lt;/strong&gt; conversion&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\l\Desktop\6-app\ffmpeg -i y.mp4 -c:v libx265 -preset 8 -vf scale=1920:1080 -r 60 -ab 192k -ar 48k -map_chapters -1 -map_metadata -1 z.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here's the command i used to do the &lt;strong&gt;av1&lt;/strong&gt; conversion&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\l\Desktop\6-app\ffmpeg -i y.mp4 -c:v libaom-av1 -crf 30 -b:v 0 -strict experimental -vf scale=1920:1080 -r 60 -ab 192k -ar 48k -map_chapters -1 -map_metadata -1 z.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here are the psnr and ssim results of the &lt;strong&gt;hevc (h265)&lt;/strong&gt; file&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;ssim&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Y:0.981764 (17.390662)&#xA;U:0.992258 (21.111573)&#xA;V:0.992246 (21.104816)&#xA;All:0.985260 (18.315015)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;psnr&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;y:41.620801&#xA;u:48.257839&#xA;v:47.699066&#xA;average:42.905441&#xA;min:38.873493&#xA;max:58.862531&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here are the psnr and ssim results of the &lt;strong&gt;av1&lt;/strong&gt; file&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;ssim&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Y:0.923286 (11.151250)&#xA;U:0.991684 (20.800862)&#xA;V:0.987425 (19.004970)&#xA;All:0.945376 (12.626126)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;psnr&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;y:27.332443&#xA;u:44.955360&#xA;v:41.569108&#xA;average:29.034062&#xA;min:8.783696&#xA;max:59.518112&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here are the size results of the files&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;avc&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;3.9 mb&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;hevc (h265)&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;4.6 mb&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;av1&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;9.59 mb&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I know i'm compressing an already well-compressed file, I didn't necessarily expect a smaller file size - but i did expect av1 to outperform hevc (h265))&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the actual files&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/4xy7tsys5cswngb/combo-3-avc-original.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;combo-3-avc-original.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/fnakxv248sz8w9w/combo-3-hevc.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;combo-3-hevc.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/07x5ddc54jn7xzb/combo-3-av1.mkv&quot; rel=&quot;nofollow noreferrer&quot;&gt;combo-3-av1.mkv&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why would such poor results occur?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;edit:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;· here are the versions of the tools&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-93389-gd15117c996&#xA;[libaom-av1 @ 0000025b4839bf40] 1.0.0-1458-ge40c226a6&#xA;libavutil      56. 26.100 / 56. 26.100&#xA;libavcodec     58. 47.103 / 58. 47.103&#xA;libavformat    58. 26.101 / 58. 26.101&#xA;libavdevice    58.  6.101 / 58.  6.101&#xA;libavfilter     7. 48.100 /  7. 48.100&#xA;libswscale      5.  4.100 /  5.  4.100&#xA;libswresample   3.  4.100 /  3.  4.100&#xA;libpostproc    55.  4.100 / 55.  4.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24744" LastEditorUserId="24744" LastEditDate="2019-03-21T09:06:31.913" LastActivityDate="2019-03-21T09:06:31.913" Title="ffmpeg: av1 getting worse results than hevc (h265)" Tags="|ffmpeg|" AnswerCount="0" CommentCount="12" ContentLicense="CC BY-SA 4.0" />
  <row Id="26267" PostTypeId="2" ParentId="26265" CreationDate="2019-03-19T14:08:58.807" Score="0" Body="&lt;p&gt;Try using 4:2:0, which is the common subdivision in encoding for your use. If that doesn't work, I'm certain that samsung provided a list of codecs which work with their phone.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-19T14:08:58.807" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26270" PostTypeId="1" CreationDate="2019-03-19T16:23:14.420" Score="0" ViewCount="276" Body="&lt;p&gt;Since I reinstalled OBS my display has changed from having one scene recording window to having 2.&#xA;I have tried modifying every possible setting I thought off but I don't manage to get rid of the second window.&#xA;The problem is this window seems to define the screen capture area and I can't modify it. This seems only possible in the left scene frame, but doesn't have any effect on the recording. &#xA;Any clues?&lt;/p&gt;&#xA;" OwnerUserId="24773" LastActivityDate="2023-03-29T03:10:06.253" Title="How to configure OBS studio to have only one recording window?" Tags="|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26271" PostTypeId="2" ParentId="26270" CreationDate="2019-03-19T16:29:16.830" Score="1" Body="&lt;p&gt;When you open up the properties of the screen-capture, you should be able to select the screen you're trying to record. If else, please post a screenshot of it.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-19T16:29:16.830" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26272" PostTypeId="1" CreationDate="2019-03-19T21:28:11.340" Score="0" ViewCount="171" Body="&lt;p&gt;What I'm trying to do is to show part of clip and then start reversing on it...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So i made a key frame and add a &quot;speed remapping&quot; effect, slow the video, then i duplicate that video, and everything to this point is fine... the video start normally, goes to the speed of zero, then slowly back to normal speed in reveres.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now i want to do the reveres in higher speed, to the beginning of the video... so using trim tools, i extend the reversed video to the very beginning, and here's the buggy part:&#xA;I drag the &quot;speed remapping&quot; up, to speed it up, it get speeds, but the issue is, it adds from the begin of reversed clip not the end... and it cause my two clip to goes out of sync... it slows down in one frame, and start to speed up in a totally non related frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to make it extend on the end point&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;Edited&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Visual Explaination:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Okey, Here's a normal timeline with some marker to show the effect...&#xA;So think about this, as our begin state:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/s9icL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s9icL.png&quot; alt=&quot;Normal Video Timeline with two speed change marker&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No i add another marker at the end, and start changing speed, as you can see the end of the clip got shorter, but our previous marker are same, it mean it fill the shortage from the end of the clip (cut from end)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vxtvZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vxtvZ.png&quot; alt=&quot;Normal Video Timeline with three speed change marker&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now i undo to our begin state and reverse the video clip&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/40nTf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/40nTf.png&quot; alt=&quot;Reversing a Video Timeline&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see the begin state of reversed state&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NXUQZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NXUQZ.png&quot; alt=&quot;Reversed Video Timeline with two speed change marker&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now i add a marker at the end, same to what we did with the first video...&#xA;and start speeding up the video, as you can see this time our existing marker are moving, and it adds frame to the begin of clip not the end&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4PwCQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4PwCQ.png&quot; alt=&quot;Reversed Video Timeline with three speed change marker&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now here what i have, this little guys in here suppose to show a part of event which i important to me, then slow down to freeze, then reverse and maintain the speed, then goes to higher speed to the very beginning of the movie&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JthKZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JthKZ.png&quot; alt=&quot;Normal Slow down and reverse video timeline&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when i add/change the marker, instead of add/remove frames from the end of second clip, it take them from the start, and cause those two clip (specific frames) goes out of sync. it end at some place, and start at somewhere totally not related&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cRhV3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cRhV3.png&quot; alt=&quot;Buggy slow down and reverse video timeline with extra marker&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24774" LastEditorUserId="24774" LastEditDate="2019-03-30T14:16:08.603" LastActivityDate="2019-04-04T20:32:40.970" Title="Reverse &amp; Time Ramping Effect Issue" Tags="|premiere|slowmotion|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26273" PostTypeId="2" ParentId="26241" CreationDate="2019-03-20T03:09:21.877" Score="0" Body="&lt;p&gt;You could do it the nerdy mathematical way by finding the radius of the circle r, then using trigonometry to target a point on the line between the two centers—the center of the start null and the centre of the circle—that is r pixels back from the centre of the circle. You do that by finding the vector of the line between the two layers, then finding the angle that line makes, and multiplying the original vector, minus the radius by the cosine and sin of the angle to come up with the vector from the original null to the edge of the circle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This expression would do that (probably, I haven't tested it):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var r = &amp;lt;the radius of the circle&amp;gt;;&#xA;var overallVector = thisComp.layer(&quot;circle layer&quot;).transform.position - thisComp.layer(&quot;start null&quot;).transform.position;&#xA;var beamAngle = Math.atan2(overallVector[1], overallVector[0]);&#xA;thisComp.layer(&quot;start null&quot;).transform.position + [Math.cos(beamAngle)*(length(overallVector) - r), Math.sin(beamAngle)*(length(overallVector) - r)];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Or you could do it the quick and easy way&lt;/strong&gt;, by making a circle solid the same size as the target circle, parenting it to the circle so that it is lined up with it, putting it directly above the beam layer, and then turning on alpha inverted track matte for the beam layer. That would make the beam invisible inside the circle. Boom!&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-03-20T03:09:21.877" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26275" PostTypeId="1" CreationDate="2019-03-20T14:02:56.060" Score="2" ViewCount="44" Body="&lt;p&gt;I am trying to generate a high quality VR video to upload to youtube and watch with an Oculus Go. The issue I have is that no matter the quality of the upload the output on youtube seems very compressed and unwatchable. &lt;a href=&quot;https://www.youtube.com/watch?v=k4fwLSvozNc&quot; rel=&quot;nofollow noreferrer&quot;&gt;This&lt;/a&gt; is a link to the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Workflow to get this point is:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Export video from RiScan Pro as a &lt;code&gt;.avi&lt;/code&gt; (proprietary software for registering laser scan data). I did this at the &lt;a href=&quot;https://support.google.com/youtube/answer/6178631?hl=en-GB&quot; rel=&quot;nofollow noreferrer&quot;&gt;suggested resolution for youtube&lt;/a&gt; of 7168 x 3584 and 24 fps. &lt;/li&gt;&#xA;&lt;li&gt;Using ffmpeg stitch &lt;code&gt;.avi&lt;/code&gt;'s together to create a &lt;code&gt;.mp4&lt;/code&gt;. I did this in a way as not to lose quality (file size &gt;10 gb). &lt;code&gt;.mp4&lt;/code&gt; is required in the next step.&lt;/li&gt;&#xA;&lt;li&gt;Inject spatial metadata using the &lt;a href=&quot;https://github.com/google/spatial-media/releases/tag/v2.1&quot; rel=&quot;nofollow noreferrer&quot;&gt;360 Video Metadata app&lt;/a&gt; so as to create 360 video.&lt;/li&gt;&#xA;&lt;li&gt;Upload to youtube&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Other VR videos available on youtube are incredible quality and I can watch them on my Go e.g. I don't think it's a bandwidth issue.&lt;/p&gt;&#xA;" OwnerUserId="24770" LastActivityDate="2019-03-20T14:02:56.060" Title="producing high quality VR for youtube" Tags="|youtube|vr|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26278" PostTypeId="1" CreationDate="2019-03-21T05:01:02.667" Score="0" ViewCount="89" Body="&lt;p&gt;I am a super Premiere rookie, but I have never seen anything like this. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sxEFz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sxEFz.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are my export settings. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/6QJZk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6QJZk.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PH8AU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PH8AU.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The source footage looks nothing like this. I don't even know where to start looking at what could be causing this.&lt;/p&gt;&#xA;" OwnerUserId="12801" LastActivityDate="2024-03-25T09:01:05.113" Title="Crazy blue video issues/artifacts on export" Tags="|render|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26279" PostTypeId="1" AcceptedAnswerId="26284" CreationDate="2019-03-21T15:44:54.457" Score="1" ViewCount="888" Body="&lt;p&gt;I have a few hundred few-second-long video clips (c001.mp4-c999.mp4)&#xA;and need to merge them into a clip slideshow.  This is very easy - I drop them into iMovie and click &quot;slideshow&quot;, done! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;However&lt;/strong&gt; - I want to fit more clips in less time.  So I was hoping to show 2 clips at once, and stack vertical-video clips side-by-side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideal would be some way to take a script of start times and upper-left positions, and render it to a combined flattened video?  (assuming basics like &quot;no resizing&quot; and &quot;later clips are stacked on top of earlier clips if the earlier clip hasn't finished playing yet&quot;)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file:c001.mp4, t:0:05:15, x:500, y:0 &#xA;file:c002.mp4, t:0:09:25, x:0, y:0&#xA;file:c003.mp4, t:0:12:00, x:500, y:0&#xA;etc. &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24787" LastActivityDate="2019-03-22T13:44:27.007" Title="A program or script to overlay several video clips" Tags="|ffmpeg|script|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26280" PostTypeId="2" ParentId="26278" CreationDate="2019-03-21T18:19:38.417" Score="0" Body="&lt;p&gt;Make sure your export settings are really what your camera films. Are you filming interlaced? Your settings suggest so, since it's rendering the upper field first, however, it could be that your camera films progressive. You can check whether your system records 25i or 25p for example. Also, is the pixel aspect ratio (par) really anamorphic (1,33)? Meaning, did you use a very stretching lense which costs about 10k dollars? If not, set the pixel aspect ratio to square (1).&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-21T18:19:38.417" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26282" PostTypeId="1" AcceptedAnswerId="26286" CreationDate="2019-03-21T21:36:48.487" Score="3" ViewCount="456" Body="&lt;p&gt;On many forum and sites people say that you can capture with resolution of 720x576. But many other replies is too high resolution and is better to capture at 512x384 or similar. Someone know what is the max original resolution of a vhs?&lt;/p&gt;&#xA;" OwnerUserId="17307" LastActivityDate="2020-12-01T19:21:33.300" Title="Vhs capture: 720x576 or less?" Tags="|vhs|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26284" PostTypeId="2" ParentId="26279" CreationDate="2019-03-22T13:44:27.007" Score="2" Body="&lt;p&gt;While having some fun in Python programming language I found a library that allows users to write custom code to overlay (possibly) infinite amount of clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;https://zulko.github.io/moviepy/getting_started/compositing.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;MoviePy&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lYpU4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lYpU4.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Hope this helps!&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="24746" LastActivityDate="2019-03-22T13:44:27.007" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26286" PostTypeId="2" ParentId="26282" CreationDate="2019-03-23T00:05:18.440" Score="1" Body="&lt;p&gt;I think you want to capture at 640x480. VHS uses interlaced video, so the recorded content provides half the lines every 1/30th of a second. The effective resolution is horribly low, 352x240.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have a look at &lt;a href=&quot;http://www.divx-digest.com/articles/vhs_capture.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;VHS capture DIVX information&lt;/a&gt;, which seems to discuss all the issues. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regardless of the workflow you use, be sure your de-interlacer is high-quality or the output will suffer greatly. &lt;/p&gt;&#xA;" OwnerUserId="24473" LastActivityDate="2019-03-23T00:05:18.440" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26287" PostTypeId="2" ParentId="26254" CreationDate="2019-03-23T00:10:53.083" Score="0" Body="&lt;p&gt;If you have multiple partitions on the same spinning rust drive (I.e. not an SSD), it doesn’t buy you much performance. Either use physically separate drives or upgrade to an SSD.&lt;/p&gt;&#xA;" OwnerUserId="24473" LastActivityDate="2019-03-23T00:10:53.083" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26289" PostTypeId="1" CreationDate="2019-03-23T01:25:18.550" Score="1" ViewCount="1056" Body="&lt;p&gt;Is it possible for ffmpeg to parse an input image sequence with missing frames? I was hoping to interpolate them or create a variable framerate(or a CCFR duplicate frame) video while having the numbering of the files match the frame in the video they correspond to.&#xA;I haven't been able to find an answer to this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With my attempts, when it reaches a missing frame, the file ends and encode finishes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it also possible to use a regex to match the various naming and padding of the images in the sequence? I haven't been able to without renaming the files first.&#xA;These are a few of the example file names in one sequence&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;00000XTR_00000_BURST20190321113858.jpg&#xA;00026IMG_00026_BURST20190321113858_COVER.jpg&#xA;00143IMG_00143_BURST20190321113858.jpg&#xA;00280XTR_00280_BURST20190321113858.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm on windows but using wildcard hasn't worked in the filename. I've tried something like this with no luck&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;%05IMG_%05_BURST20190321113858*.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24799" LastActivityDate="2019-03-23T01:25:18.550" Title="Image Sequence input missing frames FFMPEG" Tags="|ffmpeg|windows|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26290" PostTypeId="1" CreationDate="2019-03-23T03:41:38.983" Score="0" ViewCount="618" Body="&lt;p&gt;If there is a h.264 video, and I use -crf 17 I sometimes I get a lower bitrate, but the weird thing is - most of the time get a higher ones. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to get this setting because I think some videos of mine are having a higher then needed bitrate and I have not figured a way (if it is possible at all) to determine what is the most appropriate way to do this and maybe playing with CRF will not help me at all, but I wondered what actually happens when you don't encode with libx264 for example, but actually use CRF values on a x264 file?&lt;/p&gt;&#xA;" OwnerUserId="20232" LastActivityDate="2019-03-25T16:44:18.640" Title="What happens when you use a specific CRF value on a already encoded x264 video?" Tags="|ffmpeg|encoding|codec|compression|h.264|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26291" PostTypeId="1" CreationDate="2019-03-23T04:05:47.440" Score="1" ViewCount="3173" Body="&lt;p&gt;My understanding is that HEVC (aka h265) can provide roughly the same video quality as h264 in roughly half the space, for 1080p+ footage.  I have a large collection that I would like to re-encode to reduce my storage needs, and am trying to determine the &quot;best&quot; compression options to use.  I understand that &quot;best&quot; is very subjective, but generally speaking, my goal is just to save as much space as I can while (ideally) not reducing visual quality by a noticeable / perceptible amount.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll be using Adobe Media Encoder (w /a GPU).  My collection is recorded at 1080p, between 35 &amp;amp; 45MBps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For instance: if HEVC can be expected to yield comparable quality in half the space, does that mean I could compress a 40MBps h264 video to 20Mbps h265 (50% bitrate), and expect visually similar results?  And therefore if I wanted to &lt;em&gt;really&lt;/em&gt; minimize the risk of noticeable degradation, I could set the encoder to, say, VBR target = 70% of the source bitrate (28MBps), with a max a bit above that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there other things I should consider when setting up the encoder? Other relevant options: Quality (from highest/slowest to lowest/fastest), Use Maximum Render Quality (checkbox), Render at Maximum Depth (checkbox).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any guidance would be appreciated :)&lt;/p&gt;&#xA;" OwnerUserId="24800" LastActivityDate="2021-02-04T10:04:20.287" Title="Recompressing 1080p h264 collection to HEVC - Target Bitrate For Minimal Loss" Tags="|compression|bitrate|h265|hevc|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26292" PostTypeId="1" CreationDate="2019-03-23T06:12:16.180" Score="0" ViewCount="566" Body="&lt;p&gt;I used this command for concatenating 2 constant rate videos:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i files.txt  -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where the file &lt;code&gt;files.txt&lt;/code&gt; has this content:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file input1.mp4&#xA;file input2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm wondering why the &lt;em&gt;output&lt;/em&gt; file has a &lt;em&gt;variable frame rate&lt;/em&gt;, even though both &lt;em&gt;input&lt;/em&gt; files has a &lt;em&gt;constant&lt;/em&gt; one?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Part of MediaInfo for every &lt;em&gt;input&lt;/em&gt; file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Height                                   : 720 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 30.000 FPS&#xA;Color space                              : YUV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and for the &lt;em&gt;output&lt;/em&gt; file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Height                                   : 720 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Variable&#xA;Frame rate                               : 29.905 FPS&#xA;Minimum frame rate                       : 19.224 FPS&#xA;Maximum frame rate                       : 30.000 FPS&#xA;Color space                              : YUV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;FFprobe outputs:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;gt;ffprobe -hide_banner input1.mp4&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'input1.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.22.100&#xA;  Duration: 00:00:02.95, start: 0.000000, bitrate: 2649 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 2394 kb/s, 30 fps, 30 tbr, 15360 tbn&#xA;, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 258 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;gt;ffprobe -hide_banner input2.mp4&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'input2.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.22.100&#xA;  Duration: 00:00:02.95, start: 0.000000, bitrate: 2649 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 2394 kb/s, 30 fps, 30 tbr, 15360 tbn&#xA;, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 258 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;gt;ffprobe -hide_banner output.mp4&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'output.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.22.100&#xA;  Duration: 00:00:05.90, start: 0.000000, bitrate: 2647 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 2386 kb/s, 29.90 fps, 60 tbr, 15360&#xA;tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 257 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-03-23T07:21:50.493" LastActivityDate="2019-03-23T07:21:50.493" Title="VFR output from muxer-level concatenation of CFR inputs" Tags="|ffmpeg|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="26294" PostTypeId="1" AcceptedAnswerId="26295" CreationDate="2019-03-23T15:52:50.950" Score="1" ViewCount="623" Body="&lt;p&gt;So I have some videos that are Full HD, h264 but they have over 30M bitrate at 30 FPS, they are SDR and their quality is not very impressive so it seems excessive and unnatural for such unimpressive quality - I have seen much better looking h.264 content with 60 fps with even half of this bitrate. So what I did try to do is use -crf 17 (yes, without encoding), to see how much this will reduce them and it usually does do a good job for example it made the file to about 12M, I also tried -fs with even a higher number of size than the original, and it brought the file down to 5M bitrate, I don't know what actually happens behind the scenes with this, but I think the video looks a bit worse, not much though compared to the 30M that it was.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So how, if even possible, do I correctly determine the bitrate of a video if it seems excessive?&lt;/p&gt;&#xA;" OwnerUserId="20232" LastActivityDate="2019-03-26T14:53:53.527" Title="Some H.264 videos that I have seem to have excessive bitrate, is there a way to determine/find their recommended bitrate?" Tags="|ffmpeg|encoding|codec|compression|h.264|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26295" PostTypeId="2" ParentId="26294" CreationDate="2019-03-23T18:16:38.993" Score="2" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;So how, if even possible, do I correctly determine the bitrate of a&#xA;  video if it seems excessive?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;There's not a &quot;correct&quot; way.  That's why every encoder you come across presents bitrate as an option to the user.  The visual complexity of every video is different, and visual tolerance levels of artifacting is subjective in every case.  File size vs image quality will always be a tradeoff, and it takes an informed human being to decide where that tradeoff is most acceptable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But to focus more on the &quot;how&quot; one best makes this decision, there's not much to say other than: trail and error.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can bifurcate.  That is, pick a high number, try it, pick a low number, try it, then pick a number between whichever direction was more suitable, rinse and repeat.  It's still a subjective process.  If you search the internet, it's not hard to find ballpark ranges to get you started, given the specifics of your output requirements (resolution, framerate, etc).  When you do this, you should use a representative subset of your total output to test, so that you can iterate more quickly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, be sure to consider your destination platform.  You don't mention it in the question, but it will affect your decision.  If you're delivering to bluray, for example, you have a hard limit on total file size, and you'll probably want to optimize quality for that specific target.  On the other hand, if you're delivering to an online streaming service, you might want to go for maximum quality because YouTube, Vimeo and the like will automatically generate lower-quality versions to serve to people with slower connections.  Conversely, you might value high-speed upload for quick turnaround times.  Only you can decide.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2019-03-23T18:16:38.993" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="26297" PostTypeId="1" CreationDate="2019-03-23T20:46:19.267" Score="1" ViewCount="3563" Body="&lt;p&gt;I have creeated a video using FFmpeg. It is a result of putting 4 videos together, tiled, using &lt;code&gt;-filter_complex&lt;/code&gt; with overlays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Following the how-to &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Create%20a%20mosaic%20out%20of%20several%20input%20videos&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, I have it created as MKV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When playing this in VLC, the file is sometimes not seekable and sometimes the seeking acts weirdly - it displays some length, but it is only seekable up to the length of the shortest overlay. And the console logs a lot of errors on seeking, like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;VLC media player 3.0.4 Vetinari (revision 3.0.4-0-gf615db6332)&#xA;[000055d320ad9630] main libvlc: Running vlc with the default interface. Use 'cvlc' to use vlc without interface.&#xA;libva info: VA-API version 1.1.0&#xA;libva info: va_getDriverName() returns -1&#xA;libva error: va_getDriverName() failed with unknown libva error,driver_name=(null)&#xA;[00007f4358002ca0] glconv_vaapi_x11 gl error: vaInitialize: unknown libva error&#xA;libva info: VA-API version 1.1.0&#xA;libva info: va_getDriverName() returns 0&#xA;libva info: Trying to open /usr/lib/x86_64-linux-gnu/dri/i965_drv_video.so&#xA;libva info: Found init function __vaDriverInit_1_1&#xA;libva info: va_openDriver() returns 0&#xA;[00007f43b0c8ccc0] main decoder error: Timestamp conversion failed (delay 300000, buffering 100000, bound 9000000)&#xA;[00007f43b0c8ccc0] main decoder error: Could not convert timestamp 33852223320 for FFmpeg&#xA;[00007f43b0c8ccc0] main decoder error: buffer deadlock prevented&#xA;[00007f43b0c8ccc0] main decoder error: buffer deadlock prevented&#xA;[00007f43b0c8ccc0] main decoder error: buffer deadlock prevented&#xA;[00007f43b0d69240] main decoder error: Timestamp conversion failed (delay 300000, buffering 100000, bound 3000000)&#xA;[00007f43b0d69240] main decoder error: Could not convert timestamp 33862004475 for faad&#xA;[00007f43b0c8ccc0] main decoder error: buffer deadlock prevented&#xA;[00007f43b0d69240] main decoder error: Timestamp conversion failed for 142272501: no reference clock&#xA;[00007f43b0d69240] main decoder error: Could not convert timestamp 0 for faad&#xA;[00007f43b0c8ccc0] main decoder error: buffer deadlock prevented&#xA;[00007f43b0c8ccc0] main decoder error: Timestamp conversion failed (delay 300000, buffering 100000, bound 9000000)&#xA;[00007f43b0c8ccc0] main decoder error: Could not convert timestamp 33884814492 for FFmpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then I created the same video as MP4, and it works fine, except, when the shortest video quarter &quot;ends&quot;, the resulting file stops too, and the resulting play time is not accessible (meaning, the position widget is towards the beginning rather at the end). Here are the errors thrown during playback of that MP4:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[00007f8bbc000c40] main input error: ES_OUT_SET_(GROUP_)PCR  is called too late (pts_delay increased to 300 ms)&#xA;[h264 @ 0x7f8bfce0a780] co located POCs unavailable&#xA;[h264 @ 0x7f8bfce7e160] mmco: unref short failure&#xA;[00007f8bbc000c40] main input error: ES_OUT_SET_(GROUP_)PCR  is called too late (pts_delay increased to 755 ms)&#xA;[h264 @ 0x7f8bfce0a780] co located POCs unavailable&#xA;[h264 @ 0x7f8bfce19f00] mmco: unref short failure&#xA;[h264 @ 0x7f8bfce61f80] co located POCs unavailable&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;All overlays have &lt;code&gt;shortest=1&lt;/code&gt;, which should cut the resulting video at the end of the shortest.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is wrong, and how can I fix that? &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.1-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc-6 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gray --enable-libaom --enable-libfribidi --enable-libass --enable-libvmaf --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzimg&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The full command to get the video is, for instance:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA; -i '/.../2014-11-21/....mp4' \&#xA; -i '/.../2016-01/....mp4' \&#xA;-filter_complex &quot;nullsrc=size=960x270 [lay0];&#xA;      [0:v] setpts=PTS-STARTPTS, scale=480x270 [TILE_1_1]; &#xA;      [1:v] setpts=PTS-STARTPTS, scale=480x270 [TILE_1_2]; &#xA;      [lay0][TILE_1_1] overlay=shortest=1:x=0:y=0 [lay1]; &#xA;      [lay1][TILE_1_2] overlay=shortest=1:x=480:y=0     &quot;      -c:v libx264 ./tiled.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14588" LastEditorUserId="14588" LastEditDate="2019-03-24T13:41:08.760" LastActivityDate="2019-03-24T13:41:08.760" Title="What's wrong with VLC seeking and/or MKV created by ffmpeg?" Tags="|ffmpeg|mp4|filter|mkv|vlc|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26298" PostTypeId="2" ParentId="26294" CreationDate="2019-03-23T23:21:19.417" Score="1" Body="&lt;p&gt;Determining The best bit rate is more of an art form then a science. As soon as you go from a loss less to a lossy format, you’re accepting compromise. If the scene has a lot of natural blur, you may be able to get away with a surprisingly low bit rate before the effect is noticeable. Consumer playback systems may not be able to reproduce all the content contained in your  high bit rate stream. It’s a balance of audience, playback expectations and how much you can get away with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With video, you’ll need a higher bit rate whenever there’s rapid change that you want to preserve or intricate detail that doesn’t compress well. With audio, there’s a point where you can hear the artifacts, but different people pick up the playback errors at different loss rates for different types of music. Classical guitar may not tolerate much compression because it’s high attack plucking. Rock guitar may compress well because the accuracy of the notes isn’t something you can pick out easily and, as Billy Joel would say...it’s still rock and roll to me. Animation with sharp lines may require a higher bit rate than expected because pixelation is immediately obvious.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyhow...my solution is to start with the cleanest, highest resolution uncompressed source, then drop bit rate until I can tell there are defects, then try to be a touch more generous.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you’re doing video, you may be able to do a comparison mask that makes the discrepancies more obvious. With audio, if I can visually compare waveforms, I’ll reduce bitrate in the less important passages, but boost it if there’s a silent passage or one with lots of complexity. Almost any compression on a silky voice like Nat King Cole’s is quickly audible. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess I’m saying that you need to do manual comparisons until you’re sick of watching/listening to the material.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And be careful with VBR. it’s not a cure-all, unless you have control over where bits are spent.&lt;/p&gt;&#xA;" OwnerUserId="24473" LastActivityDate="2019-03-23T23:21:19.417" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26299" PostTypeId="1" AcceptedAnswerId="26300" CreationDate="2019-03-24T07:01:56.337" Score="0" ViewCount="256" Body="&lt;p&gt;How is it possible to dynamically evaluate the &lt;code&gt;s&lt;/code&gt; (output image size) parameter of ffmpeg &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#zoompan&quot; rel=&quot;nofollow noreferrer&quot;&gt;zoompan&lt;/a&gt; filter on each frame?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The parameter expectes its value in &quot;WxH&quot; format i.e. &quot;1920x1080&quot;. &#xA;How to substitute an expression that would update the size as a function of, say, frame number?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Couldn't find a way to concatenate strings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a single number parameter I can do smth like &lt;code&gt;y='(out_h-in_h)/2'&lt;/code&gt;, but how to take two expressions and join them with an &quot;x&quot; string?&lt;/p&gt;&#xA;" OwnerUserId="20162" LastActivityDate="2019-03-24T07:14:07.500" Title="How to animate size parameter of ffmpeg zoompan filter?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26300" PostTypeId="2" ParentId="26299" CreationDate="2019-03-24T07:14:07.500" Score="1" Body="&lt;p&gt;The zoompan size parameter cannot be animated. It has to be a fixed numeral size of the form WxH, or a &lt;a href=&quot;https://ffmpeg.org/ffmpeg-utils.html#Video-size&quot; rel=&quot;nofollow noreferrer&quot;&gt;size label&lt;/a&gt; like hd1080.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-03-24T07:14:07.500" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26301" PostTypeId="1" AcceptedAnswerId="26303" CreationDate="2019-03-24T13:31:35.780" Score="1" ViewCount="284" Body="&lt;p&gt;I am trying to creeate a tiled video using FFmpeg - a result of putting several videos together, tiled, using &lt;code&gt;-filter_complex&lt;/code&gt; with overlays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Following the how-to &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Create%20a%20mosaic%20out%20of%20several%20input%20videos&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, I have created a script that can tile any number of videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issue is, FFmpeg is being killed during the process. It seems that as few as 4 videos can eat all system resources and I think the Linux core kills FFmpeg.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Killed 8235 fps= 20 q=28.0 size=  107008kB time=00:59:22.17 bitrate= 246.1kbits/s speed=8.86x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The file sizes range but they are nothing too large - typically, FullHD. The files are on an EncFS virtual drive. I have 16 GB ram + 16 GB swap, and the fast SSD (Samsung EVO 850).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I prevent this? Is there some way to make FFmpeg use some on-disk buffer? Or perhaps some other approach other than &lt;code&gt;-filter-compled&lt;/code&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was thinking about joining 2 videos at a time and making it bottom-up, but that would be really very slow and tedious, even if scripted.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;&amp;gt;      -i '1.mp4' \&#xA;&amp;gt;      -i '2.mp4' \&#xA;&amp;gt;      -i '3.mp4' \&#xA;&amp;gt;      -i '4.mp4' \&#xA;&amp;gt;      -i '5.mp4' \&#xA;&amp;gt;      -i '6.mkv' \&#xA;&amp;gt;     -filter_complex &quot;nullsrc=size=1440x540 [lay0];&#xA;&amp;gt;           [0:v] setpts=PTS-STARTPTS, scale=480x270 [TILE_1_1]; &#xA;&amp;gt;           [1:v] setpts=PTS-STARTPTS, scale=480x270 [TILE_1_2]; &#xA;&amp;gt;           [2:v] setpts=PTS-STARTPTS, scale=480x270 [TILE_1_3]; &#xA;&amp;gt;           [3:v] setpts=PTS-STARTPTS, scale=480x270 [TILE_2_1]; &#xA;&amp;gt;           [4:v] setpts=PTS-STARTPTS, scale=480x270 [TILE_2_2]; &#xA;&amp;gt;           [5:v] setpts=PTS-STARTPTS, scale=480x270 [TILE_2_3]; &#xA;&amp;gt;           [lay0][TILE_1_1] overlay=shortest=1:x=0:y=0 [lay1]; &#xA;&amp;gt;           [lay1][TILE_1_2] overlay=shortest=1:x=480:y=0 [lay2]; &#xA;&amp;gt;           [lay2][TILE_1_3] overlay=shortest=1:x=960:y=0 [lay3]; &#xA;&amp;gt;           [lay3][TILE_2_1] overlay=shortest=1:x=0:y=270 [lay4]; &#xA;&amp;gt;           [lay4][TILE_2_2] overlay=shortest=1:x=480:y=270 [lay5]; &#xA;&amp;gt;           [lay5][TILE_2_3] overlay=shortest=1:x=960:y=270     &quot;      -c:v libx264 ./tiled.mp4&#xA;ffmpeg version 4.1-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug &#xA;   --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc-6 &#xA;   --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gray --enable-libaom --enable-libfribidi &#xA;   --enable-libass --enable-libvmaf --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg &#xA;   --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc &#xA;   --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzimg&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;[h264 @ 0x6722b80] A non-intra slice in an IDR NAL unit.&#xA;[h264 @ 0x6722b80] decode_slice_header error&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '1.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41avc1qt  &#xA;    creation_time   : 2015-05-03T12:48:13.000000Z&#xA;    encoder         : vlc 2.1.6 stream output&#xA;    encoder-eng     : vlc 2.1.6 stream output&#xA;  Duration: 01:29:40.93, start: 0.000000, bitrate: 583 kb/s&#xA;    Stream #0:0(eng): Audio: mp2 (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 127 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-05-03T12:48:13.000000Z&#xA;      handler_name    : SoundHandler&#xA;    Stream #0:1(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 640x480 [SAR 1:1 DAR 4:3], 2230 kb/s, 15 fps, 15 tbr, 1000k tbn, 30 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-05-03T12:48:13.000000Z&#xA;      handler_name    : VideoHandler&#xA;Input #1, mov,mp4,m4a,3gp,3g2,mj2, from '2.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 0&#xA;    compatible_brands: isom3gp4&#xA;    creation_time   : 2014-05-16T10:47:46.000000Z&#xA;  Duration: 00:33:58.60, start: 0.000000, bitrate: 18114 kb/s&#xA;    Stream #1:0(eng): Video: h264 (Baseline) (avc1 / 0x31637661), yuv420p, 1920x1080, 17919 kb/s, SAR 1:1 DAR 16:9, 19.85 fps, 24.83 tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      rotate          : 90&#xA;      creation_time   : 2014-05-16T10:47:46.000000Z&#xA;      handler_name    : VideoHandle&#xA;      encoder         :                                &#xA;    Side data:&#xA;      displaymatrix: rotation of -90.00 degrees&#xA;    Stream #1:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 190 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-05-16T10:47:46.000000Z&#xA;      handler_name    : SoundHandle&#xA;Input #2, mov,mp4,m4a,3gp,3g2,mj2, from '3.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2018-08-31T09:08:36.000000Z&#xA;  Duration: 00:09:44.19, start: 0.000000, bitrate: 7147 kb/s&#xA;    Stream #2:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 7017 kb/s, 29.81 fps, 29.81 tbr, 29809 tbn, 59.62 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #2:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2018-08-31T12:37:17.000000Z&#xA;      handler_name    : IsoMedia File Produced by Google, 5-11-2011&#xA;[h264 @ 0x6749140] A non-intra slice in an IDR NAL unit.&#xA;[h264 @ 0x6749140] decode_slice_header error&#xA;Input #3, mov,mp4,m4a,3gp,3g2,mj2, from '4.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41avc1qt  &#xA;    creation_time   : 2015-10-08T10:04:06.000000Z&#xA;    encoder         : vlc 2.1.6 stream output&#xA;    encoder-eng     : vlc 2.1.6 stream output&#xA;  Duration: 00:58:58.61, start: 0.000000, bitrate: 1099 kb/s&#xA;    Stream #3:0(eng): Audio: mp2 (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 127 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-10-08T10:04:06.000000Z&#xA;      handler_name    : SoundHandler&#xA;    Stream #3:1(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 640x480 [SAR 1:1 DAR 4:3], 966 kb/s, 15.07 fps, 15 tbr, 1000k tbn, 30 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-10-08T10:04:06.000000Z&#xA;      handler_name    : VideoHandler&#xA;Input #4, mov,mp4,m4a,3gp,3g2,mj2, from '5.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2016-09-23T09:25:07.000000Z&#xA;    com.android.version: 6.0.1&#xA;  Duration: 00:18:43.67, start: 0.000000, bitrate: 17643 kb/s&#xA;    Stream #4:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1920x1080, 17500 kb/s, SAR 1:1 DAR 16:9, 29.98 fps, 29.97 tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-09-23T09:25:07.000000Z&#xA;      handler_name    : VideoHandle&#xA;    Stream #4:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 155 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2016-09-23T09:25:07.000000Z&#xA;      handler_name    : SoundHandle&#xA;Input #5, matroska,webm, from '6.mkv':&#xA;  Metadata:&#xA;    encoder         : android&#xA;  Duration: 00:05:29.41, start: 0.000000, bitrate: 22503 kb/s&#xA;    Stream #5:0: Audio: flac, 96000 Hz, stereo, s32 (24 bit) (default)&#xA;    Stream #5:1: Video: h264 (Baseline), yuvj420p(pc, smpte170m, progressive), 1920x1080, SAR 1:1 DAR 16:9, 30 fps, 30 tbr, 1k tbn, 2k tbc (default)&#xA;File './tiled.mp4' already exists. Overwrite ? [y/N] y&#xA;Stream mapping:&#xA;  Stream #0:1 (h264) -&amp;gt; setpts (graph 0)&#xA;  Stream #1:0 (h264) -&amp;gt; setpts (graph 0)&#xA;  Stream #2:0 (h264) -&amp;gt; setpts (graph 0)&#xA;  Stream #3:1 (h264) -&amp;gt; setpts (graph 0)&#xA;  Stream #4:0 (h264) -&amp;gt; setpts (graph 0)&#xA;  Stream #5:1 (h264) -&amp;gt; setpts (graph 0)&#xA;  overlay (graph 0) -&amp;gt; Stream #0:0 (libx264)&#xA;  Stream #0:0 -&amp;gt; #0:1 (mp2 (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[h264 @ 0x85cd140] A non-intra slice in an IDR NAL unit.&#xA;[h264 @ 0x85cd140] decode_slice_header error&#xA;[h264 @ 0x72c9100] A non-intra slice in an IDR NAL unit.&#xA;[h264 @ 0x72c9100] decode_slice_header error&#xA;[swscaler @ 0xa2858c0] deprecated pixel format used, make sure you did set range correctly&#xA;[libx264 @ 0x85b9d40] using SAR=1/1&#xA;[libx264 @ 0x85b9d40] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x85b9d40] profile High, level 3.1, 4:2:0, 8-bit&#xA;[libx264 @ 0x85b9d40] 264 - core 157 r2935 545de2f - H.264/MPEG-4 AVC codec - Copyleft 2003-2018 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to './tiled.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41avc1qt  &#xA;    encoder         : Lavf58.20.100&#xA;    Stream #0:0: Video: h264 (libx264) (avc1 / 0x31637661), yuv420p, 1440x540 [SAR 1:1 DAR 8:3], q=-1--1, 25 fps, 12800 tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc58.35.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-05-03T12:48:13.000000Z&#xA;      handler_name    : SoundHandler&#xA;      encoder         : Lavc58.35.100 aac&#xA;Killed 8235 fps= 20 q=28.0 size=  107008kB time=00:59:22.17 bitrate= 246.1kbits/s speed=8.86x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14588" LastActivityDate="2019-04-23T18:03:55.817" Title="FFmpeg being killed when creating tiled overlayed video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26302" PostTypeId="1" AcceptedAnswerId="29957" CreationDate="2019-03-24T17:53:03.657" Score="4" ViewCount="3983" Body="&lt;p&gt;I have an MKV video, and want to cut the first 3 seconds. I tried with FFmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /input.mkv -ss 00:00:3.0 -c copy -t 00:09:58.0 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But the result (when played in VLC) is that there are 5 seconds blank video with the original sound, and after that, the video shows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think it has something to do with a missing keyframe at the beginning. So I tried:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /input.mkv -ss 00:00:3.0 -c copy -t 00:09:58.0 -force_key_frames 00:00:00.000 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this has no effect - same result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I cut a video properly so that it begins exactly where cut?&lt;/p&gt;&#xA;" OwnerUserId="14588" LastActivityDate="2020-09-12T00:06:00.800" Title="FFmpeg: Cutting 3 seconds at the beginning of a video leaves 5 seconds blank" Tags="|ffmpeg|editing|keyframes|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26303" PostTypeId="2" ParentId="26301" CreationDate="2019-03-24T17:59:25.307" Score="0" Body="&lt;p&gt;It seems that overlays are not suitable for this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have replaced &lt;code&gt;overlay&lt;/code&gt; with &lt;code&gt;xstack&lt;/code&gt;, and so far, the tiling with 5x5 tiles continues to run.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;&amp;gt;      -i 'input1.mp4' \&#xA;... 24 other inputs ...&#xA;&amp;gt;     -filter_complex &quot;&#xA;&amp;gt;           [0:v] setpts=PTS-STARTPTS, scale=480x270 [TILE_1_1]; &#xA;&amp;gt;           [1:v] setpts=PTS-STARTPTS, scale=480x270 [TILE_1_2]; &#xA;...&#xA;&amp;gt;           [24:v] setpts=PTS-STARTPTS, scale=480x270 [TILE_5_5]; &#xA;&amp;gt;     [TILE_1_1][TILE_1_2][TILE_1_3][TILE_1_4][TILE_1_5][TILE_2_1][TILE_2_2][TILE_2_3][TILE_2_4][TILE_2_5][TILE_3_1][TILE_3_2][TILE_3_3][TILE_3_4][TILE_3_5][TILE_4_1][TILE_4_2][TILE_4_3][TILE_4_4][TILE_4_5][TILE_5_1][TILE_5_2][TILE_5_3][TILE_5_4][TILE_5_5]xstack=inputs=25:layout=0_0|480_0|960_0|1440_0|1920_0|0_270|480_270|960_270|1440_270|1920_270|0_540|480_540|960_540|1440_540|1920_540|0_810|480_810|960_810|1440_810|1920_810|0_1080|480_1080|960_1080|1440_1080|1920_1080&quot;  &#xA;&amp;gt; -c:v libx264 ./tiled.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14588" LastActivityDate="2019-03-24T17:59:25.307" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26304" PostTypeId="2" ParentId="12682" CreationDate="2019-03-24T21:57:51.577" Score="-1" Body="&lt;p&gt;These answers are all very misleading, you'd think after 5 years someone would've told the truth, or did some research on this. Yes running your youtube videos over your monitors resolution WILL increase the clarity of the video. This is because youtube videos have a very low bit rate to allow for the platform to stream as many videos on an hourly basis that it does. As resolution increases for youtube playback, so does the bitrate, and so does definition, or clarity of the video. Im sure everyone has paused a 1080p youtube video when something is moving, and noticed a very harshly pixelated motion blur effect. This is greatly reduced at 1440p and 4k resolutions respectively, because more pixels are being pushed per second, being the bitrate.&lt;/p&gt;&#xA;" OwnerUserId="24809" LastEditorUserId="14523" LastEditDate="2019-03-25T00:34:57.117" LastActivityDate="2019-03-25T00:34:57.117" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26305" PostTypeId="1" CreationDate="2019-03-25T04:14:07.197" Score="0" ViewCount="177" Body="&lt;p&gt;I am trying to convert an mp3 to mp4 with images. Below are two &lt;code&gt;ffmpeg&lt;/code&gt; commands I tried.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Length of mp3: 23 sec&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Here, the length of the video is same as the mp3, but video's sound does not work when trying to play on an iPhone:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i vidimage.jpg -i my.mp3 -shortest -acodec copy -vcodec libx264 -pix_fmt yuv420p my-video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Here, the mp4 plays with audio on an iPhone, but it is only 25 seconds long: &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i vidimage.jpg -i my.mp3 -shortest -acodec aac my-video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Between the two commands, how can I get an MP4 with the same length as the source audio &lt;em&gt;and&lt;/em&gt; plays properly on an iPhone?&lt;/p&gt;&#xA;" OwnerUserId="24808" LastEditorUserId="14523" LastEditDate="2019-03-27T11:41:33.193" LastActivityDate="2019-03-27T11:41:33.193" Title="ffmpeg mp4 video created from mp3 with image has longer duration" Tags="|ffmpeg|mp4|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26306" PostTypeId="1" CreationDate="2019-03-25T04:43:46.677" Score="1" ViewCount="25" Body="&lt;p&gt;I am doing a research related to video summarization. I found many research papers using various methods for video summarization. What I want to know is that is there any commercial applications with video summarization functionality. (DVR/NVR which has the ability to summarize captured videos)If yes what are the methods they use?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something similar to &lt;a href=&quot;https://www.intelli-vision.com/video-summary/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24811" LastActivityDate="2019-03-25T04:43:46.677" Title="Is there any DVR which can automatically summarize the captured videos? If yes, what are the technologies they use?" Tags="|editing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26308" PostTypeId="2" ParentId="26291" CreationDate="2019-03-25T07:19:02.243" Score="0" Body="&lt;p&gt;When you are perceptually coding a signal (eg Wave to mp3), the codec removes 80% of the original signal data. This is possible because the codec removes material that humans cannot easily perceive is missing. This is a one way process - you cannot get all of the original data back.&#xA;If you convert from one codec to another (eg mp3 to AAC) this is called transcoding. The software would have to decode the MP3 back to a Wave and then perform the perceptual encoding again for the rules of the AAC codec. This would not sound very good. &lt;/p&gt;&#xA;" OwnerUserId="13852" LastActivityDate="2019-03-25T07:19:02.243" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26310" PostTypeId="2" ParentId="26185" CreationDate="2019-03-25T07:31:42.577" Score="1" Body="&lt;p&gt;Try using one disk for source material and a separate disk for the rendered video output. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are lots of different SSD disks - cheap MLC ones, and more expensive but faster SLC ones. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If using RAID, there are several types. RAID5 and RAID1 probably won't be faster. RAID0 (striped array) is intended to be faster than a single disk. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What interface are you using? If you are using it as a removable drive, have you changed it to allow write-behind caching? (This allows the computer to move on while the drive is still writing the buffer to disk)&lt;/p&gt;&#xA;" OwnerUserId="13852" LastActivityDate="2019-03-25T07:31:42.577" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26311" PostTypeId="2" ParentId="26167" CreationDate="2019-03-25T07:36:13.377" Score="0" Body="&lt;p&gt;If you re-encode them, you might lose quality. Is there any software for video that allows splitting of a video file without re-rendering? For mp3 audio you can use mp3direct to split mp3 files without re-encoding. The resulting files will be as good as the original was.&lt;/p&gt;&#xA;" OwnerUserId="13852" LastActivityDate="2019-03-25T07:36:13.377" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26312" PostTypeId="2" ParentId="26137" CreationDate="2019-03-25T07:51:03.797" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;Camera lower to the ground always looks faster&lt;/li&gt;&#xA;&lt;li&gt;Wider image (this example is very wide)&lt;/li&gt;&#xA;&lt;li&gt;Sound makes a difference. Watch this example muted and then loud)&lt;/li&gt;&#xA;&lt;li&gt;Ask all the other drivers to go slow. :-]&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="13852" LastActivityDate="2019-03-25T07:51:03.797" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26313" PostTypeId="1" AcceptedAnswerId="26314" CreationDate="2019-03-25T08:20:13.553" Score="1" ViewCount="248" Body="&lt;p&gt;I would like to make a video out of &lt;code&gt;N cameras&lt;/code&gt; &lt;strong&gt;all focusing a central area&lt;/strong&gt; from different points of view.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to do it, I first need to know how is that kind of video called; I would like to obtain something like a 360 video, but at the same time it is the exact opposite of a 360 video, because 360 video allow the user to see all around an object, &lt;em&gt;I want instead to allow user to see an object from all around&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(for example, something similar to the rotation you can do on a 3D object on 3D modeling softwares)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;How is that kind of video called? &lt;/li&gt;&#xA;&lt;li&gt;Is it possible to make something like that with FFMPEG? (I accept a yes/no answer :) )&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Thanks all!&lt;/p&gt;&#xA;" OwnerUserId="22114" LastActivityDate="2019-03-25T09:46:35.543" Title="What is the opposite of 360 video?" Tags="|ffmpeg|video-editor|360video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26314" PostTypeId="2" ParentId="26313" CreationDate="2019-03-25T09:46:35.543" Score="1" Body="&lt;p&gt;I think what you're looking for is called &quot;photogrammetry&quot; and is produced by taking several images (or an image sequence from a video) and comparing the perspective, scale, and overall shape of the captured image and how it changes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using this method, you can both create quite realistic 3D-models of things you just filmed and furthermore, you can thus create animations using these models. Alternatively, you could just use an image-sequence, in which the object is captured from all sides or just rotated and let the viewer go back and forth between frames and / or perspectives.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Photogrammetry&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;only really works on stills, meaning that your subject won't move&lt;/li&gt;&#xA;&lt;li&gt;gives you the opportunity to really zoom in and out, create parallaxe (moving the subject seperately from the background)&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Skipping between different sequences&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;is comparable to how the famous bullet-dodge effect in the matrix works, only that the viewer can direct the movement of the camera himself (which is pretty cool indeed).&lt;/li&gt;&#xA;&lt;li&gt;Needs a lot of cameras however, set up in a ring around the subject. So you need to erase the cameras filming themselves in post, which is quite tedious. (a setup of such rig can be seen &lt;a href=&quot;http://m.regallet.free.fr/Images/Matrix/Bullettime/stills_popup1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;http://draugies.files.wordpress.com/2013/02/making-the-matrix.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. This brings with it a big spike in production-cost.&lt;/li&gt;&#xA;&lt;li&gt;also, if your subject is moving and you want your camera to follow it, you need to move the entire rig which, if you've seen the pictures of it, is quite a pain in the rear.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So while capturing a sequence with dozens of cameras to allow different perspectives of a subject in motion can be a very very cool and impressive effect, there is a reason why not a lot of movies use it. It's expensive, difficult to work with on set and takes a lot of time to stitch together the sequences in post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Photogrammetry on the other hand side offers a completely free perspective for the viewer, enabling him/her to look at the subject from any angle imaginable (which the multi-cam setup doesn't offer - you can only view from the perspectives that the cameras were set up on, especially concerning the y-axis)&#xA;The downside however is, that the subject won't be moving, unless you use stop motion in which case you can &quot;photogrammetice&quot; the subject in different states of momentum (which again, is very tedious).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope you found out what is what you want and my answer was helpful to your question :)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-25T09:46:35.543" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26316" PostTypeId="1" AcceptedAnswerId="26317" CreationDate="2019-03-25T16:15:49.960" Score="0" ViewCount="376" Body="&lt;p&gt;Does ffmpeg &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#zoompan&quot; rel=&quot;nofollow noreferrer&quot;&gt;zoompan&lt;/a&gt; filter has a cap for &lt;code&gt;z&lt;/code&gt; value? I tried a simple test that stops zooming up at &lt;code&gt;10.5&lt;/code&gt;. Is it that &lt;code&gt;10.5&lt;/code&gt; is the maximum value for the &lt;code&gt;z&lt;/code&gt; parameter or is there a limit for maximum frame dimensions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;zoompan=z='print(zoom + 0.5)'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;2.000000&#xA;2.500000&#xA;3.000000&#xA;3.500000&#xA;4.000000&#xA;4.500000&#xA;5.000000&#xA;5.500000&#xA;6.000000&#xA;6.500000&#xA;7.000000&#xA;7.500000&#xA;8.000000&#xA;8.500000&#xA;9.000000&#xA;9.500000&#xA;10.000000&#xA;10.500000&#xA;Last message repeated 26 times&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If there is such a limit its worth mentioning in the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#zoompan&quot; rel=&quot;nofollow noreferrer&quot;&gt;docs&lt;/a&gt; as well as the minimum of 1. That matters when choosing the tool to implement a certain effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wish ffmpeg had some versatile capability of arbitrary zoom and positioning video input without limitations, like in any compositing software.&lt;/p&gt;&#xA;" OwnerUserId="20162" LastEditorUserId="20162" LastEditDate="2019-03-25T16:31:05.177" LastActivityDate="2019-03-25T16:31:05.177" Title="ffmpeg zoompan filter zoom value limits" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26317" PostTypeId="2" ParentId="26316" CreationDate="2019-03-25T16:28:38.987" Score="1" Body="&lt;p&gt;zoom value is capped between &lt;code&gt;1&lt;/code&gt; and &lt;code&gt;10&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I wish ffmpeg had some versatile capability of arbitrary zoom and positioninig video input without limitations&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Patch welcome.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-03-25T16:28:38.987" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26318" PostTypeId="2" ParentId="26290" CreationDate="2019-03-25T16:44:18.640" Score="1" Body="&lt;p&gt;When decoding a file, the decoder attempts to recreate the source material with the information provided in the file. But it can not be a 100 percent accurate representation, so the decoder creates new pixels that are estimates of what was included in the source &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you encode for the second time with CRF 17, the encoder does not know these new pixels were generated by the decoder and were not necessarily faithful to the original material. But the encoder still does its job, and attempts to encode these new values accurately. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So it spends bits encoding pixels that were thrown away and recreated by the first encode, making the file larger. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-03-25T16:44:18.640" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26319" PostTypeId="1" CreationDate="2019-03-26T04:44:16.690" Score="1" ViewCount="488" Body="&lt;p&gt;Super-basic question, I know, and yes I'm a total noob.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a simple project in my timeline that I'd like to save (so I can go back to it in the future and make edits) but then move forward with what I've got so far as the basis for a new project, and swap out a few clips. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've read everything I can find online in the vein of &quot;how to copy/duplicate projects/events&quot;, but have struck out (which makes me think maybe I don't understand the nomenclature at work here). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway,two other possibly salient facts: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;There are no projects in my browser, only clips&lt;/li&gt;&#xA;&lt;li&gt;Menu items &quot;Edit/Duplicate/Duplicate Project as Snapshot&quot; are grayed out&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Any thoughts? Tia! &lt;/p&gt;&#xA;" OwnerUserId="4887" LastActivityDate="2019-05-17T23:23:36.473" Title="FCPX 10.1.3 - How Do I Copy Project?" Tags="|editing|final-cut-pro-x|final-cut-pro|workflow|apple|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26321" PostTypeId="1" CreationDate="2019-03-26T09:48:47.607" Score="1" ViewCount="673" Body="&lt;p&gt;I have an issue with this process to edit a video (6sec, 10MB =&gt; in the instagram range) and share it on Instagram : &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;edit in iMovie&lt;/li&gt;&#xA;&lt;li&gt;file / share /file&lt;/li&gt;&#xA;&lt;li&gt;Resolution 720P, Quality High&lt;/li&gt;&#xA;&lt;li&gt;upload on Google Drive&lt;/li&gt;&#xA;&lt;li&gt;go to the android app, select new port / other / google drive. I see the video but I'm not able to select it. It's greyd out.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I tried also to convert it with handbrake but same result... &lt;/p&gt;&#xA;" OwnerUserId="3574" LastActivityDate="2019-03-26T09:48:47.607" Title="iMovie to Instagram" Tags="|conversion|imovie|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26322" PostTypeId="2" ParentId="26262" CreationDate="2019-03-26T10:03:09.557" Score="1" Body="&lt;p&gt;In the end I add to use the following options and tell ffmpeg wich colorSpace i am using and how to decode it to display on screen.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f rawvideo -r 30 -pix_fmt rgba -s 1920x1017 -i - -threads 0 -y -c:v libopenh264 -pix_fmt yuv444p -b:v 8000K -vf vflip,scale=out_color_matrix=bt709 -color_primaries bt709 -color_trc bt709 -colorspace bt709 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24385" LastActivityDate="2019-03-26T10:03:09.557" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26325" PostTypeId="2" ParentId="26294" CreationDate="2019-03-26T14:53:53.527" Score="0" Body="&lt;p&gt;Compression is supposed to preserve recognizable information.  If you can recognize the video to be of low quality (blocky, noisy), compression will work extra hard to preserve the actual blocks and noises (rather than the blockiness and noisiness) because they don't follow the usual content and motion compensation statistics and predictions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if you state &quot;Some H.264 videos that I have&quot; and the videos are of your own making, a first approach would be to get better lighting(!!!), better optics, better sensors.  Creating 5Mbps videos from that kind of original material will yield better results than 15Mbps videos from noisy material.  Once you aim your 30Mbps workflow source at actual content rather than noise, the choices it takes when further compressing material will be a lot saner and reflect much better what you expect to see in tradeoffs.&lt;/p&gt;&#xA;" OwnerDisplayName="user24818" LastActivityDate="2019-03-26T14:53:53.527" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26326" PostTypeId="1" CreationDate="2019-03-26T15:52:14.207" Score="1" ViewCount="1430" Body="&lt;p&gt;I have a H264 video source that was recorded with variable framerate (VFR) and a text file with frame ID, timestamp pairs that looks like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frameId,timestamp&#xA;1890413473,13792093&#xA;1890413474,13792106&#xA;1890413475,13792123&#xA;1890413476,13792139&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If I try to playback as is, it defaults to the 25 constant framerate (CFR) &#xA;&lt;code&gt;ffmpeg -i stream.h264 -c copy stream.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I combine the timestamp data to make a .mkv playing at the appropriate rate? The docs have &lt;code&gt;-vsync vfr&lt;/code&gt; which looks related, but not sure about the input format for the times to sync with.&lt;/p&gt;&#xA;" OwnerUserId="24819" LastActivityDate="2019-03-26T15:52:14.207" Title="ffmpeg convert H264 CFR + timestamps to VFR" Tags="|ffmpeg|framerate|h.264|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26327" PostTypeId="1" CreationDate="2019-03-26T20:55:10.790" Score="0" ViewCount="1492" Body="&lt;p&gt;I have a text and an arrow, and I want them to follow a simple path. I have animated the arrow with a few keyframes and I'm happy with it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I would like my text to follow the exact same motion, so my idea would be to just somehow &quot;attach&quot; its anchor point to the arrow object, and turn on the animation button, and &quot;voila&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is that possible in any way? How do I achieve this without copy pasting the animation from the previous object ? What is the efficient and smart way to do so?&lt;/p&gt;&#xA;" OwnerUserId="20638" LastActivityDate="2024-01-01T21:01:50.230" Title="Attach anchor point to other object" Tags="|premiere|animation|adobe|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26328" PostTypeId="2" ParentId="26319" CreationDate="2019-03-27T03:43:45.693" Score="1" Body="&lt;p&gt;To freeze your current state of work you need to load a Library and right click on a Project. Important is you need to choose Duplicate as Snapshot. Only then you make a protected copy of your current work. &#xA;Here is why: When you have compounded clips in your project, these clips living outside of your project, available to all Projects in the Library. When you Duplicate your Project only, any change you make inside a Compound Clip is rippling to any Project what is a duplicate to this Project you working on and has this completed Clip in your timeline. &#xA;Here is a link to a video that shows the effect. Watch maybe a couple of times as the guy is kind of fuzzy on his explanation.&#xA;&lt;a href=&quot;https://youtu.be/IUYgokwh_Oc&quot; rel=&quot;nofollow noreferrer&quot;&gt;Duplicate vs Duplicate as Snapshot&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2019-03-27T03:43:45.693" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26330" PostTypeId="2" ParentId="25568" CreationDate="2019-03-27T12:05:32.287" Score="3" Body="&lt;p&gt;A note about the time zone: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg interprets the input as local time, then converts it to and stores it as UTC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to give it UTC, add 'Z' to the end; ffmpeg then accepts it as UTC and does not change it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;: ffmpeg's behavior is following an ISO 8601 rule: &quot;a date and time [without Z] is assumed to be in some local time zone. ... to indicate that a time is ... (UTC), you can append a capital letter Z ...&quot;. Source: Markus Kuhn, &lt;a href=&quot;https://www.cl.cam.ac.uk/~mgk25/iso-time.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.cl.cam.ac.uk/~mgk25/iso-time.html&lt;/a&gt;, which I think is an easier introduction than the wikipedia article (&lt;a href=&quot;https://en.wikipedia.org/wiki/ISO_8601&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/ISO_8601&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I discovered this while testing by encoding to mkv, then reading metadata with ffprobe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Writing in Python, I tried both &lt;strong&gt;local&lt;/strong&gt;: &lt;code&gt;time.strftime( fmt_string, time.localtime() )&lt;/code&gt; and &lt;strong&gt;UTC&lt;/strong&gt;: &lt;code&gt;time.strftime( fmt_string, time.gmtime() )&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With &lt;code&gt;localtime()&lt;/code&gt;, my fmt_string was &lt;code&gt;&quot;%Y-%m-%d %H:%M:%S&quot;&lt;/code&gt;, and there was no problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With &lt;code&gt;gmtime()&lt;/code&gt; it needed 'Z' on the end; I tried these formats and they gave correct results: &lt;code&gt;&quot;%Y-%m-%dT%H:%M:%SZ&quot;&lt;/code&gt; and &lt;code&gt;&quot;%Y%m%dT%H%M%SZ&quot;&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I used &lt;code&gt;&quot;%Y-%m-%d %H:%M:%S&quot;&lt;/code&gt; (without a Z) with &lt;code&gt;time.gmtime()&lt;/code&gt;, the result was a &lt;strong&gt;&lt;em&gt;doubling&lt;/em&gt;&lt;/strong&gt; of the offset: At about 21h local time, the time that &lt;code&gt;gmtime()&lt;/code&gt; produced was about 11h (I'm in AEST, 10 hours ahead of UTC); ffmpeg took this as local time and subtracted another 10 hours, so the result that ffprobe showed was around 01h.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The standard says there must not be a space before the Z, so I didn't try that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regardless of the input format, ffprobe always wrote creation_time formatted as in this example: &lt;code&gt;&quot;2019-03-27T03:01:29.000000Z&quot;&lt;/code&gt;. I don't know whether the time is stored in that format, or as a simple number such as a unix timestamp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note the Z on the end, which shows that ffmpeg thinks it's a UTC time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you write a time in another tag, such as 'comment', it's just a string and stays the way you formatted it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using the deprecated option &lt;code&gt;-timestamp&lt;/code&gt; (as e.g. &lt;code&gt;-timestamp now&lt;/code&gt;) produced a creation_time tag, which ffprobe showed in the same format as shown above.&lt;/p&gt;&#xA;" OwnerUserId="12012" LastEditorUserId="12012" LastEditDate="2019-03-29T02:29:18.223" LastActivityDate="2019-03-29T02:29:18.223" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26333" PostTypeId="1" CreationDate="2019-03-27T16:33:48.923" Score="0" ViewCount="3107" Body="&lt;p&gt;Given master video in mov rle:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video: qtrle (rle  / 0x20656C72), rgb24(progressive)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Converted the video to a serie of single .bmp frames. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source.mov $FRAMES/f%03d.bmp&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Frames from unchanged parts I recompiled to mpeg ts intermediate files:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg                   \&#xA;-framerate 25            \&#xA;-start_number $i         \&#xA;-i &quot;$FRAMES/f%03d.bmp&quot;   \&#xA;-vframes $n              \&#xA;-c:v libx264rgb          \ # libx264&#xA;  -preset slow           \&#xA;  -tune animation        \&#xA;  -crf 20                \&#xA;  -pix_fmt rgb24         \ # yuv420p &#xA;-bsf:v h264_mp4toannexb  \&#xA;-f mpegts                \&#xA;-y -an -hide_banner      \&#xA;&quot;$FOLDER_TS/_${i}_${o}.ts&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To other part of the clip I applied filters like pad, zoompan, format. Overlaid PNG with transparency, animated. Output to the same format h264 .ts&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Concat the .ts parts to mp4 movie file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Color&lt;/strong&gt; seems to have changed a little. Can be noticed when joining source movie with the processed one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What stage of the process could affect the slight changes in colors?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it the pixel format conversion or BMP format usage?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to convert movie file to sinlge frame images preserving exact color?&lt;/p&gt;&#xA;" OwnerUserId="20162" LastEditorUserId="20162" LastEditDate="2019-03-28T08:07:11.500" LastActivityDate="2024-04-02T00:07:55.910" Title="Color changes after video to single frame images back to video using ffmpeg" Tags="|ffmpeg|colorspace|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="26334" PostTypeId="2" ParentId="26327" CreationDate="2019-03-27T17:13:11.830" Score="0" Body="&lt;ul&gt;&#xA;&lt;li&gt;select both layers&lt;/li&gt;&#xA;&lt;li&gt;press &quot;p&quot;&lt;/li&gt;&#xA;&lt;li&gt;in the text layer, drag the whip (the little curly thing)&lt;/li&gt;&#xA;&lt;li&gt;drop it on the position, or the anchor of the arrow, depending on which one has keyframes.&lt;/li&gt;&#xA;&lt;li&gt;voila.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You can also adjust the anchor of the text to shift it and still make it follow the arrow.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-27T17:13:11.830" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="26338" PostTypeId="1" CreationDate="2019-03-28T10:22:31.180" Score="0" ViewCount="42" Body="&lt;p&gt;I am using Nikon D5600 camera body with Nikon f1.2 50mm prime lens. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Shooting condition:&lt;/strong&gt; Dark with few lamps along the street. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Settings:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Mode: Manual&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Aperture: f1.8&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;ISO: 200&lt;/li&gt;&#xA;&lt;li&gt;Shutter Speed: 1/50s&lt;/li&gt;&#xA;&lt;li&gt;Video FPS: 24 &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The camera was mounted on a tripod and there was no light source directly above the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;PROBLEM:&lt;/strong&gt; The video contains so much noise. Since I have already set the ISO at 200 then what is making the video so granular?&lt;/p&gt;&#xA;" OwnerUserId="22612" LastActivityDate="2019-03-28T21:45:21.993" Title="High noise video during night at F/1.8" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26339" PostTypeId="1" CreationDate="2019-03-28T19:06:28.547" Score="0" ViewCount="55" Body="&lt;p&gt;As a hobby project, I am looking into how difficult it would be to regrade the Buffy HD releases to match the colour grading of the original. I haven't done much colour correction in the past at all, so I have very little experience to draw on. I'm running into a curious situation, where different parts of the same frame seem to be graded differently. Here's a shot of Buffy wearing a white shirt, and in each of these samples, the HD source with my filters is on the left and the right is the unaltered UK DVD release:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/d9veW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/d9veW.png&quot; alt=&quot;Decent match on the face, but the shirt is completely different&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/6kvIH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6kvIH.png&quot; alt=&quot;Decent match on the shirt, but the face is completely different&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am fiddling with White Balance, Curves and Lift/Balance/Gain in kdenlive, and I'm finding I can make the face match, or the shirt match, but not both at the same time. The shirt wants to be more blue while the face wants to be more green/red. Is there some sort of nonlinear filter I can use to get this effect, or, I dunno, was the original done by actually applying different functions to different parts of each frame?&lt;/p&gt;&#xA;" OwnerUserId="24839" LastActivityDate="2020-08-20T00:03:35.357" Title="Colour grading advice" Tags="|color-grading|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26340" PostTypeId="1" AcceptedAnswerId="26358" CreationDate="2019-03-28T20:18:37.240" Score="0" ViewCount="144" Body="&lt;p&gt;I've got a few hours of raw video that I want to split into individual clips for later work. Being somewhat new to Premiere, I'm not too sure of the workflow for doing this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I've been doing so far is scrubbing through the source video and hitting the &lt;kbd&gt;m&lt;/kbd&gt; key to leave a marker where I want the breaks to be (bonus: if I hit the key at the wrong time, I can just drag the markers around).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far so good - now I want to use those markers to slice the video accordingly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Better yet, is there a better workflow for this process?&lt;/p&gt;&#xA;" OwnerUserId="24841" LastActivityDate="2019-04-01T06:30:12.750" Title="What is the most efficient way to split up raw video into rough clips using Premiere Pro?" Tags="|premiere|clipping|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26342" PostTypeId="2" ParentId="26338" CreationDate="2019-03-28T21:45:21.993" Score="1" Body="&lt;p&gt;Why have you set your ISO as low as ISO200?  You are telling the camera: go ahead and waste the light, I'll crank it up in post-production.  1/50s of exposure does not help.  And you have an f:1.2 lens and use it at f:1.8.  Which is probably sharper in sunshine.  But you don't have sunshine.  Stop telling the camera that it should behave like it has plenty of light to spare (it's not only the ISO but also your other choices) and tell it what it is actually dealing with.  There is no point to choose low ISO values and then magnify exposure digitally: that will give you considerably more noise than if you allow the camera to dial up its sensitivity.  And of course, decrease your shutter speed (what use is the cinematic exposure rule when your principal problem is light?) and open up your aperture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have good equipment.  Allow it to participate in problem solving as long as the problems you buy for its respective contributions are smaller than the main problem you are dealing with: a lack of light.&lt;/p&gt;&#xA;" OwnerDisplayName="user24842" LastActivityDate="2019-03-28T21:45:21.993" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26343" PostTypeId="2" ParentId="26339" CreationDate="2019-03-28T22:00:17.570" Score="1" Body="&lt;p&gt;First off, I recommend you use davinci resolve for grading (it's also free).&#xA;There are two options that you have, you could either draw a mask on the part you want to affect, track that mask to follow the motion and apply the grade only inside of that mask.&#xA;Second would be to pick the colour of the area you want to change and only alter this spectrum, which can lead to artifacts, especially when not working with original files tho.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-03-28T22:00:17.570" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26344" PostTypeId="1" CreationDate="2019-03-28T22:37:01.923" Score="1" ViewCount="3443" Body="&lt;p&gt;I have 50 hand-drawn frames, an animation. They were setup to be played back at 24 fps. I don't need to worry about any pre-existing audio sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wanted to turn these frames into a video segment that would extend the playback of these frames over a longer period of time at a framerate of 24 fps. Using a generic speed control of 0.25x to slow down playback over a longer number of frames created a laggy experience since it just copied each existing frame 4x. This was the ideal extension length though (making 50 frames into 200).&#xA;So I thought to use an interpolation tool, ffmpeg's minterpolate to build inbetween motion on the inbetween 150 duplicate frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I exported my original 50 frames as 16 bit png. My intent is to apply the ffmpeg operations to the png and create a segment of 200 png/frames with the desired changes so they can be played back at 24 fps as smooth as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I've been using the command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -start_number 1 -i %d.png -vf minterpolate=fps=96:mi_mode=mci:me_mode=bidir:mc_mode=obmc:me=ds:vsbmc=1 -pix_fmt rgb48be C:\User\interpolated\%d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I thought to set the fps to 96, since that's 4x the intended 24fps.&#xA;This produced subpar results though, and I wanted to know how I can improve the command for the situation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also I'm getting confused if it would be better to create the inbetween frames and then feed them into the minterpolate (i.e. make the input the 200 frames), or have the interpolate create them the extra 150 frames from scratch or if I should be specifying a speed control in the command above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Constraints: the fps playback must be 24fps; I'll need to create a minimum of 100 frames although like I said 200, or even more, is ideal.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastActivityDate="2019-10-20T16:37:54.923" Title="ffmpeg Optimizing minterpolate at lower fps" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26345" PostTypeId="2" ParentId="26333" CreationDate="2019-03-29T06:33:47.400" Score="0" Body="&lt;p&gt;Solved the problem by setting colormatrix conversion using swscale lib. Added to my filter chain:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;scale=in_color_matrix=bt601:out_color_matrix=bt709&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-colorspace bt709&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;to the output.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;References&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#scale&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg scale filter&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#colormatrix&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg colormatrix filter&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/colorspace&quot; rel=&quot;nofollow noreferrer&quot;&gt;colorspace on ffmpeg wiki&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/16840/ffmpeg-explicitly-tag-h-264-as-bt-601-rather-than-leaving-unspecified&quot;&gt;question on video.stackexchange&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Credits&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Found the advice on VideoHelp &lt;a href=&quot;https://forum.videohelp.com/threads/382802-FFMPEG-is-there-a-way-to-re-encode-changing-only-the-colormatrix#post2479806&quot; rel=&quot;nofollow noreferrer&quot;&gt;forum reply&lt;/a&gt; from 2017, which in turn references &lt;a href=&quot;https://video.stackexchange.com/questions/16840/ffmpeg-explicitly-tag-h-264-as-bt-601-rather-than-leaving-unspecified&quot;&gt;the question&lt;/a&gt; on this video.stackexchange.  Thanks again, Gyan!&lt;/p&gt;&#xA;" OwnerUserId="20162" LastEditorUserId="20162" LastEditDate="2019-03-29T12:56:13.197" LastActivityDate="2019-03-29T12:56:13.197" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26347" PostTypeId="1" CreationDate="2019-03-29T17:11:07.437" Score="0" ViewCount="72" Body="&lt;p&gt;Camera Matching adjusts a camera viewpoint so that the perspective in a background image matches the perspective of the digital world (Rotation and location of a camera in a 3D software). This allows you to place 3D objects as if they were part of the background image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example ,there exists a software called fSpy, that lets you place vanishing points, representing each of the axis's. fSpy will then generate camera data that you can export to your project, as seen on the right of the video. I'm sure the short video on their website, &lt;a href=&quot;https://fspy.io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://fspy.io/&lt;/a&gt; can demonstrate much better than I can explain in words here, or this image here:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/CvAH6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CvAH6.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is why hasn't this kind of software been applied to moving video? You can track the points, and then you only have to track 8 points, versus the many you would have to track using standard motion tracking. It also seems to be much more accurate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has this been done before, is there a reason why it hasn't been done before, or have I just came up with a groundbreaking idea?&lt;/p&gt;&#xA;" OwnerUserId="24851" LastEditorUserId="24851" LastEditDate="2019-03-30T01:42:49.237" LastActivityDate="2019-03-30T03:00:06.827" Title="Why hasn't &quot;still image camera matching&quot; technology been used for tracking moving shots?" Tags="|tracking|" AnswerCount="1" CommentCount="3" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26348" PostTypeId="2" ParentId="26347" CreationDate="2019-03-30T03:00:06.827" Score="1" Body="&lt;p&gt;You're describing augmented reality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try something like Carrot Weather's AR Mode or Memoji? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The answer to your question is &quot;Many vendors have implemented 'Augmented Reality' or AR, which works similarly to fSpy.&lt;/p&gt;&#xA;" OwnerUserId="24473" LastActivityDate="2019-03-30T03:00:06.827" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26350" PostTypeId="1" CreationDate="2019-03-30T18:59:08.493" Score="0" ViewCount="78" Body="&lt;p&gt;I'm doing photography, audio recording, and video just for fun.  I have a full Creative Cloud subscription.  I mention this to help clarify my fundamental objectives and &lt;em&gt;very&lt;/em&gt; limited perspective and experience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It appears to me as if folks consider video more &quot;one time use&quot; than still photographs in that there are things that help a work flow for a project.   But my main concern right now is just keeping track of things.  And this is where &quot;Lightroom for Video&quot; idea comes from.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;LR allows me to add tags.  Tweak the original.  Create virtual copies and tweak them uniquely.  Group photos into &quot;collections&quot; (in addition to the underlying file system / folder structure).  And it even allows me to geotag them now so I can find them by location.  I'm &lt;strong&gt;assuming&lt;/strong&gt; that I will find these features useful for videos as I shoot more and more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can add the videos to LR and I can do some of these features but its clear that LR really isn't happy.  I'm not sure why but the performance was rather horrid after ingesting 500G of videos last weekend.  It seems, perhaps, to have recovered by now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The basic question is: what is the closest thing to LR for videos that you know of given what I view as LRs features above.  For example, it would be neat if I could create a &quot;virtual&quot; copy and add in and out points.  Indeed, it would be nice if there was a way to catalog Premiere sequences so I could quickly find and re-use them.  Honestly, my desires extend to Audition as well so I could take a waveform, make a copy and apply destructive &quot;process&quot; to it, but still keep it &quot;with&quot; the original and properly tagged so I can find it, understand what I did with it, and re-use it or at least use it as a starting point later on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I see that Adobe has &quot;Prelude&quot; but light surfing says that its not intended for one-man shops but more for work flows involving lots of people.  But, it appears to have some features for &quot;ingest&quot; that Premiere does not have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using Adobe Premiere and their other products.  As I mentioned, I have a full CC subscription.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps I'm missing something but I don't see how I can search metadata or even easily &quot;see&quot; things like sequences of other projects.  I can keep track of things via the file system but that level of &quot;keeping&quot; track is rather primitive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An analogy is email.  Originally, I kept track of email via folders and I had to hunt and search for things.  Now, with all the search tools at my finger tips (e.g. Apple's Spotlight or Google's GMail search) I can search and find things instantly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also... there are times when copies are made... in particular Audition has destructive &quot;process&quot;es that alter the copy it is working on so if you want the original, the user must make a copy first.&lt;/p&gt;&#xA;" OwnerUserId="9326" LastEditorUserId="9326" LastEditDate="2019-04-08T13:43:53.933" LastActivityDate="2021-07-13T08:44:56.663" Title="Is there a &quot;Lightroom for Video&quot; product?" Tags="|video|premiere|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26351" PostTypeId="1" AcceptedAnswerId="26354" CreationDate="2019-03-31T03:04:55.607" Score="0" ViewCount="896" Body="&lt;p&gt;I would like to to play the first frame of an input video for 260 frames and then play frames 310–930 of the input video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i video.mp4 -i video.mp4 -filter_complex '&#xA;    [0:v]loop=loop=259:size=1:start=0[first-frame];&#xA;    [1:v]trim=start_frame=310:end_frame=930,setpts=PTS-STARTPTS[rest];&#xA;    [first-frame][rest]concat=n=2:v=1:a=0[output]&#xA;' -map [output] -c:v libx264 -crf 18 -y output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The above command produces the first frame of the input video for 260 frames as expected, but then continues with frames 0-620 of the input video followed by frames 310–930 of the input video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I drop the &lt;code&gt;[first-frame]&lt;/code&gt; part, frames 310–930 of the input video are correctly produced:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i video.mp4 -i video.mp4 -filter_complex '&#xA;    [1:v]trim=start_frame=310:end_frame=930,setpts=PTS-STARTPTS[rest];&#xA;    [rest]concat=n=1:v=1:a=0[output]&#xA;' -map [output] -c:v libx264 -crf 18 -y output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is perhaps a timestamp problem, since the documentation for the &lt;code&gt;concat&lt;/code&gt; filter clarifies that “for this filter to work correctly, all segments must start at timestamp 0.”&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using the following version of ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -version&#xA;ffmpeg version 3.2.12-1~deb9u1 Copyright (c) 2000-2018 the FFmpeg developers&#xA;built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;configuration: --prefix=/usr --extra-version='1~deb9u1' --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libebur128 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared&#xA;libavutil      55. 34.101 / 55. 34.101&#xA;libavcodec     57. 64.101 / 57. 64.101&#xA;libavformat    57. 56.101 / 57. 56.101&#xA;libavdevice    57.  1.100 / 57.  1.100&#xA;libavfilter     6. 65.100 /  6. 65.100&#xA;libavresample   3.  1.  0 /  3.  1.  0&#xA;libswscale      4.  2.100 /  4.  2.100&#xA;libswresample   2.  3.100 /  2.  3.100&#xA;libpostproc    54.  1.100 / 54.  1.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="23079" LastEditorUserId="23079" LastEditDate="2019-03-31T03:58:20.997" LastActivityDate="2019-03-31T04:38:04.120" Title="Loop the first frame of a video and then play a selected portion of the video" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26352" PostTypeId="2" ParentId="26351" CreationDate="2019-03-31T03:36:46.513" Score="1" Body="&lt;p&gt;The &lt;code&gt;loop&lt;/code&gt; filter produces the rest of the video after it has stopped looping. If this is undesirable, trim the resulting video as follows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i video.mp4 -i video.mp4 -filter_complex '&#xA;    [0:v]loop=loop=259:size=1:start=0,trim=start_frame=0:end_frame=259[first-frame];&#xA;    [1:v]trim=start_frame=310:end_frame=930,setpts=PTS-STARTPTS[rest];&#xA;    [first-frame][rest]concat=n=2:v=1:a=0[output]&#xA;' -map [output] -c:v libx264 -crf 18 -y output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This behavior is perhaps counterintuitive and poorly documented, but it covers the common case, when one wants to loop at the beginning of a video. This behavior also makes &lt;code&gt;loop=0&lt;/code&gt; an identity filter that passes the video unchanged.&lt;/p&gt;&#xA;" OwnerUserId="23079" LastEditorUserId="23079" LastEditDate="2019-03-31T04:00:39.670" LastActivityDate="2019-03-31T04:00:39.670" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26354" PostTypeId="2" ParentId="26351" CreationDate="2019-03-31T04:38:04.120" Score="2" Body="&lt;p&gt;A shorter method is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -vf 'select=eq(n,0)+between(n,310,930),setpts=if(eq(N,0),0,(N+260)/FRAME_RATE/TB)' -map [output] -vsync cfr -c:v libx264 -crf 18 -y output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-03-31T04:38:04.120" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26357" PostTypeId="1" CreationDate="2019-04-01T06:11:59.473" Score="1" ViewCount="532" Body="&lt;p&gt;After I log my metadata (including the description and bin allocation) in Premiere Pro, I would like to export this to a table format (Excel or CSV).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a possibility to do this directly or via a script that extracts this information from the project file? &lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2019-04-01T06:11:59.473" Title="How can I export metadata from Premiere Pro" Tags="|premiere|export|metadata|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26358" PostTypeId="2" ParentId="26340" CreationDate="2019-04-01T06:30:12.750" Score="2" Body="&lt;p&gt;You're probably better off making &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/premierepro-soft-subclips-cc.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;subclips&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Subclips are pieces of footage that have been pre-edited, and appear in the project window as a separate clip, although they reference the same footage. In newer editions of PP there is the option of creating hard and soft subclips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;NB you can use the keyboard shortcuts &lt;kbd&gt;i&lt;/kbd&gt; and &lt;kbd&gt;o&lt;/kbd&gt; for setting in and out points and &lt;kbd&gt;ctrl&lt;/kbd&gt;&lt;kbd&gt;u&lt;/kbd&gt; for making the subclip (instead of noobishly clicking with the mouse like the guy in the tutorial). That will save your carpal tunnel.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-04-01T06:30:12.750" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26359" PostTypeId="1" CreationDate="2019-04-01T08:31:55.023" Score="1" ViewCount="645" Body="&lt;p&gt;I'm trying to work out how to combine both features of the following in one -filter_complex statement in order to take an image, write some text on it, and then do an additive composite of a small video to an area of the image.  Every time I try to combine these two things it doesn't work! &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i mic720x1280.png -vf drawtext=&quot;fontfile=Montserrat-Bold.ttf: text='Hello': fontcolor=white: fontsize=44: box=1: boxcolor=black@0.5: boxborderw=10: x=(w-text_w)/2: y=100&quot; -c:v libx264 -t 15 -pix_fmt yuv420p myvid.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf &quot;movie=waves5.mp4, scale=500:-1 [inner]; [in][inner] overlay=70:70 [out]&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24865" LastActivityDate="2022-04-16T13:00:25.040" Title="FFMpeg -filter_complex to place a video in a window on a larger image with text" Tags="|ffmpeg|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26360" PostTypeId="1" AcceptedAnswerId="26366" CreationDate="2019-04-01T08:44:02.000" Score="0" ViewCount="80" Body="&lt;p&gt;I need to switch between two or three HDMI signals (1080p is sufficient) for a video stream to a beamer. For example, I would like have a presentation coming from a laptop, and one or two cameras and then switch between those devices as fast as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tested some simple switches from Amazon, but everytime the input signal is changed, the beamer/output devices needs to reconnect to the new device, creating a black screen for a couple of seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have a recommendation for a small, rather cheap HDMI switch that comes without that problem?&lt;br&gt;&#xA;I have to remark that between the switch and the beamer, there is an HDMI-Extender that takes a few seconds to reconnect after an interrupt, so the output signal of the switch must be consistent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="24868" LastActivityDate="2019-04-01T13:23:32.750" Title="Switching HDMI signals without break" Tags="|camera|hardware|hdmi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26361" PostTypeId="2" ParentId="26359" CreationDate="2019-04-01T09:00:59.327" Score="1" Body="&lt;p&gt;&lt;strong&gt;Edited&lt;/strong&gt; to change to additive blend.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -loop 1 -i mic720x1280.png -i waves5.mp4 -filter_complex &quot;color=0x000000@0,format=gbrap[bg];[0]format=gbrap,drawtext=fontfile=Montserrat-Bold.ttf: text='Hello': fontcolor=white: fontsize=44: box=1: boxcolor=black@0.5: boxborderw=10: x=(w-text_w)/2: y=100,setsar=1[img];[bg][img]scale2ref[bg][img];[bg]setsar=1[bg];[1]scale=500:-1,format=gbrap[vid];[bg][vid]overlay=70:70:format=rgb[vidbl];[vidbl][img]blend=all_mode=addition&quot; -c:v libx264 -t 15 -pix_fmt yuv420p myvid.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-04-02T04:52:25.180" LastActivityDate="2019-04-02T04:52:25.180" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26364" PostTypeId="1" CreationDate="2019-04-01T12:18:11.903" Score="4" ViewCount="9582" Body="&lt;p&gt;I am recording a live stream to .ts file. But when I run this file through ffmpeg using&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i myRecordedFile.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;it gives me wrong start time which is way out of the range. For example, my file's duration is 45 minutes but ffmpeg returns start 18910.272911&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0TAHN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0TAHN.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to change the start value of a video file? &lt;/p&gt;&#xA;" OwnerUserId="24871" LastActivityDate="2019-12-27T13:03:25.537" Title="How to change start time using ffmpeg?" Tags="|ffmpeg|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26365" PostTypeId="2" ParentId="26364" CreationDate="2019-04-01T12:29:14.877" Score="2" Body="&lt;p&gt;FFmpeg is simply telling you the starting timestamp as parsed from the input. MPEG-TS is a transport stream format, used to convey television broadcasts..etc, having no global header, and can be sliced at ~arbitrary points. There are timestamp packets (PCR) at regular intervals, and ffmpeg is showing you the timestamp of the earliest packet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want your TS to have a start time of 0, you'll have to remux it.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i myRecordedFile.ts -map 0 -c copy -muxpreload 0 -muxdelay 0 newFile.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;..but this is unnecessary.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-04-01T12:29:14.877" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26366" PostTypeId="2" ParentId="26360" CreationDate="2019-04-01T13:23:32.750" Score="0" Body="&lt;p&gt;You could try it with a device like &lt;a href=&quot;https://www.techly.com/5-in-1-out-hdmi-switch-with-remote-control-4kx2k-3d.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;that one&lt;/a&gt;. It takes the responsibility on the HDCP-negotiation for you, what should be what you are looking for.&lt;/p&gt;&#xA;" OwnerUserId="24872" LastActivityDate="2019-04-01T13:23:32.750" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26367" PostTypeId="1" CreationDate="2019-04-01T14:49:37.380" Score="0" ViewCount="90" Body="&lt;p&gt;I have an illustrator file with vector paths made up of all strokes. When imported into AE and converted to shape layers, all the strokes turn into filled shapes. I want them to stay as strokes so I can utilize Trim paths. Any Idea about this?&lt;/p&gt;&#xA;" OwnerUserId="24873" LastActivityDate="2024-01-09T17:01:50.230" Title="Illustrator Import to After Effects" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26368" PostTypeId="1" CreationDate="2019-04-01T15:56:37.150" Score="0" ViewCount="874" Body="&lt;p&gt;I'm digitizing my old tape recordings from usb dongle. Everything been ok, I digitized several tapes, but I'm abandoned this project for a while and reinstalled windows. Keeping on secondary drive the same ffmpeg binaries and noted .txt file with recording options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I tried to return to work, but in attempts to start recording ffmpeg just finishing immediately:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;D:\video&amp;gt;ffmpeg -f dshow -crossbar_video_input_pin_number 2 -video_size 720x576&#xA;-rtbufsize 2G -framerate 25 -pixel_format yuyv422 -i video=&quot;AVerMedia USB Polari&#xA;s Analog Capture&quot;:audio=&quot;Analog Audio In (AVerMedia C039&quot; -copyts -c:v rawvideo&#xA;-c:a pcm_s16le -t 06:00 019.avi&#xA;ffmpeg version N-91930-g0caa33c60b Copyright (c) 2000-2018 the FFmpeg developers&#xA;&#xA;  built with gcc 8.2.1 (GCC) 20180813&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfi&#xA;g --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-lib&#xA;freetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amr&#xA;wb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --&#xA;enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-l&#xA;ibwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --&#xA;enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --en&#xA;able-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --en&#xA;able-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --e&#xA;nable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enab&#xA;le-avisynth&#xA;  libavutil      56. 19.101 / 56. 19.101&#xA;  libavcodec     58. 30.100 / 58. 30.100&#xA;  libavformat    58. 18.100 / 58. 18.100&#xA;  libavdevice    58.  4.103 / 58.  4.103&#xA;  libavfilter     7. 29.100 /  7. 29.100&#xA;  libswscale      5.  2.100 /  5.  2.100&#xA;  libswresample   3.  2.100 /  3.  2.100&#xA;  libpostproc    55.  2.100 / 55.  2.100&#xA;Guessed Channel Layout for Input Stream #0.1 : stereo&#xA;Input #0, dshow, from 'video=AVerMedia USB Polaris Analog Capture:audio=Analog A&#xA;udio In (AVerMedia C039':&#xA;  Duration: N/A, start: 27907.394000, bitrate: N/A&#xA;    Stream #0:0: Video: rawvideo (YUY2 / 0x32595559), yuyv422, 720x576, 25 fps,&#xA;25 tbr, 10000k tbn, 10000k tbc&#xA;    Stream #0:1: Audio: pcm_s16le, 44100 Hz, stereo, s16, 1411 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; rawvideo (native))&#xA;  Stream #0:1 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; pcm_s16le (native))&#xA;Press [q] to stop, [?] for help&#xA;Output #0, avi, to '019.avi':&#xA;  Metadata:&#xA;    ISFT            : Lavf58.18.100&#xA;    Stream #0:0: Video: rawvideo (YUY2 / 0x32595559), yuyv422, 720x576, q=2-31,&#xA;165888 kb/s, 25 fps, 25 tbn, 25 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.30.100 rawvideo&#xA;    Stream #0:1: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 44100 Hz, stereo, s16&#xA;, 1411 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc58.30.100 pcm_s16le&#xA;frame=    0 fps=0.0 q=0.0 size=      10kB time=07:45:07.80 bitrate=   0.0kbits/s&#xA;frame=    0 fps=0.0 q=0.0 Lsize=      96kB time=07:45:07.80 bitrate=   0.0kbits/&#xA;s speed=4.09e+04x&#xA;video:0kB audio:86kB subtitle:0kB other streams:0kB global headers:0kB muxing ov&#xA;erhead: 11.267573%&#xA;&#xA;D:\video&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But ffplay playing stream properly and I can watch it&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;D:\video&amp;gt;ffplay -hide_banner -f dshow -crossbar_video_input_pin_number 2 -video_&#xA;size 720x576 -rtbufsize 2G -framerate 25 -pixel_format yuyv422 -i video=&quot;AVerMed&#xA;ia USB Polaris Analog Capture&quot;:audio=&quot;Analog Audio In (AVerMedia C039&quot;&#xA;Input #0, dshow, from 'video=AVerMedia USB Polaris Analog Capture:audio=Analog A&#xA;udio In (AVerMedia C039':&#xA;  Duration: N/A, start: 27057.813000, bitrate: N/A&#xA;    Stream #0:0: Video: rawvideo (YUY2 / 0x32595559), yuyv422, 720x576, 25 fps,&#xA;25 tbr, 10000k tbn, 10000k tbc&#xA;    Stream #0:1: Audio: pcm_s16le, 44100 Hz, 2 channels, s16, 1411 kb/s&#xA;27060.50 A-V:  0.010 fd=   0 aq=    0KB vq=12961KB sq=    0B f=0/0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm stuck and have no idea what can it be. Please help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. Sorry for my bad english.&lt;/p&gt;&#xA;" OwnerUserId="24874" LastActivityDate="2021-03-08T18:02:50.247" Title="Can't capture video from dshow device. FFmpeg finish immediately resulting empty file" Tags="|ffmpeg|video-capture|recording|vhs|digitisation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26369" PostTypeId="2" ParentId="26368" CreationDate="2019-04-01T16:39:01.793" Score="1" Body="&lt;p&gt;Either remove the -copyts or switch &lt;code&gt;-t 06:00&lt;/code&gt; to &lt;code&gt;-vframes 9000&lt;/code&gt; &lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-04-01T16:39:01.793" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26370" PostTypeId="1" CreationDate="2019-04-01T21:00:51.270" Score="-1" ViewCount="40" Body="&lt;p&gt;Okay, so my question is, if you were to double the amount of pixels, and the resolution, wouldn't that be the perfect solution to upscaling? Or would that cause problems, but considering it would just be duplicating the amount of pixels instead of stretching them out, would there be possible issues with that? Or does that technology not exist yet? Or better yet would it be pointless?&lt;/p&gt;&#xA;&lt;p&gt;Thanks for your answers! :)&lt;/p&gt;&#xA;&lt;p&gt;Example: (I'm not a drawer)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PG9aM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PG9aM.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24879" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-04-03T04:15:49.337" Title="Is this upscaling algorithm in place already?" Tags="|production|video-production|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26371" PostTypeId="1" CreationDate="2019-04-02T09:21:22.763" Score="1" ViewCount="234" Body="&lt;p&gt;Is there any way to figure out which music is allowed on Facebook? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A year or two ago there was an announcement saying that you are now allowed to upload videos with copyrighted music on Facebook since they signed a deal with several companies. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, there is no “YouTube Music Policies”-equivalent page on Facebook. Most sites mention that you can now use copyrighted music, but it doesn't explain whether you can use any music (which I doubt) you like. There's also a mention that Facebook will notify you once you uploaded a video that you have used a copyrighted music — by then it will be too late. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Oftentimes I edit my video around the music and I don't want to spend all my time on a video just to receive a copyright strike.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I Googled this multiple time to no avail. &lt;/p&gt;&#xA;" OwnerUserId="24347" LastEditorUserId="18155" LastEditDate="2020-01-29T21:08:08.313" LastActivityDate="2024-03-09T14:07:20.893" Title="Music Policies on Facebook: Using Copyright But Licensed Music" Tags="|copyright|music|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26372" PostTypeId="2" ParentId="26371" CreationDate="2019-04-02T11:29:34.197" Score="0" Body="&lt;p&gt;I don't know whats allowed on Facebook but, to keep it safe use songs from Youtube audio library that are not copy right protected. At some songs you need to add the author and by others no. You can also use filters. Now i agree most of the songs wont fit your needs, but i have to say there are some great songs in there!&lt;/p&gt;&#xA;" OwnerUserId="24882" LastActivityDate="2019-04-02T11:29:34.197" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26373" PostTypeId="1" CreationDate="2019-04-02T11:50:10.660" Score="0" ViewCount="600" Body="&lt;p&gt;My Sony Vegas Licence will expire soon. Thanks to this site i found this free software FFmpeg. I also see that is largely used and has a lot of support here. Tbh i never heard of it. What would you recommend? Buy a new licence or use this free software? pros, cons?&lt;/p&gt;&#xA;" OwnerUserId="24882" LastActivityDate="2019-04-02T11:50:10.660" Title="Sony Vegas or FFmpeg?" Tags="|ffmpeg|software-recommendation|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="26374" PostTypeId="2" ParentId="26367" CreationDate="2019-04-02T13:27:53.300" Score="0" Body="&lt;p&gt;I've had success with &lt;/p&gt;&#xA;&#xA;&lt;p&gt;import composition &gt; layer size&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Double click comp&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Highlight all &gt; Create &gt; Create Shapes from vector layer&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Delete the .Ai layers&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tutorial here: &#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/YRZrwh9TV18?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;" OwnerUserId="23465" LastActivityDate="2019-04-02T13:27:53.300" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26375" PostTypeId="2" ParentId="26370" CreationDate="2019-04-03T04:15:49.337" Score="0" Body="&lt;p&gt;A good way to answer this is to look through the wiki on comparison on image scaling algorithms: &lt;a href=&quot;https://en.wikipedia.org/wiki/Comparison_gallery_of_image_scaling_algorithms&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Comparison_gallery_of_image_scaling_algorithms&lt;/a&gt; Might provide some insight if you go through and read each of the interpolation types. If you look at neighbor specifically it should answer alot of your questions. I found it quite helpful as you can see what the difference between the various options on the market is visually.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In terms of pixel art I believe there is a scaling algorithm that does what you show in your picture, just this doesn't 'holdup' when dealing with more complex pixel displays...again look at how lousy neighbour is in comparison to the other upscalers.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastActivityDate="2019-04-03T04:15:49.337" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26377" PostTypeId="1" CreationDate="2019-04-04T03:15:15.720" Score="1" ViewCount="96" Body="&lt;pre&gt;&lt;code&gt;{\clip(187.2,187.2,1084.8,700.8)}Like falling in love or getting your heart broken.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there a way to apply a more gradual fade (a feathering effect) when clipping your subtitles with the clip commands? I haven't been able to find anything. I know there's iclip, which lets you invert the clipping area...there are drawing tools to make a more distinct clip area like bezier or whatever included in the gui...but that's like it I can find.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm going to be really surprised if this doesn't exist somewhere for this program. Anyone see any examples of usage that include this effect? The only way I can think of is an image overlay that includes faded edges that would function as a fade for the underlying text.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastActivityDate="2019-04-04T03:15:15.720" Title="Can I apply a feather to clipping in aegisub?" Tags="|subtitles|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26378" PostTypeId="1" AcceptedAnswerId="26394" CreationDate="2019-04-04T16:27:10.607" Score="1" ViewCount="51" Body="&lt;p&gt;&lt;strong&gt;Scenario&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I saw this on a vimeo video and I want to try and recreate it. I've been using the various particle systems in after effects CC but I can't figure out how to get the particles to be &quot;sticky&quot; to one-another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I create a stringy / ropey water dribble effect similar to the clip below?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://cl.ly/a576fc863a00&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://cl.ly/a576fc863a00&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="6206" LastActivityDate="2022-12-16T00:08:10.953" Title="&quot;stringy&quot; polarized water effect" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26379" PostTypeId="1" AcceptedAnswerId="26385" CreationDate="2019-04-04T16:33:17.043" Score="0" ViewCount="405" Body="&lt;p&gt;Target platform: Youtube&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Target resolution for audience: Full HD&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I record 4K in order to get better image quality from smartphone (2x birate of FullHD).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I resample and export the project in Full HD or rather export 4K, upload 4K and let youtube downsample my video ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you &lt;/p&gt;&#xA;" OwnerUserId="17386" LastActivityDate="2019-04-05T07:56:32.727" Title="Downsample in Youtube or in editing software?" Tags="|video-quality|youtube|4k|full-hd|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26382" PostTypeId="1" CreationDate="2019-04-05T06:38:39.853" Score="0" ViewCount="984" Body="&lt;p&gt;I want to convert 3d video to 2d video. I saw another topic &lt;a href=&quot;https://video.stackexchange.com/questions/21084/how-to-convert-a-3d-movie-to-2d-using-ffmpeg&quot;&gt;How to convert a 3D movie to 2D using ffmpeg&lt;/a&gt; but as far I know 3d video is build from 2 videos so I should be double output video. One for left eye and another for right one. One should be build from even frames and another from odd frames. Can it be done using ffmpeg ?&lt;/p&gt;&#xA;" OwnerUserId="24902" LastActivityDate="2022-11-01T23:03:11.033" Title="Convert 3d video to double 2d video using ffmpeg" Tags="|ffmpeg|conversion|3d|scale|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26384" PostTypeId="1" CreationDate="2019-04-05T07:34:58.190" Score="1" ViewCount="168" Body="&lt;p&gt;I am filming with my BMPCC4k and figured out to be my workflow as follows:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Import Clips to harddrive.&#xA;Create Proxy's using Adobe Media Encoder.&#xA;Edit in Premiere Pro.&#xA;Then Color Grade in Davinci.&#xA;Then replace Proxys with Color Graded video.&#xA;Export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am now thinking about how to archive those videos. The budget of my projects don't allow storage space of multiple TB each.&#xA;So I was thinking about storing rendered videos, so that we can at least make slight changes afterwards in editing or export diffrent formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would be the best codec to use to export the video? With a good compromise of quality vs space. I would say no more than 50mb/s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using Windows.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2020-12-25T12:04:55.433" Title="Archival storage for RAW video" Tags="|workflow|raw|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26385" PostTypeId="2" ParentId="26379" CreationDate="2019-04-05T07:51:14.173" Score="1" Body="&lt;p&gt;If you can afford the additional upload and processing time to You Tube, you should use 4k.&#xA;Not only will this look better for most people (Not actually look better, but rather it looks more modern to an average user to have 4k and some people don't even watch it if it says FHD). But also, YouTube gives 4k videos a higher bitrate which also FHD videos profit from.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you will get an better FHD video from downsampling on You Tube, than do it yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't have the time tho to wait for upload and processing, most people won't notice the difference&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-04-05T07:51:14.173" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26386" PostTypeId="2" ParentId="26379" CreationDate="2019-04-05T07:56:32.727" Score="1" Body="&lt;p&gt;YouTube will transcode your files regardless of what you upload. If you upload a 1080 file, it will create its own file using their new codec (which I am not sure is 100% deployed yet but is already widely in use), but its their propritary AV1 codec. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, Lukas above is correct, just upload a 4k if the project was mastered in 4k, and let youtube make its own down converted copies for variable bitrate streaming. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2019-04-05T07:56:32.727" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26387" PostTypeId="2" ParentId="26384" CreationDate="2019-04-05T08:03:50.873" Score="1" Body="&lt;p&gt;If your system has external SAS, you can either buy an older LTO Tape Drive System, such as an LTO-5, or rent one. Or go for an LTO-6 or 7 drive. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Linear tape really is the best choice for a number of production environments which is why so many post houses have adopted it for footage back up. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The tapes have large capacity, are enterprise secure, have built in fault tolerance, are fairly easy to use, and it's the CHEAPEST way to archive. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;An LTO-6 Tape will hold 2.5TB uncompressed content (raw video), will write at speeds of roughly 140mb/s and the tape will cost you about $20. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A 2TB HDD Bare Spinning Drive is far most costly than that and will not run/be locked/greased up if you try to use it 50 years from now. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;They are archival for 30-50 years. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's what the National Archives uses. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2019-04-05T08:03:50.873" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26388" PostTypeId="1" CreationDate="2019-04-05T09:06:22.953" Score="1" ViewCount="5771" Body="&lt;p&gt;I can watch the live stream video from android device but can't watch on Windows. &#xA;Is it possible to download and decrypt it with FFMPEG ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the sample playlist&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;?xml version=&quot;1.0&quot; encoding=&quot;UTF-8&quot;?&amp;gt;&#xA;&amp;lt;MPD xmlns:xsi=&quot;http://www.w3.org/2001/XMLSchema-instance&quot;&#xA;     xmlns=&quot;urn:mpeg:dash:schema:mpd:2011&quot;&#xA;     xmlns:xlink=&quot;http://www.w3.org/1999/xlink&quot;&#xA;     xmlns:cenc=&quot;urn:mpeg:cenc:2013&quot;&#xA;     xsi:schemaLocation=&quot;urn:mpeg:DASH:schema:MPD:2011 http://standards.iso.org/ittf/PubliclyAvailableStandards/MPEG-DASH_schema_files/DASH-MPD.xsd&quot;&#xA;     profiles=&quot;urn:mpeg:dash:profile:isoff-live:2011&quot;&#xA;     type=&quot;dynamic&quot;&#xA;     minimumUpdatePeriod=&quot;PT4.974S&quot; &#xA;     publishTime=&quot;2019-04-05T08:58:38Z&quot; &#xA;     availabilityStartTime=&quot;2019-03-29T01:42:08Z&quot; &#xA;     timeShiftBufferDepth=&quot;PT40.0S&quot;&#xA;     suggestedPresentationDelay=&quot;PT8.0S&quot; &#xA;     minBufferTime=&quot;PT6.0S&quot;&amp;gt;&#xA;    &amp;lt;ProgramInformation&amp;gt;&#xA;        &amp;lt;Title&amp;gt;abcdefg.smil&amp;lt;/Title&amp;gt;&#xA;    &amp;lt;/ProgramInformation&amp;gt;&#xA;    &amp;lt;Location&amp;gt;https://xxx.yyy.zzz/liveedge_ezdrm/abcdefg.smil/manifest_w43695283_qYXBwaWQ9dHJ1ZWlkdjImdHlwZT1saXZlJnZpc2l0b3I9bW9iaWxlJnVpZD00MzM1MTE1MA==.mpd&amp;lt;/Location&amp;gt;&#xA;    &amp;lt;Period id=&quot;0&quot; start=&quot;PT0.0S&quot;&amp;gt;&#xA;        &amp;lt;AdaptationSet id=&quot;0&quot; group=&quot;1&quot; mimeType=&quot;video/mp4&quot; maxWidth=&quot;1280&quot; maxHeight=&quot;720&quot; par=&quot;16:9&quot; frameRate=&quot;25&quot; segmentAlignment=&quot;true&quot; startWithSAP=&quot;1&quot; subsegmentAlignment=&quot;true&quot; subsegmentStartsWithSAP=&quot;1&quot;&amp;gt;&#xA; 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width=&quot;854&quot; height=&quot;480&quot; sar=&quot;1:1&quot; bandwidth=&quot;1258291&quot; /&amp;gt;&#xA;            &amp;lt;Representation id=&quot;p0va0br1887436&quot; codecs=&quot;avc1.4d401f&quot; width=&quot;960&quot; height=&quot;540&quot; sar=&quot;1:1&quot; bandwidth=&quot;1887436&quot; /&amp;gt;&#xA;            &amp;lt;Representation id=&quot;p0va0br2537779&quot; codecs=&quot;avc1.4d401f&quot; width=&quot;1280&quot; height=&quot;720&quot; sar=&quot;1:1&quot; bandwidth=&quot;2537779&quot; /&amp;gt;&#xA;            &amp;lt;Representation id=&quot;p0va0br463974&quot; codecs=&quot;avc1.4d4015&quot; width=&quot;426&quot; height=&quot;240&quot; sar=&quot;1:1&quot; bandwidth=&quot;463974&quot; /&amp;gt;&#xA;            &amp;lt;Representation id=&quot;p0va0br131891&quot; codecs=&quot;avc1.42c00c&quot; width=&quot;320&quot; height=&quot;180&quot; sar=&quot;1:1&quot; bandwidth=&quot;131891&quot; /&amp;gt;&#xA;        &amp;lt;/AdaptationSet&amp;gt;&#xA;        &amp;lt;AdaptationSet id=&quot;1&quot; 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initialization=&quot;chunk_ctaudio_cfm4s_rid$RepresentationID$_cinit_w43695283_qYXBwaWQ9dHJ1ZWlkdjImdHlwZT1saXZlJnZpc2l0b3I9bW9iaWxlJnVpZD00MzM1MTE1MA==_mpd.m4s&quot;&amp;gt;&#xA;                &amp;lt;SegmentTimeline&amp;gt;&#xA;                    &amp;lt;S t=&quot;30285595824&quot; d=&quot;192528&quot;/&amp;gt;&#xA;                    &amp;lt;S d=&quot;191472&quot;/&amp;gt;&#xA;                    &amp;lt;S d=&quot;192528&quot;/&amp;gt;&#xA;                    &amp;lt;S d=&quot;191472&quot;/&amp;gt;&#xA;                    &amp;lt;S d=&quot;192528&quot;/&amp;gt;&#xA;                    &amp;lt;S d=&quot;191472&quot;/&amp;gt;&#xA;                    &amp;lt;S d=&quot;192528&quot;/&amp;gt;&#xA;                    &amp;lt;S d=&quot;191472&quot;/&amp;gt;&#xA;                    &amp;lt;S d=&quot;192528&quot;/&amp;gt;&#xA;                    &amp;lt;S d=&quot;191472&quot;/&amp;gt;&#xA;                &amp;lt;/SegmentTimeline&amp;gt;&#xA;            &amp;lt;/SegmentTemplate&amp;gt;&#xA;            &amp;lt;Representation id=&quot;p0aa0br65536&quot; codecs=&quot;mp4a.40.2&quot; audioSamplingRate=&quot;48000&quot; bandwidth=&quot;65536&quot;&amp;gt;&#xA;        &amp;lt;/Representation&amp;gt;&#xA;        &amp;lt;/AdaptationSet&amp;gt;&#xA;    &amp;lt;/Period&amp;gt;&#xA;    &amp;lt;UTCTiming schemeIdUri=&quot;urn:mpeg:dash:utc:direct:2014&quot; value=&quot;2019-04-05T08:58:38Z&quot;/&amp;gt;&#xA;&amp;lt;/MPD&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24903" LastActivityDate="2021-05-25T09:00:50.157" Title="How to decrypt DASH mp4protection with ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26389" PostTypeId="1" CreationDate="2019-04-05T11:06:24.530" Score="1" ViewCount="1663" Body="&lt;p&gt;Video editing n00b here. I have a clip where a person touches a screen with an access card. I want the screen to be red before it is touched, and green after.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've used a PlanarTracker node to track the screen, and Corner Pin to place either the red or the green overlay on top. This part works fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that the person's hand and the access card cover part of the screen for a few frames, but the colour overlay is always on top of the hand. I think I need to add a mask to the PlanarTracker that follows the card and the hand, but I don't know how to create this mask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried adding another PlanarTracker using the original clip as input, tracking the card, and connecting the output to the mask input of the first PlanarTracker, but this doesn't seem to do anything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions? What am I doing wrong? Should I follow an entirely different approach?&lt;/p&gt;&#xA;" OwnerUserId="21544" LastActivityDate="2024-02-04T18:01:10.157" Title="Tracking mask in Davinci Resolve" Tags="|davinci-resolve|tracking|compositing|fusion|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26390" PostTypeId="1" AcceptedAnswerId="27592" CreationDate="2019-04-05T11:21:41.150" Score="2" ViewCount="882" Body="&lt;p&gt;Is there any known Plug In or similair which can show BRAW Thumbnails in Windows Explorer? Or does anyone know how one could write such an Plug In?&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2020-05-09T20:13:36.700" Title="Blackmagic RAW get Thumbnail in Windows Explorer" Tags="|windows|blackmagic|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26391" PostTypeId="1" AcceptedAnswerId="26392" CreationDate="2019-04-05T12:16:48.943" Score="3" ViewCount="2997" Body="&lt;p&gt;I've got a 10-minute long mp4 file which plays just fine with VLC. Apple Quicktime however plays only the first 6.5 seconds, stops and can't be convinced to jump past that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly, when I try transcoding it with ffmpeg, it stops at precisely frame 336.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have figured out the following: when I run ffmpeg with 'loglevel 48' it tells me that there's something called an 'EDIT LIST' inside the file which tells it to drop all frames beyond 336:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i VIDEO.mp4 -t 20 -pix_fmt yuv420p -c:v rawvideo -loglevel 48 output.avi  &#xA;(...) &#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5617d7c1a880] Processing st: 0, edit list 0 - media time: 0, duration: 6719&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5617d7c1a880] drop a frame at curr_cts: 6727 @ 336&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5617d7c1a880] drop a frame at curr_cts: 6747 @ 337&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5617d7c1a880] drop a frame at curr_cts: 6763 @ 338&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5617d7c1a880] drop a frame at curr_cts: 6786 @ 339&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5617d7c1a880] drop a frame at curr_cts: 6803 @ 340&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5617d7c1a880] drop a frame at curr_cts: 6816 @ 341&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5617d7c1a880] drop a frame at curr_cts: 6847 @ 342&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5617d7c1a880] drop a frame at curr_cts: 6863 @ 343&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5617d7c1a880] drop a frame at curr_cts: 6884 @ 344&#xA;(...)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Question: is there a way to tell ffmpeg to ignore this EDIT LIST and carry on regardless?&lt;/p&gt;&#xA;" OwnerUserId="24906" LastActivityDate="2019-04-05T12:32:52.907" Title="ffmpeg: how to ignore an EDIT LIST?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26392" PostTypeId="2" ParentId="26391" CreationDate="2019-04-05T12:32:52.907" Score="5" Body="&lt;p&gt;Yes, there's a private option for the MOV demuxer.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ignore_editlist 1 -i VIDEO.mp4 ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-04-05T12:32:52.907" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="26393" PostTypeId="2" ParentId="26388" CreationDate="2019-04-05T15:14:23.143" Score="1" Body="&lt;p&gt;If you can get a Widevine level 3 response from the license server, there have been successful DFA attacks used to extract the key. Levels 2 and 1 have never been broken.&lt;/p&gt;&#xA;&lt;p&gt;It works on Android because Android includes a secure enclave that prevents keys from leaking.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastEditorUserId="18155" LastEditDate="2020-12-26T07:36:21.133" LastActivityDate="2020-12-26T07:36:21.133" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26394" PostTypeId="2" ParentId="26378" CreationDate="2019-04-05T16:03:46.607" Score="1" Body="&lt;p&gt;Per @Mark's comment I used blender to do this. I followed this &lt;a href=&quot;https://www.youtube.com/watch?v=VbHqIDLa39I&quot; rel=&quot;nofollow noreferrer&quot;&gt;tutorial for making a stream of water&lt;/a&gt; and modified the water emitter to be 0.1x0.1 meters so that it makes a stringy / gooey like effect.&lt;/p&gt;&#xA;" OwnerUserId="6206" LastActivityDate="2019-04-05T16:03:46.607" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26395" PostTypeId="2" ParentId="20962" CreationDate="2019-04-05T17:31:53.000" Score="19" Body="&lt;p&gt;Gamma correction is likely to be a better choice than brightness, to stretch the histogram to the right rather than push it over:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# tinker with numbers&#xA;ffplay -vf eq=gamma=1.5:saturation=1.3 original.vid &#xA;&#xA;# render&#xA;ffmpeg -i original.vid -vf eq=gamma=1.5:saturation=1.3 \&#xA;    -c:a copy  outfile.vid&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24908" LastEditorUserId="24908" LastEditDate="2019-06-26T18:08:16.967" LastActivityDate="2019-06-26T18:08:16.967" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26398" PostTypeId="1" CreationDate="2019-04-06T03:58:43.837" Score="1" ViewCount="62" Body="&lt;p&gt;I realise that a lot of things can be learned on your own without attending a course. I went to university and the majority of the things taught can be self-learnt - even engineering. The only issue is that you have no idea where to start and where to get the best resources.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any textbooks or online video sets that teaches cinematography well? By cinematography I mean less about scripts/acting, and more about the visual and the auditory feel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The videos on YouTube are not very consistent (even large channels) - most are either too amateurish, factually wrong or trying to push you a certain product. The difference is stark when you compare YouTube 'cinematic videos' with filmmakers (even indie ones). I'm pretty sure that there are hidden gems on YouTube but it's not easy to find. My point is that I want to learn from the professionals instead of amateurs.&lt;/p&gt;&#xA;" OwnerUserId="24347" LastActivityDate="2019-09-09T07:35:28.123" Title="Curriculum for Cinematography" Tags="|learning-resources|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26399" PostTypeId="2" ParentId="26389" CreationDate="2019-04-06T07:11:57.463" Score="0" Body="&lt;p&gt;I don't know the footage, but would guess that it isn't good enough for tracking.&lt;/p&gt;&#xA;&lt;p&gt;In this case, you will need to Rotobrush it. Or manually create a mask. If it is only for a few frames and a smaller part of the screen, I guess a rough mask with a bit of a higher edge blur will do the trick.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastEditorUserId="24627" LastEditDate="2020-08-31T14:54:32.137" LastActivityDate="2020-08-31T14:54:32.137" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26400" PostTypeId="2" ParentId="26398" CreationDate="2019-04-06T11:37:16.730" Score="3" Body="&lt;ul&gt;&#xA;&lt;li&gt;Read &lt;a href=&quot;https://ascmag.com/current-issue&quot; rel=&quot;nofollow noreferrer&quot;&gt;American Cinematographer&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Check out this famous series of “master classes” &lt;a href=&quot;https://youtu.be/YzWmXykPZVg&quot; rel=&quot;nofollow noreferrer&quot;&gt;KODAK Cinematography&#xA;Master Class&lt;/a&gt;. In this previously linked excerpt, it's John Seale who takes a bunch of students&#xA;through a scene from the film “Dead Poet Society”. And &lt;a href=&quot;https://www.youtube.com/playlist?list=PLbFbLvJse3mrHxQsLkxB32p2ck8wNXByC&quot; rel=&quot;nofollow noreferrer&quot;&gt;here you have&#xA;other bits from the same series&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you get is professional&#xA;film cinematographers working on set or in a studio with&#xA;students to solve lighting issues. It may be too advanced for you (I&#xA;don't know what you know), but this is the sort of work that happens&#xA;all the time on sets ... although only in the head of the DPs (or in&#xA;pre-production meetings when the script, the characters&#xA;and their motivation are discussed). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And, I just found out, after a quick search, that &lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B00DJYS0PG&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;the series is still ongoing!&lt;/a&gt;. Do yourself a huge favor and start watching it -- the old and the recent stuff.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;Kodak, the old film stock company, still has some good stuff for students and budding cinematographers available on their website. Check this page out: it's &lt;a href=&quot;https://www.kodak.com/US/es/motion/Education/Publications/default.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;a bunch of informative PDF etc. on cinematography&lt;/a&gt;, like how to read a slate, workflow, filters, etc. There's a lot it seems.&lt;/li&gt;&#xA;&lt;li&gt;Work on film sets, and see how they light things. Ask questions. Take&#xA;notes. And then shoot your own stuff (short documentaries, short films), with/about your friends, family,&#xA;whatever. Take photos, digital and traditional, always on manual (learn to use light-meters).&#xA;Shoot black and white and then color, which is harder.&lt;/li&gt;&#xA;&lt;li&gt;Also, it's not (ever) about the gear you use, but about your eye,&#xA;your taste, understanding color and light and framing in relations to scripts&#xA;(and experience on sets).&lt;/li&gt;&#xA;&lt;li&gt;Watch the best lit films ever made, the small ones and the big ones&#xA;(mainly the small ones 'cause they have no budget to light things).&lt;/li&gt;&#xA;&lt;li&gt;Look at classical paintings and ask yourself: where's the light&#xA;coming from? Why is it lighting this part of the frame and not this?&#xA;What is it saying? What's the story?&lt;/li&gt;&#xA;&lt;li&gt;Finally, keep at it. Make connections. Show up early and leave late.&#xA;Make connections. Smile and work hard. Keep at it. Becoming part of a community of filmmakers is absolutely vital. If one doesn't exist where you live, create it.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;And I say all this with an MFA degree from one of the best film schools in the US.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastEditorUserId="18155" LastEditDate="2019-09-09T07:35:28.123" LastActivityDate="2019-09-09T07:35:28.123" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26401" PostTypeId="2" ParentId="26350" CreationDate="2019-04-06T11:52:34.380" Score="1" Body="&lt;p&gt;Short answer, there is not really any &quot;Lightroom&quot; for video. But there are non linear editing programs out there that do all the things you want to do with your footage. So, as someone else said here, you want to start using Premiere or some other editing program. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Learn how to organize your projects professionally. You're never going to make duplicates of files (except in some circumstances), but you are going to create duplicates of edits, string-outs, sequences, clips, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, here's a typical project organization, inside Premiere in this instance (make a clean version of this project, call it &quot;Default&quot;, and simply open it and save it with another name each you work on a new project; that way you don't have to re-create all those folders all the time):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tLLQW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tLLQW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And here's an example of drive organization:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/aQ9GH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aQ9GH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/7deKc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7deKc.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/AxcLe.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AxcLe.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/2h31o.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2h31o.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/dV4qI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dV4qI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11961" LastEditorUserId="11961" LastEditDate="2019-04-06T12:51:15.623" LastActivityDate="2019-04-06T12:51:15.623" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26402" PostTypeId="2" ParentId="26156" CreationDate="2019-04-06T12:10:22.487" Score="1" Body="&lt;p&gt;While not officially supported, it is not difficult to replace the lens in a GoPro knock-off. The lenses in these action cameras are using a M12 mount and can be replaced. So: you could try to replace the lens as a first step. Depending on what you are looking for in the video, details may become too small and two cameras would be a better option.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=V_UIj_7cKgI&quot; rel=&quot;nofollow noreferrer&quot;&gt;How To Replace GoPro Lens - DIY&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I have done this myself with two cameras but replaced the lens with a lens that has a narrower focus. The lens costs less than 20 USD/EUR/GBP.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.amazon.co.uk/gp/product/B079ZP2PDX/ref=ppx_yo_dt_b_asin_title_o05_s00?ie=UTF8&amp;amp;psc=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;72 Degree 4.35mm 1/2.3 Inch Sensor 10MP M12 Lens&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="24544" LastEditorUserId="24544" LastEditDate="2019-04-06T12:33:11.430" LastActivityDate="2019-04-06T12:33:11.430" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26403" PostTypeId="2" ParentId="26144" CreationDate="2019-04-06T13:10:21.807" Score="1" Body="&lt;p&gt;Practice. Practice. Practice.&#xA;If you can't draw at all, try stop-motion animation.&#xA;Ask yourself: what do I find compelling about animation? What does it do that no other form of expression does? I'm asking this because you yourself mention that you can't draw nor really get in digital animation. And yet, you persist. So, why? Are you sure it's not the stories that you like?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, no need to &lt;em&gt;master&lt;/em&gt; any program to start animating. That's putting the bar way too high. But you will eventually, just by using these programs over and over again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Learn the basics of Premiere Pro, or Photoshop or Affinity Photo (cheaper!), or iMovie if you have a Mac. And start doing stop motion stuff. Animate beans on a counter. One bean is one color, and the others are something else. Tell your story. Whatever you do though, keep it simple! You're not going to &quot;revolutionize animation&quot; overnight.&#xA;Animate play-dough. Then start using sounds, as demonstrated in this video &lt;a href=&quot;https://youtu.be/-uIQpReF1Nc&quot; rel=&quot;nofollow noreferrer&quot;&gt;Animation Tutorial with Tips and Tricks&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Find a group of like-minded people you could work with. no tutorial or book will ever teach you enough. Talk to people. Make connections. Work on projects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you can't draw and can't take animating things image per image in some program, write. Write your scripts. Feels to me that that is where your strength is.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastEditorUserId="11961" LastEditDate="2019-04-06T16:08:57.060" LastActivityDate="2019-04-06T16:08:57.060" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26404" PostTypeId="2" ParentId="23617" CreationDate="2019-04-06T17:18:23.587" Score="2" Body="&lt;p&gt;tomh's advice to double stack the video layer, reduce opacity by 50% and advance a frame is a great starting point and certainly works well on fluorescent light flicker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've just had the same problem with a single chip DLP projector image in shot with the banding looping over about 5 frames. Working in Premiere Pro, I layered the video 3 times, cropped each layer to the projection screen area, reduced each layer to 25% opacity and advanced each layer 1 frame on from the last. I also reduced the brightness on the base layer by 100% (referring to Lumetri Scopes and using my eye to avoid blowing out the slide image). It's a very satisfactory result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Caveat: If anything crosses the projected image is will look like it has a strobe effect and any animations, video or transitions will have this also, however for a set of static slides you should be fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/ZNac2wkXK_Q&quot; rel=&quot;nofollow noreferrer&quot;&gt;I got a bit carried away and made an example video...&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps you or anyone else using a search engine to love their quirky issues like i did to find the original post.&lt;/p&gt;&#xA;" OwnerUserId="24916" LastEditorUserId="24916" LastEditDate="2019-04-06T17:33:40.443" LastActivityDate="2019-04-06T17:33:40.443" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26405" PostTypeId="1" CreationDate="2019-04-06T17:31:23.987" Score="1" ViewCount="275" Body="&lt;p&gt;The Harry Potter moving newspaper is like a video overlay on a static background. Here is an example: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/qQUUNmd3aco?start=77&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;. the video starting from 1min, 17sec.&#xA;HOWTO crop only the video part?&#xA;I have an image to show what i mean by the moving newspaper and what area does the video locate and what is the static background part. Please refer to the image. The area I draw by pink is where i mean by real video and any area except the video, is the static part. &#xA;&lt;a href=&quot;https://i.stack.imgur.com/QTF5h.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QTF5h.jpg&quot; alt=&quot;Example&quot;&gt;&lt;/a&gt;&#xA;I understand if the frame size of the video does not change, I can specify the w, h, x, y to crop. But what if the frame size changes? Is there a way to autodetect the static part and only crop the real video part? like ffmpeg cropdetect for letterboxing. &#xA;I tried cropdetect but failed.&#xA;Any suggestion is welcome and I prefer using ffmpeg but any other softwares are welcome!&lt;/p&gt;&#xA;" OwnerUserId="24917" LastActivityDate="2019-04-06T17:31:23.987" Title="ffmpeg - How to crop Harry Potter moving newspaper style video?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26406" PostTypeId="1" AcceptedAnswerId="26408" CreationDate="2019-04-07T03:05:52.893" Score="2" ViewCount="7163" Body="&lt;p&gt;I want to copy all the streams (including cover art) except the first video stream from one MP4 file to another, here is what I do :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ time ffmpeg -hide_banner -i toto1.mp4 -map 0 -vn -c:v:1 copy -c copy toto2.mp4 &#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5655577ffd00] stream 0, timescale not set&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'toto1.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    title           : LA GRACE by ISRAEL KINDOMBA&#xA;    artist          : Israel Kindomba&#xA;    comment         : Soyez édifiés par ces déclarations sur la grâce...&#xA;    date            : 20170421&#xA;    description     : http://www.youtube.com/watch?v=tt1yUlqoB-U&#xA;    encoder         : Lavf58.20.100&#xA;  Duration: 00:08:21.29, start: 0.000000, bitrate: 443 kb/s&#xA;    Stream #0:0(und): Video: h264 (Constrained Baseline) (avc1 / 0x31637661), yuv420p, 640x360 [SAR 1:1 DAR 16:9], 332 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 96 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : IsoMedia File Produced by Google, 5-11-2011&#xA;    Stream #0:2(eng): Subtitle: mov_text (tx3g / 0x67337874), 0 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SubtitleHandler&#xA;    Stream #0:3(fra): Subtitle: mov_text (tx3g / 0x67337874), 0 kb/s&#xA;    Metadata:&#xA;      handler_name    : SubtitleHandler&#xA;    Stream #0:4(spa): Subtitle: mov_text (tx3g / 0x67337874), 0 kb/s&#xA;    Metadata:&#xA;      handler_name    : SubtitleHandler&#xA;    Stream #0:5(deu): Subtitle: mov_text (tx3g / 0x67337874), 0 kb/s&#xA;    Metadata:&#xA;      handler_name    : SubtitleHandler&#xA;    Stream #0:6: Video: mjpeg, yuvj420p(pc, bt470bg/unknown/unknown), 480x360 [SAR 1:1 DAR 4:3], 90k tbr, 90k tbn, 90k tbc&#xA;Output #0, mp4, to 'toto2.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    title           : LA GRACE by ISRAEL KINDOMBA&#xA;    artist          : Israel Kindomba&#xA;    comment         : Soyez édifiés par ces déclarations sur la grâce...&#xA;    date            : 20170421&#xA;    description     : http://www.youtube.com/watch?v=tt1yUlqoB-U&#xA;    encoder         : Lavf58.20.100&#xA;    Stream #0:0(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 96 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : IsoMedia File Produced by Google, 5-11-2011&#xA;    Stream #0:1(eng): Subtitle: mov_text (tx3g / 0x67337874), 0 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SubtitleHandler&#xA;    Stream #0:2(fra): Subtitle: mov_text (tx3g / 0x67337874), 0 kb/s&#xA;    Metadata:&#xA;      handler_name    : SubtitleHandler&#xA;    Stream #0:3(spa): Subtitle: mov_text (tx3g / 0x67337874), 0 kb/s&#xA;    Metadata:&#xA;      handler_name    : SubtitleHandler&#xA;    Stream #0:4(deu): Subtitle: mov_text (tx3g / 0x67337874), 0 kb/s&#xA;    Metadata:&#xA;      handler_name    : SubtitleHandler&#xA;Stream mapping:&#xA;  Stream #0:1 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:2 -&amp;gt; #0:1 (copy)&#xA;  Stream #0:3 -&amp;gt; #0:2 (copy)&#xA;  Stream #0:4 -&amp;gt; #0:3 (copy)&#xA;  Stream #0:5 -&amp;gt; #0:4 (copy)&#xA;Press [q] to stop, [?] for help&#xA;size=    6026kB time=00:08:21.10 bitrate=  98.5kbits/s speed=1.18e+03x    &#xA;video:0kB audio:5873kB subtitle:44kB other streams:0kB global headers:0kB muxing overhead: 1.828688%&#xA;&#xA;real    0m0.583s&#xA;user    0m0.524s&#xA;sys 0m0.060s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As you can see in the &lt;code&gt;Stream mapping:&lt;/code&gt; the input &lt;code&gt;Stream #0:6: Video: mjpeg&lt;/code&gt; stream has not been copied.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you help me ?&lt;/p&gt;&#xA;" OwnerUserId="14444" LastActivityDate="2023-11-09T15:34:15.377" Title="ffmpeg : Copy all the streams (including cover art) except the first video stream from one MP4 file to another" Tags="|ffmpeg|thumbnails|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26407" PostTypeId="2" ParentId="26406" CreationDate="2019-04-07T03:19:47.620" Score="0" Body="&lt;p&gt;Found the answer, I had to remove &lt;code&gt;-vn&lt;/code&gt; and explicitly select all the streams I wanted to copy except the one I didn't want :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -hide_banner -i toto1.mp4 -map 0:a -map 0:s -map 0:v:1 -c copy toto2.mp4&#xA;....&#xA;Stream mapping:&#xA;  Stream #0:1 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:2 -&amp;gt; #0:1 (copy)&#xA;  Stream #0:3 -&amp;gt; #0:2 (copy)&#xA;  Stream #0:4 -&amp;gt; #0:3 (copy)&#xA;  Stream #0:5 -&amp;gt; #0:4 (copy)&#xA;  Stream #0:6 -&amp;gt; #0:5 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame=    1 fps=0.0 q=-1.0 Lsize=    6038kB time=00:08:21.10 bitrate=  98.7kbits/s speed=1.07e+03x    &#xA;video:12kB audio:5873kB subtitle:44kB other streams:0kB global headers:0kB muxing overhead: 1.825498%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The input &lt;code&gt;Stream #0:6: Video: mjpeg&lt;/code&gt; has been copied :-)&lt;/p&gt;&#xA;" OwnerUserId="14444" LastActivityDate="2019-04-07T03:19:47.620" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26408" PostTypeId="2" ParentId="26406" CreationDate="2019-04-07T15:25:47.130" Score="4" Body="&lt;p&gt;&lt;code&gt;-map 0&lt;/code&gt; will map all streams from the first input. A negative mapping can then be applied to disable an already mapped stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i toto1.mp4 -map 0 -map -0:v:0 -c copy toto2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-04-07T15:25:47.130" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26410" PostTypeId="1" CreationDate="2019-04-07T18:32:34.277" Score="1" ViewCount="17" Body="&lt;p&gt;Not sure if this is the right StackExchange for this, but I don't see a more general film making SE so here goes...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm acting in a short spy film, and in two separate scenes I'm going to be hitting the ground in a suit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We already shot the final shootout scene, but might need to do a reshoot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is, the sets aren't very clean. One is a restaurant and the other is a parking garage... during the shootout I ended up with dust and &quot;something&quot; all over my suit. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, the question is... how can I keep that from happening so I'll look consistent between different takes? (And so my suit doesn't get stained...)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried putting down some a large clear plastic bag the other day, but it was too visible on camera... &lt;/p&gt;&#xA;" OwnerUserId="24922" LastActivityDate="2019-04-08T09:12:06.517" Title="How do you keep clothes clean during action sequences?" Tags="|filming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26413" PostTypeId="1" CreationDate="2019-04-08T13:58:40.667" Score="2" ViewCount="159" Body="&lt;p&gt;I have an hour+ project in Premiere Pro that is a live performance of a musical group.  I've broken it up via Markers into 15 songs.  I then, mostly with a lot of &quot;by hand&quot;, exported the 15 songs to Media Encoder and it produced 15 videos.  The catch is, the project is &quot;mostly&quot; done but I will likely want to go back and tweak things here and there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to save the 15 export settings as a single unit?  They are all exactly the same except for the in and out points and the output file name.  Or... perhaps there is some type of automation that I can use with Media Encoder so I can have an external &quot;script&quot; that would fire up the exports.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I right click on one of the jobs in the queue (that has completed), &quot;Export Settings&quot; is disabled.  Perhaps that is what I'm looking for?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Really, utopia would be if I could select a marker and say &quot;Export&quot; and it would pick up the title from the marker as well as the in and out points (i.e. the work area).&lt;/p&gt;&#xA;" OwnerUserId="9326" LastActivityDate="2020-01-17T05:41:27.367" Title="Save export settings in Media Encoder" Tags="|premiere|adobe-media-encoder|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26415" PostTypeId="1" CreationDate="2019-04-09T01:53:06.990" Score="1" ViewCount="339" Body="&lt;p&gt;I created a conference with 2 participants and both are recorded. After conference, I run FFMPEG to merge videos and creates the output.mp4.&#xA;It synchronizes the time, also.&#xA;I have a command that works fine:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -i video1.mp4 -i vide2.mp4 -f lavfi -t 0.1 -i anullsrc -filter_complex &quot;[0]scale=iw/3:ih/3 [pip]; [1][pip] overlay=5:5;[0:v]pad=iw*2:ih[int];[int][1:v]overlay=W/2:2[vid];[0:a][1:a]amerge[a]&quot; -map [vid] -map &quot;[a]&quot; -ac 2 -strict -2 -c:v libx264 -y -crf 23 -preset veryfast output.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I need to add two legends:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1 - Date and time at top center of the screen at all time of the video;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2 - Partipants name at bottom of the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can create a file with this information before merging it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Need a complete FFMPEG command line to have this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="24931" LastActivityDate="2019-04-09T01:53:06.990" Title="FFMPEG - How to add watermark picture in 2 videos overlayed" Tags="|ffmpeg|video-editor|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26418" PostTypeId="1" AcceptedAnswerId="26426" CreationDate="2019-04-09T20:37:43.143" Score="3" ViewCount="1090" Body="&lt;p&gt;Take &lt;a href=&quot;https://descript-public.s3.amazonaws.com/so_question_data/h265_vs_fcpx/hank_vlog_orig_short.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;this file&lt;/a&gt;, the first 10s of &lt;a href=&quot;https://youtu.be/zoy-x9VBhVc&quot; rel=&quot;nofollow noreferrer&quot;&gt;Hank Green's &quot;editing challenge&quot;&lt;/a&gt;. It is H264 video + AAC audio. You can take that file and import it into Final Cut Pro X (FCPX for short), and edit it to your heart's content.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, take that file, and convert it using ffmpeg, like so:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i hank_vlog_orig_short.mp4 -c:v libx265 -c:a copy hank_vlog_orig_short_hvec.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;...which produces &lt;a href=&quot;https://descript-public.s3.amazonaws.com/so_question_data/h265_vs_fcpx/hank_vlog_orig_short_hevc.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;this file&lt;/a&gt;. Same thing, but reencoded in HEVC (which FCPX supports). Only now&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;You can't drag/import the file into FCPX (won't let you)&lt;/li&gt;&#xA;&lt;li&gt;If you have an .fcpxml file that refers to such a file, the session will be imported but instead of audio/video you'll get the &quot;missing plugin&quot; placeholder.&lt;/li&gt;&#xA;&lt;li&gt;Quicktime player refuses to preview/open the file&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Any HEVC file created with, say, an iPhone can be readily previewed in qt and imported into FCPX. Both Adobe Premiere and VLC open and play the file just fine (though I now see that firefox just plays the audio, and does not render the video... download the file if you want to play with it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given that HEVC is a &lt;em&gt;standard&lt;/em&gt;, can someone tell me&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Why does FCPX refuse to open the file? &lt;/li&gt;&#xA;&lt;li&gt;Is there some special joo-joo in Apple's HVEC files that is needed? What?&lt;/li&gt;&#xA;&lt;li&gt;Is it possible to generate such a file with, say, ffmpeg, or is it only possible through AVFoundation or similar?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;BTW, this is with FCPX 10.4.6, QT player 10.5, on OSX 10.14.4.&lt;/p&gt;&#xA;" OwnerUserId="24945" LastActivityDate="2019-04-10T18:36:56.260" Title="What's special about Apple-device generated HEVC files that (apparently) x265 can't produce?" Tags="|h.264|fcpx|hevc|apple|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26419" PostTypeId="1" AcceptedAnswerId="26430" CreationDate="2019-04-09T21:59:33.253" Score="0" ViewCount="22" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/M94ii6MVilw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This lyrics video contains multiple examples, ie. 0:41 to 0:43 and 1:00 to 1:02 and 1:31 to 1:38. &#xA;I mean the grafitti zipping quickly through. I've seen this effect earlier, but I don't know what it's called.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="24946" LastActivityDate="2019-04-10T20:36:42.080" Title="What is this kind of video artifact called (grafitti)" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26421" PostTypeId="1" CreationDate="2019-04-10T07:06:48.370" Score="0" ViewCount="82" Body="&lt;p&gt;Sorry if the title is confusing, but I have around 500 audio clips with 500 text/titles or whatever it's called. As you can see in the image, there are multiple audio files with text graphics overlapping them. Since I have so many, I want to be able to automatically take the filename for the audio  (such as “and” as shown in the image) and display it as text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zNODg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zNODg.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24949" LastEditorUserId="18155" LastEditDate="2019-07-13T15:55:11.507" LastActivityDate="2021-11-29T19:04:35.547" Title="Question about text graphics and audio clips. How do i input text from the audio filename?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26422" PostTypeId="1" CreationDate="2019-04-10T07:23:36.593" Score="1" ViewCount="327" Body="&lt;p&gt;I'm trying to add a video and audio fade in and fade out to my video using the &lt;code&gt;fade&lt;/code&gt; and &lt;code&gt;afade&lt;/code&gt; filters. I'm using the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i trimmed.mp4 -vf 'fade=in:0:60,fade=out:2940:300' -af 'afade=in:st=0:d=1,afade=out:st=53:d=2' -c:a aac -c:v libx264 -crf 18 -preset veryfast fadeInOut.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The resulting audio sound like TV static was overlayed. I've tried specifying audio quality by adding &lt;code&gt;-b:a 128k&lt;/code&gt;, but that didn't help either. Any ideas what might be wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the output of &lt;code&gt;ffmpeg -i&lt;/code&gt; if that's helpful:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: &#xA;isomiso2avc1mp41&#xA;    encoder         : Lavf58.20.10&#xA;0&#xA;  Duration: 00:00:54.54, start: 0.000000&#xA;, bitrate: 9964 kb/s&#xA;    Stream #0:&#xA;0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], 9589 kb/s, &#xA;60 fps, 60 tbr, &#xA;15360 tbn, &#xA;120 tbc&#xA; (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:&#xA;1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 364 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="23488" LastEditorUserId="23488" LastEditDate="2019-04-10T07:31:08.837" LastActivityDate="2024-03-12T13:08:36.043" Title="FFmpeg afade produces horrible audio quality" Tags="|ffmpeg|effects|filter|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="26424" PostTypeId="2" ParentId="26421" CreationDate="2019-04-10T09:13:59.840" Score="1" Body="&lt;p&gt;Premiere would be a pain in the rear for doing this. You should opt for after effects, create a text and set the text content as the filename using an expression. Then you can just copy+paste this for every file and the name will be applied automatically.&#xA;Open your text-layer, alt+click on the &quot;source-text&quot;-stopwatch to create an expression. In this, type &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(2).name&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;IMPORTANT: For the expression to work, the audio-file must be placed so that it's layer 2, i.e. under the text-layer. If you want to change the position of the layer, just put the place of it in the expression, replacing the &quot;(2)&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now all you have to do is copy and paste that text-layer containing the expression, and (if the sound-files are all in the same position in each comp) the text-layer will automatically change to the name of your file.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastEditorUserId="4426" LastEditDate="2019-06-12T14:40:59.560" LastActivityDate="2019-06-12T14:40:59.560" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26426" PostTypeId="2" ParentId="26418" CreationDate="2019-04-10T18:36:56.260" Score="4" Body="&lt;p&gt;Well. Turns out that if you read &lt;a href=&quot;https://developer.apple.com/documentation/http_live_streaming/hls_authoring_specification_for_apple_devices?language=objc&quot; rel=&quot;nofollow noreferrer&quot;&gt;this guide&lt;/a&gt; for HLS streams, it gives a bunch of details on how the actual video formats should be set up. In particular, for HEVC, it says: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;1.10. You SHOULD use video formats in which the parameter sets are stored in the &gt; sample descriptions, rather than the samples. (i.e., Use ‘avc1’, ‘hvc1’, or &#xA;  ‘dvh1’ rather than ‘avc3’, ‘hev1’, or ‘dvhe’.) &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So I thought I could give it a shot. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg, by default, uses hev1. So if I take my previous command line and add &lt;code&gt;-tag:v hvc1&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i hank_vlog_orig_short.mp4 -c:v libx265 -c:a copy -tag:v hvc1 hank_vlog_orig_short_hvec.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Presto, it works. &lt;/p&gt;&#xA;" OwnerUserId="24945" LastActivityDate="2019-04-10T18:36:56.260" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26427" PostTypeId="1" CreationDate="2019-04-10T18:40:45.840" Score="0" ViewCount="182" Body="&lt;p&gt;this is my first post (&lt;em&gt;on video.stackexchange.com&lt;/em&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need some explanation regarding to re-encoding a &lt;strong&gt;single&lt;/strong&gt; .ts chunk and then use &lt;code&gt;cat&lt;/code&gt; command.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll explain my scenario.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've a  lot of &lt;code&gt;.ts&lt;/code&gt; chunks that all together create a smooth video. Tested.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To create a single video I use the classic linux &lt;code&gt;cat&lt;/code&gt; command, and everything works a treat.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;BUT&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These &quot;&lt;em&gt;lot of &lt;code&gt;.ts&lt;/code&gt; chunks&lt;/em&gt;&quot; reside on a web-hosting where, obviously, it is not possible to install ffmpeg, &lt;strong&gt;but I can use &lt;code&gt;cat&lt;/code&gt;&lt;/strong&gt; command (through PHP's &lt;code&gt;shell_exec&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My goal&lt;/strong&gt; &#xA;is to apply an audio/video fade-in on first chunk (and so far I've done it with &lt;code&gt;-vf &quot;fade=t=in:st=0.1:d=1&quot;&lt;/code&gt; and &lt;code&gt;-af &quot;afade=t=in:st=0.1:d=1&quot;&lt;/code&gt;) on my local machine and then, after uploaded the &quot;faded chunk&quot; on remote web-hosting, &lt;code&gt;cat&lt;/code&gt; the faded chunk + remaing chunks.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My actual results&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My concatenated-chunks-video has a frame-gap at the end of the &quot;faded chunk&quot; and the beginning of the next chunk. After this, plays smoothly.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;CLI&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /path/to/first_chunk.ts -vf &quot;fade=t=in:st=0.1:d=1, format=yuv420p&quot; -af &quot;afade=t=in:st=0.1:d=1&quot; -c:v libx264 -b:v 5099.998K -profile:v main -level:v 4.0 -c:a aac -b:a 279000 -strict experimental -y /path/to/first_chunk_fade_in.ts&#xA;&#xA;cat /path/to/first_chunk_fade_in.ts /path/to/2nd_chunk.ts /path/to/3rd_chunk.ts /path/to/4th_chunk.ts /path/to/5th_chunk.ts &amp;gt; /path/to/merged.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All &lt;code&gt;-c:v&lt;/code&gt;, &lt;code&gt;-b:v&lt;/code&gt;, &lt;code&gt;-profile:v&lt;/code&gt;, &lt;code&gt;-level:v&lt;/code&gt;, &lt;code&gt;-c:a&lt;/code&gt;, &lt;code&gt;-b:a&lt;/code&gt; values were recovered and / or calculated from the original chunk using &lt;code&gt;ffprobe&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Any ideas? Or do I have to re-encode the whole file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many thanks&lt;/p&gt;&#xA;" OwnerUserId="24952" LastEditorUserId="24952" LastEditDate="2019-04-10T18:47:36.263" LastActivityDate="2019-04-10T18:47:36.263" Title="FFmpeg: apply audio/video fade-in on the first TS chunk, then &quot;cat&quot; all chunks produces a frame loss" Tags="|ffmpeg|mpeg-dash|" AnswerCount="0" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="26428" PostTypeId="1" CreationDate="2019-04-10T20:02:37.573" Score="0" ViewCount="117" Body="&lt;p&gt;I've successfully created a video with 3 language audio tracks (English, French, Spanish). When playing back in a video player that recognizes the languages, I can correctly switch between these tracks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For each language, there is an LCID (Language Code Identifier) embedded in the video file. I know they're there, but can't see the detailed LCID. The format should be similar to this: &quot;es-MX&quot; for Spanish-Mexico. But I only know the first part (&quot;es&quot; in this case) and can't confirm the second part (&quot;MX&quot;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have both .mov and .wmv versions of the video file. Is there some way to examine the video files and see the full LCID? I.E, I'd like to be able to see &quot;en-US&quot;, &quot;fr-FR&quot; and &quot;es-MX&quot; or whatever they are set to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks ... John&lt;/p&gt;&#xA;" OwnerUserId="24954" LastActivityDate="2019-04-10T20:02:37.573" Title="How to determine audio full LCID language identifier from a video file?" Tags="|audio|tracks|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26429" PostTypeId="1" AcceptedAnswerId="26431" CreationDate="2019-04-10T20:12:22.173" Score="3" ViewCount="501" Body="&lt;p&gt;I installed the latest firmware as of 09-APR-2019 to my GoPro Hero 4 Black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recorded video in 1080 60fps in LINEAR FOV mode with ProTune enabled. Why am I seeing lens distortion at the edges? For example look at the front wheel of the car.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have Adobe Premiere and can get GoPro Studio how can I remove this? i don't mind losing some of the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/A3ZO9.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/A3ZO9.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Further to this i have now made a comparison between LINEAR and NARROW FOV options on the Hero 4 Black below. The NARROW option (the left image) seems to remove this effect, why is this? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it simply because the Narrow is cropped by comparison?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AK6lY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AK6lY.jpg&quot; alt=&quot;LEFT is Narrow Mode, RIGHT is Linear Mode&quot;&gt;&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="24955" LastEditorUserId="24955" LastEditDate="2019-04-11T12:52:20.257" LastActivityDate="2019-04-11T12:52:20.257" Title="Why is my Linear FOV GoPro Hero 4 Black video distorted at edges?" Tags="|premiere|video-capture|lenses|gopro|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26430" PostTypeId="2" ParentId="26419" CreationDate="2019-04-10T20:36:42.080" Score="0" Body="&lt;p&gt;That is neither an artifact nor graffiti. That is a (simulation of) writing directly onto a &lt;a href=&quot;https://www.shutterstock.com/video/clip-5992598-writing-scratches-on-old-film-leader-loop&quot; rel=&quot;nofollow noreferrer&quot;&gt;film leader&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2019-04-10T20:36:42.080" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26431" PostTypeId="2" ParentId="26429" CreationDate="2019-04-10T20:46:39.233" Score="4" Body="&lt;p&gt;The distortion you are seeing has nothing to do with ProTune or other codec settings. Its perspective distortion caused by the wide focal length of the GoPro Lens + The low quality of the GoPro Lens itself. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I say low quality, I mean that in relative terms. The GoPro lens actually produces a pretty amazing image for what it is. But even when you enable the Linear FOV mode, the camera's software can only do so much to reduce the tearing - specifically in the corners of the frame, that you are seeing. It does a decent job overall, but the lens on the GoPro in Wide FOV is roughly 17mm equivalent to a full frame lens. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want nearly zero distortion at that focal length... The Zeiss 15mm released a few years back is fantastic, but it's $2500 ish just for the lens itself. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 16mm and 14mm Arri Master Primes are practically flawless in terms of edge and corner distortion, remarkable actually even at their widest f1.4 t-stop. But for that look, you have to rent or shell out $30,000 for the lens.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So that is basically the reason. You will only get &quot;so good&quot; with a cheap plastic lens on a $400 camera at that focal length. And there is only so much the in camera software can do to process that distortion out. Even doing a more detailed correction in post will get you so far. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem has nothing to do with the settings. Thats as good as it gets with the GoPro, in terms of it's wide angle ability to capture a relatively flat looking image. Flat in the middle, but the closer you get to the corners the worse it's going to get. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My recommendation is if you can't live with it, shoot from a farther distance and crop in in post. I think judging by the image had you just backed up perhaps 5 or 6 feet, you'd be able to crop in just a bit and remove &quot;the worst of it&quot;.&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2019-04-10T20:46:39.233" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26432" PostTypeId="2" ParentId="26413" CreationDate="2019-04-10T20:51:43.263" Score="1" Body="&lt;p&gt;No there isn't. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could nest each section from your master timeline into it's own timeline, from the in and out points of where your start marker to your next would be. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is the only thing I could think of. You could still work off the master timeline provided you dont do any time shifts / move any content up or down the timeline. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you could batch out the sequences to AME and apply the pre-set to all of them at once for export. &lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2019-04-10T20:51:43.263" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26436" PostTypeId="1" CreationDate="2019-04-12T08:38:32.923" Score="2" ViewCount="197" Body="&lt;p&gt;In project &lt;strong&gt;A&lt;/strong&gt; I have grouped a number of clips into a compound clip called &lt;strong&gt;c1&lt;/strong&gt;. While in project &lt;strong&gt;A&lt;/strong&gt; I've added to the compound clip (e.g. so it affects the entire compound clip) a &lt;em&gt;color board&lt;/em&gt; effect and some &lt;em&gt;transformation&lt;/em&gt; adjustments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then when I go into project &lt;strong&gt;B&lt;/strong&gt; and insert compound clip &lt;strong&gt;c1&lt;/strong&gt; it does not have the effect or transformation adjustments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way for the adjustments I've made in project &lt;strong&gt;A&lt;/strong&gt; to transfer over to project &lt;strong&gt;B&lt;/strong&gt;? I have something like 200 compound clips along these lines that need to get reassembled in another project, and I don't want to lose all those adjustments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, is there anything else that doesn't transfer over I should be aware of?&lt;/p&gt;&#xA;" OwnerUserId="24967" LastActivityDate="2024-01-22T07:09:46.153" Title="Why Doesn't Compound Clip With Effect in One Project Still Have Effect When Placed in Another Project?" Tags="|editing|final-cut-pro-x|effects|fcpx|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26438" PostTypeId="1" AcceptedAnswerId="26443" CreationDate="2019-04-12T14:44:30.330" Score="0" ViewCount="1691" Body="&lt;p&gt;I'm trying to work out a counter that simply goes like:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2.5M views&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the moment I've got this expression working along with a &lt;em&gt;Slider Control&lt;/em&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var num = effect(&quot;Slider Control&quot;)(&quot;Slider&quot;)&#xA;num = Comma(num) + &quot;M views&quot;;&#xA;[num]&#xA;&#xA;function Comma(number)&#xA;{&#xA;number = '' + Math.round(number);&#xA;if (number.length &amp;gt; 3)&#xA;{&#xA;var mod = number.length % 3;&#xA;var output = (mod &amp;gt; 0 ? (number.substring(0,mod)) : '');&#xA;for (i=0 ; i &amp;lt; Math.floor(number.length / 3); i++)&#xA;{&#xA;if ((mod == 0) &amp;amp;&amp;amp; (i == 0))&#xA;output += number.substring(mod+ 3 * i, mod + 3 * i + 3);&#xA;else&#xA;output+= ',' + number.substring(mod + 3 * i, mod + 3 * i + 3);&#xA;}&#xA;return (output);&#xA;}&#xA;else return number;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This though only makes my text layer go like:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2M views&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried already replacing the first line with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;effect(&quot;Slider Control&quot;)(&quot;Slider&quot;).value.toFixed(2)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this adds a decimal followed by a comma normally, it doesn't work anyways on this expression but maybe it can help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="6118" LastActivityDate="2019-04-23T13:48:18.313" Title="AE Counter Expression (0.0M views)" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26442" PostTypeId="1" CreationDate="2019-04-13T07:24:01.560" Score="0" ViewCount="23" Body="&lt;p&gt;I would like to remove the background completely in a video I want to record for YouTube, because I don't want others to see my messy house or where I am because it would just look too bad. What tools do I need to accomplish this task, in terms of hardware and OSk requirements on Windows and software, and is it easy do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="24972" LastActivityDate="2019-04-13T12:32:48.233" Title="Removing background for YouTube video" Tags="|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26443" PostTypeId="2" ParentId="26438" CreationDate="2019-04-13T10:02:09.460" Score="1" Body="&lt;p&gt;Here's my cheat sheet for numeric text animations like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;slider = (effect(&quot;Slider Control&quot;)(&quot;Slider&quot;).value);&#xA;tidying = (Math.round(slider * 100))/100;&#xA;SourceText = &quot;$&quot; + tidying + &quot;bn&quot; +&quot;\r&quot; +&quot;DEBTS&quot;;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the .value is sometimes needed to force AE to look at the slider as a number, not as an object.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;tidying is being done to round up to 2 decimal places&lt;/p&gt;&#xA;&#xA;&lt;p&gt;\r gives a line break&lt;/p&gt;&#xA;&#xA;&lt;p&gt;text is appended with +”text”+&lt;/p&gt;&#xA;&#xA;&lt;p&gt;you can comment out some text   /* like this */&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So in the example above, you would get an output like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$5.23bn&#xA;DEBTS&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So for your specific example, try something like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;slider = (effect(&quot;Slider Control&quot;)(&quot;Slider&quot;).value);&#xA;tidying = (Math.round(slider * 10))/10;&#xA;SourceText = tidying + &quot;M views&quot;;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To specify showing a decimal place at all times (displaying &quot;2.0&quot; when your slider is set to &quot;2&quot;), use the &quot;toFixed&quot; function, like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;slider = (effect(&quot;Slider Control&quot;)(&quot;Slider&quot;).value);&#xA;tidying = ((Math.round(slider * 10))/10).toFixed(1);&#xA;SourceText = tidying + &quot;M views&quot;;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Screenshot:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/toXvb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/toXvb.png&quot; alt=&quot;AE screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2019-04-23T13:48:18.313" LastActivityDate="2019-04-23T13:48:18.313" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26444" PostTypeId="2" ParentId="26442" CreationDate="2019-04-13T12:32:48.233" Score="1" Body="&lt;p&gt;Easiest way is to use a greenscreen. This can be done with household items, but will be a lot easier with equipment of about 150$.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You hang a green cloth behind you, light it up good and evenly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then in an editing/streaimng software you simply use the Grenn Screen/Key/Chroma Key tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are cameras which can do it too, but those are expansive and don't work as well.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-04-13T12:32:48.233" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26447" PostTypeId="1" CreationDate="2019-04-15T00:32:56.823" Score="1" ViewCount="58379" Body="&lt;p&gt;I want to create a solid color &quot;video&quot; segment in my overall video. In iMovie I can add it by &lt;a href=&quot;https://video.stackexchange.com/questions/26353/how-to-choose-a-custom-solid-background-color-in-imovie&quot;&gt;importing a background&lt;/a&gt;. I don't see any such feature in Premiere Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I add a black (or other color) solid color background to my timeline?&lt;/p&gt;&#xA;" OwnerUserId="24076" LastActivityDate="2020-05-23T22:16:11.177" Title="How do I create a solid black background in Premiere?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26448" PostTypeId="2" ParentId="26447" CreationDate="2019-04-15T00:32:56.823" Score="2" Body="&lt;ol&gt;&#xA;&lt;li&gt;In the workspaces panel, right-click the background and choose New Item &gt; Color Matte...&lt;/li&gt;&#xA;&lt;li&gt;You can then select any color you want.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://www.youtube.com/watch?v=vpCMxcRq24o&quot; rel=&quot;nofollow noreferrer&quot;&gt;Easily Create a Solid Color Background in Premier Pro 2019&lt;/a&gt; for more details.&lt;/p&gt;&#xA;" OwnerUserId="24076" LastActivityDate="2019-04-15T00:32:56.823" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26449" PostTypeId="1" CreationDate="2019-04-15T00:37:29.657" Score="1" ViewCount="331" Body="&lt;p&gt;I'm slowing down some audio. I chose to &quot;Maintain Audio Pitch&quot; because I don't want it to sound like a very deep voice. However, when I play back the audio, it sounds like it's going through a metal filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a better way to change the duration of a clip and have it sound more natural?&lt;/p&gt;&#xA;" OwnerUserId="24076" LastActivityDate="2019-05-15T03:02:30.443" Title="Speeding up or slowing down a clip introduces metallic noise when adjusting for pitch" Tags="|premiere|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26450" PostTypeId="2" ParentId="26449" CreationDate="2019-04-15T00:37:29.657" Score="1" Body="&lt;p&gt;Most of the time you should not rely on the automatic Maintain Audio Pitch setting because it causes the audio to be distorted (both when speeding up and slowing down). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead, leave that checkbox unchecked, and add one of these filters instead:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Pitch Shifter (Obsolete)&lt;/li&gt;&#xA;&lt;li&gt;AUPitch&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;And play around with the settings until it sounds better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://www.youtube.com/watch?v=NTN4m762opk&quot; rel=&quot;nofollow noreferrer&quot;&gt;SPEED UP Video with No Audio DISTORTION in Premiere Pro&lt;/a&gt; for more info.&lt;/p&gt;&#xA;" OwnerUserId="24076" LastActivityDate="2019-04-15T00:37:29.657" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26451" PostTypeId="1" AcceptedAnswerId="26452" CreationDate="2019-04-15T03:45:54.630" Score="1" ViewCount="8210" Body="&lt;p&gt;I'm trying to generate video files that follow a &quot;prototype&quot; file as much as possible (frame rate, dimensions, container format, codecs, etc.) but show a black screen with silent audio. Here's one command line that works fine, and produces a 3-second-long file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i color=c=black:s=3840x2160:r=25/1 -c:v h264 -f lavfi -i anullsrc=cl=mono:r=48000 -c:a pcm_s16be -t 3 out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Sometimes, the prototype file has codecs that ffmpeg can read but not write, like &lt;code&gt;pcm_bluray&lt;/code&gt;. So instead of trying to use the same codec as the prototype, I omit this parameter and let ffmpeg pick a default:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i color=c=black:s=3840x2160:r=25/1 -c:v h264 -f lavfi -i anullsrc=cl=mono:r=48000 -t 3 out.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To my surprise, I get a file that's 3.022s long. What's interesting is that both the streams are 3.0s long, but container duration is longer:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;{&#xA;    &quot;streams&quot;: [&#xA;        {&#xA;            &quot;index&quot;: 0,&#xA;            &quot;codec_name&quot;: &quot;h264&quot;,&#xA;&#xA;            &quot;time_base&quot;: &quot;1/12800&quot;,&#xA;            &quot;start_pts&quot;: 0,&#xA;            &quot;start_time&quot;: &quot;0.000000&quot;,&#xA;            &quot;duration_ts&quot;: 38400,&#xA;            &quot;duration&quot;: &quot;3.000000&quot;,&#xA;&#xA;            &quot;nb_frames&quot;: &quot;75&quot;,&#xA;        },&#xA;        {&#xA;            &quot;index&quot;: 1,&#xA;            &quot;codec_name&quot;: &quot;aac&quot;,&#xA;            &quot;codec_long_name&quot;: &quot;AAC (Advanced Audio Coding)&quot;,&#xA;            &quot;profile&quot;: &quot;LC&quot;,&#xA;&#xA;            &quot;start_pts&quot;: 0,&#xA;            &quot;start_time&quot;: &quot;0.000000&quot;,&#xA;            &quot;duration_ts&quot;: 144000,&#xA;            &quot;duration&quot;: &quot;3.000000&quot;,&#xA;        }&#xA;    ],&#xA;    &quot;format&quot;: {&#xA;        &quot;nb_streams&quot;: 2,&#xA;        &quot;nb_programs&quot;: 0,&#xA;        &quot;format_name&quot;: &quot;mov,mp4,m4a,3gp,3g2,mj2&quot;,&#xA;        &quot;format_long_name&quot;: &quot;QuickTime / MOV&quot;,&#xA;        &quot;start_time&quot;: &quot;0.000000&quot;,&#xA;        &quot;duration&quot;: &quot;3.022000&quot;,&#xA;    }&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.0.2-2 Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with gcc 8 (Ubuntu 8.2.0-7ubuntu1)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="22216" LastActivityDate="2019-04-15T04:46:28.970" Title="Black/silent video with specific duration with ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26452" PostTypeId="2" ParentId="26451" CreationDate="2019-04-15T04:46:28.970" Score="3" Body="&lt;p&gt;Specify a PCM codec. The default codec is AAC, which has a &lt;a href=&quot;https://stackoverflow.com/a/42415886&quot;&gt;priming sample&lt;/a&gt; that format in ffprobe accounts for, but stream won't, since the demuxer will have discarded it before sending it to the decoder for analysis.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. your syntax is wrong - it should be &lt;code&gt;ffmpeg -f lavfi -i color=c=black:s=3840x2160:r=25/1 -f lavfi -i anullsrc=cl=mono:r=48000 -c:v h264 -c:a pcm_s16be -t 3 out.mov&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Options before an input are applied to the input. You've gotten away with it because &lt;code&gt;-c:v h264&lt;/code&gt; sets the video decoder for the following input. However, since it is an audio-only input, the effect is inert. And the default codec for MOV happens to be H264, so the outcome is what you desired.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-04-15T04:46:28.970" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="26455" PostTypeId="1" CreationDate="2019-04-16T02:04:31.080" Score="1" ViewCount="426" Body="&lt;p&gt;I write a code to use gdigrab to capture screen and use dshow to capture audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But no matter how I set the frame rate to gdigrab, the acquisition frame rate is 10 frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought maybe my computer equipments influenced the acquisition frame rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the information of computer equipments:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;windows 7&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.CPU :Intel(R) Core(TM)2 Duo CPU  E8400 @ 3.00GHz 3.00GHz&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2.RAM :4.00GB (3.48GB available)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3.Screen resolution ：1680*1050&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4.adapter information ：Intel(R) 4 Series Express Chipset Family&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5.Screen refresh frequency ：60HZ&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know which is the culprits.Is there any way to detect the highest acquisition frame rate by writing a code.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really appreciate your help!&lt;/p&gt;&#xA;" OwnerUserId="24986" LastActivityDate="2019-04-16T02:04:31.080" Title="Ffmpeg recording with gdigrab will drop frame" Tags="|ffmpeg|recording|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26456" PostTypeId="1" CreationDate="2019-04-16T18:38:57.663" Score="0" ViewCount="241" Body="&lt;p&gt;I am processing video with FFmpeg. I am trying to add image overlays at certain times. I have command something like this: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i img_a.png -i img_xx.png -i some_third_image.png -i yy_img.png &#xA;-filter_complex overlay=185:H-h-85:enable=between(t\\,0.1\\,0.3),overlay=285:H-h-415:enable=between(t\\,0.3\\,0.7),overlay=185:H-h-35:enable=between(t\\,0.7\\,1.0),overlay=45:H-h-515:enable=between(t\\,1.1\\,1.6) &#xA;-c:v libx264 -crf 20 -preset veryfast vid0.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As I am forming/passing parameters to FFmpeg dynamically (programmatically), there can be &lt;strong&gt;really very very long parameters list&lt;/strong&gt;. So large, that I can even receive a message about too long parameter list (based on operating system). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to avoid this. I would like to know how to write code with FFmpeg so there would be fewer parameters passed to FFmpeg? For example, instead of: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-i img_a.png -i img_xx.png -i some_third_image.png -i yy_img.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;can it be something like: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-i &quot;img_a.png,img_xx.png,some_third_image.png,yy_img.png&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And if it can, how can those images be processed by FFmpeg (suppose also by &lt;code&gt;filter_complex&lt;/code&gt; overlay)? Please provide an example, if you can.&lt;/p&gt;&#xA;" OwnerUserId="20954" LastEditorUserId="14523" LastEditDate="2019-06-28T19:16:26.607" LastActivityDate="2019-07-03T19:12:57.427" Title="How to lower number of parameters passed to ffmpeg" Tags="|video|ffmpeg|filter|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26457" PostTypeId="1" AcceptedAnswerId="26460" CreationDate="2019-04-17T00:16:45.593" Score="0" ViewCount="252" Body="&lt;p&gt;I often make animations in &lt;strong&gt;After Effects&lt;/strong&gt; that use vector resources made in &lt;strong&gt;Illustrator&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Often times, I need as much accuracy as I can get, to align anchor points to the center of rotating elements for example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I zoom further than 100% in my &lt;strong&gt;After Effects&lt;/strong&gt; timeline, vector assets get pixelated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do understand that it is &lt;strong&gt;After Effect&lt;/strong&gt;'s way of showing the user what the result will look like, however, this seems to defeat the purpose of using vectors and the precision they can add to a workflow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Here's an example:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I made a dot in the middle of the helix to be able to align the anchor point to the middle and then rotate it endlessly without axis shift (yes it's very tiny):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0tPrb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0tPrb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But in &lt;strong&gt;After Effects&lt;/strong&gt;, aligning the &lt;strong&gt;Anchor Point&lt;/strong&gt; to the red dot is very imprecise even at 800%:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hf3es.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hf3es.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One way would be obviously to scale up and start projects at 1000% of final size - which, for computer memory and time reasons I would only do in last resort.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;&lt;strong&gt;&lt;em&gt;How do I get precise zoom on vectors in After Effects?&lt;/em&gt;&lt;/strong&gt;&lt;/h2&gt;&#xA;" OwnerUserId="11754" LastActivityDate="2019-04-17T09:07:36.487" Title="Can you keep the edges of vector elements smooth past 100% zoom in After Effects?" Tags="|after-effects|animation|workflow|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26460" PostTypeId="2" ParentId="26457" CreationDate="2019-04-17T09:07:36.487" Score="1" Body="&lt;p&gt;Don’t zoom in on your display to do this. &#xA;Adjust the scale on the layer to zoom in further. &#xA;If the sun icon is enabled on the layer, you will get sharp edges as you scale up. Then position your anchors accordingly and scale back down if necessary. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Zooming in on the display will only show you pixel level accuracy for the resolution of your comp, so if you comp is HD you will never see higher resolution than 1920x1080, as that is the resolution at which the comp will be rendered. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-04-17T09:07:36.487" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26461" PostTypeId="1" CreationDate="2019-04-17T14:58:45.633" Score="1" ViewCount="26" Body="&lt;p&gt;I'm travelling to shoot a documentary in a remote pacific island without any electricity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do you charge your batteries in such conditions ? I have never used a generator and I'm afraid of the noise level. So I was wondering if there is a better solutions for such shooting conditions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="24447" LastActivityDate="2019-05-19T13:01:30.250" Title="Where do you charge your batteries?" Tags="|hardware|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26463" PostTypeId="1" CreationDate="2019-04-17T20:39:58.153" Score="0" ViewCount="1491" Body="&lt;p&gt;Is there a way to use ffmpeg (or anything else that can be used in linux) to fix an interlaced video marked as progressive, and mark it as interlaced so that I can get rid of bad interlaced frames?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an example of how it is:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/rXPU2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rXPU2.png&quot; alt=&quot;Hardly interlaced frame&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And how it should be:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/nmsqg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nmsqg.png&quot; alt=&quot;Not interlaced&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the mediainfo of the video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Video&#xA;Format                                   : MPEG Video&#xA;Format version                           : Version 2&#xA;Format profile                           : Main@Main&#xA;Format settings, BVOP                    : Yes&#xA;Format settings, Matrix                  : Custom&#xA;Format settings, GOP                     : Variable&#xA;Bit rate mode                            : Variable&#xA;Maximum bit rate                         : 9 800 kb/s&#xA;Width                                    : 720 pixels&#xA;Height                                   : 480 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate                               : 23.976 (24000/1001) FPS&#xA;Standard                                 : Component&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&lt;/code&gt;&#xA;&lt;strong&gt;&lt;code&gt;&#xA;Scan type                                : Progressive&lt;/code&gt;&lt;/strong&gt;&lt;code&gt;&#xA;Scan order                               : 2:3 Pulldown&#xA;Compression mode                         : Lossy&#xA;Time code of first frame                 : 01:00:05:00&#xA;GOP, Open/Closed                         : Open&#xA;GOP, Open/Closed of first frame          : Closed&#xA;Color primaries                          : BT.601 NTSC&#xA;Transfer characteristics                 : BT.601&#xA;Matrix coefficients                      : BT.601&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I need a reencode to fix this? Or just change its wrong flag?&lt;/p&gt;&#xA;" OwnerUserId="24998" LastEditorUserId="24998" LastEditDate="2019-04-18T21:33:30.723" LastActivityDate="2022-12-27T14:31:37.527" Title="How to fix interlaced mpeg2 video marked as progressive?" Tags="|ffmpeg|linux|mpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="26464" PostTypeId="1" CreationDate="2019-04-17T20:57:08.440" Score="1" ViewCount="1849" Body="&lt;p&gt;I'd like to ask for your advice. Recently I got refurbished Dell Latitude E6540 with two GPUs: integrated Intel HD Graphics 4600 and external AMD Radeon HD 8790M:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;00:02.0 VGA compatible controller: Intel Corporation 4th Gen Core Processor Integrated Graphics Controller (rev 06)&#xA;01:00.0 VGA compatible controller: Advanced Micro Devices, Inc. [AMD/ATI] Mars XTX [Radeon HD 8790M]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Basically, what I'd like to achive is use AMD power to ffmpeg (I use it mainly to convert images sequences to movies - thousands of images in 2K-4K resolution), possibly also Digikam, GIMP, Avidemux and similar software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Kubuntu 18.04.2 LTS as my distro of choice with Oibaf's graphic drivers PPA. I know how to turn on AMD on it - just use &lt;code&gt;DRI_PRIME=1&lt;/code&gt; prefix with app name. So if I run &lt;code&gt;DRI_PRIME=1 glxinfo&lt;/code&gt; I get (only OpenGL excerpt):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;OpenGL vendor string: X.Org&#xA;OpenGL renderer string: AMD OLAND (DRM 2.50.0, 4.18.0-17-generic, LLVM 8.0.0)&#xA;OpenGL core profile version string: 4.5 (Core Profile) Mesa 19.1.0-devel (git-3c5a9ab 2019-04-17 bionic-oibaf-ppa)&#xA;OpenGL core profile shading language version string: 4.50&#xA;OpenGL core profile context flags: (none)&#xA;OpenGL core profile profile mask: core profile&#xA;OpenGL version string: 4.5 (Compatibility Profile) Mesa 19.1.0-devel (git-3c5a9ab 2019-04-17 bionic-oibaf-ppa)&#xA;OpenGL shading language version string: 4.50&#xA;OpenGL context flags: (none)&#xA;OpenGL profile mask: compatibility profile&#xA;OpenGL ES profile version string: OpenGL ES 3.2 Mesa 19.1.0-devel (git-3c5a9ab 2019-04-17 bionic-oibaf-ppa)&#xA;OpenGL ES profile shading language version string: OpenGL ES GLSL ES 3.20&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But if I test my notebook with &lt;code&gt;radeon-profile&lt;/code&gt; app (&lt;a href=&quot;https://github.com/marazmista/radeon-profile&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/marazmista/radeon-profile&lt;/a&gt;), I get:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;VGA: Intel Corporation 4th Gen Core Processor Integrated Graphics Controller (rev 06)&#xA;VGA: Advanced Micro Devices, Inc. [AMD/ATI] Mars XTX [Radeon HD 8790M]&#xA;OpenGL driver: not direct rendering capable.&#xA;Kernel driver: radeon&#xA;name of display: :0&#xA;display: :0  screen: 0&#xA;direct rendering: Yes&#xA;Extended renderer info (GLX_MESA_query_renderer):&#xA;    Vendor: Intel Open Source Technology Center (0x8086)&#xA;    Device: Mesa DRI Intel(R) Haswell Mobile  (0x416)&#xA;    Version: 19.1.0&#xA;    Accelerated: yes&#xA;    Video memory: 1536MB&#xA;    Unified memory: yes&#xA;    Preferred profile: core (0x1)&#xA;    Max core profile version: 4.5&#xA;    Max compat profile version: 3.0&#xA;    Max GLES1 profile version: 1.1&#xA;    Max GLES[23] profile version: 3.1&#xA;OpenGL vendor string: Intel Open Source Technology Center&#xA;OpenGL renderer string: Mesa DRI Intel(R) Haswell Mobile &#xA;OpenGL core profile version string: 4.5 (Core Profile) Mesa 19.1.0-devel (git-3c5a9ab 2019-04-17 bionic-oibaf-ppa)&#xA;OpenGL core profile shading language version string: 4.50&#xA;OpenGL core profile context flags: (none)&#xA;OpenGL core profile profile mask: core profile&#xA;OpenGL version string: 3.0 Mesa 19.1.0-devel (git-3c5a9ab 2019-04-17 bionic-oibaf-ppa)&#xA;OpenGL shading language version string: 1.30&#xA;OpenGL context flags: (none)&#xA;OpenGL ES profile version string: OpenGL ES 3.1 Mesa 19.1.0-devel (git-3c5a9ab 2019-04-17 bionic-oibaf-ppa)&#xA;OpenGL ES profile shading language version string: OpenGL ES GLSL ES 3.10&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So why it is? If I call AMD by &lt;code&gt;DRI_PRIME=1 radeon-profile&lt;/code&gt; and see kernel driver &lt;code&gt;radeon&lt;/code&gt;, next massages are about Intel GPU? And why one of the messages says &lt;em&gt;OpenGL driver: not direct rendering capable&lt;/em&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next test: &lt;code&gt;mpv&lt;/code&gt;. My personal &lt;code&gt;mpv.conf&lt;/code&gt; is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;gpu-context=auto&#xA;hwdec=auto&#xA;vo=gpu&#xA;profile=gpu-hq&#xA;fullscreen=yes&#xA;scale=ewa_lanczossharp&#xA;cscale=ewa_lanczossharp&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I call mpv with: &lt;code&gt;DRI_PRIME=1 mpv --msg-level=vo/opengl=debug --log-file=mpv-debug.log big_buck_bunny_1080p_stereo.avi&lt;/code&gt; and I see that AMD is used:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[   0.049][v][vo/gpu] Probing for best GPU context.&#xA;[   0.049][v][vo/gpu/opengl] Initializing GPU context 'x11probe'&#xA;[   0.049][v][vo/gpu/x11] X11 opening display: :0&#xA;[   0.051][v][vo/gpu/x11] X11 running at 1920x1080 (&quot;:0&quot; =&amp;gt; local display)&#xA;[   0.052][v][vo/gpu/x11] Detected wm supports NetWM.&#xA;[   0.052][v][vo/gpu/x11] Detected wm supports FULLSCREEN state.&#xA;[   0.052][v][vo/gpu/x11] Detected wm supports ABOVE state.&#xA;[   0.052][v][vo/gpu/x11] Detected wm supports BELOW state.&#xA;[   0.052][v][vo/gpu/x11] Detected wm supports STAYS_ON_TOP state.&#xA;[   0.052][v][vo/gpu/x11] Display 0 (eDP-1): [0, 0, 1920, 1080] @ 60.005696 FPS&#xA;[   0.052][v][vo/gpu/x11] Current display FPS: 60.005696&#xA;[   0.120][v][vo/gpu/opengl] GLX chose FB config with ID 0xe7&#xA;[   0.120][v][vo/gpu/opengl] GLX chose visual with ID 0x13e&#xA;[   0.123][v][vo/gpu/opengl] Creating OpenGL 4.4 context...&#xA;[   0.130][v][vo/gpu] GL_VERSION='4.5 (Core Profile) Mesa 19.1.0-devel (git-3c5a9ab 2019-04-17 bionic-oibaf-ppa)'&#xA;[   0.130][v][vo/gpu] Detected desktop OpenGL 4.5.&#xA;[   0.130][v][vo/gpu] GL_VENDOR='X.Org'&#xA;[   0.130][v][vo/gpu] GL_RENDERER='AMD OLAND (DRM 2.50.0, 4.18.0-17-generic, LLVM 8.0.0)'&#xA;[   0.130][v][vo/gpu] GL_SHADING_LANGUAGE_VERSION='4.50'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I call it without DRI_PRIME=1, relevant message says:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[   0.074][v][vo/gpu] GL_VERSION='4.5 (Core Profile) Mesa 19.1.0-devel (git-3c5a9ab 2019-04-17 bionic-oibaf-ppa)'&#xA;[   0.074][v][vo/gpu] Detected desktop OpenGL 4.5.&#xA;[   0.074][v][vo/gpu] GL_VENDOR='Intel Open Source Technology Center'&#xA;[   0.074][v][vo/gpu] GL_RENDERER='Mesa DRI Intel(R) Haswell Mobile '&#xA;[   0.074][v][vo/gpu] GL_SHADING_LANGUAGE_VERSION='4.50'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I also installed &lt;code&gt;radeontop&lt;/code&gt; and &lt;code&gt;intel-gpu-tools&lt;/code&gt; to monitor utilization of both GPUs and if I run mpv with DRI_PRIME=1, &lt;code&gt;radeontop&lt;/code&gt; is working (values different than 0%), if without - &lt;code&gt;intel_gpu_top&lt;/code&gt; is showing meaningful values and radeontop is empty.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now come to the ffmpeg. I googled many sites and tried many commands to force ffmpeg to work as expected. As far, no luck, so I'm asking here. But what I found until now?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've downloaded several clips from here: &lt;a href=&quot;https://standaloneinstaller.com/blog/big-list-of-sample-videos-for-testers-124.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://standaloneinstaller.com/blog/big-list-of-sample-videos-for-testers-124.html&lt;/a&gt; for testing, especially MP4 1920x1080 Panasonic_HDC_TM_700_P_50i movie. I reviewed instructions from the first hand: &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Hardware/VAAPI&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Hardware/VAAPI&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First I tried to capture the screen: &lt;code&gt;ffmpeg -vaapi_device /dev/dri/renderD128 -f x11grab -video_size 1920x1080 -i :0 -vf 'hwupload,scale_vaapi=format=nv12' -c:v h264_vaapi -qp 24 output.mp4&lt;/code&gt; but ended with &lt;em&gt;[h264_vaapi @ 0x558a43ee63c0] No usable encoding entrypoint found for profile VAProfileH264High (7).&#xA;Error initializing output stream 0:0 -- Error while opening encoder for output stream #0:0 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;Conversion failed!&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then the same with different combinations of &lt;code&gt;DRI_PRIME=1 LIBVA_DRIVER_NAME=radeonsi&lt;/code&gt; prefix - same result, same error message. So I googled for &lt;em&gt;No usable encoding entrypoint found for profile VAProfileH264High message&lt;/em&gt; but didn't found nothing which clarify it, only more confusion. So I tried different approach - &lt;code&gt;vainfo&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Clear &lt;code&gt;vainfo&lt;/code&gt; gives:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;libva info: VA-API version 1.1.0&#xA;libva info: va_getDriverName() returns 0&#xA;libva info: Trying to open /usr/lib/x86_64-linux-gnu/dri/i965_drv_video.so&#xA;libva info: Found init function __vaDriverInit_1_1&#xA;libva info: va_openDriver() returns 0&#xA;vainfo: VA-API version: 1.1 (libva 2.1.0)&#xA;vainfo: Driver version: Intel i965 driver for Intel(R) Haswell Mobile - 2.1.0&#xA;vainfo: Supported profile and entrypoints&#xA;      VAProfileMPEG2Simple            : VAEntrypointVLD&#xA;      VAProfileMPEG2Simple            : VAEntrypointEncSlice&#xA;      VAProfileMPEG2Main              : VAEntrypointVLD&#xA;      VAProfileMPEG2Main              : VAEntrypointEncSlice&#xA;      VAProfileH264ConstrainedBaseline: VAEntrypointVLD&#xA;      VAProfileH264ConstrainedBaseline: VAEntrypointEncSlice&#xA;      VAProfileH264Main               : VAEntrypointVLD&#xA;      VAProfileH264Main               : VAEntrypointEncSlice&#xA;      VAProfileH264High               : VAEntrypointVLD&#xA;      VAProfileH264High               : VAEntrypointEncSlice&#xA;      VAProfileH264MultiviewHigh      : VAEntrypointVLD&#xA;      VAProfileH264MultiviewHigh      : VAEntrypointEncSlice&#xA;      VAProfileH264StereoHigh         : VAEntrypointVLD&#xA;      VAProfileH264StereoHigh         : VAEntrypointEncSlice&#xA;      VAProfileVC1Simple              : VAEntrypointVLD&#xA;      VAProfileVC1Main                : VAEntrypointVLD&#xA;      VAProfileVC1Advanced            : VAEntrypointVLD&#xA;      VAProfileNone                   : VAEntrypointVideoProc&#xA;      VAProfileJPEGBaseline           : VAEntrypointVLD&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;vainfo&lt;/code&gt; with &lt;code&gt;DRI_PRIME=1&lt;/code&gt; gives:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;libva info: VA-API version 1.1.0&#xA;libva info: va_getDriverName() returns 0&#xA;libva info: User requested driver 'radeonsi'&#xA;libva info: Trying to open /usr/lib/x86_64-linux-gnu/dri/radeonsi_drv_video.so&#xA;libva info: Found init function __vaDriverInit_1_1&#xA;libva info: va_openDriver() returns 0&#xA;vainfo: VA-API version: 1.1 (libva 2.1.0)&#xA;vainfo: Driver version: Mesa Gallium driver 19.1.0-devel for AMD OLAND (DRM 2.50.0, 4.18.0-17-generic, LLVM 8.0.0)&#xA;vainfo: Supported profile and entrypoints&#xA;      VAProfileMPEG2Simple            : VAEntrypointVLD&#xA;      VAProfileMPEG2Main              : VAEntrypointVLD&#xA;      VAProfileVC1Simple              : VAEntrypointVLD&#xA;      VAProfileVC1Main                : VAEntrypointVLD&#xA;      VAProfileVC1Advanced            : VAEntrypointVLD&#xA;      VAProfileH264ConstrainedBaseline: VAEntrypointVLD&#xA;      VAProfileH264Main               : VAEntrypointVLD&#xA;      VAProfileH264High               : VAEntrypointVLD&#xA;      VAProfileNone                   : VAEntrypointVideoProc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;On ArchWiki I found something interesting (&lt;a href=&quot;https://wiki.archlinux.org/index.php/Hardware_video_acceleration#Verification&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://wiki.archlinux.org/index.php/Hardware_video_acceleration#Verification&lt;/a&gt;): &lt;em&gt;VAEntrypointVLD means that your card is capable to decode this format, VAEntrypointEncSlice means that you can encode to this format.&lt;/em&gt; So does it mean AMD is unable to convert (encode) to H264?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next test - &lt;code&gt;vdpauinfo&lt;/code&gt;. For Intel it gives error and doesn't run as expected but with &lt;code&gt;DRI_PRIME=1 vdpauinfo&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;display: :0   screen: 0&#xA;API version: 1&#xA;Information string: G3DVL VDPAU Driver Shared Library version 1.0&#xA;&#xA;Video surface:&#xA;&#xA;name   width height types&#xA;-------------------------------------------&#xA;420    16384 16384  NV12 YV12 &#xA;422    16384 16384  UYVY YUYV &#xA;444    16384 16384  Y8U8V8A8 V8U8Y8A8 &#xA;&#xA;Decoder capabilities:&#xA;&#xA;name                        level macbs width height&#xA;----------------------------------------------------&#xA;MPEG1                          --- not supported ---&#xA;MPEG2_SIMPLE                    3  9216  2048  1152&#xA;MPEG2_MAIN                      3  9216  2048  1152&#xA;H264_BASELINE                  41  9216  2048  1152&#xA;H264_MAIN                      41  9216  2048  1152&#xA;H264_HIGH                      41  9216  2048  1152&#xA;VC1_SIMPLE                      1  9216  2048  1152&#xA;VC1_MAIN                        2  9216  2048  1152&#xA;VC1_ADVANCED                    4  9216  2048  1152&#xA;MPEG4_PART2_SP                  3  9216  2048  1152&#xA;MPEG4_PART2_ASP                 5  9216  2048  1152&#xA;DIVX4_QMOBILE                  --- not supported ---&#xA;DIVX4_MOBILE                   --- not supported ---&#xA;DIVX4_HOME_THEATER             --- not supported ---&#xA;DIVX4_HD_1080P                 --- not supported ---&#xA;DIVX5_QMOBILE                  --- not supported ---&#xA;DIVX5_MOBILE                   --- not supported ---&#xA;DIVX5_HOME_THEATER             --- not supported ---&#xA;DIVX5_HD_1080P                 --- not supported ---&#xA;H264_CONSTRAINED_BASELINE       0  9216  2048  1152&#xA;H264_EXTENDED                  --- not supported ---&#xA;H264_PROGRESSIVE_HIGH          --- not supported ---&#xA;H264_CONSTRAINED_HIGH          --- not supported ---&#xA;H264_HIGH_444_PREDICTIVE       --- not supported ---&#xA;HEVC_MAIN                      --- not supported ---&#xA;HEVC_MAIN_10                   --- not supported ---&#xA;HEVC_MAIN_STILL                --- not supported ---&#xA;HEVC_MAIN_12                   --- not supported ---&#xA;HEVC_MAIN_444                  --- not supported ---&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So most of H264 profiles aren't supported? I tried to add &lt;code&gt;-profile:v baseline&lt;/code&gt; switch to &lt;code&gt;ffmpeg&lt;/code&gt; command but ended with: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[h264_vaapi @ 0x55929d9c8300] [Eval @ 0x7ffdb7f59060] Undefined constant or missing '(' in 'baseline'&#xA;[h264_vaapi @ 0x55929d9c8300] Unable to parse option value &quot;baseline&quot;&#xA;[h264_vaapi @ 0x55929d9c8300] Error setting option profile to value baseline.&#xA;Error initializing output stream 0:0 -- Error while opening encoder for output stream #0:0 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And I digged again, founding this: &lt;a href=&quot;https://bugs.launchpad.net/ubuntu/+source/ffmpeg/+bug/1805712/comments/2&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://bugs.launchpad.net/ubuntu/+source/ffmpeg/+bug/1805712/comments/2&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And my hopes died here. If I understand it properly, I can't use AMD GPU to encode because this chip doesn't have this capability built-in. So how can I use the power of this GPU in Linux? Currently I use open-source drivers (radeon/radeonsi) and I've read that open-source driver for AMD is good so I didn't have reason for change. I tried to avoid external solution, but maybe the time has come...? Does it change anything?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: I reply to my own last question. No, it doesn't change anything, so I came back to system drivers (from Oibaf's repo).&lt;/p&gt;&#xA;" OwnerUserId="24999" LastEditorUserId="24999" LastEditDate="2019-04-19T07:31:41.877" LastActivityDate="2019-04-19T07:31:41.877" Title="AMD support for ffmpeg? Can't get my dedicated GPU to work" Tags="|ffmpeg|h.264|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26465" PostTypeId="1" AcceptedAnswerId="26467" CreationDate="2019-04-18T01:05:00.077" Score="0" ViewCount="43" Body="&lt;p&gt;My Adobe premiere is slow running on my pc. Playing video slow, edit text slow.&#xA;Below is my computer spec. What else can I upgrade so my Premiere can running fast.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/IWFKb.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IWFKb.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QoSdf.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QoSdf.jpg&quot; alt=&quot;A&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25000" LastActivityDate="2019-04-26T18:59:43.827" Title="Adobe Premiere is slow. Please recommend" Tags="|software-recommendation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26467" PostTypeId="2" ParentId="26465" CreationDate="2019-04-18T22:42:57.487" Score="1" Body="&lt;p&gt;You seem to have a low-end $50 GPU on a low-to-mid range Windows PC (Core i5) with the bare minimum of RAM (24 GB). I'm betting you're using a &quot;spinning rust&quot; drive instead of an SSD as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're serious about video editing, you should START with the recommended requirements described at this link: &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/system-requirements.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/system-requirements.html&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A &quot;decent&quot; system for Premiere will typically have an nVidia Quadro GPU, possibly 2 of them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere will take all the hardware you can give it and still come back for more. Adobe gives short shrift to non-CUDA GPU. Plan on buying at least an $800 GPU for serious editing work. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please describe the type of video work you want to do. Premiere requires a serious investment to get real work done, but you may be able to use a lesser tool for what you need to do. Nowadays I tell a lot of beginners to get an iPad Pro and use iMovie or LumaFusion, or on Windows - Camtasia/Vegas. &lt;/p&gt;&#xA;" OwnerUserId="24473" LastActivityDate="2019-04-18T22:42:57.487" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26470" PostTypeId="1" CreationDate="2019-04-19T08:00:45.660" Score="0" ViewCount="7401" Body="&lt;p&gt;Recently I asked about GPU acceleration in FFmpeg using AMD Radeon (&lt;a href=&quot;https://video.stackexchange.com/questions/26464/amd-support-for-ffmpeg-cant-get-my-dedicated-gpu-to-work&quot;&gt;AMD support for ffmpeg? Can&amp;#39;t get my dedicated GPU to work&lt;/a&gt;). After many tests I see that fighting with this topic is hard, especially if I read something like that: &lt;em&gt;Feature support varies – for more complex codecs with many different profiles, hardware decoders rarely implement all of them (for example, hardware decoders tend not to implement anything beyond YUV 4:2:0 at 8-bit depth for H.264)&lt;/em&gt; (&lt;a href=&quot;https://trac.ffmpeg.org/wiki/HWAccelIntro&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/HWAccelIntro&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But maybe I just started with wrong solution? Maybe OpenCL is what I need? So I'd like to ask if someone could help me with OpenCL. I installed it on my OS (Kubuntu 18.04.2 LTS) and confirmed it works. I used tips and examples found here: &lt;a href=&quot;https://wiki.tiker.net/OpenCLHowTo&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://wiki.tiker.net/OpenCLHowTo&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also installed FFmpeg with OpenCL support from Snapcraft (&lt;a href=&quot;https://snapcraft.io/ffmpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://snapcraft.io/ffmpeg&lt;/a&gt;):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version n4.1 Copyright (c) 2000-2018 the FFmpeg developers&#xA;built with gcc 5.4.0 (Ubuntu 5.4.0-6ubuntu1~16.04.10) 20160609&#xA;configuration: --prefix= --prefix=/usr --disable-debug --disable-doc --disable-static --enable-avisynth --enable-cuda --enable-cuvid --enable-libdrm --enable-ffplay --enable-gpl --enable-libass --enable-libfdk-aac --enable-libfontconfig --enable-libfreetype --enable-libmp3lame --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libopus --enable-libpulse --enable-sdl2 --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libv4l2 --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-libxcb --enable-libxvid --enable-nonfree --enable-nvenc --enable-omx --enable-openal --enable-opencl --enable-runtime-cpudetect --enable-shared --enable-vaapi --enable-vdpau --enable-version3 --enable-xlib&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I use FFmpeg mainly to convert images sequences to movies - thousands of images in 2K-4K resolution. I call it usually like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -i frame-%05d.png -preset ultrafast -tune film -c:v h264 -c:v libx264 -b:v 20M -pix_fmt yuv420p output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My question is (quite) simple: how can I &quot;translate&quot; above to FFmpeg+OpenCL language? I'm using integrated Intel HD Graphics 4600 and external AMD Radeon HD 8790M. Nevermind which device will be used, I'd like to check if OpenCL will help me to reduce time of encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could someone help me?&lt;/p&gt;&#xA;" OwnerUserId="24999" LastActivityDate="2019-08-22T11:14:59.203" Title="FFmpeg with OpenCL support - Ubuntu 18.04" Tags="|ffmpeg|linux|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26471" PostTypeId="2" ParentId="26461" CreationDate="2019-04-19T12:37:15.513" Score="1" Body="&lt;p&gt;If there's no electricity and you're not keen on using a generator, this is your solution: &lt;a href=&quot;https://nofilmschool.com/2016/11/how-to-build-cheap-solar-camera-charger-for-adventure-filmmaking&quot; rel=&quot;nofollow noreferrer&quot;&gt;a DIY battery solar charger&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2019-04-19T12:37:15.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26474" PostTypeId="1" CreationDate="2019-04-19T21:19:40.333" Score="0" ViewCount="121" Body="&lt;p&gt;I have mp4 files with two stereo audio tracks, one with voice, and the other with game sounds. Unfortunately, when I import into Final Cut Pro, and then expand audio components, I only get the first (voice) track. Everything I can find claims that I should be seeing both tracks. What am I doing wrong here? Is there an import switch not set properly? &lt;/p&gt;&#xA;" OwnerUserId="25013" LastActivityDate="2023-12-25T10:08:51.063" Title="FCP loses second audio track on import" Tags="|audio|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26475" PostTypeId="2" ParentId="26474" CreationDate="2019-04-20T00:26:37.530" Score="0" Body="&lt;p&gt;Make sure to activate “Separate mono and group stereo audio “ and deactivate “Remove silent channels” in the import window. &#xA;Maybe consider to check the files with VLC or Audacity to make sure both channels are present. You could export just the audio tracks and import them separately as well. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2019-04-20T00:26:37.530" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26479" PostTypeId="1" CreationDate="2019-04-20T13:18:07.860" Score="1" ViewCount="57" Body="&lt;p&gt;I'm trying to capture the time of a mouse click on a video clip. I see 'time, position, color' events in the console, but I want to catch the times of clicks in my script - to allow me to save clips based on user interaction.&#xA;All and any help appreciated.&lt;/p&gt;&#xA;" OwnerUserId="25020" LastActivityDate="2019-04-20T13:18:07.860" Title="Moviepy - capture time on-click" Tags="|video-editor|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26482" PostTypeId="1" AcceptedAnswerId="27490" CreationDate="2019-04-21T01:20:03.087" Score="0" ViewCount="149" Body="&lt;p&gt;I have a 1 second precomp that is a rotating wheel using LoopOut(). Using Time Remap this animates during my entire main composition which is about 20 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to include an ease in so that the wheel starts turning gradually before rotating at a constant velocity. Doing this to the first time remap keyframe is obviously wrong, as the ease then happens every second. Is there a way of doing this without making the precomp 20 seconds long? (I found a longer precomp was slowing down the rendering.)&lt;/p&gt;&#xA;" OwnerUserId="25021" LastActivityDate="2019-04-24T02:35:44.023" Title="Is it possible to add easing to a looping, time remapped precomp in After Effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="26483" PostTypeId="1" AcceptedAnswerId="27503" CreationDate="2019-04-21T15:54:30.227" Score="0" ViewCount="812" Body="&lt;p&gt;I installed &lt;a href=&quot;https://github.com/mattingalls/Soundflower&quot; rel=&quot;nofollow noreferrer&quot;&gt;Soundflower&lt;/a&gt; with &lt;code&gt;brew cask install soundflower&lt;/code&gt; and I see it listed:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -f avfoundation -list_devices true -i &quot;&quot;&#xA;[AVFoundation input device @ 0x7f9a32515e80] AVFoundation video devices:&#xA;[AVFoundation input device @ 0x7f9a32515e80] [0] FaceTime HD Camera&#xA;[AVFoundation input device @ 0x7f9a32515e80] [1] Capture screen 0&#xA;[AVFoundation input device @ 0x7f9a32515e80] AVFoundation audio devices:&#xA;[AVFoundation input device @ 0x7f9a32515e80] [0] Soundflower (2ch)&#xA;[AVFoundation input device @ 0x7f9a32515e80] [1] Built-in Microphone&#xA;[AVFoundation input device @ 0x7f9a32515e80] [2] Soundflower (64ch)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I found several threads on recording the screen without system sound (&lt;a href=&quot;https://stackoverflow.com/questions/35590500/ffmpeg-record-output-audio-for-mac&quot;&gt;one&lt;/a&gt;, &lt;a href=&quot;https://stackoverflow.com/questions/19828236/how-to-record-audio-with-ffmpeg-on-linux&quot;&gt;two&lt;/a&gt;, &lt;a href=&quot;https://superuser.com/questions/1154806/how-can-i-record-audio-from-the-microphone-with-ffmpeg&quot;&gt;three&lt;/a&gt;) and one about &lt;a href=&quot;https://askubuntu.com/questions/682144/capturing-only-desktop-audio-with-ffmpeg&quot;&gt;recording audio on Linux with ALSA&lt;/a&gt;. I could not find how to record audio only, without video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried this command to record the audio along with the screen &lt;code&gt;ffmpeg -f avfoundation -i &quot;1:0&quot; ~/Downloads/Screen.mov&lt;/code&gt;, and I got an error &lt;code&gt;Conversion failed!&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I record system sound to a file with FFMPEG?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2019-04-25T17:08:23.000" Title="How to record system sound without video?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26484" PostTypeId="2" ParentId="15196" CreationDate="2019-04-22T04:35:34.717" Score="1" Body="&lt;p&gt;The filename suggests that it's not a HERO6 Black, &amp;amp; HERO7 (White, Silver, Black) GH01xxxx.mp4 or GX01xxxx.mp4, but an older HERO with the filename pattern GOPRxxxx.mp4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camera Models: HD HERO2, HERO3, HERO3+, HERO (2014), HERO Session, HERO4, HERO5 Black, HERO5 Session, HERO (2018)&#xA;Single Video GOPRxxxx.mp4&#xA;Example GOPR1234.mp4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camera Model: HERO6 Black, &amp;amp; HERO7 (White, Silver, Black)&#xA;Single Video GH01xxxx.mp4 or GX01xxxx.mp4&#xA;Example GH011234.mp4 or GX011234.mp4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See at gopro website for more details &lt;a href=&quot;https://gopro.com/help/articles/question_answer/GoPro-Camera-File-Naming-Convention&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gopro.com/help/articles/question_answer/GoPro-Camera-File-Naming-Convention&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25027" LastEditorUserId="25027" LastEditDate="2019-04-25T03:49:56.093" LastActivityDate="2019-04-25T03:49:56.093" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="26485" PostTypeId="1" CreationDate="2019-04-22T13:56:53.817" Score="0" ViewCount="2139" Body="&lt;p&gt;I often need to send people the raw material with mail, Whats App or other size-limiting services.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe Media Encoder can limit the file size with Max Bitrate, but if I have a que with 100 videos, I don't want to calculate the max bitrate for every single video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to set a maximum file size for multiple videos so that AME calculates the max bitrate automatically?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2023-10-05T17:03:50.447" Title="Adobe Media Encoder render videos with fixed file size" Tags="|adobe-media-encoder|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="26490" PostTypeId="1" CreationDate="2019-04-24T00:24:52.500" Score="0" ViewCount="15" Body="&lt;p&gt;I have a video for which I want to a add subtitle strip below the original video. Like adding this new strip to the video to avoid affect the video that already has harcoded subtitles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which tool can I use to do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If open source, better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance&lt;/p&gt;&#xA;" OwnerUserId="16388" LastActivityDate="2019-04-24T00:24:52.500" Title="How to add subtitles below video" Tags="|video-editor|subtitles|" AnswerCount="0" CommentCount="2" ClosedDate="2019-04-24T08:05:35.223" ContentLicense="CC BY-SA 4.0" />
  <row Id="27490" PostTypeId="2" ParentId="26482" CreationDate="2019-04-24T02:35:44.023" Score="1" Body="&lt;p&gt;Add an expression control slider to the layer (&lt;strong&gt;Effects&gt;Expression Controls&gt;Slider Control&lt;/strong&gt;). This will be what we use to control the rotation of the wheel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;now add this expression to the time remap property:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;effect(&quot;Slider Control&quot;)(&quot;Slider&quot;) % 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You could also drag the expression pickwhip from the time remap property to the slider property, and then type &lt;code&gt;% 1&lt;/code&gt; after the result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;strong&gt;% 1&lt;/strong&gt; is the modulus operator, it returns the remainder when the first term is divided by the second, in this case the part after the decimal point, so if the slider is at 12.34 it will return 0.34.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you can animate the slider using whatever easing you like.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-04-24T02:35:44.023" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27491" PostTypeId="2" ParentId="26485" CreationDate="2019-04-24T08:32:27.307" Score="1" Body="&lt;p&gt;Well you can select every output option for each file, selecting the first and holding shift, then clicking the last one. That way, you can change the max filesize for each file. For example, when you have a max of 12gb and must encode 173 files, the max file-size must be roughly 12000/173 mb for each one. You'd only have to calculate that once, alternatively, if you don't even want to do that, you could jam all your timelines in a new one, which you could then limit in filesize. Wouldn't recommend that though, as you'd have to slice them after rendering to get seperate files again.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-04-24T08:32:27.307" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27492" PostTypeId="2" ParentId="18693" CreationDate="2019-04-24T15:08:08.610" Score="1" Body="&lt;p&gt;Thanks for the info!  I didn't have the app &quot;DSPPublishing Server&quot; in my Activity Monitor.  Instead I force quit Create DVD, through the Activity Monitor.  This seemed to solve the problem for me.  It restarted and finished the DVD.&lt;/p&gt;&#xA;" OwnerDisplayName="user25051" LastActivityDate="2019-04-24T15:08:08.610" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27495" PostTypeId="1" CreationDate="2019-04-24T15:44:35.930" Score="0" ViewCount="2009" Body="&lt;p&gt;I'd like to turn a sequence of images into a video using FFMPEG. They are numbered but with different &quot;digits&quot;. Eg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;a0001.jpg&#xA;&#xA;a0002.jpg&#xA;&#xA;a0003.jpg&#xA;&#xA;.&#xA;&#xA;.&#xA;&#xA;.&#xA;&#xA;a654321.jpg&#xA;&#xA;a654322.jpg&#xA;&#xA;a654323.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The first part consists of 4 digits but due to a very large number of images (more than a million). The number of digits can be up to 6.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;after reading this &lt;a href=&quot;https://en.wikibooks.org/wiki/FFMPEG_An_Intermediate_Guide/image_sequence&quot; rel=&quot;nofollow noreferrer&quot;&gt;wiki article&lt;/a&gt;, the following code didn't work:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffmpeg -framerate 24 -i a%d.jpg video.webm&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Error msg: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Could find no file with path 'a%d.jpg' and index in the range 0-4&#xA;  a%d.jpg: No such file or directory&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Version:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-92899-g1dcb5b7dca Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8.2.1 (GCC) 20181201&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt&#xA;  libavutil      56. 25.100 / 56. 25.100&#xA;  libavcodec     58. 43.100 / 58. 43.100&#xA;  libavformat    58. 25.100 / 58. 25.100&#xA;  libavdevice    58.  6.101 / 58.  6.101&#xA;  libavfilter     7. 46.101 /  7. 46.101&#xA;  libswscale      5.  4.100 /  5.  4.100&#xA;  libswresample   3.  4.100 /  3.  4.100&#xA;  libpostproc    55.  4.100 / 55.  4.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Windows 10&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="23237" LastActivityDate="2019-04-25T08:41:21.840" Title="How to convert a sequence of images to a video with different number of digits in the names?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27496" PostTypeId="1" CreationDate="2019-04-24T18:46:09.350" Score="0" ViewCount="653" Body="&lt;p&gt;So I was wondering whether anyone has any idea whatsoever how to achieve this particular effect? I'm knowledgable primarily in Photoshop and Illustrator but there must be an easier way to achieve this 'building out of lines' - effect as I would name it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Related material:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=NBWJ0BS7Hgw&quot; rel=&quot;nofollow noreferrer&quot;&gt;Actual effect - &quot;Scanline Splashscreen&quot; &lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EuhmK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EuhmK.jpg&quot; alt=&quot;Ladd Company logo &quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25053" LastActivityDate="2023-08-29T07:14:02.600" Title="Old VCR Scanline Spash Screen effect (Bladerunner Ladd Company logo)" Tags="|premiere|after-effects|premiere-elements|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27498" PostTypeId="1" AcceptedAnswerId="27499" CreationDate="2019-04-24T21:47:46.783" Score="2" ViewCount="6938" Body="&lt;p&gt;I'm trying to use FFmpeg to create a new video with some frames repeated and black frames inserted inside. Here is my command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#! /bin/sh&#xA;fn=&quot;Drifting with Cars.mp4&quot;&#xA;&#xA;#&#xA;ffmpeg -y -i &quot;${fn}&quot; -ss 00:00:05 -to 00:00:06 -r 1/1 _05.png&#xA;ffmpeg -y -i &quot;${fn}&quot; -ss 00:00:10 -to 00:00:11 -r 1/1 _10.png&#xA;ffmpeg -y -i &quot;${fn}&quot; -ss 00:00:15 -to 00:00:16 -r 1/1 _15.png&#xA;ffmpeg -y -i &quot;${fn}&quot; -ss 00:00:20 -to 00:00:21 -r 1/1 _20.png&#xA;ffmpeg -y -i &quot;${fn}&quot; -ss 00:00:25 -to 00:00:26 -r 1/1 _25.png&#xA;ffmpeg -y -i &quot;${fn}&quot; -ss 00:00:30 -to 00:00:31 -r 1/1 _30.png&#xA;ffmpeg -y -i &quot;${fn}&quot; -ss 00:00:35 -to 00:00:36 -r 1/1 _35.png&#xA;&#xA;#&#xA;ffmpeg -y -i &quot;${fn}&quot; \&#xA;-i _05.png \&#xA;-i _10.png \&#xA;-i _15.png \&#xA;-i _20.png \&#xA;-i _25.png \&#xA;-i _30.png \&#xA;-i _35.png \&#xA;-filter_complex &quot;&#xA;[0:v]trim=0:5,setpts=PTS-STARTPTS[0v_1];&#xA;[1:v]loop=loop=25*3:size=2&#xA;,drawtext='fontsize=40:fontcolor=0x0000FF@0.7&#xA;:text=pause -&amp;gt; fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1&#xA;,fade=t=out:st=2:d=1[pause1];&#xA;[0:v]trim=5:10,setpts=PTS-STARTPTS&#xA;,fade=t=in:d=1[0v_2];&#xA;[2:v]loop=loop=25*4:size=2&#xA;,drawtext='fontsize=40:fontcolor=0x0000FF@0.7&#xA;:text=pause -&amp;gt; fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1&#xA;,fade=t=out:st=3:d=1[pause2];&#xA;[0:v]trim=10:15,setpts=PTS-STARTPTS&#xA;,fade=t=in:d=1[0v_3];&#xA;[3:v]loop=loop=25*5:size=2&#xA;,drawtext='fontsize=40:fontcolor=0x0000FF@0.7&#xA;:text=pause -&amp;gt; fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1&#xA;,fade=t=out:st=3:d=2[pause3];&#xA;[0:v]trim=15:20,setpts=PTS-STARTPTS&#xA;,fade=t=in:d=1[0v_4];&#xA;[4:v]loop=loop=25*6:size=2&#xA;,drawtext='fontsize=40:fontcolor=0x0000FF@0.7&#xA;:text=pause -&amp;gt; fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1&#xA;,fade=t=out:st=3:d=3[pause4];&#xA;[0:v]trim=20:25,setpts=PTS-STARTPTS&#xA;,fade=t=in:d=1[0v_5];&#xA;[5:v]loop=loop=25*7:size=2&#xA;,drawtext='fontsize=40:fontcolor=0x0000FF@0.7&#xA;:text=pause -&amp;gt; fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1&#xA;,fade=t=out:st=3:d=4[pause5];&#xA;[0:v]trim=25:30,setpts=PTS-STARTPTS&#xA;,fade=t=in:d=1[0v_6];&#xA;[6:v]loop=loop=25*5:size=2&#xA;,drawtext='fontsize=40:fontcolor=0x0000FF@0.7&#xA;:text=pause -&amp;gt; fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1&#xA;,fade=t=out:st=3:d=2[pause6];&#xA;[0:v]trim=30:35,setpts=PTS-STARTPTS&#xA;,fade=t=in:d=1[0v_7];&#xA;[7:v]loop=loop=25*3:size=2&#xA;,drawtext='fontsize=40:fontcolor=0x0000FF@0.7&#xA;:text=pause -&amp;gt; fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1&#xA;,fade=t=out:st=2:d=1[pause7];&#xA;[0:v]trim=35,setpts=PTS-STARTPTS&#xA;,fade=t=in:d=1[0v_8];&#xA;&#xA;[0v_1][pause1]&#xA;[0v_2][pause2]&#xA;[0v_3][pause3]&#xA;[0v_4][pause4]&#xA;[0v_5][pause5]&#xA;[0v_6][pause6]&#xA;[0v_7][pause7]&#xA;[0v_8]&#xA;concat=n=15:a=0:v=1[v]&#xA;&quot; -map '[v]' -an &quot;DriftingWithCars_pf.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But when running (the filter part), I get the following error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[AVFilterGraph @ 0x2261560] No such filter: 'loop'&#xA;Error initializing complex filters.&#xA;Invalid argument&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What is the problem? Where does it come from? I'm using an updated version of &lt;code&gt;ffmpeg&lt;/code&gt;: &lt;code&gt;version 2.8.15 Copyright (c) 2000-2018&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2019-04-24T22:38:43.377" Title="FFmpeg No such filter error" Tags="|video|ffmpeg|video-editor|video-quality|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27499" PostTypeId="2" ParentId="27498" CreationDate="2019-04-24T22:35:07.210" Score="2" Body="&lt;p&gt;The 2.8 branch is too old. The loop filter was added on 2016-02-18. The 2.8 branch was cut from the master branch on 2015-09-05. Release branches do not get new features backported (only occasional bug fixes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Don't use such an old FFmpeg. &lt;a href=&quot;https://trac.ffmpeg.org/wiki/CompilationGuide/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Compile&lt;/a&gt; or &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;download&lt;/a&gt; a recent build.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see a list of available filters for your build with &lt;code&gt;ffmpeg -filters&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2019-04-24T22:38:43.377" LastActivityDate="2019-04-24T22:38:43.377" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="27500" PostTypeId="2" ParentId="7694" CreationDate="2019-04-25T04:12:58.153" Score="3" Body="&lt;p&gt;Used to merge them with GoPro Studio, but it took too much effort and had too many steps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Made a PowerShell script to quickly merge and convert videos using open source tools MKVTools and Handbrake.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With one command line, I get my files merged and compressed to about one-fifth of the original size, ready to upload using the HandBrake preset &quot;Vimeo YouTube HQ 1440p60 2.5K&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Output file is Encoded-{original filename}-{date of subfolder}&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/alexandrosk0/GorpoMergeAndEncode&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/alexandrosk0/GorpoMergeAndEncode&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Example&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;.\goproMergeEncode.ps1 -dir &quot;D:\Video\GoPro\2019-04-21\HERO5 Black 1\&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To run from command line: &lt;code&gt;powershell.exe –ExecutionPolicy Bypass -noexit &quot;&amp;amp; 'D:\goproMergeEncode.ps1' -dir 'D:\Video\GoPro\2019-04-19\HERO5 Black 1\' -test&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Output file for D:\Video\GoPro\2019-04-21\HERO5 Black 1\GOPR2548.MP4 is Encoded-GOPR2548-20190421.mp4&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Parameters&lt;/h3&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;-dir Defaults to the current directory&lt;/li&gt;&#xA;&lt;li&gt;-preset The default preset is &quot;Vimeo YouTube HQ 1440p60 2.5K&quot;.&lt;/li&gt;&#xA;&lt;li&gt;-MKVMergeExtraParam Extra parameters for MKVMerge&lt;/li&gt;&#xA;&lt;li&gt;-HandbrakeExtraParam Extra parameters for Handbrake&lt;/li&gt;&#xA;&lt;li&gt;-test Test merge and encode three seconds of each video, without deleting the original files&lt;/li&gt;&#xA;&lt;li&gt;-delete Delete original files if no error is found. Defaults to true&lt;/li&gt;&#xA;&lt;li&gt;-mergeAll Ignore file naming and merge all files in the directory&lt;/li&gt;&#xA;&lt;li&gt;-noEncoding Skip encoding step, only merge&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h3&gt;Notes&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;Based on the file name format GOPR2548.MP4 and multiple files GP012548.MP4, GP022548.MP4,... and folder structure ..\GoPro\2019-04-21\HERO5 Black 1&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that the script expects an arrangement that works for single videos for the camera models: HD HERO2, HERO3, HERO3+, HERO (2014), HERO Session, HERO4, HERO5 Black, HERO5 Session, HERO (2018)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For HERO6 Black, &amp;amp; HERO7 (White, Silver, Black) or other formats use -mergeAll parameter.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Requirements&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;Requires MKVmerge and HandBrakeCLI installed in C:/Program Files/MKVToolNix\ and C:\Program Files\HandBrake\ respectively.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best of all, it's a text-based script, you can change it at will.&lt;/p&gt;&#xA;" OwnerUserId="25027" LastActivityDate="2019-04-25T04:12:58.153" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27501" PostTypeId="2" ParentId="27495" CreationDate="2019-04-25T08:41:21.840" Score="1" Body="&lt;p&gt;Under Linux I use such command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2 -pattern_type glob -framerate 30 -i *.jpg output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Of course you should add encoder options etc. Or you can add leading 0's (zeros) to filenames, eg.: a000123.jpg instead of a123.jpg. Then &lt;code&gt;-i a%06d.jpg&lt;/code&gt; should work.&lt;/p&gt;&#xA;" OwnerUserId="24999" LastActivityDate="2019-04-25T08:41:21.840" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27502" PostTypeId="2" ParentId="27496" CreationDate="2019-04-25T15:54:04.053" Score="2" Body="&lt;p&gt;welcome to video.stackexchange&lt;/p&gt;&#xA;&lt;p&gt;Try something like this:&lt;/p&gt;&#xA;&lt;p&gt;Make the tree and line as a black image with a white background.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/COkS0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/COkS0.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;Pre comp your tree and line to make a single comp.&lt;/p&gt;&#xA;&lt;p&gt;Make a green solid layer and put it beneath your tree comp.&#xA;Make the tree comp invisible for now.&#xA;Apply a Venetian Blind (or Grid Wipe) effect to the green solid layer, in order to get the small horizontal scan lines.  Don't keyframe it - the objective is just a tree made of thin lines.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/UKEtc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UKEtc.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;Use a Track Matte on the green solid layer to reveal the shape of the tree layer above. Set it to Luma Inverted Matte.&lt;/p&gt;&#xA;&lt;p&gt;Now you need to make the big blocks step in across the tree shape.&#xA;Make a new comp, and put a copy of your tree shape in here as a guide layer.&#xA;Set its opacity to 30% so you can still see it, but you can see everything else you're going to add.&lt;/p&gt;&#xA;&lt;p&gt;Now we add some blocks:&#xA;To do this, I would use text squares (eg this unicode symbol █ ) repeated in the correct shape around the tree, then animated using the Typewriter effect.&#xA;Do one set of these for the left to right blocks only, leaving a space for the right to left blocks.&#xA;Duplicate your &amp;quot;left to right&amp;quot; blocks layer, and scale its x-axis by -100&#xA;Make the two sets of blocks different colours so you can see what's going on.&#xA;Adjust the keyframes on the typewriter effect until they come in at the right rate.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Xe95N.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Xe95N.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Put your comp into your main comp (I called it &amp;quot;line draw ins&amp;quot;) and make it invisible.&#xA;Go to the layer with your green scanline tree in it, and apply a Set Matte effect to it.&#xA;In the Set Matte effect, in the &amp;quot;Take Matte from Layer&amp;quot; setting choose your &amp;quot;line draw ins&amp;quot; layer.  This is using your typewriter blocks as a matte (like the track matte we did earlier but can be anywhere in your comp).&lt;/p&gt;&#xA;&lt;p&gt;Add in your text layer in the right colour&#xA;set some opacity key frames on it&#xA;then add an adjustment layer to make it look glowy and noisy, in whatever what your want to... (there are many tutorials on how to make things look like VHS videos).  I put a glow and a channel blur on the adjustment layer.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/HXo9a.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HXo9a.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Video example below:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/6UGre_9ZVXU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/332475491&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/332475491&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2023-08-29T07:14:02.600" LastActivityDate="2023-08-29T07:14:02.600" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27503" PostTypeId="2" ParentId="26483" CreationDate="2019-04-25T17:08:23.000" Score="1" Body="&lt;p&gt;With &lt;code&gt;1:0&lt;/code&gt; you're including the video input from &lt;em&gt;FaceTime HD Camera&lt;/em&gt;. Try:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f avfoundation -i &quot;:0&quot; output.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This only selects audio device &lt;code&gt;0&lt;/code&gt; which is &lt;em&gt;Soundflower (2ch)&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://ffmpeg.org/ffmpeg-devices.html#avfoundation&quot; rel=&quot;nofollow noreferrer&quot;&gt;avfoundation input device documentation&lt;/a&gt; for more info.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-04-25T17:08:23.000" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27504" PostTypeId="1" CreationDate="2019-04-26T07:10:23.157" Score="0" ViewCount="9289" Body="&lt;p&gt;I want to add ssa subtitles to video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried with VLC. If I play the video and add subtitles file VLC shows correctly the ssa subtitles but if I convert/save the same video adding the subtitles file, the output doesn't contain the subtitles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I've tried with ffmpeg like this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -vf &quot;ass=mysubtitle.ass&quot; -strict -2 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The output shows the subtitles, but the aspect is changed and the subtitles appear partially sometimes since the scale is changed and I would like to get the same aspect ratio (16:9) and same width x height as input video. Or even better reduce video size with same aspect ratio &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do that with ffmpeg, VLC or another open source tool?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;UPDATE1&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;user@H:/mnt/d/VIDEOS$ ffmpeg -i input.mp4 -vf ass=subtitles.ass -v 40 -strict -2 out.mp4&#xA;ffmpeg version 2.8.14-0ubuntu0.16.04.1 Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with gcc 5.4.0 (Ubuntu 5.4.0-6ubuntu1~16.04.9) 20160609&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.16.04.1 --build-suffix=-ffmpeg --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --cc=cc --cxx=g++ --enable-gpl --enable-shared --disable-stripping --disable-decoder=libopenjpeg --disable-decoder=libschroedinger --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-librtmp --enable-libschroedinger --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxvid --enable-libzvbi --enable-openal --enable-opengl --enable-x11grab --enable-libdc1394 --enable-libiec61883 --enable-libzmq --enable-frei0r --enable-libx264 --enable-libopencv&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Routing option strict to both codec and muxer layer&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'input.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf56.40.101&#xA;  Duration: 00:04:06.06, start: 0.000000, bitrate: 450 kb/s&#xA;    Stream #0:0(und): Video: h264 (Main), 3 reference frames (avc1 / 0x31637661), yuv420p(tv, bt709), 854x480 (864x480) [SAR 1:1 DAR 427:240], 314 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;[Parsed_ass_0 @ 0x7f7880] Raster: FreeType 2.6.1&#xA;[Parsed_ass_0 @ 0x7f7880] Shaper: FriBidi 0.19.7 (SIMPLE) HarfBuzz-ng 1.0.1 (COMPLEX)&#xA;[Parsed_ass_0 @ 0x7f7880] Initialized&#xA;[Parsed_ass_0 @ 0x7f7880] Using font provider fontconfig&#xA;[Parsed_ass_0 @ 0x7f7880] File size: 3368&#xA;[Parsed_ass_0 @ 0x7f7880] [0x826cb0] Style: Default,Goudy Old Style,22,&amp;amp;H002DD8DB,&amp;amp;H000000FF,&amp;amp;H00000000,&amp;amp;H00000000,-1,0,0,0,100,100,0,0,1,2,2,2,10,10,10,1&#xA;[Parsed_ass_0 @ 0x7f7880] Added subtitle file: 'subtitles.ass' (2 styles, 27 events)&#xA;[graph 0 input from stream 0:0 @ 0x8ed880] w:854 h:480 pixfmt:yuv420p tb:1/30000 fr:30000/1001 sar:1/1 sws_param:flags=2[graph 1 input from stream 0:1 @ 0x8f2ee0] tb:1/44100 samplefmt:fltp samplerate:44100 chlayout:0x3&#xA;[libx264 @ 0x82bd00] using SAR=1/1&#xA;[libx264 @ 0x82bd00] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 AVX2 LZCNT BMI2&#xA;[libx264 @ 0x82bd00] profile High, level 3.1&#xA;[libx264 @ 0x82bd00] 264 - core 148 r2643 5c65704 - H.264/MPEG-4 AVC codec - Copyleft 2003-2015 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'out.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf56.40.101&#xA;    Stream #0:0(und): Video: h264 (libx264), -1 reference frame ([33][0][0][0] / 0x0021), yuv420p, 854x480 [SAR 1:1 DAR 427:240], q=-1--1, 29.97 fps, 30k tbn, 29.97 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      encoder         : Lavc56.60.100 libx264&#xA;    Stream #0:1(eng): Audio: aac ([64][0][0][0] / 0x0040), 44100 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      encoder         : Lavc56.60.100 aac&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[Parsed_ass_0 @ 0x7f7880] Neither PlayResX nor PlayResY defined. Assuming 384x288&#xA;[Parsed_ass_0 @ 0x7f7880] fontselect: (Goudy Old Style, 700, 0) -&amp;gt; /usr/share/fonts/truetype/dejavu/DejaVuSans-Bold.ttf, 0, DejaVuSans-Bold&#xA;No more output streams to write to, finishing.e=00:04:05.22 bitrate= 562.3kbits/s&#xA;frame= 7373 fps=142 q=-1.0 Lsize=   17301kB time=00:04:06.06 bitrate= 576.0kbits/s&#xA;video:13086kB audio:3963kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.480544%&#xA;Input file #0 (input.mp4):&#xA;  Input stream #0:0 (video): 7373 packets read (9668740 bytes); 7373 frames decoded;&#xA;  Input stream #0:1 (audio): 10597 packets read (3937072 bytes); 10597 frames decoded (10851328 samples);&#xA;  Total: 17970 packets (13605812 bytes) demuxed&#xA;Output file #0 (out.mp4):&#xA;  Output stream #0:0 (video): 7373 frames encoded; 7373 packets muxed (13399929 bytes);&#xA;  Output stream #0:1 (audio): 10597 frames encoded (10851328 samples); 10598 packets muxed (4058185 bytes);&#xA;  Total: 17971 packets (17458114 bytes) muxed&#xA;[libx264 @ 0x82bd00] frame I:38    Avg QP:16.75  size: 22811&#xA;[libx264 @ 0x82bd00] frame P:3026  Avg QP:22.01  size:  3818&#xA;[libx264 @ 0x82bd00] frame B:4309  Avg QP:24.78  size:   227&#xA;[libx264 @ 0x82bd00] consecutive B-frames: 20.0%  5.0%  3.4% 71.6%&#xA;[libx264 @ 0x82bd00] mb I  I16..4: 34.7% 50.6% 14.7%&#xA;[libx264 @ 0x82bd00] mb P  I16..4:  1.8%  3.4%  0.2%  P16..4: 24.0%  6.6%  5.1%  0.0%  0.0%    skip:59.0%&#xA;[libx264 @ 0x82bd00] mb B  I16..4:  0.1%  0.1%  0.0%  B16..8: 14.3%  0.1%  0.0%  direct: 0.3%  skip:85.0%  L0:39.0% L1:59.1% BI: 1.9%&#xA;[libx264 @ 0x82bd00] 8x8 transform intra:60.3% inter:53.1%&#xA;[libx264 @ 0x82bd00] coded y,uvDC,uvAC intra: 23.0% 35.3% 6.9% inter: 5.4% 5.7% 0.4%&#xA;[libx264 @ 0x82bd00] i16 v,h,dc,p: 47% 22% 13% 18%&#xA;[libx264 @ 0x82bd00] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 36% 16% 34%  2%  2%  2%  2%  2%  2%&#xA;[libx264 @ 0x82bd00] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 29% 20% 11%  5%  8%  7%  7%  6%  6%&#xA;[libx264 @ 0x82bd00] i8c dc,h,v,p: 61% 16% 20%  4%&#xA;[libx264 @ 0x82bd00] Weighted P-Frames: Y:17.8% UV:16.1%&#xA;[libx264 @ 0x82bd00] ref P L0: 70.2% 11.5% 13.4%  4.9%  0.0%&#xA;[libx264 @ 0x82bd00] ref B L0: 91.9%  7.0%  1.1%&#xA;[libx264 @ 0x82bd00] ref B L1: 96.6%  3.4%&#xA;[libx264 @ 0x82bd00] kb/s:435.73&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="16388" LastEditorUserId="16388" LastEditDate="2019-04-26T13:59:23.410" LastActivityDate="2024-03-03T11:02:50.317" Title="How to add correctly ssa/ass subtitles to video with ffmpeg or VLC" Tags="|ffmpeg|video-editor|subtitles|vlc|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27505" PostTypeId="2" ParentId="27504" CreationDate="2019-04-26T08:23:03.550" Score="0" Body="&lt;p&gt;I used tips from here &lt;a href=&quot;https://trac.ffmpeg.org/wiki/HowToBurnSubtitlesIntoVideo&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/HowToBurnSubtitlesIntoVideo&lt;/a&gt; and it worked: &lt;code&gt;ffmpeg -i movie-without-subtitles.mp4 -vf &quot;ass=subtitles.ass&quot; -b:v 20M -c:a copy movie-with-subtitles.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="24999" LastActivityDate="2019-04-26T08:23:03.550" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27507" PostTypeId="1" CreationDate="2019-04-26T14:26:20.437" Score="1" ViewCount="33" Body="&lt;p&gt;Imported from Vectorworks - I've switched on all lights, adjusted the brightness and nothing seems to be working. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also have LED screens and they don't seem to be working either&lt;img src=&quot;https://i.stack.imgur.com/cjJEy.jpg&quot; alt=&quot;![enter image description here&quot;&gt;]&lt;a href=&quot;https://i.stack.imgur.com/cjJEy.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;1&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25072" LastActivityDate="2019-04-26T14:26:20.437" Title="Does anyone know why my lights aren't working at all in 4D cinema?" Tags="|lighting|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27508" PostTypeId="2" ParentId="27504" CreationDate="2019-04-26T14:36:24.893" Score="0" Body="&lt;p&gt;The ffmpeg log shows,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;[Parsed_ass_0 @ 0x7f7880] Neither PlayResX nor PlayResY defined. Assuming 384x288&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So add these&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;PlayResX: 854&#xA;PlayResY: 480&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;in the &lt;code&gt;[Script Info]&lt;/code&gt; section of your subtitle file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also add&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video Aspect Ratio: c1.77778&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;to enforce 16:9 rendering.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-04-26T14:36:24.893" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27509" PostTypeId="2" ParentId="26465" CreationDate="2019-04-26T18:59:43.827" Score="1" Body="&lt;p&gt;Depending on what you are working on, your RAM is probably fine.  More would help with RAM preview in AE and would help if you have buffering issues, but mostly you have a GPU and CPU problem.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;GPU is underpowered by a lot.  Getting at least a $450-$500 GTX card would significantly boost your mercury playback engine support.  CUDA capable GPUs will give you the most bang for your buck in general.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hard drive, if you don't have SSDs is also a huge limiting factor depending on what your working with for video.  If video can't transfer to/from the drive fast enough to supply Premiere, then it is going to stutter while it waits for the data to load.  Magnetic drives can't read from random locations well and if they have to read multiple video files and renders at the same time, it will have to do a lot of seeking that absolutely destroys the data retrieval speed.  SSDs, even a fairly slow one, remove this limitation and greatly improve performance.  Probably not quite as much as improving the graphics card, but if you have to choose between a $450 graphics card and an SSD or an $800 graphics card and no SSD, I'd take the $450 graphics card with an SSD (or preferably a few SSDs.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The i5 is also a bit limiting.  There's a lot of media related instructions supported on the i7 and i9 CPUs that are not supported by the i5, resulting in more work having to be done when things are offloaded to the CPU rather than CUDA cores.  Overall this is probably a much smaller limitation than GPU and file I/O though.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2019-04-26T18:59:43.827" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27510" PostTypeId="2" ParentId="5771" CreationDate="2019-04-27T00:21:14.910" Score="0" Body="&lt;p&gt;Save a copy of the file and import the nest, that way they are independent&lt;/p&gt;&#xA;" OwnerUserId="25076" LastActivityDate="2019-04-27T00:21:14.910" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27512" PostTypeId="2" ParentId="22525" CreationDate="2019-04-27T13:07:44.227" Score="1" Body="&lt;p&gt;I call FFMPEG from python and this worked with me:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;from PIL import ImageFont&#xA;&#xA;translation_font = ImageFont.truetype(&#xA;    &quot;SourceCodePro-Regular.otf&quot;, size=55, encoding=&quot;unic&quot;)&#xA;w, _ = translation_font.getsize(&quot; &quot;.join([line, word]))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Which will put the width of the text (rendered with the given settings) in &lt;code&gt;w&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based on that you can find the first word that makes the text get outside of the screen and insert a new line before it&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;def fit_text(string: str, frame_width):&#xA;    split_line = [x.strip() for x in string.split()]&#xA;    lines = &quot;&quot;&#xA;    w = 0&#xA;    line_num = 0&#xA;    line = &quot;&quot;&#xA;    for word in split_line:&#xA;        # Make a test&#xA;        w, _ = translation_font.getsize(&quot; &quot;.join([line, word]))&#xA;        # If it exceeds the frame width, add a new line&#xA;        if w &amp;gt; (frame_width - (2 * 6)):  # Leave 6px margin on each side&#xA;            lines += line.strip() + &quot;\n&quot;&#xA;            line = &quot;&quot;&#xA;&#xA;        line += word + &quot; &quot;&#xA;&#xA;    lines += line.strip()  # Append leftover words&#xA;    return lines&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25001" LastActivityDate="2019-04-27T13:07:44.227" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27513" PostTypeId="1" AcceptedAnswerId="27514" CreationDate="2019-04-27T16:04:58.093" Score="1" ViewCount="1207" Body="&lt;p&gt;I am trying to improve the perceived quality of certain predefined frames (like the frames 45, 99, 154, ...). Reason is, that the video is interactive and pauses at these keyframes until the user clicks next. So the quality should be higher just for these frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using ffmpeg, I am currently splitting the video in segments so that each segment starts with one of those important frames as a key frame and then merge it again as a single video. This is suboptimal as lookahead and various other encoder/decoder tweaks can not benefit from this segmented video encoding&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a simpler option using -force_key_frames? Unfortunately, this option only seems to allow inserting key_frames using an interval, but the keyframes i require do not follow a rhythm.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. the video is running at a constant 30fps and is merely 32 seconds long. Encoded as x264, vp9 and vp8 for web, so it won't feature a high bitrate.&lt;/p&gt;&#xA;" OwnerUserId="25081" LastActivityDate="2019-04-27T16:28:37.777" Title="Encoding: Insert keyframes at certain positions" Tags="|ffmpeg|x264|vp9|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27514" PostTypeId="2" ParentId="27513" CreationDate="2019-04-27T16:28:37.777" Score="0" Body="&lt;p&gt;&lt;em&gt;Is there a simpler option using -force_key_frames? Unfortunately, this option only seems to allow inserting key_frames using an interval&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not so. To force keyframes for frames 45, 99 and 154 where first frame has index 0, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-force_key_frames expr:eq(n,45)+eq(n,99)+eq(n,154)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You may need to escape the commas, depending on your shell.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-04-27T16:28:37.777" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27515" PostTypeId="1" CreationDate="2019-04-27T16:46:53.943" Score="0" ViewCount="237" Body="&lt;p&gt;I wish to animate this logo. As first the rectangles appear (already figure out with shape masks and track matte) But then I want to make the &quot;paint&quot; drip off it and I can't figure out what method I should use. Im a newb at after effects and I mostly learn from tutorials but I can't find anything specific enough to help me. Please give me advice I witch direction should I look.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7hIkH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7hIkH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25082" LastActivityDate="2021-09-22T09:01:35.123" Title="How to animate? Dripping/melting shape" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27517" PostTypeId="1" CreationDate="2019-04-28T08:38:56.023" Score="0" ViewCount="2192" Body="&lt;p&gt;I searched for a FFmpeg command to blur part of a video, and found the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i short.mp4 -filter_complex &#xA;       &quot;[0:v]split=2[v0][v1]; &#xA;        [v0]crop=200:200:60:30,boxblur=10[fg]; &#xA;        [v1][fg]overlay=60:30[v]&quot; -map &quot;[v]&quot; &#xA;    -map 0:a -c:v libx264 -c:a copy -movflags +faststart filtered.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(&lt;a href=&quot;http://www.hildstrom.com/projects/cut-cat/ffmpeg_notes.txt&quot; rel=&quot;nofollow noreferrer&quot;&gt;cut-cat minimal video editing bash script&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, I can't blur the part of the video that I want to blur. So, I took a picture with the same resolution and color so that someone may help me understand what to do, and perhaps even explain what the numbers in the code above mean or refer to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the picture: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fQX4a.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fQX4a.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.ibb.co/4fZNcgN/ask-368-X320-WHITE-BLURED.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.ibb.co/4fZNcgN/ask-368-X320-WHITE-BLURED.png&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25087" LastEditorUserId="18155" LastEditDate="2020-02-16T14:47:47.593" LastActivityDate="2020-02-16T14:47:47.593" Title="Understanding an FFmpeg command (blurring a video)" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27518" PostTypeId="1" AcceptedAnswerId="27527" CreationDate="2019-04-28T14:06:23.577" Score="0" ViewCount="1399" Body="&lt;p&gt;I'm always impressed how smart FFmpeg has been designed so giving this a go. Can I use FFmpeg to convert part of a file to a compressed video file w/audio? The file I have consists of YUV420 frames interleaved with (floating point) audio PCM. So raw video &amp;amp; audio. I would like to convert part of it, so would want to give an offset into the file. It is part of a ring buffer so the file is opened and growing, but I have full control over this. &lt;/p&gt;&#xA;" OwnerUserId="19257" LastActivityDate="2019-04-29T13:57:27.963" Title="use ffmpeg to convert interleaved raw yuv/pcm to compressed" Tags="|ffmpeg|raw|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="27519" PostTypeId="1" CreationDate="2019-04-28T14:10:45.390" Score="1" ViewCount="2447" Body="&lt;p&gt;Hey there I ran into a small problem creating a video, and I haven't used any video editing software before, so I am lost right now and I have no idea on how to solve my problem which problem goes like this... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have been creating a “typing effect” by adding a new keyframe for each letter to appear with two frames distance between keyframes, each sentence was put into a new layer (about 40 keyframes per layer, 4 layers). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each letter is written in Times New Roman font, 36 px size, color white. &#xA;I never knew that the font details are written into each keyframe, and believed that I can adjust the font style color and size after I finish creating the effect (now praying for what I believed to be true). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After I finished with the effect and tried to  change the font by selecting the entire text and choosing the desired font, a new keyframe was created which did changed the text font when the Time Indicator has reached its position on the timeline, but that is not what I wanted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what happens right now: the video starts, and each letter shows up in the font that was originally written into (Times New Roman) when the time indicator has reached its position, and after the entire sentence has already appeared and the last keyframe is reached, the entire sentence changes from Times New Roman to the font that I have selected when I created the keyframe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And now I feel like I have to recreate the entire video by pre-selecting the desired font preferences so if you know any solution on how to change the font on already set keyframes please share it with me and you will save me a lot of time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help is really appreciated! &lt;/p&gt;&#xA;" OwnerUserId="25088" LastEditorUserId="18155" LastEditDate="2019-07-03T19:14:01.863" LastActivityDate="2024-02-12T21:00:50.080" Title="How to change the font and color on multiple keyframes at once | Adobe After Effects" Tags="|after-effects|keyframes|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27520" PostTypeId="1" CreationDate="2019-04-28T18:10:43.587" Score="0" ViewCount="40" Body="&lt;p&gt;I want to make a video with a train running, filmed from in front of the locomotive (see the link below the picture to understand exactly what I desire). I guess they shot from a rail-car pushed by the steam engine, but such a solution is not viable for me. I can not modify in any way the configuration of the train.  Any idea how to do it in an affordable way?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1GSzC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1GSzC.jpg&quot; alt=&quot;Selfie locomotive&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://www.youtube.com/watch?v=s5EzhixQn98&quot; rel=&quot;nofollow noreferrer&quot;&gt;Selfie of a train locomotive while running (see minute 1:26 to 2:50)&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25089" LastEditorUserId="25089" LastEditDate="2019-04-29T21:04:01.233" LastActivityDate="2019-04-29T21:04:01.233" Title="How can I make a cheap video with a train filmed from in front of the locomotive, while this is running?" Tags="|special-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27521" PostTypeId="2" ParentId="22924" CreationDate="2019-04-28T19:53:05.920" Score="0" Body="&lt;p&gt;Try this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -y -i https://example.com/xxx.m3u8 -map 0 -vcodec copy -c copy -bsf:a aac_adtstoasc test.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See the new options:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;-map 0&lt;/strong&gt; maps all streams from the input.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;-re&lt;/strong&gt; reads in the live stream HLS at its' rate. Not specifying this may result in FFmpeg hanging (as it waits for referenced packets that are not in the manifest).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;It would be more useful if you could provide stream details, such as running &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;mediainfo&lt;/a&gt; or &lt;a href=&quot;https://www.ffmpeg.org/ffprobe.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffprobe&lt;/a&gt; against the master manifest. That way we can recommend encoding settings to use.&lt;/p&gt;&#xA;" OwnerUserId="19326" LastActivityDate="2019-04-28T19:53:05.920" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27522" PostTypeId="1" CreationDate="2019-04-28T20:48:52.803" Score="0" ViewCount="218" Body="&lt;p&gt;I am trying to concatenate up to 4 (appx.  800MB) mp4/mkv videos at a time, losslessly, and preferably with little or no re-encoding.  All have similar,  but not identical, properties. The issue I am having is when I am able to concate any files, the audio of the latter videos becomes gradually more and more out of sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems I am having a fps and/or timestamp asyncronicity, but I am unsure.  I've been able to looslessly remux from mp4 with differing resolutions- to ts files,  then concate the ts files successfully into a new mp4, alas the audio sync issue. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am relitively new to the concate scene and am limited to ONLY an android device,  therefor I am limited to FFmpeg CLI, and the FFmpeg media encoder apps for android.  All signs point to needing mkvmerge at the very least,  but I cannot find a comparable app for Android. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone suggest a solution exclusively for android?  And can anyone please explain how the fps and timestamp function/relate/can be modified,  in layman terms? I keep reading command switches (TBN, PTS,  etc...)  that I don't understand,  not to mention the syntax switches used to manipulate them.&lt;/p&gt;&#xA;" OwnerUserId="25091" LastEditorUserId="1871" LastEditDate="2019-04-29T04:43:27.117" LastActivityDate="2019-04-29T04:43:27.117" Title="Problem with audio sync when concatenating multiple mp4(s)" Tags="|ffmpeg|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="27523" PostTypeId="2" ParentId="27520" CreationDate="2019-04-29T08:47:14.587" Score="1" Body="&lt;p&gt;I can think of two possible solutions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;You build some kind of rig similair to a selfie stick. Mount it somewhere on the locomotive and try to not get it in the shot or digitally remove it&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Choose a place where a road is next to the traintrack, mount the camera to a car (Or other vehicle) and drive along the track.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I see a few difficulties with both tho.&#xA;For the first one, you will need to buy/create the rig which could be rather difficult, especially if you have a bigger camera. You also won't be able to control the camera, expect if you have wireless control. You would also need to look with a camera hanging out quite a bit from the locomotive, that there are no other trains, trees, signals, tunnels... which are in the range of the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the second option, you would need to first find that road which could be difficult especially if you can't change the track where the train drives.&#xA;Depending on the road, you would also need to get some stabilisation system, so that the image doesn't shake to much. This might be needed for the train as well.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-04-29T08:47:14.587" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27524" PostTypeId="1" AcceptedAnswerId="27525" CreationDate="2019-04-29T09:31:20.803" Score="2" ViewCount="985" Body="&lt;p&gt;I have two separate video fields (&lt;em&gt;top.avi&lt;/em&gt; and &lt;em&gt;bottom.avi&lt;/em&gt;) and I would like to merge them to create an interlaced video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to do this with ffmpeg? (or any other tool for Windows or Linux)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;ffmpeg log:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, avi, from 'top.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf58.20.100&#xA;  Duration: 00:03:16.03, start: 0.000000, bitrate: 13509 kb/s&#xA;    Stream #0:0: Video: ffv1 (FFV1 / 0x31564646), yuv420p, 640x224, 13506 kb/s, SAR 1:1 DAR 20:7, 29.97 fps, 29.97 tbr, 29.97 tbn, 29.97 tbc&#xA;&#xA;Input #1, avi, from 'bottom.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf58.20.100&#xA;  Duration: 00:03:16.03, start: 0.000000, bitrate: 13507 kb/s&#xA;    Stream #0:0: Video: ffv1 (FFV1 / 0x31564646), yuv420p, 640x224, 13503 kb/s, SAR 1:1 DAR 20:7, 29.97 fps, 29.97 tbr, 29.97 tbn, 29.97 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25093" LastEditorUserId="25093" LastEditDate="2019-04-29T10:22:31.913" LastActivityDate="2021-02-21T19:07:37.350" Title="Combining two video fields into one (to create an interlaced video)" Tags="|video|ffmpeg|windows|filter|linux|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27525" PostTypeId="2" ParentId="27524" CreationDate="2019-04-29T10:28:43.980" Score="1" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i top.avi -i bottom.avi -filter_complex vstack,il=l=i:c=i -c:v ffv1 il.avi&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See docs for &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-filters.html#vstack&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.ffmpeg.org/ffmpeg-filters.html#vstack&lt;/a&gt; and &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-filters.html#il&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.ffmpeg.org/ffmpeg-filters.html#il&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-04-29T10:28:43.980" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27526" PostTypeId="1" CreationDate="2019-04-29T11:27:50.337" Score="1" ViewCount="1021" Body="&lt;p&gt;I am writing a MP4 video from scratch using the C++ API (libav* 4.1.1). This video can be played back just fine using ffplay or VLC. But the Finder Preview and the Quicktime Player on OSX (10.13 and 10.14 tested) don't work, the finder hangs and Quicktime player shows black and silent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the output of ffplay:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay version 4.1.1 Copyright (c) 2003-2019 the FFmpeg developers&#xA;  built with Apple LLVM version 10.0.0 (clang-1000.11.45.5)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/4.1.1 --enable-shared --enable-pthreads --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags='-I/Library/Java/JavaVirtualMachines/openjdk-11.0.2.jdk/Contents/Home/include -I/Library/Java/JavaVirtualMachines/openjdk-11.0.2.jdk/Contents/Home/include/darwin' --host-ldflags= --enable-ffplay --enable-gnutls --enable-gpl --enable-libaom --enable-libbluray --enable-libmp3lame --enable-libopus --enable-librubberband --enable-libsnappy --enable-libtesseract --enable-libtheora --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-libxvid --enable-lzma --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librtmp --enable-libspeex --enable-videotoolbox --disable-libjack --disable-indev=jack --enable-libaom --enable-libsoxr&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'demo.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.20.100&#xA;  Duration: 00:01:23.29, start: 0.000000, bitrate: 566 kb/s&#xA;    Stream #0:0(und): Video: h264 (Constrained Baseline) (avc1 / 0x31637661), yuv420p, 800x576 [SAR 1:1 DAR 25:18], 498 kb/s, 23.99 fps, 23.98 tbr, 24k tbn, 48k tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 64 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The video settings are chosen from a working MP4 video, and I can't spot any difference in ffprobe or ffplay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is, how I setup the streams (condensed):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;// container:&#xA;avformat_alloc_output_context2 (&amp;amp;formatContext, NULL, NULL, filename);&#xA;// formatContext-&amp;gt;oformat-&amp;gt;flags has AVFMT_GLOBALHEADER set automatically&#xA;&#xA;// video stream:&#xA;codec = av_guess_codec (formatContext-&amp;gt;oformat, nullptr, filename, nullptr, AVMEDIA_TYPE_VIDEO);&#xA;auto* encoder = avcodec_find_encoder (codec);&#xA;&#xA;stream-&amp;gt;time_base = av_make_q (1, settings.timebase);&#xA;auto* context = avcodec_alloc_context3 (encoder);&#xA;context-&amp;gt;width = settings.frameSize.width;&#xA;context-&amp;gt;height = settings.frameSize.height;&#xA;context-&amp;gt;pix_fmt = AV_PIX_FMT_YUV420P;&#xA;context-&amp;gt;sample_aspect_ratio = av_make_q (1, 1);&#xA;context-&amp;gt;color_range = AVCOL_RANGE_MPEG;&#xA;context-&amp;gt;bit_rate  = 480000;&#xA;context-&amp;gt;gop_size  = 10;&#xA;context-&amp;gt;time_base = av_make_q (1, settings.timebase);&#xA;avcodec_parameters_from_context (stream-&amp;gt;codecpar, context);&#xA;&#xA;AVDictionary* options = nullptr;&#xA;&#xA;if (encoder-&amp;gt;id == AV_CODEC_ID_H264) {&#xA;    av_dict_set (&amp;amp;options, &quot;preset&quot;, &quot;slow&quot;, 0);&#xA;    av_dict_set (&amp;amp;options, &quot;tune&quot;, &quot;film&quot;, 0);&#xA;    av_opt_set (context-&amp;gt;priv_data, &quot;profile&quot;, &quot;baseline&quot;, AV_OPT_SEARCH_CHILDREN);&#xA;}&#xA;if (formatContext-&amp;gt;oformat-&amp;gt;flags &amp;amp; AVFMT_GLOBALHEADER)&#xA;            context-&amp;gt;flags |= AV_CODEC_FLAG_GLOBAL_HEADER;&#xA;&#xA;int ret = avcodec_open2 (context, encoder, &amp;amp;options);&#xA;av_dict_free (&amp;amp;options);&#xA;&#xA;// audio stream:&#xA;codec = av_guess_codec (formatContext-&amp;gt;oformat, nullptr, filename, nullptr, AVMEDIA_TYPE_AUDIO);&#xA;auto* encoder = avcodec_find_encoder (codec);&#xA;&#xA;auto* stream = avformat_new_stream (formatContext, NULL);&#xA;&#xA;auto channelLayout = AV_CH_LAYOUT_STEREO;&#xA;&#xA;stream-&amp;gt;time_base = av_make_q (1, settings.timebase);&#xA;auto* context = avcodec_alloc_context3 (encoder);&#xA;context-&amp;gt;sample_rate = settings.timebase;&#xA;context-&amp;gt;sample_fmt = AV_SAMPLE_FMT_FLTP;&#xA;context-&amp;gt;channel_layout = channelLayout;&#xA;context-&amp;gt;channels = av_get_channel_layout_nb_channels (channelLayout);&#xA;context-&amp;gt;bit_rate = 64000;&#xA;context-&amp;gt;frame_size = settings.defaultNumSamples;&#xA;context-&amp;gt;bits_per_raw_sample = 32;&#xA;context-&amp;gt;time_base = av_make_q (1, settings.timebase);&#xA;avcodec_parameters_from_context (stream-&amp;gt;codecpar, context);&#xA;&#xA;if (formatContext-&amp;gt;oformat-&amp;gt;flags &amp;amp; AVFMT_GLOBALHEADER)&#xA;            context-&amp;gt;flags |= AV_CODEC_FLAG_GLOBAL_HEADER;&#xA;&#xA;int ret = avcodec_open2 (context, encoder, NULL);&#xA;&#xA;// preparing for writing:&#xA;if (!(formatContext-&amp;gt;oformat-&amp;gt;flags &amp;amp; AVFMT_NOFILE))&#xA;    if (avio_open (&amp;amp;formatContext-&amp;gt;pb, filename, AVIO_FLAG_WRITE) &amp;lt; 0)&#xA;        return false;&#xA;&#xA;auto ret = avformat_write_header (formatContext, nullptr);&#xA;&#xA;// send audio and video frames, writing using&#xA;av_interleaved_write_frame (formatContext, packet);&#xA;&#xA;// closing container:&#xA;// [flushing sending nullptr frames]&#xA;&#xA;av_write_trailer (formatContext);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The full source code is available on github:&#xA;&lt;a href=&quot;https://github.com/ffAudio/foleys_video_engine/blob/973019d0c85e740b6f7bfdda190de49ce8d0ce6a/ReadWrite/FFmpeg/FFmpegWriter.cpp&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/ffAudio/foleys_video_engine/blob/973019d0c85e740b6f7bfdda190de49ce8d0ce6a/ReadWrite/FFmpeg/FFmpegWriter.cpp&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If necessary, I can add the parts, how I fill the frames and packets as well.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Are there only certain settings known to work?&lt;/li&gt;&#xA;&lt;li&gt;Did I miss some setting to be declared, like frame duration?&lt;/li&gt;&#xA;&lt;li&gt;Something completely different?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;EDIT: this is the output of qtff-movdump:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;➜  src git:(master) ✗ ./movdump ~/Movies/demo.mp4&#xA;ftyp: s=        32 (0x00000020), o=         0 (0x00000000)&#xA;  major_brand: isom (69 73 6f 6d)&#xA;  minor_version: 0x00000200&#xA;  compatible_brands: isom (69 73 6f 6d), iso2 (69 73 6f 32), avc1 (61 76 63 31), mp41 (6d 70 34 31)&#xA;free: s=         8 (0x00000008), o=        32 (0x00000020)&#xA;mdat: s=   5858977 (0x005966a1), o=        40 (0x00000028)&#xA;  ...skipped 5858969 bytes&#xA;moov: s=     44032 (0x0000ac00), o=   5859017 (0x005966c9)&#xA;    mvhd: s=       108 (0x0000006c), o=   5859025 (0x005966d1)&#xA;      version: 0&#xA;      flags: 0x000000&#xA;      creation_time: 1904-01-01T00:00:00Z (0 sec since 1904-01-01)&#xA;      modification_time: 1904-01-01T00:00:00Z (0 sec since 1904-01-01)&#xA;      timescale: 1000&#xA;      duration: 83292 (83.292000 sec)&#xA;      preferred_rate: 1.000000&#xA;      preferred_volume: 1.000000&#xA;      reserved: (size 10)  00 00 00 00 00 00 00 00 00 00  |..........|&#xA;      matrix:&#xA;        1.000000 0.000000 0.000000&#xA;        0.000000 1.000000 0.000000&#xA;        0.000000 0.000000 1.000000&#xA;      preview_time: 0&#xA;      preview_duration: 0 (0.000000 sec)&#xA;      poster_time: 0&#xA;      selection_time: 0&#xA;      selection_duration: 0 (0.000000 sec)&#xA;      current_time: 0&#xA;      next_track_id: 3&#xA;    trak: s=     17539 (0x00004483), o=   5859133 (0x0059673d)&#xA;        tkhd: s=        92 (0x0000005c), o=   5859141 (0x00596745)&#xA;          version: 0&#xA;          flags: 0x000003&#xA;          creation_time: 1904-01-01T00:00:00Z (0 sec since 1904-01-01)&#xA;          modification_time: 1904-01-01T00:00:00Z (0 sec since 1904-01-01)&#xA;          track_id: 1&#xA;          reserved: 0x00000000&#xA;          duration: 83292 (83.292000 sec)&#xA;          reserved: (size 8)  00 00 00 00 00 00 00 00  |........|&#xA;          layer: 0&#xA;          alternate_group: 0&#xA;          volume: 0.000000&#xA;          reserved: 0x0000&#xA;          matrix:&#xA;            1.000000 0.000000 0.000000&#xA;            0.000000 1.000000 0.000000&#xA;            0.000000 0.000000 1.000000&#xA;          track_width: 800.000000&#xA;          track_height: 576.000000&#xA;        edts: s=        36 (0x00000024), o=   5859233 (0x005967a1)&#xA;            elst: s=        28 (0x0000001c), o=   5859241 (0x005967a9)&#xA;              version: 0&#xA;              flags: 0x000000&#xA;              edit_list_table (         1):&#xA;                     i    duration       time          rate&#xA;                  0000       83292          0      1.000000&#xA;        mdia: s=     17403 (0x000043fb), o=   5859269 (0x005967c5)&#xA;            mdhd: s=        32 (0x00000020), o=   5859277 (0x005967cd)&#xA;              version: 0&#xA;              flags: 0x000000&#xA;              creation_time: 1904-01-01T00:00:00Z (0 sec since 1904-01-01)&#xA;              modification_time: 1904-01-01T00:00:00Z (0 sec since 1904-01-01)&#xA;              timescale: 24000&#xA;              duration: 1998997 (83.291542 sec)&#xA;              language: 0x55c4 (und)&#xA;              quality: 0&#xA;            hdlr: s=        45 (0x0000002d), o=   5859309 (0x005967ed)&#xA;              version: 0&#xA;              flags: 0x000000&#xA;              component_type: .... (00 00 00 00)&#xA;              component_sub_type: vide&#xA;              component_manufacturer: 0&#xA;              component_flags: 0x00000000&#xA;              component_flags_mask: 0x00000000&#xA;              component_name: 'VideoHandler' + 0x00&#xA;            minf: s=     17318 (0x000043a6), o=   5859354 (0x0059681a)&#xA;                vmhd: s=        20 (0x00000014), o=   5859362 (0x00596822)&#xA;                  version: 0&#xA;                  flags: 0x000001 (no lean ahead)&#xA;                  graphics_mode: 00&#xA;                  opcolor: RGB(0x0000,0x0000,0x0000)&#xA;                dinf: s=        36 (0x00000024), o=   5859382 (0x00596836)&#xA;                    dref: s=        28 (0x0000001c), o=   5859390 (0x0059683e)&#xA;                      version: 0&#xA;                      flags: 0x000000&#xA;                      entries (         1):&#xA;                        url : s=        12 (0x0000000c), o=   5859406 (0x0059684e)&#xA;                          version: 0&#xA;                          flags: 0x000001 (self reference)&#xA;                          data: (0 bytes) url:&#xA;                stbl: s=     17254 (0x00004366), o=   5859418 (0x0059685a)&#xA;                    stsd: s=       126 (0x0000007e), o=   5859426 (0x00596862)&#xA;                      version: 0&#xA;                      flags: 0x000000&#xA;                      sample_descriptions (0x00000001):&#xA;                        size: 0000006e&#xA;                        data_format: avc1 (61 76 63 31)&#xA;                        reserved: (size 6)  00 00 00 00 00 00  |......|&#xA;                        data_ref_index: 0x0001&#xA;                        version: 0&#xA;                        revision: 0x0000&#xA;                        vendor: .... (00 00 00 00)&#xA;                        temporal_quality: 0x00000000&#xA;                        spatial_quality: 0x00000000&#xA;                        width: 800&#xA;                        height: 576&#xA;                        horizontal_resolution: 72.000000&#xA;                        vertical_resolution: 72.000000&#xA;                        data_size: 0&#xA;                        frame_count: 1&#xA;                        compressor_name: '' + 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00 0x00&#xA;                        depth: 24&#xA;                        color_table_id: 0xffff&#xA;                        avcC: s=         8 (0x00000008), o=   5859528 (0x005968c8)&#xA;Exception: num_read &amp;lt;= CURRENT_ATOM.rem_size failed at line 177&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25095" LastEditorUserId="25095" LastEditDate="2019-04-29T20:18:31.393" LastActivityDate="2019-04-29T20:18:31.393" Title="MP4 Video created with ffmpeg C++ api does not show in OSX" Tags="|ffmpeg|mp4|libav|" AnswerCount="0" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="27527" PostTypeId="2" ParentId="27518" CreationDate="2019-04-29T13:57:27.963" Score="1" Body="&lt;p&gt;Here's a method that should, in principle, work. It assumes VAVA interleaving and for somewhat efficient processing requires the packet sizes for both video and audio having a reasonably large greatest common divisor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The examples below assume a video packet size of &lt;code&gt;1382400&lt;/code&gt; bytes and audio of &lt;code&gt;7680&lt;/code&gt; bytes. As it happens, the former is exactly 180 times the latter. The idea is we can ingest the raw stream as a raw &quot;audio&quot; stream and deinterleave using a selection expression, which routes 180 &quot;frames&quot; to one output and the 181st frame to another. Then the separated outputs are dumped into regular or fifo files which can then be read by another ffmpeg process with a sane interpretation of the input. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Command 1:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f u8 -channels 1 -i raw-input-url -filter_complex &quot;asetnsamples=7680,aselect='1+not(mod(n+1,181))':n=2[vid][aud]&quot; -map [vid] -f u8 file-vid -map [aud] -f u8 file-aud&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Command 1 with input offset:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f u8 -channels 1 -i &quot;subfile,,start,3248615,end,0,,:raw-input-url&quot; -filter_complex &quot;asetnsamples=7680,aselect='1+not(mod(n+1,181))':n=2[vid][aud]&quot; -map [vid] -f u8 file-vid -map [aud] -f u8 file-aud&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;3248615&lt;/code&gt; is in bytes and should point to the start of a video frame for this to work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Command 2:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f rawvideo -pixel_format yuv420p -framerate F -video_size WxH -i file-vid -f f32le -channels N -sample_rate R -i file-aud { -encoding parameters } output&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-04-29T13:57:27.963" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27528" PostTypeId="1" AcceptedAnswerId="27531" CreationDate="2019-04-29T05:40:17.657" Score="1" ViewCount="68" Body="&lt;p&gt;I'm very new to Premier Pro, and I'm working on a project which encompasses some still artwork which I've created in Photoshop.  I'm finding that as I apply vignettes etc that I'm wanted to go back and tweak the original artwork in Photoshop from time to time to get the results I want.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the best way of doing this?  I've been exporting JPGs from Photoshop thus far and adding them to Premier.  Is it possible to avoid this and have the documents linked together so that I can edit the still frame which are part of my movie?&lt;/p&gt;&#xA;" OwnerUserId="25111" OwnerDisplayName="Benj" LastActivityDate="2019-04-29T22:16:36.667" Title="Is it possible to edit a still image in Photoshop which is part of a sequence in Premier Pro?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27530" PostTypeId="2" ParentId="16338" CreationDate="2019-04-29T20:06:16.270" Score="0" Body="&lt;p&gt;Here's how I do it:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Put the still image on the track as usual.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Click the end of the region, so it turns red.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3nbRi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3nbRi.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;Move your timeline cursor to the end of your edit.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ouh1s.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ouh1s.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;4&quot;&gt;&#xA;&lt;li&gt;Press &lt;kbd&gt;E&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1Jmcb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1Jmcb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;The bug is extended to the end with no dragging&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-04-29T20:06:16.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27531" PostTypeId="2" ParentId="27528" CreationDate="2019-04-29T22:16:36.667" Score="4" Body="&lt;p&gt;You can import Photoshop files to Premiere Pro, so that whatever change you make in the Photoshop file also appears in Premiere, like this: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/doqk9BS48bc?start=98&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2019-04-29T22:16:36.667" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27532" PostTypeId="2" ParentId="16793" CreationDate="2019-04-29T22:23:07.823" Score="1" Body="&lt;ul&gt;&#xA;&lt;li&gt;Import your file into a Premiere Pro project. &lt;/li&gt;&#xA;&lt;li&gt;Click right on the clip and select &quot;New Sequence from Clip&quot;.&lt;/li&gt;&#xA;&lt;li&gt;The sequence is created.&lt;/li&gt;&#xA;&lt;li&gt;In that sequence, click right on the clip and choose &quot;Speed&quot; from the pop up menu.&lt;/li&gt;&#xA;&lt;li&gt;Adjust the speed percentage as you see fit.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2019-04-29T22:23:07.823" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27533" PostTypeId="2" ParentId="25781" CreationDate="2019-04-29T22:45:47.713" Score="2" Body="&lt;p&gt;The only thing you can do to mitigate your pain in post is to white balance all of them on the day of the shoot in the conditions of the shoot (shoot lighting, etc), probably right before the shoot. And then get to work in post. Don't hope for a miracle though. No one would use that many cameras and hope for the colors to match.&#xA;You're only going to be reduce the imperfections, so embrace them and don't lose your mind over matching everything perfectly 'cause it's technically impossible -- too many cameras and too many models.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2019-04-29T22:45:47.713" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27534" PostTypeId="1" CreationDate="2019-04-30T00:11:10.287" Score="0" ViewCount="59" Body="&lt;p&gt;I'm using Premiere. Was wondering the best way (base application or if there's a good recommended plugin) to get this style text graphic:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://twitter.com/CNET/status/1122999001119318017&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://twitter.com/CNET/status/1122999001119318017&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(0:10 in video)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where the flat background boxes can be set with a certain amount of padding, and automatically expand according to the length of the text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="25106" LastActivityDate="2024-01-05T05:08:21.020" Title="Create Text Graphics with Flat-Style Padded Background Boxes" Tags="|premiere|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27535" PostTypeId="1" CreationDate="2019-04-30T06:34:31.830" Score="1" ViewCount="1667" Body="&lt;p&gt;I'm new to DaVinci Resolve, and new to video editing too.&#xA;I used the newest version of DaVinci Resolve 16. I used OBS Studio to record some game/desktop footage at 1920x1080 and 30 fps. I then imported said footage into DaVinci with no issues and edited it. Everything was normal. However, after rendering, the result looks wrong (see the image below)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/lSdDq.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lSdDq.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The output video canvas seems to be 1920x1080, but the actually image is squeezed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My project settings for the timeline are:&#xA;- 1920x1080.&#xA;- Pixel ratio is square -- I have a few options (square, 16:9, 4:3 and cinema), but when I choose 1920x1080, the 16:9 and 4:3 checkboxes stay dark and I can't select them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried also to change the &quot;Clip attributes&quot;, which include PAL 16:9 and NTSC 16:9. None of it worked.&lt;br&gt;&#xA;I used the &quot;Youtube 1080P&quot; rendering option preset.&lt;/p&gt;&#xA;" OwnerUserId="25108" LastEditorUserId="33658" LastEditDate="2024-02-06T11:26:44.437" LastActivityDate="2024-02-06T11:26:44.437" Title="DaVinci Resolve delivers distorted 1920x1080 videos" Tags="|video-editor|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27536" PostTypeId="2" ParentId="27535" CreationDate="2019-04-30T13:31:39.057" Score="1" Body="&lt;p&gt;I don't think it's a limitation of the free version.  Check all the project and system settings in Davinci. There are a lot of them - maybe one of them is set to something other than 1920x1080&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-04-30T13:31:39.057" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27537" PostTypeId="2" ParentId="27534" CreationDate="2019-04-30T17:15:06.983" Score="0" Body="&lt;p&gt;I assume you're trying to create this, from the video you linked above:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/f4Nxa.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/f4Nxa.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If you want to create a title template that can adjust to (almost) whatever words you type in it, you're going to have to use After Effects.&lt;/li&gt;&#xA;&lt;li&gt;In Premiere, you can create title templates, but they're not going to adjust to whatever length of word you use.&#xA;The following link takes you to a video that offers a good run-down of &lt;a href=&quot;https://youtu.be/WgPC5qum4Zc?t=419&quot; rel=&quot;nofollow noreferrer&quot;&gt;the latest title tools in Premiere&lt;/a&gt;, with which you can create templates that look like what you have in mind -- by the way, you could achieve a similar look with the old Title Tool: create a black matte, give it an opacity of, say, 30%, and place it under your title words.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2019-04-30T17:15:06.983" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27538" PostTypeId="2" ParentId="27519" CreationDate="2019-04-30T19:04:33.330" Score="0" Body="&lt;p&gt;not sure how you are creating the typewriter effect?? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use or change the font or color to anything you want. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Create the text then apply the typewriter effect. Adjust effect with the range selectors with the start/end keyframes.&lt;/p&gt;&#xA;" OwnerUserId="5264" LastActivityDate="2019-04-30T19:04:33.330" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27541" PostTypeId="1" CreationDate="2019-04-30T20:12:46.980" Score="0" ViewCount="3040" Body="&lt;p&gt;When I'm editing a sequence in Premiere Pro CC, I want to be able to create a new sequence from my in &amp;amp; out points on the sequence I'm editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the simplest way of doing that?&lt;/p&gt;&#xA;" OwnerUserId="22095" LastActivityDate="2024-02-20T01:04:40.533" Title="How do I make a new clip from in &amp; out points on my sequence in Premiere Pro CC?" Tags="|premiere|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27542" PostTypeId="1" CreationDate="2019-04-30T20:53:21.840" Score="0" ViewCount="682" Body="&lt;p&gt;This is a follow-up from my previous question &lt;a href=&quot;https://video.stackexchange.com/questions/27498/&quot;&gt;here&lt;/a&gt;. Basically, I'm trying to use &lt;code&gt;FFmpeg&lt;/code&gt;'s loop filter to freeze some frames and insert black frames. It's very weird; I swear it was working a few days ago, but now only the blackframe insertion works, the freezing frames doesn't work. So just no frozen frames inside. I don't know what's going wrong?!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my command. I also updated my ffmpeg to the latest version just now:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;fn=&quot;sample.mp4&quot;&#xA;&#xA;#&#xA;ffmpeg -y -i &quot;${fn}&quot; -ss 00:00:05 -to 00:00:06 -r 1/1 _05.png&#xA;ffmpeg -y -i &quot;${fn}&quot; -ss 00:00:10 -to 00:00:11 -r 1/1 _10.png&#xA;ffmpeg -y -i &quot;${fn}&quot; -ss 00:00:15 -to 00:00:16 -r 1/1 _15.png&#xA;ffmpeg -y -i &quot;${fn}&quot; -ss 00:00:20 -to 00:00:21 -r 1/1 _20.png&#xA;ffmpeg -y -i &quot;${fn}&quot; -ss 00:00:25 -to 00:00:26 -r 1/1 _25.png&#xA;ffmpeg -y -i &quot;${fn}&quot; -ss 00:00:30 -to 00:00:31 -r 1/1 _30.png&#xA;ffmpeg -y -i &quot;${fn}&quot; -ss 00:00:35 -to 00:00:36 -r 1/1 _35.png&#xA;&#xA;#&#xA;ffmpeg -y -i &quot;${fn}&quot; \&#xA;-i _05.png \&#xA;-i _10.png \&#xA;-i _15.png \&#xA;-i _20.png \&#xA;-i _25.png \&#xA;-i _30.png \&#xA;-i _35.png \&#xA;-filter_complex &quot;&#xA;[0:v]trim=0:5,setpts=PTS-STARTPTS[0v_1];&#xA;[1:v]loop=loop=25*3:size=2&#xA;,drawtext='fontsize=40:fontcolor=0x0000FF@0.7&#xA;:text=pause -&amp;gt; fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1&#xA;,fade=t=out:st=2:d=1[pause1];&#xA;[0:v]trim=5:10,setpts=PTS-STARTPTS&#xA;,fade=t=in:d=1[0v_2];&#xA;[2:v]loop=loop=25*4:size=2&#xA;,drawtext='fontsize=40:fontcolor=0x0000FF@0.7&#xA;:text=pause -&amp;gt; fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1&#xA;,fade=t=out:st=3:d=1[pause2];&#xA;[0:v]trim=10:15,setpts=PTS-STARTPTS&#xA;,fade=t=in:d=1[0v_3];&#xA;[3:v]loop=loop=25*5:size=2&#xA;,drawtext='fontsize=40:fontcolor=0x0000FF@0.7&#xA;:text=pause -&amp;gt; fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1&#xA;,fade=t=out:st=3:d=2[pause3];&#xA;[0:v]trim=15:20,setpts=PTS-STARTPTS&#xA;,fade=t=in:d=1[0v_4];&#xA;[4:v]loop=loop=25*6:size=2&#xA;,drawtext='fontsize=40:fontcolor=0x0000FF@0.7&#xA;:text=pause -&amp;gt; fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1&#xA;,fade=t=out:st=3:d=3[pause4];&#xA;[0:v]trim=20:25,setpts=PTS-STARTPTS&#xA;,fade=t=in:d=1[0v_5];&#xA;[5:v]loop=loop=25*7:size=2&#xA;,drawtext='fontsize=40:fontcolor=0x0000FF@0.7&#xA;:text=pause -&amp;gt; fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1&#xA;,fade=t=out:st=3:d=4[pause5];&#xA;[0:v]trim=25:30,setpts=PTS-STARTPTS&#xA;,fade=t=in:d=1[0v_6];&#xA;[6:v]loop=loop=25*5:size=2&#xA;,drawtext='fontsize=40:fontcolor=0x0000FF@0.7&#xA;:text=pause -&amp;gt; fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1&#xA;,fade=t=out:st=3:d=2[pause6];&#xA;[0:v]trim=30:35,setpts=PTS-STARTPTS&#xA;,fade=t=in:d=1[0v_7];&#xA;[7:v]loop=loop=25*3:size=2&#xA;,drawtext='fontsize=40:fontcolor=0x0000FF@0.7&#xA;:text=pause -&amp;gt; fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1&#xA;,fade=t=out:st=2:d=1[pause7];&#xA;[0:v]trim=35,setpts=PTS-STARTPTS&#xA;,fade=t=in:d=1[0v_8];&#xA;&#xA;[0v_1][pause1]&#xA;[0v_2][pause2]&#xA;[0v_3][pause3]&#xA;[0v_4][pause4]&#xA;[0v_5][pause5]&#xA;[0v_6][pause6]&#xA;[0v_7][pause7]&#xA;[0v_8]&#xA;concat=n=15:a=0:v=1[v]&#xA;&quot; -map '[v]' -an &quot;freeze.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And here is the whole log (truncating some initial logs for PNG saving due to size limit):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-48722-gac551c54b1-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc-6 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gmp --enable-gray --enable-libaom --enable-libfribidi --enable-libass --enable-libvmaf --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libdav1d --enable-libxvid --enable-libzvbi --enable-libzimg&#xA;  libavutil      56. 26.100 / 56. 26.100&#xA;  libavcodec     58. 52.100 / 58. 52.100&#xA;  libavformat    58. 27.103 / 58. 27.103&#xA;  libavdevice    58.  7.100 / 58.  7.100&#xA;  libavfilter     7. 50.100 /  7. 50.100&#xA;  libswscale      5.  4.100 /  5.  4.100&#xA;  libswresample   3.  4.100 /  3.  4.100&#xA;  libpostproc    55.  4.100 / 55.  4.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'sample.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;  Duration: 00:00:45.02, start: 0.000000, bitrate: 1242 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 720x480 [SAR 8:9 DAR 4:3], 1105 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      timecode        : 00:59:55:12&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;    Stream #0:2(eng): Data: none (tmcd / 0x64636D74)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      timecode        : 00:59:55:12&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; png (native))&#xA;Press [q] to stop, [?] for help&#xA;Output #0, image2, to '_25.png':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;    Stream #0:0(und): Video: png, rgb24, 720x480 [SAR 8:9 DAR 4:3], q=2-31, 200 kb/s, 1 fps, 1 tbn, 1 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      timecode        : 00:59:55:12&#xA;      encoder         : Lavc58.52.100 png&#xA;frame=    1 fps=0.8 q=-0.0 Lsize=N/A time=00:00:01.00 bitrate=N/A speed=0.817x&#xA;video:663kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;ffmpeg version N-48722-gac551c54b1-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc-6 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gmp --enable-gray --enable-libaom --enable-libfribidi --enable-libass --enable-libvmaf --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libdav1d --enable-libxvid --enable-libzvbi --enable-libzimg&#xA;  libavutil      56. 26.100 / 56. 26.100&#xA;  libavcodec     58. 52.100 / 58. 52.100&#xA;  libavformat    58. 27.103 / 58. 27.103&#xA;  libavdevice    58.  7.100 / 58.  7.100&#xA;  libavfilter     7. 50.100 /  7. 50.100&#xA;  libswscale      5.  4.100 /  5.  4.100&#xA;  libswresample   3.  4.100 /  3.  4.100&#xA;  libpostproc    55.  4.100 / 55.  4.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'sample.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;  Duration: 00:00:45.02, start: 0.000000, bitrate: 1242 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 720x480 [SAR 8:9 DAR 4:3], 1105 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      timecode        : 00:59:55:12&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;    Stream #0:2(eng): Data: none (tmcd / 0x64636D74)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      timecode        : 00:59:55:12&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; png (native))&#xA;Press [q] to stop, [?] for help&#xA;Output #0, image2, to '_30.png':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;    Stream #0:0(und): Video: png, rgb24, 720x480 [SAR 8:9 DAR 4:3], q=2-31, 200 kb/s, 1 fps, 1 tbn, 1 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      timecode        : 00:59:55:12&#xA;      encoder         : Lavc58.52.100 png&#xA;frame=    1 fps=0.7 q=-0.0 Lsize=N/A time=00:00:01.00 bitrate=N/A speed=0.715x&#xA;video:503kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;ffmpeg version N-48722-gac551c54b1-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc-6 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gmp --enable-gray --enable-libaom --enable-libfribidi --enable-libass --enable-libvmaf --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libdav1d --enable-libxvid --enable-libzvbi --enable-libzimg&#xA;  libavutil      56. 26.100 / 56. 26.100&#xA;  libavcodec     58. 52.100 / 58. 52.100&#xA;  libavformat    58. 27.103 / 58. 27.103&#xA;  libavdevice    58.  7.100 / 58.  7.100&#xA;  libavfilter     7. 50.100 /  7. 50.100&#xA;  libswscale      5.  4.100 /  5.  4.100&#xA;  libswresample   3.  4.100 /  3.  4.100&#xA;  libpostproc    55.  4.100 / 55.  4.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'sample.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;  Duration: 00:00:45.02, start: 0.000000, bitrate: 1242 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 720x480 [SAR 8:9 DAR 4:3], 1105 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      timecode        : 00:59:55:12&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;    Stream #0:2(eng): Data: none (tmcd / 0x64636D74)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      timecode        : 00:59:55:12&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; png (native))&#xA;Press [q] to stop, [?] for help&#xA;Output #0, image2, to '_35.png':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;    Stream #0:0(und): Video: png, rgb24, 720x480 [SAR 8:9 DAR 4:3], q=2-31, 200 kb/s, 1 fps, 1 tbn, 1 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      timecode        : 00:59:55:12&#xA;      encoder         : Lavc58.52.100 png&#xA;frame=    1 fps=0.6 q=-0.0 Lsize=N/A time=00:00:01.00 bitrate=N/A speed=0.637x&#xA;video:539kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;ffmpeg version N-48722-gac551c54b1-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc-6 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gmp --enable-gray --enable-libaom --enable-libfribidi --enable-libass --enable-libvmaf --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libdav1d --enable-libxvid --enable-libzvbi --enable-libzimg&#xA;  libavutil      56. 26.100 / 56. 26.100&#xA;  libavcodec     58. 52.100 / 58. 52.100&#xA;  libavformat    58. 27.103 / 58. 27.103&#xA;  libavdevice    58.  7.100 / 58.  7.100&#xA;  libavfilter     7. 50.100 /  7. 50.100&#xA;  libswscale      5.  4.100 /  5.  4.100&#xA;  libswresample   3.  4.100 /  3.  4.100&#xA;  libpostproc    55.  4.100 / 55.  4.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'sample.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;  Duration: 00:00:45.02, start: 0.000000, bitrate: 1242 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 720x480 [SAR 8:9 DAR 4:3], 1105 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      timecode        : 00:59:55:12&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;    Stream #0:2(eng): Data: none (tmcd / 0x64636D74)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      timecode        : 00:59:55:12&#xA;Input #1, png_pipe, from '_05.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #1:0: Video: png, rgb24(pc), 720x480 [SAR 8:9 DAR 4:3], 25 tbr, 25 tbn, 25 tbc&#xA;Input #2, png_pipe, from '_10.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #2:0: Video: png, rgb24(pc), 720x480 [SAR 8:9 DAR 4:3], 25 tbr, 25 tbn, 25 tbc&#xA;Input #3, png_pipe, from '_15.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #3:0: Video: png, rgb24(pc), 720x480 [SAR 8:9 DAR 4:3], 25 tbr, 25 tbn, 25 tbc&#xA;Input #4, png_pipe, from '_20.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #4:0: Video: png, rgb24(pc), 720x480 [SAR 8:9 DAR 4:3], 25 tbr, 25 tbn, 25 tbc&#xA;Input #5, png_pipe, from '_25.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #5:0: Video: png, rgb24(pc), 720x480 [SAR 8:9 DAR 4:3], 25 tbr, 25 tbn, 25 tbc&#xA;Input #6, png_pipe, from '_30.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #6:0: Video: png, rgb24(pc), 720x480 [SAR 8:9 DAR 4:3], 25 tbr, 25 tbn, 25 tbc&#xA;Input #7, png_pipe, from '_35.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #7:0: Video: png, rgb24(pc), 720x480 [SAR 8:9 DAR 4:3], 25 tbr, 25 tbn, 25 tbc&#xA;[Parsed_drawtext_3 @ 0x6b53ec0] Using &quot;/usr/share/fonts/dejavu/DejaVuSans.ttf&quot;&#xA;[Parsed_drawtext_9 @ 0x6b5de40] Using &quot;/usr/share/fonts/dejavu/DejaVuSans.ttf&quot;&#xA;[Parsed_drawtext_15 @ 0x6a1a780] Using &quot;/usr/share/fonts/dejavu/DejaVuSans.ttf&quot;&#xA;[Parsed_drawtext_21 @ 0x6a11940] Using &quot;/usr/share/fonts/dejavu/DejaVuSans.ttf&quot;&#xA;[Parsed_drawtext_27 @ 0x6b59f40] Using &quot;/usr/share/fonts/dejavu/DejaVuSans.ttf&quot;&#xA;[Parsed_drawtext_33 @ 0x6a12880] Using &quot;/usr/share/fonts/dejavu/DejaVuSans.ttf&quot;&#xA;[Parsed_drawtext_39 @ 0x698d740] Using &quot;/usr/share/fonts/dejavu/DejaVuSans.ttf&quot;&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; trim&#xA;  Stream #0:0 (h264) -&amp;gt; trim&#xA;  Stream #0:0 (h264) -&amp;gt; trim&#xA;  Stream #0:0 (h264) -&amp;gt; trim&#xA;  Stream #0:0 (h264) -&amp;gt; trim&#xA;  Stream #0:0 (h264) -&amp;gt; trim&#xA;  Stream #0:0 (h264) -&amp;gt; trim&#xA;  Stream #0:0 (h264) -&amp;gt; trim&#xA;  Stream #1:0 (png) -&amp;gt; loop&#xA;  Stream #2:0 (png) -&amp;gt; loop&#xA;  Stream #3:0 (png) -&amp;gt; loop&#xA;  Stream #4:0 (png) -&amp;gt; loop&#xA;  Stream #5:0 (png) -&amp;gt; loop&#xA;  Stream #6:0 (png) -&amp;gt; loop&#xA;  Stream #7:0 (png) -&amp;gt; loop&#xA;  concat -&amp;gt; Stream #0:0 (libx264)&#xA;Press [q] to stop, [?] for help&#xA;[Parsed_drawtext_3 @ 0x6f3e480] Using &quot;/usr/share/fonts/dejavu/DejaVuSans.ttf&quot;&#xA;[Parsed_drawtext_9 @ 0x6f4ec00] Using &quot;/usr/share/fonts/dejavu/DejaVuSans.ttf&quot;&#xA;[Parsed_drawtext_15 @ 0x6f57e00] Using &quot;/usr/share/fonts/dejavu/DejaVuSans.ttf&quot;&#xA;[Parsed_drawtext_21 @ 0x6f65600] Using &quot;/usr/share/fonts/dejavu/DejaVuSans.ttf&quot;&#xA;[Parsed_drawtext_27 @ 0x6f6ed00] Using &quot;/usr/share/fonts/dejavu/DejaVuSans.ttf&quot;&#xA;[Parsed_drawtext_33 @ 0x6f79c40] Using &quot;/usr/share/fonts/dejavu/DejaVuSans.ttf&quot;&#xA;[Parsed_drawtext_39 @ 0x6f84dc0] Using &quot;/usr/share/fonts/dejavu/DejaVuSans.ttf&quot;&#xA;[libx264 @ 0x68fb900] using SAR=8/9&#xA;[libx264 @ 0x68fb900] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x68fb900] profile Progressive High, level 3.0, 4:2:0, 8-bit&#xA;[libx264 @ 0x68fb900] 264 - core 157 r2969 d4099dd - H.264/MPEG-4 AVC codec - Copyleft 2003-2019 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'freeze.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;    Stream #0:0: Video: h264 (libx264) (avc1 / 0x31637661), yuv420p, 720x480 [SAR 8:9 DAR 4:3], q=-1--1, 29.97 fps, 30k tbn, 29.97 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc58.52.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;frame= 1351 fps= 75 q=-1.0 Lsize=    5080kB time=00:00:44.97 bitrate= 925.2kbits/s dup=0 drop=5 speed=2.49x&#xA;video:5064kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.321138%&#xA;[libx264 @ 0x68fb900] frame I:19    Avg QP:18.75  size: 30579&#xA;[libx264 @ 0x68fb900] frame P:424   Avg QP:22.86  size:  7793&#xA;[libx264 @ 0x68fb900] frame B:908   Avg QP:26.77  size:  1431&#xA;[libx264 @ 0x68fb900] consecutive B-frames:  5.8% 11.5%  6.2% 76.4%&#xA;[libx264 @ 0x68fb900] mb I  I16..4: 11.1% 63.3% 25.6%&#xA;[libx264 @ 0x68fb900] mb P  I16..4:  1.6%  6.2%  1.0%  P16..4: 45.2% 16.3%  8.6%  0.0%  0.0%    skip:21.0%&#xA;[libx264 @ 0x68fb900] mb B  I16..4:  0.3%  0.5%  0.1%  B16..8: 33.2%  3.4%  0.6%  direct: 1.3%  skip:60.6%  L0:47.5% L1:46.2% BI: 6.3%&#xA;[libx264 @ 0x68fb900] 8x8 transform intra:66.7% inter:72.0%&#xA;[libx264 @ 0x68fb900] coded y,uvDC,uvAC intra: 52.5% 70.2% 34.8% inter: 11.4% 19.5% 0.9%&#xA;[libx264 @ 0x68fb900] i16 v,h,dc,p: 55% 14% 10% 22%&#xA;[libx264 @ 0x68fb900] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 28% 13% 22%  5%  6%  8%  6%  7%  5%&#xA;[libx264 @ 0x68fb900] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 23% 14% 12%  7% 10% 10%  8%  8%  7%&#xA;[libx264 @ 0x68fb900] i8c dc,h,v,p: 52% 15% 26%  7%&#xA;[libx264 @ 0x68fb900] Weighted P-Frames: Y:23.3% UV:21.0%&#xA;[libx264 @ 0x68fb900] ref P L0: 67.4% 15.6% 13.4%  3.5%  0.2%&#xA;[libx264 @ 0x68fb900] ref B L0: 92.2%  6.5%  1.3%&#xA;[libx264 @ 0x68fb900] ref B L1: 98.2%  1.8%&#xA;[libx264 @ 0x68fb900] kb/s:920.11&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2019-04-30T20:53:21.840" Title="FFmpeg loop filter doesn't work" Tags="|video|ffmpeg|video-editor|encoding|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="27543" PostTypeId="1" CreationDate="2019-04-30T23:04:49.143" Score="0" ViewCount="1219" Body="&lt;p&gt;I'm unable to rotate my camera because I don't know how to switch to camera view.&lt;/p&gt;&#xA;" OwnerUserId="25114" LastEditorUserId="4426" LastEditDate="2019-10-05T08:50:23.680" LastActivityDate="2019-10-05T08:50:23.680" Title="How to switch to camera view in After effects?" Tags="|premiere|after-effects|camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27544" PostTypeId="1" AcceptedAnswerId="27545" CreationDate="2019-05-01T07:33:17.253" Score="0" ViewCount="2117" Body="&lt;p&gt;I am confused how to do this thing with no-crop in android with ffmpeg,&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;h3&gt;Video details&lt;/h3&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;video 1&lt;/strong&gt; &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;size - 700*400(width*height)&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;duration - 5 second&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;video 2&lt;/strong&gt; &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;size - 400*600(width*height)&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;duration - 5 second&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Output video detail&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;video size - 700*600 (width*height)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Duration : 10second&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need this type of output please help me how to do this type of output with ffmpeg, graphical design is in bottom picture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tell me FFMPEG command .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2o0aY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2o0aY.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;after @gyan's answer i got this Error &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; onFailure: ffmpeg version n4.0-39-gda39990 Copyright (c) 2000-2018 the FFmpeg developers&#xA;      built with gcc 4.9.x (GCC) 20150123 (prerelease)&#xA;      configuration: --target-os=linux --cross-prefix=/root/bravobit/ffmpeg-android/toolchain-android/bin/arm-linux-androideabi- --arch=arm --cpu=cortex-a8 --enable-runtime-cpudetect --sysroot=/root/bravobit/ffmpeg-android/toolchain-android/sysroot --enable-pic --enable-libx264 --enable-ffprobe --enable-libopus --enable-libvorbis --enable-libfdk-aac --enable-libfreetype --enable-libfribidi --enable-libmp3lame --enable-fontconfig --enable-libvpx --enable-libass --enable-yasm --enable-pthreads --disable-debug --enable-version3 --enable-hardcoded-tables --disable-ffplay --disable-linux-perf --disable-doc --disable-shared --enable-static --enable-runtime-cpudetect --enable-nonfree --enable-network --enable-avresample --enable-avformat --enable-avcodec --enable-indev=lavfi --enable-hwaccels --enable-ffmpeg --enable-zlib --enable-gpl --enable-small --enable-nonfree --pkg-config=pkg-config --pkg-config-flags=--static --prefix=/root/bravobit/ffmpeg-android/build/armeabi-v7a --extra-cflags='-I/root/bravobit/ffmpeg-android/toolchain-android/include -U_FORTIFY_SOURCE -D_FORTIFY_SOURCE=2 -fno-strict-overflow -fstack-protector-all' --extra-ldflags='-L/root/bravobit/ffmpeg-android/toolchain-android/lib -Wl,-z,relro -Wl,-z,now -pie' --extra-cxxflags=&#xA;      libavutil      56. 14.100 / 56. 14.100&#xA;      libavcodec     58. 18.100 / 58. 18.100&#xA;      libavformat    58. 12.100 / 58. 12.100&#xA;      libavdevice    58.  3.100 / 58.  3.100&#xA;      libavfilter     7. 16.100 /  7. 16.100&#xA;      libavresample   4.  0.  0 /  4.  0.  0&#xA;      libswscale      5.  1.100 /  5.  1.100&#xA;      libswresample   3.  1.100 /  3.  1.100&#xA;      libpostproc    55.  1.100 / 55.  1.100&#xA;    Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/storage/emulated/0/Download/Received/VID-20190404-WA0010.mp4':&#xA;      Metadata:&#xA;        major_brand     : mp42&#xA;        minor_version   : 1&#xA;        compatible_brands: mp41mp42isom&#xA;        creation_time   : 2018-11-24T20:20:48.000000Z&#xA;      Duration: 00:00:59.51, start: 0.066667, bitrate: 649 kb/s&#xA;        Stream #0:0(und): Video: h264 (avc1 / 0x31637661), yuv420p(tv, bt709), 640x640, 646 kb/s, 29.98 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;        Metadata:&#xA;          creation_time   : 2018-11-24T20:20:48.000000Z&#xA;          handler_name    : Core Media Video&#xA;    Input #1, mov,mp4,m4a,3gp,3g2,mj2, from '/storage/emulated/0/Download/Received/Video_20171219203619535_by_vimady.mp4':&#xA;      Metadata:&#xA;        major_brand     : isom&#xA;        minor_version   : 512&#xA;        compatible_brands: isomiso2avc1mp41&#xA;        encoder         : Lavf55.19.104&#xA;      Duration: 00:00:44.54, start: 0.000000, bitrate: 17132 kb/s&#xA;        Stream #1:0(und): Audio: aac (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s (default)&#xA;        Metadata:&#xA;          handler_name    : SoundHandler&#xA;        Stream #1:1(eng): Video: h264 (avc1 / 0x31637661), yuvj420p(pc, smpte170m), 1920x1080, 17001 kb/s, 26.18 fps, 24.83 tbr, 90k tbn, 180k tbc (default)&#xA;        Metadata:&#xA;          rotate          : 90&#xA;          handler_name    : VideoHandler&#xA;        Side data:&#xA;          displaymatrix: rotation of -90.00 degrees&#xA;    Input #2, lavfi, from 'color':&#xA;      Duration: N/A, start: 0.000000, bitrate: N/A&#xA;        Stream #2:0: Video: rawvideo (I420 / 0x30323449), yuv420p, 320x240 [SAR 1:1 DAR 4:3], 25 tbr, 25 tbn, 25 tbc&#xA;    Stream mapping:&#xA;      Stream #0:0 (h264) -&amp;gt; scale2ref:ref (graph 0)&#xA;      Stream #1:1 (h264) -&amp;gt; scale2ref:ref (graph 0)&#xA;      Stream #2:0 (rawvideo) -&amp;gt; scale2ref:default (graph 0)&#xA;      setsar (graph 0) -&amp;gt; Stream #0:0 (libx264)&#xA;      Stream #1:0 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;    Press [q] to stop, [?] for help&#xA;    [swscaler @ 0xb11b0000] deprecated pixel format used, make sure you did set range correctly&#xA;    [libx264 @ 0xb543b100] using SAR=1/1&#xA;    [libx264 @ 0xb543b100] using cpu capabilities: ARMv6 NEON&#xA;    [libx264 @ 0xb543b100] profile High, level 4.0&#xA;    [libx264 @ 0xb543b100] 264 - core 152 r2851M ba24899 - H.264/MPEG-4 AVC codec - Copyleft 2003-2017 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_ran&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25116" LastEditorUserId="25116" LastEditDate="2019-05-01T11:26:01.383" LastActivityDate="2019-05-01T11:26:01.383" Title="Merge Video with aspect ratio in FFMPEG" Tags="|ffmpeg|aspect|android|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27545" PostTypeId="2" ParentId="27544" CreationDate="2019-05-01T08:38:15.490" Score="2" Body="&lt;p&gt;You need to use a canvas which can accommodate all inputs. To adapt this canvas during runtime, we can use the scale2ref filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i video1 -i video2 -f lavfi -i color -filter_complex &quot;[2][0]scale2ref[canvas][vid1];[canvas][1]scale2ref='max(iw,main_w)':'max(ih,main_h)'[canvas][vid2];[canvas]split=2[canvas1][canvas2];[canvas1][vid1]overlay=x='(W-w)/2':y='(H-h)/2':shortest=1[vid1];[canvas2][vid2]overlay=x='(W-w)/2':y='(H-h)/2':shortest=1[vid2];[vid1][vid2]concat=n=2:v=1:a=0,setsar=1&quot; out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio is ignored.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;To fit within a fixed size, use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i video1 -i video2 -f lavfi -i color=s=854x480:r=30 -filter_complex &quot;[0]scale=854x480:force_original_aspect_ratio=decrease[vid1];[1]scale=854x480:force_original_aspect_ratio=decrease[vid2];[2][vid1]overlay=x='(W-w)/2':y='(H-h)/2':shortest=1[vid1];[2][vid2]overlay=x='(W-w)/2':y='(H-h)/2':shortest=1[vid2];[vid1][vid2]concat=n=2:v=1:a=0,setsar=1&quot; out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-05-01T10:44:09.450" LastActivityDate="2019-05-01T10:44:09.450" CommentCount="12" ContentLicense="CC BY-SA 4.0" />
  <row Id="27546" PostTypeId="1" AcceptedAnswerId="27551" CreationDate="2019-05-01T09:39:11.060" Score="9" ViewCount="9370" Body="&lt;p&gt;I am relatively a beginner in &lt;strong&gt;ffmpeg&lt;/strong&gt; and video production and was trying to extract duration of a video using &lt;strong&gt;ffprobe&lt;/strong&gt;, using the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -loglevel error -select_streams v -show_entries stream -of json filename.mp4&#xA;Output:&#xA;{&#xA;    &quot;programs&quot;: [&#xA;&#xA;    ],&#xA;    &quot;streams&quot;: [&#xA;        {&#xA;            &quot;index&quot;: 0,&#xA;            &quot;codec_name&quot;: &quot;h264&quot;,&#xA;            &quot;codec_long_name&quot;: &quot;H.264 / AVC / MPEG-4 AVC / MPEG-4 part 10&quot;,&#xA;            &quot;profile&quot;: &quot;Baseline&quot;,&#xA;            &quot;codec_type&quot;: &quot;video&quot;,&#xA;            &quot;codec_time_base&quot;: &quot;250/15007&quot;,&#xA;            &quot;codec_tag_string&quot;: &quot;avc1&quot;,&#xA;            &quot;codec_tag&quot;: &quot;0x31637661&quot;,&#xA;            &quot;width&quot;: 640,&#xA;            &quot;height&quot;: 352,&#xA;            &quot;coded_width&quot;: 640,&#xA;            &quot;coded_height&quot;: 352,&#xA;            &quot;has_b_frames&quot;: 0,&#xA;            &quot;pix_fmt&quot;: &quot;yuv420p&quot;,&#xA;            &quot;level&quot;: 30,&#xA;            &quot;chroma_location&quot;: &quot;left&quot;,&#xA;            &quot;refs&quot;: 1,&#xA;            &quot;is_avc&quot;: &quot;true&quot;,&#xA;            &quot;nal_length_size&quot;: &quot;4&quot;,&#xA;            &quot;r_frame_rate&quot;: &quot;15007/500&quot;,&#xA;            &quot;avg_frame_rate&quot;: &quot;15007/500&quot;,&#xA;            &quot;time_base&quot;: &quot;1/30014&quot;,&#xA;            &quot;start_pts&quot;: 0,&#xA;            &quot;start_time&quot;: &quot;0.000000&quot;,&#xA;            &quot;duration_ts&quot;: 479000,&#xA;            &quot;duration&quot;: &quot;15.959219&quot;,&#xA;            &quot;bit_rate&quot;: &quot;1826913&quot;,&#xA;            &quot;bits_per_raw_sample&quot;: &quot;8&quot;,&#xA;            &quot;nb_frames&quot;: &quot;479&quot;,&#xA;            &quot;disposition&quot;: {&#xA;                &quot;default&quot;: 1,&#xA;                &quot;dub&quot;: 0,&#xA;                &quot;original&quot;: 0,&#xA;                &quot;comment&quot;: 0,&#xA;                &quot;lyrics&quot;: 0,&#xA;                &quot;karaoke&quot;: 0,&#xA;                &quot;forced&quot;: 0,&#xA;                &quot;hearing_impaired&quot;: 0,&#xA;                &quot;visual_impaired&quot;: 0,&#xA;                &quot;clean_effects&quot;: 0,&#xA;                &quot;attached_pic&quot;: 0,&#xA;                &quot;timed_thumbnails&quot;: 0&#xA;            },&#xA;            &quot;tags&quot;: {&#xA;                &quot;rotate&quot;: &quot;90&quot;,&#xA;                &quot;language&quot;: &quot;und&quot;&#xA;            },&#xA;            &quot;side_data_list&quot;: [&#xA;                {&#xA;                    &quot;side_data_type&quot;: &quot;Display Matrix&quot;,&#xA;                    &quot;displaymatrix&quot;: &quot;\n00000000:            0       65536           0\n00000001:       -65536           0           0\n00000002:            0           0  1073741824\n&quot;,&#xA;                    &quot;rotation&quot;: -90&#xA;                }&#xA;            ]&#xA;        }&#xA;    ]&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have been trying to understand what is the difference between &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;duration_ts&lt;/strong&gt; and &lt;strong&gt;duration&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone just point me in the right direction to understand what each of them means?&#xA;I understand that the duration stands for run time of video but don't know what &lt;code&gt;duration_ts&lt;/code&gt; here refers to.&lt;/p&gt;&#xA;" OwnerUserId="24983" LastEditorUserId="26965" LastEditDate="2019-12-20T20:34:34.263" LastActivityDate="2020-05-22T02:46:24.950" Title="Difference between duration_ts and duration in ffprobe output?" Tags="|ffmpeg|ffprobe|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27547" PostTypeId="2" ParentId="25354" CreationDate="2019-05-01T11:03:44.690" Score="0" Body="&lt;p&gt;If you have to use Premiere, and don't want to use any other tools (and have lots of time), you could move frame by frame around the areas where you can see exposure jumps, using the Lumetri plugin.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You would add Lumetri to the layer, then set the exposure control to be keyframe-able. Step through frame by frame until you see a jump, then tweak the exposure until it looks better.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It will take a while, and you might get better results with something like &lt;a href=&quot;http://granitebaysoftware.com/Products/ProductGBD.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;GBDeflicker&lt;/a&gt; though.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-05-01T11:03:44.690" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27548" PostTypeId="1" CreationDate="2019-05-01T11:06:02.097" Score="2" ViewCount="1120" Body="&lt;p&gt;I do notice that the 180 degree shutter angle look better, and I try to achieve it whenever I could. However, when shooting in bright conditions, I could not achieve it without a variable ND filter, which is too expensive for me. Even the cheap ones are expensive, but they are pretty bad.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am also occasionally forced to use 90 degree shutter angle as I’m always shooting at 60p (not knowing whether I’ll slow it down, which means I shoot at 1/120 instead of 1/60) and display at 30p, this means that even with a VND, I’ll still shoot between 180 and 90 shutter angle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I’ve did some videos and no one ever notices what shutter angle I use (neither did I until I started learning more, and even now, I wouldn’t be able to tell without direct comparisons). I also shoot majority of my videos during the golden hour, which means half of my videos achieves the 180 shutter angle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it still necessary for me to get a variable ND filter?&lt;/p&gt;&#xA;" OwnerUserId="24347" LastActivityDate="2022-03-19T08:02:10.263" Title="How Important is the 180 Degree Shutter Angle Rule?" Tags="|shutter|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27550" PostTypeId="1" CreationDate="2019-05-01T15:07:00.983" Score="0" ViewCount="157" Body="&lt;p&gt;What tools are available to take a video and remove out the silent sections found &lt;em&gt;with its corresponding video track&lt;/em&gt;, where the criteria is that the audio goes below a certain threshold?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I can do this by hand by cropping a video. This is done by visually identifying the silent sections in the video via the audio view which are then subsequently highlighted and cut from the video with an automatic join of the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But doing that by hand is time consuming..is there a tool or a feature within &lt;code&gt;Movie Studio Platinum&lt;/code&gt; or &lt;code&gt;Camtasia&lt;/code&gt; or other software which will remove silent video sections?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;In a sense this is speeding up the video by removing quiet pauses (with the associated video portion in that cut timeline) as a the person is not talking.  That is my ultimate goal. &lt;/p&gt;&#xA;" OwnerUserId="25119" LastEditorUserId="25119" LastEditDate="2019-05-02T14:02:39.727" LastActivityDate="2019-05-02T14:02:39.727" Title="Shorten Video By Removing Quiet Audio Sections with Video" Tags="|video-editor|editing|audio|automation|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27551" PostTypeId="2" ParentId="27546" CreationDate="2019-05-01T17:08:42.183" Score="11" Body="&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;duration&lt;/code&gt; is in seconds, e.g. &lt;code&gt;15.9&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;duration_ts&lt;/code&gt; is in the media's &lt;code&gt;time_base&lt;/code&gt;, e.g. &lt;code&gt;1/30014 * 479000 = 15.959219&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="4169" LastEditorUserId="29926" LastEditDate="2020-05-22T02:46:24.950" LastActivityDate="2020-05-22T02:46:24.950" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27553" PostTypeId="1" CreationDate="2019-05-01T18:03:58.857" Score="0" ViewCount="577" Body="&lt;p&gt;I've been using ffmpeg on my laptop for some time and I could have sworn that &lt;code&gt;scale_vaapi&lt;/code&gt; had an option to set the flags to nearest neighbor. I need nearest neighbor scaling because I'm converting low-res direct capture video game footage and need to preserve the sharpness of the pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My attempted command is the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -hwaccel vaapi -vaapi_device /dev/dri/renderD128 -i &quot;/home/mike/Videos/CAPTURE.mp4&quot; -n -c:v h264_vaapi -b:v 14M -vf format=nv12,hwupload,scale_vaapi=iw*3:ih*3:flags=nearest &quot;/home/mike/Desktop/CAPTURE.converted.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However this ends up giving me the following error:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Parsed_scale_vaapi_2 @ 0x557e347c5500] Option 'flags' not found&#xA;[AVFilterGraph @ 0x557e34b3b780] Error initializing filter 'scale_vaapi' with args 'iw*3:ih*3:flags=nearest'&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Option not found&#xA;Error while processing the decoded data for stream #0:0&#xA;[aac @ 0x557e347a7640] Qavg: 171.142&#xA;[aac @ 0x557e347a7640] 2 frames left in the queue on closing&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Removing &lt;code&gt;flags=nearest&lt;/code&gt; will allow it to run the conversion just fine but it won't force nearest neighbor scaling and I really want to avoid billinnear filtered pixels for my retro game footage without having to wait ten years for software rendering to complete. Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="25121" LastActivityDate="2019-05-01T18:03:58.857" Title="ffmpeg: VAAPI can't do nearest neighbor scaling?" Tags="|ffmpeg|libav|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="27554" PostTypeId="1" AcceptedAnswerId="27563" CreationDate="2019-05-01T21:30:46.920" Score="0" ViewCount="1981" Body="&lt;p&gt;I'm trying to find out how to call a &lt;code&gt;FFmpeg&lt;/code&gt; filter (&lt;code&gt;freezedetect&lt;/code&gt;) from within FFmpeg's source code. I see the filter's file is under &lt;code&gt;libavfilter/vf_freezedetect.c&lt;/code&gt;, but I don't know how to use that filter inside the source code. How can I do that? And what I need to pass to the function?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My FFmpeg command's high-level API is this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i freeze.mp4 -vf &quot;freezedetect=n=-60dB:d=2&quot; -map 0:v:0 -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And what I would need to get the resulting outputs directly after calling a function given its input arguments:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;lavfi.freezedetect.freeze_start: 5.005&#xA;lavfi.freezedetect.freeze_duration: 2.03537&#xA;lavfi.freezedetect.freeze_end: 7.04037&#xA;lavfi.freezedetect.freeze_start: 13.0464&#xA;lavfi.freezedetect.freeze_duration: 3.03637&#xA;lavfi.freezedetect.freeze_end: 16.0827&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43073" LastEditorUserId="43073" LastEditDate="2019-06-28T18:52:16.147" LastActivityDate="2021-12-17T08:35:52.957" Title="Call FFmpeg filter from source code (C API)" Tags="|video|ffmpeg|encoding|video-capture|decoding|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="27555" PostTypeId="1" AcceptedAnswerId="28594" CreationDate="2019-05-02T04:40:31.270" Score="5" ViewCount="23506" Body="&lt;p&gt;I have some plan to get servers that are powered by Intel Atom C2750: &lt;a href=&quot;https://ark.intel.com/content/www/us/en/ark/products/77987/intel-atom-processor-c2750-4m-cache-2-40-ghz.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Intel Atom® Processor C2750&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;... and they don't have any GPU at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to render at this CPU? Render time isn't the problem. Just ... is it even possible? &lt;/p&gt;&#xA;" OwnerUserId="23519" LastEditorUserId="18155" LastEditDate="2019-10-02T22:51:11.610" LastActivityDate="2022-02-24T23:41:36.317" Title="Is it possible to use DaVinci Resolve without any GPU AT ALL?" Tags="|davinci-resolve|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27556" PostTypeId="1" CreationDate="2019-05-02T05:12:06.933" Score="1" ViewCount="485" Body="&lt;p&gt;I have a ffmpeg command that allows me to drop duplicate frames and speed up the video and works well. I use it with hundreds of video recordings from a surveillance ip camera that does not have motion detection feature.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But, the files still have 1 frame per each second still because the video has a timestamp at the top, so I want to know if I could drop those still frames too somehow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is my current command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -n -threads 2 -i input.mp4 -vf &quot;mpdecimate,setpts=N/(25*TB)&quot; -preset superfast -crf 30.0 -vcodec libx264 -movflags +faststart ouput.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is a sample screenshot showing the timestamp embedded on the video:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/6E4Mc.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6E4Mc.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;There is some way to achieve this ?&lt;/p&gt;&#xA;" OwnerUserId="25123" LastEditorUserId="25123" LastEditDate="2019-05-02T21:27:09.253" LastActivityDate="2019-05-02T21:27:09.253" Title="How drop still frames with timestamp ffmpeg" Tags="|ffmpeg|filter|motion|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27557" PostTypeId="1" CreationDate="2019-05-02T05:27:07.383" Score="0" ViewCount="25" Body="&lt;p&gt;I want to be able to play a video and hit &lt;kbd&gt;I&lt;/kbd&gt; to set a trim-in, hit &lt;kbd&gt;O&lt;/kbd&gt; to set a trim-out, and hit &lt;kbd&gt;A&lt;/kbd&gt; to append that clip to a video track, but let the video continue to play so I can continue selecting clips. (I can use the rewind shortcuts if I miss where I want to trim in or out.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I hit &lt;kbd&gt;A&lt;/kbd&gt;, the view changes to that clip, so I have to switch back to the source video through the playlist then continue playing again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to not lose focus on appending?&lt;/p&gt;&#xA;" OwnerUserId="4687" LastActivityDate="2019-05-02T05:27:07.383" Title="Is it possible to Append in Shotcut without losing focus from the source video's timeline?" Tags="|keyboard-shortcut|shotcut|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27558" PostTypeId="1" CreationDate="2019-05-02T07:33:54.907" Score="0" ViewCount="122" Body="&lt;p&gt;Good day everyone. Im making my babysteps into ffmpeg, and so far this tool has been really helpfull. Anyway.&#xA;Im currently using this line as a convertion basis : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i name.mov -c:v libx264 name.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But while searching through the question here i've seen that : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -vn -ar 44100 -ac 1 -b:a 32k -f mp3 audio.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Or even this (a script) : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;%%f in (*.mp4) do ffmpeg -i &quot;%%f&quot; -vn -ar 44100 -ac 1 -b:a 32k -f mp3 &quot;%%~nf.mp3&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So now let's dive into it. Im wondering &lt;em&gt;if&lt;/em&gt; i can merge the two first ones like that :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i name.mov -vn -ar 48000 -ac 2 -b:a 32k libx264 -f wav name.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And how i can modify it by making it scripted. &#xA;Also im wondering if the ffmpeg i got is good because i don't have a command prompt that directly open cmd into &lt;code&gt;cd bin&lt;/code&gt;. As im forced to write everytime the entire path.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance. S'Aarum.&lt;/p&gt;&#xA;" OwnerUserId="25124" LastActivityDate="2024-01-07T05:08:31.200" Title="FFMPEG - Creating script to convert a video into audio file (or anything related really) + diverses questions" Tags="|video|ffmpeg|audio|conversion|script|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27559" PostTypeId="1" CreationDate="2019-05-02T10:41:18.267" Score="1" ViewCount="307" Body="&lt;p&gt;I'm trying to blur a region of a video through rotoscoping (using Kdenlive-16.12.2-x86_64.AppImage on Ubuntu 16.04).&#xA;This region -in my video it coincides with a face- moves in time.&#xA;I'm wondering if it is possible to select the multiple nodes defining the region, in order to move them all together when creating new keyframes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Gv6G8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Gv6G8.png&quot; alt=&quot;nodes defining a region&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right now I've to move each node separately, it seems not possible to select all nodes in the same time.&lt;/p&gt;&#xA;" OwnerUserId="25126" LastActivityDate="2019-05-02T10:41:18.267" Title="kdenlive: selecting multiple nodes in a region (rotoscoping)" Tags="|kdenlive|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27561" PostTypeId="2" ParentId="27548" CreationDate="2019-05-02T11:21:58.543" Score="1" Body="&lt;ul&gt;&#xA;&lt;li&gt;The &quot;180 shutter speed rule&quot; you mention is only about setting your shutter speed at about double your camera's frame rate. It is not about actually shooting with a 180 shutter speed no matter what.&#xA;So, if I shoot at 25 fps, I'll set my shutter speed at 50 (because I like my footage to look more natural -- without the strobe-like effect that comes with high shutter speeds). If I were to shoot slow motion though, I would opt to shoot at, say, 50fps and set my shutter speed at 100 (to get crisper slow motion footage), and so on and so forth.&lt;/li&gt;&#xA;&lt;li&gt;There is not relation between the &quot;golden hour&quot; and shutter speed. You can shoot during that time of day, or any time of day, with whatever shutter speed you pick, provided there is enough light.&lt;/li&gt;&#xA;&lt;li&gt;ND filters are really used to control depth of field when using a wide iris/aperture on your lens in bright conditions (like an f2.8 or wider in the middle of the day).&lt;/li&gt;&#xA;&lt;li&gt;This is a good, clear break down of shutter speed use in video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/1nBfrqRd_oE?start=232&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2019-05-02T11:21:58.543" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27562" PostTypeId="1" AcceptedAnswerId="27725" CreationDate="2019-05-02T20:16:47.840" Score="1" ViewCount="2256" Body="&lt;p&gt;i.e. a file is listed as being &quot;1920x1080 HEVC Ma10p FLAC&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So....resolution / h.265 video codec / ? / .flac audio codec&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On its own I'd guess the 10 stands for 10 bit depth, but the Ma is unknown to me. Other guesses is its some kind of h.265 preset.&lt;/p&gt;&#xA;" OwnerUserId="21882" LastActivityDate="2019-05-27T12:31:30.807" Title="What does Ma10p stand for?" Tags="|codec|file-formats|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27563" PostTypeId="2" ParentId="27554" CreationDate="2019-05-02T20:18:44.203" Score="5" Body="&lt;p&gt;You can't just call a filter, You must instantiate a filter graph.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First you need to create a &lt;code&gt;buffer&lt;/code&gt; and &lt;code&gt;buffersink&lt;/code&gt; via:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;AVFilterContext* source = 0;&#xA;AVFilterContext* sink = 0;&#xA;AVFilterGraph *graph = avfilter_graph_alloc()&#xA;avfilter_graph_create_filter(&amp;amp;source, avfilter_get_by_name(&quot;buffer&quot;), nullptr, args, nullptr, graph);&#xA;&#xA;&#xA;AVBufferSinkParams* buffersink_params = av_buffersink_params_alloc();&#xA;buffersink_params-&amp;gt;pixel_fmts = /*Your pixel format HERE*/;&#xA;&#xA;avfilter_graph_create_filter(&amp;amp;sink, avfilter_get_by_name(&quot;buffersink&quot;), nullptr, nullptr, buffersink_params, graph);&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can then create your filter via something like this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;snprintf(args, sizeof(args), &quot;n=-60dB:d=2&quot;);&#xA;avfilter_graph_create_filter(&amp;amp;freezedetect, avfilter_get_by_name(&quot;freezedetect&quot;), nullptr, args, nullptr, graph);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then link it all together:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;avfilter_link(source, 0, freezedetect, 0);&#xA;avfilter_link(freezedetect, 0, sink, 0);&#xA;avfilter_graph_config(graph, 0);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Finally you can send frames to the filter via&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;av_buffersrc_write_frame(source, frame);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And get the result with &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; av_buffersink_get_frame(sink, frame);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Don't forget to free it all at the end&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-05-02T20:18:44.203" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27564" PostTypeId="2" ParentId="27558" CreationDate="2019-05-02T20:40:58.877" Score="0" Body="&lt;p&gt;&lt;code&gt;-vn&lt;/code&gt; + &lt;code&gt;-c:v libx264&lt;/code&gt; Does not make any sense. &#xA;This is saying &quot;Don't encode video, but use libx264 to encode no video.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You also can not set a bitrate for wav because it's a noncompressed format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So your command becomes:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i name.mov -vn -ar 48000 -ac 2 name.wav&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-05-02T20:40:58.877" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27565" PostTypeId="2" ParentId="27562" CreationDate="2019-05-02T20:53:18.483" Score="0" Body="&lt;p&gt;I think it might be a format profile - MainConcept 10 bit profile, as described here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.mainconcept.com/us/products/for-developers/video/hevch265.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.mainconcept.com/us/products/for-developers/video/hevch265.html&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-05-02T20:53:18.483" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27567" PostTypeId="1" CreationDate="2019-05-02T23:09:38.773" Score="0" ViewCount="590" Body="&lt;p&gt;I have some old DVD that I already converted using MakeMKV, they seems to have the original mpeg stream, so I want to do this:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Reencode the video stream to the more recommended settings for old-DVD using h264.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Reencode the audio streams (some mkv have 1 or 2 audio tracks) to aac or some other 5channel/stereo more compatible codec.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I already set the default language for audio and subtitles using mkvtoolnix but in my old TV it plays the first track of audio and the first track of subtitles no matter if other was set as default or not (yes, some of it have 2 subtitle tracks too, VLC loads the defaults ones with no problem).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Some videos have some interlaced tipical from the old-DVD's so I want to be able to turn on a deinterlace filter too if it is possible.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;How can I do this ? Thanks.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    ffmpeg version 4.1.3 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with Apple LLVM version 10.0.1 (clang-1001.0.46.4)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/4.1.3_1 --enable-shared --enable-pthreads --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags='-I/Library/Java/JavaVirtualMachines/adoptopenjdk-11.0.2.jdk/Contents/Home/include -I/Library/Java/JavaVirtualMachines/adoptopenjdk-11.0.2.jdk/Contents/Home/include/darwin' --host-ldflags= --enable-ffplay --enable-gnutls --enable-gpl --enable-libaom --enable-libbluray --enable-libmp3lame --enable-libopus --enable-librubberband --enable-libsnappy --enable-libtesseract --enable-libtheora --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-libxvid --enable-lzma --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librtmp --enable-libspeex --enable-videotoolbox --disable-libjack --disable-indev=jack --enable-libaom --enable-libsoxr&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;Input #0, matroska,webm, from '/Volumes/Data/Peliculas-Infantiles/pitufos.mkv':&#xA;  Metadata:&#xA;    encoder         : libmakemkv v1.14.3 (1.3.5/1.4.7) win(x64-release)&#xA;    creation_time   : 2019-04-05T17:34:38.000000Z&#xA;  Duration: 01:30:34.76, start: 0.000000, bitrate: 6261 kb/s&#xA;    Chapter #0:0: start 0.083417, end 378.378000&#xA;    Metadata:&#xA;      title           : Chapter 01&#xA;    Chapter #0:1: start 378.378000, end 461.661200&#xA;    Metadata:&#xA;      title           : Chapter 02&#xA;    Chapter #0:2: start 461.661200, end 644.477167&#xA;    Metadata:&#xA;      title           : Chapter 03&#xA;    Chapter #0:3: start 644.477167, end 922.288033&#xA;    Metadata:&#xA;      title           : Chapter 04&#xA;    Chapter #0:4: start 922.288033, end 1061.927533&#xA;    Metadata:&#xA;      title           : Chapter 05&#xA;    Chapter #0:5: start 1061.927533, end 1162.194367&#xA;    Metadata:&#xA;      title           : Chapter 06&#xA;    Chapter #0:6: start 1162.194367, end 1299.965333&#xA;    Metadata:&#xA;      title           : Chapter 07&#xA;    Chapter #0:7: start 1299.965333, end 1393.258533&#xA;    Metadata:&#xA;      title           : Chapter 08&#xA;    Chapter #0:8: start 1393.258533, end 1630.829200&#xA;    Metadata:&#xA;      title           : Chapter 09&#xA;    Chapter #0:9: start 1630.829200, end 1831.329500&#xA;    Metadata:&#xA;      title           : Chapter 10&#xA;    Chapter #0:10: start 1831.329500, end 2143.841700&#xA;    Metadata:&#xA;      title           : Chapter 11&#xA;    Chapter #0:11: start 2143.841700, end 2327.692033&#xA;    Metadata:&#xA;      title           : Chapter 12&#xA;    Chapter #0:12: start 2327.692033, end 2545.743200&#xA;    Metadata:&#xA;      title           : Chapter 13&#xA;    Chapter #0:13: start 2545.743200, end 2748.746000&#xA;    Metadata:&#xA;      title           : Chapter 14&#xA;    Chapter #0:14: start 2748.746000, end 2863.694167&#xA;    Metadata:&#xA;      title           : Chapter 15&#xA;    Chapter #0:15: start 2863.694167, end 3016.680333&#xA;    Metadata:&#xA;      title           : Chapter 16&#xA;    Chapter #0:16: start 3016.680333, end 3243.573667&#xA;    Metadata:&#xA;      title           : Chapter 17&#xA;    Chapter #0:17: start 3243.573667, end 3538.368167&#xA;    Metadata:&#xA;      title           : Chapter 18&#xA;    Chapter #0:18: start 3538.368167, end 3665.828833&#xA;    Metadata:&#xA;      title           : Chapter 19&#xA;    Chapter #0:19: start 3665.828833, end 3910.106200&#xA;    Metadata:&#xA;      title           : Chapter 20&#xA;    Chapter #0:20: start 3910.106200, end 4237.066167&#xA;    Metadata:&#xA;      title           : Chapter 21&#xA;    Chapter #0:21: start 4237.066167, end 4854.850000&#xA;    Metadata:&#xA;      title           : Chapter 22&#xA;    Chapter #0:22: start 4854.850000, end 5013.708700&#xA;    Metadata:&#xA;      title           : Chapter 23&#xA;    Chapter #0:23: start 5013.708700, end 5434.762667&#xA;    Metadata:&#xA;      title           : Chapter 24&#xA;    Stream #0:0(eng): Video: mpeg2video (Main), yuv420p(tv, progressive), 720x480 [SAR 32:27 DAR 16:9], SAR 186:157 DAR 279:157, 29.97 fps, 29.97 tbr, 1k tbn, 59.94 tbc&#xA;    Metadata:&#xA;      BPS-eng         : 5484482&#xA;      DURATION-eng    : 01:30:34.762666666&#xA;      NUMBER_OF_FRAMES-eng: 130304&#xA;      NUMBER_OF_BYTES-eng: 3725857328&#xA;      SOURCE_ID-eng   : 0100E0&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.14.3 win(x64-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-04-05 17:34:38&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;    Stream #0:1(por): Audio: ac3, 48000 Hz, 5.1(side), fltp, 384 kb/s&#xA;    Metadata:&#xA;      title           : Surround 5.1&#xA;      BPS-eng         : 384000&#xA;      DURATION-eng    : 01:30:34.720000000&#xA;      NUMBER_OF_FRAMES-eng: 169835&#xA;      NUMBER_OF_BYTES-eng: 260866560&#xA;      SOURCE_ID-eng   : 0180BD&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.14.3 win(x64-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-04-05 17:34:38&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;    Stream #0:2(spa): Audio: ac3, 48000 Hz, 5.1(side), fltp, 384 kb/s (default)&#xA;    Metadata:&#xA;      title           : Surround 5.1&#xA;      BPS-eng         : 384000&#xA;      DURATION-eng    : 01:30:34.752000000&#xA;      NUMBER_OF_FRAMES-eng: 169836&#xA;      NUMBER_OF_BYTES-eng: 260868096&#xA;      SOURCE_ID-eng   : 0181BD&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.14.3 win(x64-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-04-05 17:34:38&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;    Stream #0:3(por): Subtitle: dvd_subtitle, 720x480&#xA;    Metadata:&#xA;      BPS-eng         : 1772&#xA;      DURATION-eng    : 01:27:22.759977777&#xA;      NUMBER_OF_FRAMES-eng: 660&#xA;      NUMBER_OF_BYTES-eng: 1161324&#xA;      SOURCE_ID-eng   : 0120BD&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.14.3 win(x64-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-04-05 17:34:38&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;    Stream #0:4(spa): Subtitle: dvd_subtitle, 720x480&#xA;    Metadata:&#xA;      BPS-eng         : 1767&#xA;      DURATION-eng    : 01:27:22.759977777&#xA;      NUMBER_OF_FRAMES-eng: 660&#xA;      NUMBER_OF_BYTES-eng: 1158568&#xA;      SOURCE_ID-eng   : 0122BD&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.14.3 win(x64-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-04-05 17:34:38&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;At least one output file must be specified&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25123" LastEditorUserId="25123" LastEditDate="2019-05-06T04:53:01.130" LastActivityDate="2019-05-06T04:53:01.130" Title="Reencode MKV (from DVD - Mpeg2) to h264" Tags="|ffmpeg|h.264|mkv|dvd|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27568" PostTypeId="2" ParentId="16919" CreationDate="2019-05-03T13:53:31.097" Score="0" Body="&lt;p&gt;You can save it and open it with movies and tv, then select the 3 dots toolbar in the lower right corner and you should see a option called repeat!&lt;/p&gt;&#xA;" OwnerUserId="25133" LastActivityDate="2019-05-03T13:53:31.097" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27570" PostTypeId="2" ParentId="24236" CreationDate="2019-05-03T15:37:49.833" Score="2" Body="&lt;p&gt;sorry I don't use this forum and have zero time to answer, but from the clip you posted I'd strongly suggest you don't use warp stabilizer - instead use &quot;stabilize motion&quot; and then make sure to check the &quot;rotation&quot; parameter so that you are given a second tracker - then once you've stabilized the position and rotation of the footage you'll have to do a little extra to manually slide the footage left or right depending on where the camera goes (look into stuff like &quot;setting a null as the target for tracking motion&quot; and you'll get a better understanding of all this stuff).&lt;/p&gt;&#xA;" OwnerUserId="25135" LastActivityDate="2019-05-03T15:37:49.833" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27578" PostTypeId="1" CreationDate="2019-05-05T18:39:38.980" Score="-2" ViewCount="237" Body="&lt;p&gt;I've created a great plug-in. Where can I sell it?&lt;/p&gt;&#xA;" OwnerUserId="24473" LastActivityDate="2019-05-06T03:56:56.193" Title="Where can I sell a plug-in for Final Cut Pro or Premiere Pro?" Tags="|plugins|" AnswerCount="2" CommentCount="1" ClosedDate="2019-05-19T12:33:35.030" ContentLicense="CC BY-SA 4.0" />
  <row Id="27579" PostTypeId="2" ParentId="27578" CreationDate="2019-05-05T18:39:38.980" Score="-1" Body="&lt;p&gt;So far I've been able to find three major paths for selling a plug-in, at least on the Mac.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, you can always set up your own store through something like SquareSpace or Wix. That works if, somehow, you have enough web traffic or can quickly get enough visitors through Twitter, Facebook or whatever to at least view your site and continue on to buying your plugin. This takes a lot of marketing and web site development effort, but beyond credit card processing fees and such, you get to keep all the revenue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, you can publish it as part of an app on the Mac App Store. I haven't seen this done too often, but it seems to work. I don't know what it would take to get Apple to feature a plug-in sold this way, but it would be great if you can pull it off. Apple takes 30% of the sales, but it's a known entity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Third, you can go through a store like FxFactory or CoreMelt's VFX Market. I've used plug-ins from them for a while, but never tried to sell a plug-in through them. That's where this question came from, actually. These guys all seem to also take 30% of the sales, but they're likely to reach a lot of potential customers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The biggest problem I see with Apple, FxFactory and VFX Market is that they're Mac exclusive. You can publish plug-ins for Final Cut Pro X, Premiere Pro on Mac, After Effects on Mac and Motion. With your own store, you can publish for Windows too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given that I don't even know how to write a plug-in for Windows yet, those solutions work for me, but it would be awfully nice to know how to sell a Premiere Pro/After Effects plug-in for Windows, or if there are any other markets out there for plug-in developers to sell into.&lt;/p&gt;&#xA;" OwnerUserId="24473" LastActivityDate="2019-05-05T18:39:38.980" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27581" PostTypeId="2" ParentId="27578" CreationDate="2019-05-06T03:56:56.193" Score="1" Body="&lt;p&gt;Adobe have a &lt;a href=&quot;https://www.adobeexchange.com/creativecloud.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;marketplace&lt;/a&gt; for plugins and scripts for all the apps across the CC range, and there's also &lt;a href=&quot;http://aenhancers.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;AEnhancers&lt;/a&gt; for After Effects and Premiere plugins and scripts.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-05-06T03:56:56.193" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27582" PostTypeId="2" ParentId="27543" CreationDate="2019-05-06T04:03:17.733" Score="1" Body="&lt;p&gt;There's a camera drop-down at the bottom of the comp window. You can select the active camera there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xz9iX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xz9iX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Pro Tip:&lt;/strong&gt; Hitting the &lt;kbd&gt;escape&lt;/kbd&gt; key will toggle between the two last used cameras.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-05-06T04:03:17.733" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27583" PostTypeId="2" ParentId="27515" CreationDate="2019-05-06T04:11:09.533" Score="1" Body="&lt;p&gt;Animated shape layer would be my first choice. Draw the final shape of the dripping paint, turn on animation for that shape at the end, wind back to the beginning and edit the shape until it looks like how you want it to start, then preview the animation and tweak any intermediate frames as necessary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;TL;DR&lt;/strong&gt;: animate it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-05-06T04:11:09.533" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27584" PostTypeId="1" CreationDate="2019-05-06T20:51:18.563" Score="1" ViewCount="33" Body="&lt;p&gt;I'm looking to better understand the various 8mm film silent movie scanning solutions available.  Can anyone shed light on the differences between &lt;a href=&quot;http://www.moviestuff.tv/moviestuff_products_pricing.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Moviestuff&lt;/a&gt; (appears inferior to me) and &lt;a href=&quot;https://mwa-nova.com/#our-products&quot; rel=&quot;nofollow noreferrer&quot;&gt;MWA&lt;/a&gt; (appears superior to me).  Are there other vendors that should also be considered?  I also see the Lasergraphics Scanstation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How have they varied over time?  Has the technology changed much in recent years?  Has the technology gotten past the point of retrieving all the information in 8mm film?&lt;/p&gt;&#xA;" OwnerUserId="908" OwnerDisplayName="WilliamKF" LastEditorUserId="908" LastEditDate="2019-05-07T16:50:27.497" LastActivityDate="2019-05-07T16:50:27.497" Title="Comparing Hardware Solutions for Transferring 8mm film to Digital?" Tags="|analog|digital|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27586" PostTypeId="1" CreationDate="2019-05-07T12:10:56.260" Score="0" ViewCount="749" Body="&lt;p&gt;Im trying to get two 1080p videos side by side,  Wanting the two scaled to 720p and combined both as 1080p &lt;/p&gt;&#xA;&#xA;&lt;p&gt;ive tried using the below code . it works fine when using the lower resolution but when i try to make it go higher it gets all mixed up&lt;/p&gt;&#xA;&#xA;&lt;p&gt;any tips &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i video.avi -i video2.avi -filter_complex &quot;nullsrc=size=720x288 [base]; [0:v] setpts=PTS-STARTPTS, scale=360x288 [left]; [1:v] setpts=PTS-STARTPTS, scale=360x288 [right]; [base][left] overlay=shortest=1 [tmp1]; [tmp1][right] overlay=shortest=1:x=360:y=0&quot; -c:v libx264 -f flv &quot;rtmp://192.168.1.1/live/videocrop&quot;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="25159" LastEditorUserId="14523" LastEditDate="2019-05-07T15:23:42.143" LastActivityDate="2019-05-07T17:42:52.817" Title="ffmpeg side by side video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27587" PostTypeId="2" ParentId="27586" CreationDate="2019-05-07T17:42:52.817" Score="1" Body="&lt;p&gt;Just use &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#hstack&quot; rel=&quot;nofollow noreferrer&quot;&gt;hstack&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.avi -i video2.avi -filter_complex &quot;[0:v] setpts=PTS-STARTPTS, scale=360x288 [left]; [1:v] setpts=PTS-STARTPTS, scale=360x288 [right]; [left][right]hstack=inputs=2&quot; -c:v libx264 -f flv rtmp://192.168.1.1/live/videocrop&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-05-07T17:42:52.817" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27588" PostTypeId="1" CreationDate="2019-05-07T20:09:22.437" Score="0" ViewCount="271" Body="&lt;p&gt;Hi I have a video in After Effects that I want to add subtitles as text layers. Previously  I have been typing them out manually. Does anyone know of a way to either automate the subtitling process or any ways to improve the efficiency. &lt;/p&gt;&#xA;" OwnerUserId="20142" LastActivityDate="2024-03-11T13:08:41.600" Title="Automated speech to text layer subtitles in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27590" PostTypeId="2" ParentId="25961" CreationDate="2019-05-08T04:31:15.933" Score="1" Body="&lt;p&gt;If you don't specify bit rate yourself, FFmpeg will assume a default bit rate of 256 kbit\s, you have to unset it with &lt;code&gt;-b:v 0&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="25163" LastActivityDate="2019-05-08T04:31:15.933" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27591" PostTypeId="2" ParentId="26350" CreationDate="2019-05-08T14:16:23.573" Score="1" Body="&lt;p&gt;I think the closest thing to what you are talking about is &lt;a href=&quot;https://www.adobe.com/products/prelude.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe Prelude&lt;/a&gt;. &#xA;It's custom built for content ingestion, logging and metadata of video content. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on how many people are involved in your workflow and how much time you have budgeted, this could be a helpful part of your workflow. However, if you're a one-man shop, you might need to adjust your expectations of how long tagging and sorting video content will take. &lt;/p&gt;&#xA;" OwnerUserId="23465" LastActivityDate="2019-05-08T14:16:23.573" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27592" PostTypeId="2" ParentId="26390" CreationDate="2019-05-09T01:56:56.147" Score="3" Body="&lt;p&gt;I've created a thumbnail provider available from here &lt;a href=&quot;https://github.com/tom-gangemi/braw-thumbnail-provider/releases/tag/v1.0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/tom-gangemi/braw-thumbnail-provider/releases/tag/v1.0&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All you need to do is extract to your desired install location and run register.cmd.&lt;/p&gt;&#xA;" OwnerUserId="25170" LastEditorUserId="25170" LastEditDate="2019-05-09T03:54:29.367" LastActivityDate="2019-05-09T03:54:29.367" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27593" PostTypeId="1" CreationDate="2019-05-09T07:25:04.090" Score="0" ViewCount="29" Body="&lt;p&gt;I need to make something like &lt;a href=&quot;https://drive.google.com/open?id=1WzWyaTVQ7ELy2ZQj0J2SatQeVcMehF-W&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; in After Effects. Now, it would have been easy if the zoom effect origin was in the center, but I need it on some other point, so the borders of the &lt;strong&gt;billboard&lt;/strong&gt; (see my screenshots) keeps snapping to composition, &lt;strong&gt;and I can duplicate layer multiple times&lt;/strong&gt; to create a never ending effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I can't find the perfect anchor point location, when I duplicate layer, the two doesn't seem smooth when &lt;strong&gt;&lt;em&gt;intersection&lt;/em&gt;&lt;/strong&gt; happens. See &lt;a href=&quot;https://i.stack.imgur.com/bbsGs.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;, you will understand.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, do I need to do some hit and trials to find the correct location of desired anchor point?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, another problem I faced in scale effect is &lt;a href=&quot;https://drive.google.com/drive/folders/1EtQgyh7TSCPbQ5AVFz1zadD1nlkK_KOz&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;. The scale speed decreases, I don't know why, with time. This also makes someone notice that there's the &lt;strong&gt;&lt;em&gt;intersection&lt;/em&gt;&lt;/strong&gt; of multiple layers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are some helpful screenshots:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cdoxQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cdoxQ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12245" LastActivityDate="2019-05-09T07:25:04.090" Title="How to locate right anchor point location while making infinite zoom effect GIF?" Tags="|after-effects|animation|zoom|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27595" PostTypeId="1" AcceptedAnswerId="27598" CreationDate="2019-05-09T21:07:55.817" Score="1" ViewCount="3431" Body="&lt;h1&gt;My Problem&lt;/h1&gt;&#xA;&lt;p&gt;I am converting a .mov (h264) file to VP9 / WebM using ffmpeg, and I don't know what the CRF numbers mean.&lt;/p&gt;&#xA;&lt;h1&gt;What Have I Tried&lt;/h1&gt;&#xA;&lt;p&gt;I have read &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/VP9&quot; rel=&quot;nofollow noreferrer&quot;&gt;this ffmpeg manual&lt;/a&gt; about 2-pass conversion, which states that:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;To trigger this mode, you must use a combination of -crf and -b:v&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;In &lt;a href=&quot;https://developers.google.com/media/vp9/bitrate-modes/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Google's VP9 documentation&lt;/a&gt;, I see that:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;-crf     Sets maximum quality level. Valid values are 0-63. Lower numbers are higher quality&lt;/p&gt;&#xA;&lt;p&gt;Note: Other codecs in FFmpeg accept the -crf parameter but may interpret the value differently. If you are using -crf with other codecs you will likely need different values for VP9&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;However, on the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg documentation&lt;/a&gt;, I only found reference to CRF for .h264, not for the target VP9:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;The range of the CRF scale is 0–51, where 0 is lossless, 23 is the default, and 51 is worst quality possible&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So, there seems to be a conflict between the VP9 CRF range on Google's site and the ffmpeg CRF range on the ffmpeg site.&lt;/p&gt;&#xA;&lt;h1&gt;My Question&lt;/h1&gt;&#xA;&lt;p&gt;&lt;strong&gt;What is the scale for CRF values using ffmpeg to encode in vp9 / WebM format?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="1090" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-05-10T05:10:15.740" Title="What is the CRF range for VP9 conversion using ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27596" PostTypeId="1" AcceptedAnswerId="27597" CreationDate="2019-05-09T22:05:47.003" Score="2" ViewCount="3081" Body="&lt;p&gt;The &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/VP9&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg manual&lt;/a&gt; states that:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;libvpx-vp9 is the VP9 video encoder for ​WebM, an open, royalty-free media file format.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;What is the difference between the VP9 and WebM?&lt;/p&gt;&#xA;" OwnerUserId="1090" LastActivityDate="2019-08-19T17:37:19.097" Title="What is the difference between VP9 and ​WebM?" Tags="|ffmpeg|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27597" PostTypeId="2" ParentId="27596" CreationDate="2019-05-09T23:10:43.500" Score="6" Body="&lt;p&gt;VP9 is a &lt;strong&gt;video format&lt;/strong&gt;. Another example is H.264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;WebM is a &lt;strong&gt;container format&lt;/strong&gt; that VP9 goes into. It is equivalent to the MP4 container format for the H.264 video format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;libvpx is a &lt;strong&gt;video encoder&lt;/strong&gt; (or &lt;strong&gt;codec&lt;/strong&gt;) which outputs the VP8 or VP9 video formats. Another encoder example is x264 which outputs the H.264 video format.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2019-08-19T17:37:19.097" LastActivityDate="2019-08-19T17:37:19.097" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27598" PostTypeId="2" ParentId="27595" CreationDate="2019-05-10T05:10:15.740" Score="2" Body="&lt;p&gt;libvpx is a software encoder developed by Google, and used in ffmpeg, to encode VP9. And as the Google docs say, 0-63 is the applicable range for encoding VP9 with libvpx.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-05-10T05:10:15.740" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27600" PostTypeId="1" AcceptedAnswerId="27607" CreationDate="2019-05-10T11:05:04.923" Score="0" ViewCount="1054" Body="&lt;p&gt;I downloaded these files (at max resolution 4K, that is important), in this order:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/195782736&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/195782736&lt;/a&gt;&#xA;&lt;a href=&quot;https://vimeo.com/196725716&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/196725716&lt;/a&gt;&#xA;&lt;a href=&quot;https://vimeo.com/195776765&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/195776765&lt;/a&gt;&#xA;&lt;a href=&quot;https://vimeo.com/196651176&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/196651176&lt;/a&gt;&#xA;&lt;a href=&quot;https://vimeo.com/195781480&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/195781480&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;please notice that these files are not &quot;a video posted online&quot; but the &lt;strong&gt;original output of a RX100m5&lt;/strong&gt;!!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;each video offers:&#xA;0:0 video&#xA;0:1 audio&#xA;0:2 &quot;unknown to ffmpeg&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;therefore I changed the titles into&#xA;a.mp4, b.mp4.......e.mp4&#xA;to avoid the error. Amen.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Question:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I want to simply concatenate them, i.e. no recode!&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Problem:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Sony's output is &quot;MP4 = H264av1 + PCM&quot;. Curiously PCM is NOT supported by MP4 container (see official specs on wikipedia).&#xA;Therefore ffmpeg is unable to do what I want. [It seems that Sony users never used ffmpeg].&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried:&#xA;&lt;code&gt;ffmpeg -f concat -i lista.txt -c copy concatenated.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I got:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mp4 @ 094630c0] Could not find tag for codec pcm_s16be in stream #1, codec not currently supported in container&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Invalid argument&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;as stated above Sony puts PCM into MP4 and this is not allowed.&#xA;threfore I say let's to concatenate the files without recode/transcode and just change container:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i &quot;lista.txt&quot; -map 0:0 -map 0:1 -c copy concatenated.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i &quot;lista.txt&quot; -c copy concatenated.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I got: no error message but...out of sync. that is unacceptable.&#xA;[with MTS 1080p I simply concatenate them via the very very old Ts_splitter&amp;amp;joiner.exe and all is fine and in sync!]&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Addendum:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Only if I notice (like in the past!) that a simple &quot;concatenate&quot; let the Mb/s to drop down drastically, then I could add something like&#xA;&lt;code&gt;-map &quot;[v]&quot; -map &quot;[a]&quot; -b:v 95000k&lt;/code&gt;&#xA;(that worked fine).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks for a working string for the 5 videos :)&#xA;...I warmly hoping that the output will be in sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;best,&lt;/p&gt;&#xA;" OwnerUserId="25169" LastEditorUserId="14523" LastEditDate="2019-05-11T18:02:44.933" LastActivityDate="2019-05-12T14:54:38.180" Title="Concatenating in sync MP4 (H264+PCM instead of AAC) from a Sony 2018 Camera" Tags="|ffmpeg|mp4|sync|4k|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27601" PostTypeId="1" AcceptedAnswerId="27602" CreationDate="2019-05-10T16:45:20.333" Score="0" ViewCount="1667" Body="&lt;p&gt;I found the weirdest thing in Vegas Pro 13. I was trying to verify the exact frames of a generated file, so was looking for a zero number frame to drop it into the timeline. I was surprised to find that two frames in the Vegas Pro timeline are missing. The timeline goes from &lt;code&gt;00:13:59;29&lt;/code&gt; to &lt;code&gt;00:14:00;02&lt;/code&gt;. There should be a &lt;code&gt;;00&lt;/code&gt; and &lt;code&gt;;01&lt;/code&gt; entry there as well, but it's not present. See in the image below, zoomed in so that each vertical line is a frame. The two frames missing are between the blue line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fvpnE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fvpnE.png&quot; alt=&quot;Missing frames in Vegas Pro timeline&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My first thought was something to do with NTSC 29.97 framerate vs actual 30 framerate. I figured if that's the case, the issue should repeat at regular intervals. I checked between other values and determined that the issue repeats every minute, except at 10 minute marks (it may be more nuanced than that).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I make it not do this?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Why, you ask? I edit in Vegas Pro like any other vidiot, but then I use the events window to extract all the timeline data then render in ffmpeg. This means that If I try to target a specific frame, I may actually be off by several frames. This is an issue because some of my process is creating separate video and audio files, but they play simultaneously, so I can't tolerate more than 1 frame off for the lip sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My thought is that I need to record in true 30 fps, then everything will fall in line. Is that the only solution? How can I account for this in my ffmpeg scripts? For example, if I see &lt;code&gt;00:14:00;02&lt;/code&gt; in Vegas Pro, do I need to tell ffmpeg that the actual frame to target is less than that? If I have a 10 hour clip, 2 frames difference every minute adds up to a lot of frames. Almost a minute! I haven't looked closely at any of my renders to see if I notice a subjective lip sync issue.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2019-05-10T16:56:24.260" LastActivityDate="2019-05-11T04:59:25.943" Title="Why are there missing frames in the Vegas Pro editing timeline?" Tags="|framerate|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27602" PostTypeId="2" ParentId="27601" CreationDate="2019-05-10T19:04:48.263" Score="1" Body="&lt;p&gt;Vegas is not showing you the actual framerate based measurement. Instead, it is showing you 30 fps &lt;a href=&quot;https://en.wikipedia.org/wiki/SMPTE_timecode#Drop-frame_timecode&quot; rel=&quot;nofollow noreferrer&quot;&gt;Drop Frame Timecode&lt;/a&gt;, which exists for compatibility reasons and does have to do with NTSC video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For purposes of alignment with ffmpeg, switch your display to SS.mmm i.e. fractional seconds rather than SMPTE timecode. No need to change the project framerate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right click on one of the times at the top of the timeline and you will see that SMPTE Drop is selected. You can change that to &quot;Time&quot; or &quot;Seconds&quot; for a convention that FFmpeg will naturally understand.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4y2ju.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4y2ju.png&quot; alt=&quot;Change Vegas Pro timeline timecode display&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-05-11T04:59:25.943" LastActivityDate="2019-05-11T04:59:25.943" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27603" PostTypeId="2" ParentId="24631" CreationDate="2019-05-11T05:35:35.907" Score="0" Body="&lt;p&gt;@Jamie &amp;amp; @Brett have very insightful answers. From the perspective of script writing and production notes, I have nothing to add.&lt;br&gt;&#xA;It seems to me that your question is more about &quot;what it would look like to the audience&quot; instead of on a script.&lt;br&gt;&#xA;&lt;br&gt;&#xA;Have a look at this youtube video.&#xA;Interview: Catatonic Schizophrenic&lt;br&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/IehtMYlOuIk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;br&gt;&#xA;this is a WA shot up to about 2:07. Notice how his body is very still, but his eyes move during the pauses.&lt;br&gt;&#xA;After 2:07, it's a CU of his head. Notice his face &amp;amp; eyes during his pauses before answering a question.&lt;br&gt;&#xA;&lt;br&gt;&#xA;What I see:&lt;br&gt;&#xA;Your character, during the &quot;auditory flash back&quot; would be, effectively catatonic. As (s)he remembers the past experiences, this is the kind of behavior the body would naturally do. Eyes darting about &amp;amp; focused on infinity, slight head movements &amp;amp; facial expressions. It is even possible that (s)he would mimic the posture of the Mother and then mimic the child. Perhaps even mouthing the words.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see, though, it could be a bit boring for the audience if the flashback lasted for more than several seconds, so &lt;em&gt;something&lt;/em&gt; needs to happen visually.&#xA;$0.02&lt;/p&gt;&#xA;" OwnerUserId="24444" LastActivityDate="2019-05-11T05:35:35.907" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27604" PostTypeId="2" ParentId="23405" CreationDate="2019-05-11T11:13:12.353" Score="2" Body="&lt;p&gt;The problem comes from the video which should have the metadata &lt;code&gt;projection=equirectangular&lt;/code&gt;. To fix it:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Install &lt;a href=&quot;https://www.python.org/ftp/python/3.7.3/python-3.7.3.exe&quot; rel=&quot;nofollow noreferrer&quot;&gt;Python 3&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Download &lt;a href=&quot;https://github.com/tongwenchao/spatial-media/archive/refs/heads/master.zip&quot; rel=&quot;nofollow noreferrer&quot;&gt;Spatial Media&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Unzip Spatial Media&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Go into the folder (where there is a subfolder &lt;code&gt;spatialmedia&lt;/code&gt;)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Copy the path of the folder&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Launch &lt;code&gt;cmd&lt;/code&gt; on Windows (by searching &lt;code&gt;cmd&lt;/code&gt; on your system)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Go on the folder by typing &lt;code&gt;cd &lt;/code&gt; and the path of the folder&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Inject the spherical metadata by typing &lt;code&gt;py spatialmedia -i &lt;/code&gt;&lt;strong&gt;&lt;code&gt;&amp;lt;yourVideoOnTheDisk&amp;gt;&lt;/code&gt;&lt;/strong&gt;&lt;code&gt; &lt;/code&gt;&lt;strong&gt;&lt;code&gt;&amp;lt;aVideoName&amp;gt;&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Open the created file with VLC. It should be launched as a 360° video. You can remove &lt;code&gt;spatialmedia&lt;/code&gt; and uninstall Python.&lt;/p&gt;&#xA;" OwnerUserId="25192" LastEditorUserId="25192" LastEditDate="2022-03-13T12:44:20.297" LastActivityDate="2022-03-13T12:44:20.297" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27606" PostTypeId="1" CreationDate="2019-05-11T14:46:12.097" Score="0" ViewCount="603" Body="&lt;p&gt;I'm trying to get rid of the 1st of two audio tracks in an mp4 file. But each time I run:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test.mp4 -map 0:0 -map 0:2 -acodec copy -vcodec copy new_file.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ffmpeg seems to reencode the file.&#xA;The output says:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Seems stream 0 codec frame rate differs from container frame rate: 180000.00 (180000/1) -&amp;gt; 23.98 (24000/1001)&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'test.mp4':&#xA;  Duration: 01:01:37.25, start: 0.-83411, bitrate: 4086 kb/s&#xA;    Stream #0.0(und): Video: h264, yuv420p, 1280x720, 23.98 tbr, 90k tbn, 180k tbc&#xA;    Stream #0.1(deu): Audio: aac, 48000 Hz, 5.1, s16&#xA;    Stream #0.2(eng): Audio: aac, 48000 Hz, 5.1, s16&#xA;    Stream #0.3(und): Subtitle: text / 0x74786574&#xA;File 'new_file2.mp4' already exists. Overwrite ? [y/N] y&#xA;Output #0, mp4, to 'new_file2.mp4':&#xA;    Stream #0.0(und): Video: 0x0000, yuv420p, 1280x720, q=2-31, 90k tbn, 90k tbc&#xA;    Stream #0.1(eng): Audio: 0x0000, 48000 Hz, 5.1, s16&#xA;Stream mapping:&#xA;  Stream #0.0 -&amp;gt; #0.0&#xA;  Stream #0.2 -&amp;gt; #0.1&#xA;Press [q] to stop encoding&#xA;frame=33700 fps=944 q=-1.0 size=  583098kB time=1405.53 bitrate=3398.5kbits/s &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And this process takes quite some time, that's why I think it reencodes instead of copying. &#xA;Any idea why this is? Maybe the different frame rate between container and codec?&#xA;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="25196" LastActivityDate="2019-06-09T17:11:59.327" Title="ffmpeg remove 1 of 2 audio tracks without video reencode" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27607" PostTypeId="2" ParentId="27600" CreationDate="2019-05-12T08:31:13.093" Score="0" Body="&lt;p&gt;In this case, I can think of two possible causes. First is differing timebases for the video stream, which is definitely the case here. And second is unequal lengths of video and audio within each file. Unknown but unlikely since these are files produced by a camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reciprocal timebase for the video stream is reported as its &lt;code&gt;tbn&lt;/code&gt; value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the five files, they are &lt;code&gt;25k&lt;/code&gt;, &lt;code&gt;24k&lt;/code&gt;, &lt;code&gt;24k&lt;/code&gt;, &lt;code&gt;24k&lt;/code&gt; and &lt;code&gt;24k&lt;/code&gt; respectively. The first one should be changed to 24k, else the videos streams of subsequent videos will be speeded up 4%, causing a desync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Normally, I would just rewrap the MP4, only changing the timescale. However, since PCM isn't supported in MP4 - the workaround here is to rewrap to MKV individually and then concat. Matroska files have a fixed timescale of 1000, so a simple command will do.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i file.mp4 -c copy -dn file.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-05-12T08:31:13.093" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27608" PostTypeId="1" CreationDate="2019-05-12T14:19:08.437" Score="1" ViewCount="963" Body="&lt;p&gt;I am attempting to import XAVC S/AVCHD footage from Sony a6300 camera. It seems the proper way to do this is to use the Media Manager window. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The issue I am having is that it does not detect it as anything other than files, and the all other options are greyed out in Directory viewer. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If I try to import entire PRIVATE folder, I get “File Format not supported” errors. &lt;/li&gt;&#xA;&lt;li&gt;If I try to import M4ROOT or M4ROOT/CLIP folders I get “The imported reported generic error” for various metadata files like XML files. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Either way it seems I am loosing metadata. Transcoding is obviously not a good option as you would end up transcoding twice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is XAVC S/AVCHD format and uses MP4 container so all files are within M4ROOT folder and AVCHD is empty.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I import this format properly with Premiere Pro CC 2019 under Windows?&lt;/p&gt;&#xA;" OwnerUserId="4778" LastEditorUserId="18155" LastEditDate="2019-07-03T19:15:24.157" LastActivityDate="2024-03-09T08:02:30.273" Title="Cannot import XAVC S/AVCHD with Premiere Pro CC 2019" Tags="|premiere|avchd|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27609" PostTypeId="2" ParentId="27600" CreationDate="2019-05-12T14:54:38.180" Score="0" Body="&lt;p&gt;Wow Gyan, your are great!!!!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have to admit that I was not aware about the &quot;small&quot; difference in frequency 25 vs 24 = 1 tbn, and -concat can work only if all the files have exactly the same properties.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did what you suggested for each file individually&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i a.mp4 -c copy -dn aaaaa.mkv&#xA;  ffmpeg -i b.mp4 -c copy -dn bbbbb.mkv&#xA;  ....&#xA;  ....&lt;/p&gt;&#xA;&#xA;&lt;p&gt;then&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -hide_banner -f concat -safe 0 -i listaaaaa.txt -c copy concatenated.mkv&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here the readout with some messages at the end:&#xA;&lt;a href=&quot;https://drive.google.com/open?id=1sdRHslop1r9Jb1yfx9DPhrCthRDz1kJl&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/open?id=1sdRHslop1r9Jb1yfx9DPhrCthRDz1kJl&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can state that the final output (MKV) seems to me simply perfect!!!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffprobe says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;blockquote&gt;&#xA;    &lt;p&gt;start_time=0.000000&amp;lt;&amp;lt;&lt;/p&gt;&#xA;  &lt;/blockquote&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;MPC-HC/Audio says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;blockquote&gt;&#xA;    &lt;p&gt;Delay relative to video: -40 ms&amp;lt;&amp;lt;&lt;/p&gt;&#xA;  &lt;/blockquote&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Super!&#xA;You helped me very fine, my congratulations.&#xA;I warmly thank you.&#xA;Best,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: I dont receive notification emails for replies hmmmmm&lt;/p&gt;&#xA;" OwnerUserId="25169" LastActivityDate="2019-05-12T14:54:38.180" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27610" PostTypeId="1" CreationDate="2019-05-12T16:25:23.220" Score="1" ViewCount="1210" Body="&lt;p&gt;I rotated one of my clips in Resolve to square up some of the lines (compositionally), then zoomed in so that the top and bottom edges were cropped to straight by the dimensions of the timeline viewer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I try to crop left and right to square up the sides, the rotated/slanted edge is preserved by the crop. How can I crop the edges square?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The intended picture ratio of the film is 1.33, which is why I'm not zooming to the full frame of the timeline. I suppose if there was a way to adjust the dimensions of the timeline to a 1.33 ratio, that would also be a solution.&lt;/p&gt;&#xA;" OwnerUserId="25204" LastEditorUserId="25204" LastEditDate="2019-05-14T10:52:32.617" LastActivityDate="2024-02-21T15:08:52.740" Title="Square edges after rotating video in DaVinci Resolve?" Tags="|editing|davinci-resolve|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27611" PostTypeId="1" CreationDate="2019-05-12T16:48:32.700" Score="4" ViewCount="367" Body="&lt;p&gt;I was always wondering if the robots in transformers had millions of parts like LEGOs and the different parts snapped on and off and rotated in a completely mechanical way, but I feel like the VFX artists cheated a lot and make parts appear and disappear magically out of thin air. What do you think? I am not sure if this is the right place, but the robot sequences is VFX and this stackexchange seems to be about VFX.&lt;/p&gt;&#xA;" OwnerUserId="25205" LastEditorUserId="25205" LastEditDate="2019-05-12T16:56:04.107" LastActivityDate="2019-10-15T04:52:37.023" Title="Are the robots in the transformers films really transforming?" Tags="|special-effects|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27613" PostTypeId="1" AcceptedAnswerId="27614" CreationDate="2019-05-12T23:13:35.170" Score="1" ViewCount="548" Body="&lt;p&gt;Can anyone suggest a way to tell the difference, from the OSX command line, between .mkv files encoded with H.265 from those encoded with H.264?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Plex H.265 streams viewed from some devices (e.g. LG net-enabled TVs) stall frequently, probably due to the lack of H.265 decoding hardware.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd rather not have to re-encode all of the MKVs in my video library, so I'd like to be able to process only the H.265 files.&lt;/p&gt;&#xA;" OwnerUserId="1918" LastEditorUserId="1918" LastEditDate="2019-05-12T23:43:47.993" LastActivityDate="2019-05-13T05:29:53.697" Title="Identify H.265 from the OSX Command Line?" Tags="|ffmpeg|streaming|h.264|mkv|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27614" PostTypeId="2" ParentId="27613" CreationDate="2019-05-13T05:29:53.697" Score="2" Body="&lt;p&gt;You can use ffprobe for this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe file.mkv -show_entries stream=codec_name -select_streams v:0 -of compact=p=0:nk=1 -v 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For H.265/HEVC, this will print &lt;code&gt;hevc&lt;/code&gt;; for H.264, &lt;code&gt;h264&lt;/code&gt; .&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-05-13T05:29:53.697" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27615" PostTypeId="1" AcceptedAnswerId="27618" CreationDate="2019-05-13T08:21:00.570" Score="1" ViewCount="2923" Body="&lt;p&gt;So I want to create videos that had a red overlay, effect and I assume that &lt;code&gt;blend&lt;/code&gt; is the right options filter for this. Here my command :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i dogs.mp4 -i red.jpg -filter_complex '[1:v]scale=1280:720[ckout];[0:v][ckout]blend=all_mode='multiply'[out]' -map '[out]' output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But when i tried this I always got : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Press [q] to stop, [?] for help&#xA;[swscaler @ 00000263f19a9560] deprecated pixel format used, make sure you did set range correctly&#xA;[Parsed_blend_1 @ 00000263f192fa20] First input link top parameters (size 1920x1080, SAR 0:1) do not match the corresponding second input link bottom parameters (1280x720, SAR 1:1)&#xA;[Parsed_blend_1 @ 00000263f192fa20] Failed to configure output pad on Parsed_blend_1&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid argument&#xA;Error while processing the decoded data for stream #0:0&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What is the right command for this?&lt;/p&gt;&#xA;" OwnerUserId="25202" LastActivityDate="2019-05-13T15:59:23.327" Title="ffmpeg - blend video with images" Tags="|video|ffmpeg|effects|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27616" PostTypeId="1" CreationDate="2019-05-13T08:41:42.570" Score="0" ViewCount="73" Body="&lt;p&gt;Does Premiere have an equivalent to DaVinci Resolve's &quot;Take Selector, or FCPX's &quot;Auditions?&quot;  If so, what's it called?  If not, are there any workarounds to quickly audition alternate takes on a PP timeline and have all of the other clips ripple responsively?&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2019-05-20T11:50:22.303" Title="Is there a &quot;Take Selector&quot; in Premiere Pro?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27617" PostTypeId="2" ParentId="18227" CreationDate="2019-05-13T12:28:04.180" Score="13" Body="&lt;p&gt;Use bitstream filter &lt;code&gt;filter_units&lt;/code&gt; with ffmpeg 4.0 or newer.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i INPUT -c copy -bsf:v 'filter_units=remove_types=6' OUTPUT&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;P.S.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/* NAL unit types */&#xA;enum {&#xA;    H264_NAL_SLICE           = 1,&#xA;    H264_NAL_DPA             = 2,&#xA;    H264_NAL_DPB             = 3,&#xA;    H264_NAL_DPC             = 4,&#xA;    H264_NAL_IDR_SLICE       = 5,&#xA;    H264_NAL_SEI             = 6,&#xA;    H264_NAL_SPS             = 7,&#xA;    H264_NAL_PPS             = 8,&#xA;    H264_NAL_AUD             = 9,&#xA;    H264_NAL_END_SEQUENCE    = 10,&#xA;    H264_NAL_END_STREAM      = 11,&#xA;    H264_NAL_FILLER_DATA     = 12,&#xA;    H264_NAL_SPS_EXT         = 13,&#xA;    H264_NAL_AUXILIARY_SLICE = 19,&#xA;};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25210" LastEditorUserId="1871" LastEditDate="2019-05-13T12:53:54.607" LastActivityDate="2019-05-13T12:53:54.607" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27618" PostTypeId="2" ParentId="27615" CreationDate="2019-05-13T15:59:23.327" Score="3" Body="&lt;p&gt;The blend filter requires both inputs to have the same resolution. You can use the scale2ref filter to resize the overlay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i dogs.mp4 -i red.jpg -filter_complex '[1:v][0:v]scale2ref[ckout][vid];[vid][ckout]blend=all_mode='multiply'[out]' -map '[out]' output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-05-13T15:59:23.327" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="27619" PostTypeId="2" ParentId="27610" CreationDate="2019-05-13T17:27:03.897" Score="0" Body="&lt;p&gt;You can crop the timeline, click on it in the media bin and choose Zi eline settings or something in tht way.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-05-13T17:27:03.897" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27620" PostTypeId="1" CreationDate="2019-05-13T17:52:16.407" Score="1" ViewCount="2482" Body="&lt;p&gt;How can I add add zoom transition effects using FFmpeg to a variable number of images?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am able to create video from a variable number of images but I am not sure how to add zoom in and out transition effects between images:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -framerate 1/5 -i img%03d.jpeg -c:v libx264 -r 30 -pix_fmt yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I found this, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://superuser.com/questions/1189246/ffmpeg-image-slideshow-with-zoompan-and-fade-in-out/1190199&quot;&gt;https://superuser.com/questions/1189246/ffmpeg-image-slideshow-with-zoompan-and-fade-in-out/1190199&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But problem is that images are hard coded in that example and I am not sure how to make it work for a variable number of images?&lt;/p&gt;&#xA;" OwnerUserId="24749" LastActivityDate="2019-05-18T14:51:35.863" Title="How to add zoom transition effects using FFmpeg to a variable number of images?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27621" PostTypeId="2" ParentId="14543" CreationDate="2019-05-14T02:37:32.370" Score="1" Body="&lt;p&gt;Well, for a beginning, anything taken like a data stream reflected from a surface such as a laserdisc, dvd, cd or blu ray, is at the very start ANALOG...! because it is only light reflected, but as those light pulses undergo the treatment of several stages, is when some circuits and devices convert those light pulses into digital data. But the matter here is laserdisc is analog or not, it is analog indeed but due to the method choosen to be that way, laserdisc comes from the late 60´s and for those days ther was not such a thing like video compression, so the scientists who developed that system were prone to use an optical signal but considering that the size  of a pit or a land, either this was long or short, would equal a voltage value when readed and accounted to ensamble a coherent video signal, so these changing values, would render a series of multiple electrical values derived from the wide of those optical pulses, this is a method called PULSE-WIDE MODULATION, which was the more precise choice to create an optical system for video encoding. Based in  continuosly changing reflectivity to be turned into an equivalent continuosly changing voltage signal, which could make an electronic oscilator to generate an RF signal in which a carrier could bring audio and video&lt;/p&gt;&#xA;" OwnerUserId="25214" LastActivityDate="2019-05-14T02:37:32.370" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27622" PostTypeId="1" AcceptedAnswerId="27632" CreationDate="2019-05-14T05:10:37.620" Score="1" ViewCount="988" Body="&lt;p&gt;I'm trying to burn .ass subtitles onto a .webm, using  &lt;code&gt;ffmpeg -i input.webm -vf ass=subtitles.ass output.webm&lt;/code&gt;  but it shrinks from like 150MB to 9MB.   How do I add the subtitles without losing quality ?&lt;/p&gt;&#xA;" OwnerUserId="25215" LastEditorUserId="25215" LastEditDate="2019-05-14T22:35:13.580" LastActivityDate="2019-05-15T06:02:23.490" Title="Burn .ass subtitle onto .webm with no loss of quality" Tags="|ffmpeg|subtitles|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27624" PostTypeId="1" CreationDate="2019-05-14T09:15:44.580" Score="1" ViewCount="58" Body="&lt;p&gt;I recently stumbled upon the following animation:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sI0Wt.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sI0Wt.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now how would you try to achieve this within After Effects?&lt;/p&gt;&#xA;" OwnerUserId="24039" LastActivityDate="2019-05-14T09:15:44.580" Title="After Effects: How to achieve this pattern effect?" Tags="|after-effects|animation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27625" PostTypeId="1" AcceptedAnswerId="27633" CreationDate="2019-05-14T10:08:05.100" Score="0" ViewCount="6772" Body="&lt;p&gt;I want to make some present for my grandma. And prepare some video. Unfortunately here video player is old and could not read some file formats. She is not at home now, so I don't know which player she has. But I have a file which is OK for here system:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;File which is in a correct format:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : let.avi&#xA;Format                                   : AVI&#xA;Format/Info                              : Audio Video Interleave&#xA;File size                                : 688 MiB&#xA;Duration                                 : 1 h 35 min&#xA;Overall bit rate                         : 1 002 kb/s&#xA;Writing application                      : VirtualDubMod 1.4.13&#xA;Writing library                          : VirtualDub build 14328/release&#xA;FileExtension_Invalid                    : avi&#xA;&#xA;Video&#xA;ID                                       : 0&#xA;Format                                   : MPEG-4 Visual&#xA;Format profile                           : Simple@L3&#xA;Format settings, BVOP                    : No&#xA;Format settings, QPel                    : No&#xA;Format settings, GMC                     : No warppoints&#xA;Format settings, Matrix                  : Default (H.263)&#xA;Codec ID                                 : XVID&#xA;Codec ID/Hint                            : XviD&#xA;Duration                                 : 1 h 35 min&#xA;Bit rate                                 : 800 kb/s&#xA;Width                                    : 544 pixels&#xA;Height                                   : 416 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate                               : 25.000 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel*Frame)                       : 0.141&#xA;Stream size                              : 549 MiB (80%)&#xA;Writing library                          : XviD 0.0.09 (UTC 2003-03-25)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have the following file, which here system could not read:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;File in the incorrect format:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : amf.avi&#xA;Format                                   : AVI&#xA;Format/Info                              : Audio Video Interleave&#xA;Overall bit rate                         : 2 167 kb/s&#xA;&#xA;Video&#xA;ID                                       : 0&#xA;Format                                   : MPEG-4 Visual&#xA;Format profile                           : Advanced Simple@L5&#xA;Format settings                          : BVOP1&#xA;Format settings, BVOP                    : 1&#xA;Format settings, QPel                    : No&#xA;Format settings, GMC                     : No warppoints&#xA;Format settings, Matrix                  : Default (MPEG)&#xA;Codec ID                                 : DX50&#xA;Codec ID/Hint                            : DivX 5&#xA;Bit rate                                 : 1 710 kb/s&#xA;Width                                    : 720 pixels&#xA;Height                                   : 528 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate                               : 23.976 (24000/1001) FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel*Frame)                       : 0.188&#xA;Stream size                              : 1.15 GiB (79%)&#xA;Writing library                          : XviD 64&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Could you help me to convert the second file to a format of the first? (It would be nice if output would be of the similar quality)&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have Ubuntu, and I think &lt;code&gt;ffmpeg&lt;/code&gt; should be able to do it.&lt;/p&gt;&#xA;" OwnerUserId="25217" LastActivityDate="2019-05-24T07:50:52.917" Title="Convert video with ffmpeg to have the same quality" Tags="|ffmpeg|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27626" PostTypeId="1" AcceptedAnswerId="27627" CreationDate="2019-05-14T13:21:25.060" Score="0" ViewCount="44" Body="&lt;p&gt;I am trimming extraneous time from some MOV files using the Microsoft Movies Anywhere app on my desktop. They're saved as MP4 files and have proportionately much smaller file sizes than the trimmed length would suggest (e.g. 18 sec, 228 MB MOV file / trimmed to 10 sec, 50 MB MP4 file). The content is relatively static so that wouldn't explain the difference. My principal concern: Am I losing quality by doing this? Would I be better off trimming in Resolve and saving in the same MOV format? Thanks.&#xA;Phil &lt;/p&gt;&#xA;" OwnerUserId="25218" LastActivityDate="2019-05-14T14:57:43.343" Title="Trimming MOV clips / Saving as mp4" Tags="|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27627" PostTypeId="2" ParentId="27626" CreationDate="2019-05-14T14:57:43.343" Score="0" Body="&lt;p&gt;My two cents...Video quality can be determined by several things (e.g. codec, bitrate, compression, etc.), so just looking at the container (i.e. MOV vs. MP4) isn't a sufficiently in-depth way of finding out the best option.&lt;/p&gt;&#xA;" OwnerUserId="25203" LastActivityDate="2019-05-14T14:57:43.343" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27629" PostTypeId="2" ParentId="20956" CreationDate="2019-05-14T18:37:16.820" Score="0" Body="&lt;p&gt;Hold Alt when starting Premiere. It will ask you if you want to reset your settings. Click yes.  This worked for me. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://forums.adobe.com/thread/2126506&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forums.adobe.com/thread/2126506&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25220" LastEditorUserId="25220" LastEditDate="2019-05-14T18:46:56.677" LastActivityDate="2019-05-14T18:46:56.677" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27630" PostTypeId="2" ParentId="27610" CreationDate="2019-05-14T22:31:56.840" Score="-1" Body="&lt;p&gt;Change the timeline resolution to Academy under Project Settings, then under Image Scaling select &quot;full frame with crop&quot;&lt;/p&gt;&#xA;" OwnerUserId="21023" LastActivityDate="2019-05-14T22:31:56.840" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27632" PostTypeId="2" ParentId="27622" CreationDate="2019-05-15T05:53:40.113" Score="3" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.webm -vf ass=subtitles.ass -b:v 0 -crf 20 output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The libvpx encoders for WebM, by default, perform Constrained Quality encoding, and use the bitrate as a ceiling. Default bitrate is 200 kbps. To remove bitrate ceiling, set bitrate to 0. &lt;code&gt;-crf&lt;/code&gt; controls the &lt;a href=&quot;https://developers.google.com/media/vp9/bitrate-modes/&quot; rel=&quot;nofollow noreferrer&quot;&gt;quality level&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-05-15T06:02:23.490" LastActivityDate="2019-05-15T06:02:23.490" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27633" PostTypeId="2" ParentId="27625" CreationDate="2019-05-15T08:19:14.537" Score="6" Body="&lt;p&gt;The differences between your &quot;works&quot; and &quot;doesn't work&quot; examples are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;resolution&lt;/li&gt;&#xA;&lt;li&gt;framerate&lt;/li&gt;&#xA;&lt;li&gt;Codec Tag&lt;/li&gt;&#xA;&lt;li&gt;Codec Level&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;and you can set these using &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i /temp/input.mp4 -c:v mpeg4 -level 3.0 -vtag XVID -s 544x416 -r 25 -qscale 0 /temp/out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Qscale 0 will produce a large file but maintain the best quality. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please note that changing the resolution and frame rate will not produce the best output quality, so check if you can just omit the &lt;code&gt;-s&lt;/code&gt; and &lt;code&gt;-r&lt;/code&gt; parameters to maintain the best quality. Possibly you need to set the bitrate to 800kBit as in your &quot;works&quot; example to make it work on the target device of your grandmother.&lt;/p&gt;&#xA;" OwnerUserId="20906" LastEditorUserId="24980" LastEditDate="2019-05-24T07:50:52.917" LastActivityDate="2019-05-24T07:50:52.917" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27635" PostTypeId="1" CreationDate="2019-05-16T15:52:07.233" Score="0" ViewCount="99" Body="&lt;p&gt;I'm pretty new to creating GIFs and video effects so please excuse my ignorance. I searched for 2-3 hours for a simple tutorial on this but it is difficult to find. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would anyone know how I can do this simple task: I have an image divided into 4 sections. I want each section to &quot;fly in&quot; from outside the screen into view, one right after the other until all 4 pieces are there. Sort of like when you make graphics &quot;fly in&quot; in Microsoft Word or Powerpoint.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have the entire Adobe suite so I can use anything they have. I started creating it in Photoshop as a GIF and I assumed I could probably add the &quot;Fly in&quot; effect to each section of the image but it seems Photoshop doesn't have such capabilities for GIFs.&lt;/p&gt;&#xA;" OwnerUserId="25235" LastActivityDate="2024-01-22T01:05:55.777" Title="Simple Transition Effects for Short Video or GIF" Tags="|premiere|after-effects|effects|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27636" PostTypeId="1" CreationDate="2019-05-16T16:50:54.303" Score="2" ViewCount="139" Body="&lt;p&gt;I am looking for some advice on how best to create a video which is comprised of a series of single frames from an original piece of 30fps footage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can create the effect by making a screen recording and using the right arrow key to advance the track. Visually this is what I want BUT the issue is with the audio. Because Quick Time Player screen recording uses my computers internal mic the original sound is compromised (i.e. it’s a n audio recording of an audio recoding) and it gets distorted. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is what I have currently: &lt;a href=&quot;https://www.dropbox.com/s/hytlhgg5hsr7l65/Anne%20Bean%20-%20Closer%20to%20now%20-%20FINAL.mov?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;View Video&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The visual is okay but you should be able to hear the audio (even when it is much slowed down) better than you can on this version. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Two questions:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Any idea how achieve the effect I am after automatically, using Premiere or After Effects.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Any fixes for using the original audio - without having to re-record. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;All help and ideas much appreciated. &lt;/p&gt;&#xA;" OwnerUserId="15951" LastActivityDate="2019-05-18T12:45:09.310" Title="Create video from a series of single frames and use original audio" Tags="|premiere|animation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27637" PostTypeId="1" CreationDate="2019-05-16T20:03:42.763" Score="1" ViewCount="681" Body="&lt;p&gt;I am volunteer editing a production with professional sound recording and need to deliver picture lock to the audio dept so they can add foley, mix, and master.  I've delivered a few tests, but it's clear that the workflow needs improvement.  In the first test, I just edited and delivered camera scratch audio, but the audio dept isn't able to re-sync the master recordings to camera scratch.  Second test worked for them, but made my edit timeline a nightmare with 8x more audio tracks visible than necessary.  Looking for a better way to work.  Goals are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• Sync Zoom 8-channel (per file) .WAV files to camera, either via waveform or timecode, maintaining camera timecode. This is the easy part.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• Combine synced A/V into “Merged Clips” (or any outside-the-box method of syncing audio to video) where the resulting clip channel format is “multichannel,” not “mono,” so that editing all eight channels into an adaptive audio timeline track results in a single track, not eight.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• Output stems for final mixdown with synced proxy video. Quicktime container format worked to transfer 8 streams of mono from 8 separate mono timeline tracks (A1-A8), but a better solution moving forward should use “8-mono mapped to Adaptive” clips, nested in adaptive audio timeline tracks (just A1). The resulting file must be multichannel, whether it’s 8 streams of mono or one stream of 8-mono, etc.  I’d prefer a more compressed video codec than prores proxy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;•Give the sound guy an .AAF, .XML, or similar, which accurately conveys the edited timeline with references to the original 8-channel .WAV files.  This is the ultimate goal.  The particular DAW he's using is Reaper, but DAW-agnostic answers are preferable.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-04-01T21:27:11.980" LastActivityDate="2021-08-25T00:03:50.317" Title="Premiere workflow: Maintain multichannel sync from dailies through edit lock to sound?" Tags="|premiere|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27638" PostTypeId="1" CreationDate="2019-05-16T22:09:06.163" Score="0" ViewCount="29" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/y-IA_rgWMGQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;I have a problem and I can't find any fix. When I import songs into FCP it sometimes distorts them in the end. But the problem is that they sound fine outside of FCP, and I have paid for them, so it's the best quality it can get. I will link an example...&lt;/p&gt;&#xA;" OwnerUserId="25238" LastEditorUserId="14523" LastEditDate="2019-05-16T22:51:26.023" LastActivityDate="2019-05-16T22:51:26.023" Title="Final Cut Pro is distorting my music at the very end" Tags="|audio|final-cut-pro|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27639" PostTypeId="2" ParentId="27636" CreationDate="2019-05-17T13:21:54.173" Score="1" Body="&lt;p&gt;If you want to record your system audio whilst doing a screen capture, you could use a tool like Soundflower to map the system audio as an input device. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That way you would get a direct recording into QuickTime.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a blog post with details on how to do that: &lt;a href=&quot;https://www.christianengvall.se/record-audio-soundflower/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.christianengvall.se/record-audio-soundflower/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12787" LastActivityDate="2019-05-17T13:21:54.173" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27640" PostTypeId="2" ParentId="27636" CreationDate="2019-05-17T14:45:33.763" Score="1" Body="&lt;p&gt;That's not a good way to do it.&#xA;Download a videoeditor, like Davinci Resolve (Free).&#xA;There you can import the images with 30FPS and add the audio.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-05-17T14:45:33.763" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27641" PostTypeId="2" ParentId="27635" CreationDate="2019-05-17T14:49:40.050" Score="0" Body="&lt;p&gt;Simply go to the end of the video, set a keyframe how it should look in the end.&#xA;Then go to the beginning and move the images out of view. Add some movement speed curves if you want&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-05-17T14:49:40.050" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27642" PostTypeId="1" CreationDate="2019-05-17T18:37:27.657" Score="2" ViewCount="2648" Body="&lt;p&gt;In VEGAS Pro 16.0 I'm given (at least) three options if I want to render a 1080p 30fps video for YouTube upload:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Sony AVC/MVC, template &quot;Internet 1920x1080-30p&quot; &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Use this setting to create the highest quality 16:9 file suitable for uploading to Internet sites.&#xA;  Audio: 128 Kbps, 48,000 Hz, 16 Bit, Stereo, AAC&#xA;  Video: 29.970 fps, 1920x1080 Progressive, YUV, 16 Mbps&#xA;  Pixel Aspect Ratio: 1.000&lt;/p&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;MAGIX AVC/AAC, template &quot;Internet HD 1080p 29.97fps&quot; &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Use this setting to create an MP4 (AVC/AAC) file for progressive internet downloads.&#xA;  Audio: 192 Kbps, 48,000 Hz, 16 Bit, Stereo, AAC&#xA;  Video: 29.970 fps, 1920x1080 Progressive, YUV, 12 Mbps&#xA;  Pixel Aspect Ratio: 1.000&lt;/p&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;MainConcept MPEG-2, template :HDV 1080-25p (Note 4:3 aspect ratio)&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Audio: 384 Kbps, 48,000 Hz, 16 Bit, Stereo, MPEG&#xA;  Video: 25 fps, 1440x1080 Progressive, YUV, 25 Mbps&#xA;  Pixel Aspect Ratio: 1.333&lt;/p&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;These are just templates and it seems each can be customized (for example, MainConcept template can be customized to be 30fps and 1920x1080). So is there any big difference between each format? I noticed MAGIX can support VBR to reduce filesize. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Resources: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.reddit.com/r/letsplay/comments/3j1y3x/sony_avc_or_mainconcept_avc/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.reddit.com/r/letsplay/comments/3j1y3x/sony_avc_or_mainconcept_avc/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://forums.creativecow.net/docs/forums/post.php?forumid=24&amp;amp;postid=927083&amp;amp;univpostid=927083&amp;amp;pview=t&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forums.creativecow.net/docs/forums/post.php?forumid=24&amp;amp;postid=927083&amp;amp;univpostid=927083&amp;amp;pview=t&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="7946" LastEditorUserId="7946" LastEditDate="2019-05-17T20:00:09.053" LastActivityDate="2019-05-17T20:00:09.053" Title="Sony AVC vs. MAGIX AVC vs. MainConcept MPEG-2: what's the difference?" Tags="|video-quality|youtube|mp4|vegas-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27643" PostTypeId="1" CreationDate="2019-05-17T20:36:24.130" Score="0" ViewCount="786" Body="&lt;p&gt;I have some old videos that were converted from a camcorder to DVD years ago.  On one of the DVD's, the aspect ratio is incorrect.  Most DVD players and applications seem to ignore this and play the video correctly, but some applications aren't so forgiving, and I'd like to fix the VOB files.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering if there's a way that I can use ffmpeg to correct the aspect ratio in the VOB files, without having to re-encode the video (as I assume that would incur some loss of quality)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not knowing anything about ffmpeg, and very little about video editing in general, I naively tried &lt;code&gt;ffmpeg -i VTS_01_1.VOB -c copy -aspect 4:3 test.vob&lt;/code&gt;, but the resulting &lt;code&gt;test.vob&lt;/code&gt; file still shows an incorrect (i.e. not 4:3) display aspect ratio, at least according to mediainfo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a mediainfo dump for one of the problem files, note the DAR is 0.094, but it really should be 4:3.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : D:\Users\Paul\Videos\Bob's Camera\2006-8\VTS_01_1.VOB&#xA;Format                                   : MPEG-PS&#xA;File size                                : 99.1 MiB&#xA;Duration                                 : 1 min 39 s&#xA;Overall bit rate mode                    : Constant&#xA;Overall bit rate                         : 8 392 kb/s&#xA;&#xA;Video&#xA;ID                                       : 224 (0xE0)&#xA;Format                                   : MPEG Video&#xA;Format version                           : Version 2&#xA;Format profile                           : Main@Main&#xA;Format settings                          : CustomMatrix / BVOP&#xA;Format settings, BVOP                    : Yes&#xA;Format settings, Matrix                  : Custom&#xA;Format settings, GOP                     : M=3, N=16&#xA;Format settings, picture structure       : Frame&#xA;Duration                                 : 1 min 38 s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 8 000 kb/s&#xA;Width                                    : 720 pixels&#xA;Height                                   : 480 pixels&#xA;Display aspect ratio                     : 0.094&#xA;Frame rate                               : 29.970 (30000/1001) FPS&#xA;Standard                                 : NTSC&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Interlaced&#xA;Scan order                               : Top Field First&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel*Frame)                       : 0.772&#xA;Time code of first frame                 : 00:00:00:00&#xA;Time code source                         : Group of pictures header&#xA;GOP, Open/Closed                         : Closed&#xA;Stream size                              : 94.0 MiB (95%)&#xA;&#xA;Audio&#xA;ID                                       : 189 (0xBD)-128 (0x80)&#xA;Format                                   : AC-3&#xA;Format/Info                              : Audio Coding 3&#xA;Commercial name                          : Dolby Digital&#xA;Muxing mode                              : DVD-Video&#xA;Duration                                 : 1 min 39 s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 256 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Channel layout                           : L R&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 31.250 FPS (1536 SPF)&#xA;Bit depth                                : 16 bits&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 3.02 MiB (3%)&#xA;Service kind                             : Complete Main&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here is the output from &lt;code&gt;ffmpeg -i VTS_01_1.VOB -c copy -aspect 4:3 test.vob&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;D:\Users\Paul\Videos\Bob's Camera\2006-8&amp;gt;ffmpeg -i VTS_01_1.VOB -c copy -aspect 4:3 test.vob&#xA;ffmpeg version 4.1.3 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8.3.1 (GCC) 20190414&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;Input #0, mpeg, from 'VTS_01_1.VOB':&#xA;  Duration: 00:01:39.07, start: 0.113011, bitrate: 8391 kb/s&#xA;    Stream #0:0[0x1bf]: Data: dvd_nav_packet&#xA;    Stream #0:1[0x1e0]: Video: mpeg2video (Main), yuv420p(tv, top first), 720x480 [SAR 8:9 DAR 4:3], 8000 kb/s, 29.97 fps, 29.97 tbr, 90k tbn, 59.94 tbc&#xA;    Stream #0:2[0x80]: Audio: ac3, 48000 Hz, stereo, fltp, 256 kb/s&#xA;Overriding aspect ratio with stream copy may produce invalid files&#xA;[svcd @ 000001394d524040] VBV buffer size not set, using default size of 230KB&#xA;If you want the mpeg file to be compliant to some specification&#xA;Like DVD, VCD or others, make sure you set the correct buffer size&#xA;Output #0, svcd, to 'test.vob':&#xA;  Metadata:&#xA;    encoder         : Lavf58.20.100&#xA;    Stream #0:0: Video: mpeg2video (Main), yuv420p(tv, top first), 720x480 [SAR 8:9 DAR 4:3], q=2-31, 8000 kb/s, 29.97 fps, 29.97 tbr, 90k tbn, 29.97 tbc&#xA;    Stream #0:1: Audio: ac3, 48000 Hz, stereo, fltp, 256 kb/s&#xA;Stream mapping:&#xA;  Stream #0:1 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:2 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[svcd @ 000001394d524040] Timestamps are unset in a packet for stream 0. This is deprecated and will stop working in the future. Fix your code to set the timestamps properly&#xA;frame= 2967 fps=0.0 q=-1.0 Lsize=  101002kB time=00:01:39.04 bitrate=8354.3kbits/s speed= 101x&#xA;video:96673kB audio:3096kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.236023%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And the results of &lt;code&gt;ffmpeg -i test.vob&lt;/code&gt; afterwords:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;D:\Users\Paul\Videos\Bob's Camera\2006-8&amp;gt;ffmpeg -i test.vob&#xA;ffmpeg version 4.1.3 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8.3.1 (GCC) 20190414&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;Input #0, mpeg, from 'test.vob':&#xA;  Duration: 00:01:39.07, start: 0.533367, bitrate: 8351 kb/s&#xA;    Stream #0:0[0x1e0]: Video: mpeg2video (Main), yuv420p(tv, top first), 720x480 [SAR 8:9 DAR 4:3], 8000 kb/s, 29.97 fps, 29.97 tbr, 90k tbn, 59.94 tbc&#xA;    Stream #0:1[0x80]: Audio: ac3, 48000 Hz, stereo, fltp, 256 kb/s&#xA;At least one output file must be specified&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And finally mediainfo dump from the resulting &lt;code&gt;test.vob&lt;/code&gt;, still showing 0.094 DAR:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : D:\Users\Paul\Videos\Bob's Camera\2006-8\test.vob&#xA;Format                                   : MPEG-PS&#xA;File size                                : 98.6 MiB&#xA;Duration                                 : 1 min 39 s&#xA;Overall bit rate mode                    : Constant&#xA;Overall bit rate                         : 8 352 kb/s&#xA;&#xA;Video&#xA;ID                                       : 224 (0xE0)&#xA;Format                                   : MPEG Video&#xA;Format version                           : Version 2&#xA;Format profile                           : Main@Main&#xA;Format settings                          : CustomMatrix / BVOP&#xA;Format settings, BVOP                    : Yes&#xA;Format settings, Matrix                  : Custom&#xA;Format settings, GOP                     : M=3, N=16&#xA;Format settings, picture structure       : Frame&#xA;Duration                                 : 1 min 38 s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 8 000 kb/s&#xA;Width                                    : 720 pixels&#xA;Height                                   : 480 pixels&#xA;Display aspect ratio                     : 0.094&#xA;Frame rate                               : 29.970 (30000/1001) FPS&#xA;Standard                                 : NTSC&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Interlaced&#xA;Scan order                               : Top Field First&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel*Frame)                       : 0.772&#xA;Time code of first frame                 : 00:00:00:00&#xA;Time code source                         : Group of pictures header&#xA;GOP, Open/Closed                         : Closed&#xA;Stream size                              : 93.6 MiB (95%)&#xA;&#xA;Audio&#xA;ID                                       : 189 (0xBD)-128 (0x80)&#xA;Format                                   : AC-3&#xA;Format/Info                              : Audio Coding 3&#xA;Commercial name                          : Dolby Digital&#xA;Muxing mode                              : DVD-Video&#xA;Duration                                 : 1 min 39 s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 256 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Channel layout                           : L R&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 31.250 FPS (1536 SPF)&#xA;Bit depth                                : 16 bits&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 3.02 MiB (3%)&#xA;Service kind                             : Complete Main&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25243" LastEditorUserId="25243" LastEditDate="2019-05-20T06:55:12.970" LastActivityDate="2019-05-20T06:55:12.970" Title="Lossless way to fix aspect ratio in VOB?" Tags="|ffmpeg|aspect|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27646" PostTypeId="2" ParentId="26319" CreationDate="2019-05-17T23:23:36.473" Score="0" Body="&lt;p&gt;I don't know why the option for duplicating a project is grayed out in your case. &#xA;You already wrote the solution. You select a project within an event, an than you can right click on it and select to duplicate it or to duplicate it as a snapshot. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a screenshot (german)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/YlKej.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YlKej.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just select the project you want to duplicate and than right click on it or use the menu. &lt;/p&gt;&#xA;" OwnerUserId="19533" LastActivityDate="2019-05-17T23:23:36.473" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27647" PostTypeId="2" ParentId="26436" CreationDate="2019-05-17T23:28:37.797" Score="0" Body="&lt;p&gt;It looks like you duplicated your project as a snapshot. Taking a snapshot of a project will duplicate the whole project but also a separate copy of the compound clips within a project. This way you can change anything on a compound clip in Project A, and it won't effect project B. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a quote &lt;a href=&quot;https://support.apple.com/kb/PH15846?locale=en_US&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;from the docs&lt;/strong&gt;&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;When you duplicate a project as a snapshot, Final Cut Pro embeds copies of compound or multicam “parent” clips in the snapshot, so any changes to other instances of those clips do not affect the snapshot.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="19533" LastActivityDate="2019-05-17T23:28:37.797" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27648" PostTypeId="2" ParentId="23516" CreationDate="2019-05-17T23:33:31.333" Score="1" Body="&lt;p&gt;I can't see your timeline so I'm not sure if this might help too: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think you can select all clips within the timeline and than group them (alt + g) to a compound clip. This way you can add effects onto the compound layer and it will be placed on all.&lt;/p&gt;&#xA;" OwnerUserId="19533" LastActivityDate="2019-05-17T23:33:31.333" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27649" PostTypeId="2" ParentId="27611" CreationDate="2019-05-17T23:55:23.680" Score="0" Body="&lt;p&gt;Animations like this are always created within 3D tools like blender, Cinema 4D or other 3D engines. Basically you have a 3D scene with all the objects that you can select, rotate and move. You put them together like you want them when for example representing the robot. Then you save this state with all the positions of the single objects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When transforming the robot to a car, the objects are animated to rotate in a specific way, or or maybe break into many single pieces. But all of this is done in other programs and sometimes there might be a kind of programming behind it to define specific animations. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After everything is ready and animations are set up, you can render the movement and export the whole thing as a movie clip. This is just a basic explanation to understand the single steps of creating the animation and then using the created clip for the edit. If you want to learn more about it check out this movie. In fact, it is even more complicated and before they could create the animation they also created little models of these transformers&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/P7VqFU8gTkE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="19533" LastActivityDate="2019-05-17T23:55:23.680" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27650" PostTypeId="2" ParentId="25330" CreationDate="2019-05-18T00:10:41.877" Score="0" Body="&lt;p&gt;I don't understand where you are looping between the different objects you want the camera to move to. I would try to go through all these steps:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;setup the elements you want to be filmed, and add them to an array. &lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Create a flow. Call a method that will start lerping the camera to the next object (transform), and if the camera arrives the next object, call another method that will wait for 1 second and then call the method from the beginning again. Here some pseudocode&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;IEnumerator startAnimation(){ &#xA;  yield return new WaitForSeconds(.1f);&#xA;  // choose next object to move to&#xA;  // change flag to yes&#xA;}&#xA;&#xA;void Update{&#xA;  if( flag ){&#xA;    // detect if camera is moving near the next transform/position&#xA;    // call delayAnimation();&#xA;    // flag = false to stop animation&#xA;  }&#xA;}&#xA;&#xA;IEnumerator delayAnmiation(){ &#xA;  yield return new WaitForSeconds(.1f);&#xA;  startAnimation();&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="19533" LastActivityDate="2019-05-18T00:10:41.877" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27652" PostTypeId="2" ParentId="27636" CreationDate="2019-05-18T12:45:09.310" Score="2" Body="&lt;p&gt;if it is something like &quot;Stop-Motion Videography&quot; that you need,&#xA;Follow 13 steps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;{The keyboard shortcut are defaults of windows, for your case use that of MAC}&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Target your 'PlayHead' to the position you want in 'Sequence' or 'Source Monitor'.&#xA;2.When the position you selected is the one which shows the photo you want to use as single frame or photo.&lt;/li&gt;&#xA;&lt;li&gt;If you are in Source monitor Skip to &lt;/li&gt;&#xA;&lt;li&gt;If you are in Sequence Panel go to &quot;Program monitor&quot;(shift + F4)&lt;/li&gt;&#xA;&lt;li&gt;Use button named &quot;Export Frame&quot;(CTRL+Shift+E), if not available make it visible by finding in from &quot;+&quot; button on Right-bottom.&lt;/li&gt;&#xA;&lt;li&gt;Choose the Image_Format, Name &amp;amp; the Path to save.&lt;/li&gt;&#xA;&lt;li&gt;Check &quot;Import into Project&quot;.&lt;/li&gt;&#xA;&lt;li&gt;A new photo will appear in the &quot;Project Panel&quot;.&lt;/li&gt;&#xA;&lt;li&gt;export as many frames as you want.&lt;/li&gt;&#xA;&lt;li&gt;Set them manually or whatever the way you want &amp;amp; your visual is ready.&lt;/li&gt;&#xA;&lt;li&gt;to set the audio Right click on the audio part of the clip and 'uncheck &quot;Enable&quot;'.&lt;/li&gt;&#xA;&lt;li&gt;Set the audio as you like &amp;amp; Re 'Enable' it.&lt;/li&gt;&#xA;&lt;li&gt;Set the audio &amp;amp; image sequence in your preference &amp;amp; You are good to go.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Tell me if anything get confusing or I'm Wrong&lt;/p&gt;&#xA;" OwnerUserId="25250" LastActivityDate="2019-05-18T12:45:09.310" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27653" PostTypeId="2" ParentId="27620" CreationDate="2019-05-18T14:51:35.863" Score="1" Body="&lt;p&gt;I originally thought I could handle this one, but I'm still new to FFmpeg and don't think I can solve this for you. Below follows what I came up with. Maybe that can help you move in the right direction. Sorry I couldn't be more helpful.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.m.wikibooks.org/wiki/FFMPEG_An_Intermediate_Guide/image_sequence&quot; rel=&quot;nofollow noreferrer&quot;&gt;I found the following&lt;/a&gt; in a search: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;You can make a slideshow with crossfading between the pictures, by using a combination of the zoompan and framerate filters. &quot;A&quot; is the duration in seconds how long each picture is shown (without the crossfade duration), and &quot;B&quot; is the crossfade duration in seconds.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i IMG_%3d.jpg -vf \&#xA;zoompan=d=(A+B)/B:fps=1/B,\ &#xA;framerate=25:interp_start=0:interp_end=255:scene=100 \&#xA;-c:v mpeg4 -maxrate 5M -q:v 2 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;From the Superuser post you link we find:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex \&#xA;&quot;[0:v]zoompan=z='if(lte(zoom,1.0),1.5,max(1.001,zoom-0.0015))':d=125,fade=t=out:st=4:d=1[v0]; \&#xA; [1:v]zoompan=z='if(lte(zoom,1.0),1.5,max(1.001,zoom-0.0015))':d=125,fade=t=in:st=0:d=1,fade=t=out:st=4:d=1[v1]; \&#xA; [2:v]zoompan=z='if(lte(zoom,1.0),1.5,max(1.001,zoom-0.0015))':d=125,fade=t=in:st=0:d=1,fade=t=out:st=4:d=1[v2]; \&#xA; [3:v]zoompan=z='if(lte(zoom,1.0),1.5,max(1.001,zoom-0.0015))':d=125,fade=t=in:st=0:d=1,fade=t=out:st=4:d=1[v3]; \&#xA; [v0][v1][v2][v3]concat=n=4:v=1:a=0,format=yuv420p[v]&quot; -map &quot;[v]&quot; -s &quot;800x450&quot; -t 40 ./out_fade.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Looking at the syntax, it seems you'd just toss it in without the &lt;code&gt;[iN]...[oN]&lt;/code&gt; &quot;variables&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So try: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex \&#xA;&quot;zoompan=z='if(lte(zoom,1.0),1.5,max(1.001,zoom-0.0015))':d=125,fade=t=out:st=4:d=1&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2019-05-18T14:51:35.863" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27656" PostTypeId="1" AcceptedAnswerId="27658" CreationDate="2019-05-18T20:20:51.300" Score="3" ViewCount="4723" Body="&lt;p&gt;In &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg's H.264 Video Encoding Guide&lt;/a&gt; we are told: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Tip: If you're looking for an output that is roughly &quot;visually lossless&quot; but not technically lossless, use a &lt;code&gt;-crf&lt;/code&gt; value of around 17 or 18 (you'll have to experiment to see which value is acceptable for you). It will likely be indistinguishable from the source and not result in a huge, possibly incompatible file like true lossless mode.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This raises some questions. The first and obvious one is &quot;how did they decide that?&quot; The important question is the one in the title. What's the literal difference and if I need to encode &lt;em&gt;from this output&lt;/em&gt; later (e.g. I want to compress and archive old data), will a second encode on a crf 18 encoded file give me problems that a crf 0 encoded file wouldn't? &lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2020-12-01T12:33:29.787" Title="What's the difference between &quot;visually lossless&quot; and real lossless and what does this mean for future encodes?" Tags="|ffmpeg|compression|h.264|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27658" PostTypeId="2" ParentId="27656" CreationDate="2019-05-19T06:22:27.767" Score="8" Body="&lt;p&gt;Technically lossless, or real lossless, means that when the output is decoded by a conformant decoder, the result is mathematically identical to the input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.digitizationguidelines.gov/term.php?term=compressionvisuallylossless&quot; rel=&quot;noreferrer&quot;&gt;Visually lossless&lt;/a&gt; is a non-rigorous term that indicates subjective transparency i.e. output which to the lay human eye looks indistinguishable from the original. The output may look different if a viewer scrutinizes it in fine detail, but not in normative viewing conditions. As to how 'visual-losslessness' is determinined: there are video quality metrics, like PSNR and SSIM, that provide a quantitative measure of the difference of an image with respect to a reference. Subjective opinion tests have been carried out to establish threshold values for these metrics that can be used to define 'visual losslessness'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;https://www.researchgate.net/publication/257815643_Performance_Analysis_of_Visually_Lossless_Image_Compression&quot; rel=&quot;noreferrer&quot;&gt;Performance Analysis of Visually Lossless Image Compression&lt;/a&gt;,&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Note  that  there  are  several  visual quality metrics (indices)&#xA;  such as MSSIM [6], PSNR-HVS-M  [7],  WSNR  [8]  and  some  others &#xA;  that  are  able  to characterize  well  enough  quality  of  lossy &#xA;  compressed images  [9].  Recently,  it  has  been  shown  for &#xA;  grayscale images  [5]  that  it  is  enough  to  provide  MSSIM &#xA;  values larger  than  0.985  or  PSNR-HVS-M  values  larger  than 40dB &#xA;  in  order  to  guarantee  practically  invisibility  of distortions &#xA;  in  lossy  compressed  images.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;As for re-encoding resilience, depends on what the goal of the re-encoding is. For viewing-only or casual re-editing purposes, CRF 18 in x264 should be fine. For professional re-editing, I would drop the CRF to, say, 12 or 14. Information, once lost, can't be perfectly recovered. But you can set your own standards by encoding at different CRFs and comparing manually. See &lt;a href=&quot;https://video.stackexchange.com/a/17639&quot;&gt;https://video.stackexchange.com/a/17639&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-05-19T06:22:27.767" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27660" PostTypeId="2" ParentId="22994" CreationDate="2019-05-19T08:08:03.523" Score="1" Body="&lt;p&gt;I wrote a Python script create a video that simply displays the text with the audio file playing in the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example of file structure before running the script (in this example, the three pairs of audio file + transcript):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\Franck\Documents\GitHub\code&amp;gt;tree /f&#xA;Folder PATH listing&#xA;C:.&#xA;│   generate_videos.py&#xA;│&#xA;├───audio&#xA;│       file1.wav&#xA;│       file2.wav&#xA;│       file3.wav&#xA;│&#xA;└───transcripts&#xA;        file1.txt&#xA;        file2.txt&#xA;        file3.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After running the script (&lt;code&gt;output.mp4&lt;/code&gt; is the concatenation of &lt;code&gt;videos\*.mp4&lt;/code&gt;):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\Franck\Documents\GitHub\code&amp;gt;tree /f&#xA;Folder PATH listing&#xA;C:.&#xA;│   generate_videos.py&#xA;│   output.mp4&#xA;│&#xA;├───audio&#xA;│       file1.wav&#xA;│       file2.wav&#xA;│       file3.wav&#xA;│&#xA;├───images&#xA;│       file1.png&#xA;│       file2.png&#xA;│       file3.png&#xA;│&#xA;├───transcripts&#xA;│       file1.txt&#xA;│       file2.txt&#xA;│       file3.txt&#xA;│&#xA;└───videos&#xA;        file1.mp4&#xA;        file2.mp4&#xA;        file3.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;from PIL import Image, ImageDraw, ImageFont&#xA;import textwrap&#xA;from pathlib import Path&#xA;import glob&#xA;import os&#xA;import shlex&#xA;import subprocess&#xA;&#xA;def draw_multiple_line_text(image, text, font, text_color, text_start_height):&#xA;    '''&#xA;    From unutbu on [python PIL draw multiline text on image](https://stackoverflow.com/a/7698300/395857)&#xA;    '''&#xA;    draw = ImageDraw.Draw(image)&#xA;    image_width, image_height = image.size&#xA;    y_text = text_start_height&#xA;    lines = textwrap.wrap(text, width=40)&#xA;    for line in lines:&#xA;        line_width, line_height = font.getsize(line)&#xA;        draw.text(((image_width - line_width) / 2, y_text),&#xA;                  line, font=font, fill=text_color)&#xA;        y_text += line_height&#xA;&#xA;&#xA;def generate_image(transcript_filepath, image_filepath):&#xA;    '''&#xA;&#xA;    '''&#xA;    #image_width&#xA;    image = Image.new('RGB', (800, 600), color = (0, 0, 0))&#xA;    fontsize = 30  # starting font size&#xA;    font = ImageFont.truetype(&quot;arial.ttf&quot;, fontsize)&#xA;    #text1 = &quot;I try to add text at the bottom of image and actually I've done it, but in case of my text is longer then image width it is cut from both sides, to simplify I would like text to be in multiple lines if it is longer than image width.&quot;&#xA;    #text2 = &quot;You could use textwrap.wrap to break text into a list of strings, each at most width characters long&quot;&#xA;&#xA;    text1 = open(transcript_filepath, 'r').read()&#xA;    text_color = (200, 200, 200)&#xA;    text_start_height = 0&#xA;    draw_multiple_line_text(image, text1, font, text_color, text_start_height)&#xA;    text2 = transcript_filepath&#xA;    draw_multiple_line_text(image, text2, font, text_color, 400)&#xA;&#xA;    image.save(image_filepath)&#xA;&#xA;&#xA;def create_folder_if_not_exists(directory):&#xA;    '''&#xA;    Create the folder if it doesn't exist already.&#xA;    '''&#xA;    if not os.path.exists(directory):&#xA;        os.makedirs(directory)&#xA;&#xA;def get_basename_without_extension(filepath):&#xA;    '''&#xA;    Getting the basename of the filepath without the extension&#xA;    E.g. 'data/formatted/movie_reviews.pickle' -&amp;gt; 'movie_reviews'&#xA;    '''&#xA;    return os.path.basename(os.path.splitext(filepath)[0])&#xA;&#xA;def run_command(command):&#xA;    print('command: {0}'.format(command))&#xA;    process = subprocess.Popen(shlex.split(command), stdout=subprocess.PIPE)&#xA;    while True:&#xA;        output = process.stdout.readline()&#xA;        print(output.strip())&#xA;        if output == b'' and process.poll() is not None:&#xA;            print('Done running the command.')&#xA;            break&#xA;        if output:&#xA;            print(output.strip())&#xA;    rc = process.poll()&#xA;    return rc&#xA;&#xA;def main():&#xA;    '''&#xA;    Generate videos based on image+text&#xA;    '''&#xA;    transcript_file_extension = 'txt'&#xA;    speech_file_extension = 'wav'&#xA;    data_folder = 'transcripts'&#xA;    transcript_filepaths = list(glob.glob('{1}/**.{0}'.format(transcript_file_extension, data_folder)))&#xA;    transcript_filepaths.sort()&#xA;    speech_filepaths = list(glob.glob('{1}/**.{0}'.format(speech_file_extension, data_folder)))&#xA;    speech_filepaths.sort()&#xA;    print('transcript_filepaths: {0}'.format(transcript_filepaths))&#xA;    print('speech_filepaths: {0}'.format(speech_filepaths))&#xA;&#xA;    output_folder = 'images'&#xA;    audio_folder = 'audio'&#xA;    video_output_folder = 'videos'&#xA;    create_folder_if_not_exists(output_folder)&#xA;    create_folder_if_not_exists(video_output_folder)&#xA;    output_folder = os.path.abspath(output_folder)&#xA;    print('output_folder: {0}'.format(output_folder))&#xA;&#xA;&#xA;    ffmpeg_concat_filepath = os.path.abspath('ffmpeg_concat_file.txt')&#xA;    ffmpeg_concat_file = open(ffmpeg_concat_filepath, 'w')&#xA;    for transcript_filepath  in transcript_filepaths:&#xA;        image_filename = get_basename_without_extension(transcript_filepath)&#xA;        image_filepath = os.path.join(output_folder, '{0}.png'.format(image_filename))&#xA;        generate_image(transcript_filepath, image_filepath)&#xA;        audio_filepath = os.path.join(audio_folder, '{0}.wav'.format(image_filename))&#xA;        video_filepath = os.path.join(video_output_folder, '{0}.mp4'.format(image_filename))&#xA;        os.system('ffmpeg -loop 1 -y -i {0} -i {2} -shortest {1}'.format(image_filepath, video_filepath, audio_filepath))&#xA;        ffmpeg_concat_file.write(&quot;file '{0}'\n&quot;.format(video_filepath))&#xA;&#xA;    ffmpeg_concat_file.close()&#xA;    # [How to concatenate two MP4 files using FFmpeg?](https://stackoverflow.com/a/11175851/395857)&#xA;    # Note: the following command only works in Microsoft Windows. &#xA;    # See the Stack Exchange link for the command for Linux and Mac OS X&#xA;    os.system('ffmpeg -safe 0 -f concat -i {0} -c copy output.mp4'.format(ffmpeg_concat_filepath))&#xA;&#xA;&#xA;&#xA;&#xA;if __name__ == &quot;__main__&quot;:&#xA;    main()&#xA;    #cProfile.run('main()') # if you want to do some profiling&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Tested with:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Python 3.6&lt;/li&gt;&#xA;&lt;li&gt;Pillow 5.3.0 &lt;/li&gt;&#xA;&lt;li&gt;ffmpeg version N-50911-g9efcfbe Copyright (c) 2000-2013 the FFmpeg developers, built on Mar 13 2013 21:26:48 with gcc 4.7.2 (GCC)&lt;/li&gt;&#xA;&lt;li&gt;Windows 7 SP1 x64 Ultimate:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;It should work on any operating system as long as ffmpeg is available (e.g., in the path on Microsoft Windows).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video output example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZfW6f.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZfW6f.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2117" LastEditorUserId="2117" LastEditDate="2019-05-19T08:40:52.380" LastActivityDate="2019-05-19T08:40:52.380" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27661" PostTypeId="1" AcceptedAnswerId="27665" CreationDate="2019-05-19T08:46:45.003" Score="1" ViewCount="40" Body="&lt;p&gt;I am using a GoPro mounted to a bike to capture crews rowing in a boat next to a (gravel) bike path. I am mostly happy with what the GoPro offers except that I need a less wide-angled view. For better quality and having access to zoom lenses, I am considering using a camcorder instead. However, I am worried that mechanical vibrations are going to break the camcorder which I would expect containing moving parts whereas a GoPro has none. Any recommendations from people taking videos by mounting them to vehicles (rather than holding them)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example: &lt;a href=&quot;https://vimeo.com/338228818&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/338228818&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24544" LastEditorUserId="24544" LastEditDate="2019-05-24T18:58:48.647" LastActivityDate="2019-05-24T18:58:48.647" Title="Camcorder vs. GoPro mounted on bike" Tags="|camcorder|action-cam|gopro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27662" PostTypeId="1" CreationDate="2019-05-19T21:31:10.360" Score="0" ViewCount="2076" Body="&lt;p&gt;I've an envato subscription and have access to .aep files but don't have adobe after effects.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to do a company video using the .aep but don't want to have to purchase AE for the edit.  Are there any open source editors that will open an aep file?&lt;/p&gt;&#xA;" OwnerUserId="25257" LastActivityDate="2019-05-20T11:30:46.550" Title="Open Source Software to open .aep file?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27663" PostTypeId="1" CreationDate="2019-05-20T01:03:36.397" Score="0" ViewCount="367" Body="&lt;p&gt;I've read that the difference between UK PAL and Continental PAL is the carrier frequency used for the audio. But is that referring to:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the (now former) analogue TV broadcasts&lt;/li&gt;&#xA;&lt;li&gt;the encoding on the tape&lt;/li&gt;&#xA;&lt;li&gt;or both?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I am aware of the VHS PAL I standard for the UK and the VHS PAL B/G etc standard in continental Europe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to these links, if the SCART output is used, then the audio is available. The links say that the difference in audio encoding is only related to the RF (Radio Frequency) signal i.e. broadcasts:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://forums.digitalspy.com/discussion/124554/vhs-tape-recordings-in-the-u-k-where-else-do-they-work&quot; rel=&quot;nofollow noreferrer&quot;&gt;VHS tape recordings in the U.K. where else do they work?&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.avforums.com/threads/can-i-convert-a-pal-b-g-signal-to-a-pal-i-signal.84444/&quot; rel=&quot;nofollow noreferrer&quot;&gt;can I convert a PAL-B/G signal to a PAL-I signal?&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;My use case is for using a continental video player from Germany to play UK VHS PAL tapes and convert the video and audio digitally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Setup:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Model: JVC HR-S9600EU (not EK - UK) - one of the apparently higher quality machines, according to:&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.digitalfaq.com/forum/video-restore/1567-vcr-buying-guide.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;VCR Buying Guide 1&lt;/a&gt; &lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.digitalfaq.com/forum/video-restore/1567-vcr-buying-guide-2.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;VCR Buying Guide 2 - details of model codes such as EK and EU&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;Canopus ADVC100 attached to computer via Firewire&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;PAL standard references:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://martin.hinner.info/vga/pal.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://martin.hinner.info/vga/pal.html&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/PAL#PAL-B/G/D/K/I&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/PAL#PAL-B/G/D/K/I&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1049" LastActivityDate="2019-05-24T05:37:10.467" Title="Is a UK PAL video tape compatible with a continental Europe PAL VHS/S-VHS player in terms of video and sound" Tags="|video-capture|video-standards|vhs|pal|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27664" PostTypeId="2" ParentId="27662" CreationDate="2019-05-20T11:30:46.550" Score="2" Body="&lt;p&gt;The best option you have is to use the trial version of after effects. You can create an adobe creative cloud account and try the program for 30 days free of charge there. If it's only one job and you're using a template, the trial time should be sufficient. If not, there's always the option of creating a different account with another mail and beginning the trial anew.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-05-20T11:30:46.550" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27665" PostTypeId="2" ParentId="27661" CreationDate="2019-05-20T11:42:11.137" Score="2" Body="&lt;p&gt;The primal problem will be the stabilization. GoPro's Cameras offer a decent image-stabilization and are wide-angled. This allows shakes and bumps to have less of an impact. If you now go for a camcorder with, say, a lens of 50mm, you will experience an extreme increase in shakiness.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words: When you worry about your camera to break due to shakes and bumps, the footage will most likely not be great.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are some options you have, which one to choose is on you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, you could try to buy a GoPro that can record in 4k (maybe you already own one). That way, you can hit two birds with one stone. On the one hand side, you will be able to zoom in digitally in post without losing any image quality, assuming you want to render in full HD (1920x1080). This fixes the issue of the wide-angle lens. On the other hand side, there will be plenty of material around the visible area, so a warp-stabilizer in After-Effects should easily help stabilize the footage, giving you a much more smooth result than opting to put a camcorder on your bike.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other options would be to use a camcorder indeed, or even a tv-production or cinema-camera if you like, but staying off that bike. Either, you can rent or buy a Steady-Cam or Gimble (the ones from Ronin are very good) and run along. The Gimble or Steady-Cam will stabilize your Camera and will give you probably the best results (assuming you know how to properly use a Gimble / Steady-Cam).&#xA;This is also the priciest option though, I fear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other is to use the camcorder or higher-tier camera again, but stay still entirely. You can try to find a Spot on the path where the water flows around you a small bit, like in any curve of the river. Position yourself on the extended piece of land and just pan with the Subject, instead of moving at all. This would be the easiest and probably cheapest option, though it only really works well for short, preferably fast pace sequences, so you don't catch that the camera is stationary. Many people use this method to capture people running in forests: The actors simply run in a circle around the camera and the operator pans with them, which results in footage looking like they follow the subject horizontally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope my answer was helpful, good luck with your project!&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-05-20T11:42:11.137" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27666" PostTypeId="2" ParentId="27616" CreationDate="2019-05-20T11:50:22.303" Score="1" Body="&lt;p&gt;There might be a smarter method, but here's what I did:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When structuring your project, I recommend you use the bins in Premiere frequently. For example, as a structure, you could have:&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Footage&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;psd&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;cam1&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A001&lt;/li&gt;&#xA;&lt;li&gt;A002&lt;/li&gt;&#xA;&lt;li&gt;A003&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;A004&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A1&lt;/li&gt;&#xA;&lt;li&gt;A2&lt;/li&gt;&#xA;&lt;li&gt;A2b&lt;/li&gt;&#xA;&lt;li&gt;A3&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;B2&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;T1&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;ffsa7b2t1.mov&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;T2&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;ffsa7b2t2.mov&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;T3&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;ffsa7b2t3.mov&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;T4&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;ffsa7b2t4.mov&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;B3&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;A005&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;cam2&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;gopro&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Solids&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;sequences&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Using this structure of something similar might assure that you exchange or look at different takes without any hassle.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-05-20T11:50:22.303" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27668" PostTypeId="1" CreationDate="2019-05-21T13:26:29.457" Score="0" ViewCount="879" Body="&lt;p&gt;I have H.264 files that, when I run FFprobe on them, like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -i h264_file.ts -show_packets -select_streams v&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;...it shows that each video packet has no values for duration, and no value for duration_time, like this:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;[PACKET]&#xA;codec_type=video&#xA;stream_index=0&#xA;pts=8098077717&#xA;pts_time=89978.641300&#xA;dts=8098077717&#xA;dts_time=89978.641300&#xA;**duration=N/A&#xA;duration_time=N/A&#xA;convergence_duration=N/A&#xA;convergence_duration_time=N/A**&#xA;size=2354&#xA;pos=14633920&#xA;flags=_&#xA;[/PACKET]&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;My question is, other than re-encoding the file, and assuming I know the source to be 60 fps, is there a way to correct this video packet duration?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I can do it by re-encoding - I have done so successfully.  But I am wondering if there is an easier and faster way of doing it.&lt;/p&gt;&#xA;" OwnerUserId="25266" LastEditorUserId="18155" LastEditDate="2019-07-03T19:15:01.107" LastActivityDate="2024-03-09T10:07:05.867" Title="H.264 video packet duration missing" Tags="|h.264|ffprobe|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27669" PostTypeId="2" ParentId="27517" CreationDate="2019-05-21T17:04:51.480" Score="1" Body="&lt;p&gt;The above command line was copied from &lt;a href=&quot;https://superuser.com/a/901705&quot;&gt;FFmpeg - Apply blur over face&lt;/a&gt; which also provides a good explanation:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Note: The x and y offset numbers in overlay (60 and 30 in this&#xA;  example) must match the crop offsets.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;What this example does:&lt;/p&gt;&#xA;  &#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;Crop the copy to be the size of the area to be blurred. In this example: a 200x200 pixel box that is 60 pixels to the right (x axis)&#xA;  and 30 pixels down (y axis) from the top left corner.&lt;/li&gt;&#xA;  &lt;li&gt;Blur the cropped area.&lt;/li&gt;&#xA;  &lt;li&gt;Overlay the blurred area using the same x and y parameters from the crop filter.&lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So: the &lt;code&gt;200:200&lt;/code&gt; is the size of the blurred area and &lt;code&gt;60:30&lt;/code&gt; its position relative to the top-left corner. The input &lt;code&gt;v&lt;/code&gt; is split into two streams &lt;code&gt;v0&lt;/code&gt; and &lt;code&gt;v1&lt;/code&gt; where &lt;code&gt;v0&lt;/code&gt; is blurred and the result is named &lt;code&gt;fg&lt;/code&gt;. Streams &lt;code&gt;v1&lt;/code&gt; and &lt;code&gt;fg&lt;/code&gt; are composed to the final stream &lt;code&gt;v&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="24544" LastActivityDate="2019-05-21T17:04:51.480" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27670" PostTypeId="1" CreationDate="2019-05-21T19:29:13.943" Score="0" ViewCount="46" Body="&lt;p&gt;I'm trying to develop a tool that given a video (without a reference video), it can measure the quality. Basically given some thresholds, it assigns them a rating (I just need 4 classes 1-4). Since we don't have the original reference videos, I'm &lt;strong&gt;not&lt;/strong&gt; looking for approaches using SSIM or PSNR or such. Possible options are using machine learning approaches.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any available tool or package for that? If not, how can I implement one?&lt;/p&gt;&#xA;" OwnerUserId="43073" LastEditorUserId="43073" LastEditDate="2019-05-21T19:54:36.120" LastActivityDate="2019-05-22T04:46:39.530" Title="Objective video quality assessment" Tags="|video|video-editor|encoding|video-quality|decoding|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27671" PostTypeId="1" CreationDate="2019-05-21T23:27:17.833" Score="1" ViewCount="3238" Body="&lt;p&gt;I want to freeze some frames in a video so that it gives a buffering video type look. Also the audio should freeze with the video.&lt;/p&gt;&#xA;" OwnerUserId="25273" LastEditorUserId="14523" LastEditDate="2019-05-22T02:42:29.140" LastActivityDate="2019-06-12T15:07:41.653" Title="How to add freeze frame to a video using ffmpeg" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27673" PostTypeId="2" ParentId="27670" CreationDate="2019-05-22T04:46:39.530" Score="1" Body="&lt;p&gt;What you are looking for is called “no-reference quality assessment”. Google can give you specific examples. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-05-22T04:46:39.530" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27674" PostTypeId="2" ParentId="27671" CreationDate="2019-05-22T04:55:14.893" Score="2" Body="&lt;p&gt;Assume there are three pauses of 3 seconds each at 5s, 12s and 20s of the original video. Here's the basic form of the command,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i in -vf &quot;setpts='PTS-STARTPTS + gte(T,5)*(3/TB) + gte(T,12)*(3/TB) + gte(T,20)*(3/TB)'&quot; -af &quot;asetpts='PTS-STARTPTS + gte(T,5)*(3/TB) + gte(T,12)*(3/TB) + gte(T,20)*(3/TB)',aresample=async=1:first_pts=0&quot; -vsync cfr out&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-05-26T11:21:50.507" LastActivityDate="2019-05-26T11:21:50.507" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27675" PostTypeId="1" CreationDate="2019-05-22T14:10:48.307" Score="0" ViewCount="451" Body="&lt;p&gt;I am looking for a Video editing software to do some post production work on my animated movie(mp4 file without audio).I use Blender VSE,but it lacks severely in effects like transitions ,FX  etc .&#xA;My main requirement is &lt;strong&gt;Audio Scrubbing&lt;/strong&gt; since their is lipsyncing and precision trimming required in the video.I did do a web search and the only advanced software which seems to pop up is &lt;strong&gt;Adobe Premiere Pro&lt;/strong&gt;.Since I am an indie animator, &quot;Premiere Pro&quot; is way of my budget.I also checked softwares like Camtasia,Powerdirector,Movavi,Filmora but was surprised that &lt;strong&gt;audio scrubbing was not available.&lt;/strong&gt;&#xA;Sony vegas is avalable around the 300$ mark but it seems to be an overkill for just some audio scrubbing .&#xA;Are there any other softwares available around the 100$ range with the Audio scrubbing feature and some basic transition,Fx and color grading capabilites.&lt;/p&gt;&#xA;" OwnerUserId="24346" LastActivityDate="2019-10-19T14:42:51.440" Title="Video editing software with Audio scrubbing[Windows 10- 64bit]" Tags="|audio|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27676" PostTypeId="1" AcceptedAnswerId="27783" CreationDate="2019-05-22T18:48:12.097" Score="3" ViewCount="273" Body="&lt;p&gt;So I've downloaded the free fan-created &lt;a href=&quot;https://www.startrekcontinues.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Star Trek Continues&lt;/a&gt; Blue-Ray ISO for &lt;a href=&quot;https://www.startrekcontinues.com/STC_VOL1_BR.torrent&quot; rel=&quot;nofollow noreferrer&quot;&gt;Episodes 1-3&lt;/a&gt; and I'm trying to convert the FHD 1920x1080 to SD 960x540 to be able to watch on my phone:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -canvas_size 960x540 \&#xA;-i /media/STC_VOL1_BR/BDMV/STREAM/00000.m2ts \&#xA;-map_metadata -1 \&#xA;-c:v libx264 -map 0:0 -strict -2 -r 24 -s 960x540 \&#xA;-c:a libmp3lame -map 0:1 -b:a 384K \&#xA;-metadata:s:s:0 language=EN -c:s dvdsub -map 0:2 \&#xA;/media/Videos/Star\ Trek\ Continues/S01E01\ Pilgrim\ Of\ Eternity.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but after a few seconds of watching the converted mkv, the subtitles become:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;unreadable due to overlapping&lt;/li&gt;&#xA;&lt;li&gt;are slightly big (no issue)&lt;/li&gt;&#xA;&lt;li&gt;shifted to the right and bottom of the screen&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bhSMp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bhSMp.png&quot; alt=&quot;VLC Screenshot&quot;&gt;&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;What am I doing wrong?&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;sub&gt;&lt;strong&gt;Note:&lt;/strong&gt; I've only ever dealt with &lt;code&gt;srt&lt;/code&gt; subtitles and I  know that dvdsubs are images, so that's why I thought the &lt;code&gt;canvas_size&lt;/code&gt; parameter might be of help, but it makes no difference.&lt;/sub&gt;&lt;/p&gt;&#xA;" OwnerUserId="24980" LastEditorUserId="24980" LastEditDate="2019-05-29T05:35:03.933" LastActivityDate="2019-06-05T09:47:06.247" Title="Star Trek Continues: ffmeg dvdsub: overlapping subtitles" Tags="|ffmpeg|conversion|subtitles|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27678" PostTypeId="1" CreationDate="2019-05-23T00:07:50.943" Score="3" ViewCount="2782" Body="&lt;p&gt;If I delete a video from my computer after I've imported it, will it delete from the video I'm editing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've imported many video clips into a video project I'm currently working on (I'm using Vegas Pro 16). But I want to help clear up some space on my computer, so if I deleted those clips from their original location, would they still remain for me to work with in Vegas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="25283" LastActivityDate="2019-07-31T17:31:30.967" Title="If I delete a video from my computer after I've imported it, will it delete from the video I'm editing?" Tags="|vegas-pro|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27679" PostTypeId="2" ParentId="27668" CreationDate="2019-05-23T01:48:23.983" Score="0" Body="&lt;p&gt;I don't have a sample of your file so I don't know if this fixes it or not, but have you tried a simple remux?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i h264_file.ts -c copy remuxed.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is also basically the same thing, but helpful if you want video and audio in separate files before you remux:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i h264_file.ts -map 0:0 -c:v copy -muxdelay 0 video.ts -map 0:1 -c:a copy -muxdelay 0 audio.ts&#xA;ffmpeg -y -copyts -i video.ts -i audio.ts -c copy remuxed.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You could also try reencoding audio but copying video.  Encoding audio but copying video will be fast and usually concerns about reencoding loss is a lot less significant with audio.  (Use audio synchronization, see &lt;code&gt;-async&lt;/code&gt; in documentation.)&lt;/p&gt;&#xA;" OwnerUserId="22249" LastActivityDate="2019-05-23T01:48:23.983" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27681" PostTypeId="2" ParentId="27678" CreationDate="2019-05-23T07:37:03.240" Score="2" Body="&lt;p&gt;According to the on-line &lt;a href=&quot;http://dl03.vegascreativesoftware.com/manual_vp16_en.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;manual&lt;/a&gt; page 57 of this commercial software this is only true if you:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;have selected the &lt;kbd&gt;Copy media with project&lt;/kbd&gt; checkbox and&lt;/li&gt;&#xA;&lt;li&gt;Clicked the &lt;kbd&gt;Save&lt;/kbd&gt; button&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;h2&gt;for all your projects!&lt;/h2&gt;&#xA;&lt;p&gt;If you forgot to do that with just one, the answer is:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;No, deleting the original file &lt;em&gt;will delete&lt;/em&gt; it from all of the projects where you did not click that option.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="24980" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-05-23T07:42:08.423" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27682" PostTypeId="1" CreationDate="2019-05-23T11:02:48.120" Score="0" ViewCount="1149" Body="&lt;p&gt;I am trying to capture tape content via a BlackMagic Decklink Quad 2, using ffmpeg. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe the timecode is passed on through the Decklink because when capturing manually with MediaExpres the timecode is present in the file. So I suspect my settings for ffmpeg are incorrect. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;./ffmpeg -loglevel trace -format_code pal -timecode_format rp188vitc -f decklink -i &quot;DeckLink Quad (1)&quot; -map 0:d  TC9atest_09.mov &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This prints the following output (incomplete) from which I understand that it only seems to find audio and video streams. I have tried different timecode formats and a few stream mapping options but with no success so far.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, decklink, from 'DeckLink Quad (1)':&#xA;  Duration: N/A, start: 0.000000, bitrate: 167424 kb/s&#xA;    Stream #0:0, 5, 1/1000000: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s&#xA;    Stream #0:1, 6, 1/1000000: Video: rawvideo, 1 reference frame (UYVY / 0x59565955), uyvy422(top first), 720x576, 0/1, 165888 kb/s, 25 fps, 25 tbr, 1000k tbn, 1000k tbc&#xA;Successfully opened the file.&#xA;Parsing a group of options: output url TC9atest_09.mov.&#xA;Applying option map (set input stream mapping) with argument 0:d.&#xA;Stream map '0:d' matches no streams.&#xA;To ignore this, add a trailing '?' to the map.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Capturing stops after the message above. If I add &quot;?&quot; as indicated, capturing runs but there is no timecode written in the file. Without an explicit mapping for the d stream, there is also no timecode in the file created. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way that worked for me to add a timecode is with the manually specified timecode start -timecode, but this option does not work for my use case as I want the original timecode, not just a timecode.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;./ffmpeg -loglevel trace  -format_code pal -timecode_format rp188vitc -f decklink -i &quot;DeckLink Quad (1)&quot;  -timecode 00:10:00:00  TC9atest_10.mov &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any pointers would be greatly appreciated. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Full output from the first command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;./ffmpeg -loglevel trace  -format_code pal -timecode_format rp188vitc -f decklink -i &quot;DeckLink Quad (1)&quot;    -map 0:d  TC9atest_09.mov &#xA;ffmpeg version 4.1.git Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 7 (Debian 7.3.0-18)&#xA;  configuration: --prefix=/usr/local/home/xxx/ffmpeg/build.static --pkg-config-flags=--static --enable-decklink --extra-cflags='-I/usr/local/home/xxx/Desktop/ffmpeg/build.static/include -I/usr/local/home/xxx/Desktop/ffmpeg/BM_SDK_11.1/Linux/include' --extra-ldflags='-L/usr/local/home/xxx/Desktop/ffmpeg/build.static/lib -L~/Desktop/ffmpeg/BM_SDK_11.1/Linux/include' --extra-libs=-lpthread --bindir=/usr/local/home/xxx/Desktop/ffmpeg/bin.static --enable-gpl --enable-version3 --enable-nonfree --enable-libfdk_aac --enable-fontconfig --enable-libfreetype --enable-libmp3lame --enable-libopus --enable-libvorbis --enable-libvpx --enable-libx264 --enable-openssl&#xA;  libavutil      56. 27.100 / 56. 27.100&#xA;  libavcodec     58. 52.101 / 58. 52.101&#xA;  libavformat    58. 27.103 / 58. 27.103&#xA;  libavdevice    58.  7.100 / 58.  7.100&#xA;  libavfilter     7. 53.100 /  7. 53.100&#xA;  libswscale      5.  4.101 /  5.  4.101&#xA;  libswresample   3.  4.100 /  3.  4.100&#xA;  libpostproc    55.  4.100 / 55.  4.100&#xA;Splitting the commandline.&#xA;Reading option '-loglevel' ... matched as option 'loglevel' (set logging level) with argument 'trace'.&#xA;Reading option '-format_code' ... matched as AVOption 'format_code' with argument 'pal'.&#xA;Reading option '-timecode_format' ... matched as AVOption 'timecode_format' with argument 'rp188vitc'.&#xA;Reading option '-f' ... matched as option 'f' (force format) with argument 'decklink'.&#xA;Reading option '-i' ... matched as input url with argument 'DeckLink Quad (1)'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '0:d'.&#xA;Reading option 'TC9atest_09.mov' ... matched as output url.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option loglevel (set logging level) with argument trace.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url DeckLink Quad (1).&#xA;Applying option f (force format) with argument decklink.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: DeckLink Quad (1).&#xA;[decklink @ 0x55fc4ab56540] Trying to find mode for frame size 0x0, frame timing 0/0, field order 0, direction 0, mode number 0, format code pal&#xA;[decklink @ 0x55fc4ab56540] Found Decklink mode 720 x 576 with rate 25.00(i)&#xA;[decklink @ 0x55fc4ab56540] Using 2 input audio channels&#xA;[decklink @ 0x55fc4ab56540] Frame received (#1) - No input signal detected - Frames dropped 1&#xA;[decklink @ 0x55fc4ab56540] Probe buffer size limit of 5000000 bytes reached&#xA;[decklink @ 0x55fc4ab56540] stream 0: start_time: 0.000 duration: -9223372036854.775&#xA;[decklink @ 0x55fc4ab56540] stream 1: start_time: 0.000 duration: -9223372036854.775&#xA;[decklink @ 0x55fc4ab56540] format: start_time: 0.000 duration: -9223372036854.775 bitrate=167424 kb/s&#xA;Guessed Channel Layout for Input Stream #0.0 : stereo&#xA;Input #0, decklink, from 'DeckLink Quad (1)':&#xA;  Duration: N/A, start: 0.000000, bitrate: 167424 kb/s&#xA;    Stream #0:0, 5, 1/1000000: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s&#xA;    Stream #0:1, 6, 1/1000000: Video: rawvideo, 1 reference frame (UYVY / 0x59565955), uyvy422(top first), 720x576, 0/1, 165888 kb/s, 25 fps, 25 tbr, 1000k tbn, 1000k tbc&#xA;Successfully opened the file.&#xA;Parsing a group of options: output url TC9atest_09.mov.&#xA;Applying option map (set input stream mapping) with argument 0:d.&#xA;Stream map '0:d' matches no streams.&#xA;To ignore this, add a trailing '?' to the map.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If I don't map any stream, capturing works but the file does not contain a timecode. &lt;a href=&quot;https://docs.google.com/document/d/1os-ov9MIMDGkx01-Itgl377i4C72K7akx-cVqDNXFK4/edit?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;Full log&lt;/a&gt; linked.&lt;/p&gt;&#xA;" OwnerUserId="22593" LastEditorUserId="22593" LastEditDate="2019-05-24T09:33:00.363" LastActivityDate="2019-05-24T09:33:00.363" Title="Capture original timecode with ffmpeg from decklink" Tags="|ffmpeg|timecode|metadata|blackmagic|" AnswerCount="0" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="27684" PostTypeId="1" AcceptedAnswerId="27690" CreationDate="2019-05-23T15:09:19.490" Score="0" ViewCount="78" Body="&lt;p&gt;I'd like to learn how to add text in a video that's anchored to a 3d space in a video like augmented reality, but I'm having trouble finding out what this kind of effect is called. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/0QuKyshikHY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the example the text is also 3d, but I'm mostly interested in the AR style text effect itself, I plan to add 2d text to a video, basically moving credits that move like an AR object.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&lt;/p&gt;&#xA;" OwnerUserId="25291" LastActivityDate="2019-05-24T07:56:18.650" Title="What is the terminology for AR text in a video?" Tags="|visual-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27685" PostTypeId="1" AcceptedAnswerId="27686" CreationDate="2019-05-23T15:44:54.037" Score="1" ViewCount="1695" Body="&lt;p&gt;I would like to know how to use &lt;a href=&quot;https://www.magicyuv.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;magicyuv&lt;/a&gt; &amp;amp; utvideo codec with ffmpeg&lt;/p&gt;&#xA;" OwnerUserId="17792" LastEditorUserId="17792" LastEditDate="2019-05-23T18:01:11.437" LastActivityDate="2019-05-27T09:45:53.307" Title="How to use magicyuv &amp; utvideo codec with ffmpeg" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27686" PostTypeId="2" ParentId="27685" CreationDate="2019-05-23T18:14:33.060" Score="1" Body="&lt;p&gt;The following Linux command searches all &lt;code&gt;codecs&lt;/code&gt; than can &lt;code&gt;E&lt;/code&gt;ncode anything containing &lt;code&gt;ut&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  ffmpeg -codecs | grep --regexp=&quot;^ .E&quot; | grep --ignore-case ut&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and its output is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; DEVI.S utvideo              Ut Video&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;so you can use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ~/Videos/WebCam/me.mp4 -c:v utvideo -r 30 -c:a libmp3lame -b:a 512K /tmp/test.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;However:&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -codecs | grep --regexp=&quot;^ .E&quot; | grep --ignore-case magic&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;has no output at all &lt;strong&gt;&lt;em&gt;on my version of ffmpeg&lt;/em&gt;&lt;/strong&gt;, but if your version supports it, you &lt;em&gt;will see an output&lt;/em&gt; and then you just use whatever is in the second column as per the example above for &lt;code&gt;utvideo&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="24980" LastEditorUserId="24980" LastEditDate="2019-05-27T09:45:53.307" LastActivityDate="2019-05-27T09:45:53.307" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="27688" PostTypeId="1" CreationDate="2019-05-23T21:14:31.820" Score="2" ViewCount="234" Body="&lt;p&gt;In the &lt;strong&gt;Audio Track Mixer&lt;/strong&gt; panel in Premiere Pro 2019, each channel has a slider that adjusts the LFE volume. However, setting the volume this way is imprecise. How can I manually set this value?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BEk9M.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BEk9M.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/jTGIy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jTGIy.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25293" LastActivityDate="2019-06-13T17:03:36.093" Title="How can I manually set the LFE volume in Premiere's &quot;Audio Track Mixer&quot; panel?" Tags="|premiere|audio|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27689" PostTypeId="2" ParentId="27663" CreationDate="2019-05-24T05:37:10.467" Score="2" Body="&lt;p&gt;The UK PAL VHS tapes will play back in a German PAL deck. The actual method of audio recording is not related to the PAL specification. VHS records up to two linear audio tracks. HiFi capable decks record additional two HiFi tracks that are  multiplexed with the video signal. I don't remember the details.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A non-HiFi deck will ignore the HiFi tracks and use the linear tracks which should have the same content recorded.&lt;/p&gt;&#xA;" OwnerUserId="25295" LastActivityDate="2019-05-24T05:37:10.467" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27690" PostTypeId="2" ParentId="27684" CreationDate="2019-05-24T07:56:18.650" Score="1" Body="&lt;p&gt;There's not much to it, the effect could be called &quot;3D tracking Text&quot; or something like that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open up After Effects. Load up your file that you want to put the text in. Use the camera tracker that natively comes in After Effects. Now, you can attach a null to one or more points that are automatically generated and detected, which will follow the geometry and movements from the footage. Once you're happy with where the null is positioned, you can create a new text layer and parent it to the null, so that the text is following its position, rotation and scale. That's it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Creating a 3D-Text however is a different story. For that, you could use the element3d plugin for aftereffects, but that's quite expensive. Alternatively, you could track the camera and export the tracking data to a 3D-environment. I'd recommend using pfTrack for the tracking part. Then, inside the 3D-Program (like Cinema4D, Modo, 3Dsmax, Maya, etc.) you can import the tracking data which will give you a camera that matched the movements of your footage. If you then just place an object, like 3D-Text in the 3D-Space and render the footage from the perspective of the aforementioned camera, you can place that footage on top of your original footage and the object will stick.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-05-24T07:56:18.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27691" PostTypeId="2" ParentId="27675" CreationDate="2019-05-24T07:58:18.173" Score="0" Body="&lt;p&gt;You can use Davinci Resolve's editing environment. It's free and, considering that, very powerful. Kind of comparable to the adobe suite, yet less powerful.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-05-24T07:58:18.173" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27694" PostTypeId="2" ParentId="27671" CreationDate="2019-05-24T10:15:22.200" Score="0" Body="&lt;p&gt;The code by @gyan didn't work out for me, I found another (longer) way to do it:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I extracted the audio file from the video first using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vn -ab 128 audio.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;then combined them together with an offset:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i &quot;input.mp4&quot; -itsoffset 3 -i &quot;input_audio.wav&quot; -map 0:v -map 1:a -c copy &quot;output.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25273" LastEditorUserId="18155" LastEditDate="2019-06-12T15:07:41.653" LastActivityDate="2019-06-12T15:07:41.653" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27695" PostTypeId="1" CreationDate="2019-05-24T12:22:03.603" Score="1" ViewCount="35" Body="&lt;p&gt;I would like to shoot whole my life (24h, 365d etc) on video, like as through my eyes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However I came to dead end trying to match recording times of modern action cameras, the battery change hustle, the storage challenge, the convienience and the privacy concerns of my surrondings...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does the tech advanced so far to allow that? Are there any legal limitations (like GDPR) in place to forbit me doing this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the end, any ideas how to do it?&lt;/p&gt;&#xA;" OwnerUserId="25296" LastActivityDate="2019-05-24T17:20:49.050" Title="How to shoot my whole life from first POV?" Tags="|video|video-quality|hardware|action-cam|gear|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27696" PostTypeId="2" ParentId="27695" CreationDate="2019-05-24T13:24:54.627" Score="2" Body="&lt;p&gt;I don't think that you really thought this through thoroughly. (what a sentence!)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On a serious note tho, it would mean that you always have to carry around batteries on you, enough for at least while you're awake, as well as storage devices which you'll want to backup, or at least have in a raid-system. All in all, it's firstly going to be very expensive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second, you will have to figure out a smart way to integrate a camera into your life. A simple solution could be to just strap a gopro to your head. This will be clunky, uncomfortable and not too pretty though. I believe the best option for you is to try and conceal the camera in some way, like buying glasses that have a camera in the frame or something alike.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next, there's legality. As you already assumed, there are places and things that you are not permitted to film. There's also different laws in different states, countries and continents. If you go to europe, you (theoretically) would have to ask any person for a permit if that person is filmed in a way that he/she/it is distinguishable and doesn't get lost in a crowd. That will be a lot of work. Even in America, you will run into places and people you are not permitted to film more frequently than you might think. And: You will have to keep every document of permits you ever got, since you need the evidence in case someone asks you to show it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And last storage. What you would want is probably a RAID-System, since it's way safer for your files which I assume will be very important to you. So, buying RAID-Servers with HDDs or SSDs for, say, 800-900tb? You usually run at about 100$ / TB with SSDs, which you'll probably need in order to write the video data fast. So the drives alone, excluding the RAID and server-systems at all, you'll run at about 100.000$ alone. That is not cheap.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nonetheless, I am impressed with your ambition and hope you pull through, just know that it won't be a walk in the park.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-05-24T13:24:54.627" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27697" PostTypeId="2" ParentId="27695" CreationDate="2019-05-24T17:20:49.050" Score="1" Body="&lt;p&gt;Yes, the tech is advanced enough. That is not going to be the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can have a very small, low power camera - look at the ones drone racers use. They aren't high resolution, but that could work on your favour as well, as they won't use as much storage. They also cope reasonably well with differing light conditions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can power from a belt-mounted or rucksack battery, with hot swappable packs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can stream or upload continuously, assuming you are in an area with connectivity. 5G will make this very easy.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;So, not a tech problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regulations will cause you an issue. Some countries will require you to put very strong security in place, some may not let you film in public without permission, most won't allow filming of military establishments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What do you intend to do with the footage? That will help determine what controls you will need, and where you will not be able to go. Surveillance laws will get you in trouble in some countries, and law enforcement may confiscate hardware at borders and demand access (possibly so they can use your footage) and what will your employer think? Will they let you run video cameras watching you logging in, working with documents, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How will you deal with an attacker who gains access to your feed and decides to assault you live online? Do you upload live or use local storage and only upload intermittently?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a very large issue, which you need to think through - is some video (likely to be almost all boring) worth the hassle?&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2019-05-24T17:20:49.050" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27698" PostTypeId="2" ParentId="24245" CreationDate="2019-05-24T17:27:36.200" Score="2" Body="&lt;p&gt;Although you can reposition the anchor point with the Pan Behind tool (Y),&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pVNmJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pVNmJ.png&quot; alt=&quot; (&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;an easier way to center it is in the menu. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Layer-&gt;Transform-&gt;Center Anchor Point in Layer Content&lt;/strong&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I agree with the other posts here: It's important to set the correct alignment and placing of a layer &lt;em&gt;before&lt;/em&gt; you keyframe anything.&lt;/p&gt;&#xA;" OwnerUserId="25300" LastActivityDate="2019-05-24T17:27:36.200" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27699" PostTypeId="1" AcceptedAnswerId="27899" CreationDate="2019-05-24T20:48:21.853" Score="1" ViewCount="1468" Body="&lt;p&gt;The Original video resolution is 720:1280 and I want to:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;copy the original video, scale to 1080:1080 and blur.&lt;/li&gt;&#xA;&lt;li&gt;again copy the original video and scale to 608:1080.&lt;/li&gt;&#xA;&lt;li&gt;Finally move blurred to 1080:1080 box and move second(608:1080) scaled copy above the blurred copy.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Structure&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Box(1080:1080)&#xA;  Blurred(Original -&amp;gt; 1080:1080 -&amp;gt; Blur)&#xA;  Scaled(Original -&amp;gt; 608:1080)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg&lt;/code&gt; command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i tmpVideo.mp4 -vf -filter_complex \&#xA;&quot;split[main][copy]; \&#xA;[main]scale=1080:1080[container]; \&#xA;[copy]scale=-1:1080,split[content, copy1]; \&#xA;[copy1]gblur=sigma=20[blurred]; \&#xA;[container][blurred]overlay=0:0[mix]; \&#xA;[mix][content]overlay=W/2:0&quot; \&#xA;output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The error I'm getting:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Unable to find a suitable output format for 'split[main][copy]; [main]scale=1080:1080[container]; [copy]scale=-1:1080,split[content, copy1]; [copy1]gblur=sigma=20[blurred]; [container][blurred]overlay=0:0[mix]; [mix][content]overlay=W/2:0'&#xA;split[main][copy]; [main]scale=1080:1080[container]; [copy]scale=-1:1080,split[content, copy1]; [copy1]gblur=sigma=20[blurred]; [container][blurred]overlay=0:0[mix]; [mix][content]overlay=W/2:0: Invalid argument&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;How should I proceed?&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="25301" LastEditorUserId="14523" LastEditDate="2019-05-27T18:31:41.800" LastActivityDate="2021-01-08T09:26:46.853" Title="Convert video from 9:16 to 1:1 with blurred box using ffmpeg?" Tags="|ffmpeg|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27700" PostTypeId="2" ParentId="27699" CreationDate="2019-05-24T21:31:11.057" Score="0" Body="&lt;p&gt;Solved with 5 separated commands:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i tmpVideo.mp4 scale=1080:1080 container.mp4&#xA;ffmpeg -i container.mp4 gblur=sigma=20 blurred.mp4&#xA;ffmpeg -i tmpVideo.mp4 scale=-1:1080 content.mp4&#xA;ffmpeg -i container.mp4 -i blurred.mp4 -filter_complex &quot;[0:v][1:v]overlay=0:0&quot; mix.mp4&#xA;ffmpeg -i mix.mp4 -i content.mp4 -filter_complex &quot;[0:v][1:v]overlay=(W-w)/2:0&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25301" LastActivityDate="2019-05-24T21:31:11.057" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27701" PostTypeId="1" CreationDate="2019-05-25T04:56:26.743" Score="0" ViewCount="2595" Body="&lt;p&gt;I have a large library of videos for a video instruction product. I have mostly been automating my workflows with FFmpeg and Ruby. I pull information such as titles, instructors' names, etc. from a database, and do some simple intro animations. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to programmatically manipulate video with Final Cut Pro (I haven't bought it yet)? For example could I add join an “intro” animation, overlay animated text with all my 3000 videos for example?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How is automation done on large file sets done in the Video Production world? I'm a software engineer by trade, and I have only basic video production knowledge (but I want to learn!).&lt;/p&gt;&#xA;" OwnerUserId="5949" LastEditorUserId="18155" LastEditDate="2019-06-30T15:58:31.547" LastActivityDate="2024-03-04T01:16:50.083" Title="Is it possible to do programmatic automation with Final Cut Pro?" Tags="|final-cut-pro-x|automation|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27702" PostTypeId="1" CreationDate="2019-05-25T15:28:26.720" Score="0" ViewCount="192" Body="&lt;h3&gt;Status&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;I would like to do a gaming montage of my best moments (like &lt;a href=&quot;https://youtu.be/hkyOjDP3PPo?t=178&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; one).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right now I have recordings with a total length of ~7h full of gameplay.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Problem&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;How can extract my best moments in a faster manner as watching the whole recordings without rewatching all my recordings?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regardless if I speed up the recordings to x2 there are still &gt;3,5 h to watch.&lt;/p&gt;&#xA;" OwnerUserId="25304" LastActivityDate="2019-05-28T04:05:35.373" Title="How do I get the best parts from a video?" Tags="|editing|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27703" PostTypeId="2" ParentId="27702" CreationDate="2019-05-25T17:11:46.987" Score="1" Body="&lt;p&gt;My suggestion: create a catalog of images from the video with one image per 5 minutes - this is less than 100 images. Each image represents a timestamp. Review these images to remind yourself what scenes were interesting. Then review these scenes in the video manually and extract the interesting ones. I would do all of this using ffmpeg but I'm sure it can be done in many other ways.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Create%20a%20thumbnail%20image%20every%20X%20seconds%20of%20the%20video&quot; rel=&quot;nofollow noreferrer&quot;&gt;Create a thumbnail image every X seconds of the video&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="24544" LastEditorUserId="24544" LastEditDate="2019-05-27T20:28:25.983" LastActivityDate="2019-05-27T20:28:25.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27705" PostTypeId="1" CreationDate="2019-05-25T20:31:58.587" Score="0" ViewCount="30" Body="&lt;p&gt;For a mechanical rotary shutter, a shutter angle is the angle of the arc cut into the circular shutter, which is an opening to help &quot;open&quot; the shutter. Then what does a shutter angle correspond to for an electronic shutter which is not a physical circular shutter at all?&lt;/p&gt;&#xA;" OwnerUserId="24856" LastActivityDate="2019-06-24T23:03:00.393" Title="What do shutter angles mean for electronic shutters?" Tags="|electronics|shutter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27706" PostTypeId="2" ParentId="27705" CreationDate="2019-05-25T22:01:58.790" Score="1" Body="&lt;p&gt;It just refers to the shuttet speed and FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you probably know, 360° means the entire time, the frame is exposed.&#xA;0° means it is never exposed, 180° half of the time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With digital shutters you can just take your FPS, for example 24, and calculate the corresponding value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For 180°, you can double it 24*2=48 so youbget a shutter speed of 1/48s.&#xA;For 360° you can justvtake the FPS 24FPS = 1/24s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The formula for any shutter angle being:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FPS / (Shutterangle / 360)&#xA;24 / (180 / 360) = 1/48&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-05-25T22:01:58.790" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27707" PostTypeId="2" ParentId="27702" CreationDate="2019-05-25T22:11:59.413" Score="1" Body="&lt;p&gt;There are a few tricks, but you won't get arpund it if you want to be exact.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best way is to keep a record of funny moments. While you record - or edit the original videos - note down funny moments so you directly know where to go. You can use the Trick Christian Lindig wrote if you haven't done that to remember what you filmed and what was funny.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another way would be to go through the audio and search loud parts, as they might be laughing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also try to watch 4 videos at the same time. This needs some good consentration though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you really want THE BEST parts, you'll need to watch it.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-05-25T22:11:59.413" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27708" PostTypeId="2" ParentId="22690" CreationDate="2019-05-25T22:15:32.793" Score="0" Body="&lt;p&gt;This highly relies on your camera. We would need to get more information about the exact model.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally, most modern cameras can stop and save a recording on power loss, especially on normal battery out (The camera generally shuts down because it is sensing a low battery and not when the battery can't deliver enough battery anymore.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simplest thing is to try, take an empty storing media and try it out.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastEditorUserId="-1" LastEditDate="2019-05-27T08:36:05.590" LastActivityDate="2019-05-27T08:36:05.590" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27709" PostTypeId="1" AcceptedAnswerId="27716" CreationDate="2019-05-26T05:13:21.183" Score="0" ViewCount="217" Body="&lt;p&gt;I am currently working on a short sci-fi film, and one scene involves a character going on a space walk. I've made a helmet, which has a plastic visor. The problem is that this visor is very reflective. All shots are in front of a green screen. My setup is fairly small, with a green screen stand and two soft-box lamps. The crew and equipment is fairly visible in the helmet, and I have also had keying issues with some test shots. There will be some lights within the helmet as well, but I don't think those will be enough. What can I do to reduce reflections both on set and in post?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have read &lt;a href=&quot;https://video.stackexchange.com/questions/15379/remove-greenscreen-reflections&quot;&gt;this question&lt;/a&gt;, but the only real answer was to use a polarizer, and I don't know how well that will work for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My editing software is DaVinci Resolve 15. &lt;/p&gt;&#xA;" OwnerUserId="25306" LastActivityDate="2019-05-26T16:22:34.323" Title="How to deal with reflections in a space helmet" Tags="|davinci-resolve|greenscreen|chromakey|visual-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27711" PostTypeId="2" ParentId="27701" CreationDate="2019-05-26T07:05:49.127" Score="0" Body="&lt;p&gt;I think you best chance would be Automator in combination with Apple scripts. However that's a tricky one and maybe FCPX won't work for you. &#xA;I couldn't think of any NLE which would fit your example though. The FFmpeg workflow solution might be best. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2019-05-26T07:05:49.127" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27712" PostTypeId="1" CreationDate="2019-05-26T09:26:19.733" Score="0" ViewCount="1931" Body="&lt;p&gt;I would like to crop out ROI from specific .mp4 file. User needs to define the ROI by specifying &lt;code&gt;X,Y,Width&lt;/code&gt; and &lt;code&gt;Height&lt;/code&gt; in percentage between 0 and 10000. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, if someone specifies &lt;code&gt;X=4000&lt;/code&gt;, and &lt;code&gt;Y=3000&lt;/code&gt; that would mean that top left corner (starting point of the crop) is located 40% to the right from bottom left corner of the video, and 30% down from top left corner of the video. &lt;code&gt;Width&lt;/code&gt; and &lt;code&gt;Height&lt;/code&gt; should determine bottom right and top left corners.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am currently doing some tests on this image:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TWBhn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TWBhn.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I expected following command to crop out 50% of the width and 50% of the height of the image, starting from top left corner:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test.png -filter:v &quot;crop=in_w*(5000/10000):in_h*(5000/10000):in_w:in_h&quot; -c:a copy roi.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For some reason I get bottom right quarter instead of top left quarter of the image. What am I doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bAH0x.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bAH0x.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once I change command to:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i test.png -filter:v &quot;crop=in_w*(5000/10000):in_h*(5000/10000):0:in_h&quot; -c:a copy roi.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I get top right quarter of the image:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ExhMA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ExhMA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I specified &lt;code&gt;X=in_w&lt;/code&gt;, and &lt;code&gt;Y=0&lt;/code&gt;, this means that &lt;code&gt;(X,Y)&lt;/code&gt; is top-right corner of the image. If that is true, and &lt;code&gt;W&lt;/code&gt; is 50% of &lt;code&gt;in_w&lt;/code&gt;, while &lt;code&gt;H&lt;/code&gt; is also 50% of &lt;code&gt;in_h&lt;/code&gt;, and I specified &lt;code&gt;(X,Y)&lt;/code&gt; to be at top right corner, how did &lt;strong&gt;FFMPEG&lt;/strong&gt; decide that it needs to go to the &lt;strong&gt;LEFT&lt;/strong&gt; of the &lt;code&gt;(X,Y)&lt;/code&gt; coordinate and not to the &lt;strong&gt;RIGHT&lt;/strong&gt; in order to make the crop?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because if it went to the right like it normally does, it would go out of range I guess. How is this logic implemented? I would like to know so I know how to program edge cases for it.&lt;/p&gt;&#xA;" OwnerDisplayName="user25308" LastEditorDisplayName="user25308" LastEditDate="2019-05-26T15:28:57.840" LastActivityDate="2019-05-26T15:58:50.303" Title="How do I crop out Region of Interest (ROI) from .mp4 video using FFMPEG?" Tags="|video|ffmpeg|editing|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27713" PostTypeId="2" ParentId="26132" CreationDate="2019-05-26T12:34:13.653" Score="1" Body="&lt;p&gt;Use better command: &lt;code&gt;ffmpeg -i a.mp4 -i a.mp4 -i a.mp4 -filter_complex \&#xA;&quot;[0:v]trim=start_frame=9000:end_frame=9001,crop=1280:100:0:0,setpts=PTS-STARTPTS[still1]; \&#xA;[1:v]trim=start_frame=9000:end_frame=9001,crop=100:100:600:500,setpts=PTS-STARTPTS[still2]; \&#xA;[2:v][still1]overlay=0:0:enable='between(t,61,62)'[v0]; \&#xA;[v0][still2]overlay=600:500:enable='between(t,61,62)'[v1]&quot; \&#xA;-map [v1] -c:v libx264 -crf 17 -preset slow -y  p.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This way ffmpeg will not keep frames it still needs in memory.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2019-05-26T12:34:13.653" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27714" PostTypeId="2" ParentId="26456" CreationDate="2019-05-26T12:39:01.920" Score="1" Body="&lt;p&gt;You can not give fewer parameters, and expect the same functionality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead make use of options &lt;code&gt;-filter_script&lt;/code&gt; and &lt;code&gt;-filter_complex_script&lt;/code&gt;.&#xA;And write all parameters in script file.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastEditorUserId="18155" LastEditDate="2019-07-03T19:12:57.427" LastActivityDate="2019-07-03T19:12:57.427" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27715" PostTypeId="2" ParentId="27712" CreationDate="2019-05-26T15:58:50.303" Score="2" Body="&lt;p&gt;The crop filter arguments specify a crop window of the given width and height whose top-left corner is at co-ordinates (x, y) measured from top-left corner of the input frame. The entire crop window must be contained within the frame. So, to start with, &lt;code&gt;w &amp;lt;= iw &amp;amp;&amp;amp; h &amp;lt;= ih&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, &lt;code&gt;x+w &amp;lt;= iw &amp;amp;&amp;amp; x &amp;gt;= 0&lt;/code&gt; and &lt;code&gt;y+h &amp;lt;= ih &amp;amp;&amp;amp; y &amp;gt;= 0&lt;/code&gt;. If this condition isn't meant, x or y will be adjusted to auto-center the crop window along that axis, e.g. for a 100x100 input, if w = 50 and x = 60, then x is adjusted to (100-50)/2 = 25.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-05-26T15:58:50.303" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27716" PostTypeId="2" ParentId="27709" CreationDate="2019-05-26T16:22:34.323" Score="4" Body="&lt;p&gt;The best thing you can do is get as much right on set as possible. Cover cast, crew, and equipment with black fabric, hide them behind black curtains,  Get your talent as far away from the green screen as far as you can while still maintaining its utility; choose your angles carefully, and keep the shots short, because whatever you do, you're going to have to fix something in post. In a perfect world, all that would be would be the key, but the world is never perfect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, you might consider removing the plastic visor and adding it back in post.   You'd need to capture clean plates and a mirror ball on set, so that you can re-cast the reflections on the visor (after photo shopping out cast and crew, etc) . Then you'd use object motion tracking and (if your camera moves) camera motion tracking to insert 3d geometry.where the visor should be. This approach removes some of the complexity of keying a spherical, reflective surface, but adds complexity with the motion tracking, which can really mess up your shot if the solve is even a fraction of a hair off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any case, don't underestimate the complexity of what you're trying to do. Hire a qualified person or persons to do the work if you have the budget. If you don't, make sure you test your workflow thouroughly before you commit.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2019-05-26T16:22:34.323" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27717" PostTypeId="1" CreationDate="2019-05-26T23:11:16.793" Score="0" ViewCount="794" Body="&lt;p&gt;I purchased recently a new BMPCC 4K and I'm facing a big problem with file sizes...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The files are tremendously huge, so I have to make a choice about the codec to choose.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm shooting basically nature documentary so I need to color-adjust my files in editing, but I do not do any green screen or heavy special effects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;BlackMagic provides several codecs and I do not want to compromise quality, but without going into crazy unnoticeable quality...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm thinking of choosing Blackmagic Raw 8:1. Does any one know the technical differences between those codecs (beside the file size which varies quite a lots) ? Blackmagic Raw 3:1, 5:1, 8:1, 12:1, ProRes 422HQ, ProRes 422, ProRes 422 LT, ProRes 422 Proxy &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="24447" LastEditorUserId="14523" LastEditDate="2019-05-27T18:32:49.627" LastActivityDate="2019-05-27T18:33:30.000" Title="Which Blackmagic codec to choose?" Tags="|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27718" PostTypeId="1" CreationDate="2019-05-27T00:02:49.727" Score="0" ViewCount="324" Body="&lt;p&gt;I've recorded a mp4 video with h265 encoding using my Android Pixel 3. After investigating the video, half of the video is blank. All other recordings are perfect. Is there any way to repair this video?&lt;/p&gt;&#xA;&lt;p&gt;Here is an example image:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KgoFj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KgoFj.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here is the &lt;code&gt;ffplay&lt;/code&gt; output of the video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;[hevc @ 0x7f951c10dfa0] Ignoring POC change between slices: 56 -&amp;gt; 58&#xA;[hevc @ 0x7f951c10dfa0] First slice in a frame missing.&#xA;[hevc @ 0x7f951c131320] Ignoring POC change between slices: 57 -&amp;gt; 59&#xA;[hevc @ 0x7f951c131320] First slice in a frame missing.&#xA;[hevc @ 0x7f951c05ee20] First slice in a frame missing.  0B f=0/0   &#xA;[hevc @ 0x7f951c11f900] Ignoring POC change between slices: 59 -&amp;gt; 1 &#xA;[hevc @ 0x7f951c11f900] First slice in a frame missing.&#xA;[hevc @ 0x7f951c03f140] Ignoring POC change between slices: 0 -&amp;gt; 2  &#xA;[hevc @ 0x7f951c03f140] First slice in a frame missing.&#xA;[hevc @ 0x7f951c10dfa0] Ignoring POC change between slices: 1 -&amp;gt; 3  &#xA;[hevc @ 0x7f951c10dfa0] First slice in a frame missing.&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here is some VLC debug output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;avcodec debug: enabling direct rendering&#xA;avcodec warning: cannot decode one frame (37827 bytes)&#xA;avcodec warning: plane 0 not aligned&#xA;avcodec warning: disabling direct rendering&#xA;avcodec warning: cannot decode one frame (35551 bytes)&#xA;avcodec warning: cannot decode one frame (38144 bytes)&#xA;avcodec debug: enabling direct rendering&#xA;avcodec warning: cannot decode one frame (35844 bytes)&#xA;avcodec warning: plane 0 not aligned&#xA;avcodec warning: disabling direct rendering&#xA;avcodec warning: cannot decode one frame (34724 bytes)&#xA;avcodec debug: enabling direct rendering&#xA;avcodec warning: cannot decode one frame (32349 bytes)&#xA;avcodec warning: plane 0 not aligned&#xA;avcodec warning: disabling direct rendering&#xA;avcodec warning: cannot decode one frame (34527 bytes)&#xA;avcodec warning: cannot decode one frame (33336 bytes)&#xA;avcodec debug: enabling direct rendering&#xA;avcodec warning: cannot decode one frame (33576 bytes)&#xA;avcodec warning: plane 0 not aligned&#xA;avcodec warning: disabling direct rendering&#xA;avcodec warning: cannot decode one frame (35214 bytes)&#xA;avcodec warning: cannot decode one frame (33355 bytes)&#xA;avcodec debug: enabling direct rendering&#xA;avcodec warning: cannot decode one frame (31715 bytes)&#xA;avcodec warning: cannot decode one frame (33360 bytes)&#xA;avcodec warning: cannot decode one frame (35697 bytes)&#xA;avcodec warning: plane 0 not aligned&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25313" LastEditorUserId="4426" LastEditDate="2022-02-11T14:21:42.937" LastActivityDate="2024-03-02T19:01:40.170" Title="Fix half blank video" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27719" PostTypeId="2" ParentId="27717" CreationDate="2019-05-27T08:45:35.440" Score="1" Body="&lt;p&gt;I would suggest using Braw Constant Quality Q5.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With 21-58MB/s it is on the lower end of data consumption while still giving you RAW capability.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BRAW gives you the RAW capabilities like Blackmagic Highlight recovery, changing the ISO, lossless color temperature changing. And 12bit colors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ProRes gives you higher compatibility (Braw is currently only supported by Resolve) and &quot;only&quot; has 10bit Color.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastEditorUserId="14523" LastEditDate="2019-05-27T18:33:30.000" LastActivityDate="2019-05-27T18:33:30.000" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27720" PostTypeId="1" AcceptedAnswerId="27721" CreationDate="2019-05-27T09:29:48.013" Score="0" ViewCount="213" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -i track1.wav -ss 00:00:38.160 -t 00:00:20.720 -vn -codec:a libmp3lame -ac 2 -b:a 256k -map a -af afade=t=in:ss=38:d=3,afade=t=out:st=55:d=3 output.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is how I am cutting the audio file.&#xA;My problem is, Fade in not working and fadeout working very well.&#xA;                   But if I cut audio from the beginning (0:0), Fade in and fade out working perfectly.&lt;/p&gt;&#xA;" OwnerUserId="25316" LastActivityDate="2019-05-27T09:51:32.123" Title="Trouble in Cut a portion of an audio file, and add fade in and fadeout Effect" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27721" PostTypeId="2" ParentId="27720" CreationDate="2019-05-27T09:51:32.123" Score="1" Body="&lt;p&gt;Your command is wrong, use this one: &lt;code&gt;ffmpeg -i track1.wav -ss 00:00:38.160 -t 00:00:20.720 -vn -codec:a libmp3lame -ac 2 -b:a 256k -map a -af afade=t=in:st=38:d=3,afade=t=out:st=55:d=3 output.mp3&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2019-05-27T09:51:32.123" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27722" PostTypeId="1" AcceptedAnswerId="27815" CreationDate="2019-05-27T10:08:50.830" Score="2" ViewCount="3483" Body="&lt;p&gt;I'm learning how to use &lt;code&gt;ffmpeg&lt;/code&gt; to stabilize some footage I shot at a conference (my setup had a nasty wobble and I didn't realise how bad it was until I started editing). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After trial and error I finally had great results with &lt;code&gt;ffmpeg&lt;/code&gt; with the  &lt;code&gt;vidstab&lt;/code&gt; option and I'm about to process some longer clips (over an hour each) and just want to check I'm using the optimal settings (for close to visually lossless quality and speed balance)... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below are the commands I'm using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i filename.MP4 -vf vidstabdetect=stepsize=32:shakiness=7:accuracy=10:result=transform_vectors.trf -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i filename.MP4 -vf vidstabtransform=input=transform_vectors.trf:zoom=0:smoothing=10,unsharp=5:5:0.8:3:3:0.4 -c:v libx264 -preset slow -crf 18 -c:a copy Output.MP4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Questions:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Does &lt;code&gt;-preset slow&lt;/code&gt; vs &lt;code&gt;-preset medium&lt;/code&gt; make much of a difference in quality at &lt;code&gt;-crf18&lt;/code&gt;?&lt;/li&gt;&#xA;&lt;li&gt;What is the fastest codec to output / encode to in this situation? At the moment I'm using h.264 (file sizes are good).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; ffmpeg with vidstab is much better than the other options I tried like Deshake, Pr/Ae Warp stabilizer, Blender, ...&lt;/p&gt;&#xA;" OwnerUserId="25318" LastEditorUserId="25318" LastEditDate="2019-05-27T12:13:56.833" LastActivityDate="2020-03-27T15:05:35.610" Title="Long video clip stabilization with ffmpeg and vidstab" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27723" PostTypeId="1" CreationDate="2019-05-27T11:38:17.137" Score="1" ViewCount="458" Body="&lt;p&gt;I'm looking for the simplest way to create a 1x3 landscape video wall. Where the animation plays at 5760×1080 across the three screens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The orientation is like this:&lt;a href=&quot;https://i.stack.imgur.com/5sBW2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5sBW2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;I've seen PiWall and that might do what I need (although seems to max out at 1920×1080 total resolution) but if there was some sort of HDMI splitter solution that works like this it would be great and could just run off a laptop. But I feel like a lot of them just clone screens as opposed to the video wall effect?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The screens are three consumer LG 55UK6470PLC TVs. I see there is an LG SuperSign software to do with WebOS for creating video walls but can't get hold of anyone in LG to confirm or deny that it would work with our screens. And I can't find it to download anywhere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any advice or help would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="25320" LastEditorUserId="674" LastEditDate="2019-06-27T16:14:09.047" LastActivityDate="2020-03-23T18:01:40.200" Title="Outputting 1x3 Video Wall at 5760x1080" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27724" PostTypeId="2" ParentId="27723" CreationDate="2019-05-27T12:28:49.803" Score="1" Body="&lt;p&gt;Depending on which kind of animation you want to run, the &quot;simplest&quot; solution would be to build a Linux or Windows PC with 3 graphics cards and hook these up though 3 HDMI cables and then anything that runs on that PC can be shown on the 5760x1080 video wall...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As the TVs are 4K-ready, the above solution would also work for a 11520×2160 video wall.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need something small (a laptop would be too small), you can go for the &lt;a href=&quot;https://en.wikipedia.org/wiki/MicroATX&quot; rel=&quot;nofollow noreferrer&quot;&gt;MicroATX&lt;/a&gt; form factor with 2 Graphics cards for 2 screens and the on-board Intel graphics for the 3rd, but depending on the kind of animation that &lt;em&gt;could&lt;/em&gt; limit you to maximum 5760x1080.&lt;/p&gt;&#xA;" OwnerUserId="24980" LastActivityDate="2019-05-27T12:28:49.803" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27725" PostTypeId="2" ParentId="27562" CreationDate="2019-05-27T12:31:30.807" Score="2" Body="&lt;p&gt;&quot;Main 10&quot; stands for 4:2:0 10-bit color, and I'm Pretty sure &quot;Ma10p&quot; is just another way of saying Main 10.&lt;/p&gt;&#xA;" OwnerUserId="25322" LastActivityDate="2019-05-27T12:31:30.807" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27726" PostTypeId="2" ParentId="27718" CreationDate="2019-05-27T14:57:58.730" Score="0" Body="&lt;p&gt;If the image you posted is the file that the camera generated: No, you cannot restore the missing data. It has not been recorded and so you'd have to generate some where none was. Not possible, at least not if you don't want to paint each frame by hand.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-05-27T14:57:58.730" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27727" PostTypeId="1" CreationDate="2019-05-27T15:56:34.357" Score="1" ViewCount="243" Body="&lt;p&gt;I here would be a good place to ask, I apologize if Im mistaken.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking for a video player that can add motion blur to videos or that can insert an average frame in between two frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason I think I need this is because some videos appear stuttery on a low response time monitor. If I connect an older monitor to the exact same setup, the problem goes away. I figured it would be a good way to test this theory.&lt;/p&gt;&#xA;" OwnerUserId="25323" LastActivityDate="2022-09-12T12:07:50.753" Title="Video player with motion blur or frame averaging" Tags="|filter|video-player|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27728" PostTypeId="1" CreationDate="2019-05-27T17:07:17.697" Score="1" ViewCount="100" Body="&lt;p&gt;How can I swap a motion graphic template (essential graphics) with another one within Adobe Premiere ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks !&lt;/p&gt;&#xA;" OwnerUserId="15961" LastActivityDate="2023-12-24T16:04:35.650" Title="How can I swap a Motion Graphic Template (mogrt) in Adobe Premiere?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27729" PostTypeId="1" CreationDate="2019-05-28T02:42:17.143" Score="0" ViewCount="1128" Body="&lt;p&gt;What I want to do is putting in high-pass filter effect on each image constituting a video by using Adobe Premiere Pro 13.1.2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere Pro has a high-pass filter for audios but it does not have a high-pass filter for videos as far as I can see.&#xA;Photoshop does.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also have AfterEffects; the way to use it is welcome as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="25325" LastEditorUserId="25325" LastEditDate="2019-05-31T06:59:09.263" LastActivityDate="2020-10-22T09:59:23.570" Title="Is there a high-pass filter for videos in Adobe Premiere Pro?" Tags="|premiere|adobe|filter|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27730" PostTypeId="2" ParentId="27702" CreationDate="2019-05-28T04:05:35.373" Score="3" Body="&lt;p&gt;Racingfail did a video on how they cut the best parts of racing from other contributers: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/cOu0Jq2eVXw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;br&gt;&#xA;The general idea is the same as you have, but instead of seeing it at 2x, they do it at 16x.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally I use Davinci Resolve to skip though the video, with skipping 1 second ahead (shift+right), I see the stuff at ~30x. But any NLE has that functionality so go ahead!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it's a recording you created, you might want to look at the waveform of the sound, if it's loud it's worth checking out (doesn't work if you have music going at the same time though)&lt;/p&gt;&#xA;" OwnerUserId="25326" LastActivityDate="2019-05-28T04:05:35.373" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27731" PostTypeId="1" AcceptedAnswerId="27733" CreationDate="2019-05-28T06:10:54.753" Score="0" ViewCount="1282" Body="&lt;p&gt;multiply should result in a darker image according to &lt;a href=&quot;https://www.cairographics.org/operators/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this website&lt;/a&gt;. However every &lt;code&gt;multiply&lt;/code&gt; options with input that I'm using resulted in darker &lt;strong&gt;green&lt;/strong&gt; videos instead of layering it with colour that I use for layering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many people refer that as format issue and resolved by using &lt;code&gt;format=rgba&lt;/code&gt; options, however in my case there I'm still stuck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFMPEG command :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i red.jpg -i car.mp4 -y -filter_complex [0][1]scale2ref[a][b];[a]setdar=1/1[c];[b]setdar=1/1[d];[c][d]blend=all_mode=multiply:all_opacity=1[out];[out]eq=contrast=2:brightness=0.5[ckv] -map [ckv] output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;with &lt;code&gt;format=rgba&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i red.jpg -i car.mp4 -y -filter_complex [0][1]scale2ref[a][b];[a]setdar=1/1[c];[b]setdar=1/1,format=rgba[d];[c][d]blend=all_mode=multiply:all_opacity=1[out];[out]eq=contrast=2:brightness=0.5[ckv] -map [ckv] output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;assets in case someone want to try it.&#xA;- &lt;a href=&quot;https://i.ibb.co/smSGGwW/red.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Images&lt;/a&gt;&#xA;- &lt;a href=&quot;https://www.pexels.com/video/car-driving-along-the-dessert-highway-1572342/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Videos&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFMPEG version 4.1&lt;/p&gt;&#xA;" OwnerUserId="25202" LastActivityDate="2019-05-28T09:37:46.660" Title="ffmpeg - get green overlay instead of red when using multiply?" Tags="|ffmpeg|filter|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27732" PostTypeId="1" CreationDate="2019-05-28T09:33:19.810" Score="1" ViewCount="15" Body="&lt;p&gt;From what understand, a temporal auto Bezier keyframe automatically re-adjusts both of its direction handles whenever a neighboring keyframe is moved somehow and the influences of both of its incoming and outgoing velocities are always the same. Whereas a temporal continuous Bezier keyframe does not re-adjusts at all, and the influences are different. So those are the differences on how they work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But what are the real benefits of auto Bezier keyframes over continuous Bezier keyframes? Most of the time, as far as I know, most people use Easy Ease (In/Out) keyframe assistants anyway, and end up manually adjusting the curves, which results only in continuous Bezier keyframes. What's the point of auto Bezier keyframes?&lt;/p&gt;&#xA;" OwnerUserId="24856" LastActivityDate="2019-05-28T09:33:19.810" Title="What's beneficial about temporal auto Bezier keyframes over continuous Bezier keyframes?" Tags="|premiere|after-effects|animation|motion|keyframes|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27733" PostTypeId="2" ParentId="27731" CreationDate="2019-05-28T09:37:46.660" Score="1" Body="&lt;p&gt;Your command is wrong, if you enable debug log messages, you would notice that yuv formats are still being used.&#xA;You need to put &lt;code&gt;format=rgba&lt;/code&gt; filter to all inputs and outputs of blend filter to make it work as you want.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2019-05-28T09:37:46.660" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="27734" PostTypeId="1" CreationDate="2019-05-28T12:03:42.117" Score="0" ViewCount="695" Body="&lt;p&gt;I have a MP4 File which has not been finalized at the end so there is no header. The file contains 3 streams: 2 video streams and 1 audio stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried several tools to repair the header but the best I get is a video where the 2 video streams alternate after about 2 seconds (2 seconds first video, then 2 seconds second video, 2 seconds first video and so on). I also have a working reference file but the header is still not correctly repaired with those tools.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the tools I tested:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Some freeware like Yodot MOV Repair &lt;/li&gt;&#xA;&lt;li&gt;Yamb (file could not be loaded)&lt;/li&gt;&#xA;&lt;li&gt;recover_mp4 / recover_mp4_to_h264 (the two video streams will be&#xA;extracted as one video stream)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I don't think it was from a GoPro. It was from a Race Keeper System with one front facing camera and a second one filming the people in the car seats. So there are 2 different streams with HD quality. I don't even need both streams, one of them would be enough if that helps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe it is still possible with one of that tools but I could not figure it out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would really appreciate some help.&lt;/p&gt;&#xA;" OwnerUserId="25329" LastEditorUserId="25329" LastEditDate="2019-05-29T06:17:13.583" LastActivityDate="2019-05-29T06:17:13.583" Title="Repair MP4 Video with broken header (but with 2 video and 1 audio stream)" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27735" PostTypeId="2" ParentId="27734" CreationDate="2019-05-28T14:52:18.137" Score="1" Body="&lt;p&gt;Have you recorded the video with a GoPro camera?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If yes, then the two video streams may be a low-res preview video followed by the regular video stream. To repair such file, you would have to filter out the low-res stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far as I know, the new version of the recover_mp4 has an algorithm of filtering out low-res streams of the GoPro cameras. The tool is now called Restore.Media. You can try repairing your MP4 with this tool and watch a full-time preview for free just to see if it works. Also, here is &lt;a href=&quot;https://restore.media/blog/how-to-repair-corrupted-gopro-video-files&quot; rel=&quot;nofollow noreferrer&quot;&gt;their article&lt;/a&gt; about repairing GoPro video files.   &lt;/p&gt;&#xA;" OwnerUserId="25330" LastActivityDate="2019-05-28T14:52:18.137" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27736" PostTypeId="1" CreationDate="2019-05-28T16:23:36.630" Score="1" ViewCount="1368" Body="&lt;p&gt;I'm trying to generate a GIF thumbnail out of a video, similar to what youtube thumbnail works when we hover the mouse on a thumbnail as a video preview.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any ways to do it with FFmpeg? Say I want to generate a 2-3 second GIF out of a video. How can I do that? Based on what I see from youtube, apparently it takes one frame out of multiple consecutive frames, not all of them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not really concerned if that GIF is a good representative of the video as that is more semantic problem to investigate.&lt;/p&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2019-05-28T20:32:03.807" Title="GIF video thumbnail with FFmpeg" Tags="|video|ffmpeg|video-editor|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27737" PostTypeId="2" ParentId="27736" CreationDate="2019-05-28T20:32:03.807" Score="1" Body="&lt;p&gt;There is thumbnail filter just for that, and palettegen/paletteuse to create high quality gif.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example command: &lt;code&gt;&quot;scale=vga,thumbnail=100,split[a][b],[b]palettegen=reserve_transparent=0:stats_mode=single[b];[a][b]paletteuse=new=1,settb=1/25,setpts=N&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thumbnail filter selects one frame from set of 100 frames. To get gif of 3 secs, you will need to adjust this number to smaller or bigger value depending on source file number of frames.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2019-05-28T20:32:03.807" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="27738" PostTypeId="1" CreationDate="2019-05-28T22:45:53.743" Score="5" ViewCount="630" Body="&lt;p&gt;I am trying to combine an audio (.wav) file and picture file (.png) into a video file. The video's length should be the same length as the input audio. Also, the output video should be youtube-friendly (be able to upload to YouTube).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried a couple commands, but the duration of the video file produced is always way too long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The audio file has a length &lt;code&gt;00:00:10.71&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Command 1&lt;/h2&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -framerate 1 -i 000.png -i 000.wav -c:a aac -c:v libx264 -preset slow -crf 0  -shortest out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -loop 1 -framerate 1 -i 000.png -i 000.wav -c:a aac -c:v libx264 -preset slow -crf 0  -shortest out.mp4&#xA;ffmpeg version n4.1.2 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8.2.1 (GCC) 20181127&#xA;  configuration: --prefix=/usr --disable-debug --disable-static --disable-stripping --enable-fontconfig --enable-gmp --enable-gnutls --enable-gpl --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libdrm --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libiec61883 --enable-libjack --enable-libmodplug --enable-libmp3lame --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libv4l2 --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxcb --enable-libxml2 --enable-libxvid --enable-nvdec --enable-nvenc --enable-omx --enable-shared --enable-version3&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;[png_pipe @ 0x561e7bc1e600] Stream #0: not enough frames to estimate rate; consider increasing probesize&#xA;Input #0, png_pipe, from '000.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #0:0: Video: png, rgba(pc), 1920x1080 [SAR 3937:3937 DAR 16:9], 1 tbr, 1 tbn, 1 tbc&#xA;Guessed Channel Layout for Input Stream #1.0 : mono&#xA;Input #1, wav, from '000.wav':&#xA;  Duration: 00:00:10.71, bitrate: 256 kb/s&#xA;    Stream #1:0: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 16000 Hz, mono, s16, 256 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (png (native) -&amp;gt; h264 (libx264))&#xA;  Stream #1:0 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[libx264 @ 0x561e7bc6dbc0] using SAR=1/1&#xA;[libx264 @ 0x561e7bc6dbc0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x561e7bc6dbc0] profile High 4:4:4 Predictive, level 5.0, 4:4:4, 8-bit&#xA;[libx264 @ 0x561e7bc6dbc0] 264 - core 157 r2945 72db437 - H.264/MPEG-4 AVC codec - Copyleft 2003-2018 - http://www.videolan.org/x264.html - options: cabac=1 ref=5 deblock=1:0:0 analyse=0x1:0x111 me=hex subme=8 psy=0 mixed_ref=1 me_range=16 chroma_me=1 trellis=0 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=0 chroma_qp_offset=0 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=0 weightp=2 keyint=250 keyint_min=1 scenecut=40 intra_refresh=0 rc=cqp mbtree=0 qp=0&#xA;Output #0, mp4, to 'out.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf58.20.100&#xA;    Stream #0:0: Video: h264 (libx264) (avc1 / 0x31637661), yuv444p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], q=-1--1, 1 fps, 16384 tbn, 1 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.35.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1: Audio: aac (LC) (mp4a / 0x6134706D), 16000 Hz, mono, fltp, 69 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc58.35.100 aac&#xA;frame=   25 fps=0.0 q=-1.0 Lsize=     168kB time=00:00:24.00 bitrate=  57.3kbits/s speed=28.9x    &#xA;video:63kB audio:103kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.409398%&#xA;[libx264 @ 0x561e7bc6dbc0] frame I:1     Avg QP: 0.00  size: 61676&#xA;[libx264 @ 0x561e7bc6dbc0] frame P:24    Avg QP: 0.00  size:    76&#xA;[libx264 @ 0x561e7bc6dbc0] mb I  I16..4: 88.8%  0.0% 11.2%&#xA;[libx264 @ 0x561e7bc6dbc0] mb P  I16..4:  0.0%  0.0%  0.0%  P16..4:  0.0%  0.0%  0.0%  0.0%  0.0%    skip:100.0%&#xA;[libx264 @ 0x561e7bc6dbc0] coded y,u,v intra: 8.5% 7.6% 7.5% inter: 0.0% 0.0% 0.0%&#xA;[libx264 @ 0x561e7bc6dbc0] i16 v,h,dc,p: 97%  1%  2%  0%&#xA;[libx264 @ 0x561e7bc6dbc0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 55% 26% 11%  3%  2%  1%  1%  0%  1%&#xA;[libx264 @ 0x561e7bc6dbc0] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0x561e7bc6dbc0] kb/s:20.32&#xA;[aac @ 0x561e7bc6fe80] Qavg: 10368.243&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The video ends up with a length of &lt;code&gt;00:00:25.00&lt;/code&gt;. &lt;a href=&quot;https://hastebin.com/juniyofiwe.bash&quot; rel=&quot;noreferrer&quot;&gt;full ffprobe output&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Command 2&lt;/h2&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i 000.png -i 000.wav -c:v libx264 -c:a aac -strict experimental -b:a 192k -shortest out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -loop 1 -i 000.png -i 000.wav -c:v libx264 -c:a aac -strict experimental -b:a 192k -shortest out.mp4&#xA;ffmpeg version n4.1.2 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8.2.1 (GCC) 20181127&#xA;  configuration: --prefix=/usr --disable-debug --disable-static --disable-stripping --enable-fontconfig --enable-gmp --enable-gnutls --enable-gpl --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libdrm --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libiec61883 --enable-libjack --enable-libmodplug --enable-libmp3lame --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libv4l2 --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxcb --enable-libxml2 --enable-libxvid --enable-nvdec --enable-nvenc --enable-omx --enable-shared --enable-version3&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;[png_pipe @ 0x559a83ee3640] Stream #0: not enough frames to estimate rate; consider increasing probesize&#xA;Input #0, png_pipe, from '000.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #0:0: Video: png, rgba(pc), 1920x1080 [SAR 3937:3937 DAR 16:9], 25 tbr, 25 tbn, 25 tbc&#xA;Guessed Channel Layout for Input Stream #1.0 : mono&#xA;Input #1, wav, from '000.wav':&#xA;  Duration: 00:00:10.71, bitrate: 256 kb/s&#xA;    Stream #1:0: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 16000 Hz, mono, s16, 256 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (png (native) -&amp;gt; h264 (libx264))&#xA;  Stream #1:0 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[libx264 @ 0x559a83f32480] using SAR=1/1&#xA;[libx264 @ 0x559a83f32480] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x559a83f32480] profile High 4:4:4 Predictive, level 4.0, 4:4:4, 8-bit&#xA;[libx264 @ 0x559a83f32480] 264 - core 157 r2945 72db437 - H.264/MPEG-4 AVC codec - Copyleft 2003-2018 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x1:0x111 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=4 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;[aac @ 0x559a83f33a40] Too many bits 12288.000000 &amp;gt; 6144 per frame requested, clamping to max&#xA;Output #0, mp4, to 'out.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf58.20.100&#xA;    Stream #0:0: Video: h264 (libx264) (avc1 / 0x31637661), yuv444p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], q=-1--1, 25 fps, 12800 tbn, 25 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.35.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1: Audio: aac (LC) (mp4a / 0x6134706D), 16000 Hz, mono, fltp, 96 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc58.35.100 aac&#xA;frame=  324 fps= 46 q=-1.0 Lsize=     230kB time=00:00:12.84 bitrate= 146.9kbits/s speed=1.83x    &#xA;video:118kB audio:103kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 3.943480%&#xA;[libx264 @ 0x559a83f32480] frame I:2     Avg QP: 9.45  size: 45012&#xA;[libx264 @ 0x559a83f32480] frame P:82    Avg QP:10.08  size:   120&#xA;[libx264 @ 0x559a83f32480] frame B:240   Avg QP:12.67  size:    85&#xA;[libx264 @ 0x559a83f32480] consecutive B-frames:  1.2%  0.0%  0.0% 98.8%&#xA;[libx264 @ 0x559a83f32480] mb I  I16..4: 87.4%  0.0% 12.6%&#xA;[libx264 @ 0x559a83f32480] mb P  I16..4:  0.0%  0.0%  0.0%  P16..4:  0.1%  0.0%  0.0%  0.0%  0.0%    skip:99.9%&#xA;[libx264 @ 0x559a83f32480] mb B  I16..4:  0.0%  0.0%  0.0%  B16..8:  0.2%  0.0%  0.0%  direct: 0.0%  skip:99.8%  L0:61.0% L1:39.0% BI: 0.0%&#xA;[libx264 @ 0x559a83f32480] coded y,u,v intra: 8.4% 0.1% 0.1% inter: 0.0% 0.0% 0.0%&#xA;[libx264 @ 0x559a83f32480] i16 v,h,dc,p: 95%  3%  2%  0%&#xA;[libx264 @ 0x559a83f32480] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 43% 16% 18%  4%  4%  5%  4%  3%  3%&#xA;[libx264 @ 0x559a83f32480] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0x559a83f32480] ref P L0: 95.9%  2.4%  1.4%  0.4%&#xA;[libx264 @ 0x559a83f32480] ref B L0: 28.9% 71.1%&#xA;[libx264 @ 0x559a83f32480] kb/s:74.29&#xA;[aac @ 0x559a83f33a40] Qavg: 60199.988&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The video ends up with length &lt;code&gt;00:00:12.96&lt;/code&gt;, still more than the target &lt;code&gt;00:00:10.71&lt;/code&gt;. Also, processing takes longer. &lt;a href=&quot;https://hastebin.com/lavegavoye.bash&quot; rel=&quot;noreferrer&quot;&gt;full ffprobe output&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Command 3&lt;/h2&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -framerate 1 -i 000.png -i 000.wav -c:a aac -c:v libx264 -preset fast -crf 0 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The duration is fine for this one: &lt;code&gt;00:00:10.77&lt;/code&gt;. This one is a lot faster than the others to process. The output video isn't youtube-friendly though, likely because it only has 1 frame. &lt;a href=&quot;https://hastebin.com/lazacewefo.bash&quot; rel=&quot;noreferrer&quot;&gt;Full ffprobe output&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is this happening and how do I get the video to match the length of the input audio?&lt;/p&gt;&#xA;" OwnerUserId="25336" LastActivityDate="2019-06-08T04:37:33.770" Title="Adding audio to picture: video too long even when using -shortest" Tags="|video|ffmpeg|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27739" PostTypeId="2" ParentId="27656" CreationDate="2019-05-28T23:56:09.817" Score="2" Body="&lt;h1&gt;How did they decide that?&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;To answer literally, I am the original author of that article and added the claim years ago that CRF ~18 is visually lossless (but not technically lossless like CRF 0). I got that information directly from the main x264 developer (Glaser aka Dark_Shikari) in the &lt;em&gt;#x264dev&lt;/em&gt; IRC room, and it looked lossless to me.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Re-encoding: 0 vs 18&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;If you need an intermediate and/or temporary file for re-encoding, use &lt;code&gt;-crf 0&lt;/code&gt; or some other lossless compressed format, such as UT video or FFv1, that works within your workflow. Might as well avoid any unnecessary compression artifacts and provide the best quality you can to your clients.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-05-28T23:56:09.817" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27740" PostTypeId="2" ParentId="27738" CreationDate="2019-05-29T06:38:00.707" Score="5" Body="&lt;p&gt;The most reliable way to ensure a desired length for an output is to specify &lt;code&gt;-t X&lt;/code&gt; on the output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you need adaptive limiting of the output duration, use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -loop 1 -framerate 5 -i 000.png -i 000.wav -c:v libx264 -c:a aac -b:a 192k -shortest -fflags +shortest -max_interleave_delta 500M out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;fflag&lt;/code&gt; is applied deeper in the processing pipeline and should be used in conjunction with the &lt;code&gt;-shortest&lt;/code&gt; switch. The &lt;code&gt;max_interleave_delta&lt;/code&gt; with a high value is set to avoid writing packets already queued for output.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="18155" LastEditDate="2019-06-08T04:37:33.770" LastActivityDate="2019-06-08T04:37:33.770" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27741" PostTypeId="2" ParentId="27727" CreationDate="2019-05-29T07:43:56.363" Score="-2" Body="&lt;p&gt;You're looking for after effects.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-05-29T07:43:56.363" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27742" PostTypeId="2" ParentId="27729" CreationDate="2019-05-29T07:48:33.747" Score="0" Body="&lt;p&gt;What do you consider a high-pass filter for videos if I may ask?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When talking about audio, the high pass filter operates similar to a low-cut, in that it cuts away the lowest frequencies of the audio spectrum and lets the high frequencies pass.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are you looking for curves? You can adjust the shadows and the highlights of an image (which wouldn't be called high-pass or something similar tho). You can do that using lumetri color. However, comparing to a high-pass, low-cut, low-pass or high-cut, the curves don't actually cut away the brightest or darkest areas, that way you would blow out the highs and crush the blacks, which would result in a fault, not really a stylistic choice but rather actually breaking the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you tell us what you want to achieve with this filter we might be able to tell you the correct name and where to find it.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-05-29T07:48:33.747" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27744" PostTypeId="1" AcceptedAnswerId="27747" CreationDate="2019-05-29T12:11:36.353" Score="3" ViewCount="1741" Body="&lt;p&gt;I have a lots of searching but i coudn't find the FFMPEG command for Monochrome effect and Haze Effect on video.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Orignal&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/MoQKq.png&quot; alt=&quot;orignal&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Haze Effect&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/yDC8c.png&quot; alt=&quot;Haze&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Monochrome Effect&lt;/strong&gt;  (This is not sepia effect)&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/c3i4F.png&quot; alt=&quot;Monochrome&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;Your help would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="25116" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2021-03-12T15:14:36.917" Title="How to Monochrome, Haze video Effect in FFmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27745" PostTypeId="1" CreationDate="2019-05-29T14:50:43.373" Score="0" ViewCount="65" Body="&lt;p&gt;I'm not a pro when it comes to Premiere Pro and just wanted to cut a training video for my job (without bigger animations or something like this).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The finished video is displayed correctly in the preview. But as soon as I export it, or create a new partial sequence from the whole video, the following happens: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The individual clips move in their cutting, or in other words — at some points a few frames are removed at the front, and at the back a few additional frames are shown (the length etc. remains the same). This of course shifts the whole sound and I can see frames in the video that should not be visible. &lt;/p&gt;&#xA;" OwnerUserId="25340" LastEditorUserId="674" LastEditDate="2019-07-03T19:14:20.107" LastActivityDate="2024-03-09T05:06:30.710" Title="Premiere Pro issue with preview?" Tags="|premiere|adobe|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27747" PostTypeId="2" ParentId="27744" CreationDate="2019-05-29T19:05:52.620" Score="4" Body="&lt;h1&gt;Monochrome&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/6q4gV.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6q4gV.jpg&quot; alt=&quot;monochrome&quot;&gt;&lt;/a&gt; &lt;img src=&quot;https://i.stack.imgur.com/MoQKq.png&quot; alt=&quot;original&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One method is to use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#hue&quot; rel=&quot;nofollow noreferrer&quot;&gt;hue&lt;/a&gt; filter to desaturate.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf hue=s=0 -c:a copy output&#xA;ffplay -vf hue=s=0 input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h1&gt;De-haze (increase contrast)&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RzX5M.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RzX5M.jpg&quot; alt=&quot;increase contrast&quot;&gt;&lt;/a&gt; &lt;img src=&quot;https://i.stack.imgur.com/MoQKq.png&quot; alt=&quot;original&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#curves&quot; rel=&quot;nofollow noreferrer&quot;&gt;curves&lt;/a&gt; filter has several presets including a few that increase contrast. You can also make your own curves in Photoshop, export the ACV file and use it via the &lt;code&gt;psfile&lt;/code&gt; option in the curves filter.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf curves=preset=increase_contrast -c:a copy output&#xA;ffplay -vf curves=preset=increase_contrast input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-05-29T19:05:52.620" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27748" PostTypeId="1" AcceptedAnswerId="27780" CreationDate="2019-05-29T19:36:19.453" Score="1" ViewCount="93" Body="&lt;p&gt;I've noticed quite a loud static noise on the line in of my camera when recording with EOS Utility. I've tried using different cabled for everything, and it works fine when the computer is not plugged in, or when it is, internal audio works fine. This one really has baffled me, and no matter what I do, it seems to persist. Thanks in advance for any help anyone can offer. &lt;/p&gt;&#xA;" OwnerUserId="25342" LastActivityDate="2019-06-05T02:07:35.317" Title="Static on Mic line in when using EOS Utility on 600d" Tags="|audio|canon|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27749" PostTypeId="1" CreationDate="2019-05-30T02:22:03.290" Score="0" ViewCount="46" Body="&lt;p&gt;I am trying to accomplish this:&#xA;I have a transparent image, a wheel that can be rotated and moved in DaVinci Resolve (that's what I am using but I guess a solution to this could apply in any editor).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HkwNc.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HkwNc.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want this wheel to come from off the screen in motion, and stop at the end of the screen without any jerky movement.... but it should decelerate as it goes along. Smoothly. How should I accomplish this? I've given multiple tries to this and failed. There's always some jerky movement. I think it is a matter of getting things mathematically right lol. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Following are the transform controls we can see in Resolve, for reference (these are not values I've set for this wheel, just to show you the two controls I was trying to modify. Position and rotation angle. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AI5iI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AI5iI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12032" LastEditorUserId="12032" LastEditDate="2019-05-30T02:38:44.233" LastActivityDate="2024-03-14T08:02:55.413" Title="Smoothly keyframing a wheel to decelerate from point A to B" Tags="|video-editor|davinci-resolve|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27750" PostTypeId="1" CreationDate="2019-05-30T02:48:08.510" Score="2" ViewCount="315" Body="&lt;p&gt;I have a 360 video, and when I view it with a video player, I find the field of view too narrow. I would like to widen the field of view so that the video is a little more &quot;zoomed out&quot;. I've spent a good chunk of time on this, but haven't been able to figure out a way to achieve this in Premiere Pro.&lt;/p&gt;&#xA;" OwnerUserId="25346" LastActivityDate="2020-02-14T10:58:43.970" Title="Changing field of view for a 360 VR video in Premiere - adjusting default zoom level" Tags="|premiere|360video|zoom|vr|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27751" PostTypeId="2" ParentId="17395" CreationDate="2019-05-31T18:47:13.403" Score="0" Body="&lt;p&gt;There &lt;strong&gt;&lt;em&gt;is&lt;/em&gt;&lt;/strong&gt; a way to draw in iMovie all you need is a video of a line drawing and then iMovie will do the rest! &lt;a href=&quot;https://i.stack.imgur.com/vjo2Y.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vjo2Y.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See if you put it on green/blue screen you can make the video transparent!&#xA;And it will still be a movie, I made my own movie on keynote! It is better if the movie has a different color background then the drawing because iMovie will just erase everything!&lt;/p&gt;&#xA;" OwnerUserId="25355" LastActivityDate="2019-05-31T18:47:13.403" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27752" PostTypeId="1" CreationDate="2019-05-31T19:10:28.190" Score="0" ViewCount="232" Body="&lt;p&gt;I'm looking to understand how this person did their lighting setups, what kind of filters they used, and angle of view (35mm equivalent focal length).&lt;/p&gt;&#xA;&lt;p&gt;From what I can see, there is a ring light and two flolights. Are those the only 3 lights?&lt;/p&gt;&#xA;&lt;p&gt;What kind of filter did they use to achieve the ultra soft skin tones?&lt;/p&gt;&#xA;&lt;p&gt;What kind of focal length (35mm equivalent) are they using for his field of view?&#xA;&lt;img src=&quot;https://i.stack.imgur.com/qz2z6.jpg&quot; alt=&quot;girl&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;In the meantime, I found more pictures of the panels in question. Can anyone identify make and model?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/G2if0m.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/G2if0m.jpg&quot; alt=&quot;Lights1&quot; /&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/MKo9B.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MKo9Bm.jpg&quot; alt=&quot;Lights2&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25356" LastEditorUserId="12233" LastEditDate="2020-11-01T16:47:43.067" LastActivityDate="2023-03-21T23:07:25.870" Title="What kind of lighting setup is this?" Tags="|video|lighting|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27753" PostTypeId="1" AcceptedAnswerId="27755" CreationDate="2019-05-31T22:38:41.403" Score="2" ViewCount="1274" Body="&lt;p&gt;&lt;br&gt;&#xA;I want to overlay an image on top of a video and have reached these two links:&#xA;&lt;br&gt;&#xA;&lt;a href=&quot;https://stackoverflow.com/questions/40480153/how-to-overlay-place-an-image-on-a-video-in-ffmpeg&quot;&gt;How to overlay/place an image on a video in ffmpeg [duplicate]&lt;/a&gt;&#xA;&lt;br&gt;&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/12105/add-an-image-overlay-in-front-of-video-using-ffmpeg&quot;&gt;Add an image overlay in front of video using ffmpeg&lt;/a&gt;&#xA;&lt;br&gt;&#xA;And this is my command:&#xA;&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i flower.mp4 -i rose.png \&#xA;-filter_complex &quot;[0:v][1:v] overlay=W-w/2:H-h/2&quot; \&#xA;-pix_fmt yuv420p -c:a copy flowers.mp4 -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But I have not reached the thing I want yet.&#xA;&lt;br&gt;&#xA;I want the image be placed in top right with 10 percent space from right and 3 percent from top, or 10px from right and 5px from top right.&#xA;&lt;br&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/mtDes.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mtDes.png&quot; alt=&quot;https://i.imgur.com/ZRbMFHx.png&quot;&gt;&lt;/a&gt;&#xA;&lt;br&gt;&#xA;How to reach this to work with my desired percent?&#xA;&lt;br&gt;&#xA;There are some other videos with different scales, so I cannot use fix x and y for all of them.&#xA;&lt;br&gt;&#xA;Thanks in advance&lt;/p&gt;&#xA;" OwnerUserId="25358" LastActivityDate="2019-06-01T05:00:02.150" Title="How to overlay an image over video in percent" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27754" PostTypeId="1" CreationDate="2019-06-01T00:55:09.207" Score="0" ViewCount="47" Body="&lt;p&gt;I'm trying to use &lt;code&gt;ffmpeg&lt;/code&gt; to create a video clip out of multiple videos, photos, and background music. Basically all the features that tools like &lt;code&gt;Windows Movie Maker&lt;/code&gt; support. I would like to do things like:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;merge the videos with arbitrary start/ends,&lt;/li&gt;&#xA;&lt;li&gt;add transition effects between them, &lt;/li&gt;&#xA;&lt;li&gt;add background music, &lt;/li&gt;&#xA;&lt;li&gt;fade-in/fade-out/mute/stop music at certain time periods, &lt;/li&gt;&#xA;&lt;li&gt;and more...&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Can I do these with &lt;code&gt;ffmpeg&lt;/code&gt;? Or is there any APIs in either &lt;code&gt;Python&lt;/code&gt; or &lt;code&gt;Java&lt;/code&gt; that I can easily use to do that?&lt;/p&gt;&#xA;" OwnerUserId="43073" LastEditorUserId="43073" LastEditDate="2019-06-03T15:23:54.353" LastActivityDate="2019-06-03T15:23:54.353" Title="Video clip making features with FFmpeg" Tags="|video|ffmpeg|video-editor|audio|windows-movie-maker|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27755" PostTypeId="2" ParentId="27753" CreationDate="2019-06-01T05:00:02.150" Score="5" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;for 10% space from right, and 3% from top,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;[0:v][1:v] overlay=x='0.90*W-w':y='0.03*H'&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;for 10 px from right, and 5 px from top,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;[0:v][1:v] overlay=x='W-10-w':y='5'&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-06-01T05:00:02.150" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27756" PostTypeId="2" ParentId="27745" CreationDate="2019-06-01T07:50:35.910" Score="-1" Body="&lt;p&gt;Change your export setting&#xA;and use the &quot;frame sampling&quot; option.&lt;/p&gt;&#xA;" OwnerUserId="25250" LastActivityDate="2019-06-01T07:50:35.910" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27757" PostTypeId="2" ParentId="27519" CreationDate="2019-06-01T07:54:20.973" Score="0" Body="&lt;p&gt;change font &amp;amp; colour in one text and copy the select both effects from effects panel&#xA;and select all layers with your text and paste it.&lt;/p&gt;&#xA;" OwnerUserId="25250" LastActivityDate="2019-06-01T07:54:20.973" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27758" PostTypeId="2" ParentId="27608" CreationDate="2019-06-01T08:09:38.403" Score="0" Body="&lt;p&gt;the same problem encountered here with a different sony handy cam. &#xA;I don't know how to solve the issue but I have a way to get around it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;import both AVCHD file &amp;amp; MP4 file in Premiere Pro and open both in a sequence.&#xA;now use video of AVCHD file &amp;amp; Audio from MP4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;\\ I don't want to use video from .mp4 file because its resolution is lower than the AVCHD.&lt;/p&gt;&#xA;" OwnerUserId="25250" LastActivityDate="2019-06-01T08:09:38.403" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27759" PostTypeId="2" ParentId="27541" CreationDate="2019-06-01T08:25:06.803" Score="0" Body="&lt;p&gt;create new sequence and treat the &quot;old sequence&quot;  as a normal cips &amp;amp; how you import it from projects bin.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;\\ Just like you set In/out points for a normal clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or watch &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/3dPEJMe0v78?start=141&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="25250" LastActivityDate="2019-06-01T08:25:06.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27760" PostTypeId="1" CreationDate="2019-06-01T13:16:56.980" Score="2" ViewCount="1703" Body="&lt;p&gt;First I tested Jahzzar_-&lt;em&gt;02&lt;/em&gt;-_FM.mp3:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe Jahzzar_-_02_-_FM.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and I found out that it was encoded with 224 kbps:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Duration: 00:02:15.11, start: 0.025056, bitrate: 224 kb/s &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I encoded Jahzzar_-&lt;em&gt;02&lt;/em&gt;-_FM.mp3 with 128 kbps:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i Jahzzar_-_02_-_FM.mp3 -b:a 128k output128.aac&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then I tested again:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe output128.aac&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I get the following statement:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Duration: 00:02:36.34, bitrate: 113 kb/s&#xA;Stream #0:0: Audio: aac (LC), 44100 Hz, stereo, fltp, 113 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Why is the duration changed? &lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;What is the difference between the first bitrate (from Duration: ) and the second one (from Stream: )? For some tracks they are different, here for instance:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Duration: 00:02:15.11, start: 0.025056, bitrate: 138 kb/s&#xA;Stream #0:0: Audio: mp3, 44100 Hz, stereo, fltp, 128 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Why is it encoded with 113 kbps (I used b:a 128k)?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="25362" LastEditorUserId="18155" LastEditDate="2019-06-12T15:02:03.303" LastActivityDate="2019-06-12T15:02:03.303" Title="Why is ffprobe showing another bitrate than the one I encoded with?" Tags="|ffmpeg|bitrate|ffprobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27761" PostTypeId="2" ParentId="27760" CreationDate="2019-06-01T15:00:33.083" Score="4" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;em&gt;Why is the duration changed?&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;MP3s may not display accurate duration, depending on whether a Xing header was written, and whether the MP3 encoding is Variable Bit Rate (VBR) or a Constant Bit Rate (CBR).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;em&gt;What is the difference between the first bitrate (from Duration: ) and the second one (from Stream: )?&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;The first one is the division of the total file size (including metadata) by the probed media duration. The second is the division of the media data size by the probed media duration.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;em&gt;Why is it encoded with 113 kbps (I used b:a 128k)?&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;The native AAC encoder does not have a CBR mode. It will treat the target bitrate as an average target. This is fine and more efficient than forcing a CBR mode encode.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;If you insist on CBR, then get or &lt;a href=&quot;https://github.com/jb-alvarado/media-autobuild_suite&quot; rel=&quot;nofollow noreferrer&quot;&gt;compile&lt;/a&gt; an ffmpeg build with the fdk-aac encoder, which does do CBR encoding.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-06-02T13:25:16.493" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27762" PostTypeId="1" CreationDate="2019-06-02T10:46:03.500" Score="0" ViewCount="130" Body="&lt;p&gt;I am thinking about an external mic or audio recorder. I watched tons of Youtube reviews but still have no clue which to buy. I was primarily thinking about the MOVO VXR 10 but some say that preamps on my G85 are too sensitive for this microphone. On the other hand, I was considering an all in one solution as ZOOM H1n.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could you please help me to choose and give reasons for your choice? Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="25371" LastActivityDate="2019-06-02T10:46:03.500" Title="Which microphone should I buy for filmmaking: RODE Videomicro, MOVO VXR 10 or ZOOM H1n?" Tags="|microphone|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27763" PostTypeId="1" CreationDate="2019-06-02T12:38:42.090" Score="0" ViewCount="435" Body="&lt;p&gt;I received a script that cuts video into sub-clips with a specific durationand  then &lt;code&gt;concat&lt;/code&gt;s them again but for some reason the script &lt;code&gt;concat&lt;/code&gt;s the files in reverse order:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;SUBCLIPS=4 &#xA;OUTPUTLENGTH=10&#xA;&#xA;cliplength=$(echo &quot;$OUTPUTLENGTH/$SUBCLIPS&quot;| bc -l)&#xA;&#xA;if [ -e &quot;$1&quot; ]; then&#xA;    videofile=&quot;$1&quot;&#xA;else&#xA;    echo &quot;file not found: $1&quot;&#xA;    exit 1&#xA;fi&#xA;if [ &quot;$2&quot; ]; then&#xA;    OUTPUTFILE=&quot;$2&quot;&#xA;else&#xA;    echo &quot;No name given&quot;&#xA;    exit 1&#xA;fi&#xA;&#xA;ffmpeg_preamble=&quot;ffmpeg -hide_banner -i '$videofile' -s 320x240 -filter_complex \&quot;&quot;&#xA;&#xA;duration=$(ffprobe -v error -show_entries format=duration -of         default=noprint_wrappers=1:nokey=1 &quot;$videofile&quot;)&#xA;&#xA;cutfilters=&quot;&quot;&#xA;concatfilter=&quot;&quot;&#xA;&#xA;for cutno in $( seq 1 $SUBCLIPS ); do&#xA;  cut=$(echo &quot;(1 / ($SUBCLIPS+1)) * $cutno&quot; | bc -l)&#xA;  cutchar= $cutno+96&#xA;  reverse=  $(printf &quot;%sreverse&quot;)&#xA;  cutletter=$(printf &quot;\x$(printf %x $cutchar)&quot;)&#xA;  cutpos=$(echo &quot;$duration * $cut&quot; |bc)&#xA;  cutfilters=$(printf &quot;%s[0:v]trim=start=%f:duration=%f,setpts=PTS-STARTPTS[%sv];&quot; &quot;$cutfilters&quot; &quot;$cutpos&quot; &quot;$cliplength&quot; &quot;$cutletter&quot;)&#xA;  cutfilters=$(printf &quot;%s[0:a]atrim=start=%f:duration=%f,asetpts=PTS-STARTPTS[%sa];&quot; &quot;$cutfilters&quot; &quot;$cutpos&quot; &quot;$cliplength&quot; &quot;$cutletter&quot;)&#xA;  concatfilter=$(printf &quot;%s[%sv][%sa]&quot; &quot;$concatfilter&quot; &quot;$cutletter&quot; &quot;$cutletter&quot;)&#xA;done&#xA;&#xA;# concat the cuts together&#xA;&#xA;concatfilter=$(printf &quot;%sconcat=n=%s:v=1:a=1[outv][outa]&quot; &quot;$concatfilter&quot;     &quot;$SUBCLIPS&quot;)&#xA;&#xA;ffmpeg_webmopts=&quot; -c:v libvpx -crf 10 -b:v 1M -c:a libvorbis &quot;&#xA;ffmpeg_postscript=&quot;\&quot; -map [outv] -map [outa] $ffmpeg_webmopts '$OUTPUTFILE'&quot;&#xA;&#xA;# Chance to cancel before we start&#xA;&#xA;printf &quot;***(hit ctrl+c to cancel)***\n\nExecuting: %s%s%s%s\n&quot;     &quot;$ffmpeg_preamble&quot; &quot;$cutfilters&quot; &quot;$concatfilter&quot; &quot;$ffmpeg_postscript&quot;&#xA;sleep 3&#xA;eval $(echo &quot;$ffmpeg_preamble $cutfilters $concatfilter $ffmpeg_postscript&quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;How do I implement the above without reversal?&lt;/em&gt; &lt;/p&gt;&#xA;" OwnerUserId="25372" LastEditorUserId="24980" LastEditDate="2019-06-03T16:25:37.307" LastActivityDate="2019-06-03T16:25:37.307" Title="FFMPEG cut video and concat put it in reverse" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27764" PostTypeId="2" ParentId="27676" CreationDate="2019-06-02T12:40:53.440" Score="0" Body="&lt;p&gt;You can not resize bitmap subtitles like dvdsub currently with ffmpeg utility. The best solution is to convert bitmap subtitles to textual one, and for that use Subtitle Edit tool.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastEditorDisplayName="user12174" LastEditDate="2019-06-02T15:30:46.843" LastActivityDate="2019-06-02T15:30:46.843" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27766" PostTypeId="2" ParentId="22863" CreationDate="2019-06-02T20:07:20.160" Score="0" Body="&lt;p&gt;The exact command to do this in &lt;code&gt;ffmpeg&lt;/code&gt; under Linux is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:00:10 -to 01:00:00 \&#xA;       -i input.avi \&#xA;       -map_metadata -1 \   &#xA;       -c:v libx264 -strict -2 \&#xA;       -r 30 \&#xA;       -s 960x540 \&#xA;       -c:a libmp3lame -b:a 384K&#xA;       output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For Windows: same as above but strip out everything after the &lt;code&gt;\&lt;/code&gt; (including the &lt;code&gt;\&lt;/code&gt;) and put it all on the same line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;where the following means:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-ss 00:00:00&lt;/code&gt;: strip 10 seconds from the beginning of the movie. &lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-to 01:00:00&lt;/code&gt;: encode everything up to 1h and drop anything afterwards&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;input.avi&lt;/code&gt;: the input file&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-map_metadata -1&lt;/code&gt;: strip out all metadata&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-r 30&lt;/code&gt;: 30 Frames per second&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-s 960x540&lt;/code&gt;: Resolution for SD&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-c:a libmp3lame -b:a 384K&lt;/code&gt;: Use MP3 VBR encoding up to a max of 384KB/s&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="24980" LastActivityDate="2019-06-02T20:07:20.160" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27767" PostTypeId="2" ParentId="20399" CreationDate="2019-06-02T20:15:55.670" Score="4" Body="&lt;p&gt;An AVI file is just a container and can contain any codec, so if you want to encode to QuickTime and Media player, you need to:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libx264 -c:a libmp3lame -b:a 384K output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and above means:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Use the h264 Codec which both QT and WPlayer can display nowadays&lt;/li&gt;&#xA;&lt;li&gt;use 384 Kbps MP3 encoding for audio&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;don't touch anything else like frame rate, resolution, ... and copy these as is.&lt;/p&gt;&#xA;" OwnerUserId="24980" LastEditorUserId="24980" LastEditDate="2019-06-03T19:46:37.530" LastActivityDate="2019-06-03T19:46:37.530" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27769" PostTypeId="1" CreationDate="2019-06-03T08:53:19.510" Score="0" ViewCount="18" Body="&lt;p&gt;I would like to edit a long (~10 min) video made out of drone footage. I intended to cover the whole video with background music but I would also like it to mantain the same &quot;feel&quot; all the way through. My question is, what is the best way to cover a long video with music such that the viewer doesn't give too much attention that the music has changed? &#xA;Or is it a better idea to use the same song and extend it or loop over and over? &#xA;Or maybe incorporate multiple tracks with different intensities and interleave them based on the current scene? (not even sure how that would be possible, it just popped into my mind :)&lt;/p&gt;&#xA;" OwnerUserId="25376" LastActivityDate="2019-06-06T07:27:59.287" Title="Best way to cover a long video with music" Tags="|editing|music|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27771" PostTypeId="1" CreationDate="2019-06-03T19:40:53.447" Score="2" ViewCount="1202" Body="&lt;p&gt;I tried to download 3-hour long video (now unavailable) with YoutubeDL and ended up with a 2GB file of 14 seconds with the correct frame size but an insane bitrate:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'video.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.20.100&#xA;  Duration: 00:00:14.08, start: 0.000000, bitrate: 1194942 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 1396506 kb/s, 49893.76 fps, 60 tbr, 90k tbn, 120 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 82853 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm guessing all the data is here, but I don't know how to handle ffmpeg to give me the correct output.&#xA;What should be the correct parameters to use here?&lt;/p&gt;&#xA;&lt;p&gt;EDIT : The video is unavailable, but Youtube shows information nonetheless. The video is 9532 seconds long which means a speed factor of 676.99.&#xA;Since the audio real bitrate should be 128 Kb/s, another factor of 647.29 can be calculated.&lt;/p&gt;&#xA;&lt;p&gt;EDIT #2 : Tried to apply a slowdown filter with:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -filter:v &amp;quot;setpts=647.289*PTS&amp;quot; video_fixed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But I only got a still image.&lt;/p&gt;&#xA;&lt;p&gt;The 4 first seconds seem to be fine then VLC fail to read and displays&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;avcodec info: Using D3D11VA (Intel(R) HD Graphics Family, vendor 8086(Intel), device a16, revision 9) for hardware decoding&#xA;main error: ES_OUT_SET_(GROUP_)PCR is called too late (pts_delay increased to 300 ms)&#xA;main error: Timestamp conversion failed for 5250012: no reference clock&#xA;main error: Could not convert timestamp 0 for FFmpeg&#xA;main error: ES_OUT_SET_(GROUP_)PCR is called too late (pts_delay increased to 1222 ms)&#xA;main error: Timestamp conversion failed for 6250012: no reference clock&#xA;main error: Could not convert timestamp 0 for FFmpeg&#xA;main error: ES_OUT_SET_(GROUP_)PCR is called too late (pts_delay increased to 3115 ms)&#xA;main error: Timestamp conversion failed for 8000012: no reference clock&#xA;main error: Could not convert timestamp 0 for FFmpeg&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;avcodec error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;direct3d11 error: SetThumbNailClip failed: 0x800706f4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25381" LastEditorUserId="4943" LastEditDate="2021-12-01T22:40:20.500" LastActivityDate="2022-12-27T02:02:10.343" Title="How to fix invalid bitrate with ffmpeg" Tags="|ffmpeg|bitrate|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27772" PostTypeId="1" CreationDate="2019-06-03T21:33:14.517" Score="1" ViewCount="48" Body="&lt;p&gt;There are many pairs of video and audio filters for the same purpose - one for &lt;em&gt;video&lt;/em&gt; streams and the other for &lt;em&gt;audio&lt;/em&gt; streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example &lt;code&gt;fade - afade&lt;/code&gt;, &lt;code&gt;trim - atrim&lt;/code&gt;, &lt;code&gt;split - asplit&lt;/code&gt;, &lt;code&gt;loop - aloop&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The names for audio filters have the &lt;code&gt;a&lt;/code&gt; prefix.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why? Why they are &lt;em&gt;different&lt;/em&gt; names for &lt;em&gt;video&lt;/em&gt; and audio &lt;em&gt;filters&lt;/em&gt;? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After all, every filter is applied to a &lt;em&gt;particular individual&lt;/em&gt; stream, isn't it? So FFmpeg knows in advance the type of that stream, and is able to decide itself what type of filter have to use (video or audio), even if the names would be the same.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-06-04T01:46:17.003" LastActivityDate="2020-01-04T00:57:05.387" Title="Different names for video resp. audio filters" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27773" PostTypeId="1" AcceptedAnswerId="27779" CreationDate="2019-06-03T21:44:03.010" Score="1" ViewCount="4793" Body="&lt;p&gt;How can I merge two videos &lt;code&gt;v1&lt;/code&gt; and &lt;code&gt;v2&lt;/code&gt;, but the audio coming from &lt;code&gt;v2&lt;/code&gt;?&#xA;Say &lt;code&gt;v1&lt;/code&gt; is 1 second, and &lt;code&gt;v2&lt;/code&gt; is 2 second. Basically I want to merge &lt;code&gt;v1&lt;/code&gt; and half of &lt;code&gt;v2&lt;/code&gt;, but the whole audio be from &lt;code&gt;v2&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please make it general about the timing.&lt;/p&gt;&#xA;" OwnerUserId="43073" LastEditorUserId="25390" LastEditDate="2019-06-12T15:01:48.883" LastActivityDate="2019-08-08T17:39:54.997" Title="Merge two videos in ffmpeg with audio from one" Tags="|video|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27775" PostTypeId="1" AcceptedAnswerId="27777" CreationDate="2019-06-04T03:12:16.503" Score="0" ViewCount="49" Body="&lt;p&gt;I want to to attempt to create something like &lt;a href=&quot;https://vimeo.com/128688653&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; for the modern age. It's a series of bits and pieces of advertisements from the early 70's that seeks to critique consumer culture. The maker of the film said that he was able to make it by getting access to some reels of advertisements and then editing it like crazy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So here's my question: How would one get access to commercials of today? For example, what if I just see a commercial on my TV and want to incorporate that into my montage? How would I would access to it so that I can then put it into my editing software and get to work? I was thinking of maybe YouTube, but for one not all commercials are on YouTube and two the quality can often be spotty.&lt;/p&gt;&#xA;" OwnerUserId="25382" LastActivityDate="2019-06-04T13:58:27.353" Title="Advice on Creating Montage of TV Advertisements" Tags="|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27777" PostTypeId="2" ParentId="27775" CreationDate="2019-06-04T13:58:27.353" Score="2" Body="&lt;p&gt;As a person who works for TV and does commercials on a regular basis, I'm afraid to tell you that a youtube-rip is probably your best option. The progress for a commercial usually goes like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You've got your customer. The customer speaks to an agency. That agency usually hires a production-company that actually makes the commercial. After that, the final files (usually prores 4444, 422 or rarely an h.264) will be transmitted to the customer for approval, and then go directly to the TV-Station which will broadcast the piece.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So from someone who is not directly part of the creating-progress, it's virtually impossible to get your fingers on the final files. Your best chance would be to ask politely, but I can tell you that those files are almost always exclusive to the people working on it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your best option might be to record the signal directly from the TV via something like an elgato capture card. If that doesn't work (or you don't want to spend the money on the hardware required) youtube and reuploads are your only option.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-04T13:58:27.353" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27779" PostTypeId="2" ParentId="27773" CreationDate="2019-06-04T23:18:13.050" Score="3" Body="&lt;p&gt;Probably the most simple solution is to use this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i v1.avi -i v2.avi \&#xA;    -lavfi [1:v]trim=0.5:1.5,setpts=PTS-STARTPTS[part1];[0:v][part1]concat[video] \&#xA;    -map [video] -map 1:a output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Notes:&lt;/em&gt; &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;This command is sufficient only in an ideal case, when there are not needed another filters for conversions of incompatible video streams (e. g. because of different frame sizes).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;It is appropriate to use option &lt;code&gt;-c:1:a copy&lt;/code&gt; (somewhere between specifying input files and &lt;code&gt;-map&lt;/code&gt; options) &lt;em&gt;to avoid transcoding the audio&lt;/em&gt; (of the second input file).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Tested with files &lt;code&gt;v1.avi&lt;/code&gt;, &lt;code&gt;v2.avi&lt;/code&gt; synthetically created with the command  &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i testsrc2=d=1  -f lavfi -i anoisesrc=d=1 -f lavfi -i testsrc=d=2 -f lavfi -i sine=d=2 -map 0:0 -map 1 v1.avi -map 2 -map 3 v2.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;The detailed explanation:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i v1.avi -i v2.avi &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Input files&lt;/strong&gt; are introduced with &lt;code&gt;-i&lt;/code&gt; options, and are enumerated from &lt;code&gt;0&lt;/code&gt;, so &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;v1.avi&lt;/code&gt; has the number &lt;code&gt;0&lt;/code&gt;,&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;v2.avi&lt;/code&gt; has the number &lt;code&gt;1&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;After the semicolon (&lt;code&gt;:&lt;/code&gt;) may be the &lt;strong&gt;stream specifier&lt;/strong&gt; - &lt;em&gt;supposing that you have only one video and one audio streams in your input files,&lt;/em&gt; you may simply use &lt;code&gt;v&lt;/code&gt; for the video stream, and &lt;code&gt;a&lt;/code&gt; for the audio stream. We will use them later — see the picture near the end.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-lavfi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;introduces a &lt;em&gt;complex filtergraph.&lt;/em&gt; You may use the synonym &lt;code&gt;-filter_complex&lt;/code&gt; instead.    &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[1:v]trim=0.5:1.5,setpts=PTS-STARTPTS[part1];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;This is the first linear chain of filters (i.e. the part up to the semicolon) of the filtergraph.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;It consists of 2 filters: &lt;code&gt;trim&lt;/code&gt; (up to the comma), and &lt;code&gt;setpts&lt;/code&gt; (after it).&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;trim=0.5:1.5&lt;/code&gt; gives only half of the video (particularly, from &lt;code&gt;0.5&lt;/code&gt; s to &lt;code&gt;1.5&lt;/code&gt; s).&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;setpts=PTS-STARTPTS&lt;/code&gt; set timestamps of the trimmed part from &lt;code&gt;0&lt;/code&gt; s (to &lt;code&gt;1&lt;/code&gt; s).&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Note the input pad &lt;code&gt;[1:v]&lt;/code&gt; — it is the only &lt;em&gt;video&lt;/em&gt; stream (&lt;code&gt;v&lt;/code&gt;) from the input file &lt;code&gt;1&lt;/code&gt; (which is the &lt;em&gt;second&lt;/em&gt; input file — &lt;code&gt;v2.avi&lt;/code&gt;, because input files are numbered from &lt;code&gt;0&lt;/code&gt;).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Note the &lt;em&gt;output pad&lt;/em&gt;, for which I chose the label &lt;code&gt;[part1]&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;[0:v][part1]concat[video]&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;This is the second linear chain of filters (after the semicolon) of the filtergraph. It consists of only 1 filter: &lt;code&gt;concat&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;concat&lt;/code&gt; - the original stream &lt;code&gt;0:v&lt;/code&gt; and the intermediate stream &lt;code&gt;[part1]&lt;/code&gt; are concatenated.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I chose the label &lt;code&gt;[video]&lt;/code&gt; for this other intermediate result.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-map [video] -map 1:a output.avi&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The &lt;code&gt;-map&lt;/code&gt; options map &lt;em&gt;selected streams&lt;/em&gt; from the input files and / or &lt;em&gt;output pads&lt;/em&gt; from the complex filter into the output file &lt;code&gt;output.avi&lt;/code&gt; in the specified order:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the &lt;em&gt;output pad&lt;/em&gt; &lt;code&gt;[video]&lt;/code&gt; from the complex filter maps to the output stream &lt;code&gt;0,&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;the &lt;em&gt;audio stream&lt;/em&gt; (&lt;code&gt;a&lt;/code&gt;) from the input file &lt;code&gt;v2.avi&lt;/code&gt; (numbered as &lt;code&gt;1&lt;/code&gt;) maps to the output stream &lt;code&gt;1&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;In more complicated cases with more video or audio streams, e. g. if the second input file contains 2 video and 3 audio streams:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/J4Ypo.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/J4Ypo.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need specify individual streams with their &lt;em&gt;ordinal numbers&lt;/em&gt; - they are again numbered from &lt;code&gt;0&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example &lt;code&gt;-map 1:a:2&lt;/code&gt; will select and map the third &lt;em&gt;audio&lt;/em&gt; stream (numbered as &lt;code&gt;2&lt;/code&gt;) from your &lt;em&gt;second&lt;/em&gt; input file (numbered as &lt;code&gt;1&lt;/code&gt;) into the output file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see from the picture, you may use &lt;code&gt;-map 1:4&lt;/code&gt; instead.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-08-08T17:39:54.997" LastActivityDate="2019-08-08T17:39:54.997" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27780" PostTypeId="2" ParentId="27748" CreationDate="2019-06-05T02:07:35.317" Score="0" Body="&lt;p&gt;The computer is probably inducing interference on the unbalanced mic cable. Try putting a &lt;a href=&quot;https://en.wikipedia.org/wiki/Ferrite_bead&quot; rel=&quot;nofollow noreferrer&quot;&gt;ferrite bead/choke&lt;/a&gt; on the tethering cable.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2019-06-05T02:07:35.317" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27783" PostTypeId="2" ParentId="27676" CreationDate="2019-06-05T09:47:06.247" Score="2" Body="&lt;p&gt;Technically the &lt;em&gt;cleanest&lt;/em&gt; look with these subtitles would be to:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Extract the subtitles&lt;/li&gt;&#xA;&lt;li&gt;Turn them to text using your favourite OCR application&lt;/li&gt;&#xA;&lt;li&gt;Carefully review and edit the text&lt;/li&gt;&#xA;&lt;li&gt;Burn them back into the media stream in the size, colour, orientation and format of your choice&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This is a large and time consuming job which &lt;a href=&quot;https://web.archive.org/web/20130320170316/http://www.andrews-corner.org/fist.html#subtitles&quot; rel=&quot;nofollow noreferrer&quot;&gt;I have personally undertaken in the past&lt;/a&gt; but is probably &lt;em&gt;overkill&lt;/em&gt; in this case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;em&gt;better&lt;/em&gt; option is to simply add in the FFmpeg option &lt;code&gt;-fix_sub_duration&lt;/code&gt; (placed before the input file options) and this will fix the doubled up subtitles as I illustrate below, and make the subtitles easily readable:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Yq81M.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Yq81M.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The details of the &lt;code&gt;-fix_sub_duration&lt;/code&gt; option can be found in the FFmpeg-all man pages but I have taken the liberty of quoting these details here:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;-fix_sub_duration&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Fix subtitles durations. For each subtitle, wait for the next packet in the same stream and adjust the duration of the&#xA;  first to avoid overlap. This is necessary with some subtitles codecs,&#xA;  especially DVB subtitles, because the duration in the original packet&#xA;  is only a rough estimate and the end is actually marked by an empty&#xA;  subtitle frame. Failing to use this option when necessary can result&#xA;  in exaggerated durations or muxing failures due to non-monotonic&#xA;  timestamps.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Note that this option will delay the output of all data until the next&#xA;  subtitle packet is decoded: it may increase memory consumption and&#xA;  latency a lot.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You will note that this is the &lt;em&gt;first&lt;/em&gt; of the Advanced Subtitle options, the &lt;em&gt;second&lt;/em&gt; being the &lt;code&gt;-canvas_size&lt;/code&gt; that you have already used...&lt;/p&gt;&#xA;" OwnerDisplayName="user22148" LastActivityDate="2019-06-05T09:47:06.247" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27784" PostTypeId="1" CreationDate="2019-06-05T09:52:35.830" Score="0" ViewCount="58" Body="&lt;p&gt;I am newbie to the after effects and I am working on a video. I want to add call outs on a cocktail glass. I am trying motion tracking but not getting the results that I want. I want my base target not to move. It should stay only on one point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anybody out there who can help me? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have attached the screenshot.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/nGw9q.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/nGw9q.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="25389" LastEditorUserId="4426" LastEditDate="2019-06-05T14:31:47.560" LastActivityDate="2019-06-05T14:31:47.560" Title="Motion Tracking in After Effects looks like it is vibrating" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27785" PostTypeId="1" AcceptedAnswerId="27795" CreationDate="2019-06-05T12:30:16.190" Score="0" ViewCount="213" Body="&lt;p&gt;For 4K video, Is better upload direct to YouTube or Is better to export in ProRes (or another) in hard disk and then upload the file to Youtube?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I record usually amateur football matches and upload to youtube. But when you select &quot;upload youtube&quot; option the file size is stimated at 8Gb for 1hour in 4K. It is usual? It is drastically decreasing the quality?&#xA;The same project exported in ProRes generate a 40Gb file. &lt;/p&gt;&#xA;" OwnerUserId="25391" LastActivityDate="2019-06-06T07:24:22.740" Title="Final Cut: Youtube 4K Upload directly or by file" Tags="|final-cut-pro-x|youtube|file-formats|final-cut-pro|4k|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27787" PostTypeId="2" ParentId="27784" CreationDate="2019-06-05T14:30:19.867" Score="1" Body="&lt;p&gt;Motion tracking works best on areas of high contrast.  Maybe the reflections near the rim of the glass are confusing it.  Try tracking from a different part of the glass, eg the base, and see if it works better (you can always use a Null for the track, then parent your objects to that null if the track good but isn't in the exact position you want).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-06-05T14:30:19.867" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27788" PostTypeId="2" ParentId="27588" CreationDate="2019-06-05T14:39:26.460" Score="0" Body="&lt;p&gt;Updating this answer to include Premiere's very effective built-in transcription service:&lt;/p&gt;&#xA;&lt;p&gt;Your best bet now is probably to finish your video in After Effects, then import it into Premiere, and &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/speech-to-text.html?_branch_match_id=1073900024266301991&amp;amp;utm_source=Adobe-Web&amp;amp;utm_campaign=Branch_vs_Helpx_Test&amp;amp;utm_medium=Web-App&amp;amp;_branch_referrer=H4sIAAAAAAAAA8soKSkottLXLyhKzc1MLUotKMrXSywo0MvJzMvWz0jy8SoxSY4Kz0gCAGkGj5goAAAA&quot; rel=&quot;nofollow noreferrer&quot;&gt;transcribe it, then add captions, and export it&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;If you still want to edit the transcribed text in After Effects, you can &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/working-with-captions.html#export-captions&quot; rel=&quot;nofollow noreferrer&quot;&gt;export the subtitles from Premiere as an .SRT file&lt;/a&gt;, and import them into After Effects, as explained below:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Other methods:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Assuming it's a video you are happy to make public, you could publish it through youtube and &lt;a href=&quot;https://photography.tutsplus.com/tutorials/3-ways-to-subtitle-and-caption-your-videos-automatically-using-artificial-intelligence--cms-26834&quot; rel=&quot;nofollow noreferrer&quot;&gt;gather the subtitles from there&lt;/a&gt; as an .srt file.&lt;/p&gt;&#xA;&lt;p&gt;Be aware that automatically generated subs tend to have mistakes in them.&lt;/p&gt;&#xA;&lt;p&gt;You could manually make subtitles using a free tool like &lt;a href=&quot;http://www.aegisub.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Aegisub&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Or you could pay a fee to a company like &lt;a href=&quot;https://www.3playmedia.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;3playmedia&lt;/a&gt; to generate the subtitles for you.&lt;/p&gt;&#xA;&lt;p&gt;Once you have the subs as an .srt file:&lt;/p&gt;&#xA;&lt;p&gt;Then to apply them in After Effects as burnt-in text, you could use a tool like &lt;a href=&quot;https://aescripts.com/pt_importsubtitles/&quot; rel=&quot;nofollow noreferrer&quot;&gt;PT_importsubtitles&lt;/a&gt; to convert the .srt file to timed text layers.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2023-02-15T08:58:19.833" LastActivityDate="2023-02-15T08:58:19.833" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27789" PostTypeId="2" ParentId="24798" CreationDate="2019-06-05T14:53:51.503" Score="1" Body="&lt;p&gt;Intra frames (I-frames, keyframes) are &lt;em&gt;independent of other frames&lt;/em&gt; - they contain the complete information for reconstructing the frame's image. There is no need for reading other frames and computing from them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So it's about a &lt;em&gt;speed&lt;/em&gt;, not about a quality. On the other hand, more intra frames, grater size of the file. (Known tradeoff speed for space.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Intra frames are preferably used in most media players for so called &lt;em&gt;fast seek&lt;/em&gt; (fast because of skipping the necessity of reading other frames and computing from them) - see for example &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;View -&amp;gt; Options -&amp;gt; Tweaks -&amp;gt; Fast seek (on keyframe)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;in Media Player Classic (from &lt;a href=&quot;https://www.codecguide.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;K-Lite Codec Pack&lt;/a&gt;):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TgXAh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TgXAh.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adding more intra frames is important for relatively slow devices (e. g. smartphones) because after jump to non-intra frame &lt;em&gt;they played back ugly colored and broken video&lt;/em&gt; while they meet the next intra frame - so for common density of 1 intra frame for 250 frames and the 25 fps the user may wait almost 10 second for restoring the image.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-06-05T15:07:45.320" LastActivityDate="2019-06-05T15:07:45.320" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27792" PostTypeId="2" ParentId="25599" CreationDate="2019-06-06T00:26:24.763" Score="6" Body="&lt;p&gt;There are 2 different things:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The &lt;em&gt;real&lt;/em&gt; width and height of frames (in pixels) – see the &lt;em&gt;green&lt;/em&gt; part of the following picture.&lt;/li&gt;&#xA;&lt;li&gt;The &lt;em&gt;displayed&lt;/em&gt; width and height (during the playback) – see the &lt;em&gt;blue&lt;/em&gt; part of the same picture.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;The problem arose in old bad days, when the resolution of devices (number of pixels in the image) was very low, but the required ratio of width to high for the playback was 4:3.&lt;/p&gt;&#xA;&lt;p&gt;The solution (in those days) was the invention of &lt;em&gt;non-square pixels.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;For the sake of simplicity let's suppose (theoretically) very low dimensions:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;required: 4×3 pixels (i.e. 12 pixels) per frame.&lt;/li&gt;&#xA;&lt;li&gt;real possible (for the acceptable price): 3×3 (i.e. 9 pixels).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;The solution was non-square pixels with the &lt;em&gt;pixel aspect ratio (&lt;strong&gt;PAR&lt;/strong&gt;) 4:3&lt;/em&gt;, as here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/it5LI.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/it5LI.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So the pixel aspect ratio (&lt;strong&gt;PAR&lt;/strong&gt;) is the ratio of sizes of every one &lt;em&gt;individual pixel:&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;Every blue pixel in our image has &lt;strong&gt;PAR&lt;/strong&gt; 4:3, and every orange and every green one has &lt;strong&gt;PAR&lt;/strong&gt; 1:1.&lt;/p&gt;&#xA;&lt;p&gt;Now our whole (blue) image is displayed correctly, as we wanted - e.g. as 12 cm x 9 cm – so its &lt;em&gt;Display Aspect Ratio (&lt;strong&gt;DAR&lt;/strong&gt;)&lt;/em&gt; is 12:9, or 4:3.&lt;/p&gt;&#xA;&lt;p&gt;In spite of it, it's saved as 3 × 3 pixels – so the &lt;em&gt;Storage Aspect Ratio (&lt;strong&gt;SAR&lt;/strong&gt;)&lt;/em&gt; is  &lt;em&gt;3 pixels : 3 pixels,&lt;/em&gt; or 1:1.&lt;/p&gt;&#xA;&lt;p&gt;Hint:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;pixel aspect ratio (&lt;strong&gt;PAR&lt;/strong&gt;) is micrometers : micrometers&lt;/li&gt;&#xA;&lt;li&gt;display aspect ratio (&lt;strong&gt;DAR&lt;/strong&gt;) is centimeters : centimeters&lt;/li&gt;&#xA;&lt;li&gt;storage aspect ratio (&lt;strong&gt;SAR&lt;/strong&gt;) is pixels : pixels&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Consequently, the relation between these 3 values is&lt;/p&gt;&#xA;&lt;p&gt;             &#xA;&lt;strong&gt;DAR&lt;/strong&gt; = &lt;strong&gt;SAR&lt;/strong&gt; × &lt;strong&gt;PAR&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;The important note:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Sometimes is &lt;strong&gt;PAR&lt;/strong&gt; (Pixel Aspect Ratio) called &lt;em&gt;Sample Aspect Ratio – as in FFmpeg&lt;/em&gt;*. Unfortunately, the abbreviation for it is then &lt;strong&gt;SAR&lt;/strong&gt;, which is very confusing, because – as we saw – it's also the abbreviation for Storage Aspect ratio.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;em&gt;The main problem:&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;Nowadays all devices have pixel aspect ratio 1:1 (square pixels), and many media players, mainly for small devices (cell phones, tablets), rely on it, fully ignoring the &lt;strong&gt;DAR&lt;/strong&gt; value stored in video streams.&lt;/p&gt;&#xA;&lt;p&gt;So you may encounter the situation when the same video (made from all sources) is played back correctly in your desktop or laptop computer, but incorrectly (narrowed) in your smartphone. Or even on the other media player on the same computer or device.&lt;/p&gt;&#xA;&lt;p&gt;In our example, the frames may be wrongly displayed as a square (see the green part of the image above).&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;em&gt;&lt;strong&gt;The solution of this problem in FFmpeg:&lt;/strong&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;resize the problematic video, then&lt;/li&gt;&#xA;&lt;li&gt;set the &lt;strong&gt;SAR&lt;/strong&gt; of it to 1, and&lt;/li&gt;&#xA;&lt;li&gt;the &lt;strong&gt;DAR&lt;/strong&gt; has very likely the correct value, but you may set it to be sure.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;In our (unreal) example you may use the filtergraph&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf scale=4:3,setsar=1,setdar=w/h&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;where &lt;code&gt;w&lt;/code&gt; is the width of (just scaled) frames in pixels, &lt;code&gt;h&lt;/code&gt; is their height. FFmpeg will substitute the appropriate values automatically.&lt;/p&gt;&#xA;&lt;p&gt;The result will be the orange part of the above image.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;In your case, your video has (from your info)&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;DAR&lt;/strong&gt; 4:3 (640:480),&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;SAR&lt;/strong&gt; (Storage Aspect Ratio) 720:480 = 3:2, and – consequently –&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;PAR&lt;/strong&gt; = &lt;strong&gt;DAR&lt;/strong&gt; / &lt;strong&gt;SAR&lt;/strong&gt; = 8:9. (In the FFmpeg terminology it is **SAR – Sample Aspect Ratio).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;So to avoid problems with media players ignoring the &lt;strong&gt;DAR&lt;/strong&gt; value (and play back it in the proportion 720:480, you may consider converting it with the command&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i your_input_file -vf -scale=640:480,setsar=1 -c:a copy your_output_file&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;Problems with pictures with non-square pixels:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;With pictures, the situation is even much worse:&lt;/p&gt;&#xA;&lt;p&gt;Almost all Picture Viewers/Editors and Internet Browsers simply ignore images &lt;strong&gt;SAR&lt;/strong&gt; and &lt;strong&gt;DAR&lt;/strong&gt;, supposing that all pictures over the world have &lt;strong&gt;SAR&lt;/strong&gt; 1:1.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;The honorable exception is (interestingly and surprisingly enough) Microsoft Windows Photo Viewer,&lt;/em&gt; which displays all pictures correctly.&lt;/p&gt;&#xA;&lt;p&gt;You may become convinced of it e.g. by the &lt;a href=&quot;http://frs.badcoffee.info/PAR_AcidTest/&quot; rel=&quot;nofollow noreferrer&quot;&gt;The Pixel Aspect Ratio Acid Test&lt;/a&gt; - all 9 pictures there should be displayed correctly in your browser, but – highly likely – they aren't.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2022-06-09T05:36:46.910" LastActivityDate="2022-06-09T05:36:46.910" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27793" PostTypeId="1" CreationDate="2019-06-06T03:29:35.920" Score="0" ViewCount="170" Body="&lt;p&gt;I'm trying to improve the choppy screen capture that I'm getting on my ipad. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The screen capture plays smoothly when viewed on the ipad itself, however it is choppy when played on my pc in vlc, and even worse when played in filmora. I have tried the native screen recording function in iOS and third party screen recording software apps, some noticeably better than others. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Converting the file in handbrake improves it quite a bit, and I have experimented with various frame rates such as constant frame rate, 29.97, 60, etc, but the choppiness is still noticeable, and the speed is different than the original, and the still space between motion is truncated. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for suggestions on how to solve this issue. &lt;/p&gt;&#xA;" OwnerUserId="25395" LastActivityDate="2024-02-10T20:08:31.000" Title="Trying to improve choppy ipad screen capture" Tags="|video|video-quality|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27794" PostTypeId="2" ParentId="27793" CreationDate="2019-06-06T07:20:54.027" Score="0" Body="&lt;p&gt;When your recording plays smoothly on one device, then the recording is unlikely to be the issue. What are the specs of your pc? Make sure that you have a powerful cpu and gpu as well as enough ram. Also, what container is the file in? Is it a quicktime (.mov) file? (at least I assume so given that you're using an ipad). If so, try loading up the footage with in the quicktime player instead of vlc. Also, try using premiere or a similar program that allows you to switch through resolutions for your preview (you can select an 8th of the original quality and see if it plays smoothly).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once again though, when your file plays smoothly somewhere, but causes problems on your pc, it might be an issue with codecs (which I doubt since you got it to play) or with the periphery. Nothing wrong with the video though.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-06T07:20:54.027" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27795" PostTypeId="2" ParentId="27785" CreationDate="2019-06-06T07:24:22.740" Score="1" Body="&lt;p&gt;We cannot tell by the information you're giving. The &quot;upload to youtube&quot; function uses some sort of container and some sort of codec with some sort of bitrate that we don't know, however, 8Gb for an hour in 4K is a very small file. I remember exporting a shortfilm at about 24 Minutes in 1080p and having a 15Gb file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Youtube converts your file after you upload it, so rendering in a semi-okay codec will force youtube to make an even worse file out of your rendering. If you want to be absolutely sure, just render your file as a ProRes 4444 XQ and derive all conversions from there.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-06T07:24:22.740" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27796" PostTypeId="2" ParentId="27769" CreationDate="2019-06-06T07:27:59.287" Score="1" Body="&lt;p&gt;For the most part this is a stylistic choice. While I won't say it's impossible to maintain the viewers attention throughout a 10 minute Video with no narration - it's not an easy task either. I would highly recommend cutting in some B-roll and talking over it maybe, if only for a few seconds to break up the flow a bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, for finding coherent music that fits the feel, I'd recommend you check out Artlist. You can filter by mood, theme, instruments, genre, etc. to find similar yet high quality music.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-06T07:27:59.287" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27797" PostTypeId="2" ParentId="27752" CreationDate="2019-06-06T07:40:28.723" Score="1" Body="&lt;p&gt;I doubt that the creator used a ring light, as you would definitely see the reflection of it in her eyes. The lights she used look like your regular Kinoflo or Kobalt. You could use frost, also called white diffusion in front of it to give softer light, but I don't think she used that either. Remember: The bigger the light source, the softer the light (and shadow). Kinoflos are very very big, and especially 4-Banks (flos with 4 tubes of light) give out very soft light on their own, which is why I assume she opted for this specific light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Technically, her head is kind of disappearing into the dark tv-screen, since the hair and the display have a very similar color. To prevent this, you would usually set up a light on the opposite end of where your keylight points at. This way, you will have a nice bright edge around the back of the head, separating her from the background a bit more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As so the lens it's very hard to tell, you'd have to go into pftrack and manually track the leading lines etc. However I assume that it's a lens way below 50mm, probably at about 20-25.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-06T07:40:28.723" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27802" PostTypeId="2" ParentId="23764" CreationDate="2019-06-06T12:40:00.477" Score="0" Body="&lt;p&gt;In a small touch of self-advertising, I'd like to refer to the free script &lt;a href=&quot;http://markertriggery.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MarkerTriggery&lt;/a&gt; for AE. It brings a neat UI you can control your markers from, and you don't need to know anything about expressions to use it.&lt;/p&gt;&#xA;" OwnerUserId="25398" LastActivityDate="2019-06-06T12:40:00.477" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27804" PostTypeId="2" ParentId="22242" CreationDate="2019-06-06T14:14:09.677" Score="1" Body="&lt;p&gt;Try re-saving the image to different formats. Often this will do the trick. &lt;/p&gt;&#xA;" OwnerUserId="22928" LastActivityDate="2019-06-06T14:14:09.677" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27805" PostTypeId="2" ParentId="24178" CreationDate="2019-06-06T16:58:04.783" Score="2" Body="&lt;p&gt;Download Sparkocam and your problem will go away. I am using a T3i and a T6i for the same live steam. Your other option is remove autofocus from the lens and switch it to manual&lt;/p&gt;&#xA;" OwnerUserId="25403" LastActivityDate="2019-06-06T16:58:04.783" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27807" PostTypeId="1" CreationDate="2019-06-07T15:03:03.177" Score="2" ViewCount="76" Body="&lt;p&gt;I want to make a gaming video. I have the clips and here is the layout:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/sZCkO.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sZCkO.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can any free PC apps help/do this?&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="25410" LastActivityDate="2021-11-28T22:00:55.083" Title="Edit video like professional gamers" Tags="|video-editor|editing|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27809" PostTypeId="1" AcceptedAnswerId="27821" CreationDate="2019-06-07T17:06:38.823" Score="0" ViewCount="660" Body="&lt;p&gt;I have a video that I've chopped up into many small segments within the main sequence:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/TdOzL.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TdOzL.jpg&quot; alt=&quot;many small segments in sequence&quot;&gt;&lt;/a&gt;&#xA;You might notice that I took one main video and then used markers to select exact frames and then used the razor tool to slice it up and then deleted the parts I do not want to export&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead of putting all of these segments together into a single video, I need to export each clip or segment (sorry not sure of the actual term of these clips in Premier) as a separate video file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible with Adobe Premier and if so, how might I do this?&lt;/p&gt;&#xA;" OwnerUserId="25401" LastActivityDate="2019-06-10T21:34:29.213" Title="How to export many small clips in a sequence out as separate video files in Adobe Premier?" Tags="|premiere|video-editor|adobe|adobe-media-encoder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27811" PostTypeId="1" AcceptedAnswerId="27828" CreationDate="2019-06-07T20:37:11.650" Score="1" ViewCount="1477" Body="&lt;p&gt;... and the strangest thing is that the very same file plays back just fine on a different (but very much identical) Win 10 system. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The file is a .mov prores video file. Both system have prores codec installed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I reinstalled MPC-HC and reset all to default.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The file is playing in QuickTime Player (v7.7.9).&lt;/p&gt;&#xA;" OwnerUserId="24252" LastActivityDate="2019-06-11T09:48:29.967" Title="what could prevents MPC-HC from opening and playing mov file?" Tags="|video|prores|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27812" PostTypeId="1" CreationDate="2019-06-08T05:25:33.363" Score="0" ViewCount="46" Body="&lt;p&gt;I'm trying to automate away the mouse (using Autohotkey) during the editing process. All regular edits are now keyboard-only except the J-Cut. Basically I want to fill the video gap in the following example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kDKnW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kDKnW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can easily do it with the mouse by extending the duration of the video on the left:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qMfvE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qMfvE.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do this with just the keyboard (and help of Autohotkey if needed)?&lt;/p&gt;&#xA;" OwnerUserId="1460" LastActivityDate="2019-06-08T05:41:27.243" Title="Keyboard shortcut to extend clip duration (without changing speed) in order to fill gap for J-Cut in Premiere" Tags="|premiere|automation|keyboard-shortcut|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27813" PostTypeId="2" ParentId="27812" CreationDate="2019-06-08T05:41:27.243" Score="2" Body="&lt;p&gt;Shift-Q does it - as per the &lt;a href=&quot;https://video.stackexchange.com/a/16339/1460&quot;&gt;following StackExchange answer&lt;/a&gt; which refers to images but this applies to videos too:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Shift-Q&lt;/strong&gt; - extend previous edit to playhead&lt;/p&gt;&#xA;" OwnerUserId="1460" LastActivityDate="2019-06-08T05:41:27.243" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27814" PostTypeId="1" AcceptedAnswerId="27964" CreationDate="2019-06-08T05:52:50.900" Score="0" ViewCount="4881" Body="&lt;p&gt;How much color information does a 8 bit pixel need compared to an 10 bit pixel? What is the difference. As an example how much file size would an single 640x480 frame take if had 10 bit color instead of an 8 bit colour&lt;/p&gt;&#xA;" OwnerUserId="23721" LastEditorUserId="23721" LastEditDate="2019-06-29T17:27:16.857" LastActivityDate="2020-12-08T20:49:23.043" Title="What is the file size difference between 8 bit and 10 bit raw video?" Tags="|color|colorspace|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27815" PostTypeId="2" ParentId="27722" CreationDate="2019-06-08T16:59:12.750" Score="4" Body="&lt;p&gt;&lt;strong&gt;Ad 1:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Presets have &lt;em&gt;(almost) no impact to the quality&lt;/em&gt; — their purpose is for adjusting the trade-off of encoding time for the output size (the longer encoding time, the smaller the output stream).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Different presets enable / disable separate algorithms for compression. For example, in my installation, the &lt;code&gt;-preset ultrafast&lt;/code&gt; is equivalent to options&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;--no-8x8dct --aq-mode 0 --b-adapt 0&#xA;--bframes 0 --no-cabac --no-deblock&#xA;--no-mbtree --me dia --no-mixed-refs&#xA;--partitions none --rc-lookahead 0 --ref 1&#xA;--scenecut 0 --subme 0 --trellis 0&#xA;--no-weightb --weightp 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As you can see, almost no optimization, i. e. the output will be very large.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Ad 2:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;H.264, aka MPEG-4 Part 10, aka Advanced Video Coding (AVC) is good enough, and its particular implementation — x264 library — is a very good one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The pervasive rule is again the same: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Recent video compression standards are able to reach a little better compression than their predecessors, but for longer encoding time (and sometimes for lesser compatibility with media players, too).&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So if you don't need cutting-edge compression, every contemporary compression standard is good enough.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2020-03-27T15:05:35.610" LastActivityDate="2020-03-27T15:05:35.610" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27816" PostTypeId="2" ParentId="16636" CreationDate="2019-06-08T21:10:03.967" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://github.com/carykh/jumpcutter&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/carykh/jumpcutter&lt;/a&gt; (MIT license) automatically removes parts of a video that have no or little audio. It relies on ffmpeg and the pipeline is coded in Python 3. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Explanation: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/DQ8orIurGxw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Script (MIT license, author: &lt;a href=&quot;https://github.com/carykh&quot; rel=&quot;nofollow noreferrer&quot;&gt;carykh&lt;/a&gt;):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;from contextlib import closing&#xA;from PIL import Image&#xA;import subprocess&#xA;from audiotsm import phasevocoder&#xA;from audiotsm.io.wav import WavReader, WavWriter&#xA;from scipy.io import wavfile&#xA;import numpy as np&#xA;import re&#xA;import math&#xA;from shutil import copyfile, rmtree&#xA;import os&#xA;import argparse&#xA;from pytube import YouTube&#xA;&#xA;def downloadFile(url):&#xA;    name = YouTube(url).streams.first().download()&#xA;    newname = name.replace(' ','_')&#xA;    os.rename(name,newname)&#xA;    return newname&#xA;&#xA;def getMaxVolume(s):&#xA;    maxv = float(np.max(s))&#xA;    minv = float(np.min(s))&#xA;    return max(maxv,-minv)&#xA;&#xA;def copyFrame(inputFrame,outputFrame):&#xA;    src = TEMP_FOLDER+&quot;/frame{:06d}&quot;.format(inputFrame+1)+&quot;.jpg&quot;&#xA;    dst = TEMP_FOLDER+&quot;/newFrame{:06d}&quot;.format(outputFrame+1)+&quot;.jpg&quot;&#xA;    if not os.path.isfile(src):&#xA;        return False&#xA;    copyfile(src, dst)&#xA;    if outputFrame%20 == 19:&#xA;        print(str(outputFrame+1)+&quot; time-altered frames saved.&quot;)&#xA;    return True&#xA;&#xA;def inputToOutputFilename(filename):&#xA;    dotIndex = filename.rfind(&quot;.&quot;)&#xA;    return filename[:dotIndex]+&quot;_ALTERED&quot;+filename[dotIndex:]&#xA;&#xA;def createPath(s):&#xA;    #assert (not os.path.exists(s)), &quot;The filepath &quot;+s+&quot; already exists. Don't want to overwrite it. Aborting.&quot;&#xA;&#xA;    try:  &#xA;        os.mkdir(s)&#xA;    except OSError:  &#xA;        assert False, &quot;Creation of the directory %s failed. (The TEMP folder may already exist. Delete or rename it, and try again.)&quot;&#xA;&#xA;def deletePath(s): # Dangerous! Watch out!&#xA;    try:  &#xA;        rmtree(s,ignore_errors=False)&#xA;    except OSError:  &#xA;        print (&quot;Deletion of the directory %s failed&quot; % s)&#xA;        print(OSError)&#xA;&#xA;parser = argparse.ArgumentParser(description='Modifies a video file to play at different speeds when there is sound vs. silence.')&#xA;parser.add_argument('--input_file', type=str,  help='the video file you want modified')&#xA;parser.add_argument('--url', type=str, help='A youtube url to download and process')&#xA;parser.add_argument('--output_file', type=str, default=&quot;&quot;, help=&quot;the output file. (optional. if not included, it'll just modify the input file name)&quot;)&#xA;parser.add_argument('--silent_threshold', type=float, default=0.03, help=&quot;the volume amount that frames' audio needs to surpass to be consider \&quot;sounded\&quot;. It ranges from 0 (silence) to 1 (max volume)&quot;)&#xA;parser.add_argument('--sounded_speed', type=float, default=1.00, help=&quot;the speed that sounded (spoken) frames should be played at. Typically 1.&quot;)&#xA;parser.add_argument('--silent_speed', type=float, default=5.00, help=&quot;the speed that silent frames should be played at. 999999 for jumpcutting.&quot;)&#xA;parser.add_argument('--frame_margin', type=float, default=1, help=&quot;some silent frames adjacent to sounded frames are included to provide context. How many frames on either the side of speech should be included? That's this variable.&quot;)&#xA;parser.add_argument('--sample_rate', type=float, default=44100, help=&quot;sample rate of the input and output videos&quot;)&#xA;parser.add_argument('--frame_rate', type=float, default=30, help=&quot;frame rate of the input and output videos. optional... I try to find it out myself, but it doesn't always work.&quot;)&#xA;parser.add_argument('--frame_quality', type=int, default=3, help=&quot;quality of frames to be extracted from input video. 1 is highest, 31 is lowest, 3 is the default.&quot;)&#xA;&#xA;args = parser.parse_args()&#xA;&#xA;&#xA;&#xA;frameRate = args.frame_rate&#xA;SAMPLE_RATE = args.sample_rate&#xA;SILENT_THRESHOLD = args.silent_threshold&#xA;FRAME_SPREADAGE = args.frame_margin&#xA;NEW_SPEED = [args.silent_speed, args.sounded_speed]&#xA;if args.url != None:&#xA;    INPUT_FILE = downloadFile(args.url)&#xA;else:&#xA;    INPUT_FILE = args.input_file&#xA;URL = args.url&#xA;FRAME_QUALITY = args.frame_quality&#xA;&#xA;assert INPUT_FILE != None , &quot;why u put no input file, that dum&quot;&#xA;&#xA;if len(args.output_file) &amp;gt;= 1:&#xA;    OUTPUT_FILE = args.output_file&#xA;else:&#xA;    OUTPUT_FILE = inputToOutputFilename(INPUT_FILE)&#xA;&#xA;TEMP_FOLDER = &quot;TEMP&quot;&#xA;AUDIO_FADE_ENVELOPE_SIZE = 400 # smooth out transitiion's audio by quickly fading in/out (arbitrary magic number whatever)&#xA;&#xA;createPath(TEMP_FOLDER)&#xA;&#xA;command = &quot;ffmpeg -i &quot;+INPUT_FILE+&quot; -qscale:v &quot;+str(FRAME_QUALITY)+&quot; &quot;+TEMP_FOLDER+&quot;/frame%06d.jpg -hide_banner&quot;&#xA;subprocess.call(command, shell=True)&#xA;&#xA;command = &quot;ffmpeg -i &quot;+INPUT_FILE+&quot; -ab 160k -ac 2 -ar &quot;+str(SAMPLE_RATE)+&quot; -vn &quot;+TEMP_FOLDER+&quot;/audio.wav&quot;&#xA;&#xA;subprocess.call(command, shell=True)&#xA;&#xA;command = &quot;ffmpeg -i &quot;+TEMP_FOLDER+&quot;/input.mp4 2&amp;gt;&amp;amp;1&quot;&#xA;f = open(TEMP_FOLDER+&quot;/params.txt&quot;, &quot;w&quot;)&#xA;subprocess.call(command, shell=True, stdout=f)&#xA;&#xA;&#xA;&#xA;sampleRate, audioData = wavfile.read(TEMP_FOLDER+&quot;/audio.wav&quot;)&#xA;audioSampleCount = audioData.shape[0]&#xA;maxAudioVolume = getMaxVolume(audioData)&#xA;&#xA;f = open(TEMP_FOLDER+&quot;/params.txt&quot;, 'r+')&#xA;pre_params = f.read()&#xA;f.close()&#xA;params = pre_params.split('\n')&#xA;for line in params:&#xA;    m = re.search('Stream #.*Video.* ([0-9]*) fps',line)&#xA;    if m is not None:&#xA;        frameRate = float(m.group(1))&#xA;&#xA;samplesPerFrame = sampleRate/frameRate&#xA;&#xA;audioFrameCount = int(math.ceil(audioSampleCount/samplesPerFrame))&#xA;&#xA;hasLoudAudio = np.zeros((audioFrameCount))&#xA;&#xA;&#xA;&#xA;for i in range(audioFrameCount):&#xA;    start = int(i*samplesPerFrame)&#xA;    end = min(int((i+1)*samplesPerFrame),audioSampleCount)&#xA;    audiochunks = audioData[start:end]&#xA;    maxchunksVolume = float(getMaxVolume(audiochunks))/maxAudioVolume&#xA;    if maxchunksVolume &amp;gt;= SILENT_THRESHOLD:&#xA;        hasLoudAudio[i] = 1&#xA;&#xA;chunks = [[0,0,0]]&#xA;shouldIncludeFrame = np.zeros((audioFrameCount))&#xA;for i in range(audioFrameCount):&#xA;    start = int(max(0,i-FRAME_SPREADAGE))&#xA;    end = int(min(audioFrameCount,i+1+FRAME_SPREADAGE))&#xA;    shouldIncludeFrame[i] = np.max(hasLoudAudio[start:end])&#xA;    if (i &amp;gt;= 1 and shouldIncludeFrame[i] != shouldIncludeFrame[i-1]): # Did we flip?&#xA;        chunks.append([chunks[-1][1],i,shouldIncludeFrame[i-1]])&#xA;&#xA;chunks.append([chunks[-1][1],audioFrameCount,shouldIncludeFrame[i-1]])&#xA;chunks = chunks[1:]&#xA;&#xA;outputAudioData = np.zeros((0,audioData.shape[1]))&#xA;outputPointer = 0&#xA;&#xA;lastExistingFrame = None&#xA;for chunk in chunks:&#xA;    audioChunk = audioData[int(chunk[0]*samplesPerFrame):int(chunk[1]*samplesPerFrame)]&#xA;&#xA;    sFile = TEMP_FOLDER+&quot;/tempStart.wav&quot;&#xA;    eFile = TEMP_FOLDER+&quot;/tempEnd.wav&quot;&#xA;    wavfile.write(sFile,SAMPLE_RATE,audioChunk)&#xA;    with WavReader(sFile) as reader:&#xA;        with WavWriter(eFile, reader.channels, reader.samplerate) as writer:&#xA;            tsm = phasevocoder(reader.channels, speed=NEW_SPEED[int(chunk[2])])&#xA;            tsm.run(reader, writer)&#xA;    _, alteredAudioData = wavfile.read(eFile)&#xA;    leng = alteredAudioData.shape[0]&#xA;    endPointer = outputPointer+leng&#xA;    outputAudioData = np.concatenate((outputAudioData,alteredAudioData/maxAudioVolume))&#xA;&#xA;    #outputAudioData[outputPointer:endPointer] = alteredAudioData/maxAudioVolume&#xA;&#xA;    # smooth out transitiion's audio by quickly fading in/out&#xA;&#xA;    if leng &amp;lt; AUDIO_FADE_ENVELOPE_SIZE:&#xA;        outputAudioData[outputPointer:endPointer] = 0 # audio is less than 0.01 sec, let's just remove it.&#xA;    else:&#xA;        premask = np.arange(AUDIO_FADE_ENVELOPE_SIZE)/AUDIO_FADE_ENVELOPE_SIZE&#xA;        mask = np.repeat(premask[:, np.newaxis],2,axis=1) # make the fade-envelope mask stereo&#xA;        outputAudioData[outputPointer:outputPointer+AUDIO_FADE_ENVELOPE_SIZE] *= mask&#xA;        outputAudioData[endPointer-AUDIO_FADE_ENVELOPE_SIZE:endPointer] *= 1-mask&#xA;&#xA;    startOutputFrame = int(math.ceil(outputPointer/samplesPerFrame))&#xA;    endOutputFrame = int(math.ceil(endPointer/samplesPerFrame))&#xA;    for outputFrame in range(startOutputFrame, endOutputFrame):&#xA;        inputFrame = int(chunk[0]+NEW_SPEED[int(chunk[2])]*(outputFrame-startOutputFrame))&#xA;        didItWork = copyFrame(inputFrame,outputFrame)&#xA;        if didItWork:&#xA;            lastExistingFrame = inputFrame&#xA;        else:&#xA;            copyFrame(lastExistingFrame,outputFrame)&#xA;&#xA;    outputPointer = endPointer&#xA;&#xA;wavfile.write(TEMP_FOLDER+&quot;/audioNew.wav&quot;,SAMPLE_RATE,outputAudioData)&#xA;&#xA;'''&#xA;outputFrame = math.ceil(outputPointer/samplesPerFrame)&#xA;for endGap in range(outputFrame,audioFrameCount):&#xA;    copyFrame(int(audioSampleCount/samplesPerFrame)-1,endGap)&#xA;'''&#xA;&#xA;command = &quot;ffmpeg -framerate &quot;+str(frameRate)+&quot; -i &quot;+TEMP_FOLDER+&quot;/newFrame%06d.jpg -i &quot;+TEMP_FOLDER+&quot;/audioNew.wav -strict -2 &quot;+OUTPUT_FILE&#xA;subprocess.call(command, shell=True)&#xA;&#xA;deletePath(TEMP_FOLDER)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="2117" LastActivityDate="2019-06-08T21:10:03.967" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27817" PostTypeId="2" ParentId="16636" CreationDate="2019-06-08T21:15:32.560" Score="0" Body="&lt;p&gt;You can use the  &lt;a href=&quot;https://aescripts.com/awkward-pause/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Awkward Pause&lt;/a&gt; user script for Adobe After Effects. Cost of the user script: 59.99 USD&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Screenshot:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/r8Pje.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/r8Pje.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Demo: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/VUhjiGdtEFo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Disclaimer: at the time I am writing this post (2019-06-08), I work for Adobe.&lt;/p&gt;&#xA;" OwnerUserId="2117" LastActivityDate="2019-06-08T21:15:32.560" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27818" PostTypeId="2" ParentId="27606" CreationDate="2019-06-09T08:46:27.770" Score="1" Body="&lt;p&gt;The first line of the output you provided explains the problem:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Seems stream 0 codec frame rate differs from container frame rate: 180000.00 (180000/1) -&amp;gt; 23.98 (24000/1001)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;and then the last three values in the 4&lt;sup&gt;th&lt;/sup&gt; line tell about it in detail:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;    Stream #0.0(und): Video: h264, yuv420p, 1280x720, 23.98 tbr, 90k tbn, 180k tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;which mean, in words:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I guess the frame rate &lt;code&gt;23.98&lt;/code&gt; fps from the input video stream.&lt;/li&gt;&#xA;&lt;li&gt;The time base in the input container is set to &lt;code&gt;(1/90000)&lt;/code&gt; seconds.&lt;/li&gt;&#xA;&lt;li&gt;The time base in its video stream is set to &lt;code&gt;(1/180000)&lt;/code&gt; seconds.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Now, return to the the first line of your output, after the semicolon:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;180000.00 (180000/1) -&amp;gt; 23.98 (24000/1001)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It means: &lt;em&gt;Your stream's framerate is 180,000 frames per second, but I will convert it to 23.98 fps.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The same is in the mentioned 4&lt;sup&gt;th&lt;/sup&gt; line, in the form &lt;code&gt;23.98 tbr&lt;/code&gt;. It's the FFmpeg's guessed value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you are right, &lt;em&gt;the conversion occurs,&lt;/em&gt; for both selected streams (video and audio one). You may see it from other lines of your output:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream mapping:&#xA;  Stream #0.0 -&amp;gt; #0.0&#xA;  Stream #0.2 -&amp;gt; #0.1&#xA;Press [q] to stop encoding&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;because in the case of &lt;em&gt;copying&lt;/em&gt; them it would be as these:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream mapping:&#xA;  Stream #0.0 -&amp;gt; #0.0 (copy)&#xA;  Stream #0.2 -&amp;gt; #0.1 (copy)&#xA;Press [q] to stop&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The conclusion:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your command is correct, but your input file is damaged.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may convince yourself about it by applying the same command to other, correct input file.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-06-09T17:11:59.327" LastActivityDate="2019-06-09T17:11:59.327" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27820" PostTypeId="1" CreationDate="2019-06-10T05:46:17.000" Score="0" ViewCount="1224" Body="&lt;p&gt;On exporting a captured video via Logitech c920 webcam , the size of a 1 minute clip is approximately 60Mb .Note that this is only a webcam capture and doesn't include a screen capture.I was planning a 4hr shoot ,but with such large render size,it would be very difficult. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Render format -mp4 &#xA;Render settings - 30fps(Priority- FrameRate)&lt;br&gt;&#xA;Openh264(Cisco)&lt;br&gt;&#xA;Video-Hd1280x720 (7400kbps)&lt;br&gt;&#xA;Audio-Stereo-48Mhz (194Kbps)&lt;br&gt;&#xA;White balance-60%&lt;br&gt;&#xA;Image adjustment -Turned Off&lt;br&gt;&#xA;Antiflicker -60Hz&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is their any way to get a render with a reduced size ,without affecting the current quality and without using a postprocessing external compression software&lt;/p&gt;&#xA;" OwnerUserId="24346" LastActivityDate="2019-06-13T18:56:06.420" Title="Video render size too large(Logitech c920)" Tags="|render|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27821" PostTypeId="2" ParentId="27809" CreationDate="2019-06-10T21:34:29.213" Score="0" Body="&lt;p&gt;Sounds like you want to create sequences for each of your clips and batch export those sequences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/JstgTeUAjRc?start=26&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2019-06-10T21:34:29.213" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27822" PostTypeId="2" ParentId="27772" CreationDate="2019-06-10T21:42:45.053" Score="3" Body="&lt;p&gt;Mainly because this is how things got implemented / evolved from the start. Yes, it could be a single filter but that would need major changes to the current code.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastEditorUserId="18155" LastEditDate="2019-06-11T18:23:41.133" LastActivityDate="2019-06-11T18:23:41.133" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27823" PostTypeId="2" ParentId="27807" CreationDate="2019-06-10T21:44:02.550" Score="0" Body="&lt;p&gt;Yes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any NLE can do this: you're simply going to insert/layer an image over another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's how to do it with Premiere Pro (if you have access to that program; the same principle applies to any other NLE though)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/hwK7zEPMU38?start=20&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2019-06-10T21:44:02.550" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27824" PostTypeId="2" ParentId="24435" CreationDate="2019-06-11T00:40:44.573" Score="5" Body="&lt;p&gt;Easy &lt;a href=&quot;https://ytdl-org.github.io/youtube-dl/index.html&quot; rel=&quot;noreferrer&quot;&gt;youtube-dl&lt;/a&gt; example on macOS (in the command line Terminal; Windows supported too):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ youtube-dl -F https://bitdash-a.akamaihd.net/content/MI201109210084_1/m3u8s/f08e80da-bf1d-4e3d-8899-f0f6155f6efa.m3u8&#xA;[generic] f08e80da-bf1d-4e3d-8899-f0f6155f6efa: Requesting header&#xA;[generic] f08e80da-bf1d-4e3d-8899-f0f6155f6efa: Downloading m3u8 information&#xA;[info] Available formats for f08e80da-bf1d-4e3d-8899-f0f6155f6efa:&#xA;format code           extension  resolution note&#xA;audio-English_stereo  mp4        audio only [en] &#xA;628                   mp4        320x180     628k , avc1.42c00d, video only&#xA;928                   mp4        480x270     928k , avc1.42c00d, video only&#xA;1728                  mp4        640x360    1728k , avc1.42c00d, video only&#xA;2528                  mp4        960x540    2528k , avc1.42c00d, video only&#xA;4928                  mp4        1280x720   4928k , avc1.42c00d, video only&#xA;9728                  mp4        1920x1080  9728k , avc1.42c00d, video only (best)&#xA;&#xA;$ youtube-dl --format 628 https://bitdash-a.akamaihd.net/content/MI201109210084_1/m3u8s/f08e80da-bf1d-4e3d-8899-f0f6155f6efa.m3u8&#xA;...&#xA;frame= 5257 fps=193 q=-1.0 Lsize=    6746kB time=00:03:30.16 bitrate= 263.0kbits/s speed=7.73x    &#xA;video:6679kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.998669%&#xA;[ffmpeg] Downloaded 6907810 bytes&#xA;[download] 100% of 6.59MiB in 00:29&#xA;&#xA;$ open f08e80da-bf1d-4e3d-8899-f0f6155f6efa-f08e80da-bf1d-4e3d-8899-f0f6155f6efa.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Use the browser's Developer Tools &gt; Network to get the mpd/m3u8 (DASH/HLS manifest) URL when starting a streaming video.&lt;/p&gt;&#xA;" OwnerUserId="15958" LastActivityDate="2019-06-11T00:40:44.573" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27825" PostTypeId="1" AcceptedAnswerId="28308" CreationDate="2019-06-11T01:52:22.367" Score="0" ViewCount="192" Body="&lt;p&gt;Color vector scope views are very useful for grading color more objectively. I can find it easily in FCPX 10.4.6, but where can I find it in Motion? (currently using 5.4.3)&lt;/p&gt;&#xA;" OwnerUserId="16433" LastActivityDate="2019-08-19T11:09:03.800" Title="Where is video color vector scope in Apple Motion?" Tags="|color-correction|motion|apple|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27826" PostTypeId="1" CreationDate="2019-06-11T04:49:12.640" Score="1" ViewCount="6944" Body="&lt;p&gt;When editing a 360 video in Adobe Premiere Pro, I noticed that if I import the video into the program and export it again without any additional changes, the resulting file size of the output file is 10 times smaller than the original, and the output file is lower resolution and appears blurry compared to the original. The file has been captured with a Garmin VIRB 360, video duration is 4 minutes, the original file size is 3 GB, and the output file size is 300 MB. I run a Windows 10 machine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are the properties of my sequence: 4736 x 2496, 00:03:56:01, 29.97 fps, 48000 Hz - Stereo, VR Projection: Equirectangular, VR Layout: Monoscopic, VR Captured View: 360° Horizontal by 180° Vertical. I exported the file using the following settings: Format: H.264, Preset: Custom, and ticked the box saying &quot;Use maximum render quality&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I export 360 video out of Premiere and still preserve the original 4K quality of the footage?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found a youtube tutorial for how to preserve video quality on a Mac &lt;a href=&quot;https://www.youtube.com/watch?v=1IJPtQMzKMw&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, but I'm using Windows, and instead tried the export settings listed &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/kb/work-with-vr.html#main-pars_header_1276988440&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. The settings were: &quot;H.264 format with the Match Source preset. Disable the match source check boxes for dimensions, profile, and level. Change the profile to High and the level to 5.2. Choose Stretch To Fill in the Source Scaling setting (**couldn't find this one, so didn't do it**). Disable the aspect ratio link next to the dimensions and change the dimensions to 4096 by 2304 (or 2160 for 60 fps). Select a high bit rate, such as 100 Mbps. Enable Use Maximum Render Quality to achieve the best scaling results.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, the difference in quality is still substantial.&#xA;Here is a frame zoomed in at maximum level for the original file: &lt;a href=&quot;https://i.stack.imgur.com/2QZTK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2QZTK.jpg&quot; alt=&quot;original image quality&quot;&gt;&lt;/a&gt;&#xA;And here is approximately the same frame zoomed in at maximum level for the exported file: &lt;a href=&quot;https://i.stack.imgur.com/qcfB3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qcfB3.jpg&quot; alt=&quot;exported image quality&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25346" LastEditorUserId="25346" LastEditDate="2019-06-11T21:13:46.657" LastActivityDate="2019-11-10T10:00:45.173" Title="How to output high quality 360 VR video with Premiere Pro?" Tags="|premiere|video-quality|4k|360video|vr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27827" PostTypeId="1" CreationDate="2019-06-11T08:54:30.693" Score="0" ViewCount="367" Body="&lt;p&gt;I try speed up a part of video but when completed, the output has the wrong duration video, and it contain some freeze frames. My command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /storage/emulated/0/Screen_Recorder/ScreenRecord/Audio_VD_1560242359654.mp4 -preset ultrafast \&#xA;  -filter_complex \&#xA;     [0:v]trim=0:12,setpts=PTS[sv]; \&#xA;     [0:a]atrim=0:12,asetpts=PTS[sa]; \&#xA;     [0:v]trim=12:50,setpts=0.50*(PTS)[v0]; \&#xA;     [0:a]atrim=12:50,atempo=2.00[a0]; \&#xA;     [0:v]trim=50:57,setpts=PTS[ev]; \&#xA;     [0:a]atrim=50:57,asetpts=PTS[ea]; \&#xA;     [sv][sa][v0][a0][ev][ea]concat=n=3:v=1:a=1 \&#xA;  -profile:v baseline -c:a aac \&#xA;  /storage/emulated/0/Screen_Recorder/ScreenRecord/Speed_VD_1560242925087.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and when I try &lt;code&gt;atrim&lt;/code&gt; audio, and merge it to video if trim form more than zero frame before of video after trim can't play. How can I fix it?&lt;/p&gt;&#xA;" OwnerUserId="25426" LastEditorUserId="18155" LastEditDate="2019-06-12T15:07:36.577" LastActivityDate="2019-06-12T15:07:36.577" Title="Speed multi part of video" Tags="|ffmpeg|android|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27828" PostTypeId="2" ParentId="27811" CreationDate="2019-06-11T09:39:38.607" Score="0" Body="&lt;p&gt;ProRes is only one of codecs using for encoding / decoding video into / from the &lt;code&gt;.mov&lt;/code&gt; files container. You need other codecs, too, to be able play back all &lt;code&gt;.mov&lt;/code&gt; files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Quick Time Player is the native player for the Apple's &lt;code&gt;.mov&lt;/code&gt; files, so it has its own codecs for playing back them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For Media Player Classic you need the appropriate codecs to be installed in your operating system (Windows 10).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Probably the simplest and most reliable method is to download and install the free &lt;a href=&quot;https://www.codecguide.com/download_kl.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;K-Lite Codec Pack&lt;/a&gt; - the decision between its different versions (Basic, Standard, etc.) is up to you, all versions will cause that all media players will be able to play back all &lt;code&gt;.mov&lt;/code&gt; files (and almost all others, too).&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-06-11T09:48:29.967" LastActivityDate="2019-06-11T09:48:29.967" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27829" PostTypeId="2" ParentId="27827" CreationDate="2019-06-11T09:54:29.027" Score="2" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-filter_complex [0:v]trim=0:12,setpts=(PTS-STARTPTS)[sv];[0:a]atrim=0:12,asetpts=(PTS-STARTPTS)[sa];[0:v]trim=12:50,setpts=0.50*(PTS-STARTPTS)[v0];[0:a]atrim=12:50,asetpts=(PTS-STARTPTS),atempo=2.00[a0];[0:v]trim=50:57,setpts=(PTS-STARTPTS)[ev];[0:a]atrim=50:57,asetpts=(PTS-STARTPTS)[ea];[sv][sa][v0][a0][ev][ea]concat=n=3:v=1:a=1&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;concat filter expects all inputs to start from 0, so each instance of PTS should be replaced with PTS-STARTPTS.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-06-11T09:54:29.027" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27831" PostTypeId="1" CreationDate="2019-06-11T15:15:18.960" Score="2" ViewCount="3698" Body="&lt;p&gt;I noticed when I export my footage at low bitrates (eg. 10 Mbps, 1080p), my 1080p footage looks way blurrier than my downscaled 4K footage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is despite the fact that the original footage looks similar in terms of sharpness when viewed at 1080p. Anyone knows what is the problem? This issue disappears at higher bitrates.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another weird thing is that 10 Mbps 4K downsampled is actually sharper than 50 Mbps native 1080p? I can't get my head around this. I always thought the benefits of downsampling is only visible at high bitrates. Something about the low bitrate seems to affect the 1080p footage but not the 4K footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have a look at the images below - no sharpening applied - tried to get roughly the same framing. Ignore my color grading, I know it's not that great.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I'm using the latest version of Adobe Media Encoder. The 1080p footage in question is 120p if that matters, and the original 1080p footage has quite a low bitrate. However, as seen in the image below, despite the low bitrate, the original still looks relatively sharp.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Original&lt;/strong&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/LstH5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LstH5.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;50 Mbps Export&lt;/strong&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/oJgeo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oJgeo.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;10 Mbps Export&lt;/strong&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/0huKy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0huKy.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;10 Mbps Export (4K downscaled)&lt;/strong&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/al7Lb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/al7Lb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24347" LastEditorUserId="24347" LastEditDate="2019-06-11T15:23:58.593" LastActivityDate="2019-06-13T18:11:08.013" Title="Why is 4K downsampled so much better than 1080p at low bitrates?" Tags="|4k|1080p|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27832" PostTypeId="1" CreationDate="2019-06-11T15:54:22.683" Score="0" ViewCount="17" Body="&lt;p&gt;I'm working on a short film, and I've got AE CS 6 as my editor. I have a friend who is an audio engineer, who will perform the Protools final audio mixing and editing. I've got some sound effects in my AE file that I like, and I'd love a good way to add visual text callouts about which audio file is currently playing. That way, he can save time by not having to search thru my big shared audio library to find the exact sound (.wav) that's currently playing.&#xA;  It seems like it would be a text layer with an expression on the Source text, and a for loop, but I can't imagine how to write the expression.&lt;br&gt;&#xA;  I hope this makes sense.&#xA;Thanks in advance!&#xA;Geoff&lt;/p&gt;&#xA;" OwnerUserId="25433" LastActivityDate="2019-06-13T08:22:24.050" Title="After effects: Adding visual callouts of currently playing audio files with a source text script" Tags="|after-effects|audio|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27834" PostTypeId="1" AcceptedAnswerId="27835" CreationDate="2019-06-11T21:53:52.780" Score="0" ViewCount="320" Body="&lt;p&gt;I am trying to get this ffmpeg command right, and think I am close but not quite there.  I have a source that has 4 stereo pairs in it (RTSP), so the source looks like this in ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, sdp, from '/tmp/sdp':&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (Main), yuv420p(progressive), 1280x720, 30 fps, 30 tbr, 90k tbn, 60 tbc&#xA;    Stream #0:1: Audio: aac (LC), 48000 Hz, stereo, fltp&#xA;    Stream #0:2: Audio: aac (LC), 48000 Hz, stereo, fltp&#xA;    Stream #0:3: Audio: aac (LC), 48000 Hz, stereo, fltp&#xA;    Stream #0:4: Audio: aac (LC), 48000 Hz, stereo, fltp&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And what I want to do is output a single RTMP stream with 7.1 audio.  This is what I have so far (just a command fragment to leave off the output url):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -protocol_whitelist file,udp,rtp -threads 4 -loglevel info -i /tmp/sdp -filter_complex '[0:1][0:2][0:3][0:4]join=inputs=8:channel_layout=7.1[a]' -map 0:0 -map '[a]:1' -c:v copy  -c:a aac -b:a 384k -ac 8 -ar 44100 -f flv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In the output it throws:&#xA;&lt;code&gt;Cannot find a matching stream for unlabeled input pad 4 on filter Parsed_join_0&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I missing?&lt;/p&gt;&#xA;" OwnerUserId="25437" LastActivityDate="2021-07-08T16:16:49.223" Title="ffmpeg: map 4 stereo pairs into 7.1 audio in FLV/RTMP" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27835" PostTypeId="2" ParentId="27834" CreationDate="2019-06-12T04:30:07.570" Score="0" Body="&lt;p&gt;The inputs option in ffmpeg filters refers to number of streams, not channels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -protocol_whitelist file,udp,rtp -threads 4 -loglevel info -i /tmp/sdp -filter_complex '[0:1][0:2][0:3][0:4]join=inputs=4:channel_layout=7.1[a]' -map 0:0 -map '[a]' -c:v copy  -c:a aac -b:a 384k -ac 8 -ar 44100 -f flv URL&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-06-12T04:30:07.570" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27836" PostTypeId="1" AcceptedAnswerId="27837" CreationDate="2019-06-12T10:39:49.250" Score="0" ViewCount="2627" Body="&lt;p&gt;Say you input has 2 english audio tracks, 7.1 and 2.0. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You want to copy the audio track of highest quality (number of channels) to &lt;code&gt;audio.ext&lt;/code&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use &lt;code&gt;-map 0:m:language:eng&lt;/code&gt; it selects all english audio tracks where I thought by default it would only copy the highest channel audio track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i *mkv -map 0:m:language:eng -vn -acodec copy output.flac&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="18048" LastEditorUserId="18048" LastEditDate="2019-06-12T10:57:24.600" LastActivityDate="2019-06-13T08:37:22.587" Title="ffmpeg copy highest quality audio track of a specific language" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27837" PostTypeId="2" ParentId="27836" CreationDate="2019-06-12T11:23:30.853" Score="2" Body="&lt;p&gt;A &lt;code&gt;map&lt;/code&gt; option will select all streams matched by the specification. The 'best' stream is only selected in the absence of any map options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, you'll need a two-stage process to do this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mkv -map 0:a:m:language:eng -vn -acodec copy -f nut - | ffmpeg -f nut -i - -c copy output.flac&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The first ffmpeg process sends all English language audio streams to the 2nd ffmpeg process, which will select only the 'best' among the received streams for output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to keep metadata, and not worry about the codec of the input file, you can change your output to &lt;code&gt;.mkv&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-06-13T08:37:22.587" LastActivityDate="2019-06-13T08:37:22.587" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="27838" PostTypeId="1" CreationDate="2019-06-12T20:59:57.593" Score="0" ViewCount="53" Body="&lt;p&gt;I have two workstations with the same configuration, with the same version of Premiere and the same project file.  Why on the first workstation, can I preview the sequence without needing to render while on the other workstation to be able to preview the sequence, I need to render?&lt;/p&gt;&#xA;" OwnerUserId="25441" LastActivityDate="2023-12-20T02:08:36.053" Title="Preview the sequence in Premiere" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27839" PostTypeId="1" AcceptedAnswerId="27845" CreationDate="2019-06-13T07:47:53.747" Score="0" ViewCount="103" Body="&lt;p&gt;Is it possible to write comments into files specified by &lt;code&gt;-filter_script&lt;/code&gt; and &lt;code&gt;-filter_complex_script&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-06-13T07:55:15.533" LastActivityDate="2019-06-13T10:04:34.823" Title="Comments in script files" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27840" PostTypeId="2" ParentId="27838" CreationDate="2019-06-13T08:17:51.033" Score="0" Body="&lt;p&gt;Because the workstations most likely don't have the same specs? From what I understand I assume that the other workspace runs slowly in preview or required you to pre-render the sequence in order to play it smoothly. In that case, check your ram, cpu and gpu and upgrade it accordingly. If that is not the problem at hand, please clarify what it is.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-13T08:17:51.033" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="27841" PostTypeId="2" ParentId="27832" CreationDate="2019-06-13T08:22:24.050" Score="1" Body="&lt;p&gt;You are making your and your friend's job much harder than it would have to be. Try exporting an xml (if it's possible to read audio-xlms in protools) or, which would be much easier, your friend switches over to audition. That way you can simply load your audio-timeline into audition and it's all there. Trying to recreate your mix is a terrible idea as you will risk damaging the synced audio of dialogue etc.&#xA;Alternatively, if none of that works, assign each audio channel a role (such as vox, ambient, wind, punches, etc.) and export each track on its own. He could then import every track which will be in sync just the way you had it and slice the individual tracks up if he wants to.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-13T08:22:24.050" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27842" PostTypeId="2" ParentId="27820" CreationDate="2019-06-13T08:26:01.527" Score="1" Body="&lt;p&gt;60mb is already a ridiculously small size for a minute of footage. If you go even below that, your video will quickly look like one of those made with unregistered hypercam 3.0 back in 2009 youtube-era. Please don't. Hard-drives nowadays are incredibly cheap and I recommend just buying an external or internal one. You can get 1tb for about 50$. You could fit 16666 minutes of footage on there, which is over 277 hours. That sounds fair for 50 bucks. Please don't go below your bitrate, it's already barely intermediate.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-13T08:26:01.527" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27843" PostTypeId="2" ParentId="27831" CreationDate="2019-06-13T08:29:06.870" Score="0" Body="&lt;p&gt;Very good question!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are some factors, but the most important one would be multisampling. If you know your way around gaming, you probably heard of anti-aliasing. To get rid of jagged edges, you take samples of many pixels around one pixel to determine its accurate color and brightness. Aliasing is not really the same thing for video, but the main mechanic works similar. Where a 1080p recording only has one sample for each pixel in a 1080p sequence, 4k footage on the other hand will have much more information for each pixel when downsampled to 1080p.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-13T08:29:06.870" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27844" PostTypeId="2" ParentId="27826" CreationDate="2019-06-13T08:31:39.990" Score="1" Body="&lt;p&gt;Format: h.264 -&gt; that's what makes it look bad.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;h.264 is a codec in the mp4 container and always compresses, making the file smaller and look worse. For lossless exporting you use prores 4444 xq if you're using mac (or windows with the newest version of premiere) or DNxHR. I highly recommend prores 4444 xq though.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-13T08:31:39.990" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27845" PostTypeId="2" ParentId="27839" CreationDate="2019-06-13T09:15:53.797" Score="3" Body="&lt;p&gt;&lt;code&gt;-filter_script&lt;/code&gt; and &lt;code&gt;-filter_complex_script&lt;/code&gt; simply read a filtergraph from a file, and there is no support for comments within filtergraphs.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="18155" LastEditDate="2019-06-13T10:04:34.823" LastActivityDate="2019-06-13T10:04:34.823" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27846" PostTypeId="1" CreationDate="2019-06-13T12:44:10.517" Score="0" ViewCount="49" Body="&lt;p&gt;To start with, I am an amateur when it comes to computational photography. I am trying to use Google's Tour Creator to create a virtual tour of my store. It works perfectly when I am standing at a point and rotating 360 on it. But I want to create a tour where I am walking straight. Imagine a camera mounted on a cart moving through an aisle in a super-market.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some way I can accomplish this? Some other website? Can I code something for this?&lt;/p&gt;&#xA;" OwnerUserId="25443" LastActivityDate="2024-02-17T22:07:35.880" Title="Walking Forward in Google Tour Creator" Tags="|video|video-editor|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27847" PostTypeId="1" CreationDate="2019-06-13T13:10:19.333" Score="0" ViewCount="807" Body="&lt;p&gt;Since it has an option for AA battery, I don't need phantom power right?&#xA;Do absolutely need an audio interface? or can I just use an XLR to 3.5mm cable and connect it to my computer? Are there any other things I need to look at to get decent audio?&#xA;I'm really confused and haven't really found a straight forward answer online, really sorry for being dumb and thanks a lot for your help.&lt;/p&gt;&#xA;" OwnerUserId="25444" LastActivityDate="2023-01-25T13:26:34.843" Title="I recently bought a Rode NTG2 without much research, what else do I need to make it work well?" Tags="|audio|microphone|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27849" PostTypeId="2" ParentId="27846" CreationDate="2019-06-13T13:56:49.897" Score="0" Body="&lt;p&gt;The simplest thing to do would be to simply shoot a video of it. Alternatively, you can use photography from inside the store to generate a photogrammetry model. Simply put, a program looks at a lot of images and stitches them together to a textured 3d-model. You could then walk through the 3d-space. Since you said that you are an amateur at this field, I would highly recommend just filming the motion, or hiring someone who does. All you'd need is a steadicam and a camera, obviously. From 2 or 3 images alone you cannot accomplish such a motion.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-13T13:56:49.897" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27850" PostTypeId="2" ParentId="27688" CreationDate="2019-06-13T17:03:36.093" Score="1" Body="&lt;p&gt;I understand, that by saying &quot;manually&quot; you mean: input digits with keyboard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no easy way to manipulate this exact setting that way through UI - if you want more precise control hold Ctrl while click dragging the slider your mouse left-right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However if you really need to be on the exact number (and perhaps you will set this once for entire project) - there is a hack, that will allow you to set this value to exact number:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Make backup of your project before doing any changes this way.&lt;/li&gt;&#xA;&lt;li&gt;Close the project in Premiere if you have it open.&lt;/li&gt;&#xA;&lt;li&gt;Open your .prproj file with zip archive tool (like 7-Zip), inside you will find xml file representing all settings of the project.&lt;/li&gt;&#xA;&lt;li&gt;Open it with a text editor - I recommend Atom or something with syntax highlighting.&lt;/li&gt;&#xA;&lt;li&gt;Search for &quot;LFE&quot;, edit appropriately (this may require some educated guesses).&lt;/li&gt;&#xA;&lt;li&gt;Put xml file back into archive, and re-open in Premiere.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="25448" LastActivityDate="2019-06-13T17:03:36.093" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27851" PostTypeId="2" ParentId="27831" CreationDate="2019-06-13T18:11:08.013" Score="2" Body="&lt;p&gt;First let me explain chroma subsampling, as this is the reason why 4k -&gt; 1080p always looks better than native 1080p&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Consumer &amp;amp; pro-sumer camera gear, anything not super high end, cuts some corners to save on processing and storage.  You'll find this information when you look in your specs and see the 4:2:2 like number.  So what's happening is for every 4 pixels, in a square, 2 of them are being used for color (so the top 2 pixels are the same color, and the bottom two pixels are the same color) and all 4 pixels have their own brightness level so that you get the appearance of 4 different colors in this 2x2 block of pixels.  This reduces the amount of data by 1/3rd and what's even more popular even in higher end equipment is 4:2:0 which cuts the data in half.  The reason it saves so much is because a color requires 3 pieces of information plus 1 piece for brightness, so 4 per pixel, but if you throw away color information but keep half or all the brightness, you can approximate the colors.  This is generally imperceivable to the naked eye but it's still a detail shortcut and it's problematic for green screening where you now have multiple mixes of green and non green mixing together and is part of the reason why you see a green halo around people in amateur green screening.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This concept is applied at any level you are recording, so if you record at 1080p your camera is probably doing 422 or 420 and if you kick it up to 4k it's still doing 422/420 but when you down sample 4k to 1080p e, you turn a 2x2 block of pixels into 1 pixel, so now you have all the color and light detail so you are essentially at 444 quality, which is maximum detail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can read more about it on Wikipedia: &lt;a href=&quot;https://en.wikipedia.org/wiki/Chroma_subsampling&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Chroma_subsampling&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23117" LastActivityDate="2019-06-13T18:11:08.013" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27852" PostTypeId="2" ParentId="27847" CreationDate="2019-06-13T18:14:47.510" Score="0" Body="&lt;p&gt;Never forget that no matter how much you spend, distance is everything.  If you want the best results you'll want to boom your shotgun right above or below the person.  Camera mounting will gives you the worst results because you will always be further away than you can get it with a boom.  I would rather use a $50 mic boomed (or lapel) than a $2,000 mic camera mounted any day.&lt;/p&gt;&#xA;" OwnerUserId="23117" LastActivityDate="2019-06-13T18:14:47.510" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27853" PostTypeId="2" ParentId="27820" CreationDate="2019-06-13T18:56:06.420" Score="0" Body="&lt;p&gt;The length of the video file is going to depend on resolution and amount of visual changes multiplied by time.  Many codecs support a type of static (minimal change) encoding, sometimes referred to as &quot;desktop capture&quot; as it's ideal for capturing a computer desktop because very little changes.  If you want small file sizes you don't include video of yourself, but if you do, make it very small, like only a postage stamp or two in the corner and better yet even turn it on &amp;amp; off as needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you look at various desktop tutorials it's common to see a 45min video only be like 75MB because the desktop changes so little that the video file doesn't need to store a lot of information.  Also record/export your audio in mono, stereo is a waste of information for talking.  It won't make much of a difference but it will make a tiny one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as I know Mpeg4 doesn't offer anything optimized for desktop capture, you might want to look into a different capturing codec.  I know .WMV had explicit support for it but that's not a very popular format these days.&lt;/p&gt;&#xA;" OwnerUserId="23117" LastActivityDate="2019-06-13T18:56:06.420" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27854" PostTypeId="1" AcceptedAnswerId="27855" CreationDate="2019-06-13T19:28:11.630" Score="0" ViewCount="5957" Body="&lt;p&gt;I was trying to convert a caption-embedded &lt;code&gt;.mp4&lt;/code&gt; file into a &lt;code&gt;.ts&lt;/code&gt; file. Only command found after some search was this which uses &lt;code&gt;FFmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1559066401592889640.mp4 -c copy -bsf h264_mp4toannexb 1559066401592889640.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But when running, I get this error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Codec 'ac3' (86019) is not supported by the bitstream filter 'h264_mp4toannexb'.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What is going wrong? How to fix it?&#xA;I'm using latest FFmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-93649-gd0ca749adb Copyright (c) 2000-2019 the FFmpeg developers&#xA;built with gcc 8.3.1 (GCC) 20190414&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2020-11-09T02:23:22.503" Title="Errors in converting mp4 to ts with FFmpeg" Tags="|video|ffmpeg|encoding|mp4|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27855" PostTypeId="2" ParentId="27854" CreationDate="2019-06-13T19:55:53.907" Score="4" Body="&lt;p&gt;a) &lt;code&gt;-bsf h264_mp4toannexb&lt;/code&gt; applies the filter to all output streams but it has to be applied to only video streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;b) In any case, newer versions of ffmpeg, like the one you have, will automatically apply bitstream filters so you don't need to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1559066401592889640.mp4 -c copy 1559066401592889640.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-06-13T19:55:53.907" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27860" PostTypeId="1" AcceptedAnswerId="27865" CreationDate="2019-06-14T14:26:10.667" Score="1" ViewCount="38" Body="&lt;p&gt;I'd like to turn off the LCD on my camcorder during recording, to save battery. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I cannot close the LCD screen because I have plugged in an external microphone and the external microphone plug is under the LCD (see picture).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using a Canon Vixia HF R42.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1nytn.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1nytn.jpg&quot; alt=&quot;Photo from Canon USA&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25456" LastEditorUserId="25456" LastEditDate="2019-06-14T18:18:01.670" LastActivityDate="2019-06-15T15:06:24.620" Title="How to turn off LCD on camcorder while external microphone is connected?" Tags="|canon|camcorder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27862" PostTypeId="1" CreationDate="2019-06-15T02:58:49.403" Score="0" ViewCount="491" Body="&lt;p&gt;How is this effect achieved?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tNiLz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/tNiLz.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Original video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/nJZm-zp639s?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;)&lt;/p&gt;&#xA;" OwnerUserId="6593" LastActivityDate="2019-06-20T01:01:01.817" Title="Instructional video creation: &quot;see-through glass&quot; whiteboard effect" Tags="|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27864" PostTypeId="1" CreationDate="2019-06-15T14:39:20.280" Score="1" ViewCount="42" Body="&lt;p&gt;I'm trying to track an object. How can I keep the tracked object centered when I zoom? I have After Effects and Premiere Pro, but I prefer a Premiere Pro solution if it's possible. It's much faster for my editing workflow.&lt;/p&gt;&#xA;" OwnerUserId="22591" LastEditorUserId="14523" LastEditDate="2019-06-16T19:06:21.423" LastActivityDate="2019-06-16T19:06:21.423" Title="How to track zoom location?" Tags="|premiere|after-effects|tracking|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27865" PostTypeId="2" ParentId="27860" CreationDate="2019-06-15T15:06:24.620" Score="2" Body="&lt;p&gt;It's not possible to turn off the LCD panel when it is open, but you may do two things with it to save your battery:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;em&gt;reduce the LCD brightness to the its lowest limit,&lt;/em&gt; and&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;set the LCD Backlight to [L Dim]&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Both commands are available from the &lt;code&gt;Home Menu -&amp;gt; Other Settings -&amp;gt; Display Setup&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2019-06-15T15:06:24.620" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27866" PostTypeId="1" CreationDate="2019-06-15T18:42:26.510" Score="0" ViewCount="185" Body="&lt;p&gt;vid showing what i want to do: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/1QbGjt27vXU?start=423&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if i have this image: &lt;a href=&quot;https://i.redd.it/259hhktl49431.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.redd.it/259hhktl49431.png&lt;/a&gt;&#xA;how would i do what the youtube video is doing with selected lines in that image?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;im using hitfilm express 12 and i also have davinci resolve 15. im really new to editing and the closest thing ive done to try to copy the effect is create a mask around a certain line and then create a new mask that shows 2 lines, then 3 lines, etc&lt;/p&gt;&#xA;" OwnerUserId="25465" LastEditorUserId="25465" LastEditDate="2019-06-15T19:51:00.500" LastActivityDate="2023-03-22T07:04:05.620" Title="how to create a line by line effect" Tags="|video-editor|effects|davinci-resolve|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27868" PostTypeId="1" AcceptedAnswerId="27869" CreationDate="2019-06-15T21:47:17.200" Score="1" ViewCount="4795" Body="&lt;p&gt;I am trying to render a video spectrum of music using &lt;code&gt;showwaves&lt;/code&gt; ... I need it to render with a &lt;em&gt;transparent&lt;/em&gt; background (i think this is called an alpha channel?)... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried &lt;code&gt;yuva420p&lt;/code&gt; but it's still rendering a black background... here's what I'm doing:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i music.mp3 -filter_complex \&#xA;&quot;[0:a]showwaves=s=1920x1080:mode=line:colors=white:draw=full,format=yuva420p[v]&quot; \&#xA;-map &quot;[v]&quot; -map 0:a output.mp4;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Can anyone help? I know I'm close...&lt;/p&gt;&#xA;" OwnerUserId="25466" LastActivityDate="2019-06-16T05:08:36.310" Title="FFMPEG: Transparent background with 'showwaves' or 'showspectrum'" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27869" PostTypeId="2" ParentId="27868" CreationDate="2019-06-16T04:36:53.927" Score="2" Body="&lt;p&gt;The default codec for MP4 is x264 which does not support alpha channel. Use PNG.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i music.mp3 -filter_complex \&#xA;&quot;[0:a]showwaves=s=1920x1080:mode=line:colors=white:draw=full,format=rgbap[v]&quot; \&#xA;-map &quot;[v]&quot; -map 0:a -c:v png output.mp4;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-06-16T04:36:53.927" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27870" PostTypeId="2" ParentId="27868" CreationDate="2019-06-16T05:08:36.310" Score="0" Body="&lt;p&gt;Answering my own question after hours of research... this also works to give me a transparent background:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;qtrle&lt;/code&gt; and &lt;code&gt;colorchannelmixer&lt;/code&gt; got me there on my own:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i music.mp3 -filter_complex \&#xA;&quot;[0:a]showwaves=s=1920x1080:mode=line:colors=white:draw=full,colorchannelmixer=1:0:0:0:0:1:0:0:0:0:1:0:0.3:0.3:0.3:0&quot; \&#xA;-map 0:a -c:v qtrle -an outputWaves.mov;```&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25466" LastActivityDate="2019-06-16T05:08:36.310" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27873" PostTypeId="1" CreationDate="2019-06-16T09:56:29.093" Score="0" ViewCount="19276" Body="&lt;p&gt;I'm trying to create a 60FPS GIF. However if I use Photoshop the frame time is not correctly even when choosing 0 delay between each frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was trying to make an emote.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The project is from After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried various tools, here is my only problem:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NmjKK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/NmjKK.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The background color I used is #36393F&lt;/p&gt;&#xA;&#xA;&lt;p&gt;for some reason though, it has some weird grid around it, so it isn't the clean background which I need it to be. And yeah not sure how to make 60FPS GIFs now. I can not use WebP, it is not supported, that's why I need a background behind it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&amp;nbsp;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried various tools, XMedia Recorder, doesn't have GIF export at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;GIFGun, the one with the grid issue. I've tried it in another project with any moveable object, the same issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ezgif, well that one could work if it had 60FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&amp;nbsp;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the .AVI file if anybody wants to try out something: &lt;a href=&quot;https://workupload.com/file/4Fbdyt5g&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://workupload.com/file/4Fbdyt5g&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason why I need it exactly to be 60fps, is because otherwise it doesn't match the length.&lt;/p&gt;&#xA;" OwnerUserId="25470" LastEditorUserId="25470" LastEditDate="2019-06-17T16:58:34.997" LastActivityDate="2020-05-02T15:33:59.497" Title="How can I make an exact 60FPS GIF?" Tags="|video|after-effects|animation|animation-rendering|export|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27874" PostTypeId="2" ParentId="15918" CreationDate="2019-06-16T11:05:39.613" Score="1" Body="&lt;p&gt;Step 1: Create a transparent png with black background in photoshop&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SRH68.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SRH68.png&quot; alt=&quot;Image with opacity 80&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 2: Insert the image as picture in picture&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xuI4D.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xuI4D.png&quot; alt=&quot;Add transparent image in imovie&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;follow instructions from here &lt;a href=&quot;https://support.apple.com/kb/PH22931?locale=en_US&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.apple.com/kb/PH22931?locale=en_US&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 3: Position the picture behind the title&lt;/p&gt;&#xA;" OwnerUserId="25471" LastActivityDate="2019-06-16T11:05:39.613" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27875" PostTypeId="2" ParentId="27873" CreationDate="2019-06-16T15:41:00.507" Score="1" Body="&lt;p&gt;The gif format doesn’t work like this. You won’t be able to get an animation with this high a frame rate. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The good news is that many sites which claim to use GIFs actually use mp4 files. I don’t know your exact workflow, but you could  try making an mp4 at this frame rate and uploading it to one of the “GIF” sites. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-06-16T15:41:00.507" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27876" PostTypeId="1" CreationDate="2019-06-16T16:18:24.567" Score="1" ViewCount="301" Body="&lt;p&gt;I'm using &lt;code&gt;showfreqs&lt;/code&gt; and various other audio viz filters to create cool spectrum visualizations for my self-released music.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Going through the documentation, I see that there's a multitude of &lt;code&gt;win_func&lt;/code&gt;s you can use with &lt;code&gt;showfreqs&lt;/code&gt; (and others):&#xA;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#showfreqs&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#showfreqs&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried reading about these different windowing functions on wikipedia:&#xA;&lt;a href=&quot;https://en.wikipedia.org/wiki/Window_function&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Window_function&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I understand &lt;em&gt;generally&lt;/em&gt; that you choose a windowing function based on how you want to handle spectral leakage,  I can't really understand the math that's involved here... it's over my head.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So... my question really boils down to:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What's the right windowing function to use for visualizing music?&lt;/strong&gt; Is there a best practice here? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;hanning&lt;/code&gt; (the default) seems to work ok... I tried a few others but I'm having trouble actually observing what the differences are between them...&lt;/p&gt;&#xA;" OwnerUserId="25466" LastEditorUserId="25466" LastEditDate="2019-06-17T02:58:38.117" LastActivityDate="2024-02-12T16:09:21.230" Title="FFMPEG: Choosing the right win_func for showfreqs" Tags="|ffmpeg|visual-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27878" PostTypeId="1" CreationDate="2019-06-16T11:08:20.563" Score="0" ViewCount="577" Body="&lt;p&gt;I'm a computer-science student making a video with motion-capture data in Maya for a course. I am a real beginner.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In our story we have a character that loses her sword at a certain point. Our sword is parented to her hand and we have motion capture data (of the character) losing it. How do we deparent the sword in the middle of that animation to animate it separately? (Or, preferably, apply a basic-physics system to it so it falls realistically?)&lt;/p&gt;&#xA;" OwnerDisplayName="rvvermeulen" LastActivityDate="2022-02-10T17:45:36.180" Title="How to deparent object between frames in Maya?" Tags="|animation|maya|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27881" PostTypeId="2" ParentId="27866" CreationDate="2019-06-17T13:35:22.860" Score="1" Body="&lt;p&gt;There's different ways of accomplishing this. The easiest method I'd use is to build the entire dialogue in Illustrator or Photoshop, then Import the psd or ai into after-effects and reveal portions of the text using an animated mask.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-17T13:35:22.860" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27882" PostTypeId="1" CreationDate="2019-06-17T22:27:22.127" Score="1" ViewCount="1485" Body="&lt;p&gt;I have attempted to convert a TrueHD stream to PCM as well as FLAC. Throughout the encoding process, errors occur: &quot;lossless check failed&quot; and others. The same set of errors occurred when converting to FLAC as well. Here's my full output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\henry&amp;gt;ffmpeg -i &quot;D:\Movies\SELF-RIPPED MOVIES [1080p]\Hacksaw Ridge (2016) [TO COMPRESS]\Hacksaw Ri dge.mkv&quot; -map 0:1 -c:a pcm_s24le &quot;D:\Movies\SELF-RIPPED MOVIES [1080p]\Hacksaw Ridge (2016) [TO COMPRESS]\Hacksaw Ridge (soundtrack).mka&quot;&#xA;ffmpeg version 4.1.3 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8.3.1 (GCC) 20190414&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;[matroska,webm @ 000001f055828c80] Could not find codec parameters for stream 5 (Subtitle: hdmv_pgs_subtitle (pgssub)): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, matroska,webm, from 'D:\Movies\SELF-RIPPED MOVIES [1080p]\Hacksaw Ridge (2016) [TO COMPRESS]\Hacksaw Ri dge.mkv':&#xA;  Metadata:&#xA;    title           : Hacksaw Ridge&#xA;    encoder         : libmakemkv v1.14.3 (1.3.5/1.4.7) win(x64-release)&#xA;    creation_time   : 2019-06-06T19:54:18.000000Z&#xA;  Duration: 02:19:19.42, start: 0.000000, bitrate: 30771 kb/s&#xA;    Chapter #0:0: start 0.000000, end 558.766542&#xA;    Metadata:&#xA;      title           : Chapter 01&#xA;    Chapter #0:1: start 558.766542, end 1121.995875&#xA;    Metadata:&#xA;      title           : Chapter 02&#xA;    Chapter #0:2: start 1121.995875, end 1594.509583&#xA;    Metadata:&#xA;      title           : Chapter 03&#xA;    Chapter #0:3: start 1594.509583, end 1980.561917&#xA;    Metadata:&#xA;      title           : Chapter 04&#xA;    Chapter #0:4: start 1980.561917, end 2404.151750&#xA;    Metadata:&#xA;      title           : Chapter 05&#xA;    Chapter #0:5: start 2404.151750, end 3007.212542&#xA;    Metadata:&#xA;      title           : Chapter 06&#xA;    Chapter #0:6: start 3007.212542, end 3421.543125&#xA;    Metadata:&#xA;      title           : Chapter 07&#xA;    Chapter #0:7: start 3421.543125, end 3861.649458&#xA;    Metadata:&#xA;      title           : Chapter 08&#xA;    Chapter #0:8: start 3861.649458, end 4670.207208&#xA;    Metadata:&#xA;      title           : Chapter 09&#xA;    Chapter #0:9: start 4670.207208, end 5038.700333&#xA;    Metadata:&#xA;      title           : Chapter 10&#xA;    Chapter #0:10: start 5038.700333, end 5481.726250&#xA;    Metadata:&#xA;      title           : Chapter 11&#xA;    Chapter #0:11: start 5481.726250, end 5942.811875&#xA;    Metadata:&#xA;      title           : Chapter 12&#xA;    Chapter #0:12: start 5942.811875, end 6367.569542&#xA;    Metadata:&#xA;      title           : Chapter 13&#xA;    Chapter #0:13: start 6367.569542, end 7188.306125&#xA;    Metadata:&#xA;      title           : Chapter 14&#xA;    Chapter #0:14: start 7188.306125, end 7633.292333&#xA;    Metadata:&#xA;      title           : Chapter 15&#xA;    Chapter #0:15: start 7633.292333, end 8359.424000&#xA;    Metadata:&#xA;      title           : Chapter 16&#xA;    Stream #0:0(eng): Video: h264 (High), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 23.98 fps, 23.98 tbr, 1k tbn, 47.95 tbc&#xA;    Metadata:&#xA;      BPS-eng         : 25437577&#xA;      DURATION-eng    : 02:19:19.392708333&#xA;      NUMBER_OF_FRAMES-eng: 200425&#xA;      NUMBER_OF_BYTES-eng: 26580335044&#xA;      SOURCE_ID-eng   : 001011&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.14.3 win(x64-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-06-06 19:54:18&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;    Stream #0:1(eng): Audio: truehd, 48000 Hz, 7.1, s32 (24 bit) (default)&#xA;    Metadata:&#xA;      title           : Surround 7.1&#xA;      BPS-eng         : 4198137&#xA;      DURATION-eng    : 02:19:19.394166666&#xA;      NUMBER_OF_FRAMES-eng: 10031273&#xA;      NUMBER_OF_BYTES-eng: 4386735194&#xA;      SOURCE_ID-eng   : 001100&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.14.3 win(x64-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-06-06 19:54:18&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;    Stream #0:2(eng): Audio: ac3, 48000 Hz, 5.1(side), fltp, 640 kb/s&#xA;    Metadata:&#xA;      title           : Surround 5.1&#xA;      BPS-eng         : 640000&#xA;      DURATION-eng    : 02:19:19.424000000&#xA;      NUMBER_OF_FRAMES-eng: 261232&#xA;      NUMBER_OF_BYTES-eng: 668753920&#xA;      SOURCE_ID-eng   : 001100&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.14.3 win(x64-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-06-06 19:54:18&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;    Stream #0:3(eng): Audio: ac3, 48000 Hz, stereo, fltp, 224 kb/s&#xA;    Metadata:&#xA;      title           : Stereo&#xA;      BPS-eng         : 224000&#xA;      DURATION-eng    : 02:19:19.456000000&#xA;      NUMBER_OF_FRAMES-eng: 261233&#xA;      NUMBER_OF_BYTES-eng: 234064768&#xA;      SOURCE_ID-eng   : 001102&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.14.3 win(x64-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-06-06 19:54:18&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;    Stream #0:4(eng): Audio: ac3, 48000 Hz, stereo, fltp, 224 kb/s&#xA;    Metadata:&#xA;      title           : Stereo&#xA;      BPS-eng         : 224000&#xA;      DURATION-eng    : 02:19:19.456000000&#xA;      NUMBER_OF_FRAMES-eng: 261233&#xA;      NUMBER_OF_BYTES-eng: 234064768&#xA;      SOURCE_ID-eng   : 001103&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.14.3 win(x64-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-06-06 19:54:18&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;    Stream #0:5(eng): Subtitle: hdmv_pgs_subtitle&#xA;    Metadata:&#xA;      BPS-eng         : 34867&#xA;      DURATION-eng    : 02:09:48.843562500&#xA;      NUMBER_OF_FRAMES-eng: 3316&#xA;      NUMBER_OF_BYTES-eng: 33947630&#xA;      SOURCE_ID-eng   : 001200&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.14.3 win(x64-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-06-06 19:54:18&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;Stream mapping:&#xA;  Stream #0:1 -&amp;gt; #0:0 (truehd (native) -&amp;gt; pcm_s24le (native))&#xA;Press [q] to stop, [?] for help&#xA;Output #0, matroska, to 'D:\Movies\SELF-RIPPED MOVIES [1080p]\Hacksaw Ridge (2016) [TO COMPRESS]\Hacksaw Ridge (soundtrack).mka':&#xA;  Metadata:&#xA;    title           : Hacksaw Ridge&#xA;    encoder         : Lavf58.20.100&#xA;    Chapter #0:0: start 0.000000, end 558.766542&#xA;    Metadata:&#xA;      title           : Chapter 01&#xA;    Chapter #0:1: start 558.766542, end 1121.995875&#xA;    Metadata:&#xA;      title           : Chapter 02&#xA;    Chapter #0:2: start 1121.995875, end 1594.509583&#xA;    Metadata:&#xA;      title           : Chapter 03&#xA;    Chapter #0:3: start 1594.509583, end 1980.561917&#xA;    Metadata:&#xA;      title           : Chapter 04&#xA;    Chapter #0:4: start 1980.561917, end 2404.151750&#xA;    Metadata:&#xA;      title           : Chapter 05&#xA;    Chapter #0:5: start 2404.151750, end 3007.212542&#xA;    Metadata:&#xA;      title           : Chapter 06&#xA;    Chapter #0:6: start 3007.212542, end 3421.543125&#xA;    Metadata:&#xA;      title           : Chapter 07&#xA;    Chapter #0:7: start 3421.543125, end 3861.649458&#xA;    Metadata:&#xA;      title           : Chapter 08&#xA;    Chapter #0:8: start 3861.649458, end 4670.207208&#xA;    Metadata:&#xA;      title           : Chapter 09&#xA;    Chapter #0:9: start 4670.207208, end 5038.700333&#xA;    Metadata:&#xA;      title           : Chapter 10&#xA;    Chapter #0:10: start 5038.700333, end 5481.726250&#xA;    Metadata:&#xA;      title           : Chapter 11&#xA;    Chapter #0:11: start 5481.726250, end 5942.811875&#xA;    Metadata:&#xA;      title           : Chapter 12&#xA;    Chapter #0:12: start 5942.811875, end 6367.569542&#xA;    Metadata:&#xA;      title           : Chapter 13&#xA;    Chapter #0:13: start 6367.569542, end 7188.306125&#xA;    Metadata:&#xA;      title           : Chapter 14&#xA;    Chapter #0:14: start 7188.306125, end 7633.292333&#xA;    Metadata:&#xA;      title           : Chapter 15&#xA;    Chapter #0:15: start 7633.292333, end 8359.424000&#xA;    Metadata:&#xA;      title           : Chapter 16&#xA;    Stream #0:0(eng): Audio: pcm_s24le ([1][0][0][0] / 0x0001), 48000 Hz, 7.1, s32 (24 bit), 9216 kb/s (default)&#xA;    Metadata:&#xA;      title           : Surround 7.1&#xA;      BPS-eng         : 4198137&#xA;      DURATION-eng    : 02:19:19.394166666&#xA;      NUMBER_OF_FRAMES-eng: 10031273&#xA;      NUMBER_OF_BYTES-eng: 4386735194&#xA;      SOURCE_ID-eng   : 001100&#xA;      _STATISTICS_WRITING_APP-eng: MakeMKV v1.14.3 win(x64-release)&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-06-06 19:54:18&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES SOURCE_ID&#xA;      encoder         : Lavc58.35.100 pcm_s24le&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 00, calculated a5.&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 27, calculated fa.&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 26, calculated d4.&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected ff, calculated 64.&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 29, calculated 50.&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 53, calculated 2e.&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 44, calculated 7e.&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x1b5e)&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x1418)&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x1b5c)&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x09c6)&#xA;[truehd @ 000001f057a93c00] substream 2 length mismatch&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x184d)&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x19d1)&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 1 times&#xA;[truehd @ 000001f057a93c00] Invalid channel 14 specified as output from matrix.&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 1 times&#xA;[truehd @ 000001f057a93c00] Invalid channel 9 specified as output from matrix.&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x07a2)&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 2 times&#xA;[truehd @ 000001f057a93c00] Number of primitive matrices cannot be greater than 8.&#xA;    Last message repeated 1 times&#xA;[truehd @ 000001f057a93c00] substream 2 length mismatch&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 6 times&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 1 times&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 1 times&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] Number of primitive matrices cannot be greater than 8.&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x15e9)&#xA;[truehd @ 000001f057a93c00] substream 2 length mismatch&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 4 times&#xA;[truehd @ 000001f057a93c00] Invalid huff_lsbs.&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 1 times&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 2 times&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x1cbf)&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 1 times&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x03a7)&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 2 times&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 86, calculated ed.&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 00, calculated 01.&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 26, calculated 59.&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 5b, calculated 6f.&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 72, calculated 53.&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 91, calculated da.&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x15b5)&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] Invalid blocksize.&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x1110)&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 1 times&#xA;[truehd @ 000001f057a93c00] Invalid blocksize.&#xA;[truehd @ 000001f057a93c00] substream 1 length mismatch&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] Invalid blocksize.&#xA;[truehd @ 000001f057a93c00] substream 1 length mismatch&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] Invalid blocksize.&#xA;[truehd @ 000001f057a93c00] substream 1 length mismatch&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 1 times&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x05aa)&#xA;[truehd @ 000001f057a93c00] substream 1 length mismatch&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 2 times&#xA;[truehd @ 000001f057a93c00] Invalid blocksize.&#xA;[truehd @ 000001f057a93c00] substream 1 length mismatch&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 1 times&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x1c60)&#xA;[truehd @ 000001f057a93c00] substream 1 length mismatch&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x10e0)&#xA;[truehd @ 000001f057a93c00] substream 1 length mismatch&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 2 times&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x00e1)&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 4 times&#xA;[truehd @ 000001f057a93c00] Number of primitive matrices cannot be greater than 8.&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 1 times&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 3d, calculated 29.&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 00, calculated f4.&#xA;[truehd @ 000001f057a93c00] Number of primitive matrices cannot be greater than 8.&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x1cec)&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 2 times&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x1b2e)&#xA;[truehd @ 000001f057a93c00] too many audio samples in frame&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 2 times&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x1408)&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 1 times&#xA;[truehd @ 000001f057a93c00] Invalid blocksize.&#xA;[truehd @ 000001f057a93c00] substream 1 length mismatch&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 11 times&#xA;[truehd @ 000001f057a93c00] quant_step_size larger than huff_lsbs&#xA;[truehd @ 000001f057a93c00] substream 1 length mismatch&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 2 times&#xA;[truehd @ 000001f057a93c00] Invalid blocksize.&#xA;[truehd @ 000001f057a93c00] substream 1 length mismatch&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 5 times&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x1081)&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 13 times&#xA;[truehd @ 000001f057a93c00] Invalid blocksize.&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 1 times&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x1693)&#xA;[truehd @ 000001f057a93c00] substream 1 length mismatch&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 3 times&#xA;[truehd @ 000001f057a93c00] Invalid channel 3 specified as output from matrix.&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 7 times&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x1b09)&#xA;[truehd @ 000001f057a93c00] substream 1 length mismatch&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[truehd @ 000001f057a93c00] restart header sync incorrect (got 0x1b3d)&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;    Last message repeated 2 times&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected af, calculated 5f.&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 00, calculated c7.&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 26, calculated 8d.&#xA;[truehd @ 000001f057a93c00] Lossless check failed - expected 8f, calculated 9b.&#xA;size= 9472805kB time=02:19:19.39 bitrate=9283.1kbits/s speed=15.8x&#xA;video:0kB audio:9404189kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.729632%&#xA;&#xA;C:\Users\henry&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there anything that can be done about these errors? Is it that my TrueHD audio is corrupt? Shall I ignore the errors altogether? Any response would be very useful to me. Thank you.&lt;/p&gt;&#xA;" OwnerUserId="20178" LastActivityDate="2019-06-17T22:27:22.127" Title="FFmpeg Throws Errors When Converting 7.1 TrueHD (Blu-ray Audio) To PCM Or FLAC" Tags="|ffmpeg|audio|encoding|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27883" PostTypeId="1" CreationDate="2019-06-17T23:45:39.793" Score="2" ViewCount="598" Body="&lt;p&gt;I currently have a line that makes my video have a watermark in the bottom right corner. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -vf drawtext=text=WATERMARKTEXT:x=w-tw-10:y=h-th-10:fontfile=\\Windows\\Fonts\\Montserrat-Regular.ttf:fontsize=32:fontcolor=white -vcodec libx264 -crf 20 -acodec copy output.mp4;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What I want to do is add an image file .png or .jpg doesn't really matter and display that before the video starts for 5 seconds. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible all I could find and understand did something with combining the video and the image but if I do like that I will have to encode it with watermark first then combind it with the other one.&lt;/p&gt;&#xA;" OwnerUserId="25479" LastEditorUserId="25479" LastEditDate="2019-06-18T23:14:16.690" LastActivityDate="2019-06-19T18:47:41.890" Title="ffmpeg add a intro photo before video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27885" PostTypeId="1" CreationDate="2019-06-18T12:19:13.843" Score="1" ViewCount="12228" Body="&lt;p&gt;Help I always get this I dont know why&lt;img src=&quot;https://i.stack.imgur.com/n8kBG.png&quot; alt=&quot;![Picture of the Problem&quot;&gt;]&lt;a href=&quot;https://i.stack.imgur.com/n8kBG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;1&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25483" LastActivityDate="2022-03-09T13:16:49.743" Title="FFMPEG No such File or Directory Problem" Tags="|video|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27886" PostTypeId="2" ParentId="27885" CreationDate="2019-06-18T12:29:51.727" Score="2" Body="&lt;p&gt;Instead of &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-i &quot;video.av&quot;i&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-i &quot;video.avi&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or simply&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-i video.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2019-06-18T12:29:51.727" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27887" PostTypeId="1" AcceptedAnswerId="28236" CreationDate="2019-06-18T13:14:10.307" Score="0" ViewCount="2555" Body="&lt;p&gt;I have several &lt;code&gt;MOV&lt;/code&gt; files from a DSLR camera. I concatenate them with directions &lt;a href=&quot;https://stackoverflow.com/questions/7333232/how-to-concatenate-two-mp4-files-using-ffmpeg&quot;&gt;from this thread&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -safe 0 -f concat -i files_to_combine -vcodec copy -acodec copy temp.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;files_to_combine&lt;/code&gt; is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file ./DSC_0013.MOV&#xA;...&#xA;file ./DSC_0019.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The result has image and sound in sync for the first clip and is out of sync by fractions of a second in the second clip, and out of sync by around a second for the last clip. It is probably related to this error from the log:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f82dd802200] st: 0 edit list: 1 Missing key frame while searching for timestamp: 1000&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f82dd802200] st: 0 edit list 1 Cannot find an index entry before timestamp: 1000.&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f82dd802200] Auto-inserting h264_mp4toannexb bitstream filter&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can I trim the frames to the available sound stream, then concatenate the two videos?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The full log from the &lt;code&gt;ffmpeg&lt;/code&gt; command is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.1.3 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with Apple LLVM version 10.0.1 (clang-1001.0.46.4)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/4.1.3_1 --enable-shared --enable-pthreads --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags='-I/Library/Java/JavaVirtualMachines/adoptopenjdk-11.0.2.jdk/Contents/Home/include -I/Library/Java/JavaVirtualMachines/adoptopenjdk-11.0.2.jdk/Contents/Home/include/darwin' --host-ldflags= --enable-ffplay --enable-gnutls --enable-gpl --enable-libaom --enable-libbluray --enable-libmp3lame --enable-libopus --enable-librubberband --enable-libsnappy --enable-libtesseract --enable-libtheora --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-libxvid --enable-lzma --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librtmp --enable-libspeex --enable-videotoolbox --disable-libjack --disable-indev=jack --enable-libaom --enable-libsoxr&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f82dc00e000] Auto-inserting h264_mp4toannexb bitstream filter&#xA;Input #0, concat, from 'files_to_combine':&#xA;  Duration: N/A, start: -0.592000, bitrate: 36888 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, smpte170m/bt709/bt470m), 1920x1080, 35352 kb/s, 50 fps, 50 tbr, 50k tbn, 100 tbc&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, s16, 1536 kb/s&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;Output #0, mov, to 'temp.MOV':&#xA;  Metadata:&#xA;    encoder         : Lavf58.20.100&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, smpte170m/bt709/bt470m), 1920x1080, q=2-31, 35352 kb/s, 50 fps, 50 tbr, 50k tbn, 50k tbc&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, s16, 1536 kb/s&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f82dd802200] st: 0 edit list: 1 Missing key frame while searching for timestamp: 1000&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f82dd802200] st: 0 edit list 1 Cannot find an index entry before timestamp: 1000.&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7f82dd802200] Auto-inserting h264_mp4toannexb bitstream filter&#xA;frame=41886 fps=547 q=-1.0 Lsize= 3789826kB time=00:13:58.75 bitrate=37014.8kbits/s speed=10.9x    &#xA;video:3631879kB audio:157123kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.021759%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;Update (1 July 2019)&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I thought that the files had a problem at the beginning or at the end, so I&#xA;trimmed one second from each end, but it still had the sound out of sync:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;FILES=files_to_combine&#xA;OUTPUT=show2.MOV&#xA;rm $FILES&#xA;for i in 3 4 5 6 7 8 9; do&#xA;    rm ${i}.MOV&#xA;    duration=$(ffprobe -v 0 -show_entries format=duration -of compact=p=0:nk=1  DSC_001${i}.MOV)&#xA;    trimmed=$(echo $duration - 1 | bc)&#xA;    ffmpeg -ss 1 -t $trimmed -i DSC_001${i}.MOV -vcodec copy -acodec copy ${i}.MOV&#xA;    echo file ./${i}.MOV &amp;gt;&amp;gt; $FILES&#xA;done&#xA;&#xA;rm $OUTPUT&#xA;ffmpeg -safe 0 -f concat -i $FILES -vcodec copy -acodec copy $OUTPUT&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I trim a single file near the end, the sound and video do not seem out of sync:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:09:20 -t 20 -i DSC_0014.MOV -vcodec copy -acodec copy end.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I concatenate only 30 seconds from each video, the result seems OK:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;FILES=files_to_combine&#xA;OUTPUT=show2.MOV&#xA;rm $FILES&#xA;for i in 3 4 5 6 7 8 9; do&#xA;    rm ${i}.MOV&#xA;    duration=$(ffprobe -v 0 -show_entries format=duration -of compact=p=0:nk=1  DSC_001${i}.MOV)&#xA;    start=$(echo $duration - 30 | bc)&#xA;    end=$(echo $duration - 1 | bc)&#xA;    ffmpeg -ss $start -t $end -i DSC_001${i}.MOV -vcodec copy -acodec copy ${i}.MOV&#xA;    echo file ./${i}.MOV &amp;gt;&amp;gt; $FILES&#xA;done&#xA;&#xA;rm $OUTPUT&#xA;ffmpeg -safe 0 -f concat -i $FILES -vcodec copy -acodec copy $OUTPUT&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This last concatenation gives this error multiple times:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mov @ 0x7fc3c7837400] Non-monotonous DTS in output stream 0:0; previous: 9080205, current: 9080200; changing to 9080206. This may result in incorrect timestamps in the output file.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So I am guessing that the problem is small differences in timestamps that&#xA;accumulate and become more noticeable with longer durations and the&#xA;concatenation of multiple files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For reference, the DSLR that shot these clips is a Nikon D3300 and the result&#xA;of &lt;code&gt;ffprobe&lt;/code&gt; on one of the files is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe DSC_0017.MOV -hide_banner&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fab70003800] st: 0 edit list: 1 Missing key frame while searching for timestamp: 1000&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fab70003800] st: 0 edit list 1 Cannot find an index entry before timestamp: 1000.&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'DSC_0017.MOV':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537331968&#xA;    compatible_brands: qt  niko&#xA;    creation_time   : 2019-06-12T23:52:37.000000Z&#xA;  Duration: 00:09:53.58, start: 0.000000, bitrate: 36843 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, smpte170m/bt709/bt470m), 1920x1080, 35300 kb/s, 50 fps, 50 tbr, 50k tbn, 100 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-06-12T23:52:37.000000Z&#xA;    Stream #0:1(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, 2 channels, s16, 1536 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-06-12T23:52:37.000000Z&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;Update (9 August 2019)&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I concatenated the files in iMovie and the sound and image are not as out of sync as with FFMPEG. Maybe iMovie aligns the timestamps at the end of each clip instead of concatenating the audio and image streams separately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I ran the concatenation again with the latest &lt;code&gt;ffmpeg 4.1.4_1&lt;/code&gt; on these files and others from the same camera. The audio and image are in sync in one case (the results lasts 46 minutes) out of sync in another (the result lasts 48 minutes).&lt;/p&gt;&#xA;" OwnerUserId="25024" LastEditorUserId="25024" LastEditDate="2019-09-27T13:10:55.420" LastActivityDate="2019-09-29T02:40:40.790" Title="Video concatenation puts sound out of sync" Tags="|ffmpeg|sync|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="27888" PostTypeId="1" AcceptedAnswerId="27900" CreationDate="2019-06-18T17:55:30.083" Score="1" ViewCount="314" Body="&lt;p&gt;Note: This is a question camera, the ability of the camera in question, and help into deciding whether I need a new camera. This isn't a question about just &quot;Video&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way at all to use a microphone with Canon SX720 HS? I sometimes make review videos or record videos of family/friend gatherings, and I would love to have the ability to use an external mic with this camera. Anything?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question is also posted here: &lt;a href=&quot;https://www.dpreview.com/forums/post/62728324&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dpreview.com/forums/post/62728324&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25488" LastEditorUserId="674" LastEditDate="2019-06-19T20:14:35.937" LastActivityDate="2019-07-19T21:02:45.510" Title="Is there any way at all to use a microphone with Canon SX720 HS?" Tags="|canon|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27889" PostTypeId="1" AcceptedAnswerId="27890" CreationDate="2019-06-18T19:21:34.120" Score="1" ViewCount="871" Body="&lt;p&gt;This is a follow-up question from my previous question &lt;a href=&quot;https://video.stackexchange.com/questions/27854/errors-in-converting-mp4-to-ts-with-ffmpeg/27855#27855&quot;&gt;HERE&lt;/a&gt;. I'm trying to convert a caption-embedded .&lt;code&gt;mp4&lt;/code&gt; video into a .&lt;code&gt;ts&lt;/code&gt; file, simply changing the container format. But once I convert the video, the caption looks different. Not sure what's going on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://dropbox.com/s/697c7tuqgkc0bv0/test.mp4?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt; is the sample .&lt;code&gt;mp4&lt;/code&gt; video. At second 00:34&quot; for example, you see the caption says &lt;code&gt;GARBLED CAPTION INSERTED&lt;/code&gt;. But that's not there in the converted &lt;code&gt;.ts&lt;/code&gt; file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's happening? Any clues?! &lt;/p&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2019-06-18T19:47:59.497" Title="Closed Captions missing when converting from mp4 to ts" Tags="|video|ffmpeg|mp4|file-formats|closed-captioning|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27890" PostTypeId="2" ParentId="27889" CreationDate="2019-06-18T19:47:59.497" Score="2" Body="&lt;p&gt;The subtitles in the MP4 is a mov_text (tx3g) stream which isn't supported in MPEG-TS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;MPEG-TS support either DVD subtitles or DVB teletext. The former is a bitmap subtitle format and ffmpeg can't convert text to bitmap. FFmpeg has no encoder for the latter. Your best bet is to burn the subtitles but this means re-encoding the video.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf subtitles=in.mp4 -c:v libx264 -c:a copy out.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-06-18T19:47:59.497" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27891" PostTypeId="1" CreationDate="2019-06-18T23:55:05.600" Score="2" ViewCount="1220" Body="&lt;p&gt;I'm currently using a couple commands to 1- output two files with cropped regions, and 2- overlay the 2 files back into a single file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to be able to merge this all into out command and have a single output if this would speed up the process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are my current commands (I'm using this inside a batch file, please excuse the variables):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1.This takes the input file and creates 2 output files cropped at different regions.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i %input% -filter_complex &quot;[0:v]crop=%size%:%position%[out1];[0:v]crop=200:110:6558:106[out2]&quot; -map &quot;[out1]&quot; -f mp4 -ss %startTime% -t %duration% -rtbufsize 100M -framerate 8 -c:v libx264 -qmin 35 -qmax 35 -b:v 50k -preset ultrafast -movflags +faststart tmp -map &quot;[out2]&quot; -f mp4 -ss %startTime% -t %duration% -rtbufsize 100M -framerate 8 -c:v libx264 -qmin 35 -qmax 35 -b:v 50k -preset ultrafast -movflags +faststart tmpclock&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;2.This takes the two ouput files from the previous command and overlays them into the final file.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i tmp -i tmpclock -filter_complex &quot;[0:v][1:v]overlay=%pixFrmLeft%:%pixFrmTop%&quot; -rtbufsize 100M -framerate 8 -c:v libx264 -qmin 35 -qmax 35 -b:v 50k -preset ultrafast -movflags +faststart -f mp4 %input%_Converted.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25494" LastActivityDate="2019-06-20T18:36:50.947" Title="FFMPEG single input file, crop to multiple streams, then overlay back into one output file?" Tags="|video|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27892" PostTypeId="2" ParentId="27891" CreationDate="2019-06-19T04:50:43.217" Score="1" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -ss %startTime% -t %duration% -i %input% -filter_complex &quot;[0:v]split=2[c1][c2];[c1]crop=%size%:%position%[c1];[c2]crop=200:110:6558:106[c2];[c1][c2]overlay=%pixFrmLeft%:%pixFrmTop%&quot; {your encoding options} %input%_Converted.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that &lt;code&gt;-framerate 8&lt;/code&gt; is an input option for certain file formats. For an output at 8 fps, use &lt;code&gt;-r 8&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-06-19T04:50:43.217" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27893" PostTypeId="2" ParentId="27862" CreationDate="2019-06-19T11:24:21.600" Score="2" Body="&lt;p&gt;The instructor is just standing behind glass and writing on it.&lt;/p&gt;&#xA;" OwnerUserId="25485" LastEditorUserId="14523" LastEditDate="2019-06-20T01:01:01.817" LastActivityDate="2019-06-20T01:01:01.817" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27894" PostTypeId="1" CreationDate="2019-06-19T11:30:38.490" Score="0" ViewCount="636" Body="&lt;p&gt;I'm looking for software that can screen record (windows 10) at 1000fps. I will record a game and want to take timings and I need 1000fps at least. I don't care if the game doesn't reach that 1000fps i want the software. Don't say &quot;uhh u cant record a game with 1000fps and not be laggy&quot;, shutup i dont care i only need the software&lt;/p&gt;&#xA;" OwnerUserId="25499" LastActivityDate="2019-07-19T14:03:05.433" Title="Is there a way to screen record with 1000fps?" Tags="|video-recording|digital-recording|recording|video-game|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27896" PostTypeId="2" ParentId="27894" CreationDate="2019-06-19T13:22:27.957" Score="1" Body="&lt;p&gt;You don't have to be mad, we're only helping :D&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, there is software out there that does that. Try:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Open Broadcast (obs)&lt;/li&gt;&#xA;&lt;li&gt;Fraps (although I personally hate it)&lt;/li&gt;&#xA;&lt;li&gt;Streamlabs (basically obs but in a different color)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you want to have absolute and full control over what you're recording and encoding without having to juggle 3rd party software, you could try using ffmpeg and recording the screen via commands. A very helpful and valuable guide can be found here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Capture/Desktop&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Capture/Desktop&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-19T13:22:27.957" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27897" PostTypeId="1" CreationDate="2019-06-19T15:10:03.140" Score="0" ViewCount="690" Body="&lt;p&gt;On a recent video shoot, the camera man gave us output as .MXF files. Incidentally, Audio and Video are saved in separate .mxf files. &#xA;&lt;br&gt;&lt;br&gt;&#xA;eg:&lt;br&gt;&#xA;0007WA00.MXF - Audio  (&lt;a href=&quot;https://paste.ubuntu.com/p/Hqrmwk6rf4/&quot; rel=&quot;nofollow noreferrer&quot;&gt;probe&lt;/a&gt;)&lt;br&gt;&#xA;0007WA01.MXF - Audio  (&lt;a href=&quot;https://paste.ubuntu.com/p/HnbFRZsFyR/&quot; rel=&quot;nofollow noreferrer&quot;&gt;probe&lt;/a&gt;)&lt;br&gt;&#xA;0007WA02.MXF - Audio  (&lt;a href=&quot;https://paste.ubuntu.com/p/WSvH7gZSFq/&quot; rel=&quot;nofollow noreferrer&quot;&gt;probe&lt;/a&gt;)&lt;br&gt;&#xA;0007WA03.MXF - Audio  (&lt;a href=&quot;https://paste.ubuntu.com/p/Y5MQRTfzbq/&quot; rel=&quot;nofollow noreferrer&quot;&gt;probe&lt;/a&gt;)&lt;br&gt;&#xA;0007WA.MXF - Video  (&lt;a href=&quot;https://paste.ubuntu.com/p/D7jXN4bgJT/&quot; rel=&quot;nofollow noreferrer&quot;&gt;probe&lt;/a&gt;)&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to figure out how to merge these in to a single video file. So far I couldn't find a way out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[Edit: 20 Jun 2019]&lt;br&gt;&#xA;I managed to get audio and video stitched. However, audio is mono. Want a little clarity on whether I can have stereo or surround by utilizing the 4 audio files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Command that worked:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 0007WA.MXF -i 0007WA00.MXF -i 0007WA01.MXF -i 0007WA02.MXF -i 0007WA03.MXF -c:v libx264 -c:a aac -strict experimental ../ffmpeg-stitch-mxf.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Let me add that I am not an expert at this. Perhaps some may find my questions naive.&lt;/em&gt; &lt;/p&gt;&#xA;" OwnerUserId="25501" LastEditorUserId="25501" LastEditDate="2019-06-20T05:49:44.153" LastActivityDate="2024-02-26T01:06:00.693" Title="How to merge 4 Audio and 1 Video .MXF files in to one h.264 video file on Linux using ffmpeg?" Tags="|ffmpeg|mxf|" AnswerCount="1" CommentCount="12" ContentLicense="CC BY-SA 4.0" />
  <row Id="27898" PostTypeId="2" ParentId="27883" CreationDate="2019-06-19T18:47:41.890" Score="2" Body="&lt;p&gt;Use the concat filter to join the image to the video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 25 -loop 1 -t 5 -i image.png -t 5 -f lavfi -i anullsrc=channel_layout=stereo:sample_rate=44100 -i video.mp4 -filter_complex &quot;[2:v]drawtext=text='foo'[main];[0][1][main][2:a]concat=n=2:v=1:a=1[v][a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The image should be the same width and height of the video, so you may have to add the scale, scale2ref, crop, and/or pad filters before concatenation.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If the main video has audio then the image needs have audio as well. Generating silent audio with anullsrc as shown in the example can suffice. Make sure to match the channel layout and sample rate of the main input.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-06-19T18:47:41.890" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27899" PostTypeId="2" ParentId="27699" CreationDate="2019-06-19T19:31:37.910" Score="3" Body="&lt;p&gt;You're missing the input to the filtergraph, for example &lt;code&gt;0:v&lt;/code&gt;. There are other issues though, so this is what works for me:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i VID_20190619_205627.mp4 -filter_complex \&#xA;&quot;[0:v]scale=1080:1080,setdar=1:1,gblur=sigma=20[bg]; \&#xA;[0:v]scale=-1:1080[ov]; \&#xA;[bg][ov]overlay=(W-w)/2:0[mix]&quot; \&#xA;-map [mix] -r 25 out.mp4 -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the first chain of the filtergraph scales the input video to 1080 x 1080, forces the display aspect ratio to 1:1 and blurs the video. This is the background (&lt;code&gt;bg&lt;/code&gt;)&lt;/li&gt;&#xA;&lt;li&gt;the second chain takes the input video again and scales it to ? x 1080. This is the video that will be overlaid (&lt;code&gt;ov&lt;/code&gt;)&lt;/li&gt;&#xA;&lt;li&gt;the last chain overlays the scaled video (&lt;code&gt;ov&lt;/code&gt;) on the blurred background (&lt;code&gt;bg&lt;/code&gt;), and produced the output (&lt;code&gt;mix&lt;/code&gt;), which is then chosen as the output with &lt;code&gt;-map&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Note that the blurred background is stretched in this way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on the type of input, you might want to force the frame rate with &lt;code&gt;-r 25&lt;/code&gt; or similar, and to copy the audio track with &lt;code&gt;-map 0:a -c:a copy&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="20528" LastActivityDate="2019-06-19T19:31:37.910" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27900" PostTypeId="2" ParentId="27888" CreationDate="2019-06-19T20:14:10.410" Score="0" Body="&lt;p&gt;No - while this is a well featured point and shoot, it is not designed to accept external accessories other than those detailed on &lt;a href=&quot;http://gdlp01.c-wss.com/gds/6/0300022616/01/pssx720hs-cu-en.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;page 146 in the manual&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nhDMS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nhDMS.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2019-06-19T20:14:10.410" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27901" PostTypeId="1" CreationDate="2019-06-19T20:22:14.420" Score="2" ViewCount="9895" Body="&lt;p&gt;I know this is not the optimal type of question. Sorry for that. However I think it can be answered by listing some alternatives.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I want to make videos about travel and I am looking for a tool for making animated maps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Magix Video Pro X8 for editing my videos. It has a &quot;travel animation feature&quot; included, however I think it is too cumbersome to use, some of the features seem to be no longer working and it does not allow me to do more fancy animations (like just showing the shape of a country and the main cities)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried to use QGIS with OSM data, but again it seems that there has to be an easier way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found the geolayers plugin for Adobe After Effects, but it is just too expensive for video editing being just my hobby. Also After Effects is only distibuted as a monthly subscription which I don't like because I only do video editing once a month.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think the following videos show approximately what I want to achieve, especially the third one:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/tkfg4vT7s3E?start=636&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/IAMVRXE7a5w?start=120&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/PogJhSrKiac?start=196&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What tools could I use to achieve similar results?&#xA;(I am using windows)&lt;/p&gt;&#xA;" OwnerUserId="25504" LastActivityDate="2022-11-30T05:04:55.633" Title="What tools can I use for animating maps?" Tags="|animation|software|windows|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27903" PostTypeId="1" CreationDate="2019-06-20T00:45:42.637" Score="0" ViewCount="130" Body="&lt;p&gt;This is a really basic VFX question. I just downloaded Blackmagic DaVinci Resolve (with fusion) and I was interested in trying out VFX. I thought it would be a cool idea to try to put a hole in the wall of my house in a moving handheld shot. I just don't really have any idea how. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not asking for specific buttons to press in the software, &lt;strong&gt;I just want to know a general order of events to achieve that goal.&lt;/strong&gt; (Like what tracking to use, and how to display the whole in the wall in a spatially accurate way, etc...) It's a pretty basic project, I just need somewhere to start off. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="25506" LastEditorUserId="25506" LastEditDate="2019-06-20T01:38:32.010" LastActivityDate="2019-06-20T07:46:30.807" Title="How to put a hole in a wall (VFX)" Tags="|video|video-editor|software|visual-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27904" PostTypeId="1" AcceptedAnswerId="27905" CreationDate="2019-06-20T01:16:08.090" Score="0" ViewCount="55" Body="&lt;p&gt;This is what my footage is looking like after importing into a composition:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5lWvf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5lWvf.png&quot; alt=&quot;broked&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what I've learned so far:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any mp4 file looks like this when imported. h264 or 265. I'm trying to get screen recorder footage to work, but both Android and Win10 sources are having the same issue. Mostly tried importing 4k, but having the same issues with 1080p. Portrait or Landscape makes no difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, when previewing the footage file in windows or android, all is looking fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In AE, when right-clicking on the video object in preview and setting quality to &quot;draft&quot;, it temporarily looks okay, but the issue remains when exporting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Changing any of the settings in &quot; Interpret Footage &gt; Main &quot; doesn't do the trick.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Importing and exporting in Media Encoder creates the same issue, so I can't go with re-encoding to another file type and then trying again in AE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe software is all up-to-date via Creative Cloud.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both video cards' drivers are as up-to-date as they can be: Internal Intel driver is kinda old from last year, but as good as it can be with my Lenovo product. Geforce 940MX driver is up-to-date.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried disabling the Intel card and running exclusively off the GeForce (and visa versa). AE actually crashes when running only on GeForce.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Phew!  : )&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd love and appreciate some guidance if anyone feels they may know the source of the issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Brendan&lt;/p&gt;&#xA;" OwnerUserId="25507" LastEditorUserId="25507" LastEditDate="2019-06-20T01:43:25.803" LastActivityDate="2019-06-20T07:38:01.953" Title="Major issue importing and exporting mp4 with AE and Media Encoder" Tags="|after-effects|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27905" PostTypeId="2" ParentId="27904" CreationDate="2019-06-20T07:38:01.953" Score="0" Body="&lt;p&gt;Hmm very strange, never seen this before. Here are some things I would try to figure out what is causing the issue:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Try re-encoding the file with ffmpeg into both the same container (mp4) as well as other containers such as .mov, .mkv, .wmv, etc. Maybe there's a problem with the codecs for Adobe on your machine.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Which version of AE and Media-Encoder are you using? (is it a legal copy?)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Have you tried uninstalling all codecs such as quicktime, etc. and reinstalling them?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Have you tried uninstalling the Adobe software and reinstalling it?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Since you said that on draft quality the preview looks fine momentarily, I assume that the problem is rooted in the Adobe-Software. Maybe switching off hardware-acceleration might also do the trick. Make sure to keep us updated, I'm genuinely interested what's causing this weird issue.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-20T07:38:01.953" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27906" PostTypeId="2" ParentId="27903" CreationDate="2019-06-20T07:46:30.807" Score="1" Body="&lt;p&gt;Resolve has a pretty solid tracking system built-in. I would recommend you track your footage first and make sure your trackers really stick to the wall. From there, you can go many ways.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The cheap and easy way is to just take a hole.png and attach it to the trackers, so it sticks to the wall. This might look bad though when moving around the wall, since the geometry of the .png will not change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The more advanced option would be to export the tracked data (I would recommend pftrack for that) and importing the tracked camera into any 3d-software you like (such as cinema 4d, modo, 3dsmax, etc). There, you can create a 3D-Model of said hole by grabbing the texture from the original footage on the edges and then just blend into concrete/brick-textures you can find online for the parts that penetrate the wall. By now beveling inwards and shaping the mesh a bit, you should quickly come to a promising result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the next step, it is very important that you study the light from your scene and try to recreate it in 3D as accurately as possible. Lighting, the angle and color of it makes or brakes your 3D-composition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you're done with that, you can render out a sequence as long as your original clip from the perspective of your tracked camera. To get ultra-accurate results, you can also match the focal length and distance as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you now take your rendered 3D-hole and lay it on top of your original footage (plus some blending and color grading to make it sit right in the footage) it should stick perfectly to your wall.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope I was able to help, if you have further questions please ask. Have a wonderful day :)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-20T07:46:30.807" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27907" PostTypeId="1" CreationDate="2019-06-20T08:43:30.570" Score="0" ViewCount="4676" Body="&lt;p&gt;I have a sound file of my daughter laughing and I want to convert it into an image like the one attached, not just the typical line style of sound waves. Does anyone know a program that makes sound waves like this, I have illustrator and photoshop, so could always take a screen shot if I found a program. Or even better if the program would let me import it to use as a vector file would be amazing! &lt;a href=&quot;https://i.stack.imgur.com/uDyt2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uDyt2.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.istockphoto.com/nz/vector/abstract-music-vector-background-with-sound-voice-audio-wave-equalizer-waveform-gm953559194-260322211&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.istockphoto.com/nz/vector/abstract-music-vector-background-with-sound-voice-audio-wave-equalizer-waveform-gm953559194-260322211&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25508" LastActivityDate="2021-01-08T13:58:58.370" Title="How to create sound wave art?" Tags="|editing|audio-recording|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27908" PostTypeId="1" CreationDate="2019-06-20T09:36:43.030" Score="0" ViewCount="71" Body="&lt;p&gt;Hello you beautiful people. I am currently figuring out how to use ffmpeg and asked myself a question. Usually, when using a vignette on a video, I would do the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf vignette=PI/4 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will obviously re-encode the video and thus I will lose quality. I could try using a lossless codec (such as libx264 with -crf 0 and -preset veryslow) and did so, but here's what I'm curious about:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to create a Pass that only contains the vignette, to then merge the vignette plate with the video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would suspect that such a thing would be much less tedious for lossless vignetting, no?&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-20T09:36:43.030" Title="FFMPEG - Merging Video with Vignette-Only-Plate?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27910" PostTypeId="2" ParentId="27907" CreationDate="2019-06-20T13:14:03.683" Score="1" Body="&lt;p&gt;Any sound editing program can show you the audio waveform. &lt;a href=&quot;https://www.audacityteam.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Audacity&lt;/a&gt; is a free cross-platform one, or you could use Adobe's Audition (subscription based though there is a free trial). They don't specifically export waveforms as images, but you could screenshot the waveform and beautify it with the image editor of your choice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively you could use one of the many online visualiser pages. This one is a good example, it can export the waveform as an SVG graphic. &lt;a href=&quot;https://www.misha.studio/waveformer/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.misha.studio/waveformer/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-06-20T13:14:03.683" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27911" PostTypeId="2" ParentId="27891" CreationDate="2019-06-20T18:36:50.947" Score="0" Body="&lt;p&gt;I'd like to offer a version similar to Gyan's, but makes things easier to think about and makes the individual ffmpeg command more readable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have a single file, but want to use ffmpeg to crop one part of it differently from another part of it. I find the easiest way to do multiple things on a single file is to mark them as different inputs.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;set input1=yourFile.mp4&#xA;set input2=yourFile.mp4&#xA;&#xA;ffmpeg -ss %startTime1% -t %duration1% -i %input1% \&#xA;       -ss %startTime2% -t %duration2% -i %input2% \&#xA;          filter_complex &quot;[0]crop=%size1%[v1];[1]crop%size2%[v2];\&#xA;          [v1][v2]overlay=%pixFrmLeft%:%pixFrmTop%&quot; \&#xA;       %commands% %input%_Converted.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Gyan does this with the &lt;code&gt;[0:v]split=2[c1][c2]&lt;/code&gt; filter, which may be easy to track for now, but in instances where you have more files and want to process more than 2 parts each, creating the list of your inputs (though some are actually the same file) ahead of time is probably the best place to start to help keep you organized and on track.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2019-06-20T18:36:50.947" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27912" PostTypeId="2" ParentId="27885" CreationDate="2019-06-20T18:45:46.157" Score="0" Body="&lt;p&gt;To be fair, this isn't actually anything to do with ffmpeg. You're using Windows cmd incorrectly. When you call up another executable in cmd, you have tell Windows where to find it. One way is by navigating to the correct folder in cmd before you run the commands. That would be the &lt;code&gt;cd&lt;/code&gt; command that changes the working folder. The other way is to map the folder in the system paths, so that you can be in any working folder to use the executable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In addition to your typo fixes, I strongly recommend mapping a system path to your ffmpeg bin. In other words, actually install ffmpeg. This will allow you to run ffmpeg commands from any working folder displayed in cmd. But your commands will still have to point to the correct folders and files. The only reason I wouldn't bother installing ffmpeg as instructed below is if I'm only temporarily using the system to run a few commands. If I know I'm likely to run future ffmpeg commands on that system, I take the extra few minutes to map the system path and install it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;https://video.stackexchange.com/a/20496/3643&quot;&gt;How do I set up and use ffmpeg in Windows?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ol start=&quot;4&quot;&gt;&#xA;  &lt;li&gt;Before you can use &lt;code&gt;ffmpeg.exe&lt;/code&gt; in &lt;code&gt;cmd&lt;/code&gt; you have to tell your computer where it can find it. You need to add a new system path.&#xA;  First, right click This PC (Windows 10) or Computer (Windows 7) then&#xA;  click &lt;code&gt;Properties &amp;gt; Advanced System Settings &amp;gt; Advanced tab &amp;gt;&#xA;  Environment Variables&lt;/code&gt;.  &lt;/li&gt;&#xA;  &lt;li&gt;In the Environment Variables window, click the &quot;Path&quot; row under the &quot;Variable&quot; column, then click Edit  &lt;a href=&quot;https://i.stack.imgur.com/Ig6nr.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ig6nr.jpg&quot; alt=&quot;Steps to add a System path to Windows&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;  &lt;li&gt;The &quot;Edit environment variable&quot; window looks different for Windows 10 and 7. In Windows 10 click New then paste the path to the folder&#xA;  that you created earlier where &lt;code&gt;ffmpeg.exe&lt;/code&gt; is saved. For this&#xA;  example, that is &lt;code&gt;C:\Program Files\ffmpeg\bin\&lt;/code&gt;  &lt;a href=&quot;https://i.stack.imgur.com/D1FO8.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/D1FO8.jpg&quot; alt=&quot;Add new system path Windows 10]&quot;&gt;&lt;/a&gt;  In Windows 7 all the variables are listed in&#xA;  a single string, separated by a semicolon. Simply go the the end of&#xA;  the string, type a semicolon (&lt;code&gt;;&lt;/code&gt;), then paste in the path.  &lt;a href=&quot;https://i.stack.imgur.com/Ox5J8.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ox5J8.jpg&quot; alt=&quot;Add new system path Windows 7&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;  &lt;li&gt;Click Ok on all the windows we just opened up.&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;  &#xA;  &lt;p&gt;ffmpeg is now &quot;installed&quot;. The Command Prompt will now recognize&#xA;  ffmpeg commands and will attempt to run them.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2019-06-20T18:51:40.263" LastActivityDate="2019-06-20T18:51:40.263" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27913" PostTypeId="1" CreationDate="2019-06-21T02:39:52.483" Score="1" ViewCount="4066" Body="&lt;p&gt;My videos and audio files played fine in Premiere Pro yesterday, but today when I open the project file again, all the audio files, including those in videos, are choppy and laggy during playback. Tried opening new projects and with other audios and vids, the problem still exists. Any ideas ?&lt;/p&gt;&#xA;" OwnerUserId="25515" LastActivityDate="2024-01-24T01:14:56.540" Title="Choppy and Laggy audio in Premiere Pro" Tags="|premiere|audio|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27915" PostTypeId="2" ParentId="27897" CreationDate="2019-06-21T13:33:19.027" Score="0" Body="&lt;p&gt;I used ffmpeg with only '-i' switch to figure out which stream was audio and which was video. Then executed the following to merge two audio channels and its video. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 0007WA.MXF -i 0007WA00.MXF -i 0007WA01.MXF -filter_complex &quot;[1:0] [2:0] amerge&quot; -c:v libx264 -c:a aac -strict experimental -qscale 0 -y  ../ffmpeg-att2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I think there can be more options by utilizing all four audio files to make stereo or surround. However, I stopped here as the output was acceptable. &lt;br&gt;Note - used '-qscale 0'  to limit quality-loss. &lt;/p&gt;&#xA;" OwnerUserId="25501" LastActivityDate="2019-06-21T13:33:19.027" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27916" PostTypeId="2" ParentId="22632" CreationDate="2019-06-21T14:30:39.020" Score="0" Body="&lt;p&gt;You can use any Video Editing Software e.g Adobe Premier Pro, you can see &lt;strong&gt;frame by frame, if the frames contained Double-lined,&lt;/strong&gt; &lt;strong&gt;Shaky Motion-blur frames&lt;/strong&gt;, then Stablize it as you say. You can use Sharpen on Mask Layers on top of Video to see, because you can see shaky after Sharpen. Or &lt;strong&gt;you can see the shaky by mute your audio&lt;/strong&gt;, and Make it Slow Motion for while, remember to change it back to normal speed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In fact that you have to find where's shaky by your own manually. Because this year still haven't come out Auto-Detect Shaky Video Plugin or Software. But, it is already has &lt;a href=&quot;https://youtu.be/TtEjsY1C23U&quot; rel=&quot;nofollow noreferrer&quot;&gt;Plugin for perfect shaky detection &amp;amp; Stablize Plugin her&lt;/a&gt;e. You can find more Perfect plugin for you video editing software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Only a Programmer, can let Python Script in software help them auto-detect it. &lt;a href=&quot;http://scottlobdell.me/2014/12/motion-detection-shaky-video-opencv-python/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here's Script&lt;/a&gt; But, the video will broke if you use that scripting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The best option to avoid Shaky Video is Buy a Video Stablizer, it is a tool for stable video.&lt;/p&gt;&#xA;" OwnerUserId="19937" LastEditorUserId="19937" LastEditDate="2019-06-21T14:45:00.803" LastActivityDate="2019-06-21T14:45:00.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27917" PostTypeId="1" CreationDate="2019-06-21T15:43:30.050" Score="2" ViewCount="26" Body="&lt;p&gt;I'm learning codec, but most of the video analyzer tools are GUI and windows based. I'm wondering if there is a bitstream query tool to find the info I'm seeking for. Using SQL for example:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-sql prettyprint-override&quot;&gt;&lt;code&gt;select top 5 macro_block&#xA;from video&#xA;where frame_number = 5&#xA;and frame_type = 'IDR'&#xA;and slice_number = 10 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Or any CLI command tools could reach a similar goal?&lt;/p&gt;&#xA;" OwnerUserId="25521" LastActivityDate="2019-06-21T15:43:30.050" Title="Is there any query language or CLI tool to analyze encoded bitstream?" Tags="|encoding|analysis|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27920" PostTypeId="1" CreationDate="2019-06-22T13:27:24.953" Score="1" ViewCount="837" Body="&lt;p&gt;I used to use YouTube Auto-Fix which presumably auto fixed levels, color, contrast and added a bit of vibrance (it was almost always a bit high saturated which i kinda liked).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking for an alternate in ffmpeg. I tried using &lt;code&gt;-vf pp=al&lt;/code&gt; but it only lightens the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. I can do this in Premiere/AfterEffects but am looking for a ffmpeg solution.&lt;/p&gt;&#xA;" OwnerUserId="25528" LastActivityDate="2024-04-04T07:04:15.497" Title="ffmpeg Auto Level, Auto Color etc similar to YouTubes Auto-Fix" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27923" PostTypeId="2" ParentId="27913" CreationDate="2019-06-23T00:11:11.530" Score="1" Body="&lt;p&gt;From my experience this can typically occur when Premiere is having either a hard time loading a buffer for the audio, or you're putting too much strain on your computer memory. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd clear out the Premiere cache, which you can do by going to “Preferences &gt; Memory.” &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it's an issue that occurs through different clips, something tells me it's to do with either the amount of memory Premiere needs to process the realtime feedback for audio, or the bitrate of the clips. If your bitrate is too high, it'll DEFINITELY cause some playback issues.&lt;/p&gt;&#xA;" OwnerUserId="25529" LastEditorUserId="18155" LastEditDate="2019-07-03T19:13:25.550" LastActivityDate="2019-07-03T19:13:25.550" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27925" PostTypeId="2" ParentId="5615" CreationDate="2019-06-23T06:26:49.047" Score="2" Body="&lt;p&gt;AVS4YOU and Filmora can do this but they are 60USD. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Avidemux can do this for free (and the above software may even be reboxed Avidemux) but it will only cut one video where as these others will cut your video into lots of clips, saving each separately. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also losslesscut which is a GUI for  ffmpeg seems to be able to do all that the commercial stuff does for free. You press the &quot;i&quot; and &quot;o&quot; (in and out) keys to set a cut, and press the c+ button to set a second cut. &#xA;&lt;a href=&quot;https://github.com/mifi/lossless-cut&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/mifi/lossless-cut&lt;/a&gt;&#xA;Unfortunately it does not seem to work with the video that I have created using Vegas. &lt;/p&gt;&#xA;" OwnerUserId="25532" LastActivityDate="2019-06-23T06:26:49.047" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27926" PostTypeId="1" CreationDate="2019-06-23T06:40:37.783" Score="0" ViewCount="4612" Body="&lt;p&gt;I have a strange problem where my audio is very low, muffled and distored after exporting it from premiere pro. I tried a huge amount of export settings with different bitrates and and sample rates but nothing fixes it.&#xA;(Always H.264 for video and AAC for the audio)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have to note that the problem appears not to everyone. On my mac and smartphone it sounds fine, when others play it on their devices over social media it sounds horrible. How can that be?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Filming and audio recording was done with the Sony a6300 and boom mic. Recorded audio has 2 channels at a sample rate of 48000khz.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has someone a suggestion for this problem?&lt;/p&gt;&#xA;" OwnerUserId="25533" LastActivityDate="2024-03-17T11:06:30.790" Title="Premiere Pro audio muffled and distorted on export" Tags="|premiere|audio-quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27927" PostTypeId="1" AcceptedAnswerId="27941" CreationDate="2019-06-23T10:01:01.180" Score="2" ViewCount="41" Body="&lt;p&gt;We are doing regular events with two speakers on the floor who have their own presentations in parallel. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The event is a live hacking presentation, one speaker is the moderator and victim, the other one is the attacker who shows his virtual machines on his screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Until now, we have recorded those sessions with a single camera and without external microphones. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The audio quality is therefore quite bad, especially when there's much noise from the audience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The presentations are also not very good readable because the camera is set up in an odd angle to catch the speakers without interfering with the audience.&#xA;What would be the best setup to catch such events? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was thinking of recording both speakers with an external microphone on the floor and two cameras for each presentation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this feasible? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should we also do a screen capture to cut them in, synchronized with the speakers?&lt;/p&gt;&#xA;" OwnerUserId="25534" LastEditorUserId="18155" LastEditDate="2019-07-03T19:14:33.863" LastActivityDate="2019-07-03T19:14:33.863" Title="Recording a two speaker event with large audience" Tags="|video|audio|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27929" PostTypeId="2" ParentId="27675" CreationDate="2019-06-24T00:16:44.470" Score="1" Body="&lt;p&gt;I'd also suggest DaVinci Resolve for your needs, though you may need the studio version ($300 one time purchase with free upgrades, so far even between major versions.)  While recent versions of Resolve include very full featured non-linear editing and fantastic sound handling with Fairlight audio, I don't believe they include effects and much in the way of transitions.  The paid &quot;studio&quot; version includes a good selection.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You are also getting a pretty high end node based compositing tool (Fusion) built in to the software for that price as well.  Resolve's NLE isn't quite as good as Premiere Pro, but it's very good.  I like Fusion better than After Effects (which is the partner compositor that goes with Premiere Pro.)&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2019-06-24T00:16:44.470" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27930" PostTypeId="1" CreationDate="2019-06-24T11:36:04.023" Score="0" ViewCount="60" Body="&lt;p&gt;Many formats (containers) have an ability to host more video streams - e. g. MP4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a practical use of this advantage?&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2019-06-24T11:36:04.023" Title="More video streams in a container" Tags="|video|ffmpeg|formats|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27934" PostTypeId="2" ParentId="14509" CreationDate="2019-06-24T17:19:08.640" Score="0" Body="&lt;p&gt;Ok, I know it won't help you much now after 4,5 years, but i found roundabout for those still looking. Set up color corrector (secondary) with hue rotation 180, then chroma keyer, then color corrector (secondary) with hue rotation 180 again. It's not perfect as you'll have to play around with the slider, but at least you won't have to switch/download other programs.&lt;/p&gt;&#xA;" OwnerUserId="25542" LastActivityDate="2019-06-24T17:19:08.640" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27935" PostTypeId="1" CreationDate="2019-06-24T17:19:29.543" Score="1" ViewCount="726" Body="&lt;p&gt;From time to time i'm converting mkv to mp4 using ffmpeg in order to save disk space. &#xA;Currently i noticed that in some files multiple mjpeg streams where also included. Some of them were named &lt;code&gt;cover.jpg&lt;/code&gt;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the name &lt;code&gt;cover.jpg&lt;/code&gt; i assume that it is supposed to be displayed in some cases?!? But i never heard or saw that any program, eg. vlc, used an image to display anything from the video. So what is the use case of including pictures in a video file? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The files have one &lt;code&gt;normal&lt;/code&gt; video stream, maybe multiple audio streams, and about 4 mjpeg streams.&lt;/p&gt;&#xA;" OwnerUserId="25541" LastActivityDate="2019-06-24T17:19:29.543" Title="Mjpeg in video containers use case" Tags="|video|mkv|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="27936" PostTypeId="1" AcceptedAnswerId="27946" CreationDate="2019-06-24T17:39:54.053" Score="0" ViewCount="105" Body="&lt;p&gt;I'm having an issue with the latest version of Premiere Pro (v13.1). I am trying to watch a 6-second video but the video does not play in the program panel. When I try rendering in to out, it takes a little longer than 3 minutes to render. After rending, I can view the video normally. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is my first time using Premiere Pro in a long time but I have not had this issue in the past on this PC. I tried installing it on my laptop and added the same video in sequence and it works like it's supposed to. I can scrub normally and render in to out takes a couple of seconds. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried reinstalling the current version of Premiere Pro on my desktop but I still have the same issues. Both my laptop and desktop have the default settings for Premiere and I did not change anything after reinstalling fresh on both devices. In task manager, Premiere uses only 10% of my CPU and under GPU I see that it jumps between 0-10% GPU usage with the used GPU Engine column saying that it's not using any Pu except occasionally for decoding, but only for half a second here and there. I'm not sure if that information helps for I am using Mercury CUDA as my Playback Engine. Again the default settings. Also, both devices use SSDs. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that both my desktop and laptop have fresh installs of Premier Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Desktop specs:&lt;br&gt;&#xA;Intel i7 8th gen&lt;br&gt;&#xA;32 GB RAM&lt;br&gt;&#xA;RTX 2070&lt;br&gt;&#xA;GTX 1070&#xA; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Laptop Specs:&lt;br&gt;&#xA;Intel i7 9th gen&lt;br&gt;&#xA;16 GB RAM&#xA;GTX 1660ti&lt;/p&gt;&#xA;" OwnerUserId="25543" LastEditorUserId="18155" LastEditDate="2019-07-01T08:12:02.467" LastActivityDate="2019-07-01T08:12:02.467" Title="Premiere Pro takes several minutes to render six seconds" Tags="|premiere|rendering|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27937" PostTypeId="1" CreationDate="2019-06-24T20:19:43.250" Score="0" ViewCount="29" Body="&lt;p&gt;More a terminology question than anything. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As described in the headline, I want to locate a piece of hardware that can accept arbitrary IP streams (be they MPEG-TS, H264, etc - the exact input format isn't important since re-encoding is easy), and can somehow output those streams over a coaxial cable (RF) in a way that a normal, off-the-shelf TV can tune to those streams in the same way they'd tune to a regular TV channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;This is not a hardware recommendation question&lt;/strong&gt;. I just want to know what this class of device is properly called so I can locate it myself.&lt;/p&gt;&#xA;" OwnerUserId="24841" LastActivityDate="2019-11-22T00:03:05.397" Title="What is the proper terminology for a device that can accept IP video streams and output that to RF as used by consumer televisions?" Tags="|encoding|hardware|cable|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27938" PostTypeId="1" AcceptedAnswerId="28700" CreationDate="2019-06-24T21:00:24.953" Score="1" ViewCount="287" Body="&lt;p&gt;&lt;strong&gt;I want to achieve a panning shot, but I can't move my camera.&lt;/strong&gt; The camera is stationary for reasons outside of the scope of this question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I throw on a fisheye lense, film in 4K, and then process it to appear as if I'm panning the camera from 1 corner of the frame in the original footage to the other side of the frame? I don't think this is the same as &lt;a href=&quot;https://www.youtube.com/watch?v=JrgS3eaTyTo&quot; rel=&quot;nofollow noreferrer&quot;&gt;4K live cropping&lt;/a&gt;, as I imagine I would need to do some processing to invert the barrel effect. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does this make sense mathematically? Will the result look any good, or will it be &quot;obviously wrong&quot;? What is the best way to get a good result?&lt;/p&gt;&#xA;" OwnerUserId="3130" LastActivityDate="2019-10-18T14:12:33.263" Title="Simulating 1080p pan shot by cropping stationary 4K fisheye footage?" Tags="|after-effects|4k|lenses|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27939" PostTypeId="2" ParentId="27938" CreationDate="2019-06-24T21:12:38.397" Score="3" Body="&lt;p&gt;Yes, you can do this successfully. I did it with an overhead 4K action camera with a fixed fisheye lens (&lt;a href=&quot;https://www.youtube.com/watch?v=myIGvhuoTbM&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube video here&lt;/a&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll want to remove the distortion in software to &quot;square it up&quot;. Then you have some room to zoom in and pan. However, you effectively lose some resolution with the lens correction. You can only zoom in so far before it's noticeable.  Obviously it's not as crisp as nice 1080 video, but it may be perfectly fine depending on your requirements.&lt;/p&gt;&#xA;" OwnerUserId="22119" LastActivityDate="2019-06-24T21:12:38.397" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27940" PostTypeId="2" ParentId="27937" CreationDate="2019-06-24T23:12:34.447" Score="1" Body="&lt;p&gt;There is no special name for something that combines IP de-encapsulation and RF modulating. At least one company markets the device as a &lt;a href=&quot;https://www.dektec.com/products/IP/DTE-3114/&quot; rel=&quot;nofollow noreferrer&quot;&gt;QAM modulator with IP input&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2019-06-24T23:12:34.447" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27941" PostTypeId="2" ParentId="27927" CreationDate="2019-06-25T02:12:01.743" Score="1" Body="&lt;p&gt;If I was doing it I would probably give both speakers a wireless lavalier (lapel) mic, and record each to a separate channel. I would have two cameras (at least), one generally staying wide (which can be a static camera if you don't have more than one operator), and one getting close shots, and following on the action or dialogue, so when one of the speakers is speaking it focuses on them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5hBq0.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5hBq0.jpg&quot; alt=&quot;lav mic&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You use the wide footage to cover the times when the close-up camera is switching back and forth. If there's a lot of to-and-fro dialogue between the two you could use a third camera, or frame the closer shot as a two-shot. If you can shoot in 4k and you're releasing in HD you can also shoot wider and use cropping to get close-ups.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also get audience reaction shots and as you said, the feed from any AV presentations should be recorded too. Keeping the cameras out of the way of the audience can be tricky, if you have long lenses that helps, because you can move them to the back, but it depends on the geometry of the auditorium and the gear you have available.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, the best way to edit the separate streams is to use the multicamera editing capabilities of your NLE. Premier, FCP, resolve all can do multicamera editing, and so do most of the other major NLEs. Using multicamera means that once you've synched the cameras (use the on-board sound from each camera to do this) you can watch them all playing simultaneously, and choose which angle to cut to with the keyboard, a bit like a live vision mixer. It means you can edit at close to real-time once you get the hang of it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-06-25T05:45:33.690" LastActivityDate="2019-06-25T05:45:33.690" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27942" PostTypeId="1" AcceptedAnswerId="27947" CreationDate="2019-06-25T06:23:10.350" Score="0" ViewCount="1172" Body="&lt;p&gt;I'm trying to apply the effect fade in and zoom/scale image for X seconds. I don't have problems with fade in but how to achieve effect to scale image during X seconds when the first frame is no image and then is zoom in on that image? I think that gif says more than my description. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Bapji.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Bapji.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought that upscale video 2x and image 2x and then zoom in will do it but the effect wan not as above in my gif.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my command to fade in image:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i file.mp4 -loop 1 -i image.jpg -t 5 -filter_complex &quot;[1:v]format=rgba,fade=t=in:d=5:alpha=true:st=0[im];[0:v][im] overlay=x=10:y=10:enable='between(t,0,5)'&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24926" LastEditorUserId="24926" LastEditDate="2019-06-25T12:37:47.213" LastActivityDate="2019-06-26T05:30:20.593" Title="ffmpeg fade in from center (with scale image)" Tags="|ffmpeg|scale|zoom|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27946" PostTypeId="2" ParentId="27936" CreationDate="2019-06-25T22:56:17.903" Score="1" Body="&lt;p&gt;I managed to figure out my problem. I decided to try disabling my video adapters to see if that fixed my problem thinking that there was an issue with having two dedicated GPUs. I found no problem with having two GPUs but I discovered that disabling Intel graphics on my 8th gen i7 instantly fixed my problem. I'm not sure why that was causing an issue but disabling Intel UHD 630 graphics fixes the problem.&lt;/p&gt;&#xA;" OwnerUserId="25543" LastActivityDate="2019-06-25T22:56:17.903" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27947" PostTypeId="2" ParentId="27942" CreationDate="2019-06-26T05:30:20.593" Score="1" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i file.mp4 -i image.jpg -filter_complex &quot;[1:v]pad=iw*2:ih*2:(ow-iw)/2:(oh-ih)/2:c=black@0,zoompan='1+on/125':x='(iw-iw/zoom)/2':y='(ih-ih/zoom)/2':d=125:s=WxH,format=gbrap,fade=t=in:d=5:alpha=true:st=0[im];[0:v][im] overlay=x=10:y=10:enable='between(t,0,5)'&quot; out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The image is padded to double width and height with the padding colour being transparent black. Then zoompan is used to zoom in over 125 frames (5 seconds). This result is overlaid on the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have to replace W and H in the zoompan filter with the dimensions of your image.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-06-26T05:30:20.593" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27949" PostTypeId="1" CreationDate="2019-06-27T12:47:09.000" Score="0" ViewCount="86" Body="&lt;p&gt;I am tasked to produce ~100 videos of 10 minutes in After Effects. The videos will later be commented by voice, and I am tasked only to make the &quot;motion&quot; part.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each video use:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;about 30 &quot;image&quot; scenes (5s): an image is being slowly zoomed in&lt;/li&gt;&#xA;&lt;li&gt;about 50 &quot;footage&quot; scenes (10s): a footage is being shown for 10s&lt;/li&gt;&#xA;&lt;li&gt;A few other misc. animations (intro and conclusion with logo)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;In each new video, I need to change:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The 30 images &lt;/li&gt;&#xA;&lt;li&gt;The 50 footages (I will be given links from Youtube along with the timestamp like &quot;0:16 to 0:26&quot;)&lt;/li&gt;&#xA;&lt;li&gt;A limited amount of text, here and there&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I plan to make the template first, and &lt;strong&gt;I was wondering if you guys knew a smart way to program each video&lt;/strong&gt; (ie auto-replace the 30 images, the 50 footages and the predefined text, then build and go on to the next), a bit like &quot;mass-mailing&quot; for instance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They say in programming, &quot;if you have to do it more than 3 times, program it&quot;... I think 100 applies! However, being unfamiliar with After Effects, I do not know where to begin! Guidance will be much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="25567" LastActivityDate="2024-03-10T07:05:45.757" Title="Automate video production with After Effects CC" Tags="|after-effects|after-effects-scripting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27951" PostTypeId="2" ParentId="27949" CreationDate="2019-06-27T15:49:53.813" Score="0" Body="&lt;p&gt;You could achieve a certain automation by creating precomps for each clip. Then, drag every alternative file into each precomp and just stack them on top of each other. Now, apply the motion effect (the zooms etc.) to the precomps instead of the footage directly. That way, you can just hide the top layer to that the next image is visible, on which the animation will automatically be applied since it sits in the same precomp you animated before. Alternatively, to make the process even easier, you could script an expression that looks at the index of each layer in your precomp and hides every first layer for every comp, or every first and second, etc. etc. When it comes to the scripting of it though I must admit that this would require a few hours of thinking on my own, so maybe someone smarter can help you with that :D&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-06-27T15:49:53.813" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27952" PostTypeId="1" CreationDate="2019-06-27T21:38:50.087" Score="0" ViewCount="218" Body="&lt;p&gt;I currently work with a team of researchers and we are obtaining data from videos that are encoded with SMB8, they are AVI files. We couldn't find anything on the SMB8 codec online unfortunately. We would like to convert these raw AVI videos with SMB8 to H.265 HEVC videos using a converter such as FFMPEG or into another readable codec. Our current issue is that our new software does not read SMB8 files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I apologise for any inaccuracies or typos, I'm not an expert on video production and I typed this question on mobile.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks! &lt;/p&gt;&#xA;" OwnerUserId="25573" LastActivityDate="2024-03-28T14:06:00.690" Title="Convert a non-supported/obscure codec to a supported codec" Tags="|codec|avi|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27955" PostTypeId="2" ParentId="27608" CreationDate="2019-06-28T11:24:52.993" Score="0" Body="&lt;p&gt;Usually the files on the memory card are split up / arranged by a variety of methods to support the file system of the memory card (splitting files up so they don't break 4GB file limits, etc). If this is the case, you then need to use Sony's Catalyst Browse application to re-assemble these into standardised single video files on your editing system, rather that trying to deal with the raw files on the card.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sony's download page is here:&#xA;&lt;a href=&quot;https://www.sonycreativesoftware.com/catalystbrowse&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.sonycreativesoftware.com/catalystbrowse&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The program should enable you to view the actual recordings, as opposed to the raw files. For example, I've got a card here with 36 raw video files on it, not including all the metadata files, but only 10 recorded sequences when viewed in Catalyst Browse. You should then be able to copy the recordings across to your editing machine as required, they'll be reassembled into single files per recording for you.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2019-06-28T11:24:52.993" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27957" PostTypeId="2" ParentId="24462" CreationDate="2019-06-28T18:48:12.360" Score="2" Body="&lt;p&gt;This error can also be eliminated in some situations (VFR source files with unusual timebases) by using &lt;code&gt;-vsync 0 -enc_time_base -1&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="20549" LastActivityDate="2019-06-28T18:48:12.360" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27958" PostTypeId="1" CreationDate="2019-06-28T22:57:26.623" Score="0" ViewCount="7583" Body="&lt;p&gt;For the life of me, I can't tell what I'm doing wrong, but here we are!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am on Mac, newbie on After Effects. I can scale anything (not proportionally) with the click on a corner but, unlike in Indesign or Illustrator, Shift + click just does not work! It kind of releases the frame, just like if I had clicked outside of it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am on Mac, After Effects CC. I verified the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Shift is pushed (the &quot;non permanent capital letter&quot; key of the keyboard)&lt;/li&gt;&#xA;&lt;li&gt;Mode is &quot;Selection tool&quot; (the arrow)&lt;/li&gt;&#xA;&lt;li&gt;I am indeed clicking on a corner (where little square appears) and not on the side!&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Yet it just deselects the whole thing and making me crazy! What am I missing?&lt;/p&gt;&#xA;" OwnerUserId="25567" LastEditorUserId="25567" LastEditDate="2019-06-29T00:57:08.360" LastActivityDate="2019-07-02T13:44:05.787" Title="Scaling proportionally on After Effects - Shift + click does not work!" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27959" PostTypeId="2" ParentId="27678" CreationDate="2019-06-29T00:29:04.803" Score="2" Body="&lt;p&gt;Unlike some other editing tools, Vegas does not convert imported video into its own intermediate format, but works directly with what you have. Importing means Vegas knows about these clips and has built quick-access metadata about them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any editing you do is non-destructive as all editing operations are stored in Vegas's own files as a series of commands, but it needs source videos to which it applies these commands. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;TLDR: If you delete the source files your Vegas timeline will effectively be destroyed. Of course, videos that you've rendered will remain intact.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastEditorUserId="22079" LastEditDate="2019-07-31T17:31:30.967" LastActivityDate="2019-07-31T17:31:30.967" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27960" PostTypeId="2" ParentId="27952" CreationDate="2019-06-29T01:27:03.580" Score="1" Body="&lt;p&gt;I found a reference to this codec perhaps being used by the SIMI motion capture software; chances are it's uncompressed (if a high bit rate?) or lightly compressed AVI with additional data streams. Perhaps some stupid bitstream obfuscation... Less likely, but perhaps just a commodity codec like ASF/WMV in an AVI container?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Discussion of SIMI software found on &lt;a href=&quot;http://birdz.sk/forum/avi-nevie-pehrat-ziaden-prehravac/138108-tema.html/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://birdz.sk/forum/avi-nevie-pehrat-ziaden-prehravac/138108-tema.html/&lt;/a&gt; . Perhaps contacting the software developer is worth a shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, I'd try experimenting with the FOURCC changer (&lt;a href=&quot;https://www.fourcc.org/changer/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.fourcc.org/changer/&lt;/a&gt;) and see if you can get WMP, VLC or mplayer to accept this file without baulking at any ancillary data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe ffmpeg could be forced to demux just the video assuming a format, allowing you to reencode? Have you got a clip available to post for analysis?&lt;/p&gt;&#xA;" OwnerUserId="546" LastActivityDate="2019-06-29T01:27:03.580" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27961" PostTypeId="2" ParentId="27701" CreationDate="2019-06-29T07:00:37.697" Score="1" Body="&lt;p&gt;Davinci Resolve and Fusion would be a better choice than FCPX/Motion if you're looking for something that supports standard scripting languages (lua and python 2/3).  From there, you can install whatever modules you need to get hooks into your data.  Adobe has their own ExtendScript for AfterEffects, which is based on JavaScript, but I can't really comment on it.  FCPX and Motion are probably the least script friendly of the major NLEs.  I'd guess that most larger studios probably use Nuke, which also uses Python, but if you're just starting out, Resolve/Fusion is a cheap entry point which scales well towards Nuke.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Automation of large file sets typically falls under the purview of a production's Technical Director (TD), who would be great people to befriend if this type of work interests you.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2019-06-29T07:07:58.990" LastActivityDate="2019-06-29T07:07:58.990" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27962" PostTypeId="1" AcceptedAnswerId="27967" CreationDate="2019-06-29T17:18:03.180" Score="0" ViewCount="29" Body="&lt;p&gt;I can't believe it! 3CCD camcorders without the rolling shutter inferiority of the CMOS ones &lt;a href=&quot;https://pro.sony/en_FI/products/shoulder-camcorders/pdw-850&quot; rel=&quot;nofollow noreferrer&quot;&gt;still exist&lt;/a&gt; and their sensors are even bigger!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But why does that particular camera have 422 chroma? How a field news-gathering camera designed for gathering news on the field would benefit from 422? Doesn't the consumers watch TV in 420 anyway?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought 4 44/22 was good for green screen applications and movie making. Why would some news van people need it?&lt;/p&gt;&#xA;" OwnerUserId="23721" LastEditorUserId="18155" LastEditDate="2019-06-30T12:26:50.137" LastActivityDate="2019-06-30T12:26:50.137" Title="Why would an ENG camera need 422 Chroma?" Tags="|video|camcorder|color|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27964" PostTypeId="2" ParentId="27814" CreationDate="2019-06-29T19:06:36.787" Score="1" Body="&lt;p&gt;Instead of 8 bits per every channel and per every pixel you need 10 bits, which is 25 % increase of the raw footage.&lt;/p&gt;&#xA;&lt;p&gt;Since the size of 8-bit raw footage is as such huge enough, 25 % of it is high enough price, isn't it?&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2020-12-08T20:49:23.043" LastActivityDate="2020-12-08T20:49:23.043" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="27965" PostTypeId="1" AcceptedAnswerId="27966" CreationDate="2019-06-29T20:29:20.543" Score="1" ViewCount="32" Body="&lt;p&gt;I was looking to buy a Canon EF 50mm f/1.8 STM Lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But my Canon 7D has a crop factor of 1.6, that would make the 50mm lens look like 80mm. I am a filmmaker, not a photographer, so keeping that in mind, should I still buy it?&#xA;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="24174" LastActivityDate="2019-06-29T22:06:51.580" Title="Is it worth it to buy a 50mm 1.8 lens if my camera has a 1.6 crop factor?" Tags="|camera|lenses|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27966" PostTypeId="2" ParentId="27965" CreationDate="2019-06-29T22:06:51.580" Score="1" Body="&lt;p&gt;No one besides you can answer this question.&#xA;A Cinema Prime Set pften constists out of a 18mm, 25mm, 35mm, 50mm, 85mm Primes (On Aps-C). It now depends on what you want to shoot. If you mainly shoot interior wides, the lens won't be of much use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But a 50mm f1.8 is often a great - cheap option to get into blurrier shoots.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-06-29T22:06:51.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27967" PostTypeId="2" ParentId="27962" CreationDate="2019-06-29T22:26:55.517" Score="1" Body="&lt;p&gt;As far as I understand, before broadcasting, your signal will be converted and changed which leads to further loss. So by providing 422, the broadcasting company has more leeway to convert/compress.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://www.google.com/amp/s/amp.reddit.com/r/videography/comments/7utcz8/why_is_the_broadcast_standard_422_and_should_we/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Why is the “broadcast standard” 422 and should we be concerned about shooting 8 bit 420?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23732" LastEditorUserId="18155" LastEditDate="2019-06-30T10:44:29.917" LastActivityDate="2019-06-30T10:44:29.917" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27970" PostTypeId="2" ParentId="27958" CreationDate="2019-06-30T16:31:16.517" Score="1" Body="&lt;p&gt;When I hold down shift, images and shapes scale proportionally. Just grab a corner handle and drag. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively:&#xA;Select the layer, press S to reveal the Scale parameter. Adjust that value. It will be proportional unless you unlink the x and y scales. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2019-07-01T14:03:23.457" LastActivityDate="2019-07-01T14:03:23.457" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27971" PostTypeId="1" CreationDate="2019-06-30T17:12:52.477" Score="0" ViewCount="44" Body="&lt;p&gt;If I have a bunch of clips to merge that are the same frame rate and same dimensions, but &lt;code&gt;ffmpeg&lt;/code&gt; barfs when I try to &lt;code&gt;ffmpeg -f concat -i mylist.txt -c copy output.mp4&lt;/code&gt; (or any other output format), to what format should I first convert them before attempting a concat?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's call such a format the Greatest Common Denominator format into which one can convert all one's videos so that &lt;code&gt;-f concat&lt;/code&gt; will work.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For instance, one would presume that if there are two streams, one at 60fps and the other at 31fps, that there is a command that takes it as an input, without specifying that it is at 31fps, but specifying that the output should be 60fps.  This would re-encode that stream of course.  Then one specifies the same command for the 60fps input stream which, of course, will do nothing (presumably).  The point is that now you have two “intermediate” files that are as they should be for the fps parameter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, presumably, there would be a higher output resolution specification that would capture much if not all the resolution of both streams and, again, only re-encode in the &lt;em&gt;likely&lt;/em&gt; event that one or even both need to be so-re-encoded.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We can go down the list of parameters output by &lt;code&gt;ffprobe -i&lt;/code&gt; and compile a complete list of output specifications that end up with the Greatest Common Denominator output format that is virtually guaranteed to behave itself when given as input to &lt;code&gt;-f concat&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is all with full awareness that the re-encoding could take days and an order of magnitude more disk than the original files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffprobe&lt;/code&gt; shows so many moving parts that it's kind of ridiculous to track down each and every one of the possible contributors to concat failures.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is entirely acceptable to have this process run for hours, so don't be shy about suggesting very generic output formats that get rid of all possible incompatibilities.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS:  I've tried the supposed free replacements for YouTube's defunct video editor like OpenShot and Shotcut as well as the suggested &lt;code&gt;ffmpeg&lt;/code&gt; conversions/merges to/from intermediate formats.  Nothing works.  Indeed, VLC ends up crashing.  There must be some way to just nuke this.&lt;/p&gt;&#xA;" OwnerUserId="25593" LastEditorUserId="18155" LastEditDate="2019-07-02T17:06:04.760" LastActivityDate="2019-07-02T17:06:04.760" Title="Greatest Common Denominator format for ffmpeg -f concat -i mylist.txt -c copy output.mp4?" Tags="|ffmpeg|formats|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="27972" PostTypeId="1" AcceptedAnswerId="27973" CreationDate="2019-06-30T18:37:26.473" Score="0" ViewCount="2088" Body="&lt;p&gt;scenario:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have video matched with audio (song).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I slow the audio (song) down (eg from 120 bpm to 115bpm ie, I know exactly how much slower the new audio is than the original video)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I calculate how much to slow down my video by (in Final Cut I have the option of slowing down from 100% speed right down to 1%) so it matches the slow(er) audio?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks.&lt;/p&gt;&#xA;" OwnerUserId="25594" LastActivityDate="2019-07-31T11:02:55.293" Title="Formula / Calculate how much to slow video down to match audio?" Tags="|video|video-editor|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27973" PostTypeId="2" ParentId="27972" CreationDate="2019-06-30T20:35:23.693" Score="0" Body="&lt;p&gt;(115bpm / 120 bpm) * 100 = 95.83% (approx, to 2 decimal places)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Speed change percentages are always confusing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://support.apple.com/kb/PH12643?locale=en_US&amp;amp;viewlocale=en_US&quot; rel=&quot;nofollow noreferrer&quot;&gt;Final cut expresses speed changes as&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If you change the speed to 50 percent, your clip becomes twice as long&#xA;  [...] &#xA;  If you change the speed to 200 percent, the clip becomes half as&#xA;  long&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So if you go from 120 bpm to 115 (a slower tempo), you are looking for a longer clip, so your percentage should be lower than 100%.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2019-07-01T08:07:28.593" LastActivityDate="2019-07-01T08:07:28.593" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27974" PostTypeId="1" CreationDate="2019-07-01T01:25:44.197" Score="1" ViewCount="5747" Body="&lt;p&gt;I am using FFmpeg for live streaming with RTMP to YouTube.&lt;br&gt;&#xA;My ffmpeg command is like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ar 44100 -ac 2 -f alsa -i plughw:1,0 -f v4l2 -codec:v h264 -framerate 30 \&#xA;  -video_size 1920x1080 -itsoffset 0.5 -i /dev/video2 -copyinkf -codec:v copy -codec:a aac \&#xA;  -ab 44k -af 'highpass=200, lowpass=3000, volume=1' -g 4 -f flv \&#xA;   rtmp://a.rtmp.youtube.com/live2/8b35-vkye-476f-xxxx&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I want to add date and time information on live stream video.&#xA;How can I do this?&lt;/p&gt;&#xA;" OwnerUserId="25596" LastEditorUserId="674" LastEditDate="2019-07-03T19:15:39.743" LastActivityDate="2022-03-20T09:06:15.507" Title="Adding date/time information on video for ffmpeg" Tags="|ffmpeg|rtmp|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27975" PostTypeId="2" ParentId="15718" CreationDate="2019-07-01T08:25:35.860" Score="1" Body="&lt;p&gt;This might work:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could build a project in after effects (or get someone else who has AE to build it for you?)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Get them to set a wiggle using Expressions.&#xA;Convert the expression to keyframes using the Animation menu --&gt; Keyfraem Assistant --&gt; convert to expression to keyframes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Save the layer as an Essential Graphics template.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open the Essential Graphics template in Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The item will have the positional wiggle, but you won't be able to modify the wiggle, or parent anything else to it (the positional variable in Premiere won't be wiggling).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure whether this will work if you do not have AE installed - someone would have to try it and see).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-07-01T08:25:35.860" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27976" PostTypeId="1" CreationDate="2019-07-01T10:45:08.240" Score="0" ViewCount="422" Body="&lt;p&gt;I have opened an old-ish video project of mine that I've been creating in Sony Vegas Pro 14. I have some transitions between clips that I notice overlap evenly between the clips' associated audio tracks:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Bjscw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Bjscw.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And for a better indication of what I mean (i.e. this is what it looks like when you drag the clip that is transitioned into away from its preceding clip):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9bfrJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9bfrJ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is I have forgotten how I applied the transition like this and every time I try to apply a transition to a new clip, it just overlaps the preceding one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could someone please explain how to apply a transition as has been done here? Thank you.&lt;/p&gt;&#xA;" OwnerUserId="16102" LastActivityDate="2019-07-01T10:45:08.240" Title="How do I insert a transition between two clips in Vegas?" Tags="|vegas-pro|transitions|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27977" PostTypeId="1" CreationDate="2019-07-01T12:19:02.237" Score="0" ViewCount="54" Body="&lt;p&gt;I'm trying to recreate &lt;a href=&quot;https://vimeo.com/234300728&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; effect in &lt;code&gt;Ae&lt;/code&gt; using a box mock-up.&#xA;I'm only interested in the animated background covering the box.&#xA;Iv structured my &lt;code&gt;Comp&lt;/code&gt; so that the design is below the box mock-up and I'm using the box as a &lt;code&gt;track matte&lt;/code&gt;.&lt;br&gt;&#xA;the main issue I'm running with is maintaining the details of the box and eliminating the fact that the effect resembles a &lt;code&gt;clipping mask&lt;/code&gt; in Photoshop more than a mock-up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;would love to hear different approaches or tips, cheers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PvJIT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;mock-up used&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4fUuK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;my result&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25599" LastActivityDate="2022-03-18T22:00:25.070" Title="Recreating this animated mockup effect" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27978" PostTypeId="1" CreationDate="2019-07-01T13:03:49.467" Score="0" ViewCount="38" Body="&lt;p&gt;I sometimes need to generate lots of subtitles for a video file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been using &lt;a href=&quot;http://www.aegisub.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Aegisub&lt;/a&gt;, but it hasn't been updated since 2014, and I'm wondering if there's a better alternative.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I export an .srt file from Aegisub, then import it into &lt;a href=&quot;https://aescripts.com/pt_importsubtitles/&quot; rel=&quot;nofollow noreferrer&quot;&gt;PtImportSubtitles&lt;/a&gt; in After Effects, to generate text keyframes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This works well, but the software is old and looking like it won't be updated ever...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything better?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://jubler.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;Jubler&lt;/a&gt; - looks clunky, needs Java runtime to operate&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.uruworks.net/description.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;SWXE&lt;/a&gt; - non-native mac app, menus don't appear to work properly under MacOS 10.14&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-07-01T13:03:49.467" Title="Free mac-native subtitle editing" Tags="|subtitles|mac|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27979" PostTypeId="2" ParentId="27541" CreationDate="2019-07-01T13:21:23.510" Score="0" Body="&lt;p&gt;Make sure all the tracks you want to copy are selected in your timeline. (as in select V1, V2, A1, A2 etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mark In and Out points using &lt;kbd&gt;I&lt;/kbd&gt; and &lt;kbd&gt;O&lt;/kbd&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Press &lt;kbd&gt;;&lt;/kbd&gt; to &quot;lift&quot; them out (copies the tracks into your clipboard and deletes them from your timeline).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Press &lt;kbd&gt;cmd + Z&lt;/kbd&gt; to undo the delete (the clips will still be in your clipboard).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Press &lt;kbd&gt;cmd + N&lt;/kbd&gt; to make a new sequence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Press &lt;kbd&gt;enter&lt;/kbd&gt; to accept the default sequence settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Press &lt;kbd&gt;cmd + V&lt;/kbd&gt; to paste the clips in to the new sequence.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-07-01T13:21:23.510" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27980" PostTypeId="2" ParentId="27974" CreationDate="2019-07-01T15:20:32.123" Score="1" Body="&lt;p&gt;I think adding:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf &quot;drawtext=fontfile=/usr/share/fonts/dejavu/DejaVuSans-Bold.ttf: text='%{localtime\:%T}': fontcolor=white@0.8: x=7: y=700&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;should work. See &lt;a href=&quot;https://einar.slaskete.net/2011/09/05/adding-time-stamp-overlay-to-video-stream-using-ffmpeg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adding time stamp overlay to video stream using ffmpeg&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="25601" LastEditorUserId="18155" LastEditDate="2019-07-02T22:20:59.317" LastActivityDate="2019-07-02T22:20:59.317" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="27981" PostTypeId="2" ParentId="21354" CreationDate="2019-07-01T23:45:14.277" Score="2" Body="&lt;p&gt;It's the Phantom power.  I've done a lot of testing and the Phantom power adds a lot of noise to the NTG 2. I don't know why, but if you don't run it on phantom power and use it only with batteries, the noise goes away.&lt;/p&gt;&#xA;" OwnerUserId="25603" LastEditorUserId="14523" LastEditDate="2019-07-02T23:06:21.537" LastActivityDate="2019-07-02T23:06:21.537" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27982" PostTypeId="1" CreationDate="2019-07-02T03:31:09.873" Score="0" ViewCount="487" Body="&lt;p&gt;I'm using Eprime and Experiment Builder which requires files in AVI format (AVI-XVid). The files are quite small already (various 2 second clips under 1mb), but are still too large which crash the system, thus I am looking into reducing the file size by changing the bitrate, resolution, frame rate etc. I am not familiar with video editing, any help would be appreciated! &lt;/p&gt;&#xA;" OwnerUserId="25604" LastActivityDate="2023-12-30T06:05:50.683" Title="How can I change/reduce the bitrate of AVI files using Adobe Premiere Pro CC or other tools?" Tags="|video|premiere|encoding|video-quality|compression|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27984" PostTypeId="1" AcceptedAnswerId="33270" CreationDate="2019-07-02T10:59:10.273" Score="2" ViewCount="948" Body="&lt;p&gt;I have a 360×180° equirectangular video.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to cut out a part of it, to make it a “normal” video using FFmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there something like this? For example, I have a direction vector as a parameter for the region to cut out (e.g. Vector(0, 0, 1) would cut out the sky) &lt;/p&gt;&#xA;" OwnerUserId="25610" LastEditorUserId="18155" LastEditDate="2019-07-02T23:15:45.583" LastActivityDate="2021-02-09T20:49:21.123" Title="FFmpeg crop (cut out) a view direction from 360° video sphere" Tags="|ffmpeg|360video|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27986" PostTypeId="2" ParentId="27958" CreationDate="2019-07-02T13:44:05.787" Score="0" Body="&lt;p&gt;Click with no key held down, then hold down shift as you drag.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're holding the shift key while selecting it toggles the selection of the object that you click on, adding or subtracting it from the selected items.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So clicking on a selected object with the shift held down will deselect it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-07-02T13:44:05.787" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27987" PostTypeId="2" ParentId="27977" CreationDate="2019-07-02T14:13:55.097" Score="1" Body="&lt;p&gt;Go back to your reference and look closely. Although the pattern moves across the paper continuously around the edges, it still respects the 3D geometry of the scene. So the paper on top is on a different plane to the paper at the sides and the front. In fact that reference is totally possible to do with stop motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/82OyD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/82OyD.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With that in mind you have to use AE's 3d capabilities. make a subcomp with your paper pattern. Now in the containing comp make a rectangle mask on the subcomp with the same proportions as the side of the box. Click the 3D icon on that layer, and angle it so that it matches the perspective of your reference. Now using another copy of the precomp add a mask that matches the proportions of the top of the box (use the width of the first mask so that the two edges match). Make this layer 3d and make the first layer its parent. Set its orientation to &lt;strong&gt;90, 0, 0&lt;/strong&gt; (don't have AE on this machine so I'm guessing, it could be &lt;strong&gt;270, 0, 0&lt;/strong&gt;). It should now be at right angles to the side and horizontal. You have to move it so that it meets the side at the top of the box (use 0 as the x coordinate, half the height of the side as it's y coordinate and half the width of the top as the z coordinate). I'll let you work out how to add the end (hint, do the same thing but change the orientation to rotate around the y axis, not the x axis). Imagine you were making the box out of cardboard and think about how you'd rotate and move each piece to make the box.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will achieve a stylised box, but you won't get too much in the way of realism without a bit more of work in AE. Things like the slightly rounded corners that catch specular highlights (circled in green), which you could use soft edged shape layers to do,  and an additional triangular mask for the folded over flaps at the side (rotate the layer 180 degrees so it doesn't match, and angle it out just a fraction so that it casts a shadow). Most importantly add lights to give some 3D shading.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-07-02T14:13:55.097" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="27988" PostTypeId="2" ParentId="27745" CreationDate="2019-07-02T15:27:06.037" Score="0" Body="&lt;p&gt;I don't use Premiere Pro, so I don't provide the step-by-step instruction, but I know the basis of your problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your original (compressed) video they are so-called &lt;strong&gt;intra-frames&lt;/strong&gt; (aka &lt;strong&gt;keyframes&lt;/strong&gt;), which contains the full info about the particular frame, and other frames (inter-frames) which contain — simply said — only differences from the previous intra-frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sJ6bX.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sJ6bX.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;every &lt;strong&gt;intra-frame&lt;/strong&gt; is &lt;em&gt;independent of others frames&lt;/em&gt;, while &lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;non-intra-frames&lt;/strong&gt; are &lt;em&gt;dependent&lt;/em&gt; on &lt;em&gt;the nearest previous intra-frame&lt;/em&gt;&lt;br&gt;&#xA;(and — maybe — from other frames, too).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Let suppose there is &lt;strong&gt;1&lt;/strong&gt; intra-frame every &lt;strong&gt;10 seconds&lt;/strong&gt; (i.e. at time stamps 0 s, 10 s, 20 s, etc.),&lt;br&gt;&#xA;and the “other” frames are between them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, you want to cut the 20 s video from the time 13 s (i.e. the range &lt;strong&gt;13 s – 33 s&lt;/strong&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The frame at the position 13 s is &lt;strong&gt;not&lt;/strong&gt; an intra-frame — it needs the previous intra-frame (at position 10 s) to obtain the full picture. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So your software simply &lt;strong&gt;adds&lt;/strong&gt; the 3 s part from 10 s in front of your request, and &lt;strong&gt;cuts-off&lt;/strong&gt; the last 3 seconds. The result will be a clip in the range &lt;strong&gt;10 s — 30 s&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the situation is not so desperate. You have to force Adobe Premiere Pro to re-encode the 13 – 33 s part of original video, i.e. to first compute the frame at position 13 s, then mark it as intra-frame, and make subsequent frames dependent of this new intra-frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As I told, I don't know the exact answer. But you have to &lt;strong&gt;avoid&lt;/strong&gt; enabling properties as “Direct Copy”, “Fast Copy”, “Without Re-encoding”, etc.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-07-02T15:45:06.660" LastActivityDate="2019-07-02T15:45:06.660" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27989" PostTypeId="2" ParentId="21354" CreationDate="2019-07-02T16:39:52.423" Score="-1" Body="&lt;p&gt;Have you applied a low pass and/or high pass filter on the audio?  Mid grade mics often have built in high/low pass filtering but higher end pro mics will leave the audio feed untouched and expect you to fix it in post.&lt;/p&gt;&#xA;" OwnerUserId="23117" LastActivityDate="2019-07-02T16:39:52.423" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27990" PostTypeId="2" ParentId="27982" CreationDate="2019-07-02T16:45:09.977" Score="0" Body="&lt;p&gt;Premier Pro doesn't encode XViD, you'll need to rely on another solution such as FFmpeg.  Using FFmpeg is a different question but the command will be something similar to:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -y -i &quot;in.xvid&quot; -t 480.00 -vf scale=720:301,pad=720:576:0:137 -map 0:v:0 -map 0:1 -b:v 2500K -vcodec libxvid -aspect 1.25 -b:a:0 128K -ac:a:0 2 -ar:a:0 48000 -codec:a:0 libmp3lame &quot;out.avi&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;you'll need to tinker with these settings to get the exact quality you want&lt;/p&gt;&#xA;" OwnerUserId="23117" LastActivityDate="2019-07-02T16:45:09.977" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27991" PostTypeId="1" CreationDate="2019-07-03T03:40:25.270" Score="0" ViewCount="1685" Body="&lt;p&gt;I have several hundred 1080p 59.94fps 10-bit-per-channel (bpc) AVC-Intra Class 100 MXF encoded video files.  I would like to extract the frames of this video file and export them to disk in a 16-bit lossless image format.  I recently encountered this question:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/22136/convert-video-to-10-bit-images&quot;&gt;Convert video to 10 bit images&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I tried this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &quot;testinput.mxf&quot; -pix_fmt rgb48 _Frames/out%05d.tiff&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But ran into a rather unfortunate issue that I am not sure how to resolve.  Although it technically did work, and exported all of the video frames into a 16 bpc format, the color of these frames appears washed out.  Here's what I mean:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first frame of the original video file (MXF):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ADVYC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ADVYC.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first frame exported with ffmpeg:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/oZhHU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oZhHU.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can see, the color appears to be faded and doesn't perfectly match the frame in the original video.  I don't know why this is, but it's a serious problem that needs a resolution ASAP.  Perhaps I'm not using ffmpeg correctly, or perhaps this is a bug in ffmpeg.  &lt;strong&gt;What do I need to do to extract the frames from this particular codec correctly?&lt;/strong&gt;  Please, help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have included the original MXF file here, for your own testing purposes:&#xA;&lt;a href=&quot;https://drive.google.com/open?id=1HtCmPGkIZMMMEOAVKMlLksov7QyKzqRE&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/open?id=1HtCmPGkIZMMMEOAVKMlLksov7QyKzqRE&lt;/a&gt;&#xA;Here is a link to the output of running the command I specified earlier.  I'm on the latest version of ffmpeg for Windows, ffmpeg version N-94150-g231d0c819f Copyright (c) 2000-2019.&#xA;&lt;a href=&quot;https://pastebin.com/8UrxJJpY&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pastebin.com/8UrxJJpY&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25617" LastEditorUserId="25617" LastEditDate="2019-07-04T19:49:38.203" LastActivityDate="2024-03-28T23:02:55.390" Title="Export Frames of 10 BPC Video File with ffmpeg" Tags="|video|ffmpeg|video-quality|compression|color|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27992" PostTypeId="1" CreationDate="2019-07-03T09:17:49.957" Score="0" ViewCount="21" Body="&lt;p&gt;I have a video where the character is looking towards the left of the screen. I want to rotate the video in such a way so that the character looks towards the right side while not changing any proportion.&lt;/p&gt;&#xA;" OwnerUserId="25618" LastActivityDate="2019-07-03T12:07:57.107" Title="Tilting videos while not leaving black bars" Tags="|premiere|editing|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="27993" PostTypeId="1" CreationDate="2019-07-03T11:51:30.570" Score="0" ViewCount="13" Body="&lt;p&gt;Hai friends I am using After Effect 2017&#xA;I need help, am download one free ae template for my study purpose, on the layer panel cp1 (main layer) and cp2 (Duplicate layer), I am trying to change the text in cp2, what I change cp2 text it will automatically change in cp1 can tell me how to fix the issue&#xA;(note: when I click cp2 layer it automatically redirects to cp1 layer).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4Wtlo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4Wtlo.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nsLwY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nsLwY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25620" LastEditorUserId="25620" LastEditDate="2019-07-03T13:06:09.363" LastActivityDate="2019-07-03T13:06:09.363" Title="Automatically redirects to another layer" Tags="|after-effects|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27994" PostTypeId="2" ParentId="27992" CreationDate="2019-07-03T12:07:57.107" Score="2" Body="&lt;p&gt;Make sure your video is in a Sequence.&#xA;Go to the Effects tab, and select Horizontal flip. &#xA;Drag the Horizontal Flip effect onto your video clip in the timeline.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/CYxg9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CYxg9.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-07-03T12:07:57.107" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27996" PostTypeId="1" CreationDate="2019-07-03T14:32:55.097" Score="1" ViewCount="122" Body="&lt;p&gt;Please can someone tell me how to align a mask, created inside a composition in After Effects. The usual align tools do not see to work with masks even though they work with other objects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The exact task I am trying to complete is to align a circular mask exactly within a square. &lt;/p&gt;&#xA;" OwnerUserId="25624" LastActivityDate="2019-07-03T14:32:55.097" Title="Align Mask in After Effects" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27997" PostTypeId="1" CreationDate="2019-07-03T14:37:22.010" Score="0" ViewCount="420" Body="&lt;p&gt;Im trying to mux and encode a TS file with 2 audio tracks from a mov file.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loglevel verbose -i test.mov -map 0:1 -map 0:2&#xA;-acodec:0 aac -ab 160k  -acodec:1 eac3 -ac 6 -ar 48000 -ab 640k -dialnorm -24 -dsur_mode 0 -original 1 -dmix_mode 2 -channel_layout 63   -y test.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Im ending up with 2 audiotracks, both EAC3..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version N-94156-g93a73df54d Copyright (c) 2007-2019 the FFmpeg developers&#xA;  built with gcc 9.1.1 (GCC) 20190621&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt&#xA;  libavutil      56. 30.100 / 56. 30.100&#xA;  libavcodec     58. 53.101 / 58. 53.101&#xA;  libavformat    58. 28.101 / 58. 28.101&#xA;  libavdevice    58.  7.100 / 58.  7.100&#xA;  libavfilter     7. 56.100 /  7. 56.100&#xA;  libswscale      5.  4.101 /  5.  4.101&#xA;  libswresample   3.  4.100 /  3.  4.100&#xA;  libpostproc    55.  4.100 / 55.  4.100&#xA;[h264 @ 000001c37707e640] Reinit context to 1920x1088, pix_fmt: yuv420p10le&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 's:\test.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 512&#xA;    compatible_brands: qt&#xA;    encoder         : Lavf58.21.100&#xA;  Duration: 00:02:28.61, start: 0.000000, bitrate: 61419 kb/s&#xA;    Stream #0:0(nor): Video: h264 (High 10), 1 reference frame (avc1 / 0x31637661), yuv420p10le(left), 1920x1080 (1920x1088) [SAR 1:1 DAR 16:9], 52197 kb/s, 23.98 fps, 23.98 tbr, 24k tbn, 47.95 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : Apple Video Media Handler&#xA;      encoder         : Lavc58.36.100 libx264&#xA;      timecode        : 00:00:00:00&#xA;    Stream #0:1(eng): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, stereo, s32 (24 bit), 2304 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;    Stream #0:2(eng): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, 5.1, s32 (24 bit), 6912 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;    Stream #0:3(eng): Data: none (tmcd / 0x64636D74) (default)&#xA;    Metadata:&#xA;      handler_name    : Apple Video Media Handler&#xA;      timecode        : 00:00:00:00&#xA;Unsupported codec with id 0 for input stream 3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Anyone know whats wrong?&lt;/p&gt;&#xA;" OwnerUserId="25625" LastEditorUserId="25625" LastEditDate="2019-07-03T17:25:26.777" LastActivityDate="2023-12-10T01:01:55.307" Title="ffmpeg and mapping against 2 target audio tracks!" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="27998" PostTypeId="2" ParentId="27997" CreationDate="2019-07-03T15:02:45.250" Score="0" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -loglevel verbose -i test.mov -map 0:1 -map 0:2&#xA;-codec:a:0 aac -b:a:0 160k  -codec:a:1 eac3 -ac:a:1 6 -ar:a:1 48000 -b:a:1 640k -dialnorm -24 -dsur_mode 0 -original 1 -dmix_mode 2 -channel_layout 63 -y test.ts&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;acodec&lt;/code&gt; is an alias for &lt;code&gt;codec:a&lt;/code&gt; and it does not accept stream specifiers. Same goes for other codec-related options like bitrate.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-07-03T15:02:45.250" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="27999" PostTypeId="1" CreationDate="2019-07-03T17:26:30.457" Score="-2" ViewCount="20" Body="&lt;p&gt;I'm trying to find open-source software that compresses video captured from a webcam automatically. I'm thinking of automatically compressing like in post-production. For example, compressing the file down from, say, what would have been 2.5 GB to 95 MB when it's initially saved.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any software with this feature that's somewhat user-friendly? &lt;/p&gt;&#xA;" OwnerUserId="25627" LastEditorUserId="25627" LastEditDate="2019-07-03T18:21:49.493" LastActivityDate="2019-07-03T19:11:10.800" Title="Software that captures and compresses simultaneously" Tags="|software-recommendation|software|compression|video-capture|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28000" PostTypeId="2" ParentId="27999" CreationDate="2019-07-03T19:11:10.800" Score="3" Body="&lt;p&gt;Most consumer video recording software I know compresses on capture. Mpeg and others can be configured for lower quality if you want greater compression, but unless you are recording a plain black screen at night in the dark, nothing will give you the level of compression you mention - it just isn't possible.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2019-07-03T19:11:10.800" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28001" PostTypeId="1" CreationDate="2019-07-03T19:45:17.143" Score="1" ViewCount="193" Body="&lt;p&gt;I have a long video of 24 minutes and I'll only really be using seconds long clips from it. I use the &quot;I&quot; and &quot;O&quot; to select a portion that I like and I was wondering if there was a way to save the selected portion to the computer and as separate project files? I know about auditioning though I don't think it has really worked out too well for me.&lt;/p&gt;&#xA;" OwnerUserId="25628" LastActivityDate="2019-07-03T19:45:17.143" Title="Final Cut Pro, How to save a selection of a clip to the computer" Tags="|final-cut-pro-x|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28002" PostTypeId="1" AcceptedAnswerId="28197" CreationDate="2019-07-03T21:48:15.103" Score="0" ViewCount="1938" Body="&lt;p&gt;I am working on documentation of a performance/musical instrument design project I completed in the springtime. The footage I received from my cameraman was shot on a GH5, and it's technical specs are 23.976 fps, 1920x1080, and H.264 10 bit 4:2:2. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have completed my edit in Premiere and used a couple of &quot;Dip to Black&quot; effects as transitions between different moments of my performance. Everything looked great and I rendered the project out. After watching the render, I noticed that on every fade to black transition, a bunch of flickering lines would appear on the white wall behind me. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an example of the problem: &lt;a href=&quot;https://vimeo.com/346004760&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/346004760&lt;/a&gt; (the password is &quot;help&quot;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any clue as to why these flickering lines are appearing during fade to black transitions? How could I get rid of them?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've spent the past two days trying to find a solution, to no avail: the problem continues to appear. Aside from countless hours of Googling, here is a list of things I have tried:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Switching from GPU to Software renderer&lt;/li&gt;&#xA;&lt;li&gt;Removing all effects except dip to black i.e just Dip to Black on pure raw footage&lt;/li&gt;&#xA;&lt;li&gt;Using opacity keyframes from 100 &gt; 0 &gt; 100 instead of dip to black&lt;/li&gt;&#xA;&lt;li&gt;Rendering the project in every imaginable way i.e .avi, very high bitrates, CBR, playing with every encoding settings&lt;/li&gt;&#xA;&lt;li&gt;Cleaning media cache&lt;/li&gt;&#xA;&lt;li&gt;Installing an older version of Premiere, downgrading the project, and rendering out of the older version &lt;/li&gt;&#xA;&lt;li&gt;Rendering the same footage on a Macbook (I usually work on a PC) &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I did learn that I can replicate the issue just by setting In and Out points on the timeline and rendering inside Premiere i.e by going to Sequence &gt; Render In to Out. The flickering lines then appear when I preview the timeline. They do not appear if I haven't pressed &quot;Render In to Out&quot;. This cut my troubleshooting time down considerably, as I didn't have to keep exporting footage.&lt;/p&gt;&#xA;" OwnerUserId="25629" LastActivityDate="2019-08-05T03:08:10.717" Title="Why are these flickering lines appearing during a fade to black in my Premiere render?" Tags="|premiere|transitions|export|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28004" PostTypeId="1" CreationDate="2019-07-04T04:39:14.407" Score="1" ViewCount="991" Body="&lt;p&gt;Does anyone know if there are clear technical specs a digital file can be assessed against to confirm a valid 'broadcast quality' file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EG: Video = certain bitrate  Audio = certain bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously 'non-broadcast quality' files can be faked by resaving to meet such specs, but as a starting point are there guidelines?&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2019-07-04T13:19:30.173" Title="Defined Technical Specs for 'Broadcast Quality'" Tags="|video|audio|broadcast|technical|specifications|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28005" PostTypeId="2" ParentId="28002" CreationDate="2019-07-04T08:23:54.397" Score="0" Body="&lt;p&gt;I believe what you reference is called &quot;artifacts&quot;.&lt;a href=&quot;https://i.stack.imgur.com/LOxOj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LOxOj.jpg&quot; alt=&quot;See this image as an example.&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Those phenomenons are a result of compression. Vimeo does not use the raw file you upload as playback. Instead, the file is converted and compressed for storage-purposes mainly. This might be one reason as of why this is appearing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second possibility is that your footage was not recorded at a deep-enough bitrate, and so it seems from the information you gave. h.264 is always a lossy codec, which means that you're gonna throw away a chunk of data when writing a file in h.264. I know that the gh5 is able to record in avchd, which would be a far better choice in terms of image quality compared to mov h264 or mp4 h264. Try recording in that format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly, using a flat profile could safe you some extra-information in those parts that get compressed could help you. The gh5 has a vlog-L profile as well as a Cinelike D one. These are so called &quot;flat profiles&quot; which will lower the contrast and saturation at first, but give you the ability to adjust contrast and brightness afterwards. Recording in a flat profile captures more information in very bright or very dark areas, which would otherwise get lost. Trying this might also improve your results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, Vimeo, youtube, Clipfish, hell what ever Streaming-Service you use - compression will take place, which means that your video will look worse there than in the original file. Depending on what you're planning on the long run (for example sending a video to a client) it might be a better idea to straight up upload the prores4444 or DNxHR or similar near-lossless codec and send the link to the client (for example via ftp-server) so he/she/it can download it directly without the use of 3rd-party streaming-services.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope my answer was helpful, happy filming!&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-07-04T08:23:54.397" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28006" PostTypeId="2" ParentId="28004" CreationDate="2019-07-04T08:40:20.800" Score="0" Body="&lt;p&gt;you need to understand the meaning of each &amp;amp; effect of different Bit-rates&#xA;on your video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DEPENDING ON PAL &amp;amp; NTSC &#xA;FRAME SIZE, FRAME RATE &amp;amp; FIELD PROGRESSION CHANGES&#xA;FOR THAT TOPIC&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.adobe.com/devnet/flash/learning_guide/video/part06.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;CLICK ON THIS TEXT OTHERWISE READ THE FOLLOWINGS:&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;SD&lt;/strong&gt;&#xA;  &lt;code&gt;4 MB/s = TARGERT BITRATE &amp;amp; 5 MB/s AS MAX BITRARTE&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&amp;amp; there won't be much difference.&#xA;but for &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;HD&lt;/strong&gt;&#xA;  &lt;code&gt;8 MB/s = TARGERT BITRATE &amp;amp; 12 MB/s AS MAX BITRARTE&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;AS FOR &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;AUDIO FREQ.&lt;/strong&gt;  &lt;code&gt;48k&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="25250" LastActivityDate="2019-07-04T08:40:20.800" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28007" PostTypeId="2" ParentId="28004" CreationDate="2019-07-04T13:19:30.173" Score="2" Body="&lt;p&gt;This depends entirely on who you are delivering to. Different broadcasters have different requirements.  Most have a delivery spec sheet that you can request, or that they publish online. e.g. &lt;a href=&quot;https://www.bbc.co.uk/commissioning/tv/production/articles/technical-requirements&quot; rel=&quot;nofollow noreferrer&quot;&gt;here's the BBC one&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-07-04T13:19:30.173" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28008" PostTypeId="1" CreationDate="2019-07-04T17:27:34.580" Score="1" ViewCount="203" Body="&lt;p&gt;Converting ~30 files at once with ffmpeg to mp4, and it took around ~19 hours to finish. My CPU was at 100% the whole time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any drawback in doing this many encodes at once, if time is not a big concern? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Like can ffmpeg lose frames or something because the CPU is busy and thus corrupt a file, make lower quality files or something. &lt;/p&gt;&#xA;" OwnerUserId="18048" LastActivityDate="2019-07-05T07:48:48.817" Title="Can too many ffmpeg encodes at once cause loss of quality?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28009" PostTypeId="2" ParentId="8425" CreationDate="2019-07-05T00:10:33.210" Score="2" Body="&lt;p&gt;Maybe u mistakenly press button solo&lt;/p&gt;&#xA;" OwnerUserId="25638" LastActivityDate="2019-07-05T00:10:33.210" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28010" PostTypeId="2" ParentId="28008" CreationDate="2019-07-05T07:48:48.817" Score="1" Body="&lt;p&gt;This is a very broad questions so let me try to answer it in a general sense.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, it is more likely for corrupted files to appear when encoding more files. It is only more likely by a very thin margin though, so using a batch-render-queue is not something to &quot;not do&quot; - in fact, many big budget productions use render-queues to render many many sequences one after another, and I personally wouldn't demotivate you from doing it. However, encoding to mp4 (I assume h.264) always comes with compression, meaning that the file will be lossy and not as good as the original. The CPU being at 100% shouldn't cause any problems though if you didn't overclock your cpu or tinkered with the flags from within ffmpeg (which I assume you didn't do).&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-07-05T07:48:48.817" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28011" PostTypeId="1" CreationDate="2019-07-05T14:56:08.060" Score="1" ViewCount="1028" Body="&lt;p&gt;Say that I have many gigabytes of files (4GB) and I want to send them to an editor who lives many miles away. The editor will create a new Premiere project file, edit a couple of sequences and send the project file back to me. This all has to be done within 24 hours.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, my internet connection is slow and it would take 24 hours for me to upload the files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does Adobe CC implement a system that would make this process quicker? Is there a standard workflow that solves this problem?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The solution I have in mind is to send all the files to Encoder and save the output to the cloud. The editor would work with these proxy files. Then once they have sent me the project file, I can link the project to the original clips (I am not exactly sure how I would do this). Is there a better solution?&lt;/p&gt;&#xA;" OwnerUserId="23213" LastActivityDate="2019-08-06T17:15:55.530" Title="What's the quickest, most efficient way of sending files/proxies to a remote editor (using Premiere) over a moderately slow internet connection?" Tags="|workflow|intermediate|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28012" PostTypeId="1" CreationDate="2019-07-05T16:39:47.623" Score="0" ViewCount="17" Body="&lt;p&gt;By what process, graphics programming, editing or any other method can a human object in a live video be carved or cropped out of the video and the background unchanged and the video moving pixels continue in motion? &lt;/p&gt;&#xA;" OwnerUserId="25643" LastActivityDate="2019-07-05T22:14:34.760" Title="Video Graphics Editing" Tags="|editing|programming|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28013" PostTypeId="2" ParentId="28012" CreationDate="2019-07-05T22:14:34.760" Score="1" Body="&lt;p&gt;I believe You want to delete some objects from Your scene.&#xA;Adobe After Effects recently introduced a feature allowing users to do just that:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Documentation: &lt;a href=&quot;https://helpx.adobe.com/pl/after-effects/using/content-aware-fill.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/pl/after-effects/using/content-aware-fill.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video example: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/TvWI0a0Oqi0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If You meant anything else please clarify Your question a little bit more.&lt;/p&gt;&#xA;" OwnerUserId="24746" LastActivityDate="2019-07-05T22:14:34.760" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28014" PostTypeId="1" AcceptedAnswerId="28019" CreationDate="2019-07-05T23:02:06.960" Score="3" ViewCount="12336" Body="&lt;p&gt;Usually when I speed up a set of clips, their duration changes in the timeline.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/T9az0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/T9az0.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a quick way to snap them all together?&lt;/p&gt;&#xA;" OwnerUserId="25644" LastActivityDate="2019-07-08T04:23:52.590" Title="Snapping all clips together in Adobe Premiere" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28015" PostTypeId="2" ParentId="28011" CreationDate="2019-07-06T04:40:58.793" Score="1" Body="&lt;p&gt;Sending proxies is also a well established workflow if you choose to go that route. “Offline” and then “Online” editing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;See the following link for explanation on how to correctly create the proxy files with Premiere Pro&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/kb/ingest-proxy-workflow-premiere-pro-cc-2015.html#CreateProxies&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/kb/ingest-proxy-workflow-premiere-pro-cc-2015.html#CreateProxies&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Send your Premiere Project and proxy files to your remote editor and receive back the completed project. Import their sequence into your original project and as long as they did not alter the proxies in any way before editing you should be able to reconnect the original media easily. &lt;/p&gt;&#xA;" OwnerUserId="25645" LastActivityDate="2019-07-06T04:40:58.793" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28016" PostTypeId="1" CreationDate="2019-07-06T08:58:34.603" Score="1" ViewCount="260" Body="&lt;p&gt;What's the best way to set up a shadow catcher using Cineware Cinema 4D lite and After Effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm following the tutorial &lt;a href=&quot;https://grafxflow.co.uk/blog/3d-animation/shadow-catcher-plugin-in-cinema-4d&quot; rel=&quot;nofollow noreferrer&quot;&gt;Shadow Catcher plugin in Cinema 4D&lt;/a&gt;, &#xA;but it's not working in AE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've installed the plugin in &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/Applications/Adobe After Effects CC 2019/Plug-ins/MAXON CINEWARE AE/(CINEWARE Support)/lite/plugins&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(not sure whether this is doable).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any tips?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="18155" LastEditDate="2019-07-06T18:03:39.960" LastActivityDate="2019-07-20T08:17:37.200" Title="Setting up a shadow catcher layer in Cinema4D Lite" Tags="|cinema4d|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28017" PostTypeId="1" CreationDate="2019-07-06T10:08:38.250" Score="0" ViewCount="1153" Body="&lt;p&gt;I want to make the sound of a group of people (like an audience) cheering a user defined text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to achieve this easily?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried googling, but couldn't find anything.&lt;/p&gt;&#xA;" OwnerUserId="25647" LastEditorUserId="1950" LastEditDate="2019-07-09T08:20:26.433" LastActivityDate="2023-10-10T12:21:41.963" Title="Make the sound of an audience cheering a custom text" Tags="|editing|audio|software-recommendation|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="28019" PostTypeId="2" ParentId="28014" CreationDate="2019-07-07T11:27:18.697" Score="4" Body="&lt;p&gt;If you have a recent version of Premiere you can use the close gaps function, found in  &lt;strong&gt;Sequence &gt; Close Gap&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For previous versions (pre 2018), try the method in this video: &lt;a href=&quot;https://www.youtube.com/watch?v=I89jYuZYvP8&quot; rel=&quot;nofollow noreferrer&quot;&gt;Deleting multiple Gaps in Premiere Pro all at once&lt;/a&gt;, where you add a matte layer, then drag the existing clips over it to cut it into chunks where the gaps are, then ripple delete it. Works in any version of PP.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-07-08T04:23:52.590" LastActivityDate="2019-07-08T04:23:52.590" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28021" PostTypeId="1" AcceptedAnswerId="28022" CreationDate="2019-07-08T10:28:14.390" Score="0" ViewCount="31" Body="&lt;p&gt;I have met my dreams in a camera called &lt;a href=&quot;https://pro.sony/en_FI/products/shoulder-camcorders/pxw-x500&quot; rel=&quot;nofollow noreferrer&quot;&gt;PXW-X500&lt;/a&gt;&#xA;I thought CMOS had killed CCD after cheapness, global shutter revolution and years of advancements? Why is CCD still a thing?&lt;/p&gt;&#xA;" OwnerUserId="23721" LastActivityDate="2019-07-08T12:01:00.887" Title="Why is CCD still alive?" Tags="|camera|camcorder|image-sensors|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28022" PostTypeId="2" ParentId="28021" CreationDate="2019-07-08T11:49:52.800" Score="1" Body="&lt;p&gt;The main reason is that while CMOS has made great strides in overcoming it's limitations, there are still some advantages that CCDs hold.  I wasn't able to find anything completely up to date, but &lt;a href=&quot;https://www.atik-cameras.com/news/difference-between-ccd-cmos-sensors/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this article&lt;/a&gt; from 2017 has a few examples.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's more ability to get consistent results from each pixel and get higher quality analog to digital conversion with less amplification necessary on the CCD.  The cost is much higher obviously as CCD has always been a more expensive option, but it still holds some specialty advantages.  If you need those advantages and have the money, it's still worth buying.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Looking at the difference between that camera and the next model down, you can see that the CCD does have a low light performance advantage over the closest equivalent CMOS camera in that line.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="2836" LastEditDate="2019-07-08T12:01:00.887" LastActivityDate="2019-07-08T12:01:00.887" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28023" PostTypeId="2" ParentId="27991" CreationDate="2019-07-09T06:39:00.697" Score="0" Body="&lt;p&gt;Try using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;testinput.mxf&quot; -vf scale=in_range=limited:out_range=full -pix_fmt rgba64 path/to/output/out%05d.tiff&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;instead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a reason that is &lt;em&gt;slightly&lt;/em&gt; beyond my comprehension of color science (or maybe just something odd with ffmpeg), the output of the initial command was creating .tiff files in the &quot;limited&quot; (15-235) rather than &quot;full&quot; (0-255) RGB color range. I used the scopes in Premiere Pro and DaVinci Resolve to A-B between the first frame of the created .tiff sequence and the original .mxf and the differences became clear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you aren't dead set on using ffmpeg, I was also able to achieve a comparable result by importing the .mxf into a Resolve (version 15 in my case) timeline and then using the &quot;Deliver&quot; workspace, selecting the 16 Bit, RGB and .tiff options as the output and using either the 'Auto' or 'Full' range setting. If you go the Resolve route, you can queue up each .mxf file and just let them export until everything is complete. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are &lt;em&gt;slight&lt;/em&gt; variations between the ffmpeg .tiff, the Resolve .tiff and the original .mxf but to my understanding the process of converting YUV (the original .mxf) to RGB (the .tiff sequence) generally isn't mathematically perfect. The files pass the &quot;eyeball&quot; test, however, and should work well unless the people you are working for have really strict delivery requirements. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you really want to go deep into it, the nice (and smart!) folks over at Doom9 forums can get you into AVISynth (which is really cool and powerful but also quite complicated) for very advanced conversions. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="25645" LastActivityDate="2019-07-09T06:39:00.697" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28026" PostTypeId="1" AcceptedAnswerId="28060" CreationDate="2019-07-09T15:25:29.980" Score="1" ViewCount="231" Body="&lt;p&gt;I am digitalizing Super 8 film with a &lt;a href=&quot;https://www.somikon.fr/produit/scanner-de-pellicule-pour-films-8-mm-et-super-8-2/&quot; rel=&quot;nofollow noreferrer&quot;&gt;dedicated Somikon scanner&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It outputs H264 - MPEG-4 AVC films in 4/3 (1440x1080).&#xA;When I open these films directly with VLC, there are displayed in 4/3, which is fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I add them in Sony Vegas Pro 12 to edit/modify them, but Vegas Pro believes that they are 16/9 clips: although the &lt;code&gt;Project [Projet]&lt;/code&gt; and &lt;code&gt;Visualization [Visualisation]&lt;/code&gt; fields are in 4/3, the &lt;code&gt;Display [Affichage]&lt;/code&gt; is in 16/9 (600x338) by default:&lt;a href=&quot;https://i.stack.imgur.com/vFSvx.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vFSvx.jpg&quot; alt=&quot;Display in 16/9&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have to uncheck the &lt;code&gt;Simulate the peripheral image ratio [Simuler le format d'image du périphérique]&lt;/code&gt; item to get back the original 4/3 aspect ratio:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/GmaqW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GmaqW.jpg&quot; alt=&quot;Display back in 4/3&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I render the project, Vegas generates a video in 4/3 with the right resolution (1440x1080), but the video player sofwares (VLC for example, see capture below) believe it should be displayed with a 16/9 aspect ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JM0ig.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JM0ig.jpg&quot; alt=&quot;Correct resolution&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xBxUz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xBxUz.jpg&quot; alt=&quot;But wrong default aspect ratio&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In conclusion, the resolution is good all along, but the default aspect ratio is wrongly set to 16/9 by/in Vegas Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to avoid that in the first place? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or is there a way to correct it afterwards (once the rendered file is created)?&lt;/p&gt;&#xA;" OwnerUserId="25665" LastActivityDate="2019-07-12T16:03:34.433" Title="Sony Vegas Pro 12 - 4/3 video wrongly considered as 16/9" Tags="|video|video-editor|vegas-pro|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28027" PostTypeId="1" AcceptedAnswerId="28030" CreationDate="2019-07-10T01:05:53.017" Score="0" ViewCount="308" Body="&lt;p&gt;I was trying to compile an FFmpeg example code &lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/master/doc/examples/filtering_video.c&quot; rel=&quot;nofollow noreferrer&quot;&gt;HERE&lt;/a&gt; that illustrates how to use filters using it's C APIs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I compiled the code (throuh a universal &lt;code&gt;make&lt;/code&gt;). As the usage suggests, I'm doing this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;./filtering_video test.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But it produces some jumble output on the screen. I was expecting it produces an output &lt;code&gt;.mp4&lt;/code&gt; file that can be played.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to run it correctly? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And does it work with &lt;strong&gt;any&lt;/strong&gt; given video filter that is passed to FFmpeg through &lt;code&gt;-vf&lt;/code&gt;, if I simply change the filter description specified?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;const char *filter_descr = &quot;scale=78:24,transpose=cclock&quot;;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2019-07-10T05:39:02.930" Title="Compile FFmpeg example code" Tags="|video|ffmpeg|encoding|video-capture|decoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28028" PostTypeId="1" CreationDate="2019-07-10T03:12:31.673" Score="1" ViewCount="3078" Body="&lt;p&gt;I have a Vuze XR camera, which can capture 3D videos in 180°, and I'd like to compose a VR180 movie for YouTube by joining several clips using free tools.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm almost there, but my supposedly 180° video is turning out 360° with some sort of mirror image on the other side, and the video is initialized right into the stitch of the two sides, so I need to rotate it 90° to view it properly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My process so far is:&#xA;1) capture clips&#xA;2) use Vuze VR Studio to export each clip to the default YouTube format (if I upload this one directly it shows correctly on YouTube, although I had some issues with the timeline)&#xA;3) use DaVinci Resolve to create video with several clips&#xA;4) use VR180 Creator to add metadata (from the GUI I didn't select any of the checkboxes)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an example: &lt;a href=&quot;https://www.youtube.com/watch?v=JiR8WU80_FY&quot; rel=&quot;nofollow noreferrer&quot;&gt;before the metadata&lt;/a&gt; I get a normal rectangular video with left and right eyes; while &lt;a href=&quot;https://www.youtube.com/watch?v=tNOTPg2VVr8&amp;amp;feature=youtu.be&quot; rel=&quot;nofollow noreferrer&quot;&gt;by adding metadata&lt;/a&gt; it correctly identifies as a VR video that I can move around and watch with a VR headset, but it's 360° and by default it is positioned with the edge of the 180° image on the center.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas on how I can fix this or suggestions of other free tools (Linux, Windows or Mac) that I could use to correctly edit the videos?&lt;/p&gt;&#xA;" OwnerUserId="25670" LastActivityDate="2024-03-19T21:04:20.473" Title="Correct metadata for VR180 video on YouTube" Tags="|youtube|3d|vr|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28030" PostTypeId="2" ParentId="28027" CreationDate="2019-07-10T05:39:02.930" Score="1" Body="&lt;p&gt;It does not produce any output file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After filtering, &lt;code&gt;display_frame()&lt;/code&gt; is called, which simply outputs to the console.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;/* Trivial ASCII grayscale display. */&#xA;p0 = frame-&amp;gt;data[0];&#xA;puts(&quot;\033c&quot;);&#xA;for (y = 0; y &amp;lt; frame-&amp;gt;height; y++) {&#xA;    p = p0;&#xA;    for (x = 0; x &amp;lt; frame-&amp;gt;width; x++)&#xA;        putchar(&quot; .-+#&quot;[*(p++) / 52]);&#xA;    putchar('\n');&#xA;    p0 += frame-&amp;gt;linesize[0];&#xA;}&#xA;fflush(stdout);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-07-10T05:39:02.930" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28031" PostTypeId="1" AcceptedAnswerId="28042" CreationDate="2019-07-10T06:00:32.667" Score="1" ViewCount="3046" Body="&lt;p&gt;I have a video that has a color I'd like to remove, and make into a transparent gif with ffmpeg. I first created a color palette using &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i video.mp4 -filter_complex &quot;[0:v] palettegen&quot; palette.png&lt;/code&gt;=&lt;/p&gt;&#xA;&#xA;&lt;p&gt;that went fine. Then when I go to try and make a gif I do this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i Untitled.mp4 -i palette.png -filter_complex &quot;[0:v][1:v] paletteuse;[0:v]chromakey=0xE700F4&quot; out.gif&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This however gives an error and does not create anything. Am I doing something wrong here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;here's the log:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  built with gcc 9.1.1 (GCC) 20190621&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt&#xA;  libavutil      56. 30.100 / 56. 30.100&#xA;  libavcodec     58. 53.101 / 58. 53.101&#xA;  libavformat    58. 28.101 / 58. 28.101&#xA;  libavdevice    58.  7.100 / 58.  7.100&#xA;  libavfilter     7. 56.101 /  7. 56.101&#xA;  libswscale      5.  4.101 /  5.  4.101&#xA;  libswresample   3.  4.100 /  3.  4.100&#xA;  libpostproc    55.  4.100 / 55.  4.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'Untitled.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 19529854&#xA;    compatible_brands: mp42isom&#xA;    creation_time   : 2019-07-10T05:06:10.000000Z&#xA;  Duration: 00:00:07.04, start: 0.000000, bitrate: 12629 kb/s&#xA;    Stream #0:0(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 190 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-07-10T05:06:10.000000Z&#xA;      handler_name    : Sound Media Handler&#xA;    Stream #0:1(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv), 1920x1080 [SAR 1:1 DAR 16:9], 12433 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-07-10T05:06:10.000000Z&#xA;      handler_name    : Video Media Handler&#xA;      encoder         : AVC Coding&#xA;Input #1, png_pipe, from 'palette.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #1:0: Video: png, rgba(pc), 16x16 [SAR 1:1 DAR 1:1], 25 tbr, 25 tbn, 25 tbc&#xA;Stream mapping:&#xA;  Stream #0:1 (h264) -&amp;gt; paletteuse:default&#xA;  Stream #0:1 (h264) -&amp;gt; chromakey&#xA;  Stream #1:0 (png) -&amp;gt; paletteuse:palette&#xA;  paletteuse -&amp;gt; Stream #0:0 (gif)&#xA;  chromakey -&amp;gt; Stream #0:1 (gif)&#xA;Press [q] to stop, [?] for help&#xA;[swscaler @ 0000008b903fedc0] No accelerated colorspace conversion found from yuva420p to bgr8.&#xA;[gif @ 0000008b8ca40540] GIF muxer supports only a single video GIF stream.&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Invalid argument&#xA;Error initializing output stream 0:1 --&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25673" LastEditorUserId="25673" LastEditDate="2019-07-10T22:37:38.213" LastActivityDate="2019-07-10T23:14:25.073" Title="ffmpeg greenscreen transparent while using color palette" Tags="|ffmpeg|greenscreen|" AnswerCount="1" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28032" PostTypeId="1" CreationDate="2019-07-10T06:21:20.923" Score="0" ViewCount="4778" Body="&lt;p&gt;&lt;strong&gt;Desired Behaviour&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Create an instructional video that 'zooms in' to parts of the video like in this video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/T1iahaNS9i4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first region I want to zoom into is the &lt;code&gt;top right&lt;/code&gt; of the video.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Environment&lt;/strong&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere Pro Version: 13.1.2 (build 9)&lt;br&gt;&#xA;Video dimensions:  1920 wide x 1080 high  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Default &lt;code&gt;Video Effects&lt;/code&gt; Settings&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Position: 960 , 540&lt;br&gt;&#xA;&lt;em&gt;These values seem to represent the center of the video, ie half of the video's dimensions, the first value seems to be the horizontal axis position, the second value seems to be the vertical axis position.&lt;/em&gt;&lt;br&gt;&#xA;Scale: 100&lt;br&gt;&#xA;Anchor Point:  960, 540&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What I've Tried&lt;/strong&gt;  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I looked at a few tutorials for zooming, including the one mentioned above, and they all seem to say you need to:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Put your cursor where you want the zoom to start.  &lt;/li&gt;&#xA;&lt;li&gt;Go to &lt;code&gt;Effect Controls&lt;/code&gt; panel and click &lt;code&gt;Position&lt;/code&gt; and &lt;code&gt;Scale&lt;/code&gt; icons so they turn into clocks.  &lt;/li&gt;&#xA;&lt;li&gt;Put your cursor where you want the zoom to end.  &lt;/li&gt;&#xA;&lt;li&gt;Adjust the &lt;code&gt;Scale&lt;/code&gt; and &lt;code&gt;Position&lt;/code&gt; values so that the desired area of the screen is shown.  &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;My first attempt to zoom into the &lt;code&gt;top right&lt;/code&gt; of the screen is 'kind of' working. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the first keyframe, the values are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Position:  960, 540&lt;br&gt;&#xA;Scale: 100&lt;br&gt;&#xA;Anchor Point:  960, 540  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the second keyframe, the values are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Position:  -650, 1480&lt;br&gt;&#xA;Scale: 268&lt;br&gt;&#xA;Anchor Point:  960, 540  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I have two problems:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I can't quite tell if i am zooming 'outside' the edges of the video, even by a few pixels.    &lt;/li&gt;&#xA;&lt;li&gt;I can't see what the relationship between the new and old &lt;code&gt;Position&lt;/code&gt; values is to make sure I am squarely in the top right corner of the screen. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I googled for things like &lt;code&gt;&quot;how to keep zoom within constraints of the video&quot;&lt;/code&gt; and &lt;code&gt;&quot;how to zoom into top right of video&quot;&lt;/code&gt; but that didn't yield anything helpful, so my terminology must be wrong.    &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Questions&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;What is the correct approach to zooming in to a particular region of the video?   &lt;/li&gt;&#xA;&lt;li&gt;Should I be using the &lt;code&gt;Anchor Point&lt;/code&gt; setting as well as &lt;code&gt;Position&lt;/code&gt; and &lt;code&gt;Scale&lt;/code&gt;?  &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="25674" LastActivityDate="2019-07-10T06:21:20.923" Title="How to zoom in to a particular region of a video using Adobe Premiere Pro CC?" Tags="|premiere|zoom|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28035" PostTypeId="1" CreationDate="2019-07-10T10:28:51.970" Score="1" ViewCount="8523" Body="&lt;p&gt;This is my first time using this software cause I am trying to learn. but when I import my media, it shows all black screen and all I can hear was audio. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;File imported are .mp4&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/s5IrP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s5IrP.png&quot; alt=&quot;da&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25680" LastActivityDate="2023-12-15T17:00:30.090" Title="DaVinci Resolve 16 shows black screen on imported media" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="28036" PostTypeId="1" CreationDate="2019-07-10T10:40:46.570" Score="0" ViewCount="789" Body="&lt;p&gt;I'm using the following command (in my android application) to overlay an image on top of a video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;-i&quot;, video.mp4, &quot;-i&quot;, image.mp4, &quot;-filter_complex&quot;, &quot;[0:v]pad=iw:if(lte(ih\\,iw)\\,ih\\,2trunc(iw*16/9/2)):(ow-iw)/2:(oh-ih)/2[v0];[1:v][v0]scale2ref[v1][v0];[v0][v1]overlay=x=(W-w)/2:y=(H-h)/2[v]&quot;, &quot;-map&quot;, &quot;[v]&quot;, &quot;-map&quot;, &quot;0:a&quot;, &quot;-c:v&quot;, &quot;libx264&quot;, &quot;-preset&quot;, &quot;ultrafast&quot;, &quot;-r&quot;, outFPS, output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I implemented the above after asking &lt;a href=&quot;https://stackoverflow.com/q/55332539/5550161&quot;&gt;this&lt;/a&gt; question.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;This works perfectly fine when the video aspect ratio is &lt;code&gt;16:9&lt;/code&gt;, but I have users that complain that the image is not at the correct position. I noticed that this is on devices that has a different aspect ratio, for example &lt;code&gt;13:6&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Is it correct if I change the command to the following, if for example, the aspect ratio is &lt;code&gt;13:6&lt;/code&gt;?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;-i&quot;, video.mp4, &quot;-i&quot;, image.mp4, &quot;-filter_complex&quot;, &quot;[0:v]pad=iw:if(lte(ih\\,iw)\\,ih\\,2trunc(iw*13/6/2)):(ow-iw)/2:(oh-ih)/2[v0];[1:v][v0]scale2ref[v1][v0];[v0][v1]overlay=x=(W-w)/2:y=(H-h)/2[v]&quot;, &quot;-map&quot;, &quot;[v]&quot;, &quot;-map&quot;, &quot;0:a&quot;, &quot;-c:v&quot;, &quot;libx264&quot;, &quot;-preset&quot;, &quot;ultrafast&quot;, &quot;-r&quot;, outFPS, output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I don't have a device to test with, thats why I decided to ask a question.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tested with the command above using a video with the following dimensions - &lt;code&gt;1980x1020&lt;/code&gt; - aspect ratio of &lt;code&gt;16:9&lt;/code&gt;, then the video dimensions change to &lt;code&gt;1040x480&lt;/code&gt; - aspect ratio of &lt;code&gt;13:6&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That is exactly what I wanted, here is the issue:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use the video mentioned above (&lt;code&gt;1040x480&lt;/code&gt; - aspect ratio of &lt;code&gt;13:6&lt;/code&gt;) and I try to change the aspect ratio to &lt;code&gt;16:9&lt;/code&gt;, using the first command in this question, then I get the following error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_pad_0 @ 0xeeb3f540] Input area 0:-94:480:946 not within the padded area 0:0:480:852 or zero-sized&#xA;[Parsed_pad_0 @ 0xeeb3f540] Failed to configure input pad on Parsed_pad_0&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid argument&#xA;Error while processing the decoded data for stream #1:0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit2&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Running the command mentioned in the comments of the answer, this is the result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After FFmpeg:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Without adding &lt;code&gt;-noautorotate&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tN3pC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tN3pC.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;After adding &lt;code&gt;-noautorotate&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/89W3V.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/89W3V.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT 3&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://pastebin.com/7xKDxP4h&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt; is the log without using &lt;code&gt;-noautorotate&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;String[] s = {&quot;-ss&quot;, valueLeft, &quot;-i&quot;, mStringFilePath, &quot;-i&quot;, drawingPath, &quot;-filter_complex&quot;, &quot;[0:v]scale=iw*sar:ih,setsar=1,pad='max(iw\\,2*trunc(ih*16/9/2))':'max(ih\\,2*trunc(ow*9/16/2))':(ow-iw)/2:(oh-ih)/2[v0];[1:v][v0]scale2ref[v1][v0];[v0][v1]overlay=x=(W-w)/2:y=(H-h)/2,scale=-2:min(1080\\,ih)[v]&quot;, &quot;-map&quot;, &quot;[v]&quot;, &quot;-map&quot;, &quot;0:a&quot;, &quot;-c:v&quot;, &quot;libx264&quot;, &quot;-preset&quot;, &quot;ultrafast&quot;, &quot;-r&quot;, outFPS, path};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://pastebin.com/FNu0tdCZ&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt; is the log with using &lt;code&gt;-noautorotate&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;String[] s = {&quot;-ss&quot;, valueLeft,&quot;-noautorotate&quot;, &quot;-i&quot;, mStringFilePath, &quot;-i&quot;, drawingPath, &quot;-filter_complex&quot;, &quot;[0:v]scale=iw*sar:ih,setsar=1,pad='max(iw\\,2*trunc(ih*16/9/2))':'max(ih\\,2*trunc(ow*9/16/2))':(ow-iw)/2:(oh-ih)/2[v0];[1:v][v0]scale2ref[v1][v0];[v0][v1]overlay=x=(W-w)/2:y=(H-h)/2,scale=-2:min(1080\\,ih)[v]&quot;, &quot;-map&quot;, &quot;[v]&quot;, &quot;-map&quot;, &quot;0:a&quot;, &quot;-c:v&quot;, &quot;libx264&quot;, &quot;-preset&quot;, &quot;ultrafast&quot;, &quot;-r&quot;, outFPS, path};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Here is the links to the videos:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://wetransfer.com/downloads/92ba9c4652aa07d209c12f59e4c7b8f220190711112651/fa969cf7ddb7ea86b9709c37bc4d298320190711112651/f2e0ac&quot; rel=&quot;nofollow noreferrer&quot;&gt;Link&lt;/a&gt; to original video&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://wetransfer.com/downloads/b7347585d7dbaf01ae0db8ae1176792f20190711113615/4c83b5d523725eb6892af386e65efa3b20190711113615/aead93&quot; rel=&quot;nofollow noreferrer&quot;&gt;Link&lt;/a&gt; to video that doesn't use &lt;code&gt;-noautorotate&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://wetransfer.com/downloads/11c94ac17be8c028bd614997a28e08b820190711113141/8efe951610dc9f228ecc5e3a4fa12b2b20190711113141/23e20b&quot; rel=&quot;nofollow noreferrer&quot;&gt;Link&lt;/a&gt; to video after using &lt;code&gt;-noautorotate&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="25662" LastEditorUserId="25662" LastEditDate="2019-07-11T11:39:11.727" LastActivityDate="2021-11-27T16:02:35.223" Title="FFmpeg issue with aspect ratio" Tags="|ffmpeg|aspect|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28038" PostTypeId="1" CreationDate="2019-07-10T15:13:29.517" Score="2" ViewCount="6196" Body="&lt;p&gt;My Objective : To Transcode mjpeg stream from ip camera to youtube using ffmpeg&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My Command : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -f mjpeg -i &quot;http://192.168.0.101&quot; -c copy -movflags +faststart  -vcodec libx264 -f flv &quot;rtmp://a.rtmp.youtube.com/live2/&amp;lt;key&amp;gt;&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My Reference for above effort : &lt;a href=&quot;https://trac.ffmpeg.org/wiki/StreamingGuide#HTTPLiveStreamingandStreamingwithmultiplebitrates&quot; rel=&quot;nofollow noreferrer&quot;&gt;Streaming Guide&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when i try to run the command, it seems something is being transcoded and transmitted but youtube live i am not able to see anything, below is the screenshot of command output&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4KivS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4KivS.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25683" LastActivityDate="2019-07-10T15:41:52.777" Title="Live Streaming IP Camera Stream to Youtube Using ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28039" PostTypeId="2" ParentId="28038" CreationDate="2019-07-10T15:41:52.777" Score="5" Body="&lt;p&gt;Last time I checked, Youtube requires an audio stream even if there is no input audio, so supply a dummy one.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -f mjpeg -i &quot;http://192.168.0.101&quot; -f lavfi -i anullsrc -c:v libx264 -g 60 -c:a aac -ar 44100 -ac 2 -f flv &quot;rtmp://a.rtmp.youtube.com/live2/&amp;lt;key&amp;gt;&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-07-10T15:41:52.777" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28040" PostTypeId="1" CreationDate="2019-07-10T19:04:39.050" Score="0" ViewCount="65" Body="&lt;p&gt;Netflix auto-plays a 20s, 30s video preview in the background if a video is selected or we hover the mouse pointer on them. I was trying to play with them, but couldn't understand how this preview &quot;video production&quot; is done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any information or insights how these previews are generated? Are they a random portion of the video, or what?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, if you have a good suggestion of how to select a portion of video, please share.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ow9EK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ow9EK.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43073" LastEditorUserId="43073" LastEditDate="2019-07-11T21:21:32.343" LastActivityDate="2019-07-11T21:21:32.343" Title="Netflix preview video production" Tags="|video|video-editor|editing|preview|thumbnails|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28041" PostTypeId="2" ParentId="27866" CreationDate="2019-07-10T21:27:43.337" Score="1" Body="&lt;p&gt;Your image link is broken, so it's hard to guess why you'd need to use an image.  If you're trying to time text on screen, you could try Resolve's captioning tools, which provide basic controls over appearance.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you absolutely need to use an image as your source, you can stack the image layer above your video on the timeline, then mask it however you need to using power windows in the color page.  In order for the masking to take effect though, be sure to wire your last node to an alpha output.  Do this by right-clicking anywhere in the background of the node editor and selecting &quot;add alpha output.&quot; Then drag a noodle from the last blue square in the node tree to the new blue circle.  Any power window's you've created (as long as their alphas are piped correctly) will now punch through and act as a mask to punch through your image.  Keyframing is possible, though rudimentary, IMHO.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are also titling tools built into Resolve, which provide more control over appearance than the captioning tools.  These won't help you mask an image, however.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And last but not least, if you need complete control, there's Fusion.  I would recommend the forum &lt;a href=&quot;https://www.steakunderwater.com/wesuckless/index.php&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.steakunderwater.com/wesuckless/index.php&lt;/a&gt; for help on this topic.  There are a few discussions over there about driving this type of action automatically, with external .txt or .csv files, though you could certainly &quot;hardwire&quot; it more easily. &lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2019-07-10T21:27:43.337" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28042" PostTypeId="2" ParentId="28031" CreationDate="2019-07-10T22:59:54.497" Score="1" Body="&lt;p&gt;Your command is attempting to place two streams into the GIF output (the output from paletteuse and the output from chromakey), but the GIF muxer supports only a single stream. To fix this your outputs from each filter should not be orphaned. See the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#Filtering-Introduction&quot; rel=&quot;nofollow noreferrer&quot;&gt;filtering introduction&lt;/a&gt; for more info.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex &quot;[0:v]chromakey=0xE700F4,split[v0][v1];[v0]palettegen[p];[v1][p]paletteuse&quot; output.gif&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;For better results use the chromakey filter before creating the palette.&lt;/li&gt;&#xA;&lt;li&gt;With the split filter you can avoid making a temporary palette file.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2019-07-10T23:14:25.073" LastActivityDate="2019-07-10T23:14:25.073" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28043" PostTypeId="1" AcceptedAnswerId="28047" CreationDate="2019-07-10T23:56:35.307" Score="1" ViewCount="873" Body="&lt;p&gt;I am trying to understand how to use Prores Kostya with FFmpeg, and I have a few questions regarding this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;I have a Panasonic G85 and Gopro Hero 7 black which I used to shoot 4k in.  For 4k footage, the Panasonic records at 4:2:0 8-bit at 100 Mbps, and the Gopro 8 bit 4:2:0 at 78 Mbps.  With this in mind is there any point in selecting a Prores profile other than ProRes 422 LT?  The reason I say this is because the LT profile has 102 Mb/s, which exceeds the source footage from both cameras. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I have read that the qscale command is not needed, and a user can just select a profile which will define a standard bit rate (for LT this is 102  Mb/s). I have seen people saying that ProRes is a profile-based codec, meaning that when you select one of the profiles, it does a fixed amount of compression, defined in the spec. If you want a different compression level, you're supposed to choose a different profile, rather than change a quality setting with the qscale command, as this may result in a violation of the standard, and have the potential to cause playback issues (particularly with hardware decoders).  So with this in mind is it better to miss out the qscale command?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Why is it necessary to specify the &lt;code&gt;-pix_fmt&lt;/code&gt;, as I thought all the 422 profiles defaulted to yuv422p10le and all the  4444 profiles defaulted to yuv4444p10le. So why is there a need to specify this value?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="25690" LastEditorUserId="18155" LastEditDate="2019-07-12T20:59:00.317" LastActivityDate="2019-07-12T20:59:00.317" Title="Prores ffmpeg questions" Tags="|ffmpeg|encoding|prores|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28044" PostTypeId="1" CreationDate="2019-07-11T02:16:50.707" Score="-1" ViewCount="560" Body="&lt;p&gt;I was re-encoding videos downloaded from YouTube with Lossless H.264 (using FFmpeg) because I'm experimenting with &lt;code&gt;CRF=0&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found that resulting videos are much bigger (1 gigabyte) than the original video (100 megabyte). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, from my knowledge of lossy compression, it is basically like lossless compression (plus, it's the same codec) except it throws away lots of minor details that won't be noticed but take up lots of space. Hence, shouldn't I achieve a similar file size if I encode the decoded file using &lt;code&gt;CRF=0&lt;/code&gt; because lots of data are already thrown away? I don't quite understand this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use the following command: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 'file' -an -c:v libx264 -crf 0 'out file'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25678" LastEditorUserId="18155" LastEditDate="2019-07-12T20:59:04.920" LastActivityDate="2022-11-29T13:06:50.823" Title="Re-encoding Lossy formats with Lossless formats" Tags="|ffmpeg|encoding|video-quality|libx264|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28046" PostTypeId="2" ParentId="28044" CreationDate="2019-07-11T06:13:34.523" Score="0" Body="&lt;p&gt;When data “thrown away” by the encoder, the decoder must still render a full image. The image is just not faithful to the original image, but it is a full image. When you reencode with CRF 0 you are telling the encoder, “I want the output to be identical to the input” and the encoder doesn’t know information was lost on a previous encode. so it must spend bits to encode the “new” image losslessly. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-07-11T06:13:34.523" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28047" PostTypeId="2" ParentId="28043" CreationDate="2019-07-11T06:13:52.537" Score="0" Body="&lt;p&gt;1) your Panasonic footage will be H.264; GoPro may be H.264 or H.265. These are inter-frame codecs whereas ProRes is an intra-frame codec (each frame is coded standalone and doesn't depend on other frames for decoding). So, you should consider a higher bitrate to maintain source quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) FFmpeg does allow you to set a custom quantizer but by default it will use a fixed quality setting per profile. For custom quant, use &lt;code&gt;-global_quality N&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) FFmpeg has to convert to the given pixel format which is what output -pix_fmt will do. The encoder only &lt;em&gt;encodes&lt;/em&gt; i.e. takes in raw uncompressed input frames and delivers coded data.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-07-11T06:13:52.537" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="28048" PostTypeId="2" ParentId="28036" CreationDate="2019-07-11T06:22:37.733" Score="1" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&quot;[0:v]scale=iw*sar:ih,setsar=1,pad='max(iw\,2*trunc(ih*16/9/2))':'max(ih\,2*trunc(ow*9/16/2))':(ow-iw)/2:(oh-ih)/2[v0];[1:v][v0]scale2ref[v1][v0];[v0][v1]overlay=x=(W-w)/2:y=(H-h)/2[v]&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, the scale and setsar make sure the image becomes a square-pixel input. Then the pad checks each dimension and pads to a 16:9 frame size.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-07-11T06:22:37.733" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28051" PostTypeId="2" ParentId="28035" CreationDate="2019-07-11T09:09:35.067" Score="0" Body="&lt;p&gt;I suspect you are using an unsupported codec.  Are you using the Linux for windows version?  What is the video you are trying to import encoded as?&lt;/p&gt;&#xA;" OwnerUserId="25690" LastActivityDate="2019-07-11T09:09:35.067" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28054" PostTypeId="1" AcceptedAnswerId="28080" CreationDate="2019-07-11T22:39:09.693" Score="0" ViewCount="2020" Body="&lt;p&gt;I've noticed After Effects has a render engine that works over the network: two computer run the engine at the same time on the same LAN, they have access to the same project and off they go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had a quick look at Adobe Media Encoder and couldn't find any info/command line arguments (like &lt;code&gt;aerender&lt;/code&gt; does). Does it support encoding the same video with two different computers on the same LAN or not ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would be the most efficient way of rendering an After Effects projects to H.264+AAC using two MacBook Pro laptops on the same LAN ?&lt;/p&gt;&#xA;" OwnerUserId="1780" LastActivityDate="2019-07-17T07:27:13.210" Title="Does Adobe Media Encoder support network encoding?" Tags="|after-effects|adobe-media-encoder|aerender|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28055" PostTypeId="2" ParentId="22553" CreationDate="2019-07-11T23:47:37.720" Score="1" Body="&lt;p&gt;The file gets bigger because the encoder struggles to keep the quality of the resulting file as close to the same as the original as possible. &lt;a href=&quot;http://avidemux.sourceforge.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;AviDemux&lt;/a&gt; allows you to &lt;a href=&quot;https://www.youtube.com/watch?v=o9F9viAshNo&quot; rel=&quot;nofollow noreferrer&quot;&gt;cut out parts of a video file without re-encoding&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="17247" LastActivityDate="2019-07-11T23:47:37.720" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28056" PostTypeId="1" CreationDate="2019-07-12T05:10:45.160" Score="0" ViewCount="47" Body="&lt;p&gt;I'm after a video that has a short clip of me tying two different shoes. Here is a still frame with the desired effect:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ynUpC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ynUpC.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Question&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Does premiere have anything built-in to achieve this kind of effect? As it stands, I only seem to be able to add the clips in one at a time, but I don't see any functionality for the split-frame effect I desire. If there is nothing built-in, do I have other options?&lt;/p&gt;&#xA;" OwnerUserId="26800" OwnerDisplayName="Arash Howaida" LastActivityDate="2019-07-13T15:54:47.350" Title="Adobe premiere - dedicated method for split frame video?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28057" PostTypeId="2" ParentId="28056" CreationDate="2019-07-12T09:26:25.807" Score="2" Body="&lt;p&gt;You should position two tracks differently, one to the left and one to the right. Those tracks need also croppings to have the interesting part visible. See for ex. this tutorial video: &lt;a href=&quot;https://www.youtube.com/watch?v=h553RFrWL2w&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe Premiere Pro Tutorial: How to create Split Screen Side by Side Video Effect&lt;/a&gt;.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's more of them, search for “Premiere split screen”.&lt;/p&gt;&#xA;" OwnerDisplayName="user287001" LastEditorUserId="18155" LastEditDate="2019-07-13T15:54:47.350" LastActivityDate="2019-07-13T15:54:47.350" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28058" PostTypeId="1" CreationDate="2019-07-12T11:35:22.977" Score="0" ViewCount="21" Body="&lt;p&gt;When I try to concatenate one video from IOS and Another from Android user, the output video doesn't work. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using this command: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i mylist.txt -c copy output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25703" LastEditorUserId="1950" LastEditDate="2019-07-16T22:31:10.457" LastActivityDate="2019-07-16T22:31:10.457" Title="Uploaded video from IOS and Android devices can't be merged" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28060" PostTypeId="2" ParentId="28026" CreationDate="2019-07-12T16:03:34.433" Score="2" Body="&lt;p&gt;I did not manage to solve the source problem, but I found how to overcome the consequences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is indeed possible to edit the aspect ratio of the rendered video using ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;lt;INPUT_FILE&amp;gt; -aspect 4:3 -c copy &amp;lt;OUTPUT_FILE&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25665" LastActivityDate="2019-07-12T16:03:34.433" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28062" PostTypeId="1" CreationDate="2019-07-13T10:01:53.663" Score="0" ViewCount="1386" Body="&lt;p&gt;I have a process sampling &lt;code&gt;mean_volume&lt;/code&gt; levels from &lt;code&gt;$ ffmpeg -af 'volumedetect' ...&lt;/code&gt; &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#volumedetect&quot; rel=&quot;nofollow noreferrer&quot;&gt;which outputs&lt;/a&gt; negative &lt;code&gt;-##.## dB&lt;/code&gt; measurements where 0 dB is very loud and -100 dB is very quiet.  I need to line those measurements up with &quot;common&quot; loudness scales lining up different positive dB levels with noise environments we encounter such as:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;30 dB = Leaves rustling, soft music, whisper&lt;/li&gt;&#xA;&lt;li&gt;40 dB = Average home noise&lt;/li&gt;&#xA;&lt;li&gt;60 dB = Normal conversation, background music&lt;/li&gt;&#xA;&lt;li&gt;70 dB = Office noise, inside car at 60 mph&lt;/li&gt;&#xA;&lt;li&gt;75 dB = Vacuum cleaner, average radio&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;How should one go about converting the negative dB measurements from &lt;code&gt;ffmpeg&lt;/code&gt; to positive dB values on such scales?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(There are many sources for the &quot;common&quot; loudness scales I refer to here, including built into various smartphone apps for measuring environmental noise and on various web pages such as where I copied &lt;a href=&quot;https://myhealth.alberta.ca/Health/Pages/conditions.aspx?hwid=tf4173#targetText=Normal%20conversation%20is%20about%2060,such%20as%20earplugs%20or%20earmuffs.&quot; rel=&quot;nofollow noreferrer&quot;&gt;the sample above from&lt;/a&gt;, and they all roughly agree.  I would assume this conversion would require me to do some sort of &quot;calibration&quot; to get measurements from both the &lt;code&gt;ffmpeg&lt;/code&gt; output and something on these common scales.  That's something I can do using said apps. Perfect accuracy isn't the goal and isn't required here, just a reasonable rough mapping from the &lt;code&gt;ffmpeg&lt;/code&gt; output onto to these common scales.)&lt;/p&gt;&#xA;" OwnerUserId="25711" LastActivityDate="2019-07-13T10:01:53.663" Title="Convert ffmpeg audio volumedetect negative dB levels to common loudness positive dB levls" Tags="|ffmpeg|audio|loudness|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="28064" PostTypeId="1" CreationDate="2019-07-13T12:45:46.037" Score="1" ViewCount="385" Body="&lt;p&gt;I understand that if I want 444 10 bit, I use pix_fmt yuva444p10le, but what about if I want 8 bit 422?  Using yuv422p does not work, and if I leave the pix_fmt field blank ffmpeg always defaults to using yuv422p10le (note the 10le at the end, which I see this in the terminal window) no matter what ProRes profile I choose.  Is there a switch to just specify 8 bit?  I am confused about the 10le.&lt;/p&gt;&#xA;" OwnerUserId="25690" LastActivityDate="2019-07-13T12:45:46.037" Title="How to specify 422 8bit ProRes with ffmpeg?" Tags="|ffmpeg|prores|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28066" PostTypeId="1" AcceptedAnswerId="28094" CreationDate="2019-07-13T15:44:09.353" Score="0" ViewCount="122" Body="&lt;p&gt;I use Natron. What I want to ask about programs like Nuke, Natron, and Fusion is: Are they only for compositing one frame basically? Or can I composite a video? Just for example there is no timeline. That is, I must first fit all the video at one time and then composite? or are there any timeline nodes&lt;/p&gt;&#xA;" OwnerUserId="25714" LastEditorUserId="3592" LastEditDate="2019-07-13T19:37:56.227" LastActivityDate="2019-07-18T12:20:38.420" Title="Timeline in node based compositing" Tags="|nuke|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28067" PostTypeId="2" ParentId="26121" CreationDate="2019-07-13T20:52:37.640" Score="2" Body="&lt;p&gt;Just wanted to say thanks, Senseful! I moved over a project file and the related video/audio files from my weaker laptop to a stronger desktop for final Media-out-rendering, and I had the exact same issue. Multicam project, and one of the cameras was just black holes instead of video in the final rendering (grrr, still 3 days lost to a bad render). I found this question, and what worked for me was disabling and then enabling all the various clips for one particular video track. Then I had the yellow bars again above everything in the multicam track, which were missing before (same as what you describe).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know what &quot;stib&quot; is talking about - it definitely was an issue for me in the exact same way you described. Hope I don't run into this again but at least next time I'll be sure to make sure those yellow bars are there before pressing the export button!&lt;/p&gt;&#xA;" OwnerUserId="25716" LastActivityDate="2019-07-13T20:52:37.640" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28068" PostTypeId="1" CreationDate="2019-07-14T06:07:45.127" Score="0" ViewCount="657" Body="&lt;p&gt;Ok, I'm usually really good at finding the answers to my FFMPEG questions myself but I'm a bit stumped.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've got this file, an MP4, here is part of the MediaInfo:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Menu&#xA;00:00:00.000                             : CHAPTER01&#xA;00:00:23.133                             : CHAPTER02&#xA;00:01:31.633                             : CHAPTER03&#xA;00:02:05.100                             : CHAPTER04&#xA;00:08:04.567                             : CHAPTER05&#xA;00:16:03.133                             : CHAPTER06&#xA;00:21:45.266                             : CHAPTER07&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So it has Nero formatted chapters embedded with mp4box. Then when I process this file further with ffmpeg it always comes out like this: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Menu #1&#xA;ID                                       : 3&#xA;Codec ID                                 : text&#xA;Duration                                 : 21 min 45 s&#xA;Language                                 : English&#xA;Bit rate mode                            : CBR&#xA;Menu For                                 : 2&#xA;00:59:57.994                             : CHAPTER01&#xA;01:00:21.127                             : CHAPTER02&#xA;01:01:29.627                             : CHAPTER03&#xA;01:02:03.094                             : CHAPTER04&#xA;01:08:02.561                             : CHAPTER05&#xA;01:16:01.127                             : CHAPTER06&#xA;01:21:43.260                             : CHAPTER07&#xA;&#xA;Menu #2&#xA;00:00:00.000                             : CHAPTER01&#xA;00:00:23.133                             : CHAPTER02&#xA;00:01:31.633                             : CHAPTER03&#xA;00:02:05.100                             : CHAPTER04&#xA;00:08:04.567                             : CHAPTER05&#xA;00:16:03.133                             : CHAPTER06&#xA;00:21:45.266                             : CHAPTER07&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now there are 2 chapter streams, I found out that the top is Quicktime formatted and then my original Nero formatted chapters are on the bottom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically I want to only have the original Nero formatted (Menu #2) chapters as anything else makes these chapters not work at all in an Oppo Blu-ray player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm aware of the &lt;code&gt;-movflags disable_chpl&lt;/code&gt; but that gets rid of the Nero chapter and keeps the Quicktime chapters, I want to do the opposite.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone know of any sort of &lt;code&gt;-map&lt;/code&gt; or &lt;code&gt;-map_metadata&lt;/code&gt; or anything that I could do to only have Nero chapters on the output of ffmpeg? For time saving reasons I'd rather not have to embed the chapters with mp4box after ffmpeg, or worse, have to remove the chapters from my files, and then re-embed them after ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Chapter marks are embedded in a batch file with&#xA;&lt;code&gt;mp4box.exe -add %input% -chap %chapters% &quot;%output%\%inputfile%_chapters.mp4&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then later on in the workflow encoded with ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;&quot;C:\Users\******\promo _chapters.mp4&quot; -pix_fmt yuv420p -vf yadif -c:&#xA;    v libx264 -profile:v high -level 4.0 -preset fast -r 30000/1001 -vsync 1 -bf 1 -&#xA;    crf 18 -maxrate 12M -bufsize 12M -movflags +faststart -c:a aac -b:a 192k -ar 48K&#xA;     -f mp4 Z:\output\promo.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the ffmpeg log:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i &quot;C:\Users\******\promo _chapters.mp4&quot; -pix_fmt yuv420p -vf yadif -c:&#xA;v libx264 -profile:v high -level 4.0 -preset fast -r 30000/1001 -vsync 1 -bf 1 -&#xA;crf 18 -maxrate 12M -bufsize 12M -movflags +faststart -c:a aac -b:a 192k -ar 48K&#xA; -f mp4 Z:\output\promo.mp4&#xA;ffmpeg version 4.1.3 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8.3.1 (GCC) 20190414&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfi&#xA;g --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-lib&#xA;freetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amr&#xA;wb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --&#xA;enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-l&#xA;ibwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --&#xA;enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --en&#xA;able-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --en&#xA;able-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --e&#xA;nable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enab&#xA;le-avisynth&#xA; 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   Metadata:&#xA;      title           : CHAPTER04&#xA;    Chapter #0:4: start 21.367000, end 24.400000&#xA;    Metadata:&#xA;      title           : CHAPTER05&#xA;    Chapter #0:5: start 24.400000, end 29.333000&#xA;    Metadata:&#xA;      title           : CHAPTER06&#xA;    Chapter #0:6: start 29.333000, end 32.032032&#xA;    Metadata:&#xA;      title           : CHAPTER07&#xA;    Stream #0:0(und): Video: dnxhd (DNXHD) (AVdn / 0x6E645641), yuv422p(tv, bt70&#xA;9/unknown/unknown), 1920x1080, 145344 kb/s, SAR 1:1 DAR 16:9, 29.97 fps, 29.97 t&#xA;br, 29970 tbn, 29970 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-04-26T19:59:22.000000Z&#xA;      handler_name    : ?Apple Video Media Handler&#xA;      encoder         : Avid DNxHD Codec&#xA;      timecode        : 00:59:58;00&#xA;    Stream #0:1(und): Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, stereo, s3&#xA;2 (24 bit), 2304 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-04-26T19:59:22.000000Z&#xA;      handler_name    : ?Apple Sound Media Handler&#xA;    Stream #0:2(und): Data: none (tmcd / 0x64636D74) (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-04-26T19:59:34.000000Z&#xA;      handler_name    : ?Time Code Media Handler&#xA;      timecode        : 00:59:58;00&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (dnxhd (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (pcm_s24le (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[libx264 @ 00000000006c0140] using SAR=1/1&#xA;[libx264 @ 00000000006c0140] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2&#xA;AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 00000000006c0140] profile Progressive High, level 4.0, 4:2:0, 8-bit&#xA;[libx264 @ 00000000006c0140] 264 - core 157 r2970 5493be8 - H.264/MPEG-4 AVC cod&#xA;ec - Copyleft 2003-2019 - http://www.videolan.org/x264.html - options: cabac=1 r&#xA;ef=2 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=6 psy=1 psy_rd=1.00:0.00 mixed&#xA;_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pski&#xA;p=1 chroma_qp_offset=-2 threads=34 lookahead_threads=5 sliced_threads=0 nr=0 dec&#xA;imate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=1 b_pyramid=0 b&#xA;_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=1 keyint=250 keyint_min=&#xA;25 scenecut=40 intra_refresh=0 rc_lookahead=30 rc=crf mbtree=1 crf=18.0 qcomp=0.&#xA;60 qpmin=0 qpmax=69 qpstep=4 vbv_maxrate=12000 vbv_bufsize=12000 crf_max=0.0 nal&#xA;_hrd=none filler=0 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'Z:\output\promo.mp4':&#xA; 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   Metadata:&#xA;      creation_time   : 2019-04-26T19:59:22.000000Z&#xA;      handler_name    : ?Apple Video Media Handler&#xA;      timecode        : 00:59:58;00&#xA;      encoder         : Lavc58.35.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 12000000/0/0 buffer size: 12000000 vbv_delay: -1&#xA;&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, flt&#xA;p (24 bit), 192 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-04-26T19:59:22.000000Z&#xA;      handler_name    : ?Apple Sound Media Handler&#xA;      encoder         : Lavc58.35.100 aac&#xA;frame=   14 fps=0.0 q=0.0 size=       0kB time=00:00:00.93 bitrate=   1.8kbits/s&#xA;frame=   43 fps= 43 q=0.0 size=       0kB time=00:00:02.00 bitrate=   0.8kbits/s&#xA;frame=   74 fps= 49 q=24.0 size=       0kB time=00:00:03.28 bitrate=   0.5kbits/&#xA;frame=  124 fps= 62 q=24.0 size=       0kB time=00:00:04.69 bitrate=   0.4kbits/&#xA;frame=  166 fps= 66 q=24.0 size=    1536kB time=00:00:06.08 bitrate=2069.8kbits/&#xA;frame=  204 fps= 67 q=24.0 size=    3840kB time=00:00:07.48 bitrate=4201.3kbits/&#xA;frame=  242 fps= 69 q=26.0 size=    5632kB time=00:00:08.89 bitrate=5186.5kbits/&#xA;frame=  284 fps= 70 q=25.0 size=    7424kB time=00:00:10.28 bitrate=5914.7kbits/&#xA;frame=  325 fps= 72 q=24.0 size=    9472kB time=00:00:11.69 bitrate=6637.5kbits/&#xA;frame=  367 fps= 73 q=26.0 size=   11264kB time=00:00:13.09 bitrate=7044.7kbits/&#xA;frame=  407 fps= 73 q=28.0 size=   13056kB time=00:00:14.14 bitrate=7562.0kbits/&#xA;frame=  448 fps= 74 q=29.0 size=   15360kB time=00:00:15.44 bitrate=8146.9kbits/&#xA;frame=  491 fps= 75 q=26.0 size=   17664kB time=00:00:16.91 bitrate=8553.7kbits/&#xA;frame=  532 fps= 75 q=24.0 size=   19712kB time=00:00:18.30 bitrate=8822.2kbits/&#xA;frame=  574 fps= 76 q=24.0 size=   21504kB time=00:00:19.62 bitrate=8975.7kbits/&#xA;frame=  615 fps= 76 q=24.0 size=   23040kB time=00:00:21.03 bitrate=8973.1kbits/&#xA;frame=  656 fps= 76 q=27.0 size=   25088kB time=00:00:22.44 bitrate=9157.7kbits/&#xA;frame=  695 fps= 76 q=24.0 size=   27136kB time=00:00:23.82 bitrate=9328.8kbits/&#xA;frame=  736 fps= 77 q=25.0 size=   29184kB time=00:00:25.23 bitrate=9473.1kbits/&#xA;frame=  776 fps= 77 q=24.0 size=   30976kB time=00:00:26.64 bitrate=9523.5kbits/&#xA;frame=  813 fps= 77 q=24.0 size=   33024kB time=00:00:27.86 bitrate=9710.0kbits/&#xA;frame=  854 fps= 77 q=24.0 size=   34816kB time=00:00:28.97 bitrate=9844.9kbits/&#xA;frame=  896 fps= 77 q=24.0 size=   36352kB time=00:00:30.40 bitrate=9796.0kbits/&#xA;frame=  936 fps= 77 q=24.0 size=   37632kB time=00:00:31.78 bitrate=9698.5kbits/&#xA;[mp4 @ 000000000282e7c0] Starting second pass: moving the moov atom to the begin&#xA;ning of the file&#xA;frame=  960 fps= 62 q=-1.0 Lsize=   39818kB time=00:00:32.04 bitrate=10179.8kbit&#xA;s/s speed=2.07x&#xA;video:39018kB audio:763kB subtitle:0kB other streams:0kB global headers:0kB muxi&#xA;ng overhead: 0.093123%&#xA;[libx264 @ 00000000006c0140] frame I:11    Avg QP:16.42  size:119041&#xA;[libx264 @ 00000000006c0140] frame P:486   Avg QP:20.49  size: 62131&#xA;[libx264 @ 00000000006c0140] frame B:463   Avg QP:22.45  size: 18246&#xA;[libx264 @ 00000000006c0140] consecutive B-frames:  3.5% 96.5%&#xA;[libx264 @ 00000000006c0140] mb I  I16..4: 26.0% 64.5%  9.5%&#xA;[libx264 @ 00000000006c0140] mb P  I16..4:  4.2% 16.2%  1.6%  P16..4: 37.2% 16.7&#xA;%  8.1%  0.0%  0.0%    skip:16.0%&#xA;[libx264 @ 00000000006c0140] mb B  I16..4:  2.7%  7.4%  0.3%  B16..8: 17.8%  5.6&#xA;%  0.4%  direct:20.5%  skip:45.4%  L0:40.2% L1:47.0% BI:12.8%&#xA;[libx264 @ 00000000006c0140] 8x8 transform intra:72.3% inter:69.6%&#xA;[libx264 @ 00000000006c0140] coded y,uvDC,uvAC intra: 54.4% 80.0% 47.2% inter: 2&#xA;4.8% 38.9% 7.1%&#xA;[libx264 @ 00000000006c0140] i16 v,h,dc,p: 34% 26% 12% 28%&#xA;[libx264 @ 00000000006c0140] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 24% 19% 25%  4%  5%&#xA; 6%  5%  6%  5%&#xA;[libx264 @ 00000000006c0140] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 24% 22% 10%  5%  9%&#xA; 8%  9%  6%  7%&#xA;[libx264 @ 00000000006c0140] i8c dc,h,v,p: 51% 21% 20%  8%&#xA;[libx264 @ 00000000006c0140] Weighted P-Frames: Y:6.8% UV:2.5%&#xA;[libx264 @ 00000000006c0140] ref P L0: 79.5% 20.5%&#xA;[libx264 @ 00000000006c0140] kb/s:9978.35&#xA;[aac @ 00000000006c69c0] Qavg: 3776.600&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25717" LastEditorUserId="25717" LastEditDate="2019-07-14T21:20:51.757" LastActivityDate="2019-07-14T21:20:51.757" Title="FFMPEG - Nero and Quicktime Format Chapters" Tags="|ffmpeg|encoding|mp4|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28070" PostTypeId="2" ParentId="25239" CreationDate="2019-07-14T16:44:15.323" Score="2" Body="&lt;p&gt;What you need to do is mark the edit points for the clip where you want the effect to appear. Then highlight the edited clip so that it is highlighted in yellow.&lt;br&gt;&#xA;Now copy that clip by pressing &lt;kbd&gt;Command&lt;/kbd&gt;+&lt;kbd&gt;C&lt;/kbd&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now menu over the clip and select “Lift from storyline”.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will now have an empty grey clip on the Storyline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Click on that Grey clip and paste the copy of the original clip on to it.&#xA;Go back to the start of the clip and then change the angle of the clip on the storyline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, change the size of the two clips to give the side by side effect.&#xA;Dependent on you snap options you may need to drag the clips back together to the right places, when you paste the duplicated clip onto the stroryline.&lt;/p&gt;&#xA;" OwnerUserId="25722" LastEditorUserId="18155" LastEditDate="2019-07-19T09:27:50.313" LastActivityDate="2019-07-19T09:27:50.313" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28073" PostTypeId="2" ParentId="27847" CreationDate="2019-07-15T00:38:37.823" Score="1" Body="&lt;p&gt;Sounds like you want to use this mic as an input to your computer? This might not be the right mic for that purpose - it's a balanced, mic level signal, designed to go to a balanced mono input on a camera or mixing desk. Something like the RODE NT-USB mic is probably more suited to your purpose.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To input the NTG2 (mono, balanced) mic to a 3.5mm TRS (stereo, unbalanced) on your PC, you'd need a converter cable:&#xA;&lt;a href=&quot;https://www.swamp.net.au/xlrf-to-3.5mm-trs-balanced-to-stereo-cable-mic-to-camera-cable&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.swamp.net.au/xlrf-to-3.5mm-trs-balanced-to-stereo-cable-mic-to-camera-cable&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lots of people make these, but that's what you need. If you use a straight through cable that just converts the connectors, the balanced mono audio signal will cancel itself out going into stereo, and you'll hear nothing on the input. Also, most PC inputs are line level, so the mic signal will be much LOWER (mic level), which may also impact your ability to get the volume you want out of it. See also: &lt;a href=&quot;https://sound.stackexchange.com/questions/27539/difference-between-microphone-and-line-in-inputs&quot;&gt;https://sound.stackexchange.com/questions/27539/difference-between-microphone-and-line-in-inputs&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The mic is also ideally designed to be powered by the device using it (video camera, etc), the AA battery will work fine to power it, just be aware that they go flat without warning, so make sure you're monitoring what you are recording - that mic otherwise has no indicators to help you. Also be sure to remove the battery if not using the mic for an extended period, so it doesn't leak inside the mic.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2019-07-15T00:38:37.823" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28075" PostTypeId="1" CreationDate="2019-07-15T11:43:45.297" Score="1" ViewCount="48" Body="&lt;p&gt;I am looking to perform rotoscoping on one of my videos.&#xA;I have found &lt;a href=&quot;http://clearvid.io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Clearvid.io&lt;/a&gt; online service that performs rotoscoping. They provide the points of the resultant masks of rotoscoping in a text file that can be imported into after effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ask:&#xA;I need some help in writing a script that imports these points into Adobe after effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help is greatly appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please find the input video file and the file containing the masks &lt;a href=&quot;https://www.dropbox.com/s/e4ljtwdn8dnskt6/clearvid_7xfdjfbrjdt.zip&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="25729" LastEditorUserId="25729" LastEditDate="2019-07-21T10:53:48.997" LastActivityDate="2019-07-21T10:53:48.997" Title="Need a script to import Rotoscoping mask" Tags="|after-effects|after-effects-scripting|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="28076" PostTypeId="1" CreationDate="2019-07-16T09:03:27.060" Score="0" ViewCount="21" Body="&lt;p&gt;I have created videos using After Effects. I want to export this file and replace photos with user uploaded. Is there any Android library that allows me to do this?&lt;/p&gt;&#xA;" OwnerUserId="25732" LastActivityDate="2019-07-16T09:03:27.060" Title="Is there any android library to play animations from After Effects json or aepx file" Tags="|after-effects|android|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28077" PostTypeId="1" AcceptedAnswerId="30378" CreationDate="2019-07-16T20:00:45.113" Score="2" ViewCount="4780" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Z3uCE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Z3uCE.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I reduce the length on the Time Ruler in order to make the composition shorter in duration?&lt;/p&gt;&#xA;" OwnerUserId="25737" LastActivityDate="2020-05-24T00:24:40.477" Title="How do I change the length of the timeline of the composition to only be as long as my video footage?" Tags="|after-effects|time|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28079" PostTypeId="2" ParentId="28077" CreationDate="2019-07-16T22:22:38.370" Score="1" Body="&lt;p&gt;There's no built - in function that does it, but there's a script for that. I wrote one called first-n-last, it's available (free, open source) here &lt;a href=&quot;https://blob.pureandapplied.com.au/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://blob.pureandapplied.com.au/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, park your playhead at the beginning of the first layer (select that layer and hit &lt;kbd&gt;i&lt;/kbd&gt;), then set the start of the work area to that frame by hitting &lt;kbd&gt;b&lt;/kbd&gt; then select the last layer and hit go to the last frame (hit &lt;kbd&gt;o&lt;/kbd&gt;) and set the end of the work area to that frame by hitting &lt;kbd&gt;n&lt;/kbd&gt;. Now right click the work area and choose &lt;strong&gt;trim comp to work area&lt;/strong&gt; from the contextual menu. This doesn't work for layers that extend beyond the beginning or end of the comp, but my srcipt does.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-07-17T07:17:44.480" LastActivityDate="2019-07-17T07:17:44.480" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28080" PostTypeId="2" ParentId="28054" CreationDate="2019-07-16T22:56:42.697" Score="1" Body="&lt;p&gt;The most efficient way is to use the command line renderer in multi machine mode. That will mean each machine will render the next un-rendered frame independently. You need to set the output module to a frame sequence, like png sequence, JPEG sequence, etc. and you need to make sure that &quot;skip existing frames&quot; is on. Then in a command prompt, type &lt;code&gt;/path/to/aerender -project ~/path/to/your/project.aep&lt;/code&gt; where &lt;code&gt;/path/to/…&lt;/code&gt; is replaced with the path to the aerender executable, and your project (dragging the files onto the terminal is the easiest way to find the correct path). On my machine the executable is &lt;code&gt;C:\Program Files\Adobe\Adobe After Effects CC 2019\Support Files\aerender.exe&lt;/code&gt; on a mac it will be &lt;code&gt;/Applications/Adobe/Adobe After Effects CC 2019/aerender&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively use the render engine and set up a watch folder. This is slower than the CLI renderer, but doesn't involve any CLI use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Media encoder doesn't do multi machine rendering. Probably because if you need rendering speed enough to use multiple machines you don't want to be rendering with it anyway. It's about 20% slower than the CLI renderer. &lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-07-17T07:27:13.210" LastActivityDate="2019-07-17T07:27:13.210" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28082" PostTypeId="2" ParentId="10638" CreationDate="2019-07-17T01:54:12.953" Score="1" Body="&lt;p&gt;Just found an apparent solution to this: if you type &lt;code&gt;option-return&lt;/code&gt; you can insert a hard line break in the text. Combined with a manual font size and a little effort, you can get your lines to be short enough that they don't re-wrap. This works better than adding padding spaces as that still causes strange wrapping in some cases.&lt;/p&gt;&#xA;" OwnerUserId="25740" LastActivityDate="2019-07-17T01:54:12.953" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28085" PostTypeId="1" CreationDate="2019-07-17T16:56:55.937" Score="0" ViewCount="71" Body="&lt;p&gt;If I speed up the encoding in blender to real-time for quicker encoding, will the actual quality of the video go down? Or will the file just be bigger? Just trying to make videos for my YouTube &lt;/p&gt;&#xA;" OwnerUserId="25745" LastActivityDate="2019-07-17T16:56:55.937" Title="Will faster encoding affect the quality in the end? (h.264)" Tags="|video|editing|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28089" PostTypeId="2" ParentId="28044" CreationDate="2019-07-18T04:55:30.783" Score="1" Body="&lt;p&gt;You have a fundamental misunderstanding of how lossy compression works.  It doesn't throw away information so much as ignore the portions of the image that don't conform to the patterns it is looking for.  It does care about small amounts of error, so it doesn't spend time to store them, however it still decodes to a complex video.  The lossless compression doesn't use the same algorithms as the lossy, the shortcuts taken by the lossy algorithm can't be reused by the lossless one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The lossy algorithm is optimized towards using patterns that will have minimal error with minimal data usage.  Lossless algorithms are optimized towards minimizing the data required when not losing any data, so they work quite differently.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2019-07-18T04:55:30.783" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28091" PostTypeId="2" ParentId="28044" CreationDate="2019-07-18T06:12:37.807" Score="0" Body="&lt;p&gt;Maybe this helps you:&#xA;We'll work with images, not video. It's a bit easyer.&#xA;Imagine you have a 10x10 pixel image, every second pixel is whitenand every other is black.&#xA;Now you lossy compress it, instead of storing black-white-black-white...&#xA;It just stores &quot;Display 100 Grey Pixels&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you open the image in your NLE and reencode it lossless, now it has a 10x10 pixel image that is grey, so it will store 100x &quot;This Pixel is grey&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So instead of 1x &quot;Display 100 Grey Pixels&quot; in the beginning, you have 100x &quot;Pixel is grey&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is really really really simplified as even s lossless codec can store it just as 1x &quot;Display 100 Grey Pixel&quot;&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-07-18T06:12:37.807" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28093" PostTypeId="1" CreationDate="2019-07-18T11:59:40.180" Score="3" ViewCount="5269" Body="&lt;p&gt;I am using FFmpeg to combine a radio stream with a video but my target is to read from a playlist file (own format) and combine multiple videos with the audio in the background. The most important thing is that I want to grab the output and pipe it to VLC or FFplay (I would prefer VLC because somehow sometimes FFplay displays vertical scanlines with some videos where VLC doesn't).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The playlist reading part and so on is already done, so I just need the FFmpeg part combining everything in a FFmpeg command.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, a goal is to get it to work locally on a Raspberry Pi so no transcoding should happen because rpi is busy decoding video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have the following &lt;strong&gt;playlist:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;video &lt;code&gt;test1.mkv&lt;/code&gt; with audio stream (mpeg2)&lt;/li&gt;&#xA;&lt;li&gt;video &lt;code&gt;test2.mpeg&lt;/code&gt; with audio stream (same as above)&lt;/li&gt;&#xA;&lt;li&gt;video with audio from video&lt;/li&gt;&#xA;&lt;li&gt;video with audio from mp3&lt;/li&gt;&#xA;&lt;li&gt;... and so on&lt;/li&gt;&#xA;&lt;li&gt;if needed loop to playlist item 1&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;So you can see those videos can have a different formats and sizes and the audio can be from the video or from a stream/mp3.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First of all I am wondering if I should actually start to use the library and not do it with the command line, is this even possible with the command line?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the main &lt;strong&gt;problems&lt;/strong&gt; are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Video transitions do not work because stream is playing (doesnt stop)&lt;/li&gt;&#xA;&lt;li&gt;I cannot get the video to pipe to VLC&lt;/li&gt;&#xA;&lt;li&gt;I cannot get the transitions to work properly&lt;/li&gt;&#xA;&lt;li&gt;Should not transcode to work on a RPI&lt;/li&gt;&#xA;&lt;li&gt;Loop 1 item for x or the whole playlist for x or infinite doesn't work &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;simple map of &lt;strong&gt;video and audio&lt;/strong&gt; stream:&#xA;    ffmpeg -i &quot;SampleVideo_1280x720_1mb.mp4&quot; -i &quot;&lt;a href=&quot;https://www.mpeg2stream.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.mpeg2stream.com/&lt;/a&gt;&quot; -map 0:v:0 -map 1:a:0 -f mpegts udp://127.0.0.1:23000&lt;/p&gt;&#xA;&#xA;&lt;p&gt;in this i combine the video with a video, this works nice and i grab the output from the stream (meh, i dont want to transcode)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;piping:&lt;/strong&gt;&#xA;i tried different pipe methods to get this to work but i cannot get it to work well, especially on the windows testbox.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;test.mkv&quot; -f mpegts -codec copy - | vlc -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;here i still transcode to transportstreams, but also vlc doesnt display it and somehow only a bar is running back and forth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I gave up on piping and now only put it on an mpegts stream:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-c:v libx264 -preset superfast -tune zerolatency -c:a aac -ar 44100 -f mpegts udp://127.0.0.1:23000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Transitioning:&lt;/strong&gt;&#xA;making the transition i do with the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;SampleVideo_1280x720_1mb.mp4&quot; -i &quot;test1.mkv&quot; -filter_complex &quot;[0]fade=t=out:st=0:d=1:alpha=1,setpts=PTS-STARTPTS[va0]; [1]fade=t=in:st=0:d=1:alpha=1,setpts=PTS-STARTPTS[va1]; [va0][va1]overlay[outv]; [0][1]amix[outa]&quot; -map [outv] -map &quot;[outa]&quot; -crf 10 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;here i write in an outfile, this should also be piped, i would understand that this does not work without transcoding. isnt there an easier method? also it does not work without scaling to something. so i probably could just use concat without transitioning. Also here i gave up and use just normal concatinating&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Concat and scaling:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i big_buck_bunny.mp4 -i SampleVideo_1280x720_1mb.mp4 -i &quot;file_example_MP4_1920_18MG.mp4&quot; -i &quot;https://teststream.de/stream/&quot;`&#xA;-filter_complex `&#xA;&quot;[0:v]scale=1280x720:force_original_aspect_ratio=increase[v0]; `&#xA;[1:v]scale=1280x720:force_original_aspect_ratio=increase[v1]; `&#xA;[2:v]scale=1280x720:force_original_aspect_ratio=increase[v2]; `&#xA;[v0][0:a][v1][1:a][v2][3:a]concat=n=3:v=1:a=1[v][a]&quot; `&#xA;-map [v] -map [a] `&#xA;-c:v libx264 -preset superfast -tune zerolatency -c:a aac -ar 44100 -f mpegts udp://127.0.0.1:23000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the problem with concatinating shows that the first audio plays correctly (from the video) but it does not concat to video 3 because the stream is obviously not finished, how can i concat the stream for video 3 dynamic length? Also i cannot get it to scale automatically to the best resolution without hardcoding it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Loop:&lt;/strong&gt;&#xA;the next thing is i cannot get loop to work. stream-loop doesnt work or is it possible to do this via complex filtering?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;any ideas how to get all of this to work or is this not possible with ffmpeg and i should think of another solution? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cheers and thanks a lot!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit 1:&lt;/strong&gt;&#xA;Most of the questions now are obvious (some of them are just because i dont know much about video stuff)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far i have come to create some of it, but i still have some problems, but 2 of them currently stop me the most:&#xA;&lt;a href=&quot;https://github.com/martinlierschof/ffmpeg_test/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/martinlierschof/ffmpeg_test/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Problem 1: audio stream starts from beginning every time i amix it. It should always play from the &quot;live&quot; position.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Problem 2: the [videoout] and [audioout] should be able to be looped (after concating) for x amounts or -1 (infinite)&lt;/p&gt;&#xA;" OwnerUserId="25751" LastEditorUserId="18155" LastEditDate="2019-07-27T08:08:24.370" LastActivityDate="2021-04-17T10:59:18.230" Title="combine stream and multiple videos to live output, with transitions" Tags="|ffmpeg|playlist|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28094" PostTypeId="2" ParentId="28066" CreationDate="2019-07-18T12:20:38.420" Score="0" Body="&lt;p&gt;Usually, the workflow goes like this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Capture your plates, real, cg, doesn't matter.&lt;/li&gt;&#xA;&lt;li&gt;Hop into Nuke, composite your plates, then render each shot individually.&lt;/li&gt;&#xA;&lt;li&gt;Edit the shot in your editing-software such as premiere.&lt;/li&gt;&#xA;&lt;li&gt;When the final edit is done, re-import each individually rendered clip into a grading software such as Resolve, apply your color grading, export again and replace the ungraded file in your edit.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;So just for pipeline-purposes, it's often inconvenient to use a timeline in compositors like Nuke.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-07-18T12:20:38.420" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28095" PostTypeId="1" AcceptedAnswerId="28096" CreationDate="2019-07-18T13:39:32.573" Score="1" ViewCount="205" Body="&lt;p&gt;I'm a n00bie with video production.&lt;/p&gt;&#xA;&lt;p&gt;I installed ffmpeg. It's recognized.&lt;/p&gt;&#xA;&lt;p&gt;So I tried my first conversion.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg -i earth.webm earth.DNxHD&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;and, then, after searching:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg -i earth.webm -f DNxHD earth.DNxHD&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;In both cases I get the following error:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Error initializing output stream 0:0 -- Error while opening encoder&#xA;for output stream #0:0 - maybe incorrect parameters such as bit_rate,&#xA;rate, width or height&lt;/p&gt;&#xA;&lt;p&gt;Conversion failed!&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;What I gather from that is that the default settings did not work and ffmeg wants me to include those values.&lt;/p&gt;&#xA;&lt;p&gt;And that's the problem. What values should be selected for these unknown files? (I grabbed them from the web - they're copyright free - and want to use them in Da Vinci Resolve (hence the need for DNxHD)&lt;/p&gt;&#xA;&lt;p&gt;Included is the error msg&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\GLM\Downloads\test&amp;gt;ffmpeg -i earth.webm -f DNxHD earth.DNxHD&#xA;ffmpeg version 4.1.3 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8.3.1 (GCC) 20190414&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;Input #0, matroska,webm, from 'Earth.webm':&#xA;  Metadata:&#xA;    encoder         : Lavf57.8.100&#xA;  Duration: 00:00:45.55, start: 0.000000, bitrate: 358 kb/s&#xA;    Stream #0:0(eng): Video: vp8, yuv420p(progressive), 426x240, SAR 255:254 DAR 3621:2032, 24 fps, 24 tbr, 1k tbn, 1k tbc (default)&#xA;    Stream #0:1(eng): Audio: vorbis, 48000 Hz, stereo, fltp (default)&#xA;File 'earth.DNxHD' already exists. Overwrite ? [y/N] y&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (vp8 (native) -&amp;gt; dnxhd (native))&#xA;Press [q] to stop, [?] for help&#xA;[dnxhd @ 000001d544fc7800] video parameters incompatible with DNxHD. Valid DNxHD profiles:&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 175Mbps; pixel format: yuv422p10&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 185Mbps; pixel format: yuv422p10&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 365Mbps; pixel format: yuv422p10&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 440Mbps; pixel format: yuv422p10&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 115Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 120Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 145Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 240Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 290Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 175Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 185Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 220Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 365Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 440Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080i; bitrate: 185Mbps; pixel format: yuv422p10&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080i; bitrate: 220Mbps; pixel format: yuv422p10&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080i; bitrate: 120Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080i; bitrate: 145Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080i; bitrate: 185Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080i; bitrate: 220Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1440x1080i; bitrate: 120Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1440x1080i; bitrate: 145Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1280x720p; bitrate: 90Mbps; pixel format: yuv422p10&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1280x720p; bitrate: 180Mbps; pixel format: yuv422p10&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1280x720p; bitrate: 220Mbps; pixel format: yuv422p10&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1280x720p; bitrate: 90Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1280x720p; bitrate: 110Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1280x720p; bitrate: 180Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1280x720p; bitrate: 220Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1280x720p; bitrate: 60Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1280x720p; bitrate: 75Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1280x720p; bitrate: 120Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1280x720p; bitrate: 145Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 36Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 45Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 75Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 90Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 350Mbps; pixel format: yuv444p10, gbrp10&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 390Mbps; pixel format: yuv444p10, gbrp10&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 440Mbps; pixel format: yuv444p10, gbrp10&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 730Mbps; pixel format: yuv444p10, gbrp10&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1920x1080p; bitrate: 880Mbps; pixel format: yuv444p10, gbrp10&#xA;[dnxhd @ 000001d544fc7800] Frame size: 960x720p; bitrate: 42Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 960x720p; bitrate: 60Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 960x720p; bitrate: 75Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 960x720p; bitrate: 115Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1440x1080p; bitrate: 63Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1440x1080p; bitrate: 84Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1440x1080p; bitrate: 100Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1440x1080p; bitrate: 110Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1440x1080i; bitrate: 80Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1440x1080i; bitrate: 90Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1440x1080i; bitrate: 100Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fc7800] Frame size: 1440x1080i; bitrate: 110Mbps; pixel format: yuv422p&#xA;[dnxhd @ 000001d544fd9800] ff_frame_thread_encoder_init failed&#xA;Error initializing output stream 0:0 -- Error while opening encoder for output stream #0:0 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24572" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-07-18T14:07:47.683" Title="FFMPEG transcription from .webm to HNxHD" Tags="|ffmpeg|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28096" PostTypeId="2" ParentId="28095" CreationDate="2019-07-18T14:07:47.683" Score="1" Body="&lt;p&gt;The DNxHD codec has multiple profiles, and the &lt;code&gt;DNxHD&lt;/code&gt; profile supports only a limited set of parameters. The &lt;code&gt;DNxHR&lt;/code&gt; profiles does not have these restrictions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i earth.webm -profile:v dnxhr_hq -f DNxHD earth.DNxHD&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will not keep the audio. If you need that, use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i earth.webm -c:v dnxhd -profile:v dnxhr_hq earth.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-07-18T14:07:47.683" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28097" PostTypeId="1" AcceptedAnswerId="28107" CreationDate="2019-07-18T14:24:50.323" Score="0" ViewCount="962" Body="&lt;p&gt;I am using &lt;a href=&quot;https://apps.apple.com/us/app/promovie-recorder/id1076481548&quot; rel=&quot;nofollow noreferrer&quot;&gt;ProMovie Recorder&lt;/a&gt; to record high quality videos using iPhone X, and I noticed a weird thing today.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Here's what I did:&lt;/h3&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I recorded a &lt;strong&gt;4K 60fps&lt;/strong&gt; video for &lt;strong&gt;6&lt;/strong&gt; seconds (HEVC encoding).&lt;/li&gt;&#xA;&lt;li&gt;I recorded a &lt;strong&gt;4K 30fps&lt;/strong&gt; video for &lt;strong&gt;6&lt;/strong&gt; seconds (HEVC encoding).&lt;/li&gt;&#xA;&lt;li&gt;Both the above videos captured the same physical content.&lt;/li&gt;&#xA;&lt;li&gt;Both videos were captured with the same bit-rate, &lt;strong&gt;~118 Mbps&lt;/strong&gt;.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h3&gt;Here's what I found:&lt;/h3&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The two videos I captured &lt;em&gt;(with different fps)&lt;/em&gt; are of the same file size - &lt;strong&gt;84MB&lt;/strong&gt;. How? Why?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/imvai.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/imvai.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;Question&lt;/h1&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;A higher frame rate video with same bit-rate as that of a video with&#xA;  lower frame rate should be double the file size, shouldn't it?&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Why isn't there a difference in file size? More the number of frames&#xA;  will lead to more the file size, since we're storing extra 30 frames&#xA;  for every second, right? Or is the underlying HEVC encoding optimises the file&#xA;  size for higher frame rate videos?&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Or, can slight differences in exposure cause significant file size difference?&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Please correct/clarify.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="20212" LastEditorUserId="20212" LastEditDate="2019-07-18T14:40:28.260" LastActivityDate="2021-01-19T11:05:10.330" Title="Why both videos are of same file size?" Tags="|encoding|video-quality|framerate|compression|h.265|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28099" PostTypeId="1" CreationDate="2019-07-18T17:48:08.637" Score="1" ViewCount="236" Body="&lt;p&gt;I have a public manifest.mpd file. Is it considered a security issue? It has something called cenc:pssh value so i am bit scared if its okay to be public or not?&lt;/p&gt;&#xA;" OwnerUserId="25753" LastActivityDate="2021-12-04T23:04:20.340" Title="Is public manifest.mpd a issue?" Tags="|ffmpeg|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28100" PostTypeId="2" ParentId="28099" CreationDate="2019-07-18T20:58:41.127" Score="1" Body="&lt;p&gt;pssh does not contain any private or secure content. In fact is specifically designed to be attributable.  &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-07-18T20:58:41.127" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28101" PostTypeId="2" ParentId="27901" CreationDate="2019-07-19T04:59:26.607" Score="0" Body="&lt;p&gt;I have recently started using Google Earth Pro for Windows (free app).&#xA;It has the ability to export a recording, using the &quot;Movie Maker&quot; tool (under the tools menu). This will record your actions.&#xA;Strangely it cut off &quot;Google Earth at the bottom right (&quot;Google Ea&quot;), I wasn't sure if this would cause them to complain about attribution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried Google Earth with the Screen Recorder in PowerDirector, this works well and I am not limited by Google's speeds. (And the attribution was not clipped).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I find I fight with small things and can't quite get things just the way I want. However, it is free, and it does work.&lt;/p&gt;&#xA;" OwnerUserId="25749" LastActivityDate="2019-07-19T04:59:26.607" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28103" PostTypeId="1" AcceptedAnswerId="28106" CreationDate="2019-07-19T06:03:02.457" Score="3" ViewCount="391" Body="&lt;p&gt;I need to change the order of channels in .wav file. for example if .wav file contains 16 channel like&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;then need to change this order to&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&quot;14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="24303" LastActivityDate="2019-07-19T08:23:11.373" Title="How to re-order the .wav file channels" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28106" PostTypeId="2" ParentId="28103" CreationDate="2019-07-19T08:23:11.373" Score="3" Body="&lt;p&gt;You can use the channelmap filter for this,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.wav -af &quot;channelmap=13|14|15|0|1|2|3|4|5|6|7|8|9|10|11|12&quot; out.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Channel index starts from 0.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-07-19T08:23:11.373" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28107" PostTypeId="2" ParentId="28097" CreationDate="2019-07-19T09:15:07.637" Score="2" Body="&lt;p&gt;As it seems both videos have a bitrate of 118 (117) megabits per second.&#xA;This means - regardless off any other parameter - your video will take up 118 mb for each recorded second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But as you already noted, a video with double the FPS should have double the data, so if you originaly exported the 4k60 video with 118, you can export the 4k30 video with 57mb/s and gain about the same quality.&#xA;There's more to it like diffrent codecs optimized for diffrent types of videos or Interframe Compression, so you can compress high FPS a bit easier. It is recommendable to go slightly above the half.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keep in mind, that many consumer cameras tend to have a low bitrate for high FPS as the camera is not able to record more.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastEditorUserId="23732" LastEditDate="2019-07-20T00:51:53.823" LastActivityDate="2019-07-20T00:51:53.823" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28108" PostTypeId="1" CreationDate="2019-07-19T14:52:11.297" Score="0" ViewCount="135" Body="&lt;p&gt;I converted a .webm file into DNxHD. Unfortunately I'm unable to import it into DaVinci Resolve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Steps: Import &gt; File &gt; Directory where files are stored.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm able to see other, importable files, such as .jpgs but I don't see the DNxHD files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm unable to determine what steps are missing.&lt;/p&gt;&#xA;" OwnerUserId="24572" LastActivityDate="2024-03-30T21:15:58.593" Title="Importing DNxHD into DaVinci Resolve" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28110" PostTypeId="1" AcceptedAnswerId="28111" CreationDate="2019-07-19T15:53:05.973" Score="0" ViewCount="103" Body="&lt;p&gt;As Windows 10's native media players &lt;em&gt;still&lt;/em&gt; don't support the YUV444p pixel format, which seems to be FFMPEG's default format, is it possible for a Krita user to easily (or relatively easily) reconfigure Krita’s FFMPEG command line to specify, say, YUV420p?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While downloading the VLC Media Player is, of course, an option, as is ‘simply’ collecting Krita’s PNG file render output and running FFMPEG against them manually, life would be a lot easier if Krita’s render workflow was seamless at this point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I don’t mind tinkering around at the command prompt, it’s not ideal for people who’ve grown up in a GUI environment. So. Any helpful suggestions or workarounds, anybody?&lt;/p&gt;&#xA;" OwnerUserId="25767" OwnerDisplayName="Quin Benson" LastActivityDate="2019-07-20T13:23:00.097" Title="Is it possible to customise Krita’s FFMPEG render?" Tags="|video|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28111" PostTypeId="2" ParentId="28110" CreationDate="2019-07-20T13:23:00.097" Score="0" Body="&lt;p&gt;As per the &lt;a href=&quot;https://github.com/KDE/krita/blob/cbf812208bd951ec0f1c309add844257604723b3/plugins/extensions/animationrenderer/video_export_options_dialog.cpp#L322&quot; rel=&quot;nofollow noreferrer&quot;&gt;code&lt;/a&gt;, you need to set the profile in Video Export Options to &lt;code&gt;high&lt;/code&gt; and Krita will force the pixel format to yuv420p. There also appears to be a &lt;code&gt;Custom Options&lt;/code&gt; field where you could fill &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt; but if the profile is incompatible (like &lt;code&gt;high422&lt;/code&gt;), ffmpeg will bail out.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-07-20T13:23:00.097" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28115" PostTypeId="1" CreationDate="2019-07-21T06:22:09.397" Score="4" ViewCount="8638" Body="&lt;p&gt;I downloaded &lt;a href=&quot;https://drive.google.com/open?id=1M8gJMd_-OhX6qJD5KTxBHkavU64w-_WY&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt; using youtube-dl's HLS downloader. The video was being HLS streamed using AES-128. Even though I could view it perfectly fine when it was being streamed in the browser, VLC doesn't play the downloaded video file. It doesn't seem to contain any metadata or codec information either. It's actually a 2hr 49min 10sec long video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought re-encoding it with ffmpeg might solve the issue. But ffmpeg throws these exceptions irrespective of the operation I try to perform:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mov,mp4,m4a,3gp,3g2,mj2 @ 000002a477298a80] Format mov,mp4,m4a,3gp,3g2,mj2 detected only with low score of 1, misdetection possible!&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 000002a477298a80] moov atom not found&#xA;4.mp4: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Google search led me to tools such qtfaststart and mp4box. But none of them seemed to solve the issue.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Running &lt;code&gt;qtfaststart 4.mp4 41.mp4&lt;/code&gt; throws the &lt;code&gt;moov atom not found, is this a valid MOV/MP4 file?&lt;/code&gt; exception&lt;/li&gt;&#xA;&lt;li&gt;Running &lt;code&gt;MP4Box -add 4.mp4 41.mp4&lt;/code&gt;, &lt;code&gt;MP4Box -inter 0 4.mp4&lt;/code&gt; or &lt;code&gt;MP4Box -add 4.h265 41.mp4&lt;/code&gt; show exceptions such as:&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Incomplete MDAT while file is not read-only&lt;/li&gt;&#xA;&lt;li&gt;Invalid IsoMedia File&lt;/li&gt;&#xA;&lt;li&gt;[MPEG-2 TS] TS Packet 1 is scrambled - not supported&lt;/li&gt;&#xA;&lt;li&gt;[MPEG-2 TS] TS Packet 2 has error (PID could be 1792)&lt;/li&gt;&#xA;&lt;li&gt;[MPEG-2 TS] TS Packet 3 does not start with sync marker&lt;/li&gt;&#xA;&lt;li&gt;Error importing 4.mp4: Corrupted Data in file/stream&lt;/li&gt;&#xA;&lt;li&gt;Cannot find HEVC start code&lt;/li&gt;&#xA;&lt;li&gt;Error importing 4.h265: BitStream Not Compliant&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;A detailed log of my tryst with MP4box can be found &lt;a href=&quot;https://pastebin.com/u97hZvBS&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The logs of my tryst with ffmpeg can be found &lt;a href=&quot;https://pastebin.com/E6XFztmn&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Handbrake also refuses to process the file on account of &lt;code&gt;moov atom not found&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I make this video download work?&lt;/p&gt;&#xA;" OwnerUserId="25772" LastEditorUserId="25772" LastEditDate="2019-07-21T07:22:53.750" LastActivityDate="2019-07-21T07:22:53.750" Title="moov atom not found" Tags="|ffmpeg|codec|mp4|handbrake|hls|" AnswerCount="0" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="28117" PostTypeId="1" CreationDate="2019-07-21T14:12:26.830" Score="0" ViewCount="2844" Body="&lt;p&gt;I am downloading an HLS video which is AES-128 encrypted. The issue is that the downloaded video is also encrypted and hence, not viewable. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The website is serving 2 M3U8 manifests:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;The first manifest (&lt;code&gt;playlist.m3u8&lt;/code&gt;) refers to a &lt;code&gt;chunklist_alphanumeric.m3u8&lt;/code&gt;. A sample is &lt;a href=&quot;https://pastebin.com/wtjKZJ0N&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The second manifest (&lt;code&gt;chunklist_alphanumeric.m3u8&lt;/code&gt;) seems like &lt;a href=&quot;https://pastebin.com/fGNEuvJK&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;In this context, I have the following two questions&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;How can I generate the decryption key?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;How can I decrypt the video using the decryption key?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I'm using Windows-10 (64-bit).&lt;/p&gt;&#xA;" OwnerUserId="25772" LastEditorUserId="25772" LastEditDate="2019-07-21T15:53:46.583" LastActivityDate="2024-03-27T00:04:15.560" Title="How to generate decryption key from m3u8 manifest? (OR) How to decrypt an excrypted MP4 using URI and IV?" Tags="|ffmpeg|encoding|post-production|windows|hls|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28119" PostTypeId="2" ParentId="28117" CreationDate="2019-07-21T16:20:30.603" Score="0" Body="&lt;p&gt;You cant generate the key. You have to download the key. The URL is in the manifest. In this case it looks like you need to substitute some values first. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To decrypt, since this files uses AES-128 and not SAMPLE-AES, you can just decrypt each file using OpenSSL &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-07-21T16:20:30.603" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28120" PostTypeId="1" CreationDate="2019-07-21T23:39:51.727" Score="0" ViewCount="4830" Body="&lt;p&gt;Can mp4 audio/video be converted to m4b using ffmpeg command line tool.(in vb.net)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've spent the last few days trying various query combinations to find an answer but to no avail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I have found is that m4a/m4b is the same container as mp4, the difference being m4a/m4b contains no video signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I tried to convert mp4 directly to m4b, I ended up with an output m4b much larger than the original mp4 and the m4b still contained video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using a code example from CodeProject. I am able to convert from mp4 to mp3 and from mp3 to m4b but mp4 to m4b still contains the video portion of the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, can ffmpeg input mp4 and convert it to m4b or m4a directly or is it a 2 step process, mp4 to mp3 then mp3 to m4b? If it is a 1 step process, could you point me in the direction of the documentation so I can learn how to do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="25773" LastEditorUserId="25773" LastEditDate="2019-07-21T23:47:43.640" LastActivityDate="2020-10-16T19:02:45.227" Title="Can ffmpeg input mp4 and convert it to m4b or m4a?" Tags="|ffmpeg|programming|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28121" PostTypeId="2" ParentId="28120" CreationDate="2019-07-22T02:29:21.307" Score="0" Body="&lt;p&gt;To do this with just ffmpeg, try using &lt;code&gt;-vn&lt;/code&gt; to not include video on output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i INPUT -c:a aac -c:b 128k -vn -f mp4 OUTPUT.m4b&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This outputs just the audio of the mp4 in an m4b file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's stream selection in the ffmpeg documentation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-selection&quot; rel=&quot;nofollow noreferrer&quot;&gt;Stream Selection&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25717" LastActivityDate="2019-07-22T02:29:21.307" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28122" PostTypeId="1" AcceptedAnswerId="28128" CreationDate="2019-07-22T02:53:01.597" Score="1" ViewCount="2369" Body="&lt;p&gt;I am trying to improve the speed of decoding H.264 frame to RGBA frame using FFmpeg in C++. I have found a CLI command that can do that but I still do not fully understand the command to reproduce it in C++, so I hope you guys can give me an explanation of how the CLI command works.&lt;/p&gt;&#xA;&lt;p&gt;The command that I found uses &lt;code&gt;h264_nvenc&lt;/code&gt; encoder to improve the speed using GPU. If I understand correctly, FFmpeg will first decode the H.264 frame, and then encode it to mp4 frame. However, I cannot understand why a H.264 encoder would improve the speed of decoding H.264 video (or maybe encoding to mp4 frame). Can anyone please give me a detailed explanation?&lt;/p&gt;&#xA;&lt;p&gt;Here is the CLI command that I found:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hwaccel cuvid -r 120 -i &amp;lt;input_file&amp;gt; -c:v h264_nvenc -preset fast \&#xA;   -b:v 8M -vf scale=960:1080 -pix_fmt yuv420p &amp;lt;output_file&amp;gt; -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Edited:&#xA;Log of command with option &amp;quot;-c:v h264_nvenc&amp;quot;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\Shared\test\test&amp;gt;ffmpeg.exe -hwaccel cuvid -r 120 -i C:\\Users\\Shared\\test\\test\\raw0.h264 -c:v h264_nvenc -preset medium -b:v 8M -vf scale=960:1080 -pix_fmt yuv420p C:\\Users\\Shared\\test\\test\\video0.mp4 -y&#xA;ffmpeg version 3.4.1 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with gcc 7.2.0 (GCC)&#xA;  configuration: --disable-static --enable-shared --enable-gpl --enable-version3 --enable-sdl2 --enable-bzlib --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray &#xA;--enable-libfreetype --enable-libmp3lame --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy &#xA;--enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 &#xA;--enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis &#xA;--enable-cuda --enable-cuvid --enable-d3d11va --enable-nvenc &#xA;--enable-dxva2 --enable-avisynth --enable-libmfx&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;[h264 @ 0000027ecb2a6700] Stream #0: not enough frames to estimate rate; consider increasing probesize&#xA;Input #0, h264, from 'C:\\Users\\Shared\\test\\test\\raw0.h264':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (CAVLC 4:4:4), yuv444p(progressive), 960x1080, 25 fps, 25 tbr, 1200k tbn, 50 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (h264_nvenc))&#xA;Press [q] to stop, [?] for help&#xA;Output #0, mp4, to 'C:\\Users\\Shared\\test\\test\\video0.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf57.83.100&#xA;    Stream #0:0: Video: h264 (h264_nvenc) (Main) (avc1 / 0x31637661), yuv420p, 960x1080, q=-1--1, 8000 kb/s, 120 fps, 15360 tbn, 120 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.107.100 h264_nvenc&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/8000000 buffer size: 16000000 vbv_delay: -1&#xA;frame=  269 fps=261 q=25.0 Lsize=    2551kB time=00:00:02.23 bitrate=9356.5kbits/s speed=2.17x&#xA;video:2549kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.074325%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Log of command without option &amp;quot;-c:v h264_nvenc&amp;quot;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\Shared\test\test&amp;gt;ffmpeg.exe -hwaccel cuvid -r 120 -i C:\\Users\\Shared\\test\\test\\raw0.h264 -preset medium -b:v 8M -vf scale=960:1080 -pix_fmt yuv420p C:\\Users\\Shared\\test\\test\\video0.mp4 -y&#xA;ffmpeg version 3.4.1 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with gcc 7.2.0 (GCC)&#xA;  configuration: --disable-static --enable-shared --enable-gpl --enable-version3 --enable-sdl2 --enable-bzlib --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-cuda --enable-cuvid --enable-d3d11va --enable-nvenc --enable-dxva2 --enable-avisynth --enable-libmfx&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;[h264 @ 0000021e33556640] Stream #0: not enough frames to estimate rate; consider increasing probesize&#xA;Input #0, h264, from 'C:\\Users\\Shared\\test\\test\\raw0.h264':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (CAVLC 4:4:4), yuv444p(progressive), 960x1080, 25 fps, 25 tbr, 1200k tbn, 50 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;Press [q] to stop, [?] for help&#xA;[libx264 @ 0000021e335589a0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0000021e335589a0] profile High, level 4.2&#xA;[libx264 @ 0000021e335589a0] 264 - core 152 r2851 ba24899 - H.264/MPEG-4 AVC codec - Copyleft 2003-2017 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=abr mbtree=1 bitrate=8000 ratetol=1.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'C:\\Users\\Shared\\test\\test\\video0.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf57.83.100&#xA;    Stream #0:0: Video: h264 (libx264) (avc1 / 0x31637661), yuv420p, 960x1080, q=-1--1, 8000 kb/s, 120 fps, 15360 tbn, 120 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.107.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/8000000 buffer size: 0 vbv_delay: -1&#xA;frame=  269 fps= 39 q=-1.0 Lsize=    2279kB time=00:00:02.21 bitrate=8423.8kbits/s speed=0.32x&#xA;video:2277kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.119200%&#xA;[libx264 @ 0000021e335589a0] frame I:2     Avg QP:25.09  size: 16508&#xA;[libx264 @ 0000021e335589a0] frame P:193   Avg QP:23.94  size:  9094&#xA;[libx264 @ 0000021e335589a0] frame B:74    Avg QP:23.92  size:  7332&#xA;[libx264 @ 0000021e335589a0] consecutive B-frames: 62.8%  1.5%  0.0% 35.7%&#xA;[libx264 @ 0000021e335589a0] mb I  I16..4: 38.2% 54.3%  7.6%&#xA;[libx264 @ 0000021e335589a0] mb P  I16..4:  9.2% 11.8%  0.8%  P16..4: 46.5%  3.4%  3.8%  0.0%  0.0%    skip:24.5%&#xA;[libx264 @ 0000021e335589a0] mb B  I16..4:  4.3%  3.7%  0.2%  B16..8: 35.0%  1.5%  0.2%  direct: 9.5%  skip:45.5%  L0:56.6% L1:40.9% BI: 2.5%&#xA;[libx264 @ 0000021e335589a0] final ratefactor: 19.31&#xA;[libx264 @ 0000021e335589a0] 8x8 transform intra:53.1% inter:88.1%&#xA;[libx264 @ 0000021e335589a0] coded y,uvDC,uvAC intra: 22.0% 41.2% 4.5% inter: 12.8% 39.4% 0.0%&#xA;[libx264 @ 0000021e335589a0] i16 v,h,dc,p: 18% 32% 19% 31%&#xA;[libx264 @ 0000021e335589a0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 14% 17% 54%  2%  3%  3%  4%  1%  2%&#xA;[libx264 @ 0000021e335589a0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 11%  9% 63%  3%  4%  3%  3%  2%  2%&#xA;[libx264 @ 0000021e335589a0] i8c dc,h,v,p: 63% 23% 13%  1%&#xA;[libx264 @ 0000021e335589a0] Weighted P-Frames: Y:86.0% UV:64.8%&#xA;[libx264 @ 0000021e335589a0] ref P L0: 53.6%  8.3% 17.1% 11.4%  9.6%&#xA;[libx264 @ 0000021e335589a0] ref B L0: 58.9% 14.4% 26.6%&#xA;[libx264 @ 0000021e335589a0] ref B L1: 84.8% 15.2%&#xA;[libx264 @ 0000021e335589a0] kb/s:8317.64&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25775" LastEditorUserId="25775" LastEditDate="2021-03-29T05:26:12.010" LastActivityDate="2021-03-29T05:26:12.010" Title="Why does Nvenc Encoder improve decoding speed?" Tags="|ffmpeg|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28123" PostTypeId="1" AcceptedAnswerId="28124" CreationDate="2019-07-22T03:07:05.280" Score="0" ViewCount="493" Body="&lt;p&gt;I want to compose many videos from frames and mp3 files then join them together using &lt;code&gt;FFMPEG&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[frames+mp3] -&amp;gt; [Intermediate videos] -&amp;gt; [Joined intermediate videos]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Using &lt;code&gt;mp4&lt;/code&gt; with &lt;code&gt;aac&lt;/code&gt; introduces noticeable audio gaps between videos when I use the &lt;code&gt;concat&lt;/code&gt; protocol.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the best audio and video codes to be used for the intermediate videos? can this be done in a better way?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm a beginner in multimedia. Thanks a lot.&lt;/p&gt;&#xA;" OwnerUserId="25001" LastEditorUserId="14523" LastEditDate="2019-07-23T22:48:52.613" LastActivityDate="2019-07-23T22:48:52.613" Title="What are the most mergeable codecs? What is the best codecs for intermediate videos?" Tags="|video|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28124" PostTypeId="2" ParentId="28123" CreationDate="2019-07-22T04:43:05.133" Score="3" Body="&lt;p&gt;Mp4 with aac audio and h.264 video (mp4 isn't a codec as such, it's a container) isn't a good intermediate format. It is lossy, and the video is generally not all I-frame (meaning that to display a frame it references previous and following frames). h.264/aac/mp4 are great for delivery because they efficiently pack a lot of perceptual quality into a small file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You're better off using an all-i-frame codec. Notable examples are Apple ProRes, Avid DNxHD and Cineform. These are all lossy, but minimally so. You can also use a lossless codec, like FFV1, but the speed and storage this requires might make it unworkable. Similarly you're best off using PCM (uncompressed) for your audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure if that is going to affect the problem of the gaps. That might be an artefact of the way the video and audio are multiplexed.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-07-22T04:43:05.133" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28126" PostTypeId="1" CreationDate="2019-07-22T21:13:54.883" Score="0" ViewCount="599" Body="&lt;p&gt;I created two videos of the same scene with two different cameras. The issue however is that &lt;strong&gt;camera 1&lt;/strong&gt; captured everything in &lt;strong&gt;23.85 fps&lt;/strong&gt; and &lt;strong&gt;camera 2&lt;/strong&gt; everything in &lt;strong&gt;24 fps&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I need to synchronise both videos exactly, it's quite essential that the frame rates are the same. I'm however not sure whether to &lt;strong&gt;decrease the 24 fps video&lt;/strong&gt; to 23.85 fps or &lt;strong&gt;increase the 23.85 fps video&lt;/strong&gt; to 24 fps. Thanks in advance for your advice!&lt;/p&gt;&#xA;" OwnerUserId="25784" LastActivityDate="2019-07-29T21:03:48.363" Title="Decrease FPS of too-high FPS video or increase FPS of too-low FPS video?" Tags="|final-cut-pro-x|camera|sync|multi-camera|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28128" PostTypeId="2" ParentId="28122" CreationDate="2019-07-22T22:49:45.340" Score="1" Body="&lt;p&gt;You are not using an encoder for decoding. What you are doing is telling FFMPEG to decode the input file using hardware acceleration.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;NVDEC offers decoders for H.264, HEVC, MJPEG, MPEG-1/2/4, VP8/VP9,&#xA;  VC-1.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;em&gt;Codec support varies by hardware.&lt;/em&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Note that FFmpeg offers both NVDEC and CUVID hwaccels. They differ in&#xA;  how frames are decoded and forwarded in memory.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;Sample decode using NVDEC:&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;ffmpeg -hwaccel nvdec input output&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;Sample decode using CUVID:&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;./ffmpeg-git -hwaccel cuvid -c:v h264_cuvid -i input output&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/HWAccelIntro#NVENCNVDEC&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/HWAccelIntro#NVENCNVDEC&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Then you are encoding the file also using hardware acceleration (-c:v h264_nvenc).&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;NVENC can be used for H.264 and HEVC encoding. FFmpeg supports NVENC&#xA;  through the h264_nvenc and hevc_nvenc encoders&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/HWAccelIntro#NVENCNVDEC&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/HWAccelIntro#NVENCNVDEC&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In closing, the decoder does not improve speed. Using your GPU instead of your CPU does.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now that you have supplied your console output and I have done a little more digging I can tell you:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;In current versions of FFMPEG hardware acceleration is supported&#xA;  automatically if available.&#xA;  &lt;a href=&quot;https://stackoverflow.com/questions/52765883/ffmpeg-using-hardware-acceleration-for-video-decoding&quot;&gt;https://stackoverflow.com/questions/52765883/ffmpeg-using-hardware-acceleration-for-video-decoding&lt;/a&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;If it detects a stream which is decodable in hardware then it will attempt to delegate all significant processing to that hardware.&#xA;  &lt;a href=&quot;https://trac.ffmpeg.org/wiki/HWAccelIntro&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/HWAccelIntro&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You can see in your output from &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;command without option &quot;-c:v h264_nvenc&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;That you are using the CPU to decode.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Then when you specify &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;command with option &quot;-c:v h264_nvenc&quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It tells FFMPEG that hardware acceleration is available, so it uses &quot;h264_nvenc&quot; for the decode and encode (MP4 is a file container and H.264 is the video compression codec).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;SideNote: I do not think -hwaccel cuvid is doing anything since you are not using a GPU based scaler and you do not specify -c:v h264_cuvid.  &lt;/p&gt;&#xA;" OwnerUserId="25783" LastEditorUserId="25783" LastEditDate="2019-07-30T20:21:27.657" LastActivityDate="2019-07-30T20:21:27.657" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28129" PostTypeId="1" CreationDate="2019-07-23T04:51:11.270" Score="0" ViewCount="1646" Body="&lt;p&gt;In several video documents from the 70s or 80s, usually TV shows or live music shows, bright objects or bright lights leave behind a color trail when the subject or the camera moves. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I remember first noticing this on a live performance of Queen recorded in the 80s. Here's another occurrence on Michael Palin's white shirt from an episode on &lt;em&gt;Monty Python's Flying Circus&lt;/em&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QOvX2.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QOvX2.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I own an old 70s television camera (&lt;strong&gt;Pathé KC-V1&lt;/strong&gt;) which produces the same effect, but setting it up requires a lot of time, and I haven't found yet how to digitize the video it produces, but I'd love to try and reproduce it either to make shots look vintage, or to use this effect creatively.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;What is this effect called, and is there a way to reproduce this effect with digital video equipment, or in post-production?&lt;/h2&gt;&#xA;" OwnerUserId="11754" LastActivityDate="2019-07-23T05:16:36.123" Title="What is this &quot;light trail&quot; effect called - and how can I reproduce it today?" Tags="|camcorder|television|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28130" PostTypeId="2" ParentId="28129" CreationDate="2019-07-23T05:16:36.123" Score="2" Body="&lt;p&gt;I don't know if it has an official name but could be classed as &quot;ringing&quot;. Tube cameras would do it if you had any bright lights in the scene. 70's music videos are full of it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You don't mention any software, so I'll give a platform agnostic solution. This would probably be easier in a node based workflow, but I've included the AE names for things because it's what I know best.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could use a threshold effect (&quot;extract&quot; would probably work in After Effects) to grab just the bright parts of the image, and feed that into a delay (&quot;echo&quot; in After effects) then adjust the colour before compositing it back on to the original layer, probably using an additive compositing mode (&quot;add&quot; or &quot;screen&quot; maybe in AE).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-07-23T05:16:36.123" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28131" PostTypeId="1" CreationDate="2019-07-23T05:23:52.367" Score="0" ViewCount="196" Body="&lt;p&gt;I need to overlay the image on video by scrolling the image on video .&#xA;I want to generate the video with the image in scrolling positions &lt;/p&gt;&#xA;" OwnerUserId="25787" LastActivityDate="2024-01-01T12:02:55.353" Title="Need overlay the image on video by taking the array of positions" Tags="|video|ffmpeg|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28132" PostTypeId="2" ParentId="28126" CreationDate="2019-07-23T06:28:24.057" Score="0" Body="&lt;p&gt;If your scene isn’t extremely long, I don’t think you have to worry about. Both frame rates are close enough so it shouldn’t go out of sync. &#xA;I think changing frame rate might have other side effects you don’t want. &#xA;Create a Multicam clip and see if the clips are out of sync at the end of the scene. I would expect you can’t tell. &#xA;In case they really go out of sync you can nudge the clip by a frame after a cut you make. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2019-07-23T06:28:24.057" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28133" PostTypeId="2" ParentId="26022" CreationDate="2019-07-23T06:42:21.827" Score="2" Body="&lt;p&gt;Use masks. Make a mask with 5 points, one in the centre of the circle two on either side in line with the first and two far enough away so that the mask covers half the circle. Then animate the second two points to travel together and meet in the centre.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Actually do the above, but reverse the order.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here it is with a matte layer to show you the shape of the mask I'm talking about.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TCkwy.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TCkwy.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and the end result&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jM1HL.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jM1HL.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Remember that the points on animated masks travel in &lt;strong&gt;straight lines&lt;/strong&gt; between keyframes. So the beginning and end positions of the moving points have to be far enough out that they don't go inside the circle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's an expression to create a circle, and a line and interpolate between the two. The intermediate frames are kinda ugly, I'd probably convert the expression to keyframes and delete all but the first and last frames, then manually animate the in-between.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/i9XfS.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/i9XfS.gif&quot; alt=&quot;circle turning into a line&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var radius = 100;&#xA;var animationDuration = 2;&#xA;//You can't draw a perfect circle with Beziers, but this is a good approximation&#xA;var handleLength = radius * 4 * (Math.sqrt(2)-1)/3; //Because maths. &#xA;var circlePoints = [];&#xA;var outHandles = [];&#xA;var inHandles =[];&#xA;var Tau = 2* Math.PI;&#xA;for (i = 0; i &amp;lt; 5; i++){&#xA;    circlePoints[i] = [Math.sin(Tau * i/4) * radius, Math.cos(Tau * i/4) * radius];&#xA;    outHandles[i] = [Math.sin(Tau * (i+1)/4) * handleLength, Math.cos(Tau * (i+1)/4) * handleLength];&#xA;    inHandles[i] = [0,0] - outHandles[i];&#xA;}&#xA;&#xA;var linePoints = [];&#xA;var lineInHandles = [];&#xA;var lineOutHandles = [];&#xA;&#xA;for (i = 0; i &amp;lt; 5; i++){&#xA;    linePoints[i] = [radius * (1 - i / 2), 0];&#xA;}&#xA;var thePoints = [];&#xA;var theinTangents = [];&#xA;var theOutTangents =  [];&#xA;&#xA;var t = Math.min(time / animationDuration, 1);&#xA;for (i = 0; i &amp;lt; 5; i++){&#xA;    thePoints[i] = circlePoints[i] * (1-t) + linePoints[i] * t;&#xA;    theinTangents[i] = inHandles[i] * (1-t);&#xA;    theOutTangents[i] =  outHandles[i] * (1-t);&#xA;}&#xA;&#xA;createPath(points = thePoints, inTangents = theinTangents, outTangents = theOutTangents, isClosed = false);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-08-23T02:17:59.657" LastActivityDate="2019-08-23T02:17:59.657" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="28134" PostTypeId="1" CreationDate="2019-07-23T08:20:52.630" Score="0" ViewCount="3289" Body="&lt;p&gt;Based on &lt;a href=&quot;https://slhck.info/video/2017/02/24/crf-guide.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;CRF Guide (Constant Rate Factor in x264, x265 and libvpx)&lt;/a&gt;, quoting:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Streaming nowadays is done a little more cleverly. YouTube or Netflix&#xA;  are using 2-pass or even 3-pass algorithms, where in the latter, a CRF&#xA;  encode for a given source determines the best bitrate at which to&#xA;  2-pass encode your stream. They can make sure that enough bitrate is&#xA;  reserved for complex scenes while not exceeding your bandwidth.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;also the article &lt;a href=&quot;https://streaminglearningcenter.com/blogs/saving-encoding-streaming-deploy-capped-crf.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Saving on Encoding and Streaming: Deploy Capped CRF&lt;/a&gt; also claims that &quot;Capped CRF&quot; is the highest quality while also making sure bitrate does not go above X but they propose a single pass with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input_file -crf 23 -maxrate 6750k -bufsize 6750k output_file&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What's the correct way to generate the highest quality possible file inside a bitrate constraint using ffmpeg with x264?&lt;/p&gt;&#xA;" OwnerUserId="18048" LastEditorUserId="18155" LastEditDate="2019-07-23T18:30:23.123" LastActivityDate="2021-08-15T21:20:54.280" Title="How to 2-pass h264 with CRF and maximum bitrate with ffmpeg?" Tags="|ffmpeg|h.264|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28136" PostTypeId="2" ParentId="28126" CreationDate="2019-07-23T11:32:21.540" Score="1" Body="&lt;p&gt;I think the answer depends upon what frame rate you want to deliver your video at. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general it is better to shoot at the delivery frame rate. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I agree they probably won't go far out of sync if the clips are only short (a minute or so). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do need to adjust them, I would frame rate adjust whichever clip is going to be on screen for less time in the edit (or is less important to you).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-07-23T11:32:21.540" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28138" PostTypeId="2" ParentId="28134" CreationDate="2019-07-23T18:53:48.943" Score="2" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;What's the correct way to generate the highest quality possible file&#xA;  inside a bitrate constraint using ffmpeg with x264?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;There is no &quot;correct&quot; way. This is still an evolving area of research, and about half the articles you have read on the subject are more marketing that they are science. The &quot;correct&quot; way may also be different for every video. Netflix for example just encodes the video a couple dozen ways, and keeps the one it thinks is best and throws the rest away.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The closest thing to a &quot;best&quot; single answer, would be 2 pass placebo capped CRF.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-07-23T18:53:48.943" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28140" PostTypeId="2" ParentId="28093" CreationDate="2019-07-24T08:40:43.830" Score="1" Body="&lt;p&gt;It sounds like you want to live transition from one video playback to another and mix these videos as you go (like a video DJ) and stream them to some kind of website like Twitch. Just use OBS for this and then load all the video files into two different players and then use OBS filters to transition as you go. You will need at least a quad-core (8 threads) machine to handle all the processor overhead, but if you have a decent video card it can assist with the x264 compression for the outbound stream. It would be the shortest distance to what it sounds like you want to do. Because of the command line system of FFMPEG it is hard to have a fluid and smooth interface in a live stream like what you are looking for.&lt;/p&gt;&#xA;" OwnerUserId="25797" LastActivityDate="2019-07-24T08:40:43.830" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28141" PostTypeId="1" AcceptedAnswerId="28142" CreationDate="2019-07-24T15:41:31.097" Score="1" ViewCount="195" Body="&lt;p&gt;I want to create a video full of codec errors like this: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/4MzeVxV-TOY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I manipulate ffmpeg parameters to create an output video like that?&lt;/p&gt;&#xA;" OwnerUserId="25799" LastActivityDate="2019-07-25T07:17:40.390" Title="How to manipulate video codec errors using ffmpeg" Tags="|ffmpeg|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28142" PostTypeId="2" ParentId="28141" CreationDate="2019-07-25T07:17:40.390" Score="1" Body="&lt;p&gt;The effect you're looking for looks like datamoshing. Give that a quick google search - it might be what you want.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-07-25T07:17:40.390" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28143" PostTypeId="2" ParentId="28131" CreationDate="2019-07-25T10:25:20.123" Score="0" Body="&lt;p&gt;I believe what you're looking for is called tracking. If you have a video in which scrolling happens and need the image to stick on the video, meaning that it follows the scrolling, do the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Open up After Effects and import both the image an the video.&lt;/li&gt;&#xA;&lt;li&gt;Create a comp with the settings of the video and drag the video in it.&lt;/li&gt;&#xA;&lt;li&gt;Create a Null-Object&lt;/li&gt;&#xA;&lt;li&gt;On the right hand side, there's a panel called &quot;tracking&quot; or &quot;tracker&quot;. Open it.&lt;/li&gt;&#xA;&lt;li&gt;Select the Video since you want to track its movement and drag the tracking point (you only need one but can use however many you want) on a point of the video with high contrast, like edges or spots. (that makes it easier for the tracker to recognize the movement.)&lt;/li&gt;&#xA;&lt;li&gt;Track the footage and check if the tracker sticks, correct it if you have to.&lt;/li&gt;&#xA;&lt;li&gt;As the target, select the null-object and click apply. You need the y-axis at least, having both y and x doesn't hurt though.&lt;/li&gt;&#xA;&lt;li&gt;Now, drag in the image and pick the whip (the little curly thing) and drop it on the null-object.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you did all of this, the image will follow the scrolling video. You might need to adjust the size and position of the image, but it will nonetheless follow your track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps, have a good one :)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-07-25T10:25:20.123" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28146" PostTypeId="1" CreationDate="2019-07-26T23:20:14.060" Score="0" ViewCount="62" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AEOgg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AEOgg.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using 4:2:2, the data rate and compression are:&#xA;4k -- 11.88 Gb/s -- 339.4x&#xA;HD -- 2.38 Gb/s -- 237.6x&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming 4:2:0 for both, Netflix and Stadia use the same compression for HD.&#xA;To use the same compression for 4K, Stadia would require 50 Mb/s.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Netflix probably streams using pre-compressed video files. They were probably compressed using HEVC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to Vimeo, for live streaming they use something called key frames which are fully loaded, and delta frames which are predicted algorithmically. This can be done using HEVC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If Stadia uses a key frame every 3 seconds for 1080p,&#xA;then the bandwidth requirement is 9.9 Mb/s (which is close to 10 Mb/s).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And if it uses a key frame every 4 seconds for 4K,&#xA;then the bandwidth requirement is 37.125 Mb/s (which is closer to 35 Mb/s than to 40 Mb/s).&#xA;(If it were every 3 seconds, it would have been 49.5 Mb/s - close to 50 Mb/s - 1 TB cap in less than 45 hrs.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, for HD, it is predicting 179 frames, and for 4K, it is predicting about 239 frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could they really be predicting this much?&lt;/p&gt;&#xA;" OwnerUserId="25813" LastActivityDate="2019-07-27T15:41:54.050" Title="Streaming Compression Math" Tags="|streaming|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28147" PostTypeId="1" CreationDate="2019-07-27T00:50:28.373" Score="1" ViewCount="57" Body="&lt;p&gt;I'm trying to split video from DVDs into chapters. &lt;code&gt;lsdvd&lt;/code&gt;, &lt;code&gt;mplayer -identify&lt;/code&gt; and Handbrake all report the same chapter times, but these times cut into following &lt;em&gt;actual&lt;/em&gt; chapters (episodes), progressively more so towards the end of a disc. I've checked these times by hand in VLC, and they're indeed wrong, just as cutting with &lt;code&gt;ffmpeg&lt;/code&gt; shows. Three discs from one collection exhibit this issue so far (haven't yet tried on unrelated DVDs).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Meanwhile, VLC jumps to the proper boundary times from the DVD menus, so presumably it has the right info.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why could this be happening? Is there a way to obtain proper chapter times? I'd prefer to keep the process sorta-automated and avoid noting the times manually, for reasons of both purity and practicality. And to know the root cause and a solution for the future.&lt;/p&gt;&#xA;" OwnerUserId="25814" LastEditorUserId="25814" LastEditDate="2019-08-03T20:39:54.860" LastActivityDate="2019-08-03T20:39:54.860" Title="Getting wrong DVD chapter times from lsdvd, Mplayer and Handbrake: the reported chapter boundaries delay progressively compared to the real ones" Tags="|dvd|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28148" PostTypeId="1" CreationDate="2019-07-27T05:36:41.023" Score="0" ViewCount="232" Body="&lt;p&gt;I have several clips with different opacities, eg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;clip 1 (100%), clip 2 (33%), clip 3 (100%) ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Premiere Pro CC seems to automatically transition from one opacity to the next. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So when the video plays, the opacity changes over the course of the clip.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I make Premiere Pro CC respect the opacity for each clip, for the duration of each clip?  &lt;/p&gt;&#xA;" OwnerUserId="25674" LastActivityDate="2024-04-02T12:03:35.617" Title="How to apply opacity to one clip without being effected by the opacity of other clips?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28149" PostTypeId="2" ParentId="28146" CreationDate="2019-07-27T15:41:54.050" Score="1" Body="&lt;p&gt;I believe the definition of “predicted” you are using does not match how the term is used in video compression. A “predicted” frame is just a frame that can be reconstructed using information from previous frames, along with some additional data. The frames are not zero sized, but that are smaller than key frames. You can have as many predicted frames in a row as you want. A key frame is usually periodically sent because of error propagation. If there is a transmission error and the video becomes corrupt, a key frame can fix it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also keyframe interval and bitrate have a slight correlation, but they are independent variables and not much information can be assumed about one given the other. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-07-27T15:41:54.050" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28151" PostTypeId="1" AcceptedAnswerId="28185" CreationDate="2019-07-27T18:35:18.583" Score="0" ViewCount="1479" Body="&lt;p&gt;The default is 72 which is in frames I suppose. However what happens if I simply uncheck it? Does it work like AVC Intra where key frames doesnt exist and every pixel in every frame is processed like in MJPEG?&lt;/p&gt;&#xA;" OwnerUserId="23721" LastActivityDate="2019-08-02T11:23:30.937" Title="What happens if you uncheck key frame distance in Premiere Pro CS6" Tags="|premiere|encoding|h.264|keyframes|mpeg4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28152" PostTypeId="2" ParentId="28148" CreationDate="2019-07-28T02:02:23.823" Score="0" Body="&lt;p&gt;When you set Opacity on a clip in the timeline, you can set it for the entire clip, or you can set it using timing markers, which Premiere will then gradually adjust to each Opacity as per the timing you've set within the clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Double check in the Effect Controls panel that you haven't set timing markers on your Opacity changes - this would result in the effect you describe. If you've got timing markers set, toggle them off, and then just go to the start of each clip and set the opacity you want for the entire clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The following help page may provide further info if this is the issue:&#xA;&lt;a href=&quot;https://helpx.adobe.com/au/premiere-pro/using/adding-navigating-setting-keyframes.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/au/premiere-pro/using/adding-navigating-setting-keyframes.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2019-07-28T02:02:23.823" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28153" PostTypeId="1" CreationDate="2019-07-28T07:32:48.880" Score="0" ViewCount="1272" Body="&lt;p&gt;I have 500+ videos. I need to add intro and outro to them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Found this .bat script on a different website, and tried it. But it didn't work for me. As the script only ads outro - still didn't work.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;SET RESOLUTION=&quot;1280:720&quot;&#xA;SET INPUT_FOLDER=&quot;input&quot;&#xA;SET INTRO=&quot;intro.mp4&quot;&#xA;SET OUTPUT_FOLDER=&quot;output&quot;&#xA;&#xA;for %%a in (&quot;%INPUT_FOLDER%\*.*&quot;) do ffmpeg -i %INTRO% -i &quot;%%a&quot; -filter_complex &quot;[0:v]scale=%RESOLUTION%:force_original_aspect_ratio=1,pad=%RESOLUTION%:(ow-iw)/2:(oh-ih)/2[v0]; [1:v]scale=%RESOLUTION%:force_original_aspect_ratio=1,pad=%RESOLUTION%:(ow-iw)/2:(oh-ih)/2[v1]; [v0][0:a][v1][1:a]concat=n=2:v=1:a=1[v][a]&quot; -map [v] -map [a] &quot;%OUTPUT_FOLDER%\%%~na.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm on Windows OS, but I also have Linux Mint installed on my workstation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is: how to add 1 intro and 1 outro to 500+ videos?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;PS:&lt;/strong&gt; Intro and Outro files are the same file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="25820" LastActivityDate="2024-04-03T22:05:05.633" Title="Batch add intro and outro to videos" Tags="|ffmpeg|video-editor|editing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28155" PostTypeId="1" CreationDate="2019-07-28T10:37:24.193" Score="1" ViewCount="177" Body="&lt;p&gt;I want to cut a part of Video file without re-encoding whole video.&#xA;This is the method came to my mind:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9BY3B.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9BY3B.jpg&quot; alt=&quot;ffmpeg cut method&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;first.mp4:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -ss start_cut -t start_to_a first.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;last.mp4:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -ss b -t b_to_end last.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;middle.mp4&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -ss a -t a_to_b -c copy middle.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;then merge these three files with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;merge -f concat -i fileslist -c copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tested this method but it's not giving expected output the 3 video files are cut ok but after merging the middle part slows down and has low quality in out.mp4.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the problem with this method? Or is there another method to fast accurate cut?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="25822" LastActivityDate="2019-07-28T10:37:24.193" Title="ffmpeg fast accurate cut" Tags="|ffmpeg|editing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28156" PostTypeId="1" AcceptedAnswerId="28160" CreationDate="2019-07-28T22:45:57.683" Score="-1" ViewCount="37" Body="&lt;p&gt;I have line with 3 points and I want to animate middle point to top. Please help me!&#xA;&lt;a href=&quot;https://i.stack.imgur.com/78AUY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/78AUY.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3bKVk.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3bKVk.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20534" LastEditorUserId="20534" LastEditDate="2019-07-29T07:13:53.000" LastActivityDate="2019-07-29T10:21:53.150" Title="After Effects - middle point line animation" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28160" PostTypeId="2" ParentId="28156" CreationDate="2019-07-29T10:21:53.150" Score="0" Body="&lt;p&gt;I found my answer. &lt;strong&gt;See this GIF:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tCZGf.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tCZGf.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20534" LastActivityDate="2019-07-29T10:21:53.150" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28161" PostTypeId="2" ParentId="28153" CreationDate="2019-07-29T10:57:30.127" Score="0" Body="&lt;p&gt;Did you install ffmpeg? This script uses it so it'd be good to have it...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Idea is that you create a txt-document with all the file-names inside, which will then get stitched together. You can read up on how it works here:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Concatenate&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-07-29T10:57:30.127" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28163" PostTypeId="1" CreationDate="2019-07-29T19:18:52.373" Score="-4" ViewCount="50" Body="&lt;p&gt;I have a relatively small video of a screen recording of about 600kB in H.264 / VBR. Now I wanted to edit some unnecessary parts out. So I edited the clip and exported it, just to discover the size balloons up to 18MB. I used the &quot;Share&quot; button on the top left and an Apple Device 1080p preset.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The result is the same, for iMovie or FCP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there an export method that preserves my original small video size or let me encode in VBR?&lt;/p&gt;&#xA;" OwnerDisplayName="user25835" LastEditorDisplayName="user25835" LastEditDate="2019-08-01T21:23:50.773" LastActivityDate="2019-08-01T21:23:50.773" Title="Export size balloons to a multiple of source material" Tags="|final-cut-pro-x|imovie|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28164" PostTypeId="2" ParentId="28163" CreationDate="2019-07-29T20:06:06.923" Score="1" Body="&lt;p&gt;When you click on the share button you will see “Add Destination “. In the window, you see all the possible export formats. &#xA;Formats with “Small” or SD will make the export file size smaller. Try MPEG if your device can play it. &#xA;However, with small file sizes, your tradeoff is low video quality in most cases.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2019-07-29T20:06:06.923" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="28165" PostTypeId="2" ParentId="28126" CreationDate="2019-07-29T21:03:48.363" Score="0" Body="&lt;p&gt;The scene you were shooting was captured by both cameras simultaneously. If you start playback of both clips at the same instant—or more likely; put them into one video and take care to get them perfectly aligned by synchronizing audio—then no matter how long they are, &lt;em&gt;they will naturally play back with perfect synchronization&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The fact that one camera was taking &lt;em&gt;exactly&lt;/em&gt; 24 pictures per second, and the other was taking &lt;em&gt;almost&lt;/em&gt; 24 frames per second is immaterial—both clips will &lt;em&gt;play back at the rate they were captured&lt;/em&gt;. Frames in = frames out. So everything will stay perfectly synchronized. The reason I'm belaboring the above is because of their inevitable counterpoint: &lt;em&gt;anything you do to change the playback frame rate will disturb the automatic synchronization&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Playback of these clips will require precisely showing the correct frame of one video or the other or both, even when you are far into the video. At, say… exactly 10 minutes into the video, camera 1's clip will need to show frame [24×60×10=] 14000; whereas camera 2's clip will need to show frame [23.85×60×10=] 14310. The reason for belaboring this crazy math is merely this: the math obnoxiousness is again a task best left to the software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So consider… what are your actual needs?&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;If you somehow actually don't need content synchronization, just change clip 1 to play back at 24 (set playback speed to 100.6289%) OR set clip 2 to 23.85 fps (playback speed 99.375%). Now your frames will be exactly aligned—though of course note that they will not be showing the same videoed moment in time.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If, for some (rare!) reason, you need to 1. stay synchronized, and 2. keep the clips as separate files, &lt;strong&gt;&lt;em&gt;and 3.&lt;/em&gt;&lt;/strong&gt; force playback to not just have subject-synchronization but also actually have exact frame-to-frame alignment between both clips, so both files have the same new &lt;em&gt;native&lt;/em&gt; framerate, you'll have to render one clip to the other's framerate. This is an interpolated, lossy process, and will slightly degrade quality on the altered clip.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you simply need both clips to stay in exact sync over the course of the final video(s), so your overlays or cuts back and forth always match between cameras and faithfully show what was happening at that time—do nothing. Every video editor reads and respects each input clip's framerate. After aligning them near the beginning, hopefully using a sharp audio peak, they'll just stay aligned. When your project is done and it comes time to do the hairy 23.85 vs 24 fps math, the software will take care of it and keep the original subject in sync, even though the frames secretly aren't.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="21105" LastActivityDate="2019-07-29T21:03:48.363" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28167" PostTypeId="1" CreationDate="2019-07-30T23:06:03.280" Score="0" ViewCount="103" Body="&lt;p&gt;please i need help. I am trying to render a big project filr which has lots pre composse files in it. And it was taking  almost 2 days to hold on pre- flighting before rendering.  And then rendering for maybe 24 hours. I am using ailenware i7 with 32 ram. But now when added few more files  with the same project, now it cant render anymore....it always shows pre flighting.....please help if possible  &lt;/p&gt;&#xA;" OwnerUserId="25841" LastActivityDate="2019-09-02T01:11:46.710" Title="After effect preflighting" Tags="|after-effects|after-effects-expressions|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28168" PostTypeId="1" AcceptedAnswerId="28169" CreationDate="2019-07-31T00:07:43.403" Score="1" ViewCount="1087" Body="&lt;p&gt;I have been digging around here and on the ffmpeg site trying to find some commands to use to generate a movie from a set of images. The command I tried that gives me a video I can watch on my MacBook is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 20 -i slice%04d.png test.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This produces a video but the problem is it smooths out some of the features. I need to capture the sharp features of these images. To give a sense, a single frame from this video is shown below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7TtDq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7TtDq.png&quot; alt=&quot;time slicing sample image&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video is smoothing out some of the details, especially from frame to frame. I assume this is a compression issue, so I would like to just avoid compressing the video. Unfortunately, everything I have tried from other help sites and the ffmpeg site do not produce a video file I can actually visualize on my mac. Can anyone provide me with a better command line call to solve this problem?&lt;/p&gt;&#xA;" OwnerUserId="25842" LastEditorUserId="3643" LastEditDate="2019-08-02T14:37:18.273" LastActivityDate="2023-11-16T19:21:58.707" Title="How to prevent frame smoothing (i.e. get really sharp frame images) when making a video with ffmpeg?" Tags="|video|ffmpeg|video-quality|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28169" PostTypeId="2" ParentId="28168" CreationDate="2019-07-31T02:44:19.143" Score="2" Body="&lt;p&gt;Since you're asking for &quot;uncompressed&quot; I assume you don't care about file size. If so, I suggest rendering to mjpeg. This smoothing issue is because your command is defaulting to h.264. The difference between h.264 and mjpeg is that mjpeg is intra-frame compression only, but h.264 is intra- and inter-frame compression. As such, mjpeg is a massive file by comparison, but each frame is unique and not dependent on previous frames like in h.264. One benefit is frame fidelity, enough should fix your issue. Mjpeg is also pretty universal. You won't need a codec pack to play it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make your images into an mjpeg video run:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -framerate 20 -i slice%04d.png c:v mjpeg -q:v 3 -an output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;c:v mjpeg&lt;/code&gt; means video codec&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-q:v 3&lt;/code&gt; is a quality control factor. Range is a linear 2-31, lower is better. Tune the number to your tastes. &lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-an&lt;/code&gt; means no audio channel included. This is good to run if that's your goal, as some codecs confuse players if you don't. &lt;/li&gt;&#xA;&lt;li&gt;Output is mov but I'm pretty sure you can wrap mp4 or avi too. Mp4 seems mostly likely to work for your users on windows as well as mac.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Before you try this, maybe don't quite give up on h.264 yet. Run your original command with the crf flag. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -framerate 20 -i slice%04d.png -crf 18 -an test.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;crf&lt;/code&gt; is &quot;constant rate factor&quot;, and is a quality control. Range is exponential 0-60something. Lower is better and 18 is considered functionally lossless.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2019-07-31T02:44:19.143" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28170" PostTypeId="1" CreationDate="2019-07-31T05:32:29.577" Score="1" ViewCount="82" Body="&lt;p&gt;(please consider, I have zero video recording skills, neither know video editing software. What I know is no more than there are video/audio codecs, container formats, streams, and I also aware that video/audio sync could be a problem)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Context&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to create acoustic guitar demos of my home playing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sound quality do matter, so audio of simple iPhone video recordings will not do it. I have established practice how to record guitar audio (with my mike, amp) and I have also established audio recording practice, this question is not about this)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I would like to do video too, not just the audio.&#xA;My very first idea is concurrently record video with my iPhone, somehow transfer to my Windows 10 PC, and then edit the video and (put and sync?) the high quality sound with the video together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Q1: Is this a good idea? (I've checked how to connect my iPhone cam with PC, but it seems no benefit, it has delay, quality loss, etc)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Q2: I would not like to do sophisticated video effects and postprocessing, however I would like to have multiple recordings (multiple audio/video takes, for example to compare guitars), and &quot;switch&quot; between them (10 secs from one, then 10 secs from other, then back) in the final result. The two streams from two sources (audio and video) must be synced, but preferably not the price of sound quality, video quality is not so important. What free software (Win 10) is recommended for this task?&lt;/p&gt;&#xA;" OwnerUserId="25843" LastActivityDate="2019-07-31T07:28:03.357" Title="How to create YouTube home guitar demos from parallel taken phone video and professional recorded PC audio?" Tags="|video-editor|video-recording|audio-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28171" PostTypeId="2" ParentId="28170" CreationDate="2019-07-31T07:28:03.357" Score="1" Body="&lt;p&gt;Bonjour Pickardou!&#xA;What you want to do is absolutely manageable and done by a lot of people every day. First, let's talk about the &quot;sync&quot;-part.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On professional movie-sets, you might have seen the movie slate. It's essentially a board with some text on it that can make a slapping-sound. This slap is used exactly for this purpose of syncing. When you recorded both audio and video separately, you then load both in your editing software, find out where the &quot;clap&quot; is in your audio and sync that to the frame in which the slate claps. You could do the same by just clapping with your hands.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To the second question (switching from multiple cameras):&#xA;Yes, you can totally do that once you have a recording of multiple cameras - just drag all views on top of each other on a timeline (use premiere or sony vegas to give a few examples). So now you can just cut off the top-layer which will then show the bottom layer, which would be another camera-angle. Do all of that and you got yourself a nice music-video in no time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope I was able to help, have a wonderful day :)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-07-31T07:28:03.357" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28172" PostTypeId="2" ParentId="28167" CreationDate="2019-07-31T07:51:07.280" Score="1" Body="&lt;p&gt;I assume that after effects is creating its cache-files on the c-drive (which is the standard location if I recall correctly) and because there is near to no space left, it struggles to cache frames. The first thing you can do is go to edit -&gt; purge everything and see if that helps. In any case, I highly advise you free up your c-drive - I'd feel comfortable with about 100-200gb of free space (at least) &lt;/p&gt;&#xA;" OwnerUserId="24627" LastEditorUserId="2836" LastEditDate="2019-09-02T00:56:24.880" LastActivityDate="2019-09-02T00:56:24.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28175" PostTypeId="1" CreationDate="2019-07-31T11:32:10.917" Score="0" ViewCount="58" Body="&lt;p&gt;Im working on a paper for my university and need capturings of the same scene in different native resolutions. Im currently using the Logitech BRIO camera with OBS for capturing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is: If I change the resolution of the camera in OBS, does this result in native recordings in that resolution or is the resolution only changed in software? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that it could depend on the implementation from OBS but is it even possible to get different native resolution from the same CCD-Sensor in theory? I couldn't find any information about how changing the resolution is actually done.&lt;/p&gt;&#xA;" OwnerUserId="25848" LastActivityDate="2019-12-22T05:43:55.387" Title="Can I capture different native resolutions with the same CCD-Sensor?" Tags="|camera|video-capture|obs|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28176" PostTypeId="1" CreationDate="2019-07-31T17:40:10.153" Score="0" ViewCount="41" Body="&lt;p&gt;I imported the video assets in a new Adobe Premiere project and it turns out that my video files are now having the length: &lt;code&gt;00:01:01&lt;/code&gt;, which is unnatural, the modified date being the recent one (few minutes ago).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I've done was to add the &lt;em&gt;Camera Label&lt;/em&gt; and creat the multicamera sequence...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am a bit worried that the original files were corrupted since I do not have a backup.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far, the total folder size looks fine (&lt;code&gt;+600GB&lt;/code&gt;), but I have no idea how to &lt;em&gt;reset&lt;/em&gt; the video assets back to original length.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I solve this?&lt;/p&gt;&#xA;" OwnerUserId="25852" LastActivityDate="2020-01-02T23:01:55.237" Title="Did Adobe Premiere modify the length of the original video files?" Tags="|premiere|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28177" PostTypeId="2" ParentId="23530" CreationDate="2019-07-31T21:48:23.287" Score="6" Body="&lt;p&gt;To get each image to have a different time shown, instead of all images having the same time, you'll have to use &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;the concat demuxer and a text file&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Create a text file like the following, ordering the images as you'd want them.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file img_001.jpg&#xA;outpoint 5&#xA;file img_002.jpg&#xA;outpoint 3&#xA;file img_003.jpg&#xA;outpoint 9&#xA;.... [keep going until you've included all the images]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then you run the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i [name you gave above text file] [your commands] output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h1&gt;Explanation&lt;/h1&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The command uses &lt;code&gt;-f concat&lt;/code&gt; demuxer to add all the files listed in the text file to a single output.&lt;/li&gt;&#xA;&lt;li&gt;The text file lists the file name, then lists the amount of time to show it in seconds.&lt;/li&gt;&#xA;&lt;li&gt;If just the three files in the example are run, you will get a 17 second video that shows 3 images; the first for 5 seconds, the second for 3 seconds, and the third for 9 seconds.&lt;/li&gt;&#xA;&lt;li&gt;The framerate will be whatever you specify under &lt;code&gt;[your commands]&lt;/code&gt; (the correct flag here would be &lt;code&gt;-r&lt;/code&gt;) or default to 30 fps (I think) if you do not specify anything.&lt;/li&gt;&#xA;&lt;li&gt;You can give partial seconds with a decimal.&lt;/li&gt;&#xA;&lt;li&gt;You can put full file paths with the file name, but will also have to include &lt;code&gt;-safe 0&lt;/code&gt; after &lt;code&gt;concat&lt;/code&gt; for it to work. This is not necessary if they are relative paths.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;Differences when working with video files instead of images:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;In the text file, the format is usually like what is found in &lt;a href=&quot;https://video.stackexchange.com/a/25099/3643&quot;&gt;this similar question/answer&lt;/a&gt;, where you specify an &amp;quot;inpoint&amp;quot; as well as an &amp;quot;outpoint&amp;quot;. The inpoint is where in the video input timeline you want to start, and the outpoint is for how many seconds you want to go. However, when the input file is an image (instead of a video) the inpoint creates an error, so you have to leave it out.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;A Caveat&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;The concat demuxer requires all input files to have the same streams. This means basically everything like framerate and codec must be the same, but the container can be different. I've never tried this method with different image types, but I assume something like a mix of jpeg and png inputs would throw an error.&lt;/p&gt;&#xA;&lt;p&gt;If you want to concatenate files of different types, you will have to use &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate#differentcodec&quot; rel=&quot;nofollow noreferrer&quot;&gt;the concat filter&lt;/a&gt;. It's not as intuitive, but you have full control and won't need a text file. The above demuxer solution in the filter form looks like this (line breaks added for readability):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -t 5 -i img_001.jpg &#xA;               -t 3 -i img_002.jpg &#xA;               -t 9 -i img_003.jpg &#xA;       filter_complex &amp;quot;[0:v]&#xA;                       [1:v]&#xA;                       [2:v]&#xA;                      concat=n=3:v=1:a=0&#xA;                      [outv]&amp;quot; &#xA;                      -map &amp;quot;[outv]&amp;quot;&#xA;       [your commands] output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Basically, you name all the inputs at the beginning of the command. &lt;code&gt;-loop 1&lt;/code&gt; lets ffmpeg treat the images like looping video, so you don't have an inpoint. A video file &lt;em&gt;can&lt;/em&gt; specify an inpoint with &lt;code&gt;-ss&lt;/code&gt; before the &lt;code&gt;-t&lt;/code&gt;, and will take 0 seconds as the default if not specified. &lt;code&gt;filter_complex&lt;/code&gt; does all the work. The items like &lt;code&gt;[0:v]&lt;/code&gt; are calling the inputs, specifying which input (the full syntax is 1 [0:v:0], where the first number is the input file and the second number is the stream, but you don't have to specific the stream if there is only 1 in the file). &lt;code&gt;concat=n=3:v=1:a=0&lt;/code&gt; tells how many files the filter should expect (&lt;code&gt;n=3&lt;/code&gt;) and how many video and audio streams to output (&lt;code&gt;v=1:a=0&lt;/code&gt;). &lt;code&gt;[outv]&lt;/code&gt; Is kind of like a user created variable and this same principle is used on far more complex filter chains. You would either send this variable to additional filters, or map it to the output (&lt;code&gt;-map &amp;quot;[outv]&amp;quot;&lt;/code&gt;).&lt;/p&gt;&#xA;&lt;p&gt;To add an audio stream to the output file, the command changes only slightly:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -t 5 -i img_001.jpg &#xA;               -t 3 -i img_002.jpg &#xA;               -t 9 -i img_003.jpg &#xA;               -t 17 -i audio.wav&#xA;       filter_complex &amp;quot;[0:v]&#xA;                       [1:v]&#xA;                       [2:v]&#xA;                      concat=n=3:v=1:a=0&#xA;                      [outv]&amp;quot; &#xA;                      -map &amp;quot;[outv]&amp;quot; -map &amp;quot;[3:a]&amp;quot; &#xA;       [your commands] output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;We added a fourth input, a wav audio file and specified with &lt;code&gt;-t 17&lt;/code&gt; that will only take the first 17 seconds of it. Again, you could write &lt;code&gt;-ss 10 -t 17&lt;/code&gt; which would get you 17 seconds starting at the 10 second mark. 17 was chosen here because that is the sum of the other input lengths. If you do not specify matching input lengths for your audio and video you will get unexpected results and possibly errors. ffmpeg doesn't automatically close off the output to the shortest input, but the flag &lt;code&gt;-shortest&lt;/code&gt; literally does this for you, so you could have used that option instead. The filter doesn't change, because the filter is only working on the video output, but we do need to map the audio input using the same syntax &lt;code&gt;-map &amp;quot;[3:a]&amp;quot;&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Like I said, the filter is not very intuitive, and using it requires yet more unintuitive use of flags outside of the filter to get your desired result. If you need further help writing your filtergraph or even the whole command, ask another question or follow the links I've already given.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2023-05-11T21:40:26.307" LastActivityDate="2023-05-11T21:40:26.307" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28178" PostTypeId="1" AcceptedAnswerId="28180" CreationDate="2019-08-01T08:08:38.277" Score="3" ViewCount="1192" Body="&lt;p&gt;I've been spending the 24 hours troubleshooting this problem, but am getting a bit stuck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Pre-info:&lt;/strong&gt; I'm running an Ubuntu 18.04 server with a DeckLink Duo 2 card inside.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Goal:&lt;/strong&gt; Capture video from the DeckLink Duo 2 and write it to output.avi&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What I've tried so far:&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've installed BMD DeckLink drivers 10.11.4 on my Ubuntu Server and verified they server can see the card:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;redacted@redacted:~$ BlackmagicFirmwareUpdater status&#xA;0:  /dev/blackmagic/io0 [DeckLink Duo 2]    0xd5    OK&#xA;1:  /dev/blackmagic/io2 [DeckLink Duo 2]    0xd5    OK&#xA;2:  /dev/blackmagic/io1 [DeckLink Duo 2]    0xd5    OK&#xA;3:  /dev/blackmagic/io3 [DeckLink Duo 2]    0xd5    OK&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I've compiled ffmpeg with decklink and the following configuration:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.1.3 Copyright (c) 2000-2019 the FFmpeg developers&#xA;built with gcc 7 (Ubuntu 7.4.0-1ubuntu1~18.04.1)&#xA;configuration: &#xA;--prefix=/home/redacted/ffmpeg_build &#xA;--pkg-config-flags=--static &#xA;--extra-cflags='-I/home/redacted/ffmpeg_build/include -I/home/redacted/ffmpeg_sources/BMD_SDK/include' &#xA;--extra-ldflags=-L/home/redacted/ffmpeg_build/lib &#xA;--extra-libs='-lpthread -lm' &#xA;--bindir=/home/redacted/bin &#xA;--enable-gpl &#xA;--enable-libass &#xA;--enable-libfdk-aac &#xA;--enable-libfreetype &#xA;--enable-libmp3lame &#xA;--enable-libopus &#xA;--enable-libvorbis &#xA;--enable-libvpx &#xA;--enable-libx264 &#xA;--enable-libx265 &#xA;--enable-nonfree &#xA;--enable-decklink&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Next I do a basic check to see if my DeckLink Duo 2 shows up in ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[decklink @ 0x5574cc33ef00] Blackmagic DeckLink input devices:&#xA;[decklink @ 0x5574cc33ef00]     'DeckLink Duo (1)'&#xA;[decklink @ 0x5574cc33ef00]     'DeckLink Duo (2)'&#xA;[decklink @ 0x5574cc33ef00]     'DeckLink Duo (3)'&#xA;[decklink @ 0x5574cc33ef00]     'DeckLink Duo (4)'&#xA;dummy: Immediate exit requested&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This confirms the card is seen by ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So now I want to run a capture command, however, it does not matter what command I run, FFmpeg does not start capturing. For example, running a very basic: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;ffmpeg -format_code Hi50 -f decklink -i 'DeckLink Duo (1)' out.avi&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;returns&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;redacted@redacted:~$ ffmpeg -format_code Hi50 -f decklink -i 'DeckLink &#xA;Duo (1)' out.avi&#xA;ffmpeg version 4.1.3 Copyright (c) 2000-2019 the FFmpeg developers&#xA;built with gcc 7 (Ubuntu 7.4.0-1ubuntu1~18.04.1)&#xA;configuration: --prefix=/home/redacted/ffmpeg_build --pkg-config-flags=--static - &#xA;-extra-cflags='-I/home/redacted/ffmpeg_build/include - &#xA;I/home/redacted/ffmpeg_sources/BMD_SDK/include' --extra-ldflags=- &#xA;L/home/redacted/ffmpeg_build/lib --extra-libs='-lpthread -lm' -- &#xA;bindir=/home/redacted/bin --enable-gpl --enable-libass --enable-libfdk-aac -- &#xA;enable-libfreetype --enable-libmp3lame --enable-libopus --enable-libvorbis -- &#xA;enable-libvpx --enable-libx264 --enable-libx265 --enable-nonfree --enable- &#xA;decklink&#xA;libavutil      56. 22.100 / 56. 22.100&#xA;libavcodec     58. 35.100 / 58. 35.100&#xA;libavformat    58. 20.100 / 58. 20.100&#xA;libavdevice    58.  5.100 / 58.  5.100&#xA;libavfilter     7. 40.101 /  7. 40.101&#xA;libswscale      5.  3.100 /  5.  3.100&#xA;libswresample   3.  3.100 /  3.  3.100&#xA;libpostproc    55.  3.100 / 55.  3.100&#xA;[decklink @ 0x5638a755d000] Found Decklink mode 1920 x 1080 with rate 25.00(i)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It doesn't matter how complicated I make the initial command, with video formats, audio formats, custom sizes, codecs, etc. It all returns the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It essentially stays stuck in this position, with the command still running forever. To the best of my knowledge, FFmpeg is supposed to start the encoding process straight after. It does not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can confirm that a normal re-encoding command such as:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;redacted@redacted:~$ ffmpeg -i video.mov out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;works just fine. So FFmpeg at a basic level works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can also confirm FFmpeg can 'talk to the DeckLink and set the right mode, I can confirm a picture 'flows' through the card as I can see it showing up on the output loop on my monitor(see image) as soon as I put any of the FFmpeg commands in, however, FFmpeg does not start encoding/capturing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Nprn6.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Nprn6.jpg&quot; alt=&quot;image showing on loopout&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think I've done something wrong with the configuration/compiling of FFmpeg, perhaps during compiling, but I cannot figure out what I've done wrong.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions are much appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Rik&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;em&gt;EDIT: Running the command with -loglevel trace as requested&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;redacted@redacted:~$ ffmpeg -loglevel trace -raw_format yuv422p10 1 -an &#xA;- &#xA;format_code Hp25 -f decklink -i 'DeckLink Duo (2)' output.avi&#xA;ffmpeg version 4.1.3 Copyright (c) 2000-2019 the FFmpeg developers&#xA;built with gcc 7 (Ubuntu 7.4.0-1ubuntu1~18.04.1)&#xA;configuration: --prefix=/home/redacted/ffmpeg_build --pkg-config-flags=--static &#xA;- &#xA;-extra-cflags='-I/home/redacted/ffmpeg_build/include - &#xA;I/home/redacted/ffmpeg_sources/BMD_SDK/include' --extra-ldflags=- &#xA;L/home/redacted/ffmpeg_build/lib --extra-libs='-lpthread -lm' -- &#xA;bindir=/home/redacted/bin --enable-gpl --enable-libass --enable-libfdk-aac -- &#xA;enable-libfreetype --enable-libmp3lame --enable-libopus --enable-libvorbis -- &#xA;enable-libvpx --enable-libx264 --enable-libx265 --enable-nonfree --enable- &#xA;decklink&#xA;libavutil      56. 22.100 / 56. 22.100&#xA;libavcodec     58. 35.100 / 58. 35.100&#xA;libavformat    58. 20.100 / 58. 20.100&#xA;libavdevice    58.  5.100 / 58.  5.100&#xA;libavfilter     7. 40.101 /  7. 40.101&#xA;libswscale      5.  3.100 /  5.  3.100&#xA;libswresample   3.  3.100 /  3.  3.100&#xA;libpostproc    55.  3.100 / 55.  3.100&#xA;Splitting the commandline.&#xA;Reading option '-loglevel' ... matched as option 'loglevel' (set logging &#xA;level) with argument 'trace'.&#xA;Reading option '-raw_format' ... matched as AVOption 'raw_format' with &#xA;argument 'yuv422p10'.&#xA;Reading option '1' ... matched as output url.&#xA;Reading option '-ac' ... matched as option 'ac' (set number of audio &#xA;channels) with argument '2'.&#xA;Reading option '-format_code' ... matched as AVOption 'format_code' with &#xA;argument 'Hp25'.&#xA;Reading option '-f' ... matched as option 'f' (force format) with argument &#xA;'decklink'.&#xA;Reading option '-i' ... matched as input url with argument 'DeckLink Duo &#xA;(2)'.&#xA;Reading option 'output.avi' ... matched as output url.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option loglevel (set logging level) with argument trace.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url DeckLink Duo (2).&#xA;Applying option ac (set number of audio channels) with argument 2.&#xA;Applying option f (force format) with argument decklink.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: DeckLink Duo (2).&#xA;[decklink @ 0x55cef7de7300] Trying to find mode for frame size 0x0, frame &#xA;timing 0/0, field order 0, direction 0, mode number 0, format code Hp25&#xA;[decklink @ 0x55cef7de7300] Found Decklink mode 1920 x 1080 with rate 25.00&#xA;[decklink @ 0x55cef7de7300] Using 2 input audio channels&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25855" LastEditorUserId="25855" LastEditDate="2019-08-01T09:41:35.430" LastActivityDate="2019-08-01T10:32:08.237" Title="DeckLink recording using ffmpeg on Ubuntu 18.04 doesn't start" Tags="|ffmpeg|video-capture|blackmagic|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28180" PostTypeId="2" ParentId="28178" CreationDate="2019-08-01T10:32:08.237" Score="1" Body="&lt;p&gt;I managed to fix this. It turns out the card was active, but had frozen for some reason. rebooting the machine, something I should have done in the beginning sorted out the problem. Thinks are still not perfect. But my issue is solved. Thanks&lt;/p&gt;&#xA;" OwnerUserId="25855" LastActivityDate="2019-08-01T10:32:08.237" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28182" PostTypeId="1" CreationDate="2019-08-01T17:10:33.090" Score="0" ViewCount="272" Body="&lt;p&gt;Using ffmpeg 4.1 and prores_ks codec.  I've encoded various clips into 4444 and 4444XQ.  All play and look fine but when I try to use -pix_fmt yuv444p16le for 4444XQ I get the warning:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Incompatible pixel format 'yuv444p16le' for codec 'prores_ks', auto-selecting format 'yuv444p10le'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My 4444XQ files are bigger than my 4444 files so there is an increase in bit rate.  But I was under the impression than 4444XQ supported 12bit color while 4444 only supports 10bit color.  There is no 12bit pix_fmt so I just assumed it would take 16 and do the down convert.  Maybe this is a limitation of the current ffmpeg builds and prores_ks needs to either do its own up/down bit depth conversion and/or ffmpeg needs a 12bit pix_fmt?&lt;/p&gt;&#xA;" OwnerUserId="25860" LastActivityDate="2019-12-29T18:01:40.187" Title="Can't tell if prores4444XQ is any different than prores4444 in ffmpeg 4.1" Tags="|ffmpeg|encoding|prores|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28183" PostTypeId="2" ParentId="28182" CreationDate="2019-08-01T17:52:01.220" Score="1" Body="&lt;p&gt;FFmpeg does have 12 bit pixel formats but the prores_ks encoder is limited to 10 bits. The 4444XQ profile features higher bitrates. Open a ticket at trac.ffmpeg,org, if you like.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-08-01T17:52:01.220" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28184" PostTypeId="1" CreationDate="2019-08-02T03:00:19.823" Score="0" ViewCount="6517" Body="&lt;p&gt;I have PCM Wave source files that are 5.1 surround. My goal is to convert this to EAC3 at 192k per Apple recommendations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the MediaInfo of my source media:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : X:\******WAVE\5.1_PCM.wav&#xA;Format                                   : Wave&#xA;File size                                : 2.38 GiB&#xA;Duration                                 : 49 min 3 s&#xA;Overall bit rate mode                    : Constant&#xA;Overall bit rate                         : 6 949 kb/s&#xA;Producer                                 : Pro Tools&#xA;Encoded date                             : 2019-03-00 17:03:25&#xA;Producer_Reference                       : 15uZdJ9Ng2naaaGk&#xA;&#xA;Audio&#xA;Format                                   : PCM&#xA;Format settings                          : Little / Signed&#xA;Codec ID                                 : 00000001-0000-0010-8000-00AA00389B71&#xA;Duration                                 : 49 min 3 s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 6 912 kb/s&#xA;Channel(s)                               : 6 channels&#xA;Channel layout                           : L R C LFE Lb Rb&#xA;Sampling rate                            : 48.0 kHz&#xA;Bit depth                                : 24 bits&#xA;Stream size                              : 2.37 GiB (99%)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm encoding this with ffmpeg by using very simply:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i IN.wav -c:a eac3 -b:a 192k -ar 48k OUT.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here is the MediaInfo of the output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : X:\******\6ch_eac3.mp4&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media&#xA;Codec ID                                 : isom (isom/iso2/mp41)&#xA;File size                                : 67.4 MiB&#xA;Duration                                 : 49 min 3 s&#xA;Overall bit rate mode                    : Constant&#xA;Overall bit rate                         : 192 kb/s&#xA;Recorded date                            : 2019-03-0&#xA;Writing application                      : Lavf58.20.100&#xA;&#xA;Audio&#xA;ID                                       : 1&#xA;Format                                   : E-AC-3&#xA;Format/Info                              : Enhanced AC-3&#xA;Commercial name                          : Dolby Digital Plus&#xA;Codec ID                                 : ec-3&#xA;Duration                                 : 49 min 3 s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 192 kb/s&#xA;Channel(s)                               : 6 channels&#xA;Channel layout                           : L R C LFE Ls Rs&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 31.250 FPS (1536 SPF)&#xA;Bit depth                                : 16 bits&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 67.4 MiB (100%)&#xA;Service kind                             : Complete Main&#xA;Default                                  : Yes&#xA;Alternate group                          : 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The thing is the output quality is really bad. It sounds extremely compressed, judging by my ear it sounds like about 32kbps.&#xA;My theory is that the output is for some reason 192k divided by 6 channels, each channel being 32kbps and the whole audio track is 192k overall. To my knowledge, that's not how its supposed to work and it should sound like the equivalent of 192k for each channel in one bitstream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also encoded the same source file using Telestream Vantage, here is the MediaInfo which is extremely similar to the ffmpeg output above:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : X:\******\WAVE\Internet_192k_6ch_telestream.mp4&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media / Version 2&#xA;Codec ID                                 : mp42 (mp42/isom)&#xA;File size                                : 69.0 MiB&#xA;Duration                                 : 49 min 3 s&#xA;Overall bit rate mode                    : Constant&#xA;Overall bit rate                         : 197 kb/s&#xA;Encoded date                             : UTC 2019-08-01 15:30:58&#xA;Tagged date                              : UTC 2019-08-01 15:30:58&#xA;&#xA;Audio&#xA;ID                                       : 1&#xA;Format                                   : E-AC-3&#xA;Format/Info                              : Enhanced AC-3&#xA;Commercial name                          : Dolby Digital Plus&#xA;Codec ID                                 : ec-3&#xA;Duration                                 : 49 min 3 s&#xA;Source duration                          : 49 min 3 s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 192 kb/s&#xA;Channel(s)                               : 6 channels&#xA;Channel layout                           : L R C LFE Ls Rs&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 31.250 FPS (1536 SPF)&#xA;Bit depth                                : 16 bits&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 67.4 MiB (98%)&#xA;Source stream size                       : 67.4 MiB (98%)&#xA;Service kind                             : Complete Main&#xA;Encoded date                             : UTC 2019-08-01 15:30:58&#xA;Tagged date                              : UTC 2019-08-01 15:30:58&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This file sounds fantastic, like true 192k with about the same filesize as the ffmpeg encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So clearly I am doing something wrong with mapping or bitstream or something.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the full ffmpeg log:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;N:\_TOOLS\ffmpeg\ffmpeg-4.1.3-win64-static\bin&amp;gt;ffmpeg -i X:\02_BROADCAST\5.1_PCM&#xA;.wav -c:a eac3 -b:a 192k -ar 48k X:\02_BROADCAST\6ch_eac3.mp4&#xA;ffmpeg version 4.1.3 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8.3.1 (GCC) 20190414&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfi&#xA;g --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-lib&#xA;freetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amr&#xA;wb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --&#xA;enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-l&#xA;ibwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --&#xA;enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --en&#xA;able-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --en&#xA;able-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --e&#xA;nable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enab&#xA;le-avisynth&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;Input #0, wav, from 'X:\02_BROADCAST\5.1_PCM.wav':&#xA;  Metadata:&#xA;    encoded_by      : Pro Tools&#xA;    originator_reference: 15uZdJ9Ng2naaaGk&#xA;    date            : 2019-03-0&#xA;    creation_time   : 17:03:25&#xA;    time_reference  : 172828656&#xA;  Duration: 00:49:03.23, bitrate: 6948 kb/s&#xA;    Stream #0:0: Audio: pcm_s24le ([1][0][0][0] / 0x0001), 48000 Hz, 5.1, s32 (2&#xA;4 bit), 6912 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (pcm_s24le (native) -&amp;gt; eac3 (native))&#xA;Press [q] to stop, [?] for help&#xA;Output #0, mp4, to 'X:\02_BROADCAST\6ch_eac3.mp4':&#xA;  Metadata:&#xA;    encoded_by      : Pro Tools&#xA;    originator_reference: 15uZdJ9Ng2naaaGk&#xA;    date            : 2019-03-0&#xA;    time_reference  : 172828656&#xA;    encoder         : Lavf58.20.100&#xA;    Stream #0:0: Audio: eac3 (ec-3 / 0x332D6365), 48000 Hz, 5.1, fltp (24 bit),&#xA;192 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc58.35.100 eac3&#xA;size=   68983kB time=00:49:03.22 bitrate= 192.0kbits/s speed=73.3x&#xA;video:0kB audio:68982kB subtitle:0kB other streams:0kB global headers:0kB muxing&#xA; overhead: 0.001441%&#xA;&#xA;N:\_TOOLS\ffmpeg\ffmpeg-4.1.3-win64-static\bin&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Anyone know what I am running into?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a note this is concerned with video production because this EAC3 is going into a DASH wrapper with video immediately after this encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Something I just realized on this and tested is that the audio quality that I hear when using ffmpeg to encode to ac3 and then to encode to eac3 is the same. But as eac3 is almost twice as efficient as ac3, I would expect the eac3 encode to be much higher quality and sound less compressed. Case in point is that the Telestream Vantage encode is much higher quality than an ac3 at the same bitrate. Is this a fault of of the ffmpeg encoder that is used for eac3?&lt;/p&gt;&#xA;" OwnerUserId="25717" LastEditorUserId="25717" LastEditDate="2019-08-03T22:45:09.640" LastActivityDate="2024-01-31T04:09:16.147" Title="FFMPEG - 5.1 EAC3 encode output quality" Tags="|ffmpeg|audio|audio-quality|quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28185" PostTypeId="2" ParentId="28151" CreationDate="2019-08-02T11:23:30.937" Score="2" Body="&lt;p&gt;AVC intra and MJPEG are intra frame (keyframe) encoding only, each frame in your video will be encoded as a whole. Distance between key frames is a parameter for inter frame compression, where some pictures are encoded either as a whole (i-frames a.k.a. keyframes), and pictures between keyframes are encoded in reference to other frames either before (p-frames), or before &amp;amp; after (b-frames).&#xA;If you uncheck custom distance between key frames, you essentially tell your encoder that you don’t care about it, and it will chose to add a key frame whenever it needs to, mostly depending on the amount of motion in the scene, and encoder implementation details. The more keyframes in your encoded video, the heavier the average bitrate / file size.&#xA;AVC intra is actually based on h264, but uses only keyframes, and no inter frame compression. MJPEG is basically a sequence of jpeg muxed in a video container.&lt;/p&gt;&#xA;" OwnerUserId="25663" LastActivityDate="2019-08-02T11:23:30.937" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28187" PostTypeId="1" AcceptedAnswerId="28188" CreationDate="2019-08-03T16:53:33.510" Score="2" ViewCount="2867" Body="&lt;p&gt;I have an mp4 file (converted from an mkv file) that has a longer audio than video stream. This file doesn't play back nicely in my media streaming app (or MPC-HC) when I reach the end of the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example output from mp4info:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;File:&#xA;  major brand:      mp42&#xA;  minor version:    200&#xA;  compatible brand: isom&#xA;  compatible brand: iso2&#xA;  compatible brand: avc1&#xA;  compatible brand: mp41&#xA;  fast start:       yes&#xA;&#xA;Movie:&#xA;  duration:   1553152 ms&#xA;  time scale: 1000&#xA;  fragments:  no&#xA;&#xA;Found 3 Tracks&#xA;Track 1:&#xA;  flags:        3 ENABLED IN-MOVIE&#xA;  id:           1&#xA;  type:         Video&#xA;  duration: 1524398 ms&#xA;  language: und&#xA;  media:&#xA;    sample count: 36549&#xA;    timescale:    90000&#xA;    duration:     137195807 (media timescale units)&#xA;    duration:     1524398 (ms)&#xA;    bitrate (computed): 8508.739 Kbps&#xA;  display width:  1444.000000&#xA;  display height: 1080.000000&#xA;  frame rate (computed): 23.976&#xA;  Sample Description 0&#xA;    Coding:      avc1 (H.264)&#xA;    Width:       1444&#xA;    Height:      1080&#xA;    Depth:       24&#xA;    AVC Profile:          77 (Main)&#xA;    AVC Profile Compat:   40&#xA;    AVC Level:            40&#xA;    AVC NALU Length Size: 4&#xA;    AVC SPS: [674d4028eca02d8113cf2e02d404040500000300010002bf200f183196]&#xA;    AVC PPS: [68cb8132c8]&#xA;    Codecs String: avc1.4D4028&#xA;Track 2:&#xA;  flags:        3 ENABLED IN-MOVIE&#xA;  id:           2&#xA;  type:         Audio&#xA;  duration: 1553152 ms&#xA;  language: eng&#xA;  media:&#xA;    sample count: 72804&#xA;    timescale:    48000&#xA;    duration:     74551296 (media timescale units)&#xA;    duration:     1553152 (ms)&#xA;    bitrate (computed): 125.679 Kbps&#xA;  Sample Description 0&#xA;    Coding:      mp4a (MPEG-4 Audio)&#xA;    Stream Type: Audio&#xA;    Object Type: MPEG-4 Audio&#xA;    Max Bitrate: 125678&#xA;    Avg Bitrate: 125678&#xA;    Buffer Size: 0&#xA;    Codecs String: mp4a.40.2&#xA;    MPEG-4 Audio Object Type: 2 (AAC Low Complexity)&#xA;    MPEG-4 Audio Decoder Config:&#xA;      Sampling Frequency: 48000&#xA;      Channels: 1&#xA;      Extension:&#xA;        Object Type: Spectral Band Replication&#xA;        SBR Present: no&#xA;        PS Present:  no&#xA;        Sampling Frequency: 0&#xA;    Sample Rate: 48000&#xA;    Sample Size: 16&#xA;    Channels:    2&#xA;Track 3:&#xA;  flags:        2 IN-MOVIE&#xA;  id:           3&#xA;  type:         Text&#xA;  duration: 1524356 ms&#xA;  language: ```&#xA;  media:&#xA;    sample count: 5&#xA;    timescale:    1000&#xA;    duration:     1524356 (media timescale units)&#xA;    duration:     1524356 (ms)&#xA;    bitrate (computed): 0.001 Kbps&#xA;  Sample Description 0&#xA;    Coding:      text&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Specifically, the &quot;Movie&quot; duration is 1553152ms (25:53.152), which is too long. The duration of the video stream is 1524398ms (25:24.398), which is correct. The duration of the audio stream is 1553152ms (25:53.152), and seems to be driving the &quot;Movie&quot; duration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to set the &quot;Movie&quot; duration to the video duration value &lt;em&gt;without re-encoding&lt;/em&gt;. It seems like this would be an easy thing to do, but I can't find any solution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg -i file.mp4 -shortest -codec copy out.mp4&lt;/code&gt; - doesn't have any effect (other than removing the mp4 faststart, which I want to keep).&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;mp4box -add file.mp4 -new out.mp4&lt;/code&gt; - also doesn't fix the duration.&lt;/li&gt;&#xA;&lt;li&gt;Remuxing the original mkv file using MkvToolnix.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg&lt;/code&gt; with the &lt;code&gt;-t&lt;/code&gt; option may work, but I've got a few thousand files to go through and I don't want to manually type a different command for each one.&lt;/p&gt;&#xA;&#xA;&lt;hr/&gt;&#xA;&#xA;&lt;p&gt;More details:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a bunch of BluRays that I ripped a couple of years ago with MakeMKV 1.10.4. The MKV files themselves have the same problem: the segment duration is 25:53.088, with a track 1 movie DURATION tag of 25:24.397875. The track 2 (audio) movie DURATION tag is 25:53.14133333. Re-ripping the BluRays is an acceptable solution, if this problem has been fixed (I haven't pulled the BluRays out of storage and tried it).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I converted these MakeMKV mkv files using HandBrake into h265 mkv files. These files also have the segment duration vs movie DURATION tag mismatch.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When playing the MKV files, my media streaming app (and MPC-HC) correctly determine the length of the file from the movie DURATION tag. There's no problem there, even though the mkv file durations are wrong.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want to do is enable several older players by encoding to h264 mp4s with faststart. I believe my media streaming app will then be able to serve the files directly instead of re-encoding to h264 or remuxing (depending on the client, it always does one or the other right now).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have HandBrake all set up with my new h264/mp4 settings and would like to continue using that application to re-encode the MakeMKV source files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An ideal solution would be to fix the mkv segment duration in the MakeMKV source files. Fixing the mp4 files after the fact would also be acceptable, but at that point I don't want a re-encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Versions are current on everything except MakeMkv since I ripped these a couple years ago:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg 4.1.4&#xA;mp4info 1.3.4 (Bento4 1.5.1.0)&#xA;MKVToolNix 35.0.0&#xA;MP4Box 0.8.0-rev47-gbafe4cd3-master&#xA;MakeMKV 1.10.4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25870" LastActivityDate="2020-03-16T22:21:11.500" Title="Trim audio stream to video stream length" Tags="|ffmpeg|mp4|mkv|handbrake|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28188" PostTypeId="2" ParentId="28187" CreationDate="2019-08-03T18:55:13.910" Score="3" Body="&lt;p&gt;One should use the avformat library flag to stop muxing with the shortest stream.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i file.mp4 -map 0 -c copy -fflags +shortest -max_interleave_delta 1G -movflags +faststart out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-08-03T18:55:13.910" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28189" PostTypeId="1" AcceptedAnswerId="28192" CreationDate="2019-08-03T21:02:49.803" Score="1" ViewCount="368" Body="&lt;p&gt;Unless I'm bad at reading, this page states that colormatrix is only good for 8 bpc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;https://trac.ffmpeg.org/wiki/colorspace&quot; rel=&quot;nofollow noreferrer&quot;&gt;Colorspace support in FFmpeg&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;... colormatrix produces horrible quality for anything &gt; 8bpc (8-bit per component)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Backstory.  One of my typical workflows is to convert 16bit tiffs and 10bit DPX frames into 10bit prores.  However, I think the input colorspace of the frames is assumed to be bt601 and I would always get encodes that looks just slightly off from my originals.  I solved this by adding:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-vf colormatrix=bt601:bt709&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And it looks fine visually.  The difference between the source and encode I always just assumed was the lossy compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So can someone chime in on if the &lt;code&gt;colormatrix=bt601:bt709&lt;/code&gt; operation is 'supposed' to be bad when the source and encode are &gt;10bpc?  Or is the info on that page outdated?  Or should I be doing it a different way?&lt;/p&gt;&#xA;" OwnerUserId="25860" LastEditorUserId="18155" LastEditDate="2019-08-06T06:14:10.987" LastActivityDate="2019-08-06T06:14:10.987" Title="ffmpeg colormatrix operations only for 8bpc?" Tags="|ffmpeg|prores|colorspace|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28192" PostTypeId="2" ParentId="28189" CreationDate="2019-08-04T04:57:13.743" Score="1" Body="&lt;p&gt;Yes, as it says a couple of lines above, &lt;code&gt;colormatrix supports only 8bpc (8-bit per component) pixel formats&lt;/code&gt;. So, when a 16-bit input is filtered with colormatrix, it will be converted to 8-bits. And won't get converted back to 16-bit unless manually done or auto-converted due to output encoder limitations. But that's pointless anyway, as the precision has been lost.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use the colorspace filter.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf colorspace=all=bt709:range=tv:format=yuv422p10:iall=bt601:irange=tv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Depending on your use case, format may need to be &lt;code&gt;yuv444p10&lt;/code&gt;. Depending in your input, irange may need to be &lt;code&gt;pc&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-08-04T04:57:13.743" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28193" PostTypeId="2" ParentId="26136" CreationDate="2019-08-04T12:34:31.470" Score="0" Body="&lt;p&gt;&lt;strong&gt;1.&lt;/strong&gt; In recent versions (2018+) of AE you can access the mask vertices through expressions using the &lt;code&gt;points()&lt;/code&gt; function or the &lt;code&gt;pointOnPath()&lt;/code&gt; function that is available for all path objects. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;points()&lt;/code&gt; function returns an array of all the path vertices, so you need to use the square brackets to designate which member of the array you want, for example :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&quot;my masked layer&quot;).mask(&quot;my tracked mask 1&quot;).points(t = time)[5]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;would give you the sixth (counting starts at zero) point on the mask, in layer coordinates (so the position is given relative to that layer). &lt;code&gt;t=time&lt;/code&gt; is the default and is optional, you can set it to return the value from another time e.g. &lt;code&gt;t=time-someLayer.inpoint&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or to find a point along the path, not just a vertex:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&quot;my masked layer&quot;).mask(&quot;my tracked mask 1&quot;).pointOnPath(percentage = 0.5, t = time)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;would return the half way point on a mask. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tangent handles are also available for expressions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe's documentation is available &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/expression-language-reference.html#Expressionaccesstopathspointsonshapesmasksandbrushstrokesexpressionreference&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, should you wish to RTFM&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2.&lt;/strong&gt; Not quite sure what the second part of your question is asking.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-08-04T12:34:31.470" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28194" PostTypeId="1" AcceptedAnswerId="28449" CreationDate="2019-08-04T16:13:22.873" Score="0" ViewCount="47" Body="&lt;p&gt;How do I add a portion of a youtube video in my project? An answer could be for any video editing software because I am curious about how the answer will differ from software to software.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Do people use screen recording? If they do, will that include sound?&lt;/li&gt;&#xA;&lt;li&gt;Do they actually download whole youtube videos to disk just to get a quote or something on 2 seconds included in their project?&lt;/li&gt;&#xA;&lt;li&gt;Do they just input an url and select a start and an end and then have it automatically added to the timeline (being able to drag start and stop timestamps afterwards)?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="21523" LastActivityDate="2019-09-07T18:08:14.337" Title="Include portion of youtube video" Tags="|youtube|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28195" PostTypeId="1" CreationDate="2019-08-04T19:14:15.513" Score="0" ViewCount="312" Body="&lt;p&gt;I am testing the video editor &quot;videopad&quot; and I use an eyedropper tool to pick a pixel that defines the greenscreen color which will be used overall the image to mask out the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, can I define multiple eyedropper points, resulting in a greenscreen color that varies depending on where in the image you are?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question extends to any video editing software.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;edit&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Can I just take a photo of the background before I put myself there and use the photo as greenscreen mask?&lt;/p&gt;&#xA;" OwnerUserId="21523" LastEditorUserId="21523" LastEditDate="2019-08-05T11:13:18.573" LastActivityDate="2019-08-05T20:25:40.277" Title="Greenscreen with gradient color mask" Tags="|greenscreen|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28196" PostTypeId="1" CreationDate="2019-08-04T21:53:19.507" Score="1" ViewCount="120" Body="&lt;p&gt;Suppose I'm making an audiobook with a simple JPG image as the only visual content and a single MP3 track as the only audio. What settings can I use to ensure that:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;A) The picture is still sharp, ie, the image remains at full resolution.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;B) The audio is undistorted, native resolution (VBR 320).&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;C) The video is as small as possible.&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm aware that I can use multiple encoding passes to decrease filesize, but how can I tweak frame rate, video resolution, etc to simply show this 490KB image with the ~550MB of audio at the smallest total file size for streaming?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm working in Windows with Adobe Premiere, but open to other suggestions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="25880" LastActivityDate="2019-09-04T22:01:25.173" Title="Export settings for audiobooks" Tags="|premiere|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28197" PostTypeId="2" ParentId="28002" CreationDate="2019-08-05T03:08:10.717" Score="0" Body="&lt;p&gt;That looks like banding. Banding is where subtle gradients run into the limits of the bit-depth in the codec, often amplified by artifacts from compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Imagine that you have a gradient of tones from the brightest possible white, to the darkest black. In 8-bit image (we'll use a greyscale example to simplify) this means the black pixel is at 0, and the brightest pixel is 255 (2&lt;sup&gt;8&lt;/sup&gt; = 256) with 254 possible values in-between.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your gradient is more than 256 pixels long on screen, then there aren't going to be enough possible values to give each pixel a unique value. Imagine that the gradient went over the entire screen. In a HD picture this would be 1920 pixels that you have to colour with only 256 possible colours. So the colours will have to repeat - roughly 8 pixels will have to share each value. This means you get bands of colour 8 pixels wide, which will be obvious to viewers (making matters worse is the fact that there's an &lt;a href=&quot;https://link.springer.com/content/pdf/10.3758%2FBF03211515.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;optical illusion&lt;/a&gt; that causes human vision to exaggerate steps in a gradient).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why you notice it even more during fades to black is explained by thinking about what happens to our 0 - 255 gradient as it gets faded out. Halfway through the fade the brightest pixel will be half as bright as it was, meaning our gradient now only goes from 0-128. So now the bands will now be 16 pixels wide, and as the levels get crushed down towards 0 they keep getting wider. This is a fundamental limitation of digital imaging.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can be done? &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Shoot in 10, 12 or 16 bit, if you can. This usually means using a more expensive camera, and doesn't help for final delivery where you often need to compress to 8-bit 4:2:0.&lt;/li&gt;&#xA;&lt;li&gt;Using log profiles can help cheat some extra depth in mid tones at the expense of loss of detail in bright and dark areas, and an increase in noise and compression artifacts.&lt;/li&gt;&#xA;&lt;li&gt;adding noise. This is counterintuitive, but what noise does is to break up the hard edges of the bands making them less noticeable. This technique is called &lt;a href=&quot;https://en.wikipedia.org/wiki/Dither&quot; rel=&quot;nofollow noreferrer&quot;&gt;dithering&lt;/a&gt;, and will be immediately recogniseable from the days of 8-bit computer graphics, where &lt;em&gt;full-colour&lt;/em&gt; images had to be represented with only 256 colours.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-08-05T03:08:10.717" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28198" PostTypeId="1" CreationDate="2019-08-05T14:09:55.057" Score="0" ViewCount="19" Body="&lt;p&gt;Does anybody know about the Pro_FX_Presets_Particular plugin? Why am I getting this error? I tried with png and jpg files. I have trapcode 15 installed. Any suggestions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bLbjt.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bLbjt.jpg&quot; alt=&quot;Error image&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NFh3S.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;more error images&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25907" OwnerDisplayName="arif_sk" LastEditorUserId="17390" LastEditDate="2019-08-15T10:56:11.827" LastActivityDate="2019-08-15T10:56:11.827" Title="Error with After effect Pro_FX_Presets_Particular plugin" Tags="|after-effects|plugins|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28199" PostTypeId="2" ParentId="25951" CreationDate="2019-08-05T19:23:19.523" Score="0" Body="&lt;p&gt;Your Program Monitor is zoomed in, that's how your timeline actually looks. Reset the scale in the Program Monitor to &quot;Fit&quot;&lt;/p&gt;&#xA;" OwnerDisplayName="user25890" LastActivityDate="2019-08-05T19:23:19.523" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28200" PostTypeId="2" ParentId="28194" CreationDate="2019-08-05T19:25:47.140" Score="3" Body="&lt;p&gt;The proper way is to download the entire original video, in the highest available quality, using a tool such as &lt;a href=&quot;https://ytdl-org.github.io/youtube-dl/index.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube-DL&lt;/a&gt;, and then edit that clip like you would any other. Please make sure to consider whether your usage of other people's content constitutes &quot;fair use&quot; under the laws of your jurisdiction. &lt;/p&gt;&#xA;" OwnerDisplayName="user25890" LastActivityDate="2019-08-05T19:25:47.140" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28202" PostTypeId="2" ParentId="28196" CreationDate="2019-08-05T20:16:29.117" Score="1" Body="&lt;p&gt;If your audiobook is audio only, and there is only a single image associated with it, I would simply distribute it as audio with the image. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to upload to YouTube or another streaming distribution site, use the preset meant for YouTube, or specify what site.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a technical answer to your question assuming you're using H.264 or H.265; make the keyframe distance as long as possible, use 2 pass encoding, and use the native resolution and frame rate of your distribution medium. &lt;/p&gt;&#xA;" OwnerDisplayName="user25890" LastActivityDate="2019-08-05T20:16:29.117" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28203" PostTypeId="2" ParentId="28195" CreationDate="2019-08-05T20:25:40.277" Score="1" Body="&lt;p&gt;In Adobe Premiere, and other professional level video editors, it is possible to specify a tolerance for the color that you would like to remove with the chroma key operation. Apple Photo Booth allows you to take a picture and then use that matte to create transparency behind the subject, but you probably won't find this functionality in a basic editor such as videopad. It is possible to do what you're trying to do in Premiere, After Effects, Davinci Resolve, Lightworks, AVID, Final Cut X, and other video editing applications that support layered effects. &lt;/p&gt;&#xA;" OwnerDisplayName="user25890" LastActivityDate="2019-08-05T20:25:40.277" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28204" PostTypeId="1" AcceptedAnswerId="28205" CreationDate="2019-08-06T06:11:28.623" Score="0" ViewCount="674" Body="&lt;p&gt;So I've figured out how to convert images to prores with no colorspace shifts using either:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-vf colormatrix=bt601:bt709&lt;/code&gt; filter for 8bit material&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-vf colorspace=all=bt709:range=pc:format=yuv444p10:iall='bt601-6-625':irange=pc&lt;/code&gt; filter for 8bit or 10bit material.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, whenever I use &lt;code&gt;colormatrix&lt;/code&gt; or &lt;code&gt;colorspace&lt;/code&gt; filters the output file contains no alpha channel.  As soon as I remove these filters the alpha channel is present but now I've got a color shift.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#this generates no alpha&#xA;ffmpeg -f image2 -r 24.0 -i tif_w_alpha.%3d.tif -c:v prores_ks -profile:v 5 -pix_fmt yuva444p10le -vf colorspace=all=bt709:range=pc:format=yuv444p10:iall='bt601-6-625':irange=pc -alpha_bits 16 this_has_no_alpha_channel.mov&#xA;&#xA;#this has alpha but also a color shift&#xA;ffmpeg -f image2 -r 24.0 -i tif_w_alpha.%3d.tif -c:v prores_ks -profile:v 5 -pix_fmt yuva444p10le -alpha_bits 16 this_has_alpha.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This behavior is the same in both -profile:v 4 and 5 which are the only 2 that support alpha.  How can I get the color filter to work without losing the alpha channel?&lt;/p&gt;&#xA;" OwnerUserId="25860" LastEditorUserId="25860" LastEditDate="2019-08-06T14:23:13.973" LastActivityDate="2022-02-15T13:18:48.487" Title="ffmpeg prores alpha channel not present when colormatrix and colorspace operations are performed" Tags="|ffmpeg|prores|colorspace|alpha|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28205" PostTypeId="2" ParentId="28204" CreationDate="2019-08-06T08:13:55.447" Score="1" Body="&lt;p&gt;The colorspace and colormatrix filters don't handle alpha pixel formats, so those get stripped off. The workaround is to extract the alpha and then reattach it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f image2 -framerate 24.0 -i tif_w_alpha.%3d.tif -filter_complex &quot;[0]colorspace=all=bt709:range=pc:format=yuv444p10:iall='bt601-6-625':irange=pc[main];[0]alphaextract,format=gray10le[alpha];[main][alpha]alphamerge&quot; -c:v prores_ks -profile:v 5 -pix_fmt yuva444p10le -alpha_bits 16 this_has_no_alpha_channel.mov&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW, The Quicktime specification doesn't accommodate output range &lt;code&gt;pc&lt;/code&gt;. Consumers should expect to treat range as always &lt;code&gt;tv&lt;/code&gt;. If your software allows to override that, nice, but other software may not.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="25860" LastEditDate="2019-08-06T16:37:38.177" LastActivityDate="2019-08-06T16:37:38.177" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="28206" PostTypeId="1" CreationDate="2019-08-06T10:27:41.167" Score="0" ViewCount="1243" Body="&lt;p&gt;I'm looking for your help and suggestion how to get started with CC conversion from &lt;code&gt;.xml&lt;/code&gt; to &lt;code&gt;.vtt&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We are having lots of flash files where we have &lt;code&gt;xml&lt;/code&gt; to &lt;code&gt;vtt&lt;/code&gt; during a project migration. I tried with many online tools most don't have solution for this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could you please help me how to start on this. Suggest me any tools/online converters which can do this job for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&lt;br&gt;&#xA;Siva&lt;/p&gt;&#xA;" OwnerUserId="25891" LastEditorUserId="14523" LastEditDate="2019-08-09T20:13:42.247" LastActivityDate="2024-01-17T08:00:40.083" Title="How can I convert the caption file format (.xml to .vtt)?" Tags="|video-editor|subtitles|closed-captioning|xml|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28207" PostTypeId="2" ParentId="28206" CreationDate="2019-08-06T17:13:02.307" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://app.closedcaptionconverter.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Closed Caption Converter&lt;/a&gt; claims to be able to convert from TTML (XML) to VTT captions. I don't have a source file unfortunately, so I cannot confirm. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What tools have you tried thus far? &lt;/p&gt;&#xA;" OwnerDisplayName="user25890" LastActivityDate="2019-08-06T17:13:02.307" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28208" PostTypeId="2" ParentId="28011" CreationDate="2019-08-06T17:15:55.530" Score="0" Body="&lt;p&gt;The solution you propose is the only feasible solution, you would have to encode the files with H.264 or H.265 to achieve reasonable compression ratios when compared to most acquisition formats. &lt;/p&gt;&#xA;" OwnerDisplayName="user25890" LastActivityDate="2019-08-06T17:15:55.530" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28211" PostTypeId="1" CreationDate="2019-08-06T23:08:16.777" Score="0" ViewCount="179" Body="&lt;p&gt;I often create long screen-recordings of myself explaining code.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When scrolling text, the movement doesn't need to be amazing, just smooth enough.&#xA;When static, the edges of text must be very crisp for &lt;em&gt;legibility&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd love to be able to REALLY compress these videos down, as they tend to be quite long&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried using CRF (Constant Rate Factor) but the trade-off space does not get me the size compression I believe is possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd be particularly interested in an encoder that could be &quot;motion-aware&quot;. &#xA;e.g. if the video is static, the encoder won't update the f. But if there is movement in the video, start storing frames etc. There is a &lt;a href=&quot;http://ffmpeg.org/index.html#pr4.2&quot; rel=&quot;nofollow noreferrer&quot;&gt;freeze filter&lt;/a&gt; in the new version, but it looks like its for notifications only.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any good encoders (or settings) they can recommend?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="25896" LastActivityDate="2019-08-07T19:35:14.563" Title="FFMPEG encoder/settings for TEXT-LEGIBILITY and low file size?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28213" PostTypeId="1" CreationDate="2019-08-06T15:26:54.643" Score="1" ViewCount="214" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JBCdU.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JBCdU.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;Link to Original Post/Question &gt; &lt;strong&gt;&lt;a href=&quot;https://graphicdesign.stackexchange.com/questions/84633/after-effects-expressions-to-sum-numbers-and-control-charts/127403#127403&quot;&gt;After Effects expressions to sum numbers and control charts&lt;/a&gt;.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The answer featured in the original post was nearly the solution I needed for my specific problem. My question is this: Is there a way that I could get, say, four numbers that change randomly and constantly, yet equal 100 at all times?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, I was wanting bars in a bar graph to animate along with polling numbers that are still in flux. Let me know if I need to explain more.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have followed the example in the previous post and have written the following expressions for ease of use:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Layer 1 [Text]&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Source Text Parameter&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;val1 = Math.round(thisLayer.effect(&quot;Slider Control&quot;)(&quot;Slider&quot;));&#xA;&#xA;val2 = Math.round(thisLayer.effect(&quot;Slider Control 2&quot;)(&quot;Slider&quot;));&#xA;&#xA;t = val1 + val2;&#xA;val1 + &quot; + &quot; + val2 + &quot; = &quot; + t&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Layer 2 [Bar 1]&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Scale Parameter&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;val1 = Math.round(thisComp.layer(&quot;Text&quot;).effect(&quot;Slider Control&quot;)(&quot;Slider&quot;));&#xA;&#xA;val2 = Math.round(thisComp.layer(&quot;Text&quot;).effect(&quot;Slider Control 2&quot;)(&quot;Slider&quot;));&#xA;&#xA;t = val1 + val2;&#xA;[ val1*100/t, 100 ]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Layer 3 [Bar 2]&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Scale Parameter&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;val1 = Math.round(thisComp.layer(&quot;Text&quot;).effect(&quot;Slider Control&quot;)(&quot;Slider&quot;));&#xA;&#xA;val2 = Math.round(thisComp.layer(&quot;Text&quot;).effect(&quot;Slider Control 2&quot;)(&quot;Slider&quot;));&#xA;&#xA;t = val1 + val2;&#xA;&#xA;[ val2*100/t, 100 ]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerDisplayName="Jesse Beavers" LastEditorUserId="18155" LastEditDate="2019-08-19T12:56:34.473" LastActivityDate="2024-04-03T07:03:00.350" Title="After Effects expressions to sum numbers and control charts_2" Tags="|after-effects|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28214" PostTypeId="1" CreationDate="2019-08-07T05:06:26.047" Score="5" ViewCount="2223" Body="&lt;p&gt;Getting error &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;&quot;read, ignoring remaining -vf options: Use ',' to separate filters&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;My code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;/root/nisar/a.mp4&quot; \&#xA;-map 0:0 -map 0:0 -map 0:0 -map 0:0 -map 0:0 -map 0:1 \&#xA;-c:v:0 libx264 -b:v:0 3000k -filter:v:0 &quot;scale=1920:1080&quot; -preset fast -profile:v high -level 4.0 -tune film \&#xA;-c:v:0 libx264 -b:v:1 2000k -filter:v:1 &quot;scale=1280:720&quot; -preset fast -profile:v main, -level 3.1 -tune film \&#xA;-c:v:1 libx264 -b:v:2 1200k -filter:v:2 &quot;scale=960:540&quot; -preset fast -profile:v baseline -level 3.1 -tune film \&#xA;-c:v:2 libx264 -b:v:3 800k -filter:v:3 &quot;scale=640:360&quot; -preset fast -profile:v baseline -level 3.1 -tune film \&#xA;-c:v:3 libx264 -b:v:4 500k -filter:v:4 &quot;scale=480:270&quot; -preset fast -profile:v baseline -level 3.0 -tune film \&#xA;-c:a:0 aac -b:a 128k -ac 2 -ar 48000 -af &quot;aresample=async=1:min_hard_comp=0.100000:first_pts=0&quot; \&#xA;-async 1 -vsync 1 \&#xA;&quot;/root/nisar/output.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Only '-vf scale=1920:1080' read, ignoring remaining -vf options: Use ',' to separate filters&#xA;Only '-vf scale=1280:720' read, ignoring remaining -vf options: Use ',' to separate filters&#xA;Only '-vf scale=960:540' read, ignoring remaining -vf options: Use ',' to separate filters&#xA;Only '-vf scale=640:360' read, ignoring remaining -vf options: Use ',' to separate filters&#xA;Only '-vf scale=480:270' read, ignoring remaining -vf options: Use ',' to separate filters&#xA;Only '-af aresample=async=1:min_hard_comp=0.100000:first_pts=0' read, ignoring remaining -af options: Use ',' to separate filters&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Please find the attached screenshot&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OhBPI.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OhBPI.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt; and advise me.&lt;/p&gt;&#xA;" OwnerUserId="25900" LastEditorUserId="18155" LastEditDate="2019-08-15T10:56:44.363" LastActivityDate="2021-12-31T12:47:47.117" Title="FFmpeg read, ignoring remaining -vf options: Use ',' to separate filters" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28215" PostTypeId="2" ParentId="28214" CreationDate="2019-08-07T05:35:39.237" Score="7" Body="&lt;p&gt;It's a false positive in this case. You can ignore it. The check is supposed to catch duplicate filter invocations for the &lt;em&gt;same&lt;/em&gt; output stream, e.g. &lt;code&gt;-filter:v:0 scale=hd1080 -filter:v:0 hue=s=0&lt;/code&gt; where only the hue would get applied. The correct way is &lt;code&gt;-filter:v:0 &amp;quot;scale=hd1080,hue=s=0&amp;quot;&lt;/code&gt;. But the check is buggy.&lt;/p&gt;&#xA;&lt;p&gt;Fixed in &lt;a href=&quot;https://trac.ffmpeg.org/ticket/7712&quot; rel=&quot;nofollow noreferrer&quot;&gt;version 4.3&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2021-12-31T12:47:47.117" LastActivityDate="2021-12-31T12:47:47.117" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28217" PostTypeId="1" CreationDate="2019-08-07T06:38:35.740" Score="0" ViewCount="392" Body="&lt;p&gt;Might be related to &lt;a href=&quot;https://video.stackexchange.com/questions/20024&quot;&gt;this other ticket&lt;/a&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been doing some prores tests for both color and alpha.  Usually this isn't a big deal since my alpha channels are solid with a 1-2pixel transition to black.  However I did some tests with a very gradual change in alpha value over many pixels and noticed some pretty bad alpha channel quantization with the prores_ks encoder.  The Apple prores spec says for 4444(XQ) the alpha channel is 16bit and lossless so this is quite different from that.  I've attached a comparison image.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2 -framerate 24.0 -i tif/rgba_16bit.%3d.tif -filter_complex &quot;[0]colorspace=all=bt709:range=pc:format=yuv444p12:iall='bt601-6-625':irange=pc[main];[0]alphaextract,format=gray16le[alpha];[main][alpha]alphamerge&quot; -c:v prores_ks -profile:v 5 -pix_fmt yuva444p10le -alpha_bits 16 prores4444XQ_yuva.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Image below is actually 8bit due to imgur limitations so the 16bit and 10bit examples aren't really correct but you get the point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also it looks like &lt;code&gt;-alpha_bits 8&lt;/code&gt; and &lt;code&gt;-alpha_bits 16&lt;/code&gt; produce the same look so maybe its getting bad upstream?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ttHBf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ttHBf.png&quot; alt=&quot;alpha quantization&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25860" LastActivityDate="2019-08-07T06:38:35.740" Title="ffmpeg prores alpha channel quantization looks pretty bad" Tags="|ffmpeg|prores|alpha|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28219" PostTypeId="1" CreationDate="2019-08-07T07:22:50.083" Score="0" ViewCount="458" Body="&lt;p&gt;I was trying to combine two separate video into one side by side using ffmpeg using the following command in ubuntu server.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -threads 4 -loglevel quiet -ss 0 -t 220.162 -i left.webm &#xA;-ss 0 -t 220.162 -i right.webm -filter_complex &quot;[0]scale=320:-1,pad=2*iw:2*ih:0:120[left];&#xA;[1]scale=320:-1[right];[left][right]overlay=main_w/2:120,scale=640:480&quot; -shortest output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The video is processed successfully as expected. But the audio is missing from right.webm. Audio from one video is missing from the output.mp4.&#xA;How to fix this issue.&lt;/p&gt;&#xA;" OwnerUserId="25902" LastActivityDate="2020-01-04T09:02:05.377" Title="FFMPEG - Audio missing after combining video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28220" PostTypeId="2" ParentId="28219" CreationDate="2019-08-07T07:50:25.173" Score="1" Body="&lt;p&gt;You have to mix both audios, else ffmpeg will pick one from among the inputs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -threads 4 -loglevel quiet -ss 0 -t 220.162 -i left.webm &#xA;-ss 0 -t 220.162 -i right.webm -filter_complex &quot;[0]scale=320:-1,pad=2*iw:2*ih:0:120[left];&#xA;[1]scale=320:-1[right];[left][right]overlay=main_w/2:120,scale=640:480;[0][1]amix&quot; -shortest output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-08-07T07:50:25.173" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28222" PostTypeId="2" ParentId="28211" CreationDate="2019-08-07T19:35:14.563" Score="1" Body="&lt;p&gt;Most codecs are motion aware. The problem you are most likely encountering is too many key frames. Every time a key frame is inserted, the encoder forgets everything and starts over. If you set your keyframe interval very high, (like 60 seconds) the bitrate will be progressively lower over time, until the next keyframe. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-08-07T19:35:14.563" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28226" PostTypeId="2" ParentId="17040" CreationDate="2019-08-08T14:10:37.530" Score="0" Body="&lt;p&gt;go into quick mode and drag the out points that way, thats how i got mine to render properly &lt;/p&gt;&#xA;" OwnerUserId="25917" LastActivityDate="2019-08-08T14:10:37.530" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28227" PostTypeId="1" CreationDate="2019-08-09T04:05:52.610" Score="1" ViewCount="178" Body="&lt;p&gt;I matched the dimensions and it is still blurry and ive tried it with multiple videos and it is still blurry. please help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/heU3x.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/heU3x.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25918" LastActivityDate="2019-10-11T10:02:35.490" Title="My video is blurry after dragging it to composition" Tags="|after-effects|quality|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28228" PostTypeId="1" CreationDate="2019-08-09T17:18:07.440" Score="0" ViewCount="837" Body="&lt;p&gt;In After Effects I'm trying to Export Video with RGB Alpha (I get a black background in the export) please see notes below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's my setup (on canvas transparency is toggled on)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/2i93b.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2i93b.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/nQy42.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nQy42.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/sn1tu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sn1tu.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/70CGV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/70CGV.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25923" LastEditorUserId="18155" LastEditDate="2020-01-07T22:52:48.467" LastActivityDate="2024-01-17T10:06:35.833" Title="After Effects - Trying to Export Video with RGB Alpha (I get a black background in the export)" Tags="|video|after-effects|export|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28231" PostTypeId="1" AcceptedAnswerId="28232" CreationDate="2019-08-10T11:49:51.707" Score="0" ViewCount="3658" Body="&lt;p&gt;I'm trying to execute a two-pass encoding with compiled ffmpeg library in android.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm running my app on a device that is not rooted. So after executing below commands I get :&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Cannot write log file 'ffmpeg2pass-0.log' for pass-1 encoding:&#xA;  Read-only file system&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;List&amp;lt;String&amp;gt; testEncodeList = new LinkedList&amp;lt;&amp;gt;();&#xA;testEncodeList.add(&quot;-i&quot;);&#xA;testEncodeList.add(inputPath);&#xA;testEncodeList.add(&quot;-pass&quot;);&#xA;testEncodeList.add(&quot;1&quot;);&#xA;testEncodeList.add(&quot;-f&quot;);&#xA;testEncodeList.add(&quot;null&quot;);&#xA;testEncodeList.add(&quot;-&quot;);&#xA;// cmd.add(&quot;/dev/null&quot;);&#xA;runSingleFFmpegTask(this, testEncodeList, new ExecuteBinaryResponseHandler() {&#xA;    @Override&#xA;    public void onSuccess(String message) {&#xA;        super.onSuccess(message);&#xA;        SRLog.i(&quot;FFMPEG_PASS1:&quot; + &quot;onSuccess&quot; + &quot;\n&quot; + message);&#xA;&#xA;&#xA;        List&amp;lt;String&amp;gt; cmd = new LinkedList&amp;lt;&amp;gt;();&#xA;        cmd.add(&quot;-i&quot;);&#xA;        cmd.add(inputPath);&#xA;        cmd.add(&quot;-pass&quot;);&#xA;        cmd.add(&quot;2&quot;);&#xA;        cmd.add(generateOutput(MP4_FORMAT));&#xA;        runSingleFFmpegTask(AudioComp.this, cmd, new ExecuteBinaryResponseHandler() {&#xA;            @Override&#xA;            public void onSuccess(String message) {&#xA;                super.onSuccess(message);&#xA;                SRLog.i(&quot;FFMPEG_PASS2:&quot; + &quot;onSuccess&quot; + &quot;\n&quot; + message);&#xA;            }&#xA;&#xA;            @Override&#xA;            public void onFailure(String message) {&#xA;                super.onFailure(message);&#xA;                SRLog.i(&quot;FFMPEG_PASS2:&quot; + &quot;onFailure&quot; + &quot;\n&quot; + message);&#xA;            }&#xA;        });&#xA;&#xA;&#xA;    }&#xA;&#xA;    @Override&#xA;    public void onFailure(String message) {&#xA;        super.onFailure(message);&#xA;        SRLog.i(&quot;FFMPEG_PASS1:&quot; + &quot;onFailure&quot; + &quot;\n&quot; + message);&#xA;    }&#xA;});&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Can I force log file &lt;code&gt;'ffmpeg2pass-0.log'&lt;/code&gt; be written in a custom path where a non-rooted device could access?&lt;/p&gt;&#xA;" OwnerUserId="21728" LastEditorUserId="21728" LastEditDate="2019-08-10T16:02:48.653" LastActivityDate="2019-08-10T16:02:48.653" Title="two pass encoding Cannot write log file 'ffmpeg2pass-0.log' for pass-1 encoding" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28232" PostTypeId="2" ParentId="28231" CreationDate="2019-08-10T12:55:56.807" Score="2" Body="&lt;p&gt;You have to set the &lt;code&gt;-passlogfile&lt;/code&gt; option e.g. &lt;code&gt;-passlogfile my/folder/path/fileprefix&lt;/code&gt;. ffmpeg will then write logs to files starting with &lt;code&gt;fileprefix-&lt;/code&gt; in &lt;code&gt;my/folder/path/&lt;/code&gt;. Set the option and same value in latter passes. The folder path must already exist.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-08-10T12:55:56.807" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28233" PostTypeId="2" ParentId="28231" CreationDate="2019-08-10T13:20:22.393" Score="1" Body="&lt;p&gt;Based on &lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#toc-Video-Options&quot; rel=&quot;nofollow noreferrer&quot;&gt;official doc&lt;/a&gt;, the default value of &lt;code&gt;-passlogfile&lt;/code&gt; is &lt;strong&gt;&lt;code&gt;ffmpeg2pass-0.log&lt;/code&gt;&lt;/strong&gt; which if you do not override when using two pass encoding, ffmpeg will try to write this file in the system path where a non rooted device doesn't like, so encoding process will fail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The solution is to override &lt;code&gt;-passlogfile&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-passlogfile /mnt/sdcard/myCustomPath  //without extension&lt;/code&gt; &lt;/p&gt;&#xA;&#xA;&lt;h3&gt;full example of a &lt;strong&gt;Two-pass&lt;/strong&gt; encoding&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;public static void run2PassEncoding(Context context) {&#xA;&#xA;    List&amp;lt;String&amp;gt; pass1Commands = new LinkedList&amp;lt;&amp;gt;();&#xA;&#xA;    String tempLogPath = &quot;/storage/emulated/0/2passLog&quot;;&#xA;    String inputPath = &quot;/storage/emulated/0/myVideo.mp4&quot;;&#xA;    String output = &quot;/storage/emulated/0/output.mp4&quot;;&#xA;&#xA;    pass1Commands.add(&quot;-y&quot;);&#xA;    pass1Commands.add(&quot;-i&quot;);&#xA;    pass1Commands.add(inputPath);&#xA;    pass1Commands.add(&quot;-codec:v&quot;);&#xA;    pass1Commands.add(&quot;libx264&quot;);&#xA;    pass1Commands.add(&quot;-passlogfile&quot;);&#xA;    pass1Commands.add(tempLogPath);&#xA;    pass1Commands.add(&quot;-preset&quot;);&#xA;    pass1Commands.add(&quot;veryfast&quot;);&#xA;    pass1Commands.add(&quot;-b:v&quot;);&#xA;    pass1Commands.add(&quot;500k&quot;);&#xA;    pass1Commands.add(&quot;-maxrate&quot;);&#xA;    pass1Commands.add(&quot;500k&quot;);&#xA;    pass1Commands.add(&quot;-bufsize&quot;);&#xA;    pass1Commands.add(&quot;1000k&quot;);&#xA;    pass1Commands.add(&quot;-vf&quot;);&#xA;    pass1Commands.add(&quot;scale=420:-2&quot;);&#xA;    pass1Commands.add(&quot;-pass&quot;);&#xA;    pass1Commands.add(&quot;1&quot;);&#xA;    pass1Commands.add(&quot;-an&quot;);&#xA;&#xA;    pass1Commands.add(&quot;-f&quot;);&#xA;    pass1Commands.add(&quot;null&quot;);&#xA;    pass1Commands.add(&quot;-&quot;);&#xA;&#xA;&#xA;&#xA;    runSingleFFmpegTask(context, pass1Commands, new ExecuteBinaryResponseHandler() {&#xA;        @Override&#xA;        public void onSuccess(String message) {&#xA;            super.onSuccess(message);&#xA;            Log.i(&quot;FFMPEG_PASS1: &quot; + &quot;onSuccess&quot; , message);&#xA;&#xA;            List&amp;lt;String&amp;gt; pass2Commands = new LinkedList&amp;lt;&amp;gt;();&#xA;            pass2Commands.add(&quot;-y&quot;);&#xA;            pass2Commands.add(&quot;-i&quot;);&#xA;            pass2Commands.add(inputPath);&#xA;            pass2Commands.add(&quot;-codec:v&quot;);&#xA;            pass2Commands.add(&quot;libx264&quot;);&#xA;            pass2Commands.add(&quot;-passlogfile&quot;);&#xA;            pass2Commands.add(tempLogPath);&#xA;            pass2Commands.add(&quot;-preset&quot;);&#xA;            pass2Commands.add(&quot;fast&quot;);&#xA;            pass2Commands.add(&quot;-b:v&quot;);&#xA;            pass2Commands.add(&quot;500k&quot;);&#xA;            pass2Commands.add(&quot;-maxrate&quot;);&#xA;            pass2Commands.add(&quot;500k&quot;);&#xA;            pass2Commands.add(&quot;-bufsize&quot;);&#xA;            pass2Commands.add(&quot;1000k&quot;);&#xA;            pass2Commands.add(&quot;-vf&quot;);&#xA;            pass2Commands.add(&quot;scale=420:-2&quot;);&#xA;            pass2Commands.add(&quot;-pass&quot;);&#xA;            pass2Commands.add(&quot;2&quot;);&#xA;            pass2Commands.add(&quot;-codec:a&quot;);&#xA;            pass2Commands.add(&quot;libfdk_aac&quot;);&#xA;            pass2Commands.add(&quot;-b:a&quot;);&#xA;            pass2Commands.add(&quot;128k&quot;);&#xA;            pass2Commands.add(output);&#xA;&#xA;            runSingleFFmpegTask(context, pass2Commands, new ExecuteBinaryResponseHandler() {&#xA;                @Override&#xA;                public void onSuccess(String message) {&#xA;                    super.onSuccess(message);&#xA;                    Log.i(&quot;FFMPEG_PASS2: &quot; + &quot;onSuccess&quot; , message);&#xA;                }&#xA;            });&#xA;        }&#xA;&#xA;&#xA;&#xA;&#xA;&#xA;        @Override&#xA;        public void onFailure(String message) {&#xA;            super.onFailure(message);&#xA;            Log.i(&quot;FFMPEG_PASS1:&quot; + &quot;onFailure&quot; + &quot;\n&quot; , message);&#xA;        }&#xA;    });&#xA;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;note&lt;/strong&gt;: if you don't know how to use ffmpeg in android, start by using pre compiled ffmpeg. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;like this one:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/bravobit/FFmpeg-Android&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/bravobit/FFmpeg-Android&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or this one:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://writingminds.github.io/ffmpeg-android-java/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://writingminds.github.io/ffmpeg-android-java&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21728" LastEditorUserId="21728" LastEditDate="2019-08-10T15:48:02.433" LastActivityDate="2019-08-10T15:48:02.433" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28234" PostTypeId="2" ParentId="28228" CreationDate="2019-08-10T15:28:50.840" Score="0" Body="&lt;p&gt;Looks like it should work to me. You could try using ProRes 4444 instead, with millions of colours+ and Alpha turned on. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-08-10T15:28:50.840" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28235" PostTypeId="2" ParentId="28213" CreationDate="2019-08-11T06:18:12.243" Score="0" Body="&lt;p&gt;If you use &lt;code&gt;random(50)&lt;/code&gt; for the first three numbers the average value of their sum will be 75. So you can simply make the last number &lt;code&gt;100 - (num1 + num2 + num3)&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;However there is a chance that the three numbers could add to more than 100—up to 150 in the edge case that &lt;code&gt;random(50)&lt;/code&gt; gives the result 50 for each one, thus summing to 150. So you could make the third number &lt;code&gt;random(Math.min(50, 100 - (num1 + num2)))&lt;/code&gt;. This would mean that if the first two numbers added together were more than 50 it would limit the maximum value of the third number to equal or be less than enough to make the sum total 100. I'm not a statistician so I don't know if this would mathematically be perfectly random, but that usually doesn't matter for the purposes of motion graphics.&lt;/p&gt;&#xA;&lt;p&gt;Which begs the question: why not just make all four numbers just random(50)? Over time the sum will tend towards exactly 100, it might just not add up to 100 at any one time.&lt;/p&gt;&#xA;&lt;p&gt;But whatevs, the expression for scale would be:&lt;/p&gt;&#xA;&lt;p&gt;Scale (bar1 )&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;r = random(100);&#xA;[ r, 100 ]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Scale (bar2 )&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;r = random(100 - thisComp.layer(&amp;quot;bar1&amp;quot;).transform.scale[0]);&#xA;[ r, 100 ]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Scale (bar3)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;oneTwoTotal = thisComp.layer(&amp;quot;bar1&amp;quot;).transform.scale[0] + thisComp.layer(&amp;quot;bar2&amp;quot;).transform.scale[0];&#xA;r = random(Math.min(50, 100 - oneTwoTotal));&#xA;[r, 100]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Scale (bar4)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;r = 100 - (thisComp.layer(&amp;quot;bar1&amp;quot;).transform.scale[0] + thisComp.layer(&amp;quot;bar2&amp;quot;).transform.scale[0]  + thisComp.layer(&amp;quot;bar3&amp;quot;).transform.scale[0] );&#xA;[r, 100]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2021-02-17T02:29:32.667" LastActivityDate="2021-02-17T02:29:32.667" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28236" PostTypeId="2" ParentId="27887" CreationDate="2019-08-11T13:23:07.357" Score="1" Body="&lt;p&gt;Usually audio recording is just a continuous steam, with no concept of video frames. The audio is just being encoded/output via a continuous buffer, which will just dump out wherever it is up to you when you stop recording video frames - it is not uncommon for there to be more (or even less) audio in the file than is actually required for the corresponding video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would try a de-mux/re-mux of the video files before concatenating, to see if that cleans things up. With the de-muxed files as well, you could calculate how much audio is actually there in the file vs the video play time. I don't have enough experience with ffmpeg to know if this will work, just crossing my fingers that when you re-mux the files it might do a calculation of the required audio length, and trim it appropriately for you (there might also be parameters available to force the audio to trim at the video length, if that doesn't happen by default).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An editor like iMovie is going to properly cut up the audio to exactly match the video cuts, which is why that works. You could also try outputting a single unedited clip from iMovie, and then de-mux that, and see how the audio length differs from the original. Not sure if iMovie lets you output &quot;audio only&quot;, but be careful trying that - I know with Adobe Premiere, if I output an audio only WAV, it will differ in length (longer file) than the same clip being output with a video stream as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry I can't offer anything more definitive than some guesses/suggestions, I'm fairly positive the root cause is audio length not matching the video in the original file, but I'm not familiar enough with ffmpeg to know the best way to resolve the issue using that tool.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Update from original poster&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Import the files in question into a program like iMovie and check the beginnings and endings of each file. Does the video stream have more length than the audio stream? Or try to play it in a program like VLC: do you hear a drop in the sound at the end or the beginning?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If so, then your camera, for whatever reason, records more video than sound. You can deal with this quickly in FFMPEG by trimming each clip to the shortest stream:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.MOV -map 0 -c copy -fflags +shortest -max_interleave_delta 0 output.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You may need to play with &lt;code&gt;-max_interleave_delta&lt;/code&gt; depending on your files. From the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#Format-Options&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;code&gt;‘shortest’&lt;/code&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Stop muxing at the end of the shortest stream. It may be needed to increase &lt;code&gt;max_interleave_delta&lt;/code&gt; to avoid flushing the longer streams before EOF. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The command is from &lt;a href=&quot;https://video.stackexchange.com/questions/28187/trim-audio-stream-to-video-stream-length&quot;&gt;Trim audio stream to video stream length&lt;/a&gt; .&lt;/p&gt;&#xA;" OwnerUserId="25579" LastEditorUserId="25024" LastEditDate="2019-09-29T02:40:40.790" LastActivityDate="2019-09-29T02:40:40.790" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28237" PostTypeId="2" ParentId="24657" CreationDate="2019-08-11T13:50:23.517" Score="0" Body="&lt;p&gt;In order to create a high quality file that plays back with a minimum of resource usage, I suggest GoPro Cineform YUV 10-Bit 5760x1080. It will, however, have a high data rate, so I hope you have good disk storage. &lt;/p&gt;&#xA;" OwnerDisplayName="user25890" LastActivityDate="2019-08-11T13:50:23.517" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28238" PostTypeId="2" ParentId="28227" CreationDate="2019-08-11T15:34:57.263" Score="1" Body="&lt;p&gt;Your viewport preview is set to Quarter resolution (see just below the preview video). Set it to full. Depending on your machine, preview may not be fluid.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This setting only affects the preview.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-08-11T15:34:57.263" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28241" PostTypeId="1" CreationDate="2019-08-11T19:24:24.980" Score="1" ViewCount="909" Body="&lt;p&gt;I had some capture issue in OBS, where during certain parts of my screen capture some windows flicker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a sample of the affected footage:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/jkbQb-Byjm4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think this should be at least to some degree correctable algorithmically, but I don't know the tools to implement that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically for every pixel in the video stream I'd have to do this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# we need to compare the same pixel in three consecutive frames&#xA;&#xA;A = pixels[x,y, current_frame]&#xA;B = pixels[x,y, current_frame + 1]&#xA;C = pixels[x,y, current_frame + 2]&#xA;&#xA;# if two border pixel values are identical, but the middle one is different - we assume that to be a flicker, so we replace the middle frame with the first one&#xA;if A == C and B != A:&#xA;   pixels[x,y, current_frame + 1] = pixels[x,y, current_frame]&#xA;&#xA;# let's move onto the next frame&#xA;current_frame += 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I wonder if this is possible to do with GLSL - I don't know if it has access to frame history...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any (preferably free, open-source and running on Linux) tools that could do this?&lt;/p&gt;&#xA;" OwnerUserId="19221" LastActivityDate="2020-09-08T22:04:30.423" Title="Fixing screen flicker / screen tearing" Tags="|video|ffmpeg|obs|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28242" PostTypeId="1" CreationDate="2019-08-11T23:23:47.517" Score="0" ViewCount="18" Body="&lt;p&gt;I have some footage of traffic, varying in range from close-up to distant and would like to add what I think is a lens flare effect to make it look like the picture attached. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The online tutorials I have found only talk about adding a lens flare generator (useful for the kind of flare you would get from the sun) which acts as an overlay rather than actually affecting the footage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If anyone has any tips, pointers or recommendations they would be greatly appreciated. &#xA;&lt;img src=&quot;https://i.stack.imgur.com/2kXnO.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="25930" LastActivityDate="2019-08-11T23:23:47.517" Title="How would one add a lens flare effect to clean footage? (Picture attached)" Tags="|video|premiere|adobe|effects|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="28243" PostTypeId="2" ParentId="23533" CreationDate="2019-08-12T05:46:30.727" Score="0" Body="&lt;p&gt;&lt;a href=&quot;http://avidemux.sourceforge.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Avidemux&lt;/a&gt; is a simple, open-source video editor which allows for trimming clips without re-encoding. You open your video, choose the trimming marks, and set the &quot;Video Output&quot; to &quot;Copy&quot; before saving.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a tutorial on using it for lossless trimming:&lt;br&gt;&#xA;&lt;a href=&quot;https://steemit.com/videography/@phloatingman/tutorial-how-to-trim-a-video-without-transcoding-using-avidemux&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://steemit.com/videography/@phloatingman/tutorial-how-to-trim-a-video-without-transcoding-using-avidemux&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Internally because of the way H.264 works, you can trim trailing P/B frames from a GOP, but if you trim out an I frame, you will need to trim out the entire GOP. Avidemux warns you of this. If you needed an exact trim and it fell mid-GOP you might need to make two clips (with a re-encoding of only the first one) and then join them in Avidemux.&lt;/p&gt;&#xA;" OwnerUserId="6009" LastEditorUserId="6009" LastEditDate="2019-08-16T07:18:08.280" LastActivityDate="2019-08-16T07:18:08.280" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28244" PostTypeId="1" CreationDate="2019-08-12T06:31:07.700" Score="2" ViewCount="162" Body="&lt;p&gt;I'm a looking for a good reference on how to color grade footage for a &quot;cinematic&quot; or &quot;filmic&quot; look. The best I have found are scattered YouTube videos; I'm looking more for general principles and ideas. I do not need any instruction on how to use grading software like Resolve, and I can get to color-correct grade using a Color Checker chart and gray card; I'm interested purely in the creative and artistic aspect of grading. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Actually, I care more about grading still photography, but it's largely the same, and the video community seems much more advanced and organized in this area, which is why I ask here.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are any good references available? I have Alexis Van Hurkman's &lt;em&gt;Color Correction Handbook&lt;/em&gt;, but this was mostly about use of Resolve and getting a color correct grade. I also looked briefly at the sequel, &lt;em&gt;Color Correction Look Book&lt;/em&gt;, but most of the material was about imitating the flaws of film (e.g. light leaks and grain). I don't want the flaws, just the colors. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="25935" LastActivityDate="2019-10-06T06:58:46.447" Title="Reference for creative color grading" Tags="|color-grading|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28246" PostTypeId="1" CreationDate="2019-08-12T13:33:05.960" Score="1" ViewCount="60" Body="&lt;p&gt;I'm able to use Avidemux with enough ease and it's mostly enough for my video need. I can also choose codecs to recompress the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, it doesn't let me cut video outside the scope of keyframes, even when I recompress. I'm not really willing to pay for an expensive software, and I'm not sure I need DaVinci Resolve to do just this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know VirtualDub is not developed anymore. Are there other tools that would do frame by frame selection?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess I'm able to use FFmpeg too, I guess I could do with a script, but it's not really easy either.&lt;/p&gt;&#xA;" OwnerUserId="698" LastEditorUserId="18155" LastEditDate="2019-08-15T10:56:03.843" LastActivityDate="2019-08-15T13:24:20.457" Title="Is there a tool that lets me cut video with frame precision?" Tags="|video-editor|compression|keyframes|virtualdub|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28247" PostTypeId="2" ParentId="28246" CreationDate="2019-08-12T14:20:08.990" Score="1" Body="&lt;p&gt;You may use free open source &lt;a href=&quot;https://github.com/pinterf/AviSynthPlus/releases/tag/r2420-MT&quot; rel=&quot;nofollow noreferrer&quot;&gt;AviSynth+&lt;/a&gt; — it's a scripting language with the very good &lt;a href=&quot;http://avisynth.nl/index.php/Main_Page&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;clip   = AviSource(&quot;MyVideo.avi&quot;)    # Reading clip from disk&#xA;clip   = clip.ShowFrameNumber        # Showing frame numbers of individual frames&#xA;&#xA;part1  = clip.Trim(   0,  1000)      # Selecting frames with numbers 0 to 1000&#xA;part2  = clip.Trim(8000, 12000)      # --- similar ---&#xA;&#xA;result = part1 + part2               # Joining two parts&#xA;return result                        # This will be the resulting clip&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Note:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;clip   = clip.ShowFrameNumber&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;is used only in working process to see frame numbers, in the final result you have to remove it.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-08-15T13:24:20.457" LastActivityDate="2019-08-15T13:24:20.457" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28248" PostTypeId="1" CreationDate="2019-08-12T14:33:36.390" Score="0" ViewCount="408" Body="&lt;p&gt;I successfully applied a FFmpeg filter from C API (my previous question &lt;a href=&quot;https://video.stackexchange.com/questions/27554/call-ffmpeg-filter-from-source-code-c-api&quot;&gt;here&lt;/a&gt;). I see the filters are running sequentially. Now the question is, how can I run multiple filters in parallel? If run sequentially, that causes so much delays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using ffmpeg as the base for stream processing. As we receive the streams, I need to apply 2 filters and produce metadata in parallel. Of course, with minimum delay issues.&lt;/p&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2019-08-12T18:56:18.430" Title="FFmpeg run multiple filters in parallel from C API" Tags="|video|ffmpeg|video-editor|streaming|decoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28249" PostTypeId="1" AcceptedAnswerId="28256" CreationDate="2019-08-12T15:07:17.623" Score="0" ViewCount="299" Body="&lt;p&gt;I have a position animation with four keyframes, two for a intro, two for a outro. Also I have a Master where you have two checkboxes &quot;Intro&quot; and &quot;Outro&quot;. &#xA;The idea is to override the keyframe values so that there won't be any intro animation when the checkbox for it isn't checked (same for outro). &#xA;Sadly I only can override all values, so when I uncheck one of the checkboxes, there is no animation anymore. How can I change only the value inbetween the keyframes I need?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var x=thisProperty[0]; &#xA;var y=thisProperty[1];&#xA;var headIntro=thisComp.layer(&quot;MASTER&quot;).effect(&quot;HEADLINE | Intro&quot;)(1);  &#xA;var headOutro=thisComp.layer(&quot;MASTER&quot;).effect(&quot;HEADLINE | Outro&quot;)(1);  &#xA;&#xA;if (numKeys &amp;gt; 3){&#xA;&#xA;    var t1 = key(1).time;&#xA;    var t2 = key(2).time;&#xA;    var t3 = key(3).time;&#xA;    var t4 = key(4).time;&#xA;&#xA;    var v1 = key(1).value[1];&#xA;    var v2 = key(2).value[1];&#xA;    var v3 = key(3).value[1];&#xA;    var v4 = key(4).value[1];&#xA;&#xA;&#xA;    if (headIntro==false){&#xA;        y =linear(time,t1,t2,v2,v2);&#xA;    }&#xA;&#xA;    if (headOutro==false){&#xA;        y =linear(time,t3,t4,v3,v3);&#xA;    }  &#xA;}&#xA;[x,y]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Thanks for the help&lt;/p&gt;&#xA;" OwnerUserId="25938" LastActivityDate="2019-08-13T08:33:35.227" Title="AE Keyframe Control through checkboxes" Tags="|after-effects|after-effects-expressions|keyframes|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28250" PostTypeId="1" CreationDate="2019-08-12T16:22:53.593" Score="1" ViewCount="113" Body="&lt;p&gt;I have an old Sony HC-9. I used to use the iLink cable to output the video to my Sony Laptop (Vegas Pro). I no longer have a Sony laptop or Vegas Pro, but now have a Dell Precision 5530, which does not have an iLink port at all, or any Firewire port that I can see (not even on the docking station).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I transfer my old tapes on my HC9 to the Dell? Do I need an adapter, maybe iLink to USB? The Sony HC-9 camera has an HDMI output, can I transfer my videos via HDMI? Or is the iLink firewire necessary for video transfer? If an adapter is needed, what is a good adapter to use? Help!&lt;/p&gt;&#xA;" OwnerUserId="25939" LastActivityDate="2020-10-22T15:11:30.410" Title="Transfer videos from Sony HC9 tapes to Windows 10 laptop" Tags="|vegas-pro|windows|hdmi|firewire|sony|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28251" PostTypeId="2" ParentId="28248" CreationDate="2019-08-12T18:56:18.430" Score="1" Body="&lt;p&gt;Filters cant really run in parallel because they can modify frames, and you can’t modify a frame in two threads at the same time. You can make a copy of the frame and run two filter graphs.  &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-08-12T18:56:18.430" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28252" PostTypeId="1" AcceptedAnswerId="28253" CreationDate="2019-08-12T19:26:44.983" Score="3" ViewCount="158" Body="&lt;p&gt;On a video I am producing, I am overlaying a digital on screen graphic on the lower right corner (branding logo).  I am overlaying an 11 second two-tiered lower third at the beginning of the video (Speaker's Name with their title below their name).  Later in the video a second speaker is introduced and I am trying to add a second two-tiered lower third for the second speaker.  I do this on a weekly basis and everything before the second lower third works like magic.  However, the second lower third never appears.  Here is the code I am using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -loglevel 56 -report \&#xA;    -ss 00:25:00 \&#xA;    -i 00005.MTS \&#xA;    -i ./constants/edu_logo.svg \&#xA;    -i ./constants/name_animation_dr_johnson.mp4 \&#xA;    -i ./constants/name_animation_dr_halmilton.mp4 \&#xA;    -filter_complex &quot;[1:v]scale=400:122[logo]; \&#xA;    [0:v][logo]overlay=x=main_w-overlay_w-80:y=main_h-overlay_h-80[v-l]; \&#xA;    [v-l][2:v]overlay=x=0:y=0:enable='between(t,0,10.5)'[v-l-a]; \&#xA;    [v-l-a][3:v]overlay=x=0:y=0:enable='between(t,15,25.5)'[v-l-a-a]&quot; \&#xA;    -vcodec libx264 -preset fast \&#xA;            -flags +cgop -pix_fmt yuv420p \&#xA;            -b:v 2M -movflags +faststart \&#xA;    -map &quot;[v-l-a-a]&quot; -map 0:a -t 30 my_test.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What do I need to modify to get the second lower third to appear?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ubuntu Studio 18.04.2 LTS&lt;br&gt;&#xA;ffmpeg version 3.4.6-0ubuntu0.18.04.1&lt;br&gt;&#xA;i7-2600k @ 3.4GHz&lt;br&gt;&#xA;8 Gigs of RAM&lt;br&gt;&#xA;GeForce GTX 970&lt;/p&gt;&#xA;" OwnerUserId="25942" LastActivityDate="2019-08-12T20:21:40.237" Title="ffmpeg: Second lower third does not appear" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28253" PostTypeId="2" ParentId="28252" CreationDate="2019-08-12T20:21:40.237" Score="3" Body="&lt;p&gt;The overlay filter syncs by timestamps i.e. it overlays 2nd input's frame with timestamp X on main input's frame with timestamp X.  Barring certain circumstances like the use of &lt;code&gt;-copyts&lt;/code&gt;, timestamps start from zero. So, when your 2nd lower-third overlay enters its active timeline, there are no corresponding frames from the secondary input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Solution: offset the input's timestamps to start from overlay start time.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -loglevel 56 -report \&#xA;    -ss 00:25:00 \&#xA;    -i 00005.MTS \&#xA;    -i ./constants/edu_logo.svg \&#xA;    -i ./constants/name_animation_dr_johnson.mp4 \&#xA;    -itsoffset 15 -i ./constants/name_animation_dr_halmilton.mp4 \&#xA;    -filter_complex &quot;[1:v]scale=400:122[logo]; \&#xA;    [0:v][logo]overlay=x=main_w-overlay_w-80:y=main_h-overlay_h-80[v-l]; \&#xA;    [v-l][2:v]overlay=x=0:y=0:enable='between(t,0,10.5)'[v-l-a]; \&#xA;    [v-l-a][3:v]overlay=x=0:y=0:enable='between(t,15,25.5)'[v-l-a-a]&quot; \&#xA;    -vcodec libx264 -preset fast \&#xA;            -flags +cgop -pix_fmt yuv420p \&#xA;            -b:v 2M -movflags +faststart \&#xA;    -map &quot;[v-l-a-a]&quot; -map 0:a -t 30 my_test.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-08-12T20:21:40.237" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28254" PostTypeId="1" CreationDate="2019-08-12T21:18:45.060" Score="0" ViewCount="979" Body="&lt;p&gt;I was trying to do some basic profiling on &lt;code&gt;ffmpeg&lt;/code&gt;, following my previous question  &lt;a href=&quot;https://superuser.com/questions/1464184&quot;&gt;here&lt;/a&gt;. I have a relatively high-bitrate .ts file (17mbps), and I have two versions of ffmpeg (2017.3 and 2019.4), and tried to run a decoding process (blackdetect filter) on both of them. I notice the 2019 version is at least 2.2 times faster. More especifically, execution of the following command takes 2.2x faster on the 2019 version:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.ts -vf blackdetect=d=0.1:pix_th=.1 -f rawvideo -y null&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is this really expected? Is there a known, major performance improvement on ffmpeg that wasn't there in 2017 version? If that's really the case, updating my ffmpeg core should really make it run faster!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt; &#xA;File is H264 encoded, but relatively higher bitrate. I actually compiled both &lt;code&gt;ffmpeg&lt;/code&gt; versions from source code with same build options. If it is decoding improvement, that's something very interesting. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 2019 &lt;code&gt;ffmpeg&lt;/code&gt; command output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-94171-g0cbdedb Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 5.4.0 (Ubuntu 5.4.0-6ubuntu1~16.04.11) 20160609&#xA;  configuration: --prefix=/home/user/usr/local --enable-shared&#xA;  libavutil      56. 30.100 / 56. 30.100&#xA;  libavcodec     58. 53.101 / 58. 53.101&#xA;  libavformat    58. 28.101 / 58. 28.101&#xA;  libavdevice    58.  7.100 / 58.  7.100&#xA;  libavfilter     7. 56.100 /  7. 56.100&#xA;  libswscale      5.  4.101 /  5.  4.101&#xA;  libswresample   3.  4.100 /  3.  4.100&#xA;Hyper fast Audio and Video encoder&#xA;usage: ffmpeg [options] [[infile options] -i infile]... {[outfile options] outfile}...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And the 2017 output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 3.2.4 Copyright (c) 2000-2017 the FFmpeg developers&#xA;  built with gcc 5.4.0 (Ubuntu 5.4.0-6ubuntu1~16.04.11) 20160609&#xA;  configuration: --prefix=bin --bindir=bin&#xA;  libavutil      55. 34.101 / 55. 34.101&#xA;  libavcodec     57. 64.101 / 57. 64.101&#xA;  libavformat    57. 56.101 / 57. 56.101&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;Hyper fast Audio and Video encoder&#xA;usage: ffmpeg [options] [[infile options] -i infile]... {[outfile options] outfile}...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT 2:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Full log for &lt;code&gt;ffmpeg -i in.ts -t 100 -benchmark -an -f null -&lt;/code&gt;: &lt;a href=&quot;https://www.dropbox.com/s/9skp82wd4qkplr7/2019.txt?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;2019&lt;/a&gt; and &lt;a href=&quot;https://www.dropbox.com/s/zt2xc3xpbf6vb5w/2017.txt?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;2017&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43073" LastEditorUserId="43073" LastEditDate="2019-08-20T14:55:26.917" LastActivityDate="2019-08-20T14:55:26.917" Title="FFmpeg 2017 vs 2019 decoding performance improvement" Tags="|video|ffmpeg|encoding|video-capture|decoding|" AnswerCount="0" CommentCount="19" ContentLicense="CC BY-SA 4.0" />
  <row Id="28256" PostTypeId="2" ParentId="28249" CreationDate="2019-08-13T08:33:35.227" Score="0" Body="&lt;p&gt;If you look at the part where you have &#xA;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;if (headIntro==false){&#xA;    y =linear(time,t1,t2,v2,v2); //this is calculated first&#xA;}&#xA;&#xA;if (headOutro==false){&#xA;    y =linear(time,t3,t4,v3,v3); //this is calculated next, overwriting previous value&#xA;}  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;when &lt;code&gt;headOutro == false&lt;/code&gt; is true, the value for y will be calculated using the value returned by the second &lt;code&gt;linear&lt;/code&gt; expression, so no matter what it was previously calculated to be it will always return &lt;code&gt;y = linear(time, t3,t4,v3,v3);&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;change it to&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;if (headIntro==false &amp;amp;&amp;amp; time &amp;lt; t2){&#xA;    y =linear(time,t1,t2,v2,v2);&#xA;}&#xA;&#xA;if (headOutro==false &amp;amp;&amp;amp; time &amp;gt; t3){&#xA;    y =linear(time,t3,t4,v3,v3);&#xA;}  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;so now the &lt;code&gt;linear&lt;/code&gt; expressions will only be calculated when the time is in the intro or outro sections respectively.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-08-13T08:33:35.227" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28257" PostTypeId="2" ParentId="28250" CreationDate="2019-08-13T12:10:17.937" Score="1" Body="&lt;p&gt;iLink will give you a lossless digital transfer of the source material, if maintaining perfect quality is important, I would go with that connection. DON'T attempt an iLink/1394 to USB adaptor, if you do some research, those adaptors just don't work. You'd need to buy an interface card for your laptop to go this way, depending on whether your laptop has an ExpressCard or PCMCIA slot, there are interface cards available.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise search &quot;HDMI to USB&quot; on google, there are plenty of devices to connect that way as well. Downloading the video this way will re-encode it on the laptop side, so it might degrade the quality a little (although in most cases not noticeably), and might be a little more CPU intensive on the laptop, so just be aware of that.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2019-08-13T12:10:17.937" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28258" PostTypeId="2" ParentId="28250" CreationDate="2019-08-13T14:57:39.340" Score="1" Body="&lt;p&gt;I would try to find a desktop computer with PCI-E slots and then use a PCI-E Firewire controller. With used parts this setup shouldn't be that expensive.&lt;/p&gt;&#xA;&lt;p&gt;Actually, wait, your laptop has a Thunderbolt port!!! In that case you can use these two adapters:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B01MQ26QIY&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Apple Thunderbolt 3 (USB-C) to Thunderbolt 2 Adapter&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B00SQ2CJUS&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Apple Thunderbolt to FireWire Adapter&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerDisplayName="user25890" LastEditorUserId="26274" LastEditDate="2020-10-22T15:11:30.410" LastActivityDate="2020-10-22T15:11:30.410" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28260" PostTypeId="2" ParentId="17235" CreationDate="2019-08-13T16:10:53.897" Score="0" Body="&lt;p&gt;just go to C:\Windows and you will find atiogl.xml file then enter into atiogl.xml file &amp;amp; remove from it that&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Bdhq2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Bdhq2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;it done&lt;/p&gt;&#xA;" OwnerUserId="25952" LastActivityDate="2019-08-13T16:10:53.897" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28264" PostTypeId="1" AcceptedAnswerId="28274" CreationDate="2019-08-13T22:53:07.160" Score="2" ViewCount="8934" Body="&lt;p&gt;My DJI Mavic Air drone has the ability to shoot video footage in either standard mode or “D-Cinelike”.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is D-Cinelike just a flatter colour profile with less contrast (to capture more detail in shadows and highlights)? What caveats should one be aware of when shooting in this mode or working with it in post-production?&lt;/p&gt;&#xA;" OwnerUserId="6009" LastActivityDate="2021-08-06T13:09:48.757" Title="What exactly is D-Cinelike?" Tags="|color-grading|colorspace|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28265" PostTypeId="1" CreationDate="2019-08-14T02:01:14.417" Score="2" ViewCount="2155" Body="&lt;p&gt;I have a webm video that was made (from an h264) using AWS Elastic Transcoder, using the &quot;System preset: Webm VP9 720p&quot; preset.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this file, ffprobe gives:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe converted-mp4.webm&#xA;&#xA;&amp;lt;snip&amp;gt;&#xA;&#xA;Input #0, matroska,webm, from 'converted-mp4.webm':&#xA;  Metadata:&#xA;    title           : 1024 x 768 30 fps Photo JPEG 75% - https://archive.org/details/VideoTestFiles&#xA;    encoder         : Lavf57.71.100&#xA;  Duration: 00:00:16.00, start: 0.000000, bitrate: 743 kb/s&#xA;    Stream #0:0: Video: vp9 (Profile 0), yuv420p(tv, progressive), 640x480, SAR 1:1 DAR 4:3, 30 fps, 30 tbr, 1k tbn, 1k tbc (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note the &lt;code&gt;yuv420p(tv, progressive)&lt;/code&gt; in the last line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am trying to replicate as best I can the same encoding using &lt;code&gt;ffmpeg&lt;/code&gt;, but I cannot workout how to get the &lt;code&gt;progressive&lt;/code&gt; bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;e.g.:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i 1024X76830FpsPhotoJpeg75.mp4 -pix_fmt yuva420p -c:v libvpx-vp9 video.webm&#xA;&#xA;...&#xA;&#xA;$ ffprobe video.webm &#xA;&#xA;&amp;lt;snip&amp;gt;&#xA;&#xA;Input #0, matroska,webm, from 'video.webm':&#xA;  Metadata:&#xA;    title           : 1024 x 768 30 fps Photo JPEG 75% - https://archive.org/details/VideoTestFiles&#xA;    COMMENT         : license:http://creativecommons.org/licenses/by/4.0/&#xA;    MAJOR_BRAND     : isom&#xA;    MINOR_VERSION   : 512&#xA;    COMPATIBLE_BRANDS: isomiso2avc1mp41&#xA;    ENCODER         : Lavf58.20.100&#xA;  Duration: 00:00:16.00, start: 0.000000, bitrate: 158 kb/s&#xA;    Stream #0:0: Video: vp9 (Profile 0), yuv420p(tv), 640x480, SAR 1:1 DAR 4:3, 30 fps, 30 tbr, 1k tbn, 1k tbc (default)&#xA;    Metadata:&#xA;      alpha_mode      : 1&#xA;      HANDLER_NAME    : VideoHandler&#xA;      ENCODER         : Lavc58.35.100 libvpx-vp9&#xA;      DURATION        : 00:00:16.000000000&#xA;&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For context, I am trying to work out why the AWS Elastic Transcoder produced file is behaving properly in some downstream processing (either rendering frame-by-frame in a browser, or another encoding/conversion step). In the ffmpeg version, frames are being duplicated/repeated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For what it's worth, I have tried messing with the key-frame interval (AWS version has key-frame every 90 frames) but that didn't make a difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;progressive&lt;/code&gt; or not property is one difference I can find between the two files. There's also the encoder version but not sure how that would cause the different behaviour`.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: this property is &lt;em&gt;not&lt;/em&gt; what's causing my downstream issues, nevertheless, I'd be interested to know more about it.&lt;/p&gt;&#xA;" OwnerUserId="23807" LastEditorUserId="23807" LastEditDate="2019-08-14T05:33:17.607" LastActivityDate="2019-08-14T05:33:17.607" Title="ffmpeg vp9 encoding settings to produce &quot;yuv420p(tv, progressive)&quot;" Tags="|ffmpeg|vp9|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28267" PostTypeId="1" CreationDate="2019-08-14T08:11:46.527" Score="0" ViewCount="3006" Body="&lt;p&gt;I'm working on a library that injects/embeds/writes metadata into a &lt;code&gt;.mp4&lt;/code&gt; file to allow the video to be displayed correctly as a 360 video. The input file is a standard &lt;code&gt;.mp4&lt;/code&gt; file in the equirectangular format which I need to inject the proper metadata to get it to display as a 360 video. I know tools like Google's &lt;a href=&quot;https://github.com/google/spatial-media&quot; rel=&quot;nofollow noreferrer&quot;&gt;Spatial Media Tool&lt;/a&gt; exist but if possible I would like to do it with FFmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The metadata injected by the Spatial Media tool looks like this and is what I am trying to achieve: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;?xml version=&quot;1.0&quot;?&amp;gt;&amp;lt;rdf:SphericalVideo&#xA;xmlns:rdf=&quot;http://www.w3.org/1999/02/22-rdf-syntax-ns#&quot;&#xA;xmlns:GSpherical=&quot;http://ns.google.com/videos/1.0/spherical/&quot;&amp;gt;&amp;lt;GSpherical:Spherical&amp;gt;true&amp;lt;/GSpherical:Spherical&amp;gt;&amp;lt;GSpherical:Stitched&amp;gt;true&amp;lt;/GSpherical:Stitched&amp;gt;&amp;lt;GSpherical:StitchingSoftware&amp;gt;Spherical Metadata Tool&amp;lt;/GSpherical:StitchingSoftware&amp;gt;&amp;lt;GSpherical:ProjectionType&amp;gt;equirectangular&amp;lt;/GSpherical:ProjectionType&amp;gt;&amp;lt;/rdf:SphericalVideo&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;These are all the things I have tried which did not work: &lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Method 1&lt;/h2&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -movflags use_metadata_tags -metadata Spherical=true -metadata Stitched=true -metadata ProjectionType=equirectangular -metadata StitchingSoftware=StreetviewJourney -codec copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have tried many variations of it like adding &lt;code&gt;GSpherical:&lt;/code&gt; and &lt;code&gt;xmp:&lt;/code&gt; to the metadata tag.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Method 2&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;When I extract the metadata using ffmpeg it contains the spherical tag in the logs but not when I output it to a ffmetadata file. This was the command I used: &lt;code&gt;ffmpeg -i injected.mp4 -map_metadata -1 -f ffmetadata data.txt&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the output of the log:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; fps, 60 tbr, 15360 tbn, 120 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Side data:&#xA;      spherical: equirectangular (0.000000/0.000000/0.000000)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;Method 3&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I also tried to get the metadata using this command: &lt;code&gt;ffprobe -v error -select_streams v:0 -show_streams -of default=noprint_wrappers=1 injected.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This was the logs it outputted:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;TAG:handler_name=VideoHandler&#xA;side_data_type=Spherical Mapping&#xA;projection=equirectangular&#xA;yaw=0&#xA;pitch=0&#xA;roll=0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I then tried to use this command but it didn't work: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i chapmanspeak.mp4 -movflags use_metadata_tags -metadata side_metadata_type=&quot;Spherical Mapping&quot; -metadata projection=equirectangular -metadata yaw=0 -metadata pitch=0 -metadata roll=0 -codec copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25959" LastEditorUserId="25959" LastEditDate="2019-08-20T08:53:15.467" LastActivityDate="2024-02-28T19:06:55.807" Title="Injecting/embedding/adding/writing metadata to a .mp4 file so it's recognised as 360" Tags="|video|ffmpeg|mp4|metadata|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28268" PostTypeId="1" AcceptedAnswerId="30398" CreationDate="2019-08-14T10:01:55.153" Score="0" ViewCount="53" Body="&lt;p&gt;I have over 100 videos, each around 5-10 minutes long. From each video, I might only need two or three clips that last maybe 10 seconds at most. I want to create a montage out of all these videos using only small snippets from each video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the first time I've ever done something like this. What I planned to do was to extract each clip from their respective video and then use that clip for the montage. This is mostly to save space and to avoid having a huge project file with many different cut up videos, as I barely need even 5% of all the videos I have.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I'm concerned the quality will be lessened when I cut up the videos like that first. Is that in general a valid concern if all you're doing is cutting up videos with no editing? Or is that handled differently by different video editors?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I'm using Hitfilm Express btw.)&lt;/p&gt;&#xA;" OwnerDisplayName="user25960" LastActivityDate="2020-05-26T09:00:04.687" Title="Cutting videos into individual clips - loss of quality?" Tags="|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28269" PostTypeId="1" CreationDate="2019-08-14T14:01:38.027" Score="4" ViewCount="8863" Body="&lt;p&gt;I understand there is a module built in FFmpeg which allows you to fade your clips in and out, however, no one really explains how to use the module with your own input. How do I simply fade both the audio and video in and out without re-encoding? (If that's possible)&lt;/p&gt;&#xA;" OwnerUserId="25963" LastActivityDate="2023-08-28T23:18:22.107" Title="How do I fade in and out in FFmpeg?" Tags="|ffmpeg|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28270" PostTypeId="2" ParentId="28269" CreationDate="2019-08-14T16:27:16.713" Score="0" Body="&lt;p&gt;You can not do fade out/in without reencoding.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2019-08-14T16:27:16.713" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28271" PostTypeId="1" CreationDate="2019-08-14T17:02:27.603" Score="2" ViewCount="3477" Body="&lt;p&gt;I've heard that it's possible to convert SDR videos to HDR and get reasonable results.  Obviously, this isn't as good as having source HDR content, but I'm really curious and would like to try this for myself.  I have lots of 10 bpc 422 SDR video, and I'm wondering if there's any software out there that could automatically convert it into an HDR format that gives good results.  &lt;strong&gt;Is there such software?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, I've attempted to use Premiere Pro CC 2019 (using the High10 profile with Dynamic Range checked) to do convert input SDR video to HDR, but the colors in the output HDR video all end up extremely dark looking (an undesirable result).  I'm just wondering if there's software that can give me much better results with little effort on my part.&lt;/p&gt;&#xA;" OwnerUserId="25617" LastActivityDate="2023-10-09T17:07:56.210" Title="SDR to HDR (High Dynamic Range) Converter?" Tags="|ffmpeg|premiere|video-quality|software-recommendation|hdr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28272" PostTypeId="2" ParentId="24430" CreationDate="2019-08-15T00:20:20.917" Score="0" Body="&lt;p&gt;If you captured at 50 fps, stick to 50 fps or 25 fps, otherwise Vegas will have to pulldown / interpolate / invent frames to go to 60 / 30 fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If all (most) of your footage is in Full HD (1080p 50fps), leave your Vegas project with this frame size.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are authoring a DVD, you should not determine the bitrate, but rather let DVD Architect determine automatic settings.&lt;/p&gt;&#xA;" OwnerUserId="17457" LastActivityDate="2019-08-15T00:20:20.917" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28273" PostTypeId="2" ParentId="28271" CreationDate="2019-08-15T00:29:47.800" Score="3" Body="&lt;p&gt;I'd suspect anything purely automated is going to be pretty marginal.  There's a lot of complexity to getting a good curve with the right gamma, but there's a variety of possible levels of what would be considered &quot;good results&quot;.  Personally, I'd rather try getting a good mapping manually with something like Resolve and then trying to see what scenes I could copy the curve to.  I'd suspect that minimal effort and reasonable competence would result in a better quality end result than most automated tools.  That's true for most Auto Tone, Auto Level and Auto Curve tools for standard dynamic range, so I'm not sure why it would be different for HDR.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2019-08-15T00:29:47.800" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28274" PostTypeId="2" ParentId="28264" CreationDate="2019-08-15T00:39:41.260" Score="3" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;“Is D-Cinelike just a flatter colour profile with less contrast (to capture more detail in shadows and highlights)?”&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Yes.  It's closer to log color rather than linear.  The big thing to be aware of in post production is to make sure you grade it to where you want it to be and possibly use their LUT to convert back towards Rec 709 depending on what you are looking for.&lt;/p&gt;&#xA;&lt;p&gt;If you don't want to have to work on your color, don't shoot D-Cinelike.  If you want the best recovery in highlights and more ability to adjust the tone, shoot D-Cinelike and spend the time to apply a color grade to your liking.  (D-cinelike isn't so great in shadow unfortunately).&lt;/p&gt;&#xA;&lt;p&gt;Personally, I always shoot D-log on my Mavic 2 Pro, which is similar in concept to D-Cinelike, though it has better shadow recovery and a bit more balanced, though slightly less cinematic looking without more effort to tweak it, but last I knew, D-log isn't available on the Mavic Air.&lt;/p&gt;&#xA;&lt;p&gt;If you want to see some good samples, &lt;a href=&quot;https://www.youtube.com/watch?time_continue=92&amp;amp;v=VIZDuHvAyZ4&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; youtube video seemed like it had relatively good comparisons of the 3.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastEditorUserId="6009" LastEditDate="2021-08-06T13:09:48.757" LastActivityDate="2021-08-06T13:09:48.757" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28276" PostTypeId="2" ParentId="19590" CreationDate="2019-08-15T06:16:05.000" Score="39" Body="&lt;h1&gt;Answer&lt;/h1&gt;&#xA;&lt;p&gt;Use two-pass Constant Quality mode:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -i input.mp4  -b:v 0  -crf 30  -pass 1  -an -f webm -y /dev/null&#xA;ffmpeg  -i input.mp4  -b:v 0  -crf 30  -pass 2  output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h2&gt;Notes&lt;/h2&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;If you're using Microsoft Windows™ instead of UNIX, change &lt;code&gt;/dev/null&lt;/code&gt; to &lt;code&gt;NUL&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;We discard the video using &lt;code&gt;/dev/null&lt;/code&gt; because the first pass's only purpose is to generate a log file of statistics.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;h2&gt;mp42webm shell script&lt;/h2&gt;&#xA;&lt;p&gt;To save typing in the future, this can be put in a UNIX shell script:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;#!/bin/sh -xe&#xA;ffmpeg -i &amp;quot;$1&amp;quot; -b:v 0 -crf 30 -pass 1 -an -f webm -y /dev/null&#xA;ffmpeg -i &amp;quot;$1&amp;quot; -b:v 0 -crf 30 -pass 2 &amp;quot;${1%.mp4}.webm&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Usage: &lt;strong&gt;mp42webm&lt;/strong&gt; &lt;em&gt;filename&lt;/em&gt;.mp4. &lt;br/&gt;&#xA;Creates &lt;em&gt;filename&lt;/em&gt;.webm.&lt;/p&gt;&#xA;&lt;h2&gt;Explanation:&lt;/h2&gt;&#xA;&lt;p&gt;Setting the video bitrate to &lt;em&gt;zero&lt;/em&gt; while also specifying the CRF (Constant Rate Factor) enables Constant Quality mode which targets a certain perceptual quality level. For VP9, the CRF can range from 0 (best quality) to 63 (smallest file size).&lt;/p&gt;&#xA;&lt;p&gt;It is important to set the video bitrate to zero. If you do not specify a video bitrate, it defaults to something low which gets you &lt;em&gt;Constrained&lt;/em&gt; Quality mode, where each frame has a maximum bitrate. While that can be useful for streaming, it reduces quality significantly as frames with a lot of motion will not have the bandwidth needed to look good.&lt;/p&gt;&#xA;&lt;p&gt;Another part of the reason you’re losing quality is that &lt;code&gt;webm&lt;/code&gt; (VP9) prefers to encode in two passes for best results. The first pass compiles statistics about the video which is then used in the second pass to make a smaller and higher quality video.&lt;/p&gt;&#xA;&lt;p&gt;Please see the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/VP9&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg VP9 documentation&lt;/a&gt; if you’d like to learn more.&lt;/p&gt;&#xA;&lt;h2&gt;A word about transcoding&lt;/h2&gt;&#xA;&lt;p&gt;By the way, in general, transcoding formats (taking a compressed video and recompressing it with a different codec) is a bad idea as you’ll not only add the normal errors from lossy video encoding, but you’ll waste bits in the new format trying to preserve the artifacts from the old.&lt;/p&gt;&#xA;&lt;h2&gt;If you mean “without quality loss” literally&lt;/h2&gt;&#xA;&lt;p&gt;The &lt;code&gt;-lossless 1&lt;/code&gt; option of ffmpeg’s VP9 encoder enables lossless quality mode, but with a potentially enormous increase in filesize.&lt;/p&gt;&#xA;&lt;p&gt;All you need is this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -i input.mp4  -lossless 1  output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;When I tried &lt;code&gt;-lossless 1&lt;/code&gt; on a low-quality &lt;code&gt;mp4&lt;/code&gt;, the resulting &lt;code&gt;webm&lt;/code&gt; was 100× larger, which was not accceptable to me. However, if your &lt;code&gt;mp4&lt;/code&gt; files are already very high quality, I expect the size difference will not be so great.&lt;/p&gt;&#xA;" OwnerUserId="25965" LastEditorUserId="25965" LastEditDate="2024-02-27T07:18:39.503" LastActivityDate="2024-02-27T07:18:39.503" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="28279" PostTypeId="1" CreationDate="2019-08-15T10:39:43.503" Score="1" ViewCount="766" Body="&lt;p&gt;&lt;a href=&quot;https://youtu.be/UkQqJ2PNca8&quot; rel=&quot;nofollow noreferrer&quot;&gt;This animation&lt;/a&gt; is made in After Effects but can this be made in a free software??&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wIb0c.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wIb0c.png&quot; alt=&quot;crash course animation&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25973" LastEditorUserId="18155" LastEditDate="2019-08-19T12:56:52.197" LastActivityDate="2024-01-05T15:03:55.427" Title="Can this be created in a free animation software like Synfig or OpenToonz?" Tags="|animation|youtube|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28280" PostTypeId="2" ParentId="28269" CreationDate="2019-08-15T13:13:15.587" Score="5" Body="&lt;p&gt;Fading &lt;strong&gt;in&lt;/strong&gt; is no problem, because you start from the timestamp &lt;code&gt;0&lt;/code&gt; (or from other known timestamp or frame number), e.g. use:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf fade=in:0:d=5 -af afade=in:0:d=5 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;for 5-second fading in from the start of your clip.&lt;/p&gt;&#xA;&lt;p&gt;Ignore the error&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Only '-vf fade=in:0:d=5' read, ignoring remaining -vf options: Use ',' to separate filters&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;— see the &lt;a href=&quot;https://video.stackexchange.com/a/28215/18155&quot;&gt;answer&lt;/a&gt; of the question &lt;a href=&quot;https://video.stackexchange.com/q/28214/18155&quot;&gt;FFmpeg read, ignoring remaining -vf options: Use &amp;#39;,&amp;#39; to separate filters&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;To fade &lt;strong&gt;out&lt;/strong&gt;, you have to provide either&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;the start position (the default parameter), i.e.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the start &lt;em&gt;frame&lt;/em&gt; (&lt;code&gt;s=&lt;/code&gt;) for video, or&lt;/li&gt;&#xA;&lt;li&gt;the start &lt;em&gt;sample&lt;/em&gt; (&lt;code&gt;ss=&lt;/code&gt;) for audio,&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;the start &lt;em&gt;time&lt;/em&gt; (&lt;code&gt;st=&lt;/code&gt;) (this is the same parameter name for both audio and video)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;of the fade out.&lt;/p&gt;&#xA;&lt;p&gt;Let's use the second option - the start &lt;em&gt;time&lt;/em&gt; of fading out.&lt;/p&gt;&#xA;&lt;p&gt;First, figure out the total duration of video or audio (you may find it with FFprobe), then subtract the desired fade-out length from the length of the video.&lt;/p&gt;&#xA;&lt;p&gt;For example, if you have a 10-minute video (= 600 seconds) and desire a 5-second fade out, you obtain &lt;code&gt;600 - 5 = 595&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Add filters for fading out to the previous command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf fade=in:0:d=5,fade=out:st=595:d=5 -af afade=in:0:d=5,afade=out:st=595:d=5 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;em&gt;Notes:&lt;/em&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Filtering always require re-encoding.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;As &lt;code&gt;in&lt;/code&gt; and &lt;code&gt;0&lt;/code&gt; are defaults, you may shorten the command to&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i input.mp4 -vf fade=d=5,fade=out:st=595:d=5 -af afade=d=5,afade=out:st=595:d=5 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2023-08-28T23:18:22.107" LastActivityDate="2023-08-28T23:18:22.107" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28281" PostTypeId="2" ParentId="28241" CreationDate="2019-08-15T20:51:07.177" Score="1" Body="&lt;p&gt;&lt;strong&gt;The propose algorithm can be implemented using Blender's Compositor.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a working project file:&#xA;&lt;a href=&quot;https://is.gd/TeA4xC&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://is.gd/TeA4xC&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need to supply the same video file as input to three input nodes - each with a specified frame offset.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;This is capable of removing flickers that last no longer than 1 frame.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried using this for my footage, but I had issues with A/V sync after remuxingthe result with the original audio, so I dropped the idea.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's how the example clip looks like after being processed with this file:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/VT-KODgUonY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can tell the flicker is much less pronounced. There are some artifacts, but they are way less distracting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hopefully someone will find this useful - I ultimately didn't :/&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Enjoy.&lt;/p&gt;&#xA;" OwnerUserId="19221" LastActivityDate="2019-08-15T20:51:07.177" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28282" PostTypeId="1" CreationDate="2019-08-15T23:38:41.743" Score="1" ViewCount="80" Body="&lt;p&gt;I am new to 3D software and have just started with Cinema 4d. This is a very noobish question but when I create any new material in a project it always shows up pitch dark with very little mirror reflection.&#xA;I have even downloaded ready made package example from here &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.fattututorials.com/cinema-4d-ultra-realistic-silver-material-tutorial/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.fattututorials.com/cinema-4d-ultra-realistic-silver-material-tutorial/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and doesn't show in my software like the example on youtube. It's much darker and the render is pitch black. &lt;/p&gt;&#xA;" OwnerUserId="25980" LastActivityDate="2019-08-15T23:38:41.743" Title="Why is new material dark in Cinema 4D?" Tags="|cinema4d|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28283" PostTypeId="1" CreationDate="2019-08-16T08:04:25.100" Score="1" ViewCount="330" Body="&lt;p&gt;I am quite new to ffmpeg. I am wondering if it is possible to get the timestamps of a live video stream from ffmpeg. I read that as the first packet in RTP protocol is sent, it contains the NTP timestamp and the local timestamp of the system. Is there anyway to get this information from ffmpeg, I am using wireshark but I'd like to know if it is possible without wireshark. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks. &lt;/p&gt;&#xA;" OwnerUserId="25984" LastActivityDate="2019-08-16T08:04:25.100" Title="Trying to sync multiple ip cameras in ffmpeg, having trouble finding the timestamps of each frames being sent" Tags="|streaming|time|rtp|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28285" PostTypeId="1" CreationDate="2019-08-16T10:38:59.720" Score="1" ViewCount="129" Body="&lt;p&gt;I shot a video in Nikon D3400 and tried to play in VLC and native player of Ubuntu. But Avidemux preview is much greater than any of these two. Any way to get the quality of that preview for my video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I need to do any editing to video to get that quality? I will put two images of the two video for comparison. &lt;a href=&quot;https://drive.google.com/uc?id=1To-cRfp74k5D-bEOIMXmIoZSHz8cOHKv&quot; rel=&quot;nofollow noreferrer&quot;&gt;Avidemux-image&lt;/a&gt;, &lt;a href=&quot;https://drive.google.com/uc?id=1a9x31WcbneGPOC0q9tfu3w_sph1pNfaw&quot; rel=&quot;nofollow noreferrer&quot;&gt;VLC-preview&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="25987" LastEditorUserId="18155" LastEditDate="2020-01-15T16:24:38.913" LastActivityDate="2020-01-15T16:28:22.247" Title="Avidemux shows better preview than VLC player" Tags="|video|video-quality|dslr|nikon|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28286" PostTypeId="1" CreationDate="2019-08-16T11:36:45.050" Score="1" ViewCount="704" Body="&lt;p&gt;I recorded some video-game footage in 320x200 and then upscaled it to 1920x1440 using ffmpeg (nearest-neighbor, lossless libx264).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Screenshots of the upscaled footage have pixel-perfect color matching the original source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I import this footage into a video editor, and then immediately export it using a lossless format... color-banding occurs.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Input Footage: &lt;a href=&quot;https://i.stack.imgur.com/crGHF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/crGHF.png&lt;/a&gt; &lt;/li&gt;&#xA;&lt;li&gt;Output Footage: &lt;a href=&quot;https://i.stack.imgur.com/yHbUy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/yHbUy.png&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I tried 3 different video editors (kdenlive, vsdc, shotcut). I tried five different lossless codecs (ffv1, h.264, huffyuv, utvideo, lossless jpeg). Nothing seems to work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any advice or suggestions would be very much appreciated.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;FFMPEG comparison between Input Source and VSDC Lossless JPEG Output (which gave best results, but not perfect...)&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -i output.avi&#xA;ffmpeg version 4.2 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 9.1.1 (GCC) 20190807&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'input.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:00:11.98, start: 0.000000, bitrate: 425 kb/s&#xA;    Stream #0:0(und): Video: h264 (High 4:4:4 Predictive) (avc1 / 0x31637661), gbrp(tv, gbr/unknown/unknown), 1920x1440, 373 kb/s, 60 fps, 60 tbr, 15360 tbn, 120 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 41 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;Input #1, avi, from 'output.avi':&#xA;  Metadata:&#xA;    date            : 2019-08-17&#xA;    title           : input&#xA;    encoder         : msl&#xA;  Duration: 00:00:12.00, start: 0.000000, bitrate: 126738 kb/s&#xA;    Stream #1:0: Video: jpegls (MJLS / 0x534C4A4D), rgb24(bt470bg/unknown/unknown), 1920x1440, lossless, 126664 kb/s, 60 fps, 60 tbr, 60 tbn, 60 tbc&#xA;    Stream #1:1: Audio: mp3 (U[0][0][0] / 0x0055), 44100 Hz, stereo, fltp, 224 kb/s&#xA;At least one output file must be specified&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25989" LastEditorUserId="25989" LastEditDate="2019-08-16T15:42:54.523" LastActivityDate="2022-11-16T15:04:00.453" Title="Exported Lossless Video - Output File Was Lossy" Tags="|video-editor|video-quality|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28287" PostTypeId="1" AcceptedAnswerId="28288" CreationDate="2019-08-16T11:50:30.797" Score="0" ViewCount="154" Body="&lt;p&gt;I have a set of few hundreds of photos taken every 30 minutes. I combine them into a single video. How can I put a timestamp presenting real time difference between each photo ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right now I use &lt;code&gt;timecode&lt;/code&gt; filter with the following settings:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i %04d.png -vf format=yuv420p,scale=1650x1180,fps=24,drawtext=&quot;fontsize=15:fontfile=/Library/Fonts/DroidSansMono.ttf:timecode='00\:00\:00\:00':rate=24:text='time\:':fontsize=72:fontcolor='white':x=860-text_w/2:y=960&quot; out_24fps.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This creates timestamp showing the length of the video which takes ~7 seconds. I'd like the timestamp to show that how long it took to record the whole video rather than how long it takes to replay it (difference of 30 minutes between each photo). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or perhaps is it possible to take a timestamp from each file used to combine the video?&lt;/p&gt;&#xA;" OwnerUserId="25988" LastEditorUserId="18155" LastEditDate="2019-08-18T06:10:56.680" LastActivityDate="2019-08-18T06:10:56.680" Title="How to add timestamp of N mins between photos on a video combined from photos?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28288" PostTypeId="2" ParentId="28287" CreationDate="2019-08-16T13:13:00.263" Score="1" Body="&lt;p&gt;Timecode isn't suitable for this. It assumes real-time footage. You can use the &lt;code&gt;eif&lt;/code&gt; and &lt;code&gt;n&lt;/code&gt; &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#Text-expansion&quot; rel=&quot;nofollow noreferrer&quot;&gt;functions&lt;/a&gt; to increment the text counter to advance by 30 mins for each frame i.e.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -framerate 24 -i %04d.png -vf format=yuv420p,scale=1650x1180,drawtext=&quot;fontsize=15:fontfile=/Library/Fonts/DroidSansMono.ttf:text='time\: %{eif\:n*(30/60)\:d} h %{eif\:mod(n*30\,60)\:d\:2} m':fontsize=72:fontcolor='white':x=860-text_w/2:y=960&quot; out_24fps.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(BTW, framerates for image sequences should be set on the input. Using fps filter here will cause ffmpeg to drop one frame from each second.)&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-08-16T13:13:00.263" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28291" PostTypeId="1" CreationDate="2019-08-16T20:56:18.990" Score="0" ViewCount="929" Body="&lt;p&gt;I have one movie clip and it has few events which I want to repeat for few times. I used &lt;a href=&quot;https://www.youtube.com/watch?v=xyqgX6l4wNc&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; and similar other tutorial to achieve this. Ideally I tried following,&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select Clip and Pre-compose it (so that I can use that repeating&#xA;part independently. I have tried without pre-compose also and got&#xA;same result) &lt;/li&gt;&#xA;&lt;li&gt;Right click &gt; time &gt; enable time-remapping&lt;/li&gt;&#xA;&lt;li&gt;Goto the expression panel (alt click clock symbol)&lt;/li&gt;&#xA;&lt;li&gt;Put expression as &lt;code&gt;loopOut()&lt;/code&gt; and click outside&lt;/li&gt;&#xA;&lt;li&gt;Create keyframe between between start and end of my desired clip part&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;However, this doesn't work. Can anyone tell me what I am doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To better explain the my desired output, lets assume I have 5 min video clip (===) and I want part from 3 to 4 min (+++) to repeat 2 times. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;0 ====3+++4====5&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So now my video should become 6 min with clip from 3 to 4 min repeated twice.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;0 ====3+++4+++5====6&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I am using Adobe After Effects CC 2019.&lt;/p&gt;&#xA;" OwnerDisplayName="Dexter" LastEditorUserId="17390" LastEditDate="2019-08-19T12:56:10.690" LastActivityDate="2019-08-21T01:59:08.670" Title="After effects loop part of movie clip" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28293" PostTypeId="1" AcceptedAnswerId="28295" CreationDate="2019-08-17T17:24:15.267" Score="1" ViewCount="336" Body="&lt;p&gt;I'm using youtube-dl and ffmpeg to get videos/frames of videos from the web. I was told that youtube (and others) use adaptive bitrate streaming, so depending on the network conditions of the user the bitrate should drop/rise, then even though resolution stays the same, image quality should change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That got me wondering if youtube-dl has some mechanism for downloading videos with the same (presumably best) bitrate.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;So my questions are:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) When downloading videos through youtube-dl, because of ABR, the quality of the downloaded video depends on network conditions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) The following shell script will get a frame of a video at 1:30, will the image quality of this frame be affected by ABR?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;MP4URL=`youtube-dl -g MYVIDEOLINK`&#xA;ffmpeg -ss 1:30 -i $MP4URL -frames:v 1 myframe.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;3) If one of the previous questions is true: Is there a way to ensure a network independent quality? How?&lt;/p&gt;&#xA;" OwnerUserId="26001" LastEditorUserId="26001" LastEditDate="2019-08-17T17:32:33.713" LastActivityDate="2019-08-17T18:05:08.283" Title="Using youtube-dl: Does adaptive bitrate (ABR) affect image quality?" Tags="|ffmpeg|video-quality|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28294" PostTypeId="1" AcceptedAnswerId="28296" CreationDate="2019-08-17T18:00:07.017" Score="2" ViewCount="11682" Body="&lt;p&gt;I am recording a video using OBS Studio with the following settings:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/gosCi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gosCi.png&quot; alt=&quot;OBS Recording Settings&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/XUbaD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XUbaD.png&quot; alt=&quot;OBS Video Settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With these settings, OBS is consuming 55 to 60 MB storage for a minute long recording. Considering that my recordings span across multiple hours, a 2-hour recording ends up consuming as much as 4 GB space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I tried to transcode the recorded videos with FFMPEG with this command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg.exe -i [RecordedVideoFileName.mkv] [OutputVideoFileName.mkv]&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The transcoded video consumes just 5-6 MB per minute in comparison to 55-60 MB per minute as consumed by OBS. The logs of the command are &lt;a href=&quot;https://pastebin.com/AuM0Fcza&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While going through the logs, the following statements statements caught my eye:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; vorbis (libvorbis))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So I had the following questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;What is the difference between h264(constrained), h264(native) and h264(libx264) encoders?&lt;/li&gt;&#xA;&lt;li&gt;Does transcoding from one to another (as in my case) result in degraded video/audio quality?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="25772" LastActivityDate="2019-08-18T07:20:10.333" Title="h264 (Constrained Baseline)/(h264 (native) vs h264 (libx264)" Tags="|ffmpeg|h.264|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28295" PostTypeId="2" ParentId="28293" CreationDate="2019-08-17T18:05:08.283" Score="1" Body="&lt;p&gt;Adaptive streaming is accomplished by switching between pre-encoded streams of different bitrates and/or resolutions. But the bitrate within any given pre-encoded stream does not vary too much.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;YT-DL, with your command, will select the 'best' video stream, usually the one with the highest bitrate and resolution, and return its URL. This URL is a direct resource address, and there will be no switching when downloading it, even if your network gets congested.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-08-17T18:05:08.283" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28296" PostTypeId="2" ParentId="28294" CreationDate="2019-08-17T20:00:14.190" Score="3" Body="&lt;p&gt;Let me clarify what a stream mapping line such as the one below, indicates.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Stream #0:0&lt;/code&gt; indicates that the input stream is from the first file #&lt;strong&gt;0&lt;/strong&gt;:0 and is the first stream in that file #0:&lt;strong&gt;0&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-&amp;gt; #0:0&lt;/code&gt; indicates that the input stream is sent to the first stream of the first output file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;h264 (native)&lt;/code&gt; means that the detected codec of the input stream is H.264 and that ffmpeg will use its native (builtin) decoder to decode the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;h264 (libx264)&lt;/code&gt; means that the codec of the output stream will be H.264 and that ffmpeg will use the &lt;code&gt;libx264&lt;/code&gt; encoder to generate this stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;h264(constrained)&quot; usually seen in the input file dump e.g.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0: Video: h264 (Constrained Baseline), yuv420p(progressive)...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;indicates that the input stream codec is H.264 and the stream &lt;a href=&quot;https://en.wikipedia.org/wiki/H.264/MPEG-4_AVC#Profiles&quot; rel=&quot;nofollow noreferrer&quot;&gt;profile&lt;/a&gt; is Constrained Baseline. A profile defines the kind of methods that an encoder can use to generate streams and also a set of methods that a decoder is expected to perform, in order to decode the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With your ffmpeg command, libx264 is re-encoding your video stream with CRF 23 and profile High. If the output looks fine to you, there's nothing to do further.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To experiment, you can use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i [RecordedVideoFileName.mkv] -crf X [OutputVideoFileName.mkv]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where X can go from 0 to 51. 18 to 28 is a good range for good quality and file size. Lower is better quality and larger size.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-08-18T07:20:10.333" LastActivityDate="2019-08-18T07:20:10.333" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28299" PostTypeId="1" CreationDate="2019-08-18T10:27:28.333" Score="2" ViewCount="3964" Body="&lt;p&gt;If my math is correct, shooting 60 fps, playback 24 fps will allow me 2,5x slower motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shooting 50 fps than should give me about 2x slower motion. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is that difference significant in real time, or it's just in theory?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Will 60 fps bring “slower” slow motion over 50 fps on the same 24 fps timeline?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="17386" LastEditorUserId="18155" LastEditDate="2019-08-19T12:56:47.497" LastActivityDate="2019-09-20T00:39:43.653" Title="60 fps vs 50 fps in 24 fps timeline slow motion difference" Tags="|slowmotion|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28300" PostTypeId="2" ParentId="28299" CreationDate="2019-08-18T12:40:24.277" Score="0" Body="&lt;p&gt;The difference in the speed of playback &lt;em&gt;up to 5 %&lt;/em&gt; is considered as &lt;em&gt;tolerable, unnoticeable.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By this rule of thumb 60 fps compared with 50 fps are &lt;em&gt;too different (20 %)&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As an example of a tolerable difference is a common case of playing back a movie with 24 fps on TV set in Europe with 25 fps (4 % difference in speed).&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2019-08-18T12:40:24.277" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28301" PostTypeId="2" ParentId="28285" CreationDate="2019-08-18T13:34:56.880" Score="1" Body="&lt;p&gt;This looks to be a color space mismatch. You could be viewing a “clamped” (16-235) signal in VLC. This is a common issue with nVidia graphics cards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://wiki.videolan.org/VSG:Video:Color_washed_out/&quot; rel=&quot;nofollow noreferrer&quot;&gt;VSG:Video:Color washed out&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerDisplayName="user25890" LastEditorUserId="18155" LastEditDate="2020-01-15T16:28:22.247" LastActivityDate="2020-01-15T16:28:22.247" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28303" PostTypeId="1" AcceptedAnswerId="28328" CreationDate="2019-08-18T16:34:58.223" Score="1" ViewCount="1010" Body="&lt;p&gt;I usually encode with &lt;code&gt;libx265&lt;/code&gt; and &lt;code&gt;libfdk_aac&lt;/code&gt; to get good quality and small file size for posting in Facebook. I use &lt;code&gt;ffmpeg&lt;/code&gt; as follows.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf -c:v libx265 -c:a libfdk_aac output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If Facebook, YouTube and others video hosting sites re-encode all videos uploaded, is the codecs used still matter?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use &lt;code&gt;h.264&lt;/code&gt; codec with &lt;code&gt;mp4&lt;/code&gt; or &lt;code&gt;MOV&lt;/code&gt; format as Facebook recommended, will it reduce or bypass the Facebook's video processing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use &lt;code&gt;h.265&lt;/code&gt; for smaller file size, will the viewers of my video save their mobile data usage?&lt;/p&gt;&#xA;" OwnerUserId="26013" LastEditorUserId="1760" LastEditDate="2019-08-21T18:12:56.240" LastActivityDate="2019-08-21T18:12:56.240" Title="Is using codecs matter if Facebook re-encode all the uploaded videos?" Tags="|video|ffmpeg|encoding|codec|webvideos|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28308" PostTypeId="2" ParentId="27825" CreationDate="2019-08-19T11:09:03.800" Score="0" Body="&lt;p&gt;I don't think there is a vectorscope in Apple Motion but in FCPX vectorscope comes in with the Color Grading tools. Apple Motion is not intended for this purpose, so I guess they did not require to add the vectorscope. I use version Apple Motion version 5.4.2&lt;/p&gt;&#xA;" OwnerUserId="26020" LastActivityDate="2019-08-19T11:09:03.800" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28309" PostTypeId="1" AcceptedAnswerId="28310" CreationDate="2019-08-19T13:36:55.033" Score="0" ViewCount="201" Body="&lt;p&gt;Some MP4s have keyframes on scene changes; others have keyframes seemingly randomly placed, or placed every 5-10 seconds. I prefer the former, both for ease of editing and because, unless I'm misunderstanding the mp4 codec, it's the most efficient.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How would I force one behavior or the other in ffmpeg or Avidemux? (Specifically I would like to force the former, although I would like to know what causes the latter just out of curiosity.)&lt;/p&gt;&#xA;" OwnerUserId="20647" LastActivityDate="2019-08-20T17:20:32.493" Title="Some MP4s have keyframes on scene changes. Others seem to have random keyframes, or keyframes every X seconds. What causes this discrepancy?" Tags="|ffmpeg|encoding|codec|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28310" PostTypeId="2" ParentId="28309" CreationDate="2019-08-19T14:13:12.070" Score="1" Body="&lt;p&gt;Putting keyframes on scene changes is more efficient encoding wise on average, but it can cause trouble for decoders with very small buffers. Constant keyframe intervals (GOP Length) and CBR were more necessary when people were viewing videos on iPods with very little memory, as opposed to phones with a gigabyte or more of RAM. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is an answer explaining how to configure it in FFMPEG: &lt;a href=&quot;https://stackoverflow.com/a/41735741/8599496&quot;&gt;https://stackoverflow.com/a/41735741/8599496&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user25890" LastEditorDisplayName="user25890" LastEditDate="2019-08-20T17:20:32.493" LastActivityDate="2019-08-20T17:20:32.493" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28311" PostTypeId="1" CreationDate="2019-08-19T18:49:09.490" Score="0" ViewCount="76" Body="&lt;p&gt;Hello Fellow VFX / Motion Designers,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have spent a large amount of time going in circles trying to self-solve this one but time on the project is running low on time so I must ask the elder hive-mind for advice / assistance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I have a finalized marker-based-animation master composition that I need to template and build out.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The issue I am facing is that I cannot sync the 'root' Null layer's comments to the comments of their companion-nested-control Nulls.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;There is 3 markers in total for each Nested Null - I only need to change the value of the middle / second ones&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Structure Example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; # Master Comp Layers&#xA;&#xA;  - [NULL] Outer Control A.1 &amp;gt; {Source for Null A.2}&#xA;   - Animation In Marker - Comment: &quot;My Content&quot;&#xA;&#xA;  - [COMP] # Nested Animation A &amp;gt; [Hidden/Shiied for organization sake]&#xA;    - [NULL] Inner Control A.2 &amp;gt; {Target for Null A.1}&#xA;      - Timeline In Marker - Comment: [Blank]&#xA;      - Animation In Marker - Comment: &quot;My Content&quot;&#xA;      - Animation Out Marker - Comment: [Blank] or &quot; &quot; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have tried a few of the free marker plugin's and available expressions to no avail - I think I'm missing something obvious here. They will copy and paste ad-hoc - but I need to setup a long-term link / sync here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to clone a layer's marker's via script? Or is there a plugin that can set this up for me? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Full disclosure: Of course - I do have to keep project overhead fairly low so I'd prefer a native / free-plugin way to do this.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="26025" LastActivityDate="2019-08-19T18:49:09.490" Title="How to sync Markers Comments between root Control Null &amp; nested-in-comp-Null / Layer" Tags="|after-effects|animation|after-effects-expressions|automation|after-effects-scripting|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28312" PostTypeId="2" ParentId="23562" CreationDate="2019-08-19T19:34:16.730" Score="0" Body="&lt;p&gt;I know this is an old question, but it came up in a google search I was doing.  So, in case this helps, I've been using a program called TCode4 that does exactly what you're asking for:  &lt;a href=&quot;http://timecodesoftware.com/tcode&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://timecodesoftware.com/tcode&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A couple caveats: I think the video needs to have a separate timecode track, not just burned-in timecode.  Also, when I open it recently, I get a message saying that it needs to be updated.  I'm assuming it's a 32-bit app that needs to be updated to 64-bit for Catalina or something like that, and I'm not sure that it will be.  That is, I'm not sure the program's still in active development.  &lt;/p&gt;&#xA;" OwnerUserId="26026" LastActivityDate="2019-08-19T19:34:16.730" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28315" PostTypeId="1" AcceptedAnswerId="28317" CreationDate="2019-08-20T04:29:47.990" Score="1" ViewCount="3179" Body="&lt;p&gt;I am trying to make a video with multiple input files. &#xA;I have a bunch of PNG files and mp4 files and I want to create a video for the duration of my audio file &lt;code&gt;body.mp3&lt;/code&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video should be made using multiple inputs. &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;file &lt;code&gt;000000.PNG&lt;/code&gt; for duration 17.56&lt;/li&gt;&#xA;&lt;li&gt;file &lt;code&gt;01.mp4&lt;/code&gt; (duration ~4.0)&lt;/li&gt;&#xA;&lt;li&gt;file &lt;code&gt;100074.PNG&lt;/code&gt; for duration 6.12&lt;/li&gt;&#xA;&lt;li&gt;file &lt;code&gt;02.mp4&lt;/code&gt; (duration ~4.0)&lt;/li&gt;&#xA;&lt;li&gt;file &lt;code&gt;200074.PNG&lt;/code&gt; for duration 7.84&lt;/li&gt;&#xA;&lt;li&gt;file &lt;code&gt;03.mp4&lt;/code&gt; (duration ~4.0)&lt;/li&gt;&#xA;&lt;li&gt;file &lt;code&gt;300074.PNG&lt;/code&gt; for duration 11.88&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The total video will have only one audio from &lt;code&gt;body.mp3&lt;/code&gt;. Assuming &lt;code&gt;body.mp3&lt;/code&gt; duration is equal to all the inputs duration combined (+/- 2.0) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could you please show me how to achieve this? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: Same resolution for all the input files and same frame rate in all the &lt;code&gt;*.mp4&lt;/code&gt; files. Some times, I may have &lt;code&gt;04.mp4&lt;/code&gt; and &lt;code&gt;400074.PNG&lt;/code&gt; also.&lt;/p&gt;&#xA;" OwnerUserId="26031" LastEditorUserId="26031" LastEditDate="2019-08-20T13:01:25.643" LastActivityDate="2019-08-20T14:03:16.490" Title="ffmpeg: make a video with multiple input files and formats" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28316" PostTypeId="2" ParentId="28267" CreationDate="2019-08-20T08:51:56.027" Score="0" Body="&lt;p&gt;&lt;em&gt;Metadata&lt;/em&gt; is not the same as &lt;em&gt;frame side data.&lt;/em&gt; FFmpeg tool currently cannot do this, you need to program own thing using available API.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastEditorUserId="18155" LastEditDate="2019-08-20T12:26:10.960" LastActivityDate="2019-08-20T12:26:10.960" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28317" PostTypeId="2" ParentId="28315" CreationDate="2019-08-20T14:03:16.490" Score="3" Body="&lt;p&gt;Let's say the framerate of the MP4s is 30, then you would use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i body.mp3&#xA;       -framerate 30 -loop 1 -t 17.56 -i 000000.PNG&#xA;       -i 01.mp4&#xA;       -framerate 30 -loop 1 -t 6.12  -i 100074.PNG&#xA;       -i 02.mp4&#xA;       -framerate 30 -loop 1 -t 7.84  -i 200074.PNG&#xA;       -i 03.mp4&#xA;       -framerate 30 -loop 1 -t 11.88 -i 300074.PNG&#xA;-filter_complex &quot;[1][2][3][4][5][6][7]concat=n=7:v=1:a=0[v]&quot;&#xA;-map &quot;[v]&quot; -map 0:a -pix_fmt yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(All in one line; use single-quotes if you're on linux/OSX)&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-08-20T14:03:16.490" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28318" PostTypeId="1" CreationDate="2019-08-20T14:16:27.773" Score="5" ViewCount="2193" Body="&lt;p&gt;Simple question, mainly asking for your collective experience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am planning a short-film in a post-apocalyptic scenario which is supposed to be very dusty with a thick-looking atmosphere. Part of it is easy to achieve with haze or fog, but I was wondering about those little specks, kind of like ash blowing in the wind.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How would one safely achieve something like this? Is it a good idea to actually just blow around some burnt paper (essentially ashes)?&lt;/p&gt;&#xA;" OwnerUserId="24627" LastEditorUserId="14523" LastEditDate="2019-08-20T17:04:20.297" LastActivityDate="2020-09-23T23:00:15.057" Title="How to (safely) produce flying dust on set?" Tags="|special-effects|shooting|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28320" PostTypeId="2" ParentId="26470" CreationDate="2019-08-21T00:01:20.507" Score="2" Body="&lt;p&gt;OpenCL is not what you need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In &lt;a href=&quot;https://trac.ffmpeg.org/wiki/HWAccelIntro&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/HWAccelIntro&lt;/a&gt;, see the section on “FFmpeg API Implementation Status” — Notice that OpenCL is not applicable for encoding and decoding, only for use in filters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's because OpenCL is a low level API used for writing code in such a way that it can be accelerated by GPUs or CPU SIMD instructions depending on the platform/driver. It is used in FFmpeg to implement various filters, but you aren't using any filters. If you really want to use OpenCL for encoding/decoding, you will have to start writing your own encoder/decoder first.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For your use case (encoding a video from source frames), you are better off using an API specifically designed for video encoding. These use the separate special purpose video encoding/decoding functionality found on most modern GPUs (including integrated GPUs). The best choice depends on your platform and use case, but for example this page has some examples for using VAAPI: &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Hardware/VAAPI&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Hardware/VAAPI&lt;/a&gt;. Usually this means selecting a different encoder, for example &lt;code&gt;h264_vaapi&lt;/code&gt; instead of &lt;code&gt;x264&lt;/code&gt; (which is a purely CPU-based encoder). To ensure good performance, avoid copying frames between host/CPU memory and device/GPU memory as much as possible. &lt;/p&gt;&#xA;" OwnerUserId="26037" LastEditorUserId="18155" LastEditDate="2019-08-22T11:14:59.203" LastActivityDate="2019-08-22T11:14:59.203" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28321" PostTypeId="2" ParentId="20495" CreationDate="2019-08-21T01:22:43.813" Score="9" Body="&lt;p&gt;The other answer gives a very good answer that covers the default way of installing it, I'd like to propose &lt;strong&gt;two&lt;/strong&gt; ohter methods that are good for noobs and pros alike:&lt;/p&gt;&#xA;&lt;h2&gt;&lt;strong&gt;Option 1&lt;/strong&gt;&lt;/h2&gt;&#xA;&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;https://chocolatey.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Chocolatey&lt;/a&gt;&lt;/strong&gt; is a package manager, it's a bit like the Microsoft Store, except that it's actually useful, it's all free, and it runs on the commandline. With chocolatey, installing ffmpeg—and setting up the correct &lt;code&gt;$PATH&lt;/code&gt; etc.—is as simple as&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;choco install ffmpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It's way quicker and far safer than searching for the right website, finding the download, unzipping it, reading the installation documentation, googling how to set it up, downloading some dependancy etc. etc.&lt;/p&gt;&#xA;&lt;p&gt;To install Chocolatey you run a command on the commandline, obvs. The website shows you how, but it is a simple cut-n-paste affair. &lt;a href=&quot;https://chocolatey.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://chocolatey.org/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can then check out over 6000 free packages available with &lt;code&gt;choco list &amp;lt;search term here&amp;gt;&lt;/code&gt;. There are even non-CLI programs so it's not just for the hardcore. It makes setting up a new install of windows super easy: I have a list of software that I always install and just get chocolatey to do it for me: &lt;code&gt;choco install firefox ffmpeg conemu edgedeflector ditto rainmeter imagemagick…&lt;/code&gt; and so on.&lt;/p&gt;&#xA;&lt;p&gt;As an added bonus upgrading your software is as easy as &lt;code&gt;choco upgrade all&lt;/code&gt;&lt;/p&gt;&#xA;&lt;h2&gt;&lt;strong&gt;Option 2&lt;/strong&gt;&lt;/h2&gt;&#xA;&lt;p&gt;&lt;strong&gt;Winget&lt;/strong&gt; is &lt;a href=&quot;https://learn.microsoft.com/en-us/windows/package-manager/winget/&quot; rel=&quot;nofollow noreferrer&quot;&gt;another package manager&lt;/a&gt;, that is built-in to recent versions of Windows. The recipe for installing ffmpeg with winget is similar: open a terminal (can be Powershell, wsl, or even cmd if you like banging rocks together) and type&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;winget install ffmpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This will download and install the build of ffmpeg that is hosted by gyan (at the time of writing). &lt;em&gt;It will also work if you don't have admin privileges&lt;/em&gt;, which chocolatey prefers.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2023-11-02T06:10:46.600" LastActivityDate="2023-11-02T06:10:46.600" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="28322" PostTypeId="2" ParentId="28291" CreationDate="2019-08-21T01:53:07.683" Score="1" Body="&lt;p&gt;&lt;code&gt;LoopOut()&lt;/code&gt; loops after the last keyframe, and by default it loops all the keyframes. Unless you have a specific need to use expressions, this would be easier to achieve by just setting keyframes. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Once you have time remapping enabled, go to the 3 minute mark and add a keyframe. &lt;/li&gt;&#xA;&lt;li&gt;Then go to the frame &lt;em&gt;one frame before&lt;/em&gt; 4 minute mark and add another. &lt;/li&gt;&#xA;&lt;li&gt;Select the last three keyframes (3 minutes, 4 minutes and 5 minutes in your example). &lt;/li&gt;&#xA;&lt;li&gt;Copy them &lt;kbd&gt;ctrl&lt;/kbd&gt;&lt;kbd&gt;c&lt;/kbd&gt;. &lt;/li&gt;&#xA;&lt;li&gt;Delete the last keyframe&lt;/li&gt;&#xA;&lt;li&gt;Park the playhead one frame after the 4 minute keyframe and paste &lt;kbd&gt;ctrl&lt;/kbd&gt;&lt;kbd&gt;v&lt;/kbd&gt;. The 3 minute keyframe should be at the exact 4 minute mark. Since the timing of the subsequent keyframes is undisturbed, the video will run at the right speed.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Your keyframes should look like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;0=====3+++④3+++④=====5 ←keyframes &#xA;0.....3....4....5....6 ←time&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(the ④ indicates the frame one frame before the four minute mark)&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;for extra credit change the first 4 minute keyframe (the one that has the 3 minute keyframe right after it) to a hold keyframe (Right-click and &lt;strong&gt;Toggle Hold Keyframe&lt;/strong&gt;). This is because if you have motion blur or frame blending on it can cause strangeness as the layer is &quot;rewound&quot; between the two keyframes.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-08-21T01:59:08.670" LastActivityDate="2019-08-21T01:59:08.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28323" PostTypeId="2" ParentId="28303" CreationDate="2019-08-21T08:09:11.990" Score="0" Body="&lt;p&gt;Rendering your video as a prores444xq which is 4gb big or using h264 to produce a 50mb file will result in the same data-usage at the user-end, since the files will be converted in the same codec by Facebook. However, your aspect ratio and overall size of the video will matter. I doubt that facebook would upscale a 1280x720 video to fullHD, so that might safe some data on the back-end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, encoding nearly lossless first will still result in a better image quality than rendering in a low-profile h264, even though it will be converted again. If you re-encode a huge file, it will look good for the re-encoded format, but if you re-encode an already heavily compressed file containing artifacts it will look worse in the end.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-08-21T08:09:11.990" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28324" PostTypeId="2" ParentId="23371" CreationDate="2019-08-21T10:19:56.470" Score="1" Body="&lt;p&gt;Have a look at the &lt;a href=&quot;https://www.adobe.com/products/character-animator.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe Character Animator&lt;/a&gt;.  Also a second vote here for &lt;a href=&quot;https://rainboxprod.coop/en/tools/duik/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Duik&lt;/a&gt;.  It's brilliant but mind bendingly complicated. Character Animator is simpler.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-08-21T10:19:56.470" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28325" PostTypeId="1" CreationDate="2019-08-21T17:15:03.973" Score="1" ViewCount="929" Body="&lt;p&gt;I was reading YouTube Help &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;Recommended upload encoding settings&lt;/a&gt; page, and I found this command from a site &lt;a href=&quot;https://scribbleghost.net/2018/10/26/youtube-recommended-encoding-settings-for-ffmpeg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Youtube recommended encoding settings for FFmpeg&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -framerate 60 -i desktop -f dshow \&#xA;  -i audio=&quot;Microphone (2- Realtek Audio)&quot; -c:v libx264 -preset slow -crf 18 \&#xA;  -profile:v high -level 4.0 -pix_fmt yuv420p -bf 2 -coder 1 -b:v 15M -c:a aac \&#xA;  -ar 48000 -ac 2 -b:a 384k output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I modified the command to capture my desktop and microphone, but I was wondering if this is the best quality I can get or whether there are any improvements I can make. My goal is to get the best quality for a 1080p60 video.&lt;/p&gt;&#xA;" OwnerUserId="26043" LastEditorUserId="18155" LastEditDate="2019-08-22T11:15:26.913" LastActivityDate="2021-01-13T14:00:15.063" Title="FFmpeg : Desktop Recording for YouTube" Tags="|video|ffmpeg|youtube|recording|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28327" PostTypeId="2" ParentId="23371" CreationDate="2019-08-21T18:04:29.910" Score="0" Body="&lt;p&gt;To elaborate a little bit on why Character Animator is simpler: &#xA;It's an offshoot of After Effects made specifically to increase the workflow for 2D character animations. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With Character Animator, you build your puppet rigs in Photoshop or Illustrator (your choice) and import them live into the Character Animator environment. It certainly takes a little bit of time understanding the layer and grouping hierarchy required for certain behaviors to operate as intended - but there's a wealth of information out there on the subject. I'd recommend starting with the video below - but it's a complete walkthrough from initial concept to completion in Illustrator, Photoshop, Character Animator and After Effects with links to in-depth tutorials on specific details of Character Animator. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/MUtRnMMOTmo&quot; rel=&quot;nofollow noreferrer&quot;&gt;Complete Animation Workflow (Adobe Character Animator Tutorial)&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had worked with Character Animator and viewed other tutorials on this channel before seeing this one, but this tutorial is the whole package and I was able to put together some pretty impressive content after fully digesting this video. There certainly are limitations to this software - if you want to depict dynamic full-body motion, you might  use DUIK or RubberHose in After Effects for those portions and use Character Animator for character close-ups and composite your clips together later on. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Rigging walk cycles can be tedious - and  DUIK and Character Animator are working on tools to automate that process. &lt;/p&gt;&#xA;" OwnerUserId="23465" LastActivityDate="2019-08-21T18:04:29.910" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28328" PostTypeId="2" ParentId="28303" CreationDate="2019-08-21T18:10:05.367" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;If Facebook, YouTube and others video hosting sites re-encode all videos uploaded, is the codecs used still matter?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Both &lt;strong&gt;no&lt;/strong&gt; and &lt;strong&gt;yes&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Technically, &lt;strong&gt;no&lt;/strong&gt;, because they can handle most common formats and re-encode what you give it no matter the format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Practically, &lt;strong&gt;yes&lt;/strong&gt;, because you have to take into account your time, energy usage, and upload speed.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If I use h.264 codec with mp4 or MOV format as Facebook recommended, will it reduce or bypass the Facebook's video processing?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;No&lt;/strong&gt;. They almost certainly re-encode everything for consistency.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;If I use h.265 for smaller file size, will the viewers of my video save their mobile data usage?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If the quality between the two formats is the same, then the answer is &lt;strong&gt;no&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;What to do&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Because it appears you are re-encoding something that has already been losslessly compressed I recommend that you &lt;strong&gt;upload the original file and avoid the needless re-encoding step&lt;/strong&gt;. You'll save time and avoid &lt;a href=&quot;https://en.wikipedia.org/wiki/Generation_loss&quot; rel=&quot;nofollow noreferrer&quot;&gt;generation loss&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;If you have to re-encode&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;If you must re-encode, such as if the original was encoded inefficiently, or is too big to upload, or you want to modify the video (such as by using filters), then provide &quot;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264#a1.ChooseaCRFvalue&quot; rel=&quot;nofollow noreferrer&quot;&gt;visually lossless&lt;/a&gt;&quot; or as close to that as you can while still being practical to encode and upload. Avoid lossless as it will make a huge file.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-08-21T18:10:05.367" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28329" PostTypeId="2" ParentId="28325" CreationDate="2019-08-21T18:40:12.397" Score="1" Body="&lt;p&gt;Remove:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-profile:v high -level 4.0&lt;/code&gt; - You don't need to set a profile or level because you're not targeting any specific, limited, or outdated devices. These options don't matter because YouTube is going to re-encode whatever you give it and set its own profile and level.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-pix_fmt yuv420p&lt;/code&gt; - You can let YouTube deal with the pixel format.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-bf 2 -coder 1&lt;/code&gt; - These are already handled automatically by &lt;code&gt;-preset&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-b:v 15M&lt;/code&gt; - This is mutually exclusive with &lt;code&gt;-crf&lt;/code&gt;. Just use &lt;code&gt;-crf&lt;/code&gt; instead. It will let you set the quality instead of you trying to apply an arbitrary bitrate.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-ar 48000 -ac 2&lt;/code&gt; - No need to change the audio rate or channel layout. If you do what to change those do it via the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-devices.html#dshow&quot; rel=&quot;nofollow noreferrer&quot;&gt;dshow&lt;/a&gt; &lt;code&gt;-sample_rate&lt;/code&gt; and &lt;code&gt;-channels&lt;/code&gt; input options.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So your command can look like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -framerate 60 -i desktop -f dshow -i audio=&quot;Microphone (2- Realtek Audio)&quot; -c:v libx264rgb -preset slow -crf 18 -b:a 384k output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The input is RGB, so you can avoid the RGB to YUV conversion by using &lt;code&gt;-c:v libx264rgb&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;If your computer can handle it then consider using a slower &lt;code&gt;-preset&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;You can use flac or libopus for audio (change &lt;code&gt;output.mp4&lt;/code&gt; to &lt;code&gt;output.mkv&lt;/code&gt;), but for microphone it will hardly matter.&lt;/li&gt;&#xA;&lt;li&gt;You can try &lt;code&gt;-crf 17&lt;/code&gt; if you think you can see a difference. I wouldn't bother with the huge file increase from using lossless (&lt;code&gt;-crf 0&lt;/code&gt;).&lt;/li&gt;&#xA;&lt;li&gt;You can see if dshow is faster than gdigrab for &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Capture/Desktop#Windows&quot; rel=&quot;nofollow noreferrer&quot;&gt;capturing the desktop&lt;/a&gt;. I don't use Windows so I can't test for you.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Note that a non-FFmpeg based player may not be able to decode the file, but I'm fairly certain YouTube will have no issues with it.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-08-21T18:40:12.397" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28330" PostTypeId="2" ParentId="25537" CreationDate="2019-08-21T20:06:04.103" Score="1" Body="&lt;h1&gt;FFmpegYAG&lt;/h1&gt;&#xA;&lt;h3&gt;FFmpeg GUI for Linux &amp;amp; Windows&lt;/h3&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://sourceforge.net/projects/ffmpegyag/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://sourceforge.net/projects/ffmpegyag/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;~18mb&lt;/p&gt;&#xA;&lt;p&gt;I was looking for something to trim specific clips from my dashcam videos.  A lot of the &amp;quot;free&amp;quot; programs I found were trial versions or came with extra baggage.  When I realized that FFmpeg was a reputable engine that was capable of doing all the work, I decided I wanted to find a solution that worked with it.&lt;/p&gt;&#xA;&lt;p&gt;I have very limited experience with &lt;strong&gt;FmpegYAG&lt;/strong&gt;, but I was able to get it working after a few minutes of testing.  I can visually cue the onscreen video to the beginning and ending of the clip I want encode.  If you preview the video it will show a red &amp;quot;X&amp;quot; over the video that you have selected to exclude from encoding.&lt;/p&gt;&#xA;&lt;p&gt;I like that it can generate script files.  That allows me to see what commands it is sending to FFmpeg.  They script files have an extension of &lt;code&gt;.cmd&lt;/code&gt; but are equivalent to &lt;code&gt;.bat&lt;/code&gt; files.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qui1F.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qui1F.png&quot; alt=&quot;FFmpegYAG screen shot&quot; /&gt;&lt;/a&gt;&#xA;Note that if you select &lt;code&gt;copy&lt;/code&gt; as the Video Codec, the encoding is &lt;em&gt;extremely&lt;/em&gt; fast.&lt;/p&gt;&#xA;" OwnerUserId="26046" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-08-21T20:06:04.103" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28332" PostTypeId="1" CreationDate="2019-08-22T10:04:34.383" Score="0" ViewCount="617" Body="&lt;p&gt;I know you can change the timecode of a file with FFmpeg with the option &lt;code&gt;–timecode&lt;/code&gt;. This modifies the whole timecode of the file starting from the  &lt;code&gt;-timecode&lt;/code&gt; added. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you change the timecode with FFmpeg in the middle of the file? Jumping to another timecode (always in the future). This can be useful with the &lt;code&gt;–concat&lt;/code&gt; option. Merging a bunch of files into a unique file. Reflecting the actual time every isolated file was recorded.&lt;/p&gt;&#xA;" OwnerUserId="26051" LastEditorUserId="18155" LastEditDate="2019-08-22T15:33:53.910" LastActivityDate="2021-09-13T23:00:45.043" Title="Change the timecode with ffmpeg in the middle of the track?" Tags="|ffmpeg|timecode|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28333" PostTypeId="1" AcceptedAnswerId="28334" CreationDate="2019-08-22T13:45:20.303" Score="0" ViewCount="81" Body="&lt;p&gt;I'm using this to create a video from multiple sources. But, the output has only until &lt;code&gt;frames/300100.PNG&lt;/code&gt;. What should I change to make it encode all my inputs?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i body.mp3 &#xA;    -framerate 60 -loop 1 -t 16.368 -i frames/000000.PNG &#xA;    -i 1.mp4 -framerate 60 -loop 1 -t 3.959 -i frames/100100.PNG &#xA;    -i 2.mp4 -framerate 60 -loop 1 -t 6.574 -i frames/200100.PNG &#xA;    -i 3.mp4 -framerate 60 -loop 1 -t 5.134 -i frames/300100.PNG &#xA;    -i 4.mp4 -framerate 60 -loop 1 -t 4.559 -i frames/400100.PNG &#xA;    -i 5.mp4 -framerate 60 -loop 1 -t 5.351 -i frames/500100.PNG &#xA;    -i 6.mp4 -framerate 60 -loop 1 -t 4.390 -i frames/600100.PNG &#xA;    -i 7.mp4 -framerate 60 -loop 1 -t 8.950 -i frames/700100.PNG &#xA;-filter_complex &quot;[1][2][3][4][5][6][7]concat=n=7:v=1:a=0[v]&quot; &#xA;-map &quot;[v]&quot; -map 0:a -pix_fmt yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26031" LastActivityDate="2019-08-23T13:35:25.647" Title="ffmpeg script encoding only few inputs" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28334" PostTypeId="2" ParentId="28333" CreationDate="2019-08-22T14:12:38.743" Score="2" Body="&lt;p&gt;You have to feed all inputs to the concat filter, and set the correct number of inputs in &lt;code&gt;n&lt;/code&gt;. FFmpeg input index starts from 0. So the fifth input has an index of &lt;code&gt;4&lt;/code&gt; and would be fed as &lt;code&gt;[4]&lt;/code&gt; in the concat filter.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i body.mp3 &#xA;    -framerate 60 -loop 1 -t 16.368 -i frames/000000.PNG &#xA;    -i 1.mp4&#xA;    -framerate 60 -loop 1 -t 3.959 -i frames/100100.PNG &#xA;    -i 2.mp4&#xA;    -framerate 60 -loop 1 -t 6.574 -i frames/200100.PNG &#xA;    -i 3.mp4&#xA;    -framerate 60 -loop 1 -t 5.134 -i frames/300100.PNG &#xA;    -i 4.mp4&#xA;    -framerate 60 -loop 1 -t 4.559 -i frames/400100.PNG &#xA;    -i 5.mp4&#xA;    -framerate 60 -loop 1 -t 5.351 -i frames/500100.PNG &#xA;    -i 6.mp4&#xA;    -framerate 60 -loop 1 -t 4.390 -i frames/600100.PNG &#xA;    -i 7.mp4&#xA;    -framerate 60 -loop 1 -t 8.950 -i frames/700100.PNG &#xA;-filter_complex &quot;[1][2][3][4][5][6][7][8][9][10][11][12][13][14][15]concat=n=15:v=1:a=0[v]&quot; &#xA;-map &quot;[v]&quot; -map 0:a -pix_fmt yuv420p out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-08-22T14:12:38.743" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28335" PostTypeId="1" CreationDate="2019-08-23T03:02:31.397" Score="0" ViewCount="458" Body="&lt;p&gt;If I use Apple Compressor, I could just 'Send to Compressor', without first exporting a ProRes master.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I would like to use FFmpeg/x264 for better quality (at low bitrate).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I have to export the master first? It is 150 GB/hour and exceeds my remaining disk space. Or is there a 'streaming workflow'?&lt;/p&gt;&#xA;" OwnerUserId="26049" LastEditorUserId="18155" LastEditDate="2019-08-26T03:18:01.560" LastActivityDate="2024-01-02T11:03:00.303" Title="Final Cut output to FFmpeg workflow" Tags="|ffmpeg|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28336" PostTypeId="2" ParentId="28333" CreationDate="2019-08-23T11:27:18.523" Score="1" Body="&lt;p&gt;This is &lt;em&gt;not a new answer&lt;/em&gt; — this is only the &lt;em&gt;summary of the Gyan's answer:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;You have 16 inputs (16 times &lt;code&gt;-i&lt;/code&gt; options) but you enumerated only 7 of them in &lt;code&gt;[1][2][3][4][5][6][7]&lt;/code&gt; (and declared only 7 of them in &lt;code&gt;concat=n=7...,&lt;/code&gt;, too):&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex &quot;[1][2][3][4][5][6][7]concat=n=7:v=1:a=0[v]&quot; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So you effectively &lt;em&gt;excluded&lt;/em&gt; the first input &lt;code&gt;-i body.mp3&lt;/code&gt; with index 0 (which you wanted, because you used it as a background music), but &lt;em&gt;another 8 with indices 8 to 15, too (which you don't wanted).&lt;/em&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;The result is that the accepted inputs for the &lt;code&gt;concat&lt;/code&gt; filter are only from your lines&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-framerate 60 -loop 1 -t 16.368 -i frames/000000.PNG&#xA;-i 1.mp4 -framerate 60 -loop 1 -t 3.959 -i frames/100100.PNG &#xA;-i 2.mp4 -framerate 60 -loop 1 -t 6.574 -i frames/200100.PNG &#xA;-i 3.mp4 -framerate 60 -loop 1 -t 5.134 -i frames/300100.PNG &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(7 inputs; the first input &lt;code&gt;-i body.mp3&lt;/code&gt;is omitted.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is in concordance with the statement in your question. &lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-08-23T13:35:25.647" LastActivityDate="2019-08-23T13:35:25.647" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28337" PostTypeId="2" ParentId="28335" CreationDate="2019-08-23T17:17:57.730" Score="0" Body="&lt;p&gt;You could try and add your own share destination setting into FCPX.&#xA;Click on the Share button in FCPX, then in the opened share window click on 'Add Destination'. In the right half of the window, you see all the possible options. Click on 'Compressor Settings' and another window will open. You might find and can finetune one of these settings. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2019-08-23T17:17:57.730" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28340" PostTypeId="1" AcceptedAnswerId="28353" CreationDate="2019-08-23T20:52:53.073" Score="2" ViewCount="102" Body="&lt;p&gt;We have a 10+ year old ASL MR safe long range optics eye tracking system that sends a video of the eye to a control unit. The eye camera output port is standard BNC, but the female (?) input on the control side is not. A cord extends from the unit with an end that is much smaller, resembling a 5V power supply connection more than BNC or RCA. The tip of the connector has a white rim.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The cord is annotated &lt;code&gt;75 ohm coax 1030 AWM 1378 200&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;http://apps.usd.edu/coglab/schieber/docs/ASL6-CU.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;documented&lt;/a&gt; (&quot;camera in&quot;, pg14) port on the control unit (at the other end of our mystery cord) looks proprietary.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea what this connection is or what to use to adapt to BNC?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/q01vZ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/q01vZ.jpg&quot; alt=&quot;profile&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/h1tSo.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/h1tSo.jpg&quot; alt=&quot;facing&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Jj06n.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Jj06n.jpg&quot; alt=&quot;cord&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26071" LastActivityDate="2019-08-25T18:50:47.830" Title="Unknown coaxial cable female end. smaller than RCA or BNC. White rim" Tags="|hardware|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28341" PostTypeId="1" CreationDate="2019-08-24T10:33:19.940" Score="0" ViewCount="76" Body="&lt;p&gt;I’m working on a music video with some animated liquids  reared in cinema 4D that I want to integrate over the top of some love action footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I have been exporting the liquid animations from C4D with a transparent background and simply placing over the top of my footage in after effects but the results aren’t great, since this way there are no reflections or refractions occurring between the liquid and video footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know how to do this correctly to make the two elements feel genuinely integrated?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I be importing my video footage into c4d and exporting everything as one?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many thanks in advance!&lt;/p&gt;&#xA;" OwnerDisplayName="Ross Aitken" LastActivityDate="2021-05-26T22:00:15.050" Title="Any tips for compositing liquid materials over live action footage backgrounds - C4D &amp; After Effects" Tags="|animation|cinema4d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28342" PostTypeId="1" CreationDate="2019-08-24T16:15:48.233" Score="0" ViewCount="283" Body="&lt;p&gt;I am editing in Resolve, sometimes I am also just Color Grading in Resolve, so I need an intermediate Codec between Resolve and Adobe Media Encoder or Premiere Pro.&#xA;The size doesn't matter as much, as I can delete the intermediates afterwards, what is important is to keep the quality of the video on a high standard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I shoot in DCI4k and FHD in 12bit (per channel).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found that Cineform is recommended often, but is it wise to use Cineform as an intermediate when I don't export to an Apple Format afterwards?&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2024-01-02T08:03:05.337" Title="Intermediate Codec for Resolve to Adobe Mediaencoder or Premiere Pro" Tags="|codec|export|intermediate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28343" PostTypeId="1" AcceptedAnswerId="28346" CreationDate="2019-08-24T18:52:09.480" Score="1" ViewCount="2979" Body="&lt;p&gt;My server uses this command to stream a video (1280x544):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -i c:\ffmpeg\This.mp4 -vcodec copy -acodec copy -movflags faststart -f mpegts tcp://192.168.1.82:1234?listen&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now, I would like to reduce the original resolution while streaming. I tried this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -y -i this.mp4 -vf scale=&quot;480:-1&quot; this480.mp4 -vcodec copy -acodec copy -movflags faststart -f mpegts tcp://192.168.1.82:1235?listen&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but the resolution does not change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can this be done or I am asking the impossible? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="26079" LastActivityDate="2019-08-27T18:31:57.870" Title="Resize video while live streaming with ffmpeg" Tags="|ffmpeg|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28345" PostTypeId="1" AcceptedAnswerId="28357" CreationDate="2019-08-24T22:23:01.697" Score="1" ViewCount="576" Body="&lt;p&gt;I've been actively playing around with ffmpeg for the past few days, and now I want to make an audio visualiser, just with the &lt;code&gt;showwaves&lt;/code&gt; filter (I made it white using p2p mode, and I don't want to use a mode that would just fill the wave with white).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem with the showwaves filter is that it creates a very thin 1px line which makes it pretty hard to see when it varies really fast. At a low video bitrate it becomes almost invisible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I tried several ways to make this thin white line look thicker, including geq to increase alpha values, gblur+increasing contrast. For now I got the most &quot;satisfying&quot; results by making the size of the showwaves 10x smaller and then using scale to make it the size I want. But the result is very pixelated so that's not really suitable. I've also thought of duplicating the wave a lot and displacing the copies around but I don't think it would be very performance-friendly. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I was wondering whether there is anyway of adding some outline/glow/shadow/anything that would make this line look a bit thicker (like 5px would be enough), or anything else than showwaves that would somehow achieve what I'm looking for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="20352" LastEditorUserId="20352" LastEditDate="2019-08-24T22:32:03.063" LastActivityDate="2021-05-09T18:38:44.117" Title="ffmpeg - Make a white line look thicker" Tags="|ffmpeg|filter|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28346" PostTypeId="2" ParentId="28343" CreationDate="2019-08-24T22:34:27.543" Score="2" Body="&lt;p&gt;You wanted to resize your video (&lt;code&gt;-vf scale=&quot;480:-1&quot;&lt;/code&gt;), and at the same time you wanted don't to use a video codec for encoding such resized video (&lt;code&gt;-vcodec copy&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's impssible — video codec &lt;code&gt;copy&lt;/code&gt; means no decoding, no encoding, no filtering - simply &lt;em&gt;copying without any change.&lt;/em&gt; It is not a real codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try omitting &lt;code&gt;-vcodec copy&lt;/code&gt; to enable FFmpeg to choose an appropriate codec.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-08-27T18:31:57.870" LastActivityDate="2019-08-27T18:31:57.870" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28349" PostTypeId="1" CreationDate="2019-08-25T07:14:09.633" Score="2" ViewCount="271" Body="&lt;p&gt;I am trying to figure out how to create the effect of going into warp from the Star Trek tv shows like The Next Generation and so forth - the one where the ship stretches forward, blurs a bit and then disappears in a flash of light. I've been trying to find out if some guide exists online on how to do it, but haven't been able to find anything useful, so I was curious if there's anybody more experienced with After Effects who could push me in the right direction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a ship moving from the lower right corner of the screen to the upper left. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see an example of what I would like to accomplish on a video here: &lt;a href=&quot;https://www.youtube.com/watch?v=oED-4XX5PFk&quot; rel=&quot;nofollow noreferrer&quot;&gt;example&lt;/a&gt;. It is the white flash at the end of the video.&lt;/p&gt;&#xA;" OwnerUserId="26085" LastEditorUserId="26085" LastEditDate="2019-08-27T05:54:23.417" LastActivityDate="2024-01-05T13:04:50.567" Title="Creating the Star Trek warp effect in After Effects" Tags="|after-effects|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28352" PostTypeId="1" AcceptedAnswerId="28368" CreationDate="2019-08-25T15:34:37.820" Score="2" ViewCount="628" Body="&lt;p&gt;I'm trying to transition from Lightworks to Davinci Resolve. My question here is about the right way to sync 2 video clips and show them simultaneously.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my case I have a video of a sporting event and another video of the game clock. I want to crop the clock video and show it in the corner of the game video. Obviously getting them synced is important.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen how Davinci Resolve makes it very easy to create a Multicam clip and sync the angles. However that seems to work to show just one angle at a time, and I want to show both at the same time.  How do I accomplish this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bonus question - I want to cut out some spans of time in the game (timeouts, etc) which creates a challenge with the clock (at least in LW).  In LW I would sync both clips, then cut out time with them together so they stay synced. How do I do this in DR?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="26091" LastActivityDate="2019-08-31T20:36:27.760" Title="Sync picture in picture clips in Davinci Resolve" Tags="|sync|davinci-resolve|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28353" PostTypeId="2" ParentId="28340" CreationDate="2019-08-25T18:50:47.830" Score="2" Body="&lt;p&gt;That's a &lt;strong&gt;barrel connector&lt;/strong&gt;, as you say most often used for DC power connections. I doubt that it has an ideal impedance profile for 75 ohm video connections, but that probably doesn't matter in your case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Get the inner and outer dimensions using a micrometer, match it to one of the standard sizes like type N etc, and you can easily build your own adaptor. I don't think you're going to find anything off the shelf since the use is proprietary / non-standard.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2019-08-25T18:50:47.830" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28354" PostTypeId="2" ParentId="28332" CreationDate="2019-08-25T19:00:23.943" Score="1" Body="&lt;p&gt;Depending on your final use case, a non-standard way to deal with that would be to keep the original TC as LTC (audio TC) on an additional track. Concatenating clips would then preserve the original TCs on that separate track.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2019-08-25T19:00:23.943" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28355" PostTypeId="2" ParentId="28342" CreationDate="2019-08-26T01:58:26.167" Score="0" Body="&lt;p&gt;Cineform is fine, as is DNxHR and ProRes. There are advantages and disadvantages of each, but the final container format that you export to doesn't really affect that choice. When you edit the intermediate it is decoded into a raster that has whatever resolution and depth your editing software uses internally, but we can assume that it will be higher quality than the intermediate or final codec. Then that raster gets recompressed to the final export codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is possible that there are interactions between using one codec for intermediate and one for final export but they are going to be subtle, and assuming the quality of the codecs are roughly the same, whether it's better to use the same codec in and out or mix it up, is anyone's guess.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option is to change your workflow. There's a reason why colour grading was usually done last. Here's a suggested workflow:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Make a &quot;one-light&quot; grade of your raw footage—where you correct any obvious problems such as white balance and exposure, and apply any necessary LUTs if your camera uses a profile that needs correction.  It's called &quot;one light&quot; because you don't grade every shot, you just set a ballpark grade for each scene and apply it to everything. This shouldn't take too much of your time, you just want the footage to be usable for your edit.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now you export the output to Premiere, using an intermediate codec and importantly exporting as individual clips with the same file name as the original (but in a different location, obviously). This intermediate doesn't have to be at the highest settings, e.g. you can use 8-bit instead of 10 or 12 bit. This speeds up the edit process, because the files will be smaller, so it will be more responsive, with less rendering time etc.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Next do your cutting, lock off your pictures and export the timeline as XML. You can move or delete your intermediate files now, so that when you go back to resolve to do the grade you link back to your camera originals, at full quality. Now you do the proper grade, where you create the look you want, balance between shots, do any secondary grading, etc.. This way you get the best possible quality, without spending time grading footage that you end up not using in the edit.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-08-26T01:58:26.167" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28357" PostTypeId="2" ParentId="28345" CreationDate="2019-08-26T08:56:21.557" Score="2" Body="&lt;p&gt;Use one or more dilation filters after showwaves filter.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2019-08-26T08:56:21.557" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28358" PostTypeId="1" CreationDate="2019-08-26T09:39:27.373" Score="0" ViewCount="1102" Body="&lt;p&gt;It's a mov file. We use FFmpeg/FFprobe to process this file. There is a frame which is shown 'keyframe' (flags=K) in this file, but we found this frame is a non-IDR frame (only is I frame) using 264 stream analysis tool. Is it a bug of ffmpeg? How could we ensure the IDR frame? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;3450 is that frame.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/hmAGB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hmAGB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/R21Bj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/R21Bj.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a brief info from ffprobe.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '***.mov':&#xA;    Metadata:&#xA;      major_brand     : qt&#xA;      minor_version   : 537199360&#xA;      compatible_brands: qt&#xA;      creation_time   : 2015-08-05 14:23:07&#xA;    Duration: 00:07:36.69, start: 0.000000, bitrate: 6400 kb/s&#xA;      Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1920x1080p [SAR 1:1 DAR 16:9], 6009 kb/s, 29.97 fps (default)&#xA;      Metadata:&#xA;        handler_name    : Apple Alias Data Handler&#xA;        encoder         : H.264&#xA;      Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 192 kb/s (default)&#xA;      Metadata:&#xA;        handler_name    : Apple Alias Data Handler&#xA;      Stream #0:2(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 192 kb/s (default)&#xA;      Metadata:&#xA;        handler_name    : Apple Alias Data Handler&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="26095" LastEditorUserId="26095" LastEditDate="2019-08-26T09:54:38.363" LastActivityDate="2022-09-07T12:22:58.220" Title="FFmpeg identify non-IDR frame (I frame) as keyframe" Tags="|ffmpeg|keyframes|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="28360" PostTypeId="1" AcceptedAnswerId="28361" CreationDate="2019-08-26T13:57:08.220" Score="0" ViewCount="725" Body="&lt;p&gt;I am merging two mp4 files using hstack. I am using amix to merge the audio. Everything works perfectly. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I want that the hstacked videos should play sequentially, that is one after the other. Here is what I have done &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i left.mp4 -i right.mp4 -filter_complex [0:v]setpts=PTS-STARTPTS[l]; [1:v]setpts=PTS-STARTPTS+14/TB[r]; [l][r]hstack=inputs=2[stacked]; [0:a][1:a]amix=inputs=2[a] -map [stacked] -map [a] -c:a aac -preset superfast result.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In the above example, I tried to delay the play back of the video on the right by 14 seconds (which happens to be the length of the left video). In essence I want the left video to play first and after it finishes the left video should play.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I am getting instead from the command is, the left video remains still for 14 seconds with only displaying the first frame (the audio plays) and after 14 seconds the right video plays.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am at my wits end trying to figure it out. What am I doing wrong ?&lt;/p&gt;&#xA;" OwnerUserId="26098" LastActivityDate="2019-08-26T15:43:52.163" Title="Merging two videos with hstack and play them back sequentially" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28361" PostTypeId="2" ParentId="28360" CreationDate="2019-08-26T15:11:49.297" Score="0" Body="&lt;p&gt;The h/vstack filters are designed to pair frames so they will hold the first frame of an input if the other input isn't active. Use the tpad filter to add blank frames for the required duration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i left.mp4 -i right.mp4 -filter_complex [0:v]setpts=PTS-STARTPTS[l]; [1:v]setpts=PTS-STARTPTS,tpad=start_duration=14:start_mode=add:color=black[r]; [l][r]hstack=inputs=2[stacked]; [0:a][1:a]amix=inputs=2[a] -map [stacked] -map [a] -c:a aac -preset superfast result.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't have the tpad filter available, a slightly longer approach is to use the drawbox filter with ffmpeg 4.0+.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i left.mp4 -i right.mp4 -filter_complex [0:v]setpts=PTS-STARTPTS[l]; [1:v]setpts=PTS-STARTPTS,split[rb][rv];[rb]trim=0:14,drawbox=t=fill:c=black[rb];[rb][rv]concat=n=2:v=1:a0[r]; [l][r]hstack=inputs=2[stacked]; [0:a][1:a]amix=inputs=2[a] -map [stacked] -map [a] -c:a aac -preset superfast result.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-08-26T15:43:52.163" LastActivityDate="2019-08-26T15:43:52.163" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="28362" PostTypeId="1" AcceptedAnswerId="28363" CreationDate="2019-08-26T15:12:11.867" Score="2" ViewCount="3465" Body="&lt;p&gt;I need to transcode a video to another one with the following properties:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;GOP size is always fixed at a given value&lt;/li&gt;&#xA;&lt;li&gt;Only IDR frames are used as key-frames (not I-slices)&lt;/li&gt;&#xA;&lt;li&gt;SPS/PPS/VPS frames are repeated every time before the IDR frame.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Is there a way to do this with ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, it would be great if you can also tell me of a simple way of verifying all this (perhaps using ffprobe?).&lt;/p&gt;&#xA;" OwnerUserId="26100" LastActivityDate="2019-08-26T16:37:07.820" Title="ffmpeg/x265: fixed-GOP, IDR only keyframes, repeating headers" Tags="|ffmpeg|h265|hevc|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28363" PostTypeId="2" ParentId="28362" CreationDate="2019-08-26T16:37:07.820" Score="5" Body="&lt;p&gt;Minimal command line, for a GOP size of 2 seconds:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input -force_key_frames expr:gte(t,n_forced*2) -c:v libx265 -x265-params open-gop=0:scenecut=0:repeat-headers=1 output.hevc&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Verification:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i output.hevc -c copy -bsf:v trace_headers -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After each line containing key frame e.g.,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Packet: 18115 bytes, key frame, no pts, dts 2319977, duration 40000.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You should see the VPS/SPS/PPS. The first &lt;code&gt;Slice Segment Header&lt;/code&gt; that follows should have a NAL unit type of &lt;code&gt;20&lt;/code&gt; which is IDR_N_LP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffprobe can't invoke bitstream filters.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-08-26T16:37:07.820" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="28364" PostTypeId="1" CreationDate="2019-08-27T00:11:21.583" Score="0" ViewCount="107" Body="&lt;p&gt;So I want to start the film with a 2.35:1, and I want it to change to 16x9 during one take.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How can I do that?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I put black bars on it and remove them at the right moment?&#xA;Any help is much appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(my camera records at 16x9)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="24174" LastEditorUserId="24174" LastEditDate="2019-08-27T21:35:01.823" LastActivityDate="2024-02-04T11:03:10.493" Title="How to change the aspect ratio during the film" Tags="|aspect|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28366" PostTypeId="1" AcceptedAnswerId="28586" CreationDate="2019-08-27T00:47:23.893" Score="1" ViewCount="2376" Body="&lt;p&gt;I just recorded a 4k 60 fps clip from my GoPro and dropped it with some other clips on a timeline which is 23.976 fps, and the 60 fps clip looks really weird and glittery. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to play this real time without dropping frames? I'm using Adobe Premiere Pro. &lt;/p&gt;&#xA;" OwnerUserId="26106" LastEditorUserId="18155" LastEditDate="2019-08-27T19:49:19.110" LastActivityDate="2019-09-28T04:24:40.550" Title="Using 60 fps footage on 23.976 sequence without slowing down or dropping frames" Tags="|premiere|adobe|framerate|filming|adobe-media-encoder|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28367" PostTypeId="2" ParentId="15279" CreationDate="2019-08-27T00:52:22.293" Score="1" Body="&lt;p&gt;Try selecting your keyframes, right-clicking them, and clicking &quot;edit interpolation&quot;, then changing it from &quot;Bezier&quot; to &quot;linear&quot;, and all the variations therein.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also try making doubly sure that your keyframes are aligned properly on the timeline.&lt;/p&gt;&#xA;" OwnerUserId="26107" LastActivityDate="2019-08-27T00:52:22.293" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28368" PostTypeId="2" ParentId="28352" CreationDate="2019-08-27T03:10:07.137" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;I've seen how Davinci Resolve makes it very easy to create a Multicam&#xA;  clip and sync the angles. &lt;strong&gt;However that seems to work to show just one&lt;/strong&gt;&#xA;  angle at a time, and I want to show both at the same time. How do I&#xA;  accomplish this?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It does only show one angle at a time.  The way you accomplish it is to create two tracks on the timeline, drop an instance of the multicam on V1, duplicate that instance by alt/option dragging upwards to V2 (add shift after you start dragging to constrain the movement vertically, and to keep the clips synced temporally).  Then switch the angle of either one of them, so that V1 is showing angle A and V2 is showing angle B, for instance. Then adjust the transform and crop parameters on the topmost clip (V2) to expose the one underneath.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the bonus question, you can either be careful how you blade by making sure you have either both or neither clips selected when you hit command/control-B, or you can lasso-select the two clips, right-click, and select &quot;Link Clips&quot;, then make sure clip linking is on by toggling the chain link icon (cmd/ctrl+shift+L).  Clip linking lets you move clips as groups, blade them as groups, and displays a red frame offset badge if the clips accidentally loose sync.  I'm not sure how lightworks works, but it's very similar to Premiere and FCP7.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2019-08-27T03:10:07.137" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28369" PostTypeId="1" AcceptedAnswerId="28398" CreationDate="2019-08-27T07:16:33.260" Score="0" ViewCount="1448" Body="&lt;p&gt;I have an existing project in Adobe Premiere 2017 and I would like to import multiple clips in it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I already have the primary camera in sync with the Audio, and I would like to bring the secondary camera consisting of multiple clips which are not continous (there are time gaps between them).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By knowing that the video &lt;code&gt;123.MOV&lt;/code&gt; created at &lt;code&gt;1:39 PM&lt;/code&gt; should be at minute &lt;code&gt;7:55&lt;/code&gt; on my timeline, and after making sure it is in sync with the audio, I want the other ones to be set in sync as well, adding the timestamps between the &lt;code&gt;Created Date&lt;/code&gt; on the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not sure if Timecode helps here, but I am wondering if there is a way to &lt;strong&gt;import them in the project with the time gaps between them&lt;/strong&gt; and then I will be able to select them all and sync them at once.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do that?&lt;/p&gt;&#xA;" OwnerUserId="25852" LastActivityDate="2019-09-01T08:23:52.057" Title="How to distribute multiple clips on the timeline, by Date and the time of the first one?" Tags="|video|premiere|video-quality|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28370" PostTypeId="2" ParentId="28349" CreationDate="2019-08-27T07:46:28.180" Score="0" Body="&lt;p&gt;All that looks like to me is a simple lense-flare that got its opacity and scaling keyframed. Startrek used very cheap methods for vfx due to the limited budget, so I believe that you can find assets such as these online quite easily.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-08-27T07:46:28.180" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28371" PostTypeId="2" ParentId="28366" CreationDate="2019-08-27T07:49:37.320" Score="-1" Body="&lt;p&gt;Yes. Set your sequence to 60fps.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-08-27T07:49:37.320" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28372" PostTypeId="2" ParentId="28364" CreationDate="2019-08-27T07:52:58.837" Score="0" Body="&lt;p&gt;Putting black bars on the top and the bottom of your frame looks like you changed your aspect-ratio, but really you didn't. All you did was put black bars on top of a 16x9 video. One way of doing this is to record in 2.35:1 and slowly zoom into your footage until the left and right part is cut out. Alternatively, you can just put black bars on your footage but let me tell you from personal experience: any half-way trained eye will look at it and say yuck. &lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-08-27T07:52:58.837" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28373" PostTypeId="1" CreationDate="2019-08-27T14:28:00.893" Score="1" ViewCount="2257" Body="&lt;p&gt;I have a video clip of a number dial (think old style alarm clock) that I want to use to display scores on a scoreboard. The video clip shows the numbers flipping each second but I was planning on using the Retime Speed or Retime Frame curves to pause the clip, then restart it for 1 second each time a score is made.  It works great!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I cannot extend the duration of the video clip longer than the original source file (40s). As you can see in the image below, then trying to grab the right side of the clip and move right, it glows red (instead of green, which is does when moving the end of the clip forward or backwards less than 40 seconds.  Likewise, when I right-click and try to change the duration manually to 35 minutes, it doesn't work. No error, just doesn't extend.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One other thing - you can see in the test image below that I jump to only one of the middle frames by the end of the clip - there are many more frames left to be usable. I had thought that adding in this pause would allow me to extend the clip but it hasn't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both the &quot;Flip Clock&quot; video and the project are 29.97fps&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hWXwg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hWXwg.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26091" LastEditorUserId="14523" LastEditDate="2019-08-28T22:50:21.527" LastActivityDate="2021-06-23T03:09:35.920" Title="Extend video clip in Davinci Resolve that has been slowed down/paused" Tags="|davinci-resolve|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28374" PostTypeId="2" ParentId="28349" CreationDate="2019-08-28T05:37:03.743" Score="0" Body="&lt;p&gt;I would simply add a small circular shape layer with feathered edges, possibly with the size and shape of the path animated. Then I would add a vertical directional blur with animation on the size of the blur, then duplicate of the layer with a horizontal only blur and more with angled blurs until you get the right &quot;star&quot; effect. Depending on the effect you want you might need each blur on a separate layer, or you can stack the effects on a single layer. You might need to precomp them all and add curves or levels to adjust the brightness and colour of the whole thing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or if you want a one-stop-shop Red Giant's &lt;a href=&quot;https://www.redgiant.com/products/trapcode-starglow/&quot; rel=&quot;nofollow noreferrer&quot;&gt;StarGlow&lt;/a&gt; does this very well (it's a paid plugin).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-08-28T05:37:03.743" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28375" PostTypeId="1" AcceptedAnswerId="28377" CreationDate="2019-08-28T07:53:20.357" Score="0" ViewCount="348" Body="&lt;p&gt;I have a laptop with &lt;strong&gt;Intel i5&lt;/strong&gt; chipset and &lt;strong&gt;GeForce GTX 1050 Ti&lt;/strong&gt; GPU. Due to some work related reasons I still use Adobe After Effects CS6. Right now I am facing an issue with Raytracing in AfterEffects as it doesn't recognize my GPU. The GPU option is greyed out and I couldn't select it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Things I've tried so far :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Updated the Optix.dll file into a newer version(4.1). &lt;/li&gt;&#xA;&lt;li&gt;Added GPU name in raytracing supported cards list text file.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="26115" LastActivityDate="2019-08-28T12:54:39.973" Title="After Effects CS6 not recognizing GTX 1050 Ti GPU" Tags="|after-effects|adobe|nvidia|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28377" PostTypeId="2" ParentId="28375" CreationDate="2019-08-28T12:54:39.973" Score="1" Body="&lt;p&gt;Updating the Optix.dll to Optix.1.dll version 3.9.1 worked.&lt;/p&gt;&#xA;" OwnerUserId="26115" LastActivityDate="2019-08-28T12:54:39.973" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28379" PostTypeId="2" ParentId="28349" CreationDate="2019-08-28T20:10:49.277" Score="0" Body="&lt;p&gt;I took a look at Red Giant's StarGlow, as suggested by stib and it does look good. However, after some consideration, I decided to avoid buying another plugin and went for the quick and dirty solution - I reused the effect from a video I found online and since it was on black background, I had no trouble compositing it into my scene without problems, simply using the Add blending mode. &lt;/p&gt;&#xA;" OwnerUserId="26085" LastActivityDate="2019-08-28T20:10:49.277" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28381" PostTypeId="1" AcceptedAnswerId="28382" CreationDate="2019-08-29T03:03:11.230" Score="1" ViewCount="5862" Body="&lt;h2&gt;Problem&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I want to convert the MOV file containing the separated FL/FR audio streams to MP4 file, transcoding the video to h264 and the audio to AAC.&#xA;However, it fails with the following error:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;[aac @ 0x7ff515000c00] Unsupported channel layout &quot;1 channels (FL)&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The source video and command what I used is as the following section.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;How To Reproduce&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Download &lt;code&gt;ticket1474.mov&lt;/code&gt; as the source from &lt;a href=&quot;https://trac.ffmpeg.org/ticket/1474&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/ticket/1474&lt;/a&gt;, &#xA;this source contains the following streams:&#xA;(The streams in issue are #0:1 and #0:2)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    Stream #0:0(eng): Video: mpeg2video (Main) (xdvf / 0x66766478), yuv420p(tv, bt709, progressive), 1920x1080 [SAR 1:1 DAR 16:9], 34801 kb/s, 29.97 fps, 29.97 tbr, 2997 tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2012-06-19T21:18:43.000000Z&#xA;      handler_name    : Apple Video Media Handler&#xA;      encoder         : XDCAM EX 1080p30 (35 Mb/s VBR)&#xA;      timecode        : 00:00:00;00&#xA;    Stream #0:1(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, 1 channels (FL), s16, 768 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2012-06-19T21:18:43.000000Z&#xA;      handler_name    : Apple Sound Media Handler&#xA;    Stream #0:2(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, 1 channels (FR), s16, 768 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2012-06-19T21:18:43.000000Z&#xA;      handler_name    : Apple Sound Media Handler&#xA;    Stream #0:3(eng): Data: none (tmcd / 0x64636D74)&#xA;    Metadata:&#xA;      creation_time   : 2012-06-19T21:18:43.000000Z&#xA;      handler_name    : Time Code Media Handler&#xA;      reel_name       : Untitled&#xA;      timecode        : 00:00:00;00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then run the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i ticket1474.mov -b:a 128k -map 0 -y sample.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You'll get the following error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;(snip)&#xA;&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (mpeg2video (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; aac (native))&#xA;  Stream #0:2 -&amp;gt; #0:2 (pcm_s16le (native) -&amp;gt; aac (native))&#xA;  Stream #0:3 -&amp;gt; #0:3 (copy)&#xA;&#xA;(snip)&#xA;&#xA;[aac @ 0x7ffbd203e400] Unsupported channel layout &quot;1 channels (FL)&quot;&#xA;Error initializing output stream 0:1 -- Error while opening encoder for output stream #0:1 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;ffmpeg Version&lt;/h2&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -v&#xA;ffmpeg version N-93875-gc2771bbf81-tessus &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note: Stable version (ffmpeg-4.2) also fails.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;What I Tried (Converting FL/FR streams to dual mono channel)&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I guessed the problem can be solved if I could convert FL/FR streams to dual mono streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I couldn't find the appropriate usage of ffmpeg for such scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command I have tried is the following which also failed: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i ticket1474.mov -b:a 128k -filter_complex '[0:1]pan=mono|FC=FL[mono];[0:2]pan=mono|FC=FR[mono]' -y sample.mp4&#xA;&#xA;(snip)&#xA;&#xA;Filter pan has an unconnected output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="6187" LastActivityDate="2019-08-29T09:22:59.517" Title="ffmpeg: How to fix `Unsupported channel layout &quot;1 channels (FL)&quot; error`, when I convert the source containing separated FL/FR audio streams?" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28382" PostTypeId="2" ParentId="28381" CreationDate="2019-08-29T09:22:59.517" Score="3" Body="&lt;p&gt;No need to use pan filter, you can reassign channel layout using the channelmap filter.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ticket1474.mov -af channelmap=0 -b:a 128k -map 0:v -map 0:a -y sample.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#channelmap&quot; rel=&quot;nofollow noreferrer&quot;&gt;docs&lt;/a&gt; for channelmap filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've skipped mapping the timecode track. ffmpeg will set it as metadata in the input file, and the MP4 muxer will pick it up from there.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-08-29T09:22:59.517" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28383" PostTypeId="1" CreationDate="2019-08-29T11:40:35.147" Score="0" ViewCount="34" Body="&lt;p&gt;I have a composition which is a union of 2 composition, and I want to add a snapshot from the composition to the beginning of it - is there any shortcut for it? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried searching for it Google but did not find relevant results.&lt;/p&gt;&#xA;" OwnerUserId="26131" LastEditorUserId="18155" LastEditDate="2019-09-03T12:34:54.863" LastActivityDate="2020-01-31T14:02:30.347" Title="How to add an image from the video to the beginning of composition? (Just an image, not a clip)" Tags="|video|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28384" PostTypeId="1" CreationDate="2019-08-29T14:12:04.870" Score="2" ViewCount="1435" Body="&lt;p&gt;I have a stream (rtmp) and I would like to generate some subtitles for it(based on what's happened on stream). I can generate it like a pipe, or some other way. I use script like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for i in $(seq -f &quot;%02g&quot; 0 20); do echo &quot;&#xA;00:00:$i,000 --&amp;gt; 00:00:$i,999&#xA;caption $i&#xA;&quot;; sleep 1; done | ffmpeg -nostdin \&#xA;-i &quot;rtmp://domain.com/streamName live=1&quot; \&#xA;-f srt -re -i - \&#xA;-c copy \&#xA;-c:s text \&#xA;-flush_packets 1 -f flv rtmp://output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the first part of a script is create a pipe with actually subs, pipe it to ffmpeg, and ffmpeg should merge subs with the stream.&#xA;The point is that ffmpeg starts generating output only after the pipe is closed, and subtitles generation is ended.&#xA;Is it possible to force ffmpeg start generation of output as soon as first lines in pipe appears?&lt;/p&gt;&#xA;" OwnerUserId="25955" LastActivityDate="2019-08-29T14:12:04.870" Title="Make ffmpeg read subtitles as stream" Tags="|ffmpeg|subtitles|.srt|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="28385" PostTypeId="1" AcceptedAnswerId="28386" CreationDate="2019-08-30T01:16:32.200" Score="0" ViewCount="362" Body="&lt;p&gt;I want to make a video play at 75% speed, so I used the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i combinedfullspeed.mp4 \&#xA;   -filter_complex &quot;[0:v]setpts=1.25*PTS[v];[0:a]atempo=0.75[a]&quot; \&#xA;   -map &quot;[v]&quot; -map &quot;[a]&quot; slow3.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, the video and audio are way out of sync. Any idea why?&lt;/p&gt;&#xA;" OwnerUserId="26137" LastEditorUserId="18155" LastEditDate="2019-09-02T19:13:32.827" LastActivityDate="2019-09-02T19:13:32.827" Title="Audio and Video out of sync when slowing down" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28386" PostTypeId="2" ParentId="28385" CreationDate="2019-08-30T05:04:40.783" Score="2" Body="&lt;p&gt;The reciprocal of 75% i.e. 0.75 is 4/3 or 1.3333, so&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i combinedfullspeed.mp4 -filter_complex &quot;[0:v]setpts=(4/3)*PTS[v];[0:a]atempo=0.75[a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; slow3.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-08-30T05:04:40.783" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28387" PostTypeId="1" AcceptedAnswerId="28391" CreationDate="2019-08-30T15:59:11.393" Score="0" ViewCount="182" Body="&lt;p&gt;I've just installed after effects and I would like to learn it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I click the play button, it seems like it starts to render so the frame rate is very low ( one frame per many seconds) and the the whole interface is laggy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After rendering few frames, I don't remember what I really did but I clicked the play button again and the video was played smoothly. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I clicked the play button again and it became laggy one more time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think the preview process should be different from the rendering process in After Effects (just like 3D max or any other similar software. There is a 3D view port that doesn't render the exact materials and lighting). The two processes are separated to make the play/pauses fast. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know how do people use after effects with this mixed (Rendering &amp;amp; Preview) processes? Of course, I know that there is a method to get around it and I'm missing it. I would appreciate it if you give it to me.  &lt;/p&gt;&#xA;" OwnerUserId="23237" LastActivityDate="2019-08-31T23:59:00.700" Title="Play is sometimes very slow and other times it's very fast in After effects. Why?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28388" PostTypeId="2" ParentId="18375" CreationDate="2019-08-30T19:54:08.280" Score="0" Body="&lt;p&gt;See the &lt;code&gt;-report&lt;/code&gt; option. From the manpages:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;-report&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Dump full command line and console output to a file named &quot;&lt;em&gt;program-YYYYMMDD-HHMMSS.log&lt;/em&gt;&quot; in the current directory.  This file can be useful for bug reports.  It also implies &quot;&lt;code&gt;-loglevel verbose&lt;/code&gt;&quot;.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Setting the environment variable &lt;code&gt;FFREPORT&lt;/code&gt; to any value has the same effect. If the value is a '&lt;code&gt;:&lt;/code&gt;'-separated &lt;em&gt;key&lt;/em&gt;&lt;code&gt;=&lt;/code&gt;&lt;em&gt;value&lt;/em&gt; sequence, these options will affect the report; option values must be escaped if they contain special characters or the options delimiter '&lt;code&gt;:&lt;/code&gt;' (see the ``Quoting and escaping'' section in the ffmpeg-utils manual).&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;The following options are recognized:&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;file&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;set the file name to use for the report; &lt;code&gt;%p&lt;/code&gt; is expanded to the name of the program, &lt;code&gt;%t&lt;/code&gt; is expanded to a timestamp, &quot;&lt;code&gt;%%&lt;/code&gt;&quot; is expanded to a plain &quot;&lt;code&gt;%&lt;/code&gt;&quot;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;strong&gt;level&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;set the log verbosity level using a numerical value (see &quot;&lt;code&gt;-loglevel&lt;/code&gt;&quot;).&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;For example, to output a report to a file named &lt;strong&gt;ffreport.log&lt;/strong&gt; using a log level of &lt;strong&gt;32&lt;/strong&gt; (alias for log level &quot;&lt;code&gt;info&lt;/code&gt;&quot;):&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;&lt;code&gt;FFREPORT=file=ffreport.log:level=32 ffmpeg -i input output&lt;/code&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Errors in parsing the environment variable are not fatal, and will not appear in the report.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Combine with &lt;code&gt;-stats&lt;/code&gt; and your one &lt;code&gt;| head -n 2 | tail -n 1&lt;/code&gt; to go:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;-stats (global)&lt;/strong&gt;&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Print encoding progress/statistics. It is on by default, to explicitly disable it you need to specify &quot;&lt;code&gt;-nostats&lt;/code&gt;&quot;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If you have trouble with its progress bar, which uses &lt;code&gt;\r&lt;/code&gt; to rewrite the same line, you can &lt;code&gt;ffmpeg -stats ... 2&amp;gt;&amp;amp;1 | tr \\r \\n&lt;/code&gt; to head&amp;amp;tail.&lt;/p&gt;&#xA;" OwnerUserId="26141" LastActivityDate="2019-08-30T19:54:08.280" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28389" PostTypeId="1" CreationDate="2019-08-30T17:57:27.863" Score="1" ViewCount="17" Body="&lt;p&gt;I've just installed after effects and I would like to learn it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I click the play button, it seems like it starts to render so the frame rate is very low ( one frame per many seconds) and the the whole interface is laggy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After rendering few frames, I don't remember what I really did but I clicked the play button again and the video was played smoothly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I clicked the play button again and it became laggy one more time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think the preview process should be different from the rendering process in After Effects (just like 3D max or any other similar software. There is a 3D view port that doesn't render the exact materials and lighting). The two processes are separated to make the play/pauses fast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know how do people use after effects with this mixed (Rendering &amp;amp; Preview) processes? Of course, I know that there is a method to get around it and I'm missing it. I would appreciate it if you give it to me.&lt;/p&gt;&#xA;" OwnerUserId="23237" OwnerDisplayName="user2824371" LastEditorUserId="17390" LastEditDate="2019-09-29T02:39:54.233" LastActivityDate="2019-09-29T02:39:54.233" Title="Play is sometimes very slow and other times it's very fast in After effects. Why?" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ClosedDate="2019-08-31T09:43:06.907" ContentLicense="CC BY-SA 4.0" />
  <row Id="28390" PostTypeId="2" ParentId="26102" CreationDate="2019-08-30T22:20:26.437" Score="2" Body="&lt;p&gt;It does work with &lt;a href=&quot;https://gopro.com/en/us/shop/softwareandapp/quik-%7C-desktop/Quik-Desktop.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;GoPro Quik&lt;/a&gt; software and I also found that my &lt;a href=&quot;https://www.android.com/filetransfer/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Android File Transfer&lt;/a&gt; software picked it up and showed me the SD card as a filesystem I could copy files from just like it would my phone.&lt;/p&gt;&#xA;" OwnerUserId="26143" LastActivityDate="2019-08-30T22:20:26.437" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28391" PostTypeId="2" ParentId="28387" CreationDate="2019-08-31T10:34:13.090" Score="2" Body="&lt;p&gt;You've answered your own question; when you preview in After Effects it renders first, then plays back. The default setting is that if you hit &lt;kbd&gt;numpad-0&lt;/kbd&gt; to initiate a preview it will render the frames it can until it either fills up the available RAM, gets to the end of the preview area (work area or end of comp), or you hit &lt;kbd&gt;numpad-0&lt;/kbd&gt; again, at which time it will play back from RAM, theoretically much faster.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In recent iterations of the software, the playback performance has got significantly &lt;em&gt;worse&lt;/em&gt;. I don't know why AE can't easily play back even UHD previews from RAM or even from disc at real time or faster, just like every other free media player app can. You get better playback performance if you have a comp dynamically linked in Premiere, it makes no sense. Unfortunately that's just the way it is, and the only thing you can do about it is learn Nuke, Fusion or Blender. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some tips for better real-time playback: updating the UI seems to take an inordinate amount of processing power. So having things like the graph editor, Lumetri scopes or even just the timeline visible while previewing will slow it down. I work on two monitors, and if I can't get real-time playback I will maximise (&lt;kbd&gt;~&lt;/kbd&gt;) a window that doesn't get refreshed during playback, like the tools window, so that it fills the entire monitor, and that improves performance dramatically. Also making sure the comp window is zoomed to 100% will help, and if that doesn't work, lowering the preview resolution &lt;kbd&gt;ctrl / ⌘&lt;/kbd&gt;&lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;j&lt;/kbd&gt; to half or quarter &lt;kbd&gt;ctrl / ⌘&lt;/kbd&gt;&lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;alt&lt;/kbd&gt;&lt;kbd&gt;j&lt;/kbd&gt; will speed things up.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-08-31T23:59:00.700" LastActivityDate="2019-08-31T23:59:00.700" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28392" PostTypeId="2" ParentId="28383" CreationDate="2019-08-31T10:40:12.903" Score="1" Body="&lt;p&gt;In the menu (at the top or by right-clicking a layer) choose &lt;strong&gt;Layer&gt;Time&gt;Freeze Frame&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adobe have a user's guide, it's a good place to start. &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/time-stretching-time-remapping.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Read more here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-08-31T10:40:12.903" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28393" PostTypeId="2" ParentId="22334" CreationDate="2019-08-31T18:12:09.127" Score="0" Body="&lt;p&gt;The tracker is designed to track whatever you put inside the tracker's window.  It doesn't matter whether you want to track something in the middle of your frame or on the edge.  All that matters to the tracker is that it can &quot;see&quot; enough detail of whatever it's being told to track that it can lock on it in the various dimensions it can track: pan, tilt, rotate, zoom, and 3d perspective.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your background looks really tricky to track because it's very low contrast (relatively speaking).  You could dramatically boost the contrast of your background, for the purpose of building a good track, then use that tracker data on the non-contrast-enhanced image.  Just use a square or a circle over a small but distinct area you want to track and it should be good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;BTW, now you know why people who need to do VFX use &lt;a href=&quot;https://24liespersecond.com/VFX-Tracking-Markers&quot; rel=&quot;nofollow noreferrer&quot;&gt;Tracking Markers&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2019-08-31T18:12:09.127" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28394" PostTypeId="2" ParentId="22418" CreationDate="2019-08-31T19:32:46.433" Score="0" Body="&lt;p&gt;The video transform tools in the edit page inspector window (zoom, position, etc) actually translate directly to the color page in the &quot;Edit Sizing&quot; window.  In your screenshot your color page is showing the input sizing window, which instructs resolve how to scale the image as part of the input process (very front end of the image processing pipeline).  If you place your mouse over the Input Sizing menu item, you'll see that there is also edit sizing (inspector on edit page), node sizing (associated specifically with the node you have selected in the color page), output sizing (how things get sent to video monitors), and reference sizing (lets you reposition/scale an image when using the wipe function to compare two clips in the color page).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2019-08-31T19:32:46.433" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28395" PostTypeId="2" ParentId="28373" CreationDate="2019-08-31T19:45:26.977" Score="1" Body="&lt;p&gt;If you use Retime Speed instead of Retime Frame, the clip can be extended.  Retime Frame gives you the ability to arbitrarily access the source media according to the curve, but there's no concept of time stretching--the clip in the timeline has a fixed amount of time and the only variable is what frame to play at a given time.  Retime Speed controls the concept of time.  If you slow the speed down to 50%, you get 100% more time for your clip to play.  When you slow the speed down to 0%, you get infinite time to play your clip (and interesting edge conditions--so keep it to something like 1%).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2019-08-31T19:45:26.977" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28396" PostTypeId="2" ParentId="28244" CreationDate="2019-08-31T20:06:24.873" Score="0" Body="&lt;p&gt;The true source of a &quot;cinematic&quot; or &quot;filmic&quot; look comes from a well-executed lighting plan, which usually includes a concept of white, black, and mid-tone points within the scene, logical contrast ratios and illumination for key elements, elimination of extraneous details that distract from the filmic elements you really want people to pay attention to, color palette, motivated lighting, and potentially atmospherics (haze, fog, dust, rain, snow, etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With that in mind, think of 20 films that YOU think are cinematic.  Select a few screenshots from each of those films.  Look at both the aesthetics of each shot, but also look at each shot using a variety of video scopes, such as a waveform monitor, RGB parade, histogram, vector scope, video false color, etc.  Notice the relationships between what draws your eye aesthetically and the ways in which those elements relate to each other in terms of exposure, contrast, color, color complementarity.  Notice also the values of those things that don't specifically draw your eye--the background, the framing devices, etc., that point to, but are not themselves, the key points of interest.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you begin to see the patterns of what makes images &quot;pop&quot; or not, you will begin to see the elements that work for you and the elements that work against you.  When you find yourself shooting a scene which has an interesting subject, but which is lit or cluttered in a way that it will never stand out, you'll know its time to use the ultimate photographer's tool--the feet--to move yourself or move your subject to a better vantage point.  When you find yourself shooting a scene which has a subject nicely contextualized by the background, lit in a way that makes it pop, etc., then you have something worth trying to grade.  And then you can creatively decide just how much you want to accentuate all the good things that made the image work in the first place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Three books by Ansel Adams are worth reading: The Camera, The Negative, and The Print.  His techniques that range from visualization to final display remain valid in a world of video and color grading.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2019-08-31T20:06:24.873" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28397" PostTypeId="2" ParentId="28352" CreationDate="2019-08-31T20:36:27.760" Score="0" Body="&lt;p&gt;The above answer is not technically wrong, but it's probably not the right way to think about solving the problem.  The general idea of a multicam clip is that you want to switch from one view to another view to another view.  Each camera is a valid view and interchangeable with one another AS A VIEW.  Cutting back and forth between a player and the clock is a great example of switching views.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The general idea of a compositing digital video editor is that you can build a final image from layers of video, text, graphics, etc.  And you can even use such things for controlling effects like keys, transitions, etc.  Very cool!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the idea is to have one clip function as a picture-in-picture view of a clock, then the idea of using a multicam clip as the source for that clock is kinda wonky: why have a multicam clip whose job is merely to select precisely a single view?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your footage of the event is continuous (and even multi-camera), then that would make for a good baseline track, such as Video Track 1 (V1).  Place the footage of the clock on V2, aligning it so that it is synchronized with the video in V1.  Initially, V2 will completely cover the video of V1, giving you a very exciting view of just the clock for the whole duration of the game.  Using the Inspector in the edit window, scale the clock to the size of the picture-in-picture view you want (using the Zoom controls), but don't adjust its location with Position X and Position Y.  Rather, adjust its location with Anchor X and Anchor Y.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you have the clock where you want it to becreate a compound clip consisting of the clock clip and the action clip (which might be a multicam clip if you have a multicamera recording crew).  Now you can edit the compound clip, cutting out all the boring parts.  You might decide that you don't want the clock on all the time, only at certain times.  You can edit the compound clip, making cuts to define the regions where you don't want the clock to show.  Or making cuts where you want only the clock to show--full size.  If you want a full-sized clock, make cuts so you can select the part of the clock clip you want to be full-sized.  Set the zoom factor to 1.0 and the clock will magically fill the screen in the center (because you used the Anchor XY instead of Position XY controls).&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2019-08-31T20:36:27.760" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28398" PostTypeId="2" ParentId="28369" CreationDate="2019-09-01T08:23:52.057" Score="1" Body="&lt;p&gt;In Davinci Resolve, I would solve this problem by creating a multicam clip using Timecode as the method for synchronization and keeping clips organized by camera.  This will create a multicam clip with only a single camera, but each clip spaced out according to its timecode.  If you like, the multicam clip can then be decomposed in place and converted into a compound clip, preserving the spacing between the video clips.  You can then place the single compound clip to start at 7:55 and all the rest of the clips inside the compound clip (or multicam clip if you didn't convert to compound clip) should line up as expected.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2019-09-01T08:23:52.057" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28400" PostTypeId="1" AcceptedAnswerId="28423" CreationDate="2019-09-01T14:18:46.543" Score="1" ViewCount="45500" Body="&lt;p&gt;I've made a basic animation where an element quickly changes position multiple times, e.g:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Top left corner&lt;/li&gt;&#xA;&lt;li&gt;Middle&lt;/li&gt;&#xA;&lt;li&gt;Top left corner&lt;/li&gt;&#xA;&lt;li&gt;Bottom right corner&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I'm trying to duplicate these keyframes a couple times so that the animation lasts longer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to do this? I've read up on copying / pasting keyframes to &lt;em&gt;different layers&lt;/em&gt;, but I can't find a way to paste them onto the same layer&lt;/p&gt;&#xA;" OwnerDisplayName="user26151" LastActivityDate="2019-09-04T05:49:02.693" Title="Duplicating keyframes in After Effects" Tags="|after-effects|animation|keyframes|motion-graphics|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28402" PostTypeId="2" ParentId="28167" CreationDate="2019-09-02T01:11:46.710" Score="0" Body="&lt;p&gt;I certainly agree that you don't have enough free disk space if you haven't moved the cache drive.  Ideally it should be a large, very fast (SSD or NVME) drive with as much space as possible free.  I use a striped 512 GB NVME array for mine personally.  The exact sizes and speeds you need depend on the type of media you are working with (I work with 4k RAW video, so I need extremely high data rates.)  With just 1080p h264 files, I'd probably just recommend a standard SSD with about 100GB of space for a cache drive.  More size is always better, but you shouldn't really need faster than a single, independent SSD for compressed h.264, especially on such an old CPU.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That leads to the second point, there's no reason your CPU shouldn't be able to crank through it eventually, but a 2.3 ghz quad core is pretty limited on it's own without using GPU acceleration as well, depending on how long your total video is.  If you have a decent GPU, you'll want to make sure the GPU acceleration is enabled so that a lot of the processing load can be shifted to the GPU and drastically increase performance.  If you don't have a GPU, you may want to consider investing in one since it would bring a pretty substantial improvement in processing to such a relatively slow CPU based rig.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For comparison, I used a 2.93ghz quad core i7 from around the same time period with a GTX 980 and later a GTX 1080 for supporting 1080 processing and it did a pretty good job, but when it really fell down on dealing with 4k well.  With the GPU it could still get through at a few frames a second for basic stuff, but it wasn't a pleasant experience to work with.  You're dealing with a CPU that is about 25-30% slower than my CPU was and you haven't mentioned any GPU acceleration, so I'd expect things to be a bit bumpy, especially if you are getting more advanced with what it is doing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;GPU acceleration should make it an acceptable experience for 1080p, but certainly expect to need an upgrade before you attempt to tackle 4k.&lt;/p&gt;&#xA;" OwnerUserId="2836" LastActivityDate="2019-09-02T01:11:46.710" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28403" PostTypeId="2" ParentId="28400" CreationDate="2019-09-02T14:02:16.283" Score="0" Body="&lt;p&gt;You can easily copy and paste keyframes in AfterEffects:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;In any non-empty composition, select a property of any layer (e.g. position), and click the stop watch to create a keyframe at the current time.&lt;/li&gt;&#xA;&lt;li&gt;Move the cursor/indicator to another time. Click the keyframe icon left next to the stop watch to add another keyframe.&lt;/li&gt;&#xA;&lt;li&gt;Create as many keyframes as you like.&lt;/li&gt;&#xA;&lt;li&gt;To copy one or multiple keyframes, select them on the timeline and press &lt;code&gt;Ctrl+C&lt;/code&gt; / &lt;code&gt;Cmd+C&lt;/code&gt;. (You might want to open hidden properties first in order to see the keyframes, or press &lt;code&gt;U&lt;/code&gt; to open/close the keyframes of the current selection.)&lt;/li&gt;&#xA;&lt;li&gt;To paste keyframes, select a property (e.g. position) of any layer on your timeline (it can be the same layer), place the cursor/indicator where you want the first keyframe to appear, and press &lt;code&gt;Ctrl+V&lt;/code&gt; / &lt;code&gt;Cmd+V&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;You can copy &amp;amp; paste keyframes of several attributes (e.g. position, scale and rotation) from one layer to another in one go. To do this, select all keyframes of one layer, press &lt;code&gt;Ctrl+C&lt;/code&gt; / &lt;code&gt;Cmd+C&lt;/code&gt;, then select one or more other layers and press &lt;code&gt;Ctrl+V&lt;/code&gt; / &lt;code&gt;Cmd+V&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Pasting from one property to another doesn't always make sense, e.g. you cannot paste position keyframes into the scale property. AE will complain with an error message.&lt;/li&gt;&#xA;&lt;li&gt;Some other properties allow even more flexible copy &amp;amp; pasting, e.g. you can copy a mask path and paste it into another object's position. This is useful if you want to have an object follow a mask path.&lt;/li&gt;&#xA;&lt;li&gt;Related: You can select several keyframes at once and scale them on the timeline by pressing &lt;code&gt;Alt&lt;/code&gt; and dragging.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="4590" LastActivityDate="2019-09-02T14:02:16.283" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28404" PostTypeId="1" CreationDate="2019-09-02T14:14:38.243" Score="0" ViewCount="1768" Body="&lt;p&gt;I know it is possible to download playlist and concatenate it on the fly with something like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -protocol_whitelist &quot;file,http,https,tls,tcp&quot; -i input.m3u8 -codec copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But I need to get all playlist files separated. Is there a ffmpeg option for that?&lt;/p&gt;&#xA;" OwnerUserId="26157" LastActivityDate="2021-09-27T08:08:05.700" Title="Is it possible to download m3u8 as separate files using ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28407" PostTypeId="1" AcceptedAnswerId="28452" CreationDate="2019-09-02T22:44:42.043" Score="1" ViewCount="2063" Body="&lt;p&gt;Due to a bug with Nvidia Shadowplay, I have a bunch of videos that &lt;a href=&quot;https://gfycat.com/uglymerryarctichare&quot; rel=&quot;nofollow noreferrer&quot;&gt;look like this&lt;/a&gt;.  A bunch of random frames have been replaced with pure black frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to fix one of these videos to remove the flickering.  I saw an answer &lt;a href=&quot;https://video.stackexchange.com/questions/23589/replace-black-frames-with-previous-frames&quot;&gt;here&lt;/a&gt; which suggests the following ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf blackframe=0,metadata=select:key=lavfi.blackframe.pblack:value=50:function=less -vsync cfr -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, this replaces all the black frames with the most recent non-black frame, which makes the video look like a slideshow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to use a similar ffmpeg command (or any other tool) to use motion interpolation to fix the missing frames?&lt;/p&gt;&#xA;" OwnerUserId="43" LastActivityDate="2019-09-08T03:50:53.860" Title="Replace all completely black frames with interpolated frames" Tags="|ffmpeg|video-editor|software-recommendation|filter|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28408" PostTypeId="1" AcceptedAnswerId="28411" CreationDate="2019-09-03T09:13:28.360" Score="2" ViewCount="4017" Body="&lt;p&gt;I need to use ffmpeg with very large images (32768x16384).&#xA;When I try to read such an image I get the error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Picture size 32768x16384 is invalid&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It it does not matter what operation I want to do on the image (like scaling, v360 cutout etc.) it already fails at the read-in stage.&#xA;I tried JPG and PNG as input formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Full log with demonstration operation (scale 32k to 16k)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;E:\XXX\Pipeline&amp;gt;&quot;E:\XXX\Pipeline\bin\ffmpeg.exe&quot; -y -i E:\XXX\Pipeline\calibration_sphere32k.jpg -vf scale=16384:-2 &quot;calibration_sphere32k_scaled.jpg&quot;&#xA;ffmpeg version N-94664-g0821bc4eee Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 9.1.1 (GCC) 20190807&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt&#xA;  libavutil      56. 33.100 / 56. 33.100&#xA;  libavcodec     58. 55.101 / 58. 55.101&#xA;  libavformat    58. 31.104 / 58. 31.104&#xA;  libavdevice    58.  9.100 / 58.  9.100&#xA;  libavfilter     7. 58.101 /  7. 58.101&#xA;  libswscale      5.  6.100 /  5.  6.100&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;  libpostproc    55.  6.100 / 55.  6.100&#xA;[mjpeg @ 000001eefc88ab80] [IMGUTILS @ 000000acfa1fef30] Picture size 32768x16384 is invalid&#xA;[image2 @ 000001eefc878740] decoding for stream 0 failed&#xA;[image2 @ 000001eefc878740] Could not find codec parameters for stream 0 (Video: mjpeg (Baseline), none(bt470bg/unknown/unknown)): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, image2, from 'E:\XXX\Pipeline\calibration_sphere32k.jpg':&#xA;  Duration: 00:00:00.04, start: 0.000000, bitrate: 20939328 kb/s&#xA;    Stream #0:0: Video: mjpeg (Baseline), none(bt470bg/unknown/unknown), 25 tbr, 25 tbn, 25 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (mjpeg (native) -&amp;gt; mjpeg (native))&#xA;Press [q] to stop, [?] for help&#xA;[mjpeg @ 000001eefc88d3c0] [IMGUTILS @ 000000acfa1ff050] Picture size 32768x16384 is invalid&#xA;Error while decoding stream #0:0: Invalid data found when processing input&#xA;Cannot determine format of input stream 0:0 after EOF&#xA;Error marking filters as finished&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;&#xA;Found out, that the maximum horizontal resolution is: 22976.&#xA;This is a very odd number.&lt;/p&gt;&#xA;" OwnerUserId="25610" LastEditorUserId="25610" LastEditDate="2019-09-03T10:38:55.530" LastActivityDate="2022-12-15T13:28:43.717" Title="How to fix: ffmpeg: Picture size 32768x16384 is invalid?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28410" PostTypeId="1" AcceptedAnswerId="29958" CreationDate="2019-09-03T12:34:30.870" Score="0" ViewCount="23" Body="&lt;p&gt;I have recorded some 4K videos as MP4 file on Panasonic VX878 and 9xx. Both produce a video which, when played in VLC or other player on Linux, has 3 tiles: 2 next to each other horizontally at the top 20 % of the canvas, both displaying the actual video, and the rest displays the 1st second of the video, looping.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wonder where is the issue: In the player on in the camera? When I played the video in the camcoder's playback, it looked fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/a7m05.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/a7m05.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14588" LastEditorUserId="14588" LastEditDate="2019-09-22T01:47:15.113" LastActivityDate="2020-04-14T23:55:54.963" Title="4K video from Panasonic VC8xx broken?" Tags="|playback|4k|formats|panasonic|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28411" PostTypeId="2" ParentId="28408" CreationDate="2019-09-03T13:44:46.937" Score="3" Body="&lt;p&gt;The general limiting rule is &lt;code&gt;((Width * 8) + 1024)*(Height + 128) &amp;lt; INT_MAX&lt;/code&gt;. The rationale being, that all pixels of an image plane should be accessible using a signed integer index.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On a machine with 32-bit integers, INT MAX is 2147483647.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, &lt;code&gt;((32768 * 8) + 1024)*(16384 + 128) = 4345430016&lt;/code&gt; which is &lt;code&gt;&amp;gt; 2147483647&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, it's possible there is a bug with the image size check, in that the factor 8 applied to the width is prematurely applied in most cases and can be skipped. You can raise a ticket at trac.ffmpeg.org if you want to explore that possibility. Else, you'll need to use another tool (maybe Imagemagick).&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-09-03T13:44:46.937" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28412" PostTypeId="2" ParentId="25213" CreationDate="2019-09-03T14:26:59.180" Score="-2" Body="&lt;pre&gt;&lt;code&gt;-map 0:v \&#xA;-map 0:1 -metadata:s:a:0 language=zxx \&#xA;-map 0:2 -metadata:s:a:1 language=eng \&#xA;-map 0:3 -metadata:s:a:2 language=fra \&#xA;-map 0:4 -metadata:s:a:3 language=kin&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26168" LastEditorUserId="18155" LastEditDate="2020-01-07T22:24:24.797" LastActivityDate="2020-01-07T22:24:24.797" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28413" PostTypeId="1" AcceptedAnswerId="28420" CreationDate="2019-09-03T16:18:45.663" Score="0" ViewCount="3540" Body="&lt;p&gt;So I have been looking for an answer for long and have not found any. I want to view multiple video tracks separately. The idea is that I have video sources from multiple cameras, I want to sync them in the timeline, each one in separate track, but then I want to see them all at the same time for me to decide which clip from which camera I use in the final product. I would like to use it for 2 to 4 cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently running Resolve 15 and I am aware of Resolve 16 having new &quot;Cut&quot; workspace but I have not tested it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have any ideas how to do this in Resolve I would be very grateful. However, a working, easy to use, third party program would be also appreciated.&lt;/p&gt;&#xA;" OwnerUserId="26170" LastActivityDate="2019-09-03T20:29:06.077" Title="DaVinci Resolve 15 view multiple tracks at once" Tags="|davinci-resolve|playback|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28417" PostTypeId="1" AcceptedAnswerId="28418" CreationDate="2019-09-03T18:50:16.443" Score="2" ViewCount="1585" Body="&lt;p&gt;I have an ffmpeg newbie question, I am extracting keyframes from streams using this command:&#xA;&lt;code&gt;ffmpeg -skip_frame nokey -i {0} -vsync 0 -r 30 -f image2 keyframe-%09d.jpeg&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, instead of an auto-incrementing counter, I would like to save by frame &lt;code&gt;pts&lt;/code&gt;. for example keyframe-0003456.jpg as the pts. How can I mod the command?&lt;/p&gt;&#xA;" OwnerUserId="26173" LastActivityDate="2019-09-03T19:23:51.920" Title="ffmpeg: keyframe extraction with pts" Tags="|video|ffmpeg|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28418" PostTypeId="2" ParentId="28417" CreationDate="2019-09-03T19:23:51.920" Score="3" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -copyts -skip_frame nokey -i {0} -vsync 0 -r 1000 -f image2 -frame_pts 1 keyframe-%09d.jpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will print the pts as milliseconds in the filename.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-09-03T19:23:51.920" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28419" PostTypeId="2" ParentId="28404" CreationDate="2019-09-03T19:50:43.603" Score="1" Body="&lt;p&gt;Maybe I misunderstood the question.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Do you want to download each segment in the playlist as an mp4?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;if you know the length of time of the segments, you could do** &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i  'https://example.com/hls/index.m3u8 \&#xA;-f segment -segment_time 10  -c copy  -y out%03d.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;just match the segment time.&lt;/p&gt;&#xA;" OwnerUserId="26160" LastEditorUserId="26160" LastEditDate="2019-09-08T03:14:40.253" LastActivityDate="2019-09-08T03:14:40.253" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28420" PostTypeId="2" ParentId="28413" CreationDate="2019-09-03T20:29:06.077" Score="3" Body="&lt;p&gt;This is what the Multi-Cam feature is for. You can see this Tutorial: &lt;a href=&quot;https://www.youtube.com/watch?v=4T0hz5Upk7o&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to use Multicam in Resolve&lt;/a&gt; in it, you can preview all cameras at once. Keep in mind that this is quite perfomance intensif. Make sure to use Proxy to improve performance.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-09-03T20:29:06.077" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28421" PostTypeId="1" CreationDate="2019-09-03T22:36:36.680" Score="1" ViewCount="21" Body="&lt;p&gt;We've got these rack mounted video transmission units in a server/equipment room, and they're labeled &quot;The Fox dBm Digital Broadband Multiplexer&quot;, but I cannot find a single relevant Google result for this product.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as I can tell, they convert analog video to some digital format for transmission over fiber optic lines, then back to analog at the receiving end.  They were installed c. 2001.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any information would be helpful, because we've got a few cameras that are having degraded quality and we need to start troubleshooting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what they look like:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/2is1n.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2is1n.jpg&quot; alt=&quot;Logo&quot;&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/dZR1f.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dZR1f.jpg&quot; alt=&quot;Front of rack&quot;&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/vsgvm.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vsgvm.jpg&quot; alt=&quot;Back of rack&quot;&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/1LLl9.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1LLl9.jpg&quot; alt=&quot;Back of rack closeup&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26175" LastActivityDate="2019-09-03T22:36:36.680" Title="Can anyone help me identify the manufacturer of this video equipment?" Tags="|hardware|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28422" PostTypeId="2" ParentId="3121" CreationDate="2019-09-04T01:06:57.663" Score="2" Body="&lt;p&gt;I would personally use After Effects, but that's because it's what I have/know. If you don't want to take the purple pill (it's a questionable life decision, let's face it) there's heaps of other software you could use, but three free ones are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://blender.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;Blender&lt;/strong&gt;&lt;/a&gt; a FOSS 3D animation package that also does 2D and even traditional hand drawn animation, as well as editing video and bringing you cups of tea.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://natrongithub.github.io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;Natron&lt;/strong&gt;&lt;/a&gt; another FOSS alternative, still in its early days as a stable package, probably the closest FOSS software to After Effects, although being node based, it's really more like…&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://www.blackmagicdesign.com/products/fusion/&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;Fusion&lt;/strong&gt;&lt;/a&gt; a professional level node based compositor, similar to After Effects, but completely different. There is a free version of this which is well worth having, as well as a commercial one.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-09-04T01:06:57.663" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28423" PostTypeId="2" ParentId="28400" CreationDate="2019-09-04T05:49:02.693" Score="2" Body="&lt;ol&gt;&#xA;&lt;li&gt;Click the layer were your made the keyframes&lt;/li&gt;&#xA;&lt;li&gt;Press U or P to reveal the keyframes&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Highlight the keyframes. You will know it's highlighted since the color of the keyframes is colored blue(see screenshot below)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/6HWKu.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6HWKu.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;CTRL + C to copy the keyframes&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;Move your time indicator to the next time you wanted&lt;/li&gt;&#xA;&lt;li&gt;CTRL + V to paste the keyframe&#xA;Note: You need to properly copy the Start and End of the keyframe so that you won't mess up the animation&#xA;&lt;a href=&quot;https://i.stack.imgur.com/39OVW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/39OVW.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="16727" LastActivityDate="2019-09-04T05:49:02.693" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28424" PostTypeId="2" ParentId="3121" CreationDate="2019-09-04T09:00:32.347" Score="1" Body="&lt;p&gt;My two cents on this oldie question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Watching the animation (not necessarily for text only) we can notice that it is playing with the 3 basic elements for motion graphics, translation, scale, and rotation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although some parts could be achieved by scaling and translations, a camera movement outside the plane would make life easier.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would categorize the programs that can achieve these effects in:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Animation software&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Already mentioned, a great option and free is Blender. It is a 3D program for animations, but a 2D animation can be easily done just preparing flat elements with the correct material.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also use more expensive ones like C4D, or the ones from Autodesk.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are several programs that are used for dedicated 2D character animations, and any of them can be used for this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are programs made for web animations, but normally for small clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Compositing&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Normally the effects shown in the video are done on either an animation program or a composting one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another free program but quite interesting is HitFilm Express, that has both, a video editing and a composting module.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Video Editing&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video software is evolving, and some have some built-in options to translate, scale and rotate elements. Lately, I am playing a bit with these options on Davinci Resolve. &#xA;But I would leave this to the previous ones. A nice point tho is that Fusion, already mentioned too, is integrated inside Davinci Resolve.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-04T09:00:32.347" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28425" PostTypeId="2" ParentId="27901" CreationDate="2019-09-04T09:30:49.473" Score="1" Body="&lt;p&gt;In my opinion, you need two programs to achieve that. It is quite simple btw.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First, a program to prepare the assets, let's say, you already have a map, but you now need to prepare the &quot;road&quot; over the map.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For this part, you can use for example Inkscape (to make the roads as a vector line), then you need to export the two versions of the map, one clean, and the other with the road.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And second... Any video editor that has transitions!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you pay attention, you can simulate the road being drawn with a simple wipe. The first example can be done with a wipe from left to right (or the other way around, depending on the trip)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The third video can be done using a radial wipe, or even just a dissolve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are several free programs that can do this and more refined effects. Blender, Davinci Resolve, Hit Film.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One interesting option is Open Shot, which is also free, but you can have &quot;personalized transitions. It uses grayscale images to define where the transition is coming and going, so you can make a more acurate animation of the path.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-04T09:30:49.473" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28427" PostTypeId="1" AcceptedAnswerId="28552" CreationDate="2019-09-04T13:28:55.497" Score="1" ViewCount="1587" Body="&lt;p&gt;I have several long video files that I need to edit (remove some initial parts, breaks and dead moments) and I always got errors when I try to save / export the edited file in mp4. The&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;pcm_f32le: codec not currently supported in container mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;message shows when I try to save the edited file in VirtualDub2 (the original file was converted from wmv by VirtualDub2). I can edit an avi file (with 4:26 minutes and 914 Mb) but the edited avi is bigger (3:22 minutes and 2.3 Gb).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have several Webex sessions (each with 4 – 5 hours) in arf and wmv format (I export using cisco Network Recording Player application).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The WMV files have the ASF (Active Streaming Format) container format, video 1440×768, 25 fps wmv3 video codec, yuv420p, 1000 Kb/sec bitrate. The audio is in stereo s16p, 44.100 Hz, 1152 kb/sec bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also can convert the files with VirtualDub2 to mpg4 or Xvid minconverter to avi.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use VirtualDub2, the mp4 have the QuickTime/Mov container format, video 1440×768, with h264 video codec, 2.29 fps average, yuv420p (709) and the aac audio codec, stereo fltp, 33 kHz, 50 kb/sec bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use Xvid, the avi (Audio Video Interleaved) container have video 1440×768, mpeg4 video codec, yuv420p, 5 fps and mp3 audio, stereo s16p, 44.100 Hz, 128 kb/sec bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The unedited video export sizes are similar:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;304 Mb arf is converted in a 801 Mb wmv that is compressed into a 509 mb avi or a 506 mb mp4 file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is wrong? What settings / log files should i preset/check/validate?&lt;/p&gt;&#xA;" OwnerUserId="19847" LastEditorUserId="18155" LastEditDate="2019-09-06T09:53:54.457" LastActivityDate="2024-02-09T15:50:07.177" Title="error editing a long video using VirtualDub2" Tags="|video-editor|mp4|compression|avi|virtualdub|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28428" PostTypeId="2" ParentId="28341" CreationDate="2019-09-04T18:07:01.250" Score="1" Body="&lt;p&gt;Capture a spherical high-dynamic range image on set from the location where the liquid will appear.  You can use either a mirror ball, 360º camera, or stitch together a panorama from multiple images.  Then, use the image in the luminance channel of a material, drop the material on a sky object, and place the sky object in your Cinema scene.  You'll probably want to make use of the &quot;compositing&quot; tag on your scene elements to help control what appears in your render passes (which is where you'll find the object buffer).  You can set up global illumination to cast light from the sky object if you want, but if all you're looking for is transparency, refraction, and reflection, you don't need to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can experiment with the HDRi textures already included with C4D, and practice compositing the rendered image before you go to all the trouble of setting up an actual light probe.  Just search for &quot;HDR&quot; in the content browser and pick something similar to your scene.  Often, you can get away with using these built-in ones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll also want to experiment with the render settings to get something usable in your compositing app.  At minimum, you're going to need an alpha channel of some sort, you can use an object buffer to isolate where your liquid is, but you'll also need transparency, diffuse, specular, reflections, and more, depending on how you go about compositing the image.  Much of the specifics will depend on the input image, the liquid you're trying to simulate, your compositing software, and the desired end result.  Experiment, watch internet tutorials, and ask experts for specific advice whenever you get stuck.  Good luck!&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2019-09-04T18:14:28.350" LastActivityDate="2019-09-04T18:14:28.350" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28430" PostTypeId="2" ParentId="28407" CreationDate="2019-09-04T23:56:30.107" Score="0" Body="&lt;p&gt;Not sure about FFMPEG, but it wouldn't hurt to try the free version of DaVinci Resolve.  From page 1351 of the user manual (yes, quite TLDR):&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;RepairFrame, Tween&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;The Tween and Repair Frame nodes are different from&#xA;standard optical flow nodes because they have the OpticalFlow analysis&#xA;and motion vector generation built in. Tween will compare two frames&#xA;and create an in-between frame, which is good for recreating a missing&#xA;or flawed frame. Repair Frame will look at frames on either side of&#xA;the current frame and repair scratches, dust marks, and so on. Because&#xA;these nodes work with flow values between non-sequential frames, they&#xA;cannot use the optical flow stored in the input image’s&#xA;Vector/BackVector channels, but rather must regenerate the flow of&#xA;each frame, do their processing, and then destroy the flow channels.&#xA;This being the case, these nodes are computationally expensive. For&#xA;more information on Tween or Repair Frame see the Nodes Reference&#xA;guide.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-09-04T23:56:30.107" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28431" PostTypeId="2" ParentId="24637" CreationDate="2019-09-05T07:25:35.643" Score="0" Body="&lt;p&gt;Redgiant has a plugin that automatically does that for you. It is not free but will save you a lot of valuable time. Here's the link to it:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.redgiant.com/products/shooter-pluraleyes/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.redgiant.com/products/shooter-pluraleyes/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-09-05T07:25:35.643" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28432" PostTypeId="2" ParentId="28407" CreationDate="2019-09-05T11:40:14.313" Score="1" Body="&lt;p&gt;After removing the black frames, you can insert the framerate filter to fill the gaps with blended frames.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf blackframe=0,metadata=select:key=lavfi.blackframe.pblack:value=50:function=less,framerate=fps=60000/1001 -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See docs for framerate filter. The filter will produce a CFR stream so vsync is not required.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-09-05T11:40:14.313" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28433" PostTypeId="1" CreationDate="2019-09-05T15:46:53.517" Score="-1" ViewCount="1007" Body="&lt;p&gt;Before the invention of the CCD, how were analog video images captured? Specifically, what process occurred between the optics of the camera, and the resulting analog electrical signal (not necessarily ready to transmit)?  &lt;/p&gt;&#xA;" OwnerUserId="23208" LastEditorUserId="27164" LastEditDate="2019-12-22T21:00:51.633" LastActivityDate="2019-12-22T21:00:51.633" Title="How exactly did analog TV cameras work?" Tags="|camera|television|" AnswerCount="1" CommentCount="1" ClosedDate="2019-09-05T18:31:26.970" ContentLicense="CC BY-SA 4.0" />
  <row Id="28434" PostTypeId="2" ParentId="28433" CreationDate="2019-09-05T16:20:07.077" Score="1" Body="&lt;p&gt;They didn't need tape if they were transmitting live. They simply sent the signals to a radio transmitter, or to tape for recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is how television and video worked for nearly 80 years before digital video came along.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd suggest reading the Wikipedeia pages on &lt;a href=&quot;https://en.wikipedia.org/wiki/Video&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video&lt;/a&gt; and the &lt;a href=&quot;https://en.wikipedia.org/wiki/History_of_television&quot; rel=&quot;nofollow noreferrer&quot;&gt;History of Television&lt;/a&gt; as a starter. &lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2019-09-05T16:20:07.077" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28435" PostTypeId="1" AcceptedAnswerId="28436" CreationDate="2019-09-05T17:13:37.417" Score="0" ViewCount="2170" Body="&lt;p&gt;I am running FFMPEG on a Windows 10 (64-bit) laptop with Intel i3 (6th generation) processor and AMD R5 M430 GPU.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I shot many videos on a recent trip. Cumulatively, they are over 100 hours long. Each video occupies 2-3 GB minimum and is at least 1 hour long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to trim 2-4 videos and then concatenate them into one single file. This operation needs to be performed for all these videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right now, I am trimming individual videos using the following command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg.exe -i &quot;INPUT_VIDEO&quot; -ss START_TIME -to END_TIME -c copy &quot;OUTPUT_VIDEO&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And then I concatenate the videos using this command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg.exe -f concat -safe 0 -i VideosToBeConcatenated.txt -c copy &quot;CONCATENATED_OUTPUT_VIDEO&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;VideosToBeConcatenated.txt&lt;/code&gt; contains the file names of the videos to be concatenated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Running these commands in a single Command Window gives me a speed of 20-25x. Running them in two Command Windows simultaneously drops the speed to 10-12x, while also making my system lag/freeze.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way I could use my GPU to speed up these operation? Say, using the i3's Quicksync or R5's AMF/VCE?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried using &lt;code&gt;-hwaccel dxva2&lt;/code&gt; in the above mentioned commands as follows:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg.exe -hwaccel dxva2 -i &quot;INPUT_VIDEO&quot; -ss START_TIME -to END_TIME -c copy &quot;OUTPUT_VIDEO&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg.exe -hwaccel dxva2 -f concat -safe 0 -i VideosToBeConcatenated.txt -c copy &quot;CONCATENATED_OUTPUT_VIDEO&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, I don't notice any increase in speed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also set &lt;code&gt;ffmpeg.exe&lt;/code&gt; and &lt;code&gt;cmd.exe&lt;/code&gt; to &quot;High Performance&quot; in the AMD Switchable   Graphics settings. But the in-built Switchable Graphics Monitor suggests that neither of the processes are using the dGPU.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way I could use my GPUs (i3's Quicksync or R5's AMF/VCE) to speed up these operation &lt;strong&gt;without compromising the quality of the output videos&lt;/strong&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[Edit:] I am trying to make sense of &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Hardware/QuickSync&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFMPEG's Quicksync documentation&lt;/a&gt; but it's too mature for an amateur like me. &lt;/p&gt;&#xA;" OwnerUserId="25772" LastEditorUserId="25772" LastEditDate="2019-09-05T17:29:16.013" LastActivityDate="2019-09-05T17:41:13.433" Title="How to use hardware acceleration with FFMPEG for trimming and concatenation purposes" Tags="|ffmpeg|encoding|hardware|windows|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28436" PostTypeId="2" ParentId="28435" CreationDate="2019-09-05T17:41:13.433" Score="1" Body="&lt;p&gt;Since you are using &lt;code&gt;-c copy&lt;/code&gt; in your commands, there is no decoding, filtering or encoding taking place and so hardware acceleration isn't relevant at all. The main bottleneck is disk I/O. On a regular internal HDD (with a 3rd gen CPU) I get speeds of 400x so I suspect you're reading or writing to an external drive. Or your internal drive could be slow, have a smaller cache. The biggest boost will come from writing to a different drive than the drive on which the inputs reside, with ideally both drives being internal.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-09-05T17:41:13.433" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28438" PostTypeId="1" CreationDate="2019-09-05T23:03:29.150" Score="1" ViewCount="847" Body="&lt;p&gt;I'm attempt to livestream from a 2016 MacBook Pro, but for some reason Wirecast (12.2.1) crashes. It doesn't matter what I'm doing, it only stays open for a couple of minutes, then it just completely closes.&lt;/p&gt;&#xA;" OwnerUserId="14060" LastActivityDate="2022-01-24T01:03:15.363" Title="How do I prevent Wirecast from crashing?" Tags="|streaming|software|live|mac|obs|" AnswerCount="1" CommentCount="5" ClosedDate="2022-01-24T18:11:19.000" ContentLicense="CC BY-SA 4.0" />
  <row Id="28443" PostTypeId="2" ParentId="28438" CreationDate="2019-09-06T16:59:54.680" Score="0" Body="&lt;p&gt;If you have an external monitor, try unplugging it and loading up Wirecast.  Some people have reported too much video resources being in use cause problems.&lt;/p&gt;&#xA;" OwnerUserId="23117" LastActivityDate="2019-09-06T16:59:54.680" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28444" PostTypeId="2" ParentId="26398" CreationDate="2019-09-06T17:02:13.240" Score="1" Body="&lt;p&gt;Don't overlook paid sites, I formerly used Lynda.com, purchased by LinkedIn a few years back, and they have pro grade video &amp;amp; photography courses.  Keep in mind that framing, composition, and lighting are the same for both photo and video.&lt;/p&gt;&#xA;" OwnerUserId="23117" LastActivityDate="2019-09-06T17:02:13.240" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28445" PostTypeId="1" AcceptedAnswerId="28471" CreationDate="2019-09-07T13:35:56.473" Score="1" ViewCount="32" Body="&lt;p&gt;Can someone help me identify what kind of stock footage is &lt;a href=&quot;https://imgur.com/a/4BxgvmR&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;, I wish to swap out the text and the image on the stage for someone else. Is it green screen footage or an opener? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where can I get similar footage? I have had a google and to be honest I dont know what to google green screen stage footage?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be greatly appreciated :)&lt;/p&gt;&#xA;" OwnerUserId="26190" LastActivityDate="2019-09-09T21:36:47.620" Title="What kind of footage is this and where can I get it?" Tags="|greenscreen|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28446" PostTypeId="1" CreationDate="2019-09-07T14:58:09.470" Score="0" ViewCount="823" Body="&lt;p&gt;I am setting up a Raspberry Pi with a USB webcam to use as a dashcam. The code is as follows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#!/usr/bin/env python&#xA;&#xA;import subprocess&#xA;import datetime&#xA;import os&#xA;&#xA;ROOT_PATH = os.getenv(&quot;ROOT_PATH&quot;, &quot;/home/pi&quot;)&#xA;RECORDINGS_PATH = os.getenv(&quot;RECORDINGS_PATH&quot;, &quot;recordings&quot;)&#xA;DATE_FMT = &quot;%Y_%m_%d_%H_%M_%S&quot;&#xA;SEGMENT_TIME = 30&#xA;ENCODING = os.getenv(&quot;ENCODING&quot;, &quot;copy&quot;)&#xA;&#xA;os.mkdir(RECORDINGS_PATH)&#xA;&#xA;new_dir = datetime.datetime.now().strftime(DATE_FMT)&#xA;recording_path = os.path.join(ROOT_PATH, RECORDINGS_PATH, new_dir)&#xA;os.mkdir(recording_path)&#xA;&#xA;segments_path = os.path.join(recording_path, &quot;%03d.avi&quot;)&#xA;&#xA;command = &quot;ffmpeg -i /dev/video0 -c:v {} -an -sn -dn -segment_time {} -f segment {}&quot;.format(ENCODING, SEGMENT_TIME, segments_path)&#xA;&#xA;subprocess.call(command, shell=True)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;From: &lt;a href=&quot;https://era86.github.io/2018/04/10/pi-zero-w-usb-dashcam.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://era86.github.io/2018/04/10/pi-zero-w-usb-dashcam.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It works fine for about 2 minutes and then ffmpeg crashes with the following error:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/a4FLO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/a4FLO.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Any ideas why?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="26205" LastActivityDate="2019-09-07T17:58:21.073" Title="Recording webcam video - ffmpeg - error" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28448" PostTypeId="2" ParentId="28446" CreationDate="2019-09-07T17:58:21.073" Score="2" Body="&lt;p&gt;You're saving to AVI which doesn't truly support variable frame rates so ffmpeg writes empty packets to emulate it. Apparently, the time base chosen is very fine and so ffmpeg has to write many skip packets (can't confirm since there's no log). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For segments, you should save to &lt;code&gt;.ts&lt;/code&gt; or &lt;code&gt;.mp4&lt;/code&gt; or &lt;code&gt;.mkv&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-09-07T17:58:21.073" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28449" PostTypeId="2" ParentId="28194" CreationDate="2019-09-07T18:08:14.337" Score="3" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Do people use screen recording? If they do, will that include sound?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Definitely not in a professional setting. If you're making an amateur production, and you only need a few seconds or so, a screen capture would be fine to cut a bunch of work time. If the vid is only a few minutes long, downloading it is probably just as fast. Many screen capture programs can record system sound, so you're covered there. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Do they actually download whole youtube videos to disk just to get a quote or something on 2 seconds included in their project?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;In a professional production, yes, every time. Always work from the closest you can get to the source file, despite file size or download times. That's just a pain of the industry. There's several good tools available, but done of them are spammy and on the ad/malware side of things. Use your best judgement before you install anything. YouTube-DL is good, but it's a CLI, so you might find the learning curve frustrating. Some videos can be download via YouTube settings, but it's an opt-in option, so it's rarely available. I don't have this need pretty much ever, so I'm not up to speed on the best way to rip internet videos. &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Do they just input an url and select a start and an end and then have it automatically added to the timeline (being able to drag start and stop timestamps afterwards)?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I don't know any video editing programs that can do this, but I bet there's a few. However, consider what the program had to do behind the scenes. It downloads the videos anyway, so this would only be a slight convenience over downloading yourself. &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I'll reiterate the other answer's legal concerns. Every jurisdiction I know has a &quot;fair use&quot; law for exactly things like this. Short quotes to build on your own work is understood virtually everywhere as legal. My rule of thumb has always been 30 seconds or less.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2019-09-07T18:08:14.337" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28450" PostTypeId="1" CreationDate="2019-09-07T18:53:46.227" Score="3" ViewCount="1015" Body="&lt;p&gt;I'm trying to record segments using a webcam and save these segments with a lower fps. I've tried this command, but it keeps giving me an error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f v4l2 -input_format mjpeg -video_size 800x600 -i /dev/video0 -c:v copy -c:a copy -f segment -segment_time 10 -reset_timestamps 1 -r 10 -strict -2 test_%04d.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The errors I get is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[segment @ 0x15bf0e0] Non-monotonous DTS in output stream 0:0; previous: 86, current: 73; changing to 87. This may result in incorrect timestamps in the output file.&#xA;[segment @ 0x15bf0e0] Non-monotonous DTS in output stream 0:0; previous: 87, current: 74; changing to 88. This may result in incorrect timestamps in the output file.&#xA;[segment @ 0x15bf0e0] Non-monotonous DTS in output stream 0:0; previous: 88, current: 75; changing to 89. This may result in incorrect timestamps in the output file.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Anyone know how to do it right?&lt;/p&gt;&#xA;" OwnerUserId="14602" LastActivityDate="2019-09-14T23:46:13.523" Title="How to change frame rate of MJPEG segments with/without re-encoding?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28451" PostTypeId="2" ParentId="28450" CreationDate="2019-09-07T20:52:11.467" Score="2" Body="&lt;p&gt;It's a &lt;em&gt;warning,&lt;/em&gt; not an error (if it would be an error, FFmpeg would abort).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;“Non-monotonous DTS” means that the DTS (Display Time Stamp) of some frame &lt;em&gt;is less than&lt;/em&gt; the DTS of the &lt;em&gt;previous frame.&lt;/em&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This situation may cause many problems (with playback, seeking, etc.), so &#xA;FFmpeg fixes timestamps by rewriting some of them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are your 3 warning messages: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;[...] Non-monotonous DTS ... ; previous: 86, current: 73; changing to 87. This may ...&#xA;[...] Non-monotonous DTS ... ; previous: 87, current: 74; changing to 88. This may ...&#xA;[...] Non-monotonous DTS ... ; previous: 88, current: 75; changing to 89. This may ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;in a graphical form:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/2yRyS.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2yRyS.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-09-14T23:46:13.523" LastActivityDate="2019-09-14T23:46:13.523" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28452" PostTypeId="2" ParentId="28407" CreationDate="2019-09-08T03:50:53.860" Score="2" Body="&lt;p&gt;After poring over the documentation all weekend, I figured out how to use the minterpolate filter to do motion interpolation.  The full command is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf blackframe=0,metadata=select:key=lavfi.blackframe.pblack:value=50:function=less,minterpolate=mi_mode=mci:mc_mode=aobmc:me_mode=bidir:vsbmc=1:me=fss -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;These were the settings that gave me the best-looking results.  If these are too slow for you, you can try something like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf blackframe=0,metadata=select:key=lavfi.blackframe.pblack:value=50:function=less,minterpolate=mi_mode=mci:mc_mode=obmc:me_mode=bilat:vsbmc=0:me=tdls -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;which went about 3x as fast in my testing.  You can find the documentation on the different minterpolate options &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#minterpolate&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="43" LastActivityDate="2019-09-08T03:50:53.860" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28454" PostTypeId="1" AcceptedAnswerId="28455" CreationDate="2019-09-08T05:48:09.120" Score="1" ViewCount="451" Body="&lt;p&gt;Here is what I am trying to accomplish in one FFmpeg process:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;A. Take in 3 inputs&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;B. Overlay input 1 over input 0 (input 1 has an alpha channel)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;C. Take the result of step B and concatenate input 3 at the end&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Reading up on the documentation I was able to accomplish B and C independently, but when I try chaining them together into a complex filter I can accomplish overlaying input 0-1 but the concatenation does not seem to work. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What it does is just freezing frame on the end of the overlaid clip, for the duration of input 3. In other words the output file has the correct duration, but instead of seeing input 3 at the end I just get a frozen frame at the end of input 2. Hopefully that is clear...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the command I am using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-loop 1 -r 29.97 -i input0.png -r 29.97 -i input1_%04d.png -i input2.mov \&#xA;    -c:v libx264 -crf 18 -filter_complex &quot;[0][1]overlay=shortest=1;[1][2]concat=n=2:v=1&quot; &#xA;     output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I believe I am close enough, so hopefully this is just a simple tweak!&lt;/p&gt;&#xA;" OwnerUserId="19385" LastEditorUserId="18155" LastEditDate="2019-09-08T19:59:03.743" LastActivityDate="2019-09-08T19:59:03.743" Title="Complex filtergraph" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28455" PostTypeId="2" ParentId="28454" CreationDate="2019-09-08T07:03:19.860" Score="3" Body="&lt;p&gt;You have to add a pad with a label to the result of the overlay and feed that to concat. The &lt;code&gt;[1]&lt;/code&gt; fed to concat refers to the source frames of the image sequence. And since the overlay result isn't labelled. It is included as the first output stream, with the wrong concat result being the 2nd.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-loop 1 -framerate 30000/1001 -i input0.png&#xA;        -framerate 30000/1001 -i input1_%04d.png&#xA;                              -i input2.mov&#xA;-filter_complex &quot;[0][1]overlay=shortest=1[ovl];[ovl][2]concat=n=2:v=1&quot;&#xA;-c:v libx264 -crf 18 output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#Filtergraph-description&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://ffmpeg.org/ffmpeg-filters.html#Filtergraph-description&lt;/a&gt; and  &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Stream-selection&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://ffmpeg.org/ffmpeg.html#Stream-selection&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-09-08T12:17:59.660" LastActivityDate="2019-09-08T12:17:59.660" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28456" PostTypeId="1" CreationDate="2019-09-08T08:14:35.230" Score="0" ViewCount="746" Body="&lt;p&gt;Looking at &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/H.264&lt;/a&gt;: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I see this example as being the recommended method to target a bit rate for files meant for streaming&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c:v libx264 -b:v 1M -maxrate 1M -bufsize 2M -pass 1 -f mp4 /dev/null&#xA;ffmpeg -i input -c:v libx264 -b:v 1M -maxrate 1M -bufsize 2M -pass 2 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I encoded a file using a slightly variation here:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i *mkv -c:v libx264 -b:v 2.5M -maxrate 2.5M -bufsize 5M -profile:v high -level 4.2 -pass 1 -an -f mp4 /dev/null -y \&#xA;ffmpeg -i *mkv -c:v libx264 -b:v 2.5M -maxrate 2.5M -bufsize 5M -profile:v high -level 4.2 -an -movflags +faststart -pass 2 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I see that sometimes it's uses a bitrate of 1.800 kbits/s but where does it get that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it using some kind of default CRF value or what?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does setting a -&lt;code&gt;preset slow&lt;/code&gt; would increase the quality further? &lt;/p&gt;&#xA;" OwnerUserId="18048" LastActivityDate="2019-09-08T16:41:27.283" Title="What determines the chosen bitrate with ffmpeg constrained encoding example?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28457" PostTypeId="1" CreationDate="2019-09-08T08:33:38.800" Score="0" ViewCount="76" Body="&lt;p&gt;On Windows, I've used &lt;a href=&quot;https://www.solveigmm.com/en/products/video-splitter/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Solveig Multimedia Video Splitter&lt;/a&gt; and it will cut the video on exactly the time range listed (example: &lt;code&gt;00:11:34.004&lt;/code&gt; to &lt;code&gt;00:34:45.005&lt;/code&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried a freeware app &lt;a href=&quot;https://electronjs.org/apps/losslesscut&quot; rel=&quot;nofollow noreferrer&quot;&gt;LosslessCut&lt;/a&gt; (which uses FFmpeg) and it only trims cuts on the B-frames I think.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="19040" LastEditorUserId="18155" LastEditDate="2019-09-08T18:46:15.960" LastActivityDate="2020-07-06T11:00:25.010" Title="OS X: What software for cutting videos?" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28459" PostTypeId="2" ParentId="28456" CreationDate="2019-09-08T16:41:27.283" Score="1" Body="&lt;p&gt;think of it this way, your driving a car, and you have a target speed of 25, and a max speed limit of 25. Then you stop at a red light for 30 seconds and your average speed drops to 20. It is now impossible to reach an average of 25 again without going over the max. you would need to drive at the max speed an infinite amount of time to get the average back to 25. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When encoding the video, the encoder reached a frame that took less bits to encode than average (low spacial or temporal information.  For example two identical frames), so bitrate temporarily dipped, and now it can never reach max. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you need is a way to say, if we drop below average, we are able to go over max for a small period of time to bring the average back up. This is called “vbv” and you should use that if you want to target a bitrate. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-09-08T16:41:27.283" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="28460" PostTypeId="1" CreationDate="2019-09-08T20:51:22.073" Score="0" ViewCount="643" Body="&lt;p&gt;I need to get streaming video working where a source streams video to an embedded platform. This embedded system has an ARM-Cortex-A9 without a GPU or a hardware video decoder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately I don't have control over this platform so I will have to make do with what I have. I need to be able to decode live video with a maximum size of 640x480. I really have no clue what codec is best suited for this job. Bandwidth is less of an issue since it will run on the same network with a cable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have a recommendation of a codec that would be suitable in this situation?&lt;/p&gt;&#xA;" OwnerUserId="26209" LastActivityDate="2020-06-06T00:01:55.187" Title="Good codec for embedded system video decoding" Tags="|encoding|software-recommendation|streaming|decoding|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28462" PostTypeId="2" ParentId="28457" CreationDate="2019-09-09T09:44:17.873" Score="1" Body="&lt;p&gt;If you're looking to only trim videos, I would recommend checking out ffmpeg. It's easy to use from the mac terminal and is able to trim videos with -ss and -t. For downloads and documentation visit:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg.org&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-09-09T09:44:17.873" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28463" PostTypeId="1" CreationDate="2019-09-09T10:23:53.890" Score="4" ViewCount="159" Body="&lt;p&gt;For example should 1 frame per minute be 1FPM or should it be expressed as FPS using a decimal.&lt;/p&gt;&#xA;" OwnerUserId="26220" LastActivityDate="2019-09-09T21:45:54.013" Title="What is the proper notation for a frame rate that is less than 1FPS?" Tags="|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28464" PostTypeId="2" ParentId="28445" CreationDate="2019-09-09T11:04:51.363" Score="0" Body="&lt;p&gt;It's a (to be honest, quite old looking) 3D-Animation. I believe that looking into something like 3dsmax, Maya, Modo or Cinema4D might be the best bet for you. Otherwise you can search for &quot;talent show display opener&quot; as a Cinema4D template.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-09-09T11:04:51.363" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28465" PostTypeId="1" AcceptedAnswerId="28474" CreationDate="2019-09-09T11:26:06.883" Score="1" ViewCount="47" Body="&lt;p&gt;I am trying to make a square size video of 6:5 ratio for LED display screen. The size of the screen is 12feet x 10feet in pixels it's 13824x11520p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do i need my frame size to be this big to make it fit into this large screen OR how do i calculate the ratio to make sure my video will fit perfectly without weird pixelation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PR ver: CC 13&lt;/p&gt;&#xA;" OwnerUserId="26221" LastActivityDate="2019-09-11T09:23:31.033" Title="Adjusting sequence square frame size for large screen size" Tags="|premiere|keyframes|pro|cc|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28466" PostTypeId="2" ParentId="28460" CreationDate="2019-09-09T12:59:14.577" Score="1" Body="&lt;p&gt;While I haven't implemented this myself I would suspect Google's VP9 (or VP10) to be a good option.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Considering Android phones use an ARM CPU, the codecs and libraries supporting it should be highly optimized as they've been around for almost 10 years, and Google has a reason to continue improving it.  Plus it's royalty free both to play and to encode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://en.wikipedia.org/wiki/VP9&quot; rel=&quot;nofollow noreferrer&quot;&gt;VP9 on Wikipedia.&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="23117" LastEditorUserId="17390" LastEditDate="2020-05-06T21:46:01.587" LastActivityDate="2020-05-06T21:46:01.587" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28467" PostTypeId="2" ParentId="28445" CreationDate="2019-09-09T13:20:20.590" Score="0" Body="&lt;p&gt;Well you could change the screens simply by using any effects editor (ex: Adobe After Effects) that has tracking, which will allow you to pseudo 3D map the screens with motion but one major problem is the spotlight going over the screen.  You'll have to just fake it by putting a mask over the light and filling it colored or white.  With more work you might be able to recreate it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can find many tutorials on YouTube such as this one: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/pJOEQ7vY-0I?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="23117" LastActivityDate="2019-09-09T13:20:20.590" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28469" PostTypeId="1" AcceptedAnswerId="28470" CreationDate="2019-09-09T18:21:46.287" Score="2" ViewCount="194" Body="&lt;p&gt;During frame by frame watching of some video taken via Instagram app one noticed strange unwanted artifacts on the video caused by camera flash. Please, consider below several sample image frames taken from the video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/19cbP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/19cbP.png&quot; alt=&quot;Sample image frames taken from the video&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here we clearly see three cases:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;No camera flash.&lt;/li&gt;&#xA;&lt;li&gt;Camera flash: expected camera flash effect.&lt;/li&gt;&#xA;&lt;li&gt;Camera flash: unexpected camera flash effect (artifacts: the left side is brighter than the right side).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Why this happens at all? How this is related to the physics of the filming process: camera flash speed light, image acquisition by the image  sensor at 24..25 fps, video compression/decompression (guess the H.264 was used by Instagram app, video was taken at the end of 2018), etc.&lt;/li&gt;&#xA;&lt;li&gt;How to avoid such an artifacts next time?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for the explanation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Direct link to the full video: &lt;a href=&quot;https://scontent-ort2-1.cdninstagram.com/v/t50.12441-16/45731449_1983300578418249_711802823897524155_n.mp4?_nc_ht=scontent-ort2-1.cdninstagram.com&amp;amp;oe=5D7924B5&amp;amp;oh=b2ddf05b200a10ababd105c8b23d7f23&amp;amp;dl=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://scontent-ort2-1.cdninstagram.com/v/t50.12441-16/45731449_1983300578418249_711802823897524155_n.mp4?_nc_ht=scontent-ort2-1.cdninstagram.com&amp;amp;oe=5D7924B5&amp;amp;oh=b2ddf05b200a10ababd105c8b23d7f23&amp;amp;dl=1&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23040" LastActivityDate="2019-09-09T23:09:26.790" Title="Camera flash produces unwanted artifacts on the video" Tags="|camera|effects|compression|lighting|flash|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28470" PostTypeId="2" ParentId="28469" CreationDate="2019-09-09T21:22:13.657" Score="4" Body="&lt;p&gt;This is actually a collateral effect of the concept of &lt;a href=&quot;https://en.wikipedia.org/wiki/Rolling_shutter&quot; rel=&quot;nofollow noreferrer&quot;&gt;rolling shutter&lt;/a&gt;. Most video devices do not expose all the frame area at once. They expose starting from one side and (up or down) and move from there. (The example has the camera rotated 90° so the effect is on the sides of the frame).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This can be either a mechanical element that moves or rotates or an electronic system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As the flash of a camera is a really fast burst of light, it can sometimes be captured in one zone of the frame, by the time another part of the frame is streaming the data, the flash burst is over, so this zone of the image is transmitting the non-illuminated scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On still frame photography, this is the reason you have a minimum sync speed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Frankly, it is really hard to avoid this situation in an environment such as the example posted, because you can not sync your camera to that flash.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On a controlled environment, like lighting in a movie, you could add the lighting in post-production, making one full frame white, and probably some other just a bit exposed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another way to control it is by using a slower burst of light. Rather than using a flash that lasts about a thousandth of a second (which disappears really fast), you use some system that flashes on tenths of a second. This way the burst of light has time to be captured by the shutter of the camera.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="14523" LastEditDate="2019-09-09T23:09:26.790" LastActivityDate="2019-09-09T23:09:26.790" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28471" PostTypeId="2" ParentId="28445" CreationDate="2019-09-09T21:36:47.620" Score="0" Body="&lt;p&gt;It is an &quot;intro&quot;, but if you want to personalize it you can not look it as footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Footage has all the elements fixed. You need to look for a template, where the elements, like the text, can be actually edited and then rendered again into a clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Examine the example, the perspective is actually matching the camera movement, so the template needs to be a 3D template.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could make your own in &lt;a href=&quot;https://www.blender.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blender&lt;/a&gt; the best free 3D program, but this requires time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can look for some projects using these keywords: &lt;a href=&quot;https://duckduckgo.com/?q=blender%203d%20intro%20template&quot; rel=&quot;nofollow noreferrer&quot;&gt;blender 3d intro template&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have the adobe's subscription plan, look for &quot;After effects 3D intro template&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There can be as other answer posted a Cinema3D template, but the program itself is quite expensive. It also has some monthly plans.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;There can actually be some &quot;footage&quot; with some green screen areas, but the look would be different, for example the green area could be used to reveal a background, but this is not the case.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-09T21:36:47.620" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28472" PostTypeId="2" ParentId="28463" CreationDate="2019-09-09T21:45:54.013" Score="4" Body="&lt;p&gt;Frame per minute is totally fine. Frame per hour, frame per day. But I am not sure you can keep going using an acronym indefinitely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when talking about timelapse, you normally do not talk about FP(add letter here) but intervals. So the term is actually different than FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Interval is 1 second, 30 s or whatever.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When reproducing a &quot;video&quot; with this frame rate, I would not think of it as actual video, but more like a slideshow, so again the concept is a bit different.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;20 slides per minute, or a slide every 3 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a nice question actually.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-09T21:45:54.013" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28473" PostTypeId="2" ParentId="23710" CreationDate="2019-09-09T21:55:58.727" Score="1" Body="&lt;p&gt;With current technology no, you &quot;can not&quot;; and with more powerful technology it is a waste of resources.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You do not need to stream a gigapixel video, you need to stream a video, receive the new &quot;interest&quot; zone, process the coordinates and display a new version of the video. Even arrange different chunks of different videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what google maps, bing maps or other applications do. They do not send you all the photos of the planet, just the ones you need.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-09T21:55:58.727" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28474" PostTypeId="2" ParentId="28465" CreationDate="2019-09-10T06:36:58.590" Score="2" Body="&lt;p&gt;If you don't want your video to be up-scaled then you need to output at the native resolution of the screen. The physical size doesn't matter, what matters is the pixel dimensions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if the footage is not shot at the native resolution (and I don't think there are many 14K cameras around) you're going to have to resize it to fit. Whether you do that in your edit, or use whatever mechanism the screen has for up-scaling footage depends on a couple of factors:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;can the screen / playback device do its own interpolation, and if so how good is it?&lt;/li&gt;&#xA;&lt;li&gt;do you have graphics etc that you want to be crisp? If you're relying on the resolution of the screen to display small graphic elements crisply then you'll want the video that you deliver to be as high resolution as possible.&lt;/li&gt;&#xA;&lt;li&gt;can the playback device handle a 14K video stream? Filesize is going to be an issue unless the playback device is pretty fast, and decoding it is going to be taxing for even a powerful machine.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Best bet&lt;/strong&gt;: ask whoever is in charge of the screen. For a screen that large there's going to be an AV person who knows what they're doing. Ask around until you find who can give you specs for what you have to deliver.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-09-11T04:01:05.780" LastActivityDate="2019-09-11T04:01:05.780" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28475" PostTypeId="1" CreationDate="2019-09-10T10:23:02.417" Score="1" ViewCount="150" Body="&lt;p&gt;I've got a problem with trying to key the green color with some footage I shot with a Sony FS5. The main object in the frame has some kind of white/light grey border around it which makes it very hard to separate it from the green screen background. Here are some examples: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Original footage...&lt;a href=&quot;https://i.stack.imgur.com/CoPtI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CoPtI.png&quot; alt=&quot;original footage&quot;&gt;&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Trying to key with Keylight in After effects...&lt;a href=&quot;https://i.stack.imgur.com/7CxoU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7CxoU.png&quot; alt=&quot;trying to key with Keylight in After Effects&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I shot in 1920x1080, 50 fps 4.2.2 with the internal AVC codec.&#xA;I think it could be caused by the in-camera sharpening settings, I tried to change the settings but I didn't notice any change.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each channel isolated (RGB) not keyed:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xGXIi.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xGXIi.jpg&quot; alt=&quot;Red channel&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/60h39.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/60h39.jpg&quot; alt=&quot;Green channel&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/uir1w.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uir1w.jpg&quot; alt=&quot;Blue channel&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20944" LastEditorUserId="20944" LastEditDate="2019-09-11T13:36:48.090" LastActivityDate="2023-10-04T01:02:30.300" Title="Sony FS5 border artifacts" Tags="|video|after-effects|chromakey|sony|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28476" PostTypeId="2" ParentId="28475" CreationDate="2019-09-10T13:59:36.643" Score="0" Body="&lt;p&gt;In regards to the green and black mixing, 4:2:2 means pixels are merged and this will always happen, this is why movies shoot in 4:4:4 because then there is no merging of colors.  But I have no idea why you are getting a white halo around a black object with a black background.&lt;/p&gt;&#xA;" OwnerUserId="23117" LastEditorUserId="23117" LastEditDate="2019-09-24T17:21:41.240" LastActivityDate="2019-09-24T17:21:41.240" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28477" PostTypeId="1" CreationDate="2019-09-10T19:47:18.597" Score="-1" ViewCount="171" Body="&lt;p&gt;I'm working on Sony Vegas Pro 14 and I'm editing AMV. The anime clip's resolution that I'm editing is 720x480 - I saw the same clip edited on YouTube and on the settings it was showing that I can watch it in 1080p so I want to know what setting I must use to render that kind of video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried rendering it on 1080p but the effects that I added did not work. I tried to render on 480p widescreen and many more but when I posted it on YouTube it was not showing that I could watch it on 1080p like the other was.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some render setting that I can use to do such a thing?&lt;/p&gt;&#xA;" OwnerUserId="26234" LastEditorUserId="674" LastEditDate="2019-09-13T17:49:48.450" LastActivityDate="2019-09-20T06:47:06.630" Title="How can I render a 720x480 clip to playback from YouTube in 1080p?" Tags="|video|editing|video-quality|youtube|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28479" PostTypeId="2" ParentId="28475" CreationDate="2019-09-11T04:17:05.680" Score="1" Body="&lt;p&gt;Have you tried tweaking the settings in Keylight? It looks like the screen replace colour you are using is too light for the black background. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keylight is a great plugin, and in a perfect world give you one-click keying. But in the real world you usually need to tweak it a bit. The first stop is to check the screen gain and screen balance settings. These look ok for your example, but what you might need to look at is the &lt;strong&gt;Screen Replace Color&lt;/strong&gt; setting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This setting allows you to pick which colour will be used to replace the screen colour in any pixels that are partially transparent. So on the edges, there are pixels that are partially green and partially foreground colour. To prevent green fringes, once the green has been extracted another colour is put in. By default I think it is  mid grey, which presumes that your new background averages out to mid grey. On a black background it shows up clearly. Change the &lt;strong&gt;Screen Replace Color&lt;/strong&gt; to black and that should fix the fringes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A guide to what the settings do is available at the &lt;a href=&quot;https://learn.foundry.com/nuke/9.0/content/reference_guide/keyer_nodes/keylight.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;keylight page&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-09-11T04:17:05.680" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28480" PostTypeId="2" ParentId="16792" CreationDate="2019-09-11T05:39:29.973" Score="1" Body="&lt;p&gt;Davinci Resolve does not support all common video file formats, unfortunately. It tends to emphasize the more professional codecs and those found in recent digital cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can view the full list of file formats supported in Resolve version 15 here:&lt;br&gt;&#xA;&lt;a href=&quot;https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_15_Supported_Codec_List.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_15_Supported_Codec_List.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll notice that in this list:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;For AVI - only Cineform and uncompressed formats are supported&lt;/li&gt;&#xA;&lt;li&gt;For MP4 - only H.264 and H.265 formats are supported&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If your video is not one of those formats, unfortunately you need to convert it into a supported format – formats like DNxHD or ProRes are high-quality and good for editing. Tools like VirtualDub2 or FFMPEG (if you don't mind using the command line) will be helpful. There should be many tutorials on the web for using those to convert between formats.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(As an aside, it would be great if you could &lt;a href=&quot;https://en.wikipedia.org/wiki/Frameserver&quot; rel=&quot;nofollow noreferrer&quot;&gt;frameserve&lt;/a&gt; videos into Resolve, but I haven't seen anyone mention that that's supported.)&lt;/p&gt;&#xA;" OwnerUserId="6009" LastActivityDate="2019-09-11T05:39:29.973" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28482" PostTypeId="2" ParentId="28465" CreationDate="2019-09-11T09:23:31.033" Score="0" Body="&lt;p&gt;Wait, stop.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I am trying to make a square size video of 6:5.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Is your video square or is your video already 6:5?&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The size of the screen is 12feet x 10feet&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The screen has a 6:5 ratio, so your video will fit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if your video is really square, let's say 1000x1000px, you simply need to crop it.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;pixels it's 13824x11520p.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;No, do not resample any video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;@stib already mentioned it. You would need a very powerful computer to playback that. But there are some other elements.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A screen of 12x10 feet is meant to be watched at a distance. Here is an example. You are in a movie theater. The screen can be bigger in size than 12 feet, and you do not use a humungous resolution because you do not need it, not at all. A 4K image is more than enough. Actually a Full HD image is probably good enough. &lt;strong&gt;Not even an IMAX laser projector has the resolution you are talking about&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Any resampling you make will produce... a resampled video. You will not introduce any sharper detail or anything, you will simply turn your video in the exact same video but a heck lot bulkier. The resampling needs to be done in the hardware of the screen. It will probably simply multiply the information to be projected into the different zones of the screen.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-11T09:23:31.033" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28483" PostTypeId="2" ParentId="28227" CreationDate="2019-09-11T09:32:03.183" Score="0" Body="&lt;p&gt;Your video is not &quot;more blurry&quot; than before, your video has not been touched at all. It is still there sitting on your hard drive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A video editor does nothing to your footage. It is simply a set of instructions on how to assemble different chunks of video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The resulting rendered video yes, it can be affected, for example, if your original clip is 4k and you prepare an output file to be watched on a small watch.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;On the compositor, you are simply viewing a preview, meant to be... a preview, a fast image so you can view some transitions or effects you want to add.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final render takes more time to be processed, and it will try to make the best image given some premises like:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;original resolution&lt;/li&gt;&#xA;&lt;li&gt;scaling factor&lt;/li&gt;&#xA;&lt;li&gt;scaling method&lt;/li&gt;&#xA;&lt;li&gt;final resolution&lt;/li&gt;&#xA;&lt;li&gt;compression&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-11T09:32:03.183" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28484" PostTypeId="1" CreationDate="2019-09-11T14:35:45.963" Score="1" ViewCount="35" Body="&lt;p&gt;I'm taking a video next month which will be in a dark conference room with a well lit stage. I need to set up a camera to video the presenter, but this year we have many more attendees, more tables, etc — so the camera will be 100 ft away from the podium (last year we got decent results from 40 ft away). It's a JVC GY-HM180U camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions / recommendations on how to get the best possible image quality?&lt;/p&gt;&#xA;" OwnerUserId="23296" LastEditorUserId="18155" LastEditDate="2019-09-11T16:51:35.320" LastActivityDate="2019-09-13T05:11:05.213" Title="Long distance, low light" Tags="|video-quality|video-recording|" AnswerCount="1" CommentCount="1" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28485" PostTypeId="2" ParentId="28475" CreationDate="2019-09-11T17:00:06.610" Score="1" Body="&lt;p&gt;The other answer is correct that 4:4:4 gives better green screen results. But given that you need to fix your footage, can I recommend both of these tutorials&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/jLaR8C1tcMg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/b6aXY27fSSA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The most important takeaways from these in my opionion are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use the Status setting of the Keylight plugin with a secondary monitor of your footage, so that you can ink-drop precisely the best colour of green to key.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Adjust the black and white points of your matte whilst looking at the Status output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use Keylight's Intermediate mode with the Key Cleaner and Advanced Spill suppressor.  It gives great results but takes longer to render.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-09-11T17:00:06.610" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28486" PostTypeId="1" CreationDate="2019-09-11T19:02:06.950" Score="1" ViewCount="1782" Body="&lt;p&gt;I successfully imported an iTT caption file, and the captions show up fine as white on a black background. The problem is that when I try to edit it in the caption editor, the text is black-on-black, i.e. not visible.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JjxEd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JjxEd.png&quot; alt=&quot;caption editor with black-on-black text&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;When I drag to select text, the selected text is white-on-purple, so the text is definitely there, just black-on-black.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/c8vrA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/c8vrA.png&quot; alt=&quot;caption editor with some of that text selected&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Obviously this makes it difficult-to-impossible to edit my captions, which need editing. The same problem happens in the Inspector.&lt;/p&gt;&#xA;&lt;p&gt;All the images I see on line, like this one from Larry Jordan, show white text on a black background.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tmeTZ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tmeTZ.jpg&quot; alt=&quot;normal white-on-black text&quot; /&gt;&lt;/a&gt;&lt;br /&gt;&#xA;&lt;sub&gt;(source: &lt;a href=&quot;https://larryjordan.com/wp-content/uploads/2018/04/Captions014.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;larryjordan.com&lt;/a&gt;)&lt;/sub&gt;&lt;/p&gt;&#xA;&lt;p&gt;Any help appreciated!&lt;/p&gt;&#xA;&lt;p&gt;EDIT: resetting the preferences didn't solve the problem.&lt;/p&gt;&#xA;" OwnerUserId="26245" LastEditorUserId="17390" LastEditDate="2020-12-31T02:25:18.850" LastActivityDate="2024-01-15T08:06:35.777" Title="FCPX Caption Editor shows black text on black background" Tags="|final-cut-pro-x|closed-captioning|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28487" PostTypeId="1" AcceptedAnswerId="28512" CreationDate="2019-09-11T19:46:19.903" Score="-1" ViewCount="211" Body="&lt;p&gt;I have recorded a &lt;code&gt;1920x1080&lt;/code&gt; video, it looks like the follows in imovie:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/aJRn3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aJRn3.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to crop the left half side of the screen. But when I click on &lt;code&gt;crop&lt;/code&gt;, it always keeps ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Final Cut Pro, it is the same.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just cannot understand why it is so difficult to crop a different ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could anyone help?&lt;/p&gt;&#xA;" OwnerUserId="11511" LastActivityDate="2019-09-17T17:19:52.450" Title="Crop a video with a different ratio" Tags="|final-cut-pro|imovie|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28488" PostTypeId="1" CreationDate="2019-09-11T22:03:52.373" Score="2" ViewCount="770" Body="&lt;p&gt;I've tried researching this very thoroughly, but have not come across a similar issue. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To sum up my problem first, I'm sending 3 second &lt;code&gt;.mkv&lt;/code&gt; clips into Amazon Kinesis Video. Then I pull back random intervals of those clips. These pulled clips have “bad” timecode data. The clips keep the original Block timestamps (e.x. between 0 and 3 seconds). The &lt;a href=&quot;https://tools.ietf.org/id/draft-lhomme-cellar-matroska-04.html#timecode-element&quot; rel=&quot;nofollow noreferrer&quot;&gt;Cluster Timecode&lt;/a&gt; is set to 0. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I pull the video, I get something with block timecodes like this: [&lt;code&gt;00:00:02:20&lt;/code&gt;, &lt;code&gt;00:00:02:80&lt;/code&gt;, &lt;code&gt;00:00:03:00&lt;/code&gt;, &lt;code&gt;00:00:00:20&lt;/code&gt;, &lt;code&gt;00:00:00:80&lt;/code&gt;] (It restarts). When played in something like VLC, it will play until it reaches a timecode less than the previous and then stop. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure if this is a AWS Kinesis Video issue, or just a general mkv issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I record the original clips in Python from a series of images at 15fps with the following code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;self.video_writer = cv2.VideoWriter('path/to/some/file.mkv',&#xA;                                     cv2.VideoWriter_fourcc(*'XVID'), 15, self.size)&#xA;self.video_writer.write(self.input)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I then run &lt;code&gt;ffmpeg&lt;/code&gt; on it with the following command before sending:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 'path/to/some/file.mkv' -c:v libx264 -r 15 -codec:a aac \&#xA;       -vf scale=960:720 -y -async 1 -shortest 'path/to/some/encoded-file.mkv'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I THEN send the video using the Java producer library provided by AWS&#xA;with the important part here:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-java prettyprint-override&quot;&gt;&lt;code&gt; dataClient.putMedia(new PutMediaRequest()&#xA;             .withStreamName(STREAM_NAME)&#xA;             .withFragmentTimecodeType(FragmentTimecodeType.RELATIVE)&#xA;             .withPayload(inputStream)&#xA;             .withProducerStartTimestamp(&#xA;               new Date([timestamp in milliseconds of start of video])&#xA;             ),&#xA;             responseHandler);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Everything streams to AWS just fine, and it's visible in the console viewer&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then go to download the video, also using the AWS provided Java consumer library:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-java prettyprint-override&quot;&gt;&lt;code&gt;FragmentSelector fragmentSelector = new FragmentSelector().withFragmentSelectorType(FragmentSelectorType.PRODUCER_TIMESTAMP).withTimestampRange(getTimestampRange(request));&#xA;...&#xA;ListFragmentsResult result = this.archivedMedia.listFragments(fragmentsRequest);&#xA;...&#xA;fragments.sort(Comparator.comparing(Fragment::getProducerTimestamp));&#xA;List&amp;lt;String&amp;gt; fragmentIds = fragments.stream().map(Fragment::getFragmentNumber).collect(Collectors.toList());&#xA;&#xA;final GetMediaForFragmentListResult mediaForFragmentListResult = this.archivedMedia.getMediaForFragmentList(&#xA;  new GetMediaForFragmentListRequest()&#xA;      .withFragments(fragmentIds)&#xA;      .withStreamName(streamName)&#xA;);&#xA;&#xA;OutputStream fileOutputStream = Files.newOutputStream(path);&#xA;&#xA;BufferedOutputStream outputStream = new BufferedOutputStream(fileOutputStream);&#xA;OutputSegmentMerger outputSegmentMerger = OutputSegmentMerger.createDefault(outputStream);&#xA;&#xA;StreamingMkvReader mkvStreamReader = StreamingMkvReader.createDefault(new InputStreamParserByteSource(mediaForFragmentListResult.getPayload()));&#xA;&#xA;try {&#xA;   mkvStreamReader.apply(outputSegmentMerger);&#xA;} catch (MkvElementVisitException e) {&#xA;   ...&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Again, everything &lt;em&gt;seems&lt;/em&gt; to work, until I go to play the video. It will max out at that original 3 seconds of clip, even less if the video started halfway through one of those clips. Putting the video into MKVToolNix shows me the following info (notice the track timestamps near the bottom)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;+ EBML head size 47 data size 35&#xA;|+ EBML version: 1 size 4 data size 1&#xA;|+ EBML read version: 1 size 4 data size 1&#xA;|+ Maximum EBML ID length: 4 size 4 data size 1&#xA;|+ Maximum EBML size length: 8 size 4 data size 1&#xA;|+ Document type: matroska size 11 data size 8&#xA;|+ Document type version: 4 size 4 data size 1&#xA;|+ Document type read version: 2 size 4 data size 1&#xA;+ Segment: size unknown size is unknown&#xA;|+ Seek head (subentries will be skipped) size 72 data size 66&#xA;|+ EBML void: size 148 size 157 data size 148&#xA;|+ Segment information size 87 data size 75&#xA;| + Timestamp scale: 1000000 size 7 data size 3&#xA;| + Multiplexing application: Lavf57.83.100 size 16 data size 13&#xA;| + Writing application: Lavf57.83.100 size 16 data size 13&#xA;| + Segment UID: 0x14 0x0e 0xa4 0x81 0x58 0x75 0x40 0x7e 0x15 0xd2 0x28 0x97 0xa4 0xe0 0x27 0x4d size 19 data size 16&#xA;| + Duration: 00:00:02.134000000 size 11 data size 8&#xA;|+ Tracks size 160 data size 148&#xA;| + Track size 142 data size 133&#xA;|  + Track number: 1 (track ID for mkvmerge &amp;amp; mkvextract: 0) size 3 data size 1&#xA;|  + Track UID: 1 size 4 data size 1&#xA;|  + Lacing flag: 0 size 3 data size 1&#xA;|  + Language: und size 7 data size 3&#xA;|  + Codec ID: V_MPEG4/ISO/AVC size 17 data size 15&#xA;|  + Track type: video size 3 data size 1&#xA;|  + Default duration: 00:00:00.066666666 (15.000 frames/fields per second for a video track) size 8 data size 4&#xA;|  + Codec's private data: size 42 (H.264 profile: High @L3.1) size 45 data size 42&#xA;|+ Tags size 211 data size 199&#xA;| + Tag size 68 data size 58&#xA;|  + Targets size 14 data size 4&#xA;|   + Track UID: 1 size 4 data size 1&#xA;|  + Simple size 44 data size 34&#xA;|   + Name: DURATION size 11 data size 8&#xA;|   + String: 00:00:02.134000000 size 23 data size 20&#xA;|+ Tags size 243 data size 235&#xA;| + Tag size 235 data size 229&#xA;|  + Simple size 97 data size 91&#xA;|   + Name: AWS_KINESISVIDEO_FRAGMENT_NUMBER size 38 data size 32&#xA;|   + String: [aws fragment number removed] size 53 data size 47&#xA;|  + Simple size 65 data size 59&#xA;|   + Name: AWS_KINESISVIDEO_SERVER_TIMESTAMP size 39 data size 33&#xA;|   + String: 1568225058.665 size 20 data size 14&#xA;|  + Simple size 67 data size 61&#xA;|   + Name: AWS_KINESISVIDEO_PRODUCER_TIMESTAMP size 41 data size 35&#xA;|   + String: 1568225048.750 size 20 data size 14&#xA;|+ Cluster size 209722 data size 209710&#xA;| + Cluster timestamp: 00:00:00.000000000 size 3 data size 1&#xA;| + Simple block: key, track number 1, 1 frame(s), timestamp 00:00:00.000000000 size 94684 data size 94680&#xA;|  + Frame size 94676&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:00.267000000 size 32150 data size 32146&#xA;|  + Frame size 32142&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:00.133000000 size 156 data size 153&#xA;|  + Frame size 149&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:00.067000000 size 227 data size 224&#xA;|  + Frame size 220&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:00.200000000 size 49 data size 47&#xA;|  + Frame size 43&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:00.533000000 size 27221 data size 27217&#xA;|  + Frame size 27213&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:00.400000000 size 469 data size 466&#xA;|  + Frame size 462&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:00.333000000 size 237 data size 234&#xA;|  + Frame size 230&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:00.467000000 size 221 data size 218&#xA;|  + Frame size 214&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:00.800000000 size 24236 data size 24232&#xA;|  + Frame size 24228&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:00.667000000 size 395 data size 392&#xA;|  + Frame size 388&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:00.600000000 size 250 data size 247&#xA;|  + Frame size 243&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:00.733000000 size 276 data size 273&#xA;|  + Frame size 269&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:01.067000000 size 1724 data size 1721&#xA;|  + Frame size 1717&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:00.933000000 size 207 data size 204&#xA;|  + Frame size 200&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:00.867000000 size 206 data size 203&#xA;|  + Frame size 196&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:01.533000000 size 228 data size 225&#xA;|  + Frame size 221&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:01.867000000 size 7294 data size 7291&#xA;|  + Frame size 7287&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:01.733000000 size 181 data size 178&#xA;|  + Frame size 174&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:01.667000000 size 160 data size 157&#xA;|  + Frame size 153&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:01.800000000 size 52 data size 50&#xA;|  + Frame size 46&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:02.067000000 size 59 data size 57&#xA;|  + Frame size 53&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:01.933000000 size 74 data size 72&#xA;|  + Frame size 68&#xA;| + Simple block: track number 1, 1 frame(s), timestamp 00:00:02.000000000 size 42 data size 40&#xA;|  + Frame size 36&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So I'm not sure where to go from here. I've tried &lt;code&gt;ffmpeg&lt;/code&gt;'s &lt;code&gt;-ts abs&lt;/code&gt; option as well as &lt;code&gt;-fflags +genpts&lt;/code&gt; but those didn't seem to do anything. I'm thinking if I can set the &lt;a href=&quot;https://tools.ietf.org/id/draft-lhomme-cellar-matroska-04.html#timecode-element&quot; rel=&quot;nofollow noreferrer&quot;&gt;Clusters Timecode&lt;/a&gt; element to be the time the video starts in milliseconds, AWS might ingest it properly, or at least break up the clusters to have multiple. I'm fine with a solution that requires some post processing as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Sorry for the long post, but just making sure everyone has all the info needed!)&lt;/p&gt;&#xA;" OwnerUserId="26246" LastEditorUserId="18155" LastEditDate="2019-09-18T19:41:08.057" LastActivityDate="2019-09-18T19:41:08.057" Title="Editing/Changing Cluster Timecode Element in mkv files (Amazon Kinesis Video)" Tags="|video|ffmpeg|encoding|timecode|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28490" PostTypeId="1" CreationDate="2019-09-11T22:55:48.050" Score="0" ViewCount="1273" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/InGmu.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/InGmu.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;I have the preview resolution set to quarter, frame skip set to 5 and yet After Effects is previewing at full resolution constantly. I have tried changing the settings through the sidebar and the bar under the preview.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have purged the RAM, cache, etc. several times and even re-opening the program does not help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The preview is indeed set to 'Adaptive resolution'. This is making the preview playback impossible since my footage is 4K. &lt;/p&gt;&#xA;" OwnerUserId="26247" LastActivityDate="2020-06-08T06:04:20.440" Title="After Effects is not changing the preview quality!" Tags="|after-effects|preview|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28491" PostTypeId="1" CreationDate="2019-09-11T23:51:33.643" Score="0" ViewCount="330" Body="&lt;p&gt;Based on the answer to &lt;a href=&quot;https://video.stackexchange.com/questions/17131/convert-horizontal-side-by-side-to-vertically-stacked-3d-video?newreg=5ad754b5b60d46fc80546d15fb66b35c&quot;&gt;this question&lt;/a&gt;, how would the command line&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 \&#xA;-filter_complex &quot;[0:v]crop=in_w/2:in_h:0:0 [top]; \ &#xA;[0:v]crop=in_w/2:in_h:in_w/2:0[bottom]; \&#xA;[top][bottom]vstack[outv]&quot; \&#xA;-map &quot;[outv]&quot; -map 0:a -c:a copy output_3dv.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;be changed to do the opposite, split two stacked images (3240x2160) to one 6840x1080 video?&lt;/p&gt;&#xA;" OwnerUserId="26248" LastActivityDate="2019-09-23T04:20:01.147" Title="Convert Vertically Stacked video to horizontally stacked via FFMpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28492" PostTypeId="1" CreationDate="2019-09-12T02:36:06.477" Score="1" ViewCount="154" Body="&lt;p&gt;I was watching a Lil Skies music video produced by Cole Bennett and noticed an effect. It had Lil Skies singing in front of a car, and he would vanish and the car would also vanish and reappear at random times. It seems like an easy task if it was shot on tripod and then masked/layered, but with all the camera movement it makes me curious as to how its pulled off. Perhaps where its shot in 4k he just blew up footage in post and made artificial movement while still keeping it 1080p? For anyone curious the video is &lt;a href=&quot;https://youtu.be/qLgPQtfEvJU?t=4&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lil Skies - More Money More Ice&lt;/a&gt; and the scene is early in video.&lt;/p&gt;&#xA;" OwnerUserId="26249" LastEditorUserId="14523" LastEditDate="2019-09-12T18:17:30.337" LastActivityDate="2019-09-13T04:51:36.710" Title="Appear and disappear effect with camera movement" Tags="|video|video-editor|editing|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28493" PostTypeId="1" CreationDate="2019-09-12T03:27:39.187" Score="0" ViewCount="99" Body="&lt;p&gt;I put the cc slant effect on an image just to slant (move) the clouds, but it ends up sliding the whole image. The same goes for many other images even after adding a mask. The whole image keeps sliding with the slant.&lt;/p&gt;&#xA;" OwnerUserId="26250" LastEditorUserId="14523" LastEditDate="2019-09-12T18:10:28.480" LastActivityDate="2024-02-19T05:02:30.287" Title="cc slant not working in after effects" Tags="|after-effects|distortion|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28494" PostTypeId="2" ParentId="28490" CreationDate="2019-09-12T04:53:47.723" Score="1" Body="&lt;p&gt;Quarter of 4K is still 1080. Depending on your rig it still might chug thru playback. I would look into proxies as they are pretty quick to set up and would drastically improve workability.&lt;/p&gt;&#xA;" OwnerUserId="26252" LastActivityDate="2019-09-12T04:53:47.723" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28495" PostTypeId="2" ParentId="28493" CreationDate="2019-09-12T05:08:41.087" Score="0" Body="&lt;p&gt;Not exactly sure what the problem is. However, try making a adjustment layer above your footage. Apply your mask to it. Then add a transform effect. It has a skew and skew axis that can be keyframed&lt;/p&gt;&#xA;" OwnerUserId="26252" LastActivityDate="2019-09-12T05:08:41.087" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28496" PostTypeId="2" ParentId="28491" CreationDate="2019-09-12T05:17:54.897" Score="1" Body="&lt;p&gt;You would crop the full width and half-height. Then use hstack to join them.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 \&#xA;-filter_complex &quot;[0:v]crop=iw:ih/2:0:0 [left]; \&#xA;[0:v]crop=iw:ih/2:0:ih/2[right]; \&#xA;[left][right]hstack[outv]&quot; \&#xA;-map &quot;[outv]&quot; -map 0:a -c:a copy output_3dv.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-09-23T04:20:01.147" LastActivityDate="2019-09-23T04:20:01.147" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28497" PostTypeId="2" ParentId="20842" CreationDate="2019-09-12T07:13:14.413" Score="1" Body="&lt;p&gt;This problem comes from frame size changing.&#xA;Scale your input videos to the same size first, then do the overlay stuff.&lt;/p&gt;&#xA;" OwnerUserId="26253" LastActivityDate="2019-09-12T07:13:14.413" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28501" PostTypeId="2" ParentId="28492" CreationDate="2019-09-13T04:51:36.710" Score="1" Body="&lt;p&gt;That is simply greenscreen compositing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These days it is relatively easy to track a camera movement from a random video clip, you can for example film the yard and composite a 3D car over it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On this case, I would film the person on a green screen room with markings and even render the yard itself.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;One more complicated way to do it would be a robotic arm controlling the camera, some can even receive the movement from another source, for example, tracking from a handheld camera. The movement can be repeated several times, one with the car other without it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the equipment would be more sophisticated and expensive. I would go for the green screen and Blender.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-13T04:51:36.710" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28502" PostTypeId="2" ParentId="28487" CreationDate="2019-09-13T05:02:57.540" Score="0" Body="&lt;p&gt;Try using masks, adding a black rectangle with a transparent zone, or switch to a composting program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are using Premiere you can also use After effects, or you can try Hit Film Express that has a pretty decent compositing mode, and it is free. Also, Davinci Resolve has a compositor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On why? I can not say.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-13T05:02:57.540" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28503" PostTypeId="2" ParentId="28484" CreationDate="2019-09-13T05:11:05.213" Score="1" Body="&lt;p&gt;People need to define the priorities, if the video footage is important to assign a good place to the camera. A television studio with a live audience is a good example of the priority.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course, this is not the case, but I am pretty sure these days is not the opposite to that. It has some importance to be streamed, &quot;Youtoubed&quot; or something. So, talk to the organizers and define a good place.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the case, you really, really can not be closed or in a better spot, Define if the lens is long enough for the case. Define if the camera shake at that distance, moving the camera to follow the presenter is good enough, define if that shake can be compensated filming on 4K and cropping to stabilize.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-13T05:11:05.213" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28505" PostTypeId="2" ParentId="28486" CreationDate="2019-09-13T14:04:02.687" Score="0" Body="&lt;p&gt;This seems to have been caused by a problem in the incoming iTT file. I was able to solve it by creating a new SRT caption role, selecting all the captions, moving them to the SRT role,  and then moving them back. Alternately, it looks like you can change the caption color  to something other than white, and then change it back to white. More at &lt;a href=&quot;https://discussions.apple.com/thread/250624181?answerId=251201017022&amp;amp;page=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://discussions.apple.com/thread/250624181?answerId=251201017022&amp;amp;page=1&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="26245" LastActivityDate="2019-09-13T14:04:02.687" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28506" PostTypeId="1" CreationDate="2019-09-13T14:04:06.993" Score="-1" ViewCount="15" Body="&lt;p&gt;I am planning to buy an HD animation which is over 500Meg in size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to resize, crop and reduce the file size to about 10Meg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I prefer not to deal with Adobe Media Encoder or something like ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there something out there from under $20 that will do the job?&lt;/p&gt;&#xA;" OwnerUserId="26261" LastActivityDate="2019-09-14T21:08:49.037" Title="What is a cost effective app to resize, crop &amp; save a MOV file to a reduced size?" Tags="|video|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28507" PostTypeId="1" CreationDate="2019-09-13T16:19:48.663" Score="1" ViewCount="377" Body="&lt;p&gt;I'm curious about why we mostly use and see &quot;1080&lt;strong&gt;p&lt;/strong&gt;&quot; and &quot;1080&lt;strong&gt;i&lt;/strong&gt;&quot; over &quot;1080&lt;strong&gt;P&lt;/strong&gt;&quot; and &quot;1080&lt;strong&gt;I&lt;/strong&gt;&quot;? &lt;em&gt;(and the same on 720/480/360)&lt;/em&gt; Does anybody know any professional reason of that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen some capital ones, but mostly with lower case, I'm wondering the reason why, but didn't find an answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Wikipedia uses &lt;a href=&quot;https://en.wikipedia.org/wiki/1080p&quot; rel=&quot;nofollow noreferrer&quot;&gt;1080p&lt;/a&gt; and &lt;a href=&quot;https://en.wikipedia.org/wiki/1080i&quot; rel=&quot;nofollow noreferrer&quot;&gt;1080i&lt;/a&gt;，there is no single 1080P or 1080I in these two pages&lt;/li&gt;&#xA;&lt;li&gt;European Broadcasting Union use 720p, 1080p, 1080i in their &lt;a href=&quot;https://tech.ebu.ch/docs/tech/tech3299.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;tech doc&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Netflix uses 1080p, 720p in the &lt;a href=&quot;https://help.netflix.com/en/node/23931&quot; rel=&quot;nofollow noreferrer&quot;&gt;Help Center&lt;/a&gt;(&lt;em&gt;Resolution&lt;/em&gt; under &lt;em&gt;Netflix Features&lt;/em&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Youtube uses 1080p in their &lt;a href=&quot;https://support.google.com/youtube/answer/3037019?hl=en&amp;amp;co=GENIE.Platform=Desktop&quot; rel=&quot;nofollow noreferrer&quot;&gt;Help Center&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Apple Supports also uses 1080p in &lt;a href=&quot;https://support.apple.com/en-us/HT207949&quot; rel=&quot;nofollow noreferrer&quot;&gt;their doc&lt;/a&gt;, HDV use 1080i / 720i &lt;a href=&quot;https://en.wikipedia.org/wiki/File:HDV-Mark001.svg&quot; rel=&quot;nofollow noreferrer&quot;&gt;on the logo&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Google and DuckDuckGo prompts keywords with only 1080&lt;strong&gt;p&lt;/strong&gt; even I input 1080&lt;strong&gt;P&lt;/strong&gt;!&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For above examples, I refer to some huge companies or organizations, but to be honestly I didn't browse all their public materials, so I'm not so sure they do only use &quot;1080p&quot; but not &quot;1080P&quot;, just want to show the resolve I found.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Really appreciate if somebody can resolve my question, many thanks.&lt;/p&gt;&#xA;" OwnerUserId="26262" LastEditorUserId="26262" LastEditDate="2019-09-13T17:05:05.410" LastActivityDate="2019-09-18T05:08:55.577" Title="Why to use lower case &quot;1080p&quot; and &quot;1080i&quot; but not capital &quot;1080P&quot; and &quot;1080I&quot;?" Tags="|video|quality|terminology|1080p|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="28510" PostTypeId="2" ParentId="28507" CreationDate="2019-09-14T17:14:36.033" Score="2" Body="&lt;p&gt;Here are my starting premises.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;In the scientific community, There are some standards in the assignation of letters for units.&lt;/p&gt;&#xA;&lt;p&gt;Normally a capital letter is assigned if the unit cames after the last name of a person, like Kelvin or Newton, and a lowercase letter in the case of just words like the case of a meter.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In the case of the liter, where it is not based on the last name of a person, the usage of capital L is permitted to avoid confusion with the number 1.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;There are also some conventions on the usage of acronyms, where you should use Upper Case letters, for example, PPI.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;And there are some more on the usage of abbreviates, where lower case letters should be used.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;My assumption is that convention 1 and 2 are the most important in this case.   Although in this case, they are not units, the reasoning could apply.&lt;/p&gt;&#xA;&lt;p&gt;p and i, in my opinion, are not acronyms, so the capital letter would not override the first 2 conventions. They can also derive just from an abbreviation so premise 4 would also apply.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Regarding the K in a 4K resolution, according to one note in the &lt;a href=&quot;https://en.wikipedia.org/wiki/Metric_prefix#Similar_symbols_and_abbreviations&quot; rel=&quot;nofollow noreferrer&quot;&gt;wikipedia&lt;/a&gt; it is just an informal way to say thousand, but with an implied unit, in this case the implied unit could be a pixel, 4kpx. It is based on the idea of the kilo but does not use the standard notation.&lt;/p&gt;&#xA;&lt;p&gt;But something curious is that it is the common practice to denote a Kilobyte and not kilobyte. Probably to make it more uniform with some other prefixes in Uppercase, like Megabyte and Terabyte.&lt;/p&gt;&#xA;&lt;p&gt;One idea about prefixes was that lowercase prefixes were used to define smaller than the base unit, and Uppercase to define greater than the unit... but the kilogram has a really strange history. Add that the unit for temperature is a big K.&lt;/p&gt;&#xA;&lt;p&gt;It could also be just a gimmick. We were used to see the capital M (based on the standard prefixes) regarding resolution, for example, &amp;quot;a 24Mpx camera&amp;quot;. Using a lower case letter probably has less impact than using a capital letter.&lt;/p&gt;&#xA;&lt;p&gt;&amp;quot;Goodbye to the old 1080p, Wellcome the 4k&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;&amp;quot;Goodbye to the old 1080p, Wellcome the 4K&amp;quot;&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-09-18T05:08:55.577" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="28511" PostTypeId="2" ParentId="28506" CreationDate="2019-09-14T21:08:49.037" Score="0" Body="&lt;p&gt;Import the animation in an NLE (such as DaVinci Resolve, which is free and powerful) and export the cropped animation from it by running compression and export tests until you get a file that has the size and quality you're looking for. No need to use MediaEncoder or FFMPEG.&lt;/p&gt;&#xA;" OwnerUserId="11961" LastActivityDate="2019-09-14T21:08:49.037" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28512" PostTypeId="2" ParentId="28487" CreationDate="2019-09-14T21:21:21.640" Score="0" Body="&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;In PremierePro, DaVinci Resolve, Final Cut X or any other decent NLE, create a sequence that has the ratio you're looking for, such as 1:1, or 4:3, or whatever you want your final video to have. So it could be 720×720 for a 1:1 ratio, for instance, or 720×1080, etc.&lt;br&gt;&#xA;See &lt;a href=&quot;https://calculateaspectratio.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Aspect Ratio Calculator&lt;/a&gt;. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Import your 1920×1080 (16:9 ratio) video file in your project and slide it on your timeline. Your image will be cropped according to the timeline ratio. At this point, start zooming in and out of your image, and/or move the image along the X and/or Y axis to properly frame your 1920x1080 image within the timeline ratio.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Export. You're done.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11961" LastEditorUserId="18155" LastEditDate="2019-09-17T17:19:52.450" LastActivityDate="2019-09-17T17:19:52.450" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28514" PostTypeId="2" ParentId="19342" CreationDate="2019-09-16T03:17:39.523" Score="0" Body="&lt;p&gt;I will try to categorize some different transitions, and comment on them. Of course, this is not carved in stone.&lt;/p&gt;&#xA;&lt;h2&gt;Cut&lt;/h2&gt;&#xA;&lt;p&gt;Yes, a cut is a transition. It sounds simple, but &lt;strong&gt;it has many flavors&lt;/strong&gt;. The most simple is the direct cut, where you simply put one clip after another.&lt;/p&gt;&#xA;&lt;p&gt;One of those flavors is the J-Cut, where you do not change the clip at the exact same time as the audio. For example a dialog between two persons, as a viewer you could turn your head to the other interlocutor after you hear he is now talking, so the audio changes before the visuals.&lt;/p&gt;&#xA;&lt;p&gt;It is the cut that gives more continuity to a sequence, so much that actually you can use it to disrupt it, for example, you change from a battle scene to a calm paradise, this can surprise the audience trying to figure out what happened because they were teletransported without any warning. This is a smash cut.&lt;/p&gt;&#xA;&lt;p&gt;But a cut can be back and forward between to shots, like in a dialog, this is a cross cut, or it can be to speed up a single shot, like a jump cut.&lt;/p&gt;&#xA;&lt;p&gt;As you can see it has many variations.&lt;/p&gt;&#xA;&lt;p&gt;The speed and rhythm could be different aspects of a cut. but you need to leave time for the images to be understood, the simpler the image the faster you can switch, the more elements it has, more time on screen it needs. Some music videos have so much frenetic rhythm that are unwatchable.&lt;/p&gt;&#xA;&lt;h2&gt;Cross dissolve&lt;/h2&gt;&#xA;&lt;p&gt;This normally implies some calm situation, it can add an &amp;quot;elegant&amp;quot; element.&lt;/p&gt;&#xA;&lt;p&gt;They can be used between clips or between two bigger sequences. It can either link them or distance them depending on the context, but normally it links them &lt;em&gt;despite&lt;/em&gt; an intrinsic element of distance, for example, one person thinking about some other across the world.&lt;/p&gt;&#xA;&lt;p&gt;But it also can show the passing of time.&lt;/p&gt;&#xA;&lt;p&gt;The duration of the transition itself is another narrative element.&lt;/p&gt;&#xA;&lt;h2&gt;Fade to - fade from&lt;/h2&gt;&#xA;&lt;p&gt;Black or white.&lt;/p&gt;&#xA;&lt;p&gt;A fade to black is one of the transitions that distance two senes the most, it gives a sensation of closure, for example when some years have passed and the prior situation wants to be forgotten.&lt;/p&gt;&#xA;&lt;p&gt;A fade to white can have a similar effect, but gives a small relief, implies some hopeful feeling. It can imply some &amp;quot;metaphysical&amp;quot; element, passing by, new beginnings.&lt;/p&gt;&#xA;&lt;p&gt;It can be used between two scenes or as a final element of a video.&lt;/p&gt;&#xA;&lt;p&gt;It also has some variations depending on the &amp;quot;blending mode&amp;quot; applied. If a transition has a blending mode that increases the luminosity of the video can be used as an intro to a flashback or something like that. But this variation could look &amp;quot;cheap&amp;quot; as a low budget tv show.&lt;/p&gt;&#xA;&lt;p&gt;This three are the most often used by far.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h2&gt;Overlay&lt;/h2&gt;&#xA;&lt;p&gt;One element appearing above the two clips as a middle transition element. One example is a &amp;quot;film burn&amp;quot;, where this foreign element appears and disappears during the transition. Normally it implies a different blend mode different than just a dissolve.&lt;/p&gt;&#xA;&lt;p&gt;A film burn is can be used of course to give some nostalgic feeling, but you can be creative.&lt;/p&gt;&#xA;&lt;h2&gt;Seamles&lt;/h2&gt;&#xA;&lt;p&gt;Normally this combined with a camera movement, for example, a camera travels from left to right and a tree is very close to the camera, and now another scene is revealed behind a light pole with the same camera movement. (It is a creative way to use a wipe)&lt;/p&gt;&#xA;&lt;p&gt;You can approach to a black object, and start the next scene walking away from another black object.&lt;/p&gt;&#xA;&lt;h2&gt;Wipe&lt;/h2&gt;&#xA;&lt;p&gt;It makes an element appear from one side overriding the image underneath. If it is used between clips, it can give a &amp;quot;comics&amp;quot; style. It can imply that the two scenes are occurring in different locations at the exact same time, for example, a telephone call.&lt;/p&gt;&#xA;&lt;p&gt;But it can also be used to add an element over the existing scene, for example, some text over a video, or an enhanced version of a video over the original.&lt;/p&gt;&#xA;&lt;p&gt;The edge could be sharp or can have some gradual blending.&lt;/p&gt;&#xA;&lt;h2&gt;Blur&lt;/h2&gt;&#xA;&lt;p&gt;Changing focus, or adding some kind of a gaussian blur.&lt;/p&gt;&#xA;&lt;p&gt;An obvious usage is a person losing conscience but can be a cheap... or economic way to switch between scenes. It was used when direct cut was the only available tool, turning off a recording and on again. I doubt is used a lot these days.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h2&gt;They need to be combined with other resources&lt;/h2&gt;&#xA;&lt;p&gt;For example with camera movements, lighting conditions, and &lt;strong&gt;above all... the story.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h2&gt;But you also can use whatever you have!&lt;/h2&gt;&#xA;&lt;p&gt;Yes, you can throw a &amp;quot;fancy&amp;quot; transition on a kids video, with balloons, stars, and flipping pages. Just keep in mind that this can have a very short-lived style. But probably this is what you need, giving a video a 90's look could be what you need.&lt;/p&gt;&#xA;&lt;h2&gt;Compositing&lt;/h2&gt;&#xA;&lt;p&gt;Keep in mind that &amp;quot;Video editing&amp;quot; and &amp;quot;Video compositing&amp;quot; are two different but related crafts. &lt;strong&gt;Some motion graphics or visual effects elements can be considered transitions&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;A video being torn by pieces, color bars floating around, geometric shapes, particles appearing, maskings, overlays, 3D movements, glitches... Just remember to have the elements with a context in mind. It is different to make a music video for a Techno music group than a documentary.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-09-17T02:19:38.900" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28517" PostTypeId="1" CreationDate="2019-09-17T06:01:33.760" Score="2" ViewCount="350" Body="&lt;p&gt;I am using Kdenlive 17.12.3 on Ubuntu 18.04 LTS 64 Bit PC. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I generated a counter via &quot;Project&quot; -&gt; &quot;Generators&quot; -&gt; &quot;Counter&quot;. I checked &quot;No background&quot; checkbox. However, it feels that it has added a gray background. Please see below a few screenshots of the video-&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Image 1:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/lay59.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lay59.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Image 2:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/BUnnt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BUnnt.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Image 3:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/CVkl3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CVkl3.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to remove the gray color background from the counter. Any suggestions, please?&lt;/p&gt;&#xA;" OwnerUserId="26288" LastActivityDate="2019-09-17T06:01:33.760" Title="Remove background from counters in Kdenlive" Tags="|kdenlive|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28518" PostTypeId="1" CreationDate="2019-09-17T09:37:41.403" Score="0" ViewCount="232" Body="&lt;p&gt;I need to embed short (~10 sec.) videos on my website. I currently use &lt;code&gt;.mp4&lt;/code&gt; files, each one is around 10 MB  large.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way I can reduce the size of these videos? Whats the best format to use? Might gifs be a better option? What resolutions do you recommend for desktop and mobile devices? Does the video editor I use make a difference in file size after rendering?&lt;/p&gt;&#xA;" OwnerUserId="26289" LastActivityDate="2019-09-19T14:25:56.863" Title="Optimizing short Videos (~10 sec.) in Size for embedding in website &amp; app" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28519" PostTypeId="1" CreationDate="2019-09-17T13:53:44.843" Score="2" ViewCount="477" Body="&lt;p&gt;I have a video that is initially 19 frames long and lasts for about 0.5 seconds, it's 432kB.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've looped it over three minutes and the resulting file is quite large (200MB).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using FFMPEG is there a parameter of libx264 I can change to efficiently compress these 19 frames being looped rather than it being 3 minutes of unique frames?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I've tried increasing the keyframe interval to 1000 but it didn't help too much.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libx264 -g 1000 output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="25058" LastActivityDate="2019-09-17T13:53:44.843" Title="Efficiently compressing a looping video with h264" Tags="|ffmpeg|h.264|compression|libx264|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28520" PostTypeId="1" CreationDate="2019-09-17T17:33:56.673" Score="0" ViewCount="817" Body="&lt;p&gt;I'm trying to add text to my video. Something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1GLC6.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1GLC6.jpg&quot; alt=&quot;&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I've tried this command, &lt;strong&gt;but the text doesn't wrap&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf \&#xA;&quot;format=yuv444p, \&#xA;drawbox=y=ih/PHI:color=black@0.4:width=iw:height=48:t=fill, \&#xA;drawtext=fontfile=OpenSans-Regular.ttf:text='Title of this    Video':fontcolor=white:fontsize=24:x=(w-tw)/2:y=(h/PHI)+th, \&#xA;format=yuv420p&quot; \&#xA;-c:v libx264 -c:a copy -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26292" LastEditorUserId="14523" LastEditDate="2019-09-17T23:00:45.367" LastActivityDate="2021-10-07T02:01:05.113" Title="How to add lower third text graphics to a video using FFmpeg" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28521" PostTypeId="2" ParentId="28488" CreationDate="2019-09-17T17:33:58.580" Score="2" Body="&lt;p&gt;MKV frame timestamps are relative to the start of the cluster. The cluster timestamps, however can be absolute or relative to the beginning of the &quot;presentation&quot;. The frame timestamps are the presentation timestamps (PTS) whereas the frames are ordered in the decoding order (DTS). MKV doesn't have explicit DTS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The snippet of the MKV you showed contains a single cluster and the frames which are simple blocks indicate relative timestamps from the cluster (these are B-frames).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could you dump the content of these MKV and send it to kinesis-video-support@amazon.com?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the post, seems that you are not using Producer SDK but AWS KVS SDK and using PutMedia API call to upload the generated MKV fragment. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;KVS has two producer specific SDKs&#xA;CPP: &lt;a href=&quot;https://github.com/awslabs/amazon-kinesis-video-streams-producer-sdk-cpp&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/awslabs/amazon-kinesis-video-streams-producer-sdk-cpp&lt;/a&gt;&#xA;Java: &lt;a href=&quot;https://github.com/awslabs/amazon-kinesis-video-streams-producer-sdk-java&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/awslabs/amazon-kinesis-video-streams-producer-sdk-java&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are useful for device integration scenarios.&lt;/p&gt;&#xA;" OwnerUserId="26291" LastActivityDate="2019-09-17T17:33:58.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28522" PostTypeId="2" ParentId="28520" CreationDate="2019-09-17T18:18:40.937" Score="0" Body="&lt;p&gt;The &lt;code&gt;drawtext&lt;/code&gt; filter &lt;em&gt;doesn't support automatic wrapping.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, if you want to display your text in &lt;em&gt;n&lt;/em&gt; lines, you have to use the &lt;code&gt;drawtext&lt;/code&gt; filter &lt;em&gt;n&lt;/em&gt; times, &lt;em&gt;with different values&lt;/em&gt; for parameters &lt;code&gt;text&lt;/code&gt;, &lt;code&gt;y&lt;/code&gt; (and maybe &lt;code&gt;x&lt;/code&gt;, too) for every line.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2019-09-17T18:18:40.937" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28523" PostTypeId="2" ParentId="28520" CreationDate="2019-09-17T18:22:19.687" Score="1" Body="&lt;p&gt;Use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#subtitles&quot; rel=&quot;nofollow noreferrer&quot;&gt;subtitles&lt;/a&gt; filter and it will wrap automatically. You can use the simple but limited SRT format, or the more complex ASS format. Aegisub is useful if you want to format the subtitles, or see the &lt;code&gt;force_style&lt;/code&gt; option in the subtitles filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7T1oK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7T1oK.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;subtitles=title.srt,format=yuv420p&quot; -c:v libx264 -c:a copy -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-09-17T18:22:19.687" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28527" PostTypeId="2" ParentId="24435" CreationDate="2019-09-18T12:09:58.777" Score="1" Body="&lt;p&gt;ffmpeg -i manifest.mpd -codec copy out.mp4 almost works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the file that is downloaded is corrupt. Only distorted colors are seen in the downloaded video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Th9enBZSLLg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="26298" LastEditorUserId="26298" LastEditDate="2019-09-18T12:25:30.210" LastActivityDate="2019-09-18T12:25:30.210" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28529" PostTypeId="2" ParentId="28299" CreationDate="2019-09-18T19:06:23.877" Score="1" Body="&lt;p&gt;The difference is noticable but the question is if it is worth it.&#xA;Many low-end cameras compress High Framerate videos more than &quot;normal&quot; framerate videos, thus you loose quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So best thing in this case is just to try it out, if you think that the quality loss if worth the slight slower speed&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-09-18T19:06:23.877" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28530" PostTypeId="2" ParentId="28518" CreationDate="2019-09-18T19:10:44.260" Score="1" Body="&lt;p&gt;The best thing for such a use case is creating diffrent files which get loaded in different scenarios.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Current recommendation is to use webm for web content, this container is not supported with all Browsers tho, so also include a .mp4 to switch too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;GIFs can be compressed quite nicely, but you need to keep in mind that GIFs are quite strict about colors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can go quite far by compressing with FFMPEG&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-09-18T19:10:44.260" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28532" PostTypeId="1" AcceptedAnswerId="28540" CreationDate="2019-09-19T09:48:36.530" Score="1" ViewCount="200" Body="&lt;p&gt;I usually record in 24 fps or 30fps using the 180 degree shutter rule for smooth motion blur.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On a recent trip I was recording hand-held footage of landscapes in high wind, which resulted in quite a lot of camera sway. I found that Resolve did a good job of stabilising the footage, but the resulting clips looked quite soft because of the motion blur left-over from the camera movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This left me thinking: if the main source of movement is likely to be camera shake (that will be stabilised in post) rather than motion of the subject, would results be dramatically improved with a faster shutter speed?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there accepted best practices on this?&lt;/p&gt;&#xA;" OwnerUserId="11621" LastActivityDate="2019-09-20T06:56:25.597" Title="Breaking the 180 degree shutter rule when stabilising footage" Tags="|stabilisation|shutter|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28535" PostTypeId="2" ParentId="28518" CreationDate="2019-09-19T14:19:33.210" Score="1" Body="&lt;p&gt;GIFS are massive compared to h.264, basically because GIF was developed in the olden days (1987), and h.264 was developed in the… well in the less olden days (2003). Here's a 72&lt;strong&gt;kb&lt;/strong&gt; h.264 file&#xA;&lt;a href=&quot;https://adobe.ly/32QFBSL&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://adobe.ly/32QFBSL&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And here's the same thing converted to a GIF. Total file size 1,212kb, or roughly 16 times the size, and the quality leaves a lot to be desired.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oH7l6.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oH7l6.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;h.264 is a codec that was designed for the purpose of delivering high visual quality with small file sizes. It is almost universally readable by any remotely modern browser, and is free to use for most users. The only thing going for GIFs is that they are classified as an image format, so platforms like stackexchange will allow you to embed them, whereas they don't let you embed video. Go figure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only alternatives that I could suggest are webm  which is open source but slightly less ubiquitous, and h.265 which works even better, but again is less universally playable.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-09-19T14:25:56.863" LastActivityDate="2019-09-19T14:25:56.863" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28537" PostTypeId="2" ParentId="28299" CreationDate="2019-09-20T00:39:43.653" Score="0" Body="&lt;p&gt;&lt;strong&gt;Yes, no, probably, probably not... depends.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ok, you have two questions here. Yes, a 60fps clip will have more frames per second, pretty self-explanatory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the other question is pretty subjective.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In real life (Not real-time), it can be a total disaster, for example, if you are working on a music video clip where dancers were shot at the wrong speed given a specific beat.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another case would be where you need to fill a specific timeline with the clip, and having fewer frames could not be enough to fill that space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if your clip does not have a specific element that can be timed accurately, it does not matter, because our perception is not that exact. It can be just a cool moment in our video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even better, modern programs have some neat features to re-warp the frames, it invents new frames with the information on other frames. So, now days is a lot easier to adapt slow motion and time warp clips in the videos.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-20T00:39:43.653" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28539" PostTypeId="2" ParentId="28477" CreationDate="2019-09-20T06:47:06.630" Score="0" Body="&lt;p&gt;This question is not clear at all. Let me explore how many assumptions it has.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I saw the same clip edited&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You are assuming that the other person is using the same clip. He probably had a better resolution one. But here I am assuming the other clip looked better than yours.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;He could have just imported a similar resolution clip, let's say extracted from a DVD, and probably it was simply resampled on a FullHD project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, no way to respond to that part.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;But I will answer this:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;1080p so I want to know what setting I must use to render that kind of video&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Prepare a project of the resolution you intent, in this case... 1080p&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I tried rendering it on 1080p but the effects that I added did not work.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Here are again on the realm of &quot;what are we talking about?&quot; What effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again. Simply prepare a project of the intended resolution you want to deliver from the start.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It has two advantages&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;The &quot;effects&quot; or elements will render at the real resolution. If you prepare a project smaller, this simply will produce a blurry or pixelated project.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You do not force your equipment making a project bigger. If you prepare a project bigger, your workflow could simply get slower, less fluid.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;But if there is a chance you actually need a project bigger at a future time, yes you can prepare it that way and deliver the first version resampled down.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-20T06:47:06.630" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28540" PostTypeId="2" ParentId="28532" CreationDate="2019-09-20T06:56:25.597" Score="1" Body="&lt;p&gt;I would invite you to experiment a bit and to answer your question yourself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But yes, I can think in several cases where you should shot at higher framerate where this motion blur is actually a problem.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The first case is the one you describe. The camera shake will produce blur on directions we do not want.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Another case is time-lapse. You can have objects moving in different directions and different rates. Some programs process the images to produce different artificial blurs, so you could experiment on different shutter speeds-lapse ratios. If you want a cartoonish look you can simply shot at a fast velocity, for example, to give you a stop motion effect.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;When you are shooting on a green screen to be composited later. A blur on a green screen is a pain to remove. Shooting at a higher speed will produce sharper edges on moving parts that will be easier to extract.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;It is always easier to add blur than to remove it.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;In my opinion, the best practices are the ones works for you.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-20T06:56:25.597" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28541" PostTypeId="1" AcceptedAnswerId="28558" CreationDate="2019-09-20T16:33:02.947" Score="0" ViewCount="2567" Body="&lt;p&gt;How can you remove this particular line here? Apperantly when you right click on a clip you can see clip keyframes and select something like time rewrapping, however you can not unselect it, but apperantly you can hide it, I just don't know how.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anybody know or is this normal and default not sure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/a6LQ0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/a6LQ0.png&quot; alt=&quot;https://i.imgur.com/jIZZoVS.png&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25470" LastEditorUserId="25470" LastEditDate="2019-09-21T19:02:31.743" LastActivityDate="2019-09-22T13:09:21.320" Title="Adobe Premiere Hide Clip Keyframes or remove the Adjustment line?" Tags="|premiere|video-editor|adobe|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28542" PostTypeId="1" AcceptedAnswerId="28543" CreationDate="2019-09-20T21:45:12.423" Score="0" ViewCount="184" Body="&lt;p&gt;I took quite an effort to specify an Amplify audio effect with changing levels (in and out). I have more audio clips there for which I would like this effect too. Is it possible somehow copy-paste the audio effect to those audio clips?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know it is possible to set the effect for multiple clips at once, but it is too late, the effect is already specified for only one clip now.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/U8Pra.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/U8Pra.png&quot; alt=&quot; &quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1381" LastActivityDate="2019-09-20T21:59:35.937" Title="How can I copy-paste audio effect to other audio clips in VideoPad?" Tags="|audio|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28543" PostTypeId="2" ParentId="28542" CreationDate="2019-09-20T21:59:35.937" Score="0" Body="&lt;p&gt;Ah, found it! &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Click the disquette icon: &quot;Save template&quot; to save the audio effect template.&lt;/li&gt;&#xA;&lt;li&gt;In the clip(s) you want to copy the effect to, click the green plus icon to load the template.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The effect will be then added to the clip(s) with all its settings.&lt;/p&gt;&#xA;" OwnerUserId="1381" LastActivityDate="2019-09-20T21:59:35.937" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28544" PostTypeId="2" ParentId="20022" CreationDate="2019-09-21T06:56:34.933" Score="0" Body="&lt;p&gt;An oldie, but let me do some brainstorming.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;If you are going to have thousands of clips, you definitely need to construct a rig, not only &lt;strong&gt;for the models but also for the lights and cameras&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;For the model make one structure to be adapted on a comfortable chair that gently directs the orientation of the head.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Prepare a digital projector to shot a grid or a &lt;strong&gt;silhouette&lt;/strong&gt; from one side of the model &lt;strong&gt;(be careful with the eyes)&lt;/strong&gt; as a reference image.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Or prepare a set of orthogonal cameras, that can Livestream to a computer. If you are using windows, there is a small program called &amp;quot;Ghost win Real transparent windows&amp;quot; that can overlay one application over the other, a reference image. These cameras need to be also attached to the rig.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You could use a flat background, so you can align the clips in post pro.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Combine all the above.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-09-21T06:56:34.933" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28545" PostTypeId="1" AcceptedAnswerId="28563" CreationDate="2019-09-21T10:32:51.673" Score="0" ViewCount="166" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kL9qk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kL9qk.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hi everyone! Unfortunately, I have no idea how to search for a solution so I will try to explain what my problem is. For some reason, on some video, I cannot add fade in/out, because it is overlapped by another one. Is there any way to fix this instead of leaving a small gap between videos?  &lt;/p&gt;&#xA;" OwnerUserId="26321" LastActivityDate="2019-09-23T11:33:04.003" Title="Vegas Pro 15.0 Fade In/Out" Tags="|video|editing|vegas-pro|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28547" PostTypeId="1" CreationDate="2019-09-21T13:26:55.867" Score="2" ViewCount="666" Body="&lt;p&gt;From reading various video forums, QTGMC seems to have a reputation as being one of the best tools for deinterlacing video (at least from an open-source perspective), with Yadif in second place.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is QTGMC still as highly regarded in 2019? &lt;/li&gt;&#xA;&lt;li&gt;Are there other tools (open source or otherwise) that come close or even exceed the quality from QTGMC?&lt;/li&gt;&#xA;&lt;li&gt;Has anyone done an in-depth quality comparison?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6009" LastActivityDate="2019-09-21T13:26:55.867" Title="Is QTGMC still the best deinterlacer?" Tags="|video|video-quality|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28548" PostTypeId="1" CreationDate="2019-09-21T13:38:44.530" Score="5" ViewCount="7743" Body="&lt;p&gt;&lt;a href=&quot;http://avisynth.nl/index.php/Main_Page&quot; rel=&quot;noreferrer&quot;&gt;AviSynth&lt;/a&gt; is an old-but-still-useful tool for processing video via script, but I’ve noticed that there is a fork called &lt;a href=&quot;http://avs-plus.net&quot; rel=&quot;noreferrer&quot;&gt;AviSynth+&lt;/a&gt; that appears to have some improvements. And then there’s VapourSynth rewritten to use Python. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What are the pros and cons of these versions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For use-cases such as QTGMC deinterlacing and high-quality resizing, is one clearly better than the other?&lt;/p&gt;&#xA;" OwnerUserId="6009" LastEditorUserId="6009" LastEditDate="2019-09-22T05:23:53.603" LastActivityDate="2020-08-10T18:40:18.897" Title="AviSynth vs AviSynth+ vs VapourSynth: which one should I choose?" Tags="|video|avi|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28549" PostTypeId="2" ParentId="17779" CreationDate="2019-09-21T14:32:55.987" Score="0" Body="&lt;p&gt;Upscaling an image is always difficult as you can never completely recover the details. There are some tools, however, that can give you a higher-quality and sharper result than the typical resizing algorithms used in most players and editors (nearest neighbor, bilinear, bicubic). Some options that you might like to explore:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;If you’re familiar with AviSynth scripting, checkout the nnedi3 rpow2 function [freeware]&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Adobe After Effects (and possibly Premiere Pro now?) has a feature called &lt;a href=&quot;https://video.stackexchange.com/a/23869/6009&quot;&gt;Detail-preserving upscale&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;DaVinci Resolve 15 has a feature called “Super Scale” &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://topazlabs.com/gigapixel-ai/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Topaz Gigapixel AI&lt;/a&gt; uses advanced AI datasets to upscale images and fill in missing information. It’s designed for still images but you can use it for video by exporting all frames as images, upscaling and then recombining.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6009" LastActivityDate="2019-09-21T14:32:55.987" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28550" PostTypeId="2" ParentId="28548" CreationDate="2019-09-21T14:57:06.577" Score="4" Body="&lt;p&gt;As a summary of the differences:&lt;/p&gt;&#xA;&lt;h2&gt;AviSynth&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Outdated and no longer recommended for use&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Only available in 32bit – not able to use 64bit plugins/filters&lt;/li&gt;&#xA;&lt;li&gt;No multi-threading (unless you install AviSynth-MT, another fork, which is prone to errors and issues and no updates over last 4+ years)&lt;/li&gt;&#xA;&lt;li&gt;Older and only supports 8bit video&lt;/li&gt;&#xA;&lt;li&gt;Lacks support for some color spaces (YV16, YV24 etc.)&lt;/li&gt;&#xA;&lt;li&gt;Latest release over 4 years ago (May 2016)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;AviSynth+&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Has both a 32bit and 64bit version, although the 32bit version apparently &lt;a href=&quot;http://www.digitalfaq.com/forum/video-restore/9619-advantages-avisynth-vs.html#post60894&quot; rel=&quot;nofollow noreferrer&quot;&gt;has some issues&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Supports multi-threading which can significantly improve rendering performance for some functions (similar to AviSynth-MT, another fork, but AviSynth+’s appears more stable)&lt;/li&gt;&#xA;&lt;li&gt;Be aware that using the 64bit version will require all plugins and filters to also be 64bit – and not all of them have 64bit versions. There are some filters that are 64bit only, however, which means you’re able to use those.&lt;/li&gt;&#xA;&lt;li&gt;QTGMC runs faster in multi-threaded mode, and also &lt;a href=&quot;http://www.digitalfaq.com/forum/video-restore/9619-advantages-avisynth-vs.html#post60894&quot; rel=&quot;nofollow noreferrer&quot;&gt;apparently&lt;/a&gt; in 64bit mode&lt;/li&gt;&#xA;&lt;li&gt;AviSynth+ specific documentation is limited, but most of the great AviSynth wiki also applies to AviSynth+ and many pages now have notes mentioning any specific instructions for working with AviSynth+.&lt;/li&gt;&#xA;&lt;li&gt;Also runs on Linux, which is useful when you need to run it on a server&lt;/li&gt;&#xA;&lt;li&gt;Regularly updated, with latest release Jun 2020&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Note: be sure to get a recent version of AviSynth+ from &lt;a href=&quot;https://github.com/AviSynth/AviSynthPlus/releases&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/AviSynth/AviSynthPlus/releases&lt;/a&gt;. There was a pinterf fork and it has been merged back to upstream.&lt;/p&gt;&#xA;&lt;p&gt;Or you can use the &lt;a href=&quot;https://www.videohelp.com/software/Universal-Avisynth-Installer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Universal AviSynth Installer&lt;/a&gt; which allows you to easily switch between the different versions of AviSynth, AviSynth-MT, and AviSynth+ (32bit and 64bit).&lt;/p&gt;&#xA;&lt;h2&gt;VapourSynth&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Rewritten to use Python, a much more powerful and flexible scripting language&lt;/li&gt;&#xA;&lt;li&gt;Multi-threaded&lt;/li&gt;&#xA;&lt;li&gt;Supports generalized colorspaces whereby new or custom colorspaces can be specified at runtime&lt;/li&gt;&#xA;&lt;li&gt;Also runs on Linux, which is useful when you need to run it on a server&lt;/li&gt;&#xA;&lt;li&gt;Documentation isn't as detailed as AviSynth (it's not a community wiki)&lt;/li&gt;&#xA;&lt;li&gt;Regularly updated, with latest release Aug 2020&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6009" LastEditorUserId="27214" LastEditDate="2020-08-10T18:40:18.897" LastActivityDate="2020-08-10T18:40:18.897" CommentCount="2" CommunityOwnedDate="2019-09-25T06:54:05.183" ContentLicense="CC BY-SA 4.0" />
  <row Id="28551" PostTypeId="1" CreationDate="2019-09-21T17:59:26.947" Score="0" ViewCount="453" Body="&lt;p&gt;I'm working on a video comparing old and new games, and I'm scrubbing through some footage frame by frame trying to count button inputs in DOOM over a period of time. I was wondering if there was a way to increment a number based on the amount of keyframes present. So ideally it would automatically go up by one for each keyframe placed on the timeline, without having to manually increase the value on a per keyframe basis. Is there an easy way to go about this or will I have to manually set the value per keyframe?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've never really used expressions before so this is new territory for me, and I don't know where to start.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="26323" LastActivityDate="2019-09-23T07:53:16.757" Title="Increment a number, based on number of keyframes in After Effects?" Tags="|keyframes|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28552" PostTypeId="2" ParentId="28427" CreationDate="2019-09-21T18:11:45.110" Score="2" Body="&lt;p&gt;Issue is with the audio track, which needs to be converted/compressed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://sourceforge.net/p/vdfiltermod/tickets/162/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://sourceforge.net/p/vdfiltermod/tickets/162/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;for steps on how to avoid this issue.&lt;/p&gt;&#xA;" OwnerUserId="26325" LastActivityDate="2019-09-21T18:11:45.110" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28554" PostTypeId="2" ParentId="28548" CreationDate="2019-09-21T22:38:05.077" Score="2" Body="&lt;p&gt;There is no reason to use old, obsolete AviSynth — &lt;em&gt;“old-but-still-useful”&lt;/em&gt; are almost all programs, but why to complicate your life with old, unsupported versions of them?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Every script for AviSynth works well in the AviSynth+, so even if you know AviSynth, there is nothing to relearn. The opposite is not true, however.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Use AviSynth+&lt;/strong&gt; (pros: all, cons: none), particularly &lt;a href=&quot;https://github.com/pinterf/AviSynthPlus/releases&quot; rel=&quot;nofollow noreferrer&quot;&gt;pinterf/AviSynthPlus&lt;/a&gt; (forked from already dead AviSynth/AviSynthPlus).&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Note:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other situation is with &lt;em&gt;GUI programs&lt;/em&gt; — if the old version satisfied you and the new one is too complicated, with changed menus, new icons, colors etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But it is not the case of AviSynth+ — you don't “see” the new commands, functions or parameters, so they don't disturb you.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-09-22T04:05:20.557" LastActivityDate="2019-09-22T04:05:20.557" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28556" PostTypeId="2" ParentId="23657" CreationDate="2019-09-22T04:58:27.923" Score="0" Body="&lt;p&gt;I have no idea how your video looks, and why it looks different. And I have no idea on what settings you can put to your script. Sorry about that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want to mention, (which is a bit long for just a comment) is that the amount of blur you see on the video greatly depends on how many frames you are compressing on one &quot;time-lapsed&quot; frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take a look at this closeup of the video you posted. You can clearly see that the motion blur is added on the top of a lot of frames merged.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uLPX8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uLPX8.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, there is a chance that the other video has a different number of frames, or was shot at a different framerate, therefore when compressed, they have more frames to work with.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-22T04:58:27.923" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28557" PostTypeId="2" ParentId="28541" CreationDate="2019-09-22T06:44:39.587" Score="0" Body="&lt;p&gt;To do that, click the icon indicated by the arrow in the following image and select “Hide Keyframes” form the menu that pops up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The icon is under the camera icon on your timeline.&lt;/p&gt;&#xA;" OwnerUserId="26331" LastActivityDate="2019-09-22T06:44:39.587" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28558" PostTypeId="2" ParentId="28541" CreationDate="2019-09-22T13:09:21.320" Score="0" Body="&lt;p&gt;At the timeline there is a wrench icon and here it shows the option to hide the video keyframes.&lt;/p&gt;&#xA;" OwnerUserId="25470" LastActivityDate="2019-09-22T13:09:21.320" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28559" PostTypeId="2" ParentId="25145" CreationDate="2019-09-22T16:02:52.890" Score="2" Body="&lt;p&gt;Here is the solution:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/WiOg_7Zchgk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's really simple when you know it :)&lt;/p&gt;&#xA;" OwnerUserId="26334" LastActivityDate="2019-09-22T16:02:52.890" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28560" PostTypeId="2" ParentId="28551" CreationDate="2019-09-23T07:53:16.757" Score="1" Body="&lt;p&gt;Yep, just do&lt;/p&gt;&#xA;&#xA;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var p = &amp;lt;pick whip the property with the keyframes here&amp;gt;;&#xA;var k = p.nearestKey(time);&#xA;if (k.time &amp;lt;= time){&#xA;    k.index; //key is in the past&#xA;} else {&#xA;    k.index-1; //nearest key is in the future, return the previous key&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;On the first line you have to reference the property with the keyframes. The easiest way is with the pick whip (the curly thing in the expressions buttons). Drag it to the property you want to reference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dfF7U.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dfF7U.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the first line should look something like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var p = thisComp.layer(&quot;Pale Gray-Magenta Solid 2&quot;).effect(&quot;Slider Control&quot;)(&quot;Slider&quot;);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var p = transform.position;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Don't forget the semi-colon at the end.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-09-23T07:53:16.757" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28561" PostTypeId="1" CreationDate="2019-09-23T11:18:51.077" Score="-4" ViewCount="2301" Body="&lt;p&gt;My friend has the cracked version, but for some reason, he cannot link his media encoder to his after effects software. How can he fix this issue?&lt;/p&gt;&#xA;" OwnerUserId="26341" LastActivityDate="2019-09-23T17:06:12.223" Title="Does Adobe media encoder work if you have the cracked version of Adobe After Effects?" Tags="|after-effects|editing|adobe|adobe-media-encoder|" AnswerCount="1" CommentCount="1" ClosedDate="2019-09-23T23:03:05.927" ContentLicense="CC BY-SA 4.0" />
  <row Id="28563" PostTypeId="2" ParentId="28545" CreationDate="2019-09-23T11:33:04.003" Score="1" Body="&lt;p&gt;Well... You could try to place the clip that you want to fade in/out on top of the other clips. If that does not work, you will have to split all of the clips at the same place and make them all fade in/out. If doing this will ruin the whole project video because you have other effects on it, then I suggest rendering the video without adding any fade in-/outs and then opening a new project and adding the video you made, then making it fade in/out wherever you would like to. I hope this helped!&lt;/p&gt;&#xA;" OwnerUserId="26341" LastActivityDate="2019-09-23T11:33:04.003" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28564" PostTypeId="2" ParentId="28561" CreationDate="2019-09-23T17:06:12.223" Score="3" Body="&lt;p&gt;Tell your friend that good software costs money. And is made by developers who need to put food on the table. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-09-23T17:06:12.223" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28569" PostTypeId="1" CreationDate="2019-09-24T07:48:40.360" Score="0" ViewCount="161" Body="&lt;p&gt;I've been doing some stabilization processing in Final Cut Pro, and it of course takes a long time. I'm wondering if there's a way to make my computer go to sleep after these tasks finish so the computer isn't on for hours after it finishes (if I leave my computer alone for a few hours).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or is there another trick people do to make this work?&lt;/p&gt;&#xA;" OwnerUserId="26344" LastActivityDate="2019-09-24T07:48:40.360" Title="Can I make my Macbook go to sleep immediately after all Final Cut Pro background tasks finish?" Tags="|final-cut-pro-x|final-cut-pro|macbook|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28572" PostTypeId="1" AcceptedAnswerId="28781" CreationDate="2019-09-25T01:19:54.690" Score="2" ViewCount="2448" Body="&lt;p&gt;This seems simple enough.  I want to do a basic conversion of a .mov file to a .mp4 file using ffmpeg.  The hitch seems to be that I also need to preserve the timecode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've looked at many posts from around the web and specifically:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/16965/ffmpeg-cut-a-media-preserving-all-streams-but-also-all-metadata-timecodes-and-e?newreg=e35f1e9dd7fd4117b67f91693713ac51&quot;&gt;ffmpeg Cut a media preserving all streams but also all metadata, timecodes and everything else&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/17948/ffmpeg-preserve-timecode-when-converting-mp4-to-mov?rq=1&quot;&gt;ffmpeg: preserve timecode when converting mp4 to mov&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I started with a very simple command line:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.mov output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then I tried to preserve metadata:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.mov -map_metadata 0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then, maybe, preserve a header?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.mov -flags global_header output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I open the output .mp4 file in Adobe Premiere, I see Timecode.  However, when I open it in Quicktime, I do not get timecode.  (Quicktime does show the timecode in the original .mov file).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it helps, this is the ffmpeg I am using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-95032-g3104100a12 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 9.2.1 (GCC) 20190918&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt --enable-amf&#xA;  libavutil      56. 35.100 / 56. 35.100&#xA;  libavcodec     58. 58.101 / 58. 58.101&#xA;  libavformat    58. 33.100 / 58. 33.100&#xA;  libavdevice    58.  9.100 / 58.  9.100&#xA;  libavfilter     7. 58.102 /  7. 58.102&#xA;  libswscale      5.  6.100 /  5.  6.100&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;  libpostproc    55.  6.100 / 55.  6.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any help is appreciated!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: Adding Debug Output from FFMPEG:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\ffmpeg -y -loglevel 48 -i &quot;inputVideo.mov&quot; &quot;outputVideo.mp4&quot;&#xA;&#xA;ffmpeg version N-95032-g3104100a12 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 9.2.1 (GCC) 20190918&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt --enable-amf&#xA;  libavutil      56. 35.100 / 56. 35.100&#xA;  libavcodec     58. 58.101 / 58. 58.101&#xA;  libavformat    58. 33.100 / 58. 33.100&#xA;  libavdevice    58.  9.100 / 58.  9.100&#xA;  libavfilter     7. 58.102 /  7. 58.102&#xA;  libswscale      5.  6.100 /  5.  6.100&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;  libpostproc    55.  6.100 / 55.  6.100&#xA;Splitting the commandline.&#xA;Reading option '-y' ... matched as option 'y' (overwrite output files) with argument '1'.&#xA;Reading option '-loglevel' ... matched as option 'loglevel' (set logging level) with argument '48'.&#xA;Reading option '-i' ... matched as input url with argument 'inputVideo.mov'.&#xA;Reading option 'outputVideo.mp4' ... matched as output url.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option y (overwrite output files) with argument 1.&#xA;Applying option loglevel (set logging level) with argument 48.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url inputVideo.mov.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: inputVideo.mov.&#xA;[NULL @ 0000023f4e5ead80] Opening 'inputVideo.mov' for reading&#xA;[file @ 0000023f4e5ebdc0] Setting default whitelist 'file,crypto'&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000023f4e5ead80] Format mov,mp4,m4a,3gp,3g2,mj2 probed with size=2048 and score=100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000023f4e5ead80] ISO: File Type Major Brand: qt&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000023f4e5ead80] Unknown dref type 0x73696c61 size 12&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000023f4e5ead80] Processing st: 0, edit list 0 - media time: 0, duration: 108909&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000023f4e5ead80] Unknown dref type 0x73696c61 size 12&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000023f4e5ead80] Processing st: 1, edit list 0 - media time: 0, duration: 108909&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000023f4e5ead80] Unknown dref type 0x73696c61 size 12&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000023f4e5ead80] Processing st: 2, edit list 0 - media time: 0, duration: 68068&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000023f4e5ead80] Unknown dref type 0x73696c61 size 12&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000023f4e5ead80] Before avformat_find_stream_info() pos: 18549647 bytes read:196608 seeks:5 nb_streams:4&#xA;[prores @ 0000023f4e5efe00] Auto bitdepth precision. Use 10b decoding based on codec tag.&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000023f4e5ead80] Probe buffer size limit of 5000000 bytes reached&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000023f4e5ead80] After avformat_find_stream_info() pos: 23634243 bytes read:5248982 seeks:5 frames:10&#xA;Guessed Channel Layout for Input Stream #0.0 : mono&#xA;Guessed Channel Layout for Input Stream #0.1 : mono&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'inputVideo.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt&#xA;    creation_time   : 2019-05-21T11:17:22.000000Z&#xA;  Duration: 00:00:02.27, start: 0.000000, bitrate: 203170 kb/s&#xA;    Stream #0:0(eng), 0, 1/48000: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, mono, s32 (24 bit), 1152 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-05-21T11:17:22.000000Z&#xA;      handler_name    : AJA Sound Media Handler&#xA;    Stream #0:1(eng), 0, 1/48000: Audio: pcm_s24le (in24 / 0x34326E69), 48000 Hz, mono, s32 (24 bit), 1152 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-05-21T11:17:22.000000Z&#xA;      handler_name    : AJA Sound Media Handler&#xA;    Stream #0:2(eng), 9, 1/30000: Video: prores (Standard), 1 reference frame (apcn / 0x6E637061), yuv422p10le(tv, unknown/reserved/reserved, progressive), 1920x1080, 0/1, 135462 kb/s, SAR 1:1 DAR 16:9, 29.97 fps, 29.97 tbr, 30k tbn, 30k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-05-21T11:17:22.000000Z&#xA;      handler_name    : AJA Video Media Handler&#xA;      encoder         : Apple ProRes 422&#xA;      timecode        : 12:48:34:12&#xA;    Stream #0:3(eng), 1, 1/30000: Data: none (tmcd / 0x64636D74), 0/1, 0 kb/s&#xA;    Metadata:&#xA;      rotate          : 0&#xA;      creation_time   : 2019-05-21T11:17:22.000000Z&#xA;      handler_name    : AJA Time Code Handler&#xA;      reel_name       : 001&#xA;      timecode        : 12:48:34:12&#xA;Successfully opened the file.&#xA;Parsing a group of options: output url outputVideo.mp4.&#xA;Successfully parsed a group of options.&#xA;Opening an output file: outputVideo.mp4.&#xA;[file @ 0000023f4f76ed00] Setting default whitelist 'file,crypto'&#xA;Successfully opened the file.&#xA;detected 12 logical cores&#xA;[prores @ 0000023f4e68d880] Auto bitdepth precision. Use 10b decoding based on codec tag.&#xA;Stream mapping:&#xA;  Stream #0:2 -&amp;gt; #0:0 (prores (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:0 -&amp;gt; #0:1 (pcm_s24le (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 13 times&#xA;[graph 0 input from stream 0:2 @ 0000023f4f41bac0] Setting 'video_size' to value '1920x1080'&#xA;[graph 0 input from stream 0:2 @ 0000023f4f41bac0] Setting 'pix_fmt' to value '66'&#xA;[graph 0 input from stream 0:2 @ 0000023f4f41bac0] Setting 'time_base' to value '1/30000'&#xA;[graph 0 input from stream 0:2 @ 0000023f4f41bac0] Setting 'pixel_aspect' to value '1/1'&#xA;[graph 0 input from stream 0:2 @ 0000023f4f41bac0] Setting 'sws_param' to value 'flags=2'&#xA;[graph 0 input from stream 0:2 @ 0000023f4f41bac0] Setting 'frame_rate' to value '30000/1001'&#xA;[graph 0 input from stream 0:2 @ 0000023f4f41bac0] w:1920 h:1080 pixfmt:yuv422p10le tb:1/30000 fr:30000/1001 sar:1/1 sws_param:flags=2&#xA;[format @ 0000023f52ab0500] Setting 'pix_fmts' to value 'yuv420p|yuvj420p|yuv422p|yuvj422p|yuv444p|yuvj444p|nv12|nv16|nv21|yuv420p10le|yuv422p10le|yuv444p10le|nv20le|gray|gray10le'&#xA;[AVFilterGraph @ 0000023f4e602740] query_formats: 4 queried, 3 merged, 0 already done, 0 delayed&#xA;[libx264 @ 0000023f4e5f3740] using mv_range_thread = 24&#xA;[libx264 @ 0000023f4e5f3740] using SAR=1/1&#xA;[libx264 @ 0000023f4e5f3740] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0000023f4e5f3740] profile High 4:2:2, level 4.0, 4:2:2, 10-bit&#xA;[libx264 @ 0000023f4e5f3740] 264 - core 158 r2984 3759fcb - H.264/MPEG-4 AVC codec - Copyleft 2003-2019 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=18 lookahead_threads=3 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=81 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Clipping frame in rate conversion by 0.000008&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;[graph_1_in_0_0 @ 0000023f4f2358c0] Setting 'time_base' to value '1/48000'&#xA;[graph_1_in_0_0 @ 0000023f4f2358c0] Setting 'sample_rate' to value '48000'&#xA;[graph_1_in_0_0 @ 0000023f4f2358c0] Setting 'sample_fmt' to value 's32'&#xA;[graph_1_in_0_0 @ 0000023f4f2358c0] Setting 'channel_layout' to value '0x4'&#xA;[graph_1_in_0_0 @ 0000023f4f2358c0] tb:1/48000 samplefmt:s32 samplerate:48000 chlayout:0x4&#xA;[format_out_0_1 @ 0000023f4f236fc0] Setting 'sample_fmts' to value 'fltp'&#xA;[format_out_0_1 @ 0000023f4f236fc0] Setting 'sample_rates' to value '96000|88200|64000|48000|44100|32000|24000|22050|16000|12000|11025|8000|7350'&#xA;[format_out_0_1 @ 0000023f4f236fc0] auto-inserting filter 'auto_resampler_0' between the filter 'Parsed_anull_0' and the filter 'format_out_0_1'&#xA;[AVFilterGraph @ 0000023f4e602480] query_formats: 4 queried, 6 merged, 3 already done, 0 delayed&#xA;[auto_resampler_0 @ 0000023f4f236dc0] [SWR @ 0000023f4f23a480] Using fltp internally between filters&#xA;[auto_resampler_0 @ 0000023f4f236dc0] ch:1 chl:mono fmt:s32 r:48000Hz -&amp;gt; ch:1 chl:mono fmt:fltp r:48000Hz&#xA;Output #0, mp4, to 'outputVideo.mp4':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt&#xA;    encoder         : Lavf58.33.100&#xA;    Stream #0:0(eng), 0, 1/30000: Video: h264 (libx264), 1 reference frame (avc1 / 0x31637661), yuv422p10le(top coded first (swapped)), 1920x1080 [SAR 1:1 DAR 16:9], 0/1, q=-1--1, 0.03 fps, 30k tbn, 29.97 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-05-21T11:17:22.000000Z&#xA;      handler_name    : AJA Video Media Handler&#xA;      timecode        : 12:48:34:12&#xA;      encoder         : Lavc58.58.101 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: N/A&#xA;    Stream #0:1(eng), 0, 1/48000: Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, mono, fltp (24 bit), delay 1024, 69 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-05-21T11:17:22.000000Z&#xA;      handler_name    : AJA Sound Media Handler&#xA;      encoder         : Lavc58.58.101 aac&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 76 times&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 69 times&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 19 times&#xA;[libx264 @ 0000023f4e5f3740] frame=   0 QP=35.73 NAL=3 Slice:I Poc:0   I:8160 P:0    SKIP:0    size=155655 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=   1 QP=35.31 NAL=2 Slice:P Poc:8   I:224  P:4523 SKIP:3413 size=36833 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=   2 QP=37.99 NAL=2 Slice:B Poc:4   I:3    P:2549 SKIP:5602 size=3687 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=   3 QP=38.37 NAL=0 Slice:B Poc:2   I:0    P:2182 SKIP:5970 size=2137 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=   4 QP=38.56 NAL=0 Slice:B Poc:6   I:2    P:1608 SKIP:6549 size=1637 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=   5 QP=35.39 NAL=2 Slice:P Poc:16  I:125  P:4484 SKIP:3551 size=30078 bytes&#xA;[out_0_0 @ 0000023f52ab0340] EOF on sink link out_0_0:default.&#xA;[out_0_1 @ 0000023f4f235ec0] EOF on sink link out_0_1:default.&#xA;No more output streams to write to, finishing.&#xA;[libx264 @ 0000023f4e5f3740] frame=   6 QP=37.63 NAL=2 Slice:B Poc:12  I:7    P:2561 SKIP:5582 size=3440 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=   7 QP=38.90 NAL=0 Slice:B Poc:10  I:0    P:2554 SKIP:5602 size=2205 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=   8 QP=38.55 NAL=0 Slice:B Poc:14  I:1    P:1824 SKIP:6334 size=1733 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=   9 QP=35.35 NAL=2 Slice:P Poc:24  I:131  P:4353 SKIP:3676 size=27721 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  10 QP=37.66 NAL=2 Slice:B Poc:20  I:2    P:2437 SKIP:5706 size=3120 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  11 QP=38.47 NAL=0 Slice:B Poc:18  I:0    P:2291 SKIP:5867 size=2048 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  12 QP=39.01 NAL=0 Slice:B Poc:22  I:0    P:1762 SKIP:6393 size=1558 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  13 QP=35.32 NAL=2 Slice:P Poc:32  I:117  P:4134 SKIP:3909 size=23844 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  14 QP=38.39 NAL=2 Slice:B Poc:28  I:3    P:2342 SKIP:5805 size=3295 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  15 QP=38.20 NAL=0 Slice:B Poc:26  I:3    P:2171 SKIP:5984 size=2142 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  16 QP=38.92 NAL=0 Slice:B Poc:30  I:0    P:1867 SKIP:6292 size=1695 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  17 QP=35.25 NAL=2 Slice:P Poc:40  I:108  P:4151 SKIP:3901 size=23536 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  18 QP=37.68 NAL=2 Slice:B Poc:36  I:2    P:2360 SKIP:5786 size=2840 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  19 QP=38.72 NAL=0 Slice:B Poc:34  I:0    P:1924 SKIP:6230 size=1927 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  20 QP=39.59 NAL=0 Slice:B Poc:38  I:1    P:1743 SKIP:6410 size=1597 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  21 QP=35.33 NAL=2 Slice:P Poc:48  I:89   P:3900 SKIP:4171 size=20888 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  22 QP=37.94 NAL=2 Slice:B Poc:44  I:2    P:2193 SKIP:5954 size=2763 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  23 QP=38.76 NAL=0 Slice:B Poc:42  I:1    P:1882 SKIP:6272 size=1841 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  24 QP=38.76 NAL=0 Slice:B Poc:46  I:0    P:1637 SKIP:6514 size=1477 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  25 QP=35.26 NAL=2 Slice:P Poc:56  I:83   P:4037 SKIP:4040 size=21764 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  26 QP=37.71 NAL=2 Slice:B Poc:52  I:2    P:2246 SKIP:5903 size=2798 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  27 QP=40.06 NAL=0 Slice:B Poc:50  I:0    P:1864 SKIP:6292 size=1875 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  28 QP=39.06 NAL=0 Slice:B Poc:54  I:0    P:1683 SKIP:6472 size=1548 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  29 QP=35.33 NAL=2 Slice:P Poc:64  I:102  P:3945 SKIP:4113 size=20617 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  30 QP=37.61 NAL=2 Slice:B Poc:60  I:0    P:2099 SKIP:6046 size=2867 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  31 QP=39.41 NAL=0 Slice:B Poc:58  I:0    P:1696 SKIP:6457 size=1805 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  32 QP=38.90 NAL=0 Slice:B Poc:62  I:2    P:1322 SKIP:6830 size=1546 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  33 QP=35.35 NAL=2 Slice:P Poc:72  I:89   P:3725 SKIP:4346 size=18266 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  34 QP=38.31 NAL=2 Slice:B Poc:68  I:1    P:2114 SKIP:6031 size=2637 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  35 QP=38.78 NAL=0 Slice:B Poc:66  I:0    P:1736 SKIP:6417 size=1799 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  36 QP=39.23 NAL=0 Slice:B Poc:70  I:0    P:1501 SKIP:6652 size=1478 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  37 QP=35.34 NAL=2 Slice:P Poc:80  I:70   P:3719 SKIP:4371 size=17736 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  38 QP=38.27 NAL=2 Slice:B Poc:76  I:0    P:2010 SKIP:6139 size=2335 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  39 QP=38.31 NAL=0 Slice:B Poc:74  I:0    P:1687 SKIP:6470 size=1568 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  40 QP=39.64 NAL=0 Slice:B Poc:78  I:0    P:1602 SKIP:6555 size=1412 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  41 QP=35.42 NAL=2 Slice:P Poc:88  I:55   P:3556 SKIP:4549 size=15512 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  42 QP=38.49 NAL=2 Slice:B Poc:84  I:0    P:1937 SKIP:6212 size=2553 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  43 QP=38.91 NAL=0 Slice:B Poc:82  I:1    P:1692 SKIP:6466 size=1594 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  44 QP=38.97 NAL=0 Slice:B Poc:86  I:0    P:1579 SKIP:6580 size=1410 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  45 QP=35.52 NAL=2 Slice:P Poc:96  I:83   P:3326 SKIP:4751 size=14506 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  46 QP=38.21 NAL=2 Slice:B Poc:92  I:1    P:1840 SKIP:6309 size=2535 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  47 QP=39.22 NAL=0 Slice:B Poc:90  I:0    P:1458 SKIP:6693 size=1469 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  48 QP=39.78 NAL=0 Slice:B Poc:94  I:0    P:1475 SKIP:6681 size=1443 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  49 QP=35.80 NAL=2 Slice:P Poc:104 I:43   P:3007 SKIP:5110 size=11393 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  50 QP=38.30 NAL=2 Slice:B Poc:100 I:5    P:1671 SKIP:6473 size=2302 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  51 QP=39.14 NAL=0 Slice:B Poc:98  I:0    P:1247 SKIP:6912 size=1210 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  52 QP=39.21 NAL=0 Slice:B Poc:102 I:0    P:1182 SKIP:6976 size=1295 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  53 QP=35.76 NAL=2 Slice:P Poc:112 I:61   P:2610 SKIP:5489 size=10014 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  54 QP=37.88 NAL=2 Slice:B Poc:108 I:0    P:1530 SKIP:6617 size=2094 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  55 QP=38.04 NAL=0 Slice:B Poc:106 I:1    P:1370 SKIP:6789 size=1385 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  56 QP=39.65 NAL=0 Slice:B Poc:110 I:0    P:1184 SKIP:6973 size=1273 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  57 QP=36.38 NAL=2 Slice:P Poc:120 I:29   P:2435 SKIP:5696 size=7955 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  58 QP=38.09 NAL=2 Slice:B Poc:116 I:0    P:1529 SKIP:6622 size=2100 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  59 QP=39.09 NAL=0 Slice:B Poc:114 I:0    P:1148 SKIP:7008 size=1266 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  60 QP=38.23 NAL=0 Slice:B Poc:118 I:1    P:1154 SKIP:7000 size=1229 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  61 QP=37.30 NAL=2 Slice:P Poc:128 I:20   P:1166 SKIP:6974 size=3361 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  62 QP=37.89 NAL=2 Slice:B Poc:124 I:4    P:981  SKIP:7174 size=1607 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  63 QP=38.78 NAL=0 Slice:B Poc:122 I:0    P:710  SKIP:7448 size=862 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  64 QP=38.59 NAL=0 Slice:B Poc:126 I:0    P:718  SKIP:7441 size=832 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  65 QP=38.34 NAL=2 Slice:P Poc:134 I:3    P:450  SKIP:7707 size=1115 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  66 QP=38.11 NAL=2 Slice:B Poc:130 I:1    P:486  SKIP:7672 size=900 bytes&#xA;[libx264 @ 0000023f4e5f3740] frame=  67 QP=40.42 NAL=0 Slice:B Poc:132 I:0    P:401  SKIP:7758 size=568 bytes&#xA;[aac @ 0000023f4e68e1c0] Trying to remove 656 more samples than there are in the queue&#xA;frame=   68 fps= 37 q=-1.0 Lsize=     567kB time=00:00:02.28 bitrate=2034.9kbits/s speed=1.24x&#xA;video:543kB audio:20kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.755212%&#xA;Input file #0 (inputVideo.mov):&#xA;  Input stream #0:0 (audio): 109 packets read (326736 bytes); 109 frames decoded (108912 samples);&#xA;  Input stream #0:1 (audio): 0 packets read (0 bytes);&#xA;  Input stream #0:2 (video): 68 packets read (38419480 bytes); 68 frames decoded;&#xA;  Input stream #0:3 (data): 1 packets read (4 bytes);&#xA;  Total: 178 packets (38746220 bytes) demuxed&#xA;Output file #0 (outputVideo.mp4):&#xA;  Output stream #0:0 (video): 68 frames encoded; 68 packets muxed (556221 bytes);&#xA;  Output stream #0:1 (audio): 107 frames encoded (108912 samples); 108 packets muxed (20041 bytes);&#xA;  Total: 176 packets (576262 bytes) muxed&#xA;177 frames successfully decoded, 0 decoding errors&#xA;[AVIOContext @ 0000023f4f770200] Statistics: 2 seeks, 6 writeouts&#xA;[libx264 @ 0000023f4e5f3740] frame I:1     Avg QP:35.73  size:155655&#xA;[libx264 @ 0000023f4e5f3740] frame P:17    Avg QP:35.75  size: 17949&#xA;[libx264 @ 0000023f4e5f3740] frame B:50    Avg QP:38.65  size:  1895&#xA;[libx264 @ 0000023f4e5f3740] consecutive B-frames:  1.5%  0.0%  4.4% 94.1%&#xA;[libx264 @ 0000023f4e5f3740] mb I  I16..4:  8.1% 74.9% 17.0%&#xA;[libx264 @ 0000023f4e5f3740] mb P  I16..4:  0.0%  1.0%  0.0%  P16..4: 30.2%  4.3%  6.9%  0.0%  0.0%    skip:57.5%&#xA;[libx264 @ 0000023f4e5f3740] mb B  I16..4:  0.0%  0.0%  0.0%  B16..8: 20.5%  0.2%  0.0%  direct: 0.1%  skip:79.1%  L0:36.3% L1:63.3% BI: 0.4%&#xA;[libx264 @ 0000023f4e5f3740] 8x8 transform intra:78.0% inter:78.6%&#xA;[libx264 @ 0000023f4e5f3740] coded y,uvDC,uvAC intra: 83.2% 59.8% 20.2% inter: 4.3% 4.0% 0.1%&#xA;[libx264 @ 0000023f4e5f3740] i16 v,h,dc,p: 47% 15% 13% 25%&#xA;[libx264 @ 0000023f4e5f3740] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 22% 21% 20%  5%  5%  4%  9%  4% 10%&#xA;[libx264 @ 0000023f4e5f3740] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 25% 24% 12%  6%  6%  6%  8%  5%  9%&#xA;[libx264 @ 0000023f4e5f3740] i8c dc,h,v,p: 58% 17% 22%  3%&#xA;[libx264 @ 0000023f4e5f3740] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0000023f4e5f3740] ref P L0: 55.7% 26.9% 17.3%&#xA;[libx264 @ 0000023f4e5f3740] ref B L0: 70.3% 24.2%  5.6%&#xA;[libx264 @ 0000023f4e5f3740] ref B L1: 85.4% 14.6%&#xA;[libx264 @ 0000023f4e5f3740] kb/s:1958.74&#xA;[aac @ 0000023f4e68e1c0] Qavg: 127.549&#xA;[AVIOContext @ 0000023f4e5f4980] Statistics: 39042622 bytes read, 9 seeks&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26352" LastEditorUserId="26352" LastEditDate="2019-09-25T22:44:01.967" LastActivityDate="2019-11-03T04:12:15.187" Title="ffmpeg: Preserve timecode when converting mov to mp4" Tags="|video|ffmpeg|mp4|transcoding|timecode|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28573" PostTypeId="1" CreationDate="2019-09-25T05:08:55.003" Score="0" ViewCount="15" Body="&lt;p&gt;I want to copy IN, OUT, DURATION of each layer from Comp1 to each layer of Comp2. Are there anyway to do that? or script?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/aasmV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aasmV.png&quot; alt=&quot;]&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26354" LastActivityDate="2019-09-25T05:08:55.003" Title="How to copy IN, OUT, DURATION of each layer from Comp1 to each layer of Comp2" Tags="|after-effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28578" PostTypeId="2" ParentId="22632" CreationDate="2019-09-26T14:25:16.727" Score="0" Body="&lt;p&gt;I think you're looking for a way to automatically detect shaky footage.&#xA;You can &lt;em&gt;kind of&lt;/em&gt; do this in After Effects, assuming that there are consistently trackable points in the background of your footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Import your footage into after effects.&#xA;Set up a couple of motion tracking points&#xA;Analyse motion tracking across your footage&#xA;open the twirly controls on your layer until you find the Confidence value.&#xA;Examine the &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/tracking-stabilizing-motion-cs5.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;confidence values&lt;/a&gt; over time.  When it drops dramatically, your footage is shaking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This could be automated further by using an expression to highlight where the footage is shaky, or by exporting the confidence keyframes into a spreadsheet alongside the video timings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suspect there's a better tool for doing things like this (maybe inside ffmpeg or DaVinci resolve?) but I don't know...&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-09-26T14:25:16.727" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28580" PostTypeId="1" CreationDate="2019-09-26T18:24:41.823" Score="1" ViewCount="372" Body="&lt;p&gt;I'm trying to concat hundreds of short *.ts pieces into a single mp4 video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i list.txt -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And at first glance it looks fine: the output video works fine in MPC, VLC and Google Chrome. But I noticed that all these programs play the video at an increased speed: the seek time increases a little bit faster than the real time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;when I upload the output file to a video-hosting after it's processing the audio became intermittent. I've tried different hostings with same results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe that the problem is in different duration of audio and video streams in all ts files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;video: duration=2.000333&lt;/p&gt;&#xA;&#xA;&lt;p&gt;audio: duration=1.880800&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to correctly concat files like these?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The full result of the ffprobe for a single file is down bellow.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;PS I:\log&amp;gt; ffprobe.exe -show_streams .\ts\01583--1329536.ts&#xA;ffprobe version N-94664-g0821bc4eee Copyright (c) 2007-2019 the FFmpeg developers&#xA;  built with gcc 9.1.1 (GCC) 20190807&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt&#xA;  libavutil      56. 33.100 / 56. 33.100&#xA;  libavcodec     58. 55.101 / 58. 55.101&#xA;  libavformat    58. 31.104 / 58. 31.104&#xA;  libavdevice    58.  9.100 / 58.  9.100&#xA;  libavfilter     7. 58.101 /  7. 58.101&#xA;  libswscale      5.  6.100 /  5.  6.100&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;  libpostproc    55.  6.100 / 55.  6.100&#xA;Input #0, mpegts, from '.\ts\01583--1329536.ts':&#xA;  Duration: 00:00:02.11, start: 90.650444, bitrate: 5029 kb/s&#xA;  Program 1&#xA;    Stream #0:0[0x100]: Video: h264 (Main) ([27][0][0][0] / 0x001B), yuv420p(progressive), 1920x1080, 30 fps, 30 tbr, 90k tbn, 60 tbc&#xA;    Stream #0:1[0x101]: Audio: aac (LC) ([15][0][0][0] / 0x000F), 44100 Hz, stereo, fltp, 169 kb/s&#xA;[STREAM]&#xA;index=0&#xA;codec_name=h264&#xA;codec_long_name=H.264 / AVC / MPEG-4 AVC / MPEG-4 part 10&#xA;profile=Main&#xA;codec_type=video&#xA;codec_time_base=1/60&#xA;codec_tag_string=[27][0][0][0]&#xA;codec_tag=0x001b&#xA;width=1920&#xA;height=1080&#xA;coded_width=1920&#xA;coded_height=1088&#xA;has_b_frames=2&#xA;sample_aspect_ratio=N/A&#xA;display_aspect_ratio=N/A&#xA;pix_fmt=yuv420p&#xA;level=40&#xA;color_range=unknown&#xA;color_space=unknown&#xA;color_transfer=unknown&#xA;color_primaries=unknown&#xA;chroma_location=left&#xA;field_order=progressive&#xA;timecode=N/A&#xA;refs=1&#xA;is_avc=false&#xA;nal_length_size=0&#xA;id=0x100&#xA;r_frame_rate=30/1&#xA;avg_frame_rate=30/1&#xA;time_base=1/90000&#xA;start_pts=8168850&#xA;start_time=90.765000&#xA;duration_ts=180030&#xA;duration=2.000333&#xA;bit_rate=N/A&#xA;max_bit_rate=N/A&#xA;bits_per_raw_sample=8&#xA;nb_frames=N/A&#xA;nb_read_frames=N/A&#xA;nb_read_packets=N/A&#xA;DISPOSITION:default=0&#xA;DISPOSITION:dub=0&#xA;DISPOSITION:original=0&#xA;DISPOSITION:comment=0&#xA;DISPOSITION:lyrics=0&#xA;DISPOSITION:karaoke=0&#xA;DISPOSITION:forced=0&#xA;DISPOSITION:hearing_impaired=0&#xA;DISPOSITION:visual_impaired=0&#xA;DISPOSITION:clean_effects=0&#xA;DISPOSITION:attached_pic=0&#xA;DISPOSITION:timed_thumbnails=0&#xA;[/STREAM]&#xA;[STREAM]&#xA;index=1&#xA;codec_name=aac&#xA;codec_long_name=AAC (Advanced Audio Coding)&#xA;profile=LC&#xA;codec_type=audio&#xA;codec_time_base=1/44100&#xA;codec_tag_string=[15][0][0][0]&#xA;codec_tag=0x000f&#xA;sample_fmt=fltp&#xA;sample_rate=44100&#xA;channels=2&#xA;channel_layout=stereo&#xA;bits_per_sample=0&#xA;id=0x101&#xA;r_frame_rate=0/0&#xA;avg_frame_rate=0/0&#xA;time_base=1/90000&#xA;start_pts=8158540&#xA;start_time=90.650444&#xA;duration_ts=169272&#xA;duration=1.880800&#xA;bit_rate=169509&#xA;max_bit_rate=N/A&#xA;bits_per_raw_sample=N/A&#xA;nb_frames=N/A&#xA;nb_read_frames=N/A&#xA;nb_read_packets=N/A&#xA;DISPOSITION:default=0&#xA;DISPOSITION:dub=0&#xA;DISPOSITION:original=0&#xA;DISPOSITION:comment=0&#xA;DISPOSITION:lyrics=0&#xA;DISPOSITION:karaoke=0&#xA;DISPOSITION:forced=0&#xA;DISPOSITION:hearing_impaired=0&#xA;DISPOSITION:visual_impaired=0&#xA;DISPOSITION:clean_effects=0&#xA;DISPOSITION:attached_pic=0&#xA;DISPOSITION:timed_thumbnails=0&#xA;[/STREAM]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26367" LastActivityDate="2019-09-26T18:24:41.823" Title="How to concat multiple *.ts files which have audio streams shorter than video streams" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28581" PostTypeId="1" CreationDate="2019-09-26T22:27:34.560" Score="0" ViewCount="65" Body="&lt;p&gt;My experience in AE is not so big, so I need your assistance plz.&#xA;I faced with a task I still can't solve.&lt;/p&gt;&#xA;&lt;p&gt;I'm trying to make the clouds loop. I wanted if the part of cloud which disappears on the right side out of frame, at the same time seamlessly appeared on the left side in the frame.&lt;/p&gt;&#xA;&lt;p&gt;Any tips are highly appreciated.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/swjmR.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/swjmR.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26372" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-11-01T23:32:54.570" Title="Seamless loop animation" Tags="|after-effects|animation|motion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28582" PostTypeId="2" ParentId="17400" CreationDate="2019-09-27T06:54:18.150" Score="0" Body="&lt;p&gt;If you are a first time investor in &lt;a href=&quot;https://www.ledcraftinc.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;outdoor LED signs&lt;/a&gt;, it is better to do plenty of research and find a trusted LED sign manufacturer who will not want to just make a sale but genuinely help you out as a customer.&lt;/p&gt;&#xA;" OwnerUserId="26374" LastActivityDate="2019-09-27T06:54:18.150" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28583" PostTypeId="1" CreationDate="2019-09-27T09:12:30.083" Score="1" ViewCount="332" Body="&lt;p&gt;I'm trying to understand how h.264 compression works. So far I have clear what I, P, and B frames are and how are they used. But I'm unsure of is if after this process the number of original input frames are kept or not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words, if a raw video file containing 20 frames going into a h.264 encoder block, will the output compressed file have same number of frames?    &lt;/p&gt;&#xA;" OwnerUserId="26377" LastEditorUserId="14523" LastEditDate="2019-09-28T19:40:43.177" LastActivityDate="2024-02-05T07:01:40.230" Title="h264 compression keeps same number of frames?" Tags="|h.264|compression|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28585" PostTypeId="2" ParentId="28583" CreationDate="2019-09-28T04:14:37.663" Score="0" Body="&lt;p&gt;&lt;sub&gt;I am not sure of my answer. The explanation at the end of it.*&lt;/sub&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes. The number of frames should not change. With one possible exception, I know of.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First of all, normally a compressor takes some steps.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Grab a keyframe&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Compares the difference between groups of pixels and if the difference is below one defined parameter it uses the same data to render them.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;And now compares the difference between adjacent frames and again, if the difference is below a threshold it uses the same data, using the keyframe as a reference to be compared with.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If the keyframe fails to load you see the glitches, where the image is smushed because you are seeing the &quot;differences&quot; of the frame, but with an incorrect reference image.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;The exception is that some programs need to round the number of frames after a keyframe. Let us imagine you defined a keyframe every 10 frames for easy calculations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now your clip needs to have 105 frames. Some programs will render the exact number of frames, but some programs could try to render the full &quot;group&quot; of frames attached to the previous keyframe, trying to render 109 frames, or some other could try to end in a keyframe, 110 on this case.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I am not sure about my answer because, although it as happened to me on some programs, I can not recall that it was specifically using the h264 codec.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-28T04:14:37.663" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28586" PostTypeId="2" ParentId="28366" CreationDate="2019-09-28T04:24:40.550" Score="2" Body="&lt;p&gt;You can not. You have contradicting parameters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need to make some decisions. Either:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Leave your project at 29.97 and drop 1 every 2 frames of your 60fps clip.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Leave your project at 29.97 and use all the frames of the 60 fps clip making it slow-motion 2x.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Change the project speed to 60fps and render twice every frame of the other footage.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Change the project speed to 60fps and make a timewarp filter on the 29.97 footage, what it does is inventing new pixels to the new frames, making it look smoother if the program used is a good one.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Preparing separated projects and making a strange arrangement of projectors projecting two framerates at some cinema screen... Nop, let us discard this idea and just keep the other 4 in mind.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-28T04:24:40.550" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28587" PostTypeId="2" ParentId="28364" CreationDate="2019-09-28T04:33:02.767" Score="0" Body="&lt;p&gt;A proportion, 2.35:1 or 16:9 is only part of the story. The real thing is to count the pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing is to preview a scene on a display and another one is to actually have the proportion recorded. So, let us address the different aspects of the recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do not know why you want to do it during the recording. If you want an accurate representation of the proportion, yes, you could simply add some soft sticky tape (magic scotch tape or some insulating tape that leaves no residues, and softened taping it into some cloth)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But your camera still will record on the proportion it can record. Period.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could record at 4k and crop it later on post pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you could get some anamorphic lenses, put it on your camera, record at 16:9 but change the project settings on the editing to use rectangular pixels, so the 16:9 is then reproduced at a wider aspect ratio.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-09-28T04:33:02.767" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28588" PostTypeId="1" AcceptedAnswerId="28589" CreationDate="2019-09-28T11:06:06.370" Score="0" ViewCount="580" Body="&lt;p&gt;I'm aware of the differences between intra and inter, but I'm not the most savvy about reencoding them after the fact.  Is encoding with intra from an inter-coded video the same as if you originally used intra to begin with?  Or does it need to be kept as intra from the start to preserve complete images?  Maybe I didn't search well enough, but I'm surprised I couldn't find info on this anywhere.&lt;/p&gt;&#xA;" OwnerUserId="17189" LastActivityDate="2019-09-28T11:13:40.973" Title="Can you encode intra-frame videos from inter-frame without loss?" Tags="|video|ffmpeg|encoding|codec|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28589" PostTypeId="2" ParentId="28588" CreationDate="2019-09-28T11:13:40.973" Score="0" Body="&lt;p&gt;An encoder receives and works upon uncompressed frames and does not know or care about the encoding of the source stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To avoid any information loss, you have to set lossless mode. For x264, this is by done by adding &lt;code&gt;-qp 0&lt;/code&gt; to your ffmpeg command. But for most purposes, strict mathematical losslessness is not required. See &lt;a href=&quot;https://video.stackexchange.com/q/27656&quot;&gt;What&amp;#39;s the difference between &amp;quot;visually lossless&amp;quot; and real lossless and what does this mean for future encodes?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-09-28T11:13:40.973" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28590" PostTypeId="1" CreationDate="2019-09-28T17:02:23.223" Score="0" ViewCount="34" Body="&lt;p&gt;I combined video and audio from different sources. I intentionally slowed the audio down, but when I export it, I get only video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, the audio I'm using is a mono. I tried to save it with both mono and stereo settings in the export and both didn't work.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/SKcvG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SKcvG.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9c8jI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9c8jI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="26385" LastEditorUserId="2836" LastEditDate="2019-09-29T23:44:01.863" LastActivityDate="2019-09-29T23:44:01.863" Title="Adobe Premiere Exports only video" Tags="|video|premiere|export|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28591" PostTypeId="1" AcceptedAnswerId="28643" CreationDate="2019-09-28T21:39:22.257" Score="1" ViewCount="202" Body="&lt;p&gt;I remember some old video editing programs used a grayscale image to be used as a transition pattern.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically what they did was using the different levels of a grayscale image as a step for the transition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an example. Given the first image, when the program was analyzing the gray level marked with the red line as a threshold, the transition would look like the image below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cf7fJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cf7fJ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know if that can be done in a free program like Davinci Resolve, Hit Film, probably Blender?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And a tip of how can be implemented?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;sub&gt;images by pixabay&lt;/sub&gt;&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2019-09-28T22:13:08.670" LastActivityDate="2019-10-08T14:40:50.857" Title="Program that uses grayscale images to make transitions" Tags="|video|editing|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28593" PostTypeId="1" CreationDate="2019-09-29T08:09:56.477" Score="0" ViewCount="523" Body="&lt;p&gt;So I have a composition with a single image that has this expression attached to its position:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;[thisComp.width - 100, thisComp.height - 100]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vtX4B.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vtX4B.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All this expression does is makes my image to be located in the right bottom corner. That's it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I try to use this composition in other composition, my children image is scaled together with the parent scale:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/w6VQ9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/w6VQ9.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I make the image be located in right bottom corner, &lt;strong&gt;but do not scale&lt;/strong&gt; with the parent?&lt;/p&gt;&#xA;" OwnerUserId="26391" LastActivityDate="2024-02-06T22:01:35.190" Title="Stop children from scaling by parent scale" Tags="|after-effects|after-effects-expressions|after-effects-scripting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28594" PostTypeId="2" ParentId="27555" CreationDate="2019-09-29T13:04:40.473" Score="1" Body="&lt;p&gt;From &lt;a href=&quot;https://www.richardlackey.com/davinci-resolve-system-requirements/&quot; rel=&quot;nofollow noreferrer&quot;&gt;DaVinci Resolve System Requirements&lt;/a&gt;, in the “Resolve Minimum System Requirements FAQ” part:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;... your GPU will determine if Resolve will run at all on your system ...&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So yes, &lt;strong&gt;you need a GPU, and even not just any GPU&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;From the same source:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;It’s ALL About The GPU&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Your GPU is everything! It is more important than your CPU or system RAM (both of which should be up to the task too).&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;DaVinci Resolve offloads intensive image processing to the GPU. It also employs YRGB 32-bit floating point processing for exceptional color precision.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;GPU Memory&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Of course GPU cores matter, but GPU memory matters more when looking at minimum requirements  .&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;512MB – Forget about it.  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;1GB   – You’ll be okay with basic HD ProRes work, checking RAW files but avoid &#xA;        noise reduction and optical flow.  &#xA;1.5GB  – Approaching the absolute minimum to use Resolve with some level of complexity in HD. &#xA;         Noise reduction and optical flow will still be problematic. &#xA;  2GB  – A comfortable HD experience, limited 4K work.  &#xA;  4GB  – Minimum for comfortable 4K work.  &#xA;  6GB  – You can tackle pretty much everything a project is likely to require.  &#xA;  8GB+ – You can actually tackle everything any project is likely to require.  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Bottom line, if you’re looking at a new system on a budget and you’re working mostly in HD, I’d recommend an absolute minimum of 2GB GPU memory, really 4GB is a more realistic minimum. Performance also depends on the resolution of your media, the resolution of your timeline and the codecs of the media you are using.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="20288" LastEditDate="2021-04-09T16:59:23.213" LastActivityDate="2021-04-09T16:59:23.213" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="28595" PostTypeId="1" AcceptedAnswerId="28598" CreationDate="2019-09-29T17:40:07.843" Score="0" ViewCount="69" Body="&lt;p&gt;I need to measure streaming video from various different codecs and be able to tell which one is better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What will be the best metrics to look for? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a free tool that can help with this. &lt;/p&gt;&#xA;" OwnerUserId="26392" LastActivityDate="2019-09-29T23:20:23.457" Title="Video Quality Measurement test tool" Tags="|video|video-quality|streaming|codec|performance|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28596" PostTypeId="2" ParentId="27548" CreationDate="2019-09-29T18:11:18.523" Score="1" Body="&lt;p&gt;The question is... is it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Reading your question it is probably not for the projects you are making... let me explain why.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You do not mention at all the aperture if you really need a shallow DOF, and this depends also on the subject if you really have different planes that need to be blurred out. But this can be implicit, so let's think you actually use a wide aperture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This DOF also is dependant on the focal length of the lens. A telephoto has more noticeable DOF than an angular lens, but you are also not mentioning it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You do not mention the theme of the video. People dancing vs. a guy sitting on a chair smoking a pipe... Motion blur or the absence of it is different in both cases. Here is where you draw the line. &lt;strong&gt;See if the motion blur has meaning on your shot&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your test subjects do not notice any difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Golden hour is relative, you probably do not need a filter at all, you do not mention if you need additional light or if it is backlighted, different scenarios.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you know you shot at 1/120 and you would prefer shooting at 1/60 you do not need a variable ND filter, you simply need a 2x ND filter, which is cheaper. Or you can get a pack of ND filters by $15 bucks. Yes, you need a bit more time to change them, but returning to the question, if it were important to you you would spend a bit of cash on some of those.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Actually there are some scenarios where you actually need to shoot at faster shutter speed. &lt;a href=&quot;https://video.stackexchange.com/questions/28532/breaking-the-180-degree-shutter-rule-when-stabilising-footage/28540#28540&quot;&gt;Breaking the 180 degree shutter rule when stabilising footage&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, in reality, the question is, &lt;strong&gt;Is it important for this project?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it more important than DOF, than the focal length, than the composition, than the slight blur you get with a cheap ND filter or more important than saving some bucks?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will then find the answer :o)&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2019-09-29T18:16:47.870" LastActivityDate="2019-09-29T18:16:47.870" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28598" PostTypeId="2" ParentId="28595" CreationDate="2019-09-29T23:20:23.457" Score="2" Body="&lt;p&gt;There are a number of comparison algorithms available beginning with &lt;a href=&quot;https://tools.ietf.org/id/draft-ietf-netvc-testing-06.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;PSNR&lt;/a&gt; through &lt;a href=&quot;https://www.ssimwave.com/technology/&quot; rel=&quot;nofollow noreferrer&quot;&gt;SSIM/SSIMPLUS&lt;/a&gt; to &lt;a href=&quot;https://medium.com/netflix-techblog/toward-a-practical-perceptual-video-quality-metric-653f208b9652&quot; rel=&quot;nofollow noreferrer&quot;&gt;VMAF&lt;/a&gt;. VMAF is implemented as an ffmpeg &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#libvmaf&quot; rel=&quot;nofollow noreferrer&quot;&gt;filter&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2019-09-29T23:20:23.457" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28599" PostTypeId="2" ParentId="23741" CreationDate="2019-09-30T05:33:59.480" Score="6" Body="&lt;p&gt;I haven't found a way to have ffmpeg preserve the data. But I've found that for my needs I wanted the exif metadata and the &lt;a href=&quot;https://www.sno.phy.queensu.ca/~phil/exiftool/&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;exiftool&lt;/code&gt;&lt;/a&gt; was a convenient solution. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can copy metadata between video files: &lt;a href=&quot;https://unix.stackexchange.com/a/492338/83370&quot;&gt;https://unix.stackexchange.com/a/492338/83370&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a trick to copy all metadata using the option &lt;code&gt;-all:all&amp;gt;all:all&lt;/code&gt;: &#xA;&lt;a href=&quot;http://u88.n24.queensu.ca/exiftool/forum/index.php?topic=3440.0&quot; rel=&quot;noreferrer&quot;&gt;http://u88.n24.queensu.ca/exiftool/forum/index.php?topic=3440.0&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;exiftool -TagsFromFile a.MOV &quot;-all:all&amp;gt;all:all&quot; c.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26398" LastActivityDate="2019-09-30T05:33:59.480" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28600" PostTypeId="1" AcceptedAnswerId="28607" CreationDate="2019-09-30T06:00:31.970" Score="0" ViewCount="53" Body="&lt;p&gt;I hope this is the correct place to ask this question. If it is not please point me to the right site for this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A lot of my friends have said that I would possibly be decent in voice acting, it has also interested me. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now my question is, &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;how do you start with something like that. Is it common for voice&#xA;actors to have their own equipment? &lt;/li&gt;&#xA;&lt;li&gt;Are there sites where you can&#xA;register as a &quot;voice&quot; actor so that people come to you for something,&#xA;paid or unpaid?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="26154" LastEditorUserId="1950" LastEditDate="2019-10-01T08:50:44.547" LastActivityDate="2019-10-01T08:50:44.547" Title="Starting with voice acting" Tags="|audio-recording|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28603" PostTypeId="1" CreationDate="2019-09-30T12:45:37.107" Score="1" ViewCount="296" Body="&lt;p&gt;Inside Adobe Premiere, you can use the &quot;Type Tool&quot; to insert a text graphic onto a sequence. Is it possible to do the same action from an ExtendScript (.jsx)?&lt;/p&gt;&#xA;" OwnerUserId="26404" LastActivityDate="2019-09-30T12:45:37.107" Title="How to add a text graphic to a sequence using ExtendScript in Adobe Premier Pro?" Tags="|premiere|extendscript|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28604" PostTypeId="2" ParentId="28593" CreationDate="2019-09-30T12:59:00.870" Score="0" Body="&lt;p&gt;try parenting the position values only, not the whole layer.  So pull the pick whip from the child's position values to the parent's position values.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-09-30T12:59:00.870" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28606" PostTypeId="1" CreationDate="2019-09-30T17:27:13.050" Score="1" ViewCount="397" Body="&lt;p&gt;I'm using the following command to record videos from a camera:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -video_size 1280x720 -t 00:58:00 -i /dev/video0 /home/myuser/my_video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The problem is that the resulting video plays normally but does not allow seeking (i.e. I can't rewind or fast forward). The video progress indicator appears at the end, the timestamp is off and if you try to move it, it just restarts the entire video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I solve this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additional information:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If I do &lt;code&gt;ffmpeg -i my_video.mp4 -acodec copy -vcodec copy my_video_fixed.mp4&lt;/code&gt; the resulting video is fixed.&lt;/li&gt;&#xA;&lt;li&gt;If I grab from screen using X11grab, this problem does not show up.&lt;/li&gt;&#xA;&lt;li&gt;I'm using Linux. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="26407" LastActivityDate="2019-09-30T17:27:13.050" Title="Video seeking doesn't work for files recorded from a camera using ffmpeg" Tags="|ffmpeg|linux|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28607" PostTypeId="2" ParentId="28600" CreationDate="2019-09-30T18:21:43.490" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Is it common for voice actors to have their own equipment?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yes, unless you want to pay more than you will get for simple jobs. Transportation + Studio recording fee.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Get a USB microphone &lt;a href=&quot;https://duckduckgo.com/?q=usb+microphone&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://duckduckgo.com/?q=usb+microphone&lt;/a&gt; There are some not too expensive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before buying one read some reviews and HEAR some reviews, youtube is a good place for it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could start with a cheap one, and if the business is for you, get a more pro mic for cleaner and brighter sound.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Are there sites where you can register as a &quot;voice&quot; actor&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Yes... if you are one. But you are not yet, you do not even know if you would like to do that. Like all activities, you can become good at something or just not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, first of all, try youtube, publish some video narrating a story, try royalty-free classic stories, (you can not simply buy a book and use it, even if the original copyright has already expired because the version could still have it)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Find noob writers and ask them about recording one story and make a channel.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;You also can use a website where people pay a small fee, like Fiverr, record some demos, and see if people are willing to pay you for the quality of work you offer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Compare prices. &lt;strong&gt;Do not offer the cheapest price&lt;/strong&gt; or you will never know if they want you for the price or for the quality.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;If it is a feasible road to you, you need to take courses. Again, there are pro-people and people that just want to play doing stuff. There is a lot to learn in the field. As a talent to be nurtured and as a business.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Final note.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Do NOT do something because your friends tell you. Do something because you want to!&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;One edition to make the answer on-topic on this video production site:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Offer your voice as a voice-over talent for documentaries with a small budget.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2019-09-30T18:27:02.050" LastActivityDate="2019-09-30T18:27:02.050" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28608" PostTypeId="1" CreationDate="2019-10-01T13:16:28.603" Score="0" ViewCount="33" Body="&lt;p&gt;I was looking for a camera to record videos. My aim is to record videos to make films and music videos. I know there are many factors that are independent of the camera to make videos with a 'cinematographic' look, but I was looking for a camera that would be close to recording like this: &lt;a href=&quot;https://www.youtube.com/watch?v=xKLui8nDMaY&quot; rel=&quot;nofollow noreferrer&quot;&gt;Démira - Dragons&lt;/a&gt;, though my budget is up to around 1,100-1,200 dollars.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is very important for me to find a camera that works good in low light conditions and with a good slow motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was considering a Canon camera, but recently I was recommended to buy a Black Magic camera. Someone mentioned to me the Black Magic Pocket 4k camera and I looked some footage uploaded to YouTube. I absolutely loved the style of the video. It looked very cinematographic and I found several videos comparing it to professional 'Hollywood' cameras, and it could record with a similar quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that this camera is a little bit beyond my budget (it costs around 1400 dollars), and there is no physical shop where I can actually see the product. The only way I have to buy it is by Internet, so I fear that the camera may arrive damaged or maybe I will be scammed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would prefer to buy a camera from a more known brand like Canon, Sony or maybe Panasonic.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So is it any other camera by Canon or Sony or any other manufacturer that records with a similar style and quality to the Black Magic Pocket 4k?&lt;/p&gt;&#xA;" OwnerUserId="26387" LastEditorUserId="26387" LastEditDate="2019-10-02T09:06:33.567" LastActivityDate="2019-10-02T09:06:33.567" Title="Is there a camera that records video with a quality and style similar to the Black Magic Pocket 4k?" Tags="|video-quality|canon|4k|blackmagic|sony|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28609" PostTypeId="1" CreationDate="2019-10-01T15:10:17.397" Score="1" ViewCount="135" Body="&lt;p&gt;My workflow:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've completed work on a complex edit.  I have made two exports:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;I have exported the video (with audio) as a ProRes file with 48kHz 16-bit PCM audio.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I've also exported the sequence as a 16 bit PCM WAV file 48 kHz.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Both exports were from the beginning of the sequence to the end.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We recombined the files in After Effects on another Mac.  The same project settings (25 fps video, 48 kHz, 16-bit audio).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The audio on the two files was out of sync, by less than a frame, but definitely out of sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I re-imported the files into a new Premiere project on my mac to check.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The waveforms were visibly out of sync, by less than a frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is why, and what's the right way to export audio only in a file which will correctly maintain sync?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="18155" LastEditDate="2019-10-01T15:38:06.487" LastActivityDate="2019-10-08T09:30:30.313" Title="Exporting from Premiere as WAV and ProRes - audio is not in sync" Tags="|premiere|after-effects|audio|export|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28611" PostTypeId="1" AcceptedAnswerId="28616" CreationDate="2019-10-01T20:22:47.680" Score="0" ViewCount="302" Body="&lt;p&gt;I am generating video using ffmpeg by combining images, audio, logo and some text sliding from right to left. Currently I am using four different ffmpeg commands to complete my video generation process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Command 1: Below command combines the images and output a video with desired animation &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-t 5 -i 1.jpg \&#xA;-t 5 -i 2.jpg \&#xA;-t 5 -i 3.jpg \&#xA;-t 5 -i 4.jpg \&#xA;-filter_complex \&#xA;&quot;[0:v]zoompan=z='if(lte(zoom,1.0),1.5,max(1.001,zoom-0.0015))':d=125,fade=t=out:st=4:d=1[v0]; \&#xA; [1:v]zoompan=z='if(lte(zoom,1.0),1.5,max(1.001,zoom-0.0015))':d=125,fade=t=in:st=0:d=1,fade=t=out:st=4:d=1[v1]; \&#xA; [2:v]zoompan=z='if(lte(zoom,1.0),1.5,max(1.001,zoom-0.0015))':d=125,fade=t=in:st=0:d=1,fade=t=out:st=4:d=1[v2]; \&#xA; [3:v]zoompan=z='if(lte(zoom,1.0),1.5,max(1.001,zoom-0.0015))':d=125,fade=t=in:st=0:d=1,fade=t=out:st=4:d=1[v3]; \&#xA; [v0][v1][v2][v3]concat=n=4:v=1:a=0,format=yuv420p[v]&quot; -map &quot;[v]&quot; -s &quot;800x450&quot; ./out_fade.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Command number 2: Then I use this 2nd command to add audio to my video.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 'input_video.mp4' -i 'audio.mp3' -codec copy -shortest video_out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Command number 3: This is used to add logo to my video on top left location.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 'input_video.mp4' -i 'logo.png' -filter_complex &quot;[0:v][1:v] overlay=25:25&quot; -pix_fmt yuv420p -c:a copy 'video_out.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Command number 4: This is used to add the sliding text in a red box at the bottom of the video screen.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video_input.mp4 -vf &quot;drawbox=y=ih-80:color=#ef2626@0.8:width=iw:height=80:t=fill,drawtext=text='This is a testing text example.':expansion=normal:y=h-line_h-20:x='if(eq(t\,0)\,w\,if(lt(x\,(0-tw))\,w\,x-4))':fontfile='Lora/Lora-Regular.ttf':fontcolor=white: fontsize=40&quot; video_final.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This process is slow I think and I am thinking is it possible I can combine these 4 processes into one or at least reduce it to two commands?&lt;/p&gt;&#xA;" OwnerUserId="26396" LastActivityDate="2019-10-02T09:09:50.723" Title="ffmpeg video generation process optimization" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28612" PostTypeId="1" AcceptedAnswerId="28617" CreationDate="2019-10-01T20:31:18.867" Score="1" ViewCount="2274" Body="&lt;p&gt;I am looking at buying a Canon Rebel T6 to record video, but would like to have better audio than the built in microphone. Is there any way, with an adapter or otherwise, that I can use this camera to record video with externally supplied audio?&lt;/p&gt;&#xA;" OwnerUserId="26414" LastActivityDate="2019-10-02T16:43:21.207" Title="Is there any way to record external audio from a Canon Rebel R6?" Tags="|audio|canon|microphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28613" PostTypeId="1" CreationDate="2019-10-01T21:33:45.070" Score="5" ViewCount="4415" Body="&lt;p&gt;I'm trying to detect scenes and save them as individual files with &lt;code&gt;FFmpeg&lt;/code&gt;. I found this long command somewhere, but it fails with a good detection. I change the scenecut value, but I don't see any effects.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i test.mp4 -max_muxing_queue_size 1024 -vf yadif -preset:v fast -x264opts scenecut=20 -f segment -segment_format mp4 -segment_format_options movflags=faststart %05d.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there a better command than this? There should be a shorter, more efficient command I guess.&lt;/p&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2020-07-01T04:21:39.103" Title="How to extract each video scene with FFmpeg" Tags="|video|ffmpeg|encoding|mp4|decoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28615" PostTypeId="2" ParentId="28613" CreationDate="2019-10-02T08:58:14.997" Score="5" Body="&lt;p&gt;Using the encoder's scenecut to detect scenes is not advisable, since its purpose is efficient GOP splitting taking into account other encoding parameters. It is not a &quot;pure&quot; scene detector. Its propensity to mark a &quot;scene change&quot; increases as it gets closer to the the next forced keyframe target (set by &lt;code&gt;keyint&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Consider using &lt;a href=&quot;https://github.com/Breakthrough/PySceneDetect&quot; rel=&quot;noreferrer&quot;&gt;https://github.com/Breakthrough/PySceneDetect&lt;/a&gt; instead.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-10-02T08:58:14.997" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28616" PostTypeId="2" ParentId="28611" CreationDate="2019-10-02T09:09:50.723" Score="0" Body="&lt;p&gt;Here's the combined command,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-i 1.jpg \&#xA;-i 2.jpg \&#xA;-i 3.jpg \&#xA;-i 4.jpg \&#xA;-i 'audio.mp3' \&#xA;-i 'logo.png' \&#xA;-filter_complex \&#xA;&quot;[0:v]zoompan=z='if(lte(zoom,1.0),1.5,max(1.001,zoom-0.0015))':d=125,fade=t=out:st=4:d=1[v0]; \&#xA; [1:v]zoompan=z='if(lte(zoom,1.0),1.5,max(1.001,zoom-0.0015))':d=125,fade=t=in:st=0:d=1,fade=t=out:st=4:d=1[v1]; \&#xA; [2:v]zoompan=z='if(lte(zoom,1.0),1.5,max(1.001,zoom-0.0015))':d=125,fade=t=in:st=0:d=1,fade=t=out:st=4:d=1[v2]; \&#xA; [3:v]zoompan=z='if(lte(zoom,1.0),1.5,max(1.001,zoom-0.0015))':d=125,fade=t=in:st=0:d=1,fade=t=out:st=4:d=1[v3]; \&#xA; [v0][v1][v2][v3]concat=n=4:v=1:a=0,format=yuv420p,scale=800:450,setsar=1[v]; \&#xA; [v][5]overlay=25:25,drawbox=y=ih-80:color=#ef2626@0.8:width=iw:height=80:t=fill,drawtext=text='This is a testing text example.':expansion=normal:y=h-line_h-20:x='if(eq(t\,0)\,w\,if(lt(x\,(0-tw))\,w\,x-4))':fontfile='Lora/Lora-Regular.ttf':fontcolor=white: fontsize=40&quot; \&#xA;-c:a copy -shortest ./out_fade.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-10-02T09:09:50.723" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28617" PostTypeId="2" ParentId="28612" CreationDate="2019-10-02T16:33:06.327" Score="4" Body="&lt;p&gt;&lt;strong&gt;Welcome to Video Production Stack Exchange!&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Bad news first-&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, you are stuck with the in-camera mic with the T6. The &lt;strong&gt;&lt;em&gt;T6i&lt;/em&gt;&lt;/strong&gt; has a microphone jack for mounting an external microphone. If you want to mount an external mic to a Canon Rebel T6 body and record that audio stream to the same SD card, that's really your only option. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;However&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you elaborate a little on what your uses for the video are and what your workflow is? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have shot on a T6 and T6i extensively and I eventually determined the workflow that was best for me was to use a Zoom H4N as my primary sound recorder (placed somewhere out of sight in the shot) and synced the audio streams together in Adobe Premiere during post production. &lt;/p&gt;&#xA;" OwnerUserId="23465" LastEditorUserId="23465" LastEditDate="2019-10-02T16:43:21.207" LastActivityDate="2019-10-02T16:43:21.207" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28620" PostTypeId="1" AcceptedAnswerId="28621" CreationDate="2019-10-03T06:47:26.070" Score="0" ViewCount="451" Body="&lt;p&gt;I have a server software that generates video thumbnails using ffmpeg in two steps like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 1&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-ss 00:00:19.7500417 -i &quot;S:\vids\main.mp4&quot;&#xA;-ss 00:00:39.5000834 -i &quot;S:\vids\main.mp4&quot;&#xA;-ss 00:00:59.2501251 -i &quot;S:\vids\main.mp4&quot;&#xA;-y -threads 1 -frames:v 1 -vf &quot;scale=-1:480&quot; -map 0:v:0 &quot;temp\temp0.jpg&quot;&#xA;-y -threads 1 -frames:v 1 -vf &quot;scale=-1:480&quot; -map 1:v:0 &quot;temp\temp1.jpg&quot;&#xA;-y -threads 1 -frames:v 1 -vf &quot;scale=-1:480&quot; -map 2:v:0 &quot;temp\temp2.jpg&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Step 2&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-i &quot;temp\temp%d.jpg&quot; -y -filter_complex tile=1x3 &quot;thumbnails\main.jpg&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This works fine when only a few thumbnails are needed, but when 50-100 thumbnails must be written to disk and then tiled separately, overall performance is very slow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there some way I can combine these two commands into a single step?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE&lt;/strong&gt;: @gyan's code results in:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;PS C:\Users\Sam\Desktop&amp;gt; .\ffmpeg.exe  -ss 00:00:19.7500417 -i &quot;S:\vids\main.mp4&quot; -ss 00:00:39.5000834 -i &quot;S:\vids\main.mp4&quot; -ss 00:00:59.2501251 -i &quot;S:\vids\main.mp4&quot; -filter_complex &quot;[0]trim=end_frame=1,scale=-1:480,setpts=N[a]; [1]trim=end_frame=1,scale=-1:480,setpts=N[b]; [2]trim=end_frame=1,scale=-1:480,setpts=N[c]; [a][b][c]vstack&quot; &quot;thumbnails\main.jpg&quot;&#xA;ffmpeg version 4.2 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 9.1.1 (GCC) 20190807&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'S:\vids\main.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.83.100&#xA;  Duration: 00:01:19.95, start: 0.000000, bitrate: 529 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 406x720 [SAR 1:1 DAR 203:360], 424 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 96 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;Input #1, mov,mp4,m4a,3gp,3g2,mj2, from 'S:\vids\main.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.83.100&#xA;  Duration: 00:01:19.95, start: 0.000000, bitrate: 529 kb/s&#xA;    Stream #1:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 406x720 [SAR 1:1 DAR 203:360], 424 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #1:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 96 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;Input #2, mov,mp4,m4a,3gp,3g2,mj2, from 'S:\vids\main.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.83.100&#xA;  Duration: 00:01:19.95, start: 0.000000, bitrate: 529 kb/s&#xA;    Stream #2:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 406x720 [SAR 1:1 DAR 203:360], 424 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #2:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 96 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;[AVFilterGraph @ 000001dcaf4fef40] Too many inputs specified for the &quot;vstack&quot; filter.&#xA;Error initializing complex filters.&#xA;Invalid argument&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26424" LastEditorUserId="26424" LastEditDate="2019-10-04T04:17:22.313" LastActivityDate="2019-10-04T04:28:50.517" Title="Capturing and tiling video thumbnails in a single step" Tags="|ffmpeg|thumbnails|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28621" PostTypeId="2" ParentId="28620" CreationDate="2019-10-03T08:39:37.620" Score="0" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg&#xA; -ss 00:00:19.7500417 -i &quot;S:\vids\main.mp4&quot;&#xA; -ss 00:00:39.5000834 -i &quot;S:\vids\main.mp4&quot;&#xA; -ss 00:00:59.2501251 -i &quot;S:\vids\main.mp4&quot;&#xA; -filter_complex&#xA; &quot;[0]trim=end_frame=1,scale=-1:480,setpts=N[a];&#xA;  [1]trim=end_frame=1,scale=-1:480,setpts=N[b];&#xA;  [2]trim=end_frame=1,scale=-1:480,setpts=N[c];&#xA;  [a][b][c]vstack=3&quot;&#xA;&quot;thumbnails\main.jpg&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2019-10-04T04:28:50.517" LastActivityDate="2019-10-04T04:28:50.517" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="28623" PostTypeId="2" ParentId="28244" CreationDate="2019-10-03T13:25:02.463" Score="1" Body="&lt;p&gt;I am sorry that I do not have an exact answer to the question on the title.&lt;/p&gt;&#xA;&lt;p&gt;But here is the core of the question&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;I'm looking more for general principles and ideas.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So here are my two cents:&lt;/p&gt;&#xA;&lt;h2&gt;1. Focal length and aperture&lt;/h2&gt;&#xA;&lt;p&gt;Yes, I know. I started with something is not controlled by color grading, but it needs to be said.&lt;/p&gt;&#xA;&lt;h2&gt;2. Color correction&lt;/h2&gt;&#xA;&lt;p&gt;This is the first step, define what was the white balance and exposure and make them coherent.&lt;/p&gt;&#xA;&lt;p&gt;On programs like Resolve, one node should be for temperature correction and another for exposure.&lt;/p&gt;&#xA;&lt;h3&gt;2.1. Shadows&lt;/h3&gt;&#xA;&lt;p&gt;Here is probably the first manipulation we need to make, Do we have a correct exposure of the shadows? Do we need to actually change a curve to show detail?&#xA;This is, for now, more than a creative manipulation but about Information. Does the shadowy part of the face of an actor need to be viewed clearly? Does he have a scar that does not show good enough and needs to be brightened?&lt;/p&gt;&#xA;&lt;h2&gt;3. Dynamic range, overall contrast&lt;/h2&gt;&#xA;&lt;p&gt;We are limited by the capabilities of the camera, but we can work around this, using illumination techniques, both positive and negative illumination.&lt;/p&gt;&#xA;&lt;p&gt;Positive illumination is where you add light on dark zones where you have little light. One case is where you have a sunset behind the subject and you add a reflector to reduce the contrast.&lt;/p&gt;&#xA;&lt;p&gt;Negative illumination is reducing the light of the bright part, either controlled by a filter or by shutter speed or something.&lt;/p&gt;&#xA;&lt;p&gt;But when referring to color grading this element is more noticeable on one particular characteristic: &lt;strong&gt;Contrast&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;So, you can play with the contrast. Sometimes reducing the blackness makes the image a bit more &amp;quot;filmish&amp;quot; or with a film substrate.&lt;/p&gt;&#xA;&lt;p&gt;It is funny that you mentioned &amp;quot;Still Photography&amp;quot; because I will reference a post I made on that forum, no spam intended :o) &lt;a href=&quot;https://photo.stackexchange.com/questions/110840/whats-the-biggest-difference-between-these-two-photos-of-large-animals/110884#110884&quot;&gt;https://photo.stackexchange.com/questions/110840/whats-the-biggest-difference-between-these-two-photos-of-large-animals/110884#110884&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;See how reducing the contrast, by graying the black point, make the image look with a higher dynamic range... This is funny because it is the opposite.&lt;/p&gt;&#xA;&lt;h2&gt;4. Middle tones&lt;/h2&gt;&#xA;&lt;p&gt;You probably want to maintain the middle tones accurate to the color corrections you made in the first place. But this rule can be broken of course. See point 7.&lt;/p&gt;&#xA;&lt;p&gt;Play with the saturation.&lt;/p&gt;&#xA;&lt;h2&gt;5. Color on the shadows&lt;/h2&gt;&#xA;&lt;p&gt;So we actually need to start creative somewhere. A typical teal and orange look starts here, change the temperature of the shadows. Normally a shadow is a bit cooler than the highlights.&lt;/p&gt;&#xA;&lt;h2&gt;6. Now the light&lt;/h2&gt;&#xA;&lt;p&gt;Change the temperature on the highlights, blow them on a desert scenario, gray them and cool them on a moody swamp.&lt;/p&gt;&#xA;&lt;h2&gt;7. Middle tones again&lt;/h2&gt;&#xA;&lt;p&gt;To change the overall mood, you know the typical matrix example with green tones overall...&lt;/p&gt;&#xA;&lt;h2&gt;8. Forget everything&lt;/h2&gt;&#xA;&lt;p&gt;I or somebody say and play.&lt;/p&gt;&#xA;&lt;h2&gt;9. A side note about &amp;quot;cliches&amp;quot;&lt;/h2&gt;&#xA;&lt;p&gt;Especially for region-based, or country-based color recipes, this is a country that has some deserts... Oh, All the countries should be painted orange!&lt;/p&gt;&#xA;&lt;p&gt;The US has some pretty big deserts, and you should not grade all movies orange.&lt;/p&gt;&#xA;&lt;p&gt;The UK, London has some foggy days, not every scene should be desaturated... (or should they? Lol, sorry... I could not resist)&lt;/p&gt;&#xA;&lt;p&gt;Some red alert scenario... Dam, we need the best light to work on a red alert scenario, not a red light!&lt;/p&gt;&#xA;&lt;p&gt;Sometimes the cliche is annoying if overdone. Forget cliches, or use them, it is your call.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-10-06T06:58:46.447" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28624" PostTypeId="2" ParentId="23003" CreationDate="2019-10-03T17:39:25.857" Score="2" Body="&lt;p&gt;I know that you were trying to find a way to do this in a single step. However, for those who stumble across this question, it's much easier to chain two &lt;code&gt;ffmpeg&lt;/code&gt; commands like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp3 -an out.png &amp;amp;&amp;amp; ffmpeg -loop 1 -i out.png -i in.mp3 -c:a aac -ab 256k -c:v libx264 -pix_fmt yuv420p -shortest -strict -2 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that this reencodes the mp3, as it's not a supported codec in mp4 containers.&lt;/p&gt;&#xA;" OwnerUserId="26431" LastEditorUserId="26431" LastEditDate="2019-10-03T18:16:27.180" LastActivityDate="2019-10-03T18:16:27.180" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28625" PostTypeId="1" AcceptedAnswerId="28633" CreationDate="2019-10-03T20:50:10.110" Score="1" ViewCount="63" Body="&lt;p&gt;I am an amateur, but I would love to record myself at video and then cut the background, so I can paste myself on top of prepared slides.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately each time I record a video there is a noise at this video.&#xA;Even it is more noisy after green background is cut.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use DaVinci Resolver to cut green background by adding new layer and make delta keyer. I do same as they suggest in the video &lt;a href=&quot;https://www.youtube.com/watch?v=Og7c1AMoqsY&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to Turn Green Screen into Replacement Background | DaVinci Resolve 16 Tutorial&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am recording myself with Nikon D5200 DSLr at automatic mode at 720 HD format.&#xA;I bought a green screen from the shop so it is kind of proper one I guess.&#xA;The light is not well at my room, but I try to do my best. So I took off lampshade from my lamp at the top (ceiling). And I set two small lamps on both sides of me. Or the other setup I did was one small lamp under me and one small lamp in front of me. This way I got 1250 ISO at automatic mode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried also to set manually lower ISO, but then colours are ugly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What should I do to record myself properly so after I can cut green screen behind me and paste myself at the top of slides. But I would like to be shown without such a noise. Can you recommend me something in my situation?&lt;/p&gt;&#xA;" OwnerUserId="26434" LastEditorUserId="18155" LastEditDate="2019-10-15T13:40:09.437" LastActivityDate="2019-10-20T04:06:43.820" Title="What to do in order to avoid noises on records from DSLR for greenscreen?" Tags="|dslr|davinci-resolve|greenscreen|noise|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28628" PostTypeId="1" AcceptedAnswerId="28629" CreationDate="2019-10-04T20:35:19.083" Score="0" ViewCount="382" Body="&lt;p&gt;Is there any way to concatenate two video files with a dip to white (0.03 sec) with FFmpeg? &lt;/p&gt;&#xA;" OwnerUserId="26442" LastEditorUserId="4426" LastEditDate="2019-10-08T10:09:12.780" LastActivityDate="2019-10-08T10:09:12.780" Title="Concatenate two video files with a dip to white with FFmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28629" PostTypeId="2" ParentId="28628" CreationDate="2019-10-04T22:48:25.980" Score="2" Body="&lt;p&gt;Assuming &lt;code&gt;input0.mkv&lt;/code&gt; is 10 seconds long:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input0.mkv -i input1.mkv -filter_complex &quot;[0]fade=t=out:d=0.015:st=9.985:c=white[v0];[1]fade=t=in:d=0.015:c=white[v1];[v0][0:a][v1][1:a]concat=n=2:v=1:a=1[v][a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Note that using your values with typical input frame rate will result in only a few frames being white which will appear as a flash instead of a dip to white, so I recommend increasing the fade duration.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;All inputs must have the same parameters (width, height, etc).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;See &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Filters&lt;/a&gt; for more info on fade and concat.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2019-10-07T22:22:07.557" LastActivityDate="2019-10-07T22:22:07.557" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28630" PostTypeId="2" ParentId="27901" CreationDate="2019-10-05T08:55:27.400" Score="1" Body="&lt;p&gt;If you don't have any budget, then building maps like this is going to take longer than using a tool like &lt;a href=&quot;https://aescripts.com/geolayers/&quot; rel=&quot;nofollow noreferrer&quot;&gt;GeoLayers&lt;/a&gt; in After Effects.  &lt;a href=&quot;https://www.google.com/earth/studio/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Google Earth Studio&lt;/a&gt; is brilliant, and free, but it's better for aerial satellite views rather than vector maps.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise, you're down to looking for nice vector maps (maybe from Open Streetmap?), and overlaying them in Illustrator with satellite views to give texture.  (That's why people use dedicated tools like QGIS for this type of thing)&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-10-05T08:55:27.400" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28631" PostTypeId="1" CreationDate="2019-10-05T09:29:50.223" Score="0" ViewCount="2491" Body="&lt;p&gt;When dealing with corrupted videos, &lt;code&gt;ffmpeg&lt;/code&gt; is a great to tool to automatically &lt;a href=&quot;https://video.stackexchange.com/questions/18220/fix-bad-files-and-streams-with-ffmpeg-so-vlc-and-other-players-would-not-crash/&quot;&gt;fix errors&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way, with &lt;code&gt;ffmpeg&lt;/code&gt; or another similar tool, to automatically remove/drop/trim/cut away frozen parts from a file, both video and audio streams?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using a combination of &lt;code&gt;mpdecimate&lt;/code&gt; and &lt;code&gt;map&lt;/code&gt; it's possible to obtain the video stream only with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.ext -vf mpdecimate -map 0:v output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How to do the same thing with all streams of the file, audio and video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given a video with two streams like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;     0       1         2       3         4&#xA;video|AAAAAAA|FFFFFFFFF|BBBBBBB|FFFFFFFFF|&#xA;audio|XXXXXXX|YYYYYYYYY|ZZZZZZZ|KKKKKKKKK|&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;A&lt;/code&gt; and &lt;code&gt;B&lt;/code&gt; are the good parts to mantain and &lt;code&gt;F&lt;/code&gt; are the frozen parts to be trimmed away, I want obtain a &quot;cleaned&quot; video (with the frozen parts and its associated audio removed) which in the end would look like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;0       1       2&#xA;video|AAAAAAA|BBBBBBB|&#xA;audio|XXXXXXX|ZZZZZZZ|&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26447" LastEditorUserId="26447" LastEditDate="2019-10-10T18:19:10.643" LastActivityDate="2022-01-19T15:41:49.107" Title="Remove frozen parts from a corrupted video" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28632" PostTypeId="2" ParentId="28631" CreationDate="2019-10-05T14:00:46.610" Score="1" Body="&lt;p&gt;If your video has fixed frame rate, you probably mean by “frozen part” the part with the &lt;em&gt;same frame repeated many times.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To remove duplicate frames you may apply the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#mpdecimate&quot; rel=&quot;nofollow noreferrer&quot;&gt;mpdecimate&lt;/a&gt; filter.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2019-10-05T14:00:46.610" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28633" PostTypeId="2" ParentId="28625" CreationDate="2019-10-06T07:09:58.150" Score="1" Body="&lt;p&gt;Well, the noise has little to do with the green screen, with the probable exception that you can now compare your image vs a clean background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only way to reduce the noise is by &lt;strong&gt;having more light&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try to open the aperture to the max, you can or lowering your shutter speed, (But if you are making rapid moves this could have issues)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Making the ISO Higher will give you more noise, so, if you can not do the previous two options, you need to buy a stronger light. Fluorescent lamps are a decent option, they are not as expensive as led lights.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the noise is on the background, you need either put more light on it or probably have a smoother background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do not use auto mode, learn how to set up manual mode, so the image does not change in brightness as you move.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2019-10-20T04:06:43.820" LastActivityDate="2019-10-20T04:06:43.820" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28634" PostTypeId="1" CreationDate="2019-10-06T13:18:53.303" Score="1" ViewCount="261" Body="&lt;p&gt;I've tried all the swsflags options and figure the answer is no, but it can't hurt to ask just in case.  For example: downsample from 1920x1080 to 960x540, then upsample back to 1080 using the neighbor flag to recreate a perfect copy of the original 1080 image.  Neighbor comes very close but there seems to be some color shifting happening in the downsample.  Can another filter accomplish this, or is it simply the nature of the beast that downsampling will never be perfect?&lt;/p&gt;&#xA;" OwnerUserId="17189" LastActivityDate="2019-10-09T23:53:38.210" Title="Can ffmpeg downsample pixels perfectly?" Tags="|video|ffmpeg|encoding|video-quality|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28635" PostTypeId="1" AcceptedAnswerId="29572" CreationDate="2019-10-06T17:00:16.977" Score="0" ViewCount="913" Body="&lt;p&gt;As a follow-up on &lt;a href=&quot;https://video.stackexchange.com/questions/27887/video-concatenation-puts-sound-out-of-sync?noredirect=1#comment38725_27887&quot;&gt;Video concatenation puts sound out of sync&lt;/a&gt;, I have 6 video clips where the audio is 200 ms shorter than the video. The last clip has a chair banging on the floor and serves to measure the total misalignment in the concatenation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried concatenating them simply with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -safe 0 -f concat -i files_to_combine -vcodec copy -acodec copy temp.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;files_to_combine&lt;/code&gt; contains a list of the files in format &lt;code&gt;file ./DSC_0013.MOV&lt;/code&gt; for example. The result is 0.5 seconds of misalignment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried trimming each clip to the shortest stream with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i DSC_0013.MOV -map 0 -c copy \&#xA;  -fflags +shortest -max_interleave_delta 0 DSC_0013_trimmed.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;before concatenating them as above. The results is 0.08 seconds of misalignment. I also tried increasing the value of &lt;code&gt;-max_interleave_delta&lt;/code&gt;, with similar results.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With iMovie, the concatenation of audio and video is perfectly aligned.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I trim and concatenate the clips with FFMPEG so they concatenate as cleanly as with iMovie?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2020-03-10T09:24:18.333" Title="FFMPEG is not trimming the audio to the length of the video" Tags="|ffmpeg|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28638" PostTypeId="2" ParentId="28634" CreationDate="2019-10-07T04:38:54.883" Score="1" Body="&lt;p&gt;That violates the rules of information theory. Look into the work of Claude Shannon if you wish to understand why what you are asking is mathematically impossible. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-10-07T04:38:54.883" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28639" PostTypeId="1" AcceptedAnswerId="32977" CreationDate="2019-10-07T10:13:05.830" Score="3" ViewCount="356" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gEQhC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gEQhC.jpg&quot; alt=&quot;colour artifact screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See the attached image to see the artifact I'm refering too. There appears to be blocks of oversaturated blue in the water. I'm fairly new to video editing, so I'm not sure which terms to use to describe it. I do have reasonable photo editing experience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The footage is take from a mavic 2 pro, recorded in raw (DLog-M). The artifact is visible in the raw footage, though to a lesser extent, and the application of the LUT and basic correction in Premier Pro makes the artifact more obvious (to me).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anybody know what terms I should be using to describe this (to help me search for solutions better).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also any ideas for how to fix or reduce it, either now in post, or in-drone/ in-camera setting for future footage, would be much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="26466" LastActivityDate="2020-12-30T18:37:47.683" Title="What is this colour blocking/ banding i'm seeing and can it be corrected for?" Tags="|premiere|video-quality|raw|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="28640" PostTypeId="2" ParentId="24333" CreationDate="2019-10-07T19:08:45.690" Score="1" Body="&lt;p&gt;This happens a lot to me. I'm A quick/temporary fix is dragging a title clip over the one with the problem and disabling it. New clips should sit on top of that. &lt;/p&gt;&#xA;" OwnerUserId="26467" LastActivityDate="2019-10-07T19:08:45.690" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28641" PostTypeId="1" CreationDate="2019-10-07T19:41:41.440" Score="0" ViewCount="131" Body="&lt;p&gt;I'm wondering why my desktop workstation render too slow the video on Adobe Premiere Pro CC 2019.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to edit (cut, music, simple graphics) video of 15 minutes.&#xA;But when it renders, it takes more than 1 hour.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is my specs:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I7-8700k 3.7 GHz&lt;/li&gt;&#xA;&lt;li&gt;Ram 16 GB ddr4 2133&lt;/li&gt;&#xA;&lt;li&gt;Samsung ssd m2 nvme 256 GB&lt;/li&gt;&#xA;&lt;li&gt;Kingston 120 GB SSD&lt;/li&gt;&#xA;&lt;li&gt;Toshiba 1 TB&lt;/li&gt;&#xA;&lt;li&gt;Motherboard : MSI z370 gaming m5&lt;/li&gt;&#xA;&lt;li&gt;Watercooling thermatalk&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The only thing  I doubt in is, I do not have a graphic card as I know it's not very important in video editing and 2D as a CPU.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please give me a solution, or where is the problem?&lt;br&gt;&#xA;Thanks &lt;/p&gt;&#xA;" OwnerUserId="25535" LastEditorUserId="18155" LastEditDate="2019-10-15T13:39:33.730" LastActivityDate="2019-10-28T07:08:43.853" Title="Why my workstation PC is rendering too slow on Adobe Premiere Pro CC 2019?" Tags="|video-editor|editing|adobe-media-encoder|animation-rendering|rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28642" PostTypeId="2" ParentId="17136" CreationDate="2019-10-08T13:27:56.977" Score="1" Body="&lt;p&gt;A lower-than-optimal bitrate video with higher resolution could easily look worst than a smaller one with proper bit per pixel dedication. Of course a very important fact is the viewing device and condition. A smaller video should get upscaled to fill the screen, for example a 1280×720 will get upscaled in full-screen mode on a 1920×1080 screen. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, in conclusion the perceptual quality highly depends also on other factors than the resolution only.&lt;/p&gt;&#xA;" OwnerUserId="26471" LastEditorUserId="18155" LastEditDate="2019-10-10T15:47:09.117" LastActivityDate="2019-10-10T15:47:09.117" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28643" PostTypeId="2" ParentId="28591" CreationDate="2019-10-08T14:40:50.857" Score="1" Body="&lt;p&gt;What you want is called a &lt;a href=&quot;https://www.youtube.com/watch?v=DI3v5TK4sYM&quot; rel=&quot;nofollow noreferrer&quot;&gt;Gradient Wipe&lt;/a&gt; in Premiere Pro or a &lt;a href=&quot;https://www.youtube.com/watch?v=rp9re6HnXoM&quot; rel=&quot;nofollow noreferrer&quot;&gt;Luma Fade&lt;/a&gt; in Davinci Resolve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just make sure your gradient image is a 3rd layer as long as your transition, and is selected as the 'gradient layer.'&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(This should be a comment but I don't have enough karma to comment in this forum. Hope this helps :) )&lt;/p&gt;&#xA;" OwnerUserId="21868" LastActivityDate="2019-10-08T14:40:50.857" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28644" PostTypeId="2" ParentId="25645" CreationDate="2019-10-08T15:17:22.260" Score="0" Body="&lt;p&gt;You must understand that &amp;quot;Effects&amp;quot; are in some cases a multi-step process.&lt;/p&gt;&#xA;&lt;p&gt;In this case, you need first a spinning globe with spinning text.&lt;/p&gt;&#xA;&lt;p&gt;Use a free program like Blender.org and look for some tutorials using words like this: &lt;a href=&quot;https://duckduckgo.com/?q=universal+logo+style+blender+tutorial&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://duckduckgo.com/?q=universal+logo+style+blender+tutorial&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You need to export the logo in a way that can be cut away transparently in Resolve.&lt;/p&gt;&#xA;&lt;p&gt;One option is to render the background with a pure green color.&lt;/p&gt;&#xA;&lt;p&gt;But Resolve also accepts PNG image sequences with transparent backgrounds.&lt;/p&gt;&#xA;&lt;p&gt;Then import that footage in Resolve and composite it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://duckduckgo.com/?q=davinci+resolve+green+screen&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://duckduckgo.com/?q=davinci+resolve+green+screen&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2024-02-19T19:04:44.960" LastActivityDate="2024-02-19T19:04:44.960" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28645" PostTypeId="1" CreationDate="2019-10-08T15:21:05.047" Score="0" ViewCount="585" Body="&lt;p&gt;I cannot for the life of me figure out what is going wrong, but I have a ProRes MOV file with the following specifications:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dDi5Z.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dDi5Z.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And I want to convert it to a 4:2:0 MP4 video file.  Every time I attempt the following command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &quot;Abstract Blue and Orange Motion.mov&quot; -pix_fmt yuv420p &quot;111.mp4&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I end up with an video that is slightly different in color than the original (the color conversion wasn't performed properly by ffmpeg).  When I import the original MOV and the output MP4 into After Effects CC 2019, we can see the difference in the color quite easily.  Screenshots of several examples can be juxtaposed here (original on the right, output mp4 on the left):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://cdn.knightlab.com/libs/juxtapose/latest/embed/index.html?uid=991a6f3e-e9dd-11e9-b9b8-0edaf8f81e27&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://cdn.knightlab.com/libs/juxtapose/latest/embed/index.html?uid=991a6f3e-e9dd-11e9-b9b8-0edaf8f81e27&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://cdn.knightlab.com/libs/juxtapose/latest/embed/index.html?uid=60019d2a-e9de-11e9-b9b8-0edaf8f81e27&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://cdn.knightlab.com/libs/juxtapose/latest/embed/index.html?uid=60019d2a-e9de-11e9-b9b8-0edaf8f81e27&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do not understand what I am doing wrong.  &lt;strong&gt;How do I convert this input MOV to an MP4 file without affecting the colors in ffmpeg?&lt;/strong&gt;  For reference, I am using &lt;code&gt;ffmpeg version N-94150-g231d0c819f Copyright (c) 2000-2019 the FFmpeg developers&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More version details can be found here: &lt;a href=&quot;https://pastebin.com/raw/Mcm4HJAg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pastebin.com/raw/Mcm4HJAg&lt;/a&gt;.  Also, it should be noted that if I convert the mov file to mp4 in Adobe Media Encoder, the colors do not look washed out the way they do with ffmpeg.  So clearly I'm not using ffmpeg correctly, or this is a bug.&lt;/p&gt;&#xA;" OwnerUserId="25617" LastActivityDate="2019-10-08T15:21:05.047" Title="ffmpeg ProRes to MP4 Alters Colors Slightly" Tags="|ffmpeg|h.264|transcoding|prores|colorspace|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28647" PostTypeId="1" CreationDate="2019-10-08T19:04:10.793" Score="0" ViewCount="142" Body="&lt;p&gt;I have a large mbtree file and found out it was used for video transcoding. Is there any way to reconstruct the video from the mbtree file or is it just (useless) metadata?&lt;/p&gt;&#xA;" OwnerUserId="26473" LastActivityDate="2024-02-15T22:00:45.090" Title="Possible to reconstruct video from mbtree file?" Tags="|ffmpeg|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28650" PostTypeId="1" CreationDate="2019-10-09T10:33:11.470" Score="1" ViewCount="34" Body="&lt;p&gt;I'm looking for a way to create a 'Pin art toy' effect in after effects. Basically a load of extruded hexagons that can be pushed up and down by a shape behind them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would be great if this could be done with 3d shapes using the cinema 4d render, or if not, isometric style 2d would also work. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My thinking would be for each hexagon to look at the colour that is below it and map the z position so that white = 100% raised, black = 0% etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any input&lt;/p&gt;&#xA;" OwnerUserId="26482" LastActivityDate="2019-10-09T10:33:11.470" Title="'Pin-art' effect in After effects" Tags="|after-effects|after-effects-expressions|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28651" PostTypeId="2" ParentId="28647" CreationDate="2019-10-09T15:32:15.260" Score="0" Body="&lt;p&gt;It’s useless without the original media file. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-10-09T15:32:15.260" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28653" PostTypeId="2" ParentId="28634" CreationDate="2019-10-09T23:53:38.210" Score="1" Body="&lt;p&gt;The information on an image is not made of rubber, you can not shrink and expand an image that way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Downsampling is re-sampling&lt;/strong&gt;. Making new data out of the initial information. Normally it is based on an average.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I make a poll on how many times a week do people eat icecream in summer.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Jane 2&lt;/li&gt;&#xA;&lt;li&gt;Jack 2&lt;/li&gt;&#xA;&lt;li&gt;Sue 3&lt;/li&gt;&#xA;&lt;li&gt;JohnTheIcecreamEater 7&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The average is 3.5 icecreams per person... average.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I tell you that the average of lemonade drinks on the same week is 2, you have no idea what the original values are. You do not know if there is a JaneLemonadeDrinker or not.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;There is NO way to reconstruct the original data from an average, from a downsampled image.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;There are some algorithms that can assume a bit of new data and invent it. But having the original data is way better for detailed information.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-10-09T23:53:38.210" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28654" PostTypeId="2" ParentId="28318" CreationDate="2019-10-10T00:09:56.150" Score="2" Body="&lt;p&gt;I would avoid burning things to make ashes. Not very environment-friendly.&lt;/p&gt;&#xA;&lt;p&gt;Instead of paying attention to the acting and to the light, and framing you will be worried about the effects. That is not a good idea.&lt;/p&gt;&#xA;&lt;p&gt;Now days is pretty simple making particles in a 3D program. Try Blender, that can track the footage and have a very robust particle system and render options.&lt;/p&gt;&#xA;&lt;p&gt;Here is an example of how a normal scene can be transformed into an apocalyptic scene, one typical example is Silent Hill. &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/3Kr04ay4rlc?start=76&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2020-08-24T22:05:51.560" LastActivityDate="2020-08-24T22:05:51.560" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28655" PostTypeId="2" ParentId="28457" CreationDate="2019-10-10T08:19:17.580" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://download.blender.org/branding/blender_logo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://download.blender.org/branding/blender_logo.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;If you want something free and pretty easy which has visual display as well: &lt;a href=&quot;https://www.blender.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blender&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are loads of tutorials on Youtube how to use this program for various reasons.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's main usage is 3D Modelling and Rendering, but it also has a very good video editing section, which uses &lt;code&gt;ffmpeg&lt;/code&gt; for export compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It handles both B-frames, frames and ss:mm:hh.&lt;/p&gt;&#xA;" OwnerUserId="16099" LastActivityDate="2019-10-10T08:19:17.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28656" PostTypeId="1" AcceptedAnswerId="28658" CreationDate="2019-10-10T17:58:29.823" Score="2" ViewCount="141" Body="&lt;p&gt;How can I keep the funny silent part of a video (sniffs, breathing,...)?&#xA;I found a solution &lt;a href=&quot;https://www.youtube.com/watch?v=DQ8orIurGxw&amp;amp;t=354s&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, but is there another solution?&#xA;I mean: Can I do the same in a video editor?&lt;/p&gt;&#xA;" OwnerUserId="26491" LastEditorUserId="14523" LastEditDate="2019-10-10T22:55:02.580" LastActivityDate="2019-10-17T06:43:37.977" Title="How do you keep the silent part of a video?" Tags="|video|ffmpeg|premiere|video-editor|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28658" PostTypeId="2" ParentId="28656" CreationDate="2019-10-10T20:25:22.583" Score="1" Body="&lt;p&gt;Welcome to video Stack Exchange. This is an interesting question, and one that I have asked myself in the past!&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;If you are willing to spend money, check out the third-party Adobe plugin &lt;a href=&quot;https://aescripts.com/awkward-pause/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Awkward Pause&lt;/a&gt; (&lt;a href=&quot;https://www.youtube.com/watch?v=ot3WgEtSrhM&quot; rel=&quot;nofollow noreferrer&quot;&gt;click here for demo video&lt;/a&gt;).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;For a quick and dirty solution, you can try using &lt;a href=&quot;https://github.com/evnb/vwrt&quot; rel=&quot;nofollow noreferrer&quot;&gt;this command-line tool I made last semester for a class&lt;/a&gt;. It is different from carykh's in the practical sense that it does not need to store png sequences of the images. (Therefore it requires less space.) &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;For your purposes: keep the &lt;code&gt;first_speed = 1.0&lt;/code&gt; and change the &lt;code&gt;second_speed&lt;/code&gt; to a very high number, then compile in XCode. &lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="21868" LastActivityDate="2019-10-10T20:25:22.583" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="28659" PostTypeId="2" ParentId="24755" CreationDate="2019-10-10T22:30:13.530" Score="1" Body="&lt;p&gt;You can do transformations with &lt;code&gt;-c:v libx264 -crf 0&lt;/code&gt; X264 has lossless mode, which it enters with &lt;code&gt;-crf 0&lt;/code&gt;. They implemented real lossless video encoding, this is not widely known - but it works perfectly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use it all the time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Be ready - it takes GBs - especially for videos of real-life (not graphics etc...)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Doing screen recording for programs and graphis in &lt;code&gt;-crf 0&lt;/code&gt; - is perfect - it compresses them really great and uses relatively small CPU power.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You also can control compression complexity it uses, with the presets (&lt;code&gt;fast&lt;/code&gt;, &lt;code&gt;veryslow&lt;/code&gt; ... etc). And you also can recomress lossles into more compressed lossless.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything for lossless is the same as for all x264's, except that it is the real lossless.&lt;/p&gt;&#xA;" OwnerUserId="26493" LastEditorUserId="26493" LastEditDate="2019-10-10T22:36:27.557" LastActivityDate="2019-10-10T22:36:27.557" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28660" PostTypeId="1" AcceptedAnswerId="28687" CreationDate="2019-10-10T22:51:18.597" Score="0" ViewCount="163" Body="&lt;p&gt;I'm trying to create a DVD from a video file. While I've done this in the past and had a method that usually works, it has been a few years. This is my process:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I have ripped an old VHS tape with a video capture device that has generated an MP4 file. This original file plays perfectly in VLC.&lt;/li&gt;&#xA;&lt;li&gt;I use ffmpeg to convert to VOB:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mp4 -target pal-dvd -qscale:v 3 output.vob&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The resulting file also plays perfectly in VLC.&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;Next, I set an environment variable to specify the format to be used for dvdauthor:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;export VIDEO_FORMAT=&quot;PAL&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;4&quot;&gt;&#xA;&lt;li&gt;Then I create an XML file that describes the DVD for dvdauthor:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;dvdauthor&amp;gt;&#xA;    &amp;lt;vmgm /&amp;gt;&#xA;    &amp;lt;titleset&amp;gt;&#xA;        &amp;lt;titles&amp;gt;&#xA;            &amp;lt;video format=&quot;pal&quot; aspect=&quot;4:3&quot; /&amp;gt;&#xA;            &amp;lt;pgc&amp;gt;&#xA;                &amp;lt;vob file=&quot;output.vob&quot; /&amp;gt;&#xA;           &amp;lt;/pgc&amp;gt;&#xA;        &amp;lt;/titles&amp;gt;&#xA;    &amp;lt;/titleset&amp;gt;&#xA;&amp;lt;/dvdauthor&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ol start=&quot;5&quot;&gt;&#xA;&lt;li&gt;Next, I use dvdauthor to generate the DVD file structure:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;dvdauthor -o output -x info.xml&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If I point VLC to play this structure, it works perfectly.&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;6&quot;&gt;&#xA;&lt;li&gt;I burn the resulting folders to disk.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;For some videos, it seems I can play the DVD on an actual DVD player without any issues&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, for some videos, the DVD starts not at 00:00:00, but further along. One some DVD players I can rewind, on others I cannot. If I use dvdauthor to put multiple files on the disk, the chapters (by default at the beginning of each file) are also not placed correctly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In such a case, if I create an ISO file instead of an actual DVD, I can also reproduce the issue in VLC when trying to play the ISO file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My best guess is that the original source video is corrupted in some subtle way, probably something timestamp or framerate related, and needs to be sanitized first in some way. I tried some extra conversions and remuxing, but that doesn't really seem to help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have an idea what is going on here?&lt;/p&gt;&#xA;" OwnerUserId="26494" LastActivityDate="2019-10-16T11:16:44.003" Title="DVD created with ffmpeg and dvdauthor doesn't start at the beginning" Tags="|ffmpeg|dvd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28663" PostTypeId="1" AcceptedAnswerId="28672" CreationDate="2019-10-11T14:59:01.620" Score="1" ViewCount="1083" Body="&lt;p&gt;How do make a layer visible only when overlapping other layers in After Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below are the layers:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Vj7VL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Vj7VL.png&quot; alt=&quot;What I&amp;#39;m getting&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want the shadow from the bow to only be visible when over the verticle lines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below are the layers in the pre-comp:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/udISX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/udISX.png&quot; alt=&quot;The layers in question.&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Above is the semi-transparent stroke as the shadow if the bow and a repeated verticle stoke. I want that shadow layer to only be visible over the verticle lines. How can I achieve this?&lt;/p&gt;&#xA;" OwnerUserId="26504" LastActivityDate="2019-10-14T00:26:54.440" Title="How do make a layer visible only when overlapping other layers in After Effects" Tags="|after-effects|visual-effects|compositing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28665" PostTypeId="1" AcceptedAnswerId="28691" CreationDate="2019-10-11T15:46:04.910" Score="0" ViewCount="27" Body="&lt;p&gt;I've ben watching tons of videos and read a lot of forums about this problem, but still cant find the solution...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The thing is that everybody says to put every object on different layers and then import the file like Footage... merged layers... then convert to layerd comp or create shapes from layers and so on... but my images are still blurry, even though i klick the button to continuosly rasterize. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;this makes me crazy&lt;/p&gt;&#xA;&#xA;&lt;p&gt;please for any help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WXK4U.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WXK4U.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26507" LastActivityDate="2019-10-17T01:06:55.920" Title="Vector image from AI to AE" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28666" PostTypeId="1" CreationDate="2019-10-11T21:09:25.437" Score="-1" ViewCount="44" Body="&lt;p&gt;Is there a list somewhere on the internet to give a basic idea of what codecs are best for different video formats, for example, what codecs are best for MP4, MPEG, FLV etc?&lt;/p&gt;&#xA;" OwnerUserId="17973" LastEditorUserId="26178" LastEditDate="2019-10-17T00:54:04.957" LastActivityDate="2019-10-17T00:54:04.957" Title="Best codes for different video formats" Tags="|video|video-editor|codec|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28667" PostTypeId="1" CreationDate="2019-10-12T02:36:41.210" Score="0" ViewCount="5859" Body="&lt;p&gt;I have a video with a short scene that somehow got flipped horizontally. I need to flip the short clip (within the larger video) horizontally--not so that the short clip will play backwards, but so that every frame is flipped horizontally. Not rotated 180 (as that would make it up side down). The clip is flipped like a mirror. Hope that makes sense. &lt;/p&gt;&#xA;" OwnerUserId="26514" LastActivityDate="2019-10-16T01:36:16.607" Title="Davinci Resolve: How to flip horizontal a short scene (visually flip every frame, without reversing play)" Tags="|video-editor|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28668" PostTypeId="1" CreationDate="2019-10-12T19:59:02.587" Score="0" ViewCount="32" Body="&lt;p&gt;I am using an Android Oreo phone. I would like to make a video of myself, but while I make it, I want the screen to go blank. This is so that looking at myself on the phone while I record will not interfere with how I end up appearing on the video. This way I can also think about how I would look at another person while I pull the face in thinking about, and then see for myself what my face looks like, so as to be able to foresee how I come across and what I can guess the other person's reaction would be, as seen by reacting myself to myself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions on how to go about doing this?&lt;/p&gt;&#xA;" OwnerUserId="24972" LastActivityDate="2019-10-15T19:50:39.920" Title="How to record myself while not noticing myself?" Tags="|video|video-editor|video-recording|video-capture|android|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28670" PostTypeId="1" CreationDate="2019-10-13T09:30:50.690" Score="1" ViewCount="35" Body="&lt;p&gt;I already ingested raw 4K footage and now want to create proxies so I can send them to a friend for editing so he can do cuts transitions and zoom in/out with keyframes. The final video will be in HD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Default proxy options have no 4K export options (not sure If I need 4K proxy option). &#xA;I know how to create a new proxy preset if needed, but not sure which option would be best in terms of sending proxies over the internet. Both of us have high-end PCs and even h264 proxy would be an option, just to keep the files as small as possible. The original footage is 500+GB (ProRes 442), 3840 x 2160.&lt;br&gt;&#xA;The reason why I would send 4K is because of zoom in/out with keyframes. If I downscale to 720p, will those keyframes work on original footage and scale properly?&lt;br&gt;&#xA;Since my friend will import proxies and will not have raw footage, what kind of sequence (resolution) should he create when working with 720 proxies that will work with my original 4K footage which will be exported in HD in the final video, after he sends his sequence back to me?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it enough that I send him proxy folder and original project file only and when he sends it back, I just import his project file in my original project?&lt;/p&gt;&#xA;" OwnerUserId="10560" LastActivityDate="2019-10-13T09:30:50.690" Title="Colaborating with 4k multicam proxy footage" Tags="|premiere|intermediate|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28672" PostTypeId="2" ParentId="28663" CreationDate="2019-10-14T00:26:54.440" Score="2" Body="&lt;p&gt;You can use a Track Matte. If your vertical lines aren't already precomposed, precompose them. Duplicate the Precomposition in your main composition. Place the shadow layer between the two precomps. Set the shadow layer's TrkMat setting to Alpha. (If you can't see the Track Matte [TrkMat] dropdown press the Toggle Switches/Modes button at the bottom of your screen).&lt;/p&gt;&#xA;" OwnerUserId="26520" LastActivityDate="2019-10-14T00:26:54.440" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28673" PostTypeId="2" ParentId="28666" CreationDate="2019-10-14T02:11:36.020" Score="0" Body="&lt;p&gt;I am assuming you are referring to codecs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is to board, there are codecs for different things. That is the point of having different ones. Some parameters can be:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Best Video Quality&lt;/li&gt;&#xA;&lt;li&gt;Lossless compression&lt;/li&gt;&#xA;&lt;li&gt;Compression speed&lt;/li&gt;&#xA;&lt;li&gt;Decompression speed&lt;/li&gt;&#xA;&lt;li&gt;Compatibility&lt;/li&gt;&#xA;&lt;li&gt;The resolution, bit depth, etc.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;But I must say that in general terms H.264 with audio AAC is the most universally accepted for full HD and mp4 container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On AVI a good codec that deserves some attention is XVID. which uses a slightly different library than h.264 called x264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;H.265 is the next format intended for higher resolutions, 4K for example, and there it is an open format called x265.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But there is the VP8 and VP9 codecs that are getting traction, and probably will be used more than h.265&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are other codecs meant to be as production codecs, with very little data loss, they are for video editing, like ProRes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But things are not that simple, because the quality also depends on the configuration of the codec.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I would recommend that you forget about the FLV video container.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-10-14T02:11:36.020" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28674" PostTypeId="2" ParentId="16636" CreationDate="2019-10-14T17:35:58.853" Score="0" Body="&lt;p&gt;When you delete silence (time to breathe, respond, awkward pause), for every hour of show, is 10-minutes of dead air. The sound of nothing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Attention is already hard...you speak at 120 WPM. Your brain can handle 400. In the empty space is where your brain gets distracted. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use desktop software for MAC or PC to automatically remove dead air / silence from MP4 &amp;amp; MP3 Files. Look at a graph, set audio level and split-time, hit run. The cuts are automated, and recompiled back into a single MP4 or MP3 file. See &lt;a href=&quot;https://www.timebolt.io&quot; rel=&quot;nofollow noreferrer&quot;&gt;TimeBolt.io&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gS1Jh.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gS1Jh.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Disclaimer I own this tool. &lt;/p&gt;&#xA;" OwnerUserId="26527" LastActivityDate="2019-10-14T17:35:58.853" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28675" PostTypeId="1" CreationDate="2019-10-14T18:08:35.453" Score="0" ViewCount="587" Body="&lt;p&gt;I'm trying to combine image files from multiple directories into one combined time lapse using ffmpeg, but when running this code, only the first directory is used in the time lapse. How do I combine multiple glob inputs using ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -pattern_type glob -i &quot;Time\ Lapse\ 11/*.JPG&quot; \&#xA;-pattern_type glob -i &quot;Burst\ Sequence\ 5/*.JPG&quot; \&#xA;-pattern_type glob -i &quot;Burst\ Sequence\ 6/*.JPG&quot; \&#xA;-r 30 -c:v libx264 -crf 23 -preset fast -pix_fmt yuv420p tl11_combined.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I've tried using glob sequence which didn't do anything, so was wondering how to do this. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="26528" LastActivityDate="2019-10-14T18:08:35.453" Title="How do I join multiple glob inputs into a time lapse with ffmpeg?" Tags="|ffmpeg|mac|time-lapse|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="28676" PostTypeId="1" AcceptedAnswerId="28677" CreationDate="2019-10-14T19:27:57.927" Score="0" ViewCount="923" Body="&lt;p&gt;I'm debugging the command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ./input-file.mp3 -af &quot;afade=t=out:st=**5**:d=2&quot; ./output-file&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But if I try to run a new fadein, after the fadeout, it won't work. The sound doesn't come back.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ./input-file.mp3 -af &quot;afade=t=out:st=**5**:d=2,**afade=t=in:ss=**10**:d=2**&quot; ./output-file&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What's the right way to achieve this? Thank you.&lt;/p&gt;&#xA;" OwnerUserId="22297" LastActivityDate="2019-10-14T19:54:57.087" Title="Can't apply &quot;fade in&quot; after &quot;fade out&quot; (FFMPEG command line)" Tags="|ffmpeg|effects|command-line|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28677" PostTypeId="2" ParentId="28676" CreationDate="2019-10-14T19:54:57.087" Score="2" Body="&lt;p&gt;What a fade out does is fade the volume from input level to 0 and then keep it at 0 for the rest of the track. Similarly, what a fade in does is fade the volume from 0 to input level and it mutes the volume from the start of the track upto the fade in start time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you applied the fade in after the fade out, the 2nd fade filter is working with a muted track, so the fade is from 0 to 0. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you need to do is apply timeline editing to each fade filter so it operates from the start of its transition till the start of the next fade transition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ./input-file.mp3 -af &quot;afade=t=out:st=5:d=2:enable='between(t\,0\,10)',afade=t=in:st=10:d=2:enable='gte(t\,10)'&quot; ./output-file&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-10-14T19:54:57.087" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28678" PostTypeId="1" CreationDate="2019-10-14T23:36:07.450" Score="1" ViewCount="33" Body="&lt;p&gt;I have a bunch video that looks like it's flickering. The video started as Super8 (70s), was converted to VHS some years ago (90s?), and was recently converted to AVI. It looks something like this&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hover the mouse over the yellow area. Hidden because the flickering would probably drive you crazy.&lt;/p&gt;&#xA;&#xA;&lt;blockquote class=&quot;spoiler&quot;&gt;&#xA;  &lt;p&gt; &lt;a href=&quot;https://i.stack.imgur.com/tqPDO.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tqPDO.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Are there any tools or filters to fix this semi automatically. I thought about trying to write something that extracts all the frames and tries to figure out what level they should be. That sounds like a big project but it got me wondering if this is already a solved problem.&lt;/p&gt;&#xA;" OwnerUserId="17303" LastActivityDate="2019-11-10T15:15:32.743" Title="Fixing flickring old video" Tags="|video|video-quality|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28679" PostTypeId="2" ParentId="27611" CreationDate="2019-10-15T04:52:37.023" Score="1" Body="&lt;h2&gt;1. They HAVE to cheat&lt;/h2&gt;&#xA;&lt;p&gt;First of all, having a part that is not showing in the frame will consume render time to be computed, even if it is not showing. The files are heavier to handle and all the process becomes sluggish.&lt;/p&gt;&#xA;&lt;h2&gt;2. Transforming in a 3D program is given by 3 main operations&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Moving&lt;/li&gt;&#xA;&lt;li&gt;Rotating, which they are pretty obvious in a transformation.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;But you also have&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Scaling. If you have something scaled so tiny that you can not see it, the geometry is still there consuming resources of the computer that are wasted.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;3. The goal is&lt;/h2&gt;&#xA;&lt;p&gt;Telling a story, a fantasy story about fictitious characters, not to be accurate on a transformation.&lt;/p&gt;&#xA;&lt;p&gt;The other main goal is to make things look cool, somehow logic and accurate but mainly cool.&lt;/p&gt;&#xA;&lt;h2&gt;4. Autobot's universe actually has parts that &amp;quot;disappear&amp;quot;&lt;/h2&gt;&#xA;&lt;p&gt;Take for example the Spark humungous building-sized cube. It does not only compress in size to be handheld... It would have the density of Jupiter nuclei, weighing the same as a building. But somehow things there just went &amp;quot;poof&amp;quot;... So, again some liberty can be used on the transformations.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-10-15T04:52:37.023" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28680" PostTypeId="1" CreationDate="2019-10-15T11:36:03.400" Score="0" ViewCount="76" Body="&lt;p&gt;Using FFmpeg lastest version (&quot;Ada&quot;) with native code and write command in android .cpp file below it's very simple function VideogetDuration() : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#include &amp;lt;jni.h&amp;gt;&#xA;#include &amp;lt;string&amp;gt;&#xA;#include &amp;lt;iostream&amp;gt;&#xA;#include &amp;lt;android/log.h&amp;gt;&#xA;#include &amp;lt;unistd.h&amp;gt;&#xA;&#xA;extern &quot;C&quot; {&#xA;#include &amp;lt;libavutil/timestamp.h&amp;gt;&#xA;#include &amp;lt;libavformat/avformat.h&amp;gt;&#xA;#include &amp;lt;libavutil/display.h&amp;gt;&#xA;}&#xA;&#xA;    /***&#xA;     *&#xA;     * @param input - the absolute path to file&#xA;     * @returns the duration of file in seconds&#xA;     *&#xA;     */&#xA;    extern &quot;C&quot;&#xA;    JNIEXPORT jint JNICALL&#xA;    Java_com_ffmpegjni_videoprocessinglibrary_VideoProcessing_getDuration(JNIEnv *env,&#xA;                                                                          jobject instance,&#xA;                                                                          jstring input_) {&#xA;        av_register_all();&#xA;        AVFormatContext *pFormatCtx = NULL;&#xA;        if (avformat_open_input(&amp;amp;pFormatCtx, jStr2str(env, input_), NULL, NULL) &amp;lt; 0) {&#xA;            throwException(env, &quot;Could not open input file&quot;);&#xA;            return 0;&#xA;        }&#xA;&#xA;&#xA;        if (avformat_find_stream_info(pFormatCtx, NULL) &amp;lt; 0) {&#xA;            throwException(env, &quot;Failed to retrieve input stream information&quot;);&#xA;            return 0;&#xA;        }&#xA;&#xA;        int64_t duration = pFormatCtx-&amp;gt;duration;&#xA;&#xA;&#xA;        avformat_close_input(&amp;amp;pFormatCtx);&#xA;        avformat_free_context(pFormatCtx);&#xA;        return (jint) (duration / AV_TIME_BASE);&#xA;    }&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;when this value returns 0 value either the wrong value.&#xA;also i have read the below docs for more information.&lt;/strong&gt;&#xA;1)&lt;a href=&quot;http://dranger.com/ffmpeg/data.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://dranger.com/ffmpeg/data.html&lt;/a&gt;&#xA;2)&lt;a href=&quot;https://static.packt-cdn.com/downloads/Developing_Multimedia_Applications_with_NDK.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://static.packt-cdn.com/downloads/Developing_Multimedia_Applications_with_NDK.pdf&lt;/a&gt;&#xA;3)&lt;a href=&quot;https://github.com/KucherenkoIhor/VideoProcessingLibrary&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/KucherenkoIhor/VideoProcessingLibrary&lt;/a&gt; (also see this project)&#xA;4)&lt;a href=&quot;https://github.com/leandromoreira/ffmpeg-libav-tutorial#video---what-you-see&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/leandromoreira/ffmpeg-libav-tutorial#video---what-you-see&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;i have also add the same problem with below link :&lt;/strong&gt; &#xA;&lt;a href=&quot;https://stackoverflow.com/questions/6451814/how-to-use-libavcodec-ffmpeg-to-find-duration-of-video-file/58353968#58353968&quot;&gt;https://stackoverflow.com/questions/6451814/how-to-use-libavcodec-ffmpeg-to-find-duration-of-video-file/58353968#58353968&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25538" LastEditorUserId="25538" LastEditDate="2019-10-15T11:45:45.507" LastActivityDate="2019-10-15T11:45:45.507" Title="How to write command in android when I m using FFmpeg Native with C++ file?" Tags="|ffmpeg|android|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28681" PostTypeId="2" ParentId="28665" CreationDate="2019-10-15T13:02:54.103" Score="1" Body="&lt;p&gt;It looks like you're zoomed in 2400%. If you view at 100% it should look smooth. I think the &quot;blur&quot; is just anti-aliasing.&lt;/p&gt;&#xA;" OwnerUserId="26505" LastActivityDate="2019-10-15T13:02:54.103" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28682" PostTypeId="1" CreationDate="2019-10-15T13:09:52.730" Score="0" ViewCount="1541" Body="&lt;p&gt;I want to download a slow-motion video playlist (with the frame rate of the videos being either 480 fps or 1000 fps.) and be able to speed up the videos at least 16x without losing the frame rate or sample rate. So, if anyone could help me with this I would really appreciate it!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="26531" LastActivityDate="2021-11-10T00:02:35.253" Title="how can I convert slow motion video into normal speed without losing fps or audio sample rate?" Tags="|video|audio|mp4|framerate|" AnswerCount="2" CommentCount="3" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28683" PostTypeId="2" ParentId="28625" CreationDate="2019-10-15T18:29:45.853" Score="1" Body="&lt;p&gt;I presume what you call noise is caused by uneven lightning, so when your NLE removes green, you see splotches or brighter or darker green that it did not remove. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The first and foremost task is to light the green background brightly and evenly. Make a shot of your background and bring it to your editing tool and check the levels - ideally you should see a thin horizontal line. If if curves or not thin, then you need to fix the background lightning first.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Move farther from the background to avoid excessive green spill.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Set exposure so that both you and the background are well exposed.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2019-10-15T18:29:45.853" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28684" PostTypeId="2" ParentId="28667" CreationDate="2019-10-15T19:31:25.390" Score="3" Body="&lt;p&gt;First, cut the longer clip into 3, to separate the reversed part from the rest of the clip. Then bring the clip into fusion, link the input to a transform node, then to the output. The transform node can flip horizontally on the right hand side panel options for it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A shortcut to do this quicker is you can do it in the edit page also, by just selecting the clip and using the 'transform' attributes on the right hand side.&lt;/p&gt;&#xA;" OwnerUserId="26534" LastEditorUserId="26534" LastEditDate="2019-10-16T01:36:16.607" LastActivityDate="2019-10-16T01:36:16.607" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28685" PostTypeId="2" ParentId="28668" CreationDate="2019-10-15T19:50:39.920" Score="1" Body="&lt;p&gt;the easy way ? Yeah. Use a post-it note.&lt;/p&gt;&#xA;" OwnerUserId="26534" LastActivityDate="2019-10-15T19:50:39.920" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28687" PostTypeId="2" ParentId="28660" CreationDate="2019-10-16T11:16:44.003" Score="0" Body="&lt;p&gt;I've resorted to using mkisofs to create the ISO image, and this seems to fix the problem. Creating the ISO in another way (e.g. on a Mac with hdiutil, or directly burning it to disc with Finder) creates malfunctioning DVDs. Apparently there are some restrictions on the ISO format for DVDs. If these are not respected, the DVDs have incorrect chapters and might even start in the middle of the video. These restrictions are best explained in mkisofs' man page:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;-dvd-video&#xA;  Generate  DVD-Video compliant UDF file system. This is done by sorting the order of the content of the appropriate files and by&#xA;  adding padding between the files if needed.  Note that the sorting&#xA;  only works if the  DVD-Video filenames include upper case characters&#xA;  only.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="26494" LastActivityDate="2019-10-16T11:16:44.003" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28689" PostTypeId="1" CreationDate="2019-10-16T19:25:19.397" Score="0" ViewCount="40" Body="&lt;p&gt;I'm using Final Cut Pro X and I would like to delete the dependencies between the items:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8PCp7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8PCp7.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know where to &quot;unconnect&quot; the elements.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thx&lt;/p&gt;&#xA;" OwnerUserId="26548" LastActivityDate="2024-02-23T13:03:00.373" Title="remove items dependencies" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28690" PostTypeId="1" AcceptedAnswerId="28697" CreationDate="2019-10-16T19:37:55.743" Score="0" ViewCount="125" Body="&lt;p&gt;I know this question was asked before, and I've read pretty much all of them and I have no solution to this. Until recently, I could render everything just fine but when I am rendering a 2 minute 1080p video, it is taking ridiculously long (see the image for details). Last time I checked, it was showing around 8 hours or so and it keeps increasing. I've tried encoding in Adobe Media Encoder 2019, Premiere and After Effects and the result is all the same. Normally it would take me only a couple of minutes to render such short video on my system.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Ryzen 5 2600X 6 core CPU&lt;/li&gt;&#xA;&lt;li&gt;32GB 3200mhz DDR4 memory&lt;/li&gt;&#xA;&lt;li&gt;RTX 2060 GPU&lt;/li&gt;&#xA;&lt;li&gt;All of the project files are on Samsung 970 evo plus M.2 drives&lt;/li&gt;&#xA;&lt;li&gt;I've tried encoding with CUDA supported and software only encoder&lt;/li&gt;&#xA;&lt;li&gt;I've tried different presets as well as my desired export settings and it's all the same&lt;/li&gt;&#xA;&lt;li&gt;All of my drivers are up to date (including GPU).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'm about to lose my head because I have to deliver this within 3 days and now this is happening. Anyone experienced this before? Please help if you know anything about this, I'm desperate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4ekos.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4ekos.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26547" LastActivityDate="2019-11-16T19:02:40.360" Title="Encoding Problems in 2019 Premiere, AfterEffects and Media Encoder" Tags="|premiere|after-effects|encoding|adobe-media-encoder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28691" PostTypeId="2" ParentId="28665" CreationDate="2019-10-17T01:06:55.920" Score="1" Body="&lt;p&gt;Remember that After Effects is a raster (meaning a grid of pixels, as opposed to vector, and as opposed to Haile Selassie, Lion of Judah) application, like Photoshop. It can use vectors, but the output will always be a raster. So the ultimate resolution of your text depends on the resolution of your comp. So while clicking the continuous rasterisation will give you the smoothest results, the results will be limited to the pixel grid of your comp. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ny5fu.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ny5fu.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you have to design with the resolution of your finished product in mind, which sets a lower limit on the size of elements like text. Think that's bad? Try designing for standard definition interlaced video designed to be distributed on VHS. You kids don't know how good you gots it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-10-17T01:06:55.920" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28692" PostTypeId="2" ParentId="28689" CreationDate="2019-10-17T06:40:03.190" Score="0" Body="&lt;p&gt;All elements not on the main storyline must be attached to something on the main storyline. That is an essential design from FCPX. &#xA;You can move elements not on the main storyline to any position and it will link to the underneath main storyline element. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However the link point can be shifted to an extend. &#xA;Select the attached element you want the link to sift. Hold down Command-Option and click somewhere in the attached element. The link to the main storyline will change to the position you just selected. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2019-10-17T06:40:03.190" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28693" PostTypeId="1" AcceptedAnswerId="28872" CreationDate="2019-10-17T07:59:33.037" Score="1" ViewCount="91" Body="&lt;p&gt;I'm currently looking for scenes when I can compare effects of HDR. I have couple of films on BR in 2 versions - one in HDR, second in SDR. My heuristic is to look 2 kinds of scene:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;very bright scene in background, and in very first plan I can see and object - e.g. looking through window during sunny day, with a large object in very first plan&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;very dark scene with a couple of small bright points - e.g. street at night with street lights&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I think that all, but maybe you have better idea?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words, how find good scenes where HDR results are easy to detect?&lt;/p&gt;&#xA;" OwnerUserId="26522" LastEditorUserId="26522" LastEditDate="2019-10-17T08:08:22.253" LastActivityDate="2019-11-26T16:32:02.673" Title="Scenes for HDR vs SDR comparison" Tags="|hdr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28695" PostTypeId="1" CreationDate="2019-10-17T17:10:05.393" Score="0" ViewCount="398" Body="&lt;p&gt;I imported several MP4 screen recordings (using Windows Game Recording) into Premiere Pro to edit together, but I noticed all but one of the clips in the timeline have unsynced audio issues. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After investigating a little, I believe the root of the problem to be the fact that each of the videos have different audio bitrates, data rates, and total bitrates (when looking at their properties). I think that when I set a sequence's settings to match the first clip, the audio follows the bitrate of that clip and other videos have skewed timings. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kULQa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kULQa.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know a fix for this to somehow edit together files with different bitrates in a way that wont change its playback speed? &lt;/p&gt;&#xA;" OwnerUserId="26561" LastActivityDate="2023-06-29T02:08:36.003" Title="Screen recorded videos have audio sync delays in Premiere Pro" Tags="|premiere|audio|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28696" PostTypeId="2" ParentId="28695" CreationDate="2019-10-17T17:49:47.503" Score="1" Body="&lt;p&gt;Okay so I found the issue and a quick fix for the .mp4 audio sync issues. First you need to backup your video files, then change the file extension from .mp4 to .mov. This will allow you to reimport with accurate playback speed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If Premiere gives you a weird error upon importing, make sure you have QuickTime installed from Apple's website, restart, and then try again. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The fix came from &lt;a href=&quot;https://www.youtube.com/watch?v=MGq0bwDKRyc&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt;, and I hope it helps someone else!&lt;/p&gt;&#xA;" OwnerUserId="26561" LastActivityDate="2019-10-17T17:49:47.503" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28697" PostTypeId="2" ParentId="28690" CreationDate="2019-10-17T18:57:52.720" Score="1" Body="&lt;p&gt;I have had lots of weirdness with Dynamic Link recently with the latest versions of creative cloud 2019. &#xA;Sometimes it goes really slowly when you have projects that include linked AE comps in Premiere. &#xA;I would try exporting any comps from AE as proRes files, into premiere. Then exporting your videos directly in Premiere without using Media Encoder, and see if that makes it any quicker. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-10-17T18:57:52.720" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28699" PostTypeId="1" AcceptedAnswerId="28701" CreationDate="2019-10-18T06:50:31.627" Score="1" ViewCount="3651" Body="&lt;p&gt;I want to play videos with their embedded subtitles, which is possible using VLC or even my smart TV. Both recognize the subtitle and play(show) it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since ffplay is my favorite player, I want to do the same thing via ffplay, but I didn't make it. I can play external subtitles using &lt;code&gt;-vf &quot;subtitles=filename.srt&quot;&lt;/code&gt;, but no chance to play internal subtitle. It looks like not detected by ffplay, but ffprobe shows the subtitle stream information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone knows how it's done?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you guys&lt;/p&gt;&#xA;" OwnerUserId="26564" LastActivityDate="2019-10-18T19:55:10.633" Title="ffplay won't play internal(embedded) subtitle?" Tags="|ffmpeg|subtitles|.srt|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28700" PostTypeId="2" ParentId="27938" CreationDate="2019-10-18T14:12:33.263" Score="1" Body="&lt;p&gt;Without adjusting for perspective distortion, the panning doesn't look real.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The solution is a reframing algorithm that takes perspective distortions= calculations into account in addition to panning and/or scaling the shot. Here is one such solution:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://revisionfx.com/products/relens/premiere-pro/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://revisionfx.com/products/relens/premiere-pro/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3130" LastActivityDate="2019-10-18T14:12:33.263" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28701" PostTypeId="2" ParentId="28699" CreationDate="2019-10-18T19:48:38.327" Score="3" Body="&lt;p&gt;You can use &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#subtitles&quot; rel=&quot;nofollow noreferrer&quot;&gt;subtitles&lt;/a&gt; filter like your example in your question but point to the same input file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -vf subtitles=input.mkv input.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you want to choose a different subtitle stream then use the &lt;code&gt;stream_index&lt;/code&gt; option. This example will choose the third subtitle stream:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -vf subtitles=input.mkv:stream_index=2 input.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Or use &lt;code&gt;mpv&lt;/code&gt; player and press &lt;code&gt;j&lt;/code&gt; or use &lt;code&gt;--sub=1&lt;/code&gt; option.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2019-10-18T19:55:10.633" LastActivityDate="2019-10-18T19:55:10.633" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28702" PostTypeId="2" ParentId="25145" CreationDate="2019-10-19T01:03:58.640" Score="19" Body="&lt;p&gt;First, add your desired transition to your timeline, allowing it to be applied to only one of your clips for now:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/V1jaV.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/V1jaV.png&quot; alt=&quot;screenshot 1&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select the transition and open the &lt;code&gt;Effect Controls&lt;/code&gt; panel:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nPWlh.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nPWlh.png&quot; alt=&quot;effect controls screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, from the &lt;code&gt;Alignment&lt;/code&gt; dropdown, simply select the &quot;Center at Cut&quot; option:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LdSNw.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LdSNw.png&quot; alt=&quot;Screenshot 3&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The transition will now be applied to both clips!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yNmN0.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yNmN0.png&quot; alt=&quot;final screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26569" LastActivityDate="2019-10-19T01:03:58.640" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28706" PostTypeId="2" ParentId="20881" CreationDate="2019-10-19T16:12:14.353" Score="0" Body="&lt;p&gt;FYI you have to add a backslash before the comma in the select function to make it work (at least on Linux), ie:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf select='trunc(mod(t+2\,3))',setpts=N/FRAME_RATE/TB -crf 23 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Otherwise, you will get a &quot;too many arguments&quot; error.&lt;/p&gt;&#xA;" OwnerUserId="26580" LastActivityDate="2019-10-19T16:12:14.353" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28709" PostTypeId="2" ParentId="28682" CreationDate="2019-10-20T04:12:51.410" Score="0" Body="&lt;p&gt;This is a contradiction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to change the frame rate speeding up you have to change the frame rate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could try to playback a video at 16,000 fps... Why would you need to playback a video to 16,000 fps if no human or living being could notice the difference to let's say 120 fps?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You also need a monster of a computer to playback that among other technical problems.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;But then when I need it slowed down, I could use software or something to view it in slow motion&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Ok, so have two versions of it, one converted to normal speed and the original.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-10-20T04:12:51.410" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28710" PostTypeId="1" CreationDate="2019-10-20T04:17:45.417" Score="2" ViewCount="4905" Body="&lt;p&gt;I was recording a series of videos while I was recovering from a cold and didn't realize how bad my cough would come out in post production. On a quite infrequent basis a loud coughing noise pierces the audio while the person who I'm recording is talking. How can I best remove or decrease these coughs and loud noises while maintaining as much of the other sound fidelity, ideally in Premiere Pro but if not with other software. I can provide a reference cough for a software solution.&lt;/p&gt;&#xA;" OwnerUserId="6057" LastActivityDate="2023-05-01T09:16:09.040" Title="Remove coughing or sudden loud noises" Tags="|premiere|audio-quality|noise-reduction|signal-processing|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28711" PostTypeId="2" ParentId="26344" CreationDate="2019-10-20T16:21:17.017" Score="4" Body="&lt;p&gt;This works for me (I use it a lot):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i [inputfile] -r 24 -vf &quot;minterpolate=fps=96,setpts=N/(24*TB)&quot; [outputfile]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What I would do is see how well the command works on its own and then manually fix any artifacts you don't like.&lt;/p&gt;&#xA;" OwnerUserId="26591" LastEditorUserId="14523" LastEditDate="2019-10-20T16:37:54.923" LastActivityDate="2019-10-20T16:37:54.923" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28712" PostTypeId="2" ParentId="28710" CreationDate="2019-10-20T21:57:28.690" Score="1" Body="&lt;p&gt;i would attempt this by trying to find the frequency of the cough and then nuking it with EQ, turning the EQ on and off when needed via automation. You might have to dip the overall level for a moment too if its still too bad. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm guessing that in future having a second mic might help also so you can cut to that and it might get a better signal of the intended source.&lt;/p&gt;&#xA;" OwnerUserId="26534" LastActivityDate="2019-10-20T21:57:28.690" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28713" PostTypeId="2" ParentId="28710" CreationDate="2019-10-21T03:06:57.923" Score="2" Body="&lt;p&gt;If you have Audition, try using the background noise removal effect. If you capture a clip of solely the audio you want to remove, Audition will identify that frequency and remove it wherever it appears. Might need manual correction since sometimes it the reduction at those frequencies can be extreme.&lt;/p&gt;&#xA;" OwnerUserId="26594" LastActivityDate="2019-10-21T03:06:57.923" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28715" PostTypeId="2" ParentId="22059" CreationDate="2019-10-21T13:47:52.640" Score="9" Body="&lt;p&gt;Assuming your file is &lt;code&gt;${F}&lt;/code&gt;, the below is an efficient means I have been able to create:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;COLORS=$(ffprobe -show_streams -v error &quot;${F}&quot; |egrep &quot;^color_transfer|^color_space=|^color_primaries=&quot; |head -3)&#xA;for C in $COLORS; do&#xA;        if [[ &quot;$C&quot; = &quot;color_space=&quot;* ]]; then&#xA;                COLORSPACE=${C##*=}&#xA;        elif [[ &quot;$C&quot; = &quot;color_transfer=&quot;* ]]; then&#xA;                COLORTRANSFER=${C##*=}&#xA;        elif [[ &quot;$C&quot; = &quot;color_primaries=&quot;* ]]; then&#xA;                COLORPRIMARIES=${C##*=}&#xA;        fi      &#xA;done    &#xA;if [ &quot;${COLORSPACE}&quot; = &quot;bt2020nc&quot; ] &amp;amp;&amp;amp; [ &quot;${COLORTRANSFER}&quot; = &quot;smpte2084&quot; ] &amp;amp;&amp;amp; [ &quot;${COLORPRIMARIES}&quot; = &quot;bt2020&quot; ]; then &#xA;        echo ${F}&#xA;fi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I use this inside a looping function to know when to use &lt;a href=&quot;https://github.com/Fmstrat/ffmkv&quot; rel=&quot;noreferrer&quot;&gt;https://github.com/Fmstrat/ffmkv&lt;/a&gt; to create an SDR version of a video on one of the presets.&lt;/p&gt;&#xA;" OwnerUserId="26600" LastActivityDate="2019-10-21T13:47:52.640" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28716" PostTypeId="1" CreationDate="2019-10-21T19:40:48.480" Score="1" ViewCount="51" Body="&lt;p&gt;How can I get or calculate the original current composition time of a time-remapped or stretched layer?&#xA;My composition has both stretched and non stretched layers and I want to display the current playback time (relative to the composition) as it would be if non of the layers were stretched.&lt;/p&gt;&#xA;" OwnerUserId="25940" LastActivityDate="2024-03-05T15:07:35.967" Title="Calculate after effects composition un-stretched time" Tags="|after-effects|after-effects-scripting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28717" PostTypeId="1" CreationDate="2019-10-21T20:34:49.650" Score="0" ViewCount="49" Body="&lt;p&gt;Is it possible to display the current play speed (eg. X2, X3.5, etc) in a text layer above my footage? &#xA;Some of my composition layers plays at normal (X1) speed but others were time remapped or time stretched.&lt;/p&gt;&#xA;" OwnerUserId="25940" LastEditorUserId="1950" LastEditDate="2022-07-03T09:46:09.927" LastActivityDate="2024-03-24T12:04:55.583" Title="Show current play speed in after effects" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28718" PostTypeId="2" ParentId="28682" CreationDate="2019-10-21T20:45:34.803" Score="1" Body="&lt;p&gt;This is sadly not possible.&#xA;You could theoretically have a video with effectivly 500 FPS, but that won't play on any device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's why cameras generally record to a project frame rate (Normaly 24, 25 or 30 FPS) and just stretch out the video.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2019-10-21T20:45:34.803" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28719" PostTypeId="1" AcceptedAnswerId="28730" CreationDate="2019-10-21T21:38:44.383" Score="4" ViewCount="3526" Body="&lt;p&gt;I try to add .srt subtitles to the mkv file and it doesn't work.&#xA;I use the following very simple command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -y -i original.mkv -i sub_original.srt -map 0 -map 1 -c copy ~/temp.mkv&#xA;ffmpeg version n4.2 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 9.1.0 (GCC)&#xA;  configuration: --prefix=/usr --disable-debug --disable-static --disable-stripping --enable-fontconfig --enable-gmp --enable-gnutls --enable-gpl --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libdav1d --enable-libdrm --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libiec61883 --enable-libjack --enable-libmodplug --enable-libmp3lame --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libv4l2 --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxcb --enable-libxml2 --enable-libxvid --enable-nvdec --enable-nvenc --enable-omx --enable-shared --enable-version3&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, matroska,webm, from 'original.mkv':&#xA;  Metadata:&#xA;    encoder         : libebml v1.3.0 + libmatroska v1.4.1&#xA;    creation_time   : 2019-09-14T13:50:43.000000Z&#xA;  Duration: 00:58:52.45, start: 0.000000, bitrate: 8212 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 23.98 fps, 23.98 tbr, 1k tbn, 47.95 tbc (default)&#xA;    Stream #0:1(rus): Audio: ac3, 48000 Hz, 5.1(side), fltp, 448 kb/s (default)&#xA;    Metadata:&#xA;      title           : Dub&#xA;    Stream #0:2(eng): Audio: ac3, 48000 Hz, 5.1(side), fltp, 640 kb/s&#xA;    Stream #0:3(rus): Subtitle: subrip (default) (forced)&#xA;    Metadata:&#xA;      title           : Forced&#xA;    Stream #0:4(rus): Subtitle: subrip&#xA;    Stream #0:5(eng): Subtitle: subrip&#xA;    Stream #0:6(ger): Subtitle: subrip&#xA;    Stream #0:7(fre): Subtitle: subrip&#xA;    Stream #0:8(ita): Subtitle: subrip&#xA;    Stream #0:9(spa): Subtitle: subrip&#xA;    Stream #0:10(dut): Subtitle: subrip&#xA;    Stream #0:11(por): Subtitle: subrip&#xA;    Stream #0:12(tur): Subtitle: subrip&#xA;    Stream #0:13(gre): Subtitle: subrip&#xA;    Stream #0:14: Video: mjpeg (Baseline), yuvj420p(pc, bt470bg/unknown/unknown), 854x1280 [SAR 72:72 DAR 427:640], 90k tbr, 90k tbn, 90k tbc (attached pic)&#xA;    Metadata:&#xA;      filename        : Cover_Unbelievable.jpg&#xA;      mimetype        : image/jpeg&#xA;Input #1, srt, from 'sub_original.srt':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #1:0: Subtitle: subrip&#xA;Output #0, matroska, to 'temp.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf58.29.100&#xA;    Stream #0:0(eng): Video: h264 (High) (H264 / 0x34363248), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 23.98 fps, 23.98 tbr, 1k tbn, 1k tbc (default)&#xA;    Stream #0:1(rus): Audio: ac3 ([0] [0][0] / 0x2000), 48000 Hz, 5.1(side), fltp, 448 kb/s (default)&#xA;    Metadata:&#xA;      title           : Dub&#xA;    Stream #0:2(eng): Audio: ac3 ([0] [0][0] / 0x2000), 48000 Hz, 5.1(side), fltp, 640 kb/s&#xA;    Stream #0:3(rus): Subtitle: subrip (default) (forced)&#xA;    Metadata:&#xA;      title           : Forced&#xA;    Stream #0:4(rus): Subtitle: subrip&#xA;    Stream #0:5(eng): Subtitle: subrip&#xA;    Stream #0:6(ger): Subtitle: subrip&#xA;    Stream #0:7(fre): Subtitle: subrip&#xA;    Stream #0:8(ita): Subtitle: subrip&#xA;    Stream #0:9(spa): Subtitle: subrip&#xA;    Stream #0:10(dut): Subtitle: subrip&#xA;    Stream #0:11(por): Subtitle: subrip&#xA;    Stream #0:12(tur): Subtitle: subrip&#xA;    Stream #0:13(gre): Subtitle: subrip&#xA;    Stream #0:14: Video: mjpeg (Baseline) (MJPG / 0x47504A4D), yuvj420p(pc, bt470bg/unknown/unknown), 854x1280 [SAR 72:72 DAR 427:640], q=2-31, 90k tbr, 1k tbn, 90k tbc (attached pic)&#xA;    Metadata:&#xA;      filename        : Cover_Unbelievable.jpg&#xA;      mimetype        : image/jpeg&#xA;    Stream #0:15: Subtitle: subrip&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;  Stream #0:2 -&amp;gt; #0:2 (copy)&#xA;  Stream #0:3 -&amp;gt; #0:3 (copy)&#xA;  Stream #0:4 -&amp;gt; #0:4 (copy)&#xA;  Stream #0:5 -&amp;gt; #0:5 (copy)&#xA;  Stream #0:6 -&amp;gt; #0:6 (copy)&#xA;  Stream #0:7 -&amp;gt; #0:7 (copy)&#xA;  Stream #0:8 -&amp;gt; #0:8 (copy)&#xA;  Stream #0:9 -&amp;gt; #0:9 (copy)&#xA;  Stream #0:10 -&amp;gt; #0:10 (copy)&#xA;  Stream #0:11 -&amp;gt; #0:11 (copy)&#xA;  Stream #0:12 -&amp;gt; #0:12 (copy)&#xA;  Stream #0:13 -&amp;gt; #0:13 (copy)&#xA;  Stream #0:14 -&amp;gt; #0:14 (copy)&#xA;  Stream #1:0 -&amp;gt; #0:15 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[matroska @ 0x564c2717f840] Starting new cluster due to timestamp&#xA;[matroska @ 0x564c2717f840] Starting new cluster due to timestamp37 bitrate=8282.2kbits/s speed= 387x    &#xA;frame=84685 fps=9337 q=-1.0 Lq=-1.0 size= 3542743kB time=00:58:52.41 bitrate=8215.9kbits/s speed= 389x    &#xA;video:3070859kB audio:469153kB subtitle:265kB other streams:0kB global headers:0kB muxing overhead: 0.069655%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;At first glance it seems to work - if I open new file with VLC I can see new subtitle stream, but the subtitles themselves are not visible!&lt;/p&gt;&#xA;&lt;p&gt;I get the followng warnings/errors in the console:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[matroska @ 0x557924efe840] Starting new cluster due to timestamp&lt;/p&gt;&#xA;&lt;p&gt;[matroska @ 0x557924efe840] Starting new cluster due to timestamp&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So I suppose it's the root of the problem, but I don't know what to do with it. Some other videos work fine with the same command, some don't.&lt;/p&gt;&#xA;" OwnerUserId="26602" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-10-23T16:55:25.617" Title=".srt subtitles added to mkv with ffmpeg are not displayed" Tags="|ffmpeg|matroska|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="28720" PostTypeId="1" AcceptedAnswerId="28724" CreationDate="2019-10-21T22:08:37.047" Score="0" ViewCount="574" Body="&lt;p&gt;Say I add a bunch of Audio/Video clips to a sequence, then replace the video with an After Effects composition, that was currupted. Premiere was closed and re-opened. The audio is still there but the video is missing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Is there any way to restore the video to the audio clip that was deleted?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried this &lt;a href=&quot;https://video.stackexchange.com/questions/13489/adobe-premiere-restore-audio-to-a-v-clip-after-deleting&quot;&gt;solution&lt;/a&gt; for deleted audio, but it didn't work for deleted video.&lt;/p&gt;&#xA;" OwnerUserId="18100" LastActivityDate="2019-10-22T13:46:18.207" Title="Restore Video from Audio in Premiere" Tags="|video|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28721" PostTypeId="1" CreationDate="2019-10-22T08:23:28.070" Score="1" ViewCount="72" Body="&lt;p&gt;I have the following problem: 2 video clips with two audio clips. I try to synchronize them with the option &quot;show audio units&quot; to make them perfectly alligned. The problem is, when I select both video and audio, the audio than jumps back to the next frame rate. I lose the exact setting I did when synchronising the files. I did a video to show the problem. Any help would be appreciated. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ijiIlcvrSNw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="26608" LastActivityDate="2024-03-30T10:05:00.583" Title="audio jumps to next frame rate - premiere pro" Tags="|premiere|audio|pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28722" PostTypeId="2" ParentId="28721" CreationDate="2019-10-22T11:34:10.293" Score="0" Body="&lt;p&gt;I think you should try aligning only the audio when you do this.  The video tracks have to be aligned to the nearest frame, because video is either showing frame 1 or frame 2 (assuming your sequence frame rate is the same as your footage frame rate).&lt;/p&gt;&#xA;&lt;p&gt;Audio is sampled at a much higher rate than video.  e.g. your video could be 25 frames per second, but your audio could often be 48kHz, so sampled 48,000 times per second.&lt;/p&gt;&#xA;&lt;p&gt;Your ears can detect very small variations in delay between audio files (of a few milliseconds), and your ear/brain/eye combo can detect very small discrepancies between audio and video lip sync (22ms according to &lt;a href=&quot;https://en.wikipedia.org/wiki/Audio-to-video_synchronization#Recommendations&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-07-09T06:13:43.093" LastActivityDate="2022-07-09T06:13:43.093" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28723" PostTypeId="1" CreationDate="2019-10-22T12:22:54.023" Score="0" ViewCount="209" Body="&lt;p&gt;i would like to attempt doing a video of me playing a song (with several instruments).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So i want to create multiple videos... each with with a instrument (like people usually do)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;so if i have 4 different instruments playing together i will have 4 videos which then will be fit on 1 video at same time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering what's the easiest way to achieve this.&#xA;Which software do you advice? (free and paid)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;my experience on this is just doing something here and there with youtube and windows media editor software (which i cant remember the name)&lt;/p&gt;&#xA;" OwnerUserId="26609" LastActivityDate="2022-03-11T00:08:30.770" Title="Easiest way to create video with multiple videos on loop" Tags="|clipping|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28724" PostTypeId="2" ParentId="28720" CreationDate="2019-10-22T13:46:18.207" Score="1" Body="&lt;p&gt;If the audio track was from a video clip in premiere, and was not replaced by the after effects comp, it should still be present in your project, and you should just be able to use the &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/playing-assets.html#match_a_frame_with_its_source&quot; rel=&quot;nofollow noreferrer&quot;&gt;Match Frame&lt;/a&gt; command to find and resync the video to your audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even with thirty clips, it shouldn't take that long if you use keyboard shortcuts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something like:  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select the first piece of audio in your timeline.&#xA;Set your in point on your timeline &quot;i&quot;&#xA;Press &quot;f&quot; to match frame&#xA;Press &quot;.&quot; to replace the video at the correct point&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(and repeat)&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-10-22T13:46:18.207" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28726" PostTypeId="2" ParentId="28710" CreationDate="2019-10-22T19:49:29.083" Score="1" Body="&lt;p&gt;I think the easiest way is with the Spectral Frequency Display. Sounds like coughs, air conditioners and so on appear as blobs or lines that you can either erase or reduce in volume. Much more effective than EQ, since you can target all the frequencies and the exact timespan. From Adobe:&#xA;&quot;The spectral display is perfect for removing unwanted sounds, such as coughs and other artifacts.&quot;&#xA;&lt;a href=&quot;https://helpx.adobe.com/audition/using/displaying-audio-waveform-editor.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/audition/using/displaying-audio-waveform-editor.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10482" LastActivityDate="2019-10-22T19:49:29.083" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28727" PostTypeId="1" CreationDate="2019-10-22T20:07:43.257" Score="-1" ViewCount="23" Body="&lt;p&gt;I am a total beginner to video. I don't even know what kind of camera I'll be using. (I'll have to borrow one.) I am just looking for an overview of what the general process will look like. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an audio track of a song I wrote. I want to make a 'music video' of myself turning over pages on which the lyrics are handwritten. So as the song plays, you would see me flipping over the pages. But I'd like to include 'cut-ins' from different video files. For example, at one point the song talks about walking, and I'd like to create an effect of footsteps appearing on the page in real time. So each 'frame' would have a new footstep. Hopefully that makes sense. Along with a few more 'cut' effects of that kind, which it seems to me would require splicing together different bits of video and getting the timing right. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my specific questions are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) What's the best software to use for a project like this? Preferably free and able to operate on a Windows 10 laptop. I have Adobe Premiere Elements. The learning curve seems high, but so be it.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) What's the general procedure for making sure that my audio and my video sync up correctly? I will be working with an existing file, so obviously I can't sync by creating the audio and the video simultaneously. I have to sync them after the fact. Is there a tried-and-true method for making this happen in my situation?  &lt;/p&gt;&#xA;" OwnerUserId="26610" LastActivityDate="2019-10-28T06:35:05.530" Title="Absolute Beginner Looking to Produce a Primitive Music Video" Tags="|sync|music|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28728" PostTypeId="2" ParentId="28723" CreationDate="2019-10-22T20:36:08.237" Score="1" Body="&lt;p&gt;You need a stage with an area for each instrument, and video yourself standing in that area while playing that instrument, then overlay each instrumental track onto a master track. It's a type of clipping, selecting portions of the video by reducing the frame width keeping the height, and glueing/synchronising them side by side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Many of the newer Video editing software can do this. (Even some of the free ones)  It boils down to lighting and timing, to be the same for each instrument you play or the effect is spoilt.&lt;/p&gt;&#xA;" OwnerUserId="26611" LastActivityDate="2019-10-22T20:36:08.237" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28730" PostTypeId="2" ParentId="28719" CreationDate="2019-10-23T16:55:25.617" Score="6" Body="&lt;p&gt;Possibly &lt;a href=&quot;https://trac.ffmpeg.org/ticket/6037&quot; rel=&quot;noreferrer&quot;&gt;#6037 mkv muxing broken&lt;/a&gt; and &lt;a href=&quot;https://trac.ffmpeg.org/ticket/7064&quot; rel=&quot;noreferrer&quot;&gt;#7064 External subtitle files cause wrong interleaving&lt;/a&gt;. Workaround may be to try &lt;code&gt;-max_interleave_delta&lt;/code&gt;. Experiment to see which values work for you.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-10-23T16:55:25.617" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28731" PostTypeId="1" CreationDate="2019-10-23T21:10:33.627" Score="0" ViewCount="203" Body="&lt;p&gt;I am trying to export a video with a low bitrate. Regardless of what I set as the target bitrate, the video always is exported with the highest possible bitrate. This occurs whether I use VBR or CBR.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The option to set a Maximum Bitrate is not present. Why?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CjDDX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CjDDX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26618" LastEditorUserId="23465" LastEditDate="2019-10-28T06:24:53.130" LastActivityDate="2019-10-28T06:24:53.130" Title="No Maximum Bitrate H264 codec" Tags="|premiere|encoding|h.264|bitrate|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28732" PostTypeId="2" ParentId="2634" CreationDate="2019-10-24T18:41:55.157" Score="0" Body="&lt;p&gt;To set the baseline profile us the following ffmpeg options. Mobile apps like Neighboors by Ring use baseline profile.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i in_video.mp4 -vcodec libx264 -acodec aac -b:a 256k -vf scale=1280:720 -profile:v baseline out_video.mp4&lt;/p&gt;&#xA;" OwnerUserId="26623" LastActivityDate="2019-10-24T18:41:55.157" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28733" PostTypeId="1" AcceptedAnswerId="28736" CreationDate="2019-10-24T22:29:28.383" Score="1" ViewCount="5856" Body="&lt;p&gt;I'm not an expert at ffmpeg, or video tech by any means. I have very little experience with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an IP camera that produces an h264 stream. I'm trying to use ffmpeg, and nginx (with the rtmp module) to restream the live camera feed to multiple clients. I am NOT trying to re-encode anything. The less CPU-intensive that my ffmpeg command is, the better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I use an older version of ffmpeg (version 4.1.4), it supports 2 ways of copying the video and audio feeds from the source stream without re-encoding them: &lt;code&gt;-c:av copy&lt;/code&gt; and &lt;code&gt;-vcodec copy -acodec copy&lt;/code&gt;. From what I understand, these are supposed to act exactly the same, but that doesn't appear to be the case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;-c:av copy&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# ffmpeg -err_detect ignore_err -rtsp_transport tcp -re -i rtsp://USERNAME:PASSWORD@IP/Streaming/Channels/701/httpPreview -c:av copy -f flv rtmp://127.0.0.1/stream/stream1&#xA;ffmpeg version 4.1.4-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc-6 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gmp --enable-libgme --enable-gray --enable-libaom --enable-libfribidi --enable-libass --enable-libvmaf --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzvbi --enable-libzimg&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;Input #0, rtsp, from 'rtsp://USERNAME:PASSWORD@IP/Streaming/Channels/701/httpPreview':&#xA;  Metadata:&#xA;    title           : Media Server V3.4.92&#xA;    comment         : Media Server Session Description : standard&#xA;  Duration: N/A, start: 0.500000, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (Main), yuvj420p(pc, bt709, progressive), 2688x1520 [SAR 1:1 DAR 168:95], 20 fps, 20 tbr, 90k tbn, 40 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; flv1 (flv))&#xA;Press [q] to stop, [?] for help&#xA;[swscaler @ 0x5f72cc0] deprecated pixel format used, make sure you did set range correctly&#xA;Output #0, flv, to 'rtmp://127.0.0.1/stream/stream1':&#xA;  Metadata:&#xA;    title           : Media Server V3.4.92&#xA;    comment         : Media Server Session Description : standard&#xA;    encoder         : Lavf58.20.100&#xA;    Stream #0:0: Video: flv1 (flv) ([2][0][0][0] / 0x0002), yuv420p, 2688x1520 [SAR 1:1 DAR 168:95], q=2-31, 200 kb/s, 20 fps, 1k tbn, 20 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.35.100 flv&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/200000 buffer size: 0 vbv_delay: -1&#xA;[flv @ 0x5f55780] Failed to update header with correct duration.ate=2762.3kbits/s dup=0 drop=5 speed=0.956x    &#xA;[flv @ 0x5f55780] Failed to update header with correct filesize.&#xA;frame=   85 fps= 19 q=24.8 Lsize=    1495kB time=00:00:04.20 bitrate=2916.0kbits/s dup=0 drop=5 speed=0.943x    &#xA;video:1494kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.108328%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;resulting video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kBLSQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kBLSQ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;-vcodec copy -acodec copy&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# ffmpeg -err_detect ignore_err -rtsp_transport tcp -re -i rtsp://USERNAME:PASSWORD@IP/Streaming/Channels/701/httpPreview -acodec copy -vcodec copy -f flv rtmp://127.0.0.1/stream/stream1&#xA;ffmpeg version 4.1.4-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc-6 --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gmp --enable-libgme --enable-gray --enable-libaom --enable-libfribidi --enable-libass --enable-libvmaf --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzvbi --enable-libzimg&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;Input #0, rtsp, from 'rtsp://USERNAME:PASSWORD@IP/Streaming/Channels/701/httpPreview':&#xA;  Metadata:&#xA;    title           : Media Server V3.4.92&#xA;    comment         : Media Server Session Description : standard&#xA;  Duration: N/A, start: 0.350000, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (Main), yuvj420p(pc, bt709, progressive), 2688x1520 [SAR 1:1 DAR 168:95], 20 fps, 20 tbr, 90k tbn, 40 tbc&#xA;Output #0, flv, to 'rtmp://127.0.0.1/stream/stream1':&#xA;  Metadata:&#xA;    title           : Media Server V3.4.92&#xA;    comment         : Media Server Session Description : standard&#xA;    encoder         : Lavf58.20.100&#xA;    Stream #0:0: Video: h264 (Main) ([7][0][0][0] / 0x0007), yuvj420p(pc, bt709, progressive), 2688x1520 [SAR 1:1 DAR 168:95], q=2-31, 20 fps, 20 tbr, 1k tbn, 90k tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[flv @ 0x6670a40] Failed to update header with correct duration.ate=3111.6kbits/s speed=1.03x    &#xA;[flv @ 0x6670a40] Failed to update header with correct filesize.&#xA;frame=   38 fps= 25 q=-1.0 Lsize=     589kB time=00:00:01.55 bitrate=3111.7kbits/s speed=1.01x    &#xA;video:588kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.192649%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;resulting video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/THFxZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/THFxZ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you can clearly see, the output of &lt;code&gt;-vcodec copy -acodec copy&lt;/code&gt; is clearly far less pixelated. While that sounds like a good thing, it seems like FFMPEG does more work to process the image, which may explain why when nginx re-streams the feed, and I try to connect to it with VLC, the &lt;code&gt;-c:av copy&lt;/code&gt; feed (worse quality) works almost every time, whereas the &lt;code&gt;-vcodec copy -acodec copy&lt;/code&gt; feed sometimes has VLC throw an error that it can't connect, and other times connects, but just shows a video that's all black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem with sticking with &lt;code&gt;-c:av copy&lt;/code&gt; is that when I use a more-recent version of ffmpeg (like the 4.2.1 static build from here: &lt;a href=&quot;https://johnvansickle.com/ffmpeg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://johnvansickle.com/ffmpeg/&lt;/a&gt;), they don't even have the &lt;code&gt;-c:av copy&lt;/code&gt; arg anymore, so my only option is to use &lt;code&gt;-vcodec copy -acodec copy&lt;/code&gt;, and I experience the same problems with VLC. This means right now, I can only use the old FFMPEG version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I doing something wrong? I want ffmpeg to do as little processing as possible - I just want it to copy the video stream to an flv container as-is, and publish it to nginx. I don't care if this results in a bit of pixelation - the quality isn't a massive deal for me.&lt;/p&gt;&#xA;" OwnerUserId="26624" LastEditorUserId="26624" LastEditDate="2019-10-24T22:37:06.543" LastActivityDate="2022-11-04T19:08:32.827" Title="How can I restream a live camera feed with FFMPEG while using the least resources possible?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28734" PostTypeId="1" CreationDate="2019-10-24T22:41:29.533" Score="2" ViewCount="417" Body="&lt;p&gt;I have a MXF file with 6 mono channel (part of a 5.1 mix), How can I create a new mxf increasing the volume of the third (center) channel without reencoding video and the other audio channels? &lt;/p&gt;&#xA;" OwnerUserId="26625" LastActivityDate="2020-11-18T07:04:30.410" Title="Increase Volume of a specific mxf channel with ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28735" PostTypeId="2" ParentId="28734" CreationDate="2019-10-25T04:47:00.957" Score="1" Body="&lt;p&gt;The command template would be,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mxf -map 0 -c copy -filter:a:2 volume=2 -c:a:2 pcm_s16le out.mxf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-10-25T04:47:00.957" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28736" PostTypeId="2" ParentId="28733" CreationDate="2019-10-25T05:52:13.597" Score="2" Body="&lt;p&gt;&lt;code&gt;-c:av copy&lt;/code&gt; is not valid syntax and re-encodes the video. Only the first specifier &lt;code&gt;a&lt;/code&gt; is honoured.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can see this in the stream mapping&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For &lt;code&gt;-c:av copy&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; flv1 (flv))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For &lt;code&gt;-vcodec copy -acodec copy&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Before version 4.2, syntax matching for this wasn't strict so ffmpeg did not abort the command, or warn.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;As to your main issue, the camera is producing a &lt;code&gt;2688x1520&lt;/code&gt; resolution H.264 stream with an unknown (to me) keyframe interval. The former part means the decoder has to support at least AVC Level 5 - your target player may not. If the keyframe interval is large enough then the player will fail to decode the stream till it receives a KF.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To keep CPU low, your best bet is to tweak the camera output - a) a low keyframe interval (&amp;lt; 4 seconds), b) smaller frame size (smaller the better, but at most 1920x1080).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If those can't be done, you'll have to re-encode. Your &lt;code&gt;-c:av copy&lt;/code&gt; command is using the old flv encoder, which is an older generation codec. I suggest using x264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-vf scale=1920:1080:force_original_aspect_ratio=decrease -c:v libx264 -profile:v main -preset superfast&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I inserted a scaler to keep the output frame size to under 1920x1080.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-10-25T05:52:13.597" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28738" PostTypeId="1" CreationDate="2019-10-25T09:01:03.383" Score="0" ViewCount="216" Body="&lt;p&gt;I would like to record footage at high resolution for one hour without interruption. I have a DSLR camera that, with 1080 pixels of vertical resolution and 50 frames per second, stops recording at 10 minutes and I have to press the record button again. Another hand-held camera can record for an hour but breaks it into chunks that, when concatenated, skip a fraction of a second.&#xA;I understand that this time limitation is &lt;a href=&quot;https://www.tested.com/tech/photography/44445-why-digital-cameras-have-a-30-minute-video-recording-limit/&quot; rel=&quot;nofollow noreferrer&quot;&gt;because DSLR cameras use the &lt;code&gt;FAT32&lt;/code&gt;&#xA;standard&lt;/a&gt;&#xA;for reading and writing files from disks, and &lt;code&gt;FAT32&lt;/code&gt; has a limitation of 4 GB:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The maximum possible size for a file on a FAT32 volume is 4 GiB minus 1 byte&#xA;  or 4,294,967,295 (2^32 − 1) bytes. This limit is a consequence of the file length entry in the directory table&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Does another filesystem allow recordings without interruption for longer than 4 GiB or 10 minutes? And did cameras adopt such a filesystem?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: @Michael Liebman's suggested this &lt;a href=&quot;https://www.quora.com/Is-there-any-compact-cameras-with-no-video-length-limit&quot; rel=&quot;nofollow noreferrer&quot;&gt;Quora link&lt;/a&gt; that mentions &quot;file chaining&quot;. I could solve the problem if the split files from a camera could be seamlessly joined and produce the same output as if I had been recording continuously. Does a format or camera standard allow this seamless juxtaposition?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Second update&lt;/strong&gt;: I understand from the comments and questions that the file size limitation serves for DSLR's to avoid the EU's 5.6% import duty on cam-corders. One Sony camcorder can record continuously in AVCHD format but chops the clip into multiple files with around half a second missed in between files. Can another filesystem or video format record for camcorders footage for one hour without interruption?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastEditorUserId="25024" LastEditDate="2019-11-04T11:55:02.670" LastActivityDate="2022-09-03T22:33:18.790" Title="Filesystem that records longer than 4 GiB, or one hour without interruption" Tags="|camera|dslr|camcorder|footage|" AnswerCount="3" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="28739" PostTypeId="1" CreationDate="2019-10-25T14:26:12.353" Score="1" ViewCount="2039" Body="&lt;p&gt;Here's how I'm using &lt;code&gt;ffmpeg&lt;/code&gt; to hardcode the subtitles:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i tmp/input.mp4 -vf &quot;subtitles=tmp/input.mp4:force_style='OutlineColour=&amp;amp;H80000000,BorderStyle=3,Outline=1,Shadow=0,MarginV=20,Fontname=Liberation Mono'&quot; -avoid_negative_ts make_zero tmp/output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;which works fine if the subtitle is plain text but if it has &lt;code&gt;html&lt;/code&gt; tags in it, then it reverts back to using system's default font. &lt;code&gt;&amp;lt;i&amp;gt; hello &amp;lt;/i&amp;gt;&lt;/code&gt; for example causes problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried cleaning up html tags and then using &lt;code&gt;-vf &quot;subtitles=cleanedsubs.srt:...&quot;&lt;/code&gt; but it doesn't work even on plain texts. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I force same font even on italic / bold / any other forms?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Extra info&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Running:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i tmp/input.mp4 -filter_complex &quot;subtitles=tmp/input.mp4:force_style='fontname=Liberation Mono'&quot; -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Shows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_subtitles_0 @ 0x55ad579abd00] Using font provider fontconfig&#xA;Stream mapping:&#xA;  Stream #0:1 (h264) -&amp;gt; subtitles (graph 0)&#xA;  subtitles (graph 0) -&amp;gt; Stream #0:0 (wrapped_avframe)&#xA;  Stream #0:0 -&amp;gt; #0:1 (aac (native) -&amp;gt; pcm_s16le (native))&#xA;Press [q] to stop, [?] for help&#xA;[Parsed_subtitles_0 @ 0x55ad579aa3c0] Shaper: FriBidi 0.19.7 (SIMPLE) HarfBuzz-ng 1.7.2 (COMPLEX)&#xA;[Parsed_subtitles_0 @ 0x55ad579aa3c0] Using font provider fontconfig&#xA;[Parsed_subtitles_0 @ 0x55ad579aa3c0] fontselect: (Liberation Mono, 400, 0) -&amp;gt; /usr/share/fonts/truetype/liberation/LiberationMono-Regular.ttf, 0, LiberationMono&#xA;[Parsed_subtitles_0 @ 0x55ad579aa3c0] fontselect: (Liberation Mono, 400, 100) -&amp;gt; /usr/share/fonts/truetype/liberation/LiberationMono-Italic.ttf, 0, LiberationMono-Italic&#xA;[Parsed_subtitles_0 @ 0x55ad579aa3c0] fontselect: (Serif, 400, 100) -&amp;gt; /usr/share/fonts/truetype/dejavu/DejaVuSerif-Italic.ttf, 0, DejaVuSerif-Italic&#xA;                                                    ↑                                  &#xA;                                                 problem                                            &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26632" LastEditorUserId="26632" LastEditDate="2019-10-26T07:32:09.787" LastActivityDate="2024-03-06T06:06:25.817" Title="FFmpeg hardcoded subtitles revert to default font if subtitle is html" Tags="|ffmpeg|" AnswerCount="1" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="28740" PostTypeId="2" ParentId="28738" CreationDate="2019-10-25T19:02:52.823" Score="1" Body="&lt;p&gt;In my experience, that's a indicator of the line between consumer, pro-sumer and professional cameras. At a previous workplace, it was problematic enough to justify investing in a better camera for the situation that could handle longer video lengths. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, standard FPS for video are 24 or 30 fps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might be able to save some time on the card by recording at 24 fps, but not enough to record for an hour by my calculations. &lt;/p&gt;&#xA;" OwnerUserId="23465" LastEditorUserId="23465" LastEditDate="2019-11-01T16:30:33.290" LastActivityDate="2019-11-01T16:30:33.290" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28741" PostTypeId="1" CreationDate="2019-10-26T16:05:24.400" Score="0" ViewCount="19" Body="&lt;p&gt;I am currently working on a screen-sharing solution for an embedded system. Basically, I need to be able to see on my PC screen what happens on the device's display. I already have a solution that produces raw H264 frames which I can send over to the PC for presentation. I have experimented with the raw h264 stream format, but it does not allow me to detect the end of frame until the header for the next frame arrives. Since I only send frames in case anything is updated on the screen, there can be a substantial delay between separate frames. This means that the user will most likely see the one-before-last frame instead of the latest for an extended period of time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought about using simple size prefix before each H264 frame, but such stream will be non-standard. For debugging ease (and user convenience) I would like to send stream that would be directly playable in major video player software (mplayer, vlc, etc.). Is there a simplistic but well-known video container format that is supported by major video players? It needs to be able to contain just a single H264 video stream (no audio or any other data, no further video streams). Ideally, I would like it to be simple enough to be able to implement the muxer myself without too much bother, as additional dependencies like ffmpeg are most unwelcome in the project.&lt;/p&gt;&#xA;" OwnerUserId="26640" LastActivityDate="2019-10-26T16:05:24.400" Title="A simplistic video streaming container format" Tags="|streaming|formats|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28742" PostTypeId="1" AcceptedAnswerId="28752" CreationDate="2019-10-26T20:23:26.770" Score="0" ViewCount="175" Body="&lt;p&gt;I'm using these parameters to encode multiple PNGs into a MP4 file using &lt;code&gt;FFmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vsync 2 -safe 0 -f concat -i &quot;.\concat.txt&quot; -c:v libx264 &#xA;-pix_fmt yuv420p -vf &quot;pad=width=2044:height=1152:x=0:y=0:color=black&quot; -y &quot;.\Test.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But it's creating a video in which some players are not capable of displaying the correct contrast level. What's happening? I'm probably doing something wrong.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Windows Media Player and MP-HC are not displaying with the correct contrast level, but the Movies and TV is able to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xYJUp.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xYJUp.jpg&quot; alt=&quot;Image&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the MediaInfo of the video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                  : .\Color.mp4&#xA;Format                         : MPEG-4&#xA;Format profile                 : Base Media&#xA;Codec ID                       : isom (isom/iso2/avc1/mp41)&#xA;File size                      : 550 KiB&#xA;Duration                       : 6 s 560 ms&#xA;Overall bit rate               : 687 kb/s&#xA;Writing application            : Lavf58.29.100&#xA;&#xA;Video&#xA;ID                             : 1&#xA;Format                         : AVC&#xA;Format/Info                    : Advanced Video Codec&#xA;Format profile                 : High@L5&#xA;Format settings, CABAC         : Yes&#xA;Format settings, RefFrames     : 4 frames&#xA;Codec ID                       : avc1&#xA;Codec ID/Info                  : Advanced Video Coding&#xA;Duration                       : 6 s 560 ms&#xA;Bit rate                       : 684 kb/s&#xA;Width                          : 2 044 pixels&#xA;Height                         : 1 152 pixels&#xA;Display aspect ratio           : 16:9&#xA;Frame rate mode                : Variable&#xA;Frame rate                     : 15.244 FPS&#xA;Minimum frame rate             : 12.500 FPS&#xA;Maximum frame rate             : 25.000 FPS&#xA;Color space                    : YUV&#xA;Chroma subsampling             : 4:2:0&#xA;Bit depth                      : 8 bits&#xA;Scan type                      : Progressive&#xA;Bits/(Pixel*Frame)             : 0.019&#xA;Stream size                    : 548 KiB (100%)&#xA;Writing library                : x264 core 158 r2984 3759fcb&#xA;Encoding settings              : cabac=1 / ref=3 / deblock=1:0:0 / analyse=0x3:0x113 / me=hex / subme=7 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=1 / me_range=16 / chroma_me=1 / trellis=1 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-2 / threads=18 / lookahead_threads=3 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=2 / b_adapt=1 / b_bias=0 / direct=1 / weightb=1 / open_gop=0 / weightp=2 / keyint=250 / keyint_min=25 / scenecut=40 / intra_refresh=0 / rc_lookahead=40 / rc=crf / mbtree=1 / crf=23.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / ip_ratio=1.40 / aq=1:1.00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And here is the MediaInfo of the PNG:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Format                         : PNG&#xA;Format/Info                    : Portable Network Graphic&#xA;File size                      : 1.35 MiB&#xA;&#xA;Image&#xA;Format                         : PNG&#xA;Format/Info                    : Portable Network Graphic&#xA;Format_Compression             : LZ77&#xA;Width                          : 2 043 pixels&#xA;Height                         : 1 152 pixels&#xA;Bit depth                      : 24 bits&#xA;Compression mode               : Lossless&#xA;Stream size                    : 1.35 MiB (100%)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm using this version of &lt;code&gt;FFmpeg&lt;/code&gt; (nightly build, but I also tested with 4.2.1):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version git-2019-10-25-b78227e Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 9.2.1 (GCC) 20191010&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 &#xA;       --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass &#xA;       --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame &#xA;       --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg &#xA;       --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr &#xA;       --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack &#xA;       --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg &#xA;       --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis &#xA;       --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid &#xA;       --enable-libaom --enable-libmfx --enable-ffnvcodec --enable-cuvid --enable-d3d11va &#xA;       --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt &#xA;       --enable-amf&#xA;      libavutil      56. 35.100 / 56. 35.100&#xA;      libavcodec     58. 59.100 / 58. 59.100&#xA;      libavformat    58. 33.100 / 58. 33.100&#xA;      libavdevice    58.  9.100 / 58.  9.100&#xA;      libavfilter     7. 59.100 /  7. 59.100&#xA;      libswscale      5.  6.100 /  5.  6.100&#xA;      libswresample   3.  6.100 /  3.  6.100&#xA;      libpostproc    55.  6.100 / 55.  6.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;EDIT&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;So, after disabling the Contrast Enhancement in &lt;strong&gt;Intel UHD Graphics Control Panel&lt;/strong&gt;, the video plays normally in &lt;strong&gt;Media Player - Home Cinema&lt;/strong&gt; and in &lt;strong&gt;Windows Media Player&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XJQp2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XJQp2.jpg&quot; alt=&quot;After fixing&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, why was the &lt;strong&gt;Movies and TV&lt;/strong&gt; app not affected by this option? Was it because it was running with the discrete GPU instead? Or maybe it was not using the standard video codec?&lt;/p&gt;&#xA;" OwnerUserId="26642" LastEditorUserId="26642" LastEditDate="2019-10-28T14:17:36.907" LastActivityDate="2019-10-28T14:17:36.907" Title="Video created with FFmpeg has a strange contrast level while playing in some video players" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28744" PostTypeId="1" CreationDate="2019-10-27T11:08:35.717" Score="1" ViewCount="217" Body="&lt;p&gt;I am doing a video recording for a powerpoint presentation, and sometimes I have some seconds of (idleness) during the recording (where there is no change in the presentation nor speaking audio). For user experience reasons, I prefer to remove all such parts that are longer than 1 second (to keep the video engaging).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am currently doing this in a manual way, but it is an extremely time-consuming process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was thinking if there is a way to automatically (using a tool or a filter or so) remove such parts in the video.&lt;/p&gt;&#xA;" OwnerUserId="26644" LastEditorUserId="26644" LastEditDate="2019-10-27T19:42:53.330" LastActivityDate="2021-09-22T09:56:17.473" Title="Remove deadair periods in video" Tags="|video-recording|filter|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28746" PostTypeId="2" ParentId="28727" CreationDate="2019-10-28T06:35:05.530" Score="0" Body="&lt;p&gt;This site does expect users to do a bit of effort before asking questions that have already been answered many times — the ol' &quot;what's the best free software?&quot; question has been asked so many times the paint's wearing off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the second part, in any editor you have the ability to edit audio and video separately, so for a music video you lay down the music on one of the audio tracks, then cut your pictures so they work with the audio. You can move the pictures around independently of the audio and vice versa.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there's video that needs to synch precisely, say if you're playing or singing and you want it to match the music, most NLEs (Non Linear Editors) have the ability to automatically synch two clips based on their audio.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-10-28T06:35:05.530" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28747" PostTypeId="2" ParentId="28717" CreationDate="2019-10-28T06:46:57.417" Score="0" Body="&lt;p&gt;You can do it with expressions on the time remapped layers: create an empty text layer &lt;kbd&gt;ctrl/cmd&lt;/kbd&gt;&lt;kbd&gt;alt/opt&lt;/kbd&gt;&lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;t&lt;/kbd&gt;. Alt-click the &lt;strong&gt;Source Text&lt;/strong&gt; stopwatch, and use an expression like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var s = thisComp.layer(&quot;some layer&quot;).timeRemap.speed;&#xA;&quot;X&quot; + Math.round(s * 10)/10 //limits the result to one decimal place&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The time-stretched layers are more tricky. The stretch property isn't accessible to expressions, but what you can do is use the sourceTime() function. This gets the time of the source footage. If your layers start at the beginning of the source then this expression would work:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var s = thisComp.layer(&quot;some layer&quot;).sourceTime()/time;&#xA;&quot;X&quot; + Math.round(s * 10)/10 //limits the result to one decimal place&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;if the layer source doesn't start at the beginning of the comp then you'd have to do some extra maths, like subtracting the in-point, or to make it easier you could pre-comp the source layer with the text overlay and make sure the precomp has the source footage starting at the beginning of the comp.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-10-28T06:52:21.540" LastActivityDate="2019-10-28T06:52:21.540" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28748" PostTypeId="2" ParentId="28716" CreationDate="2019-10-28T06:56:32.290" Score="0" Body="&lt;p&gt;The source time of a layer is found with the expression&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&quot;some layer&quot;).sourceTime()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;More about it can be found by &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/expression-language-reference.html#layer_sub_objects_attributes_and_methods_expression_reference&quot; rel=&quot;nofollow noreferrer&quot;&gt;reading the manual&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-10-28T06:56:32.290" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28749" PostTypeId="1" CreationDate="2019-10-28T07:02:15.967" Score="0" ViewCount="51" Body="&lt;p&gt;In Premiere I am working on an hour long project with around 500 cuts from 3 cameras.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since there is heavy grading and noise corrections to do, when I get this kind of footage my first export is only color, then I reimport the clip and do all the noise corrections.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This kind of workflow saves several hours on export and I have tried it many times so I do not plan to change it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Question: Is there a way to make all the cuts on imported clip like they are on timeline ?&lt;/p&gt;&#xA;" OwnerUserId="10560" LastActivityDate="2024-04-05T14:02:35.450" Title="Reimport exported file and make all the cuts same" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28750" PostTypeId="2" ParentId="28641" CreationDate="2019-10-28T07:08:43.853" Score="1" Body="&lt;p&gt;Have you read Adobe's &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/system-requirements/2019.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;system requirements for Premiere Pro&lt;/a&gt;? I think you'll find that a GPU is absolutely crucial for Premiere renders. Looking at your specs you seem to have got everything fairly well specced up except for the &lt;em&gt;one thing&lt;/em&gt; that will massively decrease your render times for PP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TL;DR: get the best GPU you can afford.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-10-28T07:08:43.853" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28752" PostTypeId="2" ParentId="28742" CreationDate="2019-10-28T12:34:31.163" Score="2" Body="&lt;p&gt;Are you, by any chance, using an Intel Graphics card? If so, try opening  Intel Graphics Properties and try setting &lt;strong&gt;Input Range&lt;/strong&gt; and &lt;strong&gt;Standard Color Correction&lt;/strong&gt; to &lt;em&gt;Application settings&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2019-10-28T12:34:31.163" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28753" PostTypeId="2" ParentId="28749" CreationDate="2019-10-28T12:41:16.747" Score="0" Body="&lt;p&gt;It could be done automatically with scripting, but scripting premiere is undocumented and requires a bit of experience. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A workaround is to use the keyboard shortcuts. If you put the reimported clip on a new track in the original timeline you can use the &lt;kbd&gt;↓&lt;/kbd&gt; key to jump to the next cut, then hit &lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;ctrl/⌘&lt;/kbd&gt;&lt;kbd&gt;k&lt;/kbd&gt; to add an edit at the playhead across all tracks. Rinse, repeat. You could even map the add edit command to a single key to make it easier, e.g. &lt;kbd&gt;x&lt;/kbd&gt;. Then its just a matter of hitting &lt;kbd&gt;↓&lt;/kbd&gt;then &lt;kbd&gt;x&lt;/kbd&gt; 500 hundred times. Something like &lt;a href=&quot;https://www.autohotkey.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Autohotkey&lt;/a&gt; (there's probably an equivalent for those still stuck with a Mac) can automate that process to make it even easier.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you could use a less insane workflow. Oops did I say that out loud?&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-10-28T12:41:16.747" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28754" PostTypeId="2" ParentId="28739" CreationDate="2019-10-28T19:05:21.497" Score="0" Body="&lt;p&gt;Possible bug when feeding mov_text to subtitles filter. I can reproduce the issue in git master branch. I did not investigate further.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Workaround is to provide the subtitles filter the SRT subtitle stream present in your original MKV input (&lt;code&gt;file.mkv&lt;/code&gt;):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i file.mkv -map 0:a:0 -map 0:v -c:v libx264 -c:a aac -vf &quot;subtitles=file.mkv:stream_index=6:force_style='OutlineColour=&amp;amp;H80000000,BorderStyle=3,Outline=1,Shadow=0,MarginV=20,Fontname=Liberation Mono'&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Make sure &lt;code&gt;stream_index&lt;/code&gt; is referencing the desired subtitle stream. See &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#subtitles&quot; rel=&quot;nofollow noreferrer&quot;&gt;subtitles filter&lt;/a&gt; documentation.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-10-28T19:05:21.497" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28756" PostTypeId="1" CreationDate="2019-10-29T05:25:06.747" Score="1" ViewCount="726" Body="&lt;p&gt;I have an 8bpc .png sequence in RGB color space (full range 0-255 of course) that I need to convert to DNxHD bt709 &quot;legal&quot; range (16-235). Here is where I am so far:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -framerate 23.976 -i input_%04d.png -vcodec dnxhd -b:v 175M outfile.mov&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This throws an error: &lt;code&gt;pixel format is incompatible with DNxHD profile&lt;/code&gt;. I used to do this all the time in a earlier version of ffmeg with no issue... I assume it has to do with the color space, and in looking through the &quot;colorspace&quot; filter documentation I am uncertain what the proper command would be. As mentioned I do want to actually transform the values to bt709, legal range.&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2021-03-22T23:07:05.673" Title="ffmpeg convert .png to DNxHD .mov and scale color to bt709" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28758" PostTypeId="1" AcceptedAnswerId="28759" CreationDate="2019-10-29T10:58:07.817" Score="3" ViewCount="6666" Body="&lt;p&gt;I'd like to convert videos to black and white but also specify the threshold of what to convert to black/white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm currently using cv2 to do this successfully using the 2 lines below (first converts to grayscale then B&amp;amp;W). But it would help my workflow to do everything with FFMPEG if possible.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    grayFrame = cv2.cvtColor(frame, cv2.COLOR_BGR2GRAY)&#xA;    (thresh, BW) = cv2.threshold(grayFrame, 10, 255, cv2.THRESH_BINARY)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26662" LastEditorUserId="26662" LastEditDate="2019-10-29T21:40:24.457" LastActivityDate="2023-07-21T18:48:51.927" Title="FFMPEG - convert video to Black &amp; White with threshold?" Tags="|ffmpeg|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28759" PostTypeId="2" ParentId="28758" CreationDate="2019-10-29T18:48:27.223" Score="4" Body="&lt;p&gt;Use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#threshold&quot; rel=&quot;nofollow noreferrer&quot;&gt;threshold&lt;/a&gt; filter:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/umOvC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/umOvC.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i main_1280x720.mp4 -f lavfi -i color=gray:s=1280x720 -f lavfi -i color=black:s=1280x720 -f lavfi -i color=white:s=1280x720 -filter_complex threshold output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This filter requires four video streams to perform thresholding:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;main input&lt;/li&gt;&#xA;&lt;li&gt;threshold&lt;/li&gt;&#xA;&lt;li&gt;min&lt;/li&gt;&#xA;&lt;li&gt;max&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;You can optionally add the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#format&quot; rel=&quot;nofollow noreferrer&quot;&gt;format&lt;/a&gt; filter for a grayscale pixel format: &lt;code&gt;threshold,format=gray&lt;/code&gt; (assuming your output format supports that otherwise additional pixel format conversion will automatically take place).&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-10-29T18:48:27.223" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28760" PostTypeId="2" ParentId="28756" CreationDate="2019-10-29T19:04:04.633" Score="2" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 24000/1001 -i input_%04d.png -vf format=yuv422p10le -c:v dnxhd -b:v 180M output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Use &lt;code&gt;24000/1001&lt;/code&gt; or &lt;a href=&quot;https://ffmpeg.org/ffmpeg-utils.html#Video-rate&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;ntsc-film&lt;/code&gt;&lt;/a&gt; instead of the inaccurate 23.976 byname.&lt;/li&gt;&#xA;&lt;li&gt;This encoder only supports the following pixel formats: &lt;code&gt;yuv422p&lt;/code&gt;, &lt;code&gt;yuv422p10le&lt;/code&gt;,  &lt;code&gt;yuv444p10le&lt;/code&gt;,  &lt;code&gt;gbrp10le&lt;/code&gt;. See &lt;code&gt;ffmpeg -h encoder=dnxhd&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;This encoder only supports specific combinations of bitrate, width, and height. See a list with &lt;code&gt;ffmpeg -f lavfi -i nullsrc -c:v dnxhd -f null -&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;bt709 should be automatically chosen, but verify it is what you want. See output of &lt;code&gt;ffmpeg -i output.mov&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-10-29T19:04:04.633" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28761" PostTypeId="1" CreationDate="2019-10-29T21:07:36.540" Score="1" ViewCount="131" Body="&lt;p&gt;I need to rig up some expressions to a shape layers &quot;size&quot; and &quot;position&quot; parameters and the layer transform &quot;position&quot; parameter as well. When I create the shapes directly in AE there are the shape parameters of size, position and rotation. Though, when I import AI files and convert them then they lose the options of the shape itself and the only option that is available to edit is the &quot;path&quot; parameter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I import AI files as parametric shapes not a bezier shape?&lt;/p&gt;&#xA;" OwnerUserId="26665" LastActivityDate="2024-04-06T17:03:35.403" Title="Importing Adobe Illustrator files as Parametric shapes in After Effects?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28762" PostTypeId="1" CreationDate="2019-10-29T23:00:40.433" Score="0" ViewCount="142" Body="&lt;p&gt;I developed an app that uses &lt;code&gt;ffmpeg&lt;/code&gt; for some simple muxing, which I am going to sell. I contacted MPEG LA about licensing, and they said I the license I need depends on which codecs I use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to determine which codecs/libraries are actually being used by a particular &lt;code&gt;ffmpeg&lt;/code&gt; command?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, is there any way to temporarily disable/enable options to see if they are required for a given operation?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FWIW, my operation doesn't re-encode anything. It uses &lt;code&gt;c:v copy&lt;/code&gt; and &lt;code&gt;c:a copy&lt;/code&gt; with a &lt;code&gt;map&lt;/code&gt; function to re-arrange audio tracks. In some cases it converts &lt;code&gt;pcm_s24be&lt;/code&gt; to &lt;code&gt;pcm_s24le&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="2022" LastActivityDate="2019-10-30T06:16:17.273" Title="How to determine which modules needed for licensing FFmpeg as part of an app" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28763" PostTypeId="2" ParentId="28761" CreationDate="2019-10-30T00:42:55.477" Score="0" Body="&lt;p&gt;I don't think that it's possible to import AI shapes as parametric shapes (in 2019 at least, this might change, with luck). There are workarounds that can help though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you convert the AI layer to a shape layer you can get the individual points of the path like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var pts = thisComp.layer(&quot;test Outlines&quot;).content(&quot;Group 1&quot;).content(&quot;Path 1&quot;).path.points(t = time)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where the layer &lt;strong&gt;&quot;test outlines&quot;&lt;/strong&gt; is the shape layer created by converting the AI document, and &lt;strong&gt;Group 1&lt;/strong&gt; is one of the paths in the shape layer. Then for a rectangle you can get the size like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var pts = thisComp.layer(&quot;test Outlines&quot;).content(&quot;Group 1&quot;).content(&quot;Path 1&quot;).path.points(t = time);&#xA;var size = pts[0] - pts[2];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;if you want to set the size you could do the reverse, putting this on the path property:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var size = [123, 45];&#xA;var pts = [[0, 0] - size/2, [0 - size[0]/2, size[1]/2], size/2, [size[0]/2, 0 - size[1]/2];&#xA;createPath(points = pts, inTangents = [], outTangents = [], isClosed = true);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;if you do the substitutions you'll see that the second line works out to&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[-61.5, -22.5], [-61.5, 22.5], [61.5, 22.5], [61.5, -22.5]]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;which describes a rectangle 123 wide and 45 high.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-10-30T00:42:55.477" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28764" PostTypeId="2" ParentId="28581" CreationDate="2019-10-30T01:58:49.507" Score="1" Body="&lt;p&gt;I not know how do this with AE animation software but I do this in Blender:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/2ieFJBKbtLU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basic theory (see picture) for real camera or software:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• Want repeat image every n animation frames&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• Assume camera view is w × h pixels&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• For camera view w pixels wide, minimum need draw picture wide 2w pixels wide&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• Copy picture two times and put left/right each other (draw left and right edge of image for can't see edge)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• Shift picture -w pixels for first animation frame relative to camera left edge&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• Step size for each animation frame is ∆s = w/n&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• Image position = ∆s*(animation frame number mod n), means at every n animation frames shift image back -w pixels (return to start position)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• Use linear interpolation for image position (need select this for Blender)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• Use repeat cycle (for Blender)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/m9FzT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/m9FzT.png&quot; alt=&quot;Animation Loop&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Blue dot show shift for each animation frame&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If image is wider than camera view (R ≥ w):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• shift picture -R pixels for start animation frame&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• step become ∆s = R/n&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• shift image back -R pixels&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Reverse Direction&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• Shift picture 0 pixels for first animation frame relative to camera left edge&lt;/p&gt;&#xA;&#xA;&lt;p&gt;• Step for each animation frame is ∆s = –w/n (∆s = –R/n for image R ≥ w), negative direction&lt;/p&gt;&#xA;" OwnerUserId="22761" LastEditorUserId="22761" LastEditDate="2019-11-01T23:32:54.570" LastActivityDate="2019-11-01T23:32:54.570" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28765" PostTypeId="2" ParentId="28762" CreationDate="2019-10-30T06:16:17.273" Score="2" Body="&lt;p&gt;In general, the codecs involved in a pure muxing command are the decoders and bitstream parsers for the codecs of the streams in the input file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even though there's no decoding or encoding requested in a pure muxing command, ffmpeg uses the decoders to acquire the attributes of the streams in the input. These attributes are then passed on to the muxer, which will write in the header/metadata section(s) of the output file. This has to be done because the attributes of an encoded stream is stored in a form specific to that codec.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-10-30T06:16:17.273" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28766" PostTypeId="1" AcceptedAnswerId="28808" CreationDate="2019-10-30T22:25:54.247" Score="2" ViewCount="5425" Body="&lt;p&gt;I used to work with Vegas a lot, but my organization is now using resolve. One feature I’ve been missing and trying to find an adequate replacement for is the ability to have the little video preview you see while editing be at a lower resolution than the actual video, so that it can render faster and be smoother while you’re editing. As it is, resolve is trying to run that preview at full resolution and with my PC specs it’s just not going to happen. I’m pulling about 5-10 FPS which is very disruptive to my editing flow. In Vegas there was a simple drop down menu next to the preview pane where you could select the resolution to preview in (full, half, quarter, or auto); it doesn’t seem to be that simple in resolve but is there anything that would have the same effect?&lt;/p&gt;&#xA;" OwnerUserId="14671" LastActivityDate="2019-11-07T16:05:30.520" Title="Lowering preview resolution for better on-the-fly timeline rendering in Davinci Resolve" Tags="|davinci-resolve|preview|rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28767" PostTypeId="2" ParentId="28279" CreationDate="2019-10-31T02:12:42.200" Score="0" Body="&lt;p&gt;I think you can use Krita 4.0+ for this animation.&lt;/p&gt;&#xA;" OwnerUserId="22761" LastActivityDate="2019-10-31T02:12:42.200" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28768" PostTypeId="1" CreationDate="2019-10-31T20:20:21.323" Score="0" ViewCount="956" Body="&lt;p&gt;If I use XML list to transport a timeline from Premiere to REsolve, I find strange results.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;I have a shot that I cannot transport without it arriving to Resolve 33 frames shorter on the start (the original time codes are changed in Premiere)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;change in nesting, zooming or doing anything with the shot are not transported.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now and then I get the Premiere report written &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Translation issue:&lt;br&gt;&#xA;  Effect  on Clip &amp;lt;A001_C010_10245N_001.R3D&gt; not translated.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Or it Resolve just does not want to use the XML saying in the pop in window &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;DOM parser error. Line 532&lt;/p&gt;&#xA;&lt;/blockquote&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Anybody understands what is happening?&lt;/p&gt;&#xA;" OwnerUserId="26682" LastEditorUserId="18155" LastEditDate="2020-01-27T09:01:23.393" LastActivityDate="2020-01-27T19:44:38.763" Title="I am having problems using xml list in transporting timelines from Adobe Premiere to the DaVinci Resolve" Tags="|premiere|davinci-resolve|xml|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28773" PostTypeId="1" AcceptedAnswerId="28776" CreationDate="2019-11-01T04:20:19.057" Score="1" ViewCount="216" Body="&lt;p&gt;I'm trying to film in a city with one person being the focus point, and the goal is to make the city look deserted.  If the city is always busy and full of people, is there a way for me to remove the people in After Effects or Premiere Pro?  I would think that one could just make a composite shot of only the parts of the image that stay constant, but I have no idea how to even approach that.  How can I do this?&lt;/p&gt;&#xA;" OwnerUserId="26687" LastActivityDate="2019-11-02T07:09:54.427" Title="How can I remove a crowd of people from a scene while keeping one person in the shot" Tags="|premiere|after-effects|editing|adobe|compositing|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28774" PostTypeId="1" CreationDate="2019-11-01T06:49:16.557" Score="1" ViewCount="866" Body="&lt;p&gt;I've been searching around for this for some time but can't find a working solution.&#xA;I found this &lt;a href=&quot;https://video.stackexchange.com/questions/20474/how-to-change-output-filename-in-ffmpeg-batch&quot;&gt;question&lt;/a&gt;, which is close, but not exactly what I need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm windows and ffmpeg to convert movs to mp4.&#xA;What I would like to have is a cmd file on my desktop on which I can drop my mov from any folder and the cmd file will create an mp4 with the same name in the same folder as the original mov, except the extension should be mp4. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My cmd file looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;@echo off&lt;/code&gt;&#xA;&lt;code&gt;ffmpeg -i %1 -s 1920x1080 -c:v libx264 -preset slow -bf 2 -crf 18 -pix_fmt yuv420p -movflags faststart -r 25 -profile:v baseline -level 3.0 -c:a aac -b:a 192k %1.mp4&lt;/code&gt;&#xA;&lt;code&gt;pause&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This creates the file Test.mov.mp4.&#xA;I tried &#xA;&lt;code&gt;-f mp4 &quot;%1~nf.mp4&quot;&lt;/code&gt;&#xA;instead of &lt;code&gt;%1.mp4&lt;/code&gt; but this outputs Test.mov~nf.mp4.&lt;/p&gt;&#xA;" OwnerUserId="26688" LastActivityDate="2020-08-01T21:06:00.403" Title="How do I change output file format in ffmpeg batch, when using drag and drop?" Tags="|ffmpeg|mp4|windows|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28775" PostTypeId="1" CreationDate="2019-11-01T13:03:29.837" Score="0" ViewCount="559" Body="&lt;p&gt;I have the Insta360 One X camera and want to edit the video I take. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically I am putting the camera on a tripod and videoing 60 seconds. Then in Insta360 studio 2019 software I can edit the video to change the view angles (using keyframes) so when I play it looks like it is panning round. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;When it is exported it always ends up as a plain video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want it to play as a 360 video so the user can pause it and also change the view angle if they want to look somewhere in particular then carry on playing the video again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I can only find a way to export in a plain video &amp;amp; not in 360 video — can't this be done. Is there any other video editing software I can use (I don't mind paying a one off amount to buy it)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope all that makes sense.&lt;/p&gt;&#xA;" OwnerUserId="26690" LastEditorUserId="18155" LastEditDate="2020-02-06T15:26:34.993" LastActivityDate="2020-02-06T15:26:34.993" Title="Exporting 360 video in a 360 video format (not plain video)" Tags="|360video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28776" PostTypeId="2" ParentId="28773" CreationDate="2019-11-02T07:09:54.427" Score="1" Body="&lt;p&gt;Is the camera moving? If it's a still shot you could make a clean plate of the empty city in Photoshop and use a green screen for the actor. If you don't want the shot locked-off you can cheat add some movement to the frame in post, but big changes in perspective would require recreating the city in 3D. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tosC6.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tosC6.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Interestingly one of the earliest photographs of a human being was by accident — owing to the extremely long exposures required by the early emulsions, anything moving would blur out. In a photo by Louis Daguerre there was a guy standing having his shoes shined and he appears to be the only person in Paris. You could use the long exposure technique to get your background.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-11-02T07:09:54.427" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28777" PostTypeId="1" AcceptedAnswerId="28778" CreationDate="2019-11-02T08:22:51.157" Score="1" ViewCount="1569" Body="&lt;p&gt;I am confused a bit. &lt;code&gt;scale&lt;/code&gt; video filter does not scales the video to specified dimensions but doing something different.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;$ youtube-dl -f 134 https://youtu.be/aqz-KE-bpKQ -o 1.mp4 # download file 640x360    360p  723k , avc1.4d401e, 30fps, video only, 24.87MiB&#xA;$ ffmpeg -i 1.mp4 -vf scale=2000:100 2.mp4&#xA;$ ffplay 1.mp4 &amp; ffplay 2.mp4 &amp;&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I am awaiting that the second video will be deformed as wide and narrow at height, but:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QQ7YU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QQ7YU.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is output of &lt;code&gt;ffprobe&lt;/code&gt; for both files:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;$ ffprobe 1.mp4&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '1.mp4':&#xA;  Metadata:&#xA;    major_brand     : dash&#xA;    minor_version   : 0&#xA;    compatible_brands: iso6avc1mp41&#xA;    creation_time   : 2018-12-12T10:08:34.000000Z&#xA;  Duration: 00:10:34.57, start: 0.000000, bitrate: 328 kb/s&#xA;    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, bt709, progressive), 640x360 [SAR 1:1 DAR 16:9], 0 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2018-12-12T10:08:34.000000Z&#xA;      handler_name    : ISO Media file produced by Google Inc. Created on: 12/12/2018.&#xA;$ ffprobe 2.mp4&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '2.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.83.100&#xA;  Duration: 00:10:34.57, start: 0.000000, bitrate: 443 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 2000x100 [SAR 4:45 DAR 16:9], 440 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So, I missed something or video filter works in wrong way? How to fix this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;$ ffmpeg -version&#xA;ffmpeg version 3.4.6-0ubuntu0.18.04.1 Copyright (c) 2000-2019 the FFmpeg developers&#xA;built with gcc 7 (Ubuntu 7.3.0-16ubuntu3)&#xA;configuration: --prefix=/usr --extra-version=0ubuntu0.18.04.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-librsvg --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared&#xA;libavutil      55. 78.100 / 55. 78.100&#xA;libavcodec     57.107.100 / 57.107.100&#xA;libavformat    57. 83.100 / 57. 83.100&#xA;libavdevice    57. 10.100 / 57. 10.100&#xA;libavfilter     6.107.100 /  6.107.100&#xA;libavresample   3.  7.  0 /  3.  7.  0&#xA;libswscale      4.  8.100 /  4.  8.100&#xA;libswresample   2.  9.100 /  2.  9.100&#xA;libpostproc    54.  7.100 / 54.  7.100&#xA;&lt;/pre&gt;&#xA;" OwnerUserId="19611" LastEditorUserId="18155" LastEditDate="2019-12-20T20:44:45.733" LastActivityDate="2019-12-20T20:44:45.733" Title="FFmpeg scale video filter does not working as expected" Tags="|ffmpeg|scale|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28778" PostTypeId="2" ParentId="28777" CreationDate="2019-11-02T08:42:52.533" Score="3" Body="&lt;p&gt;The scale filter will adjust the sample aspect ratio to maintain the original display aspect ratio, which is 16:9 for your input. Use the SAR filter to reset the SAR after scaling.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mp4 -vf scale=2000:100,setsar=1 2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-11-02T08:42:52.533" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28779" PostTypeId="1" CreationDate="2019-11-02T16:30:06.717" Score="0" ViewCount="185" Body="&lt;p&gt;I'm creating a timelapse video which contains around 200,000 pictures.&#xA;Before cutting them together i will do some batch color correction with Gimp. Later in the video editing stage (probably using Premiere) I dont plan to change the images but merely cutting them together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The current image size is 4000x3000 pixels. The final video will be in 1440x1080 pixels. &#xA;Should i do the resizing combined with the color correction in gimp or when I export the file from my video editing software?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does it make any difference?&lt;/p&gt;&#xA;" OwnerUserId="26697" LastActivityDate="2022-11-22T17:57:17.227" Title="Resize images for timelapse before editing or at export of finished video?" Tags="|time-lapse|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28780" PostTypeId="1" AcceptedAnswerId="28789" CreationDate="2019-11-03T00:37:18.087" Score="0" ViewCount="111" Body="&lt;p&gt;I would like to make a presentation at the background and the human which is &quot;green screened&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried with my DSLR &lt;strong&gt;Nikon D5200&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So for now the result is like in this &lt;strong&gt;short video&lt;/strong&gt;: &lt;a href=&quot;https://streamable.com/nf5tk&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://streamable.com/nf5tk&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The result is quite bad, because of noises. I tried to use small lamps to fix it but I could not. I read a lot and ask a question here already and it seems that fix can be made only by adding more professional light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I would like to ask &lt;strong&gt;if 2 softboxes with 4 bulbs each, 35W, 5500K would fix it&lt;/strong&gt;? Is it enough? &lt;strong&gt;Would it fix noises at the human body in the video I have posted?&lt;/strong&gt; I think to put them 45 degree in on both sides pointed at the human and green screen which is behind the human.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dznXR.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dznXR.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Eventually I can buy the third lamp like below and point it in front of the human. But I would prefer to save this money, since recording video is not my hobby.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EEd7b.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EEd7b.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26434" LastActivityDate="2019-12-25T19:35:54.613" Title="Would 2 lights solve my DSLR green screen noises?" Tags="|video|dslr|lighting|greenscreen|noise|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28781" PostTypeId="2" ParentId="28572" CreationDate="2019-11-03T04:12:15.187" Score="2" Body="&lt;p&gt;After some detective work, I've started using a command line that converts the video and keeps the timecode intact:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.mov -map 0:v -map 0:a -c:v mpeg4 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26352" LastActivityDate="2019-11-03T04:12:15.187" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28784" PostTypeId="1" CreationDate="2019-11-03T20:31:38.723" Score="1" ViewCount="3123" Body="&lt;p&gt;Ok, so I've imported a QuickTime movie file into Premiere, and when I played it in the preview window, it was really choppy, and it played the first three seconds over and over for the entirety of the video. I put it into the timeline and the same thing happened, the audio worked perfectly, but the video kept lagging behind and cutting up periodically, I've had this problem to a lesser extent with after effects, but nowhere near as bad as it is in Premiere, I'd appreciate any help.&lt;/p&gt;&#xA;" OwnerUserId="26706" LastActivityDate="2024-03-12T22:04:35.530" Title="Imported video is extremely choppy in Premiere Pro CC 2019" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28785" PostTypeId="2" ParentId="21598" CreationDate="2019-11-04T01:57:28.650" Score="9" Body="&lt;p&gt;You can box-select clips by dragging the mouse while holding the shift key and and left mouse button.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://userbase.kde.org/Kdenlive/Manual/Timeline_Menu/Selection&quot; rel=&quot;noreferrer&quot;&gt;kdenlive &amp;quot;Selection&amp;quot; manual&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;If the clips you want to select are all contiguous, you can press Shift + left-click and drag your mouse over all the clips&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kH5vf.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kH5vf.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;(and &lt;em&gt;ctrl+shift+mouseDrag&lt;/em&gt; to add more clips to the selection)&lt;/p&gt;&#xA;" OwnerUserId="26707" LastEditorUserId="26707" LastEditDate="2021-10-28T02:09:46.563" LastActivityDate="2021-10-28T02:09:46.563" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28786" PostTypeId="2" ParentId="19427" CreationDate="2019-11-04T10:38:15.927" Score="1" Body="&lt;p&gt;To truly match the original export settings, you need to be clear as to what those settings are.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Find the file in file explorer, right click, and go to properties.  Go to the details tab and you should find an information list like the below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Xq5Gy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Xq5Gy.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This shows you the width, height, length and bitrate of the video.  Along with the format, these are the key things that will determine final video size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Open your file in Premiere Pro, open the relevant timeline and then Press CTRL + M or go to File &gt; Export &gt; Media to open the export window.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select H.264 as the format (standard encoding) and select a preset such as &quot;Match source - medium bitrate&quot;.  This however will only match the timeline source, and not necessarily the settings of any video that are added to the timeline.  However, by selecting a standard preset like this, any custom settings that you have previously chosen will be wiped clean.  As you may have selected an option previously that might be upsetting your file size, this will reset those options to a standard preset. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OpeGn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OpeGn.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the tabs further down, check the width and height.  If they don't match the settings of your original file as illustrated in the first screenshot, uncheck the box to the right and then manually adjust these settings.  You should also check Frame Rate in the same way. - this can't be found in the windows property dialogue, but Premiere Pro will give you this information.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3W9wz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3W9wz.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Next, scroll further down to the Bitrate settings.  Choose VBR 1 pass (2 pass won't change file size much, but increases render accuracy).  Then change the Target Bitrate ot match the bitrate you found in your original file as demonstrated in the first screenshot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eM7HX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eM7HX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This should very closely replicate your original file.  Before you Queue or Export your video to render, check the &quot;Estimated file size&quot; at the bottom.  This is usually fairly accurate and should tell you if the exported file will be about the right size or not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/m9l21.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/m9l21.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope that helps, feel free to comment.&lt;/p&gt;&#xA;" OwnerUserId="22062" LastActivityDate="2019-11-04T10:38:15.927" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28787" PostTypeId="2" ParentId="28738" CreationDate="2019-11-04T13:34:56.120" Score="1" Body="&lt;p&gt;You might want to keep in mind the regulations concerning camera manufacturers. When recording over a certain limit in time (which I believe is 30 minutes), the sellers of the camera pay an extra tax-amount - so longer recordings are usually reserved for more professional, expensive cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What might be worth a try is recording with an external recorder from a dslr or something better. Other than that, buying an expensive professional-grade camera might be your only option.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-04T13:34:56.120" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28788" PostTypeId="2" ParentId="28784" CreationDate="2019-11-04T13:40:50.663" Score="0" Body="&lt;p&gt;Try setting the playback resolution to a lower setting. Depending on your periphery and the footage you're handling, it is quite normal for premiere to lag behind the realtime playback. Solutions for fluent playback might be:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Lowering the playback resolution (1/2, 1/4 or 1/16)&lt;/li&gt;&#xA;&lt;li&gt;Using Proxies (smaller files, usually half the resolution. A quick google search tells you how to do that.)&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Giving Premiere more RAM to play with and cleaning your cache.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-&gt; You might need to go to edit -&gt; purge and select purge all. Cached frames are frames that sit on a harddrive on your pc, so they don't have to be calculated every time they're played. Other then caching on the harddrive, premiere also caches into the RAM (random access memory) which acts like a very fast harddrive (although much smaller). Depending on how much RAM you can afford to assign to premiere (usually half as much as your total ram, preferably more than 8GB) you should up the amount dedicated to premiere. This setting sit in the memory section of the settings.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-04T13:40:50.663" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28789" PostTypeId="2" ParentId="28780" CreationDate="2019-11-04T13:46:40.743" Score="0" Body="&lt;p&gt;The result of your key depends on many things. It would have been really nice to see a still of your footage before you keyed it. I believe you are working in after effects, which has a pretty solid keyer built-in called &quot;keylight&quot;. Using the clip white and clip black settings under the matte-section will help you clean noise from foreground and background. You might want to throw a &quot;roughen edges&quot; onto your keyed footage and set everything to 0 before raising the amount gradually, which will give you a bit of a softer edge.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other than that, proper lighting will be your only hope. Look for wrinkles in the screen, or shadows you or anything else throws onto it. Try standing as far away from the greenscreen as you can to minimize spill (the bounces green light thrown back at your body) and to avoid shadows of yourself on the screen. If the color of the greenscreen differs from the foreground at every place and has no shadows or wrinkles on it, you should be good to go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to you can send me a short clip of your unkeyed footage so I can try to key it as best as I can, so we can see how far you can push your current setup. Have a blessed day :)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-04T13:46:40.743" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28791" PostTypeId="1" CreationDate="2019-11-04T18:02:36.533" Score="-1" ViewCount="460" Body="&lt;p&gt;My question comes in two parts. First, may I know if my assessment of the quality of the footage in this Youtube movie is correct in the first place. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Compare the frames around 2:07 of this movie: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/HIlXOqxsRUQ?start=127&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;(2:07)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;with&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the frames around 1:59:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/HIlXOqxsRUQ?start=119&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;(1:59)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The quality of the picture in the former seems better than the latter. I am not exactly sure what is the difference, I can't pinpoint. But this was my first reaction when I was watching the clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After close examination for a while, I can only guess that the former seems to be a bit more blurry, have softer edges, and seems to be a bit darker as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is my analysis correct, and am I missing anything else?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Secondly, how could the quality of the latter been improved at the recording stage? Is it something that could have been set in the camera, or should a better camera been used, and if yes, what exact specifications in the new camera should be sought?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My guess is the former uses a production video cam, but the latter uses perhaps an action cam like the GoPro. But must we always have such suboptimal footage from action cams, or could a better setting be used?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(NOTE: I did not participate in the production at all in the clip, so I do not know whatsoever what cams were used etc.)&lt;/p&gt;&#xA;" OwnerUserId="26703" LastEditorUserId="26703" LastEditDate="2019-11-04T18:15:07.320" LastActivityDate="2021-08-03T14:04:45.390" Title="How to prevent blur(?) footage at the recording stage?" Tags="|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28792" PostTypeId="1" AcceptedAnswerId="28847" CreationDate="2019-11-04T18:38:34.727" Score="1" ViewCount="128" Body="&lt;p&gt;For an upcoming shoot I need to create a classroom set, but I don't have access to the school tables I need to create the desired effect; instead, I was thinking about filming with simply IKEA tables painted in blue/with tracking markers and replacing with a 3D model. I've never tried anything like this before, nor do I have PP/AE (I mostly use Hitfilm basic and Blender, + Fusion 360 for 3D modelling (my only paid software)), but I need the actors to interact with the table, placing objects on it, etc. so I can't just superimpose the model over a blank plate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm mostly trying to find the most fail-safe way over necessarily the easiest, although I don't exactly want to spend much money, hence why the chroma key solution looks appealing. The end goal is to map the model onto the real table (which is of the same shape), not to use chroma key necessarily.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was wondering if anyone has any experience with this sort of thing, and if so, I'd like to hear any potential pitfalls or advice about full-scale object replacement of this form (maybe chroma key is not the simplest method?). Advice on lighting the complex shape sufficiently, or placement of tracking markers, is also appreciated.&lt;/p&gt;&#xA;" OwnerUserId="20576" LastActivityDate="2019-11-12T10:04:49.000" Title="How to use chroma key to replace design of complex object?" Tags="|editing|3d|greenscreen|mask|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28793" PostTypeId="1" CreationDate="2019-11-04T21:58:03.307" Score="4" ViewCount="7732" Body="&lt;p&gt;Title says it all. I have a media-type node in Fusion which is an image, which I'd like to fade in + out/transition with dissolve as a node inside of a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the &quot;Dissolve (DX)&quot; node doesn't behave in a way that I understand. When I add it in, add keyframes and a spline to control the background/foreground dissolve, nothing comes out of the output (my output screen has a null/empty output, as if I haven't connected up to MediaOut).&lt;/p&gt;&#xA;" OwnerUserId="26712" LastEditorUserId="26712" LastEditDate="2019-11-04T22:07:22.040" LastActivityDate="2020-06-17T17:51:59.607" Title="How to fade in/apply transition as a node in Fusion to image in Davinci Resolve?" Tags="|davinci-resolve|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28794" PostTypeId="1" CreationDate="2019-11-05T07:38:45.420" Score="0" ViewCount="578" Body="&lt;p&gt;To my understanding, if you have only one video input, its native framerate should be used by default if &lt;code&gt;-framerate&lt;/code&gt; isn't explicitly defined. For example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.webm ./frames/image%05d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;will extract an image sequence from a video using its native framerate. For a 5.4 second video with a native 30 fps, that means 162 frames will be extracted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, I have a video with audio. I extracted an image sequence from it as above. After doing some edits to each frame, I want to join the edited image sequence back together, using the original framerate, and add the audio stream back in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right now I am able to do this over multiple steps:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Manually get the original video's framerate&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffprobe -v 0 -of csv=p=0 -select_streams v:0 -show_entries stream=r_frame_rate in.webm&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say the output is &lt;code&gt;30/1&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Merge the edited image sequence back into a video, using a hard-coded framerate&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i edited%05d.png -framerate 30 -c:v libvpx-vp9 -pix_fmt yuva420p -lossless 1 out.webm&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Merge the original video's audio stream into the new video&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i in.webm -i out.webm -map 0:a:0 -map 1:v:0 -c copy final.webm&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The exact code is roughly like that. In any case, I definitely had a working version last night.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Originally, I had tried to do everything in one step: generally speaking, the two &lt;code&gt;ffmpeg&lt;/code&gt; commands above merged into one, but without &lt;code&gt;-framerate&lt;/code&gt;, since I assumed based on research that the input video's framerate should carry over.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, that did not happen. After analysing the output, it seems to me that ffmpeg failed to detect the input video's framerate, so the output video was assigned a default 25 fps instead. How can I resolve this, so that the output video is automatically assigned the framerate from one of the input videos?&lt;/p&gt;&#xA;" OwnerUserId="26714" LastActivityDate="2021-11-24T12:03:25.287" Title="How do I assign an input video's framerate to the output video when multiple input arguments are present?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28795" PostTypeId="1" CreationDate="2019-11-05T08:06:55.983" Score="5" ViewCount="8570" Body="&lt;p&gt;I have a problem with exporting an old timeline from Resolve. In 15 it worked fine, but I did some changes in an old composition and want to export the updated version. Error message says: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Render job 1 failed as the current clip could not be processed. The Fusion composition on the current frame or clip could not be processed successfully.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The fix of copying and moving to a new time project hasn't worked for me.&lt;/p&gt;&#xA;" OwnerUserId="26715" LastEditorUserId="18155" LastEditDate="2020-03-28T16:54:18.987" LastActivityDate="2020-03-28T16:54:18.987" Title="Render failed - Davinci Resolve 16" Tags="|video-editor|editing|davinci-resolve|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28796" PostTypeId="2" ParentId="28794" CreationDate="2019-11-05T08:22:01.003" Score="1" Body="&lt;p&gt;&lt;code&gt;-framerate&lt;/code&gt; is an input option for image sequence input, so it goes before that input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the combined command:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -framerate 30 -i edited%05d.png -i in.webm -c:v libvpx-vp9 -pix_fmt yuva420p -lossless 1 -c:a copy out.webm&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-11-05T08:22:01.003" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28797" PostTypeId="2" ParentId="28779" CreationDate="2019-11-05T08:38:44.293" Score="-1" Body="&lt;p&gt;If I could suggest, use Photoshop to import a sequence of images (they have to be numbered chronologically). There you can edit the sequence just as you would edit a normal photo. Export it as video and then edit with editor of your choice. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would resize only in the video editor as it gives you the option to change which way you might crop and so forth.&lt;/p&gt;&#xA;" OwnerUserId="26715" LastActivityDate="2019-11-05T08:38:44.293" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28798" PostTypeId="1" CreationDate="2019-11-05T12:13:01.530" Score="1" ViewCount="1513" Body="&lt;p&gt;Encoding always stops at about 65 frames, the longest it goes is up to 112 frames. Then it just stops without any output. No errors, nothing. The last lines that it spits out are these:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; encoded 64 frames in 14.93s (4.29 fps), 869.28 kb/s, Avg QP:50.01&#xA; [aac @ 0x55a9929450c0] Qavg: 838.802&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any pointers / advices would be highly appreciated as I am totally lost. The command run is as follows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -rtsp_transport tcp -i rtsp://password:login@1.1.1.1.1:554/11 -map 0 &#xA; -c:v libx265 -vb 300k -c:a aac -ab 38k -ar 44100 -preset veryfast -f segment &#xA; -segment_list /usr/local/nginx/html/hls/mystream.m3u8 -segment_list_type hls &#xA; -segment_list_size 10 -segment_list_flags +live -segment_time 10 - &#xA; segment_wrap 30 /usr/local/nginx/html/hls/mystream%01d.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My camera's input is h265 video and g.726 audio. Is that the problem, perhaps? How do I change the code above to make this audio work?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final lines of the log look like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.1.4-1~deb10u1 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8 (Debian 8.3.0-6)&#xA;  configuration: --prefix=/usr --extra-version='1~deb10u1' --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;Guessed Channel Layout for Input Stream #0.1 : mono&#xA;Input #0, rtsp, from 'rtsp://login:password@1.1.1.1:554/11':&#xA;  Metadata:&#xA;    title           : 10&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: hevc (Main), yuvj420p(pc, bt709), 1920x1080, 14.99 tbr, 90k tbn, 90k tbc&#xA;    Stream #0:1: Audio: pcm_alaw, 8000 Hz, mono, s16, 64 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (hevc (native) -&amp;gt; hevc (libx265))&#xA;  Stream #0:1 -&amp;gt; #0:1 (pcm_alaw (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[swscaler @ 0x56362603ca40] deprecated pixel format used, make sure you did set range correctly&#xA;x265 [info]: HEVC encoder version 2.9&#xA;x265 [info]: build info [Linux][GCC 8.2.0][64 bit] 8bit+10bit+12bit&#xA;x265 [info]: using cpu capabilities: MMX2 SSE2 SSE3 Cache64&#xA;x265 [info]: Main profile, Level-4 (Main tier)&#xA;x265 [info]: Thread pool created using 2 threads&#xA;x265 [info]: Slices                              : 1&#xA;x265 [info]: frame threads / pool features       : 1 / wpp(17 rows)&#xA;x265 [info]: Coding QT: max CU size, min CU size : 64 / 8&#xA;x265 [info]: Residual QT: max TU size, max depth : 32 / 1 inter / 1 intra&#xA;x265 [info]: ME / range / subpel / merge         : hex / 57 / 1 / 2&#xA;x265 [info]: Keyframe min / max / scenecut / bias: 14 / 250 / 40 / 5.00&#xA;x265 [info]: Lookahead / bframes / badapt        : 15 / 4 / 0&#xA;x265 [info]: b-pyramid / weightp / weightb       : 1 / 1 / 0&#xA;x265 [info]: References / ref-limit  cu / depth  : 2 / on / on&#xA;x265 [info]: AQ: mode / str / qg-size / cu-tree  : 1 / 1.0 / 32 / 1&#xA;x265 [info]: Rate Control / qCompress            : ABR-300 kbps / 0.60&#xA;x265 [info]: tools: rd=2 psy-rd=2.00 early-skip rskip signhide tmvp fast-intra&#xA;x265 [info]: tools: strong-intra-smoothing lslices=6 deblock sao&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream0.ts' for writing&#xA;Output #0, segment, to '/usr/local/nginx/html/hls/mystream%01d.ts':&#xA;  Metadata:&#xA;    title           : 10&#xA;    encoder         : Lavf58.20.100&#xA;    Stream #0:0: Video: hevc (libx265), yuv420p, 1920x1080, q=2-31, 300 kb/s, 14.99 fps, 90k tbn, 14.99 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.35.100 libx265&#xA;    Stream #0:1: Audio: aac (LC), 44100 Hz, mono, fltp, 38 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc58.35.100 aac&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream1.ts' for writing&#xA;[rtsp @ 0x563625cecdc0] CSeq 10 expected, 7 received.bitrate=N/A dup=151 drop=0 speed=0.255x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream2.ts' for writing&#xA;[rtsp @ 0x563625cecdc0] CSeq 11 expected, 8 received.bitrate=N/A dup=188 drop=0 speed=0.251x&#xA;[hevc @ 0x563625d0a780] Could not find ref with POC 30itrate=N/A dup=221 drop=0 speed=0.253x&#xA;[rtsp @ 0x563625cecdc0] CSeq 12 expected, 9 received.bitrate=N/A dup=264 drop=0 speed=0.244x&#xA;[hevc @ 0x563625d95900] Could not find ref with POC 35itrate=N/A dup=269 drop=0 speed=0.243x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream3.ts' for writing&#xA;[hevc @ 0x563625d10680] Could not find ref with POC 0bitrate=N/A dup=370 drop=0 speed=0.248x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream4.ts' for writing&#xA;[hevc @ 0x563625d0a780] Could not find ref with POC 29itrate=N/A dup=380 drop=0 speed=0.247x&#xA;[hevc @ 0x563625d0a780] Could not find ref with POC 20itrate=N/A dup=471 drop=0 speed=0.252x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream5.ts' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream6.ts' for writing&#xA;[hevc @ 0x563625d95900] Could not find ref with POC 0bitrate=N/A dup=551 drop=0 speed=0.254x&#xA;[hevc @ 0x563625d10680] Could not find ref with POC 22itrate=N/A dup=552 drop=0 speed=0.254x&#xA;[hevc @ 0x563625d95900] Could not find ref with POC 0bitrate=N/A dup=653 drop=0 speed=0.259x&#xA;[rtsp @ 0x563625cecdc0] CSeq 15 expected, 10 received.itrate=N/A dup=657 drop=0 speed=0.258x&#xA;[hevc @ 0x563625d10680] Duplicate POC in a sequence: 37.rate=N/A dup=673 drop=0 speed=0.257x&#xA;[hevc @ 0x563625d10680] Error parsing NAL unit #0.&#xA;Error while decoding stream #0:0: Invalid data found when processing inputrop=0 speed=0.257x&#xA;[hevc @ 0x563625d95900] Could not find ref with POC 8bitrate=N/A dup=735 drop=0 speed=0.258x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream7.ts' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream8.ts' for writing&#xA;[hevc @ 0x563625d10680] Could not find ref with POC 0bitrate=N/A dup=881 drop=0 speed=0.26x&#xA;[hevc @ 0x563625d10680] Could not find ref with POC 33itrate=N/A dup=883 drop=0 speed=0.26x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream9.ts' for writing&#xA;[hevc @ 0x563625d10680] Could not find ref with POC 0bitrate=N/A dup=932 drop=0 speed=0.26x&#xA;[rtsp @ 0x563625cecdc0] CSeq 18 expected, 11 received.itrate=N/A dup=945 drop=0 speed=0.259x&#xA;[hevc @ 0x563625d10680] Could not find ref with POC 2bitrate=N/A dup=952 drop=0 speed=0.259x&#xA;More than 1000 frames duplicatedN/A time=00:01:46.50 bitrate=N/A dup=958 drop=0 speed=0.259x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream10.ts' for writing&#xA;[hevc @ 0x563625d0a780] Could not find ref with POC 0bitrate=N/A dup=1039 drop=0 speed=0.26x&#xA;[hevc @ 0x563625d0a780] Could not find ref with POC 5bitrate=N/A dup=1045 drop=0 speed=0.26x&#xA;[hevc @ 0x563625d10680] Could not find ref with POC 37itrate=N/A dup=1109 drop=0 speed=0.26x&#xA;[hevc @ 0x563625d95900] Could not find ref with POC 0bitrate=N/A dup=1110 drop=0 speed=0.26x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream11.ts' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writingx&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream12.ts' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;frame= 1967 fps=3.9 q=-0.0 Lsize=N/A time=00:02:11.06 bitrate=N/A dup=1206 drop=0 speed=0.261x&#xA;video:4430kB audio:368kB subtitle:0kB other streams:0kB global headers:2kB muxing overhead: unknown&#xA;x265 [info]: frame I:     16, Avg QP:25.68  kb/s: 6561.13&#xA;x265 [info]: frame P:    391, Avg QP:29.36  kb/s: 966.96&#xA;x265 [info]: frame B:   1560, Avg QP:37.01  kb/s: 38.34&#xA;x265 [info]: Weighted P-Frames: Y:1.5% UV:1.3%&#xA;x265 [info]: consecutive B-frames: 3.2% 0.2% 0.5% 2.2% 93.9%&#xA;&#xA;encoded 1967 frames in 502.62s (3.91 fps), 275.99 kb/s, Avg QP:35.40&#xA;[aac @ 0x563625d01a40] Qavg: 129.821&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26716" LastEditorUserId="26716" LastEditDate="2019-11-09T02:45:34.483" LastActivityDate="2019-11-09T02:45:34.483" Title="FFmpeg stops encoding h265 to flv / hlc" Tags="|ffmpeg|" AnswerCount="0" CommentCount="13" ContentLicense="CC BY-SA 4.0" />
  <row Id="28799" PostTypeId="1" AcceptedAnswerId="28801" CreationDate="2019-11-05T13:16:52.397" Score="0" ViewCount="1151" Body="&lt;p&gt;I have the following files (all .mp4). Whenever I want to concatenate them, the timestamps apparently get broken. Is there a way to correct those files with transcoding?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ramyS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ramyS.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26717" LastActivityDate="2019-11-05T14:32:33.343" Title="How to correct tbn for files with ffmpeg?" Tags="|ffmpeg|editing|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28800" PostTypeId="1" CreationDate="2019-11-05T13:19:14.420" Score="0" ViewCount="3724" Body="&lt;p&gt;I am trying to make a 3D path that will be used as motion path for a object as well as base for &lt;code&gt;Trim Paths&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In other words, I would like to create something like Nyan Cat. I am going to use a path to animate movement of a 'cat' and to use same path to animate 'rainbow' by using &lt;code&gt;Trim Paths&lt;/code&gt;. A 'cat' must move through 3D space eventually. Not sure if I chosen right direction so I would appreciate any tips about best practices for that kind of tasks. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However I would really love to learn how to create 3D paths to use them as trajectory for a camera, for example. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I tried:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To create a circle -&gt; make it 3D -&gt;change its orientation -&gt; &lt;code&gt;convert to Bezier Path&lt;/code&gt;-ctrl+c. And then if I try to paste the copied path into an object &lt;code&gt;position&lt;/code&gt; it get inserted as a 2D path. I could create 3D motion path for a camera manually using a &lt;code&gt;Pen tool&lt;/code&gt;, however I would like a path to be a right circle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry if my question seems to be stupid, I am a really new. Thank you in advance!&lt;/p&gt;&#xA;" OwnerUserId="26718" LastActivityDate="2020-08-01T18:05:45.547" Title="After Effects: How to make 3D path" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28801" PostTypeId="2" ParentId="28799" CreationDate="2019-11-05T14:32:33.343" Score="0" Body="&lt;p&gt;No need to transcode, it can be done via remuxing.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -map 0 -c copy -video_track_timescale 30 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where 30 is the new tbn value.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-11-05T14:32:33.343" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28802" PostTypeId="2" ParentId="28800" CreationDate="2019-11-05T15:34:05.900" Score="1" Body="&lt;p&gt;Create a path with the &lt;code&gt;Pen Tool&lt;/code&gt; first, copy the property &lt;code&gt;path&lt;/code&gt; under:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Contents &gt; Shape 1 &gt; Path &gt; &lt;code&gt;Path&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Create a &lt;code&gt;NULL object&lt;/code&gt; and paste the value you just copied to its &lt;code&gt;position&lt;/code&gt; property.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You now have a NULL that follows your 2D path.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;To enable the &lt;em&gt;Z-axis&lt;/em&gt; of the NULL position, toggle the &lt;code&gt;3D Layer setting&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Click on the NULL position property and then get into the &lt;code&gt;Graph Editor&lt;/code&gt;, in the bottom bar click the icon &lt;code&gt;Separate Dimensions&lt;/code&gt;, this way you now have the 3 axis as separate properties.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;You can see the &lt;code&gt;Z Position&lt;/code&gt; is set at 0 without keyframes, despite the other 2 axis, play now with the &lt;code&gt;Z Position&lt;/code&gt; and add keyframes as wished to give a 3&lt;sup&gt;rd&lt;/sup&gt; dimension to your previously created 2D path.&lt;/p&gt;&#xA;" OwnerUserId="6118" LastActivityDate="2019-11-05T15:34:05.900" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28804" PostTypeId="2" ParentId="15718" CreationDate="2019-11-05T16:52:51.917" Score="0" Body="&lt;p&gt;I thought the same thing as @tomh.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although, I might have another idea:&#xA;&lt;br/&gt;&#xA;After Effects has a specific window called &lt;code&gt;Wiggler&lt;/code&gt; and it allows you to create a wiggle movement based on keyframes (instead of using a script), this way you could copy the keyframes made in AE to your PP position property.&lt;/p&gt;&#xA;" OwnerUserId="6118" LastActivityDate="2019-11-05T16:52:51.917" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28805" PostTypeId="2" ParentId="28774" CreationDate="2019-11-05T20:09:38.027" Score="1" Body="&lt;p&gt;With Gyan's help I was able to get it to work.&#xA;&lt;code&gt;%~n1.mp4&lt;/code&gt; will get the filename and substitute the file extension with mp4.&#xA;To get the correct path as well, I added &lt;code&gt;%~p1&lt;/code&gt;.&#xA;So all in all I now use &lt;code&gt;%~p1%~n1.mp4&lt;/code&gt; and it works exactly as intended.&lt;/p&gt;&#xA;" OwnerUserId="26688" LastActivityDate="2019-11-05T20:09:38.027" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28806" PostTypeId="1" CreationDate="2019-11-06T06:10:56.570" Score="1" ViewCount="17" Body="&lt;p&gt;I'm editing a music video for a band. The concept revolves around an injured circus dancer that tries to overcome her disability. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/teR6D.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/teR6D.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At one point in video the dancer undergoes a transformation from her &quot;real self&quot; to her &quot;perceived self&quot;. This is is manifested in the footage by having the dancer perform her routines in a gray outfit on a white rope with minimal makeup under cold lights as opposed to a with black outfit on a red rope with stage makeup under hot lights.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qkjM6.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qkjM6.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm struggling with editing this exact point of transformation (which is a climax of the audio) . The director's vision was that we'd have a shot of her doing a drop in the &quot;regular&quot; outfit and when she climbs back up she's in the stage outfit (to signify her triumph) however the raw footage doesn't contains shots that can make this work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I thought about maybe doing fast match cuts between her face in both outfits but the footage I have doesn't support this either - no good face closeup in both. Rough example (I know it's jarring) :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LXG1C.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LXG1C.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;So the question is&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you suggest a different approach to an editing character transformation? I'm fresh out of ideas and could use some creative advice &#xA;Preferably with a link to a visual reference from another video/movie&lt;/p&gt;&#xA;" OwnerUserId="3363" LastEditorUserId="3363" LastEditDate="2019-11-06T06:27:36.387" LastActivityDate="2019-11-06T06:27:36.387" Title="How to use editing to illustrate a (metaphorical and physical) transformation of a dancer character?" Tags="|editing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28807" PostTypeId="1" CreationDate="2019-11-06T11:33:36.137" Score="1" ViewCount="26" Body="&lt;p&gt;I’m interested in using old FD lenses for filming. Has anyone got any experience with this? What camera did you use? What adapter? Did it work? Were there any issues with focal length, cropping, or flaring? Would appreciate any advice!&lt;/p&gt;&#xA;" OwnerUserId="26726" LastActivityDate="2019-11-06T11:33:36.137" Title="Advice for using FD lenses?" Tags="|camera|filming|lenses|adapter|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28808" PostTypeId="2" ParentId="28766" CreationDate="2019-11-06T14:02:14.917" Score="4" Body="&lt;p&gt;I believe Proxy Mode is what you are looking for. You can find it in the Playback Menu.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Playback &gt; Proxy Mode &gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bY1QN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bY1QN.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="22835" LastActivityDate="2019-11-06T14:02:14.917" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28810" PostTypeId="1" CreationDate="2019-11-06T18:08:39.190" Score="1" ViewCount="396" Body="&lt;p&gt;I need to estimate disk usage for a media project. In order to do that I need to calculate typical file sizes for different video duration and resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example: Given a video with the properties below what is the formula to get the resulting file size?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;fps: 20,&#xA;resolution: 480p,&#xA;duration 5 mins,&#xA;Encoding: H.264&lt;/p&gt;&#xA;" OwnerUserId="26730" LastActivityDate="2019-11-07T04:45:52.637" Title="How to calculate video file size for H.264" Tags="|h.264|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28811" PostTypeId="1" CreationDate="2019-11-06T19:57:24.233" Score="0" ViewCount="1756" Body="&lt;p&gt;I can't figure out why I'm getting the error... Any ideas?! I tried adding &quot;var&quot; at the beginning of the first line, but that didn't work. Not sure what to try now! Help anyone?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below is my code. The error reads: &quot;object of type Layer found where a number, array or property is needed.&quot;&lt;/p&gt;&#xA;&#xA;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;timeOffset=thisComp.layer(&quot;Mograph Control&quot;).effect(&quot;timeOffset(frames)&quot;)(&quot;Slider&quot;)/24;&#xA;myIndex=thisComp.layer(&quot;DotMaster&quot;)-index;&#xA;&#xA;&#xA;seedRandom=(index, timeless=false);&#xA;randomTimeAmount=thisComp.layer(&quot;Mograph Control&quot;).effect(&quot;randomTime(frames)&quot;)(&quot;Slider&quot;)/24;&#xA;randomActualAmount=random(-randomTimeAmount, randomTimeAmount);&#xA;&#xA;baseTime+(myIndex*timeOffset)+randomActualAmount;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KOF9j.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KOF9j.png&quot; alt=&quot;ae-error-img&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26731" LastEditorUserId="1950" LastEditDate="2019-11-08T01:24:00.547" LastActivityDate="2024-03-16T09:06:50.813" Title="AE Expressions question - why isn't my code working?" Tags="|after-effects|animation|after-effects-expressions|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28812" PostTypeId="1" AcceptedAnswerId="28814" CreationDate="2019-11-07T03:46:00.270" Score="2" ViewCount="598" Body="&lt;p&gt;I am writing some unit-tests for a software that does some work with videos.  To do so, I need a programmatically generated video file that is both small and legitimate in that it is actually a sensible video from the point of view of a codec. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;An idea that came to mind was to produce a video of a single frame of a solid color. I have tried that in Apple Motion. However, the file still ended up being about 8KBs. That is not so big, but I am wondering if one can do better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you have any advice on how? I would be happy with MP4 container.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To give you an example of what I may be after, here is a list of HEX codes that produces a small but valid .PNG image:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;png_hex = ['\x89', 'P', 'N', 'G', '\r', '\n', '\x1a', '\n', '\x00',&#xA;           '\x00', '\x00', '\r', 'I', 'H', 'D', 'R', '\x00',&#xA;           '\x00', '\x00', '\x01', '\x00', '\x00', '\x00', '\x01',&#xA;           '\x08', '\x02', '\x00', '\x00', '\x00', '\x90',&#xA;           'w', 'S', '\xde', '\x00', '\x00', '\x00', '\x06', 'b', 'K',&#xA;           'G', 'D', '\x00', '\x00', '\x00', '\x00',&#xA;           '\x00', '\x00', '\xf9', 'C', '\xbb', '\x7f', '\x00', '\x00',&#xA;           '\x00', '\t', 'p', 'H', 'Y', 's', '\x00',&#xA;           '\x00', '\x0e', '\xc3', '\x00', '\x00', '\x0e', '\xc3',&#xA;           '\x01', '\xc7', 'o', '\xa8', 'd', '\x00', '\x00',&#xA;           '\x00', '\x07', 't', 'I', 'M', 'E', '\x07', '\xe0', '\x05',&#xA;           '\r', '\x08', '%', '/', '\xad', '+', 'Z',&#xA;           '\x89', '\x00', '\x00', '\x00', '\x0c', 'I', 'D', 'A', 'T',&#xA;           '\x08', '\xd7', 'c', '\xf8', '\xff', '\xff',&#xA;           '?', '\x00', '\x05', '\xfe', '\x02', '\xfe', '\xdc', '\xcc',&#xA;           'Y', '\xe7', '\x00', '\x00', '\x00', '\x00',&#xA;           'I', 'E', 'N', 'D', '\xae', 'B', '`', '\x82']&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26734" LastActivityDate="2019-11-07T06:01:22.310" Title="Smallest Possible Video File in H.264 Format" Tags="|video|codec|mp4|h.264|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28814" PostTypeId="2" ParentId="28812" CreationDate="2019-11-07T06:01:22.310" Score="5" Body="&lt;p&gt;A one frame H264 stream would have to consist of an intra-coded frame, so there is a size floor in effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This ffmpeg command produces a 1.7 kiB file&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i color=blue:s=1280x720 -vframes 1 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can save ~200 bytes by lowering the resolution.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-11-07T06:01:22.310" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="28815" PostTypeId="1" AcceptedAnswerId="28819" CreationDate="2019-11-07T09:35:55.080" Score="0" ViewCount="1337" Body="&lt;p&gt;Is it possible to get the position of a specific vertex of an After Effect shape ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;something like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var shape = parent.content(&quot;Shape 1&quot;).content(&quot;Path 1&quot;).path.value;&#xA;var vertexes = shape.vertices;&#xA;var startVertex = vertexes[0];&#xA;&#xA;...&#xA;&#xA;[x,y]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this code does not work...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="15961" LastActivityDate="2019-11-08T01:20:12.627" Title="get the position of a specific vertex in an After Effects shape" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28816" PostTypeId="1" CreationDate="2019-11-07T10:09:02.470" Score="1" ViewCount="99" Body="&lt;p&gt;I cannot find a way in Maya 2019 to create a rendering pass that only contains ambient occlusion generated shadows. I can do that with aiShadowMatte producing an expected alpha channel containing the shadows only but not with ambient occlusion shader aiAmbientOcclusion. &lt;/p&gt;&#xA;" OwnerUserId="26735" LastActivityDate="2019-11-07T10:09:02.470" Title="How to export ambient occlusion shadows only from Arnold Maya rendering to do multi layers composites" Tags="|lighting|rendering|maya|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28818" PostTypeId="2" ParentId="22288" CreationDate="2019-11-07T21:23:19.767" Score="0" Body="&lt;p&gt;In fact the IBM Aspera Desktop Client, a transfer client similar to &quot;filezilla&quot; for FTP, used to be licensed, and is now free of charge, the password protection has been removed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The IBM Aspera Connect client is also free but requires to use a web interface first on server side.&lt;/p&gt;&#xA;" OwnerUserId="26738" LastActivityDate="2019-11-07T21:23:19.767" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28819" PostTypeId="2" ParentId="28815" CreationDate="2019-11-08T01:20:12.627" Score="0" Body="&lt;p&gt;As of 2019 you can access a path of a shape or a mask like so:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;myShape = thisComp.layer(&quot;Shape Layer 1&quot;).content(&quot;Shape 1&quot;).content(&quot;Path 1&quot;).path;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;path&lt;/code&gt; property is an object containing collections of points, inTangents and outTangents. It has three methods for obtaining the vertex details, &lt;code&gt;points()&lt;/code&gt; returns the vertices, and &lt;code&gt;inTangents()&lt;/code&gt; and &lt;code&gt;outTangents()&lt;/code&gt; return the tangent handle positions if they have any. Each method optionally takes a time parameter to specify what time the data is retrieved. e.g.:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;myPoints = myShape.points(); //you can optionally specify the time, e.g. .point(t=123)&#xA;myPoints[0]&#xA;&#xA;myInTangents = myShape.inTangents();&#xA;myInTangents[0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In addition there are other methods for getting an arbitrary point on a path not at a vertex, and for finding out if the path is closed. It's a world of fun! Read the docs &lt;a href=&quot;http://expressions.aenhancers.com/path-property.html#pathproperty-points-t-time&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-11-08T01:20:12.627" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28820" PostTypeId="2" ParentId="28811" CreationDate="2019-11-08T01:25:49.913" Score="0" Body="&lt;p&gt;Typo on line 2. It should be &lt;code&gt;thisComp.layer(&quot;DotMaster&quot;).index&lt;/code&gt; not &lt;code&gt;-index&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, while it's valid, the first parameter to the &lt;code&gt;random&lt;/code&gt; function on second last line &lt;code&gt;-randomTimeAmount&lt;/code&gt; makes me nervous. I'd recommend changing it to &lt;code&gt;0-randomTimeAmount&lt;/code&gt;. It's more explicit, and less prone to accidental typos.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-11-08T01:25:49.913" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28821" PostTypeId="1" CreationDate="2019-11-08T04:46:10.437" Score="0" ViewCount="933" Body="&lt;p&gt;I have one line of code here but seemingly there is an audio issue. My camera streams h265 video and g726 audio. Would highly appreciate it if somebody could advise please, how do I fix / convert g726 audio so that it could be streamed flawlessly via hls? Many thanks in advance!&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -rtsp_transport tcp -i rtsp://login:password@1.1.1.1:554/11 -map 0 - &#xA;c:v libx265 -vb 300k -c:a aac -ab 38k -ar 44100 -preset veryfast -f segment - &#xA;segment_list /usr/local/nginx/html/hls/mystream.m3u8 -segment_list_type hls - &#xA;segment_list_size 10 -segment_list_flags +live -segment_time 10 -segment_wrap &#xA;30 /usr/local/nginx/html/hls/mystream%01d.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The log loos like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.1.4-1~deb10u1 Copyright (c) 2000-2019 the FFmpeg developers&#xA; built with gcc 8 (Debian 8.3.0-6)&#xA;  configuration: --prefix=/usr --extra-version='1~deb10u1' --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;Guessed Channel Layout for Input Stream #0.1 : mono&#xA;Input #0, rtsp, from 'rtsp://login:password@1.1.1.1:554/11':&#xA;  Metadata:&#xA;    title           : 10&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: hevc (Main), yuvj420p(pc, bt709), 1920x1080, 14.99 tbr, 90k tbn, 90k tbc&#xA;    Stream #0:1: Audio: pcm_alaw, 8000 Hz, mono, s16, 64 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (hevc (native) -&amp;gt; hevc (libx265))&#xA;  Stream #0:1 -&amp;gt; #0:1 (pcm_alaw (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[swscaler @ 0x56362603ca40] deprecated pixel format used, make sure you did set range correctly&#xA;x265 [info]: HEVC encoder version 2.9&#xA;x265 [info]: build info [Linux][GCC 8.2.0][64 bit] 8bit+10bit+12bit&#xA;x265 [info]: using cpu capabilities: MMX2 SSE2 SSE3 Cache64&#xA;x265 [info]: Main profile, Level-4 (Main tier)&#xA;x265 [info]: Thread pool created using 2 threads&#xA;x265 [info]: Slices                              : 1&#xA;x265 [info]: frame threads / pool features       : 1 / wpp(17 rows)&#xA;x265 [info]: Coding QT: max CU size, min CU size : 64 / 8&#xA;x265 [info]: Residual QT: max TU size, max depth : 32 / 1 inter / 1 intra&#xA;x265 [info]: ME / range / subpel / merge         : hex / 57 / 1 / 2&#xA;x265 [info]: Keyframe min / max / scenecut / bias: 14 / 250 / 40 / 5.00&#xA;x265 [info]: Lookahead / bframes / badapt        : 15 / 4 / 0&#xA;x265 [info]: b-pyramid / weightp / weightb       : 1 / 1 / 0&#xA;x265 [info]: References / ref-limit  cu / depth  : 2 / on / on&#xA;x265 [info]: AQ: mode / str / qg-size / cu-tree  : 1 / 1.0 / 32 / 1&#xA;x265 [info]: Rate Control / qCompress            : ABR-300 kbps / 0.60&#xA;x265 [info]: tools: rd=2 psy-rd=2.00 early-skip rskip signhide tmvp fast-intra&#xA;x265 [info]: tools: strong-intra-smoothing lslices=6 deblock sao&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream0.ts' for writing&#xA;Output #0, segment, to '/usr/local/nginx/html/hls/mystream%01d.ts':&#xA;  Metadata:&#xA;    title           : 10&#xA;    encoder         : Lavf58.20.100&#xA;    Stream #0:0: Video: hevc (libx265), yuv420p, 1920x1080, q=2-31, 300 kb/s, 14.99 fps, 90k tbn, 14.99 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.35.100 libx265&#xA;    Stream #0:1: Audio: aac (LC), 44100 Hz, mono, fltp, 38 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc58.35.100 aac&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream1.ts' for writing&#xA;[rtsp @ 0x563625cecdc0] CSeq 10 expected, 7 received.bitrate=N/A dup=151 drop=0 speed=0.255x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream2.ts' for writing&#xA;[rtsp @ 0x563625cecdc0] CSeq 11 expected, 8 received.bitrate=N/A dup=188 drop=0 speed=0.251x&#xA;[hevc @ 0x563625d0a780] Could not find ref with POC 30itrate=N/A dup=221 drop=0 speed=0.253x&#xA;[rtsp @ 0x563625cecdc0] CSeq 12 expected, 9 received.bitrate=N/A dup=264 drop=0 speed=0.244x&#xA;[hevc @ 0x563625d95900] Could not find ref with POC 35itrate=N/A dup=269 drop=0 speed=0.243x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream3.ts' for writing&#xA;[hevc @ 0x563625d10680] Could not find ref with POC 0bitrate=N/A dup=370 drop=0 speed=0.248x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream4.ts' for writing&#xA;[hevc @ 0x563625d0a780] Could not find ref with POC 29itrate=N/A dup=380 drop=0 speed=0.247x&#xA;[hevc @ 0x563625d0a780] Could not find ref with POC 20itrate=N/A dup=471 drop=0 speed=0.252x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream5.ts' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream6.ts' for writing&#xA;[hevc @ 0x563625d95900] Could not find ref with POC 0bitrate=N/A dup=551 drop=0 speed=0.254x&#xA;[hevc @ 0x563625d10680] Could not find ref with POC 22itrate=N/A dup=552 drop=0 speed=0.254x&#xA;[hevc @ 0x563625d95900] Could not find ref with POC 0bitrate=N/A dup=653 drop=0 speed=0.259x&#xA;[rtsp @ 0x563625cecdc0] CSeq 15 expected, 10 received.itrate=N/A dup=657 drop=0 speed=0.258x&#xA;[hevc @ 0x563625d10680] Duplicate POC in a sequence: 37.rate=N/A dup=673 drop=0 speed=0.257x&#xA;[hevc @ 0x563625d10680] Error parsing NAL unit #0.&#xA;Error while decoding stream #0:0: Invalid data found when processing inputrop=0 speed=0.257x&#xA;[hevc @ 0x563625d95900] Could not find ref with POC 8bitrate=N/A dup=735 drop=0 speed=0.258x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream7.ts' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream8.ts' for writing&#xA;[hevc @ 0x563625d10680] Could not find ref with POC 0bitrate=N/A dup=881 drop=0 speed=0.26x&#xA;[hevc @ 0x563625d10680] Could not find ref with POC 33itrate=N/A dup=883 drop=0 speed=0.26x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream9.ts' for writing&#xA;[hevc @ 0x563625d10680] Could not find ref with POC 0bitrate=N/A dup=932 drop=0 speed=0.26x&#xA;[rtsp @ 0x563625cecdc0] CSeq 18 expected, 11 received.itrate=N/A dup=945 drop=0 speed=0.259x&#xA;[hevc @ 0x563625d10680] Could not find ref with POC 2bitrate=N/A dup=952 drop=0 speed=0.259x&#xA;More than 1000 frames duplicatedN/A time=00:01:46.50 bitrate=N/A dup=958 drop=0 speed=0.259x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream10.ts' for writing&#xA;[hevc @ 0x563625d0a780] Could not find ref with POC 0bitrate=N/A dup=1039 drop=0 speed=0.26x&#xA;[hevc @ 0x563625d0a780] Could not find ref with POC 5bitrate=N/A dup=1045 drop=0 speed=0.26x&#xA;[hevc @ 0x563625d10680] Could not find ref with POC 37itrate=N/A dup=1109 drop=0 speed=0.26x&#xA;[hevc @ 0x563625d95900] Could not find ref with POC 0bitrate=N/A dup=1110 drop=0 speed=0.26x&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream11.ts' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writingx&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream12.ts' for writing&#xA;[segment @ 0x563625d00b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;frame= 1967 fps=3.9 q=-0.0 Lsize=N/A time=00:02:11.06 bitrate=N/A dup=1206 drop=0 speed=0.261x&#xA;video:4430kB audio:368kB subtitle:0kB other streams:0kB global headers:2kB muxing overhead: unknown&#xA;x265 [info]: frame I:     16, Avg QP:25.68  kb/s: 6561.13&#xA;x265 [info]: frame P:    391, Avg QP:29.36  kb/s: 966.96&#xA;x265 [info]: frame B:   1560, Avg QP:37.01  kb/s: 38.34&#xA;x265 [info]: Weighted P-Frames: Y:1.5% UV:1.3%&#xA;x265 [info]: consecutive B-frames: 3.2% 0.2% 0.5% 2.2% 93.9%&#xA;&#xA;encoded 1967 frames in 502.62s (3.91 fps), 275.99 kb/s, Avg QP:35.40&#xA;[aac @ 0x563625d01a40] Qavg: 129.821&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26716" LastEditorUserId="26716" LastEditDate="2019-11-09T02:07:25.617" LastActivityDate="2019-11-09T02:07:25.617" Title="FFmpeg decode / convert G.726 Audio" Tags="|ffmpeg|" AnswerCount="0" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="28822" PostTypeId="1" CreationDate="2019-11-08T08:30:20.173" Score="0" ViewCount="165" Body="&lt;p&gt;I want to upload some best interesting facts by combining different match clips.&#xA;Example best catches, abnormal out, best spin, etc. &lt;/p&gt;&#xA;" OwnerUserId="26440" LastActivityDate="2019-11-08T08:30:20.173" Title="How do I upload video of combination of different match cricket clip to YouTube without Copy-right" Tags="|video-editor|youtube|copyright|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28823" PostTypeId="1" CreationDate="2019-11-08T11:18:02.157" Score="0" ViewCount="241" Body="&lt;p&gt;I'm wondering what would be some viable techniques to replace a t-shirt design some person is wearing in a footage with another design. Here's a simple example:&#xA;&lt;a href=&quot;https://placeit.net/c/mockups/stages/hipster-man-wearing-a-round-neck-tee-video-outside-a-store-at-night-a13565&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://placeit.net/c/mockups/stages/hipster-man-wearing-a-round-neck-tee-video-outside-a-store-at-night-a13565&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is online tool that allows anyone to upload an image and then puts in on a video footage. I'm interested how it might be reproduced in a program like After Effects or Premier.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's important that &lt;strong&gt;image should follow any distortions/creases of the garment&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I've used Mocha planar tracking in After Effects, but I don't think that's sufficient&lt;/strong&gt; because it only tracks one or few planes and it would be really hard to replicate distortions/movements of the garment. Is there some easier way?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm able to print any tracking markers, lines or anything else on the shirt that would help.&lt;/p&gt;&#xA;" OwnerUserId="26745" LastActivityDate="2020-08-23T00:08:41.020" Title="Track and replace a t-shirt design on a moving, distorted garment" Tags="|after-effects|tracking|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28824" PostTypeId="1" CreationDate="2019-11-08T18:03:19.253" Score="0" ViewCount="252" Body="&lt;p&gt;I want to record a programming tutorial with OBS Studio in 1080p 30FPS. I have never changed the encoder, the output format is MP4. Although my computer has very good hardware, I get Encoding Overloaded after some time and the video starts getting asynchronous.&lt;br&gt;&#xA;I read that the Encoding gets Overloaded when your computer can't handle the game you are playing and OBS recording, but I don't play any game, the only apps I have running are Visual Studio Code, one or two tabs of Google Chrome and OBS Studio.&lt;br&gt;&#xA;What can I do?&lt;br&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:&lt;br&gt;&#xA;CPU: Intel i5-6600k&lt;br&gt;&#xA;OS: Windows 10 Pro&lt;br&gt;&#xA;RAM: 16GB DDR4&lt;br&gt;&#xA;Video Card: PowerColor Red Devil AMD Radeon RX 480 (8GB V-RAM)&lt;br&gt;&lt;br&gt;&#xA;As said, I don't record games, but only have VS Code and OBS Studio running so I can't imagine that my computer is too slow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your help!&lt;/p&gt;&#xA;" OwnerUserId="26747" LastEditorUserId="26747" LastEditDate="2019-11-09T18:07:54.080" LastActivityDate="2024-03-18T12:03:50.607" Title="How to fix Encoding Overloaded in OBS Studio?" Tags="|encoding|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28826" PostTypeId="2" ParentId="27807" CreationDate="2019-11-09T17:25:56.517" Score="1" Body="&lt;p&gt;There are two ways: 1) as above, set your webcam in the video in post production of 2) record the video with the webcam in, for example with &lt;a href=&quot;https://obsproject.com/download&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS&lt;/a&gt; or &lt;a href=&quot;https://streamlabs.com/streamlabs-obs&quot; rel=&quot;nofollow noreferrer&quot;&gt;SLOBS&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="25326" LastActivityDate="2019-11-09T17:25:56.517" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28827" PostTypeId="2" ParentId="28824" CreationDate="2019-11-09T17:30:42.323" Score="0" Body="&lt;p&gt;Encoding overloaded means that your computer isn't fast enough to encode with the settings as they are now. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two options: 1) Encode via hardware (intel quicksync, AMD VCE, Nvidia nvenc) or set the quality of the encode lower (as in a faster/fastest x264 preset).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without more information (CPU, GPU, Ram, OS etc) it is difficult to know what is the best way forward.&lt;/p&gt;&#xA;" OwnerUserId="25326" LastActivityDate="2019-11-09T17:30:42.323" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28828" PostTypeId="1" CreationDate="2019-11-10T10:01:25.187" Score="0" ViewCount="4804" Body="&lt;p&gt;I'm using ffmpeg to trim a Zoom video recording (format: ISO Media, MP4 v2 [ISO 14496-14]) via this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;  -ss 00:11:42 \&#xA;  -to 01:11:22 \&#xA;  -i input-original.mp4 \&#xA;  -c copy \&#xA;  output-trimmed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The input file looks great, but the output has a few dropped frames at the beginning, so for the first few seconds it looks like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fot19.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fot19.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;A few seconds later, it goes back to normal and it doesn't have any other issues. I'm wondering if there is a way to fix this problem.&lt;/p&gt;&#xA;&lt;p&gt;EDIT: Actually, this seems to be a VLC-specific problem. Once I upload it to Vimeo, the weird frames go away. Still, I'd like to know if there is a way to prevent this.&lt;/p&gt;&#xA;" OwnerUserId="5886" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-11-14T05:29:37.673" Title="How to prevent ffmpeg from dropping frames when trimming?" Tags="|ffmpeg|mp4|vlc|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28829" PostTypeId="1" CreationDate="2019-11-10T10:24:51.907" Score="1" ViewCount="44" Body="&lt;p&gt;Good day.&#xA;I'm trying learning Premiere, but at the moment i'm using Corel Video Studio to make video footage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I noticed cpu-spiking and freezing editing my video (with both programs): in particular i'm using source video x264 econded with Handbrake. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My cpu is a Ryzen 5 1600 six cores with 8gb ram. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm working on a mechanical HDD.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my question is: what's the best and low impact video format for working/editing ? &lt;/p&gt;&#xA;" OwnerUserId="2087" LastEditorUserId="2087" LastEditDate="2019-11-10T10:55:17.880" LastActivityDate="2019-11-13T03:33:18.010" Title="What's the best working format for video making?" Tags="|file-formats|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28830" PostTypeId="1" CreationDate="2019-11-10T12:05:03.020" Score="1" ViewCount="148" Body="&lt;p&gt;I have a surveillance camera video backup that works 24/7, and I need to store it for the record and ready to use if any checking is needed. (No Business usage just personal)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I want a tool/software/..etc that can help me remove the duplicate frames or even check for example frames per minute and if they are not different remove the 60 seconds frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sorry, I'm not a video editor so I've no XP in that matter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there is no such a tool, I'm a software developer with somewhat decent matlab experience with image processing, but I don't know if I can have something to help with the matter.&lt;/p&gt;&#xA;" OwnerUserId="26757" LastActivityDate="2020-09-10T12:31:54.780" Title="How to remove steady video frames from 24/7 video?" Tags="|video-editor|editing|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28831" PostTypeId="2" ParentId="28744" CreationDate="2019-11-10T13:58:17.333" Score="1" Body="&lt;p&gt;You can use awkward pause script as sample and this tutorial:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/bWcbwj1g7cA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or I can do for you this project for some money :)&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2019-11-10T13:58:17.333" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28832" PostTypeId="2" ParentId="28829" CreationDate="2019-11-10T14:19:43.827" Score="0" Body="&lt;p&gt;I use Cinegy Daniel2 codec for editing in Premiere Pro.&#xA;This codec take more space on disk, but work veeeeery fast compare to H264.&#xA;Also it work more fast for me compare to ProRes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cinegy Daniel2 can be replaced with DNxHD MXF OP1a or MXF OP1a.&#xA;Try these codecs. In Premiere it works very good.&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2019-11-10T14:19:43.827" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28833" PostTypeId="2" ParentId="28678" CreationDate="2019-11-10T15:15:32.743" Score="1" Body="&lt;p&gt;You can use Premiere Pro or similar video editing software and plugin Flicker Free from Digital Anarchy with one of the preset.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Result of plugin work&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/q8oMo.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/q8oMo.gif&quot; alt=&quot;Result of plugin work&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Settings of the plugin in my case&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EEAWY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EEAWY.png&quot; alt=&quot;Settings of the plugin in my case&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also I know some other methods but they are poorer and harder.&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2019-11-10T15:15:32.743" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28834" PostTypeId="1" CreationDate="2019-11-10T23:06:08.300" Score="0" ViewCount="31" Body="&lt;p&gt;I'm trying to do a clipping mask a video to an image in After Effects. Basically, I'm putting this video on top of an iPhone but track matte settings doesn't seem to be working for this. I saw Luma Inverted Matte setting works for what I'm trying to achieve but it leaves my video with like a white overlay on top (see screenshot). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/D57th.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/D57th.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've already searched the ends of Google for this but can't seem to solve the problem. All I'm really trying to achieve is post my XD prototype on Dribbble but to do so, I had to record my screen, import it to After Effects and now deal with the iPhone background. Please help!&lt;/p&gt;&#xA;" OwnerUserId="26761" LastActivityDate="2019-12-11T14:00:50.093" Title="Trying to do a &quot;clipping mask&quot; a video to an image in After Effects" Tags="|after-effects|clipping|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28835" PostTypeId="1" AcceptedAnswerId="28842" CreationDate="2019-11-11T02:34:29.250" Score="0" ViewCount="27" Body="&lt;p&gt;Apologies if this is a video camera question rather than a video question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My JVC GY-HM700 camera lens, Canon KT14x44KRS has both a focus control, that goes from relatively close to infinity, and a macro control that shifts the entire focal range closer, starting somewhere inside the lens hood.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This means that if I'm filming something moving towards the lens, at some point I have to take my hand off the focus control and quickly adjust the macro control, then go back to the focus control.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this so that you have finer control of the focus when focusing on something that doesn't move too far toward or away from the lens? I guess I just find it a confusing control scheme, as I would have expected one focus control to cover the entire range. Is it because it's implemented with multiple Independent lenses?&lt;/p&gt;&#xA;" OwnerUserId="9245" LastActivityDate="2019-11-11T14:49:13.070" Title="Why two focus controls on Canon KT14X44KRS?" Tags="|lenses|focus|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28837" PostTypeId="1" AcceptedAnswerId="28869" CreationDate="2019-11-11T07:36:19.463" Score="0" ViewCount="20" Body="&lt;p&gt;I have added a text, created a mask and put mask on the text and when I want to move text, mask moves with it, how can I achieve a result, when mask remains and text moves&lt;/p&gt;&#xA;" OwnerUserId="26764" LastActivityDate="2019-11-14T10:22:30.547" Title="Problem with Adobe Premier masks" Tags="|premiere|adobe|mask|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28838" PostTypeId="2" ParentId="28834" CreationDate="2019-11-11T12:36:04.040" Score="1" Body="&lt;p&gt;Track mattes work by applying the alpha (transparency) or luma (≈ brightness) of one layer to the transparency of another layer. So in the case of an alpha matte, if the upper layer is transparent in an area (or opaque for alpha inverted), the lower layer will be too. In the case of luma mattes if the upper layer is black (or white for inverted*) then the lower layer will be transparent. The amount of transparency is controlled by the Luma of the matte layer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your example To get fully transparent / opaque mattes use curves or levels or brightness and contrast effects to adjust the contrast of the upper layer. Or use whatever you used to create the image and output one with a transparent / black background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;sub&gt; *could be the other way around, I always forget&lt;/sub&gt; &lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-11-11T12:36:04.040" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28840" PostTypeId="1" CreationDate="2019-11-11T14:42:44.193" Score="1" ViewCount="1597" Body="&lt;p&gt;Is it possible to animate letters to random position in After Effects? Yes I can do it manualy letter by letter but I want to achieve effect like on animation below for any input text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XZwO5.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XZwO5.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4296" LastActivityDate="2024-03-25T00:08:06.427" Title="After Effects: How to animate letters to random position" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28841" PostTypeId="1" CreationDate="2019-11-10T19:19:12.167" Score="0" ViewCount="64" Body="&lt;p&gt;How can I achieve this glass distortion effect that is caused by the circle in the middle? I am trying to achieve exactly the same level of distortion around the edges etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.instagram.com/p/B4sG3wGDs3H/?utm_source=ig_web_options_share_sheet&quot; rel=&quot;nofollow noreferrer&quot;&gt;Link to the original Instagram post&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="Dged" LastActivityDate="2024-03-20T21:03:05.363" Title="Glass/Magnification Effect — After Effects" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28842" PostTypeId="2" ParentId="28835" CreationDate="2019-11-11T14:49:13.070" Score="1" Body="&lt;p&gt;Many lenses of different types have separate Macro modes that allow the photographer to focus on objects that are closer than they normally would be able to. Generally this Macro mode would apply if the object is within 1' of the lens. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are plenty of ways to work around this limitation creatively, and nicer and more expensive lenses may offer better performance. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did check the manual for camera, and it doesn't have any information about the Macro mode unfortunately. &lt;/p&gt;&#xA;" OwnerDisplayName="user25890" LastActivityDate="2019-11-11T14:49:13.070" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28844" PostTypeId="2" ParentId="28792" CreationDate="2019-11-12T01:39:52.257" Score="-1" Body="&lt;p&gt;It might be false economy to try to do this in post. If you cost the time you will spend getting it to look halfway decent, it might work out a lot more expensive than going to your local furniture dealer or antiques shop and asking if you can borrow / rent a desk that looks like what you actually want. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A lot of smaller shop owners are happy for the publicity and will loan stock items for short periods in return for credits, or let you rent items, particularly things like antiques and second-hand goods. This is a pretty standard thing to do for indie film-makers, and I think will probably work out a lot more convincing than trying to do it with 3D.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-11-12T01:39:52.257" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28845" PostTypeId="1" AcceptedAnswerId="28846" CreationDate="2019-11-12T04:52:33.533" Score="0" ViewCount="1048" Body="&lt;p&gt;I have a slider-controlled source text which I try to sync with the corresponding graph bar. What I need is, to display one decimal point after the value of the slider is divided by 10. That is, if the slider's value is 80, I want to display the value, 8.0 on the source text. Of course I need the zero, after the 8, which is a whole number.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZxTHp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZxTHp.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14021" LastActivityDate="2019-11-12T06:55:54.373" Title="Display one decimal point after a whole number after divided by 10" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28846" PostTypeId="2" ParentId="28845" CreationDate="2019-11-12T05:36:30.337" Score="0" Body="&lt;h2&gt;For recent versions of AE (AE 2019+)&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;you can use the javascript &lt;code&gt;Intl.NumberFormat&lt;/code&gt; object, which does all the formatting for you without any tedious string munging and regex and all that carry-on.&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var sliderVal = thisComp.layer(&quot;controller).effect(&quot;206&quot;)(&quot;Slider&quot;);&#xA;Intl.NumberFormat('en-AU', {minimumFractionDigits: 1, maximumFractionDigits: 1}).format(sliderVal/10)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the &lt;code&gt;en-EN&lt;/code&gt; part is the locale string, and is your preferred locale, in other words, your culturally specific way of displaying numbers (&lt;code&gt;en-AU&lt;/code&gt; is for Australia, and uses &lt;code&gt;.&lt;/code&gt; for the decimal separator and &lt;code&gt;,&lt;/code&gt; for the thousands separator). This makes it &lt;em&gt;super&lt;/em&gt; easy to format, because it handles things like thousands separators, currency symbols and even what characters you want. You want it in Chinese decimals? Sure use &lt;code&gt;'zh-Hans-CN-u-nu-hanidec'&lt;/code&gt; and it will look like&lt;/p&gt;&#xA;&#xA;&lt;p&gt;一,六二九.二&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second parameter is the options, and here we get to specify things like &lt;code&gt;minimumFractionDigits&lt;/code&gt; and &lt;code&gt;maximumFractionDigits&lt;/code&gt;. You can also zero-pad the number with &lt;code&gt;minimumIntegerDigits&lt;/code&gt;, so a zero-padded number with 5 digits and one decimal place would be specified thus:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;Intl.NumberFormat('en-AU', {minimumIntegerDigits: 5, minimumFractionDigits: 1, maximumFractionDigits: 1}).format(theNumberToFormat); &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Read the docs &lt;strong&gt;&lt;a href=&quot;https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/NumberFormat&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's worth noting that the usual suspect for number formatting &lt;code&gt;someNumber.toLocaleString()&lt;/code&gt;, which is much simpler, doesn't work for what you want. For some reason in AE's implementation of JS it always returns two digits and adding &lt;code&gt;maximumFractionDigits&lt;/code&gt; as an option doesn't work. &lt;/p&gt;&#xA;&#xA;&lt;h2&gt;For earlier versions of AE&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Here's how to get the 1 decimal place after the number:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var n = Math.round(theNumberToFormat *10)/10;&#xA;(n % 1 === 0)? '' + n + &quot;.0&quot;: n&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The first line rounds off any digits after the first decimal, the second is for when the number is an integer (when &lt;code&gt;n % 1&lt;/code&gt; is 0, &lt;code&gt;%&lt;/code&gt; being the modulus operator which returns the remainder of the first number divided by the second), which would normally display with no decimal. If it is, it treats the resulting number as a string and adds &lt;code&gt;'.0'&lt;/code&gt; to the end of it. If you want thousands separators you need to do some further trickery, that's a common JS question on SO, e.g. &lt;a href=&quot;https://stackoverflow.com/questions/2901102/how-to-print-a-number-with-commas-as-thousands-separators-in-javascript&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var n = Math.round(theNumberToFormat *10)/10;&#xA;n = (n % 1 === 0)? '' + n + &quot;.0&quot;: n&#xA;n.toString().replace(/\B(?=(\d{3})+(?!\d))/g, &quot;,&quot;);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The last line is fancy regex voodo, I don't know exactly how it works, it's got something to do with lookaheads and whatnot. But it works.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-11-12T06:55:54.373" LastActivityDate="2019-11-12T06:55:54.373" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="28847" PostTypeId="2" ParentId="28792" CreationDate="2019-11-12T10:04:49.000" Score="2" Body="&lt;p&gt;What you are thinking about is a very great way to save production costs and is used in many cases on many sets. Here is what your pipeline would look like:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Shoot the footage with green tables&lt;/li&gt;&#xA;&lt;li&gt;Track the movement of the camera (using pfTrack preferably, but after effects can do the trick too)&lt;/li&gt;&#xA;&lt;li&gt;Importing the tracked movement into any 3D-software such as blender&lt;/li&gt;&#xA;&lt;li&gt;modeling the table so it fits the dimensions&lt;/li&gt;&#xA;&lt;li&gt;moving the 3D-camera using the tracked data, so the 3d-camera matches the real camera.&lt;/li&gt;&#xA;&lt;li&gt;rendering the sequence (preferably as an image sequence, such as .exr or .tiff)&lt;/li&gt;&#xA;&lt;li&gt;importing the 3D-asset into the compositing-program (such as After Effects)&lt;/li&gt;&#xA;&lt;li&gt;Keying out the green table and &quot;replacing&quot; it with the cgi table.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;These steps are requiered only if you have a moving camera. If you don't, you can scrap points 2, 3 and 5. So if you want to save effort in the post-production, you can try to lock down your camera and put some artificial movement on your footage once it's composited.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, the tricky part is getting the shadows and the perspective right. Make sure to pack something like a grey-ball, or something matte and something shiny, so you can hold them in the frame to have a reference for later. You might need to fake the contact-shadows of the arms and hands when they are placed on the table. All of this is manageable from inside After-Effects though, no need to fire up heavy artillery like Nuke.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-12T10:04:49.000" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28848" PostTypeId="2" ParentId="28841" CreationDate="2019-11-12T10:09:43.420" Score="0" Body="&lt;p&gt;You can use cc_glass for this sort of thing. There are great tutorials by andrew kramer from videocopilot, they might help you. Alternatively, this effect could also be created using a lens distort - you might want to try slapping it onto an adjustment-layer and masking the layer with a circle.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-12T10:09:43.420" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28849" PostTypeId="2" ParentId="28823" CreationDate="2019-11-12T10:19:29.397" Score="0" Body="&lt;p&gt;My god, this is practically the nightmare of any vfx-artist out there. Yes, it is possible - but at what price? You need to:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;track the shirt using Nuke, pfTrack or any sort of high-end tracking software.&lt;/li&gt;&#xA;&lt;li&gt;erase the current design, either using the logo if you have it as a file to subtract it, or by painstakingly rotoscoping and patching up every frame of your footage.&lt;/li&gt;&#xA;&lt;li&gt;recreate the lighting, folds and creases at the places you patched out the old logo.&lt;/li&gt;&#xA;&lt;li&gt;attach the new logo to the tracked motion&lt;/li&gt;&#xA;&lt;li&gt;recreate parallax and layering of the fabric in creases, most likely by keyframing every frame of the footage once again.&lt;/li&gt;&#xA;&lt;li&gt;color correcting the replaced part so it fits in with the rest of the shot.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;This may sound straight-forward and manageable, but it is a hell lot of work. Make sure to really think about this before attempting it - maybe go out with your t-shirt design and shoot the scene yourself. You will probably save yourself a lot of nerves and money.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-12T10:19:29.397" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28850" PostTypeId="2" ParentId="28791" CreationDate="2019-11-12T10:26:19.030" Score="1" Body="&lt;p&gt;If I understand correctly, your question is &quot;why is the footage of this camera blurry&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The answer to that would be: It is out of focus. Cameras have a focal point and everything straying away from that (spatially) will get blurry. You can see that the back-windows is in focus, meaning that the lens has its focal point further back.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-12T10:26:19.030" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28852" PostTypeId="2" ParentId="28828" CreationDate="2019-11-12T11:33:34.243" Score="3" Body="&lt;p&gt;Try to place the &lt;code&gt;-ss&lt;/code&gt; and &lt;code&gt;-to&lt;/code&gt; after the input: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;  -i input-original.mp4 \&#xA;  -ss 00:11:42 \&#xA;  -to 01:11:22 \&#xA;  -c copy \&#xA;  output-trimmed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;According to @Gyan (&lt;a href=&quot;https://stackoverflow.com/questions/45004159/ffmpeg-ss-and-t-for-cutting-mp3&quot;&gt;https://stackoverflow.com/questions/45004159/ffmpeg-ss-and-t-for-cutting-mp3&lt;/a&gt;)&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;When -ss and -t are placed before the input, ffmpeg resorts to fast&#xA;  seek which relies on the index of the input to allow ffmpeg to start&#xA;  and stop seeking. MP3s don't have indices, so ffmpeg estimates&#xA;  duration via bitrate. This can be inaccurate.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;When -ss and -t are placed after the input, ffmpeg counts demuxed&#xA;  packets. This will be accurate.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;If it doesn't work you can also try to convert your video to intra-frame format (try &lt;code&gt;ffvhuff&lt;/code&gt;), trim it and then convert it back to mp4 but this will slightly decrease the quality of the trimmed output. Keep in mind that &lt;code&gt;ffvhuff&lt;/code&gt; will create huge file in size so make sure you have enough free space if you want to go this way. &lt;/p&gt;&#xA;" OwnerUserId="19853" LastActivityDate="2019-11-12T11:33:34.243" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28853" PostTypeId="1" CreationDate="2019-11-12T15:01:21.440" Score="1" ViewCount="4153" Body="&lt;p&gt;I need to add an image (1 frame maybe) for one millisecond at the start of the mp4 video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final video should contain audio in the AAC system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I expect no delay in the audio while the video plays. I would like to have silence at first for one millisecond to avoid lagging video.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;OS: Linux/Debian&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I converted the first image to an mp4 video with &lt;code&gt;ffmpeg -i &amp;lt;static_picture.jpg&amp;gt; -c:v libx264 -s 256x144 -r 30 -t 0.03 -pix_fmt yuv420p image.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I merged the two videos by &lt;strong&gt;&lt;a href=&quot;https://stackoverflow.com/a/11175851/4061346&quot;&gt;concat demuxer&lt;/a&gt;&lt;/strong&gt; but the video submitted has no sound.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The result of &lt;code&gt;ffprobe -hide_banner -i Video.mp4&lt;/code&gt; is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'Video.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.20.100&#xA;  Duration: 00:03:52.40, start: 0.000000, bitrate: 96 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 256x144 [SAR 1:1 DAR 16:9], 94 kb/s, 25 fps, 25 tbr, 12800 tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26773" LastEditorUserId="26773" LastEditDate="2019-11-13T23:48:16.150" LastActivityDate="2020-08-13T23:02:45.420" Title="FFMPEG add image at beginning of MP4 as first frame" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28854" PostTypeId="2" ParentId="28853" CreationDate="2019-11-12T15:58:23.027" Score="3" Body="&lt;p&gt;I am not sure I understand your question correctly but you can extract the video and audio stream, format them the way you want and then re-multiplex them all with &lt;code&gt;ffmpeg&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v copy -an video_only.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;-an&lt;/code&gt; option is disabling the audio &lt;code&gt;-c:v copy&lt;/code&gt; is copying your video stream to &lt;code&gt;video_only.mp4&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:a copy -vn audio_only.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here you do the same but for the audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please note that 1 frame is different than 1 millisecond. The duration of your frame depends on the frame rate but usually is between 16,(6)ms for 60fps (1/60) content and 41,(6)ms for 24fps (1/24) You can have 1ms frame only if your video is 1000fps which I really doubt it is. The audio, on the other hand, has a normally 44100Hz or 48000Hz sampling rate, which means that the minimum sample duration with 48KHz is 2.08(3)E-5 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you are done you can multiplex the new video and new audio together by: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i new_video.mp4 -i new_audio.mp4 -c copy audio_and_video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In order for this to work you need to have the same duration of both input streams though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also concatenate a static picture to the video file. You can create your image.mp4 file with: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;lt;static_picture.jpg&amp;gt; -c:v libx264 -s 1920x1080 -r 50 -t 0.02 -pix_fmt yuv420p image.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will create an &lt;code&gt;image.mp4&lt;/code&gt; video with a duration of 20 ms (1-frame) with a frame rate of 50, encoded with &lt;code&gt;libx264&lt;/code&gt; and resolution 1920x1080 using pixel format YUV420p which you most likely need. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you can concatenate both files by: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;concat:image.mp4|original_video.mp4&quot; -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Make sure that the frame rate, resolution and pixel format of the &lt;code&gt;image.mp4&lt;/code&gt; and &lt;code&gt;original_video.mp4&lt;/code&gt; match otherwise it won't work. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;[EDIT 17.11.2019] Apparently in your case you need to use the concat filter which also will require re-encoding of the audio and video. So the commands are the following: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;lt;static_picture.jpg&amp;gt; -f lavfi -i anullsrc -c:v libx264 -s 256x144 -r 25 -t 0.04 -pix_fmt yuv420p -c:a aac -ac 2 -ar 44100 -shortest &amp;lt;image.mp4&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This command will create one frame long video with an empty audio stream, presuming that the second video is having 25fps. Please note that in your question the ffmpeg output of your input file is 25fps (&lt;code&gt;tbr&lt;/code&gt;) and not 30fps, as you have presumed. I am also setting the number of channels to two: &lt;code&gt;-ac 2&lt;/code&gt; and the sample rate to 44.1KHz. The number of channels and the sample rate should match between both videos. More information about the &lt;code&gt;anullsrc&lt;/code&gt; can be found here: &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Null&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Null&lt;/a&gt;&#xA;Then you can concatenate and encode the video with the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;lt;image.mp4&amp;gt; -i &amp;lt;second_video.mp4&amp;gt; -filter_complex &quot;[0:v:0][0:a:0][1:v:0][1:a:0]concat=2:v=1:a=1[v][a]&quot; -c:v libx264 -b:v 100k -map &quot;[v]&quot; -map &quot;[a]&quot; &amp;lt;output.mp4&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here I am taking both the video and audio streams from both video files and I am merging them to the output file and setting the video encoding bitrate to 100Kbps, the bitrate of your original video is 96Kbps and I have let ffmpeg decide how to encode the audio. You can change that if you want by defining codec, number of channels, sample rate. More information about the concat filter could be found here: &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Concatenate&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="19853" LastEditorUserId="19853" LastEditDate="2019-11-17T18:56:15.017" LastActivityDate="2019-11-17T18:56:15.017" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="28859" PostTypeId="1" CreationDate="2019-11-13T01:25:11.230" Score="1" ViewCount="288" Body="&lt;p&gt;If you want to create a 2D video to display on an Oculus Quest VR Headset, what is the highest video resolution the Oculus Quest is capable of displaying?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;720p or 1080p or 4K or what?  Do the technical specifications shed any light on this?&lt;/p&gt;&#xA;" OwnerUserId="19365" LastActivityDate="2024-03-11T20:06:50.803" Title="What is the maximum 2D video quality on Oculus Quest?" Tags="|video-quality|vr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28860" PostTypeId="2" ParentId="28829" CreationDate="2019-11-13T03:33:18.010" Score="1" Body="&lt;p&gt;The best format is using a temporal file of lower resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make a copy of your source material at half size, which will become 1/4 of the weight, then use some format that is compatible with your program and use it for the editing process, when it is ready, relink the videos to the original ones for the final render and done. Make some tests and see if the keyframes are working fine for small clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you only want to change the source material to another format you are degrading your video.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-11-13T03:33:18.010" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28861" PostTypeId="2" ParentId="28828" CreationDate="2019-11-13T09:15:51.237" Score="1" Body="&lt;p&gt;You can achieve the desired video without any broken or black frames by decoding and re-encoding the video. Although you need to know video codec and bit-rate in order to achieve so&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input-original.mp4 -ss 00:11:42 -strict -2 -to 01:11:22 -codec:v h264 -b:v 100k;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Note:&lt;/em&gt; If this does not work, try to change &lt;code&gt;-to&lt;/code&gt; switch to &lt;code&gt;-t&lt;/code&gt; and specify the duration.&lt;br&gt;&#xA;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="26779" LastEditorUserId="18155" LastEditDate="2019-11-14T05:29:37.673" LastActivityDate="2019-11-14T05:29:37.673" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28862" PostTypeId="2" ParentId="28840" CreationDate="2019-11-13T10:01:01.997" Score="0" Body="&lt;p&gt;You could probably write a complicated expression which will allow you to do that. If you deal with short words like those though, I would recommend you duplicate the text layer and mask out one letter for each layer. You can then animate each layer in position and scale so that the letters move into place&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-13T10:01:01.997" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28864" PostTypeId="1" CreationDate="2019-11-13T16:36:40.640" Score="1" ViewCount="19" Body="&lt;p&gt;there is an online database for raw videos?&#xA;I wanted to download some videos in RAW Format for a university work and I can't find none. &#xA;The job I have to do is to encode the RAW video with different codecs, but for that I will need some RAW videos. All the videos I found are encoded with some codec. Can you help me?&lt;/p&gt;&#xA;" OwnerUserId="26782" LastActivityDate="2019-11-13T16:36:40.640" Title="RAW Format videos database" Tags="|video|video-quality|codec|raw|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28865" PostTypeId="1" CreationDate="2019-11-13T18:11:14.027" Score="0" ViewCount="30" Body="&lt;p&gt;As the title says, we had an event recently and I plan to make a movie with the video from the event captured by four separate cameras. The files are ~500kb each. There are four folders, each with about 15000 files. I'd like to make one video per folder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried putting them in a storyboard in Windows Photos and I'm currently trying to Open Multiple Files - Convert with VLC. My i7-4770 is having a hard time with it, the files are on my Samsung 860 EVO SSD but this is still taking forever.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyone have any bright ideas?&lt;/p&gt;&#xA;" OwnerUserId="26784" LastActivityDate="2019-11-13T18:11:14.027" Title="How to quickly merge a LOT (and i mean a LOT) of footage?" Tags="|video|conversion|vlc|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="28866" PostTypeId="1" AcceptedAnswerId="29748" CreationDate="2019-11-13T20:40:49.780" Score="1" ViewCount="190" Body="&lt;p&gt;I am using Kdenlive to edit a school project and I need to use small amounts of a green-screen effect. I have seen several tutorials and understand how to do it, but the composite effect will not stretch. In every tutorial I have seen the composite starts large and is able to stretch, but when I do it it starts small and will not stretch. I cannot find any handles to stretch it with. I can use the glove to move it around, but not stretch it. Any help is appreciated!&lt;/p&gt;&#xA;" OwnerUserId="26786" LastActivityDate="2020-03-19T01:20:05.450" Title="Kdenlive composite effect not stretching" Tags="|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28867" PostTypeId="1" CreationDate="2019-11-14T00:15:21.303" Score="0" ViewCount="80" Body="&lt;p&gt;We are looking to set-up a page of multiple camera outputs on the same website and make it available to multiple people via the web. Kind of like a security or traffic camera screen with multiple cameras always in view. It is even fine if it's just still images getting updated every 10 seconds or so. The main requirement is that it should take zero set-up for the users, nothing to install, no long loading times, etc. Ideally just a webpage showing the images of all cameras.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am sure there must be existing solutions, that we can just plugin into, something in the security or traffic space. But I can't find anything online, I think part of the problem is also that I don't know what terms to search for. Does anyone have any hints for me?&lt;/p&gt;&#xA;" OwnerUserId="26787" LastActivityDate="2022-11-28T08:00:40.117" Title="Software to host multiple camera images at once" Tags="|video|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28868" PostTypeId="2" ParentId="28867" CreationDate="2019-11-14T01:31:37.900" Score="1" Body="&lt;p&gt;Since the advent of HTML5 you can do this with a standard webpage that contains multiple  elements, with no special software required. This will embed a video in a page that any modern browser can see.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;video width=&quot;320&quot; height=&quot;240&quot; controls&amp;gt;&#xA;  &amp;lt;source src=&quot;movie.mp4&quot; type=&quot;video/mp4&quot;&amp;gt;&#xA;  &amp;lt;source src=&quot;movie.ogg&quot; type=&quot;video/ogg&quot;&amp;gt;&#xA;Your browser does not support the video tag.&#xA;&amp;lt;/video&amp;gt; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;A primer on the HTML5 video element &lt;a href=&quot;https://www.w3schools.com/html/html5_video.asp&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you're streaming the video it's a little more complex, you need to use the &lt;a href=&quot;https://developer.mozilla.org/en-US/docs/Web/API/Media_Source_Extensions_API&quot; rel=&quot;nofollow noreferrer&quot;&gt;media source extension&lt;/a&gt;. If you want to look at how streaming works, there's a good guide &lt;a href=&quot;https://medium.com/canal-tech/how-video-streaming-works-on-the-web-an-introduction-7919739f7e1&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-11-14T01:31:37.900" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28869" PostTypeId="2" ParentId="28837" CreationDate="2019-11-14T10:22:30.547" Score="0" Body="&lt;p&gt;Nest the text layer, so that the animation works in within the composition and then mask the nested composition.&lt;/p&gt;&#xA;" OwnerUserId="6118" LastActivityDate="2019-11-14T10:22:30.547" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28872" PostTypeId="2" ParentId="28693" CreationDate="2019-11-14T14:50:57.210" Score="0" Body="&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Sunsets and Sunrises&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Battle scenes with fire&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;indoor dark scenes with source of light (window during day, lamp during evening)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;concerts&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;disco (problems with moving objects...)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="26522" LastEditorUserId="26522" LastEditDate="2019-11-26T16:32:02.673" LastActivityDate="2019-11-26T16:32:02.673" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28873" PostTypeId="1" CreationDate="2019-11-14T15:07:26.273" Score="0" ViewCount="49" Body="&lt;p&gt;I'm going to work with conversion from SDR to HDR content. So I am looking for material where I can compare 2 version of the same movie, e.g. &quot;A star is born&quot; in HDR and in SDR. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that HDR by means is &quot;higher dynamic range&quot;, &quot;wider color space&quot;, &quot;higher bit depth&quot; and 4k (from &lt;a href=&quot;https://video.stackexchange.com/a/21678/26522&quot;&gt;https://video.stackexchange.com/a/21678/26522&lt;/a&gt;). But I'm little confused, how these movies are assembled. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Questions:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Do the operator has a couple of cameras with different exposure settings? E.g. first camera with 1/120s, second 1/60s and third 1/30s?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Or maybe movie is recorded in RAW format, and I can get material 1/120, 1/60 and 1/30 from RAW format? &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Who is mearging these material? I'm pretty sure, that software will do that, but this software can be controlled - do you know which software do they use? Adobe Premiere?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Do I need camera with recording material in 2020 colorspace to get HDR movie?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;--edit--&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;5&quot;&gt;&#xA;&lt;li&gt;Is this camera solves all of my questions: Alexa SXT (&lt;a href=&quot;https://en.wikipedia.org/wiki/Arri_Alexa#Alexa_SXT&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Arri_Alexa#Alexa_SXT&lt;/a&gt;) ?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="26522" LastEditorUserId="26522" LastEditDate="2019-11-14T15:40:24.083" LastActivityDate="2024-03-23T04:03:40.407" Title="How is looking process of making HDR movie?" Tags="|software|hardware|hdr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28874" PostTypeId="2" ParentId="28873" CreationDate="2019-11-14T15:43:10.007" Score="0" Body="&lt;p&gt;After some searching I have get this link: &lt;a href=&quot;https://photography.tutsplus.com/tutorials/what-is-hdr-video-3-ways-to-create-high-dynamic-range-video--cms-25884&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://photography.tutsplus.com/tutorials/what-is-hdr-video-3-ways-to-create-high-dynamic-range-video--cms-25884&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to this link and RED company's cameras:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;No there are now multiple cameras which are recording the same scene&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;These special cameras records one shoot as 2 separate frames. First overexposed, second underexposed&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="26522" LastActivityDate="2019-11-14T15:43:10.007" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28875" PostTypeId="1" AcceptedAnswerId="28877" CreationDate="2019-11-14T17:31:56.773" Score="0" ViewCount="554" Body="&lt;p&gt;I created a video from a bunch of images off my camera using FFMPEG. I set it to 10fps. The output video looks fine. As soon as I upload it to Facebook or Youtube the quality is reduced significantly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the command I used to create the video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -framerate 10 -pattern_type glob -i 'resized/*.JPG' -s:v 1280x720 -c:v libx264 -profile:v high -crf 20 -pix_fmt yuv420p  out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Each image has been resized to 1000x1500 pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Screenshot from video from ffmpeg: &lt;a href=&quot;https://www.dropbox.com/s/r3v30lj15a5hl6a/local.png?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dropbox.com/s/r3v30lj15a5hl6a/local.png?dl=0&lt;/a&gt;&#xA;Screenshot from video from Youtube: &lt;a href=&quot;https://www.dropbox.com/s/qrur54r7xsnnrxs/youtube.png?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dropbox.com/s/qrur54r7xsnnrxs/youtube.png?dl=0&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you look carefully you can see the Youtube one is missing a lot of sharpness and detail. It looks much worse when playing through the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FYI - I know nothing about video encoding, I just googled for the ffmpeg command so most likely I am doing something silly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="26796" LastActivityDate="2019-11-14T18:42:10.257" Title="How to avoid quality loss on yotube/fb when encoding images into video via FFMPEG" Tags="|ffmpeg|video-quality|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28876" PostTypeId="1" CreationDate="2019-11-14T18:27:17.610" Score="1" ViewCount="10" Body="&lt;p&gt;In the field I accidentally recorded about 80 clips at 50% slo-motion and need to restore the video to normal motion.  Audio is recorded at the proper speed. Is there a way to do this, as a batch, in the media browser, rather than individually in the timeline? If I must do it in the timeline, can multiple clips be fixed at once? and then exported as individual clips back to the media browser?&lt;/p&gt;&#xA;" OwnerUserId="26798" LastActivityDate="2019-11-14T18:27:17.610" Title="I want to double the speed of master video clips while retaining the audio's original speed" Tags="|video|premiere|adobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28877" PostTypeId="2" ParentId="28875" CreationDate="2019-11-14T18:42:10.257" Score="1" Body="&lt;p&gt;YouTube re-encodes whatever you give it. The process is lossy so there will be a quality reduction. All you can do is give it a very high quality:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 10 -pattern_type glob -i 'resized/*.JPG' -vf scale=1280:-2 -c:v libx264 -crf 17 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Use &lt;code&gt;-crf 17&lt;/code&gt; or &lt;code&gt;-crf 18&lt;/code&gt; for higher quality.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Try without &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt;. I'm not sure what YouTube uses for pixel format conversion, but perhaps it will look better than the FFmpeg swscale if they are using something different.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;No need for &lt;code&gt;-profile:v high&lt;/code&gt;. Let the encoder choose. You usually only need to set a profile when your target device is limited in profile support.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-11-14T18:42:10.257" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28878" PostTypeId="1" CreationDate="2019-11-15T00:01:52.590" Score="0" ViewCount="621" Body="&lt;p&gt;Platform is Linux, CLI tools is needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are two files: one for left eye another for right eye. I search a way to compose it into single 3D MKV (or any other container) with alternate frame format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried FFmpeg filter &lt;code&gt;framepack&lt;/code&gt; and MKV metadata &lt;code&gt;stereo_mode=block_lr&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input_l.mkv -i input_r.mkv -filter_complex framepack=frameseq -metadata stereo_mode=block_lr -y out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But result is short, not all frames repacked/remuxed: input files contains 500 frames, out.mkv contains only 32 one and has doubled FPS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I expect, that output file will contain 1000 frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any tools are welcomed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another related question: is it possible to do such muxing without frame re-encoding? Input files already well-coded and I want just repack them into 3D video format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS FFmpeg version 4.2.1&lt;/p&gt;&#xA;" OwnerUserId="12104" LastActivityDate="2019-11-16T22:16:55.017" Title="How to create Frame Sequential / Alternate frames 3D video from two separate one" Tags="|video|ffmpeg|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28879" PostTypeId="1" AcceptedAnswerId="28904" CreationDate="2019-11-15T02:04:03.397" Score="0" ViewCount="678" Body="&lt;p&gt;I am familiar with the &lt;code&gt;copy&lt;/code&gt; and &lt;code&gt;paste attributes&lt;/code&gt; method for pasting effects on multiple clips, however when I tried this method to paste my opacity keyframes from one clip to another, nothing happened.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All I'm after is some animated opacity levels (start from 50% reach 100% opacity in the middle of the clip then at the end of the clip bring the opacity down to 0%). &lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Question&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Does &lt;code&gt;paste-attributes&lt;/code&gt; not work for opacity? If not, what is a similar labor-saving solution I can try?&lt;/p&gt;&#xA;" OwnerUserId="26800" LastActivityDate="2019-11-18T16:03:16.050" Title="Premiere Pro - How to paste effects? (namely opacity)" Tags="|premiere|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28881" PostTypeId="1" CreationDate="2019-11-15T13:58:56.183" Score="0" ViewCount="222" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/GfIPI7K9nK0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any advice on software that can help make videos like this? I don't think it is Adobe software because I believe the software provides a lot of art and animations so that you don't have to be an illustrator / animator to tell a story through video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any advice greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="26804" LastActivityDate="2024-03-25T11:02:00.220" Title="What software can I use that provides easy to use art and animations to make videos like this?" Tags="|software-recommendation|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28882" PostTypeId="1" CreationDate="2019-11-15T15:35:02.047" Score="0" ViewCount="405" Body="&lt;p&gt;I have a video that I have edited and saved as mp4 several times, each time the last few seconds gets cut off.  The frame freezes but I hear the sound, and the closing credits are cut off.  Same result on a 30 minute version and 15 minute edited version.&lt;/p&gt;&#xA;" OwnerUserId="26805" LastActivityDate="2024-03-29T04:02:35.443" Title="The end of my video gets cut off every time I finalize" Tags="|final-cut-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28883" PostTypeId="2" ParentId="28882" CreationDate="2019-11-15T17:06:02.680" Score="0" Body="&lt;p&gt;&lt;strong&gt;You might want to check the framerate of your video and the one of your composition and match it.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If they don't match the app will try to fill the timeline of the composition with footage that is 'shorter' in terms of frames per seconds.&lt;/p&gt;&#xA;" OwnerUserId="6118" LastActivityDate="2019-11-15T17:06:02.680" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28884" PostTypeId="1" CreationDate="2019-11-15T18:51:37.133" Score="1" ViewCount="242" Body="&lt;p&gt;I've been trying to transcode an MTS (recorded on a Panasonic) to MP4 with Adobe Media Encoder. The audio/video has consistently gone out of sync. I've matched the source, gone over all the settings, and restarted both computer and program, but it hasn't seemed to work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then turned to other encoders with different results. Out of all of the ones I tried, &lt;a href=&quot;https://videoconverter.wondershare.com/free-video-converter.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wondershare Free Video Converter&lt;/a&gt; seemed to work the best: it didn't desync the audio/video, and it didn't interpolate the video. Using &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt;, I tried to recreate all the parameters from Wondershare to Encoder, but the audio/video STILL go out of sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just don't know what I'm doing wrong. Below are the specs of the MTS (original), Wonder Share (no sync issues), and Encoder (-500ms audio/video desync).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;MTS&lt;/strong&gt; (original)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General &#xA;ID : 1 (0x1) &#xA;Complete name : E:\2019\001.MTS &#xA;Format : BDAV &#xA;Format/Info : Blu-ray Video &#xA;File size : 1.94 GiB &#xA;Duration : 23 min 52 s &#xA;Overall bit rate mode : Variable &#xA;Overall bit rate : 11.6 Mb/s &#xA;Maximum Overall bit rate : 18.0 Mb/s &#xA;Recorded date : 2019-01-18 14:24:17-05:00 &#xA;Writing application : Panasonic &#xA;&#xA;Video &#xA;ID : 4113 (0x1011) &#xA;Menu ID : 1 (0x1) &#xA;Format : AVC &#xA;Format/Info : Advanced Video Codec &#xA;Format profile : High@L4 &#xA;Format settings : CABAC / 2 Ref Frames &#xA;Format settings, CABAC : Yes &#xA;Format settings, Reference frames : 2 frames &#xA;Format settings, GOP : M=3, N=15 &#xA;Codec ID : 27 &#xA;Duration : 23 min 52 s &#xA;Bit rate mode : Variable &#xA;Bit rate : 10.8 Mb/s &#xA;Maximum bit rate : 16.8 Mb/s &#xA;Width : 1 920 pixels &#xA;Height : 1 080 pixels &#xA;Display aspect ratio : 16:9 &#xA;Frame rate : 29.970 (30000/1001) FPS &#xA;Color space : YUV &#xA;Chroma subsampling : 4:2:0 &#xA;Bit depth : 8 bits &#xA;Scan type : Interlaced &#xA;Scan type, store method : Separated fields &#xA;Scan order : Top Field First &#xA;Bits/(Pixel*Frame) : 0.173 &#xA;Stream size : 1.79 GiB (93%) &#xA;&#xA;Audio &#xA;ID : 4352 (0x1100) &#xA;Menu ID : 1 (0x1) &#xA;Format : AC-3 &#xA;Format/Info : Audio Coding 3 &#xA;Commercial name : Dolby Digital &#xA;Codec ID : 129 &#xA;Duration : 23 min 52 s &#xA;Bit rate mode : Constant &#xA;Bit rate : 384 kb/s &#xA;Channel(s) : 6 channels &#xA;Channel layout : L R C LFE Ls Rs &#xA;Sampling rate : 48.0 kHz &#xA;Frame rate : 31.250 FPS (1536 SPF) &#xA;Compression mode : Lossy &#xA;Delay relative to video : -434 ms &#xA;Stream size : 65.6 MiB (3%) &#xA;Service kind : Complete Main &#xA;&#xA;Text &#xA;ID : 4608 (0x1200) &#xA;Menu ID : 1 (0x1) &#xA;Format : PGS &#xA;Codec ID : 144 &#xA;Duration : 23 min 52 s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Wondershare&lt;/strong&gt; (no sync issues)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General &#xA;Complete name : C:\Users\elm201\Desktop\Wondershare\Converted\001_H.264_Prog_6mbps_AAC.mp4 &#xA;Format : MPEG-4 &#xA;Format profile : Base Media / Version 2 &#xA;Codec ID : mp42 (mp42) &#xA;File size : 172 MiB &#xA;Duration : 3 min 54 s &#xA;Overall bit rate : 6 143 kb/s &#xA;Codirector : codirector &#xA;Production studio : studio &#xA;ContentType : Unknown Type &#xA;Encoded date : UTC 2019-11-15 14:08:02 &#xA;Tagged date : UTC 2019-11-15 14:08:02 &#xA;&#xA;Video &#xA;ID : 1 &#xA;Format : AVC &#xA;Format/Info : Advanced Video Codec &#xA;Format profile : Main@L4.1 &#xA;Format settings : CABAC / 2 Ref Frames &#xA;Format settings, CABAC : Yes &#xA;Format settings, Reference frames : 2 frames &#xA;Format settings, GOP : M=3, N=25 &#xA;Muxing mode : Container profile=Baseline@3.0 &#xA;Codec ID : avc1 &#xA;Codec ID/Info : Advanced Video Coding &#xA;Duration : 3 min 54 s &#xA;Bit rate : 6 008 kb/s &#xA;Width : 1 920 pixels &#xA;Height : 1 080 pixels &#xA;Display aspect ratio : 16:9 &#xA;Frame rate mode : Constant &#xA;Frame rate : 29.970 (30000/1001) FPS &#xA;Color space : YUV &#xA;Chroma subsampling : 4:2:0 &#xA;Bit depth : 8 bits &#xA;Scan type : Progressive &#xA;Bits/(Pixel*Frame) : 0.097 &#xA;Stream size : 168 MiB (98%) &#xA;Language : English &#xA;Codec configuration box : avcC &#xA;&#xA;Audio &#xA;ID : 2 &#xA;Format : AAC LC &#xA;Format/Info : Advanced Audio Codec Low Complexity &#xA;Codec ID : mp4a-40-2 &#xA;Duration : 3 min 54 s &#xA;Bit rate mode : Constant &#xA;Bit rate : 128 kb/s &#xA;Channel(s) : 2 channels &#xA;Channel layout : L R &#xA;Sampling rate : 44.1 kHz &#xA;Frame rate : 43.066 FPS (1024 SPF) &#xA;Compression mode : Lossy &#xA;Stream size : 3.57 MiB (2%) &#xA;Title : Stereo &#xA;Language : English &#xA;Default : Yes &#xA;Alternate group : 1 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Encoder&lt;/strong&gt; (-500ms off)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General &#xA;Complete name : C:\Users\elm201\Desktop\Encoder\001_Progressive_6mbps_Constant.mp4 &#xA;Format : MPEG-4 &#xA;Format profile : Base Media / Version 2 &#xA;Codec ID : mp42 (mp42/mp41) &#xA;File size : 168 MiB &#xA;Duration : 3 min 49 s &#xA;Overall bit rate mode : Variable &#xA;Overall bit rate : 6 139 kb/s &#xA;Encoded date : UTC 2019-11-15 14:51:40 &#xA;Tagged date : UTC 2019-11-15 14:53:00 &#xA;TIM : 00:20:02:17 &#xA;TSC : 30000 &#xA;TSZ : 1001 &#xA;&#xA;Video &#xA;ID : 1 &#xA;Format : AVC &#xA;Format/Info : Advanced Video Codec &#xA;Format profile : Main@L4.1 &#xA;Format settings : CABAC / 4 Ref Frames &#xA;Format settings, CABAC : Yes &#xA;Format settings, Reference frames : 4 frames &#xA;Format settings, GOP : M=4, N=29 &#xA;Codec ID : avc1 &#xA;Codec ID/Info : Advanced Video Coding &#xA;Duration : 3 min 49 s &#xA;Bit rate : 6 009 kb/s &#xA;Width : 1 920 pixels &#xA;Height : 1 080 pixels &#xA;Display aspect ratio : 16:9 &#xA;Frame rate mode : Constant &#xA;Frame rate : 29.970 (30000/1001) FPS &#xA;Color space : YUV &#xA;Chroma subsampling : 4:2:0 &#xA;Bit depth : 8 bits &#xA;Scan type : Progressive &#xA;Bits/(Pixel*Frame) : 0.097 &#xA;Stream size : 164 MiB (98%) &#xA;Language : English &#xA;Encoded date : UTC 2019-11-15 14:51:40 &#xA;Tagged date : UTC 2019-11-15 14:51:40 &#xA;Color range : Limited &#xA;Color primaries : BT.709 &#xA;Transfer characteristics : BT.709 &#xA;Matrix coefficients : BT.709 &#xA;Codec configuration box : avcC &#xA;&#xA;Audio &#xA;ID : 2 &#xA;Format : AAC LC &#xA;Format/Info : Advanced Audio Codec Low Complexity &#xA;Codec ID : mp4a-40-2 &#xA;Duration : 3 min 49 s &#xA;Source duration : 3 min 49 s &#xA;Bit rate mode : Variable &#xA;Bit rate : 126 kb/s &#xA;Maximum bit rate : 206 kb/s &#xA;Channel(s) : 2 channels &#xA;Channel layout : L R &#xA;Sampling rate : 44.1 kHz &#xA;Frame rate : 43.066 FPS (1024 SPF) &#xA;Compression mode : Lossy &#xA;Stream size : 3.43 MiB (2%) &#xA;Source stream size : 3.43 MiB (2%) &#xA;Language : English &#xA;Encoded date : UTC 2019-11-15 14:51:40 &#xA;Tagged date : UTC 2019-11-15 14:51:40 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26806" LastActivityDate="2022-10-24T21:50:55.507" Title="Adobe Encoder Desyncs Video/Audio (MTS to MP4)" Tags="|encoding|adobe|transcoding|sync|adobe-media-encoder|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28885" PostTypeId="2" ParentId="27901" CreationDate="2019-11-15T22:00:48.563" Score="1" Body="&lt;p&gt;If you can start from a GPX file, Google Earth Pro is an alternative as proposed above. I found that there were several small details to learn in the process. I was creating an inset map based on a track recorded in a GPS. (GPX file.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you didn't have that input you can manually create a track in Google Earth Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I made a video covering some Tips and Tricks from my process. See: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Ngnigo4dsrY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="26808" LastActivityDate="2019-11-15T22:00:48.563" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28886" PostTypeId="1" CreationDate="2019-11-15T22:06:26.363" Score="1" ViewCount="161" Body="&lt;p&gt;I'm having a problem in Final Cut Pro X (10.3.4) where when I create a &lt;em&gt;New Compound Clip&lt;/em&gt; with a shape, the shape disappears.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Screenshot 1 below shows the shape before making the compound clip&lt;/li&gt;&#xA;&lt;li&gt;Screenshot 2 shows me selecting the two clips and right clicking to make &lt;em&gt;New Compound Clip&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Screenshot 3 shows the resulting compound clip - note how the shape is no longer visible&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qOL9I.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qOL9I.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/47yRB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/47yRB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/oX7A7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oX7A7.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26807" LastActivityDate="2019-11-15T22:06:26.363" Title="FCP: Shape disappears when made into a compound clip" Tags="|final-cut-pro-x|final-cut-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28887" PostTypeId="1" AcceptedAnswerId="28905" CreationDate="2019-11-16T03:57:40.727" Score="0" ViewCount="93" Body="&lt;p&gt;I need help finding a way to speed up the process creating videos compilations using VLC and Adobe Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a folder with 100 videos, I'll watch the videos using VLC and I'll choose 20 of those videos to use on Adobe Premiere to create a compilation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried creating a VLC playlist with those 20 videos but Premiere doesn't open the playlists. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I open those 20 videos out of 100 on Premiere not having to do it manually?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have to create video compilations daily so I need to find a way to speed up the process.&lt;/p&gt;&#xA;" OwnerUserId="26809" LastEditorUserId="26809" LastEditDate="2019-11-16T04:08:56.340" LastActivityDate="2019-11-18T16:15:07.470" Title="How to speed up the process using VLC and Adobe Premiere for video compilations" Tags="|premiere|video-editor|adobe|vlc|playlist|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28888" PostTypeId="2" ParentId="28887" CreationDate="2019-11-16T08:19:39.850" Score="0" Body="&lt;p&gt;Why not import the folder into PP and watch and sort them in PP? After all that is the whole purpose of the application. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you watch them you add the ones you want to the end of a timeline (hit the &lt;code&gt;.&lt;/code&gt; key). This is called an assembly edit. Then you can trim your selected clips later.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-11-16T08:19:39.850" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28889" PostTypeId="1" CreationDate="2019-11-16T09:03:32.683" Score="1" ViewCount="3936" Body="&lt;p&gt;I would like to resize a 4K mkv video to 1920×1080 with &lt;code&gt;ffmpeg version 3.4.6-0ubuntu0.18.04.1&lt;/code&gt; on Ubuntu 18.04. The original file has the following features:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, matroska,webm&#xA;encoder         : libebml v1.3.9 + libmatroska v1.5.2&#xA;Stream #0:0(eng): Video: hevc (Main 10), yuv420p10le(tv, bt2020nc/bt2020/smpte2084), 3840x2160 [SAR 1:1 DAR 16:9], 23.98 fps, 23.98 tbr, 1k tbn, 23.98 tbc (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This version of &lt;code&gt;FFmpeg&lt;/code&gt; may not support &lt;code&gt;x265&lt;/code&gt;. I compiled a new version from the current &lt;a href=&quot;https://ffmpeg.org/download.html#get-sources&quot; rel=&quot;nofollow noreferrer&quot;&gt;Git repository&lt;/a&gt;, explicitly &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.265&quot; rel=&quot;nofollow noreferrer&quot;&gt;enabling &lt;code&gt;x265&lt;/code&gt;&lt;/a&gt;. Now, &lt;code&gt;ffmpeg -hide_banner -pix_fmts&lt;/code&gt; has, in its output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;FLAGS NAME            NB_COMPONENTS BITS_PER_PIXEL&#xA;-----&#xA;IO... yuv420p10le            3            15&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This format should now be supported both for encoding and for decoding. I tried:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i original_file.mkv -c:v libx265 -pix_fmt + -vf scale=1920:1080 -colorspace bt709 -c:a copy test_output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This produces:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, matroska,webm, from 'test_output.mkv':&#xA;  Metadata:&#xA;    ENCODER         : Lavf58.35.100&#xA;    Stream #0:0(eng): Video: hevc (Main 10), yuv420p10le(tv, bt709/unknown/unknown), 1920x1080 [SAR 1:1 DAR 16:9], 23.98 fps, 23.98 tbr, 1k tbn, 23.98 tbc (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So, it is apparently ok. However, &lt;code&gt;test_output.mkv&lt;/code&gt; colors still seem to be half the intensity of the original one, as if a grey layer was overlapped to the 4K video. I opened the file with both &lt;code&gt;vlc&lt;/code&gt; and &lt;code&gt;mpv&lt;/code&gt;, with no difference.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;How to preserve the original colors as much as possible?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If it is possible, I would also like to lower the bitrate, but my attempt&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i original_file.mkv -s 1920x1080 -b 1700 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;produced a solid grey-only video with some moving squares.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I always get this message:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[matroska,webm @ 0x55a5507ad100] Could not find codec parameters for stream 1 (Subtitle: hdmv_pgs_subtitle (pgssub)): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;FFmpeg&lt;/code&gt; built from source has the following configuration:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-95768-gd831edc387 Copyright (c) 2000-2019 the FFmpeg developers&#xA;built with gcc 7 (Ubuntu 7.4.0-1ubuntu1~18.04.1)&#xA;configuration: --enable-gpl --enable-libx264 --enable-libx265&#xA;libavutil      56. 36.100 / 56. 36.100&#xA;libavcodec     58. 62.100 / 58. 62.100&#xA;libavformat    58. 35.100 / 58. 35.100&#xA;libavdevice    58.  9.101 / 58.  9.101&#xA;libavfilter     7. 66.100 /  7. 66.100&#xA;libswscale      5.  6.100 /  5.  6.100&#xA;libswresample   3.  6.100 /  3.  6.100&#xA;libpostproc    55.  6.100 / 55.  6.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26810" LastEditorUserId="26810" LastEditDate="2019-11-19T16:14:49.297" LastActivityDate="2021-03-16T09:28:05.547" Title="FFmpeg does not preserve colors after resizing" Tags="|ffmpeg|video-quality|transcoding|mkv|scale|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28890" PostTypeId="1" CreationDate="2019-11-16T13:23:23.287" Score="0" ViewCount="1086" Body="&lt;p&gt;I have been extracting frames from videos, editing these frames using ffmpeg, then converting the edited image sequence back into videos.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# Get the video's framerate&#xA;ffprobe -v 0 -of csv=p=0 -select_streams v:0 -show_entries stream=r_frame_rate video_in.webm&#xA;# e.g. cmd returns 5675/189&#xA;&#xA;ffmpeg -i video_in.webm ./frames/image%05d.png&#xA;cd ./frames&#xA;# Image editing by various means, usually ending with&#xA;ffmpeg -i input1.png -i image%05d.png -filter_complex hstack ./output/image%05d.png&#xA;cd ./output&#xA;ffmpeg -framerate 5675/189 -i image%05d.png -c:v libvpx-vp9 -pix_fmt yuva420p -lossless 1 video_out.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For most videos, things work perfectly. For some, though, the output video seems to be missing the last few frames (e.g. maybe 0.5-1 seconds worth). In the latest video where it happened (though not the only one), I had deleted some of the ending frames of the original image sequence i.e. I extracted 220+ frames, manually deleted the last 20+, so I'm only left with ~200, performed additional editing as in the above code, then combined together back into a video. Yet when I view the video, it seems to stop at around frame 170-80+ and the rest is seemingly dropped.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had seen it happen before, but those videos are maybe 1-2s long so I thought maybe it's too short, and settled for converting to gifs instead. But for this particular occurrence the output video is ~6s long. That's near the lower bound of the usual output video durations I work with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is that happening? I'm not an expert in video-editing technicalities, so I don't know if I didn't configure something or is doing something wrong. What's going wrong here and how do I fix it? Thanks!&lt;/p&gt;&#xA;" OwnerUserId="26714" LastActivityDate="2019-11-16T13:23:23.287" Title="FFMPEG dropping last few frames when converting image sequence to video" Tags="|ffmpeg|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="28891" PostTypeId="2" ParentId="15187" CreationDate="2019-11-16T14:40:23.043" Score="1" Body="&lt;p&gt;you just right clic the clip, select insert / remove embelop ,  velocity ,  then rise up that green line that appears on your clip. &lt;/p&gt;&#xA;" OwnerUserId="26811" LastActivityDate="2019-11-16T14:40:23.043" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28892" PostTypeId="1" AcceptedAnswerId="28894" CreationDate="2019-11-16T15:00:23.810" Score="1" ViewCount="42" Body="&lt;p&gt;I have some typical LED desk lamps that I am using to light a human subject indoors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The light hue from these lamps looks white to the naked eye.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The intensity of light is more than sufficient, but when it comes to grading the footage it looks almost colorless when I reduce the red component.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could this be because the wavelengths of light emitted from these lights is not uniform across the spectrum?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does this mean I need to get film lights that emit light right across the visible spectrum?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Will cheap LED photography light panels deliver wide spectrum light that will enable accurate color reproduction in post?&lt;/p&gt;&#xA;" OwnerUserId="23121" LastActivityDate="2019-11-16T18:40:35.050" Title="Light wavelengths and color reproduction / grading" Tags="|lighting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28893" PostTypeId="2" ParentId="28840" CreationDate="2019-11-16T16:55:47.160" Score="0" Body="&lt;p&gt;How about &lt;strong&gt;Text-&gt;Animate-&gt;Position&lt;/strong&gt; and then &lt;strong&gt;Add-&gt;Selector-&gt;Wiggly&lt;/strong&gt;? If you then set that Position to non-zero value, letters will skip around randomly over time and Selector properties will give you some control over the process.&lt;/p&gt;&#xA;" OwnerUserId="20820" LastActivityDate="2019-11-16T16:55:47.160" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28894" PostTypeId="2" ParentId="28892" CreationDate="2019-11-16T18:35:12.200" Score="1" Body="&lt;p&gt;You are facing a low CRI index.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://duckduckgo.com/?q=Color+Rendering+Index&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://duckduckgo.com/?q=Color+Rendering+Index&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CRI is the Color Rendering Index, and this means, effectively that you do not have enough light across the spectrum.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some lights emit only portions of it, and our brains adjust the color to what they think the color should be, but as a mechanical/electronic device, a camera is more limited to what actually is receiving.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Look for higher CRI lights. The scale limit is 100, meaning that the light emission spectrum would be the same as the daylight. So the closer to this number the better color you will get. For practical purposes, a CRI above 85-90 could be decent enough. One above 95 can be considered a &quot;Pro-level&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you search a store, a lot of led lights mention the CRI value, use those terms on a search, for example on the Amazonian river store &quot;LED LIGHT CRI&quot;.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;lights is not uniform across the spectrum?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The spectrum does not need to be uniform, it just needs to be &quot;uniform&quot; enough compared to daylight spectrum (which is not uniform at all)&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;It looks almost colorless when I reduce the red component&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;You need to differentiate the CRI to the color temperature. You need additionally to check two factors.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The color temperature of the Light (Warm, cold)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;And if you are setting your white balance correctly on camera.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;It also could be corrected to some degree using a custom color profile or using some &quot;pro-grading&quot; program. Give Davinci Resolve a Try.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2019-11-16T18:40:35.050" LastActivityDate="2019-11-16T18:40:35.050" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28895" PostTypeId="2" ParentId="28881" CreationDate="2019-11-16T19:04:11.840" Score="0" Body="&lt;p&gt;If you are not an illustrator, or at least willing to tweak illustrations to fit your purpose, yes, you need to actually use the clips provided by one specific vendor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are some online tools like www.vyond.com (former GoAnimate) but it can become pretty expensive if you do not use it very often.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An interesting program is What was at some time Crazy Talk Animator, but is now Cartoon animator &lt;a href=&quot;https://www.reallusion.com/cartoon-animator/default.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.reallusion.com/cartoon-animator/default.html&lt;/a&gt; it has some built-in characters, but you need to buy some other models if you want to change the style, or you can create your own. Both options add to the price.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;You also can use free programs like Blender and Inkscape with great results, but you need to invest in the time to actually create the assets yourself.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-11-16T19:04:11.840" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28896" PostTypeId="2" ParentId="28878" CreationDate="2019-11-16T22:16:55.017" Score="1" Body="&lt;p&gt;framepack is buggy filter. Use framepack=frameseq,settb=1/50,setpts=N, where 50 is frame rate you want to use, and it should be twice of input framerate.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2019-11-16T22:16:55.017" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28898" PostTypeId="1" CreationDate="2019-11-17T13:19:52.550" Score="2" ViewCount="10958" Body="&lt;p&gt;I have MPEG dash video files created with Bento4 mp4-dash.py.&#xA;The files have encription, but I have the MPD and the audio and video segments.&#xA;I am trying to get my original MP4 file back from those segments without success.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My tentatives:&#xA;1) Convert directly from the MPD file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i stream.mpd  -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;2) Concatenate audio and video and use ffmpeg to merge them:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cat videos/init.mp4 $(ls -1v videos/seg*.m4s) &amp;gt; video.mp4&#xA;cat audios/init.mp4 $(ls -1v audios/seg*.m4s) &amp;gt; audio.m4a&#xA;ffmpeg -i video.mp4 -i audio.m4a -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.2.1 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8.3.0 (Alpine 8.3.0)&#xA;  configuration: --pkg-config-flags=--static --extra-cflags=-fopenmp --extra-ldflags='-static -fopenmp' --toolchain=hardened --disable-debug --disable-shared --disable-ffplay --enable-static --enable-gpl --enable-nonfree --enable-openssl --enable-iconv --enable-libxml2 --enable-libmp3lame --enable-libfdk-aac --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvpx --enable-libx264 --enable-libx265 --enable-libwebp --enable-libwavpack --enable-libspeex --enable-libaom --enable-libvidstab --enable-libkvazaar --enable-libfreetype --enable-fontconfig --enable-libfribidi --enable-libass --enable-libzimg --enable-libsoxr --enable-libopenjpeg --enable-libdav1d&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5555564ad840] Failed to seek for auxiliary info, will only parse senc atoms for encryption info&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5555564c4100] could not find corresponding trex (id 2)&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5555564c4100] could not find corresponding track id 0&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5555564c4100] trun track id unknown, no tfhd was found&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x5555564c4100] error reading header&#xA;stream.mpd: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried a few other options I do not remember, but the error persists and I do not know what could be the causes. I believe the concatenation step will not work due to the encryption, but I do not know how to get the key information from the MPD file neither how to decrypt before.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The following link says it should be easy, but something is not working (probably missing a decryption step):&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/24435/how-to-download-and-encode-a-video-from-a-mpd-manifest?newreg=c95b04b398e949939b73ef3339105c81&quot;&gt;How to download and encode a video from a MPD manifest?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could you help me to solve such issue?&lt;/p&gt;&#xA;" OwnerUserId="26819" LastActivityDate="2021-01-14T15:05:50.737" Title="How to convert encrypted mpeg dash created with Bento4 mp4-dash.py to MP4" Tags="|ffmpeg|streaming|mpeg-dash|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28899" PostTypeId="2" ParentId="27907" CreationDate="2019-11-17T18:16:47.180" Score="0" Body="&lt;p&gt;As this is the video production forum, one answer would be &lt;a href=&quot;https://inkscape.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blender&lt;/a&gt;. If you do not know it is a free but awesome 3D modeling program, editor, compositor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are several options, visualizing the general beat or volume, or trying to make something more complex.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Take one dive into a search:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.google.com/search?client=firefox-b-d&amp;amp;q=blender+waveform+visualization&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.google.com/search?client=firefox-b-d&amp;amp;q=blender+waveform+visualization&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want something static you can make a screen capture of any visualizer and draw on top of it. You can use &lt;a href=&quot;https://inkscape.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Inkscape&lt;/a&gt; for that as @stib already mentioned.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-11-17T18:16:47.180" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28900" PostTypeId="1" AcceptedAnswerId="28914" CreationDate="2019-11-17T20:42:26.420" Score="0" ViewCount="33" Body="&lt;p&gt;I'm trying to replicate this effect on the logo whose it starts with a fade and then these “bubbles” filling the logo until complete.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Demo: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1MiFh.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1MiFh.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Well, the fade effect I can replicate :D. But this other effect I can't find anything like that in after effects. Any tips?&lt;/p&gt;&#xA;" OwnerUserId="11850" LastEditorUserId="18155" LastEditDate="2019-11-19T01:27:25.507" LastActivityDate="2019-11-20T09:45:42.160" Title="What kind of effect is that? How can I replicate it?" Tags="|after-effects|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28901" PostTypeId="1" CreationDate="2019-11-18T04:22:12.637" Score="0" ViewCount="391" Body="&lt;p&gt;I am not promoting this video, I really do need help. &#xA;I was sent here for help from superuser. Please nicely let me know if this is also the wrong community. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My youtube video is uploaded several years ago. The video appears correctly When i view it in the editor. However when viewed from any web viewer like a computer or a phone it is all encoded incorrectly. It looks like the red and green color are encoded at different times. &#xA;Please let me know who to ask or how to get the video re-encoded by youtube.&#xA;The video is &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/0b4ddKZueuA?start=3&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: output &lt;code&gt;ffmpeg -hide_banner -i /home/USER/Desktop/VID_20120415_132324.3gp'&lt;/code&gt; &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  Metadata:&#xA;    major_brand     : 3gp4&#xA;    minor_version   : 768&#xA;    compatible_brands: 3gp4mp413gp6&#xA;    creation_time   : 2012-04-15T18:23:35.000000Z&#xA;    copyright       : &#xA;    copyright-eng   : &#xA;    rating          : 0&#xA;    location-eng    : +00.0000+000.0000/��&#xA;    location        : +00.0000+000.0000/��&#xA;  Duration: 00:00:47.06, start: 0.000000, bitrate: 1805 kb/s&#xA;    Stream #0:0(eng): Video: mpeg4 (Simple Profile) (mp4v / 0x7634706D), yuv420p, 640x480 [SAR 1:1 DAR 4:3], 1791 kb/s, 17.51 fps, 17.67 tbr, 1k tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2012-04-15T18:23:35.000000Z&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: amr_nb (samr / 0x726D6173), 8000 Hz, mono, flt, 12 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2012-04-15T18:23:35.000000Z&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26827" LastEditorUserId="26827" LastEditDate="2019-11-19T00:18:30.403" LastActivityDate="2019-11-19T00:18:30.403" Title="Youtube video is encoded incorrectly and looks like its in 3d" Tags="|youtube|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="28902" PostTypeId="2" ParentId="28889" CreationDate="2019-11-18T07:09:18.517" Score="1" Body="&lt;p&gt;&lt;strong&gt;Ad 1:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try adding the &lt;code&gt;-pix_fmt yuv420p10le&lt;/code&gt; option (e.g. before &lt;code&gt;-vf)&lt;/code&gt;. Or only &lt;code&gt;-pix_fmt +&lt;/code&gt; for using the same pixel format as the input video has.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it doesn't help, &lt;em&gt;you obviously have an inappropriate, albeit more common FFmpeg version — only for 8-bit colors.&lt;/em&gt; (Your original video uses 10-bit colors, and FFmpeg will try use the best 8-bit pixel format in this case — with the colors' degradation, of course.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmpeg may be built for 8-bit colors or for 10-bit colors, or — in recent time —  for both of them (for your HEVC encoded video). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you need to build (or obtain by other way) version for 8-/10- or 10-bit color depth. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Ad 2:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bitrate of &lt;code&gt;1700&lt;/code&gt; is &lt;em&gt;very&lt;/em&gt; low — only 1700 bits per second, i. e. about 212 bytes per second. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To reach such a low bitrate and at the same time reach your &lt;code&gt;23.98&lt;/code&gt; frames per second, the encoder is limited with  average size for 1 frame about 212 / 24 = 9 bytes only! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Did you see a picture of such small memory? It has almost no information, so the gray image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You probably wanted 1700k (Kilobits per second) — or, more probably — 170k:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-b:v 170k&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;so correct your command in this way.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Addendum to Ad 1:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You use the (default) 4:2:0 chroma subsampling (with inevitable color and contrast degradation).&lt;br&gt;&#xA;Try the maximum quality, i.e. 4:4:4 (no subsampling), or — if it will be sufficient for you — 4:2:2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To reach this, use &lt;code&gt;-pix_fmt yuv444p10le&lt;/code&gt; and change the video profile to main444-10 (with option &lt;code&gt;-profile:v main444-10&lt;/code&gt;).&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-11-21T10:49:22.113" LastActivityDate="2019-11-21T10:49:22.113" CommentCount="12" ContentLicense="CC BY-SA 4.0" />
  <row Id="28903" PostTypeId="2" ParentId="19058" CreationDate="2019-11-18T15:30:20.857" Score="1" Body="&lt;p&gt;You can code custom plugins for &lt;em&gt;Shotcut&lt;/em&gt; video editor using MLT, frei0r, or WebVfx plugin. MLT and frei0r plugins require C or C++ coding; whereas WebVfx lets you use HTML5, CSS3, JavaScript, SVG, and WebGL. : &lt;a href=&quot;https://shotcut.org/notes/make-plugins/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://shotcut.org/notes/make-plugins/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I like unity3d for audio/video things&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously, have a go on Milkdrop if you want fluid dynamics code, else see if you can splice a video streaming code into the open source MD2 codebase, everyone would be well chuffed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Research &quot;VJ&quot; programs, like dj programs for video. &lt;/p&gt;&#xA;" OwnerUserId="26831" LastEditorUserId="26831" LastEditDate="2019-11-18T16:19:41.207" LastActivityDate="2019-11-18T16:19:41.207" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28904" PostTypeId="2" ParentId="28879" CreationDate="2019-11-18T16:03:16.050" Score="1" Body="&lt;p&gt;If you need to copy opacity effect with keyframes, you should select keyframes and press CTRL+C, then select clip on timeline and move playhead to time where you want to put first keyframe, then select effect controls window and click CTRL+V to paste. That's all.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/7JZVm7LsYLk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In such way you can copy keyframes from one clip to another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to copy keyframes from one clip to a lot of other clips, you can create preset in such way:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/imckfhgxlK8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2019-11-18T16:03:16.050" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28905" PostTypeId="2" ParentId="28887" CreationDate="2019-11-18T16:15:07.470" Score="0" Body="&lt;p&gt;I think you can sort videos only in folders, then import sorted folders to premiere.&#xA;Maybe you can open playlist in video player, select all videos and copy/paste them all to new folder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also you can import all videos in Premiere Pro, then open folder by double-click on project panel and switch to preview mode. Then you can move mouse over clips, watch them and sort to new folder or just delete unwanted materials.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/GOGE1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GOGE1.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;Also you can put In/Out points in video and put them all on timeline at once with needed fragments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can show me screencast what how do do you do it now and I will try to show how it can be in Premiere Pro with the same speed. If it can be :)&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2019-11-18T16:15:07.470" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28906" PostTypeId="1" CreationDate="2019-11-18T20:06:38.027" Score="1" ViewCount="305" Body="&lt;p&gt;Maybe somewhere here has some insight into the ffmpeg dev community, maybe this question is better on Stack Exchange, but it seems like the ftl-sdk has been out for a bit, but I don't see any signs its being added to ffmpeg?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Will ffmpeg be able to stream FTL (Faster Then Light) to Mixer?  &lt;/p&gt;&#xA;" OwnerUserId="25437" LastActivityDate="2019-11-18T20:06:38.027" Title="Will the ffmpeg community add FTL (Mixer) support to ffmpeg?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28908" PostTypeId="1" CreationDate="2019-11-18T22:53:50.237" Score="0" ViewCount="8712" Body="&lt;p&gt;I have a short (~1:13) clip in .3gp format that is effectively useless for my purposes as is, as it is 176x144, and my final output will be 1280x720.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My first try was After Effects' &lt;code&gt;Distort&amp;gt;Detail Preserving Upscale&lt;/code&gt; but at 700% upscaled (to closely match target render size), the footage is still terribly pixelated. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This video contains footage for, and is intended to be used as one of several assets for an upcoming promo video for my church.&#xA;I will be working in AE 2020, and Premiere 2020, to produce the final promo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;b&gt;The question:&lt;/b&gt; &lt;br&gt;Is there an effective way within either AE or Premiere to make a .3gp or very low resolution video useful at 720p? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;br&gt;&#xA;&lt;sup&gt;&#xA;Also helpful contextually perhaps, as this is for church production, this is baptism footage, so quality is paramount.&lt;/sup&gt;&lt;/p&gt;&#xA;" OwnerUserId="26833" LastEditorUserId="26833" LastEditDate="2019-11-19T00:46:28.883" LastActivityDate="2022-02-09T06:49:28.363" Title="How to improve quality of .3gp video" Tags="|premiere|after-effects|video-quality|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28910" PostTypeId="1" CreationDate="2019-11-19T15:24:28.150" Score="0" ViewCount="3066" Body="&lt;p&gt;I am attempting to extract frames with their timestamps from videos using the command line, but I am struggling to relate both the output of the showinfo filter to the actual frames outputted by the command, and the corresponding output file names from the &lt;code&gt;-frame_pts&lt;/code&gt; option.  I am extracting 1 frame per second using the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i GOPR3427.MP4 -r 1 -vf showinfo -copyts -s 640x480 -frame_pts 1 \&#xA;        GOPR3427.MP4-frames/%d.jpg &amp;gt; GOPR3427.MP4-frames/output.txt  2&amp;gt;&amp;amp;1 -hide_banner&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This output a series of jpg's from 0 -11, for example, 0.jpg, 1.jpg, 2.jpg etc. According to FFprobe, my video has a duration of 10.581333&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My understanding from &lt;a href=&quot;https://superuser.com/a/1421195/705820&quot;&gt;this superuser answer&lt;/a&gt; to the question &lt;a href=&quot;https://superuser.com/q/1421133/705820&quot;&gt;Extract I-frames to images quickly&lt;/a&gt; is that the &lt;code&gt;-frame_pts&lt;/code&gt; sets the numeral portion of the output image filename to represent the timestamp based on the frame rate.  So in my example, the frame rate is 50/1 and according to the logic in the answer, I should be able to calculate the &lt;code&gt;pts_time&lt;/code&gt; as follows 3.jpg would be:  3/50 = 0.06&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I check in the output.txt file I can see a line that reads&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_showinfo_0 @ 0x563d384a5080] n:3 pts:5400 pts_time:0.06 pos:451041&#xA;    fmt:yuvj420p sar:1/1 s:1920x1080 i:P iskey:0 type:P checksum:D56E24BB &#xA;    plane_checksum:[A1E26C9D C6294D84 DB726A8B] mean:[131 145 104 ] stdev:[27.4 23.2 20.8 ]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This corresponds with the calculation above, however, my output.txt contains 528 parsed line entries like the one above, yet my command outputs only 11 files, using the logic above the file named 11.jpg would be a &lt;code&gt;pts_time&lt;/code&gt; of 0.22, this doesn’t represent 1 x frame every second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anyone help tie this together for me, at the moment I am struggling to understand the outputs here?&lt;/p&gt;&#xA;" OwnerUserId="26842" LastEditorUserId="18155" LastEditDate="2019-12-20T18:12:20.267" LastActivityDate="2019-12-20T18:12:20.267" Title="Understanding pts_time and frame extraction with time stamps" Tags="|ffmpeg|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="28911" PostTypeId="2" ParentId="28908" CreationDate="2019-11-20T04:01:49.900" Score="1" Body="&lt;p&gt;The problem is you don't have resolution for 700% upscale. ~~And aren't likely to find it in those tools~~ (strike that).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can or may have already tried &lt;a href=&quot;http://www.infognition.com/VideoEnhancer/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video Enhancer&lt;/a&gt;. They claim to use Super Resolution to get the upscale possible. It doesn't suit all video sources. They have an AE plugin too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If none of your searches for auto upscaling work then my recommendation is scale &amp;amp; interpolate as high as you can accept the results, then apply a blurred background of the footage (like you see when online portrait orientation videos are broadcast on TV. Centre your footage so you have the video playing with the blurred background around 4 sides. see &lt;a href=&quot;https://www.youtube.com/watch?v=LdCLQ2DQ0NY&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to Edit Vertical Video Footage&lt;/a&gt; YouTube video for the effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively if the church still looks the same, create a sort of picture-in-picture. Shoot a wide 1280x720 video of the empty space matching the original footage camera moves as closely as possible. Drop your upscaled original footage in the middle. You may need to blur this background plate a bit. So if the original video upscales to only 352x288 that's the middle 40% of your frame (vertically).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have enough pans and tilts that show larger parts of the baptism space, I've seen reconstructed and enhanced super-8 footage that turned the footage into panorama-like canvases by stitching together individual frames and then assuming those backgrounds did not change. I have no idea how to do that. But it uses software like &lt;a href=&quot;http://hugin.sourceforge.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Hugin&lt;/a&gt; to find common parts of a frame to stitch photos together. Then a morph is applied to the outer parts of the frame when the camera moves. The morph is less jarring if you split the 1280x720 frame into 12 or 16 subframes and just morph each of those sections. Note it doesn't look realistic, it takes a bit of time to work out why the moving images look &quot;wrong&quot;, but it gives an illusion of movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A final suggestion is to build a virtual interior of the church, so skin the walls, (and statues and stained glass) and run your upscaled old footage in the middle of this virtual space. Render the output. This is a VFX plate shot that AE can do.&lt;/p&gt;&#xA;" OwnerUserId="11459" LastEditorUserId="11459" LastEditDate="2019-11-20T04:18:06.320" LastActivityDate="2019-11-20T04:18:06.320" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28914" PostTypeId="2" ParentId="28900" CreationDate="2019-11-20T09:45:42.160" Score="0" Body="&lt;p&gt;This is a very simple animation, actually. Here's how you could do it the easy and cheap way:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Create a solid with the size of your composition&lt;/li&gt;&#xA;&lt;li&gt;apply &quot;fractal noise&quot; to it&lt;/li&gt;&#xA;&lt;li&gt;Set the transform, brightness and contrast of fractal noise so that you have small drops instead of large shapes. You might want to set the complexity to one and experiment with the settings until you like the look.&lt;/li&gt;&#xA;&lt;li&gt;Click the stopwatch on the brightness and lower it so much that the solid is completely black&lt;/li&gt;&#xA;&lt;li&gt;go forward about 2 seconds and raise the brightness so that the entire solid is completely white.&lt;/li&gt;&#xA;&lt;li&gt;Now create a text-layer under the solid and type your text&lt;/li&gt;&#xA;&lt;li&gt;Set the &quot;Track Matte&quot; of your text-layer so that it takes a luma-mask from the solid above&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Now, the luminance of your animated solid determines the alpha-channel of your text-layer, making it appear piece by piece. However, the effect looks sort of cheap in my opinion. For a better result, I would recommend you try to use a particle simulation (such as particular, not a free plugin unfortunately) and use the text layer as your emitter. You let the Text dissolve into dust like in avengers, and simply reverse the sequence, so that the text is being built from dust.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope I was able to help, have a wonderful day :)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-20T09:45:42.160" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28915" PostTypeId="2" ParentId="28882" CreationDate="2019-11-20T10:29:11.170" Score="0" Body="&lt;p&gt;have you cut the video stream without re-encoding it? You might check your group-of-pictures settings.&#xA;I only know this effect when cropping some seconds at the beginning of videos: When the first I-Frame is cropped, the video-stream only appears after the next I-Frame - this can take many seconds...&lt;/p&gt;&#xA;" OwnerUserId="21418" LastActivityDate="2019-11-20T10:29:11.170" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28916" PostTypeId="1" CreationDate="2019-11-20T14:47:48.107" Score="1" ViewCount="41" Body="&lt;p&gt;I am trying to get a result similar to that of the audio_spectrum effect, but want to build it from scratch since the settings of the effect are quite lackluster.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the plan:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;create a square &lt;/li&gt;&#xA;&lt;li&gt;create keyframes from audio amplitude&lt;/li&gt;&#xA;&lt;li&gt;attach amplitude from audio to scaling of the square, making it grow in y-size only.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So far so good, I have all this working. But now, I want to read a different frequency depending on the x-position of my square, so that if I shift it over to one end of the audio-spectrum, it automatically adapts to the corresponding frequency. My very last resort would be to output the audio with low- and highpass already on them, but that would be highly unpractical.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you kind people know what I am missing please let me know. Have a wonderful day :)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastEditorUserId="17390" LastEditDate="2020-04-04T12:33:13.127" LastActivityDate="2020-04-04T12:33:13.127" Title="After Effects: Expression reading specific Audio-frequency" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28917" PostTypeId="1" CreationDate="2019-11-20T17:18:30.777" Score="0" ViewCount="27" Body="&lt;p&gt;I'm not an editor but I'm trying to achieve a simple effect. The use-case is I want to do a screen recording of a demo of a web application, where I can then do different exports where the logo on the webpage is different for each video. The logo will move during the screen recording. What's the best way to do the screen recording, and what's the best way to replace the logo so that I can create new exports quickly and in the most automated way?&lt;/p&gt;&#xA;" OwnerUserId="26856" LastActivityDate="2021-08-12T13:06:15.710" Title="Logo replacement in screen recording" Tags="|screen-casting|tracking|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28918" PostTypeId="2" ParentId="5615" CreationDate="2019-11-20T17:28:29.643" Score="-1" Body="&lt;p&gt;Try Adobe Media Encoder. Import your clips, trim them, and batch export.&lt;/p&gt;&#xA;" OwnerUserId="26857" LastEditorUserId="18155" LastEditDate="2019-12-20T20:48:10.393" LastActivityDate="2019-12-20T20:48:10.393" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28919" PostTypeId="1" AcceptedAnswerId="28933" CreationDate="2019-11-21T01:18:42.073" Score="2" ViewCount="1285" Body="&lt;p&gt;I need to extract sound from videos. There must be know loss of quality (since the sound files will be used in speech-to-text services).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I want to extract the audio from the video exactly as it is and then place it in a new container to create an audio file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What tools are available for this? Can VLC do it? Some online service?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;EDIT: Please notice that I want to extract the sound exactly as it is from the video (so I do not loss quality). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And I tested this with the GUI version of VLC, but I did not see any way to do what I want there. However I just found this page that says you can do it from the command line with VLC:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://wiki.videolan.org/VLC_HowTo/Extract_audio/&quot; rel=&quot;nofollow noreferrer&quot;&gt;VLC HowTo/Extract audio&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I am not going to do this myself, but tell my users how to do it I am looking for an easy way for them. (They are not programmers. But I am. So I can perhaps write a version myself with ffmpeg, but I want to avoid that if I can.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this perhaps not the right group to ask this question in?&lt;/p&gt;&#xA;" OwnerUserId="26858" LastEditorUserId="26858" LastEditDate="2019-11-21T12:47:13.583" LastActivityDate="2019-11-22T23:43:43.360" Title="Extract audio from video preserving audio quality" Tags="|video|audio|conversion|audio-quality|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28920" PostTypeId="2" ParentId="28917" CreationDate="2019-11-21T08:01:48.067" Score="1" Body="&lt;p&gt;The easiest solution would be to record the presentation without the logo altogether using open broadcast, fraps or some screen recorder. You can then animate the logo in After Effects from within a precomp and simply exchange the images in the precomp to swap to another logo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For demos of that sort you'd usually animate the whole thing though, but since you said that you're not an editor this probably isn't an option.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-21T08:01:48.067" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28921" PostTypeId="2" ParentId="28919" CreationDate="2019-11-21T08:06:03.763" Score="1" Body="&lt;p&gt;When using sound for speech-to-text, the quality is actually not very important. You can extract audio using ffmpeg, After Effects, Premiere, Nuke, Resolve or any editing software you like. Load in the clip, export again but as a .wav. Boom, you have only the sound.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-21T08:06:03.763" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28924" PostTypeId="1" AcceptedAnswerId="29143" CreationDate="2019-11-21T16:05:30.103" Score="1" ViewCount="563" Body="&lt;p&gt;I'm looking for sites, books, of video's on how to build scenes, composition and lighting for either 3d animations or filming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sites like pinterest and google are not enough to quickly find reference of valueable information on the topics I mentioned above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example I'm making a 3d scene with a female character holding a gun in the nighttime. I'm struggling to find a good composition and how to properly light the scene where the character pops out from the background while not overlighting the whole scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Who can push me in the right direction?&#xA;Also where can I ask for feedback on these topics for my &quot;art&quot;&lt;/p&gt;&#xA;" OwnerUserId="26865" LastActivityDate="2022-08-24T22:00:15.827" Title="Where can I find helpfull reference for film making?" Tags="|lighting|filming|compositing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28927" PostTypeId="2" ParentId="28924" CreationDate="2019-11-21T22:39:40.837" Score="0" Body="&lt;p&gt;I know only method to look similar scenes from films, vimeo, youtube and searching needed reference. Then try to repeat. If something unclear, searching how to do it.&#xA;Also, if you found scene and you like it, you can find how to do lighting, effect from this scene or from this film, etc. &#xA;Or search backstage of video, how it was created.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And this for inspiration:&#xA;&lt;a href=&quot;https://vimeo.com/channels/staffpicks&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/channels/staffpicks&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2019-11-21T22:39:40.837" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28928" PostTypeId="2" ParentId="28919" CreationDate="2019-11-22T00:04:36.320" Score="-1" Body="&lt;p&gt;MPEG Streamclip can save audio track (or batch) without recompression.&lt;/p&gt;&#xA;" OwnerUserId="26874" LastActivityDate="2019-11-22T00:04:36.320" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28929" PostTypeId="1" AcceptedAnswerId="28954" CreationDate="2019-11-22T01:53:40.747" Score="5" ViewCount="8230" Body="&lt;p&gt;I'm a total noob to video production in general, but looking to get more into it.  I've become a bit confused looking at some software solutions, though.  I've seen great reviews for both of Blackmagic's products, DaVinci Resolve, and Fusion, which people say work great together, but I don't know enough to definitively tell the differences between them.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is this:  What are the specific domains covered by each product?  In other words, what video editing tasks are done in Fusion, vs. Resolve?  How do they complement each other?  Also, are these two pieces of software alone enough to create a full film?  (I'm wondering about audio and CGI in particular here...)&lt;/p&gt;&#xA;" OwnerUserId="26878" LastActivityDate="2021-05-03T17:24:26.043" Title="What's the difference between Blackmagic Fusion and Resolve?" Tags="|video-editor|davinci-resolve|fusion|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28932" PostTypeId="1" AcceptedAnswerId="28934" CreationDate="2019-11-22T23:31:06.820" Score="3" ViewCount="1079" Body="&lt;p&gt;I've been looking into how to compress a video using ffmpeg when I stumbled across CABAC encoding which I could specify by using the libx264 for the video codec and pairing it with the proper arguments (&lt;code&gt;-x264opts cabac=1&lt;/code&gt;), however I know that libx264 is usually used for lossy compression. However, CABAC encoding is listed as a lossless compression technique on &lt;a href=&quot;https://en.wikipedia.org/wiki/Context-adaptive_binary_arithmetic_coding&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia&lt;/a&gt;. I know I can control the quality of the file by using the &lt;code&gt;-crf&lt;/code&gt; tag but I wanted to know if I specified ffmpeg to use cabac, would the output video be compressed lossless or lossy?&lt;/p&gt;&#xA;" OwnerUserId="26892" LastEditorUserId="37172" LastEditDate="2022-02-07T11:25:29.513" LastActivityDate="2022-02-07T11:25:29.513" Title="Is CABAC encoding lossy or lossless in ffmpeg?" Tags="|ffmpeg|encoding|libx264|lossless|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28933" PostTypeId="2" ParentId="28919" CreationDate="2019-11-22T23:43:43.360" Score="2" Body="&lt;p&gt;If you aren't adverse to using a terminal to extract it, &lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; is a very good tool that you can use. The command that you'd want to run in &lt;code&gt;ffmpeg -i [input file name here] -c:a copy -vn -sn [output file name here]&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-c:a copy&lt;/code&gt;: This argument copies the audio stream of the file.&lt;br&gt;&#xA;&lt;code&gt;-vn&lt;/code&gt;: This argument informs FFmpeg to not account for any video streams.&lt;br&gt;&#xA;&lt;code&gt;-sn&lt;/code&gt;: This argument informs FFmpeg to not account for any subtitle streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Altogether, this results in a lossless extraction of the audio stream from the video file. If you have some knowledge in making scripts, you could create a script that will perform this action for a set of files so that you don't need to do it manually.&lt;/p&gt;&#xA;" OwnerUserId="26892" LastActivityDate="2019-11-22T23:43:43.360" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28934" PostTypeId="2" ParentId="28932" CreationDate="2019-11-23T03:55:23.537" Score="4" Body="&lt;p&gt;Cabac is lossless, but h264 is lossy. The part you are missing is that cabac is not THE compression algorithm. It is just the final step out of hundreds of steps in video compression. By the time you get to cabac, all the lossy steps have already been performed, and a final lossless step is added to squeeze a few more bits out.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-11-23T03:55:23.537" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28935" PostTypeId="1" CreationDate="2019-11-23T05:13:36.090" Score="1" ViewCount="84" Body="&lt;p&gt;I have a GoPro Hero 5 Black camera. I want to make timelapse videos with the default settings of TimeLapse video mode in the camera. I also want the camera plugged in since the time lapse will be running for a long time. If I connect the power cord before starting time lapse recording, it shows it is charging. However, once I start recording in time lapse mode, it stops charging.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to record in time lapse mode and charge the camera at the same time? Do I need to change settings to enable this?&lt;/p&gt;&#xA;" OwnerUserId="26742" LastEditorUserId="14523" LastEditDate="2019-11-23T18:03:11.263" LastActivityDate="2019-12-30T20:18:05.960" Title="Can't charge GoPro Hero 5 Black while recording TimeLapse video" Tags="|gopro|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28936" PostTypeId="1" AcceptedAnswerId="28942" CreationDate="2019-11-23T10:21:00.033" Score="0" ViewCount="1642" Body="&lt;p&gt;I have a 720p, 30 fps, 8-bit source video. I'm downscaling it to 480p, and I want to measure quality using PSNR/SSIM under two scenarios:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Keeping crf/speed settings same, I want to encode in 8-bit(yuv420p) and 10-bit(yuv420p10le). I want to measure SSIM/PSNR using ffmpeg's filter. Now normally I'd do something like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i reference.mkv -i distorted.8bit.mkv/distorted.10bit.mkv -lavfi &quot;ssim&quot; -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;reference.mkv&lt;/code&gt; is 480p lossless ffv1 from the same source. Now the problem here is, that &lt;code&gt;reference.mkv&lt;/code&gt; is 8-bit but one of the two distorted videos is 10-bit. Can we compare a 10-bit distorted video with an 8-bit reference?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I create two videos, with the same crf/speed/bit-depth settings. The first has the same fps as the source (30 fps). The second is downsampled to 18 fps. I want to measure the deterioration in quality (if any) caused purely by downsampling the fps.&lt;br&gt;&#xA;Again, the problem here will be that the reference lossless ffv1 is 30 fps, but one of the distorted videos is 18 fps. How do we compare objective metrics for two videos that differ in frame-rates?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="26899" LastEditorUserId="14523" LastEditDate="2019-11-25T02:40:41.273" LastActivityDate="2019-11-25T02:40:41.273" Title="Comparing PSNR/SSIM of two videos with different fps/bit-depth" Tags="|ffmpeg|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28937" PostTypeId="1" AcceptedAnswerId="28945" CreationDate="2019-11-23T11:26:33.067" Score="0" ViewCount="172" Body="&lt;p&gt;I'm using old notebook, which has a bit trouble with editing fottage highier than fullhd.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any approach, how I can, for example work with small files first and than final export will process originals ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't mind longer final render as long as I can do the edits, cuts, colors, effects smoothly without lagging. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="17386" LastActivityDate="2019-11-24T12:33:53.657" Title="Any tips how to increase editing speed on Premiere Pro?" Tags="|premiere|4k|performance|full-hd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28938" PostTypeId="5" CreationDate="2019-11-23T18:18:46.703" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2019-11-23T18:18:46.703" LastActivityDate="2019-11-23T18:18:46.703" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28939" PostTypeId="4" CreationDate="2019-11-23T18:18:46.703" Score="0" Body="The Matroska Multimedia container is a free and open media file format. It is also a container format which means it can contain all sorts of audio, video, textual and graphical file information inside of it. You can have multiple number of audio, video, textual and graphical streams co-existing in the same file without an issue. It uses something called an Extensible Binary Meta Language which is supposed to be equivalent to XML. " OwnerUserId="14545" LastEditorUserId="14545" LastEditDate="2019-12-20T20:44:25.037" LastActivityDate="2019-12-20T20:44:25.037" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28941" PostTypeId="1" CreationDate="2019-11-24T04:19:56.870" Score="0" ViewCount="759" Body="&lt;p&gt;How to remaster the Old movies to the High-Resolution Quality using FFMPEG?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Friends,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to remaster the Old movies to High-Resolution Video &amp;amp; Audio. How this can be achieved using FFMPEG.&lt;/p&gt;&#xA;" OwnerUserId="26906" LastActivityDate="2019-12-25T10:02:05.273" Title="How to remaster the Old movies to the High Resolution Quality using FFMPEG?" Tags="|hdr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28942" PostTypeId="2" ParentId="28936" CreationDate="2019-11-24T05:41:49.920" Score="1" Body="&lt;p&gt;PSNR and SSIM are image quality metrics. Their use on videos involves calculating the metric for each pair of frames and then applying some aggregating operation to the series of frame scores, typically the arithmetic mean. What this means is both inputs must have same frame count with each encoded frame paired with its source frame.  So, deterioration of subjective perception caused by downsampling the fps isn't measured. For a valid and useful comparison, your best bet is to downsample the source to the same FPS using the same methods as used on the distorted video before carrying out the comparison.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for the bit depth, both operands must have the same pixel format of which bit depth is one factor. I would recommend converting both inputs to the higher bit depth. This will allow you to preserve the details in the distorted input if you applied any filters to it after the bit depth increase.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-11-24T05:41:49.920" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28943" PostTypeId="1" CreationDate="2019-11-24T11:31:09.640" Score="0" ViewCount="342" Body="&lt;p&gt;I have a folder in which I save all my video recordings, I used some video files in Premiere Pro but I would like to delete those that I haven't used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that I have over 3100 files which weight over 1.5 TB and many Premiere Pro projects, it would take me a very long time to open each project and see which files I've used. When I used Vegas Pro I remember that each video I opened, the program made a &lt;code&gt;.bak&lt;/code&gt; file with the same name, so I knew that I was using that file, but not Premiere. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope I've been clear enough, if you know a way to delete the footage that I've never used in any Premiere project, please help me. :D&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="26909" LastEditorUserId="18155" LastEditDate="2020-01-08T00:43:26.107" LastActivityDate="2024-01-17T11:02:30.287" Title="Remove files from a folder not used in Premiere Pro" Tags="|video|premiere|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28944" PostTypeId="2" ParentId="28943" CreationDate="2019-11-24T12:21:17.147" Score="0" Body="&lt;p&gt;Do you want to delete footages, which you didn't use in Premiere or you even didn't import them in Premiere?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In first case I don't know how to delete them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In second case I think that you can look at the names of cache files, which premiere have created, then open program like “Beyond Compare”, compare “video folder” with “cache folder” by names. And then you should get, which names don't have in cache folder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This names will be not used. If your cache are full, you will have full list.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe this idea will be useful for you, but I am not sure.&lt;/p&gt;&#xA;" OwnerUserId="26758" LastEditorUserId="18155" LastEditDate="2020-01-08T00:45:45.527" LastActivityDate="2020-01-08T00:45:45.527" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28945" PostTypeId="2" ParentId="28937" CreationDate="2019-11-24T12:33:53.657" Score="1" Body="&lt;p&gt;I use Cinegy Daniel2 codec for editing in Premiere Pro. This codec take more space on disk, but work veeeeery fast compare to H264. Also it work more fast for me compare to ProRes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cinegy Daniel2 can be replaced with DNxHD MXF OP1a or MXF OP1a. Try these codecs. In Premiere it works very good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can convert all your raw files to one of this codecs before work, and then you will have more smooth workflow.&#xA;With this codec I could edit multicam 4K video with more than 3 cameras and it worked smoothly.&#xA;I have i7-4770K, 24gb RAM and GTX970 GPU. It's a PC from 2013 year (approx).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also you can convert your videos to lower resolution and link them in Premiere Pro as Proxy files. Then you will edit files with proxy preview, but when you will render them, Premiere will use original full resolution files. When you need you can switch in one click between proxy and original resolution files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7LlFv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7LlFv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For better understanding you can goole &quot;Premiere work with Proxy files&quot;, &quot;Premiere Cinegy Daniel 2&quot;, &quot;Editing codecs for Adobe Premiere&quot;.&#xA;I can't google for you, because I will have most of materials in Russian.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.daniel2.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Link to Cinegy Daniel 2 codec.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2019-11-24T12:33:53.657" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="28946" PostTypeId="1" CreationDate="2019-11-24T15:41:12.513" Score="0" ViewCount="21" Body="&lt;p&gt;I'm experiencing a problem with After Effects CC 18 where every mp4 video that I import starts in the third frame of the video and not in the first frame. The video and composition and video framerate are the same, but even then the problem continues. Any idea how I can solve it?&lt;/p&gt;&#xA;" OwnerUserId="11850" LastActivityDate="2019-11-24T15:41:12.513" Title="Imported video starting in third frame" Tags="|after-effects|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28947" PostTypeId="1" CreationDate="2019-11-24T15:44:50.387" Score="0" ViewCount="40" Body="&lt;p&gt;I'm under the impression that &lt;a href=&quot;https://youtu.be/ZITh-XIikgI?t=155&quot; rel=&quot;nofollow noreferrer&quot;&gt;the jump around minute 2:35&lt;/a&gt; of Aaron Johnson in the official video of R.E.M. - ÜBerlin is fake, because I believe it contradicts the physical principle of how human bodies jump up against earth gravity. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand I guess it is likely obvious that it is has been reversed by video editing from an original scene where he was jumping down and not up. Is there any way or tools to confirm or debunk my hypothesis?&lt;/p&gt;&#xA;" OwnerUserId="26914" LastActivityDate="2019-11-24T22:21:26.843" Title="Is this jump video edited (time reversed)?" Tags="|video-editor|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28949" PostTypeId="1" CreationDate="2019-11-24T16:37:57.760" Score="1" ViewCount="183" Body="&lt;p&gt;Recently I ripped a couple of old DVD's to preserve them.&#xA;The original rip has a resolution of 720*576 and runs with 5100kb/s on 25fps interlaced.&#xA;I tinkered around with Handbrake and (hopefully) found the best settings.&#xA;The final file is a fifth of the size and runs progressively on 1000kb/s.&lt;/p&gt;&#xA;&lt;p&gt;EDIT: Using h.265 NVENC&lt;/p&gt;&#xA;&lt;p&gt;Getting to my question now. In the final product, there are a lot of colour artefacts in solid coloured planes. Is there any way to i.e. detect the mean colour in a similar coloured plane and colour the whole plane like it?&lt;/p&gt;&#xA;" OwnerUserId="26915" LastEditorUserId="4426" LastEditDate="2020-10-21T14:51:47.113" LastActivityDate="2020-10-21T14:51:47.113" Title="How to clean up old animated footage?" Tags="|animation|compression|color|handbrake|cleaning|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28950" PostTypeId="2" ParentId="28947" CreationDate="2019-11-24T18:02:45.783" Score="2" Body="&lt;p&gt;By comparing the &lt;a href=&quot;https://video.twimg.com/ext_tw_video/1198656433409134593/pu/vid/640x360/OV4IrjmpXgi3C8cL.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;original 5 second scene&lt;/a&gt;, with the &lt;a href=&quot;https://video.twimg.com/ext_tw_video/1198657530039283713/pu/vid/640x360/vTK0KMXRSZCAHNtl.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;time reversed video&lt;/a&gt;, produced by &lt;a href=&quot;https://www.kapwing.com/tools/reverse-video&quot; rel=&quot;nofollow noreferrer&quot;&gt;kapwing reverse video online&lt;/a&gt;, it's apparent that the last one is the natural and realistic movement.&lt;/p&gt;&#xA;" OwnerUserId="26914" LastEditorUserId="26914" LastEditDate="2019-11-24T22:21:26.843" LastActivityDate="2019-11-24T22:21:26.843" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28952" PostTypeId="1" CreationDate="2019-11-25T03:52:54.060" Score="0" ViewCount="39" Body="&lt;p&gt;I am looking for a specific voice effect that I have listened to in many videos on YouTube and other places. I don't know what it is called and it also does not sound natural. Here are examples -&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://vimeo.com/224179742&quot; rel=&quot;nofollow noreferrer&quot;&gt;Arpha Hub - Explainer Video&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.voices.com/actors/adasa1329#bio&quot; rel=&quot;nofollow noreferrer&quot;&gt;Addison Anderson&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.voices.com/actors/ankkitarorah#bio&quot; rel=&quot;nofollow noreferrer&quot;&gt;Ankit Arora&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you notice the subtle 'errrrr'/crunchiness/vibration/distortion/robotic sound at the end of many words? I understand it may be difficult to understand by my explanation but hope someone recognizes it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know if this effect has a name or something to search further into it or is there is a YouTube tutorial somewhere that I can follow, to begin with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any kind of pointers would help.&lt;/p&gt;&#xA;" OwnerUserId="26921" LastEditorUserId="18155" LastEditDate="2019-11-25T17:13:16.833" LastActivityDate="2020-08-21T20:01:15.250" Title="What is this effect used by a lot of voice actors called?" Tags="|audio|audio-recording|vocal|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28953" PostTypeId="2" ParentId="28929" CreationDate="2019-11-25T07:25:08.117" Score="1" Body="&lt;p&gt;I have been using BlackMagic Design Davinci Resolve for sometime and here's a small bit of information which I can share with you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Davinci Resolve is a video editing software. You can do editing, transitions, world's best colorgrading, audio adjustments and exporting the video from this one software. Davinci Resolve is a complete video editing suite with every every feature that you would require to edit and complete a video. Basically, Davinci Resolve is equivalent to all of Video Editing software in Adobe Video Editing Suite.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fusion is also offered by BlackMagic Design but in two ways. Fusion comes as a standalone software but also comes integrated in Davinci Resolve. Fusion is like AfterEffects in Adobe ecosystem. You can make effects, transitions, 2D and 3D animations and a lot more. &#xA;The stand alone Fusion have a bit more features at the moment but the fusion which comes integrated in Davinci Resolve is getting better with every update.&lt;/p&gt;&#xA;" OwnerUserId="6396" LastActivityDate="2019-11-25T07:25:08.117" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28954" PostTypeId="2" ParentId="28929" CreationDate="2019-11-25T07:32:57.350" Score="4" Body="&lt;p&gt;Firstly - Davinci Resolve (since v15) now includes Fusion as a sub-tool. Additionally some component features of Fusion are embedded within the Resolve interface and conversely some features of Resolve are accessible from within the Fusion tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So ... I will try and answer below - &lt;em&gt;as if&lt;/em&gt; Resolve did not include any Fusion components:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Resolve has its well established roots in Color Grading, but both applications are ultimately editing and compositing tools which can generate, combine and manipulate source material to create desired visual &amp;amp; audio output. Resolve is targeted at Ease of Use, Media handling, Video Editing, Compositing, Color Grading, Audio Engineering,  Audio/Video Effects and Content Delivery. Whilst Fusion is targeted at advanced 2D &amp;amp; 3D Compositing, Visual effects and Motion Graphics.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Fusion is a more complicated tool and typically is slower to work with, but provides advanced functionality, precision, programming and control in the areas of VFX and MG. There are many end-to-end Audio/Video production scenarios where Fusion would not be required.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Typical Use Cases:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Resolve&lt;/strong&gt; (&lt;em&gt;minus Fusion&lt;/em&gt;):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Producing simple videos from source material&lt;/li&gt;&#xA;&lt;li&gt;Editing complex video sequences&lt;/li&gt;&#xA;&lt;li&gt;Color Grading / Color Correction (Simple -&gt; Advanced)&lt;/li&gt;&#xA;&lt;li&gt;Audio Engineering&lt;/li&gt;&#xA;&lt;li&gt;Transcoding &amp;amp; Final Delivery&lt;/li&gt;&#xA;&lt;li&gt;Applying Audio/Video effects to existing footage&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Fusion&lt;/strong&gt; (standalone):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Creating/Applying simple Computer-Generated Imagery (CGI)&lt;/li&gt;&#xA;&lt;li&gt;Generating/Applying advanced 2D and 3D Video Effects (VFX)&lt;/li&gt;&#xA;&lt;li&gt;Creating/Applying Motion Graphics (Animated Titles and Wurly Spinny things)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Fortunately - Resolve now includes Fusion - so you get the best of both worlds integrated in one hugely powerful application package.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And yes - you can complete an entire Film 'Movie/Short Film/Video' using just Davinci Resolve and Fusion tools.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;** Fusion is also available as a standalone product, but the features &amp;amp; functionality of the standalone product are almost entirely available within Davinci Resolve.&lt;/p&gt;&#xA;" OwnerUserId="24155" LastActivityDate="2019-11-25T07:32:57.350" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28955" PostTypeId="2" ParentId="28949" CreationDate="2019-11-25T08:42:00.217" Score="0" Body="&lt;p&gt;If you see artifacts in your footage, it is most likely that the bitrate is too low. Try encoding with the h264 or libx264 codec at around 5 mb/s&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-25T08:42:00.217" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28957" PostTypeId="2" ParentId="28941" CreationDate="2019-11-25T09:43:41.850" Score="1" Body="&lt;p&gt;You cannot magically pull out more resolution than the material you have. If it's 1920x1080, the resolution can only get smaller, i.e. 1280x720. There are options like Nvidia's Ai-Upscaling, but it works rather bad when applied to faces, which you'll probably run into. Another method might be to use Red Giant's Upscalers. They use more advanced upscaling methods than After Effects bicubic scaling - however, upscaling 720p to 1080p will not result in a regular fullHD image.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-25T09:43:41.850" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28958" PostTypeId="2" ParentId="28952" CreationDate="2019-11-25T10:33:45.623" Score="1" Body="&lt;p&gt;This is not an effect, it's the way these people talk. Some people have a rather raspy voice, other a smooth one. There is no effect to make your voice more raspy, unfortunately.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-25T10:33:45.623" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28959" PostTypeId="1" AcceptedAnswerId="29374" CreationDate="2019-11-25T12:53:34.020" Score="3" ViewCount="4171" Body="&lt;p&gt;I have a video project which I have cut and edited and now I want to adjust color (temperature) of one track that contains clips from one camera (2nd track contains clips from 2nd camera), I know it is possible to adjust individual clips, but I want to do it for the whole track because it is the same camera with the same settings. Or do I have to adjust individual clips manualy?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I bet the functionality must be somewhere and I just can't find it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="26170" LastActivityDate="2020-02-24T00:03:00.533" Title="Davinci Resolve 15 - color correction of whole tracks" Tags="|davinci-resolve|color-correction|tracks|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28963" PostTypeId="2" ParentId="28959" CreationDate="2019-11-26T11:15:06.973" Score="1" Body="&lt;p&gt;Just color correct one clip according to your specifications and then select that clip first and then all other which you want to have the same color correction. To select the other clips you can do ctrl + click. This way all the clips which you selected, will have the same color correction as of the first clip. I saw this in some YouTube video.&lt;/p&gt;&#xA;" OwnerUserId="6396" LastActivityDate="2019-11-26T11:15:06.973" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28965" PostTypeId="1" AcceptedAnswerId="28980" CreationDate="2019-11-26T13:27:35.640" Score="1" ViewCount="753" Body="&lt;p&gt;I'm using ffmpeg's &lt;code&gt;vidstabdetect&lt;/code&gt; and &lt;code&gt;vidstabtransform&lt;/code&gt; filter to stabilise videos. Currently I first cut out the scenes from the single input that I want to stabilise into individual files, which I then stabilise, transform, and join together. To avoid creating these intermediate files, is it possible to:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;specify multiple time ranges to stabilise;&lt;/li&gt;&#xA;&lt;li&gt;create the necessary &lt;code&gt;*.trf&lt;/code&gt; file(s) in a first pass;&lt;/li&gt;&#xA;&lt;li&gt;stabilise (transform) the time ranges from the input in a second pass and create a single output file containing just the stabilised scenes&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;without creating intermediate files beyond the &lt;code&gt;*.trf&lt;/code&gt; file(s)? I am asking because I am not sure that the &lt;code&gt;*.trf&lt;/code&gt; files can deal with non-continuous scenes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would be the right flag to specify the time ranges to stabilise and join?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Current workflow to extract and stabilise a scene from &lt;code&gt;foo.mp4&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -v error -y -ss 00:00:00 -to 00:01:00 -i foo.mp4 -c copy foo-000000-000100.mp4&#xA;&#xA;$ ffmpeg -y -v error -i foo-000000-000100.mp4 -vf vidstabdetect=stepsize=6:shakiness=6:accuracy=9:result=foo-000000-000100.trf -f null -&#xA;&#xA;$ ffmpeg -v error -y -i foo-000000-000100.mp4 -vf vidstabtransform=input=foo-000000-000100.trf:zoom=1:maxangle=(1*PI/180):smoothing=30,rotate=(0.0*PI/180):ow=1920:oh=1080,scale=1440:-2,unsharp=5:5:0.8:3:3:0.4,drawtext=fontfile=din.ttf:fontcolor=0x55b575:fontsize=18:x=w-tw-10:y=h-th-10:timecode='00\:00\:00\:00':rate=60,drawtext=fontfile=din.ttf:fontcolor=0x55b575:fontsize=18:x=10:y=h-th-10:text='foo' -vcodec libx264 -preset slow -tune film -an -r 60 -crf 26 foo-000000-000100.stab.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24544" LastEditorUserId="24544" LastEditDate="2019-11-26T14:39:00.093" LastActivityDate="2019-12-01T12:08:28.343" Title="ffmpeg: using vidstab{detect,transform} on parts of a video" Tags="|ffmpeg|stabilisation|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28966" PostTypeId="1" AcceptedAnswerId="28967" CreationDate="2019-11-26T15:59:04.250" Score="0" ViewCount="152" Body="&lt;p&gt;There's a video I need to view, foreign language film. I was checking it with ffmpeg, and it seemed legitimate except the third stream was something I've never seen before. I want to know what it is and how to view the stream's contents.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried dumping it with&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -dump_attachment:t:0 subs.txt -i input.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Yet the file that was dumped is invisible...but showed up a number in the file folder. I'm using windows 8.1 and hidden folders/files are set to visible. Maybe my command is wrong and this is a subfile... instead of a information file..(i tried s:0 instead but no difference)? Or I can't dump this? Should I change from .txt to some other extension or what do I need to do to dump and view it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just don't know what it is, and i want to know what it is. If we assume it's a subfile, I should be able to open it in a text editor right? So how can I do that...preferably a safe way of doing so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qVPi1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qVPi1.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21882" LastActivityDate="2019-11-26T16:09:53.423" Title="Unknown stream found in container (likely a subfile): need help identifying/opening it" Tags="|ffmpeg|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28967" PostTypeId="2" ParentId="28966" CreationDate="2019-11-26T16:09:53.423" Score="0" Body="&lt;p&gt;The 3rd stream in your input is a regular stream. Attachments are basically extradata attached to streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You would use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -map 0:2 -c copy -f data subs.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-11-26T16:09:53.423" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28968" PostTypeId="2" ParentId="28823" CreationDate="2019-11-26T23:44:12.770" Score="1" Body="&lt;p&gt;Nuke's Smart Vector toolset is built for this exact problem. I see you tagged After Effects, but you did not specify that After Effects is needed. I've done this a few times before and Mocha is your best bet for AE, but as you already know it has it's limitations. Nuke can actually track the creases and folds (though of course it isn't perfect). The biggest factor I've seen in my tests is shot duration - the longer the shot the more the vectors get all messed up. That said it can sometimes do magical things! I believe you can rent Nuke for a decent price if you just need to do one shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a tutorial showing how to replace part of a shirt. It is a bit older, but because it addresses exactly what you are trying to do I thought I'd link it: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/65QkIydYMSQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you absolutely need to use AE I would combine a mocha track with a puppet warp which is hand-animated. Using Mocha you can stabilize the footage, overlay your logo and keyframe the puppet warp, and the re-track it back into the original footage.&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2019-11-26T23:44:12.770" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28969" PostTypeId="1" AcceptedAnswerId="28970" CreationDate="2019-11-27T02:29:35.930" Score="0" ViewCount="192" Body="&lt;p&gt;I would like to create a simple animation effect in premiere pro where a question mark (text) is rotated about its dot. However, what I can only manage to accomplish is to rotate the question mark about its center. &lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Question&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;What is the least pain-staking method for rotating a question mark about it's dot? Or, equivalently, is there a way to configure the axis of rotation for an object (text or otherwise)?&lt;/p&gt;&#xA;" OwnerUserId="26800" LastActivityDate="2019-11-27T14:34:54.880" Title="Premiere Pro - Animation - rotate question mark about its &quot;dot&quot;" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28970" PostTypeId="2" ParentId="28969" CreationDate="2019-11-27T14:34:54.880" Score="1" Body="&lt;p&gt;The least pain-staking method? Open After Effects, press &quot;y&quot; to move the anchor point and drag it over the dot. If you rotate now, the rotation is happening from the anchor-point.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-27T14:34:54.880" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28971" PostTypeId="1" CreationDate="2019-11-27T19:54:12.030" Score="0" ViewCount="949" Body="&lt;p&gt;How do we use a digital board/pad to make pre-recorded (not live) YouTube videos of the handwritten instructions, so that hand(s) wouldn't be visible in the videos, but you'll actually use your hand (and not the computer mouse) to write on the board? So basically, to make these videos, you'll write on a digital pad/board connected to your computer, so the computer screen would contain just what you're writing minus your hand, and the video of those writings can be saved afterwards? The best descripotion is some Khan Academy videos: e.g. &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/EMCWvehKpd4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; is where you see just what you need, minus the hands, or the instructor himself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If possible, how exactly do we do it? One idea is described here - &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/b2w-dc-pJwU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;, but I'd still love to see if there're other simpler ideas out there, possibly not involving buying a very expensive digital board. Some digital board are less than 100€, but some are 1000€ (!).&lt;/p&gt;&#xA;" OwnerUserId="26942" LastActivityDate="2019-12-02T03:51:48.847" Title="How to go about making educational videos of handwritten instructions on a digital pad, where the hands won't be included in the videos?" Tags="|video|video-editor|video-recording|youtube|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28972" PostTypeId="2" ParentId="28971" CreationDate="2019-11-28T08:34:38.027" Score="1" Body="&lt;p&gt;In most cases, drawing-pads are usually used. However, you can draw on paper in a light-tent and imitate the motion of pens and brushes over the paper in post. This will be a more difficult option though as it takes much more time in post.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-11-28T08:34:38.027" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28973" PostTypeId="1" AcceptedAnswerId="28982" CreationDate="2019-11-28T22:09:36.850" Score="1" ViewCount="1819" Body="&lt;p&gt;In DaVinci Resolve 16, in Fusion, I'm creating a Clean Plate and routing its output to a Delta Keyer to remove the background. While the Clean Plate works well, the Delta Keyer is not doing what I would expect (i.e. remove everything in the Clean Plate).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See screenshot below. What am I doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QTmvD.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QTmvD.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26947" LastActivityDate="2019-11-30T23:04:13.587" Title="Delta Keyer not working with Clean Plate" Tags="|davinci-resolve|chromakey|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28975" PostTypeId="1" CreationDate="2019-11-29T07:11:57.413" Score="3" ViewCount="148" Body="&lt;p&gt;It's easier to notice details in still objects compared to moving ones, so modern codecs save bandwidth by reducing detail during movement. However, this optimization seems far too pronounced to me with the codecs and settings I've tried. The following are cropped screenshots from viewing in VLC, and the person is in the midst of turning their head from screen left to screen right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the original DVD, MPEG2, 9000 kbps (for the video), 720x480. There's some noise, but the facial expression is clear, even though it's in motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/xptU7.png&quot; alt=&quot;original DVD&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The following was encoded from the original with DivX 3.11a low-motion, 2-pass, averaging 1705 kbps (for the video), 432x320. It's a bit fuzzier than the original due to the reduced resolution, but it's faithfully reproducing everything in the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/8CJr8.png&quot; alt=&quot;DivX 3.11a&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The following was encoded from the original with AVC in ffmpeg, averaging 962 kbps (for the video), 720x480. I'm using a CRF of 22 to be a bit higher quality than the AVC default of 23.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i        in.vob&#xA;       -filter:v yadif&#xA;       -c:v      libx264&#xA;       -crf      22&#xA;       -c:a      libopus&#xA;       -b:a      64k&#xA;       -strict   -2&#xA;                 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Static areas are almost as crisp as the original, but areas in motion have been optimized into blocky smudges.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/cL5LU.png&quot; alt=&quot;AVC&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And finally, the following was encoded from the original with HEVC in ffmpeg, averaging 372 kbps (for the video), 720x480. I'm using a CRF of 25 to be a bit higher quality than the HEVC default of 28.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i        .\in.vob&#xA;       -filter:v yadif&#xA;       -c:v      libx265&#xA;       -crf      25&#xA;       -c:a      libopus&#xA;       -b:a      64k&#xA;       -strict   -2&#xA;                 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Faces have been turned into blobs, and this isn't even the worst one in the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/vSP5N.png&quot; alt=&quot;HEVC&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When the encoder tosses out information on certain areas due to the very thing that makes them interesting - motion - the optimization becomes really noticeable. However, I've seen videos encoded in AVC and HEVC that don't suffer from this, maintaining good detail even at ~1000 kbps for 1920x1080. What am I doing wrong, and how do I improve the quality with these modern codecs while still benefiting from reduced file sizes?&lt;/p&gt;&#xA;" OwnerUserId="26948" LastActivityDate="2019-11-29T07:11:57.413" Title="How do I compress a video and preserve quality in moving areas?" Tags="|ffmpeg|libx264|hevc|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28977" PostTypeId="1" CreationDate="2019-11-29T13:35:07.920" Score="0" ViewCount="201" Body="&lt;p&gt;I am trying to use ffmpeg to concatenate 2 videos (prelude and the actual content). I want the transition to start with a circle that grows from a specific location and opens the view to the second video. I tried using ffmpeg-gl-transition, which seems to have a zoomInCirlce transition, but in that case, the second video looses audio. Are there other ways to achieve this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's a link to a sample, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/WOGb8ed9neE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="26951" LastActivityDate="2019-11-29T13:35:07.920" Title="How to create Zoom In Circle transition using ffmpreg?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28979" PostTypeId="1" CreationDate="2019-11-29T17:29:41.880" Score="0" ViewCount="26" Body="&lt;p&gt;I use a OnePlus 6 mobile for recording videos and so far I have never transferred the video to my Macbook Pro, however, I recently copied all my videos to learn video editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All videos play smoothly in the mobile, but whichever the video I copied from my mobile aren't playing smoothly in the laptop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Videos are recorded in H.264 format in 1080p. One strange difference I noticed was that all the videos recorded using the front camera, plays smoothly, but the rear camera does not. Also, 720p content from just works fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm having hard time understanding what is the problem. Please help. I'm sure if the problem is with the mobile phone or the codecs which are installed in my Macbook Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried using Quicktime player, VLC Player and DaVinci Resolve.&lt;/p&gt;&#xA;" OwnerUserId="26952" LastActivityDate="2019-11-29T17:29:41.880" Title="Video not playing in mac" Tags="|video|codec|h.264|mac|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28980" PostTypeId="2" ParentId="28965" CreationDate="2019-11-30T19:41:42.920" Score="1" Body="&lt;p&gt;It is possible to use the &lt;code&gt;select&lt;/code&gt; filter to select scenes for stabilisation and inclusion into the final result - see the example below. It seems that &lt;code&gt;select&lt;/code&gt; is slow for skipping over unwanted material. This does not create any intermediate files except the &lt;code&gt;*.trf&lt;/code&gt; file. In my example I am not using audio, which would have to be selected likewise. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#! /bin/bash&#xA;&#xA;f=&quot;20191128_215245A.mp4&quot;&#xA;x=&quot;select='between(t,5,10)+between(t,15,20)',setpts=N/FRAME_RATE/TB&quot;&#xA;s=&quot;vidstabdetect=stepsize=6:shakiness=6:accuracy=9:result=foo.trf&quot;&#xA;y=&quot;vidstabtransform=input=foo.trf:zoom=1:maxangle=(1*PI/180):smoothing=30&quot;&#xA;z=&quot;scale=1440:-2,unsharp=5:5:0.8:3:3:0.4&quot;&#xA;a=&quot;-an -tune film -r 60 -crf 26 -vcodec libx264 -preset slow&quot;&#xA;&#xA;ffmpeg -y -i $f -vf &quot;$x,$s&quot; -f null -&#xA;ffmpeg -y -i $f -vf &quot;$x,$y,$z&quot; $a foo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24544" LastEditorUserId="24544" LastEditDate="2019-12-01T12:08:28.343" LastActivityDate="2019-12-01T12:08:28.343" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28981" PostTypeId="2" ParentId="4728" CreationDate="2019-11-30T20:13:43.130" Score="6" Body="&lt;p&gt;The K key is a modifier and stop playback key.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Play in reverse&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To move the playhead in reverse at a normal speed, press J.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To move it backwards faster, press JJ. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To move backward slowly, press J and K.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To move back one frame at a time, press K and tap the J key.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To play in reverse slightly faster, press Shift + J.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;.&#xA;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Play forward&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To move the playhead forward, press L.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To move it forward faster, press LL.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To move forward slowly, press L and K.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To move forward one frame at a time, press K and tap the L key.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To play forward slightly faster, press Shift + L.&lt;/p&gt;&#xA;" OwnerUserId="26959" LastActivityDate="2019-11-30T20:13:43.130" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28982" PostTypeId="2" ParentId="28973" CreationDate="2019-11-30T23:04:13.587" Score="1" Body="&lt;p&gt;With one exception (Garbage Matte), the Delta Keyer doesn't &quot;remove&quot; things.  What it does is create and/or apply masks and mattes so that keyed areas can be replaced by other things (either within the given Delta Keyer node or downstream in the Fusion composition).  Therefore, to get an effect you want, you need to provide the Delta Keyer with an image or a solid color that you want to use to replace the area of the key you have defined.&lt;/p&gt;&#xA;" OwnerUserId="10931" LastActivityDate="2019-11-30T23:04:13.587" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28983" PostTypeId="2" ParentId="28971" CreationDate="2019-12-02T03:51:48.847" Score="2" Body="&lt;p&gt;The easiest way to do this would be to get a graphic tablet (like a Wacom tablet or a cheaper alternative) and record the screen as you write on a drawing program such as gimp, illustrator, Photoshop, paint.net, etc. with a recording program such as OBS. You can set up custom pens that use the speed, angle, pressure, etc. of your drawing to imitate the look of a pen and to create a similar effect to one of these videos.&lt;/p&gt;&#xA;" OwnerUserId="22981" LastActivityDate="2019-12-02T03:51:48.847" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="28984" PostTypeId="1" AcceptedAnswerId="28985" CreationDate="2019-12-02T06:45:02.700" Score="3" ViewCount="2525" Body="&lt;p&gt;I have an ffmpeg command using -vf to deinterlace videos and produce pixel format with 4:2:0 chroma subsampling:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf yadif,format=yuv420p \ &#xA;-force_key_frames expr:gte(t\,n_forced/2) \&#xA;-c:v libx264 -crf 23 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Also I have another ffmpeg command to put on my watermark:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -i logo.png \&#xA;-filter_complex &quot;[1][0]scale2ref=iw/5:ow*450/450[wm][vid];[vid][wm]overlay=W-w-W*3/100:H-h-H*1/100:enable='gt(t,30)'&quot; \&#xA;-c:v libx264 -crf 23 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried to put them together and got this error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf/-af/-filter and -filter_complex cannot be used together for the same stream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I read that -filter_complex can be used for simple filters, and we can chain the filters together, separated by commas, so I created a new command without -vf:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -i logo.png \&#xA;filter_complex &quot;[1][0]scale2ref=iw/5:ow*450/450[wm][vid];[vid][wm]overlay=W-w-W*3/100:H-h-H*1/100:enable='gt(t,30)',yadif,format=yuv420p&quot; -force_key_frames expr:gte(t\,n_forced/2) -c:v libx264 -crf 23 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is this the right way to combine these two filters?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The console doesn't show the above error but a new error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Missing ')' or too many args in 'gte(t\,n_forced/2)'&#xA;Invalid force_key_frames expression 'gte(t\,n_forced/2)'&#xA;Error initializing output stream 0:0 --&#xA;[aac @ 0000022fbe6eacc0] Qavg: 118.000&#xA;[aac @ 0000022fbe6eacc0] 2 frames left in the queue on closing&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Please help!&lt;/p&gt;&#xA;" OwnerUserId="26966" LastActivityDate="2019-12-02T08:59:34.493" Title="Combine -vf yadif,format=yuv420p and -filter_complex for watermark" Tags="|ffmpeg|filter|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28985" PostTypeId="2" ParentId="28984" CreationDate="2019-12-02T08:59:34.493" Score="2" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -i logo.png \&#xA;-filter_complex &quot;[0]yadif,format=yuv420p[main];[1][main]scale2ref=iw/5:ow*450/450[wm][vid];[vid][wm]overlay=W-w-W*3/100:H-h-H*1/100:enable='gt(t,30)'&quot; \&#xA;-force_key_frames &quot;expr:gte(t,n_forced/2)&quot; -c:v libx264 -crf 23 -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-12-02T08:59:34.493" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28986" PostTypeId="1" CreationDate="2019-12-02T10:17:59.880" Score="0" ViewCount="81" Body="&lt;p&gt;I am trying to overlay a logo on a video, and reveal it gradually. I used the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i uploads/vid1.mp4 -loop 1 -r 25 -pix_fmt yuva420p -i logo.png -filter_complex &quot;[1]drawbox=x=0:color=black:w=in_w*if(lt(t\,2)\,(2-t)/2\,0.01):thickness=fill:replace=1[L1];[0][L1]overlay=eof_action=endall&quot; vidout.mp4&#xA;&#xA;$ ffmpeg -version&#xA;ffmpeg version 4.1.3-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2019 the FFmpeg developers&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;As far as I understand, drawbox should have timeline support:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -filters|grep drawbox&#xA;....&#xA; T.. drawbox           V-&amp;gt;V       Draw a colored box on the input video.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Instead of revealing the logo gradually, it displays the full logo immediately. How can I reveal the logo gradually?&lt;/p&gt;&#xA;" OwnerUserId="26862" LastEditorUserId="26862" LastEditDate="2019-12-03T12:54:02.773" LastActivityDate="2019-12-03T12:54:02.773" Title="Trying to reveal a logo gradually" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28988" PostTypeId="1" CreationDate="2019-12-03T02:15:18.177" Score="3" ViewCount="43" Body="&lt;p&gt;I have a video of myself inside of a human-powered rotating drum. This video's shot at 60 frames per second, but due to to the unreliable velocity of human operators, this drum rotates at different speeds throughout the video. I need the drum to rotate at a constant speed for use in a video installation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering if there's a processing technique (perhaps in after effects) I could use to programmatically stabilize the speed of this drum, maybe by use of a tracking point on the drum's edge. What I'm doing right now is overlaying eight equally-spaced diameters on top of this video, and attempting to get a constant amount of rotation (one-eighth of a turn) every thirty frames through premiere's speed ramping tools.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately, this is not an ideal solution as even within one-eighth of a rotation there are speed variances and minor starts and stops that do not produce a stable rotation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone have any ideas on how to approach this? Attached is a picture for reference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9fzpi.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9fzpi.jpg&quot; alt=&quot;Me in a dryer drum with eight equally spaced reference diameters&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26970" LastEditorUserId="26970" LastEditDate="2019-12-03T02:23:42.373" LastActivityDate="2021-11-01T19:53:08.550" Title="Use of time remapping to stabilize the velocity of a rotating object?" Tags="|after-effects|video-editor|editing|framerate|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28989" PostTypeId="1" AcceptedAnswerId="28990" CreationDate="2019-12-03T05:35:54.230" Score="0" ViewCount="2370" Body="&lt;p&gt;I'm using After Effects to create videos and export it via Adobe Media Encoder, but even a 2 min video takes a very long time to export.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do use Motion Bro plugin, to get some effects, but that's just a transition effect to change from one screen to another.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I make it quicker?&lt;/p&gt;&#xA;" OwnerUserId="26972" LastActivityDate="2019-12-03T06:12:55.197" Title="Video Exporting takes too long in Adobe Media Encoder" Tags="|video|after-effects|adobe|adobe-media-encoder|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28990" PostTypeId="2" ParentId="28989" CreationDate="2019-12-03T06:12:55.197" Score="2" Body="&lt;ul&gt;&#xA;&lt;li&gt;Are you exporting to h.264? Try rendering to a master file in a intermediate codec like ProRes, Cineform or DNxHR. Rendering to h.264 involves referencing multiple frames to create the intermediate frames. When those frames have to be rendered first it adds an extra drain on resources, particularly memory.&lt;/li&gt;&#xA;&lt;li&gt;Is the computer hitting the limits of available memory? This will &lt;em&gt;exponentially&lt;/em&gt; slow things down. Check on the available RAM at render time, and if it's getting full you need to take steps to reduce your memory usage. One way is to pre-render sub-comps, another is to make sure images you use are appropriately sized for the output. Time-based effects like echo are big RAM hogs, you may have to pre-render layers with these applied.&lt;/li&gt;&#xA;&lt;li&gt;Learn how to use the command line renderer &lt;strong&gt;aerender.exe&lt;/strong&gt; (just plain aerender if you're still on a mac). This is between 10% and 4000% (no lie) faster in my experience than Media Encoder, particularly if you have enough memory to &lt;a href=&quot;https://blob.pureandapplied.com.au/finally-managed-to-peg-my-cpu/&quot; rel=&quot;nofollow noreferrer&quot;&gt;spin up multiple instances&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;since you're using the command line now, why not get MOAR COMPUTAHS on the job? Aerender can be used over the network, so if you have other machines that you can borrow you can create a render farm. You can also use the GUI network renderer if you're not ready to become a fully fledged command line ninja, but I will be silently judging you.&lt;/li&gt;&#xA;&lt;li&gt;all of these steps assume that the workstation you have is a constant. The single best thing you can do is to get a &lt;a href=&quot;https://www.schoolofmotion.com/tutorials/after-effects-computer&quot; rel=&quot;nofollow noreferrer&quot;&gt;better computer.&lt;/a&gt; Or several.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-12-03T06:12:55.197" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28992" PostTypeId="1" CreationDate="2019-12-02T21:45:05.893" Score="0" ViewCount="104" Body="&lt;p&gt;I'm attempting to create a simple help video where I demonstrate the use of an online application, so I'm using a screen recording as my source video. I've created a shape layer that will serve as box to highlight a certain part of the webpage I want to draw attention to. In this scene, the page scrolls down. At this point I would like the highlight-box to scroll with the page. I've attempted to use the Track Motion tool to target the highlight-box to features on the page. However, the tracker is doing a horrible job of tracking items when the page scrolls. I've attempted to position the motion tracker on to many of the page's items, but it's just not able to get a handle on anything effectively.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've read through a few different tutorials and watched a couple of videos too, and so I don't think that there is a problem with my work flow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is anybody able to tell me why I am having such trouble tracking this scroll motion? Does anybody have any recommendations for solving this problem?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've attached a link to the aep file at &lt;a href=&quot;http://www.webfinesse.co.nz/Downloads/Highlights-3.aep&quot; rel=&quot;nofollow noreferrer&quot;&gt;Highlights-3.aep&lt;/a&gt;  (182KB), and the relevant clip file at &lt;a href=&quot;http://www.webfinesse.co.nz/Downloads/FindFullText-CCDHB-Scene03.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;video clip&lt;/a&gt; (1,635 KB). Any help will be greatly appreciated. Thank you.&lt;/p&gt;&#xA;" OwnerUserId="26944" OwnerDisplayName="MichaelvE" LastEditorUserId="26944" LastEditDate="2019-12-03T20:52:47.983" LastActivityDate="2019-12-03T20:52:47.983" Title="After Effects - Unable to track motion accurately for screen recording when scrolling occurs" Tags="|after-effects|screen-casting|tracking|motion|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="28993" PostTypeId="1" CreationDate="2019-12-03T12:49:49.213" Score="0" ViewCount="19" Body="&lt;p&gt;When I film at least at 3200 ISO I have so much noise in my video that the video is unwatchable. I tried the denoiser in Adobe Premiere pro but it removes all the details and it doesn't remove colour noise, is there any free plugin to remove colour noise?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/dfAaf.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dfAaf.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26975" LastActivityDate="2019-12-03T12:49:49.213" Title="Canon EOS T5 video noisy" Tags="|dslr|canon|noise-reduction|noise|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="28994" PostTypeId="1" CreationDate="2019-12-03T14:51:00.970" Score="0" ViewCount="403" Body="&lt;p&gt;I understand that this question doesn't make much sense, so allow me to explain.&lt;br/&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have seen many videos, most of them involving sports and cars, where a person/car is frozen, and the object that was frozen is moving somewhere in the video will approach the frozen object and when it makes contact, the object that was frozen will now move with the object in real time/delete itself and the video keeps playing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use After Effects and I wanted to know how this is done. If anyone can help, I'd really appreciate it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just spent an hour trying to find a video to at least give an example as to what I was talking about and I just can't find one, but I know I've seen it before.&lt;/p&gt;&#xA;" OwnerUserId="26976" LastEditorUserId="18155" LastEditDate="2019-12-03T23:44:39.703" LastActivityDate="2021-02-04T18:04:15.380" Title="How to take an object and pause it in a moving video?" Tags="|after-effects|editing|special-effects|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28996" PostTypeId="2" ParentId="28994" CreationDate="2019-12-03T15:50:42.937" Score="0" Body="&lt;p&gt;I think you're looking for how to create Speed Ramping-type effects?  Maybe something like this? &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/4O5Fxnp1JiM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-12-03T15:50:42.937" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="28998" PostTypeId="1" CreationDate="2019-12-04T06:36:11.520" Score="1" ViewCount="639" Body="&lt;p&gt;I have end credits rolling over an image in Premiere Pro 19.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a few seconds, I want a part of the image (the dog) to appear &lt;em&gt;over&lt;/em&gt; the text. Therefore, I thought that I could mask the dog his head in the text frame, and then invert the mask. That way, only the dog head appears &lt;em&gt;over the text&lt;/em&gt;. This worked at first. However, then I tried to apply the same formula again, somewhere earlier in the video by creating a second mask over the text, and then the effect failed. I do not understand why. I tried restarting Premiere, but it did not work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I added a youtube video so that my settings are visible:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/y9U9Mqks8T4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for all the help, in advance.&lt;/p&gt;&#xA;" OwnerUserId="26983" LastActivityDate="2024-01-14T01:04:40.557" Title="Masking out Text in Premiere Pro 2019" Tags="|premiere|adobe|mask|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="28999" PostTypeId="1" AcceptedAnswerId="29142" CreationDate="2019-12-04T06:58:58.673" Score="2" ViewCount="3300" Body="&lt;p&gt;I am using below command to add timestamps to video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.mp4 -vf &quot;drawtext=fontfile=roboto.ttf:fontsize=36:fontcolor=yellow:text='%{pts\:gmtime\:1456007118}'&quot; -preset ultrafast output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;command is working but i don't get desired output. it is adding timestamp like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TDfpA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TDfpA.png&quot; alt=&quot;sample video screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to use different date format like this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://developer.android.com/reference/java/text/SimpleDateFormat#examples&quot; rel=&quot;nofollow noreferrer&quot;&gt;Simple Date Format&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://developer.android.com/reference/java/text/SimpleDateFormat#date-and-time-patterns&quot; rel=&quot;nofollow noreferrer&quot;&gt;Date and Time Patterns&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I get this date :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;2016-02-20 22:25:20&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but i want this :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Sat, 20 Feb 2016 22:25:20 -0700&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26984" LastActivityDate="2022-05-17T18:02:01.493" Title="How to burn timestamp in video with different date format using FFMPEG?" Tags="|video|ffmpeg|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29000" PostTypeId="1" CreationDate="2019-12-04T10:20:08.230" Score="1" ViewCount="885" Body="&lt;p&gt;I want to be able to make multi-camera edits using low res proxy files, then be able to recreate those edits using HD footage. I'm using CC 2019. Here's my workflow:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Import HD files into Premiere, and create a multi-camera source&#xA;sequence &lt;/li&gt;&#xA;&lt;li&gt;Select the clips, right click them and create proxies&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;When I open the Multi-camera Source Sequence in Timeline, I can toggle the proxy files by clicking the Toggle Proxies button.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I create a Sequence from my Multi-camera Source Sequence, and open it in the timeline, I am no longer able to Toggle Proxies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this the expected behaviour, or am I doing something wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have found &lt;a href=&quot;https://youtu.be/GaNPlbTt0y4&quot; rel=&quot;nofollow noreferrer&quot;&gt;this workaround&lt;/a&gt;, but it involves duplicating the multi-camera sequence, and swapping out the footage for the low-res footage. I'd prefer Premiere to manage toggling the proxies itself if possible.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-12-21T13:01:25.177" Title="Working on multi-camera edits using proxy files in Premiere" Tags="|premiere|multi-camera|intermediate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29001" PostTypeId="1" CreationDate="2019-12-04T16:03:01.237" Score="0" ViewCount="722" Body="&lt;p&gt;I need to create Text Anagram Animation using After Effects, Is there any script, expression or plugin available to do this job. If not how to animate it manually, The animation needs to be like in the movie &quot;Harry Potter 2&quot; animation of  &quot;TOM MARVOVLO RIDDLE / I AM LORD VOLDEMORT&quot; anagram.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/B6NxD7RQPF0?start=150&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="26989" LastEditorUserId="4426" LastEditDate="2019-12-04T16:54:59.003" LastActivityDate="2019-12-05T08:19:12.767" Title="Text Anagram Animation in After Effects" Tags="|after-effects|animation|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29002" PostTypeId="2" ParentId="28998" CreationDate="2019-12-04T16:27:04.607" Score="0" Body="&lt;p&gt;I would duplicate a copy of your background (doggy) layer.  Put it on top of your text layer, then animate the mask on your foreground layer. So in total you have three layers:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;V3 - foreground dog (masked)&#xA;&#xA;V2 - text credits&#xA;&#xA;V1 - background dog (and everything else)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(I reckon masking like this is easier in after effects but can be done in Premiere)&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-12-04T16:27:04.607" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29004" PostTypeId="2" ParentId="29001" CreationDate="2019-12-05T08:19:12.767" Score="1" Body="&lt;p&gt;It's difficult to give advice on how to achieve this effect without knowing what knowledge you have in animation and motion graphics. In on itself, this is a very easy animation which will take up to 5 to 6 hours of work.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Create the letters individually in a compositing program like After Effects or Nuke&lt;/li&gt;&#xA;&lt;li&gt;(optional) make the letters emit particles to make it look like actual embers, using something like trapcode particular and setting the emitter type to layer, then selecting the text layer.&lt;/li&gt;&#xA;&lt;li&gt;Use glow, turbulent displacement, displace and fractal noise to your liking until you're happy with the result.&lt;/li&gt;&#xA;&lt;li&gt;Turn the layers into 3D-Layers so you can rotate and move them on each axis.&lt;/li&gt;&#xA;&lt;li&gt;Animate them using keyframes so they move according to your needs.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The hardest part in getting these things right is the lighting on the set. If you're filming in a dark area, these letters would emit a lot of light, which you would see on other actors and the environment. Try lighting the set accordingly while shooting, otherwise you would have to resort to lighting up the footage in post, which will not look as good as doing it for real.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-12-05T08:19:12.767" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29005" PostTypeId="2" ParentId="8305" CreationDate="2019-12-05T17:52:31.353" Score="1" Body="&lt;p&gt;Please excuse my tardiness to the party, this is something that I've been working with as of late &lt;em&gt;lossless screen recording&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Originally I was using OBS to record my screen throughout the year &lt;em&gt;2019&lt;/em&gt; primarily for uploading screen recordings / cast to youtube, however I've recently began experimenting using ffmpeg to record my screen and mic &lt;em&gt;have not tested recording desktop audio&lt;/em&gt; yet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I started with vanilla ffmpeg settings for recording my screen, but the stock GOP setting of the recording makes it utterly painful when editing the recording in a NLE / NLA editor such as &lt;a href=&quot;https://github.com/mltframework/shotcut&quot; rel=&quot;nofollow noreferrer&quot;&gt;shotcut&lt;/a&gt; so I went back and reread the screen &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Capture/Desktop#lossless-recording&quot; rel=&quot;nofollow noreferrer&quot;&gt;capture doc&lt;/a&gt; on the ffmpeg wiki, and noticed that screen recordings can be captured lossless using the x264 codec as long as &lt;code&gt;-crf 0&lt;/code&gt; the &lt;strong&gt;crf&lt;/strong&gt; is set to &lt;strong&gt;0&lt;/strong&gt; which I believe means ffmpeg will use the x264 codec will not apply any lossy compression to the recording.  Also the wiki suggests using &lt;code&gt;-preset ultrafast&lt;/code&gt; in conjunction with the &lt;code&gt;-crf 0&lt;/code&gt; setting of the ffmpeg command.  I experimented with these settings last night and the picture quality / file size is great.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recorded my screen &lt;em&gt;4K&lt;/em&gt; 3840 x 2160 monitor at 30 fps and the bitrate was totally manageable, ie. I don't think it ever went above 10MB/sec, and a one minute recording was ~ 48MB, which is totally acceptable file size for archiving recordings.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Caveats&lt;/h3&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;obviously if you do not prefer using a command line then this will probably not be for you, as I've found relying a GUI to interface with ffmpeg is not a viable thing as most GUIs I experimented with are outdated.&lt;/li&gt;&#xA;&lt;li&gt;also, presently I have issues with recording audio &lt;em&gt;mic&lt;/em&gt; and screen at the same time under a single ffmpeg process / command, so I have to split the command into two separate commands / processed and start them simultaneously to keep the audio / video in sync. &#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;em&gt;I run macOS 10.13.6&lt;/em&gt; and I'm using the &lt;em&gt;Nvidia web driver&lt;/em&gt; so that may be the issue why I the single ffmpeg process / command of recording screen and mic at same time is failing.  Not entirely sure what the issue is. ‍♂️&lt;/li&gt;&#xA;&lt;/ul&gt;&lt;/li&gt;&#xA;&lt;li&gt;I have not come up with a solution for recording the audio in a lossless codec yet, but that will definitely be my next task to research&lt;/li&gt;&#xA;&lt;li&gt;also, I'd like to &lt;em&gt;convert&lt;/em&gt; all prior recordings &lt;em&gt;ffmpeg&lt;/em&gt; &amp;amp; &lt;em&gt;OBS&lt;/em&gt; using this new technique to preserve them for archival purposes.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You mention your converting your recordings to animated GIFs, I've used the &lt;a href=&quot;https://github.com/asciinema/asciicast2gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;following project&lt;/a&gt; to convert little screen recordings to GIFs &lt;em&gt;will only work with terminal based recordings&lt;/em&gt;, and have had pleasant results using it.  It even has a docker container that makes using it rather simple for various OSes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did &lt;a href=&quot;https://github.com/ipatch/dotfiles/wiki/video-production-Notes#ffmpeg-going-from-idiot-iphone-recording-to-animated-gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;experiment&lt;/a&gt; with using ffmpeg to convert and iPhone recording to animated GIF a while back which was useful for uploading the GIF to github because I believe github does not support uploading video files such as &lt;strong&gt;mov&lt;/strong&gt; &lt;strong&gt;mkv&lt;/strong&gt; or &lt;strong&gt;mp4&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I did a &lt;a href=&quot;https://stackoverflow.com/a/36838100/708807&quot;&gt;quick search&lt;/a&gt; on the &lt;strong&gt;QTRLE&lt;/strong&gt; codec and it seems it is not compatible with the &lt;strong&gt;MP4&lt;/strong&gt; container format, so if using something other than &lt;strong&gt;MOV&lt;/strong&gt; is required you might look at using a different codec.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;⚠️ the below command will require &lt;a href=&quot;https://github.com/kimmobrunfeldt/concurrently&quot; rel=&quot;nofollow noreferrer&quot;&gt;concurrently&lt;/a&gt; be installed.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;concurrently --kill-others \ &#xA;&quot;ffmpeg -f avfoundation -capture_cursor 1 \&#xA;-capture_mouse_clicks 1 \&#xA;-framerate 30 &#xA;-i &quot;1:&quot; -c:v libx264 -crf 0 -preset ultrafast \&#xA;lossless-screen-rec.mkv 2&amp;gt;/dev/null&quot; \&#xA;&quot;ffmpeg -f avfoundation -i &quot;:3&quot; \&#xA;-acodec alac \&#xA;lossless-mic-.m4a 2&amp;gt;/dev/null&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the above command will capture the computer screen losslessly using x264 and using alac to capture microphone input losslessly as well.  both formats work well for editing in a NLA/NLE editor such as shotcut.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;⚠️ &lt;code&gt;&quot;:3&quot;&lt;/code&gt; and &lt;code&gt;1:&lt;/code&gt; will vary per system running macOS&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get a list of capture devices on macOS&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f avfoundation -list_devices true -i &quot;&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Anyways I know this is a lot of information, but I thought I'd share this info for the fact that I have been using ffmpeg almost daily for the past couple of weeks now so I thought I'd share what I've learned, and leave this info &lt;em&gt;for future me&lt;/em&gt; &lt;/p&gt;&#xA;" OwnerUserId="26843" LastEditorUserId="26843" LastEditDate="2019-12-07T15:55:49.280" LastActivityDate="2019-12-07T15:55:49.280" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29010" PostTypeId="2" ParentId="28639" CreationDate="2019-12-06T15:55:23.507" Score="0" Body="&lt;p&gt;You could try averaging / smoothing the colours out in something like Davinci Resolve - you could key using the blue and only apply to certain areas of the image.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-12-06T15:55:23.507" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29011" PostTypeId="1" AcceptedAnswerId="29042" CreationDate="2019-12-06T16:22:37.363" Score="1" ViewCount="1648" Body="&lt;p&gt;i'm trying to overlap two video clips using FFMpeg. I'm using the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i a.mp4 -i b.mp4 -filter_complex &quot;blend=all_mode='multiply'&quot; c.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I was expecting to get something like in a bitmap editor. Instead, I get a green overlay on top of the resulting video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could you explain that and help me fix my command-line? I'm also open to other alternative programs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here if the full log&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version n4.2.1 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 9.1.0 (GCC)&#xA;  configuration: --prefix=/usr --disable-debug --disable-static --disable-stripping --enable-fontconfig --enable-gmp --enable-gnutls --enable-gpl --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libdav1d --enable-libdrm --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libiec61883 --enable-libjack --enable-libmodplug --enable-libmp3lame --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libv4l2 --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxcb --enable-libxml2 --enable-libxvid --enable-nvdec --enable-nvenc --enable-omx --enable-shared --enable-version3&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'contrast.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:00:02.67, start: 0.000000, bitrate: 1071 kb/s&#xA;    Stream #0:0(und): Video: h264 (High 4:4:4 Predictive) (avc1 / 0x31637661), yuv444p, 1920x1080, 985 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 86 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : Core Media Audio&#xA;Input #1, mov,mp4,m4a,3gp,3g2,mj2, from 'contrast.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:00:02.67, start: 0.000000, bitrate: 1071 kb/s&#xA;    Stream #1:0(und): Video: h264 (High 4:4:4 Predictive) (avc1 / 0x31637661), yuv444p, 1920x1080, 985 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #1:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 86 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : Core Media Audio&#xA;File 'combined.mp4' already exists. Overwrite ? [y/N] y&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; blend:top (graph 0)&#xA;  Stream #1:0 (h264) -&amp;gt; blend:bottom (graph 0)&#xA;  blend (graph 0) -&amp;gt; Stream #0:0 (libx264)&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[libx264 @ 0x558fa4a84680] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x558fa4a84680] profile High 4:4:4 Predictive, level 4.0, 4:4:4, 8-bit&#xA;[libx264 @ 0x558fa4a84680] 264 - core 157 r2945 72db437 - H.264/MPEG-4 AVC codec - Copyleft 2003-2018 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x1:0x111 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=4 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'combined.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.29.100&#xA;    Stream #0:0: Video: h264 (libx264) (avc1 / 0x31637661), yuv444p, 1920x1080, q=-1--1, 29.97 fps, 30k tbn, 29.97 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc58.54.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 69 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : Core Media Audio&#xA;      encoder         : Lavc58.54.100 aac&#xA;frame=   79 fps= 19 q=-1.0 Lsize=     329kB time=00:00:02.64 bitrate=1018.5kbits/s speed=0.639x    &#xA;video:297kB audio:28kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.255968%&#xA;[libx264 @ 0x558fa4a84680] frame I:2     Avg QP:11.42  size:  9143&#xA;[libx264 @ 0x558fa4a84680] frame P:27    Avg QP:20.64  size:  4721&#xA;[libx264 @ 0x558fa4a84680] frame B:50    Avg QP:22.19  size:  3150&#xA;[libx264 @ 0x558fa4a84680] consecutive B-frames: 12.7%  7.6%  3.8% 75.9%&#xA;[libx264 @ 0x558fa4a84680] mb I  I16..4: 97.7%  0.0%  2.3%&#xA;[libx264 @ 0x558fa4a84680] mb P  I16..4:  9.0%  0.0%  1.0%  P16..4:  4.9%  1.1%  0.3%  0.0%  0.0%    skip:83.7%&#xA;[libx264 @ 0x558fa4a84680] mb B  I16..4:  2.1%  0.0%  0.2%  B16..8:  9.6%  1.2%  0.0%  direct: 0.6%  skip:86.2%  L0:52.2% L1:46.4% BI: 1.4%&#xA;[libx264 @ 0x558fa4a84680] coded y,u,v intra: 4.5% 0.3% 1.0% inter: 0.9% 0.1% 0.5%&#xA;[libx264 @ 0x558fa4a84680] i16 v,h,dc,p: 68% 18%  9%  4%&#xA;[libx264 @ 0x558fa4a84680] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 32% 10% 28%  4%  7%  9%  4%  6%  1%&#xA;[libx264 @ 0x558fa4a84680] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0x558fa4a84680] ref P L0: 52.8%  6.5% 24.4% 16.3%&#xA;[libx264 @ 0x558fa4a84680] ref B L0: 70.8% 23.2%  6.0%&#xA;[libx264 @ 0x558fa4a84680] ref B L1: 88.5% 11.5%&#xA;[libx264 @ 0x558fa4a84680] kb/s:920.37&#xA;[aac @ 0x558fa4b1ea00] Qavg: 1424.024&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27008" LastEditorUserId="27008" LastEditDate="2019-12-08T14:27:06.203" LastActivityDate="2019-12-10T09:23:06.537" Title="ffmpeg blend mode multiply results in green overlay" Tags="|ffmpeg|effects|filter|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29012" PostTypeId="1" CreationDate="2019-12-06T18:17:53.260" Score="0" ViewCount="43" Body="&lt;p&gt;I am working with multi camera input.  I have created sequences for each of the cameras because each video needed different rotation, positions and zooms.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, I have cut the video in each sequence and toggled the video track output off except for the cuts that I want to display for each camera.  So all alternate cut sequences are the same length as the main sequence with video output toggled off except for the portions I want to show.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, my final sequence has the main camera angle as Video track 1.  Then I added Video track 2 and 3 as alternate angles.  However, the black background from video track 3 is displayed instead of the main angle from track Video 1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I set the sequence for video track 2 and 3 to be transparent so that video track 1 shows when 2 and 3 are toggled off?&lt;/p&gt;&#xA;" OwnerUserId="27010" LastActivityDate="2019-12-06T18:17:53.260" Title="Make Sequence Background Transparent Instead Of Black" Tags="|premiere|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29015" PostTypeId="1" CreationDate="2019-12-03T12:38:51.493" Score="1" ViewCount="114" Body="&lt;p&gt;I have an AI file consisting of a few different elements (like a windmill, a house with a solar panel, etc.). I have different items (take the house, for instance)separated by a top-level layer, with many sub-layers within the top level.  When I import this into After Effects, I end up only being able to see my top layers, cannot figure out any way to view the sublayers.  Is there any way to view these sublayers within AE?  The basic kind of animation I am trying to pull off requires having access to individual parts of each vector (IE I need to have access to just the fan blades on the windmill, not the blades, and stand together).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far all I can see as a solution is to pull out all my sub-layers and name them all accordingly..which if that is the only solution then that works, but I would love to not have to do this if there is another and more simple way!  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for any input!!&lt;/p&gt;&#xA;" OwnerUserId="27012" OwnerDisplayName="Fauxlosophy" LastEditorUserId="17390" LastEditDate="2020-03-24T17:21:56.487" LastActivityDate="2020-03-24T17:21:56.487" Title="Can I view sublayers of an AI file inside of After Effects?" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29017" PostTypeId="1" AcceptedAnswerId="29018" CreationDate="2019-12-07T12:12:36.810" Score="1" ViewCount="1381" Body="&lt;p&gt;Is there any publicly available code that uses deep learning to employ super-resolution techniques to improve the quality of video clips?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or even any free online software?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="18345" LastActivityDate="2023-09-15T03:43:17.857" Title="Using super resolution to improve video quality" Tags="|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29018" PostTypeId="2" ParentId="29017" CreationDate="2019-12-07T14:31:40.763" Score="1" Body="&lt;p&gt;Yes, there is a method using AI to upscale images:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/rl1pbEG2kgA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if you convert your footage into an image sequence using ffmpeg, you could run every frame through such upscaling.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-12-07T14:31:40.763" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29022" PostTypeId="2" ParentId="15376" CreationDate="2019-12-08T00:04:42.090" Score="0" Body="&lt;p&gt;If you are in Linux, install totem.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;sudo apt-get install totem&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I found that vlc player pauses, but totem (&quot;videos&quot;) loops seamlessly.&lt;/p&gt;&#xA;" OwnerUserId="27018" LastActivityDate="2019-12-08T00:04:42.090" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29024" PostTypeId="1" CreationDate="2019-12-08T20:16:12.983" Score="3" ViewCount="312" Body="&lt;p&gt;I have a video which uses a green screen in it. I have 1000 images which I want to be put onto the green screen, and each exported as unique videos. So, 1 image per video. 1000 images = 1000 unique videos (all from the same base video).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously, doing this by hand is impractical. Assuming the green screen is perfectly green so there is no manual work involved, what is the best software / method to achieve this?&lt;/p&gt;&#xA;" OwnerUserId="27026" LastActivityDate="2020-09-04T10:38:04.867" Title="Batch replace green-screen?" Tags="|premiere|editing|software-recommendation|software|greenscreen|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29026" PostTypeId="2" ParentId="22660" CreationDate="2019-12-09T00:17:35.173" Score="2" Body="&lt;p&gt;Had the same problem and fixed it. Sort of in agreement with Alisha's fix.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check the Settings-Configure Kdenlive-Environment-MLT environment. &#xA;Because I had both an installed version and a standalone version on my disk, the automatic setting is pointing to different paths. If the path is not set correctly to point to the ffmpeg, ffplay, ffprobe, mlt, melt, then the software cannot correctly call those exes to perform the render operation.  &lt;/p&gt;&#xA;" OwnerUserId="27030" LastActivityDate="2019-12-09T00:17:35.173" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29027" PostTypeId="1" AcceptedAnswerId="32164" CreationDate="2019-12-09T01:19:22.387" Score="0" ViewCount="48" Body="&lt;p&gt;I'm looking for some official (or semi-official) sources for using MPEG codecs. The official standards specify syntax and semantics for code streams, and do little job teaching the production community anything useful about what they specify. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does there exist some kind of leaflets or brochures, from the MPEG work group (or a member from the WG), intended for production professionalists, the possibly include explanation for 1) profiles and levels, 2) bitrate and quality correlation, and 3) container format usage. &lt;/p&gt;&#xA;" OwnerUserId="16433" LastActivityDate="2023-01-20T12:52:30.110" Title="Leaflets or brochures for MPEG codecs" Tags="|mpeg|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29028" PostTypeId="1" CreationDate="2019-12-09T02:16:00.097" Score="1" ViewCount="733" Body="&lt;p&gt;im triying download this: &lt;a href=&quot;https://s3-dub-2.cf.dash.row.aiv-cdn.net/dm/2&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://s3-dub-2.cf.dash.row.aiv-cdn.net/dm/2&lt;/a&gt;$0BUF7K2VT3IU0_lgY5I8MtbEnr0~/4a41/40a4/cba9/491e-8631-097e38e63dc5/b61f4b90-54ed-4b6e-8dc9-816b4cc58eab_corrected.mpd?encoding=hex&amp;amp;amznDtid=AOAGZA014O5RE If i use that as adress in a chrome windows says This XML file does not appear to have any style information associated with it. The document tree is shown below. and a lot of info about quality from video and audio.&#xA;If i try ffmpg give me error.&lt;/p&gt;&#xA;" OwnerUserId="27031" LastActivityDate="2019-12-09T02:16:00.097" Title="MPD Download Problem" Tags="|ffmpeg|mpeg-dash|" AnswerCount="0" CommentCount="3" ClosedDate="2019-12-20T18:22:36.643" ContentLicense="CC BY-SA 4.0" />
  <row Id="29029" PostTypeId="2" ParentId="19860" CreationDate="2019-12-09T02:43:39.623" Score="0" Body="&lt;p&gt;To convert a file within the same format without the extension saved into file name in batch mode just add ~n to the final input, like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for %f in (*.mkv) do ffmpeg -i %f &amp;lt;additional options&amp;gt; %~nf.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If one needs to reformat the codec and wishes to keep the same title and save in the same extension it must be saved into another folder. Start the ffmpeg command from the location of the original files. Navigate to that different folder and copy the entire location from the address bar and paste it exactly as is at the beginning of the output name. For this there must be &quot; &quot; around the whole output address. Replace everything within () with your address, and then remove the ().&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for %a in (*.mp4) do ffmpeg -i &quot;%a&quot; &amp;lt;additional options&amp;gt; &quot;(F:\VIDEO\New)\%~na.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27027" LastEditorUserId="14523" LastEditDate="2019-12-09T18:26:27.153" LastActivityDate="2019-12-09T18:26:27.153" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29030" PostTypeId="1" CreationDate="2019-12-07T18:04:07.303" Score="0" ViewCount="302" Body="&lt;p&gt;Now displacement maps don't work for Lottie (by Airbnb), but is there a way to still make them work?&#xA;Like the &lt;code&gt;random()&lt;/code&gt; function on the opacity of a frame doesn't work by default either, but it works when I convert the expression to keyframes &lt;code&gt;Animation &amp;gt; Keyframe assistant &amp;gt; Convert expression to keyframes&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to make this work for displacement maps as well? I would like to make a glitch effect on an image and I don't know any other way but with a displacement map. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it is possible to break up the image in random squares and move them while fading in/out I guess I would have the same glitch effect more or less.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help to get me in the right direction is appreciated. &lt;/p&gt;&#xA;" OwnerDisplayName="Erik van de Ven" LastEditorUserId="17390" LastEditDate="2020-02-01T04:06:15.907" LastActivityDate="2020-02-01T04:06:15.907" Title="Displacement Map: After Effect to Lottie" Tags="|after-effects|animation|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29031" PostTypeId="1" AcceptedAnswerId="29034" CreationDate="2019-12-09T06:39:18.010" Score="0" ViewCount="1073" Body="&lt;p&gt;Will the video quality be noticeable worse with tempered glass lens protectors on GoPro ? &#xA;if so, is it better to use housing for protecting the lens and display? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="17386" LastActivityDate="2019-12-09T10:12:50.220" Title="Should I expect worse video quality with GoPro using lens protectors?" Tags="|lenses|gopro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29032" PostTypeId="2" ParentId="29027" CreationDate="2019-12-09T07:27:43.800" Score="0" Body="&lt;p&gt;The primary audience of MPEG video stream standards is developers of encoders, decoders, players, editors..etc so they won't be expected to have material &lt;em&gt;teaching the production community&lt;/em&gt;, by which I assume you mean creatives or those working directly with creatives.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;profiles and levels&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is specific to each codec, but in general, profile defines the set of encoding methods that an encoder may use e.g. macroblock partitioning, which in turn, defines the capabilities required of the decoder. Their definitions are motivated by various classes of target applications e.g. VoIP, editing, playback on a low-power device but it is upto industry to evolve usage guidelines. See this preface to the Profiles/Levels section within the AVC SPEC (14496-10):&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;This subclause does not form an integral part of this Recommendation |&#xA;  International Standard.  This Recommendation | International Standard&#xA;  is designed to be generic in the sense that it serves a wide range of &#xA;  applications, bit rates, resolutions, qualities, and services.&#xA;  Applications should cover, among other things, digital storage  media,&#xA;  television broadcasting and real-time communications.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So, don't expect to find a normative guide from a standards body.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;bitrate and quality correlation&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There isn't one. An efficient encoder will deliver a better quality for a given bitrate target than an inefficient one. In general, a well-engineered encoder will deliver better quality higher the bitrate, if keeping all syntax elements the same, as well encoder-specific coding algorithms (motion estimation, deblocking loops)..etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;container format usage&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not the purview of the codec standards body. Containers come and go, and are designed by others. Again, it's upto the industry e.g. H.264/AVC is usually stored without in-band parameter sets in a MP4, but can be stored with them present. It's upto the &quot;application&quot;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-12-09T07:27:43.800" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29033" PostTypeId="2" ParentId="29024" CreationDate="2019-12-09T08:23:52.727" Score="0" Body="&lt;p&gt;If I understood correctly and you want to export each frame as a separate video, this would actually be quite easy. Simply key your footage using after effects or any compositing program and export the footage as an image sequence. If you want to change the codec or container of the files, you can use ffmpeg to convert each file (for example .png) into a video container (for example .mp4).&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-12-09T08:23:52.727" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29034" PostTypeId="2" ParentId="29031" CreationDate="2019-12-09T10:12:50.220" Score="1" Body="&lt;p&gt;If you use lens-protection of any kind, same with autocue or eyedirect, the additional glass in front of your camera will have some effect, yes. The magnitude of which will vary depending on your uses. Autocue glass usually has a slightly murky / milky look to it and the image might seem a little but soft upon close inspection - I assume the same will go for GoPro lens-protectors, since they are made of similar transparent material. The absolute worst that could happen is to get your protector dirty. If you have splotches of water or dirt on that protector, they will be very visible and distracting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;tl;dr: If you keep the lens-protector clean, you should experience very little effect. If absolute sharpness is a must for you (when you're filming with green-screen for example), then I would not recommend using it.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-12-09T10:12:50.220" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29035" PostTypeId="1" AcceptedAnswerId="29036" CreationDate="2019-12-09T15:08:21.840" Score="1" ViewCount="224" Body="&lt;p&gt;I had a 595mb .MP4 video (data rate: 510 kbps, Total bitrate 638 kbps). And I joined it with another .MP4 youtube video with a lower quality(only the end part).. The resulting video file has a data rate of 389kbps and Total bitrate of 517 kbps.. The size is also significantly smaller; 494mb.. I used a program called Video Combiner.. And side by side I can see the original one is better quality looking.. so what am i doing wrong? any suggestions? I just wanna join 2 video files without loss of total quality.&lt;/p&gt;&#xA;" OwnerUserId="27039" LastEditorUserId="27039" LastEditDate="2019-12-09T15:29:40.190" LastActivityDate="2019-12-09T16:27:55.440" Title="Video with lower bitrate resulting from joining two video files" Tags="|video|video-editor|video-quality|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29036" PostTypeId="2" ParentId="29035" CreationDate="2019-12-09T16:27:55.440" Score="1" Body="&lt;p&gt;Your program probably re-encoded the resulting video file from scratch and used whatever setting it considered okay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to have more control about the process &lt;em&gt;and/or&lt;/em&gt; do not want it to re-encode the video at all (if both are of the same format), then I strongly suggest looking into ffmpeg for this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For reference, &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Concatenate&lt;/a&gt; - the concat demuxer is what you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As the most simple example, copy both your video files (let's call them videoA.mp4 and videoB.mp4) into the same folder. Create a videos.txt file with just this content:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file videoA.mp4&#xA;file videoB.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now run ffmpeg with this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i videos.txt -c copy videoOut.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If all goes well this gives you a new file with both videos in one file, with the original encoding intact.&lt;/p&gt;&#xA;" OwnerUserId="24180" LastActivityDate="2019-12-09T16:27:55.440" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29038" PostTypeId="1" CreationDate="2019-12-09T19:44:37.463" Score="1" ViewCount="76" Body="&lt;p&gt;Ive got the composition, available publically: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/NsNKVn75ryQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And a green screen of the overlay used given from the Sea of Thieves 'Creator Crew' program.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/q7wup.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/q7wup.png&quot; alt=&quot;green screen overlay&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I use this to remove the overlay from the fireplace, and fill in from other frames something passable.&lt;/p&gt;&#xA;" OwnerUserId="24899" LastActivityDate="2019-12-10T08:39:54.860" Title="Removing an overlay using green screen footage?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29039" PostTypeId="2" ParentId="28994" CreationDate="2019-12-10T00:54:50.367" Score="1" Body="&lt;p&gt;In simple terms you split the video at the frame you want the objects to join up at, then also make a still image of the object at that frame (Layer 1 = video end of sequence, Layer 2 = still image Layer 3 = video beginning of sequence). If the camera is moving you will have to track the still object to match Layer 3. So the still image gets closer to the moving object as Video/Layer 3 plays, then when the objects join video/layer 1 cuts in and continues.&lt;/p&gt;&#xA;" OwnerUserId="27042" LastActivityDate="2019-12-10T00:54:50.367" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29040" PostTypeId="1" AcceptedAnswerId="29063" CreationDate="2019-12-10T01:49:52.337" Score="0" ViewCount="3864" Body="&lt;p&gt;I'm having this problem where when I try rendering my animation I keep having background color and I tried googling and youtube tutorials on how to make it transparent but whenever I render my composition (which ofcourse doesn't have solid background and when transparent grid is active I see transparency) I still get background color.&#xA;I set my render options to QuickTime and color to RGB+Alpha and still get background everytime.&#xA;Help me please.&lt;/p&gt;&#xA;" OwnerUserId="27043" LastActivityDate="2019-12-12T04:40:33.173" Title="RGB + alpha not working" Tags="|after-effects|adobe|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29041" PostTypeId="2" ParentId="29038" CreationDate="2019-12-10T08:39:54.860" Score="1" Body="&lt;p&gt;What you are looking for is called &quot;Chroma Keying&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It works by sampling a color (in either 2D or 3D space, but you don't have to worry about that) and it, simply put, exchanges that color with the alpha channel - thus making the hue transparent. If you're working with Streamlabs OBS, regular OBS, After Effects or something similar, Chroma Keying is built into these programs. For a good result and knowledge about screen mattes, despill and other things to keep in mind while keying, check out the tutorials by andrew kramer.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-12-10T08:39:54.860" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29042" PostTypeId="2" ParentId="29011" CreationDate="2019-12-10T09:23:06.537" Score="3" Body="&lt;p&gt;I solved my problem thanks to @Gyan comment:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i bg.mp4 -i fg.mov -filter_complex &quot;[0:v] format=rgba [bg]; [1:v] format=rgba [fg]; [bg][fg] blend=all_mode='multiply':all_opacity=1, format=rgba&quot;  out.mp4&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27008" LastActivityDate="2019-12-10T09:23:06.537" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29044" PostTypeId="2" ParentId="29040" CreationDate="2019-12-10T10:35:43.537" Score="3" Body="&lt;p&gt;Make sure to render partially transparent clips with a codec that supports alpha. Try using prores4444 and set the colors to rgb+alpha like you did. This filetype and codec should give you a file with a transparent background.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-12-10T10:35:43.537" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29047" PostTypeId="2" ParentId="20820" CreationDate="2019-12-10T18:10:56.190" Score="0" Body="&lt;p&gt;Here my FFmpeg patch to enable inline header on OMX hardware encoder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;libavcodec/omx.c&#xA;OMX_SetParameter(s-&gt;handle, OMX_IndexParamBrcmVideoAVCInlineHeaderEnable, &amp;amp;vid_param_inline_header);&#xA;where vid_param_inline_header is a OMX_CONFIG_PORTBOOLEANTYPE struct.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/Serveurperso/FFmpeg/commit/6e410823e63103342e8fc3407ff6698808d4d1ef&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/Serveurperso/FFmpeg/commit/6e410823e63103342e8fc3407ff6698808d4d1ef&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27051" LastActivityDate="2019-12-10T18:10:56.190" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29048" PostTypeId="1" CreationDate="2019-12-10T21:45:34.490" Score="0" ViewCount="954" Body="&lt;p&gt;I managed to enable inline header on the OMX H.264 hardware encoder. inline header(SPS/PPS) are mandatory to play an already launched stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/Serveurperso/FFmpeg/commit/6e410823e63103342e8fc3407ff6698808d4d1ef&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/Serveurperso/FFmpeg/commit/6e410823e63103342e8fc3407ff6698808d4d1ef&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes but there is a problem : the latency grow over the time. There is a strange time calculation problem inside the muxer? I get a lot of traces &quot;application provided invalid, non monotonically increasing dts to muxer in stream X/0&quot; and the ffmpeg process always freeze at 3335/0 (with no trace).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without inline header : no latency (about 0.2s on raspberry pi 4 / 720x576 25FPS) No &quot;... increasing dts to muxer&quot; error. disadvantage: I can't resume the already launched stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With software x264 encoder : no latency (about 0.2s on raspberry pi 4 / 720x576 25FPS) No &quot;... increasing dts to muxer&quot; error. disadvantage: It consume a lot of CPU power...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to fix the timestamp(?) calculation inside ffmpeg muxer code to take into account the addition of SPS / PPS NALUs ?&lt;/p&gt;&#xA;" OwnerUserId="27051" LastActivityDate="2023-12-21T19:06:50.827" Title="FFmpeg raspberry pi OMX hardware encoder with inline_headers enabled = Increasing latency over the time" Tags="|ffmpeg|h.264|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29052" PostTypeId="1" CreationDate="2019-12-11T12:28:39.287" Score="2" ViewCount="417" Body="&lt;p&gt;I am creating burnt-in (open captions) using Premiere CC 2019.&#xA;When I generate captions, they look like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/X6nXG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/X6nXG.png&quot; alt=&quot;mis aligned caption&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like the line alignment to be vertically centred within the black block.  Is this possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uoGb5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uoGb5.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have adjusted various settings in the Captions Import dialogue, but can't seem to make this work.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2024-01-17T02:03:55.450" Title="Adjusting the vertical alignment line position in Premiere's Captions" Tags="|premiere|subtitles|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29055" PostTypeId="1" CreationDate="2019-12-11T16:53:03.090" Score="0" ViewCount="68" Body="&lt;p&gt;I'm trying to solve an issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've recorder using an Atomos the Ultra HD 60p HDMI output from Chromecast with some Google Stadia Games.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I have some proRes file @60 fps, but the games are not of course at 60p. There are some frame drops for connection, and some frame variance according to the scene rendered.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need to put on a chart the &quot;real fps&quot;, so for every second I have to discard dubbed frames, remove from the &quot;60 frame per seconds&quot; the &quot;dropped frames for second&quot; and log the result in a time chart.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that using &lt;code&gt;mpdecimate&lt;/code&gt; I can drop frames that do not differ greatly from the previous frame in order to reduce frame rate, and could be useful for me. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know if there is something similar or a better way to do this?&lt;/p&gt;&#xA;" OwnerUserId="27061" LastActivityDate="2019-12-11T16:53:03.090" Title="How to log duplicated frames using FFmpeg?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29056" PostTypeId="1" AcceptedAnswerId="29075" CreationDate="2019-12-11T17:01:30.633" Score="0" ViewCount="2203" Body="&lt;p&gt;I'm importing Samsung Galaxy Note 10 plus recorded videos with following codec information to the premiere pro CC v13 (windows) and the imported video looks over-exposed with incorrect gamma.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Codec: MPEG-H Part2/HEVC (H.265) (hvc1),&#xA;  Video resolution: 1920x1080,&#xA;  Buffer dimensions: 1920x1088,&#xA;  Frame rate: 29.993225,&#xA;  Color primaries: ITU-R BT.2020,&#xA;  Color transfer function: SMPTE ST2084,&#xA;  Color space: ITU-R BT.2020 Range,&#xA;  Max. luminance: 1000.0000 cd/m²,&#xA;  Min. luminance: 0.0050 cd/m²,&#xA;  Primary R: x=0.1500 y=0.0600,&#xA;  Primary G: x=0.6800 y=0.3200,&#xA;  Primary B: x=0.2650 y=0.6900,&#xA;  White point: x=0.3127 y=0.3290&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Video looks normally when playing on VLC media player or on the phone. I have installed kLite Mega codec pack 14.4.5 on my computer. Video become somewhat normal when exposure is reduced in between (-2)-(-3). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have any clue on this or a solution appreciates a lot. Thank you.&lt;/p&gt;&#xA;" OwnerUserId="27060" LastActivityDate="2021-10-09T16:07:23.207" Title="Adobe premiere pro video overexposed after import" Tags="|premiere|gamma|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29058" PostTypeId="1" AcceptedAnswerId="29060" CreationDate="2019-12-11T18:04:22.040" Score="0" ViewCount="165" Body="&lt;p&gt;Should I bother setting them at all? Basically, what is the guidance on setting these properties?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The specific ffmpeg flags I'm referring to are &lt;code&gt;-level:v&lt;/code&gt; and &lt;code&gt;-profile:v&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video is intended for general consumption, direct download (not embedded in a web page). So most users will probably play the video however their device tells them to. I would like to know what's the best practice so that the highest number of users can view it without problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/24476/how-to-choose-the-right-bitrate-h-264-profile-and-level-for-web-video-presentat&quot;&gt;This question&lt;/a&gt; asks something similar, but it has no answer about these two settings.&lt;/p&gt;&#xA;" OwnerUserId="20647" LastActivityDate="2019-12-11T18:40:00.910" Title="When using ffmpeg to encode an MP4 for general consumption, should I set the profile and IDC level? (-profile:v and -level:v)" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29059" PostTypeId="1" CreationDate="2019-12-11T18:38:52.537" Score="0" ViewCount="5631" Body="&lt;p&gt;Is it possible to concatenate many videos with different aspect ratio? So in the end every video segment maintains the original aspect ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried the following FFmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mp4 -i 2.mp4 -y -filter_complex &quot;[0:v:0] [0:a:0] [1:v:0] [1:a:0] concat=unsafe=1:n=2:v=1:a=1 [v] [a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm using &lt;strong&gt;unsafe=1&lt;/strong&gt; which works almost perfect. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only issue is that some videos stretch. &#xA;So, how can I concatenate different videos while maintaining the original quality and aspect ratio?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bonus: Is something wrong with using &lt;strong&gt;unsafe=1&lt;/strong&gt;?. The param name 'unsafe' implies that maybe I should trust it only under certain conditions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I tried @llogan answer but it still produces the same result.&#xA;Command I tried is &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i 1.mp4 -i 2.mp4 -filter_complex &quot;[0]scale=720:576:force_original_aspect_ratio=decrease,pad=720:576:(ow-iw)/2:(oh-ih)/2,setsar=1[v0];[1]scale=720:576:force_original_aspect_ratio=decrease,pad=720:576:(ow-iw)/2:(oh-ih)/2,setsar=1[v1];[v0][0:a:0][v1][1:a:0]concat=n=2:v=1:a=1[v][a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Complete log:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg version N-94862-g944d76a3e0 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 9.1.1 (GCC) 20190807&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt --enable-amf&#xA;  libavutil      56. 35.100 / 56. 35.100&#xA;  libavcodec     58. 56.101 / 58. 56.101&#xA;  libavformat    58. 32.104 / 58. 32.104&#xA;  libavdevice    58.  9.100 / 58.  9.100&#xA;  libavfilter     7. 58.102 /  7. 58.102&#xA;  libswscale      5.  6.100 /  5.  6.100&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;  libpostproc    55.  6.100 / 55.  6.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000028a5a96a180] st: 0 edit list: 2 Missing key frame while searching for timestamp: 0&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000028a5a96a180] st: 0 edit list 2 Cannot find an index entry before timestamp: 0.&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '1.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    creation_time   : 2019-06-04T10:36:32.000000Z&#xA;  Duration: 00:01:47.31, start: 0.080000, bitrate: 1354 kb/s&#xA;    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 720x576 [SAR 64:45 DAR 16:9], 1194 kb/s, 24.96 fps, 25 tbr, 1k tbn, 20000k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-06-04T10:36:32.000000Z&#xA;      handler_name    : FOUNDATION MEDIA HANDLER&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 152 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-06-04T10:36:32.000000Z&#xA;      handler_name    : FOUNDATION MEDIA HANDLER&#xA;Input #1, mov,mp4,m4a,3gp,3g2,mj2, from '2.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    title           : 914153178930195&#xA;    encoder         : Lavf56.40.101&#xA;  Duration: 00:00:54.73, start: 0.000000, bitrate: 155 kb/s&#xA;    Stream #1:0(und): Video: h264 (Constrained Baseline) (avc1 / 0x31637661), yuv420p, 224x400 [SAR 190:189 DAR 76:135], 120 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #1:1(und): Audio: aac (HE-AACv2) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 31 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;File 'out.mp4' already exists. Overwrite ? [y/N] y&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:1 (aac) -&amp;gt; concat:in0:a0&#xA;  Stream #1:0 (h264) -&amp;gt; scale&#xA;  Stream #1:1 (aac) -&amp;gt; concat:in1:a0&#xA;  concat:out:v0 -&amp;gt; Stream #0:0 (libx264)&#xA;  concat:out:a0 -&amp;gt; Stream #0:1 (aac)&#xA;Press [q] to stop, [?] for help&#xA;[swscaler @ 0000028a5bd91600] Warning: data is not aligned! This can lead to a speed loss&#xA;[libx264 @ 0000028a5aa1e600] using SAR=1/1&#xA;[libx264 @ 0000028a5aa1e600] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;[libx264 @ 0000028a5aa1e600] profile High, level 3.0, 4:2:0, 8-bit&#xA;[libx264 @ 0000028a5aa1e600] 264 - core 158 r2984 3759fcb - H.264/MPEG-4 AVC codec - Copyleft 2003-2019 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'out.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.32.104&#xA;    Stream #0:0: Video: h264 (libx264) (avc1 / 0x31637661), yuv420p(progressive), 720x576 [SAR 1:1 DAR 5:4], q=-1--1, 25 fps, 12800 tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc58.56.101 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: N/A&#xA;    Stream #0:1: Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      encoder         : Lavc58.56.101 aac&#xA;frame= 4043 fps=127 q=-1.0 Lsize=   17387kB time=00:02:41.78 bitrate= 880.4kbits/s speed= 5.1x&#xA;video:14740kB audio:2512kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.781354%&#xA;[libx264 @ 0000028a5aa1e600] frame I:27    Avg QP:19.86  size: 31123&#xA;[libx264 @ 0000028a5aa1e600] frame P:1424  Avg QP:23.10  size:  7119&#xA;[libx264 @ 0000028a5aa1e600] frame B:2592  Avg QP:26.01  size:  1588&#xA;[libx264 @ 0000028a5aa1e600] consecutive B-frames:  4.5% 24.6% 16.2% 54.7%&#xA;[libx264 @ 0000028a5aa1e600] mb I  I16..4: 14.8% 42.4% 42.7%&#xA;[libx264 @ 0000028a5aa1e600] mb P  I16..4:  2.2%  3.8%  1.7%  P16..4: 32.9% 13.8%  6.4%  0.0%  0.0%    skip:39.0%&#xA;[libx264 @ 0000028a5aa1e600] mb B  I16..4:  0.2%  0.2%  0.1%  B16..8: 28.5%  4.3%  0.7%  direct: 1.1%  skip:65.0%  L0:40.5% L1:53.2% BI: 6.3%&#xA;[libx264 @ 0000028a5aa1e600] 8x8 transform intra:47.2% inter:58.6%&#xA;[libx264 @ 0000028a5aa1e600] coded y,uvDC,uvAC intra: 46.9% 56.9% 18.1% inter: 9.6% 11.2% 0.3%&#xA;[libx264 @ 0000028a5aa1e600] i16 v,h,dc,p: 47% 29%  9% 16%&#xA;[libx264 @ 0000028a5aa1e600] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 28% 18% 28%  4%  4%  5%  4%  5%  4%&#xA;[libx264 @ 0000028a5aa1e600] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 37% 19% 11%  5%  6%  8%  5%  7%  4%&#xA;[libx264 @ 0000028a5aa1e600] i8c dc,h,v,p: 50% 21% 24%  5%&#xA;[libx264 @ 0000028a5aa1e600] Weighted P-Frames: Y:2.3% UV:0.6%&#xA;[libx264 @ 0000028a5aa1e600] ref P L0: 67.3% 16.4% 11.9%  4.4%  0.1%&#xA;[libx264 @ 0000028a5aa1e600] ref B L0: 89.6%  9.0%  1.4%&#xA;[libx264 @ 0000028a5aa1e600] ref B L1: 98.6%  1.4%&#xA;[libx264 @ 0000028a5aa1e600] kb/s:746.65&#xA;[aac @ 0000028a5a9a1e00] Qavg: 1320.561&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="26775" LastEditorUserId="26775" LastEditDate="2019-12-13T22:07:54.087" LastActivityDate="2019-12-13T22:07:54.087" Title="How to concatenate multiple videos while maintaining original aspect ratio?" Tags="|ffmpeg|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29060" PostTypeId="2" ParentId="29058" CreationDate="2019-12-11T18:40:00.910" Score="2" Body="&lt;p&gt;Let the encoder set the level automatically. The encoder will have a default &lt;code&gt;profile&lt;/code&gt; (High for x264) and higher the profile, better quality for a given bitrate or lower bitrate for a certain quality target. Unless you have compatibility concerns, default High is fine as well.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-12-11T18:40:00.910" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29062" PostTypeId="2" ParentId="29059" CreationDate="2019-12-11T20:18:33.637" Score="3" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;how can I concatenate different videos while maintaining the original quality and aspect ratio?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;h1&gt;using concat demuxer&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Make text file containing:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file '1.mp4'&#xA;file '2.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Run &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i input.txt -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This is fast and does not re-encode, so it will maintain the original quality, but it may not be supported or play correctly by your player or device. This assumes both inputs have the same formats, number of streams, timebase, etc, and the only difference is width x height and duration.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;using concat filter&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Use this if the first method doesn't work or if you have to re-encode anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Add the scale, pad, setsar filters, and choose the desired output width x height. Example for 1280x720:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mp4 -i 2.mp4 -filter_complex &quot;[0]scale=1280:720:force_original_aspect_ratio=decrease,pad=1280:720:(ow-iw)/2:(oh-ih)/2,setsar=1[v0];[1]scale=1280:720:force_original_aspect_ratio=decrease,pad=1280:720:(ow-iw)/2:(oh-ih)/2,setsar=1[v1];[v0][0:a:0][v1][1:a:0]concat=n=2:v=1:a=1[v][a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you would rather crop instead of pad and/or avoid upscaling see examples in &lt;a href=&quot;https://superuser.com/a/1136305/110524&quot;&gt;Resizing videos with ffmpeg to fit specific size&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for &quot;original quality&quot; you would have to use a lossless encoder, not a lossy encoder. Add &lt;code&gt;-crf 0&lt;/code&gt; to enable lossless when encoding with libx264, but note the files will be huge. If you mean &quot;visually, but not technically lossless&quot; then use &lt;code&gt;-crf 18&lt;/code&gt;. See &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki: H.264&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;unsafe&lt;/h3&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Is something wrong with using unsafe=1?. The param name 'unsafe' implies that maybe I should trust it only under certain conditions.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Without &lt;code&gt;unsafe&lt;/code&gt; it will fail if segments have a different format or vary in some attributes, but with &lt;code&gt;unsafe&lt;/code&gt; it will not fail but the resulting output may not be compatible or playable with your player or device.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-12-11T20:18:33.637" CommentCount="12" ContentLicense="CC BY-SA 4.0" />
  <row Id="29063" PostTypeId="2" ParentId="29040" CreationDate="2019-12-12T04:40:33.173" Score="2" Body="&lt;p&gt;I think you might be getting confused. Have you tried re-importing the video back into AE and checking the alpha channel there? Otherwise use your player app's information function to check the pixel format, it should tell you if there's an alpha channel present. MPV (my fave) has this function, as does VLC (tried and tested fave).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also Quicktime is not a codec, it's a container. Some quicktime-compatible codecs support alpha, some do not. Codecs you could use which do support alpha include prores 4444, DNxHR 444, Cineform, and Apple Animation. Generally these codecs are designed for intermediate use — sending a file to another part of the post production chain — because they're not really optimised for delivery (huge files).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-12-12T04:40:33.173" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29064" PostTypeId="2" ParentId="29000" CreationDate="2019-12-12T04:57:39.797" Score="0" Body="&lt;p&gt;If you globally turn on/off proxies in the preferences does that work? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LX7le.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LX7le.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because premiere sometimes drops resolution while playing, it can be hard to see whether a proxy is enabled or not. You can test it by rendering a proxy with a watermark and seeing if it goes away when you turn off proxies.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-12-12T04:57:39.797" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29065" PostTypeId="1" CreationDate="2019-12-12T07:09:20.077" Score="0" ViewCount="1566" Body="&lt;p&gt;My problem is somewhat similar to others asked on the site in recent years, but none of those solutions were quite right for my problem:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a series of frames from a video recorded at roughly 30 fps. I need to convert it (using FFmpeg or otherwise [if applicable]) to a video format that Adobe Premiere Pro CC 2017 won't crash on. I have tried FFmpeg (and its codecs: h264 and libx264) but both times it has crashed (with no error message that I can see).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For your information, it currently does not have an audio channel, but I can get that if it is needed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be greatly appreciated. Here is the general form of the cmd I am using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input_%05d.tga -framerate 30 -codec:v h264  -b:v 4M -b:a 3M output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27067" LastEditorUserId="18155" LastEditDate="2020-01-12T00:44:45.953" LastActivityDate="2020-01-12T00:44:45.953" Title="FFmpeg convert to HD video format that Adobe Premiere Pro will not crash on?" Tags="|ffmpeg|premiere|codec|adobe|framerate|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29067" PostTypeId="1" CreationDate="2019-12-12T09:40:54.323" Score="1" ViewCount="208" Body="&lt;p&gt;Hello you beautiful people. I am trying to create a shape made out of text. I thus need the text layer to set its bounding box to the path of my animated shape, instead of a simple box. I cannot simply mask the text, as no letter should be cut off. Do you have any idea how I may achieve this? I haven't found anything online so far...&lt;/p&gt;&#xA;" OwnerUserId="24627" LastEditorUserId="17390" LastEditDate="2020-03-23T18:37:18.363" LastActivityDate="2020-03-23T18:37:18.363" Title="After Effects: Create Text inside Shape layer" Tags="|after-effects|compositing|motion-graphics|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29068" PostTypeId="2" ParentId="29048" CreationDate="2019-12-12T09:47:40.893" Score="0" Body="&lt;p&gt;Gyan is right :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just need to add +global header flag and only the &quot;dump_extra&quot; bit stream filter&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My patch become useless, ffmpeg can add SPS/PPS itself inside the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My old cmdline is - missing inline SPS/PPS for infinite streaming - :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -f v4l2 -i /dev/video0 -vf hqdn3d=0:0:50:50 -c:v h264_omx -profile:v baseline -b:v 1500000 -f rawvideo tcp://127.0.0.1:8003&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just need to add &quot;-flags:v +global_header -bsf:v dump_extra&quot; the cmdline become :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -f v4l2 -i /dev/video0 -vf hqdn3d=0:0:50:50 -c:v h264_omx -profile:v baseline -b:v 1500000 -flags:v +global_header -bsf:v dump_extra -f rawvideo tcp://127.0.0.1:8003&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(live result here : &lt;a href=&quot;https://www.vigibot.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.vigibot.com/&lt;/a&gt; click on the &quot;Astro&quot; public robot)&lt;/p&gt;&#xA;" OwnerUserId="27051" LastActivityDate="2019-12-12T09:47:40.893" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29070" PostTypeId="1" AcceptedAnswerId="29071" CreationDate="2019-12-12T16:17:59.320" Score="3" ViewCount="194" Body="&lt;p&gt;I want to copy from the source mkv-file the video stream (only once) and the German audio stream and all subtitles if available.&#xA;The Problem is that sometimes is the video stream copied twice in the output-mkv-file. I have following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.mkv -map 0:v:0 -map 0:m:language:ger -map 0:s? -c copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What must I change?&lt;/p&gt;&#xA;" OwnerUserId="27073" LastActivityDate="2019-12-12T18:53:49.937" Title="ffmpeg output file includes two video sequences but input file only one" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29071" PostTypeId="2" ParentId="29070" CreationDate="2019-12-12T18:53:49.937" Score="2" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -i input.mkv -map 0:v:0 -map 0:a:m:language:ger -map 0:s? -c copy output.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll need ffmpeg 4.2 or newer.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2019-12-12T18:53:49.937" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29072" PostTypeId="2" ParentId="29065" CreationDate="2019-12-12T20:01:35.867" Score="1" Body="&lt;h1&gt;Proxies&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Consider using proxies: especially if this is 4k or bigger. A proxy is a lower res stand-in for editing. Upon export the original, bigger, higher quality originals will be used to create the output. See &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/proxy-workflow.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe Premiere Pro User Guide: Proxy Workflow&lt;/a&gt; for more info.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can have Premiere create the proxies, or create them with &lt;code&gt;ffmpeg&lt;/code&gt; and have Premiere use those as the proxies.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Lossless&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;If you don't want or need a proxy another option is to use an editor friendly, lossless intermediate file using a format such as &lt;a href=&quot;http://umezawa.dyndns.info/archive/utvideo/?C=M;O=D&quot; rel=&quot;nofollow noreferrer&quot;&gt;Ut Video&lt;/a&gt;. This will avoid the unnecessary &lt;a href=&quot;https://en.wikipedia.org/wiki/Generation_loss&quot; rel=&quot;nofollow noreferrer&quot;&gt;generation loss&lt;/a&gt; of using lossy H.264–although to be fair when given enough bits you may not notice a difference or care.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One downside is file size, but if it is going to be temporary it may be a moot point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Premiere can both decode and encode Ut Video after you install it (you may have to restart Premiere).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -i input_%05d.tga -c:v utvideo output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-12-12T20:01:35.867" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29073" PostTypeId="1" AcceptedAnswerId="33150" CreationDate="2019-12-12T23:43:23.010" Score="14" ViewCount="18536" Body="&lt;p&gt;Please be forgiving to a video file format newbie, who has travelled far and wide all over the Web in search of a relatively simple question and hoped to get an answer (even a fairly complicated one would be fine!):&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;TL;DR:&lt;/strong&gt; I have a broken MP4 which lacks a MOOV atom (neither at the beginning&#xA;  nor at the end). So, how do I create a &lt;em&gt;new&lt;/em&gt; MOOV atom in order to fix the file?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;And now for the expanded question (if you bother to read it), which shows the homework I've done so far...&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;What solutions I've found so far...&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;A &lt;a href=&quot;https://video.stackexchange.com/search?q=moov&quot;&gt;quick search just here on video.stackexchange.com&lt;/a&gt; will get you a few dozens of similar questions and variations on the theme; do that search on Google, and you'll get a few hundreds more; &lt;a href=&quot;https://www.quora.com/How-can-I-repair-an-mov-file&quot; rel=&quot;noreferrer&quot;&gt;even Quora has a few answers&lt;/a&gt;... To summarise &lt;em&gt;most&lt;/em&gt; of them, here is what they &lt;em&gt;usually&lt;/em&gt; say:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&quot;MP4 files can have a MOOV atom at the end (that's the usual way) but also at the beginning; here's a selection of N solutions to move the atom from one place to the other&quot; (no, they aren't useful if you have &lt;em&gt;no&lt;/em&gt; MOOV atom whatsoever)&lt;/li&gt;&#xA;&lt;li&gt;&quot;You can use &lt;code&gt;ffmpeg&lt;/code&gt; (or a gazillion similar utilities — most of which will use &lt;code&gt;ffmpeg&lt;/code&gt;'s library anyway — or even VLC [some versions seem to have a way to automatically fix broken videos — not my case, though]) to somehow magically extract part of your broken file, split it into bits, or even split it into individual frames, then reencode, and eventually you'll get a few sequences of frames out of the corrupted video, or even, with luck, a bit of continuous video which will play (sometimes only under VLC, sometimes only under &lt;code&gt;mplayer&lt;/code&gt;, sometimes requiring [insert favourite video player here])&quot; (all these suggestions are very nice, but all assume that at least there is a MOOV atom &lt;em&gt;somewhere&lt;/em&gt; — or else &lt;em&gt;all&lt;/em&gt; will fail)&lt;/li&gt;&#xA;&lt;li&gt;&quot;Some tools (or commercial applications) can deal with corrupt data on faulty disks/pen drives/memory cards, by reading sectors directly from the underlying media and bypassing the FAT or whatever filesystem layer is used by the operating system, thus at least being able to recover part of your video, even if it's (possibly) out of order, incomplete, etc.&quot; (this may all be true, but does not help in my case, where the file is pristine and there is no problem whatsoever with the hardware where it's currently stored — the file is just missing a MOOV atom, so none of these tools will help)&lt;/li&gt;&#xA;&lt;li&gt;&quot;A few tools, such as &lt;a href=&quot;https://github.com/anthwlock/untrunc&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;untrunc&lt;/code&gt;&lt;/a&gt;, may be able to repair a broken file, especially if the MOOV atom is missing at the end of the file because the video camera abruptly had its power cut (or some similar situation). There are also several commercial software solutions available which do the same (and are easier to use) or even &lt;a href=&quot;https://restore.media/&quot; rel=&quot;noreferrer&quot;&gt;web-based ones&lt;/a&gt;. Commercial applications usually have a demo/trial mode where you can at least recover &lt;em&gt;some&lt;/em&gt; data to give you an idea if your particular file is repairable or not. Usually, such software requires a video made by the same video camera under the same circumstances, to be able to push the missing data from that video to the corrupt file.&quot; (so far, I've not managed to find the 'magic tool' which does exactly what is claimed... &lt;em&gt;all&lt;/em&gt; I've tested will fail with a missing MOOV atom... no matter if the 'test video' has it, which could easily be copied — assuming that this will 'fix' anything, of course).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h1&gt;Why none of the above actually helped me out&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Things may be explained a bit differently in one case or another, but after going through dozens of descriptions of 'solutions' out there, I'd say that most will fall in one of those four cases. The fourth case, of course, is the only one that &lt;em&gt;may&lt;/em&gt; help in my case, but, so far, I've tried pretty much everything which can run on a Mac — aye, including a few commercial apps — and &lt;em&gt;none&lt;/em&gt; will deal with the issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've also found out that many of these tools — especially those that are commercial! — are little more than a GUI to &lt;code&gt;ffmpeg&lt;/code&gt;/&lt;code&gt;libav&lt;/code&gt;. Some even use hopelessly outdated versions of these; in some cases, they're compiled with them statically; in other cases, &lt;code&gt;ffmpeg&lt;/code&gt; and its friends are packed with the application, which just calls it with whatever special parameters the developers have figured out that might help (or even work!) in most cases.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I'm pretty sure that some of the tools I tried out may have non-&lt;code&gt;ffmpeg&lt;/code&gt;/&lt;code&gt;libav&lt;/code&gt; code, they haven't worked, either. What I seem to be able to conclude is that anything depending on &lt;code&gt;ffmpeg&lt;/code&gt;/&lt;code&gt;libav&lt;/code&gt; code will &lt;em&gt;not&lt;/em&gt; work without a valid MOOV atom. Therefore, the trick — if there's one! — is to somehow 'extract' a MOOV atom from either a different file and/or re-create the MOOV atom from the existing data. While the former seems to be the most popular approach (and, as said, I've tested a dozen or so apps using that approach), none worked in my case; as to the latter approach, if it exists at all, it's not explicitly named in any of the tools I've tested out, so I cannot say if that's possible at all (i.e. it &lt;em&gt;may&lt;/em&gt; be a very obscure and undocumented feature of &lt;code&gt;ffmpeg&lt;/code&gt; but, so far, I have not come across an answer which mentions such feature; of course, commercial tools, for obvious reasons, may simply not document what exactly their tool is doing 'under the hood').&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whew. Wordy, I know! Let me just give you some assurance that, although I hardly understand what I'm talking about — namely, the complex structure of an MP4/MOV file — I have certainly done my best to figure out what is wrong with my file, and why all attempts I've tried out so far have utterly failed. My apologies in advance if I'm assuming wrong things about the MP4 format and/or just saying rubbish which makes no sense (such as 'reconstructing a MOOV atom out of existing frames on a movie' — perhaps such a thing is &lt;em&gt;impossible&lt;/em&gt; to do, for reasons I don't understand).&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;What I know about my file...&lt;/h1&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;It certainly has data in it (i.e. not just garbage). Several of those utilities correctly figure out that it's a QuickTime stream; some can even identify a few atoms.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Here is an example from &lt;code&gt;mp4dump&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[ftyp] size=8+12&#xA;  major_brand = qt  &#xA;  minor_version = 0&#xA;  compatible_brand = qt  &#xA;[wide] size=8+0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And this is the output from &lt;code&gt;mp4info&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;File:&#xA;  major brand:      qt  &#xA;  minor version:    0&#xA;  compatible brand: qt  &#xA;  fast start:       yes&#xA;&#xA;No movie found in the file&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(weird that it knows about 'fast start', though...)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the output of my own hacked utility (see below):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[ftyp]&#xA;        Major brand: qt  &#xA;        Minor brand: 0&#xA;        Compatible brands: [qt  ]&#xA;&#xA;[wide]&#xA;        Size: 8&#xA;        Start: 20&#xA;&#xA;[mdat]&#xA;        Size: 2305577342&#xA;        Start: 28&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But none can find a single MOOV atom. Photoshop can import 'noise' from some frames — they &lt;em&gt;look&lt;/em&gt; like frames, though, just so noisy that they become 'random pixels', that is, it's pretty much impossible to figure out what exactly that frame is supposed to be...&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;I have 'similar' files, generated by the same video camera (the iPhone 8's 'selfie' camera in landscape format), so I can easily extract an existing MOOV atom (or any other) and 'glue' it elsewhere on an existing file, a procedure many of the mentioned tools consider a possible solution to a 'missing' MOOV atom — but none are actually able to do that with &lt;em&gt;my&lt;/em&gt; video...&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;h1&gt;What I can theoretically do to fix things&lt;/h1&gt;&#xA;&#xA;&lt;h2&gt;(or: An attempt to start to answer my own question...)&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;I'm just a humble amateur programmer, which means that fully developing a &lt;em&gt;new&lt;/em&gt; tool in order just to fix my own video is very likely out of the question (and furthermore I have no time for that). The best I can promise to do if nobody has an answer is to figure out how MP4 encoders actually generate a MOOV atom from the existing data and see if I can adapt &lt;a href=&quot;https://github.com/alfg/mp4&quot; rel=&quot;noreferrer&quot;&gt;an existing tool&lt;/a&gt; to 'regenerate' the MOOV atom from scratch (note: I did hack it a bit to show the contents of all atoms it can find inside the file when the MOOV atom is missing, the output of which I've given before)... alas, I think that this &lt;em&gt;might&lt;/em&gt; be impossible if one does not know some basic things about the video file itself (after all, these 'basic things' are stored on the MOOV atom!), but I'm happy to be proven wrong on that — especially because I can 'guesstimate' many of those 'basic things' by simply reading the MOOV atom from a video file generated under similar circumstances...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is such an example (tracks 3 and 4 are not really fundamental):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;found avc1&#xA;File:&#xA;  file Size:    16072874&#xA;  brands:   qt  , [qt  ]&#xA;&#xA;Movie:&#xA;  duration: 6859 ms / 600 (00:00:11:431)&#xA;  fragments:    false&#xA;  timescale:    600&#xA;&#xA;Found 4 Tracks&#xA;&#xA;Track 1:&#xA;  flags:    15 ENABLED IN-MOVIE IN-PREVIEW&#xA;  id:       1&#xA;  type:     Video&#xA;  duration: 6859 ms&#xA;  language: und&#xA;  width:    1920&#xA;  height:   1080&#xA;  media:&#xA;    sample count:   184&#xA;    timescale:      600&#xA;    duration:       6859 (media timescale units)&#xA;    duration:       11431 (ms)&#xA;  display width:         1920&#xA;  display height:        1080&#xA;  frame rate (computed): 16.10&#xA;&#xA;Track 2:&#xA;  flags:    15 ENABLED IN-MOVIE IN-PREVIEW&#xA;  id:       2&#xA;  type:     Sound&#xA;  duration: 6859 ms&#xA;  language: und&#xA;  width:    0&#xA;  height:   0&#xA;  media:&#xA;    sample count:   495&#xA;    timescale:      44100&#xA;    duration:       506880 (media timescale units)&#xA;    duration:       11493 (ms)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Theoretically, with a bit more hacking, I can also extract the precise position where each track begins and ends (assuming that's how the MP4 format works!) and whatever information may be needed to 'reconstruct' the MOOV atom...&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;What help I actually need&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;I do have access to the PDFs with the &lt;a href=&quot;https://github.com/alfg/mp4/blob/master/docs/ISO_IEC_14496-12-2005(E)-04-01.pdf&quot; rel=&quot;noreferrer&quot;&gt;ISO/IEC 14496-12 standard which defines the MP4 file format&lt;/a&gt; but I haven't read them yet. In essence, what I need to &lt;em&gt;understand&lt;/em&gt; is how MOOV atoms are created/generated from existing video data. I'm fine with downloading and installing any tool which I haven't mentioned previously (so long as they work either under macOS or any non-GUI Linux — I &lt;em&gt;might&lt;/em&gt; be able to &lt;em&gt;temporarily&lt;/em&gt; get access to a Windows 10 machine if I'm assured that there is a solution that will work under Windows). I'm also willing to change or adapt existing open-source tools, so long as I can get some pointers on how to actually 'generate' the MOOV atom from existing video data (preferably written in &lt;code&gt;Go&lt;/code&gt; or &lt;code&gt;PHP&lt;/code&gt;, but I'm ok with &lt;code&gt;C&lt;/code&gt;, &lt;code&gt;C++&lt;/code&gt;, &lt;code&gt;C#&lt;/code&gt; or Python [in decreasing order of preference], or, well, Perl or JavaScript... I'm just not willing to install Java :-P and I'd really need a lot to get persuaded to use Ruby, Rust, or whatever language is currently fashionable...).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you read until the end, my heartfelt thanks in advance :-)&lt;/p&gt;&#xA;" OwnerUserId="26587" LastActivityDate="2021-04-12T04:49:44.637" Title="Need help to fix a broken MP4 which lacks a MOOV atom" Tags="|mp4|file-formats|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29075" PostTypeId="2" ParentId="29056" CreationDate="2019-12-13T17:56:51.443" Score="1" Body="&lt;p&gt;This happened due to the display's inability to handle HDR videos. Color space: ITU-R BT.2020 defines a HDR video. As a solution I used 'confirm SDR' effect in premiere pro which converts the video into HDR color range.&lt;/p&gt;&#xA;" OwnerUserId="27060" LastActivityDate="2019-12-13T17:56:51.443" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29076" PostTypeId="1" CreationDate="2019-12-13T20:00:38.430" Score="1" ViewCount="696" Body="&lt;p&gt;Following &lt;a href=&quot;https://stackoverflow.com/questions/31691943/ffmpeg-concat-poduces-dts-out-of-order-errors&quot;&gt;https://stackoverflow.com/questions/31691943/ffmpeg-concat-poduces-dts-out-of-order-errors&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to concat 4 clips made by geforce experience in-game features, it resulted in &lt;code&gt;DTS out of order sync&lt;/code&gt; issues, and even after tweaking (adding &lt;code&gt;-video_track_timescale 90000&lt;/code&gt;), the desync still occurs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Script&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;Title Converting to mpegts&#xA;ffmpeg -i &quot;1.mp4&quot; -c copy -video_track_timescale 90000 -bsf:v h264_mp4toannexb -f mpegts intermediate1.ts&#xA;ffmpeg -i &quot;2.mp4&quot; -c copy -video_track_timescale 90000 -bsf:v h264_mp4toannexb -f mpegts intermediate2.ts&#xA;ffmpeg -i &quot;3.mp4&quot; -c copy -video_track_timescale 90000 -bsf:v h264_mp4toannexb -f mpegts intermediate3.ts&#xA;ffmpeg -i &quot;4.mp4&quot; -c copy -video_track_timescale 90000 -bsf:v h264_mp4toannexb -f mpegts intermediate4.ts&#xA;ffmpeg -i &quot;5.mp4&quot; -c copy -video_track_timescale 90000 -bsf:v h264_mp4toannexb -f mpegts intermediate5.ts&#xA;&#xA;Title Merging Videos&#xA;ffmpeg -i &quot;concat:intermediate1.ts|intermediate2.ts|intermediate3.ts|intermediate4.ts|intermediate5.ts&quot; -c copy -video_track_timescale 90000 -bsf:a aac_adtstoasc &quot;Merged.mp4&quot;&#xA;&#xA;PAUSE&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Errors : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mpegts @ 000001e550c9a740] DTS 128882 &amp;lt; 5293388 out of orderitrate=48489.8kbits/s speed= 104x&#xA;[mpegts @ 000001e550c9a740] DTS 126000 &amp;lt; 2053347 out of order&#xA;[mpegts @ 000001e550c9a740] DTS 127439 &amp;lt; 2092407 out of order&#xA;[mpegts @ 000001e550c9a740] DTS 126000 &amp;lt; 1559930 out of order&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Infos from few clips :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '1.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41isom&#xA;    creation_time   : 2019-12-13T18:23:12.000000Z&#xA;    date            : 2019&#xA;  Duration: 00:00:57.43, start: 0.000000, bitrate: 47904 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, smpte170m/smpte170m/bt470m), 1920x1080 [SAR 1:1 DAR 16:9], 47701 kb/s, 60 fps, 60 tbr, 60k tbn, 120 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-12-13T18:23:12.000000Z&#xA;      handler_name    : VideoHandler&#xA;      encoder         : AVC Coding&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 196 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-12-13T18:23:12.000000Z&#xA;      handler_name    : SoundHandler&#xA;&#xA;&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '2.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41isom&#xA;    creation_time   : 2019-12-13T18:22:06.000000Z&#xA;    date            : 2019&#xA;  Duration: 00:00:21.43, start: 0.000000, bitrate: 49275 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, smpte170m/smpte170m/bt470m), 1920x1080 [SAR 1:1 DAR 16:9], 49071 kb/s, 60 fps, 60 tbr, 60k tbn, 120 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-12-13T18:22:06.000000Z&#xA;      handler_name    : VideoHandler&#xA;      encoder         : AVC Coding&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 196 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-12-13T18:22:06.000000Z&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27081" LastActivityDate="2019-12-19T18:28:24.407" Title="FFmpeg concat results in DTS out of order" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29078" PostTypeId="1" CreationDate="2019-12-14T08:27:18.463" Score="0" ViewCount="1697" Body="&lt;p&gt;i want to create reverse video with audio and remov from large clip.for that first split video in segment then reverse splits video then concatenate all reverse video as single video file but it take too much time to execute all command.&#xA;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;i want to single command to do split,reverse and concatenate video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;first split video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;String[] cmd = {&quot;-ss&quot;, spos, &quot;-t&quot;, epos, &quot;-i&quot;, videoPath, &quot;-preset&quot;, &quot;ultrafast&quot;, &quot;-c:v&quot;, &quot;libx264&quot;, &quot;-crf&quot;, &quot;22&quot;, &quot;-map&quot;, &quot;0&quot;, &quot;-segment_time&quot;, &quot;6&quot;, &quot;-g&quot;, &quot;9&quot;, &quot;-sc_threshold&quot;, &quot;0&quot;, &quot;-force_key_frames&quot;, &quot;expr:gte(t,n_forced*6)&quot;, &quot;-f&quot;, &quot;segment&quot;,&quot;file%3d.mp4&quot;};&lt;/p&gt;&#xA;&#xA;&lt;p&gt;then, reverse splited video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;String[] cmd = {&quot;-i&quot;, splitlistFiles[i].getAbsolutePath(), &quot;-preset&quot;, &quot;ultrafast&quot;, &quot;-vf&quot;, &quot;reverse&quot;, &quot;-af&quot;, &quot;areverse&quot;, file2.getAbsolutePath()}&lt;/p&gt;&#xA;&#xA;&lt;p&gt;finally,concatenate all reverse video as single video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;String[] cmd={&quot;-i&quot;, reverselistFiles[i].getAbsolutePath(),&quot;-filter_complex&quot;,&quot;[0:v0][0:a0&quot;,&quot;concat=n=N::v=1:a=1 [v] [a]&quot;,&quot;-preset&quot;, &quot;ultrafast&quot;, &quot;-map&quot;, &quot;[v]&quot;, &quot;-map&quot;, &quot;[a]&quot;, file.getAbsolutePath()}&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help me how can i reverse video with audio and remove audio in less time . Thanks in advance :) and sorry for bad english.&lt;/p&gt;&#xA;" OwnerUserId="27085" LastActivityDate="2023-12-29T05:05:55.703" Title="How to split,reverse and concatenate video using single command in FFMPEG?" Tags="|video|ffmpeg|video-editor|android|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29080" PostTypeId="1" CreationDate="2019-12-14T12:37:47.097" Score="0" ViewCount="35" Body="&lt;p&gt;So here's the thing : I'm editing on Vegas Pro 13, 25fps according to my origninal files. I just imported some sound I &quot;mixed&quot; externally.&#xA;And now, my timeline acts in 24fps although &lt;strong&gt;my project is still in 25fps&lt;/strong&gt;. I don't know if it has something to do with the files I imported but the ctrl Z option is dead now. I can't figure out what the problem is, it's the first time I see anything like that in Vegas. The timeline should act according to the project setting, right ?  As shown in the screenshots bellow, I can't control every frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pUT6J.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pUT6J.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/PxUYw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PxUYw.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/TzbbU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TzbbU.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27089" LastActivityDate="2023-12-26T03:01:30.177" Title="Vegas Pro 13 : Project's and Timeline's framerate are suddenly not the same" Tags="|video|framerate|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29082" PostTypeId="1" CreationDate="2019-12-14T20:10:28.547" Score="0" ViewCount="26" Body="&lt;p&gt;How to set this video to be horizontal, not vertical? Using Adobe Premiere 2015.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ozqyz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ozqyz.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27092" LastActivityDate="2020-01-15T20:00:20.713" Title="How to change orientation of video in project?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29083" PostTypeId="1" CreationDate="2019-12-14T20:33:30.497" Score="0" ViewCount="494" Body="&lt;p&gt;for very long time I have used two machines - one with good monitor for work and one with &quot;ordinary&quot; monitor for fun/movies/games.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recently I unified this with high end mobile workstation with very good display with almost full sRGB coverage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I immidiately noticed significant color banding in Youtube and movies. For Youtube I am sure that this is caused by compression and color space conversion. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But is this usual to happen in standard commercial movies? Especially animated movies with very dark scenes/moon light looks really bad on my new monitor. I compared same movies with old monitor and it looks that its limited color space sort of &quot;smooth&quot; these artefacts  out. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are movie studios really that desperate to save streaming bandwidth and disc size to hope that there are not many people with eagle eyes who will criticize those few dark scenes in movies?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know this is sort of subjective question, but hope someone have other/another opinion from experience. &lt;/p&gt;&#xA;" OwnerUserId="27093" LastActivityDate="2020-05-13T12:00:50.083" Title="Is color banding usual problem in commercial released movies?" Tags="|colorspace|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29084" PostTypeId="2" ParentId="29078" CreationDate="2019-12-15T10:49:59.103" Score="0" Body="&lt;p&gt;If you want to concat the videos in the same order they were in, but with the individual videos reversed, I think you've already found the best way and there would not be a one liner.&lt;/p&gt;&#xA;&lt;p&gt;If you concat the videos, and then reverse it, it would look like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i mylist.txt -c copy pipe: | ffmpeg -i pipe: -vf reverse reversed.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Sources:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Concatenate&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://stackoverflow.com/questions/45899585/pipe-input-in-to-ffmpeg#comment99663597_45902691&quot;&gt;https://stackoverflow.com/questions/45899585/pipe-input-in-to-ffmpeg#comment99663597_45902691&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/17738/how-to-use-ffmpeg-command-for-reverse-video/17739#17739&quot;&gt;How to use FFmpeg Command for Reverse Video?&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerDisplayName="user25890" LastEditorUserId="22836" LastEditDate="2020-12-13T23:05:18.853" LastActivityDate="2020-12-13T23:05:18.853" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29085" PostTypeId="2" ParentId="29083" CreationDate="2019-12-15T11:01:14.267" Score="1" Body="&lt;p&gt;It really depends on the distribution medium. Many are very low quality. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most consumer distribution is 8 bit, but when a studio masters a DVD, they'll put a lot of effort into making that specific content look good. That doesn't happen for streaming. &lt;/p&gt;&#xA;" OwnerDisplayName="user25890" LastActivityDate="2019-12-15T11:01:14.267" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29086" PostTypeId="1" AcceptedAnswerId="29119" CreationDate="2019-12-15T14:27:24.637" Score="0" ViewCount="190" Body="&lt;p&gt;I would like to be able to automate video creation and rendering. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I imagine the process as creating placeholders, which then can take my dynamic input (images/videos/text). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to know the process of creating videos with placeholders as &lt;a href=&quot;https://placeit.net/instagram-story-video-template&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://placeit.net/instagram-story-video-template&lt;/a&gt; here. Clearly, the video contains a placeholder for the text that we specify. How is this done on the low level? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;None of the softwares for video rendering e.g. Final cut Pro etc. can be run on a server using CLI (command line interface). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which backend / libraries can be used to create something like that? &lt;/p&gt;&#xA;" OwnerUserId="27097" LastActivityDate="2020-02-29T23:29:11.527" Title="How to render videos with placeholders using API / command line interface?" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29089" PostTypeId="1" CreationDate="2019-12-16T05:27:10.633" Score="0" ViewCount="156" Body="&lt;p&gt;I have my 4 Shure mics connected to my Clarett which is registering as an audio device on my mac.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My video source will be my video camera connected to my computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't want to take audio from the video camera, as it won't sound professional for my podcast. I want to capture video from my Cannon Video camera, and capture audio from my Clarett. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, is iit possible to extract high quality audio from the project? Because I want to upload mp3 files to itunes and spotify for the audio-only version of the podcast. That's a side note that I can figure out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just could never figure out how to capture audio, i keep getting the error &quot;lost connection to device.&quot;&lt;/p&gt;&#xA;" OwnerUserId="27102" LastActivityDate="2024-02-05T16:00:55.103" Title="Capturing audio from a different source in Premiere?" Tags="|premiere|video-editor|podcast|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29091" PostTypeId="2" ParentId="12688" CreationDate="2019-12-16T15:03:36.230" Score="-1" Body="&lt;p&gt;go to this post of canon and I think it can be helpfull:&#xA;&lt;a href=&quot;https://support.usa.canon.com/kb/index?page=content&amp;amp;id=ART143838&amp;amp;act=RATE&amp;amp;impressions=false&amp;amp;isCCA=true&amp;amp;newguid=6d0a16cf8896407382590864d90a63f2&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.usa.canon.com/kb/index?page=content&amp;amp;id=ART143838&amp;amp;act=RATE&amp;amp;impressions=false&amp;amp;isCCA=true&amp;amp;newguid=6d0a16cf8896407382590864d90a63f2&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27105" LastActivityDate="2019-12-16T15:03:36.230" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29093" PostTypeId="2" ParentId="29086" CreationDate="2019-12-16T18:26:46.053" Score="1" Body="&lt;p&gt;You could write a simple shell script (either for mac or windows) which consists of basic if - then clauses to read the input of the user, then use &lt;a href=&quot;https://www.ffmpeg.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; by calling it from within the script. I believe that ffmpeg might be the most painless option, since scripting for Premiere and After Effects can be a bit tedious.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-12-16T18:26:46.053" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29094" PostTypeId="2" ParentId="29082" CreationDate="2019-12-16T18:28:49.847" Score="1" Body="&lt;p&gt;What you are looking for is the aspect ratio of your width/height. Your current aspect ratio looks like 9:16, so probably 1080:1920 in pixels. Change this to 16:9, meaning 1920:1080. You can find these settings in the sequence settings of your sequence.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-12-16T18:28:49.847" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29095" PostTypeId="2" ParentId="29080" CreationDate="2019-12-16T18:30:59.897" Score="0" Body="&lt;p&gt;Are you sure that your footage is in 25 fps? If so, try and see if you can change the interpretation of the clip like in premiere. Other than that, a restart is the only thing I got left to propose.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-12-16T18:30:59.897" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29098" PostTypeId="1" CreationDate="2019-12-17T04:04:16.553" Score="0" ViewCount="100" Body="&lt;p&gt;I have am doing a video recording podcast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am recording the audio with Audacity with my 4 Shure mics hooked up into my Clarett 4pre USB. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am recording the video with OBS Studio a Cannon Vixia GF 40.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I plan on editing the audio and video in Premiere Pro. But I am worried about having it synced up and staying synced.  Any ideas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What hz should I use for audio? &lt;/p&gt;&#xA;" OwnerUserId="27111" LastActivityDate="2023-03-07T16:08:11.003" Title="Syncing Audio and Video" Tags="|video-editor|video-recording|video-capture|canon|audio-recording|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29099" PostTypeId="2" ParentId="29098" CreationDate="2019-12-17T04:50:20.507" Score="1" Body="&lt;p&gt;I do not fully understand if you intend to transmit live or not. Because you are using OBS which sounds like you want to go live, but at the same time you say you want to use Premiere to edit, which sounds like you want to edit and then publish.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to record, edit and then publish, probably the best option is letting the Vixia camera record live audio and use it as a reference for Premiere to detect some of it and automatically &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/synchronizing-audio-video-merge-clips.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;sync with the new audio track&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are recording live, OBS has one feature to synk the delayed audio or video. Search &quot;OBS Audio delay&quot;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Regarding the question of the frequency... it depends on several factors. The main factor is output format+platform.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, &lt;a href=&quot;https://support.google.com/youtube/answer/6039860?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;Youtube recommends&lt;/a&gt; 44.1 kHz 24 bits for music videos. But accept 48 and 96 kHz.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is some debate if 96kHz is even perceptible for humans or not.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-12-17T04:50:20.507" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29100" PostTypeId="2" ParentId="2487" CreationDate="2019-12-17T05:07:59.767" Score="1" Body="&lt;p&gt;An oldie question, but let's add an answer...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The answer depends on if the faces are moving through the frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the faces are relative still, like a camera on a tripod and the persons sitting in front of the camera, any video editor with more than 1 video channel can do the trick. Just add a layer with something on it, a prepared semi-transparent PNG as a mask perhaps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But more complex software is needed if the faces are moving or if you want a blur, instead of a semi-transparent mask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the faces are moving you need to track them, so the program needs to track it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As @Shultc commented Both Blender and HitFilm can do this, and I would add Davinci Resolve.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-12-17T05:07:59.767" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29101" PostTypeId="1" CreationDate="2019-12-17T10:18:36.983" Score="0" ViewCount="248" Body="&lt;p&gt;I import clips into the project and when I drag them into the timeline, the clips have video &amp;amp; audio unlinked, which is very annoying for editing.&lt;/p&gt;&#xA;" OwnerUserId="27116" LastActivityDate="2022-09-02T20:01:15.117" Title="Premiere Pro imports audio/video unlinked" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29102" PostTypeId="2" ParentId="29101" CreationDate="2019-12-17T10:18:36.983" Score="1" Body="&lt;p&gt;Toggle on Linked Selection to have Premiere Pro respect the linked status of clips:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kRQz8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kRQz8.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://community.adobe.com/t5/premiere-pro/premiere-imports-audio-video-unlinked/m-p/10020219&quot; rel=&quot;nofollow noreferrer&quot;&gt;copied from community.adobe.com&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27116" LastActivityDate="2019-12-17T10:18:36.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29104" PostTypeId="1" AcceptedAnswerId="29110" CreationDate="2019-12-18T01:23:43.800" Score="0" ViewCount="685" Body="&lt;p&gt;On my Intel 4770k (bought back in 2014) I can only decode GH5S's 4k 10-bit video at about 30fps with CPU maxing out. This is both when manually using ffmpeg and when using Handbrake. ffmpeg, Handbrake and Vegas 13 are all taking almost realtime to just decode &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The system also has NVidia's GTX 1070Ti in it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was unable to use Intel's QuickSync (&lt;code&gt;-hwaccel qsv -c:v h264_qsv&lt;/code&gt; before the &lt;code&gt;-i&lt;/code&gt; argument in ffmpeg) or NVidia's NVDEC (&lt;code&gt;-hwaccel nvdec&lt;/code&gt;) to decode the 10-bit h264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any software solution that can convert the video into something more efficiently usable? Whether 8-bit h264, or 10-bit HEVC, or some other intermediary format that can actually be hardware-decoded by Intel QuickSync or NVENC. Did I overlook any hardware solution? GPU upgrade? CPU upgrade?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really would prefer not to go back to the good old days of files being decodable at merely realtime.&lt;/p&gt;&#xA;" OwnerUserId="27121" LastEditorUserId="27121" LastEditDate="2019-12-18T19:16:32.807" LastActivityDate="2019-12-18T19:16:32.807" Title="Efficient decoding of 10-bit 4k h264 from GH5S?" Tags="|ffmpeg|decoding|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29105" PostTypeId="1" CreationDate="2019-12-18T01:49:07.923" Score="1" ViewCount="4803" Body="&lt;p&gt;I must be doing something obviously wrong but cannot see it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The set up is a hardware video encoder providing multiple streams.  A similar video decoder receives the RTSP stream as does VLC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So does ffmpeg, it can see the stream and how the stream is configured by RTSP.  But then it times out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is one test &amp;amp; verbose output &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -y -loglevel debug  -rtsp_transport udp -stimeout 10000000  -i rtsp://192.168.2.82/1 -acodec copy -vcodec copy test.mp4&#xA;ffmpeg version 4.2.1 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with Apple clang version 11.0.0 (clang-1100.0.33.8)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/4.2.1_2 --enable-shared --enable-pthreads --enable-version3 --enable-avresample --cc=clang --host-cflags='-I/Library/Java/JavaVirtualMachines/adoptopenjdk-13.jdk/Contents/Home/include -I/Library/Java/JavaVirtualMachines/adoptopenjdk-13.jdk/Contents/Home/include/darwin -fno-stack-check' --host-ldflags= --enable-ffplay --enable-gnutls --enable-gpl --enable-libaom --enable-libbluray --enable-libmp3lame --enable-libopus --enable-librubberband --enable-libsnappy --enable-libtesseract --enable-libtheora --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-libxvid --enable-lzma --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librtmp --enable-libspeex --enable-libsoxr --enable-videotoolbox --disable-libjack --disable-indev=jack&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Splitting the commandline.&#xA;Reading option '-y' ... matched as option 'y' (overwrite output files) with argument '1'.&#xA;Reading option '-loglevel' ... matched as option 'loglevel' (set logging level) with argument 'debug'.&#xA;Reading option '-rtsp_transport' ... matched as AVOption 'rtsp_transport' with argument 'udp'.&#xA;Reading option '-stimeout' ... matched as AVOption 'stimeout' with argument '10000000'.&#xA;Reading option '-i' ... matched as input url with argument 'rtsp://192.168.2.82/1'.&#xA;Reading option '-acodec' ... matched as option 'acodec' (force audio codec ('copy' to copy stream)) with argument 'copy'.&#xA;Reading option '-vcodec' ... matched as option 'vcodec' (force video codec ('copy' to copy stream)) with argument 'copy'.&#xA;Reading option 'test.mp4' ... matched as output url.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option y (overwrite output files) with argument 1.&#xA;Applying option loglevel (set logging level) with argument debug.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url rtsp://192.168.2.82/1.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: rtsp://192.168.2.82/1.&#xA;[tcp @ 0x7fbbba521940] No default whitelist set&#xA;[tcp @ 0x7fbbba521940] Original list of addresses:&#xA;[tcp @ 0x7fbbba521940] Address 192.168.2.82 port 554&#xA;[tcp @ 0x7fbbba521940] Interleaved list of addresses:&#xA;[tcp @ 0x7fbbba521940] Address 192.168.2.82 port 554&#xA;[tcp @ 0x7fbbba521940] Starting connection attempt to 192.168.2.82 port 554&#xA;[tcp @ 0x7fbbba521940] Successfully connected to 192.168.2.82 port 554&#xA;[rtsp @ 0x7fbbbb00ba00] SDP:&#xA;v=0&#xA;o=- 18467 41 IN IP4 0.0.0.0&#xA;s=Unnamed&#xA;i=N/A&#xA;c=IN IP4 0.0.0.0&#xA;t=0 0&#xA;a=control:*&#xA;a=range:npt=0-&#xA;m=video 0 RTP/AVP 96&#xA;a=rtpmap:96 H265/90000&#xA;a=fmtp:96 sprop-vps=QAEMAf//AWAAAAMAsAAAAwAAAwBarAwAAAMABAAAAwB6qA==; sprop-sps=QgEBAWAAAAMAsAAAAwAAAwBaoAWCAJBY2uSTL83AQEBBAAADAAEAAAMAHqE=; sprop-pps=RAHA8vA8kA==&#xA;a=control:track1&#xA;m=audio 0 RTP/AVP 97&#xA;a=rtpmap:97 MPEG4-GENERIC/44100/2&#xA;a=fmtp:97 profile-level-id=1;mode=AAC-hbr;sizelength=13;indexlength=3;indexdeltalength=3; config=1210&#xA;a=control:track2&#xA;&#xA;&#xA;Failed to parse interval end specification ''&#xA;[rtsp @ 0x7fbbbb00ba00] video codec set to: hevc&#xA;[rtsp @ 0x7fbbbb00ba00] audio codec set to: aac&#xA;[rtsp @ 0x7fbbbb00ba00] audio samplerate set to: 44100&#xA;[rtsp @ 0x7fbbbb00ba00] audio channels set to: 2&#xA;[rtp @ 0x7fbbba404780] No default whitelist set&#xA;[udp @ 0x7fbbba40a0c0] No default whitelist set&#xA;[udp @ 0x7fbbba40a0c0] end receive buffer size reported is 65536&#xA;[udp @ 0x7fbbba403180] No default whitelist set&#xA;[udp @ 0x7fbbba403180] end receive buffer size reported is 65536&#xA;[rtsp @ 0x7fbbbb00ba00] setting jitter buffer size to 500&#xA;[rtp @ 0x7fbbba403f00] No default whitelist set&#xA;[udp @ 0x7fbbba404200] No default whitelist set&#xA;[udp @ 0x7fbbba404200] end receive buffer size reported is 65536&#xA;[udp @ 0x7fbbba4042c0] No default whitelist set&#xA;[udp @ 0x7fbbba4042c0] end receive buffer size reported is 65536&#xA;[rtsp @ 0x7fbbbb00ba00] setting jitter buffer size to 500&#xA;[rtsp @ 0x7fbbbb00ba00] hello state=0&#xA;[hevc @ 0x7fbbbb00da00] nal_unit_type: 32(VPS), nuh_layer_id: 0, temporal_id: 0&#xA;[hevc @ 0x7fbbbb00da00] nal_unit_type: 33(SPS), nuh_layer_id: 0, temporal_id: 0&#xA;[hevc @ 0x7fbbbb00da00] nal_unit_type: 34(PPS), nuh_layer_id: 0, temporal_id: 0&#xA;[hevc @ 0x7fbbbb00da00] Decoding VPS&#xA;[hevc @ 0x7fbbbb00da00] Main profile bitstream&#xA;[hevc @ 0x7fbbbb00da00] Decoding SPS&#xA;[hevc @ 0x7fbbbb00da00] Main profile bitstream&#xA;[hevc @ 0x7fbbbb00da00] Decoding VUI&#xA;[hevc @ 0x7fbbbb00da00] Decoding PPS&#xA;[hevc @ 0x7fbbbb00da00] nal_unit_type: 32(VPS), nuh_layer_id: 0, temporal_id: 0&#xA;[hevc @ 0x7fbbbb00da00] nal_unit_type: 33(SPS), nuh_layer_id: 0, temporal_id: 0&#xA;[hevc @ 0x7fbbbb00da00] nal_unit_type: 34(PPS), nuh_layer_id: 0, temporal_id: 0&#xA;[hevc @ 0x7fbbbb00da00] Decoding VPS&#xA;[hevc @ 0x7fbbbb00da00] Main profile bitstream&#xA;[hevc @ 0x7fbbbb00da00] Decoding SPS&#xA;[hevc @ 0x7fbbbb00da00] Main profile bitstream&#xA;[hevc @ 0x7fbbbb00da00] Decoding VUI&#xA;[hevc @ 0x7fbbbb00da00] Decoding PPS&#xA;Input #0, rtsp, from 'rtsp://192.168.2.82/1':&#xA;  Metadata:&#xA;    title           : Unnamed&#xA;    comment         : N/A&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0, 0, 1/90000: Video: hevc (Main), 1 reference frame, yuvj420p(pc, bt709), 704x576, 0/1, 30 tbr, 90k tbn, 30 tbc&#xA;    Stream #0:1, 0, 1/44100: Audio: aac, 44100 Hz, stereo, fltp&#xA;Successfully opened the file.&#xA;Parsing a group of options: output url test.mp4.&#xA;Applying option acodec (force audio codec ('copy' to copy stream)) with argument copy.&#xA;Applying option vcodec (force video codec ('copy' to copy stream)) with argument copy.&#xA;Successfully parsed a group of options.&#xA;Opening an output file: test.mp4.&#xA;[file @ 0x7fbbba529880] Setting default whitelist 'file,crypto'&#xA;Successfully opened the file.&#xA;[mp4 @ 0x7fbbbb01de00] track 1: codec frame size is not set&#xA;Output #0, mp4, to 'test.mp4':&#xA;  Metadata:&#xA;    title           : Unnamed&#xA;    comment         : N/A&#xA;    encoder         : Lavf58.29.100&#xA;    Stream #0:0, 0, 1/90000: Video: hevc (Main), 1 reference frame (hev1 / 0x31766568), yuvj420p(pc, bt709), 704x576 (0x0), 0/1, q=2-31, 30 tbr, 90k tbn, 90k tbc&#xA;    Stream #0:1, 0, 1/44100: Audio: aac (mp4a / 0x6134706D), 44100 Hz, stereo, fltp&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;rtsp://192.168.2.82/1: Operation timed out&#xA;No more output streams to write to, finishing.&#xA;frame=    0 fps=0.0 q=-1.0 Lsize=       0kB time=00:00:00.00 bitrate=N/A speed=   0x    &#xA;video:0kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;Input file #0 (rtsp://192.168.2.82/1):&#xA;  Input stream #0:0 (video): 0 packets read (0 bytes); &#xA;  Input stream #0:1 (audio): 0 packets read (0 bytes); &#xA;  Total: 0 packets (0 bytes) demuxed&#xA;Output file #0 (test.mp4):&#xA;  Output stream #0:0 (video): 0 packets muxed (0 bytes); &#xA;  Output stream #0:1 (audio): 0 packets muxed (0 bytes); &#xA;  Total: 0 packets (0 bytes) muxed&#xA;0 frames successfully decoded, 0 decoding errors&#xA;[AVIOContext @ 0x7fbbba40af40] Statistics: 2 seeks, 3 writeouts&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Everything looks good, I can adjust params on the encoder, and ffmpeg sees them and in spite of various command line params, always a timeout.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Encoder, decoder, laptop, vlc all on same wlan.  Surprising everything but ffmpeg can receive. No doubt through my lack of understanding of ffmpeg and rtsp, I'm missing something.  Any help appreciated!&lt;/p&gt;&#xA;" OwnerUserId="27122" LastEditorUserId="27122" LastEditDate="2019-12-18T15:21:30.730" LastActivityDate="2020-09-14T01:02:00.170" Title="Receiving RTSP stream to ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29106" PostTypeId="1" CreationDate="2019-12-18T05:15:54.910" Score="0" ViewCount="116" Body="&lt;p&gt;When I ski with my gopro, I usually have to use the wide FOV because it's too difficult to carefully frame my shot while I'm skiing since I have to, you know, ski!  I often am chasing some of my friends who may be right in front of me, or off to the side.  The resulting footage is a little underwhelming since the subject is so small on-screeen.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since I can shoot this wide fov footage in 4k and only really need 1080p footage, I would like to have a moving crop at 1080p centered around the subject, preferably undistorting and stabilizing the image at the same time.  Is there any video editing software that would allow me to do this?&lt;/p&gt;&#xA;" OwnerUserId="27114" LastActivityDate="2021-05-23T18:05:20.503" Title="How can I crop an undistorted region from a wide angle gopro capture?" Tags="|editing|software-recommendation|software|gopro|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29108" PostTypeId="2" ParentId="29106" CreationDate="2019-12-18T15:22:13.687" Score="0" Body="&lt;p&gt;After Effects would be the go-to choice for doing this. You can use the &quot;cc_lens&quot; effect that comes with AE to undistort footage - if you want to be very precise though, you can undistort using a fixed focal length, but that is only possible with third party plugins or more advanced compositing programs such as nuke or pfTrack (as far as I know). Scaling in on the footage shouldn't be a big problem when you first undistort the image. However, you might have some issues with chromatic abberation, especially when framing a subject close to the edge of the screen. Here's the pipeline I'd take for polishing such footage:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Undistort the footage using cc_lens or something similar.&lt;/li&gt;&#xA;&lt;li&gt;Stabilizing the footage by either camera-tracking the shot and transforming the Footage or by using the warp-stabilizer.&lt;/li&gt;&#xA;&lt;li&gt;Zooming in on the area you want to focus on.&lt;/li&gt;&#xA;&lt;li&gt;Reducing chromatic abberation, using methods like &lt;a href=&quot;https://www.youtube.com/watch?v=lOSxK45JksA&quot; rel=&quot;nofollow noreferrer&quot;&gt;this one.&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The last step might be color correction, grading and adding some artificial camera shake, since you have probably stabilized the footage already. Quick, sudden shakes usually looks unpleasant, but slow moving shakes can look more organic and visually pleasing.&#xA;Hope this was helpful, have a good one :)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2019-12-18T15:22:13.687" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29110" PostTypeId="2" ParentId="29104" CreationDate="2019-12-18T17:04:10.720" Score="1" Body="&lt;p&gt;Nvdec and qsv do not have support for 10 bit AVC. And if there was a more “efficient” software decoder available, it would already be in ffmpeg. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2019-12-18T17:04:10.720" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29111" PostTypeId="1" CreationDate="2019-12-18T17:57:45.440" Score="1" ViewCount="279" Body="&lt;p&gt;I have a huge collection of video files that are in the range of CRF 16-20 taking up TB's of space. The only need I have for these originals is that I have to encode them from time to time but the CRF of these final encodes is very low (CRF 26-28).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I understand that a lossy to lossy conversion ALWAYS results in some quality loss but my question is what if the intermediate file is almost visually lossless compared to the final output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So to sum up, what quality difference should I expect from the following routes?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;CRF 18 (original) -----&amp;gt; CRF 28 (final)&#xA;CRF 18 (original) -----&amp;gt; CRF 22 (long-term storage) -----&amp;gt; Lossy  CRF 28 (final)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27128" LastActivityDate="2021-01-11T22:07:40.710" Title="x264 Downsides of a high CRF (22) intermediary codec between conversions instead of lossless" Tags="|video|ffmpeg|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29112" PostTypeId="2" ParentId="29111" CreationDate="2019-12-18T20:45:24.110" Score="1" Body="&lt;p&gt;We could do test runs, show comparison screenshots, VMAF scores, bitrate to quality charts, etc, but there is no other way to answer that doesn't essentially say &quot;it will look worse&quot;. &lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2019-12-18T20:45:24.110" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29113" PostTypeId="2" ParentId="29105" CreationDate="2019-12-18T21:19:37.720" Score="1" Body="&lt;p&gt;Figured it out, so wanted to leave an answer on it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The encoder was not using UDP after all.  And so -rtsp_transport udp would timeout since it was not available.  My red herring was observing ffmpeg obtain the SDP data.&lt;/p&gt;&#xA;" OwnerUserId="27122" LastActivityDate="2019-12-18T21:19:37.720" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29115" PostTypeId="1" CreationDate="2019-12-19T15:37:33.830" Score="4" ViewCount="4259" Body="&lt;p&gt;I've downloaded a video from YouTube, well I've downloaded the video stream and the audio stream of a YouTube video separately. Then with this ffmpeg command &lt;code&gt;ffmpeg -protocol_whitelist &quot;file,http,https,tcp,tls&quot; -i video.mp4 -i audio.webm -acodec copy -vcodec copy output.mkv&lt;/code&gt; I merged the two streams together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using the &lt;code&gt;ffprobe -i audio.webm -show_streams -hide_banner&lt;/code&gt; command it gives me the bitrate of the audio file but not of the stream (in this case it's not crucial since the file is only one stream) :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Duration: 01:35:26.06, start: -0.007000, bitrate: 119 kb/s&#xA;  Stream #0:0(eng): Audio: opus, 48000 Hz, stereo, fltp (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But in the detailed stream informations I get after thanks to the parameter &lt;code&gt;-show-streams&lt;/code&gt; it doesn't give me the bit rate of the stream : &lt;code&gt;bit_rate=N/A&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Same command with the video file :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Duration: 01:35:26.04, start: 0.000000, bitrate: 213 kb/s&#xA;   Stream #0:0(und): Video: av1 (Main) (av01 / 0x31307661), yuv420p(tv), 640x284, 0 kb/s, 24 fps, 24 tbr, 12288 tbn, 12288 tbc (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And again in the detailed stream informations it doesn't give me 213 for the bitrate of the stream but 21 (I don't know why) : &lt;code&gt;bit_rate=21&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However when I try the same command with the mkv file that contains the audio and video streams I get that :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Duration: 01:35:26.06, start: -0.007000, bitrate: 331 kb/s&#xA;  Stream #0:0: Video: av1 (Main), yuv420p(tv), 640x284, 24 fps, 24 tbr, 1k tbn, 1k tbc (default)&#xA;  Stream #0:1(eng): Audio: opus, 48000 Hz, stereo, fltp (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So I get an overall bit rate but not the bitrate of each stream which is more annoying. In the detailed stream informations for both streams I have : &lt;code&gt;bit_rate=N/A&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using other tools, mediainfo for example.&#xA;On the audio file (&lt;code&gt;mediainfo --fullscan Ofitsery.webm&lt;/code&gt;) I have an overall bitrate for the file : &lt;code&gt;Overall bit rate : 120 kb/s&lt;/code&gt; but no bitrate indicated for the audio stream.&#xA;For the video file (&lt;code&gt;mediainfo --fullscan Ofitsery.mp4&lt;/code&gt;) I have an overall bitrate : &lt;code&gt;Overall bit rate : 213 kb/s&lt;/code&gt; and a bitrate for the video stream which is not exactly the same (on a file with only one stream) : &lt;code&gt;Bit rate : 211 kb/s&lt;/code&gt;.&#xA;But on my mkv file that contains the audio and the video stream I have an overall bitrate : &lt;code&gt;Overall bit rate : 332 kb/s&lt;/code&gt; but no bitrate neither for the video stream nor the audio stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It annoys me because I'd like to check if I have bitrate loss during the file merging and I can't check the bit rate of the streams separately.&#xA;Beside why are there 1 or 2 kb/s differences sometimes ?&lt;/p&gt;&#xA;" OwnerUserId="27138" LastActivityDate="2020-08-16T00:34:28.907" Title="Why I can't check the bit rate on some videos?" Tags="|video|ffmpeg|audio|bitrate|ffprobe|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29116" PostTypeId="1" CreationDate="2019-12-19T15:59:09.710" Score="1" ViewCount="3377" Body="&lt;p&gt;I tried encoding audio stream into AAC with a &lt;em&gt;variable&lt;/em&gt; bitrate mode — I followed the advice from &lt;a href=&quot;https://slhck.info/video/2017/02/24/vbr-settings.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg VBR Settings&lt;/a&gt; and changed my original option &lt;code&gt;-b:a 128k&lt;/code&gt; to &lt;code&gt;-q:a 1.3&lt;/code&gt; in this original command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -channel_layout stereo -i sc2.avs -b:a 128k -ar 24000 -ac 2 sc2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But I still obtained a &lt;em&gt;constant&lt;/em&gt; audio bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Output from MediaInfo:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC LC&#xA;Format/Info                              : Advanced Audio Codec Low Complexity&#xA;Codec ID                                 : mp4a-40-2&#xA;Duration                                 : 1 min 26 s&#xA;Duration_LastFrame                       : -29 ms&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 119 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Channel layout                           : L R&#xA;Sampling rate                            : 24.0 kHz&#xA;Frame rate                               : 23.438 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 1.23 MiB (8%)&#xA;Default                                  : Yes&#xA;Alternate group                          : 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The Any Video Converter (the old version 3.5.8), which internally uses FFmpeg, convert the same input into VBR mode:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC LC&#xA;Format/Info                              : Advanced Audio Codec Low Complexity&#xA;Codec ID                                 : mp4a-40-2&#xA;Duration                                 : 1 min 26 s&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 75.3 kb/s&#xA;Maximum bit rate                         : 142 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Channel layout                           : L R&#xA;Sampling rate                            : 24.0 kHz&#xA;Frame rate                               : 23.438 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 778 KiB (9%)&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2019-12-19 13:30:13&#xA;Tagged date                              : UTC 2019-12-19 13:30:13&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;How to reach VBR audio output?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(I need it because of &lt;code&gt;Dissolve()&lt;/code&gt; function in AviSynth source file produces horrible sound for CBR, whereas it's nice for Any Video Converter's VBR audio output.)&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2020-05-28T23:04:20.373" Title="Variable bitrate for AAC - how to reach it?" Tags="|ffmpeg|audio|framerate|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29117" PostTypeId="1" CreationDate="2019-12-19T20:39:48.380" Score="1" ViewCount="74" Body="&lt;p&gt;I am new to video production and I would like to ask you if is it possible to use OBS and Wirecast at the same time. Is there a possibility of conflict or something? In my case, I have a Blackmagic Intensity Pro 4K installed and I want to use Wirecast for recording and OBS for streaming (one source/video camera), but although I see my source video at Wirecast, I cant see it at OBS. &#xA;Thanks in advance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;p.s. I know both programs support streaming and recording but I need to use both at the same time.&lt;/p&gt;&#xA;" OwnerUserId="27141" LastActivityDate="2019-12-19T20:39:48.380" Title="Use wirecast and obs at the same time" Tags="|video-recording|obs|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29119" PostTypeId="2" ParentId="29086" CreationDate="2019-12-20T05:58:50.117" Score="1" Body="&lt;p&gt;To expand on Florian's answer: ffmpeg is designed to be used programmatically, and can be scripted to do all sorts of video processing, including adding text and graphics from the command line. If you're using it on a server, it's likely your best bet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects, a video compositing and animation package from Adobe is capable of a lot more, but is primarily designed to be used as a GUI ap. AE is fully scriptable, which means that you &lt;em&gt;can&lt;/em&gt; run it without user intervention, but the complexity involved with scripting it is a lot higher. You'll need a developer who not only knows JavaScript, but also knows After Effects and its object model.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Blender is a 3D application that can also do 2D compositing, editing and animating, and again is scriptable, while primarily being used as a GUI ap. Blender would probably be the most complex one to script, though the development community is probably (?) larger.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ffmpeg and Blender are free, AE requires a license.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-12-20T05:58:50.117" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29121" PostTypeId="1" CreationDate="2019-12-20T20:31:15.370" Score="1" ViewCount="2245" Body="&lt;p&gt;I am just starting on AviSynth for video production. My understanding is that AviSynth only does frameserving and not file export, but several &lt;a href=&quot;http://avisynth.nl/index.php/TWriteAVI#Export_Filters&quot; rel=&quot;nofollow noreferrer&quot;&gt;export filters&lt;/a&gt; are available. &lt;code&gt;TWriteAVI&lt;/code&gt; seems the tool for the job but the &lt;a href=&quot;http://www.mediafire.com/download/84csi0174ettu5l/TWriteAVI_dll_v2.03-20160603.zip&quot; rel=&quot;nofollow noreferrer&quot;&gt;plugin link&lt;/a&gt; is no longer available on the host.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The title links &lt;a href=&quot;http://forum.doom9.org/showthread.php?t=172837&quot; rel=&quot;nofollow noreferrer&quot;&gt;to a forum&lt;/a&gt; with what looks like VB code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#######&#xA;&#xA;ForceProcessAVI(clip c,bool &quot;Debug&quot;=True)&#xA; Force Process clip c, ie read from first to last frame, for TWriteAVI writes the AVI file (Video + Audio) without having to play clip.&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I didn't see how to turn this code into an executable, as I mostly use Unix and Windows is for AviSynth only.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I hook this code into AviSynth, or how can I export an &lt;code&gt;.avs&lt;/code&gt; text file to a movie file?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastEditorUserId="25024" LastEditDate="2019-12-20T20:48:05.980" LastActivityDate="2021-01-15T00:03:05.293" Title="How to export AviSynth project to video file?" Tags="|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29122" PostTypeId="2" ParentId="29121" CreationDate="2019-12-20T21:12:13.177" Score="2" Body="&lt;p&gt;Forget about output filters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use &lt;a href=&quot;https://ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt;  (Linux, Mac, &lt;a href=&quot;https://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Windows&lt;/a&gt;) with this simple command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i your_avs_file.avs  output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(or &lt;code&gt;output.avi&lt;/code&gt;, &lt;code&gt;output.mkv&lt;/code&gt;, ...),&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or any conversion program which accepts &lt;code&gt;.avs&lt;/code&gt; files as input, e. g. &lt;a href=&quot;https://www.any-video-converter.com/products-freeware/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Any Video Converter Free&lt;/a&gt; (for Mac and Windows).&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Note 1:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Windows link points to the site for downloading Zeranoe's FFmpeg build. Unpack the downloaded file and use it — no installation is needed, perhaps only adding the path to &lt;code&gt;ffmpeg.exe&lt;/code&gt; into your &lt;code&gt;PATH&lt;/code&gt; environment variable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Note 2:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want build FFmpeg by yourself, don't forget add &lt;code&gt;--enable-avisynth&lt;/code&gt; option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Note 3:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may directly play back your AviSynth script files (.avs) with some Media Players, e.g. with Media Player Classic.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-12-21T21:55:38.527" LastActivityDate="2019-12-21T21:55:38.527" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29123" PostTypeId="1" AcceptedAnswerId="29126" CreationDate="2019-12-20T23:31:00.437" Score="2" ViewCount="251" Body="&lt;p&gt;I want to process MTS (MPEG Transport Stream) files from an AVCHD camcorder in AviSynth. Displaying with &lt;code&gt;AviSource()&lt;/code&gt; says that the file couldn't be opened, displaying with &lt;code&gt;DirectShowSource()&lt;/code&gt; says that the format is not supported.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found no information about MTS on the AviSynth wiki. The &lt;a href=&quot;http://avisynth.nl/index.php/TWriteAVI#Source_Filters&quot; rel=&quot;nofollow noreferrer&quot;&gt;list of source filters&lt;/a&gt; has nothing on MTS or TS. I found &lt;a href=&quot;http://forum.doom9.org/showthread.php?t=130359&quot; rel=&quot;nofollow noreferrer&quot;&gt;a thread about MTS and VirtualDub&lt;/a&gt; but I would prefer dealing only with the source file instead of converting to another format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can AviSynth handle MTS files?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2019-12-21T21:40:45.357" Title="Can AviSynth handle MTS files?" Tags="|codec|mpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29125" PostTypeId="1" CreationDate="2019-12-21T15:26:20.173" Score="0" ViewCount="315" Body="&lt;p&gt;I use the following command to convert videos recorded by Nvidia ShadowPlay to x265:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &quot;%fn%.mp4&quot; -c:v libx265 -crf 28 -c:a aac -b:a 128k &quot;%fn%.x265.mp4&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've done this for the past year+ with no problems.  Recently I reinstalled Windows,  flashed my BIOS, and obviously reinstalled ShadowPlay.  Now whenever I run this command against these MP4 files, despite there not being any errors in the console, it creates a corrupt, unplayable file that is dramatically smaller than expected (tried in MPC-HC and MPV).  Files I converted prior to reinstalling still play fine in these players.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm sort of at a loss as to what to do without any errors and MPC-HC just says &quot;Cannot render the file&quot;, but I don't see how to get any extra information (in a log or whatever).  I grabbed the latest ffmpeg (4.2.1) as I was using 4.1.3 before this, but it made no difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas?  Are there other easy to use command line x265 converters?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the output of converting a 10gb file.  I'm using the &lt;code&gt;-ss&lt;/code&gt; switch as I have in the past, but it does the same even without it.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\langdonx\Videos&amp;gt;set fn=s11w3oct31-nov6&#xA;&#xA;C:\Users\langdonx\Videos&amp;gt;ffmpeg -i &quot;s11w3oct31-nov6.mp4&quot; -ss 5:04 -c:v libx265 -crf 28 -c:a aac -b:a 128k &quot;s11w3oct31-nov6.x265.mp4&quot;&#xA;ffmpeg version 4.1.3 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8.3.1 (GCC) 20190414&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 's11w3oct31-nov6.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.12.100&#xA;  Duration: 00:24:09.32, start: 0.000000, bitrate: 57968 kb/s&#xA;    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], 57764 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 196 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; hevc (libx265))&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;x265 [info]: HEVC encoder version 3.0_Au+21-bac0e1acb874&#xA;x265 [info]: build info [Windows][GCC 8.3.1][64 bit] 8bit+10bit&#xA;x265 [info]: using cpu capabilities: MMX2 SSE2Fast LZCNT SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;x265 [info]: Main profile, Level-4 (Main tier)&#xA;x265 [info]: Thread pool created using 12 threads&#xA;x265 [info]: Slices                              : 1&#xA;x265 [info]: frame threads / pool features       : 3 / wpp(17 rows)&#xA;x265 [info]: Coding QT: max CU size, min CU size : 64 / 8&#xA;x265 [info]: Residual QT: max TU size, max depth : 32 / 1 inter / 1 intra&#xA;x265 [info]: ME / range / subpel / merge         : hex / 57 / 2 / 2&#xA;x265 [info]: Keyframe min / max / scenecut / bias: 25 / 250 / 40 / 5.00&#xA;x265 [info]: Lookahead / bframes / badapt        : 20 / 4 / 2&#xA;x265 [info]: b-pyramid / weightp / weightb       : 1 / 1 / 0&#xA;x265 [info]: References / ref-limit  cu / depth  : 3 / on / on&#xA;x265 [info]: AQ: mode / str / qg-size / cu-tree  : 2 / 1.0 / 32 / 1&#xA;x265 [info]: Rate Control / qCompress            : CRF-28.0 / 0.60&#xA;x265 [info]: tools: rd=3 psy-rd=2.00 rskip signhide tmvp strong-intra-smoothing&#xA;x265 [info]: tools: lslices=6 deblock sao&#xA;Output #0, mp4, to 's11w3oct31-nov6.x265.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.20.100&#xA;    Stream #0:0(und): Video: hevc (libx265) (hev1 / 0x31766568), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 29.97 fps, 30k tbn, 29.97 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      encoder         : Lavc58.35.100 libx265&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      encoder         : Lavc58.35.100 aac&#xA;frame= 7634 fps= 17 q=-0.0 size=  183296kB time=00:04:15.07 bitrate=5886.8kbits/s speed=0.579x&#xA;C:\Users\langdonx\Videos&amp;gt;echo.&#xA;&#xA;&#xA;C:\Users\langdonx\Videos&amp;gt;echo COMPLETE!&#xA;COMPLETE!&#xA;&#xA;C:\Users\langdonx\Videos&amp;gt;pause&#xA;Press any key to continue . . .&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ffplay output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay sw.x265.mp4&#xA;ffplay version 4.2.1 Copyright (c) 2003-2019 the FFmpeg developers&#xA;  built with gcc 9.1.1 (GCC) 20190807&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0000019655161240] moov atom not found0&#xA;sw.x265.mp4: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;mpv output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\Users\langdonx\Downloads\mpv-x86_64-20191215-git-2dbe33c&amp;gt;mpv sw.x265.mp4&#xA;[ffmpeg/demuxer] mov,mp4,m4a,3gp,3g2,mj2: moov atom not found&#xA;[lavf] avformat_open_input() failed&#xA;[ffmpeg/demuxer] mov,mp4,m4a,3gp,3g2,mj2: moov atom not found&#xA;[lavf] avformat_open_input() failed&#xA;Failed to recognize file format.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Why would ffmpeg create these broken files but not report anything in the output?  Do I need to enable some hardware feature in my BIOS?  ffmpeg itself supports the AAC codec I'm using right, or do I need to install one somehow?&lt;/p&gt;&#xA;" OwnerUserId="27154" LastEditorUserId="27154" LastEditDate="2019-12-21T16:35:05.467" LastActivityDate="2019-12-21T16:35:05.467" Title="FFMPEG fails to convert to usable x265 MP4 after reinstalling Windows/flashing BIOS" Tags="|ffmpeg|" AnswerCount="0" CommentCount="11" ContentLicense="CC BY-SA 4.0" />
  <row Id="29126" PostTypeId="2" ParentId="29123" CreationDate="2019-12-21T16:07:49.023" Score="1" Body="&lt;p&gt;Use cross-platform wrapper library &lt;a href=&quot;https://github.com/FFMS/ffms2&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpegSource&lt;/a&gt; (around FFmpeg) — particularly, its filter &lt;code&gt;FFmpegSource2()&lt;/code&gt; (instead of built-in &lt;code&gt;AviSource()&lt;/code&gt; or &lt;code&gt;DirectShowSource()&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;http://avisynth.nl/index.php/FFmpegSource&quot; rel=&quot;nofollow noreferrer&quot;&gt;AviSynth Wiki&lt;/a&gt; about it.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-12-21T21:40:45.357" LastActivityDate="2019-12-21T21:40:45.357" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29127" PostTypeId="1" AcceptedAnswerId="29129" CreationDate="2019-12-21T17:57:15.713" Score="1" ViewCount="7451" Body="&lt;p&gt;I'm looking for video editing software with a GUI that will fit my needs.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've downloaded the video of the public comments from our most recent local city council meeting. 17 people gave public comments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's basically what I want to do:  &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create 16 breakpoints, separating each individual's comments.&lt;/li&gt;&#xA;&lt;li&gt;Select/highlight those 17 clips.&lt;/li&gt;&#xA;&lt;li&gt;Click 'export selected clips to directory'. &lt;/li&gt;&#xA;&lt;li&gt;Choose the directory and click 'save'.&lt;/li&gt;&#xA;&lt;li&gt;Go to the grocery store . &lt;/li&gt;&#xA;&lt;li&gt;Get home &amp;amp; go to the folder on my computer with 17 files named &lt;code&gt;comment-1.mp4&lt;/code&gt;, &lt;code&gt;comment-2.mp4&lt;/code&gt;, &lt;code&gt;comment-3.mp4&lt;/code&gt;, ... &lt;code&gt;comment-17.mp4&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Upload them to my site / youtube / whatever.  &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I'm using Ubuntu 19.10.&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I have tried Kdenlive, which just froze when adding a 30-minute video, and I don't know if it has batch export anyway&lt;/li&gt;&#xA;&lt;li&gt;I tried Blender, and couldn't figure out a way to batch export like this. I was able to export clips one at a time, but it was extremely cumberson&lt;/li&gt;&#xA;&lt;li&gt;I'm now using Shotcut, which has made exporting clips one at a time super easy, but I can't figure out how to (or if I can do) a batch export as described above&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I've looked at several different articles about editing software, and I can't seem to find this functionality listed. I'm not sure I'm searching with the correct terms.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is there software for linux / ubuntu that will do what I want (with a GUI)? Which software?  &lt;/li&gt;&#xA;&lt;li&gt;If Shotcut can do it, how? &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;My preference is open source software. Free, too.&lt;/p&gt;&#xA;" OwnerUserId="27156" LastEditorUserId="18155" LastEditDate="2019-12-21T21:56:56.917" LastActivityDate="2020-09-17T03:03:30.370" Title="Export multiple clips from one video as separate files" Tags="|video|video-editor|software-recommendation|linux|export|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29128" PostTypeId="2" ParentId="25100" CreationDate="2019-12-21T23:00:04.367" Score="0" Body="&lt;p&gt;You definitely need &lt;a href=&quot;http://avslib.sourceforge.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;AVSLib&lt;/a&gt; (the extension library for AviSynth — very old but very stable library) with very nice documentation, as you may see by clicking my link.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It has many-many useful features — in your case &lt;em&gt;arrays of clips&lt;/em&gt; and functions for manipulating them, of course.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Downloaded &lt;code&gt;.zip&lt;/code&gt; file / &lt;code&gt;.exe&lt;/code&gt; installer includes the same HTML documentation in an off-line form.)&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-12-21T23:05:19.793" LastActivityDate="2019-12-21T23:05:19.793" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29129" PostTypeId="2" ParentId="29127" CreationDate="2019-12-22T02:10:00.823" Score="3" Body="&lt;p&gt;I did it with shotcut. Credit to: &lt;a href=&quot;https://forum.shotcut.org/t/export-one-track/7503/3&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forum.shotcut.org/t/export-one-track/7503/3&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Steps&lt;/h1&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Load video into shotcut&lt;/li&gt;&#xA;&lt;li&gt;click+drag video down to timeline&lt;/li&gt;&#xA;&lt;li&gt;move playhead to desired position &amp;amp; Split at Playead (S)&lt;/li&gt;&#xA;&lt;li&gt;click on a clip I want to export, then Copy (C)&lt;/li&gt;&#xA;&lt;li&gt;Open Playlist view (from top bar)&lt;/li&gt;&#xA;&lt;li&gt;press the plus (+) button in the bottom left, at the bottom of the playlist view&lt;/li&gt;&#xA;&lt;li&gt;Click the export tab&lt;/li&gt;&#xA;&lt;li&gt;In the 'From' dropdown (where it says Timeline or Source), I choose 'Each Playlist Item'&lt;/li&gt;&#xA;&lt;li&gt;Click 'Export File'&lt;/li&gt;&#xA;&lt;li&gt;Choose location, file name, and click 'Save'&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="27156" LastActivityDate="2019-12-22T02:10:00.823" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29130" PostTypeId="2" ParentId="28175" CreationDate="2019-12-22T05:43:55.387" Score="1" Body="&lt;p&gt;No, there is physically only one 'native resolution' for any hardware sensor. It is the number of physically distinct light sensitive areas on the sensor chip and is set in silicone at the time of manufacture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When OBS or any other software gives you a different sized image it is either re-sampling using the values available from the native resolution or alternatively changing the camera resolution which then puts the burden of re-sampling on the cameras internal processing chips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(Unless you are working with RAW output then the information lost between using a native resolution and sub-sampled resolution is going to be swamped by what is thrown away by modern compression techniques such as JPEG anyway.)&lt;/p&gt;&#xA;" OwnerUserId="27159" LastActivityDate="2019-12-22T05:43:55.387" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29133" PostTypeId="2" ParentId="29106" CreationDate="2019-12-22T06:28:09.647" Score="0" Body="&lt;p&gt;I will go through the process with &lt;a href=&quot;https://techguide.io/movavi-video-editor-plus-review.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Movavi Video Editor Plus&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the quick guide on how to crop your video:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Launch the app.&lt;/li&gt;&#xA;&lt;li&gt;Import your video clip.&lt;/li&gt;&#xA;&lt;li&gt;Select your clip.&lt;/li&gt;&#xA;&lt;li&gt;Press &quot;Crop&quot; button (see the screenshot).&lt;/li&gt;&#xA;&lt;li&gt;Adjust the frame.&lt;/li&gt;&#xA;&lt;li&gt;Here you go, enjoy.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/4dONb.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4dONb.jpg&quot; alt=&quot;The instruction in Movavi Video Editor Plus 2020&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="27161" LastActivityDate="2019-12-22T06:28:09.647" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29134" PostTypeId="1" CreationDate="2019-12-22T11:54:11.520" Score="0" ViewCount="33" Body="&lt;p&gt;Look at &lt;a href=&quot;https://drive.google.com/file/d/1FNudc6mZgDipQpT0r81qiaspX42GSwdo/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; Video. Notice the text moving in LED and the reflection of it on the ceiling of the train. I also took a picture with blank LED screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/enYrhl.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/enYrhl.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to add my own text marquee-ing through the LED in the picture. Everything will be static as the photo except the text in the LED and its reflection.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What software, and what actions do I need to do to achieve this? Any tips and tricks please? I have a Macbook Pro i7. Freeware options are more preferable.&lt;/p&gt;&#xA;" OwnerUserId="27162" LastEditorUserId="4426" LastEditDate="2020-08-25T16:17:40.080" LastActivityDate="2020-08-25T16:17:40.080" Title="What software should I use to replace an LED display in a train carriage?" Tags="|editing|software-recommendation|recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29135" PostTypeId="1" CreationDate="2019-12-22T21:06:52.973" Score="0" ViewCount="363" Body="&lt;p&gt;Before the invention of the CCD, how were analog video images captured? Specifically, what process occurred between the optics of the camera, and the resulting analog electrical signal (not necessarily ready to transmit)? &lt;/p&gt;&#xA;" OwnerUserId="27164" LastActivityDate="2019-12-22T21:06:52.973" Title="How was analog video converted to an electrical signal?" Tags="|camera|analog|television|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29136" PostTypeId="2" ParentId="29135" CreationDate="2019-12-22T21:06:52.973" Score="1" Body="&lt;p&gt;Before understanding the answer to this question, &lt;em&gt;you need to understand analog video displays&lt;/em&gt;, usually called Cathode Ray Tube Televisions (CRT TVs), often shortened to just &amp;quot;CRTs&amp;quot; in casual speech. There are plenty of answers here on this site, and a more technical one on the &lt;a href=&quot;https://en.wikipedia.org/wiki/Cathode-ray_tube&quot; rel=&quot;nofollow noreferrer&quot;&gt;CRT Wikipedia Page&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Now, before answering the question, there were a &lt;em&gt;multitude&lt;/em&gt; of technological advances that led to the collection of 'standard' &lt;a href=&quot;https://en.wikipedia.org/wiki/Video_camera_tube&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video Camera Tubes&lt;/a&gt;, each with its own pros and cons, and advancements throughout the years. In this answer, I will assume a black and white system, will ignore the optics, gloss over the physics of electron beams and photo-cathodes (you did read and understand the CRT wiki page... didn't you? :D ),  and I will ignore the electronics and technology involved in the camera, as well as those in the encoding, transmission, reception, decoding, etc. as those items each are far beyond the scope of this answer. (Many have their own dedicated Stack Exchange!!) For a &lt;strong&gt;very&lt;/strong&gt; simple overview, see &lt;a href=&quot;https://engineering.purdue.edu/%7Ebouman/ece637/notes/guestlecture/Torres/Analog_TV.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Here is the short answer:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Analog cameras were the reverse of CRT displays, and the incoming photons from the optics were converted to an output signal in broadly one of two ways.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Incoming photons hit a photo-cathode plate of some type, which emitted electrons. These electrons may or may not have hit a secondary plate with the ability to amplify the electron (not photon) image. This image was then scanned past an aperture (note that the entire image is scanned, not just one beam). Behind this aperture the signal was detected and converted to an electronic signal via a &lt;a href=&quot;https://en.wikipedia.org/wiki/Image_dissector&quot; rel=&quot;nofollow noreferrer&quot;&gt;dissector tube&lt;/a&gt; (again, many technologies).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The incoming photon image hits another type of photo-cathode plate. In this second technology, an electron beam of constant strength is then shot towards the rear of this plate (scanned and focused in the way a display CRT is), and the plate in the middle creates a voltage relative to the strength of the photons on the front. This voltage is the output signal.&lt;/p&gt;&#xA;&lt;p&gt;P.S. This answer is in response to an unanswered question asked &lt;a href=&quot;https://video.stackexchange.com/questions/28433/how-exactly-did-analog-tv-cameras-work?newreg=3aa2c80fde984dafa152793868f55de3&quot;&gt;here&lt;/a&gt; by &lt;a href=&quot;https://video.stackexchange.com/users/23208/j-doe&quot;&gt;J. Doe&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="27164" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2019-12-22T21:06:52.973" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29137" PostTypeId="1" AcceptedAnswerId="29139" CreationDate="2019-12-22T21:09:02.423" Score="1" ViewCount="1027" Body="&lt;p&gt;I was unable to read MTS or MP4 files in AviSynth. &lt;a href=&quot;https://video.stackexchange.com/questions/29123/can-avisynth-handle-mts-files/29126#29126&quot;&gt;Can AviSynth handle MTS files?&lt;/a&gt; pointed to the &lt;a href=&quot;https://github.com/FFMS/ffms2&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpegSource2 filter&lt;/a&gt;, with &lt;a href=&quot;http://avisynth.nl/index.php/FFmpegSource&quot; rel=&quot;nofollow noreferrer&quot;&gt;information on the wiki&lt;/a&gt;. I downloaded the plugin and pointed to it from the first line&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;LoadPlugin(&quot;C:\path\to\ffms2\x64\ffms2.dll&quot;)&#xA;DirectShowSource(&quot;\path\to\MP4\file&quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This threw &lt;code&gt;error 0xc1&lt;/code&gt;. &lt;a href=&quot;https://forum.videohelp.com/threads/381913-avisynth-LoadPlugin-LSMASHSource-dll-error-0xc1&quot; rel=&quot;nofollow noreferrer&quot;&gt;This thread&lt;/a&gt; mentioned different architectures, so I tried the &lt;code&gt;x86&lt;/code&gt; folder (&lt;code&gt;C:\Program Files (x86)\AviSynth\plugins&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After a little while, Windows Media Player opens a dialog with this text (translated to English):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Windows Media Player is unable to open the file. It's possible that Media Player&#xA;does not support this type of file or that you need a codec that is not&#xA;installed. [Close] [Help online]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can I enable FFmpegSource2 plugin in AviSynth?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastEditorUserId="18155" LastEditDate="2020-02-11T17:48:52.263" LastActivityDate="2020-02-11T18:13:19.093" Title="Errors in FFmpegSource2 plugin source filter for AviSynth" Tags="|ffmpeg|codec|mpeg|avisynth|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29138" PostTypeId="1" CreationDate="2019-12-22T23:04:14.390" Score="2" ViewCount="46" Body="&lt;p&gt;Effectively, I'm just looking for something that would allow me to have a paper doll bounce around. Any ability to add animation to the face or whatnot isn't super important. I'm hoping there's something simple and real-time out there, since it would be a lot less time consuming to just shake a virtual stick while talking than to try to tween animation to match a voice in post.&lt;/p&gt;&#xA;" OwnerUserId="27165" LastActivityDate="2021-01-23T10:05:45.687" Title="Software for real-time 2d puppetry?" Tags="|software-recommendation|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29139" PostTypeId="2" ParentId="29137" CreationDate="2019-12-23T12:05:21.220" Score="1" Body="&lt;h3&gt;The short answer, if you're familiar with AviSynth&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;You don't need to use &lt;code&gt;LoadPlugin()&lt;/code&gt;, if you copy the four files in the plugin:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;FFMS2.avsi&#xA;ffms2.dll&#xA;ffms2.lib&#xA;ffmsindex.exe&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;to the plugins directory of your AviSynth installation (see below for its location).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's all. Then you directly use it in your AviSynth script calling its function(s), mostly the function&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;FFmpegSource2()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(or &lt;code&gt;FFMS2()&lt;/code&gt;, which is the same, or &lt;code&gt;FFMS2(&quot;your_file.ts&quot;, atrack=-1)&lt;/code&gt;) in concordance with documentation, but not &lt;code&gt;DirectShowSource()&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h3&gt;The long answer&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;If you're beginning with AviSynth, the rest of the answer will walk you through the pitfalls.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;AviSynth versus AviSynth+&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AviSynth has two versions, denoted AviSynth and AviSynth+, at &lt;a href=&quot;http://avisynth.nl/index.php/Main_Page&quot; rel=&quot;nofollow noreferrer&quot;&gt;the homepage&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Official builds&lt;/strong&gt;&lt;br&gt;&#xA;  v.2.6.0 ST, 32-bit at SourceForge&lt;br&gt;&#xA;  ...&lt;br&gt;&#xA;  &lt;strong&gt;Forks&lt;/strong&gt;&lt;br&gt;&#xA;  AviSynth+: new features, backward compatible.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;AviSynth 2.6.0 is a very old version, in spite of its title as an &quot;Official build&quot;. You're better off with the new version for &lt;code&gt;FFMS2&lt;/code&gt;. Download it from the &lt;a href=&quot;https://github.com/AviSynth/AviSynthPlus/releases&quot; rel=&quot;nofollow noreferrer&quot;&gt;official Github repo&lt;/a&gt; pointed to from &lt;a href=&quot;http://avisynth.nl/index.php/Main_Page&quot; rel=&quot;nofollow noreferrer&quot;&gt;the homepage&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The directory of plugins for AviSynth+&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When you install the Github fork of AviSynth+, check the box &lt;code&gt;Customize plugins directory&lt;/code&gt; to find the paths without changing them. Copy the four plugin files mentioned above to &lt;code&gt;C:\Program Files (x86)\AviSynth+\plugins+&lt;/code&gt; or to &lt;code&gt;C:\Program Files (x86)\AviSynth+\plugins64+&lt;/code&gt;, depending on your version of Windows. The &lt;code&gt;+&lt;/code&gt; at the end of the directory is for AviSynth+ instead of AviSynth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The file &lt;code&gt;FFMS2.avsi&lt;/code&gt; in the FFMS2 plugin is the same for both architectures.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you copy it to the wrong directory, you may see this in Windows Media Player:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;Cannot load a 64 bit DLL in 32 bit Avisynth: &#xA;    'C:/Program Files (x86)/AviSynth+/plugins+/ffms2.dll'&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;which means that you should move those files to &lt;code&gt;C:\Program Files (x86)\AviSynth+\plugins64+\&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Choose the appropriate media player&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you play the &lt;code&gt;.avs&lt;/code&gt; file with Windows Media Player, you may see  a &lt;code&gt;.MP4.ffindex&lt;/code&gt; file for each file that you use with &lt;code&gt;FFMS2()&lt;/code&gt; and the &lt;code&gt;.avs&lt;/code&gt; file shows no image and no sound, only a musical note that looks like standard Windows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Windows Media Player is not able to play back &lt;code&gt;.avs&lt;/code&gt; files. Use Media Player Classic — you may get it with very useful &lt;a href=&quot;https://www.codecguide.com/download_k-lite_codec_pack_mega.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;K-Lite Mega Codec Pack&lt;/a&gt; — simply download and install it. Be sure to select the &lt;strong&gt;Mega&lt;/strong&gt; pack, because the Basic pack doesn't contain the player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Convert the script to a media file&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another possibility is to convert the &lt;code&gt;.avs&lt;/code&gt; file into a media file, for example with &lt;a href=&quot;https://ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i your.avs output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;FFmpeg chooses appropriate codecs automatically by the extension of the output file) and play back the result in (almost) any media player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may download the ready-to-use FFmpeg from &lt;a href=&quot;https://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Zeranoe's page&lt;/a&gt; — just unpack the downloaded archive file and add the path to &lt;code&gt;ffmpeg.exe&lt;/code&gt; into your &lt;code&gt;PATH&lt;/code&gt; environment variable.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2020-02-11T18:13:19.093" LastActivityDate="2020-02-11T18:13:19.093" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="29142" PostTypeId="2" ParentId="28999" CreationDate="2019-12-25T04:58:11.043" Score="2" Body="&lt;p&gt;i found my answer in this link:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://man7.org/linux/man-pages/man3/strftime.3.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;strftime - format date and time&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://linux.die.net/man/3/strftime&quot; rel=&quot;nofollow noreferrer&quot;&gt;strftime(3) - Linux man page&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ex: i use this command for demo and i made several other command for different date format&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.mp4 -vf &quot;drawtext=fontfile=roboto.ttf:fontsize=36:fontcolor=yellow:text='%{pts\:gmtime\:1575526882\:%A, %d, %B %Y %I\\\:%M\\\:%S %p}'&quot; -preset ultrafast -f mp4 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26984" LastActivityDate="2019-12-25T04:58:11.043" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29143" PostTypeId="2" ParentId="28924" CreationDate="2019-12-25T19:17:40.647" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Sites like google are not enough to quickly find reference of valuable information on the topics I mentioned above&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Oh, my...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You live in a privileged era, never, ever in the history of humankind was the information, examples, tutorials, were so easily available.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where? the internet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem I see without knowing you, but reading your question is that &lt;strong&gt;you are not focusing&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;3d scene with a female character holding a gun in the nighttime&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;A torrent of questions:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is the female a girl, a young woman, an old one; Is it a western, a cyberpunk or an android female; do you want to accentuate the female's curves, probably the hips next to the gun, is she defending herself in fear or she is a badass; is it a thriller or a cop story, a drama, a comedy. Is she facing the antagonist or chasing or running away, is it an interior scene, or is in the middle of a forest... etc, etc...&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;how to build scenes, composition, and lighting for either 3d animations or filming.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This is even more general... let us forget for now about set design, character design, and storytelling, drama, and rhythm of the scene (all that can be on how to build a scene) and just &lt;strong&gt;focus&lt;/strong&gt; on composition and lighting...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, look for tutorials on composition, planes, framing, depth of field. What a plane means, what does it say about a character and about the environment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now look for tutorials about lighting. Quality of light, the direction of light, the position of light, the color of light.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The keyword is FOCUS on what do you need.&lt;/strong&gt; Separate the elements.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Focus on real-life tutorials&lt;/strong&gt;. In a 3D environment is super easy to cheat and not really understanding what is happening.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are free youtube tutorials of GREAT quality and there are event masterclasses websites with the people you see in the credits of your favorite movies.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Make a new account of youtube, and do not contaminate the search and view history watching memes.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Type a focused and specific search, and let the automatic feed give you recommendations.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;One good place to start, for your specific scene is this video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/BUW4KfAnvzA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;You also have a ton of websites where you can search for movies. Look for a scene that caught your attention, and again, focus on one topic. Framing? light? expression? color?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Focus.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;An additional tip, with a bit more experience, you can simply find a reference image and analyze it a bit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again separate the elements and find out yourself what do you need, for example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What...&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Lens&lt;/li&gt;&#xA;&lt;li&gt;Camera position&lt;/li&gt;&#xA;&lt;li&gt;Camera distance&lt;/li&gt;&#xA;&lt;li&gt;Light position in relation to the subject&lt;/li&gt;&#xA;&lt;li&gt;Light position in relation to the camera&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;How&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Many lights are there&lt;/li&gt;&#xA;&lt;li&gt;Is the quality of the light&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;etc. Element by element.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2020-03-02T20:58:29.657" LastActivityDate="2020-03-02T20:58:29.657" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29144" PostTypeId="2" ParentId="28780" CreationDate="2019-12-25T19:35:54.613" Score="0" Body="&lt;p&gt;Some thoughts about this question.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;it seems that fix can be made only by adding more professional light.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Where to start?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem you have is noise. Period.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Noise is a product of low light, yes, but where does this low light is originated is the real question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What aperture are you using and why? what shutter speed and why? and after these considerations you are probably compensating with high iso.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The answer to noise is simply more light. Open a window, put a brighter light bulb or put the lights closer to the subject.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Professional light&quot; does not say much. You need to understand the characteristics of light.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Power&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Color&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Color rendition&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Quality (size)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Direction&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Distance (falloff)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Quantity&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;if 2 softboxes with 4 bulbs each, 35W, 5500K would fix it? Is it enough?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;This answer is probably a bit late and you have already solved your question. But the answer is yes if they are at the proper distance considering other factors like the aperture of the lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The led light does not provide a real advantage to the problem, it has a different quality compared to the softbox but has other advantages like portability, but all those are different issues.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-12-25T19:35:54.613" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29145" PostTypeId="1" AcceptedAnswerId="29148" CreationDate="2019-12-25T17:07:07.333" Score="1" ViewCount="114" Body="&lt;p&gt;I am making an animated short and I need help to decide the right direction of the character's gaze.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the image - &lt;a href=&quot;https://i.stack.imgur.com/OBqLe.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OBqLe.jpg&quot; alt=&quot;1 or 2?&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The uppermost shot is the preceding frame - the Red is standing over Blue, and looking down. He is slightly to the left of him (the axis of the camera is on the right side of Red)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The last shot is the following frame - Red is leaving and the camera stays on the right side of the axis.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where I need help deciding is the case 1) or 2).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 1) is feeling more natural to me, Red is looking to the right side, which the Blue occupies in other frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But case n.2 makes more sense, as Red is looking down and to his right, where Blue realistically is in the scene. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not sure which one to use. &lt;/p&gt;&#xA;" OwnerUserId="32538" OwnerDisplayName="jilda" LastEditorUserId="19115" LastEditDate="2019-12-26T02:07:34.670" LastActivityDate="2019-12-26T15:17:24.073" Title="Help with composition of a movie shot - direction of character's eyes" Tags="|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29146" PostTypeId="2" ParentId="29145" CreationDate="2019-12-26T02:06:54.277" Score="1" Body="&lt;p&gt;I find that charting the room can help with figuring out eyeline. Here’s the overhead of your scene. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/03HRj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/03HRj.png&quot; alt=&quot;overhead view of scene showing position of the two characters and cameras. &quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The two characters are the dots matching their shirt colors. Green camera 0 is the wider shot. The yellow line is the eyeline created between them that indicates &lt;a href=&quot;https://learnaboutfilm.com/film-language/sequence/180-degree-rule/&quot; rel=&quot;nofollow noreferrer&quot;&gt;the 180 degree rule&lt;/a&gt;.  With your establishing shot, you need to stay out of the yellow dashed area. You &lt;em&gt;can&lt;/em&gt; go there but it’s best to avoid it unless you’re doing it intentionally. The two cameras labeled 1 and 2 represent the two shots you’re considering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can confirm this by looking at the direction of the arrow from the point of view of each camera. From angle 1, the arrow points right; from angle 2, it points left. From angle 0, it points right, so to stay on the same side of the line, you need red to be looking right. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can figure this out without a chart, too. In your wider shot you’re seeing red’s right cheek. In general, that’s the cheek you should keep seeing. If you see the left cheek, you may have crossed the line (unless the eyeline changed). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, shot two would cross the line. In order to see red’s left cheek you’d have to be looking over blue’s other shoulder if they’re meeting each other’s eyes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a guess why it might seem better to go with angle 2, or at least why angle 1 might seem wrong. I’ve added another arrow to the image above:  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/R9i6Q.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/R9i6Q.png&quot; alt=&quot;same image as above with an arrow indicating the direction of red’s shoulders. &quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This short arrow is how the body position of red appears in the scene. Red seems to have his chest open to blue’s left rather than being the same as his eyeline. You can see red’s right shoulder closer to camera. In angle 1, it seems to be farther back than the left shoulder, making it seem like you’ve crossed the line of his body even though you haven’t crossed the eyeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, you’ve mixed angle 1 so it can seem a bit odd. In angle 2 the eyeline and body position both point left so even though you’re crossing the line, the body and head are aligned. In fact, the body position in both angles 1 and 2 look identical, which seems wrong. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you square up red’s shoulders with the eyeline, I think it might improve the shot. &lt;/p&gt;&#xA;" OwnerUserId="19115" LastActivityDate="2019-12-26T02:06:54.277" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29147" PostTypeId="1" CreationDate="2019-12-26T14:31:05.507" Score="0" ViewCount="563" Body="&lt;p&gt;Apologies in advance if this is a very noob question - I barely know anything about video production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to record video and use my fancy-ish USB microphone as the audio source. Unfortunately I don't have a camera (or any other equipment), and thus would like to somehow use my android phone's camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The setup I had in mind would use a pc app that allows me to hook my phone and USB mic up to my pc, and select them as the respective video and audio sources, and record everything into one file on my pc. What I don't want is a scenario where I'm separately recording video and audio and then I have to learn how to edit videos and try to manually synchronize the video and audio in post-production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been researching for a couple of hours, but couldn't find anything that does what I want, other than the following semi-solutions.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;IP Webcam. An Android app that allows you to stream video from your phone to your pc via wifi. The problem I had with this is the terrible video resolution and lag. This put me off so quickly that I didn't even bother to look if I could select an alternative audio source.&lt;/li&gt;&#xA;&lt;li&gt;Open Camera. This is an Android app that allows you to connect and use a microphones other than your phone's built in mic. This seems to be the best solution, and I'd have loved to go with this, but the problem with this one is that I don't have a USB to Micro USB converter and thus won't be able to plug my microphone into my phone.&lt;/li&gt;&#xA;&lt;li&gt;OBS. I came across a video on youtube where a guy (seemingly) records video (with a camera - not screen capturing) using OBS, but I don't know if he's using an older/different version of OBS, coz I don't have half the settings he does (not to mention that he didn't actually show which setting allowed him to choose his video sources). And from the production quality of his video he clearly uses actual cameras and not a phone, so I'm not sure if I'd even be able to hook a phone up to it anyway.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So my first question is whether or not what I'm trying to do is even possible? If it's not, what's the closest I can get to it using only an android phone, usb mic and pc?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it is possible, please guide me through the setup. I'm not looking for crazy bells and whistles, so the more basic we can keep it, the better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let me know if I need to provide any additional information.&lt;/p&gt;&#xA;" OwnerUserId="27182" LastActivityDate="2024-01-09T06:08:51.103" Title="Use android camera and usb mic on pc" Tags="|video-recording|audio-recording|recording|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29148" PostTypeId="2" ParentId="29145" CreationDate="2019-12-26T15:17:24.073" Score="2" Body="&lt;p&gt;Shot 1 makes the most sense. In shot 1, your camera doesn't &quot;cross the line&quot; between the two characters. (That's an important cinematography rule; audiences unconsciously expect it.) Here's the easy way to apply this rule to a scene with 2 characters:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The character on the left of the frame in the wide shot should always be looking towards the right of the frame, and should keep looking towards the right of the frame in close ups and over-the-shoulder shots. (The opposite applies to the other character.)&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your character in red starts out on the left of the frame, and is facing the right of the frame (even though we see the back of his head). He needs to &lt;em&gt;keep&lt;/em&gt; looking towards the right of the frame in subsequent shots in that scene. Shot 1 shows him looking towards the right of the frame, so that's the shot to use. :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/202B3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/202B3.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5546" LastActivityDate="2019-12-26T15:17:24.073" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29149" PostTypeId="1" CreationDate="2019-12-26T16:39:38.493" Score="2" ViewCount="96" Body="&lt;p&gt;I rendered an iPhone with a black screen in Blender and then animated it so the camera pans in a circle around the iPhone. I exported this as an AVI file. Then I took my real iPhone and took a screen recording. How can I use After Effects to overlay the black screen from the fake rendered iPhone with this recording while the AVI video pans the camera around the rendered phone? I am new to After Effects.&lt;/p&gt;&#xA;" OwnerUserId="27184" LastActivityDate="2021-10-21T15:00:35.083" Title="How can I animate an iPhone screen within a blender animation?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29150" PostTypeId="2" ParentId="29149" CreationDate="2019-12-26T18:42:04.087" Score="0" Body="&lt;p&gt;I made an attempt to use a green screen my rendering the iphone again with a green front and then using track motion within After Effects. Results aren't great, it doesn't track well and it's very wobbly but it seems like I'm on the right track. &lt;/p&gt;&#xA;" OwnerUserId="27184" LastActivityDate="2019-12-26T18:42:04.087" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29151" PostTypeId="1" AcceptedAnswerId="29153" CreationDate="2019-12-26T20:26:20.120" Score="0" ViewCount="19" Body="&lt;p&gt;Does a USB3.0 pen/thumb drive have enough speed to handle editing in Premiere Pro Daniel2 codecs ? &lt;/p&gt;&#xA;" OwnerUserId="17386" LastEditorUserId="14523" LastEditDate="2019-12-27T19:07:40.003" LastActivityDate="2019-12-27T19:07:40.003" Title="Editing Daniel2 Cinegy out of pendrive USB3, possible?" Tags="|premiere|editing|pro|usb|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29152" PostTypeId="1" CreationDate="2019-12-27T10:11:29.650" Score="0" ViewCount="596" Body="&lt;p&gt;I have recorded broadcast-ed material using a DVB-T tuner.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That produces several TS files per recording (most likely to keep filesize within FAT32 limitations).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have concatenated each recording into a single TS file using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -f concat -i $filelist -c copy -y $outputfile&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;From there, I need to perform edits to remove commercials, strip extra stuff from the start and end, and optionally extract each episode into a separate file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I own Pinnacle Studio 23 Ultimate, that doesn't support TS as input so I'm converting TS to MP4 using something like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i foo.ts -crf 18 -ac 2 -r 25 -c:v libx265 -ar 48000 -b:a 192k -c:a aac -aspect 16:9 bar.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(I've tried several ways/options, including using HandBrake for that conversion).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What happens is that in the resulting edited material, audio and video are out of sync. Can be in the whole file, or only in some sections.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This could be linked to glitches (missing frames...) in the original recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I play the original single-file TS, or the MP4 version, in any player such as VLC, audio and video are properly aligned. So these players are able to deal with the aforementioned glitches and &quot;re-align&quot; the audio and video streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I &quot;rewrite&quot; the whole input file in such a way that audio and video are &quot;fully synchronized&quot; so that editing will be possible?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for your help.&lt;/p&gt;&#xA;" OwnerUserId="27192" LastActivityDate="2020-02-18T04:04:30.437" Title="Fixing audio/video out of sync when editing recorded broadcast" Tags="|video|audio|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29153" PostTypeId="2" ParentId="29151" CreationDate="2019-12-27T12:25:30.797" Score="2" Body="&lt;p&gt;It depends on the USB flash drive, for example some have &gt; 100 MB/s R/W capability and would be similar to working with a traditional HDD. However USB flash drives have chips which are not meant for constant use and lots of writing, and they don't have wear leveling like a good SSD. This means that the flash drive will go bad sooner and you will lose your data when it does. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I recommend using a portable SSD to work with your video projects. For example a Samsung T5 series. &lt;/p&gt;&#xA;" OwnerUserId="27196" LastActivityDate="2019-12-27T12:25:30.797" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29154" PostTypeId="1" AcceptedAnswerId="29171" CreationDate="2019-12-27T15:08:28.833" Score="2" ViewCount="174" Body="&lt;p&gt;I'm building &lt;strong&gt;a color correction suite&lt;/strong&gt;. Among the requirements, I read that it &lt;strong&gt;needs to be lit using 6500K lamps with CRI 90 or higher&lt;/strong&gt;. Which are pretty hard to find in my location.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I totally understand the 6500K requirement but &lt;strong&gt;why do I need a high CRI lamp?&lt;/strong&gt; How does seeing the walls and the other stuff in the room in it's &quot;full glory&quot; affects my perception of the stuff on the screen?&lt;/p&gt;&#xA;" OwnerUserId="27198" LastActivityDate="2019-12-30T04:03:38.007" Title="Why a color grading suite needs high CRI lamps?" Tags="|color-correction|color-grading|color|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29155" PostTypeId="2" ParentId="15072" CreationDate="2019-12-27T21:16:29.847" Score="1" Body="&lt;p&gt;Focus on getting the idea of the general workflow, not the specific tools. If you get that, you'll be able to grade using Lumetri Color, Magic Bullet's Colorista, in Davinci Resolve or whatever set of tools your software will have. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The book that gave me that understanding was &quot;The Color Correction Handbook&quot; by Alexis Van Hurkman. Unfortunately, most tutorials I've seen on YouTube were either made by quite amateur creators (that believe that cinematic look is just about snapping a specific LUT on your footage), or were too focused on the tools (which are good to know, yet knowing just that and without knowing the general principles of color grading makes you a monkey that just randomly pulls all the sliders it sees (that I used to be myself before the book, heh)).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That what makes Alexis's book so great: he shows you that 85% of the look is crafted with the very basic tools like Curves or Offset/Gamma/Gain controls, and what matters most is knowing the basic principles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are a few free sample pages: &lt;a href=&quot;http://ptgmedia.pearsoncmg.com/images/9780321929662/samplepages/0321929667.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;link&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27198" LastActivityDate="2019-12-27T21:16:29.847" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29156" PostTypeId="2" ParentId="19730" CreationDate="2019-12-27T22:39:34.280" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fkVw6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fkVw6.png&quot; alt=&quot;Here&amp;#39;s a screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right-click on the blank space of any caption and you'll see a &quot;select all&quot; option. Congratulations, you are now a Jedi that can edit everything at once. Enjoy.&lt;/p&gt;&#xA;" OwnerUserId="27203" LastActivityDate="2019-12-27T22:39:34.280" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29157" PostTypeId="1" AcceptedAnswerId="29178" CreationDate="2019-12-27T23:51:57.477" Score="2" ViewCount="102" Body="&lt;p&gt;So I've tried to make a short New Year video and noticed, that I got noise at almost every level of ISO over 3000. And it is the kind of noise, that is impossible to work with. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I getting something wrong, or it has to be this way?&#xA;For example, &lt;a href=&quot;https://www.dropbox.com/s/safcryebb4m0n7j/noise.mp4?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;this short video shows how high the noise is in both light and dark&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;The params are: 1/200 f5.0 ISO:4000 120fps/60m 1920/1080&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I reduce the noise, or is this something I can definitely expect with 4000 ISO and such lens? Do I have to light everything in a way, that I won't need to go over 500 ISO? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll be glad to any suggestion and answer. &lt;/p&gt;&#xA;" OwnerUserId="27194" LastActivityDate="2019-12-30T20:27:40.347" Title="Why I might get this high noise on Sony a7 III with Zeiss 24/70 f4 lens?" Tags="|video|video-quality|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29159" PostTypeId="1" CreationDate="2019-12-28T03:54:28.773" Score="0" ViewCount="3166" Body="&lt;p&gt;I am trying to create a Final Cut project that has a 4:3 aspect ratio. So I went to the project settings and set it to 1440x1080. But the preview window and exported video is still widescreen, does anyone know why?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YBFaB.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YBFaB.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does that squiggly line have anything to do with it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just so you can see, my project is set to the right resolution, but the preview window is clearly playing a widescreen video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ERGg1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ERGg1.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I missing something obvious or is this a bug?&lt;/p&gt;&#xA;" OwnerUserId="27205" LastEditorUserId="14523" LastEditDate="2019-12-30T17:52:22.427" LastActivityDate="2024-01-09T01:00:40.110" Title="Why can't I change the aspect ratio of my project in Final Cut Pro X?" Tags="|final-cut-pro-x|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29160" PostTypeId="2" ParentId="29089" CreationDate="2019-12-28T07:38:01.490" Score="0" Body="&lt;p&gt;I would recommend Audacity or OBS to record the sound from the microphone, then put it in the Premiere and synchronize it. OBS is not only for streaming, but you can use it to record a separate soundtrack from a microphone while having a camera connected.  Then in Premiere Pro you mute the soundtrack from the camera and leave the soundtrack from the microphone.&lt;/p&gt;&#xA;" OwnerUserId="27206" LastActivityDate="2019-12-28T07:38:01.490" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29161" PostTypeId="2" ParentId="29159" CreationDate="2019-12-28T10:14:00.260" Score="0" Body="&lt;p&gt;When you import clips the default spatial conform is fit. Change it to fill and clips will be cropped. You can reframe as you like. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This article has more details &lt;a href=&quot;https://www.fcp.co/final-cut-pro/tutorials/1941-how-to-edit-publish-square-video-with-final-cut-pro-x&quot; rel=&quot;nofollow noreferrer&quot;&gt;Square video with FCPX&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2019-12-28T10:14:00.260" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29163" PostTypeId="1" CreationDate="2019-12-29T02:08:26.110" Score="0" ViewCount="58" Body="&lt;p&gt;I tried to use ArrayOpArrayFunc of avslib (Avisynth plugin) to crop each frame differently based on the contents of an array.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I start with image files, say 20, build my arrays, and try to apply the filters, but I must make a mistake as I cannot get this to work. Any idea how to fix my script?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Import(&quot;C:\Program Files (x86)\AVSLib\avslib\loader.avsi&quot;)&#xA;Import(&quot;C:\Program Files (x86)\AVSLib\avslib\avslib.avsi&quot;)&#xA;LoadLibrary(&quot;avslib&quot;, CONFIG_AVSLIB_ARRAYS)&#xA;LoadModule(&quot;avslib&quot;, &quot;base&quot;, &quot;constants&quot;)&#xA;LoadModule(&quot;avslib&quot;, &quot;filters&quot;, &quot;frames&quot;)&#xA;&#xA;dx001 = ArrayCreate(1250, 1250, 2110, 1250, 1250, 1250, 1250, 1250, 1250, 1250)&#xA;dx011 = ArrayCreate(1250, 1250, 1250, 1250, 1250, 1250, 1250, 1250, 1250, 1250)&#xA;dx = dx001.ArrayInsRange(dx011)&#xA;&#xA;dy001 = ArrayCreate(1300, 1300, 1300, 2000, 1300, 1300, 1300, 1300, 1300, 1300)&#xA;dy011 = ArrayCreate(1300, 1300, 1300, 1300, 1300, 1300, 1300, 1300, 1300, 1300)&#xA;dy = dy001.ArrayInsRange(dy011)&#xA;&#xA;FirstFrame      = 1&#xA;LastFrame       = 20&#xA;FrameRate       = 25&#xA;&#xA;function MyCrop(dx, dy, clip, w, h)&#xA;{&#xA;  return Crop(clip, dx, dy, w, h)&#xA;}&#xA;&#xA;Raw = ImageReader(&quot;GOPR%04d.JPG&quot;, FirstFrame, LastFrame, FrameRate)&#xA;Crop = ArrayOpArrayFunc(dx, dy, &quot;MyCrop&quot;, &quot;Raw,1600,1200&quot;)&#xA;BilinearResize(Crop, 800, 600)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The error message is 'I don't know what &quot;Raw&quot; means'.&lt;br&gt;&#xA;The original images are 4000x3000, they need to be cropped variously (simplified version of the arrays above), then resized to final video format.&lt;/p&gt;&#xA;" OwnerUserId="516" LastActivityDate="2024-01-08T06:08:56.080" Title="avisynth(+) + avslib - cropping each frame with different values" Tags="|editing|script|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29166" PostTypeId="2" ParentId="29163" CreationDate="2019-12-29T18:00:29.897" Score="0" Body="&lt;pre&gt;&lt;code&gt;FirstFrame      = 1&#xA;......&#xA;......    &#xA;Raw = ImageReader(&quot;GOPR%04d.JPG&quot;, FirstFrame, LastFrame, FrameRate)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Probably the file &lt;code&gt;GOPR0001.JPG&lt;/code&gt; doesn't exist in your current directory.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From AviSynth manual:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The first file in the sequence, i.e., corresponding to 'start', MUST exist in order for clip parameters to be computed. Any missing files in the sequence are replaced with a blank frame. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;For testing it directly in your script, temporary put &lt;code&gt;Raw  __END__&lt;/code&gt; at the end of the command, i. e.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Raw = ImageReader(&quot;GOPR%04d.JPG&quot;, FirstFrame, LastFrame, FrameRate)  Raw  __END__&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and play back your script (&lt;code&gt;.avs&lt;/code&gt; file). If you get the same error, non-existence of the file &lt;code&gt;GOPR0001.JPG&lt;/code&gt; is your problem.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2019-12-29T18:21:33.603" LastActivityDate="2019-12-29T18:21:33.603" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29167" PostTypeId="1" AcceptedAnswerId="29169" CreationDate="2019-12-29T20:52:24.953" Score="0" ViewCount="804" Body="&lt;p&gt;There was recently a short film released by a music collective 'Jackboys' with a very lo-fi, noir look to it, and when transitioning verses, the video cuts to shots with intentional, extreme camera shake with lag, and for the short film I'm working on, this effect is perfect. A large part of this effect is going to be in the filming of the video, but I'm not sure what the best way to approach this is.  Should I just shake the camera a lot when filming, or should I lower the shutter speed first?  The laggy part looks like it's either a result of the camera used or was made artificially using After Effects or Premiere.  How would I go about getting the lag effect in one of those Adobe programs?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Examples: &#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Zgg7BgaFG1s?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/RIuk23XHYj0?t=15?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/RIuk23XHYj0?t=47?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="26687" LastActivityDate="2019-12-30T00:28:02.533" Title="How can I achieve this lo-fi laggy extreme camera shake effect in After Effects or Premiere?" Tags="|video|premiere|after-effects|effects|filming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29168" PostTypeId="2" ParentId="23975" CreationDate="2019-12-29T22:54:35.810" Score="1" Body="&lt;p&gt;Why this is happening: because an interpolation method the Premiere uses for scaling &lt;strong&gt;kills high frequency details&lt;/strong&gt; (ie., sharp edges, as text or some thin elements of the GUI are).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A scaling interpolation method (in our case, Lanczos method, as an Adobe employee mentions &lt;a href=&quot;https://adobe-video.uservoice.com/forums/911233-premiere-pro/suggestions/37024072-nearest-neighbor-scaling-sampling-simple-and-v&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;) is an algorithm used to map an array of pixels of one size into an array of a different size. You have a 200x200 image and want it to be 400x400. What do you do? Quadruple each pixel of an original image so it will take 4 pixels in an upscaled image? Or blend the neighboring ones somehow?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a couple of algorithms developed, like Nearest Neighbor, Bilinear, Bicubic and Lanczos. They differ in computational complexity and in the quality of the results they produce. And the quality (here we finally come to your question) also depends of the nature of the source material. Adobe chose Lanczos because it does a decent job at scaling natural images taken by camera. If this was an image of a person, you would expect that a scaled down version will not have the individual hairs and the little marks on the skin to be seen in the same detail as they are seen on an original larger image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yet, you are scaling down a different kind of footage – the screen capture of a software GUI. The one you'd want to see all the sharp details even on a scaled down image. As you see, the Lanczos method does a bad job here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And we come your second question: what algorithm would do a better job, or &lt;strong&gt;how to fix this&lt;/strong&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Short answer: in Premiere, you can't.&#xA;Long answer: a scaling algorithm we need is a Nearest Neighbor algorithm. This one preserves the sharp edges of the GUI just as we like it. Adobe After Effects has it (called &quot;Draft&quot; scaling quality). Premiere doesn't (natively). You can try your luck searching for &quot;Nearest Neighbor scaling plugin&quot; for Premiere.&lt;/p&gt;&#xA;" OwnerUserId="27198" LastActivityDate="2019-12-29T22:54:35.810" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29169" PostTypeId="2" ParentId="29167" CreationDate="2019-12-30T00:02:15.947" Score="1" Body="&lt;p&gt;OMG strobe! That's what the &quot;laggy&quot; effect is; it was very popular with &quot;experimental&quot; film school students back in the nineties. It went the way of lens flares and the posterisation effect; some would say it is better left in its tomb, but that's a matter of personal taste.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BJqmZ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BJqmZ.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you slow down the video you'll see what's going on, the apparent frame rate is slowed down to four or five frames a second, destroying the illusion of smooth motion. In the nineties, to achieve the long exposures that give the light trails and motion-blur you had to shoot on a film camera that could do variable frame rates; these days a lot of digital cameras can do it. You can lower the frame rate in post, but you won't get the trails and motion blur. &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/time-effects.html#posterize_time_effect&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here's how to do it in After Effects&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need to find a camera that can shoot at a frame rate to around 4-10fps, and that lets you adjust the shutter speed to give you as long an exposure as possible. Then, as you said, go nuts shaking the camera around. Your audience will thank you /s.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2019-12-30T00:28:02.533" LastActivityDate="2019-12-30T00:28:02.533" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29170" PostTypeId="2" ParentId="29154" CreationDate="2019-12-30T00:12:37.473" Score="0" Body="&lt;p&gt;Your visual system has auto white-balance on by default. If you go outdoors after being indoors the light doesn't look blue, your brain almost instantly compensates for the colour temperature shift so that whites still look white.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a good thing for everyday life, but not so much in a colour grading suite. If your surroundings are some whacky shade of white because of the lights your brain will auto-calibrate so that the whacky shade looks white, meaning that your colour perception will be skewed.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-12-30T00:12:37.473" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29171" PostTypeId="2" ParentId="29154" CreationDate="2019-12-30T04:03:38.007" Score="2" Body="&lt;p&gt;The truth is that you do not need them... unless you do of course.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You only need good CRI for the ambient lamps if you need to compare colors with real-life things, probably the skin tone of someone, or want to prepare the color for a tomato that looks healthy but not oversaturated. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another reason is that you can not work totally isolated from ambient light, your eyes will stress a lot. So the ambient light will hit your hands, your keyboard, and things on your desk. Having a low-quality light illuminating this could alter your perception of colors and force you to make wrong adjustments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need lights with good CRI get some on an online store.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-12-30T04:03:38.007" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29172" PostTypeId="2" ParentId="29138" CreationDate="2019-12-30T08:44:16.317" Score="1" Body="&lt;p&gt;There's &lt;a href=&quot;https://www.adobe.com/au/products/character-animator.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe Character Animator&lt;/a&gt;. It does pretty much exactly what you're looking for. It's a commercial product, part of the Adobe Creative Cloud suite. I'm not aware of any other real-time 2D animation packages at this time.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2019-12-30T08:44:16.317" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29173" PostTypeId="2" ParentId="29147" CreationDate="2019-12-30T16:25:18.160" Score="0" Body="&lt;p&gt;There is no good way to use an Android phone as an attached camera in the way you want. Your best bet is to get a GoPro or other dedicated camera which has a USB or hdmi output, or to use a microUSB adapter to connect your mic to the phone.&lt;/p&gt;&#xA;" OwnerUserId="27196" LastActivityDate="2019-12-30T16:25:18.160" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29174" PostTypeId="2" ParentId="29106" CreationDate="2019-12-30T16:33:04.673" Score="1" Body="&lt;p&gt;Pretty much any modern NLE will allow you to do this, with varying levels of difficulty. For example, in Davinci Resolve you could do most of this in the free version, except for removing the fisheye effect which is I believe only available in the Studio version. &lt;/p&gt;&#xA;" OwnerUserId="27196" LastActivityDate="2019-12-30T16:33:04.673" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29175" PostTypeId="1" CreationDate="2019-12-30T17:22:28.197" Score="1" ViewCount="122" Body="&lt;p&gt;I have a Canon 5D Mark III with an Andycine external monitor connected. Since i'm alone shooting myself, when I record, I'd like to see the recording indicator on the external monitor BUT WITHOUT loosing the ability to use the built in back monitor in the camera - in case I need to change any settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I set up mirroring to both builtin monitor &amp;amp; external in a way to see important info like the recording light or an important pop up like &quot;SD CARD is full&quot;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does this make sense?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right now I can have it mirroring but with no info on the external like the red dot recording indicator. I can configure it to display it on the external but then lose the signal to the builtin monitor. How can I set it up to have the built in monitor keep working?&lt;/p&gt;&#xA;" OwnerUserId="27217" LastActivityDate="2019-12-30T17:22:28.197" Title="Canon 5D Mark III mirroring" Tags="|canon|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29176" PostTypeId="2" ParentId="28949" CreationDate="2019-12-30T19:55:23.947" Score="0" Body="&lt;p&gt;It could be that you are looking for a filter chain more than a particular codec. See for example: &lt;a href=&quot;https://www.engon.de/audio/vhs4_en.htm#cartoon_vhs&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.engon.de/audio/vhs4_en.htm#cartoon_vhs&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27196" LastActivityDate="2019-12-30T19:55:23.947" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29178" PostTypeId="2" ParentId="29157" CreationDate="2019-12-30T20:27:40.347" Score="1" Body="&lt;p&gt;You need to define what is acceptable to you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Record a well illuminated scene and increase the ISO while decreasing the aperture and compare what noise level on your specific camera is acceptable for you, and you will know what are the limitations of your equipment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the case of the example video, the noise is &quot;the same&quot; because both moments, the dark zone and the white are filmed in the same settings, therefore we can assume that is the overall noise on your camera on that ISO setting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are some programs than can denoise video &lt;a href=&quot;https://duckduckgo.com/?q=video+denoiser&amp;amp;t=h_&amp;amp;ia=web&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://duckduckgo.com/?q=video+denoiser&amp;amp;t=h_&amp;amp;ia=web&lt;/a&gt; one that has a good reputation is Neat Video.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-12-30T20:27:40.347" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29179" PostTypeId="2" ParentId="29147" CreationDate="2019-12-30T20:41:00.203" Score="0" Body="&lt;p&gt;You can buy a cheap USB to micro USB for USD$10, see if your project worth more than that. You can buy it online, so, there is not much of an excuse for not getting it. But I do not know if your mic needs power from the USB connection. You probably need to make a test.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But on the other hand, sync of an audio source and a video can be done almost automatically if your video clip has some audio references on it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Grab your free copy of Davinci Resolve, which is, in my opinion, one of the best editing software, free or paid, and look for a tutorial on &lt;a href=&quot;https://duckduckgo.com/?q=davinci%20resolve%20sync%20audio&amp;amp;t=h_&amp;amp;ia=web&quot; rel=&quot;nofollow noreferrer&quot;&gt;how to sync audio&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-12-30T20:41:00.203" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29180" PostTypeId="2" ParentId="28949" CreationDate="2019-12-30T20:47:14.723" Score="1" Body="&lt;p&gt;The artifacts are on the original footage because a DVD used some oldie MP2 codec, you need to live with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could try using a denoiser, some of them can detect compression artifacts. I am not spamming or anything, but take a look at Neat Video Denoiser.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2019-12-30T20:47:14.723" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29181" PostTypeId="2" ParentId="29116" CreationDate="2019-12-30T22:10:16.850" Score="2" Body="&lt;p&gt;According to the wiki, you are likely to get worse results with the default AAC encoder when using VBR. See: &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/AAC&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/AAC&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One suggestion would be to use &lt;code&gt;libfdk_aac&lt;/code&gt;. The other would be to demux the audio, re-encode it using a different encoder, and then remux that file back in to the video using ffmpeg. &lt;/p&gt;&#xA;" OwnerUserId="27196" LastActivityDate="2019-12-30T22:10:16.850" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29182" PostTypeId="2" ParentId="15417" CreationDate="2019-12-30T22:41:29.240" Score="3" Body="&lt;p&gt;Similar to Gyan's overlay answer, a slightly simpler version can use a basic -filter_script with the &quot;swaprect&quot; and &quot;crop&quot; filters.  Move the crop target to 0,0 and then crop the target area at 0,0.  The target has to be swapped to 0,0 as otherwise the other swapped rect can overlap.  This worked with ffmpeg version 3.4.6-0ubuntu0.18.04.1&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure the frame numbers are relative to the offset passed with &quot;-ss&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example targeting 1280x720 crops from a 4096x2160 source.  The source is 24fps and the tracking info is 8fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;crop-filter-script:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;swaprect=1280:720:0:0:1568:594:enable='between(n,0,26)',&#xA;swaprect=1280:720:0:0:1552:598:enable='between(n,27,29)',&#xA;swaprect=1280:720:0:0:1565:583:enable='between(n,30,32)',&#xA;swaprect=1280:720:0:0:1603:576:enable='between(n,33,35)',&#xA;crop=1280:720:0:0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -ss [start offset] -t [duration] -i input.mov -filter_script:v:0 crop-filter-script -acodec copy out.mov&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="27219" LastEditorUserId="14523" LastEditDate="2019-12-31T18:25:25.830" LastActivityDate="2019-12-31T18:25:25.830" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29183" PostTypeId="1" AcceptedAnswerId="29189" CreationDate="2019-12-31T00:37:41.193" Score="0" ViewCount="345" Body="&lt;p&gt;Which non-obscure video formats with semi opacity are there?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to create clips with that format to have as overlay of other videos, so the format better has to be supported by main video editing programs.&lt;/p&gt;&#xA;" OwnerUserId="21523" LastEditorUserId="21523" LastEditDate="2019-12-31T09:41:39.177" LastActivityDate="2020-01-01T13:16:53.117" Title="Video formats with alpha channel" Tags="|file-formats|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29185" PostTypeId="2" ParentId="26367" CreationDate="2019-12-31T09:54:45.810" Score="0" Body="&lt;p&gt;The overlord plugin would help greatly with this workflow:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.battleaxe.co/overlord&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.battleaxe.co/overlord&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It lets you move vectors back and forth between Illustrator and After Effects. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2019-12-31T09:54:45.810" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29186" PostTypeId="1" CreationDate="2019-12-31T13:43:48.340" Score="1" ViewCount="801" Body="&lt;p&gt;Apologies in advance if this is too noob a question. I have already searched google and couldn’t find a satisfactory answer.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I decided to give Premiere Pro a go and downloaded the Adobe Premiere Pro 2020 on my mid 2014 MacBook Pro. I had to install it on my bootcamp windows because my main Macintosh drive is near full. But after I opened it for the first time, there was a warning that said unsupported video Driver. I try to update my NVIDIa GeForce GT 750M through GeForce Experience and update to the latest driver, but it still showed the warning. I clicked the Adobe System compatibility report and it said (strangely) on the first line no conflicts to report and then on the second line Nvidia has identified a bug which caused random crashes and has provided a fix in driver version 430.86 .... I went to Nvidia driver download website but the driver mentioned in the report was not for my  specific graphic card (GeForce 750M) I tried to download the 430.86 but it was blocked from installing as incompatible. So I don’t know what to do next. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I choose to ignore the warning &#xA;at the moment. But I would appreciate if someone could help me out here. &lt;a href=&quot;https://i.stack.imgur.com/PP8Y2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PP8Y2.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/LFCFi.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LFCFi.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27222" LastActivityDate="2024-02-29T23:02:40.380" Title="Unsupported video driver on bootcamp" Tags="|premiere|adobe|nvidia|macbook|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29188" PostTypeId="1" CreationDate="2020-01-01T06:49:02.820" Score="1" ViewCount="12988" Body="&lt;p&gt;Does anybody know if this is possible? I know how to encode timecode display using ffmpeg but I would like to avoid this step and find a way in MPC (currently my favorite video player). CTRL+J doesn't display this feature. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="27231" LastActivityDate="2023-03-12T03:10:11.587" Title="Show current frame or display timecode (frames) on MPC-HC?" Tags="|framerate|playback|keyboard-shortcut|video-player|time|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29189" PostTypeId="2" ParentId="29183" CreationDate="2020-01-01T13:16:53.117" Score="1" Body="&lt;p&gt;I'm assuming that by formats you mean codecs. The following are codecs that work in either Quicktime (.mov), AVI, and MXF containers, or as image sequences saved as discrete files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Commonly used in the industry:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Apple Animation (has been around forever, 8 bit support only)&lt;/li&gt;&#xA;&lt;li&gt;Apple ProRes 4444 (probably the most widely used? I have no data, just guessing)&lt;/li&gt;&#xA;&lt;li&gt;Avid DNxHD &amp;amp; DNxHR (this could be just as widely used)&lt;/li&gt;&#xA;&lt;li&gt;GoPro Cineform&lt;/li&gt;&#xA;&lt;li&gt;PNG Sequence With Alpha (my favourite, allows for faster &lt;a href=&quot;https://blob.pureandapplied.com.au/finally-managed-to-peg-my-cpu/&quot; rel=&quot;nofollow noreferrer&quot;&gt;multi-instance renders&lt;/a&gt;), also TIFF sequences (ditto, but bigger files)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;More obscure:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Avid Meridien &lt;/li&gt;&#xA;&lt;li&gt;other image sequences: Cineon DPX, Maya IFF, OpenEXR, Targa&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-01-01T13:16:53.117" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29190" PostTypeId="2" ParentId="20582" CreationDate="2020-01-01T14:00:33.563" Score="0" Body="&lt;p&gt;TLDR: LOTS and that depends primarily on your camera, lens and size of your green screen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A good green screen is slightly darker than middle gray. Below is a photo of mine: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2jgh3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2jgh3.jpg&quot; alt=&quot;color checker on top of a green screen fabric&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To pull a good key you need to have &lt;em&gt;low noise&lt;/em&gt; and &lt;em&gt;good separation of the subject&lt;/em&gt; from the background (i.e. sharp edges). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So let's say you want to shoot at ISO 100 (low noise) and F5.6 (b/c sharp edges) and 1/100 shutter speed (to avoid motion blur, again sharp edges). In this case the illuminance of the green screen needs to be in thousands of lux. Let's say it's 6000 lux. Now how big is your green screen? Mine is 2m by 2m (for a static medium shot), which means 4 square meters. That means that I need 4m * 6000lx = 24000 lumens to illuminate it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now there is no light that will lit your green screen and nothing else, so you need some reserve. So let's say you need a total of 40k lumens (lots will be lost in diffusion or light outside of the green screen). That is about eight 1.5m 60W fluorescent tubes, which means 500W of power.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now if you shoot with a camera that has low enough noise at 400 ISO and don't plan on moving much (so 1/50th shutter) you need 8x less light. If you get acceptable depth of field with f2.8, you'll need 4x less light again, etc. etc.&lt;/p&gt;&#xA;" OwnerUserId="295" LastActivityDate="2020-01-01T14:00:33.563" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29191" PostTypeId="2" ParentId="25016" CreationDate="2020-01-01T20:29:41.667" Score="0" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;source.mov&amp;quot; -map_metadata 0 -pix_fmt yuv422p10le -c:v prores_ks -profile:v 4 -c:a pcm_s24le -movflags write_colr &amp;quot;out.mov&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;this will create ProRES (10bit) MOV file (&lt;code&gt;-map_metadata&lt;/code&gt; allows to keep recording dates). Audio will be PCM 24bit. Timecode will be also copied by default.&lt;/p&gt;&#xA;&lt;p&gt;If you want to flag ProRES as full range you add: &lt;code&gt;-color_range pc&lt;/code&gt;. By default it's always flagged as limited range (even if FFmpeg properly reads the color range).&lt;/p&gt;&#xA;" OwnerUserId="27235" LastEditorUserId="18155" LastEditDate="2023-08-01T21:38:46.330" LastActivityDate="2023-08-01T21:38:46.330" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29192" PostTypeId="1" CreationDate="2020-01-02T03:55:07.900" Score="0" ViewCount="2211" Body="&lt;p&gt;I had some old super 8mm film digitized, and the result looks almost right.  I did a little poking around and I'm wondering if they squished the film into a standard (but wrong) aspect ratio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The resulting video files claim to be 720x480 which would be a ratio of 1.5, but according to &lt;a href=&quot;https://en.wikipedia.org/wiki/Super_8_film&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia&lt;/a&gt;, the image portion of a super 8mm frame is 5.79 x 4.01 mm which is a ratio of 1.44.  If they did force it into a ratio of 1.5, that would be off by about 5% which would be noticeable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video files are of course too large to upload, but I used &quot;Photos&quot; (comes free with Windows) to snip out a 4-second chunk.  I've got other video editing software, but thought Photos had the best chance of not doing anything to the video except extracting the desired scene.  It's shared on my Google Drive &lt;a href=&quot;https://drive.google.com/open?id=1oUaBHFU2aJbvJJ0kLtEL_o7Er0cT0RFX&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just for fun, I laid the super 8mm film across my negative scanner and got an image, since the scan was at 2400 dpi I did the math and the images are about 5.58 x 4.27 mm which is approximately what you expect for super 8mm.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I overthinking this?  Or should I take the time to drop each video file in my editor and squish it into the right shape?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tzKLP.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tzKLP.jpg&quot; alt=&quot;scan of raw film&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After posting I had a thought - what if they digitized it at the right aspect ratio by trimming?  So I found the image in the video that matched the frame I had scanned on the original film:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AxReo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AxReo.png&quot; alt=&quot;screenshot from video&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At first it looked like I had the answer, as they had clearly trimmed my mother's hair in the digitized video.  However, by zooming in on the encyclopedias on the shelf:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Kuzwz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Kuzwz.jpg&quot; alt=&quot;encyclopedias on scanned film&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/q0KcW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/q0KcW.png&quot; alt=&quot;encyclopedias on video&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the scanned film, they are 99x69 = ratio of 1.434; in the digitized video they are 156x94 = ratio of 1.660.  So yes, the aspect ratio was in fact altered during the digitization process, and by about the amount expected from my original calculations.&lt;/p&gt;&#xA;" OwnerUserId="10919" LastEditorUserId="10919" LastEditDate="2020-01-02T15:19:58.083" LastActivityDate="2024-02-11T06:06:35.777" Title="Digitized super 8 mm film - got wrong aspect ratio?" Tags="|digitisation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29194" PostTypeId="1" CreationDate="2020-01-02T09:04:09.100" Score="1" ViewCount="446" Body="&lt;p&gt;I exported a 4k resolution video from iMovie on my MacBook Pro. I imported it into Keynote in order to crop it. I noticed that upon exporting from Keynote, the resolution of the video was markedly reduced. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In Keynote, I had exported the cropped video using &lt;em&gt;File → Export To → Movie.&lt;/em&gt; Upon export, the resolution field only gave me &lt;em&gt;720p, 1080p,&lt;/em&gt; and &lt;em&gt;Custom.&lt;/em&gt; I clicked on &lt;em&gt;Custom.&lt;/em&gt; This gave me three compression types: &lt;em&gt;H.264, Apple ProRes 422,&lt;/em&gt; and &lt;em&gt;Apple ProRes 4444.&lt;/em&gt; I tried saving the cropped video using each of these three options. However, in each case, the video appeared to be reduced in quality (presumably resolution).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My question is: How can I crop a 4K video in Keynote and export it without reducing quality/resolution?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="clapin" LastEditorUserId="17390" LastEditDate="2020-02-01T04:06:23.960" LastActivityDate="2023-12-21T20:06:30.840" Title="iMovie 4K resolution to Keynote – apparent loss of resolution" Tags="|video-quality|mac|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29195" PostTypeId="1" CreationDate="2020-01-02T13:49:11.883" Score="3" ViewCount="85" Body="&lt;p&gt;I have a video I made in Premiere Pro that is like slides with 150MB audio. How can I export it to a reasonable size?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to export it, it exports to a size of 7GB&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could perhaps do something with some other software to make it smaller, but i'm wondering if premiere pro has any option?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not then what do you suggest I can do to other software to make it smaller?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video portion is just slides showing text, and the slides some change after 5 seconds near the start, then every 5 minutes or so.&lt;/p&gt;&#xA;" OwnerUserId="5555" LastActivityDate="2021-06-26T08:07:20.807" Title="I have a video I made in Premiere Pro that is like slides with 150MB audio. How can I export it to a reasonable size?" Tags="|premiere|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29196" PostTypeId="2" ParentId="29192" CreationDate="2020-01-02T15:22:19.763" Score="0" Body="&lt;p&gt;Yes, digitization screws up the aspect ratio.  See the reasons for my conclusion after &quot;EDIT&quot; in the question.&lt;/p&gt;&#xA;" OwnerUserId="10919" LastActivityDate="2020-01-02T15:22:19.763" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29197" PostTypeId="2" ParentId="29195" CreationDate="2020-01-02T18:21:59.103" Score="-1" Body="&lt;p&gt;Without knowing either the resolution or the duration of the video is hard to know if that is a good file size or not. But in any case, you need to define a CODEC and a container for your video. And define the resolution of the project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A typical one is FULL HD (1920x1080px) and the most used container is Mp4 with an h264 and ACC codecs for video and audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could totally lower your framerate to even 1 pers second if you have direct cuts in between slides, but if the video has transitions between the slides you can not. Use 24Fps.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Of course, you already did your work, next time you can actually do it in a presentation program, and export it from there.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-01-02T18:21:59.103" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29198" PostTypeId="1" CreationDate="2020-01-02T23:14:37.987" Score="1" ViewCount="132" Body="&lt;p&gt;I use FFmpeg to convert videos from the command line. For some reason I have come across a series of videos where the video stream is not converted. The first frame is the same as every other.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Unique ID                                : 77419370860001982791600764331116915700 (0x3A3E6DAFA6F6760AE0BFC15F96AEEBF4)&#xA;Format                                   : Matroska&#xA;Format version                           : Version 4&#xA;File size                                : 183 MiB&#xA;Duration                                 : 18 min 30 s&#xA;Overall bit rate                         : 1 382 kb/s&#xA;Writing application                      : Lavf58.31.104&#xA;Writing library                          : Lavf58.31.104&#xA;ErrorDetectionType                       : Per level 1&#xA;&#xA;Video &#xA;ID : 1 &#xA;Format : AVC &#xA;Format/Info : Advanced Video Codec &#xA;Format profile : Main@L3.1 &#xA;Format settings : CABAC / 3 Ref Frames &#xA;Format settings, CABAC : Yes &#xA;Format settings, Reference frames : 3 frames &#xA;Codec ID : V_MPEG4/ISO/AVC &#xA;Duration : 18 min 30 s &#xA;Width : 1 280 pixels &#xA;Height : 720 pixels &#xA;Display aspect ratio : 16:9 &#xA;Frame rate mode : Constant &#xA;Frame rate : 10.000 FPS &#xA;Color space : YUV &#xA;Chroma subsampling : 4:2:0 &#xA;Bit depth : 8 bits &#xA;Scan type : Progressive &#xA;Default : Yes &#xA;Forced : No &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The audio is fine. The transcoding goes quite fast. It clearly is not parsing the video.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -threads 2 -i %1 -f mp4 -movflags +faststart -c:v libx265 %2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I've never had any problems with it before as far as I know. These videos are from YouTube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas what it could be? I've tried removing much of the settings but same issues.&lt;/p&gt;&#xA;" OwnerUserId="27245" LastEditorUserId="18155" LastEditDate="2020-01-08T00:49:29.040" LastActivityDate="2020-01-08T00:49:29.040" Title="Trying to convert video with FFmpeg but does not convert frames" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29199" PostTypeId="2" ParentId="29195" CreationDate="2020-01-02T23:57:20.373" Score="0" Body="&lt;p&gt;You probably chose&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; File → Export → Movie&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It exported your video as an AVI file, creating the best quality video, &lt;em&gt;but the output file is very large.&lt;/em&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;(This a little confusing option is for mastering purposes, or if you want to be able to edit the resulting video again without the quality lost.)&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;File → Export → Adobe Media Encoder&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;instead. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The “Export Settings” window opens, and you may choose a format from the drop-down menu at the top right of the window. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can export it as Flash, Windows Media, Real Media, QuickTime, and a variety of MPEG formats including Blu-ray and H.264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These options give more compressed, much smaller file size.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2020-01-03T00:03:56.367" LastActivityDate="2020-01-03T00:03:56.367" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29200" PostTypeId="1" CreationDate="2020-01-03T08:14:33.663" Score="1" ViewCount="54" Body="&lt;p&gt;I'm interested in serious videography with smartphone(portability is the key).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On bright days they perform quite well, one thing which bothers me is dynamic range. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use Filmic Pro which gives me 115mbit 4k video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you have any suggestions how to expand dynamic range? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;HDR video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Recording to log ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="17386" LastActivityDate="2024-01-12T17:01:45.190" Title="High dynamic range on smartphones" Tags="|filming|iphone|hdr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29201" PostTypeId="2" ParentId="29200" CreationDate="2020-01-03T08:25:16.370" Score="0" Body="&lt;p&gt;Recording in log gives you a higher range to play with in post, so if your phone supports it, you should do it. If the phone is locked down for specific shots, you can try to film one pass of the shot with low brightness, crushing some dark areas, a normal pass, and a bright pass, overexposing the highlights a bit. If you now stitch those passes together, you should be able to see an improvement in Dynamic Range.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-01-03T08:25:16.370" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29206" PostTypeId="2" ParentId="27772" CreationDate="2020-01-04T00:57:05.387" Score="0" Body="&lt;p&gt;The main reason lays in selecting an appropriate stream (audio or video) for filterchains &lt;em&gt;with no input labels,&lt;/em&gt; for example&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex &quot;[0:v]hue=s=0,split=2[outv1][outv2];fade;afade&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The first filterchain &lt;code&gt;[0:v]hue=s=0,split=2[outv1][outv2]&lt;/code&gt; has specified input label (&lt;code&gt;[1:v]&lt;/code&gt;) but two others not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;for the &lt;code&gt;fade&lt;/code&gt; filter will be selected the first unused &lt;strong&gt;video&lt;/strong&gt; stream, while &lt;/li&gt;&#xA;&lt;li&gt;for the &lt;code&gt;afade&lt;/code&gt; filter will be selected the first unused &lt;strong&gt;audio&lt;/strong&gt; stream.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;(In the case of only 1 video stream and only 1 audio stream in both input files in &lt;code&gt;ffmpeg -i input1 -i input2 ...&lt;/code&gt;), the first unused &lt;strong&gt;video&lt;/strong&gt; stream will be the video stream from the &lt;em&gt;second&lt;/em&gt; input file, and the first unused &lt;strong&gt;audio&lt;/strong&gt; stream will be the audio stream from the &lt;em&gt;first&lt;/em&gt; input file.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If there would be the &lt;em&gt;same&lt;/em&gt; names for both video and audio filters, then filterchains with no input labels &lt;em&gt;could't be allowed.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2020-01-04T00:57:05.387" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29208" PostTypeId="2" ParentId="21478" CreationDate="2020-01-04T03:31:55.373" Score="1" Body="&lt;p&gt;It's a bug in ffmpeg. When you explicitly specify a type of the HW acceleration (i.e. cuvid), ffmpeg assigns 0 to &lt;code&gt;CUVIDDECODECREATEINFO::ulNumDecodeSurfaces&lt;/code&gt; and to &lt;code&gt;CUVIDDECODECREATEINFO::ulNumOutputSurfaces&lt;/code&gt;. Consequently, a call to cuvidCreateDecoder fails, since NVDEC doesn't have surfaces to output decoded pictures.&lt;/p&gt;&#xA;" OwnerUserId="27265" LastActivityDate="2020-01-04T03:31:55.373" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29211" PostTypeId="1" AcceptedAnswerId="29212" CreationDate="2020-01-04T20:24:17.423" Score="1" ViewCount="1236" Body="&lt;p&gt;I am transcoding one input into three different quality output, currently I am producing them by three separate commands, and I am looking to combine them in single one command using map function or something else.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;here are the commands I run to produce dash content:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i inputStream -row-mt 1 -s 1280x720 -b:v 1024k -minrate 512k -maxrate 1485k -tile-columns 2 -g 240 -threads 8 -quality good -crf 32 -c:v libvpx-vp9 -c:a libvorbis hd;&#xA;&#xA;ffmpeg -y -i inputStream -row-mt 1 -s 640x480 -b:v 750k -minrate 375k -maxrate 1088k -tile-columns 1 -g 240 -threads 4 -quality good -crf 33 -c:v libvpx-vp9 -c:a libvorbis fsd&#xA;&#xA;ffmpeg -y -i inputStream -row-mt 1 -s 640x480 -b:v 512k -minrate 256k -maxrate 742k -tile-columns 1 -g 240 -threads 4 -quality good -crf 34 -c:v libvpx-vp9 -c:a libvorbis sd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27272" LastActivityDate="2020-01-04T22:50:05.693" Title="How to join these three FFmpeg instances into one command" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29212" PostTypeId="2" ParentId="29211" CreationDate="2020-01-04T20:56:00.337" Score="1" Body="&lt;p&gt;According to &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Creating%20multiple%20outputs&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; it supports multiple outputs created out of the same input(s) in the same process. The usual way to accomplish this is: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1 -i input2 \&#xA;    -acodec … -vcodec … output1 \&#xA;    -acodec … -vcodec … output2 \&#xA;    -acodec … -vcodec … output3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This way ffmpeg can create several different outputs out of the same input(s). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, to encode your video in HD, VGA and QVGA resolution, at the same time, you would use something like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input \&#xA;    -s 1280x720 -acodec … -vcodec … output1 \&#xA;    -s 640x480  -acodec … -vcodec … output2 \&#xA;    -s 320x240  -acodec … -vcodec … output3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27272" LastActivityDate="2020-01-04T20:56:00.337" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29213" PostTypeId="2" ParentId="29211" CreationDate="2020-01-04T22:39:44.703" Score="2" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -y -i inputStream \&#xA; -row-mt 1 -s 1280x720 -b:v 1024k -minrate 512k -maxrate 1485k  &#xA; -tile-columns 2 -g 240 -threads 8 -quality good -crf 32 -c:v libvpx-vp9 -c:a libvorbis hd \&#xA; -row-mt 1 -s 640x480 -b:v 750k -minrate 375k -maxrate 1088k \&#xA; -tile-columns 1 -g 240 -threads 4 -quality good -crf 33 -c:v libvpx-vp9 -c:a libvorbis fsd \&#xA; -row-mt 1 -s 640x480 -b:v 512k -minrate 256k -maxrate 742k \&#xA; -tile-columns 1 -g 240 -threads 4 -quality good -crf 34 -c:v libvpx-vp9 -c:a libvorbis sd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After specifying your input(s), all audio/video/subtitle options are designated for the next output, so you may write different options for different outputs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Description&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg documentation, Chapter 2 Description&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Do not mix input and output files – first specify all input files, then all output files. Also do not mix options which belong to different files. All options apply ONLY to the next input or output file and are reset between files. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2020-01-04T22:50:05.693" LastActivityDate="2020-01-04T22:50:05.693" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29214" PostTypeId="2" ParentId="14543" CreationDate="2020-01-05T01:00:59.150" Score="3" Body="&lt;p&gt;What is on a laser disc is a 8.1/7.1 MHz FM carrier modulated by the NTSC/PAL video signal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since laser can only detects pits-and-lands (as you stated), that signal is encoded using &lt;a href=&quot;https://en.wikipedia.org/wiki/Pulse-width_modulation&quot; rel=&quot;nofollow noreferrer&quot;&gt;PWM&lt;/a&gt; (it encode it by effectively chopping it up into discrete parts).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found this schema from wikipedia to be very helpful : &lt;a href=&quot;https://fr.wikipedia.org/wiki/Laserdisc#/media/Fichier:LaserdiscModulation.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://fr.wikipedia.org/wiki/Laserdisc#/media/Fichier:LaserdiscModulation.png&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The analog part came from the fact it use variable lengths for pits and lands  to encode the signal, while on a digital format like CD-ROM, discrete lengths are used to indicate how many 0's there is between pit-to-land or land-to-pit transitions (which indicates a 1).&lt;/p&gt;&#xA;" OwnerUserId="11580" LastEditorUserId="11580" LastEditDate="2020-01-06T14:12:29.053" LastActivityDate="2020-01-06T14:12:29.053" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29215" PostTypeId="2" ParentId="24237" CreationDate="2020-01-05T17:10:13.247" Score="1" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -i input.png -map 0 -map 1 -c copy -disposition:v:1 attached_pic output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-map 0&lt;/code&gt; and &lt;code&gt;-map 1&lt;/code&gt; will map all streams from both input files (numbered as &lt;code&gt;0&lt;/code&gt; and &lt;code&gt;1&lt;/code&gt;) into the output file, &lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-c copy&lt;/code&gt; will directly copy all streams into the output file (i.e. without transcoding),&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-disposition:v:1 attached_pic&lt;/code&gt; will tag your picture (the &lt;strong&gt;v&lt;/strong&gt;ideostream #&lt;strong&gt;1&lt;/strong&gt;) as as the embedded cover / thumbnail.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2020-01-05T17:10:13.247" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29216" PostTypeId="1" CreationDate="2020-01-05T17:57:40.687" Score="1" ViewCount="114" Body="&lt;p&gt;The reason I ask is because I’m choosing between these two screen capture software packages: Camtasia ($250) and FilmoraScrn ($19.99). I will capture my screen to a great extent in the months ahead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Camtasia has more advanced editing functionality than FilmoraScrn, however it may not make sense to use either of them for editing in the long run. I want to avoid potentially over-spending by buying Camtasia if I find its editing functionality unsatisfactory compared to Adobe Premiere Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So if I use Adobe Premiere Pro for video editing, does it truly matter what screen capture software I use?&lt;/p&gt;&#xA;" OwnerUserId="27278" LastActivityDate="2020-02-13T08:01:10.073" Title="If I use Adobe Premiere Pro for video editing, does it matter what screen capture software I use?" Tags="|premiere|video-editor|screen-casting|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29218" PostTypeId="2" ParentId="18203" CreationDate="2020-01-06T11:37:48.477" Score="6" Body="&lt;p&gt;In my experience (using handbrake) increasing the bit depth increases the file size but not by much. However, lowering the CRF is what causes significantly larger files. I encoded several times the same source with different settings to see what I'd get, so for a random source of 1.45Gb (H.264/AVC) it gave theses results:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;H.265 8bit CRF 22 (slow) &gt; 362.6 Mb&lt;/li&gt;&#xA;&lt;li&gt;H.265 10bit CRF 22 (slow) &gt; 385,2 Mb&lt;/li&gt;&#xA;&lt;li&gt;H.265 12bit CRF 22 (slow) &gt; 390,7 Mb&lt;/li&gt;&#xA;&lt;li&gt;H.265 8bit CRF 20 (slow) &gt; 470.2 Mb&lt;/li&gt;&#xA;&lt;li&gt;H.265 10bit CRF 20 (slow) &gt; 509,9 Mb&lt;/li&gt;&#xA;&lt;li&gt;H.265 12bit CRF 20 (slow) &gt; 518,9 Mb&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Hope that helps.&lt;/p&gt;&#xA;" OwnerUserId="27287" LastEditorUserId="14523" LastEditDate="2020-01-07T01:47:47.833" LastActivityDate="2020-01-07T01:47:47.833" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29219" PostTypeId="2" ParentId="29216" CreationDate="2020-01-06T11:58:55.423" Score="1" Body="&lt;p&gt;If you are going to use Premiere for editing, there is no point in looking at the editing advantages, they won't be higher than Premiere's capabilities for sure. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.trustradius.com/compare-products/camtasia-vs-filmora&quot; rel=&quot;nofollow noreferrer&quot;&gt;Some polls&lt;/a&gt; have Filmora lower in rating, but the only issues were with editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was making screen capture for programming videos, and on Mac, I wasn't using anything but quick time player, since 100% of editing goes to Premiere, where you can do literary everything.&lt;/p&gt;&#xA;" OwnerUserId="27194" LastActivityDate="2020-01-06T11:58:55.423" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29220" PostTypeId="2" ParentId="29216" CreationDate="2020-01-06T14:06:48.587" Score="1" Body="&lt;p&gt;I use Open Broadcast Software, it's free! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://obsproject.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To answer your question directly, the videos exported from both of those applications are compatible with Premiere Pro. &lt;/p&gt;&#xA;" OwnerDisplayName="user25890" LastActivityDate="2020-01-06T14:06:48.587" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29221" PostTypeId="1" CreationDate="2020-01-06T18:12:19.990" Score="0" ViewCount="779" Body="&lt;p&gt;I have a lot of videos needed to convert from ts to mp4, how can I convert it without losing quality? I mean a lot like 30+ each week.&#xA;I did a search already but none can do it fast enough, doing it manually will takes me half an hour.&#xA;Is there any software do it for free?&#xA;Please teach me step by step I am not computer geek.&lt;/p&gt;&#xA;" OwnerUserId="27291" LastActivityDate="2023-12-15T23:06:55.827" Title="How to convert ts to mp4" Tags="|video|software-recommendation|streaming|mp4|file-formats|" AnswerCount="2" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="29222" PostTypeId="1" CreationDate="2020-01-06T19:17:59.353" Score="1" ViewCount="1894" Body="&lt;p&gt;I am trying to execute this commands in FFmpeg and it is working. Now I want to add logo to this live stream. How to do that?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;find &quot;/video path&quot; -name &quot;*.mp4&quot; | xargs -I $ &quot;/ffmpeg path&quot; -y -re -i $ -vcodec copy -acodec copy -dts_delta_threshold 1000 -ar 44100 -ab 32k -f flv  rtmp://xxx.xxx.xx/live/&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27292" LastEditorUserId="18155" LastEditDate="2020-01-08T00:38:25.970" LastActivityDate="2024-01-17T09:04:10.517" Title="FFmpeg add logo watermark to live stream" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29223" PostTypeId="2" ParentId="29222" CreationDate="2020-01-06T19:50:26.580" Score="1" Body="&lt;p&gt;Use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#overlay&quot; rel=&quot;nofollow noreferrer&quot;&gt;overlay&lt;/a&gt; video filter:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;find &quot;/video path&quot; -name &quot;*.mp4&quot; | xargs -I $ &quot;/ffmpeg path&quot; -y -re -i $ -i watermark.png -filter_complex overlay -c:a copy -f flv rtmp://xxx.xxx.xx/live/&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can't filter video (&lt;code&gt;-filter_complex&lt;/code&gt; or &lt;code&gt;-vf&lt;/code&gt;) and stream copy (&lt;code&gt;-vcodec copy&lt;/code&gt;) the same stream. If you try you'll get an error:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Streamcopy requested for output stream 0:0, which is fed from a&#xA;  complex filtergraph. Filtering and streamcopy cannot be used together&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So remove &lt;code&gt;-vcodec copy&lt;/code&gt; when filtering the video.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2020-01-08T00:19:25.800" LastActivityDate="2020-01-08T00:19:25.800" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29224" PostTypeId="1" AcceptedAnswerId="29225" CreationDate="2020-01-06T20:09:08.967" Score="0" ViewCount="236" Body="&lt;p&gt;I don't know if this is the place to ask, it's a bit of a hybrid video/IT/developer question, so my apologies if it is not.  I scoured the entire internet and can't find an answer to this question!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm re-encoding a bunch of videos, and I don't want to lose too much quality, but I don't want it to take three years.  I'm avoiding traditional GPU “hardware encoding”, as that always has quality trade-offs for the purpose of being real-time for live streaming and such.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I got to thinking: “Couldn't you just offload some of the software encoding tasks to CUDA or OpenCL to speed them up?  But still not really be 'hardware encoding' per se?”, so I did some digging and ended up with a VAAPI encoder which is going 8x as fast as straight CPU encoding, which is great — my question though, is, is it doing the same traditional “hardware encoding” which is going to bring quality issues?  Or is it in fact doing what I describe above and just using the GPU as a co-processor of sorts?&lt;/p&gt;&#xA;" OwnerUserId="27294" LastEditorUserId="18155" LastEditDate="2020-01-07T22:58:10.537" LastActivityDate="2020-01-07T22:58:10.537" Title="Is VAAPI the same as hardware encoding?" Tags="|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29225" PostTypeId="2" ParentId="29224" CreationDate="2020-01-07T01:21:02.860" Score="2" Body="&lt;blockquote&gt;&#xA;  &lt;blockquote&gt;&#xA;    &lt;p&gt;Couldn't you just offload some of the software encoding tasks to CUDA or OpenCL to speed them up? &lt;/p&gt;&#xA;  &lt;/blockquote&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;No. Video encoding is very difficult to parallelize. And even in software adding threads has a quality impact. GPUs run small, simple programs. Their speed comes from being able to run thousands of copies of these small programs at the same time. All forms of compression work by reducing entropy from a stream. Meaning it needs to have knowledge of what data it has encountered in the past. If the past is running on another core, it must wait for it to finish (eliminating the benefits of multi core) or proceed without that information (hurting compression ratios)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VAAPI uses intel QuickSync. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2020-01-07T01:21:02.860" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29227" PostTypeId="2" ParentId="29052" CreationDate="2020-01-07T17:06:13.047" Score="0" Body="&lt;p&gt;I've found a workaround in Premiere, outlined below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make a copy of your .srt file, as you will need to import two separate files for this to work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example sub1.srt and sub2.srt&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Import both .srt files into Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Place them one above the other on your timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure they start at the same timecode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Set the text size and alignment as usual. Make sure you do this to all the captions by right-click on on a caption and clicking “Select all”.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now modify the lower track, so that it shows a black background with black text only:  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Double click the subtitle track to select the correct captions in the Captions Tab (they all look the same, so this is easy to mess up).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right click one of your captions and choose “Select all”.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make all the backgrounds and all the text black&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now modify the upper subtitle track so it shows the text only with no background:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Double click the subtitle track to select the correct captions in the Captions Tab (they all look the same, so this is easy to mess up).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Right click one of your captions and choose “Select all”.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make all the backgrounds have an Opacity of 0%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now select your lower track again, and reposition it in the Effects tab until the alignment looks correct.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-01-07T17:06:13.047" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29228" PostTypeId="1" CreationDate="2020-01-07T18:03:57.263" Score="0" ViewCount="370" Body="&lt;p&gt;I'm using Adobe After Effects. I have a composition with several layers. One layer consists of an image which is shown for around 20s. At time point 10s I would like to bring the image to the foreground (relative to the other layers) and at time point 15s I would like to move it again to the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I achieve this?&lt;/p&gt;&#xA;" OwnerUserId="21775" LastActivityDate="2020-01-08T08:29:20.737" Title="Moving image to back- and foreground over time" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29230" PostTypeId="2" ParentId="19879" CreationDate="2020-01-07T20:21:50.337" Score="2" Body="&lt;p&gt;&lt;a href=&quot;https://www.actionvfx.com/collections/free-vfx/category&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.actionvfx.com/collections/free-vfx/category&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.productioncrate.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.productioncrate.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;These are the best free ressources I found, especially the ones from ActionVFX&lt;/p&gt;&#xA;" OwnerUserId="27301" LastActivityDate="2020-01-07T20:21:50.337" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29233" PostTypeId="1" AcceptedAnswerId="29234" CreationDate="2020-01-07T21:26:03.000" Score="2" ViewCount="12010" Body="&lt;p&gt;I often download mp4 videos with multiple audio tracks. &#xA;Is it any way or some tools with explanation to change default audio track ?&lt;/p&gt;&#xA;" OwnerUserId="27302" LastActivityDate="2020-11-05T09:41:27.400" Title="Change default audio track in mp4 video" Tags="|audio|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29234" PostTypeId="2" ParentId="29233" CreationDate="2020-01-07T22:35:17.010" Score="3" Body="&lt;p&gt;Use &lt;a href=&quot;https://ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -map 0 -c copy -disposition:a:0 0 -disposition:a:1 default output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Audio tracks (streams) are numbered from &lt;code&gt;0&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Supposing the input video has 2 audio streams, and the default audio stream is &lt;code&gt;0&lt;/code&gt;, we need to &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;em&gt;remove&lt;/em&gt; the “default” disposition from it (by setting it to 0: &lt;code&gt;-disposition:a:0 0&lt;/code&gt;) and  &lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;set it&lt;/em&gt; to the audio stream &lt;code&gt;1&lt;/code&gt; (by setting it to “default”: &lt;code&gt;-disposition:a:1 default&lt;/code&gt;).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;In general, &lt;em&gt;remove&lt;/em&gt; the “default” disposition from all audio streams except one, and &lt;em&gt;set it&lt;/em&gt; for it.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Note:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Not all media players honor default audio stream — for example Media Player Classic don't honor it (but you may set the preference by the language of audio streams), while VLC Media Player and FFplay do.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Proof (note the location of the “(default)” tag):&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -hide_banner input.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;gives (among others)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 69 kb/s (default)&#xA;Metadata:&#xA;  handler_name    : SoundHandler&#xA;Stream #0:2(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 74 kb/s&#xA;Metadata:&#xA;  handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;while&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -hide_banner output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;gives&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 69 kb/s&#xA;Metadata:&#xA;  handler_name    : SoundHandler&#xA;Stream #0:2(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 74 kb/s (default)&#xA;Metadata:&#xA;  handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The numbering here numbers &lt;em&gt;all&lt;/em&gt; tracks, so &lt;code&gt;#0:0&lt;/code&gt; (omitted from the FFprobe outputs) is the first (video) track, and &lt;code&gt;#0:1&lt;/code&gt; and &lt;code&gt;#0:2&lt;/code&gt; are audio tracks.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2020-01-08T16:08:31.160" LastActivityDate="2020-01-08T16:08:31.160" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="29235" PostTypeId="1" CreationDate="2020-01-08T01:51:31.520" Score="2" ViewCount="590" Body="&lt;p&gt;I'm looking for a way (in Rush) to edit a project that's been started in Premiere Pro.&#xA;In all of my searching, I've not found an option to go that way, but only the other way around.&lt;/p&gt;&#xA;" OwnerUserId="2352" LastActivityDate="2020-01-08T01:51:31.520" Title="Import Sequence to Adobe Rush" Tags="|premiere|adobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29238" PostTypeId="2" ParentId="14977" CreationDate="2020-01-08T05:54:45.770" Score="0" Body="&lt;p&gt;This HDMI closed captions information is wrong -- there is explicitly no Closed Captions information in the HDMI signal.&#xA;Standard document CEA-861-E, published May 2008, which defines the HDMI data signal, explicitly states:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The physical/link standards in Annex B, Annex C and Annex D do not &#xA;  support transport of closed captioning (CEA-608-C [44] and CEA-708-C [45]);&#xA;  therefore, the source processes these elements.  &lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Specifically, if closed captioning is to be displayed, it is decoded by &#xA;  the source, inserted into the video, and displayed as open captions. &#xA;  Similarly, if system Information, program information, events, service&#xA;  descriptors, etc. are displayed, related graphical information is inserted &#xA;  into the video by the source.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Control of closed captioning settings, programs, events, etc. is &#xA;  a feature of the source, not supported by&#xA;  this interface and beyond the scope of CEA-861-E.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;“source device” = cable set top box.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently, the only source of Closed Captions is the Composite Video signal&#xA;(yellow cable/connector), but that is an outdated 720×480 resolution video signal.&#xA;To force the HDMI source and sink device manufacturers to include and display Closed Captions requires federal legislation in Washington, DC.  Call your US Congressman/Senators.&lt;/p&gt;&#xA;" OwnerUserId="27306" LastEditorUserId="18155" LastEditDate="2020-01-08T15:58:19.860" LastActivityDate="2020-01-08T15:58:19.860" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29239" PostTypeId="2" ParentId="17231" CreationDate="2020-01-08T07:42:35.910" Score="3" Body="&lt;p&gt;Use &lt;code&gt;-benchmark&lt;/code&gt;.&#xA;You will see something like &lt;code&gt;bench: utime=11.969s stime=0.315s rtime=1.908s&lt;/code&gt;, the &lt;code&gt;rtime&lt;/code&gt; is what you want.&lt;/p&gt;&#xA;" OwnerUserId="27308" LastActivityDate="2020-01-08T07:42:35.910" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29240" PostTypeId="2" ParentId="16050" CreationDate="2020-01-08T07:42:55.620" Score="0" Body="&lt;p&gt;With the new release, on Win10 anyway, sometimes the preview will not stop using any method other than this workaround. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Left click on the taskbar icon and select “Close window”. Then, select “Cancel” in the box that pops up. You'll return to AE with the preview paused.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Rusty&lt;/p&gt;&#xA;" OwnerUserId="27309" LastEditorUserId="18155" LastEditDate="2020-01-08T16:00:07.407" LastActivityDate="2020-01-08T16:00:07.407" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29241" PostTypeId="2" ParentId="29228" CreationDate="2020-01-08T08:29:20.737" Score="1" Body="&lt;p&gt;After Effects by default works in 2D, but you can change a layer so that it can be moved in 3D space.  The layer itself is still flat, but (like a postcard moving through space) it can be positioned using x,y and z coordinates where z is depth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This tutorial explains it well:&#xA;&lt;a href=&quot;https://helpx.adobe.com/after-effects/how-to/position-2d-layers-in-3d-space.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/after-effects/how-to/position-2d-layers-in-3d-space.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also do full 3D work in After Effects, but I think this should cover your question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively if you want to only work in 2D, sometimes I duplicate a layer, and have one layer at the bottom of my stack, and the duplicate layer at the top, so that when I need to change its apparent &quot;depth&quot;, I make one layer invisible and make the other layer visible (by keyframing the Opacity property).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-01-08T08:29:20.737" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29243" PostTypeId="1" CreationDate="2020-01-08T14:28:22.453" Score="3" ViewCount="667" Body="&lt;p&gt;I have a lot of clips made with ffmpeg using this command: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg.exe -ss XX:XX -t XX:XX -i original.mp4 -c copy clip.mp4&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;That &lt;code&gt;copy&lt;/code&gt; option gives a couple seconds of silence in a result clip, but when a sound starts it is perfectly synced and all players I tried can handle it correctly. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But after importing in Adobe Premiere I got audio and video desynchronized, because it removes that silent at the beginning.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I believe that mp4 has some builtin delay and Adobe Premiere ignore it during import, is there a way to fix it?&lt;/p&gt;&#xA;" OwnerUserId="27313" LastEditorUserId="18155" LastEditDate="2020-01-08T15:54:23.777" LastActivityDate="2020-01-08T15:54:23.777" Title="Audio out of sync when import file cut by ffmpeg with -c copy" Tags="|ffmpeg|premiere|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29245" PostTypeId="2" ParentId="29233" CreationDate="2020-01-08T16:36:45.613" Score="2" Body="&lt;p&gt;Some media players simply start playing the first audio stream (track). For them you may simply change the order of audio streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, suppose you have 1 video stream and 3 audio streams in your input file, and you want to move the 3rd audio stream to be the first of audio streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -map 0:v -map 0:a:2 -map 0:a:0 -map 0:a:1 -c copy output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;so &lt;code&gt;-map 0:a:2&lt;/code&gt; places the 3rd audio stream (stream numbers begin with &lt;code&gt;0&lt;/code&gt;, so &lt;code&gt;2&lt;/code&gt; is the 3rd one) in front of all others audio streams (&lt;code&gt;-map 0:a:0 -map 0:a:1&lt;/code&gt;).  &lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Note:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;0:v&lt;/code&gt; means &lt;em&gt;all&lt;/em&gt; &lt;strong&gt;v&lt;/strong&gt;ideo streams in the input file &lt;code&gt;0&lt;/code&gt; (input files are numbered from &lt;code&gt;0&lt;/code&gt;)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;0:a:2&lt;/code&gt; means: input file &lt;code&gt;0&lt;/code&gt;, &lt;strong&gt;a&lt;/strong&gt;udio stream number &lt;code&gt;2&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;0:a:0&lt;/code&gt; means: input file &lt;code&gt;0&lt;/code&gt;, &lt;strong&gt;a&lt;/strong&gt;udio stream number &lt;code&gt;0&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;0:a:1&lt;/code&gt; means: input file &lt;code&gt;0&lt;/code&gt;, &lt;strong&gt;a&lt;/strong&gt;udio stream number &lt;code&gt;1&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2020-01-08T16:46:06.427" LastActivityDate="2020-01-08T16:46:06.427" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29246" PostTypeId="1" AcceptedAnswerId="36453" CreationDate="2020-01-08T18:39:04.250" Score="3" ViewCount="194" Body="&lt;p&gt;I'm not super experienced with video production but I understand the technical basics of resolutions, frame rates, compression types, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an NTSC DVD containing a long (3h) home movie shot on VHS.  (A commercial outfit converted the original VHS tape to DVD many years ago.)  I'm trying to produce a digital video file for YouTube, PC viewing, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used Handbrake to convert it using the &quot;fast 480p&quot; setting that uses h.264 - the original video is pretty low quality to begin with.  But the converted video is over 5GB, larger than the 3GB size of the original DVD .iso image!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only thing i can think of is that the converted NTSC video has tracking noise along the bottom edge, which might screw up compression, but can someone help me understand how converting a 480p NTSC DVD video results in a LARGER file size?  Should I be using a different compressor or something? &lt;/p&gt;&#xA;" OwnerUserId="27314" LastActivityDate="2024-03-22T02:38:44.310" Title="Why is my 480p Handbrake conversion of NTSC home video DVD much larger file size than the DVD?" Tags="|dvd|handbrake|vhs|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29249" PostTypeId="1" AcceptedAnswerId="29294" CreationDate="2020-01-09T00:10:50.697" Score="0" ViewCount="2957" Body="&lt;p&gt;How do you adjust the 'margins' in the Premiere Pro program window?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ogz0r.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ogz0r.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;there's clearly some kind of smaller black square within the black square, and that smaller black square represents margins… Not anything I put in there but there by default.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The text is getting cut off when it's outside of certain margins at the top left right and bottom. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So any text too high gets cut off at the top, any text too low gets cut off at the bottom… Any text too far to the left gets cut off on the left, and likewise any text too far to the right gets cut off on the right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to remove or change those margins. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea how?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suppose I could work within them, but I'd be interested in being able to change them too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Added note&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My example is a simple demonstration of the issue i face. What you see there is not a whole project where it's not clear what is what. My example is an example that clearly demonstrates the problem. I am showing you that there's what appears to be a border there hiding any text. If I just made a blank project and did one textbox, then you'd see it gets cut off. (nothing to do with nesting that I see mentioned in one answer as a possibility)&lt;/p&gt;&#xA;" OwnerUserId="5555" LastEditorUserId="5555" LastEditDate="2020-01-15T12:54:12.993" LastActivityDate="2020-01-15T12:54:12.993" Title="How do you adjust the 'margins' in the Premiere Pro program window?" Tags="|premiere|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29250" PostTypeId="1" CreationDate="2020-01-09T03:33:35.010" Score="0" ViewCount="850" Body="&lt;p&gt;Currently, using FFmpeg to push a live TV stream to TVHeadend.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The stream is currently in 1080p. Is there a way to get FFmpeg to convert it to 720p for TVHeadend?&lt;/p&gt;&#xA;" OwnerUserId="27317" LastEditorUserId="18155" LastEditDate="2020-01-09T11:59:45.173" LastActivityDate="2020-01-09T11:59:45.173" Title="Bandwidth limit for FFmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29251" PostTypeId="1" CreationDate="2020-01-09T08:49:26.937" Score="1" ViewCount="881" Body="&lt;p&gt;I started to learn FFmpeg syntax a couple of days ago.&lt;br&gt;&#xA;I'm trying to read the official docs, it's not easy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I want to build up a video files which consists of different videos, and audios.&#xA;Let's say I have files below.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video files:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;a.mp4&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;b.mkv&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Audio files:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;x.wma&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;y.mp3&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;z.mp3&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I'd like to use specific parts of audio files.&lt;br&gt;&#xA;Let's say, &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;2s ~ 24 sec from &lt;code&gt;x.wma&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;1m 22s ~ 1m 41s from &lt;code&gt;y.mp3&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;29s ~ 2m 33s from &lt;code&gt;z.mp3&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Concatenate the selected audio streams into an audio stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll take the video stream of 2m ~ 2m 32s from &lt;code&gt;a.mp4&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then video stream is a lot shorter than audio.&lt;br&gt;&#xA;(I don't know how much exactly, hopefully FFmpeg can do that for me)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can FFmpeg do any of the below?&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Take the video streams from &lt;code&gt;b.mkv&lt;/code&gt; and concatenate it with the video streams from a.mp4, so that resulted video stream is as long as the audio. After that mux the audio and video.&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Change the duration of the video stream from &lt;code&gt;a.mp4&lt;/code&gt; so that duration of the video and audio are equal.(by changing playback speed of video stream) then mux the audio and video.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Just insert an image file after video streams ends while audio is being played.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;P.S.: I tried to express things clearly, but I'm not so good at English. If there is anything you can't understand clearly, please tell me.&lt;/p&gt;&#xA;" OwnerUserId="27304" LastEditorUserId="18155" LastEditDate="2020-01-09T17:33:35.517" LastActivityDate="2024-01-23T05:03:10.293" Title="Concatenate multiple files using FFmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29252" PostTypeId="1" AcceptedAnswerId="29253" CreationDate="2020-01-09T13:51:02.037" Score="2" ViewCount="675" Body="&lt;p&gt;I have a video file let's say it's the following one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2fDdv.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2fDdv.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want is the following operations:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Copy the part in the red rectangle to the bottom-right corner for the whole video.&lt;/li&gt;&#xA;&lt;li&gt;Remove the left red shadowed part of the whole video.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So the expected result looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TP705.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TP705.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Notice the part has been copied to the bottom-right corner and the left part has been removed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is is possible to do this with ffmpeg or I must use something like Adobe Premiere Pro?&lt;/p&gt;&#xA;" OwnerUserId="10539" LastActivityDate="2022-07-17T14:53:31.633" Title="Is it possible to use ffmpeg to move part of the video to another position and crop the video at the same time?" Tags="|ffmpeg|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29253" PostTypeId="2" ParentId="29252" CreationDate="2020-01-09T14:28:26.300" Score="2" Body="&lt;p&gt;Basic syntax is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in -vf &quot;split=2[pip][full];[pip]crop=W:H:X:Y[pip];[full][pip]overlay=W-w:H-h,crop=iw-M:ih:M:0&quot; -c:a copy out&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where W,H,X,Y are as per your diagram. M is the margin from the left edge which needs to be cropped out. Select M so that &lt;code&gt;iw-M&lt;/code&gt; results in an even number.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-01-09T14:28:26.300" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29255" PostTypeId="2" ParentId="4553" CreationDate="2020-01-10T16:13:08.437" Score="0" Body="&lt;p&gt;I have a theory it maybe works! It's a cheap solution ...   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;1st download the virtual DJ, second on the left and right you put those 2 recordings you want to synchronize,  and you play it together, so the app can synchronize well these 2 songs for example for relative small differences, and if you use the button record, you can record the new mix of these 2 songs in one.&lt;/p&gt;&#xA;" OwnerUserId="27326" LastEditorUserId="18155" LastEditDate="2020-01-11T23:27:18.903" LastActivityDate="2020-01-11T23:27:18.903" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29257" PostTypeId="1" CreationDate="2020-01-10T19:40:27.720" Score="3" ViewCount="4389" Body="&lt;p&gt;Sorry if my question is dumb, but I'm new to FFmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have some videos. They all have the same video codec, resolution and framerate. Audio streams also have the same format. For example, MP4 files, H264, AAC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to merge some of them into one file with smooth transitions between them. I just want the simplest one - when videos overlaps for 2-3 seconds. The first one fades out and the second fades in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I read the docs and some other questions and found out that I need some set of &lt;code&gt;concat&lt;/code&gt; filter with something like &lt;code&gt;blend&lt;/code&gt; or &lt;code&gt;overlay&lt;/code&gt; or &lt;code&gt;fade&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA; -i input0.mp4 \&#xA; -i input1.mp4 \&#xA; -filter_complex \&#xA; &quot;[0:v]setpts=PTS-STARTPTS[v0];[1:v]setpts=PTS-STARTPTS+4/TB,format=yuva444p,fade=st=4:d=1:t=in:alpha=1[v1];[v0][v1]overlay,format=yuv420p[v];[0:a]asetpts=PTS-STARTPTS[a0];[1:a]asetpts=PTS-STARTPTS[a1];[a0][a1]acrossfade=d=1[a]&quot; \&#xA; -map &quot;[v]&quot; -map &quot;[a]&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Log:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 3.4.6-0ubuntu0.18.04.1 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 7 (Ubuntu 7.3.0-16ubuntu3)&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.18.04.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-librsvg --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libavresample   3.  7.  0 /  3.  7.  0&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'input0.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2019-10-20T09:15:30.000000Z&#xA;    com.android.version: 8.0.0&#xA;  Duration: 00:00:23.81, start: 0.000000, bitrate: 17280 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080, 17023 kb/s, SAR 1:1 DAR 16:9, 30.04 fps, 30 tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-10-20T09:15:30.000000Z&#xA;      handler_name    : VideoHandle&#xA; 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     handler_name    : SoundHandle&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; setpts&#xA;  Stream #0:1 (aac) -&amp;gt; asetpts&#xA;  Stream #1:0 (h264) -&amp;gt; setpts&#xA;  Stream #1:1 (aac) -&amp;gt; asetpts&#xA;  format -&amp;gt; Stream #0:0 (libx264)&#xA;  acrossfade -&amp;gt; Stream #0:1 (aac)&#xA;Press [q] to stop, [?] for help&#xA;[libx264 @ 0x55dd4a513aa0] using SAR=1/1&#xA;[libx264 @ 0x55dd4a513aa0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x55dd4a513aa0] profile High, level 4.0&#xA;[libx264 @ 0x55dd4a513aa0] 264 - core 152 r2854 e9a5903 - H.264/MPEG-4 AVC codec - Copyleft 2003-2017 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'output.mp4':&#xA; 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   Last message repeated 1 times&#xA;Past duration 0.891655 too large&#xA;Past duration 0.893990 too large&#xA;Past duration 0.895332 too large&#xA;    Last message repeated 1 times&#xA;Past duration 0.897987 too large&#xA;Past duration 0.899666 too large&#xA;Past duration 0.900993 too large   39680kB time=00:00:41.15 bitrate=7899.0kbits/s speed=0.79x    &#xA;Past duration 0.902657 too large&#xA;Past duration 0.903999 too large&#xA;Past duration 0.904991 too large&#xA;Past duration 0.905327 too large&#xA;Past duration 0.906654 too large&#xA;Past duration 0.907997 too large&#xA;Past duration 0.910652 too large&#xA;Past duration 0.910988 too large   40192kB time=00:00:42.85 bitrate=7682.3kbits/s speed=0.814x    &#xA;Past duration 0.913322 too large&#xA;frame=  985 fps= 13 q=-1.0 Lsize=   60323kB time=00:00:51.58 bitrate=9579.9kbits/s speed=0.695x    &#xA;video:59484kB audio:810kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.048264%&#xA;[libx264 @ 0x55dd4a513aa0] frame I:5     Avg QP:22.90  size:206885&#xA;[libx264 @ 0x55dd4a513aa0] frame P:303   Avg QP:25.09  size:100886&#xA;[libx264 @ 0x55dd4a513aa0] frame B:677   Avg QP:27.85  size: 43292&#xA;[libx264 @ 0x55dd4a513aa0] consecutive B-frames:  6.3%  4.3%  5.8% 83.7%&#xA;[libx264 @ 0x55dd4a513aa0] mb I  I16..4: 11.1% 49.1% 39.8%&#xA;[libx264 @ 0x55dd4a513aa0] mb P  I16..4:  6.5% 14.1%  9.5%  P16..4: 37.5% 16.2%  8.2%  0.0%  0.0%    skip: 8.0%&#xA;[libx264 @ 0x55dd4a513aa0] mb B  I16..4:  1.5%  1.6%  3.3%  B16..8: 48.1%  8.4%  2.2%  direct: 4.6%  skip:30.3%  L0:52.3% L1:34.9% BI:12.8%&#xA;[libx264 @ 0x55dd4a513aa0] 8x8 transform intra:40.2% inter:46.8%&#xA;[libx264 @ 0x55dd4a513aa0] coded y,uvDC,uvAC intra: 63.8% 25.9% 2.2% inter: 27.2% 7.1% 0.0%&#xA;[libx264 @ 0x55dd4a513aa0] i16 v,h,dc,p: 20% 25% 25% 30%&#xA;[libx264 @ 0x55dd4a513aa0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 19% 26% 25%  4%  4%  4%  6%  3%  8%&#xA;[libx264 @ 0x55dd4a513aa0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 12% 27% 18%  6%  6%  4% 10%  4% 13%&#xA;[libx264 @ 0x55dd4a513aa0] i8c dc,h,v,p: 73% 14% 11%  2%&#xA;[libx264 @ 0x55dd4a513aa0] Weighted P-Frames: Y:18.8% UV:5.9%&#xA;[libx264 @ 0x55dd4a513aa0] ref P L0: 67.5% 18.8% 10.3%  3.0%  0.5%&#xA;[libx264 @ 0x55dd4a513aa0] ref B L0: 96.9%  2.4%  0.7%&#xA;[libx264 @ 0x55dd4a513aa0] ref B L1: 98.4%  1.6%&#xA;[libx264 @ 0x55dd4a513aa0] kb/s:14841.31&#xA;[aac @ 0x55dd4a4b21c0] Qavg: 496.588&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Update 2&lt;/strong&gt;: &#xA;As I was told, the effect I was searching for is Crossfade. &#xA;I've found these: &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://stackoverflow.com/questions/37783044/ffmpeg-command-for-crossfading-between-5-videos-how-to-manage-setpts-pts-startp&quot;&gt;FFmpeg command for crossfading between 5 videos. How to manage setpts=PTS-STARTPTS?&lt;/a&gt;, &lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/17502/concate-two-video-file-with-fade-effect-with-ffmpeg-in-linux/17504#17504&quot;&gt;Concate two video file with fade effect with ffmpeg in linux&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://stackoverflow.com/questions/43333542/what-is-video-timescale-timebase-or-timestamp-in-ffmpeg/43337235#43337235&quot;&gt;What is video timescale, timebase, or timestamp in ffmpeg?&lt;/a&gt; &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;After some experiments I've finally got the working command for my purpose:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[0:v]setpts=PTS-STARTPTS[v0];&#xA;[1:v]setpts=PTS-STARTPTS+(23/TB),format=yuva444p,fade=st=23:d=1:t=in:alpha=1[v1];[v0][v1]overlay,format=yuv420p[v];&#xA;[0:a]asetpts=PTS-STARTPTS[a0];&#xA;[1:a]asetpts=PTS-STARTPTS[a1];&#xA;[a0][a1]acrossfade=d=1[a]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It works, but I have to set times for crossfade for every pair of videos manually&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what I want to ask again:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is there any way to automate position for crossfade (last second of the video)? Is there any use for PREV_OUTPTS or PREV_INPTS? I didn't manage to get them work.&lt;/li&gt;&#xA;&lt;li&gt;Can this effect be done with stream copy? There is no use for encoding the stream again.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="27329" LastEditorUserId="27329" LastEditDate="2020-01-26T19:05:05.823" LastActivityDate="2021-10-18T20:08:15.760" Title="How to merge videos with FFmpeg with smooth transitions" Tags="|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29258" PostTypeId="1" AcceptedAnswerId="29259" CreationDate="2020-01-10T19:43:05.217" Score="1" ViewCount="8884" Body="&lt;p&gt;Input: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; * One Video&#xA; * 4 audio streams&#xA; * Many subtitles&#xA; * Chapters&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I want to re-encode one of the audio streams (the first one) and keep everything else as-of (copy).&lt;br&gt;&#xA;Is it possible to do that in one command-line in ffmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far my best 2 guesses don't work:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mkv -map_metadata 0 -map 0:v -c:v copy -map 0:s -c:s copy -map 0:a:0 -c:a ac3 -vbr 3 -map 0:a:1 -c:a copy -map 0:a:2 -c:a copy -map 0:a:3 -c:a copy output.mkv&lt;/code&gt;&lt;br&gt;&#xA;Copies everything&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mkv -map_metadata 0 -map 0:v -c:v copy -map 0:s -c:s copy -map 0:a -c:a copy -map 0:a:0 -c:a ac3 -vbr 3 output.mkv&lt;/code&gt;&lt;br&gt;&#xA;Re-encodes all audio streams&lt;/p&gt;&#xA;" OwnerUserId="27330" LastActivityDate="2020-01-10T19:58:19.040" Title="How to tell ffmpeg to copy all streams except one audio stream (to encode)?" Tags="|ffmpeg|audio|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29259" PostTypeId="2" ParentId="29258" CreationDate="2020-01-10T19:58:19.040" Score="5" Body="&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -map_metadata 0 -map 0 -c copy -c:a:0 ac3 -vbr 3 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://superuser.com/a/1219824&quot;&gt;https://superuser.com/a/1219824&lt;/a&gt; for an illustrated guide to how stream options are parsed.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-01-10T19:58:19.040" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29260" PostTypeId="1" AcceptedAnswerId="29261" CreationDate="2020-01-11T07:58:00.787" Score="5" ViewCount="6859" Body="&lt;p&gt;I have been learning ffmepg for a couple of days.&#xA;I'm struggling to understand how pts or dts works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the command I entered&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;ffprobe -show_entries packet -read_intervals 10%+#3 Input&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;   Stream #0:0: Video: h264 (High 10), yuv420p10le(tv, bt709, progressive), 1920x1080 [SAR 1:1 DAR 16:9], 23.98 fps, 23.98 tbr, 1k tbn, 47.95 tbc (default)&#xA;Metadata:&#xA;  DURATION        : 00:02:00.203000000&#xA;Stream #0:1: Audio: flac, 48000 Hz, stereo, s16 (default)&#xA;Metadata:&#xA;  DURATION        : 00:02:00.062000000&#xA;[PACKET]&#xA;codec_type=video&#xA;stream_index=0&#xA;pts=6506&#xA;pts_time=6.506000&#xA;dts=N/A&#xA;dts_time=N/A&#xA;duration=41&#xA;duration_time=0.041000&#xA;convergence_duration=N/A&#xA;convergence_duration_time=N/A&#xA;size=205369&#xA;pos=9510964&#xA;flags=K_&#xA;[/PACKET]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I guess duration_time 0.041000 means the frame last(show) for 0.041 second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know how to interpret this 'pts_time' as normal time like minutes and seconds( e.g 1 min 3 second )&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I set the intervals 10%+=3, which means 3 packets after 10 seconds. I can't find the relation between 10 second and pts_time=6.506000&lt;/p&gt;&#xA;" OwnerUserId="27304" LastActivityDate="2020-01-11T10:03:47.830" Title="Interpreting pts_time in FFmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29261" PostTypeId="2" ParentId="29260" CreationDate="2020-01-11T10:03:47.830" Score="3" Body="&lt;p&gt;&lt;code&gt;pts_time=6.506000&lt;/code&gt; means an absolute presentation timestamp of 6.506 seconds. It's relative presentation time depends on the start_time of the file, for which use &lt;code&gt;-show_entries format=start_time&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffprobe seeks to keyframes, so it will seek to the nearest KF &lt;em&gt;at or before&lt;/em&gt; the specified time and then print info for the stated number of packets.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-01-11T10:03:47.830" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29263" PostTypeId="1" CreationDate="2020-01-12T01:12:49.657" Score="1" ViewCount="152" Body="&lt;p&gt;I have a camera which when motion is detected uploads JPG files at roughly one a second — so I want to take them and convert them back to video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the uploaded files &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;It sometimes skips a few uploads (up to about 3 second gaps) &lt;/li&gt;&#xA;&lt;li&gt;They continue for around 20 seconds after motion has ceased &lt;/li&gt;&#xA;&lt;li&gt;The files are 640×480 color 24-bit Depth and each is around 40K&lt;/li&gt;&#xA;&lt;li&gt;The pictures vary in lighting between stills &lt;/li&gt;&#xA;&lt;li&gt;There are no files once the motion detection has stopped — so a gap in files can be used to determine the end of video &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So I want to use a script to make these into a video - I'd like to &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Extend each JPG to the correct length of time &lt;/li&gt;&#xA;&lt;li&gt;“watermark” the timestamp onto the video &lt;/li&gt;&#xA;&lt;li&gt;Compress the video&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For compression, I feel that the common background and large sections of unchanging video should be highly compressible&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll be able to write the scripts which would include&#xA; - the selection of the right set of files to include in each video &#xA;- production of an intermediate parameter file &#xA;- calculation of time span of each still image&#xA;- determination of end of movie — including still currently recording  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm running on a Window's laptop — but would consider a Raspberry Pi or Ubuntu system.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've looked at FFmpeg but got a little lost of where to start — I did find &lt;a href=&quot;https://video.stackexchange.com/questions/22132/possible-to-stream-append-images-into-an-existing-mp4&quot;&gt;possible-to-stream-append-images-into-an-existing-mp4&lt;/a&gt;.  Which is close and I can start with this. However, one answer seemed to be saying that this may cause loss of fidelity with a comment saying no it won't. Also, I am unsure about how to make the JPGs extend to different lengths and how to watermark a time stamp onto each image  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my questions are&#xA;   What tool and encoding format is a good match with what I want ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I make the script wait until the files are fully produced or is it possible to append one JPG file to the movie stream at a time with parameters without excessive loss of fidelity?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is timestamping best done with a watermark on the video - or with some metadata tagging and require the renderer to display timestamps?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have included one image from the camera&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/E9lWT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/E9lWT.png&quot; alt=&quot;One Still Image&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27340" LastEditorUserId="18155" LastEditDate="2020-01-13T13:39:49.660" LastActivityDate="2021-02-07T07:00:50.230" Title="Convert jpg to video" Tags="|software-recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29266" PostTypeId="1" CreationDate="2020-01-12T19:20:58.913" Score="0" ViewCount="2206" Body="&lt;p&gt;I'd like to default subtitles to &lt;strong&gt;English [Forced]&lt;/strong&gt; (refer to Image 1) in MPC-HC, using LAV Splitter (refer to Image 2).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, if it'd be possible, I'd like to set the default Audio Track to Japanese [jpn].&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Image 1: Subtitles:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rUgaf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rUgaf.png&quot; alt=&quot;subtitles&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Image 2: LAV Splitter Settings:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/APKh9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/APKh9.png&quot; alt=&quot;LAV Splitter Settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27345" LastEditorUserId="18155" LastEditDate="2020-01-13T13:36:18.967" LastActivityDate="2024-01-20T05:02:05.203" Title="How to prioritize subtitles in LAV Splitter?" Tags="|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29267" PostTypeId="1" CreationDate="2020-01-12T19:26:27.897" Score="2" ViewCount="5494" Body="&lt;p&gt;I have a bunch of mobile phone videos (different phones), that I want to render to one single video using &lt;code&gt;sony vegas&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I check &lt;strong&gt;allow source to adjust frame rate&lt;/strong&gt; when rendering? Or should I rather use a fixed framerate like NTFS? What would give better results?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would allowing adjustment mean that each videos gets rendered in its original framerate? Means, the resulting one video would change the framerate during playback? And in case, would this be an advantage or disadvantage?&lt;/p&gt;&#xA;" OwnerUserId="8018" LastActivityDate="2020-03-15T13:56:56.637" Title="Sony Vegas - render allowing source to adjust frame rate?" Tags="|framerate|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29268" PostTypeId="1" AcceptedAnswerId="29320" CreationDate="2020-01-12T19:55:57.390" Score="2" ViewCount="261" Body="&lt;p&gt;&lt;em&gt;Spoilers Warning&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just finished Robert Egger's film 'The Lighthouse', and one shot in the &lt;a href=&quot;https://www.youtube.com/watch?v=t0L6-JZfeII&quot; rel=&quot;nofollow noreferrer&quot;&gt;final scene&lt;/a&gt; really inspired me cinematically.  Winslow, face covered in blood, finally goes up to the top room in the lighthouse, and the light opens up.  The shot is from the POV of the light, with Winslow staring in at the camera.  The light continually gets brighter and brighter to the point of &lt;em&gt;heavy&lt;/em&gt; overexposure in the eyes and mouth as he screams, making him look like a film negative.  This is an effect that I really want to recreate for a specific shot in my project, and I don't know how to achieve it.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Was it done by increasing the brightness of a light manually, with the overexposure being completely natural?  Or could I just increase the levels?  Which way do you think is best?&lt;/p&gt;&#xA;" OwnerUserId="26687" LastActivityDate="2020-01-16T23:22:03.870" Title="How can I recreate this overexposed effect from the last scene in 'The Lighthouse'?" Tags="|video|premiere|after-effects|effects|filming|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29271" PostTypeId="2" ParentId="4553" CreationDate="2020-01-12T22:09:26.903" Score="0" Body="&lt;p&gt;You can do this in Adobe Premiere using the multi camera sync function. It works well. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/multicamera-improvements-premiere-cc.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/how-to/multicamera-improvements-premiere-cc.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-01-12T22:09:26.903" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29274" PostTypeId="1" AcceptedAnswerId="29275" CreationDate="2020-01-13T05:51:25.187" Score="3" ViewCount="3556" Body="&lt;p&gt;The FFmpeg documentation for the afftdn audio filter says for the &lt;code&gt;-sn&lt;/code&gt; flag:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;sample_noise, sn&lt;/strong&gt;&lt;br&gt;&#xA;  Start or stop measuring noise profile. Syntax for the command is : &quot;start&quot; or &quot;stop&quot; string. After measuring noise profile is stopped it will be automatically applied in filtering.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It's a little unclear as to the basic implementation of the start/stop values in the sample_noise -sn flag. I tried:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inputfile.wav -af afftdn=nt=c:bn=sn=start=0=stop=1 noiseout.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;as an attempt to sample the first second of sound as a noise profile, which errors with&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;[afftdn @ 0x7fefbb800000] Custom band noise must be integer.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So the questions are:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;What's the correct input format for sample_noise?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Is there a way to sample the noise from a noise reference &lt;code&gt;.wav&lt;/code&gt; file that I have, e.g. &lt;code&gt;noiseprofile.wav&lt;/code&gt;?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="27348" LastEditorUserId="18155" LastEditDate="2020-01-13T13:31:20.630" LastActivityDate="2023-01-28T19:25:59.287" Title="How can you use ffmpeg's afftdn -sn flag to sample noise from a reference noise file?" Tags="|ffmpeg|audio|audio-quality|noise-reduction|noise|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29275" PostTypeId="2" ParentId="29274" CreationDate="2020-01-13T06:52:01.827" Score="2" Body="&lt;p&gt;Commands are instructions sent from an interface external to the filter, usually an external program using a ZMQ protocol. There is a filter that can execute commands which is what I'll use here. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Base syntax is&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in -af &quot;asendcmd=c='0.0 afftdn@n sn start; 1.0 afftdn@n sn stop',afftdn@n&quot; noiseout.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To use another source for noise profile, you'll have to append it, measure noise, and then remove it.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in -i profile -filter_complex &quot;[1][0]concat=n=2:v=0:a=1,asendcmd=c='0.0 afftdn@n sn start; 1.0 afftdn@n sn stop',afftdn@n,atrim=1,asetpts=PTS-STARTPTS&quot; noiseout.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Above, I assume the profile is 1 second long, which is removed with atrim after denoising.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-01-13T06:52:01.827" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29276" PostTypeId="2" ParentId="28932" CreationDate="2020-01-13T09:49:32.343" Score="0" Body="&lt;p&gt;CABAC will give a small compression but increases the encoding time a bit. &lt;/p&gt;&#xA;" OwnerUserId="27351" LastEditorUserId="18155" LastEditDate="2020-01-13T13:32:07.967" LastActivityDate="2020-01-13T13:32:07.967" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29277" PostTypeId="1" CreationDate="2020-01-13T09:55:14.237" Score="0" ViewCount="1316" Body="&lt;p&gt;I am trying to add an additional audio steam (MP3) to an existing MKV file which currently contains a video and single audio stream, such that the output will have the video, and two alternative audio streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the command I am using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.mkv -i input2.mp3 -map 0 -map 1 -c copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This appears to work fine, but when I play the resulting output video, and select the new audio stream, it sounds all squeaky (bit like Mickey Mouse on steroids).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the avoidance of doubt, the original (default) audio stream (and the video) still work fine in the output file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The original MPV and MP3 files are almost exactly the same length (the audio stream is 3/100 (0.03) of a second longer than the original video) — I am figuring that is not the cause?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there something obvious I am missing?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alan.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:  Log file (Added 20200115 - 1745):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; # ffmpeg -i input1.mkv -i input2.mp3 -map 0 -map 1 -c copy output.mkv&#xA;&#xA;ffmpeg version 3.4.6-0ubuntu0.18.04.1 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 7 (Ubuntu 7.3.0-16ubuntu3)&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.18.04.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-librsvg --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libavresample   3.  7.  0 /  3.  7.  0&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;[matroska,webm @ 0x55857e84b960] Could not find codec parameters for stream 2 (Subtitle: hdmv_pgs_subtitle (pgssub)): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[matroska,webm @ 0x55857e84b960] Could not find codec parameters for stream 3 (Subtitle: hdmv_pgs_subtitle (pgssub)): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, matroska,webm, from 'input1.mkv':&#xA;  Metadata:&#xA;    ENCODER         : Lavf57.83.100&#xA;  Duration: 02:20:37.43, start: 0.000000, bitrate: 15494 kb/s&#xA;    Chapter #0:0: start 0.000000, end 312.145000&#xA;    Metadata:&#xA;      title           : Chapter 01&#xA;    Chapter #0:1: start 312.145000, end 640.640000&#xA;    Metadata:&#xA;      title           : Chapter 02&#xA;    Chapter #0:2: start 640.640000, end 795.628000&#xA;    Metadata:&#xA;      title           : Chapter 03&#xA;    Chapter #0:3: start 795.628000, end 1038.329000&#xA;    Metadata:&#xA;      title           : Chapter 04&#xA;    Chapter #0:4: start 1038.329000, end 1418.459000&#xA;    Metadata:&#xA;      title           : Chapter 05&#xA;    Chapter #0:5: start 1418.459000, end 1646.228000&#xA;    Metadata:&#xA;      title           : Chapter 06&#xA;    Chapter #0:6: start 1646.228000, end 1919.584000&#xA;    Metadata:&#xA;      title           : Chapter 07&#xA;    Chapter #0:7: start 1919.584000, end 2279.861000&#xA;    Metadata:&#xA;      title           : Chapter 08&#xA;    Chapter #0:8: start 2279.861000, end 2465.922000&#xA;    Metadata:&#xA;      title           : Chapter 09&#xA;    Chapter #0:9: start 2465.922000, end 2827.658000&#xA;    Metadata:&#xA;      title           : Chapter 10&#xA;    Chapter #0:10: start 2827.658000, end 3075.698000&#xA;    Metadata:&#xA;      title           : Chapter 11&#xA;    Chapter #0:11: start 3075.698000, end 3253.083000&#xA;    Metadata:&#xA;      title           : Chapter 12&#xA;    Chapter #0:12: start 3253.083000, end 3420.500000&#xA;    Metadata:&#xA;      title           : Chapter 13&#xA;    Chapter #0:13: start 3420.500000, end 3620.450000&#xA;    Metadata:&#xA;      title           : Chapter 14&#xA;    Chapter #0:14: start 3620.450000, end 3862.692000&#xA;    Metadata:&#xA;      title           : Chapter 15&#xA;    Chapter #0:15: start 3862.692000, end 4150.813000&#xA;    Metadata:&#xA;      title           : Chapter 16&#xA;    Chapter #0:16: start 4150.813000, end 4264.177000&#xA;    Metadata:&#xA;      title           : Chapter 17&#xA;    Chapter #0:17: start 4264.177000, end 4433.220000&#xA;    Metadata:&#xA;      title           : Chapter 18&#xA;    Chapter #0:18: start 4433.220000, end 4622.660000&#xA;    Metadata:&#xA;      title           : Chapter 19&#xA;    Chapter #0:19: start 4622.660000, end 4955.159000&#xA;    Metadata:&#xA;      title           : Chapter 20&#xA;    Chapter #0:20: start 4955.159000, end 5097.801000&#xA;    Metadata:&#xA;      title           : Chapter 21&#xA;    Chapter #0:21: start 5097.801000, end 5339.042000&#xA;    Metadata:&#xA;      title           : Chapter 22&#xA;    Chapter #0:22: start 5339.042000, end 5658.111000&#xA;    Metadata:&#xA;      title           : Chapter 23&#xA;    Chapter #0:23: start 5658.111000, end 5821.024000&#xA;    Metadata:&#xA;      title           : Chapter 24&#xA;    Chapter #0:24: start 5821.024000, end 5939.976000&#xA;    Metadata:&#xA;      title           : Chapter 25&#xA;    Chapter #0:25: start 5939.976000, end 6349.260000&#xA;    Metadata:&#xA;      title           : Chapter 26&#xA;    Chapter #0:26: start 6349.260000, end 6614.691000&#xA;    Metadata:&#xA;      title           : Chapter 27&#xA; 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     _STATISTICS_WRITING_APP: mkvmerge v7.4.0 ('Circles') 64bit built on Dec 12 2014 12:19:56&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v7.4.0 ('Circles') 64bit built on Dec 12 2014 12:19:56&#xA;      _STATISTICS_WRITING_DATE_UTC: 2015-01-01 03:24:43&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2015-01-01 03:24:43&#xA;      _STATISTICS_TAGS: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      DURATION        : 02:20:37.428000000&#xA;    Stream #0:2(eng): Subtitle: hdmv_pgs_subtitle&#xA;    Metadata:&#xA;      BPS             : 7584&#xA;      BPS-eng         : 7584&#xA;      DURATION-eng    : 02:18:21.752000000&#xA;      NUMBER_OF_FRAMES: 1870&#xA;      NUMBER_OF_FRAMES-eng: 1870&#xA;      NUMBER_OF_BYTES : 7870766&#xA;      NUMBER_OF_BYTES-eng: 7870766&#xA;      _STATISTICS_WRITING_APP: mkvmerge v7.4.0 ('Circles') 64bit built on Dec 12 2014 12:19:56&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v7.4.0 ('Circles') 64bit built on Dec 12 2014 12:19:56&#xA;      _STATISTICS_WRITING_DATE_UTC: 2015-01-01 03:24:43&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2015-01-01 03:24:43&#xA;      _STATISTICS_TAGS: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      DURATION        : 02:20:32.174000000&#xA;    Stream #0:3(eng): Subtitle: hdmv_pgs_subtitle&#xA;    Metadata:&#xA;      BPS             : 12266&#xA;      BPS-eng         : 12266&#xA;      DURATION-eng    : 02:18:28.759000000&#xA;      NUMBER_OF_FRAMES: 2556&#xA;      NUMBER_OF_FRAMES-eng: 2556&#xA;      NUMBER_OF_BYTES : 12739742&#xA;      NUMBER_OF_BYTES-eng: 12739742&#xA;      _STATISTICS_WRITING_APP: mkvmerge v7.4.0 ('Circles') 64bit built on Dec 12 2014 12:19:56&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v7.4.0 ('Circles') 64bit built on Dec 12 2014 12:19:56&#xA;      _STATISTICS_WRITING_DATE_UTC: 2015-01-01 03:24:43&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2015-01-01 03:24:43&#xA;      _STATISTICS_TAGS: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      DURATION        : 02:20:32.174000000&#xA;Input #1, mp3, from 'input2.mp3':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2mp41&#xA;    encoder         : Lavf57.83.100&#xA;  Duration: 02:20:37.46, start: 0.023021, bitrate: 128 kb/s&#xA;    Stream #1:0: Audio: mp3, 48000 Hz, stereo, s16p, 128 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc57.10&#xA;Output #0, matroska, to 'output.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf57.83.100&#xA;    Chapter #0:0: start 0.000000, end 312.145000&#xA;    Metadata:&#xA;      title           : Chapter 01&#xA;    Chapter #0:1: start 312.145000, end 640.640000&#xA;    Metadata:&#xA;      title           : Chapter 02&#xA;    Chapter #0:2: start 640.640000, end 795.628000&#xA;    Metadata:&#xA;      title           : Chapter 03&#xA;    Chapter #0:3: start 795.628000, end 1038.329000&#xA;    Metadata:&#xA;      title           : Chapter 04&#xA;    Chapter #0:4: start 1038.329000, end 1418.459000&#xA;    Metadata:&#xA;      title           : Chapter 05&#xA;    Chapter #0:5: start 1418.459000, end 1646.228000&#xA;    Metadata:&#xA;      title           : Chapter 06&#xA;    Chapter #0:6: start 1646.228000, end 1919.584000&#xA;    Metadata:&#xA;      title           : Chapter 07&#xA;    Chapter #0:7: start 1919.584000, end 2279.861000&#xA;    Metadata:&#xA;      title           : Chapter 08&#xA;    Chapter #0:8: start 2279.861000, end 2465.922000&#xA;    Metadata:&#xA;      title           : Chapter 09&#xA;    Chapter #0:9: start 2465.922000, end 2827.658000&#xA;    Metadata:&#xA;      title           : Chapter 10&#xA;    Chapter #0:10: start 2827.658000, end 3075.698000&#xA;    Metadata:&#xA;      title           : Chapter 11&#xA;    Chapter #0:11: start 3075.698000, end 3253.083000&#xA;    Metadata:&#xA;      title           : Chapter 12&#xA;    Chapter #0:12: start 3253.083000, end 3420.500000&#xA;    Metadata:&#xA;      title           : Chapter 13&#xA;    Chapter #0:13: start 3420.500000, end 3620.450000&#xA;    Metadata:&#xA;      title           : Chapter 14&#xA;    Chapter #0:14: start 3620.450000, end 3862.692000&#xA;    Metadata:&#xA;      title           : Chapter 15&#xA;    Chapter #0:15: start 3862.692000, end 4150.813000&#xA;    Metadata:&#xA;      title           : Chapter 16&#xA;    Chapter #0:16: start 4150.813000, end 4264.177000&#xA;    Metadata:&#xA;      title           : Chapter 17&#xA;    Chapter #0:17: start 4264.177000, end 4433.220000&#xA;    Metadata:&#xA;      title           : Chapter 18&#xA;    Chapter #0:18: start 4433.220000, end 4622.660000&#xA;    Metadata:&#xA;      title           : Chapter 19&#xA;    Chapter #0:19: start 4622.660000, end 4955.159000&#xA;    Metadata:&#xA;      title           : Chapter 20&#xA;    Chapter #0:20: start 4955.159000, end 5097.801000&#xA;    Metadata:&#xA;      title           : Chapter 21&#xA;    Chapter #0:21: start 5097.801000, end 5339.042000&#xA;    Metadata:&#xA;      title           : Chapter 22&#xA;    Chapter #0:22: start 5339.042000, end 5658.111000&#xA;    Metadata:&#xA;      title           : Chapter 23&#xA;    Chapter #0:23: start 5658.111000, end 5821.024000&#xA;    Metadata:&#xA;      title           : Chapter 24&#xA;    Chapter #0:24: start 5821.024000, end 5939.976000&#xA;    Metadata:&#xA;      title           : Chapter 25&#xA;    Chapter #0:25: start 5939.976000, end 6349.260000&#xA;    Metadata:&#xA;      title           : Chapter 26&#xA;    Chapter #0:26: start 6349.260000, end 6614.691000&#xA;    Metadata:&#xA;      title           : Chapter 27&#xA;    Chapter #0:27: start 6614.691000, end 6928.922000&#xA;    Metadata:&#xA;      title           : Chapter 28&#xA;    Chapter #0:28: start 6928.922000, end 7124.951000&#xA;    Metadata:&#xA;      title           : Chapter 29&#xA;    Chapter #0:29: start 7124.951000, end 7397.181000&#xA;    Metadata:&#xA;      title           : Chapter 30&#xA;    Chapter #0:30: start 7397.181000, end 7625.243000&#xA;    Metadata:&#xA;      title           : Chapter 31&#xA;    Chapter #0:31: start 7625.243000, end 8004.205000&#xA;    Metadata:&#xA;      title           : Chapter 32&#xA;    Chapter #0:32: start 8004.205000, end 8437.440000&#xA;    Metadata:&#xA;      title           : Chapter 33&#xA;    Stream #0:0(jpn): Video: h264 (High) (H264 / 0x34363248), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 23.98 fps, 23.98 tbr, 1k tbn, 1k tbc (default)&#xA;    Metadata:&#xA;      BPS             : 14020404&#xA;      BPS-eng         : 14020404&#xA;      DURATION-eng    : 02:20:37.429000000&#xA;      NUMBER_OF_FRAMES: 202296&#xA;      NUMBER_OF_FRAMES-eng: 202296&#xA;      NUMBER_OF_BYTES : 14787020951&#xA;      NUMBER_OF_BYTES-eng: 14787020951&#xA;      _STATISTICS_WRITING_APP: mkvmerge v7.4.0 ('Circles') 64bit built on Dec 12 2014 12:19:56&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v7.4.0 ('Circles') 64bit built on Dec 12 2014 12:19:56&#xA;      _STATISTICS_WRITING_DATE_UTC: 2015-01-01 03:24:43&#xA; 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   Metadata:&#xA;      encoder         : Lavc57.10&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;  Stream #0:2 -&amp;gt; #0:2 (copy)&#xA;  Stream #0:3 -&amp;gt; #0:3 (copy)&#xA;  Stream #1:0 -&amp;gt; #0:4 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampte=12153.6kbits/s speed=15.7x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampte=14942.8kbits/s speed=9.25x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampte=15239.4kbits/s speed=7.54x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampte=14992.4kbits/s speed=7.55x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampte=15474.4kbits/s speed=7.13x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampte=15580.3kbits/s speed=7.01x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampte=15632.8kbits/s speed=6.98x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampte=15709.1kbits/s speed= 6.9x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampte=15599.5kbits/s speed=6.91x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampte=15762.9kbits/s speed=6.82x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampte=15724.3kbits/s speed=6.82x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampte=15615.7kbits/s speed=6.84x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=15626.0kbits/s speed=6.83x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=15550.4kbits/s speed=6.83x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=15530.4kbits/s speed=6.82x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=15632.8kbits/s speed=6.76x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=15639.4kbits/s speed=6.73x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=15771.6kbits/s speed=6.65x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=15801.6kbits/s speed=6.63x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=15799.3kbits/s speed=6.63x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=15745.5kbits/s speed=6.64x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=15784.7kbits/s speed=6.61x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=15793.7kbits/s speed=6.61x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=15865.5kbits/s speed=6.57x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=15985.6kbits/s speed= 6.5x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=15995.0kbits/s speed=6.49x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=16084.9kbits/s speed=6.44x    &#xA;[matroska @ 0x55857e89aba0] Starting new cluster due to timestampate=15632.1kbits/s speed=6.62x    &#xA;frame=202296 fps=159 q=-1.0 Lsize=16093151kB time=02:20:37.42 bitrate=15625.0kbits/s speed=6.62x    &#xA;video:14440450kB audio:1526121kB subtitle:56055kB other streams:0kB global headers:0kB muxing overhead: 0.440162%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27367" LastEditorUserId="27367" LastEditDate="2020-01-15T04:47:07.063" LastActivityDate="2024-01-15T23:03:50.413" Title="FFMPEG - Adding audio stream to existing MKV file (which includes an audio stream already) - Coming out squeaky" Tags="|ffmpeg|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="29279" PostTypeId="1" AcceptedAnswerId="29280" CreationDate="2020-01-11T03:35:56.040" Score="0" ViewCount="191" Body="&lt;p&gt;I have some footage, which I've tracked in After Effects. I've exported that 3D tracked camera to C4D Lite. I then took photos of the filming location and used Meshroom (a photogrammetry tool) to generate a mesh from the photos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I want to line up the photogrammetry mesh in C4D with nulls that I've placed relative to the tracking points in After Effects. What's the best way to do this? Or is there a better workflow to get a photogrammetry mesh lined up with tracked footage?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;More info:&lt;/strong&gt; Specifically, after watching Corridor's real-life portals video I decided to try to create my own portal effect. My plan is to take a rough photogrammetry mesh of the filming area. I would then track the camera in After Effects, somehow get that tracking data into a 3D modelling program, load the photogrammetry mesh in, line everything up so the tracked camera moves through the mesh as it does in the footage then rotate the camera and its animation 180° around the point where the portal mask is tracked onto the footage in AE. This would create a perfect replica of the camera's original motion, but looking out at the world from a different angle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As such I can't just use the footage as the photogrammetry input, as I specifically need the photogrammetry mesh to include unseen areas of the world.&lt;/p&gt;&#xA;" OwnerUserId="27332" OwnerDisplayName="Clonkex" LastEditorUserId="27332" LastEditDate="2020-01-13T21:30:09.247" LastActivityDate="2020-01-13T21:30:09.247" Title="Line up photogrammetry mesh with tracking markers" Tags="|after-effects|cinema4d|" AnswerCount="1" CommentCount="16" ContentLicense="CC BY-SA 4.0" />
  <row Id="29280" PostTypeId="2" ParentId="29279" CreationDate="2020-01-13T12:25:14.177" Score="0" Body="&lt;p&gt;In the end I decided to just learn how Blender's scripting works and wrote a script. I know there would be simpler ways to calculate the transformations but I'm no maths expert and I wanted to spend my time debugging my logic errors rather my maths errors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Basically what this script does is take 3 input points (in the form of empties) relative to the photogrammetry mesh and 3 input points in the same position relative to the tracking data, then attempts to line them up with each other, bringing the photogrammetry mesh along with it. This actually works pretty well in my testing. It's obviously not the fastest workflow but it does work and that's the important part.&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-python prettyprint-override&quot;&gt;&lt;code&gt;import bpy&#xA;import bmesh&#xA;from mathutils import Matrix&#xA;&#xA;#####################################&#xA;# TO USE:&#xA;#&#xA;# 1) create empties at three easily-identified positions in tracking data, called ea1, ea2 and ea3&#xA;# 2) create empties at the same three positions but in photogrammetry data, called eb1, eb2 and eb3&#xA;#    NOTE: eb1, eb2 and eb3 must be positioned IN THE SAME ORDER as ea1, ea2 and ea3!&#xA;# 3) name the photogrammetry mesh &quot;photogrammetry&quot;&#xA;# 4) run the script and be amazed&#xA;#&#xA;#####################################&#xA;&#xA;# from https://blender.stackexchange.com/a/118783/41192&#xA;def createLookRotation(forward, up):&#xA;    rot = Matrix.Identity(3)&#xA;    rot[0] = up                 # x&#xA;    rot[1] = forward.cross(up)  # y&#xA;    rot[2] = forward            # z&#xA;    rot = rot.transposed()&#xA;    return rot.to_quaternion()&#xA;&#xA;def doMeshThing(obj, mesh, empty1, empty2, empty3):&#xA;    bm = bmesh.new()&#xA;    bm.verts.new(empty1.location)&#xA;    bm.verts.new(empty2.location)&#xA;    bm.verts.new(empty3.location)&#xA;    bm.verts.ensure_lookup_table()&#xA;    bm.faces.new([bm.verts[0], bm.verts[1], bm.verts[2]])&#xA;    bm.normal_update()&#xA;    bm.to_mesh(mesh)&#xA;    bpy.ops.object.select_all(action='DESELECT')&#xA;    obj.select = True&#xA;    bpy.ops.object.origin_set(type='ORIGIN_GEOMETRY')&#xA;    bm.faces.ensure_lookup_table()&#xA;    normal = bm.faces[0].normal&#xA;    guide = empty2.location - empty1.location&#xA;    quatRot = createLookRotation(normal, guide)&#xA;    obj.rotation_mode = 'QUATERNION'&#xA;    obj.rotation_quaternion = quatRot.inverted()&#xA;    bpy.ops.object.transform_apply(location=False, rotation=True, scale=False)&#xA;    obj.rotation_quaternion = quatRot&#xA;    bm.free()&#xA;&#xA;ea1 = bpy.data.objects['ea1']&#xA;ea2 = bpy.data.objects['ea2']&#xA;ea3 = bpy.data.objects['ea3']&#xA;eb1 = bpy.data.objects['eb1']&#xA;eb2 = bpy.data.objects['eb2']&#xA;eb3 = bpy.data.objects['eb3']&#xA;&#xA;mesha = bpy.data.meshes.new('mesha')&#xA;meshb = bpy.data.meshes.new('meshb')&#xA;&#xA;obja = bpy.data.objects.new('obja', mesha)&#xA;objb = bpy.data.objects.new('objb', meshb)&#xA;&#xA;scene = bpy.context.scene&#xA;scene.objects.link(obja)&#xA;scene.objects.link(objb)&#xA;&#xA;doMeshThing(obja, mesha, ea1, ea2, ea3)&#xA;doMeshThing(objb, meshb, eb1, eb2, eb3)&#xA;&#xA;bpy.context.scene.update()&#xA;&#xA;# position and rotate objb (photogrammetry) to match position and rotation of obja (tracking)&#xA;photogrammetryMesh = bpy.data.objects['photogrammetry']&#xA;photogrammetryMesh.parent = objb&#xA;photogrammetryMesh.matrix_parent_inverse = objb.matrix_world.inverted()&#xA;&#xA;objb.location = obja.location&#xA;objb.rotation_quaternion = obja.rotation_quaternion&#xA;&#xA;# calculate average dimension difference here and scale&#xA;scaleDiffX = obja.dimensions.x / objb.dimensions.x&#xA;scaleDiffY = obja.dimensions.y / objb.dimensions.y&#xA;scaleDiffZ = obja.dimensions.z / objb.dimensions.z&#xA;#averageScaleDiff = (scaleDiffX + scaleDiffY + scaleDiffZ) / 3&#xA;averageScaleDiff = (scaleDiffX + scaleDiffY) / 2 # seems to be in local space, so z is useless&#xA;objb.scale.x = averageScaleDiff&#xA;objb.scale.y = averageScaleDiff&#xA;objb.scale.z = averageScaleDiff&#xA;&#xA;bpy.context.scene.update()&#xA;&#xA;parented_wm = photogrammetryMesh.matrix_world.copy()&#xA;photogrammetryMesh.parent = None&#xA;photogrammetryMesh.matrix_world = parented_wm&#xA;&#xA;bpy.ops.object.select_all(action='DESELECT')&#xA;obja.select = True&#xA;bpy.ops.object.delete()&#xA;bpy.ops.object.select_all(action='DESELECT')&#xA;objb.select = True&#xA;bpy.ops.object.delete()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27332" OwnerDisplayName="Clonkex" LastActivityDate="2020-01-13T12:25:14.177" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29282" PostTypeId="1" CreationDate="2020-01-13T19:23:25.433" Score="1" ViewCount="512" Body="&lt;p&gt;In our university sometimes the recordings of videos are very distorted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example frame (please ignore the red bar it's just there for privacy reasons):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oQCpS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oQCpS.png&quot; alt=&quot;Example Frame&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that basically I would need to move each pixel of each frame horizontally based on its vertical position. Is there a way to do this with FFmpeg?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="27354" LastEditorUserId="18155" LastEditDate="2020-01-13T22:55:35.240" LastActivityDate="2020-01-13T22:55:35.240" Title="Fix distorted mp4 files" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29283" PostTypeId="1" CreationDate="2020-01-13T20:58:32.247" Score="1" ViewCount="10" Body="&lt;p&gt;I assume that GoPro has bigger sensor than smartphones, so the dynamic range is also a bit better, but is there a noticeable difference in real world scenarios ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="17386" LastActivityDate="2020-01-13T20:58:32.247" Title="gopro vs smartphones in dynamic range" Tags="|iphone|gopro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29284" PostTypeId="2" ParentId="29251" CreationDate="2020-01-13T21:25:15.940" Score="0" Body="&lt;p&gt;Use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#concat&quot; rel=&quot;nofollow noreferrer&quot;&gt;concat&lt;/a&gt; filter:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i a.mp4 -ss 2 -t 22 -i x.wma -ss 00:01:22 -t 19 -i y.mp3 -ss 29 -t 124 -i z.mp3 -filter_complex &quot;[1:a][2:a][3:a]concat=n=3:v=0:a=1[a]&quot; -map 0:v -map &quot;[a]&quot; -shortest output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Alternatively, instead of &lt;code&gt;-ss&lt;/code&gt;/&lt;code&gt;-t&lt;/code&gt; you can use the atrim and asetpts filters.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-01-13T21:25:15.940" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29285" PostTypeId="2" ParentId="29282" CreationDate="2020-01-13T21:48:22.210" Score="1" Body="&lt;p&gt;Thanks to @Gyan, I was able to fix it.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &quot;geq=p(mod(X+Y*2\,W)\, Y)&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27354" LastActivityDate="2020-01-13T21:48:22.210" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29286" PostTypeId="1" CreationDate="2020-01-13T22:20:20.453" Score="0" ViewCount="180" Body="&lt;p&gt;I am working with a 16mm film transfer that was done onto videotape in the late 90s. The film print itself is no longer available, and this digitized video copy is the best version that is known to exist. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you may know if you've worked with film projection systems, projectors often had a knob that would allow the operator to adjust the position of the film frame within the projected image. If this knob was badly adjusted, a black line would appear near the top or bottom of the image, and part of the adjacent frame of film (either the top or bottom) would appear either above or below this line. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the case of the film transfer that I'm working with, this framing setting was improperly set during the film's transfer to video, and a portion of the bottom of the adjacent frame appears above a black line near the top of the video. I've been using Premiere Pro CC provided by my institution to do basic editing on a large volume of digitized film and video recordings, but fixing this framing issue is beyond the scope of my knowledge of Premiere, and all I haven't been able to find any information on the issue online.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to digitally “scroll” the top portion of the video frame back to the bottom where it belongs? I recognize that given the way film works, this portion at the top is one film frame offset from the rest of the picture, but this will be far less noticeable than having part of the bottom of the image incorrectly placed at the top.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a screenshot from the film in question. Note the black line near the top. The picture information above this line should appear at the bottom of the picture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OSoWX.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OSoWX.jpg&quot; alt=&quot;Here is a screenshot from the film in question. Note the black line near the top. The picture information above this line should appear at the bottom of the picture.&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a screenshot from the film in question. Note the black line near the top. The picture information above this line should appear at the bottom of the picture.&lt;/p&gt;&#xA;" OwnerUserId="27356" LastEditorUserId="18155" LastEditDate="2020-01-13T22:57:05.890" LastActivityDate="2021-02-07T04:08:15.877" Title="Premiere Pro CC: Loop vertical frame edge on 16mm film scan" Tags="|premiere|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29287" PostTypeId="2" ParentId="29286" CreationDate="2020-01-13T22:41:20.007" Score="1" Body="&lt;p&gt;1) Select the clip in your timeline and in the effects controls panel just adjust the 'y' position value until the line at the top is out of frame.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Pz1g1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Pz1g1.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) Duplicate the clip on your timeline into the second video track, and make the same adjustment but in the opposite direction so that only the content above the line is visible at the bottom of the program monitor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/G2APP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/G2APP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Move the clip on video track 2 forward or back one frame to match.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ZgGU7.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZgGU7.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;Obviously my test doesn't match quite right because I only had the frame you provided, but your results should look better. It looks like there might still be some extra stuff to cut off at the bottom, so you can then select both clips, right click and nest them, then either scale that footage up in the effects control panel to fit, or apply a crop effect to remove the extra bits for cleanup.&lt;/p&gt;&#xA;" OwnerUserId="27348" LastActivityDate="2020-01-13T22:41:20.007" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29288" PostTypeId="1" CreationDate="2020-01-14T01:02:58.897" Score="1" ViewCount="63" Body="&lt;p&gt;Is there a video codec that deals well with slideshows?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A substantial fraction of videos are slideshows with an audio track.  An appropriate video codec would compress to little more than the audio track.  Yet it seems all the video codecs behave as though they assume the majority of video will contain motion. &lt;/p&gt;&#xA;" OwnerUserId="25593" LastActivityDate="2020-01-14T01:02:58.897" Title="Is there a slideshow codec?" Tags="|codec|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29289" PostTypeId="2" ParentId="29286" CreationDate="2020-01-14T01:28:13.800" Score="1" Body="&lt;p&gt;There is an effect in the &lt;strong&gt;Effects &gt; Distort&lt;/strong&gt; folder called &lt;strong&gt;Offset&lt;/strong&gt;. It can add a vertical or horizontal offset to a clip, and wraps the overflow back around, all in one go. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nXDG0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nXDG0.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I apply it to the example image I get a white line, which is possibly an artefact of the screenshot (if I look at the image file there's a few pixels of white at the bottom).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WUYKz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WUYKz.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-01-14T01:28:13.800" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29290" PostTypeId="2" ParentId="29263" CreationDate="2020-01-14T01:58:14.960" Score="1" Body="&lt;p&gt;I would use shell scripting thus:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;find the creation date of the first jpeg and the creation date of the subsequent jpeg. &lt;/li&gt;&#xA;&lt;li&gt;if the time difference is &amp;lt;= 1 second then we have the start of a sequence. If the files are named sequentially then maybe move them to a subfolder. If not then move (or copy) the files to create a sequence.&lt;/li&gt;&#xA;&lt;li&gt;while the time difference is &amp;lt;= 1 second keep updating the last frame of the sequence&lt;/li&gt;&#xA;&lt;li&gt;once we have a non-sequential file create a video using ffmpeg&lt;/li&gt;&#xA;&lt;li&gt;set the new first frame to the non-sequential file &lt;/li&gt;&#xA;&lt;li&gt;repeat for all the jpegs.&lt;/li&gt;&#xA;&lt;li&gt;concatenate all the videos&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;ffmpeg can create a video from an image sequence where the files are named &lt;code&gt;frame_000.jpg, frame_001.jpeg, frame_002.jpg…&lt;/code&gt; thus:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i frame_%03d.jpg -r 1 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;the &lt;code&gt;-r 1&lt;/code&gt; option sets the frame rate to 1 per second. If the sequence doesn't start with 000 then you can use &lt;code&gt;-start_number 123&lt;/code&gt; to specify the first frame. more details &lt;a href=&quot;https://www.ffmpeg.org/faq.html#How-do-I-encode-single-pictures-into-movies_003f&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-01-14T01:58:14.960" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29293" PostTypeId="1" CreationDate="2020-01-14T04:58:50.430" Score="0" ViewCount="744" Body="&lt;p&gt;I need to run an audio filter on a piped input using its own lufs value as a variable, without writing to disk.&lt;/p&gt;&#xA;&lt;p&gt;I previously bounced the piped input to &lt;code&gt;processedaudio.wav&lt;/code&gt; and the command works as:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i pipe:0 -af $(echo &amp;quot;startofafilter$(echo &amp;quot;$(&#xA;ffmpeg -i processedaudio.wav -vn -af ebur128=framelog=verbose -f null - 2&amp;gt;&amp;amp;1 |awk '/I:/{print $2}')&amp;quot;)&#xA;restofthefilter&amp;quot;) -f null - 2&amp;gt;&amp;amp;1);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;which pulls the lufs value from &lt;code&gt;processedaudio.wav&lt;/code&gt; in that nested ffmpeg command (which is the same as pipe:0), but the value needs to change dynamically with each file. I need it to read from the pipe (or whatever gets me a similar effect) like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i pipe:0 -af $(echo &amp;quot;startofafilter$(echo &amp;quot;$(&#xA;ffmpeg -i pipe:0 -vn -af ebur128=framelog=verbose -f null - 2&amp;gt;&amp;amp;1 |awk '/I:/{print $2}')&amp;quot;)&#xA;restofthefilter&amp;quot;) -f null - 2&amp;gt;&amp;amp;1);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;where the only change is the nested input, but that command just hangs. Any ideas?&lt;/p&gt;&#xA;&lt;p&gt;Edit: This is basically the workflow needed:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/6m4kW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6m4kW.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Edit2: Attempting a named pipe seems to cause ffmpeg to hang.&#xA;Named pipes are working in general:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mkfifo outpipe.wav | ffmpeg -y -i test.mov outpipe.wav | ffmpeg -f wav -i outpipe.wav testout.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and this command works with an actual file name:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;echo &amp;quot;$(ffmpeg -f wav -i test.wav -vn -af &amp;quot;ebur128=framelog=verbose&amp;quot; -f null - 2&amp;gt;&amp;amp;1 | awk '/I:/{print $2}')&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But it doesn't work with a piped input:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mkfifo outpipe.wav | ffmpeg -y -i test.mov outpipe.wav | echo &amp;quot;$(ffmpeg -f wav -i outpipe.wav -vn -af &amp;quot;ebur128=framelog=verbose&amp;quot; -f null - 2&amp;gt;&amp;amp;1 | awk '/I:/{print $2}')&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;At this point, I'm not sure what's going on. Am I missing something? Is this a bug?&lt;/p&gt;&#xA;" OwnerUserId="27348" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2020-01-16T00:48:56.803" Title="ffmpeg dynamic filter values from piped input" Tags="|ffmpeg|audio|filter|metadata|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29294" PostTypeId="2" ParentId="29249" CreationDate="2020-01-14T06:54:58.503" Score="1" Body="&lt;p&gt;Possibility #1: If there's not just black filled rectangles from the rectangle tool around your text, then it looks like you might have nested your text into a sequence with smaller dimensions. Find the text on your timeline and check if it is in a nest. If so, try:&#xA;1. Right-click on the nest in the timeline&#xA;2. Choose 'Reveal in Project' to find the nest in the Project panel&#xA;3. Right-click on the nest in the Project panel&#xA;4. Choose 'Sequence Settings'&#xA;5. Change the Video &gt; Frame Size 'horizontal' and 'vertical' values to match the sequence you added the nested text to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Possibility #2:&#xA;Another way you can achieve this effect is in the Effects controls panel for the text clip. If you were to scale the video down, it would have hard borders. Check that the video scale is at 100%. &lt;a href=&quot;https://i.stack.imgur.com/eyMld.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eyMld.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27348" LastEditorUserId="27348" LastEditDate="2020-01-15T03:39:43.517" LastActivityDate="2020-01-15T03:39:43.517" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29295" PostTypeId="2" ParentId="29216" CreationDate="2020-01-14T07:14:25.387" Score="0" Body="&lt;p&gt;If you're going to be editing in premiere, then it doesn't matter which screen capture software you use. Even if your screen capture software outputs a video file that is incompatible with Premiere by default, you can use a free tool like &lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; to convert that file into something Premiere can handle. I found this ffmpeg command in the answer to &lt;a href=&quot;https://video.stackexchange.com/questions/14712/how-to-encode-apple-prores-on-windows-or-linux&quot;&gt;this question&lt;/a&gt; that would probably handle whatever video you threw at it:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -c:v prores_ks -profile:v 3 -c:a pcm_s16le output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Just replace &lt;code&gt;input.avi&lt;/code&gt; and &lt;code&gt;output.avi&lt;/code&gt; with your filename and desired output filename. There's much more customization that you can do with ffmpeg, and deeper information in that answer about &lt;a href=&quot;https://ffmpeg.org/ffmpeg-codecs.html#ProRes&quot; rel=&quot;nofollow noreferrer&quot;&gt;ProRes&lt;/a&gt; that isn't relevant here. All you really need to worry about are the recording features of your screen recording software. If you're on a mac, I'd suggest &lt;a href=&quot;https://www.araelium.com/screenflick-mac-screen-recorder&quot; rel=&quot;nofollow noreferrer&quot;&gt;Screenflick&lt;/a&gt; as a recorder. It doesn't have editing capabilities like Camtasia, but it has some pretty great export options for keypress overlays and mouse adjustments.&lt;/p&gt;&#xA;" OwnerUserId="27348" LastActivityDate="2020-01-14T07:14:25.387" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29297" PostTypeId="1" CreationDate="2020-01-14T08:03:20.157" Score="0" ViewCount="57" Body="&lt;p&gt;I want to concatenate many files using concat demuxer.&#xA;Problem is a portion of those files have different tbn from the others.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I followed an answer by @sr9yar at:&lt;a href=&quot;https://stackoverflow.com/questions/31691943/ffmpeg-concat-poduces-dts-out-of-order-errors&quot;&gt;https://stackoverflow.com/questions/31691943/ffmpeg-concat-poduces-dts-out-of-order-errors&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Change the tbn values, then concatenate them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I have to change only a file, then it's ok. But there are many files that have to be adjusted, It's too much hassle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command I've just used looks like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;S5M7\S5M7_24 to 9.mp4&quot; -i &quot;S5M7\S5M7_29 to 11_2.mp4&quot; -i &quot;S5M7\S5M7_211_2 to 14.mp4&quot; -i &quot;S5M7\S5M7_2after 1.mp4&quot; -video_track_timescale 1000 -c copy -map 0 &quot;S5M7\S5M7_24 to 9.mp4&quot; -video_track_timescale 1000 -c copy -map 1 &quot;S5M7\S5M7_29 to 11_2.mp4&quot; -video_track_timescale 1000 -c copy -map 2 &quot;S5M7\S5M7_211_2 to 14.mp4&quot; -video_track_timescale 1000 -c copy -map 3 &quot;S5M7\S5M7_2after 1.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It's daily tasks, so I have to go through this again and again and again.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I wonder&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If I can tell concat demuxer to change tbn value before concatenate them&lt;/li&gt;&#xA;&lt;li&gt;Or If FFmpeg accept regular expression as an input or output arguments&lt;/li&gt;&#xA;&lt;li&gt;Or any other suggestion to make it done more efficiently&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="27304" LastActivityDate="2020-01-14T08:03:20.157" Title="I wanna speed things up while concatenating many media files" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29298" PostTypeId="2" ParentId="18006" CreationDate="2020-01-14T09:40:14.847" Score="0" Body="&lt;p&gt;Please check another way to mix frame using multiple lighten blending.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/njf3n.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/njf3n.jpg&quot; alt=&quot;Blending Time lapse&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://www.visionrouge.net/web/2020/01/how-to-de-flicker-long-term-time-lapse-pictures-for-smooth-video/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.visionrouge.net/web/2020/01/how-to-de-flicker-long-term-time-lapse-pictures-for-smooth-video/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27366" LastActivityDate="2020-01-14T09:40:14.847" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29300" PostTypeId="1" CreationDate="2020-01-14T16:24:30.827" Score="1" ViewCount="27" Body="&lt;p&gt;I have this text typing with blinking cursor, I used the effect type-on-text-preset on the text so it's typing with cursor, but I want to control this cursor, so I can scale it or change position or what ever I want.... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The effect has a code as u see in the picture… so what I should do in the script, so I can control the cursor? All I want is control the cursor to change its position… Thank u all&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/IDZqb.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="27370" LastEditorUserId="17390" LastEditDate="2020-03-24T17:22:17.303" LastActivityDate="2020-03-24T17:22:17.303" Title="How I can change position of the blinking cursor in the code" Tags="|after-effects|adobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29301" PostTypeId="1" CreationDate="2020-01-14T16:54:58.940" Score="1" ViewCount="1122" Body="&lt;p&gt;I am writing as follows for a sequence of images like &lt;code&gt;image1.png&lt;/code&gt;, &lt;code&gt;image2.png&lt;/code&gt;, &lt;code&gt;image3.png&lt;/code&gt; … &lt;code&gt;image1234.png&lt;/code&gt;. My code for that is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate5 -start number 1 -i &quot;.\Image%4d.png&quot; -pix_fmt yuv420p text.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But what pattern is needed for &lt;code&gt;0001.png&lt;/code&gt;, &lt;code&gt;0004.png&lt;/code&gt;, &lt;code&gt;0007.png&lt;/code&gt;, &lt;code&gt;0010.png&lt;/code&gt;, &lt;code&gt;0013.png&lt;/code&gt;, &lt;code&gt;0016.png&lt;/code&gt;, &lt;code&gt;0019.png&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="27369" LastEditorUserId="1760" LastEditDate="2020-01-14T18:41:35.043" LastActivityDate="2020-10-05T14:40:54.187" Title="Images to video using FFMPEG" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29302" PostTypeId="2" ParentId="29301" CreationDate="2020-01-14T18:39:10.060" Score="2" Body="&lt;h1&gt;Sequential series&lt;/h1&gt;&#xA;&#xA;&lt;h3&gt;1.png&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;%d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;01.png&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;%02d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;001.png&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;%03d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;0001.png&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;%04d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;image0001.png&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;image%04d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h1&gt;Non sequential series&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;If they image inputs are not sequential then use the glob wildcard:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 5 -pattern_type glob -i &quot;*.png&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The glob pattern may not be supported by Windows. In that case rename your images or use &lt;code&gt;cat&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;cat *.png | ffmpeg -framerate 5 -i - output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;See the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#image2-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;image demuxer documentation&lt;/a&gt; for more info.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2020-01-14T18:45:35.417" LastActivityDate="2020-01-14T18:45:35.417" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29303" PostTypeId="1" AcceptedAnswerId="29304" CreationDate="2020-01-14T21:10:03.867" Score="0" ViewCount="72" Body="&lt;p&gt;I'm just getting started with Final Cut Pro X and I'm following this video for a slide out animation: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/s3eO-cNuHMc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a background square for my text as the Text moves to the right. If I set the opacity to 80%, the background looks how I want when there is no animation. Once the transition is animating though, the background is opaque and not transparent. Is there a way to get around this? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="22577" LastActivityDate="2020-01-14T23:16:07.187" Title="Opacity in an animation doesn't stick" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29304" PostTypeId="2" ParentId="29303" CreationDate="2020-01-14T23:16:07.187" Score="0" Body="&lt;p&gt;I think I know what’s the problem is. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The compound clip isn’t working that way because you have probably a “Solids” generator in it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ignore the step of generating the compound clip and build the sliding box and text on top of the main timeline. That should work as you want. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-01-14T23:16:07.187" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29308" PostTypeId="1" AcceptedAnswerId="29340" CreationDate="2020-01-15T11:31:49.430" Score="1" ViewCount="3669" Body="&lt;p&gt;On Resolve index page I found this article:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bvm3t.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bvm3t.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I can't find information about it, how to use that and where is located?&lt;/p&gt;&#xA;" OwnerUserId="27376" LastActivityDate="2020-02-18T22:01:05.107" Title="Custom timeline settings - how to use that?" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29309" PostTypeId="1" CreationDate="2020-01-15T12:58:30.120" Score="0" ViewCount="589" Body="&lt;p&gt;I'm new here, so hi to all :).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm new to FFmpeg too, and I'm trying to transcode a HEVC file to a mxf file and I'm having some issues. The original file is a rip I made from a Bluray HDR movie a while ago, its container is mkv, and I honestly didn't remember the codec I used and all that stuff, but Mediainfo is telling me that it's HEVC, UHD, main 10, level 5, RC. 2020, cbr, 4:2:0, 10 bit. The thing is that I want to make a trailer in Adobe Premiere Pro, which I've been using for a while and now I'm dealing with its 2020 version (which, to be honest, it's not so good because of random crashes). I intend to export an HDR video, even knowing that Premiere's internal monitors don't support REC. 2020 yet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since Premiere doesn't accept mkv files, and I want to lose the less amount of quality possible (hence, I don't want to make too many transcoding steps), I tried to take the proxy approach, but after trying many times I couldn't make them sync with the original footage (the proxy was always a couple of seconds late or early compared to the original file, which defeats its purpose for editing). The only ones that didn't have this issues where the ones made with DNxHD/DNxHR (I guess it could be related to them being cbr as the source files, while Prores is vbr. Idk, it's just a theory), but even though they are synced with the footage, I get stability issues with them as proxies (the program hangs when trying to manipulate them, even moving a clip or making a cut many times caused a crash).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Well, after all this, I decided to try to edit with a high rip of the original file, with a non long-OP format but with high quality, so I could export directly from it (hence, no proxies). The choice was between a Prores flavor, or a DNxHR flavor, and I decided to go for DNxHR because, idk, I've always preferred cbr for streaming and quality purposes. File size is not an issue for me, and I have a beast of a PC to handle them. Since I want to retain the most quality from the original, I used FFmpeg to transcode to a DNxHR RGB 444 10 bit file into a mxf container (which I've read it's better than MOV for editing purposes) from the original mkv file, but after trying many times I read that on the audio side the mxf container only accepts pcm audio, and my mkv file has two streams, both DTS 5.1. Apparently that's why my FFmpeg command worked for the video part, but always gave an error on the audio part. This was my initial command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mkv -map 0:0 -c:v dnxhd -profile:v dnxhr_444 -pix_fmt yuv444p10le -c:a \&#xA;   -map 0:2 aac -b:a 640k 1.mxf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(audio stream 2 is the one I need, hence the 0:2. I need a single file for editing, with only one language, which is the second stream).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Well, that command didn't work, and I realized that it worked only if I changed the extension of the output file to MOV, so it's a container limitation I guess.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's my problem: I could easily create a mxf file with the video as DNxHR 444 10 bits and the audio as uncompressed pcm in 6 channels (the source file is 5.1), with this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.mkv -map 0:0 -c:v dnxhd -profile:v dnxhr_444 -pix_fmt yuv444p10le -c:a copy 1.mxf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It sounded like the ideal command to me, because I want to retain the 5.1 audio, and just copying the stream sounds like a good idea to me. Ffmpeg did its job, but when I imported the file to Adobe Premiere Pro, I could see that the audio couldn't be placed in a 5.1 track, but in 6 individual mono tracks. I could use this, but it's really annoying having to edit with 6 separated tracks for every single cut or clip. In other words, I wanted to edit with a DNxHR 444 10 bits and 5.1 audio with their tracks being recognized by Premiere as a true 5.1 audio, and showed as only one 5.1 track. If I rip the original mkv movie to, let's say, h.264, it creates a 5.1 audio track without issues, but editing in h.264 is not ideal at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question is simple. What would you do? I'm still trying to do this with DNxHR 444 10 bits, but I'm starting to assume that I won't be able to incorporate the audio inside a mxf file without it being separated into individual pcm tracks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ideas that I had, and wanted to know your opinion, or if you have a better idea:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Create a DNxHR 444 10 bits only with the video stream, no audio. Create a m4u file for the audio stream using aac or ac3 as codec, with -channel_layout 63 command. That way, I guess I'm going to be able to import the video file, the audio file, and link them inside Premiere. The editing, color grading and exporting would be done directly from those files, not the originals. Not ideal at all, but could be an idea at least.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use ffmpeg to create the master file with DNxHR 444 10 bits and copy the audio stream or transcode it with aac or ac3, but to a MOV container, which seems to support those audio formats. Could be an option, I've not tried it yet to see if the audio is recognized as a single 5.1 track inside Premiere.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Give up on DNxHR, and use a Prores flavor. I've read that it's not the best format to encode when working on a PC (I'm not a Mac guy), and that because of it being vbr, sometimes the dark areas could suffer some quality loss (remember that I want to export in HDR). The original footage is cbr too.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Edit with the separated six tracks. I really want to avoid this.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Somehow go with the proxy route, but like I said, the sync problem is always present unless I use DNxHD/DNxHR, and when using them I see the 6 separated tracks, which is one of the things I want to avoid. I don't know how to go with this route.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Any ideas? This is my first hdr project and I'm having this elemental issues. What would you do? Thanks in advance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PD: I used the last version of FFmpeg , and have an AMD 2990WX cpu, with 64 GB ram, a Nvidia GTX 1070 card, Windows 10 with the latest drivers and latest version of K-Lite codec pack. Using Adobe Premiere Pro 2020, and sometimes Adobe Media Encoder 2020. Adobe Premiere is optimized for memory use, not performance. Sadly, I still have a sdr monitor for the meanwhile.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE&lt;/strong&gt;: A friend of mine, after telling him about the issues I'm having, said to me that I should stop worrying about the container, so his suggestion was to use FFmpeg to transcode the original mkv file (h.264 main 10, level 5, REC. 2020, cbr, 4:2:0, 10 bits) to a mov container, with DNxHR 444 10 bits and AC3 as codecs (or just copy the original audio stream), because for this purpose having the master file in mxf or mov container is not going to make a difference in quality or performance. Is that so? I'm still learning all I can but I've read more than once that mov should not be used as often, as it's an old type of container with certain limitations (I don't know what they are. I still have a lot of reading to do, but I've read that mxf is a better container in other forums too). If that's a good idea, the command would be the following (please correct me if I'm wrong):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i 1.mkv -map 0:0 -c:v dnxhd -profile:v dnxhr_444 -pix_fmt yuv444p10le -c:a aac -b:a 640k -map 0:2 1.mov&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Would you do that? Would it work if I just copy the audio stream (in that case, after -c:a I would just add &quot;copy -map 0:2 1.mov&quot;)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;IN SUMMARY:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My main goal with all of this is having a non long-GOP file with the highest quality for editing, color correcting and exporting directly from it, preserving all the hdr data, and keeping the audio as 5.1 that can be recognized by Premiere Pro as a single 5.1 track and not six individual tracks. I was going for DNxHR 444 10 bit (cbr as my original file), but can't figure out the audio issue with a mxf container, and I could transcode to a mov container without problems. I'd like to know if there's some catch with using a mov container instead of mxf, and also I would like to know what would you do in my situation (and if there's an extra idea about how to use proxies with my original file without having sync issues, please let me know).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks again.&lt;/p&gt;&#xA;" OwnerUserId="27378" LastEditorUserId="27378" LastEditDate="2020-01-15T19:32:27.917" LastActivityDate="2024-01-17T22:08:46.093" Title="Issues with transcoding to a MXF container" Tags="|premiere|encoding|mp4|mxf|dnxhr|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29310" PostTypeId="1" AcceptedAnswerId="29336" CreationDate="2020-01-15T13:38:15.407" Score="1" ViewCount="288" Body="&lt;p&gt;I'm looking for Contrast equalizer OFX plugin, or similar functionality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you don't similar about it, Contrast Equalizer can manage contrasts on different level of details, like you have several Hi-pass/low-pass filters with different radius in one simple setup. It has similar functionality in DR - mid tone details, but it does not affect all tones and various details sizes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Examples how it works:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RCWhV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RCWhV.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/GZ162.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GZ162.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/RkMXX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RkMXX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/h2v64.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/h2v64.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/NRgfr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NRgfr.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27376" LastEditorUserId="27376" LastEditDate="2020-01-15T14:10:10.780" LastActivityDate="2020-02-18T07:00:12.707" Title="Contrast equalizer OFX plugin" Tags="|software-recommendation|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29312" PostTypeId="1" AcceptedAnswerId="29313" CreationDate="2020-01-16T00:59:44.150" Score="1" ViewCount="9763" Body="&lt;p&gt;I have built out a few little animations in After Effects. I'm trying to export them — and pull them into ScreenFlow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I &lt;code&gt;export &amp;gt; add-to-media-queue&lt;/code&gt; I get a .mov that won't open in QuickTime — and that is “messed up” (for lack of understanding) when I try to use it in ScreenFlow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TZURZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TZURZ.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;It's supposed to look like this:&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rg797.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rg797.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;but it looks like this:&lt;/em&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/deh1x.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/deh1x.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been able to export it with Adobe Media Encoder — but it has a black background and I can't find how to ensure it comes out with alpha.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yVEVY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yVEVY.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Media encoder is being really buggy - and I'm curious is there are problems with the latest releases?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can a regular ol guy, who's trying to get a basic RGB + Alpha animation, get the job done — the simplest way? I don't even want to know what a codec is... &lt;em&gt;if possible&lt;/em&gt;. I plan on staying in the hobbies zone.&lt;/p&gt;&#xA;" OwnerUserId="27382" LastEditorUserId="18155" LastEditDate="2020-01-16T14:32:33.157" LastActivityDate="2021-08-25T19:20:05.837" Title="How can I export RGB + Alpha in Adobe After Effects with Adobe Media Encoder (2020)" Tags="|after-effects|adobe-media-encoder|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29313" PostTypeId="2" ParentId="29312" CreationDate="2020-01-16T01:15:38.230" Score="3" Body="&lt;p&gt;Click the output mode in the render queue, by default it says lossless:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/1CQMU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1CQMU.png&quot; alt=&quot;by default it says lossless&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;use these settings, format: quicktime, video output channels: RGB + Alpha:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/4EnOK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4EnOK.png&quot; alt=&quot;format: quicktime, video output channels: RGB + Alpha&quot;&gt;&lt;/a&gt;&#xA;click format options and choose Apple ProRes 4444. The 4th 4 is the indicator that the codec has an alpha channel (this only applies to the Apple ProRes codec naming scheme).&#xA;&lt;a href=&quot;https://i.stack.imgur.com/PZUMN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PZUMN.png&quot; alt=&quot;format options: Apple Prores 4444&quot;&gt;&lt;/a&gt;&#xA;That should fix your problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: This was also fixable without changing the codec to Apple ProRes 4444, and could have been accomplished with opening one less window by just switching the color channel to &lt;code&gt;Straight (Unmatted)&lt;/code&gt;, however...&#xA;&lt;a href=&quot;https://i.stack.imgur.com/0mnrg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0mnrg.png&quot; alt=&quot;Video Output Color set to Straight (Unmatted)&quot;&gt;&lt;/a&gt;&#xA;...knowing whether to choose Straight (no baked-in black) or Premultiplied (baked-in black) is somewhat abstract, and importing video with the default animation codec + aplha into other programs is just weird sometimes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've found that ProRes 4444 hits the &quot;it just works&quot; goal more often, and remembering that 444&lt;strong&gt;4&lt;/strong&gt; corresponds with RGB&lt;strong&gt;A&lt;/strong&gt;(lpha) is easier to recall than the difference between matted vs. unmatted.&lt;/p&gt;&#xA;" OwnerUserId="27348" LastEditorUserId="27348" LastEditDate="2020-01-16T02:45:14.853" LastActivityDate="2020-01-16T02:45:14.853" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29314" PostTypeId="2" ParentId="28795" CreationDate="2020-01-16T03:07:32.713" Score="1" Body="&lt;p&gt;Try transcoding and relinking the media: File → Media Management. &lt;/p&gt;&#xA;" OwnerUserId="27383" LastEditorUserId="18155" LastEditDate="2020-01-16T14:28:50.847" LastActivityDate="2020-01-16T14:28:50.847" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29315" PostTypeId="2" ParentId="29309" CreationDate="2020-01-16T03:17:13.560" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;I could see that the audio couldn't be placed in a 5.1 track, but in 6 individual mono tracks&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I just ran a quick test on my machine, and while a 6 channel mxf does import by default into Premiere with 6 mono tracks, if you right-click and run &lt;code&gt;modify &amp;gt; audio channels&lt;/code&gt; on the imported clip, you can can change the clip channel format to 5.1 and the number of audio clips to 1, which should then let you add the clip to the timeline in the way you want.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/v9Tkx.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/v9Tkx.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27348" LastActivityDate="2020-01-16T03:17:13.560" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29317" PostTypeId="1" AcceptedAnswerId="29321" CreationDate="2020-01-16T15:10:52.650" Score="1" ViewCount="33" Body="&lt;p&gt;I need a teleprompter for my video production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A fast googling gives me teleprompters of very diverse prices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can one product have that huge price span?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which should I use as a &quot;normal&quot; youtuber with only the aim of looking into the camera all the time?&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;scandinavian photo&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.scandinavianphoto.se/video-dronare/tvvideoproduktion/teleprompter&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.scandinavianphoto.se/video-dronare/tvvideoproduktion/teleprompter&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3 products: 7590, 5750 and 42490 SEK (10 SEK is approx 1 USD)&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;film city&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.proaim.be/products/filmcity-easy-teleprompter?variant=22880703512657&amp;amp;gclid=CjwKCAiAsIDxBRAsEiwAV76N88GatMOINnM6lHLp99MTZMQLusZXdG-5Z4t2ZHftsB4SNzWD_5X1KxoCV-UQAvD_BwE&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.proaim.be/products/filmcity-easy-teleprompter?variant=22880703512657&amp;amp;gclid=CjwKCAiAsIDxBRAsEiwAV76N88GatMOINnM6lHLp99MTZMQLusZXdG-5Z4t2ZHftsB4SNzWD_5X1KxoCV-UQAvD_BwE&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1 product: 182 euro, is almost like USD&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;leeventi&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://leeventi-teleprompter.com/product/teleprompter-by-leeventi&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://leeventi-teleprompter.com/product/teleprompter-by-leeventi&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1 product: 49 euro, like USD&lt;/p&gt;&#xA;" OwnerUserId="21523" LastEditorUserId="14523" LastEditDate="2020-01-17T00:13:02.483" LastActivityDate="2020-01-17T00:33:26.657" Title="Strange gaps in teleprompter pricing" Tags="|teleprompter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29319" PostTypeId="1" AcceptedAnswerId="29327" CreationDate="2020-01-16T23:19:40.043" Score="0" ViewCount="1771" Body="&lt;p&gt;I have been facing an issue with my Premiere Pro for a while now and no matter how hard I tried to find a solution, I never managed to find something that will fix my specific problem so that is why I came here and am asking for your help...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here goes the problem,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to use the scaling option to create that basic effect of an image slowly zooming in/out over time but whenever I create two keyframes with a different scale value, the image just stays stuck on the bigger value even though it hasn't reached the keyframe yet and the scale value is slowly increasing/decreasing in the Effect Controls panel. To be more clear, here is a &lt;a href=&quot;https://youtu.be/Hkwm6Bdijd4&quot; rel=&quot;nofollow noreferrer&quot;&gt;quick video&lt;/a&gt; of me doing it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, another thing that I noticed happening is that when I create motion on any other layer (doesn't necessarily have to be scaling motion) and try to do the scaling effect on the background image, the scaling effect reacts in some way, but it seems like it is interconnected with the keyframes of the other layer and follows them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I really can't find the words to explain this phenomenon so &lt;a href=&quot;https://youtu.be/suBrisNkqME&quot; rel=&quot;nofollow noreferrer&quot;&gt;here is a video&lt;/a&gt; of it happening...  &lt;/p&gt;&#xA;" OwnerUserId="27391" LastEditorUserId="27391" LastEditDate="2020-01-17T21:10:36.900" LastActivityDate="2020-01-17T22:32:07.930" Title="How to fix scale Key-framing issue" Tags="|video|premiere|adobe|keyframes|scale|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29320" PostTypeId="2" ParentId="29268" CreationDate="2020-01-16T23:22:03.870" Score="4" Body="&lt;p&gt;You can tell by the shadows that light's illumination was increased. However, you can acheive a similar result (though not perfect) by just keyframing the 'Curves' effect in After Effects. (I had better results with 'Curves' as opposed to 'Levels') See below: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hw1gn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hw1gn.png&quot; alt=&quot;First keyframe&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Q75Fe.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Q75Fe.png&quot; alt=&quot;Final keyframe&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The curves were keyframed from default to: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mSUdv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mSUdv.png&quot; alt=&quot;Curves final position&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The top point is to blow out the whites, the middle point lifts the greys slightly and the bottom point keeps the blacks from getting brighter. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, you'll notice that this has lifted the red values a little more than I'd like. This could then be fixed with a 'Tint' effect or by bumping the saturation way down with a 'Hue/Saturation' effect. Or even by messing with the individual RGB colours within the existing 'Curve' effect. &lt;/p&gt;&#xA;" OwnerUserId="27384" LastActivityDate="2020-01-16T23:22:03.870" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29321" PostTypeId="2" ParentId="29317" CreationDate="2020-01-17T00:33:26.657" Score="3" Body="&lt;p&gt;Like many products, teleprompters vary in price for a number of reasons. First, it helps to understand how a prompter works. A beam splitter, basically a two way mirror, is positioned between the camera lens and the speaker. It allows the light from the scene to reach the camera while the reflection of the display device, positioned below the beam splitter, is seen by the speaker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In no particular order, some of the factors that influence the price are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The quality of the beam splitter. Higher quality glass means less light loss to the camera.&lt;/li&gt;&#xA;&lt;li&gt;The size of the beam splitter. Bigger glass equals bigger text.&lt;/li&gt;&#xA;&lt;li&gt;The mounting system. How do the glass, camera, and display all attach to each other. Is it flimsy and the speaker will see the text bounce around with the slightest movement of the system? Will a light breeze shake the camera?&lt;/li&gt;&#xA;&lt;li&gt;The display device. Do you have to supply your own tablet? Is it a high quality display to connect to a computer?&lt;/li&gt;&#xA;&lt;li&gt;Software. Is prompter software included or do you need to supply your own?&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.autocue.com/broadcast-solutions/teleprompter/teleprompting-accessories&quot; rel=&quot;nofollow noreferrer&quot;&gt;Accessories&lt;/a&gt;. Tally and cue lights, confidence/feedback monitors, playback controllers are all options for various situations.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2020-01-17T00:33:26.657" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29322" PostTypeId="2" ParentId="8399" CreationDate="2020-01-17T05:18:21.560" Score="1" Body="&lt;p&gt;I'll take you through how to replicate the paint stroke effect in After Effects, as briefly as I am able. The artwork would have to be created seperately.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hold tight, because this guide assumes you have some basic knowledge of After Effects.   &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've broken it up into three parts. The paint stroke, the brush texture and putting it all together. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1. The paint stroke&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Firstly, I scoured Google for a 'free brush stroke texture' and found this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ugQR1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ugQR1.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then searched for 'free paint splatter texture' and found this: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pWQCU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pWQCU.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Bring these images into After Effects&lt;/li&gt;&#xA;&lt;li&gt;Create large compostion at 3840 x 1080. Name it 'Paint stroke'.&lt;/li&gt;&#xA;&lt;li&gt;Use two copies of the brush stroke texture and scale them up and stretch them in the X direction, so that they create one long stripe across the screen.&lt;/li&gt;&#xA;&lt;li&gt;Use two copies of the splatter image and scale and rotate them until you like how it looks.&lt;/li&gt;&#xA;&lt;li&gt;Add a white solid to behind everything.&lt;/li&gt;&#xA;&lt;li&gt;Add an adjustment layer above all others and add a 'Levels' effect to it. &lt;/li&gt;&#xA;&lt;li&gt;Drag the lefthand slider until your blacks are nice and dark. &lt;/li&gt;&#xA;&lt;li&gt;Select all layers and precompose them by hitting control (command on Mac) + Shift + c. Name the layer 'Paint stroke matte'. &lt;/li&gt;&#xA;&lt;li&gt;Add another copy of the white solid layer below the precomp layer. &lt;/li&gt;&#xA;&lt;li&gt;Set it's track matte value to 'Luma Inverted Matte'. (This will set the whites of the layer above to transparent.)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OQeuH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OQeuH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;You can add a 'Fill' effect to the white solid layer to control the colour. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Here what mine ended up looking like (Fill set to red colour and black is transparent): &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mfdNW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mfdNW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2. Brush texture&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Create a new composition, sized 1920 x 1080 and name it 'Brush'&lt;/li&gt;&#xA;&lt;li&gt;Use the pen tool to create a shape layer that looks something like this: &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Cdupe.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Cdupe.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Add a 'fast box blur' effect and set the blur radius to 120. &lt;/li&gt;&#xA;&lt;li&gt;Create a new solid layer above and add a 'Fractal Noise' effect. &lt;/li&gt;&#xA;&lt;li&gt;Set the contrast to 350 and then unfold the Transform section. &lt;/li&gt;&#xA;&lt;li&gt;Click off 'Uniform Scaling' and set the Scale Width to 5000 and the Scale Height to 15.&lt;/li&gt;&#xA;&lt;li&gt;Prcompose this layer and name it 'Brush Map', then turn off its visibility.&lt;/li&gt;&#xA;&lt;li&gt;Add an adjustment layer between the two layers and add a 'Displacement Map' effect. Set the Displacement Map Layer to the Brush Map layer and set the Max Horiz Dist to 350 and the Max Vert Dist to 0.&lt;/li&gt;&#xA;&lt;li&gt;Select all layers and precompose them (Ctrl/Cmd + Shift + D). Name it 'Brush Texture'. &lt;/li&gt;&#xA;&lt;li&gt;Add another solid layer below the texture layer and set its Track Matte value to 'Alpha Matte'. &lt;/li&gt;&#xA;&lt;li&gt;Add an adjustment layer to the top and add a 'Roughen Edges' effect and set its scale to 25 (the effect scale, not the layer scale).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Hopefully now it looks something like this: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/c1Oc3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/c1Oc3.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Create another large comp at 3840 x 1080 and name it 'Brush on matte'.&lt;/li&gt;&#xA;&lt;li&gt;Drag in the 'Brush' composition, then add another solid (make sure it is 3840 x 1080 size). &lt;/li&gt;&#xA;&lt;li&gt;Set the solid layer's scale to 120, then drag it so the right side of the layer just covers the right side of the Brush Layer.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7NIPF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7NIPF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Parent the solid layer to the Brush layer. &lt;/li&gt;&#xA;&lt;li&gt;Keyframe the X-position of the Brush layer so that it goes from completely off screen on the left to completely covering the screen on the right over about half a second (or however long you want it to take). Should look something like this: &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Q5jFy.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Q5jFy.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;3. Putting it all together (Almost there)&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Add the 'Paint stroke' layer and the 'Brush on matte' to a 3840 x 1080 composition. Make sure they are in the same position and that the matte layer is on top. Name the comp 'Paint on'&lt;/li&gt;&#xA;&lt;li&gt;Parent the 'Brush on matte' layer to the 'Paint Stroke' layer, then set it's scale to [100, 60] (60% on Y only). &lt;/li&gt;&#xA;&lt;li&gt;Set the 'Paint stroke' layer's Track matte to 'Alpha Matte' &lt;/li&gt;&#xA;&lt;li&gt;Create one last 1920 x 1080 comp and add as many 'Paint on' comps as you want. Position, rotate and scale, until you are happy with the effect. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Here was my final product. Hope this helps someone. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Okv5L.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Okv5L.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27384" LastActivityDate="2020-01-17T05:18:21.560" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29323" PostTypeId="2" ParentId="26413" CreationDate="2020-01-17T05:41:27.367" Score="0" Body="&lt;p&gt;Unless I am mistaken, I believe what you are looking for is the presets. You can adjust all of the settings to be exactly how you want them, then click on the 'Save Preset' button located here: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eJBSb.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eJBSb.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then when you are in the Queue, you can select as many exports as you want and update the Preset dropdown and all of them will be exaclty as you wish. &lt;/p&gt;&#xA;" OwnerUserId="27384" LastActivityDate="2020-01-17T05:41:27.367" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29324" PostTypeId="2" ParentId="29098" CreationDate="2020-01-17T08:18:16.500" Score="0" Body="&lt;ul&gt;&#xA;&lt;li&gt;Press once the record button to start recording. Clap 3 to 5 times.&lt;/li&gt;&#xA;&lt;li&gt;Import both video and audio into Premiere.&lt;/li&gt;&#xA;&lt;li&gt;Align the peaks in the audio of when you were clapping.&lt;/li&gt;&#xA;&lt;li&gt;Once you've done that, mute the audio that comes with video, and only enable audio that you've recorded separately.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I've also paid $200 or so for pluraleyes.&#xA;The way you use this is that you drag and drop all your files into it's interface.&lt;/p&gt;&#xA;&lt;p&gt;Once you “synchronize”, press the export timeline button and export the XML file.   This file is essentially going to become your Premiere pro Project.&lt;/p&gt;&#xA;&lt;p&gt;Voila. Done deal! :)&lt;/p&gt;&#xA;" OwnerUserId="21435" LastEditorUserId="25579" LastEditDate="2021-02-15T12:03:35.497" LastActivityDate="2021-02-15T12:03:35.497" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29325" PostTypeId="1" CreationDate="2020-01-17T15:43:23.907" Score="1" ViewCount="75" Body="&lt;p&gt;I want to make video like this &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/c2nqEwuF9pI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;I am noob in video making...give some direction to start&lt;/p&gt;&#xA;" OwnerUserId="27396" LastEditorUserId="3592" LastEditDate="2020-01-19T22:01:21.210" LastActivityDate="2020-01-19T22:01:21.210" Title="How to make video with a scrolling graphic?" Tags="|video-editor|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29326" PostTypeId="2" ParentId="29325" CreationDate="2020-01-17T19:14:27.237" Score="4" Body="&lt;p&gt;You create the whole graphic as a still image - for the above, likely a 1080 x 28000 px image to start with. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I'd import the image into either Premiere or After Effects based on what you're more comfortable using. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you set a keyframe on the initial position of the graphic - then move the graphic horizontally to the left, all the way to the end, move your timeline to the end of the project and drop another keyframe for the ending position. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you'll likely have to tinker with the project length and keyframe positions to fine tune the timing of the virtual camera pan. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a ton of tutorials available to accomplish a simple task like animating an image: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/GR-bEGYi8D4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="23465" LastEditorUserId="23465" LastEditDate="2020-01-17T19:20:00.940" LastActivityDate="2020-01-17T19:20:00.940" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29327" PostTypeId="2" ParentId="29319" CreationDate="2020-01-17T22:32:07.930" Score="0" Body="&lt;p&gt;It looks like you machine might just be too slow to live render the effects. The red bar on your timeline is an indicator of that. Try selecting the clip in the timeline after you add the scale keys, then from the menu bar choose &lt;code&gt;Sequence &amp;gt; Render Selection&lt;/code&gt;. After that renders out, the red bar in the timeline should change to green, and you should be able to play the preview video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If rendering each effect before preview isn't an option, or is just too slow for you, you could also try changing the playback resolution in the Program monitor. That's the small fly-out menu under the main preview area that currently says &lt;code&gt;Full&lt;/code&gt;. You can change that to &lt;code&gt;1/2&lt;/code&gt; or &lt;code&gt;1/4&lt;/code&gt; and it can significantly improve the live render capability of your machine. Everything will look more pixelated during preview playback, but it won't affect the final exports. &#xA;&lt;a href=&quot;https://i.stack.imgur.com/fp2A5.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fp2A5.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27348" LastActivityDate="2020-01-17T22:32:07.930" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29328" PostTypeId="2" ParentId="29098" CreationDate="2020-01-17T23:05:29.737" Score="0" Body="&lt;p&gt;Recording hz doesn't really matter in this instance, but it's best if your sources match, so make sure they're both set to either 44.1 or 48. There is a built-in automated audio syncing option in Premiere, so it's very easy to sync when editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's your whole workflow:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Make sure you're recording audio on both interfaces, so both Audacity and your camera's built-in mic through OBS.&lt;/li&gt;&#xA;&lt;li&gt;Drag the OBS video and audio to the Premiere timeline.&lt;/li&gt;&#xA;&lt;li&gt;Drag the Audacity audio below the OBS audio on audio track 2.&lt;/li&gt;&#xA;&lt;li&gt;Select all of the imported audio in the timeline.&lt;/li&gt;&#xA;&lt;li&gt;Right-click and select &lt;code&gt;Synchronize&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Select the &lt;code&gt;Audio&lt;/code&gt; radio button and select &lt;code&gt;1&lt;/code&gt; in the &lt;code&gt;Track Channel&lt;/code&gt; fly-out menu. This will sync your audio.&lt;/li&gt;&#xA;&lt;li&gt;Either mute or delete the audio from the camera that you don't want and start editing.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/HXGqL.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HXGqL.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;One note, if you pause or take a break during your recording, do NOT pause Audacity. Just stop the recording and export a separate file for each stop/start. If you pause, additional audio will just be appended to the first part of your Audacity recording out of sync and you won't be able to sync in Premiere with this method. Additionally, Premiere only lets you sync one item on each track at a time, so if you end up with several recordings from audacity, you'll need to spread them across track 2, track 3 etc. for syncing. You can sync any number of tracks with this method.&lt;/p&gt;&#xA;" OwnerUserId="27348" LastActivityDate="2020-01-17T23:05:29.737" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29331" PostTypeId="1" AcceptedAnswerId="29332" CreationDate="2020-01-18T23:54:01.333" Score="0" ViewCount="50" Body="&lt;p&gt;I'm trying to record one take per day of someone reading a story in from of a camera in a vlog-like format, but I don't have a ton of time for post-production.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most advice articles on a vlog setup tend to make recommendations around either (a) quality or (b) budget. But what technical specifications and features (or brands) would you look for if you're creating a setup that seeks to reduce the time it takes to do various post-production activities. Namely:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;is there a microphone that eliminates pops and ambient noise automatically&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;is there a way to sync up audio and video automatically? Is the best solution here a USB mic? I know in the past USB mics have produced whirring sound?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;are there any more tips and tricks to time if you're doing a lot of recordings? Automated scripts, etc?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I still imagine some lightweight editing is needed, but otherwise I'm wondering how elegantly we can get from record to upload while still maintaining good video &amp;amp; audio quality.&lt;/p&gt;&#xA;" OwnerUserId="9279" LastActivityDate="2020-01-23T12:06:18.770" Title="Is there a microphone / video setup that requires little to no post-production?" Tags="|video|workflow|microphone|setup|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29332" PostTypeId="2" ParentId="29331" CreationDate="2020-01-19T01:07:46.710" Score="1" Body="&lt;p&gt;What I would do is concentrate on the setup in front of the camera, to make sure that what you're recording is the best quality it can be, in order to avoid the need for post.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Set up your lights so that you have good, soft-ish (no harsh shadows) lighting that is well colour balanced. A &lt;a href=&quot;https://en.wikipedia.org/wiki/Three-point_lighting&quot; rel=&quot;nofollow noreferrer&quot;&gt;3-point light&lt;/a&gt; setup is the standard way of lighting interview subjects, but you could also get away with a single keylight and reflector, or keylight, reflector and back light. A good simple portrait setup is detailed in &lt;a href=&quot;https://www.provideocoalition.com/the-simplest-interview-setup-ever-the-modern-update/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this very good tutorial&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pay attention to the background. A flat white wall is going to make the shot look flat and boring, but heaps of clutter could be distracting. Pay attention to the lighting levels—havign the background at the same exposure as the foreground may make your subject disappear, it can be good to slightly under-expose your BG. This is definitely not a rule; have a look at &lt;a href=&quot;https://www.youtube.com/watch?time_continue=40&amp;amp;v=55hmtuvnk10&quot; rel=&quot;nofollow noreferrer&quot;&gt;this reel&lt;/a&gt;, and pay attention to the backgrounds to get a good idea of how to do it right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check your white balance and exposure before shooting. Auto exposure may work, but it is usually better to use manual, to avoid it changing during the shot, or over-compensating for white or dark objects in the shot. Most cameras can do a custom balance off a white card held in the same position as your subject.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try and get the location as quiet and dead as possible. No mic will automatically eliminate background sound. Directional mics will limit the pickup pattern to a narrow beam, but low frequency rumble (e.g. street noise or wind noise) will still cut through. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The absolute best way to minimise background noise is to get the mic as close to the sound source as possible. Sound intensity falls off with the square of the distance, so going twice as far away means one quarter the intensity. So to get the most signal versus noise you want the mic to be close to the signal, and away from the noise. A boom mic (a micstand will do for a seated subject) is a good way to do this, because the head of the subject is usually near the to of the frame, meaning you can have the mic close to the top of the subject's head, and if it's directional, pointed at their mouth. Having the mic above the subject and away from their breath will help eliminate p-pops. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lapel mics are another way of getting the mic close to the subject, but can be affected by clothing noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By &quot;dead&quot;, I mean less reverberation. Don't record in a bathroom; a room with carpet, soft furniture and as few hard surfaces as possible will work best. A bedroom is actually pretty good usually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good cameras (including some better consumer grade cameras) will have an external mic input. This removes the need to synch audio and pictures in post. Then you can just use a standard analog mic with a cable; on a budget this will give you the best bang for your buck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have the subject well lit, with a good sound setup, and the camera correctly exposed and balanced you've eliminated a lot of post work. You could set up a standard grade if you want to tweak it more, eg. adding a LUT or a 'look' to make it really pop. If you keep your shoot settings the same, then you can just use the same grade each time, and still achieve great results.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-01-19T01:13:23.087" LastActivityDate="2020-01-19T01:13:23.087" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29333" PostTypeId="1" AcceptedAnswerId="29335" CreationDate="2020-01-19T02:28:42.740" Score="2" ViewCount="392" Body="&lt;p&gt;I'm a filmmaking student planning to shoot a shortfilm, I want to give it a special visual style that's why I will try to shoot it as if it were square aspect ratio, the problem is, since it's an independent project, my budget will only allow me to use cameras like Blackmagic Cinema Pocket or Sony Alpha A7 so, if any of you knows techniques or resources that could help on this task it would be very helpful for me.&lt;/p&gt;&#xA;" OwnerUserId="25700" LastActivityDate="2020-01-19T04:37:42.020" Title="Shooting in 4:3 Aspect Ratio" Tags="|editing|aspect|shooting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29334" PostTypeId="2" ParentId="29152" CreationDate="2020-01-19T03:43:36.683" Score="1" Body="&lt;p&gt;My DVB-T recordings always have this issue. Try MC-TVConverter2!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is a (old but still reliable) graphical interface for several video tools. Try converting your original ts recording(s) using the MPEG2 HQ setting - I've found this option to be more of a repair than a re-encode, as the conversion is quick and the resultant file size is very close to the original recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are numerous other conversion options, but the MPEG4 one takes a long time to re-encode, even with MPEG4 based ts files. It also has ad detection but I haven't tried it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You're unable to use an ntfs formatted drive for recording?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Report back on how you go!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://mctvconverter.vivolum.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://mctvconverter.vivolum.net/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27404" LastActivityDate="2020-01-19T03:43:36.683" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29335" PostTypeId="2" ParentId="29333" CreationDate="2020-01-19T04:37:42.020" Score="1" Body="&lt;p&gt;Use the frame guides built into whichever camera you use, and set the guides to 4:3.  Both cameras you mention have them.  When you're shooting, compose your image inside the frame guide.  The camera will record outside of that area, but when you edit, you'll crop the image back down to 4:3.  The extra pixels around the edges allow you to do things like; recompose if necessary, correct your horizon, add or remove lens distortion, add or remove camera shake, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't used the A7 enough to remember where the frame guides are in the menu structure (Sony menus are famously awful.  I still have nightmares about switching to/from HFR RAW on the FS700.), but on the BMPCC4K it's dead simple, just tap the reticle icon on the top left corner of the screen, and select 4:3 from the menu that appears, and flip the toggle on the bottom left to &quot;ON&quot;.  &lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-01-19T04:37:42.020" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29336" PostTypeId="2" ParentId="29310" CreationDate="2020-01-19T06:08:49.943" Score="0" Body="&lt;p&gt;Resolve already has a few built in.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &quot;Beauty&quot; plugin is what looking for, if you're trying to do what Photoshoppers sometimes call the &quot;frequency separation&quot; method of skin refinement.  It controls blur/sharpness based on different detail thresholds.  In Resolve, you'll want to select &quot;Advanced&quot; from the dropdown menu to get access to the Hi/Low rolloff sliders, although they have unusual names (&quot;Smoothing threshold&quot;, &quot;Diffuse Lighting&quot;, etc, which doesn't actually have anything to do with Lighting).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The image you posted looks like what &quot;Beauty&quot; does, but when you talk about Davinci's Midtone Detail slider, you're looking for something more like &quot;Contrast Pop.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Contrast Pop works similarly, but instead of letting you blur/sharpen based on a detail threshold, it lets you adjust midtone detail based on adjustable thresholds.  Again, the plugin name is bad, and I didn't discover it for a while because the name was so distasteful, but It's probably close to what you're looking for, and works well in conjunction with &quot;Beauty&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;De-flicker&quot; also lets you qualify the plugin's application based on a threshold, and then blends the image temporally, over a number of frames, in the chosen regions.  It uses optical flow motion estimation to set the threshold, however, and might not work exactly like you need, but it might be worth a shot, depending on what you're doing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Those are the three built-in ones that come to mind, and you could always roll your own, so to speak.  If you google &quot;frequency separation&quot; and watch some photoshop videos, the technique can be achieved with Resolve nodes fairly simply, and adapted however you see fit.  Once you've got a setup that works, save it as a &quot;power grade,&quot; and it'll be accessible from all of your new projects.  No need for a plugin.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-01-19T06:37:35.313" LastActivityDate="2020-01-19T06:37:35.313" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29337" PostTypeId="1" AcceptedAnswerId="32148" CreationDate="2020-01-19T13:16:57.740" Score="18" ViewCount="17217" Body="&lt;p&gt;I need to incorporate a small amount of 1080p HD shots in a 2160p 4K composition. I'm not impressed by default upscaling techniques like lanczos/bicubic/trilinear; it seems like my television does a better job of upscaling 1080p in real time. It may be time to learn some new tricks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The FFmpeg manual mention a technique called &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#sr&quot; rel=&quot;noreferrer&quot;&gt;Super Resolution&lt;/a&gt;, and it comes in two forms:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;SRCNN&lt;/code&gt;: Super-Resolution Convolutional Neural Network model&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ESPCN&lt;/code&gt;: Efficient Sub-Pixel Convolutional Neural Network model&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Usually I can find many online sources for figuring out how to do something with FFmpeg. But I can't seem to find any tutorials on how to use this. I don't really understand it. I need to train (how?) a model (from what?), or get a pre-trained model (where?). I'd like to know how to get from 1080p to 2160p using this technique, assuming I know nothing about it.&lt;/p&gt;&#xA;" OwnerUserId="27407" LastActivityDate="2021-04-05T19:13:18.717" Title="How do the super resolution filters in FFmpeg work?" Tags="|ffmpeg|scale|quality|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29339" PostTypeId="2" ParentId="29337" CreationDate="2020-01-19T21:13:14.923" Score="3" Body="&lt;p&gt;If all you need to do is superscale an image, going through the trouble of training neural networks is re-inventing the wheel.  By all means, if you're studying computer science and are interested in AI/ML, I'd encourage you to look into it, but to just superscale an image, you don't need to train a neural network.  There are tools available.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In DaVinci Resolve, for instance, all you need to do is right-click on a clip in the media pool, select &quot;clip attributes...,&quot; then at the bottom of the &quot;video&quot; tab, change &quot;Super Scale: None&quot; to 2x, 3x, or 4x.  I'm not sure if this feature is available in the free version, but I wouldn't be surprised if it is, because all they've done is integrated the open source ML bits of FFMPEG for you, trained the models for you, and bundled it as a feature.  I'm sure Adobe has an equivalent feature, though I haven't used it.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-01-19T21:13:14.923" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29340" PostTypeId="2" ParentId="29308" CreationDate="2020-01-19T21:45:50.640" Score="1" Body="&lt;p&gt;That particular menu is only available on the cut page, AFAIK.  The BMD website is referring to the fact that as of R16, projects can contain multiple timelines with &lt;em&gt;different&lt;/em&gt; resolutions.  In previous versions of Resolve, timeline resolution was set at the project level; you could have multiple timelines in a project, but they all had to be the &lt;em&gt;same&lt;/em&gt; resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if all you need is that little menu, here are the steps to find it: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Switch to the &quot;Cut&quot; page.  It's icon looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IxiMt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IxiMt.png&quot; alt=&quot;CutPageIcon&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then click on the Icon in the upper-right side of the screen that looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uG5jP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uG5jP.png&quot; alt=&quot;QuickExportIcon&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This little window is really just a shortcut, which sets a few things in the project settings to commonly used values.  To put it another way, changing the &quot;Timeline resolution&quot; dropdown menu in Project Settings-&gt;Master Settings (gear menu) to 1920x1080, 3840x2160, etc, does exactly the same thing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are a few other places in Resolve's interface where you'll find shortcuts to the project settings, but all the magic really happens under the gear icon.  For example, when you create a new timeline via File-&gt;New Timeline, then click the &quot;Custom Settings&quot; button, and switch to the &quot;Format&quot; tab, you'll get a dialoge that looks like this: &lt;a href=&quot;https://i.stack.imgur.com/dRpeb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dRpeb.png&quot; alt=&quot;NewTimelineCustomSettings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, these settings are just shortcuts to the main project settings, and you can change everything besides timeline framerate after the fact (which actually is possible, but that's another topic.  Best to just get it right the first time).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And just for good measure, here's a screenshot of the master &quot;Project Settings&quot;, which you'll find under the gear menu on the bottom right of the UI:  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ctsBt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ctsBt.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-01-19T21:52:19.027" LastActivityDate="2020-01-19T21:52:19.027" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29341" PostTypeId="1" CreationDate="2020-01-19T22:21:57.127" Score="-1" ViewCount="32" Body="&lt;p&gt;I’m new to video production so please help me to understand one thing that I can’t find out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some videos in 4k or even 1080p don’t have this effect when the picture is super real and some videos have it. I mean for example when I download film to my new 4K TV in 1080p it can be more cinematic and another film more like (60fps) I want to make clips and short films without this effect. I shoot on iPhone X. What adobe premier settings should I set for videos to have more cinematic picture then “super-real”.&#xA;Many thanks!!&lt;/p&gt;&#xA;" OwnerUserId="27410" LastActivityDate="2020-01-27T12:12:34.363" Title="How to make video without hd (60fps) effect in 4K" Tags="|premiere|filming|iphone|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29343" PostTypeId="1" AcceptedAnswerId="29348" CreationDate="2020-01-20T06:08:32.723" Score="2" ViewCount="594" Body="&lt;p&gt;I want to create a distortion effect around someone's head, kind of like what a swirly bokeh would do.  There are two different shots that I could find that use this effect in the film 'Midsommar', one in which there is a swirly distorted effect around a head, and another where general swirls around the screen appear.  While it looks like a keyframed liquify effect from PhotoShop, I'm not sure if it can be recreated in after effects.  How can I do this?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/8YlPr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8YlPr.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://giphy.com/gifs/a24-midsommar-QW3GavVLEeTa3Rpkx1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://giphy.com/gifs/a24-midsommar-QW3GavVLEeTa3Rpkx1&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26687" LastEditorUserId="26687" LastEditDate="2020-01-20T06:16:16.750" LastActivityDate="2020-02-26T23:23:17.253" Title="How can I recreate this distortion effect from Midsommar?" Tags="|video|premiere|after-effects|effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29344" PostTypeId="1" CreationDate="2020-01-20T14:33:51.047" Score="2" ViewCount="33" Body="&lt;p&gt;I am not sure if this is the right network to ask this question but it's the closest I could find.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An acquaintance of mine told me that, when he was a kid, they had some kind of content blocking system for VHS. The way that it worked was that it took the VHS signal and masked that with shapes of the content blocking system, thus blocking out offending images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So in a scene that contained e.g. graphic violence it would put black shapes over the parts of the image that contained the violence.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The purpose was that this would basically &quot;convert&quot; a movie intended for an older audience so that it was watchable by a younger audience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From what he recalls you would load the system with a VHS and a second media that contained the blocking shapes for this exact movie. He could not recall whether the blocking media was another VHS or some other kind of storage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This device was probably sold in the 90s in the USA.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried googleing for it, but I could not find it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone ever heard of something like this?&lt;/p&gt;&#xA;" OwnerUserId="27415" LastActivityDate="2020-01-20T14:33:51.047" Title="Name of old VHS content blocker device" Tags="|video|video-editor|vhs|analog|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29345" PostTypeId="2" ParentId="24634" CreationDate="2020-01-20T15:08:05.393" Score="0" Body="&lt;p&gt;A reinstall with the CC Cleaner could do the trick: &lt;a href=&quot;https://helpx.adobe.com/creative-cloud/kb/cc-cleaner-tool-installation-problems.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/creative-cloud/kb/cc-cleaner-tool-installation-problems.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27417" LastActivityDate="2020-01-20T15:08:05.393" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29346" PostTypeId="2" ParentId="28120" CreationDate="2020-01-20T15:48:25.907" Score="1" Body="&lt;p&gt;This might be a bit late but if it helps I've got a working PowerShell script that I use to create chapterized m4b files which I am assuming you are trying to do since you list m4b. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use the following command for mp3 format files &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i list.txt -vn -y -b:a 64k -acodec aac -ac 2 temp.m4a&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If its already in AAC format (MP4) it's even simpler&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i list.txt -c copy temp.m4a&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;list.txt is a simple list of all the files to combine into a single m4a, 1 file per line. I found this to work much better than trying to do it using INPUT and listing all the files on the command line. That method always seemed to break for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once this is done you can inject the chapters and rename to m4b all in a single command line. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;ffmetadata.txt&quot; -i &quot;temp.m4a&quot; -map_metadata 1 -codec copy &quot;$artist - $albumSanitized.m4b&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27416" LastActivityDate="2020-01-20T15:48:25.907" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29347" PostTypeId="1" CreationDate="2020-01-20T17:10:36.840" Score="1" ViewCount="168" Body="&lt;p&gt;We have recieved 2 video files:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;the video with the main character dancing in the middle&lt;/li&gt;&#xA;&lt;li&gt;an identical file in terms of the animation but the main character is in red, whilst everything else is black.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I imagine the latter is some kind of a mask.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What we would like to do is combine them, so you can only see the bits in file #1 that overlap the red bits, whilst ignore all the black?!?! eg. Just the dancing character that we can choose a different background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's like the hard bits been done, we just need to combine them.&#xA;We have the full adobe suite, but if someone could point us in the right direction?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We had a play, and added both assets in Premier, and as an example set the #2 file to multiply blend mode... It's the effect we want, but obviously the main character has a red overlay.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas would be much appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerDisplayName="Pete Norris" LastActivityDate="2020-01-21T01:45:26.650" Title="Combining a video and a masking video" Tags="|mask|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29348" PostTypeId="2" ParentId="29343" CreationDate="2020-01-21T00:54:25.677" Score="2" Body="&lt;p&gt;Without having seen the movie, it may be difficult to get it down exactly, but here is what I came up with. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Duplicate your layer twice, so that you have three copies.&lt;/li&gt;&#xA;&lt;li&gt;On the top layer mask out the person. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3Q7sM.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3Q7sM.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Set the mask feather to around 30px. &lt;/li&gt;&#xA;&lt;li&gt;Copy and paste the mask to the other two layers. &lt;/li&gt;&#xA;&lt;li&gt;On the middle layer, set the mask feather to 60 and the mask expansion to 60. (can be adjusted to suit).&lt;/li&gt;&#xA;&lt;li&gt;On the bottom layer, set the mask to subtract mode and add a 'Turbulent Displace' effect to the layer. &lt;/li&gt;&#xA;&lt;li&gt;Adjust the size to suit (I chose 30) and you can keyframe the 'Amount' to have it animate on or off. I also added the expression 'time * 500' to the 'Evolution' property to add some movement. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Here is what mine ended up looking like: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3soRF.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3soRF.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this is close to what you're after.&lt;/p&gt;&#xA;" OwnerUserId="27384" LastActivityDate="2020-01-21T00:54:25.677" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29349" PostTypeId="2" ParentId="29347" CreationDate="2020-01-21T01:40:57.690" Score="1" Body="&lt;p&gt;&lt;strong&gt;Method 1&lt;/strong&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/POpVH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/POpVH.png&quot; alt=&quot;Image of Premiere timeline with labeled clips.&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;In your timeline, stack the matte clip on top of the character clip and add the &lt;code&gt;Ultra Key&lt;/code&gt; effect to the matte with the red color as the key.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/f2glq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/f2glq.png&quot; alt=&quot;Image of Ultra Key effect with red color set as key.&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Nest those two clips, and place another &lt;code&gt;Ultra Key&lt;/code&gt; effect on the nest, this time keying the black.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/cRVOp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cRVOp.png&quot; alt=&quot;Image of Ultra Key effect with black color set as key.&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;You'll probably have to mess with the ultra key settings a bit (transparency, choke, and soften) for both applications, but after you've got that set you should have a masked clip ready to place on a new background.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Method 2&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's also a way to do this with the &lt;code&gt;Track Matte Key&lt;/code&gt; effect that yields slightly different results, you can decide which method works best for your matte.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;In your timeline, stack the matte clip on track 3, the character clip on track 2, and your new background on track 1. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5l8mf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5l8mf.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Add the &lt;code&gt;Luma Key&lt;/code&gt; effect to the matte.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/SWJ39.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SWJ39.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;Add the &lt;code&gt;Track Matte Key&lt;/code&gt; effect to the character clip with the &lt;code&gt;Matte&lt;/code&gt; set to &lt;code&gt;Video 3&lt;/code&gt; and &lt;code&gt;Composite Using&lt;/code&gt; set to &lt;code&gt;Matte Alpha&lt;/code&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/OGGBT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OGGBT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Adjust the &lt;code&gt;Threshold&lt;/code&gt; in the &lt;code&gt;Luma Key&lt;/code&gt; effect in the matte clip if the keyed content is transparent, or adjust the &lt;code&gt;Cutoff&lt;/code&gt; if you can still see the black.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/7y8vW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7y8vW.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I find that the first method gives more control over how the final key looks, but Ultra Key is a complicated tool and the second method is a little more straightforward.&lt;/p&gt;&#xA;" OwnerUserId="27348" LastActivityDate="2020-01-21T01:40:57.690" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29350" PostTypeId="2" ParentId="29347" CreationDate="2020-01-21T01:45:26.650" Score="1" Body="&lt;h2&gt;In Premiere&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;To avoid the trip to AE you can do it in Premiere, but it does increase the complexity of your timeline. You use the &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/add-track-matte-key.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Track Matte Key&lt;/a&gt; effect, plus a colour key effect. It's a little tricky, but here's the basic set-up:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;start with your three layers. On the bottom, the background that the dancing man is going to be in front of. Could be empty if you just want the infinite blackness of the Void. Above that, the dancing man, and above him the red/black matte layer.&lt;/li&gt;&#xA;&lt;li&gt;select the red/black matte layer and apply the &lt;strong&gt;Colour Key&lt;/strong&gt; effect (there seems to be a bug where it's spelled Color, but Adobe refuses to do anything about it). Use the eye-dropper to select the red colour of your matte. No, actually select the black of the outline. If you turn off the video 2 visibility at this point you should see a red man dancing in front of the bg.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zhOJX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zhOJX.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;select the dancing man clip and apply the &lt;strong&gt;Track Matte Key&lt;/strong&gt;. Set the &lt;strong&gt;Matte&lt;/strong&gt; source to Video 3, the layer with the red/black matte. Nothing will happen yet, patient you must be.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uBn99.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uBn99.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the Track Matte key applies the alpha of one layer to another layer, but it uses the alpha of the layer &lt;em&gt;before&lt;/em&gt; any effects are applied. To force it to use the alpha created by the colour key you have to &lt;em&gt;nest&lt;/em&gt; the layer with the colour key effect. Right click the red/black matte clip and choose &lt;strong&gt;Nest…&lt;/strong&gt;. This will create a sequence with just the red/black matte in it and replace the original clip with that sequence.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ldkUg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ldkUg.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At this point with all the layers visible you should see you dancing man over the background layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;hr&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;In After Effects&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;Another way is to put do step 1 above, and then select all the clips and choose &lt;strong&gt;Replace with After Effects Composition&lt;/strong&gt;. This will create an After Effects project with the 3 clips in it. In After effects you would create the composite thus:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;on the second layer (dancing man) you need to set a track matte. In the modes/switches panel (if it's not visible hit &lt;kbd&gt;f4&lt;/kbd&gt;) set the Track Matte to &lt;strong&gt;Alpha Matte&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/W02FD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/W02FD.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;now you need to create the transparency for the top layer. If the layer is CGI using the &lt;strong&gt;Set Channels&lt;/strong&gt; effect to use the red for the alpha. Set &lt;strong&gt;Source Layer 4&lt;/strong&gt; in the effect controls to the top layer; the red/green matte, and set &lt;strong&gt;Set Alpha to Source 4's&lt;/strong&gt; to &lt;strong&gt;Red&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/14PVG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/14PVG.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;since we're using the red as the alpha, we'll actually have to reverse the matte. On the second layer, change the track matte to &lt;strong&gt;Alpha Inverted&lt;/strong&gt; and now you should have a dancing man over the background.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You could also use any of AE's multiple colour key effects to create the transparency if the &lt;strong&gt;Set Channels&lt;/strong&gt; effect doesn't wotk. To name a few, there is a simple &lt;strong&gt;Colour Key&lt;/strong&gt; effect, a &lt;strong&gt;Colour Range&lt;/strong&gt;, a &lt;strong&gt;Linear Colour Key&lt;/strong&gt; and &lt;strong&gt;Keylight&lt;/strong&gt;, in rough order of complexity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0b1YT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0b1YT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-01-21T01:45:26.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29351" PostTypeId="1" CreationDate="2020-01-21T03:10:23.217" Score="0" ViewCount="128" Body="&lt;p&gt;I needed to correct video illumination and found an awesome filter  called &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#greyedge&quot; rel=&quot;nofollow noreferrer&quot;&gt;greyedge&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that when applying this filter to my videos it often produces black frames. So I've made a test to make it easy to explain my problem:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Take any png picture (I used one exported from my video - cut.png)&lt;/li&gt;&#xA;&lt;li&gt;Run &lt;code&gt;ffmpeg -y -i cut.png -vf greyedge=difford=1:minknorm=5:sigma=2 output.png&lt;/code&gt;. On a first run it will produce black pic, on a second run it may or may not produce proper pic. On a third run it will give me correct picture. If I wait for some time and run it again - it will again produce black pic.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Do you have any ideas why this might be happening? I'm suspecting some environment problem but maybe it's something known?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;----- added logs ------&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hey guys, yeah I understand it would work on your machines. It worked for me too, but then suddenly stopped. Here's the log (tried with my cut.mp4 file which worked well just a week ago):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.2.2 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with Apple clang version 11.0.0 (clang-1100.0.33.16)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/4.2.2 --enable-shared --enable-pthreads --enable-version3 --enable-avresample --cc=clang --host-cflags='-I/Library/Java/JavaVirtualMachines/adoptopenjdk-13.0.1.jdk/Contents/Home/include -I/Library/Java/JavaVirtualMachines/adoptopenjdk-13.0.1.jdk/Contents/Home/include/darwin -fno-stack-check' --host-ldflags= --enable-ffplay --enable-gnutls --enable-gpl --enable-libaom --enable-libbluray --enable-libmp3lame --enable-libopus --enable-librubberband --enable-libsnappy --enable-libtesseract --enable-libtheora --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-libxvid --enable-lzma --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librtmp --enable-libspeex --enable-libsoxr --enable-videotoolbox --disable-libjack --disable-indev=jack&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'cut.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 1&#xA;    compatible_brands: isommp41mp42&#xA;    creation_time   : 2020-01-12T01:16:55.000000Z&#xA;  Duration: 00:00:35.02, start: 0.000000, bitrate: 11644 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1920x1080, 9998 kb/s, 28.61 fps, 29.97 tbr, 90k tbn, 1411200000.00 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-01-12T01:16:55.000000Z&#xA;      handler_name    : Core Media Video&#xA;    Stream #0:1(und): Audio: aac (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 192 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-01-12T01:16:55.000000Z&#xA;      handler_name    : Core Media Audio&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[swscaler @ 0x107493000] No accelerated colorspace conversion found from yuv420p to gbrp.ed=N/A    &#xA;[libx264 @ 0x7ffc1180ac00] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x7ffc1180ac00] profile High, level 4.0&#xA;[libx264 @ 0x7ffc1180ac00] 264 - core 155 r2917 0a84d98 - H.264/MPEG-4 AVC codec - Copyleft 2003-2018 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'output.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 1&#xA;    compatible_brands: isommp41mp42&#xA;    encoder         : Lavf58.29.100&#xA;    Stream #0:0(und): Video: h264 (libx264) (avc1 / 0x31637661), yuv420p, 1920x1080, q=-1--1, 29.97 fps, 30k tbn, 29.97 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-01-12T01:16:55.000000Z&#xA;      handler_name    : Core Media Video&#xA;      encoder         : Lavc58.54.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-01-12T01:16:55.000000Z&#xA;      handler_name    : Core Media Audio&#xA;      encoder         : Lavc58.54.100 aac&#xA;frame= 1050 fps=1.3 q=-1.0 Lsize=     664kB time=00:00:35.03 bitrate= 155.2kbits/s dup=53 drop=0 speed=0.0419x    &#xA;video:75kB audio:550kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 6.241971%&#xA;[libx264 @ 0x7ffc1180ac00] frame I:5     Avg QP: 7.60  size:   424&#xA;[libx264 @ 0x7ffc1180ac00] frame P:265   Avg QP:10.09  size:    77&#xA;[libx264 @ 0x7ffc1180ac00] frame B:780   Avg QP:13.67  size:    69&#xA;[libx264 @ 0x7ffc1180ac00] consecutive B-frames:  1.0%  0.0%  0.0% 99.0%&#xA;[libx264 @ 0x7ffc1180ac00] mb I  I16..4: 100.0%  0.0%  0.0%&#xA;[libx264 @ 0x7ffc1180ac00] mb P  I16..4:  0.0%  0.0%  0.0%  P16..4:  0.0%  0.0%  0.0%  0.0%  0.0%    skip:100.0%&#xA;[libx264 @ 0x7ffc1180ac00] mb B  I16..4:  0.0%  0.0%  0.0%  B16..8:  0.0%  0.0%  0.0%  direct: 0.0%  skip:100.0%&#xA;[libx264 @ 0x7ffc1180ac00] 8x8 transform intra:0.0%&#xA;[libx264 @ 0x7ffc1180ac00] coded y,uvDC,uvAC intra: 0.0% 0.0% 0.0% inter: 0.0% 0.0% 0.0%&#xA;[libx264 @ 0x7ffc1180ac00] i16 v,h,dc,p: 99%  0%  1%  0%&#xA;[libx264 @ 0x7ffc1180ac00] i8c dc,h,v,p: 100%  0%  0%  0%&#xA;[libx264 @ 0x7ffc1180ac00] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0x7ffc1180ac00] kb/s:17.36&#xA;[aac @ 0x7ffc12807200] Qavg: 169.519&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27422" LastEditorUserId="27422" LastEditDate="2020-01-24T00:36:17.910" LastActivityDate="2020-10-17T10:21:28.057" Title="FFMPEG greyedge filter randomly produces black frames" Tags="|ffmpeg|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="29352" PostTypeId="2" ParentId="22121" CreationDate="2020-01-21T08:20:19.503" Score="0" Body="&lt;p&gt;This is the &lt;a href=&quot;https://video.stackexchange.com/users/1871/gyan&quot;&gt;Gyan&lt;/a&gt;'s solution, and it works:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ignore_editlist 1 -i input.mp4 -map_metadata -1 -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The important part here is the &lt;code&gt;-ignore_editlist 1&lt;/code&gt; option  (yet undocumented).&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;The reason is that the original video contains for its video stream an edit list (&lt;code&gt;elst&lt;/code&gt; box) with &lt;code&gt;entryCount&lt;/code&gt; value set to 2 (which is ignored by some media players — but not by FFmpeg, which interprets it as repeating the video stream twice).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;a href=&quot;https://video.stackexchange.com/users/1871/gyan&quot;&gt;Gyan&lt;/a&gt;'s explanation (see &lt;a href=&quot;https://trac.ffmpeg.org/ticket/8456&quot; rel=&quot;nofollow noreferrer&quot;&gt;ticket #8456&lt;/a&gt;):&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;The video stream in this file has an edit list that says that the video should be displayed twice. So actually looping the video is the correct behavior. But I think the file is actually invalid, as the duration of the track in the tkhd and the mdhd box both shows 6s, although it is double that after applying the edit list.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Note:&lt;/em&gt;&#xA; I tried several videos converted by Any Video Converter into the H.264 format (as input files), and the same problem occurred with most of them.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2020-01-21T09:58:52.290" LastActivityDate="2020-01-21T09:58:52.290" CommentCount="0" CommunityOwnedDate="2020-01-21T08:20:19.503" ContentLicense="CC BY-SA 4.0" />
  <row Id="29353" PostTypeId="1" CreationDate="2020-01-21T13:11:59.993" Score="1" ViewCount="342" Body="&lt;p&gt;I am trying to stream my Intel RealSense D435 RGB camera input to a multicast address on my network. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Please note, video streaming, encoding, is very new to me - I do not understand much, when explaining a solution, please give me a few extra details, thanks :)&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;My Hardware Setup:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Intel RealSense D435 (with USB Type-C connector)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Raspberry Pi 4 (4gb Ram) (the server)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;5G cabable Wifi router (mentioned for full details)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Firstly, what is the problem:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When attempting to stream my &lt;code&gt;/dev/video4&lt;/code&gt; (RBG input) to the network using (&lt;a href=&quot;https://pastebin.com/ddyCZZUD&quot; rel=&quot;nofollow noreferrer&quot;&gt;full output&lt;/a&gt;): &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f v4l2 -input_format yuyv422 -video_size 1280x720 -i /dev/video4 \&#xA;    -c:v h264_omx -pix_fmt yuv420p -s 1280x720 -r 30 -g 60 -f mpegts udp://238.0.0.1:5000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;then client side I try viewing the stream with VLC and ffplay.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;VLC &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;using VLC on a separate network client with network stream &lt;code&gt;udp://238.0.0.1:5000&lt;/code&gt; loads infinitely with no picture (&lt;em&gt;I tried streaming to locahost on the pi, and on localhost with &lt;code&gt;udp://127.0.0.1: 5000&lt;/code&gt; ffmpeg stream did not show either&lt;/em&gt;).&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;FFPlay&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;FFPlay stream was detected on a separate network client, but gives the &lt;a href=&quot;https://pastebin.com/bthJZdqd&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; error output when using &lt;code&gt;ffplay udp://238.0.0.1:5000&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Why am I using &lt;code&gt;h264_omx&lt;/code&gt;?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Raspberry Pis have a hardware encoding ability, and hoping to take advantage of this, I configured ffmpeg with  &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  --enable-omx \&#xA;  --enable-mmal \&#xA;  --enable-omx-rpi \&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://pastebin.com/ci3KVqRc&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; (all commands uncommented) is the setup script I used, adapted from &lt;a href=&quot;https://retroresolution.com/compiling-ffmpeg-from-source-code-all-in-one-script/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Was I able to get a picture through the network&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Yes&lt;/strong&gt;, but there were problems. The video was very very choppy and extremely bad quality. To get this, I used the same &lt;code&gt;ffplay&lt;/code&gt; command as mentioned above on a separate network client and the server command used was with the SW encoder &lt;code&gt;libx264&lt;/code&gt; (&lt;a href=&quot;https://pastebin.com/fFSB97Ar&quot; rel=&quot;nofollow noreferrer&quot;&gt;server full output&lt;/a&gt;) and (&lt;a href=&quot;https://pastebin.com/F4yy9tY2&quot; rel=&quot;nofollow noreferrer&quot;&gt;client full output&lt;/a&gt;):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f v4l2 -input_format yuyv422 -video_size 1280x720 -i /dev/video4 -c:v libx264 \&#xA;    -pix_fmt yuv420p -s 1280x720 -r 30 -g 60 -f mpegts udp://238.0.0.1:5000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;what really bothered me about this is I had waited 25s after firing up both client and server to get a picture with the above command.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Further, and &lt;strong&gt;this is a major issue I have experienced so far&lt;/strong&gt;, I have a 5-7s delay on my stream — I understand that hd encoding may help and network propagation takes time, but on a small 5G network I should not have to wait 7s for a bad quality (almost 144p @ 5-10fps) video stream&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Diagnosing this issue on IRC, I was asked to provide the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;ffmpeg -f v4l2 -list_formats all -i /dev/video4&lt;/code&gt; &lt;a href=&quot;https://pastebin.com/GQWgEmNm&quot; rel=&quot;nofollow noreferrer&quot;&gt;result&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;v4l2-ctl --list-devices&lt;/code&gt; &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;pi@raspberrypi:~ $ v4l2-ctl --list-devices&#xA;bcm2835-codec-decode (platform:bcm2835-codec):&#xA;    /dev/video10&#xA;    /dev/video11&#xA;    /dev/video12&#xA;&#xA;Intel(R) RealSense(TM) Depth Ca (usb-0000:01:00.0-2):&#xA;    /dev/video0&#xA;    /dev/video1&#xA;    /dev/video2&#xA;    /dev/video3&#xA;    /dev/video4&#xA;    /dev/video5&#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;v4l2-ctl --list-formats&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;pi@raspberrypi:~ $ v4l2-ctl --list-formats&#xA;ioctl: VIDIOC_ENUM_FMT&#xA;    Type: Video Capture&#xA;&#xA;    [0]: 'Z16 ' (16-bit Depth)&#xA;    [1]: '' (00000050-0000-0010-8000-00aa003)&#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;ffmpeg -encoders | grep h264&lt;/code&gt; &lt;a href=&quot;https://pastebin.com/yQ1V5Yug&quot; rel=&quot;nofollow noreferrer&quot;&gt;full output&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; V..... libx264              libx264 H.264 / AVC / MPEG-4 AVC / MPEG-4 part 10 (codec h264)&#xA; V..... libx264rgb           libx264 H.264 / AVC / MPEG-4 AVC / MPEG-4 part 10 RGB (codec h264)&#xA; V..... h264_omx             OpenMAX IL H.264 video encoder (codec h264)&#xA; V..... h264_v4l2m2m         V4L2 mem2mem H.264 encoder wrapper (codec h264)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;V..... h264_vaapi           H.264/AVC (VAAPI) (codec h264)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;ffmpeg -encoders | grep h264&lt;/code&gt; &lt;a href=&quot;https://pastebin.com/cBaPVk7N&quot; rel=&quot;nofollow noreferrer&quot;&gt;full output&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; VFS..D h264                 H.264 / AVC / MPEG-4 AVC / MPEG-4 part 10&#xA; V..... h264_v4l2m2m         V4L2 mem2mem H.264 decoder wrapper (codec h264)&#xA; V..... h264_mmal            h264 (mmal) (codec h264)&#xA;&lt;/code&gt;&lt;/pre&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;What is preventing me from getting a good quality 720p image over the network, and what causes this 5-7s delay (even after adding -g 60 as mentioned &lt;a href=&quot;https://superuser.com/questions/1518680/stream-intel-realsense-camera-feed-to-networking-using-raspberry-pi-4-with-ffmpe?noredirect=1#comment2299353_1518680&quot;&gt;here&lt;/a&gt;)&lt;/p&gt;&#xA;" OwnerUserId="27427" LastEditorUserId="18155" LastEditDate="2020-01-21T23:46:05.067" LastActivityDate="2020-01-21T23:46:05.067" Title="Streaming 720p @ 30fps over 5G wifi to multicast with FFMpeg has terribly bad quality" Tags="|video|ffmpeg|streaming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29355" PostTypeId="1" CreationDate="2020-01-21T20:36:35.217" Score="0" ViewCount="568" Body="&lt;p&gt;I've gotten a bit stuck on a manipulation that I am trying to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a 1920×1080 video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to resize it to 1920×886, while keeping its aspect ratio, so it should add bars to the left and right. I'd like to specify the HEX color code of the side bars (&lt;code&gt;#CFD3DA&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've combined several answers to compose the following command, but it is unfortunately broken:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf scale=1920:886:force_original_aspect_ratio=decrease,pad=1920:886:(ow-iw)/2:(oh-ih)/2:#CFD3DA@1,setsar=1 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27430" LastEditorUserId="18155" LastEditDate="2020-01-21T23:47:36.983" LastActivityDate="2020-01-21T23:47:36.983" Title="FFMPEG Convert video from while adding left/right bars with a specific color" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29356" PostTypeId="2" ParentId="29355" CreationDate="2020-01-21T20:45:18.290" Score="1" Body="&lt;p&gt;Was not too far!&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf &quot;scale=1920:886:force_original_aspect_ratio=decrease,pad=1920:886:(ow-iw)/2:(oh-ih)/2:#CFD3DA@1&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27430" LastActivityDate="2020-01-21T20:45:18.290" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29358" PostTypeId="1" CreationDate="2020-01-22T01:27:29.533" Score="2" ViewCount="36" Body="&lt;p&gt;I have a 300' ascent with a drone looking at 2 actors lying on the ground. The drone does a bit of drifting and rotating on the way up. I want to stabilize the whole shot to be rock solid. If I use point trackers in AE starting from the first frame, then by the time it gets to the top, the points are very close together, resulting in inaccurate tracking. Can I add points on the way up? Or expand the distance between the points on the way up? Is there a better way? Or am I asking too much? Cheers&lt;/p&gt;&#xA;" OwnerUserId="27431" LastActivityDate="2020-02-27T17:01:35.163" Title="Stabilize a really big drone ascent" Tags="|after-effects|stabilisation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29359" PostTypeId="2" ParentId="24518" CreationDate="2020-01-22T12:24:01.447" Score="1" Body="&lt;p&gt;As far as I can remember Hanna Barbara was not even on 2s!  They would hold frames for seconds at a time.  I often felt cheated on the hair bear bunch.&lt;/p&gt;&#xA;" OwnerUserId="27435" LastEditorUserId="18155" LastEditDate="2020-01-22T17:07:32.550" LastActivityDate="2020-01-22T17:07:32.550" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29360" PostTypeId="1" AcceptedAnswerId="29361" CreationDate="2020-01-22T14:01:41.877" Score="2" ViewCount="3229" Body="&lt;p&gt;I'm doing some editing and I'm trying to render my video but regardless of the output format what gets rendered is just a white screen, still video with the length of my project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using &#xA;Kdenlive&#xA;Version 19.08.2&#xA;on Ubuntu 18.04&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps there is already a solution to this problem but I'm having a really hard time finding the correct wording to look up..&lt;/p&gt;&#xA;" OwnerUserId="27436" LastEditorUserId="27436" LastEditDate="2020-01-22T18:07:35.167" LastActivityDate="2022-07-26T13:52:05.947" Title="Kdenlive rendering problem - white video" Tags="|kdenlive|render|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29361" PostTypeId="2" ParentId="29360" CreationDate="2020-01-22T18:07:15.653" Score="2" Body="&lt;p&gt;Apparently the problem was that my video sources contained spaces in their names i.e.&lt;br&gt;&#xA;&quot;My Video.mp4&quot;. Once I removed all spaces from the filenames it started rendering normally.&lt;/p&gt;&#xA;" OwnerUserId="27436" LastActivityDate="2020-01-22T18:07:15.653" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29363" PostTypeId="2" ParentId="29331" CreationDate="2020-01-23T12:06:18.770" Score="1" Body="&lt;p&gt;First, have your subject(s) rehearse the heck out of their presentation if that is practical. If  you have access to a Mac, place it near a wall, preferably white. Bounce a cheap lamp off the wall to give your subject soft diffused light, and record using Quicktime (it's free). You can do quick edits right inside Quicktime if you need to.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Dave Shaheen&#xA;Methuen MA&lt;/p&gt;&#xA;" OwnerUserId="27428" LastActivityDate="2020-01-23T12:06:18.770" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29364" PostTypeId="1" CreationDate="2020-01-23T13:00:09.307" Score="1" ViewCount="219" Body="&lt;p&gt;I was following the steps mentioned in an answer about adding blur to text from &lt;a href=&quot;https://video.stackexchange.com/a/22452/27444&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything worked fine but Step 10 caused a weird artifact to the text in the compound clip. The step says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;wire the RGB output of node 02 into the master RGB output&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Here's how the current node structure looks after doing everything. Notice how the text looks weirdly bold.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sgpzW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sgpzW.jpg&quot; alt=&quot;Artifact in text&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is how it looks if I skip Step 10:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OhR75.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OhR75.jpg&quot; alt=&quot;Without step 10&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What is creating this and how to fix it? Any other way of adding animated blur to text?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="27444" LastActivityDate="2020-01-23T13:00:09.307" Title="DaVinci Resolve 16 node causing weird artififact to text" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29365" PostTypeId="1" AcceptedAnswerId="29370" CreationDate="2020-01-23T15:53:53.190" Score="0" ViewCount="37" Body="&lt;p&gt;Say I want to create several short clips with the original encoding of a certain camera. Do I have to shoot the short clips directly or can I shoot a long clip and then cut it up using ffmpeg with the appropriate options?&lt;/p&gt;&#xA;" OwnerUserId="27446" LastActivityDate="2020-01-23T19:28:13.887" Title="Shooting short clips vs. cutting long clips" Tags="|ffmpeg|codec|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29366" PostTypeId="2" ParentId="18746" CreationDate="2020-01-23T16:30:39.167" Score="0" Body="&lt;p&gt;here's what worked for me.&#xA;Go to the layers,&#xA;Right click on the static image/file,&#xA;Click on time remap,&#xA;and you should be able to extend the duration of the fixed image!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="27447" LastActivityDate="2020-01-23T16:30:39.167" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29369" PostTypeId="1" CreationDate="2020-01-23T18:32:17.317" Score="0" ViewCount="564" Body="&lt;p&gt;In after effects, one of my compesitions is comprised soley of static images, vectors, solids, and other non-movie footage. One such static image layer lasts from frame 0 for 100 frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another user has edited this file while i was away, and amongst these edits they changed the framerate for this compesition and managed to change the static image's lifetime in a funky way. It was still 100 frames long, and started at frame 0 on the compesition, but it some odd things had happened to it at the layer instance level.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that the static image has been given start time offset, and when I try and rectify this using the layer preview of said solid image, I can't set the cursor, in-point or out-point to a solid frame. When if scrub through the timeline I find myself always in-between frame markers; the cursor simply will not sit dead on frame 0 and will either snap to (aproximately) frame 0.125 or frame -0.625. The snap seems to be offset +0.125 frames and jumps in 0.5 frame ammounts.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The lifetime of the image as seen in the layer preview:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/6D5J8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6D5J8.png&quot; alt=&quot;Image lifetime&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A close up of the timeline showing that the cursor is in-between frames:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/eUJJ8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eUJJ8.png&quot; alt=&quot;An oddly ofset frame cursor&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suspect it was due to the fps change, but that actually needs to stay as it is, so I need to rectify this issue without changing that. How can i fix this odd frame snap and snap offset?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This may ultimiately seem like a non-issue for many, but for us it's a breaking problem, as it's causing funky things to happen with one of our plugins, so any help rectifying this would be apprecated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's probably worth noting that my After Effects (along with my animation and movie editing knowledge in general) is very beginner. I'm at home in Photoshop, but I've been required to use After effects for my current project, so the fix may be simple, but i must be using a wrong keyword somewhere as I'm finding nothing remotely close to this when i search.&lt;/p&gt;&#xA;" OwnerUserId="27450" LastActivityDate="2024-04-04T21:02:40.307" Title="Adobe After Effects - Why is my position marker not set to a frame?" Tags="|after-effects|framerate|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29370" PostTypeId="2" ParentId="29365" CreationDate="2020-01-23T19:28:13.887" Score="2" Body="&lt;p&gt;You can do either method.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Short clips&lt;/h1&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Take up less file space.&lt;/li&gt;&#xA;&lt;li&gt;Files are already cut.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h1&gt;Long continuous shot&lt;/h1&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Easier method when shooting, but more work in post.&lt;/li&gt;&#xA;&lt;li&gt;Easier to sync a continuous audio stream such as from an external mic.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-01-23T19:28:13.887" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29371" PostTypeId="1" CreationDate="2020-01-23T23:31:12.903" Score="0" ViewCount="1284" Body="&lt;p&gt;I have a couple of questions regarding intra-frame codecs for editing purposes (in Premiere Pro).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE (01/24/20). More details of the original issue after this&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I seem to have encountered a dead end. While transcoding I noticed that the source file was tv, bt2020nc/bt2020/smpte2084 (I mean range, space, etc.), and when trying to transcode with the command specified down below (after this UPDATE) FFmpeg didn't say anything about those settings. I started to do some test giving FFmpeg input and output commands (-color_space 1, -color_trc 16, -colorspace 9, etc), and now it started to show the correct values while transcoding (bt2020nc...).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command line for that test was:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -color_range 1 -color_primaries 9 -colorspace 9 -color_trc 16 -channel_layout 63 -i input.mkv -map 0:0 -c:v dnxhd -profile:v dnxhr_444 -pix_fmt yuv444p10le -color_range 1 -color_primaries 9 -colorspace 9 -color_trc 16 -acodec pcm_s24le -ar 48000 -ac 6 -channel_layout 63 -map 0:2 -hide_banner output.mxf&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I read that those commands only add the flags to the container, but doesn't transcode or do anything to the stream itself. Like I said, while transcoding with that command line it said yuv444p10le (tv /bt2020nc,bt2020,smpte2084), the same as the source file, but when running FFprobe it still says yuv444p10le(bt709/unknown/unknown, progressive). The rest is fine (correct DNxHR profile, fps, resolution).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My guess was that those commands were only adding flags that maybe FFprobe and players don't actually read or use (the videos still look very different from the original footage), so I added a command using colorspace filter for actual conversion:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -color_range 1 -color_primaries 9 -colorspace 9 -color_trc 16 -channel_layout 63 -i input.mkv -map 0:0 -c:v dnxhd -vf format=yuv420p10le,colorspace=all=bt2020:trc=smpte2084:range=tv:primaries=bt2020:space=bt2020ncl -profile:v dnxhr_444 -pix_fmt yuv444p10le -color_range 1 -color_primaries 9 -colorspace 9 -color_trc 16 -acodec pcm_s24le -ar 48000 -ac 6 -channel_layout 63 -map 0:2 -hide_banner output.mxf&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With that, I couldn't make past the initial checks because it says &quot;unsupported input transfer characteristics 16 (smpte2084). No matter what I do with the colorspace filter, the output is always the same. The same happens if I delete the &quot;trc=smpte2084&quot; line. Anyway, that's the only error message I'm getting now, but seems like a dead end if it's not supported. And if I don't use the colorspace filter and only the flags (-color_trc...), it transcodes without issues, but FFprobe says it's BT709 (and behaves like a BT709 video while comparing it to the original footage using VLC).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;QUESTIONS:&lt;/strong&gt; Is SMPTE2084 really unsupported? Any workaround for this? Is it really possible to have BT2020 and true HDR with DNxHR 444 10 bits in a MXF container using FFmpeg? If not, any suggestions? Already tried with Adobe Media Encoder 2020, same results, but you don't have much settings to tweak there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;INITIAL ISSUE:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;A LITTLE CONTEXT:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I ripped a HDR movie to a MP4 container some months ago, using H.264 as codec (high 10, level 5, UHD, YUV, subsampling 4:2:0). The video looks great, as it should. Now I want to edit a trailer for that movie (I edit in Adobe Premiere Pro, current version), and for fast playback I need to work with proxies or transcode the source file to an intra-frame non long GOP file and use it as the source file (hopefully as lossless as that transcoding step can be). I tried for several days to transcode the source file to DNxHR 444 10 bits (using FFmpeg and then Adobe Media Encoder), but the result was always a video with the colors messed up (sometimes very washed out, sometimes over saturated).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFprobe of the resulting DNxHR file said that the color space was BT709 (source file is obviously BT2020), and I don't know why. The transcoding involved upsampling since the source file is 4:2:0 and DNxHR doesn't support it, but I tried upsampling to 4:4:4 and also to 4:2:2, and both of those files looked exactly the same to me, and very different from the original footage (so, I don't think upsampling is the cause of the color issue, but maybe the apparent color space change or something wrong with the metadata). The results were the same when transcoding with Adobe Media Encoder. Anyway, I seem to have given up transcoding to DNxHR and use it as the source file, unless someone has an idea of what's causing this problem. I could have worked with the source file for exporting and DNxHR LB for proxies, but there were sync issues (between source file and proxy) that defeated all purposes while editing. Prores is out of the picture, sync issues were worse (several seconds of delay).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the record, the command used that didn't work as expected (color wise) is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -channel_layout 63 -i input.mkv -map 0:0 -c:v dnxhd -vf &quot;scale=in_range=limited:out_range=full&quot; -color_range 2 -profile:v dnxhr_444 -pix_fmt yuv444p10le -acodec pcm_s24le -ar 48000 -ac 6 -channel_layout 63 -map 0:2 -hide_banner output.mxf&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also tried without the commands &quot;scale=in_range=limited:out_range=full&quot; and &quot;-color_range 2&quot;, with same results. Always used FFmpeg latest version, and I'm working in Windows 10 Pro, latest drivers and latest Klite codec pack. Video files were compared with Mediainfo, FFprobe, and visually with VLC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Well, like I said, I'm giving up using DNxHR as the source file for my project (it would have been ideal since it doesn't have sync issues with the DNxHR proxies, and file size is not a problem for me). A user here at the forums suggested transcoding and use H.264 intra-frame as source file, which I didn't know was an option (I didn't know H.264 was capable of intra-frame, my bad). I'm aware that one should avoid unnecesary transcoding steps, but I can't work with a H.264 UHD HDR source file (ultra slow playback), and the sync issues with proxies, no matter the codec, make it impossible to make accurate cuts. So, bottom line, I need to find a way to fix the color issue when transcoding to DNxHR, or try with an inter-frame codec that's not DNxHR and that's capable of preserving all the HDR info (and then see if it doesn't have sync issues. I'm assuming that those may dissapear when using intra-frame for both source file and proxies).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;NOTE:&lt;/strong&gt; When importing the DNxHR 444 file to Premiere Pro and looking at the Lumetri scopes tab, you can tell that the colors are clipped at 100 nits, like a regular SDR video. So apparently the color space was really reduced to BT709, and I don't know why. The H.264 source file behaves as expected, with colors going past 100 nits.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;MY QUESTIONS:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Is H.264 intra-frame a good format for editing with a good playback performance?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) If H.264 intra-frame is a good option, what would be the advantages of the DNxHR codec (or Prores) over it for editing purposes? Everybody suggests DNxHD/DNxHR or Prores as intermediate codecs, but if intra-frame H.264 has the same advantages for editing and supports HDR, what would be the reason to choose another codec like DNxHR?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Any ideas on what could be the cause of the colors not transcoding correctly from the H.264 source file to the DNxHR 444 10 bits one? The command looks ok to me, but FFprobe output says the DNxHR video is BT709, while with the source file it says BT2020. Like I said, apparently there's something wrong with the transcoding process regarding metadata or color space.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) I haven't tried to transcode the source file to a DNxHR 444 10 bits video file, but in a MOV container. I don't know how this works internally, but maybe the color issue has something to do with the container metadata or something. I may try this if there's not another suggestion (transcoding this kind of files, as you know, takes time, so I'll wait for some ideas first).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;NOTE:&lt;/strong&gt; I tried to transcode the source file in the same way (DNxHR 444, 10 bits, etc) with Adobe Media Encoder 2020 and the result was the same, with colors messed up and FFprobe saying the video is BT709. Also tried transcoding to DNxHR HQX profile (10 bits), same result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be greatly appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="27378" LastEditorUserId="27378" LastEditDate="2020-01-24T11:41:42.527" LastActivityDate="2020-01-24T11:41:42.527" Title="FFmpeg: DNxHR 444 10 bits transcoding issue (HDR project). SMPTE2084 unsupported?" Tags="|ffmpeg|h.264|transcoding|hdr|dnxhr|" AnswerCount="0" CommentCount="12" ContentLicense="CC BY-SA 4.0" />
  <row Id="29372" PostTypeId="1" AcceptedAnswerId="29373" CreationDate="2020-01-24T17:46:20.583" Score="0" ViewCount="18" Body="&lt;p&gt;I am working on a project in Premiere Pro and one scene calls for a collage of logos to be visible one-at-a-time until the whole collage is filled. I felt that a 2-second delay was the most appropriate setting to give viewers enough time to actually identify the logos. The client did not object to this design decision, but asked me what the &quot;industry standard&quot; is. I admit, I have never heard of any standard for this, or even if there is one. I did the typical internet scouring - nothing other than opinions with no underlying support. So I put the question to you knowledgeable folks. Does anybody have any references or professional discussions you can share?&lt;/p&gt;&#xA;" OwnerUserId="27455" LastActivityDate="2020-01-24T18:29:59.640" Title="Collage elements appearing one-by-one" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29373" PostTypeId="2" ParentId="29372" CreationDate="2020-01-24T18:08:01.017" Score="1" Body="&lt;p&gt;There's not an industry standard, but two seconds is too long for logos.  If it were a sentence of text, then maybe, depending on how long of a sentence.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A colleague of mine once told me that you should keep text on screen for long enough for you to read aloud, backwards, one word at a time.  So, if you put, &quot;The quick brown fox jumped over the two lazy dogs&quot; on screen, you'd read: &quot;dogs-lazy-two-the-over-jumped-fox-brown-quick-the&quot; aloud, and it should take about as long as the text is on screen.  I can do that in under two seconds.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Logos are specifically designed to be identifiable by a quick glance, plus, you're talking about popping up a tile, and leaving it up, correct?  If you weren't, and each logo disappeared before the next one came up, I'd say 15 frames might be too long.  If each logo is readable after the next one pops up, you might not pause at all, depending on how they're animated, how simple/complex they are, how busy your other layout is, etc -- but I'd experiment with between 1-5 frames.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;People's attention spans are shorter and shorter every day.  Cuts in movies and online videos are faster and faster every day.  Your audience is very good at identifying new information quickly.  Don't sell them short.  They'll get bored and watch something else.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, when a client asks for a video or video element of length X, the first revision you show them should be X/Y units of time, where Y is a positive integer, which increases the less your client knows about video.  For the average person, I'd put Y at about 3.  So, the first version I show a random person should be about 1/3 the length they'd requested (It's probably smart to let them know up front, though.)  In cases where the time is fixed, like music videos, or commercials, substitute time-of-effort for video duration.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-01-24T18:29:59.640" LastActivityDate="2020-01-24T18:29:59.640" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29374" PostTypeId="2" ParentId="28959" CreationDate="2020-01-24T23:16:09.483" Score="2" Body="&lt;p&gt;A couple of ways you can do this.  My faforite is groups.  In the color page, do this:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Shift click all of the clips you want to color correct at the same time.  You can limit the clips shown on the color page to a single track by disabling the video tracks on either the color page or the edit page.&lt;/li&gt;&#xA;&lt;li&gt;Right-click on any of the now selected clips to bring up a contextual menu.&lt;/li&gt;&#xA;&lt;li&gt;Choose &quot;Add into a new group&quot; from the menu.&lt;/li&gt;&#xA;&lt;li&gt;Click the disclosure triangle next to the word &quot;Clip&quot; above the node viewer.&lt;/li&gt;&#xA;&lt;li&gt;Select either &quot;group pre-clip&quot; or &quot;group post-clip&quot; from the dropdown.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;You'll now notice green chain link icons across all of the clips you have grouped together.  When you grade one, it will grade all of the other ones that are linked.  Additionally, If you switch the node viewer back to &quot;clip,&quot; you can stack additional corrections on your group corrections.  The order of operations depends on whether you used &quot;pre&quot; or &quot;post&quot; and you can always do both.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I might, for example, do a basic first pass in group-pre, matching all of the cameras' white balance, exposure, and look.  Then, once everything matches, move clip-by clip in &quot;clip&quot; view, making individual adjustments on a case-by-case basis.  Then, I might use &quot;group-post&quot; if I notice all of the grouped cameras still need a group-based adjustment, perhaps to un-distort a lens, for example.  Finally, you can use &quot;Timeline&quot; view in the node viewer to apply an overall grade to the whole timeline, which is useful for &quot;legalizing&quot; the whole program; making sure the waveform and vector scopes stay within range for the whole show.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The group method is good, because while you can restrict a group correction to a particular track, or a particular camera, you don't have to, and a clip can belong to multiple groups.  So, for example, if I'm using two different cameras, the cameras have different looks AND interchangeable lenses; if the cam-ops swap lenses during the shoot, I can have a group for cameras, and a group for lenses.  I can then match the color of the cameras to each other in the camera group, then match the distortion in the lens group, and it doesn't matter that the cam-ops swapped lenses.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another, perhaps less complicated method is to:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Grade your clip.&lt;/li&gt;&#xA;&lt;li&gt;Switch to the edit page.&lt;/li&gt;&#xA;&lt;li&gt;Copy your clip&lt;/li&gt;&#xA;&lt;li&gt;Select all of the clips that you want to bestow the first clip's correction upon.&lt;/li&gt;&#xA;&lt;li&gt;Paste Attributes (alt/option-v).  Under the Video section, make sure &quot;Color Correction&quot; is checked, and unless you want to affect other elements of the target clips, make sure all of the other boxes are unchecked.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-01-24T23:32:34.013" LastActivityDate="2020-01-24T23:32:34.013" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29375" PostTypeId="1" CreationDate="2020-01-25T05:31:51.500" Score="1" ViewCount="1889" Body="&lt;p&gt;I am bash user and I want to loop all videos from folder to rtmp, one video at a time. I am facing issue of stream stop after a 1st video finished  I need continuous rtmp after finished 1st video and jump to next video. I am using following codes:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for j in *.mp4;&#xA;    do&#xA;        ffmpeg -threads 2 -re -fflags +genpts  -i $j -i '/c/Users/user/Desktop/ffmpeg_logo/mylogo.png' -filter_complex 'overlay=W-w-50:H-h-25' -ac 2 -f flv -vcodec libx264 -profile:v baseline -b:v 2000k -maxrate 2000k -bufsize 2000k -r 24 -ar 44100 -g 48 -c:a aac -b:a 64k  &quot;rtmp://user:passwd@ip:1935/live/mystream&quot;  &#xA;&#xA;    done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27456" LastEditorUserId="18155" LastEditDate="2020-01-27T09:07:19.537" LastActivityDate="2020-01-27T09:07:19.537" Title="loop all videos from folder to rtmp stream" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29377" PostTypeId="1" CreationDate="2020-01-25T14:28:05.200" Score="1" ViewCount="41" Body="&lt;p&gt;I'll try to explain a little bit more in-depth, I'm making a set of animations for a website and the client essentially wants a preview of how each element reacts to each other as you're scrolling down the page. I have no experience with website development and that is fine for this job, as all im doing is setting up an interactive preview for the developer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I've parented all the elements to a Null object and the Y position value of that null to slider controls and so far so good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now where I'm lost or in fact, confused if it's even possible within AE is to set up each animation element to start its sequence once I scroll the slider to a specific value? I'm not too familiar with expressions so any help will be appreciated. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need me to explain in more detail please do ask, hopefully I've tried to make it clear for what I'm asking  &lt;/p&gt;&#xA;" OwnerUserId="27459" LastActivityDate="2020-01-26T00:25:59.667" Title="How to link the start and pause of an animation to a specific height from a null object?" Tags="|after-effects|animation|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29378" PostTypeId="1" CreationDate="2020-01-25T15:48:40.970" Score="0" ViewCount="666" Body="&lt;p&gt;I am trying to create a movie from a set of images with FFMpeg; I tried the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 5 -i pol00%3d.png -b:v 100M test.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The resulting movie, however, is a bit blurry compared to the original images at times, and I get this message:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mpeg4 @ 00000152fc04b1c0] bitrate tolerance 4000000 too small for bitrate 100000000, overriding&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I also get the following output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frame=  257 fps= 51 q=2.0 Lsize=   76441kB time=00:00:51.40 bitrate=12183.0kbits/s speed=10.3x&#xA;video:76430kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.015302%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If I naively roughly sum up the individual png image sizes, I get roughly 120 MB.&#xA;So, how can I increase the bitrate? I tried using mpeg and H.264, but the files created by these are not readable by WMP. File size does not matter, I just want a movie of the same quality as the individual images.&lt;/p&gt;&#xA;" OwnerUserId="27460" LastActivityDate="2020-01-25T15:48:40.970" Title="Increase quality of movie from images with FFmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29380" PostTypeId="2" ParentId="29377" CreationDate="2020-01-26T00:25:59.667" Score="1" Body="&lt;p&gt;You need to provide a bit more detail, but if you want an expression to happen only when a slider is above a certain value you can use &lt;code&gt;if(something &amp;gt; somethingElse){do stuff here}&lt;/code&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To time an animation so that it starts at that point is more tricky. Expressions can't store variables; they just evaluate each frame. So to find how far through the action the animation should be you'd have to calculate the first frame at which the property went above the threshold. You can do this with a loop:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var propertyToWatch = thisComp.layer(&quot;someLayer&quot;).someProperty;&#xA;var threshold = 12345;&#xA;if (propertyToWatch &amp;gt; threshold){ // above the threshold, time to do stuff&#xA;    var t = 0;&#xA;    // now search for the time when the property went above the threshold&#xA;    while (t &amp;lt;= thisComp.duration &amp;amp;&amp;amp; propertyToWatch.valueAtTime(t) &amp;lt; threshold){&#xA;        t += thisComp.frameDuration; //add one frame&#xA;    }&#xA;    // t now equals the time when the property went above the threshold.&#xA;    // so the animation's relative age is time - t&#xA;    var animationAge = time - t;&#xA;    //do the animation stuff here, using animationAge as the time constant&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This expression will get progressively slower to calculate as the sequence gets older, because the inner &lt;code&gt;while&lt;/code&gt; loop has to be evaluated for each preceding frame. But usually only a problem if you have lots and lots of layers with this kind of expression, or your comp is half an hour long.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-01-26T00:25:59.667" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29381" PostTypeId="2" ParentId="29369" CreationDate="2020-01-26T00:32:55.377" Score="0" Body="&lt;p&gt;You don't need to go into the layer source to set the in-point of a layer. In the comp timeline select the layer, put the playhead at the frame you want and hit &lt;kbd&gt;alt / opt&lt;/kbd&gt;&lt;kbd&gt;[&lt;/kbd&gt;. For the outpoint it's &lt;kbd&gt;alt / opt&lt;/kbd&gt;&lt;kbd&gt;]&lt;/kbd&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should you wish to learn more have a look at &lt;a href=&quot;https://helpx.adobe.com/in/after-effects/using/selecting-arranging-layers.html#trim_extend_or_slip_edit_a_layer&quot; rel=&quot;nofollow noreferrer&quot;&gt;the docs here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-01-26T00:32:55.377" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29384" PostTypeId="1" AcceptedAnswerId="29408" CreationDate="2020-01-26T20:43:52.113" Score="0" ViewCount="681" Body="&lt;p&gt;At the end of &quot;Gravity&quot; movie main character splashes water towards camera, it looks like this: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/t9229OQ7dYc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; (2:30)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/X2W1m.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/X2W1m.jpg&quot; alt=&quot;relevant clip&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From that moment camera view has water drops visible. It the movie gear waterproof or there was some glass mounted in front of the lenses? Or was it CGI?&lt;/p&gt;&#xA;" OwnerUserId="6093" LastActivityDate="2020-01-31T23:06:51.853" Title="Water on movie camera lens?" Tags="|camera|gear|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29385" PostTypeId="1" AcceptedAnswerId="29392" CreationDate="2020-01-26T21:11:08.693" Score="0" ViewCount="442" Body="&lt;p&gt;I am running into an issue where I want to change the value of my slider controller (just adding 1) each time it passes by a marker. This is my current code&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;if (marker.numKeys &amp;gt; 0) {&#xA;    value = marker.nearestKey(time).index;&#xA;}&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, the issue I am running into is that midway between markers it changes value.&lt;/p&gt;&#xA;" OwnerUserId="27466" LastEditorUserId="18155" LastEditDate="2020-01-27T10:28:50.143" LastActivityDate="2023-11-06T02:06:34.783" Title="How to change value in After Effects when passing marker" Tags="|after-effects|after-effects-expressions|after-effects-scripting|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29386" PostTypeId="2" ParentId="29375" CreationDate="2020-01-27T00:44:16.560" Score="4" Body="&lt;p&gt;You could do this by looping over the videos in a subshell, and piping to another copy of &lt;code&gt;ffmpeg&lt;/code&gt; to generate the RTMP stream. For example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;(for j in *.mp4; do&#xA;    ffmpeg -threads 2 -re -fflags +genpts -i $j \&#xA;        -i '/c/Users/user/Desktop/ffmpeg_logo/mylogo.png' -filter_complex 'overlay=W-w-50:H-h-25' \&#xA;        -vcodec libx264 -profile:v baseline -b:v 2000k -r 24 -maxrate 2000k -bufsize 2000k  \&#xA;        -ac 2 -ar 44100 -g 48 -c:a aac -b:a 64k \&#xA;        -f mpegts -&#xA;done) | ffmpeg -f mpegts -i - -c copy -bsf:a aac_adtstoasc -f flv rtmp://user:password@ip:1935/live/mystream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Notice the brackets around the &lt;code&gt;for&lt;/code&gt; loop; that creates a subshell to run the first read &amp;amp; encode &lt;code&gt;ffmpeg&lt;/code&gt; command. The output from that command is sent over the &lt;code&gt;stdout&lt;/code&gt; (&quot;standard output&quot;) &lt;a href=&quot;https://bash.cyberciti.biz/guide/Pipes&quot; rel=&quot;nofollow noreferrer&quot;&gt;pipe&lt;/a&gt; to the input of the second &lt;code&gt;ffmpeg&lt;/code&gt; command, which generates the RTMP stream. The syntax for that is using &lt;code&gt;-&lt;/code&gt; as the name of the input or output file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've had to include a &lt;a href=&quot;https://ffmpeg.org/ffmpeg-bitstream-filters.html#aac_005fadtstoasc&quot; rel=&quot;nofollow noreferrer&quot;&gt;bitstream filter&lt;/a&gt; &lt;code&gt;aac_adtstoasc&lt;/code&gt; because I've used an &lt;a href=&quot;https://en.wikipedia.org/wiki/MPEG_transport_stream&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPEG Transport Stream&lt;/a&gt; as the format on the pipe as well.&lt;/p&gt;&#xA;" OwnerUserId="4968" LastActivityDate="2020-01-27T00:44:16.560" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29387" PostTypeId="2" ParentId="28793" CreationDate="2020-01-27T02:21:56.560" Score="1" Body="&lt;p&gt;There are many ways fade in/out the opacity of a clip in Fusion, and which method you choose depends on your needs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If, your composition only contains one MediaIn node, and you want the actual compositing to occur outside the Fusion page (to keep your edit flexible, for instance), then a simple method is to use a brightness/contrast node, and animate the Gain slider between zero and one.  Make sure the R, G, B, and A channels are all included in the operation by enabling the corresponding boxes at the top of the inspector.  The Alpha (A) channel is particularly important, as it is the property which controls the extent to which the colors of pixels mix when they are superimposed.  As an exercise, try disabling the R, G, and B channels, and animating A to see the difference between Alpha and Color contribution.  You'll see that Alpha isn't the same as the “opacity” slider in other areas of the Resolve interface.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In another case, suppose you have two media sources inside your Fusion composition, and you want to layer them together and animate a transition from one to the other.  A convenient way to accomplish this is included in the Merge node that you'd need to use to combine the images anyway.  However, if you try moving the alpha gain slider down, the results might not be what you expect.  You'll notice that the results of this action look exactly like the example above, where you only affected the alpha gain channel in the B/C node.  To get the Merge node to affect the R, G, and B channels as well as Alpha, you need to slide the Additive/Subtractive slider over to Subtractive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="18155" LastEditDate="2020-01-27T09:05:08.853" LastActivityDate="2020-01-27T09:05:08.853" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29388" PostTypeId="2" ParentId="28768" CreationDate="2020-01-27T04:21:03.110" Score="1" Body="&lt;p&gt;At the Big Picture level, commercial NLE companies' &lt;em&gt;raison d'etre&lt;/em&gt; is to make money.  As such, they are obliged to protect their own intellectual property, and distinguish themselves from their competitors.  While a certain level of interoperability is required to appease their customers, they will never co-operate well enough with each other to provide each other with perfect, seamless project exchange file formats.  This is nothing new or surprising to video, not to mention computers, or capitalism in general.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, DaVinci Resolve happens to be better than its competitors at the process of interpreting an edit created by a different NLE.  This process, by the way, is known as &quot;conform&quot; (that'll be a helpful search term).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Before you conform an edit from PP to DR (or anywhere), the following steps are best practice:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Export a Master Version of your sequence for reference in DR.  &lt;/li&gt;&#xA;&lt;li&gt;Create a backup of the sequence in the PP project.&lt;/li&gt;&#xA;&lt;li&gt;&quot;Flatten&quot; the edit in Premiere; delete any hidden, disabled, or otherwise unused media, AND overwrite lower-level video tracks with higher-level ones, as much as possible.  Ideally, everything should fit onto V1, but realistically, 2-4 tracks of video is OK.&lt;/li&gt;&#xA;&lt;li&gt;Remove any unsupported effects, transitions, and plugins from the remaining clips.  This step is a matter of personal preference, because Resolve actually imports and exports unsupported effects, passing them through the pipeline unchanged, at least theoretically, YMMV.  A list of supported operations is in the Resolve manual (pp. 873, Oct 2019 edition).  &lt;strong&gt;The &quot;Translation issue: Effect on Clip...&quot; error is telling you exactly which clip contains an unsupported effect&lt;/strong&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Finally, export the .XML&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The conform process begins once these steps are complete.  Some colorists will do this for you as long as you pay their day rate, others will flat out reject your project.  Patrick Inhofer encourages colorists to include conform time in their budgets on MixingLight.com (which is an excellent resource &lt;a href=&quot;https://mixinglight.com/color-tutorial/exploring-xml-conform-options-in-davinci-resolve/&quot; rel=&quot;nofollow noreferrer&quot;&gt;on this subject&lt;/a&gt;.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Conform isn't a difficult process to comprehend, or even execute.  It is a little bit labor-intensive, and it involves checking the entire program, frame-for-frame, against the Master you export in the first step above (and manually re-creating anything which doesn't match).  Like I said before, Resolve's tools for doing this are unparalleled, but they're also too extensive to explain here.  So, you'll want to cozy up with Part 6 of the Resolve User Manual, &quot;Import and Conform Projects&quot; (pp.867-940 of the Oct 2019 revision).  But basically, the steps are like this:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Import your .XML from Premiere&lt;/li&gt;&#xA;&lt;li&gt;Re-Link your footage in Resolve&lt;/li&gt;&#xA;&lt;li&gt;Set up the Master Export you generated in Premiere as an &quot;Offline Reference&quot; in Resolve.&lt;/li&gt;&#xA;&lt;li&gt;Watch the Offline Reference, side-by-side against the interpreted XML, and mark discrepancies.&lt;/li&gt;&#xA;&lt;li&gt;Fix the discrepancies.&lt;/li&gt;&#xA;&lt;li&gt;Do whatever it is you came into Resolve to do -- presumably, color grade.&lt;/li&gt;&#xA;&lt;li&gt;Optionally, &quot;round-trip&quot; back to Premiere.  &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Historically, Resolve was designed as a &quot;finishing&quot; program.  It was meant to add the final touches.  But because the real world is messy, and edits never really get locked, BMD fully supports round-trip workflows.  They've also built some very nice NLE, DAW, and VFX/MG software into their first-class color suite.  So, if the whole round-trip thing gets tiresome, you can always just... not.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-01-27T19:44:38.763" LastActivityDate="2020-01-27T19:44:38.763" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29390" PostTypeId="2" ParentId="29385" CreationDate="2020-01-27T12:00:03.227" Score="0" Body="&lt;p&gt;&lt;code&gt;marker.nearestKey&lt;/code&gt; picks the closest marker - even if it is in the future.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A simple solution would be to iterate over the markers with a for loop instead:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;if (marker.numKeys &amp;gt; 0) {&#xA;    let i;&#xA;    for (i = 0; i &amp;lt; marker.numKeys; i++) { // For every marker we have, add 1 to i&#xA;        if (marker.key(i+1).time &amp;gt; time)   // If the marker is past current time,&#xA;            break;                         // stop the loop&#xA;    }&#xA;    i; // Return i value&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26582" LastActivityDate="2020-01-27T12:00:03.227" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29391" PostTypeId="2" ParentId="29341" CreationDate="2020-01-27T12:12:34.363" Score="1" Body="&lt;p&gt;Your question is rather confusing, but I'm going to assume you want to avoid smooth high frame rate footage&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To do this, set your iPhone X to record at 24fps (or 30, if 24 is not available) and use the same frame rate (24/30fps) in Adobe Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is important to make sure your iPhone X is also recording at the correct frame rate, as recording in 60fps but editing at 24fps will lead to choppy-looking footage and might cause other sorts of trouble&lt;/p&gt;&#xA;" OwnerUserId="26582" LastActivityDate="2020-01-27T12:12:34.363" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29392" PostTypeId="2" ParentId="29385" CreationDate="2020-01-27T12:15:35.797" Score="0" Body="&lt;p&gt;You just need to check if the nearest marker is in the past or the future. If it's in the future, just subtract 1 from its index. This avoids the use of a loop.&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;if (marker.numKeys &amp;gt; 0) {&#xA;    nearestMarker = marker.nearestKey(time);&#xA;    if (nearestMarker.time &amp;gt; time){&#xA;        nearestMarker.index - 1;&#xA;    } else {&#xA;        nearestMarker.index;&#xA;    }&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can shorten this using a ternary operator—at the cost of readability—to&lt;/p&gt;&#xA;&#xA;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;if (marker.numKeys &amp;gt; 0) {&#xA;    nearestMarker = marker.nearestKey(time);&#xA;    nearestMarker.index - ((nearestMarker.time &amp;gt; time)? 1 : 0 )&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-01-30T03:55:37.097" LastActivityDate="2020-01-30T03:55:37.097" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29393" PostTypeId="1" CreationDate="2020-01-27T16:02:54.350" Score="2" ViewCount="679" Body="&lt;p&gt;I am trying to create a DASH manifest using ffmpeg and I encounter some difficulties with the subtitles. I get the error&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[webm_dash_manifest @ 0x55e19db48180] EBML header parsing failed&#xA;[webm_dash_manifest @ 0x55e19db48180] Failed to read file headers&#xA;subtitles.vtt: Operation not permitted&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The subtitles are encoded in the plain text webvtt format. I first assume that the EBML header are missing because the subtitles were not contained in a webm container. I then tried to create a webm file containing only the subtitles. It appears impossible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think the problem comes from the webm_dash_manifest demuxer. It seeks metadata in a file with no metadata. However neither Google nor Stack Overflow give me an answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command I used :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-f webm_dash_manifest -i video.webm \&#xA;-f webm_dash_manifest -i audio.webm \&#xA;-f webm_dash_manifest -i subtitles.vtt \&#xA;-map 0 -map 1 -map 2 \&#xA;-c copy \&#xA;-f webm_dash_manifest \&#xA;-adaptation_sets &quot;id=0,streams=0 id=1,streams=1 id=2,stream=2&quot; \&#xA;minimal.mpd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and the ffmpeg output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 3.2.14-1~deb9u1 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;  configuration: --prefix=/usr --extra-version='1~deb9u1' --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libebur128 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared&#xA;  libavutil      55. 34.101 / 55. 34.101&#xA;  libavcodec     57. 64.101 / 57. 64.101&#xA;  libavformat    57. 56.101 / 57. 56.101&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libavresample   3.  1.  0 /  3.  1.  0&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;[webm_dash_manifest @ 0x55e19db17160] Could not find codec parameters for stream 0 (Video: vp9, none, 1280x534): unspecified pixel format&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, webm_dash_manifest, from 'video.webm':&#xA;  Metadata:&#xA;    title           : Cloud Atlas&#xA;    ENCODER         : Lavf58.35.104&#xA;  Duration: 00:05:00.01, bitrate: 998 kb/s&#xA;    Chapter #0:0: start 0.000000, end 300.000000&#xA;    Metadata:&#xA;      title           : Chapter 01&#xA;    Stream #0:0(eng): Video: vp9, none, 1280x534, SAR 1:1 DAR 640:267, 23.98 fps, 23.98 tbr, 1k tbn, 1k tbc (default) (forced)&#xA;    Metadata:&#xA;      title           : Video @ 6.9 Mbps [frame B:188517 Avg QP:20.66]&#xA;      ENCODER         : Lavc58.66.100 libvpx-vp9&#xA;      DURATION        : 00:05:00.008000000&#xA;      webm_dash_manifest_duration: 300008&#xA;      webm_dash_manifest_initialization_range: 900&#xA;      webm_dash_manifest_file_name: video.webm&#xA;      webm_dash_manifest_track_number: 1&#xA;      webm_dash_manifest_cues_start: 37455991&#xA;      webm_dash_manifest_cues_end: 37457486&#xA;      webm_dash_manifest_bandwidth: 1420427&#xA;      webm_dash_manifest_cluster_keyframe: 1&#xA;      webm_dash_manifest_cue_timestamps: 298715&#xA;Input #1, webm_dash_manifest, from 'audio.webm':&#xA;  Metadata:&#xA;    title           : Cloud Atlas&#xA;    ENCODER         : Lavf58.35.104&#xA;  Duration: 00:05:00.01, bitrate: 126 kb/s&#xA;    Chapter #1:0: start 0.000000, end 300.000000&#xA;    Metadata:&#xA;      title           : Chapter 01&#xA;    Stream #1:0(eng): Audio: opus, 48000 Hz, stereo, fltp (default)&#xA;    Metadata:&#xA;      title           : Audio Eng DTS 5.1 channels 24 bits @ 1509 Kbps cbr&#xA;      ENCODER         : Lavc58.66.100 libopus&#xA;      DURATION        : 00:05:00.007000000&#xA;      webm_dash_manifest_duration: 300007&#xA;      webm_dash_manifest_initialization_range: 838&#xA;      webm_dash_manifest_file_name: audio.webm&#xA;      webm_dash_manifest_track_number: 1&#xA;      webm_dash_manifest_cues_start: 4744091&#xA;      webm_dash_manifest_cues_end: 4745279&#xA;      webm_dash_manifest_bandwidth: 137531&#xA;      webm_dash_manifest_cluster_keyframe: 1&#xA;      webm_dash_manifest_cue_timestamps: 295000&#xA;[webm_dash_manifest @ 0x55e19db48180] EBML header parsing failed&#xA;[webm_dash_manifest @ 0x55e19db48180] Failed to read file headers&#xA;subtitles.vtt: Operation not permitted&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I noticed that &lt;code&gt;ffmpeg -f webm_dash_manifest -i subtitles.vtt&lt;/code&gt; suffices to reproduce the error.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also tried without the &lt;code&gt;-f webm_dash_manifest&lt;/code&gt; flag, with no success : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-f webm_dash_manifest -i video.webm \&#xA;-f webm_dash_manifest -i audio.webm \&#xA;-i subtitles.vtt \&#xA;-map 0 -map 1 -map 2 \&#xA;-c copy \&#xA;-f webm_dash_manifest \&#xA;-adaptation_sets &quot;id=0,streams=0 id=1,streams=1 id=2,stream=2&quot; minimal.mpd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Output : &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 3.2.14-1~deb9u1 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;  configuration: --prefix=/usr --extra-version='1~deb9u1' --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libebur128 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared&#xA;  libavutil      55. 34.101 / 55. 34.101&#xA;  libavcodec     57. 64.101 / 57. 64.101&#xA;  libavformat    57. 56.101 / 57. 56.101&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libavresample   3.  1.  0 /  3.  1.  0&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;[webm_dash_manifest @ 0x557f55dd1160] Could not find codec parameters for stream 0 (Video: vp9, none, 1280x534): unspecified pixel format&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, webm_dash_manifest, from 'video.webm':&#xA;  Metadata:&#xA;    title           : Cloud Atlas&#xA;    ENCODER         : Lavf58.35.104&#xA;  Duration: 00:05:00.01, bitrate: 998 kb/s&#xA;    Chapter #0:0: start 0.000000, end 300.000000&#xA;    Metadata:&#xA;      title           : Chapter 01&#xA;    Stream #0:0(eng): Video: vp9, none, 1280x534, SAR 1:1 DAR 640:267, 23.98 fps, 23.98 tbr, 1k tbn, 1k tbc (default) (forced)&#xA;    Metadata:&#xA;      title           : Video @ 6.9 Mbps [frame B:188517 Avg QP:20.66]&#xA;      ENCODER         : Lavc58.66.100 libvpx-vp9&#xA;      DURATION        : 00:05:00.008000000&#xA;      webm_dash_manifest_duration: 300008&#xA;      webm_dash_manifest_initialization_range: 900&#xA;      webm_dash_manifest_file_name: video.webm&#xA;      webm_dash_manifest_track_number: 1&#xA;      webm_dash_manifest_cues_start: 37455991&#xA;      webm_dash_manifest_cues_end: 37457486&#xA;      webm_dash_manifest_bandwidth: 1420427&#xA;      webm_dash_manifest_cluster_keyframe: 1&#xA;      webm_dash_manifest_cue_timestamps: 298715&#xA;Input #1, webm_dash_manifest, from 'audio.webm':&#xA;  Metadata:&#xA;    title           : Cloud Atlas&#xA;    ENCODER         : Lavf58.35.104&#xA;  Duration: 00:05:00.01, bitrate: 126 kb/s&#xA;    Chapter #1:0: start 0.000000, end 300.000000&#xA;    Metadata:&#xA;      title           : Chapter 01&#xA;    Stream #1:0(eng): Audio: opus, 48000 Hz, stereo, fltp (default)&#xA;    Metadata:&#xA;      title           : Audio Eng DTS 5.1 channels 24 bits @ 1509 Kbps cbr&#xA;      ENCODER         : Lavc58.66.100 libopus&#xA;      DURATION        : 00:05:00.007000000&#xA;      webm_dash_manifest_duration: 300007&#xA;      webm_dash_manifest_initialization_range: 838&#xA;      webm_dash_manifest_file_name: audio.webm&#xA;      webm_dash_manifest_track_number: 1&#xA;      webm_dash_manifest_cues_start: 4744091&#xA;      webm_dash_manifest_cues_end: 4745279&#xA;      webm_dash_manifest_bandwidth: 137531&#xA;      webm_dash_manifest_cluster_keyframe: 1&#xA;      webm_dash_manifest_cue_timestamps: 295000&#xA;Input #2, webvtt, from 'subtitles.vtt':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #2:0: Subtitle: webvtt&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Operation not permittedStream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #1:0 -&amp;gt; #0:1 (copy)&#xA;  Stream #2:0 -&amp;gt; #0:2 (copy)&#xA;    Last message repeated 1 times&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note : &lt;code&gt;[webm_dash_manifest @ 0x557f55dd1160] Could not find codec parameters for stream 0 (Video: vp9, none, 1280x534): unspecified pixel format&lt;/code&gt; is harmless according to &lt;a href=&quot;https://stackoverflow.com/questions/32650818/ffmpeg-dash-manifest-cannot-be-created-due-to-unspecified-pixel-format&quot;&gt;this post&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The subtitles have been extracted with ffmpeg :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &quot;Cloud Atlas.mkv&quot; -map 0:6 -t 00:05:00 -c:s webvtt -dash 1 subtitles.vtt&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="27469" LastActivityDate="2020-01-27T16:02:54.350" Title="The ffmpeg webm_dash_manifest demuxer fails with webvtt subtitles" Tags="|ffmpeg|webvideos|mpeg-dash|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29395" PostTypeId="2" ParentId="29257" CreationDate="2020-01-27T18:55:24.070" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Is there any way to automate position for crossfade (last second of the video)?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Not with &lt;code&gt;ffmpeg&lt;/code&gt; alone (yet at least–there is a patch that never got applied that would simplify this). You can use  &lt;code&gt;ffprobe&lt;/code&gt; to get the duration of each input and use that to determine the values for &lt;code&gt;setpts&lt;/code&gt; and &lt;code&gt;fade&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example &lt;code&gt;ffprobe&lt;/code&gt; command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -v error -show_entries format=duration -of csv=p=0 input.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Is there any use for PREV_OUTPTS or PREV_INPTS? I didn't manage to get them work.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;No. These do not refer to previous input/output streams or files.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Can this effect be done with stream copy? There is no use for encoding the stream again.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;No. You can't filter and stream copy the same stream.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-01-27T18:55:24.070" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29397" PostTypeId="1" AcceptedAnswerId="29420" CreationDate="2020-01-28T05:43:03.393" Score="1" ViewCount="304" Body="&lt;p&gt;I have this short video and I'm trying to decrease the highlights on it since there are some overexposed areas in it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know some Adobe products have this shadow/highlight feature (I know it from snapseed and other image processing software) but I'm on Linux and I don't have access to software like Adobe Premiere. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any open source software that I can use to apply this filter? (Preferably that's available on Linux.) So far I have tried OpenShot and DaVinci resolve, but I couldn't find that feature in any of them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: If you have some programming-based answers (like using Python), that's also welcome.&lt;/p&gt;&#xA;" OwnerUserId="27473" LastEditorUserId="1950" LastEditDate="2020-01-28T07:03:04.623" LastActivityDate="2020-02-01T00:01:18.670" Title="How can I correct shadow/highlight with free software?" Tags="|color-correction|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="29399" PostTypeId="2" ParentId="29358" CreationDate="2020-01-28T16:20:39.610" Score="-1" Body="&lt;p&gt;Sure! This is a great place to start:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/_ta3-imPXTc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="27428" LastActivityDate="2020-01-28T16:20:39.610" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29400" PostTypeId="1" AcceptedAnswerId="29401" CreationDate="2020-01-28T23:32:48.010" Score="1" ViewCount="2258" Body="&lt;p&gt;I have a lot of audio tracks in a project of FCPX and I did some changes on each of them separately. Now, I want to decrease the volume of all tracks by a same amount. I was wondering if there is a simple master volume in FCPX to do that.&lt;/p&gt;&#xA;" OwnerUserId="27475" LastActivityDate="2020-01-29T07:30:42.990" Title="Master volume in final cut pro X" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29401" PostTypeId="2" ParentId="29400" CreationDate="2020-01-29T07:30:42.990" Score="0" Body="&lt;p&gt;Create a compound clip of the clips you want to adjust the volume of by selecting the clips and pressing alt-G. The volume of the compound clip as a whole can then be adjusted like a regular clip.&lt;/p&gt;&#xA;" OwnerUserId="5296" LastActivityDate="2020-01-29T07:30:42.990" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29402" PostTypeId="1" AcceptedAnswerId="29421" CreationDate="2020-01-29T10:06:45.583" Score="0" ViewCount="206" Body="&lt;p&gt;I trying to find a way to do the animation of separating different components of a computer window as it is done in the following video using adobe premiere pro.&#xA;Could somebody help me to put some light on how to achieve this in premiere pro&lt;/p&gt;&#xA;&#xA;&lt;p&gt;the time of the animation starts at 3.11&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/QHDhSidFhcQ?start=191&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="27477" LastActivityDate="2020-02-01T01:42:35.067" Title="How to split an object in a video" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29403" PostTypeId="1" CreationDate="2020-01-29T10:46:25.327" Score="2" ViewCount="6955" Body="&lt;p&gt;I am new in the field of video production and a new user in Davinci Resolve 16.1.2.026. I want to change the duration of an image in my clip but whatever I tried din't work... My default standard still duration (Menu&gt;Preferences&gt;User&gt;Editing) is 5 secs. But my image in clip lasts only 0.02secs (obviously user can't see anything).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also tried to change it using Change Clip Duration (mouse's right click menu) and after that, to Delete gaps (Menu&gt;Edit&gt;Delete Gaps) like the video shown above.&#xA;(&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/8fsTD3hNNK4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An other idea is to check out if my image is somehow locked, that's why Davinci cannot modify it, but it isn't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any other idea??&#xA;Thank you all for the time and the willing!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; I resolve this. First of all I change the image's type (jpeg -&gt; png -&gt; jpeg again). Then I re-linked the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Don't ask me why it works... It's enough for me that it works! :)&lt;/p&gt;&#xA;" OwnerUserId="27478" LastEditorUserId="27478" LastEditDate="2020-01-29T11:21:18.260" LastActivityDate="2020-05-16T23:32:42.697" Title="Davinci Resolve 16 - Image duration not change" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29404" PostTypeId="1" CreationDate="2020-01-29T20:07:17.060" Score="1" ViewCount="20" Body="&lt;p&gt;I have a home setup for doing video calls where I've got a Panasonic Lumix G7 with a Rode VideoMic Pro attached in its P2 jack. These are then fed into a USB capture card and connected to my computer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Throughout the day and the varied video calls, I turn on and off the camera as required (and put on the lens cover), but I keep forgetting about the mic. Since it uses phantom power from a 9V battery, it's not uncommon that I leave it running for a whole night before coming back the next day. This microphone has an LED indicator in the back which is hard to notice, compared to the camera that has a whole display that tells me its still running or not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other than obviously remembering to shut it down after each use, is there anything I can do to &quot;automate&quot; away the task of shutting down the microphone?&lt;/p&gt;&#xA;" OwnerUserId="27481" LastActivityDate="2020-01-29T20:07:17.060" Title="How to prevent microphone batteries from going dead by mistake?" Tags="|streaming|camera|automation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29405" PostTypeId="2" ParentId="25916" CreationDate="2020-01-29T22:19:26.783" Score="4" Body="&lt;p&gt;Premiere Pro does not currently read audio timecode, I wish it did as it would solve a lot of problems.   There are a couple options but either mean longer work flow and or costs money depending on your situation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have Tentacle Sync hardware, you get a license for Tentacle Sync Studio for Mac or Tentacle Timecode Tool for PC which can overwrite your file embedding the audio timecode as file timecode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another paid software is LTC Convert from VideoToolShed. It does a much better job of converting timecode than the Tentacle Timecode Tool can do for PC (TTC tool will not covert 10-bit footage) using ALL-I codec on GH5 and the codec used for 10-bit on the Sony FS7 (and possibly the FS9).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The last option and this one is free, but means more workflow, Davinci Resolve (free version) will allow you to convert your audio timecode and then re-export the footage to use in Premiere Pro.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Me personally, I am going to spend the 135euros for LTC convert for the next big project I need to shoot. The demo version is free and you can convert one file at a time using the demo version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe someday, Adobe will get with the real world and be able to read audio timecode.&lt;/p&gt;&#xA;" OwnerUserId="27482" LastEditorUserId="18155" LastEditDate="2020-01-31T10:35:30.150" LastActivityDate="2020-01-31T10:35:30.150" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29408" PostTypeId="2" ParentId="29384" CreationDate="2020-01-30T06:25:23.020" Score="1" Body="&lt;p&gt;This is pure speculation with respect to the movie &lt;em&gt;Gravity&lt;/em&gt;, but when people use expensive cameras around water, they usually protect them from the water.  It's not very hard to do.  If you search BNH for &quot;Camera Rain Cover,&quot; you'll see that you get results for under $10.  To protect the front end of the lens, often people will use a UV filter.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, when you imagine a typical movie camera, do you picture a black box at the front end? Ever wonder what that was all about?  It's called a Matte Box, and the black petals that stick out the front are flags, which keep stray light from hitting the front of the lens and causing unwanted lens flares.  But the &lt;em&gt;other&lt;/em&gt; thing matte boxes do is hold sheets of glass in front of the lens for various reasons, most typically ND (neutral density) filters, but also polarizers, UV filters, IR, etc.  Just like the screw-on UV filters, these flat, square ones will protect the lens from water or debris.  As long as the rest of the camera is safe, you're good to go.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To me, this shot looks like the water droplet isn't that close to the front of the lens, so it's probably not hitting a filter that screws directly on the front.  Since there are underwater shots in the film, and since there are shots where the camera swims alongside the actress, my guess is that the camera is housed within an underwater camera enclosure.  These are usually relatively expensive, bespoke pieces of equipment, which can cost as much as the camera they're designed to house.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're on an indie budget, it's an item you would rent.  But if Sandra Bullock is your lead, and you've got the VFX budget for a movie like this, your studio probably already owns one, and they'd probably rather just let you use it than A) risk losing their expensive camera or B) spend VFX money on water drops instead of space action sequences. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anecdotally, in the movie &lt;em&gt;Children of Men&lt;/em&gt;, there's a fantastic long take, where some fake blood hit the front of the lens.  The director chose to leave the blood because he felt it added to the immediacy of the scene.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-01-30T06:37:51.543" LastActivityDate="2020-01-30T06:37:51.543" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29409" PostTypeId="1" AcceptedAnswerId="29412" CreationDate="2020-01-30T07:08:53.277" Score="1" ViewCount="36" Body="&lt;p&gt;My question is simple.&#xA;Is it possible to create a video (by standard tools and processes) that needs to be displayed on 3 horizontal screens stacked side by side (like a screen wall)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The idea is to put the screens on this setup:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/iRCIT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iRCIT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My designers and video producers are stuck with this task, so I am trying to help with it researching.&lt;/p&gt;&#xA;" OwnerUserId="27488" LastActivityDate="2020-01-31T22:38:35.253" Title="How to create a video so it can be displayed on 3 screens" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29411" PostTypeId="1" CreationDate="2020-01-30T16:46:05.513" Score="0" ViewCount="2193" Body="&lt;p&gt;I'm trying to stream to online service via FFmpeg. All my test commands works fine with restream.io preview and with local rtmp server viewer. My OBS setup works fine too (same resolution, server and key). Only when I'm about to start ffmpeg stream from my command line it stucks after few seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My test command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -stream_loop -1 \&#xA;   -i noise.mov \&#xA;   -c:v libx264 c:a aac \&#xA;   -f flv 'rtmps://live-upload******'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With &lt;code&gt;-debug pict&lt;/code&gt; after some progress with input files and rtmp handshaking I can see this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Clipping frame in rate conversion by 0.000008&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 10 times&#xA;[h264 @ 0x7ff12001da00] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 0&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 5 times&#xA;[h264 @ 0x7ff12001e000] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 1&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 10 times&#xA;[h264 @ 0x7ff12001e600] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 0&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 5 times&#xA;[h264 @ 0x7ff12001ec00] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 1&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 8 times&#xA;[h264 @ 0x7ff12001ac00] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 0&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 5 times&#xA;[h264 @ 0x7ff12001da00] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 1&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 5 times&#xA;[h264 @ 0x7ff12001e000] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 0&#xA;[libx264 @ 0x7ff120802400] frame=   0 QP=20.00 NAL=3 Slice:I Poc:0   I:3600 P:0    SKIP:0    size=216266 bytes&#xA;[h264 @ 0x7ff12001e600] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 1&#xA;[libx264 @ 0x7ff120802400] frame=   1 QP=31.00 NAL=2 Slice:P Poc:2   I:287  P:3267 SKIP:46   size=48597 bytes&#xA;[h264 @ 0x7ff12001ec00] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 0&#xA;[libx264 @ 0x7ff120802400] frame=   2 QP=30.00 NAL=2 Slice:P Poc:4   I:710  P:2888 SKIP:2    size=79226 bytes&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;...and that's it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The same command works fine with any other online service except this one. What I can do to debug it? Works fine with OBS, but won't with &lt;code&gt;ffmpeg&lt;/code&gt; command. &lt;code&gt;noise.mov&lt;/code&gt; — 720×1280px mov file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Full log:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;iMac:Desktop 350d$ ffmpeg -stream_loop -1 -re -i noise.mov -c:v libx264 -preset ultrafast -c:a aac -f flv -debug pict 'rtmps://live-upload.*******' &#xA;ffmpeg version N-96521-g5e62100152-tessus  https://evermeet.cx/ffmpeg/  Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with Apple clang version 11.0.0 (clang-1100.0.33.17)&#xA;  configuration: --cc=/usr/bin/clang --prefix=/opt/ffmpeg --extra-version=tessus --enable-avisynth --enable-fontconfig --enable-gpl --enable-libaom --enable-libass --enable-libbluray --enable-libdav1d --enable-libfreetype --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libmysofa --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvmaf --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-libzmq --enable-libzvbi --enable-version3 --pkg-config-flags=--static --disable-ffplay&#xA;  libavutil      56. 38.100 / 56. 38.100&#xA;  libavcodec     58. 67.100 / 58. 67.100&#xA;  libavformat    58. 36.100 / 58. 36.100&#xA;  libavdevice    58.  9.103 / 58.  9.103&#xA;  libavfilter     7. 71.100 /  7. 71.100&#xA;  libswscale      5.  6.100 /  5.  6.100&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;  libpostproc    55.  6.100 / 55.  6.100&#xA; matched as AVOption 'debug' with argument 'pict'.&#xA;Reading option 'rtmps://live-upload.************' ... matched as output url.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url /Users/350d/Desktop/noise.mov.&#xA;Applying option stream_loop (set number of times input stream shall be looped) with argument -1.&#xA;Applying option re (read input at native frame rate) with argument 1.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: /Users/350d/Desktop/noise.mov.&#xA;[NULL @ 0x7fb1e5000000] Opening '/Users/350d/Desktop/noise.mov' for reading&#xA;[file @ 0x7fb1e4c01700] Setting default whitelist 'file,crypto,data'&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] Format mov,mp4,m4a,3gp,3g2,mj2 probed with size=2048 and score=100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] ISO: File Type Major Brand: qt  &#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] Unknown dref type 0x73696c61 size 12&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] Processing st: 0, edit list 0 - media time: 2112, duration: 160230&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] drop a frame at curr_cts: 0 @ 0&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] drop a frame at curr_cts: 1024 @ 1&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] skip 64 audio samples from curr_cts: 2048&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] Unknown dref type 0x73696c61 size 12&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] Shifting DTS by 100 because of negative CTTS.&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] Processing st: 1, edit list 0 - media time: 0, duration: 10900&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] stts: 0 ctts: 0, ctts_index: 0, ctts_count: 109&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] stts: 100 ctts: 100, ctts_index: 1, ctts_count: 109&#xA;....&#xA;....&#xA;....&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] stts: 10800 ctts: 0, ctts_index: 108, ctts_count: 109&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] Setting codecpar-&amp;gt;delay to 1 for stream st: 1&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] Unknown dref type 0x73696c61 size 12&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] Processing st: 2, edit list 0 - media time: 0, duration: 10900&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] Before avformat_find_stream_info() pos: 3397542 bytes read:70076 seeks:3 nb_streams:3&#xA;[h264 @ 0x7fb1e5806a00] nal_unit_type: 7(SPS), nal_ref_idc: 1&#xA;[h264 @ 0x7fb1e5806a00] nal_unit_type: 8(PPS), nal_ref_idc: 1&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] demuxer injecting skip 2112 / discard 0&#xA;[aac @ 0x7fb1e5010c00] skip 2112 / discard 0 samples due to side data&#xA;[h264 @ 0x7fb1e5806a00] nal_unit_type: 6(SEI), nal_ref_idc: 0&#xA;[h264 @ 0x7fb1e5806a00] nal_unit_type: 5(IDR), nal_ref_idc: 1&#xA;[h264 @ 0x7fb1e5806a00] Format yuv420p chosen by get_format().&#xA;[h264 @ 0x7fb1e5806a00] Reinit context to 720x1280, pix_fmt: yuv420p&#xA;[h264 @ 0x7fb1e5806a00] no picture &#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] All info found&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb1e5000000] After avformat_find_stream_info() pos: 200654 bytes read:270218 seeks:4 frames:45&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/Users/350d/Desktop/noise.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 0&#xA;    compatible_brands: qt  &#xA;    creation_time   : 2020-01-27T09:49:16.000000Z&#xA;    com.apple.quicktime.displayname: STREAM&#xA;    com.apple.quicktime.title: STREAM&#xA;  Duration: 00:00:03.63, start: 0.000000, bitrate: 7480 kb/s&#xA;    Stream #0:0(und), 44, 1/44100: Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 101 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-01-27T09:49:16.000000Z&#xA;      handler_name    : Core Media Audio&#xA;    Stream #0:1(und), 1, 1/3000: Video: h264 (High), 1 reference frame (avc1 / 0x31637661), yuv420p(tv, bt709, progressive, left), 720x1280 [SAR 1:1 DAR 9:16], 0/1, 7328 kb/s, 30 fps, 30 tbr, 3k tbn, 6k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-01-27T09:49:16.000000Z&#xA;      handler_name    : Core Media Video&#xA;      encoder         : H.264&#xA;      timecode        : 00:00:00:00&#xA;    Stream #0:2(und), 0, 1/3000: Data: none (tmcd / 0x64636D74), 0/1, 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-01-27T09:49:16.000000Z&#xA;      handler_name    : Core Media Time Code&#xA;      timecode        : 00:00:00:00&#xA;Successfully opened the file.&#xA;Parsing a group of options: output url rtmps://live-upload.*************.&#xA;Applying option c:v (codec name) with argument libx264.&#xA;Applying option c:a (codec name) with argument aac.&#xA;Applying option f (force format) with argument flv.&#xA;Successfully parsed a group of options.&#xA;Opening an output file: rtmps://live-upload.********************.&#xA;[rtmps @ 0x7fb1e4c04a00] No default whitelist set&#xA;[tls @ 0x7fb1e4c04880] No default whitelist set&#xA;[tcp @ 0x7fb1e4c04940] No default whitelist set&#xA;[tcp @ 0x7fb1e4c04940] Original list of addresses:&#xA;[tcp @ 0x7fb1e4c04940] Address ***** port 443&#xA;[tcp @ 0x7fb1e4c04940] Interleaved list of addresses:&#xA;[tcp @ 0x7fb1e4c04940] Address ***** port 443&#xA;[tcp @ 0x7fb1e4c04940] Starting connection attempt to ***** port 443&#xA;[tcp @ 0x7fb1e4c04940] Successfully connected to ***** port 443&#xA;[rtmps @ 0x7fb1e4c04a00] Handshaking...&#xA;[rtmps @ 0x7fb1e4c04a00] Type answer 3&#xA;[rtmps @ 0x7fb1e4c04a00] Server version 1.0.5.4&#xA;[rtmps @ 0x7fb1e4c04a00] Proto = rtmps, path = /rtmp/**************, app = rtmp, fname = *****************&#xA;[rtmps @ 0x7fb1e4c04a00] Window acknowledgement size = 5000000&#xA;[rtmps @ 0x7fb1e4c04a00] Max sent, unacked = 5000000&#xA;[rtmps @ 0x7fb1e4c04a00] New incoming chunk size = 4096&#xA;[rtmps @ 0x7fb1e4c04a00] Releasing stream...&#xA;[rtmps @ 0x7fb1e4c04a00] FCPublish stream...&#xA;[rtmps @ 0x7fb1e4c04a00] Creating stream...&#xA;[rtmps @ 0x7fb1e4c04a00] Sending publish command for '********************'&#xA;Successfully opened the file.&#xA;detected 4 logical cores&#xA;[h264 @ 0x7fb1e5035400] nal_unit_type: 7(SPS), nal_ref_idc: 1&#xA;[h264 @ 0x7fb1e5035400] nal_unit_type: 8(PPS), nal_ref_idc: 1&#xA;Stream mapping:&#xA;  Stream #0:1 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:0 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;[aac @ 0x7fb1e5011800] skip 2112 / discard 0 samples due to side data&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 1 times&#xA;[aac @ 0x7fb1e5011800] skip 64/1024 samples&#xA;[graph_1_in_0_0 @ 0x7fb1e4e05540] Setting 'time_base' to value '1/44100'&#xA;[graph_1_in_0_0 @ 0x7fb1e4e05540] Setting 'sample_rate' to value '44100'&#xA;[graph_1_in_0_0 @ 0x7fb1e4e05540] Setting 'sample_fmt' to value 'fltp'&#xA;[graph_1_in_0_0 @ 0x7fb1e4e05540] Setting 'channel_layout' to value '0x3'&#xA;[graph_1_in_0_0 @ 0x7fb1e4e05540] tb:1/44100 samplefmt:fltp samplerate:44100 chlayout:0x3&#xA;[format_out_0_1 @ 0x7fb1e4e03f00] Setting 'sample_fmts' to value 'fltp'&#xA;[format_out_0_1 @ 0x7fb1e4e03f00] Setting 'sample_rates' to value '96000|88200|64000|48000|44100|32000|24000|22050|16000|12000|11025|8000|7350'&#xA;[AVFilterGraph @ 0x7fb1e4d10940] query_formats: 4 queried, 9 merged, 0 already done, 0 delayed&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 197507 times&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 190577 times&#xA;[h264 @ 0x7fb1e5035400] nal_unit_type: 6(SEI), nal_ref_idc: 0&#xA;[h264 @ 0x7fb1e5035400] nal_unit_type: 5(IDR), nal_ref_idc: 1&#xA;[h264 @ 0x7fb1e5035400] Format yuv420p chosen by get_format().&#xA;[h264 @ 0x7fb1e5035400] Reinit context to 720x1280, pix_fmt: yuv420p&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 436 times&#xA;[h264 @ 0x7fb1e5035400] no picture &#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 9068 times&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 8658 times&#xA;[h264 @ 0x7fb1e580ae00] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 1&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 8151 times&#xA;[h264 @ 0x7fb1e5807600] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 0&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 18758 times&#xA;[h264 @ 0x7fb1e5807c00] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 1&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 8906 times&#xA;[h264 @ 0x7fb1e5821c00] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 0&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 10004 times&#xA;[h264 @ 0x7fb1e5035400] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 1&#xA;[graph 0 input from stream 0:1 @ 0x7fb1e4d13080] Setting 'video_size' to value '720x1280'&#xA;[graph 0 input from stream 0:1 @ 0x7fb1e4d13080] Setting 'pix_fmt' to value '0'&#xA;[graph 0 input from stream 0:1 @ 0x7fb1e4d13080] Setting 'time_base' to value '1/3000'&#xA;[graph 0 input from stream 0:1 @ 0x7fb1e4d13080] Setting 'pixel_aspect' to value '1/1'&#xA;[graph 0 input from stream 0:1 @ 0x7fb1e4d13080] Setting 'frame_rate' to value '30/1'&#xA;[graph 0 input from stream 0:1 @ 0x7fb1e4d13080] w:720 h:1280 pixfmt:yuv420p tb:1/3000 fr:30/1 sar:1/1&#xA;[format @ 0x7fb1e4d12f00] Setting 'pix_fmts' to value 'yuv420p|yuvj420p|yuv422p|yuvj422p|yuv444p|yuvj444p|nv12|nv16|nv21|yuv420p10le|yuv422p10le|yuv444p10le|nv20le|gray|gray10le'&#xA;[AVFilterGraph @ 0x7fb1e4f0a5c0] query_formats: 4 queried, 3 merged, 0 already done, 0 delayed&#xA;[libx264 @ 0x7fb1e5015600] using mv_range_thread = 104&#xA;[libx264 @ 0x7fb1e5015600] using SAR=1/1&#xA;[libx264 @ 0x7fb1e5015600] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x7fb1e5015600] profile Constrained Baseline, level 3.1, 4:2:0, 8-bit&#xA;[libx264 @ 0x7fb1e5015600] 264 - core 159 r2991 1771b55 - H.264/MPEG-4 AVC codec - Copyleft 2003-2019 - http://www.videolan.org/x264.html - options: cabac=0 ref=1 deblock=0:0:0 analyse=0:0 me=dia subme=0 psy=1 psy_rd=1.00:0.00 mixed_ref=0 me_range=16 chroma_me=1 trellis=0 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=0 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=0 weightp=0 keyint=250 keyint_min=25 scenecut=0 intra_refresh=0 rc=crf mbtree=0 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=0&#xA;[flv @ 0x7fb1e5014400] Ignoring metadata for framerate&#xA;[flv @ 0x7fb1e5014400] Ignoring metadata for width&#xA;[flv @ 0x7fb1e5014400] Ignoring metadata for height&#xA;Output #0, flv, to 'rtmps://live-upload.***********************************':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 0&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf58.36.100&#xA;    com.apple.quicktime.displayname: IG STREAM&#xA;    com.apple.quicktime.title: IG STREAM&#xA;    framerate       : 30&#xA;    width           : 720&#xA;    height          : 1280&#xA;    title           : USERNAME&#xA;    creation_time   : 2020-01-27T09:49:16.000000Z&#xA;    Stream #0:0(und), 0, 1/1000: Video: h264 (libx264), 1 reference frame ([7][0][0][0] / 0x0007), yuv420p(left), 720x1280 [SAR 1:1 DAR 9:16], 0/1, q=-1--1, 30 fps, 1k tbn, 30 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-01-27T09:49:16.000000Z&#xA;      handler_name    : Core Media Video&#xA;      timecode        : 00:00:00:00&#xA;      encoder         : Lavc58.67.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: N/A&#xA;    Stream #0:1(und), 0, 1/1000: Audio: aac (LC) ([10][0][0][0] / 0x000A), 44100 Hz, stereo, fltp, delay 1024, 128 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-01-27T09:49:16.000000Z&#xA;      handler_name    : Core Media Audio&#xA;      encoder         : Lavc58.67.100 aac&#xA;Clipping frame in rate conversion by 0.000008&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 10 times&#xA;[h264 @ 0x7fb1e580ae00] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 0&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 5 times&#xA;[h264 @ 0x7fb1e5807600] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 1&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 10 times&#xA;[h264 @ 0x7fb1e5807c00] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 0&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 3 times&#xA;[h264 @ 0x7fb1e5821c00] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 1&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 10 times&#xA;[h264 @ 0x7fb1e5035400] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 0&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 5 times&#xA;[h264 @ 0x7fb1e580ae00] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 1&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 5 times&#xA;[h264 @ 0x7fb1e5807600] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 0&#xA;[libx264 @ 0x7fb1e5015600] frame=   0 QP=20.00 NAL=3 Slice:I Poc:0   I:3600 P:0    SKIP:0    size=216266 bytes&#xA;[h264 @ 0x7fb1e5807c00] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 1&#xA;[libx264 @ 0x7fb1e5015600] frame=   1 QP=31.00 NAL=2 Slice:P Poc:2   I:287  P:3267 SKIP:46   size=48597 bytes&#xA;[h264 @ 0x7fb1e5821c00] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 0&#xA;[libx264 @ 0x7fb1e5015600] frame=   2 QP=30.00 NAL=2 Slice:P Poc:4   I:710  P:2888 SKIP:2    size=79226 bytes&#xA;^C[tls @ 0x7fb1e4c04880] IO Error: -9806&#xA;av_interleaved_write_frame(): Input/output error&#xA;[libx264 @ 0x7fb1e5015600] frame=   3 QP=30.00 NAL=2 Slice:P Poc:6   I:355  P:3245 SKIP:0    size=82386 bytes&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27492" LastEditorUserId="18155" LastEditDate="2020-01-31T10:25:41.277" LastActivityDate="2020-02-02T12:12:59.443" Title="FFmpeg to RTMP streaming stucks after few seconds" Tags="|ffmpeg|rtmp|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29412" PostTypeId="2" ParentId="29409" CreationDate="2020-01-31T00:35:32.810" Score="1" Body="&lt;p&gt;I do this all the time at work, I'm currently rendering a 6 screen video wall for an installation. The easiest way to work is to create the video at the size of all the displays put together, e.g. for 3 × 4K displays it would be 11520 × 2160 pixels. This is so that you can work on the whole thing at once, and also so you can justify to your boss the insane amount of money they spent on your workstation (did I say that out loud?). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can use standard video tools like NLEs, e.g. Premiere or Resolve, compositors and animation packages like Fusion and After Effects or 3D applications like Maya, Lightwave or Blender. All modern versions of this kind of software will have the capability to work at custom resolutions, but as mentioned, your hardware will need to be pretty good, you'll have to budget for render time, and your proxy game will need to be strong (proxies are low-res substitutes that you can use to work on, then swap for the high-res originals at export time).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you export, and encode into the playback format suitable for your playback devices. Some playback devices are able to handle large videos and split the playback into multiple screens. Small computer-based devices like Intel NUCs and Mac minis can be hooked up to multiple monitors and standard video players like VLC can be used to play the content full-screen across them all. Alternatively you can get multiple playback devices, one for each screen and synch them over a network. The output format will depend on the hardware you are using to play the material, so talk to whoever is setting that up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To split the composition you re-compose the full composition into the screens that will be displayed on each monitor. In the installation I am working on at the moment there are 6 screens, but the material is being played as three parts, with each playback device playing to two screens. So I've split my 10800 × 1920 into three 3600 × 1920 compositions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The tools above all have the ability to take one composition and nest it into another at a different resolution, but as I've found in my current projects you may have to re-edit the main composition to help with renders (I was hitting a GPU memory wall with some GPU-based effects, so I had to resize some of my layers and shuffle things to get it to render without choking).&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-01-31T00:35:32.810" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29413" PostTypeId="1" CreationDate="2020-01-31T02:32:43.013" Score="1" ViewCount="173" Body="&lt;p&gt;I use OBS to create technical demonstrations, and had the thought: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What if I could regulate my audio levels using a MIDI Controller? The Korg NanoKontrol has faders that I could use to mix, but now the question is how can we feed the MIDI signal directly into the dB level of audio “layers”? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If anyone has any idea on how this could be achieved using existing plug-ins or even coding a new plug-in (I'm not opposed to that), I would love to hear it.&lt;/p&gt;&#xA;" OwnerUserId="27493" LastEditorUserId="27493" LastEditDate="2020-02-02T21:12:07.933" LastActivityDate="2020-02-02T21:12:07.933" Title="OBS Audio MIDI Control" Tags="|live|obs|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29414" PostTypeId="1" CreationDate="2020-01-31T13:35:52.123" Score="3" ViewCount="4960" Body="&lt;p&gt;&lt;strong&gt;IMPORTANT: ISSUE SOLVED (STILL A COUPLE OF QUESTIONS, THOUGH), I POSTED SOME INFO BELOW THE ORIGINAL POST AS AN UPDATE IF SOMEONE FINDS THIS USEFUL:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Quick question: what are the advantages of using the most common non long-GOP codecs for editing (DNxHD/DNxHR and Prores) vs intra-frame H.264 with a high bitrate? In theory the compression capability, even if is intra-frame only, is better with H.264, and just by being intra-frame the playback performance while editing should be equivalent to the other two codecs. Besides, H.264 suppports up to 12 bits and 4:4:4 (so it's flexible). I've read what I could regarding these codecs, but I've yet to find a reason for why intra-frame H.264 is not used more extensively for editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the record, I'm asking this because I'm starting an HDR project from a H.264 high 10 UHD 4:2:0 video, and I have two issues: if I try to edit with proxies (with DNxHR or Prores), I get serious sync issues between the source file and proxies, so I can't edit properly. And if I transcode the source file to a file that doesn't have those sync issues (like DNxHR, with DNxHR for proxies too), I lose the HDR data and the video looks like a SDR one (and this happens with any codec, not just DNxHR. I haven't been able to preserve the HDR info of the source file with any codec, and tried with FFmpeg and Adobe Media Encoder), but that is an issue for another post. The thing is that I'm stuck with using the original footage as the source file, but can't edit that way without proxies (obviously the playback is extremely slow), so I was wondering if transcoding the source file to an intra-frame H.264 video and work with that (and without proxies) would have an impact on the final quality. I haven't found info comparing intra-frame H.264 to other intermediate codecs, quality and performance wise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE (02/03/20):&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I made some tests to see how intra-frame H.264 behaves with Adobe Premiere Pro 2020:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1)&lt;/strong&gt; I transcoded the original footage (H.264, MKV container, HDR, 10 bits, UHD, 4:2:0, VBR) with FFmpeg to an intra-frame &quot;version&quot; of the file, without changing any other setting (just added -intra to my original FFmpeg command line). I used CRF 18 and veryslow as preset (I have a very good CPU, so the whole file was transcoded overnight). I then imported the file to Adobe Premiere Pro 2020. First, I have to say that I haven't started to edit yet, but at least I could tell that it was compatible, and behaved like an intra-frame video while testing playback (I could go forward and backward very fast). I couldn't see any difference in quality when compared to the original footage either. In other words intra-frame H.264, so far, looks like a good alternative to other intermediate codecs like Prores or DNxHD/DNxHR. In fact, because of H.264 intra-frame compression, file size is smaller than with the others mentioned, and I don't know if it's because of my system (Threadripper 2990WX, 64GB ram, very good motherboard), but performance wise I couldn't tell a difference when comparing to DNxHR at least.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2)&lt;/strong&gt; I know that extra transcoding steps are never a good thing quality wise, but since I had to transcode to an intra-frame video anyway, I made another test and transcoded the original footage to an HEVC video using FFmpeg (with libx265), keeping all the original settings. CRF used was 18, with veryslow as preset too. I used the main10-intra profile of x265. Then I did the same with another video, which was SDR. It took a little longer as you can expect, but I wanted to do this for a couple of reasons: first, because I wanted to know how Adobe Premiere Pro 2020 handles an H.265 HDR UHD intra-frame video. Second, because I've read (and don't quote me on this) that after transcoding any 8 bit video to a 10 bit one, many perceive an increase in quality, because of the broader colorspace that lets the encoder pick from many more colors while transcoding, which reduces banding. Well, I didn't perceive any difference quality wise (compared to the intra-frame H.264 file, and to the original footage, on both the HDR and SDR files), but the file sizes were obviously smaller and at least on my PC they performed very well on Premiere Pro (playback was as fast as with the intra-frame H.264 videos). Obviously the HDR video playback doesn't show the correct colors, but that's a restriction of Premiere because of the way it handles color spaces (no REC2020 yet).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;3)&lt;/strong&gt; Because I had color issues while transcoding to DNxHR before and couldn't solve that, I started to think that it may had to do with the chroma subsampling (none of the DNxHR flavors support 4:2:0, which is the subsampling of the original video). That was another reason for trying with intra-frame H.264 (or H.265), to see if transcoding to 4:2:0, 4:2:2 or 4:4:4 made a similar difference in colors compared to DNxHR. Turns out that when transcoding to 4:2:0 (with H.264 or H.265 as codecs) the colors look exactly the same as the original footage, and both 4:2:2 and 4:4:4 look a lot like the DNxHR video (colors washed out). Can't see a difference between 4:2:2 and 4:4:4, but when compared to 4:2:0, the difference is huge. I never wanted to upsample the video in the first place, it was just because DNxHR doesn't support 4:2:0, but I never expected such a difference. And if it was because of upsampling, I don't quite get why 4:2:2 and 4:4:4 look exactly the same. Maybe it's some kind of a FFmpeg bug that messes with colorspace when upsampling, idk.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Anyway, now I have working H.264 and H.265 intra-frame videos, without the color issues (checked the files visually, with Mediainfo, and with the Lumetri scopes tab of Premiere. They indeed preserved all the metadata needed for HDR), without sync issues (I also made a couple of proxies with the exact same settings, but only with less resolution. They sync perfecly with the source file), with smaller file size than with DNxHR and Prores, and that perform very well on Premiere Pro 2020 while previewing (maybe they don't with an inferior CPU, I don't know). So one could say, for the meantime (I have to start editing, maybe I'll encounter some issues along the way. And I haven't tested to export from Premiere using these files yet), that my issue is solved.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But my question remains after these tests: why aren't intra-frame H.264 or intra-frame H265 more extended as alternatives to DNxHR or Prores (the most commonly used intermediate codecs)? I can't see nothing but advantages: smaller file size, good playback performance, very good quality (and if you have enough space, you could even make an intra-frame H.264 lossless file if you want), they preserve the HDR data, and both codecs are very well known and extended. They even have their own intra-frame profiles (for example, H.265 has main10-intra, main444-10-intra, etc.). Transcoding times, in my experience, at least using FFmpeg on a PC, is not that different when compared to DNxHR or Prores. Is there any reason for this not being the ideal way to go while editing, besides the fact that these intra-frame &quot;versions&quot; of H.264 and H.265 are not as frequently used as the other codecs in bigger productions?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks, any insight on this would be appreciated. And I don't mind sharing the FFmpeg commands I used if someone finds this useful.&lt;/p&gt;&#xA;" OwnerUserId="27378" LastEditorUserId="27378" LastEditDate="2020-02-03T16:51:46.733" LastActivityDate="2020-11-12T22:01:55.187" Title="Intra-frame H.264 / H.265 compared to DNxHR or Prores as intermediate codecs for editing" Tags="|ffmpeg|premiere|h.264|transcoding|prores|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29416" PostTypeId="1" AcceptedAnswerId="29464" CreationDate="2020-01-31T20:52:18.050" Score="4" ViewCount="224" Body="&lt;p&gt;I've noted in recent times that many YouTube videos show a single person not always speaking directly at the camera. I understand from my limited experience to video production many years ago that looking directly at the camera presents &quot;eye contact&quot; between the presenter and the viewer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the case of an interview or in a video with multiple subjects engaged in conversation, having a camera out of line with the face of a particular subject  provides for a broader presentation, which can be useful in demonstration type videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've done a few searches to this SE, finding it difficult to determine search terms. The answer presented in the closed question:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/19791/why-use-different-camera-angles&quot;&gt;Why use different camera angles?&lt;/a&gt;&#xA;provides a confirmation of the information in the previous paragraph, in that there is more than one subject involved in the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is disconcerting to see a camera shot from the 2 o'clock perspective (or any angle other than straight ahead) of the presenter speaking to the viewing audience, but not looking at the viewing audience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have not found a rationale for this camera position and suspect that it does not belong in any videos of my own creation or in those in which I will be involved.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This may sound like a rant, but it's a search for understanding ostensibly to prevent a future gaffe. It's possible, I suppose that it's a new presentation feature and should be included?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By request and from the camera view, directly to the camera:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xv9x9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xv9x9.png&quot; alt=&quot;directly at camera&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Same video, from a camera placed off-line:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eVmtH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eVmtH.png&quot; alt=&quot;off-line view&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video is of a &lt;a href=&quot;https://youtu.be/aUy2DKZODgs?t=42&quot; rel=&quot;nofollow noreferrer&quot;&gt;doctor presenting information&lt;/a&gt; regarding the Corona Virus from YouTube. It starts a few seconds before the camera placement switch.&lt;/p&gt;&#xA;" OwnerUserId="27498" LastEditorUserId="27498" LastEditDate="2020-01-31T22:37:32.720" LastActivityDate="2020-02-06T18:53:32.220" Title="Why have offset camera placement?" Tags="|camera|production|presentation|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="29417" PostTypeId="2" ParentId="29409" CreationDate="2020-01-31T22:38:35.253" Score="0" Body="&lt;p&gt;I just would add to @stib's answer that if the source material is not that high resolution, the project can be smaller in total size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the original video is 4096px width, for example, the final composition could be that size, and just crop the height. Probably double that resolution and adding some sharpening can be easier to work with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another option is to limit a FullHD height, 1080px and work with 1920x3 = 5760 px width.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing to consider is if you want to compensate for the &lt;strong&gt;gap between monitors&lt;/strong&gt;, so you need to crop the intersections as if they are just behind the gap.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Then the computer displaying it should have the monitor's desktop set as &quot;extended&quot; and you need to have 3 HDMI output ports.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-01-31T22:38:35.253" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29418" PostTypeId="2" ParentId="29416" CreationDate="2020-01-31T22:45:28.307" Score="2" Body="&lt;p&gt;It can be used with different intentions, mainly to give the footage more dynamism.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The off-camera look gives the impression to be filmed like an interview, with an interlocutor in front of the presenter but off-camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Of course in this example there is no interlocutor, it is the camera, so it can make the impression of combining some &quot;behind the scenes&quot; footage. It adds a bit of &quot;production value&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes the second camera does not film the person's face, probably the hands, probably the full body, and sometimes the interviewer, again not present in this case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Probably a good option is using two off-camera angles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is simply a matter of style. Fortunately, the rules are not carved in stone.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;One psychological effect from staring at the camera vs off camera angle is that the first one can feel like someone is &quot;lecturing&quot; you, trying to convincing you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second feels more like someone is just pointing at &quot;facts&quot; and you can decide or not to take them into account. That is why interviewed people do not look at the camera, but the presenter normally does.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This example probably tries to do both.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2020-01-31T22:51:44.733" LastActivityDate="2020-01-31T22:51:44.733" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29419" PostTypeId="2" ParentId="29384" CreationDate="2020-01-31T23:06:51.853" Score="1" Body="&lt;p&gt;Let's say you really want the splash to be in the scene, and it is not an accident, then you need to keep the camera close to the action. But if you want to control it you need to calculate the right distance, so it does not look like a smudge or simply a disrupting dark blur, so you need distance from the lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you use a rig, not only to protect the camera (you can use a plastic rain cover for that) but to put a flat glass in front of the lens at some distance so you control if it is focused or not.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;But in this era of overcontrolled stuff, yes. A CGI splash can be added to a normal scene to enhance it. In this case, without seeing any behind the camera of that scene, the camera is too close that I would say it is natural, and it just happened to look good enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Probably some other shots were taken. And this one just worked.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-01-31T23:06:51.853" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29420" PostTypeId="2" ParentId="29397" CreationDate="2020-02-01T00:01:18.670" Score="0" Body="&lt;p&gt;If you have Davinci resolve, use it. If you do have it, get it and use it :o)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are several ways to handle light and shadows, you just need to understand that lights are normally the light zones and shadows, the dark... Pretty obvious.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;On Resolve, you can use the color panel.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tCiYH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tCiYH.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;Boost or lower the highlights on the gain wheel.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Or use the curves and&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Move the curve.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;And see the results here.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;There are more advanced ways to do it, like selecting color ranges, and you can find tutorials on the internet. But the tools are there.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Keep in mind that on the overexposed areas, if the range is clipped, no program will recover information where there is none to recover.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-02-01T00:01:18.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29421" PostTypeId="2" ParentId="29402" CreationDate="2020-02-01T01:42:35.067" Score="1" Body="&lt;p&gt;I'd typically tackle something like this in After Effects, but since Premiere Pro is the restriction here, lets give it a go;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Screenshot/Screen Record the application you wish to deconstruct.&lt;/li&gt;&#xA;&lt;li&gt;Import the footage into Premiere.&lt;/li&gt;&#xA;&lt;li&gt;Count how many components you'll be splitting the footage into and duplicate the footage that number of times.&lt;/li&gt;&#xA;&lt;li&gt;On each duplication, use &lt;a href=&quot;https://www.youtube.com/results?search_query=premiere%20pro%20masking&quot; rel=&quot;nofollow noreferrer&quot;&gt;the rectangular mask in premiere&lt;/a&gt; to isolate the different components of the application.&lt;/li&gt;&#xA;&lt;li&gt;You now have control over the position of each components you isolated. Use positional keyframes to animate as you wish.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="23360" LastActivityDate="2020-02-01T01:42:35.067" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29422" PostTypeId="1" CreationDate="2020-02-01T04:04:35.920" Score="0" ViewCount="337" Body="&lt;p&gt;I'm trying to make a slider that basically can act as a crossfader between a bunch of different layers (so as the slider goes up, it fades through several layers). This is what I've written, and I'm getting the error &quot;Error: SyntaxError: Unexpected Token )&quot; on the first line and I'm having trouble telling where the problem is.&#xA;My code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;if(thisComp.layer(&quot;Null 1&quot;).effect(&quot;Slider Control&quot;)(&quot;Slider&quot;) &amp;lt;= 5)&#xA;{&#xA;    if(thisComp.layer(&quot;Null 1&quot;).effect(&quot;Slider Control&quot;)(&quot;Slider&quot;) &amp;lt;= 2.5)&#xA;    {&#xA;        out = linear(&quot;Null 1&quot;).effect(&quot;Slider Control&quot;)(&quot;Slider&quot;), 0, 100, 0, 2.5);&#xA;    }&#xA;    else&#xA;    {&#xA;        out = linear(&quot;Null 1&quot;).effect(&quot;Slider Control&quot;)(&quot;Slider&quot;), 0, 100, 2.5, 5);&#xA;        out = 100 - out;&#xA;    }&#xA;    }&#xA;}&#xA;else{&#xA;    out = 0;&#xA;}&#xA;out;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Thank you!!&lt;/p&gt;&#xA;" OwnerUserId="27501" LastEditorUserId="1950" LastEditDate="2020-08-24T04:11:49.370" LastActivityDate="2020-09-23T06:08:30.807" Title="after effects slider control code help" Tags="|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29423" PostTypeId="1" AcceptedAnswerId="29430" CreationDate="2020-02-01T11:24:22.037" Score="3" ViewCount="847" Body="&lt;p&gt;I want to download this video and view it in Premiere Pro:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Vw5XTnt8Ltc?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After downloading and scrubbing through the video, it appears to be two (seemingly identical) scenes stacked on top of each other.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This seems to be very different from the equirectangular footage I output with my GoPro Max after converting from .360, for instance.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Question &lt;/h2&gt;&#xA;&#xA;&lt;p&gt;How do I get  360 videos from YouTube into equirectangular format and view them in Premiere like on most GoPro Max workflows?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Namely, I want to change the tilt and zoom to create the “tiny planet” effect. I can make that effect easily with equirectangular videos, but when I tried with the above video, it didn't work at all.&lt;/p&gt;&#xA;" OwnerUserId="26800" LastEditorUserId="18155" LastEditDate="2020-02-02T06:32:29.927" LastActivityDate="2020-02-02T08:53:51.620" Title="What type of 360 format is this?" Tags="|premiere|360video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29424" PostTypeId="1" CreationDate="2020-02-01T17:38:02.887" Score="1" ViewCount="9635" Body="&lt;p&gt;One of my favorite parts of Final Cut Pro is the ability to select part of a clip and silence it with a single shortcut (which adds 4 keyframes automatically):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dXK3U.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dXK3U.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to do this in Adobe Premiere Pro CC 2020?&lt;/p&gt;&#xA;" OwnerUserId="5886" LastActivityDate="2022-03-30T18:50:58.967" Title="How to silence or mute part of a clip in Adobe Premiere?" Tags="|premiere|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29425" PostTypeId="2" ParentId="29424" CreationDate="2020-02-01T17:57:08.907" Score="1" Body="&lt;p&gt;Okay, the closest thing that I've found so far is to:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Make a cut with the razor tool&lt;/li&gt;&#xA;&lt;li&gt;Select the audio part with &lt;code&gt;alt + click&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Toggle Enable clip with &lt;code&gt;shift + command + e&lt;/code&gt; (to disable the audio)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="5886" LastActivityDate="2020-02-01T17:57:08.907" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29426" PostTypeId="1" CreationDate="2020-02-01T20:36:36.597" Score="1" ViewCount="2017" Body="&lt;p&gt;Even though my timeline is showing hours and minutes, when I hover over a clip I see the duration in frames. Is there a way to change this to hours and minutes?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ApZR9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ApZR9.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5886" LastActivityDate="2020-02-02T07:02:50.097" Title="How to show the duration in the clip overlay in minutes and seconds instead of frames in Adobe Premiere Pro?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29427" PostTypeId="1" CreationDate="2020-02-01T22:02:43.957" Score="2" ViewCount="42" Body="&lt;p&gt;For an example of what I'm talking about, &lt;a href=&quot;https://youtu.be/IF5t5a_0D1g&quot; rel=&quot;nofollow noreferrer&quot;&gt;check out this youtube video&lt;/a&gt; (on the top left corner). I'm using Premiere Pro. I'd be willing to pay for a plugin that would make this simple, but I don't even know what it's called so I haven't been able to find anything from Google.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LUGcB.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LUGcB.jpg&quot; alt=&quot;screencap from video&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any tips? I'd really appreciate it.&lt;/p&gt;&#xA;" OwnerUserId="27503" LastActivityDate="2020-07-02T01:05:00.537" Title="How to make an onscreen timer graphic that counts down to different sections of the video?" Tags="|premiere|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29428" PostTypeId="2" ParentId="29426" CreationDate="2020-02-02T07:02:50.097" Score="2" Body="&lt;p&gt;Ok, I figured it out:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Sequence | Sequence properties | Editing mode: HDV 720p | Display format: 29.97 fps Drop-Frame Timecode&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="5886" LastActivityDate="2020-02-02T07:02:50.097" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29430" PostTypeId="2" ParentId="29423" CreationDate="2020-02-02T08:53:51.620" Score="2" Body="&lt;p&gt;Youtube 360 videos are in EAC, equi-angular cubemap format. FFmpeg have filter named v360 that can convert such videos to equirectangular or stereographic (also known as tiny planet) format (among many others) by using CPU.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2020-02-02T08:53:51.620" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29431" PostTypeId="1" CreationDate="2020-02-02T11:37:33.343" Score="0" ViewCount="84" Body="&lt;p&gt;First post here! Apologies for any mistakes!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a footage of a rotating iPhone with its screen set to green (so I can play around in AE with what to show on the phone screen).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried to manually place my own footage on the screen ( since it's only 30 frames) but of course, that doesn't look good as there are a lot of shaking and inconsistencies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried Mocha in AE but that too doesn't work that well considering this phone rotates in 3d and it's not linear 2D movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Tried 3d Camera Tracker in AE but it fails the analysis never succeeds and fails (and IDK why :| )&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Attaching required screenshots here. Any help would be appreciated!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="27511" LastActivityDate="2024-02-12T10:03:40.390" Title="Need Help in Replacing Screen of 3d rotating phone ( AE CC 2018)" Tags="|after-effects|animation|greenscreen|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29433" PostTypeId="1" AcceptedAnswerId="29456" CreationDate="2020-02-02T15:27:11.497" Score="0" ViewCount="89" Body="&lt;p&gt;I am clueless how to create a spherical hologram in After Effects &lt;strong&gt;without&lt;/strong&gt; CC Cylinder effect …&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I need to animate it in a 3D software and then import that model with the animation in After Effects or is there an easier way to create it solely in AE?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;NOTE: The sphere needs to be scaled on the y-axis. I don't want a perfect sphere and therefore can't use the CC Cylinder in AE (I think).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cnDCT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cnDCT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25533" LastActivityDate="2020-02-04T13:56:20.747" Title="Create a spherical hologram" Tags="|after-effects|3d|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29439" PostTypeId="2" ParentId="29427" CreationDate="2020-02-02T22:23:04.123" Score="2" Body="&lt;p&gt;This is a very simple effect that can be achieved using the Radial Wipe effect (which can be found in the Effects panel &lt;em&gt;Video Effects &gt; Transition &gt; Radial Wipe&lt;/em&gt;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XQOUb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XQOUb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using the 'Transition Completion' set one keyframe at the start at 100% and the second keyframe for the end of the clip at 0%. To match the effect in the example you have shown, change the wipe to Counterclockwise and find a circle or ring shaped graphic to represent the timer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this case the static red ring should be place in the background with no effect applied and the moving white ring should be placed above with the effect applied.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could even use the Video Effect 'Circle' under Video Effects &gt; Generate to create the circle.&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2020-02-02T22:23:04.123" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29440" PostTypeId="2" ParentId="29431" CreationDate="2020-02-02T22:52:30.203" Score="0" Body="&lt;p&gt;Since it's only 30 frames long, I'd probably do away with tracking and just keyframe it manually using the 'corner pin' effect. Or do a partial track with Mocha AE and supplement the parts that start to drift with corner pinned footage. &lt;/p&gt;&#xA;" OwnerUserId="27384" LastActivityDate="2020-02-02T22:52:30.203" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29441" PostTypeId="2" ParentId="29422" CreationDate="2020-02-03T03:57:44.703" Score="1" Body="&lt;p&gt;The error message is telling you that you've got a stray bracket, so count your brackets and see if the &lt;code&gt;(&lt;/code&gt;s match the &lt;code&gt;)&lt;/code&gt;s. Spoiler alert: they don't.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can see two cases: after each &lt;code&gt;linear&lt;/code&gt; function call you have a closing bracket after the &lt;code&gt;&quot;Null 1&quot;&lt;/code&gt; string that isn't matched by an opening bracket. And &lt;code&gt;&quot;Null 1&quot;&lt;/code&gt; on its own is just treated as a string, not a layer, so that's another problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm assuming you mean &lt;code&gt;thisComp.layer(&quot;Null 1&quot;)&lt;/code&gt; which is a reference to a layer. So&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;out = linear(&quot;Null 1&quot;).effect(&quot;Slider Control&quot;)(&quot;Slider&quot;), 0, 100, 0, 2.5);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;should be &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;out = linear(thisComp.layer(&quot;Null 1&quot;).effect(&quot;Slider Control&quot;)(&quot;Slider&quot;), 0, 100, 0, 2.5);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-02-03T03:57:44.703" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29442" PostTypeId="1" CreationDate="2020-02-03T08:37:18.820" Score="1" ViewCount="178" Body="&lt;p&gt;I'm creating a video using 4 images. The image sizes are following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1st, 2nd and 3rd images sizes are 1280x1600. And the last image sizes are 1280x1280&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -r 25 \ &#xA;-loop 1 -t 5 -i 1.jpg \&#xA;-loop 1 -t 5 -i 2.jpg \&#xA;-loop 1 -t 5 -i 3.jpg \&#xA;-loop 1 -t 5 -i 4.jpg \&#xA;-i audio.mp3 \&#xA;-filter_complex \&#xA;&quot;[0]crop=1280:1280:ow:((ih-oh)/5)*t[f0]; \&#xA;[1]crop=1280:1280:ow:(ih-oh)-((ih-oh)*t/5),format=yuva444p,fade=d=1:t=in:alpha=1,setpts=PTS-STARTPTS+4/TB[f1]; \&#xA;[2]crop=1280:1280:ow:((ih-oh)/5)*t,format=yuva444p,fade=d=1:t=in:alpha=1,setpts=PTS-STARTPTS+8/TB[f2]; \&#xA;[3]format=yuva444p,fade=d=1:t=in:alpha=1,setpts=PTS-STARTPTS+12/TB[f3]; \&#xA;[0][f0]overlay[bg1];[bg1][f1]overlay[bg2];[bg2][f2]overlay[bg3];[bg3][f3]overlay,format=yuv420p[v]&quot; \&#xA;-map &quot;[v]&quot; -map 4:a -b:v 4000k -movflags +faststart -t 20 -s 1280x1280 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ziQIL.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ziQIL.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, the problem is that it seems it's keeping the first image's sizes for the whole video and the move up / down animations are being done in the red section in the above image. It keeps the first image like a background ( even I set the &lt;code&gt;-s 1280x1280&lt;/code&gt; for the video )&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: This issue appears when I merged &lt;em&gt;Crossfade&lt;/em&gt; effect with the &lt;em&gt;Move Up / Down&lt;/em&gt;. When it was only with the &lt;em&gt;Move Up / Down&lt;/em&gt; effect, the Crop was worked correctly without any unnecessary section at the bottom&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I'm changing the first image with the 1280x1280 sizes, it looks good and without unnecessary section at the bottom&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;em&gt;EDIT&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The correct answer to this question you can find &lt;a href=&quot;https://superuser.com/a/1522501/1103036&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26834" LastEditorUserId="26834" LastEditDate="2020-02-04T06:17:05.793" LastActivityDate="2020-02-04T06:17:05.793" Title="FFmpeg: Video with crossfade and move up / down effects keeps the first image height" Tags="|video|ffmpeg|effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29443" PostTypeId="1" CreationDate="2020-02-03T13:19:56.753" Score="-1" ViewCount="429" Body="&lt;p&gt;I have not much experience with video making and I am looking for simplest softwares to make a video like this.&#xA;Since you are an expert, which tools do you think have been used?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/BJlUDzmyvSk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Features:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Animation effects&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Website screenshot (there are not actual screenshot but are re-design to highlight only important feature)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;Illustrations (Where I can found lots of illustration to buy/download) ?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="27522" LastActivityDate="2020-02-04T13:42:01.830" Title="With what tools could I make a video like this?" Tags="|animation|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29444" PostTypeId="1" CreationDate="2020-02-03T14:24:26.590" Score="0" ViewCount="111" Body="&lt;p&gt;I'm trying to import multiple images into premiere which I've prepared and exported in illustrator before. All I'm getting is the same images all over again. Even if I browse the folder through premiere I see them exactly the same. In finder they are fine&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8n8Rf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8n8Rf.png&quot; alt=&quot;screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I place them onto the timeline and render in to out, they are also all the same.&lt;/p&gt;&#xA;" OwnerUserId="26081" LastEditorUserId="26081" LastEditDate="2020-02-03T22:29:41.307" LastActivityDate="2024-02-14T01:05:10.577" Title="Importing multiple images into premiere, getting the same one multiple times" Tags="|premiere|photos|media|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29445" PostTypeId="1" AcceptedAnswerId="29458" CreationDate="2020-02-03T14:55:54.143" Score="1" ViewCount="3067" Body="&lt;p&gt;My point is to create a continuous video stream with overlay that will change depending on external events. Like YouTube radio channels, where the song name is changing depends on which track is currently playing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I saw one of the interesting ways with using several ffmpeg instances and local streams for audio and video: one ffmpeg is playing audio to local port, and other combining it with video, taking the audio source from local audio stream. So I can change the audio during the stream without restarting it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is, can I use the same scene for changing the overlay. Let's say I need to change the song name on the screen, is there any ways to do so with ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="27524" LastEditorUserId="18155" LastEditDate="2020-02-06T15:04:15.470" LastActivityDate="2020-04-25T21:36:18.920" Title="Live stream with changeable overlay" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29447" PostTypeId="1" AcceptedAnswerId="29486" CreationDate="2020-02-04T03:56:46.003" Score="0" ViewCount="31" Body="&lt;p&gt;I've got a decent bitrate DVD rip of an animated TV series, and before sending it to it's forever home (currently my PS3's extra HD space), I was wondering: can you take existing m4v files and make them somehow &quot;better&quot; losslessly?  Maybe adding more seekable points, or optimizing headers, or sprinkle in more video chapter marker thumbnails, or ...?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;H264 MPEG-4 AVC, 720x480&lt;/p&gt;&#xA;" OwnerUserId="24787" LastActivityDate="2020-02-09T18:34:45.880" Title="Can I make m4v files &quot;better&quot; before archiving? (adding keyframes, or lossless optimization, or ?)" Tags="|encoding|codec|dvd|" AnswerCount="2" CommentCount="0" ClosedDate="2020-02-10T18:28:12.527" ContentLicense="CC BY-SA 4.0" />
  <row Id="29449" PostTypeId="1" AcceptedAnswerId="29453" CreationDate="2020-02-04T05:20:27.610" Score="0" ViewCount="58" Body="&lt;p&gt;Pretty much &lt;a href=&quot;https://youtu.be/u30ElgGF8yk?t=215&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; effect. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I tried:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I put the movie in a picture in picture mode&lt;/li&gt;&#xA;&lt;li&gt;Cut the overlaying movie (the one on top) every second for about 5 seconds &lt;/li&gt;&#xA;&lt;li&gt;gradually increased each newly created scene a little &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;This looked horrible and not smooth at all&lt;/p&gt;&#xA;" OwnerUserId="27531" LastActivityDate="2020-02-04T13:34:41.947" Title="how to smoothly increase a video in picture of picture mode" Tags="|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29450" PostTypeId="2" ParentId="28775" CreationDate="2020-02-04T05:52:44.330" Score="-1" Body="&lt;p&gt;Yeah Spatial Media Metadata Injector destroys the video. I was somehow able to export a video using insta360 studio as an actual 360 video but have no clue how I did it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems all anyone wants to do is make claims to all these types of features but no one wants to explain how they're doing anything. The information people are leaving is useless.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was on the phone with insta360 today for about 40 minutes trying to have them explain to me what a keyframe is, what purpose it serves and why it's even in insta360 studio to begin with.&lt;/p&gt;&#xA;" OwnerUserId="27532" LastActivityDate="2020-02-04T05:52:44.330" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29453" PostTypeId="2" ParentId="29449" CreationDate="2020-02-04T13:34:41.947" Score="1" Body="&lt;p&gt;What you're trying to do is easily achieved with after-effects. iMovie really isn't made for motion graphics.&#xA;What you want to do is the following:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create a composition from your footage&lt;/li&gt;&#xA;&lt;li&gt;Drag the pip video above the main video.&lt;/li&gt;&#xA;&lt;li&gt;Press &quot;s&quot; while having the pip video selected to bring up the scaling.&lt;/li&gt;&#xA;&lt;li&gt;Scale the video down and drag it to the position you'd like.&lt;/li&gt;&#xA;&lt;li&gt;Now press the stopwatch on the scaling (this will create a keyframe).&lt;/li&gt;&#xA;&lt;li&gt;Go forward in the timeline and enter 100% in the scaling, which will make it full-screen again.&lt;/li&gt;&#xA;&lt;li&gt;Do steps 5-6 with the position (you can bring it up by pressing &quot;p&quot;), except for entering 100%, you'll right-click the position and choose &quot;reset&quot;. This will center the now full-scale pip video perfectly.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Notes: It is important that the first keyframe from scaling and position are on the same frame, and the last  keyframe of position and scaling must also be on the same frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you look at the animation, it might look a bit &quot;linear&quot;. To make it smoother, you can select all four keyframes you have created, right-click and choose &quot;easy-ease&quot;. This will interpolate your keyframes in a smoother way.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-02-04T13:34:41.947" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29454" PostTypeId="2" ParentId="29443" CreationDate="2020-02-04T13:42:01.830" Score="0" Body="&lt;p&gt;I've made many infographic videos similar to this. The workflow is quite simple:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Write the script about what's going to happen.&lt;/li&gt;&#xA;&lt;li&gt;Create the illustrations that are supposed to be seen using Adobe Illustrator.&lt;/li&gt;&#xA;&lt;li&gt;Import the Illustrations in After-Effects (as Paths, NOT as pixels, like .png or &#xA;.jpg!)&lt;/li&gt;&#xA;&lt;li&gt;Animate the illustrations and  separate file for each shot.&lt;/li&gt;&#xA;&lt;li&gt;Edit everything in Adobe Premiere, add sounds there (or in After-Effects, if you like).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;And that's it. The hard part is knowing how to do every single step, which will take weeks or months of practice and dedication to learning the craft.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The easier way would be to buy Illustrations online, like from mr. Horse, BUT:&#xA;You will still have to animate the illustrations on your own, which is the hardest part of them all!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're not familiar with After-Effects, I don't advice you to spend money on assets that you can't animate. That would be wasted money.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-02-04T13:42:01.830" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29455" PostTypeId="2" ParentId="29447" CreationDate="2020-02-04T13:47:33.133" Score="0" Body="&lt;p&gt;No and yes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For one, you cannot magically pull out more information from the video you have. On the other hand side, you can try to use &lt;a href=&quot;https://www.youtube.com/watch?v=XZVxiak0axo&amp;amp;list=LLLMB4kEVcNh2OW5uCN7qkHg&amp;amp;index=49&quot; rel=&quot;nofollow noreferrer&quot;&gt;NVIDIA's AI-Upscaling&lt;/a&gt;, which works fine on documentaries and nature, but it turns humans into horrible creatures. The Ai practically guesses what information is hidden between the pixels, so it's not 100% accurate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But just thinking about the problem at hand should make it clear, that there's nothing &quot;hidden&quot; between blurry pixels. There just isn't enough information in the stream and you cannot simply enhance the video like you see in csi:miami. You can try using post-processing, such as sharpening, upscaling to 4k using Red-Giant's plugins (which are expensive though) and enhancing contrast. All of that is just post-processing though, so if the file's a turd, you'll be polishing a turd.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-02-04T13:47:33.133" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29456" PostTypeId="2" ParentId="29433" CreationDate="2020-02-04T13:56:20.747" Score="2" Body="&lt;p&gt;This is not something you should ever do in After-Effects. Primarily, After-Effects is a motion-graphics program, so it works in 2D 99% of the time. Something like this scene from ghost in the shell was probably created using a 3D-Program to model out the cylinder (Modo, Cinema4D, Maya or Houdini could have been used), and then send over to a compositing-program, of which I'm pretty sure they used Nuke. If I was to get a job like that, this is how I would've worked:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Track the original shot and create a 3D-Camera (using Pf-Track or something similar).&lt;/li&gt;&#xA;&lt;li&gt;Create a mask around the Lady and export it as a matte-image-sequence.&lt;/li&gt;&#xA;&lt;li&gt;Import the camera in your 3D-Program of choice and set the original Clip as your background, so you can see where the cylinder is supposed to be in space.&lt;/li&gt;&#xA;&lt;li&gt;Model out the Cylinder and texture it accordingly.&lt;/li&gt;&#xA;&lt;li&gt;Set the 3D-Kamera to fit the real camera, i.e. Lens-distortion, Chromatic-Abberation, Mono-Chromatic Abberation, etc.&lt;/li&gt;&#xA;&lt;li&gt;Light the scene to perfectly fit the video-clip.&lt;/li&gt;&#xA;&lt;li&gt;Cut out the back part of the cylinder using your matte-image sequence from prior.&lt;/li&gt;&#xA;&lt;li&gt;Export the sequence as a tiff or exr with alpha-channel (the transparency)&lt;/li&gt;&#xA;&lt;li&gt;Import the image-sequence into Nuke.&lt;/li&gt;&#xA;&lt;li&gt;Add some finishing touches such as grain, glow, etc.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-02-04T13:56:20.747" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29457" PostTypeId="2" ParentId="29444" CreationDate="2020-02-04T16:13:39.910" Score="0" Body="&lt;p&gt;Solved by using the &quot;Video&quot; mode in Illustrator which you can select while setting up your file after you click &quot;create new&quot;&lt;/p&gt;&#xA;" OwnerUserId="26081" LastActivityDate="2020-02-04T16:13:39.910" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29458" PostTypeId="2" ParentId="29445" CreationDate="2020-02-04T21:04:51.753" Score="2" Body="&lt;h1&gt;drawtext filter&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;If you just want to update some text on the screen the easiest method is to use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#drawtext&quot; rel=&quot;nofollow noreferrer&quot;&gt;drawtext&lt;/a&gt; filter with the &lt;code&gt;textfile&lt;/code&gt; and &lt;code&gt;reload&lt;/code&gt; options.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf &quot;drawtext=textfile=songs.txt:reload=1&quot; output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;songs.txt&lt;/code&gt; will be reloaded once per frame. Be sure to update it atomically, or it may be read partially, or even fail.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;overlay filter&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;If you prefer an image instead of text you have to manually select the image demuxer, loop the image, and replace &lt;code&gt;overlay.png&lt;/code&gt; atomically whenever you want it to be updated.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -f image2 -loop 1 -i overlay.png -filter_complex overlay output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-02-04T21:04:51.753" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29459" PostTypeId="1" CreationDate="2020-02-04T21:15:50.557" Score="1" ViewCount="34" Body="&lt;p&gt;I've made a graph with some looping animations on After Effects.&#xA;The video is 2 sec long but has to loop.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I've made a GIF export. It worked well... until the upload on Facebook (or Giphy) : my work become blurry and unreadable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Properties of my export : 25 fps, 23 mo&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could someone let me know the good process to display a very short and looped video on social network ?&lt;/p&gt;&#xA;" OwnerUserId="27540" LastActivityDate="2020-02-05T09:18:55.313" Title="Which export for display a loop illustration on Facebook?" Tags="|after-effects|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29460" PostTypeId="2" ParentId="29459" CreationDate="2020-02-05T09:18:55.313" Score="1" Body="&lt;p&gt;Giphs have the problem that they are heavily compressed most of the time. Uploading the file to Giphy or facebook might additionally re-format the file and compress it even more, as does youtube or vimeo with their files aswell. You might want to try and increase the resolution of your composition and upscaling everything. In your viewer, not a lot will change, but with a higher resolution, the gif should be a bit more readable at last. Also, try to make Text as large as possible, without blowing it out of proportion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If none of that helps, you might want to look into other containers and formats that support high web-compression and looping, such as webm.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-02-05T09:18:55.313" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29461" PostTypeId="1" CreationDate="2020-02-05T11:10:22.880" Score="1" ViewCount="8189" Body="&lt;p&gt;Hello again community!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I came back with a new issue in DaVinci Resolve 16.. I was working in two projects (both where opened) and after a crush both are lost. I restarted my PC just in case, but no I wasn't that lucky...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have searched in AppData\Roaming\Blackmagic Design\DaVinci Resolve\Support\Resolve Disk Database\Resolve Projects\user-name\Projects\MyProjects, but there weren't any trace from both of those. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wasn't smart enough from the very beginning to set up the auto choice for creation projects' backups. (I did it know like shown in picture below).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/J4J5M.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/J4J5M.png&quot; alt=&quot;Auto Backup Preferences&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Logically there has to be a way to restore a deleted/crushed project in a tiny period of time (a couple of hours after that). Does anyone know how to do that?&lt;/p&gt;&#xA;" OwnerUserId="27478" LastActivityDate="2020-02-05T11:10:22.880" Title="DaVinci Resolve 16 - Restore Deleted/Crushed Project" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29462" PostTypeId="1" AcceptedAnswerId="29473" CreationDate="2020-02-05T19:05:31.057" Score="0" ViewCount="2042" Body="&lt;p&gt;I'm trying to remux a set of encrypted &lt;code&gt;.ts&lt;/code&gt; files (as a &lt;code&gt;.m3u8&lt;/code&gt; playlist) into a single &lt;code&gt;.mp4&lt;/code&gt; file with the next command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;C:\Users\~\Desktop\test\ffmpeg.exe&quot; -allowed_extensions ALL \&#xA;    -i &quot;C:\Users\~\Desktop\test\chunklist.m3u8&quot; -c:v copy -c:a copy \&#xA;    &quot;C:\Users\~\Desktop\test\output.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but getting the &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Unable to open key file &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;error. I tried the URI as “key” with and without quotes as well as the key in hex format but the error is still there... What I'm doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the cmd output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.1 Copyright (c) 2000-2018 the FFmpeg developers&#xA;      built with gcc 8.2.1 (GCC) 20181017&#xA;      configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth&#xA;      libavutil      56. 22.100 / 56. 22.100&#xA;      libavcodec     58. 35.100 / 58. 35.100&#xA;      libavformat    58. 20.100 / 58. 20.100&#xA;      libavdevice    58.  5.100 / 58.  5.100&#xA;      libavfilter     7. 40.101 /  7. 40.101&#xA;      libswscale      5.  3.100 /  5.  3.100&#xA;      libswresample   3.  3.100 /  3.  3.100&#xA;      libpostproc    55.  3.100 / 55.  3.100&#xA;    [hls,applehttp @ 00000215fa3a9f00] Opening 'key' for reading&#xA;    Unable to open key file key&#xA;    [hls,applehttp @ 00000215fa3a9f00] Opening 'crypto:media_b6000000_0.ts' for reading&#xA;    [crypto @ 00000215fa3c6f80] Unable to open resource: media_b6000000_0.ts&#xA;    [hls,applehttp @ 00000215fa3a9f00] Failed to open segment 0 of playlist 0&#xA;    [hls,applehttp @ 00000215fa3a9f00] Opening 'crypto:media_b6000000_1.ts' for reading&#xA;    [crypto @ 00000215fa3c6f80] Unable to open resource: media_b6000000_1.ts&#xA;    [hls,applehttp @ 00000215fa3a9f00] Failed to open segment 1 of playlist 0&#xA;    [hls,applehttp @ 00000215fa3a9f00] Opening 'crypto:media_b6000000_2.ts' for reading&#xA;    [crypto @ 00000215fa3c6f00] Unable to open resource: media_b6000000_2.ts&#xA;    [hls,applehttp @ 00000215fa3a9f00] Failed to open segment 2 of playlist 0&#xA;    [hls,applehttp @ 00000215fa3a9f00] Error when loading first segment 'media_b6000000_0.ts'&#xA;    C:\Users\~\Desktop\test\chunklist.m3u8: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The files I'm working with are in the &lt;a href=&quot;https://www.mediafire.com/file/1ylixgqhcfummq0/test.zip/file&quot; rel=&quot;nofollow noreferrer&quot;&gt;test.zip&lt;/a&gt; archive.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(The original playlist has more &lt;code&gt;.ts&lt;/code&gt; files but I've included only first three, it shouldn't matter anyway).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help will be appreciated. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="27546" LastEditorUserId="18155" LastEditDate="2020-02-06T15:11:16.570" LastActivityDate="2020-02-07T19:02:50.317" Title="&quot;Unable to open key file&quot; error when remuxing a set of encrypted .ts files (as a .m3u8 playlist) into .mp4 with FFmpeg" Tags="|ffmpeg|mp4|hls|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29463" PostTypeId="1" CreationDate="2020-02-06T07:42:47.780" Score="0" ViewCount="29" Body="&lt;p&gt;I have a .MP4 movie exported from Blender in 24fps in good quality, without any pixelation problems. In whatever movie player I open it, there are no pixelation problems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I create a new project in Final Cut, also in 24fps, and I import the clip, and I play it in Final Cut as such, even in the Timeline viewer  (same problem after exporting from Final Cut), then &lt;strong&gt;every 18th or 19th frame gets pixelation problems&lt;/strong&gt; as such:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UkqVi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UkqVi.png&quot; alt=&quot;ets &quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to solve please? Should I prepare the Blender movie in another file format?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For your reference, here is an undistorted frame:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/aUH0n.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aUH0n.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem remains if I make a short (1-sec) small-resolution (550x550) sample.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, the &lt;strong&gt;19th frame is distorted&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rZE8x.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rZE8x.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It should look more like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4rURA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4rURA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here are my render settings for this small-resolution sample:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mtikR.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mtikR.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27551" LastEditorUserId="27551" LastEditDate="2020-02-06T18:23:44.493" LastActivityDate="2020-02-06T18:23:44.493" Title="Every 18 or 19 frames from an undistorted .MP4 clip gets pixelized when played via Final Cut" Tags="|final-cut-pro-x|conversion|final-cut-pro|final-cut-express|non-square-pixels|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29464" PostTypeId="2" ParentId="29416" CreationDate="2020-02-06T18:53:32.220" Score="-1" Body="&lt;p&gt;People do it when they have two cameras and feel compelled to use the second one to get their money’s worth, but don’t have any creative ideas about how to use it. Also common when you have a second tripod, but not a second cam-op. It’s a mistake that I think people make when they’re new to video (hey, I’ve done it!), and with more new videographers joining our ranks every day, and SME’s unintentionally lending credence to the practice, you’re likely to see more of it for a long time.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-02-06T18:53:32.220" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29465" PostTypeId="1" AcceptedAnswerId="29469" CreationDate="2020-02-06T19:57:26.453" Score="1" ViewCount="13317" Body="&lt;p&gt;How does changing the &lt;code&gt;Key Frame Distance&lt;/code&gt; control (as seen below) work in terms of quality and speed?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iK2eC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iK2eC.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27513" LastEditorUserId="1950" LastEditDate="2020-02-08T11:42:55.763" LastActivityDate="2021-09-26T14:14:57.107" Title="What is &quot;Key Frame Distance&quot; in Adobe Media Encoder?" Tags="|adobe-media-encoder|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29466" PostTypeId="1" CreationDate="2020-02-07T01:18:23.620" Score="0" ViewCount="68" Body="&lt;p&gt;I recently got a canon m50 for recording music videos, and despite several bad reviews I have read, I think it works quite well generally.&#xA;There are some things though that I do not like that I am trying to solve. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One of them is that whenever I have a source of light (like a lamp) in front of the camera or irradiating the edge of the lens I cannot get light flares (which would give a very aesthetic look to my videos). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So is it there any way to get light flares with the lens I have (a 15-45mm lens)? Or do I have to buy another lens for it?&lt;/p&gt;&#xA;" OwnerUserId="26387" LastActivityDate="2023-10-19T16:09:06.150" Title="Is there any way to get light flares in a canon m50 and its 15-45mm lens?" Tags="|camera|lighting|lenses|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29467" PostTypeId="1" CreationDate="2020-02-07T06:07:29.233" Score="6" ViewCount="13807" Body="&lt;p&gt;I have a video file with extension .mkv. It contains 2 Audio Tracks.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;English&lt;/li&gt;&#xA;&lt;li&gt;Hindi&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;English Audio track is the default Audio track. I am trying to set the default Audio track to Hindi because when I try to play it on my LED, it plays English Audio track as it is the default track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used below command to set Hindi as default Audio track.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -map 0:1 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But, it still keeps English as default track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Am I missing anything?&lt;/p&gt;&#xA;" OwnerUserId="27566" LastActivityDate="2020-02-10T15:01:33.840" Title="Change default audio track of Video file using ffmpeg" Tags="|ffmpeg|" AnswerCount="2" CommentCount="3" ClosedDate="2020-02-10T18:25:07.830" ContentLicense="CC BY-SA 4.0" />
  <row Id="29468" PostTypeId="2" ParentId="29466" CreationDate="2020-02-07T08:33:55.620" Score="1" Body="&lt;p&gt;The focal length of your lens does not necessarily determine wether or not you will see lens-flares. Lens-flares appear by reflecting light within the lenses, often bouncing around which in on itself would be considered a mistake. So chances are that with cheaper lenses, you will actually see more lens-flares than with an expensive zeiss-prime lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are some tricks to make lens-flares more apparent: You can use a rubber-band and stretch it in front of the lens horizontally - the rubber-band will be almost invisible since it's so out of focus, however, the reflected light will be caught by it and give you an almost anamorphic-looking lens-flare. For more dyi-tips and tricks concerning lenses I recommend you check out the &lt;a href=&quot;https://www.youtube.com/user/filmriot&quot; rel=&quot;nofollow noreferrer&quot;&gt;FilmRiot Youtube channel&lt;/a&gt;, or the &lt;a href=&quot;https://www.youtube.com/indymogul&quot; rel=&quot;nofollow noreferrer&quot;&gt;IndyMogul&lt;/a&gt; one. They hinted me towards the rubber-band trick for example.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-02-07T08:33:55.620" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29469" PostTypeId="2" ParentId="29465" CreationDate="2020-02-07T08:35:02.330" Score="1" Body="&lt;p&gt;This is an answer I found on the adobe forums after googling it:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The keyframe distance is the maximum number of frames before the encoder inserts an i-frame, which is the highest-quality frame of an MPEG stream (ie, it has all the information for a single frame of video inside of it rather than relying on the frames around it to reconstruct). In between the i-frames are b-frames and p-frames, which are &quot;difference&quot; frames that reconstruct that frame of video by looking at the nearest i-frame and applying all the &quot;difference&quot; frames from that point forward (or backwards). The collection of an i-frame and all its connected p-frame and b-frames is called a GOP, or &quot;Group of Pictures&quot;. So in essence the &quot;keyframe distance&quot; value determines the length of each GOP.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that Premiere automatically inserts a new i-frame for scene changes, irrespective of the keyframe distance value. This is to assure video quality at the start of a new scene since there wont be enough in common from previous b-frame and p-frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Generally speaking, the more i-frames you have, the higher the image quality of video, but also the larger the size of the video. So the value you choose for keyframe distance is a balance between the file size you want the video to fit in vs quality. If you're not concerned with file size or the file size generated is within reason then you can just leave it to its default value. Otherwise you can tweak it as part of the process to get the file size down to where you want it to be (in combination with the other encoder parameters such as bitrate).&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-02-07T08:35:02.330" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29470" PostTypeId="1" AcceptedAnswerId="29484" CreationDate="2020-02-07T08:50:57.110" Score="2" ViewCount="7688" Body="&lt;p&gt;I am using Davinci Resolve and try to edit a video made vertical with a cell phone. &#xA;I want to use &quot;Blanking fill&quot; to fill the black sides with some blurry moving content:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I added the effect onto the video in the timeline (1920*1080p in timeline settings), but it does not fill the image:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PtRB3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PtRB3.png&quot; alt=&quot;Example with Blank Fill&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It still keeps some of the black and I don't know how to fix this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As requested from Jason Conrad some more settings:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sUi3l.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sUi3l.png&quot; alt=&quot;Settings&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ib3mR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ib3mR.png&quot; alt=&quot;Blanking Fill settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT2:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the &quot;deliver&quot; tab the video is showing up like it's working:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xoYo6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xoYo6.png&quot; alt=&quot;Working?&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I render the video it looks like the preview ... &lt;/p&gt;&#xA;" OwnerUserId="27567" LastEditorUserId="27567" LastEditDate="2020-02-10T16:50:59.000" LastActivityDate="2021-03-23T02:01:01.437" Title="Davinci Resolve - Blanking Fill is not expanding to the size of the video" Tags="|editing|davinci-resolve|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29471" PostTypeId="1" CreationDate="2020-02-07T13:44:35.050" Score="0" ViewCount="941" Body="&lt;p&gt;I am trying to change a video with Rotation, rounded corner,  transparent, scaling, and border all with together and overlay on a video;&#xA;I am trying to do this with FFMPEG in PHP but getting issue in transparent background; I am getting green background please help;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i empt_vid_5891581054410.mp4 -i merged-571580302534.mp4 -filter_complex &quot;[1:v] rotate=-    30*PI/180:ow=rotw(iw):oh=roth(ih):c=none [rotate];[0:v][rotate] overlay=40:10:enable='between(t,2,7)', colorchannelmixer=aa=0.5&quot; -auto-alt-ref 0 -pix_fmt yuv420p -c:a copy overlayavatar.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27569" LastEditorUserId="4426" LastEditDate="2020-02-07T13:54:38.893" LastActivityDate="2024-03-10T11:04:35.593" Title="video overlay on another video with rounded corner, transparency, opacity, scaling, and border all together with FFMPEG in PHP" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29473" PostTypeId="2" ParentId="29462" CreationDate="2020-02-07T19:02:50.317" Score="0" Body="&lt;p&gt;Ok, looks like I solved the problem... Basically, I used relative paths in a couple of places where I should have used absolute ones instead.&lt;/p&gt;&#xA;" OwnerUserId="27546" LastActivityDate="2020-02-07T19:02:50.317" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29475" PostTypeId="1" AcceptedAnswerId="29478" CreationDate="2020-02-07T21:41:43.490" Score="3" ViewCount="1470" Body="&lt;p&gt;The command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f lavfi -graph testsrc2=d=1[out0];sine=d=1[out1] test.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;works fine. But the same arguments for &lt;code&gt;ffmpeg&lt;/code&gt; (instead of &lt;code&gt;ffplay&lt;/code&gt;)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -graph testsrc2=d=1[out0];sine=d=1[out1] test.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;produce only the error&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;[NULL @ 00000000006934c0] Requested output format 'lavfi' is not a suitable output format&#xA;test.mp4: Invalid argument&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;What's wrong with it?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Note:&lt;/em&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;From the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-devices.html#lavfi&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg documentation for the lavfi&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Currently only video data is supported.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;It seems that's not true nowadays, at least &lt;code&gt;ffplay&lt;/code&gt; works fine with audio (see my first command).&lt;br&gt;&#xA;Or I incorrectly interpret this sentence?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But just in case I tried using the filtergraph &lt;code&gt;testsrc2=d=1[out0];testsrc=d=1[out1]&lt;/code&gt; instead, with the same results — &lt;code&gt;ffplay&lt;/code&gt; — OK, &lt;code&gt;ffmpeg&lt;/code&gt; — the same error.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2020-02-07T22:09:44.270" LastActivityDate="2020-02-08T04:30:23.930" Title="lavfi virtual device - the same parameters for ffmpeg and ffplay" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29476" PostTypeId="1" AcceptedAnswerId="29485" CreationDate="2020-02-08T04:05:58.813" Score="1" ViewCount="49" Body="&lt;p&gt;Premiere newbie, just trying to learn how to be productive. :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have 4 tracks&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Live Video File (+ bad audio)&lt;/li&gt;&#xA;&lt;li&gt;Screenflow capture&lt;/li&gt;&#xA;&lt;li&gt;Good audio&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Since I had to wait for a Screenflow to render an export I synchronized my good audio with my video and began splitting so that I could sift quickly once the screenflow export was ready for import.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've now synced my screen capture in the timeline, but I have to re-split.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;I'd like to split it in exactly the same places&lt;/strong&gt; as the other files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RWH57.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RWH57.png&quot; alt=&quot;tracks with and without splits side by side&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Is there some sort of hotkey or script I can create to split one track to match where another is already split?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Is there I can make the magnet sticky to splits so that I don't have to zoom in and out for each split I'm re-creating?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="27575" LastEditorUserId="27575" LastEditDate="2020-02-08T04:20:23.083" LastActivityDate="2020-02-09T13:08:14.427" Title="Premiere Pro: How to match splits between two clips?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29477" PostTypeId="2" ParentId="29476" CreationDate="2020-02-08T04:27:05.350" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;ol start=&quot;2&quot;&gt;&#xA;  &lt;li&gt;Is there I can make the magnet sticky to splits so that I don't have to zoom in and out for each split I'm re-creating?&lt;/li&gt;&#xA;  &lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;By trial and error I was able to figure out that &lt;code&gt;holding shift&lt;/code&gt; while moving on the timeline - either by dragging the timeline cursor, with with the cut tool (&lt;code&gt;c&lt;/code&gt;) - will cause it to become magnetic or sticky to the splits in the clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Likewise &lt;code&gt;shift+cmd+k&lt;/code&gt; will cut all tracks whereas &lt;code&gt;cmd+k&lt;/code&gt; will cut only the highlighted track.&lt;/p&gt;&#xA;" OwnerUserId="27575" LastEditorUserId="27575" LastEditDate="2020-02-08T04:32:40.840" LastActivityDate="2020-02-08T04:32:40.840" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29478" PostTypeId="2" ParentId="29475" CreationDate="2020-02-08T04:30:23.930" Score="4" Body="&lt;p&gt;The ffmpeg tool can work with multiple inputs and outputs so the parser looks for &lt;code&gt;-i&lt;/code&gt; to demarcate input options. The lavfi device will read the graph from the input argument &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i &quot;testsrc2=d=1[out0];sine=d=1[out1]&quot; test.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-02-08T04:30:23.930" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29479" PostTypeId="1" CreationDate="2020-02-08T09:00:40.117" Score="0" ViewCount="11" Body="&lt;p&gt;I have seen this video in YouTube:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/g4QkU.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/g4QkU.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And like to know about free editor to built this video kind for my own.&#xA;So i asked here is any free software for ding this work, combining the video with flash or photo to move during the video ruining.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="27578" LastEditorUserId="27578" LastEditDate="2020-02-08T09:10:41.940" LastActivityDate="2020-02-08T09:10:41.940" Title="Proper Free video editor to make video with movable the some flash or ... during the video" Tags="|video-editor|flash|" AnswerCount="0" CommentCount="2" ClosedDate="2020-02-08T14:29:51.793" ContentLicense="CC BY-SA 4.0" />
  <row Id="29480" PostTypeId="1" CreationDate="2020-02-08T14:49:45.390" Score="1" ViewCount="4270" Body="&lt;p&gt;I have a project where people are talking in amateur footage. That means no lava or overhead microphone. Just digital camera. A lot of outside noise is caught.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a filter, multi-band equalizer, compressor, limiter or anything I can drop on all the little fragments of audio to make the end result &lt;em&gt;somewhat&lt;/em&gt; better? There are tools that might be able to do the job, but all tools come without any presets, so it's hard to figure out sensible defaults without a more technical background in audio. Furthermore, settings that depend on current levels (i.e. &quot;attack&quot;) seem to be reset on every audio snippet and I don't believe I can let all the audio be treated as one channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once the project is complete, a more dedicated audio software can be used. But it will take a while and a lot of exports will be made. I have no time to finalize the audio externally for every export. It would be nice if there was a way to improve the audio &lt;em&gt;somewhat&lt;/em&gt; using clever computer wizardry.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Perhaps there is a trick, like freezing all the audio into one single clip and apply some presets on that.&lt;/p&gt;&#xA;" OwnerUserId="27407" LastActivityDate="2021-03-14T07:05:35.557" Title="Quick audio cleanup filters in Kdenlive" Tags="|audio|kdenlive|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29481" PostTypeId="2" ParentId="29467" CreationDate="2020-02-08T18:02:44.487" Score="1" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -i input -map 0:v -map 0:m:language:hin -c copy output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Above code helped me. It worked perfectly for me.&lt;/p&gt;&#xA;" OwnerUserId="27566" LastActivityDate="2020-02-08T18:02:44.487" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29482" PostTypeId="1" AcceptedAnswerId="29483" CreationDate="2020-02-09T04:16:40.027" Score="1" ViewCount="11213" Body="&lt;p&gt;Is it possible to use some combination of Color nodes and power windows to hide parts of an already partially transparent clip such as one whose frames might be made from transparent images like&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VgHcu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VgHcu.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm specifically looking for a solution without resorting to Fusion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My unsuccessful attempts at trying to cut out a hole in the middle following &lt;a href=&quot;https://forum.blackmagicdesign.com/viewtopic.php?f=21&amp;amp;t=70131#p391409&quot; rel=&quot;nofollow noreferrer&quot;&gt;this advice&lt;/a&gt;:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/hMrGq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hMrGq.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/9xPZz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9xPZz.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27584" LastEditorUserId="27584" LastEditDate="2020-02-09T05:26:00.627" LastActivityDate="2020-02-09T22:00:13.027" Title="Mask clip with transparency in DaVinci Resolve" Tags="|davinci-resolve|mask|alpha|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29483" PostTypeId="2" ParentId="29482" CreationDate="2020-02-09T08:24:27.400" Score="0" Body="&lt;p&gt;Yes.  &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Navigate to your .png in the media browser and import it into your project&lt;/li&gt;&#xA;&lt;li&gt;Create a bin, make sure the new bin is selected.  Unfortunately, Resolve won't let you import the same image twice, regardless of which channels you're interpreting.  Using a second bin is a workaround.&lt;/li&gt;&#xA;&lt;li&gt;Right-click on the .png again in the media browser, and select &quot;add into media pool as a matte&quot;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/bNdPg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bNdPg.png&quot; alt=&quot;stepThree&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Drop the original .png onto your timeline above whatever footage you want to be the background&lt;/li&gt;&#xA;&lt;li&gt;open the color page and select the fox.png clip in the timeline&lt;/li&gt;&#xA;&lt;li&gt;right click on the background of the node editor and add an alpha output, wire the output of node 1 to the master alpha out.&lt;/li&gt;&#xA;&lt;li&gt;right click on node 1, and from the context menu, choose your matte from the Add Matte submenu at the bottom&#xA;&lt;a href=&quot;https://i.stack.imgur.com/AzZzz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AzZzz.png&quot; alt=&quot;stepSeven&quot;&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;use any other roto tools you need to knock out whatever you need to knock out.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uPFjI.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uPFjI.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-02-09T22:00:13.027" LastActivityDate="2020-02-09T22:00:13.027" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="29484" PostTypeId="2" ParentId="29470" CreationDate="2020-02-09T08:51:58.163" Score="1" Body="&lt;p&gt;****Edit****&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With the new information you've provided, I can tell that you're encountering a bug related to Resolve's handling of transparency information in .PNG files.  I can also recommend a solution. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your screenshot of the Deliver page, I can tell that there are three clips on your timeline, and that one of them is a .PNG.  In the course of its development, Resolve has suffered growing pains with its treatment of alpha channels, and how video tracks on the timeline treat them.  In fact, there's a recent SE question which was asked within hours of yours which you will find instructive.  &lt;a href=&quot;https://video.stackexchange.com/questions/29482/mask-clip-with-transparency-in-davinci-resolve&quot;&gt;See here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In previous versions of Resolve, dragging a video or still image which contained alpha channel information onto a &quot;foreground&quot; timeline track (any track above your background) was not enough to show the background through the foreground.  You would see black where you should see transparency.  The reason for this behavior was connected to the order of operations in the image processing pipeline, and the fact that color page operations occured before edit and deliver, even if you had not performed any color page operations.  So, unless you added an alpha output node on the color page by right-clicking on the background and selecting &quot;add alpha output,&quot; You would see black instead of transparent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Needless to say, this behavior frustrated new users, and BlackMagic Design strove to improve the behavior of images with alpha channels, out of the box.  Now, when you drop a .PNG with transparency over another timeline layer, the color page is &quot;smart enough&quot; to realize that it should show you the cutout image composited over the background on the edit page without requiring you to do any extra work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, as you have discovered, there is a bug in the software where dropping a .PNG over a layer-with-effects, incorrectly renders the effects.  This is an internal order of operations compositing error, but the good news is you can force the compositing operations to execute in the proper order.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;TLDR: To fix your problem&lt;/strong&gt;, right-click on the V1 clip in the timeline, and choose &quot;New Compound Clip&quot; from the top of the contextual menu.  You'll now see the full blurred background of the Blanking Fill operation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Compound Clips in Resolve are like folders in a file system, in a way.  Your original clip is now contained within a larger structure.  You'll notice that if you click on the new Compound Clip in the timeline that it appears as if the blanking fill controls have disappeared from the inspector, even though the blanking fill effect is still clearly visible.  Fear not, the controls are still available, and editable.  Just right-click on the Compound Clip, and select &quot;Open in timeline&quot; from the contextual menu.  This takes you inside of the &quot;folder&quot; where you can see your original clip and adjust its controls.  To get back out to your main timeline, double-click on the timeline name at the BOTTOM of the screen in the &quot;breadcrumb&quot; list, where, it will say &quot;Timeline 1 &gt; Compound Clip 1.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Besides the folder analogy to describe Compound clips, you can also think of them as a set of parenthesis in an algebraic equation; they affect the order of operations in Resolve, and help control which effects are composited before others.  In your case, they'll ensure that the blanking fill gets calculated fully before the .PNG is placed in the foreground.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Bonus:  Here's one more quirk about working with compound clips that you should know about.  In Resolve, it's easy to break apart a compound clip onto the timeline and restore its constituent parts (CC's can contain multiple clips and layers, like a mini timeline).  To do this, just right-click on a compound clip in the timeline, and select &quot;Decompose in place&quot; from the contextual menu (This is a feature which separates Resolve from Premiere, btw, where it's much more difficult to break apart a nested sequence).  So, compound clips are a very handy container for a group of clips, and you can, e.g. apply color page effects to the container as a whole.  That is, if you lasso a hundred clips on a timeline, and turn them into a CC, you could turn them all blue with one node on the color page.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the quirk:  If you decompose this string of 100 blue clips on the timeline, you are ERASING both the container, and all of the effects applied to the container.  The clips will no longer be blue.  The color page effects do not cascade to constituent elements when you &quot;decompose in place.&quot;  So, as a rule of thumb, if you're ever going to &quot;flatten&quot; your timeline (for .xml round-tripping to another app, for instance), FLATTEN IT BEFORE YOU COLOR IT.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;* End Edit. Previous answer below. *&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's hard to know without knowing what your settings are.  If your timeline resolution has square dimensions, and you don't have &quot;Use gray background in viewers&quot; checked, then the black vertical bars could just be the bounds of your timeline.  It's also possible that you have output blanking turned on under timeline-&gt;output blanking, which would add black bars over the fuzzy bars.  Also, make sure your viewer window is scaled to &quot;fit&quot; inside the UI.  Here are some screenshots of my settings if that helps. Oh, and make sure you're not cropping the edges, by checking the crop slider values, which should be zero.&lt;a href=&quot;https://i.stack.imgur.com/M5Dd3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/M5Dd3.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LTw2g.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LTw2g.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-02-11T01:02:29.503" LastActivityDate="2020-02-11T01:02:29.503" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="29485" PostTypeId="2" ParentId="29476" CreationDate="2020-02-09T13:08:14.427" Score="1" Body="&lt;p&gt;There are several ways this can be achieved:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Holding the Shift key while scrubbing the timeline marker with the mouse.&lt;/li&gt;&#xA;&lt;li&gt;Holding the Shift key and using the up and down arrows to move between clips. This gives more precision over using the Shift key and scrubbing.&lt;/li&gt;&#xA;&lt;li&gt;Double clicking between two adjacent clips. For me this can be quicker when there are many clips and cuts and no shortcut keys are required.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Ctrl + K will cut all selected tracks and Ctrl + Shift + K will cut all tracks from the playhead.&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2020-02-09T13:08:14.427" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29486" PostTypeId="2" ParentId="29447" CreationDate="2020-02-09T18:34:45.880" Score="0" Body="&lt;p&gt;No, there are not commonly accepted ways to optimize a pre-existing mp4 file without full re-encoding.&lt;/p&gt;&#xA;" OwnerUserId="24787" LastActivityDate="2020-02-09T18:34:45.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29487" PostTypeId="2" ParentId="20053" CreationDate="2020-02-09T22:22:46.193" Score="0" Body="&lt;p&gt;I use ffmpeg to combine a static PNG with MP3 to create a composite MP4. The Job Listings video on &lt;a href=&quot;https://joblist4u.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://joblist4u.com&lt;/a&gt; is created daily using ffmpeg to render the finished MP4. The process is 100% unattended. The AutiIT and WnAutomation are scripting shells, and Windows Powershell is more suitable and is part of Windows 10.&lt;/p&gt;&#xA;" OwnerUserId="27589" LastEditorUserId="14523" LastEditDate="2020-02-12T03:02:58.367" LastActivityDate="2020-02-12T03:02:58.367" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29488" PostTypeId="1" CreationDate="2020-02-10T03:26:38.237" Score="0" ViewCount="832" Body="&lt;p&gt;I just discover FFmpeg, and I was using it to find keyframes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I lost the command line due to the power outage.&lt;br&gt;&#xA;I'm searching for a command line that produce the following output.&lt;br&gt;&#xA;Can you help me with a command line that would generate this &lt;code&gt;test.txt&lt;/code&gt; file?&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;frame|key_frame=1|pkt_pts_time=1.441711|pict_type=I&#xA;frame|key_frame=0|pkt_pts_time=1.483411|pict_type=B&#xA;frame|key_frame=0|pkt_pts_time=1.525122|pict_type=P&#xA;frame|key_frame=0|pkt_pts_time=1.566833|pict_type=B&#xA;frame|key_frame=0|pkt_pts_time=1.608544|pict_type=B&#xA;frame|key_frame=0|pkt_pts_time=1.650244|pict_type=P&#xA;frame|key_frame=0|pkt_pts_time=1.691956|pict_type=B&#xA;frame|key_frame=0|pkt_pts_time=1.733667|pict_type=B&#xA;frame|key_frame=0|pkt_pts_time=1.775378|pict_type=P&#xA;frame|key_frame=0|pkt_pts_time=1.817078|pict_type=B&#xA;frame|key_frame=0|pkt_pts_time=1.858789|pict_type=B&#xA;frame|key_frame=0|pkt_pts_time=1.900500|pict_type=P&#xA;frame|key_frame=0|pkt_pts_time=1.942211|pict_type=B&#xA;frame|key_frame=0|pkt_pts_time=1.983911|pict_type=B&#xA;frame|key_frame=0|pkt_pts_time=2.025622|pict_type=P&#xA;frame|key_frame=0|pkt_pts_time=2.067333|pict_type=B&#xA;frame|key_frame=0|pkt_pts_time=2.109044|pict_type=B&#xA;frame|key_frame=0|pkt_pts_time=2.150744|pict_type=P&#xA;frame|key_frame=0|pkt_pts_time=2.192456|pict_type=B&#xA;frame|key_frame=0|pkt_pts_time=2.234167|pict_type=B&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I have some of the command line, but it is not complete, so if anyone can help me to complete it, it would be much appreciated.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input_file.m2ts frame=key_frame,pkt_pts_time,pict_type (missing option directive ?) &amp;gt; file_output.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27591" LastEditorUserId="674" LastEditDate="2020-02-29T18:05:37.570" LastActivityDate="2024-03-10T02:06:35.753" Title="Help with FFmpeg keyframe command" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29489" PostTypeId="1" AcceptedAnswerId="29537" CreationDate="2020-02-10T10:14:54.720" Score="1" ViewCount="262" Body="&lt;p&gt;I'm trying to animate a text possibly for a logo, making it into a seamless loop. The effect I'm trying to achieve is that of a wave like rippling but only on a portion of the text. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I still want it to look as if it is connected to the part of text that's staying static.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've seen suggestions of using turbulent displace effect, but I can't get it to loop. Also not certain how to keep one part of the text static while getting the waviness in a correct direction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Should I mask it out? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any better way of going about this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit:&#xA;Here's a static image made in photoshop with warp tool. So, I would like only bottom half of each word have this effect and obviously to animate it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/q6CSR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/q6CSR.png&quot; alt=&quot;text with a wave applied&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27593" LastEditorUserId="27593" LastEditDate="2020-02-10T10:21:16.413" LastActivityDate="2020-03-11T22:15:34.177" Title="Wave effect on bottom text" Tags="|after-effects|effects|workflow|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29490" PostTypeId="2" ParentId="29467" CreationDate="2020-02-10T15:01:33.840" Score="12" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;input.mkv&quot; \&#xA;-map 0:0 \&#xA;-map 0:2 \&#xA;-map 0:1 \&#xA;-disposition:a:0 default \&#xA;-disposition:a:1 none \&#xA;-c copy &quot;output.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;input&lt;/li&gt;&#xA;&lt;li&gt;use video stream (0:0)&lt;/li&gt;&#xA;&lt;li&gt;make 2nd audio stream (Hindi) the 1st&lt;/li&gt;&#xA;&lt;li&gt;make 1st audio stream (English) the 2nd&lt;/li&gt;&#xA;&lt;li&gt;use the new 1st audio stream (Hindi) as default&lt;/li&gt;&#xA;&lt;li&gt;remove the default from the new 2nd audio stream (English)&lt;/li&gt;&#xA;&lt;li&gt;create output without transcoding&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2020-02-10T15:01:33.840" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29492" PostTypeId="1" AcceptedAnswerId="30000" CreationDate="2020-02-10T23:39:48.360" Score="0" ViewCount="697" Body="&lt;p&gt;Good morning, I'm biiiiig newbie and I struggle to understand one thing&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to stream video with e.g OBS, it supports RTMP, so I'm setting up RTMP server. It works fine, I'm able to watch it via VLC, but &quot;web&quot; doesn't accept this format, so I have to convert it on fly to WebRTC?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and stream it somehow again?&lt;/p&gt;&#xA;" OwnerUserId="27598" LastActivityDate="2020-05-18T16:01:40.143" Title="OBS RTMP to Web player" Tags="|rtmp|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29494" PostTypeId="2" ParentId="15122" CreationDate="2020-02-11T14:11:33.703" Score="0" Body="&lt;p&gt;I would check up in the Output window (second image). In the top left there is that option: Scale to Fit. Try changing that. Also check the &quot;Fit&quot; option in the bottom of the window right under the video.&lt;/p&gt;&#xA;" OwnerUserId="27607" LastActivityDate="2020-02-11T14:11:33.703" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29496" PostTypeId="1" CreationDate="2020-02-11T16:33:07.560" Score="0" ViewCount="664" Body="&lt;p&gt;I want to record someone speaking for about an hour without any gaps. To do this i'm using a Samsung Galaxy s8. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The default video application splits the video into 4gb files when recording longer videos; which would be ok,  but when I take them into a video editor to join them,  they don't fully match up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way round this without rooting my phone. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried a few video applications and recorded to the internal and sd memories. &lt;/p&gt;&#xA;" OwnerUserId="22087" LastActivityDate="2024-02-15T21:00:21.450" Title="Record for an hour using mobile phone" Tags="|video-capture|android|mobile|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29497" PostTypeId="1" AcceptedAnswerId="32300" CreationDate="2020-02-11T16:51:31.857" Score="0" ViewCount="62" Body="&lt;p&gt;&lt;a href=&quot;https://compactvideo.wordpress.com/2011/03/26/how-to-create-titles-and-captions-using-avisynth/&quot; rel=&quot;nofollow noreferrer&quot;&gt;This page&lt;/a&gt; uses newline characters (&lt;code&gt;\n&lt;/code&gt;) to introduce newlines in a subtitle in AviSynth:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;subtitle(&quot;First line\nNext line\nLast line&quot;, ...)&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried this code on AviSynth+ and it fails.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Newlines would be useful for credits that take multiple lines without having to repeat the settings and tune the alignment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is the simplest way to include newlines in subtitles?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastEditorUserId="25024" LastEditDate="2020-02-11T18:27:19.973" LastActivityDate="2020-09-25T22:05:18.453" Title="Newlines in AviSynth+ subtitles" Tags="|subtitles|avisynth|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29499" PostTypeId="1" CreationDate="2020-02-11T17:47:02.110" Score="0" ViewCount="124" Body="&lt;p&gt;The &lt;code&gt;Watermark&lt;/code&gt; filter listed in the &lt;a href=&quot;http://avisynth.nl/index.php/External_filters#As_Yet_Unclassified&quot; rel=&quot;nofollow noreferrer&quot;&gt;AviSynth External filters page&lt;/a&gt; works for 32-bit. On my 64-bit machine, after downloading, extracting, and playing the example file in the &lt;a href=&quot;http://forum.doom9.org/showthread.php?p=1554560#post1554560&quot; rel=&quot;nofollow noreferrer&quot;&gt;filter page&lt;/a&gt;, I see:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;Cannot load a 32 bit DLL in 64 bit Avisynth: '/path/to/extracted/directory/Watermark.dll'. (/path/to/extracted/directory/example.avs, line1)&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The first line of &lt;code&gt;example.avs&lt;/code&gt; has:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;Load_Stdcall_plugin(&quot;Watermark.dll&quot;)&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Does an equivalent plugin exist for 64-bit AviSynth+?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastEditorUserId="25024" LastEditDate="2020-02-11T18:27:01.493" LastActivityDate="2020-09-25T22:00:49.673" Title="Watermark in 64-bit AviSynth+" Tags="|plugins|avisynth|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29500" PostTypeId="5" CreationDate="2020-02-11T18:06:15.550" Score="0" Body="&lt;p&gt;AviSynth / AviSynth+ are powerful tools for video post-production. They provide ways of editing and processing videos. They don't provide a graphical user interface (GUI) they rely on a script system that allows advanced non-linear editing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because text-based scripts are human-readable, projects are inherently self-documenting. The scripting language is simple yet powerful, and complex filters can be created from basic operations to develop a sophisticated palette of useful and unique effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AviSynth is free software licensed under the GNU General Public License GPLv2.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2020-02-29T18:10:33.917" LastActivityDate="2020-02-29T18:10:33.917" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29501" PostTypeId="4" CreationDate="2020-02-11T18:06:15.550" Score="0" Body="For problems with installing and using of AviSynth or AviSynth+ scripting tools for video post-production." OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2020-02-29T18:10:30.420" LastActivityDate="2020-02-29T18:10:30.420" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29505" PostTypeId="1" CreationDate="2020-02-11T18:49:20.423" Score="0" ViewCount="99" Body="&lt;p&gt;I am new to AviSynth+. I am concatenating 9 clips, trimming the first and last, fading in the first and fading out the last, and cross-dissolving between clips. This code works:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;audio=ffaudiosource(&quot;F:\_DSC001.MOV&quot;)&#xA;video=FFMS2(&quot;F:\_DSC001.MOV&quot;)&#xA;start=AudioDub(audio, video)&#xA;clip1=Trim(start, 3600, 30000)&#xA;&#xA;audio=ffaudiosource(&quot;F:\_DSC002.MOV&quot;)&#xA;video=FFMS2(&quot;F:\_DSC002.MOV&quot;)&#xA;clip2=AudioDub(audio, video)&#xA;&#xA;... same for clips 3-8 ...&#xA;&#xA;audio=ffaudiosource(&quot;F:\_DSC009.MOV&quot;)&#xA;video=FFMS2(&quot;F:\_DSC009.MOV&quot;)&#xA;clip9=Trim(AudioDub(audio, video), 0, 22575)&#xA;&#xA;FadeIn(clip1, 100)&#xA;Dissolve(last, clip2, 50)&#xA;Dissolve(last, clip3, 50)&#xA;Dissolve(last, clip4, 50)&#xA;Dissolve(last, clip5, 50)&#xA;Dissolve(last, clip6, 50)&#xA;Dissolve(last, clip7, 50)&#xA;Dissolve(last, clip8, 50)&#xA;Dissolve(last, clip9, 50)&#xA;FadeOut(last, 100)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It's quite verbose and repetitive. I wonder if some pre-processor script can take some of these parameters and arguments and produce the above AviSynth+ script.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does such a pre-processor exist, or could the AviSynth+ script be optimized or improved?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2020-09-25T22:45:34.747" Title="Concatenate clips with as little code as possible in AviSynth+" Tags="|avisynth|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29506" PostTypeId="1" AcceptedAnswerId="29515" CreationDate="2020-02-11T23:00:56.833" Score="0" ViewCount="2443" Body="&lt;p&gt;Guitar Pro is a software that is used to write and play back guitar tabs (or any music notation for that matter). Similiar to the video below, I want to overlay the tabs played in guitar pro to a video. How would I do this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/75Tse.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/75Tse.jpg&quot; alt=&quot;Video thumbnail]([![https://img.youtube.com/vi/gUmMcecHN9s/mqdefault.jpg&quot;&gt;&lt;/a&gt;&lt;strong&gt;Example on YouTube&lt;/strong&gt;: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/KFv6F0R8rUE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/GhkaU.png&quot; alt=&quot;Screenshot Guitar Pro]&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Playback in guitar pro&lt;/strong&gt; &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/cnj2DG7gJIs?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="27614" LastActivityDate="2020-02-12T16:49:29.537" Title="How to include guitar tabs from guitar pro in video?" Tags="|editing|effects|recording|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29508" PostTypeId="1" CreationDate="2020-02-12T00:37:27.277" Score="-1" ViewCount="7941" Body="&lt;p&gt;Currently my web browser Chrome (last version 80) cannot play Dolby Digital Plus audio. I know this audio is used in other devices like Apple TV, Roku, or Amazon Fire TV for example.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to network tab of browser, just only AAC, 128 kbps, 2 channels.&#xA;Same with browser Edge.&#xA;Obviously Amazon prefers AAC audio since it consumes less bandwidth, but no comparisson of quality with E-AC-3 audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, how can I play in Dolby Digital Plus 5.1 surround sound in my web browser?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Best&lt;/p&gt;&#xA;" OwnerUserId="27504" LastActivityDate="2021-03-15T21:01:24.703" Title="How I can play an Amazon Prime Video movie with Dolby Digital Plus audio using Chrome browser in my PC?" Tags="|audio|streaming|codec|webvideos|audio-quality|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29509" PostTypeId="1" CreationDate="2020-02-12T05:15:36.827" Score="2" ViewCount="5995" Body="&lt;p&gt;Is there any way to create a dashed line within Premiere Pro- say in the title tool or otherwise, without having to import from external sources?&lt;/p&gt;&#xA;" OwnerUserId="4945" LastActivityDate="2020-02-14T15:46:49.720" Title="Any way to create a dashed line in Premiere Pro?" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29514" PostTypeId="2" ParentId="29508" CreationDate="2020-02-12T16:48:16.037" Score="0" Body="&lt;p&gt;Web browsers do not include support for DD+. There is no way to play it. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2020-02-12T16:48:16.037" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="29515" PostTypeId="2" ParentId="29506" CreationDate="2020-02-12T16:49:29.537" Score="1" Body="&lt;p&gt;The Guitar Pro website doesn't list video as one of the output formats available within the software.  So, you'll need to use screen capture software to record the animated tabs, then composite this over your instrument footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you could use hardware video mixing devices to combine the video feed of the tab playback with a live camera feed of the guitarist.  This is how many video game streamers composite video feeds with their live gameplay.  Blackmagic design makes an entry level device suitable for this purpose called the &lt;a href=&quot;https://www.blackmagicdesign.com/products/atemmini&quot; rel=&quot;nofollow noreferrer&quot;&gt;ATEM mini&lt;/a&gt;.  AJA is another company with similar devices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Neither of these methods will allow you to alter the format of the output from the guitar tab software; what you see is what you get.  For example, if Guitar Pro 7 doesn't have a continuously-scrolling lower third output format (Like the one in the Cerberus video), you'd need to manually re-create the lower-third tab notation, and then composite it with your guitarist footage.  You can get as fancy as you want with this method, using motion graphics techniques and software such as After Effects, Fusion, or Motion (to name a few), but you could also keep it pretty simple; It's pretty straightforward to animate an image moving left to right in any NLE.  You could use photo editing software like photoshop to convert one of the printable export formats of GP7 into a long, horizontal image, overlay the graphic on your footage, and animate it by setting a position keyframe at the beginning of your video, and one at the end (use linear temporal interpolation for steady movement).&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-02-12T16:49:29.537" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29516" PostTypeId="1" CreationDate="2020-02-13T13:09:55.030" Score="1" ViewCount="191" Body="&lt;p&gt;ffmpeg -f kmsgrab -i - -framerate 60 -vf 'hwdownload,format=bgr0' -preset ultrafast out.mkv&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is how a video frame should look like&#xA;&lt;a href=&quot;https://i.stack.imgur.com/rsyio.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rsyio.png&quot; alt=&quot;kitty terminal emulator in the wayland&quot;&gt;&lt;/a&gt;&#xA;This is how it is recorded by ffmpeg&lt;a href=&quot;https://i.stack.imgur.com/zZyLG.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zZyLG.jpg&quot; alt=&quot;kitty terminal emulator in the wayland&quot;&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/fbtGL.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fbtGL.jpg&quot; alt=&quot;weston-simple-egl&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://drive.google.com/file/d/11jOUTk3ZxOfwnfd7zS4d4qBLApTS3Vmx/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/11jOUTk3ZxOfwnfd7zS4d4qBLApTS3Vmx/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27641" LastActivityDate="2023-12-25T04:03:15.333" Title="FFMpeg kmsgrab record pixels in incorrect order" Tags="|ffmpeg|video-recording|linux|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29517" PostTypeId="1" CreationDate="2020-02-13T13:18:28.080" Score="2" ViewCount="244" Body="&lt;p&gt;I have a comp...&#xA;one null with an expression slider&#xA;and the rest are image layers.&#xA;the null with this expression, controls a random animation of the images beneath the null:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Math.abs(Math.round(wiggle(4, thisComp.numLayers-2)))+2&lt;/p&gt;&#xA;&#xA;&lt;p&gt;each image layer has this expression attached to the opacity:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if (thisComp.layer(&quot;Control&quot;).effect(&quot;Slider Control&quot;)(1) == index) 100 else 0&lt;/p&gt;&#xA;&#xA;&lt;p&gt;it all works great BUT...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;say I duplicate that random comp 20 times... but matte each duplication with a separate puzzle shape. thus giving me a puzzle comprised of the 20 shapes all spiting out a random frame from that comp.&#xA;How do I make the twenty duplications behave random of each other?&#xA;at the moment, they are all random in unison.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;cheers&lt;/p&gt;&#xA;&#xA;&lt;p&gt;r&lt;/p&gt;&#xA;" OwnerUserId="27640" LastActivityDate="2022-06-24T07:58:13.350" Title="random copied and being truly random" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29519" PostTypeId="2" ParentId="29488" CreationDate="2020-02-14T02:35:52.333" Score="0" Body="&lt;p&gt;I believe you are referring to &lt;code&gt;ffprobe&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -of compact -show_entries frame=key_frame,pkt_pts_time,pict_type INPUT_FILE &amp;gt; OUT&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can use &lt;code&gt;-sections&lt;/code&gt; to get an overview of what information is available:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -sections INPUT_FILE&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerDisplayName="user27651" LastActivityDate="2020-02-14T02:35:52.333" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29520" PostTypeId="2" ParentId="29517" CreationDate="2020-02-14T04:12:16.487" Score="4" Body="&lt;p&gt;The random number generator in AE seems to be linked to the layer index, but generates the same results for every composition. To demonstrate here's a comp with a shape layer where the vertices of the shape are generated by the &lt;code&gt;wiggle()&lt;/code&gt; function:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/00VEt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/00VEt.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here's the expression:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;var newPath = [];&#xA;for (var i=0; i&amp;lt;=160; i++){&#xA;    x = i*thisComp.width/160;&#xA;    y = transform.position.wiggle(1, 100, octaves = 1, amp_mult = .5, t = i)[1];&#xA;    newPath[i] = [x,y];&#xA;}&#xA;createPath(points = newPath, inTangents = [], outTangents = [], isClosed = false)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;if I duplicate that layer in the same comp I get two different paths (I've given each a different colour, but the expression is the same):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zo4Ro.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zo4Ro.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If I add layers to the comp before the shape layer, so that the shape layer's index changes this also changes the shape of the path. You can also explicitly set the index of the layer generating the wiggle, e.g.:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;var i = math.floor(effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;));&#xA;var w = thisComp.layer(i).transform.position.wiggle(1,2);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So ∴ the index of the layer is used to generate random values for the &lt;code&gt;wiggle()&lt;/code&gt; function. &lt;em&gt;QED&lt;/em&gt; ◼.&lt;/p&gt;&#xA;&lt;p&gt;This means that if I duplicate my comp, each duplicate comp produces the same result. Here I've duplicated the original comp three times and brought them into another comp. I've offset each layer a little on the Y axis so you can see them all:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yCtuc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yCtuc.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So you can see that the &lt;code&gt;wiggle()&lt;/code&gt; function is deterministic, and produces the same results for the same layer index across different comps. This is the problem you're experiencing.&lt;/p&gt;&#xA;&lt;p&gt;Fortunately there is a way of overriding the seed for the random number generator. That's the &lt;code&gt;seedRandom()&lt;/code&gt; function. It's more commonly used for the &lt;code&gt;random()&lt;/code&gt; and &lt;code&gt;gaussRandom()&lt;/code&gt; functions, but it works for &lt;code&gt;wiggle()&lt;/code&gt; and &lt;code&gt;noise()&lt;/code&gt; too. The &lt;code&gt;seedRandom()&lt;/code&gt; function takes two arguments, the first being a number, which seeds the random number generator, and the second a boolean which set whether the random number generator changes with time or if it stays the same. If you use the same seed the generator will always produce the same results, so usually on a layer you use the layer's index to set the seed. Since that won't work we can seed it with a unique number, derived from the comp's name.&lt;/p&gt;&#xA;&lt;p&gt;Here's the same comp with the three subcomps, only this time I've added the line&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;seedRandom(thisComp.name[thisComp.name.length -1], timeless =true);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;before the &lt;code&gt;wiggle()&lt;/code&gt; function. The term &lt;code&gt;thisComp.name[thisComp.name.length -1]&lt;/code&gt; returns the last character of the comp name. And since my comps are called &lt;strong&gt;comp 1, comp 2&lt;/strong&gt; and &lt;strong&gt;comp 3&lt;/strong&gt; it returns the characters &amp;quot;&lt;strong&gt;1&amp;quot;&lt;/strong&gt;, &amp;quot;&lt;strong&gt;2&lt;/strong&gt;&amp;quot;, and &amp;quot;&lt;strong&gt;3&lt;/strong&gt;&amp;quot;. Since javascript is loosely typed, these characters get cast to ints for the &lt;code&gt;seedRandom()&lt;/code&gt; first parameter, meaning that when I duplicate the comp I automatically get a unique random seed (I'd have to use regex or get the Ascii values of the letters or something if there were more than one digit, and it would break if I renamed the comps). Here's the final comp now&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cC1my.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cC1my.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Interestingly adding the &lt;code&gt;seedRandom()&lt;/code&gt; for the first layer also effected any other layers in that comp. So if the first layer has a random seed based on the comp name, other layers using &lt;code&gt;wiggle()&lt;/code&gt; will now get identical results. So overriding the random number generator is global within the scope of each composition (I just learned this). Here's the second comp, but with &lt;code&gt;seedRandom()&lt;/code&gt; on the first layer (red), but not on the second layer(green) offset 1 pixel for visibility:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5rtqH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5rtqH.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;to avoid this gotcha, you can add back the &lt;code&gt;index&lt;/code&gt; to the random seed:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;seedRandom(index + thisComp.name[thisComp.name.length-1],timeless = true);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;##TL;DR##&lt;/p&gt;&#xA;&lt;p&gt;if your comps are named &lt;strong&gt;comp 1&lt;/strong&gt;, &lt;strong&gt;comp 2&lt;/strong&gt;, &lt;strong&gt;comp 3&lt;/strong&gt;, etc., adding this line to any layers with a wiggle expression will generate unique wiggles:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;seedRandom(index + thisComp.name[thisComp.name.length-1],timeless = true);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2022-06-24T07:58:13.350" LastActivityDate="2022-06-24T07:58:13.350" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29525" PostTypeId="1" CreationDate="2020-02-14T11:56:09.127" Score="0" ViewCount="387" Body="&lt;p&gt;I recorded a 5 minute video with my phone, it is a 565M MP4 file. I need to submit it as MOV, specifically. All online converters reject the file as 'too large' and all downloadable programs cost at least $20, which I don't want to spend on a single file. Is there a (legal) way to do it? I'm using Windows 10 and have no access to a Mac.&lt;/p&gt;&#xA;" OwnerUserId="27655" LastActivityDate="2020-11-24T13:05:55.627" Title="How can I convert a large file from MP4 to MOV?" Tags="|mp4|conversion|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29526" PostTypeId="2" ParentId="29509" CreationDate="2020-02-14T15:46:49.720" Score="3" Body="&lt;p&gt;A possible workaround would be to use the &lt;em&gt;Venetian Blinds&lt;/em&gt; filter. Here with a bit of experimentation I've made a path with a stroke of 20 and for the blind effect I have doubled the width to 40. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/I05j4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/I05j4.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The &lt;em&gt;Transition Completion&lt;/em&gt; value is set to 50% so that half of the effect is achieved. You might want to play around with the settings if you want longer dashes or gaps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uSqIk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uSqIk.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This effect is typically used as a transition, but as we have not used keyframes for the transition there will be no animation. This effect only works with straight lines, if the line is at an angle, you will need to adjust the &lt;em&gt;Direction&lt;/em&gt; value.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may find it more appropriate to &lt;a href=&quot;https://www.youtube.com/watch?v=dC3p2a_iNRg&quot; rel=&quot;nofollow noreferrer&quot;&gt;design dashed lines in After Effects&lt;/a&gt; as there are options for stroke gap and width to easily create a dashed line.&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2020-02-14T15:46:49.720" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29527" PostTypeId="1" AcceptedAnswerId="29529" CreationDate="2020-02-14T20:28:00.643" Score="16" ViewCount="13893" Body="&lt;p&gt;I have MP3 audio that I would like to turn into video, by joining the audio with a solid black background. I then want to upload the video to Youtube.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Using ffmpeg, I have tried this command, and a few adjacent variants:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i 'black.png' -i 'input.mp3' -c:v libx264 -tune stillimage -c:a copy 'output.mp4'&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;(where &lt;code&gt;black.png&lt;/code&gt; is a PNG file that is 640×480 pixels).&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when uploading the video &lt;code&gt;output.mp4&lt;/code&gt; to Youtube via Creator's Studio, I get the error: &lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Processing abandoned. The video could not be processed. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;What could be the reason?&lt;/p&gt;&#xA;" OwnerUserId="12052" LastEditorUserId="12052" LastEditDate="2020-02-15T10:49:31.287" LastActivityDate="2023-03-07T00:11:44.383" Title="ffmpeg: Create a black background video from audio, for Youtube upload" Tags="|ffmpeg|youtube|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29528" PostTypeId="2" ParentId="29527" CreationDate="2020-02-14T20:37:46.960" Score="2" Body="&lt;p&gt;Probably becaue pixel format is wrong, add to command: -pix_fmt yuv420p&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2020-02-14T20:37:46.960" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29529" PostTypeId="2" ParentId="29527" CreationDate="2020-02-15T05:30:57.750" Score="13" Body="&lt;p&gt;Youtube requires a video &lt;em&gt;stream&lt;/em&gt; but your image is a single frame. Loop it to create a stream and terminate output when audio ends by adding -shortest.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i black.png -i 'input.mp3' -c:v libx264 -tune stillimage -shortest 'output.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I don't remember if YT accepts MP3 in MP4. If it does, you can keep &lt;code&gt;-c:a copy&lt;/code&gt;. &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt; is usually required, but YT will re-encode anyway to that pixel format.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-02-15T05:30:57.750" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29530" PostTypeId="2" ParentId="16638" CreationDate="2020-02-15T12:17:11.497" Score="1" Body="&lt;p&gt;(This may not be considered a complete answer, no matter the Rigid policies. This may be better as a comment.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can try using:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;H.265 video codec (very efficient — 100-second video of 1080p @60fps was just 6-7 MB even with audio, when recorded with &lt;a href=&quot;https://www.bandicam.com/free-screen-recorder/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Bandicam screen recorder&lt;/a&gt;, which is free).&lt;/li&gt;&#xA;&lt;li&gt;Mono audio channel&lt;/li&gt;&#xA;&lt;li&gt;Use a lower bit depth and bit rate for audio as well as color/video.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strike&gt;Take a look at how Khan Academy compresses their vids&lt;/strike&gt; &lt;em&gt;ohh, sorry, they drop the resolution&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Explore the free software &lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;HandBrake&lt;/a&gt;. It offers variable frame rate compressions.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="27660" LastEditorUserId="18155" LastEditDate="2020-02-16T14:50:35.573" LastActivityDate="2020-02-16T14:50:35.573" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29532" PostTypeId="2" ParentId="29508" CreationDate="2020-02-16T12:06:13.410" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://chrome.google.com/webstore/detail/dolby-voice-13&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://chrome.google.com/webstore/detail/dolby-voice-13&lt;/a&gt;    &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is an extension for chrome browser for running dolby atoms this works as expected, its free and can be downloaded from chrome wen store. &lt;/p&gt;&#xA;" OwnerUserId="27672" LastActivityDate="2020-02-16T12:06:13.410" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29533" PostTypeId="2" ParentId="28795" CreationDate="2020-02-16T19:42:49.553" Score="6" Body="&lt;p&gt;In the 'Deliver' panel, under the Advanced Settings, try enabling/ticking “Use render cached images”.&lt;/p&gt;&#xA;" OwnerUserId="27674" LastEditorUserId="18155" LastEditDate="2020-02-20T15:34:46.070" LastActivityDate="2020-02-20T15:34:46.070" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29536" PostTypeId="1" AcceptedAnswerId="29539" CreationDate="2020-02-17T00:50:58.973" Score="1" ViewCount="618" Body="&lt;p&gt;I'm trying to record something for a school project and my lighting is underneath fluorescent lighting. My camera is set to 30 fps but records at 29.97 fps (seen on pc). I've tried to copy the clip, move it up and forward by one frame and set the opacity to 50 but it doesn't work. How can I stop the horizontal bars without changing lighting?&lt;/p&gt;&#xA;" OwnerDisplayName="user27676" LastActivityDate="2020-02-29T14:07:15.103" Title="How to stop horizontal scrolling lines caused by fluorescent light (USA and NTSC)?" Tags="|framerate|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29537" PostTypeId="2" ParentId="29489" CreationDate="2020-02-17T05:12:10.877" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;Create your text layer. &lt;/li&gt;&#xA;&lt;li&gt;Create a 100% black solid layer&lt;/li&gt;&#xA;&lt;li&gt;Create a 100% white solid layer, make sure it is above the black layer.&lt;/li&gt;&#xA;&lt;li&gt;Precomp the two solid layers (cmd/control + shift + c) and jump into the comp.&lt;/li&gt;&#xA;&lt;li&gt;Add a 'venetian blinds' effect to the white layer and delete the keyframes that automatically accompany it. &lt;/li&gt;&#xA;&lt;li&gt;Set the 'Direction' to -90deg, 'transition completion' to 50%, width to 100 and the feather to 50 (or half width). &lt;/li&gt;&#xA;&lt;li&gt;Set a keyframe to position of the white layer. Jump forward two seconds (or however long you want the loop to last) and add 100px to the y position. (Note: the difference in y pos needs to match the width of the venetian blinds effect. 100 = 100). &lt;/li&gt;&#xA;&lt;li&gt;Go to the previous frame by hitting the 'page up' button on your keyboard. &lt;/li&gt;&#xA;&lt;li&gt;Hit 'tab' then 'left arrow' then 'enter'. To go to the parent comp. &lt;/li&gt;&#xA;&lt;li&gt;Hit 'n' on the keyboard to set the animation duration. Duration should always be one frame less that the keyframes of the position on the white layer of the nested comp. &lt;/li&gt;&#xA;&lt;li&gt;Turn off the visibility of the nested comp and add a 'displacement map' effect to the text layer.&lt;/li&gt;&#xA;&lt;li&gt;Set the 'Max Horizontal Displacement' to 50 (or your preference) and the 'Max Vertical Displacement' to 0. &lt;/li&gt;&#xA;&lt;li&gt;Set the 'Displacement Map' to the nested comp layer. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Mine looks like this: &#xA;&lt;a href=&quot;https://i.stack.imgur.com/X7fOW.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/X7fOW.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should be able to modify it to your liking. Good luck!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: I've just reread your post and realised that you wanted the top to remain static and have the bottom wave. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to accomplish that, you'll want to add a couple of rectangular shape layers that will sit directly over your text layers (make them a fair bit wider than your text, but the same height). Add a 'gradient ramp' effect and make is so that it runs from black at the top of the layer to white at the bottom. Set the shape layer's blend mode to multiply. Then cut the layers out and paste them into the nested map layer. Your nested map layer should now look something like this: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With text for reference: &#xA;&lt;a href=&quot;https://i.stack.imgur.com/VRTGu.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VRTGu.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Final map, text turned off: &#xA;&lt;a href=&quot;https://i.stack.imgur.com/5CyWu.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5CyWu.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now the top of the text will remain static and the bottom will progressively wave more. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eYaUR.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eYaUR.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27384" LastEditorUserId="27384" LastEditDate="2020-03-11T22:15:34.177" LastActivityDate="2020-03-11T22:15:34.177" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29538" PostTypeId="1" CreationDate="2020-02-17T11:13:20.637" Score="1" ViewCount="1875" Body="&lt;p&gt;If I have added markers to multiple clips, how do I search for those markers using the text within the markers, if they're not already in a sequence?&lt;/p&gt;&#xA;&lt;p&gt;For example: I have a clip that is playing, I hit M to mark.  I type &amp;quot;good&amp;quot; into the marker description.  I now want to find that marker globally in my whole project.  The clip isn't in a sequence yet.  Can I?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-04-27T09:16:04.010" LastActivityDate="2022-04-27T09:16:04.010" Title="Is it possible to search all markers in Premiere?" Tags="|premiere|adobe|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29539" PostTypeId="2" ParentId="29536" CreationDate="2020-02-17T12:04:11.267" Score="1" Body="&lt;p&gt;These lines exist because the refresh-rate of the light is different and undividable by your framerate. One solution is to set the framerate to the Hertz of your light (which must be known for this case) or to use a light with a refresh-rate that is dividable by your framerate. If none of this is possible, you can still try to deflicker footage using deflicker gizmos for nuke, which work the best from my experience. This should always be your last option though, since the result will not look stunning.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-02-17T12:04:11.267" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29540" PostTypeId="2" ParentId="29538" CreationDate="2020-02-17T22:28:46.610" Score="0" Body="&lt;p&gt;You can use the &lt;code&gt;Project&lt;/code&gt; panel search box to find your specific markers, and even save your search as a Search Bin by clicking the folder icon with the magnifying glass. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oxJm6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oxJm6.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can then search within each matching clip for the specific marker by first selecting that clip in the Project panel, then using the search in the Markers panel which you can open by going to &lt;code&gt;Windows &amp;gt; Markers&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/ysjS7.jpg&quot; alt=&quot;enter image description here&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/GZ4fl.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can find additional information about searching your project in &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/finding-assets.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe's help documentation on finding assets&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="27348" LastEditorUserId="27348" LastEditDate="2020-02-19T10:21:58.587" LastActivityDate="2020-02-19T10:21:58.587" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="29541" PostTypeId="2" ParentId="29186" CreationDate="2020-02-17T23:48:48.297" Score="0" Body="&lt;p&gt;I have the same issue, the reason is that your graphic card is not supported with the 2020 version of Premiere Pro. I have the exact same graphic card. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check the &lt;a href=&quot;https://helpx.adobe.com/in/premiere-pro/system-requirements.html#gpu-acceleration&quot; rel=&quot;nofollow noreferrer&quot;&gt;Recommended graphics cards&lt;/a&gt; from Premiere Pro system requirements.&lt;/p&gt;&#xA;" OwnerUserId="27685" LastEditorUserId="18155" LastEditDate="2020-02-20T15:33:48.983" LastActivityDate="2020-02-20T15:33:48.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29543" PostTypeId="1" CreationDate="2020-02-18T10:49:38.230" Score="0" ViewCount="109" Body="&lt;p&gt;I am looking for a video file transcoding solution that I can run on an on-premises server and access via a REST API.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While I found lots of commercial cloud services (e.g. &lt;a href=&quot;https://www.filestack.com/products/audio-video-transformations/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.filestack.com/products/audio-video-transformations/&lt;/a&gt; or &lt;a href=&quot;https://zencoder.com/en/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://zencoder.com/en/&lt;/a&gt;), I could not find an on-premises video transcoding server, neither open source nor commercial.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you have recommendations? Do you use a custom built solution?&lt;/p&gt;&#xA;" OwnerUserId="24169" LastEditorUserId="24169" LastEditDate="2020-02-18T13:21:07.200" LastActivityDate="2020-02-18T13:54:39.727" Title="Recommandation for on-premises video file transcoding server accessible via REST API?" Tags="|software-recommendation|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29544" PostTypeId="1" AcceptedAnswerId="29550" CreationDate="2020-02-18T11:40:52.950" Score="0" ViewCount="469" Body="&lt;p&gt;I have imported a time-lapse (1 frame/sec resolution) video from my GoPro Hero4 into VIRB Edit. It's from a 96 minute bike ride, which shows up as a 4 minute video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I import GPS/GPX data from my Garmin Fenix 5, it does not align with the video. It sees it as a 4 minute bike ride.  (VIRB Edit use this data to make route overlays on the video.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to make VIRB Edit properly recognize the video as a time-lapse? Or how do I &quot;compress&quot; the GPX so that it matches the video?&lt;/p&gt;&#xA;" OwnerUserId="27690" LastEditorUserId="27690" LastEditDate="2020-02-18T11:50:14.997" LastActivityDate="2020-02-20T11:28:29.177" Title="Imported GoPro Hero4 time-lapse from bike ride does not sync with GPS data in VIRB Edit" Tags="|time-lapse|gopro|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29545" PostTypeId="2" ParentId="29543" CreationDate="2020-02-18T13:54:39.727" Score="2" Body="&lt;p&gt;Telestream used to make one called FlipFactory that I have used (a long time ago). I believe it's called Vantage now. &lt;a href=&quot;https://www.telestream.net/vantage/overview.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.telestream.net/vantage/overview.htm&lt;/a&gt;&#xA;A lot of people do this kind of thing in the cloud now using things like Amazon's Elastic Transcoder &#xA;&lt;a href=&quot;https://aws.amazon.com/elastictranscoder/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://aws.amazon.com/elastictranscoder/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-02-18T13:54:39.727" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29547" PostTypeId="2" ParentId="29527" CreationDate="2020-02-18T20:19:31.367" Score="26" Body="&lt;p&gt;Alternatively you can have &lt;code&gt;ffmpeg&lt;/code&gt; generate the black video with the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#color&quot; rel=&quot;noreferrer&quot;&gt;color source filter&lt;/a&gt; instead of making an image:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i color=c=black:s=1280x720:r=5 -i audio.mp3 -crf 0 -c:a copy -shortest output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Since it is just black video this is one case with lossless mode (&lt;code&gt;-crf 0&lt;/code&gt;) will have a smaller file size than the default lossy mode.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The resulting file may not play in your player or device, but it will on YouTube.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-02-18T20:19:31.367" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29548" PostTypeId="1" AcceptedAnswerId="29549" CreationDate="2020-02-18T21:29:58.810" Score="0" ViewCount="444" Body="&lt;p&gt;I have four videos (no audio) which I am able to stitch together using &lt;a href=&quot;https://stackoverflow.com/questions/35034775/how-to-merge-four-videos-on-one-screen-with-ffmpeg&quot;&gt;this command&lt;/a&gt;.&#xA;I am also able to add an overlay on a single video with &lt;a href=&quot;http://hamelot.io/visualization/using-ffmpeg-to-convert-a-set-of-images-into-a-video/#overlaying-image-on-video&quot; rel=&quot;nofollow noreferrer&quot;&gt;this command&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to combine both of these operations with a single ffmpeg command (i.e. stack four 960x540 videos as in the first link, then add a 1920x1080 overlay onto the resulting 1920x1080 video)? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="27696" LastActivityDate="2020-02-19T05:22:29.450" Title="FFMPEG Stitch four videos together, then add overlay to result" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29549" PostTypeId="2" ParentId="29548" CreationDate="2020-02-19T05:22:29.450" Score="0" Body="&lt;p&gt;Add the overlay to the result of the stacked videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input0 -i input1 -i input2 -i input3 -i overlay -filter_complex \&#xA;&quot;[0:v][1:v]hstack[top]; \&#xA; [2:v][3:v]hstack[bottom]; \&#xA; [top][bottom]vstack[v];[v][4:v]overlay=0:0[v]&quot; \&#xA;-map &quot;[v]&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-02-19T05:22:29.450" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29550" PostTypeId="2" ParentId="29544" CreationDate="2020-02-19T08:15:51.990" Score="0" Body="&lt;p&gt;A way to solve this is to first losslessly change the frame rate of the GoPro video to 1 frame/sec, which changes it from 4 minutes to real time (96 minutes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://stackoverflow.com/a/45465730/13365&quot;&gt;This answer&lt;/a&gt; explains how to extract the raw bitstream from the GoPro video using &lt;strong&gt;ffmpeg&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i gopro.mp4 -c copy -f h264 gopro_raw.h264&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;.. and then remux it with a 1 frame/sec frame rate:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -r 1 -i gopro_raw.h264 -c copy gopro_remuxed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Import the remuxed file into VIRB Edit [VE], add the GPX file and add some G-Metrix gauges.  Finally speed it up again in VE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;VE can only speed up 800%, so the video has to be re-imported&lt;b&gt;*&lt;/b&gt; after the initial export.  Speed it up and export again to come back to the original 4 minute length.  Not ideal, but it works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;sub&gt;&lt;b&gt;*&lt;/b&gt; I actually had to use iMovie in the second step, since VE kept crashing&lt;/sub&gt;&lt;/p&gt;&#xA;" OwnerUserId="27690" LastEditorUserId="27690" LastEditDate="2020-02-20T11:28:29.177" LastActivityDate="2020-02-20T11:28:29.177" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29551" PostTypeId="1" AcceptedAnswerId="29582" CreationDate="2020-02-19T13:59:35.783" Score="1" ViewCount="3468" Body="&lt;p&gt;What are the best options to use to get &lt;em&gt;optimal audio&lt;/em&gt; clarity for transcription, and &lt;em&gt;minimal video&lt;/em&gt; to be used by the transcription service?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Our videos are all meetings, and we're sending them to a service for transcription services - video quality is of no concern, but audio quality of the speakers is.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything I've found is a complicated discussion about channels/tracks/mapping, etc., and frankly everything is about achieving peak video at the same time, so I'm confused about which options work on which tracks, and at this point don't even know what I should be googling.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Clarification&lt;/strong&gt;&#xA;The source video can vary, depending on the circumstances of the meeting recorded.  It can be an enormous mpeg  or a smaller mp4 compressed &quot;somehow&quot;.  The ffmpeg output VIDEO will be &lt;em&gt;very&lt;/em&gt; small, 320:240 or similar, but I need as much of the original AUDIO (improved if possible) as I can get into the output mp4 file for the transcription service to have the best we can provide them.&lt;/p&gt;&#xA;" OwnerUserId="11609" LastEditorUserId="11609" LastEditDate="2020-02-21T23:18:56.020" LastActivityDate="2021-05-08T01:32:35.090" Title="How to get peak audio quality and lowest video quality?" Tags="|ffmpeg|audio-quality|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29552" PostTypeId="2" ParentId="29551" CreationDate="2020-02-19T14:51:53.303" Score="0" Body="&lt;p&gt;Just turn the video bitrate or the CRF, depending on what options your encoder gives you, way down. &lt;/p&gt;&#xA;" OwnerUserId="27417" LastActivityDate="2020-02-19T14:51:53.303" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29553" PostTypeId="1" CreationDate="2020-02-19T15:54:24.490" Score="1" ViewCount="7099" Body="&lt;p&gt;I've got an MP4 file that is actually 2:09:42 long. But when playing it in VLC player it is being shown as 7:13:45 long. I'm trying to fix this file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I remuxed it using &lt;code&gt;ffmpeg -i input.mp4 -codec copy output.mp4&lt;/code&gt; which did not change anything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffprobe&lt;/code&gt; reports:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'input.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 1&#xA;    compatible_brands: isomavc1&#xA;    creation_time   : 2012-12-12T09:35:27.000000Z&#xA;  Duration: 07:13:45.09, start: 0.000000, bitrate: 578 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1920x800&#xA;[SAR 1:1 DAR 12:5], 1618 kb/s, 23.98 fps, 23.98 tbr, 96k tbn, 47.95 tbc (default&#xA;)&#xA;    Metadata:&#xA;      creation_time   : 2012-12-12T09:35:27.000000Z&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, flt&#xA;p, 92 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2012-12-12T09:36:27.000000Z&#xA;      handler_name    : GPAC ISO Audio Handler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I demuxed the file and tried to recombine the streams. Here, this is shown:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, h264, from 'x.h264':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (High), yuv420p(progressive), 1920x800 [SAR 1:1 DAR&#xA; 12:5], 23.98 fps, 23.98 tbr, 1200k tbn, 47.95 tbc&#xA;[aac @ 000000000328a8c0] Estimating duration from bitrate, this may be inaccurat&#xA;e&#xA;Input #1, aac, from 'x.aac':&#xA;  Duration: 07:14:19.51, bitrate: 94 kb/s&#xA;    Stream #1:0: Audio: aac (LC), 48000 Hz, stereo, fltp, 94 kb/s&#xA;Output #0, mp4, to 'x.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf58.38.101&#xA;    Stream #0:0: Video: h264 (High) (avc1 / 0x31637661), yuv420p(progressive), 1&#xA;920x800 [SAR 1:1 DAR 12:5], q=2-31, 23.98 fps, 23.98 tbr, 1200k tbn, 1200k tbc&#xA;    Stream #0:1: Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 94&#xA; kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #1:0 -&amp;gt; #0:1 (copy)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here, the wrong duration is shown for the aac stream. Does this mean that the aac stream has wrong time information?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I play the aac file VLC player shows 7 hours duration. When I play the h264 file no duration is shown.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I then tried to remux specifying &lt;code&gt;-t 2:09:42&lt;/code&gt;. This makes VLC player display the correct duration. The movie plays normally and appears complete. But the file size dropped from 1.8 GB to 1.6 GB which makes me suspect that I somehow lost data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I fix this file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Update: I have now recoded the aac stream to MP3. It really is 7 hours long. The audio is repeated multiple times. No idea why. So I guess I can just trim that stream? Is that appropriate?&lt;/p&gt;&#xA;" OwnerUserId="27701" LastEditorUserId="27701" LastEditDate="2020-02-20T16:03:56.763" LastActivityDate="2020-02-20T16:03:56.763" Title="AAC stream in MP4 file has wrong duration. How to fix?" Tags="|ffmpeg|mp4|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29554" PostTypeId="1" CreationDate="2020-02-20T01:48:07.650" Score="1" ViewCount="85" Body="&lt;p&gt;I'm writing a server and I have to play commercials on demand, so I'm trying to avoid re encoding video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I assume that video containers have headers and meta data, so it would not be possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a format (preferably compressed) that is proper to stream one video after the other without re encode or stopping the streaming? Concatenable in a binary sense, and still playable.&lt;/p&gt;&#xA;" OwnerDisplayName="user27704" LastEditorDisplayName="user27704" LastEditDate="2020-02-21T19:40:55.193" LastActivityDate="2020-02-21T19:40:55.193" Title="Is there any &quot;concatenable&quot; video format I can use for sequential streaming?" Tags="|encoding|streaming|file-formats|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29555" PostTypeId="2" ParentId="29553" CreationDate="2020-02-20T08:49:36.657" Score="1" Body="&lt;p&gt;How do you know file is 2:09:42 long?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;From ffmpeg documention:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;Get duration by decoding&lt;/strong&gt;&lt;br&gt;&#xA;  You can also use &lt;code&gt;ffmpeg&lt;/code&gt; to get the duration by fully decoding the file. The null muxer is used so no output file is created. Refer to &lt;code&gt;time=&lt;/code&gt; in the last line of the console output. In this example the input has a duration of 00:57:28.87. &lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i input.webm -f null -&#xA;...&#xA;frame=206723 fps=1390 q=-0.0 Lsize=N/A time=00:57:28.87 bitrate=N/A speed=23.2x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;ul&gt;&#xA;  &lt;li&gt;This method will report the correct duration in case the methods using ffprobe are incorrect or missing due to corrupt, truncated, or damaged files. &lt;/li&gt;&#xA;  &lt;li&gt;The command may take some time depending on the input file duration and decoding complexity. &lt;/li&gt;&#xA;  &lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;So it seems that your file timings are &lt;em&gt;&quot;incorrect or missing due to corrupt, truncated, or damaged files.&quot;&lt;/em&gt;&lt;br&gt;&#xA;Hence your ffprobe report contains wrong duration.&#xA;Your remux &lt;em&gt;&quot;did not change anything&quot;&lt;/em&gt; because you did not encode the file: &lt;code&gt;-codec copy&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2nd line of your report shows: &lt;em&gt;&quot;Duration: N/A, bitrate: N/A&quot;&lt;/em&gt; which is another indication of damaged file.&#xA;Further in the report, you'll notice &lt;em&gt;&quot;Estimating duration from bitrate, this may be inaccurate&quot;&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Try this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libx264 x.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With a very good computer, this should be done in about 2 hrs. &#xA;Enjoy.&lt;/p&gt;&#xA;" OwnerUserId="27707" LastEditorUserId="27707" LastEditDate="2020-02-20T09:39:56.647" LastActivityDate="2020-02-20T09:39:56.647" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="29557" PostTypeId="1" CreationDate="2020-02-21T11:06:25.333" Score="0" ViewCount="435" Body="&lt;p&gt;Forgive me for I'm new to here, but I've been searching for solutions all the day,  yet still puzzled by this problem. I try to downscale a 3840*2160 video to 1080p, and here's what I first did: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i original.mkv -vf scale=1920:-1 downscaled.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And here are the results:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Original:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/OFm9I.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OFm9I.jpg&quot; alt=&quot;Original video screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Downscaled:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/X3wfR.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/X3wfR.jpg&quot; alt=&quot;Downscaled video screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At first, I thought it's because I didn't apply the correct settings to my video player (potplayer), but even I set exactly the same splitter/decoder/renderer/..., it still didn't work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I searched and tried different ways like  &lt;code&gt;pix_fmt yuv444p10le&lt;/code&gt; which is from a &lt;a href=&quot;https://video.stackexchange.com/questions/28889/ffmpeg-does-not-preserve-colors-after-resizing&quot;&gt;post here&lt;/a&gt;, and later defined encoders, crf...... but all didn't work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Could anyone please help me, many thanks!&lt;/strong&gt;&#xA;&lt;hr&gt;&#xA;Add: I then used HandBrake, a GUI video transcoder, to downscale the original video, it worked well, at least, looks a lot better.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/YSwkI.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YSwkI.jpg&quot; alt=&quot;Downscaled video using HandBrake screenshot&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27715" LastActivityDate="2020-03-16T22:18:58.387" Title="Color loss and grayish after downscaling using ffmpeg" Tags="|ffmpeg|video-quality|color-correction|handbrake|" AnswerCount="0" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="29558" PostTypeId="1" AcceptedAnswerId="29565" CreationDate="2020-02-21T12:42:34.803" Score="4" ViewCount="5441" Body="&lt;p&gt;I'm trying to understand the difference between gain and ISO in today's photo/video cameras, and haven't found a good explanation even after heavy googling. I know that both ISO and gain are used for adjusting the sensor's sensitivity to light, with higher ISO/gain resulting in a brighter picture, but with more noise. However, I do not know what the physical process behind ISO/gain is. Does both mean analog/digital amplification of the signal at the sensor? Is gain just another term for ISO?&lt;/p&gt;&#xA;" OwnerUserId="27716" LastActivityDate="2022-04-18T05:16:07.837" Title="Physical difference between ISO and gain" Tags="|hardware|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29559" PostTypeId="1" AcceptedAnswerId="29563" CreationDate="2020-02-21T13:17:42.433" Score="0" ViewCount="105" Body="&lt;p&gt;We have a retired iBook G4, it plays H.264 quite laggy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is what is the best video format &lt;strong&gt;optimizing for Battery Life&lt;/strong&gt; on a PowerPC?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Bonus question: Is there a free batch converter for macOS to process 300+ file?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Is there a forum somewhere better suited for this kind of question?&lt;/p&gt;&#xA;" OwnerUserId="27717" LastActivityDate="2020-02-26T13:50:20.883" Title="Best video format for a retired PowerPC (iBook G4)?" Tags="|codec|file-formats|mac|osx|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29560" PostTypeId="2" ParentId="15352" CreationDate="2020-02-21T18:35:52.447" Score="0" Body="&lt;p&gt;If you are on a mac you can use quicktime to screen record the powerpoint in presentation mode and advance the slides as you wish. Then you can add music to it on Youtube &lt;/p&gt;&#xA;" OwnerUserId="17029" LastActivityDate="2020-02-21T18:35:52.447" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29561" PostTypeId="1" CreationDate="2020-02-22T09:09:43.990" Score="0" ViewCount="43" Body="&lt;p&gt;Instead of sequences of shots/audio clips, my timeline shows solid green blocks.&#xA;How do I display these blocks in sequences, i.e. with each shot/audio clip showing as a small block?&lt;/p&gt;&#xA;" OwnerDisplayName="Guy Cruls" LastActivityDate="2020-02-22T13:16:25.207" Title="Green blocks instead of sequences in premiere timeline" Tags="|premiere|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29562" PostTypeId="1" CreationDate="2020-02-22T14:54:29.140" Score="0" ViewCount="47" Body="&lt;p&gt;Is here anyone with experience of camera physics that could help me with this issue or that knows someone I could contact at a university maybe?. I am trying to find out how regular video camera perceives lights and colors of molten metals in daylight, my understanding being that a regular video camera can't change a color of something in a molten state with silvery color into orange/yellow color just as it should not change the color of a burning flame into a different and wrong color.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only camera effect I know of is that the brightness levels on a video could be right on the upper maximum threshold for the camera, and going on to exceed it, so that it produces a purple/magenta color.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That very bright objects (such as the Sun, pieces of paper catching the sun, white-hot metal or flames, bright lights, etc), filmed with a CMOS camera, send too many photons onto an area of the sensor. The sensor doesn't handle this well. This causes electrons to overspill onto an adjacent area of the sensor, but usually in the same direction for each bright spot. The electrons cause the voltage on these areas of the sensor to increase, and that causes a problem. The voltage is meant to be 0, so that when light hits it, the sensor can measure the difference between 0 volts and some higher voltage caused by the light hitting it. But now 0 isn't 0 anymore, it's higher. Put simply, the sensor would normally measure the light level by measuring the difference between 0 and, say, 5 (maximum brightness). So black would be 0 and 5 would be white. But now it's measuring between a minimum of 7 (due to electron overflow) and 5 (maximum). So the result is always negative (even bright light would be -2), which the camera treats as 0 (black). Hence, you see a black spot slightly off-centre from the very bright light sources. But why purple? Well, it's simply because the sensor's red, green, and blue detectors have different sensitivities. They tend to be more sensitive to green, because our eyes are more sensitive in green, and we want the image to look right. Conversely, they tend to be less sensitive in red and blue, because our eyes are less sensitive to those colours too. As areas of the sensor start to become overloaded due to the electron overflow, it's the green that get overloaded first, as that's what it's most sensitive to. So these green areas become black (see above), and you're left with just red and blue. If you mix red and blue you get purple/magenta, and this is hence what you see when the sensor starts to get overloaded. Eventually it would become black, but it's not always quite bright enough to do that in every case.&lt;/p&gt;&#xA;" OwnerUserId="27724" LastEditorUserId="18155" LastEditDate="2020-02-24T01:11:19.973" LastActivityDate="2020-02-24T01:11:19.973" Title="Can video cameras perceive lights in a way that they will totally change the color of molten metals?" Tags="|camera|lighting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29563" PostTypeId="2" ParentId="29559" CreationDate="2020-02-22T15:06:02.507" Score="0" Body="&lt;p&gt;MPEG4 encoded with &lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;Handbrake&lt;/strong&gt;&lt;/a&gt;, or use Xvid with &lt;a href=&quot;https://www.ffmpegx.com/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;ffmpegX&lt;/strong&gt;&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://forums.macrumors.com/forums/powerpc-macs.145/&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;MacRumors&lt;/strong&gt; PowerPC forum&lt;/a&gt; is definitely a better place to discuss this.&lt;/p&gt;&#xA;" OwnerUserId="27717" LastEditorUserId="27717" LastEditDate="2020-02-26T13:50:20.883" LastActivityDate="2020-02-26T13:50:20.883" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29564" PostTypeId="1" CreationDate="2020-02-22T15:51:10.413" Score="1" ViewCount="341" Body="&lt;p&gt;I recently rescued an old Panasonic M40 VHS camcorder. All the electronics work absolutely fine. I bought a pack of VHS tapes and did a quick video test. The video quality is very bad with wobbly lines moving through it all the time and often changing from black n white to colour. The sound quality is atrocious but I can live with that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anyone who has experience with these old units that knows of an easy fix? I played with the tracking so it's not that. I doubt it is physically the tape because I bought them brand new. Has anyone got any pointers or knows how to trouble shoot the problem? Or is this a massive waste of time? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I love having this big retro beast to play about with and I know it is gimmicky but so far it's cost me a tenner in tapes and an afternoon of fun. I'm willing to put more time and money (up to a point) into it but have no idea of what to do or where to go so any help will be well received.&lt;/p&gt;&#xA;" OwnerUserId="27725" LastEditorUserId="1950" LastEditDate="2020-02-23T17:17:42.620" LastActivityDate="2024-03-09T20:02:25.247" Title="poor quality video VHS camcorder: is there a fix?" Tags="|video|video-quality|vhs|panasonic|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29565" PostTypeId="2" ParentId="29558" CreationDate="2020-02-22T21:02:57.600" Score="2" Body="&lt;p&gt;ISO stands for the International Standards Organization.  They standardize all kinds of stuff, including film stock for photography, cinematography, and digital video.  If you're using a digital camera that uses ISO instead of gain, then it &lt;em&gt;should&lt;/em&gt; conform to the specifications they've outlined in ISO 12232:2019, which is available for purchase &lt;a href=&quot;https://www.iso.org/standard/73758.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's a very good wikipedia article on the subject &lt;a href=&quot;https://en.wikipedia.org/wiki/Film_speed#EI&quot; rel=&quot;nofollow noreferrer&quot;&gt;here.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Gain is just the amount of amplification in decibels that the camera applies to the signal from the sensor before it gets recorded to the image.  Some cameras apply gain before analogue to digital conversion, some apply it after, and some, such as the BlackMagic Pocket cinema cameras do both, to achieve what they call, &quot;dual-native ISO.&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, in short, Gain is a measurement of amplification, and ISO is a standardized measurement of film/sensor sensitivity.  Gain does not necessarily correlate consistently to exposure across different camera makes, models, and manufacturers.  It's just a &quot;volume knob.&quot;  ISO &lt;em&gt;is designed&lt;/em&gt; to correlate to exposure universally (but it does not consider some variables and imperfections, which is what EI does, similar to the difference between &quot;T stop&quot; and &quot;F stop&quot; measurements for aperture).&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-02-22T21:02:57.600" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29566" PostTypeId="2" ParentId="29562" CreationDate="2020-02-22T21:45:10.420" Score="1" Body="&lt;p&gt;For starters,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need to research Infrared light pollution caused by the high temperatures of the materials you're trying to image.  Most cameras have an IR filter on the sensor, which blocks incoming wavelengths which are imperceptible to the human eye.  These filters often have different characteristics depending on the camera make/model/manufacturer, which is why I say you need to do some research in that area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's possible to remove these filters, and photographers who are interested in IR photography often do; but because the glass of the lens bends visible light differently than IR light, there's effectively different focal planes for the two, and you can't focus them both at the same time.  So, IR photographers will typically remove the sensor filter, and then attach an IR-&lt;em&gt;pass&lt;/em&gt; filter to the front of the lens, which blocks the &lt;em&gt;visible&lt;/em&gt; spectrum, and only allows IR light through, allowing the IR image to be properly focused.  These IR pass filters are available in different wavelengths.  IR pass filters won't be particularly relevant to your situation.  However, IR &lt;em&gt;cut&lt;/em&gt; filters may be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When IR photographers remove the IR filter from their sensors, they effectively destroy the camera's ability to take &quot;normal&quot; pictures.  This is one reason IR cut filters exist.  They screw on to the front of a lens, and cut the incoming IR light, allowing a modified camera to behave normally again.  But also (and here is where you might be interested) they supplement the IR-blocking capabilities of normal cameras, which may be suffering from IR pollution for various other reasons.  Pointing a camera at hot metal isn't the &lt;em&gt;typical&lt;/em&gt; scenario; more commonly, cheap Neutral Density filters and long exposures introduce IR light that the sensor filter wasn't designed to handle.  However, ensuring that only the spectrum you want to capture is striking your sensor should help in your situation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other than that, make sure your white balance is set, because that can also tint the image, and get a good quality color chip chart for reference; most of them are made from plastic and wouldn't stand up to high temperatures, but there are some metal ones.  You'd still need to keep it from melting, and be sure the dyes on the color chips were stable at whatever temperature you needed them to be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since you're pointing a camera at something very bright, you should be aware of the phenomenon known as aperture diffraction, which will affect the image's sharpness, but not so much overall color (although the colors of edges might be affected slightly; see halation, fringing, and chromatic aberration).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might also be interested in a more full-spectrum camera, designed to image light invisible to humans, depending on your budget.  I think Flir might make some, maybe?  They're more commonly used in manufacturing and agriculture.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-02-22T22:05:09.897" LastActivityDate="2020-02-22T22:05:09.897" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="29567" PostTypeId="1" CreationDate="2020-02-22T23:12:40.303" Score="0" ViewCount="63" Body="&lt;p&gt;According to the UK's copyright law, can I use historical films from the Weimar Republic and Nazi Germany for a video collage?&lt;/p&gt;&#xA;&lt;p&gt;Does anyone know any good place where I could find such films?&lt;/p&gt;&#xA;" OwnerUserId="27731" LastEditorUserId="29988" LastEditDate="2021-07-06T19:23:59.913" LastActivityDate="2024-03-23T03:01:11.593" Title="Can I use historical films from Weimar/Nazi Germany for research? (Copyright UK law)" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29568" PostTypeId="1" CreationDate="2020-02-23T02:02:37.153" Score="0" ViewCount="1915" Body="&lt;p&gt;I am trying to change the sequence setting to 100 fps in premiere pro 2020, but I am only able to see up to 60 fps. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to change it 100 fps because when I am nesting my 100 fps, then it makes it to 60 fps, so I am not able to apply speed ramping. I am halfway through the project. Any suggestions would be really helpful.&lt;/p&gt;&#xA;" OwnerUserId="27733" LastEditorUserId="18155" LastEditDate="2020-02-24T01:07:54.683" LastActivityDate="2020-02-26T07:12:06.827" Title="how able to change the sequence setting timebase to 100fps in premiere pro" Tags="|premiere|after-effects|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29569" PostTypeId="2" ParentId="24518" CreationDate="2020-02-23T02:11:53.197" Score="2" Body="&lt;p&gt;This may be useful:&#xA;&lt;a href=&quot;https://www.illustrationhistory.org/essays/hanna-barbera-the-architects-of-saturday-morning&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.illustrationhistory.org/essays/hanna-barbera-the-architects-of-saturday-morning&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;For a standard Disney feature, the film would be projected at&#xA;  the standard 24 frames per second with each frame having different&#xA;  animation. Planned animation provided for fewer frames, so that&#xA;  instead of each frame having a new image, frames would be repeated two&#xA;  or three times, resulting in just twelve or eight different frames per&#xA;  second.&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;This experimental approach is showcased in UPA’s most stylized&#xA;  cartoon, Gerald McBoing Boing, for which they won an Academy Award in&#xA;  1951. However, Hanna-Barbera adapted the technique out of necessity.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="27674" LastActivityDate="2020-02-23T02:11:53.197" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29570" PostTypeId="2" ParentId="29073" CreationDate="2020-02-23T06:58:22.440" Score="4" Body="&lt;p&gt;As you said you have similar files, you may try the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;1) any good mp4 file with the same resolution and bitrate to generate the header files:&#xA;recover_mp4.exe good.mp4 --analyze&#xA;&#xA;2) recover streams from the corrupted file, for example:&#xA;recover_mp4.exe bad.mp4 recovered.h264 recovered.aac&#xA;&#xA;3) join audio and video with ffmpeg:&#xA;ffmpeg.exe -r 30 -i recovered.h264 -i recovered.aac -bsf:a aac_adtstoasc -c:v copy -c:a copy recovered.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;recover_mp4 : &lt;a href=&quot;https://codecpack.co/download/recover-mp4.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://codecpack.co/download/recover-mp4.html&lt;/a&gt;&#xA;ffmpeg: &lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.ffmpeg.org/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've just covered a mp4 with the above method - although sound is still corrupted, video is all good. &lt;/p&gt;&#xA;" OwnerUserId="27734" LastEditorUserId="27734" LastEditDate="2020-02-25T07:26:43.573" LastActivityDate="2020-02-25T07:26:43.573" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29572" PostTypeId="2" ParentId="28635" CreationDate="2020-02-23T16:28:07.920" Score="1" Body="&lt;p&gt;In the process of submitting a bug report, I tested the same input samples on the nightly build of FFMPEG of 11 February 2020, which fixed the problem. That nightly build had version:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;ffmpeg version git-2020-02-11-f15007a&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To install a nightly build, I suggest using the compiled binaries from &lt;a href=&quot;https://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Zeranoe&lt;/a&gt;. Beginners should choose &quot;Static&quot; libraries, which includes the required libraries in the build.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suspect that the problem is due to the input samples being slices of an hour-long footage, which is longer than the EU restriction on camcorders. Using the nightly build avoids this case of sound and video out of sync even with shortest clip trimming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the EU restriction, see &lt;a href=&quot;https://video.stackexchange.com/questions/28738/filesystem-that-records-longer-than-4-gib-or-one-hour-without-interruption/28740#28740&quot;&gt;Filesystem that records longer than 4 GiB, or one hour without interruption&lt;/a&gt; or &lt;a href=&quot;https://photo.stackexchange.com/questions/14563/why-is-there-a-limit-restriction-to-the-1080p-film-video-recording-time-duration&quot;&gt;Why is there a limit restriction to the 1080p film video?&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="25024" LastEditorUserId="25024" LastEditDate="2020-03-10T09:24:18.333" LastActivityDate="2020-03-10T09:24:18.333" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29573" PostTypeId="1" CreationDate="2020-02-23T17:05:29.557" Score="0" ViewCount="266" Body="&lt;p&gt;I created a slideshow &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Slideshow#Concatdemuxer&quot; rel=&quot;nofollow noreferrer&quot;&gt;following the directions on the concat demuxer&lt;/a&gt;. The input file is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;file 'sentence1.jpg&#xA;duration 5&#xA;file 'sentence2.jpg&#xA;duration 5&#xA;file 'sentence3.jpg&#xA;duration 5&#xA;file '30.jpg&#xA;duration 5&#xA;file '40.jpg&#xA;duration 5&#xA;file '50.jpg&#xA;duration 5&#xA;file '60.jpg&#xA;duration 5&#xA;file '70.jpg&#xA;duration 5&#xA;file '30.jpg&#xA;duration 5&#xA;file '40.jpg&#xA;duration 5&#xA;file '50.jpg&#xA;duration 5&#xA;file '50.jpg&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The result looks OK on QuickTime with 5 seconds for each of the first three pictures. For the same file, VLC shows 10 seconds for the first picture, a flash of the second, and the third for 5 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could display the video on QuickTime or use another non-linear editor to compile the slideshow. But I'm curious about this quirk.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Has anyone faced this problem? How can I diagnose it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The version of VLC is &lt;code&gt;Version 3.0.8 Vetinari (Intel 64bit)&lt;/code&gt;. The log of the command is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;$ ffmpeg -f concat -i slideshow2.txt  -vsync vfr -pix_fmt yuv420p output2.mp4&#xA;ffmpeg version 4.2.2 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with Apple clang version 11.0.0 (clang-1100.0.33.16)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/4.2.2 --enable-shared --enable-pthreads --enable-version3 --enable-avresample --cc=clang --host-cflags='-I/Library/Java/JavaVirtualMachines/adoptopenjdk-13.0.1.jdk/Contents/Home/include -I/Library/Java/JavaVirtualMachines/adoptopenjdk-13.0.1.jdk/Contents/Home/include/darwin -fno-stack-check' --host-ldflags= --enable-ffplay --enable-gnutls --enable-gpl --enable-libaom --enable-libbluray --enable-libmp3lame --enable-libopus --enable-librubberband --enable-libsnappy --enable-libtesseract --enable-libtheora --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-libxvid --enable-lzma --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librtmp --enable-libspeex --enable-libsoxr --enable-videotoolbox --disable-libjack --disable-indev=jack&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, concat, from 'slideshow2.txt':&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: mjpeg (Baseline), yuvj420p(pc, bt470bg/unknown/unknown), 4032x3024, 25 tbr, 25 tbn, 25 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&gt; #0:0 (mjpeg (native) -&gt; h264 (libx264))&#xA;Press [q] to stop, [?] for help&#xA;[swscaler @ 0x111f69000] deprecated pixel format used, make sure you did set range correctly&#xA;[libx264 @ 0x7fc2fd818000] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x7fc2fd818000] profile High, level 6.0&#xA;[libx264 @ 0x7fc2fd818000] 264 - core 155 r2917 0a84d98 - H.264/MPEG-4 AVC codec - Copyleft 2003-2018 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'output2.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf58.29.100&#xA;    Stream #0:0: Video: h264 (libx264) (avc1 / 0x31637661), yuv420p, 4032x3024, q=-1--1, 25 fps, 12800 tbn, 25 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.54.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;[swscaler @ 0x111f69000] deprecated pixel format used, make sure you did set range correctly&#xA;frame=    5 fps=0.0 q=0.0 size=       0kB time=00:00:00.00 bitrate=N/A speed=   frame=   10 fps=8.6 q=0.0 size=       0kB time=00:00:00.00 bitrate=N/A speed=   frame=   12 fps=1.0 q=-1.0 Lsize=   16739kB time=00:00:45.00 bitrate=3047.2kbits/s speed=3.73x    &#xA;video:16738kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.005508%&#xA;[libx264 @ 0x7fc2fd818000] frame I:2     Avg QP:12.59  size:1762396&#xA;[libx264 @ 0x7fc2fd818000] frame P:10    Avg QP:15.19  size:1361412&#xA;[libx264 @ 0x7fc2fd818000] mb I  I16..4:  0.2% 96.8%  2.9%&#xA;[libx264 @ 0x7fc2fd818000] mb P  I16..4:  0.1% 85.8%  4.0%  P16..4:  0.1%  0.0%  0.0%  0.0%  0.0%    skip:10.0%&#xA;[libx264 @ 0x7fc2fd818000] 8x8 transform intra:95.7% inter:85.7%&#xA;[libx264 @ 0x7fc2fd818000] coded y,uvDC,uvAC intra: 99.2% 57.5% 27.3% inter: 0.6% 0.8% 0.0%&#xA;[libx264 @ 0x7fc2fd818000] i16 v,h,dc,p: 12% 21% 28% 38%&#xA;[libx264 @ 0x7fc2fd818000] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 10% 35% 19%  4%  5%  4%  8%  5% 11%&#xA;[libx264 @ 0x7fc2fd818000] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 17% 22%  8%  7%  9%  8% 10%  8% 10%&#xA;[libx264 @ 0x7fc2fd818000] i8c dc,h,v,p: 46% 28% 22%  4%&#xA;[libx264 @ 0x7fc2fd818000] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0x7fc2fd818000] ref P L0: 64.1% 12.7% 20.0%  3.3%&#xA;[libx264 @ 0x7fc2fd818000] kb/s:2285.19&#xA;&lt;/pre&gt;&#xA;" OwnerUserId="25024" LastEditorUserId="25024" LastEditDate="2020-02-23T20:02:44.967" LastActivityDate="2020-02-23T20:02:44.967" Title="FFMPEG slideshow skips a picture when showing on VLC (and is OK on Quicktime)" Tags="|ffmpeg|quicktime|vlc|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29576" PostTypeId="2" ParentId="22858" CreationDate="2020-02-25T01:19:09.457" Score="6" Body="&lt;p&gt;I wrote an ffmpeg filter which attempts to do this. It's not perfect, but it does seem to work well with a good part of the test samples I was working with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It has now been included into ffmpeg, and should be available in the next release.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With mpv, you can enable it with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mpv video.mp4 --vf=photosensitivity&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The filter can be made more or less strict by changing its parameters, e.g.:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mpv video.mp4 --vf=photosensitivity:threshold=0.5 # lower is stricter&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To check how bad a video is from the command line, you can run the filter in bypass mode, and look at the verbose output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -vf photosensitivity=bypass=1 -v verbose -f null  /dev/null&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The output would have lines such as:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[photosensitivity @ 000000000929aa80] badness:  69183 -&amp;gt;  70173 /  15360 (456% - EXCEEDED)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For programmatic use, the filter also produces some frame metadata. You can ask ffmpeg to export it to a text file as follows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -vf photosensitivity=bypass=1,metadata=print:file=photosensitivity-analysis.txt -f null /dev/null&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The created &lt;code&gt;photosensitivity-analysis.txt&lt;/code&gt; file will have one block of lines such as these per frame:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;frame:300  pts:300     pts_time:10&#xA;lavfi.photosensitivity.badness=4.269336&#xA;lavfi.photosensitivity.fixed-badness=4.269336&#xA;lavfi.photosensitivity.frame-badness=0.459766&#xA;lavfi.photosensitivity.factor=1.000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When &lt;code&gt;badness&lt;/code&gt; is greater than one, the badness threshold has been exceeded.&lt;/p&gt;&#xA;" OwnerUserId="682" LastActivityDate="2020-02-25T01:19:09.457" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29577" PostTypeId="1" CreationDate="2020-02-25T16:05:28.037" Score="0" ViewCount="81" Body="&lt;p&gt;I want to get a stationary view on a moving subject, which needs to be staying within his square box on the final video (the camera should follow him).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I got away by clicking every 15 second to create a new keyframe and drag the canvas such that the object is centred in the final 1×1 layout.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am going to automate this with a simple Python script.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The output of the script could be a sequence of coordinates, in whatever format Premiere wants them, so that it would replace my desperate clicking (45 hours of footage overall × 4 × 3600 = 650k clicks). Hence, does anyone know how to import / export keyframes so that I can figure how to craft such a hack?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, but I don't fancy this, I can crop the video using ffmpeg and import that, but that wouldn't allow for later corrections.&lt;/p&gt;&#xA;" OwnerUserId="18212" LastActivityDate="2020-02-25T16:05:28.037" Title="Importing/automating keyframes in Adobe Premiere" Tags="|premiere|adobe|keyframes|automation|script|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29578" PostTypeId="1" CreationDate="2020-02-25T20:36:45.260" Score="0" ViewCount="150" Body="&lt;p&gt;I very often get videos from which I need to extract about 1 to 5 clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I watch those videos in VLC and take note of the start/end times that each of the clips span. I feed that into ffmpeg, which I use to extract the clips to separate video files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Whereas this works fine, it's kind of tedious to be playing the video and stopping, taking note of the start time, continuing, taking note of the end time, and so on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like to find some tool where I can watch the video and when there is a span of interest, just move to the right frame, press a key and have the start/end time automatically saved for me. I don't mind about the specific output; I can process it later with a script before feeding the start/end times to ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know with VirtualDub, Avidemux, etc., you can extract the video directly (clip by clip), but what I want to extract is the times of these interesting clips and do the actual extraction all at once with ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any tool, if possible for Linux, that I could use to easily extract these times? Maybe any functionality or plugin for VLC or other player? Or any tool normally used for creating subtitles or some other synchronisation task?&lt;/p&gt;&#xA;" OwnerUserId="27746" LastActivityDate="2024-03-06T07:03:10.350" Title="How to easily extract start/end times of several clips within a video?" Tags="|linux|clipping|video-player|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29579" PostTypeId="2" ParentId="29578" CreationDate="2020-02-25T21:50:15.143" Score="0" Body="&lt;p&gt;As an initial approach, &lt;strong&gt;gnome-subtitles&lt;/strong&gt; seems to be an interesting option.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;sudo apt-get install gnome-subtitles&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;One can marking the beginning and end of each clip as one dialog entry in the subtitle file, which can be saved as srt and later transformed to be used with ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="27746" LastActivityDate="2020-02-25T21:50:15.143" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29580" PostTypeId="2" ParentId="22632" CreationDate="2020-02-26T06:24:58.487" Score="1" Body="&lt;p&gt;Try ffmpeg's &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#deshake&quot; rel=&quot;nofollow noreferrer&quot;&gt;deshake filter&lt;/a&gt;. It scans the full frame (or a portion of your choosing) and detects shake based on a number of adjustable variables. If the video isn't shaking, it doesn't change the content. You can run the default settings with:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i [input] -vf deshake [output]&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://blog.gregzaal.com/2014/05/30/camera-stabilisation-with-ffmpeg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Great little demo here&lt;/a&gt;. It's a combination detection and repair tool, no need to separately identify videos then reprocess.&lt;/p&gt;&#xA;" OwnerUserId="27348" LastActivityDate="2020-02-26T06:24:58.487" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29581" PostTypeId="2" ParentId="29568" CreationDate="2020-02-26T07:12:06.827" Score="1" Body="&lt;p&gt;If right-clicking on your 100fps clip in the bin and selecting &lt;code&gt;New Sequence From Clip&lt;/code&gt; isn't placing it in its own 100fps sequence, you can create a custom XML sequence template to import with arbitrary values. If you save the following code as an XML file, you should be able to import it into your project and have an empty 100fps 1920x1080 2-channel sequence. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;?xml version=&quot;1.0&quot; encoding=&quot;UTF-8&quot;?&amp;gt;&#xA;&amp;lt;!DOCTYPE xmeml&amp;gt;&#xA;&amp;lt;xmeml version=&quot;4&quot;&amp;gt;&#xA;    &amp;lt;sequence id=&quot;sequence-1&quot;&amp;gt;&#xA;        &amp;lt;rate&amp;gt;&#xA;            &amp;lt;timebase&amp;gt;100&amp;lt;/timebase&amp;gt;&#xA;        &amp;lt;/rate&amp;gt;&#xA;        &amp;lt;name&amp;gt;Custom Sequence&amp;lt;/name&amp;gt;&#xA;        &amp;lt;media&amp;gt;&#xA;            &amp;lt;video&amp;gt;&#xA;                &amp;lt;format&amp;gt;&#xA;                    &amp;lt;samplecharacteristics&amp;gt;&#xA;                        &amp;lt;width&amp;gt;1920&amp;lt;/width&amp;gt;&#xA;                        &amp;lt;height&amp;gt;1080&amp;lt;/height&amp;gt;&#xA;                    &amp;lt;/samplecharacteristics&amp;gt;&#xA;                &amp;lt;/format&amp;gt;&#xA;            &amp;lt;/video&amp;gt;&#xA;            &amp;lt;audio&amp;gt;&#xA;                &amp;lt;numOutputChannels&amp;gt;2&amp;lt;/numOutputChannels&amp;gt;&#xA;                &amp;lt;format&amp;gt;&#xA;                    &amp;lt;samplecharacteristics&amp;gt;&#xA;                        &amp;lt;depth&amp;gt;24&amp;lt;/depth&amp;gt;&#xA;                        &amp;lt;samplerate&amp;gt;48000&amp;lt;/samplerate&amp;gt;&#xA;                    &amp;lt;/samplecharacteristics&amp;gt;&#xA;                &amp;lt;/format&amp;gt;&#xA;            &amp;lt;/audio&amp;gt;&#xA;        &amp;lt;/media&amp;gt;&#xA;    &amp;lt;/sequence&amp;gt;&#xA;&amp;lt;/xmeml&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Check out &lt;a href=&quot;https://developer.apple.com/library/archive/documentation/FinalCutProX/Reference/FinalCutProXXMLFormat/Introduction/Introduction.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Apple's FCP XML documentation&lt;/a&gt; if you want to get super deep into customization, or just export an empty sequence as an XML file and have a look around. Most of the tags are fairly simple to understand as you can see. I've minimized the code here, Premiere can fill in the blanks for most settings if you don't include them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could actually edit your .prproj file in the same way, it's just an XML doc, but Adobe likes to obfuscate their data in base64, in addition to a few other gripes I won't get into here. It's more trouble than it's worth.&lt;/p&gt;&#xA;" OwnerUserId="27348" LastActivityDate="2020-02-26T07:12:06.827" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29582" PostTypeId="2" ParentId="29551" CreationDate="2020-02-26T08:25:55.323" Score="1" Body="&lt;p&gt;It's not entirely clear what you mean by &lt;em&gt;improved&lt;/em&gt; audio, but here are three ffmpeg-based options that should get you what you need. Just combine the appropriate code below. I've included an audio conversion to high bitrate aac in all of the commands, but this will not actively improve your audio. If you're looking to &lt;em&gt;optimize&lt;/em&gt; the audio for voice, check out ffmpeg's &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#highpass&quot; rel=&quot;nofollow noreferrer&quot;&gt;highpass&lt;/a&gt;, &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#lowpass&quot; rel=&quot;nofollow noreferrer&quot;&gt;lowpass&lt;/a&gt;, and &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#anequalizer&quot; rel=&quot;nofollow noreferrer&quot;&gt;anequalizer&lt;/a&gt; audio filters to filter out unwanted high end and low end frequencies, and to enhance vocal frequencies (probably around 1khz and 5kz).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This line processes all of one file type in a folder. Just &lt;code&gt;cd&lt;/code&gt; into the appropriate directory. Replace [original file extension] with your file extension, eg. for i in *.mov; do&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkdir output; for i in *.[original file extension]; do&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Use that first line, plus one of the following&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Option 1) -vn will ditch the video altogether. Consider just sending audio files.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i [input] -vn -acodec aac -b:a 320k [output];done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Option 2) -vf scale will scale all your videos into a smaller size without messing with the audio.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i [input] -vf scale=320:240 -crf 30 -acodec aac -b:a 320k [output];done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Option 3) The first line gets the duration of your video $t using ffmpeg. The second line creates black video to replace your video with, then uses -map to combine the new black video and the audio. Then it uses -ss and -t to set a start and end time $t. Replace [original file extension] with your file extension, eg. &quot;$(basename $i .mov).mp4&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You should really only consider using this if your transcription service &lt;strong&gt;demands&lt;/strong&gt; a video file, but either of the previous options is probably a better choice.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;t=$(ffmpeg -i &quot;$i&quot; 2&amp;gt;&amp;amp;1 | grep &quot;Duration&quot;|grep -o '00:*.*'|cut -f1 -d&quot;,&quot;|awk -F: '{seconds=($1*60)*60; seconds=seconds+($2*60); seconds=seconds+$3; print seconds}');&#xA;&#xA;ffmpeg -f lavfi -i color=c=black:s=2x2:r=1/1 -i &quot;$i&quot; -map 0:v -map 1:a -acodec aac -b:a 320k -ss 0 -t $t &quot;output/$(basename $i .[original file extension]).mp4&quot;;done&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Again, if your transcription service doesn't care about or even want video, you could shortcut all of this and just send them high quality wav files.&#xA;&lt;code&gt;ffmpeg -i [input.mp4] [output.wav]&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="27348" LastActivityDate="2020-02-26T08:25:55.323" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29583" PostTypeId="1" AcceptedAnswerId="29584" CreationDate="2020-02-26T12:16:00.290" Score="0" ViewCount="120" Body="&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/24608/how-to-create-diagonal-wipe-effect-in-ffmpeg/24616#24616?newreg=1c0bdf6bd6ec4e4ea14dec86fcc2a93c&quot;&gt;How to create “diagonal wipe” effect in FFmpeg?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This question has an answer, however the answer does not concat the audios of videos. How can I fix it ?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i old.mp4 -i new.mp4 -filter_complex&#xA;   &quot;[1]format=yuva444p,&#xA;       geq=lum='p(X,Y)':&#xA;       a='st(1,(1+W/H/TN)*H/D);if(lt(W-X,((ld(1)*T-Y)/(ld(1)*T))*ld(1)*T*TN),p(X,Y),0)':&#xA;       enable='lte(t,D)',setpts=PTS+D/TB[new];&#xA;    [0:v][new]overlay&quot; wipe.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27752" LastActivityDate="2020-02-26T14:19:18.147" Title="Ffmpeg wipe diagonal transiton with audio concat" Tags="|ffmpeg|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29584" PostTypeId="2" ParentId="29583" CreationDate="2020-02-26T14:19:18.147" Score="0" Body="&lt;p&gt;Use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#acrossfade&quot; rel=&quot;nofollow noreferrer&quot;&gt;acrossfade&lt;/a&gt; filter.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;[0:v][new]overlay;&#xA;[0]atrim=0:T+D[a0];[a0][1:a]acrossfade=d=D&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;D&lt;/code&gt; like in the original command is the duration of the wipe. &lt;code&gt;T&lt;/code&gt; is the time at which the wipe starts.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-02-26T14:19:18.147" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29587" PostTypeId="2" ParentId="29343" CreationDate="2020-02-26T23:23:17.253" Score="1" Body="&lt;p&gt;This is a desired look that stills photographers have been creating with Helios 44 lenses. It's quite possibly a native analogue effect see swirly bokeh.  To simulate the effect using the above using @clif's three layer solution. On the bottom layer with spherical distortion, radial focus blur, and some circular smearing increasing at the boundary of the image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ref:  &lt;a href=&quot;https://live.staticflickr.com/967/27986297808_2f0f5ebaf2_b.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://live.staticflickr.com/967/27986297808_2f0f5ebaf2_b.jpg&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27756" LastActivityDate="2020-02-26T23:23:17.253" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29590" PostTypeId="1" AcceptedAnswerId="29604" CreationDate="2020-02-27T12:35:16.130" Score="1" ViewCount="66" Body="&lt;p&gt;I am looking to get a Blackmagic Pocket 4K. I know that you can do the EF conversion, and use Canon EF lenses, but I want to keep the cost down on my initial purchase.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking at either getting a Zoom Lens (14-42mm) F3.5/F5.6&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Two (or possibly just one), prime.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;17mm Prime(F1.8)&#xA;45mm Prime(F1.8)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suppose the right idea is to prefer using a prime? But the convenience of a zoom is something that I have gotten used to. I don't really do zoom shots, but it's convenient setting up a shot and using the zoom instead of moving the camera around where you sometimes won't have adequate space to do so. It is also convenient to not have to change lenses on a rig for different shots.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am an amateur (hobbyist) videographer, hoping to get better and later offer more professional videography.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is the prime's really THAT much better? In photography, I feel a prime has more worth when you do some pixel peeping, but does it make a huge quality difference for video? (I don't own and have never used a prime).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I currently shoot on a Fuji x-T20 (aps-c / 18-55), making use of a gimbal and tripod. The Blackmagic will be on a rig.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="5926" LastActivityDate="2020-03-06T03:47:55.583" Title="Prime or Zoom for Video (Micro Four Thirds)" Tags="|video-quality|video-recording|lenses|blackmagic|zoom|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29591" PostTypeId="1" CreationDate="2020-02-27T16:47:01.640" Score="2" ViewCount="2476" Body="&lt;p&gt;I have the following issue: I have a video file (h264) that plays with the correct aspect ratio in mplayer. However, if I load it into Intel's Computer Vision Annotation Tool, or if I re-encode the video using openCV, the aspect ratio is no longer correct. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;ffprobe -i&quot; on the original file gives&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;1440x1080 [SAR 4:3 DAR 16:9]&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;whereas for the re-encoded file I get&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;1440x1080 [SAR 1:1 DAR 4:3]&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I have other video files with&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;1920x1080 [SAR 1:1 DAR 16:9]&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;that do not cause this issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I just have to modify the SAR in the header or is the problem more complicated? I would like to preserve the codec if possible.&lt;/p&gt;&#xA;" OwnerUserId="27446" LastActivityDate="2020-02-28T10:43:14.573" Title="How to make video play with correct aspect ratio" Tags="|codec|aspect|ffprobe|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29592" PostTypeId="1" CreationDate="2020-02-27T17:24:03.390" Score="0" ViewCount="2300" Body="&lt;p&gt;I'm trying to do a smooth zoom in to the center of a 4k video over the duration of that video, so basically zooming in 2.13x so that the zoom in stops when the zoom is equivalent to an HD file (4096 / 1920 = 2.13). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm having trouble finding out how I can control the length of the zoom in effect dynamically, for different video lengths. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the command I have so far: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &quot;{filepath}&quot; -vf &quot;scale=w=(4096*4):h=(2160*4), zoompan=z='min(pzoom+0.00213,2.13)':d=1:x='iw/2-(iw/zoom/2)':y='ih/2-(ih/zoom/2)':s=1920x1080&quot; &quot;{output1}&quot;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm guessing I need to do a calculation on the # of input frames and adjust the pzoom ratio accordingly, but I'm unsure how the pzoom ratio actually works. &lt;/p&gt;&#xA;" OwnerUserId="27767" LastEditorUserId="27767" LastEditDate="2020-02-27T17:42:28.700" LastActivityDate="2020-02-27T20:06:22.897" Title="ffmpeg smooth video zoom-in to center over duration of video" Tags="|ffmpeg|zoom|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29593" PostTypeId="2" ParentId="29592" CreationDate="2020-02-27T17:43:00.590" Score="3" Body="&lt;p&gt;pzoom is the calculated zoom value for the previous frame. It is initialized to 1 at the start of filtering. So, if total no. of frames is X, your zoom expr should be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;z='min(pzoom+(2.13-1)/X,2.13)'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2020-02-27T20:06:22.897" LastActivityDate="2020-02-27T20:06:22.897" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29594" PostTypeId="1" CreationDate="2020-02-27T20:01:03.620" Score="0" ViewCount="2308" Body="&lt;p&gt;I am trying to make a video from a bundle of image files and then apply a an overlay on top of it.Another requirement is to make the video loop 3x. It is simply not working.&#xA;The requirement is to produce a video of 3 seconds looped 3x. The below script does npt allow to do it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is my script.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg &#xA;-start_number 1 -framerate 3/1 &#xA;-i &quot;C:\Users\xxx\AppData\Local\xxx\xxx\xxx\xxx\xxx\xxx\xxx\963d9d9b8e1\DSC%04d_0013.jpg&quot;&#xA;&#xA;-&quot;C:\Users\xxx\AppData\Local\xxx\xxx\projects\xxx\xxx\xxx\xxx\963d9d9b8e1\DSC%04d_0013.jpg&quot;&#xA;&#xA;-i &quot;C:\Users\xxx\AppData\Local\xxx\xxx\projects\1237\1138\pictures\bundle\963d9d9b8e1\DSC%04d_0013.jpg&quot;&#xA;&#xA;-i &quot;C:\Users\xxx\AppData\Local\xxx\xxx\projects\1237\1138\overlay.png&quot; &#xA;-i &quot;C:\Users\xxx\AppData\Local\xxx\xxx\projects\1237\1138\overlay.png&quot; &#xA;-i &quot;C:\Users\xxx\AppData\Local\xxx\xxx\projects\1237\1138\overlay.png&quot; &#xA;-filter_complex &quot; [0:v]scale=600x900[scaled1]; [1:v]scale=600x900[scaled2]; [2:v]scale=600x900[scaled3]; [scaled1][3:v]overlay[tmp1]; [scaled2][4:v]overlay[tmp2]; [scaled3][5:v]overlay[tmp3]; [tmp1][tmp2][tmp3]concat=n=3[scaled] &quot;&#xA;-map [scaled] -r 10 -vcodec libx264  -pix_fmt yuv420p -crf 23  &quot;C:\Users\xxx\Documents\Projets\2020\xxx\video test ffmpeg\test.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27768" LastEditorUserId="27768" LastEditDate="2020-02-28T02:49:10.633" LastActivityDate="2021-03-24T19:02:10.160" Title="FFMPEG Video loop from images files" Tags="|video|ffmpeg|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29595" PostTypeId="1" CreationDate="2020-02-27T20:36:54.700" Score="1" ViewCount="43" Body="&lt;p&gt;I work for a university, and I will be working on setting up a small recording studio for our department. The purpose of the recording studio will be to record high-quality educational content. We will be purchasing a bunch of equipment for this: camera, computer, lights, microphone, sound dampeners, etc. However, this question pertains to the camera itself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We want this studio to be as &quot;turnkey&quot; as possible. We will leave everything (lights, camera, mic) set up and we want an instructor to simply be able to walk in, start recording, finish up, and leave without much hassle. We'd like to minimize the number of batteries that need to be replaced/charged, and make starting-up and wrapping-up a recording as easy as possible. Thus, the requirements for the camera are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Have a DC power input / adapter, so that we don't have to worry about battery swapping and charging&lt;/li&gt;&#xA;&lt;li&gt;Have HDMI out, so that we can capture directly to a computer (via some software, maybe OBS)&lt;/li&gt;&#xA;&lt;li&gt;Have audio in, because we will want an external mic&lt;/li&gt;&#xA;&lt;li&gt;Ideally, be able to capture 4k&lt;/li&gt;&#xA;&lt;li&gt;Overall, produce a good quality image (assuming that the scene and subject are well positioned, well lit, etc)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The budget for JUST the camera is in the neighborhood of 1k. The Panasonic Lumix GH 4/5 seems to be a popular choice, however my concern would be (A) is there a reliable way to give it continuous power, rather than via battery, and (B) will have issue with record-length limit? I could also go with something more along the lines of a Canon HFG21, but the downside is it doesn't record 4k, and supposedly the HDMI out connection is not the best. Is there something in my budget that checks these boxes?&lt;/p&gt;&#xA;" OwnerUserId="27769" LastEditorUserId="27769" LastEditDate="2020-02-28T15:21:13.087" LastActivityDate="2020-03-03T16:18:10.270" Title="Best camera for turnkey studio recordings" Tags="|camera|video-capture|studio|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29596" PostTypeId="1" CreationDate="2020-02-28T02:01:06.947" Score="0" ViewCount="95" Body="&lt;p&gt;I'm going to direct a music video for my band (I have experience in film production, direction and some video post-production) and I want to achieve the following effect:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Film the singer at a high FPS (with a phantom hd gold) and then slow it down substantially. Then, at the same location, film the singer actually singing the song, and then in post production superimposing his face (without it being slowed down) on his own body from the previous shot.&#xA;Final effect: his body and background will be moving in super slow motion but he will be singing the song at normal speed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd prefer to do it in after effects since it's the software I have most experience with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know sometimes a similar effect is achieved by speeding up the song and the singer lip syncing to that, but in this case it would be impossible because I want film at around 1000fps and slow that down, so it would be too fast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wont move the camera and I know I have to take in account shadows and lighting in both takes so they match.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="27772" LastActivityDate="2020-03-02T08:47:59.653" Title="Good technique to superimpose face into moving character in AfterEffects?" Tags="|after-effects|tracking|slowmotion|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29597" PostTypeId="2" ParentId="29594" CreationDate="2020-02-28T02:49:51.327" Score="0" Body="&lt;p&gt;This is the solution and it works.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-start_number 1 -framerate 3/1 &#xA;-i DSC%04d_0013.jpg &#xA;-loop 1 -i overlay.png&quot;&#xA;-filter_complex &quot;&#xA;[0:v]scale=600x900[scaled];&#xA;[scaled][1:v]overlay,trim=duration=3,loop=loop=2:size=9[tmp]&#xA;&quot; -map [tmp] -r 10 -vcodec libx264  -pix_fmt yuv420p -crf 23 &#xA;test.mp4&lt;/p&gt;&#xA;" OwnerUserId="27768" LastActivityDate="2020-02-28T02:49:51.327" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29598" PostTypeId="2" ParentId="29591" CreationDate="2020-02-28T08:40:47.100" Score="1" Body="&lt;p&gt;If you want to change the Sample Aspect Ratio (aka Pixel Aspect Ratio) without reencoding use &lt;strong&gt;mkvmerge&lt;/strong&gt; or &lt;strong&gt;mp4box&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;mkvmerge&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mkvmerge -o &quot;out.mp4&quot; --aspect-ratio-factor 0:4/3 &quot;in.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;mp4box&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;mp4box -add in.mp4 -par 1=4:3 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In &lt;code&gt;ffmpeg&lt;/code&gt; you &lt;strong&gt;cannot&lt;/strong&gt; combine a filter with &lt;code&gt;-c copy&lt;/code&gt; ...&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf setsar=sar=4/3 -map 0 -c copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;because&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Filtering and streamcopy cannot be used together.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24237" LastEditorUserId="24237" LastEditDate="2020-02-28T10:43:14.573" LastActivityDate="2020-02-28T10:43:14.573" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29599" PostTypeId="2" ParentId="29591" CreationDate="2020-02-28T09:24:31.593" Score="4" Body="&lt;p&gt;For a H264 stream, use the h264_metadata bitstream filter&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -c copy -bsf:v &quot;h264_metadata=sample_aspect_ratio=4/3&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-02-28T09:24:31.593" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29600" PostTypeId="2" ParentId="29567" CreationDate="2020-02-28T10:32:25.313" Score="0" Body="&lt;p&gt;Reach out to the &lt;a href=&quot;http://www.europeanfilmgateway.eu/about_efg/faq&quot; rel=&quot;nofollow noreferrer&quot;&gt;European Film Gateway&lt;/a&gt;'s FAQ and look for &quot;May I use content found on the EFG for my own website or in other contexts?&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In addition to that you can ask for help in their &lt;a href=&quot;http://www.europeanfilmgateway.eu/about_efg/contact&quot; rel=&quot;nofollow noreferrer&quot;&gt;contact form&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2020-02-28T10:32:25.313" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29601" PostTypeId="2" ParentId="29525" CreationDate="2020-02-28T11:02:38.177" Score="1" Body="&lt;p&gt;If you prefer a graphical user interface you can use the free &lt;a href=&quot;https://www.mediacoderhq.com/download.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaCoder&lt;/a&gt; for Windows.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the &lt;code&gt;Video&lt;/code&gt; Tab choose &lt;code&gt;Format&lt;/code&gt; &lt;code&gt;H.264&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Audio&lt;/code&gt; Tab &gt; &lt;code&gt;Format&lt;/code&gt; &lt;code&gt;LC-AAC&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Container&lt;/code&gt; Tab &gt; &lt;code&gt;Container&lt;/code&gt; &lt;code&gt;MOV&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2020-02-28T11:02:38.177" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29603" PostTypeId="2" ParentId="29594" CreationDate="2020-02-28T17:46:28.593" Score="1" Body="&lt;p&gt;The &quot;solution&quot; that you gave to your own question confuses me because it seems to be somewhat unrelated to your initial question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I understood from your question:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;You have a Sequence of Images in 3 directories.&lt;/li&gt;&#xA;&lt;li&gt;Make a movie from each Image Sequence.&lt;/li&gt;&#xA;&lt;li&gt;Length is 1s each.&lt;/li&gt;&#xA;&lt;li&gt;Overlay an image for each 1s movie.&lt;/li&gt;&#xA;&lt;li&gt;concatenate the movies -&gt; 3s movie&lt;/li&gt;&#xA;&lt;li&gt;Loop 3 times -&gt; 9s movie&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I've added the fllowing to your code in your question:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add &lt;code&gt;-start_number 1&lt;/code&gt; before every input&lt;/li&gt;&#xA;&lt;li&gt;Add &lt;code&gt;loop=loop=2:size=30&lt;/code&gt; after &lt;code&gt;concat&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Notice &lt;code&gt;loop=2&lt;/code&gt; loops 3 times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Furthermore it needs a size (the total number of frames to loop over).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This depends on how many images you had.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I had 10 images in the 3 directories. &lt;code&gt;10 x 3 = 30&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-start_number 1 -framerate 12 \&#xA;-i &quot;imgSequ1/img-%d.png&quot; \&#xA;-start_number 1 -framerate 12 \&#xA;-i &quot;imgSequ2/img-%d.png&quot; \&#xA;-start_number 1 -framerate 12 \&#xA;-i &quot;imgSequ3/img-%d.png&quot; \&#xA;-i &quot;overlay1.png&quot; \&#xA;-i &quot;overlay2.png&quot; \&#xA;-i &quot;overlay3.png&quot; \&#xA;-filter_complex &quot;\&#xA;[0:v]scale=600x900[scaled1];\&#xA;[1:v]scale=600x900[scaled2];\&#xA;[2:v]scale=600x900[scaled3];\&#xA;[scaled1][3:v]overlay[tmp1];\&#xA;[scaled2][4:v]overlay[tmp2];\&#xA;[scaled3][5:v]overlay[tmp3];\&#xA;[tmp1][tmp2][tmp3]concat=n=3,loop=loop=2:size=30[scaled]&quot; \&#xA;-map &quot;[scaled]&quot; -r 10 -vcodec libx264 -pix_fmt yuv420p -crf 23 &quot;result.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2020-02-28T17:46:28.593" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29604" PostTypeId="2" ParentId="29590" CreationDate="2020-02-29T07:15:05.633" Score="3" Body="&lt;p&gt;For most people, the first workhorse lens will be a zoom, because of the versatility. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sharpness in lenses isn't a huge factor for video; at HD resolution and below, lenses that photographers turn their noses up at for their sharpness do a perfectly adequate job. Once you're shooting 4k it starts being a bit more important, but even still that's way below the sort of resolution most photographic lenses are made for. Unless you're talking about lomo lenses, you'll probably struggle to see the difference. What you will notice is the extra stop and a half that the prime gives you. If that's something you really need, then buy a prime second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If money wasn't an object and you were using them for drama or other scripted content, a set of primes would be ideal. You get the range of a zoom with the quality of primes. But even if you had all the money in the world, you still wouldn't choose that for documentary work, because you're not going to want to be changing lenses to get different shots when you're running and gunning.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-03-06T03:47:55.583" LastActivityDate="2020-03-06T03:47:55.583" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29605" PostTypeId="2" ParentId="22525" CreationDate="2020-02-29T12:27:43.853" Score="3" Body="&lt;p&gt;I know this question is about achieving the result with the &lt;code&gt;drawtext&lt;/code&gt; filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However this might be an alternative approach using the &lt;code&gt;ass&lt;/code&gt; filter.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;in=&quot;Slow_when_flashing_school_zone_traffic_sign_in_Chinese.jpg&quot;&#xA;txt=&quot;school_sign&quot;&#xA;&#xA;ffmpeg -i &quot;$in&quot; \&#xA;-vf &quot;zoompan=z='min(zoom+0.005,1.5)':y='if(gte(zoom,1.5),y,y+1)':x='x':d=125,\&#xA;scale=w=600:h=800,\&#xA;fps=fps=25,\&#xA;ass=${txt}.ass&quot; -f nut pipe: | ffplay pipe:&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Preview: (the color changing text is the animated subtitle)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/3UIMF.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3UIMF.gif&quot; alt=&quot;Preview of animated ASS subtitle&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since ASS is very flexible and can be formatted extensively this might be worthwhile to explore.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might want to have a look at &lt;a href=&quot;http://docs.aegisub.org/3.2/Visual_Typesetting/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Visual_Typesetting&lt;/a&gt; and &lt;a href=&quot;http://docs.aegisub.org/3.2/ASS_Tags/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ASS Override Tags&lt;/a&gt; (search for &lt;code&gt;Animated transform&lt;/code&gt; and &lt;code&gt;\t tag&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suggest to generate the ASS file with &lt;a href=&quot;http://www.aegisub.org/downloads/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Aegisub&lt;/a&gt; as a starting point. If you need to, you could further improve it with a text editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;File and Image:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;File: &lt;code&gt;school_sign.ass&lt;/code&gt; (proof of concept)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Script Info]&#xA;; Script generated by Aegisub 3.2.2&#xA;; http://www.aegisub.org/&#xA;Title: Default Aegisub file&#xA;ScriptType: v4.00+&#xA;WrapStyle: 0&#xA;ScaledBorderAndShadow: yes&#xA;YCbCr Matrix: PC.601&#xA;PlayResX: 600&#xA;PlayResY: 800&#xA;&#xA;[Aegisub Project Garbage]&#xA;Video AR Mode: 4&#xA;Video AR Value: 0.750000&#xA;Video Zoom Percent: 2.000000&#xA;&#xA;[V4+ Styles]&#xA;Format: Name, Fontname, Fontsize, PrimaryColour, SecondaryColour, OutlineColour, BackColour, Bold, Italic, Underline, StrikeOut, ScaleX, ScaleY, Spacing, Angle, BorderStyle, Outline, Shadow, Alignment, MarginL, MarginR, MarginV, Encoding&#xA;Style: Default,Arial,20,&amp;amp;H00FFFFFF,&amp;amp;H000000FF,&amp;amp;H00000000,&amp;amp;H00000000,0,0,0,0,100,100,0,0,1,2,2,2,10,10,10,1&#xA;&#xA;[Events]&#xA;Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text&#xA;Dialogue: 0,0:00:00.00,0:00:04.94,Default,,0,0,0,,{\an5\fscx100\fscy100\t(0,3960,\fscx150\fscy150)\frz5.811\4c&amp;amp;H000000&amp;amp;\4a&amp;amp;HFF&amp;amp;\c&amp;amp;H2A2A2A&amp;amp;\3c&amp;amp;H000000&amp;amp;\3a&amp;amp;HFF&amp;amp;\move(307,527,460,755,0,3920)}Slow when flashing! School zone&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Image: &lt;code&gt;Slow_when_flashing_school_zone_traffic_sign_in_Chinese.jpg&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Daniel Case / CC BY-SA (&lt;a href=&quot;https://creativecommons.org/licenses/by-sa/3.0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://creativecommons.org/licenses/by-sa/3.0&lt;/a&gt;)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/K0SQN.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/K0SQN.jpg&quot; alt=&quot;Slow_when_flashing_school_zone_traffic_sign_in_Chinese.jpg&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24237" LastEditorUserId="24237" LastEditDate="2020-02-29T12:55:10.267" LastActivityDate="2020-02-29T12:55:10.267" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29606" PostTypeId="2" ParentId="29596" CreationDate="2020-02-29T13:35:51.650" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;Then, at the same location, film the singer actually singing the song&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Seems as if you wanted to capture the artist twice. 1st time in high fps and 2nd time in normal speed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suggest &lt;strong&gt;only capturing the scene once&lt;/strong&gt; at high fps and blending the same footage with a normal framerate.&lt;/p&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2020-02-29T13:35:51.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29607" PostTypeId="2" ParentId="29564" CreationDate="2020-02-29T13:55:32.530" Score="0" Body="&lt;p&gt;The &lt;a href=&quot;https://bavc.github.io/avaa/artifacts/video_dropout.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;AV ARTIFACT ATLAS&lt;/a&gt; is a good resource for identifying errors in video. It also gives advice on how to fix them.&lt;/p&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2020-02-29T13:55:32.530" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29608" PostTypeId="2" ParentId="29536" CreationDate="2020-02-29T14:07:15.103" Score="0" Body="&lt;p&gt;Your Problem is listed in the &lt;a href=&quot;https://bavc.github.io/avaa/artifacts/fluorescent_strobing.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;AV ARTIFACT ATLAS&lt;/a&gt; as &lt;strong&gt;FLUORESCENT STROBING&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This short tutorial shows how to adjust your camera:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=eTzQky3hRLI&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to AVOID FLICKER and STROBING While Filming&lt;/a&gt; by Blue Mantle Films&lt;/p&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2020-02-29T14:07:15.103" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29613" PostTypeId="2" ParentId="29471" CreationDate="2020-03-01T04:11:34.177" Score="0" Body="&lt;p&gt;Add &lt;code&gt;format=yuva444p,&lt;/code&gt; before 'rotate'.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i empt_vid_5891581054410.mp4\&#xA;-i merged-571580302534.mp4 \&#xA;-filter_complex &quot;[1:v]format=yuva444p,rotate=-30*PI/180:ow=rotw(iw):oh=roth(ih):c=none [rotate];[0:v][rotate] overlay=40:10:enable='between(t,2,7)', colorchannelmixer=aa=0.5&quot; -auto-alt-ref 0 -pix_fmt yuv420p -c:a copy overlayavatar.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2020-03-01T04:11:34.177" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29614" PostTypeId="1" CreationDate="2020-03-01T13:31:28.920" Score="0" ViewCount="99" Body="&lt;p&gt;I've two files, a &lt;code&gt;mp4&lt;/code&gt; and a &lt;code&gt;mp3&lt;/code&gt; file. I want to add a &lt;code&gt;3&lt;/code&gt; seconds intro screen with title &lt;code&gt;Welcome&lt;/code&gt; and &lt;code&gt;black&lt;/code&gt; background to the head of the video with the &lt;code&gt;mp3&lt;/code&gt; as background. So here's what I wrote.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -i input.mp4 \&#xA;    -i bgm.mp3 \&#xA;    -f lavfi -i color=c=black:s=&quot;1280&quot;x&quot;544&quot;:d=3.0 \&#xA;    -filter_complex \&#xA;        &quot;[2:v]&#xA;  drawtext=&#xA;    fontsize=30&#xA;    :fontcolor=white&#xA;    :x=(w-text_w)/2&#xA;    :y=(h-text_h)/2&#xA;    :text='WELCOME'&#xA;[introVideo];&#xA;&#xA;[1:a]&#xA;    atrim=0.0:3.0&#xA;[introAudio];&#xA;&#xA;[introVideo][introAudio][0:v][0:a]concat=n=2:v=1:a=1&quot; -preset superfast output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;but am getting below error when I try to execute the command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_concat_3 @ 0x55c02756fa00] Input link in1:v0 parameters (size 1280x544, SAR 1299:1280) do not match the corresponding output link in0:v0 parameters (1280x544, SAR 1:1)&#xA;[Parsed_concat_3 @ 0x55c02756fa00] Failed to configure output pad on Parsed_concat_3&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid argument&#xA;Error while processing the decoded data for stream #0:1&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any help will be highly appreciated.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: I am a beginner in video processing and &lt;code&gt;ffmpeg&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="27791" LastEditorUserId="27791" LastEditDate="2020-03-01T18:51:49.860" LastActivityDate="2020-03-01T18:51:49.860" Title="Input link in1:v0 parameters (size XXX, SAR XXX) do not match the corresponding output link in0:v0 parameters (XXX, SAR 1:1)" Tags="|ffmpeg|" AnswerCount="0" CommentCount="10" ClosedDate="2020-03-01T13:57:55.357" ContentLicense="CC BY-SA 4.0" />
  <row Id="29615" PostTypeId="1" CreationDate="2020-03-01T14:32:21.400" Score="0" ViewCount="240" Body="&lt;p&gt;I have game play videos with frames of 59.94 fps, 60 fps, and some around 30 fps. I put all these files in one sequence. When trying to export, the file created is unplayable. Can anyone help me out with my issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; I am using premiere pro cs6&lt;/p&gt;&#xA;" OwnerUserId="27792" LastEditorUserId="14523" LastEditDate="2020-03-01T19:02:43.033" LastActivityDate="2020-03-01T19:02:43.033" Title="How to export files with different frame rates in a composition in premiere pro?" Tags="|premiere|adobe-media-encoder|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29616" PostTypeId="1" CreationDate="2020-03-01T17:47:10.200" Score="1" ViewCount="72" Body="&lt;p&gt;I'm trying to animate a shape in After Effects with RubberHose plugin. I'm creating a shape layer and placing it in pre-compose. Then placing a 3 pins on that pre-compose. After I select them and alt+click on New RubberPin the shape is being distorted. Why is it happening?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/G9jt8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/G9jt8.png&quot; alt=&quot;shape with pins&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/NXBpH.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NXBpH.jpg&quot; alt=&quot;distorted shape&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27793" LastActivityDate="2020-03-01T17:47:10.200" Title="RubberHose distorts a shape" Tags="|after-effects|animation|plugins|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29617" PostTypeId="2" ParentId="20779" CreationDate="2020-03-02T08:37:33.067" Score="1" Body="&lt;p&gt;I believe the issue arises because of the naming of your files. When images have a number attached at the end of their names, after-effects assumes that you're importing an image sequence. Thus, it imports each &quot;image&quot; as a sequence, consisting of all 3 images. When you import your files, try unchecking the box that says &quot;import as image-sequence&quot;.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-03-02T08:37:33.067" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29618" PostTypeId="2" ParentId="29596" CreationDate="2020-03-02T08:47:59.653" Score="1" Body="&lt;p&gt;There is some substantial work that would go in an effect like that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'd have to first track the face of the slowed-down singer in 3D-space and apply a mesh to it, which sticks perfectly to his features.&#xA;Then, you'd want to rotoscope the normal-speed singer's face (which is going to take a lot of time alone) to then apply that pass with your tracked transform to the slowed-down background. You'd also have to match the change in shape of the head, such as when opening the jaw. This is not only applying to the face, but the whole head really.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(If I understand your vision correctly,) this is a high-end job that would take a few weeks for a professional compositor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would recommend you film the entire background in slow-motion, then shoot the singer in front of a green-screen so you don't have to rotoscope him out of the background. You can then simply key your singer in normal speed, track your slowed-down background (if there's movement in the camera) and place your singer on your background, applying the motion of the camera.&#xA;This method is not a walk in the park, but significantly easier than the approach above.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope I could help, have a great day :)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-03-02T08:47:59.653" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29619" PostTypeId="1" CreationDate="2020-03-02T10:00:05.777" Score="0" ViewCount="890" Body="&lt;p&gt;I need a simple ffmpeg script to add an animated gif to video with given x and y.&lt;/p&gt;&#xA;" OwnerUserId="27752" LastActivityDate="2020-03-02T10:00:05.777" Title="Add animated gif to video with ffmpeg" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29620" PostTypeId="1" CreationDate="2020-03-02T11:30:05.633" Score="1" ViewCount="4704" Body="&lt;p&gt;I'm trying to combine (side by side) two live video streams coming over RTMP, using the following ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;rtmp://first&quot; -i &quot;rtmp://first&quot; -filter_complex &quot;[0v][1v]xstack=inputs=2:layout=0_0|1920_0[stacked]&quot; -map &quot;[stacked]&quot; -preset ultrafast -vcodec libx264 -tune zerolatency -an -f flv output.flv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In this example I actually use the same input stream two times, because the issue is more visible this way. And the issue is in the output two streams are out of sync by about 2-3 seconds. That is - I expect (since I have two identical inputs) to have exactly the same left and right sides in the output. Instead - left side is behind right side by 2-3 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I believe is happening is ffmpeg connects to inputs in order (I see this in output log) and connection to each one takes 2-3 seconds (maybe it waits for I-frame, those streams have I-frame interval of 3 seconds). Then probably, it buffers frames received from first (already connected) input, while connecting to the second one. When second one is connected and frames from both inputs are ready to be put through the filter - first input buffer already contains 2-3 seconds of video - and result is out of sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Again, that's just my assumptions. So, how can achieve my goal? What I basically want is for ffmpeg to discard all &quot;old&quot; frames received before BOTH inputs are connected OR somehow put &quot;empty&quot; (black?) frames for second input, while waiting for that second input to become available. I tried play with various flags, with PTS (setpts filter), but to no avail.&lt;/p&gt;&#xA;" OwnerUserId="27803" LastActivityDate="2020-10-01T15:32:24.920" Title="Combining two live RTMP streams into another RTMP stream, synchronization issues (with FFMPEG)" Tags="|video|ffmpeg|encoding|rtmp|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29621" PostTypeId="1" CreationDate="2020-03-02T12:18:05.487" Score="0" ViewCount="453" Body="&lt;p&gt;I have watched &lt;a href=&quot;https://www.youtube.com/watch?v=uhRbAjdEiGw&quot; rel=&quot;nofollow noreferrer&quot;&gt;Barbie doll illusion on youtube&lt;/a&gt; and wanted to set this up myself.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I already have tried doing it with 1080GTX + Samsung S8+ + GEAR VR + WebCam + RiftCat + SteamVR + Oculus + OVRdrop over 5G Archer C7 wifi. However, the lag is at least half a second and experience just does not work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am ok with buying additional equipment (different VR headset, camera, etc), but before investing in equipment I would really like someone to have already tried it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to set up streaming from two web cameras or stereo (dual lens) to VR headset without (or minimal) latency? &lt;/p&gt;&#xA;" OwnerUserId="9335" LastActivityDate="2024-03-12T00:07:55.987" Title="How to set up streaming from two webcams or stereo camera (2x lens) to VR headset with minimal latency?" Tags="|streaming|latency|vr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29622" PostTypeId="2" ParentId="28859" CreationDate="2020-03-02T13:22:41.480" Score="0" Body="&lt;p&gt;2560x2560 per eye &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The maximum recommended video resolutions for Oculus Quest and Go are as follows:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3840x3840 30fps H264 H265&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4096x4096 30fps ---- H265&lt;/p&gt;&#xA;&#xA;&lt;p&gt;5760x2880 30fps H264 ----&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2880x5760 30fps ---- H265 (* see below)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2880x2880 60fps H264 H265&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4096x2048 60fps H264 H265&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://creator.oculus.com/blog/encoding-high-resolution-360-and-180-video-for-oculus-go/&quot; rel=&quot;nofollow noreferrer&quot;&gt;taken from here&lt;/a&gt; &lt;/p&gt;&#xA;" OwnerUserId="9335" LastActivityDate="2020-03-02T13:22:41.480" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29623" PostTypeId="1" CreationDate="2020-02-29T04:42:45.687" Score="0" ViewCount="172" Body="&lt;p&gt;I'm trying to hide some text using a path I'm tracking around someone in order to 'hide' the text behind him. Because the text will be moving independently of the person it'll be hiding behind, I'm using a shape layer as my mask with Track Matte. But, it seems the path shape isn't being filled by AE because it isn't hiding the text. Other shapes in the layer are still behaving as expected and hide the text when they intersect, but at no point is my text masked by the pen shape. Nothing I've found on google has been helpful, as most of the tutorials are on converting shapes to paths, but not the other way around. Is there a way to fill the penned out shape so that the mask actually works? Or did I waste around 2 hours tracking the edge of this guys body only for there to be no way for it to be used as a mask?&lt;/p&gt;&#xA;" OwnerDisplayName="Variable3" LastEditorUserId="17390" LastEditDate="2020-03-24T17:22:22.990" LastActivityDate="2024-04-03T00:10:16.327" Title="Path shape not masking text through Track Matte in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29624" PostTypeId="2" ParentId="29621" CreationDate="2020-03-02T14:50:26.987" Score="0" Body="&lt;p&gt;Wireless will always give you some latency (if you're not spending a fortune). I would recommend you try using sdi cables. In video-production, sdi is often used for immediate feedback to the directors monitor etc. - so you should have less of a problem with latency there.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-03-02T14:50:26.987" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29625" PostTypeId="2" ParentId="29623" CreationDate="2020-03-02T14:56:27.557" Score="0" Body="&lt;p&gt;Your approach is really creative, but I'm afraid you could have made it much easier on you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your text is moving on its own, you can simply pre-compose the text layer. That way, the newly created precomp doesn't move, allowing you to draw a mask around the person if needed. Remember to only draw a mask where the text touches the person, you'll easily create bigger masks than you have to (speaking from experience) which will take up unnecessary time.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-03-02T14:56:27.557" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29626" PostTypeId="1" AcceptedAnswerId="29629" CreationDate="2020-03-02T16:38:56.677" Score="0" ViewCount="945" Body="&lt;p&gt;I'm having some files in MKV format (x264). Some files work flawlessly in my non-smart TV, but others are not even opened at all or crashing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried the following command in FFmpeg to convert it to the mp4 format since it has wide platform compatibility in TVs.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But its still not playing in my TV, please help me with the correct ffmpeg parameters.&lt;/p&gt;&#xA;" OwnerUserId="27806" LastEditorUserId="18155" LastEditDate="2020-03-04T23:34:09.913" LastActivityDate="2020-03-04T23:34:09.913" Title="ffmpeg setting not working for x264 compatibility in television" Tags="|ffmpeg|mkv|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="29627" PostTypeId="1" CreationDate="2020-03-02T20:38:12.213" Score="1" ViewCount="30" Body="&lt;p&gt;I'm trying to see if there is a way to determine if a movie file was ripped from a DVD/Blu-ray. Currently the only way I can check is looking at the ffprobe output and checking the tags property: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&quot;_STATISTICS_WRITING_APP-eng: MakeMKV v1.14.5 win(x64-release)&quot;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This tells me it was created by the MakeMKV application. If I have the video properties is there a way to check that it's a straight copy of a DVD/Blu-ray?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Bitrate:         (7,209 kb/s)&lt;/li&gt;&#xA;&lt;li&gt;Resolution:      (480p)&lt;/li&gt;&#xA;&lt;li&gt;Bit Depth:       (8)&lt;/li&gt;&#xA;&lt;li&gt;Frame Rate:      (23.976)&lt;/li&gt;&#xA;&lt;li&gt;Color space:     (YUV)&lt;/li&gt;&#xA;&lt;li&gt;Chroma Sampling: (4:2:0)&lt;/li&gt;&#xA;&lt;li&gt;File size:       (4.35 GiB)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="27810" LastActivityDate="2020-03-02T20:38:12.213" Title="Analyze video file properties - Ripping Question" Tags="|dvd|bluray|ffprobe|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29628" PostTypeId="2" ParentId="29620" CreationDate="2020-03-02T23:47:16.060" Score="1" Body="&lt;p&gt;&lt;code&gt;-vsync&lt;/code&gt; parameter&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video sync method. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;0&lt;/code&gt;: Each frame is passed with its timestamp from the demuxer to the muxer &lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;1&lt;/code&gt;: Frames will be duplicated and dropped to achieve exactly the requested constant framerate. &lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;2&lt;/code&gt;: Frames are passed through with their timestamp or dropped to prevent 2 frames from having the same timestamp &lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-1&lt;/code&gt;: Chooses between 1 and 2 depending on muxer capabilities. This is the default method. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;With &lt;code&gt;-map&lt;/code&gt; you can select from which stream the timestamps should be taken. You can leave either video or audio unchanged and sync the remaining stream(s) to the unchanged one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-async samples_per_second&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Audio sync method. &quot;Stretches/squeezes&quot; the audio stream to match the timestamps, the parameter is the maximum samples per second by which the audio is changed. &lt;code&gt;-async 1&lt;/code&gt; is a special case where only the start of the audio stream is corrected without any later correction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-copyts&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Copy timestamps from input to output.&lt;/p&gt;&#xA;" OwnerUserId="18045" LastEditorUserId="18155" LastEditDate="2020-03-04T21:25:20.030" LastActivityDate="2020-03-04T21:25:20.030" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29629" PostTypeId="2" ParentId="29626" CreationDate="2020-03-03T00:35:26.640" Score="0" Body="&lt;p&gt;&lt;code&gt;notworking.mkv&lt;/code&gt; is 10-bit H.264 (&lt;code&gt;yuv420p10le&lt;/code&gt;). I'm guessing the TV can't play that. You'll have to re-encode to the more common yuv420p for the TV to be able to play it. Basic example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i notworking.mkv -map 0 -c copy -c:v libx264 -vf format=yuv420p output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-03-03T00:35:26.640" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29630" PostTypeId="2" ParentId="29590" CreationDate="2020-03-03T00:41:31.780" Score="3" Body="&lt;p&gt;I have that camera.  Here are a few things to consider:  &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The camera doesn't have any in-body stabilization, so the footage can be very shaky unless you're prepared.  In my situation, I knew I wanted to use a gimbal to stabilize.  This works great, but it will affect your lens choice.  If you plan to use the BMPCC on a gimball ever, remember that you won't be able to touch the lens to focus it, change iris, or zoom without disturbing the gimbal operation, so if that's in your playbook, you'll either need a remote follow focus setup (for a prime lens), or a lens that can be controlled remotely through the camera's bluetooth interface (for an autofocusing and/or stabilizing photo lens).  Keep in mind the autofocus on this camera is very slow, and not very &quot;auto.&quot;  You have to tap the screen to re-focus unless you use bluetooth or remote follow focus.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;When you say that you plan to use the BMPCC on a &quot;Rig&quot; I assume you mean shoulder rig.  Consider how you are going to monitor the footage and control the camera with it on your shoulder; if you're planning to use the camera's built-in screen, the camera's center of gravity will be VERY (entirely) forward.  Without proper counterbalance, you're better off not using a rig at all.  With a properly balanced shoulder rig, you can just about let go of the thing with both hands, and it should stay balanced on your shoulder.  There's no way to do that with this camera without an EVF or, like I said, some serious counterbalancing, which will more than double the total weight of what you're carrying.  With a shoulder rig, it's possible to grab the focus/iris/or zoom ring, and you won't shake the image as much as you would on a gimbal, BUT it can be very awkward to reach, and it's better to have a follow focus setup with remote hand grip controls in this situation as well.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The crop factor on this camera is 2x.  So, if you buy a 50mm lens, it's going to look like a 100mm lens on the BMPCC.  So, you'll want to get something wider than you think you'll need; a 35mm prime would be good for portraits/interviews.  If you want to do landscapes, you'll want at most a 12, and if you want to show real-estate interiors, you'll want an 8.  If you film in 4K, but deliver in 2K, you can use the extra pixels to digitally zoom (or stabilize), so again, it's better to err on the side of wider rather than telephoto.  Using a wider lens also has the added benefits of requiring less stabilization and having a larger focal plane, which translates to touching the lens less.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The price you pay for using a zoom lens is speed.  Zoom lenses have more moving parts, and more elements than prime lenses, which translates into less efficient light transmission and a higher minimum f-number than you'd find in a prime lens at the same price-point.  Yes, they are convenient.  The cost of that convenience is image quality. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For my starter kit, I went with three ultra cheap manual lenses.  I got a SLR MAGIC 8mm f4.0 for about a hundred bucks.  It was designed for drone use, so it works perfectly on a gimbal, and even handheld, the footage doesn't look shaky.  I wouldn't use anything higher than that without stabilization, though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also got a Meike 25mm f1.8, which translates into a 50mm equivalent, and is a good general-purpose lens.  At 1.8, it works in low light situations, although it is not at its sharpest.  It was also around a hundred bucks, so at that price, I'm not complaining.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then to round out the kit, I found a m.zukio 40-100 olympus 5.6.  I use this one the least because the crop factor makes it a 80-200 equivalent.  It does have autofocus, though, and it was also VERY cheap.  It's an OK lens for sports, in the daytime.  At night, I had a hard time finding enough light with it at a local dirtbike track for HFR footage, and could just eek out a decent exposure at normal speed.  I suspect a football or baseball field would have more light, though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TO BE CLEAR, I don't use my personal lenses for paid work.  These lenses are basically toys for practicing.  For paid jobs, I rent good glass, and what I get depends on the shoot.  If the shoot calls for a remote follow focus, I'll rent that, too.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-03-03T01:01:41.417" LastActivityDate="2020-03-03T01:01:41.417" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29631" PostTypeId="1" AcceptedAnswerId="29636" CreationDate="2020-03-03T07:39:23.907" Score="0" ViewCount="252" Body="&lt;p&gt;My apartment building is broadcasting security cameras via a TV channel. I want to watch this broadcast on an IP camera viewer software (and there combine it with IP cameras that I am using). Is that possible? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have been looking into TV cards/sticks for PCs but I would not know how to convert the incoming video signal into something an IP viewer software can accept.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I could buy a PC, hook in a TV card, output via HDMI to a TV signal encoder box and use that signal on the network but this solution seems overkill to me. I am looking for something compact &amp;amp; simple.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ae this is a multi-layered question and every option in one layer changes the solutions / problems for the next later, I don't know where to start. So here is the list of questions I have:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;how to best get the TV signal into a computer?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I could go with a TV tuner USB stick, but if the output for those then specific to the app that is shipped with it or rather a universal standard that can be used by other software such as VLC? Since I will need to tune to a specific channel where the cam feed is broadcasted, I am not sure if VLC (or other &quot;generic&quot; software) can tune into that.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;what computer to use to get the signal to the network?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Do I need a full PC with relevant computing power? Could it be an Arduino? Can Arduinos connect to TV sticks at all? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What processing power do I need? The video stream is likely only 640x480.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry if this is too vague or off-topic.&lt;/p&gt;&#xA;" OwnerUserId="3866" LastEditorUserId="3866" LastEditDate="2020-03-03T08:19:30.450" LastActivityDate="2020-03-03T13:07:17.880" Title="How to get a TV channel to stream as IP camera" Tags="|video-capture|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29632" PostTypeId="1" AcceptedAnswerId="29633" CreationDate="2020-03-03T07:57:55.337" Score="0" ViewCount="1090" Body="&lt;p&gt;I would like to stream a single MP4 to multiple streaming sites at once. The easiest way I could think to do this was to simply run four concurrent &lt;code&gt;ffmpeg&lt;/code&gt; instances at once, and send the stream individually. I wish I had stuck to this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Unfortunately I remembered the &lt;code&gt;tee&lt;/code&gt; filter and had hoped it would save a few CPU cycles. Instead I have wasted hours getting nowhere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I realise these sorts of questions have been asked before, hundreds of times, and with them hundreds of answers. None of them have helped me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To get the “banner” out of the way:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.2.2-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8 (Debian 8.3.0-6)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gmp --enable-libgme --enable-gray --enable-libaom --enable-libfribidi --enable-libass --enable-libvmaf --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libdav1d --enable-libxvid --enable-libzvbi --enable-libzimg&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that I have tried static and linked builds (no change) as well as older versions of &lt;code&gt;ffmpeg&lt;/code&gt; (worse).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, for the first command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[h264 @ 0x6f8f1c0] Reinit context to 1280x720, pix_fmt: yuv420p&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'huuge.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.20.100&#xA;  Duration: 00:23:18.37, start: 0.000000, bitrate: 2104 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High), 1 reference frame (avc1 / 0x31637661), yuv420p(left), 1280x720 [SAR 1:1 DAR 16:9], 1900 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandle&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 192 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandle&#xA;[tcp @ 0x6fbc6c0] Starting connection attempt to 35.176.16.102 port 1935&#xA;[tcp @ 0x6fbc6c0] Successfully connected to 35.176.16.102 port 1935&#xA;[flv @ 0x6ff1240] Tag avc1 incompatible with output codec id '27' ([7][0][0][0])&#xA;[tee @ 0x6fb6900] Slave '[f=flv:onfail=ignore]rtmp://stream.dlive.tv/live/&amp;lt;snip&amp;gt;': error writing header: Invalid data found when processing input&#xA;[AVIOContext @ 0x6ff09c0] Statistics: 0 seeks, 0 writeouts&#xA;[tee @ 0x6fb6900] Slave muxer #0 failed: Invalid data found when processing input, continuing with 2/3 slaves.&#xA;[tcp @ 0x6fbc380] Starting connection attempt to 99.181.67.204 port 1935&#xA;[tcp @ 0x6fbc380] Successfully connected to 99.181.67.204 port 1935&#xA;[flv @ 0x7026a80] Tag avc1 incompatible with output codec id '27' ([7][0][0][0])&#xA;[tee @ 0x6fb6900] Slave '[f=flv:onfail=ignore]rtmp://live-lhr04.twitch.tv/app/&amp;lt;snip&amp;gt;': error writing header: Invalid data found when processing input&#xA;[AVIOContext @ 0x70260c0] Statistics: 0 seeks, 0 writeouts&#xA;[tee @ 0x6fb6900] Slave muxer #1 failed: Invalid data found when processing input, continuing with 1/3 slaves.&#xA;[flv @ 0x6f99880] Tag avc1 incompatible with output codec id '27' ([7][0][0][0])&#xA;[tee @ 0x6f969c0] Slave '[f=flv:onfail=ignore]rtmp://a.rtmp.youtube.com/live2/&amp;lt;snip&amp;gt;': error writing header: Invalid data found when processing input&#xA;[tee @ 0x6fb6900] All tee outputs failed.&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Invalid argument&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;    Last message repeated 1 times&#xA;[AVIOContext @ 0x6f96400] Statistics: 2123151 bytes read, 0 seeks&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried adding &lt;code&gt;-vtag avc1&lt;/code&gt; which made no difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And simply out of curiosity I tried using the &lt;code&gt;-use_fifo 1&lt;/code&gt; switch:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'huuge.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.20.100&#xA;  Duration: 00:23:18.37, start: 0.000000, bitrate: 2104 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 1900 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandle&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 192 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandle&#xA;Output #0, tee, to '[f=flv:onfail=ignore]rtmp://stream.dlive.tv/live/&amp;lt;snip&amp;gt;|[f=flv:onfail=ignore]rtmps://homeserver:1936/rtmp/&amp;lt;snip&amp;gt;|[f=flv:onfail=ignore]rtmp://live-lhr04.twitch.tv/app/&amp;lt;snip&amp;gt;|[f=flv:onfail=ignore]rtmp://a.rtmp.youtube.com/live2/&amp;lt;snip&amp;gt;':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.29.100&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], q=2-31, 1900 kb/s, 30 fps, 30 tbr, 30 tbn, 30 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandle&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 192 kb/s (default)ffmpeg: malloc.c:2404: sysmalloc: Assertion `(unsigned long) (old_size) &amp;lt; (unsigned long) (nb + MINSIZE)' failed.&#xA;&#xA;    Metadata:&#xA;      handler_name    : SoundHandleffmpeg: malloc.c:2401: sysmalloc: Assertion `(old_top == initial_top (av) &amp;amp;&amp;amp; old_size == 0) || ((unsigned long) (old_size) &amp;gt;= MINSIZE &amp;amp;&amp;amp; prev_inuse (old_top) &amp;amp;&amp;amp; ((unsigned long) old_end &amp;amp; (pagesize - 1)) == 0)' failed.&#xA;&#xA;Aborted                 (core dumped) ffmpeg -hide_banner -re -i &quot;$1&quot; -flags +global_header -map 0 -c copy -f tee -use_fifo 1 &quot;[f=flv:onfail=ignore]rtmp://stream.dlive.tv/live/&amp;lt;snip&amp;gt;|[f=flv:onfail=ignore]rtmps://homeserver:1936/rtmp/&amp;lt;snip&amp;gt;|[f=flv:onfail=ignore]rtmp://live-lhr04.twitch.tv/app/&amp;lt;snip&amp;gt;|[f=flv:onfail=ignore]rtmp://a.rtmp.youtube.com/live2/&amp;lt;snip&amp;gt;&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I can do nothing with a segfault.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So now I'm hoping someone else may have tried this, but done so successfully. One file to four outputs doesn't seem to be that big a deal, but I cannot get it to work!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For reference, four separate &lt;code&gt;ffmpeg&lt;/code&gt; instances work fine, including through &lt;code&gt;stunnel&lt;/code&gt;. And the whitespace between the pipes make no difference.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have &lt;a href=&quot;https://video.stackexchange.com/a/25797/17678&quot;&gt;tried&lt;/a&gt; &lt;code&gt;-flags +global_header&lt;/code&gt; and &lt;code&gt;bsfs/v=dump_extra=freq=keyframe&lt;/code&gt; both separate and together, which are no help. I have no idea what the latter does.&lt;/p&gt;&#xA;" OwnerUserId="17678" LastEditorUserId="17678" LastEditDate="2020-03-03T08:54:02.690" LastActivityDate="2020-03-03T12:48:56.963" Title="ffmpeg -f tee refuses to do anything useful" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29633" PostTypeId="2" ParentId="29632" CreationDate="2020-03-03T12:04:21.653" Score="1" Body="&lt;p&gt;I'll need to debug when I have time to see why this occurs during tee and not mormally, but for now, add &lt;code&gt;-vtag 7&lt;/code&gt; to get ffmpeg working when streamcopying H.264/AVC video. Do check and confirm that your recipients can decode the output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-flags +global_header&lt;/code&gt; only applies when encoding the video.&lt;br&gt;&#xA;&lt;code&gt;bsfs/v=dump_extra=freq=keyframe&lt;/code&gt; is not relevant and in fact, counterproductive for FLV output, although it does not intersect with your issue.&lt;br&gt;&#xA;&lt;code&gt;-use_fifo 1&lt;/code&gt; also does not intersect, and it's orthogonal here.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-03-03T12:04:21.653" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29634" PostTypeId="1" CreationDate="2020-03-03T12:26:38.797" Score="0" ViewCount="141" Body="&lt;p&gt;First post, so be kind please :)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So a quick bit of history. I am using tvheadend, and the inbuilt transcoder murders my CPU, and provides average quality output (it's powered by ffmpeg), if I pipe the output from tvheadend through ffmpeg I get much lower CPU usage and better quality (weird but true). (I am having to transcode because of limited player abilities)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So in tvheadend the http link goes from something like&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://avideostream&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://avideostream&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;to&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;pipe:///usr/bin/ffmpeg -loglevel fatal -i http://avideostream -tune zerolatency -vcodec libx264 -preset veryfast -crf 28 -maxrate 1200k -bufsize 3500k -vf &quot;scale='min(1280,iw)':'min(720,ih)'&quot; -acodec aac -b:a 128K -f mpegts pipe:1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Big difference as you can see.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This all works, BUT if I want to change the settings in the my above pipe, i have to change them for all links (which I do through a script), but that means tvheadend re-imports and tests all of the links (as it see them as changed links, which is fair enough).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So what I want to do is wrap ffmpeg in something, so I can change the wrapper. (This is all happening on a up to date ubuntu server).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I am happy to say I am not a Ubuntu expert (not even close), although I have been running my own home servers for a few years now. So I don't fully understand all the aspects of &quot;pipe&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The three options I see for above (as to date I have found no way for chosing an external transcoder option for tvheadend, without moving into weird builds, which I would like to avoid) are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use an external options file for ffmpeg (which I can get to work from the console, but not as part of the pipe, e.g. sudo ffmpeg -i amovie.mp4 $(cat ffmpegoptions.txt) convertedmovie.mp4, it might be as simple as file access rights, but I didn't do much debugging)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Put the ffmpeg stuff in a .sh file (but that just seems to break the pipe, and I have no idea where to even start with that)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;put the ffmpeg in some sort of python script (I didn't even start investigating that, a step too far for me, I can write python, but that is currently out of my league)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Short version, I want to go from:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;tvheadend &gt;&gt; piped to ffmpeg &gt;&gt; back to tvheadend &gt;&gt; off to player&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To either&lt;/p&gt;&#xA;&#xA;&lt;p&gt;tvheadend &gt;&gt; piped to .sh or script wrapper &gt;&gt; piped to ffmpeg &gt;&gt; back to tvheadend &gt;&gt; off to player&lt;/p&gt;&#xA;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&#xA;&lt;p&gt;tvheadend &gt;&gt; piped to ffmpeg (controlled by an external options file) &gt;&gt; back to tvheadend &gt;&gt; off to player&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions/help would be much appreciated. Let me know if I missed any important info out.&lt;/p&gt;&#xA;" OwnerUserId="27812" LastEditorUserId="27812" LastEditDate="2020-03-03T14:43:26.540" LastActivityDate="2023-03-20T06:00:35.070" Title="how to pipe:/// through a .sh or Python script, or use some sort of setting files with FFMPEG" Tags="|video|ffmpeg|streaming|linux|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29635" PostTypeId="2" ParentId="29632" CreationDate="2020-03-03T12:48:56.963" Score="0" Body="&lt;p&gt;Perhaps you could try a different approach, instead of getting FFMPEG to stream to different IP's use something else.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I.e. Capture what you need and encode with FFMPEG, then pass that to something else to pass it on the the multiple locations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://obsproject.com/forum/resources/how-to-set-up-your-own-private-rtmp-server-using-nginx.50/&quot; rel=&quot;nofollow noreferrer&quot;&gt;This guide&lt;/a&gt; might help you (providing you are in the nginx enviro).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've spent a lot of time running into brick walls recently with streaming related stuff, and found it is frequently easier to use two or three specialist things, rather than trying to force one to do it all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="27812" LastActivityDate="2020-03-03T12:48:56.963" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29636" PostTypeId="2" ParentId="29631" CreationDate="2020-03-03T13:01:19.453" Score="1" Body="&lt;p&gt;I think I can see what you are asking, and Ken seems to have missed a big part of the question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So assuming you are saying that the camera you want to watch is being broadcast as a TV channel that is connected to via an aerial (or equiv).  Then as you have said, you will need something to capture that with. That's going to depend a little on the hardware you are using with the capture device. But I am capturing local TV channels on a xbox usb tuner through a Ubuntu box.  But there are loads of low cost devices out there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am then using a bit of software called TVHeadEnd to grab that and spit it out as an IP stream. That can be watched on loads of devices. Of course if you want to watch this outside you home network, you are going to have to open ports on your router, and likely use something like DDNS (no-ip is a good provider for this) to find your router.  Just make sure what ever device you get to capture the broadcast and stream it, is compatible with the software you use to broadcast the stream.  Research before you purchase is recommended.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lastly I think you will probably get away with running all this on something like a rasberry pi, depending on if you have to transcode the stream (which you would use FFMPEG to do, over an above most internal transcoders, but that's a whole different story).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There may be much simpler solutions out there, with everything just built in, perhaps a HDHomeRun, but I have not used one, worth a looks to see if it fits your need, it may remove the need for a PC all together. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Without more details this is all the info I can offer at the mo. I hope it's enough to get you started. &lt;/p&gt;&#xA;" OwnerUserId="27812" LastEditorUserId="27812" LastEditDate="2020-03-03T13:07:17.880" LastActivityDate="2020-03-03T13:07:17.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29637" PostTypeId="2" ParentId="29595" CreationDate="2020-03-03T16:18:10.270" Score="1" Body="&lt;p&gt;I ended up posting basically the same question over on the &lt;a href=&quot;https://www.dpreview.com/forums/post/63690768&quot; rel=&quot;nofollow noreferrer&quot;&gt;dpreview forum&lt;/a&gt;, and got a number of replies. In case someone else stumbles across this post in hopes of getting an answer, the contributors seemed to recommend the following, as of Feb/Mar 2020:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Panasonic Lumix GH 4 or 5 (around $600 and $1300, respectively, body only)&lt;/li&gt;&#xA;&lt;li&gt;Blackmagic pocket cinema 4k camera (around $1300, body only)&lt;/li&gt;&#xA;&lt;li&gt;Panasonic AF 100 (used for $500-600)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="27769" LastActivityDate="2020-03-03T16:18:10.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29638" PostTypeId="2" ParentId="29590" CreationDate="2020-03-03T23:55:58.257" Score="1" Body="&lt;p&gt;For videography you do not necessarily look for &quot;a good&quot; lens for pixel peeping, you want a good autofocus system and a wide aperture for a &quot;cinematic look&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This depends on what type of videography you are doing. Interviews, documental, landscape, indoors, outdoors, using a tripod, using a handheld. Jason Conrad's answer is interesting because he is using that same camera and has experience with the crop factor. But I think you need to pay attention to the line of work you want to develop.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-03-03T23:55:58.257" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29639" PostTypeId="2" ParentId="27749" CreationDate="2020-03-04T10:32:27.873" Score="0" Body="&lt;p&gt;For good or bad, in Davinci it's all about maths. Since you want to move the wheel you will change position x/y and rotation, as you mentioned. But you will have to add time points and make the calculations (i.e. if you want to speed up/slow down, change move/rotation direction etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example you want to have the motion for 5 secs, 1 full rotation lasts 1 secs. So you are gone have something like that: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;time=0s x=-200, rotation=0&#xA;time=1s, rotation=360&#xA;time=2s, rotation=720&#xA;time=2.5s, x=0&#xA;time=3s, rotation=1080&#xA;time=4s, rotation=1440&#xA;time=5s, x=200,rotation=1800&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vVAyV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vVAyV.png&quot; alt=&quot;Time points are showed with the red rhombus and it&amp;#39;s changing during the time&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope to help you out a little.. :)&lt;/p&gt;&#xA;" OwnerUserId="27478" LastEditorUserId="14523" LastEditDate="2020-03-05T03:32:40.290" LastActivityDate="2020-03-05T03:32:40.290" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29640" PostTypeId="1" AcceptedAnswerId="29647" CreationDate="2020-03-04T12:01:28.380" Score="2" ViewCount="311" Body="&lt;p&gt;I am making a mp4 video while using this command from downloaded jpegs, everything is working fine but the video is not being played in VLC but in Media Player, default one of Ubuntu.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -framerate 6 -i #{path}%d.jpg -i #{evercam_logo} -filter_complex '[1]scale=iw/2:-1[wm];[0][wm]overlay=x=main_w-overlay_w-10:y=main_h-overlay_h-10' -pix_fmt yuv420p -c:v h264_nvenc -preset slow -bufsize 1000k #{path}#{id}.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have tried multiple formats but the results are same. what Am I missing here? any help would be wonderful thank you. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;my FFMPEG version: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-95730-ga7245adee3 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 7 (Ubuntu 7.4.0-1ubuntu1~18.04.1)&#xA;  configuration: &#xA;  libavutil      56. 35.101 / 56. 35.101&#xA;  libavcodec     58. 62.100 / 58. 62.100&#xA;  libavformat    58. 35.100 / 58. 35.100&#xA;  libavdevice    58.  9.100 / 58.  9.100&#xA;  libavfilter     7. 66.100 /  7. 66.100&#xA;  libswscale      5.  6.100 /  5.  6.100&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;Hyper fast Audio and Video encoder&#xA;usage: ffmpeg [options] [[infile options] -i infile]... {[outfile options] outfile}...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;FFMPEG is being compiled with Nvidia Graphics.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE:&#xA;this is the output of my full command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;root@Ubuntu-1704-zesty-64-minimal:~# ffmpeg -y -framerate 6 -i /storage/apache-j8h3/%d.jpg -i /opt/evercam_media/lib/evercam_media-1.0.1583305674/priv/static/images/evercam-logo-white.png -filter_complex '[1]scale=iw/2:-1[wm];[0][wm]overlay=x=main_w-overlay_w-10:y=main_h-overlay_h-10,format=yuv420p' -c:v h264_nvenc -preset slow -bufsize 1000k videotest.mp4&#xA;ffmpeg version N-95730-ga7245adee3 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 7 (Ubuntu 7.4.0-1ubuntu1~18.04.1)&#xA;  configuration: &#xA;  libavutil      56. 35.101 / 56. 35.101&#xA;  libavcodec     58. 62.100 / 58. 62.100&#xA;  libavformat    58. 35.100 / 58. 35.100&#xA;  libavdevice    58.  9.100 / 58.  9.100&#xA;  libavfilter     7. 66.100 /  7. 66.100&#xA;  libswscale      5.  6.100 /  5.  6.100&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;Input #0, image2, from '/storage/apache-j8h3/%d.jpg':&#xA;  Duration: 00:00:09.50, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: mjpeg (Baseline), yuvj420p(pc, bt470bg/unknown/unknown), 704x576 [SAR 1:1 DAR 11:9], 6 fps, 6 tbr, 6 tbn, 6 tbc&#xA;Input #1, png_pipe, from '/opt/evercam_media/lib/evercam_media-1.0.1583305674/priv/static/images/evercam-logo-white.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #1:0: Video: png, rgba(pc), 200x200 [SAR 2835:2835 DAR 1:1], 25 tbr, 25 tbn, 25 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 (mjpeg) -&amp;gt; overlay:main&#xA;  Stream #1:0 (png) -&amp;gt; scale&#xA;  format -&amp;gt; Stream #0:0 (h264_nvenc)&#xA;Press [q] to stop, [?] for help&#xA;[image2 @ 0x555f0a16ba80] Thread message queue blocking; consider raising the thread_queue_size option (current value: 8)&#xA;[swscaler @ 0x555f0a36ff80] deprecated pixel format used, make sure you did set range correctly&#xA;Output #0, mp4, to 'videotest.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf58.35.100&#xA;    Stream #0:0: Video: h264 (h264_nvenc) (Main) (avc1 / 0x31637661), yuv420p, 704x576 [SAR 1:1 DAR 11:9], q=-1--1, 2000 kb/s, 6 fps, 12288 tbn, 6 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc58.62.100 h264_nvenc&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/2000000 buffer size: 1000000 vbv_delay: N/A&#xA;frame=   57 fps=0.0 q=20.0 Lsize=    2332kB time=00:00:09.33 bitrate=2046.8kbits/s speed=19.3x    &#xA;video:2331kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.045540%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and this is the output of a command with &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;root@Ubuntu-1704-zesty-64-minimal:~# ffmpeg -y -framerate 6 -i /storage/apache-j8h3/%d.jpg -i /opt/evercam_media/lib/evercam_media-1.0.1583305674/priv/static/images/evercam-logo-white.png -filter_complex '[1]scale=iw/2:-1[wm];[0][wm]overlay=x=main_w-overlay_w-10:y=main_h-overlay_h-10' -c:v h264_nvenc -preset slow -bufsize 1000k -pix_fmt yuv420p videotest.mp4&#xA;ffmpeg version N-95730-ga7245adee3 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 7 (Ubuntu 7.4.0-1ubuntu1~18.04.1)&#xA;  configuration: &#xA;  libavutil      56. 35.101 / 56. 35.101&#xA;  libavcodec     58. 62.100 / 58. 62.100&#xA;  libavformat    58. 35.100 / 58. 35.100&#xA;  libavdevice    58.  9.100 / 58.  9.100&#xA;  libavfilter     7. 66.100 /  7. 66.100&#xA;  libswscale      5.  6.100 /  5.  6.100&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;Input #0, image2, from '/storage/apache-j8h3/%d.jpg':&#xA;  Duration: 00:00:09.50, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: mjpeg (Baseline), yuvj420p(pc, bt470bg/unknown/unknown), 704x576 [SAR 1:1 DAR 11:9], 6 fps, 6 tbr, 6 tbn, 6 tbc&#xA;Input #1, png_pipe, from '/opt/evercam_media/lib/evercam_media-1.0.1583305674/priv/static/images/evercam-logo-white.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #1:0: Video: png, rgba(pc), 200x200 [SAR 2835:2835 DAR 1:1], 25 tbr, 25 tbn, 25 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 (mjpeg) -&amp;gt; overlay:main&#xA;  Stream #1:0 (png) -&amp;gt; scale&#xA;  overlay -&amp;gt; Stream #0:0 (h264_nvenc)&#xA;Press [q] to stop, [?] for help&#xA;[image2 @ 0x557669b1fb00] Thread message queue blocking; consider raising the thread_queue_size option (current value: 8)&#xA;[swscaler @ 0x557669d23bc0] deprecated pixel format used, make sure you did set range correctly&#xA;Output #0, mp4, to 'videotest.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf58.35.100&#xA;    Stream #0:0: Video: h264 (h264_nvenc) (Main) (avc1 / 0x31637661), yuv420p, 704x576 [SAR 1:1 DAR 11:9], q=-1--1, 2000 kb/s, 6 fps, 12288 tbn, 6 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc58.62.100 h264_nvenc&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/2000000 buffer size: 1000000 vbv_delay: N/A&#xA;frame=   57 fps=0.0 q=20.0 Lsize=    2332kB time=00:00:09.33 bitrate=2046.8kbits/s speed=19.8x    &#xA;video:2331kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.045540%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27819" LastEditorUserId="27819" LastEditDate="2020-03-05T06:32:25.563" LastActivityDate="2020-03-05T18:46:33.027" Title="how to make a video created by FFMPEG using downloaded images, VLC media player compatible" Tags="|ffmpeg|vlc|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="29641" PostTypeId="2" ParentId="29634" CreationDate="2020-03-05T01:44:52.997" Score="1" Body="&lt;p&gt;I didn't find an actual answer, more a work around. As this was all part of a bigger, involving plex, I found a proxy (&lt;a href=&quot;https://github.com/xteve-project/xTeVe&quot; rel=&quot;nofollow noreferrer&quot;&gt;xteve&lt;/a&gt;) that includes ffmpeg transcoding, and I can set the options for ffmpeg.  That is good enough for what I was trying to do.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope this save someone else a little time.&lt;/p&gt;&#xA;" OwnerUserId="27812" LastActivityDate="2020-03-05T01:44:52.997" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29645" PostTypeId="1" CreationDate="2020-03-05T12:16:34.273" Score="0" ViewCount="220" Body="&lt;p&gt;Have more then 1000 mxf files.&lt;br&gt;&#xA;Is there a software that can bulk check all of them for any kind of corruption/integrity ?&lt;br&gt;&#xA;I found several answers on stackexchange but all include Linux commands that I am not sure how to use since I am on win10.&lt;br&gt;&#xA;Any sort of user friendly software would be great, like handbrake or media encoder ?&lt;/p&gt;&#xA;" OwnerUserId="10560" LastActivityDate="2020-03-05T13:23:44.980" Title="Check for video file integrity for - bulk" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29646" PostTypeId="2" ParentId="29645" CreationDate="2020-03-05T13:23:44.980" Score="1" Body="&lt;p&gt;There are several widely adopted file-based QC systems on the market. They include:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.interrasystems.com/file-based-qc.php&quot; rel=&quot;nofollow noreferrer&quot;&gt;Interra Baton&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.telestream.net/vidchecker/overview.htm#aurora&quot; rel=&quot;nofollow noreferrer&quot;&gt;Telestream (formerly Tektronix) Aurora&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.telestream.net/vidchecker/overview.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;Telestream Vidchecker&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.veneratech.com/pulsar-automated-file-qc&quot; rel=&quot;nofollow noreferrer&quot;&gt;Venera Pulsar&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Note that as of NAB NY 2019, Telestream had not announced plans for what will happen with Vidchecker and Aurora after the Tektronix acquisition.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2020-03-05T13:23:44.980" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29647" PostTypeId="2" ParentId="29640" CreationDate="2020-03-05T18:46:33.027" Score="0" Body="&lt;p&gt;The frame rate is too low for some players. Increase &lt;code&gt;-framerate&lt;/code&gt; value or add the &lt;code&gt;-r&lt;/code&gt; option. Anything ≥8 should suffice. Example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -framerate 6 -i /storage/apache-j8h3/%d.jpg -i /opt/evercam_media/lib/evercam_media-1.0.1583305674/priv/static/images/evercam-logo-white.png -filter_complex '[1]scale=iw/2:-1[wm];[0][wm]overlay=x=main_w-overlay_w-10:y=main_h-overlay_h-10,format=yuv420p' -c:v h264_nvenc -preset slow -bufsize 1000k -r 12 videotest.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In the case above with usage of &lt;code&gt;-r&lt;/code&gt; then frames will be duplicated to convert from 6 fps to 12 fps, but it won't be noticeable by the viewer.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-03-05T18:46:33.027" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29649" PostTypeId="1" CreationDate="2020-03-05T21:12:06.507" Score="0" ViewCount="526" Body="&lt;p&gt;Trying to debug blending images over video led to this observation: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i https://lh3.googleusercontent.com/vt1VzlKCpjJjxRGBd3oAVgOHau22m2257fDBaW3KfHsNbhOcw1--OY7oISUM93Zp0SjwCSdlHP5PXXbFHdaflxTJAJ_B32MSrUH4AerS_0u6gv3X -i https://lh3.googleusercontent.com/MMzUU7GklKAqtdcGN4k2UVF22Wc2l35A2NDEeB4GhgM7eU06nKSQgitHAoWttj605G1yjoOEODt-dMKNPoWUdCmtFxe-u-qH5H228E9DxpoZsZk -filter_complex &quot;[0:v] format=rgba [bg]; [1:v] format=rgba [fg]; [bg][fg] blend=all_mode='overlay':all_opacity=1, format=rgba&quot;  out.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;results in (with odd fringes): &#xA;&lt;a href=&quot;https://i.stack.imgur.com/IOEv4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IOEv4.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;desired image is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lOWZB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lOWZB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27837" LastEditorUserId="14523" LastEditDate="2020-03-08T00:06:45.823" LastActivityDate="2020-03-08T00:06:45.823" Title="blend filter and color" Tags="|ffmpeg|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29651" PostTypeId="1" CreationDate="2020-03-06T00:16:28.640" Score="0" ViewCount="54" Body="&lt;p&gt;Good evening,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have been recording screen-captured videos from my iPad explaining Math concepts (it's a Khan Academy style personal project). After I record it, I trim out the parts in which I'm in silence, either because I am making a diagram, or because I am thinking about what I will say.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a question related to automating Adobe Premiere Pro: can I automatically trim out those parts? Is there a solution out there that addresses that? Is it possible to build some code in the software where it trims out &quot;anything below volume X&quot;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="9123" LastActivityDate="2024-03-15T19:04:05.500" Title="Automating Adobe Premiere Pro for trimming videos based on volume level" Tags="|premiere|workflow|automation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29653" PostTypeId="2" ParentId="29651" CreationDate="2020-03-06T06:01:46.157" Score="0" Body="&lt;p&gt;Try the Auto Gate setting in the Dynamics audio effect. &#xA;It will gate (turn off the audio) if the threshold of the audio falls below a specified level for a specified amount of time. &#xA;Doing this manually would sound better but take longer. &#xA;The gate won’t be able to tell the difference between a deliberate piece of speech and a mouth pop or click, so you may hear the gate open and close when you don’t want it to. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/in/premiere-pro/using/audio-effects-transitions.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/in/premiere-pro/using/audio-effects-transitions.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note:It will not trim your clips, just affect whether you hear parts of them in your edit. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-03-06T06:01:46.157" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29655" PostTypeId="2" ParentId="29649" CreationDate="2020-03-06T11:14:41.823" Score="1" Body="&lt;p&gt;The blend filter ignores alpha from second input. You will need to recombine alpha component back into other components somehow. This one works for me:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i a.png -f lavfi -i color=gray:s=512x512,format=gbrp -i b.png -lavfi &quot;[1][2]overlay=format=gbrp[a],[0:v][a]blend=all_mode=overlay&quot; out.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerDisplayName="user12174" LastEditorDisplayName="user12174" LastEditDate="2020-03-06T11:26:16.650" LastActivityDate="2020-03-06T11:26:16.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29659" PostTypeId="1" AcceptedAnswerId="29664" CreationDate="2020-03-07T11:52:26.093" Score="2" ViewCount="10101" Body="&lt;p&gt;I'm compressing some videos for archiving, and I came to this configuration which gives me a nice overall quality on a small size:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -threads 4 -y -hide_banner -i input.mp4 -vf scale=-2:480 -c:v libx264 -b:v 200k -preset slow -tune animation -movflags faststart -pix_fmt yuv420p -an -f mp4 -pass 1 NUL&#xA;ffmpeg -threads 4 -y -hide_banner -i input.mp4 -vf scale=-2:480 -c:v libx264 -b:v 200k -preset slow -tune animation -movflags faststart -pix_fmt yuv420p -pass 2 2-pass-x264.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This output quality is acceptable for my needs:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jyEYX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jyEYX.png&quot; alt=&quot;x264 encoded frame&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I would like to enjoy hardware acceleration, it is way much faster.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I tried:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hwaccel nvdec -y -hide_banner -i input.mp4 -vf scale=-2:480 -movflags faststart -pix_fmt yuv420p -c:v h264_nvenc -b:v 200k -maxrate 2M -bufsize 1M -rc-lookahead:v 30 -rc:v vbr_hq -preset slow -profile:v high -level 5.1 -an h264_nvenc.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this gives me an output with worse overall quality, and in complex parts, things gets worse:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/b7udX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/b7udX.png&quot; alt=&quot;h264_nvenc encded frame&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to achieve near same overall quality (for low bitrate) using h264_nvenc encoder?&lt;/p&gt;&#xA;" OwnerDisplayName="user27704" LastActivityDate="2021-12-09T16:07:25.203" Title="Is there a way to improve h264_nvenc output quality?" Tags="|ffmpeg|encoding|h.264|nvenc|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29661" PostTypeId="1" AcceptedAnswerId="29662" CreationDate="2020-03-07T15:17:22.033" Score="1" ViewCount="607" Body="&lt;p&gt;I have a 1920x1080 MP4 screencast that has been created in full-size mode in Google Chrome. I wish to hide the Loom video stopping process (after 39 seconds) and also trim around the edge of the video, so the browser scrollbar and Loom recording button are hidden during the video playback. Essentially cropping the inner 95% of the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I cut (crop) 95% of the video so the inner section is extracted? The proportions for 95% of the video would be 1824px x 1026px.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the command to cut the video at 39 seconds. How could I combine with a crop command to hide the Loom browser recording process?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i LoomFullSizeScreenCast.mp4 -t 39 -c copy LoomFullSizeScreenCastCut.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the video in action&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://thirsty-heisenberg-58e54e.netlify.com/LoomFullSizeScreenCast.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://thirsty-heisenberg-58e54e.netlify.com/LoomFullSizeScreenCast.mp4&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27851" LastActivityDate="2020-03-07T15:43:51.047" Title="Cut Loom screen recording at 39s, trim video around the edges to hide scrollbar and Loom stop button using FFmpeg" Tags="|ffmpeg|screen-casting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29662" PostTypeId="2" ParentId="29661" CreationDate="2020-03-07T15:43:51.047" Score="2" Body="&lt;p&gt;Cropping is carried out using a video filter. Also, a filtered video has to be re-encoded. So the command would be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf crop=1824:1026 -t 39 -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See the docs for the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;nofollow noreferrer&quot;&gt;crop&lt;/a&gt; filter for all options.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-03-07T15:43:51.047" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="29663" PostTypeId="1" CreationDate="2020-03-07T16:58:48.680" Score="0" ViewCount="23" Body="&lt;p&gt;I was working on my main composition (Comp 1) and it suddenly became a double-sided view (one at the top and one at the bottom). I don't know how can I fix it, but it's related to &lt;strong&gt;Composition Mini-Flowchart&lt;/strong&gt;. (Working in After Effects 2020)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XQ9qF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XQ9qF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How do I fix that and have a single comp view?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="27853" LastActivityDate="2020-08-04T21:05:40.647" Title="After Effects - Double View in Composition Tab" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29664" PostTypeId="2" ParentId="29659" CreationDate="2020-03-07T18:17:26.183" Score="0" Body="&lt;p&gt;Not really no. Newer Turing based nvidia cards will produce better quality than previous generations. But since nvenc is fixed function, and not software running on the GPU it’s not upgradable, or modifiable except for a few options like presets. &lt;/p&gt;&#xA;" OwnerUserId="4169" LastEditorUserId="4169" LastEditDate="2020-03-07T18:42:35.883" LastActivityDate="2020-03-07T18:42:35.883" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29665" PostTypeId="2" ParentId="29663" CreationDate="2020-03-07T18:53:55.093" Score="1" Body="&lt;p&gt;That was very simple, I should &lt;strong&gt;change this to &quot;1 View&quot;&lt;/strong&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mvdTo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mvdTo.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27853" LastActivityDate="2020-03-07T18:53:55.093" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29666" PostTypeId="1" CreationDate="2020-03-07T19:03:29.843" Score="0" ViewCount="105" Body="&lt;p&gt;I'm about to make a series of tutorial videos, but my experience with sound recording is next to zero.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After watching quite a few videos on sound recording, gear reviews and other usual stuff, there's one particular point I'm still not quite getting: is there any advantage of using an external recorder as opposed to sticking a decent lavaliere microphone into my laptop and record with using Audacity (or some other software)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The initial plan is rather humble: talking head recorded with a modern smartphone camera plus screencasts, everything to be shot indoors, so portability of sound recording device is not an issue. The question is, should I then just focus on choosing a microphone, or is there any advantage in using a dedicated device in terms of sound quality?&lt;/p&gt;&#xA;" OwnerUserId="27169" LastActivityDate="2020-04-09T13:01:30.167" Title="Audio recording: is/how a dedicated device better than laptop?" Tags="|audio-recording|lavaliere|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29667" PostTypeId="1" CreationDate="2020-03-08T11:12:33.447" Score="2" ViewCount="79" Body="&lt;p&gt;Is there a way to insert both SMPTE and IRIG-B time codes to a video file? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm asking because I use video for experimental test purposes and having both allows me to track non-video signal along with the video shot during a test. After it can be used to create visual overlays of data on top of the video clip matched in real time. &lt;/p&gt;&#xA;" OwnerUserId="24541" LastEditorUserId="18155" LastEditDate="2020-03-08T21:08:40.150" LastActivityDate="2020-08-07T21:07:20.777" Title="Using both SMPTE and IRIG-B time codes" Tags="|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29668" PostTypeId="2" ParentId="24353" CreationDate="2020-03-08T12:34:04.063" Score="0" Body="&lt;p&gt;You can use Unscreen, an AI tool that can remove backgrounds from a video. The free version do have some limitations imposed but it is good enough for small applications. &lt;a href=&quot;https://codegena.com/remove-video-background-online-without-green-screen/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Source&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27854" LastActivityDate="2020-03-08T12:34:04.063" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29671" PostTypeId="1" AcceptedAnswerId="29691" CreationDate="2020-03-08T20:37:38.473" Score="2" ViewCount="809" Body="&lt;p&gt;To save CPU overhead on my Hero 5 Session GoPro I'm debating to disable stabilization and run a stabilization after the recording is completed on the video on a PC. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there benefits to performing stabilization on a device like this at record time versus in post-production? Or is standalone stabilization on a PC perhaps even more effective? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure if the stabilization is purely based on the image or uses any sort of gyro sensors.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="27859" LastEditorUserId="18155" LastEditDate="2020-03-15T20:21:14.650" LastActivityDate="2020-04-03T19:25:57.883" Title="Is video stabilization during recording better than stabilizing a shot in post-production?" Tags="|video|stabilisation|gopro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29673" PostTypeId="1" CreationDate="2020-03-08T22:49:36.633" Score="2" ViewCount="1600" Body="&lt;p&gt;I can't seem to find any information on this. If a person is making an essay, or a research paper there are specific rules about citation. Such as, if a specific fact is used in a paraphrased way, a citation has to be listed for where those facts came from. For video making, I haven't seen any information about it. I've found how to cite a video in a paper, but not how to cite a paper in a video or if it's even necessary. Since I'd be making a Youtube video, I could have my sources in the description, maybe even at the end of the video itself, but would I have to cite things as I'm saying them? I don't think so, but I'm also not sure either. To be honest, I've seen educational Youtube videos that don't do this, but a lot of those videos don't even cite their sources either.&lt;/p&gt;&#xA;" OwnerUserId="27861" LastEditorUserId="1950" LastEditDate="2020-03-10T01:16:24.077" LastActivityDate="2024-03-28T04:06:25.807" Title="When making an educational video, does citation need to be in the video itself?" Tags="|youtube|script|specifications|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29675" PostTypeId="1" CreationDate="2020-03-09T01:55:14.763" Score="1" ViewCount="48" Body="&lt;p&gt;With all of the AR capabilities of actual phones, I wonder if there is any app to record video with all the spatial data of the camera which lets you export the virtual 3D camera directly from the shot to be used for compositing.&lt;/p&gt;&#xA;" OwnerUserId="27862" LastActivityDate="2024-01-18T21:03:15.387" Title="Phone Video + 3D tracking spatial data for compositing?" Tags="|3d|tracking|compositing|metadata|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29679" PostTypeId="2" ParentId="29673" CreationDate="2020-03-09T09:52:26.183" Score="0" Body="&lt;p&gt;The big disadvantage of citations that are part of the video itself is that they can't easily be a link, or even copy-pasted into a search engine like a text citation. So if it's a URL, the viewer will have to pause the video, and type the URL manually. You could use &lt;a href=&quot;https://support.google.com/youtube/answer/2887282&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTubes &quot;cards&quot;&lt;/a&gt; function to add links as pop-up interactive overlays, but I think you are limited to 5 links per video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would put my citations in the description, and in case the video gets embedded somewhere else, give them at the end of the video as well, perhaps with a link to a page where they could be found.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no set convention that I know of, unlike citations in papers or books. There is a podcast that I listen to that does give citations, but they just tell you how many at the end and send you to their website to read the transcript to &lt;a href=&quot;https://docs.google.com/document/d/e/2PACX-1vSLfzqhkKI2A1hLM_p6Ph8HfqxAFokshJqrGx6yax1pbN6atTthIO-iSXkrXSKmT5UPi3zsnL8rAFYE/pub&quot; rel=&quot;nofollow noreferrer&quot;&gt;find them&lt;/a&gt;. I don't think most viewers are expecting them, except for the implicit citation you give when you say something like &quot;in a 2019 study by Dr Stib, it was noted that…&quot; when citing other's research.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-03-10T01:15:32.920" LastActivityDate="2020-03-10T01:15:32.920" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29680" PostTypeId="2" ParentId="29673" CreationDate="2020-03-09T10:01:25.263" Score="0" Body="&lt;p&gt;Some YouTubers add screenshots or images of the sources (I mean part of the source text) to the video and since you are using YouTube you can add those info buttons which will appear in the top right corner of the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I agree that it would look a bit weird if you showed full URL addresses in your video, but video description is great place to “hide” them while still being accessible. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general, I think it is great idea to citate correctly in video, it’s not required but makes your content more trustworthy. Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="27865" LastEditorUserId="18155" LastEditDate="2020-03-18T19:09:09.517" LastActivityDate="2020-03-18T19:09:09.517" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29681" PostTypeId="2" ParentId="29675" CreationDate="2020-03-09T11:27:24.053" Score="0" Body="&lt;p&gt;The only one I know of is &lt;a href=&quot;https://apps.apple.com/us/app/cv-ar/id1378696551&quot; rel=&quot;nofollow noreferrer&quot;&gt;CV-AR from cineversity&lt;/a&gt;, which uses apple AR kit to capture facial animation, and works in conjunction with Maxon Cinema 4D.  I don't think depth sensing on phones is quite to the point where anything further than a selfie is very accurate, although I'm sure that'll change in the very near term if it hasn't already.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="4426" LastEditDate="2020-12-04T12:34:03.527" LastActivityDate="2020-12-04T12:34:03.527" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29683" PostTypeId="1" CreationDate="2020-03-09T18:45:02.160" Score="0" ViewCount="532" Body="&lt;p&gt;I'm trying to make an operation using FFmpeg with just one command to leave the output as lossless as possible.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My intention is to add two images, 5 seconds each, before the mp4 file, add a fade in to the first one of 1 second and add a third image after the video during 5 seconds.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it possible to do this on one pass?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found some bits of code, namely:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 25 -loop 1 -t 5 -i &quot;image&quot; -i &quot;video&quot; -f lavfi -t 5 -i aevalsrc=0 \&#xA;   -filter_complex &quot;[0:v] [2:a] [1:v] [1:a] concat=n=2:v=1:a=1 [v] [a]&quot; \&#xA;   -c:v libx264 -c:a aac -strict -2 -map &quot;[v]&quot; -map &quot;[a]&quot; output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i clip.mp4 -vf &quot;fade=in:0:25&quot; -acodec copy clip-out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But I'm not being able to use them together and I don't know if all those commands are really necessary. Any thoughts?&lt;/p&gt;&#xA;" OwnerUserId="27870" LastEditorUserId="18155" LastEditDate="2020-03-18T18:54:58.513" LastActivityDate="2024-03-28T03:06:55.927" Title="Add two images before a mp4 and one in the end with ffmpeg" Tags="|video|ffmpeg|editing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29686" PostTypeId="2" ParentId="27728" CreationDate="2020-03-10T05:20:09.553" Score="0" Body="&lt;p&gt;If Mogrt are built similarly (same text layers etc.) drag and drop new mogrt on old holding ‘alt’.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope that it is what you were looking for.&lt;/p&gt;&#xA;" OwnerUserId="27874" LastEditorUserId="26758" LastEditDate="2020-04-13T07:15:29.960" LastActivityDate="2020-04-13T07:15:29.960" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29687" PostTypeId="1" AcceptedAnswerId="29696" CreationDate="2020-03-10T06:46:44.387" Score="0" ViewCount="319" Body="&lt;p&gt;Trying a simple overlay example, getting nasty black fringes:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;fmpeg -y -i b.png -i a.png -filter_complex &quot;[0:v]format=rgba[a];&#xA;    [1:v]format=rgba[b];&#xA;    [a][b]overlay,format=rgba&quot;  normal.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xTiQY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xTiQY.png&quot; alt=&quot;b&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/TJ12G.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TJ12G.png&quot; alt=&quot;a&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ZZzAp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZZzAp.png&quot; alt=&quot;result&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/w4Nog.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/w4Nog.png&quot; alt=&quot;expected&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Expected over Result zoomed in &#xA;&lt;a href=&quot;https://i.stack.imgur.com/0UVQo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0UVQo.png&quot; alt=&quot;expected vs result&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27876" LastActivityDate="2020-03-10T20:52:39.697" Title="overlay filter with simple PNG adds black fringe" Tags="|ffmpeg|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="29689" PostTypeId="1" CreationDate="2020-03-10T10:07:55.090" Score="1" ViewCount="14" Body="&lt;p&gt;I have 50 videos. I have to add rain and fog effects for all videos. Is there any option for batch operation in &lt;strong&gt;Adobe Premiere Pro&lt;/strong&gt;? Like I will create an template of fog and rain operation then apply it to all videos? &lt;/p&gt;&#xA;" OwnerUserId="27879" LastActivityDate="2020-03-10T10:07:55.090" Title="How to add same effects on Multiple videos?" Tags="|premiere|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29691" PostTypeId="2" ParentId="29671" CreationDate="2020-03-10T11:06:20.557" Score="2" Body="&lt;p&gt;I would decide by running some recording tests, and deciding which image you actually prefer - the on-board stabilisation, or doing it in post on the PC. There will be pros and cons both ways - although I wouldn't worry about things like CPU overhead, unless you've actually read somewhere of this being an issue?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This article gives a little bit of a run down of the stabilisation feature, if you haven't seen it.&#xA;&lt;a href=&quot;https://havecamerawilltravel.com/gopro/gopro-hero5-video-stabilization/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://havecamerawilltravel.com/gopro/gopro-hero5-video-stabilization/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Based on the article, it looks like the stabilisation is being done in the sensor. In a lot of cameras, the full sensor isn't used for recording, certainly not in all recording modes. For stabilisation, these cameras sample a larger area of sensor elements than what is being recorded, work out where your image has moved between frames, and record the area/window they consider to be your intended image, smoothing out your movements.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The article notes that you can't record a full resolution image in some modes when using the stabilisation, so it's almost certainly sampling the full sensor, and then stabilising by reducing the number of sensor elements being recorded, changing where the recording window is, based on your movement. Note with this method that the camera might not always stabilise in a way you consider to be &quot;correct&quot;, and you'd have no control over that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Stabilising with the PC will give you more control over what is done, but the PC software will also be interpolating (educated guessing) where required to create extra image data for your stabilised image. If you don't need the highest camera resolution, the stabilised visual data from the GoPro might be preferable to stabilisation corrections generated in PC software. But if you want to record in the highest resolutions, you'll be cropping images from the GoPro to do that, which may not be ideal - taking the unstabilised GoPro image and stabilising on a PC may be the better option for some resolutions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Like I said, I would test both, and see what you think of the results for yourself. It's useful to know how both stabilisation techniques work, and other than that there's no correct answer for everyone - it will depend on exactly what you're recording, what quality it needs to be recorded in, and which method produces the best looking result to you when completed. If you don't need full resolution, and you're happy with how the stabilised GoPro image looks, I'd probably go with the camera stabilisation - but it was certainly noted in the article above that in some cases the stabilised image didn't look that great, so I'd definitely test it on what you're doing first.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-03-10T11:06:20.557" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29692" PostTypeId="1" CreationDate="2020-03-10T11:11:57.553" Score="0" ViewCount="176" Body="&lt;p&gt;I want to make a slideshow from images. The first image has 6932x4683 pixels, so I got an error &lt;code&gt;height not divisible by 2&lt;/code&gt; and I found &lt;a href=&quot;https://stackoverflow.com/questions/20847674/ffmpeg-libx264-height-not-divisible-by-2&quot;&gt;this thread&lt;/a&gt;. I understand that &lt;code&gt;libx264&lt;/code&gt; is implicit in the output as &lt;code&gt;.mp4&lt;/code&gt;, and that &lt;code&gt;libx264&lt;/code&gt; needs an input image whose dimensions are divisible by 2. So I used the padding filter recommended there:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i slideshow.txt -vf &quot;pad=ceil(iw/2)*2:ceil(ih/2)*2&quot; slideshow.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The file &lt;code&gt;slideshow.txt&lt;/code&gt; is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&#xA;file '03.jpeg'&#xA;duration 2.5&#xA;file '01.jpeg'&#xA;duration 2.5&#xA;file '02.jpeg'&#xA;duration 2.5&#xA;file '02.jpeg'&#xA;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The command took 10 minutes to process these 3 images. When playing the result, it skipped the middle image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried outputting to &lt;code&gt;slideshow.MOV&lt;/code&gt; and without the filter, and it also throws the same error.   I tried outputting to &lt;code&gt;slideshow.MTS&lt;/code&gt; and without the filter, it works but the result shows no images when I play it on VLC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why does the command and the implicit call to libx264 take so long, and how can I avoid using libx264?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2020-03-10T11:11:57.553" Title="Slideshow compilation takes 10 minutes for 3 images" Tags="|ffmpeg|libx264|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29693" PostTypeId="2" ParentId="29666" CreationDate="2020-03-10T11:51:58.410" Score="1" Body="&lt;p&gt;There's no quality difference to where the recording is stored - if you plug the same mic into different recording devices, it should record the same. Different quality mics (and recording environment) will give you more difference to your sound than anything else. Do make sure you are recording uncompressed (WAV) format though, using compressed formats will obviously reduce your resulting audio quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have some external recorders, I use them mainly because you can plug in a large SD card, hit record, and the device will just sit there and do that job for hours, no issue. I don't have to worry about a piece of software or laptop crashing, they're portable and I can plug them in at the back of a sound desk or anywhere I like, etc. If you're recording lots of audio, they're just handy to have and use. Most external recorders do default to higher quality settings than what Audacity might (i.e. mine default to 24-bit/96kHz), but you can change those settings in Audacity as required. Portable recorders can also have other interfaces and features that come in handy if you're using them in lots of different environments - I almost always just use mine with the same standard setup, and most of the extras go unused!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For what you're doing, hooking the mic into a laptop and using Audacity will do the same job just fine. Just make sure to monitor things and check your recordings - make sure audio isn't being dropped due to inability of the system to keep up to speed, and that everything is recording as you expect (mic cable/connection good, levels good, mic close enough to the source to pick up the sound cleanly, etc).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You might also consider adaptors for your phone:&#xA;&lt;a href=&quot;https://www.rode.com/microphones/sc6-lik&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.rode.com/microphones/sc6-lik&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've not personally used these, but there are various adaptors out there now to interface sound inputs direct to your phone, as well as dedicated external mics (the above adaptor gives you a more generic approach that you could plug anything into, but there are specific mic only devices for phones as well). I would just double check how the quality options would vary on a phone recording vs using Audacity dedicated on a laptop, which might not even matter for the types of recordings you are describing.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-03-10T11:51:58.410" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29694" PostTypeId="2" ParentId="28028" CreationDate="2020-03-10T15:00:11.617" Score="0" Body="&lt;p&gt;Google's VR180 Injector should do the trick&#xA;&lt;a href=&quot;https://arvr.google.com/vr180/apps/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://arvr.google.com/vr180/apps/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27883" LastActivityDate="2020-03-10T15:00:11.617" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29695" PostTypeId="2" ParentId="29667" CreationDate="2020-03-10T19:30:17.670" Score="1" Body="&lt;p&gt;If the instrumentation code is available as an audio signal (Modulated or Modified Manchester), it can be added as a new track on the video (separate stream in the file). In a multi-track environment it should survive editing etc. &lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2020-03-10T19:30:17.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29696" PostTypeId="2" ParentId="29687" CreationDate="2020-03-10T20:52:39.697" Score="2" Body="&lt;p&gt;Default pixel format for &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#overlay&quot; rel=&quot;nofollow noreferrer&quot;&gt;overlay filte&lt;/a&gt;r is yuv420p. Use the &lt;code&gt;format&lt;/code&gt; option in overlay to set it as &lt;code&gt;auto&lt;/code&gt; or &lt;code&gt;rgb&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i b.png -i a.png -filter_complex &quot;[0:v]format=rgba[a]; [1:v]format=rgba[b]; [a][b]overlay=format=auto&quot; normal.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-03-10T20:52:39.697" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29697" PostTypeId="2" ParentId="18621" CreationDate="2020-03-10T20:56:00.470" Score="0" Body="&lt;p&gt;First, you meant 400MB, not 400mb.&#xA;It is extremely small for a 40-minute video. Probably best to lower the resolution to something like 480p.&#xA;Use 2-pass VBR, set the &lt;em&gt;target&lt;/em&gt; bitrate to 1.33Mbps, that will ensure a 400MB file size. The max depends on whatever the playback systems can handle, and the video's content. In this case, without knowing those variables, I'd guess you can set it to 4Mbps and reap benefits from that.&lt;/p&gt;&#xA;" OwnerUserId="22461" LastActivityDate="2020-03-10T20:56:00.470" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29698" PostTypeId="2" ParentId="29683" CreationDate="2020-03-10T22:00:11.027" Score="0" Body="&lt;p&gt;Make videos from images:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -framerate 24 -t 5 -i image0.png -loop 1 -framerate 24 -t 5 -i image1.jpg -loop 1 -framerate 24 -t 5 -i image2.jpg -f lavfi -i anullsrc=cl=stereo:r=44100 -filter_complex &quot;[0]fade=t=in:duration=1,format=yuv420p[v0];[1]format=yuv420p[v1];[2]format=yuv420p[v2]&quot; -map &quot;[v0]&quot; -map 3 -shortest pre1.mp4 -map &quot;[v1]&quot; -map 3 -shortest pre2.mp4 -map &quot;[v2]&quot; -map 3 -shortest post.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Note that the frame rate, width, height, aspect ratio, pixel format, H.264 profile, timebase, audio channel layout, audio sample rate, stream types, and number of streams of these videos match that of the main video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make &lt;code&gt;input.txt&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'pre1.mp4'&#xA;file 'pre2.mp4'&#xA;file 'main.mp4'&#xA;file 'post.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Concatenate with &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#concat&quot; rel=&quot;nofollow noreferrer&quot;&gt;concat demuxer&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i input.txt -c copy -movflags +faststart output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-03-10T22:00:11.027" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29699" PostTypeId="1" CreationDate="2020-03-11T08:12:06.557" Score="0" ViewCount="228" Body="&lt;p&gt;for a noprofit project I do shoot with (up to 5x) Canon HF100 camera(s) but, as stated in &lt;a href=&quot;http://nerdfever.com/video-editing-for-scientific-analysis/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this interesting artile&lt;/a&gt;, it genetates a &quot;custom RGB range&quot; (16-255) files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks to &lt;a href=&quot;https://github.com/dericed/ffmpeg-mpeg2video-clipping&quot; rel=&quot;nofollow noreferrer&quot;&gt;this cool repository&lt;/a&gt; I've generated this GIF of 10s of source video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.forart.it/_priv/cultura/HF100_measurement.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.forart.it/_priv/cultura/HF100_measurement.gif&lt;/a&gt; (33 Mb, so can't post. Click to watch)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It graphically shows how recorded video exceed the broadcast range.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The question is: how to &quot;shift down&quot; everything (and constrain inside broadcast range, of course) in order to preserve the maximum possible color quality ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(note: someone already suggested me to use &quot; &lt;em&gt;Levels(0, 16, 255, 16, 235, coring=false)&lt;/em&gt; &quot; in AviSynth but, if possible, I want to do it only with FFMPEG)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance to anyone that can/will help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Marco&lt;/p&gt;&#xA;" OwnerUserId="27889" LastActivityDate="2020-12-30T14:02:50.230" Title="&quot;Canon RGB&quot; color space *shift* to broadcast range with FFMPEG" Tags="|ffmpeg|canon|colorspace|broadcast|avisynth|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="29701" PostTypeId="1" CreationDate="2020-03-11T19:02:15.743" Score="2" ViewCount="397" Body="&lt;p&gt;I am working on a video project in DaVinci Resolve. It a short video documenting a piece of installation art. One of the media files is a handheld camera that takes close up shots of different parts of the piece. I'm trying to edit this into closeups of individual elements that I can cut to throughout the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm currently editing the clip in the cut view, but keeping organized is very difficult. I'm looking for functionality where I can drag the clips I've edited into a folder where they can visually be viewed side by side, rather than having them just sit on the timeline, which is a really inefficient workflow. Does this functionality exist and how do I do that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd like to take clips from the cut view that look like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EAbkO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EAbkO.png&quot; alt=&quot;Cut View Clips&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And drag them into a folder so I can view and work with them like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ieCqb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ieCqb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27894" LastActivityDate="2024-03-21T15:06:00.653" Title="Davinci Resolve - Store Clips Edited in Cut Window in a Media Folder" Tags="|video|editing|davinci-resolve|workflow|media|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29702" PostTypeId="2" ParentId="29701" CreationDate="2020-03-12T03:10:17.887" Score="0" Body="&lt;p&gt;As of resolve 16.2, it’s not possible to organize media from the cut page that way. Switch to the edit page. All of the edits you’ve made will persist, and you’ll be able to drag timeline clips to bins from there (this creates subclips).  You can then switch back to the cut page and continue to work if that's what you prefer.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-03-12T06:41:04.200" LastActivityDate="2020-03-12T06:41:04.200" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29703" PostTypeId="1" CreationDate="2020-03-12T05:56:18.783" Score="0" ViewCount="14" Body="&lt;p&gt;My phone is I believe an Android A8. I filmed with the phone upright, in I guess portrait mode.&lt;/p&gt;&#xA;" OwnerUserId="27899" LastActivityDate="2020-03-12T23:21:31.453" Title="When I put my shot into Premier, the top half of the shot is cut off. How can I scroll up so I can see the top of the shot?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29704" PostTypeId="1" AcceptedAnswerId="29717" CreationDate="2020-03-12T16:34:08.060" Score="3" ViewCount="55" Body="&lt;p&gt;I would like to start and create math and physics animated video. Do you guys have any suggestions on the software to use? I have a Wacom tablet to draw but I am not sure I want to draw myself or instead to somehow use tools that do stuff like drawing graphs, equations etc..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So any suggestions and ideas will be precious.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. It would be nice to have something that includes the latex features &lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.P.S. Some introductory tutorial would be also useful&lt;/p&gt;&#xA;" OwnerUserId="27905" LastActivityDate="2020-03-18T18:52:22.813" Title="Physics and Math animated video" Tags="|software-recommendation|" AnswerCount="2" CommentCount="1" ClosedDate="2020-03-24T17:17:09.547" ContentLicense="CC BY-SA 4.0" />
  <row Id="29705" PostTypeId="2" ParentId="29703" CreationDate="2020-03-12T23:21:31.453" Score="1" Body="&lt;p&gt;You want to use the Effect Controls panel:&#xA;&lt;a href=&quot;https://helpx.adobe.com/au/premiere-pro/using/viewing-adjusting-effects-keyframes.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/au/premiere-pro/using/viewing-adjusting-effects-keyframes.html&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As the help says, there are several standard effects added to a clip in the timeline, the effect you want to look for is Motion. Select the clip in the timeline, go to the Effect Controls panel, and expand the Motion effect. Inside you'll see Position and Scale, Position has two numbers, horizontal then vertical - if you adjust the vertical, you can scroll it up to see the top of the image. You could also scale the image to fill the frame (zoom in), or scale it so that you can see the whole phone image instead (zoom out).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Just play around with the various options in the Motion panel to get a better idea of what you can do to manipulate your image, it's fairly intuitive.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-03-12T23:21:31.453" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29706" PostTypeId="1" CreationDate="2020-03-13T14:07:43.017" Score="0" ViewCount="54" Body="&lt;p&gt;I have a video in a very not compatible format and want to convert it to something like mpeg. I already have ffmpeg tool installed. Do you have any recommendations on what arguments to give ffmpeg for good quality video, that can be played on a TV?&#xA;heres probing output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    ffprobe 00020.MTS&#xA;ffprobe version 4.2.1-2+b1 Copyright (c) 2007-2019 the FFmpeg developers&#xA;  built with gcc 9 (Debian 9.2.1-21)&#xA;  configuration: --prefix=/usr --extra-version=2+b1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, mpegts, from '00020.MTS':&#xA;  Duration: 00:02:55.78, start: 1.040000, bitrate: 22477 kb/s&#xA;  Program 1&#xA;    Stream #0:0[0x1011]: Video: h264 (High) (HDMV / 0x564D4448), yuv420p(top first), 1920x1080 [SAR 1:1 DAR 16:9], 25 fps, 50 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:1[0x1100]: Audio: ac3 (AC-3 / 0x332D4341), 48000 Hz, stereo, fltp, 256 kb/s&#xA;    Stream #0:2[0x1200]: Subtitle: hdmv_pgs_subtitle ([144][0][0][0] / 0x0090), 1920x1080&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27915" LastEditorUserId="27915" LastEditDate="2020-04-01T10:33:52.640" LastActivityDate="2023-04-17T04:03:00.400" Title="recomendations for conversion" Tags="|ffmpeg|conversion|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29707" PostTypeId="1" AcceptedAnswerId="29719" CreationDate="2020-03-13T17:59:59.213" Score="0" ViewCount="33" Body="&lt;p&gt;How does the shape of screens (that is, different &lt;em&gt;&quot;width x height&quot;&lt;/em&gt; values while keeping the same total displaying area) affect the quality for a given optimal viewing distance?&lt;/p&gt;&#xA;" OwnerUserId="27917" LastActivityDate="2020-03-16T14:52:28.540" Title="Effect of screen shape on video quality" Tags="|video-quality|4k|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29708" PostTypeId="2" ParentId="29707" CreationDate="2020-03-13T18:52:45.297" Score="1" Body="&lt;p&gt;I do not understand your question. As it is I would say &lt;strong&gt;nothing&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Get a 16x9 inches monitor. It measures 16 x 9 inches. Now rotate it 90°. It has the exact same total displaying area but now measures 9 x 16 inches. The &quot;optimal&quot; viewing distance is the same.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;If you are referring to different aspect ratios, the unit that is important and easier to get is the native &lt;strong&gt;linear&lt;/strong&gt; PPI.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Find out the horizontal resolution used and divide it by the horizontal physical measure of the display area.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your monitor has 1920 x 1080 px, use 1920.&#xA;If the monitor measures 21 inches on the horizontal size:&#xA;1920/21 = 91.4 PPI. Use that value to compare other monitors.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2020-03-13T19:03:12.873" LastActivityDate="2020-03-13T19:03:12.873" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29710" PostTypeId="1" CreationDate="2020-03-14T08:36:10.743" Score="1" ViewCount="685" Body="&lt;p&gt;How can i export a video in a custom view 1 perspective? When i always click the render button, it just always render to an active camera view.&lt;a href=&quot;https://i.stack.imgur.com/Pm11a.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Pm11a.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;that is a 3d cube &lt;/p&gt;&#xA;" OwnerUserId="27921" LastActivityDate="2024-03-24T22:07:45.937" Title="Custom View 1 AE" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29711" PostTypeId="2" ParentId="29267" CreationDate="2020-03-15T07:33:29.180" Score="2" Body="&lt;p&gt;I just wrote a nice detailed answer but somehow I deleted the draft. To save time, the simple explanation (EDIT: I haven't gotten this from experience; I'm just going off what people have told me in the past):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Changing your frame rate to a fixed one produces exactly the same quality as using VFR (allowing the adjust of frame rate).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Checking the &lt;em&gt;allow source to adjust frame rate&lt;/em&gt; button varies the frame rate in the rendered video for &lt;em&gt;each source file&lt;/em&gt;. That means that if one of your source videos is 30fps and the next one 60, the frame rate will change when the next source video plays (from 30 to 60 in this example). I cannot think of a disadvantage of this, although re-editing the rendered video may be a bit &lt;a href=&quot;https://youtu.be/Otnr0PNAPIs&quot; rel=&quot;nofollow noreferrer&quot;&gt;weird (as shown in OSFirstTimer's YouTube video)&lt;/a&gt;. Also shown in OSFirstTimer's video is that most phones record VFR videos but VEGAS Pro usually corrects that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to enable solid frame rate (Constant frame rate or CFR) follow this simple 2-step procedure:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Find the source video with the highest frame rate&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Set your project to that frame rate&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I'm new to Stack Exchange, so hope this helps!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;em&gt;Edit&lt;/em&gt;&lt;/strong&gt;: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;@Gyan in the comments says that this is not the case because &quot;outputting a 30 or 60 fps project timeline consisting of a 30 and 60 fps media clip with 30 or 60 fps output frame rate all result in CFR output.&quot; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;We all learn something new every day! :) &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also I haven't had a dilemma between CFR and VFR before, I'm just going off what I've seen happen to other people!&lt;/p&gt;&#xA;" OwnerUserId="27924" LastEditorUserId="27924" LastEditDate="2020-03-15T13:56:56.637" LastActivityDate="2020-03-15T13:56:56.637" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29712" PostTypeId="1" CreationDate="2020-03-15T08:53:21.530" Score="1" ViewCount="148" Body="&lt;p&gt;I currently edit/cut a lot of computer screen recording footage. The original mp4 files have 7 FPS and I am totally happy with that quality. If I now edit the files in Davinci Resolve 16, the lowest export frame rate is at 16 FPS. &#xA;In my case, I'd prefer an export file with 7 FPS due to lower file sizes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way how to do that in Davinci Resolve? (I already tried Clip Attributes &gt; Video &gt; Custom FPS)&#xA;If not - which tool can help me?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you so much!&lt;/p&gt;&#xA;" OwnerUserId="27925" LastActivityDate="2021-01-16T03:41:37.063" Title="Screen-Video with 7 FPS (in Davinci Resolve - or other tools?)" Tags="|mp4|framerate|davinci-resolve|export|25fps|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29713" PostTypeId="1" CreationDate="2020-03-15T10:52:08.410" Score="1" ViewCount="863" Body="&lt;p&gt;I want to use my Canon 60D as a webcam. I have tried using &lt;a href=&quot;https://github.com/v002/v002-Camera-Live&quot; rel=&quot;nofollow noreferrer&quot;&gt;CameraLive2&lt;/a&gt; and &lt;a href=&quot;http://camtwiststudio.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;CamTwist&lt;/a&gt; as outlined here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://swizec.com/blog/connected-canon-dslr-webcam/swizec/7477&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://swizec.com/blog/connected-canon-dslr-webcam/swizec/7477&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It seems to disconnect after a few seconds. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I’ve seen other methods that basically screen capture the output of the EOS Utility app, but this wastes a lot of screenspace and is quite hacky. Is there a better way just using software? I’d rather not buy an HDMI blackmagic adapter box if I don’t have to. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can the &lt;a href=&quot;https://magiclantern.fm/&quot; rel=&quot;nofollow noreferrer&quot;&gt;magic lantern&lt;/a&gt; firmware help with this? I’ve updated to the latest Canon firmware on the 60D but it didn’t help. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2020-03-15T18:08:20.047" LastActivityDate="2023-02-06T08:44:42.850" Title="What’s the best way to use a Canon 60D as a webcam on MacOS?" Tags="|canon|mac|usb|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29714" PostTypeId="2" ParentId="29710" CreationDate="2020-03-15T13:14:33.500" Score="0" Body="&lt;p&gt;After effects renders the camera view, not the custom perspective views. To orient a camera as you would in the custom view go to camera view and choose the &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/cameras-lights-points-interest.html#adjust_a_3d_view_or_move_a_camera_light_or_point_of_interest&quot; rel=&quot;nofollow noreferrer&quot;&gt;unified camera tool&lt;/a&gt; (hit &lt;kbd&gt;c&lt;/kbd&gt;). Now you can orbit (lmb-drag), pan (mmb-drag), and dolly (rmb-drag) the camera to get the perspective you want.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-03-15T13:14:33.500" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29715" PostTypeId="1" CreationDate="2020-03-15T13:54:57.673" Score="1" ViewCount="197" Body="&lt;p&gt;I want to make an educational video. I am using a camera (Canon 250d), a projector, and some lights. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is that when I brighten the room or make light on the speaker, the text on the projector gets difficult to read. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What can I change with my camera settings or the light setup to change this. So the room is bright and the text on the projector is easy to read.&lt;/p&gt;&#xA;" OwnerUserId="27926" LastEditorUserId="18155" LastEditDate="2020-03-18T19:04:15.957" LastActivityDate="2021-09-10T10:03:45.453" Title="Filming with projector" Tags="|video|camera|projector|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29717" PostTypeId="2" ParentId="29704" CreationDate="2020-03-15T20:31:37.913" Score="2" Body="&lt;p&gt;&lt;a href=&quot;https://www.geogebra.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;GeoGebra Math Apps&lt;/a&gt; is an awesome option to do 2-D and 3-D static pictures and animations.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You may do it on-line, or download individual applications into your PC or tablet / smartphone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It partially supports LaTeX and is for free.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2020-03-15T20:31:37.913" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29718" PostTypeId="2" ParentId="29671" CreationDate="2020-03-15T21:01:11.463" Score="3" Body="&lt;p&gt;For best results, the first thing you need to do is physically stabilize the gopro itself, as best as you can.  Neither the gopro's built-in stabilization nor post processing stabilization can remove A) motion blur caused by excessive rotational movement or B) parallax introduced by rotational and translational movement. These two factors are the main reasons post-stabilization looks unnatural.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Think about this: Your left and right eye are distant enough from each other to give your brain a three-dimensional view of the world.  Your brain constructs that model (mostly) from the parallax difference between the left and right eye; a few centimeters is all it takes.  If your GoPro is bouncing up and down more than that, no amount of post-processing is going to fix it -- at least until computer vision, and machine learning algorithms catch up.  But as of 2020, software and on-sensor stabilization work by translating, rotating, and perspective warping the image.  We're starting to see AI advancements like &quot;Content Aware Fill&quot; that can paint in the missing pieces, but we still have a way to go before they can correct deep movement on the fly**.  Expect to see the feature first in cell phones, which are in their infancy with respect to depth processing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, for &lt;em&gt;BEST&lt;/em&gt; results, use gimballs, shock mounts, tripods, monopods, dollys, jibs, or whatever you can to stabilize the camera first.  Even duct-taping the thing to a brick is enough to dampen its rotational inertia (some).  After that, you can decide whether you value the extra pixels enough to forgo the built-in stabilization, but time is money, and &quot;fix-it-in-post&quot; is usually more trouble than it's worth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;**It's only April 2020, and there's already machine learning advancements towards this goal.  See &lt;a href=&quot;https://github.com/sniklaus/3d-ken-burns&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/sniklaus/3d-ken-burns&lt;/a&gt; for example.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-04-03T19:25:57.883" LastActivityDate="2020-04-03T19:25:57.883" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29719" PostTypeId="2" ParentId="29707" CreationDate="2020-03-15T21:46:25.140" Score="1" Body="&lt;p&gt;Depends on what your standard of quality is.  If your standard is maximal retina coverage, then, well, you've got round eyeballs, so a 1:1 aspect ratio would be the &quot;best&quot; rectangular shape.  But they don't make square TVs, let alone circle-shaped ones, which would be &quot;better&quot;.  On the other hand, if you watch a lot of television, you'll get the most use out of your pixels with 16:9, which is what most stuff is broadcast in these days. If you watch more movies, then maybe you prefer 2.39:1.  Video games? 16:9.  Flight simulator? Maybe you want something panoramic. The best aspect ratio &lt;em&gt;for you&lt;/em&gt; is the one that most closely matches the content you plan to consume most often.  And aspect ratio and viewing distance are unrelated; one has no impact on the other.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-03-15T21:52:13.273" LastActivityDate="2020-03-15T21:52:13.273" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29720" PostTypeId="2" ParentId="29707" CreationDate="2020-03-16T14:52:28.540" Score="1" Body="&lt;p&gt;For watching movies, screens with a greater width than height are better suited. Now the 16: 9 format is popular. For some video games, high screens are suitable, when the character is visible in full growth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It’s better to look at large screens from a high distance.&lt;/p&gt;&#xA;" OwnerUserId="27933" LastActivityDate="2020-03-16T14:52:28.540" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29721" PostTypeId="2" ParentId="29715" CreationDate="2020-03-16T14:56:31.650" Score="0" Body="&lt;p&gt;Try adjusting the brightness and contrast of the picture on the projector. And it’s better to play with the light - direct only at yourself, not at the screen.&lt;/p&gt;&#xA;" OwnerUserId="27933" LastActivityDate="2020-03-16T14:56:31.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29722" PostTypeId="1" AcceptedAnswerId="29736" CreationDate="2020-03-16T15:01:12.980" Score="0" ViewCount="37" Body="&lt;p&gt;I have a two part codec question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want upload a 100 min video to YouTube. Export size from Premiere Pro is 22GB on disk. Here are the only Codecs I have installed:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zWaU5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zWaU5.png&quot; alt=&quot;List Of Codecs in Premier Pro&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm new to this, and was advised to use a H 264 codec.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is that a good codec to use for smaller file sizes without losing quality.&lt;/li&gt;&#xA;&lt;li&gt;Where do I get this codec from?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="2375" LastActivityDate="2020-03-17T04:59:21.990" Title="Where to get codecs?" Tags="|premiere|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29723" PostTypeId="2" ParentId="1700" CreationDate="2020-03-16T15:04:14.307" Score="0" Body="&lt;p&gt;For a green screen, you can use a green or blue polyurethane film, which is stretched on a frame of metal rods. The film can be found in the Home Depot.&lt;/p&gt;&#xA;" OwnerUserId="27933" LastActivityDate="2020-03-16T15:04:14.307" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29726" PostTypeId="1" AcceptedAnswerId="29766" CreationDate="2020-03-16T19:33:44.167" Score="1" ViewCount="38" Body="&lt;p&gt;I have a 90 minute video in which I want to speed up some segments, like a fast forward, preferably with some averaging of video frames to make the motion appear smoother.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What free software can do this, and how do I set up the effect?&lt;/p&gt;&#xA;" OwnerUserId="27935" LastActivityDate="2020-03-20T21:14:26.057" Title="What free software can I use to speed up my video?" Tags="|video-editor|effects|" AnswerCount="1" CommentCount="1" ClosedDate="2020-03-24T15:19:22.190" ContentLicense="CC BY-SA 4.0" />
  <row Id="29735" PostTypeId="2" ParentId="19673" CreationDate="2020-03-17T01:31:13.467" Score="0" Body="&lt;p&gt;PSVR resolution is 1920×1080 that is maximum resolution that include both eyes.&#xA;There is no need 4k because psvr only have 1920×1080 it will downscale it anyway IF WORK lol. (So for videos need be 1920×1080 for PSVR) if you stream from internet 4k content it is just downscaled its not 44 it maximum that you can see lol&#xA;evem ps4 pro can 4k. psvr only show 1920×1080 spilled for eyes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Same if your PC monitor is 1920×1080 it not makes any better quality watch 4k videos. EVEN can. You need change monitor 4k too LOL, but 1920×1080 is good and fast and no need resources. Who baking PC and play 4k? Who like watch small fonts?&lt;/p&gt;&#xA;" OwnerUserId="27938" LastEditorUserId="18155" LastEditDate="2020-03-18T18:53:16.470" LastActivityDate="2020-03-18T18:53:16.470" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29736" PostTypeId="2" ParentId="29722" CreationDate="2020-03-17T04:59:21.990" Score="2" Body="&lt;p&gt;You need to change the format from &lt;strong&gt;AVI&lt;/strong&gt; to &lt;strong&gt;h.264&lt;/strong&gt;. In the top of the export window there's a section where you get to choose formats:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wqB4z.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wqB4z.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's a bit confusing, because it mixes container formats like AVI and Quicktime with codecs like h.264. If you chose AVI you are limited to a few older codecs, as you've seen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you've chosen h.264 you can then chose a preset. The default &lt;strong&gt;Match Source - high bitrate&lt;/strong&gt; preset is usually spot-on for YouTube, as it's a good compromise between quality and file size. It will automatically match the resolution and frame rate of your sequence, so you won't have to worry about other settings.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your video is 4K or larger you could also consider h.265, which is designed for UHD. It's a lot slower to compress, so don't bother if you're exporting HD or lower.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-03-17T04:59:21.990" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29737" PostTypeId="1" CreationDate="2020-03-17T16:11:59.987" Score="2" ViewCount="146" Body="&lt;p&gt;I'm using Davinci Resolve 16.1.1.005 on macOS 10.15.3 (Catalina).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm creating a simple polyline. I want to move one of the radius handlers separately without causing the other radius handler to mirror the movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried using the modifier keys &lt;code&gt;Cmd&lt;/code&gt;, &lt;code&gt;Alt&lt;/code&gt;, &lt;code&gt;Shift&lt;/code&gt; and &lt;code&gt;Ctrl&lt;/code&gt; and combinations of them. As far as I know is &lt;code&gt;Ctrl&lt;/code&gt; the right key. But &lt;code&gt;Ctrl&lt;/code&gt; + click causes a right click on macOS.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Can I switch the modifier keys?&lt;/li&gt;&#xA;&lt;li&gt;Does another keyboard mapping help?&lt;/li&gt;&#xA;&lt;li&gt;Am I missing another modifier key?&lt;/li&gt;&#xA;&lt;li&gt;Can I change the behaviour in some settings?&lt;/li&gt;&#xA;&lt;li&gt;Is it not possible on macOS?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="27940" LastActivityDate="2022-12-10T02:04:50.773" Title="Davinci Resolve: Move polyline radius handlers separatley on macOS" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29741" PostTypeId="1" CreationDate="2020-03-18T04:33:02.137" Score="0" ViewCount="213" Body="&lt;p&gt;If I'm encoding files like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -v quiet -hide_banner -y -i &quot;$f&quot; -passlogfile &quot;$TEMP_FOLDER/ffmpeg.log&quot; -c:v libx264 -b:v 2.5M -maxrate 2.5M -bufsize 5M -profile:v high -level 4.1 -pass 1 -sn -an -f matroska /dev/null &amp;lt; /dev/null&#xA;ffmpeg -v quiet -hide_banner -y -i &quot;$f&quot; -passlogfile &quot;$TEMP_FOLDER/ffmpeg.log&quot; -c:v libx264 -b:v 2.5M -maxrate 2.5M -bufsize 5M -profile:v high -level 4.1 -sn -an -pass 2 -f matroska &quot;${f%.*}&quot;.h264 &amp;lt; /dev/null&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Would setting preset speed increase quality? Should I use it on the first pass or the second ?&lt;/p&gt;&#xA;" OwnerUserId="18048" LastActivityDate="2020-03-18T04:33:02.137" Title="Does ffmpeg preset speed affects 2 pass encoding?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29742" PostTypeId="2" ParentId="24637" CreationDate="2020-03-18T08:55:42.450" Score="0" Body="&lt;p&gt;In Android devices I'm using Quik, it can import any video and photos (everything, GoPro and non GoPro footage). But the desktop version can only read GoPro footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Filmora for now, it has the features that closest to Quik.&lt;/p&gt;&#xA;" OwnerUserId="27949" LastEditorUserId="18155" LastEditDate="2020-03-18T19:11:19.243" LastActivityDate="2020-03-18T19:11:19.243" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29743" PostTypeId="2" ParentId="29704" CreationDate="2020-03-18T18:52:22.813" Score="1" Body="&lt;p&gt;Another option is to use MS office.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You have of course Excel that can make the graphs but assigning some data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On PowerPoint, you can make animations, import different assets, and export to video. And there are some online Add ons to import LaTeX.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-03-18T18:52:22.813" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29745" PostTypeId="1" CreationDate="2020-03-18T20:15:08.837" Score="0" ViewCount="458" Body="&lt;p&gt;We're trying to implement ads on our video platform. Could you recommend a reliable HTML5 video player that works with Vimeo, compatible with the VAST standards? I've already tried video.js and checked out jw player. Are there any alternative solutions?  &lt;/p&gt;&#xA;" OwnerUserId="27952" LastEditorUserId="27952" LastEditDate="2020-03-19T13:45:16.527" LastActivityDate="2024-04-02T02:06:50.873" Title="Need good free HTML5 video player for integrating video ads and Vimeo videos" Tags="|video-player|vimeo|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29746" PostTypeId="1" CreationDate="2020-03-18T21:27:07.030" Score="1" ViewCount="342" Body="&lt;p&gt;I would like to dynamically generate infinite video stream from video clips, so that choose next one on the fly.&#xA;I was inspired by &lt;a href=&quot;https://github.com/ffplayout/ffplayout-engine&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffplayout project&lt;/a&gt; which &lt;a href=&quot;https://github.com/ffplayout/ffplayout-engine/blob/b45df954a49204f129489d4c2d7f3dd73b956420/ffplayout.py#L76&quot; rel=&quot;nofollow noreferrer&quot;&gt;runs &lt;code&gt;ffplay&lt;/code&gt;&lt;/a&gt; and make it read from stdin, &#xA;and then &lt;a href=&quot;https://github.com/ffplayout/ffplayout-engine/blob/b45df954a49204f129489d4c2d7f3dd73b956420/ffplayout.py#L114&quot; rel=&quot;nofollow noreferrer&quot;&gt;runs &lt;code&gt;ffmpeg&lt;/code&gt;&lt;/a&gt; and stdout is redirected to &lt;code&gt;ffplay&lt;/code&gt;. It works nice when streaming to rtmp server (probably because there is some buffering applied on the way), but when using &lt;code&gt;ffplay&lt;/code&gt; you can notice some glitches on video transition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video is converted to mpegts for transport through pipe.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was testing on &lt;a href=&quot;https://pixabay.com/videos/tunnel-yellow-abstract-background-12904/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt; which is made for looping.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In order to eliminate ffmpeg startup, file read delay, I did what follows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# saved raw output&#xA;ffmpeg -i tunnel.mp4 -f mpegts tunnel.mpegts&#xA;# made fifo.ts&#xA;mkfifo fifo&#xA;# run ffplay to read from stdin&#xA;ffplay -an -f mpegts -i pipe:0 &amp;lt;fifo.ts&#xA;# write video to fifo&#xA;cat tunnel.mpegts tunnel.mpegts tunnel.mpegts tunnel.mpegts &amp;gt;&amp;gt; fifo.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;still glitches on transition.&#xA;I even tried to read video to memory and write to fifo to eliminate disk io&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;def main():&#xA;    with open('tunnel.mpegts', 'rb') as fd:&#xA;        tunnel = fd.read()&#xA;&#xA;    with open('fifo.ts', 'wb') as fd:&#xA;        for _ in range(5):&#xA;            fd.write(tunnel)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;still glitches.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea how to make it work? Maybe another ffmpeg on the way that would buffer/delay/join/transcode?&lt;/p&gt;&#xA;" OwnerUserId="27954" LastActivityDate="2023-12-13T23:06:40.803" Title="Concatenate videos by pipng to ffplay" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29747" PostTypeId="1" AcceptedAnswerId="29752" CreationDate="2020-03-18T22:37:09.267" Score="4" ViewCount="5807" Body="&lt;p&gt;I am a terrible ignoramus in the subject, but the coronavirus has thrown me in the business of producing videos with my lectures. I care a bit for video quality and a bit more for small size. My source is probably seen as abysmal from professionals: it is a screen capture (4K) by Zoom, heavily compressed. It still looks fairly decent and I import clips in Adobe Premiere Pro 2020 and edit them. The problem is in encoding the final sequences.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I lazily started by using the default preset for H.264 (&quot;Match Source - High bitrate). Unsurprisingly, files are very big but visual quality as good as it gets. Good enough for me at first.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then a student suggested I use this to compress the videos with this&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;&lt;strong&gt;&lt;em&gt;ffmpeg -i input.mp4 -vf scale=1920:-1 -vcodec libx264 -crf 20 output.mp4&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I did not run myself but he sent me an example and my 1.4 GB file went down to 74 MB without any particularly noticeable quality loss (note that most of the videos are slides and completely static for minutes, so it stands to reason that they compress very well). Here an example of typical frames:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Cia77.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Cia77.jpg&quot; alt=&quot;Original by AME on the left and reencoded by libx264 on the right&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Great, but, of course, I thought that I would not reencode with libx264 and rather produce similarly small files directly from Adobe Media Encoder. Firstly, I reduced the resolution to 1920x1080 during the export. Then, I spent an inordinate amount of time with the default H.264 encoder (&quot;Hardware Encoding&quot;) to explore what happens reducing the only control I thought I should focus on (Target Bitrate). I would not manage to go below 650 MB with the smallest target bitrate (0.19 Mbps) but could reach 420 MB with a target bitrate of 1 Mbps. This makes little sense to me, but then I read somewhere to use the &quot;Software Encoding&quot; to get small files. I tried (also exploring blindly different profiles: Main, High, High10) and set the target and maximum bitrate also to the minimum (0.19 Mbps again). Size went down to 112 MB and, although not as small as the libx264 file, I thought it would be ok. The problem is that the quality degraded very noticeably. Here are a couple of examples:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Rnlgf.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Rnlgf.jpg&quot; alt=&quot;Smallest file by AME on the left and reencoded by libx264 on the right&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bE2Pp.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bE2Pp.jpg&quot; alt=&quot;Smallest file by AME on the left and reencoded by libx264 on the right&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Clearly, I must be missing something pretty fundamental here, but what? Is it possible that Adobe Media Encoder is so much inferior to libx264? Did I miss some key encoding parameter? (There do not seem to exist many in AME, nor they look like those of libx264.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be much appreciated!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;p.&lt;/p&gt;&#xA;" OwnerUserId="27955" LastEditorUserId="1871" LastEditDate="2020-03-19T06:42:45.927" LastActivityDate="2020-03-19T17:59:39.977" Title="Producing small H.264 files with Adobe Media Encoder vs ffmpeg/libx264" Tags="|ffmpeg|h.264|compression|adobe-media-encoder|libx264|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29748" PostTypeId="2" ParentId="28866" CreationDate="2020-03-19T01:20:05.450" Score="1" Body="&lt;p&gt;I had the same issue.  Use the &quot;Composite and Transform&quot; transition instead.&lt;/p&gt;&#xA;" OwnerUserId="27956" LastActivityDate="2020-03-19T01:20:05.450" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29750" PostTypeId="1" CreationDate="2020-03-19T04:12:36.457" Score="1" ViewCount="53" Body="&lt;p&gt;With COVID-19 shutting down the whole world, our church is now broadcasting our services on YouTube. Last Sunday we used a WebCam because we only had 48 hours notice, and it just worked.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Given that this is likely to extend to Easter and beyond.  We need to improve the sound and video quality as much as possible, but without a huge capital investment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We have a PA system, but I am not sure how to pull the audio out of it into the computer (4 wireless microphones, 3 corded microphones) and that system is 80 ft away from where our video source needs to be.  Our highest priority is to capture the Pipe Organ which is generally not fed through the PA anyway (that thing need &lt;em&gt;no&lt;/em&gt; help being heard even across the street). I have a collection of good corded microphones but all plug into the XLR Jacks around the building then into the audio closet and out to the speakers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The video from the webcam was good.  In the future we would like to add additional video sources. I am working on coming up to speed on OBS Studio which knows how to mix multiple video sources, but again my question is how to connect them to the PC. USB max run length is 5 meters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would be helpful:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A web site giving the basics of how audio works. (I know how to plug a mic into a chord and plug that cord into the wall. I have no idea how the things actually work.)&lt;/li&gt;&#xA;&lt;li&gt;Same thing for video.&lt;/li&gt;&#xA;&lt;li&gt;How to get the Pipe Organ to sound good, or at least not terribly distorted. (I understand that I'll never get HiFi out of a live stream) Can I use one of out existing mics or do I need something different?&lt;/li&gt;&#xA;&lt;li&gt;What do I need to know if I want to purchase a video camera, and how to connect them to a PC that is not directly adjacent to it?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3144" LastActivityDate="2020-04-18T11:45:33.357" Title="A/V Crash Course for Church" Tags="|streaming|audio-recording|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29751" PostTypeId="2" ParentId="29750" CreationDate="2020-03-19T04:31:00.323" Score="0" Body="&lt;p&gt;For audio, you will need an &lt;a href=&quot;https://www.google.com/search?q=usb%20audio%20interface&amp;amp;oq=usb%20audio&quot; rel=&quot;nofollow noreferrer&quot;&gt;audio interface&lt;/a&gt;. Posting a picture of your &quot;audio closet&quot; will help.&lt;/p&gt;&#xA;" OwnerUserId="27674" LastActivityDate="2020-03-19T04:31:00.323" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29752" PostTypeId="2" ParentId="29747" CreationDate="2020-03-19T05:36:00.823" Score="4" Body="&lt;p&gt;Adobe licenses its H.264 encoder from Mainconcept, which doesn't do that well at low bitrates. x264 is pretty much the frontier when it comes at low size output for a given quality target, or quality for a given bitrate target. x264 is what's used by platforms like Youtube / Vimeo ..etc to encode user videos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing you could try is to increase the keyframe interval. Default for x264 is 250 frames. Mainconcept will be something around 30-60 frames. If you can get them similar, I expect this to provide a moderate benefit in AME's encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is possible to use x264 with Adobe tools via VFW - &lt;a href=&quot;https://sourceforge.net/projects/x264vfw/files/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://sourceforge.net/projects/x264vfw/files/&lt;/a&gt;. But I don't recommend it. It's not maintained and there were stability issues.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My recommendation is to export a lighly compressed 1080p encode from AME - possibly DNxHD/HR codec in MOV or MXF container format, and then run the following ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -c:v libx264 -crf 20 -movflags +faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;faststart&lt;/code&gt; flag helps with quick playback start for web viewers.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-03-19T05:36:00.823" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29754" PostTypeId="1" CreationDate="2020-03-19T14:10:00.067" Score="0" ViewCount="20" Body="&lt;p&gt;I want to cut between 2 videos when a specific visual change occurs in the current clip. But since the videos are too long I can't do it manually.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to make an automatic cut? Or at least somehow mark it on the timeline? When a specific text or popup appears in a specific spot in the video? So somehow track when a pixel changes color?&lt;/p&gt;&#xA;" OwnerUserId="27963" LastEditorUserId="18155" LastEditDate="2020-03-22T00:22:25.597" LastActivityDate="2020-03-22T00:22:25.597" Title="How to make an automatic cut when a specific pixel changes color? (Premiere or AE)" Tags="|premiere|after-effects|automation|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29755" PostTypeId="1" CreationDate="2020-03-19T14:40:26.430" Score="0" ViewCount="847" Body="&lt;p&gt;As the question title says. Is there a shortcut, or some way to do this?&#xA;Single composition suffices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The only thing I found is to copy all effects, by selecting a layer → effects panel → CTRL + A to select all effects → CTRL + C to copy → Go to other layer → effects panel → CTRL + V to paste the effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The aforementioned process copies all effects and their keyframes, but not the individual settings. The settings of each effect is the default. That being said, I am surprised to see that they are actually keyframed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, it doesn't copy other keyframed parameters (non-'effects'), such as Position, or Opacity.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to copy all keyframed parameters exactly from one layer to another?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm working with Adobe After Effects CS6. Thank you.&lt;/p&gt;&#xA;" OwnerUserId="27964" LastEditorUserId="18155" LastEditDate="2020-03-22T00:21:18.293" LastActivityDate="2024-03-31T11:01:45.223" Title="Can I copy and paste all keyframed parameters (settings and effects) from one layer to another in Adobe After Effects CS6 within a single composition?" Tags="|after-effects|adobe|cs6|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29756" PostTypeId="2" ParentId="29747" CreationDate="2020-03-19T17:59:39.977" Score="2" Body="&lt;p&gt;I avoid AME and use x264 via &lt;code&gt;ffmpeg&lt;/code&gt; for H.264 encoding. From Premiere I prefer to output a temporary lossless compressed format as the intermediate, such as the free and open-source &lt;a href=&quot;https://github.com/umezawatakeshi/utvideo&quot; rel=&quot;nofollow noreferrer&quot;&gt;Ut video&lt;/a&gt;, instead of DNxHD/DNxHR/ProRes. This avoids any generation loss (minor as it may be with ProRes/DNxHD, but still technically present as they are not lossless). Also, I'm guessing it is faster to encode but I never benchmarked it.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Save your project and close Premiere Pro.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Install ​&lt;a href=&quot;https://github.com/umezawatakeshi/utvideo/releases&quot; rel=&quot;nofollow noreferrer&quot;&gt;Ut Video&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Open Premiere, select your sequence, and choose &lt;em&gt;File &gt; Export &gt; Media&lt;/em&gt; (or press &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;M&lt;/kbd&gt;).&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Under &lt;em&gt;Export Settings&lt;/em&gt; choose &lt;em&gt;Format: AVI&lt;/em&gt; and make sure &lt;em&gt;Export Video&lt;/em&gt; and &lt;em&gt;Export Audio&lt;/em&gt; are both checked. Then under &lt;em&gt;Video Codec&lt;/em&gt; choose &lt;em&gt;Ut Video Codec YUV420&lt;/em&gt;. Lastly, check your &lt;em&gt;Basic Video Settings&lt;/em&gt; to make sure Premiere did not screw around with the frame size, frame rate, etc, as it is apt to do.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Encode the AVI to MP4 with &lt;code&gt;ffmpeg&lt;/code&gt;. Use the highest &lt;code&gt;-crf&lt;/code&gt; value that gives you an acceptable quality and the slowest &lt;code&gt;-preset&lt;/code&gt; you have patience for.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;These instructions were written for CS6, but CC will be similar enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More info:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/PremierePro&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki: Premiere&lt;/a&gt;. It's outdated, but the UT video section still applies.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki: H.264&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.265&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki: H.265/HEVC&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-03-19T17:59:39.977" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29757" PostTypeId="2" ParentId="12867" CreationDate="2020-03-19T18:59:18.970" Score="-1" Body="&lt;p&gt;'map' selects input sources, files in this case. Your command combines all the tracks into a single stream, not separate ones as desired.&lt;/p&gt;&#xA;" OwnerUserId="27968" LastActivityDate="2020-03-19T18:59:18.970" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29758" PostTypeId="2" ParentId="29755" CreationDate="2020-03-20T06:38:55.797" Score="0" Body="&lt;p&gt;If you go to the sequence window you can hit &lt;kbd&gt;uu&lt;/kbd&gt; (that's double tapping the u key), to show all &lt;strong&gt;modified properties&lt;/strong&gt;. Then copy all the keyframes &lt;em&gt;and&lt;/em&gt; values (drag the cursor over the whole timeline area, including the I-beams for non-animating properties (the ones that are highlighted in blue) and copy. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0eYPP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0eYPP.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to copy properties that are default for one layer on to another you could use &lt;kbd&gt;~&lt;/kbd&gt; instead of &lt;kbd&gt;uu&lt;/kbd&gt;, that will show &lt;strong&gt;all properties&lt;/strong&gt; of the layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that there are some effects and properties that you can't copy, they're usually things that have a custom value, like the source layer for effects that use other layers, e.g. compound blur.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-03-20T06:38:55.797" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29760" PostTypeId="1" AcceptedAnswerId="29763" CreationDate="2020-03-20T12:41:40.877" Score="0" ViewCount="49" Body="&lt;p&gt;I have a MacBook Pro 13” 2019, and until now I have used a single external monitor for Final Cut Pro x. I just bought a new monitor, and when I select the dual display in fcpx, the second screen goes to my mbp instead of the second screen. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Could anyone tell me how I can set the second display for fcpx to a different screen?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thx &lt;/p&gt;&#xA;" OwnerUserId="27977" LastActivityDate="2020-03-23T21:15:09.860" Title="Dual display with final cut pro" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29761" PostTypeId="1" CreationDate="2020-03-20T12:59:10.040" Score="0" ViewCount="440" Body="&lt;p&gt;I exported my video in Da Vinci resolve but there's a white line in the middle of the screen. I was thinking that it was probably the effect but i'm not sure. Does anyone have the same problem or could help me to resolve it ?&lt;/p&gt;&#xA;" OwnerUserId="27978" LastActivityDate="2020-03-20T12:59:10.040" Title="White line in the middle of the video in Da Vinci resolve" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29763" PostTypeId="2" ParentId="29760" CreationDate="2020-03-20T17:12:55.403" Score="0" Body="&lt;p&gt;In the system preferences, in the display arrange dialogue you will see a menu bar. Move this bar to the monitor representation you want FCPX to have its main window. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastEditorUserId="20675" LastEditDate="2020-03-23T21:15:09.860" LastActivityDate="2020-03-23T21:15:09.860" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29764" PostTypeId="2" ParentId="22360" CreationDate="2020-03-20T18:06:38.723" Score="1" Body="&lt;p&gt;It depends on some factors.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;For example, how far is the wall from the main actors? If you have some good spacing, the texture can probably blur out due to DOF. But as on a green screen you need to maximize the focusing range, probably you will still have some texture visible.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;How even is the light? You can probably lit good enough from both sides to eliminate the shadows on the texture produced by the other light.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;In reality, you need to test. You do not need to paint in green before making these tests. Use your wall as it is, and use that color as a chroma key, you can even use white. Put a subject with clothing that has no white (or whatever current color you have now) and make a test. If it passes, it will probably work better when painted in green.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you do not need a large green screen, you could probably use a frame made of PVC and green fabric.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if it is sort of permanent thing... probably add a panel.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-03-20T18:06:38.723" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29765" PostTypeId="2" ParentId="4553" CreationDate="2020-03-20T20:46:28.540" Score="0" Body="&lt;p&gt;Final Cut Pro X has a very very easy-to-use feature that syncs up separately recorded audio tracks of the same event that. For those who are confused, recording the same event on two different recorders will yield files that don't sync up perfectly, especially if they are an hour long or more!&lt;/p&gt;&#xA;" OwnerUserId="27984" LastActivityDate="2020-03-20T20:46:28.540" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29766" PostTypeId="2" ParentId="29726" CreationDate="2020-03-20T21:14:26.057" Score="1" Body="&lt;p&gt;A good option is Davinci Resolve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It has a specific feature called Retime controls, where you put a couple of markers and select the speed of that particular segment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;90 Minutes is quite long, you probably want to make some proxy videos at smaller resolution and then render using the original clip.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-03-20T21:14:26.057" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29767" PostTypeId="1" CreationDate="2020-03-21T06:02:27.080" Score="0" ViewCount="76" Body="&lt;p&gt;everyone. I want to start a YouTube channel with some Computer Science and Mathematics tutorials and would want to hear your opinions/advice on how to get on about it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;So, here is what I want to do:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Ideally, I would want my videos to be similar to Khan Academy's tutorial style/Organic Chemistry Tutor's tutorial style for maths. This is because I am not really comfortable showing my face and doing calculations on a whiteboard.  So, I want to be able to write on a screen. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;For Computer Science, I want to switch in between writing code, and/or slides and the board where I write all my content. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;These are my questions:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;I have an iPad and a Macbook. What software can I use to record my videos for the written portion/coding portion?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I don't have any experience in editing videos. So what skills should I familiarize myself with in order to be able to make videos that people can hopefully understand?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="27987" LastEditorUserId="18155" LastEditDate="2020-03-22T00:26:06.213" LastActivityDate="2024-01-05T16:04:20.477" Title="Starting a YouTube channel - Advise/Questions/Tips" Tags="|video|youtube|tutorial|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29769" PostTypeId="1" CreationDate="2020-03-21T16:26:12.367" Score="3" ViewCount="75" Body="&lt;p&gt;I’m a video producer isolated because of Covid19. I’m going to be spending a tonne of time recording guests over video calls. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far I’ve been asking them to record audio locally, recording the google hangout, then resyncing the audio with Pluraleyes or manually, which is pretty time consuming. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming that most of the people I’m recording are fairly non technical, are there any other better methods for getting the best out of a recorded video conference?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are any of the machine learning frame rate and resolution enhancing services giving good results? Is there anything better than Pluraleyes for resyncing audio? I’m on a Mac with the adobe suite. &lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-04-14T02:03:57.667" Title="Best practice for recording video calls" Tags="|video-quality|video-capture|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29770" PostTypeId="1" AcceptedAnswerId="29773" CreationDate="2020-03-21T18:01:39.257" Score="0" ViewCount="4535" Body="&lt;p&gt;Is there a shortcut key to copy and paste After Effects keyframes? No, I don't want any kind of script to do so. I just want to move selected keyframes (they're multiple, not one, and they are in different layers) from a time to another time. But when I copy and paste them, AE pastes the whole layers!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to copy them without copying the layers? Or at least a way to show only the keyframes in the timeline, so I can copy them?&lt;/p&gt;&#xA;" OwnerUserId="27989" LastEditorUserId="18155" LastEditDate="2020-03-22T00:24:21.913" LastActivityDate="2023-06-04T18:28:25.223" Title="How can I copy/paste multiple key-frames in After Effects from different layers?" Tags="|after-effects|keyframes|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29773" PostTypeId="2" ParentId="29770" CreationDate="2020-03-23T06:01:35.793" Score="2" Body="&lt;p&gt;There is no way to copy-n-paste keyframes from multiple layers without using a script.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can show the keyframes in a layer by hitting the &lt;kbd&gt;u&lt;/kbd&gt; key. And then you can copy those keys layer by layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not sure why you're opposed to using a script. I wrote one that can copy and paste keys from multiple layers in a single click (including copy-pasting with time reversal), and which is free and open source, you can &lt;a href=&quot;https://blob.pureandapplied.com.au/all-the-scripts/&quot; rel=&quot;nofollow noreferrer&quot;&gt;download it here&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DB3kS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DB3kS.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-03-24T11:12:14.617" LastActivityDate="2020-03-24T11:12:14.617" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29774" PostTypeId="1" CreationDate="2020-03-23T06:50:42.237" Score="1" ViewCount="2124" Body="&lt;p&gt;I was editing a video for a friend when I accidentally changed my Timeline's timestamps from &quot;Timecode&quot; to Frames&quot;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/VCJu7.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VCJu7.jpg&quot; alt=&quot;Frames&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It has been really frustrating to figure out what second of footage I am on when this is occurring.&#xA;Is there any way to go back to a standard Timecode when this happens?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="28009" LastActivityDate="2024-04-02T15:11:26.477" Title="How to change Timeline's output time from &quot;Frames&quot; to &quot;Timecode&quot; (Premiere Pro)" Tags="|premiere|framerate|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29775" PostTypeId="1" AcceptedAnswerId="29778" CreationDate="2020-03-23T15:30:54.460" Score="0" ViewCount="14" Body="&lt;p&gt;I have an SD kart with a lot of videos, and I have a USB stick also with videos.&#xA;Is it possible to have all the videos on one USB stick and the project on the other USB stick? If yes, how would I do that?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;thanks&lt;/p&gt;&#xA;" OwnerUserId="27977" LastActivityDate="2020-03-23T20:29:47.460" Title="how to have a project on a different location that its library in FCPX" Tags="|final-cut-pro-x|usb|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29777" PostTypeId="2" ParentId="29745" CreationDate="2020-03-23T19:50:00.637" Score="0" Body="&lt;p&gt;I'd suggest you looking at the built-in HTML5 outstream video player &lt;a href=&quot;https://adplayer.pro/&quot; rel=&quot;nofollow noreferrer&quot;&gt;AdPlayer.Pro&lt;/a&gt;. &#xA;You can use this video ad player and host your video on AdPlayer.Pro platform or you can use HTML5 player separately. It's compliant with all major video advertising standards, like VAST/VPAID and Google IMA. Also I like the UI and additional tracking tool, which provides watch time, click rate, estimated revenue etc. &lt;/p&gt;&#xA;" OwnerUserId="28014" LastActivityDate="2020-03-23T19:50:00.637" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29778" PostTypeId="2" ParentId="29775" CreationDate="2020-03-23T20:29:47.460" Score="0" Body="&lt;p&gt;As far as I know FCPX is not excepting external USB to work on your project. It has to be an internal or external drive. You certainly can move the project to an USB when you finish or to transfer between computers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also would not recommend to have your media on an USB for performance reasons as well. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-03-23T20:29:47.460" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29779" PostTypeId="2" ParentId="29774" CreationDate="2020-03-24T02:29:45.033" Score="0" Body="&lt;p&gt;&lt;kbd&gt;ctrl&lt;/kbd&gt;-click or &lt;kbd&gt;⌘&lt;/kbd&gt;-click the number and it will cycle through the different modes, frames, feet &amp;amp; frames, audio samples, milliseconds, and timecode. More about it in the &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/timecode.html#change_how_timecode_is_displayed&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-03-24T02:29:45.033" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29780" PostTypeId="1" CreationDate="2020-03-24T11:42:02.807" Score="1" ViewCount="407" Body="&lt;p&gt;I'm trying to generate a HLS stream from an input of N (in this example 2) HLS streams but I cannot figure out the right settings to get the PTS values right.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My streams can be represented this way :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;stream A: &lt;code&gt;chunk1 - chunk2 - chunk3 - chunk4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;streamB: &lt;code&gt;chunk1 - chunk2 - chunk3 - chunk4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;output stream: &lt;code&gt;chunkA1 - chunkA2 - generated junction chunk with part of chunk A3 and part of chunk B3 - chunkB4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use the following command to generate my junction chunks:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &amp;lt;chunk from streamA&amp;gt; -i &amp;lt;chunk from streamB&amp;gt; -vcodec libx264 -vprofile baseline -g 10 -acodec aac -ar 44100 -ac 1 -filter_complex &quot;[0:v]trim=0.000000:0.889000,setpts=PTS-STARTPTS[v0]; [0:a]atrim=0.000000:0.889000,asetpts=PTS-STARTPTS[a0]; [1:v]trim=4.889000:5.213700; [1:a]atrim=4.889000:5.213700;  [v0][v1]concat=n=2:v=1:a=0[out]; [a0][a1]concat=n=2:v=0:a=1[aout] &quot; -map &quot;[out]&quot; -map &quot;[aout]&quot; &amp;lt;output chunk&amp;gt;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The stream is playable with HLS.js (I add discontinuity tags when I switch streams) but when I try to send it to an rtmp server using this command :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -re -i &amp;lt;HLS url&amp;gt; -c:v copy -c:a aac -ar 44100 -ab 128k -ac 2 -strict -2 -flags +global_header -bsf:a aac_adtstoasc -bufsize 3000k -f flv &amp;lt;RTMP url&amp;gt;&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;FFmpeg complains about my DTS values and the output doesn't play very well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd ideally like to avoid re-encoding my input streams but I'm fine re-encoding the ouput stream (in this example I'm not doing it but I've also tried). Although, it's ok if I have to re-mux the input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks !&lt;/p&gt;&#xA;" OwnerUserId="28018" LastActivityDate="2020-03-24T11:42:02.807" Title="Switch between HLS input streams to output a new HLS stream" Tags="|ffmpeg|rtmp|hls|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29781" PostTypeId="1" CreationDate="2020-03-24T11:47:27.697" Score="0" ViewCount="54" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -i https://cdn.dotcompaluat.com/test/running.mp4 -max_muxing_queue_size 9999 -vf \&#xA;  scale=w=426:h=240:force_original_aspect_ratio=decrease,pad=ceil(iw/2)*2:ceil(ih/2)*2 \&#xA; -c:a aac -ar 48000 -b:a 96k -c:v h264 -profile:v main -crf 20 -g 48 -keyint_min 48 \&#xA; -sc_threshold 0 -b:v 400k -maxrate 856k -bufsize 800k -hls_time 4 -hls_playlist_type vod \&#xA; -hls_segment_filename test/240p_%03d.ts  test/240p.m3u8**&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Above cmd give endless errors' response,  please provide how to manage it.&lt;/p&gt;&#xA;" OwnerUserId="28019" LastEditorUserId="18155" LastEditDate="2020-03-25T20:34:46.490" LastActivityDate="2020-03-25T20:34:46.490" Title="FFMPEG error response goes in infinite endless loop" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29783" PostTypeId="1" CreationDate="2020-03-24T16:00:15.610" Score="2" ViewCount="971" Body="&lt;p&gt;There is no audio when I preview the clips while editing them. The project is on stereo, the latest update installed, &quot;Don't Use Audio&quot; is not selected in the clip's properties menu. Let me know a solution.&lt;/p&gt;&#xA;" OwnerUserId="28022" LastActivityDate="2022-03-16T08:19:22.530" Title="VSDC, No audio while editing (Preview)" Tags="|video-editor|audio|preview|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29784" PostTypeId="1" AcceptedAnswerId="29785" CreationDate="2020-03-24T17:49:37.423" Score="0" ViewCount="220" Body="&lt;p&gt;I wanted to edit a video and encountered some severe lag and preview stuttering.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I started looking around on the internet, but I'm just not getting any definitive and practical information on anything.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll read about how you need at least 32 GB of RAM and a 4 figures CPU to edit at all.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And others on forums say they edit HD videos on old machines with 2 GB RAM with no issues. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm running Windows on a SSD drive with an Intel i5 quad core (2.8 GHz), 8 GB of RAM, and an NVIDIA 1050Ti 4 GB GPU.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The videos I'm trying to edit are 1920×1080 30 fps (captured with a USB capture card from PS4 and&#xA;encoded with Handbrake) they are 1-2 h long (I have many of these videos and I also put them together in a few videos that are like 10 hours long but I don't know if I should use them to edit; I don't know if it makes a difference if a have many small files or one huge one)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used DaVinci Resolve, Lightworks, VSDC and Shotcut and every time its unusable. On shotcut just playing back a clip and looking through it works kinda ok most of the time but when I cut together some clips and want to see how it looks it starts to lag beyond being usable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that Video editing takes a lot of horsepower, but is it really THAT much? &#xA;I can't imagine that everyone, every student or just your average Joe who's doing their gaming montages and stuff for YouTube in their free time is sitting on a 2000 bucks high-end PC. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've read about “Proxy files” for editing, but mostly when people are using 4k videos and even if not, creating lower quality versions every time for every video seems so unpractical.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know, I really didn't think Video editing is so inaccessible. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To add to my confusion: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A view months ago I was editing videos with almost the same specs, the only difference, they were captured from switch, on the exact same PC. But at that time I was running Linux. And I used DaVinci Resolve and I don't remember having any issues at all. And I didn't use anything like proxy files or reducing playback quality, etc... &#xA;I think maybe somethings wrong with my windows but with all that conflicting information I just don't know and I hope someone can help me here. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One thing I want to add: these Videos are kind of big. 2h long video with 8 GB, and they have a bitrate of around 9000.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know much about video stuff, I know bitrates influence quality, but that's it, is 9000 much? Or can you reduce it without a huge quality loss?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you very much!&lt;/p&gt;&#xA;" OwnerUserId="28026" LastEditorUserId="18155" LastEditDate="2020-03-25T20:42:58.340" LastActivityDate="2021-05-10T10:46:50.800" Title="Do i really need a Super-Computer to edit Videos?" Tags="|video|editing|hardware|davinci-resolve|shotcut|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29785" PostTypeId="2" ParentId="29784" CreationDate="2020-03-24T18:51:11.070" Score="2" Body="&lt;p&gt;Most likely, the issue is with the codec you're trying to edit.  Temporal compression schemes require a lot of on-the-fly processing to decode.  Players are optimized to do this sequential decode, but by definition, NLE's are non-linear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;All of the talk you see about proxies is really about converting temporally compressed formats into either uncompressed or spatially compressed formats such as proRes, or Avid DNx.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some modern hardware, combined with the right editing package and operating system, can handle temporally compressed codecs.  Some combinations don't work so well.  In cases where editing is cumbersome, video professionals will transcode to a format which is easier on the hardware.  This is still common practice in 2020 because even as computer processing power increases, so does the efficiency of compression algorithms, the computation necessary to decode them, and therefore latency in editing applications.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;H.265 HEVC, for example, is a relatively new codec, and is supported by a lot of consumer devices for recording.  It's popular because it's very efficient, supports larger resolutions and higher detail than older codecs at the same bitrate.  But this codec is notoriously difficult to decode on the fly, and is a prime candidate for proxy workflow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;See this wikipedia article for information on intraframe vs interframe codecs: &lt;a href=&quot;https://en.wikipedia.org/wiki/Intra-frame_coding&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Intra-frame_coding&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;DaVinci Resolve does have some fairly hefty system requirements, though, and 8GB of ram does not meet the minimum system requirements as described in the &lt;a href=&quot;https://www.blackmagicdesign.com/support/readme/00e0eb2c5ab94938a1e7088e17b35725&quot; rel=&quot;nofollow noreferrer&quot;&gt;release notes&lt;/a&gt;.  &lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-03-24T19:00:48.540" LastActivityDate="2020-03-24T19:00:48.540" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29786" PostTypeId="2" ParentId="29737" CreationDate="2020-03-24T19:46:15.693" Score="1" Body="&lt;p&gt;I assume, since you use the terminology &quot;polyline&quot; that you are in the Fusion page of Resolve.  Furthermore, since you say &quot;radius handler,&quot; I assume you're asking about controlling the softness of a double polyline shape, and not talking about manipulating the normal bezier curvature handles.  Also, to be clear, Fusion polylines behave differently than the power windows found elsewhere in the Resolve interface.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One method of controling Fusion double polylines: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;First, activate Double polyline by clicking the outlined &quot;D&quot; icon if you haven't already.&lt;/li&gt;&#xA;&lt;li&gt;Select all points with Shift-A&lt;/li&gt;&#xA;&lt;li&gt;Hold the &quot;O&quot; (offset) key and click-drag in the viewer.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;There are other ways to control double polylines. More information can be found in the DaVinci Resolve user manual.  As of version 16.2, the relevant pages start at 1298.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Key bindings in Resolve's Fusion are customizable, but not out of the box.  If you're determined to change them, the simplest way would be to use stand alone Fusion, which has a built-in hotkey manager in the &quot;Views&quot; context menu.  The compositions you create in standalone Fusion are easy to copy-paste into Resolve Fusion (but know the difference between Loaders and MediaIn nodes; Savers and MeidaOut nodes).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Alternatively, you can install the Fusion plugin package manager, &quot;Reactor,&quot; which is available &lt;a href=&quot;https://www.steakunderwater.com/wesuckless/viewtopic.php?f=32&amp;amp;t=1775&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, and install Andrew Hazelden's &quot;Resolve Essentials&quot; atom, which includes a script to edit Resolve Fusion keybindings.  Personally, I'd leave them alone, though.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-03-24T20:31:16.273" LastActivityDate="2020-03-24T20:31:16.273" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29787" PostTypeId="2" ParentId="25803" CreationDate="2020-03-24T22:25:46.943" Score="1" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;our existing 4:3 song slides (1024x768)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The real resolution of a slide depends on the program and file format they are in. If the slides are in PowerPoint or similar, they have no native resolution, they have a proportion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If they are JPG files or a video, yes, you are stuck with the resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A projector has indeed a native resolution, if it is a 16:9 of good quality it could be full HD 1920x1080 or simply HD 1280x720px, in some cases 1366x768px.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A JPG of 1024x768 will be resampled but I really doubt this would be an issue. In any case it is better to store the slides as a real slide, and not as a &quot;photo&quot;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Regarding if a projector will &quot;projet bars&quot; depends on the model and on the graphics card of the computer sending the data. Most likely the computer will also send a 16:9 signal, and the bars will be given by the application, not by either the computer or the projector.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if your computer sends an old SD signal, the projector might squish or squash the image.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-03-24T22:25:46.943" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29788" PostTypeId="5" CreationDate="2020-03-25T06:32:55.320" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://kdenlive.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Kdenlive&lt;/a&gt; is a Free Software interactive non-linear video editing program for Linux, with ports available for macOS and Windows.  Kdenlive includes:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Multi-track video and audio editing,&lt;/li&gt;&#xA;&lt;li&gt;Keyframe-able transitions and effects,&lt;/li&gt;&#xA;&lt;li&gt;Proxy clips,&lt;/li&gt;&#xA;&lt;li&gt;Wide media format support,&lt;/li&gt;&#xA;&lt;li&gt;Simple built-in titler,&lt;/li&gt;&#xA;&lt;li&gt;Audio and video scopes,&lt;/li&gt;&#xA;&lt;li&gt;Timeline preview rendering,&lt;/li&gt;&#xA;&lt;li&gt;Preset video rendering profiles, or customize your own,&lt;/li&gt;&#xA;&lt;li&gt;Live capture support,&lt;/li&gt;&#xA;&lt;li&gt;Customizable keyboard shortcuts,&lt;/li&gt;&#xA;&lt;li&gt;Automatic project backup and crash recovery.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Kdenlive is an official project of the &lt;a href=&quot;https://kde.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;KDE community&lt;/a&gt;.  The backend media technologies are &lt;a href=&quot;/questions/tagged/ffmpeg&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;ffmpeg&amp;#39;&quot; rel=&quot;tag&quot;&gt;ffmpeg&lt;/a&gt; and the &lt;a href=&quot;https://www.mltframework.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MLT framework&lt;/a&gt;.  The video effects are built on &lt;a href=&quot;https://frei0r.dyne.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Frei0r&lt;/a&gt;; audio effects are built on &lt;a href=&quot;https://www.ladspa.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;LADSPA&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="5686" LastEditorUserId="17390" LastEditDate="2020-12-13T23:05:22.163" LastActivityDate="2020-12-13T23:05:22.163" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29789" PostTypeId="4" CreationDate="2020-03-25T06:32:55.320" Score="0" Body="The Kdenlive video editing package." OwnerUserId="5686" LastEditorUserId="5686" LastEditDate="2020-04-02T13:56:03.250" LastActivityDate="2020-04-02T13:56:03.250" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29790" PostTypeId="2" ParentId="29784" CreationDate="2020-03-25T07:34:29.087" Score="2" Body="&lt;p&gt;Research how to use proxies. Proxies are copies of your original footage encoded at lower resolution, lower quality, or just in a less processor-intensive codec. You use them while you're working on your project, and then swap back the high quality files when you do your final export. A bit like offline and online video editing from the days when dinosaurs ruled the earth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your case for example, avoiding h.264 will probably speed things up. H.264 does a good job of making really small files at high visual quality, but it's awful for editing. So if you encode in an all-I-frame low-bandwidth codec, e.g. ProRes Proxy, or DNxHR LB the performance should increase markedly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can get away with much lower-powered hardware by using proxies, and you don't lose any quality in the process, because you go back to your originals at the end. A good guide, specific to the Resolve workflow, can be found &lt;a href=&quot;https://workflow.frame.io/guide/resolve-proxies&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-03-25T07:34:29.087" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29791" PostTypeId="1" AcceptedAnswerId="29816" CreationDate="2020-03-25T07:54:31.043" Score="2" ViewCount="5760" Body="&lt;p&gt;I'm trying to add blankspace to the end of a video (1 audio stream, 1 video stream) using ffmpeg. I'm curious what the best way of doing this is. I'm not very keen on using filter_complex so if there's another simple/viable method, that would be good. I've been trying to use the color filter using the command below, it's making a video with bad timestamps though. On playback it freezes in various parts of the blankspaced segment, my command is missing something.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -filter_complex &quot;color=black:s=1280x720:d=15[b0];[0:v][b0]concat=n=2:v=1:a=0&quot; output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I receive the green/yellow message below at the point where it starts to render the black frames.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_color_0 @ 0000000922e0fd900] EOF timestamp not reliable&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This method is effectively making another video and concatenating it to the first one. I'm wondering if in general: Can you create frames in an existing video...? Or is that outside of how ffmpeg works?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NQR1d.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NQR1d.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21882" LastEditorUserId="21882" LastEditDate="2020-03-28T13:46:43.237" LastActivityDate="2020-03-29T21:24:26.870" Title="ffmpeg: adding blankspace to end of video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29792" PostTypeId="2" ParentId="27920" CreationDate="2020-03-25T07:56:45.380" Score="0" Body="&lt;p&gt;According to this page is not that simple...&#xA;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/colorspace&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/colorspace&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27889" LastActivityDate="2020-03-25T07:56:45.380" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29793" PostTypeId="1" AcceptedAnswerId="29820" CreationDate="2020-03-25T09:35:57.047" Score="0" ViewCount="532" Body="&lt;p&gt;I apply filter_complex to put objects on coordinates using overlay. Sometime, I need to use the scroll filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the code &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -vsync 0 -i /tmp/2SN92agDIG.png -i /tmp/TogmpB9etD.png -i /tmp/lxiQXCxhaZ-1.png -filter_complex &quot;color=size=312x312:c=0xffffff,loop=-1[color];\&#xA;[0:v]setpts=PTS-STARTPTS,setsar=1,scale=480x320,rotate=0:c=none:ow=rotw(0):oh=roth(0),format=argb,colorchannelmixer=aa=1[0];\&#xA;[1:v]setpts=PTS-STARTPTS,setsar=1,scale=298x301,rotate=0:c=none:ow=rotw(0):oh=roth(0),format=argb,colorchannelmixer=aa=0.8[1];\&#xA;[2:v]setpts=PTS-STARTPTS,setsar=1,scale=288x614,rotate=0:c=none:ow=rotw(0):oh=roth(0),format=argb,colorchannelmixer=aa=1[2];\&#xA;[color][0]overlay=x=-76.18:y=-4[-1+0];\&#xA;[-1+0][1]overlay=x=8.043499999999995:y=5.044000000000011[0+1];\&#xA;[0+1][2]overlay=x=8.021000000000015:y=0,scroll=vertical=0.02857142857142857&quot; -map 0:a? -c:v h264_nvenc -c:a copy -t 35 -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It works great but when this filter is applied on an object which is on top of other objects (Ex. third object in the filter complex chain), the scroll is applied to all under layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you have an idea how can I &quot;isolate&quot; the scroll to be applies only on one object ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="28033" LastActivityDate="2020-03-29T14:47:18.430" Title="FFMPEG - Scroll filter on filter_complex applies on under layer" Tags="|ffmpeg|filter|" AnswerCount="1" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="29794" PostTypeId="2" ParentId="14772" CreationDate="2020-03-25T09:49:06.717" Score="1" Body="&lt;p&gt;Rather than using the &lt;code&gt;lenscorrection&lt;/code&gt; filter, you would probably get better results with the &lt;code&gt;lensfun&lt;/code&gt; filter.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Lensfun has a database entry for the &lt;a href=&quot;https://github.com/lensfun/lensfun/blob/4877512696c72072065dbee74c77f66f895a5d2e/data/db/slr-canon.xml#L661-L667&quot; rel=&quot;nofollow noreferrer&quot;&gt;Canon 60D&lt;/a&gt; that you're using as well as for various EF-S 18-55mm Canon lenses (apparently there are many).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can read aboud various details in &lt;a href=&quot;https://www.danielplayfaircal.com/blogging/ffmpeg/lensfun/v360/lenscorrection/fisheye/dodgeball/2020/03/24/correcting-lens-distortion-with-ffmpeg.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this post&lt;/a&gt; that I made on a similar subject.&lt;/p&gt;&#xA;" OwnerUserId="26037" LastActivityDate="2020-03-25T09:49:06.717" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29797" PostTypeId="1" CreationDate="2020-03-25T15:30:29.783" Score="0" ViewCount="1511" Body="&lt;p&gt;I'm trying to create a timelapse video from several images that I'm fetching from a website. In order to make this faster, my plan was split the workload between multiple cores, each fetching their respective frames (I'm streaming the images to ffmpeg stdin):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f image2pipe -vcodec mjpeg -i - -f rawvideo part_N&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I wanted to stitch the rawvideo parts to an mp4:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f rawvideo -i part_0 -f rawvideo -i part_1 ... output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I'm getting the following error:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Picture size 0x0 is invalid`&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="28038" LastEditorUserId="18155" LastEditDate="2020-03-25T20:36:34.597" LastActivityDate="2020-03-26T05:20:43.287" Title="stitch rawvideo with ffmpeg - Picture size 0x0 is invalid" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29798" PostTypeId="2" ParentId="29797" CreationDate="2020-03-25T16:37:20.213" Score="2" Body="&lt;p&gt;&lt;code&gt;rawvideo&lt;/code&gt; has no metadata so you have to supply all parameters. Since your input is mjpeg (&lt;strong&gt;edit&lt;/strong&gt;: sequence), just keep it as that.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2pipe -vcodec mjpeg -i - -c copy -f mjpeg part_N&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Generate a text file like this&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file part_0&#xA;file part_1&#xA;file part_2&#xA;...&#xA;file part_N&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and then&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -r 30 -i list.txt output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;here &lt;code&gt;-r&lt;/code&gt; is the desired framerate. Default is 25.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2020-03-26T05:20:43.287" LastActivityDate="2020-03-26T05:20:43.287" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29799" PostTypeId="2" ParentId="29767" CreationDate="2020-03-25T17:12:25.677" Score="0" Body="&lt;p&gt;This is too broad, but here are some tips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it is like this one &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ltxqQbiI6-o?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;you could start with a nice PowerPoint presentation... Nicer than that example.&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;So what skills should I familiarize myself&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;There are three main categories.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1. Videos with significant production value.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Animation, photography, Illumination, music, voice, good quality, a script, storyboard, revisions...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because of the big effort it represents, the scripting part (and its revisions) are of paramount importance.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Introduction, development, climax, conclusion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2. Live recorded tutorials&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As you remember to do things, with bloopers and fixed later with some annotation over the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;3. Anything in between&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I don't have any experience in editing videos... videos that people can hopefully understand?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Simply make them suited to your target.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is not related directly to editing video, it is related to your capacity to make your explanations understandable but mainly interesting. It is related to what draws attention to the intended audience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We live in a competitive era. There are a lot of videos with good quality. Some rely on personal charisma, some on the production, some in the style, some on a ton of other things.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Define what is your &quot;mojo&quot;. What is the thing you are going to do to differentiate and add value to your product?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yes, some of that is given by the editing. The editing is meant to give you rhythm. Some parts are meant to give you unity, volume to the voice, volume to the music.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But any editing is not enough if your source material is not good. So...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simply prepare a video like if you are preparing a good exposition to a live audience.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-03-25T17:12:25.677" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29802" PostTypeId="1" AcceptedAnswerId="29804" CreationDate="2020-03-25T21:27:37.383" Score="0" ViewCount="484" Body="&lt;p&gt;I have a MBP 13” with a 1.4 GHz quad core i5 prosesor and 16 GB of ram.&#xA;All the footage Including the project is on a external usb stick with usb 3.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I am editing a simple video clip, not in 4K, fcpx is getting stuck a lot. Mostly when I want to move a video a second back or forth or when I want to watch right after moving a video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anybody have a idea what this could be?&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="27977" LastActivityDate="2020-04-24T15:42:32.057" Title="FCPX is getting stuck all the time" Tags="|editing|final-cut-pro-x|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29803" PostTypeId="2" ParentId="24637" CreationDate="2020-03-25T22:51:16.060" Score="0" Body="&lt;p&gt;I have been using MAGIX Fastcut for this. It doesn't have many advanced features, but it does have scene selection, beat detection and automatic scene mixing according to the beat.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To put it in plain words, you select a song, click a button to do beat detection and then select the video clips you want to be fitted to the song. The program then does the cutting automatically, based on the detected beats.&lt;/p&gt;&#xA;" OwnerUserId="28044" LastEditorUserId="28044" LastEditDate="2020-03-29T17:11:42.820" LastActivityDate="2020-03-29T17:11:42.820" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29804" PostTypeId="2" ParentId="29802" CreationDate="2020-03-25T23:45:40.073" Score="0" Body="&lt;p&gt;For performance, I would not use a USB stick, and as far as I know, this isn’t supported as well. I would recommend an external hard drive or for best performance the internal SSD. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you still have problems, you should reset the FCPX settings. To do so quit FCPX then find the FCPX program icon in the application folder and hold down the command and option key and start FCPX. A dialogue will come up asking if you want to reset the configuration. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can find more issue resolving in this article. &#xA;&lt;a href=&quot;https://support.apple.com/en-us/HT203477&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.apple.com/en-us/HT203477&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-03-25T23:45:40.073" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="29805" PostTypeId="2" ParentId="29783" CreationDate="2020-03-26T00:05:00.863" Score="2" Body="&lt;p&gt;You should double-check:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;your speakers' volume (just in case)&lt;/li&gt;&#xA;&lt;li&gt;audio volume settings in VSDC&lt;a href=&quot;https://i.stack.imgur.com/RSsMF.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RSsMF.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt; (see the image)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="21313" LastActivityDate="2020-03-26T00:05:00.863" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29808" PostTypeId="1" AcceptedAnswerId="29810" CreationDate="2020-03-26T10:24:07.793" Score="1" ViewCount="99" Body="&lt;p&gt;So im currently creating a music oriented slideshow with a bundle of images that needs to be changed each beat of the music. Problem is, the music is 129 bpm which results in 2.15 beats per second. Having the image change each beat would take me approximately 27.9069767442 frames for each image to show up before changing to another one in a 60 fps sequence. knowing the capabilities of my software, i can only go 27 or 28 frames per image which resulted the slide show being not precise to the beat, it slows down in certain parts of the music when im using 28 frames per image and it speeds up when im using 27 frames per second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any &lt;strong&gt;easy&lt;/strong&gt; and &lt;strong&gt;time saving&lt;/strong&gt; way to sync up my images before i resort to brute force (adjusting the frames manually)? Perhaps is there a way to change the frame rate im working on to a desired number?&lt;/p&gt;&#xA;" OwnerUserId="28047" LastActivityDate="2020-03-26T21:14:10.117" Title="syncing slideshow with music" Tags="|framerate|sync|music|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29809" PostTypeId="1" CreationDate="2020-03-23T21:53:12.623" Score="0" ViewCount="1241" Body="&lt;p&gt;I've created a frame-by-frame animation in Animate and have exported the file with an alpha channel so the background is transparent, but when I import the MP4 file into After Effects, the file has a black background.  I haven't exported it yet because I have a lot more editing / animating to do on this project, but can anyone tell me how to make the background clear so the animation fits to the background I have created on After Effects.  (I've tried to import the Animate file but it doesn't work as I know this may be a way around it.)&lt;/p&gt;&#xA;" OwnerDisplayName="SR Creative" LastActivityDate="2024-04-05T17:06:10.877" Title="How do I Import an Adobe Animate file with a transparent background into After Effects" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29810" PostTypeId="2" ParentId="29808" CreationDate="2020-03-26T21:14:10.117" Score="0" Body="&lt;p&gt;Just some ideas.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1. Do not sync everything.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Define what out of sync is acceptable to you. Let's say 1/10 sec. (I would be way less &quot;picky&quot; and go for let's say 1/5)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then calculate how many images you need to accumulate that out of sync, and only adjust that. This will be now adjusting only let's say one of every 10 clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2. Choose a &quot;multiple&quot; framerate&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To reduce even more the out of sync, and retime later. Let's say you choose a framerate of 10x faster, then the out of framing could be rounded a bit more accurately. 279 frames. Then retime.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-03-26T21:14:10.117" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29811" PostTypeId="2" ParentId="29809" CreationDate="2020-03-27T05:13:27.723" Score="0" Body="&lt;p&gt;To export out a video so it has an alpha channel! I hope, You need to export the file as an SWF file and I hope it'll work for you! &lt;/p&gt;&#xA;" OwnerUserId="28059" LastActivityDate="2020-03-27T05:13:27.723" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29812" PostTypeId="2" ParentId="24506" CreationDate="2020-03-27T10:38:29.733" Score="1" Body="&lt;p&gt;It's a webtool but seems interesting:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/allisonnicoledeal/VideoSync&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/allisonnicoledeal/VideoSync&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This other is open, but - AFAIK - just for Windows:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/protyposis/AudioAlign&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/protyposis/AudioAlign&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27889" LastEditorUserId="27889" LastEditDate="2020-03-30T08:58:26.747" LastActivityDate="2020-03-30T08:58:26.747" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29814" PostTypeId="1" CreationDate="2020-03-28T06:39:34.097" Score="0" ViewCount="139" Body="&lt;pre&gt;&lt;code&gt;wiggle(effect(&quot;Ondulación - posición&quot;)(&quot;Velocidad ondulación (ond/seg)&quot;), effect(&quot;Ondulación - posición&quot;)(&quot;Cantidad ondulación (píxeles)&quot;))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How to translate this expression?&lt;/p&gt;&#xA;" OwnerUserId="28072" LastEditorUserId="17390" LastEditDate="2020-04-22T14:08:29.527" LastActivityDate="2024-02-02T00:06:05.760" Title="Help Me To Translate This After Effects Expression!" Tags="|adobe|after-effects-expressions|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29816" PostTypeId="2" ParentId="29791" CreationDate="2020-03-28T18:45:50.497" Score="7" Body="&lt;h1&gt;Method 1: &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#concat&quot; rel=&quot;noreferrer&quot;&gt;concat demuxer&lt;/a&gt;&lt;/h1&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Pros&lt;/strong&gt;: Avoids re-encoding the main video and therefore preserves quality since it is &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;noreferrer&quot;&gt;stream copied&lt;/a&gt;. Fast.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Cons&lt;/strong&gt;: Requires several steps. Harder to get right, because the blank video needs to have the same attributes as the main video.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Make the black video using same attributes and same number and type of streams as the main input. This example makes a 15 second black video, frame rate of 24, size is 1280x720:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -f lavfi -i color=c=black:s=1280x720:r=24:d=15 black.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Make &lt;code&gt;input.txt&lt;/code&gt;. The order in this text file determines the order that they will appear when concatenating.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'main.mkv'&#xA;file 'black.mkv'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Concatenate:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i input.txt -c copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;Method 2: &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#concat&quot; rel=&quot;noreferrer&quot;&gt;concat filter&lt;/a&gt;&lt;/h1&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Pro&lt;/strong&gt;: Can all be done in one command.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Con&lt;/strong&gt;: Filtering requires encoding, so no stream copying of the main video as in the concat demuxer. Some attributes must still be matched.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Use the color source filter to make the 15 second, 24 fps, 1280x720 black video and append it to the end of the main video with the concat filter:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i main.mkv -filter_complex &quot;color=c=black:s=1280x720:r=24:d=15[black];[0:v][black]concat=n=2:v=1:a=0[v]&quot; -map &quot;[v]&quot; output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you prefer the black to be at the beginning instead then switch the order for the concat filter inputs, such as &lt;code&gt;[black][0:v]concat…&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h1&gt;Method 3: &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#tpad&quot; rel=&quot;noreferrer&quot;&gt;tpad&lt;/a&gt; and &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#apad&quot; rel=&quot;noreferrer&quot;&gt;apad&lt;/a&gt; filters&lt;/h1&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Pro&lt;/strong&gt;: Easy. No need to match any attributes.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Cons&lt;/strong&gt;: Filtering requires encoding, so no stream copying of the main video as in the concat demuxer. Relatively new filters: use FFmpeg 4.2 or newer, or even better use a build from the current git master branch.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Append 15 seconds of black video to the end of the main video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i main.mkv -filter_complex &quot;tpad=stop_duration=15&quot; output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you want it at the beginning instead use &lt;code&gt;start_duration&lt;/code&gt; instead of &lt;code&gt;stop_duration&lt;/code&gt;. If you want to clone the frames instead, or want a different color than black then refer to the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#tpad&quot; rel=&quot;noreferrer&quot;&gt;tpad filter documentation&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2020-03-29T21:24:26.870" LastActivityDate="2020-03-29T21:24:26.870" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="29817" PostTypeId="1" CreationDate="2020-03-28T22:13:32.657" Score="1" ViewCount="721" Body="&lt;p&gt;I am trying to clean up the audio from a video I shot. I imported the video into Adobe Audition and used all the tools to clean it up. In Audition, I can see the video in the video window and it all looks good. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once I'm done, I export it as a .wav file (have tried .mp3 as well) and when I import it into iMovie I can see that iMovie thinks they're the same time length but near the end the audio becomes out of sync and is a full few seconds longer than the original audio even though they're from the exact same source.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The tools I used are:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;De-Reverb&lt;/li&gt;&#xA;&lt;li&gt;DeEsser&lt;/li&gt;&#xA;&lt;li&gt;Voice enhancer&lt;/li&gt;&#xA;&lt;li&gt;Noise reduction process&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Can anyone help me out with this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: I tried importing into premier pro and the same thing happened.&lt;/p&gt;&#xA;" OwnerUserId="29077" LastEditorUserId="1950" LastEditDate="2020-04-03T00:24:19.190" LastActivityDate="2020-04-03T00:24:19.190" Title="Adobe Audition Exporting longer audio track than was originally given" Tags="|video-editor|adobe|audition|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29820" PostTypeId="2" ParentId="29793" CreationDate="2020-03-29T14:47:18.430" Score="0" Body="&lt;p&gt;The image to be scrolled has to be looped first and then scrolled.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -vsync 0 -i /tmp/2SN92agDIG.png -i /tmp/TogmpB9etD.png -i /tmp/lxiQXCxhaZ-1.png -filter_complex &quot;color=size=312x312:c=0xffffff[color];\&#xA;[0:v]setpts=PTS-STARTPTS,setsar=1,scale=480x320,rotate=0:c=none:ow=rotw(0):oh=roth(0),format=argb,colorchannelmixer=aa=1[0v];\&#xA;[1:v]setpts=PTS-STARTPTS,setsar=1,scale=298x301,rotate=0:c=none:ow=rotw(0):oh=roth(0),format=argb,colorchannelmixer=aa=0.8[1v];\&#xA;[2:v]setpts=PTS-STARTPTS,setsar=1,scale=288x614,rotate=0:c=none:ow=rotw(0):oh=roth(0),format=argb,colorchannelmixer=aa=1,loop=1:1,scroll=vertical=0.02857142857142857[2v];\&#xA;[color][0v]overlay=x=-76.18:y=-4[-1+0];\&#xA;[-1+0][1v]overlay=x=8.043499999999995:y=5.044000000000011[0+1];\&#xA;[0+1][2v]overlay=x=8.021000000000015:y=0&quot; -c:v h264_nvenc -t 35 -y out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(there are quite a few unnecessary or inert elements in this command, but I haven't removed them, such as the rotate filters which don't perform any rotation)&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-03-29T14:47:18.430" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29821" PostTypeId="2" ParentId="29817" CreationDate="2020-03-29T15:00:39.760" Score="1" Body="&lt;p&gt;What do Audition/Premiere show as the bit-rate of the audio file in the original source video? What do iMovie/Premiere show as the bit-rate of the audio file when imported back in?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sounds like possibly the source video is indicating an incorrect bit-rate, i.e. actually recorded at 48kHz, but being identified/treated/exported as 44.1kHz in Audition, which ends up giving it a longer run time. The audio pitch should also be slightly lower when imported back to iMovie/Premiere, possibly not enough to easily notice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would check the audio properties in the various tools, and see if that's the issue. If you check the full run time of the clip vs how many seconds extra audio, it would be easy enough to calculate if this is the problem. I would create a project in Premiere where you import the original video (with audio), and import the modified audio as well, and line them up in the same sequence - you should be able to check the properties of the two audio tracks, and spot if the edited track is stretched out overall longer than the original, or if it is some other issue. If you play the project, you should be able to hear if the tracks go slowly out of sync, or if it's some other issue such as jumping out of sync at a specific point.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this isn't the issue, maybe update the question with info on how the video was recorded, any other tools you might have passed it through, and the exact run times of the original video, original audio and edited audio. I've definitely seen this exact issue caused by 48kHz incorrectly processed as 44.1kHz and vice versa, although it's not an issue I've ever had with any of the Adobe products.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-03-29T15:00:39.760" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29822" PostTypeId="1" CreationDate="2020-03-29T15:47:18.473" Score="0" ViewCount="29" Body="&lt;p&gt;hope everyone is staying safe and healthy in this crazy time.&#xA;I've got a large, well organized repo of video - mishmash of raw video from shoots along with edited files, in all sorts of various standard formats. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm looking for a script that can start at a path, and report back on all the files it finds, with a combination of information from the file system &lt;em&gt;and&lt;/em&gt; ffprobe (or ffmpeg). I'm especially interested in readable file sizes, resolution and bitrate. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;After failing miserably on my own, i found Paul Mennen's &quot;vidtime.bat&quot; script, here: &lt;a href=&quot;http://www.mennen.org/misc/batch.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.mennen.org/misc/batch.htm&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This appears to be precisely what I'm looking for (sample output from Paul's web site is included below). My problem is that it's an old Windows script (even though it uses sed); I really need it to run on Mac OS or Ubuntu, preferably in bash. My problem is also that I can't script for s**t. If anyone knows of something that already exists that does this, or wants to make suggestions and/or take a crack at porting Paul's script, that would be amazing. I think a lot of people could really use something like this.  Cheers!  -moe&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Excerpt from mennen.org:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Here is a sample output file. When the script was invoked, the current folder contained 10 video files and no subfolders:&#xA;&#xA;************* Total run time 12:22:26 ******************* 10 video files, 4.8 GB &#xA;00:01:02   221 kbs  mpeg1   320x240      1 MB  .wmv  ---  Anticipation&#xA;01:20:16  1045 kbs  h264   1280x720    629 MB  .mp4  ---  Before Sunset 2004&#xA;00:05:15   531 kbs  flv1    640x480     20 MB  .flv  ---  Benjamin Franklin&#xA;[...]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29082" LastActivityDate="2020-03-29T15:47:18.473" Title="Looking for a UNIX shell script to aggregate and report on video file size, bitrate, and other attributes" Tags="|ffmpeg|script|ffprobe|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29824" PostTypeId="1" CreationDate="2020-03-29T17:23:48.730" Score="0" ViewCount="12" Body="&lt;p&gt;So i was having problems with editing videos and got some good tips here. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For more Context: &lt;a href=&quot;https://video.stackexchange.com/review/low-quality-posts/16592&quot;&gt;Original question&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and it got me thinking on maybe streamlining my process a bit, maybe i can get some tips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's my process:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I capture with an Aver Media LGP Lite onto my hard drive. These files are massive, so I run them through Handbrake, (reccomended settings, h.264 codec) that reduces the size drastically without quality loss.&#xA;And recently I started to put these 1-2h long videos together into 10h Videos using a program called &quot;mkvtoolnix&quot;. So I have 3 10h long videos instead of 30 1h.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Maybe I can streamline things a bit in some places:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Capture card. I am able to set a bitrate for recording. It affects file size and quality, but that's all I know. I dont know how much I need. I'm using 18 Mbps. But maybe that's overkill? And I can choose from  Video formats: MP4(H.264+AAC) and TS(H.264+AAC). I'm using MP4.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Would it make sense to use a different codec in Handbrake? Maybe one that's better fit for editing? Or does it make more sense to keep it and use proxies?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Does video length have a huge impact on editing performance? Is it better to have 10 1h videos or 1 10h video?&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="28026" LastActivityDate="2020-03-29T17:23:48.730" Title="Tipps on streamlining my recording and editing process" Tags="|editing|compression|recording|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29828" PostTypeId="1" CreationDate="2020-03-30T03:45:37.197" Score="0" ViewCount="129" Body="&lt;p&gt;Is the boom mic recording audio or do I need an audio recorder to hook it up to? &#xA;Sorry I am the biggest amateur.&lt;/p&gt;&#xA;" OwnerUserId="29091" LastActivityDate="2020-04-01T05:33:16.017" Title="Is the boom mic recording audio?" Tags="|audio|microphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29830" PostTypeId="1" AcceptedAnswerId="29841" CreationDate="2020-03-30T08:34:24.507" Score="-1" ViewCount="62" Body="&lt;p&gt;What tools or techniques do you think are used to create the following motion graphics in After Effects?&#xA;Do you think they are created using presents, plugins, expressions, or just by keyframing every step of the way? There is also Pins&amp;amp;Box script which could make similar results, but I am not sure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GeD03.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GeD03.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/MzFU7.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MzFU7.gif&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for you response&lt;/p&gt;&#xA;" OwnerUserId="29092" LastActivityDate="2020-04-20T23:58:47.500" Title="What techniques/tools are used to create this text motion graphics in After Effects?" Tags="|after-effects|animation|motion-graphics|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29831" PostTypeId="1" AcceptedAnswerId="29832" CreationDate="2020-03-30T08:39:53.667" Score="0" ViewCount="47" Body="&lt;p&gt;I a editing a video and I want to add some sound effects ie by some places add some small Bits of audio. Is there built in audio files in fcpx like in iMovie? Or do I need a plug-in? And if that is the case, what plugin?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="27977" LastActivityDate="2020-03-30T15:16:11.570" Title="Where can I find build in sounds in fcpx" Tags="|audio|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29832" PostTypeId="2" ParentId="29831" CreationDate="2020-03-30T15:16:11.570" Score="0" Body="&lt;p&gt;Make sure you do “Download Additional Content” under the Final Cut Pro menu. Download and install if you haven’t. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Left top corner next to the Library Sidebar icon is the Photo and Audio Sidebar Icon. When you in this sidebar you can find “Sound Effects” with lots of sounds you can use for free. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-03-30T15:16:11.570" CommentCount="14" ContentLicense="CC BY-SA 4.0" />
  <row Id="29834" PostTypeId="2" ParentId="20060" CreationDate="2020-03-31T04:53:36.167" Score="0" Body="&lt;p&gt;In my experience, the &lt;code&gt;slow&lt;/code&gt;-er presets make a difference when you have moving objects on the scene. AFAIK, the one of the main improvements area in x265 is the &quot;prediction&quot; and reuse of info about objects moving in the scene.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The more computing power the encoder spends on finding these moving objects and the way to encode them, the better quality (or smaller bitrate) you get.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, the answer is: It depends on the content of your clips and what do you want to do with the result. Do you need a good quality of every single frame? (Security camera) Then it's worth encoding with &lt;code&gt;slow&lt;/code&gt; and &lt;code&gt;-qb&lt;/code&gt;. Is it just an informative recording? Then go with &lt;code&gt;medium&lt;/code&gt; and &lt;code&gt;crf 28&lt;/code&gt; and &lt;code&gt;-tune film&lt;/code&gt;. &lt;/p&gt;&#xA;" OwnerUserId="14588" LastActivityDate="2020-03-31T04:53:36.167" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29836" PostTypeId="2" ParentId="29814" CreationDate="2020-03-31T15:24:28.477" Score="0" Body="&lt;p&gt;Translate this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;wiggle(effect(&quot;Ondulación - posición&quot;)(&quot;Velocidad ondulación (ond/seg)&quot;), effect(&quot;Ondulación - posición&quot;)(&quot;Cantidad ondulación (píxeles)&quot;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My best try:&#xA;Given wiggle/effect is English &#xA;wiggle(effect(&quot;wave - position&quot;)(&quot;wave speed{velocity})(wave/seconds{seg=segundos})&quot;),effect(&quot;{..repeated...}&quot;)(&quot;wave amount/size ({in} pixels)&quot;) &#xA;{} my comment &#xA;Where/what do you get this?&lt;/p&gt;&#xA;" OwnerUserId="27594" LastActivityDate="2020-03-31T15:24:28.477" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29838" PostTypeId="1" AcceptedAnswerId="29847" CreationDate="2020-04-01T00:02:52.963" Score="2" ViewCount="119" Body="&lt;p&gt;I'm a newbie when it comes to DiVince Resolve so hopefully this question isn't too stupid... I'm using version 16 and am trying to create a multi-came editing session. There are many tutorials out there and they all have a screenshot something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7FT8w.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7FT8w.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just dragged my three videos in, selected them, and right clicked and I see something very different:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0kudB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0kudB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That's all I have, not the huge menu that all the tutorials have. What step have I missed?&lt;/p&gt;&#xA;" OwnerUserId="29119" LastEditorUserId="29119" LastEditDate="2020-04-01T10:36:43.093" LastActivityDate="2020-04-01T14:45:03.387" Title="Cannot create a multi cam clip in Resolve 16" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29840" PostTypeId="1" CreationDate="2020-04-01T04:11:23.460" Score="1" ViewCount="531" Body="&lt;p&gt;As the generic title suggests, I do not know exactly how to explain my problem, neither do I know what could cause it. Hopefully this ends up to be the right place looking for help, as I do not find related issues and I am tired  of troubleshooting the unknown after many hours now. So I hope for hints now that point me to the right direction.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What I am trying to achieve&lt;/strong&gt; is to build a working streaming server for video broadcasting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What is working so far:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I set up a hls streaming server with nginx. Pushing the data via RTMP works fine (meaning: data gets created on the server). I can navigate to the stream location in the browser and download the .m3u8 playlist there.&#xA;At this point I was very excited..&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What I'd expected:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Connecting to the server in VLC plays back the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What actually happens:&lt;/strong&gt; &lt;em&gt;(or: the desperate attempt to explain the issue shortly)&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Opening the stream causes VLC to &quot;constantly reload the stream&quot;, without actually loading/playing it. It seems like the data chunks get loaded, but before they get played, VLC reloads (or maybe loads the next chunk? Or does not load data at all?). Anyway, I never see a picture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Because I cannot explain this very well I will leave instructions on how you may test the server yourself (at least for the next days, using OBS) and see what I mean (or report back a different behavior):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Feel free to open OBS and connect to:  &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Server: [expired]&lt;/li&gt;&#xA;&lt;li&gt;Streamkey: debug &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Start streaming&#xA;   and connect to the server at [expired]&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will gladly add missing configuration details if you request them in the comments. For now, I want to keep the question clean, and get an impression what you think may cause this behavior.. Codecs? Missing HTTP-Headers? Wrong configuration (chunksize/keyframe-rate/..)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I highly appreciate your effort and will leave the streaming server open for demo purposes for a while. Please understand that for several reasons this server won't stay publicly accessible for a long time (a few days max).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;-- Edit: For the technically interested, you can find the configuration files &lt;a href=&quot;https://stackoverflow.com/questions/60963809/nginx-streaming-server-serving-stream-that-causes-vlc-to-reload-in-a-loop&quot;&gt;in this stack overflow question&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29120" LastEditorUserId="29120" LastEditDate="2020-04-02T15:24:42.017" LastActivityDate="2023-12-13T21:07:30.880" Title="Network Stream reloading in a loop (Nginx/RTMP Streaming Server)" Tags="|streaming|codec|rtmp|engineering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29841" PostTypeId="2" ParentId="29830" CreationDate="2020-04-01T05:16:49.587" Score="2" Body="&lt;p&gt;Text animators are an essential part of working with text in AE, I suggest you read up on them, &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/animating-text.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;which you can do here.&lt;/a&gt; Text animators give you lots of tools for doing the kind of effects you want, but they're slightly unintuitive. However for the beginner there are dozens of presets included.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as the boxes go, it's a fairly simple animating task, that could be achieved with masks, matte layers, animated shape layers, a combination of the above, or probably a dozen other techniques. A good tip is to slow down the video you want to reproduce, and work out what exactly is going on frame-by-frame. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example the &lt;em&gt;eat less junk food&lt;/em&gt; text box starts as a series of boxes which you could create using shapes that have their scale animated, until they overlap and form a single box. Or perhaps you could have a single box that is revealed by a number of masks that are animated to grow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The box is then split in two which you could achieve with another animated mask using the subtract masking mode that starts with zero width and grows until it covers the box completely. Notice that as this happens the green shape is growing slightly, so you animate its scale as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;TL;DR&lt;/strong&gt;: the plugin you need is called Animation™.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-04-01T05:16:49.587" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29842" PostTypeId="2" ParentId="29828" CreationDate="2020-04-01T05:33:16.017" Score="1" Body="&lt;p&gt;The boom mic is a sensor. It converts audio into an electrical signal. To record that signal you need a recorder of some kind, one that is capable of amplifying a microphone level signal and recording it. Usually that means a digital recording device, which could include something like a Zoom recorder, a camera with an external mic input, a phone with a mic input, or a PC with a mic input.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8vQnz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8vQnz.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The type of device depends on your needs and budget. The recorder you have is the the best recorder, so if you don't want to spend money you could investigate whether you can plug an external mic into whatever equipment you have at hand. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Depending on your microphone you may need an adapter to change the plug into the plug on the device. Professional microphones almost all have a three-pin connection called an XLR connector (pictured below on the right), consumer grade mics usually have a mini-jack connector (below left). So if you have the former on your microphone, but the latter on your recorder (e.g. the Zoom H1n pictured above only has a mini-jack input), you'll need something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0jnHh.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0jnHh.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-04-01T05:33:16.017" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29843" PostTypeId="1" CreationDate="2020-04-01T05:40:57.867" Score="2" ViewCount="77" Body="&lt;p&gt;If I record some video of a static scene, there is noise in the video that makes it obvious that it is video and not a still photograph.   But if I add a photograph to a video in a non-linear video editor, it is obvious that it is a still photograph because of the lack of this noise.  How can I add such noise?  My first thought was to create a mostly transparent layer that just has low-level noise, but then I realize that this will give it more of a noisy effect that doesn't resemble live video.  What are some other effects that I can use to make a still photograph look like it was shot as video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If it makes a difference, I am using the OpenShot editor. (There doesn't appear to be a tag for this)&lt;/p&gt;&#xA;" OwnerUserId="29121" LastActivityDate="2020-05-04T09:40:44.787" Title="Adding noise to a still photograph to make it look live" Tags="|video-editor|effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29845" PostTypeId="1" CreationDate="2020-04-01T13:43:53.830" Score="0" ViewCount="2699" Body="&lt;p&gt;I am generating 10 seconds of silence using an image. Here is my command&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -framerate 24 -t 10 image.jpg -f lavfi -t 10 -i anullsrc -filter_complex &quot;[0][1]concat=n=2:v=1:a=1&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Also, I have tried &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -framerate 24 -t 10 beach.jpg -f lavfi -t 10 -i anullsrc -filter_complex &quot;[0:v][1:a]concat=n=2:v=1:a=1&quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I am getting following errors&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.2.2 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with Apple clang version 11.0.0 (clang-1100.0.33.17)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/4.2.2_2 --enable-shared --enable-pthreads --enable-version3 --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-ffplay --enable-gnutls --enable-gpl --enable-libaom --enable-libbluray --enable-libmp3lame --enable-libopus --enable-librubberband --enable-libsnappy --enable-libtesseract --enable-libtheora --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-lzma --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librtmp --enable-libspeex --enable-libsoxr --enable-videotoolbox --disable-libjack --disable-indev=jack&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, lavfi, from 'anullsrc':&#xA;  Duration: N/A, start: 0.000000, bitrate: 705 kb/s&#xA;    Stream #0:0: Audio: pcm_u8, 44100 Hz, stereo, u8, 705 kb/s&#xA;Stream specifier '' in filtergraph description [0][1]concat=n=2:v=1:a=1 matches no streams.&#xA;&#xA;ffmpeg -loop 1 -framerate 24 -t 10 beach.jpg -f lavfi -t 10 -i anullsrc -filter_complex &quot;[0:v][1:a]concat=n=2:v=1:a=1&quot; out.mp4&#xA;ffmpeg version 4.2.2 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with Apple clang version 11.0.0 (clang-1100.0.33.17)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/4.2.2_2 --enable-shared --enable-pthreads --enable-version3 --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-ffplay --enable-gnutls --enable-gpl --enable-libaom --enable-libbluray --enable-libmp3lame --enable-libopus --enable-librubberband --enable-libsnappy --enable-libtesseract --enable-libtheora --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-lzma --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librtmp --enable-libspeex --enable-libsoxr --enable-videotoolbox --disable-libjack --disable-indev=jack&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, lavfi, from 'anullsrc':&#xA;  Duration: N/A, start: 0.000000, bitrate: 705 kb/s&#xA;    Stream #0:0: Audio: pcm_u8, 44100 Hz, stereo, u8, 705 kb/s&#xA;Stream specifier ':v' in filtergraph description [0:v][1:a]concat=n=2:v=1:a=1 matches no streams.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29128" LastActivityDate="2023-12-12T22:05:05.587" Title="I am getting &quot;Stream specifier ' ' in filtergraph description&quot; in ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29846" PostTypeId="2" ParentId="29845" CreationDate="2020-04-01T14:23:27.903" Score="0" Body="&lt;p&gt;Your command is missing the &lt;code&gt;-i&lt;/code&gt; token for the image input, so it should be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -framerate 24 -t 10 -i image.jpg -f lavfi ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, for the actual task at hand, the concat filter is not required.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -framerate 24 -t 10 -i image.jpg -f lavfi -t 10 -i anullsrc out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2020-04-01T15:08:07.887" LastActivityDate="2020-04-01T15:08:07.887" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="29847" PostTypeId="2" ParentId="29838" CreationDate="2020-04-01T14:45:03.387" Score="2" Body="&lt;p&gt;To see that contextual menu item, switch to the Edit page.  You are on the Cut page.  The Cut page uses a different method to create multicam clips, called the &quot;Sync Bin.&quot;  Sync bin is most useful when you have sync'ed timecode on all of your cameras, which you don't have, I promise.  So, switch to the Edit page, and right-click on the clips you want to turn into a multicam clip there.  Once done, if you prefer to work on the Cut page, you can switch back.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Personally, I would recommend familiarizing yourself with the Edit page.  When BlackMagic introduced the Cut page, they intended it to be a simplified, minimal approach to editing.  To do this, they removed access to much of Resolve's core functionality. As you've discovered, it is sometimes impossible to accomplish basic tasks without switching into the full UI. This defeats the purpose of having a simplified one.  To their credit, the Cut page is a work in progress, and BMD have already improved it over its initial incarnation.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-04-01T14:45:03.387" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29848" PostTypeId="1" AcceptedAnswerId="29851" CreationDate="2020-04-01T15:19:08.060" Score="0" ViewCount="450" Body="&lt;p&gt;I have a 8 audio track mov file which I want to encode to mp4 using ffmpeg BUT take the tracks 7+8 and put them as stereo with 320k and 48KHz to that mp4. My line is this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i %source% -map 0:0 -map 0:7 -map 0:8 -c:a:0 aac -ab:1 320k -ar:1 48000 -ac:1 2 -disposition:a:0 default -c:a:1 aac -ab:2 320k -ar:2 48000 -ac:2 1 -disposition:a:1 0 -strict -2 -async 1 -c:v libx264 -b:v 9300k -minrate 9300k -maxrate 9300k -bufsize 2325k -r 24 -force_fps -s 1920x1080 -aspect 1:1 -pix_fmt yuv420p -profile:v high -preset medium -level 40 -partitions partb8x8+partp4x4+partp8x8+parti8x8 -b-pyramid 2 -weightb 1 -8x8dct 1 -fast-pskip 1 -direct-pred 1 -x264-params force-cfr=1 -coder ac -trellis 1 -me_method hex -flags +loop -sc_threshold 40 -keyint_min 24 -g 240 -qmin 3 -qmax 51 -threads 12 -metadata creation_time=now -sn -y %source%_FINAL.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What do I have to change in order to make it stereo instead of 2 mono? I tried adding&lt;code&gt;-filter_complex &quot;[0:7][0:8] amerge=inputs=2&quot; c:a aac -ab 320k&lt;/code&gt; at the beginning but it didnt work. What am I doing wrong? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="29131" LastActivityDate="2020-04-03T09:52:35.063" Title="ffmpeg take channels 7+8 and make a stereo" Tags="|video|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29849" PostTypeId="1" CreationDate="2020-04-01T16:44:47.303" Score="0" ViewCount="767" Body="&lt;p&gt;I have created a fusion clip in Resolve 16 which displays a logo. On my timeline I also have a sound clip to go with the animation. Those are the only two clips in my project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now what I would like to make this reusable. In a perfect world as a mov file with an alpha channel which I can just slap onto any timeline in any project.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried rendering (individual clips) with the Grass Valley codec so that I can export the alpha channel but the resulting mov has no audio and the quality of the logo is real bad. When I render it using H.264 I have a black background but the quality of the logo is as I would expect and the sound is there too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So how do I go about making Logo Animation + Sound reusable? I should say that I'm fairly new to Resolve.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: In the screenshots you can see the animation looking good in the fusion page. In the color page it looks good when played. When stopped artefacts are showing. After connecting to an alpha channel the artefacts become real bad.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/Vhlcu.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="29134" LastEditorUserId="29134" LastEditDate="2020-04-02T18:53:10.813" LastActivityDate="2023-12-14T05:03:55.500" Title="Reusable Fusion Clip with Sound in Davinci Resolve" Tags="|animation|davinci-resolve|rendering|fusion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29850" PostTypeId="2" ParentId="27637" CreationDate="2020-04-01T20:01:24.637" Score="1" Body="&lt;p&gt;&lt;strong&gt;The Subsequence Method:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;This is the first method I developed to work in this situation.  I'm posting it as an answer here because it might be a sufficient answer for someone with a similar problem.  However, I do not consider it a good or elegant solution.  It has serious drawbacks which complicate the editing process (Subsequences don't display audio waveforms on the timeline, using Shift+O to open in source monitor is awkward, e.g.). I mention Reaper in this answer because it's the specific DAW we're targeting, but the advice might be generalized to other DAWs. Vordio is a translation tool which works in this context, but I cannot comment on its efficacy in others; YMMV&lt;/em&gt; &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select all of the Zoom audio, right-click on it, and “select modify audio channels.” Change number of audio clips to 1, set clip channel format to adaptive, click OK.&lt;/li&gt;&#xA;&lt;li&gt;Create a new sequence from the file menu, making sure that the audio tracks are adaptive.  This first sequence is just for sync dailies, so you only need one adaptive (or stereo) track on A1 for camera scratch, and a Poly on A2 for Zoom audio (with # of channels depending on how many sources used by the recordist.&lt;/li&gt;&#xA;&lt;li&gt;String out the video by selecting it all, and clicking the automate to sequence button.  The camera scratch audio should land on A1 when you do this.&lt;/li&gt;&#xA;&lt;li&gt;Drop Zoom audio on A2 and sync each clip, one-by-one, either by using the “syncronize” command, or by lining up slates&lt;/li&gt;&#xA;&lt;li&gt;Once you’re done syncronizing, delete A1 camera scratch.  You don’t need it any more.&lt;/li&gt;&#xA;&lt;li&gt;Select each A/V clip pair in turn and “Link”.  This step’s kinda optional, but without it, the Subsequences generated in the next step won’t be linked.&lt;/li&gt;&#xA;&lt;li&gt;Select each linked pair in turn and “Make Subsequence”&lt;/li&gt;&#xA;&lt;li&gt;Re-name all of the subsequences.&#xA;Now, make a new timeline for editing.  Since double clicking subsequences in the project browser doesn’t open them in the source viewer like regular clips, you’ll want to use Shift+O (That’s an Oh, not a zero) instead.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Edit your material&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once your edit is locked, you need to flatten the subsequences before sending to reaper.  &lt;a href=&quot;https://video.stackexchange.com/questions/18550/flattening-a-sequence-in-adobe-premiere-collapsing-included-sequences&quot;&gt;Follow these steps&lt;/a&gt;.&#xA;Basically, make sure the “insert and overwrite nested sequences as nests or individual clips button” is disabled (white, not blue)&#xA;Make sure selection follows playhead is enabled&#xA;Lock any tracks you don’t want to affect, and make sure the sequence targeting is active for the track you do want to affect&#xA;Repeat the keyboard sequence: [ x ] [ f ] [ . ] [ shift+3 ] (ex, eff, period, shift key and number three together) for every clip in the timeline.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, to export a project for mixing, follow these steps:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Command+M&lt;/li&gt;&#xA;&lt;li&gt;Set Format to Quicktime, Chose Apple Prores Proxy from the Preset dropdown. Under the “Basic Video Settings” section of the “Video” tab, uncheck the box next to width and height and change either number to a quarter of their original size.  The other number should scale by the same amount automatically.  If it doesn’t, make sure the link icon is active.&lt;/li&gt;&#xA;&lt;li&gt;Under the “Audio Channel Configuration” section of the “Audio” Tab, change “Output Channels” to match the number of channels in the poly wave.  Make sure all of the other, “Basic Audio Settings” match the quality of audio the recordist started with.&lt;/li&gt;&#xA;&lt;li&gt;Hit Queue, and let Media Encoder do its thing.&#xA;Now, to translate via Vordio for Reaper, follow these steps:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;In Premiere, do File-&gt;Export-&gt;Final Cut Pro XML.  Use the default Final Cut XML version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Download Vordio if you don’t already have it (&lt;a href=&quot;http://vordio.net/download/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://vordio.net/download/&lt;/a&gt;) , and open it.  In the “Convert Project” tab, click “Browse” by the “Source File” field, and navigate to wherever you saved the XML.   Browse for an Output Folder the same way, and click convert (all of the other settings can be left at default)&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-04-01T20:01:24.637" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29851" PostTypeId="2" ParentId="29848" CreationDate="2020-04-01T21:06:26.460" Score="0" Body="&lt;p&gt;Try something like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1) Merge Audio Tracks 7 and 8, put it in Audio Track 1, discard other Audio Tracks from source:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;in.mxf&quot; -filter_complex &quot;[0:7][0:8]amerge=inputs=2[mergedAudio]&quot; -map 0:v -map &quot;[mergedAudio]&quot; &quot;out.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In some cases you might add the option &lt;code&gt;-ac 2&lt;/code&gt; between the end-&lt;code&gt;&quot;&lt;/code&gt; of filter complex and the 1st &lt;code&gt;map&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2) &lt;code&gt;1)&lt;/code&gt; combined with all (useful) parameters of your code:&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;in.mov&quot; -filter_complex &quot;[0:7][0:8]amerge=inputs=2[mergedAudio]&quot; -map 0:v -map &quot;[mergedAudio]&quot; -ac 2 -c:a aac -b:a 320k -ar 48000 -disposition:a:0 default -strict -2 -c:v libx264 -b:v 9300k -minrate 9300k -maxrate 9300k -bufsize 2325k -r 24 -force_fps -s 1920x1080 -aspect 1:1 -pix_fmt yuv420p -profile:v high -preset medium -level 40 -partitions partb8x8+partp4x4+partp8x8+parti8x8 -b-pyramid 2 -weightb 1 -8x8dct 1 -fast-pskip 1 -direct-pred 1 -x264-params force-cfr=1 -coder ac -trellis 1 -me_method hex -flags +loop -sc_threshold 40 -keyint_min 24 -g 240 -qmin 3 -qmax 51 -threads 12 -metadata creation_time=now -sn -y FINAL.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You had a space in your bitrate &lt;code&gt;-ab:1 320k&lt;/code&gt;. I have changed it to the current syntax &lt;code&gt;-b:a 320k&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Same with &lt;code&gt;-ar:1 48000&lt;/code&gt; -&gt; &lt;code&gt;-ar 48000&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Removed &lt;code&gt;-async 1&lt;/code&gt; because it threw an error&lt;/p&gt;&#xA;" OwnerUserId="24237" LastEditorUserId="24237" LastEditDate="2020-04-03T09:52:35.063" LastActivityDate="2020-04-03T09:52:35.063" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="29853" PostTypeId="2" ParentId="29706" CreationDate="2020-04-01T21:13:35.653" Score="1" Body="&lt;p&gt;Try this and see for yourself if the performance and quality are sufficient for your undertaking:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;00020.MTS&quot; -map 0 -c:v libx264 &quot;00020.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2020-04-01T21:13:35.653" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29855" PostTypeId="2" ParentId="29843" CreationDate="2020-04-01T21:28:34.787" Score="2" Body="&lt;p&gt;I suggest to use the very noise that your camera captures and blend it with the photograph.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;point your camera against a white object (e.g. wall, door)&lt;/li&gt;&#xA;&lt;li&gt;The automatic exposure should stop down the lens until the white becomes a mid grey.&lt;/li&gt;&#xA;&lt;li&gt;capture as long as you need&lt;/li&gt;&#xA;&lt;li&gt;In your Editor, blend the grey noise with the photo by using a layer blending mode like &quot;multiply&quot; or &quot;overlay&quot; (at least &lt;a href=&quot;https://shotcut.org/features/&quot; rel=&quot;nofollow noreferrer&quot;&gt;shotcut&lt;/a&gt; has blending modes)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2020-04-01T21:28:34.787" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29857" PostTypeId="2" ParentId="29849" CreationDate="2020-04-02T01:56:21.060" Score="0" Body="&lt;p&gt;Lasso both of them, right-click, and create a new compound clip. You could store this compound clip within a power bin, and it would be available for re-use in future projects. Or, you could write out a proRes 4444 file to your desktop and import into new projects whenever you need to (has to be 4444 at least to support transparency. If you use a different codec, be sure it does too; common ones like h.264 do not). In either case, if you have trouble with an alpha channel not showing up, you need to go into the color page, right click on the background of the node viewer and select “add alpha output”, then wire the new blue triangle output to whichever node you’re trying to get transparency from. BMD have made this step less necessary in some situations, and try to automatically display transparency when appropriate, but you’ll still encounter black sometimes, and if you do, that’s where you fix it. Oh, and when you say “render individual clips,” don’t use the render individual clips button n the deliver page. It’s for round-tripping to other software, it won’t export single clips like you see them on the timeline. To do that, you can right-click on the clip thumbnail in the deliver page and select “render this clip” from the drop down to set the in and out points to a single clip. The results are very different.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-04-02T02:11:35.013" LastActivityDate="2020-04-02T02:11:35.013" CommentCount="12" ContentLicense="CC BY-SA 4.0" />
  <row Id="29859" PostTypeId="1" CreationDate="2020-04-02T08:26:43.253" Score="1" ViewCount="98" Body="&lt;p&gt;For windows, using OBS studio, I can record the screen of a particular application. If in between, I open another window, the recorder records only the selected window and not the window on top.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But on android, all the screen recorder apps I've seen record what's shown on the screen. In between, if some notification pops up, that is also recorded. I want to avoid that for privacy concerns. Is there any app which does that? I don't mind if it shows blank screen when some other app or notification pops up. &lt;/p&gt;&#xA;" OwnerUserId="21062" LastActivityDate="2020-04-02T08:26:43.253" Title="Application specific screen recorder for Android" Tags="|video-recording|video-capture|obs|android|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29860" PostTypeId="1" CreationDate="2020-04-02T10:34:10.280" Score="3" ViewCount="1370" Body="&lt;p&gt;I'm trying to get multiple snapshots of a single input file using &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Seeking&quot; rel=&quot;nofollow noreferrer&quot;&gt;Input Seeking&lt;/a&gt;.&#xA;I want to seek to different keyframes and save each to different output images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can use this using multiple calls:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 280 -i sample.mp4 -aspect 1.7777777777778 -vframes 1 -qmax 9 -qmin 8 -bt 10000000 -y -pix_fmt yuv420p out1.jpg&#xA;ffmpeg -ss 300 -i sample.mp4 -aspect 1.7777777777778 -vframes 1 -qmax 9 -qmin 8 -bt 10000000 -y -pix_fmt yuv420p out2.jpg&#xA;ffmpeg -ss 302 -i sample.mp4 -aspect 1.7777777777778 -vframes 1 -qmax 9 -qmin 8 -bt 10000000 -y -pix_fmt yuv420p out3.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Unfortunately I have to call ffmpeg programmatically using exec. Is there a way to batch process the tasks above? &lt;strong&gt;It has to use input seeking&lt;/strong&gt;. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="29142" LastActivityDate="2020-12-28T16:04:55.500" Title="FFmpeg Single Input, Seek to Multiple Outputs" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29862" PostTypeId="2" ParentId="29860" CreationDate="2020-04-02T14:53:37.807" Score="1" Body="&lt;p&gt;There are two basic ways to do this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) feed file as multiple inputs and extract one image from each input&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 280 -i sample.mp4 -ss 300 -i sample.mp4 -ss 302 -i sample.mp4&#xA;-map 0 -aspect 1.7777777777778 -vframes 1 -qmax 9 -qmin 8 -bt 10000000 -y -pix_fmt yuv420p out1.jpg&#xA;-map 1 -aspect 1.7777777777778 -vframes 1 -qmax 9 -qmin 8 -bt 10000000 -y -pix_fmt yuv420p out2.jpg&#xA;-map 2 -aspect 1.7777777777778 -vframes 1 -qmax 9 -qmin 8 -bt 10000000 -y -pix_fmt yuv420p out3.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This method can get unwieldy with many targets or if the input is read from over a network.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) feed it as one input but only decode keyframes and output as one stream.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -skip_frame nokey -i sample.mp4 -vf &quot;select='lt(abs(t-280),0.2)+lt(abs(t-300),0.2)+lt(abs(t-302),0.2)'&quot; -aspect 1.7777777777778 -qmax 9 -qmin 8 -bt 10000000 -y -pix_fmt yuv420p -vsync 0 out%d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This allows a leeway of 0.2 seconds in identified keyframe timings.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-04-02T14:53:37.807" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29864" PostTypeId="2" ParentId="29840" CreationDate="2020-04-02T15:25:40.507" Score="0" Body="&lt;p&gt;using vlc -vv helped me to track down the issue. It was a missing character in one of the configuration files that caused vlc to not connect to the server.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sorry for the noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(If you are interested in the resolution, check the stack-overflow post linked to in the question)&lt;/p&gt;&#xA;" OwnerUserId="29120" LastActivityDate="2020-04-02T15:25:40.507" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29869" PostTypeId="2" ParentId="23870" CreationDate="2020-04-03T23:07:06.670" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://stackoverflow.com/questions/6014904/h264-frame-viewer&quot;&gt;https://stackoverflow.com/questions/6014904/h264-frame-viewer&lt;/a&gt; has some good answers. For example, &lt;a href=&quot;https://github.com/shi-yan/H264Naked&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/shi-yan/H264Naked&lt;/a&gt; worked well when I tried it.&lt;/p&gt;&#xA;" OwnerUserId="29165" LastActivityDate="2020-04-03T23:07:06.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29870" PostTypeId="2" ParentId="29699" CreationDate="2020-04-04T11:46:30.747" Score="1" Body="&lt;p&gt;You can use the geq filter to remap the pixel value ranges.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg&#xA; -i input&#xA; -vf &quot;geq=lum='(p(X,Y)-16)/(255-16)*(235-16)+16':cb='(p(X,Y)-16)/(255-16)*(240-16)+16'&quot;&#xA; -c:v libx264 -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The geq filter rescales the input luma from 16-255 to 16-235, and both the input chroma from 16-255 to 16-240, which is  the legal range for broadcast 8-bit signals.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-04-04T11:46:30.747" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29871" PostTypeId="1" CreationDate="2020-04-04T13:02:12.953" Score="0" ViewCount="224" Body="&lt;p&gt;I have a very high quality video and I need to produce a high quality and a low quality version for transport into other systems.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the high quality version I use&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a lossy compression (currently VP9 because I have HW acceleration for that)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;For the low quality version I use&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;half the framerate (possibly I could use even lower)&lt;/li&gt;&#xA;&lt;li&gt;lower resolution&lt;/li&gt;&#xA;&lt;li&gt;cropping to 50% of the canvas&lt;/li&gt;&#xA;&lt;li&gt;possibly an even lossier compression&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Both video files need to be transferred over the same limited bandwidth link. The lower quality is somewhat time critical, so it needs to be as small as possible. The high quality video is not time critical, it can be transferred whenever free bandwidth is available. But the link being limited overall, I do not want to waste anything. Obviously some information is duplicated if I transfer the low quality video first and then the full high quality video. I wonder whether there are existing &lt;a href=&quot;https://en.wikipedia.org/wiki/Delta_encoding&quot; rel=&quot;nofollow noreferrer&quot;&gt;delta encodings&lt;/a&gt; that allow me to transfer only the low quality file and a delta file and reconstruct a high quality video at the destination.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although information is duplicated, with standard video compressions I don't think there is much data duplicated if I just produce 2 videos using different parameters. So the delta would not be helpful. Instead the video encoding needs to be tuned in a clever way resulting in duplicated data that does not need to be sent twice. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A very naive algorithm to produce a useful delta would work like this: I start to produce the high quality version, thereby guaranteeing that every odd frame (if counting starts at 1) is an I-frame. To produce the low quality version I remove every even frame from the high quality version. So I get a low quality video with half the frame rate. As the delta I collect all the even frames and transfer them separately. At the destination I can combine odd and even frames again to losslessly reconstruct the high quality video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously that is not a very good algorithm. The delta will most likely be p-frames (or b if the codec used those). So I end up with a &quot;big&quot; low quality video and a &quot;small&quot; delta. The &quot;other way round&quot; would be preferred. Maybe the low quality video consisting of only I-frames could still be compressed using a lossless compression. This algorithm does not yet make use of cropping and downscaling. The cropping part I might be able to figure out myself without deeper studies in video encoding, the downscaling unlikely so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So the question is: Are there known delta encodings for video files that would be applicable here? Preferably with an open source implementation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a further constraint I do not have a GPU available on the machine applying the delta. (But a GPU is available on the machine producing the delta.)&lt;/p&gt;&#xA;" OwnerUserId="29170" LastEditorUserId="29170" LastEditDate="2020-04-05T07:58:44.867" LastActivityDate="2020-04-05T07:58:44.867" Title="Delta encoding for video files?" Tags="|video|encoding|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29872" PostTypeId="1" CreationDate="2020-04-05T06:04:51.007" Score="0" ViewCount="283" Body="&lt;p&gt;I'm looking for a way (i.e. a particular software) to recreate the kind of DVD menus that were ubiquitous in the late 90s/early 2000s, the kind you would expect if you took your vacation tapes to a place that turned them into a DVD for you. I'm hoping not to mimic it visually with contemporary software—unless someone has a good tip how to do so—but instead use the actual process that these kinds of menus were created with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is also under the assumption that these were actually DVD menus: it occurred to me maybe it was the DVD players themselves that offered these menus as ways to navigate files on a disc? Perhaps someone can confirm.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Wmb3T.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Wmb3T.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="9220" LastActivityDate="2020-04-07T18:27:47.903" Title="Retro/90s/early 00s DVD menus" Tags="|software-recommendation|dvd|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="29879" PostTypeId="2" ParentId="16919" CreationDate="2020-04-06T05:39:18.730" Score="0" Body="&lt;p&gt;Similarly, if you upload to Youtube and as it's playing, right click and choose loop.&#xA;Needs to be done for each launch b&lt;/p&gt;&#xA;" OwnerUserId="29189" LastActivityDate="2020-04-06T05:39:18.730" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29880" PostTypeId="1" CreationDate="2020-04-06T12:39:44.383" Score="0" ViewCount="117" Body="&lt;p&gt;I am using Vegas Pro as an editing tool for my videos. What codec (currently using x264vfw) and settings are best to render 1080p 60fps video for YouTube if I &lt;strong&gt;don't&lt;/strong&gt; care about either rendering time or file size/upload time?&lt;/p&gt;&#xA;" OwnerUserId="29193" LastEditorUserId="18155" LastEditDate="2020-04-11T10:58:36.773" LastActivityDate="2020-04-11T15:38:32.580" Title="Best render settings for youtube" Tags="|codec|youtube|vegas-pro|render|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29882" PostTypeId="1" CreationDate="2020-04-06T13:56:59.850" Score="0" ViewCount="174" Body="&lt;p&gt;This is on linux with pulseaudio. I need to record a video with a rather bare-bones recorder that runs in chrome. I decided to fake a camera and a mic so that I can edit the video then use ffmpeg to send the video to a dummy camera created with v4l2loopback and set the chrome input in pavucontrol. This s what I have:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -i ~/xxx.mp4 -map 0:v -f v4l2 /dev/video2 -f pulse &quot;alsa_output.pci-0000_00_1f.3.analog-stereo.monitor&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where /dev/video2 is the loopback camera. This seems to work fine, but the audio lags the video by a few seconds. I verified that they are very much in sync by playing the mp4 normally. How do I fix this?&lt;/p&gt;&#xA;" OwnerUserId="29197" LastActivityDate="2020-04-06T13:56:59.850" Title="ffmpeg fake camera and mic out of sync" Tags="|ffmpeg|linux|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29885" PostTypeId="1" CreationDate="2020-04-06T19:36:08.243" Score="1" ViewCount="3547" Body="&lt;p&gt;I am currently trying to give DaVinci a try for my video editing needs. However, I am running into issues, which seem to be graphics card related.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It crashes like this (from the logs):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[0x7fb0b796c000] | Main                 | INFO  | 2020-04-06 13:25:43,873 | Running DaVinci Resolve v16.2.0.055 (Linux/Clang)&#xA;[0x7fb0b796c000] | Main                 | INFO  | 2020-04-06 13:25:43,874 | Updating display GPU information...&#xA;OpenCL error -1001: 'Unspecified Error', GPUPropertiesUtilUnix.cpp:338.&#xA;terminate called after throwing an instance of 'ReactorGPU::GPUException'&#xA;&#xA;&#xA;==========[CRASH DUMP]==========&#xA;Please send this to support:&#xA;&#xA;#TIME Mon Apr  6 13:25:43 2020 - Uptime 00:00:00 (hh:mm:ss)&#xA;#PROGRAM_NAME DaVinci Resolve v16.2.0.055 (Linux/Clang)&#xA;&#xA;/opt/resolve/bin/resolve() [0x54a0029]&#xA;/opt/resolve/bin/resolve() [0x549f81a]&#xA;/lib/x86_64-linux-gnu/libpthread.so.0(+0x12890) [0x7fb0c1d4e890]&#xA;/lib/x86_64-linux-gnu/libc.so.6(gsignal+0xc7) [0x7fb0bfad2e97]&#xA;/lib/x86_64-linux-gnu/libc.so.6(abort+0x141) [0x7fb0bfad4801]&#xA;/opt/resolve/bin/resolve(_ZN9__gnu_cxx27__verbose_terminate_handlerEv+0x15d) [0x720748d]&#xA;/opt/resolve/bin/../libs/libc++abi.so.1(+0x22086) [0x7fb0f3e58086]&#xA;/opt/resolve/bin/../libs/libc++abi.so.1(+0x21a27) [0x7fb0f3e57a27]&#xA;/opt/resolve/bin/resolve() [0x1fabdbc]&#xA;/opt/resolve/bin/resolve() [0x1fab589]&#xA;/opt/resolve/bin/resolve() [0x1fa539c]&#xA;/opt/resolve/bin/resolve() [0x1f727cc]&#xA;/opt/resolve/bin/resolve() [0x1f6f8de]&#xA;/opt/resolve/bin/resolve() [0x1f6e33e]&#xA;/opt/resolve/bin/resolve() [0x1f6dbe8]&#xA;/opt/resolve/bin/resolve() [0x1f8299a]&#xA;/opt/resolve/bin/resolve() [0x1f698ff]&#xA;/lib/x86_64-linux-gnu/libc.so.6(__libc_start_main+0xe7) [0x7fb0bfab5b97]&#xA;/opt/resolve/bin/resolve() [0x1f68b7d]&#xA;Signal Number = 6&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The CPU and Graphics card on this machine are as follows:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  *-display                 &#xA;       description: VGA compatible controller&#xA;       product: Xeon E3-1200 v3/4th Gen Core Processor Integrated Graphics Controller&#xA;       vendor: Intel Corporation&#xA;       physical id: 2&#xA;       bus info: pci@0000:00:02.0&#xA;       version: 06&#xA;       width: 64 bits&#xA;       clock: 33MHz&#xA;       capabilities: msi pm vga_controller bus_master cap_list rom&#xA;       configuration: driver=i915 latency=0&#xA;       resources: irq:32 memory:f7800000-f7bfffff memory:e0000000-efffffff ioport:f000(size=64) memory:c0000-dffff&#xA;&#xA;     *-cpu&#xA;          description: CPU&#xA;          product: Intel(R) Core(TM) i7-4790K CPU @ 4.00GHz&#xA;          bus info: cpu@0&#xA;          version: Intel(R) Core(TM) i7-4790K CPU @ 4.00GHz&#xA;          slot: CPUSocket&#xA;          capabilities: x86-64 fpu fpu_exception wp vme de pse tsc msr pae mce cx8 apic sep mtrr pge mca cmov pat pse36 clflush dts acpi mmx fxsr sse sse2 ss ht tm pbe syscall nx pdpe1gb rdtscp constant_tsc arch_perfmon pebs bts rep_good nopl xtopology nonstop_tsc cpuid aperfmperf pni pclmulqdq dtes64 monitor ds_cpl vmx est tm2 ssse3 sdbg fma cx16 xtpr pdcm pcid sse4_1 sse4_2 x2apic movbe popcnt tsc_deadline_timer aes xsave avx f16c rdrand lahf_lm abm cpuid_fault invpcid_single pti ssbd ibrs ibpb stibp tpr_shadow vnmi flexpriority ept vpid fsgsbase tsc_adjust bmi1 avx2 smep bmi2 erms invpcid xsaveopt dtherm ida arat pln pts md_clear flush_l1d cpufreq&#xA;             slot: CPU Internal L1&#xA;             slot: CPU Internal L2&#xA;             slot: CPU Internal L3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;More specifically, the graphics card is a Gen 4 Intel 4600. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know if it is possible to get DaVinci working on this system? If so, how should I troubleshoot this issue?&lt;/p&gt;&#xA;" OwnerUserId="26734" LastActivityDate="2020-04-24T19:06:49.673" Title="Getting DaVinci 16.2 Resolve to Work with Intel Gen 4 Graphics" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29887" PostTypeId="1" CreationDate="2020-04-07T05:37:38.393" Score="0" ViewCount="2226" Body="&lt;p&gt;Is it possible at all to convert G.711 audio to AAC audio in a stream using ffmpeg? My cam is streaming fine in Chrome (video + audio) but all the other browsers have no audio. I would appreciate any help / input / suggestions / comments at all. Many thanks in advance!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -rtsp_transport tcp -i rtsp://login:password@1.1.1.1:554/11 -map 0 -c:v copy -c:a copy -f &#xA;segment -segment_list /usr/local/nginx/html/hls/mystream.m3u8 -segment_list_type hls - &#xA;segment_list_size 10 -segment_list_flags +live /usr/local/nginx/html/hls/mystream%01d.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have of course tried putting -c:a aac there before but it does not help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are millions of online tutorials and examples on how to convert a file. But it's not a file in my case it's a live stream. Am I missing something here? Do I perhaps somehow have to convert my final output file called mystream.m3u8?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. Currently my cam is streaming in libx264 for video and G.711 for audio, but I can easily change it to stream in libx265 for video and G.726 for audio should that be of any help to play both video + audio. These are the only two options available in my camera and I cannot set it to anything else.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S.S. Here's the copy-pasted log, Gyan. I am not sure if that helps though. I do not see anything unusual there. Can you tell what is wrong?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg started on 2020-04-08 at 04:54:52&#xA;Report written to &quot;ffmpeg-20200408-045452.log&quot;&#xA;Command line:&#xA;ffmpeg -rtsp_transport tcp -i rtsp://login:pass@1.1.1.1:1/111 -map 0 -c:v copy -c:a aac -f segment -segment_list /usr/local/nginx/html/hls/mystream.m3u8 -segment_list_type hls -segment_list_size 10 -segment_list_flags +live &quot;/usr/local/nginx/html/hls/mystream%01d.ts&quot; -loglevel verbose -report -t 30&#xA;ffmpeg version 4.1.4-1~deb10u1 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8 (Debian 8.3.0-6)&#xA;  configuration: --prefix=/usr --extra-version='1~deb10u1' --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --en  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;Splitting the commandline.&#xA;Reading option '-rtsp_transport' ... matched as AVOption 'rtsp_transport' with argument 'tcp'.&#xA;Reading option '-i' ... matched as input url with argument 'rtsp://login:pass@1.1.1.1:554/111'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '0'.&#xA;Reading option '-c:v' ... matched as option 'c' (codec name) with argument 'copy'.&#xA;Reading option '-c:a' ... matched as option 'c' (codec name) with argument 'aac'.&#xA;Reading option '-f' ... matched as option 'f' (force format) with argument 'segment'.&#xA;Reading option '-segment_list' ... matched as AVOption 'segment_list' with argument '/usr/local/nginx/html/hls/mystream.m3u8'.&#xA;Reading option '-segment_list_type' ... matched as AVOption 'segment_list_type' with argument 'hls'.&#xA;Reading option '-segment_list_size' ... matched as AVOption 'segment_list_size' with argument '10'.&#xA;Reading option '-segment_list_flags' ... matched as AVOption 'segment_list_flags' with argument '+live'.&#xA;Reading option '/usr/local/nginx/html/hls/mystream%01d.ts' ... matched as output url.&#xA;Reading option '-loglevel' ... matched as option 'loglevel' (set logging level) with argument 'verbose'.&#xA;Reading option '-report' ... matched as option 'report' (generate a report) with argument '1'.&#xA;Reading option '-t' ... matched as option 't' (record or transcode &quot;duration&quot; seconds of audio/video) with argument '30'.&#xA;Trailing options were found on the commandline.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option loglevel (set logging level) with argument verbose.&#xA;Applying option report (generate a report) with argument 1.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url rtsp://login:pass@1.1.1.1:554/111.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: rtsp://login:pass@1.1.1.1:554/111.&#xA;[tcp @ 0x564b593fe780] No default whitelist set&#xA;[tcp @ 0x564b593fe780] Original list of addresses:&#xA;[tcp @ 0x564b593fe780] Address 8.2.1.11 port 554&#xA;[tcp @ 0x564b593fe780] Interleaved list of addresses:&#xA;[tcp @ 0x564b593fe780] Address 8.2.1.1 port 554&#xA;[tcp @ 0x564b593fe780] Starting connection attempt to 8.2.1.1 port 554&#xA;[tcp @ 0x564b593fe780] Successfully connected to 8.2.1.1 port 554&#xA;[rtsp @ 0x564b593fc540] SDP:&#xA;v=0&#xA;o=StreamingServer 3331435948 1116907222000 IN IP4 192.168.0.199&#xA;s=10&#xA;c=IN IP4 0.0.0.0&#xA;t=0 0&#xA;a=control:*&#xA;m=video 0 RTP/AVP 96&#xA;a=control:trackID=0&#xA;a=rtpmap:96 H264/90000&#xA;a=fmtp:96 packetization-mode=1;profile-level-id=42002A;sprop-parameter-sets=Z0IAKpY1QPAET8s3AQEBAg==,aM48gA==&#xA;a=framesize:96 1920-1080&#xA;m=audio 0 RTP/AVP 8&#xA;a=control:trackID=1&#xA;a=rtpmap:8 PCMA/8000/1&#xA;a=ptime:20&#xA;a=fmtp:8 packetization-mode=1&#xA;&#xA;[rtsp @ 0x564b593fc540] video codec set to: h264&#xA;[rtsp @ 0x564b593fc540] RTP Packetization Mode: 1&#xA;[rtsp @ 0x564b593fc540] RTP Profile IDC: 42 Profile IOP: 0 Level: 2a&#xA;[rtsp @ 0x564b593fc540] Extradata set to 0x564b594005f0 (size: 28)&#xA;[rtsp @ 0x564b593fc540] audio codec set to: pcm_alaw&#xA;[rtsp @ 0x564b593fc540] audio samplerate set to: 8000&#xA;[rtsp @ 0x564b593fc540] audio channels set to: 1&#xA;[rtsp @ 0x564b593fc540] setting jitter buffer size to 0&#xA;[rtsp @ 0x564b593fc540] setting jitter buffer size to 0&#xA;[rtsp @ 0x564b593fc540] hello state=0&#xA;[h264 @ 0x564b59400100] nal_unit_type: 7(SPS), nal_ref_idc: 3&#xA;[h264 @ 0x564b59400100] nal_unit_type: 8(PPS), nal_ref_idc: 3&#xA;[h264 @ 0x564b59400100] nal_unit_type: 7(SPS), nal_ref_idc: 3&#xA;[h264 @ 0x564b59400100] nal_unit_type: 8(PPS), nal_ref_idc: 3&#xA;[h264 @ 0x564b59400100] unknown SEI type 229&#xA;[h264 @ 0x564b59400100] nal_unit_type: 7(SPS), nal_ref_idc: 3&#xA;[h264 @ 0x564b59400100] nal_unit_type: 8(PPS), nal_ref_idc: 3&#xA;[h264 @ 0x564b59400100] nal_unit_type: 6(SEI), nal_ref_idc: 0&#xA;[h264 @ 0x564b59400100] nal_unit_type: 5(IDR), nal_ref_idc: 3&#xA;[h264 @ 0x564b59400100] unknown SEI type 229&#xA;[h264 @ 0x564b59400100] Format yuvj420p chosen by get_format().&#xA;[h264 @ 0x564b59400100] Reinit context to 1920x1088, pix_fmt: yuvj420p&#xA;[h264 @ 0x564b59400100] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 3&#xA;[h264 @ 0x564b59400100] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 3&#xA;[h264 @ 0x564b59400100] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 3&#xA;[h264 @ 0x564b59400100] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 3&#xA;[h264 @ 0x564b59400100] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 3&#xA;[h264 @ 0x564b59400100] nal_unit_type: 1(Coded slice of a non-IDR picture), nal_ref_idc: 3&#xA;[rtsp @ 0x564b593fc540] All info found&#xA;[rtsp @ 0x564b593fc540] rfps: 29.500000 0.018596&#xA;[rtsp @ 0x564b593fc540] rfps: 29.583333 0.012613&#xA;[rtsp @ 0x564b593fc540] rfps: 29.666667 0.007793&#xA;[rtsp @ 0x564b593fc540] rfps: 29.666667 0.007793&#xA;[rtsp @ 0x564b593fc540] rfps: 29.750000 0.004137&#xA;[rtsp @ 0x564b593fc540] rfps: 29.750000 0.004137&#xA;[rtsp @ 0x564b593fc540] rfps: 29.833333 0.001644&#xA;[rtsp @ 0x564b593fc540] rfps: 29.833333 0.001644&#xA;[rtsp @ 0x564b593fc540] rfps: 29.916667 0.000314&#xA;[rtsp @ 0x564b593fc540] rfps: 29.916667 0.000314&#xA;[rtsp @ 0x564b593fc540] rfps: 30.000000 0.000149&#xA;[rtsp @ 0x564b593fc540] rfps: 60.000000 0.000595&#xA;[rtsp @ 0x564b593fc540] rfps: 120.000000 0.002380&#xA;[rtsp @ 0x564b593fc540] rfps: 240.000000 0.009520&#xA;[rtsp @ 0x564b593fc540] rfps: 29.970030 0.000074&#xA;[rtsp @ 0x564b593fc540] rfps: 59.940060 0.000297&#xA;Guessed Channel Layout for Input Stream #0.1 : mono&#xA;Input #0, rtsp, from 'rtsp://login:pass@1.1.1.1:554/111':&#xA;  Metadata:&#xA;    title           : 10&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0, 28, 1/90000: Video: h264 (Baseline), 1 reference frame, yuvj420p(pc, bt709, progressive, left), 1920x1080 (1920x1088), 29.97 tbr, 90k tbn, 180k tbc&#xA;    Stream #0:1, 72, 1/8000: Audio: pcm_alaw, 8000 Hz, mono, s16, 64 kb/s&#xA;Successfully opened the file.&#xA;Parsing a group of options: output url /usr/local/nginx/html/hls/mystream%01d.ts.&#xA;Applying option map (set input stream mapping) with argument 0.&#xA;Applying option c:v (codec name) with argument copy.&#xA;Applying option c:a (codec name) with argument aac.&#xA;Applying option f (force format) with argument segment.&#xA;Successfully parsed a group of options.&#xA;Opening an output file: /usr/local/nginx/html/hls/mystream%01d.ts.&#xA;Successfully opened the file.&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (pcm_alaw (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;detected 2 logical cores&#xA;[graph_0_in_0_1 @ 0x564b59439cc0] Setting 'time_base' to value '1/8000'&#xA;[graph_0_in_0_1 @ 0x564b59439cc0] Setting 'sample_rate' to value '8000'&#xA;[graph_0_in_0_1 @ 0x564b59439cc0] Setting 'sample_fmt' to value 's16'&#xA;[graph_0_in_0_1 @ 0x564b59439cc0] Setting 'channel_layout' to value '0x4'&#xA;[graph_0_in_0_1 @ 0x564b59439cc0] tb:1/8000 samplefmt:s16 samplerate:8000 chlayout:0x4&#xA;[format_out_0_1 @ 0x564b5943b040] Setting 'sample_fmts' to value 'fltp'&#xA;[format_out_0_1 @ 0x564b5943b040] Setting 'sample_rates' to value '96000|88200|64000|48000|44100|32000|24000|22050|16000|12000|11025|8000|7350'&#xA;[format_out_0_1 @ 0x564b5943b040] auto-inserting filter 'auto_resampler_0' between the filter 'Parsed_anull_0' and the filter 'format_out_0_1'&#xA;[AVFilterGraph @ 0x564b5941e880] query_formats: 4 queried, 6 merged, 3 already done, 0 delayed&#xA;[auto_resampler_0 @ 0x564b5957eb40] [SWR @ 0x564b59507740] Using s16p internally between filters&#xA;[auto_resampler_0 @ 0x564b5957eb40] ch:1 chl:mono fmt:s16 r:8000Hz -&amp;gt; ch:1 chl:mono fmt:fltp r:8000Hz&#xA;[aac @ 0x564b594200c0] Too many bits 8832.000000 &amp;gt; 6144 per frame requested, clamping to max&#xA;[segment @ 0x564b59403b80] Selected stream id:0 type:video&#xA;[segment @ 0x564b59403b80] Opening '/usr/local/nginx/html/hls/mystream0.ts' for writing&#xA;[file @ 0x564b59580b40] Setting default whitelist 'file,crypto'&#xA;[mpegts @ 0x564b59580480] muxrate VBR, pcr every 9000 pkts, sdt every 200, pat/pmt every 40 pkts&#xA;Output #0, segment, to '/usr/local/nginx/html/hls/mystream%01d.ts':&#xA;  Metadata:&#xA;    title           : 10&#xA;    encoder         : Lavf58.20.100&#xA;    Stream #0:0, 0, 1/90000: Video: h264 (Baseline), 1 reference frame, yuvj420p(pc, bt709, progressive, left), 1920x1080 (0x0), q=2-31, 29.97 tbr, 90k tbn, 90k tbc&#xA;    Stream #0:1, 0, 1/90000: Audio: aac (LC), 8000 Hz, mono, fltp, delay 1024, 48 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc58.35.100 aac&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[segment @ 0x564b59403b80] Timestamps are unset in a packet for stream 0. This is deprecated and will stop working in the future. Fix your code to set the timestamps properly)&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[segment @ 0x564b59403b80] segment:'/usr/local/nginx/html/hls/mystream0.ts' starts with packet stream:1 pts:0 pts_time:0 frame:0&#xA;[segment @ 0x564b59403b80] stream:1 start_pts_time:0 pts:0 pts_time:0 dts:0 dts_time:0 -&amp;gt; pts:0 pts_time:0 dts:0 dts_time:0&#xA;[segment @ 0x564b59403b80] segment:'/usr/local/nginx/html/hls/mystream0.ts' starts with packet stream:0 pts:11520 pts_time:0.128 frame:0&#xA;[segment @ 0x564b59403b80] stream:0 start_pts_time:0 pts:11520 pts_time:0.128 dts:11520 dts_time:0.128 -&amp;gt; pts:11520 pts_time:0.128 dts:11520 dts_time:0.128&#xA;[segment @ 0x564b59403b80] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[file @ 0x564b59530900] Setting default whitelist 'file,crypto'&#xA;[segment @ 0x564b59403b80] EXT-X-MEDIA-SEQUENCE:0&#xA;[AVIOContext @ 0x564b5959f440] Statistics: 0 seeks, 1 writeouts&#xA;[segment @ 0x564b59403b80] segment:'/usr/local/nginx/html/hls/mystream0.ts' count:0 ended&#xA;[AVIOContext @ 0x564b59591140] Statistics: 0 seeks, 2 writeouts&#xA;[segment @ 0x564b59403b80] Opening '/usr/local/nginx/html/hls/mystream1.ts' for writing&#xA;[file @ 0x564b5959c900] Setting default whitelist 'file,crypto'&#xA;[mpegts @ 0x564b595a1280] muxrate VBR, pcr every 9000 pkts, sdt every 200, pat/pmt every 40 pkts&#xA;[segment @ 0x564b59403b80] segment:'/usr/local/nginx/html/hls/mystream1.ts' starts with packet stream:0 pts:191700 pts_time:2.13 frame:40&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26716" LastEditorUserId="26716" LastEditDate="2020-04-08T10:29:56.130" LastActivityDate="2021-08-31T19:07:25.493" Title="FFmpeg convert G.711 Audio to AAC Audio" Tags="|ffmpeg|audio|codec|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29888" PostTypeId="2" ParentId="14973" CreationDate="2020-04-07T06:48:48.613" Score="0" Body="&lt;p&gt;I think Blender is the best because you can do everything you need to do VFX inside it, including&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Modeling&lt;/li&gt;&#xA;&lt;li&gt;texturing&lt;/li&gt;&#xA;&lt;li&gt;lighting&lt;/li&gt;&#xA;&lt;li&gt;rendering&lt;/li&gt;&#xA;&lt;li&gt;compositing&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="29206" LastEditorUserId="18155" LastEditDate="2020-04-13T07:28:07.280" LastActivityDate="2020-04-13T07:28:07.280" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29889" PostTypeId="1" AcceptedAnswerId="30155" CreationDate="2020-04-07T07:41:50.857" Score="1" ViewCount="387" Body="&lt;p&gt;(Newbie alert) Using DaVinci Resolve 16 free, I'm trying to create a video trick in which I tap a ball out of my laptop. The two clips I'm using are (1) laptop being tilted and tapped, (2) ball dropped on the table.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I made two attempts to combine the two using masking but the results are bad and I need advice. The main problem is the shadow cast by the laptop. Here are the two attempts, using Fusion:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;First, did exhaustive masking over the tilting laptop for (a) hiding part of the ball's trajectory and (b) masking out the laptop shadow. Unfortunately there is a small yet visible color mismatch between the two clips and the mask outline is clearly seen:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5xPQ9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5xPQ9.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Reverted the above, tried masking around the ball. In this case the ball doesn't interact with the laptop shadow and thus looks unreal.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Is there a better way? Is there a better newbie place to ask these kind of questions?&lt;/p&gt;&#xA;" OwnerUserId="29207" LastEditorUserId="29207" LastEditDate="2020-04-10T16:24:41.780" LastActivityDate="2020-05-02T09:33:04.033" Title="Matching colors between two clips" Tags="|davinci-resolve|mask|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29891" PostTypeId="1" AcceptedAnswerId="29897" CreationDate="2020-04-07T10:58:11.320" Score="3" ViewCount="1134" Body="&lt;p&gt;I have a large video file that I try to chop into smaller pieces. The command I use is&#xA;&lt;code&gt;ffmpeg.exe -i VideoTape-2007_09_09_19-20_05.avi -vcodec copy -acodec copy -ss 00:00:00.000 -t 00:10:33.761 VideoTape-2007_09_09_19-20_05-01.avi&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;According to MediaInfo, the original file is interlaced:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video&#xA;ID                                       : 0&#xA;Format                                   : DV&#xA;Commercial name                          : DVCPRO&#xA;Duration                                 : 56 min 22 s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 24.4 Mb/s&#xA;Encoded bit rate                         : 28.8 Mb/s&#xA;Width                                    : 720 pixels&#xA;Height                                   : 576 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 25.000 FPS&#xA;Standard                                 : PAL&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Interlaced&#xA;Scan order                               : Bottom Field First&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel*Frame)                       : 2.357&#xA;Time code of first frame                 : 00:02:26:16&#xA;Time code source                         : Subcode time code&#xA;Stream size                              : 11.3 GiB (100%)&#xA;Encoding settings                        : ae mode=full automatic / wb mode=automatic / white balance= / fcm=manual focus&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;after cutting, the output file has the following info:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video&#xA;ID                                       : 0&#xA;Format                                   : DV&#xA;Commercial name                          : DVCPRO&#xA;Codec ID                                 : dvsd&#xA;Codec ID/Hint                            : Sony&#xA;Duration                                 : 10 min 33 s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 24.4 Mb/s&#xA;Encoded bit rate                         : 28.8 Mb/s&#xA;Width                                    : 720 pixels&#xA;Height                                   : 576 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 25.000 FPS&#xA;Standard                                 : PAL&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Original scan type                       : Interlaced&#xA;Original scan order                      : Bottom Field First&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel*Frame)                       : 2.357&#xA;Time code of first frame                 : 00:00:00:02&#xA;Time code source                         : Subcode time code&#xA;Stream size                              : 2.12 GiB (97%)&#xA;Encoding settings                        : ae mode=full automatic / wb mode=automatic / white balance= / fcm=manual focus&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Why is the Scan Type changed from Interlaced to Progressive? I just want to split the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have also noticed that the resulting file in disproportionally large.&lt;/p&gt;&#xA;" OwnerUserId="29208" LastActivityDate="2022-01-20T03:42:33.627" Title="why ffmpeg changes video stream from interlaced to progressive when it is set to copy the the stream" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29893" PostTypeId="1" CreationDate="2020-04-07T21:43:59.793" Score="1" ViewCount="62" Body="&lt;p&gt;I'm trying to create a counter that automatically updates to the next value once per second.  I have that part figured out:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;string = &quot;7609,7758,7916,8063,8217,8382,8545,8701,8871,9049,9241,9386,9533,9722,9911,10055,10196,10321,10327,10451,10646,10854,11005,11195,11411,11583,11740,11904,12051,12177,12308,12404,12484,12558,12637,12725,12805,12882,12982,13088,13212,13340,13486,13674,13840,&quot;;&#xA;array = string.split(&quot;,&quot;)&#xA;l=array.length;&#xA;&#xA;sek = Math.floor(time);&#xA;&#xA;if(sek&amp;lt;l){&#xA;            array[sek]; &#xA;}else{&#xA;            &quot;End of Data&quot;;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, now I'm trying to animate it.  I've made simple counters that count from a starting number to a final number using Slider Control and keyframes, but is there a way to automate it?  The final project is going to have multiple counters going at the same time, with around 750 points of data in total, so automating would save so much time.&lt;/p&gt;&#xA;" OwnerUserId="29219" LastEditorUserId="1950" LastEditDate="2020-08-24T04:10:53.213" LastActivityDate="2022-05-16T11:04:55.377" Title="Custom Animated Counter in Adobe After Effects" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29895" PostTypeId="2" ParentId="24080" CreationDate="2020-04-07T23:28:27.947" Score="0" Body="&lt;p&gt;I'm going to assume you've made the slideshow in Powerpoint (if not, please provide details) - in Powerpoint you can export your slideshow as an MP4. Go to the &quot;File&quot; menu, select &quot;Export&quot;, and choose MP4 as the file format. Review your output video file, and go back and adjust your slide timings as required if you need alter the speed of the presentation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now you have a video of your presentation, record the video of you to go along with it. I would play the first video where you can see it, while you record the second one, so you can get the timing correct for them to be in sync.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The final step is to overlay the second video in the corner of the first one. Software like Adobe Premiere Pro can do this easily, if you don't have it, you can likely download the trial version and just use that, if this is a one-off for you. Add the 2 videos to the timeline, on the Effects panel use the Motion settings to scale down the size and adjust position of the second video, and make sure it is layered on top of the first one. I suspect there are various free tools around that can overlay the two videos as well, I'm just not familiar with them - hopefully someone else can jump in with some other options here if needed.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-04-07T23:28:27.947" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29896" PostTypeId="2" ParentId="20702" CreationDate="2020-04-08T06:25:19.863" Score="0" Body="&lt;p&gt;If you arrived at this question because you have a whole layer and not just an expression but still can't find the pick whip option, try right-clicking the tool bar, going to &quot;Columns&quot; and enabling &quot;Parent&quot;. &lt;a href=&quot;https://www.youtube.com/watch?v=aEeucj7jq80&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video demonstration&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="29224" LastActivityDate="2020-04-08T06:25:19.863" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29897" PostTypeId="2" ParentId="29891" CreationDate="2020-04-08T11:37:57.007" Score="4" Body="&lt;p&gt;Looks like it is a FFmpeg bug.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tested to remux an AVI with DV to AVI with latest FFmpeg, and the resulting &quot;video properties&quot; chunk indicates progressive, even if the source AVI has the right &quot;video properties&quot; chunk:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;010F4   Video properties (76 bytes)&#xA;010F4    Header (8 bytes)&#xA;010F4     Name:                               vprp&#xA;010F8     Size:                               68 (0x00000044)&#xA;010FC    VideoFormatToken:                    0 (0x00000000)&#xA;01100    VideoStandard:                       0 (0x00000000)&#xA;01104    VerticalRefreshRate:                 50 (0x00000032)&#xA;01108    HTotalInT:                           720 (0x000002D0)&#xA;0110C    VTotalInLines:                       576 (0x00000240)&#xA;01110    FrameAspectRatio Height:             3 (0x0003)&#xA;01112    FrameAspectRatio Width:              4 (0x0004)&#xA;01114    FrameWidthInPixels:                  720 (0x000002D0)&#xA;01118    FrameHeightInLines:                  576 (0x00000240)&#xA;0111C    FieldPerFrame:                       1 (0x00000001)&#xA;01120    Field (32 bytes)&#xA;01120     CompressedBMHeight:                 576 (0x00000240)&#xA;01124     CompressedBMWidth:                  720 (0x000002D0)&#xA;01128     ValidBMHeight:                      576 (0x00000240)&#xA;0112C     ValidBMWidth:                       720 (0x000002D0)&#xA;01130     ValidBMXOffset:                     0 (0x00000000)&#xA;01134     ValidBMYOffset:                     0 (0x00000000)&#xA;01138     VideoXOffsetInT:                    0 (0x00000000)&#xA;0113C     VideoYValidStartLine:               0 (0x00000000)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It should be &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;010F4   Video properties (108 bytes)&#xA;010F4    Header (8 bytes)&#xA;010F4     Name:                               vprp&#xA;010F8     Size:                               100 (0x00000064)&#xA;010FC    VideoFormatToken:                    0 (0x00000000)&#xA;01100    VideoStandard:                       0 (0x00000000)&#xA;01104    VerticalRefreshRate:                 50 (0x00000032)&#xA;01108    HTotalInT:                           720 (0x000002D0)&#xA;0110C    VTotalInLines:                       576 (0x00000240)&#xA;01110    FrameAspectRatio Height:             3 (0x0003)&#xA;01112    FrameAspectRatio Width:              4 (0x0004)&#xA;01114    FrameWidthInPixels:                  720 (0x000002D0)&#xA;01118    FrameHeightInLines:                  576 (0x00000240)&#xA;0111C    FieldPerFrame:                       2 (0x00000002)&#xA;01120    Field (32 bytes)&#xA;01120     CompressedBMHeight:                 288 (0x00000120)&#xA;01124     CompressedBMWidth:                  720 (0x000002D0)&#xA;01128     ValidBMHeight:                      288 (0x00000120)&#xA;0112C     ValidBMWidth:                       720 (0x000002D0)&#xA;01130     ValidBMXOffset:                     0 (0x00000000)&#xA;01134     ValidBMYOffset:                     0 (0x00000000)&#xA;01138     VideoXOffsetInT:                    0 (0x00000000)&#xA;0113C     VideoYValidStartLine:               1 (0x00000001)&#xA;01140    Field (32 bytes)&#xA;01140     CompressedBMHeight:                 288 (0x00000120)&#xA;01144     CompressedBMWidth:                  720 (0x000002D0)&#xA;01148     ValidBMHeight:                      288 (0x00000120)&#xA;0114C     ValidBMWidth:                       720 (0x000002D0)&#xA;01150     ValidBMXOffset:                     0 (0x00000000)&#xA;01154     ValidBMYOffset:                     0 (0x00000000)&#xA;01158     VideoXOffsetInT:                    0 (0x00000000)&#xA;0115C     VideoYValidStartLine:               0 (0x00000000)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I have open a &lt;a href=&quot;https://trac.ffmpeg.org/ticket/8605&quot; rel=&quot;nofollow noreferrer&quot;&gt;bug ticket at FFmpeg tracker&lt;/a&gt; with an example about how to reproduce the issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that the DV stream is correctly remuxed only (it is still interlaced, no conversion), the issue is only a piece of metadata in the created AVI file, reason you see both &quot;progressive&quot; (from AVI) and &quot;interlaced&quot; (from DV) in the MediaInfo output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Jérôme, main developer of &lt;a href=&quot;https://MediaArea.net/MediaIno&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="12640" LastActivityDate="2020-04-08T11:37:57.007" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29899" PostTypeId="1" AcceptedAnswerId="29900" CreationDate="2020-04-08T13:25:04.450" Score="0" ViewCount="137" Body="&lt;p&gt;In Premiere Pro, how do I set the fps of a video to publish?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, I have imported an audio of 200MB&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've added an image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And when I export, it says the estimated file size is 13GB. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Really the file size should not be more than 500MB.  A video frame rate of 3fps is fine for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I can't see any setting to change the frames per second for the video that is published.&lt;/p&gt;&#xA;" OwnerUserId="5555" LastActivityDate="2020-04-08T17:22:53.440" Title="In Premiere Pro, how do I set the fps of a video to publish?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29900" PostTypeId="2" ParentId="29899" CreationDate="2020-04-08T17:22:53.440" Score="1" Body="&lt;p&gt;You need to select minimum bitrate for video, especially if your video have only 1 image.&#xA;If you will look how h264 codec works, you will know that it creates one &quot;basic frame&quot; each 'n' frames and then it creates &quot;intermediate frames&quot; only with areas of pixels which were changed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried some variants and can show you how fps affect on file size. And how keyframe distance affect to file size.&#xA;&lt;a href=&quot;https://drive.google.com/open?id=1ZobMxAzPQi2NaVfLDa5wYrHN87tIc11h&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/open?id=1ZobMxAzPQi2NaVfLDa5wYrHN87tIc11h&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can look at these 5 files.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uaTAp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uaTAp.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sample_minimum video BitRate_10 fps_keyframe distance = 300 - audio bitrate 320kbps.mp4 has size - 1 348 883&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sample_minimum video BitRate_10 fps_keyframedistance - standart - audio bitrate 320kbps.mp4 has size - 1 943 816&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sample_minimum video BitRate_30 fps - audio bitrate 320kbps.mp4 has size - 1 983 552&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sample_minimum video BitRate_30 fps_keyframe distance = 300 - audio bitrate 320kbps.mp4 has size - 1 544 303&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sample_without video - audio bitrate 320kbps.mp4 has size - 1 210 771 B&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Minimum bitrate you can set here:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XQT9m.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XQT9m.gif&quot; alt=&quot;Minimum bitrate you can set here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2020-04-08T17:22:53.440" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29901" PostTypeId="2" ParentId="29887" CreationDate="2020-04-08T17:39:17.737" Score="2" Body="&lt;p&gt;Let me answer my own question. My code is working fine and there was a tiny spelling mistake. Gee... silly me. However, sometimes you just have to post the question and put it all in writing in order to realize where the problem is. Now in case somebody is interested here is how the theory / syntax looks:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;-a:c copy&quot; is to copy without transcoding when &quot;-a:c {codec} {additional audio parameters}&quot; is to transcode.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now my code is streaming cross browsers perfectly well. You may want to adjust bit rates and customize it the way you see fit.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -rtsp_transport tcp -i rtsp://login:password@1.1.1.1:554/11 -map 0 -c:v copy - &#xA;c:a aac -f segment -segment_list /usr/local/nginx/html/hls/mystream.m3u8 - &#xA;segment_list_type hls - segment_list_size 10 -segment_list_flags +live &#xA; /usr/local/nginx/html/hls/mystream%01d.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26716" LastActivityDate="2020-04-08T17:39:17.737" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29902" PostTypeId="1" AcceptedAnswerId="30524" CreationDate="2020-04-08T18:00:07.837" Score="0" ViewCount="54" Body="&lt;p&gt;I exported my settings and got a file like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[General]&#xA;Name=Adobe RTMP&#xA;&#xA;[Video]&#xA;BaseCX=1920&#xA;BaseCY=1080&#xA;OutputCX=1920&#xA;OutputCY=1080&#xA;ColorSpace=601&#xA;ColorRange=Partial&#xA;&#xA;[Panels]&#xA;CookieId=CB44DC4848BD02DB&#xA;&#xA;[Output]&#xA;Mode=Advanced&#xA;&#xA;[SimpleOutput]&#xA;VBitrate=4000&#xA;&#xA;[AdvOut]&#xA;VBitrate=4000&#xA;TrackIndex=1&#xA;RecType=Standard&#xA;RecTracks=1&#xA;FFOutputToFile=true&#xA;FFFormat=&#xA;FFFormatMimeType=&#xA;FFVEncoderId=0&#xA;FFVEncoder=&#xA;FFAEncoderId=0&#xA;FFAEncoder=&#xA;FFAudioMixes=1&#xA;RescaleRes=1680x1050&#xA;RecRescaleRes=1680x1050&#xA;FFRescaleRes=1680x1050&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I know I had to add &lt;code&gt;[SimpleOutput]&lt;/code&gt; myself, to ensure 4K bitrate for people using advanced or simple UI. I am wondering how I might be able to add a specific setting for Keyframe Interval. I want people to download my settings to have keyframe interval of 2, rather than auto (which is 8.3).&lt;/p&gt;&#xA;" OwnerUserId="29230" LastActivityDate="2020-06-09T17:50:03.290" Title="Can I export keyframe settings in OBS?" Tags="|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29904" PostTypeId="1" CreationDate="2020-04-08T19:41:12.250" Score="1" ViewCount="5800" Body="&lt;p&gt;I am trying to create a batch file to run this script to add a watermark on each file in a folder&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -i watermark.png -filter_complex &quot;overlay=10:10&quot; output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The script above works fine but when I try to run the batch I get Error: &quot;Cannot find a matching stream for unlabeled input pad 1 on filter Parsed_overlay_0&quot;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;REM Add watermark to video batch&#xA;for %%a in (*.mov) do ( ffmpeg &quot;%%a&quot; -i watermark.png -filter_complex &quot;overlay=10:10&quot; &quot;output\%%~na.mov&quot;&#xA;)&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What am I missing?&lt;/p&gt;&#xA;" OwnerUserId="29229" LastActivityDate="2021-01-04T00:06:40.690" Title="ffmpeg batch overlay Error: &quot;Cannot find a matching stream for unlabeled input pad 1 on filter Parsed_overlay_0&quot;" Tags="|ffmpeg|windows|command-line|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29905" PostTypeId="2" ParentId="20935" CreationDate="2020-04-08T21:16:24.407" Score="2" Body="&lt;p&gt;&lt;a href=&quot;https://dmsimpleapps.blogspot.com/2014/04/dmmediaconverter.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;dmMediaConverter&lt;/a&gt; is very similar to MKVToolnix.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is just a &lt;code&gt;ffmpeg&lt;/code&gt; gui, so it can save in any format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/p4Ntb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/p4Ntb.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To replicate the described MKVToolnix use, select &quot;Convert&quot;, then &quot;Add files&quot;, selecting both video and subtitles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check &quot;Enabled&quot; to keep the stream, uncheck to remove it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Check &quot;Copy&quot; to keep the stream as it is, uncheck  to trasnscode it.&lt;/p&gt;&#xA;" OwnerUserId="22271" LastActivityDate="2020-04-08T21:16:24.407" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29906" PostTypeId="2" ParentId="29904" CreationDate="2020-04-08T22:19:34.597" Score="1" Body="&lt;p&gt;Looks like you forgot &lt;code&gt;-i&lt;/code&gt;. Try:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;REM Add watermark to video batch&#xA;for %%a in (*.mov) do ( ffmpeg -i &quot;%%a&quot; -i watermark.png -filter_complex &quot;overlay=10:10&quot; &quot;output\%%~na.mov&quot;&#xA;)&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-04-08T22:19:34.597" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29908" PostTypeId="2" ParentId="29893" CreationDate="2020-04-09T01:42:42.663" Score="1" Body="&lt;p&gt;This will animate between the values in the array, hitting each value precisely at the second mark &lt;em&gt;though the viewer won't be able to notice because the numbers will be moving too fast&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var dataArr = [7609,7758,7916,8063,8217,8382,8545,8701,8871,9049,9241,9386,9533,9722,9911,10055,10196,10321,10327,10451,10646,10854,11005,11195,11411,11583,11740,11904,12051,12177,12308,12404,12484,12558,12637,12725,12805,12882,12982,13088,13212,13340,13486,13674,13840]; &#xA;var sek = Math.floor(time);&#xA;if (sek &amp;lt; dataArr.length - 1){&#xA;   Math.floor(linear(time-sek, dataArr[sek], dataArr[sek+1]));&#xA;} else {&#xA;    &quot;out of data&quot;;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;For bonus points&lt;/strong&gt; you can add commas or culture-appropriate separators by replacing the line that starts with &lt;code&gt;Math.floor(linear …&lt;/code&gt; with:&lt;/p&gt;&#xA;&#xA;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Math.floor(linear(time-sek, dataArr[sek], dataArr[sek+1])).toLocaleString(&quot;en-AU&quot;);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;where you replace &quot;en-AU&quot; with your locale, e.g. for Chinese Decimal units use &quot;zh-Hans-CN-u-nu-hanidec&quot; and it will look like: 七,六〇九&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-04-09T01:42:42.663" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29909" PostTypeId="1" CreationDate="2020-04-09T04:49:13.767" Score="0" ViewCount="935" Body="&lt;p&gt;I have original video with stream record. I need to remove freezes caused by network issues. I notice that sometimes it freezes only video, sometimes video and audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to use command:&#xA;&lt;code&gt;ffmpeg -i original.flv -c:v libx264 -crf 23 -preset veryfast -err_detect ignore_err -max_muxing_queue_size 9999 -vf 'setpts=N/FRAME_RATE/TB' -af 'asetpts=N/SAMPLE_RATE/TB' out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As result freezes was removed but audio out of sync. I notice that last 3 seconds of converted video has only audio without video. Original video haven't audio sync issues&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can I remove frames where missed video and audio?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg version 4.2.2&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffprobe of original video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, flv, from 'original.flv':&#xA;  Metadata:&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:07:37.55, start: 0.000000, bitrate: 3810 kb/s&#xA;    Stream #0:0: Video: h264 (High), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 30.30 fps, 30 tbr, 1k tbn, 60 tbc&#xA;    Stream #0:1: Audio: aac (LC), 44100 Hz, stereo, fltp, 160 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ffprobe of converted video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'out.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:05:31.56, start: 0.000000, bitrate: 3367 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], 3289 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29234" LastEditorUserId="29234" LastEditDate="2020-04-10T02:46:26.870" LastActivityDate="2020-04-10T02:46:26.870" Title="Remove freezes in stream record using FFMPEG" Tags="|ffmpeg|streaming|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29910" PostTypeId="2" ParentId="12859" CreationDate="2020-04-09T08:38:58.317" Score="0" Body="&lt;p&gt;Can I suggest this is still an issue 5 years on! You need to close all Adobe apps and then open Media Encoder (if that's where you're rendering from) FIRST, then it'll assign the full resources available to that app, I haven't seen it dynamically share resources, it simply allocates CPU-time according to the number of apps open when you start the Adobe app (this is repeatable, try opening LR for example before rendering, it'll only use 10% of the CPU - then open AME first then lightroom and you'll get 100%)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I got a 4x increase in render times because of this. Hope it helps. Adobe's &quot;resource management&quot; sucks.&lt;/p&gt;&#xA;" OwnerUserId="29237" LastActivityDate="2020-04-09T08:38:58.317" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29911" PostTypeId="1" CreationDate="2020-04-09T11:08:42.103" Score="0" ViewCount="72" Body="&lt;p&gt;We would like to make a real time live feed from the front of our house with different cameras.&#xA;The final output is meant to be as follows but with more resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iR9NZ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iR9NZ.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The setup was thought to be static (cameras are not moving) from different points on the same plane (same distance to the house, just translated along the pathway). This would create a panoramical view of the front part where each camera would record a specific region:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nsXfF.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nsXfF.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The reason behind using several cameras and not sime 360º ones is that the result would not besatisfactory as: &#xA;1) point of view is unique so the distance from the viewer would not be the same to the front, avoiding the paronamic view we are looking for &#xA;2) The image would be a little bit deformed &#xA;3) Apart from being messy to move around, the would record stuff we don't want (such as the opposite of the street) increasing also the bitrate of the stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On the other hand, as cameras are fixed, we thought about using some fixed sincronizing/ recognition elements, such as the ones used in QR or AR, in order to delimit the area for each camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/om3sJ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/om3sJ.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Additionally, to avoid excessive (and unused) bitrate but also focusing on the experience, we thought about the option of focusing on one particular area, inspite of creating the full video, only the interested part would be displayed. We have not yet decided between selecting us the area or led the user to do it (dont know the complexity of this or if it is even possible)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ofXlJ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ofXlJ.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Although we have some experience in editing videos and even with opencv, this questions are completely out of our range. We have found software such as OBS but we did not find a possive or negative answer to our questions (it might be we are lacking the precise term).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Our questions are&lt;/strong&gt;: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Would this be possible in real time? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;2) What would the optimal solution be? SW vs SW+HW-wise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;3) Provided it is possible, would the processing be too intense to have a fluid, smooth and as real as possible? We are afraid that the delay would be too high.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;4) Would the real time area selection be factible? We suppose that selecting an area of the video should be trivial but mdifying that selection on the flight is the trick.&lt;/p&gt;&#xA;" OwnerUserId="29239" LastActivityDate="2020-04-09T11:08:42.103" Title="Can overlapping videos from 2 or more sources be merged in real time for live feed?" Tags="|live-recording|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29912" PostTypeId="2" ParentId="9760" CreationDate="2020-04-09T14:01:32.703" Score="0" Body="&lt;p&gt;If you paste text directly on the screen without creating a text box first, it will be very pixelated.&#xA;Cut the same text and place it in a text box and it becomes much sharper.&lt;/p&gt;&#xA;" OwnerUserId="29244" LastActivityDate="2020-04-09T14:01:32.703" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29914" PostTypeId="1" AcceptedAnswerId="29916" CreationDate="2020-04-09T22:31:40.363" Score="0" ViewCount="55" Body="&lt;p&gt;I was given a used Sony NEX VG20 as a gift.  I bought this SD card for it - &quot;SanDisk 128GB Extreme SDXC UHS-I Card - C10, U3, V30, 4K UHD, SD Card - SDSDXV5-128G-GNCIN&quot;, &lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B07H48412Q&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.amazon.com/gp/product/B07H48412Q/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&amp;amp;psc=1&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried filming with it today for just over 50 minutes straight and it produced five files - four at 10 minutes, 40 seconds and one at 9 minutes, 25 seconds.  While this is OK, for the most part, the problem is, when it ends one file and creates the new one, it doesn't capture the audio for that split second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I was unable to find a setting anywhere on the camcorder to increase or decrease the maximum length of a single clip.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way for me to set this camcorder to capture everything as one file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also wondered if this is a limitation of the SD card I'm using.  Do SD cards have a limitation on the size of a single file?&lt;/p&gt;&#xA;" OwnerUserId="29254" LastActivityDate="2020-04-10T09:31:22.207" Title="Why is my camcorder creating 10:40 clips?" Tags="|camcorder|sd-card|sony|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29915" PostTypeId="2" ParentId="29194" CreationDate="2020-04-10T08:40:57.203" Score="0" Body="&lt;p&gt;I had the same problem. I changed the dimensions to 2160×3840 and exported and the quality was excellent. Hope this helps. &lt;/p&gt;&#xA;" OwnerUserId="29261" LastActivityDate="2020-04-10T08:40:57.203" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29916" PostTypeId="2" ParentId="29914" CreationDate="2020-04-10T09:31:22.207" Score="1" Body="&lt;p&gt;Most devices use memory formatted as FAT32, which gives you a 4GB file size limit, so a recording is broken up across multiple files. For Sony products, Catalyst Browse is normally the software used to re-combine the files:&#xA;&lt;a href=&quot;https://www.sonycreativesoftware.com/catalystbrowse&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.sonycreativesoftware.com/catalystbrowse&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Normally you would import the files off the card using that, then select the files together and right click/combine. It should make a continuous single file recording from the source files, with nothing missing.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-04-10T09:31:22.207" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29917" PostTypeId="2" ParentId="22607" CreationDate="2020-04-10T10:44:07.603" Score="0" Body="&lt;p&gt;Apparently Guitar player pro has a fretboard emulator along with a tab generator. So create your tab in GPP, generate the fretboard finger placements, export to video editing sofware and then its a case of synchronisation between the two.&lt;/p&gt;&#xA;" OwnerUserId="29263" LastActivityDate="2020-04-10T10:44:07.603" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29918" PostTypeId="1" CreationDate="2020-04-10T15:29:27.467" Score="0" ViewCount="800" Body="&lt;p&gt;I have a collection of seamlessly-looping GIF images that I am trying to convert to VP9(WEBM) to cut down on filesize. A majority of these GIFs convert with no problem, and the resulting WEBM files are seamless as well. However, there are some GIF images that do not seamlessly loop after being converted, almost as if some frames are cut from the output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using the following arguments to convert the GIFs to WEBMs (note: although the CRF/bitrate are set very high, yet the resulting file sizes are still way smaller):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.gif -c:v libvpx-vp9 -b:v 10M -crf 0 out.webm -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;After some experimentation, I think the problematic GIF files are utilizing tricks to give the illusion of seamless looping, such as transparency. The following arguments fix the looping issue, but screw up the colors (in VLC it looks fine, but when Google Chrome plays the WEBM a greenish hue is visible, as if it's only displaying one of the YUV channels):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.gif -c:v libvpx-vp9 -b:v 10M -crf 0 -filter_complex &quot;[0:v] scale=-1:-1:flags=lanczos,split [a][b]; [a] palettegen=reserve_transparent=on:transparency_color=000000 [p]; [b][p] paletteuse&quot; out.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there a set of parameters that will convert GIF to WEBM and guarantee that the looping will remain seamless?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gfKzj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt; is an example of one of the source GIFs.&lt;/p&gt;&#xA;" OwnerUserId="29266" LastEditorUserId="29266" LastEditDate="2020-04-10T19:39:51.477" LastActivityDate="2020-04-10T19:39:51.477" Title="Some GIFs do not loop properly when converted to WEBM with FFmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29922" PostTypeId="1" CreationDate="2020-04-11T06:51:04.247" Score="0" ViewCount="27" Body="&lt;p&gt;My question here is a redirection per suggestion of my original question over &lt;a href=&quot;https://superuser.com/q/1540485/1028696&quot;&gt;here&lt;/a&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have an i5 4th gen CPU which can support 2k displays and output 2k signal. And I have an AMD Radeon R7 graphics card. I have an old monitor whose native resolution is 1366x768&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My problem is that with the hardware configuration I have, when I record my screen on OBS Studio with settings as chosen by the OBS Auto Configuration Wizard, I get a totally disappointing output. The text is not clear and nothing looks sharp when viewed on any other monitor than my own. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wish to do some screen records of some coding sessions, and with the quality of output I have, it's not an option. People advice me to get a Mac which can give me 4k recordings hassle free, but Mac is out of my budget. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Xrandr seems to be of no help either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to explore all software based solutions before I buy anything. In particular, I am looking at the possibility to &quot;trick&quot; the CPU into thinking there is a another1080p/2k monitor connected and make it output a higher resolution signal and then capture it in some sort of a screen record. Is such a thing possible? If yes, how?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to utilize my CPU and GPU capacity to the fullest and produce 1080p/2k quality videos. What are my options?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am on an Ubuntu 19.10 machine&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any leads are appreciated. Thank you in advance. &lt;/p&gt;&#xA;" OwnerUserId="29278" LastActivityDate="2020-05-12T19:05:10.570" Title="Video production at higher quality - alternatives and solutions" Tags="|hardware|linux|obs|monitors|rendering|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29923" PostTypeId="1" CreationDate="2020-04-11T07:08:28.163" Score="1" ViewCount="1468" Body="&lt;p&gt;Due to my hardware limitations, I'm forced to use Win7 instead of Win10.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On my current version of Adobe Premiere Pro, I can't attach and work with proxies. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to try newer version, but not the latest, since it's not supported by Win7.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you tell me the latest version of Adobe Premiere Pro which is still working under Win7 ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="17386" LastActivityDate="2024-04-01T10:07:30.970" Title="Last Adobe Premiere Pro version for Windows 7" Tags="|premiere|adobe|windows|adobe-media-encoder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29925" PostTypeId="1" CreationDate="2020-04-11T10:26:54.397" Score="2" ViewCount="199" Body="&lt;p&gt;I am recording my content in wowza using cupertino hls (.ts files).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am building a playlist from these chunks at an interval of 30 mins. But while creating master playlist with all the bitrates, i need to add &quot;CODECS, RESOLUTION&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So finally my playlist should have something like this&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;&quot;#EXT-X-STREAM-INF:PROGRAM-ID=1,BANDWIDTH=250000,CODECS=&quot;avc1.77.31,mp4a.40.2&quot;,RESOLUTION=1280x720&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;How do I get values of codec(h264-main or h264-high)? Will any of the tools like bento4, ffmpeg help me getting the values like (&lt;strong&gt;avc1.77.31,mp4a.40.2 or avc1.66.30,mp4a.40.2&lt;/strong&gt;)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;bento4 creates the manifest files when we can use mp4s directly. But I have .ts files directly. So, how do I get the codec values?&lt;/p&gt;&#xA;" OwnerUserId="17942" LastEditorUserId="18155" LastEditDate="2020-04-11T10:55:47.223" LastActivityDate="2020-04-11T10:55:47.223" Title="CODEC and Resolution in Multi-Variant Master playlist" Tags="|ffmpeg|hls|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29928" PostTypeId="2" ParentId="29880" CreationDate="2020-04-11T15:38:32.580" Score="1" Body="&lt;p&gt;I think this article should help you:&#xA;&lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.google.com/youtube/answer/1722171?hl=en&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2020-04-11T15:38:32.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29929" PostTypeId="2" ParentId="29922" CreationDate="2020-04-11T15:51:15.737" Score="1" Body="&lt;p&gt;First variant:&#xA;You can try to set resloution of your display to 1920x1080, but I think that you will have scroll on your screen.&#xA;I know that with digital connect via DVI port on Windows PC with XP it was real. In the last time I didn't take any experiments.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second variant:&#xA;You can buy FullHD monitor and don't have any problems with this. They are won't cost a lot of money, especially which sell as used.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Third variant:&#xA;I don't see what image see your viewers, but I can think, that problem can be in bitrate of image which won't allow to stream quality image. If your viewers view your stream in original quality and they are have problems with reading text, I think that you need to do bigger scale of your desktop or bigger scale of text in your coding software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you show me the settings of OBS stream, screenshot from your PC and screenshot from your viewer?&#xA;Also it can be helpful if you will do recording of your screen for your viewers instead of streaming.&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2020-04-11T15:51:15.737" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29930" PostTypeId="1" CreationDate="2020-04-11T22:45:34.880" Score="0" ViewCount="42" Body="&lt;p&gt;I had a video file named file.mp4. I have tried many codecs/players to open it with no luck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Finally, I used a hex-editor to open the file, and here is what i have found.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions on how I can work with this file?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/suRBV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/suRBV.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29293" LastEditorUserId="14523" LastEditDate="2020-04-12T19:16:46.210" LastActivityDate="2020-04-12T19:16:46.210" Title="Unknown Video Format" Tags="|file-formats|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29931" PostTypeId="1" CreationDate="2020-04-12T07:28:07.680" Score="0" ViewCount="58" Body="&lt;p&gt;I have two videos: first one has 50% higher bit rate, second one has 20% higher resolution and slightly higher FPS. Which one will look better? I use a 1080p 72 inch 60 Hz screen at 10 feet distance.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Video 1&#xA;&#xA;Format : AVC&#xA;Format/Info : Advanced Video Codec&#xA;Format profile : High@L4&#xA;Format settings, CABAC : Yes&#xA;Format settings, RefFrames : 13 frames&#xA;Codec ID : V_MPEG4/ISO/AVC&#xA;Duration : 1 h 18 min&#xA;Bit rate : 2 966 kb/s&#xA;Width : 1 056 pixels&#xA;Height : 594 pixels&#xA;Display aspect ratio : 16:9&#xA;Frame rate mode : Constant&#xA;Frame rate : 23.976 FPS&#xA;Color space : YUV&#xA;Chroma subsampling : 4:2:0&#xA;Bit depth : 8 bits&#xA;Scan type : Progressive&#xA;Bits/(Pixel*Frame) : 0.197&#xA;Stream size : 1.63 GiB (71%)&#xA;Language : English&#xA;Default : Yes&#xA;Forced : Yes&#xA;Color range : Limited&#xA;Color primaries : BT.709&#xA;Transfer characteristics : BT.709&#xA;Matrix coefficients : BT.709&#xA;&#xA;Video 2&#xA;&#xA;Format : AVC&#xA;Format/Info : Advanced Video Codec&#xA;Format profile : High@L4.1&#xA;Format settings, CABAC : Yes&#xA;Format settings, RefFrames : 5 frames&#xA;Codec ID : V_MPEG4/ISO/AVC&#xA;Duration : 1 h 15 min&#xA;Bit rate : 2 073 kb/s&#xA;Width : 1 280 pixels&#xA;Height : 720 pixels&#xA;Display aspect ratio : 16:9&#xA;Frame rate mode : Constant&#xA;Frame rate : 25.000 FPS&#xA;Color space : YUV&#xA;Chroma subsampling : 4:2:0&#xA;Bit depth : 8 bits&#xA;Scan type : Progressive&#xA;Bits/(Pixel*Frame) : 0.090&#xA;Stream size : 1.09 GiB (78%)&#xA;Language : English&#xA;Default : Yes&#xA;Forced : No&#xA;Color range : Limited&#xA;Matrix coefficients : BT.709&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29300" LastActivityDate="2020-04-12T18:51:21.710" Title="50% higher bit rate vs 20% higher resolution" Tags="|video-quality|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29933" PostTypeId="1" AcceptedAnswerId="32070" CreationDate="2020-04-12T14:09:28.350" Score="3" ViewCount="4297" Body="&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/a/15282/29303&quot;&gt;This answer&lt;/a&gt; reports that in order not to lose quality when digitizing VHS one should use an S-Video cable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My VCR is a Sharp VC-M401SM and does not have any S-Video output nor a composite output. Instead it has a scart video/audio line.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question:&lt;/strong&gt; If I use an adaptor like the following together with an S-Video cable can I obtain a better quality than using the same adapter with a composite cable? Why? Does the answer depend on the tape quality (VHS or S-VHS)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FoF9j.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FoF9j.jpg&quot; alt=&quot;Scart adapter&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29303" LastEditorUserId="29303" LastEditDate="2020-04-13T09:42:32.187" LastActivityDate="2020-08-21T09:05:14.093" Title="Does using an S-Video output via a SCART connector improve the output quality of a VCR?" Tags="|video-quality|video-recording|cable|vhs|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29934" PostTypeId="2" ParentId="29922" CreationDate="2020-04-12T18:26:46.747" Score="0" Body="&lt;p&gt;I've looked your linked question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to get a better quality of image you can try to set bitrate to more higer value, like 5000 kbps or more. Also I think that you can try to set CPU Usage preset to more slower preset. Like &quot;quality&quot; or &quot;max.quality&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;More higher bitrate will give you more load of internet, but also will give you more quality for your image. Big file (stream) size, but higher quality. More slower profile of x264 processing will give you more load on your CPU, but it will have more time for processing and it will use more complex algorithms for processing video. Less file (stream) size, but higer quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also you can find balance between this two parameters.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JcMxy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JcMxy.png&quot; alt=&quot;OBS Output settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also can be helpful for you it's change FPS to 25-30, because for 60 fps bitrate should be higher, but for streaming &quot;coding video tutorials&quot; instead of &quot;gaming videos&quot; high fps doesn't need.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And you can try to set keyframe interval to 1 second and compare your result.&lt;/p&gt;&#xA;" OwnerUserId="26758" LastEditorUserId="26758" LastEditDate="2020-04-12T18:37:13.777" LastActivityDate="2020-04-12T18:37:13.777" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29935" PostTypeId="2" ParentId="29931" CreationDate="2020-04-12T18:51:21.710" Score="1" Body="&lt;p&gt;Could you give files (or png screenshots) to comparing?&#xA;I think that file with higher bitrate and higher resolution should look better, with other conditions being equal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1056*594 = 627 264 pixels.&#xA;1280*720 = 921 600 pixels (47% more pixels relative to 1056x594 resolution)&#xA;921 600 / 627 264 = 1.469 * 100% = 147% relative to 1056x594 resolution.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;2966 kbps for 1056x594 - 43% more bitrate for this video, relative to 1280x720&#xA;2073 kbps for 1280x720&#xA;2966 / 2073 = 1.43 * 100% = 143% relative to bitrate of 1280x720 video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What do you think?&#xA;I think that with these settings both videos should be approx equals. Maybe the subjectivity of the perception of the human view will make its adjustments in this comparing.&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2020-04-12T18:51:21.710" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="29936" PostTypeId="2" ParentId="29933" CreationDate="2020-04-12T19:11:18.067" Score="2" Body="&lt;p&gt;Yes, using the &lt;a href=&quot;https://en.wikipedia.org/wiki/S-Video&quot; rel=&quot;nofollow noreferrer&quot;&gt;S-Video&lt;/a&gt; output of the &lt;a href=&quot;https://en.wikipedia.org/wiki/SCART&quot; rel=&quot;nofollow noreferrer&quot;&gt;SCART&lt;/a&gt; breakout will give you better quality than if you use the composite output of the same breakout. (You can get even better quality if you use a different SCART breakout that has RGB outputs.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;NTSC and PAL composite signals sacrifice the amount of data about the brightness and color of the scene for the sake of squishing it all together on one easy to use wire. S-Video separates the black and white (luminance) from the color (chrominance) signals, removing some blurring introduced in a composite signal. Using RGB outputs further improves quality by eliminating the bandwidth limitations of combining the three color signals into one.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The improvements will be more noticeable when you are using an &lt;a href=&quot;https://en.wikipedia.org/wiki/S-VHS&quot; rel=&quot;nofollow noreferrer&quot;&gt;S-VHS&lt;/a&gt; source because S-VHS has a higher luminance bandwidth than VHS. But you will still have some possibly subtle improvements with VHS, too. The way a VHS tape stores the signal is slightly different (color-under) than NTSC or PAL, so there is some extra loss converting for output to composite compared to converting to S-Video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(&lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B00BUWB768&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video Engineering&lt;/a&gt; is a solid, highly technical reference for older media technology.)&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2020-04-12T19:11:18.067" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="29938" PostTypeId="1" CreationDate="2020-04-13T06:31:31.747" Score="1" ViewCount="77" Body="&lt;p&gt;I've tried to install various codecs - not working.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I still can download whole Media Feature, but that's what I would like to avoid, since N version is way lightier. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you please advice me how I can import MP4 files into Adobe Premiere Pro on Windows 10 ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="17386" LastActivityDate="2024-04-03T03:06:40.907" Title="Premiere Pro on Windows 10 N version - Can't import MP4" Tags="|premiere|video-editor|mp4|windows|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29939" PostTypeId="1" CreationDate="2020-04-13T07:08:20.467" Score="0" ViewCount="197" Body="&lt;p&gt;I look a lot of tutorial with 2.5D animation, green screen tracking and other effects but I need something simpler and faster.&#xA;Basically I shoot product videos, smartphones, tablet, small objects.&#xA;At office I have a slider and some people that help me, now we are closed at home.&lt;/p&gt;&#xA;&lt;p&gt;I need a very simple and effective way to create some b-roll, and I'm alone with a green screen.&lt;/p&gt;&#xA;&lt;p&gt;Is there a simple way to start from a still image of a smartphone, on a green screen, and add some camera movements with parallax?&lt;/p&gt;&#xA;&lt;p&gt;For example, starting from:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;front photo of the smartphone&lt;/li&gt;&#xA;&lt;li&gt;background image&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I set the distance (to simulate depth of field) and I add some camera movement: zoom, pan, focus to a detail. Everything with parallax.&lt;/p&gt;&#xA;&lt;p&gt;I don't want to calculate every movement, I cannot spent a lot of time with animation.&#xA;Any idea? Or pluging?&lt;/p&gt;&#xA;" OwnerUserId="27061" LastEditorUserId="4426" LastEditDate="2021-01-29T18:06:37.633" LastActivityDate="2024-02-13T23:03:50.483" Title="Pan &amp; zoom from still image with green screen" Tags="|animation|greenscreen|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29940" PostTypeId="1" AcceptedAnswerId="30569" CreationDate="2020-04-13T14:24:03.777" Score="1" ViewCount="2724" Body="&lt;p&gt;I'm looking for automating video editing and rendering tasks on Linux. Is there a way I can use Nodejs to automate Adobe Premiere or After Effects on Linux?&lt;/p&gt;&#xA;" OwnerUserId="29314" LastEditorUserId="14523" LastEditDate="2020-06-13T22:53:28.847" LastActivityDate="2020-06-14T16:00:14.017" Title="How to render Adobe Premiere or After Effects projects on Linux?" Tags="|video-editor|linux|render|aerender|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29941" PostTypeId="1" AcceptedAnswerId="37095" CreationDate="2020-04-13T14:48:37.753" Score="0" ViewCount="1530" Body="&lt;p&gt;I want to convert and archive movies captured with mini DV tapes. Videos are family movies.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Native format in &lt;em&gt;dvvideo&lt;/em&gt; is huge (about 220 MB/min).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I am willing to accept video compression but I want to keep the possibility of video montage afterwards.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am looking for a interoperable and durable video format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far my searches have me led to :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;H264 (default crf:23 - typical values 18 to 28)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;H265 (default crf:28 - typical values ...)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I am looking for recommandation for the video format and constant rate factor (crf) to use, and any return of experience.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks for your advices.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Documentation:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://slhck.info/video/2017/02/24/crf-guide.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;A CRF Guide&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Comparison_of_video_codecs&quot; rel=&quot;nofollow noreferrer&quot;&gt;WP: Comparison of video codecs&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="29315" LastEditorUserId="29315" LastEditDate="2020-04-13T15:00:42.957" LastActivityDate="2023-12-26T18:43:07.117" Title="What format should I use to archive video issued from mini DV tapes?" Tags="|video-quality|conversion|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29943" PostTypeId="2" ParentId="29941" CreationDate="2020-04-13T20:28:22.017" Score="-1" Body="&lt;p&gt;I think that your choose are good.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;H264 will be a bit huge in compare with H265, but will be supportable for more devices at this moment.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CRF you can get experimentally. Less CRF is better quality but bigger size of the file. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also you can use bitrate settings instead of CRF.&#xA;You can Focus on data from video recommendations for YouTube - &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.google.com/youtube/answer/1722171?hl=en&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I use approx 8Mbit/s for 1080p, 5Mbit/s for 720p and 1-2 Mbit/s for 480p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need a good quality for video editing and all the videos were recorded on a good camera and you want to do color grading with your videos you can save them in Apple ProRes or Cinegy Daniel 2 or another losless or low compression codec.&lt;/p&gt;&#xA;" OwnerUserId="26758" LastEditorUserId="22079" LastEditDate="2020-04-14T08:53:58.193" LastActivityDate="2020-04-14T08:53:58.193" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29944" PostTypeId="2" ParentId="12583" CreationDate="2020-04-14T02:01:08.147" Score="0" Body="&lt;p&gt;Premiere commonly has issues working with .mov files.  I suggest converting it to an .mp4 file.  You can rename individual files with this extension.  Alternatively, you can use this Python script to convert many files: &lt;a href=&quot;https://github.com/lys0l/movBaker&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/lys0l/movBaker&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29318" LastActivityDate="2020-04-14T02:01:08.147" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29945" PostTypeId="2" ParentId="29769" CreationDate="2020-04-14T02:03:57.667" Score="1" Body="&lt;p&gt;If you can use Zoom, it has a pretty good recording feature which can record separate audio files for each participant in addition to the video in gallery view.  Obviously, already synced.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As far as quality, Zoom does have a video optimization option that improves the resolution at least.&lt;/p&gt;&#xA;" OwnerUserId="29318" LastActivityDate="2020-04-14T02:03:57.667" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29951" PostTypeId="1" AcceptedAnswerId="30028" CreationDate="2020-04-14T12:45:08.287" Score="0" ViewCount="119" Body="&lt;p&gt;I have two USB devices: a webcam and a microphone.  I can play the webcam's video into VLC and GUVCView. However, I want to use the microphone for another application. The issue is that launching media capture with VLC or GUVCView blocks the microphone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For instance, running the following before launching VLC/GUVCView:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;arecord -vvv -f dat /dev/null&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Shows what the microphone picks up. If I launch VLC first with the following command (webcam is on video0):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;vlc v4l2:///dev/video0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And then monitor the microphone with the previously shown &lt;code&gt;arecord&lt;/code&gt; command, I get nothing. It is the same behavior with GUVCView.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Doing the opposite, launching &lt;code&gt;arecord&lt;/code&gt; before VLC, however shows the issue. I only get part of the webcam's image (like the few first lines of the image). Dropping the camera resolution shows more lines in the webcam's image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It looks like I don't have enough USB bandwidth for both the webcam and the microphone. However, typing &lt;code&gt;lsusb -t&lt;/code&gt; show that I have USB 2.0, which supports 480Mbps, and that the webcam only pulls 12Mbps.&lt;/p&gt;&#xA;" OwnerUserId="29331" LastEditorUserId="29331" LastEditDate="2020-04-20T23:14:40.110" LastActivityDate="2020-04-20T23:14:40.110" Title="USB Webcam not working with USB Microphone" Tags="|video-capture|linux|microphone|usb|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29952" PostTypeId="1" AcceptedAnswerId="29970" CreationDate="2020-04-14T13:52:09.507" Score="-1" ViewCount="171" Body="&lt;p&gt;Do you use OpenEXR file format during making your video production? In the field of VFX.&lt;/p&gt;&#xA;" OwnerUserId="29218" LastEditorUserId="29218" LastEditDate="2020-05-05T23:49:21.933" LastActivityDate="2020-05-05T23:49:21.933" Title="Do you use OpenEXR file format during making your video production? In the field of VFX" Tags="|video|editing|file-formats|visual-effects|" AnswerCount="1" CommentCount="0" ClosedDate="2020-04-24T12:11:01.940" ContentLicense="CC BY-SA 4.0" />
  <row Id="29953" PostTypeId="1" CreationDate="2020-04-14T15:18:11.213" Score="1" ViewCount="20" Body="&lt;p&gt;I tried setting the monitor to 50 Hz and 100 Hz, but I still see flickering. Everything looked fine when the monitor was set to 60 Hz and the shutter speed to 1/25. That being said, I am trying to respect the 180 rule to have natural motion blur.&lt;/p&gt;&#xA;" OwnerUserId="28050" LastActivityDate="2020-04-14T15:18:11.213" Title="What is the best monitor refresh rate (in Hz) to remove flickering when filming at 24 frames per second with a 1/50 shutter speed?" Tags="|framerate|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29954" PostTypeId="1" CreationDate="2020-04-14T20:02:10.497" Score="0" ViewCount="36" Body="&lt;p&gt;How do I create waves that follows the users motion like this&lt;a href=&quot;https://i.stack.imgur.com/HBdEn.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HBdEn.jpg&quot; alt=&quot;dance&quot;&gt;&lt;/a&gt;&#xA;Anything in this direction is appreciated except don't tell me to draw&lt;/p&gt;&#xA;" OwnerUserId="25681" LastActivityDate="2023-12-27T12:09:01.067" Title="Add waves in after effects" Tags="|effects|3d|shape|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29955" PostTypeId="1" CreationDate="2020-04-14T21:02:34.923" Score="1" ViewCount="1065" Body="&lt;p&gt;I am trying to replace an arbitrary color in a video with another arbitrary color. In this case I want to replace #72f3f2 (rgb(114,243,242)) with #7ccbd4 (rgb(124,203,212)) in a video file using ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried using the &lt;code&gt;lutrgb&lt;/code&gt; filter below which I derived &lt;a href=&quot;https://video.stackexchange.com/questions/19696/how-to-change-every-black-pixel-to-a-special-color&quot;&gt;from this question&lt;/a&gt;, but it seems to have no effect.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I only replace the entire set of one RGB value with another?&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;$ ffmpeg -i in.mp4 -vf &quot;format=rgb24,lutrgb=r='if(eq(val,45),49,val)':g='if(eq(val,95),80,val)':b='if(eq(val,95),83,val)'&quot; -vcodec libx265 out.mp4&#xA;ffmpeg version 4.2.2-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 8 (Debian 8.3.0-6)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gmp --enable-libgme --enable-gray --enable-libaom --enable-libfribidi --enable-libass --enable-libvmaf --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libdav1d --enable-libxvid --enable-libzvbi --enable-libzimg&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'in.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2mp41&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:00:30.00, start: 0.020000, bitrate: 2400 kb/s&#xA;    Stream #0:0(und): Video: hevc (Main) (hvc1 / 0x31637668), yuv420p(tv, bt709), 2000x1126 [SAR 1:1 DAR 1000:563], 2324 kb/s, 29.97 fps, 29.97 tbr, 90k tbn, 29.97 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 143 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : Stereo&#xA;File 'out.mp4' already exists. Overwrite ? [y/N] y&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (hevc (native) -&amp;gt; hevc (libx265))&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;x265 [info]: HEVC encoder version 3.3+2-dd2464df2f40&#xA;x265 [info]: build info [Linux][GCC 8.3.0][64 bit] 8bit+10bit+12bit&#xA;x265 [info]: using cpu capabilities: MMX2 SSE2Fast LZCNT SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;x265 [warning]: halving the quality when psy-rd is enabled for 444 input. Setting cbQpOffset = 6 and crQpOffset = 6&#xA;x265 [info]: Main 4:4:4 profile, Level-5 (Main tier)&#xA;x265 [info]: Thread pool created using 8 threads&#xA;x265 [info]: Slices                              : 1&#xA;x265 [info]: frame threads / pool features       : 3 / wpp(18 rows)&#xA;x265 [info]: Coding QT: max CU size, min CU size : 64 / 8&#xA;x265 [info]: Residual QT: max TU size, max depth : 32 / 1 inter / 1 intra&#xA;x265 [info]: ME / range / subpel / merge         : hex / 57 / 2 / 3&#xA;x265 [info]: Keyframe min / max / scenecut / bias  : 25 / 250 / 40 / 5.00 &#xA;x265 [info]: Cb/Cr QP Offset                     : 6 / 6&#xA;x265 [info]: Lookahead / bframes / badapt        : 20 / 4 / 2&#xA;x265 [info]: b-pyramid / weightp / weightb       : 1 / 1 / 0&#xA;x265 [info]: References / ref-limit  cu / depth  : 3 / off / on&#xA;x265 [info]: AQ: mode / str / qg-size / cu-tree  : 2 / 1.0 / 32 / 1&#xA;x265 [info]: Rate Control / qCompress            : CRF-28.0 / 0.60&#xA;x265 [info]: tools: rd=3 psy-rd=2.00 early-skip rskip signhide tmvp b-intra&#xA;x265 [info]: tools: strong-intra-smoothing lslices=7 deblock sao&#xA;Output #0, mp4, to 'out.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2mp41&#xA;    encoder         : Lavf58.29.100&#xA;    Stream #0:0(und): Video: hevc (libx265) (hev1 / 0x31766568), gbrp, 2000x1126 [SAR 1:1 DAR 1000:563], q=2-31, 29.97 fps, 30k tbn, 29.97 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      encoder         : Lavc58.54.100 libx265&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : Stereo&#xA;      encoder         : Lavc58.54.100 aac&#xA;frame=  901 fps= 15 q=-0.0 Lsize=    6979kB time=00:00:29.99 bitrate=1906.1kbits/s dup=32 drop=0 speed=0.492x    &#xA;video:6470kB audio:472kB subtitle:0kB other streams:0kB global headers:2kB muxing overhead: 0.524252%&#xA;x265 [info]: frame I:      6, Avg QP:27.55  kb/s: 9044.56 &#xA;x265 [info]: frame P:    222, Avg QP:29.70  kb/s: 5202.73 &#xA;x265 [info]: frame B:    673, Avg QP:35.37  kb/s: 562.33  &#xA;x265 [info]: Weighted P-Frames: Y:6.8% UV:6.8%&#xA;x265 [info]: consecutive B-frames: 4.8% 4.4% 3.5% 65.4% 21.9% &#xA;&#xA;encoded 901 frames in 60.78s (14.82 fps), 1762.18 kb/s, Avg QP:33.93&#xA;[aac @ 0x62b24c0] Qavg: 260.747&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I've tried using RGB percent values (0-100) and RGB decimal values, as well as &lt;code&gt;lutyuv&lt;/code&gt; filter to no avail.&lt;/p&gt;&#xA;" OwnerUserId="29337" LastEditorUserId="29337" LastEditDate="2020-04-14T21:14:48.653" LastActivityDate="2022-09-29T20:19:55.047" Title="How to use ffmpeg to replace a specific color with another color" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29957" PostTypeId="2" ParentId="26302" CreationDate="2020-04-14T23:11:34.513" Score="2" Body="&lt;p&gt;This is answered in FFmpeg's &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Seeking&quot; rel=&quot;nofollow noreferrer&quot;&gt;Seeking&lt;/a&gt; wiki page.&#xA;The behavior is expected: If the time hits to a space between 2 key frames, it copies only audio up to the next keyframe and fills the video with black.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are some methods to get also the beginning. &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;One is to overlay the copied part with few seconds of re-encoded original.&lt;/li&gt;&#xA;&lt;li&gt;Or, simply, seek to a bit earlier frame.&lt;/li&gt;&#xA;&lt;li&gt;Or, find the previous keyframe and clip from that.&lt;/li&gt;&#xA;&lt;li&gt;Or, reencoding the whole clip.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;It's a bit pity that FFmpeg (AFAIK) doesn't have a feature for this built in.&lt;/p&gt;&#xA;" OwnerUserId="14588" LastActivityDate="2020-04-14T23:11:34.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29958" PostTypeId="2" ParentId="28410" CreationDate="2020-04-14T23:14:23.777" Score="0" Body="&lt;p&gt;Yes, the videos are broken. They are created due to an overheat and some kind of built-in reduction of the recorded video to FullHD; but the resolution of the result is still 4K, and the last filled content of the 4K buffer is used to fill the bottom large part (hence the repeating).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Still, it's possible to get a FullHD video from the broken file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;FILTER='&#xA;[in] split [a][b]; &#xA;[a] crop=1920:540:0:0 [ac]; &#xA;[b] crop=1920:540:1920:0 [bc]; &#xA;[ac][bc] vstack [stack];&#xA;[stack] il=luma_mode=interleave:chroma_mode=interleave'  &#xA;&#xA;if [ &quot;$2&quot; != &quot;&quot; ] ; then&#xA;  ffplay -i &quot;$INPUT&quot; -vf &quot;$FILTER&quot;&#xA;else&#xA;  set -x&#xA;  ffmpeg -i &quot;$INPUT&quot; -filter:v &quot;$FILTER&quot; $QUALITY_GOOD_H265 -c:a copy &quot;$NEW_NAME&quot; \&#xA;  &amp;amp;&amp;amp; touch &quot;$NEW_NAME&quot; -r &quot;$INPUT&quot;&#xA;  set +x&#xA;fi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14588" LastEditorUserId="14588" LastEditDate="2020-04-14T23:55:54.963" LastActivityDate="2020-04-14T23:55:54.963" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29960" PostTypeId="1" AcceptedAnswerId="29969" CreationDate="2020-04-15T03:47:01.490" Score="0" ViewCount="289" Body="&lt;p&gt;how do i remove the 55.png code and blur.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i 55.mp4 -i &quot;55.png&quot; -i &quot;intro.mp4&quot; -filter_complex &quot;[0:a]atempo=1.15,volume=1.6,pan=stereo|c0&amp;lt;c0+0*c1|c1&amp;lt;c0+0*c1,aeval=val(0)|-val(1) [amain]; [0:v]setpts=PTS/1.15,crop=iw/1.2:ih/1.2,boxblur=1:2,scale=1280:720,setdar=16/9 [v1]; [v1][1:v]overlay=0:0 [vmain]; [2:v]scale=1280:720,setdar=16/9 [vintro]; [vintro][2:a][vmain][amain]concat=n=2:v=1:a=1&quot; -vcodec libx264 -pix_fmt yuv420p -r 30 -g 60 -b:v 1400k -profile:v main -level 3.1 -acodec libmp3lame -b:a 128k -ar 44100 -metadata title=&quot;&quot; -metadata artist=&quot;&quot; -metadata album_artist=&quot;&quot; -metadata album=&quot;&quot; -metadata date=&quot;&quot; -metadata track=&quot;&quot; -metadata genre=&quot;&quot; -metadata publisher=&quot;&quot; -metadata encoded_by=&quot;&quot; -metadata copyright=&quot;&quot; -metadata composer=&quot;&quot; -metadata performer=&quot;&quot; -metadata TIT1=&quot;&quot; -metadata TIT3=&quot;&quot; -metadata disc=&quot;&quot; -metadata TKEY=&quot;&quot; -metadata TBPM=&quot;&quot; -metadata language=&quot;eng&quot; -metadata encoder=&quot;&quot; -bufsize 500000k -threads 0 -preset superfast out2222.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;will really appreciate it if you can show me how to remove the Blur and 55.png Code Overlay&lt;/p&gt;&#xA;" OwnerUserId="29340" LastEditorUserId="1760" LastEditDate="2020-04-15T21:58:25.190" LastActivityDate="2020-04-15T21:58:25.190" Title="FFMPEG how do i remove png and blur from this code" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29961" PostTypeId="1" CreationDate="2020-04-14T19:14:18.157" Score="0" ViewCount="66" Body="&lt;p&gt;How can I create waves like these which follow the user's motion?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tbiCA.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tbiCA.jpg&quot; alt=&quot;dance image&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="Balarkan C" LastEditorUserId="17390" LastEditDate="2020-04-22T14:08:41.970" LastActivityDate="2024-01-02T22:08:46.137" Title="Create motion lines in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29965" PostTypeId="1" AcceptedAnswerId="29986" CreationDate="2020-04-15T16:27:16.817" Score="0" ViewCount="1178" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RLpG3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RLpG3.png&quot; alt=&quot;Screenshots show the problem&quot;&gt;&lt;/a&gt;I'm new to DR and was trying out some different aspect ratios on one of my timelines. Somehow I messed thing up and now can't seem to get back to the original aspect ratio 1.66. attached is a screenshot of my situation. I have attempted every way of changing it back, but can't seem to make it work.  Using Mac with Catalina.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Grateful for any assistance that you are able to give me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9NyQI.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;![Now when I drag a clip (any clip) into the time line, it comes in like this.On their own clips are fine.&#xA;]&lt;a href=&quot;https://i.stack.imgur.com/9NyQI.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;2&lt;/a&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29350" LastEditorUserId="29350" LastEditDate="2020-04-16T14:05:16.230" LastActivityDate="2020-04-17T15:18:34.027" Title="Davinci Resolve 16: Need to restore timeline to original aspect ratio" Tags="|davinci-resolve|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29966" PostTypeId="1" CreationDate="2020-04-15T16:27:47.870" Score="0" ViewCount="258" Body="&lt;p&gt;We have been asked by a client to create a ProRes QT file (.mov) but specifically asked to &quot;&lt;strong&gt;&lt;em&gt;The moov atom (movie index file) should be placed at the beginning of the file.&lt;/em&gt;&lt;/strong&gt;&quot; I have been reading around but could not find a solution for .mov files. Everybody is talking for .mp4.&#xA;The line I came with is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i input.mov -c copy -map 0:v:0 -map 0:a:6 -map 0:a:7 -movflags faststart output_ATOM.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The audio mapping and the video copying is working fine. I need to know if the &lt;strong&gt;&lt;em&gt;-movflags faststart&lt;/em&gt;&lt;/strong&gt; is actually going to do the job? I can't find a way to check the result if it actually moved the Atom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="29131" LastActivityDate="2020-04-15T16:27:47.870" Title="ffmpeg MOOV Atom on a ProRes file?" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29967" PostTypeId="1" CreationDate="2020-04-15T17:19:56.033" Score="0" ViewCount="1260" Body="&lt;p&gt;When I do it like this,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-c:v copy -preset ultrafast -cfr 20 -tune zerolatency&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and it doesn't work I know that this is excpected because the video codec is copied and all the other parameters such as -preset, -cfr and so on are ignored.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when I do it like this,&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-c:v libx264 -preset ultrafast -cfr 20 -tune zerolatency&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;it doesn't work either because my camera is already streaming in libx264, it says dup! dup! dup! which means duplicate as far as I understand, one libx264 duplicates another libx264 and just shuts up and stops streaming. I think this is also understandable because you cannot convert / transcode from libx264 to libx264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now the question is how do I set / fine tune my libx264 streaming camera's parameters to this?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-preset ultrafast -crf 20 -tune zerolatency&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It doesn't work via -c:v copy and it does not work via -c:v. Is it impossible at all? Would appreciate any comments / input / suggestions. Many thanks!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the log:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;     built with gcc 8 (Debian 8.3.0-6)&#xA;  configuration: --prefix=/usr --extra-version='1~deb10u1' --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --ena    ble-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libblur    ay --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme -    -enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable    -librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-l    ibvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx     --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;[tcp @ 0x55ea771b6e80] Starting connection attempt to 1.1.1 port 554&#xA;[tcp @ 0x55ea771b6e80] Successfully connected to 1.1.1.1 port 554&#xA;[rtsp @ 0x55ea771b4c00] SDP:&#xA;v=0&#xA;o=StreamingServer 3331435948 1116907222000 IN IP4 1.1.1.1&#xA;s=10&#xA;c=IN IP4 0.0.0.0&#xA;t=0 0&#xA;a=control:*&#xA;m=video 0 RTP/AVP 96&#xA;a=control:trackID=0&#xA;a=rtpmap:96 H264/90000&#xA;a=fmtp:96 packetization-mode=1;profile-level-id=42002A;sprop-parameter-sets=Z0IAKpY1QPAET8s3AQEBAg==,aM48gA==&#xA;a=framesize:96 1920-1080&#xA;m=audio 0 RTP/AVP 8&#xA;a=control:trackID=1&#xA;a=rtpmap:8 PCMA/8000/1&#xA;a=ptime:20&#xA;a=fmtp:8 packetization-mode=1&#xA;&#xA;[rtsp @ 0x55ea771b4c00] setting jitter buffer size to 0&#xA;    Last message repeated 1 times&#xA;[h264 @ 0x55ea771b8940] Reinit context to 1920x1088, pix_fmt: yuvj420p&#xA;Guessed Channel Layout for Input Stream #0.1 : mono&#xA;  Metadata:&#xA;    title           : 10&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (Baseline), 1 reference frame, yuvj420p(pc, bt709, progressive, left), 1920x1080 (1920x1088), 29.97 tbr, 90k tbn, 180k tbc&#xA;    Stream #0:1: Audio: pcm_alaw, 8000 Hz, mono, s16, 64 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (pcm_alaw (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[graph_1_in_0_1 @ 0x55ea772dd4c0] tb:1/8000 samplefmt:s16 samplerate:8000 chlayout:0x4&#xA;[format_out_0_1 @ 0x55ea7735a4c0] auto-inserting filter 'auto_resampler_0' between the filter 'Parsed_anull_0' and the filter 'format_out_0_1'&#xA;[auto_resampler_0 @ 0x55ea772de440] ch:1 chl:mono fmt:s16 r:8000Hz -&amp;gt; ch:1 chl:mono fmt:fltp r:8000Hz&#xA;[aac @ 0x55ea771d34c0] Too many bits 8832.000000 &amp;gt; 6144 per frame requested, clamping to max&#xA;[h264 @ 0x55ea771d4040] Reinit context to 1920x1088, pix_fmt: yuvj420p&#xA;[graph 0 input from stream 0:0 @ 0x55ea772ddf80] w:1920 h:1080 pixfmt:yuvj420p tb:1/90000 fr:30000/1001 sar:0/1 sws_param:flags=2&#xA;[libx264 @ 0x55ea771d8700] using cpu capabilities: MMX2 SSE2 SSE3 Cache64&#xA;[libx264 @ 0x55ea771d8700] profile High, level 4.0&#xA;[libx264 @ 0x55ea771d8700] 264 - core 155 r2917 0a84d98 - H.264/MPEG-4 AVC codec - Copyleft 2003-2018 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1    :0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 th    reads=3 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 op    en_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.0    0&#xA;[segment @ 0x55ea771bc340] Selected stream id:0 type:video&#xA;[segment @ 0x55ea771bc340] Opening '/usr/local/nginx/html/hls/mystream0.ts' for writing&#xA;[mpegts @ 0x55ea777e5180] muxrate VBR, pcr every 2 pkts, sdt every 200, pat/pmt every 40 pkts&#xA;Output #0, segment, to '/usr/local/nginx/html/hls/mystream%01d.ts':&#xA;  Metadata:&#xA;    title           : 10&#xA;    encoder         : Lavf58.20.100&#xA;    Stream #0:0: Video: h264 (libx264), 1 reference frame, yuvj420p(pc, left), 1920x1080, q=-1--1, 29.97 fps, 90k tbn, 29.97 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.35.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1: Audio: aac (LC), 8000 Hz, mono, fltp, delay 1024, 48 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc58.35.100 aac&#xA;*** 1 dup!&#xA;    Last message repeated 8 times&#xA;No more output streams to write to, finishing.&#xA;[segment @ 0x55ea771bc340] segment:'/usr/local/nginx/html/hls/mystream0.ts' starts with packet stream:1 pts:0 pts_time:0 frame:0&#xA;[segment @ 0x55ea771bc340] segment:'/usr/local/nginx/html/hls/mystream0.ts' starts with packet stream:0 pts:11520 pts_time:0.128 frame:0&#xA;[segment @ 0x55ea771bc340] Opening '/usr/local/nginx/html/hls/mystream.m3u8.tmp' for writing&#xA;[segment @ 0x55ea771bc340] EXT-X-MEDIA-SEQUENCE:0&#xA;[AVIOContext @ 0x55ea777e5780] Statistics: 0 seeks, 1 writeouts&#xA;[segment @ 0x55ea771bc340] segment:'/usr/local/nginx/html/hls/mystream0.ts' count:0 ended&#xA;[AVIOContext @ 0x55ea77827a80] Statistics: 0 seeks, 7 writeouts&#xA;frame=   29 fps=7.5 q=-1.0 Lsize=N/A time=00:00:01.02 bitrate=N/A dup=9 drop=0 speed=0.266x&#xA;video:1490kB audio:6kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;Input file #0 (rtsp://admina:klaipedaville77@85.232.142.131:554/111):&#xA;  Input stream #0:0 (video): 20 packets read (1179137 bytes); 20 frames decoded;&#xA;  Input stream #0:1 (audio): 48 packets read (7680 bytes); 48 frames decoded (7680 samples);&#xA;  Total: 68 packets (1186817 bytes) demuxed&#xA;Output file #0 (/usr/local/nginx/html/hls/mystream%01d.ts):&#xA;  Output stream #0:0 (video): 29 frames encoded; 29 packets muxed (1526031 bytes);&#xA;  Output stream #0:1 (audio): 8 frames encoded (7680 samples); 9 packets muxed (5798 bytes);&#xA;  Total: 38 packets (1531829 bytes) muxed&#xA;[libx264 @ 0x55ea771d8700] frame I:1     Avg QP:25.19  size:405054&#xA;[libx264 @ 0x55ea771d8700] frame P:18    Avg QP:28.35  size: 61978&#xA;[libx264 @ 0x55ea771d8700] frame B:10    Avg QP:33.01  size:   469&#xA;[libx264 @ 0x55ea771d8700] consecutive B-frames: 34.5% 55.2% 10.3%  0.0%&#xA;[libx264 @ 0x55ea771d8700] mb I  I16..4: 28.3%  7.3% 64.3%&#xA;[libx264 @ 0x55ea771d8700] mb P  I16..4:  0.4%  0.0%  0.5%  P16..4: 54.5%  0.5%  5.3%  0.0%  0.0%    skip:38.8%&#xA;[libx264 @ 0x55ea771d8700] mb B  I16..4:  0.0%  0.0%  0.0%  B16..8:  6.0%  0.1%  0.0%  direct: 0.0%  skip:93.9%  L0:32.2% L1:67.5% BI: 0.2%&#xA;[libx264 @ 0x55ea771d8700] 8x8 transform intra:6.5% inter:2.3%&#xA;[libx264 @ 0x55ea771d8700] coded y,uvDC,uvAC intra: 95.7% 36.3% 7.1% inter: 25.7% 0.6% 0.0%&#xA;[libx264 @ 0x55ea771d8700] i16 v,h,dc,p:  2%  2% 82% 14%&#xA;[libx264 @ 0x55ea771d8700] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 25% 30% 22%  3%  2%  3%  4%  3%  6%&#xA;[libx264 @ 0x55ea771d8700] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 15% 18% 15%  7%  9%  7% 13%  7%  9%&#xA;[libx264 @ 0x55ea771d8700] i8c dc,h,v,p: 42% 25% 20% 13%&#xA;[libx264 @ 0x55ea771d8700] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0x55ea771d8700] ref P L0: 94.6%  4.7%  0.5%  0.1%&#xA;[libx264 @ 0x55ea771d8700] ref B L0: 99.6%  0.4%&#xA;[libx264 @ 0x55ea771d8700] kb/s:12610.91&#xA;[aac @ 0x55ea771d34c0] Qavg: 149.630&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26716" LastEditorUserId="26716" LastEditDate="2020-04-16T09:42:39.080" LastActivityDate="2020-04-16T09:42:39.080" Title="FFMPEG -C:V Copy and -C:V Transcode" Tags="|ffmpeg|codec|transcoding|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="29968" PostTypeId="2" ParentId="2253" CreationDate="2020-04-15T18:59:15.337" Score="0" Body="&lt;p&gt;There's a paid tool Xsend Motion - &lt;a href=&quot;https://fxfactory.com/info/xsendmotion/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://fxfactory.com/info/xsendmotion/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can share your timeline or compound clip through this program directly to Apple Motion. &lt;/p&gt;&#xA;" OwnerUserId="5039" LastActivityDate="2020-04-15T18:59:15.337" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29969" PostTypeId="2" ParentId="29960" CreationDate="2020-04-15T19:44:34.370" Score="0" Body="&lt;p&gt;Your command with &lt;code&gt;55.png&lt;/code&gt;, overlay, and boxblur removed:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i 55.mp4 -i &quot;intro.mp4&quot; -filter_complex &quot;[0:a]atempo=1.15,volume=1.6,pan=stereo|c0&amp;lt;c0+0*c1|c1&amp;lt;c0+0*c1,aeval=val(0)|-val(1) [amain]; [0:v]setpts=PTS/1.15,crop=iw/1.2:ih/1.2,scale=1280:720,setdar=16/9 [vmain]; [1:v]scale=1280:720,setdar=16/9 [vintro]; [vintro][1:a][vmain][amain]concat=n=2:v=1:a=1&quot; -vcodec libx264 -pix_fmt yuv420p -r 30 -g 60 -b:v 1400k -profile:v main -level 3.1 -acodec libmp3lame -b:a 128k -ar 44100 -metadata title=&quot;&quot; -metadata artist=&quot;&quot; -metadata album_artist=&quot;&quot; -metadata album=&quot;&quot; -metadata date=&quot;&quot; -metadata track=&quot;&quot; -metadata genre=&quot;&quot; -metadata publisher=&quot;&quot; -metadata encoded_by=&quot;&quot; -metadata copyright=&quot;&quot; -metadata composer=&quot;&quot; -metadata performer=&quot;&quot; -metadata TIT1=&quot;&quot; -metadata TIT3=&quot;&quot; -metadata disc=&quot;&quot; -metadata TKEY=&quot;&quot; -metadata TBPM=&quot;&quot; -metadata language=&quot;eng&quot; -metadata encoder=&quot;&quot; -bufsize 500000k -threads 0 -preset superfast out2222.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-04-15T19:44:34.370" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="29970" PostTypeId="2" ParentId="29952" CreationDate="2020-04-15T20:02:43.680" Score="1" Body="&lt;p&gt;OpenEXR is mostly used for VFX.  It's a good format to get 3D renders into and out of compositing software because it can use 32 bits of precision, and store &quot;deep pixel&quot; information, such as vertex normals, ambient occlusion, z-depth, global illumination, etc.  The type of information is actually arbitrary; you could store temperature data on a per-pixel basis, if you wanted.  The files tend to be larger than most other formats, so if you don't have a good reason to use it, you shouldn't use it.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-04-15T20:02:43.680" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29971" PostTypeId="1" AcceptedAnswerId="29972" CreationDate="2020-04-15T21:42:06.730" Score="0" ViewCount="159" Body="&lt;p&gt;I want to make a 5 second intro from &lt;code&gt;55.png&lt;/code&gt;, and concatenate it to the beginning of &lt;code&gt;55.mp4&lt;/code&gt;. I would like to incorporate it into this command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i 55.mp4 -i intro -filter_complex &quot;[0:a]atempo=1.15,volume=1.6,pan=stereo|c0&amp;lt;c0+0*c1|c1&amp;lt;c0+0*c1,aeval=val(0)|-val(1) [amain]; [0:v]setpts=PTS/1.15,crop=iw/1.2:ih/1.2,scale=1280:720,setdar=16/9 [vmain]; [1:v]scale=1280:720,setdar=16/9 [vintro]; [vintro][1:a][vmain][amain]concat=n=2:v=1:a=1&quot; -vcodec libx264 -pix_fmt yuv420p -r 30 -g 60 -b:v 1400k -profile:v main -level 3.1 -acodec libmp3lame -b:a 128k -ar 44100 -metadata title=&quot;&quot; -metadata artist=&quot;&quot; -metadata album_artist=&quot;&quot; -metadata album=&quot;&quot; -metadata date=&quot;&quot; -metadata track=&quot;&quot; -metadata genre=&quot;&quot; -metadata publisher=&quot;&quot; -metadata encoded_by=&quot;&quot; -metadata copyright=&quot;&quot; -metadata composer=&quot;&quot; -metadata performer=&quot;&quot; -metadata TIT1=&quot;&quot; -metadata TIT3=&quot;&quot; -metadata disc=&quot;&quot; -metadata TKEY=&quot;&quot; -metadata TBPM=&quot;&quot; -metadata language=&quot;eng&quot; -metadata encoder=&quot;&quot; -bufsize 500000k -threads 0 -preset superfast out2222.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Info about my ffmpeg and about &lt;code&gt;55.mp4&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version git-2020-04-13-59e3a9a Copyright (c) 2000-2020 the FFmpeg develop&#xA;ers&#xA;  built with gcc 9.3.1 (GCC) 20200328&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfi&#xA;g --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libb&#xA;luray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enab&#xA;le-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --e&#xA;nable-libsnappy --enable-libsoxr --enable-libsrt --enable-libtheora --enable-lib&#xA;twolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --&#xA;enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --e&#xA;nable-gmp --enable-libvidstab --enable-libvmaf --enable-libvorbis --enable-libvo&#xA;-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom&#xA;--disable-w32threads --enable-libmfx --enable-ffnvcodec --enable-cuda-llvm --ena&#xA;ble-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable&#xA;-avisynth --enable-libopenmpt --enable-amf&#xA;  libavutil      56. 42.102 / 56. 42.102&#xA;  libavcodec     58. 78.102 / 58. 78.102&#xA;  libavformat    58. 42.100 / 58. 42.100&#xA;  libavdevice    58.  9.103 / 58.  9.103&#xA;  libavfilter     7. 77.101 /  7. 77.101&#xA;  libswscale      5.  6.101 /  5.  6.101&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;  libpostproc    55.  6.100 / 55.  6.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '55.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2020-03-26T08:17:13.000000Z&#xA;  Duration: 00:04:29.12, start: 0.000000, bitrate: 1402 kb/s&#xA;    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, bt709)&#xA;, 1280x720 [SAR 1:1 DAR 16:9], 1270 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 t&#xA;bc (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-03-26T08:17:13.000000Z&#xA;      handler_name    : ISO Media file produced by Google Inc. Created on: 03/26&#xA;/2020.&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, flt&#xA;p, 127 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-03-26T08:17:13.000000Z&#xA;      handler_name    : ISO Media file produced by Google Inc. Created on: 03/26&#xA;/2020.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Info about &lt;code&gt;55.png&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;    Stream #0:0: Video: png, rgba(pc), 305x432 [SAR 3778:3778 DAR 305:432], 25 tbr, 25 tbn, 25 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29340" LastEditorUserId="1760" LastEditDate="2020-04-15T23:21:39.460" LastActivityDate="2020-04-16T01:02:20.220" Title="Create 5 second intro from image and concatenate to a video" Tags="|ffmpeg|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="29972" PostTypeId="2" ParentId="29971" CreationDate="2020-04-15T23:13:20.527" Score="0" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -y -i 55.mp4 -loop 1 -framerate 30000/1001 -t 5 -i 55.png -t 0.5 -f lavfi -i anullsrc=channel_layout=stereo:sample_rate=44100 -filter_complex &quot;[0:a]atempo=1.15,volume=1.6,pan=stereo|c0&amp;lt;c0+0*c1|c1&amp;lt;c0+0*c1,aeval=val(0)|-val(1) [amain]; [0:v]setpts=PTS/1.15,crop=iw/1.2:ih/1.2,scale=1280:720,setdar=16/9 [vmain]; [1:v]premultiply=inplace=1,scale=1280:720:force_original_aspect_ratio=decrease,pad=1280:720:(ow-iw)/2:(oh-ih)/2,setsar=1[vintro]; [vintro][2][vmain][amain]concat=n=2:v=1:a=1&quot; -vcodec libx264 -pix_fmt yuv420p -g 60 -b:v 1400k -profile:v main -level 3.1 -acodec libmp3lame -b:a 128k -ar 44100 -metadata title=&quot;&quot; -metadata artist=&quot;&quot; -metadata album_artist=&quot;&quot; -metadata album=&quot;&quot; -metadata date=&quot;&quot; -metadata track=&quot;&quot; -metadata genre=&quot;&quot; -metadata publisher=&quot;&quot; -metadata encoded_by=&quot;&quot; -metadata copyright=&quot;&quot; -metadata composer=&quot;&quot; -metadata performer=&quot;&quot; -metadata TIT1=&quot;&quot; -metadata TIT3=&quot;&quot; -metadata disc=&quot;&quot; -metadata TKEY=&quot;&quot; -metadata TBPM=&quot;&quot; -metadata language=&quot;eng&quot; -metadata encoder=&quot;&quot; -bufsize 500000k -threads 0 -preset superfast out2222.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The intro needs audio to concat to the audio of &lt;code&gt;55.mp4&lt;/code&gt; or else concat will fail. This example uses the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#anullsrc&quot; rel=&quot;nofollow noreferrer&quot;&gt;anullsrc&lt;/a&gt; filter to generate silent audio. A short duration is declared because anullsrc duration by default is infinite. The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#concat&quot; rel=&quot;nofollow noreferrer&quot;&gt;concat&lt;/a&gt; filter will automatically extend this shortened duration to match its associated video segment.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The width, height, and aspect ratio of the &lt;code&gt;55.png&lt;/code&gt; is modified with the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#scale&quot; rel=&quot;nofollow noreferrer&quot;&gt;scale&lt;/a&gt;, &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#pad&quot; rel=&quot;nofollow noreferrer&quot;&gt;pad&lt;/a&gt;, and &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#setsar&quot; rel=&quot;nofollow noreferrer&quot;&gt;setsar&lt;/a&gt; filters to match those of &lt;code&gt;55.mp4&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2020-04-16T00:29:41.127" LastActivityDate="2020-04-16T00:29:41.127" CommentCount="13" ContentLicense="CC BY-SA 4.0" />
  <row Id="29974" PostTypeId="2" ParentId="29971" CreationDate="2020-04-16T01:02:20.220" Score="0" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -y -i 55.mp4 -loop 1 -framerate 30000/1001 -t 5 -i 55.png -t 0.5 -f lavfi -i anullsrc=channel_layout=stereo:sample_rate=44100 -filter_complex &quot;[0:a]atempo=1.15,volume=1.6,pan=stereo|c0&amp;lt;c0+0*c1|c1&amp;lt;c0+0*c1,aeval=val(0)|-val(1) [amain]; [0:v]setpts=PTS/1.15,crop=iw/1.2:ih/1.2,scale=1280:720,setdar=16/9 [vmain]; [1:v]premultiply=inplace=1,scale=1280:720:force_original_aspect_ratio=decrease,pad=1280:720:(ow-iw)/2:(oh-ih)/2,setsar=1[vintro]; [vintro][2][vmain][amain]concat=n=2:v=1:a=1&quot; -vcodec libx264 -pix_fmt yuv420p -g 60 -b:v 1400k -profile:v main -level 3.1 -acodec libmp3lame -b:a 128k -ar 44100 -metadata title=&quot;&quot; -metadata artist=&quot;&quot; -metadata album_artist=&quot;&quot; -metadata album=&quot;&quot; -metadata date=&quot;&quot; -metadata track=&quot;&quot; -metadata genre=&quot;&quot; -metadata publisher=&quot;&quot; -metadata encoded_by=&quot;&quot; -metadata copyright=&quot;&quot; -metadata composer=&quot;&quot; -metadata performer=&quot;&quot; -metadata TIT1=&quot;&quot; -metadata TIT3=&quot;&quot; -metadata disc=&quot;&quot; -metadata TKEY=&quot;&quot; -metadata TBPM=&quot;&quot; -metadata language=&quot;eng&quot; -metadata encoder=&quot;&quot; -bufsize 500000k -threads 0 -preset superfast out2222.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29340" LastActivityDate="2020-04-16T01:02:20.220" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29976" PostTypeId="2" ParentId="29954" CreationDate="2020-04-16T06:29:06.523" Score="0" Body="&lt;p&gt;You could track points on the arms to control the motion of a shape layer with a row of points or short strokes on it, then apply the &lt;strong&gt;echo&lt;/strong&gt; effect. How well that would work would depend on the speed the arms move.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also apply the tracking to some nulls, and copy their motion paths onto a shape layer's path property, or the path property of a write-on effect.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-04-16T06:29:06.523" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29977" PostTypeId="1" CreationDate="2020-04-16T10:30:53.227" Score="0" ViewCount="105" Body="&lt;p&gt;I agreed to cut edit a video for the team I'm working with at university even though it's not really in my expertise (and I said that, I believe they overestimate me though).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I got sent a video that's supposed to serve as reference and I want to replicate a certain effect for blending in text. (best would be in iMovie but other programs are fine as long as there's a free demo like with Final Cut Pro)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/MAezj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/MAezj.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you know whether there's a simple option for this in any program. I could of course try to do it frame by frame in affinity photo but I'd like something more convenient.&lt;/p&gt;&#xA;" OwnerUserId="29364" LastEditorUserId="1950" LastEditDate="2020-04-17T02:06:43.450" LastActivityDate="2023-12-28T12:05:05.707" Title="How to animate text overlays, in iMovie or similar" Tags="|animation|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29979" PostTypeId="2" ParentId="10416" CreationDate="2020-04-16T14:37:29.170" Score="4" Body="&lt;p&gt;The best way in Premiere is to use &quot;I&quot; and &quot;O&quot; to set ins and outs as you scroll through your Source. Then for each in and out, use command (ctrl) &quot;U&quot; to create a Subclip in your Project. Then when you drag all those Subclips from Project to the Timeline, they will lay down in the order they were clipped and you can move them around as needed.&lt;/p&gt;&#xA;" OwnerUserId="29367" LastActivityDate="2020-04-16T14:37:29.170" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29980" PostTypeId="2" ParentId="29977" CreationDate="2020-04-16T18:08:09.637" Score="0" Body="&lt;p&gt;Since you asked for a program...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you're referring to the title specifically, this can be accomplished is After Effects with relative ease.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You'll simply need to...&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;create the three text box shapes&lt;/li&gt;&#xA;&lt;li&gt;the three lines of text&lt;/li&gt;&#xA;&lt;li&gt;parent-child them together&lt;/li&gt;&#xA;&lt;li&gt;animate them all with keyframes&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you're referring to the changing of speed effect, this can also be done in After Effects.  You can simply animate the speed with keyframes.&lt;/p&gt;&#xA;" OwnerUserId="29318" LastActivityDate="2020-04-16T18:08:09.637" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29981" PostTypeId="2" ParentId="29961" CreationDate="2020-04-16T18:11:21.957" Score="0" Body="&lt;p&gt;This will most likely require motion tracking.  In this case, you attach many tracking points to the character's arms and hands.&lt;/p&gt;&#xA;" OwnerUserId="29318" LastActivityDate="2020-04-16T18:11:21.957" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29982" PostTypeId="2" ParentId="17758" CreationDate="2020-04-16T21:43:05.597" Score="1" Body="&lt;p&gt;I believe this must have been created on a tablet with a software called &lt;a href=&quot;https://explaineverything.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Explain Everything&lt;/a&gt;.&lt;br&gt;&#xA;It is a great tool that allows you to record your own animations. &lt;/p&gt;&#xA;" OwnerUserId="29373" LastEditorUserId="18155" LastEditDate="2020-04-18T21:11:47.047" LastActivityDate="2020-04-18T21:11:47.047" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29984" PostTypeId="1" AcceptedAnswerId="29991" CreationDate="2020-04-17T14:10:39.243" Score="0" ViewCount="46" Body="&lt;p&gt;My music file is about ~300 MB and ~4 hours long. I'd like to add a background image onto it to upload it on Youtube. The problem is, when I try a video rendering program (Kdenlive, Windows Movie Maker etc.) to do that, the output becomes massively big, like ~40 GB. I don't understand, why does merging procession of a 300 MB mp3 file and a 1 MB png file result such a huge file size like that? Does the rendering program render the background image again and again for every frame? Can't the whole video have just a single frame and an audio attached on it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there another way to accomplish it?&lt;/p&gt;&#xA;" OwnerUserId="29384" LastEditorUserId="29384" LastEditDate="2020-04-17T14:21:49.380" LastActivityDate="2020-04-17T21:49:24.500" Title="How can I add a background image to a large music file?" Tags="|youtube|rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29985" PostTypeId="2" ParentId="29965" CreationDate="2020-04-17T15:16:28.103" Score="0" Body="&lt;p&gt;It's hard to know what's going on without knowing your project settings or what kind of footage you're using.  But the relevant settings are under Project Settings-&gt;Master Settings-&gt;Timeline resolution, Project settings-&gt;Master Settings-&gt;Pixel aspect ratio, and Project Settings-&gt;Image Scaling-&gt;Input Scaling-&gt;Mismatched resolution files.  Unless you're editing old DV footage or unless you used an anamorphic lens (you would know), Pixel aspect ratio should be set to Square, and Mismatched resolution files should be anything &lt;em&gt;except&lt;/em&gt; &quot;Stretch Frame to all Corners.&quot;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-04-17T15:16:28.103" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29986" PostTypeId="2" ParentId="29965" CreationDate="2020-04-17T15:18:34.027" Score="0" Body="&lt;p&gt;The clip you show has the &lt;strong&gt;Tools&lt;/strong&gt; selected and &lt;strong&gt;Dynamic Zoom&lt;/strong&gt; selected. Hence the Red and Green boxes. To return the view to normal - you can just click the Tools button (3 little lines) on the left-middle of your screenshot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the Aspect Ratio / Display is still wrong - you can change the custom timeline resolution in Project Settings using the Resolution button ( &gt; &amp;lt; near top right) or Shift-9. &lt;/p&gt;&#xA;" OwnerUserId="24155" LastActivityDate="2020-04-17T15:18:34.027" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29987" PostTypeId="1" CreationDate="2020-04-17T16:44:00.050" Score="2" ViewCount="2692" Body="&lt;p&gt;Any ideas on the proper syntax to get crop to work with resizing and overlay all in one go?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The crop parameters are &lt;code&gt;crop=1728:970:96:54&lt;/code&gt; and I'm trying to work them into:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i backgroundimage.png -i INPUTVIDEO.MP4 -filter_complex &quot;[1]scale=1612:906[inner]overlay=154:170:shortest=1[out]&quot; -map &quot;[out]&quot; -map 1:a -c:a copy -y -b:v 2000k -b:a 192K OUTPUT.MP4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29386" LastEditorUserId="1760" LastEditDate="2020-04-17T20:52:54.540" LastActivityDate="2021-01-12T23:06:40.747" Title="FFMPEG - How to use crop, scale and overlay all in one go?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="29988" PostTypeId="1" CreationDate="2020-04-17T16:58:10.873" Score="0" ViewCount="18" Body="&lt;p&gt;My laptop screen is &lt;strong&gt;1366x768p&lt;/strong&gt; (WXGA, 16:9).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the player (potplayer) zooms in on a &lt;em&gt;1080p&lt;/em&gt; movie (which shows upper and lower black bars) up to &lt;strong&gt;125%&lt;/strong&gt;, what effetive quality does the movie end up being?&lt;/p&gt;&#xA;" OwnerUserId="27917" LastActivityDate="2020-04-17T16:58:10.873" Title="Movie quality after zooming in" Tags="|video-quality|zoom|video-player|" AnswerCount="0" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="29989" PostTypeId="1" CreationDate="2020-04-17T19:09:01.890" Score="1" ViewCount="783" Body="&lt;p&gt;I am trying to create a batch file with 2 passes. Pass 1 scales the video. Pass 2 pads a border around it. They both work separately but will not work together.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pass 1:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;REM Scale video to 1216x684&#xA;for %%a in (*.mp4) do ( ffmpeg -i &quot;%%a&quot; -vf scale=1216:684 -preset faster &quot;output\%%~na.mp4&quot;&#xA;)&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Pass 2:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;REM Pad video to 1280x720&#xA;for %%a in (*.mp4) do ( ffmpeg -i &quot;%%a&quot; -vf pad=&quot;1280:720:32:0&quot; -preset faster &quot;output\%%~na.mp4&quot;&#xA;)&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Combined:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;REM Scale video to 1216x684 and pad to 1280x720&#xA;for %%a in (*.mp4) do ( ffmpeg -i &quot;%%a&quot; -vf scale=1216:684 -preset faster -pass 1 -f mp4 NUL &amp;amp;&amp;amp; \&#xA;ffmpeg -i &quot;%%a&quot; -vf pad=&quot;1280:720:32:0&quot; -preset faster -pass 2 &quot;output\%%~na.mp4&#xA;)&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Error:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;CRF/CQP is incompatible with 2pass.&#xA;Error initializing output stream 0:0 -- Error while opening encoder for output stream #0:0 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;Conversion failed!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I missing?&lt;/p&gt;&#xA;" OwnerUserId="29229" LastActivityDate="2023-12-29T12:06:56.043" Title="FFmpeg Batch encoding error: CRF/CQP is incompatible with 2pass" Tags="|ffmpeg|scale|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29990" PostTypeId="2" ParentId="29987" CreationDate="2020-04-17T20:51:47.203" Score="3" Body="&lt;p&gt;To crop before scaling &lt;code&gt;INPUTVIDEO.MP4&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -loop 1 -i backgroundimage.png -i INPUTVIDEO.MP4 -filter_complex &quot;[1]crop=1728:970:96:54,scale=1612:906[inner];[0][inner]overlay=154:170:shortest=1[out]&quot; -map &quot;[out]&quot; -map 1:a -c:a copy -b:v 2000k OUTPUT.MP4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-04-17T20:51:47.203" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29991" PostTypeId="2" ParentId="29984" CreationDate="2020-04-17T21:49:24.500" Score="0" Body="&lt;p&gt;Simple answer is yes - the Video frame is repeatedly encoded multiple times. There is compression - including frame-to-frame, but the single image frame is effectively duplicated numerous times. Try reducing the resolution for lower file size - if the quality of that image is not so important.&lt;/p&gt;&#xA;" OwnerUserId="24155" LastActivityDate="2020-04-17T21:49:24.500" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29992" PostTypeId="2" ParentId="29989" CreationDate="2020-04-18T06:03:57.933" Score="0" Body="&lt;p&gt;2-pass is for video encoding when using an average bitrate target. When saving to MP4, default encoder is x264 whose default encoding mode is CRF where 2-pass is not applicable. The pass system also no connection with the use of filters, which is what scale and pad are.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any case, you can carry out scaling and padding in one command.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;for %%a in (*.mp4) do ( ffmpeg -i &quot;%%a&quot; -vf &quot;scale=1216:684,pad=1280:720:32:0&quot; -preset faster &quot;output\%%~na.mp4&quot;&#xA;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-04-18T06:03:57.933" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="29994" PostTypeId="1" AcceptedAnswerId="33609" CreationDate="2020-04-18T08:06:29.393" Score="2" ViewCount="1175" Body="&lt;p&gt;I know it's 2020 but I still have a few VHS tapes to digitise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I do not expect the picture quality to be necessarily good enough to worry about this question. Still, I would hate to lose any tiny little bit of the quality just because I choose my analog gear inferior to what I could have chosen. This is a one-off task and I want to be sure I could not do it any better.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That said, I do not have any VCR for this task yet. I am just about to figure out what to look for.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have done a little bit of research to find out what analog connectors are there and which ones are capable of carrying which quality. It &lt;a href=&quot;https://forums.digitalspy.com/discussion/comment/1361530#Comment_1361530&quot; rel=&quot;nofollow noreferrer&quot;&gt;looks like&lt;/a&gt; component and RGB standards/connectors are the best ones (as opposed to S-video and composite).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming that the VHS tape record is still very good (no big chances, but let's assume), would the picture quality benefit from component/RGB connectors at all? Should I be looking for a VCR that has these outputs?&lt;/p&gt;&#xA;" OwnerUserId="29391" LastActivityDate="2021-04-09T20:52:41.073" Title="Benefits of component/RGB connector (vs. S-video or composite) for VHS capture?" Tags="|video-quality|video-capture|vhs|analog|connectors|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29996" PostTypeId="2" ParentId="29750" CreationDate="2020-04-18T11:45:33.357" Score="1" Body="&lt;p&gt;Did you watch the webcam feed? What did / didn't you like about the quality of that? For some applications, webcams do &quot;just work&quot;, and that might be good enough. Installing a &quot;professional&quot; setup can get real expensive real fast.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For audio, if the PA system is of high enough quality, picking up the audio from where you pick up the video might be good enough. The webcam mic likely isn't great for this, but there's lots of mics out there designed for video cameras that will also plug into your laptop to improve that. Get a USB audio interface as needed (google audio interface as suggested, I've used the ATR2USB, works fine), there are more specialist devices like the Rode AI-1 available if you want to use an XLR input. Getting a feed direct from the audio closet will be highest quality, but based on the distance, you'd either need to run a long cable, or invest in a wireless transmitter / receiver. So it all depends on your current webcam quality, versus how much you want to spend to improve that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For video, do you need more than one camera angle? Do you have existing video cameras available? Again, something that can get expensive quick, depending how far you want to go. You can interface via something like the ATEM Mini (haven't got one myself, and no one currently has stock!), some cameras do have direct streaming available as well. If it's a fixed shot and the camera doesn't move, the webcam might even be fine. Maybe post some more detail about what does/doesn't work with the current setup, to get some more specific suggestions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also try browsing this YouTube channel: &lt;a href=&quot;https://www.youtube.com/user/makeradventures&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.youtube.com/user/makeradventures&lt;/a&gt; - he's basically doing exactly what you are, and possibly has some content of interest.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-04-18T11:45:33.357" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="29999" PostTypeId="2" ParentId="18906" CreationDate="2020-04-18T14:15:26.150" Score="0" Body="&lt;p&gt;The easiest way to do this is:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;you move only audio file to another folder or disk (any audio, either music / recorded files.).&lt;/li&gt;&#xA;&lt;li&gt;Re-open the project file, it will show you (after effects warning: 1 file is missing and blah blah blah.)&lt;/li&gt;&#xA;&lt;li&gt;just click &quot;OK&quot;&lt;/li&gt;&#xA;&lt;li&gt;double click on the specific audio which you moved/ needed replacement!.&#xA;It will show up your PC folders, and all you gotta do is select &#xA;the audio you modified/ New audio and just add it.&lt;/li&gt;&#xA;&lt;li&gt;it will automatically refresh and load the effects you put in to your project. [It will take time accordingly with the audio file size]&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;This is just for the Audio effects though!&lt;/p&gt;&#xA;" OwnerUserId="29402" LastEditorUserId="14523" LastEditDate="2020-04-19T17:51:11.983" LastActivityDate="2020-04-19T17:51:11.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30000" PostTypeId="2" ParentId="29492" CreationDate="2020-04-18T15:54:28.643" Score="1" Body="&lt;p&gt;Perhaps you've already discovered a solution, but you need a server that accepts the RTMP stream, and outputs an HLS video stream.  You can then use one of many JavaScript players (like video.js) to show your video on the web.&lt;/p&gt;&#xA;&lt;p&gt;Companies like &lt;a href=&quot;https://api.video&quot; rel=&quot;nofollow noreferrer&quot;&gt;api.video&lt;/a&gt; will transcode the video, and give you a &amp;quot;web ready&amp;quot; player that you can just drop onto your webpage.&lt;/p&gt;&#xA;" OwnerUserId="29405" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2020-04-18T15:54:28.643" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30004" PostTypeId="1" AcceptedAnswerId="30016" CreationDate="2020-04-19T10:17:38.510" Score="1" ViewCount="65" Body="&lt;p&gt;I have just started video editing. I have little experiences, and I want good free software for video editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I was searching on the internet I came across Davinci Resolve 16. T know it's profession software but is the community for it big enough to get started?&lt;/p&gt;&#xA;" OwnerUserId="29411" LastEditorUserId="1950" LastEditDate="2020-04-19T12:57:22.027" LastActivityDate="2020-08-27T17:42:39.420" Title="Is Davinci Resolve 16 good for beginers?" Tags="|video-editor|davinci-resolve|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30005" PostTypeId="1" AcceptedAnswerId="30015" CreationDate="2020-04-19T10:42:33.280" Score="2" ViewCount="298" Body="&lt;p&gt;I am wondering how I could replicate &lt;em&gt;dynamic charts&lt;/em&gt; like those made by Vox in &lt;strong&gt;Final Cut Pro X&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For instance, like this dynamic graph found &lt;a href=&quot;https://www.youtube.com/watch?v=BE-cA4UK07c&amp;amp;t=19s&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; (&quot;The big lesson from South Korea's coronavirus response&quot;):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rkVCM.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rkVCM.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried the FCPX Charts from &lt;em&gt;Pixel Film Studios&lt;/em&gt; add-on library but it is not quite there yet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="29412" LastEditorUserId="674" LastEditDate="2020-04-24T11:18:53.260" LastActivityDate="2020-04-24T11:18:53.260" Title="Vox-style dynamic charts in Final Cut Pro X" Tags="|after-effects|final-cut-pro-x|final-cut-pro|motion|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30006" PostTypeId="1" CreationDate="2020-04-19T11:04:38.227" Score="0" ViewCount="657" Body="&lt;p&gt;We are currently creating a virtual choir project and we have the tracks from the people already. I am the video editor, we have a sound designer as well. He is making the rythm of the sound perfect right now and I am affraid it will therefore not correspond with the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way in Premiere Pro to change the video speed based upon the finished music track? The app can make Multi-camera sequence based on the audio, can it do something with the speed as well?&lt;/p&gt;&#xA;" OwnerUserId="29413" LastActivityDate="2024-01-01T07:06:05.717" Title="Change the speed of clip based on sound track in Premiere pro" Tags="|video|premiere|editing|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30007" PostTypeId="1" CreationDate="2020-04-19T16:39:05.783" Score="2" ViewCount="22" Body="&lt;p&gt;We are trying to broadcast church services on multiple platforms.  Services are about 30 minutes.  We are currently doing Facebook Live, downloading the Facebook Live, and uploading that to YouTube, but if the network glitches that affects the YouTube video as well.  There is a save button on the Facebook Live interface, and on short tests this works, but for actual services it has only once actually worked.  I've tried hitting the button again. I've tried waiting for the preview to get all the way to the end and loop back to the beginning, no happy check box appears.  Is there any way to diagnose what is going on?  Is there a better setup I should use?  Currently using a mid grade phone (Moto g6), Wi-Fi connection, and Facebook app.&lt;/p&gt;&#xA;" OwnerUserId="29421" LastActivityDate="2020-04-19T16:39:05.783" Title="Facebook live Save Button" Tags="|youtube|live-recording|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30009" PostTypeId="1" AcceptedAnswerId="30010" CreationDate="2020-04-19T18:39:51.150" Score="1" ViewCount="2362" Body="&lt;p&gt;I'm trying to create a series of split screen videos for students to work on remotely using ffmpeg. I need to create an ffmpeg split screen &quot;template&quot; for 5 videos, 1 in portrait and the other 4 in landscape. &#xA;All the videos have the same resolution: 1280x720. One is 720x1280 (portrait) and the other 4 are 1280 x 720 (landscape)&#xA;I want to create a split screen of dimensions 1680x720 out of the 5 videos so the portrait video is 400x720 and the 4 landscape videos as 640x360. &#xA;How do I modify this 2x2 grid ffmpeg code to allow this?:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input0.mp4 -i input1.mp4 -i input2.mp4 -i input3.mp4 -filter_complex &quot;[0:v][1:v][2:v][3:v]xstack=inputs=4:layout=0_0|w0_0|0_h0|w0_h0[v]&quot; -map &quot;[v]&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/V0EaG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/V0EaG.png&quot; alt=&quot;Split screen dimensions&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29423" LastEditorUserId="1760" LastEditDate="2020-04-19T19:28:59.503" LastActivityDate="2020-04-19T19:35:20.187" Title="Use ffmpeg to create a split screen video out of 5 videos- 4 videos in landscape one in portrait" Tags="|video|ffmpeg|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30010" PostTypeId="2" ParentId="30009" CreationDate="2020-04-19T19:26:52.280" Score="2" Body="&lt;p&gt;Assuming you want a layout of:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;0 1 2&#xA;0 3 4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Command is:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input0.mp4 -i input1.mp4 -i input2.mp4 -i input3.mp4 -i input4.mp4 -filter_complex &quot;[0]scale=-1:720[v0];[1]scale=-1:360[v1];[2]scale=-1:360[v2];[3]scale=-1:360[v3];[4]scale=-1:360[v4];[v0][v1][v2][v3][v4]xstack=inputs=5:layout=0_0|w0_0|w0+w1_0|w0_h1|w0+w1_h1[v]&quot; -map &quot;[v]&quot; output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-04-19T19:26:52.280" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30011" PostTypeId="2" ParentId="30009" CreationDate="2020-04-19T19:35:20.187" Score="0" Body="&lt;p&gt;An alternative to xstack is using two vstacks to build the portrait columns out of the grid and then hstacking all three together at the end:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i p1.png -i g1.png -i g2.png  -i g3.png -i g4.png -filter_complex &quot;[1][2]vstack=inputs=2[p2];[3][4]vstack=inputs=2[p3];[0][p2][p3]hstack=inputs=3&quot; output.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29425" LastActivityDate="2020-04-19T19:35:20.187" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30015" PostTypeId="2" ParentId="30005" CreationDate="2020-04-19T21:14:32.467" Score="2" Body="&lt;p&gt;You are better served with Motion 5 or similar programs for something like that. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a good example from Ripple Training what might work as starting point for you. &#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/IwkTsmO3LiM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-04-19T21:14:32.467" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30016" PostTypeId="2" ParentId="30004" CreationDate="2020-04-19T22:56:34.380" Score="3" Body="&lt;p&gt;As far as I know, in Resolve you only have to pay premium for the cloud collaborative features.&lt;/p&gt;&#xA;&lt;p&gt;Its not beginner software like iMovie or WMM, but rather comparable to Premiere, the cheapest rate for which is 20/month if you have a student email.  Among free software, Resolve is definitely one of the best options out there.&lt;/p&gt;&#xA;&lt;p&gt;While it is a professional tool, it's very intuitive for basic functions and it has the core features you'll find in other professional editing software.&lt;/p&gt;&#xA;&lt;p&gt;Edit: Free version includes 4k&lt;/p&gt;&#xA;" OwnerUserId="29318" LastEditorUserId="29318" LastEditDate="2020-08-27T17:42:39.420" LastActivityDate="2020-08-27T17:42:39.420" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30019" PostTypeId="1" CreationDate="2020-04-20T11:11:23.910" Score="0" ViewCount="86" Body="&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/24608/how-to-create-diagonal-wipe-effect-in-ffmpeg/24616#24616?newreg=1c0bdf6bd6ec4e4ea14dec86fcc2a93c&quot;&gt;How to create “diagonal wipe” effect in FFmpeg?&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After looking at the answer of this question, I am wondering how can I make the transition to happen between the finish of the first one and the start of the second one (in the middle of the two).&lt;/p&gt;&#xA;" OwnerUserId="27752" LastActivityDate="2020-04-20T11:11:23.910" Title="Make wipe diagonal transition after first video ends?" Tags="|ffmpeg|video-editor|transitions|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30021" PostTypeId="1" CreationDate="2020-04-20T14:19:11.737" Score="0" ViewCount="944" Body="&lt;p&gt;After making subtitles in Aegisub, I save it as .ass file, with font size set from style manager,&#xA;I used this command &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -b:v 1M -vf subtitles=subtitle.ass out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But the output file has the font a few sizes too big, larger than the original size I set in Aegisub.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Did I do something wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This was the intended size:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xcjd5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xcjd5.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And this is the output size:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ci2Ru.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ci2Ru.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29438" LastEditorUserId="18155" LastEditDate="2020-04-23T14:46:55.493" LastActivityDate="2020-04-23T14:46:55.493" Title="ffmpeg subtitle font size too big" Tags="|ffmpeg|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="30022" PostTypeId="1" AcceptedAnswerId="30026" CreationDate="2020-04-20T14:32:12.637" Score="1" ViewCount="326" Body="&lt;p&gt;There is a great scene in a popular TV series.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this scene, a clerk (in a white-and-blue dress) is shown from 3 angles.&#xA;Each angle is around 7 seconds long.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wonder how they filmed it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Did they have 3 camera sets all filming at the same time, or did they record this scene multiple times? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If they filmed the same scene multiple times, how many times are standard in professional movie making?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And how is responsible for such decisions? The director?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XoevQ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XoevQ.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29439" LastActivityDate="2020-04-20T21:43:22.620" Title="How is a multi-angle scene filmed?" Tags="|camera|filming|multi-camera|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30024" PostTypeId="1" CreationDate="2020-04-20T16:29:02.113" Score="1" ViewCount="1600" Body="&lt;p&gt;In After Effects I edited a &lt;code&gt;1080p&lt;/code&gt; video. The preview of the final composition looks fine, however the rendered output is very blurry (looks like &lt;code&gt;480p&lt;/code&gt; instead of &lt;code&gt;1080p&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Original video properties:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Item type: .mp4&#xA;Frame width: 1920&#xA;Framde height: 1080&#xA;Frame rate: 30.00 Fps&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Video imported, to be sure right-click &gt; 'Interpret Footage' &gt; 'Main' &gt; &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;'Conform to frame rate: 30'&#xA;'Separate Fields: off&#xA;'Remove pulldown: off'&#xA;'Pixel Aspects Ratio: Square Pixels'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Preview is still looking fine. Now importing that video into a new composition. Composition settings:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;'Preset: Custom' (also tried here preset 'HDTV 1080 29.97')&#xA;'Width: 1920'&#xA;'Height: 1080'&#xA;'Pixel Aspects Ratio: Square Pixels'&#xA;'Frame Rate: 30'&#xA;'Resolution: Full'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Preview is still looking fine. Now File &gt; Export &gt; Add to Render Que.&#xA;Render settings:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;'Quality: Best' (with 'current settings' it has the same quality loss)&#xA;'Resolution: Full'&#xA;'Size 1920x1080'&#xA;'Use comp's frame rate: 30.00'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Output Module settings:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;'Format: H.264'&#xA;'Post-Render Action: None'&#xA;'Channels: RGB'&#xA;'Depth: Millions of Colors'&#xA;'Premultiplied (Matted)'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;During the render, the preview also shows the right quality.&#xA;After the render, I open the file in VLC and there it shows poor quality. Meanwhile the same VLC player shows the original video in high quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions what I miss?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Kind regards,&#xA;Igor&lt;/p&gt;&#xA;" OwnerUserId="29445" LastEditorUserId="29445" LastEditDate="2020-04-20T16:37:41.537" LastActivityDate="2020-04-20T16:37:41.537" Title="Video blurry after Rendering in After Effects CS6" Tags="|after-effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30025" PostTypeId="2" ParentId="24608" CreationDate="2020-04-20T21:19:00.547" Score="0" Body="&lt;p&gt;Use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#xfade&quot; rel=&quot;nofollow noreferrer&quot;&gt;xfade filter&lt;/a&gt;: specifically the &lt;code&gt;diagtl&lt;/code&gt;, &lt;code&gt;diagtr&lt;/code&gt;, &lt;code&gt;diagbl&lt;/code&gt;, and &lt;code&gt;diagbr&lt;/code&gt; transitions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;xfade is newer than FFmpeg 4.2, so use a build from the current git master branch (or FFmpeg 4.3 or newer whenever it becomes available). See &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Download&lt;/a&gt; for links to pre-compiled executables.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also see &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Xfade&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki: xfade&lt;/a&gt; for more examples.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OvXOf.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OvXOf.gif&quot; alt=&quot;example of xfade filter transition&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Video input example&lt;/h1&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input0.mkv -i input1.mkv -filter_complex &quot;[0][1]xfade=transition=diagbl:duration=1:offset=4.5,format=yuv420p&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;duration&lt;/code&gt; sets the duration of the transition effect. In this example it is 1 second.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;offset&lt;/code&gt; sets the time to wait before the transition occurs. In this example it will wait 4.5 seconds before applying the transition. Then &lt;code&gt;input1.mkv&lt;/code&gt; will play.&lt;/li&gt;&#xA;&lt;li&gt;Note that the second video will start from its beginning. For example, if you want it to start at 3 seconds instead of the very beginning then add the &lt;code&gt;-ss&lt;/code&gt; input option, such as &lt;code&gt;… -ss 3 -i input1.mkv …&lt;/code&gt;, or alternatively use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#setpts_002c-asetpts&quot; rel=&quot;nofollow noreferrer&quot;&gt;setpts filter&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;h1&gt;With audio crossfade&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Using the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#acrossfade&quot; rel=&quot;nofollow noreferrer&quot;&gt;acrossfade filter&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input0.mkv -i input1.mkv -filter_complex &quot;[0:v][1:v]xfade=transition=diagbl:duration=1:offset=4.5,format=yuv420p[v];[0:a][1:a]acrossfade=duration=1[a]&quot; -map &quot;[v]&quot; -map &quot;[a]&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h1&gt;Image input example&lt;/h1&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -t 5 -i 1.png -loop 1 -t 5 -i 2.png -filter_complex &quot;[0][1]xfade=transition=diagtr:duration=1:offset=4.5,format=yuv420p&quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-04-20T21:19:00.547" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30026" PostTypeId="2" ParentId="30022" CreationDate="2020-04-20T21:43:22.620" Score="2" Body="&lt;p&gt;Shows can be either &quot;Single camera&quot; or &quot;Multi camera.&quot;  Sitcoms, shows broadcast live, and stuff shot in front of a live audience is generally multicam -- they do it once, or as few times as needed to get a good take.  They just have three (or however many) cameras, and cut between them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other stuff is Single camera.  Some &quot;Single camera&quot; stuff actually has two cameras rolling when it's convenient, or maybe a rare action shot where they had a whole bunch of cameras running to capture an expensive stunt or something, but it's still considered single camera style work.  I expect Better Call Saul is shot this way.  Basically, you do many &quot;setups&quot; where you typically tweak staging and lighting for each camera setup and do the scene or part of the scene over and over.  There is usually some piece of equipment just off screen in any given shot like a light stand or a boom mic so each shot is as nice as they can make it, but if you shot it from another angle at the same time you'd see equipment or crew, or it just wouldn't look as nice.  People and objects get moved around between shots to get nice framing, and you never really notice that a table moved a few inches or whatever.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for how many times, ultimately the director decides.  Some directors are lunatics, and a certain scene in a film with a long schedule may get shot hundreds of times for variations on performance, angle, etc.  Some directors are more efficient and a scene might only get shot like a dozen times if you do three takes for each of four angles/setups.  Some directors will work closely with their crow in deciding these things -- often the cinematographer will have a lot to say about how many angles they need to get to cover the whole scene, and which shots will be most interesting.  In a few rare cases, a whole scene will get shot just once, if it's something that is a big expensive stunt.  If you only have one car, you can only blow it up once, so you just have to try to get it right.  There was a scene in the documentary TV series Connections where the presenter timed his monologue to the countdown timer of an actual NASA rocket launch of a space probe that was visible in the background.  Obviously, they could only get that shot once because you can't go to NASA and ask them to quickly launch another 100 million dollar space probe because you got a little tongue tied.  Though, I assume they got a few takes without the rocket launch as well.&lt;/p&gt;&#xA;" OwnerUserId="272" LastActivityDate="2020-04-20T21:43:22.620" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30028" PostTypeId="2" ParentId="29951" CreationDate="2020-04-20T23:13:32.630" Score="0" Body="&lt;p&gt;I think I found the issue. One of the device is USB 1.1, and this causes the whole hub to fall down to USB 1.1 to accommodate it. I saw it using &lt;code&gt;lsusb -v&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;USB 1.1 has a max bandwidth of 12Mbps, hence the reading I get with &lt;code&gt;lsusb -t&lt;/code&gt;. I'll need to either replace the USB 1.1 device for a USB 2.0 device, or plug in a second USB card directly in the motherboard. &lt;/p&gt;&#xA;" OwnerUserId="29331" LastActivityDate="2020-04-20T23:13:32.630" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30029" PostTypeId="1" CreationDate="2020-04-20T23:43:56.923" Score="2" ViewCount="51" Body="&lt;p&gt;In the making of Django Unchained, I noticed some people running behind the camera team. These people are holding something that looks like a sun blocker.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Video that shows it in use is &lt;a href=&quot;https://www.youtube.com/watch?v=e3-VCVLtlBQ&amp;amp;t=635&quot; rel=&quot;nofollow noreferrer&quot;&gt;here.&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't been able to confirm that or find out what this actually does.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can anybody tell me?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GM7Dr.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GM7Dr.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29439" LastEditorUserId="1950" LastEditDate="2020-04-22T07:25:36.610" LastActivityDate="2020-04-22T07:25:36.610" Title="What is this sun blocker in film making?" Tags="|filming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30030" PostTypeId="2" ParentId="29830" CreationDate="2020-04-20T23:58:47.500" Score="-2" Body="&lt;p&gt;these animations are called Lower thirds. You can achieve this by adding a mask layer to the text or by using a plugin. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are 15 minute videos tutorials in youtube that explains every step of the animation.&lt;/p&gt;&#xA;" OwnerUserId="16727" LastActivityDate="2020-04-20T23:58:47.500" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30031" PostTypeId="2" ParentId="30006" CreationDate="2020-04-21T00:15:20.133" Score="0" Body="&lt;p&gt;you can change the speed of the video making it slow to or fast in order to fit the timing of the music you are using. &lt;a href=&quot;https://i.stack.imgur.com/kX2Hn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kX2Hn.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to change a speed duration of the clip?&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Right click on the clip&lt;/li&gt;&#xA;&lt;li&gt;Click Speed/Duration&lt;/li&gt;&#xA;&lt;li&gt;Adjust the speed. The higher the percentage the faster the clip. The lower the percentage the slower. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Important Notes: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you increase the speed the clip will be shortened&#xA;If you decrease the speed making it slow it will extend the duration of the clip&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/p34dV.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/p34dV.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="16727" LastActivityDate="2020-04-21T00:15:20.133" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30032" PostTypeId="2" ParentId="30029" CreationDate="2020-04-21T01:35:45.853" Score="2" Body="&lt;p&gt;Given the angle, I'd say it's a reflector. The line of people on the right are standing with their backs to the sun, it's probably there to bounce a bit of fill light on to their faces, so they're not silhouetted.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-04-21T01:35:45.853" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30033" PostTypeId="1" CreationDate="2020-04-21T04:43:52.460" Score="0" ViewCount="181" Body="&lt;p&gt;I am sort of new to this. I am trying to create an output video using two videos and a background image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/r1BVU.jpg&quot; alt=&quot;End result should look like this.&quot;&gt; With a bit of gap around the videos and Video A having a larger scale than Video B. And, it should end at Video A's duration. Therefore, Video B should be cropped to Video A's duration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what I have managed to do so far:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/PVstE.jpg&quot; alt=&quot;Code1&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i Image.jpg -i Test1.mp4 -filter_complex &quot;overlay=(W-w)/2:shortest=1&quot; Output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/IQTk5.jpg&quot; alt=&quot;Text&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i Test1.mp4 -i Test1.mp4 -filter_complex &quot;[0:v][1:v]xstack=inputs=2:layout=0_0|w0_h0[v]&quot; -map &quot;[v]&quot; -map 1:a Output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29138" LastEditorUserId="1871" LastEditDate="2020-04-21T09:37:20.317" LastActivityDate="2024-01-08T16:09:21.230" Title="Two videos on image background" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30034" PostTypeId="1" CreationDate="2020-04-21T08:52:00.030" Score="1" ViewCount="258" Body="&lt;p&gt;I have a problem with rendering my video. Some layers are invisible until the next layer startpoint, despite the fact that their own startpoint is earlier, and some layers are left in the bacground of next ones, when their endpoint on timeline is already passed. Purging the memory/disk helps with all of them at a time, but once I run render, or even try to pre-compose - some of those layers are broken again, and preview/render picture does not correspond to what is on the timeline again.&lt;/p&gt;&#xA;" OwnerUserId="29460" LastActivityDate="2021-10-03T05:07:50.730" Title="After Effects render&amp;preview doesn't match timeline" Tags="|after-effects|render|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30035" PostTypeId="1" CreationDate="2020-04-21T09:11:46.687" Score="0" ViewCount="45" Body="&lt;p&gt;This official video of the song &lt;a href=&quot;https://youtu.be/bpOSxM0rNPM&quot; rel=&quot;nofollow noreferrer&quot;&gt;Do I Wanna Know - Arctic Monkey&lt;/a&gt; has a really cool minimalistic smooth flow of free-style drawings occasionally accompanied with wave forms of the audio. I wanted to know how to get at least the wavy patterns of the song. Any hints on how to generate these or what tools could have been possibly used, would be of great help.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am a new user of this site, so please let me know if this is not the appropriate platform to ask.&lt;/p&gt;&#xA;" OwnerUserId="29461" LastActivityDate="2021-01-29T12:02:55.317" Title="How to generate this animated view of wave form?" Tags="|animation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30037" PostTypeId="1" AcceptedAnswerId="30041" CreationDate="2020-04-21T16:01:08.453" Score="1" ViewCount="246" Body="&lt;p&gt;I came across a &lt;a href=&quot;https://www.youtube.com/watch?v=rJYBzFBpP_8&quot; rel=&quot;nofollow noreferrer&quot;&gt;music video on YouTube&lt;/a&gt; for &lt;a href=&quot;https://en.wikipedia.org/wiki/Doom_Eternal&quot; rel=&quot;nofollow noreferrer&quot;&gt;Doom Eternal&lt;/a&gt; where &lt;a href=&quot;https://cdn.mos.cms.futurecdn.net/4cJLsb4vhUzNcvVJiJEXwJ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;an image&lt;/a&gt; appeared to have been transformed into a video under some sort of stretching transformation. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What is this stretching transformation? How is it performed?&lt;/p&gt;&#xA;" OwnerUserId="29468" LastActivityDate="2020-04-22T03:53:44.870" Title="How is this Doom Eternal still-picture-to-stretching motion video produced?" Tags="|video|animation|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30039" PostTypeId="2" ParentId="19290" CreationDate="2020-04-21T19:27:16.367" Score="2" Body="&lt;p&gt;I use long workaround in Premiere and it works for all sorts of stabilizers not only for warp (I use 3rd party). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I do is masking out unwanted object. But you cannot do that on same clip, since Premiere will serve naked frame to the stabilizer tool. So what I do is put some effect on clip that masks moving parts. It can be title, power window, crop, or draw a mask in newer Premieres. Whatever suits you and track with a shot. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then you make Nested sequence out of this clip and put stabilizer on that. It will be served with image that is masked out. Not track clip. When done, just go back to original clip inside Nested and tick masking effect off (disable png, or whatever). It will be clean image again and properly done. If You need to change something and re-process it, just enable the underlying effect again. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is dirty and fiddly but that is how I did it well before Warp was added to premiere with other tools. I would like that would be implemented in the tool itself. Free tools on internet all have masking, but premiums do not bother to serve us better.  &lt;/p&gt;&#xA;" OwnerUserId="29471" LastEditorUserId="18155" LastEditDate="2020-04-23T14:54:46.473" LastActivityDate="2020-04-23T14:54:46.473" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30041" PostTypeId="2" ParentId="30037" CreationDate="2020-04-22T00:39:43.143" Score="1" Body="&lt;p&gt;The overall steps are:&lt;/p&gt;&#xA;&lt;h2&gt;I. On a photo editor (Ps, Gimp, Photowhatever)&lt;/h2&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Duplicate the image several times, One per element of your final composition, for example. Background, player, monster 1, monster 2, ax.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Mask each element, normally with the lasso tool or similar, so you isolate the element on that layer.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sDjfK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sDjfK.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;For the background, you need to expand it a bit it to erase the element, You probably do not need to erase all the ax, just enough so when you move it you do not reveal the same ax behind the moving one.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9EuOz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9EuOz.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol start=&quot;4&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;Do the same on a monster if you need to delete some other monster part over it.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Export each layer as a single PNG file.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;h2&gt;II. On a composition software&lt;/h2&gt;&#xA;&lt;p&gt;You could use Davinci Resolve, Hit Film or Blender which are great programs and free. Try with Davinci Resolve for this one.&lt;/p&gt;&#xA;&lt;ol start=&quot;6&quot;&gt;&#xA;&lt;li&gt;Drag them into the timeline. Background on one layer, and monsters on another layer.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RbAv1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RbAv1.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol start=&quot;7&quot;&gt;&#xA;&lt;li&gt;On the inspector Add keyframes on the scaling, making a loop.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://otake.com.mx/Foros/Video/Doom-Test.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://otake.com.mx/Foros/Video/Doom-Test.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;For more specific information look for tutorials on how to mask, how to export and import files on the program you choose, and about the inspector on Davinci Resolve.&lt;/p&gt;&#xA;&lt;p&gt;If you are paying Adobe, use Ps to mask and AE to composite. I prefer Davinci because you can see the waveform of the music, and playback in realtime to sync the animation.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2020-04-22T03:53:44.870" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30042" PostTypeId="1" CreationDate="2020-04-22T06:50:43.873" Score="1" ViewCount="1259" Body="&lt;p&gt;I have used and installed AviSynth+ 64-bit on a machine. I then wanted to install AviSynth+ 32-bit &lt;a href=&quot;https://forum.videohelp.com/threads/396116-Adding-a-watermark-to-videos#post2574751&quot; rel=&quot;nofollow noreferrer&quot;&gt;to use the watermark filter&lt;/a&gt;. I followed &lt;a href=&quot;http://forum.doom9.org/showthread.php?t=172124&quot; rel=&quot;nofollow noreferrer&quot;&gt;these instructions&lt;/a&gt; to install 32-bit, changed the registry keys, and got a blue screen of death.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After a fresh reinstallation of the Windows system, I want to install 32-bit AviSynth+ only and avoid another blue screen of death.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On &lt;a href=&quot;https://github.com/AviSynth/AviSynthPlus/releases/tag/v3.5.1&quot; rel=&quot;nofollow noreferrer&quot;&gt;the new version 3.5.1 of AviSynth+&lt;/a&gt;, is XP the 32-bit version, or is any installer able to install a 32-bit version?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2020-04-22T13:25:55.233" Title="How to install AviSynth+ 32-bit?" Tags="|avisynth|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30044" PostTypeId="1" AcceptedAnswerId="30046" CreationDate="2020-04-22T11:09:21.017" Score="0" ViewCount="729" Body="&lt;p&gt;I am very new to FFmpeg.&lt;br&gt;&#xA;I am trying to cut a portion of a video and hardcode the subtitle of that same portion in the output file.&lt;br&gt;&#xA;My command is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmped -ss 01:01:00.0 -i input.mp4 -vf subtitles=input.srt -t 00:02:00.0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I get the output of that portion with a hardcoded subtitile, however the subtitle is from the beginning of the file, not the subtitle starting from 01:01:00.0.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;" OwnerDisplayName="user29483" LastEditorUserId="18155" LastEditDate="2020-04-23T14:45:15.450" LastActivityDate="2020-04-23T14:45:15.450" Title="wrong subtitle start time when trying to hardcode them into video using ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30045" PostTypeId="1" CreationDate="2020-04-22T12:04:50.117" Score="1" ViewCount="16" Body="&lt;p&gt;I'm using Premier Pro 2020 for the first time. After taking some tutorials I've notice a few preference changes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First question, can I change editing mode to show up a selected text box with a red outline (see img attached)? &lt;a href=&quot;https://i.stack.imgur.com/dtjsu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dtjsu.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29484" LastActivityDate="2020-04-22T12:04:50.117" Title="How can I get a selection box round editing text?" Tags="|premiere|pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30046" PostTypeId="2" ParentId="30044" CreationDate="2020-04-22T13:12:17.010" Score="1" Body="&lt;p&gt;FFmpeg normalizes timestamps to start from 0 after seeking. So workaround is to copy timestamps and then set output ss to exclude unwanted portion of input.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 01:01:00.0 -copyts -i input.mp4 -vf subtitles=input.srt -ss 01:01:00.0 -t 00:02:00.0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-04-22T13:12:17.010" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30047" PostTypeId="2" ParentId="7459" CreationDate="2020-04-22T13:18:11.363" Score="2" Body="&lt;p&gt;I created a cross-platform Node.js based CLI tool for making simple video edits. It is more opinionated and limited than &lt;code&gt;mlt&lt;/code&gt;, but it aims to have lots of easy to use components and transitions, and sane default values.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;editly \&#xA;  title:'My video' \&#xA;  clip1.mov \&#xA;  clip2.mov \&#xA;  title:'My slideshow' \&#xA;  img1.jpg \&#xA;  img2.jpg \&#xA;  title:'THE END' \&#xA;  --audio-file-path /path/to/music.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It also supports a more sophisticated edit spec as JSON and can easily be called from JavaScript.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/mifi/editly/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/mifi/editly/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29486" LastActivityDate="2020-04-22T13:18:11.363" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30048" PostTypeId="2" ParentId="30042" CreationDate="2020-04-22T13:25:55.233" Score="1" Body="&lt;p&gt;There is no problem with having installed both 32- and 64-bit version of AviSynth on your 64-bit machine, if you correctly placed 32-bit plugins vs. 64-bit ones to their appropriate places.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;AviSynth is a frame server, it means, you never call it directly - &lt;em&gt;other&lt;/em&gt; program call it back. It means that for example&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;64-bit Media Player Classic will call the 64-bit version of AviSynth,&lt;/li&gt;&#xA;&lt;li&gt;32-bit Media Player Classic will call the 32-bit version of AviSynth.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Similarly&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;64-bit FFmpeg will call the 64-bit version of AviSynth,&lt;/li&gt;&#xA;&lt;li&gt;32-bit FFmpeg will call the 32-bit version of AviSynth.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I guess that your problem lies in your FFmpeg installation — you have probably 64-bit, and it means that in the process of converting your .avs script to some media file the FFmpeg calls 64-bit version of AviSynth, and you need the 32-bit (because of your 32-bit filter).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So my advice is, install both 32- and 64-bit versions of FFmpeg (into different directories) and use the appropriate one for every particular case.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2020-04-22T13:25:55.233" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="30053" PostTypeId="1" AcceptedAnswerId="30054" CreationDate="2020-04-22T21:12:15.813" Score="0" ViewCount="118" Body="&lt;p&gt;As shown in the picture, the image got corrupted: flipped vertically, and damaged... &#xA;Sometimes I get just a black picture, sometimes other image distortions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bBTU2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bBTU2.jpg&quot; alt=&quot; &quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23099" LastEditorUserId="17390" LastEditDate="2020-05-14T19:08:58.307" LastActivityDate="2020-05-14T19:08:58.307" Title="After Effects - images get corrupted / ruined picture" Tags="|after-effects|motion|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30054" PostTypeId="2" ParentId="30053" CreationDate="2020-04-22T21:12:15.813" Score="1" Body="&lt;p&gt;I don't know why it happened, but I've found out what causes it - &#xA;it's the frame blending interpolation, which was set to pixel-motion.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/14ASO.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/14ASO.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23099" LastActivityDate="2020-04-22T21:12:15.813" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30055" PostTypeId="1" CreationDate="2020-04-22T21:13:56.267" Score="0" ViewCount="54" Body="&lt;p&gt;In some &lt;code&gt;.mkv&lt;/code&gt; files with multiple different audio streams I removed all the ones I don't need with ffmpeg and only kept the desired audio stream along with the video and possibly subtitles.&#xA;The result works fine in VLC, but in Windows Media Player I don't have any sound after the repacking. I do wonder what the issue is. Anything incorrect with the process? How could I achieve that it still works with WMP after the removal of certain audio streams.&#xA;Note: The audio works well in WMP with the original file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what I use to remove the unneeded streams. Let's say I have a file with three audio streams and I only want to keep the second one:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inputfile.mkv -map 0:v -map 0:s -map 0:a:1 -c copy outputfile.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt;&#xA;&lt;code&gt;ffmpgeg -i &amp;lt;file&amp;gt;&lt;/code&gt; output before and after removing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I notice that the encoder changes, maybe that causes issues for WMP?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mkv&#xA;&#xA;ffmpeg version git-2020-04-17-889ad93 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 9.3.1 (GCC) 20200328&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libsrt --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvmaf --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --disable-w32threads --enable-libmfx --enable-ffnvcodec --enable-cuda-llvm --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt --enable-amf&#xA;  libavutil      56. 42.102 / 56. 42.102&#xA;  libavcodec     58. 80.100 / 58. 80.100&#xA;  libavformat    58. 42.100 / 58. 42.100&#xA;  libavdevice    58.  9.103 / 58.  9.103&#xA;  libavfilter     7. 77.101 /  7. 77.101&#xA;  libswscale      5.  6.101 /  5.  6.101&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;  libpostproc    55.  6.100 / 55.  6.100&#xA;Input #0, matroska,webm, from 'in.mkv':&#xA;  Metadata:&#xA;    title           : test&#xA;    encoder         : libebml v0.7.7 + libmatroska v0.8.1&#xA;    creation_time   : 2011-09-25T09:17:25.000000Z&#xA;  Duration: 01:31:44.83, start: 0.000000, bitrate: 13668 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High), yuv420p(progressive), 1920x1080, SAR 1:1 DAR 16:9, 23.98 fps, 23.98 tbr, 1k tbn, 47.95 tbc (default)&#xA;    Stream #0:1(rus): Audio: ac3, 48000 Hz, 5.1(side), fltp, 448 kb/s (default)&#xA;    Metadata:&#xA;      title           : MVO&#xA;    Stream #0:2(rus): Audio: ac3, 48000 Hz, stereo, fltp, 192 kb/s&#xA;    Metadata:&#xA;      title           : DUB&#xA;    Stream #0:3(rus): Audio: ac3, 48000 Hz, stereo, fltp, 192 kb/s&#xA;    Metadata:&#xA;      title           : Mihalev&#xA;    Stream #0:4(eng): Audio: dts (DTS), 48000 Hz, 5.1(side), fltp, 1536 kb/s&#xA;    Metadata:&#xA;      title           : DTSHD core5.1 1536k&#xA;    Stream #0:5(rus): Subtitle: subrip (default)&#xA;&#xA;&#xA;&#xA;&#xA;ffmpeg -i out.mkv&#xA;&#xA;ffmpeg version git-2020-04-17-889ad93 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 9.3.1 (GCC) 20200328&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libsrt --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvmaf --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --disable-w32threads --enable-libmfx --enable-ffnvcodec --enable-cuda-llvm --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt --enable-amf&#xA;  libavutil      56. 42.102 / 56. 42.102&#xA;  libavcodec     58. 80.100 / 58. 80.100&#xA;  libavformat    58. 42.100 / 58. 42.100&#xA;  libavdevice    58.  9.103 / 58.  9.103&#xA;  libavfilter     7. 77.101 /  7. 77.101&#xA;  libswscale      5.  6.101 /  5.  6.101&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;  libpostproc    55.  6.100 / 55.  6.100&#xA;Input #0, matroska,webm, from 'out.mkv':&#xA;  Metadata:&#xA;    title           : test&#xA;    ENCODER         : Lavf58.42.100&#xA;  Duration: 01:31:44.83, start: 0.000000, bitrate: 12842 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High), yuv420p(progressive), 1920x1080, SAR 1:1 DAR 16:9, 23.98 fps, 23.98 tbr, 1k tbn, 47.95 tbc (default)&#xA;    Metadata:&#xA;      DURATION        : 01:31:44.828000000&#xA;    Stream #0:1(rus): Subtitle: subrip (default)&#xA;    Metadata:&#xA;      DURATION        : 01:26:07.385000000&#xA;    Stream #0:2(eng): Audio: dts (DTS), 48000 Hz, 5.1(side), fltp, 1536 kb/s&#xA;    Metadata:&#xA;      title           : DTSHD core5.1 1536k&#xA;      DURATION        : 01:31:44.273000000&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT 2:&lt;/strong&gt;&#xA;Log output of &lt;code&gt;ffmpeg -i inputfile.mkv -map 0:v -map 0:s -map 0:a:1 -c copy outputfile.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inputfile.mkv -map 0:v -map 0:s -map 0:a:1 -c copy out.mkv&#xA;ffmpeg version git-2020-04-17-889ad93 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 9.3.1 (GCC) 20200328&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libsrt --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvmaf --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --disable-w32threads --enable-libmfx --enable-ffnvcodec --enable-cuda-llvm --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt --enable-amf&#xA;  libavutil      56. 42.102 / 56. 42.102&#xA;  libavcodec     58. 80.100 / 58. 80.100&#xA;  libavformat    58. 42.100 / 58. 42.100&#xA;  libavdevice    58.  9.103 / 58.  9.103&#xA;  libavfilter     7. 77.101 /  7. 77.101&#xA;  libswscale      5.  6.101 /  5.  6.101&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;  libpostproc    55.  6.100 / 55.  6.100&#xA;Input #0, matroska,webm, from 'inputfile.mkv':&#xA;  Metadata:&#xA;    title           : test&#xA;    encoder         : libebml v0.7.7 + libmatroska v0.8.1&#xA;    creation_time   : 2011-09-25T09:17:25.000000Z&#xA;  Duration: 01:31:44.83, start: 0.000000, bitrate: 13668 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High), yuv420p(progressive), 1920x1080, SAR 1:1 DAR 16:9, 23.98 fps, 23.98 tbr, 1k tbn, 47.95 tbc (default)&#xA;    Stream #0:1(rus): Audio: ac3, 48000 Hz, 5.1(side), fltp, 448 kb/s (default)&#xA;    Metadata:&#xA;      title           : MVO&#xA;    Stream #0:2(rus): Audio: ac3, 48000 Hz, stereo, fltp, 192 kb/s&#xA;    Metadata:&#xA;      title           : DUB&#xA;    Stream #0:3(rus): Audio: ac3, 48000 Hz, stereo, fltp, 192 kb/s&#xA;    Metadata:&#xA;      title           : Mihalev&#xA;    Stream #0:4(eng): Audio: dts (DTS), 48000 Hz, 5.1(side), fltp, 1536 kb/s&#xA;    Metadata:&#xA;      title           : DTSHD core5.1 1536k&#xA;    Stream #0:5(rus): Subtitle: subrip (default)&#xA;Output #0, matroska, to 'out.mkv':&#xA;  Metadata:&#xA;    title           : test&#xA;    encoder         : Lavf58.42.100&#xA;    Stream #0:0(eng): Video: h264 (High) (H264 / 0x34363248), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 23.98 fps, 23.98 tbr, 1k tbn, 1k tbc (default)&#xA;    Stream #0:1(rus): Subtitle: subrip (default)&#xA;    Stream #0:2(rus): Audio: ac3 ([0] [0][0] / 0x2000), 48000 Hz, stereo, fltp, 192 kb/s&#xA;    Metadata:&#xA;      title           : DUB&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:5 -&amp;gt; #0:1 (copy)&#xA;  Stream #0:2 -&amp;gt; #0:2 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame=131984 fps=941 q=-1.0 Lsize= 7741970kB time=01:31:44.70 bitrate=11521.5kbits/s speed=39.3x&#xA;video:7611378kB audio:128246kB subtitle:66kB other streams:0kB global headers:0kB muxing overhead: 0.029470%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29493" LastEditorUserId="29493" LastEditDate="2020-04-26T19:48:03.290" LastActivityDate="2020-04-26T19:48:03.290" Title="No sound on Windows Media Player after removing unneeded audio streams with ffmpeg" Tags="|ffmpeg|mkv|vlc|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30056" PostTypeId="1" AcceptedAnswerId="30080" CreationDate="2020-04-22T23:49:01.293" Score="0" ViewCount="1756" Body="&lt;p&gt;I want to add artwork to my MP4 file. How do I do this successfully / without errors?&#xA;I've tried these methods with numerous MP4 files, none worked.&#xA;If you would like to replicate the errors / bugs, here are the sample &lt;a href=&quot;http://www.mediafire.com/folder/29plag9akl9r1/61375246&quot; rel=&quot;nofollow noreferrer&quot;&gt;files&lt;/a&gt; I've used for this question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've tried the following:&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg -i sample.mp4 -i sample.png -map 0 -map 1 -c copy -disposition:v:0 attached_pic sample_w_artwork.mp4&lt;/code&gt;&#xA;as stated by &lt;a href=&quot;https://stackoverflow.com/a/61015965/12308353&quot;&gt;Lukas&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;with this error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[mp4 @ 0000019ee4852280] Could not find tag for codec h264 in stream #0, codec not currently supported in container&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Invalid argument&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.zeranoe.com/builds/win64/static/ffmpeg-4.2.2-win64-static.zip&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg 4.2.2&lt;/a&gt; (Windows build by Zeranoe)&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;&lt;code&gt;atomicparsley sample.mp4 --artwork sample.png --overWrite&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;with no success; &lt;a href=&quot;https://sourceforge.net/projects/atomicparsley/files/atomicparsley/AtomicParsley%20v0.9.0/AtomicParsley-win32-0.9.0.zip/download&quot; rel=&quot;nofollow noreferrer&quot;&gt;AtomicParsley&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I get this message when executing the first time:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Started writing to temp file.&#xA; Progress: =============================================&amp;gt;100%|&#xA; Finished writing to temp file.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Executing the next (nth) time gives this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Updating metadata...   completed.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;Adding artwork through the &lt;em&gt;GUI Tag Editor&lt;/em&gt; using both available versions: &lt;a href=&quot;https://github.com/Martchus/tageditor/releases/download/v3.3.6/tageditor-3.3.6-i686-w64-mingw32.exe.zip&quot; rel=&quot;nofollow noreferrer&quot;&gt;i686-w64&lt;/a&gt; &amp;amp; &lt;a href=&quot;https://github.com/Martchus/tageditor/releases/download/v3.3.6/tageditor-3.3.6-x86_64-w64-mingw32.exe.zip&quot; rel=&quot;nofollow noreferrer&quot;&gt;x86_64-w64&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;with no success; it creates a &lt;em&gt;sample.mp4.bak&lt;/em&gt; &lt;a href=&quot;https://i.stack.imgur.com/y4kBR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;file&lt;/a&gt;, even though the &lt;a href=&quot;https://i.stack.imgur.com/v1Xt8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;software&lt;/a&gt; says that the operation was successful&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;can't insert any more links, because I got too little rep apparently&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;ol start=&quot;4&quot;&gt;&#xA;&lt;li&gt;Mp3tag (mp3tag.de/en)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;with no success; I can successfully add the image as a cover, but it's not visible in the File Explorer. After saving it says &lt;em&gt;Saved tag in 1 of 1 files.&lt;/em&gt; The &lt;a href=&quot;https://i.stack.imgur.com/bs3ik.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;picture&lt;/a&gt; can been seen in Mp3tag though as if it's applied.&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;5&quot;&gt;&#xA;&lt;li&gt;Tag&amp;amp;Rename (softpointer.com)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;with no success; same story as with Mp3tag, I can apply and it's visible in the app, but not in File Explorer.&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;6&quot;&gt;&#xA;&lt;li&gt;mp4v2 (https:// code.google.com/archive/p/mp4v2/downloads)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;mp4tags.exe -picture sample.png sample.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;with no success; it executes with no (error)message&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found it on this thread&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(https:// forum.videohelp.com/threads/388025-How-to-set-the-thumbnail-of-a-video-clip). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Have used the &lt;em&gt;updated&lt;/em&gt; version which is the Windows build&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(https:// forum.doom9.org/attachment.php?attachmentid=14314&amp;amp;d=1407985798).&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;7&quot;&gt;&#xA;&lt;li&gt;iTunes&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;iTunes 12.10.6.2 (Microsoft Store version)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;s&gt;iTunes doesn't load the file into the library.&lt;/s&gt; I can run it fine though in QuickTime Player.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I didn't notice the 'Home Videos' tab. Now I can see it in there. I tried to apply the image, and it applied it only inside iTunes... So it's still not working for me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to convert the MP4 to M4A and then adding it to iTunes. I was &lt;strong&gt;finally&lt;/strong&gt; successfully able to change the cover and it was visible in File Explorer. But that's not what I want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know for a fact that it's possible, because I've seen pictures on the Internet and YT and different threads where an answer is upvoted.&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;8&quot;&gt;&#xA;&lt;li&gt;tag&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;https:// github.com/b4winckler/tag&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The description is: &lt;em&gt;Simple command line audio tag editor&lt;/em&gt;... After having to install millions of libraries and a package manager I was stuck with the compilation of the software, followed all the steps, didn't work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've also tried using MP4art as suggested by a &lt;a href=&quot;https://stackoverflow.com/a/27130727/12308353&quot;&gt;comment&lt;/a&gt; on another issue about this. He didn't include a link to it so I went looking and found another issue about &lt;a href=&quot;https://superuser.com/q/656481/1127977&quot;&gt;this&lt;/a&gt;. One comment recommended MP4art as well, with a link that's dead.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I believe I've used some other methods as well but can't think of them right now. Will update if I recall.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any help is greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="27345" LastEditorUserId="27345" LastEditDate="2020-04-23T17:55:50.200" LastActivityDate="2022-08-09T22:15:01.793" Title="How to embed cover art into MP4 without errors?" Tags="|video|ffmpeg|mp4|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30057" PostTypeId="2" ParentId="29885" CreationDate="2020-04-23T05:43:27.590" Score="2" Body="&lt;p&gt;Black Magic Design have recently released Resolve version 16.2.1 with &quot;Improved stability on Windows systems with Intel graphics&quot; - which may help, but generally speaking support and performance on Integrated CPU's has always been limited. I can run DR on my Laptop with an Intel HD 520, but only for very basic &amp;amp; slow editing.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You also did not say when it crashes. i.e. At startup / playback / edit, and what media was being processed (if any).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Minimum system requirements for Windows:&lt;/strong&gt; &#xA;Windows 10 Update &#xA;16 GB of system memory. 32 GB when using Fusion &#xA;Blackmagic Design Desktop Video version 10.4.1 or later &#xA;Integrated GPU or discrete GPU with at least 2GB of VRAM &#xA;GPU which supports OpenCL 1.2 or CUDA 10 &#xA;NVIDIA/AMD/Intel GPU Driver version &lt;/p&gt;&#xA;" OwnerUserId="24155" LastEditorUserId="24155" LastEditDate="2020-04-24T19:06:49.673" LastActivityDate="2020-04-24T19:06:49.673" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30058" PostTypeId="1" CreationDate="2020-04-23T06:47:04.310" Score="1" ViewCount="674" Body="&lt;p&gt;I've concat or joined four video files using &lt;strong&gt;ffmpeg concat demuxer&lt;/strong&gt; The video has no problem. But on audio side I am greeted with a bunch of error when I tried re encoding the final video. Here is the console output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Output #0, matroska, to '../videos/nnnnc.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf58.42.101&#xA;    Stream #0:0: Video: h264 (libx264) (H264 / 0x34363248), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], q=-1--1, 23.98 fps, 1k tbn, 23.98 tbc (default)&#xA;    Metadata:&#xA;      DURATION        : 02:35:10.922000000&#xA;      encoder         : Lavc58.80.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: N/A&#xA;    Stream #0:1: Audio: aac (libfdk_aac) ([255][0][0][0] / 0x00FF), 48000 Hz, stereo, s16, 139 kb/s (default)&#xA;    Metadata:&#xA;      DURATION        : 02:35:10.929000000&#xA;      encoder         : Lavc58.80.100 libfdk_aac&#xA;    Stream #0:2: Subtitle: subrip (default)&#xA;    Metadata:&#xA;      DURATION        : 02:35:10.920000000&#xA;[aac @ 0x5653edc94b00] channel element 2.13 is not allocatedbitrate= 108.2kbits/s dup=0 drop=2 speed=6.21x    &#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[aac @ 0x5653edc94b00] channel element 2.13 is not allocatedbitrate= 678.3kbits/s dup=0 drop=2 speed=5.96x    &#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[aac @ 0x5653edc94b00] channel element 2.13 is not allocatedbitrate= 771.3kbits/s dup=0 drop=2 speed=5.87x    &#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[aac @ 0x5653edc94b00] channel element 2.13 is not allocatedbitrate= 693.0kbits/s dup=0 drop=2 speed=5.89x    &#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;[aac @ 0x5653edc94b00] channel element 2.13 is not allocated&#xA;Error while decoding stream #0:1: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;ffprobe&lt;/strong&gt; output of source 1&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[STREAM]&#xA;index=0&#xA;codec_name=hevc&#xA;codec_long_name=unknown&#xA;profile=1&#xA;codec_type=video&#xA;codec_time_base=1001/24000&#xA;codec_tag_string=[0][0][0][0]&#xA;codec_tag=0x0000&#xA;width=1280&#xA;height=720&#xA;coded_width=1280&#xA;coded_height=720&#xA;has_b_frames=2&#xA;sample_aspect_ratio=1:1&#xA;display_aspect_ratio=16:9&#xA;pix_fmt=yuv420p&#xA;level=93&#xA;color_range=tv&#xA;color_space=unknown&#xA;color_transfer=unknown&#xA;color_primaries=unknown&#xA;chroma_location=unspecified&#xA;field_order=progressive&#xA;timecode=N/A&#xA;refs=1&#xA;id=N/A&#xA;r_frame_rate=24000/1001&#xA;avg_frame_rate=24000/1001&#xA;time_base=1/1000&#xA;start_pts=105&#xA;start_time=0.105000&#xA;duration_ts=N/A&#xA;duration=N/A&#xA;bit_rate=N/A&#xA;max_bit_rate=N/A&#xA;bits_per_raw_sample=N/A&#xA;nb_frames=N/A&#xA;nb_read_frames=N/A&#xA;nb_read_packets=N/A&#xA;DISPOSITION:default=1&#xA;DISPOSITION:dub=0&#xA;DISPOSITION:original=0&#xA;DISPOSITION:comment=0&#xA;DISPOSITION:lyrics=0&#xA;DISPOSITION:karaoke=0&#xA;DISPOSITION:forced=0&#xA;DISPOSITION:hearing_impaired=0&#xA;DISPOSITION:visual_impaired=0&#xA;DISPOSITION:clean_effects=0&#xA;DISPOSITION:attached_pic=0&#xA;DISPOSITION:timed_thumbnails=0&#xA;TAG:ENCODER=Lavc58.80.100 libx265&#xA;TAG:DURATION=00:00:03.108000000&#xA;[/STREAM]&#xA;[STREAM]&#xA;index=1&#xA;codec_name=subrip&#xA;codec_long_name=unknown&#xA;profile=unknown&#xA;codec_type=subtitle&#xA;codec_time_base=0/1&#xA;codec_tag_string=[0][0][0][0]&#xA;codec_tag=0x0000&#xA;width=N/A&#xA;height=N/A&#xA;id=N/A&#xA;r_frame_rate=0/0&#xA;avg_frame_rate=0/0&#xA;time_base=1/1000&#xA;start_pts=0&#xA;start_time=0.000000&#xA;duration_ts=3108&#xA;duration=3.108000&#xA;bit_rate=N/A&#xA;max_bit_rate=N/A&#xA;bits_per_raw_sample=N/A&#xA;nb_frames=N/A&#xA;nb_read_frames=N/A&#xA;nb_read_packets=N/A&#xA;DISPOSITION:default=1&#xA;DISPOSITION:dub=0&#xA;DISPOSITION:original=0&#xA;DISPOSITION:comment=0&#xA;DISPOSITION:lyrics=0&#xA;DISPOSITION:karaoke=0&#xA;DISPOSITION:forced=0&#xA;DISPOSITION:hearing_impaired=0&#xA;DISPOSITION:visual_impaired=0&#xA;DISPOSITION:clean_effects=0&#xA;DISPOSITION:attached_pic=0&#xA;DISPOSITION:timed_thumbnails=0&#xA;TAG:ENCODER=Lavc58.80.100 subrip&#xA;TAG:DURATION=00:00:03.105000000&#xA;[/STREAM]&#xA;[STREAM]&#xA;index=2&#xA;codec_name=aac&#xA;codec_long_name=unknown&#xA;profile=4&#xA;codec_type=audio&#xA;codec_time_base=1/48000&#xA;codec_tag_string=[0][0][0][0]&#xA;codec_tag=0x0000&#xA;sample_fmt=fltp&#xA;sample_rate=48000&#xA;channels=2&#xA;channel_layout=stereo&#xA;bits_per_sample=0&#xA;id=N/A&#xA;r_frame_rate=0/0&#xA;avg_frame_rate=0/0&#xA;time_base=1/1000&#xA;start_pts=0&#xA;start_time=0.000000&#xA;duration_ts=N/A&#xA;duration=N/A&#xA;bit_rate=N/A&#xA;max_bit_rate=N/A&#xA;bits_per_raw_sample=N/A&#xA;nb_frames=N/A&#xA;nb_read_frames=N/A&#xA;nb_read_packets=N/A&#xA;DISPOSITION:default=1&#xA;DISPOSITION:dub=0&#xA;DISPOSITION:original=0&#xA;DISPOSITION:comment=0&#xA;DISPOSITION:lyrics=0&#xA;DISPOSITION:karaoke=0&#xA;DISPOSITION:forced=0&#xA;DISPOSITION:hearing_impaired=0&#xA;DISPOSITION:visual_impaired=0&#xA;DISPOSITION:clean_effects=0&#xA;DISPOSITION:attached_pic=0&#xA;DISPOSITION:timed_thumbnails=0&#xA;TAG:ENCODER=Lavc58.80.100 libfdk_aac&#xA;TAG:DURATION=00:00:03.105000000&#xA;[/STREAM]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;ffprobe&lt;/strong&gt; output of source 2,3,4 (all are same source)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[STREAM]&#xA;index=0&#xA;codec_name=hevc&#xA;codec_long_name=unknown&#xA;profile=1&#xA;codec_type=video&#xA;codec_time_base=1001/24000&#xA;codec_tag_string=[0][0][0][0]&#xA;codec_tag=0x0000&#xA;width=1280&#xA;height=720&#xA;coded_width=1280&#xA;coded_height=720&#xA;has_b_frames=2&#xA;sample_aspect_ratio=1:1&#xA;display_aspect_ratio=16:9&#xA;pix_fmt=yuv420p&#xA;level=93&#xA;color_range=tv&#xA;color_space=bt709&#xA;color_transfer=bt709&#xA;color_primaries=bt709&#xA;chroma_location=unspecified&#xA;field_order=unknown&#xA;timecode=N/A&#xA;refs=1&#xA;id=N/A&#xA;r_frame_rate=24000/1001&#xA;avg_frame_rate=24000/1001&#xA;time_base=1/1000&#xA;start_pts=7&#xA;start_time=0.007000&#xA;duration_ts=N/A&#xA;duration=N/A&#xA;bit_rate=N/A&#xA;max_bit_rate=N/A&#xA;bits_per_raw_sample=N/A&#xA;nb_frames=N/A&#xA;nb_read_frames=N/A&#xA;nb_read_packets=N/A&#xA;DISPOSITION:default=1&#xA;DISPOSITION:dub=0&#xA;DISPOSITION:original=0&#xA;DISPOSITION:comment=0&#xA;DISPOSITION:lyrics=0&#xA;DISPOSITION:karaoke=0&#xA;DISPOSITION:forced=0&#xA;DISPOSITION:hearing_impaired=0&#xA;DISPOSITION:visual_impaired=0&#xA;DISPOSITION:clean_effects=0&#xA;DISPOSITION:attached_pic=0&#xA;DISPOSITION:timed_thumbnails=0&#xA;TAG:BPS=651629&#xA;TAG:BPS-eng=651629&#xA;TAG:DURATION=00:51:39.472000000&#xA;TAG:DURATION-eng=00:51:39.472000000&#xA;TAG:NUMBER_OF_FRAMES=74313&#xA;TAG:NUMBER_OF_FRAMES-eng=74313&#xA;TAG:NUMBER_OF_BYTES=252463300&#xA;TAG:NUMBER_OF_BYTES-eng=252463300&#xA;TAG:_STATISTICS_WRITING_APP=mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;TAG:_STATISTICS_WRITING_APP-eng=mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;TAG:_STATISTICS_WRITING_DATE_UTC=2018-09-07 09:36:09&#xA;TAG:_STATISTICS_WRITING_DATE_UTC-eng=2018-09-07 09:36:09&#xA;TAG:_STATISTICS_TAGS=BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;TAG:_STATISTICS_TAGS-eng=BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;[/STREAM]&#xA;[STREAM]&#xA;index=1&#xA;codec_name=aac&#xA;codec_long_name=unknown&#xA;profile=4&#xA;codec_type=audio&#xA;codec_time_base=1/48000&#xA;codec_tag_string=[0][0][0][0]&#xA;codec_tag=0x0000&#xA;sample_fmt=fltp&#xA;sample_rate=48000&#xA;channels=2&#xA;channel_layout=stereo&#xA;bits_per_sample=0&#xA;id=N/A&#xA;r_frame_rate=0/0&#xA;avg_frame_rate=0/0&#xA;time_base=1/1000&#xA;start_pts=3&#xA;start_time=0.003000&#xA;duration_ts=N/A&#xA;duration=N/A&#xA;bit_rate=N/A&#xA;max_bit_rate=N/A&#xA;bits_per_raw_sample=N/A&#xA;nb_frames=N/A&#xA;nb_read_frames=N/A&#xA;nb_read_packets=N/A&#xA;DISPOSITION:default=1&#xA;DISPOSITION:dub=0&#xA;DISPOSITION:original=0&#xA;DISPOSITION:comment=0&#xA;DISPOSITION:lyrics=0&#xA;DISPOSITION:karaoke=0&#xA;DISPOSITION:forced=0&#xA;DISPOSITION:hearing_impaired=0&#xA;DISPOSITION:visual_impaired=0&#xA;DISPOSITION:clean_effects=0&#xA;DISPOSITION:attached_pic=0&#xA;DISPOSITION:timed_thumbnails=0&#xA;TAG:BPS=64000&#xA;TAG:BPS-eng=64000&#xA;TAG:DURATION=00:51:39.605000000&#xA;TAG:DURATION-eng=00:51:39.605000000&#xA;TAG:NUMBER_OF_FRAMES=72647&#xA;TAG:NUMBER_OF_FRAMES-eng=72647&#xA;TAG:NUMBER_OF_BYTES=24796844&#xA;TAG:NUMBER_OF_BYTES-eng=24796844&#xA;TAG:_STATISTICS_WRITING_APP=mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;TAG:_STATISTICS_WRITING_APP-eng=mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;TAG:_STATISTICS_WRITING_DATE_UTC=2018-09-07 09:36:09&#xA;TAG:_STATISTICS_WRITING_DATE_UTC-eng=2018-09-07 09:36:09&#xA;TAG:_STATISTICS_TAGS=BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;TAG:_STATISTICS_TAGS-eng=BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;[/STREAM]&#xA;[STREAM]&#xA;index=2&#xA;codec_name=subrip&#xA;codec_long_name=unknown&#xA;profile=unknown&#xA;codec_type=subtitle&#xA;codec_time_base=0/1&#xA;codec_tag_string=[0][0][0][0]&#xA;codec_tag=0x0000&#xA;width=N/A&#xA;height=N/A&#xA;id=N/A&#xA;r_frame_rate=0/0&#xA;avg_frame_rate=0/0&#xA;time_base=1/1000&#xA;start_pts=3&#xA;start_time=0.003000&#xA;duration_ts=3099605&#xA;duration=3099.605000&#xA;bit_rate=N/A&#xA;max_bit_rate=N/A&#xA;bits_per_raw_sample=N/A&#xA;nb_frames=N/A&#xA;nb_read_frames=N/A&#xA;nb_read_packets=N/A&#xA;DISPOSITION:default=1&#xA;DISPOSITION:dub=0&#xA;DISPOSITION:original=0&#xA;DISPOSITION:comment=0&#xA;DISPOSITION:lyrics=0&#xA;DISPOSITION:karaoke=0&#xA;DISPOSITION:forced=0&#xA;DISPOSITION:hearing_impaired=0&#xA;DISPOSITION:visual_impaired=0&#xA;DISPOSITION:clean_effects=0&#xA;DISPOSITION:attached_pic=0&#xA;DISPOSITION:timed_thumbnails=0&#xA;TAG:BPS=65&#xA;TAG:BPS-eng=65&#xA;TAG:DURATION=00:49:21.500000000&#xA;TAG:DURATION-eng=00:49:21.500000000&#xA;TAG:NUMBER_OF_FRAMES=777&#xA;TAG:NUMBER_OF_FRAMES-eng=777&#xA;TAG:NUMBER_OF_BYTES=24256&#xA;TAG:NUMBER_OF_BYTES-eng=24256&#xA;TAG:_STATISTICS_WRITING_APP=mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;TAG:_STATISTICS_WRITING_APP-eng=mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;TAG:_STATISTICS_WRITING_DATE_UTC=2018-09-07 09:36:09&#xA;TAG:_STATISTICS_WRITING_DATE_UTC-eng=2018-09-07 09:36:09&#xA;TAG:_STATISTICS_TAGS=BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;TAG:_STATISTICS_TAGS-eng=BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;[/STREAM]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;ffprobe&lt;/strong&gt; output of the joined video&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[STREAM]&#xA;index=0&#xA;codec_name=hevc&#xA;codec_long_name=unknown&#xA;profile=1&#xA;codec_type=video&#xA;codec_time_base=1001/24000&#xA;codec_tag_string=[0][0][0][0]&#xA;codec_tag=0x0000&#xA;width=1280&#xA;height=720&#xA;coded_width=1280&#xA;coded_height=720&#xA;has_b_frames=2&#xA;sample_aspect_ratio=1:1&#xA;display_aspect_ratio=16:9&#xA;pix_fmt=yuv420p&#xA;level=93&#xA;color_range=tv&#xA;color_space=unknown&#xA;color_transfer=unknown&#xA;color_primaries=unknown&#xA;chroma_location=unspecified&#xA;field_order=progressive&#xA;timecode=N/A&#xA;refs=1&#xA;id=N/A&#xA;r_frame_rate=24000/1001&#xA;avg_frame_rate=24000/1001&#xA;time_base=1/1000&#xA;start_pts=105&#xA;start_time=0.105000&#xA;duration_ts=N/A&#xA;duration=N/A&#xA;bit_rate=N/A&#xA;max_bit_rate=N/A&#xA;bits_per_raw_sample=N/A&#xA;nb_frames=N/A&#xA;nb_read_frames=N/A&#xA;nb_read_packets=N/A&#xA;DISPOSITION:default=1&#xA;DISPOSITION:dub=0&#xA;DISPOSITION:original=0&#xA;DISPOSITION:comment=0&#xA;DISPOSITION:lyrics=0&#xA;DISPOSITION:karaoke=0&#xA;DISPOSITION:forced=0&#xA;DISPOSITION:hearing_impaired=0&#xA;DISPOSITION:visual_impaired=0&#xA;DISPOSITION:clean_effects=0&#xA;DISPOSITION:attached_pic=0&#xA;DISPOSITION:timed_thumbnails=0&#xA;TAG:DURATION=02:35:10.922000000&#xA;[/STREAM]&#xA;[STREAM]&#xA;index=1&#xA;codec_name=aac&#xA;codec_long_name=unknown&#xA;profile=4&#xA;codec_type=audio&#xA;codec_time_base=1/48000&#xA;codec_tag_string=[0][0][0][0]&#xA;codec_tag=0x0000&#xA;sample_fmt=fltp&#xA;sample_rate=48000&#xA;channels=2&#xA;channel_layout=stereo&#xA;bits_per_sample=0&#xA;id=N/A&#xA;r_frame_rate=0/0&#xA;avg_frame_rate=0/0&#xA;time_base=1/1000&#xA;start_pts=0&#xA;start_time=0.000000&#xA;duration_ts=N/A&#xA;duration=N/A&#xA;bit_rate=N/A&#xA;max_bit_rate=N/A&#xA;bits_per_raw_sample=N/A&#xA;nb_frames=N/A&#xA;nb_read_frames=N/A&#xA;nb_read_packets=N/A&#xA;DISPOSITION:default=1&#xA;DISPOSITION:dub=0&#xA;DISPOSITION:original=0&#xA;DISPOSITION:comment=0&#xA;DISPOSITION:lyrics=0&#xA;DISPOSITION:karaoke=0&#xA;DISPOSITION:forced=0&#xA;DISPOSITION:hearing_impaired=0&#xA;DISPOSITION:visual_impaired=0&#xA;DISPOSITION:clean_effects=0&#xA;DISPOSITION:attached_pic=0&#xA;DISPOSITION:timed_thumbnails=0&#xA;TAG:DURATION=02:35:10.929000000&#xA;[/STREAM]&#xA;[STREAM]&#xA;index=2&#xA;codec_name=subrip&#xA;codec_long_name=unknown&#xA;profile=unknown&#xA;codec_type=subtitle&#xA;codec_time_base=0/1&#xA;codec_tag_string=[0][0][0][0]&#xA;codec_tag=0x0000&#xA;width=N/A&#xA;height=N/A&#xA;id=N/A&#xA;r_frame_rate=0/0&#xA;avg_frame_rate=0/0&#xA;time_base=1/1000&#xA;start_pts=0&#xA;start_time=0.000000&#xA;duration_ts=9310929&#xA;duration=9310.929000&#xA;bit_rate=N/A&#xA;max_bit_rate=N/A&#xA;bits_per_raw_sample=N/A&#xA;nb_frames=N/A&#xA;nb_read_frames=N/A&#xA;nb_read_packets=N/A&#xA;DISPOSITION:default=1&#xA;DISPOSITION:dub=0&#xA;DISPOSITION:original=0&#xA;DISPOSITION:comment=0&#xA;DISPOSITION:lyrics=0&#xA;DISPOSITION:karaoke=0&#xA;DISPOSITION:forced=0&#xA;DISPOSITION:hearing_impaired=0&#xA;DISPOSITION:visual_impaired=0&#xA;DISPOSITION:clean_effects=0&#xA;DISPOSITION:attached_pic=0&#xA;DISPOSITION:timed_thumbnails=0&#xA;TAG:DURATION=02:35:10.920000000&#xA;[/STREAM]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The source 1 is generated via the following command to match source &lt;strong&gt;2,3,4&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i image.png -f lavfi -i anullsrc=channel_layout=stereo:sample_rate=48000 -i sub.srt -map 0:v $amap $smap -t 3 -vf 'scale=1280x720,fade=type=in:duration=1,fade=type=out:duration=1:start_time=2' -r 23.98 -crf 22 -c:v hevc -pix_fmt yuv420p -c:a libfdk_aac -profile:a 4 -ac 2 -ar 48000 -c:s copy wmv1.mkv&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;$amap $smap&lt;/code&gt; are PHP variable to match &lt;strong&gt;2,3,4&lt;/strong&gt; configuration.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I join video &lt;strong&gt;2,3,4&lt;/strong&gt; without video &lt;strong&gt;1&lt;/strong&gt; the output is fine. There is no error in encoding.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I include video &lt;strong&gt;1&lt;/strong&gt; the encoding goes crazy by spamming my console with errors. No matter what I try or how differently I try. Outcome is same. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Concat demuxer command&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -safe 0 -f concat -i list.txt -c copy -c:s copy ../videos/nnnnc.mkv&lt;/code&gt; &#xA; and list.txt&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;file 'source1.mkv'&#xA;duration 3&#xA;&#xA;file 'source2.mkv'&#xA;duration 3099.6&#xA;&#xA;file 'source2.mkv'&#xA;duration 3099.6&#xA;&#xA;file 'source2.mkv'&#xA;duration 3099.6&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;&lt;em&gt;What am I doing wrong here?&lt;/em&gt;&lt;/strong&gt; &lt;/p&gt;&#xA;" OwnerUserId="29496" LastEditorUserId="29496" LastEditDate="2020-04-24T11:54:40.760" LastActivityDate="2020-04-24T11:54:40.760" Title="Audio is corrupted after joining videos with ffmpeg concat demuxer" Tags="|video|ffmpeg|video-recording|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="30061" PostTypeId="1" AcceptedAnswerId="30254" CreationDate="2020-04-23T20:09:03.200" Score="0" ViewCount="148" Body="&lt;p&gt;I want to animate &quot;drawings&quot; on people's faces like &quot; X &quot;'s and other lines and I am aware, as far as I know, that in sony vegas that is done via individual frames.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there another way? Does AE do it more easily?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As a general question which software is best used for editing or should a combination of software be used e.g Sony Vegas for final cut edits and then AE for post and graphic editing?&lt;/p&gt;&#xA;" OwnerUserId="29509" LastActivityDate="2020-06-10T03:04:15.350" Title="Sony Vegas VS After Effects for graphic / Keyframe editing" Tags="|after-effects|vegas-pro|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30062" PostTypeId="1" AcceptedAnswerId="30105" CreationDate="2020-04-23T20:14:02.450" Score="0" ViewCount="95" Body="&lt;p&gt;I want to make the value of the Point of Interest of a camera change at the same amount i change the Position, but when i simply pick whip parent the Point of Interest to the position, the former takes the same value as the later, which is not the result i expected. How do i accomplish the expected result?&lt;/p&gt;&#xA;" OwnerUserId="14786" LastActivityDate="2020-04-27T11:19:51.667" Title="How do i make the different values of two properties change at the same amount in After Effects?" Tags="|after-effects|camera|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30064" PostTypeId="1" CreationDate="2020-04-24T02:01:09.863" Score="3" ViewCount="1208" Body="&lt;p&gt;I am currently editing in premiere with time-lapses and have noticed that premiere will use my integrated Intel graphics card instead of my Nvidia GTX 1060. In the Nvidia control panel, I have set premiere to use the Nvidia GPU and have also kept the Studio-Ready Driver up to date. Inside premiere, I have set it to use the &lt;em&gt;&quot;Mercury Playback Engine GPU Acceleration (CUDA)&quot;&lt;/em&gt;, but still uses integrated graphics. very annoying as it slows the video decoding. Any ideas on how to get premiere to use the Nvidia GPU instead of the integrated GPU?&lt;/p&gt;&#xA;" OwnerUserId="29512" LastActivityDate="2023-01-03T10:21:56.580" Title="How to get Premiere Pro to use NVIDIA GPU" Tags="|premiere|editing|time-lapse|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30065" PostTypeId="1" AcceptedAnswerId="30067" CreationDate="2020-04-24T04:11:39.370" Score="0" ViewCount="917" Body="&lt;p&gt;I would like to be able to take a single video, run it through ffmpeg, and have it spit out a log containing the SSIM of each frame with respect to the previous - that is, I want the SSIM scores comparing the previous frame to the current one. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am attempting to do so by running ffmpeg with the same video input twice, with the second input skipping ahead by one frame.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i .\a.mp4 -i .\a.mp4 -filter_complex &quot;[1:v]select=gte(n\,1)[f]&quot; -map 0:v:0 -map &quot;[f]&quot; -lavfi ssim -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When attempting to run this, I am given the error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Cannot find a matching stream for unlabeled input pad 1 on filter Parsed_ssim_0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there a way I can correct this so that the second input skips one frame and both are run through &lt;code&gt;-lavfi ssim&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="29266" LastEditorUserId="29266" LastEditDate="2020-04-24T04:20:31.267" LastActivityDate="2023-04-28T09:36:35.767" Title="Using FFmpeg -lavfi to calculate the SSIM of each frame" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30067" PostTypeId="2" ParentId="30065" CreationDate="2020-04-24T08:59:54.717" Score="0" Body="&lt;p&gt;You have to perform all filtering in a single filtergraph.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i .\a.mp4 -i .\a.mp4 -filter_complex &amp;quot;[0:v]setpts=N/FR/TB[v0];[1:v]select=gte(n\,1),setpts=N/FR/TB[v1];[v0][v1]ssim=f=stats.log&amp;quot; -f null -&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2023-04-28T09:36:35.767" LastActivityDate="2023-04-28T09:36:35.767" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30069" PostTypeId="1" CreationDate="2020-04-24T13:23:25.543" Score="2" ViewCount="70" Body="&lt;p&gt;&lt;a href=&quot;https://okbinteractive.studio/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://okbinteractive.studio/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Above is a brilliant website, if you scroll down slightly, you'll see they have a video playing inside some coloured text (a large UX). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any one of the Adobe apps, that could facilitate this?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the life of me I cant work out how to do it.&lt;/p&gt;&#xA;" OwnerUserId="29522" LastEditorUserId="14523" LastEditDate="2020-05-04T20:10:10.253" LastActivityDate="2020-05-04T20:10:10.253" Title="How to put a video inside text?" Tags="|video-editor|adobe|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30072" PostTypeId="2" ParentId="29802" CreationDate="2020-04-24T15:42:32.057" Score="1" Body="&lt;p&gt;Your bottleneck is the USB stick and USB 3.0 itself. There's simply not enough bandwidth to get smooth playback. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;From your specs (quad i5, 1.4 GHz) I'm guessing you've got a the 2019 13&quot; MBPro which should be powerful enough to handle quite some video editing, so I'd highly recommend getting an external SSD connected via Thunderbolt 3, or at least USB-C. While USB-C is optically the same plug as Thunderbolt 3, the protocol and speeds are different. Thunderbolt 3's max throughput is about 4x of what USB-C can handle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For maximum performance get a NVMe SSD (M.2) drive and a Thunderbolt 3 enclosure. You can get 1TB with case for ca. 250 USD and the maximum throughput is just as fast as the internal drive (same technology), up to 1400 MB/s which should be enough to even edit 4k footage.&lt;/p&gt;&#xA;" OwnerUserId="29525" LastActivityDate="2020-04-24T15:42:32.057" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30074" PostTypeId="2" ParentId="28279" CreationDate="2020-04-24T16:23:40.257" Score="0" Body="&lt;p&gt;Actually After Effects isn't even well suited for character animation (regarding commercial proprietary tools, Moho, ToonBoom Harmony would be much more appropriate for the task), but Synfig might probably be your best choice. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;While it's true that Open Toonz is used by Ghibli they are also a traditional animation house, and Open Toonz is a 100% adaptation of old-school analogue techniques and frame-by-frame animation. This is very time consuming and you'll need a lot of man-power to get even short scenes animated this way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Synfig uses a more modern approach by implementing IK chains and bones to do &quot;puppet&quot; animation, which is closer to what is shown in your linked video and will get you the desired outcome much quicker than having to draw every single frame by hand as you'd have to do with Open Toonz.&lt;/p&gt;&#xA;" OwnerUserId="29525" LastActivityDate="2020-04-24T16:23:40.257" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30075" PostTypeId="2" ParentId="28279" CreationDate="2020-04-24T17:44:24.853" Score="0" Body="&lt;p&gt;Blender &lt;a href=&quot;https://www.blender.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.blender.org/&lt;/a&gt; is your best friend.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is not only for 3D characters, it is also not only for 2D hand-drawn animations. The specific animation like the example or like a lot of animated gifs on Dribble can be animated on blender. You can add a bone structure, or having elastic limbs using curves.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have made some 2D animations but I first prepare the base assets on a vector-based program. I use Corel Draw but you can use Inkscape.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Prepare the elements of the animation on the drawing program.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Export the assets.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Animate them in Blender.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-04-24T17:44:24.853" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30076" PostTypeId="2" ParentId="30069" CreationDate="2020-04-24T17:49:58.470" Score="1" Body="&lt;p&gt;There are a ton of options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The easiest one that can be done in any decent video editor, is preparing a transparent shape.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You are used to thinking about the text being the object.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ImL50.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ImL50.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you combine it with the big rectangle you now have a rectangle with a hole with the shape of some text.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Put that in a layer above a video and you are done.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AASU9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AASU9.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the color, you could make the video with a different blending mode, like multiply, desaturate it and play it above a purple rectangle.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Another option is preparing a mask. This depends on if the program you are using can work with masks. But any decent one will.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do that in Premiere, After Effects, or with free software. Davinci Resolve is great and free.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A mask is simply a black and white image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/s1Qa5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s1Qa5.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your software is simpler and does not accept masks you can use a green text, and cut it using the green-screen option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Seqgd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Seqgd.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2020-05-04T09:27:45.647" LastActivityDate="2020-05-04T09:27:45.647" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30077" PostTypeId="1" CreationDate="2020-04-24T19:31:54.420" Score="0" ViewCount="1397" Body="&lt;p&gt;There may be multiple questions in here, so please bear with me ...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am experimenting with rendering animations (from scientific data / simulations). My code produces individual frames as PNGs - at a frame rate of my choosing &amp;amp; at a resolution of my choosing. I want to convert it to something that can be uploaded to Youtube as 1080p / 1k footage offering an as-smooth-as-possible experience for a potential audience at Youtube. I have made the basics work, but I am not (yet) happy with the results. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What are optimal settings for what I am doing?&lt;/strong&gt; What directions do I have to explore to improve the result?&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I have written &lt;a href=&quot;https://gist.github.com/s-m-e/821f23a76ff03186d2c90797bcfe05d8&quot; rel=&quot;nofollow noreferrer&quot;&gt;a little script in Python&lt;/a&gt; which generates frames for a rather simplistic test animation. I can tune the resolution of every frame as well as the frame rate. Rendering is based on &lt;a href=&quot;https://www.cairographics.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Cairo&lt;/a&gt;. Beyond that, it always generates the same 10 second animation.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Test 1&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/rFJmMjHwgrY&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video&lt;/a&gt;, 60 fps, PNGs at 1k&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Command: &lt;code&gt;ffmpeg -framerate 60 -i images/frame_%04d.png -s:v 1920x1080 -c:v libx264 -profile:v high -pix_fmt yuv420p video.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Test 2&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/8JQCYvXw6EQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video&lt;/a&gt;, 60 fps, PNGs at 1k&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Command: &lt;code&gt;ffmpeg -framerate 60 -i images/frame_%04d.png -s:v 1920x1080 -c:v libx264 -preset veryslow -crf 0 video.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Test 3&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/kFZdLOmb1Y8&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video&lt;/a&gt;, 60 fps, PNGs at 4k&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Command: &lt;code&gt;ffmpeg -framerate 60 -i images/frame_%04d.png -s:v 1920x1080 -c:v libx264 -preset veryslow -crf 0 video.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Test 4&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/RrIHbtiPzuc&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video&lt;/a&gt;, 120 fps, PNGs at 1k&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Command: &lt;code&gt;ffmpeg -framerate 120 -i images/frame_%04d.png -s:v 1920x1080 -c:v libx264 -preset veryslow -crf 0 video.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="29532" LastActivityDate="2020-04-24T19:31:54.420" Title="Optimal ffmpeg input and settings for 1080p Youtube video from individually rendered frames (PNG files)" Tags="|ffmpeg|video-quality|animation|animation-rendering|" AnswerCount="0" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="30079" PostTypeId="1" CreationDate="2020-04-24T20:54:56.987" Score="0" ViewCount="25" Body="&lt;p&gt;I'm looking for an open source video editor for windows&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/List_of_video_editing_software&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/List_of_video_editing_software&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;in order to cut out some parts of a video.&#xA;A necessary feature that I'm looking for is to be able to jump forward a few seconds while playing the video (to find where I need to cut it next). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So far, I checked:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;OpenShot: doesn't have the ability. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Shotcut, Avidemux, Kdenlive: it can jump forward, but it stops playing the movie, and I need to press play again, which makes in clunky.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="29535" LastEditorUserId="29535" LastEditDate="2020-04-24T21:08:51.107" LastActivityDate="2024-01-05T09:02:40.287" Title="Video editing with playable jump forward" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30080" PostTypeId="2" ParentId="30056" CreationDate="2020-04-24T22:29:24.740" Score="1" Body="&lt;p&gt;In the &lt;a href=&quot;https://i.stack.imgur.com/4snnj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;em&gt;Codec Tweak Tool&lt;/em&gt;&lt;/a&gt; under Miscellaneous &gt; Thumbnails the checkbox for .mp4 was unchecked. After checking it and saving the settings it finally showed the thumbnail.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Tweak Tool is installed with &lt;a href=&quot;https://codecguide.com/download_kl.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;K-Lite Codec Pack&lt;/strong&gt;&lt;/a&gt;. There are different editions available, I use the Standard edition so I can't talk for the other ones.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Credits for finding the solution: &lt;a href=&quot;https://superuser.com/users/1165405/furty&quot;&gt;Furty&lt;/a&gt; from the same (copied) thread on Super User as a &lt;a href=&quot;https://superuser.com/questions/1544737/how-to-embed-cover-art-into-mp4-without-errors?noredirect=1#comment2348563_1544737&quot;&gt;comment&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27345" LastActivityDate="2020-04-24T22:29:24.740" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30081" PostTypeId="2" ParentId="30079" CreationDate="2020-04-24T23:31:34.283" Score="0" Body="&lt;p&gt;I came up with the following solution.&#xA;Find the durations using your favorite player.&#xA;Then, use the following python script that employs ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;# Cut out clips from a video given a text file with times, e.g.:&#xA;# 0.0-12.20&#xA;# 14.28-15.58&#xA;# 53.25-53.31&#xA;# 54.47-55.05&#xA;&#xA;import sys, re, os&#xA;import datetime&#xA;&#xA;fin = &quot;8-01.mp4&quot;&#xA;flist = &quot;8-01_cut_out.txt&quot;&#xA;&#xA;def main():&#xA;    with open(flist) as f: &#xA;        lines = f.readlines()&#xA;    #print(lines)&#xA;&#xA;    print(&quot;Durations to remove:&quot;)&#xA;    times = [&quot;00:00:00.000&quot;]&#xA;    #for line in sys.stdin:&#xA;    for line in lines:&#xA;        line = line.rstrip()&#xA;&#xA;        reg = re.compile('(\d+)\.(\d+)-(\d+)\.(\d+)')&#xA;        m = reg.match(line)&#xA;        if not m:&#xA;            print(&quot;Couldn't find pattern:&quot;, line)&#xA;            return&#xA;&#xA;        m0, s0, m1, s1 = [int(m.group(i+1)) for i in range(4)]&#xA;        t0 = &quot;00:%02d:%02d.000&quot; % (m0, s0)&#xA;        t1 = &quot;00:%02d:%02d.000&quot; % (m1, s1)&#xA;        print(t0, &quot;...&quot;, t1)&#xA;        times.extend([t0, t1])&#xA;    # append last&#xA;    times.append(&quot;10:00:00.000&quot;)&#xA;&#xA;    print(&quot;&amp;gt;&amp;gt; \nDurations:&quot;)&#xA;    fclip = open(&quot;clip_list.txt&quot;, &quot;w&quot;)&#xA;    for i in range( len(times)//2 ):&#xA;        t0 = times[2*i]&#xA;        t1 = times[2*i+1]&#xA;        fout = &quot;clip%02d.mp4&quot; % i&#xA;        dur = datetime.datetime.strptime(t1[:8], &quot;%H:%M:%S&quot;) - datetime.datetime.strptime(t0[:8], &quot;%H:%M:%S&quot;)&#xA;        dur = dur.total_seconds()&#xA;        print(&quot;&amp;gt;&amp;gt;&quot;, fout, t0, &quot;...&quot;, t1, &quot;%dsec&quot; % dur)&#xA;        if dur == 0:&#xA;            continue&#xA;        fclip.write( &quot;file &quot; + fout + &quot;\n&quot; )&#xA;&#xA;        cmd = &quot;ffmpeg -y -ss %s -i %s -t %d -c copy %s&quot; % (t0, fin, dur, fout)&#xA;        print(&quot;&amp;gt;&amp;gt;&quot;, cmd)&#xA;        os.system( cmd )&#xA;    fclip.close()&#xA;&#xA;    print(&quot;\n&amp;gt;&amp;gt; Concatenate:&quot;)&#xA;    cmd = &quot;ffmpeg -y -f concat -i clip_list.txt -c copy out.mp4&quot;&#xA;    print(&quot;&amp;gt;&amp;gt;&quot;, cmd)&#xA;    os.system( cmd )&#xA;&#xA;if __name__ == &quot;__main__&quot;:&#xA;    main()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29535" LastActivityDate="2020-04-24T23:31:34.283" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30085" PostTypeId="1" CreationDate="2020-04-25T21:25:08.923" Score="1" ViewCount="542" Body="&lt;p&gt;I'm new to Final Cut Pro X and I'm trying to extend the duration of a static PNG image so that it shares the length of the video that's over it, but it won't extend no matter what I do. I've tried &lt;kbd&gt;Control&lt;/kbd&gt;+&lt;kbd&gt;D&lt;/kbd&gt; and typing in a duration but it just does nothing.&lt;/p&gt;&#xA;" OwnerUserId="29550" LastEditorUserId="14523" LastEditDate="2020-05-02T17:53:52.820" LastActivityDate="2021-09-24T21:02:50.277" Title="Can't extend image duration in Final Cut Pro X" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30087" PostTypeId="1" CreationDate="2020-04-25T21:52:27.300" Score="0" ViewCount="37" Body="&lt;p&gt;I am trying to make a camera multicam live broadcast setup (at FHD), have 2 cameras already, but would like a third. I am trying to be sub-$60, and found a &lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B016XJ5WPO&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;varifocal and zoom camera.&lt;/a&gt; It has a RCA output via BNC (and I have plenty of BNC). If I get that, I would need a RCA to HDMI to fit my setup, but now the question is: &lt;strong&gt;Is getting a CCTV camera as a &quot;broadcast camera&quot; worth it?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Obviously the quality is not going to be as good as a proper camera, but would it suffice?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm open also to recommendations on SUPER cheap cameras&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks All!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Micah&lt;/p&gt;&#xA;" OwnerUserId="27493" LastActivityDate="2020-04-25T21:52:27.300" Title="CCTV Camera as a Broadcast Camera" Tags="|video|camera|broadcasting|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="30088" PostTypeId="2" ParentId="30085" CreationDate="2020-04-26T03:38:39.147" Score="1" Body="&lt;p&gt;Try this&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the end of your main timeline add a gap Option-W. &#xA;Drag and drop the still picture behind the gap into the main timeline. &#xA;Change the duration as needed. &#xA;Move the clip where you want it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Your behaviour you described isn’t normal, it sounds like you do everything correct. Above is to eliminate any timeline issues from stacking and try to sort out the problem. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-04-26T03:38:39.147" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30090" PostTypeId="1" CreationDate="2020-04-26T05:54:59.693" Score="4" ViewCount="1538" Body="&lt;h3&gt;My experience&lt;/h3&gt;&#xA;&lt;p&gt;I'm currently creating a multi-camera sequence in Premiere Pro CC 2020 14.1.0 (build 116). I created my multicam sequence and everything is working fine.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VQnAl.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VQnAl.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;When I press play, my sequence start playing and I can than switch between the multiple angles by clicking on a different angle or by pressing 1, 2 or 3 on my keyboard. After I've done that once I notice that the rectangle around the active angle becomes red and that the record button, the &lt;code&gt;Multi-Camera Record On/Off Toggle&lt;/code&gt;, has a blue circle around it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KIsLT.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KIsLT.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If I than pause playback, a cut has appeared in my sequence on the position where I switched angles, as expected. The rectangle is yellow again and the circle around the record button is gone. Everything works. But than what happens if I press this record button?&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;If I press it before I start playback, a blue circle appears around the button. If I than move my playhead the circle disappears. If after clicking the button I start playback or choose a different angle, the circle stays, but it doesn't appear to change the recording behaviour of the angles I can switch to at all.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If I press the record button during playback, but before I switched to a different angle, it makes a blue circle around the button appear. The rectangle around the active angle stays yellow though. I can than still switch to different angles and the switches I make are being recorded as usual.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If I press the button during playback after I switched to a different angle, the circle around the button disappears, but more noteworthy, the red rectangle around the active angle becomes yellow. If I than pause the playback, the angle switch is still recorded however. Once again this button doesn't seem to have any impact at all apart from UI appearance.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;Research&lt;/h3&gt;&#xA;&lt;p&gt;I searched the web, checked multiple tutorial video's, searched Reddit, but no one mentions this button.&lt;/p&gt;&#xA;&lt;p&gt;I searched this site and I found someone in 2015 mention this button &lt;a href=&quot;https://video.stackexchange.com/a/16348/20937&quot;&gt;in an answer&lt;/a&gt;. This user describes the button as a way to &lt;strong&gt;Toggle Multi-Cam recording&lt;/strong&gt;. I believe he sees the pressing of this button as a required step before the angle-switches are recorded, however, as I described above, this doesn't seem to be in line with the behaviour I'm experiencing.&lt;/p&gt;&#xA;&lt;p&gt;Over at Adobe's help website, there also is &lt;a href=&quot;https://helpx.adobe.com/uk/premiere-pro/using/create-multi-camera-source-sequence.html#Multicameraeditingworkflow&quot; rel=&quot;nofollow noreferrer&quot;&gt;a tutorial&lt;/a&gt; that mentions pressing the button as a step in the Multi-camera editing workflow (step 6). It doesn't state though what the exact function of the button is.&lt;/p&gt;&#xA;&lt;h3&gt;My question&lt;/h3&gt;&#xA;&lt;p&gt;Could someone shine some light on what the purpose of this button is? Or to word it differently, what difference is there between state A and B?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/N56qv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/N56qv.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt; &lt;a href=&quot;https://i.stack.imgur.com/TWvty.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TWvty.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20937" LastEditorUserId="20937" LastEditDate="2021-04-20T03:59:20.310" LastActivityDate="2024-01-19T20:09:46.220" Title="What does the Multi-Camera Record On/Off Toggle do in Premiere Pro?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30092" PostTypeId="2" ParentId="24450" CreationDate="2020-04-26T08:41:12.633" Score="2" Body="&lt;p&gt;You can import the folder as an image sequence. To do so, click on the small arrow next to &lt;em&gt;import&lt;/em&gt; and choose &lt;em&gt;import as image sequence&lt;/em&gt;. Then choose the folder that contains your frames and click ok. You might have to adjust the framerate to match your project in the media settings.&lt;/p&gt;&#xA;" OwnerUserId="29562" LastActivityDate="2020-04-26T08:41:12.633" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30093" PostTypeId="1" CreationDate="2020-04-26T08:53:06.880" Score="0" ViewCount="71" Body="&lt;p&gt;I'm new to Final Cut Pro X. I have a still image in my project that shows for a certain duration. Problem is, it still shows on the screen even after the video goes past that image's duration. It's weird because I have other images where this works fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the clip in the project: &lt;a href=&quot;https://i.stack.imgur.com/m9Pk8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/m9Pk8.png&quot; alt=&quot;The top X labeled x_parasect.&quot;&gt;&lt;/a&gt; Once it goes past the duration the X does not disappear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Marina&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="29550" LastActivityDate="2024-01-07T02:04:30.510" Title="Final Cut Pro X clip still showing past its duration" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30094" PostTypeId="1" CreationDate="2020-04-26T09:20:03.410" Score="0" ViewCount="28" Body="&lt;p&gt;I have never had success in saving file with same quality after editing. Either it was much bigger, or quality was worse (square blocks etc). &#xA;I thought MediaInfo program would help, i used to check bitrate of the video, frame rate, codec and make a similar (or close to it) preset in vegas. Never worked.&#xA;What i have been using as a solution all these years: save video with high quality, then upload to YouTube and then download from there. &#xA;What are the key characteristics of the source video file i have to check in order to save my editing with the same quality? Maybe there are some good info sources in the internet.&lt;/p&gt;&#xA;" OwnerUserId="29564" LastEditorUserId="25579" LastEditDate="2020-04-28T11:05:31.540" LastActivityDate="2020-04-28T11:05:31.540" Title="Save video with the exact quality of the source file" Tags="|video-quality|codec|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30095" PostTypeId="1" CreationDate="2020-04-26T14:58:17.173" Score="0" ViewCount="574" Body="&lt;p&gt;I am experimenting with ffmpeg and x264 codec. And I have found some unexpected behaviour.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am encoding video with parameters CRF 23, high profile and changing preset.  &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;Documentation&lt;/a&gt; says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;for constant quality encoding, you will simply save bitrate by choosing a slower preset.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;And I am using CRF, so it should be this particular quote. So how is possible that I have achieved the smallest file for &lt;code&gt;veryfast&lt;/code&gt; preset?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;medium    256MB&#xA;fast      261MB&#xA;faster    235MB&#xA;veryfast  209MB&#xA;superfast 324MB&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What am I missing? BTW another &lt;a href=&quot;https://write.corbpie.com/ffmpeg-preset-comparison-x264-2019-encode-speed-and-file-size/&quot; rel=&quot;nofollow noreferrer&quot;&gt;comparison&lt;/a&gt; have similar results.&lt;/p&gt;&#xA;" OwnerUserId="23676" LastActivityDate="2020-04-26T17:41:05.833" Title="ffmpeg with h264 produces smaller file sizes for veryfast preset" Tags="|ffmpeg|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30096" PostTypeId="2" ParentId="30095" CreationDate="2020-04-26T17:41:05.833" Score="1" Body="&lt;p&gt;I was able to find an answer. &lt;a href=&quot;https://stackoverflow.com/a/14308561/941493&quot;&gt;https://stackoverflow.com/a/14308561/941493&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In the nutshell, CRF calculation is also affected by preset so the same CRF number is not the same with different presets. Based on some developer difference can be mostly ignored.&lt;/p&gt;&#xA;" OwnerUserId="23676" LastActivityDate="2020-04-26T17:41:05.833" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30097" PostTypeId="1" AcceptedAnswerId="30098" CreationDate="2020-04-26T18:47:51.667" Score="1" ViewCount="275" Body="&lt;p&gt;I'm using ffmpeg to create several single splitscreen videos out of 2 separate videos. The 2 videos have audio so I want to extract the 2 video's audio streams as 2 separate mp3s and also create a thumbnail out of the finished splitscreen video. Is it possible to do these 3 actions in one pass?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the code I'd use to create the splitscreen video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input0.mov -i input1.mov  -filter_complex &quot;[0]scale=640x360[v0];[1]scale=640x360[v1];[v0][v1] xstack=inputs=2:layout=0_0|w0_0|[v]&quot; -map &quot;[v]&quot; -an output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the code I'd use to create the thumbnail of the resultant splitscreen video:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -i input.mp4 -vframes 1  OUTPUT.jpg&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the code I'd use to create one mp3&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input0.mov output0.mp3&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="29423" LastEditorUserId="14523" LastEditDate="2020-04-27T00:56:43.860" LastActivityDate="2020-04-27T21:16:40.697" Title="Create one split screen video, separate audio streams and a thumbnail from the resultant split screen video - all in one pass" Tags="|video|ffmpeg|audio|conversion|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30098" PostTypeId="2" ParentId="30097" CreationDate="2020-04-26T19:11:29.403" Score="1" Body="&lt;p&gt;Combined command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input0.mov -i input1.mov -filter_complex &quot;[0]scale=640x360[v0];[1]scale=640x360[v1];[v0][v1]hstack,split[video][image]&quot; -map &quot;[video]&quot; output.mp4 -map 0:a audio0.mp3 -map 1:a audio1.mp3 -map &quot;[image]&quot; -frames:v 1 image.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;For a 4 videos into a 2x2 layout:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input0.mov -i input1.mov -i input2.mov -i input3.mov -filter_complex &quot;[0]scale=640x360[v0];[1]scale=640x360[v1];[2]scale=640x360[v2];[3]scale=640x360[v3];[v0][v1][v2][v3]xstack=inputs=4:layout=0_0|w0_0|0_h0|w0_h0,split[video][image]&quot; -map &quot;[video]&quot; output.mp4 -map 0:a audio0.mp3 -map 1:a audio1.mp3 -map 2:a audio2.mp3 -map 3:a audio3.mp3 -map &quot;[image]&quot; -frames:v 1 image.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1760" LastEditorUserId="1760" LastEditDate="2020-04-27T21:16:40.697" LastActivityDate="2020-04-27T21:16:40.697" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30099" PostTypeId="2" ParentId="30093" CreationDate="2020-04-26T19:55:24.773" Score="0" Body="&lt;p&gt;It’s a bit hard to see, is there more clips above your X clips? If so, you should check what is there. In general, videos should be stacked on top of the main timeline. Sound clips go mostly below. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;FCPX will show the most on top video clip (if you don’t change transparency or add other effects). You can think of a video clip gets covered with the above clip. Like a stack of papers you can see the top paper but none underneath, however, there are there. If you fan out the stack, other papers will appear underneath the edges of above papers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;In your case I assume something is above what you want to show. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-04-26T19:55:24.773" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30100" PostTypeId="1" AcceptedAnswerId="30120" CreationDate="2020-04-27T07:13:46.457" Score="0" ViewCount="113" Body="&lt;p&gt;My smartphone allows me to change bit rate. Will I increase the dynamic range by doing that ? Thank you&lt;/p&gt;&#xA;" OwnerUserId="17386" LastActivityDate="2020-04-28T14:33:39.657" Title="Am I increasing dynamic range by increasing the bit rate of video?" Tags="|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30101" PostTypeId="1" CreationDate="2020-04-27T10:05:49.073" Score="1" ViewCount="466" Body="&lt;p&gt;I'm animating a roulette table; above the roulette is an animated text with random numbers untill the winning numbers apears on the roulette table; but the random numbers are from 0-99; i've made it so that the 2 numbers are each on a layer; so that limits it to 0-9; but i would like the animation of the first layer to 0,1,2 or 3. I was searching for a regex but i have no clue what i'm doing...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In any way; i would love it when the random numnbers would be between 00 and 36 as that are the only numbers on a roulette table. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks guys !&lt;/p&gt;&#xA;" OwnerUserId="29584" LastActivityDate="2024-01-07T20:07:00.767" Title="AE: Limit Characters in random range selector animation" Tags="|after-effects|animation|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30102" PostTypeId="1" CreationDate="2020-04-27T10:17:39.533" Score="0" ViewCount="909" Body="&lt;p&gt;is there a tool or workflow available or how could one solve this problem:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;counting the cuts within video footage&lt;/p&gt;&#xA;&#xA;&lt;p&gt;e.g. as a result 'this 8 min piece from &quot;Titanic&quot; has 35 cuts&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thx in advance!&lt;/p&gt;&#xA;" OwnerUserId="29585" LastActivityDate="2022-11-04T18:01:55.223" Title="Workflow / Tool to count cuts in footage material" Tags="|premiere|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30103" PostTypeId="2" ParentId="19064" CreationDate="2020-04-27T11:04:31.643" Score="0" Body="&lt;p&gt;The Spoke script provides a radial layer repeater in After Effects → &lt;a href=&quot;https://madebyloop.co.uk/products/spoke-radial-layer-repeater-after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://madebyloop.co.uk/products/spoke-radial-layer-repeater-after-effects/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29586" LastActivityDate="2020-04-27T11:04:31.643" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30104" PostTypeId="2" ParentId="30101" CreationDate="2020-04-27T11:12:16.077" Score="0" Body="&lt;p&gt;To do this on one text layer you could use this expression in the sourceText:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Math.round(random(36));&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you'd like to keep the two layers then on the first layer use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Math.round(random(3));&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and on the second layer use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Math.round(random(9));&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The number in the brackets of the random expression is the limit, so if it's set to 100, the random expression will return a value between 0 and 100.&lt;/p&gt;&#xA;" OwnerUserId="29586" LastActivityDate="2020-04-27T11:12:16.077" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30105" PostTypeId="2" ParentId="30062" CreationDate="2020-04-27T11:19:51.667" Score="1" Body="&lt;p&gt;Pick-whipping one value to another sets it to that value, if you don't want them to be the same but rather change at the same rate then try this instead: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;value + transform.position&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Alternatively, parenting the whole camera to a 3D null object may make things easier to animate and is generally nicer to deal with. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The Angle Script will create a new camera parented to a null for you, which makes things a lot easier: &lt;a href=&quot;https://madebyloop.co.uk/products/angle-streamline-camera-null-control-after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://madebyloop.co.uk/products/angle-streamline-camera-null-control-after-effects/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29586" LastActivityDate="2020-04-27T11:19:51.667" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30106" PostTypeId="1" AcceptedAnswerId="30108" CreationDate="2020-04-27T12:37:21.660" Score="0" ViewCount="4410" Body="&lt;p&gt;I was just learning &lt;code&gt;DaVinci Resolve&lt;/code&gt; and accidently clicked &lt;strong&gt;Blade Edit Mode&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It's now shown as follow.  &lt;code&gt;red&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ErN37.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ErN37.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I deselect it? &lt;/p&gt;&#xA;" OwnerUserId="29503" LastActivityDate="2020-09-29T20:08:05.860" Title="How do I deselect the Blade Edit Mode in DaVinci Resolve?" Tags="|editing|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30107" PostTypeId="1" AcceptedAnswerId="30119" CreationDate="2020-04-27T12:44:46.117" Score="0" ViewCount="20" Body="&lt;p&gt;I created a perspective corner pin tracker in After Effects. I selected a target, and applied it.&#xA;Unfortunately, the target is not of the same aspect ratio as the virtual rectangle that I tracked.Therefore, it is horizontally scaled.&#xA;What I want to do, is correct the scaling and position, within the corners.&#xA;When I resize the target layer, init expands beyond the corners.Which makes sense, but it it not the sense I'm looking for.&#xA;What would be my strategy? &lt;/p&gt;&#xA;" OwnerUserId="29588" LastActivityDate="2020-04-28T14:27:06.693" Title="Resize target layer in perspective tracking" Tags="|after-effects|tracking|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30108" PostTypeId="2" ParentId="30106" CreationDate="2020-04-27T16:27:09.970" Score="1" Body="&lt;p&gt;So you can just click Arrow button, or press &quot;A&quot;. To select blade again, press &quot;B&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now that you know how to turn the mode on and off, you may want to learn a little more about what it is. The blade tool is very convenient thing to cut video instead of dragging by the end of footage.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'd strongly recommend considering &quot;Blade + select + delete&quot; editing. It's working tool.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now there are two ways to use interface in such editors: &lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Point and click.&lt;/li&gt;&#xA;&lt;li&gt;Short cuts.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="29592" LastEditorUserId="14523" LastEditDate="2020-05-02T18:23:20.293" LastActivityDate="2020-05-02T18:23:20.293" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30112" PostTypeId="1" CreationDate="2020-04-27T22:44:45.997" Score="1" ViewCount="26" Body="&lt;p&gt;I'm trying to put an image with a song and save it as a mp4. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;But I need some app makes me able to add simple moving edits to the background like Volumes moving&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something like this :&#xA;&lt;a href=&quot;https://i.stack.imgur.com/g3dLk.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/g3dLk.jpg&quot; alt=&quot;example&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wish you can help me &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a video example : &#xA;&lt;a href=&quot;https://youtu.be/ei_x0w9wc4s&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29598" LastActivityDate="2020-04-27T22:44:45.997" Title="Merge mp3 with jpg and add moving volume as background" Tags="|mp4|photos|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30113" PostTypeId="2" ParentId="29188" CreationDate="2020-04-28T03:17:47.663" Score="1" Body="&lt;p&gt;If the video file has subtitles (even fake ones, even not being displayed), you can go to View -&gt; Subresync (or hit Ctrl + 6) and you'll see the timecode in the status bar displayed as {Hour:Minute:second.frame}.  As yet, I haven't found how to make this display format permanent, to appear even without a subtitle track.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT:  In my own searching, I just came upon a post elsewhere stating that if you right-click the time on the status bar, in ANY video, whether or not it has subtitles, then you will see an option for &quot;High precision&quot;.  You only need to select it once, and then the preference will be remembered for all subsequent files (even audio only).&lt;/p&gt;&#xA;" OwnerUserId="29599" LastEditorUserId="29599" LastEditDate="2020-04-28T03:28:34.557" LastActivityDate="2020-04-28T03:28:34.557" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30114" PostTypeId="2" ParentId="30033" CreationDate="2020-04-28T06:59:20.913" Score="0" Body="&lt;p&gt;I managed to solve this after some pondering.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i Image.jpg -i Test1.mp4 -i Test2.mp4 -filter_complex &quot;[2:v]tpad=stop=-1:stop_mode=clone[v2]; [1:v]scale=640-20:360-20[a]; [v2]scale=320-20:180-20[b]; [0:v][a]overlay=10:(main_h/2)-(overlay_h/2):shortest=1[c]; [c][b]overlay=main_w-overlay_w-10:(main_h/2)-(overlay_h/2)[video]&quot; -shortest -map &quot;[video]&quot; -map 1:a -vsync 2 Output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29138" LastActivityDate="2020-04-28T06:59:20.913" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30116" PostTypeId="2" ParentId="5771" CreationDate="2020-04-28T11:56:22.660" Score="2" Body="&lt;p&gt;We created an extension for easy and true duplication of sequences, and it's create unique copies of all items included the sequence with custom settings of naming.&#xA;&lt;a href=&quot;https://aescripts.com/duplicate-it/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://aescripts.com/duplicate-it/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29602" LastActivityDate="2020-04-28T11:56:22.660" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30119" PostTypeId="2" ParentId="30107" CreationDate="2020-04-28T14:27:06.693" Score="0" Body="&lt;p&gt;Pre-comp the replacement layer (using the option to keep all the settings in the outer comp), and match the aspect ratio of the pre-comp to the rectangle you're tracking. Then adjust the replacement layer so that it fills the comp as you wish. &lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-04-28T14:27:06.693" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30120" PostTypeId="2" ParentId="30100" CreationDate="2020-04-28T14:33:39.657" Score="0" Body="&lt;p&gt;It won't increase dynamic range &lt;em&gt;per se&lt;/em&gt; like using a 10-bit encoder would, but it will throw out less information in shadows and highlights when it compresses, so the extremes of the dynamic range will look better. &lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-04-28T14:33:39.657" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30124" PostTypeId="1" CreationDate="2020-04-28T19:42:09.483" Score="1" ViewCount="228" Body="&lt;p&gt;I'm editing some footage from Eecamm's Skype recorder.&#xA;The footage appears to be 15fps 1280x720.  In Premiere CC 2019, when I drop it onto the New Sequence icon, the sequence automatically generated is 29.97fps.  Surely this should be 15fps or 30fps?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-04-28T19:42:09.483" Title="If my footage is 15fps, why does Premiere try to create a 29.97 fps sequence when I create a sequence from it?" Tags="|premiere|framerate|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30125" PostTypeId="1" CreationDate="2020-04-28T20:17:32.343" Score="0" ViewCount="321" Body="&lt;p&gt;I asked &lt;a href=&quot;https://video.stackexchange.com/q/29933/29303&quot;&gt;here&lt;/a&gt; if an S-Video cable could improve the output quality of my VCR (Sharp VC-M401SM). The answers were promising so I bought &lt;a href=&quot;https://www.amazon.it/InLine-20189-S-Vhs-Maschio-Dorato/dp/B000L107WO/ref=sr_1_6?dchild=1&amp;amp;keywords=cavo%20s-video&amp;amp;qid=1588103580&amp;amp;sr=8-6&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; S-Video cable (they send me a 2 m cable instead of 0.5 m).&lt;/p&gt;&#xA;&lt;p&gt;When I connect the S-video cable to the output of SCART adaptor of VRC, however, in the signal that I receive on my PC (through a video grabber like &lt;a href=&quot;https://www.amazon.it/Analogico-Digitale-Versione-Converter-Videocassette/dp/B07F2LZSX2/ref=sr_1_6?__mk_it_IT=%C3%85M%C3%85%C5%BD%C3%95%C3%91&amp;amp;crid=2SSQC41QQJGZB&amp;amp;dchild=1&amp;amp;keywords=scheda%20acquisizione%20video&amp;amp;qid=1588104472&amp;amp;s=electronics&amp;amp;sprefix=scheda%20ac%2Celectronics%2C229&amp;amp;sr=1-6&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;) the color component is missing. I looked online for solutions to this and I found it could be a number of possibilities. Among the others I noticed that the reason could lie in the non-compatibility of the VCR SCART breakout with the S-Video, as described &lt;a href=&quot;https://forum.videohelp.com/threads/271073-only-black-white-from-S-Video#post1624545&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;h3&gt;Question:&lt;/h3&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;How can I determine if the grayscale output is due to the VCR&#xA;incompatibility or it is due to other reasons?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Additional notes:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the S-video cable pins seem not to be damaged;&lt;/li&gt;&#xA;&lt;li&gt;the SCART adaptor pins seem not to be damaged;&lt;/li&gt;&#xA;&lt;li&gt;with the composite cable I obtain a colored image.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="29303" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2020-05-02T06:59:20.203" Title="Why does my VCR output a grayscale video if I use an S-Video cable?" Tags="|video-quality|video-capture|cable|vhs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30126" PostTypeId="1" CreationDate="2020-04-28T20:59:48.207" Score="2" ViewCount="4973" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;I am trying to stream using ffmpeg rtmp using,&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -i out2.mp4 -c:v copy -c:a aac -listen 1 -ar 44100 -ab 64000 -f flv rtmp://localhost/live&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The process starts but nothing is happening after handler_name&lt;a href=&quot;https://i.stack.imgur.com/BHB59.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BHB59.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;When I use the command, ffmpeg -f flv -i out2.mp4 -c copy -f flv -listen 1 rtmp://localhost:1935/live/app.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I get---&amp;gt; Cannot open connection tcp://localhost:1935?listen&amp;amp;listen_timeout=-1000&#xA;rtmp://localhost/live: Immediate exit requested&lt;/p&gt;&#xA;" OwnerUserId="29613" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2021-06-19T14:07:10.747" Title="ffmpeg rtmp server connection issues" Tags="|ffmpeg|encoding|rtmp|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30127" PostTypeId="1" AcceptedAnswerId="30141" CreationDate="2020-04-29T03:29:31.157" Score="0" ViewCount="1123" Body="&lt;p&gt;I have an mp3 song that I am making a video for, I also have a background image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My command that doesn't work.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i song.mp3 -i image.jpg -filter_complex \  &quot;[0:a]showwaves=s=3840x200:mode=line[sw];&quot; \&#xA;-map &quot;[out]&quot; -map 0:a video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm trying to read the documentation and understand how to just put the image as a background, overlay the Soundwaves on the Image and keep the audio. Can someone help me understand how to do this?&lt;/p&gt;&#xA;" OwnerUserId="29617" LastActivityDate="2020-04-29T18:20:56.113" Title="FFMPEG how to add image and soundwaves to video" Tags="|video|ffmpeg|audio|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30128" PostTypeId="1" CreationDate="2020-04-29T04:12:05.437" Score="1" ViewCount="81" Body="&lt;p&gt;Please help.  I am sure I am not the only neophyte who has run into this.  I hope someone can.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Download the video recording of a Facebook livestream.&lt;/li&gt;&#xA;&lt;li&gt;Make minor edits in Adobe Premiere Pro (cut footage, add slides and/or music, and transitions)&lt;/li&gt;&#xA;&lt;li&gt;Upload the final product to YouTube.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I need to do this twice a day, with a 30-minute livestream session each time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The MP4 that I download from Facebook is small (around 70 MB) and has these properties:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Type: MPEG Movie File Size: 69.92 MB &#xA;Image Size: 640 x 360 &#xA;Frame Rate: 30.00 &#xA;Source Audio Format: &#xA;48000 Hz - &#xA;Compressed - &#xA;Stereo Project Audio Format: 48000 Hz - &#xA;32 bit floating point - &#xA;Stereo Total &#xA;Duration: 00;29;31;19 &#xA;Pixel Aspect Ratio: 1.0 &#xA;Alpha: None &#xA;Video Codec Type: MP4/MOV H.264 4:2:0 &#xA;Variable Frame Rate Detected –&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If I just turn around and upload this file to YouTube unchanged, it uploads and processes straightforwardly and quickly.  (My upload speed is 11-12 Mbps)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I make any edits, though (today I took out 13 seconds of coughing from the middle):&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The output file size balloons (to almost 1.88 MB) using the YouTube SD Pre-set.&lt;/li&gt;&#xA;&lt;li&gt;I can reduced the file size to 342 MB by running it through VLC Convert/Save, using the VLC YouTube SD preset.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;It has now been 6 hours, and YouTube is showing the file only 26% uploaded (though the progress bar surged to 72% at one point).  Not even at the point of &quot;processing&quot; yet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This happens every time I edit.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am a total newbie and don't have the luxury to spend time experimenting with settings, most of which I don't understand.  Based on what I gleaned from some How-To videos, I did play with various screen sizes (down to 640x360) and bit rates.  I have also tried different YouTube and Facebook Presets.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone please help?  I want to reach the people in my congregation who use Facebook and those who will only watch YouTube.&lt;/p&gt;&#xA;" OwnerUserId="29616" LastEditorUserId="14523" LastEditDate="2020-05-03T20:18:25.453" LastActivityDate="2020-05-03T20:18:25.453" Title="Upload edited video to YouTube" Tags="|premiere|youtube|adobe-media-encoder|live-recording|vlc|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30129" PostTypeId="1" CreationDate="2020-04-29T04:56:57.690" Score="2" ViewCount="76" Body="&lt;p&gt;Can anyone please advise: I'm looking for a recommendation on free video editing software that can:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Overlay a sprite (static image with transparency, e.g. .gif) atop a video,&lt;/li&gt;&#xA;&lt;li&gt;Move and rotate the overlaid sprite over some specifiable portion of the video,&lt;/li&gt;&#xA;&lt;li&gt;Mask the sprite, (i.e. create a movable/changeable shape that covers the sprite but is invisible in the video).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Sorry if my terminology is primitive - it's been years since I last dabbled with video editing software; I'm not sure how terminology has evolved since then.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I'd be grateful if the recommended software also had a tutorial -- either built-in or easily findable online -- on how to do the above.&lt;/p&gt;&#xA;" OwnerUserId="29618" LastActivityDate="2020-05-13T17:26:14.690" Title="What free video editing software is capable of moving/rotating a sprite atop video?" Tags="|video-editor|editing|software|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30130" PostTypeId="2" ParentId="30128" CreationDate="2020-04-29T06:10:54.970" Score="1" Body="&lt;p&gt;I'm not familiar with facebook video, and maybe someone else can help with that. 70MB is insanely small for 30 mins of video. What are the properties of the source video (in Premiere, right click the source video, select Properties). Copy/Paste that info, and add it to your question if you can.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Leave the frame size / frame rate the same as the original - Premiere has a &quot;Match Source&quot; button in the output settings, just ensure it is ticked. Often scaling down the resolution lowers the quality too much, and I find you usually get a better trade off keeping the resolution and lowering the bit rate instead. What is the bitrate in the preset? For video files that need to be transferred, I usually output using H.264 codec, at 6Mbps target rate. That still gives me almost 50MB/minute (with audio), but retains the quality level where I need it. You could likely push that bitrate lower - try lower bitrates, see what your video looks like (if this is a fixed camera / fix background video, likely you can push the bitrate pretty hard without much impact to quality). But you won't get the FB file size with that codec, so that extra info would be handy.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For uploading, do you have Google Drive? You could sign up a free account there, and sync the files, which might make putting the video to YouTube easier than uploading direct: &lt;a href=&quot;https://support.google.com/youtube/thread/5937118?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.google.com/youtube/thread/5937118?hl=en&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-04-29T06:10:54.970" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="30131" PostTypeId="2" ParentId="30129" CreationDate="2020-04-29T07:21:55.440" Score="4" Body="&lt;p&gt;A great tool for this is Davinci Resolve: &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.blackmagicdesign.com/products/davinciresolve&lt;/a&gt;. It is very capable, has an excellent free version and can easily accomplish the desired tasks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A quick intro to Animating a Spite/Image over Video is shown here:  &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/UGuHNHQO2Xw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; -- &lt;em&gt;Davinci Resolve - How to Move Images (Animate Movement)&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A quick intro to Masking can be seen here: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/kmfjITxh1sg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; -- &lt;em&gt;Masks in DaVinci Resolve 16&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="24155" LastActivityDate="2020-04-29T07:21:55.440" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30132" PostTypeId="2" ParentId="20656" CreationDate="2020-04-29T10:10:55.353" Score="0" Body="&lt;p&gt;I had success using Roadkil's Unstoppable Copier to copy a corrupted file from a DVD (DVD was badly damaged) some years ago: &lt;a href=&quot;https://www.roadkil.net/program.php?ProgramID=29&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.roadkil.net/program.php?ProgramID=29&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It at least gave me &quot;complete&quot; files, that I was then able to feed into other software to extract the still readable sections of video.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-04-29T10:10:55.353" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30134" PostTypeId="1" CreationDate="2020-04-29T11:20:00.133" Score="0" ViewCount="48" Body="&lt;p&gt;I want to split input video, scale each stream using different parameters and add subtitles to each output, using the same parameters. I can do it repeating &lt;code&gt;subtitles&lt;/code&gt; filter in each chain, can I avoid this duplication?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -i input.mp4&#xA;    -filter_complex &quot;[v:0]split=2[v480][v720];&#xA;[v480]scale=858x480,subtitles=sub.srt:force_style='Fontsize=18,MarginV=15'[o480];&#xA;[v720]scale=1280x720,subtitles=sub.srt:force_style='Fontsize=18,MarginV=15'[o720]&quot; \&#xA;    -map [o480] -c:v libx264 -b:v 2000k -bufsize:v 3000k -map 0:a -c:a aac -b:a 128k -ac 2 480.mp4 \&#xA;    -map [o720] -c:v libx264 -b:v 4000k -bufsize:v 5000k -map 0:a -c:a aac -b:a 128k -ac 2 720.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I this example I want to avoid repeating &lt;code&gt;subtitles=sub.srt:force_style='Fontsize=18,MarginV=15'&lt;/code&gt;, is it possible?&lt;/p&gt;&#xA;" OwnerUserId="29624" LastActivityDate="2021-05-24T15:06:15.477" Title="Same filter in different chains" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30135" PostTypeId="2" ParentId="30134" CreationDate="2020-04-29T13:20:25.423" Score="1" Body="&lt;p&gt;Apply the subtitles filter before the split. Note that subtitles will be, proportionally, the same size in each output stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;-filter_complex &quot;[0:v]subtitles=sub.srt:force_style='Fontsize=18,MarginV=15',split=2[v480][v720];&#xA;[v480]scale=858x480[o480];[v720]scale=1280x720[o720]&quot;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-04-29T13:20:25.423" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30136" PostTypeId="1" AcceptedAnswerId="30142" CreationDate="2020-04-29T14:33:50.937" Score="2" ViewCount="15266" Body="&lt;p&gt;&lt;em&gt;Disclaimer upfront: I'm a beginner when it comes to video editing, so I'm maybe using the wrong terms to describe my problem.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;h1&gt;The task&lt;/h1&gt;&#xA;&lt;p&gt;I'm working on an OBS recording of myself, where I wanted to replace a part of the video with another video in DaVinci Resolve 16 on Windows.&lt;/p&gt;&#xA;&lt;p&gt;Cutting the old video and inserting the new video was done quickly, and left me with two video and two audio tracks in the timeline (see screenshot). The audio clips are processed separately in Audacity and were later imported (from WAV), and are linked with the videos before cutting, if that matters.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZKUD5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZKUD5.png&quot; alt=&quot;screenshot of the timeline in DaVinci Resolve 16&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The preview in Resolve looked and sounded satisfying, so I went to Deliver to get a final render of the whole clip. These were the initial settings in Video, Audio and File:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8EdOKm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8EdOKm.png&quot; alt=&quot;low-contrast screenshot, video settings?&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NOOzjm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NOOzjm.png&quot; alt=&quot;low-contrast screenshot, audio settings?&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/it6uhm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/it6uhm.png&quot; alt=&quot;low-contrast screenshot, file settings?&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;h1&gt;The problem&lt;/h1&gt;&#xA;&lt;p&gt;In the final video, the sound went silent in the section where the second audio track was supposed to be. Poking at the video with VLC revealed that there was indeed a second audio track with the sound only in that part. What I had hoped for was a single audio track much like there is only a single video track.&lt;/p&gt;&#xA;&lt;h1&gt;What I've tried&lt;/h1&gt;&#xA;&lt;p&gt;(I think) I then tried basically all alternatives I could find in the Deliver settings, threw quite a few combinations of &amp;quot;multiple&amp;quot; &amp;quot;audio tracks&amp;quot; &amp;quot;export&amp;quot; and &amp;quot;davinci resolve 16&amp;quot; at Google and the Video Production search, and also skimmed through the tutorial and reference manual of Resolve, but to no avail.&lt;/p&gt;&#xA;&lt;p&gt;The only way that I could find to achieve what I wanted was to move the inserted clip's audio and video track to those of the original video. But I guess there has to be another &amp;quot;proper&amp;quot; way to do this, because my approach would e.g. not work for music.&lt;/p&gt;&#xA;&lt;h1&gt;The question&lt;/h1&gt;&#xA;&lt;p&gt;Can anybody give my a hint what it is that I'm missing? I reckon it has to be something very basic, that I should be ashamed of having overlooked it all the time :-D&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; I somehow managed to get it to work, but I'm unfortunately not sure how. So I'd still be happy if somebody could give a proper explanation.&lt;/p&gt;&#xA;" OwnerUserId="29626" LastEditorUserId="29626" LastEditDate="2022-11-17T12:49:43.963" LastActivityDate="2022-11-17T12:49:43.963" Title="Export timeline with multiple audio tracks as video with single audio track in DaVinci Resolve 16" Tags="|video|audio|davinci-resolve|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30139" PostTypeId="1" CreationDate="2020-04-29T16:06:51.637" Score="0" ViewCount="616" Body="&lt;p&gt;What's the ffmpeg command to extract PPM (or Portable Pix Map) files from an existing video? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Like the reverse of this &lt;a href=&quot;https://askubuntu.com/questions/971119/convert-a-sequence-of-ppm-images-to-avi-video&quot;&gt;https://askubuntu.com/questions/971119/convert-a-sequence-of-ppm-images-to-avi-video&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27334" LastActivityDate="2022-01-19T21:07:00.650" Title="What's the ffmpeg command to extract PPM files from an existing video?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30140" PostTypeId="2" ParentId="30139" CreationDate="2020-04-29T18:07:49.047" Score="1" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 output_%04d.ppm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Output files will be named &lt;code&gt;output_0001.ppm&lt;/code&gt;, &lt;code&gt;output_0002.ppm&lt;/code&gt;, etc. See the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#image2-2&quot; rel=&quot;nofollow noreferrer&quot;&gt;image muxer documentation&lt;/a&gt; for more options and info.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-04-29T18:07:49.047" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30141" PostTypeId="2" ParentId="30127" CreationDate="2020-04-29T18:20:56.113" Score="1" Body="&lt;p&gt;Use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#overlay&quot; rel=&quot;nofollow noreferrer&quot;&gt;overlay&lt;/a&gt; filter to put the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#showwaves&quot; rel=&quot;nofollow noreferrer&quot;&gt;showwaves&lt;/a&gt; on top of &lt;code&gt;image.jpg&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i song.mp3 -i image.jpg -filter_complex &quot;[0:a]showwaves=s=3840x200:mode=line:colors=red|yellow[sw];[1][sw]overlay=(W-w)/2:(H-h)/2:format=auto,format=yuv420p[v]&quot; -map &quot;[v]&quot; -map 0:a -movflags +faststart video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Adjust showwaves colors with the &lt;code&gt;colors&lt;/code&gt; option. Each channel will have its own color, so in this example, if &lt;code&gt;song.mp3&lt;/code&gt; is stereo, the left channel is red and the right channel is yellow.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you just want a single waveform of all channels add the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#aformat&quot; rel=&quot;nofollow noreferrer&quot;&gt;aformat&lt;/a&gt; filter before showwaves, as in &lt;code&gt;aformat=channel_layouts=mono,showwaves=s=3840x200:mode=line:colors=00ff00&lt;/code&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-04-29T18:20:56.113" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30142" PostTypeId="2" ParentId="30136" CreationDate="2020-04-30T02:37:17.617" Score="3" Body="&lt;p&gt;The likely culprit is the Audio setting [&lt;strong&gt;Output Track 1&lt;/strong&gt;], which should normally be &quot;Main 1 (Stereo)&quot;, which is the default final bus/mix of the audio in the compiled video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When setting it to &quot;All timeline tracks&quot; -- each audio track (stereo or mono) is rendered as separate tracks (stereo or mono) in the output file.&lt;/p&gt;&#xA;" OwnerUserId="24155" LastActivityDate="2020-04-30T02:37:17.617" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30145" PostTypeId="1" CreationDate="2020-04-30T17:30:56.280" Score="2" ViewCount="190" Body="&lt;p&gt;I hope someone will understand my question.&#xA;This is my fusion clip right now&#xA;&lt;img src=&quot;https://i.imgur.com/XZ8mPBr.gif&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to draw a tail of this purple circle.&#xA;Can't understand which tool will help me.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nodes:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/QZX5Z.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QZX5Z.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&#xA;&lt;BR&gt;&lt;BR&gt;&#xA;I want something like this:&lt;br&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/2lzW0.gif&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="29639" LastEditorUserId="29639" LastEditDate="2020-04-30T18:50:17.157" LastActivityDate="2024-01-11T09:03:20.413" Title="Davinci Resolve Fusion draw tail by track points" Tags="|davinci-resolve|fusion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30148" PostTypeId="2" ParentId="29115" CreationDate="2020-04-30T21:17:43.773" Score="1" Body="&lt;p&gt;Bitrate isn't calculated from stream size, but the number is saved in file as special field/metadata. Now, the problem with ffmpeg (or rather libmatroska) and Matroska (MKV) muxer is it doesn't save such data. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are able, use another container - for me switching to MP4 helped. While it's in Handbrake's GitHub, there's discussion about bitrate in MKV here: &lt;a href=&quot;https://github.com/HandBrake/HandBrake/issues/1609&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/HandBrake/HandBrake/issues/1609&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: As I see you are into open source, I bet MP4 is not a good way, but it's the only I know. I'll be happy to find out how to add such metadata to MKV.&lt;/p&gt;&#xA;" OwnerUserId="29643" LastActivityDate="2020-04-30T21:17:43.773" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30149" PostTypeId="1" AcceptedAnswerId="30205" CreationDate="2020-04-30T21:34:52.003" Score="0" ViewCount="160" Body="&lt;p&gt;I already know you can press Option-E to apply the default Effect.  &lt;strong&gt;However&lt;/strong&gt;... is there any way to have different keyboard shortcuts for applying various different effects?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to be able to:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;press CMD+OPT+CNTRL+B for black &amp;amp; white video effect&lt;/li&gt;&#xA;&lt;li&gt;press CMD+OPT+CNTRL+M for Monster audio effect&lt;/li&gt;&#xA;&lt;li&gt;press CMD+OPT+CNTRL+E for Earthquake audio effect&lt;/li&gt;&#xA;&lt;li&gt;etc..&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;I hate having to press CMD + 5 to open effects window, search for the effect, and then actually mouse click on an effect.  I would love to keep my fingers on the keyboard...&lt;/p&gt;&#xA;" OwnerUserId="5064" LastActivityDate="2020-05-06T16:03:29.683" Title="Is it possible to create keyboard shortcuts for applying MULTIPLE/DIFFERENT effects?" Tags="|final-cut-pro-x|final-cut-pro|fcpx|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30150" PostTypeId="1" CreationDate="2020-04-30T21:46:50.373" Score="0" ViewCount="344" Body="&lt;p&gt;I have a webcam running on my Wifi, and am saving its stream to my harddisc drive. This is called by a python script which continuously restarts the recording (I want to have 4h long video files, not infinitely long video).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My calling code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;D:/Program Files/ffmpeg-4.2.2-win64-static/bin/ffmpeg.exe&quot;  -y -err_detect ignore_err -re -rtsp_transport tcp -i rtsp://admin:123456@192.168.178.54:554/live/ch0 -t 14400 -vcodec copy -acodec copy .\200430\Falken-200430-2340.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;A sample output I get before the process stops:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.2.2 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 9.2.1 (GCC) 20200122&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, rtsp, from 'rtsp://admin:123456@192.168.178.54:554/live/ch0':&#xA;  Metadata:&#xA;    title           : hysxrtpsion&#xA;  Duration: N/A, start: 0.533000, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (High), yuvj420p(pc, bt709, progressive), 1920x1080, 20 fps, 24.83 tbr, 90k tbn, 40 tbc&#xA;Output #0, matroska, to '.\200430\Falken-200430-2339.mkv':&#xA;  Metadata:&#xA;    title           : hysxrtpsion&#xA;    encoder         : Lavf58.29.100&#xA;    Stream #0:0: Video: h264 (High) (H264 / 0x34363248), yuvj420p(pc, bt709, progressive), 1920x1080, q=2-31, 20 fps, 24.83 tbr, 1k tbn, 90k tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[matroska @ 000002a85f765040] Non-monotonous DTS in output stream 0:0; previous: 0, current: -272; changing to 0. This may result in incorrect timestamps in the output file.&#xA;[matroska @ 000002a85f765040] Non-monotonous DTS in output stream 0:0; previous: 0, current: -232; changing to 0. This may result in incorrect timestamps in the output file.&#xA;[matroska @ 000002a85f765040] Non-monotonous DTS in output stream 0:0; previous: 0, current: -152; changing to 0. This may result in incorrect timestamps in the output file.&#xA;[matroska @ 000002a85f765040] Non-monotonous DTS in output stream 0:0; previous: 0, current: -111; changing to 0. This may result in incorrect timestamps in the output file.&#xA;[matroska @ 000002a85f765040] Non-monotonous DTS in output stream 0:0; previous: 0, current: -71; changing to 0. This may result in incorrect timestamps in the output file.&#xA;[matroska @ 000002a85f765040] Non-monotonous DTS in output stream 0:0; previous: 0, current: -31; changing to 0. This may result in incorrect timestamps in the output file.&#xA;frame=  725 fps= 20 q=-1.0 Lsize=    6387kB time=00:00:36.11 bitrate=1448.8kbits/s speed=0.991x&#xA;video:6381kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.100017%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If anyone wants to see it, this is my python wrapper which repeatedly simply calls ffmpeg to grab the camera stream:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;import subprocess&#xA;from datetime import datetime&#xA;import os&#xA;&#xA;def ensure_dir(directory):&#xA;    if not os.path.exists(directory):&#xA;        os.makedirs(directory)&#xA;&#xA;while True:&#xA;    dateString = datetime.today().strftime('%y%m%d-%H%M')&#xA;    folderString = datetime.today().strftime('%y%m%d')&#xA;    folderString = '.\\' + folderString&#xA;    ensure_dir(folderString)&#xA;    videoFilename = folderString + &quot;\\Falken-&quot; + dateString + &quot;.mkv&quot;&#xA;&#xA;    commandLine = &quot;\&quot;D:/Program Files/ffmpeg-4.2.2-win64-static/bin/ffmpeg.exe\&quot;  -y -err_detect ignore_err -re -rtsp_transport tcp -i rtsp://admin:123456@192.168.178.54:554/live/ch0 -t 14400 -vcodec copy -acodec copy &quot; + videoFilename&#xA;    print(&quot;\nCalling new ffmpeg process\n&quot;, commandLine)&#xA;    process = subprocess.Popen(commandLine, shell=True, stdout=subprocess.PIPE)&#xA;    process.wait(14404)&#xA;    process.kill()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The video grabbing should run for 4h (14400 seconds), and instead it usually halts after 5-15 minutes (at random points). If there are lost packets or similar, why doesn't ffmpeg just go on (ignore_err)?&lt;/p&gt;&#xA;" OwnerUserId="29645" LastEditorUserId="29645" LastEditDate="2020-04-30T21:51:50.520" LastActivityDate="2020-04-30T21:51:50.520" Title="ffmpeg cancels extremely often with no apparent reason" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30151" PostTypeId="2" ParentId="30149" CreationDate="2020-04-30T22:11:17.850" Score="0" Body="&lt;p&gt;Click in the Menu Bar on “Final Cut Pro”. A pull down menu opens, then click on “Commands” then “Customise”&lt;br&gt;&#xA;A window will open with all available commands possible. Many won’t have a shortcut and you can set keyboard shortcuts for them. Mind the search bar in the top right corner. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suggest to duplicate the Default command set before start changing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If this is not enough then you could look into make a command recording with Automator. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastEditorUserId="20675" LastEditDate="2020-04-30T22:18:48.597" LastActivityDate="2020-04-30T22:18:48.597" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30152" PostTypeId="2" ParentId="30145" CreationDate="2020-05-01T02:08:43.707" Score="0" Body="&lt;p&gt;You can get that result with the trails node.  It echoes previous frames to make light streaks, smoke whips, and similar effects.  You could use a scale value of less than one to get the tail of the object to shrink toward the end.  Playing with the gain would make it fade out with age.  For a sharp tail, like the ones in your example, leave the blur size at zero.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Be careful though, trails is a resource-hungry node which isn't optimized well.  It's an easy, direct way to get the result you're after, and the first one that comes to my mind, but it's probably not the most efficient.  Also, it requires the playhead to be moving, and skipping around on the timeline will give you weird results, which is what the &quot;reset&quot; button is for.  Play around with it a little, and you'll see what I mean.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;One final tip: use small value increments.  Hold the alt/option key when you're adjusting parameters with trails to do fine adjustment, because the results stack exponentially.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-05-01T02:08:43.707" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30155" PostTypeId="2" ParentId="29889" CreationDate="2020-05-01T14:58:35.610" Score="2" Body="&lt;p&gt;One of the biggest ironies of working with visual effects is that if you've done your work well, the audience won't notice the work you've done.  Good effects &lt;em&gt;appear&lt;/em&gt; effortless; the better the effect, the more effort concealment required.  So when you ask, &amp;quot;Is there a better way?&amp;quot; the bad news is: Not if you're looking for an &lt;em&gt;easier&lt;/em&gt; way.&lt;/p&gt;&#xA;&lt;p&gt;The good news is:  You're on the right track.  You've done everything right so far, and all you need to do is add a little more polish to get the results you're after.&lt;/p&gt;&#xA;&lt;p&gt;I think that one thing that will help a lot in your case is feathering the mask edge, which is definitely possible in Resolve/Fusion.&lt;/p&gt;&#xA;&lt;p&gt;With a polygon or bspline node in fusion, you can either use the &amp;quot;Soft Edge&amp;quot; slider (easier) to feather the whole edge uniformly, or activate the &amp;quot;Make Double Poly&amp;quot; icon (more control), which is the capital letter &amp;quot;D&amp;quot; icon with double lines in the row of icons at the top of viewer whenever the polygon/bspline node is selected.&lt;/p&gt;&#xA;&lt;p&gt;Press and hold the letter &amp;quot;O&amp;quot; on your keyboard while dragging one of the shape knots to drag out the feathering (it's fully sharp and hidden at first). Then, if your masks are animated, you can &amp;quot;Right-click-here&amp;quot; in inspector to animate both the inner and outer polygon edges.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QbE3o.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QbE3o.jpg&quot; alt=&quot;Softening edges&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Speaking of animated edges, you say that you &amp;quot;did exhaustive masking over the tilting laptop.&amp;quot;  When you say &amp;quot;exhaustive,&amp;quot; I assume that you mean you've animated the mask as the laptop moves.  It's hard to know the right approach to this particular shot without seeing the moving footage, but it seems like you're on the right track.  You should know that animating masks by hand can be counterproductive in some cases, and draw attention to your subterfuge, however.  If the camera is completely stationary, and depending on the circumstances, there are certain times when it's easier and more effective to use a static shape.&lt;/p&gt;&#xA;&lt;p&gt;The rest of the time, keyframing a mask by hand usually isn't sufficient by itself, and is often combined with other techniques to achieve the desired results.&lt;/p&gt;&#xA;&lt;p&gt;One of those other techniques, would be to use a greenscreen.  When a keyframed matte is combined with a greenscreen, the matte is called a &amp;quot;garbage matte&amp;quot; because it roughs out the unused portions of the screen, allowing the keyer to perform more accurately.&lt;/p&gt;&#xA;&lt;p&gt;But since you're not using a greenscreen, the the other technique you might want to add into the mix is tracking.&lt;/p&gt;&#xA;&lt;p&gt;If your footage is hand-held, and the laptop is moving organically (i.e., it's held by a person, not in freefall, following a parabolic arc, sitting still, etc), then a keyframed matte alone will never match the object's motion.  In these cases, it helps to first track the movement of the object, using either DaVinci's Point tracker, or a planar tracker (which would be good in this case because the laptop is a flat plane) to do the lion's share of the work, and THEN keyframe misaligned edges, and finally  selectively feather the result wherever necessary.  It's probably not necessary to feather it much along the face of the laptop, for example, because that's a straight line.  But the edge that overlaps the woven basket in the background would be difficult to conceal any other way.&lt;/p&gt;&#xA;&lt;p&gt;And finally, since your question is about color correction, yes, getting the color of your foreground plate to better match the background plate as closely as possible will help sell your composite.  There are some auto-match features on Resolve's Color page, but Fusion happens before Color in the order of operations, so you'll want to match the plates in Fusion as best you can.  Since everyone's color vision is slightly different, it's best to not trust your own eyes when color matching.  Use the waveform monitors and vector scope in Fusion if you're comfortable with that, but what I like to do is match each color channel individually.  Use the r, g, and b keys on the keyboard to single out the individual color channels in fusion, then match the contrast levels of each.  Cycle through them all a couple of times until your satisfied, hit the &amp;quot;C&amp;quot; key to switch back to full color, and you'll be surprised at how misleading your color vision is on its own.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2020-05-01T15:27:34.557" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30156" PostTypeId="2" ParentId="30125" CreationDate="2020-05-02T06:59:20.203" Score="1" Body="&lt;p&gt;Do you have a manual for the VCR? Does it show the pin mappings for the SCART connector? I did a quick search, I can't find a manual online.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Where did you get your SCART cable? Did it come with the VCR? I'd agree with the link you posted - SCART more commonly connects to a composite signal, or sometimes RGB. All my SCART cables are wired for either to those, I've never seen one wired to S-Video (and from the link you posted, that sounds like a hack that has only been used in some scenarios). Any VCR I've used that had S-Video, had an S-Video connector directly on the VCR, usually only found on an S-VHS model.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you have a SCART cable with RGB connectors? If so, you could try using that - would still be a better video signal than composite, providing the VCR is wired for it. Possibly the VCR is only wired for composite though. You could also check the connector on the VCR for clues - often you can find there are is no metal in the connector pins that aren't wired. If you take the cover off, that might also clue you into what is actually wired up to that connector.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-05-02T06:59:20.203" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30158" PostTypeId="1" CreationDate="2020-05-02T10:54:05.387" Score="0" ViewCount="31" Body="&lt;p&gt;Does the AV-Kit of macOS use the color profiles that may be in the metadata of video files of some formats such as MP4? I am the manual author for GraphicConverter from lemkesoft and need to explain the usage of color profiles in pictures (what I konw about) and video (what is new to me). So I do not need help in a certain work situation but instead background knowledge.&lt;/p&gt;&#xA;" OwnerUserId="29667" LastEditorUserId="29667" LastEditDate="2020-05-02T15:54:43.590" LastActivityDate="2020-05-02T15:54:43.590" Title="Color profiles in videos" Tags="|color-correction|metadata|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30159" PostTypeId="1" AcceptedAnswerId="30166" CreationDate="2020-05-02T12:58:02.557" Score="-1" ViewCount="12" Body="&lt;p&gt;I just finished my first project, but I realized that my project structure (audio, video footage, adobe files) is a mess.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If I change now the structure will the project still work for any possible change in the future? I fear that the edited sequences are linked to the path of the video footage (or the filename) and if I change them I will lost all the work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, what steps I need to do?&lt;/p&gt;&#xA;" OwnerUserId="29670" LastActivityDate="2020-05-03T17:05:21.357" Title="Changing the structure of files will delete the edited sequences?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30160" PostTypeId="2" ParentId="27873" CreationDate="2020-05-02T15:33:59.497" Score="1" Body="&lt;p&gt;There is no such thing as 60fps GIFs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;GIF files store delay time between frames in whole hundredths of second, so it's impossible to make a GIF with exactly 60fps, because value 1 would give you 100fps and 2 would already have half of that - 50fps. Besides that, many programs (including Google Chrome) ignore value 1 and defaults to much slower animation speed when viewing such files, so 100fps GIFs, while technically possible according to file format, are not commonly used and probably a bad idea, so value 2 (50fps) is the most you can get.&lt;/p&gt;&#xA;" OwnerUserId="29673" LastActivityDate="2020-05-02T15:33:59.497" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30161" PostTypeId="1" AcceptedAnswerId="30163" CreationDate="2020-05-02T15:52:09.943" Score="1" ViewCount="26" Body="&lt;p&gt;The trivial way to solve this problem is just to screen record my computer, but I want it to look professional.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't want unprescribed mouse movements. I want them to be direct and towards the object they are clicking on. I want to have transitions and maybe an auto-generated voice over?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm really really new to this so please forgive me if this answer has been asked or is obvious...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any software that people generally use for this that is relatively affordable and appropriate for a novice. Any kind of software is fine for me. I'm just new to video editing and creation. Software that has built in functionality targeted at this problem would be very helpful, almost like a wizard of sorts. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to create a video tutorial of a user using my website.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ty!&lt;/p&gt;&#xA;" OwnerUserId="29674" LastActivityDate="2020-05-14T16:59:18.360" Title="How do I make video tutorials of someone(s) working through a website on their computer?" Tags="|video-editor|video-recording|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30163" PostTypeId="2" ParentId="30161" CreationDate="2020-05-02T20:48:17.623" Score="1" Body="&lt;p&gt;Camtasia is probably the leading software for creating video tutorials, it has the ability to &lt;a href=&quot;https://youtu.be/UIMZ60-u0bM&quot; rel=&quot;nofollow noreferrer&quot;&gt;smooth mouse movements&lt;/a&gt;, the editor gives you the ability to add text, transitions and other effects as well.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The software is quite expensive. It has a free trial for 30 days, however videos exported will have watermarks. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you already have access to video editing software, you may be able to reproduce the same effect setting keyframes for start and end positions of a mouse cursor graphic and animating between those two points. You would need use screen recording software that hides the cursor as you will be using your own graphic of a cursor.&lt;/p&gt;&#xA;" OwnerUserId="636" LastActivityDate="2020-05-02T20:48:17.623" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30165" PostTypeId="2" ParentId="28998" CreationDate="2020-05-03T16:57:54.327" Score="0" Body="&lt;p&gt;I agree with Tomh.  Also, based on your sample, I would highly recommend you put some shadow around your text.  You have white text over a rapidly changing background video that often has a lot of very bright areas.  To keep the text readable, at a minimum, you want to put a shadow around your text (adjust opacity, width, etc. to taste).  I'd also put a thin black border around the text too; 1-3 pixel to start, but adjust to taste.  Finally, you might consider slighlty darkening the video layer (behind the text).&lt;/p&gt;&#xA;" OwnerUserId="22530" LastActivityDate="2020-05-03T16:57:54.327" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30166" PostTypeId="2" ParentId="30159" CreationDate="2020-05-03T17:05:21.357" Score="0" Body="&lt;p&gt;Not sure what you mean by &quot;change the structure&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you mean you changed the file names and locations of the imported source files, then you will have to relink to them.  Go to the Assembly view / Project panel, right-click files whose icons have question marks on them, chose &quot;link media&quot; from the context-sensitive pop-up menu, then at bottom right, click on the &quot;locate&quot; button, then navigate in the new panel to the file (new name and path), select it, then click OK.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you mean you changed the way the imported files show in the project bin, that's not a problem.  You can move things into bins, and sub-bins, all you want, and not affect any timelines that use those files.  You can even change the name that shows up in the project bin, and this only shows up in Premiere Pro: the PC's files names do not get changed. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you mean something else, please clarify, and we might be able to be of more help.&lt;/p&gt;&#xA;" OwnerUserId="22530" LastActivityDate="2020-05-03T17:05:21.357" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30167" PostTypeId="1" CreationDate="2020-05-03T17:54:02.443" Score="0" ViewCount="80" Body="&lt;p&gt;Whenever they (TV stations, YouTube channels, etc.) show footage shot by &quot;normal people&quot;, even current such, it always looks like they used a cheap consumer video camera from 1981 with a worn-out VHS tape and then processed this on Adobe Premier 1.0 on Windows ME with the lowest possible quality settings and then recorded the screen showing this video with an even worse camera which then was processed further to just become a blur of pixels.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Assuming that what I said is nonsense, how is it technically possible for the quality to be so incredibly bad? Any person with zero artistic or technical skills can, today, just hold up a &quot;smartphone&quot; and video record any event in crisp, clear quality. It's &lt;em&gt;difficult&lt;/em&gt; to make it look bad unless it's very dark and you constantly shake the camera around like a madman.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Surely they must be applying some kind of &quot;crusher/uglifier&quot; filter on these videos, to remove details/quality? I can't see any other explanation. But &lt;em&gt;why&lt;/em&gt; do they do this? Is it that they can't stand the idea of it being &quot;stolen&quot; and re-used, so they sit on the real quality version and never show/broadcast it as it was shot? But then their own broadcast also looks crappy, so that also doesn't make any sense...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;None of this makes any sense to me.&lt;/p&gt;&#xA;" OwnerUserId="29684" LastActivityDate="2020-05-03T19:13:44.793" Title="Why do they deliberately (?) crush the quality for any video sent in by &quot;normal people&quot;?" Tags="|video|video-quality|quality|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30168" PostTypeId="1" CreationDate="2020-05-03T19:07:43.063" Score="3" ViewCount="142" Body="&lt;p&gt;I'm trying to film myself sitting on a sofa talking.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem is, with auto-focus, occasionally the camera can lose focus, for example if I lean forward or back or gesture.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want to do is auto focus at the start then simply keep the focus fixed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can put my camera into manual focus, but since I'm not in the picture on the sofa, I can't really focus it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do I have to put a dummy object where I would sit in order to manually focus? Or is there a better technique than this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm asking as a camera-agnostic question, but I have a panasonic lumix g90 which has a physical dial for choose auto-focus modes or manual. I tried using the app to remotely control it, but I guess as it's a dial, I can't change it? Also since I can't see the screen while I'm sat down, focusing it using an app would be quite tricky anyway.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I figure this is a common enough situation to have a solution to it, if anyone has any ideas.&lt;/p&gt;&#xA;" OwnerUserId="25425" LastActivityDate="2020-05-04T00:32:29.273" Title="Is there a way to handle focusing when you're filming yourself?" Tags="|focus|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30169" PostTypeId="2" ParentId="30167" CreationDate="2020-05-03T19:13:44.793" Score="1" Body="&lt;p&gt;Without an example it's hard to say, but I think perhaps sometimes people just hold up their camera and film, they can't or don't frame the shot or adjust the zoom, they're often standing in one place and can't get closer to line up a good shot. Also lighting is super important for good video, unless it's filmed during the daytime in sunlight, the quality really suffers. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If the image is cropped and zoomed for television, it will amplify camera shake (and most of these videos are handheld) and reduce the quality a lot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also think most people don't have high end phones. Even really good phones suffer terribly in low light. I think it's quite easy to underestimate how poor video looks when you view it back on a phone too - if you export it and view it on an external screen, the lack of quality becomes much more noticable.&lt;/p&gt;&#xA;" OwnerUserId="25425" LastActivityDate="2020-05-03T19:13:44.793" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30171" PostTypeId="2" ParentId="30168" CreationDate="2020-05-04T00:32:29.273" Score="3" Body="&lt;p&gt;Put a dummy object where you will sit, and focus on that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With a dedicated video camera, you would normally zoom in on the focus point, set the focus, and then zoom out again for your desired framing. Your camera appears to be a stills camera, and my understanding is that the lenses on a stills camera don't work the same way as the zoom lens on a video camera, so that particular technique might not be applicable (hopefully someone with stills camera experience can jump in here). But definitely set the framing/focus on a dummy object where you will be, and lock that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you are going slightly in/out of focus with your movement, you could move the camera further back as well - the further back the camera is from you, the more depth of field (range of focus distance) you will have on the object being focused on. The trade off being that as you move the camera further away, the sharpness of the image may decrease, the more zoom you are using - although you're unlikely to move the camera far enough back in your setup to make a noticeable difference.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-05-04T00:32:29.273" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30173" PostTypeId="2" ParentId="29939" CreationDate="2020-05-04T08:55:57.837" Score="0" Body="&lt;p&gt;If you want parallax, you can do it without a video, a still image of the phone could work, and would make things a lot easier and faster.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want a video you need to add markers to the green screen so the program can track them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also have just simple moves, for example, your object only rotating, so you do not need to track the background. Some simulated moves for the new background on post could be enough.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For the DOF you can potentially add one problem if you want the DOF on your product. It is better if you film your product very sharply, so the green screen cuts nicely. The DOF would be a nightmare.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then using a real 3D program you can add your video on a layer, track the green screen, generate a 3D scene, and replace the green screen with another plane with a photo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would use Blender for that. But if you want simple moves and not a complex 3D tracking you could go away with HitFilm, which has 3D planes too.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-05-04T08:55:57.837" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30174" PostTypeId="2" ParentId="30035" CreationDate="2020-05-04T09:08:59.130" Score="1" Body="&lt;p&gt;That is not a waveform, &lt;strong&gt;it is an animation simulating one&lt;/strong&gt;. :o)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most likely the shapes are it is in vector format, so you can morph it from state A to state B, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is not a simple way, it needs some work, for example you need to define the exact frame where you want Shape A and where you want Shape B. So make some timelines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then use vector-based animation software. Either After effects or the free one Synfig.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-05-04T09:08:59.130" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30175" PostTypeId="2" ParentId="29843" CreationDate="2020-05-04T09:35:20.330" Score="0" Body="&lt;p&gt;drake7 's answer is fine if you want to stick with the noise idea. You could also download some &quot;video noise&quot; effect from the internet.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But we have some more options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could overlay &lt;a href=&quot;https://duckduckgo.com/?q=flare%20effect&amp;amp;t=h_&amp;amp;iar=videos&amp;amp;iax=videos&amp;amp;ia=videos&quot; rel=&quot;nofollow noreferrer&quot;&gt;some flares&lt;/a&gt;, some film burn effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could make a zoom in-zoom out or panning effect. The combination of both is the &lt;a href=&quot;https://duckduckgo.com/?q=ken%20burns%20effect&amp;amp;t=h_&amp;amp;ia=videos&amp;amp;iax=videos&quot; rel=&quot;nofollow noreferrer&quot;&gt;KenBurns effect&lt;/a&gt;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or you can even use some other software to twist the photo on a 3D environment, like if you were turning around the photo.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There are online tutorials on separating the photo into different elements, the subject, the background on different layers, and &lt;a href=&quot;https://duckduckgo.com/?q=3d%20camera%20moves%20on%20photo&amp;amp;t=h_&amp;amp;iar=videos&amp;amp;iax=videos&amp;amp;ia=videos&quot; rel=&quot;nofollow noreferrer&quot;&gt;assembling them into a 3D scene&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2020-05-04T09:40:44.787" LastActivityDate="2020-05-04T09:40:44.787" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30177" PostTypeId="1" AcceptedAnswerId="30253" CreationDate="2020-05-04T11:05:16.937" Score="0" ViewCount="175" Body="&lt;p&gt;Where do I find the luma range clip indicator that I have in Final Cut?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7YXW8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7YXW8.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CmAsF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CmAsF.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10595" LastActivityDate="2020-05-11T01:18:48.217" Title="How to range-check luma in After Effects?" Tags="|premiere|after-effects|final-cut-pro-x|adobe|final-cut-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30178" PostTypeId="1" CreationDate="2020-05-04T11:28:00.863" Score="0" ViewCount="159" Body="&lt;p&gt;I'm looking to see how to recreate the effects used on the Annapurna Logo. I think it's awesome. Here's a reference: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/fErltygcEpM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In this they have scan lines and a glowing vertical reveal. The VHS tracking is interesting as well, but I'm really interested in understanding how to create the effects of the former to something like that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is this possible in after affects and what effects should I be looking into to achieve this? (Hope this is the right forum for this.)&lt;/p&gt;&#xA;" OwnerUserId="29690" LastActivityDate="2021-10-03T03:07:15.810" Title="Annapurna Logo Effects Recreation" Tags="|after-effects|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30181" PostTypeId="1" CreationDate="2020-05-04T20:11:01.760" Score="1" ViewCount="292" Body="&lt;p&gt;If I save a frame as a JPG using something like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /dev/video0 -frames:0 1 check.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I can get the coordinates to create an image with the perspective corrected using:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i check.jpg -vf &quot;perspective=51:31:230:30:263:159:23:161&quot; corrected.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It looks great. However, if I try this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /dev/video -vf &quot;perspective=51:31:230:30:263:159:23:161&quot; test.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Then I get a video where the image appears to implode on itself. I've noticed that the JPG images I get are 320x240 and the video frames are 640x480, but scaling the coordinates doesn't have any effect. So, I assume the geometry of the frame is different in some way; maybe the origin isn't top left, but I can't find any information.&lt;/p&gt;&#xA;" OwnerUserId="29693" LastActivityDate="2023-04-22T13:43:19.440" Title="Problems correcting perspective in video using FFmpeg" Tags="|ffmpeg|filter|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30183" PostTypeId="1" CreationDate="2020-05-04T23:04:56.640" Score="1" ViewCount="47" Body="&lt;p&gt;I have 2 videos that are expected to be the same, but in some periods of time they may differ by additional elements shown above the video. Also video is reencoded, so some minor differences are possible. I want to run some program that will compare these videos and output me list of time slots where videos are different enough. What program should I use?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that I'm not interested in visual side-by-side comparison tool, I need the tool that will output time slots only without additional user interaction.&lt;/p&gt;&#xA;" OwnerUserId="21971" LastEditorUserId="21971" LastEditDate="2020-05-04T23:15:18.003" LastActivityDate="2020-05-04T23:15:18.003" Title="Compare 2 videos automatically" Tags="|video|software-recommendation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30184" PostTypeId="1" CreationDate="2020-05-05T02:09:38.330" Score="0" ViewCount="38" Body="&lt;p&gt;I would like to highlight the words of a subtitle of a video with the corresponding voices exactly like this &lt;a href=&quot;https://www.youtube.com/watch?v=6sSM5sgR0Ms&quot; rel=&quot;nofollow noreferrer&quot;&gt;video&lt;/a&gt;. How Can I do this?&lt;/p&gt;&#xA;" OwnerUserId="29694" LastActivityDate="2020-05-05T02:09:38.330" Title="How do I highlight the words of a subtitle of a video with the corresponding voices?" Tags="|video|video-editor|subtitles|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30185" PostTypeId="2" ParentId="20697" CreationDate="2020-05-05T02:41:12.803" Score="2" Body="&lt;p&gt;FfmpegGUI seems what you want: &lt;a href=&quot;https://github.com/RomanSichkaruk/FFmpegGUI&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/RomanSichkaruk/FFmpegGUI&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29695" LastActivityDate="2020-05-05T02:41:12.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30187" PostTypeId="2" ParentId="30177" CreationDate="2020-05-05T06:16:46.323" Score="0" Body="&lt;p&gt;I don’t think there’s a way to get zebras on your output, but the Lumetri Scopes will give you a video signal that will show you whether your luma is too high. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.premiumbeat.com/blog/color-correcting-video-lumetri-scopes/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.premiumbeat.com/blog/color-correcting-video-lumetri-scopes/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-05-05T06:16:46.323" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30188" PostTypeId="1" CreationDate="2020-05-05T11:44:27.660" Score="1" ViewCount="296" Body="&lt;p&gt;I have:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Video file of X length  &lt;/li&gt;&#xA;&lt;li&gt;Audio of Y length&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I am trying to achieve an output video that has the following qualities:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The volume level of the added audio should be adjustable&lt;/li&gt;&#xA;&lt;li&gt;The audio should loop till the end of the video&lt;/li&gt;&#xA;&lt;li&gt;It should not break even if the input video does not have any audio&lt;/li&gt;&#xA;&lt;li&gt;I should be able to mute the audio of the source video if needed.&lt;/li&gt;&#xA;&lt;li&gt;All of the above, in the fastest possible way.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I'm not well versed with FFMPEG, maybe some experts could help.&lt;/p&gt;&#xA;" OwnerUserId="29700" LastEditorUserId="29700" LastEditDate="2020-05-07T02:27:54.267" LastActivityDate="2020-05-07T13:02:15.300" Title="FFMPEG command to mix audio and video with adjustable volume, plays till Video length and loop audio entire video" Tags="|video|ffmpeg|audio|android|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30191" PostTypeId="1" AcceptedAnswerId="30212" CreationDate="2020-05-05T14:50:09.490" Score="0" ViewCount="108" Body="&lt;p&gt;I'm a total newbie into developing videos..:) But I would like to create an animated video which is about 5-7 minutes long. The kind of ones we find on youtube. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did some research to find a tool. I came across online tools like moovly and Animaker. They're easy to use..but their free version has limited features and with the free version you can only have a video length of 2 minutes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also stumbled upon the free tool called Blender. But unlike Moovly or Animaker, it seems it requires quite some knowledge in animation to make animation videos in Blender(don't know if I'm right. Just that I feel so..)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a free online tool like Moovly or a software to download like Blender that will help me to easily make an animated video of about 5-7 minutes length which will also allow me to include voiceover and also facilitate adding of some of my custom images (from my desktop) into that animated video..? &lt;/p&gt;&#xA;" OwnerUserId="29703" LastActivityDate="2023-09-08T15:01:45.987" Title="Tool to make a short youtube video" Tags="|video|animation|animation-rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30194" PostTypeId="1" AcceptedAnswerId="30207" CreationDate="2020-05-05T22:16:21.347" Score="1" ViewCount="133" Body="&lt;p&gt;&lt;strong&gt;Background&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My wife is a private tutor and cannot carry on with classes due to Covid 19. Using Skype, Zoom etc is ruled out due to scheduling conflicts with schools using them. That pretty much left is with the only choice of recording videos, uploading them to cloud and sharing links with her students. Each video is typically half an hour&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Set up&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Room, isolated from external noise. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Whiteboard to draw and explain. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;One Plus 7 mobile running Android 10 placed close enough and using the phone mic to capture audio. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Post recording processing on a laptop is not possible for a bunch of reasons. We don't want to invest in recorders, mixers etc&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Problem&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Ceiling Fan noise&lt;/strong&gt;. It's summer here and a fan is a &lt;em&gt;must&lt;/em&gt; (no air-conditioning). This makes for a poor video, especially when she is facing the whiteboard.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no problem with the video portion, lighting etc. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Tried and didn't work&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;She isn't comfortable with head phones, so I tried using Bluetooth earphones and using the Bluetooth audio instead of phone mic but it didn't work reliably. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Android apps that claim to reduce noise. Results aren't good. &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;These questions, emphasized that I should be using a good mic (since post recording processing is not possible) &lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/q/11953/29714&quot;&gt;Microphone suggestions or software to avoid background noise in audio&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/q/20350/29714&quot;&gt;How to reduce background noise in the video&lt;/a&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Questions&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;What kind of mic and the typical characteristics of the mic I should be looking for? &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Is there any other alternative solution apart from mic? For instance, a paid Android app that can do this for sure? Or something else? &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;We are on a budget and since the videos aren't meant to be high quality anyway, &lt;strong&gt;low cost solutions&lt;/strong&gt; are preferred. It would be nice if someone could link a product from Amazon (India) as an example. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;PS: Lengthy question, yes, to make sure the situation is clear and hoping for a workable solution&lt;/p&gt;&#xA;" OwnerUserId="29714" LastEditorUserId="29714" LastEditDate="2020-05-05T22:22:03.180" LastActivityDate="2020-09-30T00:39:00.417" Title="Eliminate background noise in home made videos" Tags="|microphone|android|noise-reduction|lavaliere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30195" PostTypeId="2" ParentId="29496" CreationDate="2020-05-05T22:43:27.693" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://play.google.com/store/apps/details?id=net.sourceforge.opencamera&quot; rel=&quot;nofollow noreferrer&quot;&gt;Open Camera&lt;/a&gt; is an open source app that let's you do this. You can configure it for various times including &lt;em&gt;unlimited&lt;/em&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Android has typically a 4GB limit on video size. &lt;a href=&quot;https://android.stackexchange.com/q/110784/131553&quot;&gt;Your one hour video will most likely exceed this limit&lt;/a&gt; &#xA;. Open Camera let's you restart the video automatically after the 4 GB limit is reached which can be joined in a video editor&lt;/p&gt;&#xA;" OwnerUserId="29714" LastEditorUserId="29714" LastEditDate="2020-05-05T22:49:53.210" LastActivityDate="2020-05-05T22:49:53.210" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30196" PostTypeId="1" CreationDate="2020-05-06T00:58:38.127" Score="0" ViewCount="250" Body="&lt;p&gt;I want to shoot videos for my blog. Nature, landscapes, fitness. Which color space to use in camera while shooting video? RGB or YCbCr?&lt;/p&gt;&#xA;" OwnerUserId="29218" LastActivityDate="2020-06-14T17:39:13.573" Title="Which color space to use in camera while shooting video? RGB or YCbCr?" Tags="|video|camera|color|colorspace|shooting|" AnswerCount="1" CommentCount="0" ClosedDate="2021-04-27T09:46:04.847" ContentLicense="CC BY-SA 4.0" />
  <row Id="30200" PostTypeId="1" AcceptedAnswerId="30210" CreationDate="2020-05-06T04:42:34.887" Score="0" ViewCount="76" Body="&lt;p&gt;My wife is starting to make exercise videos. We set up a great location in the basement but lighting has been an issue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;She needs to be spaced pretty far away from the camera (about 10 feet in front) so her entire body is in frame. Also there is a wall directly behind her - I'm guessing a ceiling light shining down on the wall and floor will reduce shadows from the front lights?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm wondering what the best kind of lighting would be for this setup. I'm thinking LED but not sure how many lumens, or how large the LED panels should be etc. I looked into softboxes but from what I've seen, they are better suited for closer camera distances.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;She doesn't want to spend too much on lighting at the moment, so something bright and affordable would be ideal.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: What about some long fluorescent tubes stood up vertically on both sides of the camera?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any suggestions? Cheers.&lt;/p&gt;&#xA;" OwnerUserId="22686" LastEditorUserId="22686" LastEditDate="2020-05-06T04:51:14.283" LastActivityDate="2020-05-07T02:30:28.063" Title="Lighting a subject far away from the camera" Tags="|lighting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30202" PostTypeId="1" CreationDate="2020-05-06T11:06:30.707" Score="1" ViewCount="484" Body="&lt;p&gt;I'm running Windows 10 and using the built-in Photos app (also called Video Editor from the Start Menu). I want to be clear that this is not the earlier 'Windows Movie Maker&quot; app. I'm trying to do something simple - split a 1.5 minute video into 3 30-second increments. Using the Split feature, it's easy to separate the first 30 seconds from the original clip and save that individually. But when I go to separate the remaining 1 minute, I find that instead of splitting the two clips, Clip 1 is still the first 30 seconds of my video, but clip 2 is also the first 30 seconds of the video, part of the middle of the video, and with 30 seconds cut off from the end of it. I don't want Windows to duplicate the clip - I want it to split into pieces.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Things I've tried:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;splitting the end off first and going backwards (the problem still happens, just backwards now with the beginning 30 seconds cut from the movie)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;saving each individual segment and deleting it, hoping that Windows will take the hint that I don't want it repeated in all clips&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I've tried going into the app itself and clicking &quot;Repair&quot;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Also going into the app and clicking &quot;Reset all data&quot;, in hopes it was a bug of sorts that could be shaken off.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The internet doesn't seem to have a solution to all this. Most suggestions are for Windows Movie Maker, which I do not have. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Help! What I want to do is pretty simple, I think. Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="29718" LastEditorUserId="14523" LastEditDate="2020-05-16T22:46:14.057" LastActivityDate="2023-02-24T15:07:57.997" Title="An issue with the Split feature on Windows Video Editor" Tags="|video-editor|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30203" PostTypeId="2" ParentId="20962" CreationDate="2020-05-06T15:11:13.243" Score="14" Body="&lt;p&gt;I'd also try &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#curves-1&quot; rel=&quot;noreferrer&quot;&gt;curves&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.vid -vf &quot;curves=all='0/0 0.5/1 1/1'&quot; -codec:a copy -codec:v libx264 -y output.vid&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The &lt;code&gt;0.5/1&lt;/code&gt; maps mid-range brightness (0.5) to full bright (1)&lt;/p&gt;&#xA;" OwnerUserId="29723" LastActivityDate="2020-05-06T15:11:13.243" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30204" PostTypeId="1" CreationDate="2020-05-06T15:56:45.483" Score="1" ViewCount="288" Body="&lt;p&gt;I have been using the following command to successfully extract a list of frames from videos. I tried to use it to extract 12,227 frames and the command exits without generating any frames and error messages. I suspect there may be a limit on the size of the filter script file but can't seem to find what is the limit and how to increase it. Can anyone help please? Thank you.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i video.mp4 -filter_script:v Frames.txt -vsync 0 -video-%06d.jpg&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;content of Frames.txt file is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;select='eq(n,70)&#xA;+eq(n,108)&#xA;+eq(n,183)&#xA;+eq(n,191)&#xA;+eq(n,197)&#xA;..... etc&#xA;+eq(n,18948)&#xA;'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29725" LastActivityDate="2020-05-06T15:56:45.483" Title="ffmpeg - Max size of filter_script file" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30205" PostTypeId="2" ParentId="30149" CreationDate="2020-05-06T16:03:29.683" Score="0" Body="&lt;p&gt;So it appears there is no (built-in) option in FCPX to make separate keyboard short-cuts for separate Effects.  Even inside the &quot;Command Editor&quot; mentioned by German Dude, you only have ONE shortcut for applying effects, which is for applying the current Default Effect.  But you cannot bind multiple, different effects to different keyboard shortcuts.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However... I did find another solution to help keep my fingers on the keyboard.  It's not the exact solution I was looking for, &lt;strong&gt;but it's the closest thing&lt;/strong&gt;!  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Effect Presets ---&gt;  &lt;a href=&quot;https://support.apple.com/guide/final-cut-pro/save-video-effects-presets-ver462c2078f/10.4.7/mac/10.14&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.apple.com/guide/final-cut-pro/save-video-effects-presets-ver462c2078f/10.4.7/mac/10.14&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you make one preset for each built-in Effect that you use often, you can save them all under one new Category (call it something like &quot;My Favorite Effects&quot;) and then in the Effects browser, they will all appear together in one spot.  You won't have to keep clicking around, typing search text, and scrolling in the Effects browser anymore... because they will all be in one spot! &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Additional Note:&lt;/em&gt; This solution is superior to the concept of making duplicates of your favorite effects (the actual Motion projects) and putting them into a &quot;Favorites&quot; folder... because if you use Effect Presets then you are simply referencing the original Effect object.  Imagine in the future that the owner of the Effect decides to update it with improvements/bug fixes.... if you have saved a copy of the ENTIRE Effect object, then you won't benefit from the updates.  However, by using Effect Presets, everything is fine since you are only making a reference to the effect.&lt;/p&gt;&#xA;" OwnerUserId="5064" LastActivityDate="2020-05-06T16:03:29.683" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30206" PostTypeId="2" ParentId="23273" CreationDate="2020-05-06T19:08:21.570" Score="0" Body="&lt;p&gt;Don't know if this will still be useful but the &quot;Use Device Timestamps&quot; checkbox is still in the latest version. Click the cog next to Desktop Audio in your Audio Mixer. It's in there. Having same issue and hoping this helps, thank you! &lt;/p&gt;&#xA;" OwnerUserId="29727" LastActivityDate="2020-05-06T19:08:21.570" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30207" PostTypeId="2" ParentId="30194" CreationDate="2020-05-06T20:17:59.870" Score="2" Body="&lt;p&gt;Forget an app. The truth is that a mic is, not only the best option but also an honest option. It will help the audience to focus on the content instead of making it a pain to hear.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would go for a cable lavalier mic, there are some in amazon, and they are the cheapest alternative.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.amazon.com/s?k=cellphone+microphone&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.amazon.com/s?k=cellphone+microphone&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The other option is a shotgun mic, but they are a bit more expensive, and normally are for outdoor usage and for interviews for example. For one person a lavalier is the best alternative.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also try a &quot;hands-free&quot; earphone with a mic. Probably your cellphone came with one already.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Why a lavalier?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The way a lavalier mic reduces the ambient noise is... It does not.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But the ratio of the proximity to your mouth, let's say 10cm or 4in to any other source of a sound, a fan, that can be 2mts away is 20 times the distance. And depending on the echo of the room, this difference could make the sound less prominent by one law that is the inverse square law that makes this difference exponential.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you have your camera at let's say 2m away from you, using the internal mic, and the fan is above you, the ratio of distances is probably only 1.5 times. So when you record your voice, you need to pump the volume, therefore you also pump the volume for the fan.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Hands-free is not the same as Bluetooth. There are cable options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regarding a blue tooth or not, I can not recommend anything. Bluetooth has the risk of having some delay, or not. If that is not important, because you are not showing the face it is ok. But this depends on the model or brand. I suppose if you buy one Bluetooth hands-free for some brand it would recognize that device.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cable or Bluetooth is just a way to connect a device. That is up to you and you need to make some homework to see if the device fits your phone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But normally a lavalier mic is expected to have better sound quality than mic on a hands-free device. Of course, depends on the brand.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some cable lavalier mics need batteries, make sure to buy some extra. Also, check the length of the cable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could add some cable extension, but that is not recommended because you could add electronic noise into the signal, but you could try. The not so cheap option is a lavalier with a UHF transmitter.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2020-05-07T02:09:39.537" LastActivityDate="2020-05-07T02:09:39.537" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30208" PostTypeId="1" CreationDate="2020-05-06T20:28:18.157" Score="0" ViewCount="18" Body="&lt;p&gt;I'm trying to import ai file named something 1_03.ai but everytime it shows stubborn behaviour, instead it imports something 1_01.ai I tried something 1_02.ai, but again it imported 1_01.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then I renamed it to something something else.ai and it imported successfully?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JIiBA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JIiBA.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it a bug or some feature of Ae aur I shouldn't name them in this way?&lt;/p&gt;&#xA;" OwnerUserId="12245" LastActivityDate="2020-05-11T00:50:41.683" Title="After Effects 2020 not importing the required file" Tags="|after-effects|footage|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30209" PostTypeId="1" CreationDate="2020-05-07T00:46:58.173" Score="0" ViewCount="267" Body="&lt;p&gt;I recorded the screen for a presentation and edited it using Final Cut Pro X. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Everything looks fine inside FCPX but he problem comes when I export the video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The image constantly moves in and out of frame and it looks weird.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the video in question: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/dLAMoZHHsds?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="29728" LastActivityDate="2024-02-16T14:03:25.460" Title="How can I fix my video stuttering and moving in and out of frame when exported from FCPX?" Tags="|editing|final-cut-pro-x|final-cut-pro|export|fcpx|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30210" PostTypeId="2" ParentId="30200" CreationDate="2020-05-07T02:30:28.063" Score="1" Body="&lt;p&gt;&lt;strong&gt;This is hard to answer&lt;/strong&gt; without knowing the sensitivity of your camera, the ISO, the aperture of the lens, the look of the room, etc. But most importantly, the look you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't think a flat wall directly behind her is the best background. &lt;a href=&quot;https://duckduckgo.com/?q=aerobics&amp;amp;atb=v147-1&amp;amp;iax=images&amp;amp;ia=images&quot; rel=&quot;nofollow noreferrer&quot;&gt;Take a look at this search&lt;/a&gt;. Almost every photo has quite some distance to the background.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So. First of all, try to have some distance to the wall. Let's call the spot where she will be standing as &quot;X&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second. Imagine what is the things you want the viewer to see? You could have some strip LEDs on the sides of X. Are you shooting vertical? Like for TicToc? or horizontal like norma video. Do you want the strips of light to show? Do you have enough space to put them away from the frame?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The same with softboxes. Do you want a &quot;sporty&quot; look? Put them on the sides of X and not so bright, Do you want a happy look? Put them at 45° very bright. You can use or make a ring light for an urban look.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you have white walls on the sides, you could use a reflector bouncing the light on them, the same as the ceiling. But bounce them far from X, so you do not have a hotspot on them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am sorry I can not really answer. Look for tutorials about lighting, and search for a look you like.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;But here are some things that you need to take into account.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Some Led lights have low CRI, this is the colors will be dull, look for LED lights that have a CRI above 90.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also be creative and add gels to color some lights, a bit warmer for the background.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Do not put the lights on the sides of the camera, except on the case you want an &quot;urban look&quot;. It is the least flattering light there is. It is just a flat light.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-05-07T02:30:28.063" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30212" PostTypeId="2" ParentId="30191" CreationDate="2020-05-07T03:07:46.560" Score="0" Body="&lt;blockquote&gt;&#xA;  &lt;p&gt;The kind of ones we find on youtube&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Well, youtube is a pretty big place, so you can find a lot of different animations, with different levels of complexity... &lt;strong&gt;really different levels in complexity&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even the two online tools you posted are quite different. One is for 2d animations, and the other is more like a video editor. But the most important thing is that those tools have assets, one has animated toons, the other has a library of video clips.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This means that if you use another tool, which I will put a link to, you need to either create your own assets or get them from somewhere else. Video Clips, Music, still photos, cartoons, or even animated cartoons.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sayed that, two great and free tools are:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://fxhome.com/hitfilm-express&quot; rel=&quot;nofollow noreferrer&quot;&gt;HitFilm Express&lt;/a&gt; which is a video editor and a compositor (the compositor is the tool to make basic animations)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And &lt;a href=&quot;https://www.nchsoftware.com/animation/index.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;NHC Express animate&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a link to the graphic design forum post I made some days ago, explaining a bit more about them:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://graphicdesign.stackexchange.com/questions/136912/free-and-easy-to-use-tool-for-easy-2d-animations/136917#136917&quot;&gt;https://graphicdesign.stackexchange.com/questions/136912/free-and-easy-to-use-tool-for-easy-2d-animations/136917#136917&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;But you can not go as blindly as I feel you are going. You need to define what you really need. Video editing, 2D animation, a slideshow converted into a video..&lt;/strong&gt;. &lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-05-07T03:07:46.560" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30213" PostTypeId="2" ParentId="30209" CreationDate="2020-05-07T03:51:25.427" Score="0" Body="&lt;p&gt;In the export dialogue choose “Master File” of your project first and make sure the effects isn’t happening when watching the video file on your computer. &#xA;When the master export is good upload it to YouTube or else video platforms. The file will be transcoded by the streaming platforms to fit all playing needs. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-05-07T03:51:25.427" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30214" PostTypeId="1" CreationDate="2020-05-07T10:53:23.430" Score="0" ViewCount="274" Body="&lt;p&gt;Is there an advantage of serving static video content (not a live stream) via adaptive streaming protocols such as HLS or DASH over serving them directly as files using HTTP server in terms of speed? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Example case is when you have a 500MB mp4 h264+AAC video that you have to serve on a website via HTML5 video element. Would you rather serve it directly, since most popular browsers implement functions such as seek without downloading the whole file first; or would you rather use ffmpeg or similar solution to create HLS chunks from the mp4 file and instead provide .m3u8 playlist source to the HTML5 video element. Is there a real advantage in terms of speed of doing this?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Which one would you implement if you had hundreds of video files all served as static content?&lt;/p&gt;&#xA;" OwnerUserId="20866" LastActivityDate="2024-01-18T05:04:55.610" Title="Serving static video content directly vs. via adaptive streaming protocols (HLS, DASH)" Tags="|ffmpeg|streaming|mpeg-dash|hls|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30218" PostTypeId="1" CreationDate="2020-05-07T20:10:42.307" Score="1" ViewCount="43" Body="&lt;p&gt;When I capture a video from my VCR (a Sharp VC-M401SM) with an S-Video cable connected to a SCART adaptor (like the one shown in &lt;a href=&quot;https://video.stackexchange.com/q/29933/29303&quot;&gt;this post&lt;/a&gt;) I obtain a gray-scale image.&lt;/p&gt;&#xA;&lt;p&gt;One possibility for this is that the VCR is not capable to output an S-Video signal. To understand if this was the true reason I compared some couples of images composed by:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the gray-scale image obtained using the S-Video cable;&lt;/li&gt;&#xA;&lt;li&gt;an image obtained by acquiring a colored image from the composite signal and then converted to grayscale.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Here is one example:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Cwhrb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Cwhrb.png&quot; alt=&quot;First image&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EHr0l.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EHr0l.png&quot; alt=&quot;Second image&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It seems to me that there are little differences between the two images. I guess that these differences result from noise and from color to gray-scale conversion. This makes me think that the quality of the images is comparable.&lt;/p&gt;&#xA;&lt;p&gt;Therefore I conclude that the gray-scale output when using the S-Video cable is not due a problem in the croma component, but instead due to the fact that the VCR does not support the S-Video output.&lt;/p&gt;&#xA;&lt;h3&gt;Questions&lt;/h3&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is my reasoning correct? Can we conclude from this test that the VCR does not support S-Video?&lt;/li&gt;&#xA;&lt;li&gt;If not, what can we conclude instead?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="29303" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2020-05-07T20:10:42.307" Title="Testing if VCR supports S-Video by image comparison. Is it correct?" Tags="|video-quality|video-recording|cable|vhs|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30219" PostTypeId="2" ParentId="30214" CreationDate="2020-05-07T21:40:31.500" Score="0" Body="&lt;p&gt;ABR formats like HLS and DASH allow the client to adapt the its specific conditions, providing a better experience. faster startup, faster seeks, less buffering, etc.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2020-05-07T21:40:31.500" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30220" PostTypeId="1" AcceptedAnswerId="30611" CreationDate="2020-05-07T21:49:48.177" Score="1" ViewCount="637" Body="&lt;p&gt;I used YouTube to autogenerate subtitles for a video. The srt file looks something like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;0:00:00.060,0:00:07.080&#xA;first caption&#xA;&#xA;0:00:03.240,0:00:09.599&#xA;second caption&#xA;&#xA;0:00:07.080,0:00:13.019&#xA;third caption&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;As you can see, the captions overlap in time. The &lt;code&gt;first caption&lt;/code&gt; is present for seconds 0-7, while the &lt;code&gt;second caption&lt;/code&gt; is present for seconds 3-9. The result in YouTube is that:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The &lt;code&gt;first caption&lt;/code&gt; appears first and is the first line on the screen.&lt;/li&gt;&#xA;&lt;li&gt;Then on second 3 the &lt;code&gt;second caption&lt;/code&gt; appears as the second line.&lt;/li&gt;&#xA;&lt;li&gt;On second 7 the &lt;code&gt;first caption&lt;/code&gt; disappears and the &lt;code&gt;second caption&lt;/code&gt; becomes the first line. At the same time, &lt;code&gt;third caption&lt;/code&gt; appears as the second line.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;However, when I use the srt in DaVinci Resolve, only a single line appears at a time. So:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The &lt;code&gt;first caption&lt;/code&gt; stays there until second 7.&lt;/li&gt;&#xA;&lt;li&gt;The &lt;code&gt;second caption&lt;/code&gt; appears only between seconds 7 and 9.&lt;/li&gt;&#xA;&lt;li&gt;The &lt;code&gt;third caption&lt;/code&gt; appears after second 9.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Is there a way to display such multiline subtitles with DaVinci Resolve?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If not, how do I fix it so it displays properly with one caption at a time?&lt;/p&gt;&#xA;" OwnerUserId="29745" LastEditorUserId="29745" LastEditDate="2020-05-07T22:01:25.260" LastActivityDate="2020-06-18T10:13:49.870" Title="Display overlapping subtitles" Tags="|davinci-resolve|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30222" PostTypeId="1" CreationDate="2020-05-07T23:55:04.113" Score="0" ViewCount="74" Body="&lt;p&gt;I just finished a video that uses an audio interview to create a EQ bars animations.&lt;/p&gt;&#xA;&lt;p&gt;I want to export this video (including the audio) for uploading to YouTube.&#xA;The problem is that my 30-min video exports to 3.5 GB size.&lt;/p&gt;&#xA;&lt;p&gt;Isn't this file size too big for a simple animation and audio?&lt;/p&gt;&#xA;&lt;p&gt;Can I export it at a smaller file size so the upload to YouTube won't take the whole day?&lt;/p&gt;&#xA;" OwnerUserId="29728" LastEditorUserId="18155" LastEditDate="2020-10-09T11:22:14.267" LastActivityDate="2024-02-21T17:07:50.977" Title="What is the best way to export a Motion movie to Youtube?" Tags="|youtube|motion|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30225" PostTypeId="1" CreationDate="2020-05-08T07:18:16.227" Score="1" ViewCount="492" Body="&lt;p&gt;I've a facility that runs on a Windows machine, that records the screen to disk, and it works well. It takes audio streams from two virtual sound cards and a stream from the display and produces a video file with two audio streams:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -rtbufsize 256M &#xA;  -f dshow -i video=&quot;screen-capture-recorder&quot; -thread_queue_size 512 &#xA;  -f dshow -i audio=&quot;Line 2 (Virtual Audio Cable)&quot; &#xA;  -f dshow -i audio=&quot;Line 3 (Virtual Audio Cable)&quot; &#xA;  -map 0:v -map 1:a -map 2:a -pix_fmt yuv420p &quot;{0}&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I'm trying to upgrade this so it simultaneously records to disk and streams to youtube. YT doesn't support multiple audio streams so I'm attempting to put one stream in the left of a stereo and the other stream in the right (so the user can use their balance control to switch between them). That part doesn't work correctly at the moment (output works but is not L/R separated; it's L+L and R+R. I probably need to down to mono before I merge) but I plan to make another question for it because I doubt it's the reason YT is throwing an error here&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the upgraded command I'm using to tee the output to disk and YT:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -rtbufsize 256M &#xA;  -f dshow -video_size 1264x944 -i video=&quot;screen-capture-recorder&quot; -framerate 10 -thread_queue_size 512 &#xA;  -f dshow -i audio=&quot;Line 2 (Virtual Audio Cable)&quot; &#xA;  -f dshow -i audio=&quot;Line 3 (Virtual Audio Cable)&quot; &#xA;  -filter_complex &quot;[1:a][2:a]amerge=inputs=2[aout]&quot; &#xA;  -map 0:v -map [aout]:a -c:v libx264 -c:a aac -b:v 3000k -maxrate 3000k -bufsize 6000k -g 20 -pix_fmt yuv420p -movflags +faststart &#xA;  -f tee &quot;[f=flv:onfail=ignore]rtmp://a.rtmp.youtube.com/live2/xxxx-xxxx-xxxx-xxxx|c:\\temp\\test.mp4&quot; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It seems to work in terms of the disk version; everything is as I expect but YT says &quot;Stream Starting&quot; then after a while says:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Unsupported resolution for latency configuration&#xA;  You need to change the video resolution. The current resolution is (65535x65535), which is not supported for this configuration. The expected video resolution is (2560x1440).&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;The version written to disk is 1264x944 per VLC:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/olaN6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/olaN6.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And a mediainfo dump:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : C:\temp\test.mp4&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media&#xA;Codec ID                                 : isom (isom/iso2/avc1/mp41)&#xA;File size                                : 33.5 MiB&#xA;Duration                                 : 3 min 21 s&#xA;Overall bit rate                         : 1 393 kb/s&#xA;Writing application                      : Lavf58.29.100&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : High@L3.2&#xA;Format settings                          : CABAC / 4 Ref Frames&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, Reference frames        : 4 frames&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 3 min 21 s&#xA;Bit rate                                 : 1 130 kb/s&#xA;Nominal bit rate                         : 3 000 kb/s&#xA;Width                                    : 1 264 pixels&#xA;Height                                   : 944 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 10.000 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.095&#xA;Stream size                              : 27.2 MiB (81%)&#xA;Writing library                          : x264 core 159&#xA;Encoding settings                        : cabac=1 / ref=3 / deblock=1:0:0 / analyse=0x3:0x113 / me=hex / subme=7 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=1 / me_range=16 / chroma_me=1 / trellis=1 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-2 / threads=12 / lookahead_threads=2 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=2 / b_adapt=1 / b_bias=0 / direct=1 / weightb=1 / open_gop=0 / weightp=2 / keyint=20 / keyint_min=2 / scenecut=40 / intra_refresh=0 / rc_lookahead=20 / rc=cbr / mbtree=1 / bitrate=3000 / ratetol=1.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / vbv_maxrate=3000 / vbv_bufsize=3000 / nal_hrd=none / filler=0 / ip_ratio=1.40 / aq=1:1.00&#xA;Codec configuration box                  : avcC&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC LC&#xA;Format/Info                              : Advanced Audio Codec Low Complexity&#xA;Codec ID                                 : mp4a-40-2&#xA;Duration                                 : 3 min 18 s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 265 kb/s&#xA;Channel(s)                               : 4 channels&#xA;Channel layout                           : C L R Cb&#xA;Sampling rate                            : 44.1 kHz&#xA;Frame rate                               : 43.066 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 6.25 MiB (19%)&#xA;Default                                  : Yes&#xA;Alternate group                          : 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What have I screwed up that makes YT think this is a 65536 video? &lt;/p&gt;&#xA;" OwnerUserId="29751" LastEditorUserId="29751" LastEditDate="2020-05-08T07:24:57.683" LastActivityDate="2020-05-08T07:24:57.683" Title="FFMPEG to YouTube: YT says &quot;Unsupported resolution for latency configuration ... The current resolution is (65535x65535)&quot;" Tags="|ffmpeg|streaming|youtube|screen-casting|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="30226" PostTypeId="1" CreationDate="2020-05-09T00:28:25.117" Score="0" ViewCount="324" Body="&lt;p&gt;I'm trying to do a livestream with a video loop, sound from the desktop and an overlay image that updates when I replace the file and a text that also updates when a file is replace but I seem to be running into problems. Any help is most appreciated:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;VID=lol.mp4&#xA;STREAM_KEY=rmeow&#xA;TEXT=current.txt&#xA;COLOR=&quot;0xFFFFFF&quot;&#xA;BCOLOR=&quot;0x000000&quot;&#xA;&#xA;ffmpeg -re -f alsa -i hw:Loopback,1,0 -framerate 10 -f image2 -loop 1 -i image.jpg -filter_complex overlay -stream_loop -1 -i $VID \&#xA;-c:v libx264 -preset veryfast -b:v 1984k -maxrate 1984k -bufsize 3968k -vf &quot;scale=1280:-1,format=yuv420p&quot; -g 20 -c:a aac -b:a 128k -ar 44100 \&#xA;-vf drawtext=&quot;fontfile=/usr/share/fonts/truetype/slant.ttf:bordercolor=$BCOLOR: borderw=1: fontcolor=$COLOR:textfile=$TEXT:reload=1:y=10:x=5:fontsize=38&quot; \&#xA;-f flv &quot;rtmp://live.restream.io/live/$STREAM_KEY&quot; \&#xA;&#xA;2&amp;gt; log_stream.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Output:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Only '-vf drawtext=fontfile=/usr/share/fonts/truetype/slant.ttf:bordercolor=0x000000: borderw=1: fontcolor=0xFFFFFF:textfile=current_song.txt:reload=1:y=10:x=5:fontsize=38' read, ignoring remaining -vf options: Use ',' to separate filters&#xA;Filtergraph 'drawtext=fontfile=/usr/share/fonts/truetype/slant.ttf:bordercolor=0x000000: borderw=1: fontcolor=0xFFFFFF:textfile=current_song.txt:reload=1:y=10:x=5:fontsize=38' was specified through the -vf/-af/-filter option for output stream 0:0, which is fed from a complex filtergraph.&#xA;-vf/-af/-filter and -filter_complex cannot be used together for the same stream.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29758" LastEditorUserId="29758" LastEditDate="2020-05-10T03:35:59.243" LastActivityDate="2020-05-10T03:35:59.243" Title="FFMPEG Live stream loop with overlay - Errors" Tags="|ffmpeg|streaming|linux|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30227" PostTypeId="1" AcceptedAnswerId="30262" CreationDate="2020-05-09T03:01:31.707" Score="1" ViewCount="106" Body="&lt;p&gt;:)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a Premiere Project with several clips (interview) that originate from 1 video file. The clips are on different tracks (because messy workflow). However, in that clip is a noise air conditioner, I want to apply a multi-compressor to. I exported the sequence to Audition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I tell Audition to apply the effects for CLIP1 to all CLIPn, since the AC is in all of the partial clips across the entire sequence and in different tracks. Basically find all clips that originate from the video file and apply effects to all of them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="29759" LastActivityDate="2020-05-12T07:44:27.127" Title="Premiere Pro sequence to Audition. Apply effect to all clips originating from one native video file" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30228" PostTypeId="1" CreationDate="2020-05-09T05:06:10.560" Score="0" ViewCount="32" Body="&lt;p&gt;I recorded a video and its soundtrack using the Logi Capture software that comes with the &lt;a href=&quot;https://www.logitech.com/en-us/product/hd-pro-webcam-c920&quot; rel=&quot;nofollow noreferrer&quot;&gt;Logitech C920&lt;/a&gt; webcam. In the sound track there's an annoying occasional &lt;a href=&quot;https://en.wiktionary.org/wiki/zing#Verb&quot; rel=&quot;nofollow noreferrer&quot;&gt;zinging&lt;/a&gt; noise when I speak into the microphone.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a web site where I can get help cleaning up the audio? I have a brief audio clip to demonstrate the issue if it helps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried the band-pass filter on the soundtrack with Audacity WevPad and it seems to lock the noise frequencies around 3.1&amp;nbsp;kHz - 5.1&amp;nbsp;kHz. When I cut this frequency band, the noise disappears. Interestingly, the noise is present when I record sound with either the C920's own microphone or a Samson Q2U USB dynamic microphone. At the same time, when I record with Audacity and the Samson microphone, the noise is not present. So, it must have something to do with the Logi Capture software. I also recorded video with other software and didn’t have this issue with noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In my video setup, I'm either capturing the screens or C920 webcam video. For some reason, the video ends up having multiple &lt;em&gt;audio&lt;/em&gt; tracks. I wonder if it creates an audio track for each computer monitor. One of the &lt;em&gt;audio&lt;/em&gt; tracks is empty, and the other three are with sound recorded that has this annoying noise.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the moment, I record a sound track separately with Audacity and replace the one captured with Logi Capture. For already recorded videos I was able to filter out the noise, but it changes the sound of videos a little bit.&lt;/p&gt;&#xA;" OwnerUserId="29761" LastEditorUserId="6169" LastEditDate="2020-05-14T19:09:35.177" LastActivityDate="2020-05-14T19:09:35.177" Title="How to remove an annoying zinging noise in an audio track" Tags="|audio-quality|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30230" PostTypeId="1" CreationDate="2020-05-09T08:41:43.020" Score="1" ViewCount="22" Body="&lt;p&gt;It is some kind of body glow, either blue or red with big 'chiaroscuro', everything else being black&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dGg7S.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/dGg7S.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;that'd be mega helpful for me, you'd make my day :))&lt;/p&gt;&#xA;" OwnerUserId="29763" LastEditorUserId="29562" LastEditDate="2020-05-09T12:40:37.143" LastActivityDate="2020-05-10T20:05:42.880" Title="How to recreate these effects I found on IG?" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30231" PostTypeId="2" ParentId="2389" CreationDate="2020-05-09T11:56:52.017" Score="1" Body="&lt;p&gt;You might want to try &lt;a href=&quot;https://fxhome.com/hitfilm-express&quot; rel=&quot;nofollow noreferrer&quot;&gt;HitFilm Express&lt;/a&gt; (free). It supports all the features that you want.&lt;/p&gt;&#xA;" OwnerUserId="29562" LastActivityDate="2020-05-09T11:56:52.017" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30232" PostTypeId="1" CreationDate="2020-05-09T11:58:05.407" Score="0" ViewCount="56" Body="&lt;p&gt;&lt;strong&gt;&lt;em&gt;I stupidly posted this on Photography SE yesterday evening. I'm posting now in a more appropriate place.&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've been trying to get my hands on some of &lt;strong&gt;the very best digital versions of some classic movies&lt;/strong&gt; recently. (As well as some which aren't classics; they're just old!) The question I'm trying to answer at the moment is: How high does the pixel count need to be to make sure that, within reason, the most faithful possible digitisation has been achieved?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To pick a concrete example: &lt;strong&gt;What pixel count would be required for a near perfect digitisation of &lt;em&gt;Casablanca&lt;/em&gt; (1942)?&lt;/strong&gt; Would it be different for &lt;em&gt;Total Recall&lt;/em&gt; (1990)? What about a TV movie from the 70s?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've read that, in principle, an image of 70mm film is capable of holding about the same level of detail as a 8640p digital image. (I'm very happy to be corrected on that point.) After few hours of looking through different digitisations of various old movies, &lt;strong&gt;it seems that, in practice, film often gives a level of resolution well short of 8640p&lt;/strong&gt;. With some old movies digitised to 1080p, if you gradually blow up a still, &lt;strong&gt;you can see the image start to become &quot;hazy&quot; long before you can see any pixellation&lt;/strong&gt;. With some movies, you can even observe that effect at 720p.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A select few movies - these are always more obscure titles - look like all possible detail has been squeezed out of them even at 480p, and they're so obscure that I'd struggle to get hold of a 720p version to check. &lt;strong&gt;Is it wishful thinking to imagine that, in some cases, a 480p digitisation could be very faithful?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="29766" LastEditorUserId="29766" LastEditDate="2020-05-09T15:01:36.367" LastActivityDate="2020-05-10T20:52:28.213" Title="What pixel count is required for a near perfect digital copy of an old movie?" Tags="|video-quality|conversion|digitisation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30233" PostTypeId="1" CreationDate="2020-05-09T13:15:14.987" Score="0" ViewCount="325" Body="&lt;p&gt;After capturing 2K video in 444p with OBS, I need to transcode it to a low quality proxy version that's still easy to scrub and not a huge file. I capture 3 audio tracks in 32-bit PCM and the image consists of two 1920x1080 parts - one is my desktop, one is input from my webcam:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IZk4p.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IZk4p.jpg&quot; alt=&quot;Example frame from the original footage&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what ffprobe says about that file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, matroska,webm, from 'original 2020-05-08 21-55-10.mkv':&#xA;  Metadata:&#xA;    ENCODER         : Lavf58.29.100&#xA;  Duration: 00:52:28.95, start: 0.000000, bitrate: 24282 kb/s&#xA;    Stream #0:0: Video: h264 (High 4:4:4 Predictive), yuvj444p(pc, bt709/unknown/unknown, progressive), 3840x1080, 62.50 fps, 60 tbr, 1k tbn, 120 tbc (default)&#xA;    Metadata:&#xA;      DURATION        : 00:52:28,950000000&#xA;    Stream #0:1: Audio: pcm_f32le, 48000 Hz, 2 channels, flt, 3072 kb/s (default)&#xA;    Metadata:&#xA;      DURATION        : 00:52:28,906000000&#xA;    Stream #0:2: Audio: pcm_f32le, 48000 Hz, 2 channels, flt, 3072 kb/s (default)&#xA;    Metadata:&#xA;      DURATION        : 00:52:28,906000000&#xA;    Stream #0:3: Audio: pcm_f32le, 48000 Hz, 2 channels, flt, 3072 kb/s (default)&#xA;    Metadata:&#xA;      DURATION        : 00:52:28,906000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However editing video in &lt;a href=&quot;https://www.olivevideoeditor.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Olive&lt;/a&gt; is pretty slow, and I think the biggest problem is high video bitrate.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example my original captured file is almost 9 GB for 50-minutes of footage, and the playback is very slow.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I encode a small proxy file that'll work fast but maintain the same resolution so my transforms don't break when I replace the footage back to original?&lt;/p&gt;&#xA;" OwnerUserId="19221" LastActivityDate="2020-05-09T13:15:14.987" Title="Encode a small proxy file with multiple audio streams for editing on Linux" Tags="|ffmpeg|encoding|conversion|linux|intermediate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30234" PostTypeId="2" ParentId="30233" CreationDate="2020-05-09T13:15:14.987" Score="2" Body="&lt;p&gt;I've come up with this ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i original.mkv -c:v libx264 -tune animation -crf 35 -x264opts keyint=10 -pix_fmt yuv420p -c:a pcm_s16le -map 0 proxy.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What this will do:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;use h.264 encoder with &lt;code&gt;-c:v libx264&lt;/code&gt; to give small files (prores would give huge files)&lt;/li&gt;&#xA;&lt;li&gt;use &lt;code&gt;-tune animation&lt;/code&gt; to optimize for screencasting&lt;/li&gt;&#xA;&lt;li&gt;use very low quality to maintain small bitrate using &lt;code&gt;-crf 35&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;define small GOP settings (complete keyframes will be placed every 10 frames - default settings use more) with &lt;code&gt;-x264opts keyint=10&lt;/code&gt; - this is a tradeoff between small filesize and bitrate and easy of scrubbing. For best scrubbing you'd want to set this to 1, so each frame is encoded independently. However 10 works for me so far.&lt;/li&gt;&#xA;&lt;li&gt;Use chroma subsampling, as ffmpeg would otherwise maintain original pixel format and you don't want or need 444 for proxy - &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt; - this helps make the file lighter.&lt;/li&gt;&#xA;&lt;li&gt;Encode audio in 16-bit PCM which is very fast to process and easy to scrub (the bitrate is constant) with &lt;code&gt;-c:a pcm_s16le&lt;/code&gt;. Compared to video streams the bitrate is still small so using something like Vorbis instead is probably not needed.&lt;/li&gt;&#xA;&lt;li&gt;Finally, we want to make sure ffmpeg keeps all audio streams in the output file using &lt;code&gt;-map 0&lt;/code&gt;. Without it it'd pick just one audio stream and drop the rest.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Resulting file is 1.7 GB (from original 8.9 GB), and plays much more smoothly in Olive Video Editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what ffprobe says about created proxy file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, matroska,webm, from 'proxy 2020-05-08 21-55-10.mkv':&#xA;  Metadata:&#xA;    ENCODER         : Lavf58.29.100&#xA;  Duration: 00:52:28.95, start: 0.000000, bitrate: 7812 kb/s&#xA;    Stream #0:0: Video: h264 (High), yuv420p(progressive), 3840x1080, 60 fps, 60 tbr, 1k tbn, 120 tbc (default)&#xA;    Metadata:&#xA;      ENCODER         : Lavc58.54.100 libx264&#xA;      DURATION        : 00:52:28.950000000&#xA;Stream #0:1: Audio: pcm_s16le, 48000 Hz, 2 channels, s16, 1536 kb/s (default)&#xA;Metadata:&#xA;  ENCODER         : Lavc58.54.100 pcm_s16le&#xA;  DURATION        : 00:52:28.906000000&#xA;Stream #0:2: Audio: pcm_s16le, 48000 Hz, 2 channels, s16, 1536 kb/s (default)&#xA;Metadata:&#xA;  ENCODER         : Lavc58.54.100 pcm_s16le&#xA;  DURATION        : 00:52:28.906000000&#xA;Stream #0:3: Audio: pcm_s16le, 48000 Hz, 2 channels, s16, 1536 kb/s (default)&#xA;Metadata:&#xA;  ENCODER         : Lavc58.54.100 pcm_s16le&#xA;  DURATION        : 00:52:28.906000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19221" LastActivityDate="2020-05-09T13:15:14.987" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30235" PostTypeId="2" ParentId="30222" CreationDate="2020-05-09T15:08:02.590" Score="0" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;my 30-min video exports to&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;This sounds to me that you are not paying any attention to what settings you are using.&lt;/p&gt;&#xA;&lt;p&gt;What program, what container, what codec, what settings?&lt;/p&gt;&#xA;&lt;p&gt;On whatever program you are using If possible &lt;strong&gt;export to MP4, h.264, AAC.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you already have rendered the file (assuming it took a long time to render, let's say if it was exported with special effects) another option is to recompress it.&lt;/p&gt;&#xA;&lt;p&gt;If you are on Windows, you can try VirtualDub2 with the same settings.&lt;/p&gt;&#xA;&lt;p&gt;You can also use FFmpeg. There are several users that know how to use it well. I'm not one of them :o)&lt;/p&gt;&#xA;&lt;p&gt;The problem with this second option is that this will be recompressed more times. The initial, this recompression, and probably a third one by YouTube.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="18155" LastEditDate="2020-10-09T11:23:48.270" LastActivityDate="2020-10-09T11:23:48.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30237" PostTypeId="2" ParentId="22279" CreationDate="2020-05-09T16:13:22.197" Score="0" Body="&lt;p&gt;the answer to this question was posted by bukkojot as a comment to this question on 2017/10/12: &lt;a href=&quot;https://github.com/bookkojot/mp4fixer&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/bookkojot/mp4fixer&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This tool fixes exactly this problem. I tried it and it worked for me.&#xA;There are a few simple steps involved, instructions are enclosed. You need a short properly saved video on the same machine with the same kazam to use as input so it knows what the headers should look like. And you get the mp4 from the temporary movie.mux.&lt;/p&gt;&#xA;" OwnerUserId="25920" LastEditorUserId="12276" LastEditDate="2021-06-11T19:30:51.963" LastActivityDate="2021-06-11T19:30:51.963" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30241" PostTypeId="1" CreationDate="2020-05-09T23:01:57.427" Score="0" ViewCount="43" Body="&lt;p&gt;I have many short interviews (50). All are shot same condition and the same settings of cam. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My question is does DaVinci Resolve have some sort of templating, scripting to automatically apply my lut, prepend intro clip, then append ending clip, and export?&lt;/p&gt;&#xA;" OwnerUserId="29706" LastEditorUserId="18155" LastEditDate="2020-05-21T01:38:32.880" LastActivityDate="2021-02-16T03:59:35.117" Title="how to automate interviews" Tags="|davinci-resolve|script|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30243" PostTypeId="1" CreationDate="2020-05-10T13:09:40.420" Score="0" ViewCount="41" Body="&lt;p&gt;I am trying to render a video in Sony Vegas Pro 13.0 and I have something strange going on. Please see the attached screenshot:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EMQS0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EMQS0.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;That section of the video is rendered as full black screen. It should contain 0.5 seconds video cuts, followed by black screens in order to obtain a clipping effect but Sony Vegas will render it as black screen without taking into consideration the small cuts. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Do you have any idea why this is happening?&lt;/p&gt;&#xA;" OwnerUserId="29774" LastEditorUserId="18155" LastEditDate="2020-05-21T01:39:29.360" LastActivityDate="2024-03-29T03:04:40.603" Title="Issue with sony vegas rendering small parts of video" Tags="|video|sony|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30245" PostTypeId="2" ParentId="28994" CreationDate="2020-05-10T17:42:41.133" Score="0" Body="&lt;p&gt;I do not fully understand what you are asking, but if it is what I think you want there are two options.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1.&lt;/strong&gt; Gren screen, so you can have your objects with a really fast way to mask them, and then having any manipulation you want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2.&lt;/strong&gt; Rotoscoping them, if it is from an already filmed video and no green screen can be made during filming.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is an example of rotoscoping with Natron, and I think you mean ta similar effect to this one. &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/V2MvbfuITT8?start=7&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is using a manual mode of rotoscoping. As tech evolves some new methods of masking, especially if the background is fixed, can be done to automate this. Some new tracking system, pixel by pixel and AI-based would be a good option.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-05-10T17:42:41.133" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30246" PostTypeId="2" ParentId="30230" CreationDate="2020-05-10T20:05:42.880" Score="1" Body="&lt;p&gt;You need a video editor that let you add curves to your video. Davinci Resolve is a great option.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Convert it to grayscale, you can simply reduce the saturation to 0.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Invert the curve. Augment the contrast making the curve more vertical.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/J9xYT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/J9xYT.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;Bring the green and Blue channels all the way down&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4Hbyp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4Hbyp.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Play a bit more. But that is the idea.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jA8NN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jA8NN.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Option two for the final color is to add a color rectangle with different blending mode in the editor.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/H6Xcv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/H6Xcv.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;sub&gt;&lt;a href=&quot;https://pixabay.com/es/photos/verano-flor-cabello-retrato-cara-4246927/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pixabay.com/es/photos/verano-flor-cabello-retrato-cara-4246927/&lt;/a&gt;&lt;/sub&gt;&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-05-10T20:05:42.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30247" PostTypeId="2" ParentId="30232" CreationDate="2020-05-10T20:52:28.213" Score="1" Body="&lt;p&gt;In reality, I think the other forum was a good place to ask. But people there tend to vote to close the moment they see the word &quot;video&quot; :o)&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;It is a bit complex to answer. And old movie could probably not have a sharp focus because of the lens, or the grain of the film. Probably there are inconsistencies in the filming across all the movie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Even today some scenes in some movies are filmed using normal digital film and some other action scenes could be filmed in Imax.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And because you did not have pixel-peeping mania like some times we have.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;You could find some papers, like the ones Xiota pointed in the other forum, stating that film can hold information on XXX Mpx. I have not seen a real-life comparison making large prints using both media in equal conditions, probably using the same lens.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a difference between the theoretical limit vs the real-life limit. You can argue that the size of the silver crystals is the real limit, but in reality, it is &quot;only&quot; grain.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;To answer this you would probably need to know&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The size of the frame.&lt;/li&gt;&#xA;&lt;li&gt;The grain of the film, probably based on the ISO.&lt;/li&gt;&#xA;&lt;li&gt;Lens used.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Not only the year of production, but that would give you some hints.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But there is more to it, mainly if the scanning has a post-process.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a restoration, reescalation and re-fps-action of the &quot;arrival of the train&quot; The Lumière Brothers, 1896.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/3RYNThid23g?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-05-10T20:52:28.213" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30248" PostTypeId="1" AcceptedAnswerId="30250" CreationDate="2020-05-10T21:15:18.957" Score="2" ViewCount="47" Body="&lt;p&gt;In this &lt;a href=&quot;https://youtu.be/mvIv9XEINhM&quot; rel=&quot;nofollow noreferrer&quot;&gt;B roll of Harry Potter&lt;/a&gt;, one can see how the same scene (how they walk out of the water and up a hill) is filmed multiple times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I guess that the final scene will be made up by several of these takes, and they will be cut (for example, the first part of the scene is made from take #1, and the second part is made from take #3).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If they cut within a scene, the audio will be cut, too.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do movies deal with such situations?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is the final (cut / edited) scene voiced over by the actors?&lt;/p&gt;&#xA;" OwnerUserId="29439" LastActivityDate="2020-05-10T22:08:45.810" Title="Are most scenes in movies voiced over in post production?" Tags="|audio|filming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30250" PostTypeId="2" ParentId="30248" CreationDate="2020-05-10T22:08:45.810" Score="5" Body="&lt;p&gt;It's generally preferred to use the actual dialog audio from the take.  It matches the movement of the lips, it sounds right for the environment, the actor is giving an authentic performance, etc.  And, you don't have to pay the actor to come back for an extra day re-recording audio in a rented sound booth.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&quot;Looping&quot; in audio after a scene is shot is certainly not unheard of.  If a line needs to be changed, or there was an error on set, or there was some unavoidable noise going on during filming.  It'll also happen in very wide shots where it's hard to get a microphone close to an actor.  If this happens, it's called ADR -- Additional Dialog Recording, or sometimes Automatic Dialog Replacement.  Though as common as that latter definition of the acronym seems to be, the process really isn't particularly automated.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;As for how to avoid needing it, you want to record clean sound from the start.  This is why you'll have a boom operator pointing a boom mic on a pole as close to the actor as possible -- even at the risk of accidentally getting the microphone in the shot.  If they kept the microphone far away, the actor would be quieter relative to all the other sounds going on in the room, so you'd have to crank up the gain and get more of those other sounds.  You can also have the actor wear a hidden lavalier microphone.  It's usually poking out near the collar close to their mouth, and then the wire runs inside the costume shirt so you can't see it.  Occasionally if the character has a big hat or helmet, a lav mic can be hidden in there instead of by their neck.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While you are in the location, you also record some &quot;room tone.&quot;  Whatever the room sounds like when it's quiet -- because no place is actually 100% quiet.  There's some wind, or the neighbor's air conditioner or the house creaks slightly.  Whatever.  Get a few minutes of that.  And, if you have any crowd or whatever, you can get some of them talking or walking, or whatever it is that the other people are doing while the main characters are talking about the plot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, when you get to editing the scene, you have a track of that &quot;silent&quot; room tone as a background noise.  And you have you crowd noise.  Maybe you use some actual recordings of the crowd from the set, maybe you just wind up using some stock sound, or do a separate audio recording session.  If it's a cafe or something, you'll have some clinking cups and dishes and silverware, and some babble of people &quot;talking&quot; but you want to make sure that it's not any recognizable words that would catch your ear while you are supposed to be paying attention to what the main characters are saying.  That can be just two or three tracks, or a whole bunch of tracks.  If you are on a space ship, you may have a bunch of tracks of engine sounds and beeping sensors and whatnot.  This bed of sound is constant through your scene, and is pretty much independent of the main character dialog that you get from the actual editing.  (Unless the sensors need to beep extra loud when the aliens approach or whatever, that sort of thing obviously needs to be in sync with the video.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With that quiet but consistent bed of audio, you can cut the scene and get the best takes, and use the dialog audio from the relevant takes without to much trouble.  You don't notice any slight shifts in the audio from cut to cut because there is enough other audio that's consistent in that quiet background noise that it doesn't matter.&lt;/p&gt;&#xA;" OwnerUserId="272" LastActivityDate="2020-05-10T22:08:45.810" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30251" PostTypeId="2" ParentId="30208" CreationDate="2020-05-11T00:50:41.683" Score="1" Body="&lt;p&gt;This is After Effect's automatic behavior any time it encounters more than one file with sequentially-numbered filenames. It's trying to import them all as entire &lt;strong&gt;file sequence&lt;/strong&gt;. This effectively imports every file, but presents them all as  one single animated footage item, with each file representing one frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The solution is that in the &quot;Import File&quot; dialogue box, highlight one or more Illustrator files, and then &lt;strong&gt;deselect&lt;/strong&gt; the checkbox at the bottom named &lt;code&gt;Illustrator/PDF/ESP Sequence&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="29782" LastActivityDate="2020-05-11T00:50:41.683" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30252" PostTypeId="2" ParentId="30178" CreationDate="2020-05-11T01:03:09.147" Score="1" Body="&lt;p&gt;This is absolutely possible to create in After Effects. Without you asking a specific question it's difficult to give a specific answer here, but broadly speaking:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Scan Lines&lt;/strong&gt; in principal are very easy, they're just alternating black and white lines, set to a blending mode like &lt;code&gt;Overlay&lt;/code&gt; and their opacity reduced&lt;/li&gt;&#xA;&lt;li&gt;A &lt;strong&gt;Vertical Reveal&lt;/strong&gt; is most simply achieved using the &lt;code&gt;Linear Wipe&lt;/code&gt; effect&lt;/li&gt;&#xA;&lt;li&gt;There are a lot of blurs and overexposures in this, which tells me you'd want to change your project settings to 32 Bit Color Space&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Chromatic Abberation&lt;/strong&gt; is a key part of this look -- essentially you precompose your composition, duplicate it three times (red, green, and blue), and apply color channel effects and offset the position of each one.&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The &lt;strong&gt;VHS footage&lt;/strong&gt; is almost certainly a recording of real static from a VHS tape, composited in using a blending  mode like &lt;code&gt;Add&lt;/code&gt; or &lt;code&gt;Screen&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a pretty popular look these days and as such there are all sorts of tutorials if you search for &quot;Retro 80's VHS&quot;. &lt;a href=&quot;https://www.youtube.com/watch?v=6Gh2n0-Zt9s&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here's a good example&lt;/a&gt;.&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;If you have a more specific question please let me know.&lt;/p&gt;&#xA;" OwnerUserId="29782" LastActivityDate="2020-05-11T01:03:09.147" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30253" PostTypeId="2" ParentId="30177" CreationDate="2020-05-11T01:18:48.217" Score="1" Body="&lt;p&gt;You can add a new &lt;strong&gt;adjustment layer&lt;/strong&gt; at the top of your composition, with the Levels effect set to the following:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Input Black: &lt;code&gt;254&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Input White: &lt;code&gt;255&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/lYRgr.jpg&quot; alt=&quot;Levels effect&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This will have the result of causing any luma values that were below 254 to become &lt;strong&gt;black&lt;/strong&gt;, while anything above it becomes &lt;strong&gt;white&lt;/strong&gt;. Here is an example of it over a fractal noise pattern:&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;Before&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/MZNxp.jpg&quot; alt=&quot;Before image&quot;&gt;&lt;/p&gt;&#xA;&#xA;&lt;h3&gt;After&lt;/h3&gt;&#xA;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/CnOPx.jpg&quot; alt=&quot;After image&quot;&gt;&lt;/p&gt;&#xA;" OwnerUserId="29782" LastActivityDate="2020-05-11T01:18:48.217" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30254" PostTypeId="2" ParentId="30061" CreationDate="2020-05-11T01:24:36.673" Score="0" Body="&lt;p&gt;After Effects is definitely the right tool to use rather than Vegas for motion tracking / drawing on moving footage. &lt;a href=&quot;https://www.videocopilot.net/tutorials/demon_face_warp/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here is a classic tutorial&lt;/a&gt; that you can watch to get a sense for how to achieve face tracking &amp;amp; replacement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Vegas is much better suited for editing. After Effects can often struggle to achieve real-time playback over extended periods of time and doesn't have the tools built in the same way as a NLE like Vegas, Premiere, or Avid.&lt;/p&gt;&#xA;" OwnerUserId="29782" LastActivityDate="2020-05-11T01:24:36.673" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30255" PostTypeId="2" ParentId="30034" CreationDate="2020-05-11T01:32:18.783" Score="1" Body="&lt;p&gt;The first step if you ever suspect After Effects might have buggy behavior is to &lt;strong&gt;purge the Memory / Disk Cache&lt;/strong&gt; (Edit &gt; Purge &gt; All Memory &amp;amp; Disk Cache).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You mention you already tried this, and that it cleaned it up at first, but then later on the buggy frames returned. In that case, you could consider temporarily &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/memory-storage1.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;disabling the disk cache completely&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Choose &lt;strong&gt;Edit &gt; Preferences &gt; Media &amp;amp; Disk Cache&lt;/strong&gt; (Windows) or &lt;strong&gt;After Effects &gt; Preferences &gt; Media &amp;amp; Disk Cache&lt;/strong&gt; (Mac OS), and select, or deselect Enable Disk Cache.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Other things to consider:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Are you using any unusual file formats or codecs in your project?&lt;/li&gt;&#xA;&lt;li&gt;Are you rendering to an unusual file format or codec?&lt;/li&gt;&#xA;&lt;li&gt;Does the same project file on a different computer / operating system work?&lt;/li&gt;&#xA;&lt;li&gt;General sanity checks (you aren't running out of RAM, disk space, etc)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="29782" LastActivityDate="2020-05-11T01:32:18.783" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30257" PostTypeId="1" CreationDate="2020-05-11T07:16:41.977" Score="1" ViewCount="2353" Body="&lt;p&gt;I know I can create a video from files in a folder like so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2 -i %*.png out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But if the folder I am in have sub-folders can i use some sort of switch to read those image files in those sub-folders?  At the moment I am having to copy these image files into 1 folder, create the video and then delete those copied image files. Which is time consuming .&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way please?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="4976" LastActivityDate="2021-12-04T05:51:12.017" Title="Using FFMPEG to create video from images in sub folders" Tags="|ffmpeg|windows|linux|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30258" PostTypeId="1" CreationDate="2020-05-11T14:26:46.380" Score="4" ViewCount="346" Body="&lt;p&gt;At what point does audio / video delay become noticeable or is there a general industry standard threshold?&lt;/p&gt;&#xA;" OwnerUserId="29792" LastActivityDate="2020-05-12T07:06:33.333" Title="What is the typical audio to video sync threshold when it becomes noticeable?" Tags="|video|audio|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ClosedDate="2020-05-14T19:30:26.793" ContentLicense="CC BY-SA 4.0" />
  <row Id="30260" PostTypeId="1" CreationDate="2020-05-12T01:14:07.997" Score="-1" ViewCount="69" Body="&lt;p&gt;how to create an intro animation just like this: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/bsnBPt0B7mI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;? What is the name of the effect (time around 00:00:02 until 00:00:05)? I am trying to search it over Youtube but doesn't find something that I want.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The main effect that I am looking for is the text forming from a bubble and the bubble bouncing over the text. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="2950" LastEditorUserId="2950" LastEditDate="2020-05-12T05:54:11.423" LastActivityDate="2022-07-07T14:04:45.510" Title="What is the name of this effect in After Effects?" Tags="|after-effects|animation|adobe|effects|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30261" PostTypeId="2" ParentId="30258" CreationDate="2020-05-12T07:06:33.333" Score="4" Body="&lt;p&gt;I don't know if there's a &quot;standard&quot;, my personal opinion - &quot;it depends&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In general you'll get away with a frame or two out of sync, although most editors will just line it up as accurately as possible if they can, unless there's a reason you can't?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've filmed tap dancers on a stage and given the teacher the raw footage - and had them complain the audio was out of sync. On a raw recording you're looking at between 2 and 4 frames out, depending on how far the camera is back from the stage. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'll notice as soon as dialogue is 3 or 4 frames out. Other sounds often sooner. I'll notice when you've got a rear shot of someone's head, and the jaw movements aren't lining up with the dialogue. But I'm not a casual observer, and neither is the dance teacher - so like I said, it depends. There will definitely be people who notice as soon as you're out by even a small amount, and there are many more who won't spot it. Almost always when something on TV is out of sync and driving me nuts, no one else is even noticing it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any proper editing software will let you resync the audio, and even without a clapper, it's usually easy enough to figure out, and at least get it within a frame or two. There might not be a standard, but if your audio is badly out, you are better to just spend the time to fix it. If you can notice it, and/or it doesn't look right to you, then likely at least some of your audience will be having the same experience.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-05-12T07:06:33.333" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30262" PostTypeId="2" ParentId="30227" CreationDate="2020-05-12T07:38:20.253" Score="0" Body="&lt;p&gt;Don't apply the effect to the clip. That way lies madness. If all the clips were on the same track then you'd add the effect to that track, but since as you've said the clips are on separate tracks you need to send those tracks to a &lt;strong&gt;bus&lt;/strong&gt;, and then apply the effect to the bus before sending that bus to the master track. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A bus is like a pre-mix, it's useful for grouping tracks with similar audio or audio that needs to be controlled together, or have the same effect applied, e.g. you might have one for all the dialogue, fx, or music. The ouput of a bus will go to your master track by default, but you could send it to another bus if you want and so on.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;To make a new bus:&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;In the track editor window&lt;/strong&gt; make sure that the inputs / outputs icon is highlighted&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VTn9d.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VTn9d.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;On one of the tracks, set the output to a new bus by clicking on the dropdown for the output (I always feel those arrows point the wrong way, but that's just me. It's the bottom one that says &lt;strong&gt;Master&lt;/strong&gt; by default). Then set the output for all the tracks that have the problem to this bus.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/r2OjG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/r2OjG.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also add a bus &lt;strong&gt;in the mixer panel&lt;/strong&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hf4Of.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hf4Of.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;To add effects to a bus / track&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;in the track editor window&lt;/strong&gt;, make sure the &lt;strong&gt;&lt;em&gt;fx&lt;/em&gt;&lt;/strong&gt; icon is highlighted (next to the inputs/outputs one).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Click on the triangle in the effects rack for the track and choose your effect from the drop down (your list of effects will look different to mine, mine is full of every free VST plugin that money can't buy).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9PBSL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9PBSL.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Similarly you can also do this in your mixer window, the UI is the same:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fqZS4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fqZS4.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-05-12T07:44:27.127" LastActivityDate="2020-05-12T07:44:27.127" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30267" PostTypeId="1" CreationDate="2020-05-12T16:13:57.733" Score="1" ViewCount="378" Body="&lt;p&gt;Every time I create a new shape layer in Adobe After Effects it has automatically applied some type of feathering to the shape(see image below).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ib7bd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ib7bd.png&quot; alt=&quot;Screen shot of after effects shape feather&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How do I remove this? I would like the edges to be crisp and defined.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="29794" LastActivityDate="2020-05-23T22:14:10.017" Title="How do I remove automatic feathering of shape in Adobe After Effects?" Tags="|after-effects|adobe|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30268" PostTypeId="1" CreationDate="2020-05-12T20:07:34.723" Score="2" ViewCount="1012" Body="&lt;p&gt;I am quite new to the video editing world. I am trying to follow some of tutorial online on how to render a sequence of timelapse photos with Adobe After Effects and export using Media Encoder Queue. Once I add my sequence to the queue and I click on my &lt;strong&gt;.H264&lt;/strong&gt; link, I am presented with the following screen:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/apunf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/apunf.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Respectively my video is exported with the same content as the one visible on the screenshot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Weirdly enough, when I export the video using the Render Queue from After Effects, the file looks perfectly fine. After this, I try to re-export the video using again the Media Encoder Queue, and the preview is rendered correctly as well as the final file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now when I close, re-open After Effect, make minor change (like aspect ration for example) and attempt to export the video using the Media Encoder Queue. I am given the following screen(where no preview is available):&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HZMLw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HZMLw.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A few seconds after I try to export the video, I am getting the following error:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;------------------------------------------------------------&#xA; - Encoding Time: 00:00:17&#xA;05/12/2020 07:52:17 PM : Encoding Failed&#xA;------------------------------------------------------------&#xA;Export Error&#xA;Error compiling movie.&#xA;&#xA;Render Error&#xA;&#xA;Render returned error.&#xA;&#xA;Writing with exporter: H.264&#xA;Writing to file: \\?\C:\Users\&amp;lt;user&amp;gt;\Desktop\Timelapse_taranaki\Taranaki_AME\Timelapse_taranaki 2_rendering.mp4&#xA;Writing file type: H264&#xA;Around timecode: 00:00:00:09&#xA;Rendering at offset: 0.000 seconds&#xA;Component: H.264 of type Exporter&#xA;Selector: 9&#xA;Error code: -1609629695&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;When I Purge &lt;code&gt;All Memory &amp;amp; Disk Cache&lt;/code&gt; and clean the &lt;strong&gt;Common&lt;/strong&gt; folder inside &lt;strong&gt;AppData&lt;/strong&gt;, I am back to the position of screenshot 1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using &lt;strong&gt;After Effects 2018 Version 15.01(build 73)&lt;/strong&gt; and &lt;strong&gt;Media Encoder 2018 Version 12.01(Build 64)&lt;/strong&gt; on Windows 10. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;My configuration is:&#xA;Intel(R) i7-4810MQ 2.80GHz&#xA;32GB RAM&#xA;GPU NVIDIA Quadro K2100M 2GB&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Anyone has any ideas on what might be the issue here? &lt;/p&gt;&#xA;" OwnerUserId="29810" LastActivityDate="2020-05-13T10:14:49.547" Title="Adobe Media Encoder rendering issue" Tags="|after-effects|adobe-media-encoder|time-lapse|render|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30269" PostTypeId="1" CreationDate="2020-05-12T20:21:50.933" Score="1" ViewCount="96" Body="&lt;p&gt;I have a one hour h264-encoded video. The unedited footage can't be found.&#xA;My goal is to edit a small portion of it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The scenario looks like this. I have to blur out some persons appearing let's say:  &lt;code&gt;00:20:00 - 00:22:00&lt;/code&gt;.&#xA;The Video's between &lt;code&gt;00:00:00 - 00:20:00&lt;/code&gt; and &lt;code&gt;00:22:01 - 01:00:00&lt;/code&gt; are untouched.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a method achieving this without losing quality on unedited footage?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm using Adobe Products.&lt;/p&gt;&#xA;" OwnerUserId="29809" LastActivityDate="2023-05-29T07:42:12.507" Title="Edit small portion of a compressed video without losing quality" Tags="|adobe|h.264|export|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30270" PostTypeId="1" CreationDate="2020-05-12T16:06:27.587" Score="-1" ViewCount="42" Body="&lt;p&gt;&lt;strong&gt;Background&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to create a animated Intro video for my YT channel.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What I need!&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want the image to show from small size to normal size with constant rotation. Then some images appear with spiral type spin/rotation with size change from small to normal.&#xA;Then the those images shift to left side and the channel name appears on right of image with smoke type or crackling type animation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Question&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want the names of animations and effects I should use?&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;I searched on internet for each effects and animation explanations but&#xA;  it got tedious and complicated and then I found this stack site. So I&#xA;  am asking here. &lt;strong&gt;I hope it's the right place to ask&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;If anyone can also explain a little bit about how to use them then it would be really helpful too!&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="29818" OwnerDisplayName="Pragyan" LastActivityDate="2022-02-03T20:06:35.527" Title="How to create a animated intro video in Adobe After-Effects? ( With particular animation, not in general)" Tags="|animation|effects|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30271" PostTypeId="2" ParentId="30270" CreationDate="2020-05-12T21:21:41.170" Score="0" Body="&lt;p&gt;There are not that many options. &quot;In general&quot; (Sorry) you have&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Position&lt;/li&gt;&#xA;&lt;li&gt;Rotation&lt;/li&gt;&#xA;&lt;li&gt;Scale&lt;/li&gt;&#xA;&lt;li&gt;Change the origin point&lt;/li&gt;&#xA;&lt;li&gt;Opacity&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mWHxI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mWHxI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So you simply combine them.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Then some images appear with spiral type spin/rotation&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Change the origin point so it is not a rotation but a spiral&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;size change from small to normal&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Scale&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;from small size to normal size with constant rotation&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Scale + rotation&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Then the those images shift to left side&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Position&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;the channel name appears on right of image&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Opacity&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;with smoke type or crackling type animation.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;For this, you either create your own smoke or get a clip from an image bank.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2020-05-13T20:34:26.603" LastActivityDate="2020-05-13T20:34:26.603" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30272" PostTypeId="2" ParentId="30269" CreationDate="2020-05-13T04:22:49.210" Score="1" Body="&lt;p&gt;For tasks like this I like the TMPGEnc tools, try Smart Renderer &lt;a href=&quot;https://tmpgenc.pegasys-inc.com/en/product/tmsr5.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://tmpgenc.pegasys-inc.com/en/product/tmsr5.html&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;With these tools you can cut &amp;amp; join files, only re-encoding where the cuts / joins are. I would split the file in 3, preferably on key frames, re-render the edited section as needed, then re-join the files. There are trial versions of the products, just download it and see if it does what you need.&lt;/p&gt;&#xA;&lt;p&gt;I don't know of a way to do this in the Adobe products - if anyone else does, let us know! Or possibly there are other free tools to perform this task, I've just always used the TMPGEnc tools for this type of work.&lt;/p&gt;&#xA;&lt;p&gt;EDIT: I've also recently become aware of losslesscut, &lt;a href=&quot;https://mifi.no/losslesscut/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://mifi.no/losslesscut/&lt;/a&gt; - sounds like this should also achieve this kind of edit, and is free.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastEditorUserId="25579" LastEditDate="2023-05-29T07:42:12.507" LastActivityDate="2023-05-29T07:42:12.507" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30274" PostTypeId="2" ParentId="30268" CreationDate="2020-05-13T10:14:49.547" Score="1" Body="&lt;p&gt;I actually was able to find the answer to my question in point &lt;strong&gt;2.&lt;/strong&gt; &lt;a href=&quot;https://helpx.adobe.com/after-effects/kb/after-effects-composition-export-error.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Simple add the sequence to the After Effects Render Queue:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oWnOB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oWnOB.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And from there open it in AME, where the preview will work perfectly fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZD5Mo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZD5Mo.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29811" LastActivityDate="2020-05-13T10:14:49.547" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30276" PostTypeId="2" ParentId="30267" CreationDate="2020-05-13T11:45:56.443" Score="1" Body="&lt;p&gt;It's all about the little sun icon on each layer, called &quot;Collapse Transformations&quot;: &#xA;&lt;a href=&quot;https://i.stack.imgur.com/QSG8O.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QSG8O.png&quot; alt=&quot;icon for collapse transformations&quot;&gt;&lt;/a&gt;It chooses whether to display the image as a vector (sharp) or as a bitmap (possibly blurry depending on the resolution of the layer).  There's lots online about it - here's one example: &#xA;&lt;a href=&quot;https://www.schoolofmotion.com/blog/collapse-transformations-continuously-rasterize-after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.schoolofmotion.com/blog/collapse-transformations-continuously-rasterize-after-effects/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-05-13T11:45:56.443" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30277" PostTypeId="1" CreationDate="2020-05-13T13:36:13.787" Score="0" ViewCount="287" Body="&lt;p&gt;I want to create an outward spiral motion in Adobe AE. So how to do it?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I found an expression script for it &lt;a href=&quot;http://www.motion-graphics-exchange.com/after-effects/Creating-Circular-And-Spiral-Moton-Paths/4bc24b761907e&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; but it creates an inward spiral motion and I want outward spiral. And I am not able to reverse it.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;shrink=time+1&#xA;radius=1000/shrink&#xA;angle=time*200&#xA;x=radius*Math.cos(degreesToRadians(angle))&#xA;y=radius*Math.sin(degreesToRadians(angle))&#xA;//z=0 // no depth&#xA;z=time*time // with depth&#xA;centre=[640,360,0]&#xA;add(centre,[x,y,z])&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What exactly I want to do?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want the images to spiral in a circular image from center to some particular points in the circle. And then they stop spiralling and stay at that point.&#xA;And after a while they shift to left with the whole circular image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help.&lt;/p&gt;&#xA;" OwnerUserId="29818" LastEditorUserId="1950" LastEditDate="2020-08-24T04:09:06.667" LastActivityDate="2024-01-06T10:06:10.697" Title="How to create outward spiral motion in Adobe After Effects?" Tags="|after-effects|adobe|after-effects-expressions|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30278" PostTypeId="1" AcceptedAnswerId="30285" CreationDate="2020-05-13T16:09:20.137" Score="0" ViewCount="30" Body="&lt;p&gt;I am editing footage with a resolution of 1228x690 in Premiere Pro 2020. When I tried to upload it to youtube, it automatically got bumped down to 480p, significantly lowering the quality. I tried to increase the video preview width x height settings but it is capped at 690p. Is there a way to force the video to a &quot;higher resolution&quot; so it won't get lowered to 480p? Am I just trying to change the wrong settings? Thank you for helping.&lt;/p&gt;&#xA;" OwnerUserId="29822" LastActivityDate="2020-05-14T05:26:22.453" Title="increasing sequence resolution in premier pro" Tags="|premiere|video-quality|youtube|adobe|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30281" PostTypeId="1" AcceptedAnswerId="30288" CreationDate="2020-05-13T18:40:25.263" Score="1" ViewCount="1062" Body="&lt;p&gt;I wrote a script to record my computer screen, my computer audio (The audio coming out of my speakers), and my microphone using &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -video_size 1920x1080 -framerate 60&#xA;-f x11grab -i :0.0&#xA;-f pulse -i default&#xA;-f openal -i &quot;Monitor of Headset H390 Analog Stereo&quot; \&#xA;-c:v libx264rgb -crf 0 -preset ultrafast video.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It records the video correctly, but not the audio. Only the first audio source (my microphone) is recorded. If I swap the order of &lt;code&gt;-f pulse -i default&lt;/code&gt; and &lt;code&gt;-f openal -i &quot;Monitor of Headset H390 Analog Stereo&quot;&lt;/code&gt;, only my computer audio is recorded. How can I record my computer audio and my microphone at the same time? (Preferrably to different tracks so I can change the volume individually while editing.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My operating system is Linux Mint 5.3.0-51.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg&lt;/code&gt; log:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg started on 2020-05-17 at 17:07:47&#xA;Report written to &quot;ffmpeg-20200517-170747.log&quot;&#xA;Command line:&#xA;ffmpeg -video_size 1920x1080 -framerate 60 -f x11grab -i :0.0 -f openal -i &quot;Monitor of Headset H390 Analog Stereo&quot; -f pulse -i default -map 0 -map 1 -map 2 -report -c:v libx264rgb -crf 0 -preset ultrafast [FILE PATH]/clips/clip_7.mkv&#xA;ffmpeg version 3.4.6-0ubuntu0.18.04.1 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 7 (Ubuntu 7.3.0-16ubuntu3)&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.18.04.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-librsvg --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libavresample   3.  7.  0 /  3.  7.  0&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;Splitting the commandline.&#xA;Reading option '-video_size' ... matched as AVOption 'video_size' with argument '1920x1080'.&#xA;Reading option '-framerate' ... matched as AVOption 'framerate' with argument '60'.&#xA;Reading option '-f' ... matched as option 'f' (force format) with argument 'x11grab'.&#xA;Reading option '-i' ... matched as input url with argument ':0.0'.&#xA;Reading option '-f' ... matched as option 'f' (force format) with argument 'openal'.&#xA;Reading option '-i' ... matched as input url with argument 'Monitor of Headset H390 Analog Stereo'.&#xA;Reading option '-f' ... matched as option 'f' (force format) with argument 'pulse'.&#xA;Reading option '-i' ... matched as input url with argument 'default'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '0'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '1'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '2'.&#xA;Reading option '-report' ... matched as option 'report' (generate a report) with argument '1'.&#xA;Reading option '-c:v' ... matched as option 'c' (codec name) with argument 'libx264rgb'.&#xA;Reading option '-crf' ... matched as AVOption 'crf' with argument '0'.&#xA;Reading option '-preset' ... matched as AVOption 'preset' with argument 'ultrafast'.&#xA;Reading option '[FILE PATH]/clips/clip_7.mkv' ... matched as output url.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option report (generate a report) with argument 1.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url :0.0.&#xA;Applying option f (force format) with argument x11grab.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: :0.0.&#xA;[x11grab @ 0x55b2144705e0] Probe buffer size limit of 5000000 bytes reached&#xA;[x11grab @ 0x55b2144705e0] Stream #0: not enough frames to estimate rate; consider increasing probesize&#xA;Input #0, x11grab, from ':0.0':&#xA;  Duration: N/A, start: 1589753267.078638, bitrate: N/A&#xA;    Stream #0:0, 1, 1/1000000: Video: rawvideo (BGR[0] / 0x524742), bgr0, 1920x1080, 60 fps, 1000k tbr, 1000k tbn, 1000k tbc&#xA;Successfully opened the file.&#xA;Parsing a group of options: input url Monitor of Headset H390 Analog Stereo.&#xA;Applying option f (force format) with argument openal.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: Monitor of Headset H390 Analog Stereo.&#xA;[openal @ 0x55b2144799a0] All info found&#xA;Guessed Channel Layout for Input Stream #1.0 : stereo&#xA;Input #1, openal, from 'Monitor of Headset H390 Analog Stereo':&#xA;  Duration: N/A, start: 1589753267.137538, bitrate: 1411 kb/s&#xA;    Stream #1:0, 1, 1/1000000: Audio: pcm_s16le, 44100 Hz, stereo, s16, 1411 kb/s&#xA;Successfully opened the file.&#xA;Parsing a group of options: input url default.&#xA;Applying option f (force format) with argument pulse.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: default.&#xA;[pulse @ 0x55b21448eca0] All info found&#xA;Guessed Channel Layout for Input Stream #2.0 : stereo&#xA;Input #2, pulse, from 'default':&#xA;  Duration: N/A, start: 1589753267.142149, bitrate: 1536 kb/s&#xA;    Stream #2:0, 1, 1/1000000: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s&#xA;Successfully opened the file.&#xA;Parsing a group of options: output url [FILE PATH]/clips/clip_7.mkv.&#xA;Applying option map (set input stream mapping) with argument 0.&#xA;Applying option map (set input stream mapping) with argument 1.&#xA;Applying option map (set input stream mapping) with argument 2.&#xA;Applying option c:v (codec name) with argument libx264rgb.&#xA;Successfully parsed a group of options.&#xA;Opening an output file: [FILE PATH]/clips/clip_7.mkv.&#xA;[file @ 0x55b2144af2c0] Setting default whitelist 'file,crypto'&#xA;Successfully opened the file.&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; h264 (libx264rgb))&#xA;  Stream #1:0 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; vorbis (libvorbis))&#xA;  Stream #2:0 -&amp;gt; #0:2 (pcm_s16le (native) -&amp;gt; vorbis (libvorbis))&#xA;Press [q] to stop, [?] for help&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[rawvideo @ 0x55b214479380] PACKET SIZE: 5184000, STRIDE: 5760&#xA;detected 4 logical cores&#xA;[graph 0 input from stream 0:0 @ 0x55b2144b49c0] Setting 'video_size' to value '1920x1080'&#xA;[graph 0 input from stream 0:0 @ 0x55b2144b49c0] Setting 'pix_fmt' to value '298'&#xA;[graph 0 input from stream 0:0 @ 0x55b2144b49c0] Setting 'time_base' to value '1/1000000'&#xA;[graph 0 input from stream 0:0 @ 0x55b2144b49c0] Setting 'pixel_aspect' to value '0/1'&#xA;[graph 0 input from stream 0:0 @ 0x55b2144b49c0] Setting 'sws_param' to value 'flags=2'&#xA;[graph 0 input from stream 0:0 @ 0x55b2144b49c0] Setting 'frame_rate' to value '60/1'&#xA;[graph 0 input from stream 0:0 @ 0x55b2144b49c0] w:1440 h:900 pixfmt:bgr0 tb:1/1000000 fr:60/1 sar:0/1 sws_param:flags=2&#xA;[format @ 0x55b2144b3500] compat: called with args=[bgr0|bgr24|rgb24]&#xA;[format @ 0x55b2144b3500] Setting 'pix_fmts' to value 'bgr0|bgr24|rgb24'&#xA;[AVFilterGraph @ 0x55b2144b37c0] query_formats: 4 queried, 3 merged, 0 already done, 0 delayed&#xA;[libx264rgb @ 0x55b2144a9660] using mv_range_thread = 72&#xA;[libx264rgb @ 0x55b2144a9660] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264rgb @ 0x55b2144a9660] profile High 4:4:4 Predictive, level 4.2, 4:4:4 8-bit&#xA;[libx264rgb @ 0x55b2144a9660] 264 - core 152 r2854 e9a5903 - H.264/MPEG-4 AVC codec - Copyleft 2003-2017 - http://www.videolan.org/x264.html - options: cabac=0 ref=1 deblock=0:0:0 analyse=0:0 me=dia subme=0 psy=0 mixed_ref=0 me_range=16 chroma_me=1 trellis=0 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=0 chroma_qp_offset=0 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=0 weightp=0 keyint=250 keyint_min=25 scenecut=0 intra_refresh=0 rc=cqp mbtree=0 qp=0&#xA;Clipping frame in rate conversion by 0.000008&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[graph_1_in_1_0 @ 0x55b2145a0ae0] Setting 'time_base' to value '1/44100'&#xA;[graph_1_in_1_0 @ 0x55b2145a0ae0] Setting 'sample_rate' to value '44100'&#xA;[graph_1_in_1_0 @ 0x55b2145a0ae0] Setting 'sample_fmt' to value 's16'&#xA;[graph_1_in_1_0 @ 0x55b2145a0ae0] Setting 'channel_layout' to value '0x3'&#xA;[graph_1_in_1_0 @ 0x55b2145a0ae0] tb:1/44100 samplefmt:s16 samplerate:44100 chlayout:0x3&#xA;[format_out_0_1 @ 0x55b2145a0e60] Setting 'sample_fmts' to value 'fltp'&#xA;[format_out_0_1 @ 0x55b2145a0e60] auto-inserting filter 'auto_resampler_0' between the filter 'Parsed_anull_0' and the filter 'format_out_0_1'&#xA;[AVFilterGraph @ 0x55b21459fc00] query_formats: 4 queried, 6 merged, 3 already done, 0 delayed&#xA;[auto_resampler_0 @ 0x55b2145a3120] [SWR @ 0x55b2145a34c0] Using s16p internally between filters&#xA;[auto_resampler_0 @ 0x55b2145a3120] ch:2 chl:stereo fmt:s16 r:44100Hz -&amp;gt; ch:2 chl:stereo fmt:fltp r:44100Hz&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[graph_2_in_2_0 @ 0x55b214624420] Setting 'time_base' to value '1/48000'&#xA;[graph_2_in_2_0 @ 0x55b214624420] Setting 'sample_rate' to value '48000'&#xA;[graph_2_in_2_0 @ 0x55b214624420] Setting 'sample_fmt' to value 's16'&#xA;[graph_2_in_2_0 @ 0x55b214624420] Setting 'channel_layout' to value '0x3'&#xA;[graph_2_in_2_0 @ 0x55b214624420] tb:1/48000 samplefmt:s16 samplerate:48000 chlayout:0x3&#xA;[format_out_0_2 @ 0x55b214608180] Setting 'sample_fmts' to value 'fltp'&#xA;[format_out_0_2 @ 0x55b214608180] auto-inserting filter 'auto_resampler_0' between the filter 'Parsed_anull_0' and the filter 'format_out_0_2'&#xA;[AVFilterGraph @ 0x55b214633380] query_formats: 4 queried, 6 merged, 3 already done, 0 delayed&#xA;[auto_resampler_0 @ 0x55b214605300] [SWR @ 0x55b21464fd20] Using s16p internally between filters&#xA;[auto_resampler_0 @ 0x55b214605300] ch:2 chl:stereo fmt:s16 r:48000Hz -&amp;gt; ch:2 chl:stereo fmt:fltp r:48000Hz&#xA;Output #0, matroska, to '[FILE PATH]/clips/clip_7.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf57.83.100&#xA;    Stream #0:0, 0, 1/1000: Video: h264 (libx264rgb) (H264 / 0x34363248), bgr0(progressive), 1920x1080, q=-1--1, 60 fps, 1k tbn, 60 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc57.107.100 libx264rgb&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1, 0, 1/1000: Audio: vorbis (libvorbis) (oV[0][0] / 0x566F), 44100 Hz, stereo, fltp&#xA;    Metadata:&#xA;      encoder         : Lavc57.107.100 libvorbis&#xA;    Stream #0:2, 0, 1/1000: Audio: vorbis (libvorbis) (oV[0][0] / 0x566F), 48000 Hz, stereo, fltp&#xA;    Metadata:&#xA;      encoder         : Lavc57.107.100 libvorbis&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[rawvideo @ 0x55b214479380] PACKET SIZE: 5184000, STRIDE: 5760&#xA;[x11grab @ 0x55b2144705e0] Thread message queue blocking; consider raising the thread_queue_size option (current value: 8)&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[rawvideo @ 0x55b214479380] PACKET SIZE: 5184000, STRIDE: 5760&#xA;Past duration 0.835838 too large&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[rawvideo @ 0x55b214479380] PACKET SIZE: 5184000, STRIDE: 5760&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[rawvideo @ 0x55b214479380] PACKET SIZE: 5184000, STRIDE: 5760&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[rawvideo @ 0x55b214479380] PACKET SIZE: 5184000, STRIDE: 5760&#xA;*** dropping frame 4 from stream 0 at ts 82&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[rawvideo @ 0x55b214479380] PACKET SIZE: 5184000, STRIDE: 5760&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[rawvideo @ 0x55b214479380] PACKET SIZE: 5184000, STRIDE: 5760&#xA;*** dropping frame 5 from stream 0 at ts 83&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[rawvideo @ 0x55b214479380] PACKET SIZE: 5184000, STRIDE: 5760&#xA;*** dropping frame 5 from stream 0 at ts 83&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[rawvideo @ 0x55b214479380] PACKET SIZE: 5184000, STRIDE: 5760&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[rawvideo @ 0x55b214479380] PACKET SIZE: 5184000, STRIDE: 5760&#xA;Clipping frame in rate conversion by 0.550987&#xA;*** dropping frame 6 from stream 0 at ts 84&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;[rawvideo @ 0x55b214479380] PACKET SIZE: 5184000, STRIDE: 5760&#xA;[libx264rgb @ 0x55b2144a9660] frame=   0 QP=0.00 NAL=3 Slice:I Poc:0   I:5130 P:0    SKIP:0    size=381047 bytes&#xA;[matroska @ 0x55b2144a7b60] get_metadata_duration returned: 0&#xA;[matroska @ 0x55b2144a7b60] Writing block at offset 9, size 1, pts 0, dts 0, duration 3, keyframe 1&#xA;[matroska @ 0x55b2144a7b60] Writing block at offset 16, size 43, pts 0, dts 0, duration 3, keyframe 1&#xA;[matroska @ 0x55b2144a7b60] Writing block at offset 65, size 381569, pts 3, dts 3, duration 17, keyframe 1&#xA;[rawvideo @ 0x55b214479380] PACKET SIZE: 5184000, STRIDE: 5760&#xA;[rawvideo @ 0x55b214479380] PACKET SIZE: 5184000, STRIDE: 5760&#xA;Past duration 0.748894 too large&#xA;*** dropping frame 8 from stream 0 at ts 86&#xA;[libx264rgb @ 0x55b2144a9660] frame=   1 QP=0.00 NAL=2 Slice:P Poc:2   I:2951 P:292  SKIP:1887 size=88367 bytes&#xA;[matroska @ 0x55b2144a7b60] Writing block at offset 381643, size 1, pts 3, dts 3, duration 13, keyframe 1&#xA;[matroska @ 0x55b2144a7b60] Writing block at offset 381650, size 198, pts 3, dts 3, duration 12, keyframe 1&#xA;[matroska @ 0x55b2144a7b60] Writing block at offset 381855, size 190, pts 15, dts 15, duration 21, keyframe 1&#xA;[matroska @ 0x55b2144a7b60] Writing block at offset 382052, size 1, pts 16, dts 16, duration 23, keyframe 1&#xA;[matroska @ 0x55b2144a7b60] Writing block at offset 382059, size 192, pts 36, dts 36, duration 21, keyframe 1&#xA;[Repeated a lot of times]&#xA;[matroska @ 0x55b2144a7b60] Writing block at offset 171, size 1, pts 5517, dts 5517, duration 23, keyframe 1&#xA;[matroska @ 0x55b2144a7b60] Writing block at offset 178, size 1, pts 5540, dts 5540, duration 23, keyframe 1&#xA;[matroska @ 0x55b2144a7b60] Writing block at offset 185, size 1, pts 5564, dts 5564, duration 23, keyframe 1&#xA;[matroska @ 0x55b2144a7b60] Writing block at offset 192, size 1, pts 5587, dts 5587, duration 6, keyframe 1&#xA;[matroska @ 0x55b2144a7b60] end duration = 5593&#xA;[matroska @ 0x55b2144a7b60] stream 0 end duration = 4787&#xA;[matroska @ 0x55b2144a7b60] stream 1 end duration = 5593&#xA;[matroska @ 0x55b2144a7b60] stream 2 end duration = 4567&#xA;frame=   41 fps=9.5 q=-1.0 Lsize=    1760kB time=00:00:05.58 bitrate=2581.4kbits/s dup=0 drop=105 speed=1.29x    &#xA;video:1707kB audio:41kB subtitle:0kB other streams:0kB global headers:8kB muxing overhead: 0.677361%&#xA;Input file #0 (:0.0):&#xA;  Input stream #0:0 (video): 146 packets read (756864000 bytes); 146 frames decoded; &#xA;  Total: 146 packets (756864000 bytes) demuxed&#xA;Input file #1 (Monitor of Headset H390 Analog Stereo):&#xA;  Input stream #1:0 (audio): 22 packets read (773588 bytes); 22 frames decoded (193397 samples); &#xA;  Total: 22 packets (773588 bytes) demuxed&#xA;Input file #2 (default):&#xA;  Input stream #2:0 (audio): 20 packets read (876288 bytes); 20 frames decoded (219072 samples); &#xA;  Total: 20 packets (876288 bytes) demuxed&#xA;Output file #0 ([FILE PATH]/clips/clip_7.mkv):&#xA;  Output stream #0:0 (video): 41 frames encoded; 41 packets muxed (1747992 bytes); &#xA;  Output stream #0:1 (audio): 3021 frames encoded (193344 samples); 191 packets muxed (191 bytes); &#xA;  Output stream #0:2 (audio): 3423 frames encoded (219072 samples); 223 packets muxed (41851 bytes); &#xA;  Total: 455 packets (1790034 bytes) muxed&#xA;188 frames successfully decoded, 0 decoding errors&#xA;[AVIOContext @ 0x55b2144af5a0] Statistics: 16 seeks, 18 writeouts&#xA;[libx264rgb @ 0x55b2144a9660] frame I:1     Avg QP: 0.00  size:381047&#xA;[libx264rgb @ 0x55b2144a9660] frame P:40    Avg QP: 0.00  size: 34161&#xA;[libx264rgb @ 0x55b2144a9660] mb I  I16..4: 100.0%  0.0%  0.0%&#xA;[libx264rgb @ 0x55b2144a9660] mb P  I16..4: 50.9%  0.0%  0.0%  P16..4:  1.5%  0.0%  0.0%  0.0%  0.0%    skip:47.6%&#xA;[libx264rgb @ 0x55b2144a9660] coded y,u,v intra: 4.3% 1.1% 2.3% inter: 2.1% 0.3% 1.0%&#xA;[libx264rgb @ 0x55b2144a9660] i16 v,h,dc,p: 98%  2%  0%  0%&#xA;[libx264rgb @ 0x55b2144a9660] kb/s:2922.60&#xA;Exiting normally, received signal 2.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29824" LastEditorUserId="29824" LastEditDate="2020-05-17T22:12:05.440" LastActivityDate="2020-05-17T22:12:05.440" Title="Record two audio sources as separate tracks?" Tags="|ffmpeg|audio-recording|tracks|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30282" PostTypeId="1" CreationDate="2020-05-13T19:16:55.363" Score="1" ViewCount="7" Body="&lt;p&gt;I use adobe premiere to edit. I'm trying to have 74 separate clips on screen at once. What would be the quickest way to do this without manually scaling and positioning each clip?&lt;/p&gt;&#xA;" OwnerUserId="29825" LastActivityDate="2020-05-13T19:16:55.363" Title="Quickest way to split screen 74 separate clips" Tags="|video|premiere|video-editor|adobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30283" PostTypeId="2" ParentId="22636" CreationDate="2020-05-13T23:48:32.233" Score="0" Body="&lt;p&gt;On a mac, subler is likely the easiest tool to use to add chapters, &lt;a href=&quot;https://subler.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://subler.org&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would make a H.264 MP4 file as your output (it will be the most broadly compatible format to use), and use subler to add the chapters to that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that not all devices will support the chapters for playback, most common players (VLC, iTunes, etc) will be fine, but various TVs and other devices won't necessarily understand the chapter marks. Not much you can do about it, just be aware that this will happen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also try to keep your files under 4GB, lots of things you plug a USB into will only support FAT32, if your files go &gt;4GB, you'll be making them unplayable to various devices.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastEditorUserId="25579" LastEditDate="2020-05-13T23:54:28.073" LastActivityDate="2020-05-13T23:54:28.073" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30285" PostTypeId="2" ParentId="30278" CreationDate="2020-05-14T05:26:22.453" Score="0" Body="&lt;p&gt;First variant. You can change &quot;Frame size&quot; in &quot;Sequence Settings&quot; (Sequence -&gt; Sequence Settings) to more higher. You need to change them with saving proportions of your video frame.&#xA;To save 720p quality on youtube you should set amount of vertical pixels to 720 or more. With 1080p it should be 1080p or more.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/aMmz7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aMmz7.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Second variant. You can change resolution of your video file on the render stage.&#xA;Move to Basic video settings, then uncheck checkbox for changing resolution. And then you can change it to needed. With height to 720p or more.&#xA;Also you can save proportions of frame.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/z4u9P.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/z4u9P.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2020-05-14T05:26:22.453" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30286" PostTypeId="2" ParentId="30260" CreationDate="2020-05-14T05:36:41.160" Score="-1" Body="&lt;p&gt;You can search &amp;quot;After Effects morphing&amp;quot; and you will find some tutorials which you will help to recreate intro like in this video. It's not a standard (by default) effect in After Effects. It's an animation created from scratch, probably in After Effects. It's a Shape Animation, shape morphing, mask morphing, liquid animation.&lt;/p&gt;&#xA;" OwnerUserId="26758" LastEditorUserId="4426" LastEditDate="2022-06-07T13:49:13.207" LastActivityDate="2022-06-07T13:49:13.207" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30288" PostTypeId="2" ParentId="30281" CreationDate="2020-05-14T07:16:58.930" Score="3" Body="&lt;p&gt;You need to map all streams, so&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -video_size 1920x1080 -framerate 60&#xA;-f x11grab -i :0.0&#xA;-f pulse -i default&#xA;-f openal -i &quot;Monitor of Headset H390 Analog Stereo&quot;&#xA;-map 0 -map 1 -map 2&#xA;-c:v libx264rgb -crf 0 -preset ultrafast video.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;http://ffmpeg.org/ffmpeg.html#Stream-selection&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://ffmpeg.org/ffmpeg.html#Stream-selection&lt;/a&gt; for how ffmpeg automatically selects streams when map is absent.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-05-14T07:16:58.930" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="30289" PostTypeId="1" CreationDate="2020-05-14T14:59:24.627" Score="0" ViewCount="112" Body="&lt;p&gt;I use Movavi for screen recording and after recording it's about 7 min video of the tutorial. I played in VLC media player it's fine perfectly matched audio and video. (Audio and the video track is same and has not been manipulated — captured from Movavi Software). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;And for editing, I create a new project in Adobe Premiere Pro, and when I import my clip to timeline I can see that the starting point and ending point of that video and audio clip are the same. But when I play that clip Video is delayed why is that? And when I play at last around 5-sec track it's fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can you guys assist me what's the problem? I tried many creating many new projects to start from default but no progress. I guess I must have messed something up, Couldn't figure out what is that.&lt;/p&gt;&#xA;" OwnerUserId="29833" LastEditorUserId="18155" LastEditDate="2020-05-21T01:36:54.757" LastActivityDate="2024-03-09T09:01:20.110" Title="Audio and video track doesn't match in Premier pro" Tags="|premiere|video-editor|adobe|production|video-production|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30295" PostTypeId="1" CreationDate="2020-05-14T23:45:03.907" Score="1" ViewCount="116" Body="&lt;p&gt;I want to produce a virtual choir recording of an amateur choir. I want to give 80-120 members of the choir an accompaniment/click track of some kind. They will record themselves, on their mobile phones, singing along to the accompaniment track. The accompaniment track will play on a second device (say, a laptop), via headphones or ear buds. The send their recordings to me, and I merge them.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I synchronise the resulting 80-120 amateur-captured recordings, in an automated way that scales to 120 recordings, with a low budget? What sync aid do I put in the accompaniment track? What do the members need to do as they record themselves? What do I need to do in post-production to accomplish the sync and merge the audio?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am quite comfortable scripting a tool like &lt;a href=&quot;https://ffmpeg.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; or &lt;a href=&quot;https://www.audacityteam.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Audacity&lt;/a&gt; to align and merge the recordings. I can even write a &lt;a href=&quot;https://docs.python.org/3/library/mm.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Python program&lt;/a&gt; to read through the samples of an audio recording to detect the audio peak of a clapper, or &lt;a href=&quot;https://en.wikipedia.org/wiki/Dual-tone_multi-frequency_signaling&quot; rel=&quot;nofollow noreferrer&quot;&gt;DTMF&lt;/a&gt; tones. What I want to avoid is any task that I have to do manually for each of the contributed recordings. I fear that I won't be able to get through manual tasks 120 times.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I suspect that a challenge for this synchronisation task is that the contributed recordings will be done with a variety of devices, at a variety of resolutions and sample rates. The choir members need to record themselves. They are not sound engineers. They will make some mistakes in production. I am looking for a sync method which is robust in the face of this variation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I want to focus on audio merge at first. I expect that the contributed recordings will have video as well. Composing all those videos into a grid, maybe with attractive panning or video effects, is nice to have but not essential.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's assume for the sake of argument that the contributed videos will be 3-10 minutes long. It would be nice to stretch to 45 minutes, eventually, but not at first. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know how precise the sync needs to be. As a guess, I imagine a variability of at most 0.1 seconds might be enough. 1 second probably is not good enough. 0.001 seconds is probably more precise than we need.&lt;/p&gt;&#xA;" OwnerUserId="21887" LastActivityDate="2020-05-14T23:45:03.907" Title="How to automate sync of 80-120 audio clips recorded at home on mobile phones?" Tags="|ffmpeg|sync|audio-recording|mixing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30296" PostTypeId="2" ParentId="30295" CreationDate="2020-05-14T23:45:03.907" Score="1" Body="&lt;p&gt;At the start of the accompaniment track, about 15 seconds before the music starts, record a clap, or other loud but brief sound. Have your choir members record this clap sound from the accompaniment track onto their contributed recording, but not record the rest of the accompaniment. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can do this by having the singers put on their headphones, but &lt;em&gt;unplug&lt;/em&gt; the jack from the playback computer.  They start recording on their phone, then start playing back the accompaniment track. The sound of the clap will be played out loud, and captured on their recording, because the headphones are unplugged. Immediate after the clap, the singer plugs in their headphones. This stops any more of the accompaniment from being audible on the recording. (Important detail: experiment with how much time you need to leave between the clap and the start of the accompaniment, so that singers can plug in their headphones and get ready to sing.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When the singers finish the piece, they stop recording, and send you their recordings. You need some system for naming the audio files, and tracking the identity and vocal part of each singer. (The details of this tracking are not germane to the sync question.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make a copy of the first few seconds of each contributed recording in .WAV format. Write a Python program to detect when the clap occurs relative to the start of a recording. Do this by reading the value of each audio sample of the .WAV file, and identifying the sample with the largest value. This is the moment of loudest sound. Convert the position of this largest value into an offset of seconds from the start of that recording. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now, merge the recordings, applying an offset to each so that the clap occurs at the same moment for all all recordings. The recordings should now be in sync. Mix the recordings to taste, and save the mixed recording. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;[Note: this is a speculative answer, based on reading &lt;a href=&quot;https://jedscott.com/virtual-choir/&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;em&gt;Virtual Choir&lt;/em&gt; by Jed Scott&lt;/a&gt;, and &lt;a href=&quot;https://docs.google.com/document/d/1vmD5IaNOla4M3ExGiyAjL86SIifv0u-YUJewakebMCE/edit?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;em&gt;CB Multitrack Editing 101&lt;/em&gt; by Christopher Bill&lt;/a&gt;. Most of the virtual choir instructions I found on the web did not ask the contributors to record any sync moment at all. I guess they just have a human align all the parts by ear.]&lt;/p&gt;&#xA;" OwnerUserId="21887" LastActivityDate="2020-05-14T23:45:03.907" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30297" PostTypeId="1" AcceptedAnswerId="30300" CreationDate="2020-05-15T04:08:08.103" Score="0" ViewCount="44" Body="&lt;p&gt;I am a beginner in &lt;code&gt;After Effects&lt;/code&gt;. I came to know the &lt;code&gt;TrkMat&lt;/code&gt; - &lt;code&gt;Alpha Inverted Matte &quot;Text&quot;&lt;/code&gt; option to make the text transparent within a shape like the below image.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/w6w75.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/w6w75.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But when I move the text outside of the shape, it will stay as transparent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Is there any way to make the text non-transparent when moving out of the shape like the below image?&lt;/strong&gt; &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SMumc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SMumc.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;So that when an animation occurs, the text will be non-transparent at first and the portion going inside the shape will become transparent immediately&lt;/strong&gt;. Please help me to know if I can do this. I couldn't find any solution from the internet.&lt;/p&gt;&#xA;" OwnerUserId="29838" LastActivityDate="2020-05-16T02:39:18.217" Title="Is there any way to make text transparent when it is in a shape and make non-transparent when it is outside the shape?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30298" PostTypeId="1" CreationDate="2020-05-15T05:02:13.720" Score="0" ViewCount="1138" Body="&lt;p&gt;I have a 3D video showing curved playback at the edges when playing it a on a flat screen. I'm trying to convert it to 2D using FFMPEG with the help of &lt;strong&gt;Stereo3d&lt;/strong&gt; filter. By applying the filter to FFPLAY, the video is played back exactly of what is expected off the filter, i.e the curves at edges are gone and become plane. Here is command code for playing:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffplay &quot;in.mp4&quot; -vf stereo3d=sbsl:ml&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Encoding the video with same filter using different presets for libx264 or h264_qsv encoder, produced a video with same curved edges!!! Just like the stereo3d filter acts as a &lt;strong&gt;crop&lt;/strong&gt; filter cropping the video correctly, resizing and adjusting aspect ratio, but didn't transform curved edges to plane one. Command code for encoding is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;in.mp4&quot; -vf stereo3d=sbsl:ml -metadata:s:v:0 stereo_mode=&quot;mono&quot; -c:v h264_qsv -preset veryslow &quot;2D.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Any idea how to get this done correctly with FFMPEG package for Win10-64bit? or perhaps with another tool. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Edit: &#xA;As about my question for FFplay output, it was a mistake!!! due to the wide size of the output, my display didn't show video edges and tricked me :) When I toggled FFplay to full screen, the output was same as encoding process output. &lt;/p&gt;&#xA;" OwnerUserId="29839" LastEditorUserId="29839" LastEditDate="2020-05-18T06:42:39.790" LastActivityDate="2024-02-10T15:00:45.087" Title="Playing a 3D video with ffplay and Stereo3d filter, produces different playback than ffmpeg encoded version with same filter" Tags="|ffmpeg|3d|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30300" PostTypeId="2" ParentId="30297" CreationDate="2020-05-15T07:10:17.230" Score="1" Body="&lt;p&gt;It's harder to do than it should be, I guess because AE is layer-based rather than node-based like Fusion etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You're going to have to make a copy of both of your layers, parent each copy to the original layer – so you only have to move one of each – and arrange them so that your layer stack looks like&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;text&#xA;solid&#xA;solid&#xA;text&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(or vice versa). Now make the bottom solid a track matte for the text layer, using alpha-inverted, so that the text is only visible where the solid &lt;em&gt;isn't&lt;/em&gt;, and make the top text the track matte for the top solid, once again using alpha -inverted, so that it punches a hole in the top solid layer. The top solid will form the left hand part of the design and the bottom text the right side.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also use just the original layers and have one of them use difference mode, pre-comp them both and then use a extract effect to turn the black parts into transparency, but you'll then have to do the animating in a separate comp, which can make it harder to work with.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is also the &lt;strong&gt;Set Matte&lt;/strong&gt; effect. A lot of people struggle with this effect, it's a lot less intuitive than the slightly more complicated solutions above, so you'll have to do some research. A good explainer video &lt;a href=&quot;https://www.youtube.com/watch?v=Qqk7IAPqsQ0&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-05-16T02:39:18.217" LastActivityDate="2020-05-16T02:39:18.217" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30302" PostTypeId="2" ParentId="30277" CreationDate="2020-05-15T07:24:14.327" Score="0" Body="&lt;p&gt;That script uses the variable &lt;code&gt;shrink&lt;/code&gt;, which paradoxically increases with time. Just make it decrease with time, e.g. by replacing the first line with these two:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var endTime =  123; //how long you want it to take, in seconds&#xA;shrink = endTime - time;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Or&lt;/strong&gt; make the radius the product of the time and a constant, rather than dividing the radius by time, by replacing the first &lt;em&gt;two&lt;/em&gt; lines with these:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;shrink= time;&#xA;radius = 100 * time; //this will grow 100 pixels every second, adjust to suit&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Or&lt;/strong&gt; parent the images to a null, rotate it and scale it up. Then to counter the rotation and scale of the null on each image use this expression for rotation&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;0 - parent.transform.rotation&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;and for scale:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;100 / parent.scale&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-05-18T03:43:12.563" LastActivityDate="2020-05-18T03:43:12.563" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30304" PostTypeId="2" ParentId="30241" CreationDate="2020-05-15T07:46:11.013" Score="1" Body="&lt;p&gt;Resolve supports scripting with Python, though you’ll need to write your own script. Fusion, included with Resolve, supports scripting with both Python and Lua. There aren’t really templates, &lt;em&gt;per se&lt;/em&gt;, but you could probably hack something together by saving a fusion composition as your template and driving the file selection with scripts. I don’t think the render queue is very well supported by the scripting API though, there’s a steep learning curve, and not a lot of documentation.  If you’re just bookending a list of trimmed interviews with static, boilerplate intro/outro, FFMPEG would be more direct.  But yes, it would be possible.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;edit&lt;/em&gt; Feb 2010&lt;/p&gt;&#xA;&lt;p&gt;Resolve 17 Beta has added some features which make this process easier, including the ability to execute scripts on render completion, and Fusion Effects templates for the Edit page.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-02-16T03:59:35.117" LastActivityDate="2021-02-16T03:59:35.117" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30305" PostTypeId="1" AcceptedAnswerId="30348" CreationDate="2020-05-15T09:23:18.040" Score="3" ViewCount="1574" Body="&lt;p&gt;I need to draw a box that grows in size horizontally over a video (scaling its width as time goes by)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Since drawbox does not support the 't' (as in time) variable, I'm at a loss here. I've seen some solutions using overlay, but they are fixed width and are rather used to move the box around.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What's the workaround here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;&#xA;This is where I got trying to use drawbox and scale:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i c81e728d9d4c2f636f067f89cc14862c.mp4\&#xA;  -filter_complex &quot;\&#xA;[0:v]drawbox=0:0:20:20,scale=eval=frame:w='if(gte(t*20,600),600,t*20)':h=20[vb];&#xA; [0:v][vb]overlay=x=80:y=350&quot; a.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;With this I get an error of:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_scale_1 @ 0x5596b5c61e40] Error when evaluating the expression 'if(gte(t*20,600),600,t*20)'.&#xA;Maybe the expression for out_w:'if(gte(t*20,600),600,t*20)' or for out_h:'20' is self-referencing.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Now, if I set the width to a fixed value, it runs, but then there's the problem that the overlay contains the whole video itself as it is the input of the drawbox filter. I'm not sure how to draw the box and scale it separately from the source video.&lt;/p&gt;&#xA;" OwnerUserId="1727" LastEditorUserId="1727" LastEditDate="2020-05-15T23:47:36.050" LastActivityDate="2021-02-15T10:00:20.060" Title="ffmpeg - Draw a box and scale its size with time" Tags="|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30307" PostTypeId="1" CreationDate="2020-05-16T01:23:49.230" Score="0" ViewCount="121" Body="&lt;p&gt;Ok Im trying to emulate light path effects in aftereffects like this at this point (the weapon swing): &lt;a href=&quot;https://youtu.be/6gX-dCaLCo0?t=66&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://youtu.be/6gX-dCaLCo0?t=66&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I saw this tutorial, however it only works on windows: &lt;a href=&quot;https://youtu.be/HxyGDekCGEs&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://youtu.be/HxyGDekCGEs&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I create the light glow/trail effect here in AE?&lt;/p&gt;&#xA;" OwnerUserId="26636" OwnerDisplayName="skyguy" LastEditorUserId="1950" LastEditDate="2020-05-18T07:01:05.930" LastActivityDate="2020-05-18T07:02:23.430" Title="How to get light swish/trail effect in aftereffects?" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30308" PostTypeId="1" AcceptedAnswerId="30322" CreationDate="2020-05-16T15:55:37.560" Score="0" ViewCount="3579" Body="&lt;p&gt;In a Shape Layer I have managed to build myself the following shape, which is basically a circle and a rectangle:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TTAzO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TTAzO.png&quot; alt=&quot;after effects&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wish to fill that shape with &lt;code&gt;folk-attern.png&lt;/code&gt; (repeating) so that it covers the whole thing. Is that doable?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't see an option that would allow me to fill the shape with an image!&lt;/p&gt;&#xA;" OwnerUserId="18224" LastActivityDate="2020-05-18T06:56:03.567" Title="Fill a shape layer with a pattern (repeating image) in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30313" PostTypeId="1" AcceptedAnswerId="30472" CreationDate="2020-05-17T02:36:56.517" Score="0" ViewCount="744" Body="&lt;p&gt;The title explains a lot. Still, I wanted to ask in order to use &lt;/p&gt;&#xA;" OwnerUserId="29862" LastActivityDate="2020-06-04T08:33:54.240" Title="Do I need to configure CUDA in my graphics card for using CUDA support in Pinnacle studio?" Tags="|software-recommendation|pinnacle|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30314" PostTypeId="2" ParentId="22240" CreationDate="2020-05-17T06:13:13.673" Score="0" Body="&lt;p&gt;A friend of mine had the same problem and the only thing that resolved it for him was using &lt;strong&gt;lossless&lt;/strong&gt; for the output module render settings. Then after the render, to get the AVI file size down, he used a third party program to apply some lossy compression to it.&lt;/p&gt;&#xA;" OwnerUserId="29863" LastActivityDate="2020-05-17T06:13:13.673" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30315" PostTypeId="1" CreationDate="2020-05-17T12:25:24.143" Score="0" ViewCount="216" Body="&lt;p&gt;I have a range of mono audio samples and have worked out how to play them at specific time offsets but would like to give some indication of 'where the sound is coming from' I have the x and y centers of each sound source in the frame, is it sufficient to use a slight bias in the pan filter? Or is some element of delay in one channel needed too?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My best guess is passing each of the samples through this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;[mono0]pan=stereo|c0=c0|c1=c0,stereotools=balance_out={panpos}[stereo0]&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;where &lt;code&gt;{panpos}&lt;/code&gt; is a value -1 = 1 representing the x position.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;and them later amerge over them all.&lt;/p&gt;&#xA;" OwnerUserId="29425" LastEditorUserId="29425" LastEditDate="2020-05-17T13:18:41.227" LastActivityDate="2020-05-19T17:54:54.230" Title="With ffmpeg how do I imply spatial position when mixing mono to stereo" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30319" PostTypeId="1" CreationDate="2020-05-17T17:38:33.093" Score="1" ViewCount="58" Body="&lt;p&gt;I have an .m4v movie with two subtitles tracks. When importing the movie into DaVinci Resolve 16, it only shows Video and Audio - no subs. &#xA;Please advise, thanks.&lt;/p&gt;&#xA;" OwnerUserId="29207" LastActivityDate="2020-05-17T17:38:33.093" Title="DaVinci Resolve doesn't load subtitles for M4V" Tags="|davinci-resolve|subtitles|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30321" PostTypeId="1" CreationDate="2020-05-18T05:07:16.913" Score="1" ViewCount="13" Body="&lt;p&gt;I saw that Insta360 sample video linked below can be viewed as a full panorama in the google drive preview, but when I download the video and play it on VLC or any other media player, it does not look the same as in the google drive preview.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://drive.google.com/file/d/1rV-X9kHn9n3ueGzHIHOSy046mEsV1cO8/edit&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1rV-X9kHn9n3ueGzHIHOSy046mEsV1cO8/edit&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way I can easily transform the video files to create full panorama views as seen in the google drive video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you so much for the help!&lt;/p&gt;&#xA;" OwnerUserId="29881" LastActivityDate="2020-05-18T05:07:16.913" Title="Panorama Video Transformation Question" Tags="|360video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30322" PostTypeId="2" ParentId="30308" CreationDate="2020-05-18T06:56:03.567" Score="1" Body="&lt;p&gt;Shape layers don't have the ability to use a bitmapped fill. What you need to do is use the shape layer as a matte for the fill pattern.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To make a repeating pattern from your image, bring it into the comp as an image layer. Now apply the CC RepeTile effect (it's an included effect with AE in the Stylize folder).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ht25o.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ht25o.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Increase the numbers in the &lt;strong&gt;expand right, expand lef, expand up,&lt;/strong&gt; and &lt;strong&gt;expand down&lt;/strong&gt; sliders until the pattern fills the space you want it to occupy. You don't have to worry if the original layer is too small, this effect will increase the bounds of the layer beyond its original size.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Make sure the image layer is below your shape layer and set its matte to alpha matte &quot;Shape Layer 1&quot; (or whatever your shape layer is called). If you can't see the matte column hit &lt;kbd&gt;f4&lt;/kbd&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZDl5b.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZDl5b.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want the pattern to transform with the shape layer, set it as the parent of the fill layer (or vice versa), so that when you move, scale, or rotate one, the other will follow.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-05-18T06:56:03.567" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30323" PostTypeId="2" ParentId="30307" CreationDate="2020-05-18T07:02:23.430" Score="2" Body="&lt;p&gt;One option without using any 3rd party plugins is to track the motion of the object you want to leave a trail, apply that motion to a shape layer, then apply an echo effect to it. Additional effects like glow, and motion blur (all native effects), and playing with transfer modes and opacity will help sell it.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-05-18T07:02:23.430" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30326" PostTypeId="1" AcceptedAnswerId="30327" CreationDate="2020-05-18T11:45:46.093" Score="3" ViewCount="27" Body="&lt;p&gt;I'm planning on shooting a short film in about 2 weeks with my Nikon d5300. Since its aAutofocus is unusable for video (it's great for photos, but too slow to be used for video in live view), I decided to manually focus. There will be many close-up shots (i.e. the actor's face, maybe a bit of the shoulders) with a shallow depth of field (up to f/1.8, 35mm). Often, the distance to the subject will vary throughout the shot as there will be camera movement.&lt;/p&gt;&#xA;&lt;p&gt;So I figured I need to practice manual focussing. How? Do I simply take an object, record a video, move the camera and try to keep in in focus? Do you have any other tips?&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I still did not get to shoot the short film as planning didn't go as expected and then, I had a lot of stress with school. However, the answers so far are great in that they explain how MF is usually done on a higher budget. I still however miss how I can &lt;em&gt;practice&lt;/em&gt; focussing manually.&lt;/p&gt;&#xA;" OwnerUserId="29562" LastEditorUserId="29562" LastEditDate="2020-07-27T17:58:44.327" LastActivityDate="2020-07-27T17:58:44.327" Title="Practice Manual Focussing" Tags="|filming|nikon|focus|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30327" PostTypeId="2" ParentId="30326" CreationDate="2020-05-18T12:45:44.817" Score="4" Body="&lt;p&gt;Ever see the credit for &quot;focus puller&quot; in a film's credits? That's a single person's job, just to keep the camera focus where it should be on a moving shot (or even for changing the focus point at the right time in an otherwise static shot).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Usually the shot would be blocked out before hand, and they would work out exactly where the object of focus is going to be throughout the shot - they know in advance exactly where the focus needs to be at what time, and that person will make those focus adjustments as the shot is filmed, while other independent operators are moving, zooming, tracking, etc the camera. If your camera has the ability for the focus to be remote controlled via a pre-programmed sequence, that is also an option (usually you would remote control the camera movement as well, so it is all in sync).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Trying to manually track the focus while you're also operating the rest of the camera will be difficult to achieve accurately. I would consider breaking up your shots if possible, and cutting between more static shots. Otherwise just rehearse the shots as much as you can - it's not that it can't be done, but there's a reason films have an independent person working on just that task.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-05-18T12:45:44.817" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30329" PostTypeId="2" ParentId="30194" CreationDate="2020-05-19T11:54:17.200" Score="1" Body="&lt;p&gt;Answering my question with a no extra cost solution using the Noise cancellation headset I had.&lt;/p&gt;&#xA;&lt;p&gt;Using any Bluetooth headset (even supporting BT 5.0) like &lt;a href=&quot;https://www.amazon.in/dp/B07N1V83HP/ref=cm_sw_r_other_apa_i_.p8WEb9DJ6EVN&quot; rel=&quot;nofollow noreferrer&quot;&gt;Crossbeats&lt;/a&gt;&#xA;and recording with stock camera app or with &lt;a href=&quot;https://play.google.com/store/apps/details?id=net.sourceforge.opencamera&quot; rel=&quot;nofollow noreferrer&quot;&gt;Open Camera&lt;/a&gt; with audio source set to external doesn't work.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h1&gt;Solution&lt;/h1&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;I had a &lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B005LISQ0W&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Bose BT2 Bluetooth headset&lt;/a&gt;, which I haven't used in the last 7 years and surprisingly charged up and gives me about an hour of usage time which is more than enough. I wanted to use this to improve the quality of recording since it has excellent noise cancellation. You may as well pick up any recent BT headsets of your choice and of recent vintage. Profiles supported by Bose headset are&#xA;&lt;code&gt;HSP, HFP, A2DP - SNK, AVRCP&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Download &lt;a href=&quot;https://play.google.com/store/apps/details?id=com.codococo.monomono&quot; rel=&quot;nofollow noreferrer&quot;&gt;Bluetooth Mono Router&lt;/a&gt;. Blogs and YouTube videos recommend &lt;a href=&quot;https://play.google.com/store/apps/details?id=com.bedoig.BTmono&quot; rel=&quot;nofollow noreferrer&quot;&gt;BTmono&lt;/a&gt; but it hasn't been updated for Android 10 and won't work. Both these apps have the same functionality - they let you play BT audio to those old headsets which only support voice calls and not media. &lt;em&gt;I am not clear as to how this let's you overcome the limitations of recording but it works&lt;/em&gt; (someone here may have an explanation) . You can use either stock camera app or Open Camera (audio as external in settings)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In case you can't record, activate developer options and from Bluetooth settings try &lt;code&gt;AVRCP 1.3 and SBC codec&lt;/code&gt; combination. These seem promising. In my case I used default&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Permit me  a little rant about One Plus tech support with interactions over several mails. YMMV. Documenting it just in case it helps others.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;They do not respond when you ask them how to record using Bluetooth.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Using wired Lavalier solutions need an extra adapter in some cases and even then no guarantees. Reason : &lt;strong&gt;Non standard implementation&lt;/strong&gt; of USB C to audio adapter (Shades of &lt;a href=&quot;https://arstechnica.com/gadgets/2015/11/oneplus-admits-that-its-selling-dodgy-usb-type-c-cables-and-adapters/&quot; rel=&quot;nofollow noreferrer&quot;&gt;wrong resistance used in early models&lt;/a&gt;)&#xA;. They claim on mail that TRRS is &lt;em&gt;not supported&lt;/em&gt; since it is a &lt;em&gt;third party&lt;/em&gt; affair and when confronted with standards do not reply&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="29714" LastEditorUserId="-1" LastEditDate="2020-06-17T09:53:03.607" LastActivityDate="2020-05-19T12:35:36.637" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30330" PostTypeId="1" CreationDate="2020-05-19T16:14:23.733" Score="0" ViewCount="74" Body="&lt;p&gt;I am new to making videos, and I've started making a video animation library for Node JS. Basically, I have an output video which I update really often, and I need a player to quickly watch the video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am using an old Windows 7 computer. Most videos I'm playing are less than 5 seconds long and are 24fps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I need a video player that can play most video formats without taking much CPU, with the ability quickly refresh to show latest mp4 file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Chrome doesnt work. It is too slow to reload a chrome tab, and sometimes it still shows the old version of a video after I change the file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Windows media player doesn't work because it is too slow, no way to quickly refresh, and has trouble playing videos with partially transparent pixels.&lt;/p&gt;&#xA;" OwnerUserId="29902" LastActivityDate="2020-05-19T16:14:23.733" Title="Video player that can quickly refresh videos and supports many formats" Tags="|video|animation|video-player|video-production|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30331" PostTypeId="1" CreationDate="2020-05-19T16:42:44.763" Score="3" ViewCount="1215" Body="&lt;p&gt;How can I replace an already trimmed clip with a new one so that the trim start and end positions are preserved?&lt;/p&gt;&#xA;" OwnerUserId="29903" LastActivityDate="2024-01-31T13:09:41.113" Title="How to replace clip preserving trimming in Final Cut Pro X?" Tags="|final-cut-pro-x|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30332" PostTypeId="2" ParentId="30331" CreationDate="2020-05-19T16:42:44.763" Score="0" Body="&lt;ul&gt;&#xA;&lt;li&gt;Open the existing clip.&lt;/li&gt;&#xA;&lt;li&gt;Replace the inner clip (the start of it will be in a gray area which represents the trimming).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Warning: Audio properties such as Pan are lost during the process.&lt;/p&gt;&#xA;" OwnerUserId="29903" LastEditorUserId="18155" LastEditDate="2020-05-21T01:40:40.537" LastActivityDate="2020-05-21T01:40:40.537" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30333" PostTypeId="2" ParentId="30315" CreationDate="2020-05-19T17:54:54.230" Score="1" Body="&lt;p&gt;This is something that we can't really give an absolute answer because we don't have your inputs and what is &quot;best&quot; will be fairly subjective.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could just try using the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#pan&quot; rel=&quot;nofollow noreferrer&quot;&gt;pan&lt;/a&gt; filter with a bigger gain factor for one side. Something like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;pan=stereo|c0=0.8*c0|0.2*c1=c0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Depending on your inputs adding &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#adelay&quot; rel=&quot;nofollow noreferrer&quot;&gt;adelay&lt;/a&gt; may make it sound less flat:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;pan=stereo|c0=0.8*c0|c1=0.2*c0,adelay=0|10&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;You can use &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#stereotools&quot; rel=&quot;nofollow noreferrer&quot;&gt;stereotools&lt;/a&gt; filter if you prefer as it has many options (I completely forgot about this filter...can't keep up).&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-05-19T17:54:54.230" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30334" PostTypeId="1" CreationDate="2020-05-19T19:26:34.453" Score="0" ViewCount="378" Body="&lt;p&gt;Having an issue with the chromakey portion not working after the scale. Any ideas?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffmpeg -i background1080.png -i file.mp4 -filter_complex &quot;[1]scale=1612:906[inner];[0][inner]overlay=154:170; [1:v]colorkey=0x000000:0.02:0.03[ckout];[0:v][ckout]overlay[out]&quot; -map &quot;[out]&quot; -map 1:a -c:a copy -y -b:v 2000k -b:a 192k -vcodec libx264 -x264-params keyint=20:scenecut=0 -acodec copy file_FINAL.mp4&lt;/p&gt;&#xA;" OwnerUserId="29386" LastActivityDate="2024-02-04T19:04:25.550" Title="FFMPEG - Crop and Chromakey not working together?" Tags="|ffmpeg|chromakey|scale|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30335" PostTypeId="1" CreationDate="2020-05-19T20:32:51.293" Score="1" ViewCount="3225" Body="&lt;p&gt;I'm doing some ffmpeg (4.1.3) transcodings by extracting specific frames from the source, in this case, the source can be either a movie or an image sequence, all working fine with the following command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source.mov -vf select='eq(n\,2)+eq(n\,80)+eq(n\,150)' -vsync 0 -frame_pts 1 frames_%04d.jpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;In the case of a source image sequence, I only need to specify the start number (since my frames usually start in 100 or further):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -start_number 94 -i source.%04d.png -vf select='eq(n\,2)+eq(n\,80)+eq(n\,150)' -vsync 0 -frame_pts 1 frames_%04d.jpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But the issue is that the frame numbers that I get match the exact numbers that I asked for, which are those required from the select filter and start at 0, in the example of the image sequence, you can see that it actually starts at frame 94, and technically the movies replicate the same, their first frame is the same as 94 in image sequence, and i will love to have a way to get the output numbers be offset by a certain number so they match the corresponding &quot;source&quot; frame.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I already tried adding a &lt;strong&gt;-start_number&lt;/strong&gt; at the end before the output, which works with regular transcodes, but it seems not to work in combination of &lt;strong&gt;-frame_pts&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I will love to be able to do something like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -start_number 94 -i source.%04d.png -vf select='eq(n\,2)+eq(n\,80)+eq(n\,150)' -vsync 0 -start_number 94 -frame_pts 1 frames_%04d.jpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And get frame 96, 174 and 244 instead of 2, 80 and 150.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to do that ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advanced!&lt;/p&gt;&#xA;" OwnerUserId="29904" LastActivityDate="2024-02-04T21:00:19.087" Title="FFMPEG: is it possible to offset output frames from a selection of specific frames?" Tags="|ffmpeg|encoding|transcoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30336" PostTypeId="2" ParentId="30331" CreationDate="2020-05-20T01:41:42.687" Score="0" Body="&lt;p&gt;In the Browser select the clip you want to use. Then go to the position this new clip you want to start. Then hit “I” on the keyboard to mark the in point, don’t mind the end point, the remaining clip must be long enough though. Then get your mouse into the yellow highlighted area. Drag it over the clip you want replace in your timeline and hover for a moment, until your mouse show the plus symbol. Now let go, a menu will show up. Choose “Replace from Start”. The new clip will replace the old in the timeline but the cut points from the timeline won’t change. &lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-05-20T01:41:42.687" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30337" PostTypeId="2" ParentId="30326" CreationDate="2020-05-20T02:43:41.237" Score="1" Body="&lt;p&gt;Don't try to judge critical focus from the viewfinder on the back of the camera. They are usually far too low resolution to be able to tell if things are pin-sharp or not (even with a loupe device). You'll need an external monitor, the higher resolution the better. You can use focus assist if your camera has it, which adds a highlight colour to sharp edges. This is useful for run-n-gun situations but again for critical focus relying on that alone will often result in disappointment.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-05-20T02:43:41.237" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30338" PostTypeId="2" ParentId="30335" CreationDate="2020-05-20T07:43:24.987" Score="0" Body="&lt;p&gt;&lt;code&gt;start_number&lt;/code&gt; is ignored with frame_pts, so a workaround is needed. A generic option &lt;code&gt;output_ts_offset&lt;/code&gt; is available but it takes timestamp rather than frame number, so we first set the framerate of the images input as 1.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -start_number 94 -framerate 1 -i source.%04d.png -vf select='eq(n\,2)+eq(n\,80)+eq(n\,150)' -vsync 0 -output_ts_offset 94 -frame_pts 1 frames_%04d.jpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-05-20T07:43:24.987" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30339" PostTypeId="1" AcceptedAnswerId="30340" CreationDate="2020-05-20T08:25:28.780" Score="0" ViewCount="116" Body="&lt;p&gt;Thanks in Advance,&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can someone help with explaining what this Icon mean couldn't find any reference, &#xA;cheers&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fftn6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fftn6.png&quot; alt=&quot;Icon&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25599" LastActivityDate="2020-05-20T17:17:31.367" Title="After Effects What does this Icon mean" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30340" PostTypeId="2" ParentId="30339" CreationDate="2020-05-20T17:17:31.367" Score="1" Body="&lt;p&gt;It's called a slip-edit (see Adobe's explanation &lt;a href=&quot;https://helpx.adobe.com/uk/after-effects/using/selecting-arranging-layers.html#trim_extend_or_slip_edit_a_layer&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;).&#xA;If you have the Pan-Behind tool selected, when you see this icon over a clip, it means you can drag the clip left or right in time, and the start and end points of the clip will change, but the position and duration in your timeline will stay in the same place.  It's just like doing a &lt;a href=&quot;https://www.premiumbeat.com/blog/premiere-pro-slip-slide-editing/&quot; rel=&quot;nofollow noreferrer&quot;&gt;slip edit in Premiere&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-05-20T17:17:31.367" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30341" PostTypeId="1" AcceptedAnswerId="30343" CreationDate="2020-05-20T19:56:22.327" Score="2" ViewCount="24" Body="&lt;p&gt;I have a function working very well by getting the frames from the filename.&lt;br&gt;&#xA;But it takes only the last number (frame) from the file name.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Filename:&lt;br&gt;&#xA;1200,&lt;strong&gt;&lt;em&gt;4500&lt;/em&gt;&lt;/strong&gt;.avi&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The code made to get the last number (&lt;strong&gt;&lt;em&gt;frames&lt;/em&gt;&lt;/strong&gt;), and it can import multiple avi files from specific folder.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the code:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;def insert_types(out, dir):&#xA;    for root, dirs, files in walk(dir):&#xA;        for f in files:&#xA;            match = search(r&quot;(\d*)\.avi$&quot;, f)&#xA;            if match:&#xA;                startframe = match.group(1)&#xA;                out = InsertSign(out, join(root, f), int(startframe))&#xA;    return out&#xA;&#xA;out = jpop.mkv&#xA;out = insert_types(out, r&quot;D:\path\avi_folder&quot;)&#xA;return out&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;InsertSign()&lt;/code&gt; function have an option to put the start &amp;amp; end frame of the file (if I'm doing it manually).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;An example:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;video = jpop.mkv&#xA;sign = 1200,4500.avi&#xA;startframe = 1200&#xA;endframe = 4500&#xA;final = InsertSign(video,sign, startframe,endframe)&#xA;return final&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried many times and to find out how to change the insert_types function to take the first &amp;amp; last number (1200, 4500) from the file name (&lt;code&gt;1200,4500.avi&lt;/code&gt;) at the same time ignoring the comma mark (&lt;strong&gt;&lt;code&gt;,&lt;/code&gt;&lt;/strong&gt;) which is in the file name.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to do it by myself but its beyond my means ^^&quot;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Hope someone can help me with that&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Regards.&lt;/p&gt;&#xA;" OwnerUserId="17792" LastEditorUserId="18155" LastEditDate="2020-05-21T09:44:28.510" LastActivityDate="2020-05-21T09:44:28.510" Title="How to use match group in Python to take a values and ignore comma mark" Tags="|video|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30343" PostTypeId="2" ParentId="30341" CreationDate="2020-05-21T00:39:59.270" Score="0" Body="&lt;p&gt;Instead of&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;            match = search(r&quot;(\d*)\.avi$&quot;, f)&#xA;            if match:&#xA;                startframe = match.group(1)&#xA;                out = InsertSign(out, join(root, f), int(startframe))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;            match = search(r&quot;(\d+),(\d+)\.avi$&quot;, f)&#xA;            if match:&#xA;                startframe = match.group(1)&#xA;                endframe = match.group(2)&#xA;                out = InsertSign(out, join(root, f), int(startframe), int(endframe))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2020-05-21T00:39:59.270" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30344" PostTypeId="1" CreationDate="2020-05-20T16:58:21.547" Score="0" ViewCount="929" Body="&lt;p&gt;So in the image below you see 4 &quot;frames&quot;. This is how I see this animation playing in my head.(sorry for quality). Basicly, what I wanna do is to animate one end of a line &lt;em&gt;sliding on the path&lt;/em&gt; of the circle. One end (let's call it B) will be moving on the circle, while the other end (A) will be stationary. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I kinda know how to change position of a point on a path(and thus animate it), but I don't know how to make it move &lt;em&gt;along some defined trajectory&lt;/em&gt; (or path; in this case the circle's arc). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, a quick small question: is it possible to import a file from Adobe Illustrator into After Effects such that AE recognises the shapes as paths(I mean the ones that &lt;em&gt;are&lt;/em&gt; paths in Illustrator). When I do the import, AE thinks those are just images, you know, general objects, not paths. I wanna do some geometry animation, so It'd be helpful I that kind of import would actually work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SLmwC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SLmwC.jpg&quot; alt=&quot;So here it is&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="Tim Solnze" LastActivityDate="2024-02-02T13:04:50.590" Title="Animating an end of a line along a path. (In After Effects)" Tags="|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30345" PostTypeId="1" CreationDate="2020-05-21T05:43:58.183" Score="0" ViewCount="3011" Body="&lt;p&gt;I'm trying to batch remux files to mp4, copying audio, video and subtitles streams. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;$file&quot; -map 0:a:m:language:por\? -map 0:a:m:language:eng\? -map 0:s:m:language:por\? -map 0:s:m:language:eng\? -map 0:v -c:v copy -c:s mov_text -c:a copy -movflags faststart -f mp4 &quot;${file%.*}&quot;-remux.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But I get lots of errors sometimes about timestamps and non-monotous DTS streams.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Searching online I found those 2 flags here:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-fflags &quot;+genpts&quot; -avoid_negative_ts &quot;make_zero&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But they don't fix my issue. What is the best way to fix this issues and make sure audio, subtitles and video are still in sync? Looking for something safe to apply to any input file in batch processing scripts, without re-encoding&lt;/p&gt;&#xA;" OwnerUserId="18048" LastActivityDate="2020-05-21T05:43:58.183" Title="Non-monotonous DTS in output stream... changing to 1 error" Tags="|ffmpeg|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="30346" PostTypeId="1" CreationDate="2020-05-21T05:45:38.450" Score="9" ViewCount="53243" Body="&lt;p&gt;I’m working on an amateur project, and for part of my project I’ll be using some old, really, really low-res film. I’ve used some free online tools (like deep-image.ai) to upscale low-res photos before, to great success. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I’m trying to find a similar tool for video, but all the tools I’ve come across are for enterprise or cost caboodle. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any free tool out there for AI image upscaling?&lt;/p&gt;&#xA;" OwnerUserId="29917" LastEditorUserId="18155" LastEditDate="2020-05-21T09:51:03.027" LastActivityDate="2022-04-29T23:40:13.053" Title="Is there any AI upscale tool for videos?" Tags="|compression|filming|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30347" PostTypeId="2" ParentId="27878" CreationDate="2020-05-21T06:33:47.707" Score="1" Body="&lt;p&gt;Use constraints to do this:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Select the parent (the hand), then shift + select the child (the sword). Warning, selection order matters.&lt;/li&gt;&#xA;&lt;li&gt;Rigging &amp;gt; Constraint &amp;gt; Parent Constraint &amp;gt; activate Maintain Offset if there's an offset between both pivot points.&lt;/li&gt;&#xA;&lt;li&gt;Set a translation keyframe (shift + w) and a rotation keyframe (shift + e) on the sword.&lt;/li&gt;&#xA;&lt;li&gt;By setting those keyframes, the sword now has a new attribute in the Channel Box, called Blend Parent 1. You can animate it to choose between unconstrained (value = 0) or constrained (value = 1) by the hand. If unconstrained, you have to set keyframes on the sword to place it inside the worldspace.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="21122" LastEditorUserId="674" LastEditDate="2022-02-10T17:45:36.180" LastActivityDate="2022-02-10T17:45:36.180" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30348" PostTypeId="2" ParentId="30305" CreationDate="2020-05-21T08:38:01.060" Score="1" Body="&lt;p&gt;Thanks to @Gyan comments I've been able to come up with this solution, in case somebody else is interested:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;color=c=red:size=1920x1080,&#xA;scale=eval=frame:w='if(gte(t*20,600),600,t*20)':h=20[cl];&#xA;[input][cl]overlay=x=0:y=0[finalOutput]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Just note that it is important that you download a current git version of ffmpeg because, from what I understood, previous ones do not support the 't' variable in the scale filter.&lt;/p&gt;&#xA;" OwnerUserId="1727" LastActivityDate="2020-05-21T08:38:01.060" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30349" PostTypeId="2" ParentId="22690" CreationDate="2020-05-21T14:09:58.643" Score="1" Body="&lt;p&gt;If the last file the camera recorded is corrupted, you may be able to recover it with Untrunc: &lt;a href=&quot;https://github.com/anthwlock/untrunc&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/anthwlock/untrunc&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27417" LastActivityDate="2020-05-21T14:09:58.643" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30350" PostTypeId="2" ParentId="18469" CreationDate="2020-05-21T14:48:58.223" Score="6" Body="&lt;p&gt;Using FFmpeg's command-line, this is totally possible. I do it to increase the speed of my videos by 10% (increasing both the audio AND video by 10%, without sounding like a chipmunk).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The command to increase your video's speed by 10% is:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;ffmpeg path&amp;gt; -i &amp;lt;origin video path&amp;gt; -vf &quot;setpts=(PTS-STARTPTS)/1.1&quot; -crf 18 -af atempo=1.1 &amp;lt;output video path&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Here's the exact command line that I use:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;C:\Program Files\ffmpeg-win64\bin\ffmpeg.exe&quot; -i &quot;G:\minecraft lets play.mp4&quot; -vf &quot;setpts=(PTS-STARTPTS)/1.1&quot; -crf 18 -af atempo=1.1 &quot;G:\minecraft lets play ffmpeg.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If you want to increase your video's speed by more, or less, then you just change the &quot;1.1&quot; at both lines to something else. &quot;1.1&quot; is 10%. &quot;1.5&quot; is 50%. &quot;3&quot; is 300%. &quot;10&quot; is 1000%.&lt;/p&gt;&#xA;" OwnerUserId="29919" LastEditorUserId="18155" LastEditDate="2020-05-24T07:15:53.640" LastActivityDate="2020-05-24T07:15:53.640" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30351" PostTypeId="1" CreationDate="2020-05-21T15:28:02.077" Score="0" ViewCount="21" Body="&lt;p&gt;When I Import from computer or download from camera into FCP program I am experiencing degration of the quality of film, and that includes analog, and digital 1080p down or up loads.  What am I doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Details, I am uploading old video footage from VHS which looks pretty good when uploading to computer, but loses quality when imported into FCP. I am also uploading digital footage at 1080p from my Sony camcorder. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both lose picture quality when loaded into FCP. When I up-load into FCP I always import at highest quality, no proxy quality. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;My computer is a Mac, Processor 2x3 Ghz Quad Core Intel Xeon Memory 4 GB 800 MHz DDR2 FB-DIMM Graphics ATI Radeon HD 5870 1024 MB. I am using Elgato to up-load VHS footage.&lt;/p&gt;&#xA;" OwnerUserId="29921" LastEditorUserId="674" LastEditDate="2020-05-31T13:48:02.197" LastActivityDate="2020-05-31T13:48:02.197" Title="Picture degration when importing into FCP" Tags="|video-quality|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30352" PostTypeId="1" AcceptedAnswerId="30613" CreationDate="2020-05-21T21:03:06.373" Score="0" ViewCount="212" Body="&lt;p&gt;Recently I started creating videos for work, by using OBS Studio to record my screen. Today I downloaded Kdenlive (I run a Windows machine), and followed &lt;a href=&quot;https://www.youtube.com/watch?v=7N3rXT_5f_I&quot; rel=&quot;nofollow noreferrer&quot;&gt;this tutorial&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Long story short, I am able to edit and render videos inside Kdenlive, I have also saved the project. However, when I try to find anything Kdenlive has produced, Windows cannot locate it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A specific example:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I open directory X from Kdenlive, for example so as to open a project or add a video. There, I see the project (.kdenlive) and the video (.mp4). Video is playable (right click =&gt; Open with VLC...)&lt;/li&gt;&#xA;&lt;li&gt;I navigate to and open the same directory from Windows. There is neither a .kdenlive project, nor a .mp4 video.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Even viewing the directory's Properties from Kdenlive and from Windows shows differences in size and file number. The same happens from e.g. GitBash (&lt;code&gt;ls&lt;/code&gt; and &lt;code&gt;du&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've also tried to move the .mp4 (accessing it from Kdenlive) to another directory, which is also a Git project. The Git GUI does not find it either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I could not find anything related in any forum (including this SE). My Kdenlive version is 20.04, and my Windows is set up to show hidden files and directories. Any help is appreciated, I can add images if needed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="29925" LastActivityDate="2020-06-18T14:06:30.017" Title="Windows not finding Kdenlive files" Tags="|windows|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30353" PostTypeId="1" CreationDate="2020-05-21T21:24:46.193" Score="0" ViewCount="186" Body="&lt;p&gt;I intend to get a transcoding setting to support all browsers at the same time including, chrome, firefox and safari.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently I am using following, yet this does not provide a valid video with Safari :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i ${f} -y -vcodec libx264 -acodec aac -preset faster videofile-new&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What would be the suggestion here for the configuration ?&lt;/p&gt;&#xA;" OwnerUserId="29683" LastEditorUserId="29683" LastEditDate="2020-05-22T15:37:18.583" LastActivityDate="2020-05-22T15:37:18.583" Title="Best ffmpeg configuration for universal video codec compatabiltiy across browsers" Tags="|ffmpeg|transcoding|libx264|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30354" PostTypeId="1" AcceptedAnswerId="30355" CreationDate="2020-05-21T21:49:35.403" Score="1" ViewCount="2184" Body="&lt;p&gt;I'm trying to convert a .ts file to an .mp4. I'm using the following ffmpeg command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i all.ts -c copy all.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This results in a noticeable loss in the fluidity of the video, which looks much more fluid in the original .ts format when viewed in VLC. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Output of &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpegts, from 'all.ts':&#xA;  Duration: 00:00:25.00, start: 235.000000, bitrate: 804 kb/s&#xA;  Program 16727&#xA;    Stream #0:0[0x22]: Audio: aac (LC) ([15][0][0][0] / 0x000F), 44100 Hz, stereo, fltp, 124 kb/s&#xA;    Stream #0:1[0x21]: Video: h264 (Main) ([27][0][0][0] / 0x001B), yuv420p(progressive), 960x540 [SAR 1:1 DAR 16:9], 25 fps, 25 t&#xA;br, 90k tbn, 50 tbc&#xA;File 'all.mp4' already exists. Overwrite ? [y/N] y&#xA;Output #0, mp4, to 'all.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf58.29.100&#xA;    Stream #0:0: Video: h264 (Main) (avc1 / 0x31637661), yuv420p(progressive), 960x540 [SAR 1:1 DAR 16:9], q=2-31, 25 fps, 25 tbr,&#xA; 90k tbn, 90k tbc&#xA;    Stream #0:1: Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 124 kb/s&#xA;Stream mapping:&#xA;  Stream #0:1 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:0 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[mpegts @ 0x7fabfe802a00] Invalid timestamps stream=1, pts=21153600, dts=21160800, size=1936&#xA;[mpegts @ 0x7fabfe802a00] Invalid timestamps stream=1, pts=21160800, dts=21164400, size=2827&#xA;[mp4 @ 0x7fabff005000] Invalid DTS: 10800 PTS: 3600 in output stream 0:0, replacing by guess&#xA;[mp4 @ 0x7fabff005000] Invalid DTS: 14400 PTS: 10800 in output stream 0:0, replacing by guess&#xA;...&#xA;frame=  625 fps=0.0 q=-1.0 Lsize=    2330kB time=00:00:24.98 bitrate= 764.0kbits/s speed= 614x&#xA;video:1908kB audio:398kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.070788%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;There's &lt;em&gt;lots&lt;/em&gt; of &lt;em&gt;Invalid timestamps&lt;/em&gt; and &lt;em&gt;Invalid DTS&lt;/em&gt; errors, but I'm not sure they're related to the problem.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've uploaded a small sample to demonstrate the error: &lt;a href=&quot;https://www.dropbox.com/s/meg6kmjng36fsqy/all.ts?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; is the original TS file, and &lt;a href=&quot;https://www.dropbox.com/s/jg76k0al7aiojr5/all.mp4?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; the not-so-fluid MP4 result.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea of how to fix this? I have noticed that the problem does not occur if I re-encode the video track with h264, but I'd really like to just remux as the original TS looks just fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="29927" LastActivityDate="2020-05-22T04:58:14.160" Title="Remuxing a TS file to MP4 results in a less fluid video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30355" PostTypeId="2" ParentId="30354" CreationDate="2020-05-22T04:58:14.160" Score="3" Body="&lt;p&gt;&lt;em&gt;There's lots of Invalid timestamps and Invalid DTS errors, but I'm not sure they're related to the problem.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They are, frames in video streams with B-frames are not encoded or stored in presentation order, so the presentation timestamps have to be correctly offset for fluid playback. In this TS sample, you have presentation timestamps earlier than decoding timestamps, which are invalid, and ffmpeg defaults to assigning the DTS as the new PTS.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Instead, use existing PTS as the reference.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -fflags +igndts -i all.ts -c copy all.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-05-22T04:58:14.160" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30356" PostTypeId="1" CreationDate="2020-05-22T06:06:04.160" Score="0" ViewCount="41" Body="&lt;p&gt;I want to create an animation of my painting in which it rotates and zooms into the center at the end. I want to position a tiny version of the painting at the center that, at the end of the video, has rotated and increased in size with the other copy such that it takes its place. I want to achieve this kind of &lt;a href=&quot;https://zoomquilt.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;effect&lt;/a&gt;, but in the span of 30 seconds. However, it is quite difficult to position the tiny version of the image at the center, and even harder to align its keyframes with the larger image's movements. How should I go about this? Here is a link to what the &lt;a href=&quot;https://www.facebook.com/spricestudio/photos/pcb.1162286620783793/1162286360783819/?type=3&amp;amp;theater&quot; rel=&quot;nofollow noreferrer&quot;&gt;picture looks like zoomed out&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/47aLb.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/47aLb.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ni8HG.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ni8HG.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29929" LastEditorUserId="18155" LastEditDate="2021-01-13T00:26:45.710" LastActivityDate="2021-01-13T00:26:45.710" Title="How do I create a rotating zooming animation in premiere that I can loop seamlessly upon exporting?" Tags="|premiere|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30357" PostTypeId="1" CreationDate="2020-05-22T06:30:36.453" Score="1" ViewCount="1019" Body="&lt;p&gt;I am trying to use ffmpeg to extract thumbnails from a partial dump of a MPEGTS, coming off a multicast network. The dump contains the video PID only, in MPEGTS format, but I am unable to get ffmpeg to recognize the HEVC, and I am looking for a command-line parameter to force it to decode it as HEVC.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is what I am trying to run, and which is not working. Using &quot;-f mpegts&quot; it tries to probe the codec and fails:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f mpegts -c:v:0 hevc -i dump.ts -vframes1 dump.jpg&#xA;ffmpeg version N-52628-g79e3c4dd74-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 8 (Debian 8.3.0-6)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gmp --enable-libgme --enable-gray --enable-libaom --enable-libfribidi --enable-libass --enable-libvmaf --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libdav1d --enable-libxvid --enable-libzvbi --enable-libzimg&#xA;  libavutil      56. 43.100 / 56. 43.100&#xA;  libavcodec     58. 82.100 / 58. 82.100&#xA;  libavformat    58. 42.102 / 58. 42.102&#xA;  libavdevice    58.  9.103 / 58.  9.103&#xA;  libavfilter     7. 80.100 /  7. 80.100&#xA;  libswscale      5.  6.101 /  5.  6.101&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;  libpostproc    55.  6.100 / 55.  6.100&#xA;[mpegts @ 0x6282180] probed stream 0 failed&#xA;[mpegts @ 0x6282180] Could not find codec parameters for stream 0 (Unknown: none): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, mpegts, from 'dump.ts':&#xA;  Duration: 00:00:02.37, start: 59946.297300, bitrate: 16213 kb/s&#xA;    Stream #0:0[0x65]: Unknown: none&#xA;Output #0, image2, to 'dump.jpg':&#xA;Output file #0 does not contain any stream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Using &quot;-f mpegtsraw&quot; it says codec unknown:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f mpegtsraw -c:v:0 hevc -i dump.ts -vframes1 dump.jpg&#xA;ffmpeg version N-52628-g79e3c4dd74-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 8 (Debian 8.3.0-6)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gmp --enable-libgme --enable-gray --enable-libaom --enable-libfribidi --enable-libass --enable-libvmaf --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libdav1d --enable-libxvid --enable-libzvbi --enable-libzimg&#xA;  libavutil      56. 43.100 / 56. 43.100&#xA;  libavcodec     58. 82.100 / 58. 82.100&#xA;  libavformat    58. 42.102 / 58. 42.102&#xA;  libavdevice    58.  9.103 / 58.  9.103&#xA;  libavfilter     7. 80.100 /  7. 80.100&#xA;  libswscale      5.  6.101 /  5.  6.101&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;  libpostproc    55.  6.100 / 55.  6.100&#xA;[mpegtsraw @ 0x6715180] Estimating duration from bitrate, this may be inaccurate&#xA;Input #0, mpegtsraw, from 'dump.ts':&#xA;  Duration: 00:00:02.38, start: 59946.153588, bitrate: 16146 kb/s&#xA;Codec 0x20000 is not in the full list.&#xA;    Stream #0:0[0x0]: Data: unknown_codec, 16146 kb/s&#xA;Output #0, image2, to 'dump.jpg':&#xA;Output file #0 does not contain any stream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29930" LastActivityDate="2020-05-22T06:30:36.453" Title="Forcing input video codec in ffmpeg for raw MPEGTS dump" Tags="|ffmpeg|file-formats|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30358" PostTypeId="2" ParentId="16217" CreationDate="2020-05-22T10:20:58.900" Score="1" Body="&lt;p&gt;If you're OK with formats requiring proprietary encoders, I suggest you check out &lt;a href=&quot;https://en.wikipedia.org/wiki/RealVideo&quot; rel=&quot;nofollow noreferrer&quot;&gt;RealVideo&lt;/a&gt;. I haven't been using this format for a while, but I remember 10 years ago I could compress DVD cartoons into &amp;lt; 500 MB RMVB files with very little quality loss, while XviD files of similar bitrate were extremely blocky.&lt;/p&gt;&#xA;&lt;p&gt;Another codec which sounds suitable at least theoretically is &lt;a href=&quot;https://en.wikipedia.org/wiki/QuickTime_Animation&quot; rel=&quot;nofollow noreferrer&quot;&gt;QuickTime RLE&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Surprisingly, although there appears to be &lt;a href=&quot;https://video.stackexchange.com/a/22310/17849&quot;&gt;modern research&lt;/a&gt; on cartoon-like video codecs, none of the efforts got past the &amp;quot;proof of concept&amp;quot; stage.&lt;/p&gt;&#xA;&lt;p&gt;I suppose your MATLAB animation will be similar to cartoons: few colors used, sharp borders between colors, only a small part of the frame actively changing, etc.&lt;/p&gt;&#xA;" OwnerUserId="17849" LastEditorUserId="17849" LastEditDate="2021-12-01T10:38:30.740" LastActivityDate="2021-12-01T10:38:30.740" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30360" PostTypeId="1" CreationDate="2020-05-22T11:46:57.923" Score="1" ViewCount="503" Body="&lt;p&gt;I'm looking for a program that can do multi-language export of video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let me give an example: I create video with text and I would like to easily add 4 different languages inside each text. The program would export video with that language. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Let's say :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Importing text in four different languages (for example the program is connected to an Excel file or whatever) &lt;/li&gt;&#xA;&lt;li&gt;Exporting four videos with that translated text. &lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Right now I have major problems because I need to save, then edit the whole video text for each different language, and then export. &lt;/p&gt;&#xA;" OwnerUserId="29935" LastEditorUserId="14523" LastEditDate="2020-05-22T23:01:16.607" LastActivityDate="2024-02-02T14:07:45.940" Title="Programs that help you export multi-language videos?" Tags="|after-effects|video-editor|editing|adobe|davinci-resolve|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30363" PostTypeId="2" ParentId="30360" CreationDate="2020-05-22T15:24:03.373" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://aescripts.com/templater/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Templater Rig&lt;/a&gt; can help with this. It's a plugin that connects the text in your After Effects project to a Google Sheet or other spreadsheet. Bear in mind that each language will have different read rates and sentence lengths for the same meaning on-screen, so swapping the translations is only the first step to making the videos look ok.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-05-22T15:24:03.373" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30364" PostTypeId="2" ParentId="30344" CreationDate="2020-05-22T16:04:49.033" Score="0" Body="&lt;p&gt;Importing stuff from Illustrator to AE is still a pain. &lt;a href=&quot;https://www.battleaxe.co/overlord&quot; rel=&quot;nofollow noreferrer&quot;&gt;Overlord&lt;/a&gt; is a good plugin that makes it a bit easier - it can transfer shapes to and from Illustrator. Also &lt;a href=&quot;https://github.com/simofiorucci/move-to-separate-layers&quot; rel=&quot;nofollow noreferrer&quot;&gt;this script&lt;/a&gt; helps with putting selected objects in Illustrator onto their own layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to move the end of a line around, you could make a null that follows the path of a circle.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Make a circle shape in AE. Make sure its position and its Shape position are 0,0.&lt;/li&gt;&#xA;&lt;li&gt;Convert the circle path to bezier. Keyframe the path of the circle at the start of your timeline. &lt;/li&gt;&#xA;&lt;li&gt;Copy this single keyframe.&lt;/li&gt;&#xA;&lt;li&gt;Make a null at position 0,0 &lt;/li&gt;&#xA;&lt;li&gt;Paste your keyframe data into the position data of your null. &lt;/li&gt;&#xA;&lt;li&gt;Make a New solid layer.&lt;/li&gt;&#xA;&lt;li&gt;Add a Beam effect to it.&lt;/li&gt;&#xA;&lt;li&gt;Make sure the beam's length is set to 100%.&lt;/li&gt;&#xA;&lt;li&gt;Parent one end of the beam to your null layer.&lt;/li&gt;&#xA;&lt;li&gt;Move the other end on your circle.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/aFumu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aFumu.png&quot; alt=&quot;screenshot showing a line through a circle&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-05-22T16:04:49.033" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30365" PostTypeId="2" ParentId="29814" CreationDate="2020-05-22T16:09:11.223" Score="0" Body="&lt;p&gt;Is it the default text for the wiggle property?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;wiggle(freq, amp, octaves = 1, amp_mult = .5, t = time)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;So the shortened terms are&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Frequency&lt;/li&gt;&#xA;&lt;li&gt;Amplitude&lt;/li&gt;&#xA;&lt;li&gt;Octaves&lt;/li&gt;&#xA;&lt;li&gt;Amplitude Multiplier&lt;/li&gt;&#xA;&lt;li&gt;Time&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;You can see this by:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Make a layer&lt;/li&gt;&#xA;&lt;li&gt;Alt or Option-click on the Position control on that layer&lt;/li&gt;&#xA;&lt;li&gt;Click on the Expression Language Menu (it's a little solid circle with a triangle inside).&lt;/li&gt;&#xA;&lt;li&gt;Choose Property --&gt; Wiggle&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2020-05-22T18:06:55.703" LastActivityDate="2020-05-22T18:06:55.703" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30366" PostTypeId="1" CreationDate="2020-05-22T20:57:31.860" Score="0" ViewCount="301" Body="&lt;p&gt;I have a video file that plays fine in VLC, but only shows 100% black frames in Windows Media Player, and in other applications that depend on system codecs (for example in MATLAB, which is where I need to load this video). The audio plays fine in either case.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am running Windows 10. VLC says that the video codec is &quot;Codec: H264 - MPEG-4 AVC (part 10) (H264)&quot;. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Windows Media Player provides the following list of video codecs installed:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/EDOp2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EDOp2.png&quot; alt=&quot;List of video codecs&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is the output of ffprobe on the video:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&amp;gt;ffprobe example_video.avi&#xA;ffprobe version git-2020-05-28-c0f01ea Copyright (c) 2007-2020 the FFmpeg developers&#xA;  built with gcc 9.3.1 (GCC) 20200523&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libsrt --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvmaf --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --disable-w32threads --enable-libmfx --enable-ffnvcodec --enable-cuda-llvm --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt --enable-amf&#xA;  libavutil      56. 49.100 / 56. 49.100&#xA;  libavcodec     58. 89.100 / 58. 89.100&#xA;  libavformat    58. 43.100 / 58. 43.100&#xA;  libavdevice    58.  9.103 / 58.  9.103&#xA;  libavfilter     7. 83.100 /  7. 83.100&#xA;  libswscale      5.  6.101 /  5.  6.101&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;  libpostproc    55.  6.100 / 55.  6.100&#xA;[avi @ 000002127a03fe00] decoding for stream 0 failed&#xA;Input #0, avi, from 'mergeWrite_19129058_merged_2019-11-26-16-45-12-536196.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf58.20.100&#xA;  Duration: 00:00:04.08, start: 0.000000, bitrate: 451526 kb/s&#xA;    Stream #0:0: Video: h264 (High 4:4:4 Predictive) (H264 / 0x34363248), yuv444p(progressive), 1280x1024, 456108 kb/s, 30 fps, 30 tbr, 30 tbn, 60 tbc&#xA;    Stream #0:1: Audio: mp3 (U[0][0][0] / 0x0055), 22050 Hz, stereo, fltp, 64 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Do you think installing a new codec would help? Can anyone point me towards a place to get them that doesn't seem really sketchy? Thank you!&lt;/p&gt;&#xA;" OwnerUserId="29941" LastEditorUserId="29941" LastEditDate="2020-05-29T13:31:13.873" LastActivityDate="2020-05-29T13:31:13.873" Title="How do I get Windows Media Player and other tools that depend on system codecs to play this video file?" Tags="|video|codec|h.264|vlc|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="30367" PostTypeId="2" ParentId="21801" CreationDate="2020-05-22T22:21:42.593" Score="1" Body="&lt;p&gt;&lt;strong&gt;Presentify&lt;/strong&gt; is a simple mac app to let you draw on the screen. It has a whiteboard option and also highlights the cursor in different styles.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rFkBb.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rFkBb.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Website: &lt;a href=&quot;https://presentify.compzets.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://presentify.compzets.com&lt;/a&gt;&lt;br&gt;&#xA;App Store: &lt;a href=&quot;https://apps.apple.com/app/presentify/id1507246666&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://apps.apple.com/app/presentify/id1507246666&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;Disclosure: I am the developer of this app.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="29944" LastEditorUserId="29944" LastEditDate="2020-06-02T09:19:33.353" LastActivityDate="2020-06-02T09:19:33.353" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30368" PostTypeId="2" ParentId="30356" CreationDate="2020-05-23T03:36:10.803" Score="1" Body="&lt;p&gt;I'll answer the question for After Effects, because to do it in Premiere would be a nightmare. Probably possible, but the survivors would envy the dead.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The tool you need is parenting. Parenting enables you to group layers together, so that what you do to a parent layer you also do to its children. It only works one way though, so the children can have their own lives, moving them wont affect the parent.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ok so you'll need to put the two layers in a composition. The easiest way to do that is to stack them above each other in a timeline in Premiere, right-click and choose &lt;strong&gt;replace with After Effects composition&lt;/strong&gt;. This will open up AE with a new comp (AE version of sequence) with your layers in it. Layers in AE work the same as in PP and Potatoshop, you view them from the top down. Put the inner layer (the one you want to see at the end) on top. Go to the end of the composition (hit &lt;kbd&gt;end&lt;/kbd&gt;) and adjust it so that it fills the screen how you want it. You can just click on it in the comp window to manipulate it, but if you want to access the numbers, hit &lt;kbd&gt;p&lt;/kbd&gt; (no command or control key, just the letter — that's how AE rolls) for &lt;strong&gt;p&lt;/strong&gt;osition, &lt;kbd&gt;s&lt;/kbd&gt; for &lt;strong&gt;s&lt;/strong&gt;cale, &lt;kbd&gt;r&lt;/kbd&gt; for &lt;strong&gt;r&lt;/strong&gt;otation or &lt;kbd&gt;t&lt;/kbd&gt; for opaci&lt;strong&gt;t&lt;/strong&gt;y. &lt;kbd&gt;Shift&lt;/kbd&gt; will show multiple properties at once, or if you want to be a noob for your whole life you can just twirl down the arrows until you find the property you want. But you don't want to be a noob for the rest of your life, do you? I can't hear you. DO YOU?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XTT7X.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XTT7X.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt; Don't you dare.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ok so for your purposes you'll need all of the properties above. Hold &lt;kbd&gt;Shift&lt;/kbd&gt;and press &lt;kbd&gt;p&lt;/kbd&gt;&lt;kbd&gt;r&lt;/kbd&gt;&lt;kbd&gt;s&lt;/kbd&gt;&lt;kbd&gt;t&lt;/kbd&gt; as needed. Adjust them until your layer is in its final possie.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you want to manipulate a layer in the comp window use &lt;kbd&gt;v&lt;/kbd&gt; for the general select / move / drag-corners-to-scale tool, or to rotate it mash &lt;kbd&gt;w&lt;/kbd&gt;, which will select the &lt;strong&gt;w&lt;/strong&gt;otate tool. Or you could click on the tool panel and choose your tool, but you're not going to do that are you? ARE YOU? I'M WATCHING YOU. You can also scrub the numbers in the properties panel by click-and-dragging, or click and type if you know what you want. This works for any blue numbers in AE.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/K4aT2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/K4aT2.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now we need to make these puppies move, that's what animation is all about. To do that we need keyframes. Like PP AE uses keyframes to allow properties to be changed over time. To create a keyframe, if you're a noob, you click on the little stopwatch next to the property name. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/X2FEt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/X2FEt.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When the stopwatch is active it means that any changes you make to that property will create a new keyframe. There's a standard noob mistake which is to think that the next time you want to set a keyframe you have to click the stopwatch again. Don't do that, it will turn OFF animation for that property. Also, don't be clicking. &lt;em&gt;[Smacks mouse hand]&lt;/em&gt; Stop crying and start learning the keyboard shortcuts like a pro. Seriously, your carpal tunnel will thank me in a few years, and you'll be waaay faster.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To set a keyframe on a property you press its keyboard shortcut but with &lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;alt&lt;/kbd&gt;, or for those still using macs &lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;⌥/opt&lt;/kbd&gt; held down. You'll want to set a keyframe for all your properties, so don't just stand there, get keystrokin': &lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;alt / ⌥&lt;/kbd&gt;&lt;kbd&gt;p&lt;/kbd&gt; then  &lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;alt / ⌥&lt;/kbd&gt;&lt;kbd&gt;r&lt;/kbd&gt;, &lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;alt / ⌥&lt;/kbd&gt;&lt;kbd&gt;s&lt;/kbd&gt;, and  &lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;alt / ⌥&lt;/kbd&gt;&lt;kbd&gt;t&lt;/kbd&gt;. Practice it now and it will go into muscle memory. I do it hundreds of times a day, to the point where I actually have to open up AE and set a keyframe to remember what keys I use, because it's not a conscious thing any more. That's where you want to be.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Pro tip&lt;/strong&gt;: at this point your layer has some animated properties. To show / hide all the animated properties for a layer, select it and press &lt;kbd&gt;u&lt;/kbd&gt;. Boom. &lt;strong&gt;Bonus pro-tip:&lt;/strong&gt; What I didn't know for the first few years of using AE (this is the 90s, so things were a bit hazy) was that double tapping it: &lt;kbd&gt;u&lt;/kbd&gt;&lt;kbd&gt;u&lt;/kbd&gt; will bring up all &lt;em&gt;modified&lt;/em&gt; properties for that layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OnV9L.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OnV9L.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Ok, now hide the top layer. See that eye icon on the left of the top layer? Click that sucker. Annoyingly there is no kb shortcut for this by default.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now go back to the start of your comp. &lt;strong&gt;Pop quiz:&lt;/strong&gt; if &lt;kbd&gt;end&lt;/kbd&gt; was the keyboard shortcut for going to the start, you win $1,000,000 &lt;strong&gt;cash money&lt;/strong&gt; if you can guess the shortcut for going &lt;em&gt;home&lt;/em&gt; to the beginning*.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With your bottom layer selected, adjust its scale rotation etc. so that it's to your liking, and set keyframes for the properties as necessary. Jump back to the end. You can use a new kb shortcut for this, one you should know: &lt;kbd&gt;k&lt;/kbd&gt;. It jumps to the next &lt;strong&gt;k&lt;/strong&gt;eyframe, and &lt;kbd&gt;j&lt;/kbd&gt; &lt;strong&gt;j&lt;/strong&gt;umps to the previous keyframe. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;At the end of your comp, adjust the bottom layer so that it's how you want it. Because you have the stopwatches active for your transform properties any changes you make will now create a new keyframe. Look at me mum, I'm &lt;em&gt;animating&lt;/em&gt;! If you scrub the timeline you'll see the magic happening, or if you want to watch it play in real-time (or whatever your machine can manage), hit &lt;kbd&gt;0&lt;/kbd&gt; on your numeric keyboard, or &lt;kbd&gt;ctrl&lt;/kbd&gt;&lt;kbd&gt;0&lt;/kbd&gt; on a laptop (from memory, might not be right). It will slowly play back as it renders the frames, then playback at something like real time once they're all cached (the green bar on the top of the timeline).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OK now for the parenting. On the right of the properties part of the timeline you'll see the parent column. And a curly icon called the pick-whip, or as someone once mondegreen-ed, the &quot;pig-whip&quot;, which instantly became my preferred term for it. This will choose a parent for the layer. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AGWRr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AGWRr.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that there are (in recent versions of AE) pig-whips for all of the properties. This is for expressions (which is for another day, but they're awesome). Use the pig-whip on the top of the layer, not these ones or you'll get too confused. Also don't call it pig-whip if there's a client listening, you'll sound like an idiot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;We want to make the top layer the child of the bottom layer. At the end of your comp (this is important), use the pig-whip or the drop-down panel to set the parent for the top layer to the bottom layer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/J6o6m.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/J6o6m.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What you'll see now if you go backwards down the time line is that the top layer will shrink in time with the bottom layer. Go back to the start and adjust any additional motion you want it to have. You may also want to set its opacity to 0 at the start, so that it fades in over the zoom.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Nearly done. There's &lt;em&gt;One Weird Trick That Animators Don't Want You To Know&lt;/em&gt; that will sell this even better. Use Motion Blur. In the properties panel you'll see four columns of icons. If you can't see them hit &lt;kbd&gt;&lt;em&gt;f4&lt;/em&gt;&lt;/kbd&gt;. Click the one that looks like a stack of chips at a casino. Click it for both layers.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/atcN7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/atcN7.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;… Nothing changes … Ok, the reason that you don't see anything is that motion blur basically renders each frame a bunch of times at in-between positions and displays them all together. It's super computationally expensive, that's why it looks like casino chips**. So each frame might be rendered dozens, even hundreds of times depending on your settings. Hello slowness. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;To display motion blur you have to enable it for the layer, &lt;em&gt;then&lt;/em&gt; enable it for previews. See the casino chips icon above the top right of the properties panel? Click that boi, and it should turn blue. Now you should see motion blur on any layer that has it turned on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/l8VBx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/l8VBx.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OK, save your project, jump back to premiere, and you should see the animation right there in your timeline, like it was all a crazy nightmare … &lt;em&gt;or was it&lt;/em&gt;?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;sub&gt;*cash money offer not valid in real life, terms and conditions apply, offer not applicable to residents outside Saint Kitts and Nevis.&lt;/sub&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;sub&gt;**this is flat-out not true, but it helps me remember.&lt;/sub&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-05-26T03:42:55.110" LastActivityDate="2020-05-26T03:42:55.110" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30369" PostTypeId="2" ParentId="30344" CreationDate="2020-05-23T04:15:47.540" Score="0" Body="&lt;p&gt;What @TomH said, but instead of the beam effect you can create another shape layer using the pen tool to create a line with just two points. Then use an expression to set the points on that path.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First create a null and put it at the starting point. Do the same for the end point, but parent the end null to the circle.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now we'll create an expression for the line. &lt;kbd&gt;alt&lt;/kbd&gt;-click the stopwatch for the &lt;strong&gt;Path&lt;/strong&gt; property of the line. Then you should do something like this for the expression:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var startNull  = thisComp.layer(&quot;Null 1&quot;); //null 1 is the start null&#xA;var endNull  = thisComp.layer(&quot;Null 2&quot;); //null 2 is the end null, duh.&#xA;var p1 = startNull.transform.position; //first point on the line&#xA;var p2 = endNull.toComp(endNull.transform.anchorPoint); //the end null's position is relative to its parent. toComp translates a point on it (the anchor point in this case) into comp co-ordinates.&#xA;createPath(points = [p1, p2], inTangents = [], outTangents = [], isClosed = false)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This will create a line between the two nulls. When you apply the expression you might find that the line is offset. You need to set the position of the line layer to [0,0] and it should line up perfectly.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-05-23T04:15:47.540" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30370" PostTypeId="2" ParentId="30360" CreationDate="2020-05-23T04:56:45.493" Score="0" Body="&lt;p&gt;Resolve and Premiere both support .srt files for subtitles, which is what you want instead of &quot;Excel files or whatever.&quot;  There are many online services that will generate .srt files from spoken audio, and timestamp them appropriately so that they sync with your video.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-05-23T04:56:45.493" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30372" PostTypeId="1" AcceptedAnswerId="30575" CreationDate="2020-05-23T11:01:09.177" Score="1" ViewCount="2163" Body="&lt;p&gt;I am using the following ffmpeg command to create multiple resolutions for the same video content.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ${f} -c:v libx264 -keyint_min 150 \&#xA;-g 150 -profile:v main -f h264 -dash 1 \&#xA;-an -vf scale=640:360 -b:v 750k ${streamsdirectory}/${filename}_640x360_750k.mp4 \&#xA;-an -vf scale=1280:720 -b:v 2000k ${streamsdirectory}/${filename}_1280x720_2000k.mp4 \&#xA;-an -vf scale=1920:1080 -b:v 4000k ${streamsdirectory}/${filename}_1920x1080_4000k.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What is the best strategy to keep respect for the aspect ratio for any video content ?&lt;/p&gt;&#xA;" OwnerUserId="29683" LastActivityDate="2020-06-17T01:29:58.417" Title="Best strategy to keep aspect ratio consistent for all videos having any resolution" Tags="|ffmpeg|transcoding|aspect|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30373" PostTypeId="1" AcceptedAnswerId="30391" CreationDate="2020-05-23T17:14:43.677" Score="0" ViewCount="564" Body="&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.2.2 win64 static&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;I'm using this command in Windows 10 to convert a file from mp4 to ogv:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libtheora -q:v 10 -c:a libvorbis -q:a 10 output.ogv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The result is a jumbled mess of colors:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XSkRh.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XSkRh.jpg&quot; alt=&quot;Snapshot of corrupted .ogv video&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, when executing the same command on Ubuntu(20.04 LTS) it works just fine.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The pic shown is a snapshot of the result played in VLC. When playing the same video in Windows' “Film &amp;amp; TV” application, it just skips the frames that have these artifacts (which is very often).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any idea what could cause this Windows specific problem?&lt;/p&gt;&#xA;" OwnerUserId="29952" LastEditorUserId="18155" LastEditDate="2020-05-24T07:17:20.820" LastActivityDate="2020-05-25T11:26:31.827" Title="Using ffmpeg to convert files to OVG (libtheora) on Windows 10 results in corrupted Video Files" Tags="|video|ffmpeg|conversion|windows|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30374" PostTypeId="2" ParentId="30372" CreationDate="2020-05-23T20:59:54.383" Score="1" Body="&lt;p&gt;To keep aspect ratio change:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf scale=640:360&#xA;-vf scale=1280:720&#xA;-vf scale=1920:1080&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;to:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf scale=-2:360&#xA;-vf scale=-2:720&#xA;-vf scale=-2:1080&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;See &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#scale&quot; rel=&quot;nofollow noreferrer&quot;&gt;scale filter documentation&lt;/a&gt; for more info.&lt;/p&gt;&#xA;" OwnerUserId="1760" LastActivityDate="2020-05-23T20:59:54.383" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30375" PostTypeId="2" ParentId="30267" CreationDate="2020-05-23T22:10:04.337" Score="0" Body="&lt;p&gt;@tomh shape layers have the collapse transformation already enabled automatically and it can't be disabled, only for shape layers. the collapse transformation option will work to improve quality of elements if it's a precomp or a non shape layer.&lt;/p&gt;&#xA;" OwnerUserId="26665" LastActivityDate="2020-05-23T22:10:04.337" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30376" PostTypeId="2" ParentId="30267" CreationDate="2020-05-23T22:14:10.017" Score="0" Body="&lt;p&gt;@sinGood that looks like a motion blur to me. Do you have motion blur enabled? That is one cause of this and I noticed that the composition resolution  is in quarter so that could also be another culprit. &lt;/p&gt;&#xA;" OwnerUserId="26665" LastActivityDate="2020-05-23T22:14:10.017" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30378" PostTypeId="2" ParentId="28077" CreationDate="2020-05-24T00:24:40.477" Score="1" Body="&lt;p&gt;You can do what @stib said. Use the B and N shortcuts to set the beginning and end of the work area to match your footage. Another good shortcut is  Shift and X to cut the timeline to the current work area. &lt;/p&gt;&#xA;" OwnerUserId="26665" LastActivityDate="2020-05-24T00:24:40.477" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30379" PostTypeId="1" AcceptedAnswerId="30385" CreationDate="2020-05-24T00:32:32.397" Score="1" ViewCount="9683" Body="&lt;p&gt;Is there a way to import custom workspaces from another computer? &lt;/p&gt;&#xA;" OwnerUserId="26665" LastEditorUserId="18155" LastEditDate="2020-05-25T04:42:08.967" LastActivityDate="2020-05-25T04:42:08.967" Title="Where are the After Effects workspaces saved?" Tags="|after-effects|adobe|video-production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30380" PostTypeId="1" AcceptedAnswerId="30386" CreationDate="2020-05-24T01:05:15.240" Score="1" ViewCount="307" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/etdZy.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/etdZy.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is a picture of a green field that changes into a hill.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The idea is can you can have a large, organic 3D green-screen this way?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HKmR0.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HKmR0.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I used a program to normalize the darker green areas of the field using replace color and increasing the thresh hold without losing texture and wonder if this could be done to a live feed?&lt;/p&gt;&#xA;" OwnerUserId="29959" LastEditorUserId="29959" LastEditDate="2020-05-30T05:03:19.420" LastActivityDate="2020-05-30T05:03:19.420" Title="Would a large grass field make a good green screen?" Tags="|3d|greenscreen|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30381" PostTypeId="2" ParentId="21191" CreationDate="2020-05-24T10:11:26.297" Score="0" Body="&lt;p&gt;I have been looking for the same answer and found a &lt;a href=&quot;https://obsproject.com/forum/threads/can-obs-record-multiple-video-tracks.52690/&quot; rel=&quot;nofollow noreferrer&quot;&gt;thread in the OBS forum&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;OBS does not support multitrack video support yet. The thread contains two workarounds:&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Run two instances of OBS simultaneously&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://obsproject.com/forum/threads/can-obs-record-multiple-video-tracks.52690/post-244778&quot; rel=&quot;nofollow noreferrer&quot;&gt;Directlink to post in thread&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open OBS Studio.&lt;/li&gt;&#xA;&lt;li&gt;Sitting &gt; hotkeys &gt; Gave Start recording and Stop recording nice Hotkey (I use Ctrl+Shift+S and Ctrl+Shift+D)&lt;/li&gt;&#xA;&lt;li&gt;Close then Open OBS Studio.&lt;/li&gt;&#xA;&lt;li&gt;Open OBS Studio Again (Now you have 2 OBS Studio)&lt;/li&gt;&#xA;&lt;li&gt;in the first OBS Go to sitting &gt; Output &gt; Recording &gt; Select recording path&lt;/li&gt;&#xA;&lt;li&gt;in the 2nd OBS Go to sitting &gt; Output &gt; Recording &gt; Select recording path &quot;Gave it another name&quot;&#xA;Ex : Rec\FaceCame and Rec\GamePlay&lt;/li&gt;&#xA;&lt;li&gt;Start the game and press Ctrl+Shift+S or the hotkey you pick&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Drawbacks: A lot of manual steps to execute.&lt;/p&gt;&#xA;&#xA;&lt;h1&gt;Increase the canvas size, place multiple videos side by side on it and split it in a video software afterwards&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://obsproject.com/forum/threads/can-obs-record-multiple-video-tracks.52690/post-363617&quot; rel=&quot;nofollow noreferrer&quot;&gt;Directlink to post in thread&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Drawbacks: No usable video output during recording.&lt;/p&gt;&#xA;" OwnerUserId="29960" LastActivityDate="2020-05-24T10:11:26.297" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30382" PostTypeId="1" AcceptedAnswerId="30383" CreationDate="2020-05-24T10:58:54.133" Score="1" ViewCount="718" Body="&lt;p&gt;For some reason, my ffmpeg output log does not show &lt;strong&gt;dup&lt;/strong&gt; and &lt;strong&gt;drop&lt;/strong&gt; key-value pairs.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;expect:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;frame=563 fps=138 q=23.0 size=13056kB time=00:00:09.42 bitrate=11346.8kbits/s dup=0 drop=0 speed= 2.3x&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;running the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;~/bin/ffmpeg -i INPUT.mkv \&#xA;    -t 00:00:10.000 \&#xA;    -c:v libx264 -crf 15 -preset veryfast \&#xA;    OUTPUT.mkv 2&amp;gt;&amp;amp;1|tee ffmpeg.log&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;results in this output instead:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;frame=  563 fps=138 q=23.0 size=   13056kB time=00:00:09.42 bitrate=11346.8kbits/s speed= 2.3x&#xA;frame=  600 fps=134 q=-1.0 Lsize=   16199kB time=00:00:09.98 bitrate=13294.4kbits/s speed=2.23x&#xA;video:16095kB audio:92kB subtitle:0kB other streams:0kB global headers:4kB muxing overhead: 0.077694%&#xA;[libx264 @ 0x55d5711efac0] frame I:3     Avg QP:15.71  size:227164&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;or running:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;~/bin/ffmpeg -f v4l2 \&#xA;    -framerate 60 -video_size 1920x1080 \&#xA;    -input_format mjpeg -i /dev/video0 \&#xA;    -c:v libx264 -crf 15 -preset veryfast \&#xA;    -tune film -profile:v high -pix_fmt yuv420p \&#xA;    -color_primaries 1 -color_trc 1 -colorspace 1 \&#xA;    -dst_range 1 -color_range 2 \&#xA;    OUTPUT.mkv 2&amp;gt;&amp;amp;1|tee ffmpeg.log&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;gives:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;frame=  880 fps= 60 q=23.0 size=   64512kB time=00:00:14.31 bitrate=36910.3kbits/s speed=0.977x&#xA;frame=  911 fps= 60 q=23.0 size=   64512kB time=00:00:14.83 bitrate=35626.4kbits/s speed=0.978x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;system info&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;OS: Linux Debian 10 (buster) x86_64&lt;/li&gt;&#xA;&lt;li&gt;tested with two versions of ffmpeg:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;1) Debian package&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -version&#xA;ffmpeg version 4.1.4-1~deb10u1 built with gcc 8 (Debian 8.3.0-6)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;2) compiled for myself&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ~/bin/ffmpeg -version&#xA;ffmpeg version N-97910-g88567a2 built with gcc 8 (Debian 8.3.0-6)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;using &lt;code&gt;-loglevel debug&lt;/code&gt; and &lt;code&gt;ffv1&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;~/bin/ffmpeg -i INPUT.mkv \&#xA;    -t 00:00:10.000     \&#xA;    -acodec  copy       \&#xA;    -vcodec  ffv1       \&#xA;    -level 1 -coder 1 -context 1 -g 1 \&#xA;    -loglevel debug     \&#xA;    OUTPUT.mkv 2&amp;gt;&amp;amp;1|tee ffmpeg.log&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;result: unable to find a single occurrence of the word &quot;drop&quot; in log.txt file&lt;/p&gt;&#xA;&#xA;&lt;p&gt;How to output the missing &quot;&lt;strong&gt;dup&lt;/strong&gt;&quot; and &quot;&lt;strong&gt;drop&lt;/strong&gt;&quot; in my log?&lt;/p&gt;&#xA;" OwnerUserId="21449" LastEditorUserId="21449" LastEditDate="2020-05-24T12:00:06.260" LastActivityDate="2020-05-24T15:35:12.543" Title="ffmpeg log missing &quot;dup&quot; and &quot;drop&quot; key-value pairs" Tags="|ffmpeg|encoding|linux|output|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30383" PostTypeId="2" ParentId="30382" CreationDate="2020-05-24T15:35:12.543" Score="2" Body="&lt;p&gt;If no frames are dupped or dropped, then those fields are not printed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you need a definitive statement, add &lt;code&gt;-progress filename&lt;/code&gt; to print progress report to a file and search for &lt;code&gt;dup_frames&lt;/code&gt; and &lt;code&gt;drop_frames&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-05-24T15:35:12.543" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30384" PostTypeId="1" CreationDate="2020-05-24T15:59:02.763" Score="2" ViewCount="190" Body="&lt;p&gt;Is there any existing container (video format) in which the metadata is immutable?&#xA;I am new to this topic and my use case is that once a video is recorded, I want to preserve the metadata (for ex location, time, some caption used while sharing it, etc) in such a way that no one can alter this information, or worst case, only the original creator can do so.&lt;/p&gt;&#xA;" OwnerUserId="29962" LastActivityDate="2020-05-25T04:54:21.563" Title="Permanent metadata for videos" Tags="|video-capture|formats|metadata|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30385" PostTypeId="2" ParentId="30379" CreationDate="2020-05-24T16:22:25.730" Score="1" Body="&lt;p&gt;According &lt;a href=&quot;https://helpx.adobe.com/in/after-effects/using/workspaces-panels-viewers.html#Customizingworkspaces&quot; rel=&quot;nofollow noreferrer&quot;&gt;to Adobe&lt;/a&gt;:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Workspaces are stored in XML files in the preferences folder. With some caveats regarding monitor size and layout, these workspaces can be moved to another computer and used there.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Windows:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;[drive]:\Users\[user_name]\AppData\Roaming\Adobe\After Effects\[version]\ModifiedWorkspaces&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Mac OS: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;[drive]/Users/[user_name]/Library/Preferences/Adobe/After Effects/[version]/ModifiedWorkspaces&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-05-24T16:22:25.730" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30386" PostTypeId="2" ParentId="30380" CreationDate="2020-05-24T16:44:52.720" Score="1" Body="&lt;p&gt;It's doable, so long as you have some time, diddling around in After Effects with the Keylight chromakey and the camera tracker... Here's an example I made a while back at 4m25,5m17, &#xA;6m04, 8m33 (and a few other sections): &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/AiVGeoJsAtQ?start=265&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-05-24T16:44:52.720" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="30387" PostTypeId="2" ParentId="30384" CreationDate="2020-05-24T17:54:41.270" Score="0" Body="&lt;p&gt;No.  Metadata can always be changed. Even if there isn't a commonly known program to do so, an experienced person could always hex edit the file.&lt;/p&gt;&#xA;" OwnerUserId="24669" LastActivityDate="2020-05-24T17:54:41.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30388" PostTypeId="2" ParentId="30384" CreationDate="2020-05-25T04:54:21.563" Score="1" Body="&lt;p&gt;Containers don't support encryption of metadata, and without encryption everyone may change what he wants (even damaging by his action the whole multimedia file).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is a possibility to make a checksum of your file (as SHA-256), but it will not protect to change it, it only helps detect if the file is in its original state (not changed).&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2020-05-25T04:54:21.563" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30390" PostTypeId="2" ParentId="24815" CreationDate="2020-05-25T11:03:31.243" Score="1" Body="&lt;p&gt;The main issue was, that the Z-Layer was not accurate enough, as Gyan said. Addtionally the condition needed to be changed from &lt;code&gt;lt(A,B)&lt;/code&gt; to &lt;code&gt;lte(A,B)&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="23175" LastActivityDate="2020-05-25T11:03:31.243" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30391" PostTypeId="2" ParentId="30373" CreationDate="2020-05-25T11:26:31.827" Score="0" Body="&lt;p&gt;According to this thread: &lt;a href=&quot;https://old.reddit.com/r/ffmpeg/comments/fy2618/need_someone_to_test_libtheora_encoder_on_64bit/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://old.reddit.com/r/ffmpeg/comments/fy2618/need_someone_to_test_libtheora_encoder_on_64bit/&lt;/a&gt;&lt;br&gt;&#xA;The theora encoder is currently broken in the 64bits versions.&lt;br&gt;&#xA;I tried this with the 32bits version and it now works as expected.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;32bits builds can be found here: &lt;a href=&quot;https://ffmpeg.zeranoe.com/builds/win32/static/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.zeranoe.com/builds/win32/static/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Greetings&lt;/p&gt;&#xA;" OwnerUserId="23175" LastActivityDate="2020-05-25T11:26:31.827" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30392" PostTypeId="2" ParentId="30334" CreationDate="2020-05-25T11:47:58.797" Score="0" Body="&lt;p&gt;The issue is, that you reference the input file two times.  &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[1]scale=1612:906[inner];[0][inner]overlay=154:170;[1:v]colorkey=0x000000:0.02:0.03[ckout]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;what you actually want is to use the scaled version. so:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[1]scale=1612:906[inner];[0][inner]overlay=154:170[ovout]; [ovout]colorkey=0x000000:0.02:0.03[ckout];[0:v][ckout]overlay[out]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But I don't really understand why you overlay the image twice...&#xA;wouldn't this work?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[1]colorkey=0x000000:0.02:0.03[ckout];[ckout]scale=1612:906[scaleout];[0][scaleout]overlay=154:170[out];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;colorkey, 2. scale, 3. overlay  &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;You should almost always colorkey first and then scale to reduce colorkey artifacts&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Greetings&lt;/p&gt;&#xA;" OwnerUserId="23175" LastActivityDate="2020-05-25T11:47:58.797" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30393" PostTypeId="2" ParentId="30335" CreationDate="2020-05-25T11:55:07.937" Score="0" Body="&lt;p&gt;You probably just need to adjust the pts with: &lt;code&gt;setpts=PTS+(94*TB)&lt;/code&gt;.&#xA;You would need to adjust that 94 for each different start number&lt;br&gt;&#xA;So: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -start_number 94 -i source.%04d.png -filter_complex select='eq(n\,2)+eq(n\,80)+eq(n\,150)';setpts=PTS+(94*TB) frames_%04d.jpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Also &lt;code&gt;vsync&lt;/code&gt; is a bit unnecessary when outputting to jpg.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;EDIT: Fixed the &lt;code&gt;setpts&lt;/code&gt;-Expression, because I was stupid the first time.&#xA;EDIT2: I can't even read the question properly it seems... Fixed the &lt;code&gt;setpts&lt;/code&gt;-Expression again&lt;/p&gt;&#xA;" OwnerUserId="23175" LastEditorUserId="23175" LastEditDate="2020-05-25T12:27:09.480" LastActivityDate="2020-05-25T12:27:09.480" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30396" PostTypeId="2" ParentId="2535" CreationDate="2020-05-25T21:06:14.893" Score="1" Body="&lt;p&gt;I've made a script which allows you to use the scene detection functionality of Davinci Resolve. Detect your scenes, make a new timeline of the resulting clips and export it as FCP7 V5 .xml, run the script on the .xml and you'll be able to import the converted .xml in Premiere! &lt;a href=&quot;https://gumroad.com/products/CUnOP/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gumroad.com/products/CUnOP/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29977" LastActivityDate="2020-05-25T21:06:14.893" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30397" PostTypeId="1" CreationDate="2020-05-26T00:02:34.897" Score="0" ViewCount="98" Body="&lt;p&gt;I'm sorry, if it's not the right place to ask this question.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tested many times the Zhiyun crane 3 lab camera stabilizer. It really works well except for the Y axis... &lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you use it while walking, you clearly see the steps movement in the shot. Also sometimes it hard to move the camera in any direction freely.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Does anyone know any good professionnal solution for image stabilization ? I wish I had an Arri Trinity but... my budget is around 2000-3000€. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm open to any technology as long as it works and you can have a free movement.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My camera is a Blackmagic URSA Mini Pro 4.6K G2 and I mount an Atomos Ninja on the stabilizer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks.&#xA;Cheers,&lt;/p&gt;&#xA;" OwnerUserId="24447" LastActivityDate="2020-05-26T10:22:06.180" Title="What is a good stabilizer for Y axis?" Tags="|stabilisation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30398" PostTypeId="2" ParentId="28268" CreationDate="2020-05-26T04:35:41.833" Score="0" Body="&lt;p&gt;Theoretically, encoding will always reduce the video's quality although it may not be noticeable. And it is not necessary to encode (use codec) in video trimming. But, if your video editor (Hitfilm Express) uses a codec to encode as default and does not have an option to do video trimming without using codec or encoding, the video quality will be reduced.&lt;/p&gt;&#xA;" OwnerUserId="26013" LastActivityDate="2020-05-26T04:35:41.833" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30399" PostTypeId="2" ParentId="29089" CreationDate="2020-05-26T08:56:12.180" Score="0" Body="&lt;p&gt;Assuming you're on a Mac: if the mics from your Clarett device appear as individual inputs in MacOS, you should be able to select them as input devices in Premiere.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You need to select the correct &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/preferences.html#audio_hardware_preferences&quot; rel=&quot;nofollow noreferrer&quot;&gt;audio hardware&lt;/a&gt; and video capture devices in Premiere's setup pages&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then do a live capture &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/capturing-digitizing.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;as described here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-05-26T08:56:12.180" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30400" PostTypeId="2" ParentId="28268" CreationDate="2020-05-26T09:00:04.687" Score="0" Body="&lt;p&gt;I don't know the software you're using, but in general if you have the time, processing power and drive space, the first thing I would do is convert the files (probably overnight) into a format that won't suffer from re-editing, like ProRes. Then perform my edits, then convert to the delivery format after I'm happy with the edits.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-05-26T09:00:04.687" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30401" PostTypeId="2" ParentId="30397" CreationDate="2020-05-26T10:22:06.180" Score="1" Body="&lt;p&gt;A 3-axis gimbal can reduce rotation but not translation - ie it will twist in 3 axis to smooth the motion, but it can't physically move to account for your movement up and down.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think there are three ways to resolve this: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Use a &lt;a href=&quot;https://glidecam.com/product-category/products/body-mounted-stabilizers/&quot; rel=&quot;nofollow noreferrer&quot;&gt;body mounted stabiliser&lt;/a&gt; that compensates for movement.  These are expensive and cumbersome, but they work. They also reduce arm strain as the weight of the camera is taken by the body straps.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Practice compensating for the movement yourself. The best way to imagine this is to move as though you were carrying a hot drink instead of a camera. This is free, but requires some time to practice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Shoot at a higher resolution than you need to deliver, then use digital stabilisation to try and improve your video.  This works to some extent, but any motion blur due to camera movement will still be visible, depending on the shutter &amp;amp; frame rate you shoot at.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-05-26T10:22:06.180" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30402" PostTypeId="1" CreationDate="2020-05-26T11:34:53.617" Score="0" ViewCount="579" Body="&lt;p&gt;As for test I use just a file with data as input and I would like to stream it as video. For this purpose I used ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\tools\ffmpeg-20200523-26b4509-win64-static\bin\ffmpeg.exe -y -f rawvideo &#xA;  -vcodec rawvideo -video_size 2592x2048 -r 10 -pix_fmt gray -i merged.dump &#xA;  -vcodec libx264 -threads 4 -crf 51 -preset ultrafast -an -f mpegts udp://localhost:20001&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;(I broke the line for readability). And with MPEG4 as video codec:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\tools\ffmpeg-20200523-26b4509-win64-static\bin\ffmpeg.exe -y -f rawvideo &#xA;  -vcodec rawvideo -video_size 2592x2048 -r 10 -pix_fmt gray -i merged.dump -vcodec mpeg4 &#xA;  -f mpegts udp://localhost:20001&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;While ffmpeg was streaming data I executed ffplay to see I can read the stream. I could.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So then I tried the same with VLC player and PotPlayer, giving stream address as &quot;udp://localhost:20001&quot; and &quot;udp://@:20001&quot;, with firewall enabled and completely disabled. With those players I have no success at all -- PotPlayer after few seconds gives me an error that it cannot read stream, VLC on the other hand show progress (bouncing yellow line) ad infinitum.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What should I do to make non-ffplay software read the stream as well?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;em&gt;I use Windows 10 if this matters.&lt;/em&gt;&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;I executed:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;C:\tools\ffmpeg-20200523-26b4509-win64-static\bin\ffmpeg.exe -y -f rawvideo &#xA;  -vcodec rawvideo -video_size 2592x2048 -r 10 -pix_fmt gray -re &#xA;  -i clean-frames.dump -vcodec libx264 -threads 4 -crf 51 -preset ultrafast -an &#xA;  -f mpegts udp://localhost:20001 2&amp;gt; log.log&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;And here is the log file:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version git-2020-05-23-26b4509 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 9.3.1 (GCC) 20200523&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libsrt --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvmaf --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --disable-w32threads --enable-libmfx --enable-ffnvcodec --enable-cuda-llvm --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt --enable-amf&#xA;  libavutil      56. 48.100 / 56. 48.100&#xA;  libavcodec     58. 87.101 / 58. 87.101&#xA;  libavformat    58. 43.100 / 58. 43.100&#xA;  libavdevice    58.  9.103 / 58.  9.103&#xA;  libavfilter     7. 83.100 /  7. 83.100&#xA;  libswscale      5.  6.101 /  5.  6.101&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;  libpostproc    55.  6.100 / 55.  6.100&#xA;[rawvideo @ 000001a01bb9f0c0] Estimating duration from bitrate, this may be inaccurate&#xA;Input #0, rawvideo, from 'clean-frames.dump':&#xA;  Duration: 00:02:27.50, start: 0.000000, bitrate: 424673 kb/s&#xA;    Stream #0:0: Video: rawvideo (Y800 / 0x30303859), gray, 2592x2048, 424673 kb/s, 10 tbr, 10 tbn, 10 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; h264 (libx264))&#xA;Press [q] to stop, [?] for help&#xA;[libx264 @ 000001a01bbaabc0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 000001a01bbaabc0] profile High, level 5.0, 4:0:0, 8-bit&#xA;Output #0, mpegts, to 'udp://localhost:20001':&#xA;  Metadata:&#xA;    encoder         : Lavf58.43.100&#xA;    Stream #0:0: Video: h264 (libx264), gray, 2592x2048, q=-1--1, 10 fps, 90k tbn, 10 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.87.101 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: N/A&#xA;frame=    6 fps=0.0 q=46.0 size=      15kB time=00:00:00.00 bitrate=10938181.8kbits/s speed=2.17e-05x    &#xA;...&#xA;frame= 1475 fps= 10 q=-1.0 Lsize=     950kB time=00:02:27.40 bitrate=  52.8kbits/s speed=0.999x    &#xA;video:108kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 779.101868%&#xA;[libx264 @ 000001a01bbaabc0] frame I:6     Avg QP:43.83  size: 13976&#xA;[libx264 @ 000001a01bbaabc0] frame P:1469  Avg QP:45.48  size:    18&#xA;[libx264 @ 000001a01bbaabc0] mb I  I16..4: 100.0%  0.0%  0.0%&#xA;[libx264 @ 000001a01bbaabc0] mb P  I16..4:  0.0%  0.0%  0.0%  P16..4:  0.0%  0.0%  0.0%  0.0%  0.0%    skip:100.0%&#xA;[libx264 @ 000001a01bbaabc0] coded y intra: 0.0% inter: 0.0%&#xA;[libx264 @ 000001a01bbaabc0] i16 v,h,dc,p: 83% 13%  4%  1%&#xA;[libx264 @ 000001a01bbaabc0] i8c dc,h,v,p: 100%  0%  0%  0%&#xA;[libx264 @ 000001a01bbaabc0] kb/s:6.00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Literally entire log is here: &lt;a href=&quot;https://pastebin.com/6g3JD6Gk&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pastebin.com/6g3JD6Gk&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21765" LastEditorUserId="21765" LastEditDate="2020-05-27T06:55:22.327" LastActivityDate="2020-05-27T06:55:22.327" Title="How to create widely readable video stream with ffmpeg?" Tags="|ffmpeg|streaming|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30405" PostTypeId="1" CreationDate="2020-05-26T21:22:17.897" Score="0" ViewCount="937" Body="&lt;p&gt;I am trying to merge 5 parts of a continuous video using ffmpeg.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For some reason, the 1st part is encoded at 29.97 FPS, while all the others are at 30 FPS.&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;part #1 : 29.97 fps, 29.97 tbr, 19200 tbn, 38400 tbc&lt;/li&gt;&#xA;&lt;li&gt;part #2 : 30 fps, 30 tbr, 15360 tbn, 60 tbc&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;So before the &lt;code&gt;concat&lt;/code&gt; operation, I tried converting Part #1 to 30 FPS, two different ways :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg -i 1.mp4 -filter:v fps=fps=30 output.mp4&lt;/code&gt; (based on the example at &lt;a href=&quot;https://trac.ffmpeg.org/wiki/ChangingFrameRate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/ChangingFrameRate&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg -i 1.mp4 -framerate 29.97 -r 30 output.mp4&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Both operations passed and I was able to verify the new FPS just by doing &lt;code&gt;ffmpeg -i output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;However&lt;/strong&gt;, after the &lt;code&gt;concat&lt;/code&gt; operation I realised that the video is now shorter than the audio in Part #1, resulting in a short blackout at the end of the Part, while the audio continues uninterrupted.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Why is that, and how to fix it ?&lt;/p&gt;&#xA;" OwnerUserId="29991" LastActivityDate="2020-05-26T21:22:17.897" Title="Changing FPS from 29.97 to 30 in ffpmeg creates short blank at end of video, audio is fine" Tags="|ffmpeg|framerate|filter|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30407" PostTypeId="1" AcceptedAnswerId="30415" CreationDate="2020-05-27T14:13:08.323" Score="1" ViewCount="162" Body="&lt;p&gt;I want to record video on my computer using my Canon M50 as the video source. It's similar to how one might use a webcam instead of the camera integrated into their computer. The only difference is that I want to create videos, not stream.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="30002" LastActivityDate="2020-05-27T23:47:29.713" Title="How do I record video on my computer using a (mirrorless) camera as the video source?" Tags="|video-recording|camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30409" PostTypeId="1" CreationDate="2020-05-27T15:39:52.083" Score="2" ViewCount="1251" Body="&lt;p&gt;For compression purposes, I am re‐encoding a grayscale video to the H.265/HEVC codec. Although the input video is more or less perfectly grayscale in aspect, it is provided in the &lt;code&gt;yuv420p&lt;/code&gt; pixel format. So I thought that mapping the video to the &lt;code&gt;gray&lt;/code&gt; pixel format would reduce file size further. I was expecting this, not only because &lt;code&gt;gray&lt;/code&gt; uses 8 bits per pixel while &lt;code&gt;yuv420p&lt;/code&gt; uses 12 (according to &lt;code&gt;ffmpeg -pix_fmts&lt;/code&gt;), but also because stripping noisy data (irrelevant color information) would help compression.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To my surprise, the opposite happened: the output video in &lt;code&gt;gray&lt;/code&gt; is about 14 % larger than the output video in &lt;code&gt;yuv420p&lt;/code&gt;!&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;As an example, I measured the byte size with a 60‐second footage, which I encoded as follows :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.h264 \&#xA;    -filter:V 'crop=960:720:160:0, format=gray, format=yuv420p' \&#xA;    -c:V libx265 -crf 26 -preset medium \&#xA;  out-gray-yuv.h265&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I tried several filter chains (I was also cropping the video):&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;nothing (output file &lt;code&gt;out.h265&lt;/code&gt;),&lt;/li&gt;&#xA;&lt;li&gt;turning the video to &lt;code&gt;gray&lt;/code&gt; (output file &lt;code&gt;out-gray.h265&lt;/code&gt;)&lt;/li&gt;&#xA;&lt;li&gt;turning the video to &lt;code&gt;gray&lt;/code&gt;, then back to &lt;code&gt;yuv420p&lt;/code&gt; (output file &lt;code&gt;out-gray-yuv.h265&lt;/code&gt;) — as hinted at by &lt;a href=&quot;https://video.stackexchange.com/a/21642&quot;&gt;that answer&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;(I also tried the hue filter, like this: &lt;code&gt;hue=s=0&lt;/code&gt;, but it is apparently subsumed by converting the video to &lt;code&gt;gray&lt;/code&gt;. Also, using the &lt;code&gt;-pix_fmt&lt;/code&gt; option appears to be equivalent to appending a format filter)&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;BYTES      NAME                FFPROBE&#xA;14972779   in.h264             h264 (Main), yuv420p(tv, progressive), 1280x720 [SAR 1:1 DAR 16:9], 25 fps, 25 tbr, 1200k tbn, 50 tbc&#xA; 3043717   out-gray.h265       hevc (Rext), gray(tv),                 960x720 [SAR 1:1 DAR 4:3], 25 fps, 25 tbr, 1200k tbn, 25 tbc&#xA; 2670564   out.h265            hevc (Main), yuv420p(tv),              960x720 [SAR 1:1 DAR 4:3], 25 fps, 25 tbr, 1200k tbn, 25 tbc&#xA; 2662991   out-gray-yuv.h265   hevc (Main), yuv420p(tv),              960x720 [SAR 1:1 DAR 4:3], 25 fps, 25 tbr, 1200k tbn, 25 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It appears that &lt;code&gt;out-gray-yuv&lt;/code&gt; is very slightly smaller than &lt;code&gt;out&lt;/code&gt;, which is not surprising (it could come from the input video not being perfectly grayscale yet). However, it is also about 14 % smaller than &lt;code&gt;out-gray&lt;/code&gt;, which I cannot explain.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Why do I observe these results? What should I do to benefit from grayscale compression with H.265?&lt;/p&gt;&#xA;" OwnerUserId="29418" LastEditorUserId="29418" LastEditDate="2020-05-27T16:07:37.360" LastActivityDate="2020-05-27T16:07:37.360" Title="Why has grayscale a higher bitrate than YUV with H.265/HEVC?" Tags="|ffmpeg|compression|colorspace|h265|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="30413" PostTypeId="1" CreationDate="2020-05-27T20:20:33.140" Score="1" ViewCount="31" Body="&lt;p&gt;I am looking to build an animation where in the middle of a sentence, a word gets deleted by character, then a new word is retyped on-screen and the back half of the sentence repositions as each letter is typed on. I tried to do some research and have a feeling this animation may need to utilize sourceRectAtTime or Delta expressions along with the type-on character text animator. What are your thoughts on accomplishing this?&lt;/p&gt;&#xA;" OwnerUserId="30009" LastActivityDate="2024-02-07T21:03:25.500" Title="How do I dynamically reposition part of a sentence based on the width of a word in the middle of the sentence that will change?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30415" PostTypeId="2" ParentId="30407" CreationDate="2020-05-27T23:47:29.713" Score="1" Body="&lt;p&gt;There are some options, but I am not sure what would work on your specific camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If your camera has an HDMI direct output you could use one HDMI to USB converter, one I know that works well is ElGato.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But here is the issue, you need to test if your camera sends a clean HDMI signal, this is without any menu, timestamp, configuration, etc. Test this connecting the camera to any TV.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Another thing to consider is the time the camera remains transmitting, for example, if it is not recording. It could just turn off in the middle of the transmission.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You can also try a tethered software that can use live view mode. The problem here is that the camera will transmit a Still Image size, for example, an 6000x4000, so the the result could be at an extremely low frame rate.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-05-27T23:47:29.713" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30416" PostTypeId="1" CreationDate="2020-05-28T02:54:57.380" Score="0" ViewCount="120" Body="&lt;p&gt;I work for a company that connects various software to each other. We want to create an explainer video for each software we connect to. The videos will be almost identical with the only difference being different logos shown in the video (corresponding to the software for that video).&lt;/p&gt;&#xA;&lt;p&gt;The problem is we connect to dozens of different software, and down the line no doubt we'll want to make changes to the video e.g. when we build a new feature. We don't want to have to manually create dozens of videos, never lone go through editing each one every time we add a new feature.&lt;/p&gt;&#xA;&lt;p&gt;So ideally we want to find a platform that easily produces multiple versions of the same video with small variations. Is this possible?&lt;/p&gt;&#xA;&lt;p&gt;Many thanks,&#xA;Bryce&lt;/p&gt;&#xA;" OwnerUserId="30012" LastEditorUserId="26178" LastEditDate="2020-07-05T17:39:21.043" LastActivityDate="2022-03-28T04:09:40.923" Title="Is there a platform where I can automate creating multiple versions of an explainer video?" Tags="|video|editing|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30417" PostTypeId="1" CreationDate="2020-05-28T06:38:35.247" Score="0" ViewCount="1225" Body="&lt;p&gt;I'm relatively new to video editing and struggling to solve a problem whereas the video (i.e my lips) is out of sync with the audio (i.e my voice). The beginning of the video is fine but by the end the sync is totally off.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Things I have tried so far:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;auto-sync audio based on waveform (DaVinci Resolve)&lt;/li&gt;&#xA;&lt;li&gt;run it through Handbraker to get constant frame rate (tried 23.976fps or 24fps)&lt;/li&gt;&#xA;&lt;li&gt;update sound/camera drivers if this was a playback issue&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Here are some of the information I get through the MediaInfo tool on the first part of total 45min recording.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;VIDEO&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;frame rate 23.976 in DaVinci Resolve (22.783 fps by MediaInfo)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;.mp4 (H.264) file recorded with IceCream Screenrecorder (i will&lt;br&gt;&#xA;change to OBS for next video)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;6min 51s length&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;720p HD camera with dual microphones &lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;AUDIO&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;sampling rate 44.1kHz (MediaInfo / Audacity)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;24.00fps in DaVinci Resolve&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;6min 49s length&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;The mic i use is integrated in my new Lenovo IdeaPad L340-17IRH Gaming and provides better quality than my blue snowball mic. It is currently set in the settings on 2ch, 16bit, 48kHz (can the diff. with sampling rate 44kHz be the issue).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What am I doing wrong here? What else can I try?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance for your help, VERY APPRECIATED.&lt;/p&gt;&#xA;" OwnerUserId="30011" LastActivityDate="2024-03-10T04:07:10.827" Title="How to solve audio/video sync issue on my mp4 screenrecording?" Tags="|video-editor|video-recording|mp4|sync|screen-casting|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30418" PostTypeId="2" ParentId="25958" CreationDate="2020-05-28T11:17:15.917" Score="0" Body="&lt;p&gt;For capturing (NVIDIA GPU rendered) chrome window, GPU compositing must be disabled via --disable-gpu-compositing. Maybe you can also disable it in your application.&lt;/p&gt;&#xA;" OwnerUserId="30015" LastActivityDate="2020-05-28T11:17:15.917" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30419" PostTypeId="2" ParentId="30413" CreationDate="2020-05-28T11:27:59.477" Score="0" Body="&lt;p&gt;I think you could achieve this just by key-framing the Source Text control in your text layer.&#xA;Unless you have hundreds of them and need to do it programatically, I would just keyframe the changes of text, and the repositioning would happen automatically. &#xA;If I have misunderstood what you mean, please add some screen shots to explain what you need.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-05-28T11:27:59.477" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30422" PostTypeId="2" ParentId="30417" CreationDate="2020-05-28T17:38:01.637" Score="0" Body="&lt;p&gt;Try tsMuxer as it will allow you to change the frame rate without re-encodingn &lt;a href=&quot;https://www.videohelp.com/software/tsMuxeR&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.videohelp.com/software/tsMuxeR&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27417" LastActivityDate="2020-05-28T17:38:01.637" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30423" PostTypeId="2" ParentId="5833" CreationDate="2020-05-28T18:05:28.637" Score="1" Body="&lt;p&gt;It seems this bug is still in &lt;code&gt;recordmydesktop&lt;/code&gt;, or at least I got the exact same symptoms here with the version from Debian testing (&lt;code&gt;0.3.8.1+svn602-1.1&lt;/code&gt;).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just managed to transcode this video almost correctly, in the following way:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Use VLC.&lt;/li&gt;&#xA;&lt;li&gt;Ask it to transcode to the WebM &quot;profile&quot;.&lt;/li&gt;&#xA;&lt;li&gt;Ask it to display the video as it is transcoded.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;The result still has the correct synchronization (yay!), but it still suffers from a problem: the resulting video announces itself as lasting more than 4h whereas my video only lasts 25min.  Peertube hence lists it as a 4h video, tho once you start playing it the correct 25min duration is displayed, so the problem is not too serious.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Point 3 is important, but point 2 is also: maybe other profiles will also work, but at least the H264 profile gave me an unusable video (either with bad sync like &lt;code&gt;ffmpeg&lt;/code&gt; or worse).&lt;/p&gt;&#xA;" OwnerUserId="30020" LastActivityDate="2020-05-28T18:05:28.637" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30424" PostTypeId="1" CreationDate="2020-05-28T19:47:16.737" Score="3" ViewCount="397" Body="&lt;p&gt;I am new to 3D software and have just started with Cinema 4d. When I add an object it shows on a weird color different from the one I see in tutos.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The tutorial videos I have seen create objects where the faces can be see in white. What am I doing wrong?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Image relating to the problem:&lt;a href=&quot;https://i.stack.imgur.com/nOe8d.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nOe8d.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;While the tutorial shows this: &#xA;&lt;a href=&quot;https://i.stack.imgur.com/Gcq0K.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Gcq0K.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30021" LastActivityDate="2020-05-28T23:03:57.203" Title="Why my objects are showing in this color?" Tags="|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30425" PostTypeId="2" ParentId="30102" CreationDate="2020-05-28T20:35:54.640" Score="0" Body="&lt;p&gt;You might want to try Algorithmia's Scene Detection. It detects timestamps where the algorithm assumes there is a cut. Then you just have to count the number of timestamps to get your result. You need to setup a Python environment for that and have some basic programming skills. I haven't tried it, so I cannot say how well it works.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt;&#xA;&lt;em&gt;Premiere Pro now has an &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/user-guide.html/premiere-pro/using/scene-edit-detection.ug.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;edit point detection&lt;/a&gt;. It's quite new, at first glance the results look good. You may want to give it a try. To count the number of cuts, select &amp;quot;Create Clip marker...&amp;quot; in the dialogue and export the markers to a csv file.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;Pretty much all solutions can be inaccurate to a certain degree. Some methods of cutting are hard to detect, like match cuts or invisible cuts. Be aware that some of the found cuts might not be cuts after all but are other types of transitions, like dissolves or morphs.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2021-02-12T13:29:57.163" LastActivityDate="2021-02-12T13:29:57.163" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30426" PostTypeId="2" ParentId="30289" CreationDate="2020-05-28T20:58:56.617" Score="0" Body="&lt;p&gt;This might be a performance issue. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could change playback resolution, quality, use proxy videos, render preview videos and some more. Tutorials for these steps should be easy to find.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-05-28T20:58:56.617" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30427" PostTypeId="2" ParentId="30424" CreationDate="2020-05-28T22:55:52.927" Score="1" Body="&lt;p&gt;The image from the tutorial has a white material applied to it. You can see it in the object manager, it’s the white sphere. By default, C4D uses a grey material.  To do the same, create a new material in the material manager (the empty area under the timeline) by using the &quot;Create&quot; menu -&gt;New Material or -&gt;New PBR Material, depending on your preference.  Both of those are white by default.  Then, drag the newly created material to your object, either by dragging to the object in the viewport, or in the object manager.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-05-28T23:03:57.203" LastActivityDate="2020-05-28T23:03:57.203" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30428" PostTypeId="1" CreationDate="2020-05-29T02:09:04.777" Score="2" ViewCount="118" Body="&lt;p&gt;In Premiere Pro, how can I delete clip portions that are between these labels?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(in an automatic way that's not too manual)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BfafE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BfafE.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;One way I could do it that is a bit slow and manual, is SHIFT-DOWN gets to e.g. where the cursor is in the image below.  'i' (to put a left mark in), then SHIFT-DOWN, then 'o', (to put a right marker in), then Ctrl-Shift-A to deselect the clip. Then shift-delete (rippled delete). And just keep repeating those keystrokes.  for all 40ish labels. But i'm hoping there's a quicker way.&lt;/p&gt;&#xA;" OwnerUserId="5555" LastActivityDate="2020-06-02T14:39:12.773" Title="In Premiere Pro, how can I delete clip portions that are between these labels?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30429" PostTypeId="1" AcceptedAnswerId="30440" CreationDate="2020-05-29T02:19:43.137" Score="0" ViewCount="25" Body="&lt;p&gt;I'm looking for an automagical way to create a Google Hangouts effect, ie.&#xA; 1. I have a number of files that are recordings of individual conversation members.&#xA; 2. I want to put together the video tracks into one project, and mask each one when the corresponding audio is silent (below some threshold), and to make it visible when there is audio from that audio track (so basically how Skype/Hangouts looks -&gt; someone is talking, you see their webcam)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I haven't been able to find something like this using Google, or poking around in Premiere and Lightworks, but if it's available in another program, that would be great to know.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The mask doesn't need any motion tracking - either the entire screen is entirely transparent (audio), or entirely opaque (no audio).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way to do this automatically, or is it something that has to be manually put together?&lt;/p&gt;&#xA;" OwnerUserId="30023" LastActivityDate="2020-05-30T13:28:17.753" Title="Does any software have the capability to create a mask/alpha value based on the volume of an audio channel" Tags="|video|mask|alpha|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30430" PostTypeId="2" ParentId="30102" CreationDate="2020-05-29T05:41:55.897" Score="1" Body="&lt;p&gt;DaVinci Resolve has a built-in scene detect tool that lets you cull cuts based on a specified threshold.  It also lets you jump from one detected cut to the next to verify the autodetect accuracy and accept or reject accordingly, showing you frames on either side of the cut.  There's a free version of Resolve which should support this feature, so you've got nothing to lose.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-05-29T05:41:55.897" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30431" PostTypeId="1" AcceptedAnswerId="30474" CreationDate="2020-05-29T07:29:29.610" Score="0" ViewCount="40" Body="&lt;p&gt;i have recorded a part of my screen (2624x1714, 8 hours, ca. 30 GB), then trim and cut in final cut pro. Now I want to compress it with Compressor. I set the output to HD 1080p but the file doesn't get smaller but bigger (36GB). Why? How should I proceed?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&#xA;&lt;p&gt;L&lt;/p&gt;&#xA;" OwnerUserId="14752" LastActivityDate="2020-06-04T13:35:15.713" Title="Compressing video recording- file gets bigger!" Tags="|compression|final-cut-pro|export|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30432" PostTypeId="2" ParentId="29149" CreationDate="2020-05-29T11:12:38.887" Score="1" Body="&lt;p&gt;You can use your screen recording as a video texture in Blender. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;This would then require no tracking / layering in After Effects. &#xA;Here's an &lt;a href=&quot;https://youtu.be/nxMCZ8ezna4?t=83&quot; rel=&quot;nofollow noreferrer&quot;&gt;example&lt;/a&gt; of how to go about this.&lt;/p&gt;&#xA;" OwnerUserId="30028" LastActivityDate="2020-05-29T11:12:38.887" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30433" PostTypeId="2" ParentId="19879" CreationDate="2020-05-29T13:03:56.493" Score="1" Body="&lt;p&gt;if you are looking for free VFX you might want to check out &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://nomadnationstore.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://nomadnationstore.com/&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They offer a monthly growing library for free VFX Assets in HD and 4K&lt;/p&gt;&#xA;&#xA;&lt;p&gt;No registration or whatever needed. Just download and have fun. &lt;/p&gt;&#xA;" OwnerUserId="30029" LastActivityDate="2020-05-29T13:03:56.493" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30434" PostTypeId="1" CreationDate="2020-05-29T17:55:14.100" Score="0" ViewCount="16" Body="&lt;p&gt;Experimenting with OBS...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can easily live stream a 5 Mbits stream to YouTube at faster.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;As soon as I add a split screen guest via the Skype NDI integration, the stream becomes unusable.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is it normal I can’t run both OBS and Skype a mid-2015 MacBook Pro?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My Internet connection is a 120/20 and I am wired using Gigabit.&lt;/p&gt;&#xA;" OwnerUserId="28050" LastActivityDate="2021-05-06T01:55:50.417" Title="Is it normal that using OBS with the Skype NDI integration is unusable on mid-2015 Macbook Pro?" Tags="|youtube|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30436" PostTypeId="1" CreationDate="2020-05-29T20:41:01.210" Score="1" ViewCount="55" Body="&lt;p&gt;Just wanted whether this was possible. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know that within OBS, I can stream video from my phone camera on a url like localhost:5050 when I used a &quot;turn phone into webcam&quot; app. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;So I was wondering, it is possible for OBS Studio in one location to be able to push a video stream to a remote server, in which another OBS Studio in another location can consumer via the said OBS Browser source input?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If so what is this setup called and what should I look into?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I hope I have been understood. I have noone around me who dabs within this field.  &lt;/p&gt;&#xA;" OwnerUserId="30034" LastActivityDate="2020-05-29T20:41:01.210" Title="Is it possible to push an video stream via OBS to a video server for consumption by another OBS Studio?" Tags="|video|streaming|obs|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30437" PostTypeId="1" AcceptedAnswerId="30443" CreationDate="2020-05-30T00:41:42.633" Score="1" ViewCount="320" Body="&lt;p&gt;I am converting a video using the following:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -y -analyzeduration 2147483647 -probesize 2147483647 -i /home/michael/Desktop/transcodingtemp/output.mkv -max_interleave_delta 0 -filter_complex &quot;[0:v][0:s:0]overlay[v1];[v1]scale=w=-2:h=720:flags=gauss[v2]&quot; -max_muxing_queue_size 1024 -map &quot;[v2]&quot; -map 0:1? -map 0:2? -map 0:3? -map 0:4? -max_muxing_queue_size 9999 -codec:v:0 libx264 -crf 23 -c:a aac -b:a 320k -sn /home/michael/Desktop/transcodingtemp/output.mkv_transcoded.mkv&#xA;ffmpeg version 4.2.2-1ubuntu1 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 9 (Ubuntu 9.3.0-3ubuntu1)&#xA;  configuration: --prefix=/usr --extra-version=1ubuntu1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opencl --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-nvenc --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, matroska,webm, from '/home/michael/Desktop/transcodingtemp/output.mkv':&#xA;  Metadata:&#xA;    ENCODER         : Lavf58.29.100&#xA;  Duration: 00:05:00.11, start: 0.000000, bitrate: 3243 kb/s&#xA;    Chapter #0:0: start 0.000000, end 159.493000&#xA;    Metadata:&#xA;      title           : Chapter 01&#xA;    Chapter #0:1: start 159.493000, end 300.000000&#xA;    Metadata:&#xA;      title           : Chapter 02&#xA;    Stream #0:0: Video: h264 (High), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 23.98 fps, 23.98 tbr, 1k tbn, 47.95 tbc (default)&#xA;    Metadata:&#xA;      BPS-eng         : 1368113&#xA;      DURATION-eng    : 01:38:24.941000000&#xA;      NUMBER_OF_FRAMES-eng: 141577&#xA;      NUMBER_OF_BYTES-eng: 1009828723&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v34.0.0 ('Sight and Seen') 64-bit&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-06-07 05:38:49&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      ENCODER         : Lavc57.107.100 h264_vaapi&#xA;      DURATION        : 00:05:00.112000000&#xA;    Stream #0:1(jpn): Audio: aac (LC), 48000 Hz, 5.1, fltp (default)&#xA;    Metadata:&#xA;      BPS-eng         : 310439&#xA;      DURATION-eng    : 01:38:24.938000000&#xA;      NUMBER_OF_FRAMES-eng: 276794&#xA;      NUMBER_OF_BYTES-eng: 229141045&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v34.0.0 ('Sight and Seen') 64-bit&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-06-07 05:38:49&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      ENCODER         : Lavc57.107.100 aac&#xA;      DURATION        : 00:05:00.010000000&#xA;    Stream #0:2(eng): Subtitle: hdmv_pgs_subtitle, 1920x1080 (default)&#xA;    Metadata:&#xA;      title           : English Sub (Translated from Japanese)&#xA;      BPS-eng         : 17619&#xA;      DURATION-eng    : 01:35:43.029000000&#xA;      NUMBER_OF_FRAMES-eng: 2298&#xA;      NUMBER_OF_BYTES-eng: 12648785&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v34.0.0 ('Sight and Seen') 64-bit&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-06-07 05:38:49&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      DURATION        : 00:04:54.440000000&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; overlay:main (graph 0)&#xA;  Stream #0:2 (pgssub) -&amp;gt; overlay:overlay (graph 0)&#xA;  scale (graph 0) -&amp;gt; Stream #0:0 (libx264)&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[matroska,webm @ 0x5571480cfb80] sub2video: using 1920x1080 canvas&#xA;[libx264 @ 0x5571480fdf40] using SAR=1/1&#xA;[libx264 @ 0x5571480fdf40] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x5571480fdf40] profile High, level 3.1&#xA;[libx264 @ 0x5571480fdf40] 264 - core 155 r2917 0a84d98 - H.264/MPEG-4 AVC codec - Copyleft 2003-2018 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=23 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, matroska, to '/home/michael/Desktop/transcodingtemp/output.mkv_transcoded.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf58.29.100&#xA;    Chapter #0:0: start 0.000000, end 159.493000&#xA;    Metadata:&#xA;      title           : Chapter 01&#xA;    Chapter #0:1: start 159.493000, end 300.000000&#xA;    Metadata:&#xA;      title           : Chapter 02&#xA;    Stream #0:0: Video: h264 (libx264) (H264 / 0x34363248), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], q=-1--1, 23.98 fps, 1k tbn, 23.98 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc58.54.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1(jpn): Audio: aac (LC) ([255][0][0][0] / 0x00FF), 48000 Hz, 5.1, fltp, 320 kb/s (default)&#xA;    Metadata:&#xA;      BPS-eng         : 310439&#xA;      DURATION-eng    : 01:38:24.938000000&#xA;      NUMBER_OF_FRAMES-eng: 276794&#xA;      NUMBER_OF_BYTES-eng: 229141045&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v34.0.0 ('Sight and Seen') 64-bit&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-06-07 05:38:49&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      DURATION        : 00:05:00.010000000&#xA;      encoder         : Lavc58.54.100 aac&#xA;[matroska @ 0x5571480fc080] Starting new cluster due to timestampte=1026.8kbits/s speed=2.92x    &#xA;    Last message repeated 1 times&#xA;frame= 7075 fps= 69 q=-1.0 Lsize=   38040kB time=00:05:00.01 bitrate=1038.7kbits/s speed=2.91x    &#xA;video:26400kB audio:11493kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.388885%&#xA;[libx264 @ 0x5571480fdf40] frame I:57    Avg QP:14.50  size: 67869&#xA;[libx264 @ 0x5571480fdf40] frame P:1978  Avg QP:18.64  size:  8377&#xA;[libx264 @ 0x5571480fdf40] frame B:5040  Avg QP:24.34  size:  1308&#xA;[libx264 @ 0x5571480fdf40] consecutive B-frames:  3.2%  3.8%  5.1% 87.9%&#xA;[libx264 @ 0x5571480fdf40] mb I  I16..4: 32.8% 45.8% 21.5%&#xA;[libx264 @ 0x5571480fdf40] mb P  I16..4:  2.5%  5.9%  0.9%  P16..4: 16.6%  7.0%  4.4%  0.0%  0.0%    skip:62.7%&#xA;[libx264 @ 0x5571480fdf40] mb B  I16..4:  0.2%  0.3%  0.1%  B16..8: 14.6%  1.0%  0.1%  direct: 0.7%  skip:83.0%  L0:42.8% L1:52.9% BI: 4.4%&#xA;[libx264 @ 0x5571480fdf40] 8x8 transform intra:58.7% inter:71.8%&#xA;[libx264 @ 0x5571480fdf40] coded y,uvDC,uvAC intra: 36.5% 56.5% 28.2% inter: 3.8% 5.5% 0.4%&#xA;[libx264 @ 0x5571480fdf40] i16 v,h,dc,p: 46% 30%  5% 20%&#xA;[libx264 @ 0x5571480fdf40] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 26% 19% 25%  4%  6%  5%  6%  4%  4%&#xA;[libx264 @ 0x5571480fdf40] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 25% 23% 16%  5%  7%  7%  7%  5%  5%&#xA;[libx264 @ 0x5571480fdf40] i8c dc,h,v,p: 52% 23% 19%  6%&#xA;[libx264 @ 0x5571480fdf40] Weighted P-Frames: Y:9.3% UV:5.3%&#xA;[libx264 @ 0x5571480fdf40] ref P L0: 71.0% 14.0% 11.2%  3.7%  0.1%&#xA;[libx264 @ 0x5571480fdf40] ref B L0: 91.6%  6.8%  1.6%&#xA;[libx264 @ 0x5571480fdf40] ref B L1: 96.6%  3.4%&#xA;[libx264 @ 0x5571480fdf40] kb/s:0.03&#xA;[aac @ 0x55714810e580] Qavg: 3812.204&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The problem is that when I check the video, I get on VLC an incorrect max time 1197 hours. I know the problem is caused by the overlay (filter_complex) but don't know why. I also tried just &quot;-filter_complex &quot;[0:v][0:s:0]overlay[v1]&quot; but even produces the same result.&lt;/p&gt;&#xA;" OwnerUserId="23916" LastActivityDate="2020-05-31T11:37:53.870" Title="ffmpeg conversions lead to incorrect time on vlc" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30439" PostTypeId="1" CreationDate="2020-05-30T13:10:20.837" Score="0" ViewCount="56" Body="&lt;p&gt;This is my first doc and I need footage from an event that the event organizer hired someone for. I have already approached the event organizer but he wants to know the doc subject matter. My associate has mentioned the subject matter to him on a different occasion and it is evident that the organizer does not agree with it. The doc deals with women's rights and this guy is old school. So we have a problem. He seems to want to be the middleman between us and the videographer. Unfortunately, since it was a private event, I don't know the videographer's name. Even if I did find out who it is, would I be able to ask the videographer for footage not included in the final cut for the organizer? Or does the organizer own all the footage of the event? Either way, what would be considered a fair amount to pay the organizer or the videographer for, say, 1 minute of footage?&lt;/p&gt;&#xA;" OwnerUserId="30039" LastActivityDate="2024-03-12T15:07:20.863" Title="How much and who to pay" Tags="|footage|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30440" PostTypeId="2" ParentId="30429" CreationDate="2020-05-30T13:28:17.753" Score="0" Body="&lt;p&gt;You could certainly do it in After Effects. If you &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/assorted-animation-tools.html#convert_audio_to_keyframes&quot; rel=&quot;nofollow noreferrer&quot;&gt;convert the audio levels to keyframes&lt;/a&gt; you can then use expressions / the pickwhip to drive the opacity of the layers. After Effects is not free. I wouldn't be surprised if it was possible in Fusion (freemium) and certainly other compositing tools like Nuke or Apple Motion. &lt;a href=&quot;https://natrongithub.github.io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Natron&lt;/a&gt;, (free) may have the capability. There was an audio to ascii plugin, I don't think it still works though.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could &lt;a href=&quot;https://www.blendernation.com/2014/04/03/using-sound-to-drive-animation-in-blender/&quot; rel=&quot;nofollow noreferrer&quot;&gt;do it in Blender&lt;/a&gt;, because of course you could do it in Blender. Blender is free. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For a more programmatic approach you could use something like Processing or OpenFrameworks (free). You need Java or C++ knowledge to use these.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It is definitely possible in all of these programs, though in none of them is it a beginner-level operation. The simplest workflow would probably be After Effects, though that might be my bias because it's the one I know best.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-05-30T13:28:17.753" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30442" PostTypeId="2" ParentId="28286" CreationDate="2020-05-30T21:19:59.667" Score="1" Body="&lt;p&gt;At least using Shotcut, you can get lossless output at minimum file size using the FFV1 codec.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;In the export window, choose the &lt;code&gt;lossless/FFV1&lt;/code&gt; preset.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Click the &lt;strong&gt;Advanced&lt;/strong&gt; button at the bottom.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Go to the &lt;strong&gt;Codec&lt;/strong&gt; tab, and set the &lt;strong&gt;GOP&lt;/strong&gt; to &lt;code&gt;250&lt;/code&gt; frames.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Go to the &lt;strong&gt;Other&lt;/strong&gt; tab, delete everything there and type the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; coder=1&#xA; context=1&#xA; pix_fmt=bgr0&#xA; mlt_image_format=rgb24&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Source: &lt;a href=&quot;https://forum.shotcut.org/t/lossless-annoyances/18344/2&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forum.shotcut.org/t/lossless-annoyances/18344/2&lt;/a&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h2&gt;Edit (June 2021)&lt;/h2&gt;&#xA;&lt;p&gt;The newer versions of Shotcut have better options for lossless encoding with smaller output file size. Here are the steps:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Click the &lt;strong&gt;Settings&lt;/strong&gt; menu &amp;gt; &lt;strong&gt;Video Mode&lt;/strong&gt; &amp;gt; &lt;strong&gt;Custom&lt;/strong&gt; &amp;gt; &lt;strong&gt;Add...&lt;/strong&gt;, then set &lt;strong&gt;Colorspace&lt;/strong&gt; to &lt;code&gt;BT.709&lt;/code&gt; and click &lt;strong&gt;OK&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In the &lt;strong&gt;Export&lt;/strong&gt; window, choose any preset and click the &lt;strong&gt;Advanced&lt;/strong&gt; button at the bottom.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In the &lt;strong&gt;Codec&lt;/strong&gt; tab, set &lt;strong&gt;Codec&lt;/strong&gt; to &lt;code&gt;libx264rgb&lt;/code&gt;, set &lt;strong&gt;Rate control&lt;/strong&gt; to &lt;code&gt;Quality-based VBR&lt;/code&gt;, set &lt;strong&gt;Quality&lt;/strong&gt; to &lt;code&gt;100%&lt;/code&gt;, and set &lt;strong&gt;GOP&lt;/strong&gt; to &lt;code&gt;250&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In the &lt;strong&gt;Other&lt;/strong&gt; tab, delete everything and paste the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; pix_fmt=bgr24&#xA; mlt_image_format=rgb24&#xA; qp=0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;When you're done you can save these settings for later use; click the &lt;strong&gt;+&lt;/strong&gt; button at the bottom of the &lt;strong&gt;Presets&lt;/strong&gt; list and choose a name for your custom preset.&lt;/p&gt;&#xA;" OwnerUserId="30043" LastEditorUserId="30043" LastEditDate="2021-06-24T13:17:49.130" LastActivityDate="2021-06-24T13:17:49.130" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30443" PostTypeId="2" ParentId="30437" CreationDate="2020-05-31T11:37:53.870" Score="1" Body="&lt;p&gt;2 Things:&lt;br&gt;&#xA;1. why do you only convert the &lt;code&gt;0&lt;/code&gt; stream? you could just do &lt;code&gt;-c:v libx264&lt;/code&gt; (instead of &lt;code&gt;-codec:v:0 libx264&lt;/code&gt;)&lt;br&gt;&#xA;2. you could try to use the &lt;code&gt;shortest&lt;/code&gt; statement in your &lt;code&gt;overlay&lt;/code&gt;-statement. Like this &lt;code&gt;[0:v][0:s:0]overlay=shortest[v1]&lt;/code&gt;, &lt;/p&gt;&#xA;&#xA;&lt;p&gt;See here for more:&lt;br&gt;&#xA;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#overlay-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#overlay-1&lt;/a&gt;&lt;br&gt;&#xA;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#framesync&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#framesync&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could also try reencoding your transcoded video without filters and see if you get errors or if the time is fixed after that.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Greetings&lt;/p&gt;&#xA;&#xA;&lt;p&gt;(This is posted as an answer and not a comment, because I can't comment)&lt;/p&gt;&#xA;" OwnerUserId="23175" LastActivityDate="2020-05-31T11:37:53.870" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30444" PostTypeId="1" CreationDate="2020-05-31T12:45:55.470" Score="0" ViewCount="914" Body="&lt;p&gt;I want to see thumbnail in google photos which show first frame as thumbnail&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Most answers (for example &lt;a href=&quot;https://video.stackexchange.com/questions/28853/ffmpeg-add-image-at-beginning-of-mp4-as-first-frame&quot;&gt;FFMPEG add image at beginning of MP4 as first frame&lt;/a&gt;) fail becouse I am on windows and do not have files like anullsrc or with error similar to:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;[AVFilterGraph @ 000002085fc0e100] No such filter: '[0:v]'&#xA;Error initializing complex filters.&#xA;Invalid argument&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I know I can get thumbnail extracted using &lt;code&gt;ffmpeg -i [VIDEO] -map 0:v -map -0:V -c copy [IMAGE]&lt;/code&gt;, but it would be better for me if it could be done in one command (cmd or powershell) so it would not leave lot of files behind when doing for many files.&lt;/p&gt;&#xA;" OwnerUserId="30048" LastActivityDate="2020-05-31T12:45:55.470" Title="How do I set video thumbnail as first frame of video?" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30446" PostTypeId="2" ParentId="30439" CreationDate="2020-05-31T18:17:25.213" Score="0" Body="&lt;p&gt;It all depends. You have to find out what the organizer and videographer agreed upon in detail. It is possible that the organizer holds all rights even to unpublished material.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The amount you pay is dependent on how much time effort and maybe investment in equipment was taken to produce the original material. But your budget will set a limit anyway. Assuming you can track down the videographer talk to him on the phone and try to find out about their efforts, then offer a higher or lower percentage of your limit.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-05-31T18:17:25.213" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30447" PostTypeId="1" CreationDate="2020-06-01T06:35:16.477" Score="0" ViewCount="526" Body="&lt;p&gt;I would like to compress a video and in the same time to be in fast motion, and this must have as a result a high quality fast motion video. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to run this ffmpeg command which compress video in high quality and in fast motion (~four times faster): &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video_to_encode.avi  -r 16 -crf 18  -vcodec libx264  -filter:v &quot;setpts=0.25*PTS&quot; -vb 10M -vf scale=1280:720 video_output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, while video is compressed in high quality, the command for fast motion  &lt;code&gt;-filter:v &quot;setpts=0.25*PTS&quot;&lt;/code&gt; is not executed. I have an idea that &quot;-filter:v&quot; may must be removed. Is that right? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE 1: &#xA;This command do what I would like to do, however, it creates a negative timestamp. This means that if I have a video of 21 seconds, and it is compressed in fast motion four times faster, then it will be resulted a video of 5 seconds and not of 21. However, this command generates a video of incorrent timestamp of 21 seconds where only the first 5 seconds are running as a proper video, and then it is frozen until 21th second.  &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video_to_encode.avi  -r 16 -crf 18  -vcodec libx264 -vb 10M -vf &quot;scale=1280:720,setpts=0.25*PTS&quot; video_output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30052" LastEditorUserId="30052" LastEditDate="2020-06-01T07:12:48.167" LastActivityDate="2024-02-11T15:05:00.667" Title="ffmpeg compress video in fast motion in high quality" Tags="|ffmpeg|video-quality|compression|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30448" PostTypeId="2" ParentId="19784" CreationDate="2020-06-01T06:50:21.417" Score="1" Body="&lt;p&gt;I had the same problem. I solved that by removing the audio from video.&#xA;This is why the video seems frozen but it continues to play it, due to audio duration. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For that reason, you may remove entire audio from video file using &quot;-an&quot; ffmpeg option. When it removed, no incorrect time in video exists. You may extract audio from the initial video file, match its duration time with the video duration, and then, you encode video and audio files together, resulting no frozen video frames play. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;eg. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video_to_encode.MP4  -r 16 -crf 18  -vcodec libx264 -vb 10M -an  video_output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30052" LastActivityDate="2020-06-01T06:50:21.417" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30449" PostTypeId="2" ParentId="30447" CreationDate="2020-06-01T06:59:02.240" Score="0" Body="&lt;p&gt;I, finally, found the answer!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The problem was created from the mismatch of Video frames duration, and audio duration. So the video seems to be frozen after some moment, and it seems it continues to play frozen to last video frame. However, audio continued to play. It continue to paly until audio duration finish. Therefore, I decided to remove the audio track entirely while compressing the file. This resulted a video-only file with correct playing time using &quot;-an&quot; ffmpeg option.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video_out.avi  -r 16 -crf 18  -vcodec libx264 -vb 10M -vf &quot;scale=1280:720,setpts=0.25*PTS&quot;  -an  gp.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30052" LastEditorUserId="30052" LastEditDate="2020-06-01T07:14:05.637" LastActivityDate="2020-06-01T07:14:05.637" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30450" PostTypeId="1" AcceptedAnswerId="30451" CreationDate="2020-06-01T08:37:21.057" Score="0" ViewCount="854" Body="&lt;p&gt;I would like to merge multiple video files, performing in the same time complex compressing options. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;How can I do that? The following ffmpeg command resulting this error: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; Filtergraph 'scale=1280:720,setpts=0.20*PTS' was specified through the -vf/-af/-filter option for output stream 0:0, which is fed from a complex filtergraph.&#xA;-vf/-af/-filter and -filter_complex cannot be used together for the same stream.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The ffmpeg command that i used: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i GOPR0003.MP4 -i GOPR0004.MP4 -i GOPR0005.MP4 -i GOPR0005.MP4 -i GOPR0006.MP4 -i GOPR0007.MP4 -i GOPR0007.MP4 -i GOPR0008.MP4 -i GOPR0009.MP4 -i GOPR0010.MP4 -i GOPR0012.MP4 -i GOPR0013.MP4 -i GOPR0015.MP4 \&#xA;   -filter_complex &quot;[0:v] [1:v] [2:v] [3:v] [4:v] [5:v] [6:v] [7:v] [8:v]  [9:v]  [10:v] concat=n=11:v=1 [v]&quot; \&#xA;    -r 24 -crf 18  -vcodec libx264 -vb 20M -vf &quot;scale=1280:720,setpts=0.20*PTS&quot;  -an   -map &quot;[v]&quot;   video_output_01.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30052" LastEditorUserId="30052" LastEditDate="2020-06-01T09:22:14.490" LastActivityDate="2020-06-01T12:32:32.507" Title="Merge multiple video files using ffmpeg by adding multiple compress options" Tags="|ffmpeg|video-recording|codec|compression|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30451" PostTypeId="2" ParentId="30450" CreationDate="2020-06-01T09:24:04.260" Score="0" Body="&lt;p&gt;All filtering should be performed in the same filtergraph. Each &lt;code&gt;-filter_complex&lt;/code&gt; or &lt;code&gt;-vf&lt;/code&gt; defines a different filtergraph. You can use&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex &quot;[0:v] [1:v] [2:v] [3:v] [4:v] [5:v] [6:v] [7:v] [8:v]  [9:v]  [10:v] concat=n=11:v=1,scale=1280:720,setpts=0.20*PTS [v]&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-06-01T09:24:04.260" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="30452" PostTypeId="2" ParentId="30450" CreationDate="2020-06-01T10:36:35.083" Score="0" Body="&lt;p&gt;Finally, &#xA;I used that command that resulted to compress multiple video files, while in the same time setting a range of compressing options in ffmpeg: &lt;/p&gt;&#xA;&#xA;&lt;p&gt;VIDEOFILES.txt contains a list of the videos that are to merged in a specific way: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i VIDEOFILES.txt -r 32 -crf 14  -vcodec libx264 -vb 20M -vf &quot;scale=1280:720,setpts=0.20*PTS&quot; -fflags +genpts  -an   video_output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30052" LastEditorUserId="30052" LastEditDate="2020-06-01T12:32:32.507" LastActivityDate="2020-06-01T12:32:32.507" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30453" PostTypeId="2" ParentId="25856" CreationDate="2020-06-01T15:51:01.007" Score="1" Body="&lt;p&gt;I needed this feature and had not found it. I ended up finding out on the web with no answers.&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Choose the video that is already cut.&lt;/li&gt;&#xA;&lt;li&gt;Choose the TRIM option from the timeline menu&lt;/li&gt;&#xA;&lt;li&gt;Click on the corresponding clip and drag to the left or right that will do the same option.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;PS: FCPX 10.4.6 but I believe the option is common.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="30057" LastActivityDate="2020-06-01T15:51:01.007" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30454" PostTypeId="1" AcceptedAnswerId="30455" CreationDate="2020-06-01T19:19:41.027" Score="1" ViewCount="1954" Body="&lt;p&gt;Can I set duration of multiple After Effects (freezed frame) layers to a fixes value (e.g. 4 seconds each) at once?&lt;/p&gt;&#xA;" OwnerUserId="25940" LastActivityDate="2020-06-01T20:20:21.290" Title="Changing duration of multiple After Effects layers at once" Tags="|after-effects|presentation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30455" PostTypeId="2" ParentId="30454" CreationDate="2020-06-01T20:20:21.290" Score="2" Body="&lt;p&gt;Yes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Select all of the layers.  Move the time cursor to where you want the layers duration to end.  Press &lt;kbd&gt;alt&lt;/kbd&gt; + &lt;kbd&gt;]&lt;/kbd&gt;. This will extend your layer to that position (if it is able to be extended).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pressing &lt;kbd&gt;alt&lt;/kbd&gt; + &lt;kbd&gt;[&lt;/kbd&gt; would adjust the in point&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Pressing Press &lt;kbd&gt;[&lt;/kbd&gt; or &lt;kbd&gt;]&lt;/kbd&gt; on their own would move the in or out point of the layer to your current time position.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-06-01T20:20:21.290" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30457" PostTypeId="1" CreationDate="2020-06-02T12:18:22.770" Score="0" ViewCount="880" Body="&lt;p&gt;I am trying to normalize audio between the clips in my timeline, and at the same time I want to make sure that the overall volume matches Youtube's guidelines.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wonder if I can read the peak amplitude in AE itself and normalize it across the clips automatically. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am not quite sure what I am doing. I've imported a MP3 that should have a reasonable peak volume as it was encoded professionally (not by me), but it sounds a bit too high in volume to what I expected – maybe is there a master volume in AE that I don't know of?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I tried to look up for any guidelines from Youtube in regard to audio normalization, but I had no luck with that, they probably don't exist at all (I wouldn't be surprised, volume on Youtube is all over the place, it's inconsistent even between videos from the same channel).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you in advance.&lt;/p&gt;&#xA;" OwnerUserId="30069" LastActivityDate="2020-06-03T19:33:39.307" Title="Audio normalization across multiple clips and for Youtube, in After Effects" Tags="|after-effects|audio|youtube|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30458" PostTypeId="1" AcceptedAnswerId="30460" CreationDate="2020-06-02T12:57:24.933" Score="3" ViewCount="315" Body="&lt;p&gt;I want to make the effect of a melting film strip in the old projector. Please tell me how this can be done with After Effects? I have all the necessary footages, but after blending it does not look realistic. I want the film strip  to start melting from below, and then the fire gradually destroyed the frame and burst out.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/6tKL7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6tKL7.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30068" LastActivityDate="2020-06-02T18:10:54.360" Title="After Effects melting film strip in the old projector" Tags="|video|after-effects|editing|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30459" PostTypeId="2" ParentId="30428" CreationDate="2020-06-02T14:39:12.773" Score="2" Body="&lt;p&gt;Here's a dirty yet maybe effective method:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create an adjustment-layer above your two video tracks, that goes from start to end.&lt;/li&gt;&#xA;&lt;li&gt;Select all your pink labels and drag them up, effectively replacing those parts in the adjustment-layer.&lt;/li&gt;&#xA;&lt;li&gt;Delete your still selected labels&lt;/li&gt;&#xA;&lt;li&gt;Pull down the bits of the adjustment-layer into your main clip and delete them.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;If I were to show this method to my testers in the final exam they'd probably chop my head off, but it's the easiest way I came up with so far.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-06-02T14:39:12.773" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30460" PostTypeId="2" ParentId="30458" CreationDate="2020-06-02T14:47:33.183" Score="3" Body="&lt;p&gt;I would try using a displacement map. You can use a solid with turbulent noise on it and use it as your map, then animate the evolution, contrast and brightness so it displaces the film accordingly. If your burn is a separate layer, you can also use this as the matte for the solid with turbulent-noise in it with the effect &quot;set matte&quot;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, you might want to try to using a similar turbulent noise layer as a matte for the whole comp, meaning that the spreading bubbles from the noise (you can spread it out by pulling up a mask and keyframing the mask expansion) effectively get shuffled into your alpha-layer. If you then duplicate all this, move it one layer below, shift it to the right in the timeline (so the lower layer is about 10 frames later than the upper) and then drastically increase the contrast and lower the brightness, you will achieve some dark edges to the burnt parts.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-06-02T14:47:33.183" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30462" PostTypeId="2" ParentId="30457" CreationDate="2020-06-02T21:12:30.667" Score="1" Body="&lt;p&gt;Your workflow is wrong. You just don't normalize audio with After Effects. Instead either do it with an audio editor, like Audition (which seems suitable to match clips in timeline, just use the normalize effect and maybe a compressor if the dynamic is too great). Finally apply loudness normalization with your video editor. For example during export with Premiere Pro you can set the loudness in the effects tab. Choose a profile and set parameters. For background information on parameter and unit names you can read &lt;a href=&quot;https://www.bbc.co.uk/rd/publications/whitepaper202&quot; rel=&quot;nofollow noreferrer&quot;&gt;a PDF here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="4426" LastEditDate="2020-06-03T19:33:39.307" LastActivityDate="2020-06-03T19:33:39.307" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30463" PostTypeId="1" CreationDate="2020-06-02T22:53:46.023" Score="2" ViewCount="54" Body="&lt;p&gt;I have &quot;mkv&quot; movies with two soundtracks, one English and one French.&lt;br&gt;&#xA;I'd like to play the video and the French soundtrack on my TV and the English soundtrack on my bluetooth earphones.&lt;br&gt;&#xA;Is there a player capable of doing that?&lt;/p&gt;&#xA;" OwnerUserId="30074" LastEditorUserId="29249" LastEditDate="2020-06-03T14:27:55.423" LastActivityDate="2020-06-03T14:27:55.423" Title="Play two soundtracks, from an &quot;mkv&quot; movie, on two different devices" Tags="|audio|mkv|video-player|" AnswerCount="0" CommentCount="0" ClosedDate="2020-06-10T17:39:31.760" ContentLicense="CC BY-SA 4.0" />
  <row Id="30464" PostTypeId="1" AcceptedAnswerId="30468" CreationDate="2020-06-03T09:10:44.293" Score="1" ViewCount="87" Body="&lt;p&gt;I want to compress a video to store it for backup purpose.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;By that, I mean that I don't need to play video when it is compress format. So I don't want to lose quality or something like that, just compress it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have tried to compress with 7zip, but size not decrease. Is it possible to compress a video ? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example, I use 7zip on a 3.92Go mkv video. I try :&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;zip format : 3.92Go&lt;/li&gt;&#xA;&lt;li&gt;gz format : 3.88Go&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="30076" LastEditorUserId="30076" LastEditDate="2020-06-03T10:58:54.310" LastActivityDate="2020-06-03T20:47:53.107" Title="compress video for backup" Tags="|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30466" PostTypeId="1" CreationDate="2020-06-03T13:56:03.740" Score="1" ViewCount="50" Body="&lt;p&gt;Im wondering whats a good way for distinguishing (marking) a freeze frame from the moving parts of the video so it will not look like a problem that stopped the video player app?&#xA;I prefer keeping the freeze frame as clean as possible with minimal effects and markings.&lt;/p&gt;&#xA;" OwnerUserId="25940" LastActivityDate="2024-02-14T06:07:20.890" Title="How can I distinguish a freeze frame from the moving parts of the video?" Tags="|after-effects|presentation|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30467" PostTypeId="2" ParentId="30466" CreationDate="2020-06-03T20:29:03.170" Score="0" Body="&lt;p&gt;Add a sound effect: the effect fades in, is audible at full volume shortly before it abruptly ends exactly when the freeze frame appears. The sound effect should be distinguishable from background sounds and overall be crisp and short (like 0.5-2 seconds). That way, the audience is given a clear indicator that the freeze frame is intentional. An alternative might be a sudden tempo/rhythm change in music - but I wouldn't stop the music.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-06-03T20:29:03.170" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30468" PostTypeId="2" ParentId="30464" CreationDate="2020-06-03T20:47:53.107" Score="1" Body="&lt;p&gt;Generally no. Compression algorithms search for repetitive data and replace it with a shorter code and keep a dictionary with all codes. Compressing text works excellent because in longer texts a lot of words repeat. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;With video this work has been done most of the time already. Usually the encoder is  performing a similar operation: looking for repeating patterns and replacing them with a shorter code. Most video files you see are already compressed, most repetitive patterns already encoded and therefore any further compression won't do much.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Sometimes re-encoding videos with a much newer encoder saves a lot of space, but this process is always a bit lossy and requires more work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You could check if the files have any additional unwanted audio tracks and remove them, like tracks in languages you don't speak anyway.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-06-03T20:47:53.107" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30470" PostTypeId="1" CreationDate="2020-06-04T00:02:02.033" Score="0" ViewCount="179" Body="&lt;p&gt;I have about 100 clips that I need to manually decrease the playback rate and increase the length of each clip. Usually I would add slow down each clip by 20% thus increasing the length by 20%.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm doing it now manually in Sony Vegas (not pro). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there any way of doing it automatically for 100 clips, and not for each one of them manually. Please feel free to propose some other software than Vegas, if Vegas cannot do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="30086" LastActivityDate="2020-06-04T00:02:02.033" Title="Multiple/Batch increase of length and decrease of speed" Tags="|video-editor|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30471" PostTypeId="2" ParentId="24333" CreationDate="2020-06-04T01:22:38.777" Score="0" Body="&lt;p&gt;I find that if I set up a new event and copy all the contents from the video that's giving problems into the new eventide problem is solved. It's an annoying thing but it works every time.&lt;/p&gt;&#xA;" OwnerUserId="30087" LastActivityDate="2020-06-04T01:22:38.777" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30472" PostTypeId="2" ParentId="30313" CreationDate="2020-06-04T08:33:54.240" Score="0" Body="&lt;p&gt;If CUDA is supported by your graphics card it should be enabled by default.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To confirm:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Open NVIDIA Control Panel.&lt;/li&gt;&#xA;&lt;li&gt;Check that CUDA is enabled in global settings.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RSFry.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RSFry.png&quot; alt=&quot;global settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Check Application specific settings. Make sure that Pinnacle Studio is selected in the drop down list (where I have Chrome in my example screenshot) &lt;/li&gt;&#xA;&lt;li&gt;Then make sure Pinncale uses global settings, or directly enable CUDA&lt;/li&gt;&#xA;&lt;li&gt;finally check if Pinnacle has it's own CUDA settings (I don't know about that.)&lt;/li&gt;&#xA;&lt;li&gt;if you have still problems, you should contact Pinnacle support&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rR9Gt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rR9Gt.png&quot; alt=&quot;program settings&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-06-04T08:33:54.240" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30473" PostTypeId="1" CreationDate="2020-06-04T10:54:05.070" Score="0" ViewCount="67" Body="&lt;p&gt;I am trying to add two videos using ffmpeg and the output video/audio is out of sync (and fast forwarded). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Goal is to put &lt;code&gt;intro.mp4&lt;/code&gt;  before the original file &lt;code&gt;clip.flv&lt;/code&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;My approach is to&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Change the format of &lt;code&gt;clip.flv&lt;/code&gt; to &lt;code&gt;clip.mp4&lt;/code&gt; &lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Concat &lt;code&gt;intro.mp4&lt;/code&gt; with &lt;code&gt;clip.mp4&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;I get a video where intro plays well and then when clip starts it's audio is not in sync with video also the video seems to be fast forwarded with sound seems to be high pitch&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have used both &lt;code&gt;handbrake&lt;/code&gt; and &lt;code&gt;ffmpeg&lt;/code&gt; for conversion and concatenating.&lt;/p&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;h2&gt;Files Metadata&lt;/h2&gt;&#xA;&#xA;&lt;h3&gt;Original source file &lt;code&gt;clip.flv&lt;/code&gt; metadata&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0: Video: h264 (High), yuv420p(progressive), 1280x720, 1500 kb/s, **30 fps**, 30 tbr, **1k tbn**, 60 tbc&#xA;Stream #0:1: Audio: aac (LC), 44100 Hz, stereo, fltp, 160 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;Intermediary file &lt;code&gt;intro.mp4&lt;/code&gt; metadata&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, bt709), 1280x720 [SAR 1:1 DAR 16:9], 130 kb/s, **30 fps**, 30 tbr, **30k tbn**, 60k tbc (default)&#xA;Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 317 kb/s &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h3&gt;File &lt;code&gt;clip.mp4&lt;/code&gt; metadata&lt;/h3&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x720, 1500 kb/s, 30 fps, 30 tbr, 16k tbn, 60 tbc (default)&#xA;Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 160 kb/s (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;hr&gt;&#xA;&#xA;&lt;p&gt;Things I have tried&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;As you'll see that the both videos have same frame rate but &lt;strong&gt;different timescale&lt;/strong&gt;, I have tried changing the timescale of one of the video to match the other before combining the video but with no luck.&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Update:&lt;/em&gt; I tried a workaround to convert the video to intermediary format &lt;code&gt;.MTS&lt;/code&gt;, then concat the videos and then convert output video to &lt;code&gt;.mp4&lt;/code&gt; as final output. Initially that seems to work but on performing more operations(trim and concat again) on the output video reveals that the video has unspecified pixal format and won't let me do those operations further&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;If you need more info to help, please ask. It's quite important for me to solve this.&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="30092" LastEditorUserId="30092" LastEditDate="2020-06-06T02:49:54.170" LastActivityDate="2020-06-06T02:49:54.170" Title="Post-production editing audio/video out of sync" Tags="|ffmpeg|encoding|transcoding|sync|formats|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="30474" PostTypeId="2" ParentId="30431" CreationDate="2020-06-04T13:35:15.713" Score="0" Body="&lt;p&gt;I solved it by reducing the bitrate &#xA;thank you&lt;/p&gt;&#xA;" OwnerUserId="14752" LastActivityDate="2020-06-04T13:35:15.713" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30476" PostTypeId="2" ParentId="30416" CreationDate="2020-06-04T16:35:23.283" Score="0" Body="&lt;p&gt;Most video editing programs will allow you to duplicate a project. Then you can just swap out the old logo image for the new logo image in the timeline, check/fix the scaling, and export it. You can keep all the projects so that if you need to make other changes, you can keep those changes in the project as well.&lt;/p&gt;&#xA;" OwnerUserId="17731" LastActivityDate="2020-06-04T16:35:23.283" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30477" PostTypeId="1" CreationDate="2020-06-04T17:42:37.323" Score="1" ViewCount="538" Body="&lt;p&gt;It used to be possible to preview all ProRes and PNG sequence .mov video files in the Finder in MacOS, by selecting the file and pressing the spacebar.&#xA;Now it isn't. It's a pain. Is there a workaround? Please don't say open them in an app.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2020-06-05T11:43:25.863" LastActivityDate="2020-06-05T11:43:25.863" Title="Why won't certain videos preview in MacOS Finder any more?" Tags="|file-formats|mac|prores|preview|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="30478" PostTypeId="1" CreationDate="2020-06-04T19:42:14.813" Score="3" ViewCount="52" Body="&lt;p&gt;Here's the situation: I'm not new to After Effects. I've been using it for a while and I could say I'm an intermediate user. My knowledge is limited to everything but expressions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, I have a &lt;strong&gt;white&lt;/strong&gt; solid and a &lt;strong&gt;red&lt;/strong&gt; solid. As the white solid increases width (scale), I want it to push the red solid. I'm not a newbie into programming, however, I'm either an advanced user. My guess on how to do it is the following one: get white's solid left and width properties from anchor point and add them to the X position of the red solid (&lt;code&gt;red.xPosition = whiteWidth + whiteAnchorLeft&lt;/code&gt;). Here's the actual code of my evil creation:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;var white = thisComp.layer(&quot;white&quot;);&#xA;var whiteAnchorLeft = white.sourceRectAtTime(time-white.inPoint,true).left&#xA;var whiteWidth = white.sourceRectAtTime(time-white.inPoint,true).width&#xA;//[whiteAnchorLeft,whiteWidth]&#xA;transform.xPosition = whiteWidth + whiteAnchorLeft &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This expression is inside of  &lt;code&gt;red &amp;gt; transform &amp;gt; x dimension&lt;/code&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I try to make this work, I get 1920 as X and it doesn't move. What am I doing wrong?&#xA;Thanks in advance!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: &lt;code&gt;[whiteAnchorLeft,whiteWidth]&lt;/code&gt; &lt;em&gt;is commented because After Effects is such an amazing software and it throws an error saying this &quot;method is undefined&quot; (???) althoug I've seen tutorials writing this down in the code.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="12377" LastActivityDate="2020-06-06T12:39:19.183" Title="Make a solid push another solid" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30479" PostTypeId="1" CreationDate="2020-06-04T21:04:15.790" Score="0" ViewCount="352" Body="&lt;p&gt;windows 7 64 bit running latest ffmpeg command-line.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;song.mp4&quot; -i &quot;2.mp3&quot; -filter_complex &quot;[1:a]adelay=3000|60000[1a];[0:a][1a]amix&quot; -vcodec copy -y &quot;output1.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I want to loop the 2.mp3 all the way till the video ends.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The 2.mp3 finishes after xxx time in 2.mp3 so I wish to loop it instead of how do I add a loop to this.&lt;/p&gt;&#xA;" OwnerUserId="30095" LastEditorUserId="23175" LastEditDate="2020-06-10T17:41:11.340" LastActivityDate="2024-02-21T00:05:15.523" Title="ffmpeg add loop to this line of code i have" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30480" PostTypeId="1" CreationDate="2020-06-04T21:14:54.133" Score="2" ViewCount="27" Body="&lt;p&gt;I found &lt;a href=&quot;https://www.youtube.com/watch?v=c470LB2gKcc&quot; rel=&quot;nofollow noreferrer&quot;&gt;a black and white video&lt;/a&gt; with a transluscent watermark that I want to remove. I have no experience with video editing and I prefer to use free and open-source software exclusively. Any help would be appreciated. Thank you!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note: The video is in the public domain in the US. The work was published between 1925 and 1963 and although there may or may not have been a copyright notice, &lt;a href=&quot;https://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?Search_Arg=school+time&amp;amp;Search_Code=TALL&amp;amp;PID=jvVJFI1T3ktMYmuZwJ0vYQB6MCv-O&amp;amp;SEQ=20200604172753&amp;amp;CNT=25&amp;amp;HIST=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;the copyright was not renewed&lt;/a&gt;. See &lt;a href=&quot;https://commons.wikimedia.org/wiki/Commons:Hirtle_chart&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; for more info.&lt;/p&gt;&#xA;" OwnerUserId="30096" LastEditorUserId="30096" LastEditDate="2020-06-04T21:28:31.180" LastActivityDate="2020-06-05T00:55:49.623" Title="How do you remove transulscent watermarks from videos?" Tags="|video-editor|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30481" PostTypeId="1" AcceptedAnswerId="30494" CreationDate="2020-06-04T22:54:21.390" Score="1" ViewCount="2667" Body="&lt;p&gt;I am totally new to DaVinci Resolve. I have included a small video on top of another footage, in the bottom right corner. How can I blur the edges of this inserted video?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I am able to blur the &lt;strong&gt;content&lt;/strong&gt; of the video, what is inside, but I would like to blur the edges/border of the small video, so it blends better on top of the other one.&lt;/p&gt;&#xA;" OwnerUserId="30097" LastActivityDate="2020-06-06T03:25:29.713" Title="Resolve - Blur the edges of an inserted clip" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30482" PostTypeId="1" CreationDate="2020-06-04T23:17:38.220" Score="1" ViewCount="117" Body="&lt;p&gt;I have i3-7100 CPU and 16 gigabytes of DDR4 RAM. I know it's not much, but &lt;strong&gt;why Adobe Media Encoder 2020 is rendering my simple 720p video with subtitles so slow?!&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;It takes 20 minutes to render my 5 minute 720p video&lt;/strong&gt; with default H264 settings. What is going on here?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And there are no scaling or other effects. Just the video and hardcoded subtitles.&lt;/p&gt;&#xA;" OwnerUserId="30098" LastActivityDate="2020-06-05T00:52:12.713" Title="What is the normal rendering time?" Tags="|adobe-media-encoder|rendering|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30483" PostTypeId="2" ParentId="30482" CreationDate="2020-06-05T00:52:12.713" Score="2" Body="&lt;p&gt;Check your GPU settings in AME prefs should be targeting your particular GPU. Choice of GPU can effect render time significantly. A GPU with a high CUDA processor count is best for these renders on a PC. On a MAC it should be metal with an appropriate card. Try and get a view of your system performance and buy a better card. &lt;a href=&quot;https://www.cgdirector.com/best-cpu-gpu-render-benchmarks/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.cgdirector.com/best-cpu-gpu-render-benchmarks/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27756" LastActivityDate="2020-06-05T00:52:12.713" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30484" PostTypeId="2" ParentId="30480" CreationDate="2020-06-05T00:55:49.623" Score="1" Body="&lt;p&gt;Load the clip into After Effects and add a mask to the mark.&#xA;Add an underlying track with matching or near matching background content. The mask will hide the top layer to reveal the bottom layer.&#xA;Add blurs, softening etc to smooth the underlay.&lt;/p&gt;&#xA;" OwnerUserId="27756" LastActivityDate="2020-06-05T00:55:49.623" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30485" PostTypeId="1" CreationDate="2020-06-05T05:02:54.030" Score="-1" ViewCount="390" Body="&lt;p&gt;If for example I have a video and there is a person that moves but is always partially blocked by an object, can I remove it somehow to get a clear video footage? I tried Adobe content aware Filter, it did not help. &lt;/p&gt;&#xA;" OwnerUserId="30099" LastActivityDate="2022-05-24T20:34:59.873" Title="How can I remove unwanted object from a video and see what's behind it?" Tags="|video|editing|adobe|filter|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30486" PostTypeId="2" ParentId="29496" CreationDate="2020-06-05T11:06:53.343" Score="0" Body="&lt;p&gt;I haven't used the Android version, so I don't know whether it splits into 4GB chunks, but Filmic Pro is a widely respected video camera app, and they make an Android version. The 4GB limit might be a limitation of the file system. &lt;a href=&quot;https://www.filmicpro.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.filmicpro.com/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-06-05T11:06:53.343" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30487" PostTypeId="2" ParentId="30485" CreationDate="2020-06-05T11:12:34.813" Score="0" Body="&lt;p&gt;There is no easy way to do this. You obviously can't just &quot;reveal&quot; footage that is obstructed, you'll have to recreate it. It's hard to judge the shot since you provided no screenshot, but the easiest method would probably be to grab a frame and use photoshop to remove the object and reconstruct the person by re-using parts of the existing image. If you have to reconstruct a face, I would say that it's an impossible task. A shoulder however should be possible. This way. You only have to create a &quot;patch&quot; for every other, or every frame, depending on the movement, then overlay those patches to your footage and track the footage if needed, to attach the patch with the tracked movement to your footage.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-06-05T11:12:34.813" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30488" PostTypeId="1" AcceptedAnswerId="30493" CreationDate="2020-06-05T14:39:52.370" Score="2" ViewCount="137" Body="&lt;p&gt;I am planning on shooting a short film with my DSLR (Nikon D5300). I want the film to be in 2.39:1 (1920x800), but my camera is recording in 16:9 (1920x1080).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wondered if there is any way to preview the final aspect ratio on the camera's LCD screen so that I better see what will be in the frame (since the cropping will be done in post-production and I don't want unhappy surprises like being to close to my actor and then half of their head gets chopped off). I thought about building some sort of box thing with the corresponding bars on top and bottom of the frame that I can put on the screen, but this would be rather bulky.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any solutions to preview the aspect ratio on the camera's LCD screen?&lt;/p&gt;&#xA;" OwnerUserId="29562" LastActivityDate="2020-06-05T20:55:31.037" Title="Preview Aspect Ratio on Camera LCD Screen" Tags="|video-recording|dslr|aspect|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30489" PostTypeId="1" CreationDate="2020-06-05T11:02:29.573" Score="0" ViewCount="618" Body="&lt;p&gt;So i had This Fan: &lt;a href=&quot;https://i.stack.imgur.com/59h4Y.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/59h4Y.png&quot; alt=&quot;this&quot;&gt;&lt;/a&gt; &#xA;which i converted to this using 3d effect in illustrator :&#xA;&lt;a href=&quot;https://i.stack.imgur.com/8Z1NE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8Z1NE.png&quot; alt=&quot;this&quot;&gt;&lt;/a&gt;&lt;br&gt;&#xA;and then i imported the .ai in after effects and converted the vector layers to shape layers. Now i want to rotate the fan like a real ceiling fan but i cant find a way to do it. Please help me out here. I am new to adobe.&lt;/p&gt;&#xA;" OwnerDisplayName="Utkarsh Singh" LastActivityDate="2020-06-05T16:18:37.640" Title="Ceiling fan 3d rotation animation in after effects" Tags="|animation|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30490" PostTypeId="1" CreationDate="2020-06-05T17:45:48.430" Score="0" ViewCount="1078" Body="&lt;p&gt;I tried creating two separate colorkey filters (as these seem to work better than chromakey filters) like this:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.mp4 -i input2.mp4 -filter_complex '[1:v]colorkey=0x6AA999:0.1:0.2[ckout1];[0:v][ckout1]overlay[out1];[1:v]colorkey=0x4D827A:0.1:0.2[ckout2];[out1][ckout2]overlay[out2]' -map '[out2]' output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;But this does not seem to filter on both keys.  In thinking about why, I think the issue is that both filters are creating transparency in the pixels that match that key, but then the overlay is combining the pixels that weren't filtered out from both keys, so I'm really only getting transparency for pixels which match BOTH filters, instead of those which match either.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I also looked at the &lt;code&gt;blend&lt;/code&gt; filter, with the idea that perhaps I could do something like this in the filter complex:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;'[0:v]colorkey='$KEY1':0.1:0.2[ckout1];[0:v]colorkey='$KEY2':0.1:0.2[ckout2];[ckout1][ckout2]blend=c3_expr=min(input1_c3,input2_c3)[out2]' -map '[out2]'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The idea being that I would take the minimum alpha value (opacity) of each input source for each pixel and make that the alpha value for the output for that pixel.  I am &lt;em&gt;assuming&lt;/em&gt; (it's not clear from the text) that the &quot;c3&quot; channel is referring to the alpha channel, but I don't see how to get the alpha value from each input.  What would go in place of &lt;code&gt;input1_c3&lt;/code&gt; and &lt;code&gt;input2_c3&lt;/code&gt;?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Or is there another way to do this that is better?&lt;/p&gt;&#xA;" OwnerUserId="29121" LastEditorUserId="29121" LastEditDate="2020-06-05T20:27:23.353" LastActivityDate="2022-04-04T00:36:54.487" Title="How to apply multiple chroma keys in ffmpeg?" Tags="|video|ffmpeg|video-editor|chromakey|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30491" PostTypeId="2" ParentId="30488" CreationDate="2020-06-05T18:07:20.970" Score="1" Body="&lt;p&gt;I assume you already checked the manual and there's no firmware option.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Well, the easiest way is to hide the excess areas with black electrical tape that you put directly on the screen after measuring the frame height. If needed the tape can be pulled partly off and put back on.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The pricy alternative is a suitable external monitor, called &quot;field monitor&quot;.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-06-05T18:07:20.970" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30493" PostTypeId="2" ParentId="30488" CreationDate="2020-06-05T20:46:32.457" Score="2" Body="&lt;p&gt;Apply a screen protector to the LCD and use a permanent marker to draw the aspect ratio you want to frame for. Relatively inexpensive, easy to add, and completely safe for your screen. You may want to just draw a fairly thin line to mark the safe area; it can sometimes be useful to see the full frame.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastEditorUserId="14523" LastEditDate="2020-06-05T20:55:31.037" LastActivityDate="2020-06-05T20:55:31.037" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30494" PostTypeId="2" ParentId="30481" CreationDate="2020-06-06T03:25:29.713" Score="1" Body="&lt;p&gt;I found the answer:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Go to &lt;code&gt;Color&lt;/code&gt; at the bottom.&lt;/li&gt;&#xA;&lt;li&gt;Select the clip you want to modify (the small video on top).&lt;/li&gt;&#xA;&lt;li&gt;Add your usual nodes as needed.&lt;/li&gt;&#xA;&lt;li&gt;Right click and &lt;code&gt;Add Alpha Output&lt;/code&gt;. This will create a new blue terminator.&lt;/li&gt;&#xA;&lt;li&gt;Right click and add a new &lt;code&gt;Corrector&lt;/code&gt; node and use the rectangle, ellipse, or whatever shape you need to define the transparent/opaque regions.&lt;/li&gt;&#xA;&lt;li&gt;Connect the previous nodes to the recently created node. Now link the green and blue points. This will make an alpha channel, making the region you marked as transparent/opaque.&lt;/li&gt;&#xA;&lt;li&gt;If you need to use the same ALPHA node in other clips, you can create a &lt;code&gt;Shared node&lt;/code&gt; that can be reused in other clips. Instead of adding a &lt;code&gt;Corrector&lt;/code&gt; node this time, use your shared node.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;See the image below for a clarification:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KQfj4.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KQfj4.jpg&quot; alt=&quot;description&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Source:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/cQlkXwZl4mk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="30097" LastActivityDate="2020-06-06T03:25:29.713" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30496" PostTypeId="1" CreationDate="2020-06-06T07:19:51.560" Score="1" ViewCount="139" Body="&lt;p&gt;I'm a newbie in video editing. Here's what I do:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I record the screen of my phone, explaining some stuff&lt;/li&gt;&#xA;&lt;li&gt;Video is recorded in portrait mode, thus it's a vertical video&lt;/li&gt;&#xA;&lt;li&gt;I edit this video by adding some pictures or audio effects and post it&lt;/li&gt;&#xA;&lt;li&gt;However, the video is vertical and added pictures block the real captured phone screen&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Here's what I want to do:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Recording the screen just like before&lt;/li&gt;&#xA;&lt;li&gt;Somehow shift this vertical video to the left of a new video&lt;/li&gt;&#xA;&lt;li&gt;Add pictures and other marks to the right in the editing process&lt;/li&gt;&#xA;&lt;li&gt;Export the whole as a square video&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;In fact, I want to do this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Q8YVp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Q8YVp.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don't know what keywords should I use in search to find guidelines on how to do this. I don't know what software (preferably free and open source) can I use for this. I'm stuck at this point. Can anyone help?&lt;/p&gt;&#xA;" OwnerUserId="1175" LastActivityDate="2020-06-11T00:06:49.463" Title="How to extend vertical video with the same duplicate size on its side?" Tags="|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30497" PostTypeId="2" ParentId="30490" CreationDate="2020-06-06T11:33:46.290" Score="1" Body="&lt;p&gt;Instead of always using &lt;code&gt;[1:v]&lt;/code&gt;, you would use the output of the previous one e.g. &lt;code&gt;[ckout1]&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;My guess, you want this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.mp4 -i input2.mp4 -filter_complex '[1:v]colorkey=0x6AA999:0.1:0.2[ckout1];[ckout1]colorkey=0x4D827A:0.1:0.2[ckout2];[0:v][ckout2]overlay[out2]' -map '[out2]' output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;(Maybe the inputs switched around)&lt;/p&gt;&#xA;&lt;p&gt;The overlay you are using is from &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#colorkey&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#colorkey&lt;/a&gt;? My guess is, that you misunderstood, what the overlay does in the example there. The example describes overlaying 2 opaque videos on top of each other, where the upper video receives transparency first.&lt;br /&gt;&#xA;What you are doing is overlay the transparent version of input2 onto input1 and then colorkeying input2 again and putting that also on top of input1 and the first colorkey.&lt;/p&gt;&#xA;" OwnerUserId="23175" LastEditorUserId="23175" LastEditDate="2020-07-19T14:12:44.793" LastActivityDate="2020-07-19T14:12:44.793" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30498" PostTypeId="2" ParentId="30479" CreationDate="2020-06-06T11:36:28.127" Score="0" Body="&lt;p&gt;You want to take a look at the &lt;code&gt;aloop&lt;/code&gt;-filter.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;song.mp4&quot; -i &quot;2.mp3&quot; -filter_complex &quot;[1:a]aloop=loop=-1[al];[al]adelay=3000|60000[1a];[0:a][1a]amix&quot; -vcodec copy -y &quot;output1.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#aloop&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#aloop&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;And then you will probably want to limit the song.mp4, so we are using the &lt;code&gt;duration&lt;/code&gt; option of &lt;code&gt;amix&lt;/code&gt;, to tell it to limit by the first input given. &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#amix&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#amix&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &quot;song.mp4&quot; -i &quot;2.mp3&quot; -filter_complex &quot;[1:a]aloop=loop=-1[al];[al]adelay=3000|60000[1a];[0:a][1a]amix=duration=first&quot; -vcodec copy -y &quot;output1.mp4&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Since I am not sure which of the two files you want to loop and don't know if you want to loop before or after the delay you might need to adjust the order of filters.&lt;/p&gt;&#xA;" OwnerUserId="23175" LastEditorUserId="23175" LastEditDate="2020-06-06T11:51:37.893" LastActivityDate="2020-06-06T11:51:37.893" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30499" PostTypeId="2" ParentId="30478" CreationDate="2020-06-06T12:39:19.183" Score="1" Body="&lt;p&gt;The &lt;code&gt;sourceRectAtTime(n)&lt;/code&gt; method does what it says on the tin: returns the dimensions of the &lt;strong&gt;source&lt;/strong&gt; of a layer, at &lt;strong&gt;comp&lt;/strong&gt; time &lt;strong&gt;n&lt;/strong&gt;. So because the source of your layer is 1920px wide, it returns 1920.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You want to be using another method, the &lt;code&gt;toComp&lt;/code&gt; layer space transform. It returns the comp co-ordinates of a point in layer co-ordinates. To find where the top right (in layer co-ordinates it will be [0,0]) of a layer is you'd do&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&quot;theLayerName&quot;).toComp([0,0]);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;To find where the anchor point of a layer is in comp co-ordinates:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;let theLayer = thisComp.layer(&quot;theLayerName&quot;);&#xA;theLayer.toComp(theLayer.anchorPoint);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The really useful thing about toComp is that it works regardless of the parent chains that the layer may be connected to, and any transformations that have been applied.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;To apply it to your case apply this to the red's position property:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;let white = thisComp.layer(&quot;white&quot;);&#xA;let red = thisComp.layer(&quot;red&quot;);&#xA;let sRect = white.sourceRectAtTime(time, true);&#xA;let offset = white.toComp(sRect.width, sRect.top); //top right of the white layer&#xA;value + offset; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;value&lt;/code&gt; in the last line is a property that returns the currently set value of the layer property, after keyframes. So this will add the offset to whatever the position currently is.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no need to use &lt;code&gt;time-white.inPoint&lt;/code&gt; when calculating &lt;code&gt;sourceRectAtTime&lt;/code&gt; because that method expects comp time as the first parameter, not layer time.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-06-06T12:39:19.183" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30500" PostTypeId="1" AcceptedAnswerId="30531" CreationDate="2020-06-06T12:50:25.507" Score="1" ViewCount="907" Body="&lt;p&gt;A noob question. I have two mp4 video files. The first one is ordinary color video (right side). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;The second one is transparency mask video (alpha), it's a mp4 video not an image (left side). &#xA;This second video has gray-scale colors, and it changes frame by frame. This second video has no alpha channel. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ntys1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ntys1.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What video editor is able to mask the first color video with the second alpha video, so that the first video is rendered with its transparency changing frame by frame according to the second alpha video? And please a short explanation on how to do it? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I prefer a free editor, but if there isn't one, a proprietary editor doesn't matter. &#xA;Thank you. &lt;/p&gt;&#xA;" OwnerUserId="30110" LastActivityDate="2020-06-10T12:28:49.380" Title="How to mask a mp4 video with another alpha mp4 video" Tags="|video-editor|mask|alpha|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30503" PostTypeId="1" AcceptedAnswerId="34670" CreationDate="2020-06-07T09:46:53.437" Score="4" ViewCount="9261" Body="&lt;p&gt;I used OBS Studio to create five recordings.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Now I need to submit them as just one file on YouTube, so my five .mkv files has to be merged into just one file.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Can it be done in OBS Studio, if so how?&lt;br&gt;&#xA;(I didn't manage to do find a way)  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Are there any other free tool to download or use online that can fix this in an easy and controllable way?&lt;br&gt;&#xA;(Preferable with the possibility of transition effects, like in this &lt;a href=&quot;https://www.youtube.com/watch?v=w2-RQxOw2Xg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Premiere Pro demonstation&lt;/a&gt; if possible)&lt;/p&gt;&#xA;" OwnerUserId="29249" LastActivityDate="2022-03-13T21:45:57.777" Title="How can I merge five mkv files I've created in OBS Studio?" Tags="|video|software-recommendation|conversion|transitions|mkv|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30504" PostTypeId="1" CreationDate="2020-06-07T12:48:24.273" Score="1" ViewCount="901" Body="&lt;p&gt;I have many tapes that I want to encode with some current, compact codec. this is the output from ffprobe:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[dv @ 0x5642a174c5a0] Estimating duration from bitrate, this may be inaccurate&#xA;Input #0, dv, from 'dvgrab-001.dv':&#xA;  Metadata:&#xA;    timecode        : 00:15:14;26&#xA;  Duration: 00:00:46.88, start: 0.000000, bitrate: 28771 kb/s&#xA;    Stream #0:0: Video: dvvideo, yuv411p, 720x480 [SAR 8:9 DAR 4:3], 25000 kb/s, 29.97 fps, 29.97 tbr, 29.97 tbn, 29.97 tbc&#xA;    Stream #0:1: Audio: pcm_s16le, 32000 Hz, stereo, s16, 1024 kb/s&#xA;    Stream #0:2: Audio: pcm_s16le, 32000 Hz, stereo, s16, 1024 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;which video codec from ffmpeg is recommended? output should be watched on a smart TV with 16:9 physical, but I do not expect result will be wide.&lt;/p&gt;&#xA;" OwnerUserId="30122" LastActivityDate="2022-10-27T08:02:25.277" Title="what is the best digital output format for miniDV tapes" Tags="|ffmpeg|mini-dv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30505" PostTypeId="2" ParentId="20415" CreationDate="2020-06-07T12:50:56.540" Score="0" Body="&lt;p&gt;of course you need software. There are several that give you 30 day trial. or you can install Ubuntu and then download the video with dvgrab. works very well.&lt;/p&gt;&#xA;" OwnerUserId="30122" LastActivityDate="2020-06-07T12:50:56.540" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30506" PostTypeId="1" AcceptedAnswerId="30509" CreationDate="2020-06-07T12:53:35.800" Score="2" ViewCount="3828" Body="&lt;p&gt;I have a MPEG-H Part2/HVEC (H.265) .mkv file (Planar 4:2:0 YUV 10-bit LE).&#xA;Since my LG PF 1500 beamer does not read H.265 but H.264 I would like to convert it (HVEC -&gt; H.264).&#xA;I think handbrake is a handy software to do so.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What settings should I use to get a H.264 file with equal quality like the original (HVEC)?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think I have to chose H.264 10-bit as videoencoder.&#xA;However I am not sure about the Quality (RF) setting. How do I know what the HVEC quality setting is and how can I pick an equal one for H.264?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;This is the info extracted with MediaInfo:&lt;/p&gt;&#xA;&#xA;&lt;blockquote&gt;&#xA;  &lt;p&gt;Format                                   : Matroska Format version&lt;br&gt;&#xA;  : Version 4 File size                                : 1.48 GiB&#xA;  Duration                                 : 52 min 46 s Overall bit&#xA;  rate                         : 4 012 kb/s Encoded date&lt;br&gt;&#xA;  : UTC 2018-05-26 19:19:57 Writing application                      :&#xA;  mkvmerge v20.0.0 ('I Am The Sun') 64-bit Writing library&lt;br&gt;&#xA;  : libebml v1.3.5 + libmatroska v1.4.8 Writing frontend&lt;br&gt;&#xA;  : StaxRip v1.7.0.6&lt;/p&gt;&#xA;  &#xA;  &lt;p&gt;Video ID                                       : 1 Format&lt;br&gt;&#xA;  : HEVC Format/Info                              : High Efficiency&#xA;  Video Coding Format profile                           : Main&#xA;  10@L4@Main Codec ID                                 : V_MPEGH/ISO/HEVC&#xA;  Duration                                 : 52 min 46 s Bit rate&lt;br&gt;&#xA;  : 3 529 kb/s Width                                    : 1 920 pixels&#xA;  Height                                   : 1 080 pixels Display aspect&#xA;  ratio                     : 16:9 Frame rate mode&lt;br&gt;&#xA;  : Constant Frame rate                               : 23.976&#xA;  (24000/1001) FPS Color space                              : YUV Chroma&#xA;  subsampling                       : 4:2:0 Bit depth&lt;br&gt;&#xA;  : 10 bits Bits/(Pixel*Frame)                       : 0.071 Stream size&#xA;  : 1.30 GiB (88%) Writing library                          : x265&#xA;  2.7+346-69aafa6d70ad:[Windows][GCC 7.3.0][64 bit] 10bit Encoding settings                        : cpuid=1111039 / frame-threads=2 /&#xA;  numa-pools=4 / wpp / no-pmode / no-pme / no-psnr / ssim / log-level=2&#xA;  / input-csp=1 / input-res=1920x1080 / interlace=0 / total-frames=75917&#xA;  / level-idc=0 / high-tier=1 / uhd-bd=0 / ref=3 /&#xA;  no-allow-non-conformance / no-repeat-headers / annexb / no-aud /&#xA;  no-hrd / info / hash=0 / no-temporal-layers / open-gop / min-keyint=23&#xA;  / keyint=250 / gop-lookahead=0 / bframes=8 / b-adapt=2 / b-pyramid /&#xA;  bframe-bias=0 / rc-lookahead=50 / lookahead-slices=6 / scenecut=40 /&#xA;  radl=0 / no-intra-refresh / ctu=64 / min-cu-size=8 / no-rect / no-amp&#xA;  / max-tu-size=32 / tu-inter-depth=1 / tu-intra-depth=1 / limit-tu=0 /&#xA;  rdoq-level=0 / dynamic-rd=0.00 / no-ssim-rd / signhide / no-tskip /&#xA;  nr-intra=0 / nr-inter=0 / no-constrained-intra /&#xA;  no-strong-intra-smoothing / max-merge=3 / limit-refs=3 /&#xA;  no-limit-modes / me=3 / subme=3 / merange=57 / temporal-mvp / weightp&#xA;  / no-weightb / no-analyze-src-pics / deblock=0:0 / sao /&#xA;  no-sao-non-deblock / rd=3 / no-early-skip / no-rskip / no-fast-intra /&#xA;  no-tskip-fast / no-cu-lossless / no-b-intra / no-splitrd-skip /&#xA;  rdpenalty=0 / psy-rd=2.00 / psy-rdoq=0.00 / no-rd-refine / no-lossless&#xA;  / cbqpoffs=0 / crqpoffs=0 / rc=crf / crf=20.0 / qcomp=0.60 / qpstep=4&#xA;  / stats-write=0 / stats-read=0 / ipratio=1.40 / pbratio=1.30 /&#xA;  aq-mode=3 / aq-strength=1.00 / cutree / zone-count=0 / no-strict-cbr /&#xA;  qg-size=32 / no-rc-grain / qpmax=69 / qpmin=0 / no-const-vbv / sar=0 /&#xA;  overscan=0 / videoformat=5 / range=0 / colorprim=2 / transfer=2 /&#xA;  colormatrix=2 / chromaloc=0 / display-window=0 / max-cll=0,0 /&#xA;  min-luma=0 / max-luma=1023 / log2-max-poc-lsb=8 / vui-timing-info /&#xA;  vui-hrd-info / slices=1 / no-opt-qp-pps / no-opt-ref-list-length-pps /&#xA;  no-multi-pass-opt-rps / scenecut-bias=0.05 / no-opt-cu-delta-qp /&#xA;  no-aq-motion / no-hdr / no-hdr-opt / no-dhdr10-opt /&#xA;  no-idr-recovery-sei / analysis-reuse-level=5 / scale-factor=0 /&#xA;  refine-intra=0 / refine-inter=0 / refine-mv=0 / no-limit-sao /&#xA;  ctu-info=0 / no-lowpass-dct / refine-mv-type=0 / copy-pic=1 /&#xA;  max-ausize-factor=1.0 / no-dynamic-refine / no-single-sei Default&lt;br&gt;&#xA;  : Yes Forced                                   : No&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&#xA;&lt;p&gt;Tried to find a solution in the book: Video Coding Standards and Video Formats by Rao, however, I could not find a good hint.&lt;/p&gt;&#xA;" OwnerUserId="30123" LastEditorUserId="30123" LastEditDate="2021-01-09T13:17:06.033" LastActivityDate="2024-04-02T19:55:14.117" Title="How to convert 10-bit H.265 videos to H.264 without losing quality" Tags="|ffmpeg|encoding|h.264|mkv|h.265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30507" PostTypeId="1" CreationDate="2020-06-07T17:51:55.253" Score="1" ViewCount="49" Body="&lt;p&gt;I’m using Handbrake &amp;amp; have filmed throwing a pot.  I want to make the time it takes shorter.  Can I do this on Handbrake?&lt;/p&gt;&#xA;" OwnerUserId="30125" LastActivityDate="2023-12-24T09:06:35.813" Title="Making a video faster" Tags="|video-editor|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30508" PostTypeId="1" CreationDate="2020-06-07T22:05:27.913" Score="1" ViewCount="55" Body="&lt;p&gt;What do I do if I have a video made by a smartphone while holding it upright, resulting in a portrait format, and I want it to be a landscape format like another video I want to combine, editing in Kdenlive 19.12.2?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance, Frank&lt;/p&gt;&#xA;" OwnerUserId="30129" LastActivityDate="2020-06-07T22:05:27.913" Title="phone portrait format to landscape format" Tags="|video-editor|kdenlive|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30509" PostTypeId="2" ParentId="30506" CreationDate="2020-06-07T22:59:16.290" Score="5" Body="&lt;p&gt;It looks like the Video is encoded in 4000 kbit/s, instead of a Rate Factor (RF).&lt;br /&gt;&#xA;But that isn't the issue here. The issue is: while 264 does support lossless encoding, it not widely compatible! (you would do this by setting the color format to hi444 and &lt;code&gt;-cq 0&lt;/code&gt; (Thanks to Gyan for pointing this out))&lt;/p&gt;&#xA;&lt;p&gt;If you want the best quality, but also the largest file, you want &lt;code&gt;RF = 1&lt;/code&gt;.&lt;br /&gt;&#xA;If you want very good quality, but still huge files, you want &lt;code&gt;RF &amp;lt;= 16&lt;/code&gt;&lt;br /&gt;&#xA;good quality with big files &lt;code&gt;16 &amp;lt; RF &amp;lt;=24&lt;/code&gt;&lt;br /&gt;&#xA;mediocre quality with medium filesize &lt;code&gt;24 &amp;lt; RF &amp;lt;= 28&lt;/code&gt;&lt;br /&gt;&#xA;up to 51 gets worse and smaller.&lt;/p&gt;&#xA;&lt;p&gt;You might also want to consider using &lt;strong&gt;ffmpeg&lt;/strong&gt; for transcoding video files, that you don't want to edit, since most video editors also loose quality in the process of re-rendering the inputs for the encoder.&lt;/p&gt;&#xA;&lt;h3&gt;ffmpeg stuff&lt;/h3&gt;&#xA;&lt;p&gt;Link: &lt;a href=&quot;https://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.zeranoe.com/builds/&lt;/a&gt;&lt;br /&gt;&#xA;Full Documentation: &lt;a href=&quot;https://ffmpeg.org/documentation.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/documentation.html&lt;/a&gt;&lt;br /&gt;&#xA;If you want good quality, but long encoding times use this in a CMD that can see the ffmpeg.exe:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i my_input_file.mkv -map 0:v? -map 0:a? -map 0:s? -c:v libx264 -preset:v medium -profile:v high -rc-lookahead 900 -crf 16 -c:a copy -c:s copy my_output_file.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The parameters mean the following:&lt;br /&gt;&#xA;&lt;code&gt;-i &amp;lt;file&amp;gt;&lt;/code&gt; the file to transcode&lt;br /&gt;&#xA;&lt;code&gt;-map 0:v?&lt;/code&gt; use all video stream(s) from input 0. The question mark means &amp;quot;if they exist&amp;quot;&lt;br /&gt;&#xA;&lt;code&gt;-map 0:a?&lt;/code&gt; use all audio streams&lt;br /&gt;&#xA;&lt;code&gt;-map 0:s?&lt;/code&gt; use all subtitle streams&lt;br /&gt;&#xA;&lt;code&gt;-map 0:d?&lt;/code&gt; use all data&lt;br /&gt;&#xA;&lt;code&gt;-map 0:t?&lt;/code&gt; use all attachments&lt;br /&gt;&#xA;&lt;code&gt;-c:v libx264&lt;/code&gt; convert the video using the &lt;code&gt;libx264&lt;/code&gt; encoder.&lt;br /&gt;&#xA;&lt;code&gt;-preset:v medium&lt;/code&gt; use medium speed. Alternatives are &lt;code&gt;ultrafast&lt;/code&gt;, &lt;code&gt;superfast&lt;/code&gt;, &lt;code&gt;veryfast&lt;/code&gt;, &lt;code&gt;faster&lt;/code&gt;, &lt;code&gt;fast&lt;/code&gt;, &lt;code&gt;medium&lt;/code&gt;, &lt;code&gt;slow&lt;/code&gt;, &lt;code&gt;slower&lt;/code&gt;, &lt;code&gt;veryslow&lt;/code&gt;, &lt;code&gt;placebo&lt;/code&gt; (the faster, the larger the file, slower profile have diminishing results. &lt;code&gt;placebo&lt;/code&gt; takes a multiple of the time of &lt;code&gt;veryslow&lt;/code&gt;, but results in less than 0.1% smaller size&lt;br /&gt;&#xA;&lt;code&gt;-profile:v high&lt;/code&gt; use high-quality encoding. (other options are just there for backward compatibility)&lt;br /&gt;&#xA;&lt;code&gt;-rc-lookahead 900&lt;/code&gt; look up to 900 frames ahead to find the best encoding of the current frame. More results in slightly (like placebo) better quality per size, smaller the opposite. Same principle as in &lt;code&gt;-preset&lt;/code&gt; applies.&lt;br /&gt;&#xA;&lt;code&gt;-crf 16&lt;/code&gt; the &lt;strong&gt;rate factor&lt;/strong&gt;. The higher the number, the smaller the size and uglier the picture. About every 6 points, half the file size. Most humans won't notice a difference with &lt;code&gt;-crf 20&lt;/code&gt;. Many not even with &lt;code&gt;-crf 24&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;-c:a copy&lt;/code&gt; leave audio as is.&lt;br /&gt;&#xA;&lt;code&gt;-c:s copy&lt;/code&gt; leave subtitles as is.&lt;/p&gt;&#xA;&lt;p&gt;If you have an nVidia GPU you might want to use the integrated encoding unit. Use this command instead:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i my_input_file.mkv -map 0:v? -map 0:a? -map 0:s? -c:v h264_nvenc -preset:v medium -profile:v high -rc constqp -qp 16 -c:a copy -c:s copy my_output_file.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Similar paramters. &lt;code&gt;preset&lt;/code&gt; is limited to &lt;code&gt;fast&lt;/code&gt;, &lt;code&gt;medium&lt;/code&gt;, &lt;code&gt;slow&lt;/code&gt;, where &lt;code&gt;slow&lt;/code&gt; would require additional configuration beyond this answer.&lt;br /&gt;&#xA;The main change is, that the nvidia encoder doesn't support lookahead and because of that not the &lt;code&gt;crf&lt;/code&gt; option. For that reason we use the &lt;code&gt;cq&lt;/code&gt; option (Constant Quantization). The difference between these two is, that &lt;code&gt;crf&lt;/code&gt; tries to jiggle around the defined value, based on the current and following pictures, while &lt;code&gt;cq&lt;/code&gt; stays at that exact value for the entire time.&lt;/p&gt;&#xA;&lt;p&gt;You can try using constant bitrates, but that is discouraged, because your video quality will be all over the place, because most frames don't have the same difficulty as their predecessors.&lt;/p&gt;&#xA;&lt;p&gt;Hope this helps&lt;/p&gt;&#xA;&lt;p&gt;Greetings&lt;/p&gt;&#xA;" OwnerUserId="23175" LastEditorUserId="23175" LastEditDate="2024-04-02T19:55:14.117" LastActivityDate="2024-04-02T19:55:14.117" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30510" PostTypeId="1" AcceptedAnswerId="30561" CreationDate="2020-06-08T03:13:47.390" Score="2" ViewCount="129" Body="&lt;p&gt;Disclaimer:  I'm a total video newbie.  Until 4 days ago I had never used an NLE before or even heard the acronym.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm an experienced musician, and with much of the country shut down, an ex-bandmate and I have started making music together again.  We're working on a video for a rather silly cover.  The music is good, the song is silly, and we want the video to be silly too.  We are working with DaVinci Resolve, and I've spent a fair amount of time on the tutorials.  I think I have a decent command of how to use the tool, I just don't have the necessary familiarity with the many many many features to know how to do what I want...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want to do is to use a clip of my friend singing the lead vocal part, and then when his backup vocal part comes in, have just his head come into the scene, mouth the words &quot;I love you&quot;, and then disappear.  Ideally it would fade in somehow and then fade out, and maybe even have a glow around it, as if it were some floating angelic being.  It could stay somewhat transparent and ghostly.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I did work through the Resolve tutorial on how to do basic effects work.  I was able to draw a shape around his head in the backing vocal clip and make the rest of the clip transparent.  Step 1 accomplished.  I'm sure I did it in a terribly inefficient way, based on the one effect that was introduced in the Resolve tutorial (delta keying, plus a mask that I drew, and then pulling wildly on controls until it did what I wanted...I'd love to know a way to just draw a shape and make everything outside of it transparent).  But in any case, step 1 done.  I have a floating head.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 2:  Change the position of that floating head.  I can't seem to do this though I could swear I've done it in the tutorial.  Would probably find this with enough time.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 3:  Give it a halo.  No idea how to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 4: Make it fade into being and then fade out.  No idea how to do this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;It doesn't need to look perfect.  I'm not looking for complete answers.  But some guidance would be wonderful.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks so much!&lt;/p&gt;&#xA;" OwnerUserId="30130" LastActivityDate="2020-06-14T00:28:21.600" Title="Help achieving a specifc effect in DaVinci Resolve - glowing floating head fades in and then out" Tags="|effects|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30511" PostTypeId="2" ParentId="20415" CreationDate="2020-06-08T12:30:05.727" Score="0" Body="&lt;p&gt;DVIO, &lt;a href=&quot;https://www.videohelp.com/software/DVIO&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.videohelp.com/software/DVIO&lt;/a&gt;, will capture from the camera into a raw AVI file. No re-encoding, the file contains a perfect digital copy of the data from the tape. Last time I used it was on Windows XP machines, not sure about the current compatibility - but it's worth a try. The download is small, and it's free.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Otherwise, as Stephen suggests, try a trial version of one of the commercial products. Adobe OnLocation also always did a good job of this, but I've not used that in a while either, I just haven't been using MiniDV tapes.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Once you have the tapes digitally downloaded into files, you can re-encode with something like Handbrake, if you want some smaller files that you can use for viewing. I would just keep/archive the original tape download files in case you ever need to go back to the originals.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-06-08T12:30:05.727" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30512" PostTypeId="2" ParentId="24080" CreationDate="2020-06-08T18:31:10.207" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://www.telestream.net/screenflow/overview.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;Screenflow&lt;/a&gt; is really great for this kind of thing. It's not free ($129), and is designed for Mac. It's great for making polished screen recordings.  You can record your webcam, your mic, the computer screen/s, and any computer audio as separate tracks, which you can edit afterwards in the app. You can remove your mouse cursors afterwards, or call attention to it at certain times. I highly recommend it (just don't record to an external drive with limited space in Uncompressed mode - it eats a lot of space while recording).&lt;/p&gt;&#xA;&lt;p&gt;You can also now &lt;a href=&quot;https://support.apple.com/en-gb/guide/keynote/tan6a7b90433/mac&quot; rel=&quot;nofollow noreferrer&quot;&gt;use live video cameras inside Apple Keynote&lt;/a&gt;, and &lt;a href=&quot;https://support.apple.com/en-gb/guide/keynote/tan81813d552/mac&quot; rel=&quot;nofollow noreferrer&quot;&gt;record a presentation&lt;/a&gt; within Keynote too.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-11-01T15:39:39.780" LastActivityDate="2021-11-01T15:39:39.780" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30514" PostTypeId="2" ParentId="28493" CreationDate="2020-06-08T20:25:05.560" Score="0" Body="&lt;p&gt;Pre comp the masked image. Then apply the slant to the outer comp.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-06-08T20:25:05.560" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30515" PostTypeId="2" ParentId="30504" CreationDate="2020-06-09T02:00:13.170" Score="1" Body="&lt;p&gt;h.264.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For DV the default settings will probably be fine:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 'dvgrab-001.dv' output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If the footage is interlaced (the ffprobe says it isn't, but if you see combing artefacts then use this):&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 'dvgrab-001.dv' -vf yadif output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The original video is anamorphic NTSC 4:3, meaning that it's stretched slightly out when played back, this should be fine with the TV, but if not you can re-sample to make square pixels:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 'dvgrab-001.dv' -vf scale=728:540,setsar=1:1 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;If the video is supposed to be 16:9 but is playing back squashed you can set the Display Aspect Ratio thus:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 'dvgrab-001.dv' -vf setdar=16:9 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Or resample for square pixels thus:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 'dvgrab-001.dv' -vf scale=960:540,setsar=1:1 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-06-09T02:00:13.170" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30517" PostTypeId="1" CreationDate="2020-06-09T10:12:20.960" Score="0" ViewCount="538" Body="&lt;p&gt;I am using ffmpeg to combine two videos in one side-by-side. This is a recorded 1:1 video-call (WebRTC); each stream recorded separately by the media server.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've come up with this command, which fits the needs of our project:&lt;/p&gt;&#xA;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg \&#xA;  -ss 1054403ms -c:a libopus -i str_CAM_Fs1t_con_CjOpssSpAe.webm \&#xA;  -i -c:a libopus str_CAM_GQcn_con_RzVjNmZY6i.webm \&#xA;  -filter_complex &quot;[0][1]scale2ref='oh*mdar':'if(lt(main_h,ih),ih,main_h)'[0s][1s]; \&#xA;                   [0s][1s]scale2ref='oh*mdar':'if(lt(main_h,ih),ih,main_h)'[1s][0s]; \&#xA;                   [0s][1s]hstack=inputs=2:shortest=1,setsar=1[v]; \&#xA;                   [0:a][1:a]amix[a]&quot; \&#xA;  -map &quot;[v]&quot; -map &quot;[a]&quot; -ac 2 -r 30 -crf 23 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h1&gt;The problem&lt;/h1&gt;&#xA;&#xA;&lt;p&gt;Audio/video gets out of sync significantly in the resulting file, most noticeably on the right-side video. As far as I can tell, the desync is progressive - it's getting obvious in the middle, and by the end of the video it's off by 1-2 seconds. The videos are 50-60 minutes in average.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;ffprobe output from source files:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, matroska,webm, from 'str_CAM_Immw_con_YmU3u1Tcmv.webm':&#xA;  Metadata:&#xA;    encoder         : GStreamer matroskamux version 1.8.1.1&#xA;    creation_time   : 2020-06-01T10:05:48.000000Z&#xA;  Duration: 00:44:24.20, start: 0.000000, bitrate: 335 kb/s&#xA;    Stream #0:0(eng): Video: vp8, yuv420p(progressive), 640x480, SAR 1:1 DAR 4:3, 1k tbr, 1k tbn, 1k tbc (default)&#xA;    Metadata:&#xA;      title           : Video&#xA;    Stream #0:1(eng): Audio: opus, 48000 Hz, stereo, fltp (default)&#xA;    Metadata:&#xA;      title           : Audio&#xA;&#xA;Input #0, matroska,webm, from 'str_CAM_JK8k_con_FMwTtVVBqL.webm':&#xA;  Metadata:&#xA;    encoder         : GStreamer matroskamux version 1.8.1.1&#xA;    creation_time   : 2020-06-01T09:56:15.000000Z&#xA;  Duration: 00:53:49.77, start: 0.000000, bitrate: 676 kb/s&#xA;    Stream #0:0(eng): Video: vp8, yuv420p(progressive), 640x480, SAR 1:1 DAR 4:3, 30 tbr, 1k tbn, 1k tbc (default)&#xA;    Metadata:&#xA;      title           : Video&#xA;    Stream #0:1(eng): Audio: opus, 48000 Hz, stereo, fltp (default)&#xA;    Metadata:&#xA;      title           : Audio&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;What I've tried&lt;/h2&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;pre-converting source files separately to .mp4. Audio stays in sync in both files after this step, but out of sync after &lt;code&gt;hstack&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;[0:a][1:a]amerge,aresample=async=1000[a]&lt;/code&gt; instead of &lt;code&gt;amix&lt;/code&gt; (in fact, &lt;code&gt;amerge&lt;/code&gt; was my first approach, but I found &lt;code&gt;amix&lt;/code&gt; doing the same with the shorter syntax)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-vsync 0&lt;/code&gt; instead of constant frame rate&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;ffmpeg -i source.mp4 -time_base 1/30 -c copy source1.mp4&lt;/code&gt; (source.mp4 is the converted separately file from Step 1)&lt;/p&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;ffmpeg -i source.webm -c copy -map 0 -fflags +shortest -max_interleave_delta 0 source1.webm&lt;/code&gt;&lt;/p&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Now, after the last command I get 'DURATION' in the metadata, and it looks like audio and video tracks lengths don't match:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, matroska,webm, from 'ed.webm':&#xA;  Metadata:&#xA;    ENCODER         : Lavf58.44.100&#xA;  Duration: 00:53:49.77, start: 0.000000, bitrate: 671 kb/s&#xA;    Stream #0:0(eng): Video: vp8, yuv420p(progressive), 640x480, SAR 1:1 DAR 4:3, 30 fps, 30 tbr, 1k tbn, 1k tbc (default)&#xA;    Metadata:&#xA;      title           : Video&#xA;      DURATION        : 00:53:49.732000000&#xA;    Stream #0:1(eng): Audio: opus, 48000 Hz, stereo, fltp (default)&#xA;    Metadata:&#xA;      title           : Audio&#xA;      DURATION        : 00:53:49.766000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Honestly, I don't know where to go from this point, my (very little) understanding about video encoding has come to a brick wall, and I'm unable to get any new results in Google.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Please help me understand what's happening and what to do.&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Update&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;debug output from the command:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Splitting the commandline.&#xA;Reading option '-y' ... matched as option 'y' (overwrite output files) with argument '1'.&#xA;Reading option '-v' ... matched as option 'v' (set logging level) with argument 'debug'.&#xA;Reading option '-hide_banner' ... matched as option 'hide_banner' (do not show program banner) with argument '1'.&#xA;Reading option '-ss' ... matched as option 'ss' (set the start time offset) with argument '85526ms'.&#xA;Reading option '-c:a' ... matched as option 'c' (codec name) with argument 'libopus'.&#xA;Reading option '-i' ... matched as input url with argument './str_CAM_N0PW_con_Gz4hFc86ts.webm'.&#xA;Reading option '-c:a' ... matched as option 'c' (codec name) with argument 'libopus'.&#xA;Reading option '-i' ... matched as input url with argument './str_CAM_GPjV_con_NxaIMlsISO.webm'.&#xA;Reading option '-filter_complex' ... matched as option 'filter_complex' (create a complex filtergraph) with argument '[1][0]scale2ref='oh*mdar':'if(lt(main_h,ih),ih,main_h)'[0s][1s];[0s][1s]scale2ref='oh*mdar':'if(lt(main_h,ih),ih,main_h)'[1s][0s];[1s][0s]hstack=inputs=2:shortest=1,setsar=1[v];[0][1]amerge,aresample=async=1[a]'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '[v]'.&#xA;Reading option '-map' ... matched as option 'map' (set input stream mapping) with argument '[a]'.&#xA;Reading option '-r' ... matched as option 'r' (set frame rate (Hz value, fraction or abbreviation)) with argument '30'.&#xA;Reading option '-crf' ... matched as AVOption 'crf' with argument '23'.&#xA;Reading option '-ac' ... matched as option 'ac' (set number of audio channels) with argument '2'.&#xA;Reading option '-t' ... matched as option 't' (record or transcode &quot;duration&quot; seconds of audio/video) with argument '300s'.&#xA;Reading option './out.mp4' ... matched as output url.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option y (overwrite output files) with argument 1.&#xA;Applying option v (set logging level) with argument debug.&#xA;Applying option hide_banner (do not show program banner) with argument 1.&#xA;Applying option filter_complex (create a complex filtergraph) with argument [1][0]scale2ref='oh*mdar':'if(lt(main_h,ih),ih,main_h)'[0s][1s];[0s][1s]scale2ref='oh*mdar':'if(lt(main_h,ih),ih,main_h)'[1s][0s];[1s][0s]hstack=inputs=2:shortest=1,setsar=1[v];[0][1]amerge,aresample=async=1[a].&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url ./str_CAM_N0PW_con_Gz4hFc86ts.webm.&#xA;Applying option ss (set the start time offset) with argument 85526ms.&#xA;Applying option c:a (codec name) with argument libopus.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: ./str_CAM_N0PW_con_Gz4hFc86ts.webm.&#xA;[NULL @ 0x7fffc338fbc0] Opening './str_CAM_N0PW_con_Gz4hFc86ts.webm' for reading&#xA;[file @ 0x7fffc3390680] Setting default whitelist 'file,crypto,data'&#xA;[matroska,webm @ 0x7fffc338fbc0] Format matroska,webm probed with size=2048 and score=100&#xA;st:0 removing common factor 1000000 from timebase&#xA;st:1 removing common factor 1000000 from timebase&#xA;[matroska,webm @ 0x7fffc338fbc0] Before avformat_find_stream_info() pos: 473 bytes read:32768 seeks:0 nb_streams:2&#xA;[matroska,webm @ 0x7fffc338fbc0] All info found&#xA;[matroska,webm @ 0x7fffc338fbc0] rfps: 34.000000 0.019089&#xA;[matroska,webm @ 0x7fffc338fbc0] After avformat_find_stream_info() pos: 44966 bytes read:65536 seeks:0 frames:100&#xA;Input #0, matroska,webm, from './str_CAM_N0PW_con_Gz4hFc86ts.webm':&#xA;  Metadata:&#xA;    encoder         : GStreamer matroskamux version 1.8.1.1&#xA;    creation_time   : 2020-06-13T14:02:03.000000Z&#xA;  Duration: 00:55:22.57, start: 0.000000, bitrate: 1034 kb/s&#xA;    Stream #0:0(eng), 41, 1/1000: Video: vp8, 1 reference frame, yuv420p(progressive), 640x480, 0/1, SAR 1:1 DAR 4:3, 1k tbr, 1k tbn, 1k tbc (default)&#xA;    Metadata:&#xA;      title           : Video&#xA;    Stream #0:1(eng), 59, 1/1000: Audio: opus, 48000 Hz, stereo, s16 (default)&#xA;    Metadata:&#xA;      title           : Audio&#xA;Successfully opened the file.&#xA;Parsing a group of options: input url ./str_CAM_GPjV_con_NxaIMlsISO.webm.&#xA;Applying option c:a (codec name) with argument libopus.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: ./str_CAM_GPjV_con_NxaIMlsISO.webm.&#xA;[NULL @ 0x7fffc33c5f80] Opening './str_CAM_GPjV_con_NxaIMlsISO.webm' for reading&#xA;[file @ 0x7fffc33bb2c0] Setting default whitelist 'file,crypto,data'&#xA;[matroska,webm @ 0x7fffc33c5f80] Format matroska,webm probed with size=2048 and score=100&#xA;st:0 removing common factor 1000000 from timebase&#xA;st:1 removing common factor 1000000 from timebase&#xA;[matroska,webm @ 0x7fffc33c5f80] Before avformat_find_stream_info() pos: 473 bytes read:32768 seeks:0 nb_streams:2&#xA;[matroska,webm @ 0x7fffc33c5f80] All info found&#xA;[matroska,webm @ 0x7fffc33c5f80] After avformat_find_stream_info() pos: 52734 bytes read:65536 seeks:0 frames:114&#xA;Input #1, matroska,webm, from './str_CAM_GPjV_con_NxaIMlsISO.webm':&#xA;  Metadata:&#xA;    encoder         : GStreamer matroskamux version 1.8.1.1&#xA;    creation_time   : 2020-06-13T14:03:29.000000Z&#xA;  Duration: 00:53:59.94, start: 0.000000, bitrate: 1018 kb/s&#xA;    Stream #1:0(eng), 41, 1/1000: Video: vp8, 1 reference frame, yuv420p(progressive), 640x480, 0/1, SAR 1:1 DAR 4:3, 1k tbr, 1k tbn, 1k tbc (default)&#xA;    Metadata:&#xA;      title           : Video&#xA;    Stream #1:1(eng), 73, 1/1000: Audio: opus, 48000 Hz, stereo, s16 (default)&#xA;    Metadata:&#xA;      title           : Audio&#xA;Successfully opened the file.&#xA;[Parsed_scale2ref_0 @ 0x7fffc33b2d40] Setting 'w' to value 'oh*mdar'&#xA;[Parsed_scale2ref_0 @ 0x7fffc33b2d40] Setting 'h' to value 'if(lt(main_h,ih),ih,main_h)'&#xA;[Parsed_scale2ref_0 @ 0x7fffc33b2d40] w:oh*mdar h:if(lt(main_h,ih),ih,main_h) flags:'bilinear' interl:0&#xA;[Parsed_scale2ref_1 @ 0x7fffc33c19c0] Setting 'w' to value 'oh*mdar'&#xA;[Parsed_scale2ref_1 @ 0x7fffc33c19c0] Setting 'h' to value 'if(lt(main_h,ih),ih,main_h)'&#xA;[Parsed_scale2ref_1 @ 0x7fffc33c19c0] w:oh*mdar h:if(lt(main_h,ih),ih,main_h) flags:'bilinear' interl:0&#xA;[Parsed_hstack_2 @ 0x7fffc33e5840] Setting 'inputs' to value '2'&#xA;[Parsed_hstack_2 @ 0x7fffc33e5840] Setting 'shortest' to value '1'&#xA;[Parsed_setsar_3 @ 0x7fffc33caac0] Setting 'sar' to value '1'&#xA;[Parsed_aresample_5 @ 0x7fffc33cc000] Setting 'async' to value '1'&#xA;Parsing a group of options: output url ./out.mp4.&#xA;Applying option map (set input stream mapping) with argument [v].&#xA;Applying option map (set input stream mapping) with argument [a].&#xA;Applying option r (set frame rate (Hz value, fraction or abbreviation)) with argument 30.&#xA;Applying option ac (set number of audio channels) with argument 2.&#xA;Applying option t (record or transcode &quot;duration&quot; seconds of audio/video) with argument 300s.&#xA;Successfully parsed a group of options.&#xA;Opening an output file: ./out.mp4.&#xA;[file @ 0x7fffc33cb300] Setting default whitelist 'file,crypto,data'&#xA;Successfully opened the file.&#xA;detected 4 logical cores&#xA;Stream mapping:&#xA;  Stream #0:0 (vp8) -&amp;gt; scale2ref:ref&#xA;  Stream #0:1 (libopus) -&amp;gt; amerge:in0&#xA;  Stream #1:0 (vp8) -&amp;gt; scale2ref:default&#xA;  Stream #1:1 (libopus) -&amp;gt; amerge:in1&#xA;  setsar -&amp;gt; Stream #0:0 (libx264)&#xA;  aresample -&amp;gt; Stream #0:1 (aac)&#xA;Press [q] to stop, [?] for help&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 1 times&#xA;[vp8 @ 0x7fffc33fb440] Format yuv420p chosen by get_format().&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 2 times&#xA;[vp8 @ 0x7fffc33fe580] Format yuv420p chosen by get_format().&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 3 times&#xA;[vp8 @ 0x7fffc34016c0] Format yuv420p chosen by get_format().&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 2 times&#xA;[vp8 @ 0x7fffc3404800] Format yuv420p chosen by get_format().&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 2 times&#xA;[vp8 @ 0x7fffc3407940] Format yuv420p chosen by get_format().&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;[vp8 @ 0x7fffc33a5740] Format yuv420p chosen by get_format().&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 2 times&#xA;[vp8 @ 0x7fffc33a7d80] Format yuv420p chosen by get_format().&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 2 times&#xA;[vp8 @ 0x7fffc33e9a00] Format yuv420p chosen by get_format().&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 1 times&#xA;[vp8 @ 0x7fffc33ec800] Format yuv420p chosen by get_format().&#xA;cur_dts is invalid st:0 (0) [init:0 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 1 times&#xA;[vp8 @ 0x7fffc33ef800] Format yuv420p chosen by get_format().&#xA;[Parsed_scale2ref_0 @ 0x7fffc3473a00] Setting 'w' to value 'oh*mdar'&#xA;[Parsed_scale2ref_0 @ 0x7fffc3473a00] Setting 'h' to value 'if(lt(main_h,ih),ih,main_h)'&#xA;[Parsed_scale2ref_0 @ 0x7fffc3473a00] w:oh*mdar h:if(lt(main_h,ih),ih,main_h) flags:'bilinear' interl:0&#xA;[Parsed_scale2ref_1 @ 0x7fffc3474080] Setting 'w' to value 'oh*mdar'&#xA;[Parsed_scale2ref_1 @ 0x7fffc3474080] Setting 'h' to value 'if(lt(main_h,ih),ih,main_h)'&#xA;[Parsed_scale2ref_1 @ 0x7fffc3474080] w:oh*mdar h:if(lt(main_h,ih),ih,main_h) flags:'bilinear' interl:0&#xA;[Parsed_hstack_2 @ 0x7fffc34762c0] Setting 'inputs' to value '2'&#xA;[Parsed_hstack_2 @ 0x7fffc34762c0] Setting 'shortest' to value '1'&#xA;[Parsed_setsar_3 @ 0x7fffc3477480] Setting 'sar' to value '1'&#xA;[Parsed_aresample_5 @ 0x7fffc3478a40] Setting 'async' to value '1'&#xA;[graph 0 input from stream 1:0 @ 0x7fffc3477a40] Setting 'video_size' to value '640x480'&#xA;[graph 0 input from stream 1:0 @ 0x7fffc3477a40] Setting 'pix_fmt' to value '0'&#xA;[graph 0 input from stream 1:0 @ 0x7fffc3477a40] Setting 'time_base' to value '1/1000'&#xA;[graph 0 input from stream 1:0 @ 0x7fffc3477a40] Setting 'pixel_aspect' to value '1/1'&#xA;[graph 0 input from stream 1:0 @ 0x7fffc3477a40] Setting 'frame_rate' to value '1000/1'&#xA;[graph 0 input from stream 1:0 @ 0x7fffc3477a40] w:640 h:480 pixfmt:yuv420p tb:1/1000 fr:1000/1 sar:1/1&#xA;[graph 0 input from stream 0:0 @ 0x7fffc3474280] Setting 'video_size' to value '640x480'&#xA;[graph 0 input from stream 0:0 @ 0x7fffc3474280] Setting 'pix_fmt' to value '0'&#xA;[graph 0 input from stream 0:0 @ 0x7fffc3474280] Setting 'time_base' to value '1/1000'&#xA;[graph 0 input from stream 0:0 @ 0x7fffc3474280] Setting 'pixel_aspect' to value '1/1'&#xA;[graph 0 input from stream 0:0 @ 0x7fffc3474280] Setting 'frame_rate' to value '1000/1'&#xA;[graph 0 input from stream 0:0 @ 0x7fffc3474280] w:640 h:480 pixfmt:yuv420p tb:1/1000 fr:1000/1 sar:1/1&#xA;[graph_0_in_0_1 @ 0x7fffc348eb00] Setting 'time_base' to value '1/48000'&#xA;[graph_0_in_0_1 @ 0x7fffc348eb00] Setting 'sample_rate' to value '48000'&#xA;[graph_0_in_0_1 @ 0x7fffc348eb00] Setting 'sample_fmt' to value 's16'&#xA;[graph_0_in_0_1 @ 0x7fffc348eb00] Setting 'channel_layout' to value '0x3'&#xA;[graph_0_in_0_1 @ 0x7fffc348eb00] tb:1/48000 samplefmt:s16 samplerate:48000 chlayout:0x3&#xA;[graph_0_in_1_1 @ 0x7fffc3490240] Setting 'time_base' to value '1/48000'&#xA;[graph_0_in_1_1 @ 0x7fffc3490240] Setting 'sample_rate' to value '48000'&#xA;[graph_0_in_1_1 @ 0x7fffc3490240] Setting 'sample_fmt' to value 's16'&#xA;[graph_0_in_1_1 @ 0x7fffc3490240] Setting 'channel_layout' to value '0x3'&#xA;[graph_0_in_1_1 @ 0x7fffc3490240] tb:1/48000 samplefmt:s16 samplerate:48000 chlayout:0x3&#xA;[format_out_0_1 @ 0x7fffc3474680] Setting 'sample_fmts' to value 'fltp'&#xA;[format_out_0_1 @ 0x7fffc3474680] Setting 'sample_rates' to value '96000|88200|64000|48000|44100|32000|24000|22050|16000|12000|11025|8000|7350'&#xA;[format_out_0_1 @ 0x7fffc3474680] Setting 'channel_layouts' to value '0x3'&#xA;[format @ 0x7fffc34769c0] Setting 'pix_fmts' to value 'yuv420p|yuvj420p|yuv422p|yuvj422p|yuv444p|yuvj444p|nv12|nv16|nv21'&#xA;[Parsed_amerge_4 @ 0x7fffc3478180] No channel layout for input 1&#xA;[AVFilterGraph @ 0x7fffc3472880] query_formats: 17 queried, 23 merged, 0 already done, 9 delayed&#xA;[AVFilterGraph @ 0x7fffc3472880] query_formats not finished&#xA;[Parsed_amerge_4 @ 0x7fffc3478180] Input channel layouts overlap: output layout will be determined by the number of distinct input channels&#xA;[AVFilterGraph @ 0x7fffc3472880] query_formats: 1 queried, 9 merged, 23 already done, 0 delayed&#xA;[Parsed_amerge_4 @ 0x7fffc3478180] in0:stereo + in1:stereo -&amp;gt; out:4.0&#xA;[Parsed_aresample_5 @ 0x7fffc3478a40] [SWR @ 0x7fffc34791c0] Using fltp internally between filters&#xA;[Parsed_aresample_5 @ 0x7fffc3478a40] [SWR @ 0x7fffc34791c0] Matrix coefficients:&#xA;[Parsed_aresample_5 @ 0x7fffc3478a40] [SWR @ 0x7fffc34791c0] FL: FL:1.000000 FR:0.000000 FC:0.707107 BC:0.500000&#xA;[Parsed_aresample_5 @ 0x7fffc3478a40] [SWR @ 0x7fffc34791c0] FR: FL:0.000000 FR:1.000000 FC:0.707107 BC:0.500000&#xA;[Parsed_aresample_5 @ 0x7fffc3478a40] ch:4 chl:4.0 fmt:s16 r:48000Hz -&amp;gt; ch:2 chl:stereo fmt:fltp r:48000Hz&#xA;[Parsed_scale2ref_0 @ 0x7fffc3473a00] w:640 h:480 fmt:yuv420p sar:1/1 -&amp;gt; w:640 h:480 fmt:yuv420p sar:1/1 flags:0x2&#xA;[Parsed_scale2ref_1 @ 0x7fffc3474080] w:640 h:480 fmt:yuv420p sar:1/1 -&amp;gt; w:640 h:480 fmt:yuv420p sar:1/1 flags:0x2&#xA;[Parsed_hstack_2 @ 0x7fffc34762c0] [framesync @ 0x7fffc3476498] Selected 1/1000 time base&#xA;[Parsed_hstack_2 @ 0x7fffc34762c0] [framesync @ 0x7fffc3476498] Sync level 1&#xA;[Parsed_setsar_3 @ 0x7fffc3477480] w:1280 h:480 sar:1/1 dar:8/3 -&amp;gt; sar:1/1 dar:8/3&#xA;[libx264 @ 0x7fffc33a27c0] using mv_range_thread = 40&#xA;[libx264 @ 0x7fffc33a27c0] using SAR=1/1&#xA;[libx264 @ 0x7fffc33a27c0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX XOP FMA3 BMI1&#xA;[libx264 @ 0x7fffc33a27c0] profile High, level 3.1&#xA;[libx264 @ 0x7fffc33a27c0] 264 - core 152 r2854 e9a5903 - H.264/MPEG-4 AVC codec - Copyleft 2003-2017 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to './out.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf58.44.100&#xA;    Stream #0:0, 0, 1/15360: Video: h264 (libx264), 1 reference frame (avc1 / 0x31637661), yuv420p, 1280x480 [SAR 1:1 DAR 8:3], 0/1, q=-1--1, 30 fps, 15360 tbn, 30 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc58.90.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: N/A&#xA;    Stream #0:1, 0, 1/48000: Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, delay 1024, 128 kb/s (default)&#xA;    Metadata:&#xA;      encoder         : Lavc58.90.100 aac&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:1 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 32 times&#xA;*** dropping frame 6 from stream 0 at ts 4&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 3 times&#xA;*** dropping frame 7 from stream 0 at ts 5&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 5 times&#xA;*** dropping frame 8 from stream 0 at ts 6&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 4 times&#xA;*** dropping frame 9 from stream 0 at ts 7&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 5 times&#xA;*** dropping frame 10 from stream 0 at ts 9&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 2 times&#xA;*** dropping frame 10 from stream 0 at ts 9&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 3 times&#xA;*** dropping frame 11 from stream 0 at ts 10&#xA;cur_dts is invalid st:0 (0) [init:1 i_done:0 finish:0] (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 6 times&#xA;&#xA;...&#xA;&#xA;*** dropping frame 919 from stream 0 at ts 917&#xA;[libx264 @ 0x7fffc33a27c0] frame= 869 QP=24.99 NAL=0 Slice:B Poc:234 I:0    P:951  SKIP:1448 size=989 bytes&#xA;*** dropping frame 920 from stream 0 at ts 918&#xA;*** dropping frame 920 from stream 0 at ts 919&#xA;[libx264 @ 0x7fffc33a27c0] frame= 870 QP=25.62 NAL=0 Slice:B Poc:238 I:9    P:1022 SKIP:1366 size=1462 bytes&#xA;*** dropping frame 921 from stream 0 at ts 920&#xA;[libx264 @ 0x7fffc33a27c0] frame= 871 QP=20.97 NAL=2 Slice:P Poc:248 I:170  P:1812 SKIP:418  size=11296 bytes&#xA;[libx264 @ 0x7fffc33a27c0] frame= 872 QP=24.64 NAL=2 Slice:B Poc:244 I:31   P:1274 SKIP:1080 size=3317 bytes&#xA;*** dropping frame 923 from stream 0 at ts 921&#xA;...&#xA;[libx264 @ 0x7fffc33a27c0] frame= 888 QP=21.04 NAL=2 Slice:P Poc:282 I:135  P:1533 SKIP:732  size=7943 bytes&#xA;[libx264 @ 0x7fffc33a27c0] frame= 889 QP=24.72 NAL=2 Slice:B Poc:278 I:10   P:1027 SKIP:1355 size=1865 bytes&#xA;[libx264 @ 0x7fffc33a27c0] frame= 890 QP=24.85 NAL=0 Slice:B Poc:276 I:0    P:804  SKIP:1596 size=716 bytes&#xA;&#xA;...&#xA;&#xA;Not writing 'clli' atom. No content light level info.&#xA;Not writing 'mdcv' atom. Missing mastering metadata.&#xA;frame=  923 fps= 49 q=-1.0 Lsize=    4233kB time=00:00:30.86 bitrate=1123.2kbits/s dup=0 drop=847 speed=1.64x&#xA;video:3714kB audio:484kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.818652%&#xA;Input file #0 (./str_CAM_N0PW_con_Gz4hFc86ts.webm):&#xA;  Input stream #0:0 (video): 939 packets read (3924348 bytes); 936 frames decoded;&#xA;  Input stream #0:1 (audio): 1560 packets read (117307 bytes); 1560 frames decoded (1497600 samples);&#xA;  Total: 2499 packets (4041655 bytes) demuxed&#xA;Input file #1 (./str_CAM_GPjV_con_NxaIMlsISO.webm):&#xA;  Input stream #1:0 (video): 871 packets read (1365403 bytes); 868 frames decoded;&#xA;  Input stream #1:1 (audio): 1545 packets read (97667 bytes); 1545 frames decoded (1483200 samples);&#xA;  Total: 2416 packets (1463070 bytes) demuxed&#xA;Output file #0 (./out.mp4):&#xA;  Output stream #0:0 (video): 923 frames encoded; 923 packets muxed (3803227 bytes);&#xA;  Output stream #0:1 (audio): 1447 frames encoded (1481728 samples); 1448 packets muxed (495667 bytes);&#xA;  Total: 2371 packets (4298894 bytes) muxed&#xA;4909 frames successfully decoded, 0 decoding errors&#xA;[AVIOContext @ 0x7fffc33bc040] Statistics: 2 seeks, 20 writeouts&#xA;[libx264 @ 0x7fffc33a27c0] frame I:4     Avg QP:19.28  size: 34312&#xA;[libx264 @ 0x7fffc33a27c0] frame P:251   Avg QP:21.50  size:  9620&#xA;[libx264 @ 0x7fffc33a27c0] frame B:668   Avg QP:25.66  size:  1872&#xA;[libx264 @ 0x7fffc33a27c0] consecutive B-frames:  2.7%  1.7%  2.0% 93.6%&#xA;[libx264 @ 0x7fffc33a27c0] mb I  I16..4: 16.3% 70.5% 13.2%&#xA;[libx264 @ 0x7fffc33a27c0] mb P  I16..4:  2.9%  5.9%  0.5%  P16..4: 44.1% 14.0%  6.0%  0.0%  0.0%    skip:26.6%&#xA;[libx264 @ 0x7fffc33a27c0] mb B  I16..4:  0.2%  0.3%  0.0%  B16..8: 37.7%  1.5%  0.2%  direct: 0.7%  skip:59.4%  L0:46.2% L1:52.0% BI: 1.8%&#xA;[libx264 @ 0x7fffc33a27c0] 8x8 transform intra:63.3% inter:79.9%&#xA;[libx264 @ 0x7fffc33a27c0] coded y,uvDC,uvAC intra: 47.6% 57.8% 14.3% inter: 11.6% 9.1% 0.1%&#xA;[libx264 @ 0x7fffc33a27c0] i16 v,h,dc,p: 21% 18% 32% 29%&#xA;[libx264 @ 0x7fffc33a27c0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 24% 17% 28%  5%  4%  6%  5%  5%  5%&#xA;[libx264 @ 0x7fffc33a27c0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 33% 18% 16%  5%  6%  7%  6%  5%  3%&#xA;[libx264 @ 0x7fffc33a27c0] i8c dc,h,v,p: 54% 21% 21%  5%&#xA;[libx264 @ 0x7fffc33a27c0] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0x7fffc33a27c0] ref P L0: 58.7% 18.4% 16.6%  6.3%&#xA;[libx264 @ 0x7fffc33a27c0] ref B L0: 89.8%  8.3%  1.9%&#xA;[libx264 @ 0x7fffc33a27c0] ref B L1: 95.4%  4.6%&#xA;[libx264 @ 0x7fffc33a27c0] kb/s:988.74&#xA;[aac @ 0x7fffc33a4a80] Qavg: 242.930&#xA;[AVIOContext @ 0x7fffc3398a80] Statistics: 4162659 bytes read, 3 seeks&#xA;[AVIOContext @ 0x7fffc33a1940] Statistics: 1507328 bytes read, 0 seeks&#xA;Exiting normally, received signal 2.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30141" LastEditorUserId="30141" LastEditDate="2020-06-13T18:47:05.153" LastActivityDate="2020-06-13T18:47:05.153" Title="Audio and video out of sync after hstack/amerge" Tags="|video|ffmpeg|sync|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30518" PostTypeId="2" ParentId="28988" CreationDate="2020-06-09T12:10:29.950" Score="1" Body="&lt;p&gt;One thing you could do is track the rotation of the drum, so that it's virtually stabilized and then use a Null-object to drive the rotation of the layer. This would give you a fresh, new, smooth rotation all the way through.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-06-09T12:10:29.950" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30519" PostTypeId="1" CreationDate="2020-06-09T12:10:43.923" Score="1" ViewCount="229" Body="&lt;p&gt;I have been trying to export an After Effects animation of an aurora borealis (made with Flux) as an SVG for a website, but every time I export it looks a bit low res and takes up to much space to be applied to a web page. I tried to render it first as a PNG sequence and the render it with bodymovin but the problem still persists. Can anyone help pls?&lt;/p&gt;&#xA;" OwnerUserId="30143" LastActivityDate="2020-06-10T10:39:32.937" Title="Converting AE animations to SVG with bodymovin" Tags="|after-effects|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30520" PostTypeId="2" ParentId="30519" CreationDate="2020-06-09T12:21:03.370" Score="1" Body="&lt;p&gt;If you have no alpha-channel and would like to run the animation on your website (as a background for example), I would highly recommend you encode it in h264 .mp4 format, with about 3-6 MBit/s and 2 passes VBR to lower the filesize further. Also take a look at your framerate, as you could get away with 20 frames for a slow animation. I wouldn't go above 30fps. I hope I could help you, if not, please comment on my post.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-06-09T12:21:03.370" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30521" PostTypeId="2" ParentId="30500" CreationDate="2020-06-09T13:25:18.893" Score="0" Body="&lt;p&gt;This would be easy to do with After-Effects. Do the following:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Create a new composition with the settings of the mp4. You can drag it on the composition symbol to automatically create it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Then, drag your alpha-mp4 above the color-mp4. Now, set the &quot;track matte&quot; to &quot;Luma-Mask&quot; from the alpha-mp4. This should be all.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-06-09T13:25:18.893" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30522" PostTypeId="1" CreationDate="2020-06-09T14:44:41.627" Score="1" ViewCount="533" Body="&lt;p&gt;I need your help with a command line for ffmpeg that I just started to use.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's the deal :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have a .MOV file witch contains 18 audio streams (for 7.1). Stream 1 to 10 is for original language and stream 11 to 18 is for French version.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I want to do :&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;merge stream 1 (Lt) and 2 (Rt) in a single orginal language stereo track&lt;/li&gt;&#xA;&lt;li&gt;merge stream 10 (Lt) and 11 (Rt) in a single French language stereo track&lt;/li&gt;&#xA;&lt;li&gt;Tag them properly to identify them when playing the video.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Here's my command :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:00:00.00 -t 00:15:00.00 -i input.MOV&#xA;-map 0:v:0 -map 0:a:0 -map 0:a:1 -map 0:a:2 -map 0:a:3 -map 0:a:4 -map 0:a:5 -map 0:a:6 -map 0:a:7 -map 0:a:8 -map 0:a:9 -map 0:a:10 -map 0:a:11 -map 0:a:12 -map 0:a:13 -map 0:a:14 -map 0:a:15 -map 0:a:16 -map 0:a:17&#xA;-filter_complex &quot;[0:a:0][0:a:1]amerge=inputs=2[a];[0:a:10][0:a:11]amerge=inputs=2[a]&quot;&#xA;-map &quot;[a]&quot; -map &quot;[a]&quot;&#xA;-metadata:s:a:0 language=&quot;eng&quot; -metadata:s:a:0 title=&quot;Stéréo - Version Originale&quot;&#xA;-metadata:s:a:1 language=&quot;fra&quot; -metadata:s:a:1 title=&quot;Stéréo - Français&quot;&#xA;-c:a output.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;My problems :&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;video is not include and audio streams are &quot;inverted&quot;&lt;/li&gt;&#xA;&lt;li&gt;When I execute it, I have these warnings :&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_amerge_0 @ 000001f8f0340240] No channel layout for input 1&#xA;[Parsed_amerge_1 @ 000001f8f0283940] No channel layout for input 1&#xA;[Parsed_amerge_0 @ 000001f8f0340240] Input channel layouts overlap: output layout will be determined by the number of distinct input channels&#xA;[Parsed_amerge_1 @ 000001f8f0283940] Input channel layouts overlap: output layout will be determined by the number of distinct input channels&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can I fix this ?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I precise that I don't wan't any loss of quality.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you all for your help ;)&lt;/p&gt;&#xA;" OwnerUserId="30145" LastEditorUserId="30145" LastEditDate="2020-06-09T15:24:14.610" LastActivityDate="2024-02-26T16:09:36.170" Title="(ffmpeg - Audio) Two streams, One Channel, Two Languages" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30524" PostTypeId="2" ParentId="29902" CreationDate="2020-06-09T17:50:03.290" Score="1" Body="&lt;p&gt;Yes, you can! In your &lt;code&gt;streamEncoder.json&lt;/code&gt; add the following.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;{&#xA;...&#xA;      &quot;keyint_sec&quot;: 2&#xA;...&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30151" LastActivityDate="2020-06-09T17:50:03.290" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30525" PostTypeId="1" AcceptedAnswerId="30546" CreationDate="2020-06-09T20:01:17.043" Score="1" ViewCount="2502" Body="&lt;p&gt;I am using below command to create a slideshow using ffmpeg:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 1 -i IMG_%04d.jpeg -i audio.mp3 -c:v libx264 -c:a aac -pix_fmt yuv420p -r 24 -y output.mp4 -vf pad=ceil(iw/2)*2:ceil(ih/2)*2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I had to add &lt;code&gt;pad=ceil(iw/2)*2:ceil(ih/2)*2&lt;/code&gt; to make width or height even number because if one of the input image width/height is odd, ffmpeg throws error. Now my problem is; input images can be of different resolution and aspect ratio. I want to add padding (left/right or top/bottom) to all images to make them of equal size before they are converted into video frames. How can I achieve this in efficient way?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt;&#xA;It would be nice if I can specify output resolution and all images are either scaled down or up keeping their aspect ratio intact according to that resolution.&lt;/p&gt;&#xA;" OwnerUserId="30152" LastActivityDate="2020-07-12T09:04:25.477" Title="ffmpeg - Apply padding to input images while combining multiple images and audio track" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30527" PostTypeId="1" CreationDate="2020-06-09T20:22:20.560" Score="1" ViewCount="35" Body="&lt;p&gt;I've just faced with such thing as hinting videos. Quick research showed me something about the fact that it makes &quot;streaming better&quot; and something about QuickTime Streaming Server. That wasn't really clear or accurate in any way. So, I have a bunch of questions.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What exactly video hinting does? What do hinting tacks contain? And how they make streaming better?&lt;/p&gt;&#xA;" OwnerUserId="21246" LastActivityDate="2020-06-09T20:22:20.560" Title="What is video hinting?" Tags="|encoding|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30528" PostTypeId="2" ParentId="30525" CreationDate="2020-06-10T05:55:49.177" Score="1" Body="&lt;p&gt;If your output resolution is AxB, then your filters would be&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;-vf &quot;scale=A:B:force_original_aspect_ratio=decrease,pad=A:B:-1:-1&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-06-10T05:55:49.177" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="30529" PostTypeId="2" ParentId="15197" CreationDate="2020-06-10T10:39:17.417" Score="0" Body="&lt;p&gt;This might help, it's a script that creates an &lt;a href=&quot;https://madebyloop.co.uk/products/angle-create-isometric-camera-after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;isometric camera view in After Effects&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There's also a short &lt;a href=&quot;https://madebyloop.co.uk/blog/creating-isometric-camera-in-after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;blog post&lt;/a&gt; on how it's done which outlines the process:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 1. Add a new camera&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 2. Change the camera settings:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;Camera Position: 0,0,-5000&#xA;Zoom: 5000px&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Step 3. Add a new null object, make it 3D and parent the camera to it&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Step 4. Change the null object rotation to:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;X Rotation: 35.264&#xA;Y Rotation: 35.264&#xA;Z Rotation: 35.264&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Should get you close.&lt;/p&gt;&#xA;" OwnerUserId="29586" LastEditorUserId="29586" LastEditDate="2020-06-12T11:55:18.763" LastActivityDate="2020-06-12T11:55:18.763" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30530" PostTypeId="2" ParentId="30519" CreationDate="2020-06-10T10:39:32.937" Score="1" Body="&lt;p&gt;Bodymovin works best for things like shape and text layers, that can be described by the SVG language. SVG is a bit like html, it contains instructions on how to render the content, rather than the actual images. For example if you wanted to draw a circle 256px wide, rather than create a raster image of a circle, and provide the colour info for each pixel in the 256x256 pixel grid (over 65 thousand pixels, each with red, green and blue value) you can make an svg that does the same thing thus:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; &amp;lt;svg height=&quot;100&quot; width=&quot;100&quot;&amp;gt;&#xA;     &amp;lt;circle cx=&quot;256&quot; cy=&quot;256&quot; r=&quot;40&quot; stroke=&quot;black&quot; stroke-width=&quot;3&quot; fill=&quot;red&quot; /&amp;gt;&#xA; &amp;lt;/svg&amp;gt; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;It's also scaleable. If you resize it up to 500px there will be no quality loss, because it's rendered on the client machine. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, if you have content that can't be described in the SVG language, such as raster (pixel grid) images such as jpegs or pngs, or video, it can't just describe it, it has to embed the raster into the output, meaning that SVG will not be any more efficient than just using an &lt;code&gt;&amp;lt;img&amp;gt;&lt;/code&gt; or &lt;code&gt;&amp;lt;video&amp;gt;&lt;/code&gt; element. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;PNG sequences are great as a lossless intermediate for transferring video on a local machine with lots of storage, they completely fail as a web codec. Web codecs are highly efficient at reducing file size with minimal perceptible quality loss, so they're what you need for the flux output.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;TL;DR as Florian says: use h.264 encoded video.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-06-10T10:39:32.937" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30531" PostTypeId="2" ParentId="30500" CreationDate="2020-06-10T12:28:49.380" Score="0" Body="&lt;p&gt;If you prefer a free editor, &lt;a href=&quot;https://www.blender.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blender&lt;/a&gt; could achieve something like this. You need to look at the &lt;a href=&quot;https://docs.blender.org/manual/en/latest/compositing/types/matte/luminance_key.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;luma key nodes&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.blender.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blender&lt;/a&gt; is free but has a steep learning curve. Adobe Premiere could do this quickly using a &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/add-track-matte-key.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;track matte&lt;/a&gt;, but it's not free.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;After Effects is also paid-software, and has a steeper learning curve than Premiere, but can also use track mattes - see the other answer for details.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-06-10T12:28:49.380" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30533" PostTypeId="1" CreationDate="2020-06-10T16:42:18.237" Score="1" ViewCount="388" Body="&lt;p&gt;I'm about to buy a camcorder with a 62mm diameter lens, and I'd like to get a fisheye with it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I would like my shots to end up like shown &lt;a href=&quot;https://1.bp.blogspot.com/-8bWDl7tss-o/VDZn_YybcmI/AAAAAAAACIc/Ssdyzc59KRw/s1600/Schermata%2B2014-10-09%2Balle%2B12.47.47.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, with a little bit of lens border in shot.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I can't seem to find an answer to this question online, does the lens diameter have to me smaller than my camera to achieve this or is it some kind of special lens?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks!!&lt;/p&gt;&#xA;" OwnerUserId="30162" LastEditorUserId="14523" LastEditDate="2020-06-11T03:43:41.690" LastActivityDate="2020-06-11T03:44:45.880" Title="How to get fisheye lens border in shot?" Tags="|filming|lenses|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30534" PostTypeId="1" CreationDate="2020-06-10T18:25:37.507" Score="1" ViewCount="89" Body="&lt;p&gt;I’ve been told by various people in the industry that AFX doesn’t handle premultiplied images correctly and I’ve been able to verify this myself in my own pipeline. I’m just not sure if we are all wrong or missing something or this is just the way it has always been?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I don’t use AFX at all in my pipeline for production but I do have it to check deliveries to vendors who do use AFX. Our pipeline is all EXR/Nuke and everything works fine with premultiplied images.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When I convert these known good images to TIFF 16bit fixed point for AFX they only look correct with straight alpha. I’m converting to straight alpha buy running an ‘unpremultiply’ operation in nuke on the source images. Both the TIFF converted premultiplied and straight files still work fine in Nuke.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However the premultiplied ones don’t look correct in AFX. There is a light colored halo around soft edges. It’s actually very hard to see this edge artifact in AFX depending on the background that is being composited onto. I usually composite onto pure red to see this bright halo. And yes I’m interpreting the premultiplied images correctly in AFX as ‘premultiplied on black’. Also setting blend colors using 1.0 gamma makes the problem worse.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just want to check if this is just a known issue that people just use wacky work arounds for or they simply don’t even notice and thus never bring it up.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Below is a screenshot of AFX showing the artifact.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yKdjM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yKdjM.png&quot; alt=&quot;AFX premult vs straight input image&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25860" LastActivityDate="2020-06-10T18:25:37.507" Title="After Effects doesn’t handle premultiplied images correctly" Tags="|after-effects|alpha|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30536" PostTypeId="2" ParentId="30533" CreationDate="2020-06-10T23:50:06.140" Score="1" Body="&lt;p&gt;I can't answer your question about the lenses, but any good editing software should let you apply a fisheye effect after the fact. Just find the effects menu in whatever software you are using, and such an effect should be in there. For example, if you are using Final Cut Pro, the effects menu should be in the top right hand corner (&lt;a href=&quot;https://support.apple.com/guide/final-cut-pro/add-video-effects-ver4e33bc9/mac#:~:text=You%20add%20video%20effects%20to,Effects%20browser%2C%20select%20an%20effect.&quot; rel=&quot;nofollow noreferrer&quot;&gt;here's the Apple help page about adding effect in Final Cut)&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="30165" LastEditorUserId="14523" LastEditDate="2020-06-11T03:44:45.880" LastActivityDate="2020-06-11T03:44:45.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30537" PostTypeId="2" ParentId="30496" CreationDate="2020-06-11T00:06:49.463" Score="1" Body="&lt;p&gt;A great free online editing software is WeVideo. In WeVideo, any video that doesn't take up the whole screen (like video shot in portrait mode) can be layered on top of any other video by putting the video you want on top by putting that video on the video track above the video you want below it&lt;a href=&quot;https://i.stack.imgur.com/bVFFs.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bVFFs.jpg&quot; alt=&quot;as can be seen here&quot;&gt;&lt;/a&gt;. The way to get your video to look that way you want it to would be to have the blue square with the words on in Video track 2, and the black background and lightning bolt on the lower track. Then, you could double click on the blue box clip, and it should bring you to the transform menu &lt;a href=&quot;https://i.stack.imgur.com/VoxaJ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VoxaJ.jpg&quot; alt=&quot;this menu&quot;&gt;&lt;/a&gt; where you can drag the clip that you have selected around until it is where you want it in the little preview screen. This way you can have the clip in the second track be anywhere in the screen. Hope this was helpful!&lt;/p&gt;&#xA;" OwnerUserId="30165" LastActivityDate="2020-06-11T00:06:49.463" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30538" PostTypeId="2" ParentId="30533" CreationDate="2020-06-11T03:39:35.140" Score="0" Body="&lt;p&gt;The front element lens diameter does not affect the ability to create a fisheye effect. To get a true, in-camera fisheye, you need to use a &lt;a href=&quot;https://en.wikipedia.org/wiki/Fisheye_lens&quot; rel=&quot;nofollow noreferrer&quot;&gt;fisheye lens&lt;/a&gt;.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A smaller lens diameter &lt;em&gt;might&lt;/em&gt; be useful for creating in-camera vignetting (the rounded black borders but without the spherical distortion) if you stack enough filters or step up rings and use a wide enough focal length.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Beyond those two in-camera effects, you can create a fisheye effect in post, as described in another answer.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2020-06-11T03:39:35.140" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30540" PostTypeId="1" CreationDate="2020-06-11T09:54:18.417" Score="1" ViewCount="19" Body="&lt;p&gt;I've been making a lot of videos using multi-page A4 size PDFs in AE.&#xA;What's the most efficient way to do this? The renders take a while.&#xA;Things I've tried:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;1) Split PDF to 1 file per page&#xA;2) Convert to PNG? Or jpg? (which is more efficient?) At high dpi (like 600 dpi so I can zoom in nicely on them).&#xA;3) Paper texture beneath, then pre comp&#xA;then parent all the pre-comps together so I can scroll up and down.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I think this is faster and looks as good as Collapse Transformations on a PDF file layer, but I'm not sure.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Final output is HD 25fps - turnaround time on the videos is an issue, so any speed up would be welcome!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any advice welcomed - some examples of the videos below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/na9QfL9JTys?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/y0tWyhkoP5c?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-06-11T10:21:35.290" Title="most efficient pipeline for rendering large documents in after effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30541" PostTypeId="2" ParentId="30540" CreationDate="2020-06-11T10:21:35.290" Score="2" Body="&lt;p&gt;I believe that using pngs from the pdf is the best compromise between quality and speed. Your main concern being the render-time? If so, (I am sure you have, but just to be sure) have you checked if you're using Hardware-acceleration? You should also purge your cache frequently and have both the footage as well as your cache-directory as well as the project files on a fast medium, like an ssd.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I'm not certain with how familiar you are with those standard optimization techniques, so I'm just throwing this out there. If there's a different problem, please elaborate. &lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-06-11T10:21:35.290" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30545" PostTypeId="2" ParentId="29940" CreationDate="2020-06-12T02:53:47.907" Score="1" Body="&lt;p&gt;BlackMagic Davinci Resolve and Fusion run on both RHEL and Centos, and have Python2, 3 and LUA integrated for automation.  The title of your question leads me to believe you're already using Adobe suite, but the body suggests otherwise.  There's a free version of Resolve with most of the features of the full version, so it can't hurt to try.  I honestly don't know if Linux is one of those limitations, but the full version of Resolve is only $300 for a lifetime license, so there's still not much risk.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-06-12T02:53:47.907" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30546" PostTypeId="2" ParentId="30525" CreationDate="2020-06-12T08:58:22.617" Score="0" Body="&lt;p&gt;I have got it working through this way:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 1 -i image%4d.png -i audio.mp3 -filter_complex scale=w=%d:h=%d:force_original_aspect_ratio=1,pad=%d:%d:(ow-iw)/2:(oh-ih)/2 -c:v libx264 -c:a aac -pix_fmt yuv420p -r 1 -y output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;This way aspect ratio of input images remain intact and also it solves odd image width/height issue. I hope this answer would help other users facing same issue.&lt;/p&gt;&#xA;" OwnerUserId="30152" LastActivityDate="2020-06-12T08:58:22.617" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30547" PostTypeId="1" CreationDate="2020-06-12T09:46:35.957" Score="1" ViewCount="2394" Body="&lt;p&gt;I have an &lt;code&gt;m3u8&lt;/code&gt; file consisting of &lt;code&gt;.ts&lt;/code&gt; files like:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;#EXTM3U&#xA;#EXT-X-VERSION:3&#xA;#EXT-X-ALLOW-CACHE:NO&#xA;#EXT-X-TARGETDURATION:7&#xA;#EXT-X-MEDIA-SEQUENCE:0&#xA;#EXT-X-PLAYLIST-TYPE:VOD&#xA;&#xA;#EXT-X-DISCONTINUITY&#xA;&#xA;#EXT-X-DISCONTINUITY&#xA;&#xA;#EXT-X-DISCONTINUITY&#xA;#EXTINF:3.856&#xA;http://v.link.to.file.com/6774.ts&#xA;#EXTINF:3.854&#xA;http://v.link.to.file.com/6775.ts&#xA;#EXTINF:3.853&#xA;http://v.link.to.file.com/6776.ts&#xA;#EXTINF:3.853&#xA;....&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;I use &lt;code&gt;ffmpeg&lt;/code&gt; with:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i https://link.to.file/clip/21/335.m3u8 -c copy pd.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, upon running I get a large number of warning messages with&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;[http @ 0x614ab40] Opening 'http://v.link.to.file.com/6774.ts' for reading&#xA;[matroska @ 0x6196fc0] Non-monotonous DTS in output stream 0:0; previous: 2691798, current: 96743; changing to 2691798. This may result in incorrect timestamps in the output file.&#xA;[matroska @ 0x6196fc0] Non-monotonous DTS in output stream 0:1; previous: 2691859, current: 96846; changing to 2691859. This may result in incorrect timestamps in the output file.&#xA;[matroska @ 0x6196fc0] Non-monotonous DTS in output stream 0:1; previous: 2691859, current: 96869; changing to 2691859. This may result in incorrect timestamps in the output file.&#xA;[matroska @ 0x6196fc0] Non-monotonous DTS in output stream 0:0; previous: 2691798, current: 96775; changing to 2691798. This may result in incorrect timestamps in the output file.&#xA;....&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;Is there something wrong I am doing? What is the correct set of commands for the best quality stream? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="21499" LastActivityDate="2020-06-12T09:46:35.957" Title="When using ffmpeg, getting &quot;Non-monotonous DTS in output stream 0:1; This may result in incorrect timestamps in the output file.&quot; errors" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30548" PostTypeId="1" CreationDate="2020-06-13T07:02:06.453" Score="1" ViewCount="519" Body="&lt;p&gt;How to Merge Multiple MP4 videofiles using concat while transposing 180o two MP4 videofiles?&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Currently, i am using the following ffmpeg (concat) command: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i VIDEOFILES.txt -r 32 -crf 14  -vcodec libx264 -vb 20M -vf &quot;scale=1280:720,setpts=0.25*PTS&quot; -fflags +genpts  -an   video_output_01.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;How can I, in the same time, transpose two MP4 files 180 degrees? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Note that i used the following HEX code hack &lt;a href=&quot;https://stackoverflow.com/questions/25031557/rotate-mp4-videos-without-re-encoding&quot;&gt;HERE&lt;/a&gt; &quot;True lossless rotation of MP4:&#xA;&quot; to rotate MP4 video files 180 degrees but ffmpeg ignored that information during encoding time!&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What I can do?&lt;/p&gt;&#xA;" OwnerUserId="30052" LastActivityDate="2022-03-06T16:02:40.230" Title="How to Merge Multiple MP4 videofiles using concat of ffmpeg while transposing 180 degrees two MP4 videofiles" Tags="|ffmpeg|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30549" PostTypeId="1" CreationDate="2020-06-13T08:33:10.293" Score="1" ViewCount="1524" Body="&lt;p&gt;I am using the following ffmpeg command with filter_complex:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i GOPR0013.MP4 -i GOPR0013.MP4 -filter_complex &quot;[0:v:0]fps=32,scale=1920:1080[v1],[v1]vflip[vF1],[vF1]hflip[clip1], [clip1] [1:v:0]fps=32,scale=1920:1080[v2] [v2] concat=n=2:v=1 [v]&quot;  -vcodec libx264  -map &quot;[v]&quot;  video_out_01.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;However, it says:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; &quot;Too many inputs specified for the &quot;fps&quot; filter.&#xA;Error initializing complex filters.&#xA;Invalid argument&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;What I am doing wrong? &lt;/p&gt;&#xA;" OwnerUserId="30052" LastActivityDate="2021-11-05T14:05:30.587" Title="Too many arguments in ffmpeg, concat, filter_complex command, what I am doing wrong?" Tags="|video|ffmpeg|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30550" PostTypeId="2" ParentId="30548" CreationDate="2020-06-13T11:00:51.500" Score="1" Body="&lt;p&gt;I finally found out how to do it! &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i VIDEOFILES.txt -filter_complex  \&#xA; &quot;[0:v] fps=32, scale=1920:1080, vflip, hflip, setpts=0.25*PTS, fifo [v0]; \&#xA;  [0:v] fps=32, scale=1920:1080, vflip, hflip, setpts=0.25*PTS, fifo [v1];  &#xA;  [v0][v1]concat=n=2:v=1[out]&quot; -map &quot;[out]&quot; -crf 14  -vcodec libx264  -vb 20M  -loglevel error  video_out_01.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;concat: concetrate files &lt;/li&gt;&#xA;&lt;li&gt;VIDEOFILES.txt: video files with path&#xA;included, eg. file '/path/a.mp4' (including file) &lt;/li&gt;&#xA;&lt;li&gt;fps=32, scale=1920:1080: drop to 32 frames, and reducing video resolution&lt;/li&gt;&#xA;&lt;li&gt;vflip, hflip: 180 degrees rotation of the video  &lt;/li&gt;&#xA;&lt;li&gt;setpts=0.25*PTS: Four times speeder  &lt;/li&gt;&#xA;&lt;li&gt;fifo: a ffmpeg filter that it says to wait frame&#xA;to be fully processed before it is given to the next process --- due&#xA;to some filter process frame quicker than others e.g. due to frame&#xA;drop (?)&lt;/li&gt;&#xA;&lt;li&gt;crf 14: High quality ensured (0 = uncompressed)&lt;/li&gt;&#xA;&lt;li&gt;vcodec libx264: codec to compress the video file&lt;/li&gt;&#xA;&lt;li&gt;vb 20M: video bitrate (a high one)&lt;/li&gt;&#xA;&lt;li&gt;loglevel error: ffmpeg output information only errors will be displayed&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;BIG Questions:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A) I tried to reverse the order of filters eg. &#xA;&lt;code&gt;[0:v] setpts=0.25*PTS, fps=32, scale=1920:1080, vflip, hflip,  fifo [v0]&lt;/code&gt;&#xA;However, it was extremely low. &#xA;The commands are executed seriasly? Then, why I must recode every frame, when only 1/4 of them will be kept? How can I do that in order to gain recoding speed? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;B) Why I need FIFO eventually. This must be not the default behavior? All frames that are kept must be processed from all filters! Right? Why then ffmpeg drop frames without being processed? this is the meaning of FIFO? Right? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE: ffmpeg 4.2.3 freezes when multiple video files exist e.g. &gt;5&lt;/p&gt;&#xA;" OwnerUserId="30052" LastEditorUserId="30052" LastEditDate="2020-06-14T12:19:45.967" LastActivityDate="2020-06-14T12:19:45.967" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30551" PostTypeId="2" ParentId="30549" CreationDate="2020-06-13T11:04:35.777" Score="1" Body="&lt;p&gt;I finally found out how to do it! &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i VIDEOFILES.txt -filter_complex  \&#xA; &quot;[0:v] fps=32, scale=1920:1080, vflip, hflip, setpts=0.25*PTS, fifo [v0]; \&#xA;  [0:v] fps=32, scale=1920:1080, vflip, hflip, setpts=0.25*PTS, fifo [v1];  &#xA;  [v0][v1]concat=n=2:v=1[out]&quot; -map &quot;[out]&quot; -crf 14  -vcodec libx264  -vb 20M  -loglevel error  video_out_01.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;concat: concetrate files &lt;/li&gt;&#xA;&lt;li&gt;VIDEOFILES.txt: video files with path&#xA;included, eg. file '/path/a.mp4' (including file) &lt;/li&gt;&#xA;&lt;li&gt;fps=32, scale=1920:1080: drop to 32 frames, and reducing video resolution&lt;/li&gt;&#xA;&lt;li&gt;vflip, hflip: 180 degrees rotation of the video  &lt;/li&gt;&#xA;&lt;li&gt;setpts=0.25*PTS: Four times speeder  &lt;/li&gt;&#xA;&lt;li&gt;fifo: a ffmpeg filter that it says to wait frame&#xA;to be fully processed before it is given to the next process --- due&#xA;to some filter process frame quicker than others e.g. due to frame&#xA;drop (?)&lt;/li&gt;&#xA;&lt;li&gt;crf 14: High quality ensured (0 = uncompressed)&lt;/li&gt;&#xA;&lt;li&gt;vcodec libx264: codec to compress the video file&lt;/li&gt;&#xA;&lt;li&gt;vb 20M: video bitrate (a high one)&lt;/li&gt;&#xA;&lt;li&gt;loglevel error: ffmpeg output information only errors will be displayed&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;BIG Questions:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A) I tried to reverse the order of filters eg. &#xA;&lt;code&gt;[0:v] setpts=0.25*PTS, fps=32, scale=1920:1080, vflip, hflip,  fifo [v0]&lt;/code&gt;&#xA;However, it was extremely low. &#xA;The commands are executed seriasly? Then, why I must recode every frame, when only 1/4 of them will be kept? How can I do that in order to gain recoding speed? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;B) Why I need FIFO eventually. This must be not the default behavior? All frames that are kept must be processed from all filters! Right? Why then ffmpeg drop frames without being processed? this is the meaning of FIFO? Right? &lt;/p&gt;&#xA;" OwnerUserId="30052" LastActivityDate="2020-06-13T11:04:35.777" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30553" PostTypeId="1" CreationDate="2020-06-13T12:50:48.407" Score="0" ViewCount="16" Body="&lt;p&gt;I tried to encode three video files from my action camera and ffmpeg freezed. &#xA;The video file was 37mb, without any prior manipulation. &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg   -i GOPR0019.MP4 -i GOPR0019.MP4 -i GOPR0019.MP4 -filter_complex   &quot;[0:v] scale=1920:1080, fps=50, vflip, hflip, setpts=0.33*PTS, fifo [v0]; \&#xA;  [0:v] scale=1920:1080,  setpts=0.33*PTS, fifo [v1];  &#xA;  [0:v] scale=1920:1080, fps=50, vflip, hflip, setpts=0.33*PTS, fifo [v2];  &#xA;  [v0][v1][v2]concat=n=3:v=1[out]&quot; -map &quot;[out]&quot; -crf 14  -vcodec libx264  -vb 20M    video_out_01.avi&#xA;ffmpeg version 3.4.6-0ubuntu0.18.04.1 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 7 (Ubuntu 7.3.0-16ubuntu3)&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.18.04.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-librsvg --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared&#xA;  WARNING: library configuration mismatch&#xA;  avcodec     configuration: --prefix=/usr --extra-version=0ubuntu0.18.04.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-librsvg --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared --enable-version3 --disable-doc --disable-programs --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libtesseract --enable-libvo_amrwbenc&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libavresample   3.  7.  0 /  3.  7.  0&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'GOPR0019.MP4':&#xA;  Metadata:&#xA;    major_brand     : mp41&#xA;    minor_version   : 538120216&#xA;    compatible_brands: mp41&#xA;    creation_time   : 2020-06-12T19:41:21.000000Z&#xA;    location        : +38.0455+023.7321/&#xA;    location-eng    : +38.0455+023.7321/&#xA;    firmware        : HD5.02.02.60.00&#xA;  Duration: 00:00:05.25, start: 0.000000, bitrate: 60245 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 2704x1520 [SAR 1:1 DAR 169:95], 60140 kb/s, 50 fps, 50 tbr, 90k tbn, 100 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T19:41:21.000000Z&#xA;      handler_name    :     GoPro AVC&#xA;      encoder         : GoPro AVC encoder&#xA;      timecode        : 19:41:21:46&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T19:41:21.000000Z&#xA;      handler_name    :     GoPro AAC&#xA;      timecode        : 19:41:21:46&#xA;    Stream #0:2(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T19:41:21.000000Z&#xA;      handler_name    :     GoPro TCD&#xA;      timecode        : 19:41:21:46&#xA;    Stream #0:3(eng): Data: none (gpmd / 0x646D7067), 38 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T19:41:21.000000Z&#xA;      handler_name    :     GoPro MET&#xA;    Stream #0:4(eng): Data: none (fdsc / 0x63736466), 13 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T19:41:21.000000Z&#xA;      handler_name    :     GoPro SOS&#xA;Input #1, mov,mp4,m4a,3gp,3g2,mj2, from 'GOPR0019.MP4':&#xA;  Metadata:&#xA;    major_brand     : mp41&#xA;    minor_version   : 538120216&#xA;    compatible_brands: mp41&#xA;    creation_time   : 2020-06-12T19:41:21.000000Z&#xA;    location        : +38.0455+023.7321/&#xA;    location-eng    : +38.0455+023.7321/&#xA;    firmware        : HD5.02.02.60.00&#xA;  Duration: 00:00:05.25, start: 0.000000, bitrate: 60245 kb/s&#xA;    Stream #1:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 2704x1520 [SAR 1:1 DAR 169:95], 60140 kb/s, 50 fps, 50 tbr, 90k tbn, 100 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T19:41:21.000000Z&#xA;      handler_name    :     GoPro AVC&#xA;      encoder         : GoPro AVC encoder&#xA;      timecode        : 19:41:21:46&#xA;    Stream #1:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T19:41:21.000000Z&#xA;      handler_name    :     GoPro AAC&#xA;      timecode        : 19:41:21:46&#xA;    Stream #1:2(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T19:41:21.000000Z&#xA;      handler_name    :     GoPro TCD&#xA;      timecode        : 19:41:21:46&#xA;    Stream #1:3(eng): Data: none (gpmd / 0x646D7067), 38 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T19:41:21.000000Z&#xA;      handler_name    :     GoPro MET&#xA;    Stream #1:4(eng): Data: none (fdsc / 0x63736466), 13 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T19:41:21.000000Z&#xA;      handler_name    :     GoPro SOS&#xA;Input #2, mov,mp4,m4a,3gp,3g2,mj2, from 'GOPR0019.MP4':&#xA;  Metadata:&#xA;    major_brand     : mp41&#xA;    minor_version   : 538120216&#xA;    compatible_brands: mp41&#xA;    creation_time   : 2020-06-12T19:41:21.000000Z&#xA;    location        : +38.0455+023.7321/&#xA;    location-eng    : +38.0455+023.7321/&#xA;    firmware        : HD5.02.02.60.00&#xA;  Duration: 00:00:05.25, start: 0.000000, bitrate: 60245 kb/s&#xA;    Stream #2:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 2704x1520 [SAR 1:1 DAR 169:95], 60140 kb/s, 50 fps, 50 tbr, 90k tbn, 100 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T19:41:21.000000Z&#xA;      handler_name    :     GoPro AVC&#xA;      encoder         : GoPro AVC encoder&#xA;      timecode        : 19:41:21:46&#xA;    Stream #2:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T19:41:21.000000Z&#xA;      handler_name    :     GoPro AAC&#xA;      timecode        : 19:41:21:46&#xA;    Stream #2:2(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T19:41:21.000000Z&#xA;      handler_name    :     GoPro TCD&#xA;      timecode        : 19:41:21:46&#xA;    Stream #2:3(eng): Data: none (gpmd / 0x646D7067), 38 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T19:41:21.000000Z&#xA;      handler_name    :     GoPro MET&#xA;    Stream #2:4(eng): Data: none (fdsc / 0x63736466), 13 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T19:41:21.000000Z&#xA;      handler_name    :     GoPro SOS&#xA;File 'video_out_01.avi' already exists. Overwrite ? [y/N] y&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  concat -&amp;gt; Stream #0:0 (libx264)&#xA;Press [q] to stop, [?] for help&#xA;[swscaler @ 0x564504a951a0] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x564504ae75a0] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x564504b3b0c0] deprecated pixel format used, make sure you did set range correctly&#xA;[libx264 @ 0x564504212580] using SAR=1521/1520&#xA;[libx264 @ 0x564504212580] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x564504212580] profile High, level 4.2&#xA;Output #0, avi, to 'video_out_01.avi':&#xA;  Metadata:&#xA;    major_brand     : mp41&#xA;    minor_version   : 538120216&#xA;    compatible_brands: mp41&#xA;    firmware        : HD5.02.02.60.00&#xA;    location        : +38.0455+023.7321/&#xA;    location-eng    : +38.0455+023.7321/&#xA;    ISFT            : Lavf57.83.100&#xA;    Stream #0:0: Video: h264 (libx264) (H264 / 0x34363248), yuvj420p(pc), 1920x1080 [SAR 1521:1520 DAR 169:95], q=-1--1, 20000 kb/s, 50 fps, 50 tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc57.107.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/20000000 buffer size: 0 vbv_delay: -1&#xA;Past duration 0.999992 too large&#xA;    Last message repeated 2 times&#xA;Past duration 0.999992 too large      6kB time=00:00:00.00 bitrate=N/A dup=0 drop=6 speed=   0x    &#xA;    Last message repeated 9 times&#xA;Past duration 0.999992 too large      6kB time=00:00:00.00 bitrate=N/A dup=0 drop=26 speed=   0x    &#xA;    Last message repeated 9 times&#xA;Past duration 0.999992 too large      6kB time=00:00:00.00 bitrate=N/A dup=0 drop=47 speed=   0x    &#xA;    Last message repeated 9 times&#xA;Past duration 0.999992 too large      6kB time=00:00:00.00 bitrate=N/A dup=0 drop=67 speed=   0x    &#xA;    Last message repeated 9 times&#xA;Past duration 0.999992 too large      6kB time=00:00:00.00 bitrate=N/A dup=0 drop=87 speed=   0x    &#xA;Past duration 0.999992 too large      6kB time=00:00:00.00 bitrate=N/A dup=0 drop=89 speed=   0x    &#xA;    Last message repeated 6 times&#xA;Past duration 0.999992 too large     518kB time=00:00:00.02 bitrate=212016.8kbits/s dup=0 drop=103 speed=0.00562x    &#xA;    Last message repeated 2 times&#xA;Past duration 0.999992 too large    1030kB time=00:00:00.08 bitrate=105433.0kbits/s dup=0 drop=109 speed=0.0194x    &#xA;    Last message repeated 5 times&#xA;Past duration 0.999992 too large    2054kB time=00:00:00.20 bitrate=84116.2kbits/s dup=0 drop=121 speed=0.0422x    &#xA;    Last message repeated 4 times&#xA;Past duration 0.999992 too large    2822kB time=00:00:00.30 bitrate=77049.0kbits/s dup=0 drop=131 speed=0.0572x    &#xA;    Last message repeated 2 times&#xA;Past duration 0.999992 too large    3334kB time=00:00:00.36 bitrate=75858.4kbits/s dup=0 drop=139 speed=0.0626x    &#xA;    Last message repeated 4 times&#xA;Past duration 0.999992 too large    4102kB time=00:00:00.46 bitrate=73044.5kbits/s dup=0 drop=148 speed=0.0723x    &#xA;    Last message repeated 5 times&#xA;Past duration 0.999992 too large    5126kB time=00:00:00.58 bitrate=72395.0kbits/s dup=0 drop=160 speed=0.083x    &#xA;    Last message repeated 4 times&#xA;Past duration 0.999992 too large    5894kB time=00:00:00.68 bitrate=71000.8kbits/s dup=0 drop=170 speed=0.0905x    &#xA;[Parsed_concat_15 @ 0x564504a8b820] Buffer queue overflow, dropping.&#xA;    Last message repeated 5 times&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30052" LastActivityDate="2020-06-13T12:50:48.407" Title="Ffmpeg freezed while encoding 37mb video file from Action Camera" Tags="|video|ffmpeg|gopro|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30554" PostTypeId="1" CreationDate="2020-06-13T13:20:12.923" Score="-1" ViewCount="1208" Body="&lt;p&gt;My system is windows 7 64 bit, Avisynth+ 3.6.0 is installed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Displayed when loading 64-bit dll:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Cannot load a 64 bit DLL in 32 bit Avisynth: 'D:/Program Files/AviSynthPlus/plugins64+/avss.dll'&lt;/p&gt;&#xA;" OwnerUserId="30189" LastEditorUserId="30189" LastEditDate="2020-06-13T13:50:34.580" LastActivityDate="2020-07-08T13:34:26.180" Title="Avisynth+ How to install" Tags="|avisynth|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30555" PostTypeId="2" ParentId="30554" CreationDate="2020-06-13T17:24:55.240" Score="0" Body="&lt;p&gt;Your path &lt;code&gt;D:/Program Files/AviSynthPlus/plugins64+/&lt;/code&gt; is by AviSynth recognized as an autoload path for &lt;em&gt;32-bit plugins,&lt;/em&gt; because this path is set (as a value) &lt;em&gt;in an inappropriate registry key.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;Launch Registry Editor and check / change path values in these keys:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;HKEY_CURRENT_USER\SOFTWARE\Avisynth\PluginDir+&lt;/code&gt; for 64-bit version,&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;HKEY_CURRENT_USER\SOFTWARE\Wow6432Node\Avisynth\PluginDir+&lt;/code&gt; for 32-bit version.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;or (lower priority)&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;HKEY_LOCAL_MACHINE\SOFTWARE\Avisynth\PluginDir+&lt;/code&gt; for 64-bit version,&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;HKEY_LOCAL_MACHINE\SOFTWARE\Wow6432Node\Avisynth\PluginDir+&lt;/code&gt; for 32-bit version.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2020-07-08T13:34:26.180" LastActivityDate="2020-07-08T13:34:26.180" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30556" PostTypeId="2" ParentId="30554" CreationDate="2020-06-13T18:21:59.890" Score="0" Body="&lt;p&gt;You want to run 64bit plugins in a 32bit application - that's what the error, you got, tells us. You should install or build the 64bit version of avisynth as this should be able to work with the plugins.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also Windows 7 is unsupported by Microsoft. The longer you wait with upgrading to Windows 10 (or using another modern OS) the more problems you will face.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2020-06-13T18:31:18.777" LastActivityDate="2020-06-13T18:31:18.777" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30557" PostTypeId="1" CreationDate="2020-06-13T19:38:25.407" Score="0" ViewCount="26" Body="&lt;p&gt;I am looking for a FOSS video editor to make a slideshow with. I want soemhting that's easy to use with the ability to have standard timed transitions across all clips. What's the best option?&lt;/p&gt;&#xA;" OwnerUserId="30193" LastActivityDate="2020-11-16T16:46:49.687" Title="What's the best free video editor for a music slideshow?" Tags="|transitions|" AnswerCount="1" CommentCount="2" ClosedDate="2020-11-17T01:39:44.877" ContentLicense="CC BY-SA 4.0" />
  <row Id="30558" PostTypeId="1" AcceptedAnswerId="30559" CreationDate="2020-06-13T20:07:19.243" Score="1" ViewCount="86" Body="&lt;p&gt;In Vegas Pro 17, how could you make a video speed up gradually — like 100% increasing to 110%, increasing to 120%, increasing to 140%...so it goes faster and faster smoothly?&lt;/p&gt;&#xA;" OwnerUserId="30195" LastEditorUserId="1950" LastEditDate="2020-06-17T01:30:36.080" LastActivityDate="2020-06-17T01:30:36.080" Title="Gradually speeding up a video in Vegas Pro" Tags="|video-editor|time-lapse|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30559" PostTypeId="2" ParentId="30558" CreationDate="2020-06-13T21:16:14.700" Score="0" Body="&lt;p&gt;That can be pretty simple if your video editor support this.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;For example here's how you do it in Adobe's Premiere Pro: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/tZgVoUbrA0g?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-06-13T21:16:14.700" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30560" PostTypeId="1" CreationDate="2020-06-13T22:34:45.377" Score="1" ViewCount="756" Body="&lt;p&gt;I tried to encode some video files, from GOPRO action camera. The whole fuzz is about two specific video files that the video orientation is 180 degree. Therefore, I thought to implement complex filter instead of the simpler syntax, in order to change the orientation to these video files, while, in the same time, to recode them into a single file, with specific parameters. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, ffmpeg freezes my computer. I was able to press ctrl + C, in order to paste this output, if it is of any help, together with the ffmpeg command that I used to recode my gopro action camera video files. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Secondary question: Is there a better way to set seriarly the ffmpeg filters in filter_complex?   &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;  ffmpeg -f concat -safe 0 -i VIDEOFILES.txt -filter_complex  \&#xA;&amp;gt;  &quot;[0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v1];  \&#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v2];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v3];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v4];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v5];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v6];    &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v7];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v8];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v9];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v10];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v11];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v12]; &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v13];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v14];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v15];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v16];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v17];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v18]; &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v19];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v20];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v21];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v22];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32,  vflip, hflip, setpts=0.33*PTS, fifo [v23];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v24]; &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v25];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v26];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v27];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v28];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v29];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v30]; &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32,  vflip, hflip, setpts=0.33*PTS, fifo [v31];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v32];  &#xA;&amp;gt;   [0:v] scale=1920:1080, fps=32, setpts=0.33*PTS, fifo [v33];  &#xA;&amp;gt;   [v1][v2][v3][v4][v5][v6][v7][v8][v9][v10][v11][v12][v13][v14][v15][v16][v17][v18][v19][v20][v21][v22][v23][v24][v25][v26][v27][v28][v29][v30][v31][v32][v33]concat=n=33:v=1[out]&quot; -map &quot;[out]&quot; -crf 14  -vcodec libx264  -vb 20M   video_out_33.avi&#xA;ffmpeg version 4.2.3 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 7 (Ubuntu 7.5.0-3ubuntu1~18.04)&#xA;  configuration: --enable-gpl --enable-libx264 --enable-libvpx --enable-libmp3lame --enable-libopus&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x56154d2c3a40] Invalid mdhd time scale 0, defaulting to 1&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x56154d2c3a40] Auto-inserting h264_mp4toannexb bitstream filter&#xA;[concat @ 0x56154d2b73c0] Could not find codec parameters for stream 2 (Unknown: none): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[concat @ 0x56154d2b73c0] Could not find codec parameters for stream 4 (Unknown: none): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, concat, from 'VIDEOFILES.txt':&#xA;  Duration: N/A, start: 0.000000, bitrate: 60138 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 2704x1520 [SAR 1:1 DAR 169:95], 60010 kb/s, 50 fps, 50 tbr, 90k tbn, 100 tbc&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T17:51:41.000000Z&#xA;      handler_name    :     GoPro AVC&#xA;      encoder         : GoPro AVC encoder&#xA;      timecode        : 17:51:42:25&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T17:51:41.000000Z&#xA;      handler_name    :     GoPro AAC&#xA;      timecode        : 17:51:42:25&#xA;    Stream #0:2: Unknown: none&#xA;    Stream #0:3(eng): Data: bin_data (gpmd / 0x646D7067), 0 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T17:51:41.000000Z&#xA;      handler_name    :     GoPro MET&#xA;    Stream #0:4: Unknown: none&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  Stream #0:0 (h264) -&amp;gt; scale&#xA;  concat -&amp;gt; Stream #0:0 (libx264)&#xA;Press [q] to stop, [?] for help&#xA;[swscaler @ 0x56154d57a0c0] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154d5c0bc0] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154da7fdc0] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154dac7000] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154db19e40] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154db6cc80] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154dbbfac0] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154dc12900] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154dc65740] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154dcb8580] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154dd0b3c0] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154dd5e200] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154ddb1040] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154de04100] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154de57d80] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154deaba00] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154deff680] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154df53380] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154dfa70c0] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154dffaf00] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154e04ec40] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154e0a2980] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154e617e00] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154e66b540] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154e6bf380] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154e7130c0] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154e766e00] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154e7bac40] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154e80e980] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154e8626c0] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154e8b6500] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154e90a240] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x56154e95df80] deprecated pixel format used, make sure you did set range correctly&#xA;[libx264 @ 0x56154e0f6a40] using SAR=1521/1520&#xA;[libx264 @ 0x56154e0f6a40] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x56154e0f6a40] profile High, level 4.2&#xA;Output #0, avi, to 'video_out_33.avi':&#xA;  Metadata:&#xA;    ISFT            : Lavf58.29.100&#xA;    Stream #0:0: Video: h264 (libx264) (H264 / 0x34363248), yuvj420p(pc), 1920x1080 [SAR 1521:1520 DAR 169:95], q=-1--1, 20000 kb/s, 32 fps, 32 tbn, 32 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc58.54.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/20000000 buffer size: 0 vbv_delay: -1&#xA;frame=    0 fps=0.0 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A speed=   frame=    2 fps=1.5 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A speed=   frame=    3 fps=1.6 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=    4 fps=1.7 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=    4 fps=1.3 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=    5 fps=1.4 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=    6 fps=1.4 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=    7 fps=1.5 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=    8 fps=1.5 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=    9 fps=1.5 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   10 fps=1.5 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   10 fps=1.1 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   10 fps=0.8 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   10 fps=0.3 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   10 fps=0.3 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   10 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 droframe=   11 fps=0.2 q=0.0 size=       6kB time=00:00:00&#xA;&#xA;&amp;gt; ^C&#xA;&amp;gt; elias@eliasc:/media/elias/MyPassport/prx/Podilato_Poreia_Kamatero_12Jun2020/1$&#xA;&amp;gt; ^C&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30052" LastEditorUserId="30052" LastEditDate="2020-06-13T22:42:05.693" LastActivityDate="2024-02-24T22:05:50.727" Title="ffmpeg 4.2.3 freezes in encoding which is extremely slow" Tags="|ffmpeg|filter|gopro|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30561" PostTypeId="2" ParentId="30510" CreationDate="2020-06-14T00:28:21.600" Score="0" Body="&lt;p&gt;I found this helpful tutorial on basic compositing:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/FifgKAezJX4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;With this I was able to easily do additive compositing with a mask and I can easily adjust the position, opacity, etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I wanted a white glow, and as luck would have it the video was filmed in front of a white brick wall. It works great now. &lt;/p&gt;&#xA;" OwnerUserId="30130" LastActivityDate="2020-06-14T00:28:21.600" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30564" PostTypeId="2" ParentId="30560" CreationDate="2020-06-14T08:31:52.333" Score="0" Body="&lt;p&gt;Finally, I found out what to do. Firstly, I concetrated all my video files into one big file, using a simpler syntax, and not filter_complex syntax:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i VIDEOFILES.txt -r 32 -crf 14  -vcodec libx264 -vb 20M -vf &quot;scale=1280:720,setpts=0.33*PTS&quot; -fflags +genpts  -an   video_output_01.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;-f concat -safe 0 -i VIDEOFILES.txt: concetrate all videofiles into one&lt;/li&gt;&#xA;&lt;li&gt;vcodec libx264: the encoder&lt;/li&gt;&#xA;&lt;li&gt;r: number of frames&lt;/li&gt;&#xA;&lt;li&gt;crf: 0=uncompress&lt;/li&gt;&#xA;&lt;li&gt;vb 20M: video bitrate&lt;/li&gt;&#xA;&lt;li&gt;scale: resize resolution&lt;/li&gt;&#xA;&lt;li&gt;setpts=0.33*PTS:Speeding 3 times the video &lt;/li&gt;&#xA;&lt;li&gt;-fflags +genpts:  They fix timestamps, I dont know if they are needed in ffmpeg 4.2.3&lt;/li&gt;&#xA;&lt;li&gt;an: Removing audio track from the videofile&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;Then:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tried to find out between what times-seconds/frames I wanted to change the orientation in the merged videofile. I implemented the following ffmpeg command: &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video_output_01.avi -filter_complex  &quot;[0:v]trim=start=0:duration=513[clpA];\&#xA;  [0:v]trim=start=513:duration=27,setpts=PTS-STARTPTS[clpB];\&#xA;  [clpB]vflip, hflip[clpBf];\&#xA;  [clpA][clpBf]concat[clpAB];\&#xA;  [0:v]trim=start=540:duration=762,setpts=PTS-STARTPTS[clpC];\&#xA;  [0:v]trim=start=1302:duration=120,setpts=PTS-STARTPTS[clpD];\&#xA;  [clpD]vflip, hflip[clpDf];\&#xA;  [clpC][clpDf]concat[clpCD];\&#xA;  [clpAB][clpCD]concat[clpABCD];\&#xA;  [0:v]trim=start=1422:duration=439,setpts=PTS-STARTPTS[clpE];\&#xA;  [0:v]trim=start=1861:duration=19,setpts=PTS-STARTPTS[clpF];\&#xA;  [clpF]vflip, hflip[clpFf];\&#xA;  [clpE][clpFf]concat[clpEF];\&#xA;  [clpABCD][clpEF]concat[out1]&quot; -map [out1] Hflip.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;So, in three parts in the videofiles, between specific seconds/frames&#xA;change 180o degrees orientation: ClipB, ClipD, and ClipF &lt;/li&gt;&#xA;&lt;li&gt;ClipA, CLipC and CLipE are intact.&lt;/li&gt;&#xA;&lt;li&gt;it was weird that the quality of the video that was produced remained the same with the merged videofile, even no additional parameters of video encoding were given&lt;/li&gt;&#xA;&lt;li&gt;Start: in seconds&lt;/li&gt;&#xA;&lt;li&gt;Duration: how many seconds this transformation to happen from the given start point (in seconds)?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;However, with that method, you must find exactly the second that you would like to start / apply transformation filter/s. If the transformation is about only whole individual videofiles, then it is not the best solution. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Also, I dont want to encode multiple times my files, which, I think with these two commands, this does not happen.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE: The first video was of 5.7GB.&#xA;The second ffmpeg command resulted a video file of ~1.5GB, very worse quality. I am searching yet what to do...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;UPDATE No2:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The folowing command also freezes my computer:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -f concat -safe 0 -i VIDEOFILES_short.txt -filter_complex  \&#xA;&amp;gt;  &quot;[0:v] setpts=PTS-STARTPTS[v1];  \&#xA;&amp;gt;   [0:v] setpts=PTS-STARTPTS[v2];  \&#xA;&amp;gt;   [v1][v2]concat[v12];            \&#xA;&amp;gt;   [0:v] setpts=PTS-STARTPTS[v3];  \&#xA;&amp;gt;   [0:v] setpts=PTS-STARTPTS[v4];  \&#xA;&amp;gt;   [v3][v4]concat[v34];            \&#xA;&amp;gt;   [0:v] setpts=PTS-STARTPTS[v5];  \&#xA;&amp;gt;   [v5]vflip, hflip[v5flip];       \&#xA;&amp;gt;   [v12][v34][v5flip]concat=n=3:v=1, scale=1920:1080, setpts=0.33*PTS[out]&quot; -map &quot;[out]&quot; -r 32 -crf 14  -vcodec libx264  -vb 20M   video_out_FF.avi&#xA;ffmpeg version 4.2.3 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 7 (Ubuntu 7.5.0-3ubuntu1~18.04)&#xA;  configuration: --enable-gpl --enable-libx264 --enable-libvpx --enable-libmp3lame --enable-libopus&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x55f6fdeab480] Invalid mdhd time scale 0, defaulting to 1&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x55f6fdeab480] Auto-inserting h264_mp4toannexb bitstream filter&#xA;[concat @ 0x55f6fdea0b80] Could not find codec parameters for stream 2 (Unknown: none): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[concat @ 0x55f6fdea0b80] Could not find codec parameters for stream 4 (Unknown: none): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, concat, from 'VIDEOFILES_short.txt':&#xA;  Duration: N/A, start: 0.000000, bitrate: 60138 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 2704x1520 [SAR 1:1 DAR 169:95], 60010 kb/s, 50 fps, 50 tbr, 90k tbn, 100 tbc&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T17:51:41.000000Z&#xA;      handler_name    :     GoPro AVC&#xA;      encoder         : GoPro AVC encoder&#xA;      timecode        : 17:51:42:25&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T17:51:41.000000Z&#xA;      handler_name    :     GoPro AAC&#xA;      timecode        : 17:51:42:25&#xA;    Stream #0:2: Unknown: none&#xA;    Stream #0:3(eng): Data: bin_data (gpmd / 0x646D7067), 0 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T17:51:41.000000Z&#xA;      handler_name    :     GoPro MET&#xA;    Stream #0:4: Unknown: none&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; setpts&#xA;  Stream #0:0 (h264) -&amp;gt; setpts&#xA;  Stream #0:0 (h264) -&amp;gt; setpts&#xA;  Stream #0:0 (h264) -&amp;gt; setpts&#xA;  Stream #0:0 (h264) -&amp;gt; setpts&#xA;  setpts -&amp;gt; Stream #0:0 (libx264)&#xA;Press [q] to stop, [?] for help&#xA;[swscaler @ 0x55f6fe10b680] deprecated pixel format used, make sure you did set range correctly&#xA;[libx264 @ 0x55f6fdedf700] using SAR=1521/1520&#xA;[libx264 @ 0x55f6fdedf700] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x55f6fdedf700] profile High, level 4.2&#xA;Output #0, avi, to 'video_out_FF.avi':&#xA;  Metadata:&#xA;    ISFT            : Lavf58.29.100&#xA;    Stream #0:0: Video: h264 (libx264) (H264 / 0x34363248), yuvj420p(pc), 1920x1080 [SAR 1521:1520 DAR 169:95], q=-1--1, 20000 kb/s, 32 fps, 32 tbn, 32 tbc (default)&#xA;    Metadata:&#xA;      encoder         : Lavc58.54.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/20000000 buffer size: 0 vbv_delay: -1&#xA;frame=    6 fps=4.7 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 drop=13 speed=  frame=   11 fps=6.2 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 drop=34 speed=  frame=   11 fps=4.8 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 drop=34 speed=  frame=   11 fps=4.0 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 drop=34 speed=  frame=   11 fps=3.4 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 drop=34 speed=  frame=   11 fps=2.9 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 drop=34 speed=  frame=   11 fps=2.6 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 drop=34 speed=  frame=   11 fps=2.3 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 drop=34 speed=  frame=   11 fps=2.1 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 drop=34 speed=  frame=   11 fps=1.9 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 drop=34 speed=  frame=   11 fps=1.7 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 drop=34 speed=  frame=   11 fps=1.6 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 drop=34 speed=  frame=   11 fps=1.5 q=0.0 size=       6kB time=00:00:00.00 bitrate=N/A dup=0 drop=34 speed=  frame=   11 fps=1.3 q=-1.0 Lsize=    1906kB time=00:00:00.28 bitrate=55512.7kbits/s dup=0 drop=35 speed=0.0323x    &#xA;video:1900kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.309726%&#xA;[libx264 @ 0x55f6fdedf700] frame I:1     Avg QP:17.05  size:386448&#xA;[libx264 @ 0x55f6fdedf700] frame P:3     Avg QP:18.57  size:251059&#xA;[libx264 @ 0x55f6fdedf700] frame B:7     Avg QP:19.85  size:115138&#xA;[libx264 @ 0x55f6fdedf700] consecutive B-frames:  9.1%  0.0% 54.5% 36.4%&#xA;[libx264 @ 0x55f6fdedf700] mb I  I16..4:  8.8% 57.2% 34.1%&#xA;[libx264 @ 0x55f6fdedf700] mb P  I16..4:  3.2% 25.8% 11.6%  P16..4: 23.4% 19.9% 14.6%  0.0%  0.0%    skip: 1.4%&#xA;[libx264 @ 0x55f6fdedf700] mb B  I16..4:  0.9%  5.9%  2.6%  B16..8: 29.0% 17.6%  7.6%  direct:23.5%  skip:12.9%  L0:41.5% L1:19.2% BI:39.4%&#xA;[libx264 @ 0x55f6fdedf700] 8x8 transform intra:61.1% inter:45.4%&#xA;[libx264 @ 0x55f6fdedf700] coded y,uvDC,uvAC intra: 87.6% 81.5% 50.9% inter: 66.0% 41.4% 2.5%&#xA;[libx264 @ 0x55f6fdedf700] i16 v,h,dc,p: 26%  4%  5% 65%&#xA;[libx264 @ 0x55f6fdedf700] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 15% 15% 15%  8%  6%  7%  6%  7% 20%&#xA;[libx264 @ 0x55f6fdedf700] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 17% 15% 10%  8%  7% 12%  6%  7% 17%&#xA;[libx264 @ 0x55f6fdedf700] i8c dc,h,v,p: 51% 22% 18%  8%&#xA;[libx264 @ 0x55f6fdedf700] Weighted P-Frames: Y:66.7% UV:33.3%&#xA;[libx264 @ 0x55f6fdedf700] ref P L0: 75.7% 10.1%  7.3%  5.5%  1.4%&#xA;[libx264 @ 0x55f6fdedf700] ref B L0: 94.2%  4.9%  0.9%&#xA;[libx264 @ 0x55f6fdedf700] ref B L1: 99.7%  0.3%&#xA;[libx264 @ 0x55f6fdedf700] kb/s:45279.23&#xA;Exiting normally, received signal 2.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30052" LastEditorUserId="30052" LastEditDate="2020-06-14T13:48:01.903" LastActivityDate="2020-06-14T13:48:01.903" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30567" PostTypeId="1" CreationDate="2020-06-14T14:37:57.653" Score="0" ViewCount="106" Body="&lt;p&gt;ffmpeg 4.2.3 bug: Do not overwrite the file even &quot;y&quot; is pressed&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i VIDEOFILES_short.txt -filter_complex  \&#xA;&amp;gt;  &quot;[0:v] setpts=PTS-STARTPTS[v1];  \&#xA;&amp;gt;   [0:v] setpts=PTS-STARTPTS[v2];  \&#xA;&amp;gt;   [v1][v2]concat[v12];            \&#xA;&amp;gt;   [0:v] setpts=PTS-STARTPTS[v3];  \&#xA;&amp;gt;   [0:v] setpts=PTS-STARTPTS[v4];  \&#xA;&amp;gt;   [v3][v4]concat[v34];            \&#xA;&amp;gt;   [0:v] setpts=PTS-STARTPTS[v5];  \&#xA;&amp;gt;   [v5]vflip, hflip[v5flip];       \&#xA;&amp;gt;   [v12][v34][v5flip]concat=n=3:v=1, scale=1920:1080[out]&quot; -map &quot;[out]&quot; -r 32 -crf 14  -vcodec libx264  -vb 20M   video_out_FF.avi&#xA;ffmpeg version 4.2.3 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 7 (Ubuntu 7.5.0-3ubuntu1~18.04)&#xA;  configuration: --enable-gpl --enable-libx264 --enable-libvpx --enable-libmp3lame --enable-libopus&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x55f126a78400] Invalid mdhd time scale 0, defaulting to 1&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x55f126a78400] Auto-inserting h264_mp4toannexb bitstream filter&#xA;[concat @ 0x55f126a6dbc0] Could not find codec parameters for stream 2 (Unknown: none): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[concat @ 0x55f126a6dbc0] Could not find codec parameters for stream 4 (Unknown: none): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, concat, from 'VIDEOFILES_short.txt':&#xA;  Duration: N/A, start: 0.000000, bitrate: 60138 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 2704x1520 [SAR 1:1 DAR 169:95], 60010 kb/s, 50 fps, 50 tbr, 90k tbn, 100 tbc&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T17:51:41.000000Z&#xA;      handler_name    :     GoPro AVC&#xA;      encoder         : GoPro AVC encoder&#xA;      timecode        : 17:51:42:25&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T17:51:41.000000Z&#xA;      handler_name    :     GoPro AAC&#xA;      timecode        : 17:51:42:25&#xA;    Stream #0:2: Unknown: none&#xA;    Stream #0:3(eng): Data: bin_data (gpmd / 0x646D7067), 0 kb/s&#xA;    Metadata:&#xA;      creation_time   : 2020-06-12T17:51:41.000000Z&#xA;      handler_name    :     GoPro MET&#xA;    Stream #0:4: Unknown: none&#xA;File 'video_out_FF.avi' already exists. Overwrite ? [y/N] y&#xA;Not overwriting - exiting&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30052" LastActivityDate="2020-06-14T14:37:57.653" Title="ffmpeg 4.2.3 bug. Pressing &quot;y&quot; do not overwrite the file" Tags="|ffmpeg|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30568" PostTypeId="1" CreationDate="2020-06-14T15:37:53.757" Score="0" ViewCount="32" Body="&lt;p&gt;I want to make videos that are documentary, and will often have documents and images in them. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I figured out how to do simple animations and Ken Burns Effects with Motion. Just wondering if I am going to end up making every scene in Motion and exporting it to drop into Final Cut Pro, or if there are easier ways to do it. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;A good example would be suppose I want to show a document. I might want to swipe it in, then zoom to one part of it, then highlight some of it. I think I could do that with Motion. Wondering if instead though I should be finding or making effects in FCPX instead, then just dropping the document into it, reframing the zoomed portion, and where the highlight goes. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here is a good example: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/olNRkXaYKkI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; &#xA;of some types of effects, although I think some of these are a little hokey. I just wonder if they are making each zoom and animated transition. Thinking no.&lt;/p&gt;&#xA;" OwnerUserId="23905" LastEditorUserId="18155" LastEditDate="2020-06-15T01:17:28.653" LastActivityDate="2020-06-15T03:37:06.363" Title="Wanna learn to make videos that use documents" Tags="|final-cut-pro-x|motion|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30569" PostTypeId="2" ParentId="29940" CreationDate="2020-06-14T16:00:14.017" Score="0" Body="&lt;p&gt;There is no Linux version of Premiere or After Effects, so the short answer is no.  If you are using a Linux machine and need to render an AE or Premiere project, the main solution is to ask someone with that software to render it for you.  You can try rendering under WINE, which is a compatibility layer that tries to run Windows software on Linux, but that obviously won't be supported by Adobe, and I wouldn't invest effort in trying to get something that brittle to work.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So, what's your actual need?  Your question mentions doing automation work, rather than just rendering.  If you look into Linux native tools like Nuke for compositing instead of After Effects, most of them have extensive embedded Python API's which can be used for all sorts of automation tasks.  If you need to start in Premiere for some reason, it may be practical to export an XMEML file, and read it using the open source OpenTimelineIO library, and create whatever sort of final project you want.&lt;/p&gt;&#xA;" OwnerUserId="272" LastActivityDate="2020-06-14T16:00:14.017" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30570" PostTypeId="1" CreationDate="2020-06-14T16:12:42.313" Score="1" ViewCount="758" Body="&lt;p&gt;I am trying to flip 180 degrees parts of a video file from action camera.&#xA;When i was using &lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;&quot;[clpABCD][clpEF][clpG]concat[out1]&quot; -&quot; instead of &quot;[clpABCD][clpEFG]concat[out1]&quot; -&quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;ffmpeg said Too many inputs specified for the &quot;concat&quot; filter !!!! Why?&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video_output_02.avi -filter_complex \&#xA;  &quot;[0:v]trim=start=0:duration=516[clpA];\&#xA;   [0:v]trim=start=516:duration=1,setpts=PTS-STARTPTS[clpB];\&#xA;   [clpB]vflip, hflip[clpBf];\&#xA;   [clpA][clpBf]concat[clpAB];\&#xA;   [0:v]trim=start=517:duration=1204,setpts=PTS-STARTPTS[clpC];\&#xA;   [0:v]trim=start=1721:duration=155,setpts=PTS-STARTPTS[clpD];\&#xA;   [clpD]vflip, hflip[clpDf];\&#xA;   [clpC][clpDf]concat[clpCD];\&#xA;   [clpAB][clpCD]concat[clpABCD];\&#xA;   [0:v]trim=start=1876:duration=581,setpts=PTS-STARTPTS[clpE];\&#xA;   [0:v]trim=start=2457:duration=24,setpts=PTS-STARTPTS[clpF];\&#xA;   [clpF]vflip, hflip[clpFf];\&#xA;   [clpE][clpFf]concat[clpEF];\&#xA;   [0:v]trim=start=2481:duration=253,setpts=PTS-STARTPTS[clpG];\&#xA;   [clpABCD][clpEF][clpG]concat[out1]&quot; -map [out1]  -crf 14  -vcodec libx264  -vb 20M  Hflip_2.mp4&#xA;ffmpeg version 4.2.3 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 7 (Ubuntu 7.5.0-3ubuntu1~18.04)&#xA;  configuration: --enable-gpl --enable-libx264 --enable-libvpx --enable-libmp3lame --enable-libopus&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, avi, from 'video_output_02.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:45:34.41, start: 0.000000, bitrate: 22653 kb/s&#xA;    Stream #0:0: Video: h264 (High) (H264 / 0x34363248), yuvj420p(pc, progressive), 1280x720 [SAR 1521:1520 DAR 169:95], 22649 kb/s, 32 fps, 32 tbr, 32 tbn, 64 tbc&#xA;[AVFilterGraph @ 0x564f261d9340] Too many inputs specified for the &quot;concat&quot; filter.&#xA;&#xA;&#xA;&#xA;ffmpeg -i video_output_02.avi -filter_complex \&#xA; &quot;[0:v]trim=start=0:duration=516[clpA];\&#xA;  [0:v]trim=start=516:duration=1,setpts=PTS-STARTPTS[clpB];\&#xA;  [clpB]vflip, hflip[clpBf];\&#xA;  [clpA][clpBf]concat[clpAB];\&#xA;  [0:v]trim=start=517:duration=1204,setpts=PTS-STARTPTS[clpC];\&#xA;  [0:v]trim=start=1721:duration=155,setpts=PTS-STARTPTS[clpD];\&#xA;  [clpD]vflip, hflip[clpDf];\&#xA;  [clpC][clpDf]concat[clpCD];\&#xA;  [clpAB][clpCD]concat[clpABCD];\&#xA;  [0:v]trim=start=1876:duration=581,setpts=PTS-STARTPTS[clpE];\&#xA;  [0:v]trim=start=2457:duration=24,setpts=PTS-STARTPTS[clpF];\&#xA;  [clpF]vflip, hflip[clpFf];\&#xA;  [clpE][clpFf]concat[clpEF];\&#xA;  [0:v]trim=start=2481:duration=253,setpts=PTS-STARTPTS[clpG];\&#xA;  [clpEF][clpG]concat[clpEFG];\&#xA;  [clpABCD][clpEFG]concat[out1]&quot; -map [out1]  -crf 14  -vcodec libx264  -vb 20M  Hflip_2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;p&gt;The command that &quot;is working&quot;&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video_output_02.avi -filter_complex \&#xA; &quot;[0:v]trim=start=0:duration=516[clpA];\&#xA;  [0:v]trim=start=516:duration=1,setpts=PTS-STARTPTS[clpB];\&#xA;  [clpB]vflip, hflip[clpBf];\&#xA;  [clpA][clpBf]concat[clpAB];\&#xA;  [0:v]trim=start=517:duration=1204,setpts=PTS-STARTPTS[clpC];\&#xA;  [0:v]trim=start=1721:duration=155,setpts=PTS-STARTPTS[clpD];\&#xA;  [clpD]vflip, hflip[clpDf];\&#xA;  [clpC][clpDf]concat[clpCD];\&#xA;  [clpAB][clpCD]concat[clpABCD];\&#xA;  [0:v]trim=start=1876:duration=581,setpts=PTS-STARTPTS[clpE];\&#xA;  [0:v]trim=start=2457:duration=24,setpts=PTS-STARTPTS[clpF];\&#xA;  [clpF]vflip, hflip[clpFf];\&#xA;  [clpE][clpFf]concat[clpEF];\&#xA;  [0:v]trim=start=2481:duration=253,setpts=PTS-STARTPTS[clpG];\&#xA;  [clpEF][clpG]concat[clpEFG];\&#xA;  [clpABCD][clpEFG]concat[out1]&quot; -map [out1]  -crf 14  -vcodec libx264  -vb 20M  Hflip_2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30052" LastActivityDate="2020-06-14T17:04:36.470" Title="Why concat in ffmpeg 4.2.3 says too many arguments?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30571" PostTypeId="2" ParentId="30570" CreationDate="2020-06-14T17:04:36.470" Score="1" Body="&lt;p&gt;The concat filter has an option to set no. of inputs. Its default value is 2.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Change to &lt;code&gt;[clpABCD][clpEF][clpG]concat=n=3[out1]&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-06-14T17:04:36.470" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30572" PostTypeId="1" CreationDate="2020-06-14T17:17:02.540" Score="5" ViewCount="2151" Body="&lt;p&gt;DaVinci Resolve 16 adds a great feature that allows applying &quot;Normalize audio levels&quot; on a clip using the ITU BS.1770 or EBU R128 standards, to a target level of -23 LKFS/LUFS, or similar.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However, this normalization only seems to apply to the raw audio of the clip, before any filters (such as compression) are applied to it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there a way to normalize the final audio &lt;em&gt;output&lt;/em&gt; loudness of a project (to a standard like -23 LUFS), after all filters and so on have been applied?&lt;/p&gt;&#xA;" OwnerUserId="2996" LastActivityDate="2020-06-14T17:17:02.540" Title="Normalizing audio output loudness (LKFS/LUFS) in DaVinci Resolve 16" Tags="|audio|davinci-resolve|loudness|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30573" PostTypeId="2" ParentId="30196" CreationDate="2020-06-14T17:39:13.573" Score="1" Body="&lt;p&gt;The question is impossible to answer in a general way.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If a camera offers to record in RGB, it is likely using a completely different codec that could be better or worse.  Very few cameras will actually record video in RGB, so if you see the option in a menu, it may be referring to something very particular about the color handling of video on that specific model of camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;What camera? And what is the exact context of the option?&lt;/p&gt;&#xA;" OwnerUserId="272" LastActivityDate="2020-06-14T17:39:13.573" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30574" PostTypeId="2" ParentId="30568" CreationDate="2020-06-15T03:37:06.363" Score="2" Body="&lt;p&gt;When you want something to happen on screen, at the very minimum, you need to tell it:&lt;/p&gt;&#xA;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;When to start&lt;/li&gt;&#xA;&lt;li&gt;When to stop&lt;/li&gt;&#xA;&lt;li&gt;Where to be&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;Motion lets you create templates for generators, transitions, and titles.  So you'll build the details of an effect in Motion, and then apply, and re-apply that template in FCPX as often as you need.  You can also decide which parameters you'd like to retain control over while designing your templates in Motion, and make them available to Final Cut, so that you can tweak elements as necessary. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Designing the movement of these graphic elements is the domain of a profession known as &quot;Motion Graphics.&quot;  Like any other artistic practice, being a good motion graphics designer requires much talent, dedication, and practice.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Often, motion graphics designers will sell their designs, so that people who are less practiced can apply a polished look to their own projects, the same way a typographer might design a font for licensing to a broader audience.  If you search the web for &quot;Apple Motion templates,&quot; you will find many of these pre-designed packages, complete with built-in controls for tweaking various elements to taste. &lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-06-15T03:37:06.363" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30575" PostTypeId="2" ParentId="30372" CreationDate="2020-06-15T05:34:38.877" Score="3" Body="&lt;p&gt;If you want the output resolution to be 1280x720 and the video keeps its original ratio aspect as well:&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -v error -stats -i input -vf&#xA;&quot;scale=1280:720:force_original_aspect_ratio=1,pad=1280:720:(ow-iw)/2:(oh-ih)/2&quot;&#xA;output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30085" LastEditorUserId="14523" LastEditDate="2020-06-17T01:29:58.417" LastActivityDate="2020-06-17T01:29:58.417" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30576" PostTypeId="1" CreationDate="2020-06-15T06:54:56.870" Score="0" ViewCount="250" Body="&lt;p&gt;it needs to work with mkv files&lt;/p&gt;&#xA;&#xA;&lt;p&gt;has to have a gui because the crops are different for each video&lt;/p&gt;&#xA;&#xA;&lt;p&gt;should be lightweight, I don't want to install premier just for this&lt;/p&gt;&#xA;" OwnerUserId="30210" LastActivityDate="2023-12-26T15:01:40.177" Title="what is the best software that can crop and trim video?" Tags="|video|editing|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30577" PostTypeId="1" CreationDate="2020-06-15T07:42:19.473" Score="2" ViewCount="21" Body="&lt;p&gt;I've come across a rather strange phenomenon in After-Effects.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Here's what I have:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I tracked some shaky footage and applied the tracked motion to a null. Then, a camera follows that null, thus stabilizing my footage. It all looks great and so I precomped everything. Now I want to play the comp as a boomerang - so first at 100% speed and then at -100% (playing backwards).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The strange thing is: When the comp is played forward, everything is smooth and ok. But when the same comp is played at -100% speed (backwards), the tracking is way off and jolts around.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have checked for invisible layers, cleared my cache, restarted the program, checked every layer in the comp, made sure that these really were the same comps, etc. etc.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you know what is causing this strange behavior, any tips are appreciated. thanks :)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-13T08:06:45.863" Title="AE - Tracking in Comp different when played backwards?" Tags="|video|after-effects|editing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30579" PostTypeId="1" CreationDate="2020-06-15T12:44:31.440" Score="1" ViewCount="248" Body="&lt;p&gt;I have a 240fps video and I want to merge/average every 4 frames into 1, resulting in a 60fps video with a motion blur type effect. Any ideas how I can do this with ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="30213" LastActivityDate="2020-06-15T12:44:31.440" Title="Merging frames with ffmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30580" PostTypeId="2" ParentId="17362" CreationDate="2020-06-15T13:30:27.267" Score="2" Body="&lt;ol&gt;&#xA;&lt;li&gt;Open the project&lt;/li&gt;&#xA;&lt;li&gt;Goto File-&gt;Choose Profile&lt;/li&gt;&#xA;&lt;li&gt;Select the profile you want&lt;/li&gt;&#xA;&lt;li&gt;Save changes&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&#xA;&lt;p&gt;&lt;code&gt;Note: checked with OpenShot 2.5.1&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="30214" LastEditorUserId="14523" LastEditDate="2020-06-15T17:10:06.123" LastActivityDate="2020-06-15T17:10:06.123" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30581" PostTypeId="1" CreationDate="2020-06-15T15:33:53.053" Score="1" ViewCount="112" Body="&lt;p&gt;I am trying to animate a logo to create a loader.  As part of this animation I want to convert the logo symbol to a 3d object and spin it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I have created a shape layer and pasted a path from illustrator.  To note - the path was created using the pathfinder minus front option to create a hollow centre - and looks like this:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tQK6B.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tQK6B.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;When pasting as a path After Effects initially  inverts the path as such:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/RUspI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RUspI.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;if i then click invert alongside mask :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7H7IY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7H7IY.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;it displays correctly.  But if I then change the shape layer to a 3d layer I loose the cut out - &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wyWGy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wyWGy.png&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;can anyone please advise where i'm going wrong and what i can do to correct?  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks very much.&lt;/p&gt;&#xA;" OwnerUserId="30218" LastActivityDate="2020-06-15T15:33:53.053" Title="After Effects - Path with cut out" Tags="|after-effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30582" PostTypeId="1" AcceptedAnswerId="30586" CreationDate="2020-06-15T16:39:39.940" Score="1" ViewCount="22" Body="&lt;p&gt;I am new to photography. I have been reading about the EV values and how to calculate them, with the f-stops, the shutter speed and ISO. However, I want to know if those same principles, tables and values apply not only for still photography, but for video shooting.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In summary, can I use the same tables that are used to calculate the EV (for still photography) for video shooting? Or do I have to take other variables into consideration (FPS etc.)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks in advance&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Marios&lt;/p&gt;&#xA;&#xA;&lt;p&gt;P.S. This is the original question I asked in the Photography forum of the site, I am reposting it here since a member of the other forum told me to post here.&lt;/p&gt;&#xA;" OwnerUserId="30221" LastActivityDate="2020-06-16T01:40:28.157" Title="Are the EV principles that are used in photography the same in video production?" Tags="|video|camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30583" PostTypeId="1" AcceptedAnswerId="30585" CreationDate="2020-06-15T18:23:50.710" Score="2" ViewCount="660" Body="&lt;p&gt;This is my first post here, but I think I used the search function and couldn't find what I was looking for. This is probably a stupid question, but here goes: I'm creating an analysis of an anime just for fun on Youtube. I have fairly short clips from a free but copyright protected anime website in this video I'm making. I have already given credit in advance on my blog, and I will include credit both in the video and in the description. Is this enough, or is it not guaranteed that the video will remain up and not be removed by Youtube (because of a copyright issue)? &lt;/p&gt;&#xA;&#xA;&lt;p&gt;It would be great if someone could answer this sometime today because if this will work out alright, I want to upload it today if possible. I am also asking this question on another online forum in case no one sees this here.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thank you so much in advance!&lt;/p&gt;&#xA;" OwnerUserId="30222" LastEditorUserId="30222" LastEditDate="2020-06-15T18:33:39.793" LastActivityDate="2021-09-30T20:00:10.653" Title="Will a Youtube video with clips from a copyright protected anime website (AnimeID) be taken down even if I give credit in the video and description?" Tags="|video|youtube|copyright|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30584" PostTypeId="2" ParentId="30583" CreationDate="2020-06-15T18:47:57.070" Score="1" Body="&lt;p&gt;An algorithm decides that. It can go both directions. The system is not smart enough to correctly decide if your video meets the cirteria for fair use/citation. In case of a wrong decision you can appeal and sometimes you succeed.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you give credit or not does not play a role for Youtube, however it's a legal requirement for correct citation.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If a copyright violation is detected, the video either gets blocked or the income will be redirected to the holders of these rights. And you get a strike.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Funny: As I write this I'm listening to an experienced Youtuber in a live stream and by chance she speaks about this topic and says: &quot;It's a game of luck if you get a copyright strike or not.&quot; I think this confirms my point.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-06-15T18:47:57.070" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30585" PostTypeId="2" ParentId="30583" CreationDate="2020-06-15T19:20:28.093" Score="1" Body="&lt;p&gt;It's a strange case. In court, you would win because you're using the footage under the &quot;fair use&quot; regulations. However, many videos still get claimed wrongfully. You can request a manual review, and possibly get approved, but by then the main viewership per day has gone down (since approval may take a few days).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So from a monetary standpoint, for video-projects such as these should be supported via patreon, since you will most likely miss out on a big chunk of ad-revenue.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But if you don't care much about the earnings, you will very likely get away if you live in a country/state in which the &quot;fair use&quot; right is applicable.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-06-15T19:20:28.093" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30586" PostTypeId="2" ParentId="30582" CreationDate="2020-06-16T01:40:28.157" Score="1" Body="&lt;p&gt;Yes.  For things like exposure time, EV, f-stops, video is just the same as still photographs.  You just happen to be taking 24 or more of them per second.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The one difference in actually exposing a frame would be that still photography typically uses a mechanical shutter.  (You can hear it k'thwap when you take a picture on many cameras.)  But video uses an electronic shutter.  This could very slightly effect things like how motion blur looks, or how parts of the image are exposed over the course of the exposure time.  But that 99% doesn't matter, especially if you are just getting up to speed on the basics of things like f-stops.&lt;/p&gt;&#xA;" OwnerUserId="272" LastActivityDate="2020-06-16T01:40:28.157" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30587" PostTypeId="1" CreationDate="2020-06-16T06:35:02.060" Score="4" ViewCount="9826" Body="&lt;p&gt;What I mean by the question is, for audio we have the &lt;a href=&quot;https://wiki.fileformat.com/audio/wav/&quot; rel=&quot;nofollow noreferrer&quot;&gt;WAV file format&lt;/a&gt; which stores a representation of audio where each word stores the intensity of one sample of audio. In addition to this there is a standard header format which is agreed on universally to make it easier to process these files. Similarly for image files we have the &lt;a href=&quot;http://www.ece.ualberta.ca/~elliott/ee552/studentAppNotes/2003_w/misc/bmp_file_format/bmp_file_format.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;BMP file format&lt;/a&gt; where each word stores the RGB value for each pixel inside the image, along with a universally accepted header file that helps process the file. For text files we have TXT file format which just stores the ascii equivalent of each character on file. Non of these are compressed formats and one word of predefined size in each file represents one unit of the media type the file represents.  &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Is there anything similar for video files? Almost any video format I can think of (.wmv, .mp4 etc) are either proprietary or compressed formats. Does a video equivalent of BMP or WAV exist? Does such a format take into account both audio and video?&lt;/p&gt;&#xA;" OwnerUserId="4796" LastActivityDate="2023-07-01T13:51:36.057" Title="What is the most basic standard raw video format?" Tags="|file-formats|" AnswerCount="3" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30589" PostTypeId="2" ParentId="30522" CreationDate="2020-06-16T10:03:26.303" Score="0" Body="&lt;p&gt;Hello erik and thanks for your answer.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Well, I finally (partly) succeeded to get a proper command. I had to precise the codec of the audio streams (MediaInfo).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;So now, I have :&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:00:00.00 -t 00:10:00.00&#xA;-i G:\input.MOV&#xA;-filter_complex &quot;[0:a:6][0:a:7]amerge=inputs=2;[0:a:14][0:a:15]amerge=inputs=2&quot;&#xA;-metadata:s:a:0 language=&quot;kor&quot; -metadata:s:a:0 title=&quot;Stéréo - Version Originale&quot;&#xA;-metadata:s:a:1 language=&quot;fra&quot; -metadata:s:a:1 title=&quot;Stéréo - Français&quot;&#xA;-c:v copy&#xA;-c:a pcm_s24le&#xA;G:\output.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&#xA;&lt;h2&gt;And it works as expected !!!&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;The only two small problems I still have :&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;1. [Parsed_amerge_0 @ 000001f8f0340240] No channel layout for input 1&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I just don't know how to set a chanel layout...&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;2. In the output result, video became stream 3 and not first as it should properly be.&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;They are not big deals but if I want to be perfect in what I'm doing ;)&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Thanks again !!&lt;/p&gt;&#xA;" OwnerUserId="30145" LastActivityDate="2020-06-16T10:03:26.303" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30590" PostTypeId="2" ParentId="30587" CreationDate="2020-06-16T14:15:08.033" Score="3" Body="&lt;p&gt;This topic is really complex and you have confused some things. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;WAV and mp4 are container formats, they can contain compressed or uncompressed data, while WMV is a series of codecs and formats. TXT is not a something like a RAW format - far from it. A txt file is stored as binary data. So if I programmatically open a Streamreader I will get a byte array and can interpret this as text but I have to apply the correct character encoding (like ASCII or UTF8). When you see text it has already been processed. It cannot be considered RAW by definition.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;RAW data can contain lossless compressed or uncompressed data but not all uncompressed formats contain RAW data. (I simplify here, because there is also mathametically and visually lossless compression).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;What is RAW?&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I consider a file to be raw if it contains all necessary unchanged, original data to represent some entity. In order to store it, a format needs to be defined. This format sometimes contains additional data. Example: Canon's CR2 RAW format also stores a JPG preview inside. The RAW file can store its information in a compressed way, however this is always at least visually lossless, the only exception being additionaly data like a preview JPG which is stored lossy. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;How to use RAW (super simplified)&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The RAW format is never intended for consuming. It is a format to work on the data.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You develop or interpret a RAW. That's the step when you apply some logic to generate a viewable output. E.g. you see text. Or your screen shows an image or video. The high amount of information that a RAW provides, enables enough headroom for you to work much better. When done, you export it in another, consumable file format. This is when you generate for example a JPG from a photo RAW or a WMV from a video RAW. &#xA;With video you use codecs at this steps, specifically interframe codecs or distribution codecs, because all work is done now. Afterwards or at the same time, you often put them in widely recognised containers that help to bundle video and multiple audio tracks, like mp4 or mkv.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;RAW Video&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Both in photography and videography you use a camera and it needs to read out its sensor in order to record something. The sensor is of course manufacturer-specific. It's only natural, that every camera works a bit different, has different needs and offers different features. Think of how the Bayer filter needs to be interpreted. Consequently manufacturers have their own RAW format. Last but not least, the camera manufacturers would lose their IP if they shared all those secrets. All those reasons stand against a common RAW format.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Yet you can convert a RAW to a common, open format with some drawbacks. For photography that is DNG and for videos it's CinemaDNG. Sometimes this conversion is built into the camera.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Specifying a common format is hard work as you need to account for everyone's needs. Adobe tried to establish the DNG format as a generic format in the photography sector, but they didn't take every need into account. Many years later it still is only used by few manufacturers. DNG can also be regarded as a derrived format. But your first step is still to use a propriety RAW format, then convert it to DNG. Probably those cameras which output DNG still use their own RAW formats internally.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;But Adobe's other open format initiative, called CinemaDNG, seems to be accepted more widely. It's a container that can store video as a series of images each encoded as DNG. However if you look at Blackmagic, not every manufacturer is happy with it. According to Blackmagic their own RAW format performs much better and they regard CinemaDNG as obsolete.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You will be able to get proprietary RAW formats from many modern cameras. Arri and Sony offer uncompressed RAW, while RED and Blackmagic give you compressed RAW. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;An alternative during post-production is video encoded with an intraframe codec. Something like ProRes. It still delivers very high quality. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;A note on audio&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;You record audio in an umcompressed format. Professionally you often record on a separate device and later sync that in post mostly automatically. That's why you need a clapperboard/timecode. There's also music, ADR, SFX that will be added later, not when shooting of course. That will all come together at some point of editing. Before video and audio will be exported for distribution, there is a mixdown/mastering performed with the audio (with the goal to reduce or mix down many tracks to simple stereo or surround sound).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;In essence, video and audio is kept seperately at the beginning, kept in sync but still separated during editing and bundled together during final export for distribution. Each workflow might vary a bit. That and for technical reasons is why all video RAW only record video, I think. Only CinemaDNG can include audio.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;strong&gt;To sum up&lt;/strong&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;There is no standard video RAW format. The closest thing to that is CinemaDNG which is actually a bit different than a true RAW format, and it comes with some drawbacks.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Keep in mind that RAW video is a topic for producing films for cinema or streaming platforms. It's a bit over the top for Youtube videos, hobbyist projects and the like.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2020-06-16T17:50:48.167" LastActivityDate="2020-06-16T17:50:48.167" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="30592" PostTypeId="1" CreationDate="2020-06-16T15:10:58.703" Score="1" ViewCount="21" Body="&lt;p&gt;So I have lots of short clips of footage documenting a specific event and the time thereafter. I want to automatically generate a title text that displays a text like &lt;code&gt;XX seconds, XX hours since&lt;/code&gt; where the seconds update as well. Ideally the metadata already available on the source would be considered to compute the time difference. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've did some digging on Google and it seems like I would need to utilise the Scripting API, but I'm missing some pointers to get started (and copy together relevant code parts). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Any ideas? Would I be better off trying to do this in After Effects?&lt;/p&gt;&#xA;" OwnerUserId="30231" LastActivityDate="2020-06-16T15:10:58.703" Title="Premiere: Creating title text from clip's creation date" Tags="|after-effects|premiere|script|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30597" PostTypeId="2" ParentId="30587" CreationDate="2020-06-17T01:26:56.147" Score="7" Body="&lt;p&gt;The reason there is no widely used uncompressed video format, as there is for audio is that the data rate for uncompressed video is so colossal that uncompressed video is kinda useless. While a relatively cheap device has been able to deal with a stream of PCM audio since the eighties, even today you need fast storage and a decent system to play a stream of uncompressed video. I'll illustrate by giving an example of the size of an uncompressed stream of video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;First it might be worth noting the difference between RAW and uncompressed codecs, and uncompressed and losslessly compressed codecs. Matt provided a good description of RAW codecs, but they are not prevalent in video, other than as camera codecs that get transcoded before use. But there are also &lt;strong&gt;uncompressed&lt;/strong&gt; and &lt;strong&gt;lossless&lt;/strong&gt; codecs that store the raster in a mathematically lossless way, so that each pixel in the decoded video will have the same colour information as the encoded video.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;The difference between uncompressed and lossless is that uncompressed just store the colour channels as a stream of bytes, similar to a PCM stream in audio. At say, 10 bits per colour channel, each pixel will take 30 bits. Given that a single frame of 1080p video has around 2.1 million pixels, each frame is going to require a about 7.8mB, and at 24 fps thats ~187mB per second, or 671gB per hour. Even though storage is cheap, that's still going to pose a problem; just playing it back will be taxing. An example of an uncompressed codec is &lt;a href=&quot;https://www.loc.gov/preservation/digital/formats/fdd/fdd000353.shtml&quot; rel=&quot;noreferrer&quot;&gt;V210&lt;/a&gt;, developed by Apple, back when dinosaurs ruled the earth. It's a bit like wav, except that almost nobody uses it.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;A solution to the storage and transport problem is to compress the data mathematically — as you would compress other files that you need to restore perfectly. An old lossless codec, &lt;a href=&quot;https://wiki.multimedia.cx/index.php?title=Apple_QuickTime_RLE&quot; rel=&quot;noreferrer&quot;&gt;Apple's Animation codec&lt;/a&gt; uses RLE encoding, which given the highly redundant nature of video streams gives fairly significant size reduction, at the overhead of more processing. &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Other lossless encoding use more efficient algorithms, and the more efficient they are the more processing they generally require. So lossless codecs will allow you to retrieve the pixel data as it was originally, with no generation loss, but do not store the pixels as a simple stream of bytes. An example of an open source, mathematically lossless compressed codec is &lt;a href=&quot;https://www.loc.gov/preservation/digital/formats/fdd/fdd000341.shtml&quot; rel=&quot;noreferrer&quot;&gt;FFV1&lt;/a&gt;, developed by the makers of the ffmpeg software.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;Something else worth noting is that many video streams are not full resolution. Almost all of the video you see on the web is encoded as YUV-420. This is what is know as &lt;a href=&quot;https://www.projectorcentral.com/chroma-subsampling-explained.htm&quot; rel=&quot;noreferrer&quot;&gt;chroma subsampling&lt;/a&gt;. YUV refers to the way colours are encoded: rather than use the RGB values of the pixels it stores the colour as luma (≈brightness), and two difference components called U and V (≈red - brightness and ≈ blue - brightness, the green component is ≈ the difference between the Y and the sum of the UV channels. There are perceptual weightings given to each component, hence the ≈s but the idea is the same). &lt;/p&gt;&#xA;&#xA;&lt;p&gt;Almost all video codecs use YUV encoding, and many sample the colour components at a lower resolution than the luma component. In the case of 420, or 4:2:0 as it is commonly written, for every 4 pixels of luma information there will be 2 pixels of colour information. Some codecs only allow one sort of subsampling (e.g. Apple's Prores 422, which is, not surprisingly 4:2:2 or DVCPro which was weirdly 4:1:1), others let you encode in a variety of subsampling pattern (h.264 has variants that let you encode 4:2:0, 4:2:2 or 4:4:4).&lt;/p&gt;&#xA;&#xA;&lt;p&gt;If you wanted a codec that was similar in ubiquity to wav, then probably Apple's  ProRes might fit the bill. While not lossless, it manages a good tradeoff between file size and quality, and was one of the first lossy codecs to allow 10-bit sampling. Avid also make a similar codec called DNxHR, and there is an originally proprietary, but now open source codec called Cineform that fills a similar niche — these codecs are often called intermediate codecs, they're good for moving video from one stage of the post-production chain with minimal generation loss.&lt;/p&gt;&#xA;&#xA;&lt;p&gt;However the most commonly used video codec by far today is MPEGLA's h.264. This is a delivery codec, as it is suitable for the final delivery of content, especially via the web, and usually lossy, though it can be used to encode losslessly. The main reason that this is so common is that it does an excellent job of maintaining &lt;em&gt;perceived&lt;/em&gt; quality at far, far lower data rates than uncompressed video.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-06-17T05:18:09.843" LastActivityDate="2020-06-17T05:18:09.843" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30598" PostTypeId="1" CreationDate="2020-06-16T19:48:49.110" Score="0" ViewCount="362" Body="&lt;p&gt;I'm using the &lt;a href=&quot;https://www.pencil2d.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Pencil2D application&lt;/a&gt;. How do I make my animation have no background? It has the settings but I can't seem to use them; when I go to File and Export as Movie it shows &amp;quot;Exporter Settings&amp;quot;; it shows transparency but I can't click it and I don't know why. I just want to have a transparent background and add a video to my background for a video animation I'm making.&lt;/p&gt;&#xA;" OwnerDisplayName="Madison" LastEditorUserId="17390" LastEditDate="2021-10-14T17:59:44.337" LastActivityDate="2021-10-14T17:59:44.337" Title="How do I make a video background on Pencil2D transparent?" Tags="|animation|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30599" PostTypeId="1" CreationDate="2020-06-17T06:29:38.043" Score="2" ViewCount="19" Body="&lt;p&gt;I have filmed a green screen sequence where a figure acts like he walks through a doorway. The effect I want to achieve with the green screen is to make it look like the figure is walking into pure energy / light. Here is my workflow thus far:&lt;/p&gt;&#xA;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I have placed the empty scene at the bottom of the timeline layers.&lt;/li&gt;&#xA;&lt;li&gt;Above that I added the same scene (but this time with the figure).&lt;/li&gt;&#xA;&lt;li&gt;Then I replaced the green background with a solid layer of white.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&#xA;&lt;p&gt;However, it looks a bit dull and I wanted to make the 'pure energy' look more convincing by adding a burst / beam of light effect. Similar to below:&lt;/p&gt;&#xA;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FKo4Y.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FKo4Y.jpg&quot; alt=&quot;enter image description here&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;h2&gt;Question&lt;/h2&gt;&#xA;&#xA;&lt;p&gt;How do I achieve the effect where the beams of light appear to shine both behind and above the figure?&lt;/p&gt;&#xA;" OwnerUserId="26800" LastActivityDate="2020-06-17T06:29:38.043" Title="Adding beams of light effect using adjustment layer" Tags="|premiere|effects|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30602" PostTypeId="1" CreationDate="2020-06-17T14:03:53.410" Score="0" ViewCount="2745" Body="&lt;p&gt;Can you please help me to fix this?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/da33d.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/da33d.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I remove these green lines from my video preview in Premiere Pro 2020?&lt;/p&gt;&#xA;" OwnerUserId="30234" LastEditorUserId="30234" LastEditDate="2020-06-17T14:40:05.740" LastActivityDate="2020-07-14T15:05:42.150" Title="Adobe Premiere Pro Green Lines Problem" Tags="|premiere|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30603" PostTypeId="1" AcceptedAnswerId="30610" CreationDate="2020-06-17T15:07:04.373" Score="1" ViewCount="243" Body="&lt;p&gt;I have a small movie I'm making that is just a bunch of discussions and flashbacks to the past, I wanted to find an appropriate transition, that's like a flash transition. I saw a few ways to do that but they're hard to recreate all over again. Please, give me ideas for a transition like that that is easy to replicate, because i need to use it very often. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="30245" LastActivityDate="2020-06-18T06:57:32.497" Title="&quot;Flashbacky&quot; transition in Hitfilm" Tags="|transitions|flash|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30606" PostTypeId="2" ParentId="30576" CreationDate="2020-06-17T20:41:44.247" Score="-2" Body="&lt;p&gt;For anyone wondering, Adobe Media Encoder is great for trimming and cropping large amounts of video at once. Drag video files into the window, choose a preset, and hit the play button. You can create your own presets to reuse.&lt;/p&gt;&#xA;&lt;p&gt;However .mkv is NOT SUPPORTED.&lt;/p&gt;&#xA;" OwnerUserId="30249" LastActivityDate="2020-06-17T20:41:44.247" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30607" PostTypeId="1" AcceptedAnswerId="30614" CreationDate="2020-06-17T21:22:14.670" Score="1" ViewCount="1125" Body="&lt;p&gt;I am dealing with a video that as a codec tag of &lt;code&gt;none&lt;/code&gt;, but the actual codec is &lt;code&gt;GHEC&lt;/code&gt;.  I am aware this is a proprietary codec from GeoVision.  The video will not play unless I use ffplay with the &lt;code&gt;-vcodec hevc&lt;/code&gt; argument.  Since &lt;code&gt;GHEC&lt;/code&gt; codec will play via &lt;code&gt;hevc&lt;/code&gt; codec, is there any way I can force the codec to be &lt;code&gt;hevc&lt;/code&gt; on this video so I can watch it in other media players like VLC?&lt;/p&gt;&#xA;&lt;p&gt;Here are the streams from ffprobe:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    Stream #0:0: Video: none (GHEC / 0x43454847), none, 1920x1080, 451 kb/s, 30 fps, 30 tbr, 30 tbn, 30 tbc&#xA;    Stream #0:1: Subtitle: none, 3 kb/s&#xA;    Stream #0:2: Subtitle: none&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30250" LastActivityDate="2023-03-24T09:18:59.317" Title="FFMpeg Force Codec" Tags="|ffmpeg|h.265|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30609" PostTypeId="1" CreationDate="2020-06-18T02:48:45.610" Score="0" ViewCount="55" Body="&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;&lt;p&gt;It's an &lt;strong&gt;mpeg&lt;/strong&gt; transport stream in a &lt;strong&gt;.ts&lt;/strong&gt; wrapper. Layout would be as follows:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Video&lt;/strong&gt; (MPEG2, 80Mbps, CBR, All I Frame,422@HL) &lt;br /&gt;&#xA;&lt;strong&gt;Audio1&lt;/strong&gt; (Track1/PID1) 1 pair LPCM(SMPTE 302M)48kHz &lt;br /&gt;&#xA;&lt;strong&gt;Audio2&lt;/strong&gt; (Track2/PID2) 1 pair LPCM(SMPTE 302M)48kHz &lt;br /&gt;&#xA;&lt;strong&gt;Audio3&lt;/strong&gt; (Track3/PID3) 1 pair LPCM(SMPTE 302M)48kHz &lt;br /&gt;&#xA;&lt;strong&gt;Audio4&lt;/strong&gt; (Track4/PID4) 1 pair LPCM(SMPTE 302M)48kHz &lt;br /&gt;&lt;/p&gt;&#xA;&lt;p&gt;FFmpeg is out because it won't encode LPCM into .ts.&lt;br /&gt;&lt;br /&gt; I'd rather not go down the AVISynth wormhole because I'm Mac based but if there is a CLEAR solution (as opposed to random AVISynth fiddling) by trying that route, I'd definitely be willing to give it a go.&lt;br /&gt;&lt;br /&gt; I tried AME/Adobe.&lt;br /&gt;&lt;br /&gt;I tried Telestream.&lt;br /&gt;&lt;br /&gt; I tried Resolve. &lt;br /&gt;&lt;br /&gt; I haven't tried Compressor &lt;em&gt;this go around&lt;/em&gt; but I know it's there to try if I don't hear anything else.&lt;/p&gt;&#xA;&lt;p&gt;I've done this a bunch with hardware encoders but I'm on my own now and a dedicated HW encoder is not in the budget for this project.&lt;br /&gt;&lt;br /&gt; I look forward to and appreciate your input!&lt;/p&gt;&#xA;" OwnerUserId="25645" LastActivityDate="2020-06-18T02:48:45.610" Title="What SOFTWARE could I use to encode to this spec?" Tags="|encoding|software-recommendation|post-production|mpeg|broadcast|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30610" PostTypeId="2" ParentId="30603" CreationDate="2020-06-18T06:00:53.063" Score="1" Body="&lt;p&gt;A very simple one you can do is a transition that is dipping to white. If your editor doesn't offer this kind of transition you can do the following: add a still image which is all white, do a cross dissolve from scene A to the white still, then a cross dissolve from the white still to scene B. Ideally the first time you use it is when audience can infer clearly from context that scene B is a flashback, so that they recognize that this type of transition represents a flashback. Also you may add a subtle, short sound effect.&lt;/p&gt;&#xA;&lt;p&gt;It does not look that fancy, but should be easy to do and many would argue anyway to keep your transitions clean and simple anyway.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2020-06-18T06:57:32.497" LastActivityDate="2020-06-18T06:57:32.497" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30611" PostTypeId="2" ParentId="30220" CreationDate="2020-06-18T10:13:49.870" Score="0" Body="&lt;p&gt;Given that I couldn't find a satisfying solution, I wrote &lt;a href=&quot;https://gist.github.com/ndnenkov/c9e1d74fce110da4a21fbb7979895024&quot; rel=&quot;nofollow noreferrer&quot;&gt;a Ruby script&lt;/a&gt; for merging such overlapping captions.&lt;/p&gt;&#xA;&lt;p&gt;Usage:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ruby ./merge_overlapping_srt_captions.rb _input_file_ _output_file_&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29745" LastActivityDate="2020-06-18T10:13:49.870" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30612" PostTypeId="2" ParentId="28267" CreationDate="2020-06-18T12:11:44.640" Score="0" Body="&lt;p&gt;you can try something like this if you just want to transcode instead of writing metadata freshly into the file&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sudo ffmpeg -i 360video.MP4 -vcodec libx264 -strict unofficial -vprofile high  -acodec aac -f mp4  another.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29974" LastActivityDate="2020-06-18T12:11:44.640" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30613" PostTypeId="2" ParentId="30352" CreationDate="2020-06-18T14:06:30.017" Score="1" Body="&lt;p&gt;If anyone happens to have this problem:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;from inside kdenlive, copy the video (even better: make a .zip and copy it)&lt;/li&gt;&#xA;&lt;li&gt;also from there, navigate to a folder which is inside a Git project&lt;/li&gt;&#xA;&lt;li&gt;paste the video or the archive there&lt;/li&gt;&#xA;&lt;li&gt;still from inside kdenlive, open a Git Bash, then commit and push the pasted file&lt;/li&gt;&#xA;&lt;li&gt;exit the file explorer and kdenlive&lt;/li&gt;&#xA;&lt;li&gt;navigate to the same folder normally and open a Git Bash&lt;/li&gt;&#xA;&lt;li&gt;git pull&lt;/li&gt;&#xA;&lt;li&gt;your file will be there.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="29925" LastActivityDate="2020-06-18T14:06:30.017" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30614" PostTypeId="2" ParentId="30607" CreationDate="2020-06-18T16:56:58.230" Score="3" Body="&lt;p&gt;If you know the compatible codec in ffmpeg, you can remux the file to generate a standard file, e.g.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -c:v hevc -i in.avi -c copy out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-06-18T16:56:58.230" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30615" PostTypeId="1" AcceptedAnswerId="30620" CreationDate="2020-06-18T17:51:56.543" Score="1" ViewCount="884" Body="&lt;p&gt;I am considering purchasing one of these:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://static.cloner-alliance.com/manual/ca-1080fl_user_manual_v1.1.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://static.cloner-alliance.com/manual/ca-1080fl_user_manual_v1.1.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It &lt;a href=&quot;https://www.cloner-alliance.com/cloneralliance-flint-lx/&quot; rel=&quot;nofollow noreferrer&quot;&gt;claims&lt;/a&gt; to be able to capture &amp;quot;uncompressed video&amp;quot;, but in the list of output formats in the document above (page 67), it lists &amp;quot;MJPEG,YUY2&amp;quot;. I know MJPEG is a compressed format, but I'm less certain about YUY2.&lt;/p&gt;&#xA;&lt;p&gt;The source I'm considering is a Surface Pro 7 which outputs HDMI via a USB-C port. I am under the impression that the Surface is likely to output sRGB by default. My reading of &lt;a href=&quot;https://en.wikipedia.org/wiki/YUV&quot; rel=&quot;nofollow noreferrer&quot;&gt;the Wikipedia article on YUV&lt;/a&gt; leads me to believe that if the capture device receives an HDMI signal using the sRGB color space, and outputs a stream using the YUY2 color space, information must be lost (&lt;a href=&quot;https://forum.videohelp.com/threads/359657-If-I-convert-from-YUV-to-RGB-I-loss-quality&quot; rel=&quot;nofollow noreferrer&quot;&gt;some discussion here seems to support this theory&lt;/a&gt;).&lt;/p&gt;&#xA;&lt;p&gt;Is there any sense in which this device can claim to support &amp;quot;uncompressed&amp;quot; video or is that misleading?&lt;/p&gt;&#xA;" OwnerUserId="30266" LastActivityDate="2020-06-19T01:23:03.770" Title="Is video output in YUY2 color space lossless if the input is sRGB?" Tags="|compression|video-capture|colorspace|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30619" PostTypeId="1" CreationDate="2020-06-19T00:57:29.100" Score="1" ViewCount="628" Body="&lt;p&gt;I just want to export a video at the exact same settings as the imported file.&lt;/p&gt;&#xA;&lt;p&gt;'match source' and 'match sequence settings' do not work. (Adobe Premiere Pro)&lt;/p&gt;&#xA;&lt;p&gt;On my timeline all I did was trimmed some footage off the beginning and end (so the file should now be smaller!), and the best I can get it is almost twice the size (megabytes) with a huge reduction in quality.&lt;/p&gt;&#xA;&lt;p&gt;No one can answer this on other threads - It's always &amp;quot;reduce the bitrate&amp;quot; or something, but that makes the quality WORSE than the original file and still ADDS file size!&lt;/p&gt;&#xA;" OwnerUserId="30274" LastActivityDate="2020-06-19T00:57:29.100" Title="Premiere Pro export same file size as import" Tags="|video|premiere|file-formats|export|output|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30620" PostTypeId="2" ParentId="30615" CreationDate="2020-06-19T01:23:03.770" Score="3" Body="&lt;p&gt;It's a bit of a semantics game.  The YUY2 video mode is not &amp;quot;compressed,&amp;quot; but it won't result in a bit-exact copy of RGB input.  The luminance is full resolution in that mode, but the chrominance is sampled at a lower resolution.  This is technically decimation rather than compression, but some information is indeed lost.&lt;/p&gt;&#xA;&lt;p&gt;That said, if you are going to wind up posting your video online or something, it'll be even more decimated, and also subject to lossy compression.  So in most use cases, the loss of information from going into that YUY2 colorspace wouldn't be anything to really worry about one way or another.  You probably need to use some lossy compression to be able to reliably record it in real time unless you have very fast storage or are having the device output a low resolution.  If you really care about truly perfectly exact output for some sort of scientific image analysis process, you'd need more specialized hardware.&lt;/p&gt;&#xA;" OwnerUserId="272" LastActivityDate="2020-06-19T01:23:03.770" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30622" PostTypeId="1" CreationDate="2020-06-19T01:33:38.970" Score="0" ViewCount="109" Body="&lt;p&gt;I'm using Handbrake, with the H.264 Codec (RF:16). It works pretty well with live action, but it produces odd results whenever I try to back up/encode animations. I've attached a screenshot:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fUHeZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fUHeZ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Anything that's static is fine. But for anything moving (like the money tsunami in the image), I get the double image and horizontal lines. When it's moving, the double image isn't as noticeable, but the horizontal lines &lt;em&gt;really&lt;/em&gt; stick out badly. Can anyone tell me what's going on, and how to fix it? Are there any codecs made precisely for animations?&lt;/p&gt;&#xA;&lt;p&gt;(It's &lt;em&gt;really&lt;/em&gt; bad with old psychodelic-type animation. Think &amp;quot;Yellow Submarine&amp;quot; style animation, with lots of bright, flashing colors.)&lt;/p&gt;&#xA;" OwnerUserId="30275" LastActivityDate="2020-06-19T05:03:53.533" Title="Artifact in animation / horizontal lines &amp; double images" Tags="|video-quality|animation|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30623" PostTypeId="2" ParentId="30622" CreationDate="2020-06-19T05:03:53.533" Score="1" Body="&lt;p&gt;This artifact is likely the result of interlacing. And to get rid of it, you can deinterlace it.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-06-19T05:03:53.533" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30624" PostTypeId="1" CreationDate="2020-06-19T06:03:04.317" Score="1" ViewCount="402" Body="&lt;p&gt;When I perform motion tracking by 2 points in AE 2020 it starts with good acceptable speed (10-15 fps) and then after about 1000-2000 frames it sometimes become very slow, about 1 fps.&#xA;The video has 4K resolution, 60fps.&lt;/p&gt;&#xA;&lt;p&gt;I have pretty good computer:&#xA;Core i5-7600k, 1080ti, 48Gb RAM, SSD&lt;/p&gt;&#xA;&lt;p&gt;And also I see in task manager as well in HWmonitor that each CPU core is not loaded more than 50%, GPU is used by 0-3%, memory usage can be not more that 50% of memory assigned to Adobe products, disk usage can be 0. GPU memory usage about 30-50%. I have a separate 500Gb SSD for caches only and I assigned 350Gb for adobe cache in AE settings. The disk is almost empty, so there are about 400Gb free space when slowness is occured.&lt;/p&gt;&#xA;&lt;p&gt;So why this slowness in motion tracking happens and how to avoid it?&lt;/p&gt;&#xA;" OwnerUserId="27994" LastActivityDate="2020-06-19T06:03:04.317" Title="Motion tracking in After Effects 2020 (as well as in 2019) becomes very slow after some time" Tags="|after-effects|tracking|performance|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30625" PostTypeId="2" ParentId="25961" CreationDate="2020-06-19T15:41:30.867" Score="2" Body="&lt;p&gt;from reading:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -h encoder=h264_nvenc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and the nvidia nvenc examples at (&lt;a href=&quot;https://devblogs.nvidia.com/nvidia-ffmpeg-transcoding-guide/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://devblogs.nvidia.com/nvidia-ffmpeg-transcoding-guide/&lt;/a&gt;), I've arrived at:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -vsync 0 -hwaccel cuvid -c:v h264_cuvid -i test_input.mp4 -c:a copy -c:v h264_nvenc -b:v 0 -cq 1 test3.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;where:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-b:v 0 over-rides the default 2mbps bitrate as noted by Gyan&#xA;-cq 1 means target quality level 1 (highest)&#xA; range of 0-51. &#xA; 0 means automatic (in my case around 15mbps)&#xA; 1 gives about 15mbps, 26 results in around 5mbps, 51 results in 0.5mbps&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30281" LastActivityDate="2020-06-19T15:41:30.867" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30626" PostTypeId="1" CreationDate="2020-06-19T22:29:59.323" Score="1" ViewCount="50" Body="&lt;p&gt;I would like to record a lecture for my maths students. I want to write it on my Ipad (in goodnotes), mirror Ipad on my PC laptop, and use OBS on my PC to combine the image of the Ipad with the input of my video camera (+ my voice).&lt;/p&gt;&#xA;&lt;p&gt;I wonder, what are the best ways to mirror Ipad to my PC?&lt;/p&gt;&#xA;&lt;p&gt;I am aware of three methods. 1) Make a zoom call to myself. 2) Use LonelyScreen 3) Use Apowersoft. Are there better ways (preferably free)?&lt;/p&gt;&#xA;" OwnerUserId="30283" LastActivityDate="2020-06-19T22:29:59.323" Title="Recording a lecture, mirroring Ipad to Windows PC" Tags="|video|video-recording|windows|ipad|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30627" PostTypeId="1" CreationDate="2020-06-20T00:56:33.000" Score="1" ViewCount="1003" Body="&lt;p&gt;I have tried to stabilize this video &lt;a href=&quot;https://www.youtube.com/watch?v=9-oR-ZHEodg&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt; using ffmpeg. I have tried deshake and vidstabdetect/bidstabtransform.  I would like the outcome to look like it was taken from a tripod&lt;/p&gt;&#xA;&lt;p&gt;I have tried it with these settings:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -t 5 -i GOPR7182.MP4 -vf vidstabdetect=stepsize=32:shakiness=10:accuracy=10:result=transform_vectors.trf -f null - &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And settings like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf vidstabtransform=tripod=1:interpol=bicubic:input=input.trf,unsharp=5:5:0.8:3:3:0.4 -c:v libx264 -tune film -preset veryslow -crf 12 -x264opts no-fast-pskip -c:a copy input-stab.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And lots of variation on shakiness/accuracy/stepsize.  The results are all similar where the motion is reduced but it still shakes.  Does anybody know of settings that would help me get the tripod like results or is this to much to ask given the motion in the video?&lt;/p&gt;&#xA;&lt;p&gt;Thanks,&lt;/p&gt;&#xA;&lt;p&gt;Josh&lt;/p&gt;&#xA;" OwnerUserId="30284" LastActivityDate="2022-11-16T03:05:40.683" Title="Trying to stabilize a video with FFMPEG so that it looks like it was taken with a tripod" Tags="|ffmpeg|stabilisation|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30629" PostTypeId="1" CreationDate="2020-06-20T12:44:38.110" Score="2" ViewCount="399" Body="&lt;p&gt;I've been using tracking in After Effects a lot lately; tracking masks, tracking objects or the camera etc., and whenever I click that play ▶ button, there doesn't seem to be anything I can do to stop it, no matter what kind of tracking I implement.&lt;/p&gt;&#xA;&lt;p&gt;The program completely ignores all of my clicks and I have no choice but to wait until it reaches the very end of a clip, which can be a VERY long time after the segment I care to track. I've had to leave AE for hours multiple times, to let it work on something even after I can clearly see that the mask is off and all the tracking has become useless.&lt;/p&gt;&#xA;&lt;p&gt;All I can think to do now is to save right before I start ANY tracking, and force AE to quit if it gets caught in this loop, so I at least don't lose my work before clicking to track but that loses any time put in that DID get a useful track.&lt;/p&gt;&#xA;&lt;p&gt;The tracker seems to ignore my active work-area selection that indicates what I actually intend to render.&lt;/p&gt;&#xA;&lt;p&gt;Given my situation, what can you recommend I do to avoid losing AE to get locked in endless tracking?&lt;/p&gt;&#xA;&lt;p&gt;I was thinking of:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Using Shift-Control/Command-D to split the clip at a point where I don't need tracking any more, or where I know it will stop so I can at least have a chance to confirm the tracking is going well. But, I don't know how I'd re-merge them and this could make things messy. At the moment, this is the best I can think of, and to just have way too many &amp;quot;Pre-composed&amp;quot; layers of split clips to get around the problem.&lt;/li&gt;&#xA;&lt;li&gt;I could manually force the clip to just be shorter, but this messes up the workflow for later when I just need to extend it again and I'm worried about losing effects on later points in the clip.&lt;/li&gt;&#xA;&lt;li&gt;I can just click to track forward one frame and click again, then it won't get caught in its own automatic ad-nauseum tracking, but this is tedius.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Any other suggestions? My system is strong and can handle a lot that I throw at it, which is why I'm so confused as to why this happens so consistently. I'm on Windows 10, i7-5930K CPU, 32GB RAM, and the latest version of AE 2020.&lt;/p&gt;&#xA;" OwnerUserId="18910" LastActivityDate="2020-06-20T12:44:38.110" Title="Ways to force-stop or limit extent of After Effects tracking when you can't escape from it?" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30631" PostTypeId="1" CreationDate="2020-06-21T01:00:35.483" Score="1" ViewCount="157" Body="&lt;p&gt;I'm working on a fitness video that was filmed in front of a full body green screen.&lt;/p&gt;&#xA;&lt;p&gt;Most of the subject's body is in front of the green but some of her body overlaps the gym mat.&lt;/p&gt;&#xA;&lt;p&gt;When I key out the screen and shrink the edges, only the area in front of the screen is being affected (as you would expect).&lt;/p&gt;&#xA;&lt;p&gt;The only problem is, the area of the legs in front of the screen become slightly narrower than the area of the legs in front of the gym mat - quite noticeable in the final result.&lt;/p&gt;&#xA;&lt;p&gt;Is there a trick to help prevent this?&lt;/p&gt;&#xA;&lt;p&gt;Here is a (zoomed in) image of what I'm dealing with. The arrows indicate narrower vs. wider areas of the legs:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sHb5s.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sHb5s.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm following this YouTube tutorial:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/9t0FPWVAqpM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="22686" LastActivityDate="2020-06-23T06:41:58.500" Title="After Effects - Green Screen - Non keyed, overlapping areas make final result look bad" Tags="|after-effects|greenscreen|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30632" PostTypeId="1" CreationDate="2020-06-21T09:19:50.243" Score="1" ViewCount="949" Body="&lt;p&gt;All I want to do is take large videos, cut them up into small clips, and then reorder those clips into a new video. Yet this seems completely impossible to do with Final Cut Pro X… it can't be impossible because this must be a common need but it won't let me copy the cut clips into the media library and if I can't do that how can I do this? Why is this so hard to do?&lt;/p&gt;&#xA;" OwnerUserId="30295" LastEditorUserId="38830" LastEditDate="2022-07-16T11:46:43.527" LastActivityDate="2023-02-14T16:43:41.097" Title="How can I cut up large videos into clips, then reorder these into a new video?" Tags="|editing|final-cut-pro-x|clipping|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30633" PostTypeId="2" ParentId="30632" CreationDate="2020-06-21T13:54:04.307" Score="1" Body="&lt;p&gt;Calm down. Final Cut Pro X is a software for professionals and as such requires a certain investment of time until you can work with it. If you are not willing to do this you should look for a simpler tool.&lt;/p&gt;&#xA;&lt;p&gt;Yes, of course it's possible to do what you want, but to me it sounds like you don't know the basics of how to operate the software. To get you started, these videos might help you:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=L42qR0dx6vM&quot; rel=&quot;nofollow noreferrer&quot;&gt;Introduction&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=aVcx24lCvzg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blade Tool&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-06-21T13:54:04.307" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30634" PostTypeId="2" ParentId="30632" CreationDate="2020-06-21T17:33:53.990" Score="3" Body="&lt;p&gt;The clips you cut in your timeline can’t be copied into the media pool because technically these aren’t individual clips yet. Just references to the original media. You can rearrange these easily in your timeline. Just drag and drop clips in your timeline. Everything will move around the clip you change position.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-06-21T17:33:53.990" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30635" PostTypeId="1" CreationDate="2020-06-21T17:55:40.977" Score="1" ViewCount="643" Body="&lt;p&gt;I recorded about 20 MP4 clips: most on my Android phone with the stock camera, a couple from Facebook (downloaded from the mobile web view), and one from a Zoom session. I cropped or scaled and padded the FB and Zoom clips with ffmpeg to match the clips from my phone (vertical 1080p). I trimmed all the clips in the Mac QuickTime player, which exported .m4v. I then combined the clips into a single video with the QuickTime player, which saved .mov.&lt;/p&gt;&#xA;&lt;p&gt;The .mov video looks and sounds as it should throughout. However, when I upload the .mov video to YouTube&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/iGwH2qCc3ZY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;the result has two audio problems:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The audio in the clips immediately before the Zoom clip and one of the FB clips is lowered in pitch. The preceding, distorted clips start at 1:08:18 and 41:01 respectively.&lt;/li&gt;&#xA;&lt;li&gt;The audio in the Zoom clip is really distorted, almost gone, partway through, at 1:11:21.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;(The clip at 6:18 doesn't seem to have been distorted by the clip from FB which follows it. The FB clip that doesn't cause the problem is from the FB Live Android app; I think the one that does is from the Acapella app, but I didn't make it so I'm not sure.)&lt;/p&gt;&#xA;&lt;p&gt;The problems are much worse in the Zoom clip and the clip that precedes it, which are the second- and third-to-last clips in the video, so I worked around the problem by posting a video including only the last 3 clips. The audio in that video is fine throughout!?!&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ksW6xjb3vG8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;How can I adjust my clips so that YouTube preserves the audio in the full-length video?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Side note: I found that converting the .mov video to .mp4 with a recent ffmpeg snapshot causes the exact same problems in the result, so, if we knew what to do to get a good result with ffmpeg, that might fix the problem on YouTube.&lt;/p&gt;&#xA;" OwnerUserId="30299" LastEditorUserId="30299" LastEditDate="2020-06-21T18:06:29.630" LastActivityDate="2020-06-23T19:08:33.853" Title="How can I prevent YouTube from distorting the audio in my QuickTime video?" Tags="|ffmpeg|audio|youtube|quicktime|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30636" PostTypeId="1" AcceptedAnswerId="30638" CreationDate="2020-06-22T02:22:25.373" Score="0" ViewCount="143" Body="&lt;p&gt;I have a long video where I and other people talk. Whereas the voices of others sound good, my mic captured mine with a very low volume. The problem is that the video is long and voices alternate, so I cannot go looking for every piece of audio where I talk and raising the volume one by one.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DSyoW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DSyoW.jpg&quot; alt=&quot;volumes&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to automatically raise my voice while keeping others' voices in a good level as they currently are?&lt;/p&gt;&#xA;&lt;p&gt;I think I have to use some &amp;quot;compression&amp;quot; and &amp;quot;normalization&amp;quot; but I don't really know how they work, so if you provide specific steps it will be highly appreciated. I already played with normalization without much success. I attempted to increase the volume of the whole piece, so my voice reaches a good volume, and then &amp;quot;normalise&amp;quot; the volume to see if that will lower the voices of others to their initial state, but it didn't work (I probably did something wrong).&lt;/p&gt;&#xA;" OwnerUserId="30097" LastActivityDate="2020-06-22T08:26:06.957" Title="Raising volume of one mic in an audio track to meet others' mics volumes" Tags="|audio|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30637" PostTypeId="2" ParentId="30631" CreationDate="2020-06-22T06:43:17.393" Score="1" Body="&lt;p&gt;Try using the advanced spill suppressor preset technique instead. I’ve found it to work better but take longer to render:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/jLaR8C1tcMg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-06-22T06:43:17.393" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30638" PostTypeId="2" ParentId="30636" CreationDate="2020-06-22T08:26:06.957" Score="3" Body="&lt;p&gt;For it to sound good, you would certainly have to raise and lower the volume by hand using keyframes. If you want a quick and dirty solution, you can use a limiter or compressor. A limiter sets a ceiling of volume that cannot be surpassed. This way, you can turn up the volume significantly, which would make your voice touch this ceiling while others would be crashing through that ceiling. The limiter than lowers the volume of the parts that would crash through the ceiling, effectively putting loud and quiet parts closer together in volume.&lt;/p&gt;&#xA;&lt;p&gt;However, you will also hear an extreme limiter / compression like this. Quiet sounds when nobody talks will be awkwardly loud, breaths sound like from an asmr video and you will most likely have a problem with background noise, which will be more audible aswell.&lt;/p&gt;&#xA;&lt;p&gt;To avoid this problem in the first place, I would recommend you use microphones for each person that's speaking, so you can adjust the volume easily in post-production.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-06-22T08:26:06.957" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30639" PostTypeId="2" ParentId="30631" CreationDate="2020-06-22T08:36:22.910" Score="1" Body="&lt;p&gt;That's a tricky one. Here's one dirty solution I want to propose:&lt;/p&gt;&#xA;&lt;p&gt;Apply a second keyer for the red hue of the gym-mat. Now shrink your alpha just like you did with the greenscreen. Then, you could stitch together a patch for the mat (effectively a clean-plate of the mat without the legs). Next, track your footage, put the gym-mat-patch behind her legs and apply the tracked motion to the patch. This should give you equal matte-chokes across the legs.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-06-22T08:36:22.910" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30644" PostTypeId="2" ParentId="30632" CreationDate="2020-06-22T15:00:53.790" Score="0" Body="&lt;p&gt;When you import clips into Final Cut Pro and make a project, they should all show up in that project. If you want to put specific clips in the timeline, then you need to select the specific part in the window that includes all your imported media. None of the imported media will go away if you do this. Once you import the media, it doesn't matter how much you cut it up when editing, the media will still be there.&lt;/p&gt;&#xA;" OwnerUserId="30165" LastActivityDate="2020-06-22T15:00:53.790" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30645" PostTypeId="1" CreationDate="2020-06-22T16:13:39.463" Score="2" ViewCount="257" Body="&lt;p&gt;I have an mp4 video file that I want to play it in iOS using avfoundation. Unfortunately, the file is not being played and save into the default gallery (photos) even it has &lt;strong&gt;h264&lt;/strong&gt; video codec and &lt;strong&gt;aac&lt;/strong&gt; audio codec. And it is only playable when I reencode it using ffmpeg. I want to know why the file only becomes playable after reencoding the video?&lt;/p&gt;&#xA;&lt;h2&gt;Not Playable(originalFile.mp4) vs Playable File(outputFile.mp4) Information Comparison&lt;/h2&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3Kf2g.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3Kf2g.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;File is playable with avfoundation when these commands are being applied:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;ffmpeg -y -hide_banner -i originalFile.mp4 -f mp4 -vcodec h264 -vf scale=out_color_matrix=bt709 -color_primaries bt709 -color_trc bt709 -colorspace bt709 -b:v 5703k -acodec aac -b:a 249k outputFile.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;ffmpeg -y -hide_banner -i originalFile.mp4 -f mp4 -vcodec h264 -acodec aac outputFile.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;strong&gt;File is not playable with avfoundation when this command is being applied:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg -y -hide_banner -i originalFile.mp4 -f mp4 -vcodec copy -acodec aac outputFile.mp4&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;strong&gt;originalFile.mp4 file link:&lt;/strong&gt; &lt;a href=&quot;https://drive.google.com/file/d/1-yZFL0EsLztMIfwU79Al6dv8gdwJyGAD/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1-yZFL0EsLztMIfwU79Al6dv8gdwJyGAD/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;ffprobe streams of both files are here&lt;/strong&gt;&#xA;&lt;a href=&quot;https://www.diffchecker.com/VgZL66QB&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.diffchecker.com/VgZL66QB&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30304" LastEditorUserId="30304" LastEditDate="2020-07-02T04:30:04.203" LastActivityDate="2020-07-02T04:30:04.203" Title="A specific MP4 file is not playable with avfoundation in iOS" Tags="|video|ffmpeg|ios|" AnswerCount="1" CommentCount="14" ContentLicense="CC BY-SA 4.0" />
  <row Id="30646" PostTypeId="1" CreationDate="2020-06-22T17:48:11.033" Score="2" ViewCount="479" Body="&lt;p&gt;I would like to create an app that combines videos and renders them on a server.&lt;/p&gt;&#xA;&lt;p&gt;Is it possible to do this?&lt;/p&gt;&#xA;" OwnerUserId="30309" LastActivityDate="2020-06-22T21:05:08.077" Title="Can you render videos on a server" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30647" PostTypeId="1" CreationDate="2020-06-22T20:21:46.690" Score="1" ViewCount="39" Body="&lt;p&gt;say I would be filming same thing with multiple (3-4) cameras.&lt;/p&gt;&#xA;&lt;p&gt;What's the easiest way to be able to make a final video alternating between them at arbitrary points?&lt;/p&gt;&#xA;&lt;p&gt;I know I can split the clips and put them to one track, but if I decide it doesn't look good its a major PITA to rework. I'd just prefer to have them all on different tracks and just decide which one is playing at that point in time.&lt;/p&gt;&#xA;&lt;p&gt;Sorry, I'm complete noob at premiere.&lt;/p&gt;&#xA;" OwnerUserId="5018" LastActivityDate="2020-06-22T20:21:46.690" Title="Premiere Elements: alternating between parallel video tracks" Tags="|multi-camera|premiere-elements|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30648" PostTypeId="2" ParentId="30646" CreationDate="2020-06-22T21:05:08.077" Score="1" Body="&lt;p&gt;Yes, it is possible. Such a concept is often called &amp;quot;render farm&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;On the server side you could use tools like ffmpeg that can concatenate videos. To call it you could build a dedicated render service which works like a job management agent (think of sth. like Jenkins). The goal is to decouple the render jobs from whatever service/API your app talks to.&lt;/p&gt;&#xA;&lt;p&gt;Maybe you can even use Jenkins because it has a REST API that enables you to trigger builds. Instead of a classic build job, your job will combine videos. This approach might save you some time.&lt;/p&gt;&#xA;&lt;p&gt;However that is just a recommendation, other architectures are possible.&lt;/p&gt;&#xA;&lt;p&gt;On the client side, there is one possible problem to be aware: all the raw video material needs to be uploaded to the server and bandwidth or uplink speed could be a limiting factor at some point.&lt;/p&gt;&#xA;&lt;p&gt;On the server side you have to watch out for possible DoS attack scenarios and upload of malicious content.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-06-22T21:05:08.077" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30649" PostTypeId="1" AcceptedAnswerId="30654" CreationDate="2020-06-22T21:57:42.130" Score="0" ViewCount="682" Body="&lt;p&gt;For each frame I want to crop multiple areas using ffmpeg but I am not sure how to proceed.&lt;/p&gt;&#xA;&lt;p&gt;This is what I have done to crop one part of the image,&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;fmpeg -i video.mp4 -filter:v &amp;quot;fps=1,crop=759:41:33:99,scale=128:44&amp;quot; %d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is one frame of the video,&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7kH74.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7kH74.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The above command crops the number one row or first position from the image. Likewise I want to crop all the positions or rows from this frame.&lt;/p&gt;&#xA;" OwnerUserId="30312" LastEditorUserId="14523" LastEditDate="2020-06-22T23:45:35.907" LastActivityDate="2020-06-23T06:10:40.767" Title="How do I crop multiple areas of each frame of the video using ffmpeg?" Tags="|ffmpeg|linux|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30650" PostTypeId="1" CreationDate="2020-06-22T22:47:30.587" Score="0" ViewCount="2047" Body="&lt;p&gt;I have an image (say .png) of big vertical size. I want to create a video that shows this image slowly scrolling from the top to the bottom. How?&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg? pymovie?&lt;/p&gt;&#xA;" OwnerUserId="19093" LastActivityDate="2021-03-24T00:02:00.250" Title="I want to produce a scrolling image" Tags="|ffmpeg|effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30651" PostTypeId="1" AcceptedAnswerId="30652" CreationDate="2020-06-22T23:39:21.677" Score="3" ViewCount="691" Body="&lt;p&gt;My problem is that I have many clips with audio and I need to remove, modify and apply audio effects to all of them at once.&lt;/p&gt;&#xA;&lt;p&gt;Initially, I added an audio effect to a long clip and then I split it in many smaller clips. My problem is that now I want to remove all audio effects so I can start again from scratch. I can select multiple audios but the options available to be changed at once are only the standard options (volume, etc), not the effects, even though the selected audios have the same effects applied.&lt;/p&gt;&#xA;&lt;p&gt;I can use the Edit Index to select Audio tracks and then Audio with effects. But apparently this only identifies the offensive tracks, I can't select them all at once:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/a3n8c.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/a3n8c.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have checked Resolve manual and I couldn't find anything.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;How can I remove the applied effects from the multiple tracks at once?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;After that, I will need to apply some effects to multiple tracks at once, but I believe this can be done by selecting all tracks and dragging and dropping the effect on them.&lt;/p&gt;&#xA;" OwnerUserId="30097" LastEditorUserId="30097" LastEditDate="2020-06-22T23:49:03.853" LastActivityDate="2020-06-23T02:04:22.700" Title="Working on audio effects for multiple clips at once" Tags="|audio|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30652" PostTypeId="2" ParentId="30651" CreationDate="2020-06-23T02:04:22.700" Score="3" Body="&lt;p&gt;You can lasso them on the timeline, right-click and choose &amp;quot;remove attributes...&amp;quot;  Then, make sure &amp;quot;plugins&amp;quot; is checked, and click &amp;quot;apply.&amp;quot;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;After that, I will need to apply some effects to multiple tracks at once, but I believe this can be done by selecting all tracks and dragging and dropping the effect on them.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Yes, you can do that.  You can also apply effects to a whole track, which often saves a lot of mouse clicks, and helps you stay consistent.  There's a row of tiny plus signs on the mixer channel strips labeled &amp;quot;effects&amp;quot; where you go to do that.  It's also possible to group multiple tracks together, send that through a submix, and apply effects to the whole group at once.  So you could affect dialogue uniformly, for instance.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-06-23T02:04:22.700" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30653" PostTypeId="2" ParentId="25815" CreationDate="2020-06-23T05:58:04.607" Score="1" Body="&lt;p&gt;DaVinci Resolve, Premiere, and FCPX all support direct video capture.  But depending on your hardware configuration, operating system, and camera, you will most likely need a video capture card or external capture device also.&lt;/p&gt;&#xA;&lt;p&gt;Most computers don't come with a way to get &lt;em&gt;video&lt;/em&gt; into them, they come with ways to get &lt;em&gt;data&lt;/em&gt; into them.  HDMI ports are one-way, so you need an HDMI or SDI input, or a way to convert HDMI/SDI to data, and bring it in through USB, Thunderbolt, or PCIe, etc.  Webcams, whether internal or external will need a software driver to communicate to the NLE.  Generally, inbuilt webcams come with their own recording software, and computer manufacturers (hopefully) guard access to the camera. So for built-in webcams, you will need software which has access to your computer's hardware.  As Far as I know, FCPX can access FaceTime cameras, but Resolve and Premiere cannot.  For tethered ones, you'll need drivers supplied by the webcam manufacturer.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-06-23T06:04:26.667" LastActivityDate="2020-06-23T06:04:26.667" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30654" PostTypeId="2" ParentId="30649" CreationDate="2020-06-23T06:10:40.767" Score="1" Body="&lt;p&gt;Add more outputs.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -filter:v &amp;quot;fps=1,crop=759:41:33:99,scale=128:44&amp;quot; row1-%d.png -filter:v &amp;quot;fps=1,crop=759:41:33:140,scale=128:44&amp;quot; row2-%d.png -filter:v &amp;quot;fps=1,crop=759:41:33:181,scale=128:44&amp;quot; row3-%d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Or do one row per command.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-06-23T06:10:40.767" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30655" PostTypeId="2" ParentId="30631" CreationDate="2020-06-23T06:41:58.500" Score="0" Body="&lt;p&gt;Another thought- the problematic area is very dark. Maybe you could use Extract to make a second key, a bit like a luma key, keeping the black leggings and removing everything else, then overlaying a masked section just where the problem occurs?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-06-23T06:41:58.500" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30656" PostTypeId="1" CreationDate="2020-06-23T15:03:17.600" Score="0" ViewCount="661" Body="&lt;p&gt;I tried the default setting of the handbrake but generated video's size get greater than the original video itself. My video files are generally in between 100mb and 1.5Gb&lt;/p&gt;&#xA;&lt;p&gt;I was wondering is it possible to detect the size before starting comprassion in &lt;code&gt;handbrake&lt;/code&gt; and what is the best settings in &lt;code&gt;handbrake&lt;/code&gt; for 640x480?&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;My current setup is as follows:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/dx42s.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dx42s.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30316" LastEditorUserId="30316" LastEditDate="2020-06-23T15:10:53.143" LastActivityDate="2020-06-24T14:21:17.190" Title="What is the best settings in handbrake for 640x480?" Tags="|handbrake|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30657" PostTypeId="2" ParentId="30635" CreationDate="2020-06-23T19:08:33.853" Score="1" Body="&lt;p&gt;The problem was that different clips had different frame rates. My phone records a variable frame rate around 30 fps, the Zoom video had a fixed frame rate of 25 fps, the FB live video was variable around 30 fps and the Acapella-via-FB video was fixed 30 fps. I fixed the problem by reencoding all clips to a fixed frame rate of 30 fps with &lt;code&gt;ffmpeg -r 30&lt;/code&gt;. (I also set a minimum audio bitrate of 96 kb/s, the bitrate of most of the original footage, with &lt;code&gt;-b:v 96k&lt;/code&gt;. ffmpeg defaulted to an audio bitrate of 69 kb/s.)&lt;/p&gt;&#xA;&lt;p&gt;The QuickTime player refused to concatenate the frame-rate-adjusted clips, so I concatenated the clips in batches of 32 with &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate#differentcodec&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg's concat filter&lt;/a&gt; and then concatenated the result of that with &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate#demuxer&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg's more efficient concat demuxer&lt;/a&gt;. (Concatenating in one pass with ffmpeg's concat demuxer dropped the audio entirely from some scenes; I didn't take the time to figure out why.) I was able to combine frame rate adjustment and batch concatenation into one ffmpeg command, i.e. one reencoding step.&lt;/p&gt;&#xA;" OwnerUserId="30299" LastActivityDate="2020-06-23T19:08:33.853" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30658" PostTypeId="1" CreationDate="2020-06-23T21:49:48.880" Score="1" ViewCount="44" Body="&lt;p&gt;I'm seeing this issue frequently: if I'm using one of the built-in moving background generators such as Flow or Glimmer, the generated output sometimes glitches on boundaries of other visual elements, e.g. when a text/title clip ends its fade-out in the row above. It's as though thresholds of other clips/elements force the generator to restart or glitch in some other way. Why would other elements affect the generator's output?&lt;/p&gt;&#xA;&lt;p&gt;In the image shown below, the generator will glitch on the playhead's current frame, as soon as the fade has finished.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eWXjd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eWXjd.png&quot; alt=&quot;The generator will glitch on the playhead's current frame, as soon as the fade has finished&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30319" LastActivityDate="2024-03-05T13:03:30.447" Title="Why do background generators restart in a glitchy way, and how can I avoid it?" Tags="|final-cut-pro-x|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30659" PostTypeId="1" CreationDate="2020-06-24T00:32:11.360" Score="2" ViewCount="36" Body="&lt;p&gt;My subject was filmed in front of a green screen using a different lens than was used for the fake background image.&lt;/p&gt;&#xA;&lt;p&gt;When she moves away from the camera, she looks like a giant against the background image.&lt;/p&gt;&#xA;&lt;p&gt;Is there any trick in After Effects I can use to fake her distance from the camera so it looks more believable?&lt;/p&gt;&#xA;&lt;p&gt;Cheers.&lt;/p&gt;&#xA;" OwnerUserId="22686" LastActivityDate="2021-11-17T09:38:17.533" Title="After Effects - Green Screen - Subject Was Filmed Using Different Lens Than Background Image" Tags="|after-effects|camera|greenscreen|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30661" PostTypeId="1" CreationDate="2020-06-24T04:50:13.007" Score="1" ViewCount="869" Body="&lt;p&gt;I am looking for a 4K camcorder or DSLR camera for live streaming (tangential question: is camcorder or DSLR better for that?).&lt;br /&gt;&#xA;To have live streaming, I need pure HDMI output.  Currently I do it with an old non-4K Canon camcorder and it works well, but if the camera restarts, I need to reconfigure it to have pure HDMI picture. I would like to hook it up in a wifi controlled outlet so that I can turn the camera on remotely and start streaming.  So I need the camera to boot into pure HDMI output w/o me having to mess with the controls.&lt;/p&gt;&#xA;" OwnerUserId="30326" LastActivityDate="2020-11-11T15:22:24.163" Title="clean HDMI output camera - on start" Tags="|streaming|hdmi|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30662" PostTypeId="2" ParentId="30658" CreationDate="2020-06-24T05:35:26.663" Score="0" Body="&lt;p&gt;It might be a side effect of that FCPX has a top down approach. Elements and timelines on top can have effects of elements and timelines underneath.&#xA;Change the order and move the generator on to of everything, this should help the glitching.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/zYzJM.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zYzJM.jpg&quot; alt=&quot;changed order&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-06-24T05:35:26.663" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30665" PostTypeId="2" ParentId="30659" CreationDate="2020-06-24T08:13:12.613" Score="1" Body="&lt;p&gt;You can use CC_lens to change the appearance of your background so the focal length matches your plate more accurately.&lt;/p&gt;&#xA;&lt;p&gt;If you have more time (and money) to spare, you can use software like &lt;a href=&quot;https://www.thepixelfarm.co.uk/pftrack/&quot; rel=&quot;nofollow noreferrer&quot;&gt;PFtrack&lt;/a&gt; to follow the visual lines in both images to estimate the focal length. This would give you the opportunity to accurately distort the image so the focal-lengths match on a more accurate scale.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastEditorUserId="4426" LastEditDate="2021-11-17T09:38:17.533" LastActivityDate="2021-11-17T09:38:17.533" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30666" PostTypeId="2" ParentId="30656" CreationDate="2020-06-24T08:16:45.783" Score="1" Body="&lt;p&gt;One thing you can certainly do is lower the bitrate. 23 is quite a high bitrate, even more so for a h.264 .mp4. You should get away with a bitrate of 5-7. Also, you're encoding using the preset of 720p, which would be 1280×720 pixels. However, you stated that your resolution is only 640x480, so matching those settings will do a great deal in filesize aswell.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastEditorUserId="24627" LastEditDate="2020-06-24T14:21:17.190" LastActivityDate="2020-06-24T14:21:17.190" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30667" PostTypeId="2" ParentId="30661" CreationDate="2020-06-24T09:02:47.810" Score="0" Body="&lt;p&gt;Product-recommendations become out-of-date very quickly, but I would recommend the BMPCC4K. Black magic just came out with the 6k-Version of their pocket cinema camera and thus the price of the 4k variant dropped. All in all, I think that the BMPCC4K is one of the best cameras for this &amp;quot;cheap&amp;quot;. You also have a HDMI-out that can be used for livestreaming. I'm assuming you're using something like the elgato usb camlink?&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-06-24T09:02:47.810" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30669" PostTypeId="1" CreationDate="2020-06-24T10:39:41.563" Score="1" ViewCount="543" Body="&lt;p&gt;for the past 48 hours I tried to crop the black bars of a 2048x1152 (16:9) video to a 1.85:1 aspect ratio (which is 2048x1107) so that the encoded video shows exactly what is meant to be.&lt;/p&gt;&#xA;&lt;p&gt;First problem:&#xA;2048x1107 (1.85:1) is not common but is it basically possible to create?&#xA;Can i encode with libx264 with an odd number value like 1107?&lt;/p&gt;&#xA;&lt;p&gt;Second problem:&#xA;If not, how can I make a crop &amp;amp; resize encode in one sitting?&#xA;Means...&#xA;Cropping 2048x1152 (16:9) to 2048x1107 (1.85) AND resizing the 2048x1107 (1.85, uncommon) to 1998x1080  (2K DCP FLAT)&lt;/p&gt;&#xA;&lt;p&gt;I only manage to get a 1998x1080 (1.85:1) with too much cropped on all sides... :/&lt;/p&gt;&#xA;&lt;p&gt;Thanks for you help, guys!&lt;/p&gt;&#xA;" OwnerUserId="30335" LastActivityDate="2020-06-24T15:07:10.160" Title="Cropping 2048x1152 (16:9) to 1.85:1 removing black bars" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30670" PostTypeId="2" ParentId="30669" CreationDate="2020-06-24T11:21:20.363" Score="1" Body="&lt;p&gt;You can carry out the changes in one command by chaining the respective filters.&lt;/p&gt;&#xA;&lt;p&gt;Basic syntax is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -vf &amp;quot;crop=2048:1107:exact=1,scale=1998:1080,setsar=1&amp;quot; -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-06-24T11:21:20.363" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30671" PostTypeId="1" CreationDate="2020-06-24T13:32:52.917" Score="1" ViewCount="635" Body="&lt;p&gt;So I am trying to make a small clip wherein I have a solid black layer masked on top of a video to give it a film bar. Now at one point I want to zoom into the video without zooming into the solid layer. You can see my screen below. I am pretty new to AE. Any idea how I can go about doing this?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/h005A.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/h005A.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30337" LastActivityDate="2020-07-05T17:20:11.860" Title="How to zoom into a video inside of a mask?" Tags="|after-effects|effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30673" PostTypeId="2" ParentId="30632" CreationDate="2020-06-24T21:29:16.413" Score="0" Body="&lt;p&gt;It's certainly possible to drag all of your clips to the timeline, then chop out the parts you don't want, and then drag-and-drop the remaining pieces into the order you want. I used to do that with the old-school version of FCP (prior to FCPX), and it still works. (In fact, as you do this, it closes gaps where you delete parts of clips, which is very convenient.)&lt;/p&gt;&#xA;&lt;p&gt;Or, you can play the clips in the bin using J/K/L to control playback, I/O to mark in and out points, and E to take that part of the clip and throw it into the timeline at the end. So you could hop around in the clips in the bin, throwing pieces you want into a rough cut in the timeline without ever touching the timeline.&lt;/p&gt;&#xA;&lt;p&gt;Or, you can play through the clips in the bin and use markers to remind you where you're hearing/seeing things you really want to use, then go back and do the I/O/E thing to throw them the timeline. (You can be a little loose and fast with your I/O since you can always expand your clips in the timeline to reveal parts you missed with your I or O.&lt;/p&gt;&#xA;&lt;p&gt;And you have options other than E to put pieces of clips in the timeline at places other than the end. (And you can drag-n-drop highlighted pieces of clips into the timeline.) For example W will insert the currently selected piece of a clip into the timeline at the current playhead or if you move your cursor down into the timeline it creates a red line where the insertion will occur. You could literally jump to 5 places in your timeline and insert your clip 5 times in about a second if you wanted to.&lt;/p&gt;&#xA;&lt;p&gt;If you're envisioning cutting clips up and arranging them in the bin, FCPX doesn't work that way as far as I can tell. If you're troubled by the pieces of clips sliding around in the timeline to close gaps, that's the storyline concept of FCPX: you have a main storyline that closes gaps and to which you link supporting elements, above, that move with the part of the storyline they're attached to but that do not close gaps when edited/deleted.&lt;/p&gt;&#xA;&lt;p&gt;FCPX is different from most editors and from prior versions of FCP. It's relatively affordable, but it's very much for professionals who expect to use keyboard shortcuts, want to work super-efficiently, and don't mind learning the foundational concepts that FCPX is designed around.&lt;/p&gt;&#xA;" OwnerUserId="5573" LastActivityDate="2020-06-24T21:29:16.413" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30675" PostTypeId="2" ParentId="30671" CreationDate="2020-06-25T07:16:27.350" Score="1" Body="&lt;p&gt;You can do this by selecting every layer except the solid (your letterbox) and precomping it. Then, you can switch into your precomp and do as much zooming as you like. If you then render the composition with your precomp plus the solid layer on top, your solid will be unaffected by the keyframing going on inside the precomp.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-06-25T07:16:27.350" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30676" PostTypeId="1" AcceptedAnswerId="30677" CreationDate="2020-06-25T08:15:55.150" Score="0" ViewCount="72" Body="&lt;p&gt;My laptop is Lenovo y700 with 4 gb of Nvidia GTX 960m (not the best but it does the job) and 8 GB RAM. Anyways, I am working on a podcast that ranges from 20-30 mins in length. When we upload it to youtube, we need to add visual effects as well (else, obviously it will become dull). The effects are simple and it is mostly an audio spectrum that responds to the voice and perhaps a neon light flickering.&#xA;Anyways, as expected 30 mins is a lot for After Effects to render and it takes around 2 hours to render that. I also tried directly loading the after effects save file into premiere but in the end it took around the same amount of time to render. Is there an alternative to bypass such a long render time for such a minor effect?&lt;/p&gt;&#xA;" OwnerUserId="30347" LastActivityDate="2020-06-26T00:20:10.027" Title="How do I make long videos using After Effects?" Tags="|after-effects|premiere|render|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30677" PostTypeId="2" ParentId="30676" CreationDate="2020-06-25T08:22:25.140" Score="3" Body="&lt;p&gt;There is no way to &amp;quot;bypass&amp;quot; long render times. After-Effects needs to calculate where every pixel has to be and then pack all this information into a container such as .mov or .mp4. However, you can speed up render time by enabling hardware-acceleration in the settings of After-Effects. You can also increase the amount of RAM allocated to After-Effects. Lastly, make sure you render the file in a reasonable resolution (1920x1080 is good enough for most cases) with a reasonable framerate (for a podcast you can probably get away with 24 frames per second, depending on how responsive the audio-spectrum is probably even 20.)&lt;/p&gt;&#xA;&lt;p&gt;That said, on your hardware, 2 hours of rendering for an effect like that over 30 minutes is not unreasonable and perfectly normal. Try out the optimization I suggested above and see if you can speed up the process a bit.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-06-25T08:22:25.140" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30678" PostTypeId="1" AcceptedAnswerId="30688" CreationDate="2020-06-25T09:09:48.120" Score="1" ViewCount="140" Body="&lt;p&gt;I have used handbrake on a 40GB video.&#xA;I only have choosed mp4 format and launched the work.&#xA;After few hours of work, I obtain a 2GB video, with same quality...&lt;/p&gt;&#xA;&lt;p&gt;How is it possible ?&#xA;(I ask it before made this change on all my big videos...)&lt;/p&gt;&#xA;&lt;p&gt;Mediainfo output for 40GB video :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Unique ID                                : 238228999256890016546824715230238210616 (0xB3393C800F190F03AD96939C4A7BFA38)&#xA;Complete name                            : C:\Users\xxx\Desktop\Inception.mkv&#xA;Format                                   : Matroska&#xA;Format version                           : Version 4&#xA;File size                                : 30.9 GiB&#xA;Duration                                 : 2 h 28 min&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 29.9 Mb/s&#xA;Movie name                               : Inception 2010 Blu-ray Remux 1080p VC-1 DTS-HD MA 5.1-HomeTheater&#xA;Encoded date                             : UTC 2017-09-03 16:37:28&#xA;Writing application                      : mkvmerge v14.0.0 ('Flow') 64bit&#xA;Writing library                          : libebml v1.3.4 + libmatroska v1.4.5&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : VC-1&#xA;Format profile                           : Advanced@L3&#xA;Codec ID                                 : V_MS/VFW/FOURCC / WVC1&#xA;Codec ID/Hint                            : Microsoft&#xA;Duration                                 : 2 h 28 min&#xA;Bit rate                                 : 24.0 Mb/s&#xA;Width                                    : 1 920 pixels&#xA;Height                                   : 1 080 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 23.976 (24000/1001) FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel*Frame)                       : 0.483&#xA;Stream size                              : 24.8 GiB (80%)&#xA;Title                                    : VC-1 / 24014 kbps / 1080p / 23,976 fps / 16:9 / Advanced Profile 3&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;&#xA;Audio #1&#xA;ID                                       : 2&#xA;Format                                   : DTS XLL&#xA;Format/Info                              : Digital Theater Systems&#xA;Commercial name                          : DTS-HD Master Audio&#xA;Codec ID                                 : A_DTS&#xA;Duration                                 : 2 h 28 min&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 3 689 kb/s&#xA;Channel(s)                               : 6 channels&#xA;Channel layout                           : C L R Ls Rs LFE&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 93.750 FPS (512 SPF)&#xA;Bit depth                                : 24 bits&#xA;Compression mode                         : Lossless&#xA;Stream size                              : 3.82 GiB (12%)&#xA;Title                                    : DTS-HD MA / 5.1 / 48 kHz / 3689 kbps / 24-bit&#xA;Language                                 : English&#xA;Default                                  : No&#xA;Forced                                   : No&#xA;&#xA;Audio #2&#xA;ID                                       : 4&#xA;Format                                   : AC-3&#xA;Format/Info                              : Audio Coding 3&#xA;Commercial name                          : Dolby Digital&#xA;Codec ID                                 : A_AC3&#xA;Duration                                 : 2 h 28 min&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 640 kb/s&#xA;Channel(s)                               : 6 channels&#xA;Channel layout                           : L R C LFE Ls Rs&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 31.250 FPS (1536 SPF)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 678 MiB (2%)&#xA;Title                                    : VFF AC3 5.1&#xA;Language                                 : French&#xA;Service kind                             : Complete Main&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;&#xA;Audio #3&#xA;ID                                       : 5&#xA;Format                                   : DTS&#xA;Format/Info                              : Digital Theater Systems&#xA;Codec ID                                 : A_DTS&#xA;Duration                                 : 2 h 28 min&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 1 509 kb/s&#xA;Channel(s)                               : 6 channels&#xA;Channel layout                           : C L R Ls Rs LFE&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 93.750 FPS (512 SPF)&#xA;Bit depth                                : 24 bits&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 1.56 GiB (5%)&#xA;Title                                    : VO DTS 5.1&#xA;Language                                 : English&#xA;Default                                  : No&#xA;Forced                                   : No&#xA;&#xA;Text #1&#xA;ID                                       : 3&#xA;Format                                   : PGS&#xA;Muxing mode                              : zlib&#xA;Codec ID                                 : S_HDMV/PGS&#xA;Codec ID/Info                            : Picture based subtitle format used on BDs/HD-DVDs&#xA;Duration                                 : 2 h 27 min&#xA;Bit rate                                 : 32.7 kb/s&#xA;Count of elements                        : 3482&#xA;Stream size                              : 34.4 MiB (0%)&#xA;Title                                    : SDH&#xA;Language                                 : English&#xA;Default                                  : No&#xA;Forced                                   : No&#xA;&#xA;Text #2&#xA;ID                                       : 6&#xA;Format                                   : UTF-8&#xA;Codec ID                                 : S_TEXT/UTF8&#xA;Codec ID/Info                            : UTF-8 Plain Text&#xA;Duration                                 : 2 h 26 min&#xA;Bit rate                                 : 0 b/s&#xA;Count of elements                        : 5&#xA;Stream size                              : 111 Bytes (0%)&#xA;Title                                    : Forces&#xA;Language                                 : French&#xA;Default                                  : Yes&#xA;Forced                                   : Yes&#xA;&#xA;Text #3&#xA;ID                                       : 7&#xA;Format                                   : UTF-8&#xA;Codec ID                                 : S_TEXT/UTF8&#xA;Codec ID/Info                            : UTF-8 Plain Text&#xA;Duration                                 : 2 h 26 min&#xA;Bit rate                                 : 46 b/s&#xA;Count of elements                        : 1741&#xA;Stream size                              : 50.2 KiB (0%)&#xA;Title                                    : Complets&#xA;Language                                 : French&#xA;Default                                  : No&#xA;Forced                                   : No&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Mediainfo output for 2GB video :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : C:\Users\xxxx\Desktop\Inception-1.m4v&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media / Version 2&#xA;Codec ID                                 : mp42 (isom/iso2/avc1/mp41)&#xA;File size                                : 2.84 GiB&#xA;Duration                                 : 2 h 28 min&#xA;Overall bit rate                         : 2 746 kb/s&#xA;Movie name                               : Inception 2010 Blu-ray Remux 1080p VC-1 DTS-HD MA 5.1-HomeTheater&#xA;Encoded date                             : UTC 2020-06-14 09:28:20&#xA;Tagged date                              : UTC 2020-06-14 09:28:20&#xA;Writing application                      : HandBrake 1.3.2 2020050300&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Main@L4&#xA;Format settings                          : CABAC / 4 Ref Frames&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, Reference frames        : 4 frames&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 2 h 28 min&#xA;Bit rate                                 : 2 579 kb/s&#xA;Width                                    : 1 920 pixels&#xA;Height                                   : 800 pixels&#xA;Display aspect ratio                     : 2.40:1&#xA;Frame rate mode                          : Variable&#xA;Frame rate                               : 23.976 (24000/1001) FPS&#xA;Minimum frame rate                       : 23.974 FPS&#xA;Maximum frame rate                       : 23.981 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.070&#xA;Stream size                              : 2.67 GiB (94%)&#xA;Writing library                          : x264 core 157 r2935 545de2f&#xA;Encoding settings                        : cabac=1 / ref=2 / deblock=1:0:0 / analyse=0x1:0x111 / me=hex / subme=6 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=1 / me_range=16 / chroma_me=1 / trellis=1 / 8x8dct=0 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-2 / threads=12 / lookahead_threads=2 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=2 / b_adapt=1 / b_bias=0 / direct=1 / weightb=1 / open_gop=0 / weightp=1 / keyint=240 / keyint_min=24 / scenecut=40 / intra_refresh=0 / rc_lookahead=30 / rc=crf / mbtree=1 / crf=22.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / vbv_maxrate=20000 / vbv_bufsize=25000 / crf_max=0.0 / nal_hrd=none / filler=0 / ip_ratio=1.40 / aq=1:1.00&#xA;Encoded date                             : UTC 2020-06-14 09:28:20&#xA;Tagged date                              : UTC 2020-06-14 09:28:20&#xA;Color range                              : Limited&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.709&#xA;Codec configuration box                  : avcC&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC LC&#xA;Format/Info                              : Advanced Audio Codec Low Complexity&#xA;Codec ID                                 : mp4a-40-2&#xA;Duration                                 : 2 h 28 min&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 161 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Channel layout                           : L R&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 46.875 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 170 MiB (6%)&#xA;Title                                    : DTS-HD MA / 5.1 / 48 kHz / 3689 kbps / 24-bit&#xA;Language                                 : English&#xA;Default                                  : Yes&#xA;Alternate group                          : 1&#xA;Encoded date                             : UTC 2020-06-14 09:28:20&#xA;Tagged date                              : UTC 2020-06-14 09:28:20&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30076" LastEditorUserId="30076" LastEditDate="2020-06-25T17:03:24.953" LastActivityDate="2020-06-26T06:25:58.850" Title="what handbrake influences to get its results" Tags="|handbrake|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="30680" PostTypeId="1" CreationDate="2020-06-25T20:11:33.827" Score="0" ViewCount="977" Body="&lt;p&gt;I'm getting ready to create a &lt;strong&gt;channel name&lt;/strong&gt; with three short words. I'm trying to decide if it would be better to &lt;strong&gt;mash&lt;/strong&gt; them together into &lt;strong&gt;one word&lt;/strong&gt; or &lt;strong&gt;keep separate words&lt;/strong&gt;. Searches for the subject only find people talking about how to create a one word channel, not why. I noticed that the trending and recommended videos on the front page are a mix of mashed together words and multi word names. Any advice on which would be better and why is appreciated. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="30357" LastActivityDate="2020-06-26T23:26:55.070" Title="One Word vs. Multi Word YouTube Channel Name" Tags="|youtube|production|" AnswerCount="2" CommentCount="2" ClosedDate="2020-07-10T14:17:23.690" ContentLicense="CC BY-SA 4.0" />
  <row Id="30683" PostTypeId="1" AcceptedAnswerId="30684" CreationDate="2020-06-25T22:54:40.493" Score="2" ViewCount="830" Body="&lt;p&gt;When I'm using intensive plugins like Film Convert, and some Red Giant plugins that use the GPU, I get glitches appearing in my exported videos.&lt;/p&gt;&#xA;&lt;p&gt;If I delete the render files and switch to software render only, there are fewer glitches, but still occasionally some.&lt;/p&gt;&#xA;&lt;p&gt;Does anyone else experience this?&#xA;Why does it happen?&#xA;Has my laptop's GPU gone bad? (If so, how can I confirm this?)&lt;/p&gt;&#xA;&lt;p&gt;It appears to have got worse recently, but it's hard to tell...&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/njbqT.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/njbqT.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-03-18T03:02:10.183" Title="Glitches in Premiere exports" Tags="|premiere|macbook|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30684" PostTypeId="2" ParentId="30683" CreationDate="2020-06-25T23:44:39.637" Score="0" Body="&lt;p&gt;According to &lt;a href=&quot;https://community.adobe.com/t5/premiere-pro/glitch-on-export/m-p/11136155?page=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;this post&lt;/a&gt;, it might be because I'm using iPhone video footage which for some reason is rated at 30.01fps.  They recommend converting it to 30fps first using Handbrake. I haven't tried this yet, so not sure whether it will fix it.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-06-25T23:44:39.637" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30685" PostTypeId="2" ParentId="14820" CreationDate="2020-06-26T00:00:38.710" Score="1" Body="&lt;p&gt;Four free &amp;amp; open source video editing software that I would suggest trying out are:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://kdenlive.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Kdenlive&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.openshot.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OpenShot&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.shotcut.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Shotcut&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.olivevideoeditor.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Olive&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I have not tested any of them thoroughly, as I generally just use a combination of &lt;a href=&quot;http://avidemux.sourceforge.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Avidemux&lt;/a&gt; &amp;amp; &lt;a href=&quot;https://ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; for very simple video editing.&lt;/p&gt;&#xA;" OwnerUserId="21963" LastActivityDate="2020-06-26T00:00:38.710" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30686" PostTypeId="2" ParentId="30676" CreationDate="2020-06-26T00:20:10.027" Score="1" Body="&lt;p&gt;First, it doesn't sound like what you're doing in AE is actually making your podcast more interesting. It sounds like it's trivial to implement, but having multiple cameras (phones, laptops) for multiple people -- you said &amp;quot;we&amp;quot; -- and editing stuff out to keep the pacing going would be more effective overall. Sounds like you're providing a distraction rather than making your material interesting.&lt;/p&gt;&#xA;&lt;p&gt;Second, if you want to go the one-effect route, you could possibly bring just the audio into AE and render the audio spectrum in a small size. For example, if your video is 1920x1080 and you really only put the spectrum in a 600x400 box on the right side, you could just render the effect into a 600x400 composition, then bring that into Premiere and overlay it on the video at appropriate times. (Or if you put the effect in a strip along the bottom of the image, use a 1920x300 composition or something like that.)&lt;/p&gt;&#xA;&lt;p&gt;You don't need to move all of the other pixels onscreen through After Effects. If you make your spectrum light colors on a black background, you can then use a composite mode to place it over your video. Or a lumakey to drop the black. Premiere should be able to do this. (Haven't used Premiere in a long time, either.)&lt;/p&gt;&#xA;&lt;p&gt;But ultimately, it's better to make the video more interesting. If you have two people, have both onscreen sometimes, cut between them other times. Cut out stupid or boring parts -- double-win for your viewers. Even a few sound effects that are appropriate to what's going on can spice it up.&lt;/p&gt;&#xA;" OwnerUserId="5573" LastActivityDate="2020-06-26T00:20:10.027" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30687" PostTypeId="2" ParentId="29221" CreationDate="2020-06-26T00:26:05.570" Score="0" Body="&lt;p&gt;There are two FFmpeg frontends that I have used quite a bit for batch video conversion:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.biggmatt.com/p/winff.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;WinFF&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.xmedia-recode.de/en/&quot; rel=&quot;nofollow noreferrer&quot;&gt;XMedia Recode&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;They are both for Windows, but I know there are more free FFmpeg frontends out there for other platforms. &lt;a href=&quot;https://qwinff.github.io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;QWinFF&lt;/a&gt; is for Windows &amp;amp; Linux, but I think development has ceased.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://alternativeto.net/tag/ffmpeg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://alternativeto.net/tag/ffmpeg/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://alternativeto.net/tag/ffmpeg-gui/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://alternativeto.net/tag/ffmpeg-gui/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="21963" LastActivityDate="2020-06-26T00:26:05.570" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30688" PostTypeId="2" ParentId="30678" CreationDate="2020-06-26T06:25:58.850" Score="1" Body="&lt;p&gt;Input and output video formats are from the same generation (similar quality for similar bitrate). Handbrake default settings are prioritizing smaller size over better quality. Video bitrate is divided by 10, which is seriously impacting quality. Not so much because input is strongly standardized (Blu-ray) and Blu-ray tools are not optimized, but 2.5 Mbps is still low for HD, recommended bitrate for HD compressed in AVC are more around 5-10 Mbps.&lt;/p&gt;&#xA;&lt;p&gt;Input and output audio formats are very different, input is lossless and output is lossy compressed, not speaking about the channel count (from 5.1 to stereo). This is a serious loss, and not speaking about the trashed French track...&lt;/p&gt;&#xA;&lt;p&gt;Input subtitles tracks are not big, but trashed.&lt;/p&gt;&#xA;&lt;p&gt;You say &amp;quot;with same quality&amp;quot;, which is totally wrong (for both video and 1st audio), and some data is completely lost (2nd audio track + all subtitle tracks). The right sentence is &amp;quot;with a quality I accept for personal reasons&amp;quot;. If all the quality and data loss is acceptable for you (for example you plan to only watch this film on your laptop during a noisy travel, and never on a big TV with a 5.1 soundbar in a quite room), go for it, else tweak Handbrake e.g. at the minimum for a not too bad experience on TV+soundbar 5 Mbps video + 5.1 512 kbps AAC for both audio tracks + copy of subtitle tracks (for 2nd audio and all subtitles: if you don't want to trash them, else it is fine to trash them). This would lead to a 6 GB file in your case.&lt;/p&gt;&#xA;" OwnerUserId="12640" LastActivityDate="2020-06-26T06:25:58.850" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30689" PostTypeId="2" ParentId="18220" CreationDate="2020-06-26T11:36:52.950" Score="3" Body="&lt;p&gt;I've tested lot of solutions and software. I love cli commands, so using ffmpeg you can fix your video file with no hassle. Try the next command if you came here searching some useful fix:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -vcodec mpeg4 -b:v 7561k -qscale:v 2 -acodec aac -ac 2 -async 1 -strict experimental ./video_fixed.mp4 -threads 0 -i damage_file.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Good luck !&lt;/p&gt;&#xA;" OwnerUserId="30361" LastActivityDate="2020-06-26T11:36:52.950" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30690" PostTypeId="1" CreationDate="2020-06-26T17:40:24.537" Score="0" ViewCount="69" Body="&lt;p&gt;I'm currently using Movie Studio Platinum 16. When I need to make a voiceover (e.g. for a product presentation), I like to do it without a carefully planned script, just talking over the video and pausing the video when necessary to manually sync the video with the narrative. However, in Movie Studio Platinum 16 it's not possible, so I end up either rushing my voiceover or having to manually edit freeze frames afterwards.&lt;/p&gt;&#xA;&lt;p&gt;Which video editing software allows doing voiceover to a video and &amp;quot;live&amp;quot; pause the video but continue recording audio in sync with the paused video?&lt;/p&gt;&#xA;" OwnerUserId="30363" LastActivityDate="2020-06-26T22:40:06.540" Title="Video editing software for easy freeze frame voiceover" Tags="|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30692" PostTypeId="1" CreationDate="2020-06-26T19:38:47.400" Score="0" ViewCount="94" Body="&lt;p&gt;I understand the film &amp;quot;grammar&amp;quot; of shot types, framing, composition etc but don't understand what camera settings have to do with it.&lt;/p&gt;&#xA;&lt;p&gt;This is one of the assessment criteria for a university project,&#xA;&lt;em&gt;Successful application of visual grammar through camera technique (including aperture, ISO, WB and shutter speed).&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;What sort of &amp;quot;visual grammar&amp;quot; applies to those camera settings? Focus, light, depth and so on are controllable but not really grammar. Maybe on dolly or steadicam shots, but that's outside of our basic (handheld/tripod) project.&lt;/p&gt;&#xA;&lt;p&gt;Are the criteria just confusingly worded or am I missing something?&lt;/p&gt;&#xA;" OwnerUserId="30365" LastActivityDate="2020-06-28T12:40:37.347" Title="Can anybody please explain what camera settings (aparture, iso, wb, ss) have to do with visual/film grammar?" Tags="|video|filming|focus|shutter|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30693" PostTypeId="2" ParentId="30690" CreationDate="2020-06-26T22:40:06.540" Score="1" Body="&lt;p&gt;I believe you can do this in both Adobe Premier and Final Cut Pro. Here's some links:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/recording-audio.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/using/recording-audio.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://support.apple.com/guide/final-cut-pro/record-voiceovers-verc1faa9c5/mac&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.apple.com/guide/final-cut-pro/record-voiceovers-verc1faa9c5/mac&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30366" LastActivityDate="2020-06-26T22:40:06.540" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30694" PostTypeId="2" ParentId="30680" CreationDate="2020-06-26T22:44:39.900" Score="1" Body="&lt;p&gt;I don't think it really matters. People do both all the time. It really all just comes down to the content you provide, using appropriate tags on each video, and being consistent with your postings.&lt;/p&gt;&#xA;" OwnerUserId="30366" LastActivityDate="2020-06-26T22:44:39.900" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30695" PostTypeId="2" ParentId="30650" CreationDate="2020-06-26T22:50:48.703" Score="1" Body="&lt;p&gt;Most quality editing (Adobe Premier, Final Cut, etc.) will allow you to do this pretty easily with both text and images using &amp;quot;keyframing&amp;quot;. You can make them scroll, zoom in, or whatever other movement you need. There's tons of videos on how to do this on Youtube, but here's one for Adobe Premier: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/35cgj5Xdkmg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="30366" LastActivityDate="2020-06-26T22:50:48.703" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30696" PostTypeId="2" ParentId="30692" CreationDate="2020-06-26T23:20:24.827" Score="0" Body="&lt;p&gt;I would say that the criteria are confusingly worded. They mix ideas incongruously. Camera settings can't really affect the shot composition or framing, because those will remain the same whether you have a high ISO or a very wide aperture. ISO, WB, and shutter speed can only be used to affect how bright your video/image is. Aperture can be used to influence the depth of focus (smaller aperture, the background will be more in focus).  But yeah, I would say that you should probably ask your professor for clarification on this one.&lt;/p&gt;&#xA;" OwnerUserId="30165" LastActivityDate="2020-06-26T23:20:24.827" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30697" PostTypeId="2" ParentId="30680" CreationDate="2020-06-26T23:26:55.070" Score="0" Body="&lt;p&gt;If you mush all three words together, it will make the name harder to understand. On the other hand, having all three words as one word may make the name more recognizable, if the name you chose is a common phrase. If your name is three words, when people look it up, they may find videos about that topic listed above your channel. This would limit your early exposure, as people looking for videos about Video Editing Explained (or whatever your channel will be called) would probably find videos about that listed above your channel. I light of that, putting your three words together as one word would probably be better.&lt;/p&gt;&#xA;" OwnerUserId="30165" LastActivityDate="2020-06-26T23:26:55.070" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30698" PostTypeId="1" CreationDate="2020-06-27T09:39:12.307" Score="1" ViewCount="221" Body="&lt;p&gt;I'm a newbie in video editing. I wanted to apply DeNoise filter in Adobe Premier Pro 2020, so I did so. Then I went on cutting parts of my clip, to jump cut parts of the footage.&lt;/p&gt;&#xA;&lt;p&gt;Then I realized that I have to reduce the DeNoise level. So I did so for a cut part. Now I see that other parts do not change. And also when I cut a new part of the footage, new part has the old level and new level is not applied to it.&lt;/p&gt;&#xA;&lt;p&gt;So I have two questions:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;How to set DeNoise properties for all cut parts of a footage?&lt;/li&gt;&#xA;&lt;li&gt;How to make Premier understand that this new level is the default level and when I cut another part, it should obey this new settings?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="1175" LastActivityDate="2020-06-27T17:51:44.860" Title="How to edit the DeNoise parameters for all cut parts of a clip?" Tags="|premiere|noise|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30699" PostTypeId="2" ParentId="30698" CreationDate="2020-06-27T17:51:44.860" Score="2" Body="&lt;p&gt;If you need to apply the same effect to a whole clip, you can use Master Clip effects:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/master-clip-effects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/using/master-clip-effects.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;That way, you apply it to the file, and any clips from that file that you place into a sequence will have the same effect applied.  If you need to adjust it, you only need to do it once to the master effect.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-06-27T17:51:44.860" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30700" PostTypeId="2" ParentId="30645" CreationDate="2020-06-27T18:34:49.563" Score="1" Body="&lt;p&gt;The original video is an old, interlaced format.  At least, according to the line that says, &amp;quot;smpte170m/bt470bg/bt709.&amp;quot;  The SMPTE standard is available for purchase &lt;a href=&quot;https://standards.globalspec.com/std/892300/SMPTE%20ST%20170M&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, but you can tell from the summary that it's interlaced.&lt;/p&gt;&#xA;&lt;p&gt;The second ffmpeg command is copying the format without re-encoding, or handling the interlacing, which isn’t supported on iOS.  The first set of commands work because the video is being re-encoded. Whether or not the video is automatically being de-interlaced, I can’t say without seeing, but I doubt it.  See my answer to &lt;a href=&quot;https://video.stackexchange.com/questions/12980/how-to-see-if-a-video-file-is-progressive-or-interlaced/12982#12982&quot;&gt;this question&lt;/a&gt; to judge for yourself.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-06-28T17:52:54.240" LastActivityDate="2020-06-28T17:52:54.240" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30701" PostTypeId="2" ParentId="28613" CreationDate="2020-06-27T19:16:18.343" Score="1" Body="&lt;p&gt;This script makes it simple, better results than other posts around town:&#xA;&lt;a href=&quot;https://gist.github.com/achesco/4dc2ebf13378a0a61fc26c7fe01f539e&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gist.github.com/achesco/4dc2ebf13378a0a61fc26c7fe01f539e&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Splits file.mp4 file to scenes with change more than 0.5 and saves&#xA;output parts to /tmp/parts folder&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;split.sh -d 0.5 -o /tmp/parts -f file.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Including the script here for reference (note the version below has some differences, primarily a bug fix):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;# Splits video to separate scenes files&#xA;# Inspired by https://stackoverflow.com/a/38205105&#xA;&#xA;#!/bin/bash&#xA;&#xA;file=&amp;quot;&amp;quot;&#xA;out=&amp;quot;./&amp;quot;&#xA;diff=0.4&#xA;bitrate=&amp;quot;&amp;quot;&#xA;trim=0&#xA;stripaudio=&amp;quot;&amp;quot;&#xA;&#xA;usage () {&#xA;  echo &amp;quot;Usage: $(basename $0) [[[-o folder] [-d ratio]] | [-h]] -f file.mp4&amp;quot;&#xA;  echo&#xA;  echo &amp;quot;Options:&amp;quot;&#xA;  echo &amp;quot;-f, --file          Input file&amp;quot;&#xA;  echo &amp;quot;-o, --out           Outpup files folder path, default&amp;quot;&#xA;  echo &amp;quot;                    to current folder&amp;quot;&#xA;  echo &amp;quot;-d, --diff          Number from 0 to 1, default to 0.4.&amp;quot;&#xA;  echo &amp;quot;                    Scene change difference factor&amp;quot;&#xA;  echo &amp;quot;-b, --bitrate       Bitrate to encode parts&amp;quot;&#xA;  echo &amp;quot;-t, --trim          Trim last given seconds number, default 0&amp;quot;&#xA;  echo &amp;quot;-sa, --strip-audio  Strip audio&amp;quot;&#xA;  echo &amp;quot;-h, --help          Display this help message&amp;quot;&#xA;  echo&#xA;  echo &amp;quot;Example: split.sh -d 0.5 -o /tmp/parts -f file.mp4&amp;quot;&#xA;  echo &amp;quot;Splits file.mp4 file to scenes with change more than 0.5&amp;quot;&#xA;  echo &amp;quot;and saves output parts to /tmp/parts folder&amp;quot;&#xA;}&#xA;&#xA;if [ &amp;quot;$1&amp;quot; = &amp;quot;&amp;quot; ]; then&#xA;  usage&#xA;fi&#xA;&#xA;while [ &amp;quot;$1&amp;quot; != &amp;quot;&amp;quot; ]; do&#xA;  case $1 in&#xA;    -f | --file )&#xA;      shift&#xA;      file=$1&#xA;      ;;&#xA;    -d | --diff )&#xA;      shift&#xA;      diff=$1&#xA;      ;;&#xA;    -o | --out )&#xA;      shift&#xA;      out=$1&#xA;      ;;&#xA;    -b | --bitrate )&#xA;      shift&#xA;      bitrate=&amp;quot;-b $1&amp;quot;&#xA;      ;;&#xA;    -t | --trim )&#xA;      shift&#xA;      trim=$1&#xA;      ;;&#xA;    -sa | --strip-audio )&#xA;      stripaudio=&amp;quot;-an&amp;quot;&#xA;      ;;&#xA;    -h | --help )&#xA;      usage&#xA;      exit&#xA;      ;;&#xA;    * )&#xA;      usage&#xA;      exit 1&#xA;  esac&#xA;  shift&#xA;done&#xA;&#xA;cut_part () {&#xA;  duration_flag=&amp;quot;&amp;quot;&#xA;  if [ &amp;quot;$3&amp;quot; != &amp;quot;&amp;quot; ]; then&#xA;    duration_flag=&amp;quot;-t&amp;quot;&#xA;  fi&#xA;  ffmpeg -loglevel error -hide_banner -ss $1 -i $file $duration_flag $3 \&#xA;    -vcodec libx264 -movflags faststart $bitrate $stripaudio \&#xA;    -y $out/`printf &amp;quot;%04d_%s&amp;quot; $2 $filename` &amp;lt; /dev/null&#xA;}&#xA;&#xA;filename=`basename $file`&#xA;mkdir -p $out&#xA;timefrom=0&#xA;i=1&#xA;while read -r timestamp; do&#xA;  duration=`bc &amp;lt;&amp;lt;&amp;lt; &amp;quot;$timestamp-$timefrom-$trim&amp;quot; | awk '{printf &amp;quot;%f&amp;quot;, $0}'`&#xA;  cut_part $timefrom $i $duration&#xA;  timefrom=$timestamp&#xA;  i=`expr $i + 1`&#xA;done &amp;lt; &amp;lt;(&#xA;  ffmpeg -i $file -filter:v &amp;quot;select='gt(scene,$diff)',showinfo&amp;quot; -f null - 2&amp;gt;&amp;amp;1 | \&#xA;    grep Parsed_showinfo | grep pts_time:[0-9.]* -o | grep &amp;quot;[0-9]*\.[0-9]*&amp;quot; -o&#xA;)&#xA;&#xA;if [ $timefrom != 0 ]; then&#xA;  cut_part $timefrom $i&#xA;fi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30379" LastEditorUserId="30379" LastEditDate="2020-07-01T04:21:39.103" LastActivityDate="2020-07-01T04:21:39.103" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30702" PostTypeId="2" ParentId="30692" CreationDate="2020-06-27T21:26:31.170" Score="3" Body="&lt;p&gt;I'm not able to state a conclusive definition for &amp;quot;visual grammar&amp;quot;, but I'd say camera settings have a quite relevant role on building it. Depth of field (aperture) is crucial for focusing on a subject; ISO may be used for obtaining a noisy image which can be used to say something (to look like an amateur, or a security camera, for instance); WB might be used for creating a specific environment (to look like morning, or some 70's tv imagery).&lt;/p&gt;&#xA;&lt;p&gt;All these settings may have, therefore, a role on the way you tell a story. A good exercise would be to watch scenes you like and try to imagine the settings used, and why these were chosen.&lt;/p&gt;&#xA;" OwnerUserId="14373" LastActivityDate="2020-06-27T21:26:31.170" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30705" PostTypeId="2" ParentId="26371" CreationDate="2020-06-28T07:42:53.780" Score="0" Body="&lt;p&gt;The answer should be in Facebook's terms of service, if they don't say anything, it's allowed. If it's forbidden this can only be limited to unlicensed work, everything else would be an illegal attack to artistic freedom. If Facebook wrongly awards you a copyright strike and your business suffers damage you should go to court.&lt;/p&gt;&#xA;&lt;p&gt;Facebook's support is too dumb to understand even the simplest problems, you can't expect to solve such a problem by discussing.&lt;/p&gt;&#xA;&lt;p&gt;I think Facebook is only good as one of your many marketing channels, you should never rely on Facebook in any way, and it should never be the primary location where you publish anything.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-06-28T07:42:53.780" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30708" PostTypeId="1" CreationDate="2020-06-28T13:50:27.817" Score="1" ViewCount="65" Body="&lt;p&gt;I want to trim a basic title element so it matches an audio file I have.&lt;/p&gt;&#xA;&lt;p&gt;I want to drag the start of the title element to a marker on the timeline.&lt;/p&gt;&#xA;&lt;p&gt;I can't do this because final cut keeps truncating the trim function. &lt;a href=&quot;https://i.stack.imgur.com/uCi6X.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uCi6X.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How do I raise the resolution that I can trim at?&lt;/p&gt;&#xA;" OwnerUserId="25594" LastActivityDate="2021-11-20T21:00:20.023" Title="How do I trim text/video in smaller increments? (for Kinetic Type Video)" Tags="|video|video-editor|final-cut-pro-x|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30709" PostTypeId="2" ParentId="30708" CreationDate="2020-06-28T18:12:45.900" Score="1" Body="&lt;p&gt;This behaviour is normal because a title element is bound to the &lt;strong&gt;video&lt;/strong&gt; frame rate. All visual elements must start/end in &amp;quot;between&amp;quot; frames. In your example GIF you zoomed enough in and even can see the markers. Note the line just below the timecode.&lt;/p&gt;&#xA;&lt;p&gt;The reason sound is not bound to this is because sound has a much greater Samplerate. If you think of Samplerate and Framerate as Data points over time then you understand video has commonly 24 or 25 (higher fps becomes more common) data points in a second, sound usually has 48000 data points per second.&lt;/p&gt;&#xA;&lt;p&gt;Have your title element start at a frame what feels the best.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastEditorUserId="20675" LastEditDate="2020-06-28T18:20:20.383" LastActivityDate="2020-06-28T18:20:20.383" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30712" PostTypeId="1" CreationDate="2020-06-29T00:35:41.427" Score="1" ViewCount="584" Body="&lt;p&gt;In premiere pro when I set the renderer to GPU Acceleration (CUDA), for the timeline and on media encoder export, half the video is completely messed up with lots of pixelation artifacts when I switch on any effect or make a change in the lumetri colour panel. Any solutions?&lt;/p&gt;&#xA;&lt;p&gt;I'm running premiere pro 2020 v14.3.0 and have the GTX 1060 3GB GPU with Nvidia drivers 451.48.&#xA;I have also tried reinstalling both and deleting all the cache to no effect.&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/dJ8PY.jpg&quot; alt=&quot;playback pixelation destroyed video&quot; /&gt;&lt;/p&gt;&#xA;" OwnerUserId="30386" LastEditorUserId="30386" LastEditDate="2020-06-29T09:13:57.977" LastActivityDate="2020-06-29T18:53:56.280" Title="severe artifacts pixelation when using cuda rendering premiere pro" Tags="|premiere|encoding|playback|rendering|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30715" PostTypeId="1" CreationDate="2020-06-29T18:07:33.593" Score="0" ViewCount="30" Body="&lt;p&gt;Does LG v30 record HDR video in manual mode or it's only in automatic mode ? Thank you&lt;/p&gt;&#xA;" OwnerUserId="17386" LastActivityDate="2020-06-29T18:07:33.593" Title="Does LG v30 record HDR video in manual mode" Tags="|video|hdr|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30716" PostTypeId="2" ParentId="30712" CreationDate="2020-06-29T18:53:56.280" Score="1" Body="&lt;p&gt;Rolled back the Nvidia driver to the version before and it seems to have fixed it. Might be a bug. Typical!&lt;/p&gt;&#xA;" OwnerUserId="30386" LastActivityDate="2020-06-29T18:53:56.280" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30718" PostTypeId="1" CreationDate="2020-06-29T20:13:38.393" Score="0" ViewCount="128" Body="&lt;p&gt;I've changed the key binding for the edit page, such as by hitting &lt;strong&gt;backspace&lt;/strong&gt; &lt;em&gt;(the default)&lt;/em&gt; or by hitting &lt;strong&gt;x&lt;/strong&gt; then the selected clips are deleted. I made sure that DaVinci Resolve is using my custom saved profile and yet it is still not working.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/RpKFO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RpKFO.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30398" LastActivityDate="2020-07-01T18:47:45.847" Title="custom DaVinci Resolve key mapping does not work" Tags="|video-editor|davinci-resolve|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30719" PostTypeId="1" AcceptedAnswerId="30747" CreationDate="2020-06-30T05:14:34.010" Score="1" ViewCount="43" Body="&lt;p&gt;I am photographer and videographer and my main subject is product photography (antiques,  watches, jewelry,...) and one of my biggest issue is poor sharpness and bad looking video from my Canon 77D. I do so many macro shots as well as chroma but the results are very poor, if sometimes not usable, and they require so many hour of noise cleaning that compromises the sharpness a lot.&lt;/p&gt;&#xA;&lt;p&gt;I was planning to upgrade to the Fujifilm XT4 wich offers native 10-bit 4k at an impressive bitrate of 400mbs. That would solve my issues, however I am considering the  fact that I own may Canon's glass (like the 2nd version of the 24-70 2.8L), since I want to upgrade for getting  better video results, I am not sure if it worth considering the 5D mkIII with Magic Lantern, wich seems to allow 4k ROW at 14-bits. It is way cheaper for me and easier to get in short term.&lt;/p&gt;&#xA;&lt;p&gt;I am truly confused guys with the &amp;quot;exact specs&amp;quot; ML allows in the 5D III, and if it worth considering it in 2020. So I highly appreciate your recommendations.&lt;/p&gt;&#xA;&lt;p&gt;About the 5D mkIII specs I would appreciate if someone can tell me of there is a crop as you get in high resolution, if the footage is sharp, what is the maximum bitrate, what is the maximum frame rate, and what are the limitation of pushing the specs toward the limits.... what is the most best/usable/stable you can get form ML in the 5D mkIII?&lt;/p&gt;&#xA;&lt;p&gt;Thank you in advance.&lt;/p&gt;&#xA;" OwnerUserId="30400" LastActivityDate="2020-07-02T18:54:14.413" Title="Magic Lantern or native specs in 2020" Tags="|canon|chromakey|bitrate|magic-lantern|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30720" PostTypeId="1" CreationDate="2020-06-30T08:47:38.723" Score="0" ViewCount="40" Body="&lt;p&gt;I am writing a web application with video lessons in sequence. I want to use a streaming service for high availability and compressing content for different viewports. I would like the user to watch a video to unlock the next one. And I would like to monitor the number of views to know when to release the next one. And I would also like to keep the option of releasing the video publicly with those views counting toward the total number of views.&lt;/p&gt;&#xA;&lt;p&gt;I read about &lt;a href=&quot;https://stackoverflow.com/questions/12642980/view-vimeo-private-video-with-an-oauth-token&quot;&gt;OAuth on Vimeo&lt;/a&gt; and think that something like tokens could work, although I'd also need to make an API call to check if a user with a token did finish watching the video.&lt;/p&gt;&#xA;&lt;p&gt;Does any video streaming service do such a thing?&lt;/p&gt;&#xA;&lt;p&gt;(Migrated from &lt;a href=&quot;https://webapps.stackexchange.com/questions/143435/video-hosting-with-local-control&quot;&gt;WebApps&lt;/a&gt; where the question got no answers in one week.)&lt;/p&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2020-11-06T07:48:48.983" Title="Video hosting with local control" Tags="|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30722" PostTypeId="1" CreationDate="2020-06-30T13:38:12.240" Score="3" ViewCount="66" Body="&lt;p&gt;I recently watched a video of Led Zeppelin in 1973 and it dawned on me that these were shot on film, and as a film photography hobbyist it dawned on me that the picture quality for handheld film at a low-light concert is pretty good, or at least significantly better than what I could accomplish with my 35mm SLR. How was it done? Was it shot at some insane aperture like f/1.0, did they use special film, or was the stage brighter than what I'm expecting?&lt;/p&gt;&#xA;&lt;p&gt;Video in question: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/6tlSx0jkuLM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="30404" LastActivityDate="2023-05-04T21:33:46.440" Title="How are/were low-light scenes such as concerts shot on film?" Tags="|lighting|filming|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30724" PostTypeId="1" CreationDate="2020-06-30T15:56:26.497" Score="1" ViewCount="178" Body="&lt;p&gt;I have a QT ProRes which has 8 audio tracks. L/R/C/Lfe/Ls/Rs/Ltotal/Rtotal&#xA;What I need to do is extract the 5.1 (tracks 1-6) into separate individual wav files without recompression&#xA;and the last 2 (tracks 7-8) into a stereo wav.&#xA;I made a small batch file to help me. Here it is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;CLS&#xA;:START&#xA;echo[&#xA;set /p source=enter source file name:&#xA;start ffmpeg -i %source% -map 0:a:0 -c copy %source%_51.L.wav -map 0:a:1 -c copy %source%_51.R.wav -map 0:a:2 -c copy %source%_51.C.wav -map 0:a:3 -c copy %source%_51.LFE.wav -map 0:a:4 -c copy %source%_51.Ls.wav -map 0:a:5 -c copy %source%_51.Rs.wav&#xA;start ffmpeg.exe -i %source% -filter_complex &amp;quot;[0:7][0:8] amerge=inputs=2&amp;quot; -c:a pcm_s24le %source%.20.wav&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The problem is that the extraction is not correct. The 5.1 channels it produces are the same.&#xA;Do you have any ideas where I am wrong?&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="29131" LastEditorUserId="4426" LastEditDate="2021-07-27T12:12:49.083" LastActivityDate="2022-08-21T14:05:45.610" Title="Extract audio from a multichannel video file" Tags="|ffmpeg|video|audio|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30725" PostTypeId="2" ParentId="22487" CreationDate="2020-06-30T16:08:39.237" Score="3" Body="&lt;p&gt;There is a 3-step solution-&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Insert an empty caption in the beginning&lt;/li&gt;&#xA;&lt;li&gt;Move captions to 0 mark of your sequence&lt;/li&gt;&#xA;&lt;li&gt;If you hold &lt;kbd&gt;CMD&lt;/kbd&gt;/&lt;kbd&gt;CTRL&lt;/kbd&gt; while dragging out the end of a caption, it ripple-shifts all the captions after it. So just grab the tail of first, empty caption and extend it to the mark where the text should begin&lt;img src=&quot;https://i.stack.imgur.com/xDBrm.jpg&quot; alt=&quot;How to move captions to the beginning&quot; /&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="30405" LastEditorUserId="14523" LastEditDate="2020-06-30T17:25:48.193" LastActivityDate="2020-06-30T17:25:48.193" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30726" PostTypeId="2" ParentId="30722" CreationDate="2020-06-30T16:11:02.693" Score="0" Body="&lt;p&gt;Multiple possibilities, many of them you have mentioned. I believe the most likely is that the person who filmed this used a &amp;quot;fast lens&amp;quot;, meaning a lens that lets in lots of light. If you want to know more about the process of filming in low-light conditions on film, you can check out documentaries on Barry Lyndon by Kubrick.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-06-30T16:11:02.693" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30727" PostTypeId="1" CreationDate="2020-06-30T19:19:36.187" Score="0" ViewCount="53" Body="&lt;p&gt;Long story short, for internal trading videos updates i need to add a predone video cut to a lot of old videos. I need a way to not having to pass everyone one by one by premiere. Any software that could do that?&lt;/p&gt;&#xA;" OwnerUserId="30408" LastActivityDate="2023-12-13T16:03:35.470" Title="How to add automatically a video ending?" Tags="|video|editing|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30728" PostTypeId="2" ParentId="30718" CreationDate="2020-06-30T20:52:34.470" Score="0" Body="&lt;p&gt;EDIT: I was able to assign and de-assign 'c' to be the same as backspace. That's weird. When I added 'c', it showed up on the right of the backspace in your screenshot, but when I closed and reopened, it have moved to the left as in your screenshot. I'm using 16.2.3 on a Mac. Sorry I don't have any tips. Maybe your preferences are corrupted somehow?&lt;/p&gt;&#xA;" OwnerUserId="5573" LastEditorUserId="5573" LastEditDate="2020-07-01T00:26:52.963" LastActivityDate="2020-07-01T00:26:52.963" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30729" PostTypeId="1" CreationDate="2020-07-01T02:46:24.443" Score="2" ViewCount="53" Body="&lt;p&gt;I'm trying to get some hands-on experience with 3D visual effects on videos. Similar to those AR apps, I want to add a 3D model with effects, say a dragon, to a video. Something like this famous demo:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/u5hQpRbHERg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;But I don't really want to make it this fancy with camera tracking. Starting with simplest approach, probably just placing a dragon on the field (like its last scenes) with fixed camera.&lt;/p&gt;&#xA;&lt;p&gt;What's the best way to do it? Do we have some tutorials, free or open source tools or SDK to do it for videos?&lt;/p&gt;&#xA;" OwnerUserId="43073" LastEditorUserId="43073" LastEditDate="2020-07-01T14:56:09.737" LastActivityDate="2020-07-01T14:56:09.737" Title="Add 3D visual effects to videos" Tags="|video|3d|special-effects|visual-effects|360video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30730" PostTypeId="2" ParentId="30729" CreationDate="2020-07-01T06:13:48.223" Score="2" Body="&lt;p&gt;Yeah that was actually the best opening ceremony ever...&lt;/p&gt;&#xA;&lt;p&gt;Doing something like this yourself is a hefty task, but first, here's what you would need:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A software for tracking&lt;/li&gt;&#xA;&lt;li&gt;A software for modeling / animating&lt;/li&gt;&#xA;&lt;li&gt;(optionally something for compositing / color grading)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Luckily, Blender (which is free) can do all those things, but has quite a steep learning-curve. Due to its popularity, you will find many tutorials and guides though. Here's step by step how I would go about something like your example:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Find footage to composite the elements on. It should be at least 1920x1080 and with as little compression as possible (it's best to record your own).&lt;/li&gt;&#xA;&lt;li&gt;Load the footage in a tracking-program. You can use Blender, After-Effects, Nuke or PfTrack - all are viable.&lt;/li&gt;&#xA;&lt;li&gt;After tracking, you can create a virtual camera that flies around in your scene according to the movement of the real camera. Export this or work with it from inside Blender if you're only using Blender.&lt;/li&gt;&#xA;&lt;li&gt;Now model out and animate your 3D-Assets and place them in your scene. Since the tracked camera matches the movement of the real camera, your 3D-Assets should stay in place and look like they're pinned to the ground.&lt;/li&gt;&#xA;&lt;li&gt;Apply your textures and shaders (and I can't stress how important this is) light your scene properly. Try to observe where the light is coming from in your original scene and place virtual lights accordingly.&lt;/li&gt;&#xA;&lt;li&gt;Render your scene, preferably as a .png or .exr-sequence, with only your virtual Assets visible.&lt;/li&gt;&#xA;&lt;li&gt;At last, composite the background and foreground together. You can do this in Blender as well, but programs such as After-Effects or Nuke give you more control over your look (they're not free programs though).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;If your tracking looks off, make sure to delete any floating tracking-points that might have picked up false movements. Try matching the white-balance in compositing (the shift from teal to orange and purple to green). For added realism, you can create a &amp;quot;shadow-catcher&amp;quot; which will itself not be visible, but render out the shadows cast upon it. Those shadows should be included in a separate &amp;quot;pass&amp;quot;, so you have your foreground, shadows and background. This gives you more control over the darkness and opacity of your shadows if you want to adjust them. And at last, if you want to go all in, you can capture an HDR environment from the place you were filming at - basically a 360° image of the surroundings. You can add this to the 3D-Software you're using to accurately display reflections on your foreground.&lt;/p&gt;&#xA;&lt;p&gt;I hope this helped you out, have a great day!&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-01T06:13:48.223" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30731" PostTypeId="1" CreationDate="2020-07-01T06:37:11.433" Score="2" ViewCount="119" Body="&lt;p&gt;I need to create an effect that would tear the photo into small pieces. These pieces should then fly in all directions. How can I do this as effectively as possible in Adobe Premiere Pro or Adobe After Effects?&lt;/p&gt;&#xA;&lt;p&gt;I tried to manually divide the photo into many layers in Adobe Photoshop. Then save the individual layers as separate files. Then, in Premiere Pro, put them together to create a complete photo and make a each piece of photo to fly away to different direction.&lt;/p&gt;&#xA;&lt;p&gt;It's very time consuming... Is there a better way to do this?&lt;/p&gt;&#xA;&lt;p&gt;Thank you for your advice!&lt;/p&gt;&#xA;" OwnerUserId="17009" LastEditorUserId="4426" LastEditDate="2020-10-22T12:27:05.547" LastActivityDate="2021-03-22T17:44:58.223" Title="How to create a shredded photo in Adobe Premiere Pro or After Effects?" Tags="|after-effects|premiere|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30732" PostTypeId="2" ParentId="30439" CreationDate="2020-07-01T08:09:54.230" Score="0" Body="&lt;p&gt;There is no easy answer to this. Best if you start describing your usage and territory of screening. Post contracts like this start to look like licensing contracts with time and territory and duration being the main components of the formula.&lt;/p&gt;&#xA;&lt;p&gt;Also check with your local media union or arts advisory body. In Australia there are a few 'official' arts organisations which have tables of recommended fees (australia council, Arts Media Alliance) These are good starting points. That said –copyright licensing is entirely open to negotiation.&lt;/p&gt;&#xA;" OwnerUserId="27756" LastActivityDate="2020-07-01T08:09:54.230" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30733" PostTypeId="2" ParentId="30727" CreationDate="2020-07-01T08:14:19.830" Score="-1" Body="&lt;p&gt;Quicktime in Apple has a trim and drop edit function built into the player app.&#xA;You just copy your footage in the time line and drop it into the old footage in the right place. Pretty useful for a light edit.&lt;/p&gt;&#xA;" OwnerUserId="27756" LastActivityDate="2020-07-01T08:14:19.830" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30734" PostTypeId="1" CreationDate="2020-07-01T12:43:28.510" Score="1" ViewCount="1585" Body="&lt;p&gt;I'm making some tutorials about how to use a website. I'm using the built in Apple Screen Recording to record the screen on a Macbook Pro with a retina screen. I'm then loading the resulting .mov file into Premiere Pro to edit it and add some audio (recorded separately) to a finished version.&lt;/p&gt;&#xA;&lt;p&gt;When I edit the footage in Premiere Pro the preview often fragments and after a couple of seconds shows an unfragmented view, but that unfragmented view is many frames, sometimes many seconds, back from where the timeline is. When I move frame by frame, it will show a slightly fragmented image, then jump back to an image from many frames back or several seconds back.&lt;/p&gt;&#xA;&lt;p&gt;When I export to file by matching the sequence settings in the export options, it produce less fragmentation than I see while editing but there is still some. For some exports when I open the exported file to view in quicktime and hit play, it does not play the video, but if I scrub through a bit it will play and then I can scrub back to the beginning and it plays.&lt;/p&gt;&#xA;&lt;p&gt;This is a screengrab of my Premiere Pro preview window after moving the timeline.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VTRR1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VTRR1.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is this something to do with frame rates in the original recording from the Mac Screen record utility? What frame rate does it record at )or is it some sort of dynamic frame rate) and is there a way of setting up premiere pro to handle that frame rate, or the footage that the Mac Screen Record utility creates?&lt;/p&gt;&#xA;" OwnerUserId="30416" LastActivityDate="2023-12-15T13:08:01.030" Title="Editing a Mac Screen Recording in Premiere Pro causes image fragmentation" Tags="|premiere|framerate|screen-casting|macbook|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30735" PostTypeId="1" AcceptedAnswerId="30736" CreationDate="2020-07-01T12:43:56.247" Score="2" ViewCount="413" Body="&lt;p&gt;So I and a few friends decided to film a Christmas movie. This is gonna be really interesting as I haven't even made a short before. But anyway, most of this movie takes place at the North Pole in Santas village. What does the north pole have every single day of the year? SNOW!!! Any type of physical artificial snow is out of the question, and real snow obviously is too. It will be filmed in the middle of summer, and the snow needs to be edited in. To clarify, I'm talking about snow lying on the ground, on trees, on rooves, etc. Not falling snow. I know how to do falling snow. That's easy. I found lots of tutorials on how to do this on a still image in photoshop, and they look pretty good. Here is an example.&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/fNoUWdV6Lmo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;But why can't I find any tutorials on how to do this in Filmora9,(the video editor I use) or for that matter, ANY OTHER VIDEO EDITORS??? NOT EVEN PREMIER PRO!! It shouldn't be much harder than doing it on photoshop, right? How can I do this? If it isn't possible on Filmora9 but there is some other free software that I can do this, that's fine. I'll just add snow in that software and do the rest of editing in Filmora9.&#xA;Any help is appreciated.&lt;/p&gt;&#xA;" OwnerUserId="30417" LastActivityDate="2020-07-01T15:09:20.227" Title="How to edit laying snow into a video?" Tags="|editing|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30736" PostTypeId="2" ParentId="30735" CreationDate="2020-07-01T14:41:44.527" Score="1" Body="&lt;p&gt;EDIT: You need to be clear what your goal is. If this is a summer project and just something for some friends to work on together right now, I'd suggest getting Blender (&lt;a href=&quot;https://www.blender.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.blender.org/&lt;/a&gt;) and learning to use it together. Make some of your establishing shots, if you can.&lt;/p&gt;&#xA;&lt;p&gt;Or start on a script. 99% of people with good ideas for a movie never make it because they never write and finish a script. Pick one scene and script it and shoot it. Do you need lighting? Props? Have you found a good location? Is it interesting.&lt;/p&gt;&#xA;&lt;p&gt;Depending on your expectations, it will be very hard. But you can learn together and if things go well, you may have the foundation for actually making a movie.&lt;/p&gt;&#xA;&lt;p&gt;Script-writing is hard. Movie shooting -- multiple angles, script, actors, props -- is hard. 3D (Blender) is hard. But if you're imagining that you can just run a camera and have people do what they want and in the end you make it look like it's winter -- that's VERY hard.&lt;/p&gt;&#xA;&lt;p&gt;If it snows reliably in your area, you could easily take the next six months working on Blender, scripting, practicing some shots, scouting locations, etc in preparation for real snow. (Even if it doesn't snow, winter footage may be better than summer footage in terms of looking like winter.)&lt;/p&gt;&#xA;&lt;p&gt;You can enjoy this process. But don't let your friends' expectations end up with lots of filming being done and then dumped on you to do the impossible. Make sure the process is iterative so your friends can see what's possible, rather than imagine a Hollywood budget.&lt;/p&gt;&#xA;&lt;p&gt;PREVIOUS ANSWER:&lt;/p&gt;&#xA;&lt;p&gt;You'll really need to set expectations for your friends. A huge portion of the filming (say 98% or something like that) should be indoors.&lt;/p&gt;&#xA;&lt;p&gt;Like most shows/movies you'll have an establishing shot of a snow-covered building in a snow-covered valley for a few seconds, then you'll cut to indoors scenes which you physically set up to plausibly look like they are the inside of that building we just saw the outside of. This establishing shot might be real video of a real building that really has snow, or you might attempt to take a photo and touch it up per some of the Photoshop tutorials, then animate falling snow or use a 3D program like Blender and animate a truck or something, so the still could be a video.&lt;/p&gt;&#xA;&lt;p&gt;Inside, you might want to see the outside occasionally. Have the camera on a tripod and unmoving, looking at the scene with a window in the shot. To make it easy, don't have any people walk in front of the window. Make sure bright light is coming through the window, as if there were lots of snow outside. You can then figure out what it looks like outside of the window and replace the window with that image/video.&lt;/p&gt;&#xA;&lt;p&gt;If actors walk in front of the window, you'd need to rotoscope around them -- hard -- or the window would need to be a greenscreen or something like that -- also hard -- so you could have the actor appear in front of your replacement window view.&lt;/p&gt;&#xA;&lt;p&gt;Better yet, fake it. The snow is so high or the wind is so strong that snow/ice cover the windows and you can't see out. Pile fake snow in a bag against the outside of the windows. Every aspect of the script will have to be driven by whether you can actually pull off the shot or not.&lt;/p&gt;&#xA;&lt;p&gt;Do some experimentation first to see how realistic you get, before you write a script and get actors and crew and actually spend days taping. Your friends can fantasize about how it will look, but you'll be on the hook to fulfill their dreams and it's absolutely not easy.&lt;/p&gt;&#xA;&lt;p&gt;Anyhow, if your video editing software has color grading/correction tools you can try to do what the Photoshop tutorial does: pick areas of your frame that are green or bright and tint them very white -- leaving some light/darkness variation so it looks a bit more 3D. I tried that really quickly on a scene and the best I could do is to have it look like a dusting of snow had fallen on some grass. And there was a lot of flicker in the color: it's easy to get a single still frame looking good, but video has noise and the light is changing from frame to frame, so it's easy to get flickering when you're doing as extreme of a color adjustment as making stuff look white.&lt;/p&gt;&#xA;&lt;p&gt;But it's not going to look like the North Pole. There's another Photoshop Tutorial that I see recommended from the end of the one you linked. It uses an old wood cabin and the thumbnail shows a before/after split screen. Notice that they replace entire chunks of the image with white, then add shading and texture to give it depth. That's what a real movie would do in your case: most of the outdoor scenes -- basically anything that your actors don't touch -- would be masked out and replaced by 3D renderedings.&lt;/p&gt;&#xA;&lt;p&gt;So it's in your best interest to have pretty much everything take place indoors (in a building, in a cave, etc), with some peeks at the outside.&lt;/p&gt;&#xA;" OwnerUserId="5573" LastEditorUserId="5573" LastEditDate="2020-07-01T15:09:20.227" LastActivityDate="2020-07-01T15:09:20.227" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30737" PostTypeId="2" ParentId="30734" CreationDate="2020-07-01T16:12:11.467" Score="0" Body="&lt;p&gt;I see 2 likely causes:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;I think Premiere still supports only frame rates up to 60 and your videos may be recorded with higher fps. Premiere tells you what the fps is, for example in Source Monitor, right click on Properties. Or in the Project Panel, you see the fps (you may have to scroll quite a bit or add the column if it's missing). If your material is beyond 60 fps, try converting it with any other tool, like ffmpeg.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Other users recently asked similar questions (see [&lt;a href=&quot;https://video.stackexchange.com/questions/30683/glitches-in-premiere-exports&quot;&gt;1&lt;/a&gt;], [&lt;a href=&quot;https://video.stackexchange.com/questions/30712/severe-artifacts-pixelation-when-using-cuda-rendering-premiere-pro&quot;&gt;2&lt;/a&gt;]), so I wonder if there is a bug in Premiere or certain graphics driver versions. If so, you could try to install a slightly older version of your graphics driver. Otherwise maybe contact Adobe support.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2020-07-01T18:15:33.040" LastActivityDate="2020-07-01T18:15:33.040" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30738" PostTypeId="2" ParentId="12587" CreationDate="2020-07-01T17:08:35.143" Score="-2" Body="&lt;p&gt;To answer your question, this could be done with software quite easily. A better solution would be to darken the screen like web pages do when they want your attention. Then nag the user to death about how much nicer a video would be horizontally. Then say, are you sure you still want to hold the phone vertically? Are you really, really sure? For those of you who defend vertical filming, I ask you, would you watch a movie in your theater if it were filmed vertically. Why not? Videos shown from phones are fine vertically, but people usually share them to other media including news footage.&lt;/p&gt;&#xA;" OwnerUserId="30419" LastActivityDate="2020-07-01T17:08:35.143" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30739" PostTypeId="2" ParentId="30718" CreationDate="2020-07-01T18:47:45.847" Score="1" Body="&lt;p&gt;The solution turned out that if a key is already mapped to something else then it won't work. Davinci usually points out errors if something is already mapped however as seen from the attached image, no warnings are triggered so I assumed it should work.&lt;/p&gt;&#xA;" OwnerUserId="30398" LastActivityDate="2020-07-01T18:47:45.847" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30740" PostTypeId="1" AcceptedAnswerId="30744" CreationDate="2020-07-01T23:39:35.580" Score="1" ViewCount="1093" Body="&lt;p&gt;Instructions from this site, &lt;a href=&quot;https://video.stackexchange.com/questions/28120/can-ffmpeg-input-mp4-and-convert-it-to-m4b-or-m4a&quot;&gt;Can ffmpeg input mp4 and convert it to m4b or m4a?&lt;/a&gt;  fail to concatenate and convert multiple MP3 files into one M4A file.&lt;/p&gt;&#xA;&lt;p&gt;I downloaded the ffmpeg static build for Windows 10 &lt;strong&gt;git-2020-06-26-7447045&lt;/strong&gt; from &lt;a href=&quot;http://ffmpeg.zeranoe.com/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://ffmpeg.zeranoe.com/builds/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I generated a file &lt;strong&gt;list.txt&lt;/strong&gt; containing the files to concatenate, numbered from 01.mp3 to 51.mp3 .&lt;/p&gt;&#xA;&lt;p&gt;When I try to combine those MP3 files into 1 M4A file, the error happened as below. How do I resolve this?&lt;/p&gt;&#xA;&lt;p&gt;I ran:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i list.txt -vn -y -b:a 64k -acodec aac -ac 2 result.m4a&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and got&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[concat @ 000002652204c840] Line 1: unknown keyword '01.mp3'&#xA;list.txt: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here's the content of list.txt:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;01.mp3&#xA;02.mp3&#xA;03.mp3&#xA;04.mp3&#xA;05.mp3&#xA;06.mp3&#xA;07.mp3&#xA;08.mp3&#xA;09.mp3&#xA;10.mp3&#xA;11.mp3&#xA;12.mp3&#xA;13.mp3&#xA;14.mp3&#xA;15.mp3&#xA;16.mp3&#xA;17.mp3&#xA;18.mp3&#xA;19.mp3&#xA;20.mp3&#xA;21.mp3&#xA;22.mp3&#xA;23.mp3&#xA;24.mp3&#xA;25.mp3&#xA;26.mp3&#xA;27.mp3&#xA;28.mp3&#xA;29.mp3&#xA;30.mp3&#xA;31.mp3&#xA;32.mp3&#xA;33.mp3&#xA;34.mp3&#xA;35.mp3&#xA;36.mp3&#xA;37.mp3&#xA;38.mp3&#xA;39.mp3&#xA;40.mp3&#xA;41.mp3&#xA;42.mp3&#xA;43.mp3&#xA;44.mp3&#xA;45.mp3&#xA;46.mp3&#xA;47.mp3&#xA;48.mp3&#xA;49.mp3&#xA;50.mp3&#xA;51.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30421" LastEditorUserId="30421" LastEditDate="2020-07-01T23:45:34.687" LastActivityDate="2020-07-02T09:20:14.120" Title="ffmpeg concatenation of MP3 files to single M4A file fails" Tags="|ffmpeg|windows|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30741" PostTypeId="1" CreationDate="2020-07-02T05:05:29.673" Score="0" ViewCount="498" Body="&lt;p&gt;I'm working on a method to programmatically remove video and subtitle streams from video files of various formats and have been having some trouble with most .wmv files. Below is what I believe to be the minimal command required for this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -i a.wmv -c copy -map 0:a -map 0:d -vn -sn b.wmv&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;And here is the output I'm getting&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;  built with gcc 9.1.1 (GCC) 20190807&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;[wmv3 @ 0000024f26ba3ac0] Extra data: 8 bits left, value: 0&#xA;Guessed Channel Layout for Input Stream #0.0 : stereo&#xA;Input #0, asf, from 'a.wmv':&#xA;  Metadata:&#xA;    copyright       : ChessBase GmbH&#xA;    WMFSDKVersion   : 12.0.9600.17415&#xA;    WMFSDKNeeded    : 0.0.0.0000&#xA;    IsVBR           : 0&#xA;    DeviceConformanceTemplate: MP@ML&#xA;  Duration: 00:00:23.08, start: 0.000000, bitrate: 526 kb/s&#xA;    Stream #0:0: Audio: wmav2 (a[1][0][0] / 0x0161), 48000 Hz, stereo, fltp, 96 kb/s&#xA;    Stream #0:1: Video: wmv3 (Main) (WMV3 / 0x33564D57), yuv420p, 640x480, 415 kb/s, 25 tbr, 1k tbn, 1k tbc&#xA;    Stream #0:2: Data: none, 10 kb/s&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Operation not permitted&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:2 -&amp;gt; #0:1 (copy)&#xA;    Last message repeated 1 times&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;When I try to specify either &lt;code&gt;local_header&lt;/code&gt; or &lt;code&gt;global_header&lt;/code&gt;, I get&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;[aac @ 00000297ccbac080] Qavg: nan&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I tried to research it for quite a while, but since I don't really understand much of any of this, I didn't get any good leads.&lt;/p&gt;&#xA;&lt;p&gt;What is this problem and how do I solve or work around it?&lt;/p&gt;&#xA;" OwnerUserId="30423" LastActivityDate="2024-03-14T06:08:35.967" Title="How to remove video streams from .wmv with FFmpeg?" Tags="|ffmpeg|file-formats|software|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30742" PostTypeId="2" ParentId="30724" CreationDate="2020-07-02T08:10:59.610" Score="1" Body="&lt;p&gt;Got it.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;start ffmpeg.exe -i %source% -map 0:1 -c:a:0 copy -disposition:a:0 default -vn -y %source%.51.L.wav -map 0:2 -c:a:1 copy -disposition:a:1 0 -vn -y %source%.51.R.wav -map 0:3 -c:a:2 copy -disposition:a:2 0 -vn -y %source%.51.C.wav -map 0:4 -c:a:3 copy -disposition:a:3 0 -vn -y %source%.51.LFE.wav -map 0:5 -c:a:4 copy -disposition:a:4 0 -vn -y %source%.51.Ls.wav -map 0:6 -c:a:5 copy -disposition:a:5 0 -vn -y %source%.51.Rs.wav&#xA;start ffmpeg.exe -i %source% -filter_complex &amp;quot;[0:7][0:8] amerge=inputs=2&amp;quot; -c:a pcm_s24le %source%.20.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29131" LastActivityDate="2020-07-02T08:10:59.610" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30743" PostTypeId="2" ParentId="12980" CreationDate="2020-07-02T09:19:39.773" Score="3" Body="&lt;p&gt;Install &lt;a href=&quot;https://mediaarea.net/en/MediaInfo/Download&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt;, right click on video file, click &amp;quot;MediaInfo&amp;quot; and follow below path.&lt;/p&gt;&#xA;&lt;p&gt;[Video_file] -&amp;gt; MediaInfo -&amp;gt; Options -&amp;gt; Preferences -&amp;gt; Change 'Output Format' to 'Text'.&#xA;If 'Scan-type : Interlaced' flag is present, then video is interlaced.&lt;/p&gt;&#xA;" OwnerUserId="30428" LastEditorUserId="30428" LastEditDate="2020-07-02T09:31:37.600" LastActivityDate="2020-07-02T09:31:37.600" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30744" PostTypeId="2" ParentId="30740" CreationDate="2020-07-02T09:20:14.120" Score="3" Body="&lt;p&gt;Each line in the concat list must be either a comment (start line with #) or a keyword. To specify an input, start with &lt;code&gt;file&lt;/code&gt;,&lt;/p&gt;&#xA;&lt;p&gt;so &lt;code&gt;01.mp3&lt;/code&gt; becomes &lt;code&gt;file 01.mp3&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-07-02T09:20:14.120" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30745" PostTypeId="1" CreationDate="2020-07-02T17:39:16.740" Score="0" ViewCount="62" Body="&lt;p&gt;I have a HP Z600 workstation with these specs:&lt;/p&gt;&#xA;&lt;p&gt;Processor: Intel Xeon x5650 x2&lt;/p&gt;&#xA;&lt;p&gt;Memory (RAM): 6*8gb = 48GB total ram&lt;/p&gt;&#xA;&lt;p&gt;Graphics card: Nvidia Quadro k620 2gb Vram&lt;/p&gt;&#xA;&lt;p&gt;Windows 10&lt;/p&gt;&#xA;&lt;p&gt;Which version of After effects should I use that will work fine with these workstation?&lt;/p&gt;&#xA;" OwnerUserId="30432" LastEditorUserId="29562" LastEditDate="2020-07-05T17:37:36.063" LastActivityDate="2020-12-02T19:04:25.417" Title="What is the best version of After Effects to use on my workstation?" Tags="|after-effects|software-recommendation|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30746" PostTypeId="1" AcceptedAnswerId="30761" CreationDate="2020-07-02T18:15:29.643" Score="0" ViewCount="207" Body="&lt;p&gt;I have a few AVI videos of very high bit-rate ( 6.0 Second video is 72 MB in size ). I want to put these videos in a Microsoft PowerPoint presentation, and since there are a few 10 such videos the size of the presentation file is getting too high.&lt;/p&gt;&#xA;&lt;p&gt;I  want to compress these videos to have a reasonable size. I used &lt;code&gt;ffmpeg&lt;/code&gt; to compress these videos. I used the command&#xA;&lt;code&gt;ffmpeg -i input.avi -vcodec msmpeg4v2 output.avi&lt;/code&gt;&#xA;and it gave me a compressed video of size 9.0 MB. But these new videos are not playing smoothly in Powerpoint (they are playing in other media players though).&lt;/p&gt;&#xA;&lt;p&gt;it is playing with hiccups. I assume I compressed the video with wrong parameter/encoding making it difficult to play.&lt;/p&gt;&#xA;&lt;p&gt;Can anyone suggest me the optimum parameter/arguments to use with FFmpeg in compressing these videos? The output of &lt;code&gt;ffmpeg -i input.avi&lt;/code&gt; is given here.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2.8.15-0ubuntu0.16.04.1 Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with gcc 5.4.0 (Ubuntu 5.4.0-6ubuntu1~16.04.10) 20160609&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.16.04.1 --build-suffix=-ffmpeg --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --cc=cc --cxx=g++ --enable-gpl --enable-shared --disable-stripping --disable-decoder=libopenjpeg --disable-decoder=libschroedinger --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-librtmp --enable-libschroedinger --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxvid --enable-libzvbi --enable-openal --enable-opengl --enable-x11grab --enable-libdc1394 --enable-libiec61883 --enable-libzmq --enable-frei0r --enable-libx264 --enable-libopencv&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;[mjpeg @ 0x23154c0] Changeing bps to 8&#xA;Input #0, avi, from '11_stte_frst_mode.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf56.40.101&#xA;  Duration: 00:00:05.02, start: 0.000000, bitrate: 120249 kb/s&#xA;    Stream #0:0: Video: mjpeg (MJPG / 0x47504A4D), yuvj422p(pc, bt470bg/unknown/unknown), 3200x2464, 120629 kb/s, 60 fps, 60 tbr, 60 tbn, 60 tbc&#xA;&#xA;&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm using Ubuntu 16.0, I have also a Windows machine. But it will be easier if I can fix in Ubuntu.&lt;/p&gt;&#xA;&lt;p&gt;The details of the output file is this,&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2.8.15-0ubuntu0.16.04.1 Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with gcc 5.4.0 (Ubuntu 5.4.0-6ubuntu1~16.04.10) 20160609&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.16.04.1 --build-suffix=-ffmpeg --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --cc=cc --cxx=g++ --enable-gpl --enable-shared --disable-stripping --disable-decoder=libopenjpeg --disable-decoder=libschroedinger --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-librtmp --enable-libschroedinger --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxvid --enable-libzvbi --enable-openal --enable-opengl --enable-x11grab --enable-libdc1394 --enable-libiec61883 --enable-libzmq --enable-frei0r --enable-libx264 --enable-libopencv&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, avi, from '../11_stte_frst.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf56.40.101&#xA;  Duration: 00:00:05.02, start: 0.000000, bitrate: 14859 kb/s&#xA;    Stream #0:0: Video: msmpeg4v2 (MP42 / 0x3234504D), yuv420p, 3200x2464, 14887 kb/s, 60 fps, 60 tbr, 60 tbn, 60 tbc&#xA;&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30433" LastEditorUserId="1950" LastEditDate="2020-07-05T05:31:51.300" LastActivityDate="2020-07-05T05:43:10.440" Title="Efficiently compressing an AVI video" Tags="|ffmpeg|avi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30747" PostTypeId="2" ParentId="30719" CreationDate="2020-07-02T18:54:14.413" Score="0" Body="&lt;p&gt;You'll see an improvement with the 5Diii over the 77D without installing Magic Lantern, because the former has a full frame sensor, and the latter only an aps-c sensor.  Then, you're free to experiment with ML, use it if you like it, return to the normal firmware if you don't.  The major limitation that ML overcomes (in my opinion) is the maximum video duration.  Yes, it adds other bells and whistles, but it won't alter the fundamental physics of the camera, which is what you're getting by upgrading to a larger sensor.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-07-02T18:54:14.413" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30749" PostTypeId="2" ParentId="30741" CreationDate="2020-07-02T20:04:36.853" Score="0" Body="&lt;p&gt;Apparently, I needed to specify &lt;code&gt;pcm_s16le&lt;/code&gt; as the audio codec. Other files (not in the snippet from the question) where using &lt;code&gt;aac&lt;/code&gt;, .wmv required me to specify otherwise.&lt;/p&gt;&#xA;" OwnerUserId="30423" LastActivityDate="2020-07-02T20:04:36.853" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30750" PostTypeId="2" ParentId="30745" CreationDate="2020-07-03T04:03:40.560" Score="1" Body="&lt;p&gt;First use the trial to test if it runs well on your system. It's the same version as the full version. If you start After Effects it will ask if you want to start the trial now (unless they changed the procedure since the last time I looked).&lt;/p&gt;&#xA;&lt;p&gt;Adobe has this cloud apps overview tool that let's you install and update apps. Here you could also choose to install an older version and I think you can even install multiple versions side by side. However my recommendation is to work always with the latest version.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-07-03T04:03:40.560" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30752" PostTypeId="2" ParentId="3265" CreationDate="2020-07-03T08:32:17.670" Score="1" Body="&lt;p&gt;I like to add one more thing that is often overlooked:&lt;/p&gt;&#xA;&lt;p&gt;Provide excellent catering on set. A hungry crew is not a happy crew.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-07-03T08:32:17.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30753" PostTypeId="1" CreationDate="2020-07-03T13:09:30.673" Score="3" ViewCount="72" Body="&lt;p&gt;I know many examples of videos where an object or a person has been added after the recording (e.g. political propaganda or CGI characters in movies). I also know that animated movies are more or less entirely generated on computers. There is also the art movement of hyperrealism which produces paintings that are very difficult to distinguish from an actual photo. Has there been a realistically looking film produced entirely virtually without using any recordings of the physical world (except maybe for models of the characters)? What techniques would be important to produce such a film (e.g. ray tracing)?&lt;/p&gt;&#xA;" OwnerUserId="30439" LastEditorUserId="4426" LastEditDate="2020-07-10T11:26:24.010" LastActivityDate="2020-07-10T11:26:24.010" Title="Has a realistic looking film ever been produced entirely virtually?" Tags="|animation|digital|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30754" PostTypeId="1" CreationDate="2020-07-03T15:29:31.823" Score="0" ViewCount="98" Body="&lt;p&gt;As my old version of Premiere Pro didn't support .mts files (files straight from my camera) I used to have a ridiculous workflow:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Upload the video to youtube&lt;/li&gt;&#xA;&lt;li&gt;Download video as mp4&lt;/li&gt;&#xA;&lt;li&gt;Make relevant edits&lt;/li&gt;&#xA;&lt;li&gt;Export video&lt;/li&gt;&#xA;&lt;li&gt;Upload to youtube&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;This seemed like a totally ridiculous workflow, so I started using DiVinci Resolve as it supported mts files.&lt;/p&gt;&#xA;&lt;p&gt;The problem I have now is as the file is still in it's original (massive) format, it is slow to do anything and rendering takes hours.&lt;/p&gt;&#xA;&lt;p&gt;I'm more than happy with the quality of the tiny .mp4 file that youtube returns to me so is there a way I can do the same kind of conversion with Resolve? It seems so ridiculous to upload to youtube then download, but at the moment seems to still be the most efficient.&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="30444" LastActivityDate="2020-07-05T13:30:28.523" Title="Compressing to youtube quality before editing" Tags="|youtube|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30755" PostTypeId="2" ParentId="12587" CreationDate="2020-07-03T23:26:47.733" Score="0" Body="&lt;p&gt;In 2014, when this question was first asked, it made sense to decide the viewing orientation of the recorded video up front, and to discard (or ignore) extra pixels in order to reduce the data storage requirement of the saved video.  As compression algorithms improve, and storage costs fall, this practice will become less of a technological imperative, and more of a stylistic choice or artifact of historic convention.&lt;/p&gt;&#xA;&lt;p&gt;Camera lenses almost* always cast a round image circle on a focal plane.  When sensor manufacturers decide to make sensors non-square, they are attempting to maximize the utility of the sensor's surface area based on popular trends in video consumption.  Because a screen's viewing orientation is never guaranteed, and as users expect devices to adapt orientation on-the-fly, we will gradually see more cameras recording 1:1 aspect ratios, and displays cropping as necessary.&lt;/p&gt;&#xA;&lt;p&gt;In a sense, we already see this with 360º videos, which capture a spherical image, and selectively crop that image based on accelerometer input during playback.  As machine learning and computer vision techniques improve, this trend will continue beyond &amp;quot;panoramic&amp;quot; imagery (where images are mapped to a sphere, cylinder, or other 3-D manifold) and progressively include true depth information.  This field is rapidly advancing in 2020. Here are a few links to recent progress, which I'm sure will become outdated very quickly:  &lt;a href=&quot;https://www.youtube.com/watch?v=dPWLybp4LL0&quot; rel=&quot;nofollow noreferrer&quot;&gt;Neural Radiance Fields for View Synthesis&lt;/a&gt;, and &lt;a href=&quot;https://arxiv.org/pdf/2004.15021.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;Consistent Video Depth Estimation&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;*The exception here are anamorphic lenses, which are more expensive to produce than normal lenses.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-07-03T23:26:47.733" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30756" PostTypeId="2" ParentId="19590" CreationDate="2020-07-04T00:06:56.963" Score="1" Body="&lt;p&gt;On Linux I use &lt;a href=&quot;https://gitlab.com/es20490446e/optimizeVideo&quot; rel=&quot;nofollow noreferrer&quot;&gt;optimizeVideo&lt;/a&gt;, which is a wrapper around ffmpeg that automatically detects those settings according to &lt;a href=&quot;https://developers.google.com/media/vp9/settings/vod/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Google's recommendations&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;The result is a video which quality difference you cannot tell, but usually orders of magnitude smaller.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BQMCT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BQMCT.png&quot; alt=&quot;Logo&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30450" LastActivityDate="2020-07-04T00:06:56.963" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30757" PostTypeId="1" CreationDate="2020-07-04T07:40:07.817" Score="1" ViewCount="29" Body="&lt;p&gt;I am working on a video where I zoom into space and jump to another scene. My perspective is to do something what Andrew Kramer did in Star Wars Title.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5iSei.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5iSei.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I took help from the following video to radial blur and zoom in with optics compensation.&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ePz-YEPXl6Y?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Its all okay till the first adjustment layer. But the zoom out transition doesn't feel right.(It feels the stars are traveling backwards)&lt;/p&gt;&#xA;&lt;p&gt;I am looking for similar kind of transition as in the link below but just without the light.&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/R56Jy4FKZl4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="30452" LastActivityDate="2020-07-04T07:40:07.817" Title="Transition for stopping after lightspeed travel" Tags="|after-effects|video-editor|transitions|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30758" PostTypeId="1" CreationDate="2020-07-04T11:24:30.087" Score="2" ViewCount="136" Body="&lt;p&gt;Lots of the Blu-rays I own (bought in Europe) have audio and subtitle tracks in many languages. Often, they also contain Japanese. However, on most of those, the Japanese audio and subtitle track is on a separate title, as can be seen here for “Badlands”:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DsSLf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DsSLf.png&quot; alt=&quot;Screenshot of the titles for my Badlands Blu-ray&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;There is no other discernible difference between the titles. They are the same length, the video track is identical. I guess this means that whenever the Japanese title plays, customers will only be able to switch languages and subtitle between Japanese and English and not see any of the other languages.&lt;/p&gt;&#xA;&lt;p&gt;Is there a technical, legal or cultural reason for this? If so, which one?&lt;/p&gt;&#xA;" OwnerUserId="5091" LastActivityDate="2020-12-09T17:58:50.863" Title="Why is the Japanese version of a film often on a separate title on a Blu-ray" Tags="|subtitles|bluray|tracks|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30760" PostTypeId="1" AcceptedAnswerId="30771" CreationDate="2020-07-04T22:46:47.450" Score="3" ViewCount="807" Body="&lt;p&gt;In Adobe Premiere, you can maximise the currently selected window or pane by pressing the tilde &lt;kbd&gt;~&lt;/kbd&gt; key. Is there an equivalent in Davinci Resolve 16?&lt;/p&gt;&#xA;&lt;p&gt;See &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/panels.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Display any panel full screen&lt;/a&gt; in Premiere's help&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-07-06T03:43:44.910" Title="Is there an equivalent to Premiere's tilde key in DaVinci Resolve?" Tags="|premiere|davinci-resolve|keyboard-shortcut|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30761" PostTypeId="2" ParentId="30746" CreationDate="2020-07-05T05:43:10.440" Score="0" Body="&lt;p&gt;Your output is 3K video at 60fps. That's going to be tough for most average machines to play on its own (without whatever overhead powerpoint imposes). Do you really need such a high res video at that frame rate?&lt;/p&gt;&#xA;&lt;p&gt;First thing I would do is drop the frame rate to 30fps, and if it's acceptable, maybe scale the resolution back closer to 1080p.&lt;/p&gt;&#xA;&lt;p&gt;Last thing I would do is drop the AVI container and msmpeg4v2 codec. Use h.264/mp4, it's more compatible with more devices, and can leverage hardware decoding on many machines.&lt;/p&gt;&#xA;&lt;p&gt;Putting it all together you'd have&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -r 30 -vf scale=1920:1478 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-07-05T05:43:10.440" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30762" PostTypeId="1" CreationDate="2020-07-05T08:42:05.133" Score="1" ViewCount="123" Body="&lt;p&gt;I have two video clips of the same music video. Both are made of the same video and audio tracks but of different sources and quality.&lt;/p&gt;&#xA;&lt;p&gt;One of them is a rip from an officially released media, so the video/audio synchronization in it can be used as reference.&lt;/p&gt;&#xA;&lt;p&gt;The other was made by muxing video and audio streams from different unrelated sources. Whereas they appear perfectly in sync to human eye and ear resembling the original, I would like to somehow gauge it with sample-perfect precision to see how close the sync to the original actually is.&lt;/p&gt;&#xA;&lt;p&gt;I can use some video players to nagivate frame-by-frame to the same frame in both clips. But I don't know how to see the accurate position in the audio waveform which that frame corresponds to (to be perfectly clear, the brackets encompassing the audio fragment corresponding to a particular video frame). What tools can I use for this?&lt;/p&gt;&#xA;&lt;p&gt;Ideally I want the tool to tell me something like &amp;quot;your second clip's audio is muxed 0.0005 seconds behind comparing to the reference clip&amp;quot;. I will then use that 0.0005 seconds result to correct the second clip by re-muxing it with the right offset.&lt;/p&gt;&#xA;" OwnerUserId="29391" LastEditorUserId="29391" LastEditDate="2020-07-05T08:50:15.417" LastActivityDate="2020-07-05T08:50:15.417" Title="How to compare the audio/video synchronization in video clips?" Tags="|video|audio|sync|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="30763" PostTypeId="1" CreationDate="2020-07-05T10:39:11.300" Score="2" ViewCount="974" Body="&lt;p&gt;I have a MKV video and I want to cut from seconds 3.3 to 22:07 minutes, but I can't cut at that start timing because there isn't a keyframe. How can I bypass that?&lt;/p&gt;&#xA;" OwnerUserId="30461" LastEditorUserId="18155" LastEditDate="2021-12-06T17:39:18.350" LastActivityDate="2022-12-31T22:08:51.060" Title="FFMPEG: How can I cut a mkv without considering keyframes?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30764" PostTypeId="2" ParentId="30754" CreationDate="2020-07-05T13:30:28.523" Score="1" Body="&lt;p&gt;Use proxy videos to transcode the mts files into something usable. Here's a short tutorial to get you started: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/JUblDhELyaA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-07-05T13:30:28.523" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30765" PostTypeId="1" CreationDate="2020-07-05T16:10:57.370" Score="2" ViewCount="1914" Body="&lt;p&gt;I see some grey bars in my timeline after a clip that I can also move forwards and backwards. What's their purpose and how do I remove them so I can just have blank space in their place?&lt;a href=&quot;https://i.stack.imgur.com/9nHDB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9nHDB.png&quot; alt=&quot;cts&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30462" LastActivityDate="2020-07-05T17:08:29.980" Title="How do I remove the grey bars that appear after a layer in the timeline?" Tags="|after-effects|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30766" PostTypeId="2" ParentId="30765" CreationDate="2020-07-05T17:08:29.980" Score="2" Body="&lt;p&gt;They show you where the rest the unused part of your clip is relative to your timeline.&#xA;So if you used the first 5 seconds of a 10 second clip in a 10 second comp, you would see a greyed-out bar form 5-10 seconds in your comp.&#xA;You can drag the edges of your clip out to extend it in your timeline.&lt;/p&gt;&#xA;&lt;p&gt;To remove them you would need to change the duration of the clips you've created.&lt;br /&gt;&#xA;A useful function in a pre-comp is &amp;quot;Trim Comp to Work Area&amp;quot; which trims your comp to where your Beginning and End markers are.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-07-05T17:08:29.980" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30767" PostTypeId="2" ParentId="30731" CreationDate="2020-07-05T17:15:53.837" Score="1" Body="&lt;p&gt;I would do this physically.  Print the images out, tear them up, scan the teared sections. Then introduce the teared sections using key-framed masks with the original sections. I can't think of a way of doing this that wouldn't be time-consuming...&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-07-05T17:15:53.837" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30768" PostTypeId="2" ParentId="30671" CreationDate="2020-07-05T17:20:11.860" Score="0" Body="&lt;p&gt;I would make a black solid layer above all the others with your mask (as you have I think).&#xA;Then make a Null layer.&#xA;Parent all of the other layers to your Null layer.&lt;br /&gt;&#xA;See parenting tutorial &lt;a href=&quot;https://helpx.adobe.com/after-effects/how-to/animating-with-parenting.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&#xA;Then adjust the scale of the Null and all the other layers will follow it.&lt;/p&gt;&#xA;&lt;p&gt;Alternatively you could pre-comp all your other layers, but you will lose resolution on them as they scale unless you do some other things...&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-07-05T17:20:11.860" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30769" PostTypeId="1" CreationDate="2020-07-05T18:03:35.320" Score="0" ViewCount="1320" Body="&lt;p&gt;Please help. I been using premiere pro 2020 for three years and this is the first issue I ever got. I have green lines showing up on my video clips on both sides and surely weren't filmed that way in the first place. They show up in premiere but when I export them, they come out completely fine and run smoothly. Please let me know if you have any tips or answer to get rid of this green lines.&lt;/p&gt;&#xA;" OwnerUserId="30463" LastActivityDate="2023-12-28T17:01:35.193" Title="How to remove green lines from adobe premiere pro 2020?" Tags="|premiere|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30770" PostTypeId="2" ParentId="30416" CreationDate="2020-07-06T01:31:28.810" Score="1" Body="&lt;p&gt;As Noah suggests, using project templates in editing software is probably the most common, and most accessible solution to your question.&lt;/p&gt;&#xA;&lt;p&gt;The downside is that it still requires manual input, which can grow more cumbersome as your catalogue expands.  For a more hands-off approach, look into automation via scripting.  DaVinci Resolve is a full NLE which supports scripting via Lua, Python2 and Python3.  Likewise, Adobe's Premiere Pro supports scripting via ExtendScript, an offshoot of JavaScript.&lt;/p&gt;&#xA;&lt;p&gt;Of course, the disadvantage of a hands-off approach, is that there's less human oversight, and mistakes are less likely to get caught.  YMMV.&lt;/p&gt;&#xA;&lt;p&gt;Here's an example of how you might script Resolve to create Instagram-formatted videos from YouTube-formatted videos:  &lt;a href=&quot;https://tonyteaches.tech/davinci-resolve-scripting/&quot; rel=&quot;nofollow noreferrer&quot;&gt;TonyTeachesTech&lt;/a&gt;. The same process works in Premiere.&lt;/p&gt;&#xA;&lt;p&gt;It's also possible to ditch the GUI altogether and automate video creation with the command line.  For this, FFMPEG is usually central, and other elements are added based on your specific requirements.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-07-06T01:31:28.810" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30771" PostTypeId="2" ParentId="30760" CreationDate="2020-07-06T03:28:05.773" Score="3" Body="&lt;p&gt;You can't expand any panel to full screen in Resolve 16 like you can in Premiere Pro.  You can expand the viewer to full screen with cmd/ctrl-F, and on the color page you can also get different viewer expansions with alt/opt-F and shift-F.&lt;/p&gt;&#xA;&lt;p&gt;Beyond that, if a panel can be hidden, it's listed under the Workspace menu-&amp;gt;Panels in Workspace, or by simply dimming its tab across the top of the screen. Not all panels can be hidden in Resolve.  In general, Resolve's UI is less customizable than Premiere.&lt;/p&gt;&#xA;&lt;p&gt;BlackMagic's approach to UI design is very structured, and while it takes a period of adjustment for new users to become comfortable, it mitigates the need to hunt for shifting UI elements. &amp;quot;Where did I put that panel&amp;quot; doesn't happen.  Neither does &amp;quot;Where did I get Dave's Fave Layout&amp;quot; when your name is not Dave, but Dave shared a project with you.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3iXTw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3iXTw.png&quot; alt=&quot;Who's Dave?&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can save layout presets, under the Workspace-&amp;gt;Layout Presets menu, and you can re-map keybindings to most commands in Resolve.  This, coupled with the fact that the positions of UI elements are consistently and predictably located make it possible to automate repetitive tasks easily with third-party macro software (e.g. autohotkey for Windows; Keyboard Maestro for Mac) which use mouse clicks in addition to keystrokes.&lt;/p&gt;&#xA;&lt;p&gt;But DaVinci Resolve's secret killer feature is actually not one you'll find in its (oversized) manual.  It's BlackMagic's stellar support staff and developers.  If you have a reasonable feature suggestion or bug report, post it to &lt;a href=&quot;https://forum.blackmagicdesign.com/viewforum.php?f=21&amp;amp;sid=684e7ca440c779db9f0203d8de4b4323&quot; rel=&quot;nofollow noreferrer&quot;&gt;their user forums&lt;/a&gt;.  They &lt;em&gt;will&lt;/em&gt; evaluate it, and if it's a good idea, they will implement it, &lt;em&gt;quickly&lt;/em&gt;.  The last issue I brought up wasn't even really something I considered a big deal, and there was already a workaround, but they fixed &lt;a href=&quot;https://forum.blackmagicdesign.com/viewtopic.php?f=21&amp;amp;t=114958&quot; rel=&quot;nofollow noreferrer&quot;&gt;it in less than a month&lt;/a&gt;.  And they've implemented my suggestions on multiple occasions.&lt;/p&gt;&#xA;&lt;p&gt;Something like the tilde key for full-screen windows has probably been brought up before, but if they see more demand than pushback for it, and as long as the feature doesn't infringe on another company's intellectual property, they'll do it.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-07-06T03:43:44.910" LastActivityDate="2020-07-06T03:43:44.910" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30772" PostTypeId="1" CreationDate="2020-07-06T09:50:23.033" Score="0" ViewCount="34" Body="&lt;p&gt;Easy quick way or tool to selectively pull Snapshots from a Video and put it into a Comic Strip type structure?&lt;/p&gt;&#xA;&lt;p&gt;Take a minute long mp4 video and pull specific snapshots into a set of comic strip type of frames / story board type of layout.&lt;/p&gt;&#xA;&lt;p&gt;Additionally, add some annotation text to frames if &amp;amp; when needed; manually or from the subtitles (embedded, inbuilt or external - .srt / .sub/ .txt)&lt;/p&gt;&#xA;&lt;p&gt;Simple way / tool/ steps to do this?&lt;/p&gt;&#xA;&lt;p&gt;PS: I am aware that Major / Big Video &amp;amp; Photo shop type programs will have/ allow way more than this. I am looking/ hoping to do this in a quick light way - maybe repeatedly for some videos.&lt;/p&gt;&#xA;&lt;p&gt;If more context helps, I am trying to comic strip frames some stand up brief comedy routines' setup to punch-liners into static frames.&lt;/p&gt;&#xA;&lt;p&gt;I wonder if such features can help?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/17620/good-app-process-for-organizing-video-snapshots-into-a-storyboard&quot;&gt;Good app / process for organizing video snapshots into a storyboard?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12311" LastEditorUserId="12311" LastEditDate="2020-07-06T16:11:29.000" LastActivityDate="2020-07-06T16:11:29.000" Title="Easy quick way or tool to selectively pull Snapshots / Frames from a Video and put it into a Comic Strip type structure?" Tags="|video-editor|keyframes|screenshot|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30774" PostTypeId="1" CreationDate="2020-07-06T13:10:48.793" Score="0" ViewCount="588" Body="&lt;p&gt;Currently I am rocking this setup:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Nvidia GTX 1080&#xA;32GB DDR3&#xA;SATA SSD&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have the posibillity to switch to a PC with these Specs:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;3900x &#xA;R9 290&#xA;64GB DDR4 3600&#xA;NVMe Gen4 SSD&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The main things I do my PC is programming and video editing.&#xA;I am using DaVinci Resolve, which heavily utilizes the GPU &lt;em&gt;and&lt;/em&gt; CPU, would I have a disadvantage using the much older slower GPU, but with a much much faster CPU?&lt;/p&gt;&#xA;&lt;p&gt;Or would editing be smoother with the much faster CPU?&lt;/p&gt;&#xA;&lt;p&gt;I am editing mostly 4K:30 footage and rendering to 1080p:30 with basic color grading and effects.&lt;/p&gt;&#xA;" OwnerUserId="30470" LastEditorUserId="33658" LastEditDate="2023-05-18T04:32:14.787" LastActivityDate="2023-05-18T04:32:14.787" Title="Davinci Resolve with fast CPU but Slow GPU" Tags="|davinci-resolve|performance|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30775" PostTypeId="2" ParentId="30774" CreationDate="2020-07-06T13:28:01.797" Score="1" Body="&lt;p&gt;From what I've read, Resolve very much depends on your GPU power -- speed and VRAM. I believe there's a preference to turn off at least some GPU usage, but that's probably more of a workaround for something crashing rather than something to be done on a normal basis.&lt;/p&gt;&#xA;&lt;p&gt;Probably the best place to ask would be the &lt;a href=&quot;https://forum.blackmagicdesign.com/viewforum.php?f=21&quot; rel=&quot;nofollow noreferrer&quot;&gt;Black Magic forums&lt;/a&gt; and over there, Carsten Sellberg answered &lt;a href=&quot;https://forum.blackmagicdesign.com/viewtopic.php?f=21&amp;amp;t=113388&amp;amp;p=625147&amp;amp;hilit=CPU%20GPU%20fast#p625147&quot; rel=&quot;nofollow noreferrer&quot;&gt;a similar question&lt;/a&gt; with:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;In Resolve the CPU is used to run the app, disk I/O and compression and decompression of codecs.&#xA;Resolve does all its image processing in the GPU on the graphics card. More CUDA/OpenCL Cores are better.&lt;/p&gt;&#xA;&lt;p&gt;There are two factors that is important for the Graphics card. The first is, that it have enough vRam to hold a single video frame. For 4K is the absolute min 6 GB of vRam, but min 8 GB of vRam or more are recommended.&lt;/p&gt;&#xA;&lt;p&gt;The other factor is the CUDA/OpenCL performance. Higher CUDA/OpenCL performance gives a faster Resolve.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="5573" LastActivityDate="2020-07-06T13:28:01.797" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30776" PostTypeId="1" AcceptedAnswerId="30778" CreationDate="2020-07-06T14:46:36.523" Score="0" ViewCount="723" Body="&lt;p&gt;I'm using&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i in.jpg -filter_complex &amp;quot;[0:v]pad=iw:ih+10:0:0&amp;quot; out.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;to add a padding of &lt;code&gt;10px&lt;/code&gt; at the bottom of images and videos.&#xA;In most cases it works as expected but with some the width is off by &lt;code&gt;1px&lt;/code&gt; resulting in failure with error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_pad_0 @ 000002ba70617c40] Input area 0:0:623:640 not within the padded area 0:0:622:650 or zero-sized&#xA;[Parsed_pad_0 @ 000002ba70617c40] Failed to configure input pad on Parsed_pad_0&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid argument&#xA;Error while processing the decoded data for stream #0:0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;you can see that the width of the input area is &lt;code&gt;623&lt;/code&gt; and the padded area width is &lt;code&gt;622&lt;/code&gt; but this should not be the case since we are using &lt;code&gt;iw&lt;/code&gt; to set the width of the padding.&lt;/p&gt;&#xA;&lt;p&gt;Here is a sample image that fails.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RXMAe.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RXMAe.jpg&quot; alt=&quot;sample image&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30472" LastActivityDate="2020-07-06T16:16:37.543" Title="FFmpeg pad filter calculating wrong width" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30778" PostTypeId="2" ParentId="30776" CreationDate="2020-07-06T16:16:37.543" Score="0" Body="&lt;p&gt;it turns out you can not pad subsampled pixel formats at odd boundries.&#xA;the workaroud is to make the boundary even by using&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i in.jpg -filter_complex &amp;quot;[0:v]pad=ceil(iw/2)*2:ceil((ih+10)/2)*2:0:0&amp;quot; out.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30472" LastActivityDate="2020-07-06T16:16:37.543" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30779" PostTypeId="1" CreationDate="2020-07-07T00:16:12.120" Score="0" ViewCount="107" Body="&lt;p&gt;I shot one take with a camera that could not set white balance. I imported it into Final Cut Pro and set the white balance from a white point. I then cut the take into multiple slices and shuffled them around. I tried removing the white balance adjustment and then Final Cut Pro hung on me. How can I apply the same color correction to all slices of the same take?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2024-03-18T15:05:05.587" Title="How to apply the same white point to multiple clips of the same take?" Tags="|editing|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30780" PostTypeId="2" ParentId="30779" CreationDate="2020-07-07T00:16:12.120" Score="0" Body="&lt;p&gt;I was able to save the corrections to one slice as an effect preset and apply the preset to all other clips with &lt;a href=&quot;https://support.apple.com/en-gb/guide/final-cut-pro/verbbd35f70/mac&quot; rel=&quot;nofollow noreferrer&quot;&gt;directions from Apple&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;You apply a color correction preset as you would apply any other clip effect from the Effects browser.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2020-07-07T00:16:12.120" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30781" PostTypeId="1" CreationDate="2020-07-07T07:49:51.747" Score="1" ViewCount="1312" Body="&lt;p&gt;I have a need to play small pieces (1 or 2 seconds) of video in various orders via HLS. Think a highlights reel from a sporting match.&lt;/p&gt;&#xA;&lt;p&gt;Several HLS players struggle with playing a stream with discontinuities between every TS segment, but HLS.js based players appear to cope OK. The one things that does happen is &lt;em&gt;sometimes&lt;/em&gt;, but not always, a frame is dropped following a discontinuity. It seems to happen about 70% of the time that the player drop either frame 0 or frame 1 (i.e. the 1st or 2nd frame in the TS segment).&lt;/p&gt;&#xA;&lt;p&gt;I have experimented with different TS segment lengths, different videos, different frame rates and bit rates. The problem seems pretty consistent.&lt;/p&gt;&#xA;&lt;p&gt;To reproduce what I'm seeing (on windows 10), create a test video at 25 FPS with FFMPEG:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i testsrc=duration=60:size=1960x1080:rate=25 -vf &amp;quot;drawtext=fontsize=30:fontcolor=White:fontfile='c\:\\Windows\\Fonts\\arial.ttf':text='Frame\: %{eif\:mod(n,25)\:d}':x=2:y=2:box=1: boxcolor=0x00000000@1&amp;quot; -b:v 1m atestsrc.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then slice the video into 1 second long TS segments:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i atestsrc.mpg -force_key_frames &amp;quot;expr:gte(t,n_forced*1)&amp;quot; -strict -2 -c:a aac -c:v libx264 -f segment -segment_list_type m3u8 -segment_list_size 0 -segment_time 1.0 -segment_time_delta 0 -segment_list atest.m3u8 seg%02d.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The resulting output plays back just fine, until I add the #EXT-X-DISCONTINUITY tags...&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;The Problem:&lt;/strong&gt;&#xA;It looks like HLS.js based video players drop frames when playing back the m3u8 with #EXT-X-DISCONTINUITY tags - &lt;a href=&quot;https://aai-helper-apps.s3-us-west-2.amazonaws.com/OneSecondChunks/atest_discont.m3u8&quot; rel=&quot;nofollow noreferrer&quot;&gt;example stream here&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Firstly, you can see that it plays back a 60 second video in 58 seconds. The same symptom occurs in several different HLS.js based players, such as &lt;a href=&quot;https://hls-js.netlify.app/demo/?src=https%3A%2F%2Faai-helper-apps.s3-us-west-2.amazonaws.com%2FOneSecondChunks%2Fatest_discont.m3u8&amp;amp;demoConfig=eyJlbmFibGVTdHJlYW1pbmciOnRydWUsImF1dG9SZWNvdmVyRXJyb3IiOnRydWUsImR1bXBmTVA0IjpmYWxzZSwibGV2ZWxDYXBwaW5nIjotMSwibGltaXRNZXRyaWNzIjotMX0=&quot; rel=&quot;nofollow noreferrer&quot;&gt;this one&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;If you play it back at 0.1 times speed you can see that it is not rendering some frames, often frame 1:&#xA;&lt;img src=&quot;https://aai-helper-apps.s3-us-west-2.amazonaws.com/images/hls-frame-drop.gif&quot; alt=&quot;Text&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;This difference in playback speed is causing me all kinds of grief in seeking to specific places in the video. Any ideas on how to address this would be much appreciated!&lt;/p&gt;&#xA;" OwnerUserId="30495" LastActivityDate="2024-03-25T12:03:15.440" Title="HLS.js player dropping frames at discontinuities in HLS stream" Tags="|ffmpeg|hls|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30782" PostTypeId="1" AcceptedAnswerId="30784" CreationDate="2020-07-07T16:03:05.257" Score="0" ViewCount="43" Body="&lt;p&gt;I took several shots with a camera without the ability to white balance the shot. In one take, Final Cut Pro's automatic color balance works very well. I would like to apply those same settings to the other takes from the same day. When I save the effect as a preset and apply it, Final Cut Pro applies automatic color balance to the new clip rather than a color balance with the same parameters from the first clip.&lt;/p&gt;&#xA;&lt;p&gt;How can I use the parameters of the automatic color correction from one clip to apply to another clip?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2020-09-21T23:11:09.643" Title="Apply the parameters of automatic color balance to another clip" Tags="|final-cut-pro-x|color-correction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30784" PostTypeId="2" ParentId="30782" CreationDate="2020-07-07T17:49:58.910" Score="1" Body="&lt;p&gt;Unfortunately the settings are not visible when you use automatic colour grading. AFAIK what the algorithm does can’t be replicated on another clip.&lt;/p&gt;&#xA;&lt;p&gt;To be honest I would not use automatic for what I publish. It’s just too unpredictable and not repeatable. Sometimes you get different results with the same footage in your timeline.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastEditorUserId="20675" LastEditDate="2020-09-21T23:11:09.643" LastActivityDate="2020-09-21T23:11:09.643" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30785" PostTypeId="2" ParentId="27838" CreationDate="2020-07-07T18:12:15.130" Score="0" Body="&lt;p&gt;Have you checked that both workstations are running the same background processes and the same versions of OS and all software? My guess would be one of them doing something intensive in the background or a version mismatch somewhere.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-07-07T18:12:15.130" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30788" PostTypeId="1" AcceptedAnswerId="30789" CreationDate="2020-07-08T00:36:23.363" Score="1" ViewCount="1036" Body="&lt;p&gt;I am new to video editing.&#xA;I have a video of 30 minutes. I want to delete some part of it and keep some part. for example&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;00:00:00  till 00:05:00 (keep)&lt;/li&gt;&#xA;&lt;li&gt;00:05:01  till 00:10:00 (delete)&lt;/li&gt;&#xA;&lt;li&gt;00:10:01  till 00:30:00 (keep)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I have many timestamps like above. What is the best quick way to do this?&lt;/p&gt;&#xA;" OwnerUserId="13985" LastEditorUserId="13985" LastEditDate="2020-07-08T03:25:36.770" LastActivityDate="2020-07-08T03:25:36.770" Title="Cropping a video by timestamps" Tags="|video-editor|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30789" PostTypeId="2" ParentId="30788" CreationDate="2020-07-08T01:33:51.503" Score="2" Body="&lt;p&gt;I have done this sort of thing using ffmpeg and powershell core (both free software).&lt;/p&gt;&#xA;&lt;p&gt;You can use any other scripting language to loop over ffmpeg once for each section of video that you want to keep. The ffmpeg command that you want looks like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss [start_time] -i [input_file] -to [end_time] [output_file]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So, and example would be:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:10:01 -i source_vid.mp4 -to 00:30:00 output_vid_2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And if you have a whole lot of such pieces to cut in a batch, you can then use powershell or some other scripting language to loop through a list of pieces to cut:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$segment_list = @(&#xA;@{ id = &amp;quot;1&amp;quot;&#xA;   start_time = &amp;quot;00:00:00&amp;quot;&#xA;   end_time = &amp;quot;00:05:00&amp;quot;&#xA;},&#xA;@{ id = &amp;quot;2&amp;quot;&#xA;   start_time = &amp;quot;00:10:01&amp;quot;&#xA;   end_time = &amp;quot;00:30:00&amp;quot;&#xA;}&#xA;)&#xA;&#xA;foreach($segment in $segment_list) {&#xA;   ffmpeg -ss $segment.start_time -i source_vid.mp4 -to $segment.end_time (&amp;quot;output_&amp;quot; + $segment.id + &amp;quot;.mp4&amp;quot;)&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30495" LastActivityDate="2020-07-08T01:33:51.503" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30790" PostTypeId="1" CreationDate="2020-07-08T03:31:28.600" Score="0" ViewCount="547" Body="&lt;p&gt;I have a Multicam clip with about 8 different angles in Final Cut Pro 10.4.8, and have them automatically synced and made some manual adjustments to get all the clips to line up properly.  This worked well, and so I dragged this Multicam clip into my timeline and started making cuts.  I made several cuts among the camera angles and they all take effect as I would expect.  The Multicam clip is the only clip in my Project Timeline.&lt;/p&gt;&#xA;&lt;p&gt;Today, I'm reviewing the Multicam clip and noticing that one angle is slightly off.  I double clicked the Multicam clip to open the editor and made the adjustment to the offending angle.  When I view it in the Multicam clip editor, everything lines up perfectly.  However, when I go back to my timeline, my edit does not take effect.  The angle is off as it was originally.  If I open a new project and drag that Multicam clip into a new project, I see the same results.  Every time I double click the Multicam clip to edit it, my fix is there and the angle is synced correctly.&lt;/p&gt;&#xA;&lt;p&gt;Any ideas why the clips are synced in the Multicam clip editor, but in the timeline, they appear out of sync?  Many thanks in advance for help with this perplexing behavior.&lt;/p&gt;&#xA;" OwnerUserId="30494" LastActivityDate="2024-03-28T20:04:30.547" Title="Edits to a Multicam Clip in Final Cut Pro do not Show Up in Timeline" Tags="|final-cut-pro-x|fcpx|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30794" PostTypeId="1" AcceptedAnswerId="30795" CreationDate="2020-07-08T09:48:59.400" Score="0" ViewCount="180" Body="&lt;p&gt;I am using ffmpeg 3.3.4 for android. I am executing below simple command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i input.mp4 -vf curves=vintage -c:a aac ouput.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i input.mp4 -vf curves=vintage -c:a copy ouput.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The resultant video is not playing in android default player and Exoplayer. I tried on windows using windows media player, it only plays sound but no video. Although VLC media player is playing it properly on android and windows. Any idea whats missing in the above command?&lt;/p&gt;&#xA;&lt;p&gt;Output video metadata:&#xA;&lt;a href=&quot;https://www.metadata2go.com/result/e9f9b7db-0a91-4148-9073-1a1162f0c7f0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.metadata2go.com/result/e9f9b7db-0a91-4148-9073-1a1162f0c7f0&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30152" LastActivityDate="2020-07-08T11:31:02.263" Title="Video not playing properly after ffmpeg vintage effect applied" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30795" PostTypeId="2" ParentId="30794" CreationDate="2020-07-08T11:31:02.263" Score="2" Body="&lt;p&gt;The &lt;code&gt;curves&lt;/code&gt; filter converts the input to RGB coding but most video players require a specific YUV scheme.&lt;/p&gt;&#xA;&lt;p&gt;So use,&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf curves=vintage,format=yuv420p -c:a copy ouput.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-07-08T11:31:02.263" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30796" PostTypeId="1" AcceptedAnswerId="30800" CreationDate="2020-07-08T12:21:47.293" Score="1" ViewCount="299" Body="&lt;p&gt;I create a video from a slideshow using ffmpeg. I have a valid video at the end. VLC plays that video, YouTube also. I want to display the final product directly on twitter.&lt;/p&gt;&#xA;&lt;p&gt;I checked the &lt;a href=&quot;https://help.twitter.com/en/using-twitter/twitter-videos&quot; rel=&quot;nofollow noreferrer&quot;&gt;recommened specs&lt;/a&gt; according to resolution, framerate, aspect ration and size required for Twitter to accept this video.  But still when trying to add this video direcectly into Twitter I receive an error that &amp;quot;no video with supported format or MIME-Type found&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Ffmpeg does not display any error or warning.&lt;/p&gt;&#xA;&lt;p&gt;Arguments:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2pipe -framerate 1 -i pipe:.png -c:v libx264 -crf 21  -r 30 -y &amp;quot;Blathering.noaudio.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;As you can see I create one image per frame (-framerate 1) but create a 30fps output file (-r 30)&lt;/p&gt;&#xA;&lt;p&gt;The output from ffmpeg looks like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version git-2020-06-17-0b3bd00 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 9.3.1 (GCC) 20200523&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libsrt --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvmaf --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --disable-w32threads --enable-libmfx --enable-ffnvcodec --enable-cuda-llvm --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt --enable-amf&#xA;  libavutil      56. 55.100 / 56. 55.100&#xA;  libavcodec     58. 92.100 / 58. 92.100&#xA;  libavformat    58. 46.101 / 58. 46.101&#xA;  libavdevice    58. 11.100 / 58. 11.100&#xA;  libavfilter     7. 86.100 /  7. 86.100&#xA;  libswscale      5.  8.100 /  5.  8.100&#xA;  libswresample   3.  8.100 /  3.  8.100&#xA;  libpostproc    55.  8.100 / 55.  8.100&#xA;Input #0, image2pipe, from 'pipe:.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #0:0: Video: png, rgba(pc), 680x420 [SAR 3779:3779 DAR 34:21], 1 fps, 1 tbr, 1 tbn, 1 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (png (native) -&amp;gt; h264 (libx264))&#xA;[libx264 @ 00000217ad682780] using SAR=1/1&#xA;[libx264 @ 00000217ad682780] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 00000217ad682780] profile High 4:4:4 Predictive, level 3.0, 4:4:4, 8-bit&#xA;[libx264 @ 00000217ad682780] 264 - core 160 - H.264/MPEG-4 AVC codec - Copyleft 2003-2020 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=4 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=21.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'Blathering.noaudio.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf58.46.101&#xA;    Stream #0:0: Video: h264 (libx264) (avc1 / 0x31637661), yuv444p, 680x420 [SAR 1:1 DAR 34:21], q=-1--1, 30 fps, 15360 tbn, 30 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.92.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: N/A&#xA;frame=  150 fps=0.0 q=-1.0 Lsize=      17kB time=00:00:04.90 bitrate=  29.2kbits/s dup=145 drop=0 speed=  29x&#xA;video:15kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 17.439800%&#xA;[libx264 @ 00000217ad682780] frame I:1     Avg QP:12.52  size:  9283&#xA;[libx264 @ 00000217ad682780] frame P:38    Avg QP:10.45  size:    53&#xA;[libx264 @ 00000217ad682780] frame B:111   Avg QP:11.67  size:    29&#xA;[libx264 @ 00000217ad682780] consecutive B-frames:  1.3%  0.0%  0.0% 98.7%&#xA;[libx264 @ 00000217ad682780] mb I  I16..4: 66.0% 25.8%  8.3%&#xA;[libx264 @ 00000217ad682780] mb P  I16..4:  0.0%  0.0%  0.0%  P16..4:  0.0%  0.0%  0.0%  0.0%  0.0%    skip:99.9%&#xA;[libx264 @ 00000217ad682780] mb B  I16..4:  0.0%  0.0%  0.0%  B16..8:  0.5%  0.0%  0.0%  direct: 0.0%  skip:99.5%  L0:64.2% L1:35.8% BI: 0.0%&#xA;[libx264 @ 00000217ad682780] 8x8 transform intra:25.9% inter:0.0%&#xA;[libx264 @ 00000217ad682780] coded y,u,v intra: 5.2% 3.2% 3.1% inter: 0.0% 0.0% 0.0%&#xA;[libx264 @ 00000217ad682780] i16 v,h,dc,p: 89% 11%  0%  0%&#xA;[libx264 @ 00000217ad682780] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 60%  4% 36%  0%  0%  0%  0%  0%  0%&#xA;[libx264 @ 00000217ad682780] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 27% 36% 19%  2%  3%  3%  5%  2%  4%&#xA;[libx264 @ 00000217ad682780] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 00000217ad682780] ref P L0: 86.2%  3.4% 10.3%&#xA;[libx264 @ 00000217ad682780] ref B L0: 51.9% 48.1%&#xA;[libx264 @ 00000217ad682780] kb/s:23.31&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The Codec information are the following:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qtHvk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qtHvk.png&quot; alt=&quot;codec&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is pure Images, no audio at this point in the video. Is there a parameter I am missing? IMHO this looks like a very common video file I create there.&lt;/p&gt;&#xA;" OwnerUserId="30501" LastActivityDate="2020-07-08T16:20:00.617" Title="Valid Slideshow-Video created by ffmpeg is not accepted by Twitter" Tags="|ffmpeg|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30797" PostTypeId="1" AcceptedAnswerId="30820" CreationDate="2020-07-08T13:29:36.673" Score="1" ViewCount="203" Body="&lt;p&gt;I need to edit a large set of videos through a very specific process. My workflow is pretty simple. Add a Watermark, a specific intro video and apply invert effect on the video.&lt;/p&gt;&#xA;&lt;p&gt;I'm quite new to Premiere Pro, So I apologize if this is a common thing&lt;/p&gt;&#xA;" OwnerUserId="30503" LastActivityDate="2020-07-10T19:17:50.760" Title="Is it possible to automate a workflow in Premiere Pro" Tags="|premiere|editing|post-production|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30798" PostTypeId="1" CreationDate="2020-07-08T14:04:56.257" Score="0" ViewCount="46" Body="&lt;p&gt;I'm working on video editing on VSDC and my exports are so much larger then the original video when I export it into mp4 format.&lt;/p&gt;&#xA;&lt;p&gt;All I did to the video was delete the sound from the video and replace it with the same sound which I cleaned up a bit with audacity and exported into wav-format.&lt;/p&gt;&#xA;&lt;p&gt;The original size of the video was 34MB and the wav-file was about 4MB but the export was over 200MB.&lt;/p&gt;&#xA;&lt;p&gt;I exported it with the option that the software was for YouTube and set the quality for 1080p.&lt;/p&gt;&#xA;&lt;p&gt;I don't understand what's going on!&lt;br /&gt;&#xA;Could it be that my original video is of a lesser quality then 1080?&lt;/p&gt;&#xA;&lt;p&gt;And the software is adding filler pixels?&lt;/p&gt;&#xA;&lt;p&gt;The original was a mov-file.&lt;br /&gt;&#xA;Are these the numbers I should be looking at?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dqCS3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dqCS3.png&quot; alt=&quot;Settings&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I got a more reasonable file size of 31MB when I exported to avi.&lt;br /&gt;&#xA;And exporting to mkv is only 41MB.&lt;/p&gt;&#xA;" OwnerUserId="30502" LastEditorUserId="29249" LastEditDate="2022-03-31T19:43:06.443" LastActivityDate="2023-12-21T23:04:00.480" Title="Larger video size after exporting from .mov to .mp4" Tags="|video-editor|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30800" PostTypeId="2" ParentId="30796" CreationDate="2020-07-08T16:20:00.617" Score="1" Body="&lt;p&gt;PNG contain RGB data and video contains YUV pixels. FFmpeg will select &lt;code&gt;yuv444p&lt;/code&gt; to preserve chroma sampling resolution but that pixel format is not widely compatible. Force &lt;code&gt;yuv420p&lt;/code&gt; output.&lt;/p&gt;&#xA;&lt;p&gt;Use&#xA;&lt;code&gt;ffmpeg -f image2pipe -framerate 1 -i pipe:.png -c:v libx264 -pix_fmt yuv420p -crf 21 -r 30 -y &amp;quot;Blathering.noaudio.mp4&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-07-08T16:20:00.617" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30801" PostTypeId="2" ParentId="16141" CreationDate="2020-07-08T17:03:19.347" Score="0" Body="&lt;p&gt;There seems to be no direct way to do it on mac but it works on linux so you can do it on a virtual machine. Just install VirtualBox, then install xubuntu on VirtualBox, and on xubuntu install Kaffeine which allows to play and record DVB-T streams. I used it like that with a RTL2832U DVB-T dongle and it worked fine. Just make sure that you set USB 3.0 in virtual machine settings and allow using all cpu cores because without that it will be too slow and won't work.&lt;/p&gt;&#xA;" OwnerUserId="30507" LastActivityDate="2020-07-08T17:03:19.347" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30802" PostTypeId="1" CreationDate="2020-07-08T19:20:27.763" Score="0" ViewCount="18392" Body="&lt;p&gt;One thing I always face trouble with is aligning things in Premiere Pro.&lt;/p&gt;&#xA;&lt;p&gt;In Photoshop, if you have an image you can just align it with align tools. If you want to align multiple things, you group them and align them in left, right or center etc.&lt;/p&gt;&#xA;&lt;p&gt;I want to achieve something like that with videos.&lt;/p&gt;&#xA;&lt;p&gt;For example these 3 clips are placed randomly with a guess that they are visually aligned. But they aren't perfect. I just adjusted them manually.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ipDs9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ipDs9.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So how can I a) select those 3 clips and align them horizontally (marked by yellow)? b) Align the right most 2 clips horizontally to each other (marked by green)?&lt;/p&gt;&#xA;&lt;p&gt;Right now all things seem aligned but I did hit and trials and it took a lot of effort.&lt;/p&gt;&#xA;" OwnerUserId="12245" LastActivityDate="2021-10-15T22:14:06.883" Title="How to center and align things in Premiere Pro?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30803" PostTypeId="2" ParentId="30781" CreationDate="2020-07-09T01:08:27.523" Score="0" Body="&lt;p&gt;Looks like this might be a bug in HLS.js:&#xA;&lt;a href=&quot;https://github.com/video-dev/hls.js/issues/2873&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/video-dev/hls.js/issues/2873&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Hopefully this is rectified in a subsequent version.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;This hls.js bug has been fixed in release 0.14.1:&#xA;&lt;a href=&quot;https://github.com/video-dev/hls.js/releases/tag/v0.14.1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/video-dev/hls.js/releases/tag/v0.14.1&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30495" LastEditorUserId="30495" LastEditDate="2020-07-14T03:02:05.740" LastActivityDate="2020-07-14T03:02:05.740" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30805" PostTypeId="1" CreationDate="2020-07-09T06:39:07.960" Score="1" ViewCount="1042" Body="&lt;p&gt;With the Canon EOS R5 I can choose to record in 12 bit RAW (DCI) or 10-bit HDR PQ H.265 (All-I or IPB compressed).&lt;/p&gt;&#xA;&lt;p&gt;Is there a big advantage of shooting in RAW vs HDR PQ for non professional HDR output?&lt;/p&gt;&#xA;" OwnerUserId="30518" LastEditorUserId="30518" LastEditDate="2020-07-12T08:01:47.537" LastActivityDate="2020-07-12T08:01:47.537" Title="Shooting RAW vs 4:2:2 10-bit HDR PQ for HDR output" Tags="|premiere|canon|raw|hdr|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="30806" PostTypeId="2" ParentId="30802" CreationDate="2020-07-09T07:20:04.320" Score="2" Body="&lt;p&gt;Something like this is usually not done in Premiere, since it involves motion-graphics that are way easier done in After-Effects.&lt;/p&gt;&#xA;&lt;p&gt;If you have to do this in Premiere though, the only way to make sure that - the two smaller pictures for example - align perfectly on their vertical axis is to take a look at their position and put in the same value for the x-axis (the first value).&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-09T07:20:04.320" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30807" PostTypeId="2" ParentId="30753" CreationDate="2020-07-09T07:26:48.323" Score="2" Body="&lt;p&gt;Well if you take a look at the mandalorian, almost every background is computer-generated. Sure, the actors are real, but almost nothing else. If you're looking for entire cgi-sequences, you can take a look at the marvel movies. Many of the fight-scenes are completely CG.&lt;/p&gt;&#xA;&lt;p&gt;Asking what's important for photorealism is a hefty question. There's a bunch like:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Accurately ray-traced shadows&lt;/li&gt;&#xA;&lt;li&gt;Accurate reflections&lt;/li&gt;&#xA;&lt;li&gt;Accurate roughness on reflective surfaces&lt;/li&gt;&#xA;&lt;li&gt;Sub-surface scattering (like light shining through a hand)&lt;/li&gt;&#xA;&lt;li&gt;Accurate motion-blur, focus rack and rolling or global shutter, depending on which camera you're imitating.&lt;/li&gt;&#xA;&lt;li&gt;Accurate physic simulations&lt;/li&gt;&#xA;&lt;li&gt;Accurate fluid simulations&lt;/li&gt;&#xA;&lt;li&gt;Accurate wrinkles and stress-maps for skin, cloth and other flexible solids&lt;/li&gt;&#xA;&lt;li&gt;Proper animation of people and animals, preferrably motion-tracked&lt;/li&gt;&#xA;&lt;li&gt;etc. etc.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I could go on for pages, but the point is that simulating all the jazz of the real world is very expensive and hard labor. That's why most films rely on CGI only when filming it for real would either be too expensive or too dangerous. No person in their right mind would try to make a whole film CGI with the goal of the viewers not noticing, when they could save around 75% of the budget by just filming it in real-life and getting a similar (often better) result.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastEditorUserId="24627" LastEditDate="2020-07-09T11:52:18.983" LastActivityDate="2020-07-09T11:52:18.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30808" PostTypeId="2" ParentId="30798" CreationDate="2020-07-09T07:33:53.640" Score="0" Body="&lt;p&gt;You first need to tell us which software you're using. I'm assuming it's the adobe media encoder? Handbrake? ffmpeg?&lt;/p&gt;&#xA;&lt;p&gt;Nonetheless, the filesize is determined by your resolution, framerate and bitrate. Try exporting the video with VBR with 2 passes and set the bitrate to something between 3 and 6 - that should be enough for a 1920x1080 h264.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-09T07:33:53.640" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30809" PostTypeId="1" AcceptedAnswerId="30850" CreationDate="2020-07-09T16:23:16.880" Score="2" ViewCount="4360" Body="&lt;p&gt;I have a brand new project, with some media imported to the pool. I marked in and out on a clip on the left hand preview, dragged it to the timeline, and tried to play the result in the timeline preview on the right.&lt;/p&gt;&#xA;&lt;p&gt;The timeline preview on the right will not play the clip, it flashes the mark in/out symbols on the edge of the screen. I can't click on the clip timeline to jog to a point in the clip. If i click on the project timeline down the bottom it will move, but anytime i click play in the preview window it snaps back to the beginning and does not play.&lt;/p&gt;&#xA;&lt;p&gt;Whats going on?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uyEas.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uyEas.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30524" LastActivityDate="2020-08-14T23:01:00.263" Title="Davinci Resolve 16 wont playback a clip in the timeline preview" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30810" PostTypeId="1" AcceptedAnswerId="30813" CreationDate="2020-07-09T18:45:44.807" Score="0" ViewCount="170" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/kjOUa2EDu78?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;I want to learn how to make the effect that is presented in the video from 0:29 to 0:31, that is, cursor tracking and zoom.&lt;/p&gt;&#xA;" OwnerUserId="30525" LastActivityDate="2020-07-10T10:16:38.597" Title="How to track and zoom in AE" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30811" PostTypeId="2" ParentId="13214" CreationDate="2020-07-09T22:38:24.220" Score="1" Body="&lt;p&gt;Handbrake is - I use my words carefully - horrible at resolutions higher than 1080p. If you're trying to compress something like 4k, avoid handbrake.&lt;/p&gt;&#xA;" OwnerUserId="30527" LastActivityDate="2020-07-09T22:38:24.220" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30813" PostTypeId="2" ParentId="30810" CreationDate="2020-07-10T10:16:38.597" Score="0" Body="&lt;p&gt;Here is how I would do it:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Track the cursor in After-Effects (using the tracking-panel)&lt;/li&gt;&#xA;&lt;li&gt;Apply the movement to a Null-Object&lt;/li&gt;&#xA;&lt;li&gt;Create a camera&lt;/li&gt;&#xA;&lt;li&gt;Parent the camera to the Null&lt;/li&gt;&#xA;&lt;li&gt;Change the focal length in the camera to achieve the zoom&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Now your camera should follow the cursor.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-10T10:16:38.597" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30815" PostTypeId="1" CreationDate="2020-07-10T14:54:29.027" Score="0" ViewCount="372" Body="&lt;p&gt;I have a video in RGBA space contained in MPNG codec. Which is in 4K. I need to Convert that into a 1080p File... SO i Used this -&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -vcodec libx265 -vf scale=1920:1080 -sws_flags lanczos+accurate_rnd+full_chroma_inp+full_chroma_int -pix_fmt gbrp &amp;quot;x265GBRP.mkv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;em&gt;But, I think ffmpeg converts rgb to yuv420p for scaling the&#xA;footage.... I can See some &lt;strong&gt;Artifacts&lt;/strong&gt; that &lt;strong&gt;yuv420p&lt;/strong&gt; creates, like when&#xA;you have Gradients... And also the &lt;strong&gt;Color is WASHED OUT!&lt;/strong&gt; in output&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;This Image was the &lt;em&gt;&lt;strong&gt;Output:&lt;/strong&gt;&lt;/em&gt; &lt;a href=&quot;https://i.stack.imgur.com/PqMr3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PqMr3.png&quot; alt=&quot;image 1&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And this was the &lt;em&gt;&lt;strong&gt;Input Frame:&lt;/strong&gt;&lt;/em&gt;&lt;a href=&quot;https://i.stack.imgur.com/ujK3p.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ujK3p.png&quot; alt=&quot;image 2&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;&lt;strong&gt;NOTE:&lt;/strong&gt;&lt;/em&gt; As both the Files are in RGB ColorFormat.... My Video Decoder is Not the Problem.... (And these Images are Screenshots of Extracted frames from the Input and Output File)&lt;/p&gt;&#xA;&lt;p&gt;DEBUG LOG - &lt;a href=&quot;https://drive.google.com/file/d/1SMVtX9t4eaEbj_X2iUwCcbmqeu1waDKV/view?&quot; rel=&quot;nofollow noreferrer&quot;&gt;txt File - GDrive&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Something extra - &lt;a href=&quot;https://i.stack.imgur.com/2MtIZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2MtIZ.png&quot; alt=&quot;enHello&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user30535" LastEditorDisplayName="user30535" LastEditDate="2020-09-22T20:11:16.360" LastActivityDate="2020-09-22T20:11:16.360" Title="Scale Video, Without 'ffmpeg Scaler' converting colorspace from RGBA to YUV" Tags="|ffmpeg|encoding|video-quality|color-correction|color|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="30816" PostTypeId="1" AcceptedAnswerId="30852" CreationDate="2020-07-10T14:56:25.990" Score="1" ViewCount="138" Body="&lt;p&gt;I am looking for a free software that lets me convert a batch of video files to monochrome.&lt;/p&gt;&#xA;&lt;p&gt;The closest I've found so far is Any Video Converter free but this does neither allow for easy application of a setting to all files within the queue, nor does it allow to keep the original file format (e.g you can't convert from webm to webm and just apply a filter).&lt;/p&gt;&#xA;&lt;p&gt;I do, however, want to keep all properties except for color.&lt;/p&gt;&#xA;" OwnerUserId="30537" LastActivityDate="2020-07-15T23:40:33.347" Title="Batch converting files to monochrome" Tags="|software-recommendation|conversion|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30817" PostTypeId="2" ParentId="15122" CreationDate="2020-07-10T16:10:49.513" Score="0" Body="&lt;p&gt;Use square pixels for everything. Avoid pixel dimension stretching at all costs. Unless you're dealing with archive footage or anamorphic lenses, and there's no choice. This advice will make your life easier.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-07-10T16:10:49.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30818" PostTypeId="2" ParentId="30816" CreationDate="2020-07-10T16:57:48.570" Score="2" Body="&lt;p&gt;Okay I just did with a ffmpeg batch&lt;/p&gt;&#xA;&lt;p&gt;In PowerShell:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ls | Where { $_.Extension -eq &amp;quot;.webm&amp;quot; } | ForEach { ffmpeg -i &amp;quot;$i&amp;quot; -vf &amp;quot;hue=s=0&amp;quot; -crf 20 -codec:a libvorbis -c:v libvpx -b:v 500k &amp;quot;${name}.webm&amp;quot; }&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30537" LastActivityDate="2020-07-10T16:57:48.570" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30819" PostTypeId="1" CreationDate="2020-07-10T18:19:57.683" Score="1" ViewCount="151" Body="&lt;p&gt;I have multiple input sources for A/V streams I want to publish to a media server, and then have those stream broadcasts to be able to be sychronized for playback, for instance, as two separate media sources in OBS.&lt;/p&gt;&#xA;&lt;p&gt;I have been investigating different technologies, stream protocols, media servers, etc to achieve the result im seeking.  So far, I have read up on RTSP (RTP/RTCP) protocol and having the the senders use features of RTP to sync to a common NTP clock that the receivers (rtpendpoints) would sync to as well.  the playback device, i would assume have to have its system time synced to the same NTP server too.&lt;/p&gt;&#xA;&lt;p&gt;My question is what are some of the simplest ways to deploy such a setup?  Can I use WebRTC to stream to a media server (Ant Media Server or Kurento?)  If I want the streams not only in synch at re-broadcast,  would I want to broadcast the ingested streams via RTSP protocol that would then be used as media sources in OBS?  What else would I need to do to ensure synchronization (i.e,  NTP synching,  encoding via Gstreamer, rtpbin, etc?)&lt;/p&gt;&#xA;" OwnerUserId="30540" LastActivityDate="2020-07-10T18:19:57.683" Title="synchronization of ingested live streams on media server &amp; playback device (obs)" Tags="|streaming|broadcasting|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30820" PostTypeId="2" ParentId="30797" CreationDate="2020-07-10T19:17:50.760" Score="1" Body="&lt;p&gt;As mentioned in the comments, I realized that Premiere Pro was the wrong tool for the job. Thanks to Florian I got started with ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;For the sake of any future users who might want something like this, I thought I'd share my solution.&lt;/p&gt;&#xA;&lt;p&gt;The following Command helps me convert my wmv source file to mp4 with a png watermark in the bottom right corner and the source video negated (colour inverted).&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i source.wmv -i logo.png -c:v libx264 -crf 23 -c:a aac -strict -2 -q:a 100 -max_muxing_queue_size 9999 -filter_complex &amp;quot;[1]format=yuva444p,colorchannelmixer=aa=0.8[logo];[0]fps=fps=30, negate=1[flip];[flip][logo]overlay=x=(main_w-overlay_w):y=(main_h-overlay_h)&amp;quot; output_file.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I also made a gist with the broken down commands for each of my requirements. ffmpeg is blazing fast too!&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://gist.github.com/gigincg/338ec705632ee69cfe72eae73c2bb95f&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gist.github.com/gigincg/338ec705632ee69cfe72eae73c2bb95f&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30503" LastActivityDate="2020-07-10T19:17:50.760" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30821" PostTypeId="1" AcceptedAnswerId="30837" CreationDate="2020-07-10T20:01:23.727" Score="0" ViewCount="2065" Body="&lt;p&gt;I have some 3D Rendered Frames in 16-bit rgba Color Format.... I don't Wanna Lose Any Data... Because I have to Use those in editing.... But With Thousands of Frames in 4K File Size Matters.... So Why not Encode to H265&lt;/p&gt;&#xA;&lt;p&gt;I Know How to Do a yuv 12 Bit Convertion.... I Know how to Do a RGB 8 bit conversion.... Using FFMPEG&lt;/p&gt;&#xA;&lt;p&gt;But I Can't Figure Out How I would do 16Bit to 16Bit Conversion in x265 codec using FFmpeg..&#xA;And would not like to convert to yuv... But If there are No choiche with RGB then I might wanna do yuva444 16 bit... But I also can't figure that out too!&lt;/p&gt;&#xA;" OwnerDisplayName="user30535" LastActivityDate="2020-07-15T00:59:27.420" Title="Does HEVC Support 16-Bit RGB Color Format?" Tags="|ffmpeg|encoding|video-quality|h265|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="30822" PostTypeId="1" AcceptedAnswerId="30825" CreationDate="2020-07-11T00:47:08.143" Score="2" ViewCount="983" Body="&lt;p&gt;I am trying to convert an After Effect layer of regular color video to a completely Black &amp;amp; White layer, that is, Black remains black, but anything not black will turn into snow white. Is there an simple way to accomplish this in After Effects or Premiere? I have struggled to find an easy way and applied different Effects (Channel Combiner, Hue/Sat), with some success, but it doesn't seem to fully convert the layer to a complete black and white image. Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="30543" LastActivityDate="2020-07-11T14:12:58.183" Title="Change to black and white (without greys) in AE" Tags="|after-effects|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30824" PostTypeId="1" CreationDate="2020-07-11T11:22:08.193" Score="1" ViewCount="686" Body="&lt;p&gt;Lets pretend you add a 15 second clip onto your timeline which has a 100 MB filesize. If you only need 5 seconds of that clip you can blade edit it to that exact time. But in reality the full clip length (and size) remains as it was before. I wonder if there is a nice method to actually get rid of the 10 seconds you dont need from that clip and as a result, shrink the projects overall filesize by that cut off amount.&lt;/p&gt;&#xA;&lt;p&gt;To split my videos, I am using another tool to create separate files. I could potentially use davinci's deliver section to split the file and save the results separately. Not a big deal, but this is a separate process and it would be nice if there is a smooth way to do exactly that while you're editing your clips on the timelie.&lt;/p&gt;&#xA;&lt;p&gt;Have a nice day and stay healthy.&lt;/p&gt;&#xA;&lt;p&gt;JJ&lt;/p&gt;&#xA;" OwnerUserId="30547" LastActivityDate="2020-07-12T10:30:19.147" Title="Davinci Resolve 16 split a clip in timeline and actual shrink the file" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30825" PostTypeId="2" ParentId="30822" CreationDate="2020-07-11T14:12:58.183" Score="3" Body="&lt;p&gt;The effect that does what you specifically want is called &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/stylize-effects.html#threshold_effect&quot; rel=&quot;nofollow noreferrer&quot;&gt;threshold&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-07-11T14:12:58.183" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30827" PostTypeId="2" ParentId="30824" CreationDate="2020-07-12T10:17:49.793" Score="1" Body="&lt;p&gt;There is a way to do that.  It's in the Media Management tool, under the file menu.  It has plenty of options.  You can go clip-by-clip, do a whole timeline at once, or archive a whole project once you've finished editing it, and keep only the footage you used.  You can also add &amp;quot;handles&amp;quot; if you want, which means that Resolve will save an extra second or so (user definable) to the beginning and end of all clips, so you have wiggle room in case you need to make changes later.  There's also options for transcoding, if e.g., you wanted a smaller footprint for old projects, but it also comes in handy for generating proxy media.&lt;/p&gt;&#xA;&lt;p&gt;A big word of caution, though:  Not all of the features in the Media Management panel work like you might expect (the automatic re-linking comes to mind).  Some of them are contingent on the TYPE of footage you're using; whether it's intra- or inter-frame.  READ THE MANUAL, and BE SURE you test your Media Management workflow, COMPLETELY before you destroy any of your media.  That is, don't just export it, and trash all of your originals before you make sure you can re-link your project.  Ideally, you should:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Use the Media Management tool to render out whatever clips/timelines/projects you want to trim.&lt;/li&gt;&#xA;&lt;li&gt;Take the original media (but not the archived media) offline.  It can be tricky to do this if your projects aren't organized.  An easy way to be sure is to keep your original media on an external hard drive, and eject the hard drive for this step. You want to be sure that when you delete the originals, your timelines can find all of the archive material they need, without accidentally pointing at things you're about to erase.  If something in your project is living in your &amp;quot;Downloads&amp;quot; folder by mistake, it'll eventually go missing.&lt;/li&gt;&#xA;&lt;li&gt;Re-Link your project to the archived material, and make sure everything works.  It may be years before you return to it, so you want to be sure it's in working order before you put it in cold storage.&lt;/li&gt;&#xA;&lt;li&gt;Export a .DRP project file and save it next to your archived media.  Resolve's normal way of saving is database-driven (disk databases by default, now, but postgresql is necessary for advanced features).  It saves all of your projects together in a big file that isn't meant to be moved around, and is vulnerable to corruption.  If you're ever going to return to the project you're archiving, don't count on the database.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-07-12T10:30:19.147" LastActivityDate="2020-07-12T10:30:19.147" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30828" PostTypeId="1" CreationDate="2020-07-12T12:15:01.210" Score="1" ViewCount="993" Body="&lt;p&gt;Some I am trying to render a video at 60fps in Sony Vegas but when I check the properties of the rendered file, it shows 30fps. Details below:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Original Clip frame rate:&lt;/strong&gt; 50fps&#xA;&lt;strong&gt;Project settings:&lt;/strong&gt; See below&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fBlDT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fBlDT.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Render Settings:&lt;/strong&gt; See below&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TepZI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TepZI.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is anyone able to advise why this is happening?&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advanced.&lt;/p&gt;&#xA;" OwnerUserId="30556" LastActivityDate="2020-07-12T12:15:01.210" Title="Sony Vegas - Rendered file showing 30 FPS when project and render settings set to 60 FPS" Tags="|file-formats|vegas-pro|rendering|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30829" PostTypeId="1" CreationDate="2020-07-12T13:54:18.180" Score="3" ViewCount="8934" Body="&lt;p&gt;I have some videos with a speaker looking at the side of a camera or directly to the camera, but his or her pupils were running from side to side as speaker reads from teleprompter.&lt;/p&gt;&#xA;&lt;p&gt;Is there any possibility to move pupils slightly to make them look exactly at the viewer?&lt;/p&gt;&#xA;" OwnerUserId="23002" LastActivityDate="2020-07-13T13:47:46.670" Title="How to make eye pupils look directly at the camera" Tags="|editing|post-production|teleprompter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30831" PostTypeId="2" ParentId="30602" CreationDate="2020-07-13T07:09:25.550" Score="1" Body="&lt;p&gt;I had the same problem when i updated my graphics driver, I use Windows 10, Intel i3 8th Gen. Version which did the problem was 27.20.100.8336.&#xA;you need Intel Graphics - BETA Windows 10 DCH Driver&#xA;Windows 10, 64-bit version 27.20.100.8425&#xA;link to update your driver &lt;a href=&quot;https://downloadcenter.intel.com/product/80939/Graphics&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://downloadcenter.intel.com/product/80939/Graphics&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30558" LastActivityDate="2020-07-13T07:09:25.550" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30832" PostTypeId="2" ParentId="30829" CreationDate="2020-07-13T07:17:39.063" Score="3" Body="&lt;p&gt;That would be a task of compositing using something like Nuke or After-Effects. Here's how I'd tackle something like this:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Grab a frame of the person looking directly in the camera&lt;/li&gt;&#xA;&lt;li&gt;Track the positions of the eyes (&amp;quot;track_left&amp;quot; and &amp;quot;track_right&amp;quot; as seperates)&lt;/li&gt;&#xA;&lt;li&gt;Mask out the eyes from the still-frame and separate them into eye_left and eye_right&lt;/li&gt;&#xA;&lt;li&gt;Link each eye to the corresponding tracking, so that it follows the original eyes.&lt;/li&gt;&#xA;&lt;li&gt;Perhaps apply a subtle slow flickering (add curves and in the effect-opacity type in the expression &amp;quot;wiggle(0.5, 15)&amp;quot; or something in that area, using After-Effects)&lt;/li&gt;&#xA;&lt;li&gt;When the person is looking down, try to keyframe the opacity of the eyes so the real eyes are revealed from time to time, depending on how convincing this turns out.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;If the tracker doesn't stick very well you can try the mocha-tracker which comes natively with After-Effects for the latest versions. Make sure to only mask out the inner area of the eyes - don't patch out too much of the eyes and only the bare minimum to remain realistic shadows, wrinkles, etc.&lt;/p&gt;&#xA;&lt;p&gt;I hope this works out for you - if not, please post your results and we'll see how to improve it.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastEditorUserId="14523" LastEditDate="2020-07-13T13:47:46.670" LastActivityDate="2020-07-13T13:47:46.670" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="30835" PostTypeId="2" ParentId="14554" CreationDate="2020-07-14T03:25:12.490" Score="-1" Body="&lt;p&gt;Besides acting as a professional Video and Audio Converter, iDealsahre VideoGo is also powerful Audio Remover which can remove audio or audio tracks from all kinds of video files on Mac or Windows.&lt;/p&gt;&#xA;" OwnerUserId="30568" LastActivityDate="2020-07-14T03:25:12.490" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30837" PostTypeId="2" ParentId="30821" CreationDate="2020-07-14T10:04:18.380" Score="1" Body="&lt;p&gt;As, Sir Gyan Commented... HEVC Doesn't Support 16-bit....&lt;/p&gt;&#xA;" OwnerDisplayName="user30535" LastActivityDate="2020-07-14T10:04:18.380" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30838" PostTypeId="1" CreationDate="2020-07-14T10:31:26.353" Score="0" ViewCount="867" Body="&lt;p&gt;I want to build a computer for DaVinci Resolve Studio. I want to choose how much SSD to use in it.&lt;/p&gt;&#xA;&lt;p&gt;I thought of two variants. In both variants I will not store archive files on computer on which I will work in DaVinci Resolve Studio. Only current project work files will be on computer on which I will work in DaVinci Resolve Studio. Archive files I will store in NAS or another computer with RAID.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Variant 1. On computer for DaVinci Resolve Studio one SSD: M.2, PCI-E x4, NVMe.&lt;/p&gt;&#xA;&lt;p&gt;Two logical disks on it: disk C, disk D.&lt;/p&gt;&#xA;&lt;p&gt;Disk C: Windows 10 Home 64-bit, applications including DaVinci Resolve Studio.&lt;/p&gt;&#xA;&lt;p&gt;Disk D: current project work files.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Variant 2. On computer for DaVinci Resolve Studio two SSDs. Each SSD: M.2, PCI-E x4, NVMe.&lt;/p&gt;&#xA;&lt;p&gt;First SSD. Disk C on it. On disk C: Windows 10 Home 64-bit, applications including DaVinci Resolve Studio.&lt;/p&gt;&#xA;&lt;p&gt;Second SDD. Disk D on it. On disk D: current project work files.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;What is better for DaVinci Resolve Studio's performance, stability, data safety?&lt;/p&gt;&#xA;" OwnerUserId="29218" LastActivityDate="2020-07-14T20:11:39.270" Title="How much SSDs to use on computer for DaVinci Resolve Studio?" Tags="|davinci-resolve|performance|ssd|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30840" PostTypeId="2" ParentId="30838" CreationDate="2020-07-14T13:01:25.387" Score="1" Body="&lt;p&gt;Variant 2 is gonna use 2 SSD Simultaneously, Which means IF one SSD can read Data upto 500MB/s then Both of them is gonna use Double that!&lt;/p&gt;&#xA;&lt;p&gt;Feels Awesome, right?&lt;/p&gt;&#xA;&lt;p&gt;But, That is not the fact.... Disk C is Only Gonna Send Huge Amount of Data to RAM when A Software Located inside Disk C is Starting.... When Finished loading It's Gonna be Back to It's idle mode....&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9JLVz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9JLVz.png&quot; alt=&quot;Disk C: is Local DIsk&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;That 1-3MB/s Doesn't Really Matter at all to The scale of 500MB/s.&#xA;So You can go with 1 Big SSD rather than 2 SSDs.&#xA;I would Suggest Doing that, You can Save Some bucks!&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;em&gt;Also in my case, I was Downloading a File in Disk C. That's Why it Jumped to &lt;strong&gt;14MBp/s&lt;/strong&gt;&lt;/em&gt; But Usually, Even when Resolve will be Running Speed will be Jumping around 1.8MB/s&lt;/p&gt;&#xA;&lt;p&gt;I was Worried about Performance Just Like you, Months Ago... I changed my build, Switched to AMD R9 then... My Solution was... Giving the SSD it's Very Own Disk rather than Storing C:Local Drive On it! i Store Local drive in HDD, all The Small and Not-So-Performance-Needed Software in there... The Softwares on which I needed Performance (eg: Blender, Cinema 4D, Fusion) I Installed them inside a Folder In Disk X (Disk X is on SSD)&lt;/p&gt;&#xA;" OwnerDisplayName="user30535" LastEditorDisplayName="user30535" LastEditDate="2020-07-14T20:11:39.270" LastActivityDate="2020-07-14T20:11:39.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30842" PostTypeId="1" CreationDate="2020-07-14T17:18:50.583" Score="0" ViewCount="1233" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;When using &lt;code&gt;ffmpeg -i input1 -i input2 ... -filter_script filter_complex.txt output.mkv&lt;/code&gt; I can't seem to get the stream from the filter_complex.txt file to be recognized by ffmpeg. If I add &lt;code&gt;-map [v]&lt;/code&gt;, then it doesn't recognize the &lt;code&gt;[v]&lt;/code&gt; like it would normally and says there's an unconnected output.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;This is less important, but I haven't found a way to do something like &lt;code&gt;ffmpeg -i inputs.txt ...&lt;/code&gt; to avoid the character limit yet, so if you know a way to do that, that would be nice.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Reason: I'm trying to use ffmpeg to overlay many images (~100) onto a video at various points and need to use files so I'm not going over the command line limit of 2k-8k characters in windows.&lt;/p&gt;&#xA;" OwnerUserId="30577" LastActivityDate="2022-04-20T21:01:25.197" Title="filter_script usage with ffmpeg and replacing inputs with a file" Tags="|ffmpeg|command-line|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30843" PostTypeId="2" ParentId="30842" CreationDate="2020-07-14T20:15:00.573" Score="0" Body="&lt;p&gt;I found an answer that worked for me. I was trying to use the &lt;code&gt;-map [v]&lt;/code&gt; syntax, but it turned out that wasn't necessary and I could just use the filtergraph I made as is. I did use filter_complex_script, which Gyan pointed out is the correct command, but I'm still not quite sure what the difference between the two is after looking through the documentation.&lt;/p&gt;&#xA;" OwnerUserId="30577" LastActivityDate="2020-07-14T20:15:00.573" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30844" PostTypeId="2" ParentId="30821" CreationDate="2020-07-15T00:59:27.420" Score="0" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;I don't Wanna Lose Any Data...&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Okay that makes sense.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;But With Thousands of Frames in 4K File Size Matters.... So Why not Encode to H265&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;That makes sense in a vacuum, but it's incompatible with the initial goal.  The reason that H.264 or H.265 is so much smaller than your initial image sequence is because those codecs use lossy compression.  You can't make such a conversion without losing any data, even before we get to the fact that H.265 doesn't support 16 bit RGBA formats.&lt;/p&gt;&#xA;&lt;p&gt;You need to figure out whether your goal is to make it as small as possible, or to preserve all of the data.  Those are mutually exclusive goals.&lt;/p&gt;&#xA;&lt;p&gt;It's also worth considering what you are actually planning on doing with your rendered frames.  Does your editor even support 16 bit RGB internally, or is it converting to something else as a working space?  Are you ultimately outputting to a destination format that will preserve the quality?  And if not, are you doing any color corrections or effects in your editor that actually benefit from having it during the intermediary steps?&lt;/p&gt;&#xA;&lt;p&gt;In a VFX studio, a typical workflow would be to render to EXR images, then post process those EXR images so they have lossless compression, and any black void are in the image is cropped so the data window is only a subset of the display window.  Then use those optimized EXR frames directly in compositing or editorial rather than making something like a QuickTime or MP4 file as an extra step.  You can use something like oiiotool to autocrop the EXR files.&lt;/p&gt;&#xA;" OwnerUserId="272" LastActivityDate="2020-07-15T00:59:27.420" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="30845" PostTypeId="1" CreationDate="2020-07-15T01:28:11.397" Score="4" ViewCount="772" Body="&lt;p&gt;Given two audio streams, I'd like to remove the audio in one stream that also exists in another.  In this particular case the 1st stream contains everything mixed, and the 2nd stream contains just the background noise which also exists in the 1st stream.  Is there a reasonable way to go about &amp;quot;subtracting&amp;quot; this background audio track from the 1st audio track?&lt;/p&gt;&#xA;&lt;p&gt;Ideally using ffmpeg, but open to anything.  I've naively tried inverting the background channel and mixing it with the first channel with this ffmpeg filter: &lt;code&gt;aeval=val(0)|-val(1)&lt;/code&gt; but that doesn't work.  I assume that's because the background is mixed at a different level. (I'm also assuming they're exactly in phase)&lt;/p&gt;&#xA;&lt;p&gt;Any other ideas?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UcYcN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UcYcN.png&quot; alt=&quot;audio visualization&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;For reference, here's ffmpeg &lt;code&gt;showcqt&lt;/code&gt; filter on each channel side by side.  You can see how the 2nd column seems to &amp;quot;contain&amp;quot; all of the audio in the first column, plus some more.  (and mixed at different levels)&lt;/p&gt;&#xA;" OwnerUserId="27044" LastActivityDate="2020-07-16T08:46:53.073" Title="How to filter out overlapping audio? Given a mixed track and one stem track, what's the best way to &quot;subtract&quot; the stem from the mix?" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30848" PostTypeId="1" AcceptedAnswerId="30851" CreationDate="2020-07-15T15:55:01.303" Score="5" ViewCount="465" Body="&lt;p&gt;COVID has forced online delivery of my courses for which some of my content lectures/office hours I now will do on a chalkboard with a video stream.  But I get a bright glare from the lighting that makes parts of the board hard to read and removes the ability to use half the board.  I have invested in a cheap umbrella light which youtube advice convinced me was better lighting, but the effect remains.&lt;/p&gt;&#xA;&lt;p&gt;What are the likely causes of glare on a chalkboard? Bad lighting, bad lighting placement? Bad camera placement?&lt;/p&gt;&#xA;&lt;p&gt;What is an inexpensive/low effort solution?&lt;/p&gt;&#xA;" OwnerUserId="30581" LastEditorUserId="14523" LastEditDate="2020-07-16T01:12:00.943" LastActivityDate="2020-07-22T12:23:51.057" Title="Lighting a chalkboard" Tags="|lighting|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30849" PostTypeId="1" CreationDate="2020-07-15T19:41:46.583" Score="2" ViewCount="1675" Body="&lt;p&gt;I want to make a video 'wide', so the width is increased and the height stays the same as of the input image. I use the following command: &lt;code&gt;ffmpeg -i test.mp4 -vf scale=&amp;quot;1000:200&amp;quot; output.mp4&lt;/code&gt;. It just does not work. The most interesting thing that it works with png images but not with videos.&#xA;Example: video before:&lt;a href=&quot;https://i.stack.imgur.com/Gg6M8.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Gg6M8.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;After: &lt;a href=&quot;https://i.stack.imgur.com/mNs43.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mNs43.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30583" LastActivityDate="2022-07-24T10:07:25.573" Title="Scale video without keeping aspect ratio in ffmpeg" Tags="|ffmpeg|scale|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="30850" PostTypeId="2" ParentId="30809" CreationDate="2020-07-15T20:28:34.307" Score="1" Body="&lt;p&gt;Your clip is only one frame long, according to the number &amp;quot;00:00:00:01&amp;quot;  Perhaps you accidentally imported a single image from an image sequence.  To switch back and forth between how DaVinci treats image sequences, check or un-check the &amp;quot;Show Individual Frames&amp;quot; item in the option (three dots) menu of the media storage panel on the media storage page.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kqjtB.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kqjtB.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This menu item is fairly hidden, and poorly named; you might interpret it to mean the same thing as the similarly-named, &amp;quot;Show all Video Frames&amp;quot; menu item under the options menu of the edit page viewers, but it is different.&lt;/p&gt;&#xA;&lt;p&gt;The Media page command, when checked, does two things.  It shows every .jpg, .tiff, .png, etc as distinct items in the media browser. But more importantly, it affects how these items are imported to DaVinci through media pool drag-and-drop, system import dialogue, or any other import method.&lt;/p&gt;&#xA;&lt;p&gt;When it's disabled, such as in the image above, and you import any member frame of an image sequence, Resolve treats the incoming clip as video.  When it's enabled, Resolve treats the incoming clip as a still frame.  If your setting: Preferences-&amp;gt;User tab-&amp;gt;Editing-&amp;gt;Standard still duration is set to 1 frame, you will experience the behavior you describe.&lt;/p&gt;&#xA;&lt;p&gt;Another possibility is that your clip imported into the project correctly, but you've accidentally only sent a single frame to the timeline (it's hard to tell from your picture).  This happens by mistake sometimes, if you hit the &amp;quot;i&amp;quot; and &amp;quot;o&amp;quot; keys with the source viewer in focus, but without moving the playhead.  Then, editing the clip to the timeline will result in the behavior you've described. [*]&lt;/p&gt;&#xA;&lt;p&gt;The other case in which you'd experience the described behavior is that your camera, either by mistake or malfunction, only recorded a single frame in the first place.&lt;/p&gt;&#xA;&lt;p&gt;[*] With the exception of a &amp;quot;Fit to Fill&amp;quot; edit.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-07-15T21:01:46.233" LastActivityDate="2020-07-15T21:01:46.233" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30851" PostTypeId="2" ParentId="30848" CreationDate="2020-07-15T22:50:40.420" Score="3" Body="&lt;p&gt;Bad lighting and/or bad camera placement are the cause.  If you can't move the lights or the chalkboard, such as in many typical classrooms, the first thing you should try is moving the camera.&lt;/p&gt;&#xA;&lt;p&gt;You can think of the chalkboard surface like a mirror.  In fact, if you hung a mirror flat against the chalkboard, you'd see that the position of the chalkboard &amp;quot;hot spots&amp;quot; corresponds exactly to the position of the reflection of light sources in a mirror.  The difference is that microscopic abnormalities in the surface of the chalkboard scatter the light more randomly, which effectively &amp;quot;blurs&amp;quot; the reflection.&lt;/p&gt;&#xA;&lt;p&gt;If you can't avoid the glare by moving the camera, or by moving/dimming the lights, then there is one other way to fight glare:  Use a polarized lens filter.  These work the same way that polarized sunglasses work to cut glare.  There are screw-on variants made for photography cameras called CPL's or &amp;quot;Circular Polarizing Lenses,&amp;quot; which let you adjust the polarization angle for best effect.  Polarized filters don't work for all reflections though, and their efficacy depends on the polarization of both the light source and the reflective material.&lt;/p&gt;&#xA;&lt;p&gt;CPL's are fairly cheap.  You can probably pick up a used one for $15-ish, and new ones are usually below $100.  Just make sure you buy the right size to fit your lens.  Either inside the camera's lens cap, or written on the lens, you'll see a number next to the symbol &amp;quot;ø&amp;quot;.  This is the filter size, and should match whatever you buy.&lt;/p&gt;&#xA;&lt;p&gt;If you wanted to go totally &lt;a href=&quot;https://shittyrigs.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;shittyrigs&lt;/a&gt; cheap, you could tape one of the lenses of a pair of disposable movie theater 3D glasses in front of your camera lens.  The 3D variant filter polarized light like any other camera filter or sunglasses on the market.  The difference is that the polarization of the left and right eye is offset by 90º.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-07-15T23:07:31.270" LastActivityDate="2020-07-15T23:07:31.270" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30852" PostTypeId="2" ParentId="30816" CreationDate="2020-07-15T23:40:33.347" Score="2" Body="&lt;p&gt;There's more than one way to skin a cat, so they say.  And there's more than one way to get monochrome from a color image.  Since YUV is a common encoding method, the easy thing to do is to throw away the U and V, and just keep the luminance, effectively doing the same thing old black and white televisions did.&lt;/p&gt;&#xA;&lt;p&gt;But in this modern, digital era, it's possible to control the balance of each color channel's contribution to final black and white image, and to do it with free software.&lt;/p&gt;&#xA;&lt;p&gt;In the free version of DaVinci Resolve, you can do this in the RGB mixer panel of the Color page, by checking the &amp;quot;Monochrome&amp;quot; box, and the &amp;quot;Preserve Luminance&amp;quot; box, and then moving the R, G, and B sliders to taste.  You'll notice that certain combinations give better contrast to skin tones, among other things, and that small changes can dramatically influence the resulting image.  It's also a great exercise in learning how to expose a camera well, and learning how camera exposure and color are related.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/T2Kmw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/T2Kmw.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JFU6e.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JFU6e.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-07-15T23:40:33.347" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30853" PostTypeId="2" ParentId="30845" CreationDate="2020-07-16T08:46:53.073" Score="3" Body="&lt;p&gt;Inverting the background should work, that's exactly how a balanced audio connection works to eliminate noise, but how exact a match is your isolated background track compared to the mixed track? It's only going to fully work if it is recorded at the exact same quality, volume, etc, and the timing is precisely the same. What was the recording source for each track? How confident are you that the two sets of background audio that were recorded are identical to each other?&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-07-16T08:46:53.073" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30854" PostTypeId="1" AcceptedAnswerId="30855" CreationDate="2020-07-16T09:53:46.800" Score="0" ViewCount="429" Body="&lt;p&gt;Hello I want to achieve something like in this pic below using ffmpeg:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BhqHx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BhqHx.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Initially I used below command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.mp4 -i input2.mp4 -i input3.mp4 -filter_complex &#xA;nullsrc=size=960x304 [base];&#xA;[0:v] crop=min(iw\,320):304:(iw-min(iw\,320))/2:0 [v0];&#xA;[1:v] crop=min(iw\,320):304:(iw-min(iw\,320))/2:0 [v1];&#xA;[2:v] crop=min(iw\,320):304:(iw-min(iw\,320))/2:0 [v2];&#xA;[base][v0] overlay=x=0:y=0[tmp0];&#xA;[tmp0][v1] overlay=x=320:y=0[tmp1];&#xA;[tmp1][v2] overlay=x=640:y=0[tmp2]&#xA; -map [tmp2] -c:v libx264 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It was working well but audio was missing in the output so I used below command to mix audios of input videos:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.mp4 -i input2.mp4 -i input3.mp4 -filter_complex &#xA;nullsrc=size=960x304 [base];&#xA;[0:v] crop=min(iw\,320):304:(iw-min(iw\,320))/2:0 [v0];&#xA;[1:v] crop=min(iw\,320):304:(iw-min(iw\,320))/2:0 [v1];&#xA;[2:v] crop=min(iw\,320):304:(iw-min(iw\,320))/2:0 [v2];&#xA;[base][v0] overlay=x=0:y=0[tmp0];&#xA;[tmp0][v1] overlay=x=320:y=0[tmp1];&#xA;[tmp1][v2] overlay=x=640:y=0[tmp2];&#xA;[0:a][1:a][2:a]amix=inputs=3:duration=shortest[audio] &#xA;-map [tmp2] -map [audio] -c:v libx264 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I don't know what happened but the execution never stops. It keeps on going. I thought the input audio's sample rate and channel types are mismatched, so I tried below:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.mp4 -i input2.mp4 -i input3.mp4 -filter_complex &#xA;nullsrc=size=960x304 [base];&#xA;[0:v] crop=min(iw\,320):304:(iw-min(iw\,320))/2:0 [v0];&#xA;[1:v] crop=min(iw\,320):304:(iw-min(iw\,320))/2:0 [v1];&#xA;[2:v] crop=min(iw\,320):304:(iw-min(iw\,320))/2:0 [v2];&#xA;[base][v0] overlay=x=0:y=0[tmp0];&#xA;[tmp0][v1] overlay=x=320:y=0[tmp1];&#xA;[tmp1][v2] overlay=x=640:y=0[tmp2];&#xA;[0:a]aformat=sample_fmts=fltp:sample_rates=44100:channel_layouts=stereo,volume=1[audio0];&#xA;[1:a]aformat=sample_fmts=fltp:sample_rates=44100:channel_layouts=stereo,volume=1[audio1];&#xA;[2:a]aformat=sample_fmts=fltp:sample_rates=44100:channel_layouts=stereo,volume=1[audio2];&#xA;[audio0][audio1][audio2]amix=inputs=3:duration=shortest[audio] &#xA;-map [tmp2] -map [audio] -c:v libx264 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but same result. The execution never stops. I think there is something with audio handling. Also currently if I remove audio portion and only output video, the output video stops when shortest of the video finishes. I want that the output video should have lenght of the longest video. The short clips should display their last frame until the longest video finishes. Any help regarding this?&lt;/p&gt;&#xA;&lt;p&gt;PS: Logs from logcat:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 3.3.4&#xA;     Copyright (c) 2000-2017 the FFmpeg developers&#xA;      built with gcc 4.9 (GCC) 20140827 (prerelease)&#xA;&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'input1.mp4':&#xA;      Metadata:&#xA;        major_brand     : &#xA;    isom&#xA;        minor_version   : &#xA;    512&#xA;        compatible_brands: &#xA;    isomiso2avc1mp41&#xA;        title           : &#xA;    1946246598843281&#xA;        encoder         : &#xA;    Lavf56.40.101&#xA;      Duration: &#xA;    00:00:53.91&#xA;    , start: &#xA;    -0.022109&#xA;    , bitrate: &#xA;    256 kb/s&#xA;        Stream #0:0&#xA;    (und)&#xA;    : Video: h264 (avc1 / 0x31637661), yuv420p, 400x304, 206 kb/s&#xA;    , &#xA;    25 fps, &#xA;    25 tbr, &#xA;    90k tbn, &#xA;    50 tbc&#xA;     (default)&#xA;        Metadata:&#xA;          handler_name    : &#xA;    VideoHandler&#xA;        Stream #0:1&#xA;    (und)&#xA;    : Audio: aac (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 47 kb/s&#xA;     (default)&#xA;        Metadata:&#xA;          handler_name    : &#xA;    SoundHandler&#xA;Input #1, mov,mp4,m4a,3gp,3g2,mj2, from 'input2.mp4':&#xA;      Metadata:&#xA;        major_brand     : &#xA;    isom&#xA;        minor_version   : &#xA;    512&#xA;        compatible_brands: &#xA;    isomiso2avc1mp41&#xA;title           : &#xA;    617689615538740&#xA;        encoder         : &#xA;    Lavf56.40.101&#xA;      Duration: &#xA;    00:00:15.37&#xA;    , start: &#xA;    -0.022109&#xA;    , bitrate: &#xA;    392 kb/s&#xA;        Stream #1:0&#xA;    (und)&#xA;    : Video: h264 (avc1 / 0x31637661), yuv420p, 400x400, 349 kb/s&#xA;    , &#xA;    30 fps, &#xA;    30 tbr, &#xA;    90k tbn, &#xA;    60 tbc&#xA;     (default)&#xA;        Metadata:&#xA;          handler_name    : &#xA;    VideoHandler&#xA;        Stream #1:1&#xA;    (und)&#xA;    : Audio: aac (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 47 kb/s&#xA;     (default)&#xA;        Metadata:&#xA;          handler_name    : &#xA;    SoundHandler&#xA;Input #2, mov,mp4,m4a,3gp,3g2,mj2, from 'input3.mp4':&#xA;      Metadata:&#xA;        major_brand     : &#xA;    isom&#xA;        minor_version   : &#xA;    512&#xA;        compatible_brands: &#xA;    isomiso2avc1mp41&#xA;        encoder         : &#xA;    Lavf57.25.100&#xA;      Duration: &#xA;    00:00:05.97&#xA;    , start: &#xA;    0.000000&#xA;    , bitrate: &#xA;    770 kb/s&#xA;        Stream #2:0&#xA;    (und)&#xA;    : Audio: aac (mp4a / 0x6134706D), 22050 Hz, stereo, fltp, 128 kb/s&#xA;     (default)&#xA;        Metadata:&#xA;          handler_name    : &#xA;    SoundHandler&#xA;        Stream #2:1&#xA;    (und)&#xA;    : Video: h264 (avc1 / 0x31637661), yuv420p, 368x480, 608 kb/s&#xA;    , &#xA;27.29 fps, &#xA;    120 tbr, &#xA;    12k tbn, &#xA;    60 tbc&#xA;     (default)&#xA;        Metadata:&#xA;          handler_name    : &#xA;    VideoHandler&#xA;Stream mapping:&#xA;      Stream #0:0 (h264) -&amp;gt; crop&#xA;      Stream #0:1 (aac) -&amp;gt; aformat&#xA;      Stream #1:0 (h264) -&amp;gt; crop&#xA;      Stream #1:1 (aac) -&amp;gt; aformat&#xA;      Stream #2:0 (aac) -&amp;gt; aformat&#xA;      Stream #2:1 (h264) -&amp;gt; crop&#xA;      overlay&#xA;     -&amp;gt; Stream #0:0 (libx264)&#xA;      amix&#xA;     -&amp;gt; Stream #0:1 (aac)&#xA;    Press [q] to stop, [?] for help&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30152" LastEditorUserId="30152" LastEditDate="2020-07-16T10:03:48.817" LastActivityDate="2022-04-22T11:59:52.390" Title="ffmpeg amix filter command execution never stops" Tags="|ffmpeg|android|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30855" PostTypeId="2" ParentId="30854" CreationDate="2020-07-16T11:12:47.547" Score="1" Body="&lt;p&gt;Upgrade to v 4.3 and limit the duration of the base layer, which is infinite, by default. Audio is fine.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.mp4 -i input2.mp4 -i input3.mp4 -filter_complex &#xA;nullsrc=size=960x304,trim=0:1 [base];&#xA;[0:v] crop=min(iw\,320):304:(iw-min(iw\,320))/2:0 [v0];&#xA;[1:v] crop=min(iw\,320):304:(iw-min(iw\,320))/2:0 [v1];&#xA;[2:v] crop=min(iw\,320):304:(iw-min(iw\,320))/2:0 [v2];&#xA;[base][v0] overlay=x=0:y=0[tmp0];&#xA;[tmp0][v1] overlay=x=320:y=0[tmp1];&#xA;[tmp1][v2] overlay=x=640:y=0[tmp2];&#xA;[0:a][1:a][2:a]amix=inputs=3:duration=longest[audio] &#xA;-map [tmp2] -map [audio] -c:v libx264 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-07-16T11:12:47.547" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30856" PostTypeId="1" CreationDate="2020-07-16T11:37:23.863" Score="3" ViewCount="917" Body="&lt;p&gt;I understand from a question &lt;a href=&quot;https://superuser.com/questions/1569102/is-it-possible-to-cut-an-h-264-stream-anywhere-without-re-encoding&quot;&gt;here&lt;/a&gt; that keyframes can (and do) occur anywhere in an h.264 stream, so I'm wondering why most of the advice I see where users want to cut on a specific time or frame (that is not a key frame) is that they'll have to go to the next/previous keyframe and start cutting from there if they want to do a straight stream copy,&lt;/p&gt;&#xA;&lt;p&gt;Is it possible to make ffmpeg cut anywhere, from any frame and if it just so happens that the start frame is not a keyframe, then seek back to the nearest keyframe, then work forwards composing a new keyframe that will be used much nearer to the non-keyframe the user wants to start from?&lt;/p&gt;&#xA;&lt;p&gt;For example if we have rules that a keyframe &lt;code&gt;K&lt;/code&gt; must be followed by a pattern of any number of &lt;code&gt;n&lt;/code&gt; and &lt;code&gt;o&lt;/code&gt; starting with &lt;code&gt;n&lt;/code&gt;, and the user wants to cut on some &lt;code&gt;o&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;KnononononoKnononononoKnonononono&#xA;      ^                                 //and the user wants to cut on an o&#xA;&#xA;    knononoKnononononoKnonononono       //use Knono to generate a new k, place it near the o&#xA;           '&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And then just encode this new keyframe plus original non keyframes &lt;code&gt;knonono&lt;/code&gt; and then start stream copying from the frame above the apostrophe?&lt;/p&gt;&#xA;&lt;p&gt;Does the encoding of the whole of the second &lt;code&gt;Knonononono&lt;/code&gt; rely on some output from the first and hence there's a chaining effect/replacing the first block ruins the stream? (And if so then how does cutting on an existing keyframe help in that regard?)&lt;/p&gt;&#xA;" OwnerUserId="29751" LastEditorUserId="18155" LastEditDate="2020-08-15T17:08:46.803" LastActivityDate="2020-08-15T17:08:46.803" Title="Can ffmpeg calculate a new starting keyframe when being asked to split/copy on a non-keyframe?" Tags="|ffmpeg|mp4|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30857" PostTypeId="2" ParentId="30856" CreationDate="2020-07-16T16:41:41.450" Score="1" Body="&lt;p&gt;In principle, this is possible, and is usually called &amp;quot;smart&amp;quot; encoding or rendering in the video editors / apps that offer this facility, typically in limited circumstances. FFmpeg does not have support for it.&lt;/p&gt;&#xA;&lt;p&gt;The main complication is that the parameters of the encoded portion has to match the coding parameters of the existing stream. That is specific to each codec, and ffmpeg supports hundreds of video codecs. It would require significant redesign to parts of ffmpeg to have different handling for parts of an output stream, and to correctly parse the existng stream and ensure a compatible encoding. It's quite a bit of work and testing required for a feature that can be accomplished manually using a few more commands i.e. segmenting the input file, transcoding the changed /trimmed portions, and stitching the transcoded and old segments.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-07-16T16:41:41.450" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30858" PostTypeId="1" AcceptedAnswerId="30862" CreationDate="2020-07-16T22:30:20.677" Score="1" ViewCount="36" Body="&lt;p&gt;The problem I am facing is I have too much of footage of which only 10% is going to be used for editing.&lt;/p&gt;&#xA;&lt;p&gt;I don't want to store tons of footage which is not going to be used.&lt;/p&gt;&#xA;&lt;p&gt;The most reasonable idea which comes to my mind is to run through all the footage, trim the bits ( which I would like to use in ONE or MORE future videos ) and save this trimmed compilation as a file for use in the future, 'open and pick up what I need' clip compilation file.&lt;/p&gt;&#xA;&lt;p&gt;So the question is:&lt;/p&gt;&#xA;&lt;p&gt;What would be the best approach to save space and time in filtering out the usable footage and getting rid of the footage that is never going to be used?&lt;/p&gt;&#xA;" OwnerUserId="30588" LastEditorUserId="30588" LastEditDate="2020-07-16T22:36:04.727" LastActivityDate="2020-07-17T08:02:13.700" Title="How to filter out footage into one clip" Tags="|video|premiere|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30859" PostTypeId="1" CreationDate="2020-07-17T01:23:23.490" Score="1" ViewCount="450" Body="&lt;p&gt;I am working with gameplay footage from simulation games.  Because they are simulations, even when well-optimized there are often framerate drops when the simulation becomes too computationally intensive for the hardware.  I would like to remove these duplicate frames so the final video actually plays faster during these times, and at the same time remove the quietest audio adjacent to the removed duplicate frames so the audio does not go far out of sync.  I have been able to do this in the past, but only by exporting the entire video as a series of images and the audio as a .WAV file and writing a program that compares frames and audio volumes and removes the parts I want removed and then reassembling what's left into a video.  However, this took an inordinate amount of hard drive space.  I notice however there is a filter called mpdecimate in ffmpeg, and I've been experimenting with it, but I can't quite get it to do what I want.&lt;/p&gt;&#xA;&lt;p&gt;I've successfully used the following command to have it report which frames it believes are duplicates:&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -i %1 -vf mpdecimate -loglevel debug -f null - 2&amp;gt; dupes&lt;/p&gt;&#xA;&lt;p&gt;I then run a program I wrote which uses the list of duplicate frames to produce a shortened audio file with the correct length for a video with all those duplicated frames removed, but playing at the original framerate.  If I export the frames as image files and then use those image files and the audio together to make a video, it works.  But I can't for the life of me figure out how to get ffmpeg to create a similar video without the intermediate step of all those image files.  If I use setpts to set the framerate to what I want the new video to play at, or try to use -map to lay in my new audio, mpdecimate fails to drop any of the frames it said it was going to drop and produces a video the full length of the original instead, which of course my shortened audio does not sync with.&lt;/p&gt;&#xA;" OwnerUserId="30589" LastActivityDate="2020-07-17T01:23:23.490" Title="Can ffmpeg be used to automatically tighten video by removing duplicate frames and quiet audio simultaneously?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30860" PostTypeId="2" ParentId="30790" CreationDate="2020-07-17T01:54:46.553" Score="0" Body="&lt;p&gt;As a quick idea I would try to delete the Optimized, Proxy and/or rendered media, let FCPX create all new and see if that makes a difference.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://support.apple.com/guide/final-cut-pro/manage-render-files-ver68a8c250/mac&quot; rel=&quot;nofollow noreferrer&quot;&gt;Manage render files in Final Cut Pro&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-07-17T01:54:46.553" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30862" PostTypeId="2" ParentId="30858" CreationDate="2020-07-17T07:55:45.387" Score="1" Body="&lt;p&gt;There are 2 solutions:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Create a sequence with all assets that have not been used so far, but which you would like to keep. Next, use the Project Manager to export all relevant files to a new location (your archive) and have &amp;quot;Exclude unused Clips&amp;quot; checked. You may choose to do 2 exports: one with all the sequences for the main video except the extra sequence and another with only the extra assets sequence. When done, delete the original project folder.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use a metadata attribute to mark which assets you do not want to keep. In the project panel, select list view and sort by that metadata column. Or you may move all the extra assets in other bins. For each bin select all the assets marked as unwanted and right click on Make Offline and select the delete option.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I think the first approach will be faster in most cases.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2020-07-17T08:02:13.700" LastActivityDate="2020-07-17T08:02:13.700" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30863" PostTypeId="2" ParentId="30243" CreationDate="2020-07-17T13:24:47.407" Score="0" Body="&lt;p&gt;If I interpret your timeline correctly, your video pieces are way shorter than 0.5sec. I would guess, they approx 1/60 sec long. So depending on the rendered framerate and exact the position of the pieces, the image may stay dark. I would suggest you extend your video pieces to the desired length of 0.5sec, that should solve the issue.&lt;/p&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2020-07-17T13:24:47.407" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30864" PostTypeId="1" CreationDate="2020-07-17T16:45:24.633" Score="3" ViewCount="4221" Body="&lt;p&gt;I have a pretty specific requirement for a plugin to detect stillness. I'm shooting a lot of screencasts and the shooting process leaves lots of pauses, which must be removed in the edit.&lt;/p&gt;&#xA;&lt;p&gt;I'm a developer, so a script to detect n frames where each frame is a duplicate of the prior, would be ideal.&lt;/p&gt;&#xA;&lt;p&gt;Can someone point me in the direction of either a scripting API, or (better yet) a plugin that does this already .. or a plugin library I can search for one?&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="30594" LastActivityDate="2021-04-15T18:05:42.633" Title="Looking to write a DaVinci Resolve plugin" Tags="|davinci-resolve|plugins|script|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30865" PostTypeId="2" ParentId="30864" CreationDate="2020-07-17T20:57:06.510" Score="5" Body="&lt;p&gt;The Resolve scripting API comes with DaVinci Resolve Studio.  The most platform-agnostic way of finding it is through the Resolve &amp;quot;help&amp;quot; menu, under Help-&amp;gt;Documentation-&amp;gt;Developer.  This will open a folder in your system browser which contains scripting examples for LUA, PYTHON, OFX, and more.  The README.txt file in the scripting folder contains a list of commonly used API functions.&lt;/p&gt;&#xA;&lt;p&gt;User julian_b has posted pretty printed versions of this text file on the Resolve user forums, but as he warns, those versions may not be the most current. &lt;a href=&quot;https://forum.blackmagicdesign.com/viewtopic.php?f=21&amp;amp;t=99270&quot; rel=&quot;noreferrer&quot;&gt;Formatted Resolve Python API Docs&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Also, you'll want to get your hands on the &lt;a href=&quot;https://documents.blackmagicdesign.com/UserManuals/Fusion8_Scripting_Guide.pdf&quot; rel=&quot;noreferrer&quot;&gt;Fusion 8 Scripting Guide and Reference Manual.pdf&lt;/a&gt; .  Much of Resolve's scripting power came with the acquisition of eyeon Fusion, which is now integrated within Resolve, and its constituent classes and methods are contained within a &amp;quot;Fusion&amp;quot; scriptable object.&lt;/p&gt;&#xA;&lt;p&gt;There's an active community of Fusion users who maintain a very supportive forum with helpful scripting resources at &lt;a href=&quot;https://www.steakunderwater.com/wesuckless/&quot; rel=&quot;noreferrer&quot;&gt;steakunderwater.com/wesuckless&lt;/a&gt;.  (There's a long history behind the strange domain name, which comes from the eyeon days).  There, you'll find the Suck Less Fusion Bug Tracker, the &amp;quot;Scripting, Fuses, and Macros&amp;quot; subforum, and Reactor, a Fusion plugin package manager, which contains more helpful links to resources, as well as its own helpful scripting examples.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;or (better yet) a plugin that does this already .. or a plugin library I can search for one?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Reactor is the place you'd find one already built, if one exists already.  It would also be the place to share one which you create.  When you're ready to deploy, the site admin, Secondman frequently helps new developers bundle their packages for Reactor.&lt;/p&gt;&#xA;&lt;p&gt;While WSL and Reactor aren't &amp;quot;official&amp;quot; documentation, its volunteers are active, supportive, and passionate experts, whose guidance is invaluable, and I cannot recommend highly enough.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-07-17T21:16:45.163" LastActivityDate="2020-07-17T21:16:45.163" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30866" PostTypeId="1" CreationDate="2020-07-18T00:19:24.630" Score="2" ViewCount="933" Body="&lt;p&gt;I am about to start a channel on YouTube.&lt;/p&gt;&#xA;&lt;p&gt;There will be occasions that I will drive while recording my path with an indoor (inside car) camera.  I thought that it could be great if I put a tiny square on the corner of the video with the GPS tracking corresponding to my car path.&lt;/p&gt;&#xA;&lt;p&gt;Is it possible? What do I need to do it?&lt;/p&gt;&#xA;" OwnerUserId="30598" LastEditorUserId="4426" LastEditDate="2020-09-14T19:14:32.333" LastActivityDate="2021-03-18T10:26:30.340" Title="How to put your GPS track in a video?" Tags="|editing|video-recording|youtube|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30868" PostTypeId="1" CreationDate="2020-07-19T16:14:56.430" Score="0" ViewCount="282" Body="&lt;p&gt;I am creating a video clip of pictures, and when I edit them in FCPX, I get on both sides a black bar. is there a way to get rid of them? it doest look that professional to have those bars.&lt;/p&gt;&#xA;&lt;p&gt;thx!&lt;/p&gt;&#xA;&lt;p&gt;Benji&lt;/p&gt;&#xA;" OwnerUserId="27977" LastActivityDate="2024-03-30T23:04:00.530" Title="how to change video size in Final Cut Pro" Tags="|fcpx|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30869" PostTypeId="1" CreationDate="2020-07-19T16:44:48.393" Score="1" ViewCount="42" Body="&lt;p&gt;I used VSDC to apply chroma key (i.e. make the green screen transparent) to a video and placed a background image on the layer below the video. Now I would like to apply a transition, such as &amp;quot;Page turn&amp;quot;. Of course, I want the transition to treat the video and the background together as a unit, not each one disappear on its own (i.e. one page turn, not two page turns). How can I achieve this?&lt;/p&gt;&#xA;" OwnerUserId="30612" LastActivityDate="2020-07-19T16:44:48.393" Title="VSDC: make transition treat the video and the background image together as a unit" Tags="|video-editor|transitions|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30870" PostTypeId="2" ParentId="30868" CreationDate="2020-07-19T16:50:50.107" Score="0" Body="&lt;p&gt;The aspects ratio of your source material does not match the aspect ratio of your output device. That's not unprofessional, as you say it. Often it is just inevitable. Go watch a movie on any streaming platform and you surely will see black bars. Probably at the top and bottom, not the sides but it's the same problem.&lt;/p&gt;&#xA;&lt;p&gt;Anyway, you have two options:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Crop the photos to reduce the height while keeping the same width until it matches the aspect ratio of your output device. If it's a computer monitor it will be probably 16:10 or 16:9. That means for each 16 pixel in width you need 10 or 9 pixel in height.  I recommend to do it manually for each photo. Another option is to combine several photos in one mashup or panorama if applicable.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Get another output device that has the same aspect ratio as your photos. However, I think this will be much harder.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;With some cameras you can set the aspect ratio beforehand, so for the future, there is the option to shoot with your target ratio.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-07-19T16:50:50.107" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30873" PostTypeId="1" AcceptedAnswerId="30876" CreationDate="2020-07-19T00:42:42.210" Score="0" ViewCount="196" Body="&lt;p&gt;Alright, there are many tutorials on audio spectrums in AE, like &lt;a href=&quot;https://www.youtube.com/watch?v=H_-aycDYsJM&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.youtube.com/watch?v=H_-aycDYsJM&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I want to make a visualizer like this, however, where the waves more mimic sine waves: &lt;a href=&quot;https://dribbble.com/shots/3364622-Sound-Waves&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://dribbble.com/shots/3364622-Sound-Waves&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Ive tried flipping this switch in AE, but this doesnt give me the desired result, especially w the secondary waves of less opacity next to the main wave-&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/s2hsb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s2hsb.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I accomplish this and have it be reactive to audio?&lt;/p&gt;&#xA;" OwnerUserId="26636" OwnerDisplayName="skyguy" LastEditorUserId="1950" LastEditDate="2020-07-20T12:34:26.373" LastActivityDate="2020-07-20T12:48:26.360" Title="AfterEffects: How to make audio sine waves like this?" Tags="|after-effects|audio|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30874" PostTypeId="1" CreationDate="2020-07-20T08:32:54.043" Score="0" ViewCount="2442" Body="&lt;p&gt;I have a video (MP4/AVC) that is in 2:1 aspect ratio and uses equirectangular projection for a spherical video (often called &amp;quot;360° video&amp;quot;).&lt;/p&gt;&#xA;&lt;p&gt;VLC can play spherical videos since version 3.0.0. Through conversion the video in question has &amp;quot;lost&amp;quot; the required metadata to be recognized as a spherical video with equirectangular projection.&lt;/p&gt;&#xA;&lt;p&gt;I'm not sure which and what metadata to add to the video, in order to fix the video file, such that it is correctly recognized as a spherical video.&lt;/p&gt;&#xA;&lt;p&gt;This is what I've tried so far, but it didn't work:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c copy -metadata ProjectionType=equirectangular fixed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Unfortunatelly, this didn't fix the issue.&lt;/p&gt;&#xA;&lt;p&gt;After googling around, I was led to believe, that I may fix the issue with MP4Box off the &lt;a href=&quot;https://gpac.wp.imt.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;GPAC&lt;/a&gt; project, however I'm not sure where to start. I was led to believe it's not just fixable with simply adding metadata, instead I'd need to change the container types?&lt;/p&gt;&#xA;&lt;p&gt;In any event, I'd like a solution that uses &lt;code&gt;ffmpeg&lt;/code&gt; and/or &lt;code&gt;MP4Box&lt;/code&gt; as those tools are readily available to me.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;(this question has been originally posted on unix.SE, but I had no answers or comments there, and I figured it's more in line with this than using Linux)&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="26156" LastActivityDate="2024-02-25T22:06:00.777" Title="How to turn video with spherical, equirectangular projection into an actual &quot;360° video&quot; playable with VLC?" Tags="|ffmpeg|file-formats|360video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30875" PostTypeId="1" CreationDate="2020-07-20T12:34:19.293" Score="1" ViewCount="230" Body="&lt;p&gt;&lt;strong&gt;Background&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm trying to make an AE animation to visualize some data. Since the raw data I'm using comes in json files and needs to be parsed and analyzed to find useful statistics, I'm using a java program to import all the json and export .csv files for After Effects. I've managed to run through this workflow once already, importing json, exporting csv, and writing AE scripts to read the data from the CSV and calculate object movements on the timeline.&lt;/p&gt;&#xA;&lt;p&gt;However, when I went to make some changes to how the animation worked, I decided to create a &lt;code&gt;config.properties&lt;/code&gt; file that the Java program reads to adjust some settings when creating the CSVs. My intention was that After Effects could read the same file, figure out what settings Java had been using, and parse the CSV accordingly. I figured it wasn't going to be as easy to read the file in AE as it had been in Java, but I hadn't anticipated not being able to import it. I've gotten either errors saying I need Adobe Animate CC to import a .fla file (it's not .fla and I can't imagine why I should need to download that, although I can if necessary) and just plain crashing.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;I tried Googling and&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;At this point I thought that maybe the best course of action would be to write a short Java script that parses the config.properties file and rewrites it as a csv in the form &lt;code&gt;&amp;quot;string&amp;quot;,value&lt;/code&gt; on each line while removing all of the comments, but having to parse my own config file kinda defeats the point of writing my own config file for both programs... I also like the .properties format, allowing me to use &lt;code&gt;#&lt;/code&gt; for comments and define constants in the form &lt;code&gt;variable: 0&lt;/code&gt; or &lt;code&gt;variable: &amp;quot;abc&amp;quot;&lt;/code&gt;. I didn't actually ever parse it out of the .properties file because I realized that is probably a terrible solution, and instead I came here.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;TL;DR&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;What is the best way to create a configuration file, composed of user-readable comments, variable names, and string/numerical declarations for those variables, which can be read by my Java program and After Effects, such that I will only need to make a change to one config setting, rerun Java, and then reexport my animation to have something completely new?&lt;/p&gt;&#xA;&lt;p&gt;Since Java is obviously more flexible here, I'm mostly interested in a good non-laggy AE solution that will ideally require minimal modification to my Java setup.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Some random notes&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I found from another Stack Exchange question that it's possible to import a file from an after effects expression, but they named two major problems for me: the inability to reference that file &lt;em&gt;relative&lt;/em&gt; to my project (the project directory will move and I'd prefer to not have to make many changes in that case) and it re-imports the file every frame, which would simply destroy my already painstakingly slow animation.&lt;/li&gt;&#xA;&lt;li&gt;I need to be able to modify everything in the config file. While it can be assumed that once I reference a variable in the AE script that variable will always be present with the same name, its line number may shift as I add new comments and variables.&lt;/li&gt;&#xA;&lt;li&gt;I tried changing the file to .txt, which allowed After Effects to read it (and Java has no problem with any random file extension), but I just get a list of the contents of line that I can reference individually and doesn't respond to the creation of new lines in the config file. In other words, useless.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Here's an example screenshot from my existing config.properties file. Obviously these aren't real values. I'm not that stupid. They're just examples of all the data types I'm using at the moment. Notably Java just reads all of these as strings and then I have to go tell it if it's an integer or whatnot. Since this is all a personal project I'm putting 0 effort into stopping it from breaking if I replace stuff with random unexpected data types.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hsB8g.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hsB8g.png&quot; alt=&quot;config.properties screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30622" LastActivityDate="2024-04-02T19:06:05.670" Title="Best way to create external alterable configuration file to be read by After Effects and Java" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30876" PostTypeId="2" ParentId="30873" CreationDate="2020-07-20T12:37:32.020" Score="0" Body="&lt;p&gt;Try using the analog lines, but turn up the number of frequency bands, a &lt;em&gt;LOT&lt;/em&gt;. Like to a thousand or so. To get single lines use side a or side b in the side options. You can also change the upper and lower frequencies to focus more on parts of the audio that are interesting. Then repeat with different settings to achieve multiple lines.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-07-20T12:48:26.360" LastActivityDate="2020-07-20T12:48:26.360" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30878" PostTypeId="1" AcceptedAnswerId="30879" CreationDate="2020-07-20T17:32:12.353" Score="0" ViewCount="6188" Body="&lt;p&gt;Is that possible to generate mask from Layer Alpha Channel?&lt;/p&gt;&#xA;&lt;p&gt;I want to quick select this image for masking.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rdpd5.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rdpd5.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30068" LastActivityDate="2020-07-20T19:39:56.950" Title="How to quick select PNG image for masking in After Effects?" Tags="|after-effects|mask|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30879" PostTypeId="2" ParentId="30878" CreationDate="2020-07-20T19:39:56.950" Score="1" Body="&lt;p&gt;Found a solution. Maybe someone will need it.&lt;/p&gt;&#xA;&lt;p&gt;Layer -&amp;gt; Auto-Trace&lt;/p&gt;&#xA;" OwnerUserId="30068" LastActivityDate="2020-07-20T19:39:56.950" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30881" PostTypeId="2" ParentId="30576" CreationDate="2020-07-21T13:45:05.120" Score="0" Body="&lt;p&gt;I don't know if it is &amp;quot;the best&amp;quot; because that is a relative term. But a great option is VirtualDub2.&lt;/p&gt;&#xA;&lt;p&gt;It is a GUI, preview the cropped result and you can directly stream the audio so it does not recompress for example.&lt;/p&gt;&#xA;&lt;p&gt;You can also resample the rendered video because cropping changes the dimensions of it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/p9JwX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/p9JwX.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-07-21T13:45:05.120" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30884" PostTypeId="2" ParentId="30848" CreationDate="2020-07-21T20:16:05.627" Score="2" Body="&lt;p&gt;Did you try bouncing the light off of the ceiling? Make sure none of the light is visible in a direct line to the blackboard. You will need more light to get the same exposure, but, if you don't have more lights, more exposure might still work.&lt;/p&gt;&#xA;" OwnerUserId="10482" LastActivityDate="2020-07-21T20:16:05.627" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30885" PostTypeId="1" CreationDate="2020-07-21T20:49:16.277" Score="1" ViewCount="34" Body="&lt;p&gt;This is my first time posting, but i'll try to stay concise&lt;/p&gt;&#xA;&lt;p&gt;For the last 5 days, I've tried recreating my magic system in After Effects in order to make a guide explaining how it works. Because understanding the aestethics of my magic is important to this topic, i'll quickly talk about it:&lt;/p&gt;&#xA;&lt;p&gt;The Logos is the art of drawing 3D objects using dots and lines. Pretty simple right? Well, here are some rules about the drawing:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;First, you need to have a bunch of small, blue, semitransparent circles called Logya.&lt;/li&gt;&#xA;&lt;li&gt;Then, you can connect the dots with blue lines, which is what allows object creation.&lt;/li&gt;&#xA;&lt;li&gt;Every time you form a closed shape, a solid semitransparent layer forms. This lets the user create solid items like swords and shields.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;In my guide i want to show off the two ways my magic system can look (a sword and a bunch of particles moving around), but i've had varying degrees of success on each. After a bit of googling, I found a plugin called &lt;a href=&quot;https://www.redgiant.com/products/trapcode-particular/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Trapcode Particular&lt;/a&gt; that perfectly suited my needs for creating the particles and this is what i managed to create with it:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Q6ko3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Q6ko3.png&quot; alt=&quot;Neat!&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Unfortunately, i didn't have the same luck with the sword. My friend drew a sword for me to base myself, but as you'll see i wasn't able to replicate the desired effect.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ix8ut.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ix8ut.png&quot; alt=&quot;Logos Sword&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I found a plugin named &lt;a href=&quot;https://www.rowbyte.com/plexus&quot; rel=&quot;nofollow noreferrer&quot;&gt;Plexus&lt;/a&gt; that excels in creating dot and line graphics, but one of the problems i found was that it lacked flexibility, seeing that i couldn't chose which lines connected to which dots or where i wanted the dots to spawn.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VOZWi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VOZWi.png&quot; alt=&quot;Plexus sword 1&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/mihNt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mihNt.png&quot; alt=&quot;Plexus sword 2&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I created a mask and added the effect on top, but i could only 'fill' the mask's outline by creating a ton of dots and lines that i didn't want. The closest i got was creating a small trapezoid with my hands using motion tracking:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XdTI6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XdTI6.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Note the semitransparent layer, the blue dots and lines that my system requires. However, there are still way too many lines for a simple trapezoid because i can't decide where the lines appear, same thing for the layers.&lt;/p&gt;&#xA;&lt;p&gt;I thought of creating a bunch of dots and simply connecting them with lines, but i wouldn't know how to add the blue layer. That being said, i would appreciate any advice or links to techniques/plugins i could use to help me out!&lt;/p&gt;&#xA;" OwnerUserId="30644" LastActivityDate="2020-07-22T09:29:57.927" Title="Need help finding plugins/techniques to recreate my magic system in After Effects" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30886" PostTypeId="1" AcceptedAnswerId="30896" CreationDate="2020-07-21T21:02:55.053" Score="3" ViewCount="1493" Body="&lt;p&gt;I recently purchased an Apple Pro XDR display that has an HDR reference mode specified as follows:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;HDR Video (P3-ST 2084)&lt;/strong&gt;&#xA;Use this mode for 4K or ultra high-definition&#xA;video production workflows up to 1000 nits (full-screen sustained)&#xA;using the wide color P3 primaries and the high-dynamic-range SMPTE&#xA;ST-2084 EOTF. This mode is designed for controlled viewing&#xA;environments set up per ITU-R BT.2100.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;When exporting raw files using the Canon Cinema RAW Development tool to ProRes 4444 for post production in Premiere I can choose the colour space and gamma.&lt;/p&gt;&#xA;&lt;p&gt;Am I correct to assume that &lt;em&gt;DCI-P3&lt;/em&gt; is the right color space to choose?&lt;/p&gt;&#xA;&lt;p&gt;And what gamma should I select? The only choices I have with this color space are&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Canon Log 2&lt;/li&gt;&#xA;&lt;li&gt;Canon Log 3&lt;/li&gt;&#xA;&lt;li&gt;DCI&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Should I ideally be using a different gamma for the ST-2084 standard or does it not matter?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/v1PXY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/v1PXY.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/VF86O.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VF86O.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30518" LastActivityDate="2020-07-22T22:41:22.233" Title="Correct gamma for SMPTE ST-2084 EOTF" Tags="|color-correction|color-grading|colorspace|raw|gamma|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30887" PostTypeId="1" AcceptedAnswerId="30890" CreationDate="2020-07-21T23:41:58.887" Score="3" ViewCount="401" Body="&lt;p&gt;Does anyone know how to achieve the specific wobble of the VHS tape that can be seen here: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/3yIqr5ysUBI?start=39&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;(it's throughout the video, but you can best see it if you look at the &amp;quot;Radio Shack&amp;quot; letters.)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/072Gp.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/072Gp.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is it some sort of turbulent displace effect?&lt;/p&gt;&#xA;&lt;p&gt;Note: I have Red Giant's VHS effect and have tried countless other plugins and presets and none of them have the option to produce realistic VHS wobble like this one.&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="30647" LastActivityDate="2020-07-22T09:06:32.020" Title="VHS Wobble After Effects" Tags="|after-effects|premiere|visual-effects|vhs|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30888" PostTypeId="1" CreationDate="2020-07-22T01:19:56.557" Score="0" ViewCount="1343" Body="&lt;p&gt;I want to find video file duration only with &lt;a href=&quot;https://ffmpeg.org/ffprobe.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffprobe&lt;/a&gt; but&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe FILENAME.EXT 2| find &amp;quot;Duration:&amp;quot; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;does not filter output to show just the line with &lt;strong&gt;&amp;quot;Duration:&amp;quot;&lt;/strong&gt;  Instead, I got:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Argument '2' provided as input filename, but 'FILENAME.MP4' was&#xA;already specified.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;How do I see just the duration of a file from the Windows command prompt?&lt;/p&gt;&#xA;" OwnerUserId="30421" LastEditorUserId="30421" LastEditDate="2020-08-18T09:31:08.090" LastActivityDate="2020-08-28T19:01:04.680" Title="Find duration only with ffprobe in Windows" Tags="|ffmpeg|windows|script|command-line|ffprobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30889" PostTypeId="2" ParentId="30888" CreationDate="2020-07-22T07:00:04.890" Score="2" Body="&lt;p&gt;First, if you just want information about a file, you should probably use &amp;quot;ffprobe&amp;quot;, not &amp;quot;ffmpeg&amp;quot;. Otherwise you'll get an answer, but you'll also have an error return status.&lt;/p&gt;&#xA;&lt;p&gt;As to your real question: By convention, ffmpeg reserves STDOUT for binary video and audio data &lt;em&gt;only&lt;/em&gt;. Everything else, including all the possible kinds of informative text, is sent to STDERR.&lt;/p&gt;&#xA;&lt;p&gt;So, try changing your code to:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffprobe FILENAME.EXT 2| find &amp;quot;Duration:&amp;quot;&lt;/code&gt;  (for a *nix shell)&lt;/p&gt;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffprobe.exe FILENAME.EXT 2&amp;gt;&amp;amp;1 | findstr Duration&lt;/code&gt; (for a Windows shell)&lt;/p&gt;&#xA;" OwnerUserId="30649" LastEditorUserId="30649" LastEditDate="2020-08-28T19:01:04.680" LastActivityDate="2020-08-28T19:01:04.680" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30890" PostTypeId="2" ParentId="30887" CreationDate="2020-07-22T09:06:32.020" Score="2" Body="&lt;p&gt;Replicating an accurate VHS-look is a complicated profession, but if you are not worried about the technical accuracy you could emulate it like this:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Create a solid called &amp;quot;Displace-Map&amp;quot;&lt;/li&gt;&#xA;&lt;li&gt;Apply turbulent noise to it&lt;/li&gt;&#xA;&lt;li&gt;set the scaling to something huge in the x-axis and something reasonable (100%) on the y-axis.&lt;/li&gt;&#xA;&lt;li&gt;alt-click the stopwatch on &amp;quot;evolution&amp;quot; and enter &amp;quot;time*100&amp;quot;, so that the noise changes with time.&lt;/li&gt;&#xA;&lt;li&gt;Apply &amp;quot;Displacement-Map&amp;quot; to the layer you're trying to displace&lt;/li&gt;&#xA;&lt;li&gt;Set your &amp;quot;Displace-Map&amp;quot;-layer as the displace-map in the effect&lt;/li&gt;&#xA;&lt;li&gt;Dial up the displacement until it looks about right&lt;/li&gt;&#xA;&lt;li&gt;Don't forget to hide the Displace-Map solid and select &amp;quot;Masks&amp;amp;Effects&amp;quot; under the settings in the Displacement-Map effect, so it also reads the turbulent noise.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;You might want to adjust the speed of the turbulent noise. To do that, just up the number you multiply time with in the evolution-expression.&lt;/p&gt;&#xA;&lt;p&gt;I hope this helped, cheers!&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-22T09:06:32.020" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30891" PostTypeId="2" ParentId="30885" CreationDate="2020-07-22T09:21:37.990" Score="0" Body="&lt;p&gt;I'm not sure how far you will get with it, and it might be tedious when dealing with many vertices, but here's one method only using shapes and solids (no plugins needed):&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Create a round shape (this will be your dot)&lt;/li&gt;&#xA;&lt;li&gt;Create a second shape. We will now try to connect Dot1 and Dot2&lt;/li&gt;&#xA;&lt;li&gt;Create a solid&lt;/li&gt;&#xA;&lt;li&gt;Apply the &amp;quot;Beam&amp;quot; effect on the solid&lt;/li&gt;&#xA;&lt;li&gt;Set the thickness, color and softness according to your design&lt;/li&gt;&#xA;&lt;li&gt;Now press &amp;quot;p&amp;quot; to bring up the &amp;quot;position&amp;quot; properties for every layer&lt;/li&gt;&#xA;&lt;li&gt;Select your solid and press &amp;quot;e&amp;quot; to bring up the effects&lt;/li&gt;&#xA;&lt;li&gt;Open up the &amp;quot;beam&amp;quot;-effect. From here, you can use the curly pick-whip to link the starting- and end-point of the beam to the position property of Dot1 and Dot2.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;If this is a viable method for you, I will try and explain how to automate the process and draw the semi-transparent solid between the vertices. I hope this helped :)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-22T09:21:37.990" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30892" PostTypeId="2" ParentId="30885" CreationDate="2020-07-22T09:29:57.927" Score="1" Body="&lt;p&gt;I think you might be better off building the mesh for your sword using a 3D package, like Blender, Cinema 4D or &lt;a href=&quot;https://www.videocopilot.net/products/element2/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Element 3D&lt;/a&gt; from Video CoPilot. Building hundreds of Beams can be very time consuming, and a true 3D renderer might be easier to achieve the look you're going for.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-07-22T09:29:57.927" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30893" PostTypeId="2" ParentId="30848" CreationDate="2020-07-22T12:23:51.057" Score="2" Body="&lt;p&gt;Large area soft lights. Bouncing lights off the ceiling is a good idea.  If you don't have soft lights, you can soften them by placing a diffuser in front of them.  Shower curtains work well for this. (Be aware of fire risks if you're using hot lights).&#xA;Good explanation of hard vs soft light here:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/cSyG-RhZrMU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;Shower curtain diffuser:&#xA;&lt;a href=&quot;https://nofilmschool.com/2014/09/super-cheap-versatile-diy-diffuser-shower-curtain&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://nofilmschool.com/2014/09/super-cheap-versatile-diy-diffuser-shower-curtain&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-07-22T12:23:51.057" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30894" PostTypeId="2" ParentId="30875" CreationDate="2020-07-22T12:33:11.487" Score="0" Body="&lt;p&gt;I would look at Templater Rig to see whether this does a fair amount of what you need.&#xA;&lt;a href=&quot;https://aescripts.com/templater/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://aescripts.com/templater/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can also import JSON files directly into AE without conversion to CSV first:&#xA;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/data-driven-animations.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/after-effects/using/data-driven-animations.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-07-22T12:33:11.487" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30896" PostTypeId="2" ParentId="30886" CreationDate="2020-07-22T21:57:54.750" Score="3" Body="&lt;p&gt;The short answer is:  You don't pick a color space for your RAW material based on what kind of monitor you're using.&lt;/p&gt;&#xA;&lt;p&gt;A color pipeline is a very complicated series of mathematical conversions, which is heavily dependent upon:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The operating system's color management settings, such as .icc device profiles from manufacturers, and/or calibration software.&lt;/li&gt;&#xA;&lt;li&gt;The file recorded by your camera; what settings were used to write the file, the lighting conditions on set, the monitoring conditions on set, whether any in-camera &amp;quot;looks&amp;quot; were used when the file was created, whether those looks should be present in the final image, etc.&lt;/li&gt;&#xA;&lt;li&gt;Your NLE's color management and monitoring settings&lt;/li&gt;&#xA;&lt;li&gt;Your viewing environment.  The light levels and color temperature of a color grading suite are standardized by SMTPE, as well as the color of surrounding walls and furniture.&lt;/li&gt;&#xA;&lt;li&gt;The destination format, monitoring conditions, and viewing environment.  Where do you plan to show your work?  YouTube?  Then rec.709 is probably a safe choice for destination format, but you could still use a larger working color space.  But if you're delivering a feature film to DCI-P3, upstream rec.709 would be a bottleneck.  The same goes for HDR, which is an entirely different beast.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;So, without more information about these factors, and what you're trying to accomplish, there's no right or wrong answer at this stage. The choice you're presented with is essentially:  Which working color space do you want to use for the interpretation of your camera RAW file?  As long as this space is larger than what you intend to deliver, then you could use any of them.  If you're delivering to the internet, using the most common space, then they're all large enough.  OTOH, if you will be the only person watching the output and you want it to look the best it can look on your new monitor, then use a space that's as large as your monitor is capable of reproducing, or larger.&lt;/p&gt;&#xA;&lt;p&gt;Gamma is a different, but similar question.  You don't use a gamma &amp;quot;large enough&amp;quot; to contain a certain set of values like you do with color space.  But the &amp;quot;correct&amp;quot; gamma to chose is dependent upon the gamma your monitor is currently displaying, and the gamma of your destination material.  Ideally, you'd set your monitor to be the same gamma and color space as your intended target.  Here, let me stress, I'm talking about your &lt;em&gt;MONITORING&lt;/em&gt; gamma matching your destination format.  But your &lt;em&gt;working&lt;/em&gt; gamma (the menu item you're asking about) could still be any gamma, or it could be log encoded, or even linear (especially for VFX compositing).&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-07-22T22:41:22.233" LastActivityDate="2020-07-22T22:41:22.233" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30897" PostTypeId="1" CreationDate="2020-07-23T09:36:40.610" Score="0" ViewCount="2602" Body="&lt;p&gt;I've been experimenting with adding WebVTT subtitles to an HLS playlist, but I'm starting to ask myself if what I'm trying to do is actually possible.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;My main file is containing a single video track and 4 audio tracks, both in different languages.&lt;/li&gt;&#xA;&lt;li&gt;I also have 4 subtitle tracks in WebVTT format, one per language.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I'm resizing the file and turning it into transport segments and the HLS playlists using the HLS muxer of FFmpeg 4.2 (Version from the Fedora 32 repos). This works fine, including different variant streams for the languages. Mapping the separate vtt files into the mix doesn't seem to work. Here's what I've been trying to do:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i LFS_000420_heidelberg4sprachen.mp4 \ &#xA;-i LFS_000420_heidelberg4sprachen_ger.vtt \ &#xA;-i LFS_000420_heidelberg4sprachen_eng.vtt \ &#xA;-i LFS_000420_heidelberg4sprachen_fra.vtt \ &#xA;-i LFS_000420_heidelberg4sprachen_spa.vtt \&#xA;-map v -c:v libx264 -b:v 2000k -flags +cgop -g 75 -vf scale=&amp;quot;-2:720&amp;quot; \ &#xA;-preset veryfast -hls_time 3 \ &#xA;-map 0:a:0 -ac 2 -map 0:a:1 -ac 2 -map 0:a:2 -ac 2 -map 0:a:3 -ac 2 -map 1:s:0 -map 2:s:0 -map 3:s:0 -map 4:s:0 \ &#xA;-cc_stream_map &amp;quot;ccgroup:cc,instreamid:CC1,language:ger ccgroup:cc,instreamid:CC2,language:eng ccgroup:cc,instreamid:CC3,language:fra ccgroup:cc,instreamid:CC4,language:spa&amp;quot; \ &#xA;-var_stream_map &amp;quot;v:0,agroup:audio,ccgroup:cc a:0,agroup:audio,language:ger,ccgroup:cc a:1,agroup:audio,language:eng,ccgroup:cc a:2,agroup:audio,language:fra,ccgroup:cc a:3,agroup:audio,language:spa,ccgroup:cc&amp;quot; \ &#xA;-hls_flags append_list -hls_playlist_type event -hls_start_number_source generic -start_number 0 \ &#xA;-master_pl_name test.m3u8 -hls_segment_filename ./heidelberg/segment_%v_%03d.ts heidelberg_720_%v.m3u8 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I also tried using &lt;code&gt;-map 0:v&lt;/code&gt; and &lt;code&gt;-c:0:v&lt;/code&gt; instead of usinst just &lt;code&gt;-v&lt;/code&gt;, but this threw an &amp;quot;Invalid stream specifier&amp;quot; error.&lt;/p&gt;&#xA;&lt;p&gt;The full output of ffmpeg is this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.2.4 Copyright (c) 2000-2020 the FFmpeg developers&#xA; built with gcc 10 (GCC)&#xA; configuration: --prefix=/usr --bindir=/usr/bin --datadir=/usr/share/ffmpeg --docdir=/usr/share/doc/ffmpeg --incdir=/usr/include/ffmpeg --libdir=/usr/lib64 --mandir=/usr/share/man --arch=x86_64 --optflags='-O2 -g -pipe -Wall -Werror=format-security -Wp,-D_FORTIFY_SOURCE=2 -Wp,-D_GLIBCXX_ASSERTIONS -fexceptions -fstack-protector-strong -grecord-gcc-switches -specs=/usr/lib/rpm/redhat/redhat-hardened-cc1 -specs=/usr/lib/rpm/redhat/redhat-annobin-cc1 -m64 -mtune=generic -fasynchronous-unwind-tables -fstack-clash-protection -fcf-protection' --extra-ldflags='-Wl,-z,relro -Wl,--as-needed -Wl,-z,now -specs=/usr/lib/rpm/redhat/redhat-hardened-ld ' --extra-cflags=' ' --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libvo-amrwbenc --enable-version3 --enable-bzlib --disable-crystalhd --enable-fontconfig --enable-frei0r --enable-gcrypt --enable-gnutls --enable-ladspa --enable-libaom --enable-libdav1d --enable-libass --enable-libbluray --enable-libcdio --enable-libdrm --enable-libjack --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libmp3lame --enable-nvenc --enable-openal --enable-opencl --enable-opengl --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-librsvg --enable-libsrt --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libvorbis --enable-libv4l2 --enable-libvidstab --enable-libvmaf --enable-version3 --enable-libvpx --enable-libx264 --enable-libx265 --enable-libxvid --enable-libzimg --enable-libzvbi --enable-avfilter --enable-avresample --enable-libmodplug --enable-postproc --enable-pthreads --disable-static --enable-shared --enable-gpl --disable-debug --disable-stripping --shlibdir=/usr/lib64 --enable-libmfx --enable-runtime-cpudetect&#xA; libavutil      56. 31.100 / 56. 31.100&#xA; libavcodec     58. 54.100 / 58. 54.100&#xA; libavformat    58. 29.100 / 58. 29.100&#xA; libavdevice    58.  8.100 / 58.  8.100&#xA; libavfilter     7. 57.100 /  7. 57.100&#xA; libavresample   4.  0.  0 /  4.  0.  0&#xA; libswscale      5.  5.100 /  5.  5.100&#xA; libswresample   3.  5.100 /  3.  5.100&#xA; libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'LFS_000420_heidelberg4sprachen.mp4':&#xA; Metadata:&#xA;   major_brand     : isom&#xA;   minor_version   : 512&#xA;   compatible_brands: isomiso2avc1mp41&#xA;   encoder         : Lavf58.29.100&#xA; Duration: 00:05:00.03, start: 0.000000, bitrate: 6671 kb/s&#xA;   Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], 6143 kb/s, 25 fps, 25 tbr, 12800 tbn, 50 tbc (default)&#xA;   Metadata:&#xA;     handler_name    : Core Media Video&#xA;   Stream #0:1(ger): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;   Metadata:&#xA;     handler_name    : Core Media Audio&#xA;   Stream #0:2(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;   Metadata:&#xA;     handler_name    : Core Media Audio&#xA;   Stream #0:3(fra): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;   Metadata:&#xA;     handler_name    : Core Media Audio&#xA;   Stream #0:4(spa): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;   Metadata:&#xA;     handler_name    : Core Media Audio&#xA;Input #1, webvtt, from 'LFS_000420_heidelberg4sprachen_ger.vtt':&#xA; Duration: N/A, bitrate: N/A&#xA;   Stream #1:0: Subtitle: webvtt&#xA;Input #2, webvtt, from 'LFS_000420_heidelberg4sprachen_eng.vtt':&#xA; Duration: N/A, bitrate: N/A&#xA;   Stream #2:0: Subtitle: webvtt&#xA;Input #3, webvtt, from 'LFS_000420_heidelberg4sprachen_fra.vtt':&#xA; Duration: N/A, bitrate: N/A&#xA;   Stream #3:0: Subtitle: webvtt&#xA;Input #4, webvtt, from 'LFS_000420_heidelberg4sprachen_spa.vtt':&#xA; Duration: N/A, bitrate: N/A&#xA;   Stream #4:0: Subtitle: webvtt&#xA;Stream mapping:&#xA; Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA; Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA; Stream #0:2 -&amp;gt; #0:2 (aac (native) -&amp;gt; aac (native))&#xA; Stream #0:3 -&amp;gt; #0:3 (aac (native) -&amp;gt; aac (native))&#xA; Stream #0:4 -&amp;gt; #0:4 (aac (native) -&amp;gt; aac (native))&#xA; Stream #1:0 -&amp;gt; #0:5 (webvtt (native) -&amp;gt; webvtt (native))&#xA; Stream #2:0 -&amp;gt; #0:6 (webvtt (native) -&amp;gt; webvtt (native))&#xA; Stream #3:0 -&amp;gt; #0:7 (webvtt (native) -&amp;gt; webvtt (native))&#xA; Stream #4:0 -&amp;gt; #0:8 (webvtt (native) -&amp;gt; webvtt (native))&#xA;Press [q] to stop, [?] for help&#xA;[libx264 @ 0x560770c15700] using SAR=1/1&#xA;[libx264 @ 0x560770c15700] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0x560770c15700] profile High, level 3.1, 4:2:0, 8-bit&#xA;[libx264 @ 0x560770c15700] 264 - core 159 r2999 296494a - H.264/MPEG-4 AVC codec - Copyleft 2003-2020 - http://www.videolan.org/x264.html - options: cabac=1 ref=1 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=2 psy=1 psy_rd=1.00:0.00 mixed_ref=0 me_range=16 chroma_me=1 trellis=0 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=0 threads=6 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=1 keyint=75 keyint_min=7 scenecut=40 intra_refresh=0 rc_lookahead=10 rc=abr mbtree=1 bitrate=2000 ratetol=1.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;[hls @ 0x560770dc7240] Opening './heidelberg/segment_0_001.ts' for writing&#xA;[hls @ 0x560770dc7240] Opening './heidelberg/segment_1_001.ts' for writing&#xA;[hls @ 0x560770dc7240] Opening './heidelberg/segment_2_001.ts' for writing&#xA;[hls @ 0x560770dc7240] Opening './heidelberg/segment_3_001.ts' for writing&#xA;[hls @ 0x560770dc7240] Opening './heidelberg/segment_4_001.ts' for writing&#xA;[mpegts @ 0x560772504dc0] frame size not set&#xA;[mpegts @ 0x560772509940] frame size not set&#xA;[mpegts @ 0x56077250b680] frame size not set&#xA;[mpegts @ 0x5607725937c0] frame size not set&#xA;Output #0, hls, to 'heidelberg_720_%v.m3u8':&#xA; Metadata:&#xA;   major_brand     : isom&#xA;   minor_version   : 512&#xA;   compatible_brands: isomiso2avc1mp41&#xA;   encoder         : Lavf58.29.100&#xA;   Stream #0:0(und): Video: h264 (libx264), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], q=-1--1, 2000 kb/s, 25 fps, 90k tbn, 25 tbc (default)&#xA;   Metadata:&#xA;     handler_name    : Core Media Video&#xA;     encoder         : Lavc58.54.100 libx264&#xA;   Side data:&#xA;     cpb: bitrate max/min/avg: 0/0/2000000 buffer size: 0 vbv_delay: -1&#xA;   Stream #0:1(ger): Audio: aac (LC), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;   Metadata:&#xA;     handler_name    : Core Media Audio&#xA;     encoder         : Lavc58.54.100 aac&#xA;   Stream #0:2(eng): Audio: aac (LC), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;   Metadata:&#xA;     handler_name    : Core Media Audio&#xA;     encoder         : Lavc58.54.100 aac&#xA;   Stream #0:3(fra): Audio: aac (LC), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;   Metadata:&#xA;     handler_name    : Core Media Audio&#xA;     encoder         : Lavc58.54.100 aac&#xA;   Stream #0:4(spa): Audio: aac (LC), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;   Metadata:&#xA;     handler_name    : Core Media Audio&#xA;     encoder         : Lavc58.54.100 aac&#xA;   Stream #0:5: Subtitle: webvtt&#xA;   Metadata:&#xA;     encoder         : Lavc58.54.100 webvtt&#xA;   Stream #0:6: Subtitle: webvtt&#xA;   Metadata:&#xA;     encoder         : Lavc58.54.100 webvtt&#xA;   Stream #0:7: Subtitle: webvtt&#xA;   Metadata:&#xA;     encoder         : Lavc58.54.100 webvtt&#xA;   Stream #0:8: Subtitle: webvtt&#xA;   Metadata:&#xA;     encoder         : Lavc58.54.100 webvtt&#xA;[hls @ 0x560770dc7240] Unable to find mapping variant stream&#xA;av_interleaved_write_frame(): Cannot allocate memory&#xA;[hls @ 0x560770dc7240] Unable to find mapping variant stream&#xA;[hls @ 0x560770dc7240] Opening 'heidelberg_720_0.m3u8.tmp' for writing&#xA;[hls @ 0x560770dc7240] Opening 'heidelberg_720_1.m3u8.tmp' for writing&#xA;[hls @ 0x560770dc7240] Opening 'heidelberg_720_2.m3u8.tmp' for writing&#xA;[hls @ 0x560770dc7240] Opening 'heidelberg_720_3.m3u8.tmp' for writing&#xA;[hls @ 0x560770dc7240] Opening 'heidelberg_720_4.m3u8.tmp' for writing&#xA;[hls @ 0x560770dc7240] Opening 'test.m3u8' for writing&#xA;Error writing trailer of heidelberg_720_%v.m3u8: Cannot allocate memory&#xA;frame=   21 fps=0.0 q=-1.0 Lsize=N/A time=00:00:21.51 bitrate=N/A speed=54.4x    &#xA;video:140kB audio:65kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;[libx264 @ 0x560770c15700] frame I:1     Avg QP:22.34  size: 95581&#xA;[libx264 @ 0x560770c15700] frame P:5     Avg QP:27.63  size:  6597&#xA;[libx264 @ 0x560770c15700] frame B:15    Avg QP:29.47  size:   919&#xA;[libx264 @ 0x560770c15700] consecutive B-frames:  4.8%  0.0%  0.0% 95.2%&#xA;[libx264 @ 0x560770c15700] mb I  I16..4:  8.0% 28.5% 63.5%&#xA;[libx264 @ 0x560770c15700] mb P  I16..4:  0.8%  1.0%  0.1%  P16..4: 26.5% 12.6%  5.2%  0.0%  0.0%    skip:53.8%&#xA;[libx264 @ 0x560770c15700] mb B  I16..4:  0.0%  0.0%  0.0%  B16..8:  7.2%  1.8%  0.1%  direct: 1.2%  skip:89.7%  L0:35.4% L1:41.8% BI:22.8%&#xA;[libx264 @ 0x560770c15700] final ratefactor: 20.21&#xA;[libx264 @ 0x560770c15700] 8x8 transform intra:30.3% inter:21.5%&#xA;[libx264 @ 0x560770c15700] coded y,uvDC,uvAC intra: 77.6% 63.8% 17.4% inter: 2.4% 1.3% 0.0%&#xA;[libx264 @ 0x560770c15700] i16 v,h,dc,p:  8% 57% 19% 16%&#xA;[libx264 @ 0x560770c15700] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu:  8% 48% 15%  3%  5%  2% 10%  3%  6%&#xA;[libx264 @ 0x560770c15700] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 10% 25% 10%  7% 12%  7% 13%  5% 11%&#xA;[libx264 @ 0x560770c15700] i8c dc,h,v,p: 48% 32% 14%  6%&#xA;[libx264 @ 0x560770c15700] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0x560770c15700] kb/s:1355.78&#xA;[aac @ 0x560770c2df00] Qavg: 11115.382&#xA;[aac @ 0x560770b7b440] Qavg: 19112.230&#xA;[aac @ 0x560770b7cbc0] Qavg: 44664.793&#xA;[aac @ 0x560770c34e80] Qavg: 33372.531&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Three things stand out for me here:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;[mpegts @ 0x560772504dc0] frame size not set&lt;/code&gt; - This might just be an error that's always been there but I didn't notice it until now.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;[hls @ 0x560770dc7240] Unable to find mapping variant stream&lt;/code&gt; - This would indicate that there's something wrong with either the &lt;code&gt;-var_stream_map&lt;/code&gt; command or that &lt;code&gt;%v&lt;/code&gt; causes problems.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;av_interleaved_write_frame(): Cannot allocate memory&lt;/code&gt; - I'm pretty sure that RAM is not the issue here, the system has got 16GB. I didn't look into the sources, but I presume it's an error that occured due to the previous ones.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Adding subtitles should &lt;em&gt;technically&lt;/em&gt; work, the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#hls&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt; shows examples of adding subtitles (however, these are subtitles embedded in te video file itself, which is not an option for me).&lt;/p&gt;&#xA;&lt;p&gt;Has anyone already done what I'm trying to do or can anyone see what's wrong here?&#xA;The last resort would be just writing a script that creates a &lt;code&gt;.m3u8&lt;/code&gt; file for the subtitles and editing the main manifest file, but I'd be more than happy if FFmpeg could do that work for me.&lt;/p&gt;&#xA;&lt;p&gt;Any help with this would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="30661" LastActivityDate="2021-03-10T12:18:50.880" Title="Adding separate WebVTT files to FFmpeg HLS muxer" Tags="|ffmpeg|subtitles|hls|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30899" PostTypeId="1" CreationDate="2020-07-23T15:19:49.287" Score="1" ViewCount="20" Body="&lt;p&gt;We have a record button that needs to transform the middle element from a circle at rest, to a square when recording, as the outside rings pulse. We are having trouble getting the square to stay static while the rest of the button animates.&lt;/p&gt;&#xA;&lt;p&gt;Seeking advice on how get the circle to stay a square while recording and turn back to a circle when done. Working in After Effects to generate Lottie code. Code below. Thank you!&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-json prettyprint-override&quot;&gt;&lt;code&gt;{&#xA;  &amp;quot;v&amp;quot;: &amp;quot;5.6.5&amp;quot;,&#xA;  &amp;quot;fr&amp;quot;: 60,&#xA;  &amp;quot;ip&amp;quot;: 0,&#xA;  &amp;quot;op&amp;quot;: 20,&#xA;  &amp;quot;w&amp;quot;: 56,&#xA;  &amp;quot;h&amp;quot;: 56,&#xA;  &amp;quot;nm&amp;quot;: &amp;quot;Record_button&amp;quot;,&#xA;  &amp;quot;ddd&amp;quot;: 0,&#xA;  &amp;quot;assets&amp;quot;: [],&#xA;  &amp;quot;layers&amp;quot;: [&#xA;    {&#xA;      &amp;quot;ddd&amp;quot;: 0,&#xA;      &amp;quot;ind&amp;quot;: 1,&#xA;      &amp;quot;ty&amp;quot;: 4,&#xA;      &amp;quot;nm&amp;quot;: &amp;quot;Record_inner_ring&amp;quot;,&#xA;      &amp;quot;sr&amp;quot;: 1,&#xA;      &amp;quot;ks&amp;quot;: {&#xA;        &amp;quot;o&amp;quot;: {&#xA;          &amp;quot;a&amp;quot;: 0,&#xA;          &amp;quot;k&amp;quot;: 100,&#xA;          &amp;quot;ix&amp;quot;: 11&#xA;        },&#xA;        &amp;quot;r&amp;quot;: {&#xA;          &amp;quot;a&amp;quot;: 0,&#xA;          &amp;quot;k&amp;quot;: 0,&#xA;          &amp;quot;ix&amp;quot;: 10&#xA;        },&#xA;        &amp;quot;p&amp;quot;: {&#xA;          &amp;quot;a&amp;quot;: 0,&#xA;          &amp;quot;k&amp;quot;: [&#xA;            28,&#xA;            28,&#xA;            0&#xA;          ],&#xA;          &amp;quot;ix&amp;quot;: 2&#xA;        },&#xA;        &amp;quot;a&amp;quot;: {&#xA;          &amp;quot;a&amp;quot;: 0,&#xA;          &amp;quot;k&amp;quot;: [&#xA;            0,&#xA;            0,&#xA;            0&#xA;          ],&#xA;          &amp;quot;ix&amp;quot;: 1&#xA;        },&#xA;        &amp;quot;s&amp;quot;: {&#xA;          &amp;quot;a&amp;quot;: 0,&#xA;          &amp;quot;k&amp;quot;: [&#xA;            100,&#xA;            100,&#xA;            100&#xA;          ],&#xA;          &amp;quot;ix&amp;quot;: 6&#xA;        }&#xA;      },&#xA;      &amp;quot;ao&amp;quot;: 0,&#xA;      &amp;quot;shapes&amp;quot;: [&#xA;        {&#xA;          &amp;quot;ty&amp;quot;: &amp;quot;gr&amp;quot;,&#xA;          &amp;quot;it&amp;quot;: [&#xA;            {&#xA;              &amp;quot;ind&amp;quot;: 0,&#xA;              &amp;quot;ty&amp;quot;: &amp;quot;sh&amp;quot;,&#xA;              &amp;quot;ix&amp;quot;: 1,&#xA;              &amp;quot;ks&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 1,&#xA;                &amp;quot;k&amp;quot;: [&#xA;                  {&#xA;                    &amp;quot;i&amp;quot;: {&#xA;                      &amp;quot;x&amp;quot;: 0.667,&#xA;                      &amp;quot;y&amp;quot;: 1&#xA;                    },&#xA;                    &amp;quot;o&amp;quot;: {&#xA;                      &amp;quot;x&amp;quot;: 0.333,&#xA;                      &amp;quot;y&amp;quot;: 0&#xA;                    },&#xA;                    &amp;quot;t&amp;quot;: 0,&#xA;                    &amp;quot;s&amp;quot;: [&#xA;                      {&#xA;                        &amp;quot;i&amp;quot;: [&#xA;                          [&#xA;                            -10.99,&#xA;                            0&#xA;                          ],&#xA;                          [&#xA;                            0,&#xA;                            -10.99&#xA;                          ],&#xA;                          [&#xA;                            10.99,&#xA;                            0&#xA;                          ],&#xA;                          [&#xA;                            0,&#xA;                            10.99&#xA;                          ]&#xA;                        ],&#xA;                        &amp;quot;o&amp;quot;: [&#xA;                          [&#xA;                            10.99,&#xA;                            0&#xA;                          ],&#xA;                          [&#xA;                            0,&#xA;                            10.99&#xA;                          ],&#xA;                          [&#xA;                            -10.99,&#xA;                            0&#xA;                          ],&#xA;                          [&#xA;                            0,&#xA;                            -10.99&#xA;                          ]&#xA;                        ],&#xA;                        &amp;quot;v&amp;quot;: [&#xA;                          [&#xA;                            0,&#xA;                            -19.9&#xA;                          ],&#xA;                          [&#xA;                            19.9,&#xA;                            0&#xA;                          ],&#xA;                          [&#xA;                            0,&#xA;                            19.9&#xA;                          ],&#xA;                          [&#xA;                            -19.9,&#xA;                            0&#xA;                          ]&#xA;                        ],&#xA;                        &amp;quot;c&amp;quot;: true&#xA;                      }&#xA;                    ]&#xA;                  },&#xA;                  {&#xA;                    &amp;quot;t&amp;quot;: 19,&#xA;                    &amp;quot;s&amp;quot;: [&#xA;                      {&#xA;                        &amp;quot;i&amp;quot;: [&#xA;                          [&#xA;                            0,&#xA;                            0&#xA;                          ],&#xA;                          [&#xA;                            0,&#xA;                            0&#xA;                          ],&#xA;                          [&#xA;                            0,&#xA;                            0&#xA;                          ],&#xA;                          [&#xA;                            0,&#xA;                            0&#xA;                          ]&#xA;                        ],&#xA;                        &amp;quot;o&amp;quot;: [&#xA;                          [&#xA;                            0,&#xA;                            0&#xA;                          ],&#xA;                          [&#xA;                            0,&#xA;                            0&#xA;                          ],&#xA;                          [&#xA;                            0,&#xA;                            0&#xA;                          ],&#xA;                          [&#xA;                            0,&#xA;                            0&#xA;                          ]&#xA;                        ],&#xA;                        &amp;quot;v&amp;quot;: [&#xA;                          [&#xA;                            0,&#xA;                            -19.9&#xA;                          ],&#xA;                          [&#xA;                            19.9,&#xA;                            0&#xA;                          ],&#xA;                          [&#xA;                            0,&#xA;                            19.9&#xA;                          ],&#xA;                          [&#xA;                            -19.9,&#xA;                            0&#xA;                          ]&#xA;                        ],&#xA;                        &amp;quot;c&amp;quot;: true&#xA;                      }&#xA;                    ]&#xA;                  }&#xA;                ],&#xA;                &amp;quot;ix&amp;quot;: 2&#xA;              },&#xA;              &amp;quot;nm&amp;quot;: &amp;quot;Path 1&amp;quot;,&#xA;              &amp;quot;mn&amp;quot;: &amp;quot;ADBE Vector Shape - Group&amp;quot;,&#xA;              &amp;quot;hd&amp;quot;: false&#xA;            },&#xA;            {&#xA;              &amp;quot;ty&amp;quot;: &amp;quot;fl&amp;quot;,&#xA;              &amp;quot;c&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: [&#xA;                  0.961000025272,&#xA;                  0.753000020981,&#xA;                  0.259000003338,&#xA;                  1&#xA;                ],&#xA;                &amp;quot;ix&amp;quot;: 4&#xA;              },&#xA;              &amp;quot;o&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: 100,&#xA;                &amp;quot;ix&amp;quot;: 5&#xA;              },&#xA;              &amp;quot;r&amp;quot;: 1,&#xA;              &amp;quot;bm&amp;quot;: 0,&#xA;              &amp;quot;nm&amp;quot;: &amp;quot;Fill 1&amp;quot;,&#xA;              &amp;quot;mn&amp;quot;: &amp;quot;ADBE Vector Graphic - Fill&amp;quot;,&#xA;              &amp;quot;hd&amp;quot;: false&#xA;            },&#xA;            {&#xA;              &amp;quot;ty&amp;quot;: &amp;quot;tr&amp;quot;,&#xA;              &amp;quot;p&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: [&#xA;                  0,&#xA;                  0&#xA;                ],&#xA;                &amp;quot;ix&amp;quot;: 2&#xA;              },&#xA;              &amp;quot;a&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: [&#xA;                  0,&#xA;                  0&#xA;                ],&#xA;                &amp;quot;ix&amp;quot;: 1&#xA;              },&#xA;              &amp;quot;s&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: [&#xA;                  100,&#xA;                  100&#xA;                ],&#xA;                &amp;quot;ix&amp;quot;: 3&#xA;              },&#xA;              &amp;quot;r&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: 45,&#xA;                &amp;quot;ix&amp;quot;: 6&#xA;              },&#xA;              &amp;quot;o&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: 100,&#xA;                &amp;quot;ix&amp;quot;: 7&#xA;              },&#xA;              &amp;quot;sk&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: 0,&#xA;                &amp;quot;ix&amp;quot;: 4&#xA;              },&#xA;              &amp;quot;sa&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: 0,&#xA;                &amp;quot;ix&amp;quot;: 5&#xA;              },&#xA;              &amp;quot;nm&amp;quot;: &amp;quot;Transform&amp;quot;&#xA;            }&#xA;          ],&#xA;          &amp;quot;nm&amp;quot;: &amp;quot;Record_inner_ring&amp;quot;,&#xA;          &amp;quot;np&amp;quot;: 2,&#xA;          &amp;quot;cix&amp;quot;: 2,&#xA;          &amp;quot;bm&amp;quot;: 0,&#xA;          &amp;quot;ix&amp;quot;: 1,&#xA;          &amp;quot;mn&amp;quot;: &amp;quot;ADBE Vector Group&amp;quot;,&#xA;          &amp;quot;hd&amp;quot;: false&#xA;        }&#xA;      ],&#xA;      &amp;quot;ip&amp;quot;: 0,&#xA;      &amp;quot;op&amp;quot;: 21,&#xA;      &amp;quot;st&amp;quot;: 0,&#xA;      &amp;quot;bm&amp;quot;: 0&#xA;    },&#xA;    {&#xA;      &amp;quot;ddd&amp;quot;: 0,&#xA;      &amp;quot;ind&amp;quot;: 2,&#xA;      &amp;quot;ty&amp;quot;: 4,&#xA;      &amp;quot;nm&amp;quot;: &amp;quot;Record_grey_inner_ring&amp;quot;,&#xA;      &amp;quot;sr&amp;quot;: 1,&#xA;      &amp;quot;ks&amp;quot;: {&#xA;        &amp;quot;o&amp;quot;: {&#xA;          &amp;quot;a&amp;quot;: 0,&#xA;          &amp;quot;k&amp;quot;: 100,&#xA;          &amp;quot;ix&amp;quot;: 11&#xA;        },&#xA;        &amp;quot;r&amp;quot;: {&#xA;          &amp;quot;a&amp;quot;: 0,&#xA;          &amp;quot;k&amp;quot;: 0,&#xA;          &amp;quot;ix&amp;quot;: 10&#xA;        },&#xA;        &amp;quot;p&amp;quot;: {&#xA;          &amp;quot;a&amp;quot;: 0,&#xA;          &amp;quot;k&amp;quot;: [&#xA;            28,&#xA;            28,&#xA;            0&#xA;          ],&#xA;          &amp;quot;ix&amp;quot;: 2&#xA;        },&#xA;        &amp;quot;a&amp;quot;: {&#xA;          &amp;quot;a&amp;quot;: 0,&#xA;          &amp;quot;k&amp;quot;: [&#xA;            0,&#xA;            0,&#xA;            0&#xA;          ],&#xA;          &amp;quot;ix&amp;quot;: 1&#xA;        },&#xA;        &amp;quot;s&amp;quot;: {&#xA;          &amp;quot;a&amp;quot;: 1,&#xA;          &amp;quot;k&amp;quot;: [&#xA;            {&#xA;              &amp;quot;i&amp;quot;: {&#xA;                &amp;quot;x&amp;quot;: [&#xA;                  0.833,&#xA;                  0.833,&#xA;                  0.833&#xA;                ],&#xA; 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                 0.167,&#xA;                  0.167,&#xA;                  0.167&#xA;                ],&#xA;                &amp;quot;y&amp;quot;: [&#xA;                  0.167,&#xA;                  0.167,&#xA;                  0&#xA;                ]&#xA;              },&#xA;              &amp;quot;t&amp;quot;: 0,&#xA;              &amp;quot;s&amp;quot;: [&#xA;                100,&#xA;                100,&#xA;                100&#xA;              ]&#xA;            },&#xA;            {&#xA;              &amp;quot;t&amp;quot;: 19,&#xA;              &amp;quot;s&amp;quot;: [&#xA;                92,&#xA;                92,&#xA;                100&#xA;              ]&#xA;            }&#xA;          ],&#xA;          &amp;quot;ix&amp;quot;: 6&#xA;        }&#xA;      },&#xA;      &amp;quot;ao&amp;quot;: 0,&#xA;      &amp;quot;shapes&amp;quot;: [&#xA;        {&#xA;          &amp;quot;ty&amp;quot;: &amp;quot;gr&amp;quot;,&#xA;          &amp;quot;it&amp;quot;: [&#xA;            {&#xA;              &amp;quot;d&amp;quot;: 1,&#xA;              &amp;quot;ty&amp;quot;: &amp;quot;el&amp;quot;,&#xA;              &amp;quot;s&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: [&#xA;                  56,&#xA;                  56&#xA;                ],&#xA;                &amp;quot;ix&amp;quot;: 2&#xA;              },&#xA;              &amp;quot;p&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: [&#xA;                  0,&#xA;                  0&#xA;                ],&#xA;                &amp;quot;ix&amp;quot;: 3&#xA;              },&#xA;              &amp;quot;nm&amp;quot;: &amp;quot;Ellipse Path 1&amp;quot;,&#xA;              &amp;quot;mn&amp;quot;: &amp;quot;ADBE Vector Shape - Ellipse&amp;quot;,&#xA;              &amp;quot;hd&amp;quot;: false&#xA;            },&#xA;            {&#xA;              &amp;quot;ty&amp;quot;: &amp;quot;fl&amp;quot;,&#xA;              &amp;quot;c&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA; 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                 0.083,&#xA;                  -0.163&#xA;                ],&#xA;                &amp;quot;ix&amp;quot;: 2&#xA;              },&#xA;              &amp;quot;a&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: [&#xA;                  0,&#xA;                  0&#xA;                ],&#xA;                &amp;quot;ix&amp;quot;: 1&#xA;              },&#xA;              &amp;quot;s&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: [&#xA;                  100,&#xA;                  100&#xA;                ],&#xA;                &amp;quot;ix&amp;quot;: 3&#xA;              },&#xA;              &amp;quot;r&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: 0,&#xA;                &amp;quot;ix&amp;quot;: 6&#xA;              },&#xA;              &amp;quot;o&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: 100,&#xA;                &amp;quot;ix&amp;quot;: 7&#xA;              },&#xA;              &amp;quot;sk&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: 0,&#xA;                &amp;quot;ix&amp;quot;: 4&#xA;              },&#xA;              &amp;quot;sa&amp;quot;: {&#xA;                &amp;quot;a&amp;quot;: 0,&#xA;                &amp;quot;k&amp;quot;: 0,&#xA;                &amp;quot;ix&amp;quot;: 5&#xA;              },&#xA;              &amp;quot;nm&amp;quot;: &amp;quot;Transform&amp;quot;&#xA;            }&#xA;          ],&#xA;          &amp;quot;nm&amp;quot;: &amp;quot;Record_outer_ring&amp;quot;,&#xA;          &amp;quot;np&amp;quot;: 2,&#xA;          &amp;quot;cix&amp;quot;: 2,&#xA;          &amp;quot;bm&amp;quot;: 0,&#xA;          &amp;quot;ix&amp;quot;: 1,&#xA;          &amp;quot;mn&amp;quot;: &amp;quot;ADBE Vector Group&amp;quot;,&#xA;          &amp;quot;hd&amp;quot;: false&#xA;        }&#xA;      ],&#xA;      &amp;quot;ip&amp;quot;: 0,&#xA;      &amp;quot;op&amp;quot;: 22,&#xA;      &amp;quot;st&amp;quot;: 0,&#xA;      &amp;quot;bm&amp;quot;: 0&#xA;    }&#xA;  ],&#xA;  &amp;quot;markers&amp;quot;: []&#xA;}&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30666" LastEditorUserId="14523" LastEditDate="2020-07-24T01:23:57.230" LastActivityDate="2020-07-24T01:23:57.230" Title="Make a transformed element remain static while other elements animate" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30900" PostTypeId="1" AcceptedAnswerId="30902" CreationDate="2020-07-23T22:08:56.993" Score="2" ViewCount="876" Body="&lt;p&gt;How to reveal this image with Stroke Effect in a single image layer?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/E2VSa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/E2VSa.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I created 3 masks using Pen Tool&lt;/li&gt;&#xA;&lt;li&gt;For each mask , I added a Stroke effect and animated everything.&lt;/li&gt;&#xA;&lt;li&gt;In Stroke effect the settings, I switched Paint Style to Reveal original image&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The problem is that I can reveal only one mask, and for two or more, nothing happens. How to animate each mask individually on one single layer using Stroke Effect?&lt;/p&gt;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="30068" LastActivityDate="2020-07-24T08:10:29.173" Title="How to reveal 3 masks with Stroke in After Effects" Tags="|after-effects|animation|mask|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30901" PostTypeId="1" CreationDate="2020-07-23T23:12:59.940" Score="0" ViewCount="34" Body="&lt;p&gt;I want to start learning  editing, I'm looking for a laptop with the required performances to use the Adobe premiere software? Any advices please!&lt;/p&gt;&#xA;" OwnerUserId="30668" LastActivityDate="2020-07-24T14:22:00.740" Title="Looking for a laptop with the required performances to use the Adobe premiere software please?" Tags="|premiere|adobe|performance|laptop|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30902" PostTypeId="2" ParentId="30900" CreationDate="2020-07-24T08:10:29.173" Score="0" Body="&lt;p&gt;If I understand this correctly, your goal is to be able to adjust the stroke effect in one shape and have it applied to every other shape, right?&lt;/p&gt;&#xA;&lt;p&gt;If so, here's how I'd approach this:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;create your shape layer and add the stroke effect to reveal the image&lt;/li&gt;&#xA;&lt;li&gt;Pre-compose the shape layer&lt;/li&gt;&#xA;&lt;li&gt;Duplicate the precomp three two times and scale them, so you have three different sizes&lt;/li&gt;&#xA;&lt;li&gt;To remain the same thickness of your shapes, you could apply the &amp;quot;min-max&amp;quot; effect and widen the alpha- and colorchannels to make the shape appear thicker.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;If you now adjust the stroke-effect of the shape in any of your three precomps, it is applied to every precomp, effectively changing the animation for all the three shapes.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-24T08:10:29.173" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30904" PostTypeId="1" AcceptedAnswerId="34222" CreationDate="2020-07-24T14:15:34.563" Score="1" ViewCount="97" Body="&lt;p&gt;I'm in Premiere Pro CC 2019 13.1.2, and want to save named video tracks as a preset.  This can be easily done with Audio as per image, but I think I must be missing how to set up a preset with named video tracks.  How can I do this?  I can't find a fat lot about it online at all.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xagG4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xagG4.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22062" LastActivityDate="2021-08-04T09:10:00.100" Title="Save video track names as a preset" Tags="|video|premiere|setup|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30905" PostTypeId="2" ParentId="30901" CreationDate="2020-07-24T14:22:00.740" Score="1" Body="&lt;p&gt;HAdobe publish this information on their website - see this link or below: &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/system-requirements.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/system-requirements.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It's pretty simple, personally I would use the recommended specifications as a minimum in a professional environment.  If it's for personal learning, then it's your call how much you spend, but don't get anything less than the minimum.  Enjoy!&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FBxqI.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FBxqI.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22062" LastActivityDate="2020-07-24T14:22:00.740" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30906" PostTypeId="1" AcceptedAnswerId="32002" CreationDate="2020-07-24T15:06:25.480" Score="2" ViewCount="223" Body="&lt;p&gt;For a video I want to add text character by character, including the beep-beep-beep alike sound, like common action movies do this when switching to a new location. Obviously, I don't know how this is called and if it is military related, so I hope you know what I mean.&lt;/p&gt;&#xA;&lt;p&gt;I already figured out how to generally add text, but I found no option or animation to introduce it character by character. Alternatively I would have to manually insert character by character; but this would be difficult to align properly (not vertically, but horizontally (proper character spacing)).&lt;/p&gt;&#xA;&lt;p&gt;I though of using the subtitle feature for this. But if there is a more elegant solution, I would prefer to not using subtitles.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;The software is Kdenlive 19.12.3 on Ubuntu 20.04.&lt;/p&gt;&#xA;&lt;p&gt;I do video editing occasionally only; I am sorry for any misconceptions, wrong wording, etc in my description, therefore.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Edit:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Unfortunately I am unable to find an example on youtube currently&lt;/li&gt;&#xA;&lt;li&gt;Maybe there is an effect that is able to fade the text in from the left to the right as an alternative?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="30673" LastEditorUserId="14523" LastEditDate="2020-07-28T01:05:56.180" LastActivityDate="2020-08-10T00:34:57.947" Title="How to add location text character by character like in action movies?" Tags="|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30907" PostTypeId="1" AcceptedAnswerId="30908" CreationDate="2020-07-24T15:54:53.443" Score="2" ViewCount="490" Body="&lt;h2&gt;Setup&lt;/h2&gt;&#xA;&lt;p&gt;I have a Blackmagic ATEM 4 M/E and one of their studio cameras. I have a headphone on the camera and an active speaker on the ATEM so I can hear talkback.&lt;/p&gt;&#xA;&lt;h2&gt;Problem&lt;/h2&gt;&#xA;&lt;p&gt;There is a super loud whine/tone/whistle/noise. It is similar to a &lt;a href=&quot;https://www.szynalski.com/tone-generator/&quot; rel=&quot;nofollow noreferrer&quot;&gt;1kHz square tone&lt;/a&gt;. Even if I set volume to minimum it is hearable.&lt;/p&gt;&#xA;&lt;h2&gt;What I tried&lt;/h2&gt;&#xA;&lt;p&gt;I tried to disconnect the cable going into &amp;quot;SDI in&amp;quot; from the camera. The tone is still there but only in the ATEM so the source has to be the mixer. I added a mic to the talkback XLR input but it can't be heard. I also tried to add a sound mixer to this same XLR input and even if I set volume to the max it can be barely heard but the tone is still super loud compared to it. What is the problem?&lt;/p&gt;&#xA;" OwnerUserId="22638" LastActivityDate="2020-07-24T15:54:53.443" Title="What causes a loud tone/noise in Blackmagic ATEM talkback?" Tags="|blackmagic|noise|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30908" PostTypeId="2" ParentId="30907" CreationDate="2020-07-24T15:54:53.443" Score="2" Body="&lt;h2&gt;tl;dr&lt;/h2&gt;&#xA;&lt;p&gt;Make sure none of the SDI outputs of the ATEM are routed back to its inputs.&lt;/p&gt;&#xA;&lt;h2&gt;Talkback feedback loop&lt;/h2&gt;&#xA;&lt;p&gt;The ATEM uses SDI channel 15 and 16 for talkback. If you route one of your SDI outputs to the SDI inputs (either directly via a simple SDI cable or trough a system of devices like record/playback devices) you will get a feedback loop that causes this high tone.&lt;/p&gt;&#xA;&lt;h2&gt;Possible solutions&lt;/h2&gt;&#xA;&lt;p&gt;The simplest solution is to break the loop by removing the cable/devices causing it. Obviously this way you will loose the functionality you tried to add trough it, like having M/E 1 PGM as one of your inputs so you can use it as an input on M/E 2, 3 or 4, so if you would like to keep the loop without the noise you have to deembed or redirect the audio from channel 15 and 16. You can use something like the &lt;a href=&quot;https://decimator.com/Products/MiniConverters/MD-HX/MD-HX.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Decimator MD-HX Cross Converter&lt;/a&gt; that can reroute SDI audio channels.&lt;/p&gt;&#xA;" OwnerUserId="22638" LastActivityDate="2020-07-24T15:54:53.443" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30911" PostTypeId="1" AcceptedAnswerId="30916" CreationDate="2020-07-25T16:28:07.370" Score="2" ViewCount="1307" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt; Alternatively the question is: &amp;quot;How to cut a video in multiple slices and store each clip as a separate video &lt;em&gt;quickly&lt;/em&gt; (!) with Kdenlive?&amp;quot;, but I don't think Kdenlive supports an easy way to export single clips.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I am looking for a tool that allows me to slice a video (in a quick way).&lt;/p&gt;&#xA;&lt;p&gt;At first I tried Kdenlive but it's not really a good tool if you just want to cut a video into multiple short clips and export them (rather fast). In Kdenlive I can only export a selected part of the video or the entire project. But what I want is basically &amp;quot;Cut at frame &lt;code&gt;t&lt;/code&gt; and &lt;code&gt;t + n&lt;/code&gt; and then just &amp;quot;right click&amp;quot; that slice and save it away as mp4 (or any other common format - it does not really matter).&lt;/p&gt;&#xA;&lt;p&gt;Kdenlive would be fine if I'd had to do this just to one video but I need to do this to multiple videos as I am trying to create a dataset for a machine learning project of mine.&lt;/p&gt;&#xA;&lt;p&gt;I know there are a bunch of free tools out there but does anybody know which (if any) of those might be suitable for this (rather boring but necessary) manual task?&lt;/p&gt;&#xA;" OwnerUserId="30685" LastActivityDate="2021-11-24T21:58:16.500" Title="Video editor for cutting a video into multiple short clips and store them quickly" Tags="|video-editor|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30912" PostTypeId="1" CreationDate="2020-07-25T21:15:13.217" Score="0" ViewCount="1642" Body="&lt;p&gt;I have a video with 1 video stream, 2 audio streams (TrueHD 7.1 and E-AC3 5.1), a bunch of PGS subtitles and chapters.&lt;/p&gt;&#xA;&lt;p&gt;I want to copy the video, convert the 7.1 audio into AAC, copy over the original 7.1 and 5.1 streams (so 3 audio streams), keep only French and English subtitles and all the metadata.&lt;/p&gt;&#xA;&lt;p&gt;After a few trials, this command seems to do exactly that:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -map 0:v:0 -map 0:a:0 -map 0:m:language:eng -map 0:m:language:fre -c copy -c:a:0 aac -b:a:0 512k output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Stream mapping:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (truehd (native) -&amp;gt; aac (native))&#xA;  Stream #0:1 -&amp;gt; #0:2 (copy) # truehd 7.1&#xA;  Stream #0:2 -&amp;gt; #0:3 (copy) # e-ac3 5.1&#xA;  Stream #0:3 -&amp;gt; #0:4 (copy) # (English subtitles)&#xA;  Stream #0:6 -&amp;gt; #0:5 (copy) # (French subtitles)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now the question is... if I wanted to get rid of the e-ac3, how would I do that?&lt;/p&gt;&#xA;" OwnerUserId="27330" LastEditorUserId="27330" LastEditDate="2020-07-25T21:20:18.497" LastActivityDate="2020-12-23T17:28:22.803" Title="ffmpeg: convert an existing audio stream as an additional audio stream (keeping untouched original as well)" Tags="|ffmpeg|audio|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30914" PostTypeId="1" AcceptedAnswerId="30918" CreationDate="2020-07-26T17:54:49.963" Score="1" ViewCount="484" Body="&lt;p&gt;Pardon the noob question – If I have say a &amp;quot;brightness&amp;quot; effect and a &amp;quot;sharpen&amp;quot; effect appearing in this order (first is on top of the other), will &amp;quot;brightness&amp;quot; be applied first, then &amp;quot;sharpen&amp;quot;? or the other way around?&lt;/p&gt;&#xA;" OwnerUserId="30069" LastEditorUserId="30069" LastEditDate="2020-07-26T18:43:06.407" LastActivityDate="2020-07-27T07:36:23.647" Title="In what order are After Effects layer effects applied?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30915" PostTypeId="1" CreationDate="2020-07-26T21:31:42.417" Score="0" ViewCount="101" Body="&lt;p&gt;I am recording and distributing relatively low motion screen content (not games). Using h264, fine text often appears very blurry due to the poor subsampling with 4:2:0 and 4:2:2 pixel formats. With 4:4:4, the video content (and text) remains very sharp, but all recommendations I've been had so far are to stay away from 4:4:4 at all costs.&lt;/p&gt;&#xA;&lt;p&gt;I am wondering if there will be any real downsides to distributing 4:4:4 content? Aside from filesize - this is a nonissue. Does anyone have any anecdotal experience to say whether most modern devices (browsers, mobile phones) can decode and play 4:4:4 content? It seems to work on my own devices, but I have a pretty small sample size. Is there a published record of what software and hardware decoders support it, or what the common issues might be if distributing content in this format?&lt;/p&gt;&#xA;&lt;p&gt;Note: I am not distributing using any online video platforms, so , for example, downsides such as YouTube automatically re-encoding it to 4:2:0 would not be an issue. The question is really more geared towards if devices will actually be able to play 4:4:4 content native / seamlessly or if many will run into compatibility issues.&lt;/p&gt;&#xA;" OwnerUserId="30699" LastActivityDate="2023-12-09T21:03:35.437" Title="Do modern devices support decoding 4:4:4 pixel formats?" Tags="|ffmpeg|encoding|h.264|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30916" PostTypeId="2" ParentId="30911" CreationDate="2020-07-26T22:22:40.523" Score="2" Body="&lt;h1&gt;shotcut&lt;/h1&gt;&#xA;&lt;p&gt;I would suggest &lt;a href=&quot;https://shotcut.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;shotcut&lt;/a&gt;. It's really fast and allows you to select where to cut at the right place (to the frame). It's also visual making it really easy.&lt;/p&gt;&#xA;&lt;h2&gt;Basic Setup&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Start shotcut&lt;/li&gt;&#xA;&lt;li&gt;Give your project a name&lt;/li&gt;&#xA;&lt;li&gt;Drag &amp;amp; Drop an MP4 in the screen video area&lt;/li&gt;&#xA;&lt;li&gt;Click on the video now playing, move it to the timeline&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Cut + Export&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Click on the timeline time (top of the timeline) to select a location.&lt;/li&gt;&#xA;&lt;li&gt;Click on the &lt;code&gt;][&lt;/code&gt; icon to do a cut.&lt;/li&gt;&#xA;&lt;li&gt;Right click on the left side and do &amp;quot;Remove&amp;quot;.&lt;/li&gt;&#xA;&lt;li&gt;Click on the right side and do a &amp;quot;Remove&amp;quot; as well.&lt;/li&gt;&#xA;&lt;li&gt;Then Export (File → Export Video ... | Ctrl-E).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Next Cut&lt;/h2&gt;&#xA;&lt;p&gt;Once the export is done:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Hit Ctrl-Z to restore the clip on the right side.&lt;/li&gt;&#xA;&lt;li&gt;Then cut/remove again...&lt;/li&gt;&#xA;&lt;li&gt;Repeat until done.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1MVAp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1MVAp.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Under Ubuntu, I can install shotcut with:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;snap install shotcut&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h1&gt;ffmpeg&lt;/h1&gt;&#xA;&lt;p&gt;If you know the start point and duration, then you can use ffmpeg like so:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 0:0 -t 5:0 -i in.mp4 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The &lt;code&gt;-ss&lt;/code&gt; defines the start point and &lt;code&gt;-t&lt;/code&gt; defines the duration. You can use those two and create the cuts in the command line. You can always use shotcut or some other tool to determine the start/duration parameters.&lt;/p&gt;&#xA;" OwnerUserId="30687" LastEditorUserId="30687" LastEditDate="2020-07-26T22:33:10.590" LastActivityDate="2020-07-26T22:33:10.590" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30918" PostTypeId="2" ParentId="30914" CreationDate="2020-07-27T07:36:23.647" Score="2" Body="&lt;p&gt;Yes, it works the way you suspected it would. Applied effects on a layer work from top to bottom, same with adjustment-layers and layer-modes applying from top to bottom.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-27T07:36:23.647" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30919" PostTypeId="1" CreationDate="2020-07-27T12:30:11.963" Score="3" ViewCount="98" Body="&lt;p&gt;Is there a keystroke / keyboard shortcut to move focus to the Project Panel?&lt;/p&gt;&#xA;&lt;p&gt;I know CMD+0 toggles Project Panel visibility, but is there a key that when pressed can be followed by UP/DOWN arrows to keyboard navigate the contents of the Project Panel.&lt;/p&gt;&#xA;&lt;p&gt;Many thanks&lt;/p&gt;&#xA;" OwnerUserId="5347" LastActivityDate="2023-12-12T15:07:20.880" Title="After Effects - Keystroke to move focus to the Project Panel" Tags="|after-effects|keyboard-shortcut|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30920" PostTypeId="2" ParentId="30915" CreationDate="2020-07-27T13:44:24.533" Score="0" Body="&lt;p&gt;Most phones and tablets do not support 4:4:4&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2020-07-27T13:44:24.533" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30921" PostTypeId="1" AcceptedAnswerId="30922" CreationDate="2020-07-27T14:30:24.163" Score="2" ViewCount="1225" Body="&lt;p&gt;I have a set of media where I'm trying to strip an audio track and copy &lt;em&gt;everything else over&lt;/em&gt;. My command is like so:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.m4v -dn -map 0 -map -0:a:2 -c copy output.m4v&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The source file has the following metadata:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'input.m4v':&#xA;  Metadata:&#xA;    major_brand     : M4V &#xA;    minor_version   : 512&#xA;    compatible_brands: M4V isomiso2avc1&#xA;    encoder         : Lavf58.45.100&#xA;  Duration: 01:56:22.98, start: 0.000000, bitrate: 3320 kb/s&#xA;    Chapter #0:0: start 0.000000, end 589.923000&#xA;    Metadata:&#xA;      title           : Chapter 1&#xA;    Chapter #0:1: start 589.923000, end 1052.802000&#xA;    Metadata:&#xA;      title           : Chapter 2&#xA;    Chapter #0:2: start 1052.802000, end 1408.282000&#xA;    Metadata:&#xA;      title           : Chapter 3&#xA;    Chapter #0:3: start 1408.282000, end 2034.157000&#xA;    Metadata:&#xA;      title           : Chapter 4&#xA;    Chapter #0:4: start 2034.157000, end 2461.709000&#xA;    Metadata:&#xA;      title           : Chapter 5&#xA;    Chapter #0:5: start 2461.709000, end 3146.101000&#xA;    Metadata:&#xA;      title           : Chapter 6&#xA;    Chapter #0:6: start 3146.101000, end 3454.534000&#xA;    Metadata:&#xA;      title           : Chapter 7&#xA;    Chapter #0:7: start 3454.534000, end 3786.449000&#xA;    Metadata:&#xA;      title           : Chapter 8&#xA;    Chapter #0:8: start 3786.449000, end 4169.207000&#xA;    Metadata:&#xA;      title           : Chapter 9&#xA;    Chapter #0:9: start 4169.207000, end 4569.398000&#xA;    Metadata:&#xA;      title           : Chapter 10&#xA;    Chapter #0:10: start 4569.398000, end 5121.825000&#xA;    Metadata:&#xA;      title           : Chapter 11&#xA;    Chapter #0:11: start 5121.825000, end 5737.065000&#xA;    Metadata:&#xA;      title           : Chapter 12&#xA;    Chapter #0:12: start 5737.065000, end 6326.320000&#xA;    Metadata:&#xA;      title           : Chapter 13&#xA;    Chapter #0:13: start 6326.320000, end 6982.517000&#xA;    Metadata:&#xA;      title           : Chapter 14&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1910x804 [SAR 1:1 DAR 955:402], 2417 kb/s, 23.98 fps, 23.98 tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 254 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : Stereo&#xA;    Stream #0:2(eng): Audio: ac3 (ac-3 / 0x332D6361), 48000 Hz, 5.1(side), fltp, 640 kb/s&#xA;    Metadata:&#xA;      handler_name    : Surround&#xA;    Side data:&#xA;      audio service type: main&#xA;    Stream #0:3(eng): Data: bin_data (text / 0x74786574)&#xA;    Metadata:&#xA;      handler_name    : SubtitleHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Without the &lt;code&gt;-dn&lt;/code&gt; flag I get an error when running the command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[ipod @ 0x7f9d4100be00] Tag text incompatible with output codec id '100359' ([0][0][0][0])&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;When I use the &lt;code&gt;-dn&lt;/code&gt; flag I can't select a chapter on my Apple TV which leads me to believe the metadata is incorrect.&lt;/p&gt;&#xA;&lt;p&gt;When I try and run &lt;code&gt;ffprobe&lt;/code&gt; on the produced file I get:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[m4v @ 0x7f966880b800] Format m4v detected only with low score of 1, misdetection possible!&#xA;[m4v @ 0x7f966880b800] Could not find codec parameters for stream 0 (Video: mpeg4, none): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I also tried adding &lt;code&gt;-map_chapters&lt;/code&gt; and &lt;code&gt;-map_metadata&lt;/code&gt; but I get an error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[ipod @ 0x7f93a0026400] Tag text incompatible with output codec id '100359' ([0][0][0][0])&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The command that resulted in the above is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.m4v -map 0 -map -0:a:2 -map_metadata 0 -map_chapters 0 -c copy output.m4v&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What's the proper command to copy everything over EXCEPT the track I want to exclude?&lt;/p&gt;&#xA;" OwnerUserId="30706" LastEditorUserId="30706" LastEditDate="2020-07-27T15:44:52.267" LastActivityDate="2023-08-11T23:05:10.597" Title="Copy chapter metadata of input to output for Apple compatibility" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30922" PostTypeId="2" ParentId="30921" CreationDate="2020-07-27T15:45:04.983" Score="0" Body="&lt;p&gt;A command like the following seemed to do the trick.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.m4v -dn -map 0 -map -0:a:2 -map_metadata 0 -map_chapters 0 -c copy output.m4v&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30706" LastActivityDate="2020-07-27T15:45:04.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30923" PostTypeId="1" CreationDate="2020-07-27T19:44:22.403" Score="1" ViewCount="4304" Body="&lt;p&gt;UPDATED with info from -report&lt;/p&gt;&#xA;&lt;hr&gt;&#xA;&lt;p&gt;I'm new to ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;I am trying to loop a video to a linux v4l2 device.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -stream_loop -1 -re -f lavfi  -i &amp;quot;movie=snail.mp4&amp;quot; -f v4l2 /dev/video4 -report&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It plays the video once and then exits with the message &amp;quot;Invalid&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_movie_0 @ 0x56289dec9a00] EOF timestamp not reliable=N/A speed=   1x    &#xA;Error while filtering: Invalid argument&#xA;frame=  391 fps= 25 q=-0.0 Lsize=N/A time=00:00:15.64 bitrate=N/A speed=0.999x    &#xA;video:43988kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Which argument is invalid and why?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;The output of the report file generated by ffmpeg is available here: &lt;a href=&quot;https://gist.github.com/ahoffer/7217aa0572061e7c255cf08914be53e2&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gist.github.com/ahoffer/7217aa0572061e7c255cf08914be53e2&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30708" LastEditorUserId="30708" LastEditDate="2020-07-28T22:18:11.920" LastActivityDate="2022-08-18T12:01:50.173" Title="ffmpeg invalid argument. Which argument was invalid?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30924" PostTypeId="1" CreationDate="2020-07-27T22:10:14.903" Score="0" ViewCount="26" Body="&lt;p&gt;I speak to my sons via Skype (for Win 10).  I have a new green screen, and would like to surprise them by pretending to be on a beach when we next talk.&lt;/p&gt;&#xA;&lt;p&gt;Zoom can chroma key in a beach with waving palm tree and waves.  Skype just allows static images.&lt;/p&gt;&#xA;&lt;p&gt;Is there a free package that would make it easy to get something like Zoom's functionality in Skype?  I'd be particularly pleased for a link to step-by-step instructions.&lt;/p&gt;&#xA;" OwnerUserId="30709" LastActivityDate="2020-07-28T07:58:11.320" Title="video chroma keyed background into Skype" Tags="|live|chromakey|" AnswerCount="1" CommentCount="0" ClosedDate="2020-08-13T11:01:59.763" ContentLicense="CC BY-SA 4.0" />
  <row Id="30925" PostTypeId="1" AcceptedAnswerId="30926" CreationDate="2020-07-28T04:45:06.150" Score="10" ViewCount="1959" Body="&lt;p&gt;I am transitioning 1 video to a still PSD in Adobe Premiere Pro.&lt;/p&gt;&#xA;&lt;p&gt;No matter the transition, it overlays a faint red x (It remains there, even on export). I have tried everything to be best of my ability to fix it, though I can't seem to find a solution.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RzrCg.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RzrCg.jpg&quot; alt=&quot;dobe &quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Seeking advice on how to resolve this trouble.&#xA;Any thoughts would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="30710" LastActivityDate="2020-07-28T07:56:16.413" Title="Adobe Premiere is placing a faint 'X' on video transition" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30926" PostTypeId="2" ParentId="30925" CreationDate="2020-07-28T07:56:16.413" Score="13" Body="&lt;p&gt;The kind of X you are seeing usually appears when applying a demo-version of a transition of an effect. Are you sure you are not using some third-party transition pack that you simply haven't bought yet? Try using the standard cross-dissolve and report back if the X remains with native transitions. Cheers!&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-28T07:56:16.413" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="30927" PostTypeId="2" ParentId="30924" CreationDate="2020-07-28T07:58:11.320" Score="1" Body="&lt;p&gt;If there is no plugin I never heard of, the only way you could do this is by feeding an already keyed signal into skype. You could try researching if realtime keying can be emulated on a virtual webcam, otherwise you would either have to stick with zoom or buy a live-keyer like the ones from black-magic (though they are very very expensive)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-28T07:58:11.320" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30929" PostTypeId="2" ParentId="30923" CreationDate="2020-07-29T09:07:12.000" Score="1" Body="&lt;p&gt;&lt;code&gt;-stream_loop&lt;/code&gt; is buggy in versions older than 4.1, so upgrade.&lt;/p&gt;&#xA;&lt;p&gt;Also, stream_loop won't work with movies opened via movie filter. Use it as a direct input.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -stream_loop -1 -re -i &amp;quot;snail.mp4&amp;quot; -f v4l2 /dev/video4 -report&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-07-29T09:07:12.000" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="30930" PostTypeId="1" AcceptedAnswerId="30933" CreationDate="2020-07-29T22:09:24.827" Score="4" ViewCount="50" Body="&lt;p&gt;I'm going through AE interface basics and trying to understand what is the Timeline button for&#xA;&lt;a href=&quot;https://i.stack.imgur.com/YrAOF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YrAOF.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;From my observations, it just shifts focus from Preview to Timeline panel, but isn't it easier to click anywhere on timeline panel to switch focus than trying to hit small button?&lt;/p&gt;&#xA;&lt;p&gt;Any use cases I'm missing about this feature?&lt;/p&gt;&#xA;" OwnerUserId="23009" LastActivityDate="2020-07-30T07:34:38.960" Title="What are use cases for Timeline button in Preview panel?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30931" PostTypeId="1" AcceptedAnswerId="30932" CreationDate="2020-07-30T01:55:55.343" Score="1" ViewCount="1366" Body="&lt;h2&gt;What I know&lt;/h2&gt;&#xA;&lt;p&gt;The front panel of the &lt;a href=&quot;https://www.blackmagicdesign.com/products/atem/techspecs/W-APS-10&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blackmagic Design ATEM 4 M/E&lt;/a&gt; is used for routing the AUXes of the mixer similarly to a &lt;a href=&quot;https://www.blackmagicdesign.com/products/smartvideohub/techspecs/W-VHS-02&quot; rel=&quot;nofollow noreferrer&quot;&gt;Smart Videohub&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;h2&gt;Problem&lt;/h2&gt;&#xA;&lt;p&gt;I realized that sometimes the buttons of some AUXes flash. For example I have &lt;kbd&gt;AUX 2&lt;/kbd&gt; where ME 3 PGM is routed but on the front panel &lt;kbd&gt;ME 1 PGM&lt;/kbd&gt; is flashing.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lkytr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lkytr.png&quot; alt=&quot;Blackmagic Design ATEM 4 M/E Flashing button&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;What does this flashing means? Why does it flashes at a different button?&lt;/p&gt;&#xA;" OwnerUserId="22638" LastActivityDate="2020-07-30T01:55:55.343" Title="What does a flashing button mean on the Blackmagic ATEM 4 M/E front panel?" Tags="|blackmagic|mixer|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30932" PostTypeId="2" ParentId="30931" CreationDate="2020-07-30T01:55:55.343" Score="1" Body="&lt;h2&gt;tl;dr&lt;/h2&gt;&#xA;&lt;p&gt;It indicates that ME 3 PGM is selected since there is no buttons for M/E 3 and 4.&lt;/p&gt;&#xA;&lt;h2&gt;Blackmagic ATEM Front Panel Tutorial&lt;/h2&gt;&#xA;&lt;p&gt;The switcher's front panel doesn't have a button for all routable inputs/outputs. If you click an AUX in the menu of the ATEM Software Control, you can see that you have 60 items in the dropdown, while there are only 36 buttons on the front panel.&lt;/p&gt;&#xA;&lt;h3&gt;Media Players and M/Es&lt;/h3&gt;&#xA;&lt;p&gt;You have 4 media players and 4 M/Es but there are only buttons for the first 2. For selecting the other half you have to use the same buttons by double pressing them. So to select Media Player 3 you have to double press &lt;kbd&gt;MP 1&lt;/kbd&gt;. Buttons that work this way:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;kbd&gt;MP 1&lt;/kbd&gt; -&amp;gt; Media Player 3&lt;/li&gt;&#xA;&lt;li&gt;&lt;kbd&gt;MP 1 KEY&lt;/kbd&gt; -&amp;gt; Media Player 3 Key&lt;/li&gt;&#xA;&lt;li&gt;&lt;kbd&gt;MP 2&lt;/kbd&gt; -&amp;gt; Media Player 4&lt;/li&gt;&#xA;&lt;li&gt;&lt;kbd&gt;MP 2 KEY&lt;/kbd&gt; -&amp;gt; Media Player 4 Key&lt;/li&gt;&#xA;&lt;li&gt;&lt;kbd&gt;ME 1 PVW&lt;/kbd&gt; -&amp;gt; ME 3 PVW&lt;/li&gt;&#xA;&lt;li&gt;&lt;kbd&gt;ME 1 PGM&lt;/kbd&gt; -&amp;gt; ME 3 PGM&lt;/li&gt;&#xA;&lt;li&gt;&lt;kbd&gt;ME 2 PVW&lt;/kbd&gt; -&amp;gt; ME 4 PVW&lt;/li&gt;&#xA;&lt;li&gt;&lt;kbd&gt;ME 2 PGM&lt;/kbd&gt; -&amp;gt; ME 4 PGM&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;The mixer is &lt;em&gt;really&lt;/em&gt; nitpicky when it comes to registering double presses. If you press the button to slow or too fast it won't recognize it. You have to press them in a specific rhythm with around 350 ms delay between the two presses. This might sound weird but it is true. I had to measure this since it seemed so unreliable. 180 ms doesn't work, 520 ms doesn't work. Between 250-450 ms you are good. Thanks to this neediness I would not recommend the front panel for AUX routing for these inputs when the timing is critical.&lt;/p&gt;&#xA;&lt;h3&gt;Key Masks&lt;/h3&gt;&#xA;&lt;p&gt;Every key's mask can be routed to an AUX. We have 4 upstream keys for the 4 M/Es and the 2 downstream keys on M/E 1. This means (4*4)+2=18 masks. All of these can be selected via the &lt;kbd&gt;KEY MASK&lt;/kbd&gt; button. This button always flashes if any of the aforementioned key masks are routed to that AUX. On each &lt;kbd&gt;KEY MASK&lt;/kbd&gt; button press it will cycle through the key masks, selecting the next key according to the order in the menu dropdown:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wDHwz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wDHwz.png&quot; alt=&quot;AUX key mask outputs&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If the previously routed signal on that AUX was a key mask, the button press will go to the next one (below it). If it reached the end or the previous signal was not a key mask it will start from the top.&lt;/p&gt;&#xA;" OwnerUserId="22638" LastActivityDate="2020-07-30T01:55:55.343" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30933" PostTypeId="2" ParentId="30930" CreationDate="2020-07-30T07:34:38.960" Score="3" Body="&lt;p&gt;If you have all your timelines closed, pressing this button will open up the composition that is visible on screen and go into the timeline of said comp.&lt;/p&gt;&#xA;&lt;p&gt;This could be useful if you're working with dozens of precomps, lock the master-comp and go diving in the precomps. Then, when you want to return to your master-comp, simply press that button.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-30T07:34:38.960" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="30934" PostTypeId="2" ParentId="30919" CreationDate="2020-07-30T07:36:57.463" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IMbcy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IMbcy.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can search for keyboard shortcuts by going to edit–&amp;gt;keyboard shortcuts. Searching for the project panel there only reveals the shortcut you have already mentioned. I guess that you're out of luck.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-30T07:36:57.463" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="30935" PostTypeId="1" AcceptedAnswerId="30940" CreationDate="2020-07-30T08:52:34.520" Score="0" ViewCount="41" Body="&lt;p&gt;I have a pre-made slides of mostly text and math formulae, and I want to make a kind of video presentation from it. I need a software that can do the following things:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Smooth difference transition. What I mean by that: if I have two images with only a slight difference in them (say, one added word) I want to apply a transition where this difference fades in or somewhat dynamically pops in without disturbing the rest of the image;&lt;/li&gt;&#xA;&lt;li&gt;Sliding up/down/left/right with controlled speed and acceleration. To create an effect of a camera sliding over a big sheet of paper.&lt;/li&gt;&#xA;&lt;li&gt;Shaky camera effect, basically make an image &amp;quot;wiggle&amp;quot; (not very important).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;That's pretty much it. So far I've tried only OpenShot and it doesn't seem like a good choice for that, although if you have a tutorial in mind that shows how to do such things please let me know.&lt;/p&gt;&#xA;" OwnerUserId="30731" LastEditorUserId="14523" LastEditDate="2020-07-30T18:21:44.203" LastActivityDate="2020-07-30T18:21:44.203" Title="Software choosing advice for a beginner" Tags="|video-editor|presentation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30936" PostTypeId="2" ParentId="30935" CreationDate="2020-07-30T09:02:43.570" Score="2" Body="&lt;p&gt;Something like this would be done in After-Effects. There is a free trial of the software - I would highly recommend trying this.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-30T09:02:43.570" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30937" PostTypeId="1" CreationDate="2020-07-30T11:07:10.060" Score="2" ViewCount="255" Body="&lt;p&gt;I'm making a youtube tutorial on programming. But I'm unsure if I should keep the keyboard sound on the video or record on without it.&lt;/p&gt;&#xA;&lt;p&gt;Does the keyboard sound, even when the sound is very low, it's good? Bad? Does it make any difference?&lt;/p&gt;&#xA;" OwnerUserId="30734" LastActivityDate="2020-07-30T11:47:51.623" Title="When making a youtube video of coding tutorial, is it good to have the keyboard sounds while I'm typing?" Tags="|youtube|programming|tutorial|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30938" PostTypeId="1" AcceptedAnswerId="31945" CreationDate="2020-07-30T11:47:17.987" Score="0" ViewCount="60" Body="&lt;p&gt;I'm on Windows 7 and have video files with external or built-in (not hard-coded) subtitles. When watching the videos, I'd like to be able to somehow copy the currently shown text to the clipboard.&lt;/p&gt;&#xA;&lt;p&gt;Do you know any video player that can do this?&lt;/p&gt;&#xA;" OwnerUserId="21141" LastActivityDate="2020-07-31T09:13:14.580" Title="Is there a player that allows copying currently shown susbtitles to the clipboard?" Tags="|subtitles|video-player|" AnswerCount="1" CommentCount="0" ClosedDate="2020-08-13T11:06:07.767" ContentLicense="CC BY-SA 4.0" />
  <row Id="30939" PostTypeId="2" ParentId="30937" CreationDate="2020-07-30T11:47:51.623" Score="2" Body="&lt;p&gt;I presume you generally talk while typing, right? Well, when I need to focus on a human voice, any distracting sound is unwelcome. This includes keyboard typing. I do not see any benefit of such sounds when making tutorials during parts when you talk. Also, keep in mind that people with hearing aids will benefit much from a clean voice with no other sounds.&lt;/p&gt;&#xA;&lt;p&gt;When you have scenes in the video where there is nothing to talk about but you have to type a lot, the silence might be a bit irritating. However, you could cut the boring part and skip ahead until we see the complete code block. Alternatively speed up the scene.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-07-30T11:47:51.623" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30940" PostTypeId="2" ParentId="30935" CreationDate="2020-07-30T14:47:34.680" Score="2" Body="&lt;h2&gt;&lt;a href=&quot;https://shotcut.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;Shotcut&lt;/a&gt;&lt;/h2&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://shotcut.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;Shotcut&lt;/a&gt; might be a bit better then OpenShot. It is free, open-source, and you can do the things you described, just check these tutorials:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=NUDCcq6WcJU&quot; rel=&quot;nofollow noreferrer&quot;&gt;Transitions&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=W2bm5zsqaxs&quot; rel=&quot;nofollow noreferrer&quot;&gt;Camera shake&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wkgOX.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wkgOX.jpg&quot; alt=&quot;Shotcut example project&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;h2&gt;&lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve/&quot; rel=&quot;nofollow noreferrer&quot;&gt;DaVinci Resolve&lt;/a&gt;&lt;/h2&gt;&#xA;&lt;p&gt;If you want a really professional software, go with &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve/&quot; rel=&quot;nofollow noreferrer&quot;&gt;DaVinci Resolve&lt;/a&gt;. It is free and cross platform, but has a bigger learning curve, although the things you described are not that hard:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=0EEDwt89f6Y&quot; rel=&quot;nofollow noreferrer&quot;&gt;Transitions&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=1JKv-B03xV0&quot; rel=&quot;nofollow noreferrer&quot;&gt;Camera shake&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/N1Uy1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/N1Uy1.png&quot; alt=&quot;DaVinci Resolve example project&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22638" LastActivityDate="2020-07-30T14:47:34.680" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30941" PostTypeId="1" AcceptedAnswerId="32090" CreationDate="2020-07-30T16:15:05.090" Score="3" ViewCount="54" Body="&lt;p&gt;I'm suffering with Greenscreen already several months. So I would appreciate any recommendations.&#xA;As you can see on the right side there is a spill on the head and arm.&#xA;My setup:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;2 daylight bulbs (45 W CFL-Daylight) with umbrellas for subject 45 degree left and right.&lt;/li&gt;&#xA;&lt;li&gt;I also tried with and without 2 softboxes (45w CLF-Daylight) to light greenscreen. From what I see the greenscreen is not perfectly lit.&lt;/li&gt;&#xA;&lt;li&gt;Greenscreen is 2 meters behind the subject&lt;/li&gt;&#xA;&lt;li&gt;I key it in Final cut pro&lt;/li&gt;&#xA;&lt;li&gt;My camera is Sony 5100 f1.4, iso 100, 25 fps, shutter 1/50, 1080p&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;The main problem is that I don't know what I need to adjust. Is it the greenscreen than should be lit better or something else? Do I need more light or should it be dimmable?&lt;/p&gt;&#xA;&lt;p&gt;Video with background:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/2LXJIsYV95o?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Raw video with greenscreen:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/z6LCrjW9GVk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Greenscreen image:&#xA;&lt;a href=&quot;https://drive.google.com/file/d/1KZdV6WTNAfeuzzjkMhnL9iOdWnfFtKDw/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1KZdV6WTNAfeuzzjkMhnL9iOdWnfFtKDw/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Greenscreen Problems image:&#xA;&lt;a href=&quot;https://drive.google.com/file/d/1x0IBozaoU2gDFQAEjZrIu8tVWpi03fBz/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1x0IBozaoU2gDFQAEjZrIu8tVWpi03fBz/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Greenscreen Problems image 2:&#xA;&lt;a href=&quot;https://drive.google.com/file/d/1Nh647wrV_kERR3y4bW6GSNcog8mG5yiA/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1Nh647wrV_kERR3y4bW6GSNcog8mG5yiA/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Keyed out image:&#xA;&lt;a href=&quot;https://drive.google.com/file/d/1jSKZrsVYpdE3i1dxLuJRz81eD2_G_N3F/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1jSKZrsVYpdE3i1dxLuJRz81eD2_G_N3F/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Keyed out with sample color removal:&#xA;&lt;a href=&quot;https://drive.google.com/file/d/1mTYnjIKM1dLBTb5gmfaI42EG-lcF5Fx0/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1mTYnjIKM1dLBTb5gmfaI42EG-lcF5Fx0/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;White/black image:&#xA;&lt;a href=&quot;https://drive.google.com/file/d/1ptEZh4vhIYX9SRQgbEROqfkybv4TD7GD/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1ptEZh4vhIYX9SRQgbEROqfkybv4TD7GD/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;While/black with sample color removal:&#xA;&lt;a href=&quot;https://drive.google.com/file/d/1dk9yFot721I2bY8lz90wJmZcp0evjLF5/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1dk9yFot721I2bY8lz90wJmZcp0evjLF5/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Also I tried adding 2 softboxes on the bottom. It helped with colors on the bottom of the screen but not with spill.&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/kjc1OX4Ua08?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Image of my lamps setup:&#xA;&lt;a href=&quot;https://drive.google.com/file/d/1wbaEKtbYzrkyiCIDsgt7fbNSsOBMZKGY/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1wbaEKtbYzrkyiCIDsgt7fbNSsOBMZKGY/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm open for any suggestions. Thanks for your time.&lt;/p&gt;&#xA;" OwnerUserId="30735" LastActivityDate="2020-08-24T23:43:25.797" Title="Greenscreen recommendations" Tags="|lighting|greenscreen|chromakey|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="30943" PostTypeId="1" CreationDate="2020-07-30T23:57:14.973" Score="1" ViewCount="707" Body="&lt;p&gt;I've been trying to export an HD video from a screen recording created with Camtasia studio, but every rendering is returning videos with 80 mb/s of bitrate, I'm setting it to 65% quality, MP4. If I change to bitrate, let's say I set 6000, the file output is way smaller, but the quality is terrible, like you can't see a thing in the video. I've even tried compression with AVI, same results. I've also tried converting the video with other software, even online software, same thing. I also decreased the quality from 65% to 33%, same bad result. I don't know why Camtasia puts so much much bitrate into a single file. I even tried exporting as WMV, again, same thing. It's a 50 seconds video, it has 850 mb of file size.&lt;/p&gt;&#xA;" OwnerUserId="30737" LastActivityDate="2023-12-13T15:06:20.823" Title="Camtasia Studio video files are too big" Tags="|video|video-editor|video-quality|compression|video-capture|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="31943" PostTypeId="2" ParentId="30941" CreationDate="2020-07-31T07:25:56.747" Score="0" Body="&lt;p&gt;Bit overwhelmed with all the links, but from an initial look my first reaction is that you need more light on the screen, and while you're at it, a backlight on your subject would help things along too.&lt;/p&gt;&#xA;&lt;p&gt;From the fringing it looks like you need to turn up the gain of your key. If your key effect doesn't have a screen gain control, you can achieve the same result by increasing the saturation of the screen colour with another effect applied before the key effect. To remove the fringe in the existing footage you could apply a matte choker effect, and to remove the green-ness a de-spill effect. I'm not sure what these are called in FCP.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-07-31T07:25:56.747" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="31944" PostTypeId="2" ParentId="30943" CreationDate="2020-07-31T09:10:22.660" Score="0" Body="&lt;p&gt;The filesize is determined by many factors. First, check your resolution. If you're exporting in 4k or 6k, your filesize might not be strange at all. Next, the framerate plays a big part in filesizes aswell. Check if you're exporting in 30fps (for most web-videos), 25fps (for tv) or 24fps (for cinema). It might just be that you are using something like 60 or 120fps, which bloats the file. Next up is the codec and container you are using. You mentioned trying the .avi and .mp4 container, but which codec were you using? For .mp4 files I recommend h.264 or h.265, which are the most common codecs for mp4.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-31T09:10:22.660" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="31945" PostTypeId="2" ParentId="30938" CreationDate="2020-07-31T09:13:14.580" Score="0" Body="&lt;p&gt;You can select and copy subtitles on youtube. If you have your subs in a common format, you can upload them to youtube with the video and your subtitles will be applied according to the internal timecode in the subtitles-file. Then, when playing back the video, you can select and copy the subs.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-07-31T09:13:14.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31947" PostTypeId="1" AcceptedAnswerId="31963" CreationDate="2020-07-31T22:12:43.450" Score="0" ViewCount="502" Body="&lt;p&gt;Is there some way to record Windows screen with zoom in high quality? Like in this video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/QVrrqgDhhu4?start=454&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="31753" LastActivityDate="2020-08-04T18:38:23.473" Title="How to record screen with zoom in high quality?" Tags="|screen-casting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31949" PostTypeId="1" AcceptedAnswerId="31958" CreationDate="2020-08-01T17:34:03.187" Score="1" ViewCount="68" Body="&lt;p&gt;So I shoot scenes with my cellphone (whether FHD or UHD). But other scenes I take them from clips I find online in a subscription service. If I try to make the video of contiguous scenes combining from phone and the other clips it is easily observed they are different, there is no continuity on light/color. Which filters or steps do I need to make so it appears to have continuity?&lt;/p&gt;&#xA;" OwnerUserId="31759" LastActivityDate="2020-08-03T06:50:51.237" Title="How to make scenes look continuous?" Tags="|video-editor|video-quality|video-capture|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31950" PostTypeId="1" AcceptedAnswerId="31953" CreationDate="2020-08-01T19:40:45.197" Score="1" ViewCount="26" Body="&lt;p&gt;Video editing software offers many scene transition effects, but which ones are commonly used in movies and tv shows?&lt;/p&gt;&#xA;" OwnerUserId="31759" LastActivityDate="2020-08-02T00:35:05.190" Title="Which scene transitions are commonly used?" Tags="|video|video-editor|transitions|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31952" PostTypeId="2" ParentId="31950" CreationDate="2020-08-01T21:35:30.987" Score="2" Body="&lt;p&gt;Probably fade and cut. But, I must say every transition effect have a a point in terms of story telling. 'Cut' transition tells us the next scene might be in another place and time and so on.&lt;/p&gt;&#xA;" OwnerUserId="30728" LastActivityDate="2020-08-01T21:35:30.987" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31953" PostTypeId="2" ParentId="31950" CreationDate="2020-08-02T00:35:05.190" Score="1" Body="&lt;p&gt;The commonly used transitions are cuts and dissolves. &lt;a href=&quot;https://www.premiumbeat.com/blog/8-essential-cuts-every-editor-should-know/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Cuts&lt;/a&gt; can be edited in a variety of ways, depending on the storytelling situation, but the &lt;a href=&quot;https://amirediting.blogspot.com/p/blog-page_3.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;straight cut&lt;/a&gt; is the most often used transition. Any other &lt;a href=&quot;https://en.wikipedia.org/wiki/Film_transition&quot; rel=&quot;nofollow noreferrer&quot;&gt;transitions&lt;/a&gt; have unique purposes, but should always be motivated by the story and used sparingly. The exception to the frequency rule is when a piece adopts a transition as a stylistic device. But you need to approach that with caution, as it can &lt;a href=&quot;https://www.reddit.com/r/editors/comments/2cbtae/whats_a_overused_editing_technique_that_screams/&quot; rel=&quot;nofollow noreferrer&quot;&gt;scream amateur&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2020-08-02T00:35:05.190" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31954" PostTypeId="1" CreationDate="2020-08-02T03:11:37.710" Score="0" ViewCount="58" Body="&lt;p&gt;I changed the color level of an video (&amp;quot;ORIGINAL_VIDEO1.MP4&amp;quot;) that had previously played well in Apple Quicktime. After brightening,&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ORIGINAL_VIDEO1.MP4 -vf colorlevels=romin=0.4:gomin=0.4:bomin=0.4 -c:a copy BRIGHTER_VIDEO_1.MP4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;BRIGHTER_VIDEO_1.MP4&lt;/code&gt; can no longer be played in Quicktime and it says something about the video missing elements. All the while, VLC plays it perfectly. Is there something I am doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="21499" LastActivityDate="2021-04-29T09:01:30.157" Title="Apple Quicktime cannot open a video that has been brightened using ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31955" PostTypeId="2" ParentId="31954" CreationDate="2020-08-02T05:48:53.020" Score="1" Body="&lt;p&gt;Pixel data in videos is typically stored as YUV, whereas colorlevels works upon RGB format pixels, so it tells ffmpeg to convert it beforehand. After the filtering, the reverse conversion to YUV before re-encoding uses a YUV format not compatible with basic players, so one has to force conversion to a compatible format.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ORIGINAL_VIDEO1.MP4 -vf colorlevels=romin=0.4:gomin=0.4:bomin=0.4 -pix_fmt yuv420p -c:a copy BRIGHTER_VIDEO_1.MP4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-08-02T05:48:53.020" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="31956" PostTypeId="1" CreationDate="2020-08-02T20:31:32.193" Score="1" ViewCount="42" Body="&lt;p&gt;I would like to create some educational videos in which I will use only my voice and some photos/text headlines, notes etc. on my Mac computer. I am aiming at creating videos that are as much as possible in better definition while as much as possible smaller size in order to make them upload easily. All I think is two options.&lt;/p&gt;&#xA;&lt;p&gt;First one is I can create a video using slides and then record my voice over it by using a video editing program.&#xA;Secondly, I can create a slide and record a voice over it while screen recording.&lt;/p&gt;&#xA;&lt;p&gt;Second one sounds easier for me because I can be more flexible on timing and duration.&lt;/p&gt;&#xA;&lt;p&gt;I can use Quicktime for screen recording. Do you think it is a good idea for a video? Its recordings can be very large size. I do not think I need super-quality definition on my videos. 480p is good enough for me.&lt;/p&gt;&#xA;&lt;p&gt;What are your suggestions in terms of video recording techniques and applications/programs for my situation?&lt;/p&gt;&#xA;" OwnerUserId="31766" LastEditorUserId="31766" LastEditDate="2020-08-02T20:48:59.270" LastActivityDate="2020-08-05T11:34:58.260" Title="How to create a educational video by only using your voice and some photos" Tags="|video-quality|video-recording|mac|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31958" PostTypeId="2" ParentId="31949" CreationDate="2020-08-03T06:50:51.237" Score="2" Body="&lt;p&gt;For future videos, you better have a defined reference in all videos. For example a clapperboard or a standardized grey card. Then you can match all videos during colour grading both regarding the white balance and exposure. Usually editors let you set the black and white point or midtone with a colour picking tool that you use on the clapperboard or greycard. Or you mask out a grey area and using diagrams to adjust colours until the red/green/blue values are equal.&lt;/p&gt;&#xA;&lt;p&gt;For existing videos without such reference and especially for videos from external sources you need more guess work but you should get there close enough.&lt;/p&gt;&#xA;&lt;p&gt;Anyway, you need a video editor that helps with colour grading. The steps depend on your editor. Some of them offer graphs or diagrams which help for comparison between clips. Usually there's also a copy&amp;amp;paste function, so that you can use the same colour settings for multiple clips. Some even have automatic functions, that may or may not be useful. For example Adobe's Premiere Pro (&lt;a href=&quot;https://nofilmschool.com/2018/04/adobe-premiere-pros-new-color-match-feature-will-speed-your-workflow&quot; rel=&quot;nofollow noreferrer&quot;&gt;and here is mini-tutorial on the topic&lt;/a&gt;). Adobe offers a free trial, so you can check if this works for you or not. DaVinci Resolve is a great alternative, it's famous for it's excellent colour grading abilities, but since I don't really use it, I don't know much about it.&lt;/p&gt;&#xA;&lt;p&gt;Once all clips are matched, you can of course choose to artistically change colours for all or some scenes. Like in the The Matrix where they have used a green tint for all scenes that play in the Matrix.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-08-03T06:50:51.237" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31959" PostTypeId="1" CreationDate="2020-08-03T08:25:24.390" Score="0" ViewCount="436" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;environment：&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;OS:Centos7&lt;/li&gt;&#xA;&lt;li&gt;FFMPEG version: 4.2&lt;/li&gt;&#xA;&lt;li&gt;GPU: NVIDIA Tesla T4&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I have a requirement to work with multiple FFMPEG instance,command like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -loglevel info -hwaccel cuvid -hwaccel_output_format cuda -c:v h264_cuvid \&#xA;    -i http://xx/xxxx.mp4 \&#xA;    -c:v  h264_nvenc  -ss 0 -t 600 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and the output like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.2.git Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 4.8.5 (GCC) 20150623 (Red Hat 4.8.5-39)&#xA;  configuration: --enable-cuda-nvcc --enable-cuda --enable-cuvid --enable-nvenc --enable-libnpp --prefix=/snbeauty//platform/centos --pkg-config-flags=--static --extra-cflags='-I/snbeauty//platform/centos/include -I/usr/local/cuda/include/ -Werror=implicit-function-declaration -std=gnu99' --extra-ldflags='-L/snbeauty//platform/centos/lib64 -L/snbeauty//platform/centos/lib -L/usr/local/lib64 -L/usr/lib64 -L/usr/local/cuda/lib64 -L/lib64' --extra-libs='-lpthread -lm -lEGL -lGL -lpng -lYNEffect -ltracker -lcuda -lcudart' --bindir=/snbeauty//platform/centos/bin --enable-static --enable-nonfree --enable-libfreetype --enable-libfribidi --enable-libfontconfig --enable-filters --enable-version3 --enable-gpl --enable-libass --enable-libfdk_aac --enable-encoder=libfdk_aac --enable-opengl --enable-filter=xiu --enable-libmp3lame --enable-libopus --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-libtheora --enable-libwebp --enable-frei0r --enable-openssl --enable-gray --enable-libxml2 --enable-libxvid&#xA;  libavutil      56. 42.100 / 56. 42.100&#xA;  libavcodec     58. 73.102 / 58. 73.102&#xA;  libavformat    58. 39.101 / 58. 39.101&#xA;  libavdevice    58.  9.103 / 58.  9.103&#xA;  libavfilter     7. 77.100 /  7. 77.100&#xA;  libswscale      5.  6.100 /  5.  6.100&#xA;  libswresample   3.  6.100 /  3.  6.100&#xA;  libpostproc    55.  6.100 / 55.  6.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'http://xxx/xxxx.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:38:52.05, start: 0.000000, bitrate: 5370 kb/s&#xA;    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 1920x1080, 5245 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 119 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (h264_cuvid) -&amp;gt; h264 (h264_nvenc))&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;Output #0, mp4, to 'out.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.39.101&#xA;    Stream #0:0(und): Video: h264 (h264_nvenc) (Main) (avc1 / 0x31637661), cuda, 1920x1080 [SAR 1:1 DAR 16:9], q=-1--1, 2000 kb/s, 25 fps, 12800 tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      encoder         : Lavc58.73.102 h264_nvenc&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/2000000 buffer size: 4000000 vbv_delay: N/A&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      encoder         : Lavc58.73.102 aac&#xA;frame=15000 fps=336 q=26.0 Lsize=  152462kB time=00:10:00.00 bitrate=2081.6kbits/s speed=13.4x    &#xA;video:142668kB audio:9418kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.247139%&#xA;[aac @ 0x32437c0] Qavg: 168.657&#xA;&#xA;real    0m45.568s&#xA;user    0m29.034s&#xA;sys 0m2.961s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;is very fast&lt;/p&gt;&#xA;&lt;p&gt;But when I try concurrent 10 processes to run this command with different input url,ffmpeg start is very slowly. Then I found FFmpeg is slowly in this step:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (h264_cuvid) -&amp;gt; h264 (h264_nvenc))&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;When the video is very short(like 0.5s or 1s), FFmpeg takes a long time to start.The actual codec takes less time than the boot time.&lt;/p&gt;&#xA;&lt;p&gt;I would like to ask what causes this problem? (Nvidia GPU limit or FFmpeg) .And any way to solve it.&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="31771" LastActivityDate="2020-08-03T08:25:24.390" Title="FFmpeg start slowly with multiple instance on nvidia T4 GPU" Tags="|ffmpeg|nvidia|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="31960" PostTypeId="1" AcceptedAnswerId="31961" CreationDate="2020-08-03T13:15:53.350" Score="5" ViewCount="6372" Body="&lt;p&gt;I have this video :&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/2drrKvX6EHw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;From which I want to remove all tracking markers (black and blue tracking markers). I tried to use After Effects through Mocha and Content-aware-fill using these youtube tutorials :&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/xbR4az6lgCw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/QEY_jNkWYe4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;But it doesn't work properly.&lt;/p&gt;&#xA;&lt;p&gt;Please can you recommend some good tutorials or techniques to flawlessly and easily remove all those tracking markers from my video ?&lt;/p&gt;&#xA;&lt;p&gt;Many thanks in advance&lt;/p&gt;&#xA;" OwnerUserId="30611" LastActivityDate="2020-12-15T23:11:57.177" Title="Best and easiest way to remove tracking markers from green screen video" Tags="|after-effects|greenscreen|tracking|chromakey|visual-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31961" PostTypeId="2" ParentId="31960" CreationDate="2020-08-03T14:32:04.360" Score="5" Body="&lt;p&gt;You can do this quite easily without content-aware fill or anything like it. I'd tackle this by doing the following:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;create a rough shape for each tracking-point (the color doesn't matter)&lt;/li&gt;&#xA;&lt;li&gt;track each point using the native after-effects tracker and apply the track to the corresponding shape.&lt;/li&gt;&#xA;&lt;li&gt;All the shapes should now stick to their tracked point. Precompose all the shapes.&lt;/li&gt;&#xA;&lt;li&gt;Under &amp;quot;track-mattes&amp;quot; you can now select your shape-precomp as &amp;quot;invered alpha-matte&amp;quot;. This cuts out the opaque areas of the shapes, effectively removing the tracking-points.&lt;/li&gt;&#xA;&lt;li&gt;Key your footage.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I hope this helped you, have a nice day!&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-08-03T14:32:04.360" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="31963" PostTypeId="2" ParentId="31947" CreationDate="2020-08-04T18:38:23.473" Score="0" Body="&lt;p&gt;You have 3 options:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;find a software that supports recording with a zoom-in&lt;/li&gt;&#xA;&lt;li&gt;on Windows there is the screen magifier (I hope there is something similar on Mac?) which can be used to magnify the relevant screen part&lt;/li&gt;&#xA;&lt;li&gt;you record the video normally and then edit in post&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;If you go for the first option, it's easy to find several screen recording applications with Google, I tried the terms &amp;quot;screen recorder&amp;quot; &amp;quot;zoom-in&amp;quot; (just usign &amp;quot;zoom&amp;quot; spoils the search results with many hits for the Zoom meeting app. So use &amp;quot;zoom-in&amp;quot; with quotes). I can't recommend any software in particular.&lt;/p&gt;&#xA;&lt;p&gt;My preferred method would be to do it in post, but that's a personal preference and of course your video editor has to support it. The feature, which you need, may be called a &amp;quot;crop&amp;quot; effect, whereas the zoom effect will animate the process of zooming in or out. Anyway, when you want to do it in post, make sure you can record a higher resolution than the output resolution, e.g. record in 4k and output to HD. However editing 4k video requires either fast hardware or a good video editor that can work with proxy files or similar resource saving alternatives.&lt;/p&gt;&#xA;&lt;p&gt;That said, the edit-in-post option takes some effort. Option 1 or 2 may be the more economic way for you.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-08-04T18:38:23.473" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31964" PostTypeId="2" ParentId="31956" CreationDate="2020-08-04T18:54:01.773" Score="1" Body="&lt;p&gt;Use PowerPoint.&lt;/p&gt;&#xA;&lt;p&gt;The truth is that the latest version of it can do nice transitions so the presentation is not dull at all.&lt;/p&gt;&#xA;&lt;p&gt;At the end, you can export as a video to Mp4. If used properly you do not need video edition at all.&lt;/p&gt;&#xA;&lt;p&gt;Do not use less than HD for your videos. The resolution may not be important to you, but the viewers are used to Full HD.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-08-04T18:54:01.773" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="31966" PostTypeId="1" AcceptedAnswerId="31967" CreationDate="2020-08-04T23:04:33.990" Score="0" ViewCount="734" Body="&lt;p&gt;hi im trying to add text to live video stream but i keep getting error with my command, i already tried &lt;code&gt;-filter_complex&lt;/code&gt; but no success&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -loop 1 -i img1.jpg -vf 'pad=ceil(iw/2)*2:ceil(ih/2)*2:[0:v]drawtext='text=hello:fontsize=90:x=20:y=20:fontcolor=white@0.2'' -vcodec libx264 -vprofile baseline -x264opts keyint=40 -acodec aac -strict -2 -f flv rtmp://localhost/hls/test -y -stats -report&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;the error i get is&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;Unable to parse graph description substring: &amp;quot;drawtext=text=freedome:fontsize=90:x=20:y=20:fontcolor=white@0.2&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="31796" LastActivityDate="2020-08-05T05:09:00.407" Title="drawtext ffmpeg 'Unable to parse graph description substring'" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31967" PostTypeId="2" ParentId="31966" CreationDate="2020-08-05T05:09:00.407" Score="0" Body="&lt;p&gt;For simple filterchains, where one filter operates upon the output of an earlier filter, no input pads (like &lt;code&gt;[0:v]&lt;/code&gt;) should be used. Also, there is an errant colon at the end of the pad filter. It should be a comma instead, so&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf 'pad=ceil(iw/2)*2:ceil(ih/2)*2,drawtext=text=&amp;quot;hello&amp;quot;:fontsize=90:x=20:y=20:fontcolor=white@0.2'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In drawtext, you may need to specify a font if fontconfig is not available on your system.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-08-05T05:09:00.407" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="31968" PostTypeId="2" ParentId="31956" CreationDate="2020-08-05T11:34:58.260" Score="1" Body="&lt;p&gt;If you're on a Mac, Keynote is free, and works well. You could prepare your slides, then open Quicktime Player to do a screen record whilst you record your audio and run your slides.&lt;/p&gt;&#xA;&lt;p&gt;It's a good idea to have lots of hard drive space when working on a video - the files can be large, but then you can make a smaller compressed version for sharing afterwards.&lt;/p&gt;&#xA;&lt;p&gt;If the file size is large at the end, you can choose how you save it afterwards in Quicktime using the &amp;quot;Export As&amp;quot; option in the File Menu. 4K will result in large files and high resolution. 480p will give smaller files but a lot lower resolution.&lt;/p&gt;&#xA;&lt;p&gt;If you want more precision, and the ability to go back and fix mistakes etc, you may need to use a video editing package such as iMovie (free and inlcuded with MacOS), or Premiere (paid).  &lt;a href=&quot;http://www.telestream.net/screenflow/overview.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;Screenflow&lt;/a&gt; (paid) is also excellent and designed for recording and editing screen recordings.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-08-05T11:34:58.260" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="31969" PostTypeId="1" CreationDate="2020-08-05T12:25:47.807" Score="3" ViewCount="197" Body="&lt;p&gt;I am tracking a text object and sticking it to a certain point in my clip. This all work as expected, and looks good inside the fusion tab.&lt;/p&gt;&#xA;&lt;p&gt;But... when I view this in the &amp;quot;edit&amp;quot; tab... the text becomes &amp;quot;blurred&amp;quot; when the clip plays. Almost like motion blur. All techniques and settings are used to get a basic text track working. Nothing else was fiddled with.&lt;/p&gt;&#xA;&lt;p&gt;I have also tried to render out this section to file, and the blurred text renders to output file, yet is perfectly fine inside fusion.&lt;/p&gt;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;&lt;p&gt;Resolve 16.2.5&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;EDIT TAB&lt;/strong&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Y62eF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Y62eF.png&quot; alt=&quot;Edit TAB&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;FUSION TAB&lt;/strong&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/tHOc8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tHOc8.png&quot; alt=&quot;FUSION TAB&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;FUSION PAGE&lt;/strong&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/D32Zm.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/D32Zm.jpg&quot; alt=&quot;FUSION PAGE&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5926" LastEditorUserId="5926" LastEditDate="2020-08-05T12:35:39.810" LastActivityDate="2020-08-06T23:16:25.780" Title="Tracked Text Title renders &quot;strange&quot;" Tags="|davinci-resolve|fusion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31970" PostTypeId="1" CreationDate="2020-08-05T16:15:24.390" Score="2" ViewCount="108" Body="&lt;p&gt;I have set up a pretty simple expression that animates the number of copies of a shape layers' repeater:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;copies = 14;&#xA;anim_start= 12;&#xA;anim_end = 32;&#xA;&#xA;ftime = timeToFrames(time,25);&#xA;if(ftime&amp;lt;anim_end) &#xA;x =linear(ftime,anim_start,anim_end,0,copies);&#xA;else &#xA;x = linear(ftime,225,243,copies,0);&#xA;x;&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It works fine if I replace &amp;quot;anim_end&amp;quot; with a number, but what it does now is have 0 copies at frame 11, and 14 copies one frame later. I am confused why AE won't exept my variable &amp;quot;anim_end&amp;quot;. Can someone point me in the right direction?&lt;/p&gt;&#xA;&lt;p&gt;thanks,&#xA;Barbara&lt;/p&gt;&#xA;&lt;p&gt;edit: since I can't comment on the answer that was already given: putting { brackets in the if-else clause did not change anything, unfortunately. Thanks anyway :)&lt;/p&gt;&#xA;" OwnerUserId="31802" LastEditorUserId="31802" LastEditDate="2020-08-17T15:08:05.847" LastActivityDate="2020-08-17T15:08:05.847" Title="AE linear() function is not working with variable" Tags="|after-effects-expressions|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="31971" PostTypeId="1" CreationDate="2020-08-05T23:06:38.063" Score="1" ViewCount="1763" Body="&lt;p&gt;Similar to &lt;a href=&quot;https://video.stackexchange.com/questions/29192/digitized-super-8-mm-film-got-wrong-aspect-ratio&quot;&gt;this post&lt;/a&gt;, I've sent some video tapes off to be digitized.  In this case, they are mini-DV tapes which should be &lt;a href=&quot;https://en.wikipedia.org/wiki/DV&quot; rel=&quot;nofollow noreferrer&quot;&gt;720x480 resolution&lt;/a&gt; (more or less).  The resulting MP4 files do claim to be 720x480 but the images don't look right.  I uploaded one such movie &lt;a href=&quot;https://drive.google.com/file/d/1xxOARmvK4e2bzMBF-lsV39Y7eHr5ozkS/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, it's a little hard to tell but even for dancers they aren't shaped quite like that.  The video makes them look more like elves than humans, which is probably better than looking like hobbits, but still not right.  If I play this MP4 using the standard Windows player, pause it, and grab a &lt;a href=&quot;https://drive.google.com/file/d/1TLEDIm2cTP_OjmX4qax0NzhFVNB905Bz/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;screenshot&lt;/a&gt;, the resulting image is 1118x832 which is an aspect ratio of 1.34 which explains the elvishness.  But why?&lt;/p&gt;&#xA;&lt;p&gt;I was not familiar with the concept of &lt;a href=&quot;https://en.wikipedia.org/wiki/Pixel_aspect_ratio&quot; rel=&quot;nofollow noreferrer&quot;&gt;pixel aspect ratio&lt;/a&gt; until I started reading up on DV format but I'm guessing that's what's happening here.  The &lt;a href=&quot;https://en.wikipedia.org/wiki/DV&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia page on DV&lt;/a&gt; says there are &amp;quot;different pixel aspect ratios for fullscreen and widescreen video&amp;quot; but doesn't say what those values are.&lt;/p&gt;&#xA;&lt;p&gt;Since Windows is stretching this video when it plays it, it makes me think that there is a pixel aspect ratio embedded in the MP4 file, but the standard Windows &amp;quot;Show Properties&amp;quot; doesn't display it.  Or maybe Windows always plays videos using a 1.33 pixel aspect ratio or something?&lt;/p&gt;&#xA;&lt;p&gt;What I'm thinking, is that since DV is recorded with 480 scan lines, and the resulting image is 480 pixels high, they don't need to re-digitize the video.  I could drop the MP4 into my video editing software (Sony's Vegas Movie Studio) and hit it with a &amp;quot;compress vertically&amp;quot; deform, but it seems like that's going to end up blurring the video.  I have all the right pixels, it's just that my pixels aren't the right shape (right?)  Is the pixel aspect ratio stored in this MP4 file in a place where I could adjust it and get my video to look right?&lt;/p&gt;&#xA;&lt;p&gt;EDIT&lt;/p&gt;&#xA;&lt;p&gt;Initially, ffmpeg reports this for my video :&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 720x480 [SAR 10:11 DAR 15:11], 2886 kb/s, SAR 109:120 DAR 109:80, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;A DAR (display aspect ratio) of 109:80 is 1.36 which is basically correct for full screen DV, so I'm guessing my video is actually wide screen (16:9 = 1.77777).  If I run ffmpeg using this command:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mp4 -aspect 1.7777777 -c copy output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I get a video which ffmpeg describes like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 720x480 [SAR 10:11 DAR 15:11], 2886 kb/s, SAR 32:27 DAR 16:9, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;which looks almost OK - it says DAR 16:9 but then also says DAR 15:11 which is 1.36 and not what I want.  And sure enough, if I play this video using Windows 10 &amp;quot;Movies &amp;amp; TV&amp;quot;, the screenshot shows that the video is still at the 1.36 DAR, not the desired 1.77.&lt;/p&gt;&#xA;&lt;p&gt;Is there an ffmpeg command that will produce what I need?  Or is the Windows 10 Movie Player unable to actually handle the DAR setting?&lt;/p&gt;&#xA;" OwnerUserId="10919" LastEditorUserId="10919" LastEditDate="2020-08-23T16:55:42.093" LastActivityDate="2020-09-22T17:02:55.270" Title="What's wrong with this MP4 file? Is the pixel aspect ratio wrong?" Tags="|ffmpeg|aspect|digitisation|mini-dv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31972" PostTypeId="1" CreationDate="2020-08-05T23:39:45.803" Score="0" ViewCount="584" Body="&lt;p&gt;hi im trying to insert for loop results in a ffmpeg command i tried some code but all i get is first text with no sound and it glitches and freezes i tried many modification but no success i appreciate if you have any ideas that would be great, the imported text from api should display only the duration of audio file here is my code:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&#xA;import requests&#xA;import json&#xA;import os&#xA;import requests&#xA;import http.client&#xA;import io&#xA;import subprocess&#xA;&#xA;&#xA;response = requests.get('http://api.quran.com:3000/api/v3/chapters/2/verses?text_type=image&amp;amp;language=ar&amp;amp;recitation=10')&#xA;&#xA;json = json.loads(response.content)&#xA;&#xA;data= json['verses']&#xA;#print(data)&#xA;&#xA;for i in data:&#xA;    input_text = i['text_madani'] &#xA;    input_duration = i['audio']['duration'] &#xA;    input_mp3 = i['audio']['url']&#xA;    input_img = i['image']['url']&#xA; #   print(input_duration)&#xA;    command = f'''ffmpeg -re -stream_loop -1 \&#xA;                    -i img2.jpeg \&#xA;                    -i {input_mp3} \&#xA;                    -vf 'pad=ceil(iw/2)*2:ceil(ih/2)*2,drawtext=enable='between(t, n, {input_duration})':text={input_text}:fontsize=90:x=50:y=50:fontcolor=black@0.8' \&#xA;                    -c:v libx264 -preset veryfast -b:v 3000k \&#xA;                    -maxrate 3000k -bufsize 6000k -pix_fmt yuv420p -g 50 \&#xA;                    -c:a aac -b:a 160k \&#xA;                    -ac 2 -ar 44100 \&#xA;                    -y -f flv rtmp://localhost/hls/test''' &#xA;    print(command)&#xA;    os.system(command)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="31796" LastEditorUserId="31796" LastEditDate="2020-08-06T08:32:05.320" LastActivityDate="2020-08-09T06:06:54.107" Title="python for loop result in ffmpeg command" Tags="|ffmpeg|streaming|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="31973" PostTypeId="1" CreationDate="2020-08-06T04:31:32.757" Score="1" ViewCount="52" Body="&lt;p&gt;I'm hosting this video : &lt;a href=&quot;https://itype.techforge.com.au/assets/videos/repeated/WordRat.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://itype.techforge.com.au/assets/videos/repeated/WordRat.mp4&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;It seems to work fine unless you happen to be on an IPad and plug the headphones in.  With the headphones unplugged audio works normally.  With headphones plugged in the audio cuts out.&lt;/p&gt;&#xA;&lt;p&gt;To rule out the issue being caused by something on my server I'm also hosting &lt;a href=&quot;https://itype.techforge.com.au/assets/videos/sample-mp4-file.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://itype.techforge.com.au/assets/videos/sample-mp4-file.mp4&lt;/a&gt;.  The audio for this mp4 is perfect on the same IPad whether headphones are in or out.&lt;/p&gt;&#xA;&lt;p&gt;I've also found &lt;a href=&quot;http://techslides.com/demos/sample-videos/small.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://techslides.com/demos/sample-videos/small.mp4&lt;/a&gt; which has the same IPad + HeadPhones issue that I'm having with my mp4.&lt;/p&gt;&#xA;&lt;p&gt;I'm guessing this has something to do with the audio codec, but I don't know enough to know exactly what's wrong or how to fix it.&lt;/p&gt;&#xA;&lt;p&gt;Media info for the sample-mp4-file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Codec: MPEG AAC Audio (mp4a)&#xA;Type: Audio&#xA;Channels: 3F2R/LFE&#xA;Sample rate: 48000 Hz&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Media info for the WordRat:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Codec: MPEG AAC Audio (mp4a)&#xA;Language: English&#xA;Type: Audio&#xA;Sample rate: 48000 Hz&#xA;Bits per sample: 16&#xA;Bitrate: 317 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The video that isn't working was produced using Adobe Animate and Adobe Media Encoder.&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions gratefully received.&lt;/p&gt;&#xA;" OwnerUserId="31809" LastActivityDate="2020-11-20T06:42:03.777" Title="Why does audio not work for this mp4 when played on IPad with headphones plugged?" Tags="|video|audio|codec|mp4|adobe-media-encoder|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31974" PostTypeId="1" CreationDate="2020-08-06T04:49:15.707" Score="2" ViewCount="127" Body="&lt;p&gt;I record my screen using Adobe Captivate. A 10 minutes recording results in a video of 15 MB in size, with acceptable quality for educational purposes.&lt;/p&gt;&#xA;&lt;p&gt;Now I take that video into Adobe Premiere to edit. However, even if I just open it and export it, I can't get that 15 MB size anymore and it always export in a much higher size.&lt;/p&gt;&#xA;&lt;p&gt;Adobe Captivate's recording info:&lt;/p&gt;&#xA;&lt;p&gt;Windows Properties:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uxOg3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uxOg3.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;Media Info&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kk8Fo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kk8Fo.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you can see, Captivate records videos in MP4 format. Thus in Adobe Premiere I choose H.264 as the export format to get MP4 file type. Now no matter what I do to reduce the size, it never gets less than 25 MB. This is so frustrating, specially that these two apps come from the same company. Even with any &lt;strong&gt;Preset&lt;/strong&gt; and even if I reduce the &lt;strong&gt;Target Bitrate&lt;/strong&gt; to the lowest value, still I can't get below 25 MB.&lt;/p&gt;&#xA;&lt;p&gt;How can I export in Premiere so that I get the same size as what I had in Captivate?&lt;/p&gt;&#xA;" OwnerUserId="1175" LastEditorUserId="3592" LastEditDate="2020-08-06T23:24:55.417" LastActivityDate="2020-08-19T09:52:25.513" Title="Why does Adobe Premiere increase video size even when nothing has been done?" Tags="|premiere|editing|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="31976" PostTypeId="1" AcceptedAnswerId="31977" CreationDate="2020-08-06T19:20:37.323" Score="1" ViewCount="52" Body="&lt;p&gt;I'm trying to make a video in Adobe Premiere 2020, and one of the clips I intend to use is a good two and a half hours long.  Thus, I put a bunch of chapter markers in to mark which parts of the clip would be useful for different parts of the eventual video.  Is there any good way to insert just the part of the clip that a given marker covers (for example, a marker covering from 0:00:43:00 to 0:02:27:00 for near the beginning of the video) or do I just have to type the timecodes in manually?&lt;/p&gt;&#xA;" OwnerUserId="13835" LastActivityDate="2020-08-06T19:39:37.193" Title="Insert clip - but only the part with a given marker?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31977" PostTypeId="2" ParentId="31976" CreationDate="2020-08-06T19:39:37.193" Score="0" Body="&lt;p&gt;You can use subclips:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;jump to first marker&lt;/li&gt;&#xA;&lt;li&gt;set in point&lt;/li&gt;&#xA;&lt;li&gt;jump to next marker&lt;/li&gt;&#xA;&lt;li&gt;set out point&lt;/li&gt;&#xA;&lt;li&gt;in the menu &amp;quot;Clip&amp;quot; -&amp;gt; &amp;quot;Make Subclip&amp;quot; (or use shortcut)&lt;/li&gt;&#xA;&lt;li&gt;give it a useful name&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Repeat.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-08-06T19:39:37.193" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="31978" PostTypeId="1" CreationDate="2020-08-06T21:07:56.833" Score="2" ViewCount="2000" Body="&lt;p&gt;Imagine you have recorded/captured the screen at 1080p, but it was displaying a 480p video maximized to fullscreen.&lt;br&gt;&#xA;The result file is technically 1080p, but it really is showing a 480p video, that is what I mean by &amp;quot;real resolution&amp;quot;.&lt;br&gt;&#xA;Now imagine I have a lot of these 1080p videos, having different and unknown &amp;quot;real resolutions&amp;quot;, how can I find/detect these resolutions?&lt;br&gt;&lt;br&gt;&#xA;The goal is resize the videos to the real resolutions and not waste disk space.&lt;br&gt;&lt;br&gt;&#xA;(same question for FPS)&lt;br&gt;&#xA;&lt;br&gt;&#xA;The tool that I prefer to use is ffmpeg, but i'm open to other tools/apps if they are free for personal use.&lt;/p&gt;&#xA;" OwnerUserId="31816" LastActivityDate="2024-01-10T18:07:25.877" Title="How to find/detect the real video resolution?" Tags="|video|ffmpeg|software-recommendation|conversion|analysis|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="31979" PostTypeId="2" ParentId="31969" CreationDate="2020-08-06T22:36:01.307" Score="1" Body="&lt;p&gt;The comb-like pattern on the text makes me suspect an interlacing issue.  There's a mismatch somewhere in the image pipeline regarding whether Resolve/Fusion is expecting interlaced or progressive footage, and whether or not it's actually getting interlaced or progressive footage.  It's hard to diagnose without knowing your settings, but look for options related to &amp;quot;fields&amp;quot; and make sure you haven't changed any from their defaults.  If your footage actually IS interlaced (unlikely if it's from a camera built in the last 15-ish years), then you would need to change these settings from their defaults.&lt;/p&gt;&#xA;&lt;p&gt;Assuming progressive footage, in the Resolve Project settings, make sure that under &amp;quot;Master Settings,&amp;quot;  the &amp;quot;Enable video field Processing&amp;quot; box is unchecked.  In all Fusion Nodes, in each &amp;quot;Image&amp;quot; tab, make sure &amp;quot;Process Mode&amp;quot; is set to &amp;quot;Full Frames.&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;Another possibility is that the viewer is showing you an inaccurate preview.  On the Edit page, the viewer takes certain shortcuts to speed playback.  Exactly what Resolve does isn't documented, but it's likely to affect scaling, which might cause display artifacts.  For a more accurate (but slower) preview, you can disable &amp;quot;Performance Mode&amp;quot; under the &amp;quot;User&amp;quot; tab of the System settings, in the &amp;quot;Playback Settings&amp;quot; category.  If your rendered output doesn't display the same artefacts as the edit page, this is likely the culprit.  Setting the viewer scale to 100% would also show an un-scaled image.  Alternatively, viewing the image on the Color page will prioritize image quality over playback speed.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-08-06T23:16:25.780" LastActivityDate="2020-08-06T23:16:25.780" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="31980" PostTypeId="1" CreationDate="2020-08-07T04:50:22.467" Score="0" ViewCount="72" Body="&lt;p&gt;I am totally new to after effects and I make teaching videos. I want to change suffix &amp;quot;K&amp;quot; to &amp;quot;%&amp;quot; but I am having a hard time removing it from the template I have bought from an online store. I have tried to contact them through the mail but I have not received any email yet so it's getting delayed.&lt;/p&gt;&#xA;&lt;p&gt;What I see is when I delete the value control layer they get removed but inside that layer, I am not able to see any option of changing it so there must be something inside of it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SKwH8.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SKwH8.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mUEjP.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mUEjP.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rZFfT.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rZFfT.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Google Drive &lt;a href=&quot;https://drive.google.com/file/d/1s0jVEnhA5n4-ZLZmt9aYlkGrNNuMg-Bq/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;Link&lt;/a&gt; for reproducibility. I am using slide 14. Please guide me.&lt;/p&gt;&#xA;" OwnerUserId="27052" LastActivityDate="2020-09-07T05:07:10.713" Title="Changing suffix of template in after effects" Tags="|after-effects|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="31981" PostTypeId="1" CreationDate="2020-08-07T06:51:55.120" Score="3" ViewCount="1071" Body="&lt;p&gt;I have a HDR movie content playing on a HDR supported PC, using software like the VLC layer. If I take a snapshot to get a png image file, will the image file include the HDR information? That is, if I compare the image file with the movie frame where it is snapshot side by side, will they look exactly the same?&lt;/p&gt;&#xA;" OwnerUserId="31821" LastActivityDate="2023-12-22T09:01:10.113" Title="If I screen-capture a snapshot from a HDR movie, will the snapshot image be a HDR image?" Tags="|video-capture|vlc|hdr|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="31983" PostTypeId="2" ParentId="31971" CreationDate="2020-08-07T09:56:25.903" Score="1" Body="&lt;p&gt;You are correct. The pixel aspect ratio is wrong. DV has a fixed horizontal resolution, but can display 16:9 frames by stretching out the pixels. The display resolution is set in metadata, so it is possible to make the file play back properly without re-encoding by changing the metadata.&lt;/p&gt;&#xA;&lt;p&gt;The free, open-source tool &lt;a href=&quot;https://ffmpeg.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; can do it. This would be the command you would use:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i infile.mp4 -c:copy -aspect 16/9 outfile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-08-07T09:56:25.903" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="31984" PostTypeId="1" CreationDate="2020-08-07T16:55:02.370" Score="4" ViewCount="88" Body="&lt;p&gt;This is a silly question:&lt;/p&gt;&#xA;&lt;p&gt;How do you call the final &amp;quot;render&amp;quot;, as used in 3D jargon, of the editing of a video, if any?&lt;/p&gt;&#xA;&lt;p&gt;I'm searching but maybe I'm not using the right words.&lt;/p&gt;&#xA;" OwnerUserId="31754" LastActivityDate="2023-10-16T07:17:05.053" Title="how do you call the final &quot;render&quot; of a video" Tags="|editing|video-production|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31985" PostTypeId="2" ParentId="24998" CreationDate="2020-08-07T22:09:44.450" Score="0" Body="&lt;p&gt;If you see the term &amp;quot;HDR&amp;quot; applied to cameras (vs. display technology), it's nonsensical market-speak.&lt;/p&gt;&#xA;&lt;p&gt;The metric which does describe a camera's exposure latitude is its &amp;quot;dynamic range,&amp;quot; and the unit of measurement is &amp;quot;stops&amp;quot; of light.  An expensive cinema camera like the Alexa mini (which is probably too heavy for consumer grade hobby aircraft) records 14 stops of dynamic range.  A Blackmagic Micro cinema camera, which is closer to the size of a GoPro records 13.  GoPro themselves don't advertise this number.  But for practical applications like the one you're describing, it doesn't matter.&lt;/p&gt;&#xA;&lt;p&gt;The reason dynamic range is important to a cinema camera is that cinema cameras don't use auto-exposure.  Auto-exposure tends to cause abrupt, mechanical changes in image brightness of which a Director of Photography has little control.&lt;/p&gt;&#xA;&lt;p&gt;Action cams, on the other hand, must adapt quickly to changing light without user intervention.  So for them, fast auto-exposure is a necessity.  Since they change their exposure rapidly, and autonomously, the latitude of dynamic range they can capture per single frame is less relevant.&lt;/p&gt;&#xA;&lt;p&gt;To my knowledge, there is no codified metric for how well an action cam's auto-exposure performs, so I would look for sample footage and judge for myself.&lt;/p&gt;&#xA;&lt;p&gt;Now, HDR as it applies to display technology is another matter entirely, and higher peak nit values will translate into a better viewing experience.  Cameras have always been able to record a wider exposure latitude than displays can reproduce, which is why an &amp;quot;HDR&amp;quot; camera is nonsense -- they're all &amp;quot;HDR.&amp;quot;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-08-07T22:29:39.967" LastActivityDate="2020-08-07T22:29:39.967" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31986" PostTypeId="2" ParentId="31984" CreationDate="2020-08-07T23:20:17.337" Score="4" Body="&lt;p&gt;When an editor is finished, the edit is said to be &amp;quot;locked,&amp;quot; or in &amp;quot;picture lock.&amp;quot;  Best practice for file-naming, however, is to use a date string at the beginning of the file name (such as YYYYMMDD_ProjectName.mov), and to avoid descriptors like &amp;quot;locked&amp;quot; or &amp;quot;final.&amp;quot; Otherwise you end up with files named, &amp;quot;TVCommercial_V7_final_final_forRealthistimeFinalLocked.mov&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;A locked edit doesn't mean the piece is complete, either.  Usually, sound mixing, foley, and color come after the edit room.  The video an editor sends to the sound department isn't usually a high-quality render, and might actually be a low-quality &amp;quot;proxy&amp;quot; designed to conserve system resources for sound.  The editor also doesn't pass a render to the colorist; rather, he passes a project file, XML, EDL, or similar, plus an &amp;quot;offline&amp;quot; reference video.  The colorist &amp;quot;conforms&amp;quot; or &amp;quot;re-links&amp;quot; the project files to the camera originals for &amp;quot;finishing,&amp;quot; using the offline reference to check for accuracy.  Once complete, the finished piece is called a &amp;quot;master,&amp;quot; but other copies might be generated in tandem for &amp;quot;archival&amp;quot; purposes, and these are usually the highest quality output.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-08-07T23:51:54.900" LastActivityDate="2020-08-07T23:51:54.900" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="31987" PostTypeId="2" ParentId="25066" CreationDate="2020-08-08T00:09:00.173" Score="2" Body="&lt;p&gt;The action you're trying to perform is called “stabilization,” which is usually performed by analyzing the entire frame when the goal is to eliminate camera shake, but when you want a single object to stay in place, you'd track a single point, or small area of the target, and apply the same counter-movement that you would to eliminate shake.&lt;/p&gt;&#xA;&lt;p&gt;In AE, point trackers are under the animation menu→Track Motion.  After you analyze the subject, click the “Stabilize Motion” button on the “Tracker” tab.&lt;/p&gt;&#xA;&lt;p&gt;If you don't have AE, the free version of DaVinci Resolve can do the same thing, and there are several ways to do it.&lt;/p&gt;&#xA;&lt;p&gt;Either:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;On the Color Page, go to the “Window” tab, add a shape to track, then switch to the “Tracker” tab, select “Stabilizer” from the dropdown, and click “Stabilize.”&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;On the Fusion Page, hit shift-space to call the select tool menu, and start typing “tracker.”&lt;br /&gt;&#xA;Click OK, hold &lt;kbd&gt;Shift&lt;/kbd&gt; and drag this new node onto the line connecting “Media In” to “Media Out.”&lt;br /&gt;&#xA;Move the green box that appears over the area of the footage you want to track, click the “Track Forward” button.&lt;br /&gt;&#xA;When it finishes, switch to the “Operation” tab and select “Match Move” from the dropdown.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The Fusion method won't zoom in on the result by default, so you'll see black boarders around the edges as the footage moves to compensate, but you can easily zoom in on the edit page, or do it “properly” in fusion by adding a Transform node, and scaling there.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="18155" LastEditDate="2020-09-13T22:17:40.487" LastActivityDate="2020-09-13T22:17:40.487" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31988" PostTypeId="2" ParentId="31980" CreationDate="2020-08-08T04:55:51.833" Score="1" Body="&lt;p&gt;The text labels are all controlled by a simple expression that takes the value of a slider, converts it to an integer and adds the letter &amp;quot;K&amp;quot; at the end. Even without programming skills you can see where the &amp;quot;k&amp;quot; part happens (but I put in some magic sparkles to give you a hint). Simply replace the letter &amp;quot;K&amp;quot; with &amp;quot;%&amp;quot; and you're golden.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/68SiO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/68SiO.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I wrote a script that finds and replaces text in expressions. You can get it &lt;a href=&quot;https://blob.pureandapplied.com.au/find-n-replace-for-expressions/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. I'd suggest if you use it that you search and replace the whole line (&lt;code&gt;x + &amp;quot;K&amp;quot;&lt;/code&gt;), as just replacing the letter k with % may ma%e other expressions stop wor%ing.&lt;/p&gt;&#xA;&lt;p&gt;Also, I hope that the project you linked is just a dummy project. I doubt the client would be happy with you posting details of their presentation on the public internet without their approval. At the least it could get you fired.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-08-08T04:55:51.833" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31989" PostTypeId="1" AcceptedAnswerId="32929" CreationDate="2020-08-08T05:19:13.560" Score="0" ViewCount="53" Body="&lt;p&gt;I am coming from the good old Times from GoPro Studios(discontinued),&lt;/p&gt;&#xA;&lt;p&gt;Go Pro Studio had a feature I really loved:&#xA;To Precut your Videos into Multiple Parts and Naming them Seperatly.&#xA;Because Having Hour Long Files on your System is quite a Wastage of Space.&#xA;Also, the Ability to go Back and find All Clips Already Trimed and Named was Really Helpful.&lt;/p&gt;&#xA;&lt;p&gt;Now I'm looking for an Alternative that can:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Trim one Video into Multiple Files (ideally with a single Watch true&#xA;Selecting Parts with Shortcut I/O without the need to Stop Every Time&#xA;to Export it Manually)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The Ability to Name the Trimmed Videos&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;No or little Quality Loss&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;It Should be Free to Use (No Watermark etc...)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Optional Export Queue to do the Time Heavy Stuff while I do something else...&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;What are you using for Cutting down your Videos?&lt;/p&gt;&#xA;&lt;p&gt;What I already looked tried but couldn't find the Feature I was looking for:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Avidemux&lt;/li&gt;&#xA;&lt;li&gt;Hit Film Express&lt;/li&gt;&#xA;&lt;li&gt;Quick&lt;/li&gt;&#xA;&lt;li&gt;Bandicam (Would be quite Okay but quite Expensive)&lt;/li&gt;&#xA;&lt;li&gt;Shotcut&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;If I missed a way to do it in the one Above feel free to point me to it.&#xA;Thanks for your Help!&lt;/p&gt;&#xA;" OwnerUserId="31836" LastActivityDate="2020-12-25T00:11:18.243" Title="Software to Trim a Video into Multiple Files" Tags="|video-editor|editing|software-recommendation|gopro|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="31990" PostTypeId="1" CreationDate="2020-08-08T16:45:30.357" Score="0" ViewCount="200" Body="&lt;p&gt;While I was checking &lt;a href=&quot;https://trac.ffmpeg.org/wiki/StreamingGuide&quot; rel=&quot;nofollow noreferrer&quot;&gt;streaming guide&lt;/a&gt;, I noticed that I can stream my webcam and mic using a command like the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -i video=&amp;quot;screen-capture-recorder&amp;quot;:audio=&amp;quot;Stereo Mix (IDT High Definition&amp;quot; \&#xA;-vcodec libx264 -preset ultrafast -tune zerolatency -r 10 -async 1 -acodec libmp3lame -ab 24k \ &#xA;-ar 22050 -bsf:v h264_mp4toannexb -maxrate 750k -bufsize 3000k -f mpegts udp://192.168.5.215:48550&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But wonder if I can save audio in a file while streaming video. The reason is that I want to use opencv to process video stream and then merge the result of opencv processing with the audio file. Any idea if it is possible to save audio in a file while streaming video alone?&lt;/p&gt;&#xA;" OwnerUserId="31838" LastActivityDate="2023-12-22T11:00:20.033" Title="Saving audio while streaming video using ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31991" PostTypeId="2" ParentId="31990" CreationDate="2020-08-09T01:33:12.760" Score="0" Body="&lt;p&gt;Firstly, you should stream webcam and mic through the udp multicast address i.e. 224.1.1.1:10001.&lt;/p&gt;&#xA;&lt;p&gt;Secondly, you execute ffmpeg -i udp://224.1.1.1:10001 out.mp3 or more options of the &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Audio-Options&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFMPEG audio&lt;/a&gt; to do the audio extraction on another command prompt.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-08-09T01:33:12.760" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31992" PostTypeId="2" ParentId="31989" CreationDate="2020-08-09T01:46:41.753" Score="0" Body="&lt;p&gt;Now I'm looking for an Alternative that can:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Trim one Video into Multiple Files (ideally with a single Watch true Selecting Parts with Shortcut I/O without the need to Stop Every Time to Export it Manually)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;In the light of not fully understand the &amp;quot;a single Watch true Selecting Parts with Shortcut I/O&amp;quot;, my suggestion would simply happens on ffmpeg, i.e&#xA;&lt;em&gt;ffmpeg -i input.mp4 -ss &amp;lt;start-time&amp;gt; -t &amp;lt;duration&amp;gt; part1.mp4&lt;/em&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;The Ability to Name the Trimmed Videos&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;The ffmpeg handles it nicely&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;No or little Quality Loss&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;You may consider the option &lt;strong&gt;-codec:v&lt;/strong&gt; option or &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Video-Options&quot; rel=&quot;nofollow noreferrer&quot;&gt;more options&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;It Should be Free to Use (No Watermark etc...)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;FFMPEG is free.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Optional Export Queue to do the Time Heavy Stuff while I do something else...&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;scripting could help&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-08-09T01:46:41.753" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="31993" PostTypeId="2" ParentId="31981" CreationDate="2020-08-09T02:10:39.677" Score="0" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;If I take a snapshot to get a PNG image file, will the image file include the HDR information?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;How do you take a snapshot? 10 bits minimum color depth of the PNG has the same effect on your HDR display.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-08-09T02:10:39.677" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="31994" PostTypeId="2" ParentId="31978" CreationDate="2020-08-09T02:35:54.993" Score="0" Body="&lt;p&gt;If you satisfy with your video outputting on a 1080p device, the original video aspect ratio has to be 16:9; therefore, the original video has no choice to be 480p, 720p, or 1080p. The next step is the transformation, there are plenty of filters you can choose to determine it is 480p; on the other hand, choosing transforming to 720p or no transformation, stay in 1080p, depends on contours detection on white background.&lt;/p&gt;&#xA;&lt;p&gt;As you mentioned ffmpeg and opencv, you should find such APIs easily.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-08-09T02:35:54.993" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31996" PostTypeId="1" CreationDate="2020-08-09T10:23:39.477" Score="2" ViewCount="625" Body="&lt;p&gt;Video encoding with HW acceleration takes way less time than audio encoding. Is there a way to convert ac3 to aac faster?&lt;/p&gt;&#xA;" OwnerUserId="31840" LastActivityDate="2020-08-09T10:23:39.477" Title="Is there a hardware acceleration for audio encoding?" Tags="|ffmpeg|audio|encoding|software|hardware|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31997" PostTypeId="1" AcceptedAnswerId="32000" CreationDate="2020-08-09T11:03:19.893" Score="0" ViewCount="184" Body="&lt;p&gt;I started a project with &lt;strong&gt;4K format&lt;/strong&gt; and resolution &lt;strong&gt;3840x2160&lt;/strong&gt;. Later, I &lt;strong&gt;cropped the clips to a smaller size&lt;/strong&gt;. Aspect ratio is still &lt;strong&gt;16:9&lt;/strong&gt;, just the resolution is smaller than the original clip.&lt;/p&gt;&#xA;&lt;p&gt;Now when I send it to the compressor for export, it shows the original 4K size. How do I export it to the actual crop size?&lt;/p&gt;&#xA;&lt;p&gt;Sorry if it is a silly question, but I started using FCPX this morning.&lt;/p&gt;&#xA;" OwnerUserId="31841" LastActivityDate="2020-08-09T15:36:35.023" Title="How do I export video to crop size in Final Cut Pro X?" Tags="|video-editor|final-cut-pro-x|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="31998" PostTypeId="2" ParentId="29360" CreationDate="2020-08-09T11:11:55.357" Score="4" Body="&lt;p&gt;I had this issue with moving files outside of Kdenlive. It did find them using a recursive search, but the video was white. I have deleted them from the project and added them again. This fixed it in my case.&lt;/p&gt;&#xA;" OwnerUserId="31842" LastActivityDate="2020-08-09T11:11:55.357" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32000" PostTypeId="2" ParentId="31997" CreationDate="2020-08-09T15:36:35.023" Score="0" Body="&lt;p&gt;It is best if your timeline uses the resolution you want your export in.&lt;/p&gt;&#xA;&lt;p&gt;Select the Project in your Library and click on &amp;quot;Modify&amp;quot; in the Inspector. Now you can change the resolution for the entire Project.&lt;/p&gt;&#xA;&lt;p&gt;This will not change the crop of your clips though.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-08-09T15:36:35.023" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32001" PostTypeId="1" CreationDate="2020-08-09T16:20:17.137" Score="0" ViewCount="242" Body="&lt;p&gt;Does anyone know a good timelapse app for Android, but one which records an actual image sequence, not a compressed video? (like Hyperlapse, Framelapse, and similar apps do)&lt;/p&gt;&#xA;&lt;p&gt;So far I have only found Camera FV-5 to have this option, however, it just refuses to work on my phone (Nokia 6.1, Android 10) and won't record a single image.&lt;/p&gt;&#xA;" OwnerUserId="30647" LastActivityDate="2020-10-07T00:48:39.633" Title="Timelapse Android App Image Sequence" Tags="|time-lapse|android|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32002" PostTypeId="2" ParentId="30906" CreationDate="2020-08-10T00:34:57.947" Score="0" Body="&lt;p&gt;I found a way:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add title text to video&lt;/li&gt;&#xA;&lt;li&gt;Add the &lt;code&gt;Rotoscope&lt;/code&gt; effect to the title&lt;/li&gt;&#xA;&lt;li&gt;At timeline start of text: draw the rotoscope shape around the text (see below)&lt;/li&gt;&#xA;&lt;li&gt;At timeline end of text: add keyframe and move the shape behind the text (see below)&lt;/li&gt;&#xA;&lt;li&gt;Set the effect mode to &lt;code&gt;Luma&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Add the &lt;code&gt;Cairo Blend&lt;/code&gt; composition to the title&lt;/li&gt;&#xA;&lt;li&gt;Set the gradient mode to &lt;code&gt;Add&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Now the title text should appear from left to right. It does not appear character by character, but this is ok.&lt;/p&gt;&#xA;&lt;p&gt;The rotoscope effect is quite mighty - this video teached me how to use it: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/rPQWOGDng-Q?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Additionally I found this cool sound, which is quite exactly I was looking for:&#xA;&lt;a href=&quot;https://freesound.org/people/Sky_Motion/sounds/416777/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://freesound.org/people/Sky_Motion/sounds/416777/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30673" LastActivityDate="2020-08-10T00:34:57.947" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32003" PostTypeId="1" CreationDate="2020-08-10T02:14:40.720" Score="1" ViewCount="618" Body="&lt;p&gt;trying to create a 4x2 grid from 8 videos using the terminal on a mac. The code I am using is not working:&lt;br /&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input0.mov -i input1.mov -i input2.mov -i input3.mov -i input4.mov -i input5.mov -i input6.mov -i input7.mov -filter_complex &amp;quot;[0:v][1:v][2:v][3:v] [4:v] [5:v][6:v][7:v] xstack=inputs=8:layout=0_0|0_h0|w0_0|w0_h0|w0+w1_0|w0+w1_h0|w0+w1+w2_0|w0+w1+w2_h0[v]” -map &amp;quot;[v]&amp;quot; 4x2grid.mp4&lt;/code&gt;&lt;br /&gt;&#xA;Any ideas? I'm using ffmpeg version 4.3.1. And the error message is: &lt;br /&gt; &lt;em&gt;dquote&amp;gt;&lt;/em&gt; &lt;br /&gt;&#xA;Not sure why this is. I am relatively new to ffmpeg but can successfully create a 3x2 grid using the following code without the same message: &lt;br /&gt;&#xA;&lt;code&gt;ffmpeg -i input0.mov -i input1.mov -i input2.mov -i input3.mov -i input4.mov -i input5.mov -filter_complex &amp;quot;[0:v][1:v][2:v][3:v] [4:v] [5:v] xstack=inputs=6:layout=0_0|w0_0|0_h0|w0_h0|w0+w3_0|w0+w3_h0[v]&amp;quot; -map &amp;quot;[v]&amp;quot; 3x2grid.mp4&lt;/code&gt;&lt;br /&gt;&#xA;I have also tried various other possibilities including the following code but with the same result: &lt;br /&gt;&#xA;&lt;code&gt;ffmpeg -i input0.mov -i input1.mov -i input2.mov -i input3.mov -i input4.mov -i input5.mov -i input6.mov -i input7.mov -filter_complex &amp;quot;[0:v][1:v][2:v][3:v][4:v][5:v][6:v][7:v] xstack=inputs=8:layout=0_0|w0_0|0_h0|w0_h0|w0+w3_0|w0+w3_h0|w0+w3+w4_0|w0+w3+w4_h0[v]” -map &amp;quot;[v]&amp;quot; 4x2grid.mp4&lt;/code&gt;&lt;br /&gt;&#xA;Although I have tried to read the explanation here: &lt;br /&gt;&#xA;&lt;a href=&quot;http://ffmpeg.org/ffmpeg-all.html#xstack&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://ffmpeg.org/ffmpeg-all.html#xstack&lt;/a&gt; &lt;br /&gt;&#xA;I am not sure I fully understand how to specify the desired layout configuration.&lt;/p&gt;&#xA;" OwnerUserId="29423" LastEditorUserId="29423" LastEditDate="2020-08-12T03:29:59.657" LastActivityDate="2023-12-25T11:09:46.290" Title="Create 4x2 grid mosaic" Tags="|video|ffmpeg|video-editor|codec|transcoding|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="32004" PostTypeId="2" ParentId="32003" CreationDate="2020-08-10T11:22:42.987" Score="0" Body="&lt;p&gt;I have tried it on the colab, plz check if&#xA;&lt;a href=&quot;https://colab.research.google.com/gist/xer-rex/90c426cd7dbdfd4ec3330a7c3b46f98f/sidebyside.ipynb&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://colab.research.google.com/gist/xer-rex/90c426cd7dbdfd4ec3330a7c3b46f98f/sidebyside.ipynb&lt;/a&gt; helps?&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-08-10T11:22:42.987" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32006" PostTypeId="1" AcceptedAnswerId="32007" CreationDate="2020-08-11T02:00:29.283" Score="1" ViewCount="954" Body="&lt;p&gt;I use Adobe After Effects (Last version) for video editing&lt;/p&gt;&#xA;&lt;p&gt;I created a composition with a video, shape and null Object. So far everything work well.&#xA;Now I want to hide the layer from a certain point in my timeline.&lt;/p&gt;&#xA;&lt;p&gt;Let say my timeline is 10s, I want my layer to be visible at the first 3s and then to be invisible the remaining seconds&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0ap5N.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0ap5N.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;What is the best and easiest way to perform that?&lt;/p&gt;&#xA;&lt;p&gt;Thank You&lt;/p&gt;&#xA;" OwnerUserId="30611" LastEditorUserId="30611" LastEditDate="2020-08-11T15:19:36.503" LastActivityDate="2020-08-12T09:36:21.873" Title="Best and easiest way to delete a layer by a specific time in the After Effects timeline" Tags="|after-effects|compositing|video-player|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32007" PostTypeId="2" ParentId="32006" CreationDate="2020-08-11T08:09:20.603" Score="3" Body="&lt;p&gt;Make a key frame (or more than one at different points) on the Opacity control. You can get to it by selecting the layer and pressing &lt;kbd&gt;T&lt;/kbd&gt;. Or open up all the triangles to find it. Set the opacity to zero to make the layer invisible.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/FdyDF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FdyDF.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2020-08-12T09:36:21.873" LastActivityDate="2020-08-12T09:36:21.873" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32008" PostTypeId="2" ParentId="32006" CreationDate="2020-08-11T08:50:20.877" Score="0" Body="&lt;p&gt;You could try to create an expression that sets the opacity of your layer to 0 once you've hit a certain time in your timeline. You should be able to code this properly in Java or the basic expression-language. A syntax should look somewhat like this:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;if (comptime)&amp;gt;&amp;quot;yourtime&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;opacity.yourlayer=0&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-08-11T08:50:20.877" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32009" PostTypeId="1" CreationDate="2020-08-11T15:46:19.473" Score="1" ViewCount="3238" Body="&lt;p&gt;Im trying to convert rtmp into an HLS stream using ffmpeg as the rtmp server. In the docs they mention that providing &lt;code&gt;-listen 1&lt;/code&gt; makes ffmpeg act as an rtmp server yet the behaviour is very weird.&lt;/p&gt;&#xA;&lt;p&gt;Example's I've tried (hls part changed to mp4 for readability):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -listen 1 -f flv -i rtmp://localhost:1935/live/appname -c copy -f mp4&#xA;ffmpeg -listen 1 -f mpegts -i rtmp://localhost:1935/live/appname -c copy -f mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;All give me the following error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;RTMP_Connect0, failed to connect socket. 61 (Connection refused)&#xA;rtmp://127.0.0.1:1935/live/app: Unknown error occurred&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What does work for me is when I change rtmp into tcp and vice versa in OBS for a test stream; however I actually doubt its then using rtmp as its underlying protocol.&lt;/p&gt;&#xA;&lt;p&gt;Are there certain flags I have to enable during compilation of ffmpeg? My version has librtmp enabled. I'm not entirely sure what I'm doing wrong here but it looks like ffmpeg is still going into client mode even though I specified the listen flag.&lt;/p&gt;&#xA;&lt;p&gt;Some other details:&#xA;I have tried with different outputs as well; with no luck, different placements of listen etc.&lt;/p&gt;&#xA;" OwnerUserId="31861" LastActivityDate="2020-10-16T10:05:50.553" Title="FFmpeg rtmp listen not working correctly: Connection Refused" Tags="|ffmpeg|rtmp|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32013" PostTypeId="1" CreationDate="2020-08-12T14:12:41.593" Score="1" ViewCount="343" Body="&lt;p&gt;so I had this idea but inorder to do it, I need to have water as a green screen. (Because I wanted to make the image move like water). So I was thinking of using dye to color the water and key that color out in premiere pro but its not working that well.&lt;/p&gt;&#xA;&lt;p&gt;Is there any alternative to this. Or  even an effect in premiere or after effect that let's you move images like the flow of water?&lt;/p&gt;&#xA;" OwnerUserId="31871" LastActivityDate="2020-08-13T08:21:45.367" Title="Using water as green screen" Tags="|after-effects|premiere|editing|greenscreen|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32014" PostTypeId="1" CreationDate="2020-08-12T15:48:26.893" Score="1" ViewCount="4781" Body="&lt;p&gt;I downloaded OBS to try to record some online lectures with low size. I tried some other software already, but the file sizes and quality were too high. I'm trying to keep the file size as low as possible. I plan to record about an 1/1.5 hours at a time of video w/ computer audio, and the resolution, frame rate, and audio quality, etc. can all be very low as I will already have handwritten notes. I'm new to OBS, so I'm wondering what settings I should change to accomplish this. All other software I've tried have huge file sizes, so I want too make the size as low as possible such that the text is still legible and the audio is still audible.&lt;/p&gt;&#xA;" OwnerUserId="31873" LastActivityDate="2021-01-14T03:05:45.587" Title="How to record with low file size in OBS" Tags="|video-recording|audio-recording|obs|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32015" PostTypeId="2" ParentId="32013" CreationDate="2020-08-13T00:51:23.590" Score="0" Body="&lt;p&gt;You can make an image move like water by using a displacement map. This will warp the image as if the folds in the surface of the water are refracting the light as it passes through.  For better results, you'd also want a separate map for reflection and/or specularity on top of the water surface.  Here's an example in Blackmagic Fusion.  If you copy the code text here, and paste it into the Node graph of fusion, it'll show up as a working composition.  &lt;a href=&quot;https://youtu.be/ZkKyrp0gp-Q&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here's what the result looks like.&lt;/a&gt;  Of course, you'll need to supply your own footage, but you can examine this setup to see how it works.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;{&#xA;Tools = ordered() {&#xA;    MediaIn1 = MediaIn {&#xA;        ExtentSet = true,&#xA;        CustomData = {&#xA;            MediaProps = {&#xA;                MEDIA_HEIGHT = 2160,&#xA;                MEDIA_LAYERS_IN_OUT_LIST = {&#xA;                    {&#xA;                        0,&#xA;                        24&#xA;                    }&#xA;                },&#xA;                MEDIA_MARK_IN = 0,&#xA;                MEDIA_MARK_OUT = 23,&#xA;                MEDIA_NAME = &amp;quot;Fusion Clip 1&amp;quot;,&#xA;                MEDIA_NUM_FRAMES = 24,&#xA;                MEDIA_NUM_LAYERS = 1,&#xA;                MEDIA_PAR = 1,&#xA;                MEDIA_SRC_FRAME_RATE = 23.976023976024,&#xA;                MEDIA_START_FRAME = 0,&#xA;                MEDIA_WIDTH = 4096&#xA;            },&#xA;        },&#xA;        Inputs = {&#xA;            GlobalOut = Input { Value = 23, },&#xA;            Layer = Input { Value = &amp;quot;0&amp;quot;, },&#xA;            ClipTimeEnd = Input { Value = 23, },&#xA;            [&amp;quot;Gamut.SLogVersion&amp;quot;] = Input { Value = FuID { &amp;quot;SLog2&amp;quot; }, },&#xA;        },&#xA;        ViewInfo = OperatorInfo { Pos = { 114.524, 26.8857 } },&#xA;    },&#xA;    TimeSpeed1 = TimeSpeed {&#xA;        Inputs = {&#xA;            Speed = Input { Value = 5, },&#xA;            Input = Input {&#xA;                SourceOp = &amp;quot;MediaIn2&amp;quot;,&#xA;                Source = &amp;quot;Output&amp;quot;,&#xA;            },&#xA;        },&#xA;        ViewInfo = OperatorInfo { Pos = { 191.735, 135.686 } },&#xA;    },&#xA;    Displace1 = Displace {&#xA;        Inputs = {&#xA;            UseGPU = Input { Value = 0, },&#xA;            Offset = Input { Value = -0.445, },&#xA;            RefractionStrength = Input { Value = 0.95, },&#xA;            LightPower = Input { Value = 3, },&#xA;            Spread = Input { Value = 1.228, },&#xA;            LightChannel = Input { Value = 5, },&#xA;            Input = Input {&#xA;                SourceOp = &amp;quot;MediaIn1&amp;quot;,&#xA;                Source = &amp;quot;Output&amp;quot;,&#xA;            },&#xA;            Foreground = Input {&#xA;                SourceOp = &amp;quot;TimeSpeed1&amp;quot;,&#xA;                Source = &amp;quot;Output&amp;quot;,&#xA;            },&#xA;        },&#xA;        ViewInfo = OperatorInfo { Pos = { 290.267, 56.7689 } },&#xA;    },&#xA;    MediaIn2 = MediaIn {&#xA;        ExtentSet = true,&#xA;        CustomData = {&#xA;            MediaProps = {&#xA;                MEDIA_FORMAT_TYPE = &amp;quot;QuickTime&amp;quot;,&#xA;                MEDIA_HEIGHT = 360,&#xA;                MEDIA_MARK_IN = 0,&#xA;                MEDIA_MARK_OUT = 449,&#xA;                MEDIA_NAME = &amp;quot;122253798-animated-background-abstract-c.mp4&amp;quot;,&#xA;                MEDIA_NUM_FRAMES = 450,&#xA;                MEDIA_NUM_LAYERS = 1,&#xA;                MEDIA_PAR = 1,&#xA;                MEDIA_PATH = &amp;quot;/Users/jasonconrad/Movies/122253798-animated-background-abstract-c.mp4&amp;quot;,&#xA;                MEDIA_SRC_FRAME_RATE = 30,&#xA;                MEDIA_START_FRAME = 0,&#xA;                MEDIA_WIDTH = 640&#xA;            },&#xA;        },&#xA;        Inputs = {&#xA;            GlobalOut = Input { Value = 449, },&#xA;            MediaID = Input { Value = &amp;quot;87a9779e-8ba3-47cc-a30d-7b1cbf3b3ff2&amp;quot;, },&#xA;            Layer = Input { Value = &amp;quot;&amp;quot;, },&#xA;            ClipTimeEnd = Input { Value = 449, },&#xA;            [&amp;quot;Gamut.SLogVersion&amp;quot;] = Input { Value = FuID { &amp;quot;SLog2&amp;quot; }, },&#xA;        },&#xA;        ViewInfo = OperatorInfo { Pos = { 134.151, 185.76 } },&#xA;    },&#xA;    Merge1 = Merge {&#xA;        CtrlWZoom = false,&#xA;        Inputs = {&#xA;            Background = Input {&#xA;                SourceOp = &amp;quot;Displace1&amp;quot;,&#xA;                Source = &amp;quot;Output&amp;quot;,&#xA;            },&#xA;            Foreground = Input {&#xA;                SourceOp = &amp;quot;TimeSpeed1&amp;quot;,&#xA;                Source = &amp;quot;Output&amp;quot;,&#xA;            },&#xA;            Size = Input { Value = 6.6, },&#xA;            SubtractiveAdditive = Input { Value = 0.118, },&#xA;            Gain = Input { Value = 0.15, },&#xA;            PerformDepthMerge = Input { Value = 0, },&#xA;        },&#xA;        ViewInfo = OperatorInfo { Pos = { 468.84, 64.6124 } },&#xA;    },&#xA;    MediaOut1 = MediaOut {&#xA;        Inputs = {&#xA;            Index = Input { Value = &amp;quot;0&amp;quot;, },&#xA;            Input = Input {&#xA;                SourceOp = &amp;quot;Merge1&amp;quot;,&#xA;                Source = &amp;quot;Output&amp;quot;,&#xA;            },&#xA;        },&#xA;        ViewInfo = OperatorInfo { Pos = { 653.863, 63.2301 } },&#xA;    }&#xA;},&#xA;ActiveTool = &amp;quot;Merge1&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;}&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-08-13T00:51:23.590" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32017" PostTypeId="2" ParentId="32013" CreationDate="2020-08-13T08:21:45.367" Score="2" Body="&lt;p&gt;Take a look at using noise turbulence to displace the image. You can do this in after effects. There are lots of good tutorials on it. I recommend this one:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/LAX-iLOOx8c?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Maybe add some images so we can see what you have and what you’re going for.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-08-13T08:21:45.367" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32018" PostTypeId="1" AcceptedAnswerId="32019" CreationDate="2020-08-13T10:03:42.067" Score="3" ViewCount="69" Body="&lt;p&gt;I am not a professional video editor, but I am involved in the production of a small-scale educational video series. A main part of this video contains a teacher sitting at a table with a whiteboard next to him. There is a requirement for the whiteboard to contain text which changes as he speaks.&lt;/p&gt;&#xA;&lt;p&gt;I would like to ask which tools / method should be used to accomplish this. I have made 2 attempts (below) but neither of them seem exactly right&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;ATTEMPT 1&lt;/strong&gt; - This seemed 'wrong' to me as the text wasn't lining up with the whiteboard. Changing the text to dashes seems to confirm this.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wxXeQ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wxXeQ.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UVv4T.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UVv4T.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;ATTEMPT 2&lt;/strong&gt; - I used the Yaw and Pitch controls in Davinci Resolve to try to make the lines line up with the whiteboard. My teammates agree that the dashes look better than the first attempt, but that the text in Attempt 1 looks more natural than the text in Attempt 2.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7YQKV.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7YQKV.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4sRzo.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4sRzo.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;My question is simply which tools or method are generally considered best to deal with this type of thing and achieve a result that will not stick out as seeming 'wrong' to viewers?&lt;/p&gt;&#xA;" OwnerUserId="31882" LastActivityDate="2020-08-13T11:26:59.810" Title="Which tool or method should be used to make text on a whiteboard look natural / right?" Tags="|editing|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32019" PostTypeId="2" ParentId="32018" CreationDate="2020-08-13T10:53:25.077" Score="3" Body="&lt;p&gt;Your use of pitch and yaw is correct, but it looks like you have just overcompensated a little. Your vanishing point for the lines is too near - that bottom line shows this by angling up too much.&lt;/p&gt;&#xA;&lt;p&gt;If you correct them by assuming the vanishing point from the top and bottom of whiteboard, you will get a more natural look, and then your text will look more natural.&lt;/p&gt;&#xA;" OwnerUserId="674" LastEditorUserId="674" LastEditDate="2020-08-13T11:26:59.810" LastActivityDate="2020-08-13T11:26:59.810" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32020" PostTypeId="1" CreationDate="2020-08-13T12:00:11.607" Score="0" ViewCount="349" Body="&lt;p&gt;I have 50 videos all in the same folder and I know FFMPEG is frequently used for this type of work. I would like to learn how to navigate ffmpeg but if there are other free softwares I don't mind using those. I would prefer working in the command line to slow down videos mainly. Audio is less important but a nice to have.&lt;/p&gt;&#xA;&lt;p&gt;Thank you for your help in advance.&lt;/p&gt;&#xA;" OwnerUserId="31884" LastActivityDate="2020-09-13T21:49:14.503" Title="Batch process videos from a folder to: remove audio and slow the speed to 0.5x" Tags="|ffmpeg|video-editor|editing|slowmotion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32021" PostTypeId="2" ParentId="25894" CreationDate="2020-08-13T12:49:22.963" Score="0" Body="&lt;p&gt;After doing what you describe with separate files for a while, I recently started using embedded streams instead. It's late and I'm tired, but you should be able to see how it works, and I can elaborate later if you need me to.&lt;/p&gt;&#xA;&lt;h1&gt;using separate output files, just so you can see how I have that set up...for reference.&lt;/h1&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner \&#xA;    -re \&#xA;    $videoDecodeMode \&#xA;    -f pulse \&#xA;        -i $audioOut \&#xA;    -f pulse \&#xA;        -i $audioMic \&#xA;    -f x11grab \&#xA;        -r $frameRate \&#xA;        -s $resolution \&#xA;        -i :0.0 \&#xA;        -g 60 \&#xA;    $videoEncodeMode \&#xA;    -map 2:0 \&#xA;        -metadata handler=&amp;quot;video:1920x1080@60&amp;quot; \&#xA;        &amp;quot;${exportName}&amp;quot; \&#xA;    -map 0:0 \&#xA;        -metadata title=&amp;quot;audio:out&amp;quot; \&#xA;        &amp;quot;${exportName%.*}_audioOut.wav&amp;quot; \&#xA;    -map 1:0 \&#xA;        -metadata title=&amp;quot;audio:microphone&amp;quot; \&#xA;        &amp;quot;${exportName%.*}_audioMic.wav&amp;quot; &amp;lt;/dev/null &amp;amp;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h1&gt;using embedded streams&lt;/h1&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner \&#xA;    -re \&#xA;    $videoDecodeMode \&#xA;    -f pulse \&#xA;        -thread_queue_size 1024 \&#xA;        -i $audioOut \&#xA;    -f pulse \&#xA;        -thread_queue_size 1024 \&#xA;        -i $audioMic \&#xA;    -f x11grab \&#xA;        -r $frameRate \&#xA;        -s $resolution \&#xA;        -thread_queue_size 1024 \&#xA;        -i :0.0 \&#xA;    -g 60 \&#xA;    -map 2:v \&#xA;    -map 0:a \&#xA;    -map 1:a \&#xA;    -c:a aac -ac 2 -b:a 128k -r:a 48000 \&#xA;    -metadata:s:v:0 handler=&amp;quot;video:1920x1080@60&amp;quot; \&#xA;    -metadata:s:a:2 handler=&amp;quot;audio:out&amp;quot; \&#xA;    -metadata:s:a:3 handler=&amp;quot;audio:microphone&amp;quot; \&#xA;    $videoEncodeMode \&#xA;    &amp;quot;${exportName}&amp;quot;  &amp;lt;/dev/null &amp;amp;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h1&gt;embedded streams, companded mic to clean up my line-noise problem a bit, and some stream mixing to put output and mic together on their own stream&lt;/h1&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner \&#xA;    -re \&#xA;    $videoDecodeMode \&#xA;    -f pulse \&#xA;        -thread_queue_size 1024 \&#xA;        -i $audioOut \&#xA;    -f pulse \&#xA;        -thread_queue_size 1024 \&#xA;        -i $audioMic \&#xA;    -f x11grab \&#xA;        -r $frameRate \&#xA;        -s $resolution \&#xA;        -thread_queue_size 1024 \&#xA;        -i :0.0 \&#xA;    -g 60 \&#xA;    -filter_complex \&#xA;        &amp;quot;[1:a]aformat=channel_layouts=stereo,asplit=2[micOrig][micNew]\&#xA;        ;[micNew]\&#xA;            compand=0:0.2:-26/-900|-16/-16|0/-10|10/-900:6:0:0:0\&#xA;        [micCleaned]\&#xA;        ;[0:a][micCleaned]amix=inputs=2:duration=first[allAudio]&amp;quot; \&#xA;    -map 2:v -map 0:a \&#xA;    -map [allAudio] -map [micOrig] \&#xA;    -c:a aac -ac 2 -b:a 128k -r:a 48000 \&#xA;    -metadata:s:v:0 handler=&amp;quot;video:1920x1080@60&amp;quot; \&#xA;    -metadata:s:a:2 handler=&amp;quot;audio:out&amp;quot; \&#xA;    -metadata:s:a:1 handler=&amp;quot;audio:combined&amp;quot; \&#xA;    -metadata:s:a:3 handler=&amp;quot;audio:microphone&amp;quot; \&#xA;    $videoEncodeMode \&#xA;    &amp;quot;${exportName}&amp;quot;  &amp;lt;/dev/null &amp;amp;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="31886" LastEditorUserId="31886" LastEditDate="2020-08-13T12:58:17.000" LastActivityDate="2020-08-13T12:58:17.000" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32022" PostTypeId="2" ParentId="32020" CreationDate="2020-08-14T01:39:46.610" Score="1" Body="&lt;p&gt;Slow down and no audio command&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 \&#xA;       -filter:v &amp;quot;setpts=2.0*PTS&amp;quot; \&#xA;       -an \&#xA;       output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="31818" LastEditorUserId="18155" LastEditDate="2020-09-13T21:49:14.503" LastActivityDate="2020-09-13T21:49:14.503" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32024" PostTypeId="1" CreationDate="2020-08-14T17:59:22.593" Score="0" ViewCount="44" Body="&lt;p&gt;I am trying to create a 2-3 minute video with a style similar to the below Valiant Hearts video&#xA;(Starts at 1:40. &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/FsDjBpoNCz8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;)&lt;/p&gt;&#xA;&lt;p&gt;What is that animation called? Is it 2D or 3D? What kind of software is used to make such kind of videos?&#xA;As per the feedback from Animation Stack Exchange it uses parallax effects.&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="31893" LastActivityDate="2023-12-28T03:01:15.657" Title="A animated video with effects similar to Valiant Hearts" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32025" PostTypeId="2" ParentId="32024" CreationDate="2020-08-14T19:08:46.687" Score="0" Body="&lt;p&gt;I found the software and effect I was looking for.&#xA;The Parallax Effect - Adobe After Effects.&lt;/p&gt;&#xA;" OwnerUserId="31893" LastActivityDate="2020-08-14T19:08:46.687" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32029" PostTypeId="2" ParentId="32014" CreationDate="2020-08-15T12:25:11.183" Score="0" Body="&lt;p&gt;I'm not sure if OBS can actually handle that, but you can always fallback to external video encoding using e.g. ffmpeg. This enables you to compress your results really hard, lowering the resolution &amp;amp; bitrate to your liking. Because I don't know the file size you are aiming for, I won't give you concrete parameters here, but there are plenty of tutorials online that can tell you how to play around with those values.&lt;/p&gt;&#xA;" OwnerUserId="30694" LastActivityDate="2020-08-15T12:25:11.183" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32033" PostTypeId="2" ParentId="29115" CreationDate="2020-08-16T00:34:28.907" Score="2" Body="&lt;p&gt;For mkv files, you can use mkvpropedit —add-track-statistics-tags to add stream level data.&lt;/p&gt;&#xA;" OwnerUserId="31905" LastActivityDate="2020-08-16T00:34:28.907" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32034" PostTypeId="1" AcceptedAnswerId="32045" CreationDate="2020-08-16T00:51:57.477" Score="0" ViewCount="1095" Body="&lt;p&gt;Here is screenshot of my projects.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/COH2Q.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/COH2Q.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Pre-comp 1&lt;/strong&gt; is made with inerted shapes&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;phoneFooting_New.mp4&lt;/strong&gt; is a &lt;strong&gt;8 second&lt;/strong&gt;s video&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Red Solid 1 Comp1&lt;/strong&gt; is a composition made with :&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ElXXN.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ElXXN.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A &lt;strong&gt;36 seconds&lt;/strong&gt; video called &lt;strong&gt;iphoneNavigation.mo&lt;/strong&gt;v and&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Red Solid 1&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;iphoneNavigation.mov&lt;/strong&gt; starts playing at &lt;em&gt;0s&lt;/em&gt;. I want it, to start playing at &lt;em&gt;24s&lt;/em&gt; instead. Please how can I perfom that ?&lt;/p&gt;&#xA;" OwnerUserId="30611" LastActivityDate="2020-08-17T07:57:52.620" Title="Change video start playing time inside a composition - After Effects" Tags="|after-effects|compositing|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32035" PostTypeId="1" AcceptedAnswerId="32038" CreationDate="2020-08-16T01:08:20.200" Score="0" ViewCount="7830" Body="&lt;p&gt;I have been researching this for the past couple of days, and all I could find on the subject were a bunch of research papers, a demonstration video of a model that isn't publicly available, and a software that you have to pay hundreds for to make it useful, on a poorly designed and shady looking website.  Everything else is for JPEG artifacts, de-noising (a completely separate issue), and video up-scaling.  Either that, or it's just questions/answers on how to solve the issue from the source (camera, recording software, or editing software) rather than how to fix existing footage.&lt;/p&gt;&#xA;&lt;p&gt;I am looking for a software, preferably AI based, that can remove and repair highly compressed videos their compression artifacts. (Discoloration, macro-blocking, banding, loss of detail, etc...) without a serious loss of existing detail or flickering between frames (Caused by frame-by-frame editing).&lt;/p&gt;&#xA;&lt;p&gt;Does this actually exist?  It really seems like it doesn't, and relevant information is hard to find.&lt;/p&gt;&#xA;" OwnerUserId="31904" LastActivityDate="2023-01-31T05:22:08.667" Title="Video artifact removal and restoration - How can it be done? (Really?)" Tags="|video|mp4|h.264|compression|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32037" PostTypeId="2" ParentId="29134" CreationDate="2020-08-16T09:32:33.837" Score="1" Body="&lt;p&gt;I would do this using after effects. You need to do a little bit of motion tracking as there is a tiny bit of motion on the camera as the train moves. Find a font that matches the LED display font on the screen. Carefully match all the colours you use using the eye dropper. Add blur and noise to your comps to better match the footage.&#xA;You can fake blurry reflections surprisingly well just by flipping a duplicate of your comp and blurring it. The biggest problem you will have is the swinging handle in the foreground, which you may need to rotoscope with the rotobrush to isolate.&lt;/p&gt;&#xA;&lt;p&gt;You can see a similar effect (but without any foreground rotoscoping) I made at 26 seconds in here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://twitter.com/financialtimes/status/985923651676659713?s=21&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://twitter.com/financialtimes/status/985923651676659713?s=21&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-08-16T09:32:33.837" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32038" PostTypeId="2" ParentId="32035" CreationDate="2020-08-16T10:57:45.827" Score="3" Body="&lt;p&gt;If I understand you correctly, then most of the restoration goals will be impossible to be reached. While my knowledge of existing videos tools is not extensive, I am still pretty sure such a software does not exist. As a software developer I have a good grasp of what is impossible and what is possible and what effort you need to do that.&lt;/p&gt;&#xA;&lt;p&gt;When details are lost, they are lost. How should an AI restore these? Well, any AI has to be trained first and this needs to be done with pairs of a master video in highest quality and its heavily-compressed export in the target codec. The problem is that the export video has less information than the master and there is no way to define a sensible bidirectionaly mapping. Imagine the master contains a scene with a machine with little screws. Another scene shows a machine with rivets. But after a heavily compression you cannot see a difference between screws and rivets in the export video. Due to loss of detail, both screws and rivets now look like grey smudges. How should you decide what is correct if you only have the compressed video? You can only make a guess. And that's what the AI would do. This means you get a restored video that often shows quite different details than the original video, however now and then the AI will make correct guesses too. This is of course theoretical, I highly doubt there is an AI based software for this job as it would be extremely expensive in development and with only a few potentional customers the price tag would be enormous.&lt;/p&gt;&#xA;&lt;p&gt;Discolouration is also hard to solve because often there's no easy way to differentiate between intended de-saturated areas and compression artifacts.&lt;/p&gt;&#xA;&lt;p&gt;Macro-blocking can be fixed in theory by applying a blur effect. But you have to sacrifice sharpness. Fine artifical noise can be added to gain a bit of sharpness again. Anyway, this can be done and such a function is probably available in some tools.&lt;/p&gt;&#xA;&lt;p&gt;Colour bending can be solved in theory without too much effort but I don't know if anybody does offer such a thing.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: &lt;em&gt;As has been pointed out in the comments, DaVinci Resolve can do de-bending. Both Premiere and Resolve use some AI based tools to restore a video to fix dust, scratches, de-interlace. But if I infer correctly this does not help much with your problem of restoring a heavily compressed video.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;All in all, you cannot undo the artifacts of heavy compression.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2021-01-11T21:15:24.720" LastActivityDate="2021-01-11T21:15:24.720" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="32039" PostTypeId="1" CreationDate="2020-08-16T11:26:30.887" Score="0" ViewCount="265" Body="&lt;p&gt;I am quite new for using &lt;code&gt;FFmpeg&lt;/code&gt;, and I am using &lt;code&gt;FFmpeg&lt;/code&gt; in screen recording. I checked the online documentation in this link &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Capture/Desktop&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg documentation &amp;quot;Capturing your Desktop / Screen Recording&amp;quot;&lt;/a&gt;, but I didn't find sufficient information.&lt;/p&gt;&#xA;&lt;p&gt;I have a 4k laptop with invidia GPU, and I am using the below command to screencast the video (4k, 60 f/s), and audio from my laptop.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -video_size 3840x2160 \&#xA; -framerate 60 \&#xA; -f x11grab -i :1 -f pulse -ac 2 -i default \&#xA; -c:v libx264 \&#xA; -crf 0 \&#xA; -qp 0 \&#xA; -preset ultrafast videoname.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have some problems in these settings as following:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The output video is too large, and I need to reduce the size without touch the quality at all.&lt;/li&gt;&#xA;&lt;li&gt;The output video seems to be not a row video, and it takes too much time in video editing decoding and encoding. I am not sure if there is a recommended setting for video editing. As I did some search and found the above is advised, but in practice perspective, it is not efficient.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Below is my Linux distro information:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Distributor ID: Ubuntu&#xA;Description   : Ubuntu 20.04.1 LTS&#xA;Release       : 20.04&#xA;Codename      : focal&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="31907" LastActivityDate="2020-08-16T11:26:30.887" Title="What is the recommended settings for video editing using ffmpeg?" Tags="|video|ffmpeg|video-editor|linux|" AnswerCount="0" CommentCount="12" ContentLicense="CC BY-SA 4.0" />
  <row Id="32040" PostTypeId="2" ParentId="26167" CreationDate="2020-08-16T14:22:46.270" Score="1" Body="&lt;p&gt;Depending on the format you have your video, one option is VirtualDub2.&#xA;It is a free linear editor, but it is good to trim a video without recompression.&lt;/p&gt;&#xA;&lt;p&gt;Go to the Video Menu and choose direct stream copy. Do the same with the audio.&lt;/p&gt;&#xA;&lt;p&gt;You need to do it one by one. Make a backup first. Open the video, cut the end of it first so you do not need to recalculate the timing and then cut the start of it, and save with a different name.&lt;/p&gt;&#xA;&lt;p&gt;If you want to automate it and you are fine with command lines, try FFmpeg.&#xA;&lt;a href=&quot;https://www.google.com/search?q=ffmpeg+batch+trim+video&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.google.com/search?q=ffmpeg+batch+trim+video&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you need to do a bit more, like adding fade in and out, and control a bit more the trimming, you can use a free nonlinear editor, but most of them will recompress the video. Davinci Resolve, Hit Film Express, Open Shot for example.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-08-16T14:22:46.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32041" PostTypeId="2" ParentId="28908" CreationDate="2020-08-16T14:40:04.110" Score="0" Body="&lt;p&gt;In this case, the only way to improve the quality of a video for your church is to film it again.&lt;/p&gt;&#xA;&lt;p&gt;If you want to make a promo video, invest some time in preparing the assets, having a cameraman for this task.&lt;/p&gt;&#xA;&lt;p&gt;You do not need an expensive camera, almost any smartphone will film at full HD.&lt;/p&gt;&#xA;&lt;p&gt;If you still want to use this clip, use some creative ways. Put it on a small frame as part of a bigger collage, add some &amp;quot;vintage&amp;quot; effects on it, like putting it black and white, or something.&lt;/p&gt;&#xA;&lt;p&gt;If it is one for historical reasons, put a clear stamp on it indicating the original footage is from xxxx year.&lt;/p&gt;&#xA;&lt;p&gt;But do not expect any algorithm to discover the information that is not present at the original video. A 200%-300% enlargement is viable.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-08-16T14:40:04.110" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32043" PostTypeId="2" ParentId="32014" CreationDate="2020-08-17T01:53:56.510" Score="1" Body="&lt;p&gt;I intend to use OBS with the same objective but I'm getting pretty large files as well. Aiming to get 300mb ish videos and I'm ending up with 800mb - 1gb... and lowering bitrate and resolution didn't seem to make a difference.&lt;/p&gt;&#xA;&lt;p&gt;While I wait and continue to look for an answer with a specific setting reccomendation, I'm using VLC to try and compress the recorded files. Don't know if this is useful to you, but on VLC go to &amp;quot;Media&amp;quot;, then &amp;quot;Convert/Save&amp;quot;, choose your recorded video and set the file type and settings you need. Manage to get it down to at least half the original file size.&lt;/p&gt;&#xA;&lt;p&gt;Hope someone who actually knows what they're doing come and help soon haha&lt;/p&gt;&#xA;" OwnerUserId="31912" LastActivityDate="2020-08-17T01:53:56.510" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32045" PostTypeId="2" ParentId="32034" CreationDate="2020-08-17T07:57:52.620" Score="3" Body="&lt;p&gt;You can drag the footage to the left, until the point you want is aligned with the start, or you can type in an exact number in the &lt;strong&gt;In&lt;/strong&gt; column in the timeline window. By default this column is not shown, to show it right-click in the column headings, where it says &lt;strong&gt;Source name … Parent &amp;amp; Link&lt;/strong&gt; and select &lt;strong&gt;In&lt;/strong&gt; from the list.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZBGjK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZBGjK.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can click the number and enter &lt;code&gt;-24.&lt;/code&gt; in the text field. **Pro tip:**you don't have to type the zeroes, AE will add them for you if you type &lt;code&gt;.&lt;/code&gt;, this works for hours and minutes too, so if you wanted 1:02:00 you could just type &lt;code&gt;1.2..&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TO9KS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TO9KS.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This brings me to the third way to do it. In the current time box, type &lt;code&gt;-24.&lt;/code&gt; to set the current time to -24, then hit &lt;kbd&gt;[&lt;/kbd&gt; to set the layer's in point to the current time (the comp window will be grey because you're outside the composition). Hit &lt;kbd&gt;home&lt;/kbd&gt; to go back to the start of the comp.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jCr8O.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jCr8O.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-08-17T07:57:52.620" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32046" PostTypeId="1" CreationDate="2020-08-17T11:59:11.523" Score="2" ViewCount="715" Body="&lt;p&gt;I'm trying to animate a null to follow an ellipse path. The path is rotated in 3D space. When I copy the path to the position of the null, it copies and the null is animated around the path but the 3D orientation setting on the shape layer is ignored and the null's keyframes are setup to point directly at the camera as if it was in 2D mode:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8VorO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8VorO.png&quot; alt=&quot;Broken null&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;In this screenshot, the red keyframe track is the position data pasted to the null and the white circle is a stroke of the path. Rotating the null doesn't do anything, of course, because it's the keyframes that are off.&lt;/p&gt;&#xA;&lt;p&gt;I'm pretty new to this so I get the feeling I'm not describing the problem very well or there's a simple solution I haven't figured out yet. Any guidance would be greatly appreciated. Thank you!&lt;/p&gt;&#xA;" OwnerUserId="31920" LastActivityDate="2020-09-17T14:06:55.840" Title="After Effects 2020 shape layer path ignoring 3D orientation when used to parent a null?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32047" PostTypeId="1" CreationDate="2020-08-17T12:12:02.743" Score="1" ViewCount="32" Body="&lt;p&gt;In sports with close finishes a &lt;a href=&quot;https://en.wikipedia.org/wiki/Photo_finish&quot; rel=&quot;nofollow noreferrer&quot;&gt;photo finish&lt;/a&gt; is used: this takes repeatedly a vertical line of pixels of the finish line and assembles them next to each other into a photo. Now the horizontal position in the photo corresponds to the time. This is done with special equipment but could it be also recreated from a video using ffmpeg? Say, you take the vertical pixel line from the middle of the frame and assemble them into a photo.&lt;/p&gt;&#xA;" OwnerUserId="24544" LastActivityDate="2020-08-17T12:12:02.743" Title="Create a photo finish from a video?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32048" PostTypeId="1" CreationDate="2020-08-17T17:50:39.123" Score="1" ViewCount="1143" Body="&lt;p&gt;I have a looping blender animation in mp4 format that is 10,000 frames long, but I basically want to make it longer to the point where the changes between frames are imperceptible, but the animation still progresses over time. I've tried just stretching the clip in kdenlive, but it looks like it does no frame interpolation with default settings, and the transitions between animation positions is perceptible and instantaneous.&lt;/p&gt;&#xA;&lt;p&gt;I've seen examples of ffmpeg minterpolate used to convert to higher frame rates, and ffmpeg examples to slow down videos (and increase video duration), but is it possible to do both at once with minterpolate?&lt;/p&gt;&#xA;&lt;p&gt;I'm hoping to get the length to 10 hours, but details about the end frame rate, codecs, etc isn't too important as long as the video&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;is able to be uploaded to youtube (&lt;a href=&quot;https://support.google.com/youtube/answer/1722171&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.google.com/youtube/answer/1722171&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;takes &amp;lt;24 hours to render&lt;/li&gt;&#xA;&lt;li&gt;doesn't have perceptible changes in the animation&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="31926" LastActivityDate="2020-09-17T09:41:20.360" Title="How to keep framerate but increase video duration with ffmpeg minterpolate?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32050" PostTypeId="2" ParentId="32048" CreationDate="2020-08-17T20:54:43.293" Score="1" Body="&lt;p&gt;I also &lt;a href=&quot;https://www.reddit.com/r/ffmpeg/comments/ibk8ed/how_to_keep_framerate_but_increase_video_duration/g1w8j25?utm_source=share&amp;amp;utm_medium=web2x&quot; rel=&quot;nofollow noreferrer&quot;&gt;asked this question on reddit&lt;/a&gt; and got a good answer, so I'll paste it here for maximum future search-ability of this problem:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;code&gt;minterpolate&lt;/code&gt; has multiple modes:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Duplicate frames as necessary&lt;/li&gt;&#xA;&lt;li&gt;Blend frames as necessary&lt;/li&gt;&#xA;&lt;li&gt;Actually calculate motion vectors and perform interpolation&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;The third option is the highest quality (if it works correctly, which&#xA;it doesn't for me, always produces weird artifacts) but it's&#xA;incredibly slow. Definitely not possible in less than 24 hours. So&#xA;option two is probably what you're after. That being said, 10,000&#xA;frames in 10 hours (36,000 seconds) equals a raw framerate of 10/36&#xA;fps (0.2777778), so I don't think frame blending will look very good,&#xA;but I guess you could try (I'm assuming your animation is stored in a&#xA;series of image files):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2 -framerate 10/36 -i &amp;quot;frame_%05d.png&amp;quot; -filter_complex &amp;quot;[0:V:0]minterpolate=fps=25/1:mi_mode=blend[out]&amp;quot; -map &amp;quot;[out]&amp;quot; -c:v libx264 -pix_fmt yuv420p -crf 20 -f mp4 -movflags +faststart &amp;quot;output.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="31926" LastEditorUserId="2178" LastEditDate="2020-09-17T09:41:20.360" LastActivityDate="2020-09-17T09:41:20.360" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32051" PostTypeId="1" AcceptedAnswerId="32057" CreationDate="2020-08-17T22:02:31.557" Score="1" ViewCount="52" Body="&lt;p&gt;I am using a video editing software to edit my videos for YouTube. The scenario is as below:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Input file size: 80mb.&#xA;&lt;br&gt;Input type: webm.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;My expectation after editing :&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Video size: around 100mb.&#xA;(Any format can do)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I have a wide range of options to select for the video output (Such as video output type, codec, quality, etc). Currently I am outputting in mp4 format with some other options selected. However, I am getting a very bulky file of 600mb in the output.&lt;/p&gt;&#xA;&lt;p&gt;I want to know what output options (format, codec, quality etc.) can I select so that the output I get is   smaller in size. (I can compromise with the video quality to some extent).&lt;/p&gt;&#xA;&lt;p&gt;I can give more info if asked.&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="31927" LastActivityDate="2020-08-19T09:30:38.533" Title="Decrease video size post-editing" Tags="|video-quality|codec|youtube|file-formats|compression|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32052" PostTypeId="2" ParentId="19977" CreationDate="2020-08-18T03:51:12.580" Score="1" Body="&lt;p&gt;I agree with McFlySoHigh. If you have multiple adjustment layers placed one above the other, the effects will be applied from Top to Bottom.&lt;/p&gt;&#xA;&lt;p&gt;A bit more on the order of effects application in Premiere Pro:&#xA;First, it applies effects from Master Clip,&#xA;Then go the effects applied to the clip in a regular way: to the Effect Controls panel (Top to Bottom)&#xA;Then, nested sequence&#xA;And at the very end, effects from Adjustment Layers are applied, going from the top layer to the bottom one.&lt;/p&gt;&#xA;" OwnerUserId="31930" LastActivityDate="2020-08-18T03:51:12.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32053" PostTypeId="1" CreationDate="2020-08-18T09:17:49.807" Score="0" ViewCount="369" Body="&lt;p&gt;I have multiple MKV files with video encoded a la HEVC/H.265.  I want to, using the Windows command line, make a new MKV file, stripping out all but specific subtitle tracks and audio tracks, on a file-by-file basis, as I have no need to retain multiple foreign language sound tracks and subtitle tracks.&lt;/p&gt;&#xA;&lt;p&gt;Let's say I used &lt;a href=&quot;https://trac.ffmpeg.org/wiki/FFprobeTips&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffprobe&lt;/a&gt; to find what streams are in a given MKV file. Further, I want to keep the first and third audio tracks, and the 24th and 25th subtitle tracks, from said file. I used &lt;a href=&quot;https://stackoverflow.com/questions/63302454/map-metadata-stream-by-filter-in-ffmpeg&quot;&gt;https://stackoverflow.com/questions/63302454/map-metadata-stream-by-filter-in-ffmpeg&lt;/a&gt; as a reference.&lt;/p&gt;&#xA;&lt;p&gt;I have tried to do that with&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i INPUTFILE.MKV -map 0:0 -map 1:1 -map 1:3 -map 1:a:24 -map 1:a:25 OUTPUTFILE.MKV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;which fails. How should I write the command?&lt;/p&gt;&#xA;" OwnerUserId="30421" LastEditorUserId="30421" LastEditDate="2020-08-18T09:23:03.967" LastActivityDate="2022-02-10T04:08:30.803" Title="Removing streams in HEVC H.265 MKV file?" Tags="|ffmpeg|windows|subtitles|mkv|tracks|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32054" PostTypeId="2" ParentId="32053" CreationDate="2020-08-18T10:14:48.763" Score="1" Body="&lt;p&gt;In the syntax &lt;code&gt;-map 1:a:24&lt;/code&gt;, &lt;code&gt;1&lt;/code&gt; stands for the input file index. Counting starts from &lt;code&gt;0&lt;/code&gt;, so &lt;code&gt;1&lt;/code&gt; refers to the 2nd input file but the command only has one input. &lt;code&gt;a&lt;/code&gt; stands for stream type, and in this case, it's audio - &lt;code&gt;v&lt;/code&gt; is for video, &lt;code&gt;s&lt;/code&gt; for subtitles, &lt;code&gt;d&lt;/code&gt; for data. &lt;code&gt;24&lt;/code&gt; represents the 25th (0-indexed, remember) audio track. If your command has one input file with three video, three audio and three subtitle streams in the following order: &lt;code&gt;V A S A V S V A S&lt;/code&gt;, then the 2nd video will be &lt;code&gt;-map 0:v:1&lt;/code&gt; You can reference it using absolute index by using &lt;code&gt;-map 0:4&lt;/code&gt;. With absolute indexing, there's no stream type specifier.&lt;/p&gt;&#xA;&lt;p&gt;Assuming the stream numbering in your description is correct, use&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i IN.MKV -map 0:0 -map 0:a:0 -map 0:a:2 -map 0:s:23 -map 0:s:24 -c copy OUT.MKV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Note that if &lt;code&gt;-c copy&lt;/code&gt; is omitted, all streams will be re-encoded - not what you want normally.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2020-08-18T10:27:28.533" LastActivityDate="2020-08-18T10:27:28.533" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32055" PostTypeId="2" ParentId="32046" CreationDate="2020-08-18T13:05:49.133" Score="1" Body="&lt;p&gt;The shape layer's path is in layer space. In other words the coordinates are relative to the layer, regardless of where the layer is in composition space. The contents of a layer are always at 0 on the z axis relative to that layer. So when you apply that path as the motion path to a layer in composition space, it will always move on the X/Y plane, at 0 on the z Axis.&#xA;To make the null layer use the same coordinate space as the shape layer, you can simply make it a child of the shape layer. Then the coordinates will be relative to its parent. If this is not possible, you could use the &lt;code&gt;toWorld()&lt;/code&gt; layer space transform in an expression, thus:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&amp;quot;shape Layer&amp;quot;).toWorld(value);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and apply that to the position. What that does is take the position value and find out where that would be in the layer &amp;quot;shape layer&amp;quot;, then give the value of where that is in comp coordinates.&lt;/p&gt;&#xA;&lt;p&gt;There's a little gotcha, in that paths on shape layers are measured in comp space. Before copying the path to the null, you might want to set the anchor point of the shape layer to the center of the content, using &lt;kbd&gt;ctrl&lt;/kbd&gt;&lt;kbd&gt;alt&lt;/kbd&gt;&lt;kbd&gt;home&lt;/kbd&gt;. Otherwise you can subtract its position from the value of the copied path:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&amp;quot;Shape Layer 1&amp;quot;).toWorld(value-thisComp.layer(&amp;quot;Shape Layer 1&amp;quot;).transform.position)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-08-18T13:05:49.133" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32057" PostTypeId="2" ParentId="32051" CreationDate="2020-08-19T08:45:51.560" Score="1" Body="&lt;p&gt;Webm and mp4 are container formats. Those itself don't have any relevant influence on the file size.&lt;/p&gt;&#xA;&lt;p&gt;The codec with a set bitrate determines the filesize. For YouTube uploads, follow &lt;a href=&quot;https://support.google.com/youtube/answer/1722171?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;the current recommendations&lt;/a&gt; and you'll see, you should use h264 as video codec.&lt;/p&gt;&#xA;&lt;p&gt;First, make sure the export has the same resolution and frame rate as the input, unless you intend to change it anyway. If that's fine, my guess is that the bitrate was set too high. The above mentioned recommendations for YouTube show you how high the bitrate needs to be to get excellent quality. However, if your source material is far below that, you should use a bitrate that's closer to its quality.&lt;/p&gt;&#xA;&lt;p&gt;To calculate a suitable bitrate in advance is difficult, when the codec of the source is different from the codec of the export. It's good to have a higher bitrate than strictly necessary because YouTube will re-encode the video anyway. Chained re-encodings with lossy codecs will reduce quality further and should be generally avoided, but in this case you cannot do anything against that.&lt;/p&gt;&#xA;&lt;p&gt;WebM uses VP8 or VP9, both need slightly higher bitrates to achieve the same quality as h264. This means as a rough estimate, set your maximum target bitrate to something like 90% of the bitrate of the source material. Make sure it's a variable bitrate, not a constant bitrate, because the variable bitrate is almost always the better choice for quality. Then you should get a file size roughly the same as the source video.&lt;/p&gt;&#xA;&lt;p&gt;And then there's audio. It makes up a smaller percentage of the filesize. However you should check that your editor is not accidentally using much higher bitrates for audio as the source.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2020-08-19T09:30:38.533" LastActivityDate="2020-08-19T09:30:38.533" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32058" PostTypeId="2" ParentId="31974" CreationDate="2020-08-19T09:43:41.197" Score="3" Body="&lt;p&gt;You cannot do this with Premiere.&lt;/p&gt;&#xA;&lt;p&gt;The media info of the recording tell us that you need a maximum video bitrate of 0.108 Mbps to achieve 15 Mbyte. However Premiere's smallest available bitrate is 0.19 Mbps which would yield a 23 Mbyte final video (including the audio) in theory which is pretty close to what you see. As far as I know you cannot get below that.&lt;/p&gt;&#xA;&lt;p&gt;If this bothers you, contact Adobe for help. Technically there is no obvious reason to stop at 0.19 Mbps. Tools like ffmpeg can work with even lower bitrates with this codec.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2020-08-19T09:52:25.513" LastActivityDate="2020-08-19T09:52:25.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32060" PostTypeId="1" AcceptedAnswerId="32073" CreationDate="2020-08-19T13:54:00.483" Score="0" ViewCount="554" Body="&lt;p&gt;I am trying to concatenate 3 videos of different resolutions and overlaying 2 videos as transition effects(though the chroma key color removal is not yet implemented) between videos using below command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg &#xA;-i input1.mp4 &#xA;-i input2.mp4 &#xA;-i input3.mp4 &#xA;-i transition1.mp4 &#xA;-i transition2.mp4 &#xA;-filter_complex &#xA;&amp;quot;[0:v]pad=width=1080:height=1920:x=(1080-iw)*0.5:y=(1920-ih)*0.5:color=black[video0];&#xA;[1:v]pad=width=1080:height=1920:x=(1080-iw)*0.5:y=(1920-ih)*0.5:color=black[video1];&#xA;[2:v]pad=width=1080:height=1920:x=(1080-iw)*0.5:y=(1920-ih)*0.5:color=black[video2];&#xA;[video0][video1][video2]concat=n=3:v=1:a=0[outv];&#xA;[3:v]scale=w=1080:h=1920[t0];&#xA;[4:v]scale=w=1080:h=1920[t1];&#xA;[outv][t0]overlay=enable='between(t,6.6045,9.6335)'[out0];&#xA;[out0][t1]overlay=enable='between(t,12.5655,15.6165)'[out1];&#xA;[0:a][1:a][2:a]concat=n=3:v=0:a=1[audio]&amp;quot; &#xA;-c:v libx264 -pix_fmt yuv420p -map [out1] -map [audio] -preset ultrafast output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I get success only with few videos. Most of the times the command execution never stops. It keeps on appending something to the output video file even for hours. Here is the output from console:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version v4.4-dev-416&#xA;     Copyright (c) 2000-2020 the FFmpeg developers&#xA;      built with Android (6454773 based on r365631c2) clang version 9.0.8 (https://android.googlesource.com/toolchain/llvm-project 98c855489587874b2a325e7a516b99d838599c6f) (based on LLVM 9.0.8svn)&#xA;      configuration: --cross-prefix=aarch64-linux-android- --sysroot=/files/android-sdk/ndk/21.3.6528147/toolchains/llvm/prebuilt/linux-x86_64/sysroot --prefix=/home/taner/Projects/mobile-ffmpeg/prebuilt/android-arm64/ffmpeg --pkg-config=/usr/bin/pkg-config --enable-version3 --arch=aarch64 --cpu=armv8-a --cc=aarch64-linux-android24-clang --cxx=aarch64-linux-android24-clang++ --extra-libs='-L/home/taner/Projects/mobile-ffmpeg/prebuilt/android-arm64/cpu-features/lib -lndk_compat' --target-os=android --enable-neon --enable-asm --enable-inline-asm --enable-cross-compile --enable-pic --enable-jni --enable-optimizations --enable-swscale --enable-shared --enable-v4l2-m2m --disable-outdev=fbdev --disable-indev=fbdev --enable-small --disable-openssl --disable-xmm-clobber-test --disable-debug --enable-lto --disable-neon-clobber-test --disable-programs --disable-postproc --disable-doc --disable-htmlpages --disable-manpages --disable-podpages --disable-txtpages --disable-static --disable-sndio --disable-schannel --disable-securetransport --disable-xlib --disable-cuda --disable-cuvid --disable-nvenc --disable-vaapi --disable-vdpau --disable-videotoolbox --disable-audiotoolbox --disable-appkit --disable-alsa --disable-cuda --disable-cuvid --disable-nvenc --disable-vaapi --disable-vdpau --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-gmp --enable-gnutls --enable-libmp3lame --enable-libass --enable-iconv --enable-libtheora --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libxml2 --enable-libopencore-amrnb --enable-libshine --enable-libspeex --enable-libwavpack --enable-libkvazaar --enable-libx264 --enable-gpl --enable-libxvid --enable-gpl --enable-libx265 --enable-gpl --enable-libvidstab --enable-gpl --enable-libilbc --enable-libopus --enable-libsnappy --enable-libsoxr --enable-libaom --enable-libtwolame --disable-sdl2 --enable-libvo-amrwbenc --enable-zlib --enable-mediacodec&#xA;      libavutil      56. 55.100 / 56. 55.100&#xA;      libavcodec     58. 96.100 / 58. 96.100&#xA;      libavformat    58. 48.100 / 58. 48.100&#xA;      libavdevice    58. 11.101 / 58. 11.101&#xA;      libavfilter     7. 87.100 /  7. 87.100&#xA;      libswscale      5.  8.100 /  5.  8.100&#xA;      libswresample   3.  8.100 /  3.  8.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'input1.mp4':&#xA;      Metadata:&#xA;        major_brand     : &#xA;    mp42&#xA;        minor_version   : &#xA;    0&#xA;        compatible_brands: &#xA;isommp42&#xA;        creation_time   : &#xA;    2020-08-12T17:21:49.000000Z&#xA;        com.android.version: &#xA;    9&#xA;      Duration: &#xA;    00:00:08.12&#xA;    , start: &#xA;    0.000000&#xA;    , bitrate: &#xA;    17298 kb/s&#xA;        Stream #0:0&#xA;    (eng)&#xA;    : Video: h264 (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080, 16309 kb/s&#xA;    , SAR 1:1 DAR 16:9&#xA;    , &#xA;    28.70 fps, &#xA;    29.50 tbr, &#xA;    90k tbn, &#xA;    60 tbc&#xA;     (default)&#xA;        Metadata:&#xA;          rotate          : &#xA;    90&#xA;          creation_time   : &#xA;&#xA;          handler_name    : &#xA;    VideoHandle&#xA;        Side data:&#xA;          &#xA;    displaymatrix: rotation of -90.00 degrees&#xA;        Stream #0:1&#xA;    (eng)&#xA;    : Audio: aac (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 192 kb/s&#xA;     (default)&#xA;        Metadata:&#xA;          creation_time   : &#xA;    2020-08-12T17:21:49.000000Z&#xA;          handler_name    : &#xA;    SoundHandle&#xA;Input #1, mov,mp4,m4a,3gp,3g2,mj2, from 'input2.mp4':&#xA;      Metadata:&#xA;        major_brand     : &#xA;    isom&#xA;        minor_version   : &#xA;    512&#xA;        compatible_brands: &#xA;    isomiso2avc1mp41&#xA;   encoder         : &#xA;    Lavf57.25.100&#xA;      Duration: &#xA;    00:00:05.97&#xA;    , start: &#xA;    0.000000&#xA;    , bitrate: &#xA;    770 kb/s&#xA;        Stream #1:0&#xA;    (und)&#xA;    : Audio: aac (mp4a / 0x6134706D), 22050 Hz, stereo, fltp, 128 kb/s&#xA;     (default)&#xA;        Metadata:&#xA;          handler_name    : &#xA;    SoundHandler&#xA;        Stream #1:1&#xA;    (und)&#xA;    : Video: h264 (avc1 / 0x31637661), yuv420p, 368x480, 608 kb/s&#xA;    , &#xA;    27.29 fps, &#xA;120 tbr, &#xA;    12k tbn, &#xA;    60 tbc&#xA;     (default)&#xA;        Metadata:&#xA;          handler_name    : &#xA;    VideoHandler&#xA;Input #2, mov,mp4,m4a,3gp,3g2,mj2, from 'input3.mp4':&#xA;      Metadata:&#xA;        major_brand     : &#xA;    isom&#xA;        minor_version   : &#xA;    512&#xA;    compatible_brands: &#xA;    isomiso2avc1mp41&#xA;        encoder         : &#xA;    Lavf55.19.104&#xA;      Duration: &#xA;    00:00:13.05&#xA;    , start: &#xA;    0.000000&#xA;    , bitrate: &#xA;    2453 kb/s&#xA;        Chapter #2:0: &#xA;    start 0.000000, &#xA;    end 13.033000&#xA;        Metadata:&#xA;          title           : &#xA;        Stream #2:0&#xA;    (und)&#xA;    : Audio: aac (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s&#xA;     (default)&#xA;        Metadata:&#xA;          handler_name    : &#xA;    SoundHandler&#xA;        Stream #2:1&#xA;    (und)&#xA;: Video: h264 (avc1 / 0x31637661), yuv420p, 640x480, 2320 kb/s&#xA;    , &#xA;    25 fps, &#xA;    25 tbr, &#xA;    1200k tbn, &#xA;    50 tbc&#xA;     (default)&#xA;        Metadata:&#xA;          handler_name    : &#xA;    VideoHandler&#xA;        Stream #2:2&#xA;    (eng)&#xA;    : Data: bin_data (text / 0x74786574), 0 kb/s&#xA;        Metadata:&#xA;          handler_name    : &#xA;    SubtitleHandler&#xA;Input #3, mov,mp4,m4a,3gp,3g2,mj2, from 'transition1.mp4':&#xA;      Metadata:&#xA;        major_brand     : &#xA;    mp42&#xA;        minor_version   : &#xA;    0&#xA;        compatible_brands: &#xA;    mp41isom&#xA;    creation_time   : &#xA;    2020-08-17T09:31:23.000000Z&#xA;      Duration: &#xA;    00:00:03.03&#xA;    , start: &#xA;    0.000000&#xA;    , bitrate: &#xA;    6263 kb/s&#xA;        Stream #3:0&#xA;    (und)&#xA;    : Video: h264 (avc1 / 0x31637661), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], 6307 kb/s&#xA;    , &#xA;    30 fps, &#xA;    30 tbr, &#xA;    30k tbn, &#xA;    60 tbc&#xA;     (default)&#xA;        Metadata:&#xA;          creation_time   : &#xA;&#xA;          handler_name    : &#xA;    VideoHandler&#xA;          encoder         : &#xA;    AVC Coding&#xA;        Stream #3:1&#xA;    (und)&#xA;    : Audio: aac (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 79 kb/s&#xA;     (default)&#xA;        Metadata:&#xA;          creation_time   : &#xA;    2020-08-17T09:31:23.000000Z&#xA;          handler_name    : &#xA;SoundHandler&#xA;Input #4, mov,mp4,m4a,3gp,3g2,mj2, from 'transition2.mp4':&#xA;      Metadata:&#xA;        major_brand     : &#xA;    mp42&#xA;        minor_version   : 0&#xA;        compatible_brands: &#xA;    mp41isom&#xA;        creation_time   : &#xA;    2020-08-17T09:30:33.000000Z&#xA;      Duration: &#xA;    00:00:03.05&#xA;    , start: &#xA;    0.000000&#xA;    , bitrate: &#xA;    7828 kb/s&#xA;        Stream #4:0&#xA;    (und)&#xA;    : Video: h264 (avc1 / 0x31637661), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], 7873 kb/s&#xA;    , &#xA;    30 fps, &#xA;30 tbr, &#xA;    30k tbn, &#xA;    60 tbc&#xA;     (default)&#xA;        Metadata:&#xA;          creation_time   : &#xA;    2020-08-17T09:30:33.000000Z&#xA;          handler_name    : &#xA;    VideoHandler&#xA;          encoder         : &#xA;    AVC Coding&#xA;        Stream #4:1&#xA;    (und)&#xA;    : Audio: aac (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 79 kb/s&#xA;     (default)&#xA;        Metadata:&#xA;          creation_time   : &#xA;    2020-08-17T09:30:33.000000Z&#xA;          handler_name    : &#xA;    SoundHandler&#xA;Stream mapping:&#xA;      Stream #0:0 (h264) -&amp;gt; pad&#xA;      Stream #0:1 (aac) -&amp;gt; concat:in0:a0&#xA;Stream #1:0 (aac) -&amp;gt; concat:in1:a0&#xA;      Stream #1:1 (h264) -&amp;gt; pad&#xA;      Stream #2:0 (aac) -&amp;gt; concat:in2:a0&#xA;      Stream #2:1 (h264) -&amp;gt; pad&#xA;      Stream #3:0 (h264) -&amp;gt; scale&#xA;      Stream #4:0 (h264) -&amp;gt; scale&#xA;      overlay&#xA;     -&amp;gt; Stream #0:0 (libx264)&#xA;      concat&#xA;     -&amp;gt; Stream #0:1 (aac)&#xA;    Press [q] to stop, [?] for help&#xA;&#xA;[graph 0 input from stream 0:0 @ 0x733a19a900] sws_param option is deprecated and ignored&#xA;    [graph 0 input from stream 1:1 @ 0x733a19aa80] sws_param option is deprecated and ignored&#xA;    [graph 0 input from stream 2:1 @ 0x733a19ab40] sws_param option is deprecated and ignored&#xA;    [graph 0 input from stream 3:0 @ 0x733a19ac00] sws_param option is deprecated and ignored&#xA;    [graph 0 input from stream 4:0 @ 0x733a19acc0] sws_param option is deprecated and ignored&#xA;&#xA;[mp4 @ 0x733a679400] Frame rate very high for a muxer not efficiently supporting it.&#xA;    Please consider specifying a lower framerate, a different muxer or -vsync 2&#xA;[libx264 @ 0x733a1b0600] using SAR=1/1&#xA;[libx264 @ 0x733a1b0600] MB rate (8160000000) &amp;gt; level limit (16711680)&#xA;[libx264 @ 0x733a1b0600] using cpu capabilities: ARMv8 NEON&#xA;[libx264 @ 0x733a1b0600] profile Constrained Baseline, level 6.2, 4:2:0, 8-bit&#xA;    [libx264 @ 0x733a1b0600] 264 - core 160 - H.264/MPEG-4 AVC codec - Copyleft 2003-2020 - http://www.videolan.org/x264.html - options: cabac=0 ref=1 deblock=0:0:0 analyse=0:0 me=dia subme=0 psy=1 psy_rd=1.00:0.00 mixed_ref=0 me_range=16 chroma_me=1 trellis=0 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=0 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=0 weightp=0 keyint=250 keyint_min=25 scenecut=0 intra_refresh=0 rc=crf mbtree=0 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=0&#xA;Output #0, mp4, to 'output.mp4':&#xA;      Metadata:&#xA;        major_brand     : &#xA;    mp42&#xA;minor_version   : &#xA;    0&#xA;        compatible_brands: &#xA;    isommp42&#xA;        com.android.version: &#xA;    9&#xA;        encoder         : &#xA;    Lavf58.48.100&#xA;        Chapter #0:0: &#xA;    start 0.000000, &#xA;    end 13.033000&#xA;        Metadata:&#xA;          title           : &#xA;        Stream #0:0&#xA;    : Video: h264 (libx264) (avc1 / 0x31637661), yuv420p(progressive), 1080x1920 [SAR 1:1 DAR 9:16], q=-1--1&#xA;    , &#xA;    1000k tbn, &#xA;    1000k tbc&#xA;(default)&#xA;        Metadata:&#xA;          encoder         : &#xA;    Lavc58.96.100 libx264&#xA;        Side data:&#xA;          &#xA;    cpb: &#xA;    bitrate max/min/avg: 0/0/0 buffer size: 0 &#xA;    vbv_delay: N/A&#xA;        Stream #0:1&#xA;    : Audio: aac (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s&#xA;     (default)&#xA;        Metadata:&#xA;          encoder         : &#xA;    Lavc58.96.100 aac&#xA;E/Progress: Progress: 3.6918316&#xA;D/mobile-ffmpeg: Progress: frame: 1, time: 1002, Pct: 0.036918&#xA;frame=    1 fps=0.0 q=0.0 size=       0kB time=00:00:01.00 bitrate=   0.5kbits/s speed=1.79x    &#xA;More than 1000 frames duplicated&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I even tried command without overlay and audio parts but result was same. I am working on Android app and using below ffmpeg wrapper library:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/tanersener/mobile-ffmpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/tanersener/mobile-ffmpeg&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30152" LastActivityDate="2020-08-22T15:30:13.650" Title="ffmpeg command execution never stops" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32062" PostTypeId="1" CreationDate="2020-08-19T18:04:10.883" Score="0" ViewCount="58" Body="&lt;p&gt;I have some fundamental questions on shots and I-frames. When we apply shot detection on a video, how many I-frames will exist in a shot? How many frames exist between two I-frames? And does the shot always start with an I-frame?&lt;/p&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2020-08-19T18:04:10.883" Title="How many I-frames are in a single shot?" Tags="|video|video-capture|keyframes|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32063" PostTypeId="1" CreationDate="2020-08-19T23:16:54.700" Score="0" ViewCount="13" Body="&lt;p&gt;I need to do a basic cut from the middle of a screencast on an iPhone 11 Pro Max, but every method I've tried ends with the video being cropped to 16:9. How can I keep the original resolution?&lt;/p&gt;&#xA;" OwnerUserId="31949" LastActivityDate="2020-08-19T23:16:54.700" Title="How to edit iPhone Screencap without changing resolution" Tags="|screen-casting|aspect|iphone|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32064" PostTypeId="1" CreationDate="2020-08-20T00:55:11.110" Score="0" ViewCount="653" Body="&lt;p&gt;I am trying to use ffmpeg to slow down a video speed by 25% (75% speed) without changing the audio speed.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input_video.mkv -filter:v &amp;quot;setpts=1.3*PTS&amp;quot; &amp;quot;SlowVideo25.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;On doing so, the audio finishes first and the video continues to play for some more seconds. I want to use ffmpeg to loop/repeat the audio track in this case. So when the audio finishes, it plays the audio from the beginning for the remainder of the video.&lt;/p&gt;&#xA;&lt;p&gt;Is this do-able using ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="31950" LastActivityDate="2024-01-04T14:08:30.973" Title="ffmpeg - Slow down video and loop/repeat audio" Tags="|ffmpeg|encoding|mp4|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32065" PostTypeId="2" ParentId="15947" CreationDate="2020-08-20T12:21:17.270" Score="0" Body="&lt;p&gt;.g64 is the extension of the proprietary video format from Genetec, a provider of IP video surveillance. Even 5 years after your question I have not found any library to open them or player to read them other than the official player. Not sure where to find it, part of their doc is behind a login wall. You might try &lt;a href=&quot;http://downloadcenter.genetec.com/products/SecurityCenter/GenetecVideoPlayer/GenetecVideoPlayer.exe&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://downloadcenter.genetec.com/products/SecurityCenter/GenetecVideoPlayer/GenetecVideoPlayer.exe&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="31953" LastActivityDate="2020-08-20T12:21:17.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32066" PostTypeId="1" CreationDate="2020-08-20T17:15:13.967" Score="0" ViewCount="365" Body="&lt;p&gt;I am Naved and I am using &lt;strong&gt;Adobe Premiere Pro CC 2019&lt;/strong&gt; for creating a &lt;em&gt;YouTube&lt;/em&gt; video. This video is providing a list of &lt;em&gt;recommended copyright free music&lt;/em&gt; that is available on YouTube for &lt;em&gt;free use&lt;/em&gt;.&#xA;I wanted to show an &lt;em&gt;&lt;strong&gt;audio visualizer&lt;/strong&gt;&lt;/em&gt; (or say &lt;em&gt;audio spectrum&lt;/em&gt;) in my video. This video is very long, consisting of around 100 different music tracks and its duration is of &lt;em&gt;nearly 4 Hours&lt;/em&gt;. &#xA;As it is clear that Audio Spectrum plugin works only with &lt;strong&gt;Adobe After Effects CC 2019&lt;/strong&gt; and I cannot create a composition of more than 3 Hours in After Effects, again I cannot make a complex while lengthy project at the same time, in After Effects; So, I considered only importing the audio file and a &lt;em&gt;DVD(Disk) Icon&lt;/em&gt; in After Effects. I applied the Audio Spectrum and Audio Reactive (on scaling) effects on and around the Disk Icon with &lt;em&gt;Transparent Background&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;As the audio file was of more than 4 hours, I had to perform this process in two parts, 1st one for about 3 hours and the 2nd one for the remaining 1 hour.&lt;/p&gt;&#xA;&lt;p&gt;For rendering the video files, I chose &lt;em&gt;&lt;strong&gt;Quicktime Codec, Animation Format with 8 Bit + Alpha Channel&lt;/strong&gt;&lt;/em&gt; Settings. I took the final export to Premiere Pro, where I already had a Background Image, a Black video (for background dullness), and a Legacy Title. When I imported the rendered video in my premiere pro sequence, I put it above all of the layers.&#xA;But, when I played out the video, I found that the &lt;strong&gt;audio spectrum was going &lt;em&gt;BEHIND&lt;/em&gt; the Legacy Title&lt;/strong&gt; and the Disk Icon was showing in front of the Legacy Title. This was a very strange kind of behavior that I have never encountered before because they both (disk icon and audio spectrum) are a part of a single video i.e. single layer only and either they both should be in front of the other layers or be backward than them. Another interesting thing is that the audio spectrum is showing in front of the background image but not in front of the legacy title. So, I thought I can export my background frame including the text and then, put it behind the audio spectrum video. Surprisingly, even after rendering the still image as Background and keeping it behind the Audio Spectrum Layer, the result was again the same. &lt;em&gt;&lt;strong&gt;The Disk Icon was in front of the Text and the Audio Spectrum was behind the text but background image.&lt;/strong&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now I have run out of ideas, why this strange kind of behavior is being encountered in Premiere Pro. It could be my fault too but I am unable to understand where is the error standing?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/Wp0VUWhxy-g&quot; rel=&quot;nofollow noreferrer&quot;&gt;To make things clear to understand, I have attached an exemplary video on YouTube. For further reference and clear differentiation, I have put a duplicate legacy title stating &amp;quot;COPYRIGHT FREE MUSIC&amp;quot; just behind the audio spectrum part of the video.&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can find this detailed question in the description of the mentioned video also.&#xA;For any other required details, I am right here to comment.&lt;/p&gt;&#xA;&lt;h1&gt; Screenshots of Layers:- &lt;/h1&gt;&#xA;&lt;h2&gt; Screenshot of the arrangement of all layers in Premiere Pro Sequence: &lt;/h2&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UIpzn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UIpzn.png&quot; alt=&quot;Screenshot of the arrangement of all layers in Premiere Pro Sequence&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;h2&gt; Sceenshot of Disk Icon and Audio Spectrum Video Layer: &lt;/h2&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qUleD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qUleD.png&quot; alt=&quot;Sceenshot of Disk Icon and Audio Spectrum Video Layer&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;h2&gt; Sceenshot of Legacy Title Layer: &lt;/h2&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/82E7A.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/82E7A.png&quot; alt=&quot;Sceenshot of Legacy Title Layer&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;h2&gt; Screenshot of Background Image Layer: &#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rZBJx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rZBJx.png&quot; alt=&quot;Screenshot of Background Image Layer&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA; Screenshot of Background Image Layer after applying Black VIdeo Layer: &lt;/h2&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EFDsL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EFDsL.png&quot; alt=&quot;Screenshot of Background Image Layer after applying Black VIdeo Layer&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Lastly, you may not have encountered this problem yet, or this problem may sound very minor to you but still, there are many people around there, who are just like me, who have/will encounter(ed) this problem someday. So, if you cannot &amp;quot;Upvote&amp;quot; this question to increase its reach. at least do NOT &amp;quot;Downvote&amp;quot; it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Thank You So Much in Advance!!!&lt;/strong&gt; &lt;/p&gt;&#xA;" OwnerUserId="24091" LastEditorUserId="24091" LastEditDate="2020-08-22T11:11:39.780" LastActivityDate="2020-08-22T11:11:39.780" Title="Why is Aplha channel video layer not working correctly in premiere pro?" Tags="|after-effects|premiere|adobe|adobe-media-encoder|quicktime|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="32067" PostTypeId="1" CreationDate="2020-08-20T17:19:11.487" Score="1" ViewCount="25" Body="&lt;p&gt;In this case, I am selecting a precomp in the timeline but the problem is that this code below returns the AVLayer object instead of a CompItem object. How can I select the layer but get it as aCompItem. I need to do this because I want to then access the layers inside the precomp.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;var comp = app.project.activeItem.selectedLayers[0];&#xA;alert(comp);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/P9DRk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/P9DRk.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18583" LastActivityDate="2020-08-20T18:39:00.283" Title="Access a precomp as a CompItem not as an AV Layer" Tags="|after-effects|after-effects-scripting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32068" PostTypeId="2" ParentId="32067" CreationDate="2020-08-20T18:39:00.283" Score="1" Body="&lt;p&gt;Well, I found my own answer. I just needed to access the source property.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;var comp = app.project.activeItem.selectedLayers[0].source;&#xA;alert(comp);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bA3Yb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bA3Yb.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18583" LastActivityDate="2020-08-20T18:39:00.283" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32069" PostTypeId="1" CreationDate="2020-08-21T04:46:57.097" Score="0" ViewCount="244" Body="&lt;p&gt;I'm in the process of digitizing my entire movie collection. For the most part, it's pretty smooth. I'm using Handbrake to put everything in mp4 format, and it's getting moved to my Plex server.&lt;/p&gt;&#xA;&lt;p&gt;The only issue I've run into so far is when movies span multiple discs. I figure, once I'm digitizing, I should merge the two so I get a seamless viewing. The problem is, the only way I have to cleanly merge the files is a video editor (I happen to be using VSDC Free Video Editor, but I'm not married to it). The problem is that I lose subtitles. I've only had to do this once and I accepted the loss, but I'm going to hit it again later (think LoTR extended versions) and I don't want to lose them there.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way (preferably free, of course, but I'm open to all suggestions) to merge them without losing the subtitles? Or perhaps even a good way to add them back in after the fact?&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="31962" LastActivityDate="2023-07-17T06:07:00.853" Title="Merging mp4 files and preserving subtitles" Tags="|mp4|subtitles|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32070" PostTypeId="2" ParentId="29933" CreationDate="2020-08-21T08:58:29.127" Score="4" Body="&lt;p&gt;The answer is probably no, unless the SCART socket on your VCR is labeled specifically as &amp;quot;S-VIDEO&amp;quot;. The fact that SCART connector has S-Video pins does not guarantee that your VCR provides S-Video signal to these pins. A low-end model will simply transmit a composite signal over the luminance S-Video pin and nothing over the chrominance pin.&lt;/p&gt;&#xA;&lt;p&gt;Even my DVD player having both S-Video and SCART sockets doesn't provide S-Video signal over SCART. Only component RGB.&lt;/p&gt;&#xA;" OwnerUserId="31966" LastEditorUserId="31966" LastEditDate="2020-08-21T09:05:14.093" LastActivityDate="2020-08-21T09:05:14.093" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32071" PostTypeId="2" ParentId="32064" CreationDate="2020-08-22T08:39:47.103" Score="0" Body="&lt;p&gt;since there is no loop option on the mapped stream; therefore you need 2 steps&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;ffmpeg -y -stream_loop 2 -i &lt;a href=&quot;https://www.learningcontainer.com/wp-content/uploads/2020/05/sample-mp4-file.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.learningcontainer.com/wp-content/uploads/2020/05/sample-mp4-file.mp4&lt;/a&gt; output.wav&lt;/li&gt;&#xA;&lt;li&gt;ffmpeg -y -i output.wav -i &lt;a href=&quot;https://www.learningcontainer.com/wp-content/uploads/2020/05/sample-mp4-file.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.learningcontainer.com/wp-content/uploads/2020/05/sample-mp4-file.mp4&lt;/a&gt; -filter:v &amp;quot;setpts=1.3*PTS&amp;quot; -shortest output.mp4&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Note: stream_loop number is the ceiling of factor&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-08-22T08:39:47.103" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32072" PostTypeId="2" ParentId="32069" CreationDate="2020-08-22T10:50:58.403" Score="0" Body="&lt;p&gt;You may consider to use either&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Subtitle stream of mp4, e.g. &lt;a href=&quot;https://gist.github.com/xer-rex/913db0dcef06c0304acd1fcb3712cd04&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gist.github.com/xer-rex/913db0dcef06c0304acd1fcb3712cd04&lt;/a&gt;&#xA;or&lt;/li&gt;&#xA;&lt;li&gt;Burn-in subtitle in video of mp4, e.g. &lt;a href=&quot;https://gist.github.com/xer-rex/bc80b5fbd23d1b91bb4737439816d773&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gist.github.com/xer-rex/bc80b5fbd23d1b91bb4737439816d773&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-08-22T10:50:58.403" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32073" PostTypeId="2" ParentId="32060" CreationDate="2020-08-22T15:30:13.650" Score="0" Body="&lt;p&gt;I have got the solution here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://stackoverflow.com/questions/63488697/ffmpeg-command-execution-never-stops/63490769?noredirect=1#comment112272999_63490769&quot;&gt;https://stackoverflow.com/questions/63488697/ffmpeg-command-execution-never-stops/63490769?noredirect=1#comment112272999_63490769&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I had to add &lt;code&gt;-vsync 0&lt;/code&gt; to prevent frame duplication.&lt;/p&gt;&#xA;" OwnerUserId="30152" LastActivityDate="2020-08-22T15:30:13.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32075" PostTypeId="1" CreationDate="2020-08-23T07:37:37.590" Score="2" ViewCount="6744" Body="&lt;p&gt;How to convert an mp4 file with YUV color space to RGB or sRGB color space using ffmpeg? I am trying to upload my video to YouTube and I read somewhere that RGB video looks better than YUV one.&lt;/p&gt;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerDisplayName="user31746" LastActivityDate="2023-09-07T19:35:51.003" Title="YUV to RGB/sRGB color space conversion using ffmpeg" Tags="|ffmpeg|youtube|color|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32076" PostTypeId="2" ParentId="32075" CreationDate="2020-08-23T09:10:04.430" Score="1" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -y -i output.mp4 -c:v libx264rgb output_264.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Output #0, mp4, to 'output_264.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    encoder         : Lavf57.83.100&#xA;    Stream #0:0(und): Video: h264 (libx264rgb) (avc1 / 0x31637661), rgb24(progressive), 636x360 [SAR 1:1 DAR 53:30], q=-1--1, 27.05 fps, 13524 tbn, 27.05 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      encoder         : Lavc57.107.100 libx264rgb&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 69 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2018-02-04T15:39:08.000000Z&#xA;      handler_name    : IsoMedia File Produced by Google, 5-11-2011&#xA;      encoder         : Lavc57.107.100 aac&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe output_264.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'output_264.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.83.100&#xA;  Duration: 00:07:50.02, start: 0.000000, bitrate: 1006 kb/s&#xA;    Stream #0:0(und): Video: h264 (High 4:4:4 Predictive) (avc1 / 0x31637661), gbrp(tv, gbr/unknown/unknown), 636x360 [SAR 1:1 DAR 53:30], 928 kb/s, 27.05 fps, 27.05 tbr, 13524 tbn, 54.10 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="31818" LastEditorUserId="18155" LastEditDate="2023-09-07T19:35:51.003" LastActivityDate="2023-09-07T19:35:51.003" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32080" PostTypeId="1" CreationDate="2020-08-24T00:26:10.473" Score="1" ViewCount="120" Body="&lt;p&gt;I make videos about drums and music. I record audio separately to video.&lt;/p&gt;&#xA;&lt;p&gt;when I align the audio with the video after the fact, I always feel final cut never gives me enough resolution in terms of aligning the two media.&#xA;Also, just the visual of the waveform doesn't give me enough information for alignment (IMO).&lt;/p&gt;&#xA;&lt;p&gt;example of a video I produced where I feel the visuals are minutely out of sync with the audio: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/06aP0BymTp8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is there a function to sync audio to a clip automatically (and with 100% accuracy)?&lt;/p&gt;&#xA;&lt;p&gt;can i raise the resolution of the timeline in final cut? if not, what other options are there for me?&lt;/p&gt;&#xA;" OwnerUserId="25594" LastActivityDate="2020-09-24T02:43:18.747" Title="FINAL CUT audio syncing" Tags="|video|video-editor|final-cut-pro-x|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32081" PostTypeId="1" CreationDate="2020-08-24T06:16:26.947" Score="0" ViewCount="1806" Body="&lt;p&gt;I'm a complete novice at final cut. I have recorded a dnd game over zoom, it's a 2 hour video, the file saved from zoom is 756mb. I have edited it a bit (just minor stuff, add a couple of images, remove a few outtakes), and now I'm trying to export.&lt;/p&gt;&#xA;&lt;p&gt;I'm exporting the &amp;quot;master file&amp;quot;, format &amp;quot;computer&amp;quot;, video codec &amp;quot;H.264&amp;quot;. It shows me 11GB estimated file size. Why is it so huge? What setting can I tweak to reduce it?&lt;/p&gt;&#xA;&lt;p&gt;Do you know why this happens in general? Why would it turn my ~750MB file into ~11GB file?&lt;/p&gt;&#xA;" OwnerUserId="31992" LastActivityDate="2020-08-25T00:06:45.323" Title="Final cut pro export file size is huge (despite the small size of the initial video) - how can I shrink it?" Tags="|encoding|video-quality|final-cut-pro-x|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32082" PostTypeId="2" ParentId="32080" CreationDate="2020-08-24T06:19:44.833" Score="0" Body="&lt;p&gt;IMHO your video is fine, and I didn't see a problem with the sync.&lt;/p&gt;&#xA;&lt;p&gt;You cannot expect that FCPX is syncing 100%. No software is 100% for that matter. You, as the editor are the ultimate judge.&#xA;You can give it the best chance by having clean sound recording on-camera and off. If that is difficult I would recommend using a clapboard, then you have a better visual queue. If you want to be as accurate as technically possible, you need to use synced timecode in camera and sound mixer.&lt;/p&gt;&#xA;&lt;p&gt;The sync in FCPX is normally fairly easy. You select video and sound in the Media Browser and in the menu 'CLip' &amp;gt;&amp;gt; 'Synchronize Clips'. A window opens and you choose a name and the option for syncing. When the sync is done you find a new clip with the name you chose. You can double clip this synced clip and adjust the sync by nudging the video.&#xA;IMHO nobody will see if the sound is a couple of subframes off. You might just see what isn't there because you had to watch the clip too often.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-08-24T06:19:44.833" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32083" PostTypeId="1" CreationDate="2020-08-24T07:30:51.090" Score="0" ViewCount="61" Body="&lt;p&gt;Can you help me out? Will it be possible to run it on my laptop?&lt;/p&gt;&#xA;&lt;p&gt;Also, how can I view the crashlog to better diagnose the issue (I'm new to mac, and new to Davinci Resolve).&lt;/p&gt;&#xA;" OwnerUserId="31992" LastActivityDate="2020-08-26T14:47:35.517" Title="Will Davinci Resolve work on Mac Book Pro 13? (integrated Iris graphics, no dedicated GPU) Did anyone manage to run it? It crashes for me on startup" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32084" PostTypeId="1" CreationDate="2020-08-24T10:26:33.027" Score="0" ViewCount="25" Body="&lt;p&gt;Just new here :)&lt;/p&gt;&#xA;&lt;p&gt;I want to be able to do 2(-ish) things on my layers on After Effects.&lt;/p&gt;&#xA;&lt;p&gt;(Layer 1 = l1; Layer 2 = L2; Blur amount = BA)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Increase L2’s BA whenever I increase L1’s BA. (Or the opposite, decrease BAs)&#xA;Change L2’s opacity to 0% if L2’s BA is 0 and it’s opacity to 100% if L2’s BA is &amp;gt;1 or &amp;lt;1.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Essentially I’m trying to make these individual properties interact with each other without using too much slider controls.&lt;/p&gt;&#xA;" OwnerUserId="31995" LastActivityDate="2020-08-25T01:12:30.320" Title="After Effects Layer Properties Interaction" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32085" PostTypeId="1" CreationDate="2020-08-24T11:09:52.087" Score="1" ViewCount="32" Body="&lt;p&gt;Every .png image I import ends up with a slight white border. Mostly it's not that noticable, but other times it is extremely noticable.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EIjKD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EIjKD.png&quot; alt=&quot;Example of white border&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The video is set to Widescreen (16:9) and size HD 1920x1080, every single .png file is 1920x1080px big.&lt;/p&gt;&#xA;&lt;p&gt;I've double checked to make sure that the white border is NOT on the original .png file and only appears once imported into Pinnacle Studio.&lt;/p&gt;&#xA;&lt;p&gt;It seems like some kind of resizing issue, however there should be no resizing happening.&lt;/p&gt;&#xA;&lt;p&gt;I feel like there must be some general project-wide setting to fix this, but after long research, I couldn't find a solution.&lt;/p&gt;&#xA;" OwnerUserId="31996" LastActivityDate="2020-08-24T12:29:49.357" Title="Pinnacle Studio 23 - 'JPG Noise'/White border added to .png images" Tags="|pinnacle|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32087" PostTypeId="2" ParentId="32085" CreationDate="2020-08-24T12:29:49.357" Score="1" Body="&lt;p&gt;Turns out the problem only existed within the editor and when exported as HD 720p video. Exporting it as HD 1080p fixed the issue in the exported video.&lt;/p&gt;&#xA;" OwnerUserId="31996" LastActivityDate="2020-08-24T12:29:49.357" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32088" PostTypeId="1" CreationDate="2020-08-24T18:19:10.663" Score="0" ViewCount="164" Body="&lt;p&gt;I was working on my first large-ish upload for youtube, put it together quickly and didn't notice until it was complete that almost the entire video was riddled with audio desync issues. You can find that &lt;a href=&quot;https://youtu.be/yxOjNRgC2dc&quot; rel=&quot;nofollow noreferrer&quot;&gt;HERE&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I took another look at it today, and discovered a large factor may have been the video frame rate (Windows shows the video as 60FPS but when imported into AE it shows a frame rate of 59.993) &lt;a href=&quot;https://streamable.com/goeg79&quot; rel=&quot;nofollow noreferrer&quot;&gt;HERE&lt;/a&gt;  is another example of the slight premature audio with 59.993 composition even after wiping all cache and stored data, starting a new composition, etc.&lt;/p&gt;&#xA;&lt;p&gt;All of the footage except 1 clip was recorded in the span of 2 days, but yet some clips do not (or at least not visibly) suffer from the desync issue. The Waveform is in line with the out of sync audio.&lt;/p&gt;&#xA;&lt;p&gt;Any idea what could be the cause? Or what I can do to get the issue resolved?&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;PC Hardware:&lt;/em&gt;&#xA;i9 9900k /&#xA;32 GB RAM /&#xA;1080ti GPU&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;RAW Video According to Windows:&lt;/em&gt;&#xA;2560 x 1440 /&#xA;195kbps bit rate /&#xA;48.000khz&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;Imported RAW Video According to AE:&lt;/em&gt;&#xA;2560 x 1440 /&#xA;h.264 /&#xA;48.000khz / 32 Bit U&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;Composition Settings:&lt;/em&gt;&#xA;1920 x 1080 /&#xA;Originally 60FPS, Streamable example was corrected to 59.993&lt;/p&gt;&#xA;&lt;p&gt;Thank you,&lt;/p&gt;&#xA;&lt;p&gt;Nexu&lt;/p&gt;&#xA;" OwnerUserId="31998" LastActivityDate="2020-08-25T08:20:12.450" Title="After Effects Audio Ahead of Video in Preview and Render" Tags="|after-effects|premiere|video-editor|audio|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32089" PostTypeId="2" ParentId="20849" CreationDate="2020-08-24T23:13:46.950" Score="0" Body="&lt;p&gt;I hope after 3 years you managed to solve it. But here is an option anyway.&lt;/p&gt;&#xA;&lt;p&gt;Use any decent video editor.&lt;/p&gt;&#xA;&lt;p&gt;Some editors have &amp;quot;text&amp;quot; effects, like an &amp;quot;end credits scene&amp;quot;. On Davinci Resolve (which is free) you simply add this effect and control the speed, font, color.&lt;/p&gt;&#xA;&lt;p&gt;Some other programs simply allow you to import an image file with a transparent background and move it around the frame.&lt;/p&gt;&#xA;&lt;p&gt;You can prepare this PNG file in Gimp, add the text there and import and move it on the editing program.&lt;/p&gt;&#xA;&lt;p&gt;Some programs that allow you to move elements (Keyframing) are Hit film express and OpenShot, besides Davinci Resolve.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-08-24T23:13:46.950" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32090" PostTypeId="2" ParentId="30941" CreationDate="2020-08-24T23:43:25.797" Score="1" Body="&lt;p&gt;Nice explanation of your problem.&lt;/p&gt;&#xA;&lt;p&gt;I would simply move the two softboxes higher.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/obNdY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/obNdY.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;To minimize the falloff put the lights about the center of the framing of the camera. If your camera is targeting the green fabric at 1mt (I see the camera is pointing down a bit) put the lights at 1m.&lt;/p&gt;&#xA;&lt;p&gt;Probably the softboxes have less power than the umbrellas. Try to add a stronger light on them. Just watch they do not overheat. Safety first.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;I do not know if this would help, but If you do not use the window I would put the green screen there because it seems the room is longer in that direction, which will help you have a less green spill on you, and use a longer focal length.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-08-24T23:43:25.797" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32091" PostTypeId="2" ParentId="32081" CreationDate="2020-08-25T00:06:45.323" Score="-1" Body="&lt;p&gt;A Master file export is a multipass high-resolution export. Its meant for archiving or transcoding into other formats.&lt;/p&gt;&#xA;&lt;p&gt;Also, your Zoom recording is probably in a format what is not natively compatible with FCPX and was transcoded into ProRes during import. ProRes is excellent for editing, saving space is not its purpose.&lt;/p&gt;&#xA;&lt;p&gt;Depending on where you want to publish your video you should choose different export presets, what will trade size for quality or vice versa. However, I doubt you can export in the same format than the recording from Zoom, so export size might vary significant.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-08-25T00:06:45.323" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32093" PostTypeId="2" ParentId="32084" CreationDate="2020-08-25T01:12:30.320" Score="1" Body="&lt;p&gt;For the blur, just use the pick-whip to link the properties. you might want to read up on how to &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/edit-expressions.html#link-expressions&quot; rel=&quot;nofollow noreferrer&quot;&gt;link properties with expressions&lt;/a&gt; using the pick whip.&lt;/p&gt;&#xA;&lt;p&gt;For the opacity, you'll need some javascript. what you want to do is set the opacity of L1 to &lt;strong&gt;if&lt;/strong&gt; L2 blur is 0 then 0, or &lt;strong&gt;else&lt;/strong&gt; if it's not  equal to 1 then 100%.&lt;/p&gt;&#xA;&#xA;&lt;pre&gt;&lt;code&gt;let L2 = thisComp.layer(&amp;quot;layer 2 name&amp;quot;);&#xA;//use the pick whip to get the actual property name here&#xA;let blurAmt = l2.effect(&amp;quot;Blur effect name&amp;quot;)(&amp;quot;Blurriness or whatever&amp;quot;); &#xA;//set the opacity to 0 if bluriness is 0 '===' means 'exactly equal to'&#xA;if (blurAmt === 0){&#xA;    0&#xA;} else if (blurAmt != 1) { //'!=' means 'not equal to'&#xA;    100&#xA;} else {&#xA;    ???? // you haven't specified what you want the opacity to be if L2's blur is 1&#xA;}&#xA;    &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-08-25T01:12:30.320" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32095" PostTypeId="2" ParentId="32088" CreationDate="2020-08-25T08:20:12.450" Score="1" Body="&lt;p&gt;I think you’ve probably identified the cause. I’ve found when using mobile phone footage (And video conference captures) both premiere and after effects can incorrectly identify frame rates. If all the footage is around 59.93-60fps, I would try transcoding it all to 60fps first using a codec suitable for editing (like ProRes), making sure it’s all in sync after transcode, then re inserting it into your project (save a new copy of your project first though).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-08-25T08:20:12.450" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32096" PostTypeId="1" AcceptedAnswerId="32102" CreationDate="2020-08-25T15:58:56.883" Score="1" ViewCount="351" Body="&lt;p&gt;I'm new to &lt;a href=&quot;https://obsproject.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS Studio&lt;/a&gt; and have just recorded a video.&lt;/p&gt;&#xA;&lt;p&gt;Once the recording completed, I realized that the produced video was not in full screen.&lt;/p&gt;&#xA;&lt;p&gt;There is a blank area mark with X as shown in the screenshot below.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Dz2rj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Dz2rj.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I only noticed this issue when I replayed the recorded video with VLC.&lt;/p&gt;&#xA;&lt;p&gt;How do I fix this problem?&lt;/p&gt;&#xA;&lt;p&gt;I would like to record the video in full screen, not half of the screen size.&lt;/p&gt;&#xA;" OwnerUserId="32008" LastEditorUserId="32008" LastEditDate="2020-08-26T00:48:55.807" LastActivityDate="2020-08-26T01:16:53.130" Title="How to record OBS Studio in full screen?" Tags="|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32098" PostTypeId="1" AcceptedAnswerId="32100" CreationDate="2020-08-25T18:54:30.447" Score="1" ViewCount="179" Body="&lt;p&gt;I want to make a speaker graphic 'wobble' to different frequencies..&lt;br /&gt;&#xA;Here's what I've done so far&lt;/p&gt;&#xA;&lt;p&gt;I made a speaker graphic in a comp&#xA;And I parented the scale to a null in the main comp&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3G8kr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3G8kr.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And I &lt;em&gt;isolated&lt;/em&gt; the kick drum with a combo of a band pass filter and a bass-treble.&#xA;Then I converted that audio into keyframes and pick whipped that null with that speaker's scale parented to it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/i9nVm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/i9nVm.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So here's where I'm stuck at:&lt;br /&gt;&#xA;I want to &lt;strong&gt;limit&lt;/strong&gt; the speaker's scale within some values. Like the speaker should not exceed 75.8% and 76% of scale.&lt;/p&gt;&#xA;&lt;p&gt;So what I tried so far is something like this ↓&lt;br /&gt;&#xA;temp = thisComp.layer(&amp;quot;Audio Amplitude&amp;quot;).effect(&amp;quot;Both Channels&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;[temp, temp]  +[Math.min(73.8-2), Math.min(73.8-2)] [Math.max(23), Math.max(23)]&lt;/p&gt;&#xA;" OwnerUserId="14021" LastEditorUserId="14523" LastEditDate="2020-08-27T21:12:44.253" LastActivityDate="2020-08-27T21:12:44.253" Title="Limit the scale of a pick whipped object" Tags="|after-effects|audio|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32100" PostTypeId="2" ParentId="32098" CreationDate="2020-08-25T19:30:32.003" Score="2" Body="&lt;p&gt;You need to do a linear map as an Expression.&#xA;So the example below would take any value between 0-100 and map it between -100 to 100.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;input = effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;inputLow = 0;&#xA;inputHigh = 100;&#xA;outputLow = -100;&#xA;outputHigh = 100;&#xA;&#xA;linear(input,inputLow,inputHigh,outputLow,outputHigh)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-08-25T19:30:32.003" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32101" PostTypeId="1" CreationDate="2020-08-25T22:28:08.850" Score="2" ViewCount="31" Body="&lt;p&gt;I have a  screenshare recording: this is a typical academic presentation where some speaker  talks over a sequence of several slides. The video only shows the slides (screenshare). One slide contains an image for which I don't have the license.  How can I remove this image from a screenshare recording?&lt;/p&gt;&#xA;" OwnerUserId="2117" LastActivityDate="2020-08-27T21:14:56.270" Title="How can one remove an image from a screenshare recording?" Tags="|editing|copyright|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32102" PostTypeId="2" ParentId="32096" CreationDate="2020-08-26T01:16:53.130" Score="3" Body="&lt;p&gt;Right click on the blank area &amp;gt; Resize output (source size)&lt;/p&gt;&#xA;" OwnerDisplayName="user32014" LastActivityDate="2020-08-26T01:16:53.130" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32103" PostTypeId="2" ParentId="32101" CreationDate="2020-08-26T08:13:11.773" Score="1" Body="&lt;p&gt;One way to do it is to overlay the relevant part of the presentation with another image (could be a blank image). This is called picture in picture, which is often used to overlay another video across part of a background video, but of course the same principle works for still images too.&lt;/p&gt;&#xA;&lt;p&gt;You need a video editor that offers such a feature, any professional editor can do it and probably many free editors too.&lt;/p&gt;&#xA;&lt;p&gt;Basically, you have the presentation video as one track and add the replacement image as a second track above it with the duration limited to the time segment where the problematic image is shown. This overlay track will hide the underlying image. You can resize the overlay image, so only the relevant portion of the presentation is covered.&lt;/p&gt;&#xA;&lt;p&gt;The exact steps depend on the video editor you want to use. If you don't have a video editor yet, you could try the free version of DaVinci Resolve and check out YouTube tutorials on the picture in picture topic to see how it's done with this editor.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="14523" LastEditDate="2020-08-27T21:14:56.270" LastActivityDate="2020-08-27T21:14:56.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32104" PostTypeId="2" ParentId="3782" CreationDate="2020-08-26T10:49:45.300" Score="1" Body="&lt;p&gt;Depending on the resolution you need, I would use something like an &lt;a href=&quot;https://www.elgato.com/en/gaming/game-capture-hd60-s&quot; rel=&quot;nofollow noreferrer&quot;&gt;Elgato HD 60 S&lt;/a&gt; to do this.&lt;/p&gt;&#xA;&lt;p&gt;Your second PC would then only need to be fast enough to capture the data rate generated by this box - it only captures 1080p at 60fps, at a maximum rate of 60MBps. I've been looking for something similar for a project, and this is what many people have recommended to me.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-08-26T10:49:45.300" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32106" PostTypeId="1" CreationDate="2020-08-26T14:22:49.013" Score="3" ViewCount="25" Body="&lt;p&gt;I recently purchased this stabilizer in order to shoot some video footage:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.walimex-webshop.com/en/walimex-pro-dslr-steadycam-stabypod-m-80cm.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.walimex-webshop.com/en/walimex-pro-dslr-steadycam-stabypod-m-80cm.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The stabilizer is easily balanced and I am not using all the counter weights since I shoot with a lightweight mirrorless camera. Yet after using it for a few minutes I feel a pain in my arm so I can not continue holding it steadily.&lt;/p&gt;&#xA;&lt;p&gt;I have seen many videos in YouTube which demonstrate how to hold and move with it, yet none mentions the fatigue which shortly appears.&lt;/p&gt;&#xA;&lt;p&gt;I wonder whether it is what it is or if I am doing something wrong. Maybe a gimbal would be more easy to use?&lt;/p&gt;&#xA;&lt;p&gt;Any tip or personal experience sharing would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="32019" LastActivityDate="2020-08-26T14:22:49.013" Title="Is there an easy way to hold a stabilizer?" Tags="|stabilisation|" AnswerCount="0" CommentCount="3" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32107" PostTypeId="2" ParentId="32083" CreationDate="2020-08-26T14:47:35.517" Score="1" Body="&lt;p&gt;You can save a copy of the DaVinci Resolve crash logs to your desktop by going to the Help menu and selecting &amp;quot;Create Diagnostic Logs on Desktop&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;The &lt;a href=&quot;https://forum.blackmagicdesign.com/viewtopic.php?f=21&amp;amp;t=90190&quot; rel=&quot;nofollow noreferrer&quot;&gt;DaVinci Support and Troubleshooting FAQ&lt;/a&gt; has a section on the subject with a few procedures to follow in case the app doesn't start. Search the page for &amp;quot;Logs&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;I am running Resolve on a 2020 MacBook Pro 13. It works fine for checking edits on the go but I wouldn't use it as a main editing machine.&lt;/p&gt;&#xA;" OwnerUserId="32020" LastActivityDate="2020-08-26T14:47:35.517" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32108" PostTypeId="2" ParentId="20849" CreationDate="2020-08-26T18:33:50.360" Score="0" Body="&lt;p&gt;I found how to do it with ffmpeg:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -f lavfi -i color=c=black:s=640x400 -i &amp;quot;input.mp3&amp;quot; ^&#xA;-vf [in]drawtext=fontfile=%fontFile%:fontcolor=white:x=0:y=h-t*(th/%T%)-h/2:textfile='input.txt',^&#xA;drawtext=fontfile=c\\:/windows/fonts/arial.ttf:fontsize=19:fontcolor=red:x=0:y=h-lh:text=%%{pts^\:hms} ^&#xA;-c:v libx264 -crf 20 -preset veryfast -t 21 -r 30 -hide_banner -codec:a copy output.mp4 &amp;amp;&amp;amp; start output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Note that &amp;quot;^&amp;quot; symbol is for breaking a long line in batch file.&lt;/p&gt;&#xA;&lt;p&gt;This takes input.mp3 audio and raw text from input.txt and generates a video file with titles scrolling from bottom up.&lt;/p&gt;&#xA;&lt;p&gt;Unfortunately, I can't provide any explanation for the ffmpeg switches as I simply Googled for it a long time ago.&lt;/p&gt;&#xA;" OwnerUserId="18281" LastActivityDate="2020-08-26T18:33:50.360" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32110" PostTypeId="2" ParentId="13322" CreationDate="2020-08-27T13:39:50.023" Score="-1" Body="&lt;p&gt;Now when we have VRR (G-sync and Freesync) it is not such a problem (works in mpv natively), but yes, there are standard frame rates used by DCI (Digital Cinema Initiatives), it is 24000/1001, 24.000, 60000/1001, 60.000, 50 interlaced PAL, 30000/1001, 30.000, 120.000 and 120000/1001. That is all. Now, of course you should preserve the original frame rate. But are you sure it actually what you think it is?&lt;/p&gt;&#xA;" OwnerUserId="26140" LastEditorUserId="26140" LastEditDate="2020-10-01T21:21:56.843" LastActivityDate="2020-10-01T21:21:56.843" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32111" PostTypeId="1" CreationDate="2020-08-27T15:26:55.487" Score="0" ViewCount="42" Body="&lt;p&gt;Sorry if I'm using the wrong terminology or anything, I've never done anything like this before.&lt;/p&gt;&#xA;&lt;p&gt;I'd like to try my hand at making a short 2-3 min film in CG. What I'm kinda envisioning is something like the clone wars series on disney+, but I think that's probably a bit advanced. I checked around the site a it, and found these two(&lt;a href=&quot;https://video.stackexchange.com/questions/30935/software-choosing-advice-for-a-beginner&quot;&gt;1&lt;/a&gt; &lt;a href=&quot;https://video.stackexchange.com/questions/17876/storyboarding-for-beginners&quot;&gt;2&lt;/a&gt;) questions that were kinda helpful for transitions and storyboarding, but I still don't really know where I should be making the actual video. &lt;a href=&quot;https://video.stackexchange.com/questions/30191/tool-to-make-a-short-youtube-video&quot;&gt;This question&lt;/a&gt; had some suggestions, but I'm still just a beginner and don't really know what I'm doing. Are these good suggestions, or do I need something else?&lt;/p&gt;&#xA;&lt;p&gt;Since I've never done anything like this before and will probably be bad at it, I'm preferably looking for a free software, or a short subscription or cheap app. That way if I suck, its not that big of a loss. Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="32032" LastEditorUserId="32032" LastEditDate="2020-08-27T16:15:29.790" LastActivityDate="2020-08-28T02:53:35.420" Title="Beginner looking to try a short CG film, any suggestions for software?" Tags="|software-recommendation|short|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32112" PostTypeId="2" ParentId="32111" CreationDate="2020-08-28T02:53:35.420" Score="1" Body="&lt;p&gt;Months ago, I'd done some researches on this topic; even i had CG background, i don't have much time on modeling. My suggestion for you is to do &lt;a href=&quot;https://www.youtube.com/watch?v=Or1HtAG9M-s&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to Create 2D Animations - Beginner Blender Tutorial&lt;/a&gt; firstly, then &lt;a href=&quot;https://conceptartempire.com/blender-animation-tutorials/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://conceptartempire.com/blender-animation-tutorials/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-08-28T02:53:35.420" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32115" PostTypeId="1" CreationDate="2020-08-28T13:42:00.670" Score="0" ViewCount="1486" Body="&lt;p&gt;I am using Magix Movie Edit Pro for about 10 years because it has one feature that I use all the time: Being able to import Photoshop files (PSD) with transparent channels into the video and overlaying the video clip.&lt;/p&gt;&#xA;&lt;p&gt;However, all versions of the software were buggy (video format could not be read anymore by an update, software often crashed while doing simple video cuts, even the 2020 version crashes when simply opening the MVP project file).&lt;/p&gt;&#xA;&lt;p&gt;To get rid of this annoying and time-extensive instability, I would love to use an alternative video editing software.&lt;/p&gt;&#xA;&lt;p&gt;I have seen that Adobe Premiere and After Effects have the feature of importing PSD files, but I have never worked with the programs because they looks complicated and seem pricy.&lt;/p&gt;&#xA;&lt;p&gt;The video editing software should be simple to use. I don't need any effects. Just fade-in and fade-out, and PSD files with transparency. Multiple tracks and separate audio track.&lt;/p&gt;&#xA;&lt;p&gt;Operating system: Windows 10.&lt;/p&gt;&#xA;&lt;p&gt;Thanks for any tips.&lt;/p&gt;&#xA;&lt;br&gt;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt; I have tried myself the following video editors, here are the results:&lt;/p&gt;&#xA;&lt;p&gt;Cannot import PSD files:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;DaVinci Resolve&lt;/li&gt;&#xA;&lt;li&gt;HitFilm Express (&amp;quot;File not supported&amp;quot;)&lt;/li&gt;&#xA;&lt;li&gt;Lightworks&lt;/li&gt;&#xA;&lt;li&gt;Olive&lt;/li&gt;&#xA;&lt;li&gt;Power Director&lt;/li&gt;&#xA;&lt;li&gt;Shotcut&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Can import PSD files (but not handle them):&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Blender (shows up in the tracks but not showing up as overlay)&lt;/li&gt;&#xA;&lt;li&gt;KdenLive (shows up in the tracks but not showing up as overlay)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Can import and display PSD files:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Adobe After Effects&lt;/li&gt;&#xA;&lt;li&gt;Adobe Premiere Pro&lt;/li&gt;&#xA;&lt;li&gt;FilmoraPro&lt;/li&gt;&#xA;&lt;li&gt;Magix Movie Edit Pro&lt;/li&gt;&#xA;&lt;li&gt;Sony Vegas Pro (is Magix company)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="32046" LastEditorUserId="32046" LastEditDate="2021-03-20T18:48:07.630" LastActivityDate="2021-03-20T18:48:07.630" Title="Video Editor that can import Photoshop PSD files and overlay them on video with transparent channel?" Tags="|software|windows|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32116" PostTypeId="2" ParentId="15841" CreationDate="2020-08-28T16:11:43.560" Score="-1" Body="&lt;p&gt;I have downloaded and installed Affinity for a one time price.  Affinity runs only on a Mac, will directly import layered AI and PDF files.  Then you can render out PNG and JPGs in any resolution you require for your project.  It is quick and convenient once you get past the learning curve.  Good luck.&lt;/p&gt;&#xA;" OwnerUserId="32048" LastActivityDate="2020-08-28T16:11:43.560" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32118" PostTypeId="2" ParentId="16767" CreationDate="2020-08-28T23:18:54.313" Score="0" Body="&lt;p&gt;I think this is happening because you do not have enough material in one of your two clips to make a crossfade between your two clips.  Try overlapping the clips further, then applying a crossfade, and see if this fixes it, or make the duration of your crossfade shorter.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-08-28T23:18:54.313" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32119" PostTypeId="1" AcceptedAnswerId="32202" CreationDate="2020-08-29T12:10:04.923" Score="2" ViewCount="1621" Body="&lt;p&gt;I've made a couple compound clips in my Davinci resolve project. Right now, I need to open that project, manually copy required clips and paste them in a new project. Is there any way to create a catalogue or export these clips, so I could reuse them in new projects?&#xA;At the moment I could recreate these clips as simple PNG with transparency, but in the future I'm planning to reuse animated clips.&lt;/p&gt;&#xA;" OwnerUserId="22323" LastActivityDate="2020-09-09T21:20:43.997" Title="Managing compound clips in Davinci Resolve 16" Tags="|video-editor|editing|file-formats|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32120" PostTypeId="1" CreationDate="2020-08-29T13:24:26.820" Score="1" ViewCount="403" Body="&lt;p&gt;I am building a small tool to take the short videos I record from different devices (e.g. iPhone, camcorder, etc), and concatenate them together chronologically. Everything is working up to the point of resizing/padding the videos before concatenation. My solution right now is to just take the max width and max height and then center and pad all the videos accordingly. This doesn't look great though.&lt;/p&gt;&#xA;&lt;p&gt;For example, I have a 1280x720 stream from my camcorder and a 1920x1080 vertical (i.e. rotated) video from my iPhone. My current solution leads to a lot of padding and a square image.&lt;/p&gt;&#xA;&lt;p&gt;When I use Shotcut the output looks quite visually appealing: the camcorder video is full screen, and the iPhone video is rotated and then padded. However, it seems as though it must scale the 1280x720 stream to 1920x1080 as the final mp4 file is 1920x1080. I'm not sure I want scaling as the default behavior though. For example, if I had a 4k video and a 1280x720, I imagine the scaling would look terrible.&lt;/p&gt;&#xA;&lt;p&gt;I know that I can always add selectors to choose what resolution I want, but I found that the production software I looked at (Shotcut, Premiere, etc.) seem to abstract these decisions away.&lt;/p&gt;&#xA;&lt;p&gt;Is there a optimal way to make this decision? What the standard way of handling these differing resolutions when combining videos in software like Shotcut or Premiere?&lt;/p&gt;&#xA;" OwnerUserId="32053" LastActivityDate="2020-08-29T14:40:02.210" Title="Standard way for handling different resolutions when concatenating videos" Tags="|video|video-editor|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32121" PostTypeId="2" ParentId="32120" CreationDate="2020-08-29T14:40:02.210" Score="1" Body="&lt;p&gt;I have written various approaches how to fix this below and you can automated the ones from the first two blocks with a clever rule set. But the content-dependent options should be done manually. So if you want to use this, maybe you find a way to tag those videos first by hand, for example by using metedata and your tool can then read the metadata and apply the correct solution. Anyway, there is no real standard way and it's not really common for professional productions to deal with clips in different frame sizes. If so, it is well planned and those scenes are usually filmed in a way that parts of the frame can easily be cropped away afterwards.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Videos with the same aspect ratio&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can downscale to the lowest common resolution if all the videos share the same aspect ratio. As you correctly assume, upscaling would not always look good. Downscaling will not be noticable to the general viewer.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Videos with different aspect ratio&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;If the videos don't have the same aspect ratio you have to add black bars horizontally or vertically. My recommendation is to use only black bars for 2 different frame sizes, not more. This means some videos will be full screen and all the rest will have the same sized bars. Either keep all bars horizontally or vertically. Anything else might confuse the audience too much. In case you have 3 or more different frame sizes, I recommend to manually crop them before starting your automated solution.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Options depending on content&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;If it works for your story, you can render mutliple source clips in the same frame, for example take 4 lower resolution clips, put each into a different quarter of the frame, maybe with seperating bars in between. It then resembles like a wall of screens. Generally this works well if you want to show things happening in parallel. One example is filming various instrument players individually while they perform a musical piece. This is also a good solution, when you have vertical videos shot with a smartphone: you could combine 2 or 3 in the same frame, just put them next to each other.&lt;/p&gt;&#xA;&lt;p&gt;Another option is picture in picture, which is often used for all kinds of presentations, where you have either slides or a shot of the main stage filling the screen and a smaller overlay with the video of the speaker(s) near one of the corners.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-08-29T14:40:02.210" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32122" PostTypeId="1" CreationDate="2020-08-29T15:58:28.717" Score="1" ViewCount="14" Body="&lt;p&gt;I am building a production studio, and in the plans have a track that curves around a bend. I have 2 SDI lines that are attached to it, and power that goes to the camera. I want a way for the cables to stay neat and out of the way. If the track was straight, I would use something like a nylon drag chain, but since it is curved, I am posting this.&lt;/p&gt;&#xA;&lt;p&gt;Any thoughts? There is always the option of putting it into some TechFlex and let it drag around, but that is less than ideal.&lt;/p&gt;&#xA;&lt;p&gt;Any thoughts, suggestions and recommendations would be appreciated. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="27493" LastActivityDate="2020-08-29T15:58:28.717" Title="Moving Camera Cable Management" Tags="|live-recording|cable|broadcast|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32126" PostTypeId="1" CreationDate="2020-08-30T16:40:03.720" Score="1" ViewCount="351" Body="&lt;p&gt;I'm a newbie with After Effects expressions, I need help with link few keyframes to different sliders on Null.&#xA;I found this expression and its work with 2 keypoints.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;if (numKeys &amp;gt; 1){&#xA;  t1 = key(1).time;&#xA;  t2 = key(2).time;&#xA;  v1 = 0;&#xA;  v2 = effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;  linear(time,t1,t2,v1,v2);&#xA;}else value&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But how to link keyframe to slide if there a more then 2 keyframes.&lt;/p&gt;&#xA;&lt;p&gt;thank you&lt;/p&gt;&#xA;" OwnerUserId="32068" LastEditorUserId="14523" LastEditDate="2020-08-30T16:55:02.013" LastActivityDate="2021-07-31T21:38:49.797" Title="How to link multiple keys to different sliders in After Effects" Tags="|after-effects|after-effects-expressions|keyframes|after-effects-scripting|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32127" PostTypeId="1" CreationDate="2020-08-30T18:30:02.577" Score="1" ViewCount="78" Body="&lt;p&gt;I'm making a timelapse which slows down for portions of the video which contain content of interest.&lt;/p&gt;&#xA;&lt;p&gt;I have an input video file; for each frame, I would like that frame to appear 0 or more times in the output. (I'd also like to be able to take several frames in a row and average them together to make one frame, but if that is not feasible I would consider just skipping frames instead.) For example, perhaps I want frame 1 to not appear in the output, frame 2 to appear four times, and frames 3 through 5 to be averaged into a single frame. (I've already completed a separate pre-processing step that determines what I want for each frame.) The typical input file is about 40k frames.&lt;/p&gt;&#xA;&lt;p&gt;What is an efficient way to accomplish this goal? Currently I am using the imageio python library, but that introduces a lot of overhead, and the averaging together of frames is by itself taking more than half of the computation time. (I can cut that a little by being more careful with memory allocation, but I expect that to be a marginal improvement.)&lt;/p&gt;&#xA;&lt;p&gt;I'm unfamiliar with what alternatives to imageio suitable for this task there are. Perhaps this can be accomplished with ffmpeg directly? The &amp;quot;setpts&amp;quot; and &amp;quot;minterpolate&amp;quot; filters seem relevant but I don't understand how/if they can be used for my purpose. &lt;a href=&quot;https://trac.ffmpeg.org/wiki/How%20to%20speed%20up%20/%20slow%20down%20a%20video&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/How%20to%20speed%20up%20/%20slow%20down%20a%20video&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="32069" LastActivityDate="2021-04-22T21:42:43.920" Title="Variable-rate timelapse" Tags="|ffmpeg|time-lapse|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32128" PostTypeId="1" AcceptedAnswerId="32129" CreationDate="2020-08-31T05:35:06.870" Score="2" ViewCount="561" Body="&lt;p&gt;I want to stretch the right hand 50% of the video only.  So that the left 50% of the video looks normal and the right 50% looks bizzarrely stretched.   Think of someones face smiling and laughing, where the&lt;/p&gt;&#xA;" OwnerUserId="32074" LastActivityDate="2020-08-31T06:44:01.647" Title="Is there a way to stretch only a portion of the video?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32129" PostTypeId="2" ParentId="32128" CreationDate="2020-08-31T06:44:01.647" Score="1" Body="&lt;p&gt;Yes, you need to work with two video tracks, use the crop and scale effect.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create a sequence from your clip.&lt;/li&gt;&#xA;&lt;li&gt;Apply the crop effect and set it to left: 50%&lt;/li&gt;&#xA;&lt;li&gt;Locate the scale settings under the always present motion effect&lt;/li&gt;&#xA;&lt;li&gt;Disable uniform scaling and set scale width to whatever you like&lt;/li&gt;&#xA;&lt;li&gt;Add the clip again as a new track on top&lt;/li&gt;&#xA;&lt;li&gt;Apply the crop effect on this track too and set it to right: 50%&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;And that's it.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-08-31T06:44:01.647" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32131" PostTypeId="1" AcceptedAnswerId="32136" CreationDate="2020-08-31T10:34:24.780" Score="1" ViewCount="73" Body="&lt;p&gt;I would like to know if such application can be made with this type of devices and what would I require to actually read the signal on my computer?&lt;/p&gt;&#xA;&lt;p&gt;here is a small figure I made&#xA;&lt;a href=&quot;https://i.stack.imgur.com/R0IHs.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/R0IHs.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;i plan on putting DSLRs and cine cam like this&lt;/p&gt;&#xA;&lt;p&gt;I know that 6D MII have network capabilities but they use wireless communication which is not really stable. The 6D mII Has a mini hdmi port.&lt;/p&gt;&#xA;&lt;p&gt;I would like to mount on network multiple cameras to make concert recording, studio session recording, game live streaming etc.&lt;/p&gt;&#xA;&lt;p&gt;I could not find any answers on that topic since every searches return to amazon and eBay.&lt;/p&gt;&#xA;&lt;p&gt;I'll be highly thankful for any help,&lt;/p&gt;&#xA;&lt;p&gt;best regards;&lt;/p&gt;&#xA;&lt;p&gt;the Link of the device I plan on using:&#xA;&lt;a href=&quot;https://www.amazon.fr/Mirabox-Extendeur-Ethernet-Switch-extension/dp/B06WD82BPG/ref=sr_1_8?dchild=1&amp;amp;keywords=Adaptateur+Rj45+Hdmi&amp;amp;qid=1598867556&amp;amp;s=computers&amp;amp;sr=1-8&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.amazon.fr/Mirabox-Extendeur-Ethernet-Switch-extension/dp/B06WD82BPG/ref=sr_1_8?dchild=1&amp;amp;keywords=Adaptateur+Rj45+Hdmi&amp;amp;qid=1598867556&amp;amp;s=computers&amp;amp;sr=1-8&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30389" LastEditorUserId="30389" LastEditDate="2020-08-31T10:39:41.403" LastActivityDate="2020-08-31T14:07:41.423" Title="Getting hdmi signal of a camera to TCP/IP network and read on computer" Tags="|canon|multi-camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32132" PostTypeId="1" CreationDate="2020-08-31T11:19:20.967" Score="0" ViewCount="324" Body="&lt;p&gt;I have a Video #1, it has audio. Also I have a Video #2, with audio too. I would like to concat the #1 and #2 (or play #1 first, and then #2) and then add a watermark in #1 for the rest of the video, preserving audio timestamps.&lt;/p&gt;&#xA;&lt;p&gt;I used this command but the watermark appears on the #2 video?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i Video1.mp4 -i Video2.mp4 -i watermark.png&#xA;   -filter_complex&#xA;       &amp;quot;[1][2]overlay=5:5[v2];&#xA;        [0][0:a][v2][1:a]concat=n=2:v=1:a=1&amp;quot;&#xA;   -c:v libx264 -crf 21 -c:a aac -b:a 384k -ar 48000 -movflags  faststart Out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32077" LastEditorUserId="17390" LastEditDate="2020-09-02T09:28:11.423" LastActivityDate="2021-09-30T12:07:20.730" Title="Concat 2 video and add watermark first video ffmpeg" Tags="|video|ffmpeg|linux|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32133" PostTypeId="1" CreationDate="2020-08-31T12:13:46.440" Score="0" ViewCount="78" Body="&lt;p&gt;&lt;strong&gt;Easy way to create AudioGrams, ideally with waveform &amp;amp; Subtitles / Closed Captions with progressing marker on them? Free to Start with?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Easy way to take my writings; quotes, poems or short insights into video with Narrated voice over,&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Ideally with waveform &amp;amp;&lt;/li&gt;&#xA;&lt;li&gt;A karaoke style or jumping/ progressing cursor/ marker on the text - Subtitle/ Captions?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;Keeping some chosen static background image or the writing as an image.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Basically, give my writings a little bit of voice, diction, feel, vibe.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Thoughts/ suggestions on simpler easy mobile apps that can be used to this?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Or a&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;SIMPLER - REPEATABLE way to use a Video Editor for this PURPOSE? without having to master A VIDEO EDITOR?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="12311" LastActivityDate="2024-01-13T19:02:35.320" Title="Easy way to create AudioGrams, ideally with waveform &amp; Subtitles / Closed Captions with progressing marker on them? Free to start with?" Tags="|audio|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32134" PostTypeId="2" ParentId="32133" CreationDate="2020-08-31T12:26:50.050" Score="0" Body="&lt;p&gt;Setting up an automated pipeline for this would take days for a trained person, weeks for someone who doesn't work in the industry. I would recommend you use After-Effects for those motion-graphics. Trapcode sound-keys has very good possibilities for audio-spectrums and wave-forms. Animating the text and highlighting it, karaoke-style would be quite easy. However, both After-Effects and Trapcode (by Red Giant) come with a cost.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-08-31T12:26:50.050" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32135" PostTypeId="1" CreationDate="2020-08-31T12:58:24.623" Score="2" ViewCount="1691" Body="&lt;p&gt;My final video output is 1080:1920 (9:16 aspect ratio), after padding.&lt;/p&gt;&#xA;&lt;p&gt;In .ass file, I set&#xA;PlayResX: 1080&#xA;PlayResY: 1920&#xA;and then the font-size=130. But, this font-size doesnt occupy exact 130 pixels on screen, when I render the video using ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;If my video (in react js UI) width=108px; height=192px; then font-size = 13px (=130*(192/1920)) appear much larger than what 130px looks in 1080px:1920px (in proportion). However, if I multiple 13px by 2/3, I get almost the correct size.&lt;/p&gt;&#xA;&lt;p&gt;What is a more robust method of setting font-sizes in .ass (with ffmpeg)?&lt;/p&gt;&#xA;" OwnerUserId="32078" LastActivityDate="2024-01-16T20:05:05.577" Title="Correct method to set font-size in .ASS file" Tags="|ffmpeg|video-editor|subtitles|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32136" PostTypeId="2" ParentId="32131" CreationDate="2020-08-31T14:07:41.423" Score="1" Body="&lt;p&gt;I think that the best way to go is to use a mixer like the BlackMagic ATEM-series. I am working in a film-studio and have worked mainly with the ATEM Television Studio HD Mixer, which has all the capabilities you would want.&lt;/p&gt;&#xA;&lt;p&gt;Mixers like these have SDI/BNC and HDMI inputs and are capable of mixing and converting each signal, using lower-thirds, live-keying (if you want to use a webcam with greenscreen) and much more. Yes, they are expensive, but if you're serious about this I would highly recommend it. You will have a better signal than through Wifi streaming or wireless transmissions...&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-08-31T14:07:41.423" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="32137" PostTypeId="2" ParentId="26389" CreationDate="2020-08-31T14:18:20.840" Score="0" Body="&lt;p&gt;You need to rotoscope the hand. Go to the Mask-tab and create a new, detailed mask using the pen-tool (the icon looks just like a pen). You can then use keyframes on the timeline at the bottom to animate the mask, so it sticks to the hand perfectly. You can search for &amp;quot;Resolve Rotoscoping Tutorial&amp;quot; if you want more detailed steps with visuals. Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-08-31T14:18:20.840" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32138" PostTypeId="1" AcceptedAnswerId="32140" CreationDate="2020-08-31T15:37:40.970" Score="0" ViewCount="96" Body="&lt;p&gt;Is there something like the Atomos Ninja V, but with &lt;strong&gt;two&lt;/strong&gt; HDMI inputs and producing MP4 or MKV files with &lt;strong&gt;two&lt;/strong&gt; video tracks? A combination of multiple devices (mixer, recorder) would also be fine.&lt;/p&gt;&#xA;" OwnerUserId="32080" LastEditorUserId="32080" LastEditDate="2020-08-31T21:15:43.467" LastActivityDate="2020-09-01T01:27:48.877" Title="Recorder for 2 HDMI Signals into MP4/MKV with 2 Video Tracks" Tags="|video-recording|hdmi|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32140" PostTypeId="2" ParentId="32138" CreationDate="2020-09-01T01:27:48.877" Score="0" Body="&lt;p&gt;FFMPEG takes 2 -i input options (can a capture device) and uses -map to select the input streams then uses -program to define program name and -st to define output streams to a output file. i.e.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;!ffmpeg -y -i https://mkvtoolnix.download/samples/vsshort-vorbis-subs.mkv \&#xA;-i https://github.com/Matroska-Org/matroska-test-files/raw/master/test_files/test5.mkv \&#xA;-map 0:0 -map 0:1 -map 0:2 -map 0:3 \&#xA;-map 1:0 -map 1:1 -map 1:2 -map 1:3 -map 1:4 -map 1:5 -map 1:6 -map 1:7 -map 1:8 \&#xA;-program title=vsshort-vorbis-subs:st=0:st=1:st=2:st=3 \&#xA;-program title=test5:st=4:st=5:st=6:st=7:st=8:st=9:st=10st=11:st=12 \&#xA; -c:s copy mpts.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-09-01T01:27:48.877" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32141" PostTypeId="1" CreationDate="2020-09-01T01:53:55.580" Score="2" ViewCount="29" Body="&lt;p&gt;I'm trying to follow along a Premiere tutorial on creating a Tilt Shift Effect. In it, I would create a color matte with a mask as the below: &lt;a href=&quot;https://i.stack.imgur.com/OpjEd.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OpjEd.jpg&quot; alt=&quot;color matte with a mask&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Then I would use the &amp;quot;Compound Blur&amp;quot; effect to my footage, which is sitting on layer V3. In the &amp;quot;Effect Controls&amp;quot; of the Compound Blur, I would select &amp;quot;Video 2&amp;quot; for the Blur Layer option. On layer V2, the color matte that I had created earlier needs to be nested for the Tilt Shift Effect to show properly. If I didn't nest it, then my footage would be completely blurred (see the comparison below). So my question is, what does exactly nesting the color matte do, in relation to the footage in the layer above it?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CyyJ7.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CyyJ7.jpg&quot; alt=&quot;un-nested color matte's result&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/533i4.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/533i4.jpg&quot; alt=&quot;nested color matte's result&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32087" LastActivityDate="2020-09-01T18:17:44.583" Title="What does exactly nesting a clip in one layer do in relation to another clip in a different layer?" Tags="|premiere|editing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32142" PostTypeId="1" AcceptedAnswerId="32143" CreationDate="2020-09-01T03:06:40.547" Score="2" ViewCount="34" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/h246z.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/h246z.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I hope this makes sense...&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;What you see in the clip is a womans arm, and then her grey patterned shirt.&lt;/li&gt;&#xA;&lt;li&gt;The video clip is constantly panning up towards the woman's head&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I had to move the clip to the left side a little to create room for text that will go on top of her grey shirt, which left a blank area to the right side.   I just filled in the blank area with solid blue so you could see the area I'm talking about&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;But this looks hideous, can anyone think of a good solution to this?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;At first I thought I would stretch the shirt to fill the area by cropping it down to just the shirt and then stretching the cropped portion to cover the blue area.  But this looks equally as bad because the pattern of that shirt looks very stretched and unnatural.  It looks much worse in motion, which I'll show you below&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wcAkc.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wcAkc.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Coming from my photoshop background, what I would do on a still image is I would simply clone stamp some of the shirt to cover the blue area with portions of this shirt, but I dont know if thats possible with all the video motion, or is it possible?&lt;/p&gt;&#xA;&lt;p&gt;I'm desperate and open to any ideas any genius out there has!&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="32074" LastActivityDate="2020-09-10T13:06:56.637" Title="Had to move a clip partially out of frame, how to deal with the new empty space?" Tags="|premiere|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32143" PostTypeId="2" ParentId="32142" CreationDate="2020-09-01T09:05:51.590" Score="3" Body="&lt;p&gt;It is possible to take a similar approach like you would in photoshop. I recommend using After-Effects, as premiere doesn't really have the abilities to do so effectively. In After-Effects, you can try out the &amp;quot;content aware fill&amp;quot; that was introduced in 2020, I believe.&lt;/p&gt;&#xA;&lt;p&gt;However, content awareness only works in some cases, and when trying to seamlessly continue the motion and behaviour of cloth, this could get tricky. So let me propose two more options, one simple and one that requires some more work.&lt;/p&gt;&#xA;&lt;p&gt;First off, you could just use a gradient from blue to alpha, and let the solid blue fade out over the shirt, with the solid's area of 100% opacity just touching the right side of your clip, in order to conceal the edge.&lt;/p&gt;&#xA;&lt;p&gt;The other method is tricky, and I frankly never tried this myself. You could actually go out of your way and try to simulate cloth using a projected texture from your footage in a 3D-software such as Houdini, Cinema4D, Modo, Blender or something similar with the ability to simulate cloth. In order to match the motion, you could try a cloud-tracker, such as Mocha or the integrated tracker from Resolve and try to apply the vertices of the left side of your simulation to the most right vertices of your cloud-tracking-points. This could work, but I am not 100% confident that it will.&lt;/p&gt;&#xA;&lt;p&gt;Anyways, I hope this helped you out a bit, have a good one :)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-09-01T09:05:51.590" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32144" PostTypeId="1" CreationDate="2020-09-01T09:55:20.587" Score="2" ViewCount="390" Body="&lt;p&gt;I have 2 video files with the same content, but coming from a different source. They have a slight difference in 'cut' and language dubbing, meaning one can be missing a shot compared to the other.&lt;/p&gt;&#xA;&lt;p&gt;I have a other language dubbed that is correctly timed for one file (call it A), and because of the different cut, a bit off for the other (call it B).&lt;/p&gt;&#xA;&lt;p&gt;The thing is that “A” also has low quality, while “B” is of better quality, and original language dubbed.&lt;/p&gt;&#xA;&lt;p&gt;I basically need to fix the timing of the dubbed to match B.&lt;/p&gt;&#xA;&lt;p&gt;In order to do so, i need to locate the missing/additional shots between the 2 videos, so i know where to cut it..&lt;/p&gt;&#xA;&lt;p&gt;This is realistic if i have only one pair of files, however i have 20 pair of files !&#xA;I would like to automate this search, and basically compare the 2 files at different points in time, and find where they diverge.&lt;/p&gt;&#xA;&lt;p&gt;How can I do this?&lt;/p&gt;&#xA;&lt;p&gt;Since file A has other dubbed language, the comparison method should be exact enough to detect content difference..&lt;/p&gt;&#xA;" OwnerUserId="32091" LastEditorUserId="32091" LastEditDate="2020-09-05T03:24:48.570" LastActivityDate="2024-01-18T18:02:15.250" Title="compare two video then cut the different" Tags="|video-editor|editing|encoding|video-quality|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="32145" PostTypeId="2" ParentId="32141" CreationDate="2020-09-01T18:17:44.583" Score="2" Body="&lt;p&gt;Without seeing the tutorial, it's difficult to say exactly, but I think what is happening is that the colour matte nest that you've created, is being used to control the blur on your other layer, probably by being set to being used as an &amp;quot;alpha matte&amp;quot;.  If your colour matte layer wasn't nested, I think Premiere wouldn't be able to see the alpha changes on that layer, due to the order in which processes are rendered in its pipeline.&lt;/p&gt;&#xA;&lt;p&gt;Effectively, by nesting the matte clip, the compound blur &amp;quot;sees&amp;quot; the effect and the matte as a single piece of video to process. Without it, it would only &amp;quot;see&amp;quot; a solid colour block.&lt;/p&gt;&#xA;&lt;p&gt;Un-nested version (mona is fully blurred)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/FWNuj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FWNuj.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Nested version - only blurred in the middle&#xA;&lt;a href=&quot;https://i.stack.imgur.com/xtvV1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xtvV1.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Matte layer:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/PiF9t.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PiF9t.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-09-01T18:17:44.583" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32146" PostTypeId="2" ParentId="32142" CreationDate="2020-09-01T18:25:52.137" Score="3" Body="&lt;p&gt;You could try using the Repetile effect in After Effects.&#xA;This extends and repeats a layer based on certain rules - in this case I'd try unfolding or flipping it, so you see a mirror of what was on the other side.  Maybe do a gradual blur around the whole frame too, so it is less noticeable.&lt;/p&gt;&#xA;&lt;p&gt;Florian's answers are likely to give better results but take more time I think.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-09-01T18:25:52.137" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32148" PostTypeId="2" ParentId="29337" CreationDate="2020-09-02T10:25:21.427" Score="15" Body="&lt;p&gt;I realise this question is pretty old now but it still comes up quite high in search results so I would like to document how I got the &amp;quot;sr&amp;quot; to work (August 2020) in case it can help someone else. Before proceeding it is worth saying that I was not overly impressed by the result. I felt on my test videos that lanczos did an ever so slightly better job. Bear in mind that my test was upscaling from 640x360 flv file to 1920x1080 mp4. I have not tested many other videos and I also have quite a lot to learn about SR like if I feed it different training material will I get a better result.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;What you will need&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A CUDA enabled GPU with a capability of at least 6.0. I worked all&#xA;the way through this once with a GeForce GT710 (capability of 3.5)&#xA;only to get to the final ffmpeg upscaling for it to tell me I needed&#xA;a capability of 6.0. It did proceed to use the CPU but was very slow.&#xA;I then went through it again with a GeForce GTX 1050TI 4GB card and&#xA;saw a noticable performance gain.&lt;/li&gt;&#xA;&lt;li&gt;At least 70GB free disk space. The training scripts download about 42GB worth of videos and 9GB worth of images. The rest is used up generating the model.&lt;/li&gt;&#xA;&lt;li&gt;Patience. Generating the datasets took a good few hours and training just one model took nearly the whole day.&lt;/li&gt;&#xA;&lt;li&gt;I had a couple of spare computers (one server and one pc) so I was able to build this from scratch and let it run. First I tried it on Ubuntu Server 20.04 and 18.04. Final run through with the new GPU was on Xubuntu 20.04. The only reason I went with Xubuntu in the end was because I was also investigating a new USB capture device for VHS but the instructions below will work with Server.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;Setup&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;THIS GUIDE IS OFFERED AS IS WITH NO GUARANTEES IT WILL WORK FOR YOU. PLEASE TAKE CARE AND ONLY FOLLOW IF YOU KNOW WHAT YOU ARE DOING.&lt;/p&gt;&#xA;&lt;p&gt;My starting point is a fresh install of Xubuntu 20.04. I have a GeForce GTX 1050TI GPU that is not my main GPU and there is no monitor connected to it. I do not think it should matter though if it is your main GPU or if there is a monitor connected.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;FROM &lt;a href=&quot;https://www.tensorflow.org/install/gpu&quot; rel=&quot;noreferrer&quot;&gt;https://www.tensorflow.org/install/gpu&lt;/a&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;Add NVIDIA package repositories&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;wget https://developer.download.nvidia.com/compute/cuda/repos/ubuntu1804/x86_64/cuda-repo-ubuntu1804_10.1.243-1_amd64.deb&#xA;sudo apt-key adv --fetch-keys https://developer.download.nvidia.com/compute/cuda/repos/ubuntu1804/x86_64/7fa2af80.pub&#xA;sudo dpkg -i cuda-repo-ubuntu1804_10.1.243-1_amd64.deb&#xA;sudo apt-get update&#xA;wget http://developer.download.nvidia.com/compute/machine-learning/repos/ubuntu1804/x86_64/nvidia-machine-learning-repo-ubuntu1804_1.0.0-1_amd64.deb&#xA;sudo apt install ./nvidia-machine-learning-repo-ubuntu1804_1.0.0-1_amd64.deb&#xA;sudo apt-get update&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Install NVIDIA driver&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sudo apt-get install --no-install-recommends nvidia-driver-450&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;REBOOT, then check that GPUs are visible using the command: &lt;code&gt;nvidia-smi&lt;/code&gt;. Do not proceed if you do not see a table output. If you have a message saying there is no device then you need to troubleshoot this stage. For example in my first build the BIOS was set to use the onboard graphics card first and changing it to use the offboard card got it working. I didn't have this problem in the last build on a different PC.&lt;/p&gt;&#xA;&lt;p&gt;Install development and runtime libraries (~4GB). Here we are installing both CUDA 10.0, 10.1. The training scripts and filter are a couple of years old now and we therefore need to accommodate them.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sudo apt-get install --no-install-recommends \&#xA;    cuda-10-0 \&#xA;    libcudnn7=7.6.5.32-1+cuda10.0  \&#xA;    libcudnn7-dev=7.6.5.32-1+cuda10.0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Install TensorRT. Requires that libcudnn7 is installed above.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sudo apt-get install --no-install-recommends libnvinfer6=6.0.1-1+cuda10.0 \&#xA;    libnvinfer-dev=6.0.1-1+cuda10.0 \&#xA;    libnvinfer-plugin6=6.0.1-1+cuda10.0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And now the 10.1 versions&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sudo apt-get install --no-install-recommends \&#xA;    cuda-10-1 \&#xA;    libcudnn7=7.6.5.32-1+cuda10.1  \&#xA;    libcudnn7-dev=7.6.5.32-1+cuda10.1&#xA;&#xA;sudo apt-get install --no-install-recommends libnvinfer6=6.0.1-1+cuda10.1 \&#xA;    libnvinfer-dev=6.0.1-1+cuda10.1 \&#xA;    libnvinfer-plugin6=6.0.1-1+cuda10.1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;em&gt;FROM &lt;a href=&quot;https://www.tensorflow.org/install/pip#system-install&quot; rel=&quot;noreferrer&quot;&gt;https://www.tensorflow.org/install/pip#system-install&lt;/a&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;The guide above suggests to install venv here but this was not a concern for me so I left it out. If you are familiar with Python then go ahead and use venv.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sudo apt install python3-dev python3-pip&#xA;sudo pip3 install --upgrade tensorflow&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Add some libraries temporarily to LD_LIBRARY_PATH. We will make this permanent a little later.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;export LD_LIBRARY_PATH=$LD_LIBRARY_PATH:/usr/local/lib:/usr/local/cuda-10.0/lib64:/usr/local/cuda-10.1/lib64:/usr/local/cuda-10.2/lib64:/usr/local/cuda/extras/CUPTI/lib64&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You will notice I am adding cuda 10.2 here as well but we did not install it. For some reason one of the library files (libcublas) when installing 10.1 is taken from 10.2.&lt;/p&gt;&#xA;&lt;p&gt;We can verify with the below (check for errors). There is a lot of output, mainly information and you want to check that it has seen your GPU and has successfully opened all the libraries.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;python3 -c &amp;quot;import tensorflow as tf; print(tf.reduce_sum(tf.random.normal([1000, 1000])))&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Add LD_LIBRARY_PATH to ld.so.conf.d&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sudo vi /etc/ld.so.conf.d/cuda-additional.conf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Add the lines&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;/usr/local/cuda/extras/CUPTI/lib64&#xA;/usr/local/cuda-10.2/lib64&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The other 2 paths are automatically added for us during install.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;FROM &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#sr-1&quot; rel=&quot;noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#sr-1&lt;/a&gt;&lt;/em&gt;&#xA;Install the TensorFlow for C library. If you follow the link given at the above it shows you Tensorflow version 2.3.0 (or later), however, as mentioned earlier the filter code is old and requires version 1.15.0. So:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;wget https://storage.googleapis.com/tensorflow/libtensorflow/libtensorflow-gpu-linux-x86_64-1.15.0.tar.gz&#xA;sudo tar -C /usr/local -xzf libtensorflow-gpu-linux-x86_64-1.15.0.tar.gz&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;em&gt;FROM &lt;a href=&quot;https://trac.ffmpeg.org/wiki/CompilationGuide/Ubuntu&quot; rel=&quot;noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/CompilationGuide/Ubuntu&lt;/a&gt;&lt;/em&gt;&#xA;Now we fetch and compile ffmpeg. So install some dependencies first:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sudo apt-get update -qq &amp;amp;&amp;amp; sudo apt-get -y install \&#xA;  autoconf \&#xA;  automake \&#xA;  build-essential \&#xA;  cmake \&#xA;  git-core \&#xA;  libass-dev \&#xA;  libfreetype6-dev \&#xA;  libgnutls28-dev \&#xA;  libsdl2-dev \&#xA;  libtool \&#xA;  libva-dev \&#xA;  libvdpau-dev \&#xA;  libvorbis-dev \&#xA;  libxcb1-dev \&#xA;  libxcb-shm0-dev \&#xA;  libxcb-xfixes0-dev \&#xA;  pkg-config \&#xA;  texinfo \&#xA;  wget \&#xA;  yasm \&#xA;  zlib1g-dev&#xA;&#xA;mkdir -p ~/ffmpeg_sources ~/bin&#xA;sudo apt-get install nasm libx264-dev libx265-dev libnuma-dev libvpx-dev libfdk-aac-dev libmp3lame-dev libopus-dev libunistring-dev&#xA;&#xA;cd ~/ffmpeg_sources &amp;amp;&amp;amp; \&#xA;wget -O ffmpeg-snapshot.tar.bz2 https://ffmpeg.org/releases/ffmpeg-snapshot.tar.bz2 &amp;amp;&amp;amp; \&#xA;tar xjvf ffmpeg-snapshot.tar.bz2 &amp;amp;&amp;amp; \&#xA;cd ffmpeg &amp;amp;&amp;amp; \&#xA;PATH=&amp;quot;$HOME/bin:$PATH&amp;quot; PKG_CONFIG_PATH=&amp;quot;$HOME/ffmpeg_build/lib/pkgconfig&amp;quot; ./configure \&#xA;  --prefix=&amp;quot;$HOME/ffmpeg_build&amp;quot; \&#xA;  --pkg-config-flags=&amp;quot;--static&amp;quot; \&#xA;  --extra-cflags=&amp;quot;-I$HOME/ffmpeg_build/include&amp;quot; \&#xA;  --extra-ldflags=&amp;quot;-L$HOME/ffmpeg_build/lib&amp;quot; \&#xA;  --extra-libs=&amp;quot;-lpthread -lm&amp;quot; \&#xA;  --bindir=&amp;quot;$HOME/bin&amp;quot; \&#xA;  --enable-gpl \&#xA;  --enable-gnutls \&#xA;  --enable-libass \&#xA;  --enable-libfdk-aac \&#xA;  --enable-libfreetype \&#xA;  --enable-libmp3lame \&#xA;  --enable-libopus \&#xA;  --enable-libvorbis \&#xA;  --enable-libvpx \&#xA;  --enable-libx264 \&#xA;  --enable-libx265 \&#xA;  --enable-libtensorflow \&#xA;  --enable-nonfree &amp;amp;&amp;amp; \&#xA;PATH=&amp;quot;$HOME/bin:$PATH&amp;quot; make &amp;amp;&amp;amp; \&#xA;make install &amp;amp;&amp;amp; \&#xA;hash -r&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Notice that I have left out libaom and added libtensorflow. This has created new binaries under ~/bin and added it to your profile and path so it can be called from anywhere. If you do not want to replace your existing ffmpeg then be sure to change the bindir and paths as required.&lt;/p&gt;&#xA;&lt;p&gt;Reload our profile&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;source ~/.profile&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;em&gt;FROM &lt;a href=&quot;https://github.com/XueweiMeng/sr/tree/sr_dnn_native&quot; rel=&quot;noreferrer&quot;&gt;https://github.com/XueweiMeng/sr/tree/sr_dnn_native&lt;/a&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;So now we are almost at the stage where we can start to generate and train the models, however, the scripts are old so we need to modify them somewhat. Get them first (you can specify any path to download it to or get it manually with GUI:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;cd ~&#xA;wget https://github.com/XueweiMeng/sr/archive/sr_dnn_native.zip&#xA;unzip sr_dnn_native.zip&#xA;rm sr_dnn_native.zip&#xA;cd sr-sr_dnn_native&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now edit all python files that have &amp;quot;import tensorflow as tf&amp;quot;, i.e.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;datasets/prepare_dataset.py&#xA;datasets/prepare_div2k_dataset.py&#xA;evaluate.py&#xA;generate_header_and_model.py&#xA;models/model_vespcn.py&#xA;models/model_espcn.py&#xA;models/image_warp.py&#xA;models/model_srcnn.py&#xA;models/model.py&#xA;models/dataset.py&#xA;models/model_vsrnet.py&#xA;train.py&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;After the imports in each script add the line:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;tf = tf.compat.v1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For example using datasets/prepare_dataset.py:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;import os&#xA;import argparse&#xA;from tqdm import tqdm&#xA;import cv2&#xA;import numpy as np&#xA;import json&#xA;import tensorflow as tf&#xA;from PIL import Image&#xA;&#xA;tf = tf.compat.v1&#xA;&#xA;&#xA;class SceneChangeDetector:&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;There is one other depreciated function we need to take care of and that is imresize.&lt;/p&gt;&#xA;&lt;p&gt;Edit the file &lt;code&gt;datasets/prepare_dataset.py&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Replace line 8: &lt;code&gt;from scipy.misc import imresize&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;With: &lt;code&gt;from PIL import Image&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Replace line 127: &lt;code&gt;frame_lr = imresize(frames[k], (lr_h, lr_w), interp='bicubic')&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;With: &lt;code&gt;frame_lr = np.array(Image.fromarray(frames[k]).resize(size=(lr_h, lr_w)))&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;We can finally start generating. Install some dependencies.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sudo pip3 install Pillow tqdm opencv-python&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Generate (expect it to take a good few hours and you will likely see a lot of information output and warnings of almost depreciated functions, these are ok):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sh generate_datasets.sh&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This will download 11 videos totalling around 43GB and images totalling around 9GB and can take a few hours to run depending on hardware.&lt;/p&gt;&#xA;&lt;p&gt;And now for the training (expect these to take about a day each). The models after this will be found in the extracted &lt;code&gt;~/sr-sr_dnn_native&lt;/code&gt; folder if that is where you saved the Git zip file to:&lt;/p&gt;&#xA;&lt;p&gt;SRCNN&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sh train_srcnn.sh&#xA;python3 generate_header_and_model.py --model=srcnn --ckpt_path=logdir/srcnn_batch_32_lr_1e-3_decay_adam/train&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;ESPCN&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sh train_espcn.sh&#xA;python3 generate_header_and_model.py --model=espcn --ckpt_path=logdir/espcn_batch_32_lr_1e-3_decay_adam/train&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Once the training is complete you can use the filter. It seems as though ESPCN only upscales by a factor of 2 whereas with SRCNN you can specify 2, 3, or 4. I moved the models generated into the same folder as my videos for ease of use but you can simply point to the models wherever they are.&lt;/p&gt;&#xA;&lt;p&gt;e.g.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;lt;input_video&amp;gt; -vf sr=dnn_backend=tensorflow:scale_factor=3:model=srcnn.pb -q 15 -preset slow &amp;lt;output_video&amp;gt;&#xA;ffmpeg -i &amp;lt;input_video&amp;gt; -vf sr=dnn_backend=tensorflow:model=espcn.pb -q 15 -preset slow &amp;lt;output_video&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Here is an interesting video of this in use and was probably one of the only places I have seen anyone use this. In it he suggests it can only work on a single plane but I did not find that to be the case. His results actually appear to be quite good:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/R6Ly0GYlXa4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is the ffmpeg command he refers to in the video at 14:44:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i my_video_540p.mp4 -filter_complex &amp;quot;format=pix_fmts=yuv420p,extractplanes=y+u+v[y][u][v];[y] sr=dnn_backend=tensorflow:scale_factor=2:model=espcn.model [y_scale];[u] scale=960:-2 [u_scale];[v] scale=960:-2 [v_scale];[y_scale][u_scale][v_scale] mergeplanes=0x001020:yuv420p [merged]&amp;quot; -map &amp;quot;[merged]&amp;quot; -c:v libx264 -crf 18 -pix_fmt yuv420p my_video_1080p.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32099" LastActivityDate="2020-09-02T10:25:21.427" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="32149" PostTypeId="1" AcceptedAnswerId="32175" CreationDate="2020-09-02T14:09:11.067" Score="0" ViewCount="335" Body="&lt;p&gt;We are streaming a video using a 30 instances of docker containers hosted on Azure each instance running FFmpeg. The problem is that Azure limits the reads/writes that a container can do. Is there a way to modify the command to reduce the reads/writes needed to stream?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -i file.mp4 -c copy -f flv rtmps://streamingSite.com/live/x4t&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32011" LastActivityDate="2020-09-05T01:17:21.527" Title="Stream video using FFmpeg with minimum writes reads to disk" Tags="|ffmpeg|encoding|streaming|live|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32150" PostTypeId="1" AcceptedAnswerId="32163" CreationDate="2020-09-02T17:54:06.413" Score="0" ViewCount="19" Body="&lt;p&gt;I would like to render bits from multiple GoPro 7 (4k 60fps) footage into one file to save space and time in future (browsing).&lt;/p&gt;&#xA;&lt;p&gt;So instead of keeping 100 footage files, there would be just one file with compilation of usable clips.&lt;/p&gt;&#xA;&lt;p&gt;I would like to do this without loosing quality or frame rate.&lt;/p&gt;&#xA;&lt;p&gt;What are the best settings in Premiere to save the closest possible output to the original?&lt;/p&gt;&#xA;&lt;p&gt;I understand the resolution and frame rate needs to be set up to match the footage, but what about other settings which could possibly make Premiere manipulate the frames as little as possible?&lt;/p&gt;&#xA;" OwnerUserId="30588" LastActivityDate="2020-09-04T08:36:17.143" Title="Rendering bits from multiple GoPro 7 footage into one file to save space and time without loosing quality" Tags="|premiere|gopro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32151" PostTypeId="1" CreationDate="2020-09-02T20:20:46.070" Score="1" ViewCount="568" Body="&lt;p&gt;Based on &lt;a href=&quot;https://video.stackexchange.com/q/30077/29532&quot;&gt;this older question&lt;/a&gt;, I am looking for a good &amp;quot;transfer video codec / compression&amp;quot; for rendering videos from BMPs and/or PNGs and uploading them to Youtube. I am dealing with a lot of entropy / details in my frames.&lt;/p&gt;&#xA;&lt;p&gt;I built a small &lt;a href=&quot;https://github.com/pleiszenburg/bewegung&quot; rel=&quot;nofollow noreferrer&quot;&gt;Python framework called &amp;quot;bewegung&amp;quot;&lt;/a&gt; around &lt;code&gt;ffmpeg&lt;/code&gt; and a bunch of Python visualization libraries for animating scientific data. I am calling &lt;code&gt;ffmpeg&lt;/code&gt; as follows, writing BMPs directly to stdin:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-python prettyprint-override&quot;&gt;&lt;code&gt;codec = subprocess.Popen([&#xA;    'ffmpeg',&#xA;    '-y', # force overwrite of output file&#xA;    '-framerate', f'{self.fps:d}',&#xA;    '-f', 'image2pipe', # force input format&#xA;    '-i', '-', # data from stdin&#xA;    '-vcodec', 'bmp', # input codec&#xA;    '-s:v', f'{self._width:d}x{self._height:d}',&#xA;    '-c:v', 'libx264',&#xA;    '-preset', 'veryslow',&#xA;    '-crf', '0',&#xA;    video_fn,&#xA;    ], stdin = PIPE, stdout = PIPE, stderr = PIPE,)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I originally started with PNGs, but the extra compression/decompression steps simply required too much time. BMPs are faster. The BMPs are using 24 bit RGB.&lt;/p&gt;&#xA;&lt;p&gt;For content based on a few lines and polygons, this works just fine.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=5KldBStctRU&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i3.ytimg.com/vi/5KldBStctRU/hqdefault.jpg&quot; alt=&quot;good example&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;When attempting to visualize content with lots of details, points / dots, for instance (in combination with change of contrast and/or color), I am running into several problems:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=FXo9f_6SbDs&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i3.ytimg.com/vi/FXo9f_6SbDs/hqdefault.jpg&quot; alt=&quot;bad example&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The above example is based on roughly 1M points, aggregated into a density plot. During fade-in, fade-out and changes in density, the quality drops significantly. Ironically, the background is also affected: It should actually be a flat gray tone, but youtube somehow (temporarily) introduces a vertical color gradient with visible steps. While the raw video (before upload) is - as expected - virtually perfect, it comes with its own set of issues: The above example requires 523 MByte of space for 10 seconds at 60 fps 1920x1080 px and barely plays on VLC. Longer videos of this kind are therefore problematic.&lt;/p&gt;&#xA;&lt;p&gt;I have to admit that I am new to this field: Where do I start reading? How do I optimize the output of &lt;code&gt;ffmpeg&lt;/code&gt; for this kind of content for the intended purpose?&lt;/p&gt;&#xA;" OwnerUserId="29532" LastEditorUserId="29532" LastEditDate="2020-09-03T08:24:20.933" LastActivityDate="2020-09-03T11:22:53.037" Title="Optimizing ffmpeg settings for high-entropy / HIGH-DETAIL ANIMATIONS towards uploading to youtube" Tags="|ffmpeg|video-quality|animation|animation-rendering|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32152" PostTypeId="2" ParentId="32151" CreationDate="2020-09-03T11:22:53.037" Score="1" Body="&lt;p&gt;do i get you wrong about you want a lossless compression?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/H.264&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Choose a CRF value&#xA;The range of the CRF scale is 0–51, where 0 is lossless, 23 is the default, and 51 is worst quality possible. A lower value generally leads to higher quality, and a subjectively sane range is 17–28. Consider 17 or 18 to be visually lossless or nearly so ...&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/FFV1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/FFV1&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;FFV1 is a video codec developed within FFmpeg. It is lossless, meaning that it compresses video without introducing quantization degradations.&lt;/p&gt;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&lt;p&gt;you can google lossless compression&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-09-03T11:22:53.037" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32153" PostTypeId="1" CreationDate="2020-09-03T12:28:25.683" Score="2" ViewCount="47" Body="&lt;p&gt;I have a video which I need to analyse. The analysis software recognizes objects outside the area of interest and I would like to limit it to the specific arena. In order to do so I tried cropping but unfortunately my arena isn't rectangular. I thought about blackening parts of the video. But how will I be able to do so? I'm a technical person but I don't have any experience in video editing and I'm also working on a low budget.&lt;/p&gt;&#xA;&lt;p&gt;Does anyone have any idea how to solve this problem?&lt;/p&gt;&#xA;&lt;p&gt;Best regards,&lt;/p&gt;&#xA;&lt;p&gt;Morris&lt;/p&gt;&#xA;" OwnerUserId="32105" LastActivityDate="2020-09-04T08:34:21.653" Title="Selecting specific part of a video" Tags="|video|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32155" PostTypeId="1" CreationDate="2020-08-29T17:30:03.297" Score="5" ViewCount="1446" Body="&lt;p&gt;I use Linux for everything media production. I shoot RAW and process images with Darktable.&lt;/p&gt;&#xA;&lt;p&gt;Now that I've started making videos too (4K ProRes), I need to apply a LUT to them in post. This requires importing a .cube file into Kdenlive. I know how to do that, but I don't know how to &lt;em&gt;create&lt;/em&gt; a LUT.&lt;/p&gt;&#xA;&lt;p&gt;Can I import a frame of video into Darktable, adjust the colors, and export a .cube file to import into Kdenlive to apply to the video?&lt;/p&gt;&#xA;&lt;p&gt;Or are there other programs that will create a LUT on Linux? Can GIMP do it?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;What Linux program can be used to &lt;em&gt;create&lt;/em&gt; LUTs?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="32113" OwnerDisplayName="Nick" LastActivityDate="2023-01-25T16:05:07.317" Title="How can I create a LUT on Linux with free and open source software?" Tags="|color-correction|linux|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32156" PostTypeId="1" AcceptedAnswerId="32157" CreationDate="2020-07-12T20:41:46.163" Score="1" ViewCount="297" Body="&lt;p&gt;In the film &lt;a href=&quot;https://www.imdb.com/title/tt0120338/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Titanic&lt;/a&gt; [1997], the scientists (and mostly Bill Paxton's character) use a white camera as seen in these screenshots:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LkJjD.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LkJjD.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It looks like one of the Canon camcorders but it's not obvious what the brand and model are.&lt;/p&gt;&#xA;" OwnerUserId="11754" OwnerDisplayName="MicroMachine" LastEditorUserId="17390" LastEditDate="2020-09-13T21:53:59.473" LastActivityDate="2020-09-13T21:53:59.473" Title="What is the camera used by the scientists at the beginning of Titanic?" Tags="|camcorder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32157" PostTypeId="2" ParentId="32156" CreationDate="2020-07-13T01:39:08.367" Score="8" Body="&lt;p&gt;For what it's worth, that's a &lt;a href=&quot;https://global.canon/en/c-museum/product/8mmvc336.html&quot; rel=&quot;noreferrer&quot;&gt;Canon L1 Hi-8 camcorder&lt;/a&gt;. The L2 was very similar in overall shape, but had a significantly different button layout.&lt;/p&gt;&#xA;" OwnerDisplayName="user93022" LastActivityDate="2020-07-13T01:39:08.367" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32158" PostTypeId="1" CreationDate="2020-09-03T22:04:01.943" Score="3" ViewCount="2470" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7gTwI.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7gTwI.jpg&quot; alt=&quot;Screenshot of a horror scene&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;SO I am editing this horror scene and I want to change the brightness of the left side of the wall to something similar to the dark right side. I want to light to be mostly on the actor's faces. I tried doing &amp;quot;change to color&amp;quot; and &amp;quot;color change&amp;quot; effect in after effect but didn't get good results. Now I am thinking about masking that bright wall area and changing the brightness. But that process seems long since this is a long clip. Is there any faster way to do this in after effects or premiere pro?&lt;/p&gt;&#xA;" OwnerUserId="31871" LastActivityDate="2021-07-16T08:11:19.113" Title="How do I make an area in a video darker?" Tags="|editing|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32159" PostTypeId="1" AcceptedAnswerId="32165" CreationDate="2020-09-03T22:50:58.820" Score="0" ViewCount="260" Body="&lt;p&gt;I've got this weird problem. I have the latest After Effects 2020 and this is how my &amp;quot;GPU Information&amp;quot; window looks like.&lt;/p&gt;&#xA;&lt;p&gt;As far as I remember, this is not how it should normally be. It must have CUDA details and other options. Why are they missing?&lt;/p&gt;&#xA;&lt;p&gt;I've spent 3 hours and still got nothing.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Nxbzi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Nxbzi.png&quot; alt=&quot;GPU Information AE&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30098" LastActivityDate="2020-09-04T10:37:53.643" Title="After Effects is not seeing CUDA in my GTX 1060 GPU" Tags="|video|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32160" PostTypeId="1" CreationDate="2020-09-04T06:30:24.823" Score="0" ViewCount="567" Body="&lt;p&gt;Hey I'm currently using my old macbook pro 13 and i just found out it doesn't have/support any openCL GPUs and therefore i can't run davinci resolve. Is there any way to go around it? If not, are there any other video editing apps that doesn't require openCL capable GPUs? premiere pro maybe?&lt;/p&gt;&#xA;" OwnerUserId="32111" LastActivityDate="2024-01-20T20:05:55.720" Title="Can I run davinci resolve without openCL capable GPU?" Tags="|premiere|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32161" PostTypeId="2" ParentId="32158" CreationDate="2020-09-04T07:41:07.800" Score="2" Body="&lt;p&gt;If I may, I would recommend using Davinci Resolve for this. It's free and does what you want way better than premiere. Since your question was raised for premiere though, let me propose two different solutions for this.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Use a Luma-Matte for an adjustment layer. To to this:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Duplicate your footage&lt;/li&gt;&#xA;&lt;li&gt;Apply curves on the footage to maximise the contrast. (the wall should be completely white, your talent should be completely black.&lt;/li&gt;&#xA;&lt;li&gt;Apply a curves effect on the adjustment layer and place it below your duplicated, contrasted footage and above your original footage-layer.&lt;/li&gt;&#xA;&lt;li&gt;For the adjustment-layer, under &amp;quot;track mattes&amp;quot; select the luma matte from your contrasted footage-layer.&lt;/li&gt;&#xA;&lt;li&gt;Now dial down the curve on the adjustment layer and see that it only affects the wall.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Use a Roto. If the Luma-Matte isn't working well because you can't really separate the talent from the background, this would be your last resort.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Draw a mask around your talent's face on the footage-layer and do that for every 2nd to 3rd frame, so that the mask moves with the face.&lt;/li&gt;&#xA;&lt;li&gt;Apply curves to your footage-layer.&lt;/li&gt;&#xA;&lt;li&gt;Press &amp;quot;e&amp;quot; to bring up the effects on your footage-layer and open up the curves.&lt;/li&gt;&#xA;&lt;li&gt;Under &amp;quot;Compositing Options&amp;quot; click the small &amp;quot;+&amp;quot; and select the mask you just drew.&lt;/li&gt;&#xA;&lt;li&gt;Make sure the mask is set to subtractive if you masked out the face, or additive if you masked out the portion of the wall.&lt;/li&gt;&#xA;&lt;li&gt;Now dial down the curve in the Effect Controls and see that the effect only applies inside the mask.&lt;/li&gt;&#xA;&lt;li&gt;You might want to feather the mask to not have a hard edge that might be distracting.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I hope this helped, have a good day! :)&lt;/p&gt;&#xA;&lt;p&gt;Edit: You might want to use a mix of the two methods: The Luma-Matte for the hair, which is hard to rotoscope, and using masks for the simpler areas of the head.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-09-04T07:41:07.800" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32162" PostTypeId="2" ParentId="32153" CreationDate="2020-09-04T08:34:21.653" Score="1" Body="&lt;p&gt;You haven't specified which program you are using, but assuming that you have access to After-Effects or any Node- or Layer-Based compositing-program, you would want to rotoscope the area, that confuses your analysis. This is the same principle as using a camera-tracker, but subtracting moving areas or people in your footage. To do so, you would simply have to import your footage in, say, after-effects, grab the pen-tool, mask out the undesired area, set the mask so &amp;quot;subtractive&amp;quot; and render out the video again, preferably in prores4444 or any other (near) lossless codec and container.&lt;/p&gt;&#xA;&lt;p&gt;I hope this helped, have a good day :)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-09-04T08:34:21.653" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32163" PostTypeId="2" ParentId="32150" CreationDate="2020-09-04T08:36:17.143" Score="2" Body="&lt;p&gt;What you are looking for are lossless codecs. Export with the exact same settings that your footage was recorded in, but use a codec such as Prores4444xq or DNxHD, with no subsampling and 16 bit video-depth.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-09-04T08:36:17.143" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32164" PostTypeId="2" ParentId="29027" CreationDate="2020-09-04T10:10:55.113" Score="2" Body="&lt;p&gt;I take the references from Tektronix seriously in my daily work.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B00CX241PS&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Amazon&lt;/a&gt; has a 48-page magazine-sized technical booklet from this company or you could download it from &lt;a href=&quot;http://www.img.lx.it.pt/%7Efp/cav/Additional_material/MPEG2_overview.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;this link&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Of course, this company has &lt;a href=&quot;https://www.tek.com/en/search?facets=_templatename=Marketing%20Document&amp;amp;keywords=mpeg-2%20mpeg-4%20264&amp;amp;sort=desc&amp;amp;page=2&quot; rel=&quot;nofollow noreferrer&quot;&gt;other references&lt;/a&gt; as well&lt;/p&gt;&#xA;&lt;p&gt;And don't miss out the posters &lt;a href=&quot;https://www.tek.com/poster/mpeg-poster-atsc&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;https://www.tek.com/poster/mpeg-poster-dvb&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="31818" LastEditorUserId="674" LastEditDate="2023-01-20T11:30:54.030" LastActivityDate="2023-01-20T11:30:54.030" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32165" PostTypeId="2" ParentId="32159" CreationDate="2020-09-04T10:37:53.643" Score="0" Body="&lt;p&gt;I think that's the wrong place. Please go to File -&amp;gt; Project Settings -&amp;gt; and into the first tab: Video and Rendering Effects. There you should find &amp;quot;Mercury GPU Acceleration (CUDA)&amp;quot; as can be seen in the screenshot below.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Z9ye2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Z9ye2.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-09-04T10:37:53.643" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32166" PostTypeId="2" ParentId="29024" CreationDate="2020-09-04T10:38:04.867" Score="1" Body="&lt;p&gt;FFMPEG has &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#colorkey&quot; rel=&quot;nofollow noreferrer&quot;&gt;colorkey&lt;/a&gt; and &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#chromakey&quot; rel=&quot;nofollow noreferrer&quot;&gt;chromakey&lt;/a&gt; options, it does something likes&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Overlay a greenscreen-video on top of a static background image&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Using a shell script to loop through your thousand images on the ffmpeg command would be helpful.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-09-04T10:38:04.867" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32167" PostTypeId="2" ParentId="10620" CreationDate="2020-09-04T13:04:37.543" Score="2" Body="&lt;p&gt;You can add a &lt;a href=&quot;https://www.veed.io/music-visualisation&quot; rel=&quot;nofollow noreferrer&quot;&gt;music visualizer to videos&lt;/a&gt; for free online using VEED. (Disclaimer, I am the developer of this software)&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/N9bAWV5M3OI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="26475" LastEditorUserId="26475" LastEditDate="2020-09-04T15:03:08.177" LastActivityDate="2020-09-04T15:03:08.177" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32168" PostTypeId="2" ParentId="9644" CreationDate="2020-09-04T14:44:00.190" Score="0" Body="&lt;p&gt;You can do it for free using VEED.IO, this video explains how to do it (Disclaimer, I am the developer of VEED.IO)&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/G-J36pjSthI?start=12&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="26475" LastEditorUserId="26475" LastEditDate="2020-09-04T15:01:55.223" LastActivityDate="2020-09-04T15:01:55.223" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32169" PostTypeId="1" CreationDate="2020-09-04T16:00:50.740" Score="0" ViewCount="89" Body="&lt;p&gt;I tried the EOS utility and cam link USBs but nothing works for the two cameras that I own---canon 5D mark iii or Olympus OMD EM5. I understand that they are pretty old models. I was wondering if anyone figured out how to make it work?&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="32117" LastActivityDate="2021-08-02T02:01:20.173" Title="using canon 5D markiii or Olympus OMD EM5 as computer video camera?" Tags="|video-capture|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32170" PostTypeId="2" ParentId="32169" CreationDate="2020-09-04T16:38:39.640" Score="1" Body="&lt;p&gt;Neither of these cameras offers video out. They are still cameras that can take limited movies, that you can then download using the USB port for bulk transfer.&lt;/p&gt;&#xA;&lt;p&gt;It's really worth reading the manuals for your cameras - if you don't have them with your camera, they are available for free online.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2020-09-04T16:38:39.640" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32172" PostTypeId="1" CreationDate="2020-09-04T20:41:56.523" Score="1" ViewCount="942" Body="&lt;p&gt;Suppose I have a sequence in Premiere which is an audio track accompanied by a single still non-moving image (e.g. a song and the album art).&lt;/p&gt;&#xA;&lt;p&gt;Being that there is no video (or motion of any kind), what would be the most efficient settings in Adobe Media Encoder to use to export this file for upload to YouTube? When you use the regular YouTube 1080p setting, the files are definitely too big.&lt;/p&gt;&#xA;&lt;p&gt;The audio track itself was created in Premiere, so it would be more convenient to encode everything from the same place&lt;/p&gt;&#xA;" OwnerUserId="17638" LastActivityDate="2020-09-11T14:09:53.653" Title="Best export settings for still image with audio" Tags="|premiere|editing|encoding|adobe-media-encoder|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32174" PostTypeId="1" CreationDate="2020-09-04T22:45:53.477" Score="0" ViewCount="16" Body="&lt;p&gt;I would like to 'overlay' two individual video feeds from two i-phones (with individual audio feeds from each person via XLR cable) to an existing video so as to stream both the prerecorded video as well as the live video simultaneously.&lt;/p&gt;&#xA;&lt;p&gt;Meaning: I would first create a 'zoom-like' video with 2 'missing' squares.  When going live, I want to fill in the missing squares with the live video (and audio) from our i-phones.&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions?  Many thanks in advance!&lt;br /&gt;&#xA;Bill&lt;/p&gt;&#xA;" OwnerUserId="32122" LastEditorUserId="18155" LastEditDate="2020-09-13T22:07:09.947" LastActivityDate="2020-09-13T22:07:09.947" Title="re; using 2 i-phones simultaneously in adjoining rooms for video input to macbook pro" Tags="|video|video-recording|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32175" PostTypeId="2" ParentId="32149" CreationDate="2020-09-05T01:17:21.527" Score="0" Body="&lt;p&gt;I am not sure what exactly the limitation is; let assume you don't want using disk I/O; how about ramdisk? &lt;a href=&quot;https://linuxhint.com/ramdisk_ubuntu_1804/&quot; rel=&quot;nofollow noreferrer&quot;&gt;The link&lt;/a&gt; tells you how&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-09-05T01:17:21.527" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32176" PostTypeId="2" ParentId="32132" CreationDate="2020-09-05T09:42:35.287" Score="1" Body="&lt;p&gt;Concatenate can be found from &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;this link&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;In case of using same codec&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;!echo &amp;quot;file 'video_1.mp4'&amp;quot; &amp;gt; list.txt&#xA;!echo &amp;quot;file 'video_2.mp4'&amp;quot; &amp;gt;&amp;gt; list.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Add watermark at (x=1, y=1) coordinated&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;!ffmpeg -y -f concat -safe 0 -i list.txt -i watermark.png -filter_complex &amp;quot;overlay=1:1&amp;quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I don't quite understand your description, but i think it fits your title.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-09-05T09:42:35.287" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32177" PostTypeId="2" ParentId="32172" CreationDate="2020-09-05T10:57:43.130" Score="1" Body="&lt;p&gt;To minimise the file size for distribution of something like this, you need a Variable Frame Rate encoder, which will effectively just encode 1 frame, and set the frame rate such that there's no further frames. I've not seen this available in Adobe (or any commercial product I've looked into), but definitely there are services I've seen encoding video this way - I've seen examples of very small Facebook video files that appear to be VFR and done this way. In the absence of finding an available encoder, I'd just lower the bitrate as much as you can in Adobe that the image is still good, and use that. The upload time to YouTube might suck, but it only has to be uploaded once anyway.&lt;/p&gt;&#xA;&lt;p&gt;If anyone does know of an available VFR (Variable Frame Rate) encoder, please post the info - this isn't the first time I've seen the question asked, but I'm yet to learn of any end-user available encoders to do this.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastEditorUserId="25579" LastEditDate="2020-09-11T14:09:53.653" LastActivityDate="2020-09-11T14:09:53.653" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32178" PostTypeId="2" ParentId="32144" CreationDate="2020-09-05T11:21:46.397" Score="-1" Body="&lt;p&gt;A Clip(C) is a sequence of frames, each frame(f) consists of video and audio frames, the duration(t) of each frame is constant and is determined by the frame rate.&lt;/p&gt;&#xA;&lt;p&gt;For the i th clip(Ci), it is defined as (fi_n) n∈ℕ&lt;/p&gt;&#xA;&lt;p&gt;back to your question, the idea is to find the result of&lt;/p&gt;&#xA;&lt;p&gt;⊕Cj , where j ∈ {0,…,19}&lt;/p&gt;&#xA;&lt;p&gt;Since the sizes of all Cj are not the same, the elements or frames of ⊕Cj are not guaranteed to be monotonic increasing. Therefore, different frames, with expected sequence, cannot be identified in this problem.&lt;/p&gt;&#xA;&lt;p&gt;=======&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;IF&lt;/strong&gt; you can guarantee the sizes of all Cj to be the same,&#xA;a video frame can be extracted by ffmpeg to a png file and a audio frame can be extracted by the t second of wav file. The ⊕ operation can be handled by image diff and easily be found in Google.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastEditorUserId="31818" LastEditDate="2020-09-05T11:36:13.833" LastActivityDate="2020-09-05T11:36:13.833" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32179" PostTypeId="1" CreationDate="2020-09-05T12:02:35.523" Score="0" ViewCount="35" Body="&lt;p&gt;I’ve been asked to provide a cost effective solution for recording a church service. I need to use three cameras in three different locations. There is a Mac onsite that I will be recording to. I need to be able to switch between the cameras. It won’t be broadcast live but uploaded to the web shortly after the service. There won’t be time to edit three separate recordings hence the need to switch between the cameras. The other constraint is the cameras need to small and it’s likely I can’t run cables. So I was thinking there maybe an iOS app that produces a stream I can connect to and some software on the Mac that can record and switch between the streams.&lt;/p&gt;&#xA;&lt;p&gt;I’m new to this so appreciate alternative solutions. I can get three phones together and we have the Mac so hopefully just an app software solution.&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="30475" LastActivityDate="2022-01-28T15:07:10.667" Title="How can I record from do multi iPhone cameras" Tags="|software-recommendation|software|mac|multi-camera|iphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32180" PostTypeId="2" ParentId="32179" CreationDate="2020-09-05T12:48:40.597" Score="1" Body="&lt;p&gt;There is nothing free, i can't suggest you purchase anything to fit your scenario; nonetheless i suggest you take a look of &lt;a href=&quot;https://www.youtube.com/watch?v=nRDPlZ0YZjI&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to Use Your iPhone as a Webcam for OBS Live Streaming (Not Free Anymore)&lt;/a&gt; and Google OBS&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-09-05T12:48:40.597" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32181" PostTypeId="1" CreationDate="2020-09-05T15:09:30.953" Score="2" ViewCount="1115" Body="&lt;p&gt;I have a video of a person on green background and I'm trying to turn background transparent:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i bg.mp4 -i man.mp4 -filter_complex '[1:v]colorkey=0x00ff00:0.3:0.3[ckout];[0:v][ckout]overlay[out]' -map '[out]' result.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Colorkey gives this quite noticeable green edge around the person's figure.&lt;br /&gt;&#xA;Any attempts to increase opacity or blend parameters result in disappearing facial features.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RxBJ1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RxBJ1.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is there any smart way to change pure green &lt;code&gt;0x00ff00&lt;/code&gt; pixels with transparent ones?&lt;/p&gt;&#xA;" OwnerUserId="32128" LastActivityDate="2024-01-19T10:00:24.950" Title="FFmpeg: chromakey without green edges" Tags="|ffmpeg|chromakey|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32182" PostTypeId="1" AcceptedAnswerId="32183" CreationDate="2020-09-05T20:49:00.003" Score="0" ViewCount="138" Body="&lt;p&gt;I'm trying to film myself in a dark room with videos. When I start the camera, it records as expected: it checks focus and stops on a nice and crisp view.&lt;/p&gt;&#xA;&lt;p&gt;However, as I record every second or so, even if nothing changes, it runs the auto-focus feature. That means the video &amp;quot;jumps&amp;quot; (zoom in/out for a little while). It's very visible on the final video.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way for me to setup the camera so that it doesn't re-auto-focus all the time?&lt;/p&gt;&#xA;&lt;p&gt;My phone is a Galaxy J7 (SM-J700T).&lt;/p&gt;&#xA;&lt;p&gt;I've seen many options to change the lighting, colors, etc. but I don't recall seeing anything about auto-focus. I'm hoping I may have missed something so I can use the phone camera without having that bad side effect.&lt;/p&gt;&#xA;" OwnerUserId="30687" LastActivityDate="2021-02-03T02:04:10.633" Title="How do I prevent the auto-focus from bouncing on my Galaxy J7 smartphone?" Tags="|filming|focus|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32183" PostTypeId="2" ParentId="32182" CreationDate="2020-09-06T00:57:56.580" Score="0" Body="&lt;p&gt;Okay, I found the answer.&lt;/p&gt;&#xA;&lt;p&gt;After I start recording, I can click for a second or so on the screen where I want the focus to be. The camera is going to make that item appear in focus and then block the focus to that point until I cancel it.&lt;/p&gt;&#xA;&lt;p&gt;There should be an (AF) button appearing on the side. Clicking that button allows to go back to the auto-focus mode.&lt;/p&gt;&#xA;&lt;p&gt;Note that there seems to be two modes: one when you do this when you're not recording and one when you are already recording. At this point I have not found the real difference, but the items (buttons) appearing on the screen are different. So I would imagine that there is some kind of a difference between both modes.&lt;/p&gt;&#xA;" OwnerUserId="30687" LastActivityDate="2020-09-06T00:57:56.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32184" PostTypeId="2" ParentId="32181" CreationDate="2020-09-06T02:36:22.637" Score="0" Body="&lt;p&gt;To me it is just the matter of the edge color&lt;/p&gt;&#xA;&lt;p&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#colorkey&quot; rel=&quot;nofollow noreferrer&quot;&gt;colorkey&lt;/a&gt; has a similarity parameter; should you try not using 1&lt;/p&gt;&#xA;&lt;p&gt;Since i don't have any asset to try on this parameter, good luck.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-09-06T02:36:22.637" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32185" PostTypeId="2" ParentId="32158" CreationDate="2020-09-06T03:33:52.213" Score="1" Body="&lt;p&gt;If you have Premiere, chances are you have After Effects, which would be the best option for this job. But Premiere is still capable of doing it, without any roundtripping to other aps.&lt;/p&gt;&#xA;&lt;p&gt;Here's my results, I just used a screenshot of your screenshot, so you'll probably get a better result using your original footage.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Ec5Vu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ec5Vu.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;To get this I duplicated the layer, and on the bottom layer added &lt;strong&gt;Lumetri color&lt;/strong&gt; and pulled the rgb curve down to make the background dark.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/aRMeu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aRMeu.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I added Lumetri colour to the top layer, balanced the overall colour temperature until the BG was white, then pulled up the midtones to get a bit more separation between the wall and the face. Then I used the basic &lt;strong&gt;color Key&lt;/strong&gt; effect and got the wall colour using the eyedropper, and fiddled with the &lt;strong&gt;tolerance&lt;/strong&gt;, &lt;strong&gt;edge thin&lt;/strong&gt;, and &lt;strong&gt;edge feather&lt;/strong&gt; options until it was as good as it could be.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/I5Fwm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/I5Fwm.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The highlight spot on the actor's nose is a problem, you may have to duplicate the layer, and mask out just the area around that spot without the &lt;strong&gt;color key&lt;/strong&gt; effect applied. You don't have to be precise with this mask, but you have to track it to follow the movement.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YUYmu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YUYmu.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YcKvK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YcKvK.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-09-06T03:33:52.213" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32186" PostTypeId="1" CreationDate="2020-09-06T08:27:41.660" Score="-1" ViewCount="363" Body="&lt;p&gt;The way it is the spectrogram doesn't even reach through my screen after two minutes of playback. I want 30 seconds at most.&lt;/p&gt;&#xA;" OwnerUserId="32134" LastEditorUserId="32134" LastEditDate="2020-09-08T20:19:58.170" LastActivityDate="2020-09-09T11:40:01.487" Title="Can I increase the scrolling speed of the showspectrum ffmpeg filter?" Tags="|ffmpeg|filter|" AnswerCount="2" CommentCount="2" ClosedDate="2020-09-26T17:42:21.337" ContentLicense="CC BY-SA 4.0" />
  <row Id="32187" PostTypeId="1" CreationDate="2020-09-06T09:31:27.807" Score="4" ViewCount="30" Body="&lt;p&gt;I am a football coach and need to make some videos over some exercises.&#xA;Here I would like to have some kind of &amp;quot;line&amp;quot; through the movement itself.&lt;/p&gt;&#xA;&lt;p&gt;If you look at this little 5-6 sec. clips from 1 min and 40 sec. then it's something like what I think on &lt;a href=&quot;https://youtu.be/XnzQRPdunTE?t=100&quot; rel=&quot;nofollow noreferrer&quot;&gt;CRAZY STRONG FITNESS MOMENTS - Youtube&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZV4CK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZV4CK.jpg&quot; alt=&quot;&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I agree that it is a clip where you have then taken some frames, which must be shown layer-on-layer from the tail and then removed when the video reaches the actual &amp;quot;movement&amp;quot; but are there any who can confirm this or know tutorials on how-to?&lt;/p&gt;&#xA;" OwnerUserId="32135" LastEditorUserId="26178" LastEditDate="2020-09-06T17:36:44.093" LastActivityDate="2020-09-07T11:33:55.487" Title="show the process in a football feint or motion" Tags="|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32188" PostTypeId="1" CreationDate="2020-09-06T22:27:56.970" Score="2" ViewCount="1319" Body="&lt;p&gt;I have a WhatsApp message of 1 hour duration, it is an .ogg audio of less than 9 MB in size.&lt;/p&gt;&#xA;&lt;p&gt;I want to upload it to YouTube, so I have to make it at least a single-frame video. So I made a JPEG cover picture of 1024 x 768 pixels. First I just used VLC and output a youtube SF or whatever output, but YouTube churns on that &amp;quot;processing 0%&amp;quot; for days on end now. So now I have to do something else. Using ffmpeg. Ideally I would just use the awesome ogg compression passing it through:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -y -i image.jpg -i audio.ogg -shortest -acodec copy -vcodec libx264 -crf 25  -pix_fmt yuv420p result.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But that doesn't play in some players, so I won't even bother youtube with it.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -y -i image.jpg -i audio.ogg -shortest -acodec mp3 -vcodec libx264 -crf 25  -pix_fmt yuv420p result.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;That creates a huge file of over 120 MB in size! I have crappy internet, not going to blow a &amp;lt;9 MB file into &amp;gt;120 MB just to upload it you youtube.&lt;/p&gt;&#xA;&lt;p&gt;So I thought if I could have only one i-frame and the rest p-frames which should be basically empty because the &amp;quot;video&amp;quot; has no changes to the picture over time. I read about the -g option:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -y -i image.jpg -i audio.ogg -shortest -acodec mp3 -vcodec libx264 -crf 25  -pix_fmt yuv420p -g 100000 result.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The -g 100000 covers the 94,288 frames. But still with that I get &amp;gt;60 MB.&lt;/p&gt;&#xA;&lt;p&gt;How can I make the most compact mostly-audio + still image video that youtube will actually finish processing?&lt;/p&gt;&#xA;&lt;p&gt;Here is some more calculation to show just why anything above 20 MB should not be acceptable.&lt;/p&gt;&#xA;&lt;p&gt;Audio in the ogg compression is 8.61 MB in size. That makes a bitrate of&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;  8.61 MB * 1024^2 [B/MB] / 8 [b/B] / 62 [min] / 60 [s/min] &#xA;= 303.368... b/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;That is 303 bits per second! That's pretty awesome encoding power of this one channel mono ogg audio. Imagine what a 300 bits per second teletype terminal feels as you type! And now imagine how you can talk faster through this sort of low bandwidth line than you can type and see a screen refresh!&lt;/p&gt;&#xA;&lt;p&gt;But I'm perfectly OK with the MP3 audio perhaps being a little bigger. What I am not OK is the video encoding or something else giving this codec license to stream data out in ~200 kb/s, kilo-bit, even if that is at 4x the speed, 50 kb/s is still too much if the payload goes with less than 1 kb/s.&lt;/p&gt;&#xA;&lt;p&gt;BTW, that Title image JPEG is 170 kB in size. If I just put a new full key i-frame copy of it every minute, then I'd get 10 MB for the &amp;quot;video&amp;quot; payload, not 60 MB. So something is very wrong with these codecs or the way they are parameterized.&lt;/p&gt;&#xA;" OwnerUserId="32139" LastEditorUserId="32139" LastEditDate="2020-09-07T14:17:17.657" LastActivityDate="2020-09-12T19:15:31.707" Title="How to make a SMALL video from single still image + audio, one key frame and all the rest p frames or whatever" Tags="|audio|youtube|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32189" PostTypeId="1" CreationDate="2020-09-07T00:43:54.360" Score="2" ViewCount="51" Body="&lt;p&gt;I am looking for a player for DNxHR that will playback files seamlessly, as there is no brief pause between files playing. two files played back to back should play as though they are effectively one file. can someone recommend a good solution for this? thanks!&lt;/p&gt;&#xA;" OwnerUserId="32021" LastActivityDate="2020-09-07T15:40:58.770" Title="seamless DNXHR player" Tags="|video|playback|dnxhr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32190" PostTypeId="1" AcceptedAnswerId="32210" CreationDate="2020-09-04T16:44:29.117" Score="1" ViewCount="1473" Body="&lt;p&gt;I'm moving an object and I would like to make a track that &amp;quot;follow it&amp;quot;, I would like to make a path stroke (that I will animate, trimming it) from the path of the object I move&lt;/p&gt;&#xA;" OwnerUserId="32146" OwnerDisplayName="Gianmarco" LastActivityDate="2020-09-11T10:46:45.177" Title="make a stroke from a path in after effect" Tags="|animation|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32191" PostTypeId="2" ParentId="32187" CreationDate="2020-09-07T11:33:55.487" Score="1" Body="&lt;p&gt;You would do this kind of thing in After-Effects or a similar compositing program (like Nuke or Fusion). Simply duplicate your video as many times as you want the move to be repeated, then offset the layers in time, and lastly roughly mask out the person from every shot except the very bottom layer.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-09-07T11:33:55.487" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32192" PostTypeId="2" ParentId="32188" CreationDate="2020-09-07T12:50:46.930" Score="0" Body="&lt;p&gt;I am not sure your output stream video and audio distributions, let's assume the output size is mostly occupied by the video ES.&lt;/p&gt;&#xA;&lt;p&gt;In the H.266 era, x265 is not a new codec&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;!ffmpeg -y -i https://github.com/Matroska-Org/matroska-test-files/raw/master/test_files/test5.mkv -c:v libx265 -an VideoOnly_265.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The file size of VideoOnly_265.mp4 is&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;-rw-r--r-- 1 root root 4283630 Sep  7 12:38 VideoOnly_265.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;!ffmpeg -y -i https://github.com/Matroska-Org/matroska-test-files/raw/master/test_files/test5.mkv -c:v libx264 -an VideoOnly_264.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The file size of VideoOnly_264.mp4 is&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;-rw-r--r-- 1 root root 10956223 Sep  7 12:33 VideoOnly_264.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-09-07T12:50:46.930" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="32193" PostTypeId="2" ParentId="32160" CreationDate="2020-09-07T15:25:33.527" Score="0" Body="&lt;p&gt;I don’t think there’s a way round it. Premiere can operate using CPU only.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-09-07T15:25:33.527" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32194" PostTypeId="2" ParentId="32189" CreationDate="2020-09-07T15:40:58.770" Score="1" Body="&lt;p&gt;Player like djv and vlc should be able to play dnxhr without issue. The pauses likely occur because of the reading-speed of the drive. If djv and vlc are still buffering while playing, try moving your footage to a faster ssd and try again.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-09-07T15:40:58.770" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32196" PostTypeId="2" ParentId="32190" CreationDate="2020-09-08T09:07:41.453" Score="0" Body="&lt;p&gt;Please tell me you are not looking for &lt;a href=&quot;https://opencv-python-tutroals.readthedocs.io/en/latest/py_tutorials/py_video/py_lucas_kanade/py_lucas_kanade.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;optical flow&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-09-08T09:07:41.453" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32197" PostTypeId="2" ParentId="32186" CreationDate="2020-09-08T10:13:59.713" Score="0" Body="&lt;p&gt;I am not sure your difficulties , but do examples from &lt;a href=&quot;https://lukaprincic.si/development-log/ffmpeg-audio-visualization-tricks&quot; rel=&quot;nofollow noreferrer&quot;&gt;this link&lt;/a&gt; help?&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-09-08T10:13:59.713" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32198" PostTypeId="2" ParentId="23497" CreationDate="2020-09-09T09:03:35.923" Score="0" Body="&lt;p&gt;In the newer Premiere versions doesnt happen - you might get a waveform visible even with more nested layers inside - BUT the point is NOT TO HAVE ANY EFFECTS APPLIED ON THEM. In this case you have to render and that makes sense. Apply effects only on the whole nested sequnces.&lt;/p&gt;&#xA;&lt;p&gt;cheers&lt;/p&gt;&#xA;" OwnerUserId="32161" LastActivityDate="2020-09-09T09:03:35.923" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32199" PostTypeId="2" ParentId="32186" CreationDate="2020-09-09T11:40:01.487" Score="1" Body="&lt;p&gt;Carefully read filter documentation, you need to change option overlap to some higher values. At cost of more CPU usage.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2020-09-09T11:40:01.487" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32200" PostTypeId="1" CreationDate="2020-09-09T13:19:01.077" Score="1" ViewCount="178" Body="&lt;p&gt;this is my first question on StackExchange!&lt;/p&gt;&#xA;&lt;p&gt;I recently got into building FFmpeg on Windows and build successfully the vanilla and the external library versions of this program!&lt;/p&gt;&#xA;&lt;p&gt;I noticed that it only takes in the &amp;quot;include&amp;quot; and &amp;quot;lib&amp;quot; inputs from the source to link the external libraries to FFmpeg. (--extra-cflags &amp;amp;&amp;amp; --extra-ldflags)&lt;/p&gt;&#xA;&lt;p&gt;I also saw an option to specify the location of .exe files of the external libraries(--extra-ldexeflags)!&lt;/p&gt;&#xA;&lt;p&gt;So, I was wondering if I could compile FFmpeg with external library support just by specifying the path to the .exe files of the external libraries using --extra-ldexeflags.&lt;/p&gt;&#xA;&lt;p&gt;It would be great if I receive an answer to this humble question of mine!&lt;/p&gt;&#xA;&lt;p&gt;Thanks for your time!&lt;/p&gt;&#xA;" OwnerUserId="32164" LastActivityDate="2020-09-09T13:19:01.077" Title="Build FFmpeg with &quot;.EXE&quot; files of external libraries?" Tags="|video|ffmpeg|encoding|software|windows|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32202" PostTypeId="2" ParentId="32119" CreationDate="2020-09-09T20:08:46.940" Score="1" Body="&lt;p&gt;In Resolve, &amp;quot;Power Bins&amp;quot; are what you use to make elements available across projects.  Unfortunately, as of version 16.3, Resolve won't store Compound Clips, Multicam Clips or Fusion Clips inside a Power Bin.  However, in your case, a workaround is fairly straightforward.&lt;/p&gt;&#xA;&lt;p&gt;Whether your image is static or animated; an exported still image, file sequence, or video is compatible with power bins.  Export what you need on the Deliver page, Re-import it, add it to the Power Bin, and you should be good to go.&lt;/p&gt;&#xA;&lt;p&gt;One quick tip for the Export-&amp;gt;Re-import step:  After you export anything in Resolve, after Resolve marks the Queue item &amp;quot;Complete,&amp;quot; You can right-click on the complete item, and select &amp;quot;Reveal in Media Storage.&amp;quot;  Resolve will then open the Media Page, and highlight the file in the browser.  From there, all you need to do is drag it to your Power Bin.&lt;/p&gt;&#xA;&lt;p&gt;To enable Power Bins, on the Media page, go to the &amp;quot;View&amp;quot; menu, and near the bottom of the list, check &amp;quot;Show Power Bins.&amp;quot;  If your media pool and/or media folders sidebar list is not visible, hit command-1 (mac) or control-1 (pc).&lt;/p&gt;&#xA;&lt;p&gt;You do need to be careful with the way you handle transparency if you expect to use it.  Resolve doesn't &amp;quot;think&amp;quot; for its users the way some apps do.  It doesn't pre-suppose that you &amp;quot;meant&amp;quot; to include an alpha channel because your source sequence contains one, but your chosen export codec doesn't support it.  It won't give you an error, or a warning, or recommend a different codec.  It'll just do what it's told, and then you'll wonder why your backgrounds are black instead of transparent.  So, make sure you're exporting to a format that supports transparency if you need it, like prores4444.  If you're doing that already, and getting black backgrounds anyway, it's because your alpha pipe is broken on the color page; make sure that the last node's alpha output (blue square) is wired to the master alpha output.  If it's not wired to anything, right-click in the background of the node tree, and select &amp;quot;Add alpha output,&amp;quot; then wire the blue square to the blue circle that appears.&lt;/p&gt;&#xA;&lt;p&gt;The same caution applies to premultiplication.  If your antialiased edges appear too bright, or too dark, that's a premultiplication error, and the onus is on the user.  To change how Resolve interprets a clip's alpha math on the import side, right-click on the clip in the media pool, choose &amp;quot;Clip Attributes&amp;quot; and change &amp;quot;Alpha Mode&amp;quot; if necessary.  Note, however, it's possible to accidentally double-multiply, or double-divide on the export side, in which case no menu selection here will produce desired results.  See &lt;a href=&quot;http://www.spherevfx.com/written-training/miscellaneous-written-training/understanding-premultiplied-images/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;https://forum.blackmagicdesign.com/viewtopic.php?f=21&amp;amp;t=121224&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;And one final note.  While Resolve doesn't support Fusion &lt;em&gt;CLIPS&lt;/em&gt; in Power Bins, it does support Fusion &lt;em&gt;COMPOSITIONS&lt;/em&gt; in Power Bins.  So, if you need something more interactive than a flat export down the road, that's the direction you should explore; It's a great way to make titles, and lower-thirds that are re-usable across projects, which maintain a consistent look, yet remain flexible to edit.  Fusion is a complex topic on its own, and I encourage you to experiment with it, and ask specific questions as they arise.&lt;/p&gt;&#xA;&lt;p&gt;Hope that helps, Good Luck!&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-09-09T21:20:43.997" LastActivityDate="2020-09-09T21:20:43.997" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32205" PostTypeId="2" ParentId="28830" CreationDate="2020-09-10T12:31:54.780" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#mpdecimate&quot; rel=&quot;nofollow noreferrer&quot;&gt;mpdecimate&lt;/a&gt; filter drop frames that do not differ greatly from the previous frame in order to reduce frame rate.&lt;/p&gt;&#xA;&lt;p&gt;This command will filter the duplicate frames&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf mpdecimate -loglevel debug -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;To remove these duplicates and generate a video&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf mpdecimate,setpts=N/FRAME_RATE/TB out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32176" LastActivityDate="2020-09-10T12:31:54.780" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32206" PostTypeId="2" ParentId="32142" CreationDate="2020-09-10T13:06:56.637" Score="1" Body="&lt;p&gt;Zoom in.&lt;/p&gt;&#xA;&lt;p&gt;Hm, thirty more characters to go.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2020-09-10T13:06:56.637" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32207" PostTypeId="1" CreationDate="2020-09-11T03:39:09.967" Score="0" ViewCount="142" Body="&lt;p&gt;I have found a &lt;a href=&quot;https://developer.apple.com/library/archive/documentation/FinalCutProX/Reference/FinalCutProXXMLFormat/EventsandProjects/EventsandProjects.html#//apple_ref/doc/uid/TP40011227-CH12-SW14&quot; rel=&quot;nofollow noreferrer&quot;&gt;description&lt;/a&gt; of version 1.8 of the FCPX XML. It is not globally searchable - only section by section and is not for the latest version.&lt;/p&gt;&#xA;&lt;p&gt;I have an XML file recently emitted from FCPX and it has a version tag &amp;quot;&amp;lt;fcpxml version=&amp;quot;1.9&amp;quot;&amp;gt;&amp;quot;.&lt;/p&gt;&#xA;" OwnerUserId="32123" LastActivityDate="2021-02-23T16:23:23.247" Title="Need to locate documentation of FCPX XML ver 1.9" Tags="|fcpx|xml|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32208" PostTypeId="1" AcceptedAnswerId="32209" CreationDate="2020-09-11T07:58:42.510" Score="1" ViewCount="157" Body="&lt;p&gt;I know that Matroska does have a way to remove the border by editing its metadata, and i also know that Webm is a cheaper version of Matroska. I have tried using MKVtools to edit Webm and it appears to work, but then when i play the file nothing changes.&lt;/p&gt;&#xA;&lt;p&gt;So does Webm support metadata removal of border from the video? If it does what tool can i use to perform this task?&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2020-09-11T08:27:22.790" Title="Is it possible to remove a border from a Webm video losslessly?" Tags="|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32209" PostTypeId="2" ParentId="32208" CreationDate="2020-09-11T08:13:16.730" Score="1" Body="&lt;p&gt;See here &lt;a href=&quot;https://www.webmproject.org/docs/container/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.webmproject.org/docs/container/&lt;/a&gt; under section Track. There you find PixelCropBottom, PixelCropTop, PixelCropLeft and PixelCropRight - all of which are supported. These parameters should do what you want. They also exist for Matroska.&lt;/p&gt;&#xA;&lt;p&gt;Look for a tool that can manipulate those parameters.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2020-09-11T08:27:22.790" LastActivityDate="2020-09-11T08:27:22.790" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="32210" PostTypeId="2" ParentId="32190" CreationDate="2020-09-11T10:37:11.100" Score="2" Body="&lt;p&gt;There are many ways to do this - here is one:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Make a null object&lt;/li&gt;&#xA;&lt;li&gt;Make a mask path on the null layer using the pen&lt;/li&gt;&#xA;&lt;li&gt;Set a single keyframe on the mask's path&lt;/li&gt;&#xA;&lt;li&gt;Go to your object (e.g. a star in this example)&lt;/li&gt;&#xA;&lt;li&gt;Make a single keyframe on its position&lt;/li&gt;&#xA;&lt;li&gt;Copy your mask path keyframe&lt;/li&gt;&#xA;&lt;li&gt;Select your position keyframe&lt;/li&gt;&#xA;&lt;li&gt;Paste, and you should see your object now moves along the path&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;To make a tail that follows the star:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add a new shape layer with a single line in it&lt;/li&gt;&#xA;&lt;li&gt;Make a keyframe on that line's path&lt;/li&gt;&#xA;&lt;li&gt;Copy the path from your null&lt;/li&gt;&#xA;&lt;li&gt;Paste it into your new shape layer.&lt;/li&gt;&#xA;&lt;li&gt;Now you will have a line the same shape as your star's path.&lt;/li&gt;&#xA;&lt;li&gt;Add a Trim Paths effect to your Line layer&lt;/li&gt;&#xA;&lt;li&gt;Animate the 'End' control on the Trim Paths effect to get the path you need.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;This set of scripts is excellent, and free. &lt;a href=&quot;http://www.redefinery.com/ae/rd_scripts/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.redefinery.com/ae/rd_scripts/&lt;/a&gt;&#xA;It includes scripts such as &amp;quot;shapes to masks&amp;quot; and &amp;quot;masks to shape&amp;quot;.&#xA;Highly recommended&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SMAYt.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SMAYt.jpg&quot; alt=&quot;screengrab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2020-09-11T10:46:45.177" LastActivityDate="2020-09-11T10:46:45.177" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32211" PostTypeId="1" AcceptedAnswerId="32213" CreationDate="2020-09-11T11:12:12.033" Score="1" ViewCount="83" Body="&lt;p&gt;Apologies if this isn't the right community for this question, but I'm wondering why TS files are used for DVDs and not a more widely used format like MP4s or something&lt;/p&gt;&#xA;" OwnerUserId="32184" LastActivityDate="2020-10-12T03:00:55.120" Title="Why do DVDs use TS files?" Tags="|dvd|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="32213" PostTypeId="2" ParentId="32211" CreationDate="2020-09-12T02:38:07.170" Score="1" Body="&lt;p&gt;DVD makes use of the &lt;a href=&quot;https://en.wikipedia.org/wiki/MPEG_program_stream&quot; rel=&quot;nofollow noreferrer&quot;&gt;Program Stream(PS)&lt;/a&gt; container whereas Terrestrial Stream(TS) uses for unpredictable transmission.&lt;/p&gt;&#xA;&lt;p&gt;PS mostly uses MPEG-2 codec whereas the &lt;a href=&quot;https://en.wikipedia.org/wiki/MPEG-4_Part_14&quot; rel=&quot;nofollow noreferrer&quot;&gt;MP4&lt;/a&gt; uses better video encoding scheme likes 264, 265 or MPEG-4.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-09-12T02:38:07.170" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32214" PostTypeId="1" CreationDate="2020-09-12T05:17:41.933" Score="0" ViewCount="19" Body="&lt;p&gt;I have been working on an animation with Blender. Further I rendered it at 24 fps at 1080p resolution.&lt;/p&gt;&#xA;&lt;p&gt;The problem is that the rendered video is around 30 seconds and has size around &lt;strong&gt;4.3 GB&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Is there any way to decrease the size without losing much quality?&lt;/p&gt;&#xA;" OwnerUserId="32191" LastEditorUserId="18155" LastEditDate="2020-09-13T21:57:06.257" LastActivityDate="2020-09-13T21:57:06.257" Title="Decrease size of a avi video with lowest quality loss" Tags="|conversion|compression|render|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32216" PostTypeId="1" CreationDate="2020-09-12T16:22:38.000" Score="3" ViewCount="526" Body="&lt;p&gt;So I've looked at a bunch of videos and all they describe is how to remove ambient wind sounds so that you can hear someone talk.  Or how to remove the low hum of wind.  And if it's the wind sound is too loud, it's impossible to remove.  That's not what I am looking for.&lt;/p&gt;&#xA;&lt;p&gt;I have an outdoor video and I would like to keep most of those sounds.  My only issue is that when the wind gusts, it is really loud.  I'm afraid it would hurt someone's ears if they have headphones plugged in.  I would just like to tone it down.  When my video is soft, there is nothing changed.  When my video is loud, that is reduced a bit.&lt;/p&gt;&#xA;&lt;p&gt;Additionally, is there also a way to round out or smooth the wind noise a bit? I would imagine reducing how loud a video gets while keeping the video the same when it's quiet would solve this issue as well.&lt;/p&gt;&#xA;&lt;p&gt;I have Adobe Premier.&lt;/p&gt;&#xA;" OwnerUserId="32194" LastActivityDate="2020-12-27T17:52:26.630" Title="How do you reduce wind gust sounds from video?" Tags="|premiere|audio|audio-recording|noise-reduction|noise|" AnswerCount="3" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="32217" PostTypeId="2" ParentId="32188" CreationDate="2020-09-12T19:15:31.707" Score="1" Body="&lt;p&gt;There are a couple of things which you may still tune in the x264 encoder like listed &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; but also in the mp3 decoder like shown &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/MP3&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; if you are OK with a lower audio bitrate.My assumption is that not everything is eaten up by the video.&lt;/p&gt;&#xA;&lt;p&gt;I have tried&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -y -i image.jpg -i audio.ogg -shortest -acodec mp3 -qscale:a 7 -vcodec libx264 -preset ultrafast -tune stillimage -maxrate 5K -bufsize 100K -crf 25  -pix_fmt yuv420p -g 100000 result5.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and got a video file that was half the size of the ogg file.&lt;/p&gt;&#xA;&lt;p&gt;Here is what the parameters do and how to use them:&lt;/p&gt;&#xA;&lt;p&gt;-maxrate 5K -bufsize 100K&lt;/p&gt;&#xA;&lt;p&gt;this has a direct impact on the video bitrate. I lowered the values until I got VBV underflow messages then raised it back again. The quality of the jpeg was very low but got better when I increased bufsize.&lt;/p&gt;&#xA;&lt;p&gt;-qscale:a 7&lt;/p&gt;&#xA;&lt;p&gt;This produces a 100 kbit Audio stream which was more than OK for my sample.&lt;/p&gt;&#xA;&lt;p&gt;In a nutshell, you may need to tweak these parameters a little bit in order to improve things. I suspect that it is actually the audio in your case consuming a large part.&lt;/p&gt;&#xA;&lt;p&gt;Let me know if it works.&lt;/p&gt;&#xA;" OwnerUserId="32196" LastActivityDate="2020-09-12T19:15:31.707" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32218" PostTypeId="1" CreationDate="2020-09-12T20:58:51.280" Score="0" ViewCount="359" Body="&lt;p&gt;So I am re-encoding an old AVI:&#xA;&lt;a href=&quot;https://pastebin.com/KqcHMVAx&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pastebin.com/KqcHMVAx&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have written a batch to re-encode a bunch of similar AVI's and the same problem occurs with each.&#xA;When I try and play the resulting MKV in VLC the video freezes after a few seconds, but the audio continues. I get the following VLC messages:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;avcodec info: Using D3D11VA (NVIDIA GeForce GTX 1080, vendor 10de(NVIDIA), device 1b80, revision a1) for hardware decoding&#xA;avcodec error: hardware acceleration picture allocation failed&#xA;avcodec error: avcodec_send_packet critical error&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;My FFMpeg arguments are as follows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-y -i &amp;quot;{0}&amp;quot; -c:v libx265 -crf 23 -preset slow -tune fastdecode -c:a copy -x265-params &amp;quot;colorprim=5:transfer=1:colormatrix=6:refine-mv=1&amp;quot; &amp;quot;{1}&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Which results in: &lt;a href=&quot;https://pastebin.com/VTstcKF7&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pastebin.com/VTstcKF7&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If I repeat the same encoding in Handbrake, the playback is fine, no problems. That results in: &lt;a href=&quot;https://pastebin.com/v3ix1caA&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pastebin.com/v3ix1caA&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now I've compared the two and the only difference in the encoding settings is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;frame-threads=3 instead of 2 in my batch&#xA;numa-pools=4 appears in my batch but not Handbrake&#xA;refine-mv=1 instead of 0 in my batch. &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;To clarify my FFMPEG sets frame-threads to 2, numa-pools to 4 and refine-mv to 0. I have set the refine-mv to 1 but it seems to have been ignored.&lt;/p&gt;&#xA;&lt;p&gt;Now I am running handbrake on Linux with x265 version 3.2.1+1 and the batch is running under Windows with version 3.1+19.&lt;/p&gt;&#xA;&lt;p&gt;I have tried running FFMpeg on the Linux machine with the same settings, same result in failure.&lt;/p&gt;&#xA;&lt;p&gt;I've mirrored the settings as close as I can to Handbrake but I cannot seem to achieve a file free of issues. Can anyone point me in the right direction?&lt;/p&gt;&#xA;" OwnerUserId="32199" LastActivityDate="2020-09-12T20:58:51.280" Title="Playback from FFMPEG x265 freezes video but not audio" Tags="|ffmpeg|playback|vlc|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32219" PostTypeId="1" CreationDate="2020-09-12T21:21:47.583" Score="0" ViewCount="1013" Body="&lt;p&gt;I don't think so.&#xA;However, there are so many cover songs on YouTube.&#xA;So, are these copyright violations?&#xA;Or is Dance Monkey free, am I wrong?&lt;/p&gt;&#xA;" OwnerUserId="32200" LastActivityDate="2020-09-17T11:01:48.543" Title="Is the license for Dance Monkey free?" Tags="|youtube|" AnswerCount="1" CommentCount="1" ClosedDate="2020-09-26T17:41:11.623" ContentLicense="CC BY-SA 4.0" />
  <row Id="32220" PostTypeId="2" ParentId="32214" CreationDate="2020-09-12T23:33:37.223" Score="1" Body="&lt;p&gt;Now you've actually finished your question, the simple answer is to encode it using h.264/mp4. Blender can render to h.264, using ffmpeg video in the render settings but the better way is to render to image sequences and convert.&lt;/p&gt;&#xA;&lt;p&gt;Since you have a render, you can convert it to h.264 / mp4 without having to re-render. There are many ways to do this, &lt;a href=&quot;http://ffmpeg.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; being one of the best, but if you prefer a GUI then &lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Handbrake&lt;/a&gt; is a good option.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-09-12T23:33:37.223" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32221" PostTypeId="2" ParentId="32216" CreationDate="2020-09-13T00:11:29.123" Score="1" Body="&lt;p&gt;Two possible ideas. When writing this answering I'm thinking in terms of the capabilities provided by Audacity but I think the same concept will work with other software.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Pick a silent part of the video with only the wind sound but no other sounds that you would like to keep, select that as the noise profile then apply noise reduction whenever there is the wind noise.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Apply a high pass filter to the audio. This will help reduce the effects of the wind noise. Again consider only applying this when there is wind.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="32195" LastEditorUserId="32195" LastEditDate="2020-09-13T00:16:54.230" LastActivityDate="2020-09-13T00:16:54.230" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32222" PostTypeId="2" ParentId="32216" CreationDate="2020-09-13T00:34:37.903" Score="0" Body="&lt;p&gt;Since you are talking about video, i would consider the ffmpeg audio filter. The wind noise spectrum mentions in this &lt;a href=&quot;https://www.intricon.com/wp-content/uploads/2018/07/Audion-16-White-Paper-Wind-Noise-23037A.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;product white-paper&lt;/a&gt; is below 500hz; therefore, i would suggest the ffmpeg command as&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;lt;input_file&amp;gt; -af &amp;quot;highpass=f=500&amp;quot; &amp;lt;output_file&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-09-13T00:34:37.903" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32223" PostTypeId="2" ParentId="25066" CreationDate="2020-09-13T06:11:01.007" Score="0" Body="&lt;p&gt;Yes, it is somewhat like a motion tracking, just open your file in AE and then create a null object and track the motion of that video and save the data to the null object, and then parent your video file to the null object.&lt;/p&gt;&#xA;" OwnerUserId="32203" LastActivityDate="2020-09-13T06:11:01.007" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32224" PostTypeId="1" CreationDate="2020-09-13T07:17:11.410" Score="2" ViewCount="241" Body="&lt;p&gt;I am a beginner and I am trying to stream a local file to YouTube Live.&lt;/p&gt;&#xA;&lt;p&gt;I noted that when I start streaming on OBS using the below settings, the CPU usage is at 35-40%.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/v6TEL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/v6TEL.png&quot; alt=&quot;stream screen settings obs&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/KiCJK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KiCJK.png&quot; alt=&quot;output screen settings obs&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/TvmME.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TvmME.png&quot; alt=&quot;audio screen settings obs&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/bGGM7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bGGM7.png&quot; alt=&quot;video screen settings obs&quot; /&gt;&lt;/a&gt;&#xA;Since, I am using a local file which then OBS encodes (converts my local .mp4 (H.264) file to a data stream) using the settings given above and streams the data to the YouTube server, is there a way of capturing the data that OBS has streamed to YouTube, saving it as a file and then sending that data directly to YouTube without going through the conversion/encoding the next time I want to stream the same file?&lt;/p&gt;&#xA;&lt;p&gt;I am sorry if this is a stupid question.&lt;/p&gt;&#xA;" OwnerUserId="30383" LastActivityDate="2020-09-13T10:50:08.087" Title="How to skip/minimize encoding workload in OBS?" Tags="|streaming|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32225" PostTypeId="2" ParentId="32224" CreationDate="2020-09-13T10:50:08.087" Score="3" Body="&lt;p&gt;If you're streaming, OBS will re-encode the output each time.&lt;/p&gt;&#xA;&lt;p&gt;You can stream and record to disk at the same time,&lt;/p&gt;&#xA;&lt;p&gt;However, there's no way to &amp;quot;replay&amp;quot; that data directly to YouTube, it must be re-encoded.&lt;/p&gt;&#xA;&lt;p&gt;I notice that you have your stream encoder set to Software x264 which is CPU based.&#xA;I also noticed that your recording encoder is set to NVENC which is GPU based.&lt;/p&gt;&#xA;&lt;p&gt;If you use NVENC as your stream encoder, it can offload encoding from the CPU to the GPU, which &lt;em&gt;could&lt;/em&gt; drastically reduce your CPU load.&lt;/p&gt;&#xA;&lt;p&gt;However, the CPU load maybe coming from the decoding of the video file your trying to playback so you may not be able to reduce it massively but NVENC will definitely help.&lt;/p&gt;&#xA;" OwnerUserId="32206" LastActivityDate="2020-09-13T10:50:08.087" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32226" PostTypeId="2" ParentId="30866" CreationDate="2020-09-13T11:18:11.767" Score="1" Body="&lt;p&gt;I personally use RaceRender, however, there is also DashWare.&lt;/p&gt;&#xA;&lt;p&gt;Both can edit video and add GPS position overlays.&lt;/p&gt;&#xA;&lt;p&gt;Bare in mind, neither of them can add the actual &amp;quot;map&amp;quot; like one from Google Maps, just a line showing your path and a marker showing the current location.&lt;/p&gt;&#xA;&lt;p&gt;Again, my personal preference is to use RR or DW to produce a video with a magenta background so I can Chroma Key it in my editor (Magix Vegas).&lt;/p&gt;&#xA;&lt;p&gt;I find the built-in editors in both programs a bit fiddly, so the use of a proper editor is recommended but they're fine if you just want to load a video, apply the overlay and render it out.&lt;/p&gt;&#xA;" OwnerUserId="32206" LastEditorUserId="32206" LastEditDate="2021-03-18T10:26:30.340" LastActivityDate="2021-03-18T10:26:30.340" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32227" PostTypeId="1" CreationDate="2020-09-13T11:56:39.913" Score="0" ViewCount="39" Body="&lt;p&gt;vegas pro ver 17&lt;br /&gt;&#xA;original video - 1920x1280 - 17mb&lt;br /&gt;&#xA;desired video - 1280x720 - smaller file size&lt;/p&gt;&#xA;&lt;p&gt;project settings:&lt;br /&gt;&#xA;template - HDV 720-30p (1280x720, 29.970 fps)&lt;/p&gt;&#xA;&lt;p&gt;render settings:&lt;br /&gt;&#xA;format - MAGIX AVC/AAC MP4&lt;br /&gt;&#xA;template - Internet HD 720p 29.97 fps&lt;/p&gt;&#xA;&lt;p&gt;resulting video is &lt;code&gt;55 mb&lt;/code&gt; in size&lt;/p&gt;&#xA;&lt;p&gt;any help?&lt;/p&gt;&#xA;" OwnerUserId="10848" LastActivityDate="2022-08-18T22:05:20.643" Title="resulting video has smaller dimensions but much more mb in size" Tags="|vegas-pro|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="32229" PostTypeId="2" ParentId="30866" CreationDate="2020-09-14T08:34:55.833" Score="0" Body="&lt;p&gt;If I was doing this for a video production, I would use After Effects, and import the GPX track from a GPS device into a mapping plugin like &lt;a href=&quot;https://aescripts.com/geolayers/&quot; rel=&quot;nofollow noreferrer&quot;&gt;GeoLayers&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://aescripts.com/learn/1-min-tut-use-geolayers-with-a-gpx-track/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://aescripts.com/learn/1-min-tut-use-geolayers-with-a-gpx-track/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-09-14T08:34:55.833" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32232" PostTypeId="1" AcceptedAnswerId="32233" CreationDate="2020-09-14T18:53:30.297" Score="1" ViewCount="54" Body="&lt;p&gt;In the video from the Joe Rogan Experience #1533, the close up shots of the guests look well lit and perfectly exposed. But the wide shot taken early in the interview around 6:48 looks terrible - the lights are far too bright and the whole shot looks overexposed. What would cause there to be so much difference in the lighting consistency between these two angles?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/0IJYQ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0IJYQ.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32215" LastActivityDate="2020-09-15T03:07:09.180" Title="Why is there so little lighting continuity (consistency) from the close up shot to the wide shot?" Tags="|lighting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32233" PostTypeId="2" ParentId="32232" CreationDate="2020-09-14T21:14:14.550" Score="1" Body="&lt;p&gt;The lights are positioned to make the single shots look good.  If you point a load of lights at a camera, the image will look overexposed.&lt;/p&gt;&#xA;&lt;p&gt;Both these shots are, more or less exposed to make the presenters look correct. But lights visible in a camera shot are much brighter than human faces.&lt;/p&gt;&#xA;&lt;p&gt;It's a compromise in a small room between which shots are the most important (the close-ups) and the wide is a nice to have.  The alternatives would be bigger softer lights, or indirect lighting, but again with limited space (and budget???) options are limited.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-09-14T21:14:14.550" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32234" PostTypeId="2" ParentId="32232" CreationDate="2020-09-15T03:07:09.180" Score="0" Body="&lt;p&gt;Yes changing the lighting is probably the best solution but if that's not possible for them they had other options to make it look better.&lt;/p&gt;&#xA;&lt;p&gt;The reason it looks bad is also due to how the video is processed and choice of camera and the settings used by the camera.&lt;/p&gt;&#xA;&lt;p&gt;First of all it you can tell that the video has been digitally darkened because the highlights are grey instead of white. Undoing this makes things look a little better. I think the footage could have been graded better.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/GsX4e.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GsX4e.jpg&quot; alt=&quot;Now highlights are white instead of grey&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Second of all the image is overexposed, whoever did this should have reduced the exposure and then maybe brightened the shadows while editing the footage. Another option is to use a camera with wider dynamic range.&lt;/p&gt;&#xA;&lt;p&gt;Also on another note I think the wide angle shot looks soft. Looking closer I think the issue was noise reduction or maybe it was because of how much YouTube compresses the videos. If it was a result of noise reduction whoever did this if possible should have opened up the aperture of the lens if possible or brought in more lights or if the light brightness is adjustable increase the light brightness.&lt;/p&gt;&#xA;" OwnerUserId="32195" LastActivityDate="2020-09-15T03:07:09.180" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32235" PostTypeId="2" ParentId="20779" CreationDate="2020-09-15T03:25:05.990" Score="0" Body="&lt;p&gt;same to me. to fix that issue, try to edit one by one picture in the folder using Paint Software, than save it. If nothing happen in after effect try to &amp;quot;right click then Reload the Image&amp;quot;. It works to me. but it also wasting time if you have a lot of picture.&lt;/p&gt;&#xA;" OwnerUserId="32217" LastActivityDate="2020-09-15T03:25:05.990" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32237" PostTypeId="1" AcceptedAnswerId="34489" CreationDate="2020-09-15T14:50:56.617" Score="1" ViewCount="90" Body="&lt;p&gt;When I record video interviews over Hangouts / Skype / Zoom, I often ask the guest to record the audio locally using QuickTime Player, then get them to send me the audio file afterwards. I also record the video conference &amp;quot;in the cloud&amp;quot; using Google Hangouts record feature.&lt;br /&gt;&#xA;This means I get better quality audio that I can resync afterwards.&lt;/p&gt;&#xA;&lt;p&gt;Is there a good way to do the same thing with video as I do with audio on a Mac? When I try to record their webcam in Quicktime Player, it stops the video stream working.&lt;/p&gt;&#xA;&lt;p&gt;How can I let the guest record their webcam output while at the same time the webcam is streamed to Hangouts?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="2178" LastEditDate="2021-10-13T12:33:50.580" LastActivityDate="2021-10-13T12:33:50.580" Title="How to record webcam output locally while the video is also streamed in a video conference?" Tags="|mac|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32240" PostTypeId="2" ParentId="32009" CreationDate="2020-09-16T09:31:22.380" Score="1" Body="&lt;p&gt;Try to use static build of ffmpeg without librtmp. You can download it from the website, or build by yourself. I've got the same problem, but without this lib I could run ffmpeg listener. Also when I tried to stream to external rtmp host, I've got issue when streaming unexpectedly stop. As described in the end of this ticket &lt;a href=&quot;https://trac.ffmpeg.org/ticket/7547&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/ticket/7547&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32232" LastActivityDate="2020-09-16T09:31:22.380" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32241" PostTypeId="1" CreationDate="2020-09-16T09:40:59.790" Score="2" ViewCount="305" Body="&lt;p&gt;I've got a 2018 MacBook Pro 15 inch with the built in Radeon Pro Vega 20 4 GB graphics.&lt;/p&gt;&#xA;&lt;p&gt;I'd like to speed up rendering in After Effects.  Which of these is more effective at doing this and why?&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://aescripts.com/bg-renderer/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://aescripts.com/bg-renderer/&lt;/a&gt;      $69&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.mekajiki.com/rendergarden/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.mekajiki.com/rendergarden/&lt;/a&gt;  $99&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Are there benchmarks anywhere for these kinds of things?&#xA;thanks&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2024-02-12T08:04:20.463" Title="Which After Effects renderer performs better on a macbook pro? RenderGarden or BG Renderer MAX?" Tags="|after-effects|mac|rendering|macbook|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32242" PostTypeId="1" AcceptedAnswerId="32256" CreationDate="2020-09-16T16:17:58.617" Score="1" ViewCount="619" Body="&lt;p&gt;This video in question is &lt;a href=&quot;https://www.youtube.com/watch?v=ioblgpA5eTo&quot; rel=&quot;nofollow noreferrer&quot;&gt;Chameleon Changing Color&lt;/a&gt; How do I find out if that color change in the Chameleon is real and not a modification that was done with software? Specifically, I am looking for some software I can use to conduct the analysis or a website that provides such services.&lt;/p&gt;&#xA;" OwnerUserId="32234" LastEditorUserId="32234" LastEditDate="2020-09-18T07:18:06.270" LastActivityDate="2020-09-20T04:18:33.913" Title="How do I find out if a video is actual or if it was modified with a Software?" Tags="|video|editing|effects|color-grading|special-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32244" PostTypeId="2" ParentId="17978" CreationDate="2020-09-16T18:36:05.693" Score="0" Body="&lt;p&gt;You can actually right-click the guide and enter in a numerical position, now !&lt;/p&gt;&#xA;" OwnerUserId="32237" LastActivityDate="2020-09-16T18:36:05.693" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32245" PostTypeId="1" CreationDate="2020-09-16T19:55:16.350" Score="2" ViewCount="430" Body="&lt;p&gt;i'm trying to create a video made of jpgs (camera-snapshots every hour) with removal of black frames (snapshots at night). It works BUT, whenever a black frame has been removed (or ignored), the video stucks at that point. I want to have a smooth video with 30 fps as result and don't want to fill up the ignored frames with copies etc.&lt;/p&gt;&#xA;&lt;p&gt;What i've tried:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 30 -i /home/pictures/%*.jpg -c:v libx264 -vf &amp;quot;blackframe=0,metadata=select:key=lavfi.blackframe.pblack:value=50:function=less,scale=640:-2,format=yuv420p&amp;quot; -crf 28 /home/out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="32238" LastActivityDate="2021-10-12T07:01:00.140" Title="Removing black frames with constant framerate" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32246" PostTypeId="2" ParentId="32245" CreationDate="2020-09-17T04:49:08.187" Score="1" Body="&lt;p&gt;Retime the remaining frames.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -framerate 30 -i /home/pictures/%*.jpg -vf &amp;quot;blackframe=0,metadata=select:key=lavfi.blackframe.pblack:value=50:function=less,setpts=N/FR/TB,scale=640:-2,format=yuv420p&amp;quot; -c:v libx264 -crf 28 /home/out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-09-17T04:49:08.187" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32248" PostTypeId="2" ParentId="32242" CreationDate="2020-09-17T10:12:38.303" Score="-1" Body="&lt;p&gt;Before going too far, i don't think there is something on earth would like wasting energy to keep changing appearance for nothing, or do you think it knows it is on TV and know where the camera is? Come on!&lt;/p&gt;&#xA;&lt;p&gt;Someone plz tells me i am wrong.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-09-17T10:12:38.303" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="32249" PostTypeId="2" ParentId="32219" CreationDate="2020-09-17T11:01:48.543" Score="1" Body="&lt;p&gt;Depending on your country, the website you're uploading to and your usage of both audio and video, the copyright-laws make it legal or illegal to use a specific song.&lt;/p&gt;&#xA;&lt;p&gt;If you create a video-essay about music-production and must use the song as an example to show your point, you will, in many cases and places not break any laws. If you combine a still-image with the song and upload this in its entirety than you will break the law in almost every case and place.&lt;/p&gt;&#xA;&lt;p&gt;Copyright to music is no black-and-white topic, and if you're considering using music from an artist, I would seriously recommend reading up on the laws that are applicable where you live, so to not risk a hefty fine.&lt;/p&gt;&#xA;&lt;p&gt;Youtube has a special approach to this case, in which - when a video uses copyrighted music - the video's revenue (money from ads) will go directly to the artist. If, however, the music is not registered at a database (in germany it's the GEMA, to name an example), the video can be blocked everywhere and you will get a strike. 3 Strikes mean that your channel will be terminated.&#xA;So you will likely not risk getting sued when using music in a youtube-video, but I would recommend reading up on the laws or asking a lawyer nonetheless. Copyright should be taken very seriously.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-09-17T11:01:48.543" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32252" PostTypeId="1" AcceptedAnswerId="32265" CreationDate="2020-09-18T02:33:15.990" Score="0" ViewCount="26" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/abibS.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/abibS.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So, I've used transform to change the position of 2 clips (One above the other), but there's this annoying line on the limits of the clip. Is there a way to remove it?&lt;/p&gt;&#xA;" OwnerUserId="32250" LastActivityDate="2020-09-20T13:28:07.060" Title="After transforming the position of a clip, how can I remove the side lines?" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32253" PostTypeId="1" AcceptedAnswerId="32254" CreationDate="2020-09-18T08:22:34.443" Score="3" ViewCount="63" Body="&lt;p&gt;Everytime I create a video,it looks good in a normal screen but considering half of the people have the low blue light effect enabled, I would like to balance somehow the colors of my videos to counter the effect of blue light, since otherwise my videos look orange.&lt;/p&gt;&#xA;" OwnerUserId="32252" LastActivityDate="2020-09-18T16:56:15.737" Title="Color correct to compensate for low blue" Tags="|color-correction|color|color-grading|bluescreen|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32254" PostTypeId="2" ParentId="32253" CreationDate="2020-09-18T10:43:17.777" Score="3" Body="&lt;p&gt;I am not very certain that I understand your question, but if you want to shift the color-grade of your image away from the orange, you can use the temperature to shift it towards blue, effectively making your image less orange. The temperature setting is available in any popular grading-tool, such as lumetri, resolve or nuke.&lt;/p&gt;&#xA;&lt;p&gt;Another option might be to actually grade your footage using a monitor that is tuned to the blue-reduced setting. I would like to add though, that you will likely lose some brightness, since most blue-reduction methods simply take away from the value of the blue-channel. So additionally taking away from the orange-channel to compensate will likely darken your image. Also also: People who watch movies on blue-reduced monitors should not be your main focus when grading. Professional studios often grade on 10-bit, calibrated monitors that will look quite different from the average consumer-display. We still grade for the calibrated monitor though, to ensure the best experience on average for most the people who consume the product.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastEditorUserId="14523" LastEditDate="2020-09-18T16:56:15.737" LastActivityDate="2020-09-18T16:56:15.737" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32255" PostTypeId="1" AcceptedAnswerId="32257" CreationDate="2020-09-18T17:29:30.630" Score="2" ViewCount="2145" Body="&lt;p&gt;I have a project which uses a lot of files that are placed on different hard drives. Is there an easy way to get all used files?&lt;/p&gt;&#xA;" OwnerUserId="32255" LastActivityDate="2020-09-18T19:30:50.000" Title="Is there a way to export a list of all files used in an Adobe Premiere Pro project?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32256" PostTypeId="2" ParentId="32242" CreationDate="2020-09-18T17:43:20.037" Score="2" Body="&lt;p&gt;Chameleons do have some pretty wild colors they can change into, and the process is extremely advanced, requiring physicists and biologists to fully understand how it works; &lt;a href=&quot;https://www.youtube.com/watch?v=SQggDnScsvI&quot; rel=&quot;nofollow noreferrer&quot;&gt;check out this video for how it works&lt;/a&gt;. Personal note: Something this advanced doesn't happen by random chance.&lt;/p&gt;&#xA;&lt;p&gt;Anyway, my personal opinions aside, it appears to me, this video was heavily edited by software to get a bigger wow factor. I've edited photos and videos for the better part of 20 years and there are subtle markers that stand out to me.&lt;/p&gt;&#xA;&lt;p&gt;The biggest tip-off, is at 2:06 into the video when the Chameleon changes blue. If you look carefully at the body, you will see a slight gray outline around the edge of the entire Chameleon, it is especially noticeable at the top of his back and the around his forward paw gripping the branch -- that is a not so subtle sign that a poorly made mask has been used to select an area for manipulation. Other tipoffs include the vibrancy of the colors and the purple/blue, and the whole body changing the same color, instead of patches changing color.&lt;/p&gt;&#xA;&lt;p&gt;As for what software can do this, there are many. If it's a still image you can use Affinity photo, Gimp, or Photoshop. For video, the best (and free) is &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve/&quot; rel=&quot;nofollow noreferrer&quot;&gt;DaVinci Resolve&lt;/a&gt; is what I would recommend. It was specifically designed to do this kind of work!&lt;/p&gt;&#xA;&lt;p&gt;For an example of how the change could have been done in software, &lt;a href=&quot;https://www.youtube.com/watch?v=DmcV4TI0JVQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;check out this video&lt;/a&gt; or &lt;a href=&quot;https://www.youtube.com/watch?v=VeeWGSdSHPM&quot; rel=&quot;nofollow noreferrer&quot;&gt;this one&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;How it happens in Chamelons&lt;/strong&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/SQggDnScsvI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;How it's done is software&lt;/strong&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/DmcV4TI0JVQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="32256" LastEditorUserId="32256" LastEditDate="2020-09-20T04:18:33.913" LastActivityDate="2020-09-20T04:18:33.913" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32257" PostTypeId="2" ParentId="32255" CreationDate="2020-09-18T19:30:50.000" Score="2" Body="&lt;p&gt;Just in case, you want to copy the files afterwards somewhere: You could convert the project to a team project, if not already and use Edit-&amp;gt;Team Project...-&amp;gt; Media Management to copy all files to a shared storage.&lt;/p&gt;&#xA;&lt;p&gt;But for a plain list you best go to File-&amp;gt;Export -&amp;gt; Final Cut Pro XML. Make sure you haven't selected any clip in Media browser, because then it'll only export information for that one. With nothing selected, a copy of the whole project file should be converted to the XML file. The benefit: unlike Adobe's own format, this XML is human readable and it contains all file paths. Just search the document for &lt;code&gt;&amp;lt;pathurl&amp;gt;&lt;/code&gt; and you find the file path there but with special characters escaped (meaning those are replaced, e.g. the space character is expressed by %20).&lt;/p&gt;&#xA;&lt;p&gt;One way to get a clean list, is to use a text editor with RegEx (=regular expressions) support. Sometimes usage of regular expressions varies a tiny bit with different tools. The following has been tested with the text editor &lt;a href=&quot;https://www.sublimetext.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sublime for Windows&lt;/a&gt;, press Ctrl+H for the replacment dialogue and make sure to click the button with .* as text. In case you use macOS, I am sure there are similar alternatives available or pre-installed.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;use &lt;code&gt;^((?!&amp;lt;pathurl&amp;gt;.*&amp;lt;/pathurl&amp;gt;).)*$&lt;/code&gt; and replace it with nothing to get rid of everything but the pathurl parts&lt;/li&gt;&#xA;&lt;li&gt;replace &lt;code&gt;\s&lt;/code&gt; with nothing to remove the tons empty lines.&lt;/li&gt;&#xA;&lt;li&gt;replace &lt;code&gt;&amp;lt;pathurl&amp;gt;file://localhost/&lt;/code&gt; with nothing&lt;/li&gt;&#xA;&lt;li&gt;replace &lt;code&gt;&amp;lt;/pathurl&amp;gt;&lt;/code&gt; with a line break &lt;code&gt;\n&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Finally copy everything into a tool like &lt;a href=&quot;https://www.url-encode-decode.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;URL Encode Decode&lt;/a&gt; (and press decode URL) to get a list with those %20 and similar escapings removed. You could replace them one by one in text editor, but depending how many different escapings there are, this would be too much work. Oh, and finally replace the / with \ if you use Windows (or &lt;code&gt;\\&lt;/code&gt; in RegEx syntax).&lt;/p&gt;&#xA;&lt;p&gt;Of course, if you do it more than once, it might help to write a script or a program, that extracts those XML parts. However, this would be well beyond the scope of this question. Alternatively you could look for XML tools, which might make things much more convenient for you, but I'm not aware of a good tool that does this job better than a text editor with RegEx support.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-09-18T19:30:50.000" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32258" PostTypeId="1" AcceptedAnswerId="32261" CreationDate="2020-09-19T09:28:50.967" Score="0" ViewCount="536" Body="&lt;p&gt;I have MP4 file. It's duration is 18 minutes 22 seconds. I want to cut part form 7:35 to 14:01 and to save this part as another MP4 file without reencoding. How to do it using FFmpeg?&lt;/p&gt;&#xA;" OwnerUserId="29218" LastActivityDate="2020-09-20T06:35:26.637" Title="How to cut part of MP4 file using FFmpeg without reencoding?" Tags="|ffmpeg|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32259" PostTypeId="1" CreationDate="2020-09-19T20:37:01.557" Score="1" ViewCount="96" Body="&lt;p&gt;I'm having a lot of trouble making this work. I select rotobrush tool, I put my pen down on the graphics tablet and suddenly I'm painting instead of rotobrushing. Why is this happening? Also it happens again even when I try to use the mouse instead. The rotobrush tool is selected, yet the effect is paint.&lt;/p&gt;&#xA;" OwnerUserId="17497" LastActivityDate="2020-09-20T09:56:43.690" Title="Using the Rotobrush Tool with a Graphics Tablet in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32260" PostTypeId="1" CreationDate="2020-09-20T06:05:46.577" Score="1" ViewCount="157" Body="&lt;p&gt;Preparing a trailer for an iOS app. I have source footage in iPad and iPhone X native resolutions (2732x2048 and 2688x1242 respectively), but they required scaled-down videos (1600x1200 and 1920x886 respectively).&lt;/p&gt;&#xA;&lt;p&gt;Although those are theoretically the same aspect ratios, they are in fact not exactly equal. This shows up when I export from Premiere. Even though I input those specific down-scaled resolutions in the export properties, the resulting videos are slightly different: 1600x12&lt;strong&gt;16&lt;/strong&gt; and 1920x8&lt;strong&gt;9&lt;/strong&gt;6.&lt;/p&gt;&#xA;&lt;p&gt;I've been looking for settings to force a specific resolution - I don't really care what kind of scaling/stretching is done to achieve it (as long as there are no black bars) - but I've failed to find any.&lt;/p&gt;&#xA;&lt;p&gt;Things I've tried:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;changing the sequence properties and setting the exact size there, and zooming out the source clip to fit, but somehow that still came out problematic.&lt;/li&gt;&#xA;&lt;li&gt;auto reframed sequence, no bingo&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Any tips on this would be greatly appreciated, as I'm starting to LOSE MY MIND lol...&lt;/p&gt;&#xA;" OwnerUserId="32263" LastActivityDate="2020-09-20T08:37:01.657" Title="Premiere: How to export at exact down-scaled resolution?" Tags="|premiere|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32261" PostTypeId="2" ParentId="32258" CreationDate="2020-09-20T06:35:26.637" Score="1" Body="&lt;p&gt;May you try&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.mp4 -ss 00:07:35 -to 00:14:01 -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-09-20T06:35:26.637" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32262" PostTypeId="1" AcceptedAnswerId="32279" CreationDate="2020-09-20T07:28:27.727" Score="1" ViewCount="53" Body="&lt;p&gt;I would like to switch to latest Davinci-16_ Free(Version 16.2.7.010)  but on trying some essential ResovleFx effects like film grain,analog grain etc , Davinci shows a switch to paid version message prompt and when rejected it simply shows the Davinci logo overlay than the actual effect.&lt;/p&gt;&#xA;&lt;p&gt;However unlike other softwares,Davinci doesn't provide any indication in the software itself (other than having to go through their forum to understand the differences &lt;a href=&quot;https://forum.blackmagicdesign.com/viewtopic.php?f=21&amp;amp;t=92916&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;).&lt;/p&gt;&#xA;&lt;p&gt;It doesn't give much confidence if one were to make a switch from a paid software to simply find that essential parts of the freeware are locked.&lt;/p&gt;&#xA;&lt;p&gt;How does one identify which effects and other features are paid and can these paid effects be recreated in Fusion?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8tmXl.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8tmXl.jpg&quot; alt=&quot;logo&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24346" LastEditorUserId="24346" LastEditDate="2020-09-20T09:54:14.187" LastActivityDate="2021-11-12T23:37:32.843" Title="Identify paid Features in Davinci-16_ Free" Tags="|davinci-resolve|freeware|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32263" PostTypeId="2" ParentId="32260" CreationDate="2020-09-20T08:37:01.657" Score="1" Body="&lt;p&gt;In general I would set my sequence settings to the desired delivery formats, and scale my source video to fit those. I wouldn't ever squash or stretch the video, as this looks very bad, and all iOS devices these days have square pixels (ie a pixel aspect ratio of 1:1 (or some multiple thereof if you're dealing with retina displays).&lt;/p&gt;&#xA;&lt;p&gt;In general mp4 files (if that's what you are exporting to) prefer resolutions which are divisible by 16 ( I think - although someone on here may be able to correct me).&lt;/p&gt;&#xA;&lt;p&gt;Your options are to rescale and zoom manually, shot by shot, to accept letterboxing, or to crop some of your content.  Rescaling and zooming to whatever is most relevant in each shot would be my preference.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-09-20T08:37:01.657" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32264" PostTypeId="2" ParentId="32259" CreationDate="2020-09-20T09:56:43.690" Score="2" Body="&lt;p&gt;The roto-brush tool &lt;em&gt;is&lt;/em&gt; a painting process - you paint green in the areas you want to rotobrush, red in the areas you don't, then tidy up edges with the feathering tool. See example here: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Xv_p_fzudM4?start=124&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-09-20T09:56:43.690" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32265" PostTypeId="2" ParentId="32252" CreationDate="2020-09-20T13:28:07.060" Score="2" Body="&lt;p&gt;The problem that you won't be able to easily fix is the missing parts of the right hand in the foreground layer. But if you're ok with that there are a couple of ways to do this shot.&lt;/p&gt;&#xA;&lt;p&gt;First you could key out the white part using a colour key effect. This is going to be problematic, because there are white parts of the image that you want to keep, like the highlights on the dress and her teeth. You'll probably need a combination of keying and rotoscoping (using a garbage matte and animating it to follow the motion of the character, otherwise known as a truckload of work).&lt;/p&gt;&#xA;&lt;p&gt;The second way would be to feather the edges of the layer. You'll have to sacrifice a bit more of the right hand to do this, but the background plate won't suffer too much (in this frame; YMMV for other frames). In the opacity tab in the effect controls you'll see an elipse, a rectangle and a pen. Click the rectangle to create a rectangular mask.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3VlzT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3VlzT.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Drag the tops and the bottoms of the mask well outside the bounds of the clip, then use the widget at the top or the numerical sliders to adjust the feather. In the image below I've turned off the background layer to see what I'm doing.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5Hk3m.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5Hk3m.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Do the same for the other plate.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/aSADz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aSADz.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You'll have to fiddle with this until you get a good compromise between cropping too much and making the feather soft enough. It doesn't really work with this random jpeg of a whippet, but it should be ok for your shot if you don't mind the disappearing hand.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tUV8o.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tUV8o.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-09-20T13:28:07.060" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32269" PostTypeId="2" ParentId="17985" CreationDate="2020-09-21T19:43:13.793" Score="0" Body="&lt;p&gt;This technique using Time Remap is effective and doesn't require any extra plugins, (but isn't automated):&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/8374FIFrkuM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-09-21T19:43:13.793" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32270" PostTypeId="2" ParentId="23651" CreationDate="2020-09-21T20:52:27.357" Score="1" Body="&lt;p&gt;Based on Gyan's answer, here are more details.&lt;/p&gt;&#xA;&lt;p&gt;The following creates a video from an image and an mp3 with an infinite zoom-in-out on the image:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i img.png  -i adio.mp3 -vf &amp;quot;[0:v]scale=7680x4320,zoompan=z='if(gte(zoom,1.5)+eq(ld(1),1)*gt(zoom,1),zoom-0.00005*st(1,1),zoom+0.00005+st(1,0))':d=20000&amp;quot; -c:a copy -c:v libx264 -shortest out3.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;[0:v]scale=7680x4320&lt;/code&gt; upscales 4 times the original 1920x1080 image for a smooth transition.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;d=20000&lt;/code&gt; specifies the duration of the zoom-in-out. In this case, I perform a zoom from 1 to 1.5 with increments or decrements of 0.00005. That's (1.5-1) / 0.00005 steps for the zoom, which means I need two times this for the zoom + dezoom, which is 10'000*2 = 20'000.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;if(gte(zoom,1.5)+eq(ld(1),1)*gt(zoom,1),zoom-0.00005*st(1,1),zoom+0.00005+st(1,0))&lt;/code&gt; can be translated to the following pseudo-code:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;// '||' corresponds to a `+` and '&amp;amp;&amp;amp;' to a '*' &#xA;if zoom &amp;gt;= 1.5 || (isDezooming &amp;amp;&amp;amp; zoom &amp;gt; 1) {&#xA;  zoom-0.00005&#xA;  isDezooming = true // corresponds to '*st(1,1)'&#xA;} else {&#xA;  zoom+0.00005&#xA;  isDezooming = false // corresponds to '+st(1,0)'&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;where &lt;code&gt;isDezooming&lt;/code&gt; corresponds to the variable &lt;code&gt;1&lt;/code&gt; handled with the &lt;code&gt;ld(1)&lt;/code&gt; and &lt;code&gt;st(1,0)&lt;/code&gt; instructions. Here is the full &lt;a href=&quot;https://ffmpeg.org/ffmpeg-utils.html#Expression-Evaluation&quot; rel=&quot;nofollow noreferrer&quot;&gt;list of instruction&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="32279" LastActivityDate="2020-09-21T20:52:27.357" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32271" PostTypeId="1" CreationDate="2020-09-21T20:53:30.787" Score="1" ViewCount="435" Body="&lt;p&gt;In final cut pro x on catalina I have an audio clip and video clip on top of each other in the project.&lt;/p&gt;&#xA;&lt;p&gt;I am attempting to cut both at a specific point, corresponding to a transition in the song on the audio track, with the Blade tool. However, final cut is snapping my blade to the time grid and only allows me to cut these clips in one second increments.&lt;/p&gt;&#xA;&lt;p&gt;How can I use the blade to cut where ever I want regardless of the time grid?&lt;/p&gt;&#xA;&lt;p&gt;PS. if anyone knows how to set a BPM grid in FCPX that'd be swell. I tried BeatMark 2 but it doesn't run on my system (probably Catalina related).&lt;/p&gt;&#xA;" OwnerUserId="32280" LastActivityDate="2020-09-21T23:07:16.343" Title="Blade Tool Stuck on Grid in Final Cut" Tags="|final-cut-pro-x|timecode|music|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32272" PostTypeId="2" ParentId="32271" CreationDate="2020-09-21T22:58:23.593" Score="2" Body="&lt;p&gt;You can only cut in-between frames of your video clips.&lt;/p&gt;&#xA;&lt;p&gt;Videos have generally frame rates per second of 24 or 25, maybe 30. Sound files have typically a sample rate per second of 48000. So you could say you can cut a video e.g. 25 times per second and a sound file 48000 times.&lt;/p&gt;&#xA;&lt;p&gt;I usually cut to the nearest frame to the beat of the music. IMHO nobody can tell the difference of one or the other frame with a beat in between.&#xA;Try both versions and choose what feels the best.&lt;/p&gt;&#xA;&lt;p&gt;FCPX is not sound editor like logic pro or pro tools. BPM don't apply for FCPX, it's the frame rate of the timeline and clips used what matters more.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastEditorUserId="20675" LastEditDate="2020-09-21T23:07:16.343" LastActivityDate="2020-09-21T23:07:16.343" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32275" PostTypeId="2" ParentId="27926" CreationDate="2020-09-22T09:35:55.203" Score="0" Body="&lt;p&gt;Might be because you are exporting a stereo audio file which has one channel phase reversed, and then it is being played back in mono.&lt;/p&gt;&#xA;&lt;p&gt;If you have an identical signal going to the left and right channels, but one of them is phase reversed, it means the waveform is inverted (upside down). When you listen to either channel on its own, it will sound normal.  When you listen to them both in stereo (Left channel to left speaker, right channel to right speaker) you may notice it sounding odd. Some people describe it sounding like the location of the sound is &amp;quot;inside their head&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;But when you play back a stereo recording like this in mono (left channel and right channel both mixed togther to a single mono output) the signal will completely cancel itself out.&lt;/p&gt;&#xA;&lt;p&gt;If the two channels are &lt;em&gt;almost&lt;/em&gt; identical, but have tiny differences, only the differences will be audible.  This often happens with lossy file formats (like mp3/mp4 files), where the mono version of the phase reversed playback sounds tinny and lacking in all bass.&lt;/p&gt;&#xA;&lt;p&gt;To test it out, try adding a channel mixer effect to the master output of your mix, and inverting one channel. Then export again and see if it fixes it.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/qYHtN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qYHtN.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2023-02-21T09:11:33.630" LastActivityDate="2023-02-21T09:11:33.630" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32279" PostTypeId="2" ParentId="32262" CreationDate="2020-09-23T12:54:06.973" Score="1" Body="&lt;p&gt;This an older document (v15), but I believe that most of the Free v/s Paid feature list is still valid: &lt;a href=&quot;https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_15_Feature_Comparison.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_15_Feature_Comparison.pdf&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24155" LastActivityDate="2020-09-23T12:54:06.973" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32281" PostTypeId="1" CreationDate="2020-09-23T17:40:42.893" Score="0" ViewCount="358" Body="&lt;p&gt;I'm relatively new to both Resolve 14 and Android 10.&lt;/p&gt;&#xA;&lt;p&gt;I have a video on my computer and I wish to edit it in Resolve 14 so that it shows full-screen on my Android 10 phone using the Google Photos app.&lt;/p&gt;&#xA;&lt;p&gt;The video on my computer is 1280 x 720.  I wish to view it full-screen on my Android 10 phone.  I have gone into Resolve 14 project settings and set the project resolution to 720 x 1280.  I have also cropped the video.  The video in the preview looks the right shape but on my Android phone it's really small when viewed in Google Photos app.&lt;/p&gt;&#xA;&lt;p&gt;How can I edit the video in Resolve 14 so it plays back full-screen in Android 10 using Google Photos app?&lt;/p&gt;&#xA;" OwnerUserId="32302" LastActivityDate="2024-02-06T20:03:10.363" Title="How to make full-screen video in Android 10 with Resolve 14?" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32283" PostTypeId="2" ParentId="32080" CreationDate="2020-09-24T02:43:18.747" Score="1" Body="&lt;p&gt;record the audio separately AND on your camera.  Then in the editor, align the 2 AUDIO waveforms.  Play them back both together.  If you hear an echo then they are not exactly aligned.  After you have them aligned, then turn off the camrea audio and keep the audio you want.  Mark&lt;/p&gt;&#xA;" OwnerUserId="32308" LastActivityDate="2020-09-24T02:43:18.747" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32284" PostTypeId="1" CreationDate="2020-09-24T05:08:01.693" Score="0" ViewCount="14" Body="&lt;p&gt;I have a .mov file that has a black background but it’s not transparent. How do I change this file to make the black background transparent. Do I change the file in my editing software? If so how? I am using Adobe Premier Pro 2020.&lt;/p&gt;&#xA;" OwnerUserId="32309" LastActivityDate="2020-09-24T10:01:30.863" Title="Problems with lower thirds" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32287" PostTypeId="2" ParentId="32284" CreationDate="2020-09-24T09:55:55.297" Score="2" Body="&lt;p&gt;Assuming that your video file does not have an alpha channel (an extra channel of information in the video file that defines which bits of the video should be transparent):&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Place the text .mov on a layer in your sequence&lt;/li&gt;&#xA;&lt;li&gt;Select the clip&lt;/li&gt;&#xA;&lt;li&gt;Go to the Effect Controls for that clip&lt;/li&gt;&#xA;&lt;li&gt;Under the &amp;quot;opacity&amp;quot; heading, set the Blend Mode to Screen.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Anything black should now be transparent.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/N6eLe.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/N6eLe.jpg&quot; alt=&quot;screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you think your file does have an alpha channel, check that the alpha is set correctly in Premiere:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Right click on your clip in your project&lt;/li&gt;&#xA;&lt;li&gt;Choose Modify --&amp;gt; Interpret Footage&lt;/li&gt;&#xA;&lt;li&gt;Make sure the Alpha settings are set as shown:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GQEkk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GQEkk.png&quot; alt=&quot;screengrab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2020-09-24T10:01:30.863" LastActivityDate="2020-09-24T10:01:30.863" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32288" PostTypeId="2" ParentId="32281" CreationDate="2020-09-24T10:47:48.847" Score="0" Body="&lt;p&gt;You have to know the aspect ratio of your phone's screen. It might be for example called &amp;quot;18:9&amp;quot; which boils down to 2:1 and you have to define if you want to view it in panorama (upright/vertical) or landscape (horizontal).&#xA;Basically you look up your phone's display resolution and just divide the horizontal value by the vertical value.&lt;/p&gt;&#xA;&lt;p&gt;Your source video is 16:9 (1.777:1), which means, in terms of the upper example, that you will have to crop it somehow to get it full-screen on your phone. But first of all you have to set up your project to match somehow your desired aspect ratio. In terms of quality the best way would be to go not only for the aspect ratio of your phone screen but as well for the native resolution which could be 2880x1440 for our example.&lt;/p&gt;&#xA;&lt;p&gt;So one way would be, to set your timeline resolution to 2880x1440 and throw in your clip, scale (and crop) it, and export it in timeline resolution out of resolve.&#xA;The drawback for this is that your computer would have to handle this high resolution while its not really necessary because your clip is much smaller.&lt;/p&gt;&#xA;&lt;p&gt;To avoid this you could just go for the correct aspect ratio and stay resolution-wise close to your source footage. In this case, the scaling would be handled by your phone hardware when you go to full-screen mode while you keep your file small and bandwidth usage low.&#xA;You could for example set your timeline-resolution to 1280x640, this crops your source and gives it a 2:1 aspect ratio. If you watch this on your phone it should use the whole display when playing it full-screen.&lt;/p&gt;&#xA;" OwnerUserId="32300" LastActivityDate="2020-09-24T10:47:48.847" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32289" PostTypeId="1" CreationDate="2020-09-24T12:27:31.840" Score="0" ViewCount="208" Body="&lt;p&gt;I want to speed a video up by a 102.4% in final cut pro, is this possible?&lt;/p&gt;&#xA;" OwnerUserId="25594" LastActivityDate="2024-02-09T18:03:50.470" Title="Can i do decimal custom speeds in final cut pro?" Tags="|video|video-editor|final-cut-pro-x|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32292" PostTypeId="1" CreationDate="2020-09-25T08:47:34.887" Score="3" ViewCount="283" Body="&lt;p&gt;We are hiring videographers and we noticed that some of their videos have colors that appear extremely far away from accurate color reproduction as well as highly pixelated/grainy quality despite 1080p resolution. It reminds me of my old cellphone cameras where it has a low megapixel value and it would end up very grainy.&lt;/p&gt;&#xA;&lt;p&gt;It was most likely that they used wrong compression or a wrong file format or it because they had bad equipment to begin with. We are looking for professional quality videos similar to the one shown below where it has good color accuracy and the video looks HD with no flickering and pixels flying around:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=zCuBSUebt1Q&quot; rel=&quot;nofollow noreferrer&quot;&gt;Taste Show Video&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Budget constraints are taken into consideration as extremely high end camera equipment is probably too way off the budget. What we are looking for is a good enough camera that can reproduce quality similar to the sample video shown. It is very difficult to have an idea of which camera can produce quality videos given there are a lot of options in the market and first hand experience is needed to tell if it is good or not. But there may be a criteria that video production people look for to know which equipment can produce quality videos.&lt;/p&gt;&#xA;" OwnerUserId="24934" LastActivityDate="2020-09-25T11:13:46.537" Title="What is the minimum camera requirements to create professional quality videos?" Tags="|camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32293" PostTypeId="2" ParentId="32292" CreationDate="2020-09-25T11:13:46.537" Score="4" Body="&lt;p&gt;The camera only plays a part in what makes a good, clean image. The most important parts are Lighting, Lenses and Knowledge of the person operating the camera.&lt;/p&gt;&#xA;&lt;p&gt;If you film in a dark location and have to crank up the iso, you will get noisy images even with a 20k$ camera. If you have proper lighting and use a low iso, a 1k$ camera can look really clean.&lt;/p&gt;&#xA;&lt;p&gt;I understand that you are looking for DOPs to work for you. If their reel leaves a good impression, ask then which camera they used and what gear they would recommend to shoot your project. Many social-media clips are shot with cameras such as the Sony FS7 or even the Pocket Cinema Camera in some cases. These are relatively affordable cameras (compared to feature-film equipment) and are certainly capable of creating images such as the ones you posted.&lt;/p&gt;&#xA;&lt;p&gt;Don't be cheap on lenses as well. A 20k$ camera will look worse with a 50$ lens, compared to a 2k$ camera with a 750$ lens.&lt;/p&gt;&#xA;&lt;p&gt;Usually, it's the DOPs job to recommend and pick out the equipment they use. If they insist on 20k$ worth of gear and claim that a slick production is impossible otherwise, maybe look around some more. However, do listen to their reasons when they recommend expensive gear as it might actually be reasonable and in your favour.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-09-25T11:13:46.537" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32297" PostTypeId="1" AcceptedAnswerId="32347" CreationDate="2020-09-25T19:53:45.910" Score="5" ViewCount="3495" Body="&lt;h2&gt;Summary&lt;/h2&gt;&#xA;&lt;p&gt;Given a partially completed encode that:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Was encoded using h264 in the Matroska container&lt;/li&gt;&#xA;&lt;li&gt;Was cut short by manually stopping FFmpeg by typing 'q' in the console&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;...what are the ways to resume encoding this file, preferably by appending the extant file?&lt;/p&gt;&#xA;&lt;h2&gt;Details&lt;/h2&gt;&#xA;&lt;p&gt;I have some large encoding projects that I do that can take up to a week of encoding in some cases. In ideal circumstances, the computer doing the encoding can stay on, uninterrupted and left to do the work. In realistic situations though, sometimes that computer needs to stop encoding and be shut off or restarted for a multitude of reasons. Because of this, I'm looking for a way to make encoding using FFmpeg on that computer more &amp;quot;bullet-proof&amp;quot; by anticipating possible interruptions and having a way to use FFmpeg by itself to pick up where it left off later.&lt;/p&gt;&#xA;&lt;h2&gt;What I'm Doing Now&lt;/h2&gt;&#xA;&lt;p&gt;When this happens, I recover what I can of the encoded file, examine it in video editing software, find a good splicing point, then use AviSynth to create a script that will start encoding a new segment where the previous one left off. I then use other software to trim the existing encode so that the splice will be seamless, then use FFmpeg's demuxer to combine the individual h264 segments later into a completed file.&lt;/p&gt;&#xA;&lt;p&gt;This is all a lot of manual work that can be very slow that I'd like to avoid if there exists a more automated solution.&lt;/p&gt;&#xA;&lt;h2&gt;Ideas&lt;/h2&gt;&#xA;&lt;p&gt;&lt;strong&gt;Segmenting:&lt;/strong&gt; This seems like the most promising solution, but there are gaps I'm not sure how to fill. &lt;a href=&quot;https://video.stackexchange.com/a/17062/32333&quot;&gt;This answer&lt;/a&gt; seems to cover a lot of it. You can tell FFmpeg to output segments, broken up at I-Frames at rough intervals, that can be remuxed later. What I don't know from looking at that answer and at &lt;a href=&quot;https://www.ffmpeg.org/ffmpeg-formats.html#segment_002c-stream_005fsegment_002c-ssegment&quot; rel=&quot;noreferrer&quot;&gt;FFmpeg's documentation&lt;/a&gt; is how I would start encoding again at a specific segment. It seems like there might be a way to give FFmpeg a file that tells it where each segment should start via frame or timecode, but how do I make it start somewhere in the middle of that list?&lt;/p&gt;&#xA;&lt;p&gt;This option is not ideal, however, in that I will need to effectively have double the space of the resultant encode (which will frequently be in the 100s of gigabytes in size) available since I will need to mux the segments into a single file. It would be nice if I could somehow cleanly cut off an ongoing encode and have FFmpeg reopen that file and continue where it left off.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Virtual Machines:&lt;/strong&gt; This has the potential to work since I could just freeze the machine's state before a restart, but all of my encoding space exists on network-attached storage, which I'm not sure will work in the context of a virtual machine being suspended and resumed, since the VM doesn't actually control the drives.&lt;/p&gt;&#xA;" OwnerUserId="32333" LastActivityDate="2024-01-26T23:26:47.523" Title="Resuming a partially-completed encode with FFmpeg" Tags="|ffmpeg|encoding|h.264|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32299" PostTypeId="2" ParentId="29499" CreationDate="2020-09-25T22:00:49.673" Score="1" Body="&lt;p&gt;Presuming you are talking about the Watermark2 filter, the &lt;a href=&quot;http://avisynth.nl/index.php/Watermark2&quot; rel=&quot;nofollow noreferrer&quot;&gt;AviSynth wiki page for the filter&lt;/a&gt; has for download a 64-bit, AviSynth+ version of the filter.&lt;/p&gt;&#xA;" OwnerUserId="32333" LastActivityDate="2020-09-25T22:00:49.673" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32300" PostTypeId="2" ParentId="29497" CreationDate="2020-09-25T22:05:18.453" Score="2" Body="&lt;p&gt;To use newlines in the built-in Subtitle filter, you must specify the &lt;code&gt;lsp&lt;/code&gt; (linespacing) argument:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;subtitle(&amp;quot;First line\nNext line\nLast line&amp;quot;, lsp=12)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;See &lt;a href=&quot;http://avisynth.nl/index.php/Subtitle&quot; rel=&quot;nofollow noreferrer&quot;&gt;the Subtitle wiki page&lt;/a&gt; for more info on the argument.&lt;/p&gt;&#xA;" OwnerUserId="32333" LastActivityDate="2020-09-25T22:05:18.453" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32301" PostTypeId="2" ParentId="29505" CreationDate="2020-09-25T22:45:34.747" Score="2" Body="&lt;pre&gt;&lt;code&gt;function SegmentedDissolve(string base, int first_val, int last_val, string format, int dissolve_length ){&#xA;    filename = base + string(first_val, format) + &amp;quot;.MOV&amp;quot;&#xA;    result = FFMS2(filename)&#xA;    return (first_val &amp;lt; last_val) \&#xA;        ? Dissolve(result, SegmentedDissolve(base, first_val+1, last_val, format, dissolve_length), dissolve_length) \&#xA;        : result&#xA;}&#xA;&#xA;SegmentedDissolve(&amp;quot;F:\_DSC&amp;quot;, 1, 9, &amp;quot;%03.0f&amp;quot;, 50).Trim(3600, yyy).FadeIn(100).FadeOut(100)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You would need to figure out what value &lt;code&gt;yyy&lt;/code&gt; needs to be for the concatenated clip. If the first clip needs to be trimmed on both sides, then the first clip should not be included in the function (start &lt;code&gt;first_val&lt;/code&gt; at 2), and instead get loaded, processed, and concatenated manually.&lt;/p&gt;&#xA;&lt;p&gt;As a note, the FFMS2 function also loads up any audio found in the specified clip, so you do not need to dub it unless you are doing processing on it first.&lt;/p&gt;&#xA;" OwnerUserId="32333" LastActivityDate="2020-09-25T22:45:34.747" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32304" PostTypeId="1" CreationDate="2020-09-26T09:49:10.193" Score="0" ViewCount="341" Body="&lt;p&gt;I am trying to trim many smaller videos out of one big video. I have watched the entire big video using VLC and noted the time index where each video stops and starts.&lt;/p&gt;&#xA;&lt;p&gt;Next, I use ffmpeg to trim each small video:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -ss 00:43:58 -i big_video.mp4 -v copy -t 1:00 small_video.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;While the duration for each video is correct, the start time is off by about a minute. Note this is not the issue where ffmpeg starts at the nearest keyframe. If I manually compensate the start time, the clip is trimmed correctly.&lt;/p&gt;&#xA;&lt;p&gt;If I use ffplay as follows to skip to the starting point in the video, it also starts about one minute ahead:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffplay -ss 00:44:58 big_video.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I then verified my timestamps in VLC, and they are correct. It seems that there is some sort of difference between how VLC and ffmpeg seek in the index? Or maybe even that the index is corrupted in some way. How can I fix this?&lt;/p&gt;&#xA;" OwnerUserId="26494" LastActivityDate="2020-09-26T09:49:10.193" Title="ffmpeg or ffplay time index not matching with VLC" Tags="|ffmpeg|timecode|vlc|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32306" PostTypeId="1" CreationDate="2020-09-26T12:44:48.313" Score="1" ViewCount="15" Body="&lt;p&gt;I have a bunch of videos from games caputured with NVidia's Share.&#xA;They are trimmed using VLC.&lt;/p&gt;&#xA;&lt;p&gt;I have one video that is 1 minute and 38 seconds long (a lot longer then the others). If I play it in VLC the sound is in sync, If I play it with Blender, windows media player or Shotcut then the sound is out of sync.&lt;/p&gt;&#xA;&lt;p&gt;I tried to convert the video from VLC to other formats, but either I end up with 2kb files, or the sound is still out of sync in other software. So far I wasted 3 hours on this. Can someone with more experience help me with advice on what to try next?&lt;/p&gt;&#xA;" OwnerUserId="32342" LastActivityDate="2020-09-26T12:44:48.313" Title="Seeking for advice with dealing with out of sync audio" Tags="|video|audio|sync|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32307" PostTypeId="1" CreationDate="2020-09-26T15:44:44.083" Score="0" ViewCount="67" Body="&lt;p&gt;I'm studying on video processing/encoding and doing so I started looking source code of some popular related tools. And all of them has some reference to &amp;quot;Sample&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;For example an arbitrary code has the following lines&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;processor::readSample()&lt;/code&gt; &lt;code&gt;peocessor::sampleRate() &lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now when I Google search I get fully irrelevant results.&lt;/p&gt;&#xA;&lt;p&gt;Can you explain what exactly  &amp;quot;Sample&amp;quot; means? (It certainly is not a demo/test video file type thing)&lt;/p&gt;&#xA;" OwnerUserId="32345" LastActivityDate="2021-07-24T17:07:10.700" Title="What exactly is a &quot;sample&quot; in audio/video context?" Tags="|encoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32310" PostTypeId="2" ParentId="32307" CreationDate="2020-09-27T02:11:49.383" Score="-1" Body="&lt;p&gt;It depends on the context. For video, it’s usually one frame. But very rarely could mean one pixel. For audio, it most often a single number that represents the instantaneous power value in the wav. Audio sample rate is the number of samples per seconds. I.e. 48000, meaning 48000 numbers are needed to play back one second of one channel of audio. Audio samples are usually 16 bit integers, or 32 bit floats, but really could be anything.&lt;/p&gt;&#xA;&lt;p&gt;Open an audio file in audacity, and you can see every sample.&lt;/p&gt;&#xA;&lt;p&gt;But sometimes (for example in mp4) a sample may refer to an audio “frame”. An audio frame in this context is more that one audio sample compressed into a packet. The number of samples per frame is dependent on the codec (aac is 1024 for example)&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2020-09-27T02:11:49.383" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32311" PostTypeId="2" ParentId="32289" CreationDate="2020-09-27T10:52:01.570" Score="0" Body="&lt;p&gt;Yes...&#xA;Select the clip you want to speed up. Then hit Command-R (or “Modify” &amp;gt; “Retime” in the Menu bar) and the clip will get a green retime bar on top. Click in the little arrow down next to the percentage and choose “Custom” (or “Custom Speed” in the Menu bar).&#xA;Lastly enter your desired percentage or duration.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2020-09-27T10:52:01.570" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32312" PostTypeId="2" ParentId="24210" CreationDate="2020-09-28T02:01:50.420" Score="3" Body="&lt;p&gt;The VMAF models are actually trained by humans who rated the quality on a 1-5 point scale, watching the movie either on an 1080p screen from 3x screen height away, or on a 4k screen from 1.5x screen height away. This rating is mapped to VMAF scores 0, 20, 40, 60, and 80, while 100 is when they compare the source video to itself. Your score of 94.240835 is somewhere between what humans rated the highest and lossless.&lt;/p&gt;&#xA;&lt;p&gt;The VIF scores refer to &lt;a href=&quot;https://en.wikipedia.org/wiki/Visual_Information_Fidelity&quot; rel=&quot;nofollow noreferrer&quot;&gt;Visual Information Fidelity&lt;/a&gt; but I don't know what the scale numbers mean there. Don't know about adm2 or motion2 scores.&lt;/p&gt;&#xA;" OwnerUserId="32358" LastActivityDate="2020-09-28T02:01:50.420" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32313" PostTypeId="1" CreationDate="2020-09-28T07:53:04.277" Score="1" ViewCount="27" Body="&lt;p&gt;The requirements:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Turn 250 images and videos into a video clip&lt;/li&gt;&#xA;&lt;li&gt;The process should be as automatic as possible. Drag the resources, select background music. Tadam!&lt;/li&gt;&#xA;&lt;li&gt;Should be possible to make some adjustments to the clip (trim videos, change the duration of display etc.)&lt;/li&gt;&#xA;&lt;li&gt;When a video is used, the sound should be of the video and not of the background music.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I have been searching the web for such a tool. At the moment, the best thing I found was Windows' &amp;quot;Video Editor&amp;quot; that holds true for the first 3 items in the requirements list. But not for the fourth one: I still can't find a way to mute the background music when a video is played.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is this the right tool for that?&lt;/li&gt;&#xA;&lt;li&gt;Is there an option to do it with &amp;quot;Video Editor&amp;quot;&lt;/li&gt;&#xA;&lt;li&gt;Is there a more recommended program?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="32360" LastActivityDate="2020-09-28T20:07:48.023" Title="A program for Windows 10 to turn photos and videos into a birthday clip" Tags="|video-editor|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32314" PostTypeId="1" CreationDate="2020-09-28T14:39:51.337" Score="2" ViewCount="1609" Body="&lt;p&gt;I used Adobe Premiere Pro in editing a Zoom webinar video, I noticed that after editing and exporting it, the resulting file size of the output file appeared blurry compared to the original. The file has been captured with the zoom screen recorded, video duration is about 1 hour 45 minutes. I did the edit using a Windows 10 OS.&lt;/p&gt;&#xA;&lt;p&gt;Here are the properties of the input:&#xA;720x480 (1.2121), 29.97 fps. Lower, 48000Hz, Stereo&lt;/p&gt;&#xA;&lt;p&gt;Here are the properties of the Output:&#xA;768x480, 29.97fps, Progressive VBR, 1 pass, Target 0.24 Mbpd. Max 0.24 Mbps AAC, 96 kbps, 48 kHz, Mono&lt;/p&gt;&#xA;&lt;p&gt;How do I export my zoom webinar video out of Adobe Premiere Pro and still preserve the original quality?&lt;/p&gt;&#xA;&lt;p&gt;My editing settings were: H.264 format with the Match Source preset. . Change the profile to High and the level to 5.2. I ticked Maximum Render Quality and also Render at Maximum Depth. Disable the aspect ratio link next to the dimensions and maintained the dimensions at 720 by 480 for 29.97 fps.&lt;/p&gt;&#xA;&lt;p&gt;Here is a screenshot of the original footage:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/rpmnH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rpmnH.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And here is screenshot of the footage after edit and export:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/NBWGQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NBWGQ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32361" LastEditorUserId="32361" LastEditDate="2020-09-28T14:45:39.180" LastActivityDate="2020-09-29T07:40:58.817" Title="How to output high quality Zoom webinar video after editing with Premiere Pro?" Tags="|editing|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32315" PostTypeId="1" CreationDate="2020-09-28T19:14:01.910" Score="2" ViewCount="300" Body="&lt;p&gt;I have footage shot from a helicopter and I would like to remove the rotor blades. Since the blades are so fast it seems feasible to use the pixel values from the next frame (usually the sky) wherever the rotor appears. So logically, whichever pixel is brighter in frame N and N+1 should be the one to use. I'm using ffmpeg to attempt this and I've tried using &amp;quot;addition&amp;quot; and &amp;quot;Lighten&amp;quot; but the blades are still visible. Lighten does reduce the blades, but I'd really like them to vanish completely.&lt;/p&gt;&#xA;&lt;p&gt;I've tried using and expression to select the brighter of the two pixels, but it's not giving the results I expected.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex &amp;quot;[0:v]format=yuva420p,tblend=all_expr='if(gt(A,B),A,B)'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The result is not perfect, at least not what I'm expecting. I can see a sort of bluish tinge where the shadow has been replaced, but its not the same colour as the pixels I'm expecting. I'm guessing it might be something to do with how the chroma and luma planes are stored, but the blend function doesn't give you that level of detail. There is also a lut2 command, but that doesn't really look like it would work for this.&lt;/p&gt;&#xA;&lt;p&gt;If my basic idea correct, or have I overlooked something?&lt;/p&gt;&#xA;" OwnerUserId="32366" LastActivityDate="2020-09-28T19:14:01.910" Title="How to perform a &quot;lighten only&quot; operation in ffmpeg for prop flicker removal" Tags="|ffmpeg|filter|mixing|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32316" PostTypeId="2" ParentId="32313" CreationDate="2020-09-28T20:07:48.023" Score="1" Body="&lt;p&gt;At the time of writing (Sep 2020), it looks like Video Editor does not provide &amp;quot;audio ducking&amp;quot; for videos with audio. As a workaround, you could use &lt;strong&gt;Custom audio&lt;/strong&gt; (button next to &lt;strong&gt;Background music&lt;/strong&gt;) and trim the music around video clips. From &lt;a href=&quot;https://answers.microsoft.com/en-us/windows/forum/all/fade-out-video-and-music-in-microsoft-photo-app/3cee28f1-e921-4629-b5f0-c744f5150e6d&quot; rel=&quot;nofollow noreferrer&quot;&gt;this thread on Microsoft Community&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;The Video Editor does not currently have an audio ducking feature as you describe. Here are two potential workarounds:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Make the background music quieter throughout so your speaking can be heard&lt;/li&gt;&#xA;&lt;li&gt;Use Custom Audio to add the same piece of music several times. You can trim very precisely by selecting a card on the storyboard to move your playhead, and then back in Custom Audio, drag the music trim handle to snap to the playhead location. Once you have the music in segments you can control the volume of each individually.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wzJAI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wzJAI.png&quot; alt=&quot;custom audio trim&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Unfortunately, if you have hundreds of clips, this may be very tedious work.&lt;/p&gt;&#xA;" OwnerUserId="32367" LastActivityDate="2020-09-28T20:07:48.023" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32317" PostTypeId="1" CreationDate="2020-09-28T20:30:22.033" Score="3" ViewCount="1867" Body="&lt;p&gt;I am working on a video for the web only.&#xA;It is going to be on a webpage (never on broadcast), delivered as an h264 file.&#xA;The web page background is hex code FFF1E5 (RGB 255, 241, 229).&#xA;My background colour in After Effects is a solid with colour FFF1E5.&#xA;How do I generate an h264 video file with a background &lt;em&gt;precisely&lt;/em&gt; this colour.&#xA;Not a little bit off. Exactly this colour.&#xA;Because I've tried adjusting colour Working Space in Project Settings until I'm 0000FF in the face...&lt;/p&gt;&#xA;&lt;p&gt;The link supplied in the highest rated answer &lt;a href=&quot;https://video.stackexchange.com/questions/10305/upon-export-in-premiere-pro-colors-lose-saturation-when-previewing-in-quicktime/10336#10336&quot;&gt;in this similar question&lt;/a&gt; is broken.&lt;/p&gt;&#xA;&lt;p&gt;My usual workflow is:&lt;/p&gt;&#xA;&lt;p&gt;export as ProRes 422 (or 4444 - same problem) from After Effects CC2020&lt;/p&gt;&#xA;&lt;p&gt;Convert to h264 in Media Encoder CC2020&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cLHMI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cLHMI.png&quot; alt=&quot;screengrab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-08-06T09:05:13.000" LastActivityDate="2022-08-06T09:05:13.000" Title="How to manage colour in After Effects to get precisely a desired colour in h264 output" Tags="|after-effects|h.264|color|colorspace|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="32318" PostTypeId="1" AcceptedAnswerId="32322" CreationDate="2020-09-28T22:04:09.247" Score="2" ViewCount="40" Body="&lt;p&gt;I'm not able to find that specific function when I'm in the keyboard shortcuts menu, leading me to believe it's not possible. I'm hoping someone on here knows more than me about it! I'm on MacOS, if it's relevant. Thanks in advance.&lt;/p&gt;&#xA;&lt;p&gt;Cheers!&lt;/p&gt;&#xA;" OwnerUserId="25645" LastActivityDate="2020-09-29T07:48:18.180" Title="In Premiere Pro, is it possible to link the &quot;Create new black video&quot; function to a quick key?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32319" PostTypeId="2" ParentId="29192" CreationDate="2020-09-29T00:47:49.263" Score="0" Body="&lt;p&gt;Pixels are &lt;a href=&quot;https://en.wikipedia.org/wiki/Pixel_aspect_ratio&quot; rel=&quot;nofollow noreferrer&quot;&gt;not necessarily square&lt;/a&gt;, they are rectangular. For example, both &amp;quot;standard&amp;quot; and &amp;quot;widescreen&amp;quot; formats on DVD have the same frame size in pixels, but widescreen pixels are wider. To complicate the matters, out of 720x480 frame only the 704x480 portion is expected to have content, and it is this portion that should have required display aspect ratio (DAR). In case of old-school &amp;quot;standard&amp;quot; TV it would be 4/3, it case of modern widescreen TV it would be 16/9.&lt;/p&gt;&#xA;&lt;p&gt;Depending whether you need &amp;quot;standard&amp;quot; or &amp;quot;widescreen&amp;quot; format, pixels may be narror (PAR 0.9 for &amp;quot;standard&amp;quot;) or wide (PAR 1.21 for &amp;quot;widescreen&amp;quot;).&lt;/p&gt;&#xA;&lt;p&gt;Super 8 has DAR about 1.36, so when the video is displayed correctly in a 1.33 frame, you should see thin black bars on top and bottom. But really, it is so close to 1.33 that you may want to scale it to full frame.&lt;/p&gt;&#xA;&lt;p&gt;If you see your video shown wider than it should be, then either the video is missing PAR information, or the video player does not process PAR information properly, or both.&lt;/p&gt;&#xA;" OwnerUserId="22079" LastActivityDate="2020-09-29T00:47:49.263" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32320" PostTypeId="2" ParentId="29195" CreationDate="2020-09-29T06:33:21.420" Score="1" Body="&lt;p&gt;I've seen this question asked a few times here, see &lt;a href=&quot;https://video.stackexchange.com/questions/32172/best-export-settings-for-still-image-with-audio/32177#32177&quot;&gt;Best export settings for still image with audio&lt;/a&gt; and also &lt;a href=&quot;https://video.stackexchange.com/questions/30128/upload-edited-video-to-youtube/30130#30130&quot;&gt;Upload edited video to YouTube&lt;/a&gt; - I suspect it has been asked other times as well.&lt;/p&gt;&#xA;&lt;p&gt;Most of the end-user / commercially available encoders require a &amp;quot;broadcast&amp;quot; standard frame rate (25fps/30fps/etc), and the outputting of all those frames ramps up the file size. Some online services seem to be using variable frame rate (VFR) encoders (see Facebook, referenced in the &amp;quot;edited video to YouTube&amp;quot; link above), which just encode the still frames each time they change (sometimes with minutes between each new frame), and drastically reduce the file sizes. If anyone knows of such an encoder being available to the general public, that is the answer to all of these questions - I'm yet to find one.&lt;/p&gt;&#xA;&lt;p&gt;Without a VFR encoder, you're stuck with one of the generally available codecs like H.264, where all you can really do is just push the compression as hard as you can before the image turns to rubbish, but you're still going to get quite large files out of it.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-09-29T06:33:21.420" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32321" PostTypeId="2" ParentId="32314" CreationDate="2020-09-29T07:40:58.817" Score="2" Body="&lt;p&gt;The reason why your video is blurry is because of your target bitrate, which is 0.24 mbps. (I assume you meant mbps instead of mbpd). Raising this value to a target of 4 and a maximum of 6 should give you a significantly better result. It will also increase your filesize, however. I am assuming that the video might be between 200 and 300 MB.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-09-29T07:40:58.817" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32322" PostTypeId="2" ParentId="32318" CreationDate="2020-09-29T07:48:18.180" Score="2" Body="&lt;p&gt;Hotkeys inside premiere are only available if they appear in the shortcut-list. However, you might be able to use an external program such as &lt;a href=&quot;https://www.macrorecorder.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;macro recorder&lt;/a&gt; to bind certain actions to a custom button / button-combination.&lt;/p&gt;&#xA;&lt;p&gt;(i do not own macro-recorder btw and have not tried it for myself. I only heard that it works well with premiere.)&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-09-29T07:48:18.180" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32323" PostTypeId="1" CreationDate="2020-09-29T08:45:11.237" Score="2" ViewCount="921" Body="&lt;p&gt;I'm trying to decode a video into its frames with the following code:&lt;/p&gt;&#xA;&lt;p&gt;`&lt;/p&gt;&#xA;&lt;h1&gt;Decode the video into 30 fps frames with ffmpeg&lt;/h1&gt;&#xA;&lt;pre&gt;&lt;code&gt;  check_call(['ffmpeg', '-i', 'file:'+clip_name+'.mp4', '-vf', 'fps=30', 'frame_%06d.jpg'])&#xA;&#xA;  # Create a directory for this clip&#xA;  check_call(['mkdir', '-p', clip_out_dir])&#xA;&#xA;  # Move the results to the output directory&#xA;  for jpg in glob.glob('*.jpg'):&#xA;    check_call(['mv', jpg, clip_out_dir])`&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, it is not working. How can I fix this? This is the output I get:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.3.1 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 10.2.0 (GCC)&#xA;  configuration: --prefix=/usr --libdir=/usr/lib/x86_64-linux-gnu --disable-debug --disable-doc --disable-static --enable-optimizations --enable-shared --disable-everything --enable-ffplay --enable-ffprobe --enable-gnutls --enable-libaom --enable-libdav1d --enable-libfdk-aac --enable-libmp3lame --enable-libfontconfig --enable-libfreetype --enable-libopus --enable-libpulse --enable-libspeex --enable-libtheora --enable-libvorbis --enable-libvpx --enable-libwebp --enable-openal --enable-opengl --enable-sdl2 --enable-vulkan --enable-zlib --enable-libv4l2 --enable-libxcb --enable-vdpau --enable-vaapi --enable-encoder='ac3,alac,flac,libfdk_aac,g723_1,mp2,libmp3lame,libopus,libspeex,pcm_alaw,pcm_mulaw,pcm_f32le,pcm_s16be,pcm_s24be,pcm_s16le,pcm_s24le,pcm_s32le,pcm_u8,tta,libvorbis,wavpack,' --enable-encoder='ass,ffv1,libaom_av1,libvpx_vp8,libvpx_vp9,mjpeg_vaapi,rawvideo,theora,vp8_vaapi,libopenh264' --enable-decoder='adpcm_g722ac3,alac,flac,g723_1,g729,libfdk_aac,libopus,libspeex,mp2,mp3,m4a,pcm_alaw,pcm_mulaw,pcm_f16le,pcm_f24le,pcm_f32be,pcm_f32le,pcm_f64be,pcm_f64le,pcm_s16be,pcm_s16be_planar,pcm_s24be,pcm_s16le,pcm_s16le_planar,pcm_s24le,pcm_s24le_planar,pcm_s32le,pcm_s32le_planar,pcm_s64be,pcm_s64le,pcm_s8,pcm_s8_planar,pcm_u8,pcm_u24be,pcm_u24le,pcm_u32be,pcm_u32be,tta,vorbis,wavpack,' --enable-decoder='ass,ffv1,mjpeg,mjpegb,libaom_av1,libdav1d,libvpx_vp8,libvpx_vp9,rawvideo,theora,vp8,vp9,libopenh264' --enable-encoder='bmp,gif,jpegls,png,tiff,webp,' --enable-decoder='bmp,gif,jpegls,png,tiff,webp,' --enable-hwaccel='vp8_vaapi,mjpeg_vaapi,' --enable-parser='aac,ac3,flac,mjpeg,mpegaudio,mpeg4video,opus,vp3,vp8,vp9,vorbis,' --enable-muxer='ac3,ass,flac,g722,gif,matroska,mp3,mpegvideo,rtp,ogg,opus,pcm_s16be,pcm_s16le,wav,webm,' --enable-demuxer='aac,ac3,ass,flac,g722,gif,image_jpeg_pipe,image_png_pipe,image_webp_pipe,matroska,mjpeg,mov,mp3,mpegvideo,ogg,pcm_mulaw,pcm_alaw,pcm_s16be,pcm_s16le,rtp,wav,' --enable-filter='crop,scale,overlay,amix,amerge,aresample,format,aformat,fps,transpose,pad,' --enable-protocol='crypto,file,pipe,rtp,srtp,rtsp,tcp,udp,unix,' --arch=x86_64 --enable-libopenh264&#xA;&#xA;  libavutil      56. 51.100 / 56. 51.100&#xA;  libavcodec     58. 91.100 / 58. 91.100&#xA;  libavformat    58. 45.100 / 58. 45.100&#xA;  libavdevice    58. 10.100 / 58. 10.100&#xA;  libavfilter     7. 85.100 /  7. 85.100&#xA;  libswscale      5.  7.100 /  5.  7.100&#xA;  libswresample   3.  7.100 /  3.  7.100&#xA;&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'file:/home/emely/Data/yt_bb_videos/yt_bb_detection_validation/vcALsxetYU4_temp.mp4':&#xA;&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isomavc1mp42&#xA;    creation_time   : 2009-06-04T17:08:04.000000Z&#xA;  Duration: 00:10:00.44, start: 0.000000, bitrate: 451 kb/s&#xA;    Stream #0:0(und): Audio: aac (mp4a / 0x6134706D), 44100 Hz, stereo, s16, 125 kb/s (default)&#xA;&#xA;    Metadata:&#xA;      creation_time   : 2009-06-04T17:08:04.000000Z&#xA;      handler_name    : (C) 2007 Google Inc. v08.13.2007.&#xA;    Stream #0:1(und): Video: h264 (Baseline) (avc1 / 0x31637661), yuv420p, 384x288, 323 kb/s, 25 fps, 25 tbr, 24998 tbn, 24998 tbc (default)&#xA;&#xA;    Metadata:&#xA;      creation_time   : 2009-06-04T17:08:04.000000Z&#xA;      handler_name    : (C) 2007 Google Inc. v08.13.2007.&#xA;&#xA;[NULL @ 0x5634538337c0] Unable to find a suitable output format for 'frame_%06d.jpg'&#xA;frame_%06d.jpg: Invalid argument&#xA;&#xA;Traceback (most recent call last):&#xA;  File &amp;quot;decode.py&amp;quot;, line 84, in &amp;lt;module&amp;gt;&#xA;    decode(*sys.argv[1:])&#xA;  File &amp;quot;decode.py&amp;quot;, line 70, in decode&#xA;    check_call(['ffmpeg', '-i', 'file:'+clip_name+'.mp4', '-vf', 'fps=30', 'frame_%06d.jpg'])&#xA;  File &amp;quot;/usr/lib/python3.8/subprocess.py&amp;quot;, line 364, in check_call&#xA;    raise CalledProcessError(retcode, cmd)&#xA;subprocess.CalledProcessError: Command '['ffmpeg', '-i', 'file:/home/emely/Data/yt_bb_videos/yt_bb_detection_validation/vcALsxetYU4_temp.mp4', '-vf', 'fps=30', 'frame_%06d.jpg']' returned non-zero exit status 1. ```&#xA;&#xA;&#xA;Thx in advance!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32370" LastActivityDate="2020-09-29T13:12:36.417" Title="Why doesn't FFMPEG output frames as jpg? How can I fix my code?" Tags="|video|ffmpeg|decoding|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32324" PostTypeId="2" ParentId="32317" CreationDate="2020-09-29T12:30:51.597" Score="1" Body="&lt;p&gt;Since I cannot use hyperlinks in comments, here is the gist of my research:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2T9NL.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;This answer&lt;/a&gt; on a &lt;a href=&quot;https://www.reddit.com/r/editors/comments/3446nr/has_anyone_solved_the_color_shift_when_rendering/&quot; rel=&quot;nofollow noreferrer&quot;&gt;reddit post&lt;/a&gt; suggests, that the reason for the color-shift is the way illegal and legal colors are handled. So maybe the &amp;quot;broadcast colors&amp;quot; effect can help limit the color-range to the legal range? I'd recommend giving that a quick shot.&lt;/p&gt;&#xA;&lt;p&gt;If that doesn't work, it should certainly do the trick to use Resolve and select video-levels instead of data-levels and encode the 4444 to h264 from there.&#xA;Please do report back and good luck!&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-09-29T12:30:51.597" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32325" PostTypeId="2" ParentId="32323" CreationDate="2020-09-29T13:12:36.417" Score="1" Body="&lt;p&gt;Your build doesn't have the &lt;code&gt;image2&lt;/code&gt; muxer enabled, which is required for image sequences.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-09-29T13:12:36.417" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32326" PostTypeId="2" ParentId="32241" CreationDate="2020-09-29T22:39:54.717" Score="0" Body="&lt;p&gt;It seems in my experience that render garden is only helpful when you have a network or farm of machines that you can distribute the render to. If you have only a single machine, I'd say BG Render is your best bet. If you have a farm, Render Garden is better. But, either one will speed up your render since both take advantage of multi threading that after effects' render doesn't seem to use/like natively...&lt;/p&gt;&#xA;" OwnerUserId="32376" LastActivityDate="2020-09-29T22:39:54.717" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32330" PostTypeId="1" CreationDate="2020-09-30T11:19:31.347" Score="1" ViewCount="401" Body="&lt;p&gt;As SkypeforLinux has no NDI support, I decided to split the work between two computers. A windows laptop to manage Skype videochatting with NDI support and a Archlinux PC with OBS and the obs-ndi plugin.&lt;/p&gt;&#xA;&lt;p&gt;Both computers are wired to the same LAN. I have tried it with a third Windows Laptop with OBS installed, and it finds de ndi sources (form the other laptop Skype) without problems.&lt;/p&gt;&#xA;&lt;p&gt;But when I try it with the Archlinux PC (no errors of any kind in the log,  ndi initialized succesfully), no ndi sources are available in Source Name.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/gqFRI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gqFRI.png&quot; alt=&quot;OBS screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Any clue?&lt;/p&gt;&#xA;" OwnerUserId="32383" LastActivityDate="2020-09-30T11:19:31.347" Title="OBS in Linux can't find NDI sources from other PC running Skype in Windows" Tags="|linux|obs|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32331" PostTypeId="2" ParentId="17061" CreationDate="2020-09-30T12:49:19.633" Score="1" Body="&lt;p&gt;Places windows in hibernate will pause the job if you need to shut down your machine for awhile.&lt;/p&gt;&#xA;" OwnerUserId="32384" LastActivityDate="2020-09-30T12:49:19.633" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32332" PostTypeId="2" ParentId="12840" CreationDate="2020-09-30T15:05:49.947" Score="0" Body="&lt;p&gt;The Sony a7c, FX9, RX0, a7siii and ZV-1 put the gyro data in metadata.  Sony provides free software (Sony Catalyst) to use the gyro data to stabilize video in post where you can choose how much of the frame is cropped for stabilization.&lt;/p&gt;&#xA;" OwnerUserId="32386" LastActivityDate="2020-09-30T15:05:49.947" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32333" PostTypeId="1" CreationDate="2020-09-30T15:23:41.623" Score="1" ViewCount="94" Body="&lt;p&gt;I was send a premiere project with all the raw-footage. It also included premiere preview-files.&#xA;When I open up the sequence, the program shows &amp;quot;media pending&amp;quot; forever. &amp;quot;Easy enough, I probably know why&amp;quot; - I thought. However, I tried pretty much everything, including:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Clearing the entire cache&lt;/li&gt;&#xA;&lt;li&gt;Clearing the preview-files that came with the project&lt;/li&gt;&#xA;&lt;li&gt;Enabling and disabling the footage&lt;/li&gt;&#xA;&lt;li&gt;closing the program window and opening it again&lt;/li&gt;&#xA;&lt;li&gt;restarting, even reinstalling premiere&lt;/li&gt;&#xA;&lt;li&gt;opening the project on a different machine&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;And at this point I really don't know what to do anymore. Has anyone of you ever had that problem, and how does one fix it? Thanks in advance, have a beautiful day.&lt;/p&gt;&#xA;&lt;p&gt;Edit: A Temporary fix was to find a machine on which the sequence loaded properly. Upon saving the project on that machine and re-opening that on the original machine, everything seems to work fine. Technically, the issue is solved, but there has to be some reason or reasonable fix for this, no? I would still love some tips on this issue.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastEditorUserId="24627" LastEditDate="2020-09-30T16:37:29.033" LastActivityDate="2020-09-30T16:37:29.033" Title="Premiere: Endless &quot;Media Pending&quot;" Tags="|premiere|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32334" PostTypeId="2" ParentId="14978" CreationDate="2020-09-30T18:10:17.683" Score="1" Body="&lt;p&gt;Like @stib said above, masks interpolate in a straight line. However, you can also use tools like the Smart Mask Interpolation panel to tell After Effects to re-examine how the masks are interpolated between each other and find a better route, but this creates a TON of keyframes (one per frame actually) so if you plan to make additional changes to the masks later, this isn't the best option.&lt;/p&gt;&#xA;&lt;p&gt;If it were me, I would just do each line as its own animation, and use a 10-15 frame hand animated loop, so you have control over each individual line itself...once the first crease in the flag moves from one end to the other, you can just loop that part over and over...&lt;/p&gt;&#xA;&lt;p&gt;More info on Smart Mask Interpolation here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.provideocoalition.com/managing_moving_masks/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.provideocoalition.com/managing_moving_masks/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32376" LastActivityDate="2020-09-30T18:10:17.683" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32336" PostTypeId="1" CreationDate="2020-09-30T23:33:49.583" Score="2" ViewCount="86" Body="&lt;p&gt;I've made sure it's a mask and not a shape layer.  I've precomposed the layer just in case because I&amp;quot;ve applied keylight.  There is no mask expansion applied.  Please help.  Thank you.&lt;a href=&quot;https://i.stack.imgur.com/kEykY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kEykY.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32393" LastActivityDate="2020-10-01T07:22:38.457" Title="Mask in After Effects v 2020 is not accurate" Tags="|after-effects|adobe|mask|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32337" PostTypeId="2" ParentId="32336" CreationDate="2020-10-01T07:22:38.457" Score="1" Body="&lt;p&gt;Issues like these usually arise when you either have the layer transformed in 3D-space, or when using distortions and transform-effects on the layer. Since you do not have the 3D-checkbox ticked, I assume that you have some sort of transformation applied in the effect-controls. Did you use something like cc-lens, mesh-warp or turbulent displace? If so, first mask the layer, then precompose it, then apply the warping to it.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-10-01T07:22:38.457" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32338" PostTypeId="1" CreationDate="2020-10-01T11:02:31.787" Score="-1" ViewCount="21" Body="&lt;p&gt;I try to design video that include phone screen recording.&#xA;the phone recording is good resolution out after effects&#xA;when i add it to after effects it's stuck in some frames and it seems bad resolution!&#xA;any advise please?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1VBNC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1VBNC.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32400" LastActivityDate="2020-10-05T09:13:47.433" Title="video bad resolution it stuck in some frames" Tags="|after-effects|video-recording|export|rendering|screenshot|" AnswerCount="2" CommentCount="0" ClosedDate="2020-10-07T16:05:24.683" ContentLicense="CC BY-SA 4.0" />
  <row Id="32339" PostTypeId="1" CreationDate="2020-10-01T12:04:49.030" Score="1" ViewCount="643" Body="&lt;p&gt;There are two windows build on ffmpeg.org&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;gyan.dev&lt;/li&gt;&#xA;&lt;li&gt;BtbN&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The first one can’t be downloaded securely.&#xA;The second one has lots of files. Which files should I download?&lt;/p&gt;&#xA;" OwnerDisplayName="user32401" LastEditorUserId="1871" LastEditDate="2020-10-01T14:10:54.797" LastActivityDate="2020-10-01T14:10:54.797" Title="How do I download FFmpeg build for windows 7 64 bit? (Zeranoe’s are offline.)" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32340" PostTypeId="2" ParentId="32339" CreationDate="2020-10-01T12:30:49.287" Score="2" Body="&lt;p&gt;The msg for gyan.dev downloads is a false alarm. All files are delivered via HTTPS. Select Keep instead of Discard.&lt;/p&gt;&#xA;&lt;p&gt;Chrome shows the same message for &lt;a href=&quot;https://support.google.com/earth/thread/64465832?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;Google Earth&lt;/a&gt; downloads as well.&#xA;This is apparently an &lt;a href=&quot;https://blog.chromium.org/2020/02/protecting-users-from-insecure.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;initiative&lt;/a&gt; by Google to ultimately prevent mixed content downloads in Chrome.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-10-01T12:30:49.287" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32341" PostTypeId="1" AcceptedAnswerId="32367" CreationDate="2020-10-01T13:52:09.590" Score="0" ViewCount="29" Body="&lt;p&gt;I saw this video (&lt;a href=&quot;https://pin.it/119U75R&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pin.it/119U75R&lt;/a&gt;) and I want to do something like it but I don't know what it's call to search about it, so can you help me how I can search about it?&#xA;I would like to make text like typing in this way with an angle.&lt;/p&gt;&#xA;" OwnerUserId="32400" LastEditorUserId="4426" LastEditDate="2020-10-05T08:41:12.800" LastActivityDate="2020-10-05T08:41:12.800" Title="Video of typing text on an angle" Tags="|video|after-effects|video-editor|editing|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32342" PostTypeId="1" CreationDate="2020-10-01T14:18:58.147" Score="0" ViewCount="1269" Body="&lt;p&gt;Attempting to convert a series of mp4's for the umpteenth fricking time using hvec 265 codec to save a buttload of storage space. And this does indeed work quite well but i do not have the luxury of letting the encoding job run and run and run forever and the moron b*****s here very well know that. So the question is, how to resume an interrupted job ? would seem they could build what the last frame looked like by scanning the initial frames if some other data was stored and clip any bad data off the end and re-begin at around the point of the last write.&lt;/p&gt;&#xA;&lt;p&gt;Was once suggested to pull the parts into smaller pieces and concatenate them but i would think this would require a full reencode of all pieces occurring AFTER the first cutoff point during concatenation to continue the chain unless of course mp4 files can contain MANY video sections.&lt;/p&gt;&#xA;" OwnerUserId="32384" LastActivityDate="2021-07-01T02:05:40.583" Title="How can one resume an interrupted ffmpeg job or pause by design and save some kind of state file?" Tags="|ffmpeg|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32344" PostTypeId="2" ParentId="32338" CreationDate="2020-10-01T15:15:05.160" Score="-1" Body="&lt;p&gt;Finally I find out the problem!&#xA;It's happen because the video format was .mov&#xA;Just convert it to mp4 by online tool then everything was ok!&lt;/p&gt;&#xA;" OwnerUserId="32400" LastActivityDate="2020-10-01T15:15:05.160" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32345" PostTypeId="2" ParentId="29620" CreationDate="2020-10-01T15:32:24.920" Score="2" Body="&lt;p&gt;I got it working by adding &lt;code&gt;-fflags nobuffer -flags low_delay -strict experimental&lt;/code&gt; before all the inputs.&#xA;Got helped reading &lt;a href=&quot;https://stackoverflow.com/questions/57278415/how-to-sync-multiple-rtsp-inputs-in-ffmpeg&quot;&gt;this&lt;/a&gt; thread&lt;/p&gt;&#xA;" OwnerUserId="23627" LastActivityDate="2020-10-01T15:32:24.920" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32346" PostTypeId="1" CreationDate="2020-10-01T18:50:28.810" Score="1" ViewCount="120" Body="&lt;p&gt;I'm doing a Particle system that looks like a Nebulae/BigBang subtle explosion, everything looks perfectly except for the 'grainy looking texture' of the particles.&lt;/p&gt;&#xA;&lt;p&gt;If for example I add some quick Gaussian Blur, it looks better, but obviously, blurry.&lt;/p&gt;&#xA;&lt;p&gt;Is there any way to make the 'particle texture' softer somehow and not that 'pixelated'? Like, no showing the 'little dots' but a true 'cloud mass' (not cloudet or striklet, these didn't work properly)&lt;/p&gt;&#xA;&lt;p&gt;I'm using the basic sphere for particle.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UVcPl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UVcPl.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32402" LastEditorUserId="1950" LastEditDate="2020-10-04T01:25:03.747" LastActivityDate="2024-02-16T08:02:20.450" Title="How to soften the appearance of particles in Particular" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32347" PostTypeId="2" ParentId="32297" CreationDate="2020-10-02T06:44:18.693" Score="6" Body="&lt;p&gt;I've come up with a &amp;quot;good enough&amp;quot; solution to this problem, as it doesn't appear possible at the time of writing to actually pick up a partial encode that was cut off arbitrarily and accurately concatenate the rest of the video to it.&lt;/p&gt;&#xA;&lt;h2&gt;A Solution Using Segmenting&lt;/h2&gt;&#xA;&lt;p&gt;First, use FFmpeg's segmenting functionality to output segments at some interval for which losing such an interval is an acceptable loss. Also output a .csv file with segment start and end times. An example command that achieves this is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i .\source.avi -c:v libx264 -crf 20 -c:a aac -pix_fmt yuv420p -f segment -segment_time 30 -segment_list segments.csv -reset_timestamps 1 seg%03d.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Assume that during the encoding of the fourth segment (seg003.mkv), it becomes necessary to stop the encoder and reset the machine. Sending a &lt;code&gt;q&lt;/code&gt; keystroke to FFMpeg during the encoding of a segment stops it arbitrarily at some point and leaves that segment incomplete.&lt;/p&gt;&#xA;&lt;p&gt;The segment that was interrupted is effectively lost and can be deleted. Opening the segments.csv file reveals&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;seg000.mkv,0.000000,33.390000&#xA;seg001.mkv,33.390000,62.586000&#xA;seg002.mkv,62.586000,91.782000&#xA;seg003.mkv,91.782000,98.655000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Using this information, we know that seg003.mkv started at 91.782 seconds into the source. In order to pick up where we left off, we use the same command as above to encode segmented output, but also seek (&lt;code&gt;-ss&lt;/code&gt;) to the start of our fourth segment, and change the numbering (&lt;code&gt;-segment_start_number&lt;/code&gt;):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -ss 91.782000 -i source.avi -c:v libx264 -crf 20 -c:a aac -pix_fmt yuv420p -f segment -segment_time 30 -segment_list segments2.csv -segment_start_number 3 -reset_timestamps 1 seg%03d.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;FFmpeg will pick up at the beginning of the fourth segment, and correctly name it seg003.mkv. Notice that the name of the output .csv file has been changed so that the original does not get overwritten. This new .csv file will start at 0.00, so further interruptions will require adding times in this file to the previous file to find a starting point.&lt;/p&gt;&#xA;&lt;p&gt;Finally, when all segments are ready to be concatenated, we construct an .ffcat file as outlined in the &lt;a href=&quot;https://www.ffmpeg.org/ffmpeg-formats.html#Examples&quot; rel=&quot;noreferrer&quot;&gt;examples on the wiki page&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file seg000.mkv&#xA;file seg001.mkv&#xA;file seg002.mkv&#xA;file seg003.mkv&#xA;file seg004.mkv&#xA;file seg005.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and run this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -f concat -i .\segments.ffcat -c copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This outputs the full, concatenated encode. The option &lt;code&gt;-fflags +genpts&lt;/code&gt; is mentioned in the linked answer of the question, and may be necessary to achieve perfect output, but I have not found it to make any difference in my testing.&lt;/p&gt;&#xA;" OwnerUserId="32333" LastActivityDate="2020-10-02T06:44:18.693" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32349" PostTypeId="2" ParentId="12105" CreationDate="2020-10-02T14:31:47.723" Score="17" Body="&lt;p&gt;This is an addition to the excellent answer by PTS and an answer for chovy.  If you want to place the overlay at the lower right corner, FFMPEG can calculate that for you very easily.&lt;/p&gt;&#xA;&lt;p&gt;Use the modified command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -i image.png \&#xA;-filter_complex &amp;quot;[0:v][1:v] overlay=W-w:H-h:enable='between(t,0,20)'&amp;quot; \&#xA;-pix_fmt yuv420p -c:a copy \&#xA;output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The W-w means main video width minus overlay width, and the same for H-h.&lt;/p&gt;&#xA;" OwnerUserId="32413" LastActivityDate="2020-10-02T14:31:47.723" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32351" PostTypeId="1" AcceptedAnswerId="32353" CreationDate="2020-10-02T16:44:58.887" Score="1" ViewCount="505" Body="&lt;p&gt;I'm trying to create a simple logo reveal, and have drawn a path over my logo like so:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jVA2i.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jVA2i.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It would be a lot easier if I could set the end points of my path so that they were square instead of rounded (like I can in Illustrator) but there appears to be no options for it?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZUZoh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZUZoh.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="user26151" LastActivityDate="2020-10-03T10:08:56.347" Title="Stroke effect with square cap" Tags="|after-effects|animation|mask|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32352" PostTypeId="1" CreationDate="2020-10-02T23:11:39.270" Score="1" ViewCount="286" Body="&lt;p&gt;I have a 10 bits .mov file with YUV color space encoded prores 422HQ of some green screen footage. -Do we always need to convert videos with a YUV color space for compositing work?&lt;/p&gt;&#xA;&lt;p&gt;If I want to convert the footage via ffmpeg to images,I am not sure to which color space and how to convert in a right way videos with chroma subsampling of 422?&lt;/p&gt;&#xA;" OwnerUserId="32322" LastEditorUserId="1950" LastEditDate="2020-10-05T12:52:55.453" LastActivityDate="2020-10-05T12:52:55.453" Title="Do you always need to convert videos with a YUV color space for compositing in Blender?" Tags="|ffmpeg|prores|colorspace|blender|" AnswerCount="0" CommentCount="9" ContentLicense="CC BY-SA 4.0" />
  <row Id="32353" PostTypeId="2" ParentId="32351" CreationDate="2020-10-03T09:44:41.587" Score="1" Body="&lt;p&gt;Make your strokes using the pen tool directly as a Shape Layer instead of the way you're doing it.&#xA;You will see an option for line caps and line joins. They can be round or square:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/16BKk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/16BKk.png&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;To reveal the logo, put your original logo on the layer beneath the Shape Layer, then set the Track Matte on the original logo to Alpha Matte.  It will use the alpha of the layer above. You may need to press the &amp;quot;Toggle Switches/Masks&amp;quot; button to reveal the Track Matte options on the layer:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/tFgfw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tFgfw.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;Do the reveal animation by adding a Trim Path to your Shape Layer:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/yBqCa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yBqCa.png&quot; alt=&quot;grab4&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2020-10-03T10:08:56.347" LastActivityDate="2020-10-03T10:08:56.347" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32355" PostTypeId="2" ParentId="32346" CreationDate="2020-10-03T11:16:49.633" Score="0" Body="&lt;p&gt;I reckon try a lot more particles and make them much smaller. (But this will take much longer to process). You can feather the spheres too, which might give you the effect you need.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-10-03T11:16:49.633" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32356" PostTypeId="1" CreationDate="2020-10-03T11:25:24.753" Score="0" ViewCount="1153" Body="&lt;p&gt;I tried both vlc and virtuadub2, they both save out washed out images. Both show and save out washed out images.&lt;/p&gt;&#xA;&lt;p&gt;How can I save out these images so they look in proper HDR space?&lt;/p&gt;&#xA;" OwnerUserId="32421" LastActivityDate="2024-01-28T14:01:50.273" Title="How to save HDR 10 bit MKV videos as an image sequence?" Tags="|ffmpeg|export|vlc|hdr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32358" PostTypeId="2" ParentId="25034" CreationDate="2020-10-03T17:28:29.207" Score="0" Body="&lt;p&gt;Whilst the x264 codec is quite efficient, if you want to make sure x264 does not do as much compression whilst there is lots of motion, you could use use quantization parameter &lt;code&gt;-qp 0&lt;/code&gt;. There is a lot of information at the following links:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://stackoverflow.com/questions/40668616/whats-the-difference-with-crf-and-qp-in-ffmpeg&quot;&gt;https://stackoverflow.com/questions/40668616/whats-the-difference-with-crf-and-qp-in-ffmpeg&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://slhck.info/articles/crf&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://slhck.info/articles/crf&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;A key part of the article is this:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;If you had only simple ways at hand to compare the quality of video&#xA;sequences (e.g., based on a per-frame measurement of signal to noise&#xA;ratio, PSNR), you may look at a CRF encoding and say it was lower&#xA;quality than the CQP variant. But if you’re a human being,&#xA;subjectively, the CRF copy will look equal or better to the CQP&#xA;version&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;However, a user on the stackoverflow link above seems to think the &lt;code&gt;-qp 0&lt;/code&gt; was better for their game screenrecordings. This could potentially be a better fit if you're doing frame rate analysis (ie. the compression might be imperceptible to you, but not by your frame rate analyzer).&lt;/p&gt;&#xA;&lt;p&gt;This will result in higher file sizes you expect.&lt;/p&gt;&#xA;" OwnerUserId="32427" LastActivityDate="2020-10-03T17:28:29.207" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32359" PostTypeId="2" ParentId="32342" CreationDate="2020-10-04T01:40:12.230" Score="1" Body="&lt;p&gt;Depending on what shell you're using you can suspend a process (in posix shells it's with &lt;kbd&gt;ctrl&lt;/kbd&gt;&lt;kbd&gt;z&lt;/kbd&gt;, in Powershell you might use &lt;code&gt;suspend-Job&lt;/code&gt;) and then resume it. This is true for any shell with job control. You can't quit and save the state from ffmpeg though.&lt;/p&gt;&#xA;&lt;p&gt;A workaround would be to run the ffmpeg process in a virtual machine. Most linux distros have a minimal server version that would work for this. This would let you save the machine state, and restart the encode at a later date.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-10-04T01:40:12.230" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32360" PostTypeId="1" CreationDate="2020-10-04T03:19:41.507" Score="1" ViewCount="2063" Body="&lt;p&gt;Trying to encode episodes from a DVD. One episode appears to be corrupted and will not play on the disk, nor will it be accepted by Handbrake of ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;However, by copying the VTS file, VLC will play it.&lt;/p&gt;&#xA;&lt;p&gt;When I try to encode it with &lt;code&gt;ffmpeg&lt;/code&gt; this is the result:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ~/Movies/VTS_18_1.VOB&#xA;ffmpeg version 4.3.1 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with Apple clang version 11.0.3 (clang-1103.0.32.62)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/4.3.1 --enable-shared --enable-pthreads --enable-version3 --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-ffplay --enable-gnutls --enable-gpl --enable-libaom --enable-libbluray --enable-libdav1d --enable-libmp3lame --enable-libopus --enable-librav1e --enable-librubberband --enable-libsnappy --enable-libsrt --enable-libtesseract --enable-libtheora --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libxvid --enable-lzma --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librtmp --enable-libspeex --enable-libsoxr --enable-videotoolbox --disable-libjack --disable-indev=jack&#xA;  libavutil      56. 51.100 / 56. 51.100&#xA;  libavcodec     58. 91.100 / 58. 91.100&#xA;  libavformat    58. 45.100 / 58. 45.100&#xA;  libavdevice    58. 10.100 / 58. 10.100&#xA;  libavfilter     7. 85.100 /  7. 85.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  7.100 /  5.  7.100&#xA;  libswresample   3.  7.100 /  3.  7.100&#xA;  libpostproc    55.  7.100 / 55.  7.100&#xA;~/Movies/VTS_18_1.VOB: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Handbrake gives this error in the log:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[11:15:27] macgui: Handbrake Version: 1.3.3 (2020061300)&#xA;[11:15:27] Compile-time hardening features are enabled&#xA;[11:15:27] hb_init: starting libhb thread&#xA;[11:15:27] hb_init: starting libhb thread&#xA;[11:15:42] macgui: ScanCore scanning specifically for title: 18&#xA;[11:15:42] CPU: Intel(R) Core(TM) i7-9700K CPU @ 3.60GHz&#xA;[11:15:42]  - Intel microarchitecture Kaby Lake&#xA;[11:15:42]  - logical processor count: 8&#xA;[11:15:42] hb_scan: path=~/Movies/D3, title_index=18&#xA;disc.c:424: error opening file BDMV/index.bdmv&#xA;disc.c:424: error opening file BDMV/BACKUP/index.bdmv&#xA;bluray.c:2585: nav_get_title_list(~/Movies/D3/) failed&#xA;[11:15:42] bd: not a bd - trying as a stream/file instead&#xA;libdvdnav: Using dvdnav version 6.0.1&#xA;libdvdread: Encrypted DVD support unavailable.&#xA;libdvdread: Couldn't find device name.&#xA;libdvdnav: Can't read name block. Probably not a DVD-ROM device.&#xA;libdvdnav: vm: dvd_read_name failed&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Encrypted DVD support unavailable.&#xA;libdvdread: Couldn't find device name.&#xA;[11:15:42] scan: DVD has 27 title(s)&#xA;[11:15:42] scan: scanning title 18&#xA;[11:15:42] scan: duration is 00:05:01 (301760 ms)&#xA;[11:15:42] pgc_id: 1, pgn: 1: pgc: 0x7fa264b5b1f0&#xA;[11:15:42] scan: checking audio 1&#xA;[11:15:42] scan: id=0x80bd, lang=Unknown (AC3), 3cc=und ext=0&#xA;[11:15:42] scan: checking subtitle 1&#xA;[11:15:42] scan: id=0x20bd, lang=Deutsch (4:3) [VOBSUB], 3cc=deu ext=0&#xA;[11:15:42] scan: title 18 has 1 chapters&#xA;[11:15:42] scan: chap 1, 301760 ms&#xA;[11:15:42] scan: aspect = 4:3&#xA;[11:15:42] scan: decoding previews for title 18&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;error: dvd: dvdnav_*_play failed - &#xA;[11:15:42] scan: title angle(s) 1&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;error: dvd: dvdnav_sector_search failed - Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] scan: Too few previews (0), trying harder&#xA;[11:15:42] scan: decoding previews for title 18&#xA;[11:15:42] scan: title angle(s) 1&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] dvdnav cur pgcn err: Bad VM state.&#xA;libdvdnav: DVD disk reports itself with Region mask 0x00000000. Regions: 1 2 3 4 5 6 7 8&#xA;libdvdread: Invalid IFO for title 18 (VTS_18_0.IFO).&#xA;libdvdnav: ifoOpenVTSI failed&#xA;[11:15:42] dvdnav prog play err: Bad VM state.&#xA;[11:15:42] libhb: scan thread found 0 valid title(s)&#xA;[11:15:43] macgui: ScanCore scan done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32434" LastActivityDate="2024-02-17T13:08:00.910" Title="Possible to repair corrupted VOB file?" Tags="|ffmpeg|handbrake|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32361" PostTypeId="1" CreationDate="2020-10-04T03:30:20.657" Score="0" ViewCount="685" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -re -i [FILENAME] -codec copy -f flv rtmp://a.rtmp.youtube.com/live2/[STREAM KEY]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm able to use this command to stream a video file to YouTube Live without re-encoding. If FFmpeg crashes for some reason, how do I automatically resume streaming the video from where it left off?&lt;/p&gt;&#xA;&lt;p&gt;Also, is there any GUI software that can do this? As far as I can tell, there is no passthrough option in OBS.&lt;/p&gt;&#xA;" OwnerUserId="32432" LastActivityDate="2020-10-09T18:34:24.780" Title="Streaming video file to YouTube Live with FFmpeg - Automatically resume after crash?" Tags="|ffmpeg|streaming|youtube|live|rtmp|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32362" PostTypeId="2" ParentId="16587" CreationDate="2020-10-04T13:22:18.513" Score="0" Body="&lt;p&gt;ffmpeg accepts only &lt;strong&gt;one&lt;/strong&gt; video filter (marked as -vf)&#xA;you should merge all the video filters you want into one, comma separated string:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg ... -vf setsar=1,crop=in_w:in_h-64:0:64 out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="32441" LastActivityDate="2020-10-04T13:22:18.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32363" PostTypeId="2" ParentId="32169" CreationDate="2020-10-04T19:42:52.933" Score="0" Body="&lt;p&gt;The only way I have found to achieve this with a Canon, is to use the EOS utility to display the video on your monitor, then use a screen-capture app like CamTwist, to capture an area of your screen and turn it into a virtual camera. Not idea, as anything accidentally straying into that part of the screen will appear in your webcam output.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-10-04T19:42:52.933" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32365" PostTypeId="1" AcceptedAnswerId="32368" CreationDate="2020-10-05T06:37:25.750" Score="0" ViewCount="136" Body="&lt;p&gt;I want to record my voice for YouTube videos. So should I get a headphone with mic like &lt;code&gt;Senheiser GSP 300&lt;/code&gt; or a microphone separately and a monitor headphone..?&lt;/p&gt;&#xA;" OwnerUserId="32381" LastEditorUserId="4426" LastEditDate="2020-10-05T08:53:06.380" LastActivityDate="2020-10-05T13:07:04.010" Title="Headphone for recording voice for YouTube" Tags="|youtube|audio-recording|microphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32366" PostTypeId="2" ParentId="32360" CreationDate="2020-10-05T07:41:14.020" Score="0" Body="&lt;p&gt;This type of issue would normally be physical media damage, but it sounds like your video stream actually has corrupt data in it, stopping you reading the complete file - you've been able to copy the complete file from disc, and the contents are corrupt? Odd that whatever authored the disc allowed this, in my experience usually the authoring software would also barf if there's an issue.&lt;/p&gt;&#xA;&lt;p&gt;Have a try with VOB2MPG (free/basic), see if you can get a useable MPG file from the source: &lt;a href=&quot;https://www.videohelp.com/software/VOB2MPG&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.videohelp.com/software/VOB2MPG&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Next I'd try CloneDVD, &lt;a href=&quot;https://www.elby.ch/en/products/clonedvd.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.elby.ch/en/products/clonedvd.html&lt;/a&gt;, see if that can extract the title. You could also try your luck with DVD Shrink, &lt;a href=&quot;https://en.wikipedia.org/wiki/DVD_Shrink&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/DVD_Shrink&lt;/a&gt;, which also has some re-authoring and extraction options, just make sure to avoid the later scam versions.&lt;/p&gt;&#xA;&lt;p&gt;If you want to try working on the file you've already extracted directly, try TMPGEnc Smart Renderer, &lt;a href=&quot;https://tmpgenc.pegasys-inc.com/en/product/tmsr5.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://tmpgenc.pegasys-inc.com/en/product/tmsr5.html&lt;/a&gt;. If VLC can play it, most likely Smart Renderer can repair/re-encode whatever is corrupt in the file, or worst case allow you to cut out the damaged piece. Note that VLC will play pretty much anything, it is just skipping over any corruption - the encoding tools won't do that. It's commercial, but the demo version should be sufficient.&lt;/p&gt;&#xA;&lt;p&gt;You can also try reading the disc on different hardware, although that's usually a tactic for a physically damaged disc. Different drives will handle damage differently for various reasons, I've had scenarios where damaged discs with unreadable portions on one drive were able to be recovered on different hardware.&lt;/p&gt;&#xA;&lt;p&gt;Hopefully at least one of these suggestions help - they're all tactics I've used, that have worked at one time or another in recovering from damaged files and media. Although this one does sound like an encoding issue in the source file, in which case a full recovery of the complete source video may not be possible.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-10-05T07:41:14.020" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32367" PostTypeId="2" ParentId="32341" CreationDate="2020-10-05T08:40:39.943" Score="0" Body="&lt;p&gt;There are a few different techniques going on in this shot.&lt;/p&gt;&#xA;&lt;p&gt;First the text was all made in 2D:&#xA;The hand-drawn text was probably made in 2D first, then &lt;a href=&quot;https://www.youtube.com/watch?v=GbMX20YoNTw&quot; rel=&quot;nofollow noreferrer&quot;&gt;revealed with a mask&lt;/a&gt; either line by line or using a plugin like &lt;a href=&quot;https://aescripts.com/quickdraw/&quot; rel=&quot;nofollow noreferrer&quot;&gt;QuickDraw&lt;/a&gt;.&#xA;The printed text is being animated on character-by-character using &lt;a href=&quot;https://helpx.adobe.com/after-effects/how-to/creating-animating-text.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;text animators&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Then that 2D layer has a paper layer added behind it, some drop shadow added to it as a &lt;a href=&quot;https://helpx.adobe.com/uk/after-effects/using/blending-modes-layer-styles.html#layer_styles&quot; rel=&quot;nofollow noreferrer&quot;&gt;Layer Style&lt;/a&gt; maybe.&lt;/p&gt;&#xA;&lt;p&gt;Then all of it is placed into 3D, with some camera moves on it (&lt;a href=&quot;https://www.youtube.com/watch?v=CBa-lOY5zEM&amp;amp;list=PLaIKzT89Vb0OqQR6Ud3Y6vlURl3jDM_-d&amp;amp;index=8&quot; rel=&quot;nofollow noreferrer&quot;&gt;this is an old tutorial&lt;/a&gt;, but the whole set is great for getting to grips with After Effects)&lt;/p&gt;&#xA;&lt;p&gt;There's other stuff going on in that clip, but that's the basics of the text effects.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-10-05T08:40:39.943" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32368" PostTypeId="2" ParentId="32365" CreationDate="2020-10-05T08:52:48.160" Score="2" Body="&lt;p&gt;The quality of the headphones will only affect how the audio sounds to you, so you don't necessarily need to spend your money on that to improve the audio for a youtube video. I would suggest focussing your money on the mic itself.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://marco.org/podcasting-microphones&quot; rel=&quot;nofollow noreferrer&quot;&gt;This is a great roundup of relatively inexpensive mics, with audio clips so you can hear how they sound.&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Gaming headsets tend to have relatively cheap mics in them, and you need to be really careful about the mic's position.  Too close and you get breath noise and popping sounds. Too far away and you get room noise and hissing on the audio.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2020-10-05T13:07:04.010" LastActivityDate="2020-10-05T13:07:04.010" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32369" PostTypeId="2" ParentId="32338" CreationDate="2020-10-05T09:13:47.433" Score="1" Body="&lt;p&gt;Being a .mov shouldn't cause that issue on its own.  Video files have wrappers and codecs. The &amp;quot;.mov&amp;quot; file name is just the wrapper. The codec is the way the file is encoded inside the wrapper, which you can see by opening the file in something like Quicktime Player and clicking on Window --&amp;gt; Show Movie Inspector.&lt;/p&gt;&#xA;&lt;p&gt;Most files on phones are stored in lossy formats.  When you convert these again to another lossy format like mp4 you will lose some more quality.&lt;/p&gt;&#xA;&lt;p&gt;You might get a sharper looking result by converting your original file to a lossless format like ProRes or an Animation codec.  You can do this using Adobe Media Encoder.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-10-05T09:13:47.433" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32370" PostTypeId="1" CreationDate="2020-10-05T14:09:16.217" Score="0" ViewCount="1653" Body="&lt;p&gt;I have a video with the following details:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Format                      : MPEG-TS&#xA;File size                   : 6.49 GiB&#xA;Duration                    : 1 h 35 min&#xA;Overall bit rate mode       : Variable&#xA;Overall bit rate            : 9 694 kb/s&#xA;&#xA;Video&#xA;ID                          : 512 (0x200)&#xA;Menu ID                     : 1 (0x1)&#xA;Format                      : AVC&#xA;Format/Info                 : Advanced Video Codec&#xA;Format profile              : High@L4.1&#xA;Format settings             : CABAC / 3 Ref Frames&#xA;Format settings, CABAC      : Yes&#xA;Format settings, Reference  : 3 frames&#xA;Codec ID                    : 27&#xA;Duration                    : 1 h 35 min&#xA;Bit rate                    : 8 827 kb/s&#xA;Width                       : 1 920 pixels&#xA;Height                      : 1 080 pixels&#xA;Display aspect ratio        : 16:9&#xA;Frame rate                  : 29.970 (30000/1001) FPS&#xA;Standard                    : Component&#xA;Color space                 : YUV&#xA;Chroma subsampling          : 4:2:0&#xA;Bit depth                   : 8 bits&#xA;Scan type                   : MBAFF&#xA;Scan type, store method     : Separated fields&#xA;Scan order                  : Top Field First&#xA;Bits/(Pixel*Frame)          : 0.142&#xA;Stream size                 : 5.91 GiB (91%)&#xA;Color range                 : Limited&#xA;Color primaries             : BT.709&#xA;Transfer characteristics    : BT.709&#xA;Matrix coefficients         : BT.709&#xA;&#xA;Audio&#xA;ID                          : 513 (0x201)&#xA;Menu ID                     : 1 (0x1)&#xA;Format                      : AC-3&#xA;Format/Info                 : Audio Coding 3&#xA;Commercial name             : Dolby Digital&#xA;Codec ID                    : 129&#xA;Duration                    : 1 h 35 min&#xA;Bit rate mode               : Constant&#xA;Bit rate                    : 384 kb/s&#xA;Channel(s)                  : 6 channels&#xA;Channel layout              : L R C LFE Ls Rs&#xA;Sampling rate               : 48.0 kHz&#xA;Frame rate                  : 31.250 FPS (1536 SPF)&#xA;Compression mode            : Lossy&#xA;Stream size                 : 263 MiB (4%)&#xA;Service kind                : Complete Main&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I want to convert (using ffmpeg) from 1080(?) to 720p, the point is, I don't know if it's interlaced or progressive, is the first time I see MBAFF.&lt;/p&gt;&#xA;" OwnerUserId="32449" LastActivityDate="2024-02-18T07:05:05.607" Title="Convert interlaced(?) video to progressive" Tags="|video|ffmpeg|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32371" PostTypeId="1" AcceptedAnswerId="32376" CreationDate="2020-10-05T14:39:51.853" Score="0" ViewCount="245" Body="&lt;p&gt;I'm new here, and a pretty new video editor, but I'm having a few problems.&#xA;One of my clients sent me some plain mp4 clips of some action video. Both he and I when we watch them remark one thing. The video freezes at a few points, but then starts off where it stopped. I'm running Windows 10 and downloaded the videos from a wetransfer link. I'm supposed to make a video out of them, but in one of the best clips, it freezes for a second and then starts back, which is quite annoying.&lt;br&gt;&lt;br&gt; Just wondering if any of you have had this before, or know of any tools to fix it. I use Final Cut Pro on a computer at my dad's office, so I haven't been able to look at them on an editing program yet; just on my windows laptop on films&amp;amp;TV. &lt;br&gt;&#xA;Thanks all so much&lt;/p&gt;&#xA;" OwnerUserId="32450" LastActivityDate="2020-11-05T09:03:55.400" Title="Video MP4 file stops and starts" Tags="|video|post-production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32373" PostTypeId="2" ParentId="32370" CreationDate="2020-10-05T23:48:50.617" Score="1" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;Scan type                   : MBAFF&lt;br /&gt;&#xA;Scan type, store method     : Separated fields&lt;br /&gt;&#xA;Scan order                  : Top Field First&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;MBAFF Information can be found at &lt;a href=&quot;https://en.wikipedia.org/wiki/Advanced_Video_Coding&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Advanced_Video_Coding&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Not sure how did you get such information, MediaInfo? But those Scan information can't be a progressive.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-10-05T23:48:50.617" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32374" PostTypeId="1" CreationDate="2020-10-06T00:29:36.400" Score="2" ViewCount="214" Body="&lt;p&gt;I've been using Kdenlive for a month or so. One of my favorite transitions is a roll transition, where the old clip slides out (e.g. from the center to the left) while at the same time the new clip slides in (e.g. from the right to the center) creating the effect of the old clip being pushed out by the new clip. To do this in Kdenlive, I slightly overlap the two clips in different tracks then apply two Slide transform, one to the old clip (a slide out) and one to the new clip (a slide in).&lt;/p&gt;&#xA;&lt;p&gt;However:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;this is time consuming;&lt;/li&gt;&#xA;&lt;li&gt;the movement is linear, there isn't a way to a dynamism or speed changes in the movement.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Any ideas on how to do a better and easier roll transition in Kdenlive?&lt;/p&gt;&#xA;" OwnerUserId="32454" LastEditorUserId="14523" LastEditDate="2020-10-07T00:52:43.623" LastActivityDate="2020-11-16T16:08:44.227" Title="How to do a better and easier roll transition in Kdenlive" Tags="|transitions|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32375" PostTypeId="2" ParentId="29713" CreationDate="2020-10-06T07:49:54.890" Score="2" Body="&lt;p&gt;From what I have found, using Canon 60D on Mac has the following challenges:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;There's currently no listed EOS Webcam Utility for Canon 60D on Mac. There do seem to be some people succeeding with workarounds by installing drivers for similar Canon models (e.g. 77D) - but I was not successful.&#xA;--EDIT: As of 2020-11-11 there are now &lt;a href=&quot;https://www.usa.canon.com/internet/portal/us/home/support/details/cameras/eos-dslr-and-mirrorless-cameras/dslr/eos-60d/eos-60d?tab=drivers_downloads&quot; rel=&quot;nofollow noreferrer&quot;&gt;drivers available&lt;/a&gt; for 60D on Mac.&lt;/li&gt;&#xA;&lt;li&gt;Using micro-hdmi and a USB capture card, after flashing my 60D with the latest Magic Lantern firmware I was able to get 'clean hdmi' output, but was only able to get 480p output (instead of the almost-1080p output that should be possible).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;You could perhaps have more luck with &lt;a href=&quot;https://github.com/v002/v002-Camera-Live&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/v002/v002-Camera-Live&lt;/a&gt; or waiting until updated Webcam utility drivers are released that support the 60D.&lt;/p&gt;&#xA;" OwnerUserId="32457" LastEditorUserId="32457" LastEditDate="2020-12-20T21:08:25.880" LastActivityDate="2020-12-20T21:08:25.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32376" PostTypeId="2" ParentId="32371" CreationDate="2020-10-06T08:12:39.863" Score="0" Body="&lt;p&gt;Drag the clips into your editing software and go frame by frame. If the freeze doesn't occur, the playback of the video might have lagged behind, causing the freezes. If the freeze still persists when going through it frame by frame, it is likely that something about the clip is broken (perhaps the i, p or b-frames are mangled, assuming the mp4 uses h264 compression.)&lt;/p&gt;&#xA;&lt;p&gt;If so, try to edit out the section in which it freezes and export the clip as a prores4444, which doesn't overtly compress the clip further, so you can work with the pores-file from that point on.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-10-06T08:12:39.863" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32377" PostTypeId="1" AcceptedAnswerId="32380" CreationDate="2020-10-06T08:36:48.103" Score="0" ViewCount="3175" Body="&lt;p&gt;Can anyone help me with a command line for the below scenario please using FFmpeg?&lt;/p&gt;&#xA;&lt;p&gt;Convert single &lt;code&gt;image.jpg&lt;/code&gt; to &lt;code&gt;output.mp4&lt;/code&gt; for 15 seconds.&lt;/p&gt;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="32451" LastEditorUserId="18155" LastEditDate="2020-10-09T11:27:03.240" LastActivityDate="2020-10-09T11:27:03.240" Title="How to convert single image to video in infinite loop and set duration of 15 seconds using FFMPEG" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32380" PostTypeId="2" ParentId="32377" CreationDate="2020-10-06T12:57:44.057" Score="2" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i https://thumbs.dreamstime.com/z/cartoon-weather-images-16836392.jpg -t 15 output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;FFprobe result:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version 3.4.8-0ubuntu0.2 Copyright (c) 2007-2020 the FFmpeg  &#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'output.mp4':   Metadata:  &#xA;    major_brand     : isom  &#xA;    minor_version   : 512  &#xA;    compatible_brands: isomiso2avc1mp41  &#xA;    encoder         : Lavf57.83.100   Duration: 00:00:15.00, start: 0.000000, bitrate: 188 kb/s  &#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc), 1182x1300 [SAR 1:1 DAR 591:650], 186 kb/s, 25 fps, 25  &#xA;tbr, 12800 tbn, 50 tbc (default)  &#xA;    Metadata:  &#xA;      handler_name    : VideoHandler  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="31818" LastEditorUserId="18155" LastEditDate="2020-10-09T11:25:25.177" LastActivityDate="2020-10-09T11:25:25.177" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32381" PostTypeId="1" AcceptedAnswerId="34211" CreationDate="2020-10-06T14:59:28.313" Score="2" ViewCount="392" Body="&lt;p&gt;Can't see any other posts on this site about this which seems unusual so here goes.&lt;/p&gt;&#xA;&lt;p&gt;I have a video in which a wire is used to pull an object from the scene.  I did a test which worked well, but the actual shoot didn't go so well, and I've tried several different methods to remove the wire without success.&lt;/p&gt;&#xA;&lt;p&gt;This is the test video that I created. &lt;a href=&quot;https://armorgard.box.com/s/bjfpc4mig8mssf8dw8zae0y65r8iu0qe&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://armorgard.box.com/s/bjfpc4mig8mssf8dw8zae0y65r8iu0qe&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;This just shows a toolbox flying into scene (video of it pulled out then reversed).&lt;/li&gt;&#xA;&lt;li&gt;The wire was removed in rendering by masking out the wire in the video, then putting a still frame from the end behind the clip.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;This is a piece of footage from the actual shoot: &lt;a href=&quot;https://armorgard.box.com/s/z83yzn1yv85nbu35jgxfxotg76vsxyzs&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://armorgard.box.com/s/z83yzn1yv85nbu35jgxfxotg76vsxyzs&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Problem with this is the natural light affected the clip so you get a change in contrast and lighting throughout the clip.&lt;/li&gt;&#xA;&lt;li&gt;When the wire is removed in the same way as the test footage, the clip behind is outlined in the mask due to the variance of colour.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;See below image for an example of the colour difference around the mask.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xruBx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xruBx.png&quot; alt=&quot;mask outlined test&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I've tried a few ways to overcome this.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;So the first thing I tried was to colour correct the still behind so that the colour and contrast reflected the masked clip above it.  Even using the lumetri scopes, it's difficult to do accurately and any additional color correcting can affect this adversely when it's not dead on.  To do this accurately would mean colour correcting almost frame by frame.&lt;/li&gt;&#xA;&lt;li&gt;I tried a video as the plate, rather than a still, and slipped it a few frames ahead so that the tone closely matches the top video.  This is ok, but I get parts of the original scene showing through the mask that I don't want showing.  If I slip the background video more, the colours don't match up again.&lt;/li&gt;&#xA;&lt;li&gt;I tried CC wire removal in After Effects, but due to the wire often being curved and not straight, this tool hasn't really worked.  It also seems to struggle with backgrounds that aren't plain.&lt;/li&gt;&#xA;&lt;li&gt;I tried the content aware fill in After Effects, but this doesn't look great at all.&lt;/li&gt;&#xA;&lt;li&gt;I tried opening the video directly in photoshop and using the healing tools to remove the wire frame by frame.  This works to some extent but do it accurately would be very tedious.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Do I have any further viable options?  Can anyone recommend anything that could work that I haven't already tried?&lt;/p&gt;&#xA;" OwnerUserId="22062" LastEditorUserId="22062" LastEditDate="2021-08-03T07:46:50.487" LastActivityDate="2021-08-03T08:09:04.330" Title="remove wire on video" Tags="|video|after-effects|editing|visual-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32383" PostTypeId="1" AcceptedAnswerId="32398" CreationDate="2020-10-06T16:53:09.527" Score="3" ViewCount="3484" Body="&lt;p&gt;Im trying to scale video down. No matter what I do the colors are always washed up as a result.&lt;/p&gt;&#xA;&lt;p&gt;original:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/tXvhr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tXvhr.png&quot; alt=&quot;original&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;After scaling:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zR1vS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zR1vS.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Code I run for it&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -vf scale=1028:-1 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;log: &lt;a href=&quot;https://pastebin.com/gj75geU9&quot; rel=&quot;nofollow noreferrer&quot;&gt;log&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Original file codec info&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/u9FFU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/u9FFU.png&quot; alt=&quot;Original file codec info&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;New file codec info&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gsesY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gsesY.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;ideally I would want to convert the video to h264 and scale down.&#xA;I tried googling for x hours, tried a lot of random attemps, and in the end I tracked it down to scale filter. I have no idea how or why the filter messes up the colors.&lt;/p&gt;&#xA;&lt;p&gt;I also tried some overkill commands(below) I found on the internet, and it is able to convert to h264 perfectly, but once I try to add scaling to that command it will also produce washed up colors like example above.&lt;/p&gt;&#xA;&lt;p&gt;Overkill example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;input&amp;quot; -c:v libx265 -preset fast -crf 21 -x265-params keyint=60:bframes=3:vbv-bufsize=75000:vbv-maxrate=75000:hdr-opt=1:repeat-headers=1:colorprim=bt2020:transfer=smpte-st-2084:colormatrix=bt2020nc:master-display=&amp;quot;G(13250,34500)B(7500,3000)R(34000,16000)WP(15635,16450)L(10000000,500)&amp;quot; -c:a aac -vf colorspace=bt2020,transfer=smpte2084,scale=1280:-1 &amp;quot;small_output&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32461" LastActivityDate="2020-10-07T19:06:03.897" Title="ffmpeg vf scale shifts colors to washed out" Tags="|ffmpeg|h.264|color-correction|scale|hevc|" AnswerCount="1" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="32385" PostTypeId="2" ParentId="32001" CreationDate="2020-10-06T21:07:05.890" Score="1" Body="&lt;p&gt;Try &amp;quot;Intervalometer&amp;quot; it works as an overlay app over your stock camera app. You can also try to do your own script with app like &amp;quot;Tasker&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;BTW: Old version of Camera FV-5 worked too. Unfortunately they implemented a new UI, which doesn't work so well.&lt;/p&gt;&#xA;" OwnerUserId="32465" LastEditorUserId="14523" LastEditDate="2020-10-07T00:48:39.633" LastActivityDate="2020-10-07T00:48:39.633" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32389" PostTypeId="1" CreationDate="2020-10-07T02:13:35.467" Score="1" ViewCount="137" Body="&lt;p&gt;I back up my data to pairs of external hard drives, and recently (in the process of transferring the contents to larger external hard drives) found that some of the data between them has diverged. Several of them are video files.&lt;/p&gt;&#xA;&lt;p&gt;I used &lt;a href=&quot;https://stackoverflow.com/a/33567032/603828&quot;&gt;this answer&lt;/a&gt; to use ffmpeg's ssim and psnr filters to find the differences between the two videos. Once I had a location, I loaded the tracks into &lt;a href=&quot;https://kdenlive.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;kdenlive&lt;/a&gt;, applied the &amp;quot;difference&amp;quot; transition, and seeked to the area where the difference was.&lt;/p&gt;&#xA;&lt;p&gt;However, no difference was to be seen! I even extracted the audio, and used audacity to &lt;a href=&quot;https://forum.audacityteam.org/viewtopic.php?t=525&quot; rel=&quot;nofollow noreferrer&quot;&gt;compare differences&lt;/a&gt;, and still nothing.&lt;/p&gt;&#xA;&lt;p&gt;The files are clearly different; ffmpeg shows that. But if I can't see any differences, I don't know which file to copy over the other file.&lt;/p&gt;&#xA;&lt;p&gt;Any idea what I could be doing wrong? This seems too simple to fail.&lt;/p&gt;&#xA;" OwnerUserId="30031" LastActivityDate="2020-12-21T02:01:30.103" Title="Can't see differences between videos?" Tags="|video|ffmpeg|" AnswerCount="3" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32390" PostTypeId="1" CreationDate="2020-10-07T03:28:06.147" Score="2" ViewCount="47" Body="&lt;p&gt;I have a power point type file (.odp in ubuntu linux) with embedded audio file in it for presentation. How can I make a good quality YouTube video from that? I have used kazam screen recorder for that. The video resolution looks good but after uploading it in YouTube the resolution get worser.&lt;/p&gt;&#xA;" OwnerUserId="32468" LastActivityDate="2020-10-07T10:57:04.790" Title="Making a YouTube video from powerpoint presentation file with embedded audio file" Tags="|video-editor|video-quality|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32391" PostTypeId="2" ParentId="13066" CreationDate="2020-10-07T07:56:57.257" Score="1" Body="&lt;p&gt;You are talking about video interpolation. There is no way for 7 fps to become 30 fps without video interpolation... Basically you want to get 30fps from the start, in the process of making videos... As video interpolation will take lots of resources and time, and it might be filled with artifacts. I heard you can make a single shot picture into a short movies, with adobe, but lots of manual work there...&lt;/p&gt;&#xA;" OwnerUserId="32472" LastActivityDate="2020-10-07T07:56:57.257" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32392" PostTypeId="1" CreationDate="2020-10-07T09:36:54.520" Score="0" ViewCount="638" Body="&lt;pre&gt;&lt;code&gt;&amp;quot;drawtext=fontfile=&amp;quot;+fontPath+&amp;quot;:text=&amp;quot;+topText+&amp;quot;:fontcolor=#FFFFFF:fontsize=40:box=0:boxcolor=black@0.2:boxborderw=5:x=min(4*(tw\\+10)-(abs(4-2*(t-1)))*(tw+10)-tw\\,w/3.5):y=main_h-(text_h*5)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;With above script I am moving text from left to right and stay in middle and then move back to left.&lt;/p&gt;&#xA;&lt;p&gt;How can I can animate it from right to left and then move back to right?&lt;/p&gt;&#xA;" OwnerUserId="32460" LastEditorUserId="18155" LastEditDate="2020-10-08T16:36:10.737" LastActivityDate="2020-10-08T16:36:34.300" Title="Change Text Animation Direction With FFMPEG" Tags="|ffmpeg|ffmbc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32394" PostTypeId="2" ParentId="32390" CreationDate="2020-10-07T10:57:04.790" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://support.microsoft.com/en-us/office/turn-your-presentation-into-a-video-c140551f-cb37-4818-b5d4-3e30815c3e83&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.microsoft.com/en-us/office/turn-your-presentation-into-a-video-c140551f-cb37-4818-b5d4-3e30815c3e83&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;On the File menu, select Save to ensure all your recent work has&#xA;been saved in PowerPoint presentation format (.pptx).&lt;/li&gt;&#xA;&lt;li&gt;Click File &amp;gt;&#xA;Export &amp;gt; Create a Video. (Or, on the Recording tab of the ribbon,&#xA;click Export to Video.)&lt;/li&gt;&#xA;&lt;li&gt;...&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-10-07T10:57:04.790" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32395" PostTypeId="2" ParentId="32389" CreationDate="2020-10-07T11:13:19.083" Score="0" Body="&lt;p&gt;Assuming ffmpeg's result is reliable and it does what you think (I don't know, don't use ffmpeg much), it seems that one of your drives, either the primary one or any of the backup drives is faulty. Use tools that calculate checksums, like md5 or sha or crc32 to verify that the files are indeed different. If the checksums differ you have to find out the faulty drive(s).&lt;/p&gt;&#xA;&lt;p&gt;A few faulty bytes in a video are often not visible when watching, maybe the frame will be dropped where the faulty section is, maybe the way the video has been encoded masks the damage.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-10-07T11:13:19.083" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32397" PostTypeId="2" ParentId="16182" CreationDate="2020-10-07T17:45:09.730" Score="0" Body="&lt;p&gt;The MPEG4 has no audio settings. I chose h.264 and now I can see the Audio settings. So basically this MPEG4 has not audio output at all. That's why no audio is in the rendered video. This is very strange.&lt;/p&gt;&#xA;&lt;p&gt;A lot of people out there are wondering why this is happening. Well its part.y our fault. We should notice there is no Audio settings in this format.&#xA;I think AE should specify that this MPEG4 version is Video only.&#xA;So all other option works I guess if you see an Audio setting with the option to choose format and bitrate then it will include the audio.&lt;/p&gt;&#xA;&lt;p&gt;Yes all rendered and I can hear the audio perfectly 1:12 second video at 127 MB excellent quality at 300 Bitrate (maximum is 300 in this format) so have to play with it a little and see how far I can reduce the size.&lt;/p&gt;&#xA;" OwnerUserId="32478" LastEditorUserId="14523" LastEditDate="2020-10-11T17:22:06.730" LastActivityDate="2020-10-11T17:22:06.730" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32398" PostTypeId="2" ParentId="32383" CreationDate="2020-10-07T19:06:03.897" Score="5" Body="&lt;p&gt;The video's color transfer characteristics (trc) and color primaries flags are not being set on the output video, which is causing the video player to use incorrect values for playback, resulting in washed out colors. When encoding, use the following FFmpeg flags to resolve this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-color_trc smpte2084 -color_primaries bt2020&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Note that these flags do not actually &lt;em&gt;convert&lt;/em&gt; the the source material. These FFmpeg flags merely add flags to the output file that indicate to media players which values to use for these parameters. In this case, the question asker's media player chose incorrect values for these parameters since they were not set on the output video and displayed the video incorrectly.&lt;/p&gt;&#xA;&lt;p&gt;For actually &lt;em&gt;converting&lt;/em&gt; the video's content using specific transfer characteristics or primaries, &lt;a href=&quot;https://trac.ffmpeg.org/wiki/colorspace&quot; rel=&quot;noreferrer&quot;&gt;see this wiki page on FFmpeg's colorspace filter&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="32333" LastActivityDate="2020-10-07T19:06:03.897" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32399" PostTypeId="1" CreationDate="2020-10-07T21:11:32.207" Score="1" ViewCount="679" Body="&lt;p&gt;I have added an after effects project to my timeline, and that takes a lot of cpu resource to render.&lt;/p&gt;&#xA;&lt;p&gt;What I want to do is to prerender only the nested subsequence containing that AE composition to aid the renderer in premiere, but that seems to be ignored, it still plays awfully slow.&lt;/p&gt;&#xA;&lt;p&gt;Why?&lt;/p&gt;&#xA;&lt;p&gt;I do not want a solution where I save the background to a video file manually because that will obviously affect the quality of the final video rendering.&lt;/p&gt;&#xA;&lt;h1&gt;Details&lt;/h1&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gLmKh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gLmKh.png&quot; alt=&quot;animated background&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is the particle background that I created in AE with the aid of the tutorial on &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/flXrh6XukzA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;.&lt;/p&gt;&#xA;&lt;p&gt;So I created a nested sequence of it and prerendered that one (selecting the clip and in the menu use sequence-&amp;gt;render selection.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QLg0g.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QLg0g.png&quot; alt=&quot;sub sequence with green bar&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;After half an hour, the three minute long clip has been rendered as you see above and the red bar at the top has turned green.&lt;/p&gt;&#xA;&lt;p&gt;It also plays nicely.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KTFEg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KTFEg.png&quot; alt=&quot;parent clip&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The parent clip as you see shows that bar in red.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PH66l.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PH66l.png&quot; alt=&quot;me and the background&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;When I try to play the video in premiere, it seems like it does not make use of that prerendition of the nested sequence because it is awfully slow playback.&lt;/p&gt;&#xA;&lt;p&gt;What did I do wrong?&lt;/p&gt;&#xA;" OwnerUserId="21523" LastEditorUserId="21523" LastEditDate="2020-10-07T21:20:13.243" LastActivityDate="2020-10-08T09:57:06.997" Title="Prerender nested sequence" Tags="|after-effects|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32400" PostTypeId="2" ParentId="32392" CreationDate="2020-10-08T05:59:34.780" Score="1" Body="&lt;pre&gt;&lt;code&gt;x=tw-min(4*(tw\+10)-(abs(4-2*(t-1)))*(tw+10)-tw\,w/3.5)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;With this script I can animate text from right to left and stay in middle for a second and then go back to right side.&lt;/p&gt;&#xA;" OwnerUserId="32460" LastEditorUserId="18155" LastEditDate="2020-10-08T16:36:34.300" LastActivityDate="2020-10-08T16:36:34.300" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32401" PostTypeId="1" CreationDate="2020-10-08T06:34:18.743" Score="0" ViewCount="133" Body="&lt;p&gt;I have a large amount of DV footage, which I want to convert into a video per day.&lt;/p&gt;&#xA;&lt;p&gt;I've tried doing this by scripting &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -safe 0 -f concat -i day1-files.txt -fflags +igndts -ac 2 -ar 32000 -vf scale=768x576,setsar=1:1,yadif sq08_output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but results varied from perfect to garbled audio or video.&lt;/p&gt;&#xA;&lt;p&gt;Then I tried this manually in Premiere Pro with the following steps:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Import footage of a single day&lt;/li&gt;&#xA;&lt;li&gt;Automate to sequence&lt;/li&gt;&#xA;&lt;li&gt;Export media&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Results were perfect (for the same clips that &lt;code&gt;ffmpeg&lt;/code&gt; couldn't decode).&lt;/p&gt;&#xA;&lt;p&gt;As I have thousands of clips I don't want to repeat the Premiere Pro steps manually, so I looked into &lt;a href=&quot;https://premiere-scripting-guide.readthedocs.io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Premiere Pro scripting&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I completed step 1 with &lt;a href=&quot;https://premiere-scripting-guide.readthedocs.io/general/project.html#project-importfiles&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;app.project.importFiles&lt;/code&gt;&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;app.project.importFiles([&amp;quot;day1-1.mov&amp;quot;, &amp;quot;day1-2.mov&amp;quot;, &amp;quot;day1-3.mov&amp;quot;], true, app.project.rootItem, false)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I tried to do step 2 with &lt;a href=&quot;https://premiere-scripting-guide.readthedocs.io/general/project.html#project-createnewsequencefromclips&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;app.project.createNewSequenceFromClips&lt;/code&gt;&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;app.project.createNewSequenceFromClips(&amp;quot;sequenceName&amp;quot;&#xA;    , [app.project.rootItem.children[0]&#xA;    , app.project.rootItem.children[1]&#xA;    , app.project.rootItem.children[2]]&#xA;    , app.project.rootItem);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But got greeted with:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;createNewSequenceFromClips is not a function&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;How can I automate creating a sequence from a set of clips?&lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="2178" LastEditDate="2020-10-09T12:19:15.673" LastActivityDate="2024-02-22T19:06:20.737" Title="How can I automate creating a sequence from a set of clips?" Tags="|ffmpeg|premiere|automation|mini-dv|extendscript|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32402" PostTypeId="1" CreationDate="2020-10-08T08:08:44.790" Score="0" ViewCount="38" Body="&lt;p&gt;In the screenshot below, I trimmed the left clip (by dragging its right edge to the left) in order to remove a couple of seconds from the end.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vbHwt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vbHwt.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But the applied morph cut transition is only added to the right clip when I drag it there (which doesn't work, just shows an error in the video). How can I fix this?&lt;/p&gt;&#xA;" OwnerUserId="32486" LastActivityDate="2024-02-20T16:07:10.813" Title="Premiere: Add transition to trimmed clip" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32403" PostTypeId="2" ParentId="32399" CreationDate="2020-10-08T09:57:06.997" Score="1" Body="&lt;p&gt;You might be doing nothing wrong.&lt;/p&gt;&#xA;&lt;p&gt;I find dynamic linking between Premiere and After Effects still slow and buggy in CC2020.&lt;/p&gt;&#xA;&lt;p&gt;If I have a complex comp in AE, I would pre-render in AE, not using the pre-render function in the Compositions menu (because that seems to irreprably delete the original comp, unless anyone else knows otherwise?), but by exporting the comp as a ProRes file.&lt;/p&gt;&#xA;&lt;p&gt;Then you have two choices:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;If you trust dynamic linking:&#xA;Place your pre-render video above everything else in your comp in AE, and see if it beahves better in Premiere.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you don't trust dynamic linking:&#xA;Bring your pre-rendered ProRes .mov file into Premiere, where it will play quickly, and disable your dynamically linked comp.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-10-08T09:57:06.997" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32404" PostTypeId="2" ParentId="32402" CreationDate="2020-10-08T10:03:03.490" Score="0" Body="&lt;p&gt;Delete the transition, click on the edge between the two clips, so it goes red like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TgEQK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TgEQK.png&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&#xA;Then apply the transition.&lt;/p&gt;&#xA;&lt;p&gt;If you cannot, it's because one of the clips does not have any more frames to the other side of it with which to complete the transition.  ie if your transition is 10 frames long, you need five extra frames of footage on the left and right edges for it to work.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-10-08T10:03:03.490" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32405" PostTypeId="2" ParentId="22964" CreationDate="2020-10-08T14:03:35.623" Score="0" Body="&lt;p&gt;Try &lt;strong&gt;threefive.&lt;/strong&gt;&#xA;threefive returns all SCTE-35 data (Splice Info Section, Splice Command, and Splice Descriptors) in the proper format according to the 2019 specification.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/futzu/SCTE35-threefive&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/futzu/SCTE35-threefive&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32487" LastActivityDate="2020-10-08T14:03:35.623" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32406" PostTypeId="1" CreationDate="2020-10-08T15:16:42.583" Score="2" ViewCount="1448" Body="&lt;p&gt;I'm a software developer. My software produces animated video files with music.&lt;/p&gt;&#xA;&lt;p&gt;The video files should be compatible with a wide range of software, and they should have excellent audio quality. The audio that users load into the program might have been encoded twice already, and the resulting video will be encoded one more time when uploading to YouTube. So I'd like to let my software output uncompressed audio into the video file.&lt;/p&gt;&#xA;&lt;p&gt;For the longest time I wrote &lt;strong&gt;AVI&lt;/strong&gt; files with WAV audio. Unfortunately, this format suffers from compatibility problems. Some versions of Sony Vegas cannot open it, same problem with some versions of Premiere.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;MP4&lt;/strong&gt; files should be compatible with a wide range of software - unfortunately, there doesn't seem to be a widely supported way for MP4 files to contain lossless audio. Most common seems to be AAC audio, which is transparent at 320kbps - but I'd like to avoid that additional lossy step for reasons mentioned above.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;MKV&lt;/strong&gt; files support WAV audio, but are unsupported by Sony Vegas.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;What container format and audio codec&lt;/strong&gt; should I pick for wide compatibility and lossless audio? I'm using ffmpeg, so I have the ability to produce almost any format.&lt;/p&gt;&#xA;" OwnerUserId="3043" LastActivityDate="2023-06-29T17:35:44.033" Title="Widely compatible video format with lossless audio" Tags="|ffmpeg|codec|mp4|mkv|avi|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32409" PostTypeId="1" AcceptedAnswerId="32411" CreationDate="2020-10-09T16:05:31.153" Score="1" ViewCount="1687" Body="&lt;p&gt;I have this short videoclips that i recorded either with my webcam or with my phone. The ones that come from my webcam are in Matroska container, and the ones from the phone in mp4. Each piece is between 50 and 150 MB in data size, some 3 or 5 minutes long. I read that the proper way to concatenate in ffmpeg was something of this sort:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.mp4 -i input2.webm -i input3.mov \&#xA;-filter_complex &amp;quot;[0:v:0][0:a:0][1:v:0][1:a:0][2:v:0][2:a:0]concat=n=3:v=1:a=1[outv][outa]&amp;quot;&#xA; \-map &amp;quot;[outv]&amp;quot; -map &amp;quot;[outa]&amp;quot; output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So I took the first two clips, the first one mkv and the second one mp4 and I did:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i intro.mkv -i part2.mp4 \&#xA;-filter_complex &amp;quot;[0:v:0][0:a:0][1:v:0][1:a:0]concat=n=2:v=1:a=1[outv][outa]&amp;quot; \&#xA;-map &amp;quot;[outv]&amp;quot; -map &amp;quot;[outa]&amp;quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and it began to take time... and more time... and more time. After one hour I got worried and I checked the output.mp4 file and it was half a GB in size. Then after another hour it was 1.5 GB.&#xA;And the process continued to run, in the terminal indicating huge numbers of framedrops.&#xA;I terminated the process and tried to diagnose the output file but couldn't.&lt;/p&gt;&#xA;&lt;p&gt;What went wrong? What is the proper way to do this?&lt;/p&gt;&#xA;" OwnerUserId="32502" LastActivityDate="2020-10-09T17:07:26.340" Title="I used ffmpeg to concatenate to videos and it got stuck and produced a huge file. Where is the mistake?" Tags="|ffmpeg|editing|encoding|command-line|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32410" PostTypeId="2" ParentId="32401" CreationDate="2020-10-09T16:21:29.533" Score="0" Body="&lt;p&gt;Apparently &lt;code&gt;createNewSequenceFromClips&lt;/code&gt; was not available in my version of Premiere Pro (v14.0.1). When I updated to v14.4 all worked as it should.&lt;/p&gt;&#xA;&lt;p&gt;This &lt;a href=&quot;https://gitlab.com/b_a/premiere-pro-automation&quot; rel=&quot;nofollow noreferrer&quot;&gt;example script&lt;/a&gt; using that function works as expected.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="2178" LastEditDate="2020-10-10T13:07:51.393" LastActivityDate="2020-10-10T13:07:51.393" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32411" PostTypeId="2" ParentId="32409" CreationDate="2020-10-09T17:07:26.340" Score="3" Body="&lt;p&gt;The concat filter uses the frame rate of the first input as the framerate for the output stream. Some MKV/WebM files don't write valid framerates. That can lead ffmpeg to assign a framerate of 1000 (the inverse of default timebase in Matroska), which can lead to huge frame duplication.&lt;/p&gt;&#xA;&lt;p&gt;Set a sane output framerate for such scenarios.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i intro.mkv -i part2.mp4 \ -filter_complex &amp;quot;[0:v:0][0:a:0][1:v:0][1:a:0]concat=n=2:v=1:a=1[outv][outa]&amp;quot; \ -map &amp;quot;[outv]&amp;quot; -map &amp;quot;[outa]&amp;quot; -r 30 output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-10-09T17:07:26.340" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32412" PostTypeId="1" AcceptedAnswerId="36023" CreationDate="2020-10-09T17:20:47.440" Score="0" ViewCount="84" Body="&lt;p&gt;How you can I implement a virtual mixer from different streams. When a streamer downloads an obs, it broadcasts the stream directly to the streaming site. Is it possible to make the stream go to another computer, where there will already be a mixing of several streams. I want to do something like 3 people turn on obs or similar software and stream to my computer, where, for example, I mix them in Vmix and send the final image to the streaming service. Is that possible?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/nHrH4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nHrH4.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32503" LastActivityDate="2022-12-21T08:06:23.787" Title="Mixing multiple streams into one, posible?" Tags="|streaming|broadcasting|multi-camera|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32414" PostTypeId="1" AcceptedAnswerId="32416" CreationDate="2020-10-09T23:51:00.517" Score="2" ViewCount="1721" Body="&lt;p&gt;How can I show letters one at the time using FFMpeg, I'm talking about something like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kdal8.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kdal8.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="32507" LastActivityDate="2023-05-17T12:42:36.670" Title="ffmpeg: Make letters appear one at the time, like a typewriter" Tags="|ffmpeg|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32416" PostTypeId="2" ParentId="32414" CreationDate="2020-10-10T12:59:41.923" Score="0" Body="&lt;ol&gt;&#xA;&lt;li&gt;Use Paint or GIMP to type a letter, save it as img-001.png&lt;/li&gt;&#xA;&lt;li&gt;do the next letter and img-002.png&lt;/li&gt;&#xA;&lt;li&gt;ffmpeg -framerate 60 -i img-%03d.png output.mp4&lt;/li&gt;&#xA;&lt;li&gt;adjust the input frame rate&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-10-10T12:59:41.923" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32417" PostTypeId="1" AcceptedAnswerId="32421" CreationDate="2020-10-10T16:46:45.877" Score="0" ViewCount="654" Body="&lt;p&gt;I have a video clip that I use as a background, then another clip that contains some text, is there a way to make this second clip start&#xA;playing after &lt;code&gt;x&lt;/code&gt; seconds?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;background: 00:00:00|-------------------|00:00:05&#xA;foreground: 00:00:02|         &amp;gt;---------|00:00:05&#xA;                              ^it starts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32507" LastEditorUserId="32507" LastEditDate="2020-10-10T18:04:04.290" LastActivityDate="2020-10-11T04:48:20.770" Title="FFmpeg: Make video appear after x seconds" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32418" PostTypeId="2" ParentId="29337" CreationDate="2020-10-10T18:48:18.047" Score="7" Body="&lt;p&gt;Since &lt;a href=&quot;https://summerofcode.withgoogle.com/archive/2018/projects/5661133578960896/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Google Summer of Code 2018&lt;/a&gt;, FFMpeg has supported &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#sr-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;the &lt;code&gt;sr&lt;/code&gt; filter&lt;/a&gt; for applying super-resolution methods based on convolutional neural networks. However, as you have discovered, few super-resolution tutorials exist, and compiling FFMpeg with proper libraries and preparing models for super-resolution requires expert knowledge.&lt;/p&gt;&#xA;&lt;p&gt;To make super-resolution in FFMpeg easier, &lt;a href=&quot;https://video.stackexchange.com/users/32410/mikul%c3%a1%c5%a1-bankovi%c4%8d&quot;&gt;Mikuláš&lt;/a&gt;, &lt;a href=&quot;https://github.com/dlueth&quot; rel=&quot;nofollow noreferrer&quot;&gt;Dirk&lt;/a&gt; and I have taken the excellent answer of &lt;a href=&quot;https://video.stackexchange.com/users/32099/mark&quot;&gt;Mark&lt;/a&gt;, and we used it to prepare &lt;a href=&quot;https://hub.docker.com/r/miratmu/ffmpeg-tensorflow&quot; rel=&quot;nofollow noreferrer&quot;&gt;a Docker image with FFMpeg and Libtensorflow&lt;/a&gt;. We also wrote a tutorial that explains step-by-step how to use the Docker image for super-resolution in FFMpeg: &lt;a href=&quot;https://github.com/MIR-MU/ffmpeg-tensorflow#ffmpeg-with-libtensorflow&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/MIR-MU/ffmpeg-tensorflow#ffmpeg-with-libtensorflow&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;After installation, super-resolution in FFMpeg becomes as easy as this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ wget https://media.xiph.org/video/derf/y4m/flower_cif.y4m&#xA;$ alias ffmpeg-tensorflow='docker run --rm --gpus all -u $(id -u):$(id -g) -v &amp;quot;$PWD&amp;quot;:/data -w /data -it miratmu/ffmpeg-tensorflow'&#xA;$ ffmpeg-tensorflow -i flower_cif.y4m -filter_complex '&#xA;&amp;gt;   [0:v] format=pix_fmts=yuv420p, extractplanes=y+u+v [y][u][v];&#xA;&amp;gt;   [y] sr=dnn_backend=tensorflow:scale_factor=2:model=espcn.pb [y_scaled];&#xA;&amp;gt;   [u] scale=iw*2:ih*2 [u_scaled];&#xA;&amp;gt;   [v] scale=iw*2:ih*2 [v_scaled];&#xA;&amp;gt;   [y_scaled][u_scaled][v_scaled] mergeplanes=0x001020:yuv420p [merged]&#xA;&amp;gt; ' -map [merged] -sws_flags lanczos \&#xA;&amp;gt; -c:v libx264 -crf 17 -preset ultrafast -tune film \&#xA;&amp;gt; -c:a copy \&#xA;&amp;gt; -y flower_cif_2x.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Compare upscaling using Lanczos (left) with the ESPCN super-resolution model (right):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DzYz3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DzYz3.jpg&quot; alt=&quot;Comparison of Lanczos and ESPCN&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23079" LastEditorUserId="23079" LastEditDate="2021-02-09T11:25:27.047" LastActivityDate="2021-02-09T11:25:27.047" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32419" PostTypeId="1" AcceptedAnswerId="32422" CreationDate="2020-10-10T21:26:25.693" Score="1" ViewCount="1711" Body="&lt;p&gt;I have a UHD wide image (3840px) which is very tall (11568px). I'd like to make a video like this:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;3840 x 2160 resolution, mp4 output file&lt;/li&gt;&#xA;&lt;li&gt;starts and ends black&lt;/li&gt;&#xA;&lt;li&gt;image takes up full width of the UHD frame&lt;/li&gt;&#xA;&lt;li&gt;top of the image appears at the bottom of the video frame and &amp;quot;scrolls up&amp;quot; until the bottom of the image disappears past the top of the video frame&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;It would be ideal if each step of the scroll shifted the image up 48px. But if it goes up 1 pixel every step because that's easier to script I can live with that. &lt;em&gt;I'm trying to emulate something like an ANSI scroller where each line would present itself one at a time over a 28.8kbps modem after logging into a BBS &lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have found some similar questions asked but haven't figured out what parameters to tweak for the particular effect I've described. &lt;a href=&quot;https://www.reddit.com/r/ffmpeg/comments/9051f1/i_want_to_pan_across_an_image_from_left_to_right/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Horizontal scroll question on reddit&lt;/a&gt;. &lt;a href=&quot;https://el-tramo.be/blog/ken-burns-ffmpeg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Ken Burns Effect Slideshows with FFMPeg blog post&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance for any help/direction &lt;/p&gt;&#xA;" OwnerUserId="29911" LastEditorUserId="29911" LastEditDate="2020-10-10T22:26:55.373" LastActivityDate="2020-10-11T05:20:22.017" Title="ffmpeg vertical pan over an image (top to bottom scrolling effect)" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32420" PostTypeId="1" CreationDate="2020-10-10T22:12:25.030" Score="1" ViewCount="22" Body="&lt;p&gt;I am new to After Effects so I apologize in advance for any misuse of terminology or lack of necessary information. Just let me know if you need anything and I can provide it.&lt;/p&gt;&#xA;&lt;p&gt;I am trying to create a lower third reveal that I can use in Premiere. I have the lower third made and I used the typewriter preset animation to reveal it. In addition I have a shape that moves along with the animation as an additional reveal element.&lt;/p&gt;&#xA;&lt;p&gt;I am looking to have this a preset that I can use in Premiere so that when I change the text, the typewriter animation and the shape adjusts according to the length of the text itself.&lt;/p&gt;&#xA;&lt;p&gt;Here is a reddit link to a post where I ask the same question and it has a video example of what I am trying to accomplish: &lt;a href=&quot;https://www.reddit.com/r/AfterEffects/comments/j8s18d/need_help_creating_dynamic_lower_third/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Example&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Please let me know if there's anything else you need from me, thanks.&lt;/p&gt;&#xA;" OwnerUserId="32514" LastActivityDate="2020-10-10T22:12:25.030" Title="Need helping creating dynamic lower third" Tags="|after-effects|after-effects-expressions|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32421" PostTypeId="2" ParentId="32417" CreationDate="2020-10-11T04:48:20.770" Score="0" Body="&lt;p&gt;The timestamps of the overlay have to be shifted and overlay filter has to be told to delay start of overlay.&lt;/p&gt;&#xA;&lt;p&gt;Basic form of command is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i base -itsoffset X -i overlay -filter_complex &amp;quot;[0][1]overlay=enable='gt(t\,X)'&amp;quot; output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Audio processing and encoding will use default parameters.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-10-11T04:48:20.770" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32422" PostTypeId="2" ParentId="32419" CreationDate="2020-10-11T05:20:22.017" Score="1" Body="&lt;p&gt;Create a canvas of output size and use an animated overlay to simulate a scroll.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f lavfi -i color=s=3840x2160 -i UHDimage -filter_complex &amp;quot;[0][1]overlay=x=0:y=H-48*n&amp;quot; -vframes 242 out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Output duration is clamped to &lt;code&gt;242 frames = (11568/48)+1&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-10-11T05:20:22.017" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32423" PostTypeId="1" CreationDate="2020-10-11T09:07:58.977" Score="0" ViewCount="26" Body="&lt;p&gt;I have a textbox in a template with full of animations and keyframes,&lt;/p&gt;&#xA;&lt;p&gt;How can I replace it totally with a new textbox that I recently created? (The recently created textbox have some language features that the basic textbox doesn't have/support)&lt;/p&gt;&#xA;&lt;p&gt;In another hand. as an alternative solution, how can I &lt;strong&gt;copy all the keyframes&lt;/strong&gt; and features of that textbox and add them to the recent textbox.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QAMr6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QAMr6.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Notes:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Don't want to type in the same textbox (Will miss the new supported languages features)&lt;/li&gt;&#xA;&lt;li&gt;Deleting the old one and replace it with the new one, will not add the animation to the 2nd text.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="32517" LastEditorUserId="32517" LastEditDate="2020-10-11T15:31:23.140" LastActivityDate="2020-10-11T15:31:23.140" Title="Replace a text that has keyframes in a template totally with another text" Tags="|after-effects|keyframes|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32425" PostTypeId="1" CreationDate="2020-10-12T01:41:57.023" Score="0" ViewCount="31" Body="&lt;p&gt;I have made a couple of diy and hobby videos in youtube, but without any eye catchy effects.&lt;/p&gt;&#xA;&lt;p&gt;I would like to implement the effect of fast forwarding with the idea below:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;Suppose I am making a paper plane. First a plain paper is shown, then the paper rotates automatically, and bends in half, fold itself vertically,and so on.&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have seen a similar effect in the following video in youtube between times 00:01:20 to 00:01:55.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/4LDSpQpa4bU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="32524" LastActivityDate="2020-11-12T13:04:50.550" Title="How to implement fast forwards or skips in video editing" Tags="|video-editor|youtube|visual-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32426" PostTypeId="1" CreationDate="2020-10-12T02:35:27.943" Score="0" ViewCount="243" Body="&lt;p&gt;I recently got a Nikon Z7 and I've been playing with its ability to shoot 120 fps at 1080p and then make slow-motion 30fps (or even 24 fps) videos from it.   A 120 fps video can be used to generate a slower-fps video using Premiere Pro or even ffmpeg if you don't dialing your Wayback machine to 1983 and typing in a command line.&lt;/p&gt;&#xA;&lt;p&gt;But if I have a bunch of 120 fps videos and I want to select the one that looks best, I just want to &lt;strong&gt;VIEW&lt;/strong&gt; them at a slower playback speed.&lt;br /&gt;&#xA;Is there any way to do that either in-camera or with some simple Windows app?&lt;/p&gt;&#xA;" OwnerUserId="17778" LastActivityDate="2023-03-04T06:05:05.590" Title="Easy way to preview 120 fps footage at 30 fps?" Tags="|slowmotion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32428" PostTypeId="1" CreationDate="2020-10-12T08:46:23.213" Score="2" ViewCount="83" Body="&lt;p&gt;I often need to transcribe clips in Premiere.&#xA;To do this, I will open (eg) TextEdit, and switch between the two apps.&#xA;Sometimes Premiere will allow audio playback in the background, and sometimes it just mutes.&#xA;Does anyone know why or how this happens, and any method to get it to more reliably play when backgrounded?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-12-17T06:09:21.100" Title="When does Premiere allow audio to play in the background?" Tags="|premiere|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="32429" PostTypeId="1" CreationDate="2020-10-12T17:27:28.383" Score="1" ViewCount="30" Body="&lt;p&gt;I would like to upgrade some old videos I made long ago using standard definition (or lower) video sources, replacing them with higher definition sources, but without access to the original project files.&lt;/p&gt;&#xA;&lt;p&gt;For example, it could be a fan-made music video with video sourced from an old film on DVD, but now I have the blu-ray and I want to automatically find and replace all the matched content from the edited video.&lt;/p&gt;&#xA;&lt;p&gt;To do this I need a library or script for windows that will take two videos, compare one to the other finding all the similarities and reports a list of timecodes where the 2 videos appear to match.&lt;/p&gt;&#xA;&lt;p&gt;With such a tool I could easily automate this process completely.&lt;/p&gt;&#xA;&lt;p&gt;I'm sure such a script (open-source) already exists, I just can't find it. Can someone point me in the right direction?&lt;/p&gt;&#xA;" OwnerUserId="27762" LastActivityDate="2020-10-12T17:27:28.383" Title="Given 2 videos, one edited down and one unedited, how can I automatically find matching sequences between them?" Tags="|automation|script|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32430" PostTypeId="2" ParentId="18247" CreationDate="2020-10-12T21:51:56.847" Score="2" Body="&lt;p&gt;I was going to comment on paulzag's comment, but I need 50 reputation (what a stupid system).&lt;/p&gt;&#xA;&lt;p&gt;For me, the filter and demuxer weren't working at all, but I found out about &amp;quot;Concat protocol&amp;quot; on ffmpeg's site, which worked prefectly for me: &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate#protocol&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Concatenate#protocol&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I used the &amp;quot;intermediate files&amp;quot; method, which uses MPEG-2 TS files.&lt;/p&gt;&#xA;&lt;p&gt;Previous to this, the video was freezing at the first insertion for about 3 seconds, and then playing the rest of the video at half FPS. I think it was due to the videos being encoded using different settings.&lt;/p&gt;&#xA;&lt;p&gt;Now it perfectly combines both videos together with no issue.&lt;/p&gt;&#xA;&lt;p&gt;From the site:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;While the demuxer works at the stream level, the concat protocol works at the file level. Certain files (MPEG-2 transport streams, possibly others) can be concatenated. This is analogous to using &lt;code&gt;cat&lt;/code&gt; on UNIX-like systems or &lt;code&gt;copy&lt;/code&gt; on Windows.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Instructions&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;The following command concatenates three MPEG-2 TS files and concatenates them without re-encoding:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;concat:input1.ts|input2.ts|input3.ts&amp;quot; -c copy output.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Using intermediate files&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you have MP4 files, these could be losslessly concatenated by first transcoding them to MPEG-2 transport streams. With H.264 video and AAC audio, the following can be used:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.mp4 -c copy -bsf:v h264_mp4toannexb -f mpegts intermediate1.ts &#xA;ffmpeg -i input2.mp4 -c copy -bsf:v h264_mp4toannexb -f mpegts intermediate2.ts&#xA;ffmpeg -i &amp;quot;concat:intermediate1.ts|intermediate2.ts&amp;quot; -c copy -bsf:a aac_adtstoasc output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Using named pipes to avoid intermediate files&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you're using a system that supports named pipes, you can use those to avoid creating intermediate files. This sends stderr (to which ffmpeg sends all the written data) to &lt;code&gt;/dev/null&lt;/code&gt;, to avoid cluttering up the command-line:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mkfifo temp1 temp2 &#xA;ffmpeg -y -i input1.mp4 -c copy -bsf:v h264_mp4toannexb -f mpegts temp1 2&amp;gt; /dev/null &amp;amp; \&#xA;ffmpeg -y -i input2.mp4 -c copy -bsf:v h264_mp4toannexb -f mpegts temp2 2&amp;gt; /dev/null &amp;amp; \&#xA;ffmpeg -f mpegts -i &amp;quot;concat:temp1|temp2&amp;quot; -c copy -bsf:a aac_adtstoasc output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The additional &lt;code&gt;-y&lt;/code&gt; switch is needed to force ffmpeg to write to existing files &lt;code&gt;temp1&lt;/code&gt; and &lt;code&gt;temp2&lt;/code&gt;, which are the named pipes. Without the switch, the first two ffmpeg programs running in the background will not produce any output because they wait for interactive yes/no answers to the questions whether to overwrite existing files.&lt;/p&gt;&#xA;&lt;p&gt;All MPEG codecs (MPEG-4 Part 10 / AVC, MPEG-4 Part 2, MPEG-2 Video, MPEG-1 Audio Layer II, MPEG-2 Audio Layer III (MP3), MPEG-4 Part III (AAC)) are supported in the MPEG-TS container format, although the commands above would require some alteration (e.g., the &lt;code&gt;-bsf&lt;/code&gt; bitstream filters will have to be changed).&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="32537" LastEditorUserId="32537" LastEditDate="2021-04-01T01:54:34.543" LastActivityDate="2021-04-01T01:54:34.543" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32431" PostTypeId="1" CreationDate="2020-10-13T08:29:57.030" Score="0" ViewCount="2955" Body="&lt;p&gt;I want to know how I can &lt;strong&gt;remove encode settings&lt;/strong&gt; from the mediainfo with mkvpropedit or ffmpeg?&lt;/p&gt;&#xA;&lt;p&gt;İn this post:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/18227/removing-mp4-encoding-information&quot;&gt;Removing MP4 encoding information&lt;/a&gt;&#xA;I found this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i INPUT -c copy -bitexact -map_metadata -1 -bsf:v 'filter_units=remove_types=6' OUTPUT&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;for &lt;strong&gt;only h264 AVC!&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;so how can you do this for &lt;strong&gt;h265 HEVC&lt;/strong&gt;&#xA;What command do i need to use?&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;I want to do this by simply &lt;strong&gt;copy&lt;/strong&gt;ing the file I &lt;strong&gt;don't&lt;/strong&gt; want to &lt;strong&gt;convert&lt;/strong&gt; the whole file.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;İ want to remove this:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;cpuid=0 / frame-threads=3 / no-wpp / no-pmode / no-pme / no-psnr / no-ssim / log-level=2 / input-csp=1 / input-res=1920x1080 / interlace=0 / total-frames=0 / level-idc=0 / high-tier=1 / uhd-bd=0 / ref=2 / no-allow-non-conformance / no-repeat-headers / annexb / no-aud / no-hrd / info / hash=0 / no-temporal-layers / open-gop / min-keyint=23 / keyint=250 / gop-lookahead=0 / bframes=4 /  ...&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE:&lt;/strong&gt;&#xA;&lt;code&gt;-c:v libx265 -x265-params no-info=1&lt;/code&gt; this command does work &lt;strong&gt;but&lt;/strong&gt; for converting &lt;code&gt;-c:v libx265&lt;/code&gt; converts. I want to know how I can do this just to simply &lt;strong&gt;copy&lt;/strong&gt; &lt;code&gt;-c copy&lt;/code&gt; the file?&lt;/p&gt;&#xA;" OwnerUserId="32528" LastEditorUserId="32528" LastEditDate="2020-10-14T20:23:18.080" LastActivityDate="2021-02-18T10:01:00.063" Title="How can I remove ENCODE İNFORMATİON from mediainfo for H265 HEVC .mkv?" Tags="|ffmpeg|encoding|metadata|h.265|matroska|" AnswerCount="2" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32432" PostTypeId="1" CreationDate="2020-10-13T12:05:18.097" Score="1" ViewCount="247" Body="&lt;p&gt;I compiled and ran this audio recorder program derived from JUCE: &lt;a href=&quot;https://gitlab.com/DamienAuvray/simpleaudiorecorder&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gitlab.com/DamienAuvray/simpleaudiorecorder&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I can see that it has the options of selecting channels. I am a newbie in this area.&#xA;What do those channels represent? Do they represent different microphones? Selecting many channels means that we can use more than one microphone for recording?&lt;/p&gt;&#xA;&lt;p&gt;Please explain.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PzEAM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PzEAM.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32540" LastActivityDate="2020-10-14T11:02:53.137" Title="What is the meaning of &quot;channels&quot; in an audio recorder program?" Tags="|audio|audio-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32433" PostTypeId="2" ParentId="10461" CreationDate="2020-10-13T12:59:08.830" Score="1" Body="&lt;p&gt;Summarizing what I learned from this page and the steps I ended up taking to crop &amp;amp; make a new clip at that exact size:&lt;/p&gt;&#xA;&lt;p&gt;Crop Video &amp;amp; Export at that exact new size&#xA;(e.g. for getting rid of any unwanted black bars):&lt;/p&gt;&#xA;&lt;p&gt;Import video into Project Panel.&lt;/p&gt;&#xA;&lt;p&gt;Drag onto Timeline Window to create a Sequence.&lt;/p&gt;&#xA;&lt;p&gt;Choose In/Out points. (“i” and “o” keys)&lt;/p&gt;&#xA;&lt;p&gt;File &amp;gt; Export &amp;gt; Media&lt;/p&gt;&#xA;&lt;p&gt;Export Settings: Go to top left, click “Source” (so it’s blue), the Crop sign shows, and you can adjust your desired crop section right there, dragging the crop lines or via precise pixel info. Video &amp;amp; adjustments should be visible.&lt;/p&gt;&#xA;&lt;p&gt;At the bottom of that window set Source Range to “Sequence In/Out,” so Premiere is only working on the segment you actually want.&lt;/p&gt;&#xA;&lt;p&gt;On the right, within the same Export Settings window, you may have to enter the new video dimensions, after deducting the pixels that you ended up cropping out in the left side of the window. Then on the right side, under “Video,” find “Basic Video Settings,” Width and Height, make sure to UN-check those check marks that would force you to keep the old/original dimensions and image ratio. Then enter the new pixel info.&lt;/p&gt;&#xA;&lt;p&gt;Scroll that same window up to get to the (currently still undisplayed) Bitrate Settings and choose the appropriate Bitrate.&lt;/p&gt;&#xA;&lt;p&gt;(etc.)&lt;/p&gt;&#xA;&lt;p&gt;Double-check in the right side of the window under “Summary” - “Output” that all the values are correct.&lt;/p&gt;&#xA;&lt;p&gt;Then Export.&lt;/p&gt;&#xA;&lt;p&gt;This will give you the cropped video as intended, in the new specified format size.&lt;/p&gt;&#xA;" OwnerUserId="32542" LastActivityDate="2020-10-13T12:59:08.830" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32434" PostTypeId="2" ParentId="32425" CreationDate="2020-10-13T13:01:21.647" Score="1" Body="&lt;p&gt;The method used in your example is called &amp;quot;stop motion&amp;quot; and is pretty much the way people create their lego-videos, clay-animations, etc. To do this, you will need to take a picture of the paper, then rotate it very slightly, take another picture, rotate some more, and so on and so forth.&lt;/p&gt;&#xA;&lt;p&gt;When you took all the pictures, you can import them as an image sequence in After-Effects or premiere and adjust the speed by setting the framerate, something between 10 and 25 should work for these purposes. But behold, this method is very time-expensive - just as a heads up.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-10-13T13:01:21.647" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32435" PostTypeId="1" CreationDate="2020-10-13T15:16:22.367" Score="1" ViewCount="21" Body="&lt;p&gt;I have a clip of around 10 seconds. I want the first half to be in normal blend mode, but the second half to be in &amp;quot;Lighter Color&amp;quot; blend mode. (I am inserting that clip inside another clip and want it to blend with it in a non obstructive way in case you need to know why I'm asking).&lt;/p&gt;&#xA;&lt;p&gt;The problem is that I can't seem to find a way to make it slowly change blend modes (like a fade) over the course of that 10 second clip. Is there a workaround for this?&lt;/p&gt;&#xA;&lt;p&gt;If there is a solution with Ae as well I'd still like to know.&lt;/p&gt;&#xA;&lt;p&gt;Thank you in advance.&lt;/p&gt;&#xA;" OwnerDisplayName="user32543" LastActivityDate="2020-10-16T11:15:53.387" Title="There are several blending modes in Adobe Pr. Is there a way to &quot;ease into&quot; a mode without having it abruptly change?" Tags="|after-effects|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32436" PostTypeId="2" ParentId="29414" CreationDate="2020-10-13T21:19:48.757" Score="3" Body="&lt;p&gt;ProRes/CineForm/DNxHR caught on because of the platforms which decided to use them. Initially, H.264 didn't have 10-bit implementations and H.265 didn't exist.&lt;/p&gt;&#xA;&lt;p&gt;Those formats are made to hold up to being re-encoded while being very fast to encode/decode. They're not painstakingly tweaked for the best possible quality at a given bitrate.&lt;/p&gt;&#xA;&lt;p&gt;Several cameras can save files in all-intra H.264. I know Panasonic and Sony support it. Sony calls it XAVC S-I. That's just their brand name for H.264 all-intra with 10-bit, 12-bit, 422, and 444 support. And it supports PCM audio which is not actually compliant with the MP4 container spec. These formats are catching on in cameras because the cameras have very specific bitrate requirements to write to an SD card. But then if you look at an external recorder like the Ninja V which can record to an SSD, that's going to record in ProRes/DNxHR because it can handle the higher bitrate — and because nobody's going to run out to buy something that says it supports XAVC S-I. People want ProRes/DNxHR because it makes their life simpler. I can pop the SSD out of my Ninja and plug it into my Mac and drop it onto a timeline in Resolve and I know that works and it's not going to try to make a proxy of it.&lt;/p&gt;&#xA;&lt;p&gt;So if you want the best quality all-intra file you can certainly get that. You can make it lossless. You can do a &amp;quot;veryslow&amp;quot; FFMPEG render. But Premiere/Resolve aren't going to add the option to do an all-night proxy render.&lt;/p&gt;&#xA;&lt;p&gt;Here's a very good discussion of the quality of all-intra H.265 vs. H.264 vs. ProRes:&#xA;&lt;a href=&quot;https://www.eoshd.com/comments/topic/46562-prores-vs-h264-vs-h265-and-ipb-vs-all-i-how-good-are-they-actually/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.eoshd.com/comments/topic/46562-prores-vs-h264-vs-h265-and-ipb-vs-all-i-how-good-are-they-actually/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The reason H.265 isn't much better than H.264 is because most of the gains in compression in newer codecs are from advanced temporal compression, and all-intra by definition has no temporal compression.&lt;/p&gt;&#xA;&lt;p&gt;Maybe in the future we'll have more standard all-intra formats, but that's probably going to be something post-HEVC. There is arguably a benefit to keeping archival footage in an all-intra format that's easy to work with. An all-intra format has less quirks and might be better for uploading to YouTube in some cases depending on how it gets along with however they're transcoding it. But these are edge cases. The all-intra version is by definition lower quality for a given bitrate.&lt;/p&gt;&#xA;&lt;p&gt;The real nightmare — which is what made you ask the question in the first place — is dealing with that HDR metadata. It's all a bunch of voodoo which you might be able to sort out with ffprobe, mkvmerge, and mkvpropedit.&lt;/p&gt;&#xA;&lt;p&gt;You need to figure out what your problem actually is: What metadata is on the file? Is it tags on the video stream or tags in a separate side data stream? You should be able to get FFMPEG to preserve that. But what works in one container format might not work at all for another container format.&lt;/p&gt;&#xA;&lt;p&gt;It looks like Premiere doesn't like your source file and screws up the sync, and FFMPEG doesn't like your source file and screws up the metadata. Where exactly is this source coming from?&lt;/p&gt;&#xA;" OwnerUserId="32545" LastActivityDate="2020-10-13T21:19:48.757" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32437" PostTypeId="2" ParentId="32431" CreationDate="2020-10-14T01:08:42.920" Score="1" Body="&lt;p&gt;&lt;strong&gt;-x265-params no-info=1&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;!ffmpeg -y -i http://mirrors.standaloneinstaller.com/video-sample/Panasonic_HDC_TM_700_P_50i.mkv -c:v libx265 -x265-params no-info=1 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;would generate MediaInfo as&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Video ID                                       : 1&lt;br /&gt;&#xA;Format: HEVC&lt;br /&gt;&#xA;Format/Info: High EfficiencyVideo Coding Format&lt;br /&gt;&#xA;profile                           : Main@L4@Main&lt;br /&gt;&#xA;Codec ID                                 : hev1&lt;br /&gt;&#xA;...&lt;br /&gt;&#xA;Writing library                          : x265 2.6:[Linux][GCC 7.2.0][64 bit] 8bit+10bit+12bit&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;-x265-params no-info=0&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;!ffmpeg -y -i http://mirrors.standaloneinstaller.com/video-sample/Panasonic_HDC_TM_700_P_50i.mkv -c:v libx265 -x265-params no-info=0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;would generate MediaInfo as&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Video ID                                       : 1&lt;br /&gt;&#xA;Format: HEVC&lt;br /&gt;&#xA;Format/Info: High EfficiencyVideo Coding Format&lt;br /&gt;&#xA;profile                           : Main@L4@Main&lt;br /&gt;&#xA;Codec ID                                 : hev1&lt;br /&gt;&#xA;...&lt;br /&gt;&#xA;Writing library                          : x265 2.6:[Linux][GCC 7.2.0][64 bit] 8bit+10bit+12bit&lt;br /&gt;&#xA;&lt;em&gt;Encoding settings                        : cpuid=1173503 / frame-threads=1 / wpp / no-pmode / no-pme / no-psnr / no-ssim ...&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-10-14T01:08:42.920" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32439" PostTypeId="2" ParentId="32432" CreationDate="2020-10-14T11:02:53.137" Score="1" Body="&lt;p&gt;I am not sure about that particular software, but a channel is one of two sides of a stereo recording, and yes, a truly stereo microphone is in reality two separate microphones in one device.&lt;/p&gt;&#xA;&lt;p&gt;Another option is to use two monoaural microphones connected to the same input device.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;When a studio recording is being edited, a channel can represent this same; one of two microphones. There can be an even greater number of them, for example, a recording of an orchestra or they can be recordings from the same microphone made on different moments, for example, a solo artist that is recording his own chorus.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2020-10-14T11:02:53.137" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32440" PostTypeId="2" ParentId="32426" CreationDate="2020-10-15T00:06:52.070" Score="1" Body="&lt;p&gt;If you want to view at slower playback speed, would videoLan help?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Menu-&amp;gt;Playback-&amp;gt;Speed-&amp;gt;Slower &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;then check if the speed at 0.25x is it what you want.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-10-15T00:06:52.070" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32441" PostTypeId="1" CreationDate="2020-10-15T02:48:41.433" Score="2" ViewCount="24" Body="&lt;p&gt;can anyone take a look at the animation I've made and provide some insights?&#xA;Here is what I've got so far.&#xA;&lt;a href=&quot;https://drive.google.com/file/d/1eIdcAp9cK_AaA8UWBx9OKWAXXZWq0F2r/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1eIdcAp9cK_AaA8UWBx9OKWAXXZWq0F2r/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The problem: texts are floating when the cube is rotating.&lt;/p&gt;&#xA;&lt;p&gt;Current method: I have a cube animation as the background and I added shaper layer and text to each face. For each face, I parent the text to shape layer and use path to adjust the shape as the cube rotating.&lt;/p&gt;&#xA;&lt;p&gt;Question: is there a better way to scale the text correspondingly as parent shape layer resizing?&lt;/p&gt;&#xA;" OwnerUserId="32555" LastEditorUserId="1950" LastEditDate="2022-07-03T12:26:30.113" LastActivityDate="2022-07-03T12:26:30.113" Title="Scale texts as the the parent shape layer changes" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32442" PostTypeId="2" ParentId="29480" CreationDate="2020-10-15T06:25:56.343" Score="1" Body="&lt;p&gt;Currently your best bet is to extract the audio of the clip before you start editing, and then importing it into Audacity, which has a great toolbox for dealing with outside noise.&#xA;Once done, you can export from Audacity and back into Kdenlive.&lt;/p&gt;&#xA;&lt;p&gt;It's a workaround, and very labor intensive. It would have been much nicer to be able to apply some basic audio filters directly in Kdenlive.&lt;/p&gt;&#xA;" OwnerUserId="32558" LastActivityDate="2020-10-15T06:25:56.343" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32443" PostTypeId="2" ParentId="32389" CreationDate="2020-10-15T09:27:24.983" Score="0" Body="&lt;p&gt;You will see clearly difference, even very subtle ones, with ffmpeg and its blend filter and xor mode within it.&lt;/p&gt;&#xA;" OwnerDisplayName="user12174" LastActivityDate="2020-10-15T09:27:24.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32444" PostTypeId="2" ParentId="32441" CreationDate="2020-10-15T12:34:13.957" Score="1" Body="&lt;p&gt;If you have the cube animation as a rendered file and can't mess around in the original animation, I would try corner-pins. Simply track the corners by hand by keyframing the four corners of the corner-pin to the corners of each face and apply it to your text layer. You might want to precomp the text first and apply the corner-pin onto the precomp, so you're able to rescale and modify the text alone from inside the precomp.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-10-15T12:34:13.957" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32445" PostTypeId="1" CreationDate="2020-10-15T13:33:25.290" Score="1" ViewCount="208" Body="&lt;p&gt;I am currently trying to render out an .exr sequence out of a simple nuke script that uses rotopaint and smart-vectors. However, upon rendering out the .exr files, the render-speed gets slower and slower with every frame rendered. When I cancel the rendering and resume from the frame it left off, the rendering is fast again, yet getting slower and slower until coming to a halt around 20 frames in.&lt;/p&gt;&#xA;&lt;p&gt;Why is that? I checked the cache-path, made sure enough space was free and am sure to be rendering with the GPU. This is a very strange problem that I have never encountered before.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2024-02-07T14:01:10.133" Title="NUKE getting slower with every rendered Frame" Tags="|rendering|nuke|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32450" PostTypeId="2" ParentId="32435" CreationDate="2020-10-16T11:15:53.387" Score="1" Body="&lt;p&gt;I don't think you can keyframe this.&#xA;I would duplicate my clip, and set one with the first blend mode, the other with the second.  Then crossfade between the two.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-10-16T11:15:53.387" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32451" PostTypeId="2" ParentId="19670" CreationDate="2020-10-16T11:49:09.993" Score="1" Body="&lt;p&gt;This effect is not editable. If you make a copy, it won't work.&lt;/p&gt;&#xA;&lt;p&gt;Actually the title does not go crazy. All it does is, if &amp;quot;Animate&amp;quot; is ticked, go from &amp;quot;Start&amp;quot; to &amp;quot;End&amp;quot; timestamps as fast as needed depending on the effect duration in your timeline.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0XzWE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0XzWE.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32580" LastActivityDate="2020-10-16T11:49:09.993" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32452" PostTypeId="1" CreationDate="2020-10-16T20:45:28.297" Score="0" ViewCount="423" Body="&lt;p&gt;I ordered an X-Rite i1Display Pro and was excited to see the corrections of colours of my old MacBook Pro (mid-2014). Well... I got somehow disappointed and now I cannot really trust i1Display Pro, nor do I know how the real colour profile should look like.&lt;/p&gt;&#xA;&lt;p&gt;Below this text, you'll find the settings that I went through and I'm going to append a video where I see a meaningful green shift and how everything looks slightly uncontrasty.&lt;/p&gt;&#xA;&lt;h1&gt;i1Profiler&lt;/h1&gt;&#xA;&lt;p&gt;The first thing that shocked me is that I paid &amp;quot;quite&amp;quot; much for a small dongle but the software's resolution looks way off. Just to say it simply, it looks blurry, as if it's not made for the retina display.&lt;/p&gt;&#xA;&lt;p&gt;Have a look:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://postimg.cc/bZbbfQnW&quot; rel=&quot;nofollow noreferrer&quot;&gt;Screenshot-2020-10-16-at-20-36-12.png&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you look at the letters you see that it's blurry besides the open window of Chrome. I tested the application with a new MacBook Pro 2019 and it's the same issue. I'm just not sure why I don't see it anywhere else. Do you have the same &amp;quot;problem&amp;quot;?&lt;/p&gt;&#xA;&lt;h1&gt;i1Profiler Settings&lt;/h1&gt;&#xA;&lt;p&gt;I try to make it short:&lt;/p&gt;&#xA;&lt;p&gt;User Mode: Advanced -&amp;gt; Profiling&lt;/p&gt;&#xA;&lt;p&gt;Display: White LED&lt;br /&gt;&#xA;White Point: D65&lt;br /&gt;&#xA;Luminance: 100 cd/m^3&lt;br /&gt;&#xA;Gamma: Standard with 2.2&lt;br /&gt;&#xA;Contrast Ratio: Native&lt;br /&gt;&#xA;Flare Correct and Ambient Light Smart Control: Off&lt;br /&gt;&#xA;Default Profile Settings: Use Default&lt;br /&gt;&#xA;Patch Set Size: Large&lt;br /&gt;&#xA;Adjust Brightness: Manual&lt;/p&gt;&#xA;&lt;p&gt;That's about it.&lt;br /&gt;&#xA;Since I'm not able to afford an extra room just for colour correcting/grading, I did the measurements in a room with daylight but with no light coming directly to the monitor. Obviously, I have checked that the device lies flat.&lt;/p&gt;&#xA;&lt;h1&gt;DisplayCal Settings&lt;/h1&gt;&#xA;&lt;p&gt;Because of i1Profiler I was disappointed, so I looked up for an alternative software and I found DisplayCal. I used it just by setting everything on auto and as measured and I actually liked the colour profile way more. The greenish tint was gone.&lt;/p&gt;&#xA;&lt;h1&gt;Video&lt;/h1&gt;&#xA;&lt;p&gt;Unfortunately, I have no idea how to present you my changes, besides showing you a handheld video. Because I have noticed, that you are not able to see the changes on screenshots. Even screen recording doesn't show the changes that much.&lt;/p&gt;&#xA;&lt;p&gt;So I thought to my self, that I'm using my LED light and set it to 6500 kelvin and I shot the video als0 in 6500 custom white balance.&lt;/p&gt;&#xA;&lt;p&gt;Here is the video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/_zXhvXrFxz4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Color LCD: is the standard color profile given by apple&lt;br /&gt;&#xA;MacbookPro_LCD_16-10-2020.icc: Is the one made by X-Rite iProfiler&lt;br /&gt;&#xA;MacbookPro11, etc: Is made by DisplayCal&lt;/p&gt;&#xA;&lt;p&gt;For both software, I have used the X-Rite i1Display Pro (just to make it clear).&lt;/p&gt;&#xA;&lt;p&gt;Thank you for your help :)&lt;/p&gt;&#xA;" OwnerUserId="32586" LastActivityDate="2020-10-16T20:45:28.297" Title="X-Rite i1Display Pro - Gives my MacBook Pro a greenish tint - What am I doing wrong?" Tags="|color-correction|color|monitors|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32453" PostTypeId="2" ParentId="32389" CreationDate="2020-10-17T04:47:19.197" Score="1" Body="&lt;p&gt;Use a vector scope and waveform monitor to judge the difference, not your eyes.  Even if you're doing an XOR comparison, there are cases where your eye isn't enough.&lt;/p&gt;&#xA;&lt;p&gt;Here, for example, I've taken this sample footage from BMD's SDK (available &lt;a href=&quot;https://www.blackmagicdesign.com/support/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;):&#xA;&lt;a href=&quot;https://i.stack.imgur.com/8u8aV.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8u8aV.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt; The original is 12bit RAW.  I then transcoded it to H.265, using these settings:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/0CoY2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0CoY2.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;If I then superimpose the transcoded version over the original, like this:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/LH0FW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LH0FW.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;... and set the blending mode to &amp;quot;difference,&amp;quot; a.k.a., &amp;quot;XOR&amp;quot;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/gSA2V.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gSA2V.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;and then use the scopes to analyze the result, you can clearly see that the files are different.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/6sQBT.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6sQBT.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;The top half of the above image shows the timeline viewer, and the result of the &amp;quot;difference&amp;quot; comparison.  To the naked eye, it looks black, as if there is no difference.  The bottom half of the above image shows Resolve's waveform monitor.  Here's a detail of that same image:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/MRCz3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MRCz3.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;There's clearly noise at the bottom end of the signal.  Other types of scopes will tell you different information about the comparison.  For instance, you can use a parade to examine Y'CbCr, and see that the transcode operation has affected the image's chroma more than its luma.   &lt;a href=&quot;https://i.stack.imgur.com/RKqQT.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RKqQT.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I know that you're trying to examine the difference between files that you've &lt;em&gt;copied&lt;/em&gt; and not necessarily &lt;em&gt;transcoded&lt;/em&gt;, but this example is meant to demonstrate that scopes can give you insight into the type of difference between the files, when that difference is invisible to the naked eye.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-11-21T01:15:43.247" LastActivityDate="2020-11-21T01:15:43.247" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32455" PostTypeId="1" CreationDate="2020-10-17T11:29:40.887" Score="0" ViewCount="362" Body="&lt;p&gt;&lt;strong&gt;Question&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;I wish to know — in my own particular case — why the conversion of VOB&#xA;files to mp4 files using &lt;strong&gt;ffmpeg&lt;/strong&gt; results in files of only about one&#xA;quarter the size, whether this reduces the quality and, if so, how to&#xA;ameliorate the effect.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;The commands I am using are of the type:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i VTS_01_1.VOB -q:v 0 VTS_01_1.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I understand from my research that “-q:v 0” specifies maximum quality.&lt;/p&gt;&#xA;&lt;p&gt;I also gather from the answer to a &lt;a href=&quot;https://video.stackexchange.com/questions/18582/big-difference-in-the-video-file-size-after-the-conversion-mov-to-mp4&quot;&gt;related question&lt;/a&gt; that the bitrate and codec could be affecting the reduction in file size, but I have no idea how to experiment with these parameters in my case.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Background&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I am converting commercial DVDs produced by a friend who is a retired Hollywood technician. The DVDs are instructional DVDs for a particular textile craft and typically involve two, three or four discs, made on a Mac using an old copy of Final Cut Pro. With the decline in DVD drives on computers my friend has started also to distribute the files on thumb drives after I suggested I could convert the DVDs to mp4s. I had played with free software for my own purposes, although I know next to nothing about video, but I am familiar with the unix interface on my Mac and discovered that ffmpeg seemed better than the GUI software for converting and then concatenating the various VOB files. The reduction in file size seemed a bonus as it allowed him to use 8Gb thumb drives. For some of the DVD conversions he felt there was no loss in quality, but for the latest one (done exactly the same by me) he reckoned some loss was noticeable (size reduction from about 10Gb to 2Gb — a bit more than usual). The “Get Info” on the videos includes the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Kind: MPEG-4 movie&#xA;Dimensions: 853 × 480&#xA;Codecs: AAC, H.264&#xA;Audio channels: Stereo&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32593" LastActivityDate="2024-01-20T20:31:51.553" Title="Changes in file size and quality after ffmpeg VOB/mp4 conversion" Tags="|ffmpeg|conversion|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32456" PostTypeId="2" ParentId="26154" CreationDate="2020-10-17T15:51:32.073" Score="1" Body="&lt;p&gt;If you're running on Nvidia graphics card, you need non-free nvidia drivers (not noveau drivers), e.g.:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sudo apt install nvidia-driver-450&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Reboot system and check &lt;code&gt;dkms&lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ sudo dkms status&#xA;nvidia, 450.80.02, 5.4.0-51-generic, x86_64: installed&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24378" LastActivityDate="2020-10-17T15:51:32.073" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32457" PostTypeId="1" AcceptedAnswerId="32509" CreationDate="2020-10-17T16:00:44.780" Score="2" ViewCount="318" Body="&lt;p&gt;When importing MOV files on Linux, DaVinci Resolve seems to use only modification date from filesystem, but completely ignores metadata from movie file:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qVNX8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qVNX8.png&quot; alt=&quot;metadata in davinci resolve&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Using e.g. &lt;code&gt;exiftool&lt;/code&gt; we can fetch date information which seems to be ignored:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ exiftool -time:all -G1 -a -s DSC_0461.MOV&#xA;[System]        FileModifyDate                  : 2020:10:17 14:36:06+02:00&#xA;[System]        FileAccessDate                  : 2020:10:17 14:36:10+02:00&#xA;[System]        FileInodeChangeDate             : 2020:10:17 14:36:06+02:00&#xA;[QuickTime]     CreateDate                      : 2018:12:12 22:19:19&#xA;[QuickTime]     ModifyDate                      : 2018:12:12 22:19:20&#xA;[Track1]        TrackCreateDate                 : 2018:12:12 22:19:20&#xA;[Track1]        TrackModifyDate                 : 2018:12:12 22:19:20&#xA;[Track1]        MediaCreateDate                 : 2018:12:12 22:19:20&#xA;[Track1]        MediaModifyDate                 : 2018:12:12 22:19:20&#xA;[Track2]        TrackCreateDate                 : 2018:12:12 22:19:20&#xA;[Track2]        TrackModifyDate                 : 2018:12:12 22:19:20&#xA;[Track2]        MediaCreateDate                 : 2018:12:12 22:19:20&#xA;[Track2]        MediaModifyDate                 : 2018:12:12 22:19:20&#xA;[ItemList]      ContentCreateDate               : 2018:12:12 22:19:19&#xA;[UserData]      DateTimeOriginal                : 2018:12:12 22:19:19&#xA;[XMP-exif]      DateTimeOriginal                : 2018:12:12 22:19:19&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any idea which metadata fields are being recognized by DaVinci Resolve 16?&lt;/p&gt;&#xA;" OwnerUserId="24378" LastActivityDate="2021-07-20T23:00:30.053" Title="DaVinci Resolve ignores MOV (QuickTime) metadata" Tags="|davinci-resolve|linux|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32458" PostTypeId="1" AcceptedAnswerId="32460" CreationDate="2020-10-17T16:41:24.040" Score="2" ViewCount="1183" Body="&lt;p&gt;I'm trying to run some basic scripts on Linux (Debian), however no python can be found.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5LblS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5LblS.png&quot; alt=&quot;davinci resolve python&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Both Python 2 and 3 are present on the system.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ python -V&#xA;Python 2.7.18&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ python3 -V&#xA;Python 3.8.5&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24378" LastActivityDate="2020-10-17T22:04:40.967" Title="DaVinci Resolve Python 3.6 not found" Tags="|davinci-resolve|linux|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32460" PostTypeId="2" ParentId="32458" CreationDate="2020-10-17T22:04:40.967" Score="2" Body="&lt;p&gt;Based on &lt;code&gt;strace&lt;/code&gt; is seems that &lt;code&gt;fuscript&lt;/code&gt; binary searches for &lt;code&gt;libpython2.7.so&lt;/code&gt; and &lt;code&gt;libpython3.6.so&lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ /opt/resolve/libs/Fusion/fuscript -l py3&#xA;&#xA;DaVinci Resolve Script Interpreter&#xA;Copyright (C) 2005 - 2020 Blackmagic Design Pty. Ltd.&#xA;&#xA;ERROR: Language 'py3' is not available.&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;E.g. on Debian based systems this could be installed, if you're lucky and the exact version is available for your distribution.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sudo apt install libpython3.6&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The binary looks into several paths one of them is &lt;code&gt;/usr/local/lib/libpython3.6.so&lt;/code&gt;. According to documentation this could be configured by &lt;code&gt;PYTHONPATH&lt;/code&gt; env variable. However it doesn't seem to have any effect.&lt;/p&gt;&#xA;&lt;p&gt;Using &lt;a href=&quot;https://github.com/pyenv/pyenv&quot; rel=&quot;nofollow noreferrer&quot;&gt;pyenv&lt;/a&gt; any Python version can be installed (we need shared libraries - &lt;code&gt;*.so&lt;/code&gt; files):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;env PYTHON_CONFIGURE_OPTS=&amp;quot;--enable-shared&amp;quot; pyenv install 3.6.11&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;then create a symlink:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sudo ln -s $HOME/.pyenv/versions/3.6.11/lib/python3.6 /usr/local/lib/python3.6&#xA;sudo ln -s $HOME/.pyenv/versions/3.6.11/lib/libpython3.so /usr/local/lib/libpython3.6.so&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Finally console should be working (Resolve will need a restart):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ /opt/resolve/libs/Fusion/fuscript -l py3 -i&#xA;&#xA;DaVinci Resolve Script Interpreter&#xA;Copyright (C) 2005 - 2020 Blackmagic Design Pty. Ltd.&#xA;&#xA;Cannot read termcap database;&#xA;using dumb terminal settings.&#xA;Py3&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24378" LastActivityDate="2020-10-17T22:04:40.967" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="32461" PostTypeId="1" CreationDate="2020-10-18T03:08:27.057" Score="0" ViewCount="465" Body="&lt;p&gt;I want to &lt;em&gt;remux&lt;/em&gt; a mkv file into mp4.&#xA;I used the following command.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;input.mkv&amp;quot; -c:v copy -c:a copy -map 0:0 -map 0:1 -map 0:2 -map 0:3 -c:s mov_text &amp;quot;output.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h3&gt;Problem: The subtitles in the &lt;code&gt;output.mp4&lt;/code&gt; file are way too small.&lt;/h3&gt;&#xA;&lt;p&gt;Also, the subtitles of the mp4 file are unaffected when I try to make them bigger from vlc preferences.&#xA;I can turn them on/off but I think they are somewhat hardcoded.&#xA;I had to rencode subtitles while remuxing as otherwise it was showing error.&#xA;Also, I'm using the latest version of mmpeg.&lt;/p&gt;&#xA;&lt;h3&gt;&lt;code&gt;input.mkv&lt;/code&gt; : &lt;p&gt;&lt;/p&gt;&lt;/h3&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/gwTFX.png&quot; width=&quot;400&quot; /&gt;&#xA;&lt;h3&gt;&lt;code&gt;output.mp4&lt;/code&gt; :&lt;/h3&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/DStiF.png&quot; width=&quot;400&quot; /&gt;&#xA;&lt;h3&gt;&lt;/h3&gt;&#xA;&lt;p&gt;&lt;code&gt;input.mkv&lt;/code&gt; has the following streams,codecs : &lt;p&gt;&lt;/p&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/Hmw7b.png&quot; width=&quot;400&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;I searched a lot, but couldn't find a way to make &lt;code&gt;mov_text&lt;/code&gt; subtitles bigger. How can I make them bigger?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Or Please suggest any other way to retain the subtitles while remuxing from mkv to mp4.&lt;/p&gt;&#xA;" OwnerUserId="32601" LastActivityDate="2024-03-02T16:05:35.723" Title="ffmpeg mov_text subtitle too small when converting mkv to mp4" Tags="|video|ffmpeg|mp4|subtitles|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32462" PostTypeId="1" CreationDate="2020-10-18T09:43:56.997" Score="0" ViewCount="617" Body="&lt;p&gt;After I make a cut in the middle of the clip I would like to have only the part of the clip I want selected not both (previously only one) clips selected, since it takes more time to than deselect both and select only the one i want deleted.&#xA;Any advice?&lt;/p&gt;&#xA;" OwnerUserId="32603" LastActivityDate="2024-03-07T18:01:25.213" Title="Unselect after making a cut in Davinci Resolve 15" Tags="|davinci-resolve|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32463" PostTypeId="2" ParentId="32461" CreationDate="2020-10-18T10:26:07.837" Score="0" Body="&lt;p&gt;I consider subtitle text rendering is part of the player feature. If you are using VLC, may this link, &lt;a href=&quot;https://wiki.videolan.org/VLC_HowTo/Adjust_subtitle_font_settings/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://wiki.videolan.org/VLC_HowTo/Adjust_subtitle_font_settings/&lt;/a&gt;, help?&lt;/p&gt;&#xA;&lt;p&gt;I had tried on a mkv to mp4 video, before&#xA;&lt;a href=&quot;https://i.stack.imgur.com/oDwZ1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oDwZ1.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;After, I changed the VLC subtitle font size to larger, exited the program and replayed it again, i got&#xA;&lt;a href=&quot;https://i.stack.imgur.com/sdbfP.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sdbfP.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="31818" LastEditorUserId="31818" LastEditDate="2020-10-19T08:03:17.147" LastActivityDate="2020-10-19T08:03:17.147" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32464" PostTypeId="2" ParentId="22279" CreationDate="2020-10-18T11:48:50.483" Score="0" Body="&lt;p&gt;If &lt;strong&gt;audio&lt;/strong&gt; is enough to be recovered, use &lt;strong&gt;VLC&lt;/strong&gt; directly.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;open VLC&lt;/li&gt;&#xA;&lt;li&gt;go to media convert/stream, select the mux file, then convert&lt;/li&gt;&#xA;&lt;li&gt;select profile audio-mp3 and then edit it, go to audio tab and check &lt;code&gt;keep original audio track&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I tried several attempts for video converting, but no success. At least the audio steps worked for me.&lt;/p&gt;&#xA;" OwnerUserId="32605" LastActivityDate="2020-10-18T11:48:50.483" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32465" PostTypeId="2" ParentId="7459" CreationDate="2020-10-18T12:39:14.393" Score="1" Body="&lt;p&gt;I made a production-grade low-level audio/video FFMPEG-based micro-engine a few years back:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/costa/ffmprb&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/costa/ffmprb&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;and I've been maintaining it since.&lt;/p&gt;&#xA;&lt;p&gt;It has a command-line interface -- with rudimentary Ruby scripting required at the moment, and I'm working on a cleaner FS+CLI support.&lt;/p&gt;&#xA;" OwnerUserId="32606" LastActivityDate="2020-10-18T12:39:14.393" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32466" PostTypeId="1" AcceptedAnswerId="32503" CreationDate="2020-10-18T18:46:21.180" Score="0" ViewCount="201" Body="&lt;p&gt;Reaching out to this community as I believe maybe some of the users may using LightBoard for their video recording.&lt;/p&gt;&#xA;&lt;p&gt;We are using Lightboard for our video production, results seem okey however cleaning is a mess. The provided image is the result after 15 minutes of cleaning efforts of one-time use.&lt;/p&gt;&#xA;&lt;p&gt;Any help/pointers on the same are appreciated.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PVyiA.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PVyiA.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32610" LastActivityDate="2020-10-23T01:28:35.750" Title="How to clean Lightboard after recording marked with Neon markers" Tags="|cleaning|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32467" PostTypeId="1" AcceptedAnswerId="32469" CreationDate="2020-10-18T19:24:52.857" Score="1" ViewCount="60" Body="&lt;p&gt;Lately I have tried recording some video using my old Canon. While I achieve decent results during macro shots and while filming human beings, I have noticed that foliage and distant objects in wide shots often lacks sharpness and are quite fuzzy/messy overall. Last couple of days I have filmed outdoors in strong sunlight implying ISO of 100-200, and while I have seemingly tried all possible combinations of shutter/aperture I can't seem to be able to get crisp foliage and distant objects. Here I can note that I have not tried other focal length that 17mm yet, due to the fact that I want the nature shots to be wide. After some testing I can conclude that it does not seem to be a problem of focus. I have not yet been able to conclude is the problem can be related to camera shake - however while placing the camera on a rail or table the results do not seem much better.&lt;/p&gt;&#xA;&lt;p&gt;My setup is:&lt;/p&gt;&#xA;&lt;p&gt;Canon 550D&lt;/p&gt;&#xA;&lt;p&gt;Canon EFS 17-55mm 2.8 IS&lt;/p&gt;&#xA;&lt;p&gt;Handheld/handheld while placed on natural surfaces&lt;/p&gt;&#xA;&lt;p&gt;1920x1080 25 fps&lt;/p&gt;&#xA;&lt;p&gt;AF during shoot: disabled&lt;/p&gt;&#xA;&lt;p&gt;Movie exposure: manual&lt;/p&gt;&#xA;&lt;p&gt;Links to sample footage displaying the problem: (Imgur might slaughter the quality a bit, but it should be good enough as example)&lt;/p&gt;&#xA;&lt;p&gt;Crisp flowers (55mm): &lt;a href=&quot;https://i.stack.imgur.com/oB5cz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/oB5cz.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Washed-out foliage (17mm): &lt;a href=&quot;https://i.stack.imgur.com/cXVJM.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/cXVJM.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is it possible to improve the results using my current setup? If not, what parameters should I look for in alternative equipment?&lt;/p&gt;&#xA;&lt;p&gt;A final note is that I have tried photographing same foliage using same camera and while the result is better than video recording, the results are still somewhat fuzzy in comparison to shots of proximate objects on same focal length.&lt;/p&gt;&#xA;" OwnerUserId="32611" LastActivityDate="2020-10-19T04:15:33.797" Title="How do I improve sharpness of foliage and distant objects during video recording?" Tags="|video|video-quality|video-recording|1080p|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32468" PostTypeId="1" CreationDate="2020-10-19T04:09:47.563" Score="3" ViewCount="1663" Body="&lt;p&gt;I'm trying to scale a video, and then apply an overlay keeping the aspect ration of the same.&lt;/p&gt;&#xA;&lt;p&gt;This adds the overlay, but it stretches it to the same aspect ratio of the video which is what I'm trying to avoid:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i video.mov -i watermark.png -filter_complex &amp;quot;scale=-1:1280:flags=bicubic,overlay=(main_w-overlay_w)/2:main_h-overlay_h&amp;quot; -crf 0 -preset ultrafast -c:v mpeg4 -qscale:v 10 -c:a: copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any help will be truly appreciated!&lt;/p&gt;&#xA;" OwnerUserId="32614" LastActivityDate="2022-07-11T18:06:30.627" Title="FFMpeg: scale and then overlay keeping overlay aspect ratio" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32469" PostTypeId="2" ParentId="32467" CreationDate="2020-10-19T04:15:33.797" Score="4" Body="&lt;p&gt;You are most likely observing Optical Aberration - see &lt;a href=&quot;https://en.wikipedia.org/wiki/Optical_aberration&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Optical_aberration&lt;/a&gt; and also &lt;a href=&quot;https://en.wikipedia.org/wiki/Defocus_aberration&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Defocus_aberration&lt;/a&gt;. Haze is also likely a contributing factor, see &lt;a href=&quot;https://photo.stackexchange.com/questions/93585/are-there-tools-used-to-remove-heat-haze-or-other-atmospheric-conditions-for-lon&quot;&gt;https://photo.stackexchange.com/questions/93585/are-there-tools-used-to-remove-heat-haze-or-other-atmospheric-conditions-for-lon&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;The further back you are from the subject, the more light dispersion / scattering you're going to be getting from the subject. Closing the aperture as much as possible will help (so long as there's enough light remaining for the sensor to get an image), if you test this, you should be able to see visible differences in sharpness between aperture fully open and aperture almost closed.&lt;/p&gt;&#xA;&lt;p&gt;Haze you can probably do less about, you're basically talking about scattering of light due to imperfections in the air - adding more distance between you and the subject is also adding more imperfection. The stack exchange post above suggests use of different filters to assist, that's not something I've tried. I mostly film theatre productions indoors, and there's a definite image quality difference the closer I can get to the stage. But usually I'm stuck at the back (the show is primarily for an audience, not the video guy), and everyone accepts that shooting an extra 20m to 40m through haze in a theatre is going to result in an image that isn't quite as sharp as what we could get up close.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-10-19T04:15:33.797" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32470" PostTypeId="1" CreationDate="2020-10-19T08:36:35.590" Score="1" ViewCount="117" Body="&lt;p&gt;Maybe I'm mistaken, but a long while ago I seem to have read an article about comparing videos encoded by different codecs.&lt;/p&gt;&#xA;&lt;p&gt;Basically what I think what was done, was to put them together in a timeline - and by use of some effects - &amp;quot;null&amp;quot; them so you could only see the difference.&lt;/p&gt;&#xA;&lt;p&gt;Now that I'm writing it down, I'm not so sure anymore - but I just wanted to check if someone knows a way to efficiently compare codec compressions.&lt;/p&gt;&#xA;" OwnerUserId="5117" LastActivityDate="2020-10-19T11:31:06.070" Title="What's the best way to visually compare codec compression?" Tags="|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32471" PostTypeId="2" ParentId="32470" CreationDate="2020-10-19T11:31:06.070" Score="1" Body="&lt;p&gt;I can only think of 2 perspectives: industrial and recreational.&lt;/p&gt;&#xA;&lt;p&gt;Industrial: visual examination is super expensive, you may take a look of how Netflix do the comparison &lt;a href=&quot;https://netflixtechblog.com/performance-comparison-of-video-coding-standards-an-adaptive-streaming-perspective-d45d0183ca95&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://netflixtechblog.com/performance-comparison-of-video-coding-standards-an-adaptive-streaming-perspective-d45d0183ca95&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Recreational: you may check out youtube with codec comparison e.g. &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Rzi5QY30Cy4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; or doom9 &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Ctjm1kxw-BM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Hope this answers your questions.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-10-19T11:31:06.070" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32472" PostTypeId="1" AcceptedAnswerId="32498" CreationDate="2020-10-17T09:49:46.597" Score="0" ViewCount="17799" Body="&lt;p&gt;How can I center my clip on a sequence of Premiere?&#xA;Please see the attached screenshot, there's no buttons on &amp;quot;essentials graphics&amp;quot; panel.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/erL4Q.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/erL4Q.png&quot; alt=&quot;premiere-project-screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32627" OwnerDisplayName="Sasha Chirico" LastActivityDate="2020-10-22T12:13:40.183" Title="How to center a clip on Premiere" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32473" PostTypeId="1" CreationDate="2020-10-19T13:21:18.590" Score="0" ViewCount="6113" Body="&lt;p&gt;I’m currently exporting a video on Premier Pro using the default YouTube 1080 HD settings. Usually, my videos export with no problem, but with this video, my exported audio is extremely muffled, even though it’s crystal clear as I’m editing. For more context, the video clips I’m using are mp4s that are screen recorded from my Mac.&lt;/p&gt;&#xA;&lt;p&gt;Any ways to troubleshoot this would be appreciated!&lt;/p&gt;&#xA;" OwnerUserId="32498" LastEditorUserId="32498" LastEditDate="2020-10-19T13:34:55.380" LastActivityDate="2021-03-03T16:39:18.020" Title="Premier Pro Audio Quality Poor and Muffled After Export" Tags="|video|premiere|audio|adobe|audio-quality|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32474" PostTypeId="2" ParentId="32468" CreationDate="2020-10-19T16:19:29.580" Score="2" Body="&lt;p&gt;Ended up solving it through &lt;code&gt;scale2ref&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i video.mov -i watermark.png -filter_complex &amp;quot;[0:v]scale=-1:1280:flags=lanczos[bg];[1:v][bg]scale2ref=(250/180)*$ih/8/sar:$ih/8[wm][base];[base][wm]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)-overlay_h&amp;quot; -crf 0 -preset ultrafast -c:v mpeg4 -qscale:v 10 -c:a: copy out.mp4`&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Where 250 is the width of the overlay in pixels, and 180 its height.&lt;/p&gt;&#xA;&lt;p&gt;This outputs a video of N:1280, with an overlay of 250x180 at the bottom-center of it.&lt;/p&gt;&#xA;" OwnerUserId="32614" LastActivityDate="2020-10-19T16:19:29.580" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32475" PostTypeId="1" CreationDate="2020-10-19T18:41:31.630" Score="0" ViewCount="1293" Body="&lt;p&gt;I'm trying to convert a mov file (with alpha channel) to webm, vp8 with alpha, on windows.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i C0016.mov -s 960x540 -vcodec vp8 -pix_fmt yuva420p -metadata:s:v:0 alpha_mode=&amp;quot;1&amp;quot; c0016_alpha.webm​&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;gives me:&lt;/p&gt;&#xA;&lt;p&gt;[NULL @ 00000204af221e80] Unable to find a suitable output format for 'c0016_alpha.webm​'&#xA;c0016_alpha.webm​: Invalid argument&lt;/p&gt;&#xA;&lt;p&gt;How can I fix it?&lt;/p&gt;&#xA;" OwnerUserId="32617" LastActivityDate="2024-03-03T22:02:10.390" Title="ffmpeg conversion - vp8 with alpha" Tags="|ffmpeg|transcoding|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32476" PostTypeId="1" AcceptedAnswerId="32477" CreationDate="2020-10-19T20:00:56.790" Score="0" ViewCount="293" Body="&lt;p&gt;I want to cut an existing movie and want to remove all the language track from it.&lt;/p&gt;&#xA;&lt;p&gt;The thing is when I start to edit the movie, Premiere Pro just picks up some language, which is not suitable for me. How do I remove all the soundtracks except the one I need?&lt;/p&gt;&#xA;" OwnerUserId="27194" LastActivityDate="2020-10-20T00:05:58.393" Title="How to remove audio translations from the movie?" Tags="|video|premiere|video-editor|audio-recording|audio-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32477" PostTypeId="2" ParentId="32476" CreationDate="2020-10-20T00:05:58.393" Score="1" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;I want to cut an existing movie and want to remove all the language track from it.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;ffmpeg -i  -c copy -an video_only.mp4&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;How do I remove all the soundtracks except the one I need?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;ffmpeg -i  -c copy -map 0:a:1 specified.mp4&lt;/p&gt;&#xA;&lt;p&gt;Reference: &lt;a href=&quot;http://trac.ffmpeg.org/wiki/Map&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://trac.ffmpeg.org/wiki/Map&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-10-20T00:05:58.393" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32479" PostTypeId="1" CreationDate="2020-10-20T09:26:12.710" Score="1" ViewCount="73" Body="&lt;p&gt;I would like your opinion or the way you organize your clips for this situation:&lt;/p&gt;&#xA;&lt;p&gt;A few days ago I got raw footage around 6h in length, 1 camera. It was recording all the time without cutting files on angles or scene changes...&lt;/p&gt;&#xA;&lt;p&gt;So my workflow for this situation is to drag all to the timeline (Premiere Pro) and watch it all on fast forward, clean up trash and leave what could go in the final video.&#xA;At this stage, I have around 30m of footage left, around 900 clips and the final video should be 8m.&lt;/p&gt;&#xA;&lt;p&gt;Those 900 clips contain around 30 different topics (people, objects, details etc.)&lt;/p&gt;&#xA;&lt;p&gt;So I have 30 groups on the timeline, each group around 30 clips, and blank space between them.&#xA;I would like to have some kind of folders with group names that I can easily access.&#xA;If I drag a group of edited clips to a new folder in Project it will contain full unedited clips.&lt;/p&gt;&#xA;&lt;p&gt;So my usual way is to have all on one timeline, including the final video that I am creating and going back and forth looking for next A or B clip on this same timeline.&lt;/p&gt;&#xA;&lt;p&gt;I am 100% sure there must be a smarter way to do this, where I have all clips group under same name (I do not use labels/color as they do not mean much If i need 30 different colors) so please advise.&lt;/p&gt;&#xA;" OwnerUserId="10560" LastActivityDate="2020-10-21T12:36:38.460" Title="How do you organise your timeline clips in Premier Pro" Tags="|premiere|editing|" AnswerCount="1" CommentCount="2" ClosedDate="2020-10-22T15:13:11.783" ContentLicense="CC BY-SA 4.0" />
  <row Id="32480" PostTypeId="1" CreationDate="2020-10-20T12:54:41.087" Score="1" ViewCount="58" Body="&lt;p&gt;I want to create a website where the user could input some data like texts, images, and based on that the video that contains that data will be rendered and downloaded.&lt;/p&gt;&#xA;&lt;p&gt;Is there any services that could generate such a video based on project created on, for example After Effect, which will be display some user data in that film. The service must communicate via http in order to receive the data that will be presented on that video?&lt;/p&gt;&#xA;&lt;p&gt;I thought about the rendering farms and After Effect scripts but I don't know if I will be able to do this using these tools?&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="32628" LastEditorUserId="674" LastEditDate="2020-10-22T15:16:26.740" LastActivityDate="2024-03-05T22:08:35.993" Title="Rendering video with custom data provided by user" Tags="|after-effects|after-effects-scripting|rendering|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32481" PostTypeId="2" ParentId="32475" CreationDate="2020-10-20T13:53:56.277" Score="0" Body="&lt;p&gt;I took the sample from apple &lt;a href=&quot;https://developer.apple.com/videos/play/wwdc2019/506/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://developer.apple.com/videos/play/wwdc2019/506/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;My command line using on colab was&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;!ffmpeg -y -i https://devstreaming-cdn.apple.com/videos/wwdc/2019/506lqy7sprpfyo800/506/506_hd_hevc_video_with_alpha.mp4 -s 960x540 -vcodec vp8 -metadata:s:v:0 alpha_mode=&amp;quot;1&amp;quot; c0016_alpha.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Hope it matches your scenario.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastEditorUserId="31818" LastEditDate="2020-10-20T14:04:12.243" LastActivityDate="2020-10-20T14:04:12.243" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32482" PostTypeId="1" CreationDate="2020-10-20T18:35:00.387" Score="2" ViewCount="312" Body="&lt;p&gt;I have video material containing frames with a rectangular area of uniform color interspersed with other content.  I would like to identify these frames, with the intent of removing them. The technique &lt;a href=&quot;https://video.stackexchange.com/questions/23665/find-frames-in-video-that-contain-an-image&quot;&gt;discussed here&lt;/a&gt;  looks promising, as does the ffmpeg &lt;em&gt;blackdetect&lt;/em&gt; filter on its own.  However, I need to be able to specify the color of the rectangle for each video.  It is not always black.&lt;/p&gt;&#xA;" OwnerUserId="32629" LastActivityDate="2024-03-04T21:07:30.870" Title="How can I programatically identify video frames containing a fixed rectangular area of a certain color?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32485" PostTypeId="1" CreationDate="2020-10-21T05:46:23.263" Score="1" ViewCount="1036" Body="&lt;p&gt;My school bought a Panasonic 4K camcorder (which I don't remember exactly which model) pointed at a green screen and this got me thinking.&lt;/p&gt;&#xA;&lt;p&gt;If it's a HC-X1000 with it's tiny sized sensor and 8 Bit 4:2:0 (In HDMI output too!) it probably means it won't record green screen and subject transition nicely.&lt;/p&gt;&#xA;&lt;p&gt;So what I wonder is. Is 4:2:0 really enough for chroma key? I have heard even 4:2:2 has problems when it comes to chroma key so I am worried and would like some clarification&lt;/p&gt;&#xA;&lt;p&gt;Also, If I downscale 4k 4:2:0 to 1080p somehow will it mean it will become 4:2:2 footage? I have thought about trying to do this then doing some recent &amp;quot;Artificial Intelligence Supersampling&amp;quot; wizardry to push it back to 4k&lt;/p&gt;&#xA;" OwnerUserId="23721" LastActivityDate="2020-12-13T17:36:17.353" Title="Is 8 Bit 4:2:0 chroma subsampling &quot;good enough&quot; for chroma key?" Tags="|video|video-quality|camcorder|color|chromakey|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32486" PostTypeId="2" ParentId="32485" CreationDate="2020-10-21T07:39:10.460" Score="1" Body="&lt;p&gt;&amp;quot;Good enough&amp;quot;? Sure. I wouldn't love to work with subsampled footage for keying, though. You want to maximise resolution, minimise or avoid subsampling and avoid spill. If your screen is well lit, you got the best circumstances.&lt;/p&gt;&#xA;&lt;p&gt;So yeah, on paper, a chromatically subsampled file will give you more artefacts and jagged edges in your matte compared to a prores4444 or raw-recording. It is still a workable compression, though. Just try to optimise everything else I mentioned.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-10-21T07:39:10.460" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32487" PostTypeId="2" ParentId="32462" CreationDate="2020-10-21T10:04:03.757" Score="0" Body="&lt;p&gt;Assuming you work in the edit window, I guess you're using following:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;press &lt;kbd&gt;B&lt;/kbd&gt; to select Blade cut tool&lt;/li&gt;&#xA;&lt;li&gt;mouse click on clip where you want to cut it&lt;/li&gt;&#xA;&lt;li&gt;press &lt;kbd&gt;A&lt;/kbd&gt; to switch to select mode&lt;/li&gt;&#xA;&lt;li&gt;select cutted part I want to delete&lt;/li&gt;&#xA;&lt;li&gt;press &lt;kbd&gt;Delete&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;You can achieve something similar with Trim tool:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;press &lt;kbd&gt;T&lt;/kbd&gt; to select Blade cut tool&lt;/li&gt;&#xA;&lt;li&gt;mouse click on clip where you want to cut it&lt;/li&gt;&#xA;&lt;li&gt;press &lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;[&lt;/kbd&gt; to Trim start (from left)&#xA;or Trim End with &lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;]&lt;/kbd&gt; (from right side)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;This will make the clip shorter and if you click on the clip you'll see that it continues (the white box) only some part is shown:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rZBx9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rZBx9.png&quot; alt=&quot;clip trimming&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;now you can move which part of the clip is shown by pressing &lt;kbd&gt;&amp;lt;&lt;/kbd&gt; or &lt;kbd&gt;&amp;gt;&lt;/kbd&gt; (comma and dot keys)&lt;/p&gt;&#xA;" OwnerUserId="24378" LastActivityDate="2020-10-21T10:04:03.757" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32488" PostTypeId="2" ParentId="32480" CreationDate="2020-10-21T10:44:35.863" Score="0" Body="&lt;p&gt;The most sensible thing to do would be to host the service on your own. If you want users to input text, images and maybe even videos, you need a storage-unit which writes and reads these files incredibly quickly. An SSD-based server with a raid security would be appropriate. For the rendering: You could set up a standard After-Effects or Nuke Project. For After-Effects, you would need to do a lot of scripting to change the individual elements from your comp, but for Nuke, it should be easier, since Nuke is entirely in python and deals well with custom python-scripts. You'd then have to automate upon request that, first off, the Nuke-Script gets duplicated for the running instance, then replace the contents (text, images, etc.) accordingly, and render out. For rendering, I would recommend a GPU or CPU-based rendering-cluster with as many gpus or cpus as you need.&lt;/p&gt;&#xA;&lt;p&gt;There probably are services that kind of do something similar, but they are either crazy expensive and not adjustable, or deviate from what you want to do.&#xA;Just don't expect this ordeal to be cheap and you won't run into bad surprises.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-10-21T10:44:35.863" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32489" PostTypeId="2" ParentId="32482" CreationDate="2020-10-21T11:21:28.523" Score="0" Body="&lt;p&gt;Identify a logo should be part of the CV. My suggestion is to use the idea of checking the logo from png (&lt;a href=&quot;https://ai-facets.org/robust-logo-detection-with-opencv/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ai-facets.org/robust-logo-detection-with-opencv/&lt;/a&gt;) and modify the code to read a frame from a video (&lt;a href=&quot;https://opencv-python-tutroals.readthedocs.io/en/latest/py_tutorials/py_gui/py_video_display/py_video_display.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://opencv-python-tutroals.readthedocs.io/en/latest/py_tutorials/py_gui/py_video_display/py_video_display.html&lt;/a&gt;)&lt;/p&gt;&#xA;&lt;p&gt;Hope this help&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-10-21T11:21:28.523" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32490" PostTypeId="2" ParentId="32480" CreationDate="2020-10-21T11:22:16.050" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://aescripts.com/templater/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Templater Rig&lt;/a&gt; can link text and files from Google Sheets and CSV files into After Effects comps.  So if you can build your web service to feed data into one of these formats, you can get Templater and &lt;a href=&quot;https://helpx.adobe.com/after-effects/user-guide.html/after-effects/using/automated-rendering-network-rendering.ug.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;After Effects render engine&lt;/a&gt; combined to create video files.  Whether they will look any good is a significant question, as the layout of a good video is dependent on the length of text and content of images in the motion graphic.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2020-10-21T12:32:46.783" LastActivityDate="2020-10-21T12:32:46.783" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32491" PostTypeId="2" ParentId="32479" CreationDate="2020-10-21T12:36:38.460" Score="0" Body="&lt;p&gt;In this scenario, I start out with a single long sequence.&lt;/p&gt;&#xA;&lt;p&gt;I make cuts wherever the good stuff is, and move it up one layer to identify it.&lt;/p&gt;&#xA;&lt;p&gt;I duplicate the sequence, then label the old sequence as unedited, and the new sequence as &amp;quot;edits&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;I delete all the unnecessary stuff on the lower layer, then duplicate again, and make a sequence with all the good stuff in a single sequence with all the gaps removed.&lt;/p&gt;&#xA;&lt;p&gt;If I need to split things up thematically, I would duplicate and rename sequences down to whatever granularity makes sense.&lt;/p&gt;&#xA;&lt;p&gt;Then I would start labelling, colouring and adding markers as appropriate.&lt;/p&gt;&#xA;&lt;p&gt;Would be interested to hear how others do it.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-10-21T12:36:38.460" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32492" PostTypeId="1" CreationDate="2020-10-21T17:19:36.203" Score="2" ViewCount="7855" Body="&lt;p&gt;In the process of digitizing family VHS tapes, amateur video producers often encounter audio drift or skew where the audio track becomes out of sync with the video:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;It slowly dawned on me that the audio and video weren’t simply offset — they captured at different rates. They diverged more and more throughout the tape. To keep them in sync, I’d repeatedly have to adjust the audio manually every few minutes of tape.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://mtlynch.io/digitizing-1/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://mtlynch.io/digitizing-1/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;What causes audio drift when digitizing analog video such as VHS tapes?&lt;/p&gt;&#xA;&lt;p&gt;How can audio drift be avoided at record-time when digitizing analog video?&lt;/p&gt;&#xA;&lt;p&gt;Common advice across the web is to use an advanced VCR with an integrated &lt;strong&gt;Time Base Corrector&lt;/strong&gt;. Does using a TBC do anything to correct audio drift?&lt;/p&gt;&#xA;" OwnerUserId="26274" LastEditorUserId="26274" LastEditDate="2020-10-21T19:39:50.250" LastActivityDate="2022-04-03T01:20:49.987" Title="What causes audio sync drift when digitizing VHS?" Tags="|sync|digital-recording|vhs|analog|digitisation|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32493" PostTypeId="2" ParentId="32492" CreationDate="2020-10-22T00:58:21.880" Score="2" Body="&lt;p&gt;No, a TBC won't solve an audio-video sync problem. Most likely the sync problem is coming from a shortcut in the capture device or driver that samples the audio and video with separate and/or unstable clocks. A TBC built into a &amp;quot;prosumer&amp;quot; VTR like the one in your link will give you &lt;em&gt;slightly&lt;/em&gt; better video quality. So would using the S-Video out instead of NTSC/PAL composite, if your capture device supports it.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2020-10-22T00:58:21.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32494" PostTypeId="1" CreationDate="2020-10-22T02:37:08.637" Score="0" ViewCount="202" Body="&lt;p&gt;I wrote the below code and the results.txt file that is created has a carriage return in it and it's for some reason as far as I can tell messing up reading in the data back into the BITRATE variable.  I think I'm basicaly getting the blank line in the variable rather than the value on the first line:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;setlocal EnableExtensions DisableDelayedExpansion&#xA;&#xA;pushd &amp;quot;\\server\e$\files&amp;quot;&#xA;for %%f in (*.mp4) do (&#xA;SET BITRATE=&amp;quot;&amp;quot;&#xA;z:\ffmpeg\bin\ffprobe.exe -v error -select_streams v:0 -show_entries stream=bit_rate -of default=noprint_wrappers=1:nokey=1 &amp;quot;%%f&amp;quot; &amp;gt; results.txt&#xA;SET /p BITRATE=&amp;lt;results.txt&#xA;set BITRATE=%%BITRATE:~0,4%%&#xA;echo 'ffmpeg -strict 2 -hwaccel auto -i %%~f -c:v hevc_nvenc -rc:v cbr -b:v %BITRATE% -rc-lookahead:v 32 -c:a copy -map 0 -f matroska &amp;quot;%%~nf.mkv&amp;quot;'&#xA;del results.txt&#xA;)&#xA;popd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any ideas on how to get rid of the space either when making the call to ffprobe or after the file is created?  Output of BITRATE in the end is ~0,4 for it's value which isn't the case running this outside the script file for reference.&lt;/p&gt;&#xA;&lt;p&gt;Edited content:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;setlocal EnableExtensions EnableDelayedExpansion&#xA;&#xA;pushd &amp;quot;\\server\e$\files&amp;quot;&#xA;del results.txt&#xA;for %%f in (*.mp4) do (&#xA;z:\ffmpeg\bin\ffprobe.exe -v error -select_streams v:0 -show_entries stream=bit_rate -of default=noprint_wrappers=1:nokey=1 &amp;quot;%%f&amp;quot; &amp;gt; results.txt&#xA;set /pbitrate=&amp;lt;results.txt &#xA;Set /a bit=!bitrate!&#xA;echo 'z:\ffmpeg\bin\ffmpeg -strict 2 -hwaccel auto -i %%~f -c:v hevc_nvenc -rc:v cbr -b:v !bit! -rc-lookahead:v 32 -c:a copy -map 0 -f matroska &amp;quot;%%~nf.mkv&amp;quot;'&#xA;REM :~,4&#xA;SET BITRATE=&amp;quot;&amp;quot;&#xA;del results.txt&#xA;)&#xA;popd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32641" LastEditorUserId="32641" LastEditDate="2020-10-22T20:39:13.057" LastActivityDate="2020-10-22T20:39:13.057" Title="Get rid of carriage return for batch calls to ffprobe" Tags="|ffmpeg|script|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32496" PostTypeId="2" ParentId="27729" CreationDate="2020-10-22T09:59:23.570" Score="1" Body="&lt;p&gt;The high pass plugin in Photoshop doesn't exist natively in After Effects or Premiere.  The Find Edges tool approximates the kind of effect you're after, but given that it's for a scientific assessment of something, probably won't work for you:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/MFBtr.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MFBtr.jpg&quot; alt=&quot;mona lisa with Find Edges applied&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You could try something like the Unsharp Mask in After Effects or Premiere, and then apply it back to the original image using a Difference mode - gives this kind of effect:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lOzwL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lOzwL.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If the high pass is what you need, I would export the video as an image sequence, then &lt;a href=&quot;https://helpx.adobe.com/photoshop/using/processing-batch-files.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Automate a Batch in Photoshop&lt;/a&gt; to apply it (probably overnight).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-10-22T09:59:23.570" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32497" PostTypeId="2" ParentId="32473" CreationDate="2020-10-22T12:03:33.377" Score="1" Body="&lt;p&gt;I think this is likely to be due to out of phase audio in one of the stereo channels.  Below is a copy of my answer from here: &lt;a href=&quot;https://video.stackexchange.com/questions/27926/premiere-pro-audio-muffled-and-distorted-on-export/32275#32275&quot;&gt;Premiere Pro audio muffled and distorted on export&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;(I have tried to flag this as duplicate, but cannot because the answer wasn't accepted).&lt;/p&gt;&#xA;&lt;p&gt;This might be because you are exporting a stereo audio file which has one channel phase reversed, and then it is being played back in mono.&lt;/p&gt;&#xA;&lt;p&gt;If you have an identical signal going to the left and right channels, but one of them is phase reversed, it means the waveform is inverted (upside down). When you listen to either channel on its own, it will sound normal. When you listen to them both in stereo (Left channel to left speaker, right channel to right speaker) you may notice it sounding odd. Some people describe it sounding like the location of the sound is &amp;quot;inside their head&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;But when you play back a stereo recording like this in mono (left channel and right channel both mixed together to a single mono output) the signal will completely cancel itself out.&lt;/p&gt;&#xA;&lt;p&gt;If the two channels are almost identical, but have tiny differences, only the differences will be audible. This often happens with lossy file formats (like mp3/mp4 files), where the mono version of the phase reversed playback sounds tinny and lacking in all bass.&lt;/p&gt;&#xA;&lt;p&gt;To test it out, try adding a channel mixer effect to the master output of you mix, and inverting one channel. Then export again and see if it fixes it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TdpDN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TdpDN.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-10-22T12:03:33.377" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32498" PostTypeId="2" ParentId="32472" CreationDate="2020-10-22T12:13:40.183" Score="1" Body="&lt;p&gt;To centre the video clip:&lt;/p&gt;&#xA;&lt;p&gt;Select the clip in your timeline&lt;/p&gt;&#xA;&lt;p&gt;Click on the Effect Controls tab in the left panel&lt;/p&gt;&#xA;&lt;p&gt;Open the Motion section by clicking on the triangle, and adjust the position of the clip.&lt;/p&gt;&#xA;&lt;p&gt;To make it central relative to your sequence, it will need to be half the values of the sequence.&lt;/p&gt;&#xA;&lt;p&gt;So if your sequence settings are 1920x1080, you would need to choose a position of 960x540&lt;/p&gt;&#xA;&lt;p&gt;To align the image on top, you can use the same method.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-10-22T12:13:40.183" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32499" PostTypeId="2" ParentId="32492" CreationDate="2020-10-22T14:12:57.590" Score="3" Body="&lt;p&gt;Audio drift can have a couple of causes, dropped frames (which a TBC can help with), and unstable clocks, where the audio isn't recorded at quite the precise rate it should be, causing drift, as Michael correctly pointed out.&lt;/p&gt;&#xA;&lt;p&gt;Dropped frames caused by tape dropouts are a problem if the device skips a frame, without skipping the corresponding frame of audio. A TBC helps with this, as it will ensure the vertical sync pulse is there for each frame, even if the tape has quality issues - it will ensure your capture device always sees a frame. LOTS of older PC capture devices I tried were impacted by dropped frames. The most reliable method I found was using a dedicated HDD/DVD recorder unit, all the ones I used would always maintain the correct frame rate (without input via TBC), and the audio would always be in sync. I also sometimes used a MiniDV deck to achieve the same, which has no choice but to always record a frame, and therefore keep audio/video in sync.&lt;/p&gt;&#xA;&lt;p&gt;Doing it via PC, I've only had success with 1 device, a &amp;quot;Dazzle DVD Recorder HD&amp;quot; that I bought in 2011. It came bundled with a copy of Pinnacle Studio HD, and it all runs on an old Windows XP machine I keep for that purpose. I don't know if it is the hardware or the software (or maybe the combination), but this device has worked for me in transferring tapes and keeping things in sync, and I've not had to buy another device since coming across this one.&lt;/p&gt;&#xA;&lt;p&gt;If you can find a combo VHS/DVD recorder unit (I'm pretty sure they are no longer manufactured), they are usually the most reliable solution to doing this without a lot of effort. A DVD Recorder (with analog inputs) will also do the job, mine had a HDD which you would record to first, and then output those files onto a DVD. I stopped using the unit when the DVD drive eventually failed. Otherwise you are stuck just trying the various analog USB capture devices on the market, which like I've said, I've found to have mixed results, and only come across one device so far that does the job reliably.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-10-22T14:12:57.590" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32500" PostTypeId="2" ParentId="32466" CreationDate="2020-10-22T15:24:58.127" Score="1" Body="&lt;p&gt;Recommended cleaning is to only use glass cleaner, and this should work in a matter of seconds (assuming you have used the correct markers)&lt;/p&gt;&#xA;&lt;p&gt;You will want a glass cleaner which contains both a solvent and a surfactant. Most big name ones do.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2020-10-22T15:24:58.127" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32501" PostTypeId="1" CreationDate="2020-10-22T15:49:51.603" Score="0" ViewCount="81" Body="&lt;p&gt;I'm trying to do &amp;quot;scientific&amp;quot; video motion analysis. Right now I'm using a Raspberry Pi camera, which records natively in h264, which then needs to be converted/wrapped as MP4.&lt;/p&gt;&#xA;&lt;p&gt;Is h264 an appropriate format for constant/fixed frame rate &amp;quot;progressive&amp;quot; images? I'm already noticing curvature of lines with motion, with the default settings.&lt;/p&gt;&#xA;&lt;p&gt;Right now I'm using the open source &lt;a href=&quot;https://tracker.physlets.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Tracker&lt;/a&gt; software to do the motion analysis.&lt;/p&gt;&#xA;&lt;p&gt;What would be a good starting point for &lt;code&gt;raspivid&lt;/code&gt; and &lt;code&gt;gpac&lt;/code&gt; &lt;code&gt;MP4Box&lt;/code&gt; settings, to get crisp &amp;quot;progressive&amp;quot; images (ie. full frame captures, with minimal compression/motion estimation), and preserving the frame rate through to the final MP4?&lt;/p&gt;&#xA;&lt;p&gt;Or is a different capture format better for this purpose? Eventually I'd like to get high frame rate (~250 FPS or so) - low cost camera suggestions also appreciated!&lt;/p&gt;&#xA;" OwnerUserId="32647" LastActivityDate="2024-03-06T05:06:50.953" Title="h264 Settings for Motion Tracking &amp; Analysis (technical photography)?" Tags="|framerate|h.264|motion|tracking|technical|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32502" PostTypeId="2" ParentId="32501" CreationDate="2020-10-22T23:57:03.867" Score="0" Body="&lt;p&gt;My suggestion is MPEG-2. For tracking and analysis, latency is the concern. H.264 is more complex than MPEG2, it introduces high latency as well. Since your content is not going to stream over network, i suggest MPEG-2&lt;/p&gt;&#xA;&lt;p&gt;OpenCV always is the starting point, you may check &lt;a href=&quot;https://www.pyimagesearch.com/2015/03/30/accessing-the-raspberry-pi-camera-with-opencv-and-python/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.pyimagesearch.com/2015/03/30/accessing-the-raspberry-pi-camera-with-opencv-and-python/&lt;/a&gt; and &lt;a href=&quot;https://www.pyimagesearch.com/2018/07/30/opencv-object-tracking/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.pyimagesearch.com/2018/07/30/opencv-object-tracking/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-10-22T23:57:03.867" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32503" PostTypeId="2" ParentId="32466" CreationDate="2020-10-23T01:28:35.750" Score="1" Body="&lt;p&gt;Here is a comprehensive answer to your question:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://revolutionlightboards.com/blogs/lightboard-resources/lightboard-cleaning-guide&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://revolutionlightboards.com/blogs/lightboard-resources/lightboard-cleaning-guide&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Wipe off dry, then use foaming glass cleaner and a squeegee.&lt;/p&gt;&#xA;" OwnerUserId="32650" LastActivityDate="2020-10-23T01:28:35.750" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32506" PostTypeId="1" AcceptedAnswerId="34233" CreationDate="2020-10-23T08:46:33.847" Score="0" ViewCount="3157" Body="&lt;p&gt;Just had to wipe my windows installation as it got beyond repair.  Working on a Lenovo P50, 32GB memory, Core i7 HD, Intel HD Graphics 530, Nvidia Quadro M1000M.  I've got a clean install of windows, I've installed the latest version (grudgingly) of Premiere Pro.  Open it for the first time, I get a window I haven't seen before:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hIYRP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hIYRP.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;(FYI, at first, this showed both my video drivers as unsupported.  The other is a Nvidia Quadro M1000M)&lt;/p&gt;&#xA;&lt;p&gt;That's weird, I think.  I click on &lt;code&gt;Fix...&lt;/code&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Fix for the Intel Graphics driver takes me to: &lt;a href=&quot;https://helpx.adobe.com/x-productkb/multi/drivers-video-win-intel.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/x-productkb/multi/drivers-video-win-intel.html&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Fix for the Nvidia driver takes me to: &lt;a href=&quot;https://helpx.adobe.com/x-productkb/multi/drivers-video-win-nvidia.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/x-productkb/multi/drivers-video-win-nvidia.html&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Wasn't keen on messing with the Nvidia GPU, so I thought I'd give the Intel a go first.  Downloaded the file but when I try to install I get:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WDsrp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WDsrp.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So then I did &lt;code&gt;Win&lt;/code&gt; + &lt;code&gt;X&lt;/code&gt; and click on Device Manager.  When I update the drivers for either Nvidia or Intel, using the search online option, I get told that I've got the latest drivers.&lt;/p&gt;&#xA;&lt;p&gt;Ok, let's have a look at Nvidia I think - go to the website, stick in the right version, download and clean install the latest drivers, and boom, the problem goes away for Premiere Pro and everything seems to be functioning normally.  (Hence the first screenshot not showing a problem with Nvidia any more)&lt;/p&gt;&#xA;&lt;p&gt;Well, the Intel error in Premiere doesn't bother me if Premiere will work with the Nvidia driver.  So I either want to fix it or make it go away.&lt;/p&gt;&#xA;&lt;p&gt;I downloaded the Intel tool which detects your hardware and recommends the right drivers.  This says:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Q4eW9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Q4eW9.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So then I found this link online: &lt;a href=&quot;https://community.adobe.com/t5/after-effects/faq-what-is-system-compatibility-report-in-after-effects-and-premiere-pro/td-p/11200108?page=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://community.adobe.com/t5/after-effects/faq-what-is-system-compatibility-report-in-after-effects-and-premiere-pro/td-p/11200108?page=1&lt;/a&gt; where an answer led me to look at this link: &lt;a href=&quot;https://www.howtogeek.com/343287/how-to-fix-the-driver-being-installed-is-not-validated-for-this-computer-on-intel-computers&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.howtogeek.com/343287/how-to-fix-the-driver-being-installed-is-not-validated-for-this-computer-on-intel-computers&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;BUT there's a caveat which applies to my laptop:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/hluHJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hluHJ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I ran the Lenovo system update tool, hoping for an Intel driver update from the manufacturer, but I have all the latest packages for my system.&lt;/p&gt;&#xA;&lt;p&gt;So what should I do?  My understanding is that if I force the update to Intel's latest driver, this could cause compatibility issues where it integrates with the Nvidia driver, and possibly Lenovo's other drivers.  On the other hand, I use Premiere Pro a lot, and I don't want to live with error popups and notifications whenever I use it.  If the error isn't going to bother me I'd be happy just to hide it.&lt;/p&gt;&#xA;" OwnerUserId="22062" LastActivityDate="2021-08-05T06:41:47.577" Title="Premiere Pro system compatibility report unsupported video drivers" Tags="|video|premiere|software|hardware|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32507" PostTypeId="1" CreationDate="2020-10-23T12:00:56.267" Score="0" ViewCount="1390" Body="&lt;p&gt;I am using the command line &lt;code&gt;ffmpeg -i test1.asf -c:v libx264 -strict -2 test1.mp4&lt;/code&gt; but I get the below error 'test.asf: Invalid data found when processing input'&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions, please?&lt;/p&gt;&#xA;&lt;p&gt;thank you&lt;/p&gt;&#xA;" OwnerUserId="32451" LastActivityDate="2020-10-23T12:00:56.267" Title="Can anyone help me with a command line to convert .asf to .mp4 using ffmpeg?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32508" PostTypeId="1" AcceptedAnswerId="32510" CreationDate="2020-10-23T13:31:28.977" Score="0" ViewCount="40" Body="&lt;p&gt;I shoot at 30 fps using iPhone 11 Pro and a gimbal (I can't upgrade for now). I still have some stability issues and the video gets a little choppy. So what is the best FOSS video editor to solve this cos there're just toooo many of them - Resolve, Shotcut, Olive, Blender, etc.&lt;/p&gt;&#xA;&lt;p&gt;I currently use Filmora and I wanna change. So, something not too complicated is appreciated. Thx guys!&lt;/p&gt;&#xA;" OwnerUserId="32653" LastActivityDate="2020-10-23T18:53:33.167" Title="What free video editor is best to stabilize video and fix choppy ones?" Tags="|video-editor|post-production|stabilisation|freeware|" AnswerCount="1" CommentCount="0" ClosedDate="2020-11-01T16:49:06.093" ContentLicense="CC BY-SA 4.0" />
  <row Id="32509" PostTypeId="2" ParentId="32457" CreationDate="2020-10-23T17:50:39.797" Score="2" Body="&lt;p&gt;I wrote a simple &lt;a href=&quot;https://raw.githubusercontent.com/deric/DaVinciResolve-metadata/main/com.deric.ExifMetadata/EXIF-metadata.lua&quot; rel=&quot;nofollow noreferrer&quot;&gt;LUA script&lt;/a&gt; extension that can be executed from Workspace &amp;gt; Scripts toolbar after copying the script to &lt;code&gt;{resolve directory}/Fusion/Scripts/Comp&lt;/code&gt;. Here's t&lt;a href=&quot;https://github.com/deric/DaVinciResolve-metadata&quot; rel=&quot;nofollow noreferrer&quot;&gt;he source code&lt;/a&gt;. Currently the number of EXIF fields is limited, but can be easily extended.&lt;/p&gt;&#xA;&lt;p&gt;The script tries to match media files from Media Storage with media clips in Project's Media Pool. EXIF data are parsed using &lt;a href=&quot;https://exiftool.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;exiftool&lt;/a&gt;. Currently should work on Linux/Mac OS, but can be easily ported to Windows.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XcyJf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XcyJf.png&quot; alt=&quot;EXIF synchronization tool&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24378" LastEditorUserId="24378" LastEditDate="2020-10-23T20:51:28.840" LastActivityDate="2020-10-23T20:51:28.840" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32510" PostTypeId="2" ParentId="32508" CreationDate="2020-10-23T18:53:33.167" Score="0" Body="&lt;p&gt;Resolve has pretty good &lt;a href=&quot;https://www.learncolorgrading.com/the-3-different-modes-of-stabilization-in-davinci-resolve/&quot; rel=&quot;nofollow noreferrer&quot;&gt;stabilisation tools&lt;/a&gt;. Blender is more about 3D work and has a steeper learning curve in my opinion. Haven't used the other two.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-10-23T18:53:33.167" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32512" PostTypeId="1" CreationDate="2020-10-23T20:42:23.273" Score="0" ViewCount="1528" Body="&lt;p&gt;Working on a video for a client with a third party animation company.&lt;/p&gt;&#xA;&lt;p&gt;I need to figure out a file format they can export video with alpha transparency, that Resolve will import correctly.&lt;/p&gt;&#xA;&lt;p&gt;Ordinarily I use the following settings to export video (say from After Effects) with alphas that Resolve can understand...&lt;/p&gt;&#xA;&lt;p&gt;Quicktime, RGB + Alpha, Straight (Unmatted), Apple Prores 4444&lt;/p&gt;&#xA;&lt;p&gt;But this company use Windows machines, and cannot export ProRes. They've tried sending me PNG encoded MOV files but Resolve can't even open them.&lt;/p&gt;&#xA;&lt;p&gt;Does anyone know what file formats - that can be easily rendered to from say Cinema 4D or After Effects - that Resolve will be able to ingest properly preserving alpha transparency?&lt;/p&gt;&#xA;" OwnerUserId="30262" LastActivityDate="2020-10-23T20:42:23.273" Title="Importing Clip with Alpha Transparency into Resolve" Tags="|davinci-resolve|alpha|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32513" PostTypeId="1" AcceptedAnswerId="32521" CreationDate="2020-10-24T07:42:50.907" Score="0" ViewCount="29" Body="&lt;p&gt;I'm trying to create a continuous, static shot video which in theory will contain myself in multiple positions around the set. I want it to be seamless - I figured this wouldn't be hard as I could cordon myself off to a limited space in the separate takes of the video and then somehow crop the video, like you would with an image, and blend the videos into each other with light correction if necessary, or use artificial light.&lt;/p&gt;&#xA;&lt;p&gt;Problem is that I don't know the name of the technique or how to phrase this for research. I tried looking up 'splicing' and 'cropping' but that refers me to cutting up whole shots and sequencing them. I want one video that will be 3-4 separate videos of the same shot (not moving the camera at all between all 4 takes) cropped/'made transparent' at specific parts to make it seem like I cloned myself, basically. Another way to think about it is perhaps creating a 'green screen' in post production and drawing in a fixed area into the video which will become transparent, and then layering the 2nd shot behind it and repeating the process for the other 2 shots.&lt;/p&gt;&#xA;&lt;p&gt;Pointers to documentation and advice on free software that can do this sort of thing would be much appreciated :)&lt;/p&gt;&#xA;" OwnerUserId="32661" LastActivityDate="2020-10-25T13:08:48.347" Title="Video editing/software technique for static shot composed of two or more cropped scenes" Tags="|software-recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32514" PostTypeId="2" ParentId="32462" CreationDate="2020-10-24T09:47:50.713" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9v9BK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9v9BK.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I use shortcuts to make my edits (B for making a cut instantly). after I make an edit I would like only the second clip selected not both (now there are two clips bcz I split them)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OMGaW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OMGaW.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here you can see both clips being selected. How do I tell the software I would only like the second clip selected by default?&lt;/p&gt;&#xA;&lt;p&gt;Thanks!!&lt;/p&gt;&#xA;" OwnerUserId="32603" LastActivityDate="2020-10-24T09:47:50.713" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32518" PostTypeId="1" CreationDate="2020-10-24T21:30:16.240" Score="0" ViewCount="193" Body="&lt;p&gt;I have few videos in one event. The problem is, that for some reason (probably because of moving them from disk to disk), &lt;strong&gt;&lt;code&gt;Modify date&lt;/code&gt; is the original one (the correct one)&lt;/strong&gt; rather than &lt;code&gt;Create date&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;In the finder, I can do: &lt;code&gt;sort by&lt;/code&gt; -&amp;gt; &lt;code&gt;Modified date&lt;/code&gt;, and everything is correctly in order. But when I import those videos into the event in the FCP, it keeps sorting by &lt;code&gt;Content Created&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I cannot see an option in FCP that would allow me to sort videos in the event by &amp;quot;modification date&amp;quot;, is it even possible ? (or at least keep the order imposed by the finder?)&lt;/p&gt;&#xA;" OwnerUserId="32668" LastActivityDate="2024-03-08T09:04:20.353" Title="Final Cuto Pro X sort by modified date" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32519" PostTypeId="2" ParentId="32518" CreationDate="2020-10-24T22:54:54.587" Score="0" Body="&lt;p&gt;Seems like the question is asked on other places as well, with no answer so I will propose a workaround as I don't think FCP X gives you option to sort by &lt;code&gt;Modified&lt;/code&gt; metadata field.&lt;/p&gt;&#xA;&lt;p&gt;Bash script that adds a modification date at the beginning if each file in the directory in epoch. Then sorting in FCP by name.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open &lt;code&gt;terminal&lt;/code&gt; and go the the directory you want to apply changes (in my case a directory with videos).&lt;/li&gt;&#xA;&lt;li&gt;do &lt;code&gt;cat &amp;gt; script.sh&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Enter: &lt;code&gt;for f in *; do mv -- &amp;quot;$f&amp;quot; &amp;quot;$(stat -f %m &amp;quot;$f&amp;quot;)-$f&amp;quot;; done&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Hit &lt;code&gt;enter&lt;/code&gt; and then &lt;code&gt;ctrl + D&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Now type: &lt;code&gt;bash script.sh&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Open FCP X and do &lt;code&gt;Sort by: name&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;strong&gt;Note:&lt;/strong&gt;&lt;br&gt;&#xA;In order to revert the process, all you have to do is to replace what is in the point &lt;code&gt;3&lt;/code&gt; to: &lt;code&gt;for f in *; do mv -v &amp;quot;$f&amp;quot; &amp;quot;${f#*-}&amp;quot;; done&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="32668" LastEditorUserId="32668" LastEditDate="2020-10-24T23:10:29.217" LastActivityDate="2020-10-24T23:10:29.217" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32520" PostTypeId="2" ParentId="2818" CreationDate="2020-10-25T00:26:26.787" Score="2" Body="&lt;p&gt;There isn't a way to do it per se but there is an easy workaround:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select all clips with the outdated effect&lt;/li&gt;&#xA;&lt;li&gt;Right click and remove attributes&lt;/li&gt;&#xA;&lt;li&gt;Select the effect you want to update and remove it.&lt;/li&gt;&#xA;&lt;li&gt;Then copy the clip with the updated effect and right click all other clips again to paste attributes.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="32670" LastEditorUserId="14523" LastEditDate="2020-10-25T01:42:44.047" LastActivityDate="2020-10-25T01:42:44.047" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32521" PostTypeId="2" ParentId="32513" CreationDate="2020-10-25T13:08:48.347" Score="0" Body="&lt;p&gt;&lt;strong&gt;Compositing&lt;/strong&gt; is the broad term for what you want to do. Making part of the shot transparent is called creating a &lt;strong&gt;matte&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Not quite sure what you mean about creating a green screen in post production. A green screen is something that you have in the shot that you remove using &lt;strong&gt;chroma keying&lt;/strong&gt; in post, where you make anything that is a particular shade of green (or blue, or any other colour, but most often green for video) transparent.&lt;/p&gt;&#xA;&lt;p&gt;Free (FOSS) software that does this includes &lt;a href=&quot;https://kdenlive.org/en/&quot; rel=&quot;nofollow noreferrer&quot;&gt;KDEnlive&lt;/a&gt;, &lt;a href=&quot;https://natrongithub.github.io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Natron&lt;/a&gt;, &lt;a href=&quot;https://blender.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blender&lt;/a&gt; and &lt;a href=&quot;https://ffmpeg.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-10-25T13:08:48.347" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32523" PostTypeId="1" CreationDate="2020-10-25T16:25:00.023" Score="0" ViewCount="31" Body="&lt;p&gt;If I have a projector, an iphone with (basic) motion tracking, and a fast-ish computer running Unreal or something similar, has anyone figured out a way to make &lt;a href=&quot;https://youtu.be/8yNkBic7GfI&quot; rel=&quot;nofollow noreferrer&quot;&gt;Mandalorian-style responsive backdrops&lt;/a&gt; on a tiny budget, by using the iPhone’s motion tracking, or something similar? Seems like it might be possible soon?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-12-04T12:41:17.160" Title="Budget Mandalorian backgrounds" Tags="|video|projector|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32524" PostTypeId="2" ParentId="30417" CreationDate="2020-10-25T18:29:12.380" Score="0" Body="&lt;p&gt;Check what sample rate and frame rate your camera records at. A lot of video stuff defaults to 48kHz, not 44.1kHz. Make sure everything in your recording and editing processes uses matching sample rates and frame rates throughout. Using a different device for audio to video is liable to introduce some drift unless their clocks are synced together (most non professional gear can’t do this). Even so, you should get a large amount of drift over under 10 mins or so if they are all on the same frame rates and sample frequencies.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-10-25T18:29:12.380" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32526" PostTypeId="1" AcceptedAnswerId="32567" CreationDate="2020-10-26T07:04:53.953" Score="0" ViewCount="790" Body="&lt;p&gt;I have recorded some TV shows to my PC. They have commercials. And I want to remove those commercials.&#xA;I want to know if there is a software that can automatically parse a video file or a batch of files and at least detect the points in time when commercials start and end, and remove/delete those scenes or provide that info in some standard format that can be latter used in another software to do the remotion part of the job?&#xA;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="32675" LastActivityDate="2020-10-30T22:29:10.770" Title="Software to automatically detect (and if it possible remove) commercials from video files recorded from TV" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ClosedDate="2020-11-01T16:48:36.580" ContentLicense="CC BY-SA 4.0" />
  <row Id="32527" PostTypeId="1" AcceptedAnswerId="32539" CreationDate="2020-10-26T08:32:45.027" Score="0" ViewCount="236" Body="&lt;p&gt;On Internet, I can see many videos/movies claim to have FHD (1920x1080) resolution, but on watching they seem to be shot in lower resolution and resized/scaled up using encoder or transcoding tool to 1080p resolution.&lt;/p&gt;&#xA;&lt;p&gt;My question: is there any tool to detect such scaling up?&#xA;If possible, I prefer ffmpeg tool, or knowledge base of such detection.&lt;/p&gt;&#xA;&lt;p&gt;Thanks,&lt;/p&gt;&#xA;" OwnerUserId="29839" LastActivityDate="2020-10-28T00:16:56.737" Title="How to detect if video had been sized up (Scaled up) in resolution?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32528" PostTypeId="2" ParentId="20035" CreationDate="2020-10-26T16:38:49.210" Score="0" Body="&lt;p&gt;I had this issue come up using my Speedlight in low light situations. I found the lines disappeared below 800 ISO. I've been using this camera for years but this is a new issue and still unclear whats causing it&lt;/p&gt;&#xA;" OwnerUserId="32681" LastActivityDate="2020-10-26T16:38:49.210" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32529" PostTypeId="2" ParentId="30417" CreationDate="2020-10-26T20:54:07.033" Score="0" Body="&lt;p&gt;At work, if I receive disparate audio and video sources (which happens pretty often), I will make multiple small edits to the audio in order to keep the dialog in sync with the picture. Is conforming the audio in such a manner using Resolve or another NLE (Avid, Final Cut, Pro Tools, Reaper, etc.) an option for you?&lt;/p&gt;&#xA;" OwnerUserId="25645" LastActivityDate="2020-10-26T20:54:07.033" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32530" PostTypeId="1" CreationDate="2020-10-27T00:36:37.467" Score="0" ViewCount="741" Body="&lt;p&gt;I gathered the following rate control algorithms are commonly used when encoding modern video formats like h264, HEVC or VP9.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;With a &lt;strong&gt;constant quantizer&lt;/strong&gt; (&lt;code&gt;-qp&lt;/code&gt; in terms of &lt;code&gt;ffmpeg&lt;/code&gt;) all frames are encoded with the same compression ratio. Any still frame one would extract from the resulting video should come out to the same visual quality, regardless of how movement-intense or complex of a scene it is from.&lt;/li&gt;&#xA;&lt;li&gt;A &lt;strong&gt;constant rate factor&lt;/strong&gt; (the &lt;code&gt;-crf&lt;/code&gt; parameter) applies more compression to complex parts to in turn leave simple scenes relatively uncompressed. Thus more artifacts are introduced in e.g. quick moving shots, which in common application is less noticeable to the human eye, achieving a good subjective quality while saving on file size.&lt;/li&gt;&#xA;&lt;li&gt;The third variant is to target a specific file size with two passes of &lt;strong&gt;variable bitrate&lt;/strong&gt; (&lt;code&gt;-b&lt;/code&gt;). The first pass collects data on each frame, so that the second pass then can allocate more bits to the parts of the video that are hard to retain quality otherwise. This effectively does the inverse of CRF, assigning more quality to complex scenes.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I am looking for a strategy to archive videos wherein the movement-heavy scenes are actually most important, may even be stopped, zoomed in on and analyzed for details, whereas slow or static content is less of interest. Am I right to look to two-pass VBR to achieve the best encoding in this regard?&lt;/p&gt;&#xA;&lt;p&gt;Should my understanding of any of the above methods be mislead in the first place, feel free to correct me. Other hints for encoding movement with good quality are also appreciated. I am especially unsure whether two-pass variable bitrate indeed leads to a heavier distribution of bitrate towards quick scenes and would appreciate if someone could confirm this with any documentation.&lt;/p&gt;&#xA;" OwnerUserId="32544" LastEditorUserId="32544" LastEditDate="2020-11-01T17:53:09.213" LastActivityDate="2024-03-15T23:07:55.957" Title="Which rate control algorithm best preserves quick movement?" Tags="|ffmpeg|encoding|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32532" PostTypeId="1" CreationDate="2020-10-27T03:49:28.267" Score="1" ViewCount="1408" Body="&lt;p&gt;&lt;strong&gt;Question&lt;/strong&gt; - Why aren't chapters being added to my m2ts using tsmuxer?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Background&lt;/strong&gt; I have a mkv file with 61 chapters. I confirmed the presence of those chapters by using mkvtoolnix. I want to convert the mkv to a bluray ISO. But whenever I use tsmuxer, the produced m2ts file lacks any chapters. I confirmed this by opening the file in VLC player; no chapters are listed.&lt;/p&gt;&#xA;&lt;p&gt;Please note that I &lt;em&gt;am&lt;/em&gt; adding a custom chapters list in tsmuxer.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/y1FnD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/y1FnD.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;On the input screen, I can see the video codec is indeed H.264 and the audio is AC3. I've pasted the input view from tsmuxer below.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NnXsZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NnXsZ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Command line arguments are:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;MUXOPT --no-pcr-on-video-pid --new-audio-pes --blu-ray --vbr  --custom-chapters=00:00:00.000;00:02:34.000;00:05:04.000;00:08:45.000;00:10:58.000;00:15:36.000;00:18:05.000;00:22:46.000;00:24:42.000;00:28:14.000;00:31:25.000;00:34:49.000;00:37:46.000;00:41:06.500;00:43:39.000;00:47:31.000;00:51:32.000;00:55:52.000;00:58:23.000;01:01:53.000;01:05:16.000;01:09:48.000;01:12:52.000;01:16:25.000;01:19:06.000;01:23:14.000;01:27:35.000;01:30:36.000;01:33:15.000;01:37:26.000;01:40:56.000;01:46:10.000;01:48:35.000;01:52:14.000;01:54:18.000;01:59:38.000;02:03:04.000;02:08:26.000;02:11:30.000;02:15:11.000;02:19:07.000;02:22:57.000;02:26:04.000;02:28:53.000;02:33:00.000;02:36:30.000;02:38:39.000;02:42:59.000;02:46:18.000;02:49:52.000;02:52:37.000;02:55:44.000;03:00:54.000;03:05:29.000;03:09:23.000;03:13:14.000;03:15:19.000;03:17:55.000;03:21:24.000;03:25:15.000;03:28:45.000 --vbv-len=500 V_MPEG4/ISO/AVC, &amp;quot;F:\Videos\Yule Log Project\Movies\test5.mkv&amp;quot;, forceSEI, contSPS, track=1, lang=und A_AC3, &amp;quot;F:\Videos\Yule Log Project\Movies\test5.mkv&amp;quot;, track=2, lang=und&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="32685" LastActivityDate="2021-03-09T20:59:48.670" Title="Why aren't chapters being added to my m2ts using tsmuxer?" Tags="|video|conversion|mkv|bluray|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32533" PostTypeId="2" ParentId="32530" CreationDate="2020-10-27T14:59:39.847" Score="0" Body="&lt;p&gt;Here is my understanding of FFMPEG, there are 4 settings for VQ, and they are &amp;quot;codec&amp;quot;, &amp;quot;crf&amp;quot;, &amp;quot;preset&amp;quot;, and &amp;quot;tune&amp;quot;. For the &amp;quot;codec&amp;quot;, FFMPEG does not do well on VP9; the others are H.264 and H.265. For the &amp;quot;tune&amp;quot;, i prefer &amp;quot;film&amp;quot; for H.264 and &amp;quot;grain&amp;quot; for H.265. &amp;quot;crf&amp;quot; and &amp;quot;preset&amp;quot; can get the VQ excellent but there are drawbacks:long encoding time and large file size (bitrate)&lt;/p&gt;&#xA;&lt;p&gt;&amp;quot;codec&amp;quot; takes care of the bitrate, H.265 has smaller file size(bitrate) that retains same level of VQ but longer transcoding time.&lt;/p&gt;&#xA;&lt;p&gt;&amp;quot;crf&amp;quot; takes care of the quantization and the bitrate, the smaller the crf, the better the video quality, but the longer the transcoding time, and larger the file size.&lt;/p&gt;&#xA;&lt;p&gt;&amp;quot;preset&amp;quot; takes care of the bitrate, the slower the preset, the smaller the file size(bitrate), but the longer the transcoding time&lt;/p&gt;&#xA;&lt;p&gt;Get back to your scenario - the quick movement video, we concern with the high frequency content. We don't want to see blocky images; therefore, we need higher bitrate, but we want reasonable transcoding time.&lt;/p&gt;&#xA;&lt;p&gt;Therefore, i prefer H.265 &amp;quot;codec&amp;quot; and &amp;quot;tune&amp;quot; grain. Then we need to tweak the &amp;quot;crf&amp;quot; and &amp;quot;preset&amp;quot; based on the SSIM and PSNR results. I had done some experiments on the MainConcept sample stream (1080p content)&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Default) codec=h.264 crt=23, preset=medium, the transcoding took &lt;em&gt;27.9s&lt;/em&gt; the bitrate=&lt;em&gt;3118kb/s&lt;/em&gt;, the SSIM=&lt;em&gt;0.994413&lt;/em&gt;, PSNR=&lt;em&gt;48.644&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Setting 1) codec=H.265, crt=23, preset=medium, tune=grain, the transcoding took 130s, the bite 3949kb/s, the SSIM=0.99487, PSNR=50.894298&lt;/li&gt;&#xA;&lt;li&gt;Setting 2) codec=H.265, crt=1, preset=medium, tune=grain, the transcoding took 202.37s, bitrate=&lt;strong&gt;60883kb/s&lt;/strong&gt;, SSIM=&lt;em&gt;0.999738&lt;/em&gt;, PSNR=&lt;em&gt;65.497223&lt;/em&gt;&lt;/li&gt;&#xA;&lt;li&gt;Setting 3) codec=H.265, crt=23, preset=slow, tune=grain, the transcoding took 329.36s, bitrate=&lt;em&gt;4338kb/s&lt;/em&gt;, SSIM=&lt;em&gt;0.9952&lt;/em&gt;, PSNR=&lt;em&gt;51.452838&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Setting 3) has better VQ performance with acceptable drawbacks or you may keep tweaking the &amp;quot;crt&amp;quot; and &amp;quot;preset&amp;quot; to get to the point that reaches your acceptable transcoding time and the bitrate results.&lt;/p&gt;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="31818" LastEditorUserId="31818" LastEditDate="2020-10-27T23:53:04.583" LastActivityDate="2020-10-27T23:53:04.583" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32534" PostTypeId="1" CreationDate="2020-10-27T15:27:41.190" Score="0" ViewCount="238" Body="&lt;p&gt;Background:  I have a script which needs to apply a variable number (from zero to 'a few') &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#drawtext&quot; rel=&quot;nofollow noreferrer&quot;&gt;drawtext&lt;/a&gt;  filters to a base stream, and I'm trying to balance performance and coding/maintenance concerns.  The coding concern here is that I want to be able to use the same base code for each possible filter even though some of them won't be enabled for a given execution of the program.&lt;/p&gt;&#xA;&lt;p&gt;So... the question: is there an explicit identity or passthrough option for the drawtext filter?  In an ideal world, there would be some option to leave the filter as part of the graph, but tell the code that this particular instance of the drawtext filter should just be an identity filter: said another this is a 'do nothing' or 'passthrough' filter with minimal performance impact.&lt;/p&gt;&#xA;&lt;p&gt;I could think of a couple ways to possibly do this:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;pass a null string as the 'text' value?  I think this would require explicit support within that specific filter?&lt;/li&gt;&#xA;&lt;li&gt;pass some values using &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#Timeline-editing&quot; rel=&quot;nofollow noreferrer&quot;&gt;timeline editing&lt;/a&gt; that end up making the filter do nothing?  Are there well-known values here (something like &amp;quot;if frame number is less than zero&amp;quot;) that are valid but would always evaluate as false?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I'm sure there are many other possibilities - I'm hoping someone has already cracked this particular nut.&lt;/p&gt;&#xA;&lt;p&gt;Is my thinking correct that &lt;em&gt;most&lt;/em&gt; of the compute effort ends up being in the actual filtering and the subsequent encoding, rather than the act of passing the frames into and out of the filter?&lt;/p&gt;&#xA;&lt;p&gt;(I &lt;strong&gt;think&lt;/strong&gt; this should be here rather that a different stackoverflow sub-site, but if this is better suited for some other place, feel free to either move it or let me know and I'll move it...)&lt;/p&gt;&#xA;" OwnerUserId="5462" LastActivityDate="2020-10-27T19:07:02.990" Title="can I use ffmpeg drawtext filter as a passthrough/identity filter? (and/or performance question)" Tags="|ffmpeg|transcoding|performance|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32536" PostTypeId="2" ParentId="32534" CreationDate="2020-10-27T19:07:02.990" Score="1" Body="&lt;p&gt;Yes, method 2 is suitable. Add something like &lt;code&gt;enable=0&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-10-27T19:07:02.990" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32538" PostTypeId="1" CreationDate="2020-10-27T21:49:56.680" Score="2" ViewCount="386" Body="&lt;p&gt;I was wondering if there was any hard number evidence for upscaling or downscaling footage to a certain raster size, and what happens to the quality or if any degradation or improvements are made to the output.&lt;/p&gt;&#xA;&lt;p&gt;I know anecdotally that if you take a &lt;code&gt;320x240&lt;/code&gt; video file and upscale it to &lt;code&gt;1920x1080&lt;/code&gt; that the quality is lost - mainly from stretching pixels.&lt;/p&gt;&#xA;&lt;p&gt;I know anecdotally that if you take a &lt;code&gt;3840x2160&lt;/code&gt; video file and downscale it to &lt;code&gt;1024x576&lt;/code&gt; that the quality in the larger areas remain, and but the finer details can be lost when compressed into a smaller pixel area.&lt;/p&gt;&#xA;&lt;p&gt;I'm currently in an environment workplace that uses only SD outputs, but for some reason there is a push to take the incoming media (which can range from &lt;code&gt;320x240&lt;/code&gt; all the way to 8k) and conform it to &lt;code&gt;1920x1080&lt;/code&gt;. When it is imported into the editor, it is an SD project, and burnt to DVD-Video.&lt;/p&gt;&#xA;&lt;p&gt;For some reason the explanation of matching our output raster or device (DVD-Video) doesn't seem as sufficient evidence, so I wanted to know if there were any numbers or studies or factual papers I could use!&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;For the most part assume the conversions are performed with &amp;quot;off the shelf&amp;quot; converters, which most likely run &lt;code&gt;ffmpeg&lt;/code&gt; in their processing. All resizes with in the applications too would be default - so &lt;em&gt;Bicubic interpolation&lt;/em&gt; is most common.&lt;/p&gt;&#xA;" OwnerUserId="14221" LastActivityDate="2021-08-26T00:07:45.647" Title="What actually happens to footage that is upscaled or downscaled?" Tags="|encoding|aspect|decoding|standards-converter|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32539" PostTypeId="2" ParentId="32527" CreationDate="2020-10-28T00:16:56.737" Score="0" Body="&lt;p&gt;May i rephrase your question as&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;How natural does an image look?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;If so, you are finding Naturalness Image Quality Evaluator (NIQE). Plz take a look of &lt;a href=&quot;https://ww2.mathworks.cn/help/images/ref/niqe.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Naturalness Image Quality Evaluator (NIQE) no-reference image quality score&lt;/a&gt;. Then you may find some information from &lt;a href=&quot;https://live.ece.utexas.edu/research/Quality/index_algorithms.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;Laboratory for Image &amp;amp; Video Engineering&lt;/a&gt; and then you will get some tools like&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.scikit-video.org/stable/measure.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;scikit-video&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://vq.kt.agh.edu.pl/metrics.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video Quality Indicators&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Good Luck!&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-10-28T00:16:56.737" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32540" PostTypeId="2" ParentId="32538" CreationDate="2020-10-28T00:50:11.887" Score="0" Body="&lt;p&gt;May i understand your question as&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;How do i have someone/something that understands the missing puzzles from&#xA;my upscaled images?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;If so, you are talking some intelligence/experience in upscaling or AI-upscaling. Then, plz take a look of &lt;a href=&quot;https://sites.google.com/view/aiupscalingtutorials/ai-upscaling&quot; rel=&quot;nofollow noreferrer&quot;&gt;AI Upscalers&lt;/a&gt;; it mentions&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;An open source AI upscaler (super sampler) based on a generative adversarial network architecture.&lt;/li&gt;&#xA;&lt;li&gt;An open source image enhancer that seeks to restore lost texture details from known types&lt;/li&gt;&#xA;&lt;li&gt;Commercial super sampler that uses artificial intelligence&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-10-28T00:50:11.887" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32541" PostTypeId="1" CreationDate="2020-10-28T01:46:38.480" Score="1" ViewCount="21" Body="&lt;p&gt;I'm using Adobe Premiere CS6, and I have a bunch of layers that I cut hundreds of times, but I had the audio track on lock by accident. Is there a way I can just have that layer cut the same as the others all at once and now have to cut them one by one?&lt;/p&gt;&#xA;" OwnerUserId="32694" LastActivityDate="2020-10-28T01:46:38.480" Title="Is there a way to cut a layer according to the another, all at once in Premiere?" Tags="|premiere|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32542" PostTypeId="2" ParentId="27752" CreationDate="2020-10-28T12:48:02.713" Score="1" Body="&lt;p&gt;It looks like they didn't have a lot of room to play with, so two kinos, mounted vertically at 45° left &amp;amp; right. Quite close in to make it as broad as possible [for which I'd have used them horizontally ;)&lt;br /&gt;&#xA;I'd also have put diffuser gels right across the barn doors at their widest to try spread it still further.&lt;br /&gt;&#xA;The end result for such a potentially soft-light setup seems to have come out a bit hard-edged, the shadows in her hair etc. It's also all a bit shiny on her face.&lt;/p&gt;&#xA;&lt;p&gt;Also, as mentioned , getting a light in back would have helped separation from the TV.&lt;/p&gt;&#xA;&lt;p&gt;This and the fact they've got one of the kinos reflecting in the TV is what makes me think they didn't have enough room to work &amp;amp; also that they only had those two lights to work with.&lt;/p&gt;&#xA;&lt;p&gt;As they've used old-fashioned fluorescent tube kinos rather than modern temperature-controllable ones, I'm guessing they mis-judged the light temperature, so the shot has come out quite a way to the magenta side. I can only guess they'd set up for &amp;quot;fluorescent&amp;quot; which doesn't work for standard tube kinos, as they actually qualify as &amp;quot;daylight&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Lens, I can't come up with any better guess than Florian - it's something short. A bigger giveaway would be if they'd gone for a two-shot [or even group shot] so you could see how the edges of frame were affected. With just a sofa &amp;amp; TV in background there's not a lot to judge from. Big nose, little ears [or in this case, big head, little shoulders] is definitely in evidence, but there's not enough for me to guess in a still without knowing what the presenter looks like in real life, or see her in motion on video.&lt;/p&gt;&#xA;&lt;p&gt;crop/zoom - 2 kinos in eye &amp;amp; hard edge on face&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8CIHC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8CIHC.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12233" LastActivityDate="2020-10-28T12:48:02.713" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32544" PostTypeId="1" AcceptedAnswerId="32548" CreationDate="2020-10-28T18:51:07.063" Score="0" ViewCount="621" Body="&lt;p&gt;I've been able to get most of the manipulations I want on various PTS/timestamp things.. except this one.  I have a case where we have a running PTS that gets stamped via drawtext.  I currently use the &lt;code&gt;%{pts:flt}&lt;/code&gt; which outputs millisecond accurate seconds.  This is great, but I ultimately need to format this in the format &lt;code&gt;SS.ff&lt;/code&gt;, by which I mean we always keep &lt;em&gt;only&lt;/em&gt; the last two digits of the seconds, and we ONLY print two significant digits of the fractional (micro/milli) second portion.&lt;/p&gt;&#xA;&lt;p&gt;I've been through a truckload of various gmtime/strftime() attempts, and I'm stymied in part because it appears that only &lt;code&gt;flt&lt;/code&gt; provides the fractional seconds part that I want, and it doesn't look like strftime() has support for width/padding/truncating?&lt;/p&gt;&#xA;" OwnerUserId="5462" LastActivityDate="2020-10-31T20:01:33.803" Title="is there a way to manipulate (pad, slice) a computed PTS timestamp within ffmpeg / drawtext?" Tags="|ffmpeg|timecode|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32545" PostTypeId="1" CreationDate="2020-10-28T19:38:37.453" Score="0" ViewCount="610" Body="&lt;p&gt;I have to create high quality GIFs with transparent backgrounds for a gig, Blender can render transparent videos with the quicktime codec, but do you know a tool to convert them to transparent GIFs, without quality loss? The only one I heard about is Photoshop, all online tools lower the resolution, and Virtualdub reduces the colors and doesn't convert to transparent GIF.&lt;/p&gt;&#xA;" OwnerUserId="32702" LastActivityDate="2021-08-25T17:05:05.527" Title="Software to create transparent GIFs?" Tags="|file-formats|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32546" PostTypeId="2" ParentId="32545" CreationDate="2020-10-28T19:44:32.767" Score="1" Body="&lt;p&gt;Export at ProRes 4444 &amp;quot;millions of colors+&amp;quot; with Alpha.&lt;/p&gt;&#xA;&lt;p&gt;If you’re not on a Mac you can still use QuickTime based on these settings:&lt;/p&gt;&#xA;&lt;p&gt;￼&lt;/p&gt;&#xA;&lt;p&gt;More info here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://blender.stackexchange.com/questions/2050/any-video-formats-that-render-with-alpha-channel&quot;&gt;https://blender.stackexchange.com/questions/2050/any-video-formats-that-render-with-alpha-channel&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Use something like &lt;a href=&quot;https://gfycat.com/gifbrewery&quot; rel=&quot;nofollow noreferrer&quot;&gt;GIF Brewery&lt;/a&gt; to make the conversion. GIF Brewery is free and available for Mac.&lt;/p&gt;&#xA;&lt;p&gt;On a PC you could try &lt;a href=&quot;https://www.screentogif.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.screentogif.com/&lt;/a&gt; or an online gif converter such as &lt;a href=&quot;https://ezgif.com/optimize&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ezgif.com/optimize&lt;/a&gt; (if you don’t have access to Photoshop).&lt;/p&gt;&#xA;&lt;p&gt;GIFs are an old format, and the quality for the file size is never great... Choices about resolution, file size and palette size can improve quality considerably. Examples based on Photoshop: &lt;a href=&quot;https://blog.bannersnack.com/reduce-the-size-animated-gifs/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://blog.bannersnack.com/reduce-the-size-animated-gifs/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2020-10-29T09:03:57.870" LastActivityDate="2020-10-29T09:03:57.870" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32547" PostTypeId="1" CreationDate="2020-10-28T20:44:26.517" Score="0" ViewCount="121" Body="&lt;p&gt;Good Day. I have 1000 Video files ( without Audio ) I want to add audio in the video. same audio for all the videos. Any software suggestions?&lt;/p&gt;&#xA;" OwnerUserId="32703" LastActivityDate="2020-10-30T06:47:38.687" Title="Add audio bulk in the video file" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32548" PostTypeId="2" ParentId="32544" CreationDate="2020-10-29T01:33:53.890" Score="2" Body="&lt;p&gt;The FFMPEG does not support &lt;em&gt;strtime %f&lt;/em&gt; option; therefore, the fractional second works with AVTB only. The parameter is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex &amp;quot;drawtext=fontsize=90:x=20:y=20:text='pts=%{pts\:gmtime\:0\:%S %f} AVTB=%{eif\:trunc(t)\:d\:2}.%{eif\:(1M*t-1M*trunc(t))/10000\:d\:2}':box=1&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and the result is&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iMMti.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iMMti.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-10-29T01:33:53.890" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32549" PostTypeId="2" ParentId="32547" CreationDate="2020-10-29T02:30:42.940" Score="1" Body="&lt;p&gt;the Linux script should be&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;for filename in /Videos/*; do&#xA;    ffmpeg -i $filename -i &amp;lt;audio_file&amp;gt; -map 0:v -map 1:a -c:v copy -shortest OutputWithAudio_$filename&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-10-29T02:30:42.940" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32550" PostTypeId="1" CreationDate="2020-10-29T12:08:55.457" Score="0" ViewCount="26" Body="&lt;p&gt;I need to make a simple video for my current work and I am looking for a decent free video editing software. In the past I used Adobe Premiere and I am used to it. But I probably won't have to do any video editing in the future and it is not worth paying for a software. It would also be better if the software were not very simple, since I could use it also for more ambitious personal projects.&lt;/p&gt;&#xA;" OwnerUserId="32716" LastActivityDate="2020-10-29T16:14:42.840" Title="Which free video editing software do you recommend?" Tags="|video-editor|freeware|" AnswerCount="0" CommentCount="4" ClosedDate="2020-10-30T14:50:30.183" ContentLicense="CC BY-SA 4.0" />
  <row Id="32553" PostTypeId="1" AcceptedAnswerId="32556" CreationDate="2020-10-29T23:21:28.733" Score="0" ViewCount="29" Body="&lt;p&gt;I would like to connect my computer to my HDMI-enabled monitor. The computer has a VGA out and one of these:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LzPOm.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LzPOm.jpg&quot; alt=&quot;Image of computer video output port&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I don't know what that is called.&lt;/p&gt;&#xA;" OwnerUserId="32721" LastActivityDate="2020-10-30T06:39:52.540" Title="What kind of output is this?" Tags="|cable|monitors|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32554" PostTypeId="2" ParentId="32069" CreationDate="2020-10-29T23:41:05.723" Score="1" Body="&lt;p&gt;I do that all the time.&lt;/p&gt;&#xA;&lt;p&gt;You can use&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://github.com/mifi/lossless-cut&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/mifi/lossless-cut&lt;/a&gt; (Open source)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://www.solveigmm.com/en/products/video-splitter/&quot; rel=&quot;nofollow noreferrer&quot;&gt;SolveigMM Video Splitter&lt;/a&gt; (Paid)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Both can merge files and keep the tracks by default. Takes seconds/minutes depending on your system.&lt;/p&gt;&#xA;&lt;p&gt;The only video editor (in my experience) where I could edit the video/merge and still keep the subtitles was &lt;strong&gt;Power Director&lt;/strong&gt; (paid).&lt;/p&gt;&#xA;&lt;p&gt;The problem with it is that it requires you to do extra steps in a certain order, plus it only supports SRT and might change the font/color or any other formatting.&lt;/p&gt;&#xA;&lt;p&gt;So if you don't actually need a video editor, the other options should do the trick.&lt;/p&gt;&#xA;" OwnerUserId="27046" LastActivityDate="2020-10-29T23:41:05.723" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32555" PostTypeId="1" CreationDate="2020-10-30T06:18:58.770" Score="0" ViewCount="2779" Body="&lt;p&gt;I have an mp4 file that I'm trying to recover. The file is missing a moov atom. I've tried all the usual utilities like ffmpeg, remoover, untrunc but all of them failed. I'm wondering now if it is at all possible to just extract a few frames from the video. It is timestamped security footage so any frames I could pull could be useful.&lt;/p&gt;&#xA;" OwnerUserId="32722" LastActivityDate="2020-10-30T12:12:40.790" Title="Is it possible to extract frames from corrupted mp4?" Tags="|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32556" PostTypeId="2" ParentId="32553" CreationDate="2020-10-30T06:39:52.540" Score="2" Body="&lt;p&gt;That's a &lt;a href=&quot;https://en.wikipedia.org/wiki/DisplayPort&quot; rel=&quot;nofollow noreferrer&quot;&gt;DisplayPort&lt;/a&gt; socket. Display port to HDMI adaptors are available, almost always DisplayPort is set up as displayport dual-mode, meaning a simple, cheap cable adaptor—e.g. this randomly selected two dollar jobbie from ebay —will suffice for connecting it to HDMI equipment.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FJ7ug.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FJ7ug.png&quot; alt=&quot;ebay ad for dp to hdmi adaptor&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-10-30T06:39:52.540" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32557" PostTypeId="2" ParentId="32547" CreationDate="2020-10-30T06:47:38.687" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;Ffmpeg&lt;/a&gt; is by far the best software for this kind of thing. Here's the Powershell version for windows to add to @xer-rex's answer:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;get-childItems &amp;quot;c:\path\to\videos\folder\&amp;quot;|%{&#xA;  ffmpeg -i $filename -i &amp;lt;audio_file&amp;gt; -map 0:v -map 1:a -c:v copy -shortest (&amp;quot;OutputWithAudio_&amp;quot; + $_.name)&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-10-30T06:47:38.687" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32560" PostTypeId="2" ParentId="32555" CreationDate="2020-10-30T12:12:40.790" Score="1" Body="&lt;p&gt;Try TMPG Smart Renderer &lt;a href=&quot;https://tmpgenc.pegasys-inc.com/en/product/tmsr5.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://tmpgenc.pegasys-inc.com/en/product/tmsr5.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If anything is recoverable, this tool should work. If it can't pull anything from the file, I don't know of any other tool that would. The trial version should work fine for you to get what you need.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-10-30T12:12:40.790" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32561" PostTypeId="1" AcceptedAnswerId="32566" CreationDate="2020-10-30T13:08:03.753" Score="1" ViewCount="2448" Body="&lt;p&gt;How to convert horizontal 1920x1080 mp4 video to vertical 1080x1920 mp4 with actual content size of 1080x608&lt;/p&gt;&#xA;&lt;p&gt;I know ffmpeg can do it, but don't know how to do it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yYvwz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yYvwz.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32728" LastActivityDate="2020-10-30T18:56:50.330" Title="Convert Horizontal 1920x1080 mp4 video to Vertical 1080x1920 mp4 with Actual content size of 1080x608" Tags="|ffmpeg|mp4|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32562" PostTypeId="2" ParentId="32561" CreationDate="2020-10-30T14:24:05.467" Score="0" Body="&lt;p&gt;FFmpeg does it through the video filter - &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#transpose-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;transpose&lt;/a&gt;; clockwise or counter-clockwise option is available.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-10-30T14:24:05.467" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32566" PostTypeId="2" ParentId="32561" CreationDate="2020-10-30T18:56:50.330" Score="0" Body="&lt;p&gt;Use the scale filter.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in -vf scale=1080:1920:force_original_aspect_ratio=decrease,pad=1080:1920:-1:-1 -c:a copy out&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-10-30T18:56:50.330" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32567" PostTypeId="2" ParentId="32526" CreationDate="2020-10-30T22:29:10.770" Score="0" Body="&lt;p&gt;Take a look at Comskip (&lt;a href=&quot;https://github.com/erikkaashoek/Comskip&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/erikkaashoek/Comskip&lt;/a&gt;). I use it with TvHeadend to mark commercials, which are then auto-skipped during playback in Kodi.&lt;/p&gt;&#xA;&lt;p&gt;There is a paid-for, pre-built version for Windows, or if you are comfortable you can build it yourself from source code.&lt;/p&gt;&#xA;" OwnerUserId="32733" LastActivityDate="2020-10-30T22:29:10.770" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32570" PostTypeId="2" ParentId="32544" CreationDate="2020-10-31T20:01:33.803" Score="0" Body="&lt;p&gt;Since a lot of this was unfamiliar to me, I went ahead and wrote up how I worked through it in the hope that it would be useful to someone else down the road...&lt;/p&gt;&#xA;&lt;p&gt;Here's our starting expression, let's break this down and go through it:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;%{eif:trunc(t):d:2}.%{eif:(1M*t-1M*trunc(t))/10000:d:2}&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;eif&lt;/code&gt; is 'evaluate_int_format', it evaluates the expression’s value and outputs as formatted integer.  From the docs:&lt;/p&gt;&#xA;&lt;p&gt;The first argument is the expression to be evaluated, just as for the expr function.&#xA;The second argument specifies the output format. Allowed values are &lt;code&gt;x&lt;/code&gt;, &lt;code&gt;X&lt;/code&gt;, &lt;code&gt;d&lt;/code&gt; and &lt;code&gt;u&lt;/code&gt;. They are treated exactly as in the printf function.&#xA;The third parameter is optional and sets the number of positions taken by the output. It can be used to add padding with zeros from the left.... so &lt;code&gt;:d:2&lt;/code&gt; means a decimal integer padded to two digits.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;t&lt;/code&gt; is the timestamp in seconds.  ffmpeg appears to keep this down to millisecond accuracy, so by manipulating this we can get the output we want.&lt;/p&gt;&#xA;&lt;p&gt;So:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;%{eif:trunc(t):d:2}&lt;/code&gt;&#xA;trunc(t) is just the integer part of the timestamp.&#xA;the &lt;code&gt;eif&lt;/code&gt; call here just formats that to two zero-padded digits.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;(1M*t-1M*trunc(t))/10000&lt;/code&gt;&#xA;this is slick: &lt;code&gt;1M*t&lt;/code&gt; basically shifts the whole timestamp by 10e6, which gives us the total number of microseconds as an integer - or said another way we just cast the timestamp to an integer...&#xA;similarly: &lt;code&gt;1M*trunc(t)&lt;/code&gt; rounds down that value to the nearest second.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;1.746826 seconds&lt;/code&gt; becomes &lt;code&gt;1,746,826 microseconds&lt;/code&gt; which then trunc's down to &lt;code&gt;1,000,000 microseconds&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;subtracting them leaves us with just the remainder (in microseconds).&lt;/p&gt;&#xA;&lt;p&gt;Since we want the output in hundredths of seconds, we divide by 10000 (really another shift) and this gives us the fractional leftovers, as another integer, which we then format to two digits with zero padding.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-utils.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg-utils docs&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;http://ffmpeg.org/ffmpeg-all.html#Text-expansion&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg text expansion docs&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5462" LastActivityDate="2020-10-31T20:01:33.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32571" PostTypeId="1" AcceptedAnswerId="32739" CreationDate="2020-10-31T20:13:58.170" Score="0" ViewCount="665" Body="&lt;p&gt;I have a video that I want to render as a 1:1 (1920x1920) aspect ratio. But it seems sony vegas 17 won't render it. And it gives me this error:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3510K.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3510K.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;&lt;strong&gt;Here's my video properties:&lt;/strong&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WpyuJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WpyuJ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;&lt;strong&gt;And here's the render settings:&lt;/strong&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Eh3pC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Eh3pC.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KMpgU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KMpgU.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I've tried resetting sony vegas, try restarting my computer and etc. I've even tried to change my setting on by one, and it seems the only problem is the resolution. Whenever I tried to change the resolution/aspect ratio to 16:9 its fixed, but when I turn it to 1:1 it gives me the error. I need help!&lt;/p&gt;&#xA;" OwnerUserId="32737" LastActivityDate="2020-11-26T17:24:41.107" Title="Sony Vegas 17 can't render a 1:1 video?" Tags="|vegas-pro|render|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32574" PostTypeId="1" CreationDate="2020-11-02T01:29:55.023" Score="0" ViewCount="1538" Body="&lt;p&gt;So basically, the issue I am running into is as described in the subject. I am trying to add a motion graphics template that I made in Adobe After Effects 2020 and installed to Adobe Premiere Pro 2020. I simply can't add it. Premiere won't let me add it to the timeline. I've tried adding other templates that come with Premiere and those don't work either. I am really new to Adobe Premiere and other Adobe products so I must just not know something simple.&lt;/p&gt;&#xA;&lt;p&gt;My basic system specs are: Processor Intel(R) Core(TM) i7-7700 CPU @ 3.60GHz, 3601 Mhz, 4 Core(s), 8 Logical Processor(s), OS Name Microsoft Windows 10 Home, Installed Physical Memory (RAM) 16.0 GB, Total Physical Memory 15.9 GB, Available Physical Memory 8.12 GB, Total Virtual Memory 25.6 GB, Available Virtual Memory 15.5 GB.&lt;/p&gt;&#xA;&lt;p&gt;I have attached a link to a video file showing me trying to add the different templates and failing. Let me know if I should add anything else.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.loom.com/share/f6bc6278aeb84204940c4098a8ba46ef&quot; rel=&quot;nofollow noreferrer&quot;&gt;loom video link to me trying to add mogrts&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="Christian Berumen" LastActivityDate="2024-04-03T23:07:15.967" Title="Why can't add I Motion Graphics Templates to Premiere Pro 2020 Timeline" Tags="|premiere|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32575" PostTypeId="1" CreationDate="2020-11-02T13:37:37.883" Score="1" ViewCount="693" Body="&lt;p&gt;I have a project that I am working on which required a number of sequences creating in a short time frame. A colleague assisted and I would like to merge his files into the project I am currently working within. The aim is to have well ordered final project with all assets in one place.&lt;/p&gt;&#xA;&lt;p&gt;There are a number of offline links when I bring the camera footage across from his project. The original file paths are pointing to his local machine.&lt;/p&gt;&#xA;&lt;p&gt;In Adobe Indesign, there is a feature called &amp;quot;relink to folder&amp;quot; which is very useful to link up multiple missing image links that have been moved to a different location. Is there an equivalent feature in Adobe Premiere Pro? At the time of writing, it appears I need to relink one at a time and I was hoping for a more efficient way to do this. Any suggestions would be good.&lt;/p&gt;&#xA;" OwnerUserId="24328" LastActivityDate="2023-12-09T06:01:15.167" Title="Merging sequences and files from one project into another in Adobe Premiere Pro" Tags="|premiere|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32576" PostTypeId="2" ParentId="3079" CreationDate="2020-11-02T14:37:23.993" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/documentation.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; supports this via the drawtext filter (&lt;a href=&quot;https://video.stackexchange.com/questions/21905/how-to-set-pts-time-format-when-using-ffmpeg-filter-to-add-timestamp&quot;&gt;example&lt;/a&gt;).  It's command-line but ultimately has more functionality than anything else I've seen.  If you're a python person, there's a project (&lt;a href=&quot;https://github.com/kkroening/ffmpeg-python/tree/master/examples&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg-python&lt;/a&gt;) that provides bindings that make the various filters &lt;em&gt;far&lt;/em&gt; easier to work with.&lt;/p&gt;&#xA;" OwnerUserId="5462" LastActivityDate="2020-11-02T14:37:23.993" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32578" PostTypeId="1" CreationDate="2020-11-03T04:19:52.643" Score="1" ViewCount="772" Body="&lt;p&gt;I have an audio file 2 hours long and 30 still images related to the audio. I would like to display each image consecutively for about 45 seconds while the audio is playing in a repeating fashion. When the last image has been displayed, I want to just start over from the top and keep repeating the images in a circle until the audio ends.&lt;/p&gt;&#xA;&lt;p&gt;For testing the technique purposes I am using this command with shorter audio, only 2 images, and shorter durations. The music plays, the images display and transition as desired but how do I get them to repeat? It just displays the two images and stops. How do I get the images to loop continuously until the audio ends?&lt;/p&gt;&#xA;&lt;p&gt;I'm using ffmpeg on Linux Mint 20.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -version&#xA;ffmpeg version 4.2.4-1ubuntu0.1 Copyright (c) 2000-2020 the FFmpeg developers&#xA;&#xA;ffmpeg -i &amp;quot;/home/ron/fftest/Overture.mp3&amp;quot; \&#xA;           -loop 1 -i &amp;quot;/home/ron/fftest/Picture1.jpg&amp;quot; \&#xA;           -loop 1 -i &amp;quot;/home/ron/fftest/Picture2.jpg&amp;quot; \&#xA;           -filter_complex \&#xA;             &amp;quot;[1:v]trim=duration=6,fade=t=in:st=0:d=1,fade=t=out:st=5:d=1[v1]; \&#xA;              [2:v]trim=duration=6,fade=t=in:st=0:d=1,fade=t=out:st=5:d=1[v2]; \&#xA;              [v1][v2]concat=n=2:v=1:a=0[v]&amp;quot; \&#xA;           -shortest -movflags +faststart -map 0:a -map [v] -c:a copy \&#xA;           /home/ron/fftest/Overture.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32762" LastEditorUserId="4426" LastEditDate="2021-11-30T09:25:54.870" LastActivityDate="2021-11-30T09:25:54.870" Title="Loop images until the audio ends" Tags="|ffmpeg|video|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32579" PostTypeId="1" AcceptedAnswerId="32587" CreationDate="2020-11-03T12:47:40.590" Score="1" ViewCount="1209" Body="&lt;p&gt;I'm trying to use Nvidia's h264_nvenc video encoder with ffmpeg but I can't find a single source of documentation for it. I want to know what options are supported and what they do.&lt;/p&gt;&#xA;&lt;p&gt;The software libx264 encoder has good documentation: &lt;a href=&quot;http://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://trac.ffmpeg.org/wiki/Encode/H.264&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But I can't find the equivalent for h264_nvenc.&lt;/p&gt;&#xA;&lt;p&gt;There is a little bit of information on&#xA;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/HWAccelIntro&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/HWAccelIntro&lt;/a&gt; and&#xA;&lt;a href=&quot;https://developer.nvidia.com/blog/nvidia-ffmpeg-transcoding-guide/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://developer.nvidia.com/blog/nvidia-ffmpeg-transcoding-guide/&lt;/a&gt; but these seem to just contain examples, whereas I'm looking for more of a reference for what the encoder can do. Thanks&lt;/p&gt;&#xA;" OwnerUserId="32763" LastEditorUserId="32763" LastEditDate="2020-11-03T14:10:28.617" LastActivityDate="2020-12-04T07:02:10.243" Title="FFmpeg/nvenc(cuda): Where is the documentation for h264_nvenc encoder?" Tags="|ffmpeg|encoding|nvenc|nvidia|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32581" PostTypeId="1" CreationDate="2020-11-03T15:30:47.423" Score="1" ViewCount="350" Body="&lt;p&gt;I have a Sony HDR-CX100 video camera that I would like to connect an external mic to (3.5mm plug), but the camera has no dedicated mic input.&lt;/p&gt;&#xA;&lt;p&gt;However, it as an &amp;quot;&lt;strong&gt;A/V R&lt;/strong&gt;&amp;quot; plug:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ETBf6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ETBf6.png&quot; alt=&quot;port&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Before you say &amp;quot;it's not possible&amp;quot;, I also have a &lt;a href=&quot;https://www.bhphotovideo.com/c/product/671698-REG/Sony_SPKCXA_SPK_CXA_Underwater_Camcorder_Sports.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sony Sports pack SPK-CXA&lt;/a&gt; that plugs into that port which includes it's own microphones (in addition to remote controls). So technically it should be possible to input audio through that port.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GR5ip.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GR5ip.jpg&quot; alt=&quot;housing&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So my question is has anyone seen a cable / dongle / adapter that would allow me to go from that A/V R plug on the camera to a simple 3.5mm mic port? Or would anyone have an idea on the pinouts to build one?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yeV6d.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yeV6d.png&quot; alt=&quot;plug&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I could buy a new camera, but this one does everything I need otherwise, and seems a shame when a &amp;quot;simple&amp;quot; adapter should suffice.&lt;/p&gt;&#xA;" OwnerUserId="32764" LastActivityDate="2020-11-03T15:30:47.423" Title="Add external mic using Sony &quot;A/V R&quot; plug" Tags="|video|audio|microphone|sony|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="32582" PostTypeId="1" CreationDate="2020-11-03T16:06:11.427" Score="-1" ViewCount="38" Body="&lt;p&gt;ie.,&lt;/p&gt;&#xA;&lt;p&gt;a)If I want to keep from 10 seconds to 20 seconds of the video then I should be able type “10” , “20”;&lt;/p&gt;&#xA;&lt;p&gt;b)I don’t want 21 to 35 seconds;&lt;/p&gt;&#xA;&lt;p&gt;c)If I want from 36 to 43 seconds of the video then I should be able type “36” , “43”?&lt;/p&gt;&#xA;&lt;p&gt;d) combine (a) &amp;amp; (b)&lt;/p&gt;&#xA;&lt;p&gt;You might be wondering why I require to type the numbers ?&#xA;This is because , if I don't type the timeline numbers. the clipping is not very accurate. In  YouCut Android App this option is there. But not 100%. Similar thing I am looking for in Windows for free.&lt;/p&gt;&#xA;" OwnerUserId="32765" LastActivityDate="2020-11-04T06:16:50.433" Title="What I want is free video editing software , I should be able to pick or cut video parts from any timeline by typing or moving the digital timeline?" Tags="|video-editor|windows|" AnswerCount="1" CommentCount="0" ClosedDate="2020-11-07T15:12:16.620" ContentLicense="CC BY-SA 4.0" />
  <row Id="32583" PostTypeId="1" AcceptedAnswerId="32586" CreationDate="2020-11-03T19:26:00.193" Score="0" ViewCount="172" Body="&lt;p&gt;I have a code it work with fine with with file name does not contain square bracket []&lt;/p&gt;&#xA;&lt;p&gt;an example:&#xA;&lt;strong&gt;10245,13445.avi&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;def insert_types(out, dir):&#xA;for root, dirs, files in walk(dir):&#xA;   for f in os.listdir(dir):&#xA;        match =  search(r&amp;quot;(\d+),(\d+)\.avi$&amp;quot;, f)&#xA;        if match:&#xA;            startframe = match.group(1)&#xA;            endframe = match.group(2)&#xA;            out = fvf.InsertSign(out, join(root, f), int(startframe), int(endframe), matrix=&amp;quot;709&amp;quot;)&#xA;return out&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This code works with &lt;code&gt;.avi&lt;/code&gt; file format and it take the first and the second values with the comma mark &lt;code&gt;,&lt;/code&gt;  and its only work with the filename which does not contain square bracket like  &lt;code&gt;10245,13445.avi&lt;/code&gt;&#xA;But now I want to make this code ignore the square bracket [] in file name &lt;code&gt;[10245,13445].avi&lt;/code&gt;  how it gonna be, any help?&lt;/p&gt;&#xA;&lt;p&gt;Thanx in advance&lt;/p&gt;&#xA;" OwnerUserId="17792" LastEditorUserId="17792" LastEditDate="2020-11-04T19:34:01.513" LastActivityDate="2020-11-04T19:34:01.513" Title="How to make python ignore square bracket?" Tags="|video|video-editor|" AnswerCount="1" CommentCount="0" ClosedDate="2020-11-07T15:09:33.380" ContentLicense="CC BY-SA 4.0" />
  <row Id="32585" PostTypeId="2" ParentId="32169" CreationDate="2020-11-04T03:35:35.473" Score="1" Body="&lt;p&gt;5D Mark III... I  believe has uncompressed hdmi out. You need usb 3 on your PC and a device like a Magwell HDMI to USB or Logitech Screen Share. Or a Black Magic Design mini Recorder PCIe card. The Magwell is a nice piece of gear. I disagree with &amp;quot;limited movies&amp;quot; with respect. My Canon DSLR takes 1080p@24 @30 720p@60 video. But the original poster wants to use a DSLR as a studio camera or high quality &amp;quot;webcam&amp;quot; I believe.&lt;/p&gt;&#xA;&lt;p&gt;Update: If you are on a Linux host this guy has a solution for you.&#xA;gphoto2 vl2loopback and ffmpeg into OBS.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/EqrZrKC1WA0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;I never tried this one... Canon Web Cam Utility. It is new.&#xA;&lt;a href=&quot;https://www.usa.canon.com/internet/portal/us/home/support/self-help-center/eos-webcam-utility/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.usa.canon.com/internet/portal/us/home/support/self-help-center/eos-webcam-utility/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32770" LastEditorUserId="32770" LastEditDate="2020-11-05T00:42:50.467" LastActivityDate="2020-11-05T00:42:50.467" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32586" PostTypeId="2" ParentId="32583" CreationDate="2020-11-04T05:34:06.630" Score="1" Body="&lt;p&gt;the regex pattern should be&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;search(r&amp;quot;(\d+),(\d+)\]*\.avi$&amp;quot;, f)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;previously, the pattern is &amp;quot;13445&amp;quot; + &amp;quot;.avi&amp;quot;&#xA;now, the pattern is &amp;quot;13445&amp;quot; + &amp;quot;]&amp;quot; + &amp;quot;.avi&amp;quot;, and it should be fine with or without square brackets.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-11-04T05:34:06.630" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32587" PostTypeId="2" ParentId="32579" CreationDate="2020-11-04T05:48:20.680" Score="1" Body="&lt;p&gt;You may check &lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/master/libavcodec/nvenc.h#L186-L221&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/blob/master/libavcodec/nvenc.h#L186-L221&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;and the valid can be referenced from &lt;a href=&quot;https://github.com/FFmpeg/nv-codec-headers/blob/master/include/ffnvcodec/nvEncodeAPI.h&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/nv-codec-headers/blob/master/include/ffnvcodec/nvEncodeAPI.h&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-11-04T05:48:20.680" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32588" PostTypeId="2" ParentId="32582" CreationDate="2020-11-04T06:16:50.433" Score="1" Body="&lt;p&gt;the ffmpeg commands are&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i Sony_HDR_AX2000.mts -ss 10 -to 20 -c copy out_a.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;for the case of a), and&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i Sony_HDR_AX2000.mts -ss 36 -to 43 -c copy out_b.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;for the case of c)&lt;/p&gt;&#xA;&lt;p&gt;Then, prepare a &lt;em&gt;list.txt&lt;/em&gt; file as&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;# this is a comment&#xA;file './out_a.ts'&#xA;file './out_b.ts'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;the ffmpeg concat files command is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -f concat -safe 0 -i list.txt -c copy out_d.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;for case d)&lt;/p&gt;&#xA;&lt;p&gt;References:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Seeking&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Seeking&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Concatenate&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-11-04T06:16:50.433" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32589" PostTypeId="2" ParentId="25537" CreationDate="2020-11-04T10:10:26.427" Score="4" Body="&lt;p&gt;&lt;a href=&quot;https://github.com/mifi/lossless-cut&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gShQV.jpg&quot; alt=&quot;LosslessCut screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/mifi/lossless-cut&quot; rel=&quot;nofollow noreferrer&quot;&gt;LosslessCut&lt;/a&gt; is an open-source video cutting tool. Its interface is built using &lt;a href=&quot;https://www.electronjs.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Electron&lt;/a&gt;, and its backend is &lt;em&gt;ffmpeg&lt;/em&gt;. It's available on the three main operating systems (Linux/Mac/Windows), and also from the Mac, Microsoft and Snap stores.&lt;/p&gt;&#xA;" OwnerUserId="32773" LastActivityDate="2020-11-04T10:10:26.427" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32593" PostTypeId="2" ParentId="32578" CreationDate="2020-11-05T05:22:36.787" Score="2" Body="&lt;p&gt;Assume you have an audio file, which is named as &amp;quot;audio.mp3&amp;quot;;&#xA;you have images file pattern as &amp;quot;Picture01.jpg&amp;quot;, &amp;quot;Picture02.jpg&amp;quot;, ... &amp;quot;Picture30.jpg&amp;quot;; and you want 4.5s image duration. Then the command is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -loop 1 -framerate 1/4.5 -i Picture%2d.jpg -i audio.mp3 -shortest -acodec copy -vcodec mjpeg result.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-11-05T05:22:36.787" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32594" PostTypeId="1" AcceptedAnswerId="32715" CreationDate="2020-11-05T09:00:51.083" Score="1" ViewCount="2353" Body="&lt;p&gt;Say I made a &lt;code&gt;Text+&lt;/code&gt; object with the following message:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Bold only THIS character.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;How would I apply certain effects (like bolding/colors) to only certain words? Where it will end up like this:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Bold only &lt;strong&gt;THIS&lt;/strong&gt; character&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I am using Davinici Resolve 16.2.7&lt;/p&gt;&#xA;" OwnerUserId="32785" LastActivityDate="2023-01-19T13:42:19.693" Title="Applying effects to only selected characters in Text" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32595" PostTypeId="2" ParentId="29233" CreationDate="2020-11-05T09:41:27.400" Score="0" Body="&lt;p&gt;I found the following solution in Avidemux. (prveious answers are not always working)&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open video in Avidemux&lt;/li&gt;&#xA;&lt;li&gt;In &quot;Audio -&gt; Select track&quot; choose only one track you need&lt;/li&gt;&#xA;&lt;li&gt;In &quot;output format&quot; select &quot;mp4 muxer&quot;&lt;/li&gt;&#xA;&lt;li&gt;Save the file using &quot;File -&gt; Save as&quot;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;There is also a disadvantage in this method. It removes all other tracks but it's good enough for some cases.&lt;/p&gt;&#xA;" OwnerUserId="27302" LastActivityDate="2020-11-05T09:41:27.400" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32597" PostTypeId="1" AcceptedAnswerId="32603" CreationDate="2020-11-05T23:12:07.690" Score="2" ViewCount="2046" Body="&lt;p&gt;I want to encode a video that will be compatible with videos created by my phone. That way I can mux the new video with the original without re-encoding the original video. I use &lt;em&gt;&lt;strong&gt;FFmpeg&lt;/strong&gt;&lt;/em&gt; with the &lt;em&gt;&lt;strong&gt;libx264&lt;/strong&gt;&lt;/em&gt; encoder. The following are the &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt; specs of the original video created by my phone:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Baseline@L3.1&#xA;Format settings                          : 1 Ref Frames&#xA;Format settings, CABAC                   : No&#xA;Format settings, Reference frames        : 1 frame&#xA;Format settings, GOP                     : M=1, N=30&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 52 s 369 ms&#xA;Bit rate                                 : 10.0 Mb/s&#xA;Width                                    : 1 280 pixels&#xA;Height                                   : 720 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Variable&#xA;Frame rate                               : 30.000 FPS&#xA;Minimum frame rate                       : 29.625 FPS&#xA;Maximum frame rate                       : 30.405 FPS&#xA;Standard                                 : NTSC&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.362&#xA;Stream size                              : 62.4 MiB (98%)&#xA;Title                                    : VideoHandle&#xA;Language                                 : English&#xA;Encoded date                             : UTC 2020-10-27 19:43:55&#xA;Tagged date                              : UTC 2020-10-27 19:43:55&#xA;Color range                              : Limited&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : BT.709&#xA;transfer_characteristics_Original        : BT.601&#xA;Matrix coefficients                      : BT.709&#xA;mdhd_Duration                            : 52369&#xA;Codec configuration box                  : avcC&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So far, I have figured out the following, which I think has gotten me close:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -c:v libx264 -profile:v baseline -level:v 3.1 -refs 1 \&#xA;  -vsync 2 -filter:v scale=&amp;quot;-1:720&amp;quot;,pad=&amp;quot;1280:720:720/2+ow/2&amp;quot;,format=&amp;quot;yuv420p&amp;quot; \&#xA;  -x264-params keyint=&amp;quot;30&amp;quot;:scenecut=&amp;quot;0&amp;quot; -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;del&gt;I'm having trouble setting frame rate. It should be variable @ 30 fps. I found &lt;a href=&quot;https://video.stackexchange.com/questions/29865&quot;&gt;this question&lt;/a&gt; in regards to variable frame rate. But it has no answer. Setting &lt;code&gt;-minrate&lt;/code&gt; &amp;amp; &lt;code&gt;-maxrate&lt;/code&gt; does not help. The output is constant frame rate @ 30 FPS. Parameter examples follow.&lt;/del&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;del&gt;Outputs constant rate @ 30 fps:&#xA;&lt;pre&gt;&lt;code&gt;-vsync 2 -r 30 -minrate 29.625 -maxrate 30.405&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/del&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;del&gt;Outputs variable rate @ 29.970:&#xA;&lt;pre&gt;&lt;code&gt;-vsync 2 -r 30.405&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/del&gt;&#xA;&lt;p&gt;&lt;del&gt;I also believe that I should be using &lt;code&gt;-crf&lt;/code&gt; or &lt;code&gt;-qp&lt;/code&gt;, but am not sure of the correct value(s).&lt;/del&gt;&lt;/p&gt;&#xA;&lt;h3&gt;Edit:&lt;/h3&gt;&#xA;&lt;p&gt;The command shown above results in the following specs:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Baseline@L3.1&#xA;Format settings                          : 1 Ref Frames&#xA;Format settings, CABAC                   : No&#xA;Format settings, Reference frames        : 1 frame&#xA;Format settings, GOP                     : M=1, N=30&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 8 s 700 ms&#xA;Duration_FirstFrame                      : 33 ms&#xA;Bit rate                                 : 2 606 kb/s&#xA;Width                                    : 1 280 pixels&#xA;Height                                   : 720 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 30.000 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.094&#xA;Stream size                              : 2.69 MiB (95%)&#xA;Title                                    : VideoHandle&#xA;Writing library                          : x264 core 160&#xA;Encoding settings                        : cabac=0 / ref=1 / deblock=1:0:0 / analyse=0x1:0x111 / me=hex / subme=7 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=0 / me_range=16 / chroma_me=1 / trellis=1 / 8x8dct=0 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-2 / threads=6 / lookahead_threads=1 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=0 / weightp=0 / keyint=30 / keyint_min=3 / scenecut=0 / intra_refresh=0 / rc_lookahead=30 / rc=crf / mbtree=1 / crf=23.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / ip_ratio=1.40 / aq=1:1.00&#xA;Language                                 : English&#xA;Codec configuration box                  : avcC&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is there anything else shown here that isn't compatible with the original video?&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;Sources that helped me:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.reddit.com/r/ffmpeg/comments/cjnqgz/deafult_gop_size_ffmpeg/evgyeqy/&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;del&gt;setting GOP size&lt;/del&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://sites.google.com/site/linuxencoding/x264-ffmpeg-mapping&quot; rel=&quot;nofollow noreferrer&quot;&gt;x264 FFmpeg Options Guide&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;Edit (2020-11-6 23:40 UTC):&lt;/h3&gt;&#xA;&lt;p&gt;After reading &lt;a href=&quot;https://video.stackexchange.com/questions/32597/how-to-create-compatible-avc-video-for-muxing-without-re-encode#32603&quot;&gt;Gyan's answer&lt;/a&gt;, I used the &lt;code&gt;-video_track_timescale&lt;/code&gt; parameter to set a &lt;code&gt;tbn&lt;/code&gt; value to match the original video. But the concatenated video still does not display correctly. Did I miss something that should be matching? I'm looking over the &lt;code&gt;ffprobe&lt;/code&gt; output now.&lt;/p&gt;&#xA;&lt;p&gt;Original video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe -hide_banner -i VID_20201027_124301.mp4&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'VID_20201027_124301.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2020-10-27T19:43:55.000000Z&#xA;    location        : +42.5418-122.5700/&#xA;    location-eng    : +42.5418-122.5700/&#xA;    com.android.version: 7.1.2&#xA;  Duration: 00:00:52.40, start: 0.000000, bitrate: 10187 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Baseline) (avc1 / 0x31637661), yuv420p(tv, bt709/bt709/smpte170m), 1280x720, 10002 kb/s, SAR 1:1 DAR 16:9, 30 fps, 30 tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-10-27T19:43:55.000000Z&#xA;      handler_name    : VideoHandle&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-10-27T19:43:55.000000Z&#xA;      handler_name    : SoundHandle&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;FFmpeg encoded video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe -hide_banner -i VID_20201027_124914-encoded.mp4&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'VID_20201027_124914-encoded.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:00:08.70, start: 0.000000, bitrate: 2732 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Constrained Baseline) (avc1 / 0x31637661), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 2596 kb/s, 30 fps, 30 tbr, 90k tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandle&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandle&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h3&gt;Edit (2020-11-7 00:05 UTC):&lt;/h3&gt;&#xA;&lt;p&gt;Did some more testing &amp;amp; found that when I concatenate the video using FFmpeg, it works. But if I concatenate using a different muxer, like &lt;a href=&quot;http://fixounet.free.fr/avidemux/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Avidemux&lt;/a&gt; or &lt;a href=&quot;https://www.fosshub.com/MKVToolNix.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;MKVToolNix&lt;/a&gt;, it does not. I think this question has been answered by Gyan, but I'm going to keep it open just a little longer to see if there is any input on why the video does not work with the other muxers as I prefer to use those.&lt;/p&gt;&#xA;&lt;p&gt;Ultimate ffmpeg parameters used:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -c:v libx264 -profile:v baseline -level:v 3.1 \&#xA;  -refs 1 -r 30 -video_track_timescale 90k \&#xA;  -filter:v scale=&amp;quot;-1:720&amp;quot;,pad=&amp;quot;1280:720:720/2+ow/2&amp;quot;,format=&amp;quot;yuv420p&amp;quot; \&#xA;  -x264-params keyint=&amp;quot;30&amp;quot;:scenecut=&amp;quot;0&amp;quot; -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;em&gt;the &lt;strong&gt;keyint&lt;/strong&gt; &amp;amp; &lt;strong&gt;scenecut&lt;/strong&gt; params of &lt;strong&gt;-x264-params&lt;/strong&gt; &amp;amp; framerate aren't required&lt;/em&gt;&lt;/p&gt;&#xA;&lt;h3&gt;Edit:&lt;/h3&gt;&#xA;&lt;p&gt;Created question about concatenation not working with Avidemux &amp;amp; MKVToolNix &lt;a href=&quot;https://video.stackexchange.com/questions/32607&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="21963" LastEditorUserId="21963" LastEditDate="2020-11-07T00:48:50.780" LastActivityDate="2020-11-07T00:48:50.780" Title="How to Create Compatible AVC Video for Muxing Without Re-encode" Tags="|ffmpeg|encoding|libx264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32598" PostTypeId="1" AcceptedAnswerId="32632" CreationDate="2020-11-06T02:57:15.690" Score="1" ViewCount="944" Body="&lt;p&gt;I am trying to overlay a png image onto a series of images (a few hundred images), I will later take this series of images with the overlay and construct a movie out of the series of images. I don't know too much about ffmpeg and I have just recently started playing with it for converting and editing media files but I have found something that works for combining the png with one tif image:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;ffmpeg -i my.png -i my.tif -filter_complex &amp;quot;[1][0]scale2ref[i][m];[m][i]overlay[v]&amp;quot; -map &amp;quot;[v]&amp;quot; -map 0:a? -ac 2 output.tif&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is what I have so far, which allows me to overlay my png on a single tif image. I would like to do this for every single tif image that I have in my folder (hundreds) of tif images.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to instruct ffmpeg to do such a process?&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="32793" LastActivityDate="2020-11-11T04:45:54.790" Title="ffmpeg: Placing an overlay over multiple images" Tags="|video|ffmpeg|editing|linux|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32599" PostTypeId="1" CreationDate="2020-11-06T06:15:27.263" Score="0" ViewCount="151" Body="&lt;p&gt;I have a  large collection of video clips, each with its corresponding audio clip that I want to merge. I need to automate the process by having each video clip merge with its respective audio clip, then have all the merged clips exported as mp4 file. How do I do this in Adobe Premiere Pro 2020?&lt;/p&gt;&#xA;" OwnerUserId="32795" LastEditorUserId="4426" LastEditDate="2022-04-01T09:39:00.483" LastActivityDate="2023-12-22T15:04:30.590" Title="How can I merge a large collection of video-audio pair of clips without having to repeat the work for each individual pair in Premiere Pro?" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32600" PostTypeId="2" ParentId="30720" CreationDate="2020-11-06T07:48:48.983" Score="1" Body="&lt;p&gt;I see 2 things you are trying to achieve here:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;video is private, but becomes public. at &lt;a href=&quot;https://api.video&quot; rel=&quot;nofollow noreferrer&quot;&gt;api.video&lt;/a&gt;, we have the concept of private videos - where users must have a one time token to watch.  Anyone else using that token will be unable to watch the video.  Once you reach your view threshold, you can make the video public - removing this token behavior.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Monitoring the views of each user.  We have a concept of &lt;a href=&quot;https://api.video/blog/tutorials/dynamic-metadata&quot; rel=&quot;nofollow noreferrer&quot;&gt;dynamic metadata&lt;/a&gt; - where you can attach session information to each view.  You could track each user's viewing in this way. For example, if you wanted to tag a view as watched by Bob:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://embed.api.video/vod/vi2ZEgTAhfOEeYN7ZnEGsm3i?metadata%5Buser%5D=bob&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://embed.api.video/vod/vi2ZEgTAhfOEeYN7ZnEGsm3i?metadata[user]=bob&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;When you load the page of videos - you can query the &lt;a href=&quot;https://docs.api.video/reference#get_analytics-videos-videoid&quot; rel=&quot;nofollow noreferrer&quot;&gt;video analytics&lt;/a&gt; for sessions for user=bob.  Each session will list the videoId, and the start/end time of the session.  Your app logic can decide if enough of the video was watched to unlock the next video.&lt;/p&gt;&#xA;" OwnerUserId="29405" LastActivityDate="2020-11-06T07:48:48.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32601" PostTypeId="1" CreationDate="2020-11-06T08:54:14.613" Score="1" ViewCount="2410" Body="&lt;p&gt;I have an HD video (1920x1080). I am trying to crop the video from the center so the resolution is (960x1080) and looks like a portrait video. I have tried the following command with no luck:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i in.mp4 -filter:v &amp;quot;crop=960:1080:480:0&amp;quot; -c:a copy out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This just outputs a video at the same size: 1920x1080&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="32797" LastActivityDate="2023-12-24T21:06:15.810" Title="Crop HD (1920x1080) video ratio from the center in ffmpeg" Tags="|ffmpeg|editing|full-hd|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32602" PostTypeId="2" ParentId="32601" CreationDate="2020-11-06T10:55:00.117" Score="1" Body="&lt;p&gt;Your command is doing fine, and ffprobe will show the resolution as &lt;strong&gt;960x1080&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.83.100&#xA;  Duration: 00:10:45.14, start: 0.000000, bitrate: 1969 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 960x1080 [SAR 1:1 DAR 8:9], 1838 kb/s, 25 fps, 25 tbr, 12800 tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My suggestion is to go through some of the examples from &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#crop&lt;/a&gt; to see if you have any expected result.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastEditorUserId="674" LastEditDate="2023-03-08T22:34:30.043" LastActivityDate="2023-03-08T22:34:30.043" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32603" PostTypeId="2" ParentId="32597" CreationDate="2020-11-06T13:00:41.480" Score="4" Body="&lt;p&gt;To concatenate multiple files for expected playback in common players, following properties need to match for&lt;/p&gt;&#xA;&lt;p&gt;video: codec, codec profile, codec level, resolution, reference count, pixel format, &lt;a href=&quot;https://stackoverflow.com/questions/43333542/what-is-video-timescale-timebase-or-timestamp-in-ffmpeg/&quot;&gt;timebase&lt;/a&gt;/timescale.&lt;br /&gt;&#xA;audio: codec, codec profile, channel count &amp;amp; layout, sample format and sampling rate.&lt;/p&gt;&#xA;&lt;p&gt;Advanced players can tolerate mid-stream changes in some of the above parameters.&lt;/p&gt;&#xA;&lt;p&gt;Mediainfo won't show you timescale, it's the &lt;code&gt;tbn&lt;/code&gt; value as shown by ffmpeg for the stream. Framerates need not match nor be constant for any given constituent stream. GOP size or keyframe cadence need not match. Neither need bitrate value or mode (CRF, VBR..etc) match. &lt;code&gt;minrate&lt;/code&gt; and &lt;code&gt;maxrate&lt;/code&gt; clamp bitrate, not framerate.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-11-06T13:00:41.480" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="32608" PostTypeId="2" ParentId="32599" CreationDate="2020-11-07T05:20:44.693" Score="0" Body="&lt;p&gt;What format are the seperate audio/video files? Are the audio files currently in sync with the video?&lt;/p&gt;&#xA;&lt;p&gt;I did this recently with some old source files that had originally been authored for DVD, the source files were .m2v / .wav pairs of files. I used &lt;a href=&quot;https://tmpgenc.pegasys-inc.com/en/product/tmsr5.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;TMPEGEnc Smart Renderer&lt;/a&gt; to merge all the source files into one big .mpg file (no re-encoding in this step with that tool, so no quality change), and then fed the resulting file into Handbrake to get an MP4 file. For a one-off, you can likely just use the trial version of Smart Renderer.&lt;/p&gt;&#xA;&lt;p&gt;For Premiere it would basically be the same, import all the source files, create a sequence, and then drag the video &amp;amp; audio files onto the sequence as appropriate, and export to H.264 Format. Smart Renderer worked easier for me, as the files were mostly prefixed with number order, and the video/audio files had matching names, so I could literally just import a folder at a time into the project, and not have to rearrange anything to get the correct pairing and sequencing - a bunch of the manual sequencing work got done for free by doing it this way. Premiere just would have taken longer to do the same job, plus not trusting myself not to make a mistake somewhere manually building the sequences.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-11-07T05:20:44.693" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32609" PostTypeId="1" CreationDate="2020-11-07T09:07:57.550" Score="3" ViewCount="3512" Body="&lt;p&gt;I have a &lt;code&gt;x264&lt;/code&gt; video with &lt;code&gt;yuvj420p(pc, smpte170m)&lt;/code&gt; color space and i want to convert this video to &lt;code&gt;x265&lt;/code&gt; and reduce its file size. I have used this command &lt;code&gt;ffmpeg -i input.mp4 -vcodec libx265 -crf 20 output.mp4&lt;/code&gt; but the video got darker and when i runned ffprobe i saw the colorspace changed to &lt;code&gt;yuvj420p(pc, progressive)&lt;/code&gt; How can i preserve color space while transcoding?&lt;/p&gt;&#xA;" OwnerUserId="32809" LastActivityDate="2020-12-07T10:03:25.343" Title="How to preserve colorspace in ffmpeg" Tags="|ffmpeg|video-quality|transcoding|colorspace|h265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32610" PostTypeId="2" ParentId="32609" CreationDate="2020-11-07T09:59:27.793" Score="4" Body="&lt;p&gt;This command preserved the colorspace and also video didnt get darker after transcoding&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -color_primaries smpte170m -color_trc smpte170m -colorspace smpte170m -r 25 -crf 18 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;source: &lt;a href=&quot;https://kdenlive.org/en/project/color-hell-ffmpeg-transcoding-and-preserving-bt-601/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://kdenlive.org/en/project/color-hell-ffmpeg-transcoding-and-preserving-bt-601/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;more about colorspace: &lt;a href=&quot;https://trac.ffmpeg.org/wiki/colorspace&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/colorspace&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32809" LastActivityDate="2020-11-07T09:59:27.793" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32617" PostTypeId="1" CreationDate="2020-11-09T11:39:42.940" Score="3" ViewCount="14" Body="&lt;p&gt;Is there a way to delete cache files per-project in After Effects, instead of by date or by size of the cache?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-11-09T11:39:42.940" Title="Is there a way to delete cache files on a per-project basis in After Effects?" Tags="|after-effects|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32618" PostTypeId="2" ParentId="12413" CreationDate="2020-11-09T15:43:05.140" Score="0" Body="&lt;p&gt;Just built a separate &amp;quot;Controller&amp;quot;-Comp with a layer and a a color-picker. Link all subcomps to this color-picker in the controller-comp.&#xA;Now before rendering each batch of Outputs you only need to alter the one &amp;quot;controller&amp;quot;-comp without having multiple Subcomps.&#xA;I know, this way you still cant render all of them at once but it may speed things up...&lt;/p&gt;&#xA;" OwnerUserId="32831" LastActivityDate="2020-11-09T15:43:05.140" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32619" PostTypeId="1" CreationDate="2020-11-09T15:54:34.523" Score="1" ViewCount="185" Body="&lt;p&gt;i am new to video production , and i know that audio is a big part of the production process and cannot be messed up .&lt;/p&gt;&#xA;&lt;p&gt;here is a audio that i recorded and then reduced the noise from audacity and exported&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://drive.google.com/file/d/1a5ZelYB6noyZhrVenkins0wZI62GC4Yj/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1a5ZelYB6noyZhrVenkins0wZI62GC4Yj/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;how can i further improve this audio&lt;/p&gt;&#xA;" OwnerUserId="32832" LastActivityDate="2020-11-10T01:52:55.250" Title="How to fix this screwed part of Audio" Tags="|audio|youtube|audio-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32620" PostTypeId="2" ParentId="32619" CreationDate="2020-11-10T01:39:03.147" Score="1" Body="&lt;p&gt;Audio is not my expertise, i try my best.&lt;/p&gt;&#xA;&lt;p&gt;The problems of your source are&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;volume is low&lt;/li&gt;&#xA;&lt;li&gt;speech is fast&lt;/li&gt;&#xA;&lt;li&gt;sound is dull&lt;/li&gt;&#xA;&lt;li&gt;bass is insufficient&lt;/li&gt;&#xA;&lt;li&gt;treble is high&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Therefore,&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;I use the command to find the max volume&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i source.wav -af &amp;quot;volumedetect&amp;quot; -vn -sn -dn -f null /dev/null&lt;/code&gt;&lt;br /&gt;&#xA;, which is &lt;em&gt;-6.4dB&lt;/em&gt;, then i transform the max volume to &lt;em&gt;0dB&lt;/em&gt; by using &lt;code&gt;audio filter volume=6.4dB&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I slow down the speech by using &lt;code&gt;audio filter atempo=0.8&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I make it lively by using &lt;code&gt;audio filter aecho=0.06:0.9:50:0.7&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I boost the bass by using &lt;code&gt;audio filter firequalizer=gain_entry='entry(0,24);entry(250,12);entry(500,4);entry(1000,2);&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I decrease the treble by using &lt;code&gt;audio filter firequalizer=gain_entry='entry(4000,-4);entry(16000,-20)'&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;In conclusion, the command is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i source.wav -af &amp;quot;\&#xA;volume=6.4dB,\&#xA;atempo=0.8,\&#xA;aecho=0.06:0.9:50:0.7,\&#xA;firequalizer=gain_entry='\&#xA;entry(0,24);entry(250,12);entry(500,4);entry(1000,2);\&#xA;entry(4000,-4);entry(16000,-20)'&amp;quot; \&#xA;output.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Hope you like it, good luck.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastEditorUserId="31818" LastEditDate="2020-11-10T01:52:55.250" LastActivityDate="2020-11-10T01:52:55.250" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32621" PostTypeId="2" ParentId="13142" CreationDate="2020-11-10T03:20:50.713" Score="2" Body="&lt;p&gt;Convert movie to pictures (1 second = 24 pictures ; so 1 hour = 86,400 pictures ; average 90 min. movie = 129,600 pictures). Colorize every individual picture using the DeepLearning API which gives decent results comparable to the hand-colorized movies of the late 20th century. The Solomon Society uses this to convert old newsreel footage and other curiosities with impressive results.&lt;/p&gt;&#xA;&lt;p&gt;It sounds like a lot of work, and it is (actually the work is simple but repetitive &amp;amp; massive), but a modern PC with an upper class video card, maximal RAM and a ton of free disk space should be able to pull it off fine given some time.&lt;/p&gt;&#xA;" OwnerUserId="32838" LastActivityDate="2020-11-10T03:20:50.713" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32622" PostTypeId="2" ParentId="13142" CreationDate="2020-11-10T07:40:58.580" Score="0" Body="&lt;p&gt;Does &lt;a href=&quot;https://www.learnopencv.com/convolutional-neural-network-based-image-colorization-using-opencv/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Convolutional Neural Network based Image Colorization using OpenCV&lt;/a&gt; make sense to you? You may try it from &lt;a href=&quot;https://github.com/qiuminzhang/colorization&quot; rel=&quot;nofollow noreferrer&quot;&gt;Git colorization&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Good luck!&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-11-10T07:40:58.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32626" PostTypeId="2" ParentId="13142" CreationDate="2020-11-10T14:28:27.777" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://deoldify.ai/&quot; rel=&quot;nofollow noreferrer&quot;&gt;DeOldify&lt;/a&gt; allows you to recolor old stills and videos. They have a free &lt;a href=&quot;https://colab.research.google.com/github/jantic/DeOldify/blob/master/VideoColorizerColab.ipynb&quot; rel=&quot;nofollow noreferrer&quot;&gt;Google Colab page&lt;/a&gt; you can use if you understand a little code.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-11-10T14:28:27.777" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32627" PostTypeId="1" CreationDate="2020-11-10T17:11:26.193" Score="1" ViewCount="72" Body="&lt;p&gt;I have a five second clip that is stripped from a much longer video.  I need to identify exactly where in the longer video this clip begins/ends.  There could be multiple occurrences of the clip, I would like to identify them all, not just the first one.  How would I go about doing this?&lt;/p&gt;&#xA;&lt;p&gt;I have used the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#mpdecimate&quot; rel=&quot;nofollow noreferrer&quot;&gt;mpdecimate&lt;/a&gt; filter in ffmpeg to identify repeated frames before, but I can't quite think of anything to use for this specific task of searching for a video within a video.&lt;/p&gt;&#xA;" OwnerUserId="32843" LastActivityDate="2020-12-12T17:30:11.217" Title="Search two hour video for a specific five second clip" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32628" PostTypeId="2" ParentId="29221" CreationDate="2020-11-10T21:46:33.993" Score="0" Body="&lt;p&gt;At best, you can use the software &lt;strong&gt;Handbrake&lt;/strong&gt;&#xA;It greatly reduces the video volume and has little effect on the quality. In this software, make changes to the resolution section and other items. I'm sure if you test a few times you will notice its very good performance and this software is free.&lt;/p&gt;&#xA;" OwnerUserId="32845" LastEditorUserId="2836" LastEditDate="2020-11-17T01:33:10.400" LastActivityDate="2020-11-17T01:33:10.400" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32630" PostTypeId="1" AcceptedAnswerId="32633" CreationDate="2020-11-10T22:40:07.037" Score="1" ViewCount="61" Body="&lt;p&gt;I am not a moviemaker or have any experience at all in the department. But I saw &lt;a href=&quot;https://www.youtube.com/watch?v=oliy9QPKqPk&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video of BTS dubbing some scenes&lt;/a&gt; from Lionking, Zootopia etc. I want to do the same.&lt;/p&gt;&#xA;&lt;p&gt;I tried movavi, which allows me to record my own voice but it replaces all the audio for that segment. But I only want to replace/dub over the dialogue while leaving other sound effects intact. How do I do that?&lt;/p&gt;&#xA;" OwnerUserId="32847" LastActivityDate="2023-03-30T15:53:31.070" Title="How do I dub just the dialogue for an existing movie?" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32631" PostTypeId="1" AcceptedAnswerId="32637" CreationDate="2020-11-11T04:24:01.007" Score="0" ViewCount="134" Body="&lt;p&gt;I bought a video and see a lot of meta data. What do these metadata mean (overview summary)? Is there something like watermarking to track who the owner is?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mat2 -s video.mp4&#xA;[+] Metadata for video.mp4:&#xA;    AltTimecodeTimeFormat: 59.94 fps (drop)&#xA;    AltTimecodeTimeValue: 00;00;00;00&#xA;    AudioChannelType: Stereo&#xA;    AudioSampleType: 16-bit integer&#xA;    CompatibleBrands: ['M4V ', 'mp42', 'isom']&#xA;    CompressorID: avc1&#xA;    CompressorName: AVC Coding&#xA;    CreateDate: 2020:11:09 16:44:55+01:00&#xA;    CreatorTool: Adobe Adobe Media Encoder CC 2015 (Windows)&#xA;    DerivedFromDocumentID: xmp.did:9902b825-8b27-5640-8b76-5b136d0ea7bc&#xA;    DerivedFromInstanceID: xmp.iid:9902b825-8b27-5640-8b76-5b136d0ea7bc&#xA;    DerivedFromOriginalDocumentID: xmp.did:9902b825-8b27-5640-8b76-5b136d0ea7bc&#xA;    DocumentID: 5a89b15b-f7e0-b162-e166-0b7a00000067&#xA;    DurationScale: 1.11111111111111e-05&#xA;    DurationValue: 110674560&#xA;    Format: H.264&#xA;    GraphicsMode: srcCopy&#xA;    HandlerDescription: Mainconcept MP4 Sound Media Handler&#xA;    HandlerType: Audio Track&#xA;    HistoryAction: ['saved', 'created', 'saved', 'saved']&#xA;    HistoryChanged: ['/', '/', '/metadata']&#xA;    HistoryInstanceID: ['4b3b2d68-3464-3bb6-6b32-91ae00000094', 'xmp.iid:9902b825-8b27-5640-8b76-5b136d0ea7bc', 'xmp.iid:0e612392-7976-c741-a822-a721f06a13d2', 'xmp.iid:ee31c5e9-1517-db48-89dd-bd9f236f32fb']&#xA;    HistorySoftwareAgent: ['Adobe Adobe Media Encoder CC 2015 (Windows)', 'Adobe Adobe Media Encoder CC 2015 (Windows)', 'Adobe Adobe Media Encoder CC 2015 (Windows)', 'Adobe Adobe Media Encoder CC 2015 (Windows)']&#xA;    HistoryWhen: ['2020:11:09 16:45:21+01:00', '2020:11:09 15:30:46+01:00', '2020:11:09 16:45:20+01:00', '2020:11:09 16:45:21+01:00']&#xA;    IngredientsDocumentID: ['17d3872e-9a9e-e174-72e0-716700000057', 'b9b25f0e-f7c9-a41a-9ffb-990e00000055', 'xmp.did:2aac4b58-91ac-1046-8ed3-a632d3ae5192', 'xmp.did:a1ebf30e-ed51-aa41-92ae-7cb05987f820']&#xA;    IngredientsFilePath: ['movie_ending_1080p.png', 'movie_title_1080p.png', 'Sequenz 01', 'Sequenz 01']&#xA;    IngredientsFromPart: ['time:0', 'time:0', 'time:0d309815300995200f254016000000', 'time:0d309815300995200f254016000000']&#xA;    IngredientsInstanceID: ['21f83c33-fb22-c75f-e179-ad5700000084', '53c709c5-de60-8ea3-930a-66f400000082', 'xmp.iid:2aac4b58-91ac-1046-8ed3-a632d3ae5192', 'xmp.iid:a1ebf30e-ed51-aa41-92ae-7cb05987f820']&#xA;    IngredientsMaskMarkers: ['None', 'None', 'None', 'None']&#xA;    IngredientsToPart: ['time:311086651075200f254016000000d1271350080000f254016000000', 'time:0d1271350080000f254016000000', 'time:1271350080000f254016000000d309815300995200f254016000000', 'time:1271350080000f254016000000d309815300995200f254016000000']&#xA;    InstanceID: xmp.iid:ee31c5e9-1517-db48-89dd-bd9f236f32fb&#xA;    MacAtomApplicationCode: 1347449455&#xA;    MacAtomInvocationAppleEvent: 1129468018&#xA;    MajorBrand: Apple iTunes Video (.M4V) Video&#xA;    MediaCreateDate: 2020:11:09 15:44:55&#xA;    MediaDataOffset: 897778&#xA;    MediaDataSize: 1588632083&#xA;    MediaHeaderVersion: 0&#xA;    MediaLanguageCode: eng&#xA;    MediaModifyDate: 2020:11:09 15:44:55&#xA;    MetadataDate: 2020:11:09 16:45:21+01:00&#xA;    MinorVersion: 0.0.1&#xA;    ModifyDate: 2020:11:09 16:45:21+01:00&#xA;    MovieHeaderVersion: 0&#xA;    NextTrackID: 3&#xA;    OriginalDocumentID: xmp.did:a508c79a-2272-c546-91d4-c9aa4c498a90&#xA;    PantryCreateDate: 2020:11:07 14:03:57Z&#xA;    PantryCreatorTool: Adobe Photoshop CS6 (Windows)&#xA;    PantryDerivedFromDocumentID: xmp.did:34B7DA9CD49AE6118979968F31FD9306&#xA;    PantryDerivedFromInstanceID: xmp.iid:D6D95BF95B20EB11B0ABB873A4E7C38E&#xA;    PantryDocumentID: xmp.did:fe7bc376-e888-ee4c-b3a1-708f3e7caaad&#xA;    PantryDurationScale: 1.11111111111111e-05&#xA;    PantryDurationValue: 12977280&#xA;    PantryHistoryAction: saved&#xA;    PantryHistoryChanged: /metadata&#xA;    PantryHistoryInstanceID: xmp.iid:fe7bc376-e888-ee4c-b3a1-708f3e7caaad&#xA;    PantryHistorySoftwareAgent: Adobe Adobe Media Encoder CC 2015 (Windows)&#xA;    PantryHistoryWhen: 2020:11:09 15:30:46+01:00&#xA;    PantryIngredientsDocumentID: f3d8f942-f860-44ed-270d-82bf00000045&#xA;    PantryIngredientsFilePath: vid011++o.mp4&#xA;    PantryIngredientsFromPart: time:42336000000f254016000000d14148691200000f254016000000&#xA;    PantryIngredientsInstanceID: b7e0bd35-580a-727e-0779-f5ce00000072&#xA;    PantryIngredientsMaskMarkers: None&#xA;    PantryIngredientsToPart: time:42336000000f254016000000d14148691200000f254016000000&#xA;    PantryInstanceID: xmp.iid:fe7bc376-e888-ee4c-b3a1-708f3e7caaad&#xA;    PantryMarked: False&#xA;    PantryMetadataDate: 2020:11:09 15:30:46+01:00&#xA;    PantryModifyDate: 2020:11:09 15:30:45+01:00&#xA;    PantryOriginalDocumentID: xmp.did:fe7bc376-e888-ee4c-b3a1-708f3e7caaad&#xA;    PreferredRate: 1&#xA;    ProjectRefType: Movie&#xA;    Rotation: 0&#xA;    StartTimeSampleSize: 1001&#xA;    StartTimeScale: 60000&#xA;    StartTimecode: 00;00;00;00&#xA;    StartTimecodeTimeFormat: 59.94 fps (drop)&#xA;    StartTimecodeTimeValue: 00;00;00;00&#xA;    TimeScale: 90000&#xA;    TrackCreateDate: 2020:11:09 15:44:55&#xA;    TrackHeaderVersion: 0&#xA;    TrackID: 1&#xA;    TrackLayer: 0&#xA;    TrackModifyDate: 2020:11:09 15:44:55&#xA;    VideoFieldOrder: Progressive&#xA;    VideoFrameSizeH: 1080&#xA;    VideoFrameSizeUnit: pixel&#xA;    VideoFrameSizeW: 1920&#xA;    VideoPixelAspectRatio: 1&#xA;    WindowsAtomExtension: .prproj&#xA;    WindowsAtomInvocationFlags: /L&#xA;    WindowsAtomUncProjectPath: movie_frame_1080p_cc2015.prproj&#xA;    XMPToolkit: Adobe XMP Core 5.6-c067 79.157747, 2015/03/30-23:40:42&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32851" LastActivityDate="2020-11-11T18:13:54.660" Title="Why &quot;mat2&quot; show over 90 lines of metadata for video file" Tags="|video|ffmpeg|mp4|metadata|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32632" PostTypeId="2" ParentId="32598" CreationDate="2020-11-11T04:45:54.790" Score="0" Body="&lt;p&gt;If all TIFFs have the same properties, and are named sequentially like image0001.tif, then you can use&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i image%04d.tif -i my.png -filter_complex &amp;quot;[1][0]scale2ref[i][m];[m][i]overlay&amp;quot; out%04d.tif&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This will generate images with the overlay named as follows&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;out0001.tif&#xA;out0002.tif&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-11-11T04:45:54.790" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32633" PostTypeId="2" ParentId="32630" CreationDate="2020-11-11T10:41:14.257" Score="1" Body="&lt;p&gt;You would need a version of the audio track without any dialogue on it.&#xA;You could attempt to remove the dialogue from the a sound track, but the results would be pretty bad.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-11-11T10:41:14.257" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32635" PostTypeId="2" ParentId="30661" CreationDate="2020-11-11T13:34:49.503" Score="2" Body="&lt;p&gt;First: 4k for livestreaming is pretty overkill. Please remember that your streaming device (your computer) and internet upload speed need handle this... AND to top things of not all of your viewers will be able to watch the stream in 4k because of their internet and missing out 4k devices.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/channel/UCATWC1JSlhzmYeDbjnS8WwA&quot; rel=&quot;nofollow noreferrer&quot;&gt;Alpha Gaming&lt;/a&gt; (Harris Heller) is covering everything you want to know about cameras (and livestreaming) in video form on youtube.&lt;/p&gt;&#xA;&lt;p&gt;Here are the most popular (and very professional but &amp;quot;only&amp;quot; 1080p not 4k) cameras for livestreaming with very helpful information: &lt;a href=&quot;https://youtu.be/3GPz5WRKQwU?t=131&quot; rel=&quot;nofollow noreferrer&quot;&gt;a sony should be your choice&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And here are some additional information for you before you choose your camera and lense: &lt;a href=&quot;https://www.youtube.com/watch?v=efO45WUtmOc&quot; rel=&quot;nofollow noreferrer&quot;&gt;equipment all around your camera&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;IMHO, this should be your question: &lt;b&gt;How much FOV (field of view) and DOF (depth of field) do you want?&lt;/b&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you really want to live stream in 4k (only 30 fps) then the &lt;b&gt;SONY A6100&lt;/b&gt; should be a good choice.&lt;/p&gt;&#xA;" OwnerUserId="32858" LastEditorUserId="32858" LastEditDate="2020-11-11T15:22:24.163" LastActivityDate="2020-11-11T15:22:24.163" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32636" PostTypeId="2" ParentId="32627" CreationDate="2020-11-11T14:30:35.317" Score="0" Body="&lt;p&gt;Perhaps you can export both videos (long and short) to frames and then use duplicate image finder software to identify the matching frames?&lt;br /&gt;&#xA;I don't have concrete suggestions, but overall the process would be:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Export the short video to frames to one folder, the filename of every frame should be the timecode of that frame for easy identification and sorting. &lt;a href=&quot;https://stackoverflow.com/a/50100263/1256347&quot;&gt;This answer on StackOverflow&lt;/a&gt; explains partially how to do this with &lt;code&gt;ffmpeg&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Export the long video to frames in a similar way&lt;/li&gt;&#xA;&lt;li&gt;Get a duplicate image finder, a web search will turn up many. Ensure that the software uses the content to identify duplicates, not the metadata. &lt;a href=&quot;https://photo.stackexchange.com/q/14094/9161&quot;&gt;This Photo.SE question&lt;/a&gt; has some suggestions.&lt;/li&gt;&#xA;&lt;li&gt;Take the first frame of the short video and set it as your reference image in your duplicate finder and run the software in the folder that contains the frames from your long video.&lt;/li&gt;&#xA;&lt;li&gt;If all goes well the software will return a set of frames that visually match the reference frame. From the filename of those matches you can identify the timecode.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2178" LastEditorUserId="2178" LastEditDate="2020-11-11T17:48:07.193" LastActivityDate="2020-11-11T17:48:07.193" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32637" PostTypeId="2" ParentId="32631" CreationDate="2020-11-11T16:43:57.310" Score="2" Body="&lt;p&gt;I see no need to worry about those meta data or why you should remove them.&lt;/p&gt;&#xA;&lt;p&gt;Pantry and Ingredients tags refer to asset tracking. In fact most of this data are production related and not relevant in any way for a consumer. The rest tells you about technical features, like the resolution or video codec.&lt;/p&gt;&#xA;&lt;p&gt;A watermark is something different. If you want to protect digital data you typically use DRM or could hide it steganographically in the video content or even make it plainly visible. Metadata can be removed too easily and are not used for this purpose.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2020-11-11T18:13:54.660" LastActivityDate="2020-11-11T18:13:54.660" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32638" PostTypeId="1" CreationDate="2020-11-11T17:21:36.677" Score="0" ViewCount="50" Body="&lt;p&gt;It seems like it is usually very noisy on set, I hardly can imagine that the sound from boom mic is good enough, so I wonder about its true purpose &lt;/p&gt;&#xA;" OwnerUserId="4228" LastActivityDate="2021-08-14T15:20:26.380" Title="Does sound from boom operator mic end up being used in final mix in high end production or only used as reference for voiceover?" Tags="|audio|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32639" PostTypeId="1" AcceptedAnswerId="32671" CreationDate="2020-11-12T00:15:19.107" Score="0" ViewCount="1869" Body="&lt;p&gt;I am looking to hire a Sony A7III for an upcoming live event and am wanting to stream via the HDMI port.&lt;/p&gt;&#xA;&lt;p&gt;I have an AC adapter to ensure it is powered up at all times, my question is - is it possible to have the camera not turn off while streaming via HDMI?  I don't need to record it, just purely for streaming via HDMI&lt;/p&gt;&#xA;&lt;p&gt;Can't find any info on any forums about this!&lt;/p&gt;&#xA;&lt;p&gt;Cheers&lt;/p&gt;&#xA;" OwnerUserId="12769" LastActivityDate="2021-06-21T01:58:17.410" Title="Live Streaming with Sony A7III via HDMI" Tags="|sony|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32640" PostTypeId="1" CreationDate="2020-11-12T12:18:05.347" Score="2" ViewCount="31" Body="&lt;p&gt;Has anyone managed to get a virtual webcam functioning under MacOS 10.15 or later?&#xA;I used to use CamTwist but it doesn't seem to appear as a source in Google Hangouts any more.  Apparently WireCast works, but I'm looking for a free solution if possible.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-12-14T20:04:45.617" Title="Virtual webcams under MacOS 10.15 or later" Tags="|mac|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32641" PostTypeId="1" CreationDate="2020-11-12T15:43:51.653" Score="0" ViewCount="198" Body="&lt;p&gt;I want to create one thumbnail consisting of the first frame of a video for arbitrary video files. I do it like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mkv -vf scale=w=300:h=300:force_original_aspect_ratio=decrease -frames:v 1 thumbnail.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For performance considerations I was experimenting with only loading the first megabytes of a video instead of whole video files for this task.&lt;/p&gt;&#xA;&lt;p&gt;In my experiments this works fine with some formats like &lt;code&gt;mkv&lt;/code&gt; and &lt;code&gt;mts&lt;/code&gt; and only sometimes with &lt;code&gt;mp4&lt;/code&gt; (I get errors - and no thumbnail, when the &lt;code&gt;moov atom&lt;/code&gt; is not at the beginning of a file)&lt;/p&gt;&#xA;&lt;p&gt;With what video file formats is it possible to generate thumbnails only from the first megabytes of a file, and with what formats is it not possible? Does it only depend on the container type or also on the codec? Can there be a reliable answer?&lt;/p&gt;&#xA;" OwnerUserId="24169" LastActivityDate="2020-11-12T18:14:47.403" Title="Generating thumbnail from only the first megabytes of a video file" Tags="|video|ffmpeg|thumbnails|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32642" PostTypeId="1" CreationDate="2020-11-12T15:45:34.110" Score="0" ViewCount="209" Body="&lt;p&gt;I have a sample.mp4 which is currently not playable on VLC or media player and I've checked the FFmpeg values and get the below result? Any help would be greatly appreciated.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vPE4Y.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vPE4Y.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32451" LastActivityDate="2021-08-11T03:02:55.257" Title="Hello ffmpeg heroes - please help me with ffmpeg/ffprobe commands to decode a video for me?" Tags="|ffmpeg|codec|ffprobe|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32643" PostTypeId="2" ParentId="32641" CreationDate="2020-11-12T18:14:47.403" Score="2" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;Can there be a reliable answer?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;No.&lt;/p&gt;&#xA;&lt;p&gt;As with almost everything is video. The real answer is: It depends.&lt;/p&gt;&#xA;&lt;p&gt;With mp4, the moov must be at the beginning, AND the mdat must properly interleave tracks. For example, If the there more than one megabyte of audio before the video, Then it won't work even with the moov at the start.&lt;/p&gt;&#xA;&lt;p&gt;For TS, there must be a SPS, a PPS and and IDR in the first megabyte. That is probable, but not guaranteed.&lt;/p&gt;&#xA;&lt;p&gt;For Mkv Interleaving matters.&lt;/p&gt;&#xA;&lt;p&gt;The codec, codec configuration, and even bitrate will also matter.&#xA;If the first keyframe is over 1Mb, no container will work.&lt;/p&gt;&#xA;&lt;p&gt;If the codec is using periodic inter fresh, it would probably take more that 1Mb, unless the video bitrate is very low.&lt;/p&gt;&#xA;&lt;p&gt;Writing all the permutations would take a book.&lt;/p&gt;&#xA;" OwnerUserId="32871" LastActivityDate="2020-11-12T18:14:47.403" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32644" PostTypeId="1" AcceptedAnswerId="32647" CreationDate="2020-11-12T23:57:26.387" Score="0" ViewCount="253" Body="&lt;p&gt;I've exported some videos from Premiere Pro after working on them, but I've forgotten what the codec of the video is. How can I find out the codec of the video? Thanks!&lt;/p&gt;&#xA;" OwnerUserId="32791" LastActivityDate="2020-11-13T13:52:44.277" Title="How can I find out the codec of a video I have exported from Premiere Pro?" Tags="|codec|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="32645" PostTypeId="2" ParentId="32574" CreationDate="2020-11-13T01:48:56.770" Score="-4" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tUw6w.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tUw6w.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Do exactly as shown&#xA;You need to create a new sequence&#xA;And drag and drop the motion graphics file into it&lt;/p&gt;&#xA;" OwnerUserId="32845" LastEditorUserId="2836" LastEditDate="2020-11-17T01:32:24.953" LastActivityDate="2020-11-17T01:32:24.953" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32647" PostTypeId="2" ParentId="32644" CreationDate="2020-11-13T13:52:44.277" Score="0" Body="&lt;p&gt;Use &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt; to get technical information for a media file.&lt;/p&gt;&#xA;&lt;p&gt;The codec id in the video section will print the exact identifier stored in the file for that video stream. The format entry in the same section will print the formal name of that codec.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-11-13T13:52:44.277" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32648" PostTypeId="1" AcceptedAnswerId="32650" CreationDate="2020-11-13T17:27:02.063" Score="0" ViewCount="462" Body="&lt;p&gt;I have a video file that is a screen recording of some slides. The slides had a 4:3 aspect ratio (1440x1080), but the video file is 16:9 (1920x1080), meaning there are black bars to the left and right. I would like to take a narrow column of pixels from the leftmost edge of the slide (say, the 241st column of pixels) and stretch them to cover the left black bar (and do the same on the right side to cover the right black bar). Is this something that can be done entirely on the command line by ffmpeg?&lt;/p&gt;&#xA;&lt;p&gt;Schematically, what I'd like to do is turn this video frame:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ps65s.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ps65s.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Into this one:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/JZPBd.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JZPBd.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="11621" LastActivityDate="2020-11-13T20:04:01.813" Title="ffmpeg stretch edge pixels to cover black bars" Tags="|ffmpeg|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32649" PostTypeId="1" CreationDate="2020-11-13T19:18:35.387" Score="0" ViewCount="1317" Body="&lt;p&gt;I am working on building a live streaming system for my church and have settled on using PTZOptics cameras for the project. Our AV dealer wanted to set them up with SDI connections and then go through a capture device.  For cost reasons I am looking at using the IP video capabilities of these cameras instead. We are currently using OBS to combine the sound from our mixer with the feed from a webcam before sending it to Facebook.  As I've looked over the options from PTZOptics I have a question about the advantages/disadvantages of using NDI over RTSP/RTMP?  The closest I've come to an actual comparison is a PDF of talking point slides that simply said &amp;quot;NDI evil&amp;quot; - not very helpful.&lt;/p&gt;&#xA;" OwnerUserId="32878" LastActivityDate="2021-02-01T17:16:33.867" Title="NDI vs RTSP/RTMP in PTZOptics cameras" Tags="|obs|rtmp|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32650" PostTypeId="2" ParentId="32648" CreationDate="2020-11-13T20:04:01.813" Score="1" Body="&lt;p&gt;FFmpeg has a &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#fillborders&quot; rel=&quot;nofollow noreferrer&quot;&gt;fillborders&lt;/a&gt; filter that can be used here.&lt;/p&gt;&#xA;&lt;p&gt;Assuming a 1440x1080 content area inside a 1920x1080 frame, use&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in -vf fillborders=left=241:right=241:mode=smear -c:a copy out&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-11-13T20:04:01.813" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32651" PostTypeId="2" ParentId="32642" CreationDate="2020-11-14T00:27:24.333" Score="1" Body="&lt;p&gt;It is all about the proprietary codec, i.e. IMM5. The VLC and FFMPEG can't deal with it except patching the avcodec manually using &lt;a href=&quot;https://patchwork.ffmpeg.org/project/ffmpeg/patch/20190716170703.10960-1-onemda@gmail.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://patchwork.ffmpeg.org/project/ffmpeg/patch/20190716170703.10960-1-onemda@gmail.com/&lt;/a&gt;. Of course, you need to re-compile the ffmpeg using the IMM5 supported avcodec lib.&lt;/p&gt;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-11-14T00:27:24.333" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32652" PostTypeId="1" AcceptedAnswerId="32653" CreationDate="2020-11-14T01:27:26.077" Score="0" ViewCount="58" Body="&lt;p&gt;I downloaded a library that comes with a sequence called Typo_06. I want to use Typo_06 several times in my project with different images and text changed inside it. Whenever I edit anything on Typo_06, it edits it for all of the Typo_06 sequence. Is there a way to have each of these sequences independent? I've tried duplicating into its own sequence for each and creating a whole new sequence&lt;/p&gt;&#xA;" OwnerUserId="32881" LastEditorUserId="32881" LastEditDate="2020-11-14T02:17:59.620" LastActivityDate="2020-11-14T02:59:07.387" Title="Change content in same parent clip? (Premiere Pro)" Tags="|premiere|adobe|premiere-elements|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32653" PostTypeId="2" ParentId="32652" CreationDate="2020-11-14T02:59:07.387" Score="0" Body="&lt;p&gt;Found the answer here (the one selected as best answer): &lt;a href=&quot;https://community.adobe.com/t5/premiere-pro/copying-a-sequence-using-premier-pro-cc-2019/td-p/10450703?page=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://community.adobe.com/t5/premiere-pro/copying-a-sequence-using-premier-pro-cc-2019/td-p/10450703?page=1&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32881" LastActivityDate="2020-11-14T02:59:07.387" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32656" PostTypeId="1" AcceptedAnswerId="32666" CreationDate="2020-11-15T11:25:07.250" Score="4" ViewCount="5112" Body="&lt;p&gt;I am trying to convert a video to an animated gif, and I actually want it to have banding, so I'm trying to turn off dithering.&lt;/p&gt;&#xA;&lt;p&gt;Here's what I've tried:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 1:24 -t 2 -i *.mkv -filter_complex &amp;quot;[0:v] fps=15,scale=sws_dither=none:w=480:h=-1,split [a][b];[a] palettegen=max_colors=4:stats_mode=single [p];[b][p] paletteuse=new=1&amp;quot; avengers3.gif&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here's what the output from the above looks like:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bsjy5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bsjy5.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It seems to me that definitely still has dithering, so how to turn it off?&lt;/p&gt;&#xA;&lt;p&gt;It said in the docs that sws_dither is the flag to set to &amp;quot;none&amp;quot; to disable dithering - perhaps I'm passing that wrong?&lt;/p&gt;&#xA;" OwnerUserId="25388" LastEditorUserId="25388" LastEditDate="2020-11-15T13:04:12.857" LastActivityDate="2020-11-17T01:05:15.240" Title="How to turn off ffmpeg dithering?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32659" PostTypeId="2" ParentId="32374" CreationDate="2020-11-16T16:08:44.227" Score="1" Body="&lt;p&gt;I think you should try the other transitions again&#xA;Please do not be absolutist&#xA;I also enjoy the transition roll&#xA;But&#xA;Do a quick Google search for smooth transitions. Maybe it's right for you&#xA;Good luck&lt;/p&gt;&#xA;" OwnerUserId="32907" LastActivityDate="2020-11-16T16:08:44.227" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32660" PostTypeId="2" ParentId="30557" CreationDate="2020-11-16T16:46:49.687" Score="0" Body="&lt;p&gt;In my opinion, it is the best idea and the fastest Adobe Premier Pro software&#xA;Its great user interface can be the best idea for you&#xA;Da Vinci Rizalo and Final Cut software are also great&#xA;Good luck&lt;/p&gt;&#xA;" OwnerUserId="32907" LastActivityDate="2020-11-16T16:46:49.687" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32661" PostTypeId="2" ParentId="20881" CreationDate="2020-11-16T17:00:45.803" Score="0" Body="&lt;p&gt;I have a modified setup where I took a timelapse every 1 hour for 30 days. I want to remove 12 hours of night. I had modified Gyan's &lt;code&gt;select&lt;/code&gt; with the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;select='trunc(mod(t*30-2\,24)/12)'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here I am multiplying &lt;code&gt;t&lt;/code&gt; by my frame rate of &lt;code&gt;30&lt;/code&gt; to convert time to a frame number. Then I provide a frame offset of &lt;code&gt;-2&lt;/code&gt; to start at a different frame. Next I take the &lt;code&gt;mod 24&lt;/code&gt; since I have 24 frames in 1 day. Finally, I divide by &lt;code&gt;12&lt;/code&gt; and &lt;code&gt;trunc&lt;/code&gt; since I want to remove 12 frames of each day. And here is the final code.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf select='trunc(mod(t*30-2\,24)/12)',setpts=N/FRAME_RATE/TB -crf 23 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32908" LastActivityDate="2020-11-16T17:00:45.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32662" PostTypeId="1" CreationDate="2020-11-16T17:41:47.033" Score="0" ViewCount="287" Body="&lt;p&gt;I've spent a couple of hours cutting and editing gopro footage, unfortunately the first file I added to the timeline was the soundtrack.&lt;/p&gt;&#xA;&lt;p&gt;Now my project resolution and frame rate are wrong and I can't adjust it in order to just select &amp;quot;4k UHD&amp;quot; in render options using mp4 - XAVC-S because it defaults to 60fps&lt;/p&gt;&#xA;&lt;p&gt;Two questions :&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is there a way, even hacky, to change project settings for an existing project?&lt;/li&gt;&#xA;&lt;li&gt;If not, how can I render with same UHD xavc-s settings but just change the frame rate? It's not always letting me select even the correct resolution in 'custom'.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Any help is greatly appreciated!&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="32909" LastActivityDate="2024-04-03T21:01:00.170" Title="Change project settings after footage is all cut up on Premiere Elements" Tags="|premiere|premiere-elements|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32663" PostTypeId="1" CreationDate="2020-11-16T18:06:48.787" Score="0" ViewCount="480" Body="&lt;p&gt;I am trying to find the best way to automatically concatenate a large number of files that have been recorded with an overlap within them.&#xA;In the process of 'glueing' the video files together, to get a smooth playback, I need to strip 5 frames from the end (or from the beginning) of each clip.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://stackoverflow.com/questions/7333232/how-to-concatenate-two-mp4-files-using-ffmpeg&quot;&gt;This post&lt;/a&gt; suggests a few ways of concatenating the files, and &lt;a href=&quot;https://video.stackexchange.com/questions/20881/how-do-i-remove-night-footage-from-300-days-of-time-lapse-video&quot;&gt;this post&lt;/a&gt; on processing a timelapse video has an excellent advise on using filters for truncating media. But I am wondering&#xA;whether I could avoid re-encoding at all? All files are in the same format.&lt;/p&gt;&#xA;&lt;p&gt;The ideal answer would include an ffmpeg command.&lt;/p&gt;&#xA;&lt;p&gt;Thank you in advance!&lt;/p&gt;&#xA;" OwnerUserId="19140" LastActivityDate="2020-11-16T18:06:48.787" Title="ffmpeg - concatenate files, BUT strip the last few frames from the end of each one" Tags="|ffmpeg|concatenation|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32664" PostTypeId="1" AcceptedAnswerId="32680" CreationDate="2020-11-16T23:29:30.483" Score="1" ViewCount="330" Body="&lt;p&gt;I'm having a problem where if I edit an audio clip that is used in my Premiere project with Audition, the change isn't heard in Premiere. Here are the steps that I'm going through:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I have an audio-track used in my project.&lt;/li&gt;&#xA;&lt;li&gt;I change it in Adobe Audition.&lt;/li&gt;&#xA;&lt;li&gt;I save it in the same directory with the same name.&lt;/li&gt;&#xA;&lt;li&gt;I delete it from the project's timeline.&lt;/li&gt;&#xA;&lt;li&gt;I delete it from the project's list of imported files.&lt;/li&gt;&#xA;&lt;li&gt;I re-import the new file.&lt;/li&gt;&#xA;&lt;li&gt;I put the file into my project's timeline again.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Needless to say, I re-save the project every two seconds just in case.&lt;/p&gt;&#xA;&lt;p&gt;My problem: The audio stays the same as it were before the editing. Am I missing something obvious or is it a bug?&lt;/p&gt;&#xA;" OwnerUserId="32911" LastEditorUserId="14523" LastEditDate="2020-11-17T19:48:41.360" LastActivityDate="2020-11-19T10:09:02.077" Title="Adobe Premiere won't update audios" Tags="|premiere|audio|audition|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32665" PostTypeId="2" ParentId="32638" CreationDate="2020-11-17T00:12:23.753" Score="1" Body="&lt;p&gt;I'm not sure what sets you've been on, but usually if the sound is being recorded you can literally hear a pin drop. The whole point of a boom operator is to get the mic in a position where it can record good sound. Dubbing is used for some scenes, but for dramatic dialog you get better results recording the performance audio.&lt;/p&gt;&#xA;&lt;p&gt;The theory behind the boom mic is that sound falls off in an exponential fashion, so the closer the mic is to the sound source, the louder that source will be relative to the background noise. Since you're also recording pictures you can't plonk a mic right in front of the actor as you would in a sound booth, you have to position it outside the field of view of the camera. Since the sound source is usually an actor's mouth, and the actor's mouth is usually near the top of frame, the best way to get a mic close to the sound source is to hang it over the actor, just out of frame. The boom operator will check with the camera operator to find the edges of frame before each shot.&lt;/p&gt;&#xA;&lt;p&gt;Generally boom mics are directional so that they are more sensitive to sound sources in front of them, which also helps to reduce background sound. Another advantage of having a directional mic over the actor's head is that this means that it is then pointing at the ground, where there are less likely to be sound sources. A mic say, where the camera is will be pointing horizontally, and will pick up whatever is behind the actor.&lt;/p&gt;&#xA;&lt;p&gt;For studio shoots where dialogue is recorded a sound stage is used. This is a studio that is sound-proofed to reduce both outside noise getting in, and reverberation from inside. Scenes that don't need recorded audio can be done on a silent stage, which is a studio that is not sound-proofed. For location shooting the sound recordist will often use sound treatment to reduce background noise and reverberation.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-11-17T00:17:36.167" LastActivityDate="2020-11-17T00:17:36.167" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32666" PostTypeId="2" ParentId="32656" CreationDate="2020-11-17T01:05:15.240" Score="4" Body="&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-scaler.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-scaler.html&lt;/a&gt; tells you the sws_dither is the dither algorithm whereas &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#paletteuse&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#paletteuse&lt;/a&gt; tells you to turn the dither off.&lt;/p&gt;&#xA;&lt;p&gt;The answer to your question is to set&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;paletteuse=dither=none&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;BTW, &lt;a href=&quot;http://blog.pkh.me/p/21-high-quality-gif-with-ffmpeg.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://blog.pkh.me/p/21-high-quality-gif-with-ffmpeg.html&lt;/a&gt; gives you the result of the paletteuse settings.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2020-11-17T01:05:15.240" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32671" PostTypeId="2" ParentId="32639" CreationDate="2020-11-17T16:28:36.640" Score="2" Body="&lt;p&gt;To stream with a camera such as the a7III via HDMI, you'll need another piece of hardware. An example of this kind of thing would be &amp;quot;elgato&amp;quot; which produce different devices for this exact thing. The simplest way is to buy a USB dongle which has a female HDMI and a male USB. Plug it into your pc, plug the camera into the dongle and boom. The camera will be interpreted as a Webcam and can thus be used in OBS, Streamlabs etc.&lt;/p&gt;&#xA;&lt;p&gt;To prevent the camera from turning off: There's different answers I could find. Some say leaving the battery/cassette-slot open will prevent the cam from going to standby. Others say you need to disable &amp;quot;remote control&amp;quot; in the settings. Others again say it's not possible. My guess is that there's either a setting, a way to trick the hardware or a software-hack that can help you out.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-11-17T16:28:36.640" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32675" PostTypeId="2" ParentId="29923" CreationDate="2020-11-18T03:50:28.597" Score="0" Body="&lt;p&gt;Version (CC 2019) 13.1.5.47  is the only version that installs on Windows 7,8,10&#xA;Good luck&lt;/p&gt;&#xA;" OwnerUserId="32907" LastActivityDate="2020-11-18T03:50:28.597" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32676" PostTypeId="2" ParentId="13113" CreationDate="2020-11-18T05:27:29.227" Score="1" Body="&lt;p&gt;In terms of effects, it is not possible to explain exactly&#xA;Because the CS6 version is definitely not comparable to the CC version&lt;/p&gt;&#xA;&lt;p&gt;But for example, you can open the CC 2020 version in the lower version&#xA;Follow the instructions below:&lt;/p&gt;&#xA;&lt;p&gt;The indirect and unreasonable way (which often works without problems) is this:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Make a backup copy of the prproj file that you want to open in the older version and save it somewhere.&lt;/li&gt;&#xA;&lt;li&gt;Rename the mentioned prproj file and change its extension to 7z.&lt;/li&gt;&#xA;&lt;li&gt;Unzip it with a program that opens zip files such as winrar or 7zip.&lt;/li&gt;&#xA;&lt;li&gt;Now rename it again and add the prproj extension to the end of the uncompressed file.&lt;/li&gt;&#xA;&lt;li&gt;Open this file in a program that can edit text (for example, Windows notepad) and pay attention to the fourth line, you will see a text like this:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;Project ObjectID = &amp;quot;1&amp;quot; ClassID = &amp;quot;62ad66dd-0dcd-42da-a660-6d8fbde94876&amp;quot; Version = &amp;quot;36&amp;quot;&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ol start=&quot;6&quot;&gt;&#xA;&lt;li&gt;Reduce the number in the version section (36 in the text above) (for example to 29) and save the file.&lt;/li&gt;&#xA;&lt;li&gt;Now open the above file in Premiere, you should see a message that tells you that the file is old and should be saved with a new name. Open a word processor and change the version rate, save and try again.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If you do not see the file extensions, open an explorer window (for example, drive C or my computer) and click on Options from the View menu, navigate to the View tab in the window that opens, and in the list of available options, select Hide extensions. Find for known file types and uncheck it and close the window by pressing Ok.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="32907" LastEditorUserId="14523" LastEditDate="2020-11-19T17:35:37.770" LastActivityDate="2020-11-19T17:35:37.770" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32679" PostTypeId="1" CreationDate="2020-11-19T08:36:12.013" Score="0" ViewCount="1771" Body="&lt;p&gt;I have remote &lt;code&gt;index.m3u8&lt;/code&gt; file and I want to download it with &lt;code&gt;ffmpeg&lt;/code&gt;.&lt;br /&gt;&#xA;The contents file is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#EXTM3U&#xA;#EXT-X-TARGETDURATION:6&#xA;#EXT-X-ALLOW-CACHE:YES&#xA;#EXT-X-PLAYLIST-TYPE:VOD&#xA;#EXT-X-KEY:METHOD=AES-128,URI=&amp;quot;https://example.com/encryption.key?x=AVCoPj...&amp;quot;&#xA;#EXT-X-VERSION:3&#xA;#EXT-X-MEDIA-SEQUENCE:1&#xA;#EXTINF:6.000,&#xA;https://example.com/seg-1-v1-a1.ts?x=AVCoPj...&#xA;#EXTINF:6.000,&#xA;https://example.com/seg-2-v1-a1.ts?x=AVCoPj...&#xA;#EXTINF:6.000,&#xA;https://example.com/seg-3-v1-a1.ts?x=AVCoPj...&#xA;#EXTINF:6.000,&#xA;:&#xA;:&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I try this command in Windows and Linux:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -headers &amp;quot;User-Agent: a&amp;quot; -i &amp;quot;https://example.com/index.m3u8?x=AVCoPj...&amp;quot; -c copy &amp;quot;video.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In the linux all thing as well and the video downloaded. But on windows I get this error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[AVIOContext @ 000001cef2816ec0] Statistics: 368 bytes read, 0 seeks&#xA;[hls @ 000001cef21be3c0] Error when loading first segment 'https://example.com/seg-1-v1-a1.ts?x=AVCoPj...'&#xA;[AVIOContext @ 000001cef21c8f00] Statistics: 24167 bytes read, 0 seeks&#xA;https://example.com/index.m3u8?x=AVCoPj...: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Note: Also in the same windows on the chrome browser nothing problem with play this video URL and also can be download with &lt;code&gt;streamlink&lt;/code&gt; software.(so not have any problem for network or blocking IP.)&lt;/p&gt;&#xA;&lt;p&gt;You can see all logs:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Log Windows:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;C:\&amp;gt;ffmpeg -headers &amp;quot;User-Agent: a&amp;quot; -i &amp;quot;https://example.com/index.m3u8?x=AVCoPj...&amp;quot; -c copy &amp;quot;video.mp4&amp;quot; -loglevel debug&#xA;ffmpeg version 2020-11-18-git-e3081d6f4f-full_build-www.gyan.dev Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 10.2.0 (Rev3, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-lzma --enable-libsnappy --enable-zlib --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-libbluray --enable-libcaca --enable-sdl2 --enable-libdav1d --enable-libzvbi --enable-librav1e --enable-libsvtav1 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-libaom --enable-libopenjpeg --enable-libvpx --enable-libass --enable-frei0r --enable-libfreetype --enable-libfribidi --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-libglslang --enable-vulkan --enable-opencl --enable-libcdio --enable-libgme --enable-libmodplug --enable-libopenmpt --enable-libopencore-amrwb --enable-libmp3lame --enable-libshine --enable-libtheora --enable-libtwolame --enable-libvo-amrwbenc --enable-libilbc --enable-libgsm --enable-libopencore-amrnb --enable-libopus --enable-libspeex --enable-libvorbis --enable-ladspa --enable-libbs2b --enable-libflite --enable-libmysofa --enable-librubberband --enable-libsoxr --enable-chromaprint&#xA;  libavutil      56. 60.100 / 56. 60.100&#xA;  libavcodec     58.112.103 / 58.112.103&#xA;  libavformat    58. 64.100 / 58. 64.100&#xA;  libavdevice    58. 11.102 / 58. 11.102&#xA;  libavfilter     7. 90.100 /  7. 90.100&#xA;  libswscale      5.  8.100 /  5.  8.100&#xA;  libswresample   3.  8.100 /  3.  8.100&#xA;  libpostproc    55.  8.100 / 55.  8.100&#xA;Splitting the commandline.&#xA;Reading option '-headers' ... matched as AVOption 'headers' with argument 'User-Agent: a'.&#xA;Reading option '-i' ... matched as input url with argument 'https://example.com/index.m3u8?x=AVCoPj...'.&#xA;Reading option '-c' ... matched as option 'c' (codec name) with argument 'copy'.&#xA;Reading option 'video.mp4' ... matched as output url.&#xA;Reading option '-loglevel' ... matched as option 'loglevel' (set logging level) with argument 'debug'.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option loglevel (set logging level) with argument debug.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url https://example.com/index.m3u8?x=AVCoPj....&#xA;Successfully parsed a group of options.&#xA;Opening an input file: https://example.com/index.m3u8?x=AVCoPj....&#xA;[NULL @ 000001cef21be3c0] Opening 'https://example.com/index.m3u8?x=AVCoPj...' for reading&#xA;[https @ 000001cef21bed80] Setting default whitelist 'http,https,tls,rtp,tcp,udp,crypto,httpproxy'&#xA;[https @ 000001cef21bed80] No trailing CRLF found in HTTP header. Adding it.&#xA;[tcp @ 000001cef21c1f80] Original list of addresses:&#xA;[tcp @ 000001cef21c1f80] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef21c1f80] Interleaved list of addresses:&#xA;[tcp @ 000001cef21c1f80] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef21c1f80] Starting connection attempt to 1.2.3.4 port 443&#xA;[tcp @ 000001cef21c1f80] Successfully connected to 1.2.3.4 port 443&#xA;[https @ 000001cef21bed80] request: GET /index.m3u8?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Range: bytes=0-&#xA;Connection: close&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;&#xA;[hls @ 000001cef21be3c0] Format hls probed with size=2048 and score=100&#xA;[hls @ 000001cef21be3c0] Skip ('#EXT-X-ALLOW-CACHE:YES')&#xA;[hls @ 000001cef21be3c0] Skip ('#EXT-X-VERSION:3')&#xA;[https @ 000001cef21bed80] Last chunk received, closing conn&#xA;[hls @ 000001cef21be3c0] HLS request for url 'https://example.com/seg-1-v1-a1.ts?x=AVCoPj...', offset 0, playlist 0&#xA;[hls @ 000001cef21be3c0] Opening 'https://example.com/encryption.key?x=AVCoPj...' for reading&#xA;[tcp @ 000001cef2891bc0] Original list of addresses:&#xA;[tcp @ 000001cef2891bc0] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef2891bc0] Interleaved list of addresses:&#xA;[tcp @ 000001cef2891bc0] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef2891bc0] Starting connection attempt to 1.2.3.4 port 443&#xA;[tcp @ 000001cef2891bc0] Successfully connected to 1.2.3.4 port 443&#xA;[https @ 000001cef2270900] request: GET /encryption.key?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Range: bytes=0-&#xA;Connection: keep-alive&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;&#xA;[AVIOContext @ 000001cef2269980] Statistics: 16 bytes read, 0 seeks&#xA;[hls @ 000001cef21be3c0] Opening 'crypto+https://example.com/seg-1-v1-a1.ts?x=AVCoPj...' for reading&#xA;[tcp @ 000001cef21eb740] Original list of addresses:&#xA;[tcp @ 000001cef21eb740] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef21eb740] Interleaved list of addresses:&#xA;[tcp @ 000001cef21eb740] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef21eb740] Starting connection attempt to 1.2.3.4 port 443&#xA;[tcp @ 000001cef21eb740] Successfully connected to 1.2.3.4 port 443&#xA;[https @ 000001cef282acc0] request: GET /seg-1-v1-a1.ts?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Range: bytes=0-&#xA;Connection: keep-alive&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;&#xA;[AVIOContext @ 000001cef28992c0] Statistics: 368 bytes read, 0 seeks&#xA;[hls @ 000001cef21be3c0] HLS request for url 'https://example.com/seg-2-v1-a1.ts?x=AVCoPj...', offset 0, playlist 0&#xA;[hls @ 000001cef21be3c0] Opening 'crypto+https://example.com/seg-2-v1-a1.ts?x=AVCoPj...' for reading&#xA;[tcp @ 000001cef21e2a80] Original list of addresses:&#xA;[tcp @ 000001cef21e2a80] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef21e2a80] Interleaved list of addresses:&#xA;[tcp @ 000001cef21e2a80] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef21e2a80] Starting connection attempt to 1.2.3.4 port 443&#xA;[tcp @ 000001cef21e2a80] Successfully connected to 1.2.3.4 port 443&#xA;[https @ 000001cef282acc0] request: GET /seg-2-v1-a1.ts?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Range: bytes=0-&#xA;Connection: keep-alive&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;&#xA;[AVIOContext @ 000001cef21c6d40] Statistics: 368 bytes read, 0 seeks&#xA;[hls @ 000001cef21be3c0] HLS request for url 'https://example.com/seg-3-v1-a1.ts?x=AVCoPj...', offset 0, playlist 0&#xA;[hls @ 000001cef21be3c0] Opening 'crypto+https://example.com/seg-3-v1-a1.ts?x=AVCoPj...' for reading&#xA;[tcp @ 000001cef282bd40] Original list of addresses:&#xA;[tcp @ 000001cef282bd40] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef282bd40] Interleaved list of addresses:&#xA;[tcp @ 000001cef282bd40] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef282bd40] Starting connection attempt to 1.2.3.4 port 443&#xA;[tcp @ 000001cef282bd40] Successfully connected to 1.2.3.4 port 443&#xA;[https @ 000001cef2270900] request: GET /seg-3-v1-a1.ts?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Range: bytes=0-&#xA;Connection: keep-alive&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;&#xA;[AVIOContext @ 000001cef226e6c0] Statistics: 368 bytes read, 0 seeks&#xA;[hls @ 000001cef21be3c0] HLS request for url 'https://example.com/seg-4-v1-a1.ts?x=AVCoPj...', offset 0, playlist 0&#xA;[hls @ 000001cef21be3c0] Opening 'crypto+https://example.com/seg-4-v1-a1.ts?x=AVCoPj...' for reading&#xA;[tcp @ 000001cef282bec0] Original list of addresses:&#xA;[tcp @ 000001cef282bec0] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef282bec0] Interleaved list of addresses:&#xA;[tcp @ 000001cef282bec0] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef282bec0] Starting connection attempt to 1.2.3.4 port 443&#xA;[tcp @ 000001cef282bec0] Successfully connected to 1.2.3.4 port 443&#xA;[https @ 000001cef282acc0] request: GET /seg-4-v1-a1.ts?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Range: bytes=0-&#xA;Connection: keep-alive&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;:&#xA;:&#xA;:&#xA;&#xA;[AVIOContext @ 000001cef226b9c0] Statistics: 368 bytes read, 0 seeks&#xA;[hls @ 000001cef21be3c0] HLS request for url 'https://example.com/seg-75-v1-a1.ts?x=AVCoPj...', offset 0, playlist 0&#xA;[hls @ 000001cef21be3c0] Opening 'crypto+https://example.com/seg-75-v1-a1.ts?x=AVCoPj...' for reading&#xA;[tcp @ 000001cef28dd1c0] Original list of addresses:&#xA;[tcp @ 000001cef28dd1c0] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef28dd1c0] Interleaved list of addresses:&#xA;[tcp @ 000001cef28dd1c0] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef28dd1c0] Starting connection attempt to 1.2.3.4 port 443&#xA;[tcp @ 000001cef28dd1c0] Successfully connected to 1.2.3.4 port 443&#xA;[https @ 000001cef282ba40] request: GET /seg-75-v1-a1.ts?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Range: bytes=0-&#xA;Connection: keep-alive&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;&#xA;[AVIOContext @ 000001cef2817800] Statistics: 368 bytes read, 0 seeks&#xA;[hls @ 000001cef21be3c0] HLS request for url 'https://example.com/seg-76-v1-a1.ts?x=AVCoPj...', offset 0, playlist 0&#xA;[hls @ 000001cef21be3c0] Opening 'crypto+https://example.com/seg-76-v1-a1.ts?x=AVCoPj...' for reading&#xA;[tcp @ 000001cef2270700] Original list of addresses:&#xA;[tcp @ 000001cef2270700] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef2270700] Interleaved list of addresses:&#xA;[tcp @ 000001cef2270700] Address 1.2.3.4 port 443&#xA;    Last message repeated 1 times&#xA;[tcp @ 000001cef2270700] Starting connection attempt to 1.2.3.4 port 443&#xA;[tcp @ 000001cef2270700] Successfully connected to 1.2.3.4 port 443&#xA;[https @ 000001cef2271600] request: GET /seg-76-v1-a1.ts?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Range: bytes=0-&#xA;Connection: keep-alive&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;&#xA;[AVIOContext @ 000001cef2816ec0] Statistics: 368 bytes read, 0 seeks&#xA;[hls @ 000001cef21be3c0] Error when loading first segment 'https://example.com/seg-1-v1-a1.ts?x=AVCoPj...'&#xA;[AVIOContext @ 000001cef21c8f00] Statistics: 24167 bytes read, 0 seeks&#xA;https://example.com/index.m3u8?x=AVCoPj...: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Log CentOS:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;# ffmpeg -headers &amp;quot;User-Agent: a&amp;quot; -i &amp;quot;https://example.com/index.m3u8?x=AVCoPj...&amp;quot; -c copy &amp;quot;video.mp4&amp;quot; -loglevel debug&#xA;ffmpeg version 3.4.8 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 4.8.5 (GCC) 20150623 (Red Hat 4.8.5-39)&#xA;  configuration: --prefix=/usr --bindir=/usr/bin --datadir=/usr/share/ffmpeg --docdir=/usr/share/doc/ffmpeg --incdir=/usr/include/ffmpeg --libdir=/usr/lib64 --mandir=/usr/share/man --arch=x86_64 --optflags='-O2 -g -pipe -Wall -Wp,-D_FORTIFY_SOURCE=2 -fexceptions -fstack-protector-strong --param=ssp-buffer-size=4 -grecord-gcc-switches -m64 -mtune=generic' --extra-ldflags='-Wl,-z,relro ' --extra-cflags=' ' --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libvo-amrwbenc --enable-version3 --enable-bzlib --disable-crystalhd --enable-fontconfig --enable-gcrypt --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libcdio --enable-libdrm --enable-indev=jack --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libmp3lame --enable-nvenc --enable-openal --enable-opencl --enable-opengl --enable-libopenjpeg --enable-libopus --disable-encoder=libopus --enable-libpulse --enable-librsvg --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libvorbis --enable-libv4l2 --enable-libvidstab --enable-libvpx --enable-libx264 --enable-libx265 --enable-libxvid --enable-libzvbi --enable-avfilter --enable-avresample --enable-libmodplug --enable-postproc --enable-pthreads --disable-static --enable-shared --enable-gpl --disable-debug --disable-stripping --shlibdir=/usr/lib64 --enable-libmfx --enable-runtime-cpudetect&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libavresample   3.  7.  0 /  3.  7.  0&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;Splitting the commandline.&#xA;Reading option '-headers' ... matched as AVOption 'headers' with argument 'User-Agent: a'.&#xA;Reading option '-i' ... matched as input url with argument 'https://example.com/index.m3u8?x=AVCoPj...'.&#xA;Reading option '-c' ... matched as option 'c' (codec name) with argument 'copy'.&#xA;Reading option '-y' ... matched as option 'y' (overwrite output files) with argument '1'.&#xA;Reading option 'video.mp4' ... matched as output url.&#xA;Reading option '-loglevel' ... matched as option 'loglevel' (set logging level) with argument 'debug'.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option y (overwrite output files) with argument 1.&#xA;Applying option loglevel (set logging level) with argument debug.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url https://example.com/index.m3u8?x=AVCoPj....&#xA;Successfully parsed a group of options.&#xA;Opening an input file: https://example.com/index.m3u8?x=AVCoPj....&#xA;[NULL @ 0x2634700] Opening 'https://example.com/index.m3u8?x=AVCoPj...' for reading&#xA;[https @ 0x2635080] Setting default whitelist 'http,https,tls,rtp,tcp,udp,crypto,httpproxy'&#xA;[https @ 0x2635080] No trailing CRLF found in HTTP header.&#xA;[https @ 0x2635080] request: GET /index.m3u8?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Range: bytes=0-&#xA;Connection: close&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;&#xA;[hls,applehttp @ 0x2634700] Format hls,applehttp probed with size=2048 and score=100&#xA;[hls,applehttp @ 0x2634700] HLS request for url 'https://example.com/seg-1-v1-a1.ts?x=AVCoPj...', offset 0, playlist 0&#xA;[hls,applehttp @ 0x2634700] Opening 'https://example.com/encryption.key?x=AVCoPj...' for reading&#xA;[https @ 0x26af660] request: GET /encryption.key?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Connection: close&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;&#xA;[AVIOContext @ 0x26af500] Statistics: 16 bytes read, 0 seeks&#xA;[hls,applehttp @ 0x2634700] Opening 'crypto+https://example.com/seg-1-v1-a1.ts?x=AVCoPj...' for reading&#xA;[https @ 0x26af4e0] request: GET /seg-1-v1-a1.ts?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Connection: close&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;&#xA;Format mpegts probed with size=2048 and score=50&#xA;[mpegts @ 0x26b5680] stream=0 stream_type=1b pid=100 prog_reg_desc=&#xA;[mpegts @ 0x26b5680] stream=1 stream_type=f pid=101 prog_reg_desc=&#xA;[mpegts @ 0x26b5680] stream=2 stream_type=15 pid=102 prog_reg_desc=&#xA;[hls,applehttp @ 0x2634700] Before avformat_find_stream_info() pos: 24167 bytes read:24167 seeks:0 nb_streams:3&#xA;[mpegts @ 0x26b5680] All programs have pmt, headers found&#xA;[NULL @ 0x26aeb60] user data:&amp;quot;x264 - core 155 r2901 7d0ff22 - H.264/MPEG-4 AVC codec - Copyleft 2003-2018 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x133 me=umh subme=10 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=24 chroma_me=1 trellis=2 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=0 chroma_qp_offset=-2 threads=5 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=2 b_bias=0 direct=3 weightb=1 open_gop=0 weightp=2 keyint=90 keyint_min=46 scenecut=0 intra_refresh=0 rc_lookahead=60 rc=crf mbtree=1 crf=25.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 vbv_maxrate=89 vbv_bufsize=102 crf_max=0.0 nal_hrd=none filler=0 ip_ratio=1.40 aq=1:1.00&amp;quot;&#xA;[AVBSFContext @ 0x2c7f080] nal_unit_type: 9, nal_ref_idc: 0&#xA;[AVBSFContext @ 0x2c7f080] nal_unit_type: 7, nal_ref_idc: 3&#xA;[AVBSFContext @ 0x2c7f080] nal_unit_type: 8, nal_ref_idc: 3&#xA;[AVBSFContext @ 0x2c7f080] nal_unit_type: 6, nal_ref_idc: 0&#xA;[AVBSFContext @ 0x2c7f080] nal_unit_type: 5, nal_ref_idc: 3&#xA;[h264 @ 0x26dbc40] nal_unit_type: 9, nal_ref_idc: 0&#xA;[h264 @ 0x26dbc40] nal_unit_type: 7, nal_ref_idc: 3&#xA;[h264 @ 0x26dbc40] nal_unit_type: 8, nal_ref_idc: 3&#xA;[h264 @ 0x26dbc40] nal_unit_type: 6, nal_ref_idc: 0&#xA;[h264 @ 0x26dbc40] nal_unit_type: 5, nal_ref_idc: 3&#xA;[h264 @ 0x26dbc40] user data:&amp;quot;x264 - core 155 r2901 7d0ff22 - H.264/MPEG-4 AVC codec - Copyleft 2003-2018 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x133 me=umh subme=10 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=24 chroma_me=1 trellis=2 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=0 chroma_qp_offset=-2 threads=5 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=2 b_bias=0 direct=3 weightb=1 open_gop=0 weightp=2 keyint=90 keyint_min=46 scenecut=0 intra_refresh=0 rc_lookahead=60 rc=crf mbtree=1 crf=25.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 vbv_maxrate=89 vbv_bufsize=102 crf_max=0.0 nal_hrd=none filler=0 ip_ratio=1.40 aq=1:1.00&amp;quot;&#xA;[h264 @ 0x26dbc40] Reinit context to 272x160, pix_fmt: yuv420p&#xA;[h264 @ 0x26dbc40] no picture&#xA;[mpegts @ 0x26b5680] probing stream 1 pp:2500&#xA;[mpegts @ 0x26b5680] Probe with size=7346, packets=1 detected aac with score=51&#xA;[mpegts @ 0x26b5680] probed stream 1&#xA;[hls,applehttp @ 0x2634700] All info found&#xA;[hls,applehttp @ 0x2634700] Setting avg frame rate based on r frame rate&#xA;[hls,applehttp @ 0x2634700] After avformat_find_stream_info() pos: 24167 bytes read:24167 seeks:0 frames:82&#xA;Input #0, hls,applehttp, from 'https://example.com/index.m3u8?x=AVCoPj...':&#xA;  Duration: 00:07:34.20, start: 0.101000, bitrate: N/A&#xA;  Program 0&#xA;    Metadata:&#xA;      variant_bitrate : 0&#xA;    Stream #0:0, 21, 1/90000: Video: h264 (High), 1 reference frame ([27][0][0][0] / 0x001B), yuv420p(left), 270x152 (272x160) [SAR 1:1 DAR 135:76], 0/1, 15 fps, 15 tbr, 90k tbn, 30 tbc&#xA;    Metadata:&#xA;      variant_bitrate : 0&#xA;    Stream #0:1, 61, 1/90000: Audio: aac (LC) ([15][0][0][0] / 0x000F), 44100 Hz, stereo, fltp&#xA;    Metadata:&#xA;      variant_bitrate : 0&#xA;    Stream #0:2, 0, 1/90000: Data: timed_id3 (ID3  / 0x20334449), 0/1&#xA;    Metadata:&#xA;      variant_bitrate : 0&#xA;Successfully opened the file.&#xA;Parsing a group of options: output url video.mp4.&#xA;Applying option c (codec name) with argument copy.&#xA;Successfully parsed a group of options.&#xA;Opening an output file: video.mp4.&#xA;[file @ 0x2c403a0] Setting default whitelist 'file,crypto'&#xA;Successfully opened the file.&#xA;Output #0, mp4, to 'video.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf57.83.100&#xA;    Stream #0:0, 0, 1/90000: Video: h264 (High), 1 reference frame (avc1 / 0x31637661), yuv420p(left), 270x152 (0x0) [SAR 1:1 DAR 135:76], 0/1, q=2-31, 15 fps, 15 tbr, 90k tbn, 90k tbc&#xA;    Metadata:&#xA;      variant_bitrate : 0&#xA;    Stream #0:1, 0, 1/44100: Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp&#xA;    Metadata:&#xA;      variant_bitrate : 0&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;cur_dts is invalid (this is harmless if it occurs once at the start per stream)&#xA;    Last message repeated 10 times&#xA;Automatically inserted bitstream filter 'aac_adtstoasc'; args=''&#xA;[AVIOContext @ 0x26b1dc0] Statistics: 138744 bytes read, 0 seeks&#xA;[hls,applehttp @ 0x2634700] HLS request for url 'https://example.com/seg-2-v1-a1.ts?x=AVCoPj...', offset 0, playlist 0&#xA;[hls,applehttp @ 0x2634700] Opening 'crypto+https://example.com/seg-2-v1-a1.ts?x=AVCoPj...' for reading&#xA;[https @ 0x2c93100] request: GET /seg-2-v1-a1.ts?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Connection: close&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;&#xA;[AVIOContext @ 0x2c98f20] Statistics: 153784 bytes read, 0 seeksate=   0.1kbits/s speed=8.51x&#xA;[hls,applehttp @ 0x2634700] HLS request for url 'https://example.com/seg-3-v1-a1.ts?x=AVCoPj...', offset 0, playlist 0&#xA;[hls,applehttp @ 0x2634700] Opening 'crypto+https://example.com/seg-3-v1-a1.ts?x=AVCoPj...' for reading&#xA;[https @ 0x2c930e0] request: GET /seg-3-v1-a1.ts?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Connection: close&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;&#xA;[AVIOContext @ 0x2c92c20] Statistics: 135736 bytes read, 0 seeksate= 175.1kbits/s speed=8.37x&#xA;[hls,applehttp @ 0x2634700] HLS request for url 'https://example.com/seg-4-v1-a1.ts?x=AVCoPj...', offset 0, playlist 0&#xA;[hls,applehttp @ 0x2634700] Opening 'crypto+https://example.com/seg-4-v1-a1.ts?x=AVCoPj...' for reading&#xA;[https @ 0x2c85260] request: GET /seg-4-v1-a1.ts?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Connection: close&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;:&#xA;:&#xA;:&#xA;&#xA;[AVIOContext @ 0x26cccc0] Statistics: 144760 bytes read, 0 seeksate= 172.4kbits/s speed=8.08x&#xA;[hls,applehttp @ 0x2634700] HLS request for url 'https://example.com/seg-75-v1-a1.ts?x=AVCoPj...', offset 0, playlist 0&#xA;[hls,applehttp @ 0x2634700] Opening 'crypto+https://example.com/seg-75-v1-a1.ts?x=AVCoPj...' for reading&#xA;[https @ 0x2c836a0] request: GET /seg-75-v1-a1.ts?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Connection: close&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;&#xA;[AVIOContext @ 0x26ccec0] Statistics: 123704 bytes read, 0 seeksate= 170.0kbits/s speed=8.08x&#xA;[hls,applehttp @ 0x2634700] HLS request for url 'https://example.com/seg-76-v1-a1.ts?x=AVCoPj...', offset 0, playlist 0&#xA;[hls,applehttp @ 0x2634700] Opening 'crypto+https://example.com/seg-76-v1-a1.ts?x=AVCoPj...' for reading&#xA;[https @ 0x2c85da0] request: GET /seg-76-v1-a1.ts?x=AVCoPj... HTTP/1.1&#xA;Accept: */*&#xA;Connection: close&#xA;Host: example.com&#xA;Icy-MetaData: 1&#xA;User-Agent: a&#xA;&#xA;&#xA;[AVIOContext @ 0x26cccc0] Statistics: 84600 bytes read, 0 seeksrate= 172.4kbits/s speed=8.08x&#xA;No more output streams to write to, finishing.&#xA;frame= 6813 fps=122 q=-1.0 Lsize=    9873kB time=00:07:34.13 bitrate= 178.1kbits/s speed=8.14x&#xA;video:2506kB audio:7255kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.141788%&#xA;Input file #0 (https://example.com/index.m3u8?x=AVCoPj...):&#xA;  Input stream #0:0 (video): 6813 packets read (2566107 bytes);&#xA;  Input stream #0:1 (audio): 19556 packets read (7429357 bytes);&#xA;  Input stream #0:2 (data): 0 packets read (0 bytes);&#xA;  Total: 26369 packets (9995464 bytes) demuxed&#xA;Output file #0 (video.mp4):&#xA;  Output stream #0:0 (video): 6813 packets muxed (2566107 bytes);&#xA;  Output stream #0:1 (audio): 19556 packets muxed (7429357 bytes);&#xA;  Total: 26369 packets (9995464 bytes) muxed&#xA;0 frames successfully decoded, 0 decoding errors&#xA;[AVIOContext @ 0x2c91480] Statistics: 2 seeks, 41 writeouts&#xA;[AVIOContext @ 0x2c2d240] Statistics: 24167 bytes read, 0 seeks&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Why I can not download it on windows with ffmpeg and how can I resolve it?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;EDIT 1:&lt;/strong&gt; I tried &lt;a href=&quot;https://johnvansickle.com/ffmpeg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;ffmpeg N-54874-ga1553b0cfb-static (latest)&lt;/code&gt;&lt;/a&gt; on &lt;code&gt;linux&lt;/code&gt; and get same error! Then tried &lt;a href=&quot;https://www.videohelp.com/download/ffmpeg-3.4.2-win64-static.zip&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;ffmpeg 3.4.2&lt;/code&gt;&lt;/a&gt; on &lt;code&gt;windows&lt;/code&gt; and works well!&lt;br /&gt;&#xA;&lt;strong&gt;So seem this is not related to the operating system. And seem this is a bug in newer version of &lt;code&gt;ffmpeg&lt;/code&gt;!&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;EDIT 2:&lt;/strong&gt; I tried &lt;a href=&quot;https://www.videohelp.com/software/ffmpeg/old-versions&quot; rel=&quot;nofollow noreferrer&quot;&gt;many versions&lt;/a&gt; of &lt;code&gt;ffmpeg&lt;/code&gt; for &lt;code&gt;windows&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg-1.0.1-win64-static           Error in the pull function.&#xA;ffmpeg-1.2-win64-static             Error in the pull function.&#xA;ffmpeg-2.0.1-win64-static           Error in the pull function.&#xA;ffmpeg-2.2.3-win64-static           Error in the pull function.&#xA;ffmpeg-3.0-win64-static             OK&#xA;ffmpeg-3.1.5-win64-static           OK warning...&#xA;ffmpeg-3.2.4-win64-static           OK&#xA;ffmpeg-3.3.4-win64-static           OK&#xA;ffmpeg-3.4.2-win64-static           OK&#xA;ffmpeg-4.0.2-win64-static           OK&#xA;ffmpeg-4.1.4-win64-static           OK&#xA;ffmpeg-4.2.3-win64-static           OK&#xA;ffmpeg-4.3-win64-static             Error when loading first segment&#xA;ffmpeg-4.3.1-win64-static           Error when loading first segment&#xA;ffmpeg-2020-11-18-git-e3081d6f4f    Error when loading first segment&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Seem after &lt;code&gt;&amp;gt;=4.3&lt;/code&gt; there is a bug in ffmpeg!&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;EDIT 3:&lt;/strong&gt;&#xA;I'm not sure if this is relevant; but apparently in all the cases where the test of versions failed, this skip warning appeared in the output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[hls @ 000002794d99dcc0] Skip ('#EXT-X-ALLOW-CACHE:YES')&#xA;[hls @ 000002794d99dcc0] Skip ('#EXT-X-VERSION:3')&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="14612" LastEditorUserId="14612" LastEditDate="2020-11-19T22:01:42.297" LastActivityDate="2020-11-19T22:01:42.297" Title="FFmpeg works in linux and same command in windows get me error Invalid data found when processing input" Tags="|ffmpeg|windows|linux|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32680" PostTypeId="2" ParentId="32664" CreationDate="2020-11-19T10:09:02.077" Score="0" Body="&lt;p&gt;I would try deleting the cache around time in your sequence causing trouble. You can mark an In and Out point, then clear the cache between those to points using &amp;quot;Delete Render Files In to Out&amp;quot; in the Sequence menu.&lt;/p&gt;&#xA;&lt;p&gt;You don't necessarily have to delete all of the cache (although try that if nothing else works).&lt;/p&gt;&#xA;&lt;p&gt;These are the steps I would normally take to do what you're doing:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Import an audio file in Premiere and place it in a sequence.&lt;/li&gt;&#xA;&lt;li&gt;Right click on the clip in the sequence and choose Edit Clip in Adobe Audition&lt;/li&gt;&#xA;&lt;li&gt;Edit the audio file in adobe&lt;/li&gt;&#xA;&lt;li&gt;Save in adobe&lt;/li&gt;&#xA;&lt;li&gt;The updated audio should appear in Premiere after a few seconds&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Premiere sometimes needs to convert your file before it sends it over to Audition, so you might be modifying the wrong file in Audition without realising it if you're doing it all manually instead of letting Premiere manage it.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-11-19T10:09:02.077" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32681" PostTypeId="1" CreationDate="2020-11-19T10:33:52.197" Score="0" ViewCount="785" Body="&lt;p&gt;I am working in Adobe Premiere. I am building a kaleidoscope effect that I would like to save as a preset to apply to other clips.&lt;/p&gt;&#xA;&lt;p&gt;To build the kaliedoscope I have stacked a number of copies of the original clip, and to each of these copies i have added a small diamond shaped mask. Each copy has a unique position for the mask starting from the center and moving the mask outward to create the kaliedscope according to a diamond shaped grid.&lt;/p&gt;&#xA;&lt;p&gt;This is quite time consuming to build and I would like reuse this effect throughout a video, and again in future.&lt;/p&gt;&#xA;&lt;p&gt;How can I save this collection of masks as a preset to be applied to different clips by dragging and dropping?&lt;/p&gt;&#xA;&lt;p&gt;So far I have only worked out saving all the individual masks (Opacity) and locations (Motion) as individual presets. Then each time manually making the copies of the new clip and applying those effects settings to each clip. There are more than 20 masks and this is still quite tedious. Is it possible to save all of those masks as one preset, or in a preset bin, or as a layer, to be automatically applied to a new clip as a nested sequence? How would you go about doing this?&lt;/p&gt;&#xA;&lt;p&gt;Sincere thanks for your help.&lt;/p&gt;&#xA;&lt;p&gt;I have attached a screenshot of my workspace so you can see the effect build so far. The grid is only there for reference to position each mask.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8QS7u.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8QS7u.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32930" LastEditorUserId="32930" LastEditDate="2020-11-19T10:42:21.120" LastActivityDate="2024-04-06T08:03:30.440" Title="How to save multiple masks as a preset for use on different clips in Adobe Premiere?" Tags="|premiere|adobe|effects|mask|presets|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32682" PostTypeId="1" CreationDate="2020-11-19T10:51:02.747" Score="0" ViewCount="1146" Body="&lt;p&gt;Well, this is my first question in this community. I have asked it in SO but it was considered out of scope there.&lt;/p&gt;&#xA;&lt;p&gt;Anyway, I am trying to decode an avi video but when I pass it through ffmpeg to check the encoding parameters I got this outcome which confused me:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ffmpeg -i video.avi&#xA;...&#xA;Stream #0:0(und): Video: mpeg4 (Simple Profile) (mp4v / 0x7634706D), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], 2501 kb/s, 30 fps, 30 tbr, 15360 tbn, 30 tbc (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I guess &lt;code&gt;yuv420p&lt;/code&gt; means something like 746x420 pixel (I made the multiplication myself, so I am not sure it's exactly this one using the ratio of 1920x1080 and 1280x720) but anyway much less than 1280x720 which is 720p. So, what does exactly means those two together?&#xA;&lt;code&gt;yuv420p&lt;/code&gt; vs &lt;code&gt;1280x720&lt;/code&gt;?&lt;/p&gt;&#xA;&lt;p&gt;Can someone explain which is the actual resolution of the video (and why I get those different resolutions)?&lt;/p&gt;&#xA;" OwnerUserId="32931" LastActivityDate="2020-11-22T09:33:46.673" Title="Using ffmpeg to get the actual video resolution" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32683" PostTypeId="2" ParentId="32682" CreationDate="2020-11-19T11:03:06.320" Score="2" Body="&lt;p&gt;In &lt;code&gt;yuv420p, 1280x720 [SAR 1:1 DAR 16:9]&lt;/code&gt;,&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;yuv420p&lt;/code&gt; indicates the pixel format and &lt;a href=&quot;https://en.wikipedia.org/wiki/Chroma_subsampling&quot; rel=&quot;nofollow noreferrer&quot;&gt;chroma subsampling&lt;/a&gt; scheme.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;the video's raster resolution is simply &lt;code&gt;1280x720&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;the video's &lt;code&gt;S&lt;/code&gt;ample &lt;code&gt;A&lt;/code&gt;spect &lt;code&gt;R&lt;/code&gt;atio (width of pixel : height of pixel ratio) is 1:1 (square pixels)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;the video's &lt;code&gt;D&lt;/code&gt;isplay &lt;code&gt;A&lt;/code&gt;spect &lt;code&gt;R&lt;/code&gt;atio is 16:9&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1950" LastEditDate="2020-11-22T09:33:46.673" LastActivityDate="2020-11-22T09:33:46.673" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32684" PostTypeId="2" ParentId="13113" CreationDate="2020-11-19T14:59:13.957" Score="2" Body="&lt;p&gt;Basically what @Amer said plus for a shortcut there's an app that can 'downgrade' your project online - &lt;a href=&quot;http://joshcluderay.com/downgrade-premiere-project-converter/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://joshcluderay.com/downgrade-premiere-project-converter/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;the trade off is, it always sets the version to 1 so 'some' effects and attributes might be lost in the process. I found that for your everyday editing this doesn't affect anything unless you're using titles (type).&lt;/p&gt;&#xA;" OwnerUserId="32933" LastActivityDate="2020-11-19T14:59:13.957" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32686" PostTypeId="2" ParentId="29938" CreationDate="2020-11-19T19:23:46.807" Score="0" Body="&lt;p&gt;my dear friend&#xA;Windows alone is not enough, you need such peripherals&#xA;Use the K-Lite Codec Pack. After installing this item, you should not have any problems&lt;/p&gt;&#xA;&lt;p&gt;The function of this package is to be able to run relevant codecs such as mp4 in Premier Pro&lt;/p&gt;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="32907" LastActivityDate="2020-11-19T19:23:46.807" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32689" PostTypeId="1" CreationDate="2020-11-20T03:18:16.180" Score="1" ViewCount="2833" Body="&lt;p&gt;I have a pre-recorded (edited from dozens of sources) event that I wish to play as a &amp;quot;live stream&amp;quot;, i.e. the video starts streaming at a specified time, and viewers must watch it in sequence - you can't fast forward to the end. I don't care if they start watching part way through and rewind to an earlier point, or watch/scan through the whole thing later. But the initial play must be &amp;quot;live&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;The finished video is about 3.5 hours, and the file is about 10GB. I could likely just feed it into OBS (I've not used OBS, but it seems straight forward), and feed that to a streaming service. But if anything faults my end, the stream goes offline. For something pre-recorded, it seems there should be a safer way.&lt;/p&gt;&#xA;&lt;p&gt;Looking through various streaming services, none seem to offer the ability to upload the file, and schedule the streaming time. streamingvideoprovider.com lets me upload in advance and schedule a time, but once the stream goes live, viewers can immediately view any part of the stream. Vimeo doesn't seem to allow pre-upload that I can see. Checking others, either I can't see the feature listed, or it appears to be the same functionality as streamingvideoprovider. Have I missed any that are providing this? I would have thought there would be other demand for this. Note that I've excluded Facebook &amp;amp; YouTube from my list, maybe they provide this, but there is background audio in some parts of the video which those services are likely to flag, resulting in muted audio or the stream going offline.&lt;/p&gt;&#xA;&lt;p&gt;The other services I've found are restream.io and onestream.live, which appear to let you upload a video file, and schedule to stream to various services. They can stream to Vimeo directly, and both offer an RTMP option that I should be able to use with any other streaming provider. This basically ends up being the same solution as me streaming from my own equipment with OBS, except I can pre-schedule the stream, and their equipment is likely to be more reliable than mine in terms of speed and uptime. In the absence of an all-in-one solution directly with a streaming provider, I'm leaning towards this. Either that, or OBS myself and risk it.&lt;/p&gt;&#xA;&lt;p&gt;Does anyone else have experience doing this on any of these services, or with any other services I've missed in my research? I'm guessing mostly people just OBS the file themselves, but we've got some pretty poor internet here in Australia sometimes, and I just don't trust that for a 3.5 hour stream.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2021-12-08T04:20:33.820" Title="Schedule a live stream of a pre-recorded video" Tags="|streaming|obs|vimeo|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32691" PostTypeId="2" ParentId="32574" CreationDate="2020-11-20T09:37:56.993" Score="0" Body="&lt;p&gt;I don't work with MOGRT too much but I assume this is similar to working with AEP comps that you live-edit within Premiere.&lt;/p&gt;&#xA;&lt;p&gt;Try either dropping into the project first, then into timeline.&#xA;Try rolling back to last 'main' version of both AE and PP - so still using 2020 but e.g from 14.5 to 14.0 - often issues appear with PP/AE mismatch during small updates and dynamiclink can be unpredictable.&#xA;Hope this helps&lt;/p&gt;&#xA;" OwnerUserId="32933" LastActivityDate="2020-11-20T09:37:56.993" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32692" PostTypeId="2" ParentId="26038" CreationDate="2020-11-20T09:43:16.250" Score="0" Body="&lt;p&gt;Yes, you can mix almost anything within one timeline in PP. The only difference would be the 8-bit won't hold as much data so you have to be mindful in how much colour adjustment you throw at it. It's best to edit the 8bit clip and match the 10bit to it (as it can take more) than the other way round.&lt;/p&gt;&#xA;" OwnerUserId="32933" LastActivityDate="2020-11-20T09:43:16.250" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32693" PostTypeId="2" ParentId="32662" CreationDate="2020-11-20T09:56:57.107" Score="0" Body="&lt;p&gt;you should be able to adjust everything just from the project panel.&#xA;See this, I dropped mp3 into 'new timeline' button and got this sequence -&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pHJzF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pHJzF.png&quot; alt=&quot;autosequence&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;All you need to do is go to sequence and select desired output&#xA;&lt;a href=&quot;https://i.stack.imgur.com/JZaIA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JZaIA.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can set everything here&#xA;&lt;a href=&quot;https://i.stack.imgur.com/PknIF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PknIF.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;For me, making the MP3 file into 'New sequence' defaulted in 1920x1080 29.97 sequence, but if you have issue that it made different format and you want to skip changing scale of every individual file (I'm assuming you might have got different format, like 1280x720, although unlikely), you can just setup an adjustment file above your edit, select 'distort - &amp;gt; transform' from effects and adjust scale to fit to your desired resolution.&lt;/p&gt;&#xA;" OwnerUserId="32933" LastActivityDate="2020-11-20T09:56:57.107" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32694" PostTypeId="1" CreationDate="2020-11-20T12:32:22.880" Score="0" ViewCount="579" Body="&lt;p&gt;Can anyone point me in the direction of how to set up Particular to generate this text effect?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/i8Mj9.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/i8Mj9.jpg&quot; alt=&quot;text effect&quot; /&gt;&lt;/a&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/pt2Kua0uV98?start=20&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;In particular (pun absolutely intended) how to contain particles within the boundaries of the text before dispersing them.&lt;/p&gt;&#xA;&lt;p&gt;I'm using Trapcode Particular v16.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-12-09T01:08:05.953" Title="How to set up Trapcode Particular as a bounded text object, then disperse it" Tags="|after-effects|plugins|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32695" PostTypeId="1" AcceptedAnswerId="32697" CreationDate="2020-11-20T13:03:10.460" Score="1" ViewCount="955" Body="&lt;p&gt;I have a set of old AVI files that I wish to fix using ffmpeg 'mpeg4_unpack_bframes' filter.&lt;/p&gt;&#xA;&lt;p&gt;I can manually detect them, simply running &lt;code&gt;ffplay&lt;/code&gt; and I'll get a clear message:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[mpeg4 @ 0x55ef7bd90980] Video uses a non-standard and wasteful way to store B-frames ('packed B-frames'). Consider using the mpeg4_unpack_bframes bitstream filter without encoding but stream copy to fix it.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then it is easy to fix using:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i packed_bframes.avi -codec copy -bsf:v mpeg4_unpack_bframes unpacked_bframes.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My question is: what command line tool can I use on GNU/Linux (eg. Debian) to detect those files and only those (possibly without DISPLAY) ?&lt;/p&gt;&#xA;" OwnerUserId="10558" LastEditorUserId="10558" LastEditDate="2020-11-20T13:13:01.927" LastActivityDate="2023-02-02T11:56:12.470" Title="Programmatically detect 'packed B-frames' AVI files" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32696" PostTypeId="1" CreationDate="2020-11-20T13:04:40.553" Score="4" ViewCount="797" Body="&lt;p&gt;I am trying to generate a video from a bunch of png images and audio using the command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;/usr/bin/ffmpeg -y -framerate 30 -pattern_type glob -i 'images/*.png' -i audio.wav -c:v libx264 -b:v 0 -crf 18 -g 300000 -pix_fmt yuv420p -shortest output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;There are a total of 52 images with their FFprobe output as below:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, png_pipe, from 'images/0000000.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #0:0: Video: png, rgb24(pc), 1200x1000, 25 tbr, 25 tbn, 25 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And FFprobe output for audio.wav is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, wav, from 'audio.wav':&#xA;  Metadata:&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:00:01.74, bitrate: 256 kb/s&#xA;    Stream #0:0: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 16000 Hz, 1 channels, s16, 256 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;At 30 fps, the length of output video should be 1.734s, but actually, it is 1.80s.&lt;/p&gt;&#xA;&lt;p&gt;FFprobe output for final video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'output.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:00:01.80, start: 0.000000, bitrate: 1627 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1200x1000, 1603 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 16000 Hz, mono, fltp, 74 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Can someone help me understand why is there a difference and how can I remove it?&lt;/p&gt;&#xA;&lt;p&gt;My use case requires that the video is of the same length as that of audio otherwise it will cause issues. Any help will be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="32946" LastActivityDate="2023-12-21T16:03:20.420" Title="How to fix the difference between duration of ffmpeg input and output?" Tags="|ffmpeg|encoding|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32697" PostTypeId="2" ParentId="32695" CreationDate="2020-11-20T13:08:19.697" Score="0" Body="&lt;p&gt;Right now, the best I could find is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -y -hide_banner -v info -i packed_bframes.avi -ss 0 -t 1 -an -c:v mpeg4 -f null /dev/null 2&amp;gt;&amp;amp;1 | grep mpeg4_unpack_bframes&#xA;[mpeg4 @ 0x559262225100] Video uses a non-standard and wasteful way to store B-frames ('packed B-frames'). Consider using the mpeg4_unpack_bframes bitstream filter without encoding but stream copy to fix it.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10558" LastEditorUserId="10558" LastEditDate="2020-11-20T13:55:00.553" LastActivityDate="2020-11-20T13:55:00.553" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32698" PostTypeId="1" CreationDate="2020-11-20T14:39:31.140" Score="1" ViewCount="888" Body="&lt;p&gt;I saw this answer &lt;a href=&quot;https://video.stackexchange.com/questions/29904/ffmpeg-batch-overlay-error-cannot-find-a-matching-stream-for-unlabeled-input-p&quot;&gt;ffmpeg batch overlay Error: &amp;quot;Cannot find a matching stream for unlabeled input pad 1 on filter Parsed_overlay_0&amp;quot;&lt;/a&gt; for same error message but doesn't seem to be same case :&lt;/p&gt;&#xA;&lt;p&gt;I first converted 2 gifs of same width and height to mp4 using ffmpeg options&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video1.gif -movflags faststart -pix_fmt yuv420p -vf &amp;quot;scale=trunc(iw/2)*2:trunc(ih/2)*2&amp;quot; video1.mp4&#xA;ffmpeg -i video2.gif -movflags faststart -pix_fmt yuv420p -vf &amp;quot;scale=trunc(iw/2)*2:trunc(ih/2)*2&amp;quot; video2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;afterwards I joined with&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video1.mp4 -i video2.mp4 -filter_complex &amp;quot;concat=n=2:v=1:a=1&amp;quot; -f MP4 -y video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But I got error&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Cannot find a matching stream for unlabeled input pad 1 on filter Parsed_concat_0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;with other mp4 in the past joining works so I don't understand why.&lt;/p&gt;&#xA;" OwnerUserId="32947" LastEditorUserId="32947" LastEditDate="2020-11-20T17:22:38.627" LastActivityDate="2020-11-20T17:22:38.627" Title="Cannot find a matching stream for unlabeled input pad 1 on filter Parsed_concat_0 (a different case)" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32701" PostTypeId="1" CreationDate="2020-11-20T21:21:55.360" Score="0" ViewCount="74" Body="&lt;p&gt;I've seen a bunch of paid services that provide the ability to stream to Instagram via obs, but how are they arranged? How can I implement this myself?&lt;/p&gt;&#xA;" OwnerUserId="32503" LastActivityDate="2023-12-09T04:10:26.287" Title="How to broadcast on Instagram via obs?" Tags="|streaming|broadcasting|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32702" PostTypeId="1" AcceptedAnswerId="32703" CreationDate="2020-11-20T22:46:56.287" Score="0" ViewCount="2327" Body="&lt;p&gt;The error I'm getting is in the title.&lt;/p&gt;&#xA;&lt;p&gt;I want to merge the two audio streams from a video into one (yes, I've checked if there is two and there is). This is the command I'm using:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex &amp;quot;[0:v]scale=-2:720,format=yuv420p[v];[0:a]amerge=inputs=2[a]&amp;quot; -map &amp;quot;[v]&amp;quot; -map &amp;quot;[a]&amp;quot; -c:v libx264 -crf 23 -preset medium -c:a aac -ar 44100 -ac 2 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any ideas why I could be getting the error?&lt;/p&gt;&#xA;" OwnerUserId="32282" LastActivityDate="2020-11-21T04:48:53.333" Title="&quot;Cannot find a matching stream for unlabeled input pad 2 on filter Parsed_amerge_2&quot; ffmpeg" Tags="|video|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32703" PostTypeId="2" ParentId="32702" CreationDate="2020-11-21T04:48:53.333" Score="0" Body="&lt;p&gt;Inside a filtergraph, each pad is associated with a single stream. And a specifier such as &lt;code&gt;0:a&lt;/code&gt; will match the first stream that qualifies. You need to specify two pads and fully specify the input streams.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[0:a:0][0:a:1]amerge=inputs=2[a]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-11-21T04:48:53.333" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32706" PostTypeId="1" AcceptedAnswerId="32708" CreationDate="2020-11-22T03:58:17.717" Score="0" ViewCount="25" Body="&lt;p&gt;I have found the way to replace green screen and match camera move with background footage, but I don't understand how is it done for sky because the markers on green screen moves way faster than the objects in sky. Please share your experience.&lt;/p&gt;&#xA;" OwnerUserId="27491" LastActivityDate="2020-11-22T09:14:52.223" Title="How to camera match move for moon/clouds/stars?" Tags="|after-effects|davinci-resolve|greenscreen|chromakey|visual-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32707" PostTypeId="2" ParentId="30346" CreationDate="2020-11-22T08:32:49.770" Score="9" Body="&lt;p&gt;There's a few options I've seen listed at&lt;br /&gt;&#xA;&lt;a href=&quot;https://sites.google.com/view/aiupscalingtutorials/ai-upscaling&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://sites.google.com/view/aiupscalingtutorials/ai-upscaling&lt;/a&gt;:&lt;br /&gt;&#xA;(in no particular order)&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;h3&gt;1. &lt;a href=&quot;https://github.com/xinntao/ESRGAN&quot; rel=&quot;nofollow noreferrer&quot;&gt;ESRGAN&lt;/a&gt;&lt;/h3&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;An open source AI upscaler (super sampler) based on a generative adversarial network architecture.&lt;/li&gt;&#xA;&lt;li&gt;Can be run in CPU mode, but requires a CUDA enabled Nvidia graphics card to get the most out of it.&lt;/li&gt;&#xA;&lt;li&gt;Be sure to check out the &lt;a href=&quot;https://upscale.wiki/wiki/Using_ESRGAN,_Links,_And_Other_Information#Tools_.2F_Ways_to_use_ESRGAN&quot; rel=&quot;nofollow noreferrer&quot;&gt;Upscale Wiki&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;2. &lt;a href=&quot;https://github.com/xinntao/SFTGAN&quot; rel=&quot;nofollow noreferrer&quot;&gt;SFTGAN&lt;/a&gt;&lt;/h3&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;An open source image enhancer that seeks to restore lost texture details from known types, made by the same team who developed ESRGAN.&lt;/li&gt;&#xA;&lt;li&gt;Can be run in CPU mode, but requires a CUDA enabled Nvidia graphics card to get the most out of it.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;3. Topaz &lt;a href=&quot;https://topazlabs.com/gigapixel-ai/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Gigapixel AI&lt;/a&gt; / &lt;a href=&quot;https://topazlabs.com/video-enhance-ai/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video Enhance AI&lt;/a&gt;&lt;/h3&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Commercial super sampler that uses artificial intelligence and is made by Topaz Labs.  It costs $100, but comes with a 30 day free trial.&lt;/li&gt;&#xA;&lt;li&gt;Produces good results with little fuss.  Easy to install, but also requires a CUDA enabled Nvidia graphics card.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;4. &lt;a href=&quot;https://developer.nvidia.com/gwmt&quot; rel=&quot;nofollow noreferrer&quot;&gt;Nvidia Gameworks&lt;/a&gt;&lt;/h3&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Apparently, it works quite well, but it requires a beta access pass which very few people were awarded.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Then I've also come across:&lt;/p&gt;&#xA;&lt;h3&gt;5. &lt;a href=&quot;https://any-video-converter.com/avclabs-video-enhancer-ai/&quot; rel=&quot;nofollow noreferrer&quot;&gt;AVC Labs Video Enhancer AI&lt;/a&gt;&lt;/h3&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Commercial product, similar to Topaz Video Enhancer AI&lt;/li&gt;&#xA;&lt;li&gt;US$40/month or $200/year&lt;/li&gt;&#xA;&lt;li&gt;Free trial version&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;6. &lt;a href=&quot;https://www.dvdfab.cn/video-enhancer-ai.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;DVDFab Video Enhancer AI&lt;/a&gt;&lt;/h3&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Another commercial product, again similar to Topaz Video Enhancer AI&lt;/li&gt;&#xA;&lt;li&gt;US$79.95&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;7. &lt;a href=&quot;https://github.com/aka-katto/dandere2x&quot; rel=&quot;nofollow noreferrer&quot;&gt;Dandere2x&lt;/a&gt;&lt;/h3&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Open source&lt;/li&gt;&#xA;&lt;li&gt;I've read some good reports about this, and it may be worth checking out&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;8. &lt;a href=&quot;https://github.com/k4yt3x/video2x&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video2x&lt;/a&gt; and &lt;a href=&quot;https://github.com/AaronFeng753/Waifu2x-Extension-GUI&quot; rel=&quot;nofollow noreferrer&quot;&gt;Waifu2x-Extension-GUI&lt;/a&gt;&lt;/h3&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;These two frontends assist with processing video using the open source waifu2x engine&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="6009" LastEditorUserId="6009" LastEditDate="2022-04-29T23:40:13.053" LastActivityDate="2022-04-29T23:40:13.053" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32708" PostTypeId="2" ParentId="32706" CreationDate="2020-11-22T09:14:52.223" Score="0" Body="&lt;p&gt;You can assume celestial bodies are infinitely far away, as the amount of parallax you can achieve in anything except a space ship is infinitesimal. So that means that the moon and stars stay fixed to a point of view, as long as you're not panning. If you're panning then the moon and stars can be on layers a long way from the camera, but scaled up to fill the frame.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-11-22T09:14:52.223" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32709" PostTypeId="1" CreationDate="2020-11-22T13:00:58.140" Score="0" ViewCount="1178" Body="&lt;p&gt;I use the &lt;strong&gt;resize output (source size)&lt;/strong&gt; of the obs studio to fit the canvas size to windows. Unfortunately, sometimes this feature is grayed out and I cannot select it. See the below screenshot.&lt;/p&gt;&#xA;&lt;p&gt;Why this happens and how to fix it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HssVh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HssVh.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32962" LastActivityDate="2024-01-18T12:02:15.220" Title="obs resize output (source size) feature" Tags="|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32710" PostTypeId="1" AcceptedAnswerId="35843" CreationDate="2020-11-22T20:28:54.433" Score="1" ViewCount="3378" Body="&lt;p&gt;Basically I was following &lt;a href=&quot;https://video.stackexchange.com/a/15701/26767&quot;&gt;https://video.stackexchange.com/a/15701/26767&lt;/a&gt;, which states:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;This should work faster...&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -ss 1:00 -t 5 -i in.mkv -ss 2:00 -t 5 -i in.mkv \&#xA; -filter_complex &amp;quot;[0][1]concat=n=2:v=1:a=1&amp;quot; \ &#xA; out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Is it really working? Or how can I make it works for nowadays &lt;code&gt;ffmpeg&lt;/code&gt;?&lt;/p&gt;&#xA;&lt;p&gt;First, I found the command there is incorrect, as I'm getting this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -codec copy -i inp.mp4 clip1.mp4&#xA;ffmpeg version 4.2.2-1ubuntu1 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 9 (Ubuntu 9.3.0-3ubuntu1)&#xA;  configuration: --prefix=/usr --extra-version=1ubuntu1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opencl --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-nvenc --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Unknown decoder 'copy'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I found this works: &lt;code&gt;ffmpeg -i inp.mp4 -codec copy clip1.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Then when I want to put things together, I got &lt;code&gt;Unknown decoder 'copy'&lt;/code&gt; again:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i inp.mp4 -ss 1:09 -t 76 -codec copy -i inp.mp4 -ss 2:55 -codec copy -filter_complex &amp;quot;[0][1]concat=n=2:v=1:a=1&amp;quot; out.mp4&#xA;ffmpeg version 4.2.2-1ubuntu1 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 9 (Ubuntu 9.3.0-3ubuntu1)&#xA;. . .&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'inp.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2018-03-08T18:56:55.000000Z&#xA;  Duration: 00:03:46.81, start: 0.000000, bitrate: 3137 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1280x720 [SAR 1:1 DAR 16:9], 2943 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 59.94 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 191 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2018-03-08T18:57:03.000000Z&#xA;      handler_name    : IsoMedia File Produced by Google, 5-11-2011&#xA;Unknown decoder 'copy'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;How can I make the 5-year-old answer works for nowadays &lt;code&gt;ffmpeg&lt;/code&gt; without re-encoding?&lt;/p&gt;&#xA;" OwnerUserId="26767" LastEditorUserId="26767" LastEditDate="2020-11-22T20:51:16.073" LastActivityDate="2022-10-23T13:59:45.610" Title="ffmpeg: Unknown decoder 'copy' when concatenating clips" Tags="|ffmpeg|codec|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32711" PostTypeId="2" ParentId="32681" CreationDate="2020-11-22T22:34:38.100" Score="0" Body="&lt;p&gt;I think to create a Preset in Premier Pro you have to add a few factors to it like effects&#xA;OK ?&#xA;Because you can't make Preset through musks&#xA;You make all the changes and add a separate effect to it, but set the keyframe to zero and do the factors according to the tutorial below.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/cXHTXXI-k5I?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;Good luck&lt;/p&gt;&#xA;" OwnerUserId="32907" LastActivityDate="2020-11-22T22:34:38.100" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32712" PostTypeId="2" ParentId="23599" CreationDate="2020-11-22T23:24:34.823" Score="1" Body="&lt;p&gt;Since copying from a youtube video is annoying, here's the expression put in content &amp;gt; transform &amp;gt; anchor point:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;box_width = content(&amp;quot;Rectangle 1&amp;quot;).content(&amp;quot;Rectangle Path 1&amp;quot;).size[0];&#xA;box_height = content(&amp;quot;Rectangle 1&amp;quot;).content(&amp;quot;Rectangle Path 1&amp;quot;).size[1];&#xA;&#xA;[box_width/2, box_height/-2]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32965" LastActivityDate="2020-11-22T23:24:34.823" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32713" PostTypeId="1" AcceptedAnswerId="32716" CreationDate="2020-11-23T00:35:12.970" Score="0" ViewCount="555" Body="&lt;p&gt;I made a logo in Photoshop. I imported it in After Effects where I animated it, I added effects, I duplicated it etc.&lt;/p&gt;&#xA;&lt;p&gt;Unfortunately I realized that the logo wasn't ready, I needed to add something else, a final touch, which had to be done in the source ie. in Photoshop. So I did change it in Photoshop, I imported the new one in the After Effects project.&lt;/p&gt;&#xA;&lt;p&gt;Now I spent about a good day's time doing all the effects etc on the previous logo. Is it possible that I can replace the old logo (the old layer) with the new layer such that I won't have to redo all the effects and animations etc. to the new layer all over again?&lt;/p&gt;&#xA;&lt;p&gt;gee if this isn't possible I will break down.&lt;/p&gt;&#xA;" OwnerUserId="27964" LastActivityDate="2020-11-23T08:37:25.763" Title="Can I replace a layer with another in Adobe After Effects?" Tags="|after-effects|adobe|effects|animation-rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32715" PostTypeId="2" ParentId="32594" CreationDate="2020-11-23T07:22:14.010" Score="2" Body="&lt;p&gt;Your question doesn't mention whether you're using text+ from the Edit page, or from the Fusion page, but the answer is the same nevertheless.  You can't create one text element which contains two different styles from the Edit page.  To get individual control of different letters and words in a text+ object, you need to switch over to Fusion.  If you created it on the Edit page initially, switching to Fusion with the playhead over the clip will automatically populate the node tree with everything you need.&lt;/p&gt;&#xA;&lt;p&gt;With the text+ node hilighted, Right-click anywhere in the text entry area of the inspector.  Select &amp;quot;Character Level Styling&amp;quot; from the context menu dropdown that appears.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/g1WrL.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/g1WrL.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You'll now be able to select individual characters and words interactively in the viewport.  Click and drag a lasso around the word you want to change.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FfRiE.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FfRiE.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;When you release the mouse, you'll see kerning guides to indicate which letters are selected.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FWFsR.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FWFsR.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You'll find the controls to change character-level styling under the &amp;quot;modifiers&amp;quot; tab of the inspector.  If no text is selected, the controls disappear, which is a quirk of the interface which makes the feature difficult to discover.  But with the letters selected, Fusion exposes a ton of attributes to control or animate at the character level.  The text, transform, and shading tabs will now operate on the active selection, and you can change the active selection at any time.  You can also reset all character-level styling, or reset only selected elements by using the buttons in the inspector.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GHxQ3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GHxQ3.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;One drawback of Resolve's Charachter Level Styling modifier, is that it isn't very suited to dynamic text changes.  For example, say you meticulously style a person's first and last name, with a different style on the first name.  Say, for example you style...&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;John&lt;/strong&gt;Smith&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;...and then learn that there's no &amp;quot;h&amp;quot; in his name.  For the sake of argument, you're using CamelCase, with no whitespace between first and last name.  When you correct the spelling, your styling will look like:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;JonS&lt;/strong&gt;mith&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;This is because Resolve's character level styling follows the letter count, including whitespace.&lt;/p&gt;&#xA;&lt;p&gt;To fix this, and to address your question more directly, you would select the word you want to un-bold by drawing a marquis around it, click the &amp;quot;clear character styling on selection&amp;quot; button, then select the word you DO want to be bold, and change the styling in the modifier tab.&lt;/p&gt;&#xA;&lt;p&gt;You'll find that this behavior will often encourage you to create an entirely different text+ node (to split styles in fusion) or text+ timeline layer (to split style on edit page), and obviate the use of the character-level styling modifier, which is unfortunate once you get used to its convenience.  But on the other hand, when the two elements need dynamic flexibility, they'll need separate logic control anyway.&lt;/p&gt;&#xA;&lt;p&gt;*These screenshots show Resolve R17b2, which will look slightly different from yours, but the functionality is the same.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2020-11-23T08:17:12.850" LastActivityDate="2020-11-23T08:17:12.850" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32716" PostTypeId="2" ParentId="32713" CreationDate="2020-11-23T08:37:25.763" Score="1" Body="&lt;p&gt;Yes, this is possible. Simply right-click your logo in the Project-Panel and select &amp;quot;replace file&amp;quot;, then select your new logo.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-11-23T08:37:25.763" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32717" PostTypeId="2" ParentId="28761" CreationDate="2020-11-23T09:19:48.863" Score="0" Body="&lt;p&gt;The overlord plugin can do this with simple shapes from AI.&#xA;&lt;a href=&quot;https://www.battleaxe.co/overlord/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.battleaxe.co/overlord/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-11-23T09:19:48.863" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32718" PostTypeId="1" AcceptedAnswerId="32719" CreationDate="2020-11-23T14:50:42.067" Score="1" ViewCount="4758" Body="&lt;p&gt;I'd like to fix some old AVI files without re-encoding them. I was hoping ffmpeg would do the job, but for some reason I cannot find the right command to fix the MP3 header.&lt;/p&gt;&#xA;&lt;p&gt;Steps:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;% ffprobe  -hide_banner -i input.avi&#xA;[mp3float @ 0x56498fcfa740] Header missing&#xA;Input #0, avi, from 'input.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf58.20.100&#xA;  Duration: 01:19:44.96, start: 0.000000, bitrate: 1211 kb/s&#xA;    Stream #0:0: Video: mpeg4 (DX50 / 0x30355844), yuv420p, 512x408 [SAR 1:1 DAR 64:51], 1071 kb/s, 25 fps, 25 tbr, 25 tbn, 30k tbc&#xA;    Stream #0:1: Audio: mp3 (U[0][0][0] / 0x0055), 44100 Hz, stereo, fltp, 128 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If I now try:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i input.avi -c copy output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This results in:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;% ffprobe  -hide_banner -i output.avi &#xA;[mp3float @ 0x56369d7ff740] Header missing&#xA;Input #0, avi, from 'output.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf58.20.100&#xA;  Duration: 01:19:44.96, start: 0.000000, bitrate: 1211 kb/s&#xA;    Stream #0:0: Video: mpeg4 (DX50 / 0x30355844), yuv420p, 512x408 [SAR 1:1 DAR 64:51], 1071 kb/s, 25 fps, 25 tbr, 25 tbn, 30k tbc&#xA;    Stream #0:1: Audio: mp3 (U[0][0][0] / 0x0055), 44100 Hz, stereo, fltp, 128 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is there a way to fix this error &lt;code&gt;[mp3float @ 0x56369d7ff740] Header missing&lt;/code&gt; using ffmpeg without re-encoding the mp3 file ?&lt;/p&gt;&#xA;" OwnerUserId="10558" LastActivityDate="2020-11-23T14:58:26.143" Title="Fix mp3float Header missing without re-encode" Tags="|ffmpeg|ffprobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32719" PostTypeId="2" ParentId="32718" CreationDate="2020-11-23T14:58:26.143" Score="3" Body="&lt;p&gt;Right now the only solution I found is a two steps process:&lt;/p&gt;&#xA;&lt;p&gt;Extract the mp3 stream:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i input.avi -c:a copy input.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Combine it back into the original AVI container:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i input.avi -i input.mp3 -c:v copy -c:a copy -map 0:v:0 -map 1:a:0 output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Leads to:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;% ffprobe -hide_banner -i output.avi&#xA;Input #0, avi, from 'output.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf58.20.100&#xA;  Duration: 01:19:44.96, start: 0.000000, bitrate: 1211 kb/s&#xA;    Stream #0:0: Video: mpeg4 (DX50 / 0x30355844), yuv420p, 512x408 [SAR 1:1 DAR 64:51], 1071 kb/s, 25 fps, 25 tbr, 25 tbn, 30k tbc&#xA;    Stream #0:1: Audio: mp3 (U[0][0][0] / 0x0055), 44100 Hz, stereo, fltp, 128 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10558" LastActivityDate="2020-11-23T14:58:26.143" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32720" PostTypeId="1" CreationDate="2020-11-23T15:44:46.597" Score="0" ViewCount="319" Body="&lt;p&gt;one question that currently drives me crazy. I used the following command to cut a video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i origin.mp4 -ss 00:09:53 -to 00:11:53 -async 1 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, the output does not start at 09 minutes and 53 seconds, but &lt;strong&gt;at 10:38&lt;/strong&gt; of the original mp4. The length (2 minutes) is correct in the output... I don't get the problem.&#xA;Any ideas?&lt;/p&gt;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="27925" LastActivityDate="2020-11-23T15:44:46.597" Title="FFMPEG: Timing wrong in output" Tags="|ffmpeg|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32721" PostTypeId="2" ParentId="32701" CreationDate="2020-11-23T16:30:03.087" Score="0" Body="&lt;p&gt;A quick google search gave me dozens of options. You can use &lt;a href=&quot;https://yellowduck.tv/&quot; rel=&quot;nofollow noreferrer&quot;&gt;yellowduck&lt;/a&gt; for example. &lt;a href=&quot;https://www.youtube.com/watch?v=rD1ibZ0LOOw&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here's&lt;/a&gt; a tutorial on how to use it. An alternative is &lt;a href=&quot;https://promovgram.com/?utm_source=medium&amp;amp;utm_medium=link&amp;amp;utm_campaign=How%20to%20Livestream%20on%20Instagram%20using%20OBS%20with%20Promovgram&quot; rel=&quot;nofollow noreferrer&quot;&gt;promovgram.&lt;/a&gt; There really are a lot of options, so I would recommend just googling yourself.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-11-23T16:30:03.087" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32722" PostTypeId="2" ParentId="32412" CreationDate="2020-11-23T16:32:04.093" Score="0" Body="&lt;p&gt;What you are looking for is a mixer, like the Black Magic ATEM. This type of gear is expensive though and usually only used by TV-studios and professional broadcasting services, so I would think twice before buying one.&lt;/p&gt;&#xA;&lt;p&gt;An alternative is hard to come by, since you need HMDI or (preferably) SDI inputs that get mixed, which you cannot simply do on a PC or Mac.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-11-23T16:32:04.093" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32723" PostTypeId="2" ParentId="32694" CreationDate="2020-11-23T16:48:26.240" Score="0" Body="&lt;p&gt;You can use the layer-emitter for that. Particular will look for the alpha and spawn more particles where areas are more opaque. Just make sure that your text-layer is precomped and set as a 3D-layer. Then, from the drop-down menu of particular, choose the layer-emitter, open the tab of the layer-emitter further down and select your text-precomp. You might wanna up the particle count as thin text may not cause a single one to spawn, and you will think you did something wrong. Alternatively, use the layer-grid-emitter to significantly up the particle-count. Just make sure to disperse the particles using wind or Spin-Amplitude down in the physics-&amp;gt;Air tab.&lt;/p&gt;&#xA;&lt;p&gt;I hope I was able to help you, have a great day!&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-11-23T16:48:26.240" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32724" PostTypeId="2" ParentId="32575" CreationDate="2020-11-23T23:00:08.950" Score="0" Body="&lt;p&gt;If you are using project , it is because all projects are built on a different system&#xA;With its features, the operating system is embedded. Therefore, while running the project on your operating system, you may encounter messages such as the image below, and you must act on the option that you see in the image.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VSJAo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VSJAo.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;By clicking this button you can search for your missing files, you can even create a file with missing names and paste it in the project&lt;/p&gt;&#xA;&lt;p&gt;Also, if you need a sequence, enter the items of one templates in another &lt;a href=&quot;https://maxeffect.ir/project-primiere/&quot; rel=&quot;nofollow noreferrer&quot;&gt;premiere pro templates&lt;/a&gt; First you have to run the main project, then import the project from the file menu to get a message like the one below.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XwmbB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XwmbB.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I hope I was able to help&#xA;Ask if you have any questions&#xA;Good luck&lt;/p&gt;&#xA;" OwnerUserId="32907" LastEditorUserId="32907" LastEditDate="2020-11-23T23:07:13.853" LastActivityDate="2020-11-23T23:07:13.853" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32728" PostTypeId="2" ParentId="32640" CreationDate="2020-11-24T14:22:17.230" Score="1" Body="&lt;p&gt;Just noticed that 'OBS mac virtualcam' is now working on 10.15 - would be interested to see any alternative versions&#xA;&lt;a href=&quot;https://github.com/johnboiles/obs-mac-virtualcam&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/johnboiles/obs-mac-virtualcam&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-11-24T14:22:17.230" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32730" PostTypeId="1" AcceptedAnswerId="32731" CreationDate="2020-11-24T19:18:42.567" Score="0" ViewCount="1145" Body="&lt;p&gt;I am not asking the common question of horizontal dark stripes on some of the videos. I know this is a known topic and lots of resources are already available on the internet on this. But I am talking about a strange phenomena of some of the videos here, specifically appears around moving objects. Please see the screenshot below.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/I8byg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/I8byg.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is snapshot of a Youtube video (a cricket match). The player in the video is running. Hence you can clearly see the horizontal distortion of the player's image. But notice carefully, the entire video screen is not distorted. You can see the score board and logo which are added on post processing of the camera footage during telecast. Those static parts are not distorted.&lt;/p&gt;&#xA;&lt;p&gt;I do notice this problem, when I record my own videos with my Sony Handycam and try to play the recorded clips (MTS Files) with VLC Media player. If I play the same clip with Windows Media Player these stripes disappear. When I shoot using my OnePlus 5 Mobile, it doesn't appear at all in any player. So, there is indeed a contribution of the camera we are shooting and the player which is playing the video. And this happens specifically when the objects in the video (or the camera) moves. If I take video of a static content, the stripes do not show up. I am pretty sure, many of you have noticed this too.&lt;/p&gt;&#xA;&lt;p&gt;Anyone has any idea what causes this horizontal distortion to appear? Is there any resource available which explains the cause and ways to fix it?&lt;/p&gt;&#xA;&lt;p&gt;If you want to see the sample Youtube video which I am referring here, the video id is &lt;code&gt;nclPaVQmCHc&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="32984" LastActivityDate="2020-11-24T19:35:50.630" Title="Why does moving objects in some videos flicker or distort horizontally" Tags="|video|rendering|sony|distortion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32731" PostTypeId="2" ParentId="32730" CreationDate="2020-11-24T19:35:50.630" Score="4" Body="&lt;p&gt;This is called &lt;a href=&quot;https://en.wikipedia.org/wiki/Interlaced_video&quot; rel=&quot;nofollow noreferrer&quot;&gt;interlacing&lt;/a&gt;. It's a video artefact left over from the days when video signals for television (and domestic systems) sent every other horizontal line, then filled in the missing gaps, every half a frame of video that was sent.&lt;/p&gt;&#xA;&lt;p&gt;You need to deinterlace the footage before you edit it.&lt;/p&gt;&#xA;&lt;p&gt;If someone else has already uploaded the footage incorrectly to youtube, you may be unable to deinterlace their footage, depending on whether the scale and frame rate of the video has been altered when they edited it.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-11-24T19:35:50.630" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32732" PostTypeId="1" AcceptedAnswerId="32733" CreationDate="2020-11-24T20:08:28.250" Score="0" ViewCount="216" Body="&lt;p&gt;I have added date and &amp;quot;Play ►&amp;quot; text but how do I get Play button &amp;quot;►&amp;quot; to flash like in the GIF below?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/omt7T.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/omt7T.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32985" LastActivityDate="2020-11-24T21:03:42.930" Title="How to get blinking play button on top of the video in Adobe Premier Pro?" Tags="|premiere|adobe|premiere-elements|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32733" PostTypeId="2" ParentId="32732" CreationDate="2020-11-24T21:03:42.930" Score="1" Body="&lt;p&gt;Open a text editor and find the ▶︎ unicode symbol.&lt;br /&gt;&#xA;It will be called something like:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;BLACK RIGHT-POINTING TRIANGLE&#xA;Unicode: U+25B6 U+FE0E, UTF-8: E2 96 B6 EF B8 8E&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Open a sequence in premiere and create a text object.&lt;/p&gt;&#xA;&lt;p&gt;Keyframe the opacity to 100%&lt;/p&gt;&#xA;&lt;p&gt;Move forward 15 frames&lt;/p&gt;&#xA;&lt;p&gt;Keyframe the opaticty to 0%&lt;/p&gt;&#xA;&lt;p&gt;Select the two keyframes&lt;/p&gt;&#xA;&lt;p&gt;Right click them and set them to &amp;quot;hold&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;Copy both keyframes and paste them many times across your timeline.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SApXN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SApXN.png&quot; alt=&quot;screengrab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-11-24T21:03:42.930" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32734" PostTypeId="1" CreationDate="2020-11-25T14:22:45.860" Score="2" ViewCount="199" Body="&lt;p&gt;I want to create a ticker text video like the news ticker you see sometimes in TV. So I use&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i Transparent_800x20.png  -vf drawtext=&amp;quot;fontsize=16:fontcolor=black:fontfile=FreeSansBold.ttf:textfile=deutsch.txt:x=w/2-125*t:y=0&amp;quot; -t 125 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;with a background PNG file and a text file deutsch.txt. However, because of x=w/2-125*t the ticker text is not running smoothly enough. I got it smoother when I increased the time of the video and decreased the 125 to 60. But the total length of the video should be only 125 seconds to show the whole text.&lt;/p&gt;&#xA;&lt;p&gt;I tried to increase the frames per second from 25 to 35 (with &amp;quot;fps=35&amp;quot;), but it did not really help. And higher fps lead to duplicate frame messages.&lt;/p&gt;&#xA;&lt;p&gt;Any other suggestions?&lt;/p&gt;&#xA;&lt;p&gt;Sigbert&lt;/p&gt;&#xA;" OwnerUserId="32993" LastActivityDate="2020-11-25T14:22:45.860" Title="ticker text does not run really smooth" Tags="|ffmpeg|framerate|subtitles|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32735" PostTypeId="1" CreationDate="2020-11-26T06:46:40.813" Score="0" ViewCount="222" Body="&lt;p&gt;How do you have ffmpeg copy all existing settings except the crop dimensions of a video file?&lt;/p&gt;&#xA;&lt;p&gt;I've been struggling to crop an .mov with alpha channel (transparent video), so that it can be opened using Quicktime (instead of VLC). However, it seems that the output is either black background or somethig Quicktime cannot open. I've tried these variations and a number of others to no avail...&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mov -vf &amp;quot;crop=1080:1080:420:0&amp;quot; -pix_fmt yuv420p output2.mov&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mov -vf &amp;quot;crop=1080:1080:420:0&amp;quot; -pix_fmt yuva420p output2.mov&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="32998" LastActivityDate="2020-11-26T06:46:40.813" Title="ffmpg (copy existing settings?) or crop a .mov with alpha and have it be open-able using Quicktime (not VLC)" Tags="|ffmpeg|conversion|quicktime|alpha|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32736" PostTypeId="1" AcceptedAnswerId="32737" CreationDate="2020-11-26T16:30:53.477" Score="0" ViewCount="43" Body="&lt;p&gt;I'd like a way to restart a render when a render crashes in Natron, given that the output are written in separated files (using output &lt;code&gt;out_%05d.png&lt;/code&gt;).&lt;/p&gt;&#xA;&lt;p&gt;I don't want to change the first frame in my render because otherwise I could forget what is the actual first frame.&lt;/p&gt;&#xA;" OwnerUserId="32276" LastActivityDate="2023-04-15T20:04:20.573" Title="Natron: how to resume a render that crashed" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32737" PostTypeId="2" ParentId="32736" CreationDate="2020-11-26T16:30:53.477" Score="1" Body="&lt;p&gt;There is a nice solution (thanks Hank): just uncheck the &amp;quot;overwrite&amp;quot; parameter in the write parameter. That way, only non-existing files will be created.&lt;/p&gt;&#xA;" OwnerUserId="32276" LastActivityDate="2020-11-26T16:30:53.477" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32738" PostTypeId="2" ParentId="32227" CreationDate="2020-11-26T17:19:02.393" Score="1" Body="&lt;p&gt;The &amp;quot;Internet HDV 720-30p&amp;quot; template uses as default a data rate of 8 MBit/s.&lt;/p&gt;&#xA;&lt;p&gt;If you want to reduce the size of your video from 55mb to below 17mb, you should set the avarage bit rate at maximum 2.000.000.&lt;/p&gt;&#xA;&lt;p&gt;If the file size is still bigger than expected, you may activate &amp;quot;two pass rendering&amp;quot; and see whether that helps.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9DnU5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9DnU5.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2020-11-26T17:19:02.393" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32739" PostTypeId="2" ParentId="32571" CreationDate="2020-11-26T17:24:41.107" Score="0" Body="&lt;p&gt;Not sure, why this is happening, but I could reproduce this issue and get it fixed by using a &amp;quot;Magix AVC/AAC MP4&amp;quot; codec instead of the Sony codec.&lt;/p&gt;&#xA;" OwnerUserId="5074" LastActivityDate="2020-11-26T17:24:41.107" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32741" PostTypeId="1" AcceptedAnswerId="32742" CreationDate="2020-11-27T01:51:36.830" Score="0" ViewCount="31" Body="&lt;p&gt;How to automate cutting the bits with audio on a certain track out?&lt;/p&gt;&#xA;&lt;p&gt;So here is the deal.&#xA;We live recording radio shows with video.&#xA;But we do not have permission to use the music played. So we need to manually rremove it from the video.&lt;/p&gt;&#xA;&lt;p&gt;There is a single audiotrack for the music playing.&#xA;Video Track&#xA;Audio track 1 - Everything.&#xA;Audio track 2 - Microphones&#xA;Audio track 3 - Music&#xA;Audio track 4 - Sound bits.&lt;/p&gt;&#xA;&lt;p&gt;So i have to remove all the pars where there is sound on audio track 3 :)&lt;/p&gt;&#xA;&lt;p&gt;So my question is - is there anyway to automate this? Either full automatic (FFMEPG)&#xA;or in Premiere Pro- A way to select bits on a audio track where volume is over X? and also select all other tracks.&lt;/p&gt;&#xA;&lt;p&gt;Help please :)&lt;/p&gt;&#xA;" OwnerUserId="33000" LastActivityDate="2020-11-27T16:54:14.157" Title="How to automate cutting the part with audio on a certain track out?" Tags="|ffmpeg|premiere|automation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32742" PostTypeId="2" ParentId="32741" CreationDate="2020-11-27T16:54:14.157" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=0ZeO0IQaJ-A&quot; rel=&quot;nofollow noreferrer&quot;&gt;This guy&lt;/a&gt; did essentially the opposite of what you're trying to do. However, he posted the source-code &lt;a href=&quot;https://github.com/DevonCrawford/Video-Editing-Automation&quot; rel=&quot;nofollow noreferrer&quot;&gt;here.&lt;/a&gt; So with a little bit of IT-finesse, you should be able to reverse the program's understanding of what to edit out - meaning that the code shouldn't say (in a very simplified, theoretical syntax):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;if track5dB &amp;lt; 5dB:&#xA;{&#xA;cutThisOut();&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but instead:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;if track5dB &amp;gt; 0&#xA;{&#xA;cutThisOut();&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now, I haven't personally checked out the code in detail, so I cannot 100% vouch for it to work, but it might just be worth a try.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-11-27T16:54:14.157" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32743" PostTypeId="1" CreationDate="2020-11-27T19:25:34.587" Score="0" ViewCount="43" Body="&lt;p&gt;I'm trying to restore this old Charlie Chaplin snippet:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AyNU3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/AyNU3.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have trouble with the exposure of the clip, it fluctuates from brighter to darker. I want the exposure have an even consistency over the entirety of the clip.&lt;/p&gt;&#xA;&lt;p&gt;How would you go about fixing this? I'm new to video editing and am trying to find right words to google. I have tried de-flickering plugins with no success, as it seems to be mainly designed for time-lapses or high frame rate flickering.&lt;/p&gt;&#xA;" OwnerUserId="33006" LastActivityDate="2020-12-07T19:43:44.027" Title="Even out fluctuating exposure on old video" Tags="|color-correction|color|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32747" PostTypeId="2" ParentId="4016" CreationDate="2020-11-28T16:56:30.800" Score="2" Body="&lt;p&gt;I had the same problem - wanting to recreate the AVCHD folder structure &amp;amp; metadata files starting with a simple folder of only *.MTS files.&lt;/p&gt;&#xA;&lt;p&gt;After a lot of hunting, I discovered &lt;a href=&quot;https://stackoverflow.com/questions/25592432/recreate-avchd-structure-cpi-files-from-mts&quot;&gt;this post&lt;/a&gt; that recommends using &lt;a href=&quot;https://eww.pass.panasonic.co.jp/pro-av/support/dload/avccam_restorer/dl_e.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;AVCCAM Restorer&lt;/a&gt;  by Panasonic.&lt;/p&gt;&#xA;&lt;p&gt;This program is just what I needed as it is able to both:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;repair an existing AVCHD folder structure if the index is corrupt and so the package can't be opened&lt;/li&gt;&#xA;&lt;li&gt;recreate a new AVCHD folder structure + generate the metadata files from basic folder of *.mts files.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I did a diff of the *.mts files before &amp;amp; after the move into the reconstructed AVCHD folder structure and happily all the MTS files are binary identical.&lt;/p&gt;&#xA;&lt;p&gt;A couple of gotchas that I've noticed:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;AVCCAM Restorer will generate the metadata files with longer names &amp;amp; mixed case, e.g. &amp;quot;MovieObject.bdmv&amp;quot; instead of &amp;quot;MOVIEOBJ.BDM&amp;quot;. This wasn't a problem for me, but apparently older programs will error if the file names don't conform to the old FILENAME.EXT 8.3 format.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The Mac version of the app is 32-bit only, &amp;amp; so will only work on MacOS 10.13 (High Sierra) or lower. It won't work on later Macs as they run only 64-bit apps. I was able to run High Sierra in a virtual machine to run the program &amp;amp; convert my files.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I tested the Windows version of the program in a virtual Windows 10 environment too and it works in exactly the same way as the Mac version, including the mixedCase filename handling. Anyhow, it might be easier to find a PC running Windows 10 than an older Mac running 10.13.&lt;/p&gt;&#xA;" OwnerUserId="33015" LastActivityDate="2020-11-28T16:56:30.800" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32752" PostTypeId="1" AcceptedAnswerId="32776" CreationDate="2020-11-28T22:04:39.107" Score="0" ViewCount="2129" Body="&lt;p&gt;the desired output is combining 3 vids, and using scale or pad (do some processing on the input).&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -i in2.mkv -i in3.mkv \&#xA;-filter_complex &amp;quot;[0:v][v0];[1:v]scale=-1:1440[v1];[2:v][v2],[v0][v1][v2]hstack=inputs=3&amp;quot;&#xA; -map &amp;quot;[v]&amp;quot; -map 1:a output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;give:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[AVFilterGraph @ 0xec0a80] No such filter: ''&#xA;Error initializing complex filters.&#xA;Invalid argument&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="32979" LastActivityDate="2020-12-04T08:04:32.437" Title="no such filter, when using filter complex with pre-scale" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32753" PostTypeId="1" CreationDate="2020-11-28T22:57:04.103" Score="1" ViewCount="141" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IixWH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IixWH.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I used to be able to see the content of all videos, but since today they all turned into black screen.&lt;/p&gt;&#xA;&lt;p&gt;Googled and found a few posts&#xA;e.g. &lt;a href=&quot;https://video.stackexchange.com/questions/28035/davinci-resolve-16-shows-black-screen-on-imported-media&quot;&gt;DaVinci Resolve 16 shows black screen on imported media&lt;/a&gt;&#xA;After 1 year 4 months there is still not a working answer.&#xA;My OS is Ubuntu 20.04, with NVIDIA RTX 2080Ti and Driver 450 installed&#xA;&lt;a href=&quot;https://i.stack.imgur.com/slM3M.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/slM3M.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33010" LastEditorUserId="11941" LastEditDate="2020-11-29T18:55:04.723" LastActivityDate="2020-11-29T18:55:04.723" Title="DaVinci Resolve 16 the content of all videos become black" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32754" PostTypeId="1" AcceptedAnswerId="32755" CreationDate="2020-11-29T05:32:08.357" Score="0" ViewCount="80" Body="&lt;p&gt;I have a video and a soft subtitle of the video.The video had 3 audio(track1 track2 track3) I use this command&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -i /sdcard/input.mkv -vf subtitles=/sdcard/input.ass /sdcard/hrdcoded.mp4&lt;/p&gt;&#xA;&lt;p&gt;In this command I not only hardcode subtitles but also convert the video to mp4. The process start properly but when it finished I saw I was have 3 audio track(track1 track2 track3) now it have audio track1. Other tracks are missing. What command should i use to have all audio track&lt;/p&gt;&#xA;" OwnerUserId="33018" LastActivityDate="2020-11-29T06:26:37.877" Title="After subtitle video one of my audio track is missing" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32755" PostTypeId="2" ParentId="32754" CreationDate="2020-11-29T06:26:37.877" Score="0" Body="&lt;p&gt;FFmpeg, by default, only picks one stream of each type (video, audio, subtitles). The user needs to set map option to select tracks for an output.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /sdcard/input.mkv -vf subtitles=/sdcard/input.ass -map 0 -c:a copy /sdcard/hrdcoded.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;See &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-selection&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg.html#Stream-selection&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-11-29T06:26:37.877" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32756" PostTypeId="1" AcceptedAnswerId="32758" CreationDate="2020-11-29T08:28:25.480" Score="1" ViewCount="4328" Body="&lt;p&gt;I am trying to use the select filter to choose frames to be included in the output file, but the resulting output file actually has more frames than the input file, which is completely baffling.&lt;/p&gt;&#xA;&lt;p&gt;Following the example in the documentation to keep every 16th frame, I am using the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.MOV -filter:v &amp;quot;select=not(mod(n\,16))&amp;quot; output.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;output.MOV has more frames than input.MOV and nothing has been removed.&lt;/p&gt;&#xA;&lt;p&gt;Interestingly, when I use the command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.MOV -filter:v &amp;quot;select=not(mod(n\,16))&amp;quot;,showinfo output.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;it lists the frames that should be in the output (i.e. the ones that should be selected by the expression), but the actual output file contains more frames than that and seems to completely ignore the select filter (it seems to be the same no matter what select command I use, unless I use select=0).&lt;/p&gt;&#xA;&lt;p&gt;Am I doing something incorrectly? I basically just want an example command that works the way I expect it to, so I can better learn how ffmpeg works.&lt;/p&gt;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;&lt;p&gt;Edit: select is not the only filter that ffmpeg seems to ignore when producing the output file, but if this problem is solved, the fix will probably work for other filters as well.&lt;/p&gt;&#xA;" OwnerUserId="33016" LastEditorUserId="33016" LastEditDate="2020-11-29T08:47:12.683" LastActivityDate="2020-11-29T12:06:13.450" Title="Using select in ffmpeg to choose frames" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32758" PostTypeId="2" ParentId="32756" CreationDate="2020-11-29T12:06:13.450" Score="2" Body="&lt;p&gt;In your command,&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-filter:v &amp;quot;select=not(mod(n\,16))&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;does select only each 16th frame, as you have discovered. However, your output format is MOV, which is configured as constant frame rate. So, ffmpeg will duplicate frames if the timestamp gaps between frames from the filter output are greater than &lt;code&gt;1/fps&lt;/code&gt; where fps is the nominal frame rate of the stream, and drop frames if they are closer.&lt;/p&gt;&#xA;&lt;p&gt;Add &lt;code&gt;-vsync 0&lt;/code&gt; to tell ffmpeg to not duplicate or drop frames.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-11-29T12:06:13.450" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32761" PostTypeId="2" ParentId="12905" CreationDate="2020-11-29T19:28:12.743" Score="0" Body="&lt;pre&gt;&lt;code&gt;@echo off&#xA;&#xA;setlocal ENABLEDELAYEDEXPANSION&#xA;&#xA;REM When not there gives file not found message&#xA;for /f &amp;quot;tokens=*&amp;quot; %%I in ('dir /b &amp;quot;*.mkv&amp;quot;') do (&#xA;    if exist &amp;quot;%%~nI.nl.srt&amp;quot; (&#xA;        call :BURN_FILE &amp;quot;%%~nI&amp;quot; &amp;quot;%%I&amp;quot;&#xA;    )&#xA;    if exist &amp;quot;%%~nI.en.srt&amp;quot; (&#xA;        call :BURN_FILE &amp;quot;%%~nI&amp;quot; &amp;quot;%%I&amp;quot;&#xA;    ) &#xA;)&#xA;for /f &amp;quot;tokens=*&amp;quot; %%I in ('dir /b &amp;quot;*.mp4&amp;quot;') do (&#xA;    if exist &amp;quot;%%~nI.nl.srt&amp;quot; (&#xA;        call :BURN_FILE &amp;quot;%%~nI&amp;quot; &amp;quot;%%I&amp;quot;&#xA;    )&#xA;    if exist &amp;quot;%%~nI.en.srt&amp;quot; (&#xA;        call :BURN_FILE &amp;quot;%%~nI&amp;quot; &amp;quot;%%I&amp;quot;&#xA;    ) &#xA;)&#xA;for /f &amp;quot;tokens=*&amp;quot; %%I in ('dir /b &amp;quot;*.webm&amp;quot;') do (&#xA;    if exist &amp;quot;%%~nI.nl.srt&amp;quot; (&#xA;        call :BURN_FILE &amp;quot;%%~nI&amp;quot; &amp;quot;%%I&amp;quot;&#xA;    )&#xA;    if exist &amp;quot;%%~nI.en.srt&amp;quot; (&#xA;        call :BURN_FILE &amp;quot;%%~nI&amp;quot; &amp;quot;%%I&amp;quot;&#xA;    ) &#xA;)&#xA;&#xA;pause&#xA;&#xA;if not exist ORIGINAL mkdir ORIGINAL&#xA;move &amp;quot;%%I&amp;quot; ORIGINAL &amp;gt;NUL&#xA;move &amp;quot;%%~nI.*&amp;quot; ORIGINAL &amp;gt;NUL&#xA;&#xA;exit /b&#xA;&#xA;:BURN_FILE&#xA;&#xA;    set hoppa=%1&#xA;    set input=%2&#xA;    echo hoppa=!hoppa!&#xA;    echo input=!input!&#xA;&#xA;    ffprobe.exe -v error -select_streams v:0 -show_entries format=bit_rate -of default=nw=1 !input! &amp;gt; bit_rate2.txt&#xA;    ffprobe.exe -v error -show_entries format=duration -of default=nw=1 !input! &amp;gt; duration2.txt&#xA;    ffprobe.exe -v error -show_entries format=duration -of default=nw=1 intro.wav &amp;gt; duration_intro.txt&#xA;&#xA;    for /F &amp;quot;tokens=*&amp;quot; %%R in (bit_rate2.txt) do (&#xA;        for /f &amp;quot;tokens=1,2 delims==&amp;quot; %%a in (&amp;quot;%%R&amp;quot;) do set NAME=%%a &amp;amp; set bit_rate=%%b&#xA;    )&#xA;    for /F &amp;quot;tokens=*&amp;quot; %%R in (duration2.txt) do (&#xA;        for /f &amp;quot;tokens=1,2 delims==&amp;quot; %%a in (&amp;quot;%%R&amp;quot;) do set NAME=%%a &amp;amp; set duration=%%b&#xA;    )&#xA;    for /F &amp;quot;tokens=*&amp;quot; %%R in (duration_intro.txt) do (&#xA;        for /f &amp;quot;tokens=1,2 delims==&amp;quot; %%a in (&amp;quot;%%R&amp;quot;) do set NAME=%%a &amp;amp; set duration_intro=%%b&#xA;    )&#xA;    for /f &amp;quot;tokens=1 delims=.&amp;quot; %%a in ('echo !duration!') do set /a number=%%a&#xA;    for /f &amp;quot;tokens=1 delims=.&amp;quot; %%a in ('echo !duration_intro!') do set /a number_intro=%%a&#xA;&#xA;    set /A number_offset = !number! - !number_intro! - 1&#xA;    set /A number_offset = !number_offset! * 1000&#xA;&#xA;    sof.exe &amp;quot;!hoppa!.nl.srt&amp;quot;&#xA;&#xA;    if not exist DUTCH mkdir DUTCH&#xA;&#xA;    for %%x in (&amp;quot;!hoppa!.nl.srt.fixed&amp;quot;) do (&#xA;        if not %%~zx == 0 (&#xA;            if not  exist &amp;quot;DUTCH/!hoppa!.nl.mp4&amp;quot; (&#xA;&#xA;            ffmpeg -y -hide_banner -i !input! -i intro.wav -i intro.wav -i pacman2.mp4 -loop 20 -filter_complex &amp;quot;[1]adelay=500|500[s1];[1]adelay=!number_offset!|!number_offset![s2];[0][s1][s2]amix=inputs=3;[0:v]scale=1920:1080[j];[3:v]split[m][a];[a]geq='lum(X,Y)',hue=s=0[al];[m][al]alphamerge[ovr];[ovr]scale=150:-1[sml];[j][sml]overlay=main_w-overlay_w-2:main_h-overlay_h-2[l];[l]subtitles='!hoppa!.nl.srt.fixed':force_style='FontName=Mada Black,FontSize=32,BackColour=&amp;amp;HA0000000,BorderStyle=4'[k]&amp;quot; -map &amp;quot;[k]&amp;quot; -map 0:a -strict -2 -c:v h264_nvenc -pix_fmt yuv420p -rc-lookahead 32 -b:v !bit_rate! -ac 2 -ar 44100 -acodec aac -shortest &amp;quot;DUTCH/!hoppa!.nl.PART.mp4&amp;quot;&#xA;&#xA;rem             ffmpeg -y -hide_banner -i !input! -filter_complex &amp;quot;[0:v]scale=1920:1080[j];[j]subtitles='!hoppa!.nl.srt.fixed':force_style='FontName=Mada Black,FontSize=32'[k]&amp;quot; -map &amp;quot;[k]&amp;quot; -map 0:a -strict -2 -c:v h264_nvenc -pix_fmt yuv420p -rc-lookahead 32 -b:v !bit_rate! -ac 2 -ar 44100 -acodec aac &amp;quot;DUTCH/!hoppa!.nl.PART.mp4&amp;quot;&#xA;rem             ffmpeg -y -hide_banner -i !input! -filter_complex &amp;quot;[0:v]scale=1920:1080[j];[j]subtitles='!hoppa!.nl.srt.fixed'[k]&amp;quot; -map &amp;quot;[k]&amp;quot; -map 0:a -strict -2 -c:v h264_nvenc -pix_fmt yuv420p -rc-lookahead 32 -b:v !bit_rate! -ac 2 -ar 44100 -acodec aac &amp;quot;DUTCH/!hoppa!.nl.PART.mp4&amp;quot;&#xA;rem             ffmpeg -y -hide_banner -i !input! -filter_complex &amp;quot;[0:v]scale=1920:1080[j];[j]subtitles='!hoppa!.nl.srt.fixed'[k]&amp;quot; -map &amp;quot;[k]&amp;quot; -map 0:a -strict -2 -c:v libx264 -preset slow -crf 23 -pix_fmt yuv420p -b:v !bit_rate! -ac 2 -ar 44100 -acodec aac &amp;quot;DUTCH/!hoppa!.nl.PART.mp4&amp;quot;&#xA;&#xA;            ) else (&#xA;                echo Already exists: &amp;quot;DUTCH/!hoppa!.nl.mp4&amp;quot; &#xA;            )&#xA;        ) else (&#xA;            echo Subtitle file empty: !hoppa!.nl.srt.fixed&#xA;        )&#xA;    )&#xA;&#xA;    if exist &amp;quot;DUTCH/!hoppa!.nl.PART.mp4&amp;quot; rename &amp;quot;DUTCH\!hoppa!.nl.PART.mp4&amp;quot; &amp;quot;!hoppa!.nl.mp4&amp;quot;&#xA;&#xA;rem if not exist SUBTITLES mkdir SUBTITLES&#xA;rem if exist &amp;quot;!hoppa!.nl.srt.fixed&amp;quot; move &amp;quot;!hoppa!.nl.srt.fixed&amp;quot; SUBTITLES&#xA;rem if exist &amp;quot;!hoppa!.nl.srt&amp;quot; move &amp;quot;!hoppa!.nl.srt&amp;quot; SUBTITLES&#xA;&#xA;rem remark (rem) goto for making second language&#xA;goto :ENDING&#xA;&#xA;sof.exe &amp;quot;!hoppa!.en.srt&amp;quot;&#xA;&#xA;if not exist ENGLISH mkdir ENGLISH&#xA;&#xA;for %%x in (&amp;quot;!hoppa!.en.srt.fixed&amp;quot;) do (&#xA;    if not %%~zx == 0 (&#xA;        if not  exist &amp;quot;ENGLISH/!hoppa!.en.mp4&amp;quot; (&#xA;            ffmpeg -y -hide_banner -i !input! -filter_complex &amp;quot;[0:v]scale=1920:1080[j];[j]subtitles='!hoppa!.en.srt.fixed'[k]&amp;quot; -map &amp;quot;[k]&amp;quot; -map 0:a -strict -2 -c:v h264_nvenc -pix_fmt yuv420p -rc-lookahead 32 -b:v !bit_rate! -ac 2 -ar 44100 -acodec aac &amp;quot;ENGLISH/!hoppa!.en.PART.mp4&amp;quot;&#xA;rem                 ffmpeg -y -hide_banner -i !input! -filter_complex &amp;quot;[0:v]scale=1920:1080[j];[j]subtitles='!hoppa!.en.srt.fixed'[k]&amp;quot; -map &amp;quot;[k]&amp;quot; -map 0:a -strict -2 -c:v libx264 -preset slow -crf 23 -pix_fmt yuv420p -b:v !bit_rate! -ac 2 -ar 44100 -acodec aac &amp;quot;ENGLISH/!hoppa!.en.PART.mp4&amp;quot;&#xA;        ) else (&#xA;            echo Already exists: &amp;quot;DUTCH/!hoppa!.en.mp4&amp;quot; &#xA;        )&#xA;    ) else (&#xA;        echo Subtitle file empty: !hoppa!.en.srt.fixed&#xA;    )&#xA;)&#xA;&#xA;if exist &amp;quot;ENGLISH/!hoppa!.en.PART.mp4&amp;quot; rename &amp;quot;ENGLISH\!hoppa!.en.PART.mp4&amp;quot; &amp;quot;!hoppa!.en.mp4&amp;quot;&#xA;&#xA;rem     if exist &amp;quot;!hoppa!.en.srt.fixed&amp;quot; move &amp;quot;!hoppa!.en.srt.fixed&amp;quot; SUBTITLES &amp;gt;NUL&#xA;rem     if exist &amp;quot;!hoppa!.en.srt&amp;quot; move &amp;quot;!hoppa!.en.srt&amp;quot; SUBTITLES &amp;gt;NUL&#xA;&#xA;:ENDING&#xA;&#xA;if not exist ORIGINAL mkdir ORIGINAL&#xA;move !input! ORIGINAL &amp;gt;NUL&#xA;move &amp;quot;!hoppa!.*&amp;quot; ORIGINAL &amp;gt;NUL&#xA;&#xA;exit /b&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24088" LastEditorUserId="18155" LastEditDate="2020-11-30T02:10:39.117" LastActivityDate="2020-11-30T02:10:39.117" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32762" PostTypeId="1" CreationDate="2020-11-30T08:08:05.783" Score="0" ViewCount="192" Body="&lt;p&gt;GoPro saves video files in 4Gig segments, on my settings that's 5mins, 20 seconds per segment. That means after an hour of recording there would be 12 files.&lt;/p&gt;&#xA;&lt;p&gt;The format is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;GXSSVVVV.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;where SS is the segment number and VVVV is the video number, one video is multiple segments. Example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;GX010010.mp4&#xA;GX010011.mp4&#xA;GX010012.mp4&#xA;GX020010.mp4&#xA;GX020011.mp4&#xA;GX020012.mp4&#xA;GX030010.mp4&#xA;GX030012.mp4&#xA;GX040010.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This means there 3 videos.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;video: #10 = GX010010.mp4 + GX020010.mp4 + GX030010.mp4 + GX040010.mp4&#xA;video: #11 = GX010011.mp4 + GX020011.mp4&#xA;video: #12 = GX010012.mp4 + GX020012.mp4 + GX030012.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is it is, to put all of the videos in order into DaVinci Resolve's timeline I drag each segment, one at a time into the timeline.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to add all the segments into the timeline in order &lt;strong&gt;in one step&lt;/strong&gt;?  Ideally I just want to select all the segments in Windows Explorer (or the Finder) or the Media Library and drag them to the timeline and have DaVinci Resolve order them correctly.&lt;/p&gt;&#xA;" OwnerUserId="17303" LastActivityDate="2021-04-29T10:01:20.200" Title="Import GoPro (or similar) video segments in one step into DaVinci Resolve in the correct order" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32763" PostTypeId="2" ParentId="32762" CreationDate="2020-11-30T08:08:05.783" Score="1" Body="&lt;p&gt;As I was typing the question I think I figured it out.&lt;/p&gt;&#xA;&lt;p&gt;Import all the clips into the Media Pool, sort by &amp;quot;date created&amp;quot; or &amp;quot;date modified&amp;quot; so the oldest is at the top.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xaZ1Y.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xaZ1Y.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Select all the clips, drag into the timeline&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xGpCu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xGpCu.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It appears they are all in the correct order&lt;/p&gt;&#xA;" OwnerUserId="17303" LastActivityDate="2020-11-30T08:08:05.783" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32765" PostTypeId="2" ParentId="4693" CreationDate="2020-11-30T21:20:55.097" Score="0" Body="&lt;p&gt;To make matters more confusing, I've just taken apart my Xenyx1202fx for routine cleaning and we can see printed on the circuit board are the words &amp;quot;Behringer Eurorack UB1202FX.&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/uhZ3t.jpg&quot; alt=&quot;xenyx1202fxmoboisreallyUB1202fxmobo&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;This doesn't necessarily imply they're exactly the same product, however, as it could be that only the PCB is of the same design between these mixers, and for the XENYX, new components could have been used. For example the better preamps, as discussed.&lt;/p&gt;&#xA;" OwnerUserId="33034" LastActivityDate="2020-11-30T21:20:55.097" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32766" PostTypeId="1" CreationDate="2020-11-30T21:32:42.417" Score="1" ViewCount="89" Body="&lt;p&gt;I am a chemist and since a few weeks I am making short videos with ffmpeg by combining images, I am using the command below (for some reason without profile:v high, powerpoint crashes when I would import a video).&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg [...] -r 24 -preset slow -profile:v high -level:v 4.0 -pix_fmt yuv420p -c:v libx264 -crf 8 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The images are from a raytracer and their background is perfectly white (I checked), however the output movies have a slight background (some kind of beige). Why ? Is it from one of my parameters ? I would like if possible to have a perfect white background while keeping high quality,&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zWO4A.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zWO4A.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I already tried to delete the background of the images with ImageMagick, it is working but it lower the quality.&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="33033" LastActivityDate="2021-04-30T04:16:51.737" Title="Why is ffmpeg producing a background?" Tags="|video|ffmpeg|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32767" PostTypeId="2" ParentId="32766" CreationDate="2020-12-01T03:02:52.373" Score="1" Body="&lt;p&gt;Its impossible to say for sure, Because you dont say what your input format is, But there is most likely a color space/range conversion occurring.&lt;/p&gt;&#xA;&lt;p&gt;You may may need to set the those values. you may need to specificity the agues to use for the conversion as well.&lt;/p&gt;&#xA;&lt;p&gt;This post should explain it.&#xA;&lt;a href=&quot;https://mux.com/blog/your-browser-and-my-browser-see-different-colors/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://mux.com/blog/your-browser-and-my-browser-see-different-colors/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I don't cover color range in that post. But you most likely want to use full range.&lt;/p&gt;&#xA;" OwnerUserId="32871" LastActivityDate="2020-12-01T03:02:52.373" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32768" PostTypeId="1" CreationDate="2020-12-01T03:41:00.190" Score="0" ViewCount="922" Body="&lt;p&gt;I'm merging together a bunch of videos (30 so far) into a &amp;quot;Brady Bunch&amp;quot; style amalgam using ffmpeg, and I've got that working reasonably well.  The last big problem is the background noise.  Everybody recorded at different locations, and some of those locations had computer fans in the background and some had air conditioners, and when you add them all together, the summed background noise is really noticeable.&lt;/p&gt;&#xA;&lt;p&gt;I'm doing everything with complex filters, here's a rough idea what I've got going on:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;color=size=1920x1080:c=0x000080 [base]&#xA;[0:a]volume=0.90,aresample=async=1:first_pts=0[aud0]&#xA;[1:a]volume=2.08,aresample=async=1:first_pts=0[aud1]&#xA;[2:a]volume=1.48,aresample=async=1:first_pts=0[aud2]&#xA;[3:a]volume=2.53,aresample=async=1:first_pts=0[aud3]&#xA;[4:a]volume=1.34,aresample=async=1:first_pts=0[aud4]&#xA;[5:a]volume=1.81,aresample=async=1:first_pts=0[aud5]&#xA;(and a bunch more adjusting the volume of each input video)&#xA;[28:a]volume=1.06,aresample=async=1:first_pts=0[aud28]&#xA;(and then we start the videos, at first only a subset are visible and then the large group&#xA;joins in, so I &amp;quot;zoom in&amp;quot; on the small group and then expand to bring in everyone else&#xA;when it's their turn)&#xA;[0:v] scale=w=if(lte(n\,1200.00)\,576\,if(lte(n\,1410.00)\,576.0-288.00*(n-1200.00)/210.00\,288)):h=if(lte(n\,1200.00)\,324\,if(lte(n\,1410.00)\,324.0-162.00*(n-1200.00)/210.00\,162)):eval=frame [clip0]&#xA;[base][clip0] overlay=shortest=1:x=if(lte(n\,1000.00)\,-608\,if(lte(n\,1175.00)\,-608.0+624.00*(n-1000.00)/175.00\,16)):y=if(lte(n\,1000.00)\,-342\,if(lte(n\,1175.00)\,-342.0+369.00*(n-1000.00)/175.00\,27)) [over0]&#xA;[1:v] crop=870:917:553:163,scale=w=if(lte(n\,1198.80)\,307\,if(lte(n\,1408.59)\,307.0-123.00*(n-1198.80)/209.79\,184)):h=if(lte(n\,1198.80)\,324\,if(lte(n\,1408.59)\,324.0-130.00*(n-1198.80)/209.79\,194)):eval=frame [clip1]&#xA;[over0][clip1] overlay=shortest=1:x=if(lte(n\,1000.00)\,166\,if(lte(n\,1175.00)\,166.0+222.00*(n-1000.00)/175.00\,388)):y=if(lte(n\,1000.00)\,-342\,if(lte(n\,1175.00)\,-342.0+353.00*(n-1000.00)/175.00\,11)) [over1]&#xA;(you get the idea)&#xA;(and then I merge all the audio together)&#xA;[aud0][aud1][aud2][aud3][aud4][aud5][aud6][aud7][aud8][aud9][aud10][aud11][aud12][aud13][aud14][aud15][aud16][aud17][aud18][aud19][aud20][aud21][aud22][aud23][aud24][aud25][aud26][aud27][aud28]amix=inputs=29[a]&#xA;[a]adelay=delays=200:all=1[b]&#xA;(I've run a first pass of loudnorm to measure the output levels, and I send them back in)&#xA;[b]loudnorm=linear=true:I=-14:LRA=11:tp=-2:measured_I=-30.18:measured_LRA=17.80:measured_tp=-15.23:measured_thresh=-41.39:offset=-0.77:print_format=summary[level]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What I'm thinking, is that most everybody starts out with a few seconds of silence.  It seems like I should be able to measure the audio in that segment, and then use it to filter out the background per stream.&lt;/p&gt;&#xA;&lt;p&gt;It seems like &lt;a href=&quot;http://underpop.online.fr/f/ffmpeg/help/afftdn.htm.gz&quot; rel=&quot;nofollow noreferrer&quot;&gt;afftdn&lt;/a&gt; will do that, but I cannot for the life of me figure out how to use it.  Apparently I need to &lt;a href=&quot;http://underpop.online.fr/f/ffmpeg/help/sendcmd_002c-asendcmd.htm.gz&quot; rel=&quot;nofollow noreferrer&quot;&gt;send commands to it&lt;/a&gt;, as I have read &lt;a href=&quot;https://video.stackexchange.com/questions/29274/how-can-you-use-ffmpegs-afftdn-sn-flag-to-sample-noise-from-a-reference-noise&quot;&gt;here&lt;/a&gt;, but it's not at all clear how I make that work inside my complex filter.  Something to do with ZMQ?  Is ZMQ what's happening with all those &amp;quot;@n&amp;quot;s?&lt;/p&gt;&#xA;&lt;p&gt;EDIT&lt;/p&gt;&#xA;&lt;p&gt;The answer that Gyan refers to is this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in -i profile -filter_complex &amp;quot;[1][0]concat=n=2:v=0:a=1,asendcmd=c='0.0 afftdn@n sn start; 1.0 afftdn@n sn stop',afftdn@n,atrim=1,asetpts=PTS-STARTPTS&amp;quot; noiseout.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Let me see if I can break this down and understand it.&lt;/p&gt;&#xA;&lt;p&gt;In that question, [1] is the noise profile and [0] is the input audio.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[1][0]concat=n=2:v=0:a=1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Means concatenate the two audio streams, noise profile first, and generate as an output only an audio stream.&lt;/p&gt;&#xA;&lt;p&gt;Then we get ready to send commands to afftdn, using the ZMQ syntax:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;asendcmd=c='0.0 afftdn@n sn start; 1.0 afftdn@n sn stop'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In ZMQ, you have to give a filter an id so it knows which filter you are sending the command to.  In this case, we've assigned the one and only afftdn the id 'n', and we are telling it to start measuring the noise profile at time 0 (the default so not specified) and stop measuring at time 1.&lt;/p&gt;&#xA;&lt;p&gt;So now we actually invoke the afftdn filter:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;afftdn@n&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then we trim off that first second of the audio stream (which is just the noise profile):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;atrim=1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And finally, we want to reset the timestamp of the audio stream so that 'zero' is the new position (after the noise profile):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;asetpts=PTS-STARTPTS&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;SO&lt;/p&gt;&#xA;&lt;p&gt;For now at least, I'm going to always use the first second of the audio as my noise profile.  Since it's already at the start of the audio, I don't need to isolate it, reset its timestamp, and concatenate it at the start of the audio (right?).  So taking audio stream [aud0], I can do this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[aud0]asendcmd=c='0.0 afftdn@n sn start; 1.0 afftdn@n sn stop',afftdn@n[faud0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and then send [faud0] into the 'amix' instead of [aud0]&lt;/p&gt;&#xA;&lt;p&gt;Yes?&lt;/p&gt;&#xA;&lt;p&gt;SECOND EDIT&lt;/p&gt;&#xA;&lt;p&gt;I'm now duplicating the first second of each audio stream and appending it on the front, just like in Gyan's answer.  Here is one such audio stream:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[19:a]volume=31.59,aresample=async=1:first_pts=0[aud19]&#xA;[aud19]asplit[aud19a][aud19b]&#xA;[aud19a]atrim=0:1[aud19c]&#xA;[aud19c][aud19b]concat=n=2:v=0:a=1,asendcmd=c='0.0 afftdn@t sn start; 1.0 afftdn@t sn stop',afftdn@t=nr=90,atrim=1,asetpts=PTS-STARTPTS[aud19d]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Notice that since I've got so many audio streams, and each one has its own afftdn filter, I've given them all separate ids.&lt;/p&gt;&#xA;&lt;p&gt;And still, the output audio does not sound significantly different from when I started!&lt;/p&gt;&#xA;&lt;p&gt;THIRD EDIT&lt;/p&gt;&#xA;&lt;p&gt;So I grabbed one of the videos that has a lot of noise at the front, kind of sounds like lots of air moving, maybe some 60 Hz fan noise too.  I extracted the first 9 seconds into a file I cleverly named &amp;quot;&lt;a href=&quot;https://drive.google.com/file/d/1CUj00QIF0iR_AgYZ_I2I_aVmYqJX5aHM/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;trim.wav&lt;/a&gt;&amp;quot;.  I then ran ffmpeg twice, once normally, and once to output just the noise.  The &amp;quot;&lt;a href=&quot;https://drive.google.com/file/d/1HLP9tL4Y20rbTKuJA8yWJK-4BQS_Z901/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;just noise&lt;/a&gt;&amp;quot; file is totally devoid of sound, as if it didn't find any noise to work with.  And as expected, the (supposedly) &lt;a href=&quot;https://drive.google.com/file/d/1vuK1F2tH1m4NWYuzOxtbnMeG1VU9UH8G/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;processed file&lt;/a&gt; sounds identical to the input.&lt;/p&gt;&#xA;&lt;p&gt;Here are my command lines:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;c:ffmpeg -y -i trim.wav -filter_complex &amp;quot;[0:a]asplit[aud0a][aud0b];[aud0a]atrim=0:1[aud0c];[aud0c][aud0b]concat=n=2:v=0:a=1,asendcmd=c='0.0 afftdn@aa sn start; 1.0 afftdn@aa sn stop',afftdn@aa,atrim=1,asetpts=PTS-STARTPTS[aud0d]&amp;quot; -map &amp;quot;[aud0d]&amp;quot; processed.wav&#xA;c:ffmpeg -y -i trim.wav -filter_complex &amp;quot;[0:a]asplit[aud0a][aud0b];[aud0a]atrim=0:1[aud0c];[aud0c][aud0b]concat=n=2:v=0:a=1,asendcmd=c='0.0 afftdn@aa sn start; 1.0 afftdn@aa sn stop',afftdn@aa=om=n,atrim=1,asetpts=PTS-STARTPTS[aud0d]&amp;quot; -map &amp;quot;[aud0d]&amp;quot; noise.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here's what ffmpeg had to say:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version git-2020-08-07-fab00b0 Copyright (c) 2000-2020 the FFmpeg developers&#xA; built with gcc 10.2.1 (GCC) 20200805&#xA; configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libsrt --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvmaf --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libgsm --enable-librav1e --disable-w32threads --enable-libmfx --enable-ffnvcodec --enable-cuda-llvm --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt --enable-amf&#xA; libavutil      56. 58.100 / 56. 58.100&#xA; libavcodec     58. 99.100 / 58. 99.100&#xA; libavformat    58. 49.100 / 58. 49.100&#xA; libavdevice    58. 11.101 / 58. 11.101&#xA; libavfilter     7. 87.100 /  7. 87.100&#xA; libswscale      5.  8.100 /  5.  8.100&#xA; libswresample   3.  8.100 /  3.  8.100&#xA; libpostproc    55.  8.100 / 55.  8.100&#xA;Guessed Channel Layout for Input Stream #0.0 : stereo&#xA;Input #0, wav, from 'trim.wav':&#xA; Metadata:&#xA; encoder         : Lavf58.49.100&#xA; Duration: 00:00:09.00, bitrate: 1411 kb/s&#xA; Stream #0:0: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 44100 Hz, stereo, s16, 1411 kb/s&#xA;Stream mapping:&#xA;Stream #0:0 (pcm_s16le) -&amp;gt; asplit&#xA; asetpts -&amp;gt; Stream #0:0 (pcm_s16le)&#xA;Output #0, wav, to 'processed.wav':&#xA; Metadata:&#xA;  ISFT            : Lavf58.49.100&#xA;  Stream #0:0: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 44100 Hz, stereo, s16, 1411 kb/s&#xA;  Metadata:&#xA;   encoder         : Lavc58.99.100 pcm_s16le&#xA;     [afftdn @ 00000261c3b81400] bn=4 -6 -10 -12 -12 -14 -17 -23 -24 -24 -24 -24 -24 -24 -15&#xA;     [afftdn @ 00000261c3b81400] bn=5 -4 -8 -10 -11 -14 -18 -23 -24 -24 -24 -24 -24 -24 -15&#xA;  size=    1545kB time=00:00:08.97 bitrate=1411.3kbits/s speed= 150x&#xA;video:0kB audio:1545kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.004929%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;FOURTH EDIT&lt;/p&gt;&#xA;&lt;p&gt;Based on comments, I tried adjusting the noise floor and also using just a single audio track.  I ran these commands:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;c:ffmpeg -y -i trim.wav -filter_complex &amp;quot;[0:a]asendcmd=c='0.0 afftdn@aa sn start; 1.0 afftdn@aa sn stop',afftdn@aa=nr=90[aud0d]&amp;quot; -map &amp;quot;[aud0d]&amp;quot; output-nr90.wav&#xA;c:ffmpeg -y -i trim.wav -filter_complex &amp;quot;[0:a]asendcmd=c='0.0 afftdn@aa sn start; 1.0 afftdn@aa sn stop',afftdn@aa=nr=1[aud0d]&amp;quot; -map &amp;quot;[aud0d]&amp;quot; output-nr1.wav&#xA;c:ffmpeg -y -i trim.wav -filter_complex &amp;quot;[0:a]asendcmd=c='0.0 afftdn@aa sn start; 1.0 afftdn@aa sn stop',afftdn@aa=nr=90:nf=-20[aud0d]&amp;quot; -map &amp;quot;[aud0d]&amp;quot; output-nr90-nf20.wav&#xA;c:ffmpeg -y -i trim.wav -filter_complex &amp;quot;[0:a]asendcmd=c='0.0 afftdn@aa sn start; 1.0 afftdn@aa sn stop',afftdn@aa=nr=1:nf=-20[aud0d]&amp;quot; -map &amp;quot;[aud0d]&amp;quot; output-nr1-nf20.wav&#xA;c:ffmpeg -y -i trim.wav -filter_complex &amp;quot;[0:a]asendcmd=c='0.0 afftdn@aa sn start; 1.0 afftdn@aa sn stop',afftdn@aa=nr=90:nf=-80[aud0d]&amp;quot; -map &amp;quot;[aud0d]&amp;quot; output-nr90-nf80.wav&#xA;c:ffmpeg -y -i trim.wav -filter_complex &amp;quot;[0:a]asendcmd=c='0.0 afftdn@aa sn start; 1.0 afftdn@aa sn stop',afftdn@aa=nr=1:nf=-80[aud0d]&amp;quot; -map &amp;quot;[aud0d]&amp;quot; output-nr1-nf80.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and for the most part I don't hear any noticeable difference.  However, with the filter 'afftdn@aa=nr=90:nf=-20' I hear what sounds like a 1-second reprieve from the noise at the very beginning of &lt;a href=&quot;https://drive.google.com/file/d/1VbcEuPaQ8NtB0WphG2fceDlM2kBse1kY/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;the audio&lt;/a&gt;, as if that noise was being filtered out while leaving all of the noise in the rest of the track.  Am I just using the wrong filter?  Is my noise not the type of noise that afftdn is effective on?  Or am I somehow misusing the filter so it's only filtering the first second?  For reference, here is the &lt;a href=&quot;https://drive.google.com/file/d/1CUj00QIF0iR_AgYZ_I2I_aVmYqJX5aHM/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;input track&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="10919" LastEditorUserId="10919" LastEditDate="2021-01-24T15:50:12.107" LastActivityDate="2021-01-24T15:50:58.310" Title="Sampling and using afftdn with ffmpeg - how with complex filters?" Tags="|ffmpeg|filter|noise|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="32769" PostTypeId="2" ParentId="27656" CreationDate="2020-12-01T12:28:19.773" Score="3" Body="&lt;p&gt;In addition to &amp;quot;visually lossless&amp;quot;, there's the concept of &amp;quot;visually almost lossless&amp;quot;:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&amp;quot;Visually almost lossless&amp;quot; is usually established by static side-by-side viewing. This is probably what the CRF is about, since it &amp;quot;looks lossless&amp;quot;. I believe Gyan's mention of &amp;quot;scrutiniz[ing] in fine detail&amp;quot; is about this one too.&lt;/li&gt;&#xA;&lt;li&gt;&amp;quot;Visually lossless&amp;quot; has a stricter requirement. It is established by a &amp;quot;flicker&amp;quot; test or a &amp;quot;panning&amp;quot; test. The former is the accepted standard under ISO/IEC 29170-2 written by the JPEG. The latter is a &lt;a href=&quot;https://www.researchgate.net/publication/317425815_Large_Scale_Subjective_Evaluation_of_Display_Stream_Compression&quot; rel=&quot;nofollow noreferrer&quot;&gt;proposal for addition&lt;/a&gt; used in an evaluation experiment for Display Stream Compression in DisplayPort. It is apparently more sensitive.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Although both measures are inevitably subjective, humans do appear quite consistent with their judgements as &lt;a href=&quot;https://www.researchgate.net/publication/317425815_Large_Scale_Subjective_Evaluation_of_Display_Stream_Compression&quot; rel=&quot;nofollow noreferrer&quot;&gt;the one large-scale experiment&lt;/a&gt; shows.&lt;/p&gt;&#xA;" OwnerUserId="33040" LastEditorUserId="33040" LastEditDate="2020-12-01T12:33:29.787" LastActivityDate="2020-12-01T12:33:29.787" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32770" PostTypeId="1" CreationDate="2020-12-01T19:06:15.577" Score="1" ViewCount="73" Body="&lt;p&gt;Take a look at the man in a tuxedo. To the right of the black leg, there is a bright vertical line.&lt;/p&gt;&#xA;&lt;p&gt;Is there some kind of filter in something like VirtualDub or Vapoursynth which could improve this aspect of the picture?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bq1in.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bq1in.jpg&quot; alt=&quot;Picture of a wedding cake exhibiting artefact from capture process or intrinsic to composite video, still frame taken from VHS tape&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="14026" LastEditorUserId="14026" LastEditDate="2020-12-14T16:00:44.397" LastActivityDate="2020-12-14T16:00:44.397" Title="Compensate or fix VHS artefacts in areas of high contrast" Tags="|video|video-capture|vhs|virtualdub|avisynth|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32771" PostTypeId="2" ParentId="26282" CreationDate="2020-12-01T19:21:33.300" Score="1" Body="&lt;p&gt;It depends. My setup is kind of peculiar, but works extremely well.&lt;/p&gt;&#xA;&lt;p&gt;Regular (decent, but consumer) VHS deck.&lt;/p&gt;&#xA;&lt;p&gt;SCART2HDMI box. The neat thing about these, is that they usually include a Time Base Corrector (TBC) and thus are much better than the regular USB dongles.&lt;/p&gt;&#xA;&lt;p&gt;Then, I used a cheap HDMI capture card for about $15 which takes the HDMI. It captures in 1280x720, which on the face of it looks like overkill. However, because it is so cheap, it only capture bad MJPEG format, which is blocky. Downscaled to for instance 720x576 (for PAL VHS) it looks very very good. The blockiness goes away.&lt;/p&gt;&#xA;&lt;p&gt;Should I capture at 720x576, the MJPEG compression shows as blocks.&lt;/p&gt;&#xA;" OwnerUserId="14026" LastActivityDate="2020-12-01T19:21:33.300" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32772" PostTypeId="2" ParentId="15168" CreationDate="2020-12-01T19:57:13.843" Score="1" Body="&lt;p&gt;This is because the frame rate of the pictures are not exact.&lt;/p&gt;&#xA;&lt;p&gt;The solution is to note how long the video is after capturing it.&lt;/p&gt;&#xA;&lt;p&gt;Then save the audio only, and stretch it to that length.&lt;/p&gt;&#xA;&lt;p&gt;Then put the audio and the video back together, for instance with mkvmerge.&lt;/p&gt;&#xA;" OwnerUserId="14026" LastActivityDate="2020-12-01T19:57:13.843" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32775" PostTypeId="1" CreationDate="2020-12-02T02:23:11.217" Score="1" ViewCount="279" Body="&lt;p&gt;When I use webcam as an input device, obs studio puts the webcam in the upper left corner of a big black area.  How to have only the webcam exported to file?&lt;/p&gt;&#xA;&lt;p&gt;Update: this is what I see when using OBS.  I cannot see the webcam input unless looking at the properties.  The background is black.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9l4jg.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9l4jg.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33051" LastEditorUserId="33051" LastEditDate="2020-12-02T17:34:46.620" LastActivityDate="2020-12-03T09:26:30.790" Title="OBS studio capture webcam only?" Tags="|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32776" PostTypeId="2" ParentId="32752" CreationDate="2020-12-02T05:11:49.197" Score="2" Body="&lt;p&gt;&lt;code&gt;[0:v][v0]&lt;/code&gt; and &lt;code&gt;[2:v][v2]&lt;/code&gt; don't contain any filter declaration, and thus ffmpeg complains. Insert whichever filter is desired in between the input and output pads.&lt;/p&gt;&#xA;&lt;p&gt;I suppose you meant to scale the heights of the 3 inputs to match. In which case,&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i in.mp4 -i in2.mkv -i in3.mkv \ -filter_complex &amp;quot;[0:v]scale=-1:1440[v0];[1:v]scale=-1:1440[v1];[2:v]scale=-1:1440[v2];[v0][v1][v2]hstack=inputs=3&amp;quot; -map &amp;quot;[v]&amp;quot; -map 1:a output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;on input processing with -filter_complex, you use this pattern:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;[input_number:v]operation[tmp_output_name]&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2020-12-04T08:04:32.437" LastActivityDate="2020-12-04T08:04:32.437" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32777" PostTypeId="2" ParentId="32775" CreationDate="2020-12-02T12:27:00.927" Score="1" Body="&lt;p&gt;You can grab the corners of the webcam object on the screen and expand it to fit the canvas.  Make sure the webcam source is the correct resolution (in the Sources column, right-click on Video Capture and click Properties, then check the Preset drop down).&lt;/p&gt;&#xA;&lt;p&gt;Also check the Base (canvas) resolution is the size you want in the Preferences - Video settings.&lt;/p&gt;&#xA;&lt;p&gt;Animated gif showing the process:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BPRT3.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BPRT3.gif&quot; alt=&quot;animated gif showing the process&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2020-12-03T09:26:30.790" LastActivityDate="2020-12-03T09:26:30.790" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32778" PostTypeId="2" ParentId="22598" CreationDate="2020-12-02T13:32:28.917" Score="0" Body="&lt;p&gt;I think it is possible to do live projection using &lt;a href=&quot;https://madmapper.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Mad Mapper&lt;/a&gt;, but fundamentally I think you won't get a usable result.&#xA;Sending a single HDMI output from your computer to a projector, and then projecting this across multiple different panels means the pixel resolution on the individual panels is going to be much lower.&lt;br /&gt;&#xA;Unless you have some sort of mammoth video card with multiple outputs, I'm not sure this would generate usable, readable output for the purpose you propose.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-12-02T13:32:28.917" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32779" PostTypeId="1" CreationDate="2020-12-02T19:21:55.063" Score="0" ViewCount="119" Body="&lt;p&gt;If I would like to convert hdr images to sdr, what values would be changed in the image data. So far i think ive understood that the bit depth has to be changed so for example from 12 bit to 8 bit you would divide by 16 (4096/256=16) and round up or down to quantasize the value. But is that it? Does luminance or chrominance or any other property of the image have to be changed? I think i found one source that said gamma stays the same at 2.4 while another source said that the gamma curve changes to better fit the extreme values. When i google this problem all i find are these functions used to tonemap the images but i cant find anything about how to use them.&lt;/p&gt;&#xA;" OwnerUserId="33058" LastActivityDate="2024-01-28T09:05:55.693" Title="How do HDR images differ from SDR images" Tags="|hdr|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32780" PostTypeId="1" CreationDate="2020-12-03T00:05:38.660" Score="1" ViewCount="70" Body="&lt;p&gt;Software: After Effects, Premiere Pro&lt;/p&gt;&#xA;&lt;p&gt;So I had a little bit of trouble with my main PC and can't get it fixed before the deadline of my client. I already had the final video ready and exported before the PC broke down, but the client asked if I could insert something at the beginning and end of the video. I have access to the source/raw files but re-rendering it all would take too long(If it works at all) on my laptop.&lt;/p&gt;&#xA;&lt;p&gt;If I set it up like [Intro][Original Video][Outro] and exported it in lossless HEVC, will there be a downgrade in quality of the Original Video? Also, does exporting to HEVC lossy but with higher bitrate than the original video help preserve the quality?&lt;/p&gt;&#xA;" OwnerUserId="33062" LastActivityDate="2020-12-03T00:05:38.660" Title="Does exporting to lossless HEVC prevent loss when re-exporting an already exported video file?" Tags="|premiere|compression|export|hevc|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32781" PostTypeId="1" CreationDate="2020-12-03T05:19:32.727" Score="0" ViewCount="39" Body="&lt;p&gt;On importing a transparent .mov file (Quicktime - PNG/QtAnimation- AAC/PCM) , the audio is not detected by the Videoeditors (Powerdirector17 &amp;lt; Davinci Resolve doesn't support the above format&amp;gt; ).&lt;/p&gt;&#xA;&lt;p&gt;Eventhough Powerdirector supports these formats, the audio doesn't play (&lt;a href=&quot;https://help.cyberlink.com/stat/help/powerdirector/18/enu/05_01_01_support_file_formats.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://help.cyberlink.com/stat/help/powerdirector/18/enu/05_01_01_support_file_formats.htm&lt;/a&gt;).&lt;/p&gt;&#xA;&lt;p&gt;Which Transparency supported Video formats + Audio formats combinations are commonly supported in Videoeditors ?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HKHYx.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HKHYx.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24346" LastEditorUserId="24346" LastEditDate="2020-12-03T10:58:44.940" LastActivityDate="2023-12-18T17:07:15.857" Title="Audio not detected with Transparent Video Formats (Quicktime - PNG/QtAnimation- AAC/PCM)" Tags="|audio|file-formats|alpha|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32782" PostTypeId="2" ParentId="32781" CreationDate="2020-12-03T09:29:46.860" Score="0" Body="&lt;p&gt;Don't know PowerDirector, but I would try exporting as ProRes 4444 with alpha (sometimes called 'Millions of colors+'.&#xA;This works with Adobe Premiere, Final Cut, Resolve and other editors fine.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-12-03T09:29:46.860" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32783" PostTypeId="1" CreationDate="2020-12-03T11:17:37.603" Score="1" ViewCount="341" Body="&lt;p&gt;I'm trying to trim a video in hour:minute:second:millisecond&#xA;format. But I use this command&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -ss 01.02.26.060 -i R.mp4 -to 01.02.28.785 -map 0 -c copy -avoid_negative_ts 1 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and i got this message&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.3.1 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with Android (6454773 based on r365631c2) clang version 9.0.8 (https://android.googlesource.com/toolchain/llvm-project 98c855489587874b2a325e7a516b99d838599c6f) (based on LLVM 9.0.8svn)&#xA;  configuration: --arch=armeabi-v7a --as=arm-linux-androideabi-clang --cc=arm-linux-androideabi-clang --cxx=arm-linux-androideabi-clang++ --cross-prefix=arm-linux-androideabi- --disable-indevs --disable-outdevs --enable-indev=lavfi --disable-static --disable-symver --enable-cross-compile --enable-gnutls --enable-gpl --enable-libass --enable-libdav1d --enable-libmp3lame --enable-libfreetype --enable-libvorbis --enable-libopus --enable-libx264 --enable-libx265 --enable-libxvid --enable-libvpx --enable-shared --enable-libsoxr --enable-libvidstab --enable-libwebp --prefix=/data/data/com.termux/files/usr --target-os=android --extra-libs=-landroid-glob --enable-neon&#xA;  libavutil      56. 51.100 / 56. 51.100&#xA;  libavcodec     58. 91.100 / 58. 91.100&#xA;  libavformat    58. 45.100 / 58. 45.100&#xA;  libavdevice    58. 10.100 / 58. 10.100&#xA;  libavfilter     7. 85.100 /  7. 85.100&#xA;  libswscale      5.  7.100 /  5.  7.100&#xA;  libswresample   3.  7.100 /  3.  7.100&#xA;  libpostproc    55.  7.100 / 55.  7.100&#xA;Invalid duration specification for ss: 01.02.26.060&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What changes do I need to trim video in Hour:Minute:second:millisecond&#xA;format?&lt;/p&gt;&#xA;" OwnerUserId="33063" LastEditorUserId="4426" LastEditDate="2020-12-03T12:12:19.147" LastActivityDate="2021-01-20T12:34:15.823" Title="Video trim in hour:minute:second:millisecond format" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32787" PostTypeId="1" CreationDate="2020-12-04T00:07:54.733" Score="0" ViewCount="72" Body="&lt;p&gt;I have some water splash elements I need to composite over log footage in After Effects before sending it to the colorist for grading.&lt;/p&gt;&#xA;&lt;p&gt;As I understand, the correct workflow is to convert the log footage with Cineon Converter to linear, composite the elements, and then I guess pre-compose everything and convert it &lt;em&gt;back&lt;/em&gt; to log with Cineon Converter and export it?&#xA;I'm not sure about this and all tutorials I could find are pretty vague.&lt;/p&gt;&#xA;&lt;p&gt;(For the output format I use Cineform 10-bit YUV).&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="30647" LastActivityDate="2020-12-04T00:07:54.733" Title="Correctly compositing linear RGB elements over log footage" Tags="|after-effects|colorspace|footage|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32788" PostTypeId="2" ParentId="16213" CreationDate="2020-12-04T09:16:44.050" Score="1" Body="&lt;p&gt;I have this issue forever...found a solution thanks to this website&#xA;&lt;a href=&quot;https://isaac-molina.com/downloads/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://isaac-molina.com/downloads/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;download his luts aplly the correct lut to an adjustment layer placed on top of you project (in my case convert mrec 709 g2.4 to sRGB g2.2) and then you get to see what you get as output, but inside the project viewer, so you can grade correctly.&lt;/p&gt;&#xA;&lt;p&gt;Good luck&lt;/p&gt;&#xA;" OwnerUserId="33077" LastActivityDate="2020-12-04T09:16:44.050" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32790" PostTypeId="2" ParentId="23858" CreationDate="2020-12-04T11:17:58.593" Score="0" Body="&lt;p&gt;Convert the reversed footage to ProRes, see if it fixes it.&lt;/p&gt;&#xA;&lt;p&gt;If it doesn't, switch to software only render, and see if this fixes it.&lt;/p&gt;&#xA;&lt;p&gt;Delete the cached files around the problem section each time.&lt;/p&gt;&#xA;&lt;p&gt;If it's a big complex project, render the reversed bit only in software, then insert the exported reversed files and switch back to hardware rendering.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-12-04T11:17:58.593" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32791" PostTypeId="2" ParentId="32743" CreationDate="2020-12-04T11:36:49.923" Score="1" Body="&lt;p&gt;You could try &lt;a href=&quot;http://granitebaysoftware.com/Products/ProductGBD.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;GBDeflicker&lt;/a&gt; to see if it improves the footage.&#xA;They have a free demo. It is designed for smoothing out time-lapses (and is good at this), but it might work on archive video?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-12-04T11:36:49.923" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32792" PostTypeId="2" ParentId="29675" CreationDate="2020-12-04T12:33:41.720" Score="0" Body="&lt;p&gt;Updating this answer as I've found a better method:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://fxhome.com/product/camtrackar&quot; rel=&quot;nofollow noreferrer&quot;&gt;CamTrackAR&lt;/a&gt; is excellent.  The paid version can generate camera tracks for After Effects and Blender.  Couple it with &lt;a href=&quot;https://hdreye.app/&quot; rel=&quot;nofollow noreferrer&quot;&gt;HDReye&lt;/a&gt; to make an HDRI.exr world &amp;quot;dome&amp;quot; and you can get some very convincing compositing using Blender and AE.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-04-28T18:47:09.200" LastActivityDate="2022-04-28T18:47:09.200" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32793" PostTypeId="2" ParentId="32523" CreationDate="2020-12-04T12:41:17.160" Score="1" Body="&lt;p&gt;Update - this is the closest thing I've found, but you need to use Unreal and have a fast graphics card:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/zZQu9f6U8zw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-12-04T12:41:17.160" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32794" PostTypeId="1" AcceptedAnswerId="32797" CreationDate="2020-12-04T17:09:53.573" Score="0" ViewCount="192" Body="&lt;p&gt;I am pretty new to ffmpeg, sorry. I am trying to compose a video from individual images. The images have size 2667 x 1500.&lt;/p&gt;&#xA;&lt;p&gt;The following command gives me an error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;quot;/usr/bin/ffmpeg&amp;quot; -y -f concat -safe 0 -i &amp;quot;/home/abc/def/data/tmp/gVQO7wUc.txt&amp;quot; -vf &amp;quot;pad=ih*16/9:ih:(ow-iw)/2:(oh-ih)/2,scale=1920:1080:flags=lanczos&amp;quot; -c:v libx264 -crf 18 -preset veryslow -pix_fmt yuv420p -movflags +faststart &amp;quot;/home/abc/def/data/tmp/964MX26P.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2.8.15 Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with gcc 4.8.5 (GCC) 20150623 (Red Hat 4.8.5-36)&#xA;  configuration: --prefix=/usr --bindir=/usr/bin --datadir=/usr/share/ffmpeg --incdir=/usr/include/ffmpeg --libdir=/usr/lib64 --mandir=/usr/share/man --arch=x86_64 --optflags='-O2 -g -pipe -Wall -Wp,-D_FORTIFY_SOURCE=2 -fexceptions -fstack-protector-strong --param=ssp-buffer-size=4 -grecord-gcc-switches -m64 -mtune=generic' --extra-ldflags='-Wl,-z,relro ' --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libvo-amrwbenc --enable-version3 --enable-bzlib --disable-crystalhd --enable-gnutls --enable-ladspa --enable-libass --enable-libcdio --enable-libdc1394 --enable-libfdk-aac --enable-nonfree --disable-indev=jack --enable-libfreetype --enable-libgsm --enable-libmp3lame --enable-openal --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libvorbis --enable-libv4l2 --enable-libx264 --enable-libx265 --enable-libxvid --enable-x11grab --enable-avfilter --enable-avresample --enable-postproc --enable-pthreads --disable-static --enable-shared --enable-gpl --disable-debug --disable-stripping --shlibdir=/usr/lib64 --enable-runtime-cpudetect&#xA;  libavutil      54. 31.100 / 54. 31.100&#xA;  libavcodec     56. 60.100 / 56. 60.100&#xA;  libavformat    56. 40.101 / 56. 40.101&#xA;  libavdevice    56.  4.100 / 56.  4.100&#xA;  libavfilter     5. 40.101 /  5. 40.101&#xA;  libavresample   2.  1.  0 /  2.  1.  0&#xA;  libswscale      3.  1.101 /  3.  1.101&#xA;  libswresample   1.  2.101 /  1.  2.101&#xA;  libpostproc    53.  3.100 / 53.  3.100&#xA;Input #0, concat, from '/home/showroom/companyshowroom/data/tmp/gVQO7wUc.txt':&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: png, rgb24(pc), 2667x1500 [SAR 7874:7874 DAR 889:500], 25 tbr, 25 tbn, 25 tbc&#xA;[Parsed_pad_0 @ 0x14466c0] Input area 0:0:2667:1500 not within the padded area 0:0:2666:1500 or zero-sized&#xA;[Parsed_pad_0 @ 0x14466c0] Failed to configure input pad on Parsed_pad_0&#xA;Error opening filters!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The input file looks as follows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffconcat version 1.0&#xA;file '/home/abc/def/uploads/slides/5fca45f5ad365/slide_001.png'&#xA;duration 9&#xA;file '/home/abc/def/uploads/slides/5fca45f5ad365/slide_005.png'&#xA;duration 2&#xA;file '/home/abc/def/uploads/slides/5fca45f5ad365/slide_006.png'&#xA;duration 2&#xA;file '/home/abc/def/uploads/slides/5fca45f5ad365/slide_011.png'&#xA;duration 18&#xA;file '/home/abc/def/uploads/slides/5fca45f5ad365/slide_021.png'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I assume the issue is that the images are have &amp;quot;odd&amp;quot; sizes - should be even only? Is there a way to scale them down within FFMPEG? Thanks!&lt;/p&gt;&#xA;" OwnerUserId="33085" LastActivityDate="2020-12-05T04:58:10.397" Title="FFMPEG shows error message" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32795" PostTypeId="1" AcceptedAnswerId="33697" CreationDate="2020-12-04T18:22:06.247" Score="0" ViewCount="361" Body="&lt;p&gt;I'm using ffmpeg to create screencasts.  The command looks like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f x11grab -framerate 30 \&#xA;    $(xwininfo | gawk 'match($0, /-geometry ([0-9]+x[0-9]+).([0-9]+).([0-9]+)/, a)\&#xA;      { print &amp;quot;-video_size &amp;quot; a[1] &amp;quot; -i +&amp;quot; a[2] &amp;quot;,&amp;quot; a[3] }') \&#xA;    screencast$(date +%H%M%S).mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;When I import those into Camtasia for editing, I get a video of the correct dimensions, but it shows only blackness.  I've found that I can make the import work if I re-encode the screencasts with handbrake.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;HandBrakeCLI -i screencast101253.mp4 -o screencast101253.m4v&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is what &lt;code&gt;ffprobe&lt;/code&gt; says this about the videos that handbrake creates:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'screencast101253.m4v':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    creation_time   : 2020-12-04T17:54:49.000000Z&#xA;    title           : screencast102753&#xA;    encoder         : HandBrake 1.2.2 2019022400&#xA;  Duration: 00:01:43.93, start: 0.000000, bitrate: 81 kb/s&#xA;    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, bt709), 1256x1080 [SAR 270:347 DAR 314:347], 77 kb/s, 30 fps, 30 tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-12-04T17:54:49.000000Z&#xA;      handler_name    : VideoHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My question is: how can I change the ffmpeg command so that it produces a Camtasia-compatible video in the first place--so that I don't have to wait on handbrake?&lt;/p&gt;&#xA;" OwnerUserId="33087" LastActivityDate="2022-08-07T17:24:58.893" Title="Can I use ffmpeg to encode a video for Camtasia import?" Tags="|ffmpeg|codec|conversion|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32797" PostTypeId="2" ParentId="32794" CreationDate="2020-12-05T04:58:10.397" Score="0" Body="&lt;p&gt;You can only pad frames to a size as large as or larger than the source size. In your case, 16/9 multiplier of 1500 is 2666.66 which is rounded down to 2666 and hence smaller than source width. Since your source aspect is so close, just skip the pad.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;&amp;quot;/usr/bin/ffmpeg&amp;quot; -y -f concat -safe 0 -i &amp;quot;/home/abc/def/data/tmp/gVQO7wUc.txt&amp;quot; -vf &amp;quot;scale=1920:1080:flags=lanczos,setsar=1&amp;quot; -c:v libx264 -crf 18 -preset veryslow -pix_fmt yuv420p -movflags +faststart &amp;quot;/home/abc/def/data/tmp/964MX26P.mp4&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-12-05T04:58:10.397" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32798" PostTypeId="2" ParentId="20935" CreationDate="2020-12-05T12:27:32.563" Score="4" Body="&lt;p&gt;I just went through a very similar use-case working with TS files.  MoritzLost has the key point but as &lt;code&gt;ffmpeg&lt;/code&gt; options can be quite difficult to sort out when you are first getting started, here is a more detailed answer.&lt;/p&gt;&#xA;&lt;h1&gt;Short Answer&lt;/h1&gt;&#xA;&lt;p&gt;For a single input mp4 file and single input SRT file, we can keep all streams from both files and merge them into a new mp4 container (only transcoding the subtitle stream...ie lossless on the audio/video) like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg &#xA;    -i input.mp4 \&#xA;    -i subtitle.srt \&#xA;    -map 0 \&#xA;    -map 1 \&#xA;    -codec copy \&#xA;    -scodec mov_text \&#xA;    output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If you have unknown stream types, multiple subtitle streams, or other things going on then this may not work and you might need to revise the options.&lt;/p&gt;&#xA;&lt;h1&gt;MP4 vs MKV container - limitations of mp4&lt;/h1&gt;&#xA;&lt;p&gt;You should know that the MP4 container does not support embedded &lt;code&gt;srt&lt;/code&gt; (subrip) streams.  It only supports &lt;code&gt;mov_text&lt;/code&gt; for soft-subs.  So we have to transcode the SRT to &lt;code&gt;mov_text&lt;/code&gt; or use hard-coded subs (where the subtitle text is encoded into the video stream directly and cannot be turned off).&lt;/p&gt;&#xA;&lt;p&gt;This is one of the reasons that I prefer the &lt;code&gt;mkv&lt;/code&gt; container format over &lt;code&gt;mp4&lt;/code&gt;.  It allows me to easily maintain multiple audio and subtitle streams with many different formats all within a single file (keep everything together).  Yes overall file size is larger for people that don't care about those extra audio/subs... but I don't share over the network and hard-disk space is cheap.&lt;/p&gt;&#xA;&lt;p&gt;Plex and VLC and most other modern media players have no trouble with MKV right out of the box...so something to think about whether you really want to use mp4 if you are someone that cares about soft-subtitles and keeping everything together (single file).&lt;/p&gt;&#xA;&lt;h1&gt;ffmpeg&lt;/h1&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg&lt;/code&gt; is a very powerful free/opensource tool.  The command line options can be confusing but once you understand how to use the &lt;code&gt;-map&lt;/code&gt; and &lt;code&gt;-codec&lt;/code&gt; options, you can already do a lot.  If you are semi-technical and do lots of video work it is worth learning how to use the command line on your OS and how to use tools like this.  Windows Services for Linux makes this easier than ever for windows users on Windows 10.  For Mac/Linux it has always been easy to install and run these tools.&lt;/p&gt;&#xA;&lt;h1&gt;How to mux multiple inputs into a single mp4 container&lt;/h1&gt;&#xA;&lt;p&gt;The following would take an input &lt;code&gt;mp4&lt;/code&gt; (or other) file and a second &lt;code&gt;srt&lt;/code&gt; input file, take all streams from both files and mux them into a new output.mp4 file.  We tell &lt;code&gt;ffmpeg&lt;/code&gt; to copy the audio/video streams (no transcoding or quality loss) and to convert any subtitle streams into &lt;code&gt;mov_text&lt;/code&gt; since that is the only type that &lt;code&gt;mp4&lt;/code&gt; container supports.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg &#xA;    -i input.mp4 \&#xA;    -i subtitle.srt \&#xA;    -map 0 \&#xA;    -map 1 \&#xA;    -codec copy \&#xA;    -scodec mov_text \&#xA;    output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Depending on how you run this on windows, the &lt;code&gt;\&lt;/code&gt; to continue the command on the next line may not work and you may need to remove the backslashes and condense the command into one without newlines.&lt;/p&gt;&#xA;&lt;p&gt;Again but with comments explaining the options.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -i input.mp4 \          # first input file (index 0)&#xA;    -i subtitle.srt \       # second input file (index 1)&#xA;    -map 0 \                # select all streams from first input file&#xA;    -map 1 \                # select all streams from second input file&#xA;    -codec copy \           # copy audio/video streams (no transcode)&#xA;    -scodec mov_text \      # transcode all subtitle streams to type mov_text&#xA;    output.mp4              # name of output file&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Running this command will show you output something like the following for a simple input &lt;code&gt;mp4&lt;/code&gt; with a single audio and video stream.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;  Stream #1:0 -&amp;gt; #0:2 (subrip (srt) -&amp;gt; mov_text (native))&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You can see it copies the first two streams (audio/video) from input &lt;code&gt;0&lt;/code&gt; (the first input) and does a conversion on the third stream from input &lt;code&gt;1&lt;/code&gt; (the second input...the srt file).&lt;/p&gt;&#xA;&lt;h1&gt;Alternatively, go from MP4+SRT to MKV with mkvtoolnix&lt;/h1&gt;&#xA;&lt;p&gt;If you aren't opposed to MKV containers, then there is no reason you can't just take the input mp4 and separate subtitle file and mux all the streams into a new MKV file instead.  This would also keep the SRT as an SRT and not transcode it into &lt;code&gt;mov_text&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Remember MP4 and MKV are just &amp;quot;containers&amp;quot; and so you can copy around the video/audio/subtitle streams from inside these containers without any transcoding (loss of data/quality)...as long as the destination container type supports that stream's codec.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mkvmerge \&#xA;    --output output.mkv \&#xA;    input.mp4 \&#xA;    subtitle.srt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In this case, because we are taking all streams from the input files and &lt;code&gt;mkvmerge&lt;/code&gt; doesn't do any transcoding, the command is much simpler.&lt;/p&gt;&#xA;&lt;p&gt;If it was me with your use-case I would just go to &lt;code&gt;mkv&lt;/code&gt; unless you are trying to build a file for a player that only supports mp4 and don't have any other option (ie get a different player).&lt;/p&gt;&#xA;&lt;h1&gt;References&lt;/h1&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikibooks.org/wiki/FFMPEG_An_Intermediate_Guide/subtitle_options#Set_Subtitle_Codec&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikibooks.org/wiki/FFMPEG_An_Intermediate_Guide/subtitle_options#Set_Subtitle_Codec&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33097" LastActivityDate="2020-12-05T12:27:32.563" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32801" PostTypeId="1" CreationDate="2020-12-06T14:07:35.223" Score="1" ViewCount="1610" Body="&lt;p&gt;I've been making a YouTube outro for my channel with blender recently.&lt;/p&gt;&#xA;&lt;p&gt;I exported the outro in blender using the QuickTime container together with the QT / QT Animation video codec at 60fps. Everything worked just fine until I tried to put the outro after a test video using Davinci Resolve 17. The test video I exported with Davinci at 30fps using the mp4 format and h.254 codec had weird line artifacts. I did a bit of googling and discovered that my problem could have something to do with a thing called interlacing.&#xA;I think it might be caused by the process that's &amp;quot;scaling down&amp;quot; a 60fps video to 30fps... But I am completely unsure how I can solve this problem...&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3JTow.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3JTow.png&quot; alt=&quot;The artifacts are visible in this screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="33106" LastActivityDate="2023-12-23T15:05:30.743" Title="Weird (interlacing?) artifacts in my rendered video" Tags="|davinci-resolve|blender|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32802" PostTypeId="2" ParentId="22059" CreationDate="2020-12-06T16:05:45.953" Score="2" Body="&lt;p&gt;Checking &lt;code&gt;color_primaries&lt;/code&gt; is the right approach. I use &lt;code&gt;ffprobe&lt;/code&gt; to get the JSON output. Then you can parse the JSON output instead of searching for a string in the normal output.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe -v error -show_streams -select_streams v:0 -of json -i test.mp4&#xA;{&#xA;    &amp;quot;streams&amp;quot;: [&#xA;        {&#xA;            &amp;quot;index&amp;quot;: 0,&#xA;            &amp;quot;codec_name&amp;quot;: &amp;quot;hevc&amp;quot;,&#xA;            &amp;quot;codec_long_name&amp;quot;: &amp;quot;H.265 / HEVC (High Efficiency Video Coding)&amp;quot;,&#xA;            &amp;quot;color_transfer&amp;quot;: &amp;quot;arib-std-b67&amp;quot;,&#xA;            &amp;quot;color_primaries&amp;quot;: &amp;quot;bt2020&amp;quot;,&#xA;            &amp;quot;refs&amp;quot;: 1,&#xA;            // …&#xA;       }&#xA;    ]&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33107" LastActivityDate="2020-12-06T16:05:45.953" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32803" PostTypeId="1" AcceptedAnswerId="32808" CreationDate="2020-12-06T23:59:17.753" Score="1" ViewCount="74" Body="&lt;p&gt;I am trying to render a 3 hour music loop with audio spectrum, and it takes me 16 hours to render. &lt;br/&gt;&#xA;How do I fasten it up?&lt;/p&gt;&#xA;" OwnerUserId="33090" LastActivityDate="2020-12-10T02:42:12.027" Title="How do I render faster in AE?" Tags="|after-effects|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32804" PostTypeId="1" AcceptedAnswerId="32931" CreationDate="2020-12-07T08:34:43.643" Score="0" ViewCount="269" Body="&lt;p&gt;Say I have two files &lt;code&gt;A.mkv&lt;/code&gt; and &lt;code&gt;B.mkv&lt;/code&gt; which are meant to be (told to me to be) the same content at the same quality. However my source tells me they suspect that there is a minor difference, but can't put their finger on it.&lt;/p&gt;&#xA;&lt;p&gt;I can extract and hash frames from the files like so:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;$ ffmpeg -i A.mkv -map 0:v -c copy -f md5 A.framemd5&#xA;$ ffmpeg -i B.mkv -map 0:v -c copy -f md5 B.framemd5&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then compare them with &lt;code&gt;diff&lt;/code&gt; or &lt;code&gt;git diff&lt;/code&gt; (I prefer the latter just because I know the options/defaults better) and see that there's 8798 different frames (out of roughly 230555) via &lt;code&gt;wc&lt;/code&gt; and some basic arithmetic. &lt;em&gt;However&lt;/em&gt;, if I now spend the time to decode these videos and get their framemd5 output, i.e.,&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;$ ffmpeg -i A.mkv -map 0:v -f md5 A.decoded.framemd5&#xA;$ ffmpeg -i B.mkv -map 0:v -f md5 B.decoded.framemd5&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;These logs are &lt;em&gt;exactly&lt;/em&gt; the same, content wise.&lt;/p&gt;&#xA;&lt;p&gt;Does this imply that visually, the two videos are the same, and that they just happen to be encoded slightly differently?&lt;/p&gt;&#xA;&lt;p&gt;More interestingly; reading the original diff into a python script and determining where exactly the differences lie, 3198 of them are only off by 1 unit in the presentation timestamp, another 3198 of them are only off by 1 unit in the duration time stamp, and the remaining 2414 actually have differences in their hashes and size.&lt;/p&gt;&#xA;&lt;p&gt;If this does not imply that visually the two videos are the same, is there any way to extract frames that I wish by their DTS/PTS and compare them using an image filter (or some filter + frame stitching method directly built in to ffmpeg?)&lt;/p&gt;&#xA;&lt;p&gt;(Before anyone asks, the audio content, both copied and decoded, has no differences in the framemd5 logs nor the md5 hash, and as mentioned in the sample above, I'm only hashing the video stream for the purposes of this question).&lt;/p&gt;&#xA;&lt;p&gt;Note in case it matters, because I've found conflicting reports about FFmpeg trashing HDR metadata, both files are HDR consisting of the same color space / primaries / bit depth / so on (in case this can cause the result I'm referencing above with the decoded streams).&lt;/p&gt;&#xA;" OwnerUserId="33114" LastActivityDate="2020-12-25T04:45:21.253" Title="Are two videos &quot;identical&quot; if their decoded data is the same, but not the encoded data?" Tags="|ffmpeg|analysis|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32805" PostTypeId="1" CreationDate="2020-12-04T18:12:28.163" Score="1" ViewCount="374" Body="&lt;p&gt;One of the most maddening things about my workflow in After Effects and Premiere is that whenever I record a new piece of footage (e.g. recording a new .mp4 in OBS) or create a new image asset (e.g. saving a new .png from Photoshop), I have to manually import &lt;em&gt;that specific file&lt;/em&gt; into my project.&lt;/p&gt;&#xA;&lt;p&gt;It's a given that anybody who's working in these programs is going to have the source assets for their project organized in a single, sensible folder structure on disk. For example:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;myproject/myproject.prproj&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;myproject/footage/010_somefile.mp4&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;myproject/footage/020_anotherfile.mp4&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Then, within &lt;code&gt;myproject.prpoj&lt;/code&gt;, I've imported those assets in a way that mirrors their structure on disk: I make a bin called &amp;quot;footage&amp;quot;, then import the video files from my &lt;code&gt;footage&lt;/code&gt; directory into that bin.&lt;/p&gt;&#xA;&lt;p&gt;If I record a new file called &lt;code&gt;030_yetanotherfile.mp4&lt;/code&gt; and place it into my footage directory, I then have to take the extra step of manually importing it into Premiere (or After Effects, depending on where I'm working). I've already put thought and effort into how my source files are structured on disk, so it's extremely frustrating to have to waste time manually keeping my project files in sync.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to have Premiere and/or After Effects automatically import newly-added source files? I just want to be able to import a &lt;em&gt;folder&lt;/em&gt; and have the program automatically pick up changes from disk, as opposed to having to manually pick individual files ad nauseum.&lt;/p&gt;&#xA;" OwnerDisplayName="awforsythe" LastActivityDate="2023-12-23T03:06:35.723" Title="Can I import an entire folder into After Effects and/or Premiere, in such a way that newly-created files will be imported automatically?" Tags="|workflow|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32806" PostTypeId="2" ParentId="15645" CreationDate="2020-12-07T09:27:25.313" Score="0" Body="&lt;p&gt;You can author a Bluray structure and write it to a DVD, and &lt;em&gt;most&lt;/em&gt; bluray players will &amp;quot;mistake&amp;quot; it for a Bluray and play it nicely.&lt;/p&gt;&#xA;&lt;p&gt;A DVD player though, will not be able to make any sense of it.&lt;/p&gt;&#xA;" OwnerUserId="14026" LastActivityDate="2020-12-07T09:27:25.313" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32807" PostTypeId="2" ParentId="19939" CreationDate="2020-12-07T09:35:41.003" Score="1" Body="&lt;p&gt;Yes.&lt;/p&gt;&#xA;&lt;p&gt;Almost all Bluray players will play a UDF v2.5 with a movie on it, even if the physical media is a DVD.&lt;/p&gt;&#xA;&lt;p&gt;Something to keep in mind is that you can also encode in 720p, which is still &lt;em&gt;much&lt;/em&gt; better than DVD resolution, which will let you can cram even more BluRay contents onto a DVD medium.&lt;/p&gt;&#xA;&lt;p&gt;Another twist is to encode the movie as AVCHD, which was originally meant for HD camcorders recording to DVDs. Many DVD (!) players and all Bluray players are compatible with this format, so if you encode your movie in this format, you have the unexpected benefit that it will work not only in Bluray players but in many DVD players, too.&lt;/p&gt;&#xA;" OwnerUserId="14026" LastEditorUserId="14026" LastEditDate="2023-04-27T13:04:45.570" LastActivityDate="2023-04-27T13:04:45.570" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32808" PostTypeId="2" ParentId="32803" CreationDate="2020-12-07T13:58:06.123" Score="1" Body="&lt;p&gt;Many things play a part in the time required for a render. The most significant are:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Your Hardware (Ram, CPU and GPU are the most important parts)&lt;/li&gt;&#xA;&lt;li&gt;The resolution of your composition&lt;/li&gt;&#xA;&lt;li&gt;The Framerate of your composition&lt;/li&gt;&#xA;&lt;li&gt;The Effects used and how &amp;quot;expensive&amp;quot; they are on the hardware&lt;/li&gt;&#xA;&lt;li&gt;The Codec and Container you're using (like prores422 in .mov or h264 in .mp4)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;First off, check how much RAM is dedicated to After-Effects in its preferences. You should at least dedicate half your RAM to AE. If it's less than 8GB, you might want to consider getting more RAM. Also, check if you have hardware acceleration enabled. It's usually called &amp;quot;CUDA&amp;quot; for Nvidia graphics cards and could increase the speed of your rendering.&#xA;Next, check your resolution. Audio-Spectrum videos should be alright in 1080p, so don't render in 4k or 6k.&#xA;A 3 Hour video does require a rendertime of about 16 hours though, when you use an expensive effect such as an audio spectrum. If you really wanna cut down the time, you'd need a render-farm, I assume...&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-12-07T13:58:06.123" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32809" PostTypeId="2" ParentId="32805" CreationDate="2020-12-07T14:21:51.180" Score="0" Body="&lt;p&gt;I think the Pro IO plugin allows you to have &amp;quot;live bins&amp;quot;, so as you add a file, it appears in After Effects etc.. I haven't used it though.&#xA;&lt;a href=&quot;https://aescripts.com/pro-io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://aescripts.com/pro-io/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-12-07T14:21:51.180" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32811" PostTypeId="1" AcceptedAnswerId="32825" CreationDate="2020-12-08T09:45:13.797" Score="1" ViewCount="109" Body="&lt;p&gt;I understand that it is a newbie question and if googled there are tons of articles regarding this, yet I am a bit confused with the answers given.&lt;/p&gt;&#xA;&lt;p&gt;So, in every video post production there is almost always some color correction. In this case, why is white balance correction necessary? Especially if a color card is used and the colors of the video are adjusted to the card, why &amp;quot;bother&amp;quot; with the white balance?&lt;/p&gt;&#xA;&lt;p&gt;Yet, I have seen videos concerning video editing and I noticed that both white balance and color correction appear, with WB preceding.&lt;/p&gt;&#xA;&lt;p&gt;Finally, is there a standard procedure regarding the work flow of the color adjustment?&lt;/p&gt;&#xA;&lt;p&gt;Thank you in advance.&lt;/p&gt;&#xA;" OwnerUserId="32019" LastActivityDate="2020-12-10T02:36:28.913" Title="White balance vs color correction" Tags="|color-correction|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32812" PostTypeId="2" ParentId="32801" CreationDate="2020-12-08T09:47:03.580" Score="0" Body="&lt;p&gt;It is very likely that you have exported your render not as progressive but as interlaced. This would explain the strange artifacts you're experiencing. You can try to deinterlace your footage (a quick google search should prompt you with viable methods) or you might need to export your shot again, but as progressive. Interlaced footage was used to minimize the data required for a fluid motion picture broadcast for TV, there is little to no use in our field of use.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2020-12-08T09:47:03.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32813" PostTypeId="2" ParentId="32811" CreationDate="2020-12-08T10:20:55.363" Score="0" Body="&lt;p&gt;You can only correct your color this much. Depending on the codec and container you are recording in, you will encounter problems with compression along the way. If you set the white balance drastically wrong and try to pull it back with lumetri, the colors will start to break apart unless you were recording in a lossless or near-lossless codec (such as ProresRaw or BlackMagicRaw). It's always advisable to set your white-balance in camera, although you can save it in post, since some codecs and filetypes may lead to issues regarding bit-depth and color-subsampling along the way. If you know what you're doing and are recording in RAW for example, you may disregard white-balance. I would not recommend it though.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastEditorUserId="4426" LastEditDate="2020-12-08T11:03:33.790" LastActivityDate="2020-12-08T11:03:33.790" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32815" PostTypeId="1" CreationDate="2020-12-08T17:55:30.460" Score="0" ViewCount="417" Body="&lt;p&gt;I'm pretty much a novice video editor especially on Linux. I'm looking to take a bunch of old home videos I captured using ffmpeg and clean them up as painlessly/automatically as possible. At this point I'm just more confused than anything else as to what to use. I have Ubuntu Studio 20.04 on an older gaming desktop and have messed around a bit with Kdenlive and Openshot, but have been disappointed trying to remove noise and deinterlace.&lt;/p&gt;&#xA;&lt;p&gt;Any advice is appreciated, I'm not committed to open source, I could switch to Windows 10 if that's a better idea.&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="33128" LastActivityDate="2020-12-08T17:55:30.460" Title="Converting/filtering/deinterlacing VHS captures on Linux" Tags="|video-capture|filter|linux|vhs|kdenlive|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32824" PostTypeId="1" CreationDate="2020-12-09T22:25:04.330" Score="1" ViewCount="220" Body="&lt;p&gt;I have a number of videos that contain sound sequences that repeat with a corresponding video freeze. I have an example clip that contains a sound sequence from 51.194s -- 60.133s that repeats again from  60.157s--69.096s with a corresponding video freeze that consists of a single frame at 61.144s with next frame coming nearly 9 seconds later at 70.149s.&lt;/p&gt;&#xA;&lt;p&gt;I've managed to cobble together a perl script that will find and repair the erroes in this particular sample. The repair was to simply delete the second sound sequence (51.194s -- 60.133s) and reduce the following audio time stamps by ~8.9s and to reduce the video timestamps after 61.144s by the same 8.9s.&lt;/p&gt;&#xA;&lt;p&gt;As I said my script is simply cobbled toghether and before putting more work into it, I would like to explore options with ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;I've had luck using freezedetect to find the frozen video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.flv -vf &amp;quot;freezedetect=n=0:d=2&amp;quot;  -f null -&#xA;[freezedetect @ 0x5632dc441f00] lavfi.freezedetect.freeze_start: 61.14421.5x    &#xA;[freezedetect @ 0x5632dc441f00] lavfi.freezedetect.freeze_duration: 9.005&#xA;[freezedetect @ 0x5632dc441f00] lavfi.freezedetect.freeze_end: 70.149&#xA;[freezedetect @ 0x5632dc441f00] lavfi.freezedetect.freeze_start: 116.1112.2x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And I've attempted to use trim/atrim to repair the file -- with no luck:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.flv -filter_complex&#xA;'[0:v] trim=end=61.115,trim=start=70.107, setpts=PTS-STARTPTS [v0];&#xA; [0:a] atrim=end=60.158,atrim=start=69.121,asetpts=PTS-STARTPTS [a0]'&#xA; -map [v0] -map [a0] output.flv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This produced a short, unplayable file. But even if this had worked, I'd need some way to detect the duplicated audio first.&lt;/p&gt;&#xA;&lt;p&gt;So is there a filter that will detect and repair the problems I've described above? Something like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i broken.mp4 -vf {dup remove filter} fixed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33135" LastActivityDate="2020-12-09T22:25:04.330" Title="Finding and repairing duplicate sound with ffmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32825" PostTypeId="2" ParentId="32811" CreationDate="2020-12-10T02:36:28.913" Score="2" Body="&lt;p&gt;Regarding the standard procedure, the short version is:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;get the colour looking correct but neutral, which is when you do corrections for white balance and exposure problems. The footage will look &amp;quot;natural&amp;quot; at this point.&lt;/li&gt;&#xA;&lt;li&gt;match the colour between shots (this is really part of step 1).&lt;/li&gt;&#xA;&lt;li&gt;apply a creative colour grade, to achieve the look that you want. You can do this on a scene by scene basis, rather than shot-by-shot.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Usually getting the colour looking natural is the best place to start when applying a &amp;quot;look&amp;quot;. It's very hard to get a consistent look between shots that are not corrected to match each other.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-12-10T02:36:28.913" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32826" PostTypeId="2" ParentId="32803" CreationDate="2020-12-10T02:42:12.027" Score="1" Body="&lt;p&gt;Use aerender and start as many instances as your machine can support without running out of RAM or GPU RAM.&lt;/p&gt;&#xA;&lt;p&gt;By default you'll see that After Effects doesn't always utilise all the power of your CPU. It is not multithreaded so most of your processors are sitting idle while you're waiting for it to render. However aerender (the command-line renderer that comes with AE) can be run multiple times, each instance working on an independant frame in parallel.&lt;/p&gt;&#xA;&lt;p&gt;To use this method you need to be rendering to an image sequence (that's the best way to render anyway), and using the multi-machine render settings.&lt;/p&gt;&#xA;&lt;p&gt;I document how I got a 4000% speed increase in a long render &lt;a href=&quot;https://blob.pureandapplied.com.au/finally-managed-to-peg-my-cpu/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-12-10T02:42:12.027" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32827" PostTypeId="1" CreationDate="2020-12-10T04:39:08.993" Score="1" ViewCount="220" Body="&lt;p&gt;I am attempting to concatenate a bunch of video clips using ffmpeg.  The command line I am using is:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i mylist.txt -c copy output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;One of the video clips in particular appears corrupted and blocky in the output file, or sometimes doesn't even display (VLC).  The video clip plays fine (VLC) on its own.  The details are below.  Note, it is 2.02s in length; that is expected.&lt;/p&gt;&#xA;&lt;p&gt;Any advice?  Do I need to re-encode this video somehow and to what?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'master3-1.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.18.104&#xA;  Duration: 00:00:02.02, start: 0.000000, bitrate: 1789 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], 1670 kb/s, 15 fps, 15 tbr, 15360 tbn, 30 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 129 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33144" LastActivityDate="2020-12-10T04:39:08.993" Title="ffmpeg and blocky corrupted video clip after concatenation" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32828" PostTypeId="1" CreationDate="2020-12-11T01:11:27.680" Score="0" ViewCount="1627" Body="&lt;p&gt;I have a lot of layers(100 layers) And I want to arrange them according to the name.&lt;/p&gt;&#xA;" OwnerUserId="31900" LastActivityDate="2020-12-11T12:43:17.567" Title="how to Order layers by name in after effects" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32829" PostTypeId="2" ParentId="32828" CreationDate="2020-12-11T04:58:14.033" Score="1" Body="&lt;p&gt;To sort layers by name, you either have to name them using a numerical prefix of some sort or use a script to do it.&lt;/p&gt;&#xA;&lt;p&gt;Ordering by name using numbers: &lt;a href=&quot;https://graphicdesign.stackexchange.com/questions/131728/in-after-effects-sort-project-layers-by-name-numerical-order&quot;&gt;https://graphicdesign.stackexchange.com/questions/131728/in-after-effects-sort-project-layers-by-name-numerical-order&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here is a script: &lt;a href=&quot;https://github.com/ff6347/after-effects-script-snippets/blob/master/automagically-sort-layers-by-name.jsx&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/ff6347/after-effects-script-snippets/blob/master/automagically-sort-layers-by-name.jsx&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33152" LastActivityDate="2020-12-11T04:58:14.033" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32832" PostTypeId="2" ParentId="32828" CreationDate="2020-12-11T12:43:17.567" Score="0" Body="&lt;p&gt;The excellent and free Kinda Sorta script can do this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;http://aescripts.com/rd-kinda-sorta/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://aescripts.com/rd-kinda-sorta/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It is part of a really useful set of free scripts:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;http://www.redefinery.com/ae/rd_scripts/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.redefinery.com/ae/rd_scripts/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-12-11T12:43:17.567" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32835" PostTypeId="1" CreationDate="2020-12-11T20:20:30.860" Score="1" ViewCount="15" Body="&lt;p&gt;I want one camera behind me (only for motion tracking), and one before (I want to show the scene only from the front view, but I need the camera behind for &amp;quot;wings&amp;quot; motion tracking.&lt;/p&gt;&#xA;" OwnerUserId="33167" LastActivityDate="2020-12-11T20:20:30.860" Title="Is it possible to use two cameras in after effects for motion tracing" Tags="|after-effects|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32836" PostTypeId="2" ParentId="24617" CreationDate="2020-12-12T10:54:01.710" Score="0" Body="&lt;p&gt;If the source material is in stereo, but you are rendering any part of the chain in mono, it could be a stereo phasing issue. Maybe some sections of the audio track are in phase and others out of phase?   Make sure everything is in stereo, and that the left channels are panned left, the right channels are panned right throughout.&#xA;If you mix out-of-phase stereo audio down to mono, it will cancel itself out, resulting in lower output, or sometimes no output.&lt;/p&gt;&#xA;&lt;p&gt;See this answer for more:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/32473/premier-pro-audio-quality-poor-and-muffled-after-export/32497#32497&quot;&gt;Premier Pro Audio Quality Poor and Muffled After Export&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-12-12T10:54:01.710" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32838" PostTypeId="2" ParentId="32627" CreationDate="2020-12-12T17:30:11.217" Score="2" Body="&lt;p&gt;I can think you should try this project, &lt;a href=&quot;https://github.com/nielstenboom/recurring-content-detector&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/nielstenboom/recurring-content-detector&lt;/a&gt;. I would recommend trying the Color Histogram or Color Texture Motion algorithms. The Convoluted Neural Network one is quite compute intensive and the results haven’t been that good for me. Since your looking for such a small clip, you might need to reduce the frame skip parameter to get more accurate timings.&lt;/p&gt;&#xA;" OwnerUserId="33175" LastActivityDate="2020-12-12T17:30:11.217" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32842" PostTypeId="1" CreationDate="2020-12-13T00:58:39.107" Score="0" ViewCount="1441" Body="&lt;p&gt;I'm trying to do an infinite loop RTMP stream on a CentOS 7 server and it seems like FFmpeg would be the best way to accomplish that.  However, I cannot seem to coax FFmpeg into doing it despite following different variations of parameters I've found on StackExchange and elsewhere. I started by trying to simply have FFmpeg go through a playlist of H.264/AAC MP4 files that are remuxed from OBS Studio. It couldn't cleanly jump from MP4 file to MP4 file, giving errors such as:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; [mpegts @ 0x1e5b860] DTS discontinuity in stream 0: packet 30 with DTS 126030, packet 31 with DTS 128970&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;After that failed, I converted all the files from MP4 to TS using this command (as mentioned in a few places &lt;a href=&quot;https://video.stackexchange.com/questions/12905/repeat-loop-input-video-with-ffmpeg/17389#17389&quot;&gt;such as here&lt;/a&gt;):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.mp4 -c copy -bsf:v h264_mp4toannexb -f mpegts intermediate1.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I can get FFmpeg to stream successfully once through a playlist after doing that, using this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -stream_loop -1 -re -f concat -i list.txt -c copy -f flv -flvflags no_duration_filesize -bsf:a aac_adtstoasc -preset veryfast &amp;quot;rtmp://{RTMP Server}/static/{My Streaming Key}&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, it still stops after it gets through the playlist once. Is there something I'm missing here? Here's the full output of a session with those parameters:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 3.4.8 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 4.8.5 (GCC) 20150623 (Red Hat 4.8.5-39)&#xA;  configuration: --prefix=/usr --bindir=/usr/bin --datadir=/usr/share/ffmpeg --docdir=/usr/share/doc/ffmpeg --incdir=/usr/include/ffmpeg --libdir=/usr/lib64 --mandir=/usr/share/man --arch=x86_64 --optflags='-O2 -g -pipe -Wall -Wp,-D_FORTIFY_SOURCE=2 -fexceptions -fstack-protector-strong --param=ssp-buffer-size=4 -grecord-gcc-switches -m64 -mtune=generic' --extra-ldflags='-Wl,-z,relro ' --extra-cflags=' ' --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libvo-amrwbenc --enable-version3 --enable-bzlib --disable-crystalhd --enable-fontconfig --enable-gcrypt --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libcdio --enable-libdrm --enable-indev=jack --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libmp3lame --enable-nvenc --enable-openal --enable-opencl --enable-opengl --enable-libopenjpeg --enable-libopus --disable-encoder=libopus --enable-libpulse --enable-librsvg --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libvorbis --enable-libv4l2 --enable-libvidstab --enable-libvpx --enable-libx264 --enable-libx265 --enable-libxvid --enable-libzvbi --enable-avfilter --enable-avresample --enable-libmodplug --enable-postproc --enable-pthreads --disable-static --enable-shared --enable-gpl --disable-debug --disable-stripping --shlibdir=/usr/lib64 --enable-libmfx --enable-runtime-cpudetect&#xA;  libavutil      55. 78.100 / 55. 78.100&#xA;  libavcodec     57.107.100 / 57.107.100&#xA;  libavformat    57. 83.100 / 57. 83.100&#xA;  libavdevice    57. 10.100 / 57. 10.100&#xA;  libavfilter     6.107.100 /  6.107.100&#xA;  libavresample   3.  7.  0 /  3.  7.  0&#xA;  libswscale      4.  8.100 /  4.  8.100&#xA;  libswresample   2.  9.100 /  2.  9.100&#xA;  libpostproc    54.  7.100 / 54.  7.100&#xA;[mpegts @ 0x133a100] DTS discontinuity in stream 0: packet 41 with DTS 126041, packet 42 with DTS 129003&#xA;[concat @ 0x1330e80] DTS discontinuity in stream 0: packet 41 with DTS -5965, packet 42 with DTS -3003&#xA;Input #0, concat, from 'list.txt':&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(tv, bt709, progressive), 1280x720, 240 fps, 240 tbr, 90k tbn, 60k tbc&#xA;    Stream #0:1(und): Audio: aac (LC) ([15][0][0][0] / 0x000F), 48000 Hz, stereo, fltp, 265 kb/s&#xA;Output #0, flv, to 'rtmp://{RTMP Server}/static/{My Streaming Key}':&#xA;  Metadata:&#xA;    encoder         : Lavf57.83.100&#xA;    Stream #0:0: Video: h264 (High) ([7][0][0][0] / 0x0007), yuv420p(tv, bt709, progressive), 1280x720, q=2-31, 240 fps, 240 tbr, 1k tbn, 90k tbc&#xA;    Stream #0:1(und): Audio: aac (LC) ([10][0][0][0] / 0x000A), 48000 Hz, stereo, fltp, 265 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[mpegts @ 0x1835860] DTS discontinuity in stream 0: packet 30 with DTS 126030, packet 31 with DTS 128970&#xA;Error while filtering: Illegal seek90065kB time=00:04:46.19 bitrate=2578.0kbits/s speed=   1x    &#xA;[flv @ 0x140b7c0] Failed to update header with correct duration.&#xA;[flv @ 0x140b7c0] Failed to update header with correct filesize.&#xA;frame= 8658 fps= 30 q=-1.0 Lsize=   90067kB time=00:04:46.22 bitrate=2577.8kbits/s speed=   1x    &#xA;video:83684kB audio:5989kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.439653%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;There are a couple of errors you can see during the stream (a few lines up from the bottom), but then it keeps chugging along, streams some more with what you see on the very last line and then appears to exit without an error.&lt;/p&gt;&#xA;&lt;p&gt;I'd like to not only get it working, but ideally do so in a way that keeps the source files in H.264/AAC or something else that makes the job easy on FFmpeg, so that FFmpeg doesn't have to repeatedly re-transcode the same files each time it loops. (Both to avoid degrading the video more than necessary and also to make the work as light on my server, which has other jobs to do simultaneously.)&lt;/p&gt;&#xA;&lt;p&gt;I'm open to using something other than FFmpeg if it can run on a headless CentOS 7 server, if I'm missing a more obvious tool to use.&lt;/p&gt;&#xA;" OwnerUserId="33180" LastEditorUserId="33180" LastEditDate="2020-12-13T05:29:39.650" LastActivityDate="2020-12-13T05:29:39.650" Title="Infinite loop RTMP Stream Using FFmpeg or Equivalent" Tags="|ffmpeg|streaming|rtmp|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32843" PostTypeId="1" CreationDate="2020-12-13T07:10:21.453" Score="1" ViewCount="11" Body="&lt;p&gt;I am studying the Change Color effect in After Effects. Do you know what the math is behind the calculation of Match Tolerance?&#xA;I read the documentation and what I gathered from it was that, say Match Tolerance is 10%, then any color that is withint 10% of the 'Color to Change' will also be included and modified accordingly.&lt;/p&gt;&#xA;&lt;p&gt;However, how does the math for Match Tolerance work? I tried to do the calculation myself by calculating percentages from the hex values, but was not able to work the math out.&lt;/p&gt;&#xA;" OwnerUserId="33182" LastActivityDate="2020-12-13T07:10:21.453" Title="How is Match Tolerance calculated for the Change Color Effect?" Tags="|after-effects|effects|special-effects|visual-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32844" PostTypeId="2" ParentId="30769" CreationDate="2020-12-13T07:25:38.140" Score="0" Body="&lt;p&gt;It's basically related to your graphics driver, if you were not getting those lines in previous versions then better you to Roll back your graphics driver to old one, or update/wait for newer version to get released, I was having the same issue I tried many things didn't work and I just left hope but after somedays I opened Adobe premier and saw there were no green lines.&lt;/p&gt;&#xA;" OwnerUserId="33184" LastActivityDate="2020-12-13T07:25:38.140" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32846" PostTypeId="1" CreationDate="2020-12-13T10:18:11.640" Score="2" ViewCount="307" Body="&lt;p&gt;I am using my windows laptop for video editing and recently came across this incredibly time saving feature:&lt;/p&gt;&#xA;&lt;p&gt;Cut &amp;amp; Ripple Delete, which basically does 3 actions in one. You can see in this guide at 4:48 how this command is used: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/lAk_QydS87E?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Unfortunately there seem to be problems with the german keyboard. The english shortcut is:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Ctrl + Shift + [&lt;/strong&gt;&#xA;But it doesn't work on a german keyboard. The problem seems to be that on a german keyboard you have to press an extra &lt;strong&gt;Alt&lt;/strong&gt; key to be able to type &lt;strong&gt;[&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;The keyboard customization settings in Resolve 16 do not even show this command (Cut &amp;amp; Ripple Delete). I don't know if I'm stupid or what but I am having tremendous issues setting a new shortcut for ANY command.&lt;/p&gt;&#xA;&lt;p&gt;Does a shortcut for Cut &amp;amp; Ripple Delete exist on the german keyboard that actually works? Can I make this work in Resolve without setting my system keyboard localization to english?&lt;/p&gt;&#xA;" OwnerUserId="33187" LastActivityDate="2020-12-13T10:35:45.887" Title="How to Cut &amp; Ripple Delete on a german laptop keyboard?" Tags="|davinci-resolve|keyboard-shortcut|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32847" PostTypeId="2" ParentId="32846" CreationDate="2020-12-13T10:35:45.887" Score="2" Body="&lt;p&gt;I figured it out. The commands you're looking for are:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;End to Playhead&lt;/strong&gt; - in Application/Trim/Ripple&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Start to Playhead&lt;/strong&gt; - in Application/Trim/Ripple&lt;/p&gt;&#xA;&lt;p&gt;Put them on some shortcut that is actually working on the german keyboard.&lt;/p&gt;&#xA;" OwnerUserId="33187" LastActivityDate="2020-12-13T10:35:45.887" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32848" PostTypeId="1" CreationDate="2020-12-13T15:28:12.207" Score="1" ViewCount="573" Body="&lt;p&gt;I am new to After Effects. I want to write a linear expression on [Audio Amplitude] that is converted from an audio file based on its value as the below:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; linear(value,0,15,0,0);&#xA; linear(value,16,20,30,80);&#xA; linear(value,21,30,80,100);    &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So basically I expect when value is between 0  to 15 it becomes 0 when it reach between 16,20 it becomes 30 to 80 ,....&#xA;However, it looks it only executes the first linear(0,15) and anything is map to 0,0&lt;/p&gt;&#xA;&lt;p&gt;How could I achieve this?&lt;/p&gt;&#xA;" OwnerUserId="33188" LastEditorUserId="4426" LastEditDate="2021-01-15T16:44:13.293" LastActivityDate="2024-01-30T22:08:21.020" Title="After effect using multiple linear expression based on its value" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32850" PostTypeId="2" ParentId="32485" CreationDate="2020-12-13T17:25:55.213" Score="1" Body="&lt;p&gt;Four big factors in your results...&lt;/p&gt;&#xA;&lt;p&gt;About 10 years ago, I was using HDV, which is not only 4:2:0, but is actually 1440 pixels wide, stretched to 1920 wide. At the time, I wasn't always happy with the results, though recently I went back and revisited it with more experience and better tools and I was actually happy with the results.&lt;/p&gt;&#xA;&lt;p&gt;Four things to consider:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Light things well. If your green screen is unevenly lit or has wrinkles or different colors in it, you're starting with problems that 4:2:0 will make much harder to fix. Work harder to get it right and that work will provide benefits throughout the rest of the process. (This also includes the foreground -- though watch spill and shadows on the background. If the foreground is too bright, you'll end up compensating and making the background too dark, and vice-versa, and too bright causes saturation problems and too dark creates noise and saturation problems.)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Avoid spill and reflection on the subject. Make sure the subject is far enough from the green screen and perhaps has some rim lighting to cancel any green spill. Also, try to avoid shiny materials near edges. For example, I recently did something that involved a puppet that had whiskers that were really reflective and reflected a lot of the green. Of course, this is difficult if you're on a budget and have a smaller screen and fewer lights. Also make sure you don't have green (if using green screen) in the foreground. Watch clothing, etc, that is in the same area of the color wheel as your green screen.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you have flexibility of background, take advantage of that to help hide border issues. You're likely to get black, white, gray borders after keying, so depending on what's happening, if the background can help hide this, that's helpful. (Of course, if you have a specific background called out in advance -- a particular photo of a particular location rather than a kind of location -- you can't do this.)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Use the best software for keying that you can, and don't expect a single key to handle it all. You may use one key for someone's head, another for their body, and various garbage and solid masks to control things. It's tempting to keep tweaking keying controls or switching keyers (if you have options) to try to get the Perfect Key (tm), but in reality you will need to use multiple layers and tools.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Again, if your input quality (screen lighting, etc) is lower even a dozen layers and effects will probably not salvage it.&lt;/p&gt;&#xA;&lt;p&gt;Bonus point 5: Test everything. Set things up, can you truly get even lighting on your green screen that's sufficiently bright and even? Check it on a scope, or pull some footage into your program and look at scopes. Document that setup exactly so you can reproduce it. Check clothing and props on the taping day to look for that lime-colored belt that the actor wore thinking &amp;quot;It's not green&amp;quot; or not thinking at all.&lt;/p&gt;&#xA;&lt;p&gt;You'll probably get reasonable results.&lt;/p&gt;&#xA;&lt;p&gt;[EDIT: I jumped into an answer before reading everything. 4K footage -- if your delivery is at 720p or 1080p -- covers a lot of problems. As stib says, downsampling essentially gets you 4:2:2.]&lt;/p&gt;&#xA;" OwnerUserId="5573" LastEditorUserId="5573" LastEditDate="2020-12-13T17:36:17.353" LastActivityDate="2020-12-13T17:36:17.353" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32853" PostTypeId="1" AcceptedAnswerId="32854" CreationDate="2020-12-14T06:18:27.437" Score="0" ViewCount="334" Body="&lt;p&gt;sorry if my question is not exactly the correct format, this is my first post here&lt;/p&gt;&#xA;&lt;p&gt;I have created  a ffmpeg one line code that will  fade in and fade out a transparent .png as a overlay&lt;/p&gt;&#xA;&lt;p&gt;here is my code:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;bin\ffmpeg -t 10 -i &amp;quot;video w bottom.mp4&amp;quot; -i &amp;quot;utube watermark.png&amp;quot; -filter_complex &amp;quot;[1:v]format=rgba,geq=r='r(X,Y)':a='0.75*alpha(X,Y)',scale=150:150,zoompan=d=25*4:d=125:s=150x150,fade=in:st=2:d=1:alpha=1,fade=out:st=4:d=1:alpha=1[im];[0][im]overlay=10:10:enable='between(t,0,5)'&amp;quot; -c:a copy preview.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;now this works great!  BUT...  the issue i am having is if i try and change up the here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;fade=out:st=4&lt;/code&gt;  and &lt;code&gt;enable='between(t,0,5)&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;then it no longer fades out correctly if say i change it to:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;fade=out:st=5&lt;/code&gt;  and &lt;code&gt;enable='between(t,0,6)&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;EDIT:&#xA;Here is the final code with with the info i got from @Gyan (I am sure can be cleaned up better)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;SET /A overlayStart=2&#xA;SET /A overlayLength=6&#xA;SET /A fadeInDuration=1&#xA;SET /A fadeOutDuration=1&#xA;SET /A fps=30&#xA;&#xA;SET /A startOverlayFadeIn=%overlayStart%&#xA;SET /A startOverlayFadeOut=%overlayStart%+%overlayLength%&#xA;SET /A betweenEnding=%startOverlayFadeOut%+%fadeInDuration%&#xA;SET /A overlayFullLength=%overlayStart%+%overlayLength%+%fadeInDuration%+%fadeOutDuration%&#xA;SET /A dur=%overlayFullLength%+4&#xA;&#xA;bin\ffmpeg -t %dur% -i &amp;quot;video w bottom.mp4&amp;quot; -i &amp;quot;utube watermark.png&amp;quot; -filter_complex &amp;quot;[1:v]format=rgba,geq=r='r(X,Y)':a='0.75*alpha(X,Y)',scale=150:150,zoompan=d=%fps%*%overlayFullLength%:s=150x150,fade=in:st=%startOverlayFadeIn%:d=%fadeInDuration%:alpha=1,fade=out:st=%startOverlayFadeOut%:d=%fadeOutDuration%:alpha=1 [im];[0][im]overlay=10:10:enable='between(t,0,%dur%)'&amp;quot; -c:a copy preview.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Hope this helps someone else out and/or they can expand on this&lt;/p&gt;&#xA;" OwnerUserId="33197" LastEditorUserId="33197" LastEditDate="2020-12-14T08:13:05.040" LastActivityDate="2020-12-14T08:13:05.040" Title="FFMPEG fade out image overlay issue on windows 10" Tags="|ffmpeg|windows|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32854" PostTypeId="2" ParentId="32853" CreationDate="2020-12-14T06:40:55.210" Score="0" Body="&lt;p&gt;In zoompan, you have set &lt;code&gt;d=125&lt;/code&gt; so @ 25 fps, zoompan will create a 5-second stream.&lt;/p&gt;&#xA;&lt;p&gt;Thus there are no frames after 5s for the fade to be applied to. The duration of the stream should be enough to cover the &lt;em&gt;end&lt;/em&gt; of the fade transition. For &lt;code&gt;st=5:d=1&lt;/code&gt;, total duration should be &lt;code&gt;5+1&lt;/code&gt;=&lt;code&gt;6&lt;/code&gt; or more.&lt;/p&gt;&#xA;&lt;p&gt;Change to &lt;code&gt;d=150&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;P.S. In &lt;code&gt;d=25*4:d=125&lt;/code&gt; the first &lt;code&gt;d=VALUE&lt;/code&gt; is overridden by the 2nd one, so it is useless.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-12-14T06:40:55.210" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32856" PostTypeId="1" CreationDate="2020-12-14T14:34:23.880" Score="0" ViewCount="415" Body="&lt;p&gt;Hi folks I've spent 2 days on this now and I'm no closer to finding the perfect ffmpeg command line to do an exact conversion of a Nikon D850 .mov file to a format that Da Vinci Resolve on Linux can import.&lt;/p&gt;&#xA;&lt;p&gt;I've tried PRORES &lt;code&gt;ffmpeg -i input.MOV -c:v prores_ks -profile:v 3 -qscale:v 9 -vendor ap10 -pix_fmt yuv422p10le output.mov&lt;/code&gt; but this takes a 2.3 Gb original file and creates one that is 16GB&lt;/p&gt;&#xA;&lt;p&gt;I've tried mjpeg &lt;code&gt;ffmpeg -i input.MOV -vcodec mjpeg -q:v 1 -f mov output.mov&lt;/code&gt; this creates a file that to my eyes doesn't seem to differ in quality but is half the size of the original.&lt;/p&gt;&#xA;&lt;p&gt;I've tried various other things some which produce a file Da Vinci can read but all result in a file size half the original. Space is an issue for me so the ProRes is not an option, a smaller file size is of course welcome as long as I know the original quality has not been lost.&lt;/p&gt;&#xA;&lt;p&gt;Is this reduction in file size something to be concerned about?&lt;/p&gt;&#xA;&lt;p&gt;Can anyone recommend a way to simply do a direct conversion without modifying bitrates or quality. My eyes are a bit doddery at the moment due to some new meds I am on so while I cannot see quality differences between the originals and the converted files I would hate to convert 4 years worth of timelapse footage and discover later they lost quality.&lt;/p&gt;&#xA;&lt;p&gt;Thanks in Advance.&lt;/p&gt;&#xA;" OwnerUserId="33206" LastActivityDate="2024-01-16T15:03:05.370" Title="ffmpeg converting Nikon .mov file to a format for Da Vinci Resolve Linux" Tags="|ffmpeg|davinci-resolve|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32857" PostTypeId="1" CreationDate="2020-12-14T19:20:24.683" Score="0" ViewCount="32" Body="&lt;p&gt;I just wondering if there a way to optimize the way of changing color of numbers in stock exchange template by using expressions? When I put the +before the number it turns green and if -,it turns red.&lt;/p&gt;&#xA;" OwnerUserId="33211" LastActivityDate="2024-01-31T00:02:00.210" Title="Changing color of numbers in stock exchange AE template with expressions" Tags="|after-effects-expressions|color|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32859" PostTypeId="1" CreationDate="2020-12-15T05:29:29.693" Score="0" ViewCount="132" Body="&lt;p&gt;so i am using the following code to  in a windows .BAT file to cut up a video at X time:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;bin\ffmpeg -hide_banner -loglevel 0 -i &amp;quot;%video%&amp;quot; -c copy -map 0 -f segment -segment_time %segment_time% -reset_timestamps 1 -segment_format_options movflags=+faststart out%%03d.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;No issues there.&lt;/p&gt;&#xA;&lt;p&gt;I then add a fade in and fade out to those segments using the following code:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for %%a in (out*.mp4) DO bin\ffmpeg -hide_banner -loglevel 0 -i &amp;quot;%%a&amp;quot; -vf &amp;quot;fade=t=in:st=%segment_fade_in%:d=%segment_fade_duration%,fade=t=out:st=%segment_fade_out%:d=%segment_fade_duration%&amp;quot; -af &amp;quot;afade=t=in:st=%segment_fade_in%:d=%segment_fade_duration%,afade=t=out:st=%segment_fade_out%:d=%segment_fade_duration%&amp;quot; -async 1 fade_%%~na.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;again NO issue here at all&lt;/p&gt;&#xA;&lt;p&gt;what i am finding is that it takes a lot of time to add these fade in and fade outs.&lt;/p&gt;&#xA;&lt;p&gt;So i was thinking of then cutting each of the segments,  for say 2-3 seconds at the front and end of the video file adding the fade in or the fade out and then just concat them back together.&lt;/p&gt;&#xA;&lt;p&gt;not asking for the code but a method that would not take me days to work on only to find it wont work. looking to see if anyone has done similar to save time&lt;/p&gt;&#xA;&lt;p&gt;on videos over 20-30 seconds or less its not that big of deal but when the videos in the folder are 5-24 minutes it has to be way faster to cut them up.&lt;/p&gt;&#xA;" OwnerUserId="33197" LastActivityDate="2024-01-03T01:05:10.600" Title="FFmpeg on windows cut and fade question" Tags="|ffmpeg|windows|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32860" PostTypeId="2" ParentId="23503" CreationDate="2020-12-15T07:32:17.817" Score="3" Body="&lt;p&gt;The specific atom is in the &lt;code&gt;trak&lt;/code&gt; metadata. When the &lt;code&gt;com.apple.quicktime.pixeldensity&lt;/code&gt; metadata has the value &lt;code&gt;0x30&lt;/code&gt;, quicktime will play it at double the DPI.&lt;/p&gt;&#xA;&lt;p&gt;There is currently not very good support for transferring this atom when re-encoding the file. You may have success using the &lt;code&gt;use_metadata_tags&lt;/code&gt; value for the &lt;code&gt;movflags&lt;/code&gt; option if you are just copying the video.&lt;/p&gt;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;# loses high dpi playback&#xA;ffmpeg -i retina_sample.mov -c copy new.mov  &#xA;&#xA;# retains high dpi playback&#xA;ffmpeg -i retina_sample.mov -movflags use_metadata_tags -c copy new_high_dpi.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Hopefully soon &lt;a href=&quot;https://trac.ffmpeg.org/ticket/7045&quot; rel=&quot;nofollow noreferrer&quot;&gt;issue 7045&lt;/a&gt; will be addressed to fix this.&lt;/p&gt;&#xA;" OwnerUserId="30232" LastEditorUserId="30232" LastEditDate="2020-12-16T17:58:30.430" LastActivityDate="2020-12-16T17:58:30.430" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32861" PostTypeId="2" ParentId="32857" CreationDate="2020-12-15T11:55:24.603" Score="0" Body="&lt;p&gt;This is probably not the shortest way of doing it, but it's quick and easy:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Make a null layer with a slider&lt;/li&gt;&#xA;&lt;li&gt;Make a text layer with green text&lt;/li&gt;&#xA;&lt;li&gt;Link the source text in your text layer to the slider in the null layer.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;You should see an expression like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&amp;quot;slider null&amp;quot;).effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now add an expression to the Opacity control in your text layer. This is going to make the Opacity go to 0 if the slider value is below zero, or 100 if it is zero or above:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;if(thisComp.layer(&amp;quot;slider null&amp;quot;).effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;)&amp;gt;=0) {100} else {0};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ol start=&quot;5&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;Now duplicate the green text layer&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Rename it &amp;quot;red text&amp;quot;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Change the text colour to red&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Edit the expression on the red text layer's Opacity control to this:&lt;/p&gt;&#xA;&lt;p&gt;if(thisComp.layer(&amp;quot;slider null&amp;quot;).effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;)&amp;lt;0) {100} else {0};&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Now the red text layer should only be visible when the slider value is lower than zero.&lt;/p&gt;&#xA;&lt;p&gt;Screenshot of the whole thing below:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/9xrlq.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9xrlq.jpg&quot; alt=&quot;screen shot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you want a leading &amp;quot;+&amp;quot; before the positive values, you could also make an &amp;quot;if/else&amp;quot; statement in the green Source text control, so you only see a &amp;quot;+&amp;quot; when the value is above zero - something like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;if(thisComp.layer(&amp;quot;slider null&amp;quot;).effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;)&amp;gt;0) {&amp;quot;+&amp;quot; + thisComp.layer(&amp;quot;slider null&amp;quot;).effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;)} else {thisComp.layer(&amp;quot;slider null&amp;quot;).effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;)};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-05-15T18:09:20.167" LastActivityDate="2021-05-15T18:09:20.167" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32862" PostTypeId="2" ParentId="28898" CreationDate="2020-12-15T14:52:41.337" Score="1" Body="&lt;p&gt;After you have made concat with your method 2:&lt;/p&gt;&#xA;&lt;p&gt;You need the decryption key value (not the KID) for each track (I will not explain how to find the key value;) and then from your video and audio files use mp4decrypt from bento4 (just google it if you don't have it yet):&lt;/p&gt;&#xA;&lt;p&gt;mp4decrypt --key KID:00112233445566778899AABBCCDDEEFF audio.m4a audio_decrypted.mp4&lt;/p&gt;&#xA;&lt;p&gt;mp4decrypt --key 1:00112233445566778899AABBCCDDEEFF video.mp4 video_decrypted.mp4&lt;/p&gt;&#xA;&lt;p&gt;you will have to replace KID with your 16 bytes hex key ID and 00112233445566778899AABBCCDDEEFF with your real key value&lt;/p&gt;&#xA;&lt;p&gt;then ffmpeg will work (as expected) with your decrypted tracks :&lt;/p&gt;&#xA;&lt;p&gt;fmpeg -i video_decrypted.mp4 -i audio_decrypted.m4a -c copy output.mp4&lt;/p&gt;&#xA;" OwnerUserId="33221" LastActivityDate="2020-12-15T14:52:41.337" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32863" PostTypeId="2" ParentId="10471" CreationDate="2020-12-15T15:13:19.317" Score="2" Body="&lt;p&gt;The 2020 and beyond answer:&lt;/p&gt;&#xA;&lt;p&gt;for &lt;a href=&quot;https://www.youtube.com/watch?v=ZC5Zr3NC2PY&quot; rel=&quot;nofollow noreferrer&quot;&gt;whatever reason&lt;/a&gt;, the &amp;quot;SCART2HDMI&amp;quot; adapters floating around on eBay and Amazon, include electronics that used to be included in professional VCRs and TV studio equipment.&lt;/p&gt;&#xA;&lt;p&gt;To make a long story short, if you use one of these adapters, you will not only get better color saturation, but also the audio will not drift out of sync with the captured video.&lt;/p&gt;&#xA;&lt;p&gt;Once you have the signal in HDMI, you can capture it with a regular HDMI capture device, either directly to memory card (SD) like in the linked video, or directly to a computer with an HDMI capture card.&lt;/p&gt;&#xA;&lt;p&gt;The image will already have been de-interlaced, so you are working with progressive (&amp;quot;normal&amp;quot;) video from that point forward.&lt;/p&gt;&#xA;&lt;p&gt;The only downside is that the deinterlacing is not always perfect. (Hardly ever noticeable in practice though.) The upside is that you will not get dropped frames, teared image, and out of sync sound, like you inevitably get with the composite to USB capture dongles and the like.&lt;/p&gt;&#xA;" OwnerUserId="14026" LastActivityDate="2020-12-15T15:13:19.317" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32864" PostTypeId="1" CreationDate="2020-12-15T17:49:34.107" Score="1" ViewCount="398" Body="&lt;p&gt;Usually, you can use this command to open a video with a subtitle in VLC, if it isn't detected automatically:&lt;br /&gt;&#xA;&lt;code&gt;vlc.exe path_to_video.mp4 --sub-file path_to_sub.srt&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;But I want to open multiple videos, each with their own subtitle file. How do I do that?&lt;br /&gt;&#xA;Neither &lt;code&gt;vlc.exe video1.mp4 video2.mp4 --sub-file sub1.srt sub2.srt&lt;/code&gt;&lt;br /&gt;&#xA;nor &lt;code&gt;vlc.exe video1.mp4 --sub-file sub1.srt video2.mp4 --sub-file sub2.srt&lt;/code&gt; seem to work.&lt;/p&gt;&#xA;" OwnerUserId="33223" LastActivityDate="2020-12-15T23:39:03.643" Title="How do you open multiple videos with multiple subtitles in VLC from command-line?" Tags="|subtitles|vlc|command-line|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32865" PostTypeId="1" AcceptedAnswerId="32871" CreationDate="2020-12-15T21:31:31.367" Score="0" ViewCount="541" Body="&lt;p&gt;I created a small video with &lt;code&gt;threshold&lt;/code&gt; filter to get black and white pixels (no greyscale):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i /dev/video0&#xA;          -f lavfi -i color=0x606060:s=640x480&#xA;          -f lavfi -i color=black:s=640x480 -f lavfi&#xA;          -i color=white:s=640x480 -filter_complex threshold&#xA;          -c:v libx264 -c:a copy  test.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then I tried to convert it as a APNG file with white pixels as transparent (&lt;code&gt;chromakey&lt;/code&gt; filter).&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i  test.mp4 -f apng -vf chromakey=white test.apng&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This command converts all the pixels into transparent (checked with Gimp, it sets alpha of all pixels to 0).&lt;/p&gt;&#xA;&lt;p&gt;Why? Also, how can I fix the command to make it work?&lt;/p&gt;&#xA;" OwnerUserId="32813" LastActivityDate="2020-12-16T14:26:19.123" Title="How to convert a black and white video to a APNG file while setting a color as transparent?" Tags="|ffmpeg|greenscreen|alpha|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32867" PostTypeId="2" ParentId="32864" CreationDate="2020-12-15T23:39:03.643" Score="1" Body="&lt;p&gt;This is a workaround which converts the files to another container format. It happens almost as fast as your hard disk can write data because nothing is re-encoded.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;use MKVToolNix (specifically mkvmerge) to combine the mp4 files and their srt files into mkv files (perhaps you can automate this with a loop). I never use this tool via command line and cannot tell you the exact command, but you'll find more information here &lt;a href=&quot;https://mkvtoolnix.download/doc/mkvmerge.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://mkvtoolnix.download/doc/mkvmerge.html&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;use &lt;code&gt;vlc.exe *.mkv&lt;/code&gt; afterwards.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Maybe this question helps too &lt;a href=&quot;https://superuser.com/questions/609113/how-to-add-and-remove-subtitles-in-an-mkv-file&quot;&gt;https://superuser.com/questions/609113/how-to-add-and-remove-subtitles-in-an-mkv-file&lt;/a&gt; which should also work with an mp4 file as input.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2020-12-15T23:39:03.643" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32868" PostTypeId="2" ParentId="32848" CreationDate="2020-12-16T01:10:01.987" Score="0" Body="&lt;p&gt;When expressions are evaluated the &lt;strong&gt;first term that returns a result&lt;/strong&gt; will set the value of the property. If you look at your expression line 1 will always return a result - 0. None of the other lines will be executed.&lt;/p&gt;&#xA;&lt;p&gt;What you need to do is test what the value is and then execute the right function accordingly.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;if (value &amp;lt;=15){linear(value,0,15,0,0)}; &#xA;if (value &amp;lt;= 20){linear(value,15,20,30,80)};&#xA;if(value &amp;gt; 20){linear(value,20,30,80,100)};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;note that the &lt;code&gt;linear()&lt;/code&gt; functions on the second and third line have minimum values of 15 and 20, not 16 and 21—consider what would happen if the &lt;code&gt;value&lt;/code&gt; was 15.5 or 20.5.&lt;/p&gt;&#xA;&lt;p&gt;What the expression does is only evaluate the first &lt;code&gt;linear()&lt;/code&gt; function if &lt;code&gt;value&lt;/code&gt; is in the 0-15 range. If it is that result is returned and the expression stops being evaluated, if not it goes on to the next line, and so on.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-12-16T01:10:01.987" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32869" PostTypeId="1" CreationDate="2020-12-16T05:20:18.853" Score="2" ViewCount="1295" Body="&lt;p&gt;I'm working on a motion-graphic piece in AE, and am trying to figure out if there is a way to disable motion blur temporarily. For example, say I have 100 frames of an animation, but i only want motion blur to be applied to frames 15-30 and frames 60-95. Is there a way to do this, or is motion blur just a toggle on/off?&lt;/p&gt;&#xA;" OwnerUserId="33229" LastActivityDate="2020-12-23T06:50:26.573" Title="Can you use keyframes for motion blur in After Effects?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32870" PostTypeId="2" ParentId="32869" CreationDate="2020-12-16T13:15:42.847" Score="1" Body="&lt;p&gt;There’s a built-in “CC force motion blur” plugin you could add to your comp as an adjustment layer. If you use that instead of the system motion blur, I think you could keyframe it on or off, or just keyframe the adjustment layer on or off. Be warned it is slower to render than blurring the usual way.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2020-12-16T13:15:42.847" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32871" PostTypeId="2" ParentId="32865" CreationDate="2020-12-16T14:26:19.123" Score="0" Body="&lt;p&gt;I finally found how to do that in one &lt;code&gt;ffmpeg&lt;/code&gt; command, using &lt;code&gt;colorkey&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -y -i /dev/video0&#xA;           -f lavfi -i color=0x6a6a6a:s=640x480&#xA;           -f lavfi -i color=black:s=640x480&#xA;           -f lavfi -i color=white:s=640x480&#xA;           -filter_complex 'threshold,colorkey=white'&#xA;           test.apng&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32813" LastActivityDate="2020-12-16T14:26:19.123" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32872" PostTypeId="2" ParentId="12980" CreationDate="2020-12-16T19:22:29.800" Score="2" Body="&lt;p&gt;If you want to be able to check it for several files at once, here are the arguments you could use with the &amp;quot;CLI&amp;quot; (command-line) version of &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;Mediainfo&lt;/a&gt;, or with &lt;a href=&quot;https://trac.ffmpeg.org/wiki/FFprobeTips&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffprobe&lt;/a&gt; (which comes with &lt;a href=&quot;https://ffmpeg.org/download.html#get-packages&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;).&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mediainfo --Inform='Video;%ScanType%,%ScanOrder%,%ScanType_StoreMethod%' &amp;quot;$Your_File&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Sample output with different files:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Progressive,,&#xA;Interlaced,TFF,&#xA;Interlaced,TFF,InterleavedFields&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Or with ffprobe, with some additional info, and the (not so clear) &amp;quot;field_order&amp;quot; info last:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -v quiet -select_streams v -show_entries stream=codec_name,height,width,pix_fmt,field_order -of csv=p=0 &amp;quot;$Your_File&amp;quot;&#xA;&#xA;prores,1920,1080,yuva444p12le,progressive&#xA;h264,1920,1080,yuv420p,unknown              # some progressive files show unknown&#xA;prores,720,576,yuv422p10le,tb               # tb = interlaced, TFF, interleaved&#xA;mpeg2video,1920,1080,yuv422p,tt             # tt = interlaced, TFF&#xA;dvvideo,720,576,yuv420p,bt                  # bt = interlaced, BFF&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3138" LastEditorUserId="3138" LastEditDate="2023-06-08T13:15:11.993" LastActivityDate="2023-06-08T13:15:11.993" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32876" PostTypeId="1" AcceptedAnswerId="32877" CreationDate="2020-12-16T23:32:08.263" Score="6" ViewCount="1202" Body="&lt;p&gt;&lt;em&gt;N.B. I considered posting this to &lt;a href=&quot;https://hardwarerecs.stackexchange.com/&quot;&gt;hardwarerecs&lt;/a&gt; but not only is it much less active than this site, I also have a feeling there's a lot more specialist knowledge on the topic here, and practical questions about hardware that is no longer manufactured does appear to be on-topic.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;I have some family home videos on VHS that I'm responsible for digitising. I know I will need both a VCR and a USB capture card, but money is tight so there are a few important details I want to clarify before I spend anything.&lt;/p&gt;&#xA;&lt;h3&gt;The Capture Card&lt;/h3&gt;&#xA;&lt;p&gt;This is probably the easiest part, and I'll more than likely be buying&#xA;&lt;a href=&quot;https://www.amazon.co.uk/Capture-Converter-Recorder-Transfer-Camcorder/dp/B08F4FFB8G/ref=sr_1_4?dchild=1&quot; rel=&quot;noreferrer&quot;&gt;this one here&lt;/a&gt; as it seems to be the cheapest one without a lot of worrying reviews.&lt;/p&gt;&#xA;&lt;h3&gt;The VCR&lt;/h3&gt;&#xA;&lt;p&gt;The VCR will obviously be bought second-hand, but being born in the last decade of the 20th century, I'm just about old enough to remember having to choose between PAL/NTSC on my PlayStation, and don't have a lot of experience with VCRs themselves.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Firstly:&lt;/strong&gt; with regards to PAL vs NTSC, &lt;a href=&quot;https://en.wikipedia.org/wiki/VHS#Tape_lengths&quot; rel=&quot;noreferrer&quot;&gt;Wikipedia indicates&lt;/a&gt; that it does matter, so now I'm wondering if my tapes are marked as PAL SECAM, do I need a PAL VCR? I've seen a few local listings on eBay for NTSC VCRs, and confusingly I even saw one that said &amp;quot;NTSC Playback on PAL TV&amp;quot; &lt;em&gt;(see below)&lt;/em&gt;, but actual PAL VCRs seem surprisingly hard to come by considering they would have presumably been the default where I live (in the UK).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Yxxp3.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Yxxp3.jpg&quot; alt=&quot;NTSC playback on PAL TV&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Secondly:&lt;/strong&gt; and perhaps most importantly, &lt;a href=&quot;http://www.digitalfaq.com/forum/video-workflows/8594-best-highest-quality.html&quot; rel=&quot;noreferrer&quot;&gt;this forum&lt;/a&gt; suggests it's necessary to invest in an S-VHS VCR to get the best quality out of the videos:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Not only would it be a good idea [to invest in an S-VHS VCR], but it's practically an essential&#xA;requirement. Want to use a cheap VCR? Your &amp;quot;highest quality&amp;quot;&#xA;requirement just bit the dust. Good output begins with a quality&#xA;capture. No quality capture, no quality output. Period. For vcr's We&#xA;never never never recommend eBay or similar auction sites. You find&#xA;good VCR's in our marketplace forum. A recommended source for rebuilt&#xA;high-end VCRs and other rebuilt goods is Tom Grant's shop.&lt;/p&gt;&#xA;&lt;p&gt;Recommended VCRs for NTSC and PAL are listed here: VCR Buying Guide&#xA;(S-VHS, D-VHS, Professional) for restoring video&lt;/p&gt;&#xA;&lt;p&gt;Which of those VCR line you should consider depends on your analog&#xA;tape library. Are most of them retail tapes and tapes recorded at high&#xA;2-hour speed? All of the listed brands will do them justice. Are they&#xA;slow-speed recordings, 4 to 6 or 8 hours??? I'm afraid Panasonic is&#xA;your only choice. Slow-sped tapes look like crap on a JVC.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Is this true? Will I need to shell out for a more expensive S-VHS VCR to avoid sacrificing quality?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Finally:&lt;/strong&gt; are there any other VCR features I need to look for/avoid, that will improve/hinder the quality of the conversion? I see some are listed as 4-head, 6-head, Super Drive, etc.? Do any of these matter for my purposes?&lt;/p&gt;&#xA;" OwnerUserId="23109" OwnerDisplayName="Prometheus" LastActivityDate="2020-12-19T12:26:12.117" Title="What do I need to know about buying a VCR for digitising old VHS tapes?" Tags="|video|" AnswerCount="2" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="32877" PostTypeId="2" ParentId="32876" CreationDate="2020-12-17T01:07:30.013" Score="9" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;so now I'm wondering if my tapes are marked as PAL SECAM, do I need a PAL VCR?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Yes, VCRs partially deconstruct the signal to encode it on the tape, and so are specific to a particular analogue video format.&lt;/p&gt;&#xA;&lt;p&gt;In practical terms, if you try to play a PAL tape in an NTSC VCR connected to a PAL TV, you'll probably get a distorted black-and-white image, or perhaps no usable signal at all.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;I've seen a few local listings on eBay for NTSC VCRs, and confusingly I even saw one that said &amp;quot;NTSC Playback on PAL TV&amp;quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;It was very common to import North American tapes back in the day.  These VCRs can convert an NTSC format tape to PAL output for European TV sets.  The reverse also existed (though quite a bit rarer) in North America.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;I see some are listed as 4-head, 6-head, Super Drive, etc.? Do any of these matter for my purposes?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;4 head machines have a slight advantage in quality, particularly with playing ELP/LP tapes.  The extra 2 heads in 6 head machines are only for recording.  And &amp;quot;Super Drive&amp;quot; just appears to be a Panasonic marketing term, as far as I can tell.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Is this true?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Sort of.  VCRs are temperamental machines, and it's all analogue.  During their heyday, the quality of video you'd get from units varied enormously.  A quality S-VHS machine recording to quality tape on a well-calibrated machine was almost as nice as 480p digital is, really.  But I think we're just about old enough to remember what VHS usually looked like.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Will I need to shell out for a more expensive S-VHS VCR to avoid sacrificing quality?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;This would only really be necessary if the original footage was recorded as S-VHS.  If so, then yes.  Some later VHS machines can play S-VHS tapes with reduced quality.  Still, play S-VHS tapes on S-VHS machines.&lt;/p&gt;&#xA;&lt;p&gt;S-VHS equipment was high-end, and so generally better quality than the cheap VCRs that proliferated in the 90s and 00s.  So you will often find a preference for S-VHS machines.  But a good quality S-VHS and VHS deck should play a VHS tape back equivalently well.&lt;/p&gt;&#xA;&lt;p&gt;Practically speaking, for high quality, you'd want to play back on a good deck that has been calibrated and had its heads cleaned and belts replaced, etc.  That would mean a machine that's been maintained or refurbished, not something that's been sitting on a damp shelf for 20 years.&lt;/p&gt;&#xA;&lt;p&gt;With all that said, a few years ago I transferred a relative's home movies with a cheap 20 year old VCR and it's about what one would expect for 1980s camcorder footage.  I fed it &lt;em&gt;The Great Mouse Detective&lt;/em&gt; first though, in case it might have been a tape-eater.&lt;/p&gt;&#xA;" OwnerUserId="33240" OwnerDisplayName="RETRAC" LastEditorUserId="33240" LastEditDate="2020-12-17T21:14:54.290" LastActivityDate="2020-12-17T21:14:54.290" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="32878" PostTypeId="1" CreationDate="2020-12-17T20:24:01.380" Score="1" ViewCount="279" Body="&lt;p&gt;This is a follow-up question to &lt;a href=&quot;https://video.stackexchange.com/questions/32876/what-do-i-need-to-know-about-buying-a-vcr-for-digitising-old-vhs-tapes&quot;&gt;this one&lt;/a&gt;. The DigitalFAQ forum, whose members seem to know a lot about this particular topic, say about TBCs:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;You must have some form of TBC, it's not optional. You can try to scrimp by with an ES10/15 unit, for under £100. It's minimalist, and not actually a TBC. But if funds matter more than quality, it's probably the only avenue if really pinching pennies.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;What exactly is a TBC, and do I really need one to get decent quality from a VHS capture?&lt;/p&gt;&#xA;" OwnerUserId="23109" LastEditorUserId="23109" LastEditDate="2020-12-17T23:12:33.470" LastActivityDate="2020-12-17T23:12:33.470" Title="Is a TBC required for converting VHS home videos to digital format?" Tags="|video-recording|conversion|vhs|analog|digitisation|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32885" PostTypeId="1" CreationDate="2020-12-18T11:40:51.440" Score="1" ViewCount="8" Body="&lt;p&gt;Apparently the newer GoPro Hero cameras have a feature called &amp;quot;Protune&amp;quot; that gives better control over the image. I don't own a GoPro camera with Protune yet and I'm trying to figure out whether I still need a red filter for underwater shooting or if Protune can do the necessary color correction. Unfortunately I'm having a hard time finding out what it actually is.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.spivo.com/blogs/news-updates/gopro-protune-settings-everything-you-need-to-know-before-you-shoot-with-it&quot; rel=&quot;nofollow noreferrer&quot;&gt;Some websites&lt;/a&gt; say it's like manual mode:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;If you’ve ever played with a DSLR or mirrorless camera, [Protune is] kind of like switching the camera into manual mode.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.scubaboard.com/community/threads/help-with-go-pro-3-underwater-settings-with-red-filter-caribbean-30-80-ft-protune.452744/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Other&lt;/a&gt; &lt;a href=&quot;https://clicklikethis.com/what-is-protune-on-gopro/&quot; rel=&quot;nofollow noreferrer&quot;&gt;websites&lt;/a&gt; say it's more like RAW:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Protune = shorter battery life, bigger files&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Footage shot in Protune will generate larger files than what is shot in the default GoPro settings.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="33248" LastActivityDate="2020-12-18T11:40:51.440" Title="What exactly is GoPro Protune?" Tags="|gopro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32886" PostTypeId="1" CreationDate="2020-12-18T17:13:42.510" Score="2" ViewCount="1288" Body="&lt;p&gt;I am transcoding a live DVB-T2 HEVC stream to H264 using ffmpeg. I have decided to use the HLS (segmented) output format (because I want to play the stream in a web browser, e.g. on Android phone).&lt;/p&gt;&#xA;&lt;p&gt;I successfully created the segmented output using the following ffmpeg command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hwaccel rpi -c:v hevc -i input.ts -c:v h264_v4l2m2m -c:a aac -b:v 1500k -r 25 -pix_fmt yuv420p -num_capture_buffers 64 -hls_time 10 -start_number 0 -hls_list_size 5 -hls_flags delete_segments -f hls tv.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;(In this example I am using an input.ts file, but normally I will use URL of the live stream)&lt;/p&gt;&#xA;&lt;p&gt;I have created a simple HTML player based on &lt;a href=&quot;https://github.com/video-dev/hls.js/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/video-dev/hls.js/&lt;/a&gt; (example HTML is on their page).&lt;/p&gt;&#xA;&lt;p&gt;The video plays successfully in browser and it can play for hours without any problem. But it can play only if I start it with the first segment (tv0.ts) and if I don't reload the HTML page.&lt;/p&gt;&#xA;&lt;p&gt;If I reload the HTML page in browser and the first segment (tv0.ts) is no longer in the playlist (as old segments get deleted), the stream starts to play as audio-only (see picture).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JjS4f.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JjS4f.png&quot; alt=&quot;player&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I was trying to find a solution for few days, but I am not an expert. I want to keep only last few segments (because it is a live stream). I tried several ffmpeg parameters (&lt;code&gt;-movflags faststart&lt;/code&gt;, &lt;code&gt;-reset_timestamps 1&lt;/code&gt;, &lt;code&gt;-g 50 -keyint_min 50&lt;/code&gt;, &lt;code&gt;-flags +cgop&lt;/code&gt;) with no luck, but maybe I used them incorrectly.&lt;/p&gt;&#xA;&lt;p&gt;I have noticed that the tv0.ts is playable in a video player, but others play audio-only. Idk if this is expected, because as I said, the stream plays fine (both audio and video) for hours if started with tv0.ts.&lt;/p&gt;&#xA;&lt;p&gt;I am clueless. Any help or ideas will be very appreciated, thank you!&lt;/p&gt;&#xA;&lt;p&gt;I have shared all files (.ts, .m3u8, ffmpeg log) here &lt;a href=&quot;https://www.dropbox.com/sh/lwz9p229sxplxxh/AABb8_yYIIFw9Gy0-oq9iniRa?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dropbox.com/sh/lwz9p229sxplxxh/AABb8_yYIIFw9Gy0-oq9iniRa?dl=0&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;ffprobe tv0.ts:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version 4.1.6-1~deb10u1+rpt1 Copyright (c) 2007-2020 the FFmpeg developers&#xA;  built with gcc 8 (Raspbian 8.3.0-6+rpi1)&#xA;  configuration: --prefix=/usr --extra-version='1~deb10u1+rpt1' --toolchain=hardened --incdir=/usr/include/arm-linux-gnueabihf --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-omx-rpi --enable-mmal --enable-neon --enable-rpi --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared --libdir=/usr/lib/arm-linux-gnueabihf --cpu=arm1176jzf-s --arch=arm&#xA;  WARNING: library configuration mismatch&#xA;  avutil      configuration: --prefix=/usr --extra-version='1~deb10u1+rpt1' --toolchain=hardened --incdir=/usr/include/arm-linux-gnueabihf --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-omx-rpi --enable-mmal --enable-neon --enable-rpi --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --libdir=/usr/lib/arm-linux-gnueabihf/neon/vfp --cpu=cortex-a7 --arch=armv6t2 --disable-thumb --enable-shared --disable-doc --disable-programs&#xA;  avcodec     configuration: --prefix=/usr --extra-version='1~deb10u1+rpt1' --toolchain=hardened --incdir=/usr/include/arm-linux-gnueabihf --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-omx-rpi --enable-mmal --enable-neon --enable-rpi --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --libdir=/usr/lib/arm-linux-gnueabihf/neon/vfp --cpu=cortex-a7 --arch=armv6t2 --disable-thumb --enable-shared --disable-doc --disable-programs&#xA;  avformat    configuration: --prefix=/usr --extra-version='1~deb10u1+rpt1' --toolchain=hardened --incdir=/usr/include/arm-linux-gnueabihf --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-omx-rpi --enable-mmal --enable-neon --enable-rpi --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --libdir=/usr/lib/arm-linux-gnueabihf/neon/vfp --cpu=cortex-a7 --arch=armv6t2 --disable-thumb --enable-shared --disable-doc --disable-programs&#xA;  avdevice    configuration: --prefix=/usr --extra-version='1~deb10u1+rpt1' --toolchain=hardened --incdir=/usr/include/arm-linux-gnueabihf --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-omx-rpi --enable-mmal --enable-neon --enable-rpi --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --libdir=/usr/lib/arm-linux-gnueabihf/neon/vfp --cpu=cortex-a7 --arch=armv6t2 --disable-thumb --enable-shared --disable-doc --disable-programs&#xA;  avfilter    configuration: --prefix=/usr --extra-version='1~deb10u1+rpt1' --toolchain=hardened --incdir=/usr/include/arm-linux-gnueabihf --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-omx-rpi --enable-mmal --enable-neon --enable-rpi --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --libdir=/usr/lib/arm-linux-gnueabihf/neon/vfp --cpu=cortex-a7 --arch=armv6t2 --disable-thumb --enable-shared --disable-doc --disable-programs&#xA;  avresample  configuration: --prefix=/usr --extra-version='1~deb10u1+rpt1' --toolchain=hardened --incdir=/usr/include/arm-linux-gnueabihf --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-omx-rpi --enable-mmal --enable-neon --enable-rpi --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --libdir=/usr/lib/arm-linux-gnueabihf/neon/vfp --cpu=cortex-a7 --arch=armv6t2 --disable-thumb --enable-shared --disable-doc --disable-programs&#xA;  swscale     configuration: --prefix=/usr --extra-version='1~deb10u1+rpt1' --toolchain=hardened --incdir=/usr/include/arm-linux-gnueabihf --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-omx-rpi --enable-mmal --enable-neon --enable-rpi --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --libdir=/usr/lib/arm-linux-gnueabihf/neon/vfp --cpu=cortex-a7 --arch=armv6t2 --disable-thumb --enable-shared --disable-doc --disable-programs&#xA;  swresample  configuration: --prefix=/usr --extra-version='1~deb10u1+rpt1' --toolchain=hardened --incdir=/usr/include/arm-linux-gnueabihf --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-omx-rpi --enable-mmal --enable-neon --enable-rpi --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --libdir=/usr/lib/arm-linux-gnueabihf/neon/vfp --cpu=cortex-a7 --arch=armv6t2 --disable-thumb --enable-shared --disable-doc --disable-programs&#xA;  postproc    configuration: --prefix=/usr --extra-version='1~deb10u1+rpt1' --toolchain=hardened --incdir=/usr/include/arm-linux-gnueabihf --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-omx-rpi --enable-mmal --enable-neon --enable-rpi --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --libdir=/usr/lib/arm-linux-gnueabihf/neon/vfp --cpu=cortex-a7 --arch=armv6t2 --disable-thumb --enable-shared --disable-doc --disable-programs&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;Input #0, mpegts, from 'tv0.ts':&#xA;  Duration: 00:00:12.00, start: 1.400000, bitrate: 1347 kb/s&#xA;  Program 1 &#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;    Stream #0:0[0x100]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(progressive), 1280x720, 30 fps, 25 tbr, 90k tbn, 60 tbc&#xA;    Stream #0:1[0x101](cze): Audio: aac (LC) ([15][0][0][0] / 0x000F), 48000 Hz, stereo, fltp, 128 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;ffprobe tv1.ts:&lt;/strong&gt; (shortened output)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version 4.1.6-1~deb10u1+rpt1 Copyright (c) 2007-2020 the FFmpeg developers&#xA;  built with gcc 8 (Raspbian 8.3.0-6+rpi1)&#xA;  configuration: --prefix=/usr --extra-version='1~deb10u1+rpt1' --toolchain=hardened --incdir=/usr/include/arm-linux-gnueabihf --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-omx-rpi --enable-mmal --enable-neon --enable-rpi --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared --libdir=/usr/lib/arm-linux-gnueabihf --cpu=arm1176jzf-s --arch=arm&#xA;  WARNING: library configuration mismatch&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;[h264 @ 0x686160] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0x686160] decode_slice_header error&#xA;[h264 @ 0x686160] no frame!&#xA;[h264 @ 0x686160] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0x686160] decode_slice_header error&#xA;[h264 @ 0x686160] no frame!&#xA;[h264 @ 0x686160] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0x686160] decode_slice_header error&#xA;[h264 @ 0x686160] no frame!&#xA;[h264 @ 0x686160] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0x686160] decode_slice_header error&#xA;[h264 @ 0x686160] no frame!&#xA;[h264 @ 0x686160] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0x686160] decode_slice_header error&#xA;[h264 @ 0x686160] no frame!&#xA;[h264 @ 0x686160] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0x686160] decode_slice_header error&#xA;[h264 @ 0x686160] no frame!&#xA;[h264 @ 0x686160] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0x686160] decode_slice_header error&#xA;[h264 @ 0x686160] no frame!&#xA;[h264 @ 0x686160] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0x686160] decode_slice_header error&#xA;[h264 @ 0x686160] no frame!&#xA;[h264 @ 0x686160] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0x686160] decode_slice_header error&#xA;[h264 @ 0x686160] no frame!&#xA;[h264 @ 0x686160] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0x686160] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;[h264 @ 0x686160] decode_slice_header error&#xA;[h264 @ 0x686160] no frame!&#xA;[h264 @ 0x686160] non-existing PPS 0 referenced&#xA;    Last message repeated 1 times&#xA;...&#xA;[h264 @ 0x686160] decode_slice_header error&#xA;[h264 @ 0x686160] no frame!&#xA;[h264 @ 0x686160] non-existing PPS 0 referenced&#xA;[mpegts @ 0x681a00] decoding for stream 0 failed&#xA;[mpegts @ 0x681a00] Could not find codec parameters for stream 0 (Video: h264 ([27][0][0][0] / 0x001B), none): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, mpegts, from 'tv1.ts':&#xA;  Duration: 00:00:09.60, start: 13.400000, bitrate: 1459 kb/s&#xA;  Program 1 &#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;    Stream #0:0[0x100]: Video: h264 ([27][0][0][0] / 0x001B), none, 25 fps, 25 tbr, 90k tbn, 180k tbc&#xA;    Stream #0:1[0x101](cze): Audio: aac (LC) ([15][0][0][0] / 0x000F), 48000 Hz, stereo, ltp, 132 kb/s&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33252" LastEditorUserId="33252" LastEditDate="2020-12-18T17:36:49.580" LastActivityDate="2020-12-18T17:36:49.580" Title="HLS stream playing only when first segment is in m3u8 list" Tags="|ffmpeg|streaming|hls|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32888" PostTypeId="1" CreationDate="2020-12-18T17:52:26.030" Score="2" ViewCount="69" Body="&lt;p&gt;I'm trying to save a keyboard shortcut to my Custom Command Set in Final Cut Pro (FCP v10.4.7 on Mojave 10.14.6). I can get it to work for the duration of my session in Final Cut Pro but when I exit and re-open the app, that particular shortcut no longer works and I have to enter the Command Editor again to re-create it. Here are the specifics:&lt;/p&gt;&#xA;&lt;p&gt;Desired effect: &amp;quot;Zoom Out&amp;quot; (in the Timeline)&lt;/p&gt;&#xA;&lt;p&gt;Desired shortcut to use: CTRL + ALT + left arrow&lt;/p&gt;&#xA;&lt;p&gt;Default command to be replaced: &amp;quot;Previous Pick&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;(all other keyboard command edits I make for that Command Set seem to keep and work just fine)&lt;/p&gt;&#xA;&lt;p&gt;One thing to note is that for it to be effective in the first place, I have to delete a Default command in FCP (the &amp;quot;Previous Pick&amp;quot; command) for the same key combo and replace it with my own. It won't work by just creating a new shortcut for that command (for which FCP will usually provide a warning message that the new command is replacing an established one and ask for permission to proceed in doing so... that doesn't happen in this particular case and I don't know why).&lt;/p&gt;&#xA;&lt;p&gt;What I've tried so far:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I have confirmed that the correct Custom Command Set is being selected in the Command Editor when the app starts up. My Custom Command set is called &amp;quot;Yahenda 1&amp;quot; and when I start the app, that is the Command Set selected in the Command Editor.&lt;/li&gt;&#xA;&lt;li&gt;I have tried selecting the &amp;quot;Default&amp;quot; Command Set and then re-selecting &amp;quot;Yahenda 1&amp;quot; but that has no effect on the problem.&lt;/li&gt;&#xA;&lt;li&gt;I have tried deleting the FCP Preferences (by closing the app, holding Command + Option while clicking the app icon and then following the Delete Preferences prompt) but that has not solved the problem.&lt;/li&gt;&#xA;&lt;li&gt;I have tried making the change in Command Editor and exporting to an entirely NEW Command Set and then closing and re-opening the app, but the problem persists.&lt;/li&gt;&#xA;&lt;li&gt;I have confirmed that 'CTRL + ALT + left arrow' is not a system reserved keyboard shortcut for Apple.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Can anyone help me figure out why this particular keyboard shortcut is not sticking across closing and re-opening of Final Cut Pro?&lt;/p&gt;&#xA;" OwnerUserId="33256" LastActivityDate="2023-12-07T22:13:19.730" Title="Custom Command Set is not saving" Tags="|keyboard-shortcut|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32889" PostTypeId="2" ParentId="32859" CreationDate="2020-12-18T21:08:49.067" Score="0" Body="&lt;p&gt;I would like to answer my own question.&lt;/p&gt;&#xA;&lt;p&gt;One thing tho is the file is quite large (370+ lines) so i have added it to pastebin&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://pastebin.com/Trkxjkrw&quot; rel=&quot;nofollow noreferrer&quot;&gt;FF Fader on Pastebin&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;A few Notes:&lt;/p&gt;&#xA;&lt;p&gt;I had errors popping up if the cuts were certain lengths like on a 30 sec video and I wanted over 10 sec  cuts it would work but toss up errors such as&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Invalid number.  Numeric constants are either decimal (17),&#xA;hexadecimal (0x11), or octal (021).&#xA;Invalid number.  Numeric constants are either decimal (17),&#xA;hexadecimal (0x11), or octal (021).&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;this error would be cause form the calculations at lines:&#xA;218 to 229&lt;/p&gt;&#xA;&lt;p&gt;lines 218 - 229 were added by another issue i found was if you did a 6 sec segments, the last cut was shorter than 2 seconds  so if that was the case i would need to concat that way cause it was concating (sp?) that last clip twice&lt;/p&gt;&#xA;&lt;p&gt;If that is not correct way of answering the question here, please help me fix it b4 down voting me etc.  I am new here&lt;/p&gt;&#xA;&lt;p&gt;I would love some input and if you see where it can be cleaned up that would be great too&lt;/p&gt;&#xA;&lt;p&gt;EDIT:&lt;/p&gt;&#xA;&lt;p&gt;Wanted to add that taking a 30 second video and cutting into 3 segments, then cutting those 3 segments into 3 sections.  add the fade in and fade out and then combine them all back into segments  took right at 30 seconds or less!&lt;/p&gt;&#xA;&lt;p&gt;That is pretty awesome! I think maybe using &amp;quot;threads&amp;quot; on ffmpeg could speed it up  but I am not sure you need it any faster than that.  If you have a idea to speed up ffmpeg more let me know in the comments.&lt;/p&gt;&#xA;" OwnerUserId="33197" LastEditorUserId="33197" LastEditDate="2020-12-18T21:16:59.833" LastActivityDate="2020-12-18T21:16:59.833" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32891" PostTypeId="2" ParentId="32876" CreationDate="2020-12-19T12:26:12.117" Score="0" Body="&lt;p&gt;As an alternative to buying an old VCR and using video capture, I would look into buying a VHS/DVD-R combo. &lt;a href=&quot;https://www.ebay.com/itm/Insignia-IS-DVD100121-DVD-Recorder-VCR-Combo-VHS-To-DVD-No-Remote-Parts-Only/333759604632&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here's one example&lt;/a&gt; (not intended as a recommendation for listing or brand).&lt;/p&gt;&#xA;&lt;p&gt;These were a relatively short-lived phenomena, maybe a few years in the late 2000s / early 2010s. I can't speak to the quality other than saying my mother-in-law had one and was happy with the results. Ultimately it has to do the same signal transformations that you're planning to do, but may have dedicated electronics to give a better result.&lt;/p&gt;&#xA;" OwnerUserId="33261" LastActivityDate="2020-12-19T12:26:12.117" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32892" PostTypeId="1" CreationDate="2020-12-19T16:00:24.737" Score="4" ViewCount="95" Body="&lt;p&gt;If some videos created by other people have a Ken Burns effect, is it possible for me to remove it and get static full screen view?&lt;/p&gt;&#xA;&lt;p&gt;From &lt;a href=&quot;https://en.wikipedia.org/wiki/Ken_Burns_effect&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;The Ken Burns effect is a type of panning and zooming effect used in film and video production from still imagery.&#xA;The feature enables a widely used technique of embedding still photographs in motion pictures, displayed with slow zooming and panning effects, and fading transitions between frames.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="33254" LastEditorUserId="674" LastEditDate="2023-01-23T14:33:03.730" LastActivityDate="2023-01-23T14:33:03.730" Title="How to reverse Ken Burns effect?" Tags="|video|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32893" PostTypeId="1" AcceptedAnswerId="32894" CreationDate="2020-12-19T17:26:49.233" Score="0" ViewCount="601" Body="&lt;p&gt;My input is an uncompressed video captured from old Hi8 cassettes, mediainfo:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Format                                   : RGB&#xA;Codec ID                                 : V_UNCOMPRESSED&#xA;Codec ID/Info                            : Raw uncompressed video frames&#xA;Duration                                 : 1 h 32 min&#xA;Width                                    : 720 pixels&#xA;Height                                   : 576 pixels&#xA;Display aspect ratio                     : 5:4&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 25.000 FPS&#xA;Standard                                 : PAL&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have looked at the sources I could find and tried to come up with the optimal settings for my encoding needs, while also trying out a few dozen combinations, and the best I could come up with looks like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mkv -vf yadif -c:v hevc_nvenc -preset slow -rc:v vbr_hq -cq:v 19 -b:v 2m -maxrate:v 3m -bufsize:v 1m -c:a copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The output's mediainfo is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Format                                   : HEVC&#xA;Format/Info                              : High Efficiency Video Coding&#xA;Format profile                           : Format Range@L3@Main&#xA;Codec ID                                 : hev1&#xA;Codec ID/Info                            : High Efficiency Video Coding&#xA;Duration                                 : 20 s 0 ms&#xA;Bit rate                                 : 5 142 kb/s&#xA;Width                                    : 720 pixels&#xA;Height                                   : 576 pixels&#xA;Display aspect ratio                     : 5:4&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 25.000 FPS&#xA;Standard                                 : PAL&#xA;Chroma subsampling                       : 4:4:4&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.496&#xA;Stream size                              : 12.3 MiB (97%)&#xA;Codec configuration box                  : hvcC&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What I have found is that I can increase the &lt;code&gt;-b:v 2m -maxrate:v 3m -bufsize:v 1m&lt;/code&gt; options tenfold, and the output still stays the same. How can this be the case? I am thinking I messed up the settings gravely, in this case, could you please correct me and set me to the right ballpark? First I tried without the bitrate options and only &lt;code&gt;-rc:v vbr_hq -cq:v 19&lt;/code&gt;, but that resulted in terrible quality and smaller size, and then I found that I need to set the bitrate as well, unlike just the &lt;code&gt;-crf&lt;/code&gt; like I used to do with &lt;code&gt;libx265&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Abandoning &lt;code&gt;-preset slow&lt;/code&gt; also doesn't change the result.&lt;/p&gt;&#xA;&lt;p&gt;I have also tried &lt;code&gt;libx265&lt;/code&gt;, which I have used beforehand, but that's a 10-20x speed decrease, so I wouldn't want to use it for this 15+ hour project. One thing I see is that with that the chroma subsamplig is &lt;code&gt;4:2:2&lt;/code&gt;, instead of &lt;code&gt;4:4:4&lt;/code&gt;. Setting it to &lt;code&gt;4:2:0&lt;/code&gt; actually increases the file size, what should I do with this?&lt;/p&gt;&#xA;&lt;p&gt;Thank you in advance for any help, and please let me know if I should give more information in order to get the help I need.&lt;/p&gt;&#xA;" OwnerUserId="33251" LastActivityDate="2020-12-19T18:45:15.170" Title="ffmpeg produces the same output file with different bitrate settings" Tags="|ffmpeg|bitrate|hevc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32894" PostTypeId="2" ParentId="32893" CreationDate="2020-12-19T18:45:15.170" Score="0" Body="&lt;p&gt;With hevc_nvenc, if &lt;code&gt;cq:v&lt;/code&gt; is set, &lt;code&gt;b:v&lt;/code&gt; is ignored. Change &lt;code&gt;-cq:v&lt;/code&gt; in conjunction with &lt;code&gt;-maxrate:v&lt;/code&gt; instead.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-12-19T18:45:15.170" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32898" PostTypeId="1" CreationDate="2020-12-21T03:54:50.960" Score="1" ViewCount="14" Body="&lt;p&gt;Is it possible to create a playlist (eg. hls/dash) which will contain multiple video, (not different quality of the same video)&#xA;For example :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;example.com/video1.mkv&#xA;example.com/Video2.mkv&#xA;example3.com/VideoN.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;These are unique videos, I want to have a playlist that can be played by player like VLC&#xA;So how do I do it? I tried creating &lt;code&gt;m3u&lt;/code&gt; list but vlc sees it as if it is a single video and plays the first video only&lt;/p&gt;&#xA;" OwnerUserId="32345" LastActivityDate="2020-12-21T03:54:50.960" Title="Creating a playlist with multiple unique video stream links for internet streaming" Tags="|playlist|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32899" PostTypeId="2" ParentId="32783" CreationDate="2020-12-21T04:30:35.333" Score="1" Body="&lt;p&gt;For time marks try: &lt;code&gt;&amp;quot;01:02:26.060&amp;quot;&lt;/code&gt;, &lt;code&gt;&amp;quot;01:02:28.785&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;(hour:minute:second.millisecond)&lt;/p&gt;&#xA;" OwnerUserId="33277" LastEditorUserId="18155" LastEditDate="2021-01-20T12:34:15.823" LastActivityDate="2021-01-20T12:34:15.823" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32901" PostTypeId="1" CreationDate="2020-12-21T06:38:31.693" Score="2" ViewCount="22" Body="&lt;p&gt;The title says it all: what is involved in synchronizing a film's audio and visual elements, particularly in regard to music.&lt;/p&gt;&#xA;&lt;p&gt;Given 30 seconds of video and 30 seconds of music meant to accompany it, is the process any more complex that making sure the two tracks start at the same time?&lt;/p&gt;&#xA;&lt;p&gt;Presumably there's also an issue of cutting film and sound and re-aligning them.&lt;/p&gt;&#xA;&lt;p&gt;But at core, is it more than aligning start points? And if yes, how so?&lt;/p&gt;&#xA;" OwnerDisplayName="Aaron" LastActivityDate="2020-12-21T15:59:16.523" Title="What is involved in the film/sound synchronization process?" Tags="|audio|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32903" PostTypeId="1" CreationDate="2020-12-21T20:00:41.370" Score="1" ViewCount="63" Body="&lt;p&gt;I need to cut out &amp;quot;best moments&amp;quot; from 1hour videos.(up to 6 moments per video)&lt;/p&gt;&#xA;&lt;p&gt;What software is able to set in/out marks and save marked periods with keyboard shortcuts while watching the main video?&lt;/p&gt;&#xA;&lt;p&gt;I'm thinking to make a bash script where I type in:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&amp;quot;02.22 04.44 clipName&amp;quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;then it will execute a command:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg -ss 00.02.22 -to 00.04.44 -i longVideo.mp4 -c copy&#xA;clipName.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="33277" LastEditorUserId="33277" LastEditDate="2020-12-22T00:28:11.217" LastActivityDate="2024-02-08T20:07:35.863" Title="Setting points and doing a quick &quot;snip&quot;, dynamically playing the video" Tags="|ffmpeg|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32904" PostTypeId="1" CreationDate="2020-12-21T21:06:08.333" Score="0" ViewCount="148" Body="&lt;p&gt;In Premiere Pro 2020 (14.7), some media files have video playing at half the speed as the source, either in the source monitor or the timeline. Here is one example in Premiere with a still apparently at minute 6:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2ywOW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2ywOW.png&quot; alt=&quot;Premiere Pro&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here is the source file playing in VLC showing a near still at minute 3:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QBJKO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QBJKO.png&quot; alt=&quot;VLC&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The same problem appears in &lt;a href=&quot;https://community.adobe.com/t5/premiere-pro/video-playback-at-half-speed-while-audio-remains-normal-pp-13-0-3/td-p/10419614&quot; rel=&quot;nofollow noreferrer&quot;&gt;this thread&lt;/a&gt;. The solution there was to re-open the project, which didn't work for me, and neither did restarting Premiere.&lt;/p&gt;&#xA;&lt;p&gt;I have this issue whether I set ingest to create proxies or not.&lt;/p&gt;&#xA;&lt;p&gt;How can I fix this issue?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;: This is an issue with Adobe After Effects 2020 as well, so most likely an issue with some basic code in the 2020 version. I used a clip in Premiere 2019 and in After Effects 2020 from about 0:30 (shown in the first picture as marked in and out). After Effects rendered the video at half the speed and showing frames that are at 0:14 in the original footage. Lucky for me, I didn't need the audio for that clip in After Effects 2020.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AYTiw.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AYTiw.jpg&quot; alt=&quot;original footage in Premiere 2019&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qv3lg.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qv3lg.jpg&quot; alt=&quot;rendered footage in After Effects 2020&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25024" LastEditorUserId="25024" LastEditDate="2021-01-10T22:46:34.117" LastActivityDate="2024-01-26T03:11:01.430" Title="Premiere Pro plays media video stream at half the speed as audio" Tags="|premiere|bug|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32905" PostTypeId="2" ParentId="32904" CreationDate="2020-12-21T21:06:08.333" Score="0" Body="&lt;p&gt;I spent 5 hours with Adobe support and an engineer, where we tried cleaning the media cache, removing preference files, removing &amp;quot;Application Support&amp;quot; files, rendering in to out, and downgrading from 14.7 to 14.3. The issue still persisted. Adobe said it was my fault because I have the minimum 8 GB of RAM instead of the recommended 16 GB. It sounds like a bug to me.&lt;/p&gt;&#xA;&lt;p&gt;I tried the oldest version of Premiere, 13.1.5 without creating proxies when ingesting, and it did not have that problem.&lt;/p&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2020-12-21T21:06:08.333" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32906" PostTypeId="1" AcceptedAnswerId="32939" CreationDate="2020-12-21T22:42:25.483" Score="0" ViewCount="82" Body="&lt;p&gt;I've installed &lt;strong&gt;Lightworks&lt;/strong&gt; Free on Linux Debian.&lt;/p&gt;&#xA;&lt;p&gt;When execute, it generates a &lt;code&gt;Lightworks&lt;/code&gt; directory in &lt;code&gt;/home/USER&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;After move it to another directory where got all the programs, and execute it again, it keeps generating the previous folder on the same place.&lt;/p&gt;&#xA;&lt;p&gt;How can change it to a preferred location?&lt;/p&gt;&#xA;" OwnerUserId="33286" LastEditorUserId="9102" LastEditDate="2020-12-26T22:59:24.930" LastActivityDate="2020-12-26T22:59:24.930" Title="change Lightworks folder [Linux]" Tags="|linux|lightworks|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32907" PostTypeId="1" CreationDate="2020-12-22T16:29:33.423" Score="1" ViewCount="272" Body="&lt;p&gt;I like to introduce distortions and color effects into my videos when I edit them. How can I recreate color banding in After Effects or Premiere Pro?&lt;/p&gt;&#xA;" OwnerUserId="33293" LastActivityDate="2020-12-23T08:39:39.787" Title="How do you ADD color banding to video (using Adobe Creative Suite)?" Tags="|after-effects|premiere|color-grading|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32908" PostTypeId="1" CreationDate="2020-12-22T17:49:36.603" Score="1" ViewCount="637" Body="&lt;p&gt;Is there any tool that can manipulate / transcode h264 or h265 video streams throwing away approximately half of the frames, without performing a full re-encode?&lt;/p&gt;&#xA;&lt;p&gt;I'm thinking it would be theoretically possible to preserve motion vectors and such computed data, preserve all I-frames, and just throw away approximately half of the B- and P-frames (possibly adjusting the remaining ones.) The result does not need to be CFR.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to do this with ffmpeg? (or any other tool)&lt;/p&gt;&#xA;" OwnerUserId="10709" LastEditorUserId="10709" LastEditDate="2020-12-22T18:14:40.177" LastActivityDate="2022-01-29T13:02:16.140" Title="Halve framerate without complete re-encoding" Tags="|ffmpeg|framerate|transcoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32909" PostTypeId="1" CreationDate="2020-12-22T22:15:52.077" Score="1" ViewCount="58" Body="&lt;p&gt;I'm using ffmpeg to transcode some larger videos (10GB+) with higher bitrates (20Mbps), and I noticed that some (I can't find any pattern yet) will trim of a portion at the end (between 1 and 5 percent). It works spectacularly when the files are smaller or have a lower bitrate.&lt;/p&gt;&#xA;&lt;p&gt;I'm quite new to ffmpeg, so I'm not sure where to start to diagnose the issue here.&lt;/p&gt;&#xA;" OwnerUserId="33297" LastActivityDate="2021-01-05T04:55:04.523" Title="Why does ffmpeg cut/trim off the end of my video when the bitrate is higher than normal?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32911" PostTypeId="1" CreationDate="2020-12-23T02:06:25.167" Score="1" ViewCount="51" Body="&lt;p&gt;I’m attempting to grade some footage from a C100, with the aid of X-Rite’s Video color match card, in DaVinci Resolve. Below is a screen grab of the ungraded footage.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sawvi.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sawvi.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And here is what I get when matching to the card:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FLkjk.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FLkjk.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It’s a good start, as far as I’m concerned...except for red...why on earth would those red candles turn magenta? Is there something that I can do to overcome that?&lt;/p&gt;&#xA;" OwnerUserId="2352" LastActivityDate="2020-12-23T02:06:25.167" Title="X-Rite Video Color Matching gives Strange Results" Tags="|davinci-resolve|color-correction|color-grading|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32912" PostTypeId="1" CreationDate="2020-12-23T03:33:16.220" Score="0" ViewCount="40" Body="&lt;p&gt;For this HTML5 video, it runs fine without any playback issues except during a certain clip around the 3:15 mark:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://newtube.app/TonyHeller/X31Kd6s&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://newtube.app/TonyHeller/X31Kd6s&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm just a simple code monkey and don't know the ins and outs of video playback, how can it be that my browser has no issues with this video except for that certain clip, I assume that the video clip has a certain codec that my browser has trouble handling, would that assumption be correct? Thank you&lt;/p&gt;&#xA;" OwnerUserId="20754" LastActivityDate="2023-12-30T11:09:21.207" Title="HTML5 video lags, but only for certain sections" Tags="|video|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32913" PostTypeId="1" AcceptedAnswerId="32916" CreationDate="2020-12-22T17:25:55.427" Score="0" ViewCount="152" Body="&lt;p&gt;I need to create a simple animation like &lt;a href=&quot;https://www.youtube.com/watch?v=_aocKBYyjM0&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I know this video is Created in MicroStation, but i don't need a complicated program for this and i think a simple one will be enough.&lt;/p&gt;&#xA;&lt;p&gt;I just need to add some points, lines and set rotation speed, direction and trace path of one our two points. In video above look at Venus path.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5Ovm0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5Ovm0.png&quot; alt=&quot;look at Venus path&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;&lt;p&gt;Look at this image, Is there any program that lets me visually create something like this and trace orange dot path?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Mmusr.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Mmusr.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33300" OwnerDisplayName="Amir" LastEditorUserId="33300" LastEditDate="2020-12-24T18:07:50.427" LastActivityDate="2020-12-24T18:07:50.427" Title="Easy way to create a simple animation and trace path of a point?" Tags="|animation|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="32914" PostTypeId="2" ParentId="32913" CreationDate="2020-12-22T18:57:14.030" Score="0" Body="&lt;p&gt;Easy is subjective, but using &lt;a href=&quot;https://solvespace.com/ref.pl&quot; rel=&quot;nofollow noreferrer&quot;&gt;Solvespace&lt;/a&gt; may allow you to accomplish your objective. The included link has a section about three-quarters of the way down referencing the trace point feature of the program.&lt;/p&gt;&#xA;&lt;p&gt;Solvespace is a multi-platform, free program that allows for parametric designs in 3D but will function fine for 2D projects such as this.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fSuF4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fSuF4.png&quot; alt=&quot;solvespace tracer&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This image from the linked site shows a 4 bar linkage with length parameters applied.&lt;/p&gt;&#xA;" OwnerUserId="27498" OwnerDisplayName="fred_dot_u" LastActivityDate="2020-12-22T18:57:14.030" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32915" PostTypeId="2" ParentId="32869" CreationDate="2020-12-23T06:50:26.573" Score="1" Body="&lt;p&gt;You could precomp the layers and duplicate them, so that one has motion blur and one does not, and toggle the opacity of each on/off.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-12-23T06:50:26.573" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32916" PostTypeId="2" ParentId="32913" CreationDate="2020-12-23T07:02:14.787" Score="0" Body="&lt;p&gt;If it was me I'd be 100% doing this with &lt;a href=&quot;https://processing.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;Processing&lt;/a&gt;. Processing is a Free / Open source programming environment / language that lets you easily make parametric animation like this. If you have the maths behind the curve sorted then implementing it as a processing sketch would be fairly straightforward.&lt;/p&gt;&#xA;&lt;p&gt;A good starting point would be this sketch: &lt;a href=&quot;https://processing.org/examples/sinewave.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://processing.org/examples/sinewave.html&lt;/a&gt;&#xA;&lt;a href=&quot;https://processing.org/examples/sinewave.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://processing.org/examples/sinewave.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/l1pJA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/l1pJA.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-12-23T07:02:14.787" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32917" PostTypeId="2" ParentId="32907" CreationDate="2020-12-23T08:27:40.423" Score="1" Body="&lt;p&gt;Adding colour banding is also known as posterising (or posterizing if that's how you roll). There's a built-in (to AE, though I'd be surprised if it's not also in PP) posterize effect (&lt;strong&gt;Effects&amp;gt;Stylize&amp;gt;Posterize&lt;/strong&gt;). It only has one control, Level, if you set it low you'll get something that looks like an 8-bit game, or a screen-printed poster (hence the name):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RtCf3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RtCf3.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Or if you set it higher you get banding:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SoJi6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SoJi6.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you want a bit more control the Cartoon effect (&lt;strong&gt;Effects&amp;gt;Stylize&amp;gt;Cartoon&lt;/strong&gt;) also give you pronounced banding. Set the render style to &lt;strong&gt;Fill&lt;/strong&gt; (default is &lt;strong&gt;Fill &amp;amp; Edges&lt;/strong&gt;), and then twiddle the knobs.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2020-12-23T08:39:39.787" LastActivityDate="2020-12-23T08:39:39.787" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32918" PostTypeId="2" ParentId="30912" CreationDate="2020-12-23T17:28:22.803" Score="2" Body="&lt;p&gt;ffmpeg -i input.mkv -map 0:v:0 -c:v copy -map 0:a:0 -c:a:0 aac -b:a:0 512k -map 0:a:0 -c:a:1 copy -map 0:s:0 -c:s:0 copy -metadata:s:s:0 language=eng -map 0:s:1 -c:s:1 copy -metadata:s:s:1 language=fre output.mkv&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;Stream #0:1 -&amp;gt; #0:1 (truehd (native) -&amp;gt; aac (native))&#xA;Stream #0:1 -&amp;gt; #0:2 (copy) # truehd 7.1&#xA;Stream #0:3 -&amp;gt; #0:3 (copy) # (English subtitles)&#xA;Stream #0:6 -&amp;gt; #0:4 (copy) # (French subtitles)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If I've done this correctly it should only copy or encode what you asked for and nothing else..&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-canvas_size 1920x804 (WidthxHeight of video.. Is needed to copy DVD &amp;amp; Blu-ray picture based subtitles over..)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And on a side note:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-map 0:m:language:eng (Missing Index on which stream metadata should be changed)&#xA;-map 0:m:language:fre (Missing Index on which stream metadata should be changed)&#xA;-c copy (This will copy all streams over regardless of mapping..)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33302" LastActivityDate="2020-12-23T17:28:22.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32919" PostTypeId="2" ParentId="32903" CreationDate="2020-12-24T00:01:46.467" Score="0" Body="&lt;p&gt;The exact software I was looking for&#xA;&lt;a href=&quot;https://mifi.github.io/lossless-cut&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://mifi.github.io/lossless-cut&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Please donate to the author if you can and will use it, his soft saved my hobby gaming youtube channel and lots of free time)&lt;/p&gt;&#xA;" OwnerUserId="33277" LastEditorUserId="33277" LastEditDate="2020-12-24T00:19:23.217" LastActivityDate="2020-12-24T00:19:23.217" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32922" PostTypeId="1" CreationDate="2020-12-24T05:33:06.170" Score="-1" ViewCount="16" Body="&lt;p&gt;Do Adobe Premiere Pro and Adobe After Effects CS6 still usable for editing? What features will I miss from the latest versions?&lt;/p&gt;&#xA;&lt;p&gt;Date of question: 24th December 2020&lt;/p&gt;&#xA;" OwnerUserId="33308" LastActivityDate="2020-12-26T05:19:45.820" Title="Usability of Softwares" Tags="|after-effects|premiere|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32923" PostTypeId="1" CreationDate="2020-12-24T16:13:58.150" Score="1" ViewCount="32" Body="&lt;p&gt;I am new to Premiere Pro and am making a sequence with three puppets talking on the phone, joined from different shots. I want a &amp;quot;scissor saw&amp;quot; separating them when they are talking and that separation moving in and out as puppets enter or exit the scene. For example, the sequence starts with one puppet in the whole screen and then the scissor saw enters from the right along with the second puppet.&lt;/p&gt;&#xA;&lt;p&gt;Here is my vector drawing of the scissor saw; the text has the action for the puppets with time flowing down:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JLPdJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JLPdJ.png&quot; alt=&quot;schematics for scissor saw with puppet action&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/create-clip-masks.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt; shows how to create ellipse, 4-point polygon, and Bezier masks on a clip. What I would like, though, is to use a vector or bitmap drawing as a bitmask on a clip so a puppet is showing on the left and the right is transparent for the puppet on the other clip. This way, I am sure that the bitmask is aligned with the scissor saw and that I can smoothly transition the scissor saw drawing between clips, as that drawing is associated with the clip of puppet 2 when that puppet enters and then with the clip of puppet 1 when that puppet leaves.&lt;/p&gt;&#xA;&lt;p&gt;How can I assign bitmasks to a clip on Premiere Pro?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2020-12-24T16:13:58.150" Title="Opacity mask from vector drawing for phone sequence in Premiere Pro" Tags="|premiere|effects|transitions|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32924" PostTypeId="1" AcceptedAnswerId="32927" CreationDate="2020-12-24T16:49:22.657" Score="1" ViewCount="507" Body="&lt;h3&gt;How can BATCH remux video and audio to one file?&lt;/h3&gt;&#xA;&lt;p&gt;I'm trying this on mine android termux.&#xA;So what I'm trying:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I want to rip audio from video and convert to wav. &lt;strong&gt;ffmpeg -i inp.mkv -map 0:1 audio.wav&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Extract only video. &lt;strong&gt;mkvextract tracks &amp;quot;inp.mkv&amp;quot; 0:video.mkv&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;Remux Combine extracted video and wav audio file. &lt;strong&gt;mkvmerge -o final.mkv video.mkv audio.wav&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;h1&gt;UPDATE&lt;/h1&gt;&#xA;&lt;p&gt;I Have found the command Solved myself&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;for f in &lt;em&gt;.mkv;do ffmpeg -i &amp;quot;$f&amp;quot; -map 0:1 &amp;quot;${f%mkv}wav&amp;quot;;done &amp;amp;&amp;amp; for i in &lt;em&gt;.mkv; do mkdir -p &amp;quot;${i%.&lt;/em&gt;}&amp;quot; &amp;amp;&amp;amp; mkvmerge -o &amp;quot;${i%.&lt;/em&gt;}/${i%.&lt;em&gt;}.mkv&amp;quot; -A &amp;quot;$i&amp;quot; &amp;quot;${i%.&lt;/em&gt;}.wav&amp;quot;; done&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;h1&gt;Another Question&lt;/h1&gt;&#xA;&lt;p&gt;How can I batch convert ssa to srt and send it to folder and also give subtitle the same name as video?&lt;/p&gt;&#xA;&lt;p&gt;for f in &lt;em&gt;.mkv;do ffmpeg -i &amp;quot;$f&amp;quot; -map 0:1 &amp;quot;${f%mkv}wav&amp;quot;;done &amp;amp;&amp;amp; for i in &lt;em&gt;.mkv; do mkdir -p &amp;quot;${i%.&lt;/em&gt;}&amp;quot; &amp;amp;&amp;amp; mkvmerge -o &amp;quot;${i%.&lt;/em&gt;}/${i%.&lt;em&gt;}.mkv&amp;quot; -A &amp;quot;$i&amp;quot; &amp;quot;${i%.&lt;/em&gt;}.wav&amp;quot;; done &amp;amp;&amp;amp; for f in *.ass;do ffmpeg -i &amp;quot;$f&amp;quot; &amp;quot;${f%ass}srt&amp;quot;;done&lt;/p&gt;&#xA;" OwnerUserId="32528" LastEditorUserId="32528" LastEditDate="2020-12-24T21:22:30.037" LastActivityDate="2020-12-24T21:22:30.037" Title="How to BATCH remux combine video and audio to one file?" Tags="|ffmpeg|mkv|android|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32927" PostTypeId="2" ParentId="32924" CreationDate="2020-12-24T21:11:38.803" Score="0" Body="&lt;p&gt;for f in .mkv;do ffmpeg -i &amp;quot;$f&amp;quot; -map 0:1 &amp;quot;${f%mkv}wav&amp;quot;;done &amp;amp;&amp;amp; for i in .mkv; do mkdir -p &amp;quot;${i%.}&amp;quot; &amp;amp;&amp;amp; mkvmerge -o &amp;quot;${i%.}/${i%.}.mkv&amp;quot; -A &amp;quot;$i&amp;quot; &amp;quot;${i%.}.wav&amp;quot;; done&lt;/p&gt;&#xA;" OwnerUserId="32528" LastActivityDate="2020-12-24T21:11:38.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32928" PostTypeId="1" CreationDate="2020-12-24T22:35:13.663" Score="0" ViewCount="19" Body="&lt;p&gt;I have some 1080p video tapes that when converted were scaled down to 480p. The company I paid to do the conversion threw away the tapes. Is there any way to get back some of the quality? I'm willing to pay whatever it takes if it is possible. Thanks for your help.&lt;/p&gt;&#xA;" OwnerUserId="33314" LastActivityDate="2020-12-27T16:32:42.713" Title="1080p tapes converted to 480p question" Tags="|video-editor|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32929" PostTypeId="2" ParentId="31989" CreationDate="2020-12-25T00:11:18.243" Score="0" Body="&lt;p&gt;See if this software is what you're looking for&#xA;&lt;a href=&quot;https://mifi.github.io/lossless-cut&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://mifi.github.io/lossless-cut&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33277" LastActivityDate="2020-12-25T00:11:18.243" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32930" PostTypeId="1" CreationDate="2020-12-25T02:28:21.247" Score="0" ViewCount="214" Body="&lt;p&gt;How do I replace one layer with another and take all its specifications(size, scale, position, effects....) in after effects?.&lt;/p&gt;&#xA;" OwnerUserId="31900" LastEditorUserId="1950" LastEditDate="2020-12-29T08:08:13.680" LastActivityDate="2023-01-18T14:00:55.120" Title="How do I replace one layer with another and take all its specifications" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32931" PostTypeId="2" ParentId="32804" CreationDate="2020-12-25T04:45:21.253" Score="1" Body="&lt;p&gt;If the hashes for the decoded streams are identical, then the streams are essentially identical.&lt;/p&gt;&#xA;&lt;p&gt;Differences can be due to bitstream encapsulation (Annex B vs length-prefixed in case of H.264/H.265) or packet arrangement or embedded parameter sets (for configuration). As long as the bitstream is valid, these differences won't affect decoding.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2020-12-25T04:45:21.253" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32937" PostTypeId="1" CreationDate="2020-12-26T03:37:22.943" Score="1" ViewCount="58" Body="&lt;p&gt;There're some online tutorials that have materials organised into 2 folders: Final Cut Projects and Final Cut Events, if they're in 'Movies'.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/G5Axx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/G5Axx.png&quot; alt=&quot;tutorial materials&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Their videos show that older version of FCP seems to recognise these folders by default, and can browse projects and events in these folders directly.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ijqev.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ijqev.png&quot; alt=&quot;older version of FCP can browse file system directly&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm using FCPX 10.5, and I can't find out how to import those projects and events into a new library.&lt;/p&gt;&#xA;" OwnerUserId="33323" LastEditorUserId="33323" LastEditDate="2020-12-27T00:23:15.383" LastActivityDate="2024-01-11T08:08:26.043" Title="How do I create a library in FCPX 10.5 with Final Cut Projects and Final Cut Events folders?" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32938" PostTypeId="2" ParentId="32922" CreationDate="2020-12-26T05:19:45.820" Score="0" Body="&lt;p&gt;Yes, they can be used&#xA;But well, it is not possible to explain all the cases, certainly no one can tell you all about them, my dear friend, but in the new series, there has been so much variety and facilities, and fixing bugs, and so on.&lt;/p&gt;&#xA;&lt;p&gt;It is recommended to work with the same version and scroll a bit on YouTube to see what are the differences with older versions.&#xA;Good luck&lt;/p&gt;&#xA;" OwnerUserId="32907" LastActivityDate="2020-12-26T05:19:45.820" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32939" PostTypeId="2" ParentId="32906" CreationDate="2020-12-26T09:22:12.197" Score="0" Body="&lt;p&gt;According to &lt;a href=&quot;https://www.lwks.com/index.php?option=com_content&amp;amp;view=article&amp;amp;id=102&amp;amp;Itemid=213&quot; rel=&quot;nofollow noreferrer&quot;&gt;the product comparison source&lt;/a&gt;, the free version does not allow to &amp;quot;User definable project locations&amp;quot;. This is only possible for the Pro version.&lt;/p&gt;&#xA;" OwnerUserId="9102" LastActivityDate="2020-12-26T09:22:12.197" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32941" PostTypeId="1" CreationDate="2020-12-26T13:26:29.890" Score="1" ViewCount="885" Body="&lt;p&gt;I'm trying to encode sample video clip or audio track with &lt;code&gt;ffmpeg&lt;/code&gt; and &lt;code&gt;libfdk_aac&lt;/code&gt; with variable bitrate mode&lt;code&gt;-vbr 3&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i sample.mp4 -crf 21 -vcodec h264 -acodec libfdk_aac -vbr 3 -ac 2 out.mp4&#xA;ffmpeg -i sample.mp3 -acodec libfdk_aac -vbr 3 -ac 2 out.m4a&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;mediainfo&lt;/code&gt; always shows&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Bit rate mode                            : Constant&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It sounds like a bug, isn't it?&lt;/p&gt;&#xA;&lt;p&gt;Also, Mp4info looks like&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;File:&#xA;  major brand:      M4A &#xA;  minor version:    200&#xA;  compatible brand: M4A &#xA;  compatible brand: isom&#xA;  compatible brand: iso2&#xA;  fast start:       no&#xA;&#xA;Movie:&#xA;  duration:   229042 ms&#xA;  time scale: 1000&#xA;  fragments:  no&#xA;&#xA;Found 1 Tracks&#xA;Track 1:&#xA;  flags:        3 ENABLED IN-MOVIE&#xA;  id:           1&#xA;  type:         Audio&#xA;  duration: 229042 ms&#xA;  language: und&#xA;  media:&#xA;    sample count: 9864&#xA;    timescale:    44100&#xA;    duration:     10100736 (media timescale units)&#xA;    duration:     229042 (ms)&#xA;    bitrate (computed): 88.674 Kbps&#xA;  Sample Description 0&#xA;    Coding:      mp4a (MPEG-4 Audio)&#xA;    Stream Type: Audio&#xA;    Object Type: MPEG-4 Audio&#xA;    Max Bitrate: 88674&#xA;    Avg Bitrate: 88674&#xA;    Buffer Size: 0&#xA;    Codecs String: mp4a.40.2&#xA;    MPEG-4 Audio Object Type: 2 (AAC Low Complexity)&#xA;    MPEG-4 Audio Decoder Config:&#xA;      Sampling Frequency: 44100&#xA;      Channels: 2&#xA;    Sample Rate: 44100&#xA;    Sample Size: 16&#xA;    Channels:    2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;How &lt;code&gt;mediainfo&lt;/code&gt; recognizes &lt;code&gt;Bit rate mode&lt;/code&gt; for &lt;code&gt;mp4&lt;/code&gt; \ &lt;code&gt;m4a&lt;/code&gt; ? And is there any way to correct it to &lt;code&gt;Variable&lt;/code&gt; ?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/MEkSY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MEkSY.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;P.S.:&#xA;Bitrate's plot show that &lt;code&gt;libfdk_aac&lt;/code&gt; works fine, but output metadata is incorrect - it can't be CBR. Here's example for CBR below (with option &lt;code&gt;-vbr 0&lt;/code&gt;):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Rmrtm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Rmrtm.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE:&lt;/strong&gt;&#xA;After an hour of digging this issue I noticed that issue could be solved by editing ESDescriptor.&#xA;Here's sample's ESDescriptor that ffmpeg produces:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[ESDescriptor] size=5+34&#xA;  es_id = 2&#xA;  stream_priority = 0&#xA;  [DecoderConfig] size=5+20&#xA;    stream_type = 5&#xA;    object_type = 64&#xA;    up_stream = 0&#xA;    buffer_size = 0&#xA;    max_bitrate = 151870&#xA;    avg_bitrate = 151870&#xA;    DecoderSpecificInfo = 11 90 &#xA;  [Descriptor:06] size=5+1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Well, if you set &lt;code&gt;max_bitrate&lt;/code&gt; and &lt;code&gt;avg_bitrate&lt;/code&gt; to &lt;code&gt;0&lt;/code&gt; - &lt;code&gt;Bit rate mode&lt;/code&gt; magically switches to correct value &lt;code&gt;VBR&lt;/code&gt; as it is.&#xA;So the problem could be solved by using &lt;code&gt;mp4edit&lt;/code&gt; or by patching ffmpeg (libavformat/movenc.c::mov_write_esds_tag)&lt;/p&gt;&#xA;&lt;p&gt;Out of curiosity, I checked youtube's videos' ESDescriptor, they also has &lt;code&gt;max_bitrate&lt;/code&gt; and &lt;code&gt;avg_bitrate&lt;/code&gt; set to &lt;code&gt;0&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="29732" LastEditorUserId="29732" LastEditDate="2020-12-26T15:53:55.463" LastActivityDate="2021-01-28T17:22:59.980" Title="ffmpeg + libfdk_aac + vbr =&gt; wrong &quot;BitRate_Mode&quot;" Tags="|ffmpeg|audio|bitrate|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="32943" PostTypeId="1" CreationDate="2020-12-26T19:22:04.090" Score="1" ViewCount="24" Body="&lt;p&gt;I am looking for a solution to compress screen recording. Imagine a coding tutorial involving mostly text and windows and almost no graphics other than icons and occasional view of the wallpaper.&lt;/p&gt;&#xA;&lt;p&gt;Since the content on the screen is mostly static and contains large patches of the same color, I suppose there is a very good scope compression if the codec is optimized of this kind of use case. GIF (still image) is very good at compressing large rectangular areas of single color. SVG is very good at compressing images that really vectors. For certain types of content, these formats far outperform JPEG in size while delivering superior or equivalent image quality.  I am looking for a similar technology for video. It has to compress the content described above really well in terms of output size as compared to a general purpose video codec. It need not be very good at capturing motion other than mouse/cursor movement and occasional window movement.&lt;/p&gt;&#xA;" OwnerUserId="33330" LastActivityDate="2020-12-26T20:47:31.670" Title="GIF/SVG kind of compression for Video" Tags="|codec|compression|webvideos|presentation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32945" PostTypeId="2" ParentId="32943" CreationDate="2020-12-26T20:47:31.670" Score="1" Body="&lt;p&gt;I wonder if the original &lt;a href=&quot;https://en.wikipedia.org/wiki/Independent_Computing_Architecture&quot; rel=&quot;nofollow noreferrer&quot;&gt;Citrix ICA&lt;/a&gt; or for that effect &lt;a href=&quot;https://en.wikipedia.org/wiki/NX_technology&quot; rel=&quot;nofollow noreferrer&quot;&gt;Nomachine's NX&lt;/a&gt;, &lt;a href=&quot;https://en.wikipedia.org/wiki/Remote_Desktop_Protocol&quot; rel=&quot;nofollow noreferrer&quot;&gt;Microsoft RDP&lt;/a&gt; or even &lt;a href=&quot;https://en.wikipedia.org/wiki/Virtual_Network_Computing&quot; rel=&quot;nofollow noreferrer&quot;&gt;VNC&lt;/a&gt; would be of your interest. From what I understand of ICA and NX that idea was really to be in between of window manager calls, giving it an ultimate access to 'small updates' opposed to complete framebuffers. By a bit of searching I found &lt;a href=&quot;https://wiki.ubuntu.com/ScreenCasts/VNCREC&quot; rel=&quot;nofollow noreferrer&quot;&gt;VNCREC&lt;/a&gt;. The biggest problem with the to 'vector' format is that most font rendering is very far from the original text, so you would need something very in between, maybe such as &lt;a href=&quot;https://blogs.gnome.org/alexl/2019/03/29/broadway-adventures-in-gtk4/&quot; rel=&quot;nofollow noreferrer&quot;&gt;GTK Broadway&lt;/a&gt; which goes into HTML5.&lt;/p&gt;&#xA;" OwnerUserId="33326" LastActivityDate="2020-12-26T20:47:31.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32947" PostTypeId="2" ParentId="32928" CreationDate="2020-12-26T23:08:46.333" Score="1" Body="&lt;p&gt;Sadly, no.&lt;/p&gt;&#xA;&lt;p&gt;As  Michael commented, to get to lower resolution, all that higher resolution data has been discarded. There is nowhere to get it back from.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2020-12-26T23:08:46.333" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32948" PostTypeId="2" ParentId="32937" CreationDate="2020-12-27T00:02:36.857" Score="0" Body="&lt;p&gt;If you click the dropdown in your library, you will see a folder named &amp;quot;Smart Collections&amp;quot; under that, you'll see Projects. Any and all Events will be under your Library hierarchy, these folders will be created automatically.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/QYHXK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QYHXK.png&quot; alt=&quot;Screenshot of FCPX Library Hierarchy&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33333" LastActivityDate="2020-12-27T00:02:36.857" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32949" PostTypeId="2" ParentId="32941" CreationDate="2020-12-27T02:01:22.643" Score="2" Body="&lt;p&gt;The issue was caused by ffmpeg/libavformat/movenc.c::mov_write_esds_tag, it can't find max_bitrate. To solve it you should specify audio bitrate &lt;code&gt;-b:a 128k&lt;/code&gt; along with &lt;code&gt;-vbr 4&lt;/code&gt;. Then mp4's ESDescriptor would have info about &lt;code&gt;max_bitrate&lt;/code&gt; and &lt;code&gt;mediainfo&lt;/code&gt; and decoders would know that audio stream has variable bitrate mode.&lt;/p&gt;&#xA;" OwnerUserId="29732" LastActivityDate="2020-12-27T02:01:22.643" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32950" PostTypeId="1" CreationDate="2020-12-27T04:07:27.870" Score="0" ViewCount="491" Body="&lt;p&gt;&lt;strong&gt;System Spec:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;16 core 3950x&#xA;Nvidia rtx 3080&#xA;64gb of ram&#xA;1tb nvme&#xA;2tb ssd&#xA;4tb hdd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Software&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;AfterEffects - v17.5.1 (build 47)&#xA;MediaEncoder - v14.7 (build 17)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Problem:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;So I'm outputting a fairly complex render at 1080p 30fps and the media encoder is only using 3% of the CPU and 6% of the GPU. I have always had issues with rendering but this new pc I have just bought should be rendering much faster than the old setup but they are basically identical. Can someone explain if there is something I can do to increase the performance or explain why the hell this shit is like this?&lt;/p&gt;&#xA;" OwnerUserId="33334" LastEditorUserId="33334" LastEditDate="2021-03-08T03:47:54.410" LastActivityDate="2024-03-22T13:06:45.817" Title="Adobe Media Encoder (Why is it not using all the available power)" Tags="|after-effects|encoding|adobe|adobe-media-encoder|rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32951" PostTypeId="2" ParentId="32506" CreationDate="2020-12-27T12:27:02.510" Score="0" Body="&lt;p&gt;The only solution I found is to open a new project on premiere, go to &amp;quot;edit&amp;quot;, preferences, general and uncheck &amp;quot;show system compatibility issues at startup&amp;quot;.&#xA;This will make that thing desappear, but it won't fix any issue.&#xA;Anyway, i hope it helps.&#xA;Bye!&#xA;Bizzarra&lt;/p&gt;&#xA;" OwnerUserId="33338" LastActivityDate="2020-12-27T12:27:02.510" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32952" PostTypeId="1" CreationDate="2020-12-27T13:14:29.893" Score="1" ViewCount="300" Body="&lt;p&gt;I have a need to repeatedly create videos that have a short 15 second intro that fades to black and have really long audio tracks like 8 hours. I generate the video in Vegas and the audio in Cubase. The desired result is to have the video and audio start together and the video's last frame (completely black) be repeated to match the audio length. I can do this easily in Magix Vegas 16 Pro but the performance is awful. It takes 2+ hours to say render 15 seconds of actual changing video and then another 8 hours of black frames. This is on a 10850K with an RTX 2070 rendering using the GPU as it is faster in Vegas than using the Intel CPU renderer. I thought it was somehow choking on the audio so I eliminated it and just the video rendering of all of the black frames is still 2 hours. Any thoughts on how to speed this up in Vegas would be greatly appreciated. I feel like FFMPEG could be a viable alternative. I had some promising results with render time using &lt;strong&gt;ffmpeg -i Input_Video.mp4 -i Input_audio.mp3 -c:v libx265 -c:a copy -map 0:v:0 -map 1:a:0 Combined_Output.mp4&lt;/strong&gt; .  This completes the task in under a minute BUT the resulting video is not as it seems. I can play the video from beginning to end in a media player and it looks fine. However, if I watch for a second and fast forward beyond those first 15 seconds, I don't see the black screen. It still shows whatever frame I went from. I examined the video and it sort of appears like the final video result it just the frames of the input video for 15 seconds with no encoded video after that. I need to have just black video after the first 15 seconds playing along with the audio. The black frames need to be encoded as video all the way until the audio ends. Any thoughts on this?&lt;/p&gt;&#xA;" OwnerUserId="33340" LastActivityDate="2021-09-23T18:04:30.423" Title="Combining a short video and long audio file efficiently using Vegas or FFMPEG" Tags="|video|ffmpeg|audio|performance|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32954" PostTypeId="2" ParentId="32952" CreationDate="2020-12-27T16:26:59.107" Score="1" Body="&lt;p&gt;Have you tried using the ffmpeg playlist feature dubbed &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;concatenate&lt;/a&gt;? The fade to black with ffmpeg has been described &lt;a href=&quot;https://superuser.com/questions/386065/is-there-a-way-to-add-a-fade-to-black-effect-to-a-video-from-the-command-line&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="33326" LastActivityDate="2020-12-27T16:26:59.107" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32955" PostTypeId="2" ParentId="32928" CreationDate="2020-12-27T16:32:42.713" Score="0" Body="&lt;p&gt;By some magical video upscaling, or reimagination using AI this can be done, as seen from an &lt;a href=&quot;https://www.youtube.com/watch?v=Vj6C4UxDg3s&quot; rel=&quot;nofollow noreferrer&quot;&gt;example&lt;/a&gt; by &lt;a href=&quot;https://topazlabs.com/video-enhance-ai/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Topaz Labs&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="33326" LastActivityDate="2020-12-27T16:32:42.713" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32956" PostTypeId="2" ParentId="32908" CreationDate="2020-12-27T16:39:20.187" Score="0" Body="&lt;p&gt;I think the term for this effort is &lt;a href=&quot;https://liu.diva-portal.org/smash/get/diva2:1237211/FULLTEXT01.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;statistical multiplexing&lt;/a&gt; where your proposed framework would be an efficient implementation thereof.&lt;/p&gt;&#xA;" OwnerUserId="33326" LastActivityDate="2020-12-27T16:39:20.187" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32957" PostTypeId="1" AcceptedAnswerId="32994" CreationDate="2020-12-27T17:30:42.887" Score="0" ViewCount="332" Body="&lt;p&gt;I have footage from an Array Alexa Mini, shot with anamorphic lenses. The footage was desqueezed in camera, so the resulting video resolution is &lt;code&gt;2944x2160&lt;/code&gt;. The codec is &lt;code&gt;Timecode, Apple ProRes 4444&lt;/code&gt;, and the color profile is &lt;code&gt;HD(1-1-1)&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;2944x1260 does not appear to be a standard format and I'm unsure how I should be working with these clips in FCPX.&lt;/p&gt;&#xA;&lt;p&gt;I also need to sync up audio and video. When I try to synchronise clips, the automatic settings are:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;720p HD 1280x720&lt;/li&gt;&#xA;&lt;li&gt;Rec 709&lt;/li&gt;&#xA;&lt;li&gt;automatic Audio Properties&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Which seems too low a resolution to me. When I look at the options in custom settings, there is no format that matches the resolution of the source video.&lt;/p&gt;&#xA;&lt;p&gt;So my question is, what setting should I be using for my synchronised clips and project?&lt;/p&gt;&#xA;" OwnerUserId="33342" LastActivityDate="2021-01-03T08:38:09.420" Title="How to work with desqueezed anamorphic footage in FCPX" Tags="|editing|formats|fcpx|setup|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32958" PostTypeId="2" ParentId="32216" CreationDate="2020-12-27T17:52:26.630" Score="0" Body="&lt;p&gt;What you describe is the use case for using an audio compressor. You set a threshold, below which the compressor doesn't affect volumes, and above which it compresses the audio sound level.&lt;/p&gt;&#xA;" OwnerUserId="5573" LastActivityDate="2020-12-27T17:52:26.630" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32960" PostTypeId="1" CreationDate="2020-12-28T05:47:39.737" Score="0" ViewCount="2276" Body="&lt;p&gt;Hope someone can help me. I'm using ffmpeg to extract the frames from an old video as images, batch enhancing and upscaling the images, then renecoding the images together with the original audio to a new video. This does work and the result looks and sounds correct, but I get this error/warning during the process&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;[image2 @ 0000022193c2e8c0] Thread message queue blocking; consider raising the thread_queue_size option&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Since the output seems correct, I don't know if I need to worry about this or not. Does this message imply frames were dropped? Or is it just telling me I can read faster than I can write?&lt;/p&gt;&#xA;&lt;p&gt;Everything I find about this online is from people doing real time encoding while streaming. I can understand a CPU may not keep up in that situation and drop some frames, but I'm encoding from files on disk to another file on disk. I would assume in this situation the program will just block the input threads till the output catches up, instead of dropping frames, but I'm not sure, which is why I ask here.&lt;/p&gt;&#xA;&lt;p&gt;This only happens if I include audio copy in the same command. I'm copying from the same original video I made the frames from (which was encoded at 29.97 fps). I am outputting to a video of the same framerate (I think). Is there something I'm doing wrong here?&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;&amp;gt; ffmpeg.exe -f image2 -framerate ntsc -i %%06d.png -i D:\encode\original.avi -map 0:v:0 -map 1:a:0 -acodec copy -c:v libx265 -crf 28 -preset medium -pix_fmt yuv420p -r ntsc D:\encode\new.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.3.1-2020-11-19-full_build-www.gyan.dev Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 10.2.0 (Rev5, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-lzma --enable-libsnappy --enable-zlib --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-libbluray --enable-libcaca --enable-sdl2 --enable-libdav1d --enable-libzvbi --enable-librav1e --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-libaom --enable-libopenjpeg --enable-libvpx --enable-libass --enable-frei0r --enable-libfreetype --enable-libfribidi --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-libcdio --enable-libgme --enable-libmodplug --enable-libopenmpt --enable-libopencore-amrwb --enable-libmp3lame --enable-libshine --enable-libtheora --enable-libtwolame --enable-libvo-amrwbenc --enable-libilbc --enable-libgsm --enable-libopencore-amrnb --enable-libopus --enable-libspeex --enable-libvorbis --enable-ladspa --enable-libbs2b --enable-libflite --enable-libmysofa --enable-librubberband --enable-libsoxr --enable-chromaprint&#xA;  libavutil      56. 51.100 / 56. 51.100&#xA;  libavcodec     58. 91.100 / 58. 91.100&#xA;  libavformat    58. 45.100 / 58. 45.100&#xA;  libavdevice    58. 10.100 / 58. 10.100&#xA;  libavfilter     7. 85.100 /  7. 85.100&#xA;  libswscale      5.  7.100 /  5.  7.100&#xA;  libswresample   3.  7.100 /  3.  7.100&#xA;  libpostproc    55.  7.100 / 55.  7.100&#xA;Input #0, image2, from '%06d.png':&#xA;  Duration: 00:03:29.84, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0: Video: png, rgb24(pc), 1280x720, 29.97 fps, 29.97 tbr, 29.97 tbn, 29.97 tbc&#xA;Guessed Channel Layout for Input Stream #1.1 : stereo&#xA;Input #1, avi, from 'D:\encode\original.avi':&#xA;  Duration: 00:03:29.84, start: 0.000000, bitrate: 2202 kb/s&#xA;    Stream #1:0: Video: mpeg4 (DX50 / 0x30355844), yuv420p, 352x240 [SAR 1:1 DAR 22:15], 778 kb/s, 29.97 fps, 29.97 tbr, 29.97 tbn, 30k tbc&#xA;    Stream #1:1: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 44100 Hz, stereo, s16, 1411 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (png (native) -&amp;gt; hevc (libx265))&#xA;  Stream #1:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;x265 [info]: HEVC encoder version 3.4+27-g5163c32d7&#xA;x265 [info]: build info [Windows][GCC 10.2.0][64 bit] 8bit+10bit+12bit&#xA;x265 [info]: using cpu capabilities: MMX2 SSE2Fast LZCNT SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;x265 [info]: Main profile, Level-3.1 (Main tier)&#xA;x265 [info]: Thread pool created using 24 threads&#xA;x265 [info]: Slices                              : 1&#xA;x265 [info]: frame threads / pool features       : 4 / wpp(12 rows)&#xA;x265 [info]: Coding QT: max CU size, min CU size : 64 / 8&#xA;x265 [info]: Residual QT: max TU size, max depth : 32 / 1 inter / 1 intra&#xA;x265 [info]: ME / range / subpel / merge         : hex / 57 / 2 / 3&#xA;x265 [info]: Keyframe min / max / scenecut / bias  : 25 / 250 / 40 / 5.00&#xA;x265 [info]: Lookahead / bframes / badapt        : 20 / 4 / 2&#xA;x265 [info]: b-pyramid / weightp / weightb       : 1 / 1 / 0&#xA;x265 [info]: References / ref-limit  cu / depth  : 3 / off / on&#xA;x265 [info]: AQ: mode / str / qg-size / cu-tree  : 2 / 1.0 / 32 / 1&#xA;x265 [info]: Rate Control / qCompress            : CRF-28.0 / 0.60&#xA;x265 [info]: tools: rd=3 psy-rd=2.00 early-skip rskip mode=1 signhide tmvp&#xA;x265 [info]: tools: b-intra strong-intra-smoothing lslices=4 deblock sao&#xA;Output #0, matroska, to 'D:\encode\new.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf58.45.100&#xA;    Stream #0:0: Video: hevc (libx265), yuv420p, 1280x720, q=-1--1, 29.97 fps, 1k tbn, 29.97 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.91.100 libx265&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: N/A&#xA;    Stream #0:1: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 44100 Hz, stereo, s16, 1411 kb/s&#xA;[image2 @ 0000022193c2e8c0] Thread message queue blocking; consider raising the thread_queue_size option (current value: 8)&#xA;frame= 6289 fps= 88 q=35.9 Lsize=   59028kB time=00:03:29.84 bitrate=2304.4kbits/s speed=2.92x&#xA;video:22746kB audio:36149kB subtitle:0kB other streams:0kB global headers:2kB muxing overhead: 0.226772%&#xA;x265 [info]: frame I:     34, Avg QP:28.64  kb/s: 2940.00&#xA;x265 [info]: frame P:   1520, Avg QP:30.35  kb/s: 1771.54&#xA;x265 [info]: frame B:   4735, Avg QP:33.71  kb/s: 588.33&#xA;x265 [info]: Weighted P-Frames: Y:3.4% UV:2.5%&#xA;x265 [info]: consecutive B-frames: 1.5% 0.6% 6.1% 75.2% 16.5%&#xA; &#xA;encoded 6289 frames in 71.77s (87.63 fps), 887.02 kb/s, Avg QP:32.87&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33347" LastActivityDate="2024-03-30T21:04:35.557" Title="ffmpeg showing &quot;Thread message queue blocking&quot; error while encoding (non real time)" Tags="|ffmpeg|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32963" PostTypeId="1" CreationDate="2020-12-28T09:01:02.437" Score="0" ViewCount="51" Body="&lt;p&gt;ASUS TUF Gaming FX505DT 15.6-inch FHD Laptop, Ryzen 7 3750H, GTX 1650 4GB GDDR5 Graphics (16GB RAM/512GB NVMe SSD/Windows 10/Stealth Black/2.20 Kg), FX505DT-BQ157T&#xA;Hi all above mentioned is the spec of my device. When i try to render after effects composition which is just  1.5 minutes duration it took me around 13 hours to complete. Dont know why this is happening. I did many searches in youtube to speed up the output video rendering. But none works out. Does any one know why this happening. All my drivers are up to date. There is no problem when iam Just previewing the videos in after effects but rendering part is very slow.&lt;/p&gt;&#xA;" OwnerUserId="33349" LastActivityDate="2021-05-28T09:04:45.490" Title="Video rendering taking 13 Hrs to render for a normal video less than 2 minute" Tags="|after-effects|rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32964" PostTypeId="2" ParentId="24874" CreationDate="2020-12-28T14:37:18.703" Score="1" Body="&lt;p&gt;About your other question regarding the &lt;code&gt;-coder&lt;/code&gt; option, I was also looking for more info on this.&lt;/p&gt;&#xA;&lt;p&gt;The current (Dec. 2020) IETF/cellar WG draft &amp;quot;&lt;a href=&quot;https://datatracker.ietf.org/doc/draft-ietf-cellar-ffv1/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFV1 Video Coding Format Version 0, 1, and 3&lt;/a&gt;&amp;quot; mentions in it's &amp;quot;&lt;a href=&quot;https://www.ietf.org/archive/id/draft-ietf-cellar-ffv1-19.html#name-coder_type&quot; rel=&quot;nofollow noreferrer&quot;&gt;4.2.3. coder_type&lt;/a&gt;&amp;quot; chapter :&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Restrictions:&lt;/p&gt;&#xA;&lt;p&gt;If coder_type is 0, then bits_per_raw_sample SHOULD NOT be &amp;gt; 8.&lt;/p&gt;&#xA;&lt;p&gt;Background:&lt;/p&gt;&#xA;&lt;p&gt;At the time of this writing, there is no known implementation of FFV1 bitstream supporting Golomb Rice algorithm with&#xA;bits_per_raw_sample greater than 8, and Range Coder is prefered.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So without understanding much about it, I just concluded : &amp;quot;always use &lt;code&gt;-coder 1&lt;/code&gt;&amp;quot; ... :-)&lt;/p&gt;&#xA;" OwnerUserId="3138" LastActivityDate="2020-12-28T14:37:18.703" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32966" PostTypeId="1" CreationDate="2020-12-29T06:33:25.280" Score="0" ViewCount="2008" Body="&lt;p&gt;I have a video for which I need to include captions. The video itself has burned-in captions. I would like to include the new captions on top of the old ones. However, when I import captions, the standard Final Cut position is lower than where I need them. In addition, their font size is way smaller than that of the original.&lt;/p&gt;&#xA;&lt;p&gt;Question: if I have captions as .ASS file (Aegis sub) and am able to export them as .SRT, how can adjust them to my taste in Final Cut?&lt;/p&gt;&#xA;" OwnerUserId="26734" LastActivityDate="2021-01-03T08:15:40.733" Title="Positioning and Resizing Captions in Final Cut" Tags="|final-cut-pro-x|subtitles|closed-captioning|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32967" PostTypeId="2" ParentId="32963" CreationDate="2020-12-29T08:02:38.600" Score="1" Body="&lt;p&gt;Rendering speed depends on a lot of factors. Things that slow the render down include&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;using a lot of CPU intensive effects,&lt;/li&gt;&#xA;&lt;li&gt;lots of CPU intensive precomps,&lt;/li&gt;&#xA;&lt;li&gt;effects which require multiple frames to be calculated, such as echo or time displacement,&lt;/li&gt;&#xA;&lt;li&gt;using many source layers, particularly high resolution sources that take time to read from disk,&lt;/li&gt;&#xA;&lt;li&gt;some effects are just dog slow because they've never been optimised that well,&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;and lastly, but probably most importantly:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;memory issues: if you run out of RAM then it starts swapping to the hard drive, which even on a fast SSD is an order of magnitude slower than memory, so even simple compositions will take an inordinate amount of time.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-12-29T08:02:38.600" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32968" PostTypeId="2" ParentId="32930" CreationDate="2020-12-29T08:07:50.597" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;Select the layer you want to replace in the timeline or comp window&lt;/li&gt;&#xA;&lt;li&gt;&lt;kbd&gt;Alt/opt&lt;/kbd&gt;-drag the new source from the project window into the comp or timeline window.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2020-12-29T08:07:50.597" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32969" PostTypeId="2" ParentId="32689" CreationDate="2020-12-29T12:08:09.260" Score="1" Body="&lt;p&gt;So I ended up running the streams through Vimeo, who provide their own &amp;quot;Livestream Studio&amp;quot; software, which lets you stream from a pre-recorded file. They don't let you pre-upload the video, but it is apparently an often requested feature that they are &amp;quot;looking at&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Vimeo also advised restream &amp;amp; onestream as existing services to do this with - but without being able to verify the reliability of those services or get feedback from anyone, I was hesitant to use them. I tested Vimeo's software prior to airing the first stream, and that all worked smoothly, so in the end I just went with that. Out of 4 events/streams, the connection speed here did flake out a couple of times on one occasion, which is what I was worried about, but it otherwise worked.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2020-12-29T12:08:09.260" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32970" PostTypeId="1" AcceptedAnswerId="32982" CreationDate="2020-12-29T12:36:30.593" Score="3" ViewCount="35" Body="&lt;p&gt;I have come across several articles in which the camera settings for shooting video are explained. If the camera does not provide RAW footage it is recommended to set Contrast, Brightness and Saturation as low as possible, and also change the midtones curve adjusting lowlights to high and highlights to low, in order to get an image as flat as possible.&lt;/p&gt;&#xA;&lt;p&gt;This way it is claimed that the footage can be easily post-produced.&lt;/p&gt;&#xA;&lt;p&gt;I wonder if that is a valid way, or if it is better to adjust as desired the image on camera.&lt;/p&gt;&#xA;&lt;p&gt;Any thoughts would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="32019" LastEditorUserId="11926" LastEditDate="2021-01-02T09:29:28.547" LastActivityDate="2021-01-02T09:29:28.547" Title="Camera settings instead of RAW" Tags="|post-production|raw|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32973" PostTypeId="1" AcceptedAnswerId="32974" CreationDate="2020-12-29T21:53:29.047" Score="0" ViewCount="12" Body="&lt;p&gt;Particles always seem to have some opacity or blending applied. Is there a way to make them all a single solid color all of the time?&lt;/p&gt;&#xA;" OwnerUserId="15862" LastActivityDate="2020-12-29T22:05:53.963" Title="How can I make solid colored particles?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32974" PostTypeId="2" ParentId="32973" CreationDate="2020-12-29T22:05:53.963" Score="0" Body="&lt;p&gt;Oh duh, add a color overlay layer style.&lt;/p&gt;&#xA;" OwnerUserId="15862" LastActivityDate="2020-12-29T22:05:53.963" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32975" PostTypeId="1" CreationDate="2020-12-30T06:08:50.307" Score="1" ViewCount="823" Body="&lt;p&gt;I have wrestled with this for hours and can not figure out how to pipe this to ffplay so that i can monitor it.&lt;/p&gt;&#xA;&lt;p&gt;google searches and searches on here and stack overflow come up empty&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -loglevel quiet -stats -re -f concat -safe 0 -stream_loop -1 -i %list% -auto_convert 1 -c:v libx264 -bsf:v h264_mp4toannexb -c:a aac -b:a 128k -ac 2 -ar 44100 -bsf:a aac_adtstoasc -preset veryfast -b:v 1984k -maxrate 1984k -bufsize 3968k -tune zerolatency -vf &amp;quot;pp=hb/vb/dr/fq|8,crop=in_w-20:in_h-40,scale=960:540:flags=lanczos,setsar=1,format=yuv420p,eq=gamma=0.95&amp;quot; -g 50 -fflags +genpts -f flv %video% - | ffplay -f flv -x 720 -y 480&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have tried doing a standalone  just ffplay but it wont see it&lt;/p&gt;&#xA;&lt;p&gt;I am sure there must be a way to accomplish this in a easy way, without needing to have webpage open that drains the cpu while trying to stream&lt;/p&gt;&#xA;" OwnerUserId="33197" LastActivityDate="2022-10-06T12:06:41.273" Title="Monitor FFMPEG Rtmp live stream with FFPLAY pipe" Tags="|ffmpeg|windows|rtmp|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32977" PostTypeId="2" ParentId="28639" CreationDate="2020-12-30T18:37:47.683" Score="1" Body="&lt;p&gt;This is most likely a compression issue from chroma subsampling and 8-bit log footage. Log footage does have very little contrast and saturation so that it does not clip. However, that means that your colors are compressed into a small range of possible values. By applying a LUT (or adding contrast and saturation) afterwards, you basically reverse that but lose the interpolation between the colors and therefore create banding.&lt;/p&gt;&#xA;" OwnerUserId="33380" LastActivityDate="2020-12-30T18:37:47.683" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32978" PostTypeId="1" AcceptedAnswerId="32979" CreationDate="2020-12-30T22:15:14.363" Score="0" ViewCount="128" Body="&lt;p&gt;I am trying to create 23 fps proxies for footage shot in 30 fps and interpreted as 23 fps&lt;/p&gt;&#xA;&lt;p&gt;I watched and carefully followed the Youtube video that explains exactly this and I am still getting out of sync proxies.&lt;/p&gt;&#xA;&lt;p&gt;Steps I tried:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Create my encoding configuration in Adobe Media Encoder with these settings:&#xA;Format: QuickTime, codec: Apple ProRes Proxy, Resolution: 480 x 270, Frames/s: 23,976&lt;/li&gt;&#xA;&lt;li&gt;Create a corresponding Ingest configuration without making any modifications&lt;/li&gt;&#xA;&lt;li&gt;In Premiere, configure the ingestion to use my settings&lt;/li&gt;&#xA;&lt;li&gt;Import my footage in my project and set the interpretation to 23,976 frames/s (select footage in project --&amp;gt; right click --&amp;gt; modify and set to 23,976 frames/s)&lt;/li&gt;&#xA;&lt;li&gt;Cancel the encoding queue in Media Encoder, reset the state, delete the stale proxy and setup the interpretation to 23,976 frames/s (right click and modify to 23,976 frames/s)&lt;/li&gt;&#xA;&lt;li&gt;Restart the encoding in Media Encoder&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;When it finishes my proxies are out of sync (enabling and disabling the proxies in Premiere makes the footage skip to a different frame)&lt;/p&gt;&#xA;&lt;p&gt;What am I doing wrong? How should I interpret this? Anything in particular I should read?&lt;/p&gt;&#xA;&lt;p&gt;What's also strange is even the footage I shot in 23,976 is out of sync with its proxies. I am struggling to understand what's going on here... Thanks for any tip or advice.&lt;/p&gt;&#xA;&lt;p&gt;EDIT: I possibly found the source of the issue. The frame rate set in Media Encoding is not properly set it Premiere. Here are screen shot showing the discrepancy (sorry it's in french but it's easy to relate to the settings concerned).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Jq4Se.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Jq4Se.png&quot; alt=&quot;Settings in Media Encoder showing 23,976 frames/s&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Lpydy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Lpydy.png&quot; alt=&quot;In ingestion settings it's showing 29,95 frames/s&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As we can see from the screenshots, there is a discrepancy between what's set in Media Encoder (23,976 fps) and Premiere's ingestion summary (showing 59,94 fps). What am I missing? I just created this set of presets and I made sure they're the same in ME and Premiere.&lt;/p&gt;&#xA;" OwnerUserId="33383" LastEditorUserId="33383" LastEditDate="2020-12-30T23:15:30.093" LastActivityDate="2020-12-30T23:42:30.000" Title="how do I create 23 fps proxies for footage shot in 30 fps and interpreted as 23 fps" Tags="|premiere|framerate|intermediate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32979" PostTypeId="2" ParentId="32978" CreationDate="2020-12-30T23:42:30.000" Score="0" Body="&lt;p&gt;The solution was to delete the presets I was using in both Premiere and Media Encoder and start from scratch. Somehow these 2 had gotten out of sync and the presets in PrPro and Media Encoder we're not using the same frame rate. I didn't understand how this got out of sync unfortunately.&lt;/p&gt;&#xA;" OwnerUserId="33383" LastActivityDate="2020-12-30T23:42:30.000" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32981" PostTypeId="1" CreationDate="2020-12-31T04:26:59.430" Score="1" ViewCount="23" Body="&lt;p&gt;I would like to open my presentation with a fade up from black who's duration spans more than one clip.  The normal transitions don't seem to allow me to cross the clip bounday.&lt;/p&gt;&#xA;&lt;p&gt;Any help appreciated.&lt;/p&gt;&#xA;" OwnerUserId="33387" LastActivityDate="2020-12-31T04:26:59.430" Title="How to fade up from black over more than one clip?" Tags="|premiere|transitions|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="32982" PostTypeId="2" ParentId="32970" CreationDate="2020-12-31T10:09:57.810" Score="2" Body="&lt;p&gt;It highly depends on your Bit-depth and scene and post-production. If you're trying to maximize for dynamic range and avoid clipping highlights for example, you should reduce contrast as much as possible (and also expose for the highlights). However, by doing that you might lose details in the midtones (separation of colors and luma), which might lead to banding issues after post-processing the footage (adding contrast and saturation), especially if you are recording 8-Bit per channel, which most consumer cameras do.&lt;/p&gt;&#xA;&lt;p&gt;From my personal experience if you are recording 8-Bit you are probably better off getting your exposure as finished as possible in the camera and only do little post-processing to avoid banding or similar issue. If you're recording 10-Bit, you have way more information to play with and could use LOG profiles (which are another way of reducing contrast and saturation) instead.&lt;/p&gt;&#xA;" OwnerUserId="33380" LastActivityDate="2020-12-31T10:09:57.810" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="32983" PostTypeId="2" ParentId="15168" CreationDate="2020-12-31T21:43:22.017" Score="-1" Body="&lt;p&gt;I would suggest using dedicated hardware for this, that ensures synchronization. For example the Canopus ADVC110.&lt;/p&gt;&#xA;" OwnerUserId="33326" LastActivityDate="2020-12-31T21:43:22.017" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32984" PostTypeId="2" ParentId="32856" CreationDate="2021-01-01T08:11:50.263" Score="0" Body="&lt;p&gt;I purchased Da Vinci resolve Studio Pro which imports all my files in their existing format so this can be marked as solved.&lt;/p&gt;&#xA;" OwnerUserId="33206" LastActivityDate="2021-01-01T08:11:50.263" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32985" PostTypeId="1" CreationDate="2021-01-01T12:28:35.650" Score="0" ViewCount="64" Body="&lt;p&gt;Here we have a cut and we see the playhead a bit to the left (the green line).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dZin9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dZin9.png&quot; alt=&quot;Clip with cut and playhead to the left&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Pressing Q will trim the clip from the start to the playhead, resulting in&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8TTqf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8TTqf.png&quot; alt=&quot;Clip trimmed from start&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now when I ctrl-Z (undo), I get&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HDvw4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HDvw4.png&quot; alt=&quot;after undoing, the playhead position is lost&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The playhead position is now in the start instead of where I had it before.&lt;/p&gt;&#xA;&lt;p&gt;Can I include playhead position into the undo mechanism?&lt;/p&gt;&#xA;" OwnerUserId="21523" LastActivityDate="2021-01-03T17:23:39.120" Title="Include playhead position in premiere pro history" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32987" PostTypeId="2" ParentId="32975" CreationDate="2021-01-01T20:38:49.017" Score="1" Body="&lt;p&gt;I think i got it!&lt;/p&gt;&#xA;&lt;p&gt;if anyone wants to clean this up let me know, it does work though as is&lt;/p&gt;&#xA;&lt;p&gt;this is the partial code from the windows batch file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ECHO Type in your stating playlist file&#xA;ECHO.&#xA;set /p list=&amp;quot;&amp;quot;&#xA;set video=rtmp://stream.ssh101.com/live/XXXXXXXXX&#xA;&#xA;bin\ffmpeg -hide_banner -loglevel quiet -stats -re -f concat -safe 0 -stream_loop -1 -i %list% -flags +global_header -auto_convert 1 -c:v libx264 -bsf:v h264_mp4toannexb -c:a aac -b:a 128k -ac 2 -ar 44100 -bsf:a aac_adtstoasc -preset veryfast -b:v 1984k -maxrate 1984k -bufsize 3968k -tune zerolatency -g 50 -fflags +genpts -map 0:v -map 0:a -f tee &amp;quot;[f=flv]%video%|[f=nut]pipe:&amp;quot; | bin\ffplay -hide_banner -loglevel 0 pipe: -window_title &amp;quot;RTMP Stream Monitor 1.0 - Viewer (powered by FFPlay)&amp;quot; -x 640 -y 480  -sync audio -autoexit -exitonmousedown -autorotate &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Hope this helps someone in the future and definitely look forward to anything to add to this to make it even better&lt;/p&gt;&#xA;" OwnerUserId="33197" LastActivityDate="2021-01-01T20:38:49.017" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32989" PostTypeId="1" CreationDate="2021-01-02T04:02:59.947" Score="1" ViewCount="1057" Body="&lt;p&gt;I have seen tutorials on how to generate barchart racer animations programmatically using languages like Python, once you script it, next time, you just need to load the load and the animation will got generated easily. However, the animation quality is skill mediocre.&lt;/p&gt;&#xA;&lt;p&gt;Recently I came across a style of visualizing line distributions (how many lines certain celebrities said) in Youtube videos like this. The video quality is absolutely stunning and you can clearly see a consistent theme across all the videos under that channel (&lt;a href=&quot;https://www.youtube.com/watch?v=dxYXvWDDcd8&quot; rel=&quot;nofollow noreferrer&quot;&gt;click to watch the video here&lt;/a&gt;).&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ZGXyv.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZGXyv.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I am wondering what are the alternatives to achieve &amp;quot;Kpop line distribution&amp;quot; level of video editing in a programmatically.&lt;/p&gt;&#xA;&lt;p&gt;As I have mentioned, previously, I have tried generate photos using Python and stich them together and exported as video, I have also used d3.js and even Processing but none of these solutions look as a clean cut.&lt;/p&gt;&#xA;" OwnerUserId="33407" LastActivityDate="2024-03-15T01:57:25.953" Title="How to Programmatically Create Video Template (from barchart racer to kpop line count)" Tags="|animation|after-effects-scripting|programming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32990" PostTypeId="2" ParentId="32892" CreationDate="2021-01-02T13:23:08.410" Score="1" Body="&lt;p&gt;In theory you could take screenshots and stitch them together. Any photo editor that has a panorama stitching feature can do this. The question is how sharp are those individual screenshots? It may be necessary to go frame by frame to find the sharpest.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-01-02T13:23:08.410" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32993" PostTypeId="2" ParentId="32966" CreationDate="2021-01-03T08:15:40.733" Score="1" Body="&lt;p&gt;Apple has an article in the FCP user guide.&#xA;All you need should be explained here.&#xA;&lt;a href=&quot;https://support.apple.com/en-in/guide/final-cut-pro/ver23b2d99f0/mac&quot; rel=&quot;nofollow noreferrer&quot;&gt;Format caption text in Final Cut Pro&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2021-01-03T08:15:40.733" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32994" PostTypeId="2" ParentId="32957" CreationDate="2021-01-03T08:38:09.420" Score="1" Body="&lt;p&gt;Create a new library and then click on 'New Project'. Here you can change the format to any resolution you want.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vOLyc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vOLyc.png&quot; alt=&quot;Custom Video Format&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;In the sync dialogue your can also set a custom video format.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EPAiy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EPAiy.png&quot; alt=&quot;Custom Video Format Sync Clips&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2021-01-03T08:38:09.420" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32995" PostTypeId="2" ParentId="29659" CreationDate="2021-01-03T09:56:48.333" Score="2" Body="&lt;p&gt;h264_nvenc is able to encode in constant quality, at least from Pascal onwards. I had to do quite some digging around the internet to figure out how to properly use it, but finally found a working formula.&lt;/p&gt;&#xA;&lt;p&gt;A command like below will record in constant quality, and the CQ value 26 will produce about the same but slightly better quality, measured with VMAF, as a libx264 encode with the following options: &lt;code&gt;-vcodec libx264 -level 4.1 -profile:v high -tune film -preset medium -crf 23&lt;/code&gt;. The H264_Nvenc bitrate was about 19% higher than the libx264 encode, but it had a slightly better VMAF score. I made these tests on some 1080p60 game recording, but also on some 1080p movie trailers.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -c:v h264_nvenc -preset p6 -profile:v high -tune hq -rc-lookahead 8 -bf 2 -rc vbr -cq 26 -b:v 0 -maxrate 120M -bufsize 240M output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Important:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Unless you set the Max rate and buffer size via &lt;code&gt;-maxrate 120M -bufsize 240M&lt;/code&gt;, the CQ mode doesn't behave accordingly and lowering its value won't yield better results.&#xA;The Constant Quality mode is activated by specifying Variable Bitrate rate control together with a CQ parameter, a bitrate set to zero, and the above two parameters set to some large value which won't limit the output. Don't be afraid of those values, as bitrate will be quite good.&lt;/li&gt;&#xA;&lt;li&gt;The limits above will force the encode to produce a Level 5.1 encoding. Even higher limits like 300/600 produced a video with Level labeled 6.2, which had trouble playing correctly in NLE's as Vegas Pro. If you require a certain maximum Level, ensure the maxrate and buffer size ar within the level's limits and check the resulted output.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="19112" LastEditorUserId="19112" LastEditDate="2021-12-09T16:07:25.203" LastActivityDate="2021-12-09T16:07:25.203" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32996" PostTypeId="2" ParentId="18203" CreationDate="2021-01-03T15:33:21.060" Score="6" Body="&lt;p&gt;I've been running some tests lately (2H2020) concerning reducing the size of some high quality movies of my collection, just for PC to TV 1080p viewing, from 20-30mbps videos to 2-3mbps ones. To that end, I run some ffmpeg (latest gyan.dev version at the time) tests comparing same-bitrate encodes between: codecs (x264,x265,VP9,AV1), presets (slow, slower etc), CRF's (21,22,23,24 etc) and encoding colorspace (8bit, 10bit, 12bit), where applicable. I have arrived at the following combination as my personal preference:&lt;/p&gt;&#xA;&lt;p&gt;• x265. This is always better than x264 bitwise. It's also worse than aom-av1, but aom-av1 is not optimized to work on all CPU cores, therefore aom-av1 is time-expensive in the end. Unless you run multiple encodes at the same time, which in this case I can also recommend AV1.&lt;/p&gt;&#xA;&lt;p&gt;• Preset slow (on x265). If you have a fast machine (I don't), you can go to slower. But from then on, it's not worth the CPU-time (as I found in my tests).&lt;/p&gt;&#xA;&lt;p&gt;• CRF 24. That's my sweet spot for final movie size. Higher CRF's create smaller files (and I found they encoded faster), and lower CRF's create bigger files (and slower encodes). No big deal here, this was expected.&lt;/p&gt;&#xA;&lt;p&gt;• 12bit colorspace. Here's the good part. In some of my test encodes (for example in Bosphorus_1920x1080_120fps_420_8bit_YUV.y4m), 10bit encode provided 2% smaller and VMAF better results. But, in most other commercial clips I did some testing, I found that 12bit encoding gives better results (smaller size AND better VMAF). It goes without talking that they both are better than 8bit encoding of those 8bit source videos. If you go to 10bit source videos, 12bit encoding also gives better results than 10bit encoding. I'm no master at why this happens, the other answers provide some insight to that, but I also did some screenshots comparison of comparable size 8bit/10bit/12bit encodes of 8bit/10bit content, and I consistently liked the 12bit encodes more. They provided smoother gradients where 8bit encoding showed banding. Now the drawback is that going for 10bit/12bit encodes, you may lose hardware-decoding capabilities for the device used for playback (my PC loses hardware playback capability at 12bit), but for my target usage (lowest acceptable quality for small size), the above combination (x265,12bit,slow preset,CRF24) is my sweet spot.&lt;/p&gt;&#xA;&lt;p&gt;That was my experience, backed by extensive testing, feel free to run some tests yourself.&lt;/p&gt;&#xA;" OwnerUserId="33418" LastActivityDate="2021-01-03T15:33:21.060" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="32999" PostTypeId="2" ParentId="32985" CreationDate="2021-01-03T17:23:39.120" Score="2" Body="&lt;p&gt;I don't think you can.  Try using the Lift and Extract functions instead of cutting using the playhead position.&lt;/p&gt;&#xA;&lt;p&gt;Set the In and Out points using &lt;kbd&gt;I&lt;/kbd&gt; and &lt;kbd&gt;O&lt;/kbd&gt;&lt;/p&gt;&#xA;&lt;p&gt;&amp;quot;Lift&amp;quot; the section you want to remove using &lt;kbd&gt;;&lt;/kbd&gt; if you want to &amp;quot;lift&amp;quot; it (copy it, leaving a gap in the timeline)&lt;/p&gt;&#xA;&lt;p&gt;Or use &lt;kbd&gt;'&lt;/kbd&gt; if want to &amp;quot;extract&amp;quot; (copy it and ripple the rest of the timeline.&lt;/p&gt;&#xA;&lt;p&gt;You playhead position will be unaffected.&lt;/p&gt;&#xA;&lt;p&gt;More here:&#xA;&lt;a href=&quot;https://www.premiumbeat.com/blog/lift-extract-premiere-pro/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.premiumbeat.com/blog/lift-extract-premiere-pro/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-01-03T17:23:39.120" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33002" PostTypeId="1" AcceptedAnswerId="33011" CreationDate="2021-01-03T18:52:20.363" Score="4" ViewCount="14795" Body="&lt;p&gt;I have a set of 300 transparent png files and I would like to create a transparent video file from them. I'm using the ffmpeg command as follows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f image2 -i anim.%04d.png -r 30 -vcodec png video.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I know webm has an alpha channel according to &lt;a href=&quot;https://video.stackexchange.com/questions/23893/make-white-background-in-mp4-movie-transparent&quot;&gt;this answer&lt;/a&gt;. The command creates the video but the transparency is completely lost. What am I doing wrong? Is it possible to create a transparent .mp4 with ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="33422" LastActivityDate="2021-01-05T01:15:49.910" Title="Creating transparent video from transparent png files using ffmpeg" Tags="|ffmpeg|alpha|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33003" PostTypeId="1" CreationDate="2021-01-03T21:08:41.657" Score="1" ViewCount="636" Body="&lt;p&gt;I have two folders full of movies in mp4 container.  One folder has 7.1 AAC track first, AAC stereo track 2nd.  The other folder has a DTS track 1st, AAC stereo track 2nd.  For compatibility reasons I would like to convert that first audio track in both folders to 5.1 AC3 and leave the stereo intact without changing the video stream.  Can someone help me with what commands to use?  I am new to ffmpeg, and the best I have been able to do is adding a 3rd audio track.  If possible I would like to end up with just the 2 tracks.  Thanks.&lt;/p&gt;&#xA;" OwnerUserId="33424" LastEditorUserId="33424" LastEditDate="2021-01-03T21:14:33.003" LastActivityDate="2021-01-03T21:14:33.003" Title="Converting first audio track from 7.1 or DTS to 5.1 AC3" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33005" PostTypeId="2" ParentId="32908" CreationDate="2021-01-04T08:41:38.653" Score="1" Body="&lt;p&gt;The solution at question &amp;quot; &lt;a href=&quot;https://video.stackexchange.com/q/21431/33429&quot;&gt;Lower framerate without re-encode&lt;/a&gt; &amp;quot; looks promising:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -discard nokey -i input.mp4 -c copy -vsync 0 I-only.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;By manpage there should be 5 levels of frame discarding: none, noref, bidir, nokey, all.&lt;/p&gt;&#xA;&lt;p&gt;I tested this with older ffmpeg 4.2.4 and h265 and it had no effect. Probably not implemented yet.&lt;/p&gt;&#xA;" OwnerUserId="33429" LastEditorUserId="33429" LastEditDate="2021-01-04T11:09:03.530" LastActivityDate="2021-01-04T11:09:03.530" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33009" PostTypeId="2" ParentId="29266" CreationDate="2021-01-04T19:50:54.270" Score="0" Body="&lt;p&gt;I've managed to ensure the subtitles prioritise forced, then to choose non-forced English as a backup using this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0Pvrn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0Pvrn.png&quot; alt=&quot;LAV Splitter - Forced as priority&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;*|f,eng*&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;However, this does not guarantee it will always choose forced English (assuming this is your preferred language). So to ensure that you will always get English, I have found this seemingly works consistently&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/j4fAy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/j4fAy.png&quot; alt=&quot;LAV Splitter - Forced English as priority&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;eng|f,eng*,*|f&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This checks for forced subtitles in English, if not found, it checks for non-forced English subtitles, if neither are found, it chooses the forced subtitles.&lt;/p&gt;&#xA;&lt;p&gt;As for setting the default audio track to Japanese, I found adjusting the order to preference did the trick.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/aTnBF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aTnBF.png&quot; alt=&quot;LAV Splitter - Japanese Audio Track as priority&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;NOTE:&lt;/strong&gt; This is not guaranteed to work for every file, there are many variations to the way subtitles are setup. I have just found this way to be the most consistent.&lt;/p&gt;&#xA;&lt;p&gt;If you want to learn what these symbols mean I suggest studying Regular Expressions or Formal Languages, or straight up do an online course on Theory of Computing.&lt;/p&gt;&#xA;" OwnerUserId="33433" LastActivityDate="2021-01-04T19:50:54.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33010" PostTypeId="2" ParentId="21800" CreationDate="2021-01-04T23:36:32.810" Score="0" Body="&lt;p&gt;Thanks to Gyan's answer! Taking that plus a bit research, I have applied it to speed up a video with audio by 6 times. Be aware that atempo argument has a value ranging between 0.5 and 2. So three atempo were used to make up 6 (2 x 2 x 1.5). So the idea is to make the video from 00:00:00 to 00:17:30, a total of 1050 seconds, to play 6 times faster and the rest stays unchanged. Code example as follows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in_file.mp4 -filter_complex \&#xA;   &amp;quot;[0:v]trim=0:1050,setpts=1/6*(PTS-STARTPTS)[v1];\&#xA;   [0:v]trim=1050,setpts=PTS-STARTPTS[v2];\&#xA;   [0:a]atrim=0:1050,asetpts=PTS-STARTPTS,atempo=2,atempo=2,atempo=1.5[a1];\&#xA;   [0:a]atrim=1050,asetpts=PTS-STARTPTS[a2];\&#xA;   [v1][a1][v2][a2]concat=n=2:v=1:a=1&amp;quot; \&#xA;   output_file.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33435" LastActivityDate="2021-01-04T23:36:32.810" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33011" PostTypeId="2" ParentId="33002" CreationDate="2021-01-05T01:01:54.083" Score="2" Body="&lt;p&gt;You have to specify the pixel format, to force it to include the alpha channel, using the &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Advanced-Video-options&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;-pix_fmt&lt;/code&gt; option&lt;/a&gt;. You don't need to use png as your video codec either.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i anim.%04d.png -r 30  -pix_fmt yuva420p video.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2021-01-05T01:15:49.910" LastActivityDate="2021-01-05T01:15:49.910" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="33012" PostTypeId="1" CreationDate="2021-01-05T03:10:50.113" Score="0" ViewCount="256" Body="&lt;p&gt;Ok i have a working batch file, where I grab from a text file a list of videos to concat as such&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffconcat version 1.0&#xA;file 'dan_Ep_01HardWater.ts'&#xA;file 'dan_Ep_02GoldieTheGoldfish.ts'&#xA;file 'list2.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I then feed that to ffmpeg and display on ffplay at the same time using this code:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ECHO.&#xA;ECHO.&#xA;ECHO Type in your stating playlist file&#xA;ECHO.&#xA;&#xA;set /p list=&amp;quot;&amp;quot;&#xA;ping localhost -n 2 &amp;gt;nul&#xA;&#xA;set video=rtmp://stream.ssh101.com/live/test4589585&#xA;set stream=streaming.mp4&#xA;&#xA;cls&#xA;color 70&#xA;ECHO.&#xA;ECHO.&#xA;ECHO Encoding your RTMP stream now&#xA;ECHO.&#xA;&#xA;bin\ffmpeg -hide_banner -loglevel quiet  -report -stats -re -f concat -safe 0 -stream_loop -1 -i %list% -flags +global_header -auto_convert 1 -c:v libx264 -bsf:v h264_mp4toannexb -c:a aac -b:a 128k -ac 2 -ar 44100 -bsf:a aac_adtstoasc -preset veryfast -b:v 1984k -maxrate 1984k -bufsize 3968k -tune zerolatency -vf &amp;quot;pp=hb/vb/dr/fq|8,crop=in_w-20:in_h-40,scale=960:540:flags=lanczos,setsar=1,format=yuv420p,eq=gamma=0.95&amp;quot; -g 50 -fflags +genpts -map 0:v -map 0:a -f tee &amp;quot;[select=v,a:movflags=+faststart]%stream%|[f=flv]%video%|[f=nut]pipe:&amp;quot; | bin\ffplay -hide_banner -loglevel 0 pipe:  -window_title &amp;quot;Stream Monitor 1.0 - (powered by FFPlay)  --   NOTE: closing me stops your streaming!&amp;quot; -x 640 -y 480  -sync audio -autoexit -exitonmousedown -autorotate&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So this works great but i want to be able to log which file that ffmpeg has just worked on or is working on to a log file.&lt;/p&gt;&#xA;&lt;p&gt;because i am piping to ffplay which i do NOT want to change took me too long to get it working lol plus its valuable&lt;/p&gt;&#xA;&lt;p&gt;the reason for doing this is when i am creating my next list.txt to feed to FFmpeg i do not want to do the same file twice.&lt;/p&gt;&#xA;&lt;p&gt;im guessing cause i am using windows it will be some extra work in pure Batch but the first step is to get the file info to a text file&lt;/p&gt;&#xA;&lt;p&gt;I cant use &amp;gt; out.txt 2&amp;gt; err.txt is it possible to create another pipe?&lt;/p&gt;&#xA;&lt;p&gt;I thought of using ffprobe and piping to ffmpeg but couldn't find any info on how to do that either&lt;/p&gt;&#xA;&lt;p&gt;could i do another &lt;code&gt;tee |&lt;/code&gt;  ??&lt;/p&gt;&#xA;&lt;p&gt;I'm just lost and I can NOT find any info on the web.&lt;/p&gt;&#xA;" OwnerUserId="33197" LastActivityDate="2021-01-05T03:10:50.113" Title="Windows FFMPEG concat from list and log each file inputted into to ffmpeg" Tags="|ffmpeg|windows|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="33014" PostTypeId="1" CreationDate="2021-01-05T10:03:06.527" Score="0" ViewCount="94" Body="&lt;p&gt;I'm working on a magicians show.&lt;/p&gt;&#xA;&lt;p&gt;They need some videos to be played during it, but the timings of their work could vary.&lt;/p&gt;&#xA;&lt;p&gt;So I was wondering if I could find some kind of software that could be used to control how videos do play, and that they could control with a keyboard.&#xA;It would be quite simple, they idea is to have some videos that would loop, waiting for a &amp;quot;user&amp;quot; action.&lt;/p&gt;&#xA;&lt;p&gt;Eg.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;video A &amp;gt;&amp;gt;&amp;gt;&lt;/li&gt;&#xA;&lt;li&gt;video B - video loop - when key is pressed, plays until its end then goes to...&lt;/li&gt;&#xA;&lt;li&gt;video C&amp;gt;&amp;gt;&amp;gt;&lt;/li&gt;&#xA;&lt;li&gt;video B - video loop - when key is pressed, plays until its end then goes to...&lt;/li&gt;&#xA;&lt;li&gt;video D&lt;/li&gt;&#xA;&lt;li&gt;etc.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I used to do this with Flash back in the days.&lt;br /&gt;&#xA;Maybe is there a better tool to achieve this now, and which would handle videos in a better way (Flash was bad for videos !)&lt;/p&gt;&#xA;&lt;p&gt;Thanks !&lt;/p&gt;&#xA;" OwnerUserId="15961" LastEditorUserId="15961" LastEditDate="2021-01-05T10:10:41.797" LastActivityDate="2024-01-11T02:05:50.657" Title="Software to &quot;control&quot; a video show" Tags="|video|software-recommendation|software|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33016" PostTypeId="1" CreationDate="2021-01-05T18:37:59.890" Score="1" ViewCount="118" Body="&lt;p&gt;I am editing a video in Premiere that has srt subtitles/captions as a distinct captions layer. At the beginning, I was able to change the position of individual captions manually using the handles within the srt layer. For example, the caption below can be moved or scaled within the timeline.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1CNsUm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1CNsUm.png&quot; alt=&quot;Captions layer (purple) where highlighted caption can be moved or have its length changed&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;However, sometimes a timeline layer will eventually change so that extending or reducing the length of the caption causes the individual caption to immediately disappear from the srt layer. The caption below will disappear from the timeline if altered using its handles. It will remain visible in the caption bin's srt file, but has no thumbnail.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Jdb5mm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Jdb5mm.png&quot; alt=&quot;highlighted caption that disappears if edited manually&quot; /&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/i9rtd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/i9rtd.png&quot; alt=&quot;caption bin with caption that disappeared in timeline - stays in bin w/o thumbnail&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;In both cases, the captions layer have been cut and edited, and individual captions can have their length and position altered in the captions bin.&lt;/p&gt;&#xA;&lt;p&gt;The adobe forums and documentation have been pretty useless regarding their captioning features. Any advice on how to get captions to play nice would be very helpful.&lt;/p&gt;&#xA;" OwnerUserId="26535" LastActivityDate="2021-01-05T18:37:59.890" Title="Captions disappear when length changed manually in Premiere timeline" Tags="|premiere|subtitles|closed-captioning|.srt|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33019" PostTypeId="1" AcceptedAnswerId="33027" CreationDate="2021-01-06T14:44:16.367" Score="0" ViewCount="186" Body="&lt;p&gt;I have large amounts of footage with audio tracks that have random dropouts throughout which last for ~0.5 seconds each (all audio dropouts are consistent in duration).&lt;/p&gt;&#xA;&lt;p&gt;I need to smooth out the drops, such as quick fade out/fade ins to the audio track.&lt;/p&gt;&#xA;&lt;p&gt;There are a lot of these drops scattered randomly, so an automated method to detect and fix would be ideal.&lt;/p&gt;&#xA;&lt;p&gt;If this isn't achievable with ffmpeg, is it possible with Premiere?&lt;/p&gt;&#xA;&lt;p&gt;Example dropout in an audio track:&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/PKkPh.png&quot; alt=&quot;Audio dropout&quot; /&gt;&lt;/p&gt;&#xA;" OwnerUserId="33463" LastActivityDate="2021-01-07T14:17:49.077" Title="Is there a way to smooth random audio dropouts with ffmpeg or Premiere?" Tags="|ffmpeg|premiere|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33020" PostTypeId="1" CreationDate="2021-01-06T15:06:08.613" Score="1" ViewCount="1191" Body="&lt;p&gt;I have two video clips.  One from a front facing camera and other from a rear facing camera.  I would like to show the video in the rear facing camera in a window in the video of the front facing camera and output as one clip so they are in sync.&lt;/p&gt;&#xA;&lt;p&gt;How do I show a video clip do &amp;quot;picture in picture&amp;quot; or &amp;quot;video in video&amp;quot; in DaVinci?&lt;/p&gt;&#xA;&lt;p&gt;(Note: I know I can do this in iMovie)&lt;/p&gt;&#xA;" OwnerUserId="33458" LastActivityDate="2021-02-07T11:02:55.287" Title="How To Create A Video In Video (Picture in Picture) In DaVinci Resolve" Tags="|video|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33023" PostTypeId="1" AcceptedAnswerId="33025" CreationDate="2021-01-07T01:23:13.213" Score="0" ViewCount="195" Body="&lt;p&gt;I would like to calculate the SSIM for two videos by ffmpeg: the original video and the distorted video.&lt;/p&gt;&#xA;&lt;p&gt;The case is the distorted video was generated by some kind of GPU of android devices, and it might miss some frames, for example, the original video has &lt;code&gt;720&lt;/code&gt; frames, meanwhile the distorted one has &lt;code&gt;718&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Suppose we know the specific indices of the frames that was drop(For example, by calculating the &lt;code&gt;MSE_U&lt;/code&gt; frame by frame), how to calculate the SSIM by ignoring some specific frames of the original video?&lt;/p&gt;&#xA;&lt;p&gt;For example, we have know that the index &lt;code&gt;3&lt;/code&gt; and index &lt;code&gt;717&lt;/code&gt; was not exists in the distorted one, in order to SSIM, we should ignore these frames from the original one.&lt;/p&gt;&#xA;&lt;p&gt;I've read the post &lt;a href=&quot;https://video.stackexchange.com/questions/28936/comparing-psnr-ssim-of-two-videos-with-different-fps-bit-depth&quot;&gt;Comparing PSNR/SSIM of two videos with different fps/bit-depth&lt;/a&gt; , &lt;a href=&quot;https://video.stackexchange.com/questions/12233/drop-similar-frames&quot;&gt;drop similar frames&lt;/a&gt; and &lt;a href=&quot;https://video.stackexchange.com/questions/20958/ffmpeg-dropping-duplicate-frames&quot;&gt;FFmpeg - dropping duplicate frames&lt;/a&gt; , it seems that they are not applying to my specific case.&lt;/p&gt;&#xA;" OwnerUserId="32854" LastActivityDate="2021-01-07T04:18:51.230" Title="Is it possible to drop some specific frames when comparing SSIM by ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33025" PostTypeId="2" ParentId="33023" CreationDate="2021-01-07T04:18:51.230" Score="1" Body="&lt;p&gt;Use the select filter to drop unwanted frames.&lt;/p&gt;&#xA;&lt;p&gt;This is the basic syntax:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i distorted -i ref -filter_complex &amp;quot;[0]settb=AVTB,setpts=N[ds];[1]settb=AVTB,select='not(eq(n\,3)+eq(n\,717))',setpts=N[rf];[ds][rf]ssim&amp;quot; -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-01-07T04:18:51.230" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33026" PostTypeId="2" ParentId="25638" CreationDate="2021-01-07T13:10:18.413" Score="0" Body="&lt;p&gt;&lt;strong&gt;Minimal runnable example&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Extracted from this other answer: &lt;a href=&quot;https://stackoverflow.com/questions/24961127/how-to-create-a-video-from-images-with-ffmpeg/37478183#37478183&quot;&gt;https://stackoverflow.com/questions/24961127/how-to-create-a-video-from-images-with-ffmpeg/37478183#37478183&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Human_evolution#History_of_study&quot; rel=&quot;nofollow noreferrer&quot;&gt;Inspired by this timeline&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Get the input media:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mkdir -p orig&#xA;cd orig&#xA;wget -O 1.png https://upload.wikimedia.org/wikipedia/commons/2/22/Australopithecus_afarensis.png&#xA;wget -O 2.jpg https://upload.wikimedia.org/wikipedia/commons/6/61/Homo_habilis-2.JPG&#xA;wget -O 3.jpg https://upload.wikimedia.org/wikipedia/commons/c/cb/Homo_erectus_new.JPG&#xA;wget -O 4.png https://upload.wikimedia.org/wikipedia/commons/1/1f/Homo_heidelbergensis_-_forensic_facial_reconstruction-crop.png&#xA;wget -O 5.jpg https://upload.wikimedia.org/wikipedia/commons/thumb/5/5a/Sabaa_Nissan_Militiaman.jpg/450px-Sabaa_Nissan_Militiaman.jpg&#xA;wget -O audio.ogg https://upload.wikimedia.org/wikipedia/commons/7/74/Alnitaque_%26_Moon_Shot_-_EURO_%28Extended_Mix%29.ogg&#xA;cd ..&#xA;&#xA;# Convert all to PNG for consistency.&#xA;# https://unix.stackexchange.com/questions/29869/converting-multiple-image-files-from-jpeg-to-pdf-format&#xA;# Hardlink the ones that are already PNG.&#xA;mkdir -p png&#xA;mogrify -format png -path png orig/*.jpg&#xA;ln -P orig/*.png png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now we have a quick look at all image sizes to decide on the final aspect ratio:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;identify png/*&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;which outputs:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;png/1.png PNG 557x495 557x495+0+0 8-bit sRGB 653KB 0.000u 0:00.000&#xA;png/2.png PNG 664x800 664x800+0+0 8-bit sRGB 853KB 0.000u 0:00.000&#xA;png/3.png PNG 544x680 544x680+0+0 8-bit sRGB 442KB 0.000u 0:00.000&#xA;png/4.png PNG 207x238 207x238+0+0 8-bit sRGB 76.8KB 0.000u 0:00.000&#xA;png/5.png PNG 450x600 450x600+0+0 8-bit sRGB 627KB 0.000u 0:00.000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;so the classic 480p (640x480 == 4/3) aspect ratio seems appropriate.&lt;/p&gt;&#xA;&lt;p&gt;Do one conversion with minimal resizing to make widths even (TODO&#xA;automate for any width, here I just manually looked at &lt;code&gt;identify&lt;/code&gt; output and reduced width and height by one):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mkdir -p raw&#xA;convert png/1.png -resize 556x494 raw/1.png&#xA;ln -P png/2.png png/3.png png/4.png png/5.png raw&#xA;ffmpeg -framerate 1 -pattern_type glob -i 'raw/*.png' -i orig/audio.ogg -c:v libx264 -c:a copy -shortest -r 30 -pix_fmt yuv420p raw.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/qc2n1.gif&quot; width=&quot;300&quot; /&gt;&#xA;&lt;p&gt;This produces terrible output, because as seen from:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe raw.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;ffmpeg just takes the size of the first image, 556x494, and then converts all others to that exact size, breaking their aspect ratio.&lt;/p&gt;&#xA;&lt;p&gt;Now let's convert the images to the target 480p aspect ratio automatically by cropping as per &lt;a href=&quot;https://stackoverflow.com/questions/21262466/imagemagick-how-to-minimally-crop-an-image-to-a-certain-aspect-ratio&quot;&gt;https://stackoverflow.com/questions/21262466/imagemagick-how-to-minimally-crop-an-image-to-a-certain-aspect-ratio&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mkdir -p auto&#xA;mogrify -path auto -geometry 640x480^ -gravity center -crop 640x480+0+0 png/*.png&#xA;ffmpeg -framerate 1 -pattern_type glob -i 'auto/*.png' -i orig/audio.ogg -c:v libx264 -c:a copy -shortest -r 30 -pix_fmt yuv420p auto.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/SzUlh.gif&quot; width=&quot;300&quot; /&gt;&#xA;&lt;p&gt;So now, the aspect ratio is good, but inevitably some cropping had to be done, which kind of cut up interesting parts of the images.&lt;/p&gt;&#xA;&lt;p&gt;The other option is to pad with black background to have the same aspect ratio as shown at: &lt;a href=&quot;https://stackoverflow.com/questions/18514083/resize-to-fit-in-a-box-and-set-background-to-black-on-empty-part/18514327&quot;&gt;https://stackoverflow.com/questions/18514083/resize-to-fit-in-a-box-and-set-background-to-black-on-empty-part/18514327&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mkdir -p black&#xA;ffmpeg -framerate 1 -pattern_type glob -i 'black/*.png' -i orig/audio.ogg -c:v libx264 -c:a copy -shortest -r 30 -pix_fmt yuv420p black.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/b5gCg.gif&quot; width=&quot;300&quot; /&gt;&#xA;&lt;p&gt;Generally speaking though, you will ideally be able to select images with the same or similar aspect ratios to avoid those problems in the first place.&lt;/p&gt;&#xA;" OwnerUserId="13868" LastActivityDate="2021-01-07T13:10:18.413" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33027" PostTypeId="2" ParentId="33019" CreationDate="2021-01-07T14:17:49.077" Score="1" Body="&lt;p&gt;Neither Premiere nor ffmpeg support such an operation as far as I know.&lt;/p&gt;&#xA;&lt;p&gt;But you could edit the audio with another program. Most DAWs (digital audio workstation) have more features to edit audio than video editors.&lt;/p&gt;&#xA;&lt;p&gt;One such DAW is &amp;quot;Reaper&amp;quot;. It comes with a free trial period, so you can test it for yourself if it's a good fit for your workflow. I'm sure other DAWs offer similar features but I don't use them and hence can't tell you more. I also don't know whether Adobe's Audition can do that.&lt;/p&gt;&#xA;&lt;p&gt;The steps to solve the problem in Reaper are:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;create a new track, insert the media file that contains the audio track&lt;/li&gt;&#xA;&lt;li&gt;use the action &amp;quot;Item: Auto trim/split items (remove silence)&amp;quot; where you select the mode &amp;quot;split and keep silent areas&amp;quot;. Play around with the other parameters if the splits are done at the wrong place. When splits are created, Reaper automatically adds a crossfade by default (can be changed in Preferences-&amp;gt;Project-&amp;gt;Media Items Defaults-&amp;gt;&amp;quot;Create automatic fade-in/fade-out for new items&amp;quot;).&lt;/li&gt;&#xA;&lt;li&gt;Render the audio and re-import it into the video editor, if needed.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-01-07T14:17:49.077" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33028" PostTypeId="1" CreationDate="2021-01-07T15:08:00.990" Score="1" ViewCount="219" Body="&lt;p&gt;Bear with me because I am very new to this topic.&lt;/p&gt;&#xA;&lt;p&gt;I saw a setup where someone was recording using two cameras and sending the output to a laptop. The camera output was sent via a three pin cable which I now know is known as RCA. These outputs were sent to something known as a selector which allows you to select the camera by flipping a switch.&lt;/p&gt;&#xA;&lt;p&gt;When reading online I see that the RCA cable is used to transport an analog signal. But these camcorders also have HDMI output. Does this mean that the cameras can output either analog or digital signal?&lt;/p&gt;&#xA;&lt;p&gt;PS. In the above setup, the output of the selector was sent to a device named ADVC-55. Reading online I see that it is used to convert analog signal to digital. The problem is that the video observed on the laptop monitor seems lower quality than what is previewed in the camera. Hence my question to understand if this ADVC-55 device is needed at all for this purpose or if there is a different way to get better quality.&lt;/p&gt;&#xA;" OwnerUserId="33471" LastEditorUserId="4426" LastEditDate="2021-01-07T16:03:36.623" LastActivityDate="2024-01-22T22:00:25.050" Title="Is the RCA camcorder output analog?" Tags="|video-capture|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33029" PostTypeId="2" ParentId="33028" CreationDate="2021-01-07T15:59:10.313" Score="0" Body="&lt;p&gt;The best way to answer this definitively would be if you know the model of the camera.&lt;/p&gt;&#xA;&lt;p&gt;RCA cables from video cameras are nearly always analogue signals.&#xA;It is possible for a camera to have both digital outputs such as HDMI and SDI, and analogue outputs such as component or composite video from RCA sockets.&#xA;The analogue outputs are almost always standard definition (ie 480 or 576 lines of video).&lt;/p&gt;&#xA;&lt;p&gt;HDMI outputs are usually high definition 1080 lines (or possibly 720 on older cameras, higher on newer 4K cameras).&lt;/p&gt;&#xA;&lt;p&gt;If you are asking how to capture video from a camera with HDMI output in high quality into a computer with USB3, I would use an adaptor such as the &lt;a href=&quot;https://www.amazon.co.uk/Elgato-Game-Capture-HD60-PlayStation/dp/B01DRWCOGA/ref=sr_1_3?dchild=1&amp;amp;keywords=elgato&amp;amp;qid=1596715281&amp;amp;sr=8-3&quot; rel=&quot;nofollow noreferrer&quot;&gt;Elgato HD60 S Capture Card&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-01-07T15:59:10.313" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33030" PostTypeId="1" CreationDate="2021-01-07T20:00:31.660" Score="0" ViewCount="33" Body="&lt;p&gt;DSLRs, unlike camcorders, are often made to stop recording when a certain amount of minutes, like 35, passes since first pressing the record button. What's the point of this?&lt;/p&gt;&#xA;&lt;p&gt;Does this rule hold for people who live-stream on Twitch, for example, using DSLRs? Streamers go for hours on end without touching the camera, so how do they do it? When they first purchase their camera are they actually looking for a feature that bypasses the time-out rule or something, what is it called&lt;/p&gt;&#xA;" OwnerUserId="33408" LastActivityDate="2021-01-07T20:00:31.660" Title="Live streaming with DSLR video cameras that have time-out recording" Tags="|dslr|live|live-recording|time|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33034" PostTypeId="1" AcceptedAnswerId="33035" CreationDate="2021-01-08T03:51:56.837" Score="0" ViewCount="52" Body="&lt;p&gt;I am new to AMV editing and one of my favorite editors is zneptun. I've been trying to figure out what this effect he uses in his videos is but I've had no luck. If any of you guys know please tell me cause I'd love to use it!! It's not just a simple invert either, the look is completely different which is what confuses me as well.&lt;/p&gt;&#xA;&lt;p&gt;Here's a link to the video, you can see the effect between 3-4 seconds, and 6 seconds. Pretty much every transition: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/13NDjmcem7I?start=5&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CJUnT.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CJUnT.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Any help is appreciated.&lt;/p&gt;&#xA;" OwnerUserId="33468" LastActivityDate="2021-01-08T06:08:10.937" Title="What Effect is this?" Tags="|video|after-effects|video-editor|plugins|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33035" PostTypeId="2" ParentId="33034" CreationDate="2021-01-08T06:08:10.937" Score="1" Body="&lt;p&gt;There are dozens of ways to get that kind of colour shift. The way I would do it is by using colour/response curves, and perhaps hue / saturation controls. Most compositing, grading and editing software have these effects.&lt;/p&gt;&#xA;&lt;p&gt;Here's a two minute attempt in AE, trying to match the leftmost panel to the 2nd from the right. It needs work, but I got bored.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AZrWR.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AZrWR.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Looks like there's some chromatic aberation or mis-registration effect there as well. You can do that by making a copy of the original layer, altering the curves and using transfer modes (add, overlay, multiply, whichever works) to composite it with the original. Below, I copied the original layer, used &lt;strong&gt;overlay&lt;/strong&gt; transfer mode, Nudged it 20px to the right and mucked around with the curves (mainly just inverting the luma value). You can see the effect control for this layer in this screenie:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AFjE2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AFjE2.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Then you can animate all the parameters.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-01-08T06:08:10.937" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33036" PostTypeId="1" CreationDate="2021-01-08T07:12:57.283" Score="0" ViewCount="419" Body="&lt;p&gt;In Adobe Premiere Pro, Mask Path under Effect Controls can be used to let a &lt;a href=&quot;https://www.youtube.com/results?search_query=adobe%20premiere%20mask%20path&quot; rel=&quot;nofollow noreferrer&quot;&gt;censor effect&lt;/a&gt; (&amp;quot;Camera Blur&amp;quot; or &amp;quot;Mosaic&amp;quot; effects) travel or track through the remaining frames of the video. However, Mask Path takes a long time to run and is very slow. If Mask Path were applied to an hour-long .mp4 file, for example, it would probably have to sit for an entire day or two to complete.&lt;/p&gt;&#xA;&lt;p&gt;What hardware components would boost the speed at which Mask Path completes its course? Should the focus be on having a maximum amount of RAM (like 64 GB RAM), having large hard drive space, or something else?&lt;/p&gt;&#xA;&lt;p&gt;Besides Adobe Premiere, are there more economical programs, or techniques, tailored for censoring faces?&lt;/p&gt;&#xA;" OwnerUserId="33408" LastActivityDate="2021-01-08T07:12:57.283" Title="Censoring moving objects in video: How to speed up Mask Path in Adobe Premiere?" Tags="|premiere|effects|mask|memory|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33037" PostTypeId="2" ParentId="27699" CreationDate="2021-01-08T09:26:46.853" Score="0" Body="&lt;p&gt;Accepted answer works perfectly, I only needed to change the overlay a bit into &lt;code&gt;overlay=(W-w)/2:(H-h)/2[mix]&lt;/code&gt; because the blurry effect appeared at the bottom of the video all the time&lt;/p&gt;&#xA;" OwnerUserId="33481" LastActivityDate="2021-01-08T09:26:46.853" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33038" PostTypeId="2" ParentId="33020" CreationDate="2021-01-08T10:12:32.033" Score="1" Body="&lt;p&gt;Synchronizing the clips and creating a picture in picture effect are really two separate issues, and you could take many approaches to each.  But basically, you drop one clip on one video track, and the other on a different video track.  You synchronize one to the other by dragging either clip left or right on the timeline until they match temporally.  There are automated approaches to this step, including timecode-based sync and audio waveform based sync.  These automated processes are described by the manual in detail, but they essentially perform the same function as manually aligning the clips.&lt;/p&gt;&#xA;&lt;p&gt;Once the clips are aligned temporally, you can apply a picture-in-picture effect by spatially shrinking or cropping the &amp;quot;topmost&amp;quot; clip (the one with the higher V#).  You'd do this by clicking on the clip in the timeline to select it, then altering its zoom, crop, and position controls in the inspector tab.  Alternatively, you can use GUI transform controls by clicking the transform control button at the bottom of the program monitor, then using the onscreen controls.&lt;/p&gt;&#xA;&lt;p&gt;This is a very barebones explanation, and one which will work in many older versions of Resolve.  There are fancier approaches, ones which involve the Color Page, or the Fusion Page, or (beginning with R17 beta) ones which use the &amp;quot;Video Collage&amp;quot; ResolveFX.  These are essentially variations on the same basic premise.  The Collage effect does offer many handy shortcuts to produce rounded corers, drop shadows, borders, and animated transitions, as well as re-framing, keyframing, and handling stacks of various tile arrangements, so I would recommend trying the R17 beta if that's an option, for the sake of convenience.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-01-08T10:24:19.683" LastActivityDate="2021-01-08T10:24:19.683" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33039" PostTypeId="2" ParentId="30126" CreationDate="2021-01-08T12:14:16.407" Score="1" Body="&lt;p&gt;I followed your instructions. I changed localhost to 127.0.0.1:10000, and I was using input from an rtsp.&lt;/p&gt;&#xA;&lt;p&gt;Here is my command. It worked for me. I was able to get the stream in VLC player.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;rtsp://someurl/&amp;quot; -c:v copy -c:a aac -listen 1 -ar 44100 -ab 64000 \&#xA;       -f flv rtmp://127.0.0.1:10000/live&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33483" LastEditorUserId="18155" LastEditDate="2021-01-20T12:25:30.650" LastActivityDate="2021-01-20T12:25:30.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33040" PostTypeId="2" ParentId="27907" CreationDate="2021-01-08T13:58:58.370" Score="0" Body="&lt;p&gt;I created a web application that does this (It's free!)&lt;/p&gt;&#xA;&lt;p&gt;Other than waveform animations it also generates a subtitle if you want.&lt;/p&gt;&#xA;&lt;p&gt;It's perfect for people that are not familiar with design/video editing.&#xA;You have to provide an audio file and create a template.&#xA;The application does the rest and notifies you when the video is ready.&lt;/p&gt;&#xA;&lt;p&gt;Here's a link to a guide: &lt;a href=&quot;https://vokal.co/blog/audio-waveform&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vokal.co/blog/audio-waveform&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33486" LastActivityDate="2021-01-08T13:58:58.370" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33042" PostTypeId="2" ParentId="19123" CreationDate="2021-01-08T16:45:19.713" Score="2" Body="&lt;p&gt;Theoretically it IS possible, and there are working, practical, proof-of-concept research on the subject.&lt;br /&gt;&#xA;A couple of examples:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://openaccess.thecvf.com/content_CVPR_2019/papers/Jin_Learning_to_Extract_Flawless_Slow_Motion_From_Blurry_Videos_CVPR_2019_paper.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;Learning to Extract Flawless Slow Motion from Blurry Videos&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://arxiv.org/abs/2002.12259&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blurry Video Frame Interpolation&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;The picture below is from the second paper.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/tCLLs.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tCLLs.jpg&quot; alt=&quot;Figure 1 from paper &amp;quot;Blurry Video Frame Interpolation&amp;quot;, showing the extraction of higher quality images from blurry original video&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;However, as of this writing, I couldn't find any feasible-to-use, (commercial or otherwise) software to achieve that.&lt;br /&gt;&#xA;You could actually use the techniques above to apply it to your video, since they even offer the code on Github, but it would be a great effort, you'd need to basically build a video processing pipeline script/software for that.&lt;br /&gt;&#xA;It probably would also be somewhat computationally intensive (slow).&lt;/p&gt;&#xA;" OwnerUserId="22644" LastActivityDate="2021-01-08T16:45:19.713" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33043" PostTypeId="1" AcceptedAnswerId="33126" CreationDate="2021-01-09T10:02:22.833" Score="0" ViewCount="28" Body="&lt;p&gt;For a small home studio lighting setup, I have concluded that softboxes with clf bulbs or LED panels would be adequate.&lt;/p&gt;&#xA;&lt;p&gt;But clf bulbs contain mercury, and even though it is a small amount, accidents tent to happen.&lt;/p&gt;&#xA;&lt;p&gt;On the other hand, I have read that LED lights are bad for eyes. I don't conclude related links because I think that you all have heard of that. If so, does the quality of the bulb has to do something with that? That is because I intend to buy some Chinese ones, I can't afford anything else.&lt;/p&gt;&#xA;&lt;p&gt;Are all these issues real or myth? Any thoughts or alternative suggestions would be appreciated.&lt;/p&gt;&#xA;&lt;p&gt;P.S. I am interested in 5600K bulbs.&lt;/p&gt;&#xA;" OwnerUserId="32019" LastActivityDate="2021-01-20T08:36:40.373" Title="Health issues concerning video lights" Tags="|lighting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33044" PostTypeId="1" CreationDate="2021-01-09T11:40:59.270" Score="1" ViewCount="4907" Body="&lt;p&gt;I need to encode multiple images over the same video at different times in a single pass.&lt;/p&gt;&#xA;&lt;p&gt;I have a fair grasp of doing this with a single image, such as&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i picture1.png -filter_complex &amp;quot;[0:v][1:v] overlay=0:0:enable='between(t,1,5)'&amp;quot; -pix_fmt yuv420p -c:a copy result.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but how would I go about adding a picture2.png, picture3.png, and so on, with different between() parameters?&lt;/p&gt;&#xA;" OwnerUserId="33492" LastActivityDate="2021-02-26T08:12:41.910" Title="Overlay multiple images on one video using ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33045" PostTypeId="2" ParentId="33044" CreationDate="2021-01-09T12:04:56.997" Score="2" Body="&lt;p&gt;Add all the images you want to overlay to a video file as input &lt;code&gt;-i&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here -&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;X,Y are the top left coordinates where the image should be put, with respect to video&lt;/li&gt;&#xA;&lt;li&gt;Between(t,a,b) means you want to display that image from a (in seconds) till b (in seconds)&lt;/li&gt;&#xA;&lt;li&gt;gt(t,c) means that display that image from c till the end of video&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg -i video -i image1.png -i image2 -i image3  -filter_complex&#xA;&amp;quot;[0][1]overlay=x=X:y=Y:enable='between(t,23,27)'[v1];&#xA;[v1][2]overlay=x=X:y=Y:enable='between(t,44,61)'[v2];&#xA;[v2][3]overlay=x=X:y=Y:enable='gt(t,112)'[v3]&amp;quot;&#xA;-map &amp;quot;[v3]&amp;quot; -map 0:a  out.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="32078" LastActivityDate="2021-01-09T12:04:56.997" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33046" PostTypeId="1" AcceptedAnswerId="33048" CreationDate="2021-01-09T15:32:03.833" Score="1" ViewCount="5621" Body="&lt;p&gt;After working with fusion I have saved my project. When I try to re-open that project I can't see any nodes in Fusion tab. There is only &lt;strong&gt;MediaIn1&lt;/strong&gt; and &lt;strong&gt;MediaOut1&lt;/strong&gt; nodes. Below yo can see the screenshot. How I can see my nodes again? OS: MacOSX Big Sur, Davinci Resolve Version 17 Public Beta.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xGWav.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xGWav.png&quot; alt=&quot;Screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33494" LastActivityDate="2022-09-07T09:52:52.127" Title="Davinci Resolve does not shows fusion nodes after re-open the project" Tags="|video-editor|davinci-resolve|fusion|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33047" PostTypeId="2" ParentId="33014" CreationDate="2021-01-09T19:17:18.453" Score="0" Body="&lt;p&gt;For live event video display, I would search for &amp;quot;VJ software.&amp;quot;  Because (a) I'm a video editor who uses DaVinci Resolve in his daily life and (b) I sometimes make typos when performing internet searches, I've stumbled across a piece of software called &amp;quot;Resolume,&amp;quot; which appears to be highly regarded in this space, although I cannot comment on its quality or efficacy.  &lt;a href=&quot;https://resolume.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://resolume.com&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-01-09T19:17:18.453" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33048" PostTypeId="2" ParentId="33046" CreationDate="2021-01-10T00:43:07.920" Score="1" Body="&lt;p&gt;It depends on how you created the Fusion compositions in the first place.&lt;/p&gt;&#xA;&lt;p&gt;If your Fusion clip exists on your edit timeline, then when you're in the Fusion tab, you'll see it listed if you activate the &amp;quot;Clips&amp;quot; panel (at the top of the screen, or under Workspace-&amp;gt;Show Panel in Workspace-&amp;gt;Clips)&lt;/p&gt;&#xA;&lt;p&gt;If your Fusion clip doesn't exist on your edit timeline (there are a few ways to do this), then to find it within the Fusion page, you'll need to navigate to it through Fusion's &amp;quot;Media Pool&amp;quot; tab.  Resolve's Media Pool contains all of the elements you've imported or created within the context of the currently open project.  If you don't see your Fusion Clip there at first, don't panic.  To see absolutely everything in your project, first you need to expose the sidebar of the media pool, then select the &amp;quot;Master&amp;quot; bin and all children of it by shift-clicking the last item in the list of bins.  With all of the bins selected, Resolve shows all of the available content in your project.  Your Fusion composition should be listed there.&lt;/p&gt;&#xA;&lt;p&gt;The reason you're not seeing the nodes you expect to see in the screenshot above is that whenever you switch to the Fusion Page from the Edit page, Resolve turns whichever clip that currently intersects the Edit timeline playhead into a Fusion clip, and populates the node tree with a MediaIn and MediaOut node.  If you don't make any alterations before returning to the Edit page, Resolve will turn the Fusion clip back into a normal clip (at least, in recent versions of Resolve).&lt;/p&gt;&#xA;&lt;p&gt;To put it another way, the moment in time you're viewing on the Edit page will be the same one you're viewing when you switch to the Fusion page, complete with any Fusion nodes you've set up previously (if any), or set up for a new composition if you haven't created any yet; the Edit timeline playhead and Fusion timeline playhead are linked.&lt;/p&gt;&#xA;&lt;p&gt;In Fusion, the &amp;quot;Clips&amp;quot; tab lets you skip from one clip to the next down your edit timeline, and the playbar only scrubs through the length of one clip.  But since all of your Fusion compositions don't necessarily need to be on your Edit timeline, the Media Pool holds all available source material.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-01-10T02:36:53.690" LastActivityDate="2021-01-10T02:36:53.690" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33049" PostTypeId="2" ParentId="12830" CreationDate="2021-01-10T04:32:24.493" Score="2" Body="&lt;p&gt;You can use red official program &amp;quot;REDline&amp;quot;&#xA;Download It from here &lt;a href=&quot;https://www.red.com/download/redline-linux-beta&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.red.com/download/redline-linux-beta&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It's a shell script. to install it. From properties change it's permission to allow execute.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tKpaz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tKpaz.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now open it in terminal and install it&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ sudo &amp;lt;filelocation/file.sh&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;if you are in a installer directory you can install it by running&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ sudo ./file.sh&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now after installing it.&lt;/p&gt;&#xA;&lt;p&gt;Currently it's a command line program.&lt;/p&gt;&#xA;&lt;p&gt;normally you can convert R3D (red video files to other formats like openexr,tiff , jpeg ) files to image sequences and also you extract audio too.&lt;/p&gt;&#xA;&lt;p&gt;Now if i want to convert  a R3D files to jpeg sequences the command would be like this&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ REDline -i &amp;lt;filelocation/file.R3D&amp;gt; --format 3 -o filename&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;let me explain what are these commands and options are&lt;/p&gt;&#xA;&lt;p&gt;here REDline is our program for converting R3D files to image sequences&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-i&lt;/code&gt; means video for converting&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;--format 3&lt;/code&gt; means convert to what format currently the program supports DPX , Tiff, OpenEXR , JPEG, SGI, R3D Trim, Apple ProRes and Avid DNX formats. now what does 3 means 3 means convert R3D files to image sequences. so how can you convert to Tiff format use number 1. for other formats you can use&lt;/p&gt;&#xA;&lt;p&gt;DPX = 0, OpenEXR = 2, SGI = 4, R3D Trim = 102, Apple ProRes=201, Avid DNX = 204&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-o&lt;/code&gt; means output file name because you are converting to jpeg image sequences the program will automatically name it.like wise&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;filename.000000.jpg&#xA;filename.000001.jpg&#xA;filename.000002.jpg&#xA;filename.000003.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33499" LastEditorUserId="14523" LastEditDate="2021-01-10T20:58:33.170" LastActivityDate="2021-01-10T20:58:33.170" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33050" PostTypeId="1" AcceptedAnswerId="33059" CreationDate="2021-01-10T19:02:33.730" Score="0" ViewCount="479" Body="&lt;p&gt;I'm having a lot of trouble casting a specific file on my Chromecast. At first it was because it was encoded with H265, which is not supported by my Chromecast device (2nd gen).&lt;/p&gt;&#xA;&lt;p&gt;I tried changing its encoding from H265 to H264 and it works great when I play it with VLC directly on my computer, but as soon as I cast it on my TV, there are visual patches of color appearing constantly. The sound is fine.&lt;/p&gt;&#xA;&lt;p&gt;I am able to cast youtube or my chromium screen with no such problem.&lt;/p&gt;&#xA;&lt;p&gt;I used the following command to convert it from h265 to h264, as found [here]:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c:v libx264 -crf 18 -c:a copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here is the ffprobe from the original video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, matroska,webm, from 'original.mkv':&#xA;Metadata:&#xA;    encoder         : libebml v1.3.4 + libmatroska v1.4.5&#xA;    creation_time   : 2017-04-26T08:17:18.000000Z&#xA;  Duration: 00:11:24.65, start: 0.000000, bitrate: 1152 kb/s&#xA;    Stream #0:0: Video: hevc (Main 10), yuv420p10le(tv), 1920x1080, SAR 1:1 DAR 16:9, 23.98 fps, 23.98 tbr, 1k tbn, 23.98 tbc (default)&#xA;    Metadata:&#xA;      title           : Encoded by: ImEverlasting&#xA;      BPS             : 997219&#xA;      BPS-eng         : 997219&#xA;      DURATION        : 00:11:24.601000000&#xA;      DURATION-eng    : 00:11:24.601000000&#xA;      NUMBER_OF_FRAMES: 16414&#xA;      NUMBER_OF_FRAMES-eng: 16414&#xA;      NUMBER_OF_BYTES : 85337214&#xA;      NUMBER_OF_BYTES-eng: 85337214&#xA;      _STATISTICS_WRITING_APP: mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;      _STATISTICS_WRITING_DATE_UTC: 2017-04-26 08:17:18&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2017-04-26 08:17:18&#xA;      _STATISTICS_TAGS: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;    Stream #0:1(eng): Audio: aac (LC), 48000 Hz, stereo, fltp&#xA;    Metadata:&#xA;      BPS             : 151912&#xA;      BPS-eng         : 151912&#xA;      DURATION        : 00:11:24.650000000&#xA;      DURATION-eng    : 00:11:24.650000000&#xA;      NUMBER_OF_FRAMES: 32093&#xA;      NUMBER_OF_FRAMES-eng: 32093&#xA;      NUMBER_OF_BYTES : 13000851&#xA;      NUMBER_OF_BYTES-eng: 13000851&#xA;      _STATISTICS_WRITING_APP: mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;      _STATISTICS_WRITING_DATE_UTC: 2017-04-26 08:17:18&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2017-04-26 08:17:18&#xA;      _STATISTICS_TAGS: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;    Stream #0:2(eng): Subtitle: subrip&#xA;    Metadata:&#xA;      BPS             : 101&#xA;      BPS-eng         : 101&#xA;      DURATION        : 00:11:14.239000000&#xA;      DURATION-eng    : 00:11:14.239000000&#xA;      NUMBER_OF_FRAMES: 243&#xA;      NUMBER_OF_FRAMES-eng: 243&#xA;      NUMBER_OF_BYTES : 8531&#xA;      NUMBER_OF_BYTES-eng: 8531&#xA;      _STATISTICS_WRITING_APP: mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;      _STATISTICS_WRITING_DATE_UTC: 2017-04-26 08:17:18&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2017-04-26 08:17:18&#xA;      _STATISTICS_TAGS: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;    Stream #0:3: Video: mjpeg (Baseline), yuvj444p(pc, bt470bg/unknown/unknown), 600x882, 90k tbr, 90k tbn, 90k tbc (attached pic)&#xA;    Metadata:&#xA;      filename        : cover.jpg&#xA;      mimetype        : image/jpeg&#xA;    Stream #0:4: Video: mjpeg (Baseline), yuvj444p(pc, bt470bg/unknown/unknown), 1067x600, 90k tbr, 90k tbn, 90k tbc (attached pic)&#xA;    Metadata:&#xA;      filename        : cover_land.jpg&#xA;      mimetype        : image/jpeg&#xA;    Stream #0:5: Video: mjpeg (Baseline), yuvj444p(pc, bt470bg/unknown/unknown), 120x176, 90k tbr, 90k tbn, 90k tbc (attached pic)&#xA;    Metadata:&#xA;      filename        : small_cover.jpg&#xA;      mimetype        : image/jpeg&#xA;    Stream #0:6: Video: mjpeg (Baseline), yuvj444p(pc, bt470bg/unknown/unknown), 213x120, 90k tbr, 90k tbn, 90k tbc (attached pic)&#xA;    Metadata:&#xA;      filename        : small_cover_land.jpg&#xA;      mimetype        : image/jpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And the ffprobe of the converted file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, matroska,webm, from 'converted.mkv':&#xA;  Metadata:&#xA;    ENCODER         : Lavf58.45.100&#xA;  Duration: 00:11:24.65, start: 0.000000, bitrate: 2499 kb/s&#xA;    Stream #0:0: Video: h264 (High 10), yuv420p10le(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 23.98 fps, 23.98 tbr, 1k tbn, 47.95 tbc (default)&#xA;    Metadata:&#xA;      title           : Encoded by: ImEverlasting&#xA;      BPS             : 997219&#xA;      BPS-eng         : 997219&#xA;      DURATION-eng    : 00:11:24.601000000&#xA;      NUMBER_OF_FRAMES: 16414&#xA;      NUMBER_OF_FRAMES-eng: 16414&#xA;      NUMBER_OF_BYTES : 85337214&#xA;      NUMBER_OF_BYTES-eng: 85337214&#xA;      _STATISTICS_WRITING_APP: mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;      _STATISTICS_WRITING_DATE_UTC: 2017-04-26 08:17:18&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2017-04-26 08:17:18&#xA;      _STATISTICS_TAGS: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      ENCODER         : Lavc58.91.100 libx264&#xA;    Stream #0:1(eng): Audio: aac (LC), 48000 Hz, stereo, fltp (default)&#xA;    Metadata:&#xA;      BPS             : 151912&#xA;      BPS-eng         : 151912&#xA;      DURATION-eng    : 00:11:24.650000000&#xA;      NUMBER_OF_FRAMES: 32093&#xA;      NUMBER_OF_FRAMES-eng: 32093&#xA;      NUMBER_OF_BYTES : 13000851&#xA;      NUMBER_OF_BYTES-eng: 13000851&#xA;      _STATISTICS_WRITING_APP: mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;      _STATISTICS_WRITING_DATE_UTC: 2017-04-26 08:17:18&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2017-04-26 08:17:18&#xA;      _STATISTICS_TAGS: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;    Stream #0:2(eng): Subtitle: ass (default)&#xA;    Metadata:&#xA;      BPS             : 101&#xA;      BPS-eng         : 101&#xA;      DURATION-eng    : 00:11:14.239000000&#xA;      NUMBER_OF_FRAMES: 243&#xA;      NUMBER_OF_FRAMES-eng: 243&#xA;      NUMBER_OF_BYTES : 8531&#xA;      NUMBER_OF_BYTES-eng: 8531&#xA;      _STATISTICS_WRITING_APP: mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v9.6.0 ('Slave To Your Mind') 64bit&#xA;      _STATISTICS_WRITING_DATE_UTC: 2017-04-26 08:17:18&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2017-04-26 08:17:18&#xA;      _STATISTICS_TAGS: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;      ENCODER         : Lavc58.91.100 ssa&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any idea as to what the problem could be?&lt;/p&gt;&#xA;" OwnerUserId="33511" LastActivityDate="2021-01-11T04:27:46.387" Title="Converting h265 video to h264 with ffmpeg results in glitchy visuals with Chromecast" Tags="|ffmpeg|screen-casting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33051" PostTypeId="1" CreationDate="2021-01-10T19:36:31.677" Score="1" ViewCount="17" Body="&lt;p&gt;I just read someone stating the following on a &lt;a href=&quot;https://bugs.kde.org/show_bug.cgi?id=390595#c6&quot; rel=&quot;nofollow noreferrer&quot;&gt;Kdenlive bug report&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;I'd much rather have a single color than pixelization, since with&#xA;enough frames, pixelization can be reversed.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Simple question - is it true? Has it been demonstrated in practice?&lt;/p&gt;&#xA;" OwnerUserId="18003" LastActivityDate="2021-01-10T19:36:31.677" Title="Is it true that pixelization can be reversed given enough frames?" Tags="|editing|effects|filter|production|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33052" PostTypeId="2" ParentId="21759" CreationDate="2021-01-10T19:56:07.533" Score="0" Body="&lt;p&gt;I am streaming a looping video and was struggling with pauses in-between loops too. What I discovered was that I was streaming at 24 FPS, but my input video was 23.97. Re-encoding the video at 24 FPS with the FPS filter &lt;code&gt;fps=fps=24&lt;/code&gt; resolved the issue.&lt;/p&gt;&#xA;&lt;p&gt;See &lt;a href=&quot;https://trac.ffmpeg.org/wiki/ChangingFrameRate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/ChangingFrameRate&lt;/a&gt; for more information on changing the frame rate with FFmpeg.&lt;/p&gt;&#xA;" OwnerUserId="33512" LastActivityDate="2021-01-10T19:56:07.533" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33053" PostTypeId="1" CreationDate="2021-01-10T21:06:04.450" Score="1" ViewCount="55" Body="&lt;p&gt;I've been generating video uses a template with a Color Control layer that applies to all scenes for a while.&lt;/p&gt;&#xA;&lt;p&gt;The pre-comp's (template) layers use Tint to map its colors to a the control layer colors.&lt;/p&gt;&#xA;&lt;p&gt;Preview is correct due to Tint, AE renders the colors perfectly, But AME is no longer render this effect correctly.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YyALG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YyALG.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Preview in AE :&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EdRNB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EdRNB.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Output after AME render :&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EYprS.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EYprS.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33513" LastEditorUserId="33513" LastEditDate="2021-01-11T07:29:10.063" LastActivityDate="2021-01-11T07:29:10.063" Title="Adobe Media Encoder inactivated Tint map colors from After Effects" Tags="|after-effects|adobe-media-encoder|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33054" PostTypeId="1" CreationDate="2021-01-10T21:23:46.967" Score="0" ViewCount="756" Body="&lt;p&gt;Im working on this project :&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.hackster.io/jonmendenhall/jetson-nano-search-and-rescue-ai-uav-9ca547&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.hackster.io/jonmendenhall/jetson-nano-search-and-rescue-ai-uav-9ca547&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;At  some point I will need to mount my camera (waveshare ; IMX219-77IR) on  top of the drone and I would like to use  Windows or Linux outside of nomachine (because the nano will be in  headless mode),to display what the camera sees  when the drone is flying. For this reason I'm trying to configure gstreamer with RTSP to start a streaming server on the Ubuntu 18.04 that  I have installed on the jetson nano. (Keep in consideration that I will attach to  the nano the “huawei e3372 4g” dongle to provide to the drone a mobile  connection,instead of a wi-fi connection and the encoder used may have an impact on the performance of the video streaming).&lt;/p&gt;&#xA;&lt;p&gt;To achieve my goal this is the thread that I'm following :&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://forums.developer.nvidia.com/t/vlc-playing-gstreamer-flow/51694/6&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forums.developer.nvidia.com/t/vlc-playing-gstreamer-flow/51694/6&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;At some point DaneLLL says :&lt;/p&gt;&#xA;&lt;p&gt;Please also try test-launch.c @&#xA;&lt;a href=&quot;https://github.com/GStreamer/gst-rtsp-server/blob/master/examples/test-launch.c&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/GStreamer/gst-rtsp-server/blob/master/examples/test-launch.c&lt;/a&gt;&#xA;136&lt;/p&gt;&#xA;&lt;p&gt;Target&lt;/p&gt;&#xA;&lt;p&gt;sudo apt-get install libgstrtspserver-1.0 libgstreamer1.0-dev   gcc&#xA;test-launch.c -o test-launch $(pkg-config --cflags --libs&#xA;gstreamer-1.0 gstreamer-rtsp-server-1.0)   ./test-launch “videotestsrc&#xA;! omxh265enc ! rtph265pay name=pay0 pt=96”&lt;/p&gt;&#xA;&lt;p&gt;Host   Open network stream rtsp://&amp;lt;TARGET_IP_ADDRESS&amp;gt;:8554/test via&#xA;VLC&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;it didn't work,but I found the reason and I fixed it. All my steps were correct, except that I was using the latest version of the example, which uses the latest API. Since most  Jetson boards come with Gstreamer 1.16 pre-installed, I used that same version of the example:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://gitlab.freedesktop.org/gstreamer/gst-rtsp-server/-/blob/1.16/examples/test-launch.c&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gitlab.freedesktop.org/gstreamer/gst-rtsp-server/-/blob/1.16/examples/test-launch.c&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;now,doing :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;./test-launch &amp;quot;videotestsrc ! omxh265enc ! rtph265pay name=pay0 pt=96&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I got this output : &lt;strong&gt;stream ready at rtsp://127.0.0.1:8554/test&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;at this point the problem is that I'm not able to connect to that address using VLC. I checked if the ports were open (I have opened them on the router side)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;     root@ziomario-desktop:~/Scrivania# lsof -i:8554&#xA;     &#xA;     COMMAND     PID USER   FD   TYPE DEVICE SIZE/OFF NODE NAME&#xA;     test-laun 24401 root    4u  IPv4 521379      0t0  TCP *:8554 (LISTEN)&#xA;     &#xA;     root@ziomario-desktop:~/Scrivania# lsof -i:1935&#xA;     &#xA;     COMMAND   PID   USER   FD   TYPE DEVICE SIZE/OFF NODE NAME&#xA;     nginx   23301   root    6u  IPv4 505559      0t0  TCP *:1935 (LISTEN)&#xA;     nginx   23302 nobody    6u  IPv4 505559      0t0  TCP *:1935 (LISTEN)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In addition,I have installed ngnix with the following conf file :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#user  nobody;&#xA;worker_processes  1;&#xA;&#xA;#error_log  logs/error.log;&#xA;#error_log  logs/error.log  notice;&#xA;#error_log  logs/error.log  info;&#xA;&#xA;#pid        logs/nginx.pid;&#xA;&#xA;&#xA;events {&#xA;    worker_connections  1024;&#xA;}&#xA;&#xA;rtmp { &#xA;    server { &#xA;        listen 1935; &#xA;        application live { &#xA;            live on; &#xA;            interleave on;&#xA;            hls on; &#xA;            hls_nested on;&#xA;            hls_path /tmp/hls; &#xA;            hls_fragment 15s;&#xA;            #hls_playlist_lenght 60;&#xA;            exec_pull /usr/bin/ffmpeg -i rtsp://192.168.1.3:8554/test -vcodec copy -acodec copy -f flv rtmp://192.168.1.3:1935/live/test; &#xA;            #dash on;&#xA;            #dash_path /tmp/dash;   &#xA;            #dash_fragment 15s;  &#xA;       } &#xA;    } &#xA;} &#xA;&#xA;http {&#xA;    include       mime.types;&#xA;    default_type  application/octet-stream;&#xA;&#xA;    #log_format  main  '$remote_addr - $remote_user [$time_local] &amp;quot;$request&amp;quot; '&#xA;    #                  '$status $body_bytes_sent &amp;quot;$http_referer&amp;quot; '&#xA;    #                  '&amp;quot;$http_user_agent&amp;quot; &amp;quot;$http_x_forwarded_for&amp;quot;';&#xA;&#xA;    #access_log  logs/access.log  main;&#xA;&#xA;    sendfile        on;&#xA;    #tcp_nopush     on;&#xA;&#xA;    #keepalive_timeout  0;&#xA;    keepalive_timeout  65;&#xA;&#xA;    #gzip  on;&#xA;&#xA;    server {&#xA;        listen       80;&#xA;        server_name  localhost;&#xA;&#xA;        #charset koi8-r;&#xA;&#xA;        #access_log  logs/host.access.log  main;&#xA;&#xA;        location / {&#xA;            root   html;&#xA;            index  index.html index.htm;&#xA;        }&#xA;&#xA;        #error_page  404              /404.html;&#xA;&#xA;        # redirect server error pages to the static page /50x.html&#xA;        #&#xA;        error_page   500 502 503 504  /50x.html;&#xA;        location = /50x.html {&#xA;            root   html;&#xA;        }   &#xA;    types {&#xA;        application/vnd.apple.mpegurl m3u8;&#xA;        video/mp2t ts;&#xA;        text/html html;&#xA;    } &#xA;        &#xA;    # proxy the PHP scripts to Apache listening on 127.0.0.1:80&#xA;        #&#xA;        #location ~ \.php$ {&#xA;        #    proxy_pass   http://127.0.0.1;&#xA;        #}&#xA;&#xA;        # pass the PHP scripts to FastCGI server listening on 127.0.0.1:9000&#xA;        #&#xA;        #location ~ \.php$ {&#xA;        #    root           html;&#xA;        #    fastcgi_pass   127.0.0.1:9000;&#xA;        #    fastcgi_index  index.php;&#xA;        #    fastcgi_param  SCRIPT_FILENAME  /scripts$fastcgi_script_name;&#xA;        #    include        fastcgi_params;&#xA;        #}&#xA;&#xA;        # deny access to .htaccess files, if Apache's document root&#xA;        # concurs with nginx's one&#xA;        #&#xA;        #location ~ /\.ht {&#xA;        #    deny  all;&#xA;        #}&#xA;    }&#xA;&#xA;&#xA;    # another virtual host using mix of IP-, name-, and port-based configuration&#xA;    #&#xA;    #server {&#xA;    #    listen       8000;&#xA;    #    listen       somename:8080;&#xA;    #    server_name  somename  alias  another.alias;&#xA;&#xA;    #    location / {&#xA;    #        root   html;&#xA;    #        index  index.html index.htm;&#xA;    #    }&#xA;    #}&#xA;&#xA;&#xA;    # HTTPS server&#xA;    #&#xA;    #server {&#xA;    #    listen       443 ssl;&#xA;    #    server_name  localhost;&#xA;&#xA;    #    ssl_certificate      cert.pem;&#xA;    #    ssl_certificate_key  cert.key;&#xA;&#xA;    #    ssl_session_cache    shared:SSL:1m;&#xA;    #    ssl_session_timeout  5m;&#xA;&#xA;    #    ssl_ciphers  HIGH:!aNULL:!MD5;&#xA;    #    ssl_prefer_server_ciphers  on;&#xA;&#xA;    #    location / {&#xA;    #        root   html;&#xA;    #        index  index.html index.htm;&#xA;    #    }&#xA;    #}&#xA;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But VLC still doesn't want to connect to :&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;rtsp://127.0.0.1:8554/test&lt;/p&gt;&#xA;&lt;p&gt;rtmp://127.0.0.1:1935/live/test&lt;/p&gt;&#xA;&lt;p&gt;and :&lt;/p&gt;&#xA;&lt;p&gt;rtsp://192.168.1.3:8554/test&lt;/p&gt;&#xA;&lt;p&gt;rtmp://192.168.1.3:1935/live/test&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;after a further investigation, I found that :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;root@ziomario-desktop:~/Scrivania#  /usr/bin/ffmpeg -i rtsp://192.168.1.3:8554/test -vcodec copy -acodec copy -f flv rtmp://192.168.1.3:1935/live/test&#xA;&#xA;[flv @ 0x557dfbdd80] Video codec hevc not compatible with flv&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Function not implemented&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;so,could this be the reason ? how to fix that ? thanks.&lt;/p&gt;&#xA;" OwnerUserId="14198" LastActivityDate="2021-01-10T21:23:46.967" Title="Streamable Container for gstreamer with ngnix / RTSP on jetson nano" Tags="|video|ffmpeg|streaming|codec|compression|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33055" PostTypeId="1" CreationDate="2021-01-10T23:03:24.000" Score="0" ViewCount="15" Body="&lt;p&gt;I am new to Premiere and tried a few sequences. Upon exporting them, the result has half the frames completely mangled, with unreadable text, inverted exposure, or with extraneous elements. Here are some examples:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hVyhv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hVyhv.png&quot; alt=&quot;mangled export example 1&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tigNH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tigNH.png&quot; alt=&quot;mangled export example 2&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/38CBq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/38CBq.png&quot; alt=&quot;mangled export example 3&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The same result happens with different settings: medium or adaptive low bitrate, with hardware encoding or with software encoding. The same result happens with different sequences.&lt;/p&gt;&#xA;&lt;p&gt;How can I fix the export and salvage my work?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2024-01-26T06:05:20.680" Title="Premiere mangles export of video with several settings" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33056" PostTypeId="2" ParentId="33055" CreationDate="2021-01-10T23:03:24.000" Score="0" Body="&lt;p&gt;Instead of exporting in Premiere, I chose &lt;code&gt;Queue&lt;/code&gt; in the Export dialog for Adobe Media Encoder to do the work. It worked perfectly fine, either with medium or high bitrate, with hardware or software encoding.&lt;/p&gt;&#xA;&lt;p&gt;This issue may be due to new software running on old hardware. My computer has 8 GB of RAM. Although Premiere 2019-2020 has that amount as the minimum and so it should work, Adobe Support has &lt;a href=&quot;https://video.stackexchange.com/questions/32904/premiere-pro-plays-media-video-stream-at-half-the-speed-as-audio&quot;&gt;excused itself of another bug&lt;/a&gt; blaming the lack of the recommended RAM.&lt;/p&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2021-01-10T23:03:24.000" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33057" PostTypeId="1" CreationDate="2021-01-10T23:46:46.910" Score="1" ViewCount="180" Body="&lt;p&gt;I'm starting a low budget project that needs thousands of short videos &lt;a href=&quot;https://media.spreadthesign.com/video/mp4/13/49171.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;like this one&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I'm not an expert, neither a video production hobbyist, I don't know anything about Video Production. I did a little research and purchased a black muslin background, and two dimmable ring led lights.&lt;/p&gt;&#xA;&lt;p&gt;The ideal result I'd like to achieve is like the following image:&lt;br /&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/eELCR.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eELCR.jpg&quot; alt=&quot;Girl with nice lightning at the front and pure black background&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The thing is that I want the &lt;a href=&quot;http://data:image/jpeg;base64,[encoded data, 10944 characters]&quot; rel=&quot;nofollow noreferrer&quot;&gt;actor's clothes&lt;/a&gt; to be distinguishable from the background, while wearing a nice dark grey t shirt like in the photo. I was thinking about using one light as back light for a soft &amp;quot;white aura&amp;quot; at the borders of the actor's clothes and hair.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/h9Osf.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/h9Osf.jpg&quot; alt=&quot;actor clothes are dark grey polos&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The muslin alone doesn't make a pure black backdrop, so at post production I'm going to lower the shadows and brighten the middles and lights (?).&lt;/p&gt;&#xA;&lt;p&gt;But can I use a back-light and a fill light to achieve this?&lt;/p&gt;&#xA;" OwnerUserId="33515" LastEditorUserId="33515" LastEditDate="2021-01-10T23:55:57.367" LastActivityDate="2021-01-10T23:55:57.367" Title="How to choose two lights lighting for pure black background and dark clothes with post-production?" Tags="|effects|vegas-pro|lighting|recommendation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33059" PostTypeId="2" ParentId="33050" CreationDate="2021-01-11T04:27:46.387" Score="0" Body="&lt;p&gt;Almost certainly due to the bit depth of 10 bpc: &lt;code&gt;yuv420p10le&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Encode to a standard pixel format of 8 bpc.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -pix_fmt yuv420p -c:v libx264 -crf 18 -c:a copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-01-11T04:27:46.387" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33060" PostTypeId="1" AcceptedAnswerId="33061" CreationDate="2021-01-11T07:31:48.053" Score="1" ViewCount="920" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/g970l.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/g970l.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;I am using the command below to drawtext with rotation. This works but when set &lt;code&gt;fontcolor=black&lt;/code&gt; It becomes transparent color.&#xA;I am not understanding the reason.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex &amp;quot;color=black:100x100[c];[c][0]scale2ref[ct][mv];[ct]setsar=1,drawtext=fontfile='font.ttf':text='Test Text':fontsize=36:line_spacing=3:box=1:boxcolor=red@1:fontcolor=black,split[text][alpha];[text][alpha]alphamerge,rotate=45:ow=rotw(45):oh=roth(45):c=black@0[txta];[mv][txta]overlay=x='min(0,-H*sin(45))+100':y='min(0,W*sin(45))+50':shortest=1&amp;quot; output_video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33517" LastActivityDate="2021-01-11T10:40:25.183" Title="Black fontcolor being transparent in drawtext in ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33061" PostTypeId="2" ParentId="33060" CreationDate="2021-01-11T10:40:25.183" Score="1" Body="&lt;p&gt;The method in my &lt;a href=&quot;https://stackoverflow.com/q/38306321/&quot;&gt;old answer&lt;/a&gt; was a workaround due to a limitation in drawtext filter at the time of writing. It's easier now.&lt;/p&gt;&#xA;&lt;p&gt;You're getting transparent text because the textcolor is used to set both the color as well as its opacity intensity, and since black represents 0, the text disappears.&lt;/p&gt;&#xA;&lt;p&gt;Anyway, it's simpler after ffmpeg 3.1&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex &amp;quot;color=black@0:100x100,format=yuva420p[c];[c][0]scale2ref[ct][mv];[ct]setsar=1,drawtext=fontfile='font.ttf':text='Test Text':fontsize=36:line_spacing=3:box=1:boxcolor=red@1:fontcolor=black,rotate=45:ow=rotw(45):oh=roth(45):c=black@0[txta];[mv][txta]overlay=x='min(0,-H*sin(45))+100':y='min(0,W*sin(45))+50':shortest=1&amp;quot; output_video.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-01-11T10:40:25.183" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33062" PostTypeId="1" CreationDate="2021-01-11T12:14:13.710" Score="1" ViewCount="139" Body="&lt;p&gt;How to keep editing possibilities in Illustrator after the Ai file is used in After Effects?&lt;/p&gt;&#xA;&lt;p&gt;I use the Lottie files Bodymovin plugin to export my animations to JSON files for use in mobile apps and websites. After creating shapes from the vector layer (Ai layer), I can't edit the illustration in Ai and get this change in my AE animation (just as is possible using regular Ai layers-not converted to shape layers).&lt;/p&gt;&#xA;" OwnerUserId="33518" LastActivityDate="2021-01-11T14:18:42.300" Title="Alternative for 'create shapes from vector layer' for edit possibilities in Ai" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33063" PostTypeId="2" ParentId="33062" CreationDate="2021-01-11T14:18:42.300" Score="2" Body="&lt;p&gt;The Overlord plugin can help with this.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.battleaxe.co/overlord/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.battleaxe.co/overlord/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It can convert shapes in AI to parametric shapes in AE.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-01-11T14:18:42.300" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33065" PostTypeId="1" CreationDate="2021-01-12T01:07:49.417" Score="0" ViewCount="217" Body="&lt;p&gt;Hi I'm having some issues with colors in my video, I have still images that after the render jitter&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HQeMT.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HQeMT.gif&quot; alt=&quot;Jittering&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Never seen something like this, any idea why would this happen?&lt;/p&gt;&#xA;" OwnerUserId="24109" LastActivityDate="2024-01-27T22:02:15.340" Title="Colors artifacts/jittering after render - filmora" Tags="|rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33066" PostTypeId="1" CreationDate="2021-01-12T01:08:10.950" Score="1" ViewCount="21" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/S87ke.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/S87ke.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I redrew the image on the left in Blender, but I want to use AE to achieve the &amp;quot;filmy&amp;quot; look on the right. What type of effect did they use here? You can see from the corner of the screenshot the blue area and the black lines are almost glowing?&lt;/p&gt;&#xA;" OwnerUserId="33523" LastEditorUserId="29988" LastEditDate="2021-01-12T22:54:14.977" LastActivityDate="2021-01-13T00:39:08.923" Title="What effect did they apply here?" Tags="|video|after-effects|effects|color-grading|blender|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33067" PostTypeId="1" CreationDate="2021-01-12T04:50:34.147" Score="0" ViewCount="3132" Body="&lt;p&gt;I have the latest version of Premiere Pro and Media Encoder.. But while exporting a project after processing for a few seconds it doesn't progress further and my GPU usage is at 100%-0% and again to 100%. It is like a spike in the Task Manager? Can anybody help me with this?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/R0ELw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/R0ELw.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33525" LastEditorUserId="4426" LastEditDate="2021-01-12T14:38:46.887" LastActivityDate="2021-01-24T16:05:07.050" Title="Media Encoder or Premiere Pro get stuck while exporting" Tags="|premiere|video-editor|adobe|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33068" PostTypeId="2" ParentId="33066" CreationDate="2021-01-12T14:29:51.210" Score="1" Body="&lt;p&gt;Looks to me like a kind of &amp;quot;chromatic aberration&amp;quot; effect - where the red green and blue channels of an image are processed separately - sometimes shifted in position or blurred a little, then they are recombined back together. There are lots of ways to do this using built in plugins, or using 3rd party plugins &lt;a href=&quot;https://www.redgiant.com/user-guide/universe/chromatic-aberration/&quot; rel=&quot;nofollow noreferrer&quot;&gt;such as Red Giant's&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-01-12T14:29:51.210" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33069" PostTypeId="2" ParentId="33065" CreationDate="2021-01-12T16:52:51.567" Score="0" Body="&lt;p&gt;Is everything else on the screen stationary, or is there other movement in other parts of the screen? If there is, I'd put it down to lossy codecs like h264.&#xA;Try exporting at a higher bitrate. You could add a tiny amount of noise or grain to the video which might reduce the jittering at the overall expense of detail.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-01-12T16:52:51.567" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33070" PostTypeId="1" CreationDate="2021-01-12T17:01:17.997" Score="2" ViewCount="46" Body="&lt;p&gt;I'm taking a timelapse with 30 minutes between each picture. Around 55 pictures, that all need to match their lighting conditions. Around 40 or so are already the same, but is there an automatic  way to match the last 15?&lt;/p&gt;&#xA;" OwnerUserId="33528" LastActivityDate="2021-01-12T18:15:41.797" Title="How to automatically fix lighting conditions in different shots in a timelapse?" Tags="|time-lapse|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33071" PostTypeId="2" ParentId="33070" CreationDate="2021-01-12T18:15:41.797" Score="2" Body="&lt;p&gt;There are plugins that adjust exposure over time to reduce flickering in timelapses - &lt;a href=&quot;http://granitebaysoftware.com/Products/ProductGBD.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;GBDeflicker works well&lt;/a&gt;. (But it won't change night to day or anything like that).&lt;/p&gt;&#xA;&lt;p&gt;See also:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/3406/correcting-exposure-flickering-in-time-lapse-footage-in-post/4362#4362&quot;&gt;Correcting exposure flickering in time-lapse footage &amp;quot;in post&amp;quot;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-01-12T18:15:41.797" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33072" PostTypeId="1" AcceptedAnswerId="33089" CreationDate="2021-01-12T18:22:08.553" Score="1" ViewCount="74" Body="&lt;p&gt;If I record audio (say, a 320 kbps mp3) that's playing through my desktop audio (in, for example, Audacity with loopback, or OBS) is the quality going to be reduced if I compare the recording to the original file? For the sake of this hypothetical lets assume the compression level of the rendered recording is also 320kbps mp3.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Does the act of recording the audio in this manner inherently reduce the quality? (regardless of compression method e.g. .wav to .wav)&lt;/li&gt;&#xA;&lt;li&gt;Does reencoding/compressing the audio from 320kbps mp3 to 320kbps mp3 result in a measurable quality loss?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="31926" LastActivityDate="2021-01-15T09:04:30.650" Title="Does recording desktop audio reduce quality?" Tags="|transcoding|audio-recording|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33073" PostTypeId="1" CreationDate="2021-01-12T18:30:56.147" Score="0" ViewCount="60" Body="&lt;p&gt;How to write more than 7 digits in effect (&amp;quot;slider control&amp;quot;) because his stop in 6 number in after effects&#xA;&lt;a href=&quot;https://i.stack.imgur.com/KwZOV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KwZOV.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="31900" LastActivityDate="2024-01-28T01:04:30.523" Title="How to write more than 7 digits in effect (&quot;slider control&quot;) because his stop in 6 number" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33074" PostTypeId="2" ParentId="33073" CreationDate="2021-01-12T19:59:15.213" Score="0" Body="&lt;p&gt;You can right-click on the slider and select Edit Value. A dialogue box pops up. You can enter a number up to 1000000. If you need a bigger number, consider adding some text to the value using different units or extra zeroes.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fByT1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fByT1.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-01-12T19:59:15.213" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33075" PostTypeId="2" ParentId="33066" CreationDate="2021-01-13T00:33:08.810" Score="0" Body="&lt;p&gt;Yes, that is subtle but nice.&lt;/p&gt;&#xA;&lt;p&gt;I am not sure how you did the image. If it is a raster image I would duplicate and add a gaussian blur on it and add transparency.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/e6z9b.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/e6z9b.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You could play with the transparency to make some zones sharper&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XXL2D.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XXL2D.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2021-01-13T00:39:08.923" LastActivityDate="2021-01-13T00:39:08.923" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33076" PostTypeId="2" ParentId="17235" CreationDate="2021-01-13T06:07:38.593" Score="0" Body="&lt;p&gt;Solution for Cinema 4D Black screen is&#xA;go to Preference=&amp;gt;Viewport HArdware&amp;gt;Anti Alising&amp;gt;make it none or 2&lt;/p&gt;&#xA;" OwnerUserId="33534" LastActivityDate="2021-01-13T06:07:38.593" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33079" PostTypeId="1" CreationDate="2021-01-13T15:19:42.710" Score="1" ViewCount="63" Body="&lt;p&gt;I have always wondered this but never understood it. I have attempted to morph object paths in the past but I always ran into issues and just gave up. But now I have a project where I need to achieve smooth path morphs. I understand the concept of setting the first vertex to the same vertex between paths but how does the ordering of vertices work in AE? How does AE interpret vector objects designed in Illustrator and order the path points?&lt;/p&gt;&#xA;&lt;p&gt;I have this project where I am trying to morph coins. As you can see in these screenshots I have set the first vertex to the same path point on both objects. &lt;a href=&quot;https://i.stack.imgur.com/RJCgm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RJCgm.png&quot; alt=&quot;Small Coin First Vertex Reference&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/xY4hj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xY4hj.png&quot; alt=&quot;Big Coin First Vertex Reference&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But when I copy the path of the big coin and paste it on the last keyframe of the small coin the morph ends up in a really random position off composition.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/I5HV8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/I5HV8.png&quot; alt=&quot;Small to Big Coin Morph Path Issue&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;What could be the cause of this?&lt;/p&gt;&#xA;" OwnerUserId="26665" LastActivityDate="2021-01-13T15:19:42.710" Title="How do path vertices work in After Effects?" Tags="|after-effects|motion-graphics|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33080" PostTypeId="1" AcceptedAnswerId="33087" CreationDate="2021-01-13T18:40:31.370" Score="1" ViewCount="1757" Body="&lt;p&gt;FFmpeg has no trouble putting all sorts of weird video codecs into QuickTime/MOV containers, including &lt;code&gt;utvideo&lt;/code&gt;, &lt;code&gt;hap&lt;/code&gt;, &lt;code&gt;snow&lt;/code&gt;, &lt;code&gt;ffv1&lt;/code&gt;, and &lt;code&gt;cinepak&lt;/code&gt;. This makes sense, as it is my understanding that the MOV format should be extendable to any type of video stream.&lt;/p&gt;&#xA;&lt;p&gt;However, when I ask FFmpeg to put a vp9 video stream into a MOV container, FFmpeg refuses.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i file-with-vp9-video-and-opus-audio.webm -vcodec copy -acodec pcm_s16be test.mov&#xA;&#xA;[...]&#xA;&#xA;[mov @ 0x7fbb1b822400] vp9 only supported in MP4.&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Invalid argument&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Due to stupid and buggy software which is out of my control, I need a way to get VP9 streams into MOV containers. I cannot use a different container format, including mp4 or mkv. (I might be able to use WebM, but that does not support PCM audio.)&lt;/p&gt;&#xA;&lt;p&gt;Is there another way to do this? It doesn't need to be with ffmpeg, but it does need to be with a UNIX program which I can automate in a shell script.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Edit: Quick note, I'm not opposed to doing something &lt;em&gt;super&lt;/em&gt; weird, like muxing into an mp4 and then hex editing the header (just as an example, I don't know if the formats are close enough for that).&lt;/p&gt;&#xA;&lt;p&gt;Which is to say, it can be a total hack. The software I'm working with will absolutely refuse to open anything that isn't a MOV, even though I have given it the capability to decode vp9.&lt;/p&gt;&#xA;" OwnerUserId="33278" LastEditorUserId="33278" LastEditDate="2021-04-20T10:50:48.660" LastActivityDate="2021-04-20T10:50:48.660" Title="How can I put a VP9 video stream into a QuickTime/MOV container?" Tags="|ffmpeg|software-recommendation|codec|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="33081" PostTypeId="1" AcceptedAnswerId="34981" CreationDate="2021-01-14T09:29:11.630" Score="2" ViewCount="2025" Body="&lt;p&gt;I have a 952×600 JPEG image, generated by a PHP script. I want to create another PHP script that uses &lt;code&gt;ffmpeg&lt;/code&gt;, which converts that JPEG image to a MP4 video, which has only 1 frame that lasts for 10 seconds.&lt;/p&gt;&#xA;&lt;p&gt;Which options should I provide to FFmpeg, if the input JPEG is called &lt;code&gt;input.jpeg&lt;/code&gt; and the video &lt;code&gt;output.mp4&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="33545" LastEditorUserId="18155" LastEditDate="2022-02-15T13:11:59.723" LastActivityDate="2023-05-18T19:39:13.407" Title="FFmpeg convert 1 JPEG frame to 10 sec video" Tags="|ffmpeg|mp4|script|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33082" PostTypeId="1" CreationDate="2021-01-14T11:00:25.693" Score="2" ViewCount="33" Body="&lt;p&gt;I have:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;splash.png&lt;/code&gt; having the same size as video resolution&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;video.mp4&lt;/code&gt; in 60 fps already encoded via &lt;code&gt;-vcodec h264 -crf 23 -acodec copy&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I want to prepend (not overlay) video &lt;code&gt;video.mp4&lt;/code&gt; with splashscreen &lt;code&gt;splash.png&lt;/code&gt; for 5 seconds.&lt;/p&gt;&#xA;&lt;p&gt;If possible, I'd like to keep video without reencoding as otherwice additional artefacts may appear. Or maybe it's possible to reencode with the same codec without quality loss?&lt;/p&gt;&#xA;&lt;p&gt;What &lt;code&gt;ffmpeg&lt;/code&gt; command I should use to achieve that?&lt;/p&gt;&#xA;" OwnerUserId="21971" LastActivityDate="2021-01-14T11:00:25.693" Title="Add splashscreen before video" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33083" PostTypeId="1" CreationDate="2021-01-14T14:07:13.067" Score="1" ViewCount="184" Body="&lt;p&gt;I recently created the attached graphic in Illustrator for a project and am trying to figure out how to create something similar in After Effects perhaps using a control layer.&lt;/p&gt;&#xA;&lt;p&gt;The idea is that I want the width of the stroke on each of the lines to be linked to the black/white values of the control layer, which would have my letter W on it in this case.&lt;/p&gt;&#xA;&lt;p&gt;I've achieved similar results in the past linking the scale of a shape layer with the colour value of a control layer but I can't figure out how to repurpose that technique for this job.&lt;/p&gt;&#xA;&lt;p&gt;Any advice would be very welcome and appreciated!&lt;/p&gt;&#xA;&lt;p&gt;R&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ABZB8.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ABZB8.jpg&quot; alt=&quot;Original vector artwork I am trying to recreate in After Effects in the past&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33549" LastEditorUserId="1950" LastEditDate="2022-07-03T12:21:31.223" LastActivityDate="2024-03-24T18:02:30.253" Title="Does anyone know how to control the stroke width of a shape using a control layer?" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33085" PostTypeId="1" CreationDate="2021-01-14T16:00:18.133" Score="1" ViewCount="28" Body="&lt;p&gt;I'm using a MacBook Pro 2015 with its internal webcam.&#xA;When I use the webcam directly in Google Hangouts, skin tones look normal.&#xA;When I use OBS as a virtual camera in Hangouts using the same webcam, skin tones look too  purple/reddish. Anyone know why?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-01-19T14:24:07.133" Title="Skin tones shift redder when OBS outputs to virtual camera, then to Google Hangouts" Tags="|obs|macbook|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33087" PostTypeId="2" ParentId="33080" CreationDate="2021-01-14T18:54:57.800" Score="1" Body="&lt;p&gt;For my use case, it was enough to do:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg -i file-with-vp9-video-and-opus-audio.webm &lt;strong&gt;-f mp4&lt;/strong&gt; -vcodec copy -acodec aac_at test.mov&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;This is cheating, really. The output isn't actually a MOV file, but rather an mp4, which uses a similar but not identical structure. Even so, it successfully coerced the program I'm using into opening the file.&lt;/p&gt;&#xA;&lt;p&gt;Notably, outputting an mp4 and changing the file extension does &lt;em&gt;not&lt;/em&gt; work, so the above command is producing output that's somehow different from an actual mp4. I obviously don't understand all the intricacies of how these containers work, but it was enough for today!&lt;/p&gt;&#xA;" OwnerUserId="33278" LastEditorUserId="33278" LastEditDate="2021-01-20T20:08:22.113" LastActivityDate="2021-01-20T20:08:22.113" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33089" PostTypeId="2" ParentId="33072" CreationDate="2021-01-15T09:04:30.650" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Audacity would grab the digital data for recording in this case and since it uses a lossless format for recording you would not lose any information. I don't know about OBS but it would be surprising if they do things differently.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;There will be a very slight loss of quality with 320 kbps mp3s. I doubt any human would hear a difference, though. This may become noticable at some point if you keep re-encoding the file again and again, for example for editing the audio later. If you use a low quality source, say 128 kbps mp3, the degradation will be much more pronounced.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-01-15T09:04:30.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33091" PostTypeId="1" CreationDate="2021-01-15T10:20:43.970" Score="1" ViewCount="70" Body="&lt;p&gt;When you put an 18% gray card under, for example, an incandescent light, it's not &lt;em&gt;supposed&lt;/em&gt; to look neutral gray. It's supposed to look orangish-gray, like your eyes see it (because it's reflecting some of the orangish light from the lamp). In such an environment, if you set manual white balance in-camera using that card, then the &lt;em&gt;card&lt;/em&gt; will be captured as neutral gray, but the rest of the scene will have a much cooler tone than in real life.&lt;/p&gt;&#xA;&lt;p&gt;Assuming you can't make significant white balance changes in post-production (e.g. because you're recording 8-bit, not raw) and you want to preserve the effects of the scene's lighting in the captured image, what is the correct strategy?&lt;/p&gt;&#xA;&lt;p&gt;Should you just estimate the color temperature manually? Treat the gray card as neutral and hope you can fix everything in post?&lt;/p&gt;&#xA;" OwnerUserId="33556" LastActivityDate="2021-01-24T05:35:58.860" Title="Manual white-balance for non-neutral lighting" Tags="|lighting|color-correction|color|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33092" PostTypeId="2" ParentId="32532" CreationDate="2021-01-15T10:26:37.900" Score="0" Body="&lt;p&gt;FIGURED IT OUT THX TO THIS POST I FOUND ON ANOTHER FORUM PEOPLE!!&lt;/p&gt;&#xA;&lt;p&gt;&amp;quot;Find the main movie .m2ts file (could be 00001.m2ts)&#xA;and find the matching playlist file in the PLAYLIST folder (would be 00001.mpls).&#xA;Add only the playlist file in tsMuxeR and the matching .m2ts file will be imported.&#xA;Go to the Blu-ray tab at top of tsMuxeR and select &amp;quot;Custom chapters list&amp;quot;.&#xA;Mux whatever you need and you have the original chapters.&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;you just need to add the playlist file into tsmuxer not the m2ts file! and add ur chapters and it worked for me perfectly! hope this helps you! :D&lt;/p&gt;&#xA;" OwnerUserId="33557" LastActivityDate="2021-01-15T10:26:37.900" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33093" PostTypeId="2" ParentId="33081" CreationDate="2021-01-15T19:51:11.800" Score="0" Body="&lt;p&gt;found here: &lt;a href=&quot;https://talotics.com/post/videos/ffmpeg-add-call-to-action-image-after/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://talotics.com/post/videos/ffmpeg-add-call-to-action-image-after/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;b&gt;Create a 5 second video from a png as follows:&lt;/b&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i image.png -pix_fmt yuv420p -t 5 promo-image.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This will create a video called {promo-image.mp4} from {image.png} with a duration of {5 seconds}&lt;/p&gt;&#xA;" OwnerUserId="33561" LastActivityDate="2021-01-15T19:51:11.800" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33095" PostTypeId="2" ParentId="33091" CreationDate="2021-01-16T17:41:19.530" Score="1" Body="&lt;p&gt;I think your eyes acclimatise to the ambient colour temperature in the room, so one tends not to notice that whites are looking warmer under incandescent light, unless there is a cooler light source nearby to compare it with.&lt;/p&gt;&#xA;&lt;p&gt;If you don't plan to do any colour correction in post, then you should shoot as close as you can to your desired output. But this is difficult to achieve because of the acclimatisation I mentioned in the previous paragraph.&lt;/p&gt;&#xA;&lt;p&gt;This is why people shoot to a neutral standard of white that can be defined using their camera's metering.&lt;/p&gt;&#xA;&lt;p&gt;In general I have would say that there is no neutral lighting - all light has a temperature, whether cloudy outdoors, fluorescents, incandescents etc.&lt;/p&gt;&#xA;&lt;p&gt;What is more important is to avoid mixing different light sources on the same subject, because it then becomes very difficult to make any corrections without everything else looking wrong.&lt;/p&gt;&#xA;&lt;p&gt;Small amounts of colour correction from 8 bit material can be done without the image falling to pieces (although it's not ideal). The bigger problem with 8 bit video is when you try to raise shadows or recover highlights.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-01-16T21:49:29.280" LastActivityDate="2021-01-16T21:49:29.280" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33096" PostTypeId="1" CreationDate="2021-01-17T01:02:39.997" Score="0" ViewCount="253" Body="&lt;p&gt;I'm trying to do a minimal build of ffmpeg in MinGW including x264.  For some reason the x264 package depends on ffms2 which depends on ffmpeg which itself has a huge list of dependencies.  I will try installing x264 from git instead, but I'm wondering why pacman has this circular dependency loop.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ pacman -Si mingw-w64-x86_64-x264-git&#xA;Repository      : mingw64&#xA;Name            : mingw-w64-x86_64-x264-git&#xA;Version         : r2991.1771b556-1&#xA;Description     : Library for encoding H264/AVC video streams (mingw-w64)&#xA;Architecture    : any&#xA;URL             : https://www.videolan.org/developers/x264.html&#xA;Licenses        : custom&#xA;Groups          : None&#xA;Provides        : mingw-w64-x86_64-x264&#xA;Depends On      : mingw-w64-x86_64-libwinpthread  mingw-w64-x86_64-l-smash  mingw-w64-x86_64-ffms2&#xA;Optional Deps   : None&#xA;Conflicts With  : mingw-w64-x86_64-x264&#xA;Replaces        : mingw-w64-x86_64-x264&#xA;Download Size   : 810.45 KiB&#xA;Installed Size  : 6823.71 KiB&#xA;Packager        : Alexey Pavlov &amp;lt;alexpux@gmail.com&amp;gt;&#xA;Build Date      : Fri Jan 17 03:22:53 2020&#xA;Validated By    : MD5 Sum  SHA-256 Sum  Signature&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ pacman -Su mingw-w64-x86_64-x264-git&#xA;:: Starting core system upgrade...&#xA; there is nothing to do&#xA;:: Starting full system upgrade...&#xA;resolving dependencies...&#xA;looking for conflicting packages...&#xA;warning: dependency cycle detected:&#xA;warning: mingw-w64-x86_64-ffmpeg will be installed before its mingw-w64-x86_64-x264-git dependency&#xA;warning: dependency cycle detected:&#xA;warning: mingw-w64-x86_64-harfbuzz will be installed before its mingw-w64-x86_64-freetype dependency&#xA;warning: dependency cycle detected:&#xA;warning: mingw-w64-x86_64-libwebp will be installed before its mingw-w64-x86_64-libtiff dependency&#xA;&#xA;Packages (100) mingw-w64-x86_64-SDL2-2.0.12-8  mingw-w64-x86_64-aom-2.0.1-1&#xA;               mingw-w64-x86_64-boost-1.75.0-2  mingw-w64-x86_64-brotli-1.0.9-2&#xA;               mingw-w64-x86_64-c-ares-1.16.1-1  mingw-w64-x86_64-cairo-1.17.4-1&#xA;               mingw-w64-x86_64-celt-0.11.3-4  mingw-w64-x86_64-ceres-solver-2.0.0-2&#xA;               mingw-w64-x86_64-cppunit-1.15.1-1  mingw-w64-x86_64-curl-7.74.0-2&#xA;               mingw-w64-x86_64-dav1d-0.7.1-2  mingw-w64-x86_64-eigen3-3.3.9-1&#xA;               mingw-w64-x86_64-ffmpeg-4.3.1-7  mingw-w64-x86_64-ffms2-2.23.1-1&#xA;               mingw-w64-x86_64-fontconfig-2.13.93-1  mingw-w64-x86_64-freeimage-3.18.0-5&#xA;               mingw-w64-x86_64-freetype-2.10.4-1  mingw-w64-x86_64-frei0r-plugins-1.7.0-2&#xA;               mingw-w64-x86_64-fribidi-1.0.10-2  mingw-w64-x86_64-gavl-1.4.0-1&#xA;               mingw-w64-x86_64-gflags-2.2.2-2  mingw-w64-x86_64-giflib-5.2.1-1&#xA;               mingw-w64-x86_64-glib2-2.66.4-1  mingw-w64-x86_64-glog-0.4.0-2&#xA;               mingw-w64-x86_64-glsl-optimizer-git-r66914.9a2852138d-1&#xA;               mingw-w64-x86_64-gnutls-3.7.0-1  mingw-w64-x86_64-graphite2-1.3.14-2&#xA;               mingw-w64-x86_64-gsm-1.0.19-1  mingw-w64-x86_64-harfbuzz-2.7.4-1&#xA;               mingw-w64-x86_64-hdf5-1.12.0-2  mingw-w64-x86_64-hlsl2glsl-git-r848.957cd20-1&#xA;               mingw-w64-x86_64-icu-68.2-2  mingw-w64-x86_64-ilmbase-2.5.4-4&#xA;               mingw-w64-x86_64-intel-tbb-1~2020.2-2  mingw-w64-x86_64-jansson-2.13.1-1&#xA; 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[Y/n]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5125" LastEditorUserId="1871" LastEditDate="2021-01-17T09:49:21.810" LastActivityDate="2022-02-11T13:00:15.023" Title="Compiling x264 in MinGW" Tags="|ffmpeg|software|x264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33097" PostTypeId="1" CreationDate="2021-01-17T02:07:34.723" Score="1" ViewCount="648" Body="&lt;p&gt;Sometimes I use Kdenlive to cut videos because it is convenient. Something bothering me is that the application goes to the re-render process which has no point. I also have no idea what quality to select. Anything random I choose will either loose quality or takes space of my disk inefficiently. I only have one clip in the entire track. What I would like to do is that I want to cut the video without re-rendering.&lt;/p&gt;&#xA;&lt;p&gt;Unfortunately, some &lt;a href=&quot;https://forum.kde.org/viewtopic.php?f=265&amp;amp;t=114215&quot; rel=&quot;nofollow noreferrer&quot;&gt;responses&lt;/a&gt; from Kdenlive experts is heart-breakening, empty of sympathy to none-experts and not understanding the selling points of their lovely software for the people.&lt;/p&gt;&#xA;&lt;p&gt;I do not want to use command-line tools nor find the way to tell me the quality of the original video. I expect the tools does this for me. Can I do this with the current release version of Kdenlive?&lt;/p&gt;&#xA;" OwnerUserId="33571" LastActivityDate="2024-02-07T00:05:40.837" Title="Kdenlive preserves original quality" Tags="|video-quality|audio-quality|kdenlive|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33098" PostTypeId="1" CreationDate="2021-01-17T04:10:05.050" Score="0" ViewCount="395" Body="&lt;p&gt;I have recently digitized a VHS tape using VirtualDub. Here is the MediaInfo of the original file.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : capture.avi&#xA;Format                                   : AVI&#xA;Format/Info                              : Audio Video Interleave&#xA;Format profile                           : OpenDML&#xA;File size                                : 28.0 GiB&#xA;Duration                                 : 26 min 19 s&#xA;Overall bit rate                         : 153 Mb/s&#xA;&#xA;Video&#xA;ID                                       : 0&#xA;Format                                   : YUV&#xA;Codec ID                                 : YUY2&#xA;Codec ID/Info                            : YUV 4:2:2 as for UYVY but with different component ordering within the u_int32 macropixel&#xA;Duration                                 : 26 min 19 s&#xA;Bit rate                                 : 151 Mb/s&#xA;Width                                    : 656 pixels&#xA;Height                                   : 480 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate                               : 29.970 (30000/1001) FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:2&#xA;Compression mode                         : Lossless&#xA;Bits/(Pixel*Frame)                       : 16.000&#xA;Stream size                              : 27.8 GiB (99%)&#xA;&#xA;Audio&#xA;ID                                       : 1&#xA;Format                                   : PCM&#xA;Format settings                          : Little / Signed&#xA;Codec ID                                 : 1&#xA;Duration                                 : 26 min 19 s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 1 536 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Sampling rate                            : 48.0 kHz&#xA;Bit depth                                : 16 bits&#xA;Stream size                              : 289 MiB (1%)&#xA;Alignment                                : Aligned on interleaves&#xA;Interleave, duration                     : 33  ms (1.00 video frame)&#xA;Interleave, preload duration             : 233  ms&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Since I can't import this AVI file into Final Cut Pro for editing, I did some processing in &lt;code&gt;ffmpeg&lt;/code&gt; to help make it more... compatible? Here was my command:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &amp;quot;capture.avi&amp;quot; -c:v copy -c:a alac &amp;quot;capture.mov&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;... and here was the output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, avi, from 'capture.avi':&#xA;  Duration: 00:26:19.21, start: 0.000000, bitrate: 152535 kb/s&#xA;    Stream #0:0: Video: rawvideo (YUY2 / 0x32595559), yuyv422, 656x480, 150994 kb/s, 29.97 fps, 29.97 tbr, 29.97 tbn, 29.97 tbc&#xA;    Stream #0:1: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 48000 Hz, stereo, s16, 1536 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; alac (native))&#xA;Press [q] to stop, [?] for help&#xA;Output #0, mov, to 'video.mov':&#xA;  Metadata:&#xA;    encoder         : Lavf58.45.100&#xA;    Stream #0:0: Video: rawvideo (raw  / 0x20776172), yuyv422, 656x480, q=2-31, 150994 kb/s, 29.97 fps, 29.97 tbr, 30k tbn, 29.97 tbc&#xA;    Stream #0:1: Audio: alac (alac / 0x63616C61), 48000 Hz, stereo, s16p, 128 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc58.91.100 alac&#xA;frame=47329 fps=196 q=-1.0 Lsize=29252562kB time=00:26:19.43 bitrate=151723.3kbits/s speed=6.54x    &#xA;video:29107335kB audio:144639kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.002010%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;... and here's the resulting MediaInfo of &lt;code&gt;capture.mov&lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : capture.mov&#xA;Format                                   : MPEG-4&#xA;Format profile                           : QuickTime&#xA;Codec ID                                 : qt   0000.02 (qt  )&#xA;File size                                : 27.9 GiB&#xA;Duration                                 : 26 min 19 s&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 152 Mb/s&#xA;Writing application                      : Lavf58.45.100&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : YUV&#xA;Codec ID                                 : yuvs&#xA;Duration                                 : 26 min 19 s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 151 Mb/s&#xA;Width                                    : 656 pixels&#xA;Clean aperture width                     : 656 pixels&#xA;Height                                   : 480 pixels&#xA;Clean aperture height                    : 480 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 29.970 (30000/1001) FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:2&#xA;Compression mode                         : Lossless&#xA;Bits/(Pixel*Frame)                       : 16.000&#xA;Stream size                              : 27.8 GiB (100%)&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : ALAC&#xA;Codec ID                                 : alac&#xA;Codec ID/Info                            : Apple Lossless Audio Codec&#xA;Duration                                 : 26 min 19 s&#xA;Duration_LastFrame                       : -35 ms&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 750 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Channel layout                           : L R&#xA;Sampling rate                            : 48.0 kHz&#xA;Stream size                              : 141 MiB (0%)&#xA;Default                                  : Yes&#xA;Alternate group                          : 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;There didn't appear to be any errors, and I am able to view the new video file in Quicktime, without any issue.&lt;/p&gt;&#xA;&lt;p&gt;When I open FCP v10.5, I am unable to import &lt;code&gt;capture.mov&lt;/code&gt;. I can't even select it from the list of files to import -- it is disabled, just like the AVI file.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;My question&lt;/strong&gt;: what can I do, or change, about the way that I capture the video and audio in VirtualDub -- or -- about the way that I transcode the captured AVI file, to allow it to be imported into FCP? I do not want to encode the raw video into ProRes if possible.&lt;/p&gt;&#xA;" OwnerUserId="33572" LastActivityDate="2022-10-13T06:03:30.507" Title="Importing uncompressed video into Final Cut Pro without (too much) transcoding" Tags="|ffmpeg|codec|final-cut-pro-x|file-formats|virtualdub|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33099" PostTypeId="2" ParentId="33098" CreationDate="2021-01-17T07:51:51.927" Score="0" Body="&lt;p&gt;I would say you have 2 options.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;when you digitise your tape make sure you use a &lt;a href=&quot;https://support.apple.com/guide/final-cut-pro/supported-media-formats-ver2833f855/mac&quot; rel=&quot;nofollow noreferrer&quot;&gt;FCP supported codecs&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;use Compressor to transcode the files&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="20675" LastEditorUserId="20675" LastEditDate="2021-01-19T08:30:54.587" LastActivityDate="2021-01-19T08:30:54.587" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33100" PostTypeId="2" ParentId="33096" CreationDate="2021-01-17T09:48:55.443" Score="1" Body="&lt;p&gt;The included x264 cli app may depend on libavformat and libswscale, which is where the ffmpeg dependency comes in.&lt;/p&gt;&#xA;&lt;p&gt;The libx264 wrapper in libavcodec depends on x264.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-01-17T09:48:55.443" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33102" PostTypeId="1" AcceptedAnswerId="33105" CreationDate="2021-01-17T17:13:24.153" Score="2" ViewCount="2441" Body="&lt;p&gt;In Adobe Premiere, the current position in the Timeline panel often moves to the right end (while playing) so I can't see what is going to play next.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TYJFv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TYJFv.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is there any hotkey to fast forward the timeline (not the current position) so the current position will be at the center. Or maybe there is an option to keep the current position always in the middle of the timeline?&lt;/p&gt;&#xA;" OwnerUserId="27302" LastActivityDate="2021-01-17T19:48:20.173" Title="Keep the current position in the center of the timeline in Adobe Premiere" Tags="|premiere|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33103" PostTypeId="1" CreationDate="2021-01-17T17:57:19.833" Score="0" ViewCount="392" Body="&lt;p&gt;I have a large video file (about 6 hours long), it's a record from surveillance camera, the camera itself has no illumination features, though surveiled area has pretty good light which is triggered by motion detector.&lt;/p&gt;&#xA;&lt;p&gt;So now I have a large video file that is mostly just a black screen, but it might contain some action.&#xA;&lt;br /&gt;Which software and or approach should I use to locate all action areas of the video (to watch 6 hour footage does not appeal to me).&lt;/p&gt;&#xA;&lt;p&gt;I was thinking about video player that generates timeline of thumbnails or has built-in function to find non-black frames.&#xA;I prefer solution to be free and opensource, but I have searched for a while and I am kind of desperate now, so anything (that will get the job done) will do.&lt;/p&gt;&#xA;" OwnerUserId="33578" LastActivityDate="2024-02-02T21:07:30.943" Title="Software or method to detect sequences of non-black frames in a long video" Tags="|video|video-editor|software-recommendation|video-recording|software|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33104" PostTypeId="1" AcceptedAnswerId="33133" CreationDate="2021-01-17T18:56:21.290" Score="1" ViewCount="1229" Body="&lt;p&gt;I want to cut a video into many segments and then stitch them back together. To account for videos that have a framerate of 29.97 I cut them into 100-second videos via &lt;code&gt;ffmpeg -ss 0 -t 100&lt;/code&gt; which works well for the most part and outputs videos that have a duration of 100 seconds and 2997 frames.&lt;/p&gt;&#xA;&lt;p&gt;I've noticed that for some video sources with a (constant) frame-rate of 29.97 it'll output a video with a duration of 100.034 and 2998 frames instead of the expected 100 and 2997. For subsequent segments (e.g. &lt;code&gt;ffmpeg -ss 100 -t 100&lt;/code&gt;) it will output a video with a duration of 100.67 and 2999 frames.&lt;/p&gt;&#xA;&lt;p&gt;The issue is that this results with segments that have overlapping frames and when I stitch the segments back together I have a video that is longer than its source and will be out of sync with the audio.&lt;/p&gt;&#xA;&lt;p&gt;I noticed that for those problematic videos if I use &lt;code&gt;ffmpeg -ss 0 -t 99.999&lt;/code&gt; and &lt;code&gt;ffmpeg -ss 99.999 -t 99.999&lt;/code&gt; etc. it'll output videos of precisely 100 seconds and 2997 frames which solves the problem.&lt;/p&gt;&#xA;&lt;p&gt;My question is why am I seeing these inconsistencies and how can I approach this in a reliable way that will work for all videos.&lt;/p&gt;&#xA;&lt;p&gt;Full command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 0 -t 100 -i &amp;quot;./input.mov&amp;quot; -map V:0 -c:v libx264 -vf scale=-2:240 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Logs:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2021-01-12-git-ca21cb1e36-full_build-www.gyan.dev Copyright (c) 2000-2021 the FFmpeg developers&#xA;  built with gcc 10.2.0 (Rev6, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-lzma --enable-libsnappy --enable-zlib --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-libbluray --enable-libcaca --enable-sdl2 --enable-libdav1d --enable-libzvbi --enable-librav1e --enable-libsvtav1 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-libaom --enable-libopenjpeg --enable-libvpx --enable-libass --enable-frei0r --enable-libfreetype --enable-libfribidi --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-libglslang --enable-vulkan --enable-opencl --enable-libcdio --enable-libgme --enable-libmodplug --enable-libopenmpt --enable-libopencore-amrwb --enable-libmp3lame --enable-libshine --enable-libtheora --enable-libtwolame --enable-libvo-amrwbenc --enable-libilbc --enable-libgsm --enable-libopencore-amrnb --enable-libopus --enable-libspeex --enable-libvorbis --enable-ladspa --enable-libbs2b --enable-libflite --enable-libmysofa --enable-librubberband --enable-libsoxr --enable-chromaprint&#xA;  libavutil      56. 63.100 / 56. 63.100&#xA;  libavcodec     58.116.100 / 58.116.100&#xA;  libavformat    58. 65.101 / 58. 65.101&#xA;  libavdevice    58. 11.103 / 58. 11.103&#xA;  libavfilter     7. 95.100 /  7. 95.100&#xA;  libswscale      5.  8.100 /  5.  8.100&#xA;  libswresample   3.  8.100 /  3.  8.100&#xA;  libpostproc    55.  8.100 / 55.  8.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from './input.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 512&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf58.35.100&#xA;  Duration: 00:07:09.83, start: 0.000000, bitrate: 37022 kb/s&#xA;    Stream #0:0: Audio: pcm_s16le (sowt / 0x74776F73), 44100 Hz, stereo, s16, 1411 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;    Stream #0:1: Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, s16, 1536 kb/s&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA; 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  <row Id="33105" PostTypeId="2" ParentId="33102" CreationDate="2021-01-17T19:41:10.833" Score="1" Body="&lt;p&gt;Hold the Shift-Key pressed and move your mouse wheel to scroll the timeline horizontally. This works when not playing as well as when playing but only if the timeline is not auto-scrolling.&lt;/p&gt;&#xA;&lt;p&gt;If you want to keep the playhead centered, go to Edit-Menu -&amp;gt; Preferences -&amp;gt; Timeline and select &amp;quot;Smooth Scroll&amp;quot; where it says &amp;quot;Timeline Playback Auto-Scrolling&amp;quot;, see also the screenshot:&lt;/p&gt;&#xA;&lt;p&gt;One more tip: the thin blue line marking the current position is called the playhead.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YTMyR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YTMyR.png&quot; alt=&quot;where to set smooth scroll&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2021-01-17T19:48:20.173" LastActivityDate="2021-01-17T19:48:20.173" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33107" PostTypeId="1" AcceptedAnswerId="33108" CreationDate="2021-01-18T06:56:01.347" Score="0" ViewCount="53" Body="&lt;p&gt;When I go to capture a noiseprint, I don't get a noiseprint or the noiseprint appears around -120 dB as a flat line.&lt;/p&gt;&#xA;" OwnerUserId="7946" LastActivityDate="2023-06-07T15:07:15.887" Title="How do I capture a noiseprint in Vegas Pro with the Noise Reduction plugin?" Tags="|vegas-pro|plugins|noise-reduction|noise|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33108" PostTypeId="2" ParentId="33107" CreationDate="2021-01-18T06:56:01.347" Score="0" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Add &lt;strong&gt;Event FX&lt;/strong&gt; (not Track FX) plugin Noise Reduction by clicking on the &amp;quot;fx&amp;quot; symbol and selecting Noise Reduction.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Select a region of noise in the audio.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Select &amp;quot;Capture noiseprint&amp;quot; in the effects window.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Press play in the Preview window.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Optionally, save the captured noiseprint as a preset.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="7946" LastActivityDate="2021-01-18T06:56:01.347" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33110" PostTypeId="1" CreationDate="2021-01-18T13:55:53.753" Score="1" ViewCount="148" Body="&lt;p&gt;Camcorders that record in &lt;code&gt;.mts&lt;/code&gt; (&lt;code&gt;.mp4&lt;/code&gt;) files usually split recorded files according to some maximum time limit per clip. For example, after recording straight for 30 minutes, we might find the entire stretch split into 3 separate clips because of a maximum limit of 10 minutes per clip.&lt;/p&gt;&#xA;&lt;p&gt;Let's say all three of these clips belong to the same scene, and are only disjoint in file structure. In other words, they should be color graded identically. Should color grading be performed on each of the raw clips separately with the same template, or should the clips be merged into one &lt;code&gt;.mts&lt;/code&gt; file first on which color grading should be performed once?&lt;/p&gt;&#xA;" OwnerUserId="33408" LastActivityDate="2021-06-17T16:06:55.667" Title="Should color grading be performed on raw clips, or final sequence?" Tags="|premiere|editing|mp4|color|color-grading|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33111" PostTypeId="2" ParentId="33110" CreationDate="2021-01-18T14:09:33.717" Score="2" Body="&lt;p&gt;Grading multiple clips in Premiere is still a bit fiddly compared to something like DaVinci Resolve. If it was only three clips, I would do the grade on one clip, then &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/copy-paste-effects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;copy and paste the Lumetri settings&lt;/a&gt; onto the other two.&lt;/p&gt;&#xA;&lt;p&gt;The other option is to use &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/master-clip-effects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Master Clips&lt;/a&gt; in Premiere, where you can apply the correction to the source clips, and then it doesn't matter how many times you chop them up in the edit - they will still have the same correction applied.&lt;/p&gt;&#xA;&lt;p&gt;The third option is to do use an &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/user-guide.html/premiere-pro/using/help-tutorials-adjustment-layers.ug.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adjustment layer&lt;/a&gt; over the clips. So you only have to make one Lumetri setting, and apply it to the adjustment layer, then put the layer above all of your clips.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-01-18T14:09:33.717" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33112" PostTypeId="2" ParentId="33103" CreationDate="2021-01-18T14:16:13.800" Score="0" Body="&lt;p&gt;You can use &lt;code&gt;ffmpeg&lt;/code&gt;'s &lt;code&gt;blackdetect&lt;/code&gt; for that:&lt;/p&gt;&#xA;&lt;p&gt;Let's say you are interested in blackscreen with a duration greater than 2 seconds (&lt;code&gt;d=2&lt;/code&gt;):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;surveillance.mp4&amp;quot; -vf &amp;quot;blackdetect=d=2:pix_th=0.00&amp;quot; -an -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;output (example):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[blackdetect @ 0x7fac3b555380] black_start:40 black_end:53.44 black_duration:13.44&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2021-01-18T14:16:13.800" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33113" PostTypeId="1" AcceptedAnswerId="33129" CreationDate="2021-01-18T14:18:25.227" Score="0" ViewCount="46" Body="&lt;p&gt;In algebra the well-known BODMAS acronym represents the priority / order that operations are calculated in:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Brackets&lt;/li&gt;&#xA;&lt;li&gt;Order&lt;/li&gt;&#xA;&lt;li&gt;Division&lt;/li&gt;&#xA;&lt;li&gt;Multiplication&lt;/li&gt;&#xA;&lt;li&gt;Addition&lt;/li&gt;&#xA;&lt;li&gt;Subtraction&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;When writing expressions in After Effects, will operations follow this order, or in what order are they calculated?&lt;/p&gt;&#xA;" OwnerUserId="22062" LastEditorUserId="1950" LastEditDate="2022-07-03T12:19:51.377" LastActivityDate="2022-07-03T12:19:51.377" Title="Does After Effects expressions follow BODMAS" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33117" PostTypeId="2" ParentId="32431" CreationDate="2021-01-19T09:22:55.437" Score="1" Body="&lt;p&gt;Use &lt;code&gt;-x265-params log-level=0&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Reference: &lt;a href=&quot;https://x265.readthedocs.io/en/3.1/cli.html#cmdoption-log-level&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://x265.readthedocs.io/en/3.1/cli.html#cmdoption-log-level&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33597" LastActivityDate="2021-01-19T09:22:55.437" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33123" PostTypeId="1" AcceptedAnswerId="33124" CreationDate="2021-01-19T20:53:20.887" Score="1" ViewCount="98" Body="&lt;p&gt;I have a comp that has various layers that I would like to toggle on and off in combination. Lets say I would like to turn on and off layer to create 60 distinct combinations. I do this by hand, add to the render queue one at a time and then export, but this is a real pain.  Is there any way in after effects ( perhaps even through scripting ) to create something like &amp;quot;layers comps&amp;quot; and &amp;quot;layer comps to files&amp;quot;.&lt;/p&gt;&#xA;" OwnerUserId="2828" LastActivityDate="2021-01-19T21:21:09.030" Title="How do I automate the export different layers combinations ( turning on and off ) in After Effects" Tags="|after-effects|export|automation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33124" PostTypeId="2" ParentId="33123" CreationDate="2021-01-19T21:21:09.030" Score="1" Body="&lt;p&gt;Templater can do this.&#xA;&lt;a href=&quot;https://aescripts.com/templater/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://aescripts.com/templater/&lt;/a&gt;&#xA;You feed it a load of google (or excel or CSV) tables, with specified values, and it can churn through a load of files to export different comps with different arrangements.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-01-19T21:21:09.030" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33125" PostTypeId="2" ParentId="2458" CreationDate="2021-01-20T04:38:03.400" Score="0" Body="&lt;p&gt;The tape also operates at a different speed. It was more then speed than anything else. DVCAM still ised the 4:1:1 25mbit video format that DV used, but used a faster tape speed which allows for guard bands between the tracks which greatly improves interchangability between machines.  Many DV decks will playback a DVCAM tape no problem. Decks like the Panasonic AG DV2500 will play both the mini and large DV and DVCAM tapes.&lt;/p&gt;&#xA;" OwnerUserId="33608" LastActivityDate="2021-01-20T04:38:03.400" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33126" PostTypeId="2" ParentId="33043" CreationDate="2021-01-20T08:36:40.373" Score="5" Body="&lt;p&gt;Mercury is enclosed within the bulb, and does not pose any threat to the user, unless the bulb breaks. In such case the amount of mercury released is still rather small, though it certainly makes sure to clean it properly. More important is safe disposal of the bulbs. See e.g. this article: &lt;a href=&quot;https://earth911.com/home-garden/broken-cfl-clean-up/&quot; rel=&quot;noreferrer&quot;&gt;https://earth911.com/home-garden/broken-cfl-clean-up/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;LEDs can be tiring for eyes due to flickering. LEDs for photography should not flicker much, otherwise they will produce visible artifacts.&lt;/p&gt;&#xA;" OwnerUserId="33612" LastActivityDate="2021-01-20T08:36:40.373" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33127" PostTypeId="1" AcceptedAnswerId="33143" CreationDate="2021-01-20T08:53:54.600" Score="0" ViewCount="100" Body="&lt;p&gt;I make videos showing myself playing guitar. I need advice on purchasing lighting. Budget: $100.&lt;/p&gt;&#xA;&lt;p&gt;How much light do I need? I read articles about various lighting types, but they rarely give any specific watt or lumen values.&lt;/p&gt;&#xA;&lt;p&gt;I don't want to sweat in super bright light. I can accept some shadows and I prefer a natural look. I just want my camera to function without much noise, with decent color reproduction. I also don't want to think much about the lights (e.g. adjusting position, turning on and off). I want to &amp;quot;set and forget&amp;quot; and focus on playing music.&lt;/p&gt;&#xA;&lt;p&gt;I record indoor, in the evenings, with no sunlight. The lights I buy would be the only light source.&lt;/p&gt;&#xA;&lt;p&gt;I presume the light shouldn't be closer than 5' from myself otherwise it will be strongly nonuniform (e.g. shining brightly on one end of my guitar only, if positioned on the side). Sometimes I also move a bit while playing (say ±1'), and I don't want to worry about moving in and out of the beam of light too much.&lt;/p&gt;&#xA;&lt;p&gt;I found the following options within my budget:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;A small softbox (20–30 inch), perhaps accompanied with another small light. Is it even large enough for my needs? If I position it farther from myself, should I compensate with a stronger light bulb? How strong? Would heating up be a concern in prolonged operation?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;A pair of umbrellas. Quite some flexibility in this price range, but again I'm clueless about how strong the light bulbs should be.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;A LED panel, perhaps accompanied with another small light. LEDs seem to have excellent CRI, but also seem to be dimmer (20–40W in this price range; yes I know LEDs give more lumen per watt, but it still seems low). Specifications often don't even mention wattage! Is that sufficient for the main light? How badly do I need to diffuse the light, and if I do, do I need to compensate with more power?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="33612" LastActivityDate="2021-01-22T08:56:04.720" Title="How much light do I need?" Tags="|lighting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33129" PostTypeId="2" ParentId="33113" CreationDate="2021-01-21T01:54:53.407" Score="1" Body="&lt;p&gt;After Effects (as of version 16, released 2020) uses the V8 Javascript engine to interpret expressions. This is the same as used in many web browsers, such as Chrome.&lt;/p&gt;&#xA;&lt;p&gt;It's pretty easy to test if it follows BODMAS (The &lt;strong&gt;O&lt;/strong&gt; in which stands for &lt;strong&gt;Order&lt;/strong&gt; BTW). On a text layer &lt;kbd&gt;alt / opt&lt;/kbd&gt;-click the stop watch for text source and paste this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;let brackets = 2 * (1 + 1);&#xA;let order = 1 + Math.pow(2, 2);&#xA;let divMult = 1 + 2 * 2 + 4 / 2;&#xA;&amp;quot;Brackets: 2 * (1 + 1) should be 4, result: &amp;quot; + brackets + &#xA;&amp;quot;\n&amp;quot; + &amp;quot;Order: 1 + 2^2 should equal 5, result: &amp;quot; + order + &amp;quot;\n&amp;quot; + &#xA;&amp;quot;Division and Multiplication: 1 + 2 * 2 + 4 / 2 should equal 7, result: &amp;quot; + divMult&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Spoiler alert: it does.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/uNmNX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uNmNX.png&quot; alt=&quot;result of entering the expression in a text layer, showing correct results for BODMAS&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2021-01-21T02:01:14.803" LastActivityDate="2021-01-21T02:01:14.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33130" PostTypeId="2" ParentId="33098" CreationDate="2021-01-21T02:11:25.470" Score="1" Body="&lt;p&gt;For VHS using uncompressed is overkill. In ffmpeg you could convert it to Prores HQ which is a very good codec which still provides far higher data rates than you need and which will play nicely with FCP (because Apple).&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;capture.avi&amp;quot; -c:v prores -profile:v 3 -c:a pcm_s16le &amp;quot;output.mov&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I don't know enough about virtual dub to say if you can capture to prores without the intermediate step, I'm guessing this is probably possible.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-01-21T02:11:25.470" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33131" PostTypeId="2" ParentId="33091" CreationDate="2021-01-21T02:19:09.667" Score="2" Body="&lt;p&gt;You're doing it wrong. For one, the 18% grey card is for exposure, use a white card for white balance. For two, the whole point of the white / grey card is that you expose it under the lighting conditions of the scene, so that whatever colour the lights are is treated as white (and in the case of the grey card, so you get correctly exposed skin tone (ish.)).&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;In such an environment, if you set manual white balance in-camera using that card, then the card will be captured as neutral gray, but the rest of the scene will have a much cooler tone than in real life.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So don't use incandescent lights for the card if you're using cooler lights for the scene. Rule of thumb: hold the card where the main character's faces are going to be.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-01-21T02:19:09.667" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33132" PostTypeId="1" CreationDate="2021-01-21T11:19:13.813" Score="0" ViewCount="544" Body="&lt;p&gt;I'm trying to create an &lt;strong&gt;Essential Graphic&lt;/strong&gt; that allows the user to change a layer's colour into &lt;em&gt;4 specific ones&lt;/em&gt;:&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;Teal: 7, 250, 198&lt;br /&gt;&#xA;Pink: 252, 12, 119&lt;br /&gt;&#xA;Black: 0, 0, 0&lt;br /&gt;&#xA;White: 255, 255, 255&lt;/em&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;em&gt;Colour Control&lt;/em&gt; isn't an option as it gives too much freedom.&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Checkbox Control&lt;/em&gt; isn't either as it is not a 2 colours boolean/switch.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;A Slider Control I think would be a good option but I need something similar to the &lt;em&gt;clamp expression&lt;/em&gt; to keep the slider in control, something that would make my slider move in ones or specific steps.&lt;/p&gt;&#xA;&lt;p&gt;Maybe I'm completely off track, I'm open to better solutions!&lt;/p&gt;&#xA;" OwnerUserId="6118" LastActivityDate="2021-01-26T06:23:23.710" Title="AE Controller for changing layer into specific colours" Tags="|video|after-effects|animation|adobe|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33133" PostTypeId="2" ParentId="33104" CreationDate="2021-01-21T11:56:52.293" Score="0" Body="&lt;p&gt;It seems that there are at least 2 ways to achieve this:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;As Gyan mentioned in the comments, by using the &lt;a href=&quot;http://ffmpeg.org/ffmpeg-formats.html#segment_002c-stream_005fsegment_002c-ssegment&quot; rel=&quot;nofollow noreferrer&quot;&gt;segment muxer&lt;/a&gt; which is designed for segmenting videos. For my use case his method was not practical.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Using cuts that are multiplications of 100 seconds (100, 200, 1000, etc.) which will ensure that each cut ends at precisely the end of a frame (2997 * n) and hence at precisely the desired time (100 * n).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;For method 2, I'm not sure why but in some scenarios even when the source video appeared to have a constant frame rate of 29.97 fps the cuts would not be accurate (off by 1-2 frames). To fix this I had to ensure the source was transcoded with &lt;code&gt;-r 29.97 -vsync cfr&lt;/code&gt; which then resulted in accurate cuts.&lt;/p&gt;&#xA;" OwnerUserId="33580" LastActivityDate="2021-01-21T11:56:52.293" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33134" PostTypeId="1" CreationDate="2021-01-21T12:41:18.623" Score="2" ViewCount="2581" Body="&lt;p&gt;I have been trying to write a script to merge multiple &lt;code&gt;.mp4&lt;/code&gt; videos using ffmpeg. As part of this process, while trying to alter the size found that it alters the timebase. However, for &lt;code&gt;ffmpeg - concat demux&lt;/code&gt; all streams should be same or else after merge only the first part of the video plays well and stops abruptly.&lt;/p&gt;&#xA;&lt;p&gt;I have tried both terminal way and also using &lt;code&gt;fluent-ffmpeg&lt;/code&gt;. But unfortunately both gives same result.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Original video Ex, org_video_1280x720.mp4&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Stream #0:1(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x720, 812 kb/s, 25 fps, 25 tbr, 30k tbn, 60k tbc (default)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;after scaling down to 640x360 via terminal &lt;code&gt;ffmpeg -i org_video_1280x720.mp4 -strict -2 -vf &amp;quot;scale=640:360&amp;quot; new_video_640x360.mp4&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 640x360, 256 kb/s, 25 fps, 25 tbr, 12800 tbn, 50 tbc (default)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;The fluent-ffmpeg way of sizing&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg(`/path/to/org_video_1280x720.mp4`).size(`640x360`). autopad().output(`/path/to/new_video_640x360.mp4`)&#xA;          .on('error', function(err, stdout, stderr) {&#xA;              console.log('Error: ' + err.message);&#xA;              console.log('STD Err: ' + stderr);&#xA;         })&#xA;         .on('end', function() {&#xA;              console.log('Split &amp;amp; Resizing Completed!');&#xA;         }).run();&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 640x360, 253 kb/s, 25 fps, 25 tbr, 12800 tbn, 50 tbc (default)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Notice the &lt;code&gt;tbn &amp;amp; tbc&lt;/code&gt; changes after resizing; Actually I have to merge this with other video only by changing the resolution (as they were with these &lt;code&gt;25 fps, 25 tbr, 30k tbn, 60k tbc&lt;/code&gt; stream values); However as it alters the &lt;code&gt;time_base&lt;/code&gt;, I was unable to do it. Hope, I am missing something in the process, as I am bit new to audio/video process. Looking for some tips/guidance to get this done!&lt;/p&gt;&#xA;" OwnerUserId="33591" LastActivityDate="2021-01-24T06:30:10.310" Title="ffmpeg - resizing .mp4 changes the timebase (tbn &amp; tbc)" Tags="|video|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33135" PostTypeId="1" CreationDate="2021-01-21T14:24:13.200" Score="0" ViewCount="60" Body="&lt;p&gt;I have a shape layer and I want to animate position x using this expression&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;x=clamp(thisComp.layer(&amp;quot;Control Values&amp;quot;).effect(&amp;quot;Value Bar 1&amp;quot;)(&amp;quot;Slider&amp;quot;),0,100);&#xA;&#xA;Math.round(easeOut(time,inPoint+0.53,inPoint+1.8, 0, x))&#xA;[x, value[0]]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but he shows expression result must be of dimension 2. not 1&#xA;&lt;a href=&quot;https://i.stack.imgur.com/VW9v2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VW9v2.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;where is the problem???&lt;/p&gt;&#xA;" OwnerUserId="31900" LastActivityDate="2021-02-25T06:05:55.620" Title="How to using Math.round(easeOut(time…) in after affects?" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33136" PostTypeId="2" ParentId="33134" CreationDate="2021-01-21T14:52:25.197" Score="4" Body="&lt;p&gt;Add &lt;code&gt;-video_track_timescale X&lt;/code&gt; to manually set a timescale of X.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i org_video_1280x720.mp4 -strict -2 -vf &amp;quot;scale=640:360&amp;quot; -video_track_timescale 90k new_video_640x360.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-01-21T14:52:25.197" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33140" PostTypeId="1" CreationDate="2021-01-22T04:29:45.450" Score="3" ViewCount="868" Body="&lt;h3&gt;Goal:&lt;/h3&gt;&#xA;&lt;p&gt;Remove silent parts from video (while complying with the constraints below)&lt;/p&gt;&#xA;&lt;h3&gt;Constraints:&lt;/h3&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Keep audio and video in sync.&lt;/li&gt;&#xA;&lt;li&gt;Don't remove silent parts smaller than x seconds.&lt;/li&gt;&#xA;&lt;li&gt;nice2have: treat sound with duration &amp;lt; x seconds as silence&lt;/li&gt;&#xA;&lt;li&gt;nice2have: add audio fading effect at cut points (with the length of x seconds, video can be hard-cut). Example:  &lt;a href=&quot;https://i.stack.imgur.com/aigTS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aigTS.png&quot; alt=&quot;Visual explanation for fading effect&quot; /&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;super nice2have: only re-encode video at cut points&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;h3&gt;What I tried so far:&lt;/h3&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;silenceremove&lt;/code&gt;: removes silence, but&#xA;&lt;ol&gt;&#xA;&lt;li&gt;❌ does not keep AV sync.&lt;/li&gt;&#xA;&lt;li&gt;✅ I think &lt;code&gt;start_duration&lt;/code&gt; did this trick&lt;/li&gt;&#xA;&lt;li&gt;✅ I think &lt;code&gt;stop_duration&lt;/code&gt; did this trick&lt;/li&gt;&#xA;&lt;li&gt;~ &lt;/li&gt;&#xA;&lt;li&gt;~ &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;`silencedetect:&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I couldn't get this to work. I expected, that I could get some &amp;quot;frame stamps&amp;quot;, that I could use to automatically get the video cut by ffmpeg.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;I tried the software &lt;code&gt;Reaper&lt;/code&gt;, which can actually do the job. However,&#xA;&lt;ol&gt;&#xA;&lt;li&gt;It needs to re-encode the whole video&lt;/li&gt;&#xA;&lt;li&gt;The saved video is huge ( = very poorly compressed). Therefore I need another full reencoding.&lt;/li&gt;&#xA;&lt;li&gt;The process is manual&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;Misc:&lt;/h3&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Currently I'm using the following line to normalize audio. I would like to combine the silence removing with this one:&#xA;&lt;code&gt;ffmpeg -i &amp;quot;input.avi&amp;quot; -af loudnorm -codec:v copy &amp;quot;output.mp4&amp;quot;&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;Questions:&lt;/h3&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is this possible in ffmpeg only?&lt;/li&gt;&#xA;&lt;li&gt;How would a command for that look like?&lt;/li&gt;&#xA;&lt;li&gt;If not ffmpeg: are there other tools, that would accomplish the task?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="33635" LastEditorUserId="33635" LastEditDate="2021-01-23T14:54:58.047" LastActivityDate="2022-04-17T04:06:00.077" Title="Remove silence from video (stay synced + audio fading (if possible))" Tags="|ffmpeg|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33141" PostTypeId="1" CreationDate="2021-01-22T06:58:46.190" Score="1" ViewCount="26" Body="&lt;p&gt;I am trying to make a seamless tunnel ; so I want to fade it in distance. I have tried using set matte but doesn’t seem to work.Any help…..&lt;/p&gt;&#xA;&lt;p&gt;I have attatched the project file here &lt;a href=&quot;https://bit.ly/3obiTPA&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://bit.ly/3obiTPA&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33638" LastEditorUserId="1950" LastEditDate="2021-01-26T05:40:28.307" LastActivityDate="2021-01-26T05:40:28.307" Title="How do I create a fading effect in my videos?" Tags="|after-effects|motion|motion-graphics|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33143" PostTypeId="2" ParentId="33127" CreationDate="2021-01-22T08:56:04.720" Score="2" Body="&lt;p&gt;There are several things to consider when purchasing and setting up lights.&lt;/p&gt;&#xA;&lt;p&gt;As for the brightness, the brighter you're lit up, the less noisy your image will be. Brighter light will also allow your camera to reduce it's aperture. The smaller aperture will make the area that is in focus bigger, giving you more room to move around in and still be in focus. There are several factors that go into how bright you will be. When I shoot video for clients, I use 1000W incandescent to light up a room that is anywhere from 5x5ft to 20x20ft. Any bigger than that and I'll probably bring in more lights for the main light source. If you are using LED, 1000 incandescent (tungsten) watts are about equal to 167 LED watts.&lt;/p&gt;&#xA;&lt;p&gt;As for the setup, if you are moving around in your videos and trying to make sure your space is evenly lit, I suggest pointing the light at the ceiling instead of at you as long as your ceiling is white. This makes the light even and look natural. When doing this, remember that the lit up spot on the ceiling is now your light source. Make sure the light source (lit spot on the ceiling) is in front of you and (in my preference) off to one side. Play around with the positioning to your liking, but look up images of &amp;quot;loop lighting&amp;quot; (off to one side) and &amp;quot;butterfly lighting&amp;quot; (centered) to see the styles of lighting I'm talking about. The most important takeaway from those is the small nose shadow on the face. Those two style are what's used for most photography and video of people outside of mood lighting. I always diffuse the light with the ceiling, a soft-box or an umbrella when shooting, unless there is good reason to use hard/direct lighting.&lt;/p&gt;&#xA;&lt;p&gt;If you do not want to use the ceiling method, both softboxes and umbrellas work well. The one place I see people make mistakes with the softboxes is placing the box too close the subject which ends up making the light vary too much when you move around and makes the background a bit dark compared to the subject. Being too close with the light also makes the lite seem like a light you set up for the video and not natural lighting.&lt;/p&gt;&#xA;&lt;p&gt;Now for incandescent vs LED. Personally I never use LEDs for video. There are several reasons for this. First off, LEDs are blinking lights. If you don't believe me, put one on a rope and swing it in a circle and you'll see a dotted path. What this will end up doing is making your strumming hand (and any other decent movement) look like it's a multiple exposure, where you have several sharp images of your hand instead of a smooth motion blur. Some newer LEDs have a refresh rate fast enough to make this a non-issue but they usually cost a pretty penny. The other big issue with LEDs is the color they put out. Incandescent bulbs put out a very wide gamut of color, meaning every visible color is being put out from the bulb. LEDs only put out a single narrow color, or in the case of some LED arrays, a group of narrow colors. The lack of a full gamut, means that some colors will look muted while others are very vibrant. Skin tone can end up looking dead-like. This makes color correction extremely difficult and something many musicians do not want to deal with. Of coarse the down side to incandescent is the heat it puts off. How much of a problem the heat will be depends on your space. A small room will heat up quickly. If you're in a living-room, you probably have enough space for most of the heat to dissipate and for the air conditioning to take care of the rest. If sweating becomes a mild issue, get some colorless power from a theater makeup store to apply before videos.&lt;/p&gt;&#xA;" OwnerUserId="14141" LastActivityDate="2021-01-22T08:56:04.720" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33146" PostTypeId="2" ParentId="16793" CreationDate="2021-01-22T17:18:42.987" Score="1" Body="&lt;p&gt;DaVinci Resolve from BlackMagic Design can do this, and you could easily do it with the free version, which has very generous limitations.  If you decide to pay for the full version, it's a one-time fee, versus Adobe's perpetual subscription pricing.&lt;/p&gt;&#xA;&lt;p&gt;Resolve is also fully cross-platform and supports Linux, where Premiere only runs on Mac and PC.&lt;/p&gt;&#xA;&lt;p&gt;Resolve is an all-in-one postproduction suite.  Its functionality replaces not only Premiere, but also Prelude, After Effects, Lumetri/Speedgrade, Audition, and Adobe Media Encoder.&lt;/p&gt;&#xA;&lt;p&gt;To speed up a video in Resolve:&lt;/p&gt;&#xA;&lt;p&gt;•Command/Ctrl-I to import, select your video from the system dialogue.&lt;/p&gt;&#xA;&lt;p&gt;•Drag the video from the media pool onto your timeline.&lt;/p&gt;&#xA;&lt;p&gt;•Select the video on the timeline, and either use command/ctrl-D to change the entire Duration by a set amount, or use command/ctrl-R to Re-time (&amp;quot;speed ramp&amp;quot;) variably.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-01-22T17:18:42.987" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33149" PostTypeId="2" ParentId="33141" CreationDate="2021-01-22T18:56:54.907" Score="-1" Body="&lt;p&gt;While it really does depend on what software you use, I'll provide the steps on how you do it with ClipChamp Create (the software I use)&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;In the video editor:&lt;/em&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Click on the element you wish to create a fading effect&lt;/li&gt;&#xA;&lt;li&gt;Select the &lt;em&gt;&lt;strong&gt;Fade&lt;/strong&gt;&lt;/em&gt; option at the top of the screen&lt;/li&gt;&#xA;&lt;li&gt;Adjust the sliders to your liking!&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="33645" LastActivityDate="2021-01-22T18:56:54.907" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33150" PostTypeId="2" ParentId="29073" CreationDate="2021-01-22T19:32:26.067" Score="2" Body="&lt;p&gt;duplicate of &lt;a href=&quot;https://unix.stackexchange.com/questions/493897/how-to-recover-a-broken-mp4-file-moov-atom-not-found&quot;&gt;How to recover a broken mp4 file: moov atom not found&lt;/a&gt; at unix.stackexchange.com - especially since you're looking for a linux/macos solution&lt;/p&gt;&#xA;&lt;p&gt;limitation: the &lt;a href=&quot;https://github.com/ponchio/untrunc&quot; rel=&quot;nofollow noreferrer&quot;&gt;untrunc&lt;/a&gt; tool needs a working similar video file&lt;/p&gt;&#xA;" OwnerUserId="33648" LastEditorUserId="33648" LastEditDate="2021-01-22T19:38:08.283" LastActivityDate="2021-01-22T19:38:08.283" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33151" PostTypeId="1" AcceptedAnswerId="33152" CreationDate="2021-01-23T10:41:16.807" Score="2" ViewCount="157" Body="&lt;p&gt;In Adobe Premiere, I need sometimes to add some small custom masks. And I need to zoom in the video frame in this case. The only option I found is to manually drug a video panel border.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XFlkh.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XFlkh.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Are there special hotkeys for these actions (zoom in and zoom out video frame)?&lt;/p&gt;&#xA;" OwnerUserId="27302" LastActivityDate="2021-01-23T11:38:57.733" Title="Zoom in and out a video frame panel in Adobe Premiere" Tags="|premiere|zoom|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33152" PostTypeId="2" ParentId="33151" CreationDate="2021-01-23T11:38:57.733" Score="2" Body="&lt;p&gt;Yes, well not for zooming but for maximizing and restoring the panel. These shortcuts may look different depending on the keyboard layout. On English layouts it's ` for the active frame, which is the frame with the thin blue border drawn around, and Shift+` for the frame under the cursor. The ` character is called acute or backtick.&lt;/p&gt;&#xA;&lt;p&gt;If you use another keyboard layout and the ` does not work or you want to change the shortcuts, go to Edit menu -&amp;gt; Keyboard Shortcuts... Search for &lt;em&gt;Maximize&lt;/em&gt; and you'll get &amp;quot;Maximize or Restore Active Frame&amp;quot; and &amp;quot;Maximize or Restore Frame Under Cursor&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Also, you can set zoom-in/-out shortcuts for the program monitor, but it zooms into the video and doesn't make the panel larger. Those shortcuts are not set by default.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-01-23T11:38:57.733" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33153" PostTypeId="2" ParentId="23254" CreationDate="2021-01-23T12:26:28.700" Score="0" Body="&lt;p&gt;you probably have already figured it out, but for new guys googling this:&lt;/p&gt;&#xA;&lt;p&gt;I got the &lt;a href=&quot;https://www.amazon.ca/gp/product/B07HP18CWC/&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;No affiliate links, don't worry.&quot;&gt;Apexcam 4K 20MP WIFI Action Camera&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;All I had to do is change the 'Frequency' settings from 50hz to 60hz. That solved most of the problems, only the 1080p 60fps mode still has those lines, don't know what to do about that. All other modes work fine. If your camera has a frequency setting, might work for you, if it doesn't, you might have to limit shooting outside with constant lighting (not artificial sources like streetlamps).&lt;/p&gt;&#xA;" OwnerUserId="33654" LastActivityDate="2021-01-23T12:26:28.700" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33154" PostTypeId="1" CreationDate="2021-01-23T17:58:08.850" Score="0" ViewCount="87" Body="&lt;p&gt;Realizing that I had not copied trip videos before I had reformatted and reused the memory card made me first bang my head against the desk, then trying to recover what's still left on the card.&lt;/p&gt;&#xA;&lt;p&gt;I tried two different programs, putting the results in two different folders.&#xA;The second program seemed to recover more files than the first one did, but at closer inspection many of those files were just tiny fragments of one video.&lt;/p&gt;&#xA;&lt;p&gt;So I try to make a &amp;quot;union&amp;quot; of all those fragments.&#xA;Unfortunately the recovery process destroyed the creation dates of the files (Most files were AVCHD (BDMV, m2ts), a few were MP4).&lt;/p&gt;&#xA;&lt;p&gt;After having previewed all the fragments, I'd like to rename the files using a common pattern like&#xA;&lt;code&gt;YYYY-MM-DD_HHMMSS@HHMMSS&lt;/code&gt; (year, month, day, hour, minute, second plus duration) or &lt;code&gt;YYYY-MM-DD_HHMMSS-HHMMSS&lt;/code&gt; using creation date and time as well as ending time (starting time plus duration).&#xA;Sorting those files by name I should easily find duplicates and overlaps.&lt;/p&gt;&#xA;&lt;p&gt;Despite of that renaming using exiftool, I wonder whether someone has mastered a similar challenge before.&#xA;Other software I have available is EDIUS 8 and the free version of Davici Resolve.&#xA;I don't know (or how) whether they could assist aligning all those fragments in to one sequence, but that is very much what I want eventually.&lt;/p&gt;&#xA;" OwnerUserId="33658" OwnerDisplayName="U. Windl" LastEditorUserId="33658" LastEditDate="2021-01-24T00:10:13.857" LastActivityDate="2021-01-24T00:10:13.857" Title="How to rename recovered video files based on date and duration?" Tags="|video|metadata|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33156" PostTypeId="2" ParentId="33091" CreationDate="2021-01-24T04:35:55.563" Score="1" Body="&lt;p&gt;As long as all of the light sources are close to ideal black body radiators, then the spectrum of light they emit will be &amp;quot;neutral&amp;quot; with respect to plus/minus green, and shouldn't contain aberrant spectral spikes.  Sunlight and tungsten light are both close ideal; black body radiation at a temperature of 5600ºK is very close to the color of sunlight, and 3200ºK is close to the color of tungsten light.&lt;/p&gt;&#xA;&lt;p&gt;If you mix the two in your scene, then you can &lt;em&gt;arbitrarily&lt;/em&gt; choose what's &amp;quot;white&amp;quot; by moving your software's white balance slider between 3200ºK and 5600ºK.  When you push the slider towards higher numbers, the places in your scene which received tungsten light will appear orange, and the places with daylight will appear white.  When you push the value lower, the places with tungsten light will appear white, and the daylight-lit places will appear blue.  Anywhere in between, and you'll get a mixture of orange, neutral, and blue. The value you ultimately select is a completely subjective, artistic choice.  There is no right or wrong.&lt;/p&gt;&#xA;&lt;p&gt;Fluorescent lights and LEDs (especially cheap ones) contain spectral spikes, and aren't close to ideal black body radiators.  If you light a grey card, white card, or color chip chart using a poor source (low CRI), and then set your software's WB to that color (pick/eyedropper the card), then all of the natural, pure white light sources in your scene will look strange.&lt;/p&gt;&#xA;&lt;p&gt;There's nothing inherently wrong with mixing the color temperatures of your lighting as long as you understand what you're doing, and what effect it will have on your image.  If you do it well, it can give your images extra color contrast and depth.&lt;/p&gt;&#xA;&lt;p&gt;On the other hand, mixing color temperatures of light in your scene effectively reduces the dynamic range of your camera because one color channel will clip before the others.  When you set your &lt;em&gt;camera's&lt;/em&gt; white balance, you're optimizing the camera to receive that color of light.  If you set your white balance for tungsten, and some bright sunlight creeps into your scene, the blue channel will clip disproportionally from the others, causing ugly, mis-colored, and irreparable hot spots, for example.  The inverse is true for tungsten, of course.  But as long as you expose carefully enough that none of the color channels clip, this shouldn't be a problem.&lt;/p&gt;&#xA;&lt;p&gt;With that said, if you want to make the most out of a limited bit depth, the best thing you can do is avoid mixed-temperature lighting, and set your white balance as accurately as possible in camera.  The image should appear &amp;quot;white&amp;quot; or neutral.  Then, if you want a cooler or warmer look, adjust the color temperature in software.  This maximizes the use of your camera's dynamic range, and still gives you artistic control over your image's overall temperature.&lt;/p&gt;&#xA;&lt;p&gt;Your brain adjusts to whatever the dominant source of light in a scene is, and it does it very quickly.  If you only have one source of light in a room, you'll perceive a grey card to be neutrally colored.  It's only when you have external daylight creeping in through the periphery that you'd perceive the card as warm.  Your visual perceptive system is very adaptive, which can mislead your intuition.  This is why colorists rely on vectorscopes and waveform monitors to objectively judge what they see.  Cameras are much less flexible than the human vision system, which is why it's often surprising when a scene doesn't fit within the camera's dynamic range; overexposed, underexposed, or off-balanced.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-01-24T05:35:58.860" LastActivityDate="2021-01-24T05:35:58.860" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33160" PostTypeId="1" CreationDate="2021-01-25T15:37:48.503" Score="2" ViewCount="32" Body="&lt;p&gt;I'm trying to composite layers from an animation I made with Blender in After Effects. The problem I'm running into is that the motion-blurred edges are either receding, or becoming discolored, depending on the settings I choose.&lt;/p&gt;&#xA;&lt;p&gt;I'm using a 32bit OpenEXR Multilayer file and the EXtractoR plug-in to select the layers. I'm also using Color Profile Converter.&lt;/p&gt;&#xA;&lt;p&gt;For whatever reason, the edges look more accurate when UnMult is checked, but the colors get messed up.&lt;/p&gt;&#xA;&lt;p&gt;Pictured below is the combined render (from Blender), which I'm using as the basis to compare my composite to. Beneath that is how my composite looks without, and then with UnMult checked.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kvTCp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kvTCp.png&quot; alt=&quot;Combined render straight from Blender with all objects turned on.&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/FZBY2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FZBY2.png&quot; alt=&quot;Composite of foreground and background renders in Adobe After Effects with UnMult unchecked.&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/iBqZx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iBqZx.png&quot; alt=&quot;Composite of foreground and background renders in Adobe After Effects with UnMult checked.&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33670" LastEditorUserId="33670" LastEditDate="2021-01-25T15:50:50.910" LastActivityDate="2021-01-25T15:50:50.910" Title="Edges look wrong when compositing layer with blur and transparency" Tags="|after-effects|compositing|alpha|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33162" PostTypeId="1" AcceptedAnswerId="33164" CreationDate="2021-01-25T19:18:15.400" Score="1" ViewCount="376" Body="&lt;p&gt;I opened a project with video and audio, and the audio had markers done in Premiere Pro (right-click on the playhead -&amp;gt; Add Marker).&lt;/p&gt;&#xA;&lt;p&gt;Then I exported the audio to AIFF. And then I imported the AIFF file into another Premiere Project.&#xA;And the Premiere Pro marker was still there.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;I'd like to understand how that happened. How was it preserved through export and reimport? Was it kept in the audio file's data, like EXIF data for a photograph?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="11754" LastActivityDate="2021-01-25T20:34:04.350" Title="How does Premiere Pro keep markers on audio files even after export?" Tags="|premiere|editing|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33163" PostTypeId="1" AcceptedAnswerId="33167" CreationDate="2021-01-25T19:21:14.633" Score="1" ViewCount="2650" Body="&lt;p&gt;In Davinci Resolve, how do I overlay video with picture so that the video can be seen in certain part of the picture?&lt;/p&gt;&#xA;&lt;p&gt;Here's an example:&lt;/p&gt;&#xA;&lt;p&gt;Suppose that I have a picture of living room, for example this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/F4v9B.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/F4v9B.jpg&quot; alt=&quot;Living room&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now I would like to create an effect where the video is playing in that TV. It's simple to cut pixels away in Photoshop to create a transparent part in picture but how do I do it in Davinci Resolve?&lt;/p&gt;&#xA;" OwnerUserId="33672" LastActivityDate="2021-06-25T02:00:25.057" Title="Overlay video with picture with transparent parts" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33164" PostTypeId="2" ParentId="33162" CreationDate="2021-01-25T20:26:46.190" Score="1" Body="&lt;p&gt;Markers are part of the XMP standard and are stored in the file. So yes, it's comparable to EXIF. You should notice, that immediately when adding a marker, the file on the disk will be changed, meaning the change date of the file should update. At least that's true on Windows. I don't know what file system a Mac uses and if that's behaving differently.&lt;/p&gt;&#xA;&lt;p&gt;In the case of AIFF files (and probably any other file), the XMP data section is written at the end of the file. You find the markers in the XML element xmpDM:markers.&lt;/p&gt;&#xA;&lt;p&gt;An entry for 1 marker in the marker section can look like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;rdf:li rdf:parseType=&amp;quot;Resource&amp;quot;&amp;gt;&#xA;   &amp;lt;xmpDM:startTime&amp;gt;839040&amp;lt;/xmpDM:startTime&amp;gt;&#xA;   &amp;lt;xmpDM:comment&amp;gt;Test Comment&amp;lt;/xmpDM:comment&amp;gt;&#xA;   &amp;lt;xmpDM:name&amp;gt;Test Name&amp;lt;/xmpDM:name&amp;gt;&#xA;   &amp;lt;xmpDM:guid&amp;gt;8e5a3759-fe4a-4804-91e1-956c5dfc47f0&amp;lt;/xmpDM:guid&amp;gt;&#xA;   &amp;lt;xmpDM:cuePointParams&amp;gt;&#xA;      &amp;lt;rdf:Seq&amp;gt;&#xA;         &amp;lt;rdf:li rdf:parseType=&amp;quot;Resource&amp;quot;&amp;gt;&#xA;            &amp;lt;xmpDM:key&amp;gt;marker_guid&amp;lt;/xmpDM:key&amp;gt;&#xA;            &amp;lt;xmpDM:value&amp;gt;8e5a3759-fe4a-4804-91e1-956c5dfc47f0&amp;lt;/xmpDM:value&amp;gt;&#xA;         &amp;lt;/rdf:li&amp;gt;&#xA;         &amp;lt;rdf:li rdf:parseType=&amp;quot;Resource&amp;quot;&amp;gt;&#xA;            &amp;lt;xmpDM:key&amp;gt;keywordExtDVAv1_90c13ac7-d433-487b-a9bb-da6330736178&amp;lt;/xmpDM:key&amp;gt;&#xA;            &amp;lt;xmpDM:value&amp;gt;{&amp;quot;color&amp;quot;:4292277273,&amp;quot;index&amp;quot;:0,&amp;quot;name&amp;quot;:&amp;quot;&amp;quot;,&amp;quot;payload&amp;quot;:&amp;quot;&amp;quot;}&amp;lt;/xmpDM:value&amp;gt;&#xA;         &amp;lt;/rdf:li&amp;gt;&#xA;      &amp;lt;/rdf:Seq&amp;gt;&#xA;   &amp;lt;/xmpDM:cuePointParams&amp;gt;&#xA;&amp;lt;/rdf:li&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Since the file is mostly binary you may need a special editor that shows you the last part of the file which is human readable text, if you want to see that. On Windows I've used WinMerge. I don't know what can be used on a Mac.&lt;/p&gt;&#xA;&lt;p&gt;P.S:&#xA;This only works with the preference &amp;quot;Write clip markers to XMP&amp;quot; enabled:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CwqTI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CwqTI.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2021-01-25T20:34:04.350" LastActivityDate="2021-01-25T20:34:04.350" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33165" PostTypeId="2" ParentId="22334" CreationDate="2021-01-25T21:49:45.673" Score="1" Body="&lt;p&gt;The button to invert the power window is next to the tool that you used to create the selection.  You're using the pen tool in this case, but the same is true for ellipses, rectangles, gradients, etc.  Immediately to the right of the tool is an icon of a square outline around a solid circle.  That's the invert selection button.  If you click it before you start your tracking, the tracker will follow everything outside of the shape you drew instead of everything inside the shape.&lt;/p&gt;&#xA;&lt;p&gt;It's often helpful to toggle &amp;quot;highlight mode&amp;quot; so that you know what's currently selected.  Shift+H is the shortcut for that.  Everything that's grey with highlight mode on is not part of the current selection.  The tracker will follow everything that IS selected, i.e., everything that you see (that isn't grey) when highlight mode is on.&lt;/p&gt;&#xA;&lt;p&gt;As you become more proficient with power windows, qualifiers, and trackers in Resolve, you'll want to learn how to combine multiple shapes, combine shapes other qualifiers, or combine any/all of the above with alpha channels from external files.  The &amp;quot;invert&amp;quot; power window button is a small part of a larger toolset.  There's more to explore under the &amp;quot;Key&amp;quot; tab, which will let you control how one node passes a mask or matte to another node.  There's also the &amp;quot;Key mixer&amp;quot; node, which allows boolean operations.  To access the Key mixer, right-click in the background of the node editor, and select it from the &amp;quot;Add node&amp;quot; submenu.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BSySH.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BSySH.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-01-25T21:49:45.673" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33166" PostTypeId="1" CreationDate="2021-01-25T22:56:15.873" Score="3" ViewCount="1421" Body="&lt;p&gt;DaVinci Resolve 17 doesn't show video and shows black screen on imported multimedia.&#xA;I have VivoBook Pro X580VD, Quad Core model: Intel Core i5-7300HQ bits: 64 type: MCP arch: Kaby Lake, Device-1: Intel HD Graphics 630 vendor: ASUSTeK driver: i915 v: kernel bus ID: 00:02.0&#xA;chip ID: 8086:591b&#xA;Device-2: NVIDIA GP107M [GeForce GTX 1050 Mobile] vendor: ASUSTeK driver: nvidia&#xA;v: 460.32.03 bus ID: 01:00.0 chip ID: 10de:1c8d&#xA;Display: x11 server: X.Org 1.20.9 driver: modesetting,nvidia&#xA;unloaded: fbdev,nouveau,vesa resolution: 1920x1080~60Hz&#xA;OpenGL: renderer: GeForce GTX 1050/PCIe/SSE2 v: 4.6.0 NVIDIA 460.32.03&#xA;direct render: Yes&#xA;System:    Kernel: 5.4.0-64-generic x86_64 bits: 64 compiler: gcc v: 9.3.0 Desktop: Cinnamon 4.8.6      wm: muffin dm: LightDM Distro: Linux Mint 20.1 Ulyssa base: Ubuntu 20.04 focal&#xA;&lt;a href=&quot;https://i.stack.imgur.com/CUHYM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CUHYM.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33674" LastActivityDate="2021-07-28T06:22:01.227" Title="DaVinci Resolve 17 doesn't show video and shows black screen on imported multimedia" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33167" PostTypeId="2" ParentId="33163" CreationDate="2021-01-25T23:49:00.913" Score="1" Body="&lt;p&gt;In a nutshell, it's the same as you would do in Photoshop.  Resolve has all of the same blending modes as Photoshop does.  In fact, any blending mode is just one of a limited number of ways its mathematically possible to combine one image layer with another.&lt;/p&gt;&#xA;&lt;p&gt;The main difference between compositing images in Photoshop and Resolve is that in the latter, movement presents additional challenges.  So more accurately, yes Resolve is like Photoshopping an image, but it's like doing it 24 to 60 times every second.&lt;/p&gt;&#xA;&lt;p&gt;The easiest way to accomplish this depends on your footage.  In the above image, yes, you could cut out the TV screen and plop something into the hole.  But it would probably look bad if that was all you did, and the same is true for Photoshop.  To get a good result in Resolve, think of how you would get a good Result in Photoshop.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;You would skew the image you're trying to insert to match the&#xA;perspective of the Television's frame.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You would feather the edges of the selection to match the camera's&#xA;focus.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You would use an additive blending mode, so that it look like the TV&#xA;was emitting light, and you would balance the contribution of the&#xA;glare on the front of the TV, depending on how bright you wanted it&#xA;to appear.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You might add &amp;quot;spill&amp;quot; as if the TV were adding light to the room&#xA;(maybe not in this case, because the room is bright).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;But with a moving image, especially if the &lt;em&gt;camera&lt;/em&gt; is moving, you also need to &amp;quot;matchmove&amp;quot; or &amp;quot;cornerpin&amp;quot; the image you're inserting, so that it appears locked to the screen.&lt;/p&gt;&#xA;&lt;p&gt;For the sake of simplicity, lets say that your camera is still and you don't need to track, matchmove, or cornerpin.  If that's the case, then 99% of what you need to do can be accomplished in the inspector panel of Resolve's Edit Page.  There are alternative methods for both the Fusion and Color pages, but the Edit Page is the most straightforward for simple tasks.  The process would go something like this:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Import both pieces of your footage into the media pool (cmd/ctrl-I)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Drag the background image (livingroom scene) onto V1 on your&#xA;timeline.  Drag the foreground image onto V2.  Think of the vertical&#xA;stack of timeline layers in Resolve like Photoshop's layers.  Like&#xA;Photoshop, Resolve &amp;quot;sees&amp;quot; the stack from the top down.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Adjust the size, position, and perspective of the foreground layer to&#xA;match the perspective of the TV frame.  In Resolve, select the&#xA;foreground &amp;quot;V2&amp;quot; clip, open the inspector panel, and adjust the zoom,&#xA;position, rotation, pan, and tilt attributes until your image lines&#xA;up.  You can also crop the image a tiny amount, and use the &amp;quot;soft&amp;quot;&#xA;slider in lieu of Photoshop's &amp;quot;feathering&amp;quot; controls.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Adjust the composite blend mode in the inspector.  &amp;quot;Add&amp;quot; or &amp;quot;Screen&amp;quot;&#xA;are usually good for this type of additive, emissive light.  Adjust&#xA;the &amp;quot;opacity&amp;quot; slider to taste.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You can also add effects, similar to Photoshop plugins, by dragging&#xA;one from the &amp;quot;effect&amp;quot; tab onto either clip in the timeline.  You&#xA;could, for example add a slight glow to V2's clip to help sell the composite.&#xA;Controls for these effects will appear in a new tab of the inspector&#xA;once you've applied one (the specifics of this tab's placement depend&#xA;on which version of Resolve you're using.)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-01-25T23:49:00.913" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33169" PostTypeId="2" ParentId="33135" CreationDate="2021-01-26T05:50:59.943" Score="1" Body="&lt;p&gt;On the second line: &lt;code&gt;Math.round(easeOut(time,inPoint+0.53,inPoint+1.8, 0, x))&lt;/code&gt; returns a value. Since expressions use the first line that returns a value as the value of the property it is trying to use the result of that line as the value for position, and since it only has one dimension it's causing an error.&lt;/p&gt;&#xA;&lt;p&gt;Change that line to&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;x = Math.round(easeOut(time,inPoint+0.53,inPoint+1.8, 0, x));&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;(don't forget the semicolon at the end).&lt;/p&gt;&#xA;&lt;p&gt;What the amended line is doing is taking the result of the &lt;code&gt;Math.round()&lt;/code&gt; function and updating the value of x with that result.&lt;/p&gt;&#xA;&lt;p&gt;Just as best practice, you should also use a &lt;code&gt;let&lt;/code&gt; on the first line, i.e.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;let x = clamp(thisComp.layer(&amp;quot;Control Values&amp;quot;).effect(&amp;quot;Value Bar 1&amp;quot;)(&amp;quot;Slider&amp;quot;),0,100);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The &lt;code&gt;let&lt;/code&gt; keyword assigns x as a variable, but restricts it in &lt;a href=&quot;https://www.w3schools.com/js/js_scope.asp&quot; rel=&quot;nofollow noreferrer&quot;&gt;scope&lt;/a&gt; to the local expression, so that it doesn't possibly pollute other expressions.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-01-26T05:50:59.943" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33170" PostTypeId="2" ParentId="33132" CreationDate="2021-01-26T06:14:49.597" Score="1" Body="&lt;p&gt;Use a dropdown. Select &lt;strong&gt;Dropdown Expression Control&lt;/strong&gt; from &lt;strong&gt;Effects&amp;gt;Expression Controls&lt;/strong&gt; and hit edit to input the colour names.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/MqFbm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MqFbm.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Then use a &lt;code&gt;switch&lt;/code&gt; to deal with the four possible choices.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;let colourChoice = Math.round(thisComp.layer(&amp;quot;White Solid 1&amp;quot;).effect(&amp;quot;Dropdown Menu Control&amp;quot;)(&amp;quot;Menu&amp;quot;));&#xA;switch (colourChoice){&#xA;    case 1 : [7, 250, 198, 255]/255.0;&#xA;        break;&#xA;    case 2 : [252, 12, 119, 255]/255.0;&#xA;        break;&#xA;    case 3 : [0, 0, 0, 0];&#xA;        break;&#xA;    default:  [1, 1, 1, 1];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;}&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;N.B.:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;Math.round&lt;/code&gt; on the firstline is to convert the numeric result returned from the dropdown to an integer, I'm not sure what kind of numerical value is returned from a dropdown, but just using &lt;code&gt;let colourChoice = thisComp.layer(&amp;quot;White Solid 1&amp;quot;).effect(&amp;quot;Dropdown Menu Control&amp;quot;)(&amp;quot;Menu&amp;quot;)&lt;/code&gt; doesn't work.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Colours in expressions are four-dimensional RGBA arrays, because even if they don't use alpha they need a value for alpha.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;And finally the &lt;code&gt;/ 255&lt;/code&gt; after the array is to convert the 0-255 RGBA values into 0-1.0 floating point values for colour. You could do the maths beforehand, but it's more legible like this.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2021-01-26T06:23:23.710" LastActivityDate="2021-01-26T06:23:23.710" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33171" PostTypeId="1" CreationDate="2021-01-26T10:38:05.317" Score="1" ViewCount="23" Body="&lt;p&gt;I recorded videos (mp4) of participants in an experiment doing a task at a laptop. There are three tasks, at the beginning and end of which there is a loud beep sound.&#xA;I would like to automatically have cuts or extract the parts of the video between the beeps.&lt;/p&gt;&#xA;&lt;p&gt;So far I've only been able to find this answer:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/5073/automatically-cut-out-sections-of-a-video-delineated-by-a-sound&quot;&gt;Automatically cut out sections of a video delineated by a sound.&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Can anyone help further? I am able to do a little scripting, but I wouldn't know where to start and I'm hoping that since then there's maybe been a solution with a GUI.&lt;/p&gt;&#xA;&lt;p&gt;I have a mac, but if necessary could find a pc somewhere.&lt;/p&gt;&#xA;&lt;p&gt;Many thanks,&lt;/p&gt;&#xA;" OwnerUserId="33680" LastActivityDate="2021-01-26T10:38:05.317" Title="How can I automate cutting a video along loud beep sounds?" Tags="|editing|audio|automation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33175" PostTypeId="1" CreationDate="2021-01-26T21:00:16.757" Score="0" ViewCount="19" Body="&lt;p&gt;I was a professional video editor in the early to mid 2000's. At the time, I used FCP versions 3 through 6 and was fluid with the program. I worked in the demo commercial business making pretty complicated animations out of layered Photoshop files, managing constant client changes, keeping files organized, knew the keyboard shortcuts, etc. I also had my own art projects. Around 2009, I switched careers (to math education).&lt;/p&gt;&#xA;&lt;p&gt;Recently, I decided to incorporate some of my video editing skills into what I do now. I picked up FCP 10.5 and was surprised by how different it is. For example, I can't even open any of the my old .fcp files. I've heard of drastic software updates but have never heard of an application's own default file type becoming unrecognizable to itself! This seems more of a symptom than the problem, as the whole file linking method is different. The whole nomenclature for what they call shots, clips, timelines, is different. So much is different! I go online looking for help and find videos of people half my age, who know half the stuff I used to know (but on 6), talking to me like I'm an idiot.&lt;/p&gt;&#xA;&lt;p&gt;Okay, enough whining.&lt;/p&gt;&#xA;&lt;p&gt;I want to get up to speed on using FCP 10.5. Does anyone here know of a good tutorial, or set of documentation on this? I'd settle for something on learning about the transition from FCP 7 to X, as that seems to be where most of the changes happened, even though I never used 7. I would also be interested in an effective means of reviving my FCP 6 projects in 10.5, but that's not the main content of this question.&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="33685" LastActivityDate="2024-02-11T10:04:30.513" Title="How to transition from Final Cut Pro 6 (or 7) to 10" Tags="|final-cut-pro-x|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33176" PostTypeId="1" CreationDate="2021-01-26T23:31:56.663" Score="1" ViewCount="146" Body="&lt;p&gt;I wanted to change one value when marker with certain comment starts. I've tried something like this, but it doesn't work.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;if (marker.comment(&amp;quot;R1 L1&amp;quot;).time &amp;gt; time){&#xA;  value = 40;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33687" LastActivityDate="2024-02-22T08:05:25.690" Title="How to change value when passing marker with certain comment" Tags="|after-effects|after-effects-expressions|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33177" PostTypeId="2" ParentId="33176" CreationDate="2021-01-27T00:45:10.870" Score="0" Body="&lt;p&gt;You need to check &lt;a href=&quot;https://helpx.adobe.com/au/after-effects/user-guide.html/au/after-effects/using/expression-basics.ug.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;how expressions work&lt;/a&gt;. An expression sets the value of a property with the first line that returns a value. So for example an expression could just be:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;40&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;since that line returns the value 40. The second line in your expression &lt;code&gt;value = 40&lt;/code&gt; does not return a value, it attempts to set the &lt;a href=&quot;https://ae-expressions.docsforadobe.dev/property.html#value&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;value&lt;/code&gt; property&lt;/a&gt; to 40, which doesn't work, because &lt;code&gt;value&lt;/code&gt; is read-only.&lt;/p&gt;&#xA;&lt;p&gt;What you need to do is return &lt;code&gt;40&lt;/code&gt; if the time is after the marker, and if not return the current &lt;code&gt;value&lt;/code&gt;, thus:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;if (marker.comment(&amp;quot;R1 L1&amp;quot;).time &amp;gt; time){&#xA;  40;&#xA;} else {&#xA;  value;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Or more tersely, using &lt;a href=&quot;https://codeburst.io/javascript-the-conditional-ternary-operator-explained-cac7218beeff&quot; rel=&quot;nofollow noreferrer&quot;&gt;ternary&lt;/a&gt; notation, which uses the form &lt;code&gt;(condition)? &amp;lt;value if true&amp;gt; : &amp;lt;value if false&amp;gt;&lt;/code&gt;, thus:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;(marker.comment(&amp;quot;R1 L1&amp;quot;).time &amp;gt; time)? 40 : value&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-01-27T00:45:10.870" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33178" PostTypeId="1" CreationDate="2021-01-27T02:45:15.117" Score="0" ViewCount="1029" Body="&lt;p&gt;I'm trying to create an mp4 clip from an HLS input stream that is over 36 hours long.  My ffmpeg command looks more or less like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -live_start_index 0 -ss 32:22:19.82667 -i https://example.com/main.m3u8 -t 00:00:55.65625 output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I don't know why but ffmpeg is non-stop requesting segments even though I'm setting the length of this clip to be 55 seconds. Does anyone have an idea what I'm doing wrong here?&lt;/p&gt;&#xA;" OwnerUserId="33689" LastActivityDate="2024-03-02T01:03:30.377" Title="Seeking in large HLS input on ffmepg" Tags="|ffmpeg|hls|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33179" PostTypeId="2" ParentId="33175" CreationDate="2021-01-27T06:05:02.083" Score="0" Body="&lt;p&gt;A good starting point would be &lt;a href=&quot;https://www.apple.com/final-cut-pro/resources/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Apple&lt;/a&gt; itself.&lt;/p&gt;&#xA;&lt;p&gt;Known for tutorials are larryjordan.com and rippletraining.com&lt;/p&gt;&#xA;&lt;p&gt;A good book is from &lt;a href=&quot;http://fcpefficientediting.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Ian Anderson&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2021-01-27T06:05:02.083" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33180" PostTypeId="1" CreationDate="2021-01-27T12:28:57.450" Score="1" ViewCount="246" Body="&lt;p&gt;Any idea why I can't import this MP4 file into Premiere?&#xA;It is downloaded from YouTube using youtube-dl.&#xA;Format details below:&#xA;&lt;code&gt;401          mp4        3840x2160  2160p 18468k , av01.0.12M.08, 25fps, video only, 91.85MiB&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;The error is:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Pt5R6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Pt5R6.png&quot; alt=&quot;screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;What's the right command structure to get 4K MP4 files from youtube-dl preferably with audio as well, that Premiere on a Mac can play?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="17390" LastEditDate="2021-08-03T05:28:21.260" LastActivityDate="2021-08-03T05:28:21.260" Title="Premiere can't import youtube-dl MP4 file" Tags="|premiere|youtube|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33181" PostTypeId="2" ParentId="33176" CreationDate="2021-01-27T14:11:07.003" Score="0" Body="&lt;p&gt;I'm not that experienced with expression, so maybe I'm understanding something wrong, but both your code and the code of @stib's answer give me clear error messages. &lt;code&gt;marker.comment&lt;/code&gt; is not a function and above that, the code has several more issues.&lt;/p&gt;&#xA;&lt;p&gt;Using part of the code from &lt;a href=&quot;https://ae-expressions.docsforadobe.dev/examples.html?highlight=marker#animate-scale-at-each-layer-marker&quot; rel=&quot;nofollow noreferrer&quot;&gt;this reference&lt;/a&gt; I got the following working:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;n = 0;&#xA;t = 0;&#xA;if (marker.numKeys &amp;gt; 0)&#xA;{&#xA;     n = marker.nearestKey(time).index;&#xA;     if (marker.key(n).time &amp;gt; time)&#xA;        n--;&#xA;}&#xA;if (n &amp;gt; 0 )&#xA;    t = time - marker.key(n).time;&#xA;&#xA;if(t&amp;gt;0 &amp;amp;&amp;amp; marker.key(n).comment==&amp;quot;R1 L1&amp;quot;)&#xA;    40;&#xA;else&#xA;    value;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I've created a simple shape and applied the expression for example to the opacity property (100% at start) and added a marker with the comment &amp;quot;R1 L1&amp;quot; and as soon as the playhead passes this marker the opacity changes to 40%. I think this behaves as intended.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2021-02-06T23:09:05.280" LastActivityDate="2021-02-06T23:09:05.280" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33183" PostTypeId="1" CreationDate="2021-01-27T14:56:06.150" Score="1" ViewCount="37" Body="&lt;p&gt;I'm traying to create this graphic for my on going project, I tried to guess some techniques but wasn't successful, I was messing around with physics and sphere field in Trapcode Particular but it wasn't quiet right, if anybody would like to share how it might have been achieved, I'd be much appreciated, thanks!&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NYLeO.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NYLeO.jpg&quot; alt=&quot;particle effect&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33694" LastActivityDate="2021-01-27T14:56:06.150" Title="particles with circular motion" Tags="|after-effects|motion-graphics|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33186" PostTypeId="1" CreationDate="2021-01-27T17:24:10.437" Score="3" ViewCount="775" Body="&lt;p&gt;I might have f-ed up. I’m a producer for an in-house agency and I had the sweet idea of consolidating all battery types and to power everything off of D-tap (p-tap) using v-mount batteries. Here’s what I bought:&lt;/p&gt;&#xA;&lt;p&gt;Batteries: &lt;a href=&quot;https://www.bhphotovideo.com/c/product/1483486-REG/idx_system_technology_dual_duo_c198_v_mount_high_load.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Vmount plate for camera: &lt;a href=&quot;https://www.bhphotovideo.com/c/product/1334541-REG/indipro_tools_ip_cpv300_v_mount_plate_for_c300.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Follow focus: &lt;a href=&quot;https://www.bhphotovideo.com/c/product/1367922-REG/tilta_nucleus_m_wireless_follow_focus.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Monitor: &lt;a href=&quot;https://www.bhphotovideo.com/c/product/1507212-REG/blackmagic_design_hyperd_avida12_5hrd_video_assist_5_monitor.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Wireless transmitter: &lt;a href=&quot;https://www.bhphotovideo.com/c/product/1593085-REG/teradek_10_2200_bolt_4k_lt_750.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So I have all of the appropriate d-tap cables and whatnot, and my plan was to power all of this off of one v-mount battery, but it’s looking like I might not be able to do it. When I plugged in everything, I got a spark somewhere on the cage of my c300, but nothing fried. What am I missing? How do large productions run tons of accessories off of one battery? I’m hoping I didn’t get in over my head with this. Any advice or critique is welcome.&lt;/p&gt;&#xA;" OwnerUserId="33697" LastActivityDate="2021-01-29T15:25:02.983" Title="V-mount and D-tap power problems" Tags="|hardware|production|setup|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33187" PostTypeId="1" AcceptedAnswerId="33189" CreationDate="2021-01-27T18:28:57.000" Score="1" ViewCount="39" Body="&lt;p&gt;Increasing playback speed by 10% increments is achieved by pressing &lt;code&gt;SHIFT + L&lt;/code&gt;. Can this shortcut be customized? (I want to make it simpler - pressing a single key as opposed to a combo)&lt;/p&gt;&#xA;" OwnerUserId="2971" LastActivityDate="2021-01-27T20:57:06.160" Title="Is it possible to change shortcuts related to playback speed?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33188" PostTypeId="1" CreationDate="2021-01-27T19:35:01.887" Score="2" ViewCount="37" Body="&lt;p&gt;I am teaching a course in Spring, along with a musical theatre class, to film a production of Spring Awakening using Covid restrictions.  This would not be with an audience, but more like a film version.&lt;/p&gt;&#xA;&lt;p&gt;I believe this will be a valuable course for my students moving forward, as theatre is becoming more and more film friendly and there will be work out there.&lt;/p&gt;&#xA;&lt;p&gt;What would you suggest as &amp;quot;tips&amp;quot; for filming production numbers?&lt;/p&gt;&#xA;&lt;p&gt;Updated: What we are doing is filming a musical, with Covid restrictions(masks and no audience, 6 feet apart). This will be a non-live set up. The crew will be rehearsing with the actors, as this is a class. We have a 3-4 camera set up with a jib and tracking. We are using Panasonic UX180's. I also have a 4 screened monitor so I can see what everyone is doing on the stage. It is experimental and it should be very fun and interesting. I was just looking for anyone who might already be doing this type of work and how they are fairing.&lt;/p&gt;&#xA;" OwnerUserId="33700" LastEditorUserId="674" LastEditDate="2021-02-02T11:26:56.097" LastActivityDate="2021-02-02T11:26:56.097" Title="Filming Theatre During Pandemic" Tags="|video|filming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33189" PostTypeId="2" ParentId="33187" CreationDate="2021-01-27T20:57:06.160" Score="1" Body="&lt;p&gt;Sure you can do that. Go to the Edit menu -&amp;gt; Keyboard Shortcuts... and search for the action you want to change (alternatively search for the keyboard shortcut itself).&lt;/p&gt;&#xA;&lt;p&gt;Click the little x on the existing shortcut to remove it. Then click the field and type in the new shortcut. If it doesn't work, click once more, and type again.&lt;/p&gt;&#xA;&lt;p&gt;The only problem is that many shortcuts are already in use and Premiere is immediately removing the shortcut elsewhere when it was in use, so you might want to click undo after accidentally removing a shortcut. You could use the search bar to see if the key is still free or change several shortcuts to free a key.&lt;/p&gt;&#xA;&lt;p&gt;At the top you can change the keyboard layout profile. So you can always go back to the defaults at any time, if needed.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-01-27T20:57:06.160" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33190" PostTypeId="1" CreationDate="2021-01-27T20:59:20.793" Score="0" ViewCount="89" Body="&lt;p&gt;i have a question base on this video.&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/WPXltoSu3pM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;i have a problem with this code ! please help me it work's but ! for example i made a shape to use it as a controller for controlling my character head movement ! so i limit it from 0 to 20 and now when i select that shape and i move it with mouse it just moves in 0 to 20 in x but if accidentally i move the mouse a little more (it show me 20 in x ) but when i click on it (in position property that let you to put a value,) it show me a higher number (depends on how much i moved my mouse) ! so when again i want come back to 0 in x by moving my shape there is a problem because first i should comeback from that high number to 20 then i can move to 0 !&lt;/p&gt;&#xA;&lt;p&gt;you can see in video if i select that yellow head control shape and i move it more than 20 steps in (+) direction and more than 0 in (-) direction in facts behind the code it changes the number more than 20 or 0 so it making a problem ! so if i want back from 20 to 10 or 0 or 7 or ... if behind the code (when you click on number it show you the real number) its like 400 you have back from 400 to 20 then back to 0 or 10 or 7 and ..i send video in my next answer because of limitation  - in all the video just look at the x position number when i move the yellow control&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/-5ZwkUgqHpA?start=3&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="33702" LastEditorUserId="1950" LastEditDate="2022-07-03T12:19:10.160" LastActivityDate="2022-07-04T02:34:07.627" Title="after effects question about clamp" Tags="|after-effects|animation|after-effects-expressions|motion-graphics|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="33192" PostTypeId="1" CreationDate="2021-01-28T16:24:29.543" Score="1" ViewCount="202" Body="&lt;p&gt;I have a checkbox for background and its items. , write the script&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;if(thisComp.layer(&amp;quot;Controller &amp;quot;).effect(&amp;quot;Checkbox background &amp;quot;)(&amp;quot;Checkbox&amp;quot;)&amp;gt;0) {100} else {0};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;it is working&lt;/p&gt;&#xA;&lt;p&gt;But when checkbox for another one of the items above that background write the script&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;if(thisComp.layer(&amp;quot;Controller &amp;quot;).effect(&amp;quot;Checkbox percents&amp;quot;)(&amp;quot;Checkbox&amp;quot;)&amp;gt;0) {100} else {0}; &#xA;if(thisComp.layer(&amp;quot;Controller &amp;quot;).effect(&amp;quot;Checkbox background &amp;quot;)(&amp;quot;Checkbox&amp;quot;)&amp;gt;0) {100} else {0};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but not working&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pmgs0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pmgs0.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="31900" LastEditorUserId="1950" LastEditDate="2022-07-03T12:18:26.560" LastActivityDate="2022-07-03T12:18:26.560" Title="how to Checkbox Control one item twice in after effect?" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33193" PostTypeId="1" CreationDate="2021-01-28T16:33:48.730" Score="1" ViewCount="286" Body="&lt;p&gt;e.g.&lt;/p&gt;&#xA;&lt;p&gt;my composition width is 4480&lt;/p&gt;&#xA;&lt;p&gt;I have a layer with a gradient ramp effect with an x start positon of 1026 and I want to generate and store the value of the x position on the other side of the composition which would be 3454.&lt;/p&gt;&#xA;&lt;p&gt;Then have a duplicate of that effect on another layer get the stored value or have the value sent to it&lt;/p&gt;&#xA;" OwnerUserId="33709" LastActivityDate="2021-01-29T18:05:00.303" Title="In After Effects how can I generate the value of an opposite x position and then send that value to an effect on another layer?" Tags="|after-effects|automation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33194" PostTypeId="2" ParentId="32941" CreationDate="2021-01-28T17:22:59.980" Score="0" Body="&lt;p&gt;Currently only the 'aac_low' profile supports VBR encoding.&lt;/p&gt;&#xA;" OwnerUserId="33714" LastActivityDate="2021-01-28T17:22:59.980" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33195" PostTypeId="1" CreationDate="2021-01-29T06:42:32.150" Score="0" ViewCount="142" Body="&lt;p&gt;Converting an existing clean 8k Quicktime Prores 444 file in FFmpeg yields banding.  It's a lenflare with a completely smooth gradient from center out to edge of frame (no alpha).  If I use AE2020 to convert it to Prores 444, the new file is clean without banding.  Am I doing something wrong?  Here is the command string:&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg.exe -i file_8k.mov -map_metadata -1 -c:v prores_ks -profile:v 4 -pix_fmt yuv444p10le -color_primaries 1 -color_trc 1 -colorspace 1 -color_range 2 -y file_6k.mov&lt;/p&gt;&#xA;&lt;p&gt;In this case I'm converting it down to 6k, however other resolutions show the same problem, plus even converting to the same res.&lt;/p&gt;&#xA;" OwnerUserId="33717" LastActivityDate="2021-01-29T06:42:32.150" Title="ffmpeg prores 4444 banding" Tags="|ffmpeg|prores|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="33196" PostTypeId="2" ParentId="25879" CreationDate="2021-01-29T12:55:11.897" Score="0" Body="&lt;p&gt;I know this is quite old, but I just figured it out, since the &amp;quot;embed&amp;quot; thing didn't work for me. Youtube blocks the view all the time with suggestions to log in or accept cookie messages.&lt;/p&gt;&#xA;&lt;p&gt;Here is what you can do:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open VLC locally&lt;/li&gt;&#xA;&lt;li&gt;Go to &amp;quot;Open Network&amp;quot;&lt;/li&gt;&#xA;&lt;li&gt;Paste your Youtube Video link&#xA;(VLC will convert the URL into a link to a playable video stream)&lt;/li&gt;&#xA;&lt;li&gt;Save the playlist as .m3u file&lt;/li&gt;&#xA;&lt;li&gt;Open the .m3u file in a text editor&lt;/li&gt;&#xA;&lt;li&gt;Copy the line starting with &amp;quot;https://&amp;quot;&lt;/li&gt;&#xA;&lt;li&gt;Open OBS&lt;/li&gt;&#xA;&lt;li&gt;Add a &amp;quot;VLC Video Source&amp;quot;&lt;/li&gt;&#xA;&lt;li&gt;Go to &amp;quot;playlist&amp;quot; and hit &amp;quot;+&amp;quot;&lt;/li&gt;&#xA;&lt;li&gt;Paste the URL copied from VLC&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Voilá! The video plays in the VLC source.&lt;/p&gt;&#xA;" OwnerUserId="33722" LastEditorUserId="33722" LastEditDate="2021-01-29T13:13:32.353" LastActivityDate="2021-01-29T13:13:32.353" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33197" PostTypeId="2" ParentId="33186" CreationDate="2021-01-29T15:25:02.983" Score="3" Body="&lt;p&gt;To anyone who has similar questions, I think I solved it. Pay attention to voltage inputs to your devices. The blackmagic monitor I was using has a power input of 12v using the two-pin barrel connector. The barrel connecter d-tap cable I was using was unregulated therefore it was pushing out more than 12v. What I need is a l-series dummy battery connected to d-tap regulated down to 8v or so, which do exist. The only reason my entire system didn’t fry was because my battery was only about a quarter charged. If it was full, I would have sent almost 18v to the monitor, probably killing it and maybe some other stuff along the way. Check input voltages on everything you’re planning on connecting to your battery.&lt;/p&gt;&#xA;" OwnerUserId="33697" LastActivityDate="2021-01-29T15:25:02.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33198" PostTypeId="5" CreationDate="2021-01-29T16:07:47.413" Score="0" Body="&lt;p&gt;FFprobe gathers information from multimedia streams and prints it in human- and machine-readable fashion.&lt;/p&gt;&#xA;&lt;p&gt;Documentation: &lt;a href=&quot;http://ffmpeg.org/ffprobe.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://ffmpeg.org/ffprobe.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24169" LastEditorUserId="24169" LastEditDate="2021-02-02T11:20:02.630" LastActivityDate="2021-02-02T11:20:02.630" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33199" PostTypeId="4" CreationDate="2021-01-29T16:07:47.413" Score="0" Body="FFprobe gathers information from multimedia streams and prints it in human- and machine-readable fashion." OwnerUserId="24169" LastEditorUserId="24169" LastEditDate="2021-02-02T11:20:12.163" LastActivityDate="2021-02-02T11:20:12.163" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33201" PostTypeId="2" ParentId="33193" CreationDate="2021-01-29T18:05:00.303" Score="2" Body="&lt;p&gt;I think what you're asking to do is simple using &lt;a href=&quot;https://helpx.adobe.com/uk/after-effects/user-guide.html/uk/after-effects/using/expression-basics.ug.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Expressions&lt;/a&gt;.&#xA;If you alt-click on the stop watch of any keyframe-able control you can write an expression to connect that control to another control.&#xA;So if you want to control the end of ramp's x position using the start of ramp's x position in your example, it would be:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;x = 4480-(effect(&amp;quot;Gradient Ramp&amp;quot;)(&amp;quot;Start of Ramp&amp;quot;)[0]);&#xA;y = 1080;&#xA;[x,y];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CszPN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CszPN.png&quot; alt=&quot;screengrab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The [0] indicates an &lt;a href=&quot;https://aeexpressions.blogspot.com/2006/07/lesson-2-arrays-and-variables.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;array&lt;/a&gt; - it means &amp;quot;take the x position of the &amp;quot;start of ramp&amp;quot;, which has two values, x and y, which can be called as [0] or &lt;a href=&quot;https://i.stack.imgur.com/CszPN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;2&lt;/a&gt; in the array.&lt;/p&gt;&#xA;&lt;p&gt;To duplicate this in another layer, duplicate your first layer using cmd+D, then add an Expression to the start of ramp in the duplicated layer:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sFACa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sFACa.png&quot; alt=&quot;grab2&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can use the &lt;a href=&quot;https://www.premiumbeat.com/blog/pick-whip-adobe-after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;pickwhip&lt;/a&gt; to select the control you want to enter into the expression&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-01-29T18:05:00.303" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33204" PostTypeId="1" CreationDate="2021-01-30T03:25:32.153" Score="2" ViewCount="45" Body="&lt;p&gt;In After Effects, I have an image layer that consists a few colors. Underneath I have several other layers (textures). I want to replace each color of the image&#xA;above with one of the textures below.&#xA;Is there an easy way to apply multiple color keys to this one image - and to link each color key to a different texture layer?&lt;/p&gt;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="33729" LastActivityDate="2021-02-03T00:03:34.120" Title="Applying different color keys to one layer in AE" Tags="|after-effects|greenscreen|color|chromakey|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33205" PostTypeId="2" ParentId="33188" CreationDate="2021-01-30T13:19:42.727" Score="2" Body="&lt;p&gt;What do you consider &amp;quot;normal&amp;quot; filming?&lt;/p&gt;&#xA;&lt;p&gt;I've filmed a lot in theatres with audiences, usually in performances that are primarily for the audience, and the video recording is a secondary consideration. Usually the camera in this scenario is back far from the stage (behind the audience, so you're not in anyone's way), and the camera positions are fixed. You're capturing the performance live, and don't know exactly when/where the performers will be, so framing is usually paying attention and a bit of guesswork. The focus is usually fixed in the right general area, which is fine for wide shots from up the back of the theatre. If anyone on stage has a mic, usually there's a clean audio feed to the camera of that, as well as any music (although you can also re-dub anything from a pre-recorded source later). Other than that, there is also usually an auditorium mic for the camera, to pick up any other audio (non-mic voice/singing, any other live sounds). Lighting is also usually for the &amp;quot;live&amp;quot; show, and from a camera point of view you're just having to adjust on the fly, and cope with whatever you're given.&lt;/p&gt;&#xA;&lt;p&gt;There are various pros and cons to filming without the audience.&lt;/p&gt;&#xA;&lt;p&gt;Pros: From a visual perspective, with no audience you can bring the camera much closer, which will give you a better (sharper/detailed) image. Your perspective is usually more in line with the stage (level) than what you can get from further back. You can also start choosing from more camera angles - if the material calls for it, and depending on how much editing you want to do. During COVID, I saw a few people film more in the style of TV production - you can block out exactly where everyone is going to be, and get in close (even on stage) with DSLR setups, different lenses, etc. It's a whole different look than what I normally do with video cameras from the back of a theatre. You can also control the lighting to be camera friendly, and make sure lights/colours that are unfriendly to cameras aren't in use. Being up closer means better sound recording also, and no audience sounds getting in the way.&lt;/p&gt;&#xA;&lt;p&gt;Cons: DSLR filming is a different skillset to using a Video Camera. I'd be comfortable guiding anyone on video camera setup for a live show, if you handed me a DSLR to film a non-live setup, I feel it would be like starting with almost no experience - I'd need some guidance myself! Remember to consider that the two scenarios are different, so if you train someone only in filming up close with DSLR setups, they can't directly just swap over to filming a live show with a video camera, and vice versa. Secondary to that is the lack of audience - if you film without any audience sound (applause, laughter, reaction, etc), your performance will sound dead. If you break items up into scenes, and then re-dub your audio track later, it won't sound like it was recorded in a theatre &amp;quot;live&amp;quot;. It will depend on whether you want it to still look/sound like a production that was recorded &amp;quot;live&amp;quot;, or if you're happy for it to look/sound like it was performed for camera only. I filmed some dance numbers without an audience - the director decided that with no audience they could therefore give stage direction during the items, because I could just use the music audio track only, and didn't need to use the live mic sound - to me the final product looks like it was filmed in a theatre, but doesn't sound like it - it sounds like a studio recorded track, not a live theatre performance recorded track - any sound of any footwork is lost, etc.&lt;/p&gt;&#xA;&lt;p&gt;Hopefully that gives you enough to consider. As always there is no &amp;quot;correct&amp;quot; way to do this, it's largely a bunch of trade offs to consider, which affect what the finished product looks and sounds like versus what you want to achieve.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2021-01-30T13:19:42.727" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33206" PostTypeId="1" CreationDate="2021-01-30T19:41:10.167" Score="1" ViewCount="13" Body="&lt;p&gt;I'm struggling to get a mental model of how FCPX actually works, in particular the relationship between my actual audio and video files, the representation of them in FCP, and what actually gets exported, via Compressor in my case.&lt;/p&gt;&#xA;&lt;p&gt;As I understand it, FCPX doesn't make changes to the underlying media. Clips contain references to the underlying media with additional meta data, but manipulating a clip leaves the original audio or video file in tact.&lt;/p&gt;&#xA;&lt;p&gt;However, when you synchronise a Video clip with an Audio clip, you're presented with this UI...&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HoiWO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HoiWO.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;There's a lot of options there, and I'm not sure why. However, all I really want to know is wether those setting actually mean anything when I export my project using compressor. For example, if I have 4k footage and I send my project to compressor and export as 4k, but FCPX has a synced clip with a video format of 720p, does that mean compressor will receive a 720p version of the original media that it then upscales to 4k, or will compressor get the original 4k file?&lt;/p&gt;&#xA;&lt;p&gt;I'm assuming Compressor gets the original 4k media. It seems crazy to do it any other way. Also, those synchronised clips don't seem to exist in my library. But I'm just really confused by why FCPX presents these options when you synchronise audio and video and I suspect it's because I'm lacking some fundamental knowledge that would help me proceed with confidence.&lt;/p&gt;&#xA;&lt;p&gt;I realise this is potentially a broad question that may be difficult to answer succinctly, but I'd be happy with a link to some part of the documentation or a blog post that you feel sheds some light on this.&lt;/p&gt;&#xA;" OwnerUserId="33342" LastActivityDate="2021-01-30T19:41:10.167" Title="When synchronising Video and Audio in FCPX, do the settings matter?" Tags="|fcpx|apple|compression-data|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33207" PostTypeId="2" ParentId="26121" CreationDate="2021-01-31T00:25:01.430" Score="1" Body="&lt;p&gt;This happened after I applied effects (lumetri color) to one clip of my three cameras in the master timeline, that camera remained in the muticam timeline with yellow over it but wherever cam 2 and 3 were (which had no effects on them) there were holes of no yellow, I fixed this by going the the master timeline clicking on the cam 2 and 3 clips individually and messin with the effects, not really adding any, but moving the temperature and tint bar, for example, as if I was, and then returning it to zero. This restored yellow over all my clips in muticam view, because, it seems, premiere registered me adding effects. Weird.&lt;/p&gt;&#xA;" OwnerUserId="33737" LastActivityDate="2021-01-31T00:25:01.430" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33208" PostTypeId="1" CreationDate="2021-01-31T00:40:20.360" Score="0" ViewCount="47" Body="&lt;p&gt;Is there a way to track an easily identifiable white object that appears in every frame of a video and apply an effect like blur to the space it occupies for every frame that it appears?&lt;/p&gt;&#xA;&lt;p&gt;In Adobe Premiere Pro, the object would have to be manually &lt;em&gt;selected&lt;/em&gt; in its first appearance, and from there you apply a tracking mask for the blur effect for one entire run through the video to track it all the way through to the last frame,&lt;/p&gt;&#xA;&lt;p&gt;but I'm instead looking for a tracker that does not have to be manually attached. Instead it should detect the patch of white, or white object, automatically for every frame that it appears, and applies the effect to each detected frame wherever the object is located at that time.&lt;/p&gt;&#xA;&lt;p&gt;The object is distinctive in color  against the different-colored background and other objects in the video because of its solid color, and moves to different positions each frame (not fixed in one place), that's why it should be possible somehow maybe by &lt;strong&gt;color detection&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="33408" LastActivityDate="2023-02-20T07:04:25.547" Title="Effect that detects white object throughout entire video and blurs it, without manually running tracking mask?" Tags="|premiere|adobe|effects|tracking|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33209" PostTypeId="2" ParentId="33208" CreationDate="2021-01-31T04:38:05.543" Score="1" Body="&lt;p&gt;Not really. Color detection, when you’re looking for a white object is really the same thing as what’s known as a “luma key.” So, you can try that, but you’ll quickly see why the VFX industry prefers chroma keys. You could try a machine learning based approach, and both Premiere and Davinci Resolve have ML object removal, but it’s less automatic, and more error prone than you’d expect, and requires certain conditions to be successful at all. Of course, the state of the art is advancing quickly, and this could change in the near future.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-01-31T04:38:05.543" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33210" PostTypeId="1" CreationDate="2021-01-31T11:02:40.910" Score="0" ViewCount="185" Body="&lt;p&gt;I guess i explain what i need in the title but if not i want to make something like this.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/0-NW47sXur0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="33740" LastActivityDate="2021-02-01T19:57:10.057" Title="How to append or join multiple times a video file (single file) to make a 10hour long video of that same file using ffmpeg? is there a way?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ClosedDate="2021-02-02T11:20:46.837" ContentLicense="CC BY-SA 4.0" />
  <row Id="33211" PostTypeId="1" CreationDate="2021-01-31T17:44:04.563" Score="0" ViewCount="22" Body="&lt;p&gt;Consider an arm-cast device programmed to connect with, or be detected by, video editing software during post-production, for the application of video effects wherever the device appears in frame.&lt;/p&gt;&#xA;&lt;p&gt;If someone in the video wears the arm cast, is filmed wearing it, and the video shoot finishes and recording is stopped, can the video editing software like Adobe Premiere Pro connect to or identify that device within the film, and apply some pre-set special effects to it in each video frame the arm cast appears?&lt;/p&gt;&#xA;&lt;p&gt;Do wearable clothes or devices recognizable by video editing software exist like this? If so, link some examples&lt;/p&gt;&#xA;" OwnerUserId="33408" LastActivityDate="2021-01-31T17:44:04.563" Title="Wearable body gear that automatically evokes video effects during editing?" Tags="|premiere|video-editor|editing|" AnswerCount="0" CommentCount="13" ContentLicense="CC BY-SA 4.0" />
  <row Id="33212" PostTypeId="1" CreationDate="2021-02-01T00:24:22.503" Score="0" ViewCount="203" Body="&lt;p&gt;I have a Zoom video that I &amp;quot;cut&amp;quot; into two videos:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 0131.mp4 -ss 55 -t 38:52 -codec copy 0131-1.mp4&#xA;ffmpeg -i 0131.mp4 -ss 40:00 -t 1:52 -codec copy 0131-2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I then merged into one using [concat demuxer][1] in ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;The merged video plays, but the first 15 seconds of the merged video is blank (audio plays okay). What do I need to do so that first 15 seconds of the merged video also displays? Is this due to a &amp;quot;keyframe&amp;quot; not appearing for 15 seconds after my cut point?&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0(und): Audio: aac (LC) (mp4a / 0x6134706D), 32000 Hz, mono, fltp, 126 kb/s (default)&#xA;Metadata:&#xA;  creation_time   : 2021-01-31T21:53:20.000000Z&#xA;  handler_name    : AAC audio&#xA;Stream #0:1(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x720, 741 kb/s, 25 fps, 25 tbr, 30k tbn, 60k tbc (default)&#xA;Metadata:&#xA;  creation_time   : 2021-01-31T21:53:20.000000Z&#xA;  handler_name    : H.264/AVC video&#xA;  encoder         : AVC Coding&#xA;Stream #0:2(und): Data: bin_data (text / 0x74786574), 0 kb/s&#xA;Metadata:&#xA;  creation_time   : 2021-01-31T21:53:20.000000Z&#xA;  handler_name    : Text&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="3199" LastEditorUserId="3199" LastEditDate="2021-02-06T03:07:58.017" LastActivityDate="2024-02-21T10:03:00.357" Title="How do I make a trimmed video show the missing frames from a Zoom recording using ffmpeg?" Tags="|ffmpeg|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33215" PostTypeId="2" ParentId="32649" CreationDate="2021-02-01T17:16:33.867" Score="1" Body="&lt;p&gt;We used RTSP and it works fine.  There are a few benefits of NDI (like doing PTZ controls over that protocol) but not worth the price jump for the cameras, in my opinion ($600 to upgrade each camera to NDI).&lt;/p&gt;&#xA;&lt;p&gt;We do notice a ~200 ms delay in the video reaching the mixing PC behind the audio so we just use Vmix to delay the sound and match them up.&lt;/p&gt;&#xA;" OwnerUserId="33753" LastActivityDate="2021-02-01T17:16:33.867" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33216" PostTypeId="1" CreationDate="2021-02-01T19:22:04.060" Score="3" ViewCount="385" Body="&lt;p&gt;I often see a map overlay in people's driving videos (showing a map in a corner that moves along the street to match the camera location of the main video as they drive through a street).&lt;/p&gt;&#xA;&lt;p&gt;How do I create this? I use FCPX on a Mac.&lt;/p&gt;&#xA;&lt;p&gt;I'm aware of the Relive app, but the video that app creates is in 3D, and moves much faster than the driving speed. I'm looking for a 2D version which show the video moving at the actual driving speed, and shows street names.&lt;/p&gt;&#xA;&lt;p&gt;If not possible through an app, perhaps I can import the gpx data into a software that creates such an animated video.&lt;/p&gt;&#xA;&lt;p&gt;I'm grappling for the best way to do this.&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="33754" LastActivityDate="2024-02-17T10:01:20.193" Title="Displaying map overlay in Final Cut Pro" Tags="|final-cut-pro-x|tracking|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33217" PostTypeId="2" ParentId="33210" CreationDate="2021-02-01T19:57:10.057" Score="0" Body="&lt;p&gt;You can use the Windows command line (DOS or &lt;code&gt;cmd&lt;/code&gt;) using &lt;code&gt;copy /b 00001.mts+00001.mts K:\Merged.mts&lt;/code&gt; as explained in this step-by-step tutorial, where in your case &lt;code&gt;00001.mts&lt;/code&gt; is the identical file repeated over and over again:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://photography.tutsplus.com/tutorials/3-free-ways-to-join-spanned-avchd-video-files-into-continuous-clips-on-windows--cms-25830&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://photography.tutsplus.com/tutorials/3-free-ways-to-join-spanned-avchd-video-files-into-continuous-clips-on-windows--cms-25830&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Connecting the same file 6 times instead of twice, you would just replace in&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;00001.mts+00001.mts+00001.mts+00001.mts+00001.mts+00001.mts&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="33408" LastActivityDate="2021-02-01T19:57:10.057" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33218" PostTypeId="2" ParentId="33216" CreationDate="2021-02-02T03:49:18.767" Score="0" Body="&lt;p&gt;With a quick search I found this &lt;a href=&quot;http://www.tripgeo.com/Directionsmap.aspx&quot; rel=&quot;nofollow noreferrer&quot;&gt;website&lt;/a&gt;, simulating a drive with google maps. When you have your maps simulation you should be able to easily match the speed with FCPX to the footage.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2021-02-02T03:49:18.767" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33219" PostTypeId="1" CreationDate="2021-02-02T04:05:08.583" Score="4" ViewCount="2421" Body="&lt;p&gt;Working with raw &lt;code&gt;.mts&lt;/code&gt; (MP4) video scenes that are about 6.5 GB in size each (but automatically  partitioned by the camcorder into separate 10-minute chunks), what arguments are there for not storing them on SD cards?&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;From experience, USB drives are high-risk storage devices since they&#xA;can become corrupted without warning, rendering all data on them&#xA;inaccessible.&lt;/li&gt;&#xA;&lt;li&gt;External hard drives are just too heavy.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;This leaves SD cards, they are lightweight. Is it a bad idea to store raw video files on SD cards? How about microSD cards?&lt;/p&gt;&#xA;&lt;p&gt;Is there a better storage device than all four?&lt;/p&gt;&#xA;" OwnerUserId="33408" LastActivityDate="2021-02-02T12:24:30.103" Title="Store video files on USB, SD card, microSD, or external hard drive?" Tags="|mp4|storage|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33220" PostTypeId="2" ParentId="33219" CreationDate="2021-02-02T10:31:26.320" Score="5" Body="&lt;p&gt;I strongly advice against microSD cards because they will get lost. They're just too tiny.&lt;/p&gt;&#xA;&lt;p&gt;There are external SSDs which weigh not much, 50g maybe 100g, I think this is not much weight. Of course you need a way to attach the drive to the camcorder or rig, adding a bit more weight. When filming hand-held, the additional weight and a different center of weight might be an issue which plays a larger role.&lt;/p&gt;&#xA;&lt;p&gt;Since you mention data loss with USB: this can actually happen at any time with any technology. I've heard people having such a problem with SD cards too and experienced it myself. SD cards don't naturally perform better than USB drives here, because the interface and storage technology is not the problem. The camera's operating system is causing these write errors, especially when using an improper file system. Therefore, using SD cards does not automatically protect you from errors.&lt;/p&gt;&#xA;&lt;p&gt;Whether you lose access to all data or just the last written file depends largely on the file system, for mass-market cameras they usually use inferior file systems, like the out-dated FAT32. Hence, the fear to lose all data due to one write error is not unrealistic.&lt;/p&gt;&#xA;&lt;p&gt;Keep an eye on write speed and general compatibility. The camcorder's manual should contain all relevant information. SD cards need to be fast enough to store raw data. SSDs can be faster, but not faster then the USB connection, and camcorder capabilities allow.&lt;/p&gt;&#xA;&lt;p&gt;High-end cameras use PCI Express as an interface to the SSD for this reason or have proprietary systems. CFast cards are used too. I consider all these high-end systems to be better than the ones you mentioned, but it will be useless to think about it this way if you don't have a camera which could make use of these. You first should ask yourself what exactly you will film, what requirements result, and finally what gear fulfills the requirements.&lt;/p&gt;&#xA;&lt;p&gt;It's not helpful to find out what's the best storage solution in existance, if it's over the budget and  a simpler solution would work for your case too. If you want to film scenes that are unique or cannot be easily repeated and the budget is low, just try to buy/rent a 2nd camera and run both at the same time for the critical scenes. This way you're not only protected against storage failures but also against any camera failures, because it's highly unlikely that both cameras fail at the same time. Have a laptop on the set to create file backups as needed.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2021-02-02T12:24:30.103" LastActivityDate="2021-02-02T12:24:30.103" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="33221" PostTypeId="2" ParentId="33219" CreationDate="2021-02-02T11:02:33.630" Score="6" Body="&lt;p&gt;Generally, it’s a bad idea to store data on SD or micro SD cards for any substantial period of time. If you’re a hobbyist, traveling, and plan to transfer to a hard drive when you get home, that’s fine.  But if you’re a traveling media specialist, you want to get your data off of SD/micro SD as soon as possible, for a number of reasons;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Those cards are easily corrupted, because they have very little shielding against electromagnetic or static discharge, and don’t have built in error correction circuitry. They are absolutely higher risk than USB hard drives.&lt;/li&gt;&#xA;&lt;li&gt;They are easy to lose, because they’re small.&lt;/li&gt;&#xA;&lt;li&gt;They break.  The plastic wears down over time, especially after several hundred insert cycles. The thin strips of plastic that separate the contact “teeth” of SD cards are especially fragile, and when they break off, they can damage your camera.&lt;/li&gt;&#xA;&lt;li&gt;They’re made and priced to cycle data. It’s more economical to store long-term data on media designed for that purpose. If you bought a new SD card every time it was full of photos, you’d be throwing money away.&lt;/li&gt;&#xA;&lt;li&gt;They’re not designed for random access.  They’re designed to write data quickly and sequentially, but reading it quickly isn’t a priority,  and constant random read/writes would not only be very slow, but would also shorten the card’s lifespan.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;What you should use instead depends on how you intend to use it; how long you intend to keep the data, how often you plan to read the data, how quickly you need to read the data, and how much money you’re willing to spend.&lt;/p&gt;&#xA;&lt;p&gt;No, portable hard drives aren’t as reliable as desktop ones, but they are more... portable.  Portable SSDs are faster and more reliable than spinning metal, but they’re more expensive and have lower capacity.  If you really want to protect your data while traveling, you can get portable 2-drive RAIDs, with either SSDs or HDDs, but they’ll be at least double the price of their single-disk counterparts.  If you’re a DIT working on a major motion picture, you might possibly lose your job for not using an actual RAID.  If you’re a digital finisher, you probably have all of the above, plus maybe LTO.  Yes, tapes are still the most economical way to store data long-term, and they have a lifespan of around 30 years.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-02-02T11:10:40.087" LastActivityDate="2021-02-02T11:10:40.087" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33223" PostTypeId="2" ParentId="20933" CreationDate="2021-02-02T19:08:46.217" Score="1" Body="&lt;p&gt;This is certainly possible, and rather easy to do, for example with &lt;a href=&quot;https://mkvtoolnix.download/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MKVToolnix&lt;/a&gt;, adding the second file as new source to current settings (just darg &amp;amp; drop the files)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fyr2u.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fyr2u.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0Gu6G.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0Gu6G.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Matroska video can handle multiple streams, and so can mp4. MKVToolnix gives only mkv as output I think. For various output formats a good  tool is &lt;a href=&quot;http://dmsimpleapps.blogspot.com/2014/04/dmmediaconverter.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;dmMediaConverter&lt;/a&gt;, which is less known but is a great ffmpeg frontend.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AKpOg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AKpOg.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;The output has the expected size of the two input sizes added up.&lt;/p&gt;&#xA;&lt;p&gt;As for playing the resulting movie and switching between the video streams, VLC can do it, as well as Gnome Mpv (in Linux). SMPlayer was less good (sometimes jumped forward when switching or just crashed). MPV with pseudo-gui has no option for the switch. (Tested in Linux.)&lt;/p&gt;&#xA;" OwnerUserId="22271" LastEditorUserId="22271" LastEditDate="2021-02-08T10:03:00.273" LastActivityDate="2021-02-08T10:03:00.273" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33224" PostTypeId="2" ParentId="33204" CreationDate="2021-02-03T00:03:34.120" Score="1" Body="&lt;p&gt;You'll have to make as many duplicates of the layer as there are colours. Apply the appropriate key to each copy, and place the layer you want it to reveal beneath it. On the revealed layer use a track matte, and set it to &amp;quot;Alpha Inverted…&amp;quot;. This will hide the keyed layer and use its alpha channel (transparency) to reveal the layer underneath it, but only in the transparent areas.&lt;/p&gt;&#xA;&lt;p&gt;Your layer stack will look like this, but for any areas not in any of the keys you'll also need a copy of the original layer at the &lt;em&gt;bottom&lt;/em&gt; of the stack:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vgFiN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vgFiN.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-02-03T00:03:34.120" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33225" PostTypeId="2" ParentId="33192" CreationDate="2021-02-03T00:30:45.600" Score="1" Body="&lt;p&gt;Expressions are evaluated until they return a value. Your first line will always return a value, and the expression will stop there. Think about what you're telling the property to do:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;If the percents checkbox is ticked then you're set to 100 otherwise&#xA;you're 0, Okthxbye.&lt;br /&gt;&#xA;Oh, did I mention also if the background checkbox is ticked&#xA;then you're set to 100 otherwise you're 0.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;What happens if percents is ticked but background isn't?&lt;/p&gt;&#xA;&lt;p&gt;What you need to use is boolean logic. So if you want the opacity to be 100 if either checkbox is ticked you'd say: if &lt;em&gt;percents&lt;/em&gt; is ticked &lt;strong&gt;or&lt;/strong&gt; &lt;em&gt;background&lt;/em&gt; is ticked then &lt;em&gt;100&lt;/em&gt;, otherwise &lt;em&gt;0&lt;/em&gt;. The javascript way of writing this is to use the logical &lt;strong&gt;or&lt;/strong&gt; operator: &lt;code&gt;||&lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;let percents = thisComp.layer(&amp;quot;Controller &amp;quot;).effect(&amp;quot;Checkbox percents&amp;quot;)(&amp;quot;Checkbox&amp;quot;);&#xA;let bg = thisComp.layer(&amp;quot;Controller &amp;quot;).effect(&amp;quot;Checkbox background &amp;quot;);&#xA;if (percents &amp;gt; 0 || bg &amp;gt; 0) { 100 } else {0}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;the two &lt;code&gt;let&lt;/code&gt; statements just assign variables to the checkbox values, to keep the logic bit tidy, otherwise it looks like&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;if(thisComp.layer(&amp;quot;Controller &amp;quot;).effect(&amp;quot;Checkbox percents&amp;quot;)(&amp;quot;Checkbox&amp;quot;)&amp;gt;0 || thisComp.layer(&amp;quot;Controller &amp;quot;).effect(&amp;quot;Checkbox background &amp;quot;)(&amp;quot;Checkbox&amp;quot;)&amp;gt;0) {100} else {0};&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Which is a bit hard to read. You could also shorten the last line by omitting the &lt;code&gt;&amp;gt; 0&lt;/code&gt; bit. If something is equal to 0, javascript treats it as &lt;code&gt;false&lt;/code&gt; and anything &amp;gt; 0 is automatically truth`. So the last line could be simply:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;if (percents || bg) { 100 } else {0}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now if you wanted the opacity to be 100 only if both the checkboxes were checked then you'd say: I want you to be 100 if &lt;em&gt;percents&lt;/em&gt; is checked &lt;strong&gt;and&lt;/strong&gt; &lt;em&gt;background&lt;/em&gt; is checked. The javascript notation for a logical &lt;strong&gt;and&lt;/strong&gt; is &lt;code&gt;&amp;amp;&amp;amp;&lt;/code&gt;. So now your expression would look like&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;let percents = thisComp.layer(&amp;quot;Controller &amp;quot;).effect(&amp;quot;Checkbox percents&amp;quot;)(&amp;quot;Checkbox&amp;quot;);&#xA;let bg = thisComp.layer(&amp;quot;Controller &amp;quot;).effect(&amp;quot;Checkbox background &amp;quot;);&#xA;if (percents &amp;amp;&amp;amp; bg) { 100 } else {0}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Boolean logic can be more complex, you can use &lt;strong&gt;not&lt;/strong&gt; (or in JS notation &lt;code&gt;!&lt;/code&gt;) to return &lt;code&gt;true&lt;/code&gt; when something is &lt;code&gt;false&lt;/code&gt;, e.g. &lt;code&gt;!(1 == 1)&lt;/code&gt; returns &lt;code&gt;false&lt;/code&gt;, and you can group things together using brackets to make more complex expressions. E.g.:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;if ((! percents) &amp;amp;&amp;amp; background){100} else {0}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;returns 100 only if percents is &lt;strong&gt;not&lt;/strong&gt; checked &lt;strong&gt;and&lt;/strong&gt; background is checked. Boolean logic can be represented by Truth tables, like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZEP6u.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZEP6u.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2022-03-01T22:38:24.523" LastActivityDate="2022-03-01T22:38:24.523" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33226" PostTypeId="1" AcceptedAnswerId="33227" CreationDate="2021-02-03T10:36:54.087" Score="0" ViewCount="1135" Body="&lt;p&gt;I dont know if its possible but I would like to create voice similar to Gandalf from Lord of the rings. Is there some app or program which can help me? I know that I can use google translator but it is not same as human voice&lt;/p&gt;&#xA;&lt;p&gt;Sorry if this question was asked before.&lt;/p&gt;&#xA;" OwnerUserId="33695" LastActivityDate="2023-10-29T08:26:36.600" Title="How can I generate voice as someone elses voice?" Tags="|video|video-editor|audio|video-recording|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33227" PostTypeId="2" ParentId="33226" CreationDate="2021-02-03T12:13:45.197" Score="0" Body="&lt;p&gt;I have used &lt;a href=&quot;https://github.com/CorentinJ/Real-Time-Voice-Cloning&quot; rel=&quot;nofollow noreferrer&quot;&gt;Real-time Voice Cloning&lt;/a&gt; for this purpose. The quality isn't great, but it works for US accented voices better than UK in my experience (Gandalf = Ian McKellen = English).  Maybe this would be better in &lt;a href=&quot;https://sound.stackexchange.com/&quot;&gt;Sound Design&lt;/a&gt;?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-02-03T12:13:45.197" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33229" PostTypeId="2" ParentId="2818" CreationDate="2021-02-04T00:15:19.657" Score="1" Body="&lt;p&gt;The only reasonable way in premiere is to nest the footages and use the nested comp to edit. if you open the original footage in the nested comp you can change every bit of the fotage in one go.&lt;/p&gt;&#xA;&lt;p&gt;The other way is to use davinci resolve, it can do this, and it is amazing.&lt;/p&gt;&#xA;" OwnerUserId="33784" LastActivityDate="2021-02-04T00:15:19.657" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33230" PostTypeId="1" CreationDate="2021-02-04T00:26:07.387" Score="1" ViewCount="605" Body="&lt;p&gt;I am rendering a &lt;code&gt;-filter_complex&lt;/code&gt; output that has two input videos that are trimmed, and start at various times in the output video. The command looks like this:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg \&#xA;  -ss 234 -itsoffset 3.5 -t 3 -i video_01.mp4 \&#xA;  -ss 23 -itsoffset 3.5 -t 3 -i video_02.mp4 \&#xA;  -ss 3 -itsoffset 5 -t 5 -i video_03.mp4 \&#xA;  -filter_complex 'color=s=1280x720:color=black:duration=10[base];&#xA;[base][0:v]overlay[v_out_0];&#xA;[v_out_0][1:v]overlay=x=main_w - 640[out]' \&#xA;  -map '[out]' \&#xA;  output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What this command should do, is start video_01.mp4 and video_02.mp4 at 00:00:03.5, and video_03.mp4 at 00:00:05. What actually happens is that video_01.mp4 and video_02.mp4 start at &lt;em&gt;roughly&lt;/em&gt; 00:00:03.5, but one appears after the other several hundred milliseconds later. I know this has to do with combining &lt;code&gt;-ss&lt;/code&gt; with &lt;code&gt;-itsoffset&lt;/code&gt; because the videos start at exactly the right time if I remove &lt;code&gt;-ss&lt;/code&gt; from the above command.&lt;/p&gt;&#xA;&lt;p&gt;I have heard that &lt;code&gt;-copyts -vsync 0&lt;/code&gt; is the solution, but the following command (which adds those args) creates an output that includes all of the input's timestamp. E.g. if video_01.mp4 is a 3 minute video, despite the command appearing to render a 10 second video, the output is 3 minutes. The output is also not playable on vlc or mpv.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg \&#xA;  -ss 234 -copyts -vsync 0 -itsoffset 3.5 -t 3 -i video_01.mp4 \&#xA;  -ss 23 -copyts -vsync 0 -itsoffset 3.5 -t 3 -i video_02.mp4 \&#xA;  -ss 3 -copyts -vsync 0 -itsoffset 5 -t 5 -i video_03.mp4 \&#xA;  -filter_complex 'color=s=1280x720:color=black:duration=10[base];&#xA;[base][0:v]overlay[v_out_0];&#xA;[v_out_0][1:v]overlay=x=main_w - 640[out]' \&#xA;  -map '[out]' \&#xA;  output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;How can I offset ffmpeg inputs in a precise way using &lt;code&gt;-itsoffset&lt;/code&gt;?&lt;/p&gt;&#xA;&lt;p&gt;(side note: I have succeeded offsetting inputs precisely with &lt;code&gt;setpts&lt;/code&gt;, but this is slower, probably because it has to rewrite each timestamp)&lt;/p&gt;&#xA;" OwnerUserId="33384" LastActivityDate="2021-02-04T00:26:07.387" Title="how to use -ss and -itsoffset together to precisely delay input start time?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33233" PostTypeId="2" ParentId="26291" CreationDate="2021-02-04T10:04:20.287" Score="1" Body="&lt;p&gt;I've transcoded some of my AVC (h.264) 1080p movies to HEVC (h.265) with 2 pass encoding (using my GPU) and target bitrate set to 50% of original. The other streams (like audio and subtitles) were only copied into the new file.&lt;/p&gt;&#xA;&lt;p&gt;Mostly I'm using Potplayer to play these files with Madshi renderer, and I can't see any difference on a 55&amp;quot; 4k HDR TV with naked eye. The only thing, that I've noticed at some movies, if there are dark scenes with big black backgrounds, the transition from one shade of black (dark grey) to another is built from much more bigger blocks in HEVC, like in AVC version. I say again, these blocks are visible both on AVC and HEVC but only in some of the movies and in HEVC they are a little bit more noticeable.&lt;/p&gt;&#xA;&lt;p&gt;But I'm only a home user, I'm not making professional videos and the 15GB video file vs the 30GB worth it to me.&lt;/p&gt;&#xA;" OwnerUserId="33789" LastActivityDate="2021-02-04T10:04:20.287" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33234" PostTypeId="1" CreationDate="2021-02-04T12:12:51.817" Score="0" ViewCount="1688" Body="&lt;p&gt;I watched this &lt;a href=&quot;https://www.youtube.com/watch?v=Ap0PolnZ-EU&amp;amp;list=PLQJ1oJAiSpDKkaiR1dMe_IohYP7aacRNc&amp;amp;index=6&quot; rel=&quot;nofollow noreferrer&quot;&gt;video&lt;/a&gt; and had loads of questions.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;If NTSC ran into problems with colour and therefore slowed down 30 to 29.976, and 24 to 23.976, why didn't PAL have the same problems and slow down 25 by 0.1%?&lt;/li&gt;&#xA;&lt;li&gt;If PAL and NTSC have been replaced DVB-T, ATSC, ISDB-T, DTMB, why do we still talk about them everywhere, and they show up in settings on cameras? So do the new standards display true 24 and 60 fps? What about 25 fps in PAL regions? Do PAL and NTSC regions still exist?&lt;/li&gt;&#xA;&lt;li&gt;So, what is the point of my camera shooting 23.976? Why don’t we all shoot 24, and let NTSC TV slow down the playback at 0.1%? Alternatively, why not just shoot true 24 because all modern TVs can display it anyway? Is it something to do with the electronics in the camera?&lt;/li&gt;&#xA;&lt;li&gt;The video says delivering at 24 is obviously for DCP projection at digital theatres. So does that mean that if I shoot and deliver at 23.976, it won’t project properly? Why don’t we all shoot and deliver true 24 if TVs can display it anyway? Why is there still this issue with 24, 25, 30 fps, depending on NTSC/PAL regions of 50/60Hz?&lt;/li&gt;&#xA;&lt;li&gt;So what happens if I shoot 23.976 and deliver at 24? Will there be duplicated frames? Or does it become shorter in length? Vice versa, what if I shoot true 24 and deliver at 23.976? Are there skipped frames? Or does it become longer? Likewise, what about compatibility with 25 fps? Say, if 23.976 or 24 was to be broadcast in PAL regions, which you mention have been replaced?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerDisplayName="user33793" LastActivityDate="2023-05-05T07:36:51.330" Title="Why do we still shoot 23.976 if NTSC and PAL have been replaced?" Tags="|framerate|pal|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33235" PostTypeId="2" ParentId="33212" CreationDate="2021-02-04T12:20:53.527" Score="0" Body="&lt;p&gt;Every time I concat, I quickly run it thru this awesome little freeware from Mean beforehand, &lt;a href=&quot;http://avidemux.sourceforge.net/&quot; rel=&quot;nofollow noreferrer&quot;&gt;avidemux&lt;/a&gt;, (MP4 Muxer-&amp;gt;Move index to the beginning of the file-&amp;gt;Save) and it fixes the &lt;em&gt;majority&lt;/em&gt; of any concat issues I've run into. Not sure if it will fix &lt;em&gt;your&lt;/em&gt; issue, but it can't hurt and somewhere down the line avidemux &lt;em&gt;will&lt;/em&gt; come in handy and fix a concat issue if you're having one. Shoutout to Mean for such a helpful piece of freeware!&lt;/p&gt;&#xA;" OwnerUserId="33688" LastActivityDate="2021-02-04T12:20:53.527" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33236" PostTypeId="2" ParentId="33014" CreationDate="2021-02-04T13:57:51.523" Score="0" Body="&lt;p&gt;I think you can achieve this with Fast Video Cataloger. &lt;a href=&quot;https://videocataloger.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;videocataloger.com&lt;/a&gt;&#xA;I would test using playlists and Custom Actions. I am not sure if it covers what you need but can be worth a test.&#xA;Create a catalog with your videos. Tag these with keywords.&lt;/p&gt;&#xA;" OwnerUserId="33725" LastActivityDate="2021-02-04T13:57:51.523" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33237" PostTypeId="2" ParentId="33234" CreationDate="2021-02-04T16:25:29.790" Score="1" Body="&lt;p&gt;&lt;strong&gt;23.976fps still exists because it's a standard.&lt;/strong&gt; Cameras became designed to shoot it, non-linear editing software suites were designed to edit them, and devices were designed to play them. Even though NTSC went away, cameras still shot in 23.976fps. Even if they &lt;em&gt;could&lt;/em&gt; shoot a flat 24fps, it causes issues in the edit room.&lt;/p&gt;&#xA;&lt;p&gt;Putting 24fps footage on a 23.976fps timeline will have some issues but can be mitigated by being slightly slowed down or with pulldown. However, you &lt;strong&gt;will&lt;/strong&gt; run into issues with multi-camera setups and syncing audio, hence &lt;a href=&quot;http://www.reduser.net/forum/showthread.php?102725-24P-or-23-976P-That-is-the-question&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;&#xA;discussion about editors complaining about audio sync drifting.&lt;/p&gt;&#xA;&lt;p&gt;In the end, 23.976fps still a standard because if cameras switched to 24fps, it would cause issues in the edit room, and if editors used 24fps timelines, it would give pretty much everybody after them in the pipeline a hard time. Even if everybody could adapt to 24fps, most delivery standards are designed for 24fps anyways, so it'd have to be converted back to 23.976fps at some point in the pipeline, therefore it'd make it much less of a hassle to just shoot at 23.976fps anyways.&lt;/p&gt;&#xA;" OwnerUserId="33795" LastActivityDate="2021-02-04T16:25:29.790" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33238" PostTypeId="1" CreationDate="2021-02-04T23:31:49.380" Score="1" ViewCount="1849" Body="&lt;p&gt;I want to make a compilation video of Tesla FSD Beta's disengagements. When FSD Beta disengages, it makes a particular sound. I would like a piece of software I can use without having to code that will show me the timestamps of each time the sound is heard. Ideally, it would be a video editor or something similar which could also allow to trim the video. I would prefer if it was free or at least free trial.&lt;/p&gt;&#xA;" OwnerUserId="33801" LastEditorUserId="33801" LastEditDate="2021-02-08T00:54:36.423" LastActivityDate="2021-02-12T23:17:58.197" Title="How to search for a sound in a video" Tags="|audio|youtube|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33239" PostTypeId="1" CreationDate="2021-02-05T08:12:26.943" Score="0" ViewCount="771" Body="&lt;p&gt;I have a bunch of footage shot on a Canon 7d I'd like to transcode for editing in Davinci Resolve (I'm exploring alternatives to using Resolve's proxies).&lt;/p&gt;&#xA;&lt;p&gt;The source footage is 1920x1080 8-bit YUV 4:2:0 @ 25fps.&lt;/p&gt;&#xA;&lt;p&gt;I'd like to use ffmpeg and either the DNxHD or DNxHR encoders but DNxHD doesn't appear to have a matching profile and errors our and DNxHR outputs 4:2:2 video (which is arguably unecessary in this case) and doubles the original file size.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;DNxHR&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;input.mov&amp;quot; -c:v dnxhd  -profile:v dnxhr_sq -pix_fmt yuv422p -c:a pcm_s16le &amp;quot;output.mxf&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;DNxHD&lt;/strong&gt; (errors &amp;quot;maybe incorrect parameters&amp;quot;)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe  -i &amp;quot;input.mov&amp;quot; -vcodec dnxhd &amp;quot;input.mxf&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My questions are as follows:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Are either DNxHD or DNxHR capable of outputing to 4:2:0? Would doing so keep file sizes down?&lt;/li&gt;&#xA;&lt;li&gt;Can DNxHD transcode my source? If yes, how should I ammend the above ffmpeg parameters?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="33807" LastActivityDate="2021-02-05T10:56:03.770" Title="ffmpeg intermediate transcode for 1920 x 1080 8-bit YUV 4:2:0 @ 25fps source" Tags="|ffmpeg|davinci-resolve|dnxhr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33240" PostTypeId="2" ParentId="33239" CreationDate="2021-02-05T10:56:03.770" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;em&gt;Are either DNxHD or DNxHR capable of outputing to 4:2:0?&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;No. Running &lt;code&gt;ffmpeg -h encoder=dnxhd&lt;/code&gt; will list encoder properties, including&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Supported pixel formats: yuv422p yuv422p10le yuv444p10le gbrp10le&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;&lt;em&gt;Can DNxHD transcode my source? If yes, how should I ammend the above ffmpeg parameters?&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The DNxHD encoder only supports a limited number of preset profiles. Each profile is specified of a frame size, interlacing mode, bitrate and pixel format (which also includes chroma sampling scheme).&lt;/p&gt;&#xA;&lt;p&gt;FFmpeg will automatically convert the input to a matching pixel format, but the rest has to be manually set.&lt;/p&gt;&#xA;&lt;p&gt;So, for a 1920x1080 8-bit YUV 4:2:0 @ 25fps source,&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe  -i &amp;quot;input.mov&amp;quot; -c:v dnxhd -b:v 115M &amp;quot;input.mxf&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Try to encode with a non-matching to prompt an error message with the list of supported profiles.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-02-05T10:56:03.770" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33241" PostTypeId="1" AcceptedAnswerId="34449" CreationDate="2021-02-05T12:47:11.103" Score="3" ViewCount="1463" Body="&lt;p&gt;I want to convert a file with &lt;code&gt;TTML&lt;/code&gt; subtitles preferably to &lt;code&gt;STL&lt;/code&gt;, or to &lt;code&gt;SRT&lt;/code&gt; (less preferred). I thought that I would be able to do it with &lt;code&gt;ffmpeg&lt;/code&gt; but apparently they do not support it, because the &lt;code&gt;TTML&lt;/code&gt; is &lt;code&gt;XML&lt;/code&gt;-based. My main goal is to find a way to do this using the command line, so I can use it in a script.&lt;/p&gt;&#xA;" OwnerUserId="19853" LastEditorUserId="36394" LastEditDate="2021-10-04T10:01:48.123" LastActivityDate="2023-08-15T11:41:04.140" Title="Convert TTML Subtitles to STL or SRT in Linux" Tags="|ffmpeg|subtitles|linux|command-line|.srt|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33242" PostTypeId="2" ParentId="33238" CreationDate="2021-02-05T13:12:15.853" Score="1" Body="&lt;p&gt;You'd probably &lt;em&gt;want&lt;/em&gt; to download them, and process the audio, so that you could search faster than realtime.  Doing that without a paid, premium subscription might violate YouTube's Terms of Service, and it might even violate the TOS &lt;em&gt;WITH&lt;/em&gt; a premium subscription, so be sure you study those carefully, first.&lt;/p&gt;&#xA;&lt;p&gt;If you can manage to download them, you might be able to use fast Fourier analysis to fingerprint the sound, and then search the files for it.  You don't necessarily need to know all of the details about the signal processing, as long as you can find a tool that'll help you do it.  I'd recommend having a look at &lt;a href=&quot;https://willdrevo.com/fingerprinting-and-audio-recognition-with-python/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this article&lt;/a&gt; as a starting point, and searching online code repositories like &lt;a href=&quot;https://github.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;GitHub&lt;/a&gt; for something that suits your level of engagement and code familiarity.  Even if you don't have &lt;em&gt;any&lt;/em&gt; experience coding, you can sometimes find links to helpful google colabs or jupyter notebooks installations.  &lt;a href=&quot;https://bit.ly/OmnizartColab&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here's one&lt;/a&gt; I found one earlier today for music segmentation, that will analyze music from YouTube links and spit out Midi keyboard parts, just by clicking through the colab.&lt;/p&gt;&#xA;&lt;p&gt;If you aren't able to download the files, you could still theoretically use software to analyze the stream of audio coming through your speakers, worst case, but you'll still need to find suitable tools to fingerprint it, and I'm less confident that you'd be able to find an off-the-shelf solution which works that way.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-02-05T13:12:15.853" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33243" PostTypeId="2" ParentId="27610" CreationDate="2021-02-06T08:56:53.043" Score="0" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;I suppose if there was a way to adjust the dimensions of the timeline to a 1.33 ratio, that would also be a solution.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;h2&gt;TLDR&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Open the project settings&lt;/li&gt;&#xA;&lt;li&gt;Change the timeline resolution to one with a 1.33 aspect ratio, or enter your own custom resolution in the &amp;quot;for ___ x ___ processing&amp;quot; dialogue.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Explanation&lt;/h2&gt;&#xA;&lt;p&gt;Resolve's resolution independence can be a little confusing when you're coming from other apps.  Normally, in other apps, you set your timeline resolution (aka, &amp;quot;sequence resolution&amp;quot;) to match your source footage, and then resize or crop to your desired delivery specification when you export.&lt;/p&gt;&#xA;&lt;p&gt;In Resolve, you do it the other way around: you set your timeline resolution to be the size of what you want to export in the end.  Then, any amount of scaling or re-sizing automatically uses the highest quality source available, and transformations are concatenated intelligently by the software.&lt;/p&gt;&#xA;&lt;p&gt;So, in your case, all you need to do is set the desired timeline resolution, rotate the source footage, and increase the zoom value until all of the black borders are gone.  There is no reason to touch the crop controls, because all of the pixels falling outside the dimensions you've chosen don't appear in the final render.  They're &amp;quot;cropped&amp;quot; by not getting exported.&lt;/p&gt;&#xA;&lt;p&gt;I understand the confusion, because cropping in other tools, like Premiere, Photoshop, and AME amounts to changing the size of your working space (artboard, sequence, timeline, or whatnot).  In Resolve, the &amp;quot;crop&amp;quot; controls in the inspector don't  alter the resolution of the source material OR the export.  The only thing Resolve's crop control does is &lt;em&gt;mask&lt;/em&gt; the edges of an image, and the only time you might use it is when you're trying to create a quick picture-in-picture effect.&lt;/p&gt;&#xA;&lt;p&gt;The reason people coming from Premiere find Resolve's resolution independence confusing is that, for close to twenty years, if you started a project with the wrong sequence settings, it was impossible to change them.  To fix it, you had to copy your entire sequence into a new one with the correct settings, and then re-frame everything accordingly.  Editors learned very quickly to get it right the first time, and crop/scale the export as necessary.&lt;/p&gt;&#xA;&lt;p&gt;It might take a while to get used to the fact that Resolve presents no barriers to changing your timeline resolution in the middle of a project.  But as you do, you'll appreciate the benefits.  To name a few, you can:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Work on a timeline a fraction of the size of your eventual delivery, and enjoy massive performance boosts, then scale up to 8K and beyond when you're ready to export.&lt;/li&gt;&#xA;&lt;li&gt;Work on a single timeline and deliver, change the aspect ratio, and deliver for a different social media platform, repeat as necessary.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Additional Notes&lt;/h2&gt;&#xA;&lt;p&gt;&lt;strong&gt;Blanking&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;These days, most platforms are savvy about creating pillarboxes, letterboxes, or scaling your media intelligently, so if you give YouTube a 1.33 video, the player will automatically re-size, and add pillarboxes if it's fullscreen inside a 16:9 display.  But you might wonder (and, your question might actually be asking) how to manually add black bars to the top and bottom, or the sides of the image.  This is called &amp;quot;blanking.&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;To add it via convenient shortcut, go to the Timeline menu-&amp;gt; Output Blanking, and select your desired aspect ratio from the list.  If your desired aspect ratio isn't in this list, you can dial in any custom one on the Color page-&amp;gt; Sizing tab-&amp;gt; Output sizing dropdown.&lt;/p&gt;&#xA;&lt;p&gt;Resolve applies these black bars as a final step, so you can be sure that you never accidentally have a title, or any media on top of the blanking.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;NTSC&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Since you're looking for a 1.33 aspect ratio, you might wonder why none of the preset dimensions in the project settings come out to 1.33 when you divide the width by the height.  The reason is because when televisions were shaped 4:3, the standard broadcast didn't use square pixels.  Even when digital video first became available to consumers, it didn't use square pixels either.  So if you select one of the standard compliant options from Resolve's dropdown menu, like &amp;quot;720x486 NTSC,&amp;quot; it will give you a 4:3 image, even though 720/486 ≠ 4/3.  This is because Resolve adheres to the original specification, which doesn't use square pixels.  You can always enter a custom number in the &amp;quot;for ___ x ___ processing&amp;quot; boxes if you want a nonstandard 4:3 image &lt;em&gt;with&lt;/em&gt; square pixels, but you'll have to work out the math depending on how high or wide you want the final image.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-02-06T09:02:17.490" LastActivityDate="2021-02-06T09:02:17.490" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33246" PostTypeId="2" ParentId="26368" CreationDate="2021-02-06T17:19:36.670" Score="0" Body="&lt;p&gt;This command line work for me:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f dshow -video_size 720x480 -framerate 29.97 -i video=&amp;quot;Conexant Polaris Video Capture&amp;quot;:audio=&amp;quot;Conexant Polaris Video Capture&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;before testing any command line, identify the name of your capture card in the operating system with the line below:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -list_devices true -f dshow -i dummy&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;after that, see what resolutions are supported and the frame rate:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -list_options true -i video=&amp;quot;Conexant Polaris Video Capture&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;When listing the capture options for my card, I realized that when it uses 29.97 frame rate it doesn't support 720x576 resolution, but 720x480.&lt;/p&gt;&#xA;" OwnerUserId="33818" LastActivityDate="2021-02-06T17:19:36.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33247" PostTypeId="1" CreationDate="2021-02-06T22:58:40.070" Score="1" ViewCount="529" Body="&lt;p&gt;I have problem with ffmpeg properly recognizing a video encoded with Microsoft Fast Mpeg 4v2 codec. Apparently it's a software codec. VLC plays the video fine. The codec reported by VLC is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Codec: MPEG-4 Video (mp4v)&#xA;Video resolution: 8192x8192&#xA;Frame rate: 7.549296&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Additional info that MediaInfo reports:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Codec ID: mp4v-20&#xA;Bit rate mode: Variable&#xA;Minimum frame rate: 3.429 FPS&#xA;Maximum frame rate: 24.000 FPS&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, when trying to read this stream with ffmpeg, it reports the following errors:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -v error -i Somefile_01_31_17_08_21.mp4 -f null -&#xA;[mpeg4 @ 000002394e221800] [IMGUTILS @ 000000edaf9ff890] Picture size 0x0 is invalid&#xA;[mpeg4 @ 000002394e221800] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 000002394e221800] get_buffer() failed&#xA;[mpeg4 @ 000002394e221800] thread_get_buffer() failed&#xA;[mpeg4 @ 000002394e221800] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 000002394e1f3300] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 000002394e1f3300] [IMGUTILS @ 000000edafbff450] Picture size 0x0 is invalid&#xA;[mpeg4 @ 000002394e1f3300] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 000002394e1f3300] get_buffer() failed&#xA;[mpeg4 @ 000002394e1f3300] thread_get_buffer() failed&#xA;[mpeg4 @ 000002394e1f3300] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 000002394e214480] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 000002394e214480] [IMGUTILS @ 000000edafdff6a0] Picture size 0x0 is invalid&#xA;(...)&#xA;[mpeg4 @ 000002394e247780] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 000002394e247780] get_buffer() failed&#xA;[mpeg4 @ 000002394e247780] thread_get_buffer() failed&#xA;[mpeg4 @ 000002394e247780] get_buffer() failed (-22 0000000000000000)&#xA;Too many packets buffered for output stream 0:1.&#xA;[mpeg4 @ 000002394e221800] Context scratch buffers could not be allocated due to unknown size.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;ffmpeg -codecs doesn't show it as one of the codecs. &lt;a href=&quot;https://superuser.com/questions/118212/what-is-mp4v-and-mp4a&quot;&gt;This question&lt;/a&gt; suggests that this is a standard mp4 codec supported by ffmpeg module in VLC. How is it that ffmpeg module in VLC decodes the video properly but ffmpeg itself doesn't? Any idea how to convert this video to h264/h265?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Full log without error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i SomeFile_01_31_17_08_21.mp4 -f null -&#xA;ffmpeg version git-2020-08-07-fab00b0 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 10.2.1 (GCC) 20200805&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libsrt --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvmaf --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libgsm --enable-librav1e --disable-w32threads --enable-libmfx --enable-ffnvcodec --enable-cuda-llvm --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt --enable-amf&#xA;  libavutil      56. 58.100 / 56. 58.100&#xA;  libavcodec     58. 99.100 / 58. 99.100&#xA;  libavformat    58. 49.100 / 58. 49.100&#xA;  libavdevice    58. 11.101 / 58. 11.101&#xA;  libavfilter     7. 87.100 /  7. 87.100&#xA;  libswscale      5.  8.100 /  5.  8.100&#xA;  libswresample   3.  8.100 /  3.  8.100&#xA;  libpostproc    55.  8.100 / 55.  8.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 00000220cc12d900] decoding for stream 0 failed&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 00000220cc12d900] Could not find codec parameters for stream 0 (Video: mpeg4 (Simple Profile) (mp4v / 0x7634706D), yuv420p, 45242 kb/s): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' (0) and 'probesize' (5000000) options&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'SomeFile_01_31_17_08_21.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2mp41&#xA;    encoder         : Lavf54.6.100&#xA;  Duration: 00:01:11.00, start: 0.000000, bitrate: 45440 kb/s&#xA;    Stream #0:0(und): Video: mpeg4 (Simple Profile) (mp4v / 0x7634706D), yuv420p, 45242 kb/s, 7.55 fps, 24 tbr, 24 tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Side data:&#xA;      stereo3d: top and bottom&#xA;      spherical: equirectangular (0.000000/0.000000/0.000000)&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 195 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (mpeg4 (native) -&amp;gt; wrapped_avframe (native))&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; pcm_s16le (native))&#xA;Press [q] to stop, [?] for help&#xA;[mpeg4 @ 00000220cc136240] [IMGUTILS @ 000000e95b9ff2b0] Picture size 0x0 is invalid&#xA;[mpeg4 @ 00000220cc136240] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 00000220cc136240] get_buffer() failed&#xA;[mpeg4 @ 00000220cc136240] thread_get_buffer() failed&#xA;[mpeg4 @ 00000220cc136240] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 00000220cc193300] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 00000220cc193300] [IMGUTILS @ 000000e95bbff530] Picture size 0x0 is invalid&#xA;[mpeg4 @ 00000220cc193300] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 00000220cc193300] get_buffer() failed&#xA;[mpeg4 @ 00000220cc193300] thread_get_buffer() failed&#xA;[mpeg4 @ 00000220cc193300] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 00000220cc14e040] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 00000220cc14e040] [IMGUTILS @ 000000e95bdff8b0] Picture size 0x0 is invalid&#xA;[mpeg4 @ 00000220cc14e040] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 00000220cc14e040] get_buffer() failed&#xA;[mpeg4 @ 00000220cc14e040] thread_get_buffer() failed&#xA;[mpeg4 @ 00000220cc14e040] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 00000220cc151400] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 00000220cc151400] [IMGUTILS @ 000000e95bfff520] Picture size 0x0 is invalid&#xA;[mpeg4 @ 00000220cc151400] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 00000220cc151400] get_buffer() failed&#xA;[mpeg4 @ 00000220cc151400] thread_get_buffer() failed&#xA;[mpeg4 @ 00000220cc151400] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 00000220cc154c80] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 00000220cc154c80] [IMGUTILS @ 000000e95c1ff430] Picture size 0x0 is invalid&#xA;[mpeg4 @ 00000220cc154c80] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 00000220cc154c80] get_buffer() failed&#xA;[mpeg4 @ 00000220cc154c80] thread_get_buffer() failed&#xA;[mpeg4 @ 00000220cc154c80] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 00000220cc1a9a00] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 00000220cc1a9a00] [IMGUTILS @ 000000e95c3ffa40] Picture size 0x0 is invalid&#xA;[mpeg4 @ 00000220cc1a9a00] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 00000220cc1a9a00] get_buffer() failed&#xA;[mpeg4 @ 00000220cc1a9a00] thread_get_buffer() failed&#xA;[mpeg4 @ 00000220cc1a9a00] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 00000220cc1aa7c0] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 00000220cc1aa7c0] [IMGUTILS @ 000000e95c5ff300] Picture size 0x0 is invalid&#xA;[mpeg4 @ 00000220cc1aa7c0] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 00000220cc1aa7c0] get_buffer() failed&#xA;[mpeg4 @ 00000220cc1aa7c0] thread_get_buffer() failed&#xA;[mpeg4 @ 00000220cc1aa7c0] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 00000220cc1aac40] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 00000220cc1aac40] [IMGUTILS @ 000000e95c7ff290] Picture size 0x0 is invalid&#xA;[mpeg4 @ 00000220cc1aac40] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 00000220cc1aac40] get_buffer() failed&#xA;[mpeg4 @ 00000220cc1aac40] thread_get_buffer() failed&#xA;[mpeg4 @ 00000220cc1aac40] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 00000220cc1aa300] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 00000220cc1aa300] [IMGUTILS @ 000000e95c9ff970] Picture size 0x0 is invalid&#xA;[mpeg4 @ 00000220cc1aa300] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 00000220cc1aa300] get_buffer() failed&#xA;[mpeg4 @ 00000220cc1aa300] thread_get_buffer() failed&#xA;[mpeg4 @ 00000220cc1aa300] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 00000220cc1ab0c0] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 00000220cc1ab0c0] [IMGUTILS @ 000000e95cbff530] Picture size 0x0 is invalid&#xA;[mpeg4 @ 00000220cc1ab0c0] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 00000220cc1ab0c0] get_buffer() failed&#xA;[mpeg4 @ 00000220cc1ab0c0] thread_get_buffer() failed&#xA;[mpeg4 @ 00000220cc1ab0c0] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 00000220cc1a9e80] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 00000220cc1a9e80] [IMGUTILS @ 000000e95cdff8a0] Picture size 0x0 is invalid&#xA;[mpeg4 @ 00000220cc1a9e80] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 00000220cc1a9e80] get_buffer() failed&#xA;[mpeg4 @ 00000220cc1a9e80] thread_get_buffer() failed&#xA;[mpeg4 @ 00000220cc1a9e80] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 00000220cc1e4d40] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 00000220cc1e4d40] [IMGUTILS @ 000000e95cfff550] Picture size 0x0 is invalid&#xA;[mpeg4 @ 00000220cc1e4d40] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 00000220cc1e4d40] get_buffer() failed&#xA;[mpeg4 @ 00000220cc1e4d40] thread_get_buffer() failed&#xA;[mpeg4 @ 00000220cc1e4d40] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 00000220cc1e3f80] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 00000220cc1e3f80] [IMGUTILS @ 000000e95d1ff8e0] Picture size 0x0 is invalid&#xA;[mpeg4 @ 00000220cc1e3f80] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 00000220cc1e3f80] get_buffer() failed&#xA;[mpeg4 @ 00000220cc1e3f80] thread_get_buffer() failed&#xA;[mpeg4 @ 00000220cc1e3f80] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 00000220cc1e5f80] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 00000220cc1e5f80] [IMGUTILS @ 000000e95d3ff640] Picture size 0x0 is invalid&#xA;[mpeg4 @ 00000220cc1e5f80] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 00000220cc1e5f80] get_buffer() failed&#xA;[mpeg4 @ 00000220cc1e5f80] thread_get_buffer() failed&#xA;[mpeg4 @ 00000220cc1e5f80] get_buffer() failed (-22 0000000000000000)&#xA;[mpeg4 @ 00000220cc1e9640] Context scratch buffers could not be allocated due to unknown size.&#xA;[mpeg4 @ 00000220cc1e9640] [IMGUTILS @ 000000e95d5ff670] Picture size 0x0 is invalid&#xA;[mpeg4 @ 00000220cc1e9640] video_get_buffer: image parameters invalid&#xA;[mpeg4 @ 00000220cc1e9640] get_buffer() failed&#xA;[mpeg4 @ 00000220cc1e9640] thread_get_buffer() failed&#xA;[mpeg4 @ 00000220cc1e9640] get_buffer() failed (-22 0000000000000000)&#xA;Too many packets buffered for output stream 0:1.&#xA;[mpeg4 @ 00000220cc136240] Context scratch buffers could not be allocated due to unknown size.&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;More logs&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;% ffmpeg -probesize 100M -analyzeduration 100M -i SomeFile_01_31_17_08_21.mp4&#xA;ffmpeg version 4.2.2 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with FreeBSD clang version 10.0.0 (git@github.com:llvm/llvm-project.git llvmorg-10.0.0-0-gd32170dbd5b)&#xA;  configuration: --prefix=/usr/local --mandir=/usr/local/man --datadir=/usr/local/share/ffmpeg --pkgconfigdir=/usr/local/libdata/pkgconfig --enable-shared --enable-pic --enable-gpl --enable-avresample --cc=cc --enable-alsa --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libaom --disable-libaribb24 --enable-libass --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcelt --enable-libcodec2 --enable-libdav1d --disable-libdavs2 --disable-libdc1394 --disable-debug --enable-htmlpages --enable-libdrm --enable-libfdk-aac --enable-libflite --enable-fontconfig --enable-libfreetype --enable-frei0r --enable-libfribidi --disable-gcrypt --enable-libgme --enable-gmp --disable-gnutls --enable-version3 --enable-libgsm --enable-iconv --enable-libilbc --enable-libjack --disable-libklvanc --enable-libkvazaar --disable-ladspa --enable-libmp3lame --enable-liblensfun --enable-libbluray --enable-librsvg --disable-librtmp --enable-libxml2 --disable-lto --enable-lv2 --disable-mbedtls --disable-libmfx --enable-mmx --enable-libmodplug --enable-libmysofa --enable-nonfree --enable-openal --enable-opencl --enable-libopencv --enable-opengl --enable-libopenh264 --enable-libopenjpeg --enable-libopenmpt --enable-openssl --enable-optimizations --enable-libopus --disable-pocketsphinx --disable-libpulse --enable-librav1e --enable-runtime-cpudetect --enable-librubberband --enable-sdl2 --enable-libsmbclient --enable-libsnappy --disable-sndio --enable-libsoxr --enable-libspeex --disable-libsrt --enable-sse --enable-libssh --enable-libsvtvp9 --disable-libtensorflow --enable-libtesseract --enable-libtheora --enable-libtwolame --enable-libv4l2 --enable-vaapi --disable-vapoursynth --enable-vdpau --enable-libvidstab --enable-libvmaf --enable-libvorbis --enable-libvo-amrwbenc --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --disable-libxavs2 --enable-libxcb --enable-libxvid --enable-libzimg --enable-libzmq --disable-libzvbi&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x80d0d2000] decoding for stream 0 failed&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x80d0d2000] Could not find codec parameters for stream 0 (Video: mpeg4 (Simple Profile) (mp4v / 0x7634706D), yuv420p, 45242 kb/s): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'SomeFile_01_31_17_08_21.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2mp41&#xA;    encoder         : Lavf54.6.100&#xA;  Duration: 00:01:11.00, start: 0.000000, bitrate: 45440 kb/s&#xA;    Stream #0:0(und): Video: mpeg4 (Simple Profile) (mp4v / 0x7634706D), yuv420p, 45242 kb/s, 7.55 fps, 24 tbr, 24 tbn, 24 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Side data:&#xA;      stereo3d: top and bottom&#xA;      spherical: equirectangular (0.000000/0.000000/0.000000) &#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 195 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;At least one output file must be specified&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33822" LastEditorUserId="33822" LastEditDate="2021-02-09T19:50:37.903" LastActivityDate="2021-02-09T19:50:37.903" Title="How to convert Fast Mpeg 4v2 (mp4v) with ffmpeg" Tags="|ffmpeg|codec|mp4|video-recording|vlc|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="33248" PostTypeId="1" CreationDate="2021-02-07T00:42:04.553" Score="1" ViewCount="388" Body="&lt;p&gt;VLC reports the original video as:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Codec: MPEG-4 Video (mp4v)&#xA;Video resolution: 8192x8192&#xA;Frame rate: 7.549296&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I am using the Convert / Save option to convert the video using the following profile:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Encapsulation: MP4/MOV&#xA;Video Codec: H-265 (also tried H-264)&#xA;Bitrate / Quality: Not Used (18 in h264)&#xA;Frame Rate: Same as source&#xA;Custom options: crf=18&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Specifying the quality in the Quality input only works for h264, hence the custom options with &lt;code&gt;crf=18&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;After converting the video shows fine on YouTube and in PowerDVD but NOT in VLC! When playing the video the stream is reported as:&lt;/p&gt;&#xA;&lt;p&gt;Codec: H264 - MPEG-AVC (part 10)(avc 1)&lt;/p&gt;&#xA;&lt;p&gt;The rest, like resolution and frame rate, are as of the original video.&lt;/p&gt;&#xA;&lt;p&gt;When the video is being played the Statistics window shows that video frames are being decoded but Displayed remains 0. Why would VLC be able to decode the video but not display any frames?&lt;/p&gt;&#xA;&lt;p&gt;I tried different settings for Hardware-accelerated decoding but it didn't help. I have other videos which report the same codec H264 - MPEG-AVC (part 10)(avc 1) but they are usually using mkv encapsulation rather than mp4 (and upon further inspection, some other details in the codec metadata).&lt;/p&gt;&#xA;&lt;p&gt;This is MediaInfo for the original video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ID                                       : 1&#xA;Format                                   : MPEG-4 Visual&#xA;Codec ID                                 : mp4v-20&#xA;Duration                                 : 1 min 11 s&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 45.2 Mb/s&#xA;Maximum bit rate                         : 85.9 Mb/s&#xA;Width                                    : 8 192 pixels&#xA;Height                                   : 8 192 pixels&#xA;Display aspect ratio                     : 1.000&#xA;Frame rate mode                          : Variable&#xA;Frame rate                               : 7.549 FPS&#xA;Minimum frame rate                       : 3.429 FPS&#xA;Maximum frame rate                       : 24.000 FPS&#xA;Compression mode                         : Lossy&#xA;Bits/(Pixel*Frame)                       : 0.089&#xA;Stream size                              : 383 MiB (100%)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is MediaInfo for the converted video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Baseline@L6.2&#xA;Format settings                          : 1 Ref Frames&#xA;Format settings, CABAC                   : No&#xA;Format settings, Reference frames        : 1 frame&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 1 min 10 s&#xA;Bit rate                                 : 114 Mb/s&#xA;Width                                    : 8 192 pixels&#xA;Height                                   : 8 192 pixels&#xA;Display aspect ratio                     : 1.000&#xA;Frame rate mode                          : Variable&#xA;Frame rate                               : 7.544 FPS&#xA;Minimum frame rate                       : 3.428 FPS&#xA;Maximum frame rate                       : 24.006 FPS&#xA;Original frame rate                      : 7.549 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.225&#xA;Stream size                              : 978 MiB (100%)&#xA;Writing library                          : x264 core 155&#xA;Encoding settings                        : cabac=0 / ref=1 / deblock=0:-1:-1 / analyse=0:0x11 / me=dia / subme=0 / psy=1 / psy_rd=1.00:0.15 / mixed_ref=0 / me_range=16 / chroma_me=1 / trellis=1 / 8x8dct=0 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-1 / threads=24 / lookahead_threads=4 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=0 / weightp=0 / keyint=250 / keyint_min=7 / scenecut=0 / intra_refresh=0 / rc=crf / mbtree=0 / crf=18.0 / qcomp=0.60 / qpmin=10 / qpmax=51 / qpstep=4 / ip_ratio=1.40 / aq=0&#xA;Language                                 : English&#xA;Codec configuration box                  : avcC&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I noticed that for the original video VLC shows&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Decoded format: Planar 4:2:0 YUV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;even though it's missing in the MediaInfo data for that file. But VLC shows it as empty:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Decoded format:&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;in the converted file, even though MediaInfo shows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Not sure if the addition of Decoded format after conversion would prevent VLC from playing the video, but the fact that VLC cannot play back the video which it produced is highly suspicious. Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="33822" LastActivityDate="2021-02-07T00:42:04.553" Title="VLC doesn't play mp4v video converted with VLC to h264/h265" Tags="|mp4|video-recording|h.264|vlc|h265|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33249" PostTypeId="1" CreationDate="2021-02-07T03:21:52.347" Score="1" ViewCount="46" Body="&lt;p&gt;(Before you ask, resolution and aspect ratio need to be like this for a reason)&lt;/p&gt;&#xA;&lt;p&gt;I tried using this to make sure the aspect ratio stayed the same, because for some reason it doesn't&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v mpeg2video -aspect 16:10 -an -b 6000K -minrate 6000K -maxrate 6000K output.m2v&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now that command works for 4:3 but not 16:10, it just ignores it basically. So I tried using this, SAR is what the base file is and the DAR should be the -aspect command right?&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i P3CT001_01.mp4 -vf scale=640:368,setsar=sar=10/11 -aspect 400/253 -c:v mpeg2video -an -b 6000K -minrate 6000K -maxrate 6000K output.m2v&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Well same issue here, it seems it doesn't like when the last number (So the 10 in 16:10) is more than one digit. Also trying that first command seems to change the resolution when set to 16:10&lt;/p&gt;&#xA;&lt;p&gt;This issue does not happen with mpeg1&lt;/p&gt;&#xA;" OwnerUserId="33823" LastActivityDate="2021-02-07T03:21:52.347" Title="Problem with retaining aspect rato" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33250" PostTypeId="1" CreationDate="2021-02-07T03:56:50.553" Score="0" ViewCount="198" Body="&lt;p&gt;I'm trying to rip two movies on the same drive and I can't figure it out, handbrake keeps wanting to rip the first but not the second and I wanted to ask here if anyone knew how to rip the second movie, thank you.&lt;/p&gt;&#xA;" OwnerUserId="33825" LastEditorUserId="18155" LastEditDate="2021-02-11T01:36:07.633" LastActivityDate="2021-07-13T06:03:40.347" Title="How to rip two dvd's on the same disc?" Tags="|handbrake|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33252" PostTypeId="1" CreationDate="2021-02-07T12:06:15.337" Score="3" ViewCount="1347" Body="&lt;p&gt;I just recorded a video (a talking head) using my Canon EOS 4000D (known as Canon EOS Rebel T100 in the U.S.) at 1920x1080p24.&lt;/p&gt;&#xA;&lt;p&gt;(Maybe informative/Important, that I want to color edit/grade it in Adobe Premiere Pro etc.)&lt;/p&gt;&#xA;&lt;p&gt;The main question is, how do I know if my footage color space right out of the camera is Rec.709 or not?&#xA;Is it 8 bit? 10 bit? 14 bit? 444? 422? 420? RGB444? YCC422? what more?&lt;/p&gt;&#xA;&lt;p&gt;All I know is my file type is MOV (Video: H.264 inter frame - IPB).&lt;/p&gt;&#xA;&lt;p&gt;P.S. I used the built-in Portrait Picture Style.&lt;/p&gt;&#xA;" OwnerUserId="33827" LastActivityDate="2021-02-08T05:42:00.837" Title="How can I know my if footage is rec.709 or not right out of the camera?" Tags="|premiere|adobe|canon|color-grading|colorspace|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33253" PostTypeId="1" CreationDate="2021-02-07T13:20:14.767" Score="1" ViewCount="16" Body="&lt;p&gt;With Premiere Pro 14.8.0 on Mac OS I have a simple project. In one wequence I have 1 single video and one audio:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/waXBt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/waXBt.png&quot; alt=&quot;Ending sequence&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The audio is nice and normalised, sounds perfectly all right.&lt;/p&gt;&#xA;&lt;p&gt;Then I embed this sequence in an other sequence:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cIl4E.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cIl4E.png&quot; alt=&quot;Second sequence&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you can see, Premiere does not show waveform any more, and although the volume adjustment is on 0 dB and I have no audio effects at all, also haven't touched the mixers, &lt;strong&gt;the sound in the second sequence on this clip is crazy loud, you can barely recognise it from the distortion&lt;/strong&gt;. Even with -80dB it's pretty loud and distorted. All the other clips in the second seq are OK.&lt;/p&gt;&#xA;&lt;p&gt;What can be the reason for this, is this a bug?&lt;/p&gt;&#xA;" OwnerUserId="18213" LastActivityDate="2021-02-07T13:20:14.767" Title="Clip super loud after embedding" Tags="|premiere|audio|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33254" PostTypeId="1" AcceptedAnswerId="33258" CreationDate="2021-02-07T23:14:46.590" Score="0" ViewCount="399" Body="&lt;p&gt;Years ago I asked this question on: &lt;a href=&quot;https://stackoverflow.com/questions/18474312/concatenate-join-mp4-files-using-ffmpeg-and-windows-command-line-batch-not-lin&quot;&gt;stackoverflow&lt;/a&gt; about correct syntax using the &lt;strong&gt;ffmpeg&lt;/strong&gt; &lt;code&gt;Concat demuxer&lt;/code&gt; to join mp4 files together. One question I hadn't thought to ask at the time was, when joining mp4s that have been encoded by ffmpeg with &lt;code&gt;-movflags +faststart&lt;/code&gt; what happens to each joined file's moov atom? Is there only one now? Is the moov still at the top?&lt;/p&gt;&#xA;&lt;p&gt;Ex: file1.mp4 and file2.mp4 both encoded with ffmpeg using &lt;code&gt;-movflags +faststart&lt;/code&gt; and then are joined together using ffmpeg &lt;code&gt;concat demuxer&lt;/code&gt; to create all.mp4&lt;/p&gt;&#xA;&lt;p&gt;I did some investigative work but I'm not very knowledgeable and wanted a definite answer rather than my own assumption. Using the example above I compared the output for &amp;quot;file1.mp4&amp;quot; using atomic parsley and compared it to the output of &amp;quot;all.mp4&amp;quot; and it appears to me that the .moov atom is not in the &amp;quot;faststart&amp;quot; position.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;file1.mp4 output&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Atom ftyp @ 0 of size: 32, ends @ 32&#xA;Atom moov @ 32 of size: 8067606, ends @ 8067638&#xA;     Atom mvhd @ 40 of size: 108, ends @ 148&#xA;     Atom trak @ 148 of size: 5898695, ends @ 5898843&#xA;         Atom tkhd @ 156 of size: 92, ends @ 248&#xA;         Atom edts @ 248 of size: 36, ends @ 284&#xA;             Atom elst @ 256 of size: 28, ends @ 284&#xA;         Atom mdia @ 284 of size: 5898559, ends @ 5898843&#xA;             Atom mdhd @ 292 of size: 32, ends @ 324&#xA;             Atom hdlr @ 324 of size: 45, ends @ 369&#xA;             Atom minf @ 369 of size: 5898474, ends @ 5898843&#xA;                 Atom vmhd @ 377 of size: 20, ends @ 397&#xA;                 Atom dinf @ 397 of size: 36, ends @ 433&#xA;                     Atom dref @ 405 of size: 28, ends @ 433&#xA;                 Atom stbl @ 433 of size: 5898410, ends @ 5898843&#xA;                     Atom stsd @ 441 of size: 150, ends @ 591&#xA;                         Atom avc1 @ 457 of size: 134, ends @ 591&#xA;                             Atom avcC @ 543 of size: 48, ends @ 591&#xA;                     Atom stts @ 591 of size: 24, ends @ 615&#xA;                     Atom stss @ 615 of size: 5584, ends @ 6199&#xA;                     Atom ctts @ 6199 of size: 2502720, ends @ 2508919&#xA;                     Atom stsc @ 2508919 of size: 1047220, ends @ 3556139&#xA;                     Atom stsz @ 3556139 of size: 1258620, ends @ 4814759&#xA;                     Atom stco @ 4814759 of size: 1084084, ends @ 5898843&#xA;     Atom trak @ 5898843 of size: 2168697, ends @ 8067540&#xA;         Atom tkhd @ 5898851 of size: 92, ends @ 5898943&#xA;         Atom edts @ 5898943 of size: 36, ends @ 5898979&#xA;             Atom elst @ 5898951 of size: 28, ends @ 5898979&#xA;         Atom mdia @ 5898979 of size: 2168561, ends @ 8067540&#xA;             Atom mdhd @ 5898987 of size: 32, ends @ 5899019&#xA;             Atom hdlr @ 5899019 of size: 45, ends @ 5899064&#xA;             Atom minf @ 5899064 of size: 2168476, ends @ 8067540&#xA;                 Atom smhd @ 5899072 of size: 16, ends @ 5899088&#xA;                 Atom dinf @ 5899088 of size: 36, ends @ 5899124&#xA;                     Atom dref @ 5899096 of size: 28, ends @ 5899124&#xA;                 Atom stbl @ 5899124 of size: 2168416, ends @ 8067540&#xA;                     Atom stsd @ 5899132 of size: 106, ends @ 5899238&#xA;                         Atom mp4a @ 5899148 of size: 90, ends @ 5899238&#xA;                             Atom esds @ 5899184 of size: 54, ends @ 5899238&#xA;                     Atom stts @ 5899238 of size: 32, ends @ 5899270&#xA;                     Atom stsc @ 5899270 of size: 40, ends @ 5899310&#xA;                     Atom stsz @ 5899310 of size: 1084092, ends @ 6983402&#xA;                     Atom stco @ 6983402 of size: 1084084, ends @ 8067486&#xA;                     Atom sgpd @ 8067486 of size: 26, ends @ 8067512                     ~&#xA;                     Atom sbgp @ 8067512 of size: 28, ends @ 8067540&#xA;     Atom udta @ 8067540 of size: 98, ends @ 8067638&#xA;         Atom meta @ 8067548 of size: 90, ends @ 8067638&#xA;             Atom hdlr @ 8067560 of size: 33, ends @ 8067593&#xA;             Atom ilst @ 8067593 of size: 45, ends @ 8067638&#xA;                 Atom ©too @ 8067601 of size: 37, ends @ 8067638&#xA;                     Atom data @ 8067609 of size: 29, ends @ 8067638&#xA;Atom free @ 8067638 of size: 8, ends @ 8067646&#xA;Atom mdat @ 8067646 of size: 403164726, ends @ 411232372&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;all.mp4 output&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Atom ftyp @ 0 of size: 32, ends @ 32&#xA;Atom free @ 32 of size: 8, ends @ 40&#xA;Atom mdat @ 40 of size: 197417544, ends @ 197417584&#xA;Atom moov @ 197417584 of size: 5203090, ends @ 202620674&#xA;     Atom mvhd @ 197417592 of size: 108, ends @ 197417700&#xA;     Atom trak @ 197417700 of size: 3803979, ends @ 201221679&#xA;         Atom tkhd @ 197417708 of size: 92, ends @ 197417800&#xA;         Atom edts @ 197417800 of size: 48, ends @ 197417848&#xA;             Atom elst @ 197417808 of size: 40, ends @ 197417848&#xA;         Atom mdia @ 197417848 of size: 3803831, ends @ 201221679&#xA;             Atom mdhd @ 197417856 of size: 32, ends @ 197417888&#xA;             Atom hdlr @ 197417888 of size: 45, ends @ 197417933&#xA;             Atom minf @ 197417933 of size: 3803746, ends @ 201221679&#xA;                 Atom vmhd @ 197417941 of size: 20, ends @ 197417961&#xA;                 Atom dinf @ 197417961 of size: 36, ends @ 197417997&#xA;                     Atom dref @ 197417969 of size: 28, ends @ 197417997&#xA;                 Atom stbl @ 197417997 of size: 3803682, ends @ 201221679&#xA;                     Atom stsd @ 197418005 of size: 150, ends @ 197418155&#xA;                         Atom avc1 @ 197418021 of size: 134, ends @ 197418155&#xA;                             Atom avcC @ 197418107 of size: 48, ends @ 197418155&#xA;                     Atom stts @ 197418155 of size: 104, ends @ 197418259&#xA;                     Atom stss @ 197418259 of size: 3464, ends @ 197421723&#xA;                     Atom ctts @ 197421723 of size: 1613944, ends @ 199035667&#xA;                     Atom stsc @ 199035667 of size: 675328, ends @ 199710995&#xA;                     Atom stsz @ 199710995 of size: 811620, ends @ 200522615&#xA;                     Atom stco @ 200522615 of size: 699064, ends @ 201221679&#xA;     Atom trak @ 201221679 of size: 1398897, ends @ 202620576&#xA;         Atom tkhd @ 201221687 of size: 92, ends @ 201221779&#xA;         Atom edts @ 201221779 of size: 36, ends @ 201221815&#xA;             Atom elst @ 201221787 of size: 28, ends @ 201221815&#xA;         Atom mdia @ 201221815 of size: 1398761, ends @ 202620576&#xA;             Atom mdhd @ 201221823 of size: 32, ends @ 201221855&#xA;             Atom hdlr @ 201221855 of size: 45, ends @ 201221900&#xA;             Atom minf @ 201221900 of size: 1398676, ends @ 202620576&#xA;                 Atom smhd @ 201221908 of size: 16, ends @ 201221924&#xA;                 Atom dinf @ 201221924 of size: 36, ends @ 201221960&#xA;                     Atom dref @ 201221932 of size: 28, ends @ 201221960&#xA;                 Atom stbl @ 201221960 of size: 1398616, ends @ 202620576&#xA;                     Atom stsd @ 201221968 of size: 106, ends @ 201222074&#xA;                         Atom mp4a @ 201221984 of size: 90, ends @ 201222074&#xA;                             Atom esds @ 201222020 of size: 54, ends @ 201222074&#xA;                     Atom stts @ 201222074 of size: 112, ends @ 201222186&#xA;                     Atom stsc @ 201222186 of size: 160, ends @ 201222346&#xA;                     Atom stsz @ 201222346 of size: 699112, ends @ 201921458&#xA;                     Atom stco @ 201921458 of size: 699064, ends @ 202620522&#xA;                     Atom sgpd @ 202620522 of size: 26, ends @ 202620548                         ~&#xA;                     Atom sbgp @ 202620548 of size: 28, ends @ 202620576&#xA;     Atom udta @ 202620576 of size: 98, ends @ 202620674&#xA;         Atom meta @ 202620584 of size: 90, ends @ 202620674&#xA;             Atom hdlr @ 202620596 of size: 33, ends @ 202620629&#xA;             Atom ilst @ 202620629 of size: 45, ends @ 202620674&#xA;                 Atom ©too @ 202620637 of size: 37, ends @ 202620674&#xA;                     Atom data @ 202620645 of size: 29, ends @ 202620674&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Can anyone with moov knowledge prove my assumption right or wrong? If I'm right and ffmpeg concat does not automatically assume to move the moov atom to the top should I change my approach and add -movflags +faststart to the concat demuxer command?&lt;/p&gt;&#xA;" OwnerUserId="32986" LastActivityDate="2021-02-08T04:54:42.753" Title="Does ffmpeg concat demuxer update the position of the moov atom if present in each video file?" Tags="|ffmpeg|mp4|concatenation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33255" PostTypeId="2" ParentId="9574" CreationDate="2021-02-08T00:49:53.353" Score="0" Body="&lt;p&gt;I had almost no experience in video editing and I used kapwing (&lt;a href=&quot;https://www.kapwing.com/tools&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.kapwing.com/tools&lt;/a&gt;). I found it to be very intuitive. It is free for videos below 7 minutes as output and below 250MB of input.&lt;/p&gt;&#xA;&lt;p&gt;If you don't want to pay any money, you can trim the videos using kapwing and remerge them using the photos app (&lt;a href=&quot;https://www.winhelponline.com/blog/merge-combine-videos-windows-10-built-in-photos-app/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.winhelponline.com/blog/merge-combine-videos-windows-10-built-in-photos-app/&lt;/a&gt;).&lt;/p&gt;&#xA;" OwnerUserId="33801" LastActivityDate="2021-02-08T00:49:53.353" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33257" PostTypeId="1" AcceptedAnswerId="33260" CreationDate="2021-02-08T04:23:53.807" Score="1" ViewCount="153" Body="&lt;p&gt;When I export an Adobe Premiere project to video twice with the same export settings, why does it yield videos with different file hashes?&lt;/p&gt;&#xA;&lt;p&gt;Shouldn't the files be identical and have matching hashes? Where is the source of randomness coming into the encoding process?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ak0Zw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ak0Zw.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The encoding settings&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/M5cLv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/M5cLv.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;These two files were encoded using identical settings a few seconds apart, note that the files are not actually identical.&lt;/p&gt;&#xA;" OwnerUserId="33838" LastEditorUserId="33838" LastEditDate="2021-02-08T04:33:34.007" LastActivityDate="2021-02-08T08:53:55.907" Title="Exported the same video twice with the same settings yields files with different hashes" Tags="|premiere|encoding|adobe|adobe-media-encoder|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33258" PostTypeId="2" ParentId="33254" CreationDate="2021-02-08T04:54:42.753" Score="1" Body="&lt;p&gt;The metadata from an input file in any ffmpeg operation is used to interpret and handle the media data in that file. That metadata is not naively copied over, wholesale or piecemeal*. FFmpeg will always generate new metadata based on the specific set of media data received when generating the output. Since the output of concat operation is one file, it will have one moov box. If you want the concat output file to have moov box up front, you will have to add &lt;code&gt;-movflags +faststart&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;*exception is string tags such as ID3 or timecode data.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-02-08T04:54:42.753" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33259" PostTypeId="2" ParentId="33252" CreationDate="2021-02-08T05:42:00.837" Score="1" Body="&lt;p&gt;Knowing the details about what format your camera recorded is often as simple as consulting the manual.  However, some cameras shoot multiple formats, and often, editors are given footage from unknown or unreliable sources.  One of the best tools for discovering the full details of an A/V file is the command line utility, mediainfo.&lt;/p&gt;&#xA;&lt;p&gt;Depending on whether or not your computer comes pre-installed with mediainfo, obtaining your answer may be as simple as opening the command line interface, and typing:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mediainfo /PATH/TO/YOUR/FIlE&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If this returns a &amp;quot;command not found&amp;quot; error, then you will need to install mediainfo according to your operating system requirements.  On MacOs, the easiest way to install is through &lt;a href=&quot;https://brew.sh&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://brew.sh&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If the command line isn't your thing, there are GUI-wrapped versions available in both the Microstoft Store, and Apple App Store, &lt;em&gt;caveat emptor&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;The default output is the total information known to the operating system about the media file, which may be overwhelming.  Theres a good explanation of how you can return only relevant information &lt;a href=&quot;https://stackoverflow.com/questions/41231998/mediainfo-cli-command-line-interface-syntax-teaching-me-once-for-all&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;For example, to return only the colorspace, you would type:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mediainfo --Output=&amp;quot;Video;%ColorSpace%&amp;quot; /PATH/TO/YOUR/FILE&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It's important to mention though, that not all metadata is created equally.  Different camera manufacturers will include different details, and when video files get transcoded, the metadata is often altered.&lt;/p&gt;&#xA;&lt;p&gt;However, mediainfo is one of the most comprehensive tools available for discovering these sorts of details about a media file.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-02-08T05:42:00.837" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33260" PostTypeId="2" ParentId="33257" CreationDate="2021-02-08T08:53:55.907" Score="2" Body="&lt;p&gt;Yes, your observation is correct and everything works fine. Even if settings are identitcal, the file hashes will always be different.&lt;/p&gt;&#xA;&lt;p&gt;The reason is quite simple: XMP metadata which is embedded in the files.&lt;/p&gt;&#xA;&lt;p&gt;Such metadata entries which are often different are:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;time stamps (not only the date but the time too)&#xA;&lt;ul&gt;&#xA;&lt;li&gt;creation date&lt;/li&gt;&#xA;&lt;li&gt;modified date&lt;/li&gt;&#xA;&lt;li&gt;metadata date&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;IDs&#xA;&lt;ul&gt;&#xA;&lt;li&gt;document ID&lt;/li&gt;&#xA;&lt;li&gt;instance ID&lt;/li&gt;&#xA;&lt;li&gt;original document ID&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;A bit of binary data in the header is different too. All the rest, meaning the actual video and audio data is the same. The encoding algorithms are working deterministic - that means, given the same input they produce the same output. At least those I've tried for my example. This doesn't have to be true in other cases.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-02-08T08:53:55.907" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33261" PostTypeId="2" ParentId="9891" CreationDate="2021-02-08T14:13:02.200" Score="0" Body="&lt;p&gt;I expect this is a market that will emerge after Corona. I can't see the rationale in investing in a full frame DSLR for the single purpose of using it as a WebCam. There are a few things that you want from your &amp;quot;better quality webcam&amp;quot;, wide angle, large aperture (i.e. from f8 and down to f1.8 or even f1.4), and 4k of course. The cameras that are used as webcams today can do all this, but you're paying for a whole bunch of features that you aren't going to need, such as storing to a memory card, video/photo/timelapse specific settings, even framerate could be made cheaper by setting a hard limit to 24 or 30 frames/s, you really don't need more for a webcam.&lt;/p&gt;&#xA;&lt;p&gt;With a larger sensor, it is even debatable if you need 4k.&lt;/p&gt;&#xA;&lt;p&gt;My guess is that we will see this kind of devices come soon.&lt;/p&gt;&#xA;" OwnerUserId="33841" LastActivityDate="2021-02-08T14:13:02.200" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33262" PostTypeId="1" CreationDate="2021-02-08T15:38:05.043" Score="0" ViewCount="336" Body="&lt;p&gt;my composition width is 4480&lt;/p&gt;&#xA;&lt;p&gt;I have 2 layers with a gradient ramp on each&lt;/p&gt;&#xA;&lt;p&gt;once I've entered the start and end position of the gradient on the first layer I need to have the opposite equivalent start and end position values of that gradient generated in the second layer's gradient.&lt;/p&gt;&#xA;&lt;p&gt;So with a comp width of 4480 if gradient 1 start x is 1000 and end x is 1250 then gradient 2 start x should be 3480 and end x is 3230. The Y is going to have a fixed position.&lt;br /&gt;&#xA;Ideally I'd like to tie in the start x and end x of the first graident to an expression control such as a slider so i can  adjust the position of the points simultaneously.&lt;/p&gt;&#xA;" OwnerUserId="33709" LastEditorUserId="33709" LastEditDate="2021-02-08T16:01:18.377" LastActivityDate="2024-02-23T22:02:20.317" Title="In After effects how can I store the start and end point values of a gradient on one layer to generate the opposite values in another layer" Tags="|after-effects|after-effects-expressions|automation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33263" PostTypeId="2" ParentId="33262" CreationDate="2021-02-08T16:53:42.823" Score="0" Body="&lt;p&gt;This is very similar to your other question:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/33193/in-after-effects-how-can-i-generate-the-value-of-an-opposite-x-position-and-then/33201#33201&quot;&gt;In After Effects how can I generate the value of an opposite x position and then send that value to an effect on another layer?&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The answer is the same. Use a pick whip to link two controllers together.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-02-08T16:53:42.823" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33264" PostTypeId="1" CreationDate="2021-02-08T18:10:00.953" Score="0" ViewCount="81" Body="&lt;p&gt;I have asked this question on innumerable sites but I haven’t been able to get an answer to solve my problem.  The question&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/29073/need-help-to-fix-a-broken-mp4-which-lacks-a-moov-atom&quot;&gt;Need help to fix a broken MP4 which lacks a MOOV atom&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Seems to be on point since I am having a very similar problem.  But mine should be much, much simple.&lt;/p&gt;&#xA;&lt;p&gt;I am ripping DVDs for personal use to stream on Plex.  The tool I am using is MacX DVDRipper Pro and also MakeMKV.  Both work just fine on my Mac as does HandBrake.  The videos play as expected on the Mac whether the container is mkv or mp4 or run through HandBrake with Web Optimized (moov atom in front of file) or not.  Everything seemed good at this point.&lt;/p&gt;&#xA;&lt;p&gt;When I move to my RPi4 some work and some don’t.  At first I figured it was an issue with Plex but as I found by running mediainfo, ffmpeg, and AtomicParsley the ones that don’t play on that platform have limited XML information or errors.  Below are links to screen shots.  I can also provide hex pictures if desired.&lt;/p&gt;&#xA;&lt;p&gt;The following examples are for an episode that works on RPi (moov atom at bottom of file)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://share.getcloudapp.com/E0u9br9G&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://share.getcloudapp.com/E0u9br9G&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://share.getcloudapp.com/BluYZ1KB&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://share.getcloudapp.com/BluYZ1KB&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://share.getcloudapp.com/8Lukjr5Z&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://share.getcloudapp.com/8Lukjr5Z&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The following are the same utilities as above but with an episode that fails on RPi (moov atom at the bottom of the file)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://share.getcloudapp.com/X6u9Odb2&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://share.getcloudapp.com/X6u9Odb2&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://share.getcloudapp.com/BluYZ1DG&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://share.getcloudapp.com/BluYZ1DG&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://share.getcloudapp.com/jkuelDEG&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://share.getcloudapp.com/jkuelDEG&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33845" LastEditorUserId="33845" LastEditDate="2021-02-08T18:56:28.627" LastActivityDate="2021-02-08T18:56:28.627" Title="Moov atom not found on Raspberry Pi platform (Linux)" Tags="|codec|mp4|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33266" PostTypeId="1" CreationDate="2021-02-09T12:30:09.937" Score="1" ViewCount="292" Body="&lt;p&gt;I've been struggling with a ffmpeg-related issue for a few days now.&#xA;What I am trying to accomplish is to grab AV signal from a single input (/dev/video0), then save it into two files simultaneously.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Output no. 1: raw AVI file, for further editing&lt;/li&gt;&#xA;&lt;li&gt;Output no. 2: preview mp4 file, to work as a preview within an embedded VideoJS player on an webapp.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Here's my command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f v4l2 -standard PAL -i /dev/video0 -f alsa -thread_queue_size 512 -i hw:0,0 -preset superfast -crf 25 -r 25 -aspect 4:3 -acodec libmp3lame -b:v 6M -b:a 128k -channels 2 -ar 48000 /vids/vid1.avi | -acodec libmp3lame  -b:v 500k -b:a 128k -channels 2 -ar 48000 -y /opt/lampp/htdocs/preview.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The command above doesn't seem to work for me. Where have I gone wrong?&lt;/p&gt;&#xA;" OwnerUserId="33857" LastActivityDate="2021-11-06T19:03:10.267" Title="ffmpeg - one input, two outputs - separate instances" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33267" PostTypeId="1" CreationDate="2021-02-09T17:10:48.207" Score="0" ViewCount="464" Body="&lt;p&gt;I am building a web application that consists of a web client and a server. The web client needs to play a continuous stream of MP4 files to the user, preferably through a player like &lt;code&gt;video.js&lt;/code&gt;. The problem is that I need to stream the MP4 files in my own protocol rather than something like DASH or HLS. The reason for this is that I cannot create a manifest file for my chunks and that I need to add more messages to the server to prepare the MP4 files.&lt;/p&gt;&#xA;&lt;p&gt;In a nutshell, my server needs to fetch some files from some archive storage, convert them to MP4, transcode them and then send them to my client. Fetching the files can take up to 30 seconds. I also do not know all files I have available, so I cannot create a manifest that would tell the client how early this stream goes back in time.&lt;/p&gt;&#xA;&lt;p&gt;My solution is simply to have logic on the client to fetch the MP4 files from the server and play them to the client. The problem I am facing at the moment is that when I try to play MP4 files one after another in my client player (video.js), there is slight stuttering when a file ends and a new one starts playing. So this doesn't feel like a long continuous stream.&lt;/p&gt;&#xA;&lt;p&gt;The solution I am exploring at the moment would be to convert the MP4 files to MP4 fragments and stream them, but I do not know how this would work considering that I would try to concatenate fragments from different MP4 files.&lt;/p&gt;&#xA;&lt;p&gt;How would you go about playing an originally continuous video stream when this stream has been fragmented in multiple MP4 files?&lt;/p&gt;&#xA;" OwnerUserId="33860" LastActivityDate="2021-02-09T17:10:48.207" Title="Streaming MP4 files through HTTP without HLS or DASH?" Tags="|streaming|mp4|mpeg-dash|hls|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33268" PostTypeId="2" ParentId="33266" CreationDate="2021-02-09T17:28:38.123" Score="1" Body="&lt;p&gt;Remove the pipe character.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f v4l2 -standard PAL -i /dev/video0 -f alsa -thread_queue_size 512 -i hw:0,0 -preset superfast -crf 25 -r 25 -aspect 4:3 -acodec libmp3lame -b:v 6M -b:a 128k -ac 2 -ar 48000 /vids/vid1.avi -b:v 500k -b:a 128k -ac 2 -ar 48000 -y /opt/lampp/htdocs/preview.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;(mp3 is not standard in MP4 so let ffmpeg pick the default audio codec)&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-02-09T17:28:38.123" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33270" PostTypeId="2" ParentId="27984" CreationDate="2021-02-09T20:49:21.123" Score="0" Body="&lt;p&gt;Solved with this filter:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#v360&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#v360&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;See section &amp;quot;flat&amp;quot; and the second example to convert any 360 footage to a flat view.&lt;/p&gt;&#xA;" OwnerUserId="25610" LastActivityDate="2021-02-09T20:49:21.123" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33272" PostTypeId="1" CreationDate="2021-02-10T00:52:14.373" Score="1" ViewCount="228" Body="&lt;p&gt;I want to get the time / duration of the layer, when I stretch or lengthen the layer to produce an effect, for example I want the opacity of a layer to go to 0% 5 frames before the end of the layer, and if I lengthen or I cut that layer that those 5 frames are the same at the end of the layer, regardless of the length of the layer&lt;/p&gt;&#xA;" OwnerUserId="33863" LastEditorUserId="1950" LastEditDate="2022-07-03T12:17:29.913" LastActivityDate="2024-03-24T20:06:45.813" Title="Detect duration of layer" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33274" PostTypeId="1" CreationDate="2021-02-10T13:29:33.210" Score="1" ViewCount="1561" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RBv7q.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RBv7q.png&quot; alt=&quot;Failed&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Everytime I try to export this clip this message appears. I'm not very experient with Davinci and editing videos in general, but I had no problem saving other videos. I've tried changing the settings but as I said before, I'm not familiar with it. I don't know if it helps but I have a MacBook Pro (2015) with macOS Catalina 10.15.7, 2,9 GHz Intel Core i5 Dual-Core.&lt;/p&gt;&#xA;" OwnerUserId="33868" LastActivityDate="2021-02-10T13:29:33.210" Title="``Failed``when I try to export video - Davinci Resolve 16 FREE" Tags="|davinci-resolve|export|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33275" PostTypeId="2" ParentId="30874" CreationDate="2021-02-10T17:01:57.720" Score="0" Body="&lt;p&gt;you can use Spatial Media Metadata Injector to fix the metadata &lt;a href=&quot;https://github.com/google/spatial-media/releases/tag/v2.0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/google/spatial-media/releases/tag/v2.0&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33874" LastActivityDate="2021-02-10T17:01:57.720" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33276" PostTypeId="1" CreationDate="2021-02-10T19:18:25.083" Score="1" ViewCount="118" Body="&lt;p&gt;Like so many American workplaces, my campus moved this year to a lot of virtual interactions and events. I work in live events management, so I mostly dealt with a lot of Zooms and Blue Jeans, but one department wanted to put some graphics on top of their faces and livestream and OBS feed up to YouTube. For the most part it worked very well but we had one hiccup that I'm wondering whether I addressed it incorrectly.&lt;/p&gt;&#xA;&lt;p&gt;They sent me a stream key three weeks in advance and began publicizing the URL of their November 11 event, which would happen at 7pm. That day, I plugged the key into OBS and at 6:30, I began sending the feed. An employee in their department misunderstood her instructions and pressed Go live in her YouTube interface at, say, 6:40 (for a 7pm go). At 6:44 she realized her error and pressed End stream.&lt;/p&gt;&#xA;&lt;p&gt;From YouTube's perspective, we had streamed our four-minute event , and it was over. I couldn't find any way (in the ten minutes I had between 6:50 and 7pm, once I got logged in with their YT credentials) to tell YT I pressed stop accidentally, please let me send content to that URL again&lt;/p&gt;&#xA;&lt;p&gt;Now, this didn't matter very much in the big scheme, because, as you may have noticed, this was at &lt;a href=&quot;https://www.snopes.com/news/2020/11/11/youtube-outage/&quot; rel=&quot;nofollow noreferrer&quot;&gt;7pm EST on November 11&lt;/a&gt;. Our link hiccup was overshadowed by YT's massive failure at exactly that moment.&lt;/p&gt;&#xA;&lt;p&gt;I'm wondering, though, as a relative novice - what's a best practices for live streaming content in this way? Is there a way I could have pushed my content through to the original URL (barring the big collapse)? The system I was part of (here's a stream key, you only have one shot at it) seemed sort of fragile and I wondered whether I'm misunderstanding my role in it.&lt;/p&gt;&#xA;&lt;p&gt;(And yes, of course, we're doing some of these again this spring, so I'm trying to lay groundwork.)&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance for insights / opinions / name-calling.&lt;/p&gt;&#xA;" OwnerUserId="33879" LastActivityDate="2021-02-12T12:18:29.080" Title="YT stream key - best practice?" Tags="|streaming|youtube|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33277" PostTypeId="1" CreationDate="2021-02-10T19:22:07.513" Score="0" ViewCount="56" Body="&lt;p&gt;I have found a video allegedly filmed on Wednesday, Feb. 10, 2021,  at 15:35 PM, EET, in Bucharest, Ro, Dristor 1 subway station, showing a woman jumping on the tracks and then pulled out from in front of the train just less than 1 second before impact.&lt;/p&gt;&#xA;&lt;p&gt;This is the video:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/0kAjo.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0kAjo.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;See: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/trK81fHnnT0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;The scene seems a fake but I do not know how to demonstrate it.&lt;/p&gt;&#xA;" OwnerUserId="25089" LastActivityDate="2021-12-10T16:21:17.913" Title="Video: Woman pulled from in front of a subway train. Fake or not?" Tags="|video-editor|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33278" PostTypeId="2" ParentId="19630" CreationDate="2021-02-11T07:49:25.727" Score="0" Body="&lt;p&gt;With ffmpeg, you'll get a list of streams, showing any tracks that have been tagged with a language type like so:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i %a% 2&amp;gt;&amp;amp;1 | find &amp;quot;Stream&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Output (showing list of audio, video &amp;amp; subtitle tracks with any language tags):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0[0x83e]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(top first), 1920x1080 [SAR 1:1 DAR 16:9], 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;Stream #0:1[0x83f]: Audio: ac3 ([129][0][0][0] / 0x0081), 48000 Hz, 5.1(side), fltp, 384 kb/s&#xA;Stream #0:2[0x841]: Audio: aac (mp4a / 0x6134706D), 48000 Hz, 5.1, fltp, 384 kb/s (default)&#xA;Stream #0:3[0x840]: Audio: mp3 ([4][0][0][0] / 0x0004), 0 channels&#xA;Stream #0:4[0x842]: Audio: mp3 ([4][0][0][0] / 0x0004), 0 channels&#xA;Stream #0:5[0x853](tai): Subtitle: dvb_subtitle ([6][0][0][0] / 0x0006)&#xA;Stream #0:6[0x854](may): Subtitle: dvb_subtitle ([6][0][0][0] / 0x0006)&#xA;Stream #0:7[0x855](vie): Subtitle: dvb_subtitle ([6][0][0][0] / 0x0006)&#xA;Stream #0:8[0x856](tha): Subtitle: dvb_subtitle ([6][0][0][0] / 0x0006)&#xA;Stream #0:9[0x857](ind): Subtitle: dvb_subtitle ([6][0][0][0] / 0x0006)&#xA;Stream #0:10[0x858](bur): Subtitle: dvb_subtitle ([6][0][0][0] / 0x0006)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27707" LastActivityDate="2021-02-11T07:49:25.727" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33279" PostTypeId="2" ParentId="12051" CreationDate="2021-02-11T08:40:00.023" Score="1" Body="&lt;p&gt;Your &amp;quot;mp&amp;quot; codec would be the reason why only one track may be in the output file; there's no &amp;quot;mp&amp;quot; codec (looks like a typo).&lt;/p&gt;&#xA;&lt;p&gt;If stream mapping is showing both audio tracks are present in the output file, then you should be able to select which track to play in the video player. By default, the best or first supported audio will play.&lt;/p&gt;&#xA;&lt;p&gt;If you want both audio tracks to play (&amp;quot;&lt;em&gt;mux them together so they both play&lt;/em&gt;&amp;quot;), then &lt;a href=&quot;https://trac.ffmpeg.org/wiki/AudioChannelManipulation&quot; rel=&quot;nofollow noreferrer&quot;&gt;mix the audio&lt;/a&gt; into one track.&lt;/p&gt;&#xA;&lt;p&gt;Here's how &lt;code&gt;-c&lt;/code&gt; (select codecs) &amp;amp; &lt;code&gt;-map&lt;/code&gt; (select streams) options work:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-c:a -&amp;gt; select best supported audio (transcoded)&#xA;-c:a copy -&amp;gt; best supported audio (copied)&#xA;-map 0:a -&amp;gt; all audio from 1st input file (transcoded)&#xA;-map 0:0 -&amp;gt; 1st stream from 1st input file (transcoded)&#xA;-map 1:a:0 -&amp;gt; 1st audio stream from 2nd input file (transcoded)&#xA;-map 1:a:1 -c:a copy -&amp;gt; 2nd audio stream from 2nd input file (copied)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27707" LastActivityDate="2021-02-11T08:40:00.023" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33280" PostTypeId="2" ParentId="21621" CreationDate="2021-02-11T08:51:37.773" Score="0" Body="&lt;p&gt;To count &amp;quot;&lt;em&gt;number of available streams using ffmpeg'&lt;/em&gt;&amp;quot;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i %input% 2&amp;gt;&amp;amp;1 | find /c &amp;quot;Stream&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Tested in Win 10 CMD&lt;/p&gt;&#xA;" OwnerUserId="27707" LastActivityDate="2021-02-11T08:51:37.773" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33281" PostTypeId="1" CreationDate="2021-02-11T08:55:56.833" Score="0" ViewCount="666" Body="&lt;p&gt;I use Final Cut Pro X. I am planning to buy Compressor software too which gives me options in exporting my video. Can this same software be used for converting mkv files to mp4 because Final Cut Pro X doesn't support mkv files.&lt;/p&gt;&#xA;" OwnerUserId="6005" LastActivityDate="2022-11-07T12:50:06.960" Title="Can I use Apple Compressor software to convert mkv files to mp4" Tags="|final-cut-pro-x|conversion|mac|mkv|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33282" PostTypeId="2" ParentId="33281" CreationDate="2021-02-11T11:12:58.497" Score="1" Body="&lt;p&gt;No Compressor does not take .mkv files. At least not my 4.5.1 version.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2021-02-11T11:12:58.497" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33283" PostTypeId="1" AcceptedAnswerId="33285" CreationDate="2021-02-11T13:15:17.587" Score="2" ViewCount="1070" Body="&lt;p&gt;So, I have a Sony A6400 camera that I want to connect directly to my Zoom H5 audio recorder in order to record my sound directly onto the camera video without bothering to sync it up in my post production software.&lt;/p&gt;&#xA;&lt;p&gt;Now for the connection required between my H5 to my A6400 does it need to be a TRS cable or a TRRS cable? Second question is what is best for quality- OFC or OCC cable or does it even matter really?&lt;/p&gt;&#xA;" OwnerUserId="33884" LastActivityDate="2021-02-11T14:57:29.173" Title="What cable type (TRS or TRRS) is appropriate for connecting my Zoom H5 to my Sony A6400?" Tags="|audio|audio-recording|zoom|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33285" PostTypeId="2" ParentId="33283" CreationDate="2021-02-11T14:57:29.173" Score="1" Body="&lt;p&gt;Use a TRS cable. Make sure you reduce the line-out level in your Zoom H5, otherwise the audio in your camera will peak all the time.&lt;/p&gt;&#xA;&lt;p&gt;The quality/purity of the copper in the cable is irrevelant. This OFC vs. OCC is just marketing-blah-blah. Apparently no manufacturer has been able to prove any discernible difference.&lt;/p&gt;&#xA;&lt;p&gt;A real problem is that these 3.5mm jacks and cables aren't durable in the field. They just break too easily.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-02-11T14:57:29.173" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33287" PostTypeId="1" CreationDate="2021-02-12T00:36:45.063" Score="0" ViewCount="170" Body="&lt;p&gt;I've read through the 62-page FFmpeg doc. It's a great reference but not so good a teacher for someone new to video production. I joined the mail list but there seems to be no traffic on it. I hope here is where I can learn what I need to be productive.&lt;/p&gt;&#xA;&lt;p&gt;Using &lt;code&gt;ffmpeg -devices&lt;/code&gt; shows me that my Logitech c925e webcam is video0 and video1, but the command &lt;code&gt;ffmpeg -list_devices true -f dshow -i dummy&lt;/code&gt; found on several web pages results in this output:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Unrecognized option 'list_devices'. Error splitting the argument list:&lt;br /&gt;&#xA;Option not found&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Using&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i /dev/video0 -i pulse -c:v copy -c:a aac output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;results in:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;pulse: No such file or directory&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;How do I specify the webcam and headset mic to record a video?&lt;/p&gt;&#xA;" OwnerUserId="33895" LastEditorUserId="18155" LastEditDate="2021-02-12T06:45:24.637" LastActivityDate="2021-02-12T06:45:24.637" Title="Learning FFmpeg: video from webcam, audio from headset mic" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33288" PostTypeId="1" CreationDate="2021-02-12T09:10:11.997" Score="1" ViewCount="24" Body="&lt;p&gt;I have an idea for a film project that I would like some advice on.&lt;/p&gt;&#xA;&lt;p&gt;I want to use my GoPro with the handgrip attachment to &amp;quot;interview myself&amp;quot; on a ski chair lift.&lt;/p&gt;&#xA;&lt;p&gt;Here is what I mean by that: I want to ride a two person chair lift and on the first ride, with the camera pointed at me, I am going to record myself asking all the questions. On the next ride I am going to wear a different outfit and sit on the other side of the chair and record all the answers. Then I want to edit the clips together to make it seem to the best of my ability that they both occurred on the same chair ride.&lt;/p&gt;&#xA;&lt;p&gt;I could just standard cut / jump cut the clips, but it will be pretty obvious to the viewers what I did and seem discontinuous. I would like to somehow edit the transitions to create the effect that there are really two of me on the same chair (it will be obvious to my viewers that it is the same person, because they all know me, but it will be funny because I am wearing different outfits and I will talk / behave differently for the two different characters).&lt;/p&gt;&#xA;&lt;p&gt;What I am &lt;em&gt;not&lt;/em&gt; trying to achieve is some sort of photo shopping technique to get two of me in the same frame at a given time, but somehow pan back and forth in a smooth way to make it seem as close to being one continuous clip as possible.&lt;/p&gt;&#xA;&lt;p&gt;Imagine that two people were actually on the lift, and I pointed the camera at myself to ask the question, then turned it to aim at the other person for the answer, then back to me for the next question. This is what I want, but I have to edit it since there is (obviously) only one of me.&lt;/p&gt;&#xA;&lt;p&gt;Just to help people who aren't familiar with what a ski lift might look like, here are three screen shots from a video of a friend and I essentially doing what I described above (but with two people instead of ong)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bzn91.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bzn91.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;Camera being aimed at me for a question, camera was being held by my friend sitting next to me&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ZXYbh.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZXYbh.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;Halfway between panning from me back to my friend holding the camera&#xA;&lt;a href=&quot;https://i.stack.imgur.com/mrfEB.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mrfEB.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;Camera fully panned back to my friend holding the camera&lt;/p&gt;&#xA;&lt;p&gt;Obviously picture two is unachievable since it has both people in one shot, but I am thinking I might be able to take advantage of the black pole that is in the middle of the chair?&lt;/p&gt;&#xA;&lt;p&gt;I hope my question is clear, please let me know if I can improve it in any way. Let me know what creative ideas you might have to achieve this goal!&lt;/p&gt;&#xA;&lt;p&gt;I typically use adobe rush or adobe premier pro for editing.&lt;/p&gt;&#xA;&lt;p&gt;There is a park near my house that has two swings with a similar pole in between them, and I was thinking I could practice on that before filming on the ski lift.&lt;/p&gt;&#xA;" OwnerUserId="33900" LastActivityDate="2021-02-14T08:12:00.047" Title="Transition / Cut Advice for Video Idea" Tags="|premiere|editing|transitions|gopro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33289" PostTypeId="2" ParentId="33276" CreationDate="2021-02-12T12:18:29.080" Score="1" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;Is there a way I could have pushed my content through to the original URL (barring the big collapse)?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;That's not possible unfortunately, once you stop the live event the content that was ingested is made available for on demand streaming and no more live content can be streamed to YouTube.&lt;/p&gt;&#xA;&lt;p&gt;If you think about it, it would be difficult to do otherwise, because multiple sequences of the stream would need to be stitched together and that could be confusing for users who watch the recording.&lt;/p&gt;&#xA;&lt;p&gt;The thing that YouTube tolerates by default is the fact that you might stop and resume ingesting content &lt;em&gt;after&lt;/em&gt; you press the Go Live button but before stopping the event. I say &amp;quot;by default&amp;quot; because on Facebook, for example, the default behaviour is actually the opposite: if you accidentally stop streaming in OBS or have a network issue, the stream is stopped automatically and you cannot resume it. (I've seen this happen a number of times, it's a quite common problem.)&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;The system I was part of (here's a stream key, you only have one shot at it) seemed sort of fragile and I wondered whether I'm misunderstanding my role in it.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;The stream key is simply a string that you use to authenticate with YouTube, and YouTube actually allows you to reuse the same key between live streams!&lt;/p&gt;&#xA;&lt;p&gt;What you should do in your case is simply make sure that the Go Live button is pressed at the right time :)&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;If it's pressed too early, there's no point in stopping the stream!&lt;/strong&gt; Going live 20 minutes before the event is perfectly fine and it's actually a very common and recommended practice. While users wait, you can show a placeholder message like &amp;quot;We'll be live at 7 PM&amp;quot;. This allows you to check that everything is fine in practice with actual YouTube apps (&lt;em&gt;cough&lt;/em&gt; November 11 &lt;em&gt;cough&lt;/em&gt;), and also gives users a sense that everything's fine and the event is going to start.&lt;/p&gt;&#xA;" OwnerUserId="20528" LastActivityDate="2021-02-12T12:18:29.080" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33290" PostTypeId="2" ParentId="33288" CreationDate="2021-02-12T13:09:10.787" Score="1" Body="&lt;p&gt;You could use black screens as section dividers, e.g. one screen could feature a large question mark and the other one an exclamation mark as text.&lt;/p&gt;&#xA;&lt;p&gt;The idea is to drag the black screens across the video frame from side to side at the same speed you're panning. Make the animation so that it looks like the black screen is attached to the middle pole.&lt;/p&gt;&#xA;&lt;p&gt;Step by Step:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;show the black question screen for a second or two&lt;/li&gt;&#xA;&lt;li&gt;cross dissolve to you asking the question, the camera being fixed on you&lt;/li&gt;&#xA;&lt;li&gt;begin panning&lt;/li&gt;&#xA;&lt;li&gt;as soon as the pole comes into view, move the black answer screen from off-the frame into view, at the same speed as the panning, so it looks like the pole drags the screen with it.&lt;/li&gt;&#xA;&lt;li&gt;this screen will cover the empty lift seat while you pan&lt;/li&gt;&#xA;&lt;li&gt;the black answer screen comes fully into view&lt;/li&gt;&#xA;&lt;li&gt;in the background cut to the other video track&lt;/li&gt;&#xA;&lt;li&gt;Cross dissolve again and show you sitting in the other seat and answering the question.&lt;/li&gt;&#xA;&lt;li&gt;start panning again&lt;/li&gt;&#xA;&lt;li&gt;and so on&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;You could start the speech tracks just before the dissolve effects start, this is a common technique that simulates typical human dialogue where we perceive someone started speaking first and only then turn our eyes on that person. Research &lt;em&gt;J and L cuts&lt;/em&gt; if you want to know more about this.&lt;/p&gt;&#xA;&lt;p&gt;Also record some ambient sound from the lift ride and environment, that can be played continuously on loop in the background.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-02-12T13:09:10.787" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33294" PostTypeId="2" ParentId="23351" CreationDate="2021-02-12T19:32:21.300" Score="0" Body="&lt;p&gt;You could simply use the &lt;a href=&quot;https://cc-lut.hotglue.me&quot; rel=&quot;nofollow noreferrer&quot;&gt;Colorspace Conversion LUT&lt;/a&gt; to convert between Rec.709 gamut and Rec.2020 gamut.&lt;/p&gt;&#xA;" OwnerUserId="33908" LastEditorUserId="18155" LastEditDate="2021-02-12T23:20:52.513" LastActivityDate="2021-02-12T23:20:52.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33296" PostTypeId="2" ParentId="33238" CreationDate="2021-02-12T23:17:58.197" Score="1" Body="&lt;p&gt;I'm not aware of any easy software to do that, but I'm posting anyway, since it could be useful to others as well.&lt;/p&gt;&#xA;&lt;p&gt;There are open source projects that attempt to do what you require, basically by applying what @Jason Conrad said in his answer.&lt;/p&gt;&#xA;&lt;p&gt;One of them is &lt;a href=&quot;https://github.com/craigfrancis/audio-detect&quot; rel=&quot;nofollow noreferrer&quot;&gt;craigfrancis/audio-detect&lt;/a&gt; that you can find on GitHub. You first need to generate samples of the sound that you want to detect, and generally the more you have the better the performance of the algorithm will be. This can be done quite simply with the command that you find in the readme.&lt;/p&gt;&#xA;&lt;p&gt;After that, the actual processing can be run, which takes the samples you extracted and tries to find instances of the same sound in an input file.&lt;/p&gt;&#xA;&lt;p&gt;It's pretty easy to run both operations if you know a little about command line. Unfortunately, there's probably no magic solution for this task.&lt;/p&gt;&#xA;" OwnerUserId="20528" LastActivityDate="2021-02-12T23:17:58.197" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33298" PostTypeId="2" ParentId="33250" CreationDate="2021-02-13T05:00:12.310" Score="1" Body="&lt;p&gt;By default Handbrake selects the longest duration track, it assumes this is the main content - usually a DVD has one main feature, and then may have a bunch of smaller tracks (extras, trailers, intros, etc).&lt;/p&gt;&#xA;&lt;p&gt;Using the &amp;quot;Title&amp;quot; drop-down near the top left of screen, you should just be able to select the other track. You could also use the Add To Queue -&amp;gt; Add All option to add everything from the disc to the encode queue in one batch.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2021-02-13T05:00:12.310" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33299" PostTypeId="1" AcceptedAnswerId="33300" CreationDate="2021-02-13T13:32:55.977" Score="0" ViewCount="168" Body="&lt;p&gt;What I do:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i a.mkv -c:s srt b.srt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The resulting file contains HTML tags, is there a way to avoid that?&lt;/p&gt;&#xA;&lt;p&gt;On a side note, where can I find the list of... what do they call it... encoders? I simply tried &lt;code&gt;srt&lt;/code&gt; for the name and it worked.&lt;/p&gt;&#xA;" OwnerUserId="13877" LastActivityDate="2021-02-13T15:11:07.117" Title="HTML tags in SRT files produced by ffmpeg" Tags="|ffmpeg|.srt|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33300" PostTypeId="2" ParentId="33299" CreationDate="2021-02-13T15:11:07.117" Score="1" Body="&lt;p&gt;Instead of &lt;em&gt;srt&lt;/em&gt; try to use &lt;em&gt;text&lt;/em&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i a.mkv -c:s text b.srt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/pipermail/ffmpeg-user/2015-December/029668.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;(source)&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;For a list of all codecs use:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -encoders&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You can check the &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt; for more options.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-02-13T15:11:07.117" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33302" PostTypeId="1" CreationDate="2021-02-13T19:46:42.093" Score="2" ViewCount="37" Body="&lt;p&gt;Hi I’m trying to edit a group of videos so that they continuously slide on and off the screen. I was wondering if there was a faster way to do this instead of individually adjusting the position key frames of all my videos.&lt;/p&gt;&#xA;&lt;p&gt;The type of motion I’m referring to is like 1:51 of this YouTube video&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/JYtYCNkR1Yo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Thanks and any help would be appreciated!&lt;/p&gt;&#xA;" OwnerUserId="32498" LastActivityDate="2023-07-18T16:46:59.343" Title="How do you edit videos to slide on and off the screen?" Tags="|video|editing|premiere-elements|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33304" PostTypeId="2" ParentId="33288" CreationDate="2021-02-14T06:43:35.357" Score="1" Body="&lt;p&gt;It would be fairly easy to use a wipe centred on the black pole in the middle of the ski lift. A wipe is a standard transition found in most, if not all NLEs, that crops the outgoing picture from one side to progressively reveal the incoming picture. Wipe effects commonly have the ability to soften the edge,a nd apply a coloured border, both of which could be useful here, a blurry black border would match the pole as it passes across the shot.&lt;/p&gt;&#xA;&lt;p&gt;If the pan was quick and reasonably consistent in speed motion blur will help smooth out any mismatch in framing or timing. To do the wipe, count how many frames it takes for the pole to pass from one side to the other. Make the cut in the middle of these frames and then apply a wipe effect to the cut (Premiere, like most NLEs, let you do this by dragging the effect onto the cut). Set the length of the wipe to the same number of frames as it took for the pole to pass across the screen, and make sure the direction and angle match.&lt;/p&gt;&#xA;&lt;p&gt;When shooting you will want to practice the camera movement so that it is reasonably consistent between shots. One or two frames won't matter, but if one pan is 12 frames long and the other is one second long they wont match. Quicker will be better, because the motion blur and speed will mean you won't see exactly what's going on. There is a cutting technique called a &lt;a href=&quot;https://www.youtube.com/watch?v=z7PTc35x-kA&quot; rel=&quot;nofollow noreferrer&quot;&gt;whip pan&lt;/a&gt;, where you move the camera super fast (or apply movement in post) to cut to somewhere else. It might be of use to you here.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2021-02-14T08:12:00.047" LastActivityDate="2021-02-14T08:12:00.047" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33305" PostTypeId="2" ParentId="33272" CreationDate="2021-02-14T07:22:36.897" Score="0" Body="&lt;p&gt;This YouTube tutorial explains how to do this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=nUcBPjlFSTI&quot; rel=&quot;nofollow noreferrer&quot;&gt;After Effects Quick Tip - How to Add Auto Opacity To Layers and Footage&#xA;&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add an expression to the layer's &lt;code&gt;Opacity&lt;/code&gt; property by alt-clicking the stopwatch.&lt;/li&gt;&#xA;&lt;li&gt;Paste this expression into the box:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;pre&gt;&lt;code&gt;fadeDuration = .5;&#xA;Math.min(linear(time,inPoint,inPoint + fadeDuration, 0, 100), linear(time,outPoint - fadeDuration,outPoint,100,0))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The layer will now fade in for half a second, and then fade out for half a second based on its in and out points.&lt;/p&gt;&#xA;&lt;p&gt;If want to specify the length in &lt;strong&gt;frames&lt;/strong&gt; instead of &lt;strong&gt;seconds&lt;/strong&gt;, change the first line of the expression to be this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;fadeDuration = thisComp.frameDuration * 5;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now the layer will fade in and fade out over a period of &lt;strong&gt;5&lt;/strong&gt; frames.&lt;/p&gt;&#xA;" OwnerUserId="29782" LastActivityDate="2021-02-14T07:22:36.897" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33306" PostTypeId="1" AcceptedAnswerId="33315" CreationDate="2021-02-14T21:21:15.007" Score="1" ViewCount="32" Body="&lt;p&gt;I am trying to create a heart shape using an expression like this:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Start AE&lt;/li&gt;&#xA;&lt;li&gt;New Composition + Ok&lt;/li&gt;&#xA;&lt;li&gt;Layer, new shape layer&lt;/li&gt;&#xA;&lt;li&gt;Expand to get the contents node and click add Path&lt;/li&gt;&#xA;&lt;li&gt;Path -&amp;gt; Edit expression&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Then I paste this expression:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var path = thisProperty;&#xA;var allPoints = new Array();&#xA;for (var a = 0; a &amp;lt; 360; a++) {&#xA;  var theta = degreesToRadians(a);&#xA;  x0 = Math.cos(theta);&#xA;  x = 300 * x0;&#xA;  y = 0.75 * 300 * (Math.sin(theta) - Math.sqrt(Math.abs(x0)));&#xA;  allPoints.push([x,y]);&#xA;}&#xA;path.createPath(allPoints, [], [], true);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and I see this on the screen&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4vBI4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4vBI4.png&quot; alt=&quot;heart shape&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But this will only be visible in the designer.&#xA;If the object is deselected, it will become invisible.&lt;/p&gt;&#xA;&lt;p&gt;There is no way to control the stroke width, color or fill.&lt;/p&gt;&#xA;&lt;p&gt;How can I control those properties?&lt;/p&gt;&#xA;&lt;p&gt;I am trying to add a stroke alongside the path, but they will not &amp;quot;connect&amp;quot;.&lt;/p&gt;&#xA;" OwnerUserId="21523" LastEditorUserId="21523" LastEditDate="2021-02-15T17:20:13.537" LastActivityDate="2021-02-15T18:12:46.293" Title="Path created with an expression will not draw other than being selected" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33307" PostTypeId="1" CreationDate="2021-02-14T23:08:24.753" Score="0" ViewCount="486" Body="&lt;p&gt;I`ve been trying to create a batch file that merges all files in a folder using avidemux. Ideally, it would be awesome if this works to do some changes as well (basically rescaling the video).&lt;/p&gt;&#xA;&lt;p&gt;I have tried with this .bat file but it does not do what I intended:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;set avidemux=&amp;quot;C:\Program Files\Avidemux 2.7 VC++ 64bits\avidemux.exe&amp;quot;&#xA;&#xA;set videocodec=mp4&#xA;&#xA;for %%f in (*.mp4) do %avidemux% --video-codec %videocodec% --force-alt-h264 --load &amp;quot;%%f&amp;quot; --append &amp;quot;%%f&amp;quot; --save &amp;quot;%%f.avi&amp;quot; --quit&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What this does is just open each file individually and save it individually, not actually merging them.&lt;/p&gt;&#xA;&lt;p&gt;If there are any one-click solutions for this kind of issue it would be also appreciated.&lt;/p&gt;&#xA;" OwnerUserId="33920" LastActivityDate="2024-03-01T04:09:26.123" Title="Merging all files in a folder with an avidemux batch file" Tags="|software|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33308" PostTypeId="2" ParentId="33307" CreationDate="2021-02-14T23:41:09.610" Score="0" Body="&lt;p&gt;Ok I have found a solution using &lt;code&gt;ffmpeg&lt;/code&gt; instead of &lt;code&gt;avidemux&lt;/code&gt;. I made the following batch file. In this case, I had to know the folder where the ffmpeg executable was, and also i managed to convert the resolution to a different one&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for %%f in (*.mp4) do (&#xA;    echo file %%f &amp;gt;&amp;gt; list.txt&#xA;)&#xA;F:\ffmpeg\bin\ffmpeg.exe -f concat -safe 0 -i list.txt -vf scale=320:240 output.avi&#xA;del list.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This did the trick!&lt;/p&gt;&#xA;" OwnerUserId="33920" LastActivityDate="2021-02-14T23:41:09.610" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33310" PostTypeId="1" CreationDate="2021-02-15T12:18:02.557" Score="1" ViewCount="225" Body="&lt;p&gt;I am working in &lt;strong&gt;Adobe After Effects&lt;/strong&gt; (version 17.7.0 Build 45).&lt;/p&gt;&#xA;&lt;p&gt;I have the following:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DXvw9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DXvw9.png&quot; alt=&quot;screenshot of after effects&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I get equal spacing between the three layers when each layer is a different size? Let's say I want 60 pixels between each layer?&lt;/p&gt;&#xA;&lt;p&gt;In other design software, it is easy, when I drag and drop, it tells me. Here's Figma for example:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nNRlt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nNRlt.png&quot; alt=&quot;figma screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I get the same in Adobe After Effects? I already know about the Align tools in Adobe After Effects, but they do something different. For example, I couldn't say &amp;quot;I want 60 pixels between each layer&amp;quot;.&lt;/p&gt;&#xA;" OwnerUserId="18224" LastActivityDate="2021-02-15T12:18:02.557" Title="Adobe After Effects: Equal spacing between layers when each layer is a different size?" Tags="|after-effects|adobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33314" PostTypeId="1" CreationDate="2021-02-15T17:39:23.917" Score="1" ViewCount="182" Body="&lt;p&gt;Using FFMPEG, I need to join Video 1 and Video 2 with an intermediate transition Video T .&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video 1 has a duration D1 .&lt;/li&gt;&#xA;&lt;li&gt;Video 2 has a duration D2 .&lt;/li&gt;&#xA;&lt;li&gt;Video T should have a duration DT .&lt;/li&gt;&#xA;&lt;li&gt;The resulting video should have a duration D1 + DT + D2 .&lt;/li&gt;&#xA;&lt;li&gt;Video T should start with a copy of the end frame of Video 1.&lt;/li&gt;&#xA;&lt;li&gt;Video T should end with a copy of the start frame of Video 2.&lt;/li&gt;&#xA;&lt;li&gt;Video T should be a crossfade from its start frame to its end frame.&lt;/li&gt;&#xA;&lt;li&gt;Video 1 and Video 2 are MP4 files and have the same encoding parameters.&lt;/li&gt;&#xA;&lt;li&gt;Video 1 and Video 2 contain audio, that should remain in the resulting video.&lt;/li&gt;&#xA;&lt;li&gt;Video T should have no audio.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;How can Video T be generated, using FFMPEG simply ?&lt;/p&gt;&#xA;&lt;p&gt;How can Video 1 and Video 2 be joined with the intermediate Video T, using FFMPEG simply ?&lt;/p&gt;&#xA;&lt;p&gt;Note : I would prefer to perform the entire operation, through a single FFMPEG call.&lt;/p&gt;&#xA;&lt;p&gt;Note : I would prefer to avoid setting offsets, since D1, D2 and DT may vary.&lt;/p&gt;&#xA;" OwnerUserId="33927" LastActivityDate="2021-02-15T17:39:23.917" Title="Using FFMPEG, how to join two videos with an intermediate crossfade transition?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="33315" PostTypeId="2" ParentId="33306" CreationDate="2021-02-15T18:05:19.933" Score="2" Body="&lt;p&gt;Apologies if I've misunderstood, but you can just click on the Add triangle, and add a fill or a stroke to your shape:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/b41md.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/b41md.gif&quot; alt=&quot;screengrab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The modifiers in the &amp;quot;Add&amp;quot; menu are hierarchical - so you have to add them below the path's hierarchical level.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-02-15T18:12:46.293" LastActivityDate="2021-02-15T18:12:46.293" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33317" PostTypeId="1" CreationDate="2021-02-15T08:18:03.023" Score="1" ViewCount="199" Body="&lt;p&gt;The time displayed on LCD on my Sony nxcam has counted up and up. I'm sorry if this is a silly question. But is it possible to reset the timecode every time I press the record button automatically?&#xA;I go in to setting and find the TC/UB settings, I almost tried everything, But what I need is probably not an option, Right?&lt;/p&gt;&#xA;&lt;p&gt;My camera model is &amp;quot;Sony HXR-NX100&amp;quot;&lt;/p&gt;&#xA;" OwnerUserId="36015" OwnerDisplayName="Ace Max" LastEditorUserId="-1" LastEditDate="2021-04-07T15:23:22.193" LastActivityDate="2021-04-07T15:23:22.193" Title="How to reset the timecode whenever pressing record button on Sony nxcam?" Tags="|sony|camera|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33320" PostTypeId="1" CreationDate="2021-02-16T15:52:51.620" Score="0" ViewCount="209" Body="&lt;p&gt;I used the silencedetect of ffmpeg with noise value of &lt;strong&gt;-30dB&lt;/strong&gt; to get the silent parts of a small video file &amp;amp; used those timestamps to trim &amp;amp; re-encode the silent parts of the videos.&lt;/p&gt;&#xA;&lt;p&gt;I had used the audio peak meter in Shotcut(a video editor software) to see that anything below &lt;strong&gt;-30dB&lt;/strong&gt; can be considered as silence.&lt;/p&gt;&#xA;&lt;p&gt;When I opened re-encoded output video file in Shotcut, I saw that there were still some sections of video that were below -30dB &amp;amp; longer than the silence duration value I had passed into the ffmpeg command.&lt;/p&gt;&#xA;&lt;p&gt;On closer inspection, I realized that the audio peak meter shown in Shotcut measures in &lt;strong&gt;dBFS&lt;/strong&gt; &amp;amp; the noise value I entered in ffmpeg is in &lt;strong&gt;dB&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;My knowledge of audio signal is very basic &amp;amp; hence I looked up what's &lt;strong&gt;dBFS&lt;/strong&gt;. I understood that &lt;strong&gt;dBFS&lt;/strong&gt; stands for dB Full Scale &amp;amp; is somehow related to the maximum possible volume in a &lt;strong&gt;WAV&lt;/strong&gt; format.&lt;/p&gt;&#xA;&lt;p&gt;My question is, how to pass the value in &lt;strong&gt;dBFS&lt;/strong&gt; to ffmpeg instead of in &lt;strong&gt;dB&lt;/strong&gt;?&#xA;I checked the ffmpeg documentation &amp;amp; it does not say that we can pass values in &lt;strong&gt;dBFS&lt;/strong&gt;.&lt;/p&gt;&#xA;" OwnerUserId="33940" LastActivityDate="2021-02-16T15:52:51.620" Title="How to input noise values in dBFS for ffmpeg silence detect" Tags="|ffmpeg|audio|noise|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33321" PostTypeId="1" CreationDate="2021-02-16T16:35:08.837" Score="0" ViewCount="105" Body="&lt;p&gt;I have video from multi videos, when I import it in after effect, one of them not showing full screen.&#xA;I think when see image will understand my problem&lt;/p&gt;&#xA;&lt;p&gt;in video player:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/AryzE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AryzE.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;in after effect after imported:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/DE6HX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DE6HX.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Any advise?&lt;/p&gt;&#xA;" OwnerUserId="32400" LastActivityDate="2021-02-16T18:11:31.910" Title="video not showing full screen" Tags="|video|after-effects|video-editor|adobe|video-capture|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33324" PostTypeId="2" ParentId="33321" CreationDate="2021-02-16T18:11:31.910" Score="1" Body="&lt;p&gt;Make sure the size of your comp in After Effects is the same as the size of your original video clip. Make sure the clip in your layer is set to scale 100%.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-02-16T18:11:31.910" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33326" PostTypeId="2" ParentId="21341" CreationDate="2021-02-16T22:24:13.783" Score="0" Body="&lt;p&gt;Just had to deal with this today myself. The &lt;a href=&quot;https://en.wikipedia.org/wiki/Advanced_Video_Coding#Levels&quot; rel=&quot;nofollow noreferrer&quot;&gt;h.264 profile&lt;/a&gt; level is likely causing the issue. The lower level profiles used with HD+ footage seems to cause a buffer/playback issue.&lt;/p&gt;&#xA;&lt;p&gt;You can check your current profile level with &lt;code&gt;ffprobe -show_streams input.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Look for the profile level. If it's less than 5, that's probably the issue. You can re-encode the video to solve the issue. Here's a sample ffmpeg command that will do that for you.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i in.mov -movflags faststart -acodec copy -c:v libx264 -crf 1 -tune fastdecode -tune zerolatency -vprofile high -pix_fmt yuv420p -vlevel 6.2 out.mov; done&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;That command pretty much completely solves the issue with any troublesome footage on my machine. You might be tempted to use -crf 0, but that will result in the profile level not being changed. -crf 1 is functionally identical for h.264 purposes (eg. you're likely not trying to color grade h.264).&lt;/p&gt;&#xA;" OwnerUserId="27348" LastActivityDate="2021-02-16T22:24:13.783" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33327" PostTypeId="1" CreationDate="2021-02-17T05:49:09.303" Score="0" ViewCount="233" Body="&lt;p&gt;I have a folder with .avi files:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;dogs&#xA;  dog1.avi&#xA;  dog2.avi&#xA;  ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Each .avi file has 2 audio tracks. I want to remove the first track.&lt;/p&gt;&#xA;&lt;p&gt;I can do if for one file like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i dog1.avi -map 0 -map -0:a:0 -c copy dog1-changed.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However I need to do it for all files.&lt;/p&gt;&#xA;&lt;p&gt;I tried (after &lt;code&gt;cd dogs&lt;/code&gt;):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for f in *avi; do ffmpeg -i &amp;quot;$f&amp;quot; -map 0 -map -0:a:0 -c copy &amp;quot;${f/%.avi/-changed.mkv}&amp;quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However it gives&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;f was unexpected at this time&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;error.&lt;/p&gt;&#xA;&lt;p&gt;How do I fix it?&lt;/p&gt;&#xA;" OwnerUserId="16127" LastActivityDate="2021-02-17T05:49:09.303" Title="ffmpeg: can't loop over files in folder to remove audio track f was unexpected at this time" Tags="|ffmpeg|audio|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33329" PostTypeId="1" AcceptedAnswerId="33334" CreationDate="2021-02-17T13:08:13.403" Score="2" ViewCount="8373" Body="&lt;p&gt;I have created multiple text layers (which is ok) but then I had to create multiple solids, one for each line of text to add the black background-colour:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pJO8l.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pJO8l.png&quot; alt=&quot;screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I am wondering if there is an easier way, maybe a built-in title effect that I don't know.&lt;/p&gt;&#xA;" OwnerUserId="33950" LastEditorUserId="29988" LastEditDate="2021-02-18T12:24:53.627" LastActivityDate="2023-05-30T13:04:35.787" Title="Davinci Resolve: How to easily add background-colour to text?" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33330" PostTypeId="1" CreationDate="2021-02-17T20:11:07.123" Score="1" ViewCount="523" Body="&lt;p&gt;I have several long videos that I need to export as individual clips, instead of a completed sequence. The goal is to have a library of clips that a coworker of mine can pull from to make Tik Tok or Instagram videos.&lt;/p&gt;&#xA;&lt;p&gt;I've tried &lt;em&gt;Render &amp;amp; Replace&lt;/em&gt; and the Project Manager's &lt;em&gt;Consolidate &amp;amp; Transcode&lt;/em&gt; option, but neither achieve what I'm after. The exported clips have no color correction, no stabilization, no keyframes, and they don't reflect how they were sized/cropped within the sequence (for example the clips I filmed 16x9 but were cropped in the 9x16 sequence export as their 16x9 originals).&lt;/p&gt;&#xA;&lt;p&gt;The only real workaround I can think of is to turn each clip into a nested sequence and then select/export those from the Project window. That will become a time consuming process and I'm hoping there's a faster way.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;TL:DR - Is it possible to batch export individual clips from a sequence with the effects, sizing, etc. applied?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="10892" LastEditorUserId="10892" LastEditDate="2021-02-17T21:29:46.827" LastActivityDate="2023-10-05T12:03:32.910" Title="Premiere Pro: export individual clips from sequence with all effects applied" Tags="|premiere|export|render|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33332" PostTypeId="1" CreationDate="2021-02-17T23:08:00.300" Score="0" ViewCount="43" Body="&lt;p&gt;I am trying to write a program that takes a video of someone's face, extracts the RGB values, and then uses the color change (imperceptible to the human eye) to map onto heart rate. When I use a logitech C270 HD WEBCAM recording .avi video files, my program works really well because the RGB data is very rich with little noise.&lt;/p&gt;&#xA;&lt;p&gt;When I switch to using my macbook webcam or an iphone/ipad camera, the RGB data looses its richness and becomes more noisy (lower signal to noise ratio). Why is this? I would think apple cameras would be similar or better quality than the $40 logitech.&lt;/p&gt;&#xA;&lt;p&gt;The biggest difference I see is that the logitech .avi files run 184410 kb/s and the mac .mov or .mp4 files are ~7000 kb/s.&lt;/p&gt;&#xA;&lt;p&gt;I know for sure the logitech files are uncompressed. I'm pretty sure that the apple mov or mp4 files are uncompressed (I didn't do any compressing, but maybe its done automatically on the device?).&lt;/p&gt;&#xA;&lt;p&gt;Any ideas how I can get my mac or iphone/pad to match the quality (interms of kb/s) of the logitech?&lt;/p&gt;&#xA;" OwnerUserId="33953" LastActivityDate="2021-02-17T23:08:00.300" Title="Why does my ipad/macbook video camera quality not match logitech hd c270 quality?" Tags="|video-quality|compression|colorspace|iphone|apple|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33334" PostTypeId="2" ParentId="33329" CreationDate="2021-02-18T07:20:38.297" Score="9" Body="&lt;p&gt;Use a Text+ for the title.  In the Inspector, go to the Shading Tab, and in the Shading Elements section, change the &amp;quot;Select Element&amp;quot; dropdown to &amp;quot;4&amp;quot; and check &amp;quot;Enabled.&amp;quot;  Change the color of the background from the default blue to black, and if you don't want the black boxes to split between characters, then change Properties-&amp;gt;Level to &amp;quot;Line&amp;quot; or &amp;quot;Word.&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;The numbered &amp;quot;Shading Elements,&amp;quot; in case you're wondering, are preset slots, where you can save combinations of settings for Fusion Text+ nodes.  A few of the slots are pre-populated with commonly used defaults like this, outline, and drop shadow, for example.  Multiple elements can be active simultaneously.&lt;/p&gt;&#xA;&lt;p&gt;I'm using Resolve 17Beta9.  I know that R17 allows more of Fusion's parameters to be published in the Edit and Cut page inspectors, but I don't remember if this particular control was new to those pages in R17.  If you don't see the controls in the Cut/Edit page inspectors, and you're using an earlier version of Resolve, switch to the Fusion page, and they'll be available there.&lt;/p&gt;&#xA;&lt;p&gt;If you don't want to repeat the styling steps every time you want another title to appear, you can save a template by dragging the Text+ clip (after you've adjusted the look) from the timeline to the media pool.  Then, dragging the template from the media pool to the timeline will instantiate a new title, with the saved look, and you only need to change the text.  There are other ways to do this when you want to re-use the same style across projects, but this method is the simplest.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xzPoV.jpg&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xzPoV.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-02-18T07:20:38.297" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33336" PostTypeId="1" CreationDate="2021-02-18T21:41:34.990" Score="0" ViewCount="243" Body="&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/16558/how-do-i-get-stereo-5-1-for-youtube-videos&quot;&gt;How do I get Stereo + 5.1 for YouTube videos?&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It has been a long time since somebody made a question about this topic on this forum and lots of stuff have changed since then. So does YouTube support 5.1 audio now, in 2021?&lt;/p&gt;&#xA;" OwnerUserId="33962" LastEditorUserId="33962" LastEditDate="2021-11-29T22:36:38.463" LastActivityDate="2021-11-29T22:36:38.463" Title="5.1 audio on YouTube videos?" Tags="|audio|youtube|" AnswerCount="0" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="33337" PostTypeId="1" CreationDate="2021-02-19T09:34:09.527" Score="2" ViewCount="52" Body="&lt;p&gt;I load a JSON file with expressions in after effects. I need to know the number of datapoints  in that JSON file for further processing.&lt;/p&gt;&#xA;&lt;p&gt;How can i count (or index?) Them with expressions?&lt;/p&gt;&#xA;" OwnerUserId="29585" LastEditorUserId="29585" LastEditDate="2021-02-19T16:28:28.333" LastActivityDate="2021-02-19T16:28:28.333" Title="How to count datapoints in a JSON file with expressions in After Effects?" Tags="|after-effects|after-effects-expressions|after-effects-scripting|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33338" PostTypeId="2" ParentId="24260" CreationDate="2021-02-19T19:01:04.047" Score="0" Body="&lt;p&gt;Please higher your &lt;code&gt;-minrate, -maxrate, -bufsize&lt;/code&gt; and study its codec. Download the Better container for video codec and audio codec separately. encode the codec in these containers but follow these steps:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;1. Download the audio and video separately. you can do this by adding -vn and -an on the output command line. -vn means 'no video' while -an means 'no audio'. After that, study the codec of video or audio, and encode it to its better container... Here are the best container for modern codecs.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;quot;Audio/Video codec&amp;quot;&#xA;&#xA;*AAC/H264 is better on (TS)&#xA;*OPUS is better on (MKV)&#xA;*VP9 is better on (AVI)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;2. After downloading the video/audio separately, you need to merge them together of course. Please include your said -minrate, -maxrate, and -bufsize. Don't forget to study your codecs and join them together with these containers:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;quot;Merging&amp;quot;&#xA;&#xA;*Mixing VP9 and OPUS is better on (MKV)&#xA;*Mixing H264 and AAC is better on (MOV)&#xA;*otherwise most incompatible codec is better on (MKV)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33972" LastActivityDate="2021-02-19T19:01:04.047" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33339" PostTypeId="1" AcceptedAnswerId="33400" CreationDate="2021-02-19T19:54:22.143" Score="1" ViewCount="938" Body="&lt;p&gt;Running Premiere Pro 2018 on Windows. Previously, I could animate the scale and position of the clip in the program window by clicking to select it and using handles to scale, or drag it around within the program monitor. This would create keyframes and update the scale and position settings. It made it very easy to do &amp;quot;pan and scan&amp;quot; type zooms and rolls.  I'm not sure if I was using an earlier version then.&lt;/p&gt;&#xA;&lt;p&gt;On my current project, I can't select the clip in the Program monitor. I click it with the selection tool and never see handles on the image. Selecting it in the Timeline doesn't do anything either. I &lt;em&gt;can&lt;/em&gt; add key frames and adjust position numerically in the Effects Monitor panel, but I'd like to use the mouse in some cases. Does anybody know what I'm missing?&lt;/p&gt;&#xA;" OwnerUserId="19692" LastActivityDate="2021-03-01T21:24:02.620" Title="Premiere CC: How to select/drag clip in program window?" Tags="|premiere|editing|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33341" PostTypeId="1" CreationDate="2021-02-19T23:45:16.737" Score="2" ViewCount="54" Body="&lt;p&gt;Over the years I have accumulated enough digital assets (mainly videos and photos) for it to become a massive problem in terms of organizing it all and then being able to find it.&lt;/p&gt;&#xA;&lt;p&gt;I am wondering what people are using out there, regardless of the platform (even though I am deeply invested on Linux)&lt;/p&gt;&#xA;&lt;p&gt;Here are the requirements I consider essential:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Being able to identify duplicates and save storage&lt;/li&gt;&#xA;&lt;li&gt;Ability to apply multiple tags and comments to make searching easier&lt;/li&gt;&#xA;&lt;li&gt;Ability to &amp;quot;publish&amp;quot; or otherwise make visible through a controlled web server only a subset of these assets&lt;/li&gt;&#xA;&lt;li&gt;Easy way to export or otherwise create backup copies&lt;/li&gt;&#xA;&lt;li&gt;Intuitive GUI front end&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I have been searching around without any luck so I am keen to hear from other in this forum.&lt;/p&gt;&#xA;" OwnerUserId="33973" LastActivityDate="2021-03-02T17:35:10.537" Title="Software to manage digital assets" Tags="|storage|media|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33342" PostTypeId="1" CreationDate="2021-02-20T07:23:30.040" Score="0" ViewCount="572" Body="&lt;p&gt;Competitor software can put multiple footage in the same layer. I think this is Pinnacle, but I've seen this also in Magix (I am not a professional, this is the kind of consumer software I've used in the past):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TvGql.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TvGql.jpg&quot; alt=&quot;pinnacle&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Instead, it appears this is not possible in After Effects. Am I wrong? Is there a way to do this?&#xA;As a result, nearly half of what I have on my screen is just gray lines. Either that or endless mouse wheel scrolling. I have over 5 million pixels on my screen, but they are just used for gray. I think this is horrible UI, and I'm looking a way to improve my user experience. What are my options?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KDRMZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KDRMZ.png&quot; alt=&quot;after effects' horrible UI&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is totally making me go cross-eyed and giving me headaches. I just can't believe this is what you folks have to deal with. There's got to be a better way. Thank you.&lt;/p&gt;&#xA;&lt;p&gt;P.S. I cannot pre-compose otherwise I lose the ability to snap. Tried that – didn't work for me. Any suggestion?&lt;/p&gt;&#xA;" OwnerUserId="30069" LastActivityDate="2023-12-09T18:02:10.207" Title="After effects - how to put multiple sources on the same layer line? or how to reduce the scrolling of the layers panel?" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33343" PostTypeId="2" ParentId="21734" CreationDate="2021-02-20T11:28:16.800" Score="5" Body="&lt;p&gt;I have found that using -map 0 will select &lt;em&gt;all&lt;/em&gt; tracks, including subtitles if available.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;!original!&amp;quot; -map 0 -c:v libx265 -preset medium -crf 28 -c:a copy &amp;quot;g:\Prepare\Convert\!file!&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33978" LastActivityDate="2021-02-20T11:28:16.800" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33344" PostTypeId="2" ParentId="33342" CreationDate="2021-02-20T11:37:16.703" Score="0" Body="&lt;p&gt;Video editing (cutting) is best done with Premiere Pro and animation with After Effects. Both are complex software tools that require lots of training. You should invest more time in training or maybe choose different products, if they simply don't fit to your style of working.&lt;/p&gt;&#xA;&lt;p&gt;Create a sequence in Premiere where you can easily have as many clips in a track as you want. Create a new sequence where you insert this sequence (this is called nested sequence). Then right click on the inserted sequence and select &lt;em&gt;Replace With After Effects Composition&lt;/em&gt;. When After Effects opens you will see that you get a composition with only one layer.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2021-02-22T07:24:47.347" LastActivityDate="2021-02-22T07:24:47.347" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33346" PostTypeId="1" CreationDate="2021-02-20T18:44:34.750" Score="1" ViewCount="40" Body="&lt;p&gt;I'm just curious to know what actually happens when After Effects converts an AI file to shapes. I should note that I do have Overlord but sometimes I am working on projects on my university computer and I am unable to load extensions. I find myself working more and more path animation projects but every time import and convert my AI files to shapes I have to manually dive into each shape group and zero out its parameters before animating. I try to set up my projects in AI in a way so it's already the way I need it to be. It would be nice to actually understand how AE handles this process of converting files. Thanks for your help&lt;/p&gt;&#xA;" OwnerUserId="26665" LastActivityDate="2021-02-20T18:44:34.750" Title="Under the hood process of the &quot;create shapes from vector layer&quot; option in After Effects" Tags="|after-effects|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33347" PostTypeId="1" AcceptedAnswerId="33375" CreationDate="2021-02-20T19:26:55.830" Score="1" ViewCount="84" Body="&lt;p&gt;I want to animate an old WW1 military map in After Effects. I drew this map in vector using the Illustrator and now I need to give it a vintage look by overlaying various textures and overprints. For this kind of work, Photoshop is the ideal solution.&lt;/p&gt;&#xA;&lt;p&gt;I'm wondering if I export my project from Illustrator to Photoshop as smart object, make all the necessary changes, and then export from Photoshop to After Effects, will I be able to work with vector graphics there?&lt;/p&gt;&#xA;&lt;p&gt;Or is it better to export from the Illustrator directly to After Effects and try to stylize the image already there?&lt;/p&gt;&#xA;&lt;p&gt;Thanks for the advice.&lt;/p&gt;&#xA;" OwnerUserId="30068" LastActivityDate="2021-02-25T09:48:36.123" Title="Vector graphics from Photoshop to After Effects" Tags="|motion-graphics|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33349" PostTypeId="2" ParentId="30587" CreationDate="2021-02-21T18:50:49.183" Score="0" Body="&lt;p&gt;Each manufacturer uses proprietary way to read data from the matrix and encode it to some popular format. As far  as I understand the question, (and I am also interested in the answer) was how to decode/convert  a movie, for example from mp4 format to the format where each frame would form a two dimensional matrix, with each element corresponding to particular pixel storing an information about the shade of grey in case of black and white movie, or three dimensional one where for each pixel three RGB values would be stored as an integer array frame(1024,640,3) for the resolution 1024x640. Of course the file containing the whole movie would be huge, and impractical for a typical storing/displaying of a movie, but this type of conversion always needs to be a first step for further mathematical processing of data for let say 2D Fourier transformation of each frame or something else making more sense.&lt;/p&gt;&#xA;" OwnerUserId="33988" LastActivityDate="2021-02-21T18:50:49.183" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33352" PostTypeId="1" CreationDate="2021-02-21T22:50:49.030" Score="1" ViewCount="90" Body="&lt;p&gt;If a &lt;code&gt;.mts&lt;/code&gt; video file is opened or imported to a project in a video editor like Adobe Premiere Pro, is transcoding going on? Video or audio compression? If so, why, instead of editing the raw file as is?&lt;/p&gt;&#xA;" OwnerUserId="33408" LastEditorUserId="33408" LastEditDate="2021-02-22T17:29:12.680" LastActivityDate="2021-02-24T22:04:30.950" Title="Does transcoding or compression occur when importing and editing .mts (.mp4) video files?" Tags="|premiere|video-editor|editing|mp4|transcoding|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33353" PostTypeId="1" CreationDate="2021-02-22T12:08:24.133" Score="0" ViewCount="722" Body="&lt;p&gt;I am using this command to scale video &lt;code&gt;ffmpeg -i input.avi -vf scale=720:480 output.avi&lt;/code&gt;. I want to add black background instead of stretching the video.&lt;/p&gt;&#xA;" OwnerUserId="33999" LastActivityDate="2021-02-22T12:08:24.133" Title="How to scale video without stretching it?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33357" PostTypeId="1" CreationDate="2021-02-23T03:28:02.090" Score="0" ViewCount="344" Body="&lt;p&gt;I'm having trouble with the command found here: &lt;a href=&quot;https://video.stackexchange.com/questions/27524/combining-two-video-fields-into-one-to-create-an-interlaced-video&quot;&gt;Combining two video fields into one (to create an interlaced video)&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i tf.avi -i bf.avi -filter_complex vstack,il=l=i:c=i -c:v ffv1 out_i.avi&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;It seems to combine the fields correctly, the output, however, appears to be progressive. To test, I used&#xA;the video 'in_i.mxf' (XCDCAM HD 422, 1080i25) and separated the fields in tf.avi and bf.avi, using this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i in_i.mxf -vf field=top -c:v ffv1 -an tf.avi -vf field=bottom -c:v ffv1 -an bf.avi&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;That's the result of 'ffmpeg -i in_i.mxf -i tf.avi -i bf.avi -i out_i.avi':&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mxf, from 'in_i.mxf':&#xA;  Metadata:&#xA;    operational_pattern_ul: 060e2b34.04010101.0d010201.01010900&#xA;    uid             : 25e9aa02-7405-4800-809e-0700022483ea&#xA;    generation_uid  : 25e9aa02-7405-4800-811e-0700022483ea&#xA;    company_name    : CANON&#xA;    product_name    : XF105&#xA;    product_version : 1.00&#xA;    product_uid     : 060e2b34-0401-010d-0e15-005658460100&#xA;    modification_date: 2016-01-15T14:48:13.000000Z&#xA;    material_package_umid: 0x060A2B340101010501010D43130000000A25E9AB0274058000008500022483EA&#xA;    timecode        : 13:13:46:14&#xA;  Duration: 00:00:10.08, start: 0.000000, bitrate: 51874 kb/s  &#xA;  Stream #0:0: Video: mpeg2video (4:2:2), yuv422p(tv, bt709, top first), 1920x1080 [SAR 1:1 DAR 16:9], 50000 kb/s, 25 fps, 25 tbr, 25 tbn, 50 tbc&#xA;  Metadata:&#xA;  file_package_umid: 0x060A2B340101010501010D43130000000A25E9AA0274058000008500022483EA&#xA;    Side data:          cpb: bitrate max/min/avg: 50000000/0/0 buffer size: 17825792 vbv_delay: N/A&#xA;Stream #0:1: Audio: pcm_s16le, 48000 Hz, mono, s16, 768 kb/s&#xA;Metadata:&#xA;  file_package_umid: 0x060A2B340101010501010D43130000000A25E9AA0274058000008500022483EA&#xA;Stream #0:2: Audio: pcm_s16le, 48000 Hz, mono, s16, 768 kb/s&#xA;Metadata:&#xA;  file_package_umid: 0x060A2B340101010501010D43130000000A25E9AA0274058000008500022483EA&#xA;&#xA;Input #1, avi, from 'tf.avi':&#xA;  Metadata:&#xA;    software        : Lavf58.67.100&#xA;    timecode        : 13:13:46:14&#xA;  Duration: 00:00:10.08, start: 0.000000, bitrate: 98506 kb/s&#xA;  Stream #1:0: Video: ffv1 (FFV1 / 0x31564646), yuv422p, 1920x540, 98889 kb/s, SAR 1:1 DAR 32:9, 25 fps, 25 tbr, 25 tbn, 25 tbc&#xA;&#xA;Input #2, avi, from 'bf.avi':&#xA;  Metadata:&#xA;    software        : Lavf58.67.100&#xA;    timecode        : 13:13:46:14&#xA;  Duration: 00:00:10.08, start: 0.000000, bitrate: 98381 kb/s&#xA;  Stream #2:0: Video: ffv1 (FFV1 / 0x31564646), yuv422p, 1920x540, 98763 kb/s, SAR 1:1 DAR 32:9, 25 fps, 25 tbr, 25 tbn, 25 tbc&#xA;&#xA;Input #3, avi, from 'out_i.avi':&#xA;  Metadata:&#xA;    software        : Lavf58.67.100&#xA;    timecode        : 13:13:46:14&#xA;  Duration: 00:00:10.08, start: 0.000000, bitrate: 201187 kb/s&#xA;  Stream #3:0: Video: ffv1 (FFV1 / 0x31564646), yuv422p, 1920x1080, 201979 kb/s, SAR 1:1 DAR 16:9, 25 fps, 25 tbr, 25 tbn, 25 tbc          &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It might be just a metadata problem? Any ideas how to optimize?&lt;/p&gt;&#xA;" OwnerUserId="33987" LastActivityDate="2021-11-20T07:00:50.137" Title="Trouble When Combining two video fields into one (to create an interlaced video)" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33358" PostTypeId="2" ParentId="33357" CreationDate="2021-02-23T04:10:22.667" Score="1" Body="&lt;p&gt;Use the &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-filters.html#setparams-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;setparams&lt;/a&gt; filter to mark the frames as interlaced.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i tf.avi -i bf.avi -filter_complex vstack,il=l=i:c=i,setparams=field_mode=tff -c:v ffv1 out_i.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-02-23T04:10:22.667" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33361" PostTypeId="2" ParentId="32207" CreationDate="2021-02-23T16:23:23.247" Score="1" Body="&lt;p&gt;Apple didn't update all the documentation. Found it only here: &lt;a href=&quot;https://developer.apple.com/documentation/professional_video_applications/fcpxml_reference/document_type_definition?changes=la__1&quot; rel=&quot;nofollow noreferrer&quot;&gt;Link&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34011" LastActivityDate="2021-02-23T16:23:23.247" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33362" PostTypeId="1" CreationDate="2021-02-24T02:08:29.183" Score="1" ViewCount="66" Body="&lt;p&gt;As stated in the title, it is as simply as that. I need a piece of software that plays a video and then allows me to draw on top of the video and then the output will be a new video with the draws on top of the old video.&lt;/p&gt;&#xA;&lt;p&gt;I have a linux mint operating system. I prefer free, of course. But is willing to pay.&lt;/p&gt;&#xA;" OwnerUserId="34015" LastEditorUserId="34015" LastEditDate="2021-02-24T03:46:32.757" LastActivityDate="2021-04-25T03:55:53.767" Title="a software program that allows me to draw on the screen while a video is playing and outputs a new video with the drawings on top of the old video?" Tags="|video-editor|editing|software-recommendation|software|linux|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33363" PostTypeId="1" AcceptedAnswerId="33364" CreationDate="2021-02-24T12:20:53.747" Score="2" ViewCount="6626" Body="&lt;p&gt;I was wondering if there is a way to expand a fill, outset a shadow or something, around a PNG with transparent background.&lt;/p&gt;&#xA;&lt;p&gt;Right now I am using Fill + Simple Choker to expand the contour + CC Composite to bring it to the bottom, and sort of works, but I can expand the outline only a few pixels, like less than 100. Ideally, I'd like to animate it, so I can't just add the outline in Photoshop!&lt;/p&gt;&#xA;&lt;p&gt;Is there an alternative way to do that? Thank you in advance.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yTYme.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yTYme.gif&quot; alt=&quot;outline around opaque pixels&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30069" LastActivityDate="2021-02-24T16:32:52.500" Title="Outline/stroke around transparent-background PNG in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33364" PostTypeId="2" ParentId="33363" CreationDate="2021-02-24T16:32:52.500" Score="4" Body="&lt;p&gt;Try using Layer--&amp;gt; Auto-trace to tracing around the alpha. It will generate a mask which you can then expand.&lt;/p&gt;&#xA;&lt;p&gt;Or you could use a Layer Style to get a similar effect with a drop shadow or glow effect.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-02-24T16:32:52.500" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33365" PostTypeId="2" ParentId="32307" CreationDate="2021-02-24T16:47:16.330" Score="1" Body="&lt;p&gt;If you are working in a video editing app like Premiere or Final Cut, when you specify a sample rate, you are specifying the audio sampling rate.  This is how many times per second the audio is going to be converted into a numeric value and stored.  So typically with video, it is 48,000 times per second (a frequency of 48kHz), or 44,100 = 44.1kHz. You need two samples to correctly measure a frequency. This means that the maximum frequency you can record in an uncompressed audio recording is usually just under half the sample rate.  This is called the &lt;a href=&quot;https://en.wikipedia.org/wiki/Nyquist_frequency&quot; rel=&quot;nofollow noreferrer&quot;&gt;Nyquist frequency&lt;/a&gt;.  So at a sample rate of 48kHz, you cannot correctly record any frequencies about 24kHz without hearing alias frequencies (incorrectly recorded lower frequencies appearing in error in your recording).&lt;/p&gt;&#xA;&lt;p&gt;Pixels are not commonly referred to as samples, and a frame (whether defined as an audio frame in a file format, or as a frame of video) is different to a sample.&lt;/p&gt;&#xA;&lt;p&gt;It would improve your question to say which program your code snippet comes from - someone might be able to help directly.&lt;/p&gt;&#xA;&lt;p&gt;Also - bit depth is not the same as sampling - sampling is how often you measure something. Bit depth is how many numbers you use to record the measurement.  So most audio is recorded at 16, 24, or 32 bits.  So each sample in a 16 bit recording could be measured between zero and 65,536 amplitude levels.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-02-24T16:47:16.330" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33366" PostTypeId="1" CreationDate="2021-02-24T18:22:33.747" Score="0" ViewCount="34" Body="&lt;p&gt;I've been planning on shooting a video in my driveway of me working on my car; How do I get the best lighting when I'm going to be filming all day?&lt;/p&gt;&#xA;&lt;p&gt;I'm going to be welding, on the side of my car, replacing rust, and want to document for youtube. I've done so in the past, but the sun changing directions sucks.&lt;/p&gt;&#xA;&lt;p&gt;I've thought about buying one of these ez-up tents, to get rid of sun glare, and get a soft box lighting kit to add my own light back in. But what are your thoughts on this? Am I on the right track?&lt;/p&gt;&#xA;&lt;p&gt;I would close all sides, and drape one side over the portion of the vehicle that I am working on.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/3RUsi.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3RUsi.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34022" LastActivityDate="2021-02-24T21:23:01.780" Title="Video Production outdoor in driveway? Filming me working on my car?" Tags="|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33367" PostTypeId="2" ParentId="24178" CreationDate="2021-02-24T18:47:26.973" Score="0" Body="&lt;p&gt;Canon developed a driver to use with most EOS cameras. Works like charm.&#xA;This is available at Canon USA. It is called WebCam Utility.&lt;/p&gt;&#xA;" OwnerUserId="34023" LastActivityDate="2021-02-24T18:47:26.973" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33368" PostTypeId="2" ParentId="33366" CreationDate="2021-02-24T20:53:15.047" Score="1" Body="&lt;p&gt;If the tent you get is white, like the one in the picture, you can point a light up into it, and then the tent becomes a giant soft box. The light loses a lot of energy doing this, because the tent material isn’t designed  to reflect 100% of the light striking it, but the same thing happens to sunlight going in the other direction, and any sunlight coming through the material will diffuse and contribute to the total amount of light. A setup like this runs the risk of being too soft, pushing into flat territory, so you’d want to add a second light to use as your key, and use tent as fill.&lt;/p&gt;&#xA;&lt;p&gt;If you don’t want to have to buy a second light, you could try rolling up one of the sides of the tent, and using ambient daylight (not direct sunlight) to add contrast to the image.  The amount of contrast will vary through the day, however, and will require you to roll up/down the sides of the tent, assuming the tent sits in direct sunlight all day.&lt;/p&gt;&#xA;&lt;p&gt;For close-up shots of work being done to the car,  an LED panel would be easier to position, and get in the way less than a large soft box, plus it would double as a work light.  The closer a panel light is to its subject, the softer the light appears, which is why they’re good for closeups.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-02-24T21:23:01.780" LastActivityDate="2021-02-24T21:23:01.780" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33369" PostTypeId="2" ParentId="33352" CreationDate="2021-02-24T22:04:30.950" Score="1" Body="&lt;p&gt;You have control over this. If you use the correct settings, you will work on the original file.&lt;/p&gt;&#xA;&lt;p&gt;When you setup a project you can define what &lt;em&gt;Ingest Settings&lt;/em&gt; to use during import. Those settings can also be changed later. In your case you probably want to use &lt;em&gt;Copy&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/U0ncJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/U0ncJ.png&quot; alt=&quot;new project ingest settings&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you drag and drop a video from the &lt;em&gt;Media Browser&lt;/em&gt; panel to the &lt;em&gt;Project&lt;/em&gt; panel the video will be imported. By clicking the Ingest checkbox before dragging the video you can control if ingest settings are used or not. If the box is unticked, the video will remain in its folder location. If ticked, the ingest settings you have selected will be used, e.g. the file will be copied into the targeted folder location (as defined in the project settings under &lt;em&gt;Scratch Disks&lt;/em&gt;). The wrench icon right of the ingest checkbox opens the ingest settings again.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Cf4Ge.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Cf4Ge.png&quot; alt=&quot;ingest checkbox&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now to the second part: why not work on the raw file? Sometimes the codec of the source material is not suitabel for editing. If you transcode to suitable formats that use intraframe codecs you usually don't have to worry about the quality, but the video editing works overall better &lt;a href=&quot;https://postproduction.emerson.edu/hc/en-us/articles/225933327-Understanding-Codecs-Proxies-and-Transcoding&quot; rel=&quot;nofollow noreferrer&quot;&gt;(here's a bit more on this)&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Another reason why you do not want to directly work on the original file is if you're computer is too slow. For example if you edit 8k or 4k raw video most computers will become visibly slower at some point when they have to apply various effects. In this case lower resolution proxy videos are a great help. &lt;a href=&quot;https://www.premiumbeat.com/blog/premiere-pro-quick-tip-how-to-create-proxies/&quot; rel=&quot;nofollow noreferrer&quot;&gt;(here's a bit more on that topic)&lt;/a&gt;. And don't worry, in the end, when you export your video the original videos are still there and all the editing is applied on these and so you export the good quality videos, not the proxies. You can switch back and forth between proxy and original video in Premiere whenever needed.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-02-24T22:04:30.950" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="33371" PostTypeId="1" AcceptedAnswerId="33372" CreationDate="2021-02-25T05:38:44.840" Score="0" ViewCount="38" Body="&lt;p&gt;I need to develop a life-size building plan, I will prepare a floor plan from any Autocad software and later send it to 6 different projectors to get a Life-size building floor plan so that the end customers can have a walkthrough of their house. it will be a 2D effect only.&lt;/p&gt;&#xA;&lt;p&gt;Which software can help me send my floor plan to 6 projectors?&lt;/p&gt;&#xA;&lt;p&gt;How will this entire thing work. Please share some views&lt;/p&gt;&#xA;" OwnerUserId="34029" LastActivityDate="2021-02-25T06:43:31.343" Title="Life-size building floor plan" Tags="|software-recommendation|projector|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33372" PostTypeId="2" ParentId="33371" CreationDate="2021-02-25T06:43:31.343" Score="0" Body="&lt;p&gt;You need to use video projection mapping software, and 3D rendering software. &lt;a href=&quot;https://madmapper.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Mad Mapper&lt;/a&gt; is a well known projection mapping application.&#xA;&lt;a href=&quot;http://blender.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blender&lt;/a&gt; or &lt;a href=&quot;https://www.maxon.net/en/cinema-4d&quot; rel=&quot;nofollow noreferrer&quot;&gt;Cinema4D&lt;/a&gt; would do the 3D rendering.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-02-25T06:43:31.343" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33373" PostTypeId="2" ParentId="17502" CreationDate="2021-02-25T07:56:02.423" Score="4" Body="&lt;p&gt;I've created a little site recently for generating the FFmpeg CLI command to create xfade + acrossfade command for several videos. Check it out maybe you find it useful.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://romander.github.io/ffmpeg-script-generator/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://romander.github.io/ffmpeg-script-generator/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Add also you can check source code or contribute&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/Romander/ffmpeg-script-generator&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/Romander/ffmpeg-script-generator&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34030" LastActivityDate="2021-02-25T07:56:02.423" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33374" PostTypeId="2" ParentId="33347" CreationDate="2021-02-25T08:02:16.530" Score="2" Body="&lt;p&gt;If the effects and textures you add in Photoshop are raster (pixel) based, then you'll lose the advantages of vectors in the process. I'd probably do the stylisation in AE, but if you're more familiar with PS do it there, just use a high enough resolution that you won't be giving yourself headaches in AE.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-02-25T08:02:16.530" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33375" PostTypeId="2" ParentId="33347" CreationDate="2021-02-25T09:48:36.123" Score="2" Body="&lt;p&gt;I would keep the .ai files in Illustrator. Then import them to After Effects and do any photoshop-style layering in there, unless there's anything really complex that AE can't do. Otherwise you're adding an extra step that you possibly don't need.  Each time you update the changes in Illustrator, you should see them reflected in AE after a few seconds.  Using something like &lt;a href=&quot;https://www.battleaxe.co/overlord/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Overlord&lt;/a&gt; can allow you to manipulate shapes in after effect directly.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-02-25T09:48:36.123" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33376" PostTypeId="1" AcceptedAnswerId="34735" CreationDate="2021-02-25T12:12:12.530" Score="1" ViewCount="3926" Body="&lt;p&gt;I know that &lt;code&gt;.mts&lt;/code&gt; video files use MPEG-4 video compression. But why then don't they just have the &lt;code&gt;.mp4&lt;/code&gt; file name extension?&lt;/p&gt;&#xA;&lt;p&gt;Since they don't, this means they are not digitally nor conceptually equivalent, given that one is just an advanced version of the other (&amp;quot;Advanced Video Coding High Definition (AVCHD) format&amp;quot; if that means anything), so what really is the difference between &lt;code&gt;.mts&lt;/code&gt; and &lt;code&gt;.mp4&lt;/code&gt;?&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;And what does it mean for editing &lt;code&gt;.mts&lt;/code&gt; files in a video editor? Is&#xA;there some sort of advantage to cutting and adding effects to them&#xA;compared to &lt;code&gt;.mp4&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="33408" LastEditorUserId="33408" LastEditDate="2023-02-17T21:28:52.383" LastActivityDate="2023-02-17T21:28:52.383" Title="What is the difference between .mts and .mp4 video files, and which is better to edit?" Tags="|editing|codec|mp4|file-formats|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33377" PostTypeId="1" CreationDate="2021-02-25T12:18:12.217" Score="1" ViewCount="435" Body="&lt;p&gt;Images and videos have their own quality standards and protocols. There are either raster image file formats (&lt;code&gt;.gif&lt;/code&gt;, &lt;code&gt;.jpg&lt;/code&gt;) or vector graphics images (&lt;code&gt;.svg&lt;/code&gt;, &lt;code&gt;.pdf&lt;/code&gt;). No matter how much you zoom in on vector graphics, you will never see pixels, with diagonal lines still retaining their non-jagged smoothness.&lt;/p&gt;&#xA;&lt;p&gt;In my opinion, video is &lt;em&gt;always&lt;/em&gt; pixelated regardless of the resolution used (the 1080 format is going the way of the dinosaur already), while 4K and 8K (also just higher resolutions) still possess pixelation as well I think.&lt;/p&gt;&#xA;&lt;p&gt;What then is the vector graphics equivalent of video file formats? or is there none&lt;/p&gt;&#xA;" OwnerUserId="33408" LastEditorUserId="1950" LastEditDate="2021-03-03T06:07:50.480" LastActivityDate="2021-03-03T06:21:58.490" Title="What is the video equivalent of vector graphics?" Tags="|video-quality|file-formats|motion-graphics|non-square-pixels|" AnswerCount="3" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33378" PostTypeId="1" CreationDate="2021-02-25T12:23:52.020" Score="1" ViewCount="3000" Body="&lt;p&gt;Is there a video editor that has a video effect where tattoos on human skin can be motion tracked and filtered out frame by frame, either by blurring them, or replacing the tattoos with surrounding skin pigment?&lt;/p&gt;&#xA;" OwnerUserId="33408" LastActivityDate="2021-02-26T12:57:28.130" Title="Tattoo removal video effect" Tags="|after-effects|video-editor|editing|effects|visual-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33379" PostTypeId="2" ParentId="33377" CreationDate="2021-02-25T12:38:06.620" Score="2" Body="&lt;p&gt;Video is a sampled, quantized series of pixels in an array - so I don't think they are directly comparable - it is inherently a series of bitmap images played sequentially.&lt;/p&gt;&#xA;&lt;p&gt;The nearest equivalent to what you're asking about is &lt;a href=&quot;https://mapsvg.com/blog/svg-animation-examples&quot; rel=&quot;nofollow noreferrer&quot;&gt;SVG animation&lt;/a&gt;, where you are rendering a series of pixels in a web browser based on some instructions telling the computer how to render some vector graphics.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-02-25T12:38:06.620" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33381" PostTypeId="2" ParentId="33378" CreationDate="2021-02-25T15:54:51.587" Score="2" Body="&lt;p&gt;Assuming that it's not changing perspective or moving around too much, I would use a tracker on the tattoo and a clone stamp from another area of skin.  More elaborate removal could be done with &lt;a href=&quot;https://borisfx.com/products/mocha-ae-cc-mocha-for-after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Mocha&lt;/a&gt;, or using a mesh warping tracker like &lt;a href=&quot;https://aescripts.com/lockdown/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lockdown&lt;/a&gt;, which has a demo of tattoo removal in their showreel at 0m24s:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ntbOC2YHQdM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-02-26T12:57:28.130" LastActivityDate="2021-02-26T12:57:28.130" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33383" PostTypeId="1" CreationDate="2021-02-25T16:08:47.007" Score="0" ViewCount="38" Body="&lt;p&gt;I have the following mp4 file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'input.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.45.100&#xA;  Duration: 00:04:43.66, start: 0.000000, bitrate: 1704 kb/s&#xA;    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p, 1080x720 [SAR 1:1 DAR 3:2], 1573 kb/s, 25 fps, 25 tbr, 12800 tbn, 50 tbc (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I want to scale it to 1280x720 and also change the aspect ratio to 16x9. I tried some settings from the documentation &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Scaling&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Scaling&lt;/a&gt; but to no avail.&lt;/p&gt;&#xA;" OwnerUserId="32449" LastActivityDate="2021-02-25T16:08:47.007" Title="Scale from this resolution" Tags="|video|ffmpeg|encoding|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33384" PostTypeId="2" ParentId="33377" CreationDate="2021-02-25T16:15:43.223" Score="4" Body="&lt;p&gt;The whole premise of vector graphics is that there is a drawing engine in the output device that can interpret graphical commands and output shapes and fonts at the maximum resolution of its rasterizer.&lt;/p&gt;&#xA;&lt;p&gt;In simple terms, when someone produces a Postscript projector or media player, there will be a video equivalent of vector graphics.&lt;/p&gt;&#xA;&lt;p&gt;But in another sense, this is already the case with video production software that lets you create titles and graphics using TrueType fonts and vector drawing tools. The renderer, such as the Media Export engine in Premiere Pro, rasterizes fonts and shapes at the maximum resolution of the output video format. You don't have to worry about pixelated graphics and fonts that would result from importing low- resolution artwork. This video rendering of vector sources is equivalent to the work of a RIP (raster image processor) or web browser, which render PostScript (vectors and fonts) at the maximum resolution of an imagesetter or printer for output on film or paper or a webpage.&lt;/p&gt;&#xA;&lt;p&gt;Ultimately, shapes, images and text all have to be turned into dots/pixels at output time. All output devices -- with the exception of pen plotters -- can only print/display dots/pixels -- solid spots of a single color. That applies to laser and inkjet printers, computer monitors and TVs, digital platemakers, and even crowds of people holding up colored cards to make gigantic pictures in the stands of football stadiums.&lt;/p&gt;&#xA;" OwnerUserId="19692" LastEditorUserId="19692" LastEditDate="2021-02-26T14:54:49.153" LastActivityDate="2021-02-26T14:54:49.153" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33385" PostTypeId="1" AcceptedAnswerId="33392" CreationDate="2021-02-25T17:04:32.220" Score="1" ViewCount="50" Body="&lt;p&gt;In After Effects, I created a shape layer, added a path to that, edited the expression of it to contain&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;var path = thisProperty;&#xA;var cx = 100;&#xA;var cy = 200;&#xA;var r1 = 300;&#xA;var ratio =  20;&#xA;var quality = 30;&#xA;var closedPath = true;&#xA;var allPoints = new Array();&#xA;&#xA;for (var a = 0; a &amp;lt; 360; a++) {&#xA;    var theta = degreesToRadians(a);&#xA;    x0 = Math.cos(theta);&#xA;    x = cx + r1 * x0;&#xA;    y = cy + 0.75 * r1 * (Math.sin(theta) - Math.sqrt(Math.abs(x0)));&#xA;    allPoints.push([x,y]);&#xA;}&#xA;path.createPath(allPoints, [], [], closedPath);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and added a stroke and a fill to the shape layer and set the width of the stroke to 10 and the color of the fill to light red. I got this shape as a result.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/p6uAS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/p6uAS.png&quot; alt=&quot;heart&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now, I want to animate the end point of that stroke, you may see that I am looping the variable &lt;code&gt;a&lt;/code&gt; from 0 to 360. That 360 value represents the end angle of the shape and I would like to have it animated to make an animation that &amp;quot;draws&amp;quot; the heart.&lt;/p&gt;&#xA;&lt;p&gt;How do I animate the end value?&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to add a &amp;quot;dummy effect&amp;quot; so I can use it like&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;var a_max = effect(&amp;quot;dummy&amp;quot;)(&amp;quot;endpoint&amp;quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="21523" LastActivityDate="2021-03-03T05:47:12.317" Title="Animate variable inside expression" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33387" PostTypeId="1" AcceptedAnswerId="33388" CreationDate="2021-02-25T23:49:04.577" Score="0" ViewCount="684" Body="&lt;p&gt;I have captured a vhs with this script under Linux&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/sh&#xA;&#xA;videodevice=&amp;quot;/dev/video0&amp;quot;&#xA;alsadevice=&amp;quot;hw:2,0&amp;quot;&#xA;&#xA;v4l2-ctl -d /dev/video0 --set-ctrl mute=0&#xA;&#xA;v4l2-ctl -d /dev/video0 -i 1&#xA;&#xA;v4l2-ctl -d /dev/video0 --set-standard=PAL&#xA;&#xA;gst-launch-1.0 -q v4l2src device=&amp;quot;$videodevice&amp;quot; do-timestamp=true norm=&amp;quot;PAL&amp;quot; pixel-aspect-ratio=1 \&#xA;    ! video/x-raw,format=YUY2,framerate=25/1,width=720,height=576 \&#xA;    ! queue max-size-buffers=0 max-size-time=0 max-size-bytes=0 \&#xA;    ! mux. \&#xA;  alsasrc device=&amp;quot;$alsadevice&amp;quot; do-timestamp=true \&#xA;    ! audio/x-raw,format=S16LE,rate=48000,channels=2 \&#xA;    ! queue \&#xA;  max-size-buffers=0 max-size-time=0 max-size-bytes=0 \&#xA;    ! mux. matroskamux name=mux \&#xA;    ! queue max-size-buffers=0 max-size-time=0 max-size-bytes=0 \&#xA;    ! filesink location=vhs.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The final result is a raw avi, which I had to crop and resize to correct Aspect Ratio.&#xA;The mediainfo program said is 5:4&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mediainfo vhs.mkv |grep -i aspect&#xA;Display aspect ratio                     : 5:4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But as I know the vhs is an old technology and in their times(70-80-90) the standard was 4:3&#xA;I ask this because to determine the AR I usually do this&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;a)make a screenshot with mplayer&#xA;b)open with gimp, select rectangle and I read the a/r (1.7777,1.6666,1.3333) in the bottom of program&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;the screenshot result different and return different a/r if I set with mplayer the a/r&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mplayer -vf rectangle,screenshot -aspect 5:4 vhs.mkv&#xA;mplayer -vf rectangle,screenshot -aspect 4:3 vhs.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In your opinion I have to use 4/3 or 5/4?&lt;/p&gt;&#xA;" OwnerUserId="17307" LastActivityDate="2021-02-26T02:42:09.900" Title="VHS and capture: what is the real aspect ratio?" Tags="|vhs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33388" PostTypeId="2" ParentId="33387" CreationDate="2021-02-26T02:42:09.900" Score="0" Body="&lt;p&gt;I have tested a 4:3 vhs, and using 5:4 a/r making screenshot report bad final a/r(1:22)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mplayer -aspect 5:4 -vf screenshot&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;using 4:3 a/r report in screenshot the correct ar(1:31:1)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mplayer -aspect 4:3 -vf screenshot&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So I think the correct answer is 4:3.&lt;/p&gt;&#xA;" OwnerUserId="17307" LastActivityDate="2021-02-26T02:42:09.900" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33389" PostTypeId="2" ParentId="22340" CreationDate="2021-02-26T02:53:53.160" Score="5" Body="&lt;p&gt;I ran into this same stuttering after remuxing to mkv and then playing the video on a Roku.  Solved the issue by first fixing the avi with the mpeg4_unpack_bframes filter, then remuxing that as mkv.&lt;/p&gt;&#xA;&lt;p&gt;See &lt;a href=&quot;https://www.ffmpeg.org/ffmpeg-bitstream-filters.html#mpeg4_005funpack_005fbframes&quot; rel=&quot;noreferrer&quot;&gt;https://www.ffmpeg.org/ffmpeg-bitstream-filters.html#mpeg4_005funpack_005fbframes&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Posting here as this is the top Search result when searching &amp;quot;avi to mkv stutter&amp;quot;.&lt;/p&gt;&#xA;" OwnerUserId="34045" LastActivityDate="2021-02-26T02:53:53.160" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33392" PostTypeId="2" ParentId="33385" CreationDate="2021-02-26T11:07:55.080" Score="2" Body="&lt;ol&gt;&#xA;&lt;li&gt;Press the triangle marked &amp;quot;Add&amp;quot; next to the Contents of your shape layer.&lt;/li&gt;&#xA;&lt;li&gt;Add a &amp;quot;trim path&amp;quot;&lt;/li&gt;&#xA;&lt;li&gt;Add a keyframe to the &amp;quot;End&amp;quot; parameter of 0%.&lt;/li&gt;&#xA;&lt;li&gt;Move along your timeline.&lt;/li&gt;&#xA;&lt;li&gt;Add another keyframe of 100%.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Your path will draw on.&#xA;You probably don't want to fill it until it is drawn.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/iTMkk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iTMkk.png&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-02-26T11:07:55.080" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33393" PostTypeId="1" CreationDate="2021-02-26T17:41:57.987" Score="1" ViewCount="195" Body="&lt;p&gt;When they film music videos ---ones that require the artist to lip sync in cooordination with a pre-recorded song--- do they synchronize&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the moment that the cameraman hits the record button on the&#xA;video camera&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;with&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the moment that the audio of the pre-recorded song starts playing?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;What extra equipment is required to do this syncronization in an automated way, instead of with clapboards or flashing hand signals at people?&lt;/p&gt;&#xA;&lt;p&gt;The idea is to minimize the divergence in syncing the video and audio files within a video editor upon import during post-production. Is there an automated way to have perfect synchronization during both recording as well as editing?&lt;/p&gt;&#xA;" OwnerUserId="33408" LastActivityDate="2021-02-27T07:12:59.580" Title="How to automatedly synchronize video recording with pre-recorded music track?" Tags="|audio|video-recording|sync|audio-recording|music|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33394" PostTypeId="2" ParentId="33393" CreationDate="2021-02-27T06:29:49.120" Score="1" Body="&lt;p&gt;Music videos are often the easiest type of video to sync because they rarely (but sometimes) contain any live sound from the set. Usually, the people in the video are lip-syncing to a recording of their own music, which they’ve rehearsed many times, and have no problem repeating.&lt;/p&gt;&#xA;&lt;p&gt;In postproduction, all an editor needs to do is replace the camera scratch audio with the original recording.  This is easy when camera scratch audio records the on-set playback to which the talent is lip-syncing, because the editor can either align the audio waveforms visually, or use software to sync the audio waveforms, automatically.  All of the major NLEs are capable of waveform synchronization, but third-party alternatives are also available.&lt;/p&gt;&#xA;&lt;p&gt;In cases where there is no camera scratch audio, aligning visual cues to the music manually is also straightforward and effective.&lt;/p&gt;&#xA;&lt;p&gt;But in cases where audio is recorded on set, with second system sound (an audio recording device other than the camera), usually the camera and audio are synced by “jam syncing” their internal timecode clocks together. Usually, also the camera slate (aka “clapperboard”) serves as a visual+audio sync cue.  Low budget sets will often only use a slate, and zero budget shoots will use a simple hand clap. Of these methods, only jam-syncing timecode provides an automated way to re-assemble the files.&lt;/p&gt;&#xA;&lt;p&gt;In a nutshell, jam-syncing tells all synced devices to set their internal clocks to the same time exactly once, and then trusts that the devices are capable of keeping time accurately.  For a short music video, you are unlikely to experience significant drift between clocks, but for longer recordings, the inaccuracies between clocks can introduce sync errors.  In these cases, highly accurate timecode generators are often used to broadcast timecode continuously to all cameras and audio recording devices.  Ambient Recording’s Lockit box and Timecode Systems’ Timecode buddy are two names in this field.  For Jam-syncing, Tentacle Sync devices are also popular.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-02-27T07:12:59.580" LastActivityDate="2021-02-27T07:12:59.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33396" PostTypeId="1" CreationDate="2021-02-28T11:27:25.540" Score="1" ViewCount="333" Body="&lt;p&gt;I have a problem. I want to do YouTube videos with two voice-overs. And i know that it is possible because Assassin's Creed: Valhala's first trailer has it. But i can't find any way how to do it. Any suggestions?&lt;/p&gt;&#xA;&lt;p&gt;Situation:&#xA;-I tried to add multiple songs in the youtube studio if this will work, it didn't work.&#xA;-I tried to upload video that had 3 audio tracks: 1. video audio,2. song, 3. song. On pc i could switch it. But on youtube it didn't worked. It didn't showed me the option of choosing the audio track. And it played the first audiotrack&lt;/p&gt;&#xA;" OwnerUserId="34065" LastEditorUserId="1871" LastEditDate="2021-03-01T06:38:09.597" LastActivityDate="2021-03-01T06:38:09.597" Title="YouTube multiple audio tracks" Tags="|video|streaming|youtube|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33399" PostTypeId="1" CreationDate="2021-03-01T14:02:14.963" Score="0" ViewCount="346" Body="&lt;p&gt;I need to develop plugin for Davinci Resolve. This plugin must be similar on Premiere Plugin, which can be active in the separate panel (please see screenshot).&lt;/p&gt;&#xA;&lt;p&gt;In Premiere Pro I can write this panel on the next technology stack: js/ts+html+css+Adobe CEP(platform to interact with Adobe API).&lt;/p&gt;&#xA;&lt;p&gt;I'm new to Davinci Resolve. Tell me the entry point in Davinci Plugin Developing.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bQRt6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bQRt6.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34080" LastEditorUserId="34080" LastEditDate="2021-03-02T14:31:03.887" LastActivityDate="2022-12-21T03:09:06.107" Title="Develop Davinci Resolve plugin" Tags="|video-editor|davinci-resolve|plugins|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33400" PostTypeId="2" ParentId="33339" CreationDate="2021-03-01T21:24:02.620" Score="0" Body="&lt;p&gt;To answer my own question, I found a solution by clicking around finally. In the Effects Control panel, clicking the Motion property label causes handles to appear on the video in the Program Monitor. Then, with the Selection tool, you can drag the image to reposition it, or drag a corner handle to scale it. I believe I was able to do this in earlier versions without first selecting the Motion label, but at least I can do what I want easily now.&lt;/p&gt;&#xA;" OwnerUserId="19692" LastActivityDate="2021-03-01T21:24:02.620" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33401" PostTypeId="2" ParentId="33341" CreationDate="2021-03-02T17:35:10.537" Score="1" Body="&lt;p&gt;Adobe provide two useful sidekick tools to manage video filles.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.adobe.com/products/bridge.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe Bridge&lt;/a&gt; is a digital asset management app fully efficient with photo and video.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.adobe.com/products/media-encoder.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe Media Encoder&lt;/a&gt; is a is professional video converter with watch folder options, and ProRes support for Windows and Mac.&lt;/p&gt;&#xA;&lt;p&gt;These software are not available on Linux, but their &lt;a href=&quot;https://duckduckgo.com/?q=unix%20adobe%20bridge&amp;amp;t=brave&amp;amp;iar=images&amp;amp;iax=images&amp;amp;ia=images&amp;amp;iai=https%3A%2F%2Fwww.clonefileschecker.com%2Fblog%2Fwp-content%2Fuploads%2F2017%2F10%2Fimage1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;metadata&lt;/a&gt; and files are useful on every modern system.&lt;/p&gt;&#xA;" OwnerUserId="34088" LastActivityDate="2021-03-02T17:35:10.537" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33402" PostTypeId="1" CreationDate="2021-03-02T20:18:30.177" Score="1" ViewCount="769" Body="&lt;p&gt;I've been trying to do this conversion for a couple of days reading through forums&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;&lt;strong&gt;ffmpeg -i in1.mp4 -vcodec libx264 -s 720x576 -vf &amp;quot;fps=25&amp;quot;-vsync cfr -b:v 2300k -acodec aac -b:a 128k out1.ts&lt;/strong&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;I've tried the below flags found in other forums&#xA;-r 25&#xA;-vf fps=25&#xA;-filter:v fps=25&#xA;-filter:v fps=fps=25&lt;/p&gt;&#xA;&lt;p&gt;I then read the file using mediainfo and keep getting the same result;&#xA;Frame rate mode                          : VFR&#xA;Frame rate mode                          : Variable&#xA;Frame rate                               : 46.875&#xA;Frame rate                               : 46.875 FPS (1024 SPF)&lt;/p&gt;&#xA;" OwnerUserId="34090" LastActivityDate="2023-05-07T16:02:40.307" Title="I want to convert .mp4 to .ts using H264 at constant framerate 25fps" Tags="|ffmpeg|mp4|transcoding|libx264|25fps|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33403" PostTypeId="2" ParentId="9131" CreationDate="2021-03-03T01:56:04.327" Score="0" Body="&lt;p&gt;Select a clip, then use the menu option Project -&amp;gt; Adjust Project Profile to Current Clip.&lt;/p&gt;&#xA;" OwnerUserId="34091" LastActivityDate="2021-03-03T01:56:04.327" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33404" PostTypeId="2" ParentId="33385" CreationDate="2021-03-03T05:47:12.317" Score="0" Body="&lt;p&gt;Tom's answer is a good way to do it, but if you're interested, to do it only in the expression, just add a couple of lines at the start like&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;myDuration = 5; // the duration of the animation in seconds&#xA;let completion = Math.min(time/myduration, 1)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and then in the &lt;code&gt;for&lt;/code&gt; loop, substitute &amp;quot;360&amp;quot; with &lt;code&gt;360 * completion&lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for (var a = 0; a &amp;lt; (360 * completion); a++) {&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-03-03T05:47:12.317" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33405" PostTypeId="2" ParentId="33377" CreationDate="2021-03-03T06:21:58.490" Score="0" Body="&lt;p&gt;There are video codecs that represent the video signal as a series of mathematical functions, similar to the way that a svg represents a picture as a series of mathematical curves. In fact if you've watched a video on the web in the last two decades, that's exactly what you've been seeing. h.264, the most ubiquitous video codec, and most other modern codecs use &lt;a href=&quot;https://en.wikipedia.org/wiki/Discrete_cosine_transform&quot; rel=&quot;nofollow noreferrer&quot;&gt;DCT compression&lt;/a&gt;, a kind of Fourier transformation, that can express any signal in terms of a number of overlayed cosine waves. In essence most codecs &lt;em&gt;are&lt;/em&gt; actually vector codecs.&lt;/p&gt;&#xA;&lt;p&gt;So why can't you infinitely zoom into a h.264 movie? Because the original source of that movie had only a finite number of pixels in its sensor or renderer. This acts as a lowpass filter, filtering out the higher frequencies of signal that you would need to be encoded in order to zoom into it. You can't get out what isn't put in.&lt;/p&gt;&#xA;&lt;p&gt;Worth noting that no matter how you encode it, if you do encode more information, you have to increase the bandwidth. There is no free lunch. In a zoomable video codec, in order to have more detail visible when you zoom right in, you're going to need to encode more information, and you can only do that by making your data rate bigger. Clever encoding algorithms will help (usually throwing away stuff which you don't notice), but they can't do the impossible.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-03-03T06:21:58.490" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33407" PostTypeId="2" ParentId="4553" CreationDate="2021-03-03T15:15:46.017" Score="0" Body="&lt;p&gt;Another option I am very impressed with is &lt;a href=&quot;https://www.redgiant.com/products/pluraleyes/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Plural Eyes&lt;/a&gt;&lt;sup&gt;no affiliation&lt;/sup&gt;. It can sync multiple audio tracks with each other and export the timeline to your video editor.&lt;/p&gt;&#xA;&lt;p&gt;I have used it for the following:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Sync DSLR footage with sound from multiple external recorders in an interview setting.&lt;/li&gt;&#xA;&lt;li&gt;Sync multi-camera footage with sound from external recorder&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I am not sure how it will handle soundtrack of differing pitch.&lt;/p&gt;&#xA;&lt;p&gt;It's rather &lt;a href=&quot;https://www.redgiant.com/products/pluraleyes/#pricing&quot; rel=&quot;nofollow noreferrer&quot;&gt;expensive&lt;/a&gt;, but there is a &lt;a href=&quot;https://www.redgiant.com/products/pluraleyes/free-trial-download/&quot; rel=&quot;nofollow noreferrer&quot;&gt;free trial&lt;/a&gt; to see if this fits your needs. If it does what you want, and you sync tracks often, this will save you a tremendous amount of time and frustration.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2021-03-03T15:15:46.017" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33408" PostTypeId="1" CreationDate="2021-03-03T16:07:02.843" Score="0" ViewCount="17" Body="&lt;p&gt;I’m just getting into video recording/ production and am looking for recommendations on best systems to upload, store, organize, and edit videos. Also want to make sure that the videos are backed up in multiple places. Currently using a Sony Alpha A7III. I love shooting video, but the organization part feels more daunting. Any advice on systems for organization or online classes/ tutorials about getting started?&lt;/p&gt;&#xA;" OwnerUserId="34098" LastActivityDate="2021-03-03T16:07:02.843" Title="Best Systems for Storing and Organizing Videos/ Projects?" Tags="|video|software-recommendation|filming|storage|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33411" PostTypeId="1" CreationDate="2021-03-03T20:17:50.867" Score="0" ViewCount="207" Body="&lt;p&gt;Title. I have spent the past few hours trying to smoothly loop a short 6-second animation I made in Blender. No matter what I use (VLC, Windows Movies and TV, heck I even tried installing MPlayer), there is always a few-frame delay. GIF format doesn't work for me because the animation is 60fps and not heavily compressed. Any ideas?&lt;/p&gt;&#xA;&lt;p&gt;P.S. I have read about 30 pages mentioning Linux/Ubuntu players that don't have this stutter, but is there anything for Windows 10?&lt;/p&gt;&#xA;" OwnerUserId="34101" LastEditorUserId="18155" LastEditDate="2021-03-08T18:22:14.907" LastActivityDate="2021-03-08T18:22:14.907" Title="Are there any Windows video players that don't stutter when looping?" Tags="|video|file-formats|framerate|windows|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33412" PostTypeId="1" CreationDate="2021-03-04T05:29:07.127" Score="1" ViewCount="404" Body="&lt;p&gt;Here is my scenario:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;MKV file has 2 audio tracks (fr, eng)&lt;/li&gt;&#xA;&lt;li&gt;File needs the audio tracks switched&lt;/li&gt;&#xA;&lt;li&gt;File needs to make eng the default audio track&lt;/li&gt;&#xA;&lt;li&gt;File also has 2 subtitle tracks (fr-forced, fr)&lt;/li&gt;&#xA;&lt;li&gt;Need to drop fr-forced subtitle track&lt;/li&gt;&#xA;&lt;li&gt;Need to add in eng subtitles and make it the default&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I know how to flip audio tracks so it was just a matter of importing a new subtitle track while preserving only one of the existing subtitle tracks.&lt;/p&gt;&#xA;&lt;p&gt;So, based on &lt;a href=&quot;https://en.wikibooks.org/wiki/FFMPEG_An_Intermediate_Guide/subtitle_options&quot; rel=&quot;nofollow noreferrer&quot;&gt;this page&lt;/a&gt;, this command should do the trick:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;in.mkv&amp;quot; -i &amp;quot;captions.srt&amp;quot; -map 0:v:0 -map 0:a:1 -map 0:a:0 \&#xA;  -disposition:a:0 default -disposition:a:1 none -map 1 -c:s:0 srt -map 0:s:1 \&#xA;  -metadata:s:s:0 language=eng -metadata:s:s:1 language=fr -disposition:s:0 default \&#xA;  -disposition:s:1 none -c:v copy -c:a copy &amp;quot;out.mkv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And when I go to run this command, the output would seem to imply that I have it setup correctly:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:2 -&amp;gt; #0:1 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:2 (copy)&#xA;  Stream #1:0 -&amp;gt; #0:3 (subrip (srt) -&amp;gt; subrip (srt))&#xA;  Stream #0:4 -&amp;gt; #0:4 (subrip (srt) -&amp;gt; ass (ssa))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, when I load the file in VLC, the audio tracks are as I would expect, the first 2 subtitle tracks are as I would expect, but there is a 3rd subtitle track, a duplicate of the English track I loaded in, unlabeled and the default.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QkOmR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QkOmR.png&quot; alt=&quot;VLC subtitle list&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;When I open the codec information window:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/piJtj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/piJtj.png&quot; alt=&quot;VLC codec information window&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I updated from ffmpeg 4.3.1 to 4.3.2 just to see if this was a bug that was patched and the behavior is the same.&lt;/p&gt;&#xA;&lt;p&gt;So my question is: is my command correct? I can certainly do this in 2 commands to clean out the third subtitle track, but I prefer to do it in one go.&lt;/p&gt;&#xA;&lt;p&gt;I was asked for full logs, so here they are:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;PS C:\Users\sarah\Videos&amp;gt; ffmpeg -i &amp;quot;OG-S02E01.mkv&amp;quot; -i &amp;quot;S02E01.srt&amp;quot; -map 0:v:0 -map 0:a:1 -map 0:a:0 -disposition:a:0 default -disposition:a:1 none -map 1 -c:s:0 srt -map 0:s:1 -metadata:s:s:0 language=eng -metadata:s:s:1 language=fr -disposition:s:0 default -disposition:s:1 none -c:v copy -c:a copy &amp;quot;S02E01.mkv&amp;quot;&#xA;ffmpeg version 4.3.2-2021-02-20-essentials_build-www.gyan.dev Copyright (c) 2000-2021 the FFmpeg developers&#xA;  built with gcc 10.2.0 (Rev6, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-lzma --enable-zlib --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-sdl2 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-libaom --enable-libopenjpeg --enable-libvpx --enable-libass --enable-libfreetype --enable-libfribidi --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-libgme --enable-libopenmpt --enable-libopencore-amrwb --enable-libmp3lame --enable-libtheora --enable-libvo-amrwbenc --enable-libgsm --enable-libopencore-amrnb --enable-libopus --enable-libspeex --enable-libvorbis --enable-librubberband&#xA;  libavutil      56. 51.100 / 56. 51.100&#xA;  libavcodec     58. 91.100 / 58. 91.100&#xA;  libavformat    58. 45.100 / 58. 45.100&#xA;  libavdevice    58. 10.100 / 58. 10.100&#xA;  libavfilter     7. 85.100 /  7. 85.100&#xA;  libswscale      5.  7.100 /  5.  7.100&#xA;  libswresample   3.  7.100 /  3.  7.100&#xA;  libpostproc    55.  7.100 / 55.  7.100&#xA;Guessed Channel Layout for Input Stream #0.1 : 5.1&#xA;Guessed Channel Layout for Input Stream #0.2 : 5.1&#xA;Input #0, matroska,webm, from 'OG-S02E01.mkv':&#xA;  Metadata:&#xA;    encoder         : libebml v1.3.7 + libmatroska v1.5.0&#xA;    creation_time   : 2019-04-26T14:08:09.000000Z&#xA;  Duration: 00:24:08.86, start: 0.000000, bitrate: 5360 kb/s&#xA;    Stream #0:0: Video: h264 (Main), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 23.98 fps, 23.98 tbr, 1k tbn, 47.95 tbc (default)&#xA;    Metadata:&#xA;      BPS-eng         : 4078918&#xA;      DURATION-eng    : 00:24:08.489000000&#xA;      NUMBER_OF_FRAMES-eng: 34729&#xA;      NUMBER_OF_BYTES-eng: 738533535&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v33.0.0 ('A Little Bit of Madness') 64-bit&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-04-26 14:08:09&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;    Stream #0:1(fre): Audio: eac3, 48000 Hz, 5.1, fltp (default)&#xA;    Metadata:&#xA;      BPS-eng         : 640000&#xA;      DURATION-eng    : 00:24:08.864000000&#xA;      NUMBER_OF_FRAMES-eng: 45277&#xA;      NUMBER_OF_BYTES-eng: 115909120&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v33.0.0 ('A Little Bit of Madness') 64-bit&#xA;      _STATISTICS_WRITING_DATE_UTC-eng: 2019-04-26 14:08:09&#xA;      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES&#xA;    Stream #0:2(eng): Audio: eac3, 48000 Hz, 5.1, fltp&#xA;    Metadata:&#xA;      BPS-eng         : 640000&#xA;      DURATION-eng    : 00:24:08.864000000&#xA;      NUMBER_OF_FRAMES-eng: 45277&#xA;      NUMBER_OF_BYTES-eng: 115909120&#xA;      _STATISTICS_WRITING_APP-eng: mkvmerge v33.0.0 ('A Little Bit of Madness') 64-bit&#xA; 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&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="34104" LastEditorUserId="34104" LastEditDate="2021-03-04T16:57:12.867" LastActivityDate="2021-03-04T16:57:12.867" Title="Drop 1 subtitle, insert another, preserve another with ffmpeg" Tags="|ffmpeg|subtitles|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33415" PostTypeId="1" AcceptedAnswerId="33416" CreationDate="2021-03-04T18:13:28.927" Score="2" ViewCount="55" Body="&lt;p&gt;I am trying to compare the brightness of these two fixtures:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Godox LEDP260C: 2050 Lux @ 0.5m&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Godox LED1000Bi II: 2200 Lux @ 1m&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;(Both at 3300K).&lt;/p&gt;&#xA;&lt;p&gt;How do I effectively compare these two values? The light sources are similar in shape and size (30x20cm for the first and 40x40cm for the second).&lt;/p&gt;&#xA;&lt;p&gt;How. Do I go about comparing these two? What about cases where the size and distribution of light is not so similar?&lt;/p&gt;&#xA;" OwnerUserId="34112" LastActivityDate="2021-03-04T22:27:36.047" Title="How to compare the illuminance of similar light fixtures in Lux given at different distances?" Tags="|lighting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33416" PostTypeId="2" ParentId="33415" CreationDate="2021-03-04T22:19:23.340" Score="2" Body="&lt;p&gt;You could do some back of the envelope calculations, if they're both the same shape and the LEDs in them have similar lenses etc., the beam will be similar, so the falloff will be similar.&lt;/p&gt;&#xA;&lt;p&gt;Given that the area illuminated at 1m is 4 times the area illuminated at 0.5m (area of a segment of a sphere is proportional to the radius squared, so twice the distance squared is 4 times the area), the intensity of the first is going to be roughly ¼ that of the second. Which figures, going by the model number: the first is probably meant to be &amp;quot;equivalent&amp;quot; (these figures are always rubbery) to a 260W incandescent light and the second to a 1000W light, so roughly 4 times as powerful.&lt;/p&gt;&#xA;&lt;p&gt;You could also compare the wattage to see exactly how much power each one is.&lt;/p&gt;&#xA;&lt;p&gt;In cases where they're not similar size and distribution (BTW the first panel is less than half of the area of the second, so in no way would I say they're similar in size), then you're comparing apples with oranges. Different lights do different jobs.&lt;/p&gt;&#xA;&lt;p&gt;TBH With cheapo lights like that I'd actually be more concerned about how good the colour was.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2021-03-04T22:27:36.047" LastActivityDate="2021-03-04T22:27:36.047" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33417" PostTypeId="1" CreationDate="2021-03-05T15:42:29.363" Score="0" ViewCount="370" Body="&lt;p&gt;I typically resample the framerate to 30 when I'm encoding (much of my source video was streamed and has unreliable native framerate). But these 30.30 videos I tend to leave at 30.30 just because I don't know why it's like that and don't want to mess with it.&lt;/p&gt;&#xA;" OwnerUserId="20647" LastEditorUserId="20647" LastEditDate="2021-03-05T15:56:13.257" LastActivityDate="2021-03-06T17:50:31.427" Title="A framerate of 30.30 has become common the past couple years. What is it about the number 30.30 that is significant? Why not an even 30, for example?" Tags="|framerate|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33419" PostTypeId="1" CreationDate="2021-03-05T22:35:41.010" Score="1" ViewCount="221" Body="&lt;p&gt;When linking an AE comp through PP, the audio won't sync. This has been an issue forever. I film skate/bmx videos and it's essential that the speed ramp syncs with the audio so you can hear the cool distortion of a slow mo grind. Sometimes I can get by just cutting and stretching audio in Premiere, but that is NOT a solution.&lt;/p&gt;&#xA;&lt;p&gt;The ONLY thing that I found to work is to unlink the &amp;quot;composition&amp;quot; type from the attached MPEG clip. As soon as you click &amp;quot;replace with AE...&amp;quot; (in PP) and are automatically redirected, immediately delete anything in the timeline. Then, select the MPEG clip ONLY and drag it into the timeline again. There is no linked source info at this point, so your clip will play from the beginning as if you hadn't cut anything in PP. Because of this, in AE you'll need to go to Composition&amp;gt;Compositions Settings and find duration at the bottom. Whatever the AE comp length is will be what your original PP cut length was. Ex) If the original clip is 20s long, but you're cut is only 5s in PP, AE will only play the first 5s of your clip. So, change the duration to any length that you know will contain the part you'd like to edit. Usually, I just increase the time by 10s, and can always add length by going back to comp settings.&lt;/p&gt;&#xA;&lt;p&gt;Edit your time remapping/speed ramp.&lt;/p&gt;&#xA;&lt;p&gt;Once finished, go to Export&amp;gt;Add to Render Queue. In your timeline window, click on Render Queue and under &amp;quot;Output to:&amp;quot; change the name of your clip (if you'll have a lot of AE comps in PP). Click &amp;quot;Render&amp;quot; on the right of the window. Then in Premiere, import the clip from wherever you saved it and treat it like an entirely new clip.&lt;/p&gt;&#xA;&lt;p&gt;There has to be a better way, but I haven't seen anyone come up with something easier so hopefully this helps someone.&lt;/p&gt;&#xA;&lt;p&gt;Is there any way to keep AE comps linked to a PP project AND keep ramped audio synced?&lt;/p&gt;&#xA;" OwnerUserId="34120" LastActivityDate="2021-03-08T23:07:34.157" Title="Premiere Pro: How to sync speed ramped audio with video from linked After Effects comp?" Tags="|video|after-effects|premiere|audio|time|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33420" PostTypeId="1" CreationDate="2021-03-06T09:21:37.087" Score="1" ViewCount="39" Body="&lt;p&gt;I have two video tracks which are synced. I now want to have a vertical rectangle having the height of the video, to slide from right to left. Inside this rectangle, track 1 should be seen. Outside of it, track two. Unfortunately I do neither know the name of this technique, nor how to do it in vegas-pro-18.0.&lt;/p&gt;&#xA;" OwnerUserId="27614" LastActivityDate="2021-03-06T09:21:37.087" Title="How can I have a sliding rectangle overlay between two videos?" Tags="|vegas-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33421" PostTypeId="1" AcceptedAnswerId="33424" CreationDate="2021-03-06T17:27:08.877" Score="0" ViewCount="651" Body="&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/15417/moving-crop-in-video&quot;&gt;moving crop&lt;/a&gt; works for video, but I could not make it work for a (jpg) image. How to move an image in the video using ffmpeg?&lt;/p&gt;&#xA;&lt;p&gt;Here is my try that does not work (&lt;code&gt;$TST&lt;/code&gt; is a &lt;code&gt;.jpg&lt;/code&gt;):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 30 -i main.mkv -i $TST -filter_complex \&#xA;    &amp;quot;color=c=${CG}:size=1380x1080,[0]overlay,\&#xA;    chromakey=${CG}:.031:0.025,despill[a];[1]crop=w=1920:h=1080:x='t*in_w/3':y='t*in_h/3'[b];[b][a]overlay&amp;quot; \&#xA;    -c:v ffv1 -map 0:a -c:a copy -t 1s tstres.mkv&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="34109" LastActivityDate="2021-03-06T18:28:32.113" Title="How to move an (overlayed) image across a video in ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33422" PostTypeId="1" CreationDate="2021-03-06T17:49:35.397" Score="1" ViewCount="105" Body="&lt;p&gt;I have a few vector layers that are parent to Null Object. If I apply Rough Edges or Turbulant Displace to any of these layers, and then animate the scale on my Null, my layers begin to move/flow/leak.&lt;/p&gt;&#xA;&lt;p&gt;What is the problem and how can I fix it?&#xA;I want them to remain static after applying the effects.&lt;/p&gt;&#xA;" OwnerUserId="30068" LastEditorUserId="30068" LastEditDate="2021-03-06T17:55:31.620" LastActivityDate="2021-03-06T22:02:30.263" Title="Why effects flow during camera movement in After Effects 2020?" Tags="|after-effects|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33423" PostTypeId="2" ParentId="33417" CreationDate="2021-03-06T17:50:31.427" Score="1" Body="&lt;p&gt;30.30 isn't a standard frame rate. I think you see it a lot because mobile phones (especially iPhones) only &amp;quot;target&amp;quot; certain frame rates, they don't necessarily perfectly deliver them.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.provideocoalition.com/understanding-iphone-framerates-for-shooting-editing-distribution/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.provideocoalition.com/understanding-iphone-framerates-for-shooting-editing-distribution/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Interpreting a 30.30 frame rate video as 30fps won't cause significant issues unless the clip is longer than a few minutes, in which case you may have lip-sync issues with the audio vs the video.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-03-06T17:50:31.427" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33424" PostTypeId="2" ParentId="33421" CreationDate="2021-03-06T18:28:32.113" Score="1" Body="&lt;p&gt;An image is treated by ffmpeg as video stream with one frame. For a crop animation to be effected, you need a stream of frames.&lt;/p&gt;&#xA;&lt;p&gt;Add loop before the image input: &lt;code&gt;-loop 1 -i $TST&lt;/code&gt;. Normally, you would be advised to limit the duration by also adding &lt;code&gt;-t&lt;/code&gt;, but since you limit duration on the output, it is not necessary here.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-03-06T18:28:32.113" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33425" PostTypeId="1" CreationDate="2021-03-06T20:53:14.967" Score="0" ViewCount="839" Body="&lt;p&gt;I am trying to convert a DTS stream to AAC(stereo) using the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;input.mkv&amp;quot;  &#xA;-c:v copy  &#xA;-c:a aac -q:a 2 -ac 2 -ar 48000  &#xA;  &amp;quot;output.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;[ffmpeg version : 3.4.8]&lt;/p&gt;&#xA;&lt;p&gt;Here q:a 2 controls the output bitrate or quality of the audio stream (VBR). In FFmpeg docs its effective range is given as 0.1-2 where 2 is the best quality. But I have tried increasing this number up to 5 or 6 and the bitrate of output stream keeps increasing.&lt;/p&gt;&#xA;&lt;p&gt;So I want to know the best possible way to convert the DTS   stream to AAC stream with the highest quality. For example, is there a number &lt;strong&gt;n&lt;/strong&gt;  such that q:&lt;strong&gt;n&lt;/strong&gt; will set the highest quality conversion?&lt;/p&gt;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="34125" LastEditorUserId="18155" LastEditDate="2021-03-16T12:07:40.737" LastActivityDate="2021-03-16T12:07:40.737" Title="Quality control in DTS to AAC(stereo) conversion using ffmpeg" Tags="|ffmpeg|encoding|audio-quality|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33426" PostTypeId="2" ParentId="33422" CreationDate="2021-03-06T22:02:30.263" Score="1" Body="&lt;p&gt;I think it's because the Roughen Edges effect is a pixel-based effect applied to the entire display of your comp.  If you pre-comp the effect first, it won't display the animating edges.&lt;/p&gt;&#xA;&lt;p&gt;Or you could try applying this expression to the Roughen Edges offset (transform) property, as explained &lt;a href=&quot;https://creativecow.net/forums/thread/roughen-edges-alternative-effectae/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;parent.position * 400 / effect(“Roughen Edges”)(“Scale”)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-03-06T22:02:30.263" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33427" PostTypeId="1" CreationDate="2021-03-07T11:26:08.790" Score="1" ViewCount="44" Body="&lt;p&gt;I know I am not the first, but I also have terrible problems with making the export with (latest) Premier Pro in an iMac. I looked through a lot of forums and I cannot find a solution anywhere…&#xA;As you can see on the picture, not just that the colors are shifted but also the image / skin colors completely fall apart when I export it…&lt;/p&gt;&#xA;&lt;p&gt;The higher image is a thumbnail saved from Premiere, lower one is played on VLC (similar to the look on YouTube and other players).&#xA;I tried everything I could think of and I am not able to get any better result at all.&#xA;I have tried exporting with Premiere and Media encoder.&#xA;Using CUDA and software encoding.&#xA;Using different codes bitrates for export HD h.264 on 10,35,50mbps, h.265, QuickTime Prores 422HQ, mpeg, jpg export, and it is all more or less the same… every time the skin fell apart.&#xA;I tried turning on and off export form previews, render at maximum depth, maximum render quality…&lt;br /&gt;&#xA;I tried exporting with the LUT from Adobe and it changes color completely in to something else, but the skin still falls apart.&lt;/p&gt;&#xA;&lt;p&gt;The strangest I think is the difference between save snapshot from the timeline and the frame from jpg export. Does anybody have any idea what to do?&#xA;Last resort would be to go frame by frame saving snapshots from program monitor and encoding with something else, but there must be a better way?&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions??&lt;/p&gt;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ViM1S.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ViM1S.jpg&quot; alt=&quot;the problem&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34133" LastEditorUserId="34133" LastEditDate="2021-03-07T11:38:40.673" LastActivityDate="2021-03-07T11:38:40.673" Title="Premiere export colors" Tags="|premiere|color-correction|color-grading|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33428" PostTypeId="1" AcceptedAnswerId="33430" CreationDate="2021-03-07T18:07:10.400" Score="0" ViewCount="685" Body="&lt;p&gt;I have a 1080p mp4 video, and I want to burn a DVD from it. It must be 'mastered' as a DVD, so it can be played back on an older DVD player (i.e. it can't be a data DVD). For the tool that I'm using to make the DVD, I need to convert the video to the correct format with the correct codec before burning. I am in America, so I know that standard is NTSC. I tried converting my video with:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -target ntsc-dvd output.mpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but the result was quite fuzzy and low-res. I did some research and it seems like NTSC only supports up to 720p, but as I understand it, NTSC is still the standard today, and there are HD DVDs. So is there a a way to convert my video to NTSC so that I can burn a DVD without losing resolution?&lt;/p&gt;&#xA;&lt;p&gt;Please forgive me if this is an ignorant question, and correct me about any false assumptions.&lt;/p&gt;&#xA;" OwnerUserId="34135" LastActivityDate="2021-03-07T21:59:12.887" Title="How to convert video to NTSC (so it can be burned to a DVD) without losing quality?" Tags="|ffmpeg|dvd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33429" PostTypeId="2" ParentId="12583" CreationDate="2021-03-07T21:00:59.433" Score="0" Body="&lt;p&gt;I had this problem too. I imported .MOVs created on a Windows platform into Adobe Premiere Pro on a Mac platform. I tried to create .MP4s using this embedded source. The video had horrible stuttering and was unusable. What ultimately worked for me was opening the .MOV in Quicktime on the Mac, then saving it as a .MOV on the Mac, then using Adobe Media Encoder to convert it to a .MP4, then import it into Adobe Premiere. Painful.&lt;/p&gt;&#xA;&lt;p&gt;You might be able to skip one or more of these steps. It may not be necessary to convert to .MP4 - YMMV.&lt;/p&gt;&#xA;" OwnerUserId="34136" LastActivityDate="2021-03-07T21:00:59.433" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33430" PostTypeId="2" ParentId="33428" CreationDate="2021-03-07T21:59:12.887" Score="2" Body="&lt;p&gt;DVD does not support 720p. It’s only supports 480p/i.&lt;/p&gt;&#xA;&lt;p&gt;HD DVD was a failed competitor to Blu-ray. Standard DVD players are not forward compatible.&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2021-03-07T21:59:12.887" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33432" PostTypeId="2" ParentId="33411" CreationDate="2021-03-08T03:32:26.913" Score="1" Body="&lt;p&gt;As mentioned, if all players stutter for you then the issue probably isn't the players.&lt;/p&gt;&#xA;&lt;p&gt;Check the clip to see if the last GOP is 'ragged'. Looping works best when the clip ends cleanly, that is, exactly at the end of a GOP.&lt;/p&gt;&#xA;&lt;p&gt;ETA:&#xA;Many modern codecs are very good at minimizing file size and bandwidth, but one of the things they assume is that the material will be played straight ahead. A clip as short as yours may in fact have only one I-frame (complete frame), at the beginning.&lt;/p&gt;&#xA;&lt;p&gt;Try encoding in an all-I-frame codec like MJPEG and see if you have better luck.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastEditorUserId="3908" LastEditDate="2021-03-08T12:17:24.400" LastActivityDate="2021-03-08T12:17:24.400" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33433" PostTypeId="2" ParentId="32950" CreationDate="2021-03-08T03:45:44.867" Score="0" Body="&lt;p&gt;So after quite some time it turns out ame is pretty useless on using as much comp resources as you have. I did how ever find a really solid solution. Rendergarden is a third party tool that splits the output render into chunks and renders them all in parallel. I went from using no more than 3% cpu to render garden using as much as I asked ie 96%.&lt;/p&gt;&#xA;&lt;p&gt;This axes render times by a factor I genuinely cannot believe. In real terms it cut a 3h 52min render into a 24min job. (16 CORES SMASHES THROUGH RENDERS)&lt;/p&gt;&#xA;&lt;p&gt;It does cost money but if you are experiencing this issue this 100% removes the media encoder render bottleneck.&lt;/p&gt;&#xA;" OwnerUserId="33334" LastActivityDate="2021-03-08T03:45:44.867" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33435" PostTypeId="2" ParentId="33419" CreationDate="2021-03-08T23:07:34.157" Score="1" Body="&lt;p&gt;Adobe Dynamic Link is a great tool, but unfortunately at the end of the day it can be problematic as it has its limitations. As After Effects is almost entirely focused on video, it doesn't surprise me that audio would be one of these limitations.&lt;/p&gt;&#xA;&lt;p&gt;Before dynamic linking existed, we always had to do round-tripping (sending files to another program, working on it there, and then sending a new rendered copy back to replace in the original program's timeline). Visual effects work in the Adobe Suite that hits these limitations with linking, such as this sound-related one you've run into, just means that you have to resort to this old-fashioned method as you've found.&lt;/p&gt;&#xA;&lt;p&gt;In fact because dynamic link can cause problems, if I'm doing anything other than basic text or whatnot I only use the &amp;quot;Replace with AE...&amp;quot; tool to send clips to AE. After it's sent over, I hit Ctrl+Z (undo) in Premiere to undo the timeline, breaking the link and getting back the original clip that I just sent in the proper place/time.&lt;/p&gt;&#xA;&lt;p&gt;Therefore, I'm always exporting a fresh clip straight out of After Effects to drop into the Premiere timeline. There's a few reasons for this:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Dynamic linked clips in the Premiere timeline use a TON of processing power because it's doing the calculations for the dynamic linked clip on the fly, like when you play it back in After Effects without any ram preview cached. You've probably noticed that it can stutter and struggle to make it through a linked clip when you're playing through the timeline, and sometimes slow you down even when you're not looking at it because it's anticipating. For anything remotely intensive, I unlink after sending to AE to avoid this problem, and round trip it back.&lt;/li&gt;&#xA;&lt;li&gt;Similarly, round-tripping also saves you tons of render time on the video when you're rendering out the Premiere file. Let's say you watch your final render and notice you misspelled something in the credits or a cut is off-time. Re-rendering means it's going to have to recalculate all of the dynamically linked clips again, whereas if you had your individually rendered VFX clips in the timeline, it can breeze through them as it's just a normal video file.&lt;/li&gt;&#xA;&lt;li&gt;The dynamically linked clip is Premiere's interpretation of the After Effects file, and Tthis can cause some issues and visual glitches with dynamic link rendering just as can happen when dynamic rendering AE files in Media Encoder. These are usually really specific issues with transparency, color science, plugins, and even sometimes referring to the wrong composition or a seemingly old version.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I know it's quite annoying, but you've clearly gotten the basic concept of how to round-trip it without the link. Here's a few things that could help or improve your workflow:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Like you said, you can increase the AE comp time to give you more working room. However to avoid having to do it multiple times, I suggest you just add more time than you know you'll need, and use the &amp;quot;trim comp&amp;quot; tool at the end of your process. Drag the work area range to where your final length should be, right click it, and select trim comp to work area.&lt;/li&gt;&#xA;&lt;li&gt;To expand on your point on organizing, my suggestion is to create a folder (in your OS explorer) parallel to your footage folder where you can save your new clips. Use a consistent naming convention so that you can always match it with the original clip. For instance, original file: A002_C003.mp4 should be saved as A002_C003-VFX001.mp4 or some other format which distinguishes it as the modified clip, and also allows for revision files to be created without having to go &amp;quot;-VFX-ACTUALfinalfinal2,&amp;quot; hahah.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Additionally, I'm sure you'll be able to find some other ways to shave time out of your workflow. If you haven't already, try to learn the After Effects hotkeys as it will save you a lot of time with even these steps you're describing.&lt;/p&gt;&#xA;&lt;p&gt;I hope I helped at least somewhat! Sorry there's not a more convenient way, but I also recommend reporting this as a bug to Adobe, as it really should be a true functionality.&lt;/p&gt;&#xA;" OwnerUserId="34142" LastActivityDate="2021-03-08T23:07:34.157" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33439" PostTypeId="1" CreationDate="2021-03-09T07:03:29.303" Score="0" ViewCount="467" Body="&lt;p&gt;I record an MP4 video with IPEVO document camera. There is no out of sync problem. Here is the metadata of the MP4 video (as the media source).&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media / Version 2&#xA;Codec ID                                 : mp42 (mp41/isom)&#xA;File size                                : 499 MiB&#xA;Duration                                 : 8 min 50 s&#xA;Overall bit rate                         : 7 897 kb/s&#xA;&#xA;&#xA;Video&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Baseline@L3.1&#xA;Format settings                          : 4 Ref Frames&#xA;Format settings, CABAC                   : No&#xA;Format settings, Reference frames        : 4 frames&#xA;Format settings, GOP                     : M=1, N=15&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 8 min 50 s&#xA;Bit rate                                 : 7 717 kb/s&#xA;Width                                    : 1 024 pixels&#xA;Height                                   : 768 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 30.000 FPS&#xA;Standard                                 : Component&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.327&#xA;Stream size                              : 488 MiB (98%)&#xA;&#xA;&#xA;Audio&#xA;Format                                   : AAC LC&#xA;Format/Info                              : Advanced Audio Codec Low Complexity&#xA;Codec ID                                 : mp4a-40-2&#xA;Duration                                 : 8 min 50 s&#xA;Source duration                          : 8 min 49 s&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 175 kb/s&#xA;Nominal bit rate                         : 192 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Channel layout                           : L R&#xA;Sampling rate                            : 44.1 kHz&#xA;Frame rate                               : 43.066 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 11.1 MiB (2%)&#xA;Source stream size                       : 11.1 MiB (2%)&#xA;mdhd_Duration                            : 530057&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, if I edit it with Davinci Resolve 17 Beta, the rendered output has out-of-sync issue. The video lags about 1-2 seconds behind the audio.&lt;/p&gt;&#xA;&lt;p&gt;Could you tell me what causes this issue?&lt;/p&gt;&#xA;&lt;h1&gt;Edit 1&lt;/h1&gt;&#xA;&lt;p&gt;Is it due to the difference of frame rate? The following is taken from the above metadata.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Video Frame rate                               : 30.000 FPS&#xA;Audio Frame rate                               : 43.066 FPS (1024 SPF)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h1&gt;Edit 2&lt;/h1&gt;&#xA;&lt;p&gt;I dragged and drop the MP4 clip onto the timeline. The end part of the timeline is shown as follows.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bmPRa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bmPRa.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;There are some delayed frames at the end. How to fix this?&lt;/p&gt;&#xA;" OwnerUserId="18915" LastEditorUserId="18915" LastEditDate="2021-03-09T12:59:29.337" LastActivityDate="2021-03-09T12:59:29.337" Title="Davinci Resolve: The rendered output has video that lags 1-2 seconds behind audio" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33440" PostTypeId="1" AcceptedAnswerId="33443" CreationDate="2021-03-09T20:04:25.953" Score="0" ViewCount="235" Body="&lt;p&gt;I am trying to use the ffmpeg framehash muxer to hash frames as they are being recorded.&lt;/p&gt;&#xA;&lt;p&gt;I've tried&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -nostdin -hwaccel auto -fflags +igndts \&#xA;-f alsa \&#xA;  -ac 1 \&#xA;  -ar 44000 \&#xA;  -thread_queue_size 2048 \&#xA;  -i hw:2,1,0 \&#xA;  -acodec aac \&#xA;-f video4linux2 \&#xA;  -thread_queue_size 2048 \&#xA;  -i /dev/video0 \&#xA;  -vcodec libx264 \&#xA;  -preset ultrafast \&#xA;  -tune zerolatency \&#xA;  -s 1280x720 \&#xA;  -r 30 \&#xA;  -t 00:00:05 \&#xA;-f avi - \&#xA;| ffmpeg -nostdin -hwaccel auto \&#xA;-i - \&#xA;-f framehash out/out.md5 \&#xA;out/out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The first ffmpeg command creates the streams (audio/video) and pipes to a second ffmpeg command in the avi format, which uses the framehash muxer then writes the avi file. The idea of using the piped command is that instead of the hashframe muxer using the rawvideo stream, it uses the encoded stream... That being said, hashframe seems to be using the rawvideo stream, and I can't get the mapping right.&lt;/p&gt;&#xA;&lt;p&gt;I've tried &lt;code&gt;-map 1:0 -map 1:1 \&lt;/code&gt; before the framehash, because I saw this with a channel of mpeg4 and mp3.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; rawvideo (native))&#xA;  Stream #0:1 -&amp;gt; #0:1 (mp3 (mp3float) -&amp;gt; pcm_s16le (native))&#xA;  Stream #0:0 -&amp;gt; #1:0 (h264 (native) -&amp;gt; mpeg4 (native))&#xA;  Stream #0:1 -&amp;gt; #1:1 (mp3 (mp3float) -&amp;gt; mp3 (libmp3lame))&#xA;Output #0, framehash, to 'out/out.md5':&#xA;  Metadata:&#xA;    encoder         : Lavf58.29.100&#xA;    Stream #0:0: Video: rawvideo (NV12 / 0x3231564E), nv12, 1280x720, q=2-31, 331776 kb/s, 30 fps, 30 tbn, 30 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.54.100 rawvideo&#xA;    Stream #0:1: Audio: pcm_s16le, 16000 Hz, mono, s16, 256 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc58.54.100 pcm_s16le&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Anyways, when I compare the output files, (by running &lt;code&gt;ffmpeg -i out/out.avi -f framehash out/out1.md5&lt;/code&gt; the hashes don't match. Any idea how I can fix this problem?&lt;/p&gt;&#xA;&lt;p&gt;Thanks!!!&#xA;&lt;a href=&quot;https://i.stack.imgur.com/DIqkK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DIqkK.png&quot; alt=&quot;framehash diffs&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://pastebin.com/My3ppsTn&quot; rel=&quot;nofollow noreferrer&quot;&gt;Framehash output from stream&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://pastebin.com/tvBMQWCb&quot; rel=&quot;nofollow noreferrer&quot;&gt;Framehash output from file&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34153" LastEditorUserId="34153" LastEditDate="2021-03-11T16:30:17.587" LastActivityDate="2021-03-11T16:30:17.587" Title="Using the ffmpeg hashframe muxer on encoded frames in real time" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33442" PostTypeId="2" ParentId="32532" CreationDate="2021-03-09T20:59:48.670" Score="1" Body="&lt;p&gt;M2TS as a format / container is not able to store chapter information itself. On Blu-Ray disks, the chapter data is stored in the playlist files. Therefore you won't see chapters when you just load an M2TS file in a player.&lt;/p&gt;&#xA;&lt;p&gt;I am actually a total newbie to this, so I have no clue whether tsMuxeR creates appropriate playlist files when producing the ISO file. If so, you should see the chapters when you load the playlist file into the player, not the M2TS file.&lt;/p&gt;&#xA;" OwnerUserId="34155" LastActivityDate="2021-03-09T20:59:48.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33443" PostTypeId="2" ParentId="33440" CreationDate="2021-03-10T04:02:04.883" Score="0" Body="&lt;p&gt;Use the tee muxer.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -nostdin -hwaccel auto -fflags +igndts \&#xA;-f alsa \&#xA;  -ac 1 \&#xA;  -ar 44000 \&#xA;  -thread_queue_size 2048 \&#xA;  -i hw:2,1,0 \&#xA;-f video4linux2 \&#xA;  -thread_queue_size 2048 \&#xA;  -i /dev/video0 \&#xA;  -map 1 -map 0 \&#xA;  -vcodec libx264 \&#xA;  -preset ultrafast \&#xA;  -tune zerolatency \&#xA;  -s 1280x720 \&#xA;  -r 30 \&#xA;  -acodec aac \&#xA;  -t 00:00:05 \&#xA;-f tee &amp;quot;[f=framehash]out/out.md5|[f=avi]out/out.avi&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-03-10T04:02:04.883" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="33446" PostTypeId="1" CreationDate="2021-03-10T17:38:27.663" Score="2" ViewCount="370" Body="&lt;p&gt;I know Vegas is more of a video editor, but I like the visuality and ease of syncing audio.  I've done this easily with 2 digital sources, it's a snap.&lt;/p&gt;&#xA;&lt;p&gt;The problem lies when you try to sync old analog sources that were recorded on different equipment and different battery strengths.&lt;/p&gt;&#xA;&lt;p&gt;I've got two sources.  On one source, the required clip runs exactly 2,481 seconds long (from 4:16:24 to 45:37:00 on my timeline).  The source I want to mix it with runs exactly 2,422 seconds long (from 4:16:24 to 44:38:00 on my timeline).  I calculated this by syncing exactly the start point and lining the 2 tracks up, and then determining the exact same end point on both tracks.&lt;/p&gt;&#xA;&lt;p&gt;How can I sync these so they both run the same length of time, and match up along the way?&lt;/p&gt;&#xA;&lt;p&gt;I'm using Sony Vegas Pro 13.&lt;/p&gt;&#xA;" OwnerUserId="5869" LastActivityDate="2024-03-25T20:08:20.937" Title="How can I sync two audio sources running at different speeds" Tags="|vegas-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33448" PostTypeId="1" AcceptedAnswerId="33482" CreationDate="2021-03-11T01:13:14.033" Score="3" ViewCount="3905" Body="&lt;p&gt;You often/used to hear that &amp;quot;35mm film is 4K, 16mm film is 2K, and Super 8 film is 720p,&amp;quot; so why do I often see services such as this &lt;a href=&quot;https://www.gammaraydigital.com/blog/busting-resolution-myth&quot; rel=&quot;nofollow noreferrer&quot;&gt;one&lt;/a&gt; offering to digitize Super 8 film at 4K?&lt;/p&gt;&#xA;&lt;p&gt;If all of the information on a Super 8 film has already been captured at 720/1080p then what's the point of digitizing the film at higher resolutions such as 4K?&lt;/p&gt;&#xA;&lt;p&gt;I realize that when a 4K display receives a 1080p input that the display will have to upscale the picture using methods such as interpolation. But if one were to output a Super 8 film at 4K resolution to be displayed on a 4K display, wouldn't you be filling the 4K display with empty pixels given that all of the information on the Super 8 film has already been captured at 720/1080p?&lt;/p&gt;&#xA;" OwnerUserId="34157" LastEditorUserId="34157" LastEditDate="2021-03-11T03:20:11.813" LastActivityDate="2021-03-17T04:52:14.163" Title="Does digitizing Super 8 film at 4K resolution make any sense?" Tags="|digitisation|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="33449" PostTypeId="2" ParentId="30346" CreationDate="2021-03-11T02:47:53.583" Score="1" Body="&lt;p&gt;When I browse the video upscaler from the Internet, I found two kinds of video upscaling tools.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;One is the video upscaling software, such as AVCLabs, Topaz, DVDFab.&lt;/li&gt;&#xA;&lt;li&gt;Another one is an online video upscaler.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Both of them are able to upscale video in 1080p to 4K.&lt;/p&gt;&#xA;&lt;p&gt;If you have more patience and time to observe the video upscaler, you can try AVCLabs Video Enhancer AI, because I found that it is free currently.&lt;/p&gt;&#xA;" OwnerUserId="34170" LastEditorUserId="18155" LastEditDate="2021-03-21T15:01:20.647" LastActivityDate="2021-03-21T15:01:20.647" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33450" PostTypeId="1" CreationDate="2021-03-11T07:37:37.270" Score="1" ViewCount="374" Body="&lt;p&gt;I use Foobar2000 to tag my music.  I just recently found out by dumb luck that it works with mp4 videos as well and shows the tracks as chapters.&lt;/p&gt;&#xA;&lt;p&gt;One video in particular, it shows it as 19 Chapters, but it should be only 18.  I try to play Chapter 19 and it just throws errors.  Is there a way to just delete this Chapter from the MP4?  I've looked all over and can't seem to get a straight forward answer on how to do it.  I've been using FFMPEG with my video conversions, so if FFMPEG can do the job, that'd be preferable.&lt;/p&gt;&#xA;" OwnerUserId="34171" LastActivityDate="2021-03-11T07:37:37.270" Title="How can I delete a chapter from a MP4 video?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33451" PostTypeId="2" ParentId="33446" CreationDate="2021-03-11T13:10:31.560" Score="1" Body="&lt;p&gt;Well, I sorta figured it out so I'll put it as an answer, although I hope someone comes up with a better suggestion.&lt;/p&gt;&#xA;&lt;p&gt;I had to eventually cut one track into (approximately) 5 minute segments.  I placed my cursor at the end of each segment, held the shift key and did a click-and-drag with my mouse to perform a &amp;quot;time shift&amp;quot; until the tracks aligned.  Then, I moved the next clip up against the first and repeated the process.  I found if I did this with the entire track, it still went out of sync, so by chopping the track into (approximately) 5 minute intervals it kept it closer to sync.  That might be due to the speed of the source tape varying as the batteries got weaker.  I tried to cut the track near a large volume peak or valley to make it visually easier to align the tracks.&lt;/p&gt;&#xA;&lt;p&gt;All in all, it was still much easier than trying to do this with something like Audacity or Sound Forge.&lt;/p&gt;&#xA;" OwnerUserId="5869" LastActivityDate="2021-03-11T13:10:31.560" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33454" PostTypeId="1" CreationDate="2021-03-11T16:47:26.587" Score="0" ViewCount="282" Body="&lt;p&gt;I captured video output from a computer program using Xbox Game Bar in Windows 10.  It looks good.  After cropping in Adobe Premiere Pro, my black lines are fuzzed, the vivid colors are degraded, and there appears to be image &amp;quot;echoes&amp;quot; from compression.  The final output is here, and I would like to do better:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/UAfjVtFcBls?start=6&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;&lt;p&gt;(The video output from Adobe was bad before the upload to YouTube; the thumb on the video start is good.)&lt;/p&gt;&#xA;" OwnerUserId="34167" LastActivityDate="2021-12-07T10:04:50.447" Title="Is there a &quot;fix&quot; for Adobe Premiere Pro so it doesn't degrade sharp black lines and soften vivid colors?" Tags="|software-recommendation|software|hardware|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="33458" PostTypeId="1" CreationDate="2021-03-12T08:00:58.773" Score="1" ViewCount="522" Body="&lt;p&gt;I have this one jpg image which changes approx. every 4 seconds.&#xA;Based on this image, I want to make a 60 second long video.&lt;/p&gt;&#xA;&lt;p&gt;I tried this.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -t 60 -loop 1 -r 1 -i input.jpg -r 1 output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This code makes a 60 second long video of the current image...&lt;/p&gt;&#xA;&lt;p&gt;But I want a video of how the image has changed in the 60 seconds.&lt;/p&gt;&#xA;&lt;p&gt;How can i do this with FFmpeg ?&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;Alternatively, I thought maybe I might be able to stream the image while grabbing this stream.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="34184" LastEditorUserId="34184" LastEditDate="2021-03-12T11:23:31.167" LastActivityDate="2022-03-10T11:16:22.063" Title="Create a video from a changing jpg image with FFmpeg" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33459" PostTypeId="2" ParentId="33454" CreationDate="2021-03-12T08:37:17.153" Score="1" Body="&lt;p&gt;First of all, as we've found out in the comments, you actually use Premiere Rush and not Premiere Pro. There is a difference, Premiere Pro is much more complex but it also enables you to take control of many more aspects of the video making process.&lt;/p&gt;&#xA;&lt;p&gt;The problem is most likely due to compression with a target bitrate that's too low. Rush is optimized for quick social media video sharing and this means they expect videos to be about a person talking about something filmed in front of a mostly static background, for example. They didn't have videos as yours in mind that require higher bitrates to look sharp and clean.&lt;/p&gt;&#xA;&lt;p&gt;Normally I don't use Rush, but tried it to check what can be done in your case. Unfortunately, I don't see any option you can try. Setting the quality to high is already the best you can do. Using the 4k preset may help if the original clip has been recorded at 4k.&lt;/p&gt;&#xA;&lt;p&gt;Another option you can try is to install &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; and use it from the command line. A question that deals with adding the crop effect, you need, is this one: &lt;a href=&quot;https://video.stackexchange.com/questions/4563/how-can-i-crop-a-video-with-ffmpeg&quot;&gt;How can I crop a video with ffmpeg?&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://handbrake.fr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Handbrake&lt;/a&gt; is a GUI tool, that uses ffmpeg and another alternative to try.&lt;/p&gt;&#xA;&lt;p&gt;Or you could try Premiere Pro (if it's not in your subcription plan you could still try it for a number of days for free). However, both Premiere and ffmpeg are more complex.&lt;/p&gt;&#xA;&lt;p&gt;It might be good to record another 5 min clip to save time when you try to find out the highest bitrate you need to make it look pleasant, yet still produce videos that are suitably small for upload to the web.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-03-12T08:37:17.153" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33460" PostTypeId="1" CreationDate="2021-03-12T13:59:13.460" Score="1" ViewCount="132" Body="&lt;p&gt;Does anyone have any insights into how this trailer was made?&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/RfpzdSJlv6o?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm guessing After Effects - a lot of Trapcode, waveforms, chromatic aberration etc, but what about the moiré patterns in the waveforms?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-03-12T13:59:13.460" Title="&quot;Calls&quot; trailer on Apple TV - how was it made?" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33463" PostTypeId="1" CreationDate="2021-03-12T17:54:08.340" Score="1" ViewCount="55" Body="&lt;p&gt;I am editing in Premiere, and sending an XML to a colourist working in DaVinci Resolve. We chose to colour after picture lock in order to reduce the colourist's workload. All of the tutorials I have seen recommend flattening the timeline into one video layer (eg. &lt;a href=&quot;https://blog.frame.io/2019/11/04/premiere-to-davinci-resolve-roundtrip/&quot; rel=&quot;nofollow noreferrer&quot;&gt;There and Back Again - Frame.io&lt;/a&gt;). However, I have several sections where the layers are neccesary, and their timing is important.  &lt;a href=&quot;https://video.stackexchange.com/questions/25965/workflow-of-editing-in-premiere-and-color-grading-in-davinci&quot;&gt;This answer&lt;/a&gt; gives a brief overview of a possible workflow, but doesn't address the layers issue.&#xA;What are the best settings or workflow to make sure that the layers can be exported for DaVinci and maintain their place in the timeline?&lt;/p&gt;&#xA;" OwnerUserId="26535" LastActivityDate="2022-12-13T00:04:45.650" Title="Exporting video layers for Premiere-DaVinci workflow" Tags="|premiere|davinci-resolve|workflow|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33464" PostTypeId="1" CreationDate="2021-03-12T20:49:49.230" Score="0" ViewCount="173" Body="&lt;p&gt;I use the movavi screen recorder 10 program for screen recording. However, today, when I finished recording a video, the program stopped responding and I had to close it forcibly. Conclusion: the video has been corrupted. Is there any way to get it back?&#xA;OBS: I am completely stupid in informatics. If you can be patient, thank you.&lt;/p&gt;&#xA;" OwnerUserId="34191" LastActivityDate="2022-08-10T09:06:35.637" Title="MKV file corrupted" Tags="|video-capture|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33467" PostTypeId="1" CreationDate="2021-03-13T09:19:26.077" Score="2" ViewCount="361" Body="&lt;p&gt;I just got an Insta360 One R 1-inch sensor and the footage is shaky as hell. I realised that you need their desktop application to actually stabilise in post-production but since I'm on Linux this is not possible.&lt;/p&gt;&#xA;&lt;p&gt;By probing the MP4 recorded with &lt;code&gt;exiftool&lt;/code&gt; it's clear that there is some metadata&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$&amp;gt; exiftool -ee -G3 PRO_VID_20210312_225421_00_004.mp4&#xA;..&#xA;[Doc8914]       Accelerometer                   : -0.2275390625 -1.2587890625 -0.140380859375&#xA;[Doc8914]       Angular Velocity                : 0.0109715647995472 0.0351055897772312 0.0297343395650387&#xA;[Doc8915]       Time Code                       : 238.231&#xA;[Doc8915]       Accelerometer                   : -0.21630859375 -1.263671875 -0.13916015625&#xA;[Doc8915]       Angular Velocity                : 0.0109715647995472 0.0606719367206097 0.00416799262166023&#xA;[Doc8916]       Time Code                       : 238.233&#xA;[Doc8916]       Accelerometer                   : -0.205078125 -1.26513671875 -0.135009765625&#xA;..&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I was wondering.. is there someway to stabilise the footage by using this metadata &lt;strong&gt;on Linux&lt;/strong&gt;?&lt;/p&gt;&#xA;&lt;p&gt;When we use vid.stab or similar we usually create this sort of metadata with some analysis. But since we already have this data, there must be a way we can skip that step and use it directly?&lt;/p&gt;&#xA;" OwnerUserId="4965" LastEditorUserId="4965" LastEditDate="2021-03-13T10:44:07.063" LastActivityDate="2021-03-13T10:44:07.063" Title="Stabilize MP4 from gyroscope metadata? (Insta360)" Tags="|ffmpeg|mp4|linux|stabilisation|action-cam|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33468" PostTypeId="1" CreationDate="2021-03-13T16:28:54.693" Score="3" ViewCount="162" Body="&lt;p&gt;I'm tasked with translating and putting hard subtitles on dozens of videos. This is the only thing I will be doing to the videos and I have 0 experience with video editing. I am a programmer though. What's the most productive process/apps to accomplish this (just downloaded Lightworks)? Most video editing software can do this but isn't exactly optimized for this specific thing.&lt;/p&gt;&#xA;&lt;p&gt;Right now I'm thinking about using a dedicated subtitle app to create softsubs and then ffmpeg to apply it to video? But as someone who's never done this before it seems easier to use the timeline function of video editors when creating the subs? Any advice please?&lt;/p&gt;&#xA;" OwnerUserId="1795" LastActivityDate="2022-06-29T06:10:20.843" Title="Easiest way to add subtitles" Tags="|video-editor|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33469" PostTypeId="1" CreationDate="2021-03-13T18:53:51.493" Score="3" ViewCount="172" Body="&lt;p&gt;I want to move some puppet pins relative to an anchor point.&#xA;Is there a simple script that does the math and makes the pin move with the anchor of a different layer?&#xA;This stuff seems pretty basic but I couldn't find any good scripts or explanations on how to do this efficiently.&lt;/p&gt;&#xA;&lt;p&gt;Could someone please help with this?&lt;/p&gt;&#xA;&lt;p&gt;Currently I have a very dumb solution, I just put a hidden shape layer over both the puppet pin and the layer I want the pin to move with. Then I parented the anchor point of this shape layer with the anchor point of the original layer, then I added a puppet pin onto the shape layer and parented the old puppet pin I want to move to the puppet pin on the shape layer.&lt;/p&gt;&#xA;&lt;p&gt;Basically bridging the gap between the the pin and the original layer.&lt;/p&gt;&#xA;" OwnerUserId="34195" LastEditorUserId="2352" LastEditDate="2022-02-07T11:25:08.633" LastActivityDate="2022-02-07T11:25:08.633" Title="Adobe After Effects - Script - How to move puppet pins relative to some other pin/layer anchor?" Tags="|after-effects|script|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33470" PostTypeId="1" CreationDate="2021-03-14T03:34:22.987" Score="0" ViewCount="32" Body="&lt;p&gt;I have a ProRes 422 HQ trailer clip that is about 70 seconds. I would like to add a 0.5s cross fade (to black/silence) at the head and tail of the clip. The output file must have the exact same characteristics as the input file.&lt;/p&gt;&#xA;&lt;p&gt;Where I'm starting at is something like (in ffmpeg):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;concat:??|trailer.mov|??&amp;quot; -c copy output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is there a way to do this with ProRes 422 in ffmpeg. If not, what other tools might work for this kind of thing? Note: all the video files are on a linux server, so it's something I'd need to do via a command-line and not something like Final Cut.&lt;/p&gt;&#xA;&lt;p&gt;Is this possible to do in Compressor via command line, or what might be the best starting place to try and do this?&lt;/p&gt;&#xA;" OwnerUserId="11116" LastActivityDate="2021-03-14T03:34:22.987" Title="Add a cross-fade to a ProRes clip" Tags="|ffmpeg|video-editor|prores|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33473" PostTypeId="1" AcceptedAnswerId="33493" CreationDate="2021-03-14T21:23:16.217" Score="1" ViewCount="225" Body="&lt;p&gt;I was trying to make some recordings of a game (with OBS), but it wasn't really good even with &amp;quot;lossless&amp;quot; options. Some part of the interface was just pixelated... After a while I realized that the chromatic subsampling should cause the problem, as the pixelated interface is red. (In OBS the default color format is NV12, using RGB instead - without subsampling - it was all good.)&lt;/p&gt;&#xA;&lt;p&gt;Is there a workaround to keep the resolution of the interface intact, but still do some kind of chromatic subsampling? (Maybe with some other color encoding than YUV?)&lt;br /&gt;&#xA;It's Ok if I need to make the recordings without subsampling, and than convert/transcode the videos. I would do it anyway, as OBS can't record with hevc_qsv. Also I don't have an intent to publish these videos on the internet. (Probably I'd like to store the videos using H265 or AV1, to obtain the best compression.)&lt;/p&gt;&#xA;" OwnerUserId="34205" LastEditorUserId="34205" LastEditDate="2021-03-14T21:32:58.230" LastActivityDate="2021-03-21T22:08:21.083" Title="Resolution loss by chromatic subsampling: is there a workaround?" Tags="|encoding|compression|colorspace|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33476" PostTypeId="2" ParentId="32960" CreationDate="2021-03-15T16:53:18.473" Score="0" Body="&lt;p&gt;I had the same problem with such setup, i.e. input frames as PNGs + audio.&lt;/p&gt;&#xA;&lt;p&gt;My workaround for silencing the warning was &lt;code&gt;-thread_queue_size&lt;/code&gt; parameter with max possible value (i.e. bigger than my total amount of PNG frames) before each input.&lt;/p&gt;&#xA;&lt;p&gt;Considering you have a video clip with duration ~3:30, I would try the command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -f image2 -framerate ntsc -thread_queue_size 5040 -i %%06d.png \&#xA;-thread_queue_size 5040 -i D:\encode\original.avi \&#xA;-map 0:v:0 -map 1:a:0 -acodec copy -c:v libx265 -crf 28 -preset medium \&#xA;-pix_fmt yuv420p -r ntsc D:\encode\new.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If the message really impacts the output quality, sorry can not confirm. For me was quicker just to set the limit.&lt;/p&gt;&#xA;" OwnerUserId="34213" LastEditorUserId="18155" LastEditDate="2021-03-16T12:05:48.280" LastActivityDate="2021-03-16T12:05:48.280" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33477" PostTypeId="2" ParentId="29508" CreationDate="2021-03-15T21:01:24.703" Score="0" Body="&lt;p&gt;Browsers DO support DD+ .. I dont know why this was innacurately reported... the New edge chrome and even the older legacy edge both than support for DD+ and edge chrome will also do atmos/DD+..  Now just because they support it doesnt nessarily mean that streaming services will Use it.. Netflix in the above mentioned browsers will indeed give 5.1 in both DD+ and DD+/atmos as I have verified it on my surround system..discrete channels...Now amazon however, will only do stereo through said browsers and even with the new win 10 prime video app, its still only stereo and no 4k support..... sad.&lt;/p&gt;&#xA;" OwnerUserId="34217" LastActivityDate="2021-03-15T21:01:24.703" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33481" PostTypeId="2" ParentId="28889" CreationDate="2021-03-16T09:17:43.817" Score="1" Body="&lt;p&gt;There is already a solution &lt;a href=&quot;https://video.stackexchange.com/questions/32383/ffmpeg-vf-scale-shifts-colors-to-washed-out&quot;&gt;here&lt;/a&gt;. But I will try to summarize it in brief.&lt;/p&gt;&#xA;&lt;p&gt;You need to specify the correct flags for color properties of the original file. Your original file (as probably many other files) has these properties: &lt;code&gt;yuv420p10le(tv, bt2020nc/bt2020/smpte2084)&lt;/code&gt;. So you need to add the following arguments respectively: &lt;code&gt;-pix_fmt&lt;/code&gt;, &lt;code&gt;-color_range&lt;/code&gt;, &lt;code&gt;-colorspace&lt;/code&gt;, &lt;code&gt;-color_primaries&lt;/code&gt;, and &lt;code&gt;-color_trc&lt;/code&gt;. The last four are just flags (those in parenteses), so if you encoded the file already, you do not need to do it again, just add the correct flags. Your arguments then should look like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-c:v libx265&#xA;-pix_fmt +&#xA;-color_range tv &#xA;-colorspace bt2020nc&#xA;-color_primaries bt2020 &#xA;-color_trc smpte2084  &#xA;-vf scale=1920:1080&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;As mentioned elsewhere, the color format property &lt;code&gt;-pix_fmt&lt;/code&gt; with value &lt;code&gt;+&lt;/code&gt; means &amp;quot;use the same pixel format&amp;quot;, but you can specify it manually: &lt;code&gt;-pix_fmt yuv420p10le&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="34225" LastEditorUserId="34225" LastEditDate="2021-03-16T09:28:05.547" LastActivityDate="2021-03-16T09:28:05.547" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33482" PostTypeId="2" ParentId="33448" CreationDate="2021-03-17T04:52:14.163" Score="1" Body="&lt;p&gt;Calling super-8 720p is confusing. There are no rows of pixels, only grains of emulsion, scattered in a random pattern on the base.&lt;/p&gt;&#xA;&lt;p&gt;That said, film does have an upper bound on its resolving power, in other words, the smallest detail it can reproduce. &lt;a href=&quot;https://casualphotophile.com/2017/10/04/kodachrome-retrospective-film-profile/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Kodachrome could resolve 96-135&lt;/a&gt; lines per millimeter, which can be roughly converted to 180-270 pixels per mm (it takes two pixels to resolve a line). A super-8  frame is 3.3mm high, so the vertical resolution is somewhere between 540 and 810 pixels. So as a back-of the envelope description of its resolving power 720p is a good approximation.&lt;/p&gt;&#xA;&lt;p&gt;So if you capture super-8 in HD you will be getting enough resolution in your digital file that all of the image that is present on the super-8 frame will be preserved. Higher resolution will just give you more detail of the grain. It won't look &lt;em&gt;worse&lt;/em&gt;, but it won't look a whole lot better.&lt;/p&gt;&#xA;&lt;p&gt;What I would be more concerned about was the fidelity of the colour, and the quality of the transfer. A well transferred, lower resolution transfer will beat a poorly done higher resolution transfer any day. You can just project the film on a wall and film it, but it's probably going to look dreadful.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-03-17T04:52:14.163" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33483" PostTypeId="2" ParentId="2413" CreationDate="2021-03-17T06:49:06.570" Score="0" Body="&lt;p&gt;Try using the Mini USB port available on D90. Use a Mini USB to 3.5 audio connector and plug in the external mic to it.&lt;/p&gt;&#xA;&lt;p&gt;Should work. Give it a try.&lt;/p&gt;&#xA;" OwnerUserId="34235" LastEditorUserId="18155" LastEditDate="2021-03-21T14:57:36.610" LastActivityDate="2021-03-21T14:57:36.610" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33484" PostTypeId="1" CreationDate="2021-03-17T15:17:32.013" Score="1" ViewCount="26" Body="&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;https://youtu.be/ZvQo4ryiyFQ?t=18&quot; rel=&quot;nofollow noreferrer&quot;&gt;Pop In&lt;/a&gt; object (@ 17s)&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm fairly new to Expressions, I'm trying to attain this effect with expressions. I tried using the inertial bounce code on the net&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;n = 0;&#xA;if (numKeys &amp;gt; 0){&#xA;n = nearestKey(time).index;&#xA;if (key(n).time &amp;gt; time){&#xA;n--;&#xA;}&#xA;}&#xA;if (n == 0){&#xA;t = 0;&#xA;}else{&#xA;t = time - key(n).time;&#xA;}&#xA;&#xA;if (n &amp;gt; 0 &amp;amp;&amp;amp; t &amp;lt; 1){&#xA;v = velocityAtTime(key(n).time - thisComp.frameDuration/10);&#xA;amp = .05;&#xA;freq = 4.0;&#xA;decay = 8.0;&#xA;value + v*amp*Math.sin(freq*t*2*Math.PI)/Math.exp(decay*t);&#xA;}else{&#xA;value;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;To make this generic, I acquired the desired result by creating a null object with a scale value of &lt;code&gt;100&lt;/code&gt;, applied the above code to the null and added &lt;code&gt;s=linear(thisComp.layer(&amp;quot;Null 8&amp;quot;).transform.scale[0],0,150, 0,desiredScale); [s,s]&lt;/code&gt; to the required object's scale. Though this works decently, this is such a pain to do for every object (I have a lot of objects for which I want to apply this effect). Is there a simpler way?&lt;/p&gt;&#xA;" OwnerUserId="33111" LastActivityDate="2021-03-17T15:17:32.013" Title="How to write an expression for the following [Pop In object]?" Tags="|after-effects|adobe|after-effects-expressions|after-effects-scripting|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33485" PostTypeId="1" CreationDate="2021-03-17T15:27:54.887" Score="0" ViewCount="4074" Body="&lt;p&gt;I want to make a horizontal video get converted to vertical video using FFMPEG for automation purposes. I tried with this, which works for vertical to horizontal&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    ffmpeg -i input.mp4 \&#xA;  -vf 'split[original][copy];[copy]scale=ih*16/9:-1,crop=h=iw*9/16,gblur=sigma=20[blurred];[blurred][original]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2' \&#xA;  output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And tried to change the &amp;quot;16/9&amp;quot; and &amp;quot;9/16&amp;quot; parameters backwards so it makes the reverse procedure, but i get an error.&lt;/p&gt;&#xA;&lt;p&gt;I don't really need the blur thing, because i want to put some images on the black boxes that will result from doing this process.&lt;/p&gt;&#xA;" OwnerUserId="34243" LastActivityDate="2023-02-10T10:07:15.937" Title="Horizontal to vertical video using ffmpeg" Tags="|video|ffmpeg|aspect|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33489" PostTypeId="2" ParentId="33464" CreationDate="2021-03-18T02:53:14.583" Score="1" Body="&lt;p&gt;2 things to try here&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;See if you can open it up in any video player you have on hand that can read the mkv file as mkv's do not require finalization to be played generally though they will only show the timestamps for the section that is currently playing.&lt;/li&gt;&#xA;&lt;li&gt;Open it up in OBS and Use the Remux Recordings option to rerender your file and save it properly so all the finalization data is included&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="34248" LastActivityDate="2021-03-18T02:53:14.583" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33490" PostTypeId="1" CreationDate="2021-03-18T17:25:59.207" Score="1" ViewCount="60" Body="&lt;p&gt;I'm looking for a solution to be able to shoot with my Canon 1Dx and have the footage straight on my 2019 MacBook Pro with Big Sur (v 11.2.2) and I'm stuck.&#xA;Here is what I have tried and what issues I have encountered or what does not suit me:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I installed Eos Webcam Utility (v1.0.2) which allows my 1Dx to be used, via the USB cable, as a webcam in many applications. But I can't get the video stream back to Quicktime Player (which I think would have fixed my problem).&lt;/li&gt;&#xA;&lt;li&gt;With Eos Webcam Utility provided by Canon (EWU in the following), I manage to retrieve the stream in &lt;a href=&quot;https://obsproject.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS&lt;/a&gt; but it does not allow (or I cannot find how) to retrieve the raw stream and it is forced to transcode it. And it consumes a lot of resources which leaves me the choice between recovering a stream of not even 720p or losing a lot of frames, like 50%, or even more, which is not ideal.&lt;/li&gt;&#xA;&lt;li&gt;With FinalCut Pro X Trial (v10.5.1), I thought I had found a solution. But I've found that many times when I stop importing it doesn't save the file (I'm not sure but it seems related to &lt;a href=&quot;https://discussions.apple.com/thread/6824041&quot; rel=&quot;nofollow noreferrer&quot;&gt;timecode breaks&lt;/a&gt;). So I don't want to shoot for a while to find out that it didn't work.&lt;/li&gt;&#xA;&lt;li&gt;I tried with the &lt;a href=&quot;https://www.elgato.com/fr/cam-link-4k&quot; rel=&quot;nofollow noreferrer&quot;&gt;Elgato Cam Link 4K&lt;/a&gt; but was only able to get the camera screen with the OSD, without having the ability to record it in Quicktime or Final Cut.&lt;/li&gt;&#xA;&lt;li&gt;I also tried the network options provided by the 1Dx:&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the FTP mode can only transfer images, not videos.&lt;/li&gt;&#xA;&lt;li&gt;The web server mode allows control but not video capture.&lt;/li&gt;&#xA;&lt;li&gt;What comes closest to what I would like is the mode that allows you to control it with Eos Utility 3. The only problem is that it cannot take video while the files are being transferred from the memory card so all transfer time is wasted time.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;In addition to that, for several days now, I'm no more able to get the image of my 1Dx in Final Cut. When I try to switch to liveview mode, the 1Dx shows me the message &amp;quot;busy&amp;quot;. If I unplug the USB, I can activate the liveview mode, but as soon as I reconnect the cable, the liveview mode stops. Final Cut shows me the Canon image all the time with the USB cable unplugged.&lt;/p&gt;&#xA;&lt;p&gt;If you ever have a solution, I'm interested.&#xA;Thank you in advance.&lt;/p&gt;&#xA;" OwnerUserId="34257" LastActivityDate="2021-03-18T17:25:59.207" Title="Record Canon DLSR movie directly on macOS drive" Tags="|canon|mac|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33493" PostTypeId="2" ParentId="33473" CreationDate="2021-03-20T15:40:41.783" Score="1" Body="&lt;p&gt;No. Almost all video on the planet is limited YUV420 (all Blu-rays, even HEVC ones with Dolby Vision, all Youtube, only some satellite FEEDs not for consumers use 4:2:2). Sorry. Of course, there &lt;strong&gt;is&lt;/strong&gt; RGB and &lt;strong&gt;even&lt;/strong&gt; mathematically lossless mode in all common encoders, H.264/AV1/VP9/HEVC... For lossless AV1 see &lt;a href=&quot;https://trac.ffmpeg.org/ticket/7600&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/ticket/7600&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But, alas. It is not used at all.&lt;/p&gt;&#xA;&lt;p&gt;Only Dolby Vision in profile 5 that is not HDR10 compatible (it uses IPTPQc2 color instead of YCbCr and &lt;strong&gt;FULL RANGE&lt;/strong&gt;) can be good enough for you. It still uses 4:x:x chroma but because of new encoding it is much better looking!&lt;/p&gt;&#xA;" OwnerUserId="26140" LastEditorUserId="26140" LastEditDate="2021-03-21T22:08:21.083" LastActivityDate="2021-03-21T22:08:21.083" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33494" PostTypeId="1" AcceptedAnswerId="33496" CreationDate="2021-03-20T16:26:07.553" Score="0" ViewCount="2201" Body="&lt;p&gt;So far I have only managed to run &lt;code&gt;nlmeans_opencl&lt;/code&gt; filter with the following settings:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -init_hw_device opencl=gpu:0.0 -filter_hw_device gpu -i 10bit_input.ts \&#xA;       -vf &amp;quot;hwupload,nlmeans_opencl,hwdownload,format=yuv420p&amp;quot; -an output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Pretty much every other pixel format I set to &lt;code&gt;format=&lt;/code&gt; fails one way or another. For example&lt;/p&gt;&#xA;&lt;p&gt;My source is &lt;code&gt;yuv420p10le&lt;/code&gt;, so that is my first choice, but I get this error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[hwdownload @ 0x55ab32e60c40] Invalid output format yuv420p10le for hwframe download&#xA;[Parsed_hwdownload_2 @ 0x55ab32e61c80] Failed to configure output pad on Parsed_hwdownload_2&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid argument&#xA;Error while processing the decoded data for stream #0:0&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;With &lt;code&gt;yuv420p16le&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_nlmeans_opencl_1 @ 0x563d97d93600] input format yuv420p16le not supported&#xA;Error while filtering: Invalid argument&#xA;Failed to inject frame into filter network: Invalid argument&#xA;Error while processing the decoded data for stream #0:0&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;With no &lt;code&gt;format=...&lt;/code&gt; at all:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[hwdownload @ 0x5610a4653380] Invalid output format gray for hwframe download.&#xA;[Parsed_hwdownload_2 @ 0x5610a472a400] Failed to configure output pad on Parsed_hwdownload_2&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid argument&#xA;Error while processing the decoded data for stream #0:0&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So, is there any way to make this work, without dropping component precision to 8 bits?&lt;/p&gt;&#xA;" OwnerUserId="34272" LastActivityDate="2022-08-13T07:07:25.840" Title="Is there a way to use nlmeans_opencl filter with a 10 bits source?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33496" PostTypeId="2" ParentId="33494" CreationDate="2021-03-21T04:55:54.013" Score="1" Body="&lt;p&gt;No, the &lt;code&gt;nlmeans_opencl&lt;/code&gt; filter supports &lt;code&gt;yuv420p&lt;/code&gt;, &lt;code&gt;yuv444p&lt;/code&gt; and &lt;code&gt;gbrp&lt;/code&gt;, all 8-bit planar formats.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-03-21T04:55:54.013" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33497" PostTypeId="1" CreationDate="2021-03-21T10:07:43.517" Score="0" ViewCount="50" Body="&lt;p&gt;Without reencoding videos first? Is it possible to browse for .avs file and upload it, provided AviSynth is properly installed locally?&lt;/p&gt;&#xA;" OwnerUserId="20176" LastActivityDate="2021-03-21T10:07:43.517" Title="Does YouTube accept AviSynth .avs scripts for uploading?" Tags="|video-quality|youtube|file-formats|compression|avisynth|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="33499" PostTypeId="1" CreationDate="2021-03-21T20:51:18.413" Score="2" ViewCount="97" Body="&lt;p&gt;I have an illustration that I would like to animate in AE. Not sure how to do this however. I have three paths (simple lines) I made in illustrator with the pen tool, then used to width tool to thicken at one point and taper at the end (they're tentacles!). Anyway, I just want to animate the tentacles so they squirm and writhe around. So far all I've been able to do is use the usual transform properties, but those aren't very dynamic or useful for this project. How do I go upon doing this in AE?&lt;/p&gt;&#xA;&lt;p&gt;Screenshot of illustration.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/5VJd0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5VJd0.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34283" LastActivityDate="2024-02-08T19:07:10.917" Title="Animating paths in After Effects" Tags="|after-effects|animation|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33500" PostTypeId="2" ParentId="30842" CreationDate="2021-03-21T23:47:23.357" Score="1" Body="&lt;p&gt;Use &lt;code&gt;-filter_script:v&lt;/code&gt; for video.&lt;/p&gt;&#xA;&lt;p&gt;Ref: &lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#Generic-options&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-all.html#Generic-options&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-filter_script[:stream_specifier] filename (output,per-stream)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;PS: I just discovered (right now), that you can also use &lt;code&gt;filter_complex_script&lt;/code&gt; (&lt;code&gt;:v&lt;/code&gt; not needed). &lt;code&gt;-filter_complex_script&lt;/code&gt; seems the more advanced approach.&lt;/p&gt;&#xA;" OwnerUserId="34285" LastEditorUserId="18155" LastEditDate="2021-03-26T17:10:32.907" LastActivityDate="2021-03-26T17:10:32.907" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33501" PostTypeId="1" CreationDate="2021-03-22T02:09:29.293" Score="0" ViewCount="40" Body="&lt;p&gt;This may be a subjective question, but I'm not sure where else to ask, so apologies in advance!&lt;/p&gt;&#xA;&lt;p&gt;A lot of websites for softwares of various kinds have marketing videos of user-interfaces in action.  These aren't the actual ui's that have been recorded -- they are instead &amp;quot;faux-ui's&amp;quot; that are simplified and usually more animated versions of the real thing.&lt;/p&gt;&#xA;&lt;p&gt;eg:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://a.slack-edge.com/5f6f2/marketing/img/homepage/hp-prospect/channels/bring-your-team-together-in-channels.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://a.slack-edge.com/5f6f2/marketing/img/homepage/hp-prospect/channels/bring-your-team-together-in-channels.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.helpscout.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.helpscout.com/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I am wondering:  What kinds of video softwares are typically used for the production of these?  Are there are certain tools that are industry standard for this?&lt;/p&gt;&#xA;" OwnerUserId="34286" LastActivityDate="2024-04-06T02:06:45.837" Title="What video production softwares are typically used for the following" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33502" PostTypeId="1" CreationDate="2021-03-22T06:50:06.073" Score="1" ViewCount="1206" Body="&lt;p&gt;I want to use FFmpeg to replace a certain video track but keep everything else including chapters, audio, fonts etc…&lt;/p&gt;&#xA;&lt;p&gt;I know I should be using &lt;code&gt;-map&lt;/code&gt; and &lt;code&gt;-map_metadata&lt;/code&gt; but not sure how to do it.&lt;/p&gt;&#xA;" OwnerUserId="34287" LastEditorUserId="18155" LastEditDate="2021-03-26T17:11:37.857" LastActivityDate="2023-12-31T14:03:00.317" Title="replace video track and keep everything else" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33503" PostTypeId="1" CreationDate="2021-03-22T13:17:48.957" Score="2" ViewCount="448" Body="&lt;p&gt;Very newbie with Boris Mocha.&#xA;I want to use Mocha to replace a computer mouse cursor by an object. Here, with screenshots, it’s how I try to proceed.&lt;a href=&quot;https://i.stack.imgur.com/MA1dA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MA1dA.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I then created a solid layer&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZfttB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZfttB.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Next, I pre-composed that layer&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/h2lrM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/h2lrM.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Following this tutorial : &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/nrwf0wHts7c?start=732&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;, I applied my Mocha tracking data to my newly created comp (Red Solid 1 Comp 1)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/O3yQw.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/O3yQw.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But Sadly, It doesn’t work :&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;My “Red Solid 1 Comp 1” has disappeared&lt;/li&gt;&#xA;&lt;li&gt;And the tracking hasn’t been pasted properly, I cannot see the&#xA;tracking points within the “Red Solid 1 Comp 1”&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JpHXL.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JpHXL.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;What happened ? Please help!&lt;/p&gt;&#xA;&lt;p&gt;PS: I use the latest version of AE and Boris Mocha to date, on my MBP Apple M1&lt;/p&gt;&#xA;" OwnerUserId="30611" LastActivityDate="2021-03-22T13:17:48.957" Title="Precomp is disappearing and Mocha tracking points aren’t pasted" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33504" PostTypeId="2" ParentId="33501" CreationDate="2021-03-22T17:13:06.040" Score="0" Body="&lt;p&gt;I'm not sure whether there is specific software that does this but my go-to would be after effects as it allows you to build all this within itself, or it can animate a file that was build in photoshop/illustrator&lt;/p&gt;&#xA;" OwnerUserId="32933" LastActivityDate="2021-03-22T17:13:06.040" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33505" PostTypeId="2" ParentId="33499" CreationDate="2021-03-22T17:20:49.033" Score="0" Body="&lt;p&gt;Probably the most dynamic and full control option would be to use taper stroke in after effects - just redraw the path and apply taper like here - &lt;a href=&quot;https://i.ytimg.com/vi/jFBKMRncG80/maxresdefault.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.ytimg.com/vi/jFBKMRncG80/maxresdefault.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;then you have a multitude of options to displace them (like wave warp, mesh warp, wiggle-shear, or even map the end points to nulls and use wiggle position).&lt;/p&gt;&#xA;&lt;p&gt;Tapered stroke is only available in CC 2020 and 2021 if I remember correct.&lt;/p&gt;&#xA;&lt;p&gt;Another option would be to expand shapes in AI and copy path into AE which you can then animate later, but it would be more time consuming.&lt;/p&gt;&#xA;" OwnerUserId="32933" LastActivityDate="2021-03-22T17:20:49.033" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33506" PostTypeId="2" ParentId="33463" CreationDate="2021-03-22T17:23:24.020" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=ZdE7OIkgzRc&quot; rel=&quot;nofollow noreferrer&quot;&gt;This video&lt;/a&gt; has a solution using Project Manager to export all clips individually, so that layers can be exported separately.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;File &amp;gt; Project manager&lt;/em&gt; - Make sure your working sequence is selected.&lt;/p&gt;&#xA;&lt;p&gt;Under &lt;em&gt;Resulting Project&amp;gt; Consolidate and Transcode&lt;/em&gt;,  &lt;em&gt;source: Individual Clips&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;Adjust the number of handles you want (extra frames on either side of the clip)&lt;/p&gt;&#xA;&lt;p&gt;Choose your destination path, then OK to transcode.&lt;/p&gt;&#xA;" OwnerUserId="26535" LastActivityDate="2021-03-22T17:23:24.020" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33507" PostTypeId="2" ParentId="30731" CreationDate="2021-03-22T17:44:58.223" Score="0" Body="&lt;p&gt;Not sure if this is the best way of doing it but a good starting point could be with &lt;strong&gt;shatter&lt;/strong&gt; to control the physics and the &lt;strong&gt;roughen edges&lt;/strong&gt; to give it a torn look. That doesn't give you the white edges you'd typically have but maybe keeping the same precomp below with a slight stagger and a white/off-white fill could do the trick? But yeah, best to do this the 'hard way'.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/xTnNG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xTnNG.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32933" LastActivityDate="2021-03-22T17:44:58.223" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33508" PostTypeId="1" AcceptedAnswerId="33516" CreationDate="2021-03-22T19:32:18.620" Score="1" ViewCount="163" Body="&lt;p&gt;I'm using Trapcode Tao plugin for an audio reactor sphere . Now the only view of my sphere is depended on the &lt;code&gt;Material &amp;amp; Lighting &amp;gt; Image Based Lighting &amp;gt; Built-in Environment &lt;/code&gt; and it is &lt;code&gt;Dark Industrial&lt;/code&gt; mode&lt;/p&gt;&#xA;&lt;p&gt;This Screenshot :&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2CYrR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2CYrR.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I just want to know is there a way to use an image (custom image) instead of this &lt;code&gt;Environment&lt;/code&gt; inside the sphere ?&lt;/p&gt;&#xA;" OwnerUserId="34296" LastEditorUserId="34296" LastEditDate="2021-03-22T19:39:11.817" LastActivityDate="2021-03-24T07:14:11.590" Title="After effects Trapcode Tao put image inside the sphere" Tags="|after-effects|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33509" PostTypeId="2" ParentId="33502" CreationDate="2021-03-22T22:55:59.223" Score="0" Body="&lt;p&gt;I ended up using this and it worked&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;original video file&amp;quot; -i &amp;quot;video file I want to insert&amp;quot; -map_metadata 0 -map 0 -map -0:v:0 -map 1:v:0 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;this tells ffmpeg to remove the 1st video track from the 1st file and insert the 1st video track from the second file while retaining everything else as is.&lt;/p&gt;&#xA;" OwnerUserId="34287" LastActivityDate="2021-03-22T22:55:59.223" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33510" PostTypeId="2" ParentId="29470" CreationDate="2021-03-23T00:34:50.783" Score="1" Body="&lt;p&gt;In Resolve 17.1, Build 24, you can fix this issue by creating an alpha output in color view » nodes. Here is a &lt;a href=&quot;https://www.reddit.com/r/davinciresolve/comments/mb069v/cant_get_blanking_fill_effect_to_fill_black_space/&quot; rel=&quot;nofollow noreferrer&quot;&gt;reddit post&lt;/a&gt; I made about it with a screenshot on how to fix it, plus a link to the BMD forum post discussing the issue.&lt;/p&gt;&#xA;" OwnerUserId="34298" LastEditorUserId="34298" LastEditDate="2021-03-23T02:01:01.437" LastActivityDate="2021-03-23T02:01:01.437" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33512" PostTypeId="1" CreationDate="2021-03-23T17:33:29.613" Score="0" ViewCount="62" Body="&lt;p&gt;need help animating an arched arrow in adobe after effect. Here is an animation “draft” of what type of movement i need to create:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/N56v3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/N56v3.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;That is: The origin of the arrow stays static, but the arrow head moves along a path. And the arrow is not straight but curved just like in the linked video.&lt;/p&gt;&#xA;&lt;p&gt;P.s. any linke to the youtube videos or articles would be appreciated. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="34301" LastEditorUserId="1950" LastEditDate="2022-07-03T11:33:41.630" LastActivityDate="2024-03-24T21:04:45.510" Title="AfterEffect. Arrow with stationary origin, moving head" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33514" PostTypeId="2" ParentId="33512" CreationDate="2021-03-23T20:23:09.490" Score="0" Body="&lt;p&gt;Use an easy path arrow preset like this one:&#xA;&lt;a href=&quot;https://kylasaurusrex.gumroad.com/l/LNSVU&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://kylasaurusrex.gumroad.com/l/LNSVU&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It’s “pay what you want”.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-07-26T14:24:33.473" LastActivityDate="2021-07-26T14:24:33.473" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33515" PostTypeId="2" ParentId="25821" CreationDate="2021-03-24T03:48:57.513" Score="2" Body="&lt;p&gt;The soluction for this question is Ripple Edit scripts (&lt;a href=&quot;https://aescripts.com/ripple-edit/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://aescripts.com/ripple-edit/&lt;/a&gt;) with The functionality &amp;quot;Closes the gap betweenlayers sequentially&amp;quot;.&lt;/p&gt;&#xA;" OwnerUserId="34307" LastActivityDate="2021-03-24T03:48:57.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33516" PostTypeId="2" ParentId="33508" CreationDate="2021-03-24T07:14:11.590" Score="1" Body="&lt;p&gt;After some research I found a solution from the &lt;a href=&quot;https://www.redgiant.com/user-guide/trapcode-tao/tao-material-lighting/&quot; rel=&quot;nofollow noreferrer&quot;&gt;official Red Giant documentation&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;If Built-in Environment is set to None, you can choose a layer to use as a custom reflection map using the &lt;strong&gt;Reflection Environment&lt;/strong&gt; Map pop-up menu. &lt;strong&gt;Any image can be selected&lt;/strong&gt;, but to make a correct environment map it should be a spherical map (also called a “lat/long map” or an “equirectangular map.” Note that a “sphere map” is something else). Note that using a very large environment map uses a lot of space on the GPU.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Just import your image and select it from &lt;strong&gt;Reflection Environment&lt;/strong&gt; menu&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;Material &amp;amp; Lighting &amp;gt; Image Based Lighting &amp;gt; Reflection Environment&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gZ8Jy.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gZ8Jy.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34296" LastActivityDate="2021-03-24T07:14:11.590" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33518" PostTypeId="1" CreationDate="2021-03-25T09:01:27.297" Score="0" ViewCount="108" Body="&lt;p&gt;Whenever I put an effect on one of my clips an orange 'X' goes through the display and the render. Does anyone know how to fix this?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ds4Pu.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ds4Pu.jpg&quot; alt=&quot;&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34321" LastActivityDate="2023-12-10T18:04:05.440" Title="Why is there an orange cross going through my clips in premiere pro" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33519" PostTypeId="2" ParentId="20693" CreationDate="2021-03-25T09:05:55.567" Score="0" Body="&lt;p&gt;I know this reply is 4 years past, but hopefully its of some use to someone. But I found that matching your project/raw files to match your output fixes that issue for me personally, so if I have a 1080p30fps raw file, the final render needs so also match 1080p30fps, if you &amp;quot;upscale&amp;quot; to 60 fps, you'll have ungodly render times and paused/skipped frames.&lt;/p&gt;&#xA;" OwnerUserId="22476" LastActivityDate="2021-03-25T09:05:55.567" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33520" PostTypeId="2" ParentId="33518" CreationDate="2021-03-25T12:13:25.843" Score="0" Body="&lt;p&gt;I am pretty sure this does not happen with every effect, just with those from Boris FX (Sapphire).&lt;/p&gt;&#xA;&lt;p&gt;It's very likely you use a trial version and need to buy a license. Check here: &lt;a href=&quot;https://borisfx.com/faq/sapphire-trial-watermark/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://borisfx.com/faq/sapphire-trial-watermark/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you already have bought a license then something might went wrong during activation and you should contact them for further support.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-03-25T12:13:25.843" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33521" PostTypeId="2" ParentId="25302" CreationDate="2021-03-25T14:02:05.947" Score="0" Body="&lt;p&gt;You could check out &lt;a href=&quot;https://theophanemayaud.github.io/video-simili-duplicate-cleaner/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://theophanemayaud.github.io/video-simili-duplicate-cleaner/&lt;/a&gt; (macOS and Windows binaries available)&#xA;It's open source, created with QT and relies on ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;The idea is to extract a few (eg 2, the first and the last) frames, and compare them. If the duration is close, and the frames look similar : you've got a duplicate.&lt;/p&gt;&#xA;&lt;p&gt;It uses opencv for frame comparison, and ffmpeg for frame extraction (ffmpeg is also for video metadata which is very useful when trying to tell which video to keep !). Since it's open source, you can improve it to fit your needs !&lt;/p&gt;&#xA;" OwnerUserId="32436" LastEditorUserId="32436" LastEditDate="2022-03-16T13:23:34.430" LastActivityDate="2022-03-16T13:23:34.430" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33522" PostTypeId="2" ParentId="25119" CreationDate="2021-03-25T14:06:09.037" Score="1" Body="&lt;p&gt;It might be overkill in your situation since the videos aren't actually different resolutions, frame rates and or codecs, but still :&lt;/p&gt;&#xA;&lt;p&gt;As with another answer &lt;a href=&quot;https://video.stackexchange.com/a/33521/32436&quot;&gt;https://video.stackexchange.com/a/33521/32436&lt;/a&gt; :&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;You could check out &lt;a href=&quot;https://theophanemayaud.github.io/video-simili-duplicate-cleaner/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://theophanemayaud.github.io/video-simili-duplicate-cleaner/&lt;/a&gt; (macOS and Windows binaries available) It's open source, based on vidupe and QT and relies on ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;The idea is to extract a few (eg 2, the first and the last) frames, and compare them. If the duration is close, and the frames look similar : you've got a duplicate.&lt;/p&gt;&#xA;&lt;p&gt;It uses opencv for frame comparison, and ffmpeg for frame extraction (ffmpeg is also for video metadata which is very useful when trying to tell which video to keep !). Since it's open source, you can improve it to fit your needs !&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Because it looks at the video data, you shouldn't have problems of tags or other metadata that has changed !&lt;/p&gt;&#xA;" OwnerUserId="32436" LastEditorUserId="32436" LastEditDate="2022-03-16T13:40:33.627" LastActivityDate="2022-03-16T13:40:33.627" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33523" PostTypeId="1" CreationDate="2021-03-25T15:34:56.097" Score="0" ViewCount="227" Body="&lt;p&gt;I just bought my panasonic HC-VX981K and was wondering which is the best format for just recording perfect video, it states that higher bitrate in 4K MP4 format but I'm hearing AVCHD progressive is best , I don't know, I'm needing help here&lt;/p&gt;&#xA;" OwnerUserId="34327" LastActivityDate="2023-12-09T20:05:45.697" Title="I just bought a panasonic HC-VX981K 4K camera and wondering which is my best format to shoot in?" Tags="|camcorder|4k|panasonic|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33524" PostTypeId="1" CreationDate="2021-03-25T19:50:34.970" Score="1" ViewCount="282" Body="&lt;p&gt;&lt;em&gt;Note: I've already read a few questions/answers about &lt;code&gt;[ffmpeg]&lt;/code&gt; &lt;code&gt;overlay&lt;/code&gt;, but it did not fully answer this.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;Let's say we have five inputs &lt;code&gt;[0]&lt;/code&gt; ... &lt;code&gt;[4]&lt;/code&gt; that can be images, videos, etc.&lt;/p&gt;&#xA;&lt;p&gt;I'd like to overlay them in a precise order, a bit like &amp;quot;Photoshop layers&amp;quot; or CSS &lt;a href=&quot;https://www.w3schools.com/cssref/pr_pos_z-index.asp&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;z-index&lt;/code&gt;&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Currently I use &lt;code&gt;ffmpeg&lt;/code&gt; with a &amp;quot;recursive&amp;quot; use of &lt;code&gt;overlay&lt;/code&gt; like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;   -filter_complex &amp;quot;&#xA;        [0]setpts=PTS-STARTPTS[s0];&#xA;        [1]setpts=PTS-STARTPTS+3/TB[s1];&#xA;        [2]setpts=PTS-STARTPTS+7/TB[s2];&#xA;        [3]setpts=PTS-STARTPTS+8/TB[s3];&#xA;        [4]setpts=PTS-STARTPTS+9/TB[s4];&#xA;        [s0][s1]overlay=enable='between(t,3,13)'[o1];&#xA;        [o1][s2]overlay=enable='between(t,7,12)'[o2];&#xA;        [o2][s3]overlay=enable='between(t,8,15)'[o3];&#xA;        [o3][s4]overlay=enable='between(t,9,12)'[o4];&#xA;   &amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Question&lt;/strong&gt;: with &lt;code&gt;ffmpeg&lt;/code&gt;, is there a way to do a mixing of different input image &amp;quot;layers&amp;quot;:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;in a shorter way that this recursive use of &lt;code&gt;overlay&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;and such that we can specify the &amp;quot;stack order&amp;quot; of each layer, like with CSS &lt;code&gt;z-index&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;?&lt;/p&gt;&#xA;&lt;p&gt;To give a concrete example, how would you modify the previous command such that:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;from 0'00&amp;quot; to 0'10&amp;quot;, the layer order (from background to foreground) is 0, 1, 2, 3, 4&lt;/li&gt;&#xA;&lt;li&gt;from 0'10&amp;quot; to 0'15&amp;quot;, the layer order (from background to foreground) is 2, 3, 1, 4, 0 (i.e. &lt;code&gt;[0]&lt;/code&gt; goes to foreground)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;?&lt;/p&gt;&#xA;" OwnerUserId="6407" LastActivityDate="2021-03-25T19:50:34.970" Title="Overlay of multiple image sources with layer stack-order, with ffmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33525" PostTypeId="1" AcceptedAnswerId="33526" CreationDate="2021-03-26T16:29:10.180" Score="0" ViewCount="225" Body="&lt;p&gt;I have a video file a.flv. I want to use ffmepg to edit it. As I understand, each second of the video is a series of frames. What I want is to take the first frame of the fifth second and replace all frames before it. So the result video has exactly the same video data from the beginning to the first frame of the fifth second. Is it possible to do this using ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="10539" LastActivityDate="2021-03-26T17:14:21.140" Title="How to use the frame at 5s and replace all frames before it using ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33526" PostTypeId="2" ParentId="33525" CreationDate="2021-03-26T17:14:21.140" Score="1" Body="&lt;p&gt;You can use a combination of the trim and tpad filters for this.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.flv -vf &amp;quot;trim=4,setpts=PTS-STARTPTS,tpad=start_duration=4:start_mode=clone&amp;quot; -c:v libx264 -c:a copy out.flv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-03-26T17:14:21.140" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33528" PostTypeId="1" AcceptedAnswerId="33529" CreationDate="2021-03-26T18:18:09.783" Score="-1" ViewCount="58" Body="&lt;p&gt;I'm able use some basic ffmpeg commands to process videos, but I never fully understood them. There are too may terminologies in ffmpeg's documentation that I don't understand. What should I learn so that I can read ffmpeg's document by myself? I want to learn the video audio structure and other basic knowledge.&lt;/p&gt;&#xA;" OwnerUserId="10539" LastActivityDate="2021-03-27T01:23:15.103" Title="What should I learn in order to understand ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33529" PostTypeId="2" ParentId="33528" CreationDate="2021-03-27T01:23:15.103" Score="1" Body="&lt;p&gt;This resource should help you with what you need to know &lt;a href=&quot;https://opensource.com/article/17/6/ffmpeg-convert-media-file-formats&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://opensource.com/article/17/6/ffmpeg-convert-media-file-formats&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34340" LastActivityDate="2021-03-27T01:23:15.103" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33530" PostTypeId="1" CreationDate="2021-03-27T01:57:32.470" Score="0" ViewCount="15" Body="&lt;p&gt;I import the file using right click and import.&#xA;Untitled1 is at position A at 0:00&#xA;Untitled1 is at position B at 0:01&#xA;Untitled1 is invisible on Composition at 0:02&lt;/p&gt;&#xA;&lt;p&gt;Can't add keyframes to Untitled1 layer.&#xA;Why is this behavior so?&#xA;I'd like to animate Untitled1 normally.&lt;/p&gt;&#xA;" OwnerUserId="34341" LastEditorUserId="34341" LastEditDate="2021-03-27T22:01:19.363" LastActivityDate="2021-03-27T22:01:19.363" Title="After importing object from illustrator it auto animates making it impossible to animate on my own" Tags="|after-effects|animation|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33531" PostTypeId="1" CreationDate="2021-03-27T16:30:42.120" Score="3" ViewCount="2133" Body="&lt;p&gt;I'm looking for an ffmpeg-like tool to blur/remove/change a static background from a &amp;quot;talking head&amp;quot; video, on the command line with on-device processing.&lt;/p&gt;&#xA;&lt;p&gt;Essentially,&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg-like-tool [--blur-background | --remove-background | --change-background] --background image.jpg --in input.mp4 --out output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Does such a tool exist yet?&lt;/p&gt;&#xA;" OwnerUserId="30426" LastActivityDate="2023-12-31T10:08:26.027" Title="How to remove background from video without green screen on the command line?" Tags="|ffmpeg|software-recommendation|greenscreen|command-line|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33532" PostTypeId="2" ParentId="20219" CreationDate="2021-03-27T17:24:27.317" Score="0" Body="&lt;p&gt;You can do it using these steps:&#xA;&lt;br/&gt;1.Click on the layer,  a border will show at the edges of the layer. If you can't see the edges you should zoom out.&#xA;&lt;br/&gt;2. Left click on the border and hold (but don't drag).&#xA;&lt;br/&gt;3. Now click SHIFT and hold.&#xA;&lt;br/&gt;4. Then drag either in or out.&lt;/p&gt;&#xA;" OwnerUserId="34346" LastActivityDate="2021-03-27T17:24:27.317" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33533" PostTypeId="1" CreationDate="2021-03-27T19:21:40.740" Score="2" ViewCount="124" Body="&lt;p&gt;I have created a standard &amp;quot;button&amp;quot; composition&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CIJ6r.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CIJ6r.png&quot; alt=&quot;Fusion Composition&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But when I click in the Merge9 node, it only moves the text keeping the retangular background static.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Zhe8l.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Zhe8l.gif&quot; alt=&quot;Moving&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I was expecting that the ending merge to move it entirely and with its center correctly aligned with the retangular object.&lt;/p&gt;&#xA;&lt;p&gt;I'm using Davinci Resolve 17&lt;/p&gt;&#xA;" OwnerUserId="34347" LastActivityDate="2023-01-04T18:01:10.147" Title="Wrong centered merge in Davinci Resolve's Fusion" Tags="|davinci-resolve|fusion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33534" PostTypeId="1" CreationDate="2021-03-27T22:30:45.427" Score="0" ViewCount="369" Body="&lt;p&gt;I just finished my video on premiere pro. The sound is nice when I'm listening to my premiere pro's video; however, my audio is distorted once I exported. I already used premiere pro before for a similar project and never had any problem. I did the last update; maybe it is a problem?&lt;/p&gt;&#xA;&lt;p&gt;The only thing I did now is to slow down some videos.&lt;/p&gt;&#xA;&lt;p&gt;The effect I choose for the audio are:&lt;/p&gt;&#xA;&lt;p&gt;DeNoise&#xA;Dynamic Processing&#xA;Parametric equalizer&#xA;Multiband compressor&lt;/p&gt;&#xA;&lt;p&gt;Thank you in advance for all help you can provide.&#xA;Have a great evening,&#xA;Pauline.&lt;/p&gt;&#xA;" OwnerUserId="34351" LastActivityDate="2021-03-27T22:30:45.427" Title="Audio distoreted after exporting on Premiere Pro" Tags="|audio|export|audio-quality|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33535" PostTypeId="1" AcceptedAnswerId="33536" CreationDate="2021-03-28T02:56:16.597" Score="0" ViewCount="29" Body="&lt;p&gt;Any easy way to find out a video's resolution &amp;amp; duration?&lt;/p&gt;&#xA;&lt;p&gt;I know one way is to parse the &lt;code&gt;ffprobe&lt;/code&gt;'s output. But,&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I don't know how consistent the output is among different video files.&lt;/li&gt;&#xA;&lt;li&gt;and most importantly, I hope to avoid such parsing entirely.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I've tried&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;ffprobe -print_format json ...&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ffprobe -print_format compact ...&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;But neither seems to be what they are supposed to be&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;-print_format format  set the output printing format (available formats are: default, compact, csv, flat, ini, json, xml)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="26767" LastActivityDate="2021-03-28T05:55:03.720" Title="Find out video's resolution &amp; duration" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33536" PostTypeId="2" ParentId="33535" CreationDate="2021-03-28T05:55:03.720" Score="1" Body="&lt;p&gt;Use &lt;strong&gt;MediaInfo&lt;/strong&gt;?&#xA;About:&#xA;&lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://mediaarea.net/en/MediaInfo&lt;/a&gt;&#xA;//&#xA;Downloads:&#xA;&lt;a href=&quot;https://mediaarea.net/en/MediaInfo/Download&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://mediaarea.net/en/MediaInfo/Download&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But you need to &lt;strong&gt;install&lt;/strong&gt; it.&#xA;On Windows (haven't tested on mac), it shows up as option on rightclick&lt;/p&gt;&#xA;" OwnerUserId="25998" LastActivityDate="2021-03-28T05:55:03.720" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33538" PostTypeId="2" ParentId="32538" CreationDate="2021-03-28T15:24:17.267" Score="1" Body="&lt;p&gt;... Depends...&lt;/p&gt;&#xA;&lt;p&gt;There are many concepts that need to be differentiated. Let me explore a bit.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Information&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;The first one is that we need to think about an image as information. So we need to ask first. Is the information lost? Is the information modified? Is it improved? Keep this concept in mind.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Scaling&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;And now let me apply this idea to another word. Scaling.&lt;/p&gt;&#xA;&lt;p&gt;Scaling &amp;quot;per se&amp;quot; does not modify the initial information. It only adapts it to conform to another viewing size or display.&lt;/p&gt;&#xA;&lt;p&gt;Take your 320x240 video file and do nothing with it. Only play it on any monitor to full screen. The video is exactly the same. If viewed on a large screen you will surely notice the pixels, but that is your perception. The information on the video file is exactly the same.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Now let us actually scale the image so it is no longer a 320x240 file. Normally you would like to use round multiples. 2x, 3x, 4x. If you use a &amp;quot;nearest neighbor&amp;quot; scaling method, the information will be &lt;strong&gt;exactly the same&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;A 240 P image 4 times would be a 960P image. But scaling it to 1080 has a compromise of how you scale some pixels, the factor is 4.5x so, either some pixels are scaled 4 times and some other 5 times, or you average some values.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Resampling&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;And here is the key. An operation you are now performing is not scaling, it is resampling. Taking some values, and converting them into other values.&lt;/p&gt;&#xA;&lt;p&gt;If I say that John has $20 and Mike has $10. I have the exact information.&lt;/p&gt;&#xA;&lt;p&gt;If I say that the average they have is $15 it destroys the original information. It could be that one has $30 and the other has nothing. Or that the amounts are inverted.&lt;/p&gt;&#xA;&lt;p&gt;So, resampling is the one that compromises the information.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;mainly from stretching pixels.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Here you are probably referring to the aspect ratio. Which is another thing to consider. It can be a resampling maintaining the aspect ratio. Keep that in mind.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;I know anecdotally that if you take a 320x240 video file and upscale it to 1920x1080 that the quality is lost&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Not really.&lt;/p&gt;&#xA;&lt;p&gt;First of all, you &lt;em&gt;perceive&lt;/em&gt; it as &lt;em&gt;low quality&lt;/em&gt; because you are now used to see HD images, so you are adding how you perceive the resulting image.&lt;/p&gt;&#xA;&lt;p&gt;Again, see that image on a watch, or use it on a nanotechnology screen on a label on a soda can, and you would find it impressive.&lt;/p&gt;&#xA;&lt;p&gt;Quality is a process, not an end result... necessarily&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;The algorithm&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Our capacity to percive information depends on the information itself.&lt;/p&gt;&#xA;&lt;p&gt;Our eyes can detect detail if there is contrast. And we percive this contrast on the edges of a shape.&lt;/p&gt;&#xA;&lt;p&gt;Some resampling algorithms try to enhance the detail on the borders of the shapes. Some try to enhance it, some try to generate new information guessing what values should be there.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;At the end there is always a compromise on what do you expect to see, what tools are at our disposal, and how much of the original information you can, or want to keep.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;P.S. Downsampling always reduces the ammount of information, but it is only important if the information is relevant.&lt;/p&gt;&#xA;&lt;p&gt;A 4k video file of a completly white wall will probably not have relevant information, so we can resample safely to SD. But if we have a small text painted there, probably this text will be lost on the downsampling.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2021-03-28T15:24:17.267" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33539" PostTypeId="2" ParentId="32545" CreationDate="2021-03-28T15:42:39.840" Score="1" Body="&lt;p&gt;Based on your post, You have the wrong expectations, and for that, a wrong workflow. Let me explain.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Blender can render transparent &amp;quot;renders&amp;quot;, they can be PNG sequences or can be compiled in a video that supports transparency. NOt every video file can support this.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&amp;quot;convert them to transparent GIFs, without quality loss?&amp;quot;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Quality is a process, it is not something that you &amp;quot;lose&amp;quot; somewhere. What you can potentially lose is information.&lt;/p&gt;&#xA;&lt;p&gt;If you generate a flat colors animation on Blender when reducing the palette to the 256 allowed by gif format you would still have enough room because you actually planned the animation to have flat colors and just some of them.&lt;/p&gt;&#xA;&lt;p&gt;But if you generated a photographic image or one with gradients, you did not plan them well enough considering the limitations of the GIF format. The Gif format is popular again because of the Flat design look.&lt;/p&gt;&#xA;&lt;p&gt;If you have a gradient it needs to be adapted to a limited palette.&lt;/p&gt;&#xA;&lt;p&gt;So, using GIF files as an output format requires a very controlled workflow.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;The same with transparency. You can only have 1 of the 256 colors transparent. You can not have gradients.&lt;/p&gt;&#xA;&lt;p&gt;If you need the gradients and smooth transparency you have some alternatives:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://graphicdesign.stackexchange.com/questions/121859/creating-high-quality-animated-backgrounds-from-illustrator-files/121890#121890&quot;&gt;https://graphicdesign.stackexchange.com/questions/121859/creating-high-quality-animated-backgrounds-from-illustrator-files/121890#121890&lt;/a&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;And answering the question, you can assign a transparent color using Gimp.&lt;/p&gt;&#xA;&lt;p&gt;Another option, if you like to write instructions: &lt;a href=&quot;https://stackoverflow.com/questions/11389721/how-do-i-set-a-colour-to-be-transparent-in-a-gif-using-imagemagick&quot;&gt;https://stackoverflow.com/questions/11389721/how-do-i-set-a-colour-to-be-transparent-in-a-gif-using-imagemagick&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can also look for some simple GIF makers, some can be free. &lt;a href=&quot;https://www.google.com/search?client=firefox-b-d&amp;amp;q=Gif+maker%2C+Gif+creator&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.google.com/search?client=firefox-b-d&amp;amp;q=Gif+maker%2C+Gif+creator&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2021-03-28T15:42:39.840" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33540" PostTypeId="2" ParentId="29746" CreationDate="2021-03-28T16:27:02.157" Score="0" Body="&lt;p&gt;I think the problem is not the caching, but the fact that ffplay don't get a clean encoded stream.&lt;/p&gt;&#xA;&lt;p&gt;With your yellow tunnel clip you can try this:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;while true; do&#xA;    ffmpeg -i tunnel.mp4 -c:v mpeg2video -b:v 50M -c:a s302m -strict -2 -ar 48k -f mpegts -;&#xA;done | ffmpeg -re -i - -c:v mpeg2video -b:v 50M -c:a s302m -strict -2 -ar 48k -f mpegts - | ffplay -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And you see, that there is almost no glitches anymore. This is not a really nice solution, but the second ffmpeg instance would recompress the hole stream.&lt;/p&gt;&#xA;&lt;p&gt;When is just about playing on desktop I would try more somthing like &lt;a href=&quot;https://github.com/jaseg/python-mpv&quot; rel=&quot;nofollow noreferrer&quot;&gt;python-mpv&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="15884" LastActivityDate="2021-03-28T16:27:02.157" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33541" PostTypeId="2" ParentId="32414" CreationDate="2021-03-28T18:22:26.913" Score="3" Body="&lt;p&gt;Typewriter effect on ffmpeg using an .ass file, I generated this gif using the following line:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i color=size=640x480:rate=30:color=black -vf &amp;quot;subtitles=typewriter.ass&amp;quot; -t 8 ffmpeg_typewriter.gif&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nOwgW.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nOwgW.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I used the Eagisub program to get the parameters used in karaoke !! I created two styles (style1 and style2) both with different fonts, background etc. The shadow colors, background colors were chosen transparent because they appear however transparent, and the time of &lt;strong&gt;{\Kn}&lt;/strong&gt; defines the character display time or time of the word or phrase, just change the &lt;strong&gt;n&lt;/strong&gt; as long as you want !!! Too simple !! follow the file generated on Eagisub that can be easily edited by hand !! That's it thanks !!&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    [Script Info]&#xA;; Script generated by Aegisub 3.2.2&#xA;; http://www.aegisub.org/&#xA;Title: Default Aegisub file&#xA;ScriptType: v4.00+&#xA;&#xA;[V4+ Styles]&#xA;Format: Name, Fontname, Fontsize, PrimaryColour, SecondaryColour, OutlineColour, BackColour, Bold, Italic, Underline, StrikeOut, ScaleX, ScaleY, Spacing, Angle, BorderStyle, Outline, Shadow, Alignment, MarginL, MarginR, MarginV, Encoding&#xA;Style: style1,Ubuntu Mono,100,&amp;amp;H00FFFFFF,&amp;amp;HFF0000FF,&amp;amp;HFF000000,&amp;amp;H00000000,0,0,0,0,100,100,0,0,1,0,0,4,10,10,10,1&#xA;Style: style2,DejaVu Sans Mono,37,&amp;amp;H00FFFFFF,&amp;amp;HFF0000FF,&amp;amp;HFF000000,&amp;amp;H00000000,0,0,0,0,100,100,0,0,1,0,0,4,10,10,10,1&#xA;&#xA;[Events]&#xA;Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text&#xA;Dialogue: 0,0:00:01.10,0:00:12.00,style1,,0,0,0,,{\pos(109,187.5)}{\k25}H{\k25}e{\k25}l{\k25}l{\k10}o{\k15}!{\k15}\NI{\k15}'{\k15}m{\k15} D{\k15}i{\k15}v{\k15}e{\k15}r{\k15}s{\k15}a{\k15}l{\k15}i{\k15}z{\k15}a{\k15}n{\k15}d{\k15}o{\k15}!{\k15}!&#xA;Dialogue: 0,0:00:05.50,0:00:09.40,style2,,0,0,0,,{\k15\pos(108,374)}Editing{\k15} a {\k15}.ass {\k15}with {\k15}Aegisub {\k15}to\N {\k15}generate {\k15}the {\k15}typewriter {\k15}effect.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="34364" LastEditorUserId="14523" LastEditDate="2021-03-31T19:01:10.803" LastActivityDate="2021-03-31T19:01:10.803" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33543" PostTypeId="2" ParentId="5307" CreationDate="2021-03-29T09:58:54.750" Score="2" Body="&lt;p&gt;This seems related to : &lt;a href=&quot;https://video.stackexchange.com/a/33521/32436&quot;&gt;https://video.stackexchange.com/a/33521/32436&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;You could check out&#xA;&lt;a href=&quot;https://theophanemayaud.github.io/video-simili-duplicate-cleaner/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://theophanemayaud.github.io/video-simili-duplicate-cleaner/&lt;/a&gt;&#xA;(macOS and Windows binaries available) It's open source, I created it with QT and it relies on ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;The idea is to extract a few (eg 2, the first and the last) frames,&#xA;and compare them. If the duration is close, and the frames look&#xA;similar : you've got a duplicate.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;You can &amp;quot;manually compare the extracted frames&amp;quot;, or use thresholds to configure some automatic behaviors, and trash the duplicates.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;It uses opencv for frame comparison, and ffmpeg for frame extraction&#xA;(ffmpeg is also for video metadata which is very useful when trying to&#xA;tell which video to keep !). Since it's open source, you can improve&#xA;it to fit your needs !&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I've found it to be really helpful in a situation like yours, where I had about 15 000 videos from google photos which compresses them, Picasa, handbrake compressed, original copies, and other changed versions of the same videos !&lt;/p&gt;&#xA;" OwnerUserId="32436" LastEditorUserId="32436" LastEditDate="2022-03-16T13:25:00.893" LastActivityDate="2022-03-16T13:25:00.893" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33545" PostTypeId="1" AcceptedAnswerId="33547" CreationDate="2021-03-29T23:02:07.120" Score="0" ViewCount="88" Body="&lt;p&gt;Is there a way to suppress configuration information when starting ffplay? I know I could redirect to /dev/null but I don't want to lose stderr or stdout. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="11605" LastActivityDate="2021-03-30T04:16:16.057" Title="ffplay -- suppress configuration information on startup" Tags="|ffmpeg|bash|ffplay|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33547" PostTypeId="2" ParentId="33545" CreationDate="2021-03-30T04:16:16.057" Score="2" Body="&lt;p&gt;The intended way to do this is to add &lt;code&gt;-hide_banner&lt;/code&gt;. This way, logging is still visible.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-03-30T04:16:16.057" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33551" PostTypeId="1" CreationDate="2021-03-31T13:05:45.020" Score="1" ViewCount="1657" Body="&lt;p&gt;I need to get the start time of some videoclips (very precise, ideally precise at 0.1 sec). I have been told that I may be able to do so using ffmpeg. I managed to install it but am not sure how to obtain this information.&lt;/p&gt;&#xA;&lt;p&gt;I tried with&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;path &amp;gt; ffmpeg -i test.mp4 -f ffmetadata test_metadata.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But then the &lt;strong&gt;test_metadata.txt&lt;/strong&gt; file just contains the following&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;;FFMETADATA1&#xA;major_brand=mp42&#xA;minor_version=0&#xA;compatible_brands=mp42isom&#xA;encoder=Lavf58.77.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any suggestion? Also I am happy to use other commands/software. Can't use online services as video are sensible and I must adhere to GDPR&lt;/p&gt;&#xA;" OwnerUserId="34335" LastActivityDate="2021-08-28T16:01:35.217" Title="get metadata for video start time with ffmpeg" Tags="|video|ffmpeg|metadata|time|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33552" PostTypeId="2" ParentId="33551" CreationDate="2021-03-31T13:58:48.970" Score="1" Body="&lt;p&gt;You can use the companion ffprobe tool, which really is meant for machine-parseable text.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -v 0 -show_entries format=start_time -of compact=p=0:nk=1 &amp;quot;input&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This will print a value with the form &lt;code&gt;x.yyyyyy&lt;/code&gt; or &lt;code&gt;N/A&lt;/code&gt; for formats without timestamps.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-03-31T13:58:48.970" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33553" PostTypeId="1" CreationDate="2021-03-31T17:46:17.717" Score="1" ViewCount="1251" Body="&lt;p&gt;I'm on macOS (10.14.6) and have OBS installed. I tried out the virtual cam a while ago using the native virtual cam functionality (not the plugin) and now whenever I need to use my camera in Firefox (88.0b5), it uses my virtual cam. This is the case whether OBS is open or not and whether my virtual cam is &amp;quot;started&amp;quot; or not. I can't get it to use my macbook's normal webcam or even tell that it exists.&lt;/p&gt;&#xA;&lt;p&gt;There don't seem to be any preferences in OBS (26.1.2) about disabling the virtual camera. How can I disable that feature entirely or just get Firefox to use my normal webcam instead of the virtual cam?&lt;/p&gt;&#xA;" OwnerUserId="34403" LastActivityDate="2021-03-31T19:00:20.097" Title="Firefox only uses OBS virtual camera" Tags="|camera|mac|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33554" PostTypeId="2" ParentId="33553" CreationDate="2021-03-31T19:00:20.097" Score="1" Body="&lt;p&gt;If you no longer need the virtual camera, you can uninstall the virtual camera plugin (whether it was installed as a separate plugin or as part of an OBS update) using the following commands in the terminal:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sudo rm -rf /Library/CoreMediaIO/Plug-Ins/DAL/obs-mac-virtualcam.plugin&#xA;sudo rm -rf /Library/Application\ Support/obs-studio/plugins/obs-mac-virtualcam&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Once that is done, make sure to close OBS and restart (quit and open) Firefox.&lt;/p&gt;&#xA;" OwnerUserId="34403" LastActivityDate="2021-03-31T19:00:20.097" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33555" PostTypeId="1" CreationDate="2021-03-31T20:59:44.050" Score="0" ViewCount="22" Body="&lt;p&gt;I'd like to know why does outputting an analog source at higher resolutions (digitizing) produce a better picture quality, however slight, on higher resolution screens than just outputting at a lower resolution and letting the higher resolution screen fill in the pixels using interpolation &lt;strong&gt;if all the information has already been captured at the resolution that one is outputting the analog source&lt;/strong&gt;?&lt;/p&gt;&#xA;&lt;p&gt;For instance, suppose I have an analog Super 8 film reel from the 70's that I want to digitize or an analog family photograph that I wish to scan using a scanner, why would outputting/scanning at higher resolutions be beneficial when viewing the digitized source on a 4K display, instead of outputting/scanning at a lower resolution and having the 4K display use interpolation when upscaling the source?&lt;/p&gt;&#xA;&lt;p&gt;For instance, suppose an analog Super 8 film contains 720p-worth of information-I know Super 8 film doesn't contain pixels, but bear with me--if one were to digitize (output) at 720p all of the information on the reel would get captured. Now, suppose I were to decide to output that same Super 8 reel in 4K and display it on a 4K TV, &lt;strong&gt;would I get a better picture quality than if I had outputted the Super 8 reel at 720p and let the TV fill in the missing pixels using interpolation?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="34157" LastActivityDate="2021-03-31T20:59:44.050" Title="Why does outputting an analog source at higher resolutions produce a better picture quality, however slight, on higher resolution screens?" Tags="|digitisation|" AnswerCount="0" CommentCount="2" ClosedDate="2021-04-07T15:26:18.180" ContentLicense="CC BY-SA 4.0" />
  <row Id="33557" PostTypeId="1" CreationDate="2021-04-01T02:26:24.193" Score="0" ViewCount="159" Body="&lt;p&gt;I just recently started making videos. I am recording my 4k screen at 4k60fps with OBS studio and then edit and export using premiere pro also in 4k60fps (H.264). The exported footage does not have this issue however when I upload to youtube I get flickering and tearing especially in the background. Is this an issue with fps or target bitrate? Does it have something to do with using CBR vs VBR? Could I fix this by increasing target bit rate? Would exporting to pro res help instead of H.264 help?&lt;/p&gt;&#xA;&lt;p&gt;To see what I mean I will link the video here: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/CggPduU0C9Q?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;You will see the issue especially on the upper third of the video on the background of the chart.&lt;/p&gt;&#xA;&lt;p&gt;Could you please help me understand why this happens and how I can prevent it?&lt;/p&gt;&#xA;" OwnerUserId="34408" LastEditorUserId="34408" LastEditDate="2021-04-01T03:02:54.613" LastActivityDate="2021-04-01T03:02:54.613" Title="YouTube Video Tearing/Flickering - how to prevent?" Tags="|premiere|youtube|screen-casting|obs|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33560" PostTypeId="1" CreationDate="2021-04-01T09:19:27.597" Score="1" ViewCount="72" Body="&lt;p&gt;as mentioned in title, I want to be sure that a sound I found on youtube (2 seconds long) is copyrighted&#xA;(and also, if I will modify it (in audacity or something) will it still break copyright laws?)&lt;/p&gt;&#xA;" OwnerUserId="34421" LastEditorUserId="34421" LastEditDate="2021-04-01T16:59:16.030" LastActivityDate="2021-04-03T11:58:37.707" Title="how do I can check whether a sound clip I want to use is copyrighted? (I want to use it in a video and an app also)" Tags="|audio|copyright|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33561" PostTypeId="1" CreationDate="2021-04-01T14:16:42.087" Score="-1" ViewCount="210" Body="&lt;p&gt;What is the &lt;em&gt;project bin&lt;/em&gt;?&lt;/p&gt;&#xA;&lt;p&gt;I went to &lt;a href=&quot;https://userbase.kde.org/Kdenlive/Manual/Projects_and_Files/Project_Tree&quot; rel=&quot;nofollow noreferrer&quot;&gt;Kdenlive's manual&lt;/a&gt; and it says &amp;quot;The Project Bin is a view in Kdenlive which lists all the clips that are associated with the project.&amp;quot; But the problem is, that doesn't mean anything.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;What is a view?&lt;/li&gt;&#xA;&lt;li&gt;Why does the project bin exist?&lt;/li&gt;&#xA;&lt;li&gt;What does the project bin do?&lt;/li&gt;&#xA;&lt;li&gt;Why does the project bin do what it does?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I keep reading these articles for beginners but the most basic questions remain unanswered and I was just wondering if you guys could help. Thank you.&lt;/p&gt;&#xA;" OwnerUserId="34402" LastEditorUserId="29988" LastEditDate="2021-04-02T10:12:37.497" LastActivityDate="2022-05-10T19:31:51.377" Title="What is the project bin in kdenlive?" Tags="|kdenlive|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33562" PostTypeId="1" CreationDate="2021-04-01T20:34:49.893" Score="0" ViewCount="355" Body="&lt;p&gt;I have a project in Final Cut Pro X, that plays as I expect in the Final Cut, but when I export in to h264 there is a part where audio is playing slightly in before the video.&lt;/p&gt;&#xA;&lt;p&gt;Such part is present on the following screenshot:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/2KBgh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2KBgh.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;At the beginning the audio is in sync. Then there is a 100x speedup, and then audio get's out of sync (I'm talking about the clips audio, not the green music). Ironically there is also a connected clip that appears slightly later, and it also has a 100x speed increase later on but that does not cause any problems. Also both clips' audio plays separately in the left and right channels, so in headphones I can hear that in FCPX some audio bits happen at the same time, while in the exported file they are out of sync…&lt;/p&gt;&#xA;&lt;p&gt;Am I doing something wrong?&lt;/p&gt;&#xA;" OwnerUserId="3907" LastActivityDate="2023-12-18T05:05:40.963" Title="Some parts have audio out of sync after a master export" Tags="|final-cut-pro-x|sync|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33563" PostTypeId="2" ParentId="33562" CreationDate="2021-04-02T00:07:07.157" Score="0" Body="&lt;p&gt;I don’t think you doing something wrong.&lt;/p&gt;&#xA;&lt;p&gt;My suggestion is copy the sequence to a complete new and fresh library. This should load the clips again and hopefully get rid off any possible problems in the library.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2021-04-02T00:07:07.157" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33564" PostTypeId="1" CreationDate="2021-04-02T09:04:25.873" Score="1" ViewCount="781" Body="&lt;p&gt;I am producing timelapses from 12 megapixel photos taken with a GoPro, each timelapse with up to 50,000 images.&lt;br /&gt;&#xA;I rename all JPGs in sequence, e.g. &lt;code&gt;[00001-49999].jpg&lt;/code&gt; and place them in a single folder.&lt;br /&gt;&#xA;In the Media tab, if &amp;quot;Show individual frames&amp;quot; of the three-dot menu within &amp;quot;Media Storage&amp;quot; panel is &lt;strong&gt;dis&lt;/strong&gt;abled, all images show up as a image sequence and can be added to the Media pool just like that.&lt;/p&gt;&#xA;&lt;p&gt;My goal is: Using Davinci Resolve's &amp;quot;Data Burn-in&amp;quot; functionality, I would like to display the date of a shot burnt into each video frame on the lower left corner.&lt;/p&gt;&#xA;&lt;p&gt;In &amp;quot;Data Burn-in&amp;quot; I check &amp;quot;Custom Text1&amp;quot; and in the text field use &lt;code&gt;%Date Modified&lt;/code&gt; (that is, because for some odd reason that field doesn't work -although it is populated- I use &lt;code&gt;%Comments&lt;/code&gt; alternatively). The problem is that this metadata seems to be available at Media Pool level only, so that there is only &lt;strong&gt;one&lt;/strong&gt; metadata dataset for the whole &amp;quot;Image sequence&amp;quot; instead of many datasets, i.e. one per image.&lt;/p&gt;&#xA;&lt;p&gt;A workaround is to import thousands of images individually to the media pool, then set still image default duration to one frame. But that makes media asset handling a lot bulkier, especially when talking about several tens of thousands of images.&lt;/p&gt;&#xA;&lt;p&gt;To populate all single image's metadata I use Exiftool to create a CSV such as&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;File Name,Comments&#xA;0001.jpg,02.04.2021 19:57:20&#xA;0002.jpg,02.04.2021 19:57:50&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and use &amp;quot;Import Metadata to...&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;To create the CSV file noted above use: &lt;code&gt;exiftool -DateTimeOriginal -d &amp;quot;%d.%m.%Y %H:%M:%S&amp;quot; -echo &amp;quot;File Name,Comments&amp;quot; -p &amp;quot;${FileName},${DateTimeOriginal}&amp;quot; *.jpg &amp;gt; metadata.csv&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;How do I make Davinci Resolve respect all single image's metadata while still using them as an &amp;quot;Image Sequence&amp;quot; asset?&lt;/p&gt;&#xA;" OwnerUserId="27538" LastEditorUserId="27538" LastEditDate="2021-04-07T15:43:22.590" LastActivityDate="2021-04-07T15:43:22.590" Title="Davinci Resolve 17: burn in metadata of still images using image sequence" Tags="|davinci-resolve|time-lapse|metadata|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33565" PostTypeId="1" AcceptedAnswerId="33568" CreationDate="2021-04-02T09:16:59.880" Score="0" ViewCount="27" Body="&lt;p&gt;This may be a subjective question, but I'm not sure where else to ask, so apologies in advance!&lt;/p&gt;&#xA;&lt;p&gt;I want to know the name of the software being used to make such purple, pink blocks as shown in the video below&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/GLSG_Wh_YWc?start=388&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="34426" LastActivityDate="2021-04-03T01:47:02.413" Title="Platform used for creating following video" Tags="|premiere|video-editor|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33567" PostTypeId="2" ParentId="33565" CreationDate="2021-04-02T14:44:10.920" Score="-1" Body="&lt;p&gt;I would do it in Adobe illustrator as it helps with lining up things&lt;/p&gt;&#xA;" OwnerUserId="19772" LastActivityDate="2021-04-02T14:44:10.920" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33568" PostTypeId="2" ParentId="33565" CreationDate="2021-04-03T01:47:02.413" Score="0" Body="&lt;p&gt;It is most likely simply a presentation program. The best known is PowerPoint, but you can get one free using Libre Office &lt;a href=&quot;https://www.libreoffice.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.libreoffice.org/&lt;/a&gt; or some web-based like google docs.&lt;/p&gt;&#xA;&lt;p&gt;Libre Office has two programs that can be suitable. Impress and Draw.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2021-04-03T01:47:02.413" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33569" PostTypeId="2" ParentId="24994" CreationDate="2021-04-03T02:37:24.890" Score="0" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;In the series &amp;quot;The Flash&amp;quot;, season 3, episode 16 starts off with such an effect.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;You undermine the power of &amp;quot;Hey guys, get in a comfortable position and hold your breath&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;They are all in simple positions. I'm sure you can stay still for one minute or so.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TqsEl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TqsEl.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;sub&gt;Image belongs to The CW&lt;/sub&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can add a fast framerate, let's say 60fps for the slow-mo parts, and cover any movement of the actors with the &amp;quot;warp&amp;quot; effect.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;For more dynamic poses, you can use multiple cameras. You can have a bunch of cheap ones (for a tv production) or rent some dozens of them and put them on some rig. Shoot that on a green screen and compose it.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2021-04-03T02:37:24.890" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33570" PostTypeId="2" ParentId="33560" CreationDate="2021-04-03T11:58:37.707" Score="1" Body="&lt;p&gt;&lt;em&gt;Please note, for this answer I use the term copyright as a synonym for whatever law is applicable in your country that deals with protecting intellectual property rights for creative works. Some countries use quite different names for such a law.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here's a little guide how this topic can be approached. In a professional context, I advise to consult a specialist to clear the rights for you. When you can try to create as much creative content as possible on your own. However, when you decide to tackle the issue of clearing rights yourself this is how I would do it:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Check if the copyright has been expired. Read the law (or at least Wikipedia) to find out how long this time span is in your country. Usually, it's a very long time, so you will rarely find anything from the 2nd half of 20th century or newer with expired copyright.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Find out which copyright limitations or exemptions are defined in the law in your country (e.g. &amp;quot;fair use&amp;quot; in US law). Usually you don't have to ask the creator for permission to freely use their work as parody, in an educational context or when citing an excerpt, but pay attention to quote only the bare minimum.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In most countries there should be a threshold when copyright can be applied. Sometimes the work is so trivial that it shows not enough merit to be protected by the copyright law. In some countries the threshold is very low and you have to read a lot of court decisions to get a good grasp how this is interpreted in practise. If we take a look at your example, after hearing it several times, I am somewhat sure that it is not a simple, plain recording. Either they have created the sound digitally or invested some energy in cleaning up and tweaking a recording. This probably means it has enough merit to be protected. This is my opinion based on what I know how such a case might be judged in my country and if it applies to yours too, you have to decided for yourself.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If none of the above conditions are fulfilled or you are unsure (for example in case of orphaned works), it is safe to assume that the work is protected. If you still want to use the work, check what license options are available. Sometimes Creative Commons allow you free usage of the work but you need to carefully follow every condition they make. Creative Commons comes in various versions and variants. Especially for commercial projects their conditions are often hard or impossible to fulfill. When you do not find any license information, you can always try to contact the creator and discuss business and agree upon a contract for your situation. It will probably cost you a bit but usually you are on the safe side with a contract. If you do not know much about contract law, it will be best to hire a lawyer. However, you have to make sure you are talking to the rightful copyright owner, not to someone who has just published the work with or even without permission and pretends to be the owner. For the example you have provided in the comments to your question, I have my doubt how well such an agreement works, as this person has no contact information on their channel which indicates a non-professional context. This always complicates things.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Do not use YouTube to search for sounds when you need them published along with your own work even in an edited version, like in your case where you want to built an app and use the sound there and in videos. Use trustworthy sources instead, that means professional sound libraries with clearly stated terms of service and license terms. Besides, maybe you already have access to royalty free sounds without knowing it via some software subcription you may have. For example, Adobe offers such sounds when you are a subscriber to their Creative Cloud.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I will not give legal advice how to proceed, but my general recommendation is to look for sounds at some better place, as described in step 5 above, because buying a proper license from this YouTuber person might be hard work. I guess they are not prepared for such a scenario and have no contracts ready, no license terms, etc.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-04-03T11:58:37.707" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33572" PostTypeId="2" ParentId="10825" CreationDate="2021-04-03T19:27:06.417" Score="13" Body="&lt;p&gt;The currently accepted answer is from 2014. The more recently added &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#tpad&quot; rel=&quot;noreferrer&quot;&gt;&lt;code&gt;tpad&lt;/code&gt;&lt;/a&gt; filter lets you do this more easily.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf tpad=stop_mode=clone:stop_duration=2 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="34443" LastEditorUserId="36214" LastEditDate="2021-09-14T17:36:28.900" LastActivityDate="2021-09-14T17:36:28.900" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33573" PostTypeId="1" CreationDate="2021-04-04T04:08:39.040" Score="1" ViewCount="266" Body="&lt;p&gt;I have three inputs; two images and a folder of image squence.&#xA;Total length of image squence is 3 second.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg&#xA;    -loop 1 -t 10 -i image1.jpg&#xA;    -loop 1 -t 10 -i image2.jpg&#xA;    -i png/out%d.png&#xA;    -filter_complex &amp;quot;&#xA;        [0][1]xfade=transition=fade:duration=0.15:offset=2.5[a];&#xA;        [a][2]overlay=0:0:enable='between(t,5,5)'[video]&#xA;    &amp;quot; -map &amp;quot;[video]&amp;quot;&#xA;    -crf 30 -c:v libx264 -pix_fmt yuv420p -s 918x1632 -r 12 -movflags +faststart -t 10 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;At the 5th second of out.mp4, image sequence is shown, but &lt;strong&gt;not at its begining.&lt;/strong&gt; It seems that while rendering until the 5th second it was already started behind/invisibly.&lt;/p&gt;&#xA;&lt;p&gt;How can I force FFMPEG to do it properly?&lt;/p&gt;&#xA;" OwnerUserId="3597" LastActivityDate="2021-04-04T04:08:39.040" Title="in FFMPEG, &quot;:enable=between(t,5,10)&quot; not starting at begining" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33574" PostTypeId="1" CreationDate="2021-04-04T14:00:29.237" Score="2" ViewCount="30" Body="&lt;p&gt;I want to create videos for multiple platforms. For example youtube and a private school.&lt;/p&gt;&#xA;&lt;p&gt;Now the thing is that I want certain lower thirds to appear on one rendered video and another set to appear on another video.&lt;/p&gt;&#xA;&lt;p&gt;For example, I want a subscribe and social media lower thirds to appear on the youtube video and I want the school email and other relevant info to appear on the second video.&lt;/p&gt;&#xA;&lt;p&gt;Currently what I am doing is to create two sequences in premiere and basically re-edit and change the mogrts.&lt;/p&gt;&#xA;&lt;p&gt;The problem with this is that it is monotonous and I have to do it for each and every video individually.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way I can streamline this using ffmpeg or any other software?&lt;/p&gt;&#xA;&lt;p&gt;Maybe I can render my video first without any lower thirds, then create a transparent video of my lower third animations and have them be inserted automatically at a specific time interval.&lt;/p&gt;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="34449" LastActivityDate="2021-12-31T11:04:05.353" Title="Producing video for multiple platforms" Tags="|ffmpeg|premiere|adobe-media-encoder|rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33575" PostTypeId="1" CreationDate="2021-04-04T14:01:39.977" Score="1" ViewCount="38" Body="&lt;p&gt;I am currently animating a rotating 3D globe, built out of stroked paths. However this is causing a problem - the strokes are rendered on a 2d plane, so as they near parallel with the perspective, they disappear.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to render strokes so that they behave as though they were 3d (interacting with perspective and rotation as a cylindrical tube would)?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QK4ub.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QK4ub.png&quot; alt=&quot;The line closest to the camera is thinnest&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Thanks a lot&lt;/p&gt;&#xA;" OwnerUserId="34448" LastActivityDate="2021-04-04T14:01:39.977" Title="How to make strokes appear 3D in the After Effects 3D (Cinema 4D) Mode?" Tags="|after-effects|animation|cinema4d|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33576" PostTypeId="1" CreationDate="2021-04-04T16:17:18.580" Score="1" ViewCount="23" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/y1czx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/y1czx.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I know this is probably related to the particle system in after effect, but all the youtube videos I have seen used a few thousand particles at once to do this. Is there a way to only use a few circles to roughly form the shape of the letter &amp;quot;I&amp;quot; instead of actually turning it into the actual text? I would also like to make the circles vibrate slightly while it is in its letter &amp;quot;I&amp;quot; form.&lt;/p&gt;&#xA;" OwnerUserId="33523" LastActivityDate="2021-04-04T16:17:18.580" Title="I want to animate dust particles in a cave that forms a word then disperse again" Tags="|after-effects|effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33579" PostTypeId="1" AcceptedAnswerId="33594" CreationDate="2021-04-05T08:35:18.043" Score="2" ViewCount="391" Body="&lt;p&gt;I have a video with some people talking, but the music cover the people voices.&lt;/p&gt;&#xA;&lt;p&gt;I can find the music with app like Shazam.&lt;/p&gt;&#xA;&lt;p&gt;I know that remove the music is impossible. There is a way for reduce the music and emphasize the voice, maybe, with the music track of the song i can apply some filter remove similar sound...&lt;/p&gt;&#xA;&lt;p&gt;I have installed Audacity and played with equalizer, without any good result.&lt;/p&gt;&#xA;" OwnerUserId="34454" LastEditorUserId="4426" LastEditDate="2021-04-06T21:16:43.480" LastActivityDate="2021-04-09T19:14:31.730" Title="Remove (or reduce) background music, and emphasise the background voice" Tags="|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33580" PostTypeId="1" CreationDate="2021-04-05T09:15:42.357" Score="0" ViewCount="28" Body="&lt;p&gt;In the GIF, if you notice, it looks like the scale is relatively fast at the beginning and gradually becomes slow at the end of loop. So I feel &lt;em&gt;speed&lt;/em&gt; of zoom (scale) is not constant:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qwLHU.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qwLHU.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/a9TeK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/a9TeK.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;However, when I adjust the speed graph a bit like this, it makes the &lt;em&gt;speed&lt;/em&gt; a bit constant. But that's just an hit and trial and not perfect. I don't understand why the default graph, which &lt;em&gt;seems&lt;/em&gt; constant, behaved like that and altered graph, which &lt;em&gt;seems&lt;/em&gt; increasing, makes it the way I want:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qw2jo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qw2jo.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mpYQE.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mpYQE.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;But when we do any position (x or y) animation (without easy ease), for any object, the speed is constant without any doubt.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;So is it true scale behaves differently and scale &lt;em&gt;speed&lt;/em&gt; isn't constant? If yes, is there any logical way to make the &lt;em&gt;speed&lt;/em&gt; of scale constant (I mean making the zoom look like it's constant)?&lt;/p&gt;&#xA;" OwnerUserId="12245" LastEditorUserId="12245" LastEditDate="2021-04-05T09:49:06.790" LastActivityDate="2021-04-07T13:32:32.853" Title="Does scale behave differently than position in after effects animation?" Tags="|after-effects|animation|scale|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33581" PostTypeId="1" CreationDate="2021-04-05T15:03:18.410" Score="1" ViewCount="175" Body="&lt;p&gt;I am working on a project, I have separate a audio layer and a video layer (with the audio muted) and I have applied time remapping to the video layer. The issue is now that whenever the video slows down or speeds up the audio also slows down and speeds up along with it. I want to know how to keep the audio speed default without the time remap affecting it. &lt;a href=&quot;https://i.stack.imgur.com/nXF7R.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nXF7R.png&quot; alt=&quot;Layers Screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34459" LastActivityDate="2021-04-06T21:14:47.043" Title="Exclude audio from time remap" Tags="|after-effects|video-editor|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33582" PostTypeId="2" ParentId="29337" CreationDate="2021-04-05T19:13:18.717" Score="4" Body="&lt;p&gt;Although Mark has provided great answer, you don't need to train models from scratch, all Super-Resolution models that ffmpeg supports have pre-trained checkpoints:&#xA;&lt;a href=&quot;https://github.com/XueweiMeng/sr/tree/sr_dnn_native&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/XueweiMeng/sr/tree/sr_dnn_native&lt;/a&gt;&#xA;all you need to do is to convert it to frozen graph (.pb) file and then use it in ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="34462" LastActivityDate="2021-04-05T19:13:18.717" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="33583" PostTypeId="2" ParentId="18940" CreationDate="2021-04-05T21:13:02.703" Score="0" Body="&lt;p&gt;Recent patches to ffmpeg fixed this issue &lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/search?q=dpx&amp;amp;type=commits&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/search?q=dpx&amp;amp;type=commits&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It now reads range, primaries, matrix and transfer. Not to mention SMPTE timecode and alternate framerate.&lt;/p&gt;&#xA;&lt;p&gt;There is still a bug that it writes linear transfer on all files.&lt;/p&gt;&#xA;" OwnerUserId="26140" LastEditorUserId="26140" LastEditDate="2021-05-15T12:48:08.887" LastActivityDate="2021-05-15T12:48:08.887" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33584" PostTypeId="1" CreationDate="2021-04-05T23:29:26.107" Score="0" ViewCount="723" Body="&lt;p&gt;I know you can't really say that a non-digital format such as VHS and Betacam (or LP for sound) have a resolution but it should be possible to give an rule-of-thumb estimate, shouldn't it?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Betacam&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia&lt;/a&gt; gives some number (300 for Beta and 340 for Beta SP) but that sounds too low doesn't it? PAL and NTSC are 575 and 625 lines and Beta (SP) was used for that, wasn't it? Why this discrepancy?&lt;/p&gt;&#xA;&lt;p&gt;(Couldn't find any applicable tags, please add as you see fit)&lt;/p&gt;&#xA;" OwnerUserId="29642" LastEditorUserId="1950" LastEditDate="2021-04-09T05:46:41.260" LastActivityDate="2023-03-17T06:39:13.903" Title="What approximate resolution did Beta SP correspond to?" Tags="|filming|video-standards|analog|digital|broadcast|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33586" PostTypeId="1" CreationDate="2021-04-06T13:26:27.543" Score="1" ViewCount="13" Body="&lt;p&gt;Is there a way to queue multiple encodings with each being a different edit of my video?&lt;/p&gt;&#xA;&lt;p&gt;For example:&#xA;I want to queue up 2 encodings.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;is for youtube&lt;/li&gt;&#xA;&lt;li&gt;is for instagram&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I need to disable certain tracks on each. So, is there a way for me to disable those certain tracks for 1 and then queue that up? Then do the same thing for 2 and then queue it up? So, they are both building at the same time but with certain tracks enabled and disabled?&lt;/p&gt;&#xA;" OwnerUserId="5562" LastActivityDate="2021-04-21T07:17:50.143" Title="queuing multiple encodings with different edits" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33588" PostTypeId="1" AcceptedAnswerId="33589" CreationDate="2021-04-06T19:20:22.887" Score="2" ViewCount="489" Body="&lt;p&gt;a TV station I watch has a very distracting logo, which is a semi transparent red square.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/H2cEX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/H2cEX.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I can cover up the logo with the delogo filter like this: (Alas this introduces new distractions.)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.TS -vf delogo=x=79:y=36:w=57:h=57:show=0 -t 120 -vcodec h264_qsv -b:v  12300k output.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is there a way to use ffmpeg to &lt;strong&gt;remove only the color&lt;/strong&gt; from the &lt;strong&gt;area of the logo&lt;/strong&gt;?&lt;/p&gt;&#xA;&lt;p&gt;Because if it was just gray, it wouldn't be that distracting and taking out the color would not introduce flickering artefacts.&lt;/p&gt;&#xA;" OwnerUserId="34476" LastActivityDate="2021-04-06T20:34:53.760" Title="Using ffmpeg, can I remove the color from an area of the video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33589" PostTypeId="2" ParentId="33588" CreationDate="2021-04-06T20:34:53.760" Score="2" Body="&lt;p&gt;I found one solution in cropping the video, turning it into black and white and then putting this as an overlay on itself.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i &amp;quot;input.ts&amp;quot; -filter_complex &amp;quot;[0] crop=57:57:79:39 [cr];[cr] hue=s=0 [cr2];[0][cr2] overlay=79:39&amp;quot; -map &amp;quot;[cr2]&amp;quot; -vcodec h264_qsv -b:v  12300k output.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="34476" LastActivityDate="2021-04-06T20:34:53.760" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33590" PostTypeId="2" ParentId="33581" CreationDate="2021-04-06T21:14:47.043" Score="1" Body="&lt;p&gt;I would duplicate the layer before applying time remapping (cmd+D).&#xA;Then only apply the time remap to one of the two layers.&#xA;Switch off the eyeball on the layer for audio (and make sure the loudspeaker icon is still enabled)&#xA;Switch off the loudspeaker icon on the layer with the time-remapping applied to it.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-04-06T21:14:47.043" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33591" PostTypeId="1" CreationDate="2021-04-06T23:25:54.833" Score="1" ViewCount="1106" Body="&lt;p&gt;I'm trying to loop a 3 sec video to make it 30 sec, I use the following command :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;gt; ffmpeg -stream_loop -1 -i input.mp4 -c copy -t 30 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It's working fine, but with the output size &lt;strong&gt;40 MB&lt;/strong&gt;, it's abnormally to have a 30 sec video with &lt;strong&gt;40 MB&lt;/strong&gt; as size.&lt;/p&gt;&#xA;&lt;p&gt;Kindly, how I can generate a 30 sec video file from 3sec video, but with smaller size&lt;/p&gt;&#xA;" OwnerUserId="34477" LastActivityDate="2021-04-06T23:25:54.833" Title="FFmpeg loop video for 30 seconds generate a big video size" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33593" PostTypeId="1" CreationDate="2021-04-07T04:48:09.310" Score="2" ViewCount="440" Body="&lt;p&gt;I am working off this answer &lt;a href=&quot;https://video.stackexchange.com/questions/22159/how-to-extract-only-frames-from-videos-that-have-certain-levels-of-luminosity&quot;&gt;here&lt;/a&gt;. I have calibrated my video such that the following code perfectly exports the frames I want to keep&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &amp;quot;blackframe=amount=0:threshold=92, metadata=select:key='lavfi.blackframe.pblack':value=45:function=less&amp;quot; -vsync 0  img%d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I modified the code slightly to export to a video&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &amp;quot;blackframe=amount=0:threshold=92, metadata=select:key='lavfi.blackframe.pblack':value=45:function=less&amp;quot; -vsync 0  outz.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The problem that I face is the output video is the same length as the input. The correct frames are being dropped but I am guessing the timestamp is not being adjusted because the video appears to pause (shows last non dropped frame) during a playback of removed frames.&lt;/p&gt;&#xA;&lt;p&gt;I guess I could output the image files to another video editor and recompile into a video but I'd like to do this all within ffmpeg if possible.&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="34481" LastActivityDate="2021-04-07T11:26:25.890" Title="Removing frames from a video - how to make playback not pause during removed frames (i.e. assign new timestamps)" Tags="|video|ffmpeg|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33594" PostTypeId="2" ParentId="33579" CreationDate="2021-04-07T08:05:37.847" Score="1" Body="&lt;p&gt;You already tried EQ unsuccessfully, but there is one more technique worth trying:&lt;/p&gt;&#xA;&lt;p&gt;Add the original music again to the soundtrack, but with inverted samples. This will cancel out signals. For a bit more theory, check out &lt;a href=&quot;https://en.wikipedia.org/wiki/Wave_interference&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia and the graphics on the top right&lt;/a&gt; which illustrates what will happen. The success depends on the mix and applied effects in the video soundtrack.&lt;/p&gt;&#xA;&lt;p&gt;The basic steps are as follows:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Import soundtrack and import the original music on a separate track (probably that are pairs of stereo tracks)&lt;/li&gt;&#xA;&lt;li&gt;Sync/align the music track so it matches exactly the music soundstrack. Be aware that the music in the video could have been slowed down or sped up a little bit. Apply &lt;a href=&quot;https://manual.audacityteam.org/man/change_speed.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;the change speed effect&lt;/a&gt; on the imported music in this case to make it match.&lt;/li&gt;&#xA;&lt;li&gt;Try to match the levels of the music track to the music of the video track for best results. Not sure if this can be done automatically in Audacity. Look for a short section on the video track where nobody's talking and compare levels there.&lt;/li&gt;&#xA;&lt;li&gt;Invert the audio. More on &lt;a href=&quot;https://manual.audacityteam.org/man/invert.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Audacity's invert here&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Mix the track with inverted music to the video soundtrack. (Since both will probably stereo you can try multiple combinations, either add the inverted left to soundtrack left and inverted right to soundtrack right. Or switch them.) I don't know Audacity well enough to tell you how the mixing works. I only ever used it sporadically many years ago.&lt;/li&gt;&#xA;&lt;li&gt;Music will cancel out or be removed to some degree.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The problem is: if they have applied any effects on the music in the video soundtrack the cancellation may not work well.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-04-07T08:05:37.847" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33595" PostTypeId="2" ParentId="33593" CreationDate="2021-04-07T11:26:25.890" Score="1" Body="&lt;p&gt;The easiest way is to retime remaining frames using setpts.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &amp;quot;blackframe=amount=0:threshold=92, metadata=select:key='lavfi.blackframe.pblack':value=45:function=less,setpts=N/FR/TB&amp;quot; -vsync 0  outz.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-04-07T11:26:25.890" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33596" PostTypeId="1" CreationDate="2021-04-07T12:03:49.407" Score="3" ViewCount="76" Body="&lt;p&gt;I create a lot of linked comps from Premiere into After Effects.&#xA;What's the right approach to renaming them, so that they don't all end up with generic meaningless names?&lt;/p&gt;&#xA;&lt;p&gt;By default they are named:&#xA;&amp;quot;Project Name Linked Comp 01&amp;quot;, 02 etc.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/user-guide.html/premiere-pro/using/dynamic-link.ug.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe says I can rename them&lt;/a&gt; in AE without breaking links... Renaming them in Premiere seems to break the link.&lt;/p&gt;&#xA;&lt;p&gt;What's the best way to rename them in both apps without breaking links?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-04-07T12:03:49.407" Title="How to rename linked comps between Premiere and After Effects" Tags="|after-effects|premiere|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33597" PostTypeId="1" AcceptedAnswerId="33603" CreationDate="2021-04-07T14:45:53.263" Score="0" ViewCount="387" Body="&lt;p&gt;I need convert to the .mp4 video with this requirements.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Container: MOV or MP4 (MPEG-4 Part 14), no edit lists, moov atom at the front of the file.&#xA;&#xA;Video codec: HEVC or H264, progressive scan, closed GOP, 4:2:0 chroma subsampling.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What is means?&lt;/p&gt;&#xA;" OwnerUserId="34484" LastEditorUserId="34484" LastEditDate="2021-04-08T09:12:48.177" LastActivityDate="2021-04-08T14:13:57.900" Title="Video format for instagram" Tags="|video|ffmpeg|mp4|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33598" PostTypeId="1" AcceptedAnswerId="33625" CreationDate="2021-04-07T17:18:29.640" Score="0" ViewCount="208" Body="&lt;p&gt;I was trying to improve some of my work templates using &lt;em&gt;Essential Graphics&lt;/em&gt;, which I absolutely love, for the first time I'm adding the &lt;strong&gt;media replacement&lt;/strong&gt; function to it but it doesn't seem to work.&lt;/p&gt;&#xA;&lt;p&gt;I've tried images, videos and an actual AE placeholder but it just doesn't seem to accept any of my assets.&lt;/p&gt;&#xA;&lt;p&gt;Check &lt;a href=&quot;https://youtu.be/9Ag5QdkP9rA?t=330&quot; rel=&quot;nofollow noreferrer&quot;&gt;this tutorial&lt;/a&gt; at &lt;strong&gt;05:30&lt;/strong&gt; where she successfully achieves what I'm trying to do.&lt;/p&gt;&#xA;&lt;p&gt;I'm wondering if anyone else has encountered the same issue, I'm probably doing something wrong but I don't seem to see where.&lt;/p&gt;&#xA;" OwnerUserId="6118" LastActivityDate="2021-04-12T09:19:42.477" Title="Essential Graphics - Media Replacement issue" Tags="|video|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33599" PostTypeId="1" AcceptedAnswerId="33600" CreationDate="2021-04-07T19:23:09.843" Score="1" ViewCount="224" Body="&lt;p&gt;I have newly started in AE and I came across source text animation.&lt;/p&gt;&#xA;&lt;p&gt;I have a requirement where I want to show multiple text on source text keyframe animation. I was wondering instead of writing each text on the keyframe is there a way to automate this.&lt;/p&gt;&#xA;&lt;p&gt;For example, I have created two text layers and the empty layer is referring to the data source (text source) and I know how to split them based on a delimiter. Please refer to the screenshot.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;t=thisComp.layer(&amp;quot;test1-test2-test3&amp;quot;).text.sourceText;&#xA;word=t.split(&amp;quot;-&amp;quot;);&#xA;word[2]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now, Is there a way for me to tell AE to increase the value dynamically inside word[] in line 3 by +1.&lt;/p&gt;&#xA;&lt;p&gt;If possible, I desire the code to return word[0] at 0000; word[&lt;a href=&quot;https://i.stack.imgur.com/cdlAb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;1&lt;/a&gt;] at 0001 and word[2] at 0002.&lt;/p&gt;&#xA;&lt;p&gt;Many thanks in advance.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cdlAb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cdlAb.png&quot; alt=&quot;project&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="32163" LastEditorUserId="1950" LastEditDate="2022-07-03T11:33:06.520" LastActivityDate="2022-07-03T11:33:06.520" Title="Automated source text animation based on split" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33600" PostTypeId="2" ParentId="33599" CreationDate="2021-04-07T20:07:01.437" Score="1" Body="&lt;p&gt;Found it&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;t=thisComp.layer(&amp;quot;test1-test2-test3&amp;quot;).text.sourceText;&#xA;word=t.split(&amp;quot;-&amp;quot;);&#xA;n = time/thisComp.frameDuration&#xA;word[n]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32163" LastActivityDate="2021-04-07T20:07:01.437" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33601" PostTypeId="1" AcceptedAnswerId="33943" CreationDate="2021-04-08T05:55:18.357" Score="0" ViewCount="604" Body="&lt;p&gt;I just started to use &lt;strong&gt;OpenShot Video Editor&lt;/strong&gt; to concatenate some short videos I filmed with my phone and add a sound track recently. The task is quite simple. But the software seems to mess up with the CPU or Memory or something. It's smooth in the beginning of a project, and then after half an hour or so, my laptop always makes a lot of noise and asks me to wait via a circle for every operation I do, while everything else than OpenShot can still function properly.&lt;/p&gt;&#xA;&lt;p&gt;Well this is a new laptop, and I don't know what &lt;strong&gt;Task Manager&lt;/strong&gt; means by 31; there're only 5 to 6 tabs open in Google Chrome. I'm afraid I'm totally a layman in computer and electronics. Can anybody point out the problem for me, please?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sITx1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sITx1.png&quot; alt=&quot;Task Manager&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34493" LastActivityDate="2021-06-06T02:13:24.950" Title="Why my OpenShot Video Editor gets very slow every time (Win10)?" Tags="|video-editor|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33603" PostTypeId="2" ParentId="33597" CreationDate="2021-04-08T14:13:57.900" Score="1" Body="&lt;p&gt;&lt;strong&gt;Edit lists&lt;/strong&gt; is a feature, that allows you to edit videos without re-encoding. For example, you want to remove a scene, make your edit points which are written into the container file. A video player reads those instructions and just such parts of the video. However, not many players seem to support that feature, nor does Instagram, so simply don't use it. I think it's not possible with mp4 only with mov anyway, so nothing to worry about.&lt;/p&gt;&#xA;&lt;p&gt;The &lt;strong&gt;moov atom&lt;/strong&gt; contains information how to play the video (duration, fps, etc.), it needs to be at the beginning in this case, which allows to start playing the video over the internet immediately while more data is loaded. In contrast, when the moov atom is at the file's end you need to wait until the video has been fully downloaded/buffered. The moov atom is rarely an issue in practice, most editors don't even allow to configure it and just put it at the front of the video file after the encoding is done. With ffmpeg you have control by using certain flags (I think -movflags faststart).&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Progressive scan&lt;/strong&gt; is the usual way to present a video on progressive screens (which means any screen in any modern device). There is also interlaced which is still somewhat relevant as a legacy format for TV but should always be avoided in the web. The difference is that progressive scan works with a full image per frame whereas for interlaced scan two half fields are combined into one image. Interlacing worked well on old CRT monitors, but not on modern devices. Both of these variants are often marked with a little suffix after the resolution of a video. For example you will see 1080p, referring to a video with a resolution of 1920x1080 using progressive scan, or when you see 1080i it means again a resolution of 1920x1080 but using interlacing. When creating video projects or creating a sequence where you put clips together or before export you may be asked to select profiles. Just make sure you always pick one of the progressive profiles where resolutions have the little p as suffix. Some tools may omit the distinction if they only support progressive scan.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-04-08T14:13:57.900" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33604" PostTypeId="1" CreationDate="2021-04-08T19:19:16.497" Score="1" ViewCount="111" Body="&lt;p&gt;&lt;em&gt;I joined this site because this seemed to be where my question would be on topic the most. Sorry if I was wrong in my judgement.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;A lot of people watch videos (e.g. recorded talks or lectures) at higher speed than original. E.g., websites like Youtube allow viewers to select up to 2x playback speed.&lt;/p&gt;&#xA;&lt;p&gt;I do this too and notice that I end up adjusting the speed a lot. For example, some people have large variations in talking speed over time. Any fixed playback speed ends up being to slow for some parts and too fast for others.&lt;/p&gt;&#xA;&lt;p&gt;Are there tools/algorithms (specifically geared to lectures/people talking) that adjust the playback speed (or, equivalently, compress the time-dimension of a video) automatically and dynamically?&lt;/p&gt;&#xA;&lt;p&gt;If there are not, do you think this is a good idea? (And if yes, let's do it!)&lt;/p&gt;&#xA;" OwnerUserId="34502" LastActivityDate="2024-02-07T16:06:05.647" Title="Automatic dynamic selection of playback speed" Tags="|webvideos|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33606" PostTypeId="1" CreationDate="2021-04-09T02:36:43.293" Score="0" ViewCount="578" Body="&lt;p&gt;When Panaconic videocameras are abruptly interrupted while recording, the video is on the SD card as &lt;code&gt;.mdt&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;It's supposedly a video stream without a header and a footer.&lt;/p&gt;&#xA;&lt;p&gt;How can I convert this to be an MP4 which the camera normally produces?&lt;/p&gt;&#xA;" OwnerUserId="14588" LastActivityDate="2021-09-29T19:31:09.117" Title="Fixing MDT file from Panasonic camcorder" Tags="|video-recording|panasonic|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33607" PostTypeId="2" ParentId="33584" CreationDate="2021-04-09T05:44:41.700" Score="2" Body="&lt;p&gt;The resolution is correct, but your understanding of how that is measured is confused.&lt;/p&gt;&#xA;&lt;p&gt;Analog video consisted of a series of continuous horizontal lines. Don't confuse the number of vertical lines with &amp;quot;lines&amp;quot; of horizontal resolution. When you talk about horizontal resolution in terms of &amp;quot;lines&amp;quot; you're actually talking about how many line &lt;em&gt;pairs&lt;/em&gt;—or literally how many vertical black and white lines—the format could possibly reproduce. To compare it to pixels, consider that it takes two lines of pixels to reproduce a line pair: one line of black pixels and one of white pixels. So double the analogue measurement to get the digital comparison.&lt;/p&gt;&#xA;&lt;p&gt;So while line pairs is the measurement used for the horizontal resolution, the vertical resolution is locked to the television standard, 576 lines for pal, and 480 lines for NTSC.&lt;/p&gt;&#xA;&lt;p&gt;The horizontal resolution can be calculated from the bandwidth using the rule of thumb for resolution of 80 lines per MHz of luminance* bandwidth. Betacam had a bandwidth of 4.0-4.5 MHz, which works out at 320-360 lines. This equates to 640-720 pixels of resolution, or roughly the same as DV.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;TL;DR:&lt;/strong&gt; Betacam's resolution was roughly equivalent to 720x576 for PAL, 720x480 for NTSC&lt;/p&gt;&#xA;&lt;p&gt;*luminance had higher bandwidth than chroma, just as digital formats subsample the chroma information, usually at half or even quarter resolution.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2023-03-17T06:39:13.903" LastActivityDate="2023-03-17T06:39:13.903" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33609" PostTypeId="2" ParentId="29994" CreationDate="2021-04-09T18:56:53.307" Score="1" Body="&lt;p&gt;&lt;strong&gt;Component Y/Pb/Pr&lt;/strong&gt; is better than both S-video and composite.  It supports higher resolution, and progressive scan (480p,720p,1080p).  The Y is luminance and sync signaling, the Pb is blue minus, and the Pr is red minus.  Since its progressive, it uses more bandwidth than the former's.&lt;/p&gt;&#xA;&lt;p&gt;It's easy to get &amp;quot;component&amp;quot; mixed up for &amp;quot;composite&amp;quot;/&amp;quot;rca&amp;quot;.  Component is the Red/Blue/Green cables, composite (or RCA) is the Yellow/Red/White cables.&lt;/p&gt;&#xA;&lt;p&gt;The S-video and composite were made for standard definition video, which is lower resolution interlaced, as opposed to progressive.  interlaced video has less bandwidth needs.&lt;/p&gt;&#xA;&lt;p&gt;Normally you would use Component when you have it available over composite and s-video alternatives, but don't yet have HDMI capabilities.&lt;/p&gt;&#xA;&lt;p&gt;If you can use HDMI, it is better than component, since HDMI is digital, component is not.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;VCR's&lt;/strong&gt;&#xA;The goodwill I found is one good source for VCR's.  The Time-sync ones, which you need, are about $400.  Too expensive, when you can get a scaler that has the same frame correction features in it on evil bay for cheaper.  I got one used for $45 (Extron System 7SC, uses Composite, up to 1080p).  The VCR isn't as important as its head is in good alignment (take the cover off and adjust it if not) and VCR has more than a few decent heads on it.&lt;/p&gt;&#xA;&lt;p&gt;Logically, if you can snatch a good deal on a VCR that has component, then make sure your scaler (or cap card if not using one) has component input.  Scaler's with HDMI aren't really useful for VCR capture IMO.   Im also not sure the component ones are in fact either, since its possible that somehow they have upconverted the signal to make it component, which you can just eliminate, and run it straight into your scaler with svideo or composite.&lt;/p&gt;&#xA;&lt;p&gt;Out of the scaler it can be scaled up 720p/1080p for raw capture.  So if your capture card has component in, then make sure the scaler has component out.  I'm still a bit yellow in the area if the RGBHV on the back of my scaler can be converted to Y/Pb/Pr easily or not, im not sure.  Im testing instead using composite out of scaler, to composite in to USB capture.  The results are maybe more low light detail than the S-video signal, so it has its benefits.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Scaler&lt;/strong&gt;&lt;br /&gt;&#xA;Look for one that takes care of the frame corrections for you, so that you wont have sync issues, when you capture (VirtualDub/HuffYUV I assume?)&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.extron.com/article/syst7sc32pulldown&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.extron.com/article/syst7sc32pulldown&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;I see this one on evilbay now for $50, &lt;a href=&quot;https://www.extron.com/product/vsc200&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.extron.com/product/vsc200&lt;/a&gt; has an S-video output also, which i needed, for my capture card to test over composite, although I'm not sure capturing from S-video is all its chalked up to me, for this purpose.  (not sure about the outputs on this one though)&lt;/li&gt;&#xA;&lt;li&gt;This one looks decent, has svideo &lt;a href=&quot;https://www.ebay.com/itm/Extron-IN1508-Video-Converter-Scaling-Switcher/124668934942&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.ebay.com/itm/Extron-IN1508-Video-Converter-Scaling-Switcher/124668934942&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="12744" LastEditorUserId="12744" LastEditDate="2021-04-09T20:52:41.073" LastActivityDate="2021-04-09T20:52:41.073" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33611" PostTypeId="2" ParentId="27555" CreationDate="2021-04-10T06:16:58.273" Score="0" Body="&lt;p&gt;I've tried running DaVinci Resolve 17 on my ThinkPad X1C with Mesa Intel UHD Graphics 620, and it complained about the GPU configuration. After unchecking the checkboxes to use some &amp;quot;auto&amp;quot; GPU, it complained about having to set some media location. After setting that, it exited silently.&lt;/p&gt;&#xA;&lt;p&gt;Turned out that choosing a media location made it exit silently in the first place, so I can't see what happens if I uncheck those checkboxes with a media location set, but I suspect it won't run anyway.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://creativecow.net/forums/thread/intel-graphics-wont-run-davinci-resolveae/&quot; rel=&quot;nofollow noreferrer&quot;&gt;This 2018 forum post&lt;/a&gt; says that &amp;quot;most modern AMD, Intel and NVIDIA GPUs that support OpenCL 1.2 or CUDA 3.0 compute capability will operate with Resolve&amp;quot; and that &amp;quot;INTEL(R) HD GRAPHICS 3000 does support OPENCL 1.2&amp;quot;.&lt;/p&gt;&#xA;" OwnerUserId="20288" LastEditorUserId="20288" LastEditDate="2021-04-10T06:32:29.203" LastActivityDate="2021-04-10T06:32:29.203" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33612" PostTypeId="1" AcceptedAnswerId="33615" CreationDate="2021-04-10T07:04:17.057" Score="1" ViewCount="4188" Body="&lt;p&gt;I’m currently working on animating a PSD file on after effects. I imported a video into after effects and manipulated it, I’m not sure what I did but out of nowhere the video disappeared. So I went into a subfolder and re added the video there. But once I went back to the whole document, the other video appeared but now I can’t resize them, none of the little square in the corners appear. But when I go into the sub folder it works there, I can resize things. What can I do to be able to resize everything again?&lt;/p&gt;&#xA;" OwnerUserId="34521" LastEditorUserId="4426" LastEditDate="2021-04-15T21:08:31.120" LastActivityDate="2021-04-15T21:08:31.120" Title="I can’t resize anything in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33613" PostTypeId="1" CreationDate="2021-04-10T13:47:20.100" Score="1" ViewCount="304" Body="&lt;p&gt;When there's a file missing in the imported image sequence, there is a filename displayed in the corner. Is there a way in After Effects to have the file name displayed all the time even on non-missing frames? Thank you.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/4rFzX.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4rFzX.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34525" LastActivityDate="2021-04-10T19:39:04.680" Title="Display image file name in AE viewport" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33614" PostTypeId="2" ParentId="33613" CreationDate="2021-04-10T19:39:04.680" Score="1" Body="&lt;p&gt;This suggestion might help you&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;https://video.stackexchange.com/a/26424/4426&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It was relating to audio files, but the principle is the same.&lt;/p&gt;&#xA;&lt;p&gt;You would make a text layer, then apply this expression to the Source Text field in the text layer:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(2).name&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Anything on layer 2 in the comp would then have its file name displayed in the text layer.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-04-10T19:39:04.680" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33615" PostTypeId="2" ParentId="33612" CreationDate="2021-04-10T19:43:36.160" Score="2" Body="&lt;p&gt;maybe you pressed &lt;kbd&gt;cmd&lt;/kbd&gt;+&lt;kbd&gt;shift&lt;/kbd&gt;+&lt;kbd&gt;H&lt;/kbd&gt; ? This toggles the wireframe views around each object on or off?&lt;/p&gt;&#xA;&lt;p&gt;Also, you might find this beginner's guide to AE helpful. It's old but it definitely helped me:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.videocopilot.net/basic/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.videocopilot.net/basic/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-04-10T19:43:36.160" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33616" PostTypeId="1" CreationDate="2021-04-10T20:14:13.407" Score="1" ViewCount="29" Body="&lt;p&gt;On Premiere Pro 2021 whenever I try to work on a project that has multiple layers, it refuses to load it and instead I am met with “project is pending” and it refused to load it and then crashes.&lt;/p&gt;&#xA;&lt;p&gt;I tried importing the project into a new project and the same thing happened.&lt;/p&gt;&#xA;" OwnerUserId="34531" LastActivityDate="2021-04-12T11:16:00.517" Title="Premiere Pro 2021 Refusing to Load My Project" Tags="|video|bug|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33619" PostTypeId="1" CreationDate="2021-04-11T16:18:45.163" Score="1" ViewCount="206" Body="&lt;p&gt;Is it possible to concat without temp files using ffmpeg?&#xA;eg;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;# nice ffmpeg -v error -f concat \&#xA;  -ss &amp;quot;52.519&amp;quot; -copyts -to &amp;quot;53.153&amp;quot; -i in.mkv \&#xA;  -ss &amp;quot;53.186&amp;quot; -copyts -to &amp;quot;390.690&amp;quot; -i in.mkv \&#xA;  -ss &amp;quot;464.264&amp;quot; -copyts -to &amp;quot;2831.331&amp;quot; -i in.mkv \&#xA;  -c copy out.mkv &amp;lt; /dev/null&#xA;Invalid duration specification for ss: &amp;quot;52.519&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;if so, what is ffmpeg version 4.2.4 complaining about?&#xA;the &amp;quot;duration specification&amp;quot; is valid when using temp files followed by concat.&lt;/p&gt;&#xA;&lt;p&gt;mkvtoolnix is able to do this btw.&lt;/p&gt;&#xA;" OwnerUserId="34540" LastEditorUserId="34540" LastEditDate="2021-04-12T04:52:03.070" LastActivityDate="2021-09-17T02:06:05.480" Title="ffmpeg: concat without temp files?" Tags="|ffmpeg|concatenation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33620" PostTypeId="1" CreationDate="2021-04-11T17:53:16.030" Score="1" ViewCount="1004" Body="&lt;p&gt;I captured a multicast MPEG stream (scrambled) transported over UDP, using a bridge between a set-top-box and the router.&lt;/p&gt;&#xA;&lt;p&gt;I would like to extract these informations : PMT, Audio tracks PIDS, video track PID, subtitle PIDs ..etc&lt;/p&gt;&#xA;&lt;p&gt;When I apply the MP2T dissector, I can see some &amp;quot;PID&amp;quot; informations on my capture but they don't correspond to what I'm looking for (the actual PIDs in the stream). It's like I'm missing a level of information with this filter.&#xA;How can I achieve that using Wireshark ? My goal is to find a method to see this (MPEG stream tracks infos) &lt;strong&gt;using only wireshark&lt;/strong&gt;. I went to through several tutorials but they all require to extract the TS and to analyze with another tool.&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="34541" LastActivityDate="2024-02-11T21:04:55.540" Title="Visualising MPEG TS informations (PMT, PAT) with wireshark" Tags="|mpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33621" PostTypeId="1" CreationDate="2021-04-12T04:00:29.813" Score="0" ViewCount="145" Body="&lt;p&gt;I used a program to auto-generate the subtitles srt to a video which I'm putting in the timeline. I want to edit the video on the edit page, doing ripple deletes. But when I do a cut and a ripple delete the subtitle doesn't follow, only the video and audio gets edited. How can I edit it all together? The idea is that when I make ripple edits to the video timeline the subs should be automatically retimed.&lt;/p&gt;&#xA;" OwnerUserId="1795" LastActivityDate="2021-04-12T04:00:29.813" Title="davinci resolve Editing subtitles at the same time as the video" Tags="|davinci-resolve|subtitles|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33622" PostTypeId="1" AcceptedAnswerId="33632" CreationDate="2021-04-12T04:40:42.563" Score="0" ViewCount="177" Body="&lt;p&gt;This is a simple problem that is driving me crazy. I must have accidentally hit some button that made the track height expand to show zoom automation data in the timeline. It looks like this.&lt;br /&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/r8Uu7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/r8Uu7.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Please show me how to make this disappear.&lt;br /&gt;&#xA;I am using Davinci Resolve 17 on Windows 10.&lt;/p&gt;&#xA;" OwnerUserId="34546" LastActivityDate="2021-04-14T12:09:58.287" Title="Can't Minimize Video Track Timeline Zoom Automation" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33623" PostTypeId="2" ParentId="29073" CreationDate="2021-04-12T04:49:44.637" Score="2" Body="&lt;p&gt;The &lt;code&gt;mdat&lt;/code&gt; box in a MP4 contains the media payload but it is freeform. It is as good as gibberish on its own. The &lt;code&gt;moov&lt;/code&gt; box identifies how many tracks there are, which codecs and their parameters those tracks contain, which portions of the data in the &lt;code&gt;mdat&lt;/code&gt; correspond to which tracks, what their timestamps are..etc.&lt;/p&gt;&#xA;&lt;p&gt;What MP4 repair utilities do, is use the track and codec descriptions from the &lt;code&gt;moov&lt;/code&gt; box of the reference file and transpose them to the repair candidate. Then they use heuristics to identify each track's data in the candidate. This relies on the codec of each track sporting some consistent &amp;amp; known signature to locate the start of each packet. The timestamps are however unrecoverable. So, if there's no reference &lt;code&gt;moov&lt;/code&gt; or a way to create a similar one, the file is essentially unrecoverable.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-04-12T04:49:44.637" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33625" PostTypeId="2" ParentId="33598" CreationDate="2021-04-12T09:19:42.477" Score="0" Body="&lt;p&gt;Even though &lt;em&gt;Essential Graphics&lt;/em&gt; have been available for a few years now, &lt;em&gt;Replace Media&lt;/em&gt; is available around &lt;strong&gt;After Effects v18.0&lt;/strong&gt;, be sure to update your app.&lt;/p&gt;&#xA;" OwnerUserId="6118" LastActivityDate="2021-04-12T09:19:42.477" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33626" PostTypeId="2" ParentId="33616" CreationDate="2021-04-12T11:16:00.517" Score="1" Body="&lt;p&gt;Have you tried resetting preferences and/or plugin cache?&#xA;From &lt;a href=&quot;https://www.linkedin.com/pulse/how-reset-premiere-pro-preferences-rameez-khan/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Press Alt (Windows) or Option (Mac OS) while launching Premiere Pro.&#xA;You can release the Alt key or Option key when the splash screen&#xA;appears.&lt;/p&gt;&#xA;&lt;p&gt;To reset preferences and plug-in cache at the same time, hold down&#xA;Shift-Alt (Windows) or Shift-Option (Mac OS) while the application is&#xA;starting. Release the Shift-Alt keys or Shift-Option keys when the&#xA;splash screen appears.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-04-12T11:16:00.517" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33627" PostTypeId="1" CreationDate="2021-04-12T17:06:29.900" Score="0" ViewCount="249" Body="&lt;p&gt;I am recording from my Linux TV-Sat receiver in MPEG-2 transport stream (mpeg2video) format. The recording starts before the actual movie, so it usually only has a single (local) audio stream in the beginning, which is correctly detected by ffmpeg or mediainfo:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpegts, from '20131112 2012 - Sky Cinema - Django Unchained.ts':&#xA;  Duration: 02:43:02.20, start: 5841.428544, bitrate: 3898 kb/s&#xA;  Program 8 &#xA;  Program 9 &#xA;  Program 10 &#xA;    Stream #0:0[0x20](deu): Subtitle: dvb_teletext ([6][0][0][0] / 0x0006)&#xA;    Stream #0:1[0x1ff]: Video: mpeg2video (Main) ([2][0][0][0] / 0x0002), yuv420p(tv, top first), 720x576 [SAR 64:45 DAR 16:9], 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:2[0x200](deu): Audio: mp2 ([3][0][0][0] / 0x0003), 48000 Hz, stereo, fltp, 192 kb/s (clean effects)&#xA;  Program 11 &#xA;  Program 20 &#xA;  Program 43 &#xA;  Program 251 &#xA;  Program 261 &#xA;  Program 3499 &#xA;  Program 3500 &#xA;  Program 3847 &#xA;  Program 4021 &#xA;  Program 4022 &#xA;  Program 4024 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Note the value for 'start' is taken from the recording itself when no explicit start value was given to ffmpeg by means of &lt;code&gt;-ss&lt;/code&gt; or &lt;code&gt;(a)trim=&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;However, after some time, a second (eg english) audio stream is coming along, and it can well be used in the conversion from .ts to .mp4 (for example):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpegts, from '20131112 2012 - Sky Cinema - Django Unchained.ts':&#xA;  Duration: 02:43:02.20, start: 5841.428544, bitrate: 3898 kb/s&#xA;  Program 8 &#xA;  Program 9 &#xA;  Program 10 &#xA;    Stream #0:0[0x20](deu): Subtitle: dvb_teletext ([6][0][0][0] / 0x0006)&#xA;    Stream #0:1[0x1ff]: Video: mpeg2video (Main) ([2][0][0][0] / 0x0002), yuv420p(tv, top first), 720x576 [SAR 64:45 DAR 16:9], 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:2[0x200](deu): Audio: mp2 ([3][0][0][0] / 0x0003), 48000 Hz, stereo, fltp, 192 kb/s (clean effects)&#xA;    Stream #0:3[0x201](eng): Audio: mp2 ([3][0][0][0] / 0x0003), 48000 Hz, stereo, 192 kb/s (clean effects)&#xA;    Stream #0:4[0x203](deu): Audio: ac3 ([6][0][0][0] / 0x0006), 0 channels (clean effects)&#xA;  Program 11 &#xA;  Program 20 &#xA;  Program 43 &#xA;  Program 251 &#xA;  Program 261 &#xA;  Program 3499 &#xA;  Program 3500 &#xA;  Program 3847 &#xA;  Program 4021 &#xA;  Program 4022 &#xA;  Program 4024 &#xA;Stream mapping:&#xA;  Stream #0:1 (mpeg2video) -&amp;gt; trim&#xA;  Stream #0:2 (mp2) -&amp;gt; atrim&#xA;  Stream #0:3 (mp2) -&amp;gt; atrim&#xA;  setpts -&amp;gt; Stream #0:0 (libx264)&#xA;  asetpts -&amp;gt; Stream #0:1 (aac)&#xA;  asetpts -&amp;gt; Stream #0:2 (aac)&#xA;Press [q] to stop, [?] for help&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;(Note: here a value for 'start' was passed to ffmpeg; the value was manually derived and supplied after looking at the recorded .ts file)&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to detect audio stream(s) without supplying any 'start' value?&lt;/p&gt;&#xA;" OwnerUserId="34554" LastActivityDate="2021-04-12T17:06:29.900" Title="How to detect &quot;late&quot; audio streams in MPEG-2 TS (with ffmpeg, ffprobe or mediainfo)?" Tags="|video|ffmpeg|audio|conversion|mpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33628" PostTypeId="1" CreationDate="2021-04-12T17:47:14.357" Score="1" ViewCount="156" Body="&lt;p&gt;Add audio and subtitle in mkv video by one command.&lt;/p&gt;&#xA;&lt;p&gt;Code add subtitle:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-i input.mkv -f srt -i subtitle.srt -map 0:0 -map 0:1 -map 0:2 -map 1:0 -c:v copy -c:a copy -c:s srt -c:s:0 srt -metadata:s:s:0 language=eng output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Code add audio:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-i input.mkv -i audio.aac -map 0:v -map 0:a:0 -map 1:a -metadata:s:a:1 language=eng  -codec copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I couldn't add subtitle and audio in one command.Please help me!&lt;/p&gt;&#xA;" OwnerUserId="34556" LastActivityDate="2021-09-04T07:01:35.160" Title="Add audio and subtitle in mkv video by one command" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33630" PostTypeId="1" CreationDate="2021-04-13T15:52:29.210" Score="1" ViewCount="81" Body="&lt;p&gt;I'm making a 3D animation but, parts of it need to be static. I can use png renders for that, but pang format have slightly another color than mp4's. Because of this, ther's a visible difference when I put an mp4 and a static image after it, thought videp's frame is the same image as the static png.&lt;/p&gt;&#xA;&lt;p&gt;How do I solve this problem?&lt;/p&gt;&#xA;" OwnerUserId="34572" LastActivityDate="2021-04-13T15:52:29.210" Title="same image MP4 and png color differences" Tags="|mp4|color|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33631" PostTypeId="1" CreationDate="2021-04-14T10:07:05.637" Score="1" ViewCount="146" Body="&lt;p&gt;Hey guys I am learning to develop a website that converts videos to youtube quality (or close enough) 480p and 1080p, I am not much familiar with ffmpeg and struggling with its documentation.&lt;/p&gt;&#xA;&lt;p&gt;I have these functions,&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;video_480p      = subprocess.call([FFMPEG_PATH, '-i', input_file, '-codec:v', 'libx264', '-crf', '20', '-preset', 'medium',&#xA;                '-b:v', '1000k', '-maxrate', '1000k', '-bufsize', '2000k','-vf', 'scale=-2:480', '-codec:a', 'aac', '-b:a',&#xA;                 '128k', '-strict', '-2', file_480p])&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;similarly I have another function,&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;new_video       = subprocess.call([FFMPEG_PATH, '-i', input_file, '-codec:v', 'libx264', '-crf', '20', '-preset', 'medium',&#xA;                '-b:v', '1000k', '-maxrate', '1000k', '-bufsize', '2000k','-vf', 'scale=-2:1080', '-codec:a', 'aac', '-b:a',&#xA;                 '128k', '-strict', '-2', output_file])&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Both these functions, transcode the video, but returns low quality videos, Can anyone provide me with the right settings for 480p and 1080p which is similar or close to youtube quality?&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="34581" LastActivityDate="2021-04-15T18:14:08.113" Title="How to get ffmpeg configuration similar to that of youtube for 480p and 1080p video? I have got a function but the output quality is too low" Tags="|ffmpeg|video-quality|youtube|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33632" PostTypeId="2" ParentId="33622" CreationDate="2021-04-14T12:09:58.287" Score="0" Body="&lt;p&gt;The two white squares to the right of the clip name in your image - those will close the curve and keyframe viewers, respectively.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-04-14T12:09:58.287" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33633" PostTypeId="2" ParentId="33533" CreationDate="2021-04-14T13:29:42.960" Score="1" Body="&lt;p&gt;If you want to move the two things together, use a transform node after they’ve been merged.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-04-14T13:29:42.960" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33635" PostTypeId="1" CreationDate="2021-04-15T10:00:33.883" Score="0" ViewCount="225" Body="&lt;p&gt;I'm implementing a web application which works with video sources with SMPTE time codes printed on it.&#xA;Often the SMPTE and media time differs, my understanding of the reason based on what I have read is:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video is shot at a regular frame rate (ex: 24 or 30)&lt;/li&gt;&#xA;&lt;li&gt;Video is broadcasted on 23.976 or 29.97 frame rate due to NTSC historic reasons when it started broadcasting color (I understand the reasoning)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;However, a few things are not clear for me:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;It seems that Today is common to already shot in 23.976 or 29.97 cameras, so why would still this difference exist?&lt;/li&gt;&#xA;&lt;li&gt;The current TVs and streaming services don't have the NTSC limitations anymore&lt;/li&gt;&#xA;&lt;li&gt;NTSC is not the only standard around, European PAL doesn't have this issue, for example&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Now, on my application the user needs to manually select the frame rate, based on my understanding above it doesn't make sense to automatically detect from the video file, because the difference happens when the recorded frame rate is different from the broadcasted one, therefore, it needs to select the broadcasted frame rate, not the video file.&lt;/p&gt;&#xA;&lt;p&gt;Most of the videos on my application are from streaming services, those streaming services run worldwide, with all sort of different formats... so all of these are confusing me to have a fully understanding of the SMPTE time codes.&lt;/p&gt;&#xA;" OwnerUserId="34593" LastActivityDate="2021-04-15T10:00:33.883" Title="Why do we still have difference between Media Time and SMPTE Time Code?" Tags="|streaming|framerate|timecode|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33637" PostTypeId="1" CreationDate="2021-04-15T16:46:26.480" Score="0" ViewCount="7" Body="&lt;p&gt;I have a Mac and for the last 24 hours my after effects just does'nt even open. I click on the software and its not responding at all. the only after effects thing that I have on my computer that opens is the render engine but it dose'nt really do much.&lt;/p&gt;&#xA;" OwnerUserId="34598" LastActivityDate="2021-04-15T16:46:26.480" Title="after effects does'nt open" Tags="|after-effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33639" PostTypeId="1" CreationDate="2021-04-15T17:51:05.843" Score="1" ViewCount="29" Body="&lt;p&gt;i'm on kdenlive and for some reason the home and end keys aren't working ctrl+left or right takes me to the beginning or end of each clip but not home or end keys, i have no idea what's going on, any ideas? thanks&lt;/p&gt;&#xA;" OwnerUserId="34402" LastActivityDate="2023-12-31T22:06:50.913" Title="Home and end keys not working in kdenlive" Tags="|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33640" PostTypeId="2" ParentId="33639" CreationDate="2021-04-15T18:05:18.207" Score="0" Body="&lt;p&gt;The &lt;a href=&quot;https://userbase.kde.org/Kdenlive/Manual/Useful_Information/Shortcuts&quot; rel=&quot;nofollow noreferrer&quot;&gt;online documentation&lt;/a&gt; seems to indicate: &lt;code&gt;&amp;lt;ctrl&amp;gt;&lt;/code&gt;&#xA;+&lt;code&gt;&amp;lt;Home&amp;gt;&lt;/code&gt; to go to the beginning of a project, and &lt;code&gt;&amp;lt;Ctrl&amp;gt;&lt;/code&gt;+&lt;code&gt;&amp;lt;End&amp;gt;&lt;/code&gt; to go to the end of a project ?  (I found the doc with a very simple google search: kdeenlive hotkeys )&lt;/p&gt;&#xA;&lt;p&gt;If you indeed press that, check if your keyboard is not in some kind of numerical mode: many keyboards offer different mode for the numeric-pad keys (so that you can go to numerical mode and quickly enter many numbers in a spreadsheet, or go back to the other mode and quickly use the default usage of those same keys), and a &lt;code&gt;&amp;lt;Fn&amp;gt;&lt;/code&gt;+&lt;code&gt;&amp;lt;some_key&amp;gt;&lt;/code&gt; (or sometimes &lt;code&gt;&amp;lt;ctrl&amp;gt;&lt;/code&gt;+&lt;code&gt;&amp;lt;Fn&amp;gt;&lt;/code&gt;+&lt;code&gt;&amp;lt;some_key&amp;gt;&lt;/code&gt;)  usually activates/deactivates that special mode.&lt;/p&gt;&#xA;" OwnerUserId="5055" LastEditorUserId="5055" LastEditDate="2021-04-15T18:11:24.573" LastActivityDate="2021-04-15T18:11:24.573" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33643" PostTypeId="2" ParentId="24637" CreationDate="2021-04-16T07:38:40.967" Score="0" Body="&lt;p&gt;As of April 2021, several professional video editor software packages have audio beat detection. Filmora themselves wrote a blog post about the feature, and included &lt;a href=&quot;https://filmora.wondershare.com/video-editor/best-beat-sync-video-editing-apps.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;the competition&lt;/a&gt;: Premiere Elements, Cyberlink PowerDirector, Adobe Premiere Pro etc.&lt;/p&gt;&#xA;&lt;p&gt;The following editors don't have audio beat detection:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;DaVinci Resolve &lt;a href=&quot;https://forum.blackmagicdesign.com/viewtopic.php?f=33&amp;amp;t=121933&quot; rel=&quot;nofollow noreferrer&quot;&gt;does not&lt;/a&gt;, and the community argues &lt;a href=&quot;https://forum.blackmagicdesign.com/viewtopic.php?f=21&amp;amp;t=69346&quot; rel=&quot;nofollow noreferrer&quot;&gt;you shouldn't do that much anyway, and there are workarounds&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Shotcut &lt;a href=&quot;https://forum.shotcut.org/t/markers-or-an-easy-way-of-syncing-music-to-cuts/10921&quot; rel=&quot;nofollow noreferrer&quot;&gt;does not have markers even&lt;/a&gt;, but you can &lt;a href=&quot;https://forum.shotcut.org/t/howto-sync-video-clips-to-beat-in-music-files/19126&quot; rel=&quot;nofollow noreferrer&quot;&gt;use Audacity to create click tracks, and someone wrote a Windows tool to generate a markers track&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.reddit.com/r/kdenlive/comments/gsvxyn/ruler_bpm_in_kdenlive/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Kdenlive does not&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="20288" LastActivityDate="2021-04-16T07:38:40.967" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33655" PostTypeId="1" CreationDate="2021-04-18T13:15:38.050" Score="1" ViewCount="33" Body="&lt;p&gt;On Mac OS, &lt;a href=&quot;https://support.apple.com/guide/final-cut-pro/create-variable-speed-effects-ver95783cbbc/mac&quot; rel=&quot;nofollow noreferrer&quot;&gt;Final Cut Pro supports speed ramping&lt;/a&gt;. How about Linux video editors?&lt;/p&gt;&#xA;&lt;p&gt;Kdenlive and Shotcut don't support speed ramping at all, so it has to be done &lt;a href=&quot;https://forum.shotcut.org/t/how-to-apply-a-cinematic-speed-ramp-transition-on-shotcut-has-anyone-else-run-into-the-shown-issue/21852/&quot; rel=&quot;nofollow noreferrer&quot;&gt;manually&lt;/a&gt;. Apparently the &lt;a href=&quot;https://www.reddit.com/r/olive/comments/hreqgd/speed_key_framing/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Olive editor doesn't support&lt;/a&gt; it either. &lt;a href=&quot;https://www.youtube.com/watch?v=n7lXiPCHaHI&quot; rel=&quot;nofollow noreferrer&quot;&gt;DaVinci Resolve supports speed ramping&lt;/a&gt;, but it requires an NVidia GPU.&lt;/p&gt;&#xA;" OwnerUserId="20288" LastActivityDate="2021-05-01T16:22:24.553" Title="What Liunx video editors support keyframed speed ramping?" Tags="|linux|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33656" PostTypeId="1" AcceptedAnswerId="33676" CreationDate="2021-04-18T18:38:43.137" Score="1" ViewCount="291" Body="&lt;p&gt;We are planning to produce a Youtube channel, in which we interview one professor and one student at the same time, and we have very little experience with sound. A typical situation would be to have three people talking (the prof, the student, the interviewer), and we are wondering what would be a good compromise between budget and quality for recording the audio.&lt;/p&gt;&#xA;&lt;p&gt;Lav mics seem to be the best option, but since we need three of them it seems expensive. Right? What about having a single shotgun carried by one of us over the scene? Could that work? I assume the person in question would be monitoring the sound to make sure that the mic is at the right position.&lt;/p&gt;&#xA;&lt;p&gt;We are also planning to invest into a modest on-camera mic just for safety, in case something goes wrong with the other setup during the shootings. Any further advice?&lt;/p&gt;&#xA;" OwnerUserId="34624" LastActivityDate="2021-04-21T07:11:32.967" Title="How to record the voices of three people in a room?" Tags="|audio|shooting|gear|interview|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33659" PostTypeId="1" CreationDate="2021-04-19T09:13:05.347" Score="0" ViewCount="401" Body="&lt;p&gt;I broke down a project into segments to make a playlist, and successfully exported the audio-video segments using in/out ranges, but the srt subtitles always come out for the whole timeline. I tried generating them together with the video files in the Deliver tab, and exporting them separately through File|Export|Subtitles, to no avail. Is the oversight mine or Blackmagic's?&lt;/p&gt;&#xA;" OwnerUserId="25429" LastActivityDate="2024-02-03T00:10:31.180" Title="How to export only an in/out range or selection of subtitles on Davinci Resolve?" Tags="|davinci-resolve|subtitles|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33660" PostTypeId="2" ParentId="30346" CreationDate="2021-04-19T10:49:32.697" Score="0" Body="&lt;p&gt;If you have a really good ai enhancer for images, you could extract each of the frames, do a batch enhance andupscale of each frame, then use an image stitcher to put them back as video. its a pain in the ass and can take awhile if you have a long video to enhance, but its an option&lt;/p&gt;&#xA;" OwnerUserId="34630" LastActivityDate="2021-04-19T10:49:32.697" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33661" PostTypeId="1" CreationDate="2021-04-19T14:16:02.417" Score="1" ViewCount="2636" Body="&lt;p&gt;This seems like a simple thing to do, but for my life I cannot find an answer that does this the way I need to.&lt;/p&gt;&#xA;&lt;p&gt;Using a mask image, I want to make the white parts of the mask still be white (not transparent) in the video output, while the black pixels of the mask would not appear in the output. This would make it easier for a particle tracking software to work properly as there would be no confounding particles coming from the background+text. Like so:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zoKBR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zoKBR.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I can almost achieve this using the code:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -loop 1 -i mask.png \&#xA;       -filter_complex &amp;quot;[0]split[m][a];[m][a]alphamerge[keyed]; \&#xA;              [1][keyed]overlay=eof_action=endall&amp;quot; video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, the result is not an opaque white due to the overlay function, and I would further need to blur it as the clock is still very visible and becomes a new trackable particle.&lt;/p&gt;&#xA;&lt;p&gt;So specific questions would be:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Is there a way to make the masked overlay be opaque white?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Alternatively, is there a way I could still use the code above but make just the white part of the mask blurred? (right now, it blurs everything if I add &lt;code&gt;boxblur=5&lt;/code&gt;)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="34632" LastEditorUserId="18155" LastEditDate="2021-04-20T23:32:51.917" LastActivityDate="2024-01-06T16:03:30.373" Title="FFMPEG - Apply opaque white with mask" Tags="|ffmpeg|mask|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33662" PostTypeId="1" CreationDate="2021-04-19T18:55:04.427" Score="0" ViewCount="680" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NSD7I.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NSD7I.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;i'm trying to find out what this thing is called, &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Js5yHEjrNog?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;it's the little blue line above the timeline, is there a name for it? what does it do? thank you.&lt;/p&gt;&#xA;" OwnerUserId="34402" LastEditorUserId="34402" LastEditDate="2021-04-20T18:03:29.457" LastActivityDate="2024-01-06T17:08:26.020" Title="What is the little blue line above the timeline called?" Tags="|kdenlive|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33664" PostTypeId="2" ParentId="33619" CreationDate="2021-04-19T23:18:55.153" Score="2" Body="&lt;p&gt;If I understand the question correctly: yes! You can create a file that is a concatenation of different parts of the input video.&lt;/p&gt;&#xA;&lt;p&gt;The script you're looking for is something like:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-i &amp;quot;$INPUT_FILE&amp;quot; \&#xA;-filter_complex \&#xA;&amp;quot;[0:v]trim=start=5:duration=10,setpts=PTS-STARTPTS[v0]; \&#xA; [0:a]atrim=start=5:duration=10,asetpts=PTS-STARTPTS[a0]; \&#xA; [0:v]trim=start=20:duration=10,setpts=PTS-STARTPTS[v1];&#xA; [0:a]atrim=start=20:duration=10,asetpts=PTS-STARTPTS[a1]; \&#xA; [v0][a0][v1][a1]concat=n=2:v=1:a=1[final]&amp;quot; \&#xA;-map &amp;quot;[final]&amp;quot; concat-video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You can read a little bit more about this on &lt;a href=&quot;https://mediamachine.io/blog/ffmpeg-series-complex-filters-trim-concat&quot; rel=&quot;nofollow noreferrer&quot;&gt;this blog post&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;(Disclaimer: I'm one of the co-founder of &lt;a href=&quot;https://mediamachine.io&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://mediamachine.io&lt;/a&gt;)&lt;/p&gt;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="34635" LastActivityDate="2021-04-19T23:18:55.153" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33666" PostTypeId="2" ParentId="33661" CreationDate="2021-04-20T09:00:27.613" Score="0" Body="&lt;p&gt;Found the answer to this problem &lt;a href=&quot;https://video.stackexchange.com/a/12111/34632&quot;&gt;in here&lt;/a&gt;. The mask should be first be white + transparent, instead of black and white. New code would be:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i mask.png \&#xA;-filter_complex &amp;quot;[0:v][1:v] overlay=0:0&amp;quot; -c:a copy \&#xA;output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="34632" LastEditorUserId="34632" LastEditDate="2021-04-21T09:13:23.483" LastActivityDate="2021-04-21T09:13:23.483" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33667" PostTypeId="2" ParentId="30090" CreationDate="2021-04-20T09:05:31.467" Score="0" Body="&lt;p&gt;The record button has three states:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eGSpd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eGSpd.png&quot; alt=&quot;record disabled&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Record is disabled&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;You're not selected on a multi-camera sequence, or you haven't enabled the Multi-camera View button, so you can't record camera cuts. (You can still change camera on a selected clip).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rnrox.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rnrox.png&quot; alt=&quot;record standby&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Record standby&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you have a clip selected, and select a different camera, the whole clip will be changed to the new camera. If you are playing a multi-camera clip, in multi-camera view and change cameras, the changes will be recorded as cuts, nothing will happen.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Y6dD9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Y6dD9.png&quot; alt=&quot;record enabled&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Record enabled&lt;/strong&gt;&#xA;Does exactly the same as record standby, as far as I can tell.&lt;/p&gt;&#xA;&lt;p&gt;At this point, I think the blue circle must only be there because they though it looks nice. It's like the close button on an elevator door....&lt;/p&gt;&#xA;&lt;p&gt;The rectangles around the multi-view cameras show:&lt;/p&gt;&#xA;&lt;p&gt;yellow - which cut is active&#xA;red - a new cut that you have just written&lt;/p&gt;&#xA;&lt;p&gt;As soon as you stop playback, the red rectangle highlights become yellow highlights.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-04-20T09:05:31.467" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33670" PostTypeId="1" CreationDate="2021-04-20T18:19:12.613" Score="1" ViewCount="7" Body="&lt;p&gt;I have created my puppet with pins and the hands are going under the legs and under his beard and i need to make him eat grapes.&#xA;The pin layer of the hand is over the pin layer of the leg&#xA;thanx for your help&lt;/p&gt;&#xA;" OwnerUserId="34657" LastActivityDate="2021-04-20T18:19:12.613" Title="the arms of my puppet appear under the leg" Tags="|after-effects|animation|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33671" PostTypeId="2" ParentId="33586" CreationDate="2021-04-20T22:43:46.847" Score="1" Body="&lt;p&gt;The way I would do it is just duplicating my timeline, make one for each type of encoding I want (clip_001_youtube, clip_001_instagram,...), then use Media Encoder, just publish them all and then let ME do it's thing of batching them.&lt;/p&gt;&#xA;&lt;p&gt;I find it helpful to make a bunch of timelines that are almost the same. Sometimes, I use nesting to make it easier also.&lt;/p&gt;&#xA;" OwnerUserId="34660" LastEditorUserId="29988" LastEditDate="2021-04-21T07:17:50.143" LastActivityDate="2021-04-21T07:17:50.143" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33674" PostTypeId="2" ParentId="33662" CreationDate="2021-04-21T06:42:36.077" Score="0" Body="&lt;p&gt;They call that a &amp;quot;zone&amp;quot; which is something like a selection of the timeline. The video you've linked already shows how it can be used.&lt;/p&gt;&#xA;&lt;p&gt;I don't know why it's already there at the beginning of the video, it seems intentional and a very short Zone-bar is always there by default. That's maybe to remind the user of this feature but in any case is a strange decision in regard of user experience.&lt;/p&gt;&#xA;&lt;p&gt;The manual indicates such a zone can also be set via the program monitor. &lt;a href=&quot;https://userbase.kde.org/Kdenlive/Manual/Monitors#Creating_Zones_in_Project_Monitor&quot; rel=&quot;nofollow noreferrer&quot;&gt;More in the manual.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-04-21T06:42:36.077" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33675" PostTypeId="2" ParentId="22739" CreationDate="2021-04-21T06:49:21.540" Score="1" Body="&lt;p&gt;&lt;em&gt;(Just in case you don't want to have to watch a two and a half minute &amp;quot;tutorial&amp;quot; containing about ten seconds worth of useful information)&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;There is a column in your project window that shows how many times an item is used.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Th4fb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Th4fb.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;It's not visible by default&lt;/strong&gt;, you can make it so by right-clicking the column headers and choosing &lt;em&gt;Metadata Display&lt;/em&gt;, then ticking Audio/Video usage in the &lt;em&gt;Premiere Pro Project Metadata&lt;/em&gt; folder.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZeUGS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZeUGS.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-04-21T06:49:21.540" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33676" PostTypeId="2" ParentId="33656" CreationDate="2021-04-21T07:11:32.967" Score="2" Body="&lt;p&gt;Save the money for the on-camera mic, it is by far the worst option. Other options include:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;lapel or lavalier mics. Wireless lav mics are as you say expensive, but wired lav mics might be the cheapest option. You'll need something that can take 3 inputs, either a multitrack recorder, or a simple mixer to mix it to stereo (I'd mix the two subjects into one channel and the interviewer into the other).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you use a shotgun you can get excellent sound quality, but you'll need a boom and a boom swinger to make sure that the person talking is on-mic. For an unscripted interview with three people this is quite a tall order. If you don't have someone who can do the job of boom swinger, or if your subjects interrupt or talk over each other this is not recommended.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;a surface mic or an omnidirectional mic in the center of the speakers. This won't be as good as three lapel mics, because it will be further away from all of them, and will pick up more room ambience and bg noise. This is probably be the cheapest option, but the second worst (the worst being an on-camera mic).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-04-21T07:11:32.967" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33677" PostTypeId="2" ParentId="25489" CreationDate="2021-04-21T08:52:13.060" Score="1" Body="&lt;p&gt;I know this is an old topic but wanted to answer in case someone else is having the same question.&lt;/p&gt;&#xA;&lt;p&gt;In general, you can use both the &lt;code&gt;Live&lt;/code&gt; and &lt;code&gt;On-Demand&lt;/code&gt; DASH profiles for VoD content, for live content you need to use the &lt;code&gt;Live&lt;/code&gt; profile. The difference would be that if you have a 1:30 hrs VoD file if you are distributing it using DASH &lt;code&gt;Live&lt;/code&gt; Profile you will have a long manifest file with a big segment timeline list and a lot of mp4 (&lt;code&gt;90 * 3600/{segment duration}&lt;/code&gt;) segments while if you are using the &lt;code&gt;On-Demand&lt;/code&gt; profile you end up having a much shorter manifest file and a single &lt;code&gt;mp4&lt;/code&gt; file.&lt;/p&gt;&#xA;&lt;p&gt;In the case of &lt;code&gt;Live&lt;/code&gt; profile, the player would need to download the segments, while with &lt;code&gt;On-Demand&lt;/code&gt; profile it would simply send HTTP byte-range requests to the CDN to target a particular time in the content.&lt;/p&gt;&#xA;&lt;p&gt;Of course, this would result also in a lower CDN load, because in DASH &lt;code&gt;Live&lt;/code&gt; profile, the player would need to download all the segments to play the video, meaning that it would need to download the same mp4 header for each segment.&lt;/p&gt;&#xA;&lt;p&gt;If you are willing to optimize the content delivery, I strongly recommend adopting &lt;code&gt;On-Demand&lt;/code&gt; DASH profile.&lt;/p&gt;&#xA;" OwnerUserId="19853" LastActivityDate="2021-04-21T08:52:13.060" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33678" PostTypeId="1" CreationDate="2021-04-21T14:01:33.327" Score="1" ViewCount="144" Body="&lt;p&gt;Adding a large clip with Kdenlive takes a long time.&lt;br /&gt;&#xA;When I look at the system monitor it is using a single core at 100%&lt;/p&gt;&#xA;&lt;p&gt;How do I make the input process use multiple cores?&lt;/p&gt;&#xA;" OwnerUserId="34673" LastActivityDate="2021-04-21T14:01:33.327" Title="How Do I Make Kdenlive Use Multiple Threads For Import?" Tags="|linux|kdenlive|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33680" PostTypeId="1" CreationDate="2021-04-21T16:48:00.277" Score="1" ViewCount="22" Body="&lt;p&gt;So basically, im trying to create a meme using Adobe Premiere Pro 2020. I want to pan from one end of image to another, but without changing the image's position on the video.&#xA;I want it to look something like this: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/HrkNwjruz5k?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="34677" LastActivityDate="2021-04-21T16:48:00.277" Title="How do i pan on a image without changing its position?" Tags="|premiere|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33681" PostTypeId="2" ParentId="16674" CreationDate="2021-04-21T23:13:31.853" Score="2" Body="&lt;p&gt;Hellow. You need 4:4:4 pixel format and High444 profile in libx264 or h264_nvenc or other h264 encoder. And I guess that &lt;code&gt;qp 0&lt;/code&gt; is better then &lt;code&gt;crf 0&lt;/code&gt;. For example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-c:v h264_nvenc -qp 0 -pix_fmt yuv444p -profile:v high444p&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For screenrecording &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Capture/Desktop&quot; rel=&quot;nofollow noreferrer&quot;&gt;gdigrab&lt;/a&gt; is the best way.&#xA;P.S.: I use Nvidia HWacel of my GeForce1660 Ti Max-Q. It's very fast!&lt;/p&gt;&#xA;" OwnerUserId="34681" LastActivityDate="2021-04-21T23:13:31.853" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33682" PostTypeId="1" CreationDate="2021-04-22T02:10:16.457" Score="0" ViewCount="33" Body="&lt;p&gt;They are really big videos, of several gigabytes, with 100-150mbps bitrate. These files load and play normally with any player. I don't think they are hard to decode, it's just that they have a very high bitrate. Taking them in After Effects, however, takes several minutes. It takes 2-5 minutes for a video to appear in the timeline, and then the preview takes again extra 2-5 minutes to load the first time. After these two long loads, the video plays smoothly in the AE preview panel and I don't have any problem. What is causing these long loads? Is there a way to improve them?&lt;/p&gt;&#xA;" OwnerUserId="30069" LastActivityDate="2024-01-08T15:06:20.710" Title="Loading large videos in After Effects takes ages the first time. Any way to improve it?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33683" PostTypeId="2" ParentId="33468" CreationDate="2021-04-22T08:31:24.127" Score="2" Body="&lt;p&gt;For subtitle timing, I would suggest &lt;a href=&quot;https://unanimated.github.io/timing-basics.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;Aegisub&lt;/a&gt; and save the subtitles file as *.srt, then you can add the subtitles and export your video with &lt;a href=&quot;https://atomisystems.com/tutorials/ap8/add-closed-captions-activepresenter-8/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ActivePresenter&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34687" LastActivityDate="2021-04-22T08:31:24.127" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33685" PostTypeId="1" CreationDate="2021-04-22T12:34:03.517" Score="1" ViewCount="133" Body="&lt;p&gt;What exactly are the differences between lossless and lossy codecs? And is one better format better than the other or is it mostly relative?&lt;/p&gt;&#xA;" OwnerUserId="34688" LastActivityDate="2021-04-29T04:14:57.010" Title="What is the difference between lossless and lossy formats?" Tags="|video-quality|codec|file-formats|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33686" PostTypeId="1" CreationDate="2021-04-22T18:23:38.343" Score="1" ViewCount="179" Body="&lt;p&gt;Hoping someone out there can help me with this audio issue I'm having using FFmpeg. I've written a bash script using FFmpeg that processes as source a broadcast quality ProRes (HQ) file with four mono tracks of audio. Source audio is LPCM 24-bit, 48kHz signed little endian, and I am exporting the same. Track 1 is full mix left, track 2 is full mix right, track 3 is music/FX left and track 4 is music/FX right. The script takes the source video and trims the video asset using in and out points from a sidecar XML. It also adds a custom slate at the head that uses a separate slate-only MOV file and is joined together via concat. Custom text is added to the slate via the drawtext filter and, finally, audio tracks 3 and 4 are removed and tracks 1 and 2 are merged together into a single stereo interleaved track using amerge.&lt;/p&gt;&#xA;&lt;p&gt;All of this, seemingly, works like a charm. The problem I'm noticing occurs when I run the resulting export through our in-house QC software. This software detects audio signal clipping at multiple points throughout the file created by FFmpeg. When I create this exact same file via Adobe Premiere or another transcode system, our QC does not detect any clipping. Our QC tools also do not detect any clipping in the source file. This leads me to believe that the clipping is being introduced either by FFmpeg or by my implementation of it. I've tried multiple additional filters within FFmpeg, including pan, amix, volume, etc., but nothing seems to help.&lt;/p&gt;&#xA;&lt;p&gt;Anyone have any ideas? Pasting the relevant section of my script for reference:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-ss &amp;quot;$hour&amp;quot;:&amp;quot;$min&amp;quot;:&amp;quot;$sec&amp;quot;&amp;quot;$mil_fin&amp;quot; \&#xA;-t &amp;quot;$hour_minus&amp;quot;:&amp;quot;$min_b&amp;quot;:&amp;quot;$sec_b&amp;quot;&amp;quot;$mil_fin_b&amp;quot; \&#xA;-i &amp;quot;$vid&amp;quot; \&#xA;-i &amp;quot;$elements_path&amp;quot;Slate_HD.mov \&#xA;-filter_complex \&#xA;&amp;quot;[0:a:0] [0:a:1] amerge=inputs=2 [stereo]; \&#xA;[1:0] [1:1] [0:0] [stereo] concat=n=2:v=1:a=1 [v] [a]; \&#xA;[v]drawtext=enable='between(t,0,28)':fontfile=&amp;quot;$fonts&amp;quot;Arial.ttf:fontsize=50:fontcolor=white\&#xA;:x=170:y=170:text='$title', \&#xA;drawtext=enable='between(t,0,28)':fontfile=&amp;quot;$fonts&amp;quot;Arial.ttf:fontsize=50:fontcolor=white\&#xA;:x=170:y=170+50:text='Series $series_number Episode $episode_number', \&#xA;drawtext=enable='between(t,0,28)':fontfile=&amp;quot;$fonts&amp;quot;Arial.ttf:fontsize=50:fontcolor=white\&#xA;:x=170:y=170+150:text='$transcode_date', \&#xA;yadif=0:-1:0 [o]&amp;quot; \&#xA;-map '[o]' -map '[a]' \&#xA;-timecode 09:59:30:00 \&#xA;-c:v prores_ks -profile:v 3 \&#xA;-c:a pcm_s24le \&#xA;-threads 3 \&#xA;&amp;quot;$output_name&amp;quot;.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="34691" LastEditorUserId="34691" LastEditDate="2021-04-23T12:55:31.273" LastActivityDate="2021-04-23T12:55:31.273" Title="Audio clipping after amerge in FFmpeg" Tags="|video|ffmpeg|audio|prores|clipping|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33688" PostTypeId="2" ParentId="33682" CreationDate="2021-04-23T05:25:50.053" Score="0" Body="&lt;p&gt;If performance is sluggish, I would make sure the videos are the same resolution and frame rate as the format you plan to deliver your final video in.&lt;/p&gt;&#xA;&lt;p&gt;So if the videos you are trying to import are 4K, but you're working in HD in After Effects, I would transcode the videos down to HD.&lt;/p&gt;&#xA;&lt;p&gt;Also use a non-&lt;a href=&quot;https://en.wikipedia.org/wiki/Group_of_pictures&quot; rel=&quot;nofollow noreferrer&quot;&gt;GOP codec&lt;/a&gt; like ProRes instead of h264/mp4.  They perform better when editing, because the software doesn't have to &amp;quot;look ahead&amp;quot; across multiple frames in order to work out how to draw the current frame.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-04-23T05:25:50.053" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33689" PostTypeId="1" CreationDate="2021-04-23T23:26:38.820" Score="1" ViewCount="111" Body="&lt;p&gt;I've reproduced this issue in a simple sandbox: &lt;a href=&quot;https://codesandbox.io/s/practical-driscoll-veyc2&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://codesandbox.io/s/practical-driscoll-veyc2&lt;/a&gt; (you'll have to open &lt;a href=&quot;https://veyc2.csb.app/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://veyc2.csb.app/&lt;/a&gt; in a new tab to have the screen recording functionality to work).&lt;/p&gt;&#xA;&lt;p&gt;When using this sandbox to encode the mediastream to &lt;code&gt;video/webm;codecs=&amp;quot;h264&amp;quot;&lt;/code&gt;, the resulting video plays fine on a Macbook Pro with an intel chipset. However, when transferring that same file to an m1 macbook with hardware acceleration enabled, the video fails to play. You can transfer it by right clicking the video player, show controls, then press download under controls.&lt;/p&gt;&#xA;&lt;p&gt;When disabling hardware acceleration, or when creating a new recording and encoding it to h264 from that same m1 machine, the video plays fine.&lt;/p&gt;&#xA;&lt;p&gt;Why does a h264 encoded video recorded with HTML MediaRecorder on an Intel macbook not play on an m1 macbook with hardware acceleration enabled?&lt;/p&gt;&#xA;" OwnerUserId="34704" LastEditorUserId="34704" LastEditDate="2021-04-23T23:39:56.990" LastActivityDate="2021-04-23T23:39:56.990" Title="Why does a h264 encoded video recorded with HTML MediaRecorder on an Intel macbook not play on an m1 macbook with hardware acceleration enabled?" Tags="|encoding|h.264|" AnswerCount="0" CommentCount="3" ClosedDate="2021-05-05T13:52:59.383" ContentLicense="CC BY-SA 4.0" />
  <row Id="33690" PostTypeId="1" CreationDate="2021-04-24T04:39:49.340" Score="1" ViewCount="31" Body="&lt;p&gt;Sorry if it's not the right forum for such a question but is it possible to get any feedback from experimented filmmakers on how they transport their equipement abroad ?&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;For example, how do you handle customs ? Do you have like any specific document that allow you to get your equipement &amp;quot;anywhere&amp;quot; ? I'm talking about the case where you have 100 kg ~ 200 kg or more of equipement.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Which insurance do you have to protect the equipement from any baggage loss from the airline company (preferably a french or european insurance company) ? Some airline companies don't theoretically allow electronic equipement transport and hence in case of any loss, they refuse to refund. They allow it in practice but if they lose your luggage, they don't refund anything under the pretext of transporting electronics is not allowed.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;How do you handle the nightmare of transporting the batteries ? We had once a shooting in a remote area in Asia without electricity. We got some solar panels but we were unable to transport the batteries or big power banks. We couldn't even send them separately. FedEx, DHL, UPS all refused to transport them saying it' considered as dangerous good.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Any feedback is appreciated.&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="24447" LastEditorUserId="4426" LastEditDate="2021-04-27T10:06:59.023" LastActivityDate="2021-04-27T11:04:44.383" Title="Questions about Customs/Insurance/Transport for your equipment?" Tags="|production|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33691" PostTypeId="1" CreationDate="2021-04-24T08:42:24.450" Score="1" ViewCount="190" Body="&lt;p&gt;I would like to write an own script/macro/program/command similar to the &amp;quot;add image sequence&amp;quot; command. The main purpose is to insert portrait mode photos into the timeline, which are displayed on a side-by-side layout (two photos on one slide).&lt;/p&gt;&#xA;&lt;p&gt;Inserting this layout into the timeline by mouse and keyboard is quite a mess, though possible, so I think this could be automated in any way.&lt;/p&gt;&#xA;&lt;p&gt;Is this at all possible, and if so, where can I find additional information on scripting kdenlive?&lt;/p&gt;&#xA;&lt;p&gt;EDIT: If I could not describe my idea very well, see &lt;a href=&quot;https://www.youtube.com/watch?v=UnaoOrQNfBI&quot; rel=&quot;nofollow noreferrer&quot;&gt;this short video clip&lt;/a&gt; on Youtube.&lt;/p&gt;&#xA;" OwnerUserId="34708" LastEditorUserId="34708" LastEditDate="2021-04-24T11:46:04.087" LastActivityDate="2021-04-24T11:46:04.087" Title="Create own &quot;insert clip&quot; macro like &quot;add image sequence&quot; in kdenlive" Tags="|kdenlive|script|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33692" PostTypeId="1" AcceptedAnswerId="33719" CreationDate="2021-04-24T20:31:41.560" Score="0" ViewCount="3296" Body="&lt;p&gt;I am watching a tutorial about creating an animated title. The instructor shows his time line as A, however, mine is shown as B.&lt;/p&gt;&#xA;&lt;p&gt;How to change from B to A? I have searched for this but I could not find the proper settings on my installed Davinci Resolve 17 (the latest update, free version).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VOfXm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VOfXm.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18915" LastActivityDate="2021-04-29T09:12:36.463" Title="How to change timeline scale in Davinci Resolve Fusion page?" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33695" PostTypeId="2" ParentId="2488" CreationDate="2021-04-25T08:48:05.587" Score="-1" Body="&lt;p&gt;Based on this video&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/oUpqXxmr6oU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;I kind of figured it out how he did that. But the fact that I found this forum is because I thought it was amazing.&lt;/p&gt;&#xA;&lt;p&gt;I think the way he made the video is&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;record behind a glass&lt;/li&gt;&#xA;&lt;li&gt;draw on the glass like a whiteboard&lt;/li&gt;&#xA;&lt;li&gt;flip the video.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="34717" LastActivityDate="2021-04-25T08:48:05.587" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33697" PostTypeId="2" ParentId="32795" CreationDate="2021-04-25T21:07:14.040" Score="1" Body="&lt;p&gt;@Gyan is correct. add&#xA;-pix_fmt yuv420p&lt;/p&gt;&#xA;&lt;p&gt;I was in the exact situation @MatrixManAtYrService described and the video imported into Camtasia Studio correctly after converting with -pix_fmt yuv420p&lt;/p&gt;&#xA;" OwnerUserId="34721" LastActivityDate="2021-04-25T21:07:14.040" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33698" PostTypeId="2" ParentId="29277" CreationDate="2021-04-26T01:30:52.250" Score="0" Body="&lt;p&gt;Did you try given different commands to copy the codecs?&#xA;You're trying to mix sources, with different codecs in each source.&#xA;Also, I will specify more precisely the video stream, if you stream is &lt;code&gt;0:0&lt;/code&gt; I rather use that.&#xA;Something like:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.mkv -i input2.mp3 -map 0:0 -map 1 -c:v copy -c:a copy output.mkv &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It is not relevant if the length of the audio stream is different.&lt;/p&gt;&#xA;" OwnerUserId="34724" LastEditorUserId="14523" LastEditDate="2021-04-30T17:20:52.810" LastActivityDate="2021-04-30T17:20:52.810" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33700" PostTypeId="2" ParentId="33685" CreationDate="2021-04-26T13:37:46.497" Score="1" Body="&lt;p&gt;If you imagine you have a video signal, and you want to capture all of it.. Let's say it is 1920x1080 at 25fps. You can store all the information about every pixel at full colour depth on every frame.  This would be lossless - you could full recreate the signal upon playback, and it would be identical to the original that you captured.&lt;/p&gt;&#xA;&lt;p&gt;The downside of this process is that the files would be extremely large, and you may require relatively powerful hardware to successfully playback the signal successfully without dropping any frames.&lt;/p&gt;&#xA;&lt;p&gt;So you may compress the signal or file instead in a number of different ways:  You might look at each frame, and try to spot areas where there isn't much detail (such as in an out-of-foucus background).  Instead of storing every pixel in this area of the frame, you could say &amp;quot;these twenty pixels are all about the same shade of blue).  The frame you have stored would take up less space on your computer, but when you come to recreate the frame upon playback, it would no longer be identical to the original.&lt;/p&gt;&#xA;&lt;p&gt;Now you could also do this over time - this is called &lt;a href=&quot;https://en.wikipedia.org/wiki/Inter_frame&quot; rel=&quot;nofollow noreferrer&quot;&gt;inter-frame compression&lt;/a&gt;.  So you can look at a number of frames over time, and spot where there is little variation in the image - and only record information where there is a significant change.&lt;/p&gt;&#xA;&lt;p&gt;All of this involves working from a model of &amp;quot;perception&amp;quot; - what can the eye-brain combination see?  How clearly can it tell when something has been data reduced?&lt;/p&gt;&#xA;&lt;p&gt;Lossy formats can store the same video at much smaller file sizes.  Or - another way to look at it - with a given amount of bandwidth, you can transmit a much higher quality video if it is compressed than if it was transmitted as a lossless format.&lt;/p&gt;&#xA;&lt;p&gt;Recreating video from a lossy format also has performance overheads. So for a given system, you may find a codec that plays back well on one system performs very badly on another.&lt;/p&gt;&#xA;&lt;p&gt;In general, most video files delivered on the internet to consumers are lossy.  This is for the reason mentioned earlier - you can deliver a perceptably &amp;quot;better&amp;quot; looking file using a lossy codec faster, than you could if the file was lossless.  So final deliveries to website such as YouTube etc are usually in a lossy format such as h264.&lt;/p&gt;&#xA;&lt;p&gt;During the production process, this is not the case. If your camera can export it, and you have a fast enough computer, with enough storage space, you may want to use lossless formats for editing, or at least formats which don't use any inter-frame compression.  This is so that your computer doesn't need to &amp;quot;rebuild&amp;quot; frames that don't exist when you are scrubbing through your edit.  Each frame in a format like ProRes is fully described, even though there is still some data compression in the way the colour of each pixel is described.&lt;/p&gt;&#xA;&lt;p&gt;Lossless and lossy formats both have their place. They're both useful tools when used in the right part of the production process.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-04-26T13:37:46.497" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33701" PostTypeId="1" CreationDate="2021-04-26T20:14:09.533" Score="0" ViewCount="2206" Body="&lt;p&gt;I downloaded my own video from YouTube, it is 4k and is an av01 file type. Quicktime can't play it, VLC does.&lt;/p&gt;&#xA;&lt;p&gt;When I try to import the file into Premiere it gives me this error.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/656aJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/656aJ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Any solutions or do I just need to convert it using Handbrake or something? I don't want to lose quality etc.&lt;/p&gt;&#xA;" OwnerUserId="12801" LastActivityDate="2022-09-13T15:20:28.670" Title="Can Premiere edit AV01 files?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33702" PostTypeId="1" CreationDate="2021-04-27T03:44:24.870" Score="1" ViewCount="637" Body="&lt;p&gt;I created a library to integrate with ffmpeg via CLI. In tests I verify that ffprobe output can be parsed. One of the tests checks that with &lt;code&gt;-show_frames&lt;/code&gt; option frame data and side data are parsed correctly.&lt;/p&gt;&#xA;&lt;p&gt;Recently tests started to fail because of absent frame side data in output. After an investigation I found that it happened because of ffmpeg &amp;amp; ffprobe update.&lt;/p&gt;&#xA;&lt;p&gt;With ffprobe 4.3.1 side data is present:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;docker run --entrypoint=&amp;quot;ffprobe&amp;quot; collelog/ffmpeg:4.3.1-alpine-amd64 -show_frames -of flat https://samples.ffmpeg.org/3D/car.avi&#xA;...&#xA;frames.frame.2929.color_primaries=&amp;quot;unknown&amp;quot;&#xA;frames.frame.2929.color_transfer=&amp;quot;unknown&amp;quot;&#xA;frames.frame.2929.chroma_location=&amp;quot;unspecified&amp;quot;&#xA;frames.frame.2929.side_data_list.side_data.0.side_data_type=&amp;quot;QP table data&amp;quot;&#xA;frames.frame.2929.side_data_list.side_data.1.side_data_type=&amp;quot;QP table properties&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;With ffprobe 4.4 side data is absent:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;docker run --entrypoint=&amp;quot;ffprobe&amp;quot; collelog/ffmpeg:4.4-alpine-amd64 -show_frames -of flat https://samples.ffmpeg.org/3D/car.avi&#xA;...&#xA;frames.frame.2929.color_range=&amp;quot;unknown&amp;quot;&#xA;frames.frame.2929.color_space=&amp;quot;unknown&amp;quot;&#xA;frames.frame.2929.color_primaries=&amp;quot;unknown&amp;quot;&#xA;frames.frame.2929.color_transfer=&amp;quot;unknown&amp;quot;&#xA;frames.frame.2929.chroma_location=&amp;quot;unspecified&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is it a bug?&lt;/p&gt;&#xA;" OwnerUserId="23686" LastActivityDate="2021-04-27T03:44:24.870" Title="ffprobe 4.4 doesn't show Frame Side Data" Tags="|ffmpeg|ffprobe|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33704" PostTypeId="2" ParentId="19675" CreationDate="2021-04-27T06:52:38.127" Score="-1" Body="&lt;p&gt;Maybe you can give video editor (Adobe Premiere Pro, After Effects, etc) or video enhancer (AVCLabs Video Enhancer AI) a try.&lt;/p&gt;&#xA;" OwnerUserId="34743" LastActivityDate="2021-04-27T06:52:38.127" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33705" PostTypeId="2" ParentId="33690" CreationDate="2021-04-27T10:02:32.887" Score="3" Body="&lt;p&gt;I can only write from the experience of travelling from the UK to many other countries with kit a few years ago (pre-covid era):&lt;/p&gt;&#xA;&lt;p&gt;In the UK, if you provide an equipment list to the airport customs desk before you leave, they will examine it, take a copy and stamp it.  The form is called a &lt;a href=&quot;https://www.gov.uk/government/publications/import-and-export-returned-goods-relief-declarations-for-using-duplicate-lists-ce1246&quot; rel=&quot;nofollow noreferrer&quot;&gt;Returned Goods Relief Form&lt;/a&gt;.  This is to prove that you are taking valuable equipment out of the country for filming purposes, and plan to return with it (not sell it overseas and avoid paying taxes).&lt;/p&gt;&#xA;&lt;p&gt;The list needs to show every item of equipment you are carrying and should have columns for: Manufacturer, Manufacturers Model, Serial Number, Value (£).&lt;/p&gt;&#xA;&lt;p&gt;Print many copies of the equipment list, so that any official who demands one can take one.&lt;/p&gt;&#xA;&lt;p&gt;Put a copy of each equipment list in each bag, Put a &amp;quot;lost luggage&amp;quot; note in each suitcase in the local language, and English.  &lt;/p&gt;&#xA;&lt;p&gt;Customs in the incoming country is another issue.  It depends on the country.  Research it carefully. Some countries need you to buy a &amp;quot;carnet&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Make sure no bag weighs more that the allowed limit by the airline.&lt;/p&gt;&#xA;&lt;p&gt;With regards to batteries, the correct procedure a few years ago was to inform the airline that you would be carrying batteries. Make sure the weight of the batteries did not exceed their rules.  If they are Lithium Polymer (LiPo) batteries (often used in drones), carry them in LiPo bags which should reduce fire risk if they malfunction on the journey. Any exposed terminals should be taped over.  &lt;/p&gt;&#xA;&lt;p&gt;The airlines usually (and correctly) state that you should carry the batteries in hand luggage, so if they do malfunction, it would quickly become apparent - if they were in the hold, it would be too late to do anything.  Security guards in airports often aren't aware of this rule, and may try to get you to put batteries in the hold.  Allow time for this when you travel.&lt;/p&gt;&#xA;&lt;p&gt;Officials love letters. Get a letter from the airline confirming that you can travel with the batteries. Take a letter from your employer confirming that you will be filming in x country for y days and address it &amp;quot;to whom it may concern&amp;quot;.  Print many copies on headed paper. &lt;/p&gt;&#xA;&lt;p&gt;Can't comment on insurance as it was handled by the company I worked for.  Large broadcasters usually have insurance, but often the excess is so high it is effectively useless. More important is the third party liability insurance, in case you injure somebody else during your work.&lt;/p&gt;&#xA;&lt;p&gt;Also - use Peli cases. They're waterproof, fairly indestructible, and if they do get broken, &lt;a href=&quot;https://peliproducts.co.uk/info/returns#claim&quot; rel=&quot;nofollow noreferrer&quot;&gt;they will offer you a replacement&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-04-27T11:04:44.383" LastActivityDate="2021-04-27T11:04:44.383" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33706" PostTypeId="2" ParentId="12583" CreationDate="2021-04-27T11:25:27.530" Score="-2" Body="&lt;p&gt;I found a way to fix this problem if you are here today and accidentally or unknowingly recorded using hevc or having trouble with playback .mov&lt;/p&gt;&#xA;&lt;p&gt;Download reNamer by den4b and try replacing the .mov file with .m4a (note: .m4a not .mp4) i tried other file format like flv, avi none worked with Premiere&lt;/p&gt;&#xA;&lt;p&gt;Its been almost 5 years Adobe!&lt;/p&gt;&#xA;&lt;p&gt;Hope it works for you :)&lt;/p&gt;&#xA;" OwnerUserId="34746" LastActivityDate="2021-04-27T11:25:27.530" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33709" PostTypeId="2" ParentId="19730" CreationDate="2021-04-27T22:44:03.787" Score="1" Body="&lt;p&gt;As of Premiere 2021 you don't need to select all captions to change the style for the whole project. Just change the style for a single caption, and hit the &amp;quot;Push to Track or Style&amp;quot; button. All other clips in that style will take on those settings.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Uovl9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Uovl9.png&quot; alt=&quot;Push to track&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you have the option, push to style works just fine. I've had some trouble with push to all captions.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/qJ4Ls.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qJ4Ls.png&quot; alt=&quot;Push style attributes&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26535" LastActivityDate="2021-04-27T22:44:03.787" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33710" PostTypeId="1" CreationDate="2021-04-28T06:42:29.577" Score="0" ViewCount="752" Body="&lt;p&gt;I am trying to turn an m2ts to an mp4 and add geotagging metadata to it in the process.&#xA;I am using the following command&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.m2ts -movflags use_metadata_tags -map_metadata 0 -metadata location=41.380+2.180 -metadata location-eng=41.380+2.180 -vcodec libx264 -crf 20 -acodec ac3 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here's the exiftool info of the source m2ts (with grep for Date):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[File]  FileModifyDate         : 2011:10:09 20:39:52+02:00&#xA;[File]  FileAccessDate         : 2021:05:01 17:00:35+02:00&#xA;[File]  FileInodeChangeDate    : 2021:05:01 17:00:35+02:00&#xA;[H264]  DateTimeOriginal       : 2010:05:10 17:08:03+02:00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And here it is for the destination mp4 file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[File]          FileModifyDate          : 2021:05:01 17:29:21+02:00&#xA;[File]          FileAccessDate          : 2021:05:01 17:28:59+02:00&#xA;[File]          FileInodeChangeDate     : 2021:05:01 17:29:21+02:00&#xA;[QuickTime]     CreateDate              : 0000:00:00 00:00:00&#xA;[QuickTime]     ModifyDate              : 0000:00:00 00:00:00&#xA;[QuickTime]     TrackCreateDate         : 0000:00:00 00:00:00&#xA;[QuickTime]     TrackModifyDate         : 0000:00:00 00:00:00&#xA;[QuickTime]     MediaCreateDate         : 0000:00:00 00:00:00&#xA;[QuickTime]     MediaModifyDate         : 0000:00:00 00:00:00&#xA;[QuickTime]     TrackCreateDate         : 0000:00:00 00:00:00&#xA;[QuickTime]     TrackModifyDate         : 0000:00:00 00:00:00&#xA;[QuickTime]     MediaCreateDate         : 0000:00:00 00:00:00&#xA;[QuickTime]     MediaModifyDate         : 0000:00:00 00:00:00&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;These fields with 0's are a problem for me (Google Photos will think the file was created in 2021 instead of 2010).&lt;/p&gt;&#xA;&lt;p&gt;I expected the Date/Time Original field to be copied over either as it is, or its value to go into the Create Date field of the mp4.&lt;/p&gt;&#xA;&lt;p&gt;Any idea of how to get the value of Date/Time Original into the Create Date, keeping in mind that I am trying to automate a process and use this process to, umm, process tens of thousands of files ?&lt;/p&gt;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="34753" LastEditorUserId="34753" LastEditDate="2021-05-01T15:34:38.453" LastActivityDate="2021-05-01T15:34:38.453" Title="Converting m2ts to mp4 with ffmpeg I get empty date fields" Tags="|ffmpeg|mp4|metadata|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="33711" PostTypeId="2" ParentId="16642" CreationDate="2021-04-28T07:35:09.300" Score="1" Body="&lt;p&gt;A bit old one but Google still lists it...&lt;/p&gt;&#xA;&lt;p&gt;You can of course use RTSP &amp;quot;push&amp;quot; similar way as you'd do via FLV/RTMP. A bit less known method but also viable and supports H.265 (aka HEVC).&lt;/p&gt;&#xA;" OwnerUserId="20240" LastActivityDate="2021-04-28T07:35:09.300" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33712" PostTypeId="2" ParentId="33701" CreationDate="2021-04-28T09:08:42.960" Score="1" Body="&lt;p&gt;Whenever you get such an error it does indeed mean the file is not supported and you cannot edit it without transcoding it to another format first using another tool.&lt;/p&gt;&#xA;&lt;p&gt;Choose a compatible format and make sure the bitrate is set high enough to avoid noticeable compression artefacts. If possible, set the tool to copy the audio track because it probably doesn't need transcoding.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-04-28T09:08:42.960" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33713" PostTypeId="1" AcceptedAnswerId="33721" CreationDate="2021-04-28T12:48:13.343" Score="1" ViewCount="1004" Body="&lt;p&gt;I have a vídeo where I want to cut 2 parts and join them together but I want to put a part that happens at a later time first...&lt;/p&gt;&#xA;&lt;p&gt;For example cut seconds 23-30 and 45-50 and put the part with seconds 45-50 first.&lt;/p&gt;&#xA;&lt;p&gt;I used this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &amp;quot;select='between(t,45,50)+between(t,23,30)',scale=720:-1&amp;quot; &amp;quot;output.avi&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But even thoug I put the 45-50 part first in the command the output.avi plays the 23-30 part first in the output.avi video.&lt;/p&gt;&#xA;&lt;p&gt;How would I join this 2 videos and have the later part played first, I also tried it with filter_complex but I also have to scale the video and it looks like filter_complex and vf can't be used together.&lt;/p&gt;&#xA;&lt;p&gt;If possible I want to use only 1 reencoding to not loose much quality. Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="34759" LastActivityDate="2021-05-01T17:22:13.723" Title="ffmpeg: How to cut 2 parts of a Video an Join them together in specific order" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33714" PostTypeId="1" CreationDate="2021-04-28T17:03:33.260" Score="1" ViewCount="137" Body="&lt;p&gt;My question might seem a bit confusing but what I want is simply to look at a specific pixel value and when it has the value eg. (25,25,25) in rgb, it would use the drawbox filter to draw a rectangle somewhere else in the video.&lt;/p&gt;&#xA;&lt;p&gt;Having read the ffmpeg documentation I found that drawbox has timeline editing capabilities but it can only use the following values&lt;/p&gt;&#xA;&lt;p&gt;‘t’&#xA;timestamp expressed in seconds, NAN if the input timestamp is unknown&lt;/p&gt;&#xA;&lt;p&gt;‘n’&#xA;sequential number of the input frame, starting from 0&lt;/p&gt;&#xA;&lt;p&gt;‘pos’&#xA;the position in the file of the input frame, NAN if unknown&lt;/p&gt;&#xA;&lt;p&gt;‘w’&#xA;‘h’&#xA;width and height of the input frame if video&lt;/p&gt;&#xA;&lt;p&gt;So is there a way to achieve what I want using drawbox or maybe another filter like geq?&lt;/p&gt;&#xA;" OwnerUserId="34761" LastActivityDate="2021-04-28T17:03:33.260" Title="draw rectangle when pixel in video has specific value using ffmpeg" Tags="|video|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33716" PostTypeId="1" CreationDate="2021-04-28T23:00:01.870" Score="3" ViewCount="28" Body="&lt;p&gt;I'm just finishing up my animated short and preparing to submit to film festivals but I'm unsure how to go about end credits. The visuals of the film (written, design, storyboards, animation, compositing editing etc.) was done by me. Then I employed a sound designer/composer who composed the music, did simple sfx, but also voiced the main character. Plus a musician for the music.&#xA;I know how to list the musician but unsure how to title myself and my sound guy.&lt;/p&gt;&#xA;&lt;p&gt;Currently:&lt;/p&gt;&#xA;&lt;p&gt;Written &amp;amp; Created by: me&lt;/p&gt;&#xA;&lt;p&gt;Music &amp;amp; sound design&#xA;&amp;amp; voice of chara: sound guy&lt;/p&gt;&#xA;&lt;p&gt;Flutist: musician&lt;/p&gt;&#xA;&lt;p&gt;My sound guy's title seems clunky. I'm not sure &amp;quot;created by&amp;quot; is professional terminology.&lt;/p&gt;&#xA;&lt;p&gt;So help and ideas?&lt;/p&gt;&#xA;" OwnerUserId="34764" LastActivityDate="2021-04-28T23:00:01.870" Title="Help: Short film Credits (only 3 people)" Tags="|terminology|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33717" PostTypeId="1" AcceptedAnswerId="33742" CreationDate="2021-04-29T02:59:31.643" Score="0" ViewCount="357" Body="&lt;p&gt;I'm using Mac to make videos.&lt;/p&gt;&#xA;&lt;p&gt;I have iMovie and Final Cut Pro.&lt;/p&gt;&#xA;&lt;p&gt;It seems that the videos that can be uploaded to Twitter have a specific formats.&lt;/p&gt;&#xA;&lt;p&gt;Does anyone know what's the easiest way to make such a video in Mac?&lt;/p&gt;&#xA;" OwnerUserId="11511" LastActivityDate="2021-05-01T21:38:42.153" Title="How to create a video that can be uploaded to Twitter in Mac?" Tags="|final-cut-pro-x|final-cut-pro|mac|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33718" PostTypeId="2" ParentId="33685" CreationDate="2021-04-29T04:14:57.010" Score="0" Body="&lt;p&gt;Just to add a little detail to t @tomh's excelent answer: a 1920×1080 image comprises 2,073,600 pixels. To capture this in a way that includes all the visual information that you could see with your naked eye would require &lt;em&gt;at least&lt;/em&gt; 14 stops of dynamic range, which translates to 3 channels of 14-bit colour (the three channels are the RGB components, or more usually the YUV components, and since an ƒ-stop is a doubling of the light levels, and because each bit you add to the end a binary number doubles it, 14 stops = 14 bits). So that's 42 bits of colour information, per pixel, per frame, or 2,073,600×42 = 87,091,200 bits per frame or roughly 10 Mb. Multiply that by the number of frames per second, e.g. 25 and you need ≈ 250 Mb/s to represent the image. Every minute will require 15Gb of storage. It's pretty easy to see that compression is going to be necessary.&lt;/p&gt;&#xA;&lt;p&gt;There are lossless compression codecs that work by removing redundancy in the bits recorded, similar to the way you can zip a file on your computer to reduce the size, but still get back an identical copy when you unzip it. Most lossless compression uses this kind of compression scheme, particularly because a video stream usually has a lot of redundancy. They're nowhere near as efficient as lossy algorithms, but what you get out will be exactly the same as what you put in.&lt;/p&gt;&#xA;&lt;p&gt;Whether any codec is &lt;em&gt;better&lt;/em&gt; than another depends on a few factors, including:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;fidelity—how accurate the output is compared to the input&lt;/li&gt;&#xA;&lt;li&gt;data rate and efficiency—how much data it requires to record the video&lt;/li&gt;&#xA;&lt;li&gt;speed—how quick it is to encode / decode frames&lt;/li&gt;&#xA;&lt;li&gt;complexity—how much processing power is required to encode / decode the codec&lt;/li&gt;&#xA;&lt;li&gt;robustness—how well the codec deals with missing or corrupted data during transmission, e.g. digital terrestrial television broadcast&lt;/li&gt;&#xA;&lt;li&gt;availability—whether the codec is commonly available, whether it is free to use, also whether the format is open or closed source&lt;/li&gt;&#xA;&lt;li&gt;compatibility—with container formats—some codecs only work in quicktime .mov or .avi containers, and with playback technology, e.g. does it play in browsers&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-04-29T04:14:57.010" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33719" PostTypeId="2" ParentId="33692" CreationDate="2021-04-29T09:12:36.463" Score="1" Body="&lt;p&gt;You can change the preview scale using the numbers below the transport controls. When fusion clips come in from Resolve, Resolve determines the in and out points, based on where the clip sits in your timeline.  So changing the numbers to match a tutorial you’re following is probably not a good idea unless you’re using identical media, and have identical Resolve timelines.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-04-29T09:12:36.463" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33721" PostTypeId="2" ParentId="33713" CreationDate="2021-04-29T12:43:24.670" Score="1" Body="&lt;p&gt;Here's the thing about modern video—most formats are actually designed presuming a varying frame rate. We like to think of them like digital filmstrips, but that model rarely works when we're streaming over a network or capturing from many kinds of devices. So, every frame has what's called a &lt;em&gt;Presentation Time Stamp&lt;/em&gt;, or PTS.&lt;/p&gt;&#xA;&lt;p&gt;The problem here is that, while you do indeed concatenate in that order, the PTS for each frame never changes. You can actually manually set the PTS of a frame with the &lt;em&gt;setpts&lt;/em&gt; filter, which is definitely something to look into as panning video can get much more complicated than this, and it's deliciously flexible; but may require some reading to understand all of the parameters.&lt;/p&gt;&#xA;&lt;p&gt;The fields you'll need to know are PTS, which is the presentation timestamp &lt;em&gt;before&lt;/em&gt; the filter is run; STARTPTS, which is the presentation timestamp of the first frame rendered, and TB, which stands for Time Base and is basically the ratio between a PTS &amp;quot;tick&amp;quot; and a second; so if you know that your first clip is going to be five seconds long, and you want your second clip to start immediately afterward, you will want to add 5.0/TB to your new PTS.&lt;/p&gt;&#xA;&lt;p&gt;So, I suggest (PTS-STARTPTS)+(5/TB) for your second clip; but this isn't the only way to determine it and feel free to adjust it if the result doesn't feel right to you.&lt;/p&gt;&#xA;&lt;p&gt;We're going to use a complex filter here, as we're splitting our stream into two separate streams and concatenating them at the end. (Complex streams actually aren't all that bad, but do take a little getting used to.) One of the big differences with a complex filter is that you generally start each command by specifying a stream for it to use, and end each command specifying a new stream to write to, both in square brackets. When we begin with [0:v], that means to take the first input (input number zero from file input.mp4) and grab its video stream. What comes at the end can be used to identify it later when you want to filter it again.&lt;/p&gt;&#xA;&lt;p&gt;Lastly, it helps to use the -map tag to tell FFmpeg which stream it is writing from. It's critical, as if FFmpeg wasn't aware of which one to use you could end up with literally any stream or combination thereof in your file; and an invocation can take a while to complete.&lt;/p&gt;&#xA;&lt;p&gt;Your final command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex &amp;quot; \&#xA;    [0:v]select='between(t,45,50)'[v1], \&#xA;    [0:v]select='between(t,23,30)'[v2], \&#xA;    [v2]setpts='(PTS-STARTPTS)+(5/TB)'[v2], \&#xA;    [v1][v2]concat[outv], \&#xA;    [outv]scale=720:-1[outv]&amp;quot; \&#xA;    -map [outv] output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Remember that if you want to use this for any other file, you will need to adjust the (5/TB) part to match the end of your first clip.&lt;/p&gt;&#xA;&lt;p&gt;While I'm a very experienced programmer, I'm relatively new to FFmpeg in-depth; so it's possible that someone else here will have more details for you to consider.&lt;/p&gt;&#xA;" OwnerUserId="34752" LastActivityDate="2021-04-29T12:43:24.670" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="33722" PostTypeId="1" CreationDate="2021-04-29T18:22:53.247" Score="1" ViewCount="188" Body="&lt;p&gt;We are currently working with a 4k video file, and we need to be able to zoom in and pan the x- and y-axis to specific areas at specific times in the video to then be able to once more zoom out and pan again to a different area on a 1280×720 canvas.&lt;/p&gt;&#xA;&lt;p&gt;Smooth transitions to ease in/out between the two commands would also be preferable.&lt;/p&gt;&#xA;" OwnerUserId="34773" LastEditorUserId="18155" LastEditDate="2021-05-08T16:50:18.943" LastActivityDate="2021-05-08T16:50:18.943" Title="FFmpeg help . Need to be able to zoom and pan on a video at specific points and then be able to zoom out and pan in a different area of said video" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33724" PostTypeId="1" CreationDate="2021-04-29T21:43:01.990" Score="1" ViewCount="75" Body="&lt;p&gt;I'm having problems rendering &lt;a href=&quot;https://en.wiktionary.org/wiki/kaomoji&quot; rel=&quot;nofollow noreferrer&quot;&gt;Kaomoji&lt;/a&gt; characters using Premiere's text tool, I'm working on a windows environment. if I copy-paste the Kaomoji below:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;٩*ˊᗜˋو&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;It is rendered like this:&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/kQJ4D.png&quot;&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;On the effects panel it is shown properly though:&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/eimSf.png&quot;&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;I've tried many fonts even installed fonts that claim to support Kaomoji but the issue persist. Maybe I should tweak some text configuration setting which I'm not aware of?&lt;/p&gt;&#xA;" OwnerUserId="34774" LastEditorUserId="34774" LastEditDate="2021-04-30T07:24:28.207" LastActivityDate="2024-01-15T14:03:45.530" Title="Kaomoji characters on Text object" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33725" PostTypeId="1" CreationDate="2021-04-29T22:26:39.690" Score="0" ViewCount="995" Body="&lt;p&gt;Is it illegal for me to download DaVinci Resolve 17 just because I don't work for a company? The website is asking me to fill out a company that I am affiliated to but I am just a lone guy who want to do things for fun. Is it okay to download this?&lt;/p&gt;&#xA;" OwnerUserId="34776" LastActivityDate="2021-04-30T00:57:38.103" Title="Is it illegal for me to download DaVinci Resolve 17 just because I don't work for a company?" Tags="|video-editor|software-recommendation|software|legal|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33726" PostTypeId="2" ParentId="33724" CreationDate="2021-04-29T22:51:29.653" Score="0" Body="&lt;p&gt;Get them to work in TextEdit first (assuming you're on a mac).&#xA;Check exactly which font works in TextEdit.&#xA;Then try that font in Premiere when copying the characters from TextEdit using &amp;quot;paste and match style&amp;quot; into a text box.&lt;/p&gt;&#xA;&lt;p&gt;If that doesn't work, you might have to export from textedit as a PDF, then import the PDF in Premiere (but this means the text will no longer be editable in Premiere).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-04-29T22:51:29.653" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33728" PostTypeId="2" ParentId="33725" CreationDate="2021-04-30T00:44:55.307" Score="3" Body="&lt;p&gt;Yes, it’s ok*, as long as you’re downloading the free version (not the one that says “Studio”) of Resolve and not trying to circumvent their copyright protection.  When you download the software, they ask that you provide some information about yourself so that they can understand their market demographics.  If you don’t work for  a company, just put that, “self-employed,” “hobbyist,” “none,” or similar.  Even if you accidentally download the Studio version (happens all the time, and vice-versa, because both versions are similarly-named), you won’t be able to use it without paying for a license.  You are required to agree to their EULA to use either version.  Ultimately, it’s your responsibility to read it before you agree to it.  Trying to use the Studio (paid) version without paying for it would get you in trouble.  When you do pay for the Studio version, Blackmagic doesn’t require all of the demographic info, although I &lt;em&gt;think&lt;/em&gt; you’re required to register the software before they’ll give you tech support over the phone.&lt;/p&gt;&#xA;&lt;p&gt;*I’m not a lawyer.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-04-30T00:57:38.103" LastActivityDate="2021-04-30T00:57:38.103" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33729" PostTypeId="1" CreationDate="2021-04-30T10:28:59.333" Score="2" ViewCount="11" Body="&lt;p&gt;I'm working on a big project. It's on a fast SSD.  All good..&#xA;But it's starting to take ages to save.&lt;br /&gt;&#xA;What do you do to speed this up?&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Ditch old edit versions?&lt;/li&gt;&#xA;&lt;li&gt;Unlink After Effects comps that you've rendered?&lt;/li&gt;&#xA;&lt;li&gt;consolidate and save as? (seems a bit drastic and might take forever... and does it still crash all the time?)&lt;/li&gt;&#xA;&lt;li&gt;something I haven't thought of?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;What has the most effect on saving speed in your experience?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-04-30T10:28:59.333" Title="How to make a Premiere project save faster" Tags="|premiere|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33731" PostTypeId="2" ParentId="25879" CreationDate="2021-04-30T19:02:10.290" Score="1" Body="&lt;p&gt;A better way to do this is to make a .html file with this content:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;iframe width=&amp;quot;1920&amp;quot; height=&amp;quot;1080&amp;quot;src=&amp;quot;https://www.youtube.com/embed/[VIDEO ID]?&amp;amp;autoplay=1&amp;quot;frameborder=&amp;quot;0&amp;quot; allowfullscreen&amp;gt;&amp;lt;/iframe&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;replacing [VIDEO ID] with the youtube video id, then going into OBS and adding it as a local browser. Then it'll work a lot faster as it just loads the files you want.&lt;/p&gt;&#xA;" OwnerUserId="34787" LastEditorUserId="17147" LastEditDate="2022-11-01T16:34:53.663" LastActivityDate="2022-11-01T16:34:53.663" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33732" PostTypeId="1" CreationDate="2021-05-01T10:22:21.223" Score="0" ViewCount="260" Body="&lt;p&gt;I am finally using FFMPEG after using programs like Virtualdub2 but I do need some clarity with some of the commands. Do not get me wrong, the resources that some people sent to me do help but I do some clarity on some of the commands. When you are inputting a video to convert another video, do need to type out the file location or just the video file?&lt;/p&gt;&#xA;" OwnerUserId="34688" LastActivityDate="2022-02-05T22:34:02.300" Title="Can anyone give me a thorough explanation of some of the FFMPEG commands?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33733" PostTypeId="1" AcceptedAnswerId="33735" CreationDate="2021-05-01T10:34:16.453" Score="2" ViewCount="52" Body="&lt;p&gt;Was going to make a combination of 9 covers of people singing the same song. I have it synced already and it is on sync, problem is its just sound like literal ear ache when played.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/z9XRP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/z9XRP.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How to fix?&lt;/p&gt;&#xA;" OwnerUserId="34792" LastEditorUserId="4426" LastEditDate="2021-05-01T18:32:53.167" LastActivityDate="2021-05-01T18:32:53.167" Title="How to combine multiple audio tracks without sounding blasted?" Tags="|premiere|editing|audio|effects|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33735" PostTypeId="2" ParentId="33733" CreationDate="2021-05-01T12:28:04.400" Score="3" Body="&lt;p&gt;When you record each track, make sure that the level never goes up to zero on the meter.  If it hits zero, it means that the recording is &lt;a href=&quot;https://en.wikipedia.org/wiki/Clipping_(audio)&quot; rel=&quot;nofollow noreferrer&quot;&gt;clipping&lt;/a&gt;.  Clipping is when the computer can no longer accurately record the waveform. So instead of recording the shape of the wave, the upper and lower limits of it will be clipped in a straight line. So a tone sound like a sine wave would be clipped as shown below (the black line), instead of looking like the original wave (the grey line):&#xA;&lt;a href=&quot;https://i.stack.imgur.com/xLgKI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xLgKI.png&quot; alt=&quot;clipping image from wikipedia&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This results in a very distorted and unpleasant sound.&lt;/p&gt;&#xA;&lt;p&gt;When you mix multiple tracks together, the combined sound is louder than a single track on its own.  So you will need to make sure that the overall level of your project is also not clipping.  If it clips, you will see the meters in Premiere go red like this when they are clipping:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xQqx8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xQqx8.png&quot; alt=&quot;metering&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You need to make sure there is no clipping anywhere in your signal chain, from recording to mixing the final audio.&lt;/p&gt;&#xA;&lt;p&gt;Assuming the source material isn't distorted, you probably just need to reduce the level of each track in Premiere using the Audio Track Mixer (go to the Window Menu and select Audio Track mixer, and the name of the sequence you're working on).&lt;/p&gt;&#xA;&lt;p&gt;The Track mixer adjusts the audio on each track.  It is different from the clip mixer, which adjusts audio on each individual clip.&lt;/p&gt;&#xA;&lt;p&gt;So you might have many clips on a single track, and instead of adjusting each one separately, you can just adjust the whole track once.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-05-01T12:28:04.400" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33736" PostTypeId="1" CreationDate="2021-05-01T16:18:19.003" Score="0" ViewCount="279" Body="&lt;p&gt;I have a short screen recording of an old video game (duration 1:38.72, 2468 frames, 25 fps, 320×200 px, 4 colours only, bgr24, CamStudio Lossless Codec, no sound, AVI).&lt;/p&gt;&#xA;&lt;p&gt;The video contains an incorrect area (static, 16×16 px, top left corner at [136, 144]) in a range of frames (starting at 0:43.88 and ending at 1:38.44).&lt;/p&gt;&#xA;&lt;p&gt;I'd like to replace that area in that range with correct data, everything losslessly.&lt;/p&gt;&#xA;&lt;p&gt;I searched for &amp;quot;replace area in range of frames&amp;quot; on this server but didn't find anything.&lt;/p&gt;&#xA;&lt;p&gt;Would you know how to do that with free software on Windows please? Maybe FFmpeg?&lt;/p&gt;&#xA;" OwnerUserId="34610" LastEditorUserId="34610" LastEditDate="2021-05-05T06:51:21.700" LastActivityDate="2024-01-20T18:08:25.940" Title="How to losslessly replace a specific area in a range of frames" Tags="|editing|windows|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33739" PostTypeId="2" ParentId="33713" CreationDate="2021-05-01T17:22:13.723" Score="1" Body="&lt;p&gt;After playing around with @Michael Macha's answer I figured out a way to do what I wanted without having stuck frames and extra seconds on the beginning of the video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;Input.mp4&amp;quot; -filter_complex \&#xA;&amp;quot;[0:v]select='between(t,45,50)'[v1], \&#xA;[0:v]select='between(t,23,30)'[v2], \&#xA;[v1][v2]concat[outv],[outv]scale=720:-1[outv], \&#xA;[outv]setpts=N/FRAME_RATE/TB[outv]&amp;quot; -map [outv] output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="34759" LastActivityDate="2021-05-01T17:22:13.723" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33742" PostTypeId="2" ParentId="33717" CreationDate="2021-05-01T21:38:42.153" Score="1" Body="&lt;p&gt;From &lt;a href=&quot;https://help.twitter.com/en/using-twitter/twitter-videos&quot; rel=&quot;nofollow noreferrer&quot;&gt;Twitter's support page&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;We currently support MP4 and MOV video formats on mobile apps.&lt;/p&gt;&#xA;&lt;p&gt;On the web, we support the MP4 video format with H264 format with AAC&#xA;audio. You can upload videos up to 512MB, however you will be prompted&#xA;to edit videos to 2 minutes and 20 seconds or less in length.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;You can &lt;a href=&quot;https://www.rocketstock.com/blog/how-to-export-video-in-final-cut-pro/&quot; rel=&quot;nofollow noreferrer&quot;&gt;export an h264 format video directly from Final Cut&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-05-01T21:38:42.153" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33743" PostTypeId="2" ParentId="33736" CreationDate="2021-05-01T21:51:25.687" Score="0" Body="&lt;p&gt;I don't know if FFmpeg supports the Camstudio Lossless Codec, but if it would. Then replacing the area with a PNG file (hence: adding a logo) could be a solution.&lt;/p&gt;&#xA;&lt;p&gt;The explanation is done here at &amp;quot;Timing the overlay&amp;quot;.&#xA;&lt;a href=&quot;https://superuser.com/questions/683643/how-to-add-my-logo-for-the-first-30-seconds-in-a-video-with-ffmpeg&quot;&gt;https://superuser.com/questions/683643/how-to-add-my-logo-for-the-first-30-seconds-in-a-video-with-ffmpeg&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;In that example codec:a copy was already given (for audio). If you would take any lossless videocodec the result will be lossless.&lt;/p&gt;&#xA;" OwnerUserId="33326" LastActivityDate="2021-05-01T21:51:25.687" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33744" PostTypeId="1" CreationDate="2021-05-01T23:28:55.023" Score="0" ViewCount="3100" Body="&lt;p&gt;I have a folder of video files listing:&lt;/p&gt;&#xA;&lt;p&gt;1H.mp4;&#xA;1L.mp4;&#xA;2H.mp4;&#xA;2L.mp4;&#xA;....&lt;/p&gt;&#xA;&lt;p&gt;The sounds are unbalanced for two ears - it is probably due to the recording is stereo.  How can I change the audio tracks from stereo to mono for all the video files?&lt;/p&gt;&#xA;&lt;p&gt;I assume the workflow would be extract (copy) the audio tracks out, change to mono, then insert (copy) back. I have found codes for individual files, but with hundreds of such short mp4 files, I'd like to know if I can use a 'loop' to deal with them all.&lt;/p&gt;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="34800" LastActivityDate="2022-05-02T07:04:00.330" Title="ffmpeg convert stereo to mono for multiple video files" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33746" PostTypeId="2" ParentId="32709" CreationDate="2021-05-02T12:27:24.290" Score="0" Body="&lt;p&gt;I had the same thing; starting OBS in administrator-mode worked for me.&lt;/p&gt;&#xA;" OwnerUserId="34806" LastEditorUserId="29988" LastEditDate="2021-05-03T06:17:43.397" LastActivityDate="2021-05-03T06:17:43.397" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33750" PostTypeId="1" AcceptedAnswerId="33751" CreationDate="2021-05-03T18:06:10.583" Score="3" ViewCount="51" Body="&lt;p&gt;I am running a video/audio signal from a camera in a lobby to a Blackmagicdesign ATEM switcher that are about 150' apart but cable run will be closer to 200'. The video/audio from the camera in the lobby will be streamed online.&#xA;My initial design for your feedback...&#xA;Lobby will have camera with a Hollyland Mars 400S SDI/HDMI Wireless Video Transmission System. Once the signal is at the HDMI rx in the lobby it will output on an SDI port and make a 200' cable run to the Blackmagicdesign 8 port ATEM switcher.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Lobby Camera&lt;/strong&gt; &amp;lt;--HDMI cable--&amp;gt; &lt;strong&gt;HDMI tx&lt;/strong&gt; &amp;lt;--wireless--&amp;gt; &lt;strong&gt;HDMI rx&lt;/strong&gt; with SDI output &amp;lt;--cable?--&amp;gt; &lt;strong&gt;Blackmagicdesign ATEM switcher&lt;/strong&gt; to the live stream.&lt;/p&gt;&#xA;&lt;p&gt;Will RG59 75ohm cable work for that 200' run or does it need to be a special &amp;quot;SDI&amp;quot; rated cable? Again, it needs to transmit both the video and audio.&lt;/p&gt;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="34821" LastActivityDate="2021-05-03T21:27:52.477" Title="What cable for 200' run between camera (video/audio) and ATEM switcher" Tags="|video|audio|cable|sdi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33751" PostTypeId="2" ParentId="33750" CreationDate="2021-05-03T21:27:52.477" Score="1" Body="&lt;p&gt;You need to use cable specifically designed for SDI. RG59 essentially only defines the impedance and capacitance of the cable, not the return loss and attenuation characteristics. You can use reference charts from cable manufacturers like &lt;a href=&quot;https://cdn.belden.com/dfsmedia/f1e38517e0cd4caa8b1acb6619890f5e/6538-source/options/download&quot; rel=&quot;nofollow noreferrer&quot;&gt;Belden&lt;/a&gt; and &lt;a href=&quot;http://www.gepco.com/technical/sdi_distance_chart.htm?v=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;Gepco&lt;/a&gt; to select the right cable for your situation.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2021-05-03T21:27:52.477" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33752" PostTypeId="1" AcceptedAnswerId="33763" CreationDate="2021-05-04T11:03:48.643" Score="8" ViewCount="6129" Body="&lt;p&gt;I'm trying to get lossless conversion of 3gp to mp4 using ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;I tried&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.3gp -vcodec h264 -c:a aac output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I tried with &amp;quot;libx264&amp;quot; for the video codec, I tried just a simple&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.3gp output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;No matter what I try, for a 10 MB 3gp video I am getting a 5 MB mp4 video that doesn't seem to have the same quality.&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions are welcome.&lt;/p&gt;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here's what I get if I try to copy the Video and Audio codecs:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i  VIDEO0004.3gp  -c:v copy -c:a copy VIDEO0004.mp4&#xA;ffmpeg version 4.4 Copyright (c) 2000-2021 the FFmpeg developers&#xA;  built with Apple clang version 12.0.0 (clang-1200.0.32.29)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/4.4 --enable-shared --enable-pthreads --enable-version3 --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-ffplay --enable-gnutls --enable-gpl --enable-libaom --enable-libbluray --enable-libdav1d --enable-libmp3lame --enable-libopus --enable-librav1e --enable-librubberband --enable-libsnappy --enable-libsrt --enable-libtesseract --enable-libtheora --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libxvid --enable-lzma --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libspeex --enable-libsoxr --enable-libzmq --enable-libzimg --disable-libjack --disable-indev=jack --enable-videotoolbox&#xA;  libavutil      56. 70.100 / 56. 70.100&#xA;  libavcodec     58.134.100 / 58.134.100&#xA;  libavformat    58. 76.100 / 58. 76.100&#xA;  libavdevice    58. 13.100 / 58. 13.100&#xA;  libavfilter     7.110.100 /  7.110.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  9.100 /  5.  9.100&#xA;  libswresample   3.  9.100 /  3.  9.100&#xA;  libpostproc    55.  9.100 / 55.  9.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'VIDEO0004.3gp':&#xA;  Metadata:&#xA;    major_brand     : 3gp4&#xA;    minor_version   : 768&#xA;    compatible_brands: 3gp4mp413gp6&#xA;    creation_time   : 2011-02-06T16:39:49.000000Z&#xA;    copyright       : &#xA;    copyright-eng   : &#xA;    rating          : 0&#xA;    location-eng    : +00.0000+000.0000/??&#xA;    location        : +00.0000+000.0000/??&#xA;  Duration: 00:01:00.20, start: 0.000000, bitrate: 1369 kb/s&#xA;  Stream #0:0(eng): Video: mpeg4 (Simple Profile) (mp4v / 0x7634706D), yuv420p, 640x480 [SAR 1:1 DAR 4:3], 1355 kb/s, 9.90 fps, 9.92 tbr, 1k tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2011-02-06T16:39:49.000000Z&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #0:1(eng): Audio: amr_nb (samr / 0x726D6173), 8000 Hz, mono, flt, 12 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2011-02-06T16:39:49.000000Z&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;[mp4 @ 0x7fbaf5009600] Could not find tag for codec amr_nb in stream #1, codec not currently supported in container&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Invalid argument&#xA;Error initializing output stream 0:1 -- &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="34753" LastEditorUserId="37172" LastEditDate="2022-02-07T11:25:35.900" LastActivityDate="2022-02-07T11:25:35.900" Title="Lossless convert 3gp video to mp4 using ffmpeg" Tags="|ffmpeg|mp4|conversion|lossless|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33753" PostTypeId="1" CreationDate="2021-05-04T14:44:59.000" Score="1" ViewCount="61" Body="&lt;p&gt;Is there anyway to swap a composition with another via the timeline, so the new one still has all the same properties as the old one? (rather than just putting them on separate layers and ending one and starting a new one).&lt;/p&gt;&#xA;&lt;p&gt;Or maybe hide/show the layers within the comp via the timeline? (trying to animate a character with a few preset animations)&lt;/p&gt;&#xA;&lt;p&gt;Right now I have the animations on separate layers, but it's annoying to keep adding a layer every time i want to swap the animation, because it makes lots of layers, and i have to manually line them up every single time.&lt;/p&gt;&#xA;&lt;p&gt;This is what I currently have, but I'd like it to all be on a single layer:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/RAFri.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RAFri.png&quot; alt=&quot;https://i.imgur.com/XfLGkf5.png&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="15862" LastActivityDate="2021-05-17T18:07:34.780" Title="Can I swap out compositions, or control a composition's layer visibility via the timeline?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33755" PostTypeId="2" ParentId="12224" CreationDate="2021-05-04T16:57:00.857" Score="1" Body="&lt;p&gt;I am using Zoom.  Login as the only user, and select record.  The sound and picture are good, ir waves in mp4, and green screen is built in if you want it.&lt;/p&gt;&#xA;" OwnerUserId="34829" LastActivityDate="2021-05-04T16:57:00.857" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33756" PostTypeId="1" CreationDate="2021-05-04T20:32:08.747" Score="0" ViewCount="325" Body="&lt;p&gt;In Magix/Sony Vegas Pro I could just drag click it. I don't want to use the &amp;quot;in and out points&amp;quot; or how you call them, I want to select a region by drag-selecting with my mouse and then adjusting it if needed. I remember I did this somehow in Premiere Pro 2019 but I am not sure about this version.&lt;/p&gt;&#xA;" OwnerUserId="34830" LastActivityDate="2024-01-20T17:00:50.167" Title="Adobe Premiere Pro - How do I select a Region in the Timeline using Mouse" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33757" PostTypeId="1" CreationDate="2021-05-04T22:25:04.800" Score="0" ViewCount="502" Body="&lt;p&gt;I want to reduce the file size of a bunch of videos at once on my Mac.&lt;/p&gt;&#xA;&lt;p&gt;Would you know any free tool that does that or any way to automate a loop in Automator to pilot Handbrake to loop on a given folder?&lt;/p&gt;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="34832" LastActivityDate="2021-06-06T23:08:29.060" Title="Compress multiple videos at once on a Mac" Tags="|video|compression|automation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33759" PostTypeId="2" ParentId="33753" CreationDate="2021-05-05T08:18:32.243" Score="1" Body="&lt;p&gt;You can replace a comp in the timeline with a comp from your project tab:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select a comp in the project tab&lt;/li&gt;&#xA;&lt;li&gt;Select the layer in your timeline that you want to replace&lt;/li&gt;&#xA;&lt;li&gt;Hold down &lt;kbd&gt;alt&lt;/kbd&gt;&lt;/li&gt;&#xA;&lt;li&gt;Drag and drop the new comp from the project window&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;It will replace the layer in the timeline, maintaining all the settings on that layer.&lt;/p&gt;&#xA;&lt;p&gt;You can show or hide a layer using the Opacity control on each layer. Select the layer and press &lt;kbd&gt;T&lt;/kbd&gt; to reveal them (remember it as &amp;quot;opaci-T&amp;quot;).&lt;/p&gt;&#xA;&lt;p&gt;Then you can make a keyframe on that layer to animate it on or off (hold keyframes are useful for this).&lt;/p&gt;&#xA;&lt;p&gt;You could also pre-comp all your layers onto a single layer, then use Time remap to select which frames appear when (and use &lt;a href=&quot;https://www.schoolofmotion.com/blog/loop-expression-after-effects&quot; rel=&quot;nofollow noreferrer&quot;&gt;the Loop expression&lt;/a&gt; on the time remapping to loop sections if necessary).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-05-05T12:27:16.313" LastActivityDate="2021-05-05T12:27:16.313" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33760" PostTypeId="2" ParentId="33757" CreationDate="2021-05-05T08:27:09.167" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://handbrake.fr/docs/en/latest/advanced/queue.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Handbrake can queue&lt;/a&gt; up a batch of files.&lt;/p&gt;&#xA;&lt;p&gt;FFmpeg is free and works on a mac, but you'd have to run it from Terminal.&#xA;You can install it using &lt;a href=&quot;https://brew.sh/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Homebrew&lt;/a&gt; for Mac.&lt;/p&gt;&#xA;&lt;p&gt;Once Homebrew is installed, go to Terminal and type&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;brew install ffmpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then you should be able to change directory to wherever your files are by typing something like:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;cd /Users/my.username/Movies&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;where my.username would be your username on that mac, and Movies would be whatever directory the files were in&lt;/p&gt;&#xA;&lt;p&gt;Then you can convert them by typing something like&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Where input.mp4 is your source file, and output.webm is your output file.&lt;/p&gt;&#xA;&lt;p&gt;To convert all the mp4 files in that directory you would enter&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i *.mp4 output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://opensource.com/article/17/6/ffmpeg-convert-media-file-formats&quot; rel=&quot;nofollow noreferrer&quot;&gt;More info on selecting different codecs&lt;/a&gt; etc.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-06-06T23:08:29.060" LastActivityDate="2021-06-06T23:08:29.060" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33761" PostTypeId="2" ParentId="33756" CreationDate="2021-05-05T09:30:02.140" Score="0" Body="&lt;p&gt;Not sure it can do exactly what you're asking for.&lt;/p&gt;&#xA;&lt;p&gt;Nearest I can think of is selecting the razor blade tool (or press  &lt;kbd&gt;C&lt;/kbd&gt;).&#xA;Making a cut using the mouse on your region, then switching back to the selection tool (or press &lt;kbd&gt;V&lt;/kbd&gt;).&#xA;Then selecting your region, and adjusting the ends if necessary by floating over them, then dragging.&lt;/p&gt;&#xA;&lt;p&gt;(In and Out points are massively useful when you get into more complex edits.  There's a reason most editing software uses them - they're worth learning to use).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-05-05T09:30:02.140" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33762" PostTypeId="2" ParentId="33736" CreationDate="2021-05-05T13:07:36.617" Score="0" Body="&lt;p&gt;I would use &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve/edit&quot; rel=&quot;nofollow noreferrer&quot;&gt;Davinci Resolve&lt;/a&gt; to do this.&#xA;It is free, runs on windows, and &lt;a href=&quot;https://www.premiumbeat.com/blog/make-objects-disappear-davinci-resolve/&quot; rel=&quot;nofollow noreferrer&quot;&gt;has great object removal tools&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-05-05T13:07:36.617" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33763" PostTypeId="2" ParentId="33752" CreationDate="2021-05-05T13:23:56.003" Score="7" Body="&lt;p&gt;If the codecs of your input file are already h264 and aac for video and audio, respectively, you can just copy without decoding and encoding again.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.3gp -c:v copy -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The options &lt;code&gt;-c:v copy&lt;/code&gt; and &lt;code&gt;-c:a copy&lt;/code&gt; indicate video and audio won't be encoded again, respectively. If audio format in the input cannot be embedded to the output, you need to omit &lt;code&gt;-c:a copy&lt;/code&gt; from above command.&lt;/p&gt;&#xA;&lt;p&gt;If you need to encode again, an option &lt;code&gt;-qscale 0&lt;/code&gt; will result similar quality (but not lossless).&#xA;below is an example.&#xA;You might combine with &lt;code&gt;-c:v copy&lt;/code&gt; or &lt;code&gt;-c:a copy&lt;/code&gt; if you don't need to encode video or audio again.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.3gp -qscale 0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33279" LastEditorUserId="33279" LastEditDate="2021-05-28T13:57:05.487" LastActivityDate="2021-05-28T13:57:05.487" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33766" PostTypeId="2" ParentId="7729" CreationDate="2021-05-05T16:39:43.327" Score="0" Body="&lt;p&gt;One way I have found that works is to change the ISO setting.&lt;/p&gt;&#xA;&lt;p&gt;For example, if I set my camera to 200 and look at an image being made by a projector, I can see a faint rainbow line go across the screen. If I set it higher, it gets bigger and at a point it looks like a continuous rainbow going across. Also zooming in seems to make it worse.&lt;/p&gt;&#xA;" OwnerUserId="34852" LastEditorUserId="18155" LastEditDate="2021-05-08T16:52:32.000" LastActivityDate="2021-05-08T16:52:32.000" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33767" PostTypeId="1" CreationDate="2021-05-05T18:07:47.157" Score="0" ViewCount="683" Body="&lt;p&gt;I have about 300GB of assets that have been deemed &amp;quot;corrupt&amp;quot; by FFprobe but most all of them still have playable portions of the video.&lt;/p&gt;&#xA;&lt;p&gt;What I've been trying to determine how to do is either one at a time or in batch, use FFMPEG or another app/tool to re-encode the assets dropping all the bad frames leaving me with an albeit, still not 100% complete, but at least usable assets.&lt;/p&gt;&#xA;&lt;p&gt;Can anyone shed any light on this? Offer any ideas or suggestions? I can run on either Windows, MacOS or Linux OS and am competent with basic scripting and terminal command usage.&lt;/p&gt;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;&lt;p&gt;Jason&lt;/p&gt;&#xA;" OwnerUserId="34856" LastActivityDate="2023-09-23T10:03:40.427" Title="Re-encode corrupt videos (that still play) and drop bad frames FFMPEG or other app?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33769" PostTypeId="1" AcceptedAnswerId="33770" CreationDate="2021-05-05T19:05:22.253" Score="0" ViewCount="41" Body="&lt;p&gt;I want to add a beginning like in this video&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/vJEO57B05Sg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;Which software should I use?&lt;/p&gt;&#xA;&lt;p&gt;I am completely clueless. Help&lt;/p&gt;&#xA;" OwnerUserId="34857" LastEditorUserId="34857" LastEditDate="2021-05-05T20:42:50.580" LastActivityDate="2021-05-05T20:42:50.580" Title="How can I add video effects like these to my video" Tags="|video|" AnswerCount="1" CommentCount="0" ClosedDate="2021-05-07T15:14:53.277" ContentLicense="CC BY-SA 4.0" />
  <row Id="33770" PostTypeId="2" ParentId="33769" CreationDate="2021-05-05T19:10:37.130" Score="0" Body="&lt;p&gt;Everyone's clueless when they start. Dive in :)&lt;/p&gt;&#xA;&lt;p&gt;I reckon this was made with &lt;a href=&quot;https://www.adobe.com/uk/products/aftereffects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe After Effects&lt;/a&gt;.&#xA;It's a combination of shapes, masks, and text animating on, with lots of easing and bouncing on the movement.&lt;/p&gt;&#xA;&lt;p&gt;This is a great but old free tutorial on the basics of after effects:&#xA;&lt;a href=&quot;https://www.videocopilot.net/basic/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.videocopilot.net/basic/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The easing and bouncing might have been done manually, but more likely using something like the &lt;a href=&quot;https://www.mtmograph.com/products/motion-3&quot; rel=&quot;nofollow noreferrer&quot;&gt;Mt MoGraph Motion&lt;/a&gt; plugin.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-05-05T19:10:37.130" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="33771" PostTypeId="1" CreationDate="2021-05-05T20:13:35.397" Score="0" ViewCount="42" Body="&lt;p&gt;I'm helping a friend to assess external storage options. We are &lt;em&gt;hoping&lt;/em&gt; that a Lacie 2big will be fast enough to support a 4K final cut work flow. Can two spinning 7200RPM drives configured as RAID 0 even play back 4k ProRes raw?&lt;/p&gt;&#xA;&lt;p&gt;I found an &lt;a href=&quot;https://images.apple.com/final-cut-pro/docs/Apple_ProRes_White_Paper.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;apple white paper&lt;/a&gt; which looks extremely informative -- &lt;strong&gt;can someone confirm that &amp;quot;Mbps&amp;quot; in this document refers to megaBITS per second?&lt;/strong&gt; If so, we see these data rates for ProRes 4444 (no alpha):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;24p     1697 mbps   212.125 MB/s&#xA;25p     1769 mbps   221.125 MB/s&#xA;30p     2121 mbps   265.125 MB/s&#xA;50p     3539 mbps   442.375 MB/s&#xA;60p     4242 mbps   530.25 MB/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If I understand that white  paper correctly, those data rates look pretty high for just two drives. &lt;strong&gt;Does anyone have any personal experience working with 4K ProRes RAW off a pair of spinning drives in RAID 0?&lt;/strong&gt; Is this feasible? Or should we be looking at 4-drive or 5-drive units?&lt;/p&gt;&#xA;" OwnerUserId="34858" LastActivityDate="2021-05-05T20:13:35.397" Title="Can two spinning drives in RAID 0 configuration support 4K ProRes Raw data rates?" Tags="|final-cut-pro|prores|storage|raw|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33773" PostTypeId="2" ParentId="12227" CreationDate="2021-05-05T22:11:59.473" Score="0" Body="&lt;p&gt;Also, these days you can use this nice crossplatform GUI tool &lt;a href=&quot;https://github.com/mifi/lossless-cut&quot; rel=&quot;nofollow noreferrer&quot;&gt;LosslessCut&lt;/a&gt; (with &lt;a href=&quot;https://www.ffmpeg.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; under the hood).&lt;/p&gt;&#xA;" OwnerUserId="4633" LastActivityDate="2021-05-05T22:11:59.473" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33774" PostTypeId="1" AcceptedAnswerId="33786" CreationDate="2021-05-05T23:42:26.373" Score="0" ViewCount="135" Body="&lt;p&gt;I'm using OBS to record some videos for youtube with a webcam. Right now I'm using the Logitech BRIO Ultra HD. It's alright... but definitely could be better. I'm looking to upgrade to something high quality but before I shell out for a $2000 Sony A7 III which I don't feel like I can really afford, is an iPhone camera also a possibility for this usecase?&lt;/p&gt;&#xA;&lt;p&gt;I have an iPhone 7 atm, is it already better than the Brio? If I get the iPhone 12/Galaxy S21 would it be what I need?&lt;/p&gt;&#xA;&lt;p&gt;I'm just looking to vastly improve the quality of my videos. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="1795" LastActivityDate="2021-05-14T15:47:40.443" Title="phone vs dslr vs webcam for making videos" Tags="|youtube|camera|dslr|obs|iphone|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33775" PostTypeId="2" ParentId="30434" CreationDate="2021-05-06T01:55:50.417" Score="1" Body="&lt;p&gt;I'm assuming Skype is decoding and re-encoding the video stream at that point.  If so, then yes, that's probably entirely normal.  You have two MPEG encoders running at the same time.  My 2017 MBP (i7) struggles to do that with Zoom.&lt;/p&gt;&#xA;" OwnerUserId="34861" LastActivityDate="2021-05-06T01:55:50.417" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33776" PostTypeId="2" ParentId="33767" CreationDate="2021-05-06T05:07:48.190" Score="1" Body="&lt;p&gt;I would try TMPG Smart Renderer, &lt;a href=&quot;https://tmpgenc.pegasys-inc.com/en/product/tmsr6.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://tmpgenc.pegasys-inc.com/en/product/tmsr6.html&lt;/a&gt;. It should just &amp;quot;pass-through&amp;quot; any non-corrupted video, and will re-encode the portions of the file the need to be. Or you can manually cut those pieces out. It will depend how corrupt the input is as to what you'll need to do. It is a commercial product, but for a one-off project you can likely do everything you need in trial mode.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2021-05-06T05:07:48.190" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33780" PostTypeId="1" CreationDate="2021-05-06T18:24:40.430" Score="0" ViewCount="274" Body="&lt;p&gt;I am new to FFmpeg. I just want to know how I could keep the original scale of the video. The original size of the video is that its frame width is 1820 while its frame height is 720. The original data rate is 1429 kbps, while the original total bitrate is 1589 kbps. The original frame rate is 30.00 frames/second.&lt;/p&gt;&#xA;&lt;p&gt;How can I keep the original ones. Like I mean is that what should be my version of this below:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i Happy.mp4 -vf scale=800:-1 -r 20 Lucky.gif&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You see I am trying to make a gif while keeping the original properties of the video, so please help me.&lt;/p&gt;&#xA;&lt;p&gt;Also, how does scaling in general work in FFmpeg?&lt;/p&gt;&#xA;" OwnerUserId="34776" LastEditorUserId="18155" LastEditDate="2023-09-24T16:32:37.080" LastActivityDate="2023-09-24T16:32:37.080" Title="How does scaling work in ffmpeg?" Tags="|video|ffmpeg|video-editor|editing|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33781" PostTypeId="2" ParentId="33780" CreationDate="2021-05-07T03:50:27.390" Score="1" Body="&lt;p&gt;Remove &lt;code&gt;-vf scale=800:-1&lt;/code&gt; to avoid rescaling. Remove &lt;code&gt;-r 20&lt;/code&gt; to avoid changing frame rate. You're transcoding from a stream in a MP4 to the GIF codec, so the bitrate will not remain the same, nor is there any sense in trying to keep it the same.&lt;/p&gt;&#xA;&lt;p&gt;A stream is scaled by using the scale filter in a simple filterchain &lt;code&gt;-vf&lt;/code&gt; or a complex filterchain &lt;code&gt;-filter_complex&lt;/code&gt; or using the &lt;code&gt;-s WIDTHxHEIGHT&lt;/code&gt; output option.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-05-07T03:50:27.390" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33784" PostTypeId="2" ParentId="29551" CreationDate="2021-05-08T01:32:35.090" Score="2" Body="&lt;p&gt;I use this command to transcode video lectures primarily composed of static images with only the lecturer's voice overlaid.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:06:00 -i input.mp4 -filter_complex '[0:v]fps=fps=1[v1],[v1]interlace[v2],[0:a]dynaudnorm[a]' -c:v libx265 -x265-params bframes=16 -crf 45 -c:a libopus -ac 1 -b:a 24K -ar 16K -map &amp;quot;[v2]&amp;quot; -map &amp;quot;[a]&amp;quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;explanation:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-ss 00:06:00&lt;/code&gt;: cut out the first 6:00 minutes from the video. This will obviously reduce the length of your video but also its size. I use it to leave out the duration between the meeting start and when the lecturer starts speaking. there are also &lt;code&gt;-t&lt;/code&gt; and &lt;code&gt;-to&lt;/code&gt; options to cut from the end of your video.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-i input.mp4&lt;/code&gt;: the input file. it is designated &lt;code&gt;[0]&lt;/code&gt; when referenced afterwards. This is because some ffmpeg commands take multiple input files &lt;code&gt;ffmpeg -i input1.mp4 -i input2.mp4 ... output.mp4&lt;/code&gt; and they would be numbered as &lt;code&gt;[0] [1] [2] ...&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-filter_complex&lt;/code&gt;: I am going to define a set of filters applied on the audio and the video of my input file, separately.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;[0:v]fps=fps=1[v1]&lt;/code&gt;: the first filter takes the video stream from input &lt;code&gt;[0]&lt;/code&gt; and reduces it's framerate to 1 frame/second. I call the output video stream &lt;code&gt;[v1]&lt;/code&gt; but, you could call it anything.&lt;/p&gt;&#xA;&lt;p&gt;This will produce a laggy video output. I don't care about that since my videos are static images. I guess you wouldn't too since it's only important to identify the speaker's face. you should experiment a little with the different values of this filter. I recommend something between &lt;code&gt;0.5&lt;/code&gt; and &lt;code&gt;10&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;[v1]interlace[v2]&lt;/code&gt;: This will take the video stream &lt;code&gt;[v1]&lt;/code&gt;, interlace it, and output a video stream called &lt;code&gt;[v2]&lt;/code&gt;. Interlacing a video stream means that instead of displaying every line of pixels from that video on the screen every frame, each frame of video now displays a line of pixels and skips the next. and the human eye will make up the difference. the advantage of interlacing is that you could halve the frame rate (further) of your video stream without making the video appear more laggy.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;[0:a]dynaudnorm[a]&lt;/code&gt;: will take the audio stream of your input file and normalize it. This filter lets &lt;code&gt;ffmpeg&lt;/code&gt; decide how to normalize audio itself and allows it to change the characteristics of that audio. This is bad for music but, Ok for speech.&lt;/p&gt;&#xA;&lt;p&gt;There are many other filters that I do not use but could be beneficial for other use cases. for example &lt;code&gt;crop&lt;/code&gt; and &lt;code&gt;cropdetect&lt;/code&gt; to crop the height and weight of your video (in case you have large black borders) reducing file size, &lt;code&gt;scale&lt;/code&gt; to change height and width without cropping, &lt;code&gt;afftdn&lt;/code&gt;, &lt;code&gt;anlmdn&lt;/code&gt;, &lt;code&gt;arnndn&lt;/code&gt; (&lt;a href=&quot;https://superuser.com/questions/733061/reduce-background-noise-and-optimize-the-speech-from-an-audio-clip-using-ffmpeg&quot;&gt;Thread from Superuser&lt;/a&gt;), and the &lt;code&gt;sox&lt;/code&gt; command (&lt;a href=&quot;http://www.zoharbabin.com/how-to-do-noise-reduction-using-ffmpeg-and-sox/&quot; rel=&quot;nofollow noreferrer&quot;&gt;tutorial&lt;/a&gt;) for noise cancellation. since audio is the only important aspect of your file you could use the &lt;code&gt;silencedetect&lt;/code&gt; filter to detect the places in your video where there is no audio. then cut these parts out with a second ffmpeg command.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-map &amp;quot;[v2]&amp;quot; -map &amp;quot;[a]&amp;quot;&lt;/code&gt;: This tells ffmpeg to use &lt;code&gt;[v2]&lt;/code&gt; video streams and &lt;code&gt;[a]&lt;/code&gt; audio stream as the audio and video streams of the output file.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-c:v libx265&lt;/code&gt;: sets the video stream codec to &lt;code&gt;x265&lt;/code&gt;. roughly speaking, &lt;strong&gt;codecs decide how bits are translated to video&lt;/strong&gt;. Better codecs will translate more video details for fewer number of bits. &lt;code&gt;x265&lt;/code&gt; is among the more efficient codecs and transcoding your video from the old &lt;code&gt;x264&lt;/code&gt; to &lt;code&gt;x265&lt;/code&gt; could alone reduce video size by 50%.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-x265-params bframes=16&lt;/code&gt;: This is passed directly to the &lt;code&gt;x265&lt;/code&gt; encoder. I don't really understand what this parameter does. but I noticed that it more or less does the same thing as the &lt;code&gt;fps&lt;/code&gt; filter. using both of them however reduces file size more than using either of them alone. &lt;code&gt;16&lt;/code&gt; is the largest possible value for this parameter.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-crf 45&lt;/code&gt;: reduces video bitrate (bits/second) to achieve fixed quality. the higher this value, the lower the quality will be. the default value is 28 but I often use values between &lt;code&gt;40&lt;/code&gt; and &lt;code&gt;51&lt;/code&gt; (largest possible value) when I don't really care about video quality.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-c:a libopus&lt;/code&gt;: This will change the audio codec to Opus. Opus is a very efficient audio codec and has special setting for speech. it decides whether to use these settings or not based on bitrate and sampling rate settings which we discuss shortly.&lt;/p&gt;&#xA;&lt;p&gt;Note that transcoding audio from a lossy codec (e.g. &lt;code&gt;mp3&lt;/code&gt;, &lt;code&gt;aac&lt;/code&gt;, &lt;code&gt;opus&lt;/code&gt;) to another lossy codec will reduce the quality of your audio. you should not do this often if your audio contains music. human speech however can withstand several rounds of transcoding. This does not happen if you transcode audio from a lossless codec (e.g. &lt;code&gt;wav&lt;/code&gt;, &lt;code&gt;flac&lt;/code&gt;) to a lossy one. also, note that you can't apply filters (e.g. &lt;code&gt;dynaudnorm&lt;/code&gt;) without transcoding.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-ac 1&lt;/code&gt;: This converts stereo audio (2 audio streams or 'channels', each for every ear) to mono audio (the same audio plays in both ears). This will halve the audio bitrate without affecting audio quality (unless your audio has stereo music, which is not the case in video meetings).&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-b:a 24K&lt;/code&gt;: This limits the audio bitrate to &lt;code&gt;24000&lt;/code&gt; bits. This is very sufficient for human speech if you use Opus. This value will vary according to the codec you use. &lt;a href=&quot;https://wiki.hydrogenaud.io/index.php?title=Opus#Speech_encoding_quality&quot; rel=&quot;nofollow noreferrer&quot;&gt;List of possible bitrates for libopus&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-ar 16K&lt;/code&gt;: This limits the audio sampling rate to &lt;code&gt;16000 Hz&lt;/code&gt;. This is sufficient (Maybe?) for human speech if you use Opus. &lt;a href=&quot;https://en.wikipedia.org/wiki/Sampling_(signal_processing)#Sampling_rate&quot; rel=&quot;nofollow noreferrer&quot;&gt;List of possible sampling rates&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;output.mp4&lt;/code&gt;: output file name.&lt;/p&gt;&#xA;" OwnerUserId="34889" LastActivityDate="2021-05-08T01:32:35.090" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33785" PostTypeId="1" CreationDate="2021-05-08T04:07:36.563" Score="2" ViewCount="341" Body="&lt;p&gt;Some vectorscopes have a skin tone line to guide the correct color of human skins. However other vectorscope such as that built in FFmpeg does not have the skin tone line.&lt;/p&gt;&#xA;&lt;p&gt;Is there a standard of the skin tone line?&#xA;What is the angle of the skin tone line?&#xA;Is there a difference between 601 and 709 color spaces?&lt;/p&gt;&#xA;" OwnerUserId="33279" LastEditorUserId="33279" LastEditDate="2021-05-08T05:09:56.567" LastActivityDate="2021-05-08T05:09:56.567" Title="angle of skin tone line on vectorscope" Tags="|color-correction|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33786" PostTypeId="2" ParentId="33774" CreationDate="2021-05-08T14:58:39.470" Score="2" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;videos for youtube&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;This does not describe your projects. Youtube is a place to publish your videos, does not tell the content of them.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;but definitely could be better&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;What could be better? This is the point. You need to know what do you want to imporve.&lt;/p&gt;&#xA;&lt;p&gt;Are your videos about gaming, where you are on a little corner on a green screen?&lt;/p&gt;&#xA;&lt;p&gt;Are your videos about you talking to the camera on your room? Do you need to use the bathroom because it is the only place you have? Or you do outdoor videos. Do you really need to actually improve the image quality?&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Let me narrow this a bit. Let me asume you are on a bedroom infront of a fixed setup, your computer and your camera. Here is a list of what would I check before getting a new camera.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Light.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Not only the ammount of it, but how does it look. Find a video where you like the light. Is it rim light or a big diffuse light? Is it lateral or on top of the subject?&lt;/p&gt;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Background.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Leave a good space behind you. You do not want a mug shot. Put context on it, remove yourself from the shoot and see it as the main subject, and see if you like it.&lt;/p&gt;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;Sound.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Good sound is probably more important than excelent video quality.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;If you still need better video, and you already tested your current phone. (Yes one first section on this answer is, test your phone, and find out if it is better for you) what you want to have on a new camera is&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Looks&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Flexibility. Duration of the shoot without heating, focus options (manual or good auto focus) conection, etc.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;And I leave the looks to the last. A mirrorless or dslr camera have its limitations but have specific lenses that will actually make the image look good. The main things to consider are focal length and aperture.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;A focal length of 35mm or more on a cropped sensor.&lt;/li&gt;&#xA;&lt;li&gt;A wide aperture, a typical recommendation is 1.8 but needs a fixed distance or a superb auto focus system.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;All this answer is not to tell you what you need, it is what you need to investigate to find out what you really need.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2021-05-14T15:47:40.443" LastActivityDate="2021-05-14T15:47:40.443" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33789" PostTypeId="1" CreationDate="2021-05-08T18:07:44.233" Score="1" ViewCount="686" Body="&lt;p&gt;I have original video (with subs) and cropped version of it (without subs). I need to add subtitles from original video into cropped in appropriate time range.&lt;/p&gt;&#xA;&lt;p&gt;I think the best way to do is:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Extract subtitles from &lt;code&gt;$start&lt;/code&gt; to &lt;code&gt;$end&lt;/code&gt;. I found this command &lt;code&gt;ffmpeg -i Movie.mkv -map 0:s:0 subs.srt&lt;/code&gt;. But&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I don't know how to specify time&lt;/li&gt;&#xA;&lt;li&gt;Will data in subs.srt be correct? Since I want to add subs to cropped vesrion, time of all subs needed to be &lt;code&gt;$original_time - $start&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;It extract only one track&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Add subs.srt to cropped video.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="34122" LastActivityDate="2023-12-23T09:05:05.577" Title="Extract subtitles in time range using ffmpeg" Tags="|video|ffmpeg|encoding|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33790" PostTypeId="1" CreationDate="2021-05-08T20:20:19.407" Score="1" ViewCount="5608" Body="&lt;p&gt;OBS allows you to change the pattern for the recordings filenames but there is no simple way to update the file name with any custom string before every recording.&lt;/p&gt;&#xA;&lt;p&gt;You need to visit the options pane and change settings manualy.&#xA;The default for the filename formating is: &amp;quot;%CCYY-%MM-%DD %hh-%mm-%ss&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;Let's say you've changed the pattern to &amp;quot;MY-&lt;strong&gt;HOME&lt;/strong&gt;-VIDEO %CCYY-%MM-%DD %hh-%mm-%ss&amp;quot; and recorded a file.&lt;/p&gt;&#xA;&lt;p&gt;Then if you need to make another recording about something else with the prefix &amp;quot;MY-&lt;strong&gt;OTHER&lt;/strong&gt;-VIDEO &amp;quot; you need to change the pattern again, manually.&lt;/p&gt;&#xA;&lt;p&gt;How to update the filename formating without visiting options pane every time?&lt;/p&gt;&#xA;" OwnerUserId="34894" LastActivityDate="2023-04-26T14:47:31.620" Title="OBS custom filename for recordings" Tags="|video-capture|obs|recording|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33791" PostTypeId="2" ParentId="33790" CreationDate="2021-05-08T20:25:17.203" Score="1" Body="&lt;p&gt;I've managed to achieve this using obs-websocket and simple/dirty python script.&#xA;The obs-websocket plugin can get/set the pattern used by OBS to save recording files.&lt;/p&gt;&#xA;&lt;p&gt;Steps:&#xA;Install/configure obs-websocket plugin.&#xA;Then use obs-cli (&lt;a href=&quot;https://github.com/leafac/obs-cli&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/leafac/obs-cli&lt;/a&gt;) or obswebsocket (&lt;a href=&quot;https://pypi.org/project/obs-websocket-py/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pypi.org/project/obs-websocket-py/&lt;/a&gt;).&lt;/p&gt;&#xA;&lt;p&gt;cli example (under Windows os, beware of double quotes):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;obs-cli-win SetFilenameFormatting=&amp;quot;{ &amp;quot;&amp;quot;filename-formatting&amp;quot;&amp;quot;: &amp;quot;&amp;quot;TESTNAME %CCYY-%MM-%DD %hh-%mm-%ss&amp;quot;&amp;quot; }&amp;quot; &amp;amp;&amp;amp; ^&#xA;obs-cli-win StartRecording &amp;amp;&amp;amp; ^&#xA;obs-cli-win SetFilenameFormatting=&amp;quot;{ &amp;quot;&amp;quot;filename-formatting&amp;quot;&amp;quot;: &amp;quot;&amp;quot;%CCYY-%MM-%DD %hh-%mm-%ss&amp;quot;&amp;quot; }&amp;quot; &amp;amp;&amp;amp; ^&#xA;obs-cli-win GetFilenameFormatting&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;python example:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-python prettyprint-override&quot;&gt;&lt;code&gt;client = obswebsocket.obsws(&amp;quot;localhost&amp;quot;, 4444, &amp;quot;&amp;quot;)&#xA;client.connect()&#xA;print(client.call(obswebsocket.requests.GetFilenameFormatting()))&#xA;client.call(obswebsocket.requests.SetFilenameFormatting(&amp;quot;TESTNAME&amp;quot; + &amp;quot; - %CCYY-%MM-%DD %hh-%mm-%ss&amp;quot;))&#xA;client.call(obswebsocket.requests.StartRecording())&#xA;print(client.call(obswebsocket.requests.GetFilenameFormatting()))&#xA;client.call(obswebsocket.requests.SetFilenameFormatting(&amp;quot;%CCYY-%MM-%DD %hh-%mm-%ss&amp;quot;))&#xA;print(client.call(obswebsocket.requests.GetFilenameFormatting()))&#xA;client.disconnect()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="34894" LastActivityDate="2021-05-08T20:25:17.203" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33793" PostTypeId="1" AcceptedAnswerId="33797" CreationDate="2021-05-09T12:39:04.367" Score="4" ViewCount="486" Body="&lt;p&gt;I use DaVince Resolve and I want to color modify a video in order to show how a person with protanopia sees (protanopia is a form of color blindness). For that purpose I need to change these colors:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rtK1F.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rtK1F.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;to these:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8BZDz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8BZDz.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I believe that this is possible in the RGB Mixer menu of the DaVinci Resolve:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7sW0j.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7sW0j.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;yet, I haven't yet found the right combination of the RGB values. Also I don't care about the exact values of the green-olive and the purple as long as the look like green-olive or purple..&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions on how to modify the colors, would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="32019" LastActivityDate="2021-05-10T04:54:14.453" Title="Change color to look as how a color blind person sees" Tags="|video-editor|davinci-resolve|color-correction|color-grading|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33794" PostTypeId="2" ParentId="28345" CreationDate="2021-05-09T18:38:44.117" Score="1" Body="&lt;p&gt;An example of adding &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#toc-dilation&quot; rel=&quot;nofollow noreferrer&quot;&gt;dilation&lt;/a&gt; might look like:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i example_in.mp3 -filter_complex \&#xA;&amp;quot;[0:a]showwaves=mode=p2p:s=1280x480:colors=Magenta|Azure|White:r=25; \&#xA; [v]dilation=threshold3=10[v]&amp;quot; \&#xA;-map &amp;quot;[v]&amp;quot; -map 0:a -pix_fmt yuv420p \&#xA;-b:a 360k -r:a 44100  example_out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24550" LastActivityDate="2021-05-09T18:38:44.117" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33795" PostTypeId="1" CreationDate="2021-05-09T21:06:21.090" Score="0" ViewCount="1207" Body="&lt;p&gt;I am trying to achieve an ASS subtitle that aligns the rectangular bounding block at the horizontal center of the window, while maintaining left-justification inside that block for multiline subtitle entries. Below is an ASCII art illustration,&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;+---------------------------------+&#xA;|           This is               |&#xA;|           what I want           |&#xA;+---------------------------------+&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, either specify &lt;code&gt;Alignment&lt;/code&gt; in &lt;code&gt;Style&lt;/code&gt; definition or using &lt;code&gt;\a&lt;/code&gt; switch inside a piece of subtitle results in either entirely left-justified or centered line in the container.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;+---------------------------------+&#xA;|Entirely left-justified          |&#xA;|        Entirely centered        |&#xA;+---------------------------------+&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My apologies if I missed something obvious in the specification. I am also open to other text-based subtitle format that is capable of this and supported by &lt;code&gt;ffmpeg&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="34905" LastActivityDate="2023-01-07T00:03:20.483" Title="ASS subtitle - Different alignment at block and inner level" Tags="|ffmpeg|subtitles|recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33796" PostTypeId="2" ParentId="33795" CreationDate="2021-05-10T02:40:03.963" Score="1" Body="&lt;p&gt;If you're familiar with an ass file, you can position your text by using &lt;code&gt;\pos(150,250)&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Dialogue: 0,0:01:00.00,0:01:15.00,Default,,0,0,0,,{\fad(500,500)\pos(150,250)}{\i1}{\b1}Your Text&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The first number is from the left, and the second one is from the top of the video.&lt;/p&gt;&#xA;&lt;p&gt;An easier solution, rather than write each line yourself, is to download Aegisub to make the ass files for you.&#xA;Using Aegisub, you can drag the text lines to the position you need.&lt;/p&gt;&#xA;" OwnerUserId="12626" LastEditorUserId="-1" LastEditDate="2021-05-16T19:54:52.097" LastActivityDate="2021-05-16T19:54:52.097" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33797" PostTypeId="2" ParentId="33793" CreationDate="2021-05-10T04:20:15.887" Score="3" Body="&lt;p&gt;With these values, I get the results shown below.  Note that your color management settings in Resolve will affect your result, and so will the input color space of your source.  To avoid misinterpreting the color space of an unknown source, I'd recommend using the EBU color bar generator, wrapped in a Compound Clip as a test source.  Wrapping the Generator in a Compound Clip allows you to apply the RGB Mixer, whereas Resolve normally protects test patterns from manipulation.&lt;/p&gt;&#xA;&lt;p&gt;The values I used were:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;R Output:&#xA;R=0.5, G=0.5, B=0.0&lt;/li&gt;&#xA;&lt;li&gt;G Output:&#xA;R=0.5, G=0.5, B=0.0&lt;/li&gt;&#xA;&lt;li&gt;B Output: R=0.0, G=0.0, B=1.0&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I also found that unchecking the &amp;quot;preserve luminance&amp;quot; checkbox gave me better results, when I tested against other protanopia images I found on the web.&lt;/p&gt;&#xA;&lt;p&gt;For this example, I used DaVinci YRGB Color Managed as my color science, with the default rec.709 settings, and set the input color space of your example .jpg to sRGB.  However, when you apply this effect to a video, you should use whatever input space the video happens to be.  Using Resolve YRGB color managed with a known input space will ensure that the transformation is applied linearly (correctly), before being transformed into your desired output space.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nWMJf.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nWMJf.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-05-10T04:54:14.453" LastActivityDate="2021-05-10T04:54:14.453" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33798" PostTypeId="1" AcceptedAnswerId="33891" CreationDate="2021-05-10T04:56:44.873" Score="1" ViewCount="20" Body="&lt;p&gt;I &lt;em&gt;dont&lt;/em&gt; want to do the animations by hand myself. The idea is that I use something that already exists and just slap my text inside. Manually doing all these elaborate animations is not an option for me.&#xA;It doesn't need to be exactly like in the photo e.g. text gets written out, then erased afterwards. But some plugins or packs or whatever will do just fine. Thing is, I googled for a long time now, never saw something similar.&#xA;Am I googling for the wrong tool (adobe premiere pro)?&lt;/p&gt;&#xA;&lt;p&gt;here an example how the text pops out:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5GHX5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5GHX5.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;then another example where it goes away again:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jggmN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jggmN.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;the idea is that the text animations are interesting. They do not need to be &lt;em&gt;exactly&lt;/em&gt; one way or another.&lt;/p&gt;&#xA;" OwnerUserId="11218" LastActivityDate="2021-05-26T07:36:35.070" Title="A text animation tool or plugin pack that has very elaborate text animations?" Tags="|premiere|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33803" PostTypeId="1" AcceptedAnswerId="33806" CreationDate="2021-05-10T23:16:20.740" Score="2" ViewCount="76" Body="&lt;p&gt;Quick summary of what I want to create with AE:&#xA;I have a drone shot and I want to add a realistic planet in the sky/horizon by using 3d Camera Tracker in After Effects.&lt;/p&gt;&#xA;&lt;p&gt;What I want:&#xA;While flying past a wind turbine I want to create depth by showing the turbine in front of the planet in the horizon to create some kind of realistic depth.&lt;/p&gt;&#xA;&lt;p&gt;The Problem:&#xA;Currently the planet in the horizon is in the foreground and covers the wind turbine and its moving rotos etc.&lt;/p&gt;&#xA;&lt;p&gt;What I tried so far:&#xA;I know I have to use the masking tool but I am not sure about the order of the procedures of how to get to my results. I've created a mask and tried subtracting but this didn't go as expected. I also readjusted the mask shape and keyframed the mask path for the relevant frames where the turbine should be in the foreground. But this didn't go out as expeted.&lt;/p&gt;&#xA;&lt;p&gt;Can someone please guide me through the the procedure to get to my final result?&lt;/p&gt;&#xA;&lt;p&gt;I attached an image which shows the end result I want to achieve in my video:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/JNHKX.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JNHKX.jpg&quot; alt=&quot;One clearly can see that the rotors and the wind turbine are in the foreground and therfore creating some kind of realistic depth&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="34917" LastActivityDate="2021-05-28T11:37:38.620" Title="How to realistically add planet in the sky using 3d camera tracker and avoid overlapping with objects in the foreground?" Tags="|after-effects|camera|3d|tracking|mask|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33804" PostTypeId="2" ParentId="33732" CreationDate="2021-05-11T06:36:02.910" Score="0" Body="&lt;p&gt;That's a very general question, you will have to ask for a specific command if you want help since ffmpeg has a loooooot of options. But you can use the following command to get help:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-h      -- print basic options&#xA;-h long -- print more options&#xA;-h full -- print all options (including all format and codec specific options, very long)&#xA;-h type=name -- print all options for the named decoder/encoder/demuxer/muxer/filter/bsf/protocol&#xA;See man ffmpeg for detailed description of the options.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If the output is to long you something like: ffmpeg -h |more&#xA;And it shows a part of the text on the screen everytime you pess a key...&lt;/p&gt;&#xA;" OwnerUserId="34759" LastActivityDate="2021-05-11T06:36:02.910" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33805" PostTypeId="1" CreationDate="2021-05-11T08:00:30.297" Score="0" ViewCount="562" Body="&lt;p&gt;I am running the following command to extract frames at a rate of 1 per second. This works fine, except that the first extracted frame is not the first frame of the video, but the frame after 1 second of video.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -f image2 -vf fps=1 ./out_%01d.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;How can I force ffmpeg to extract frames starting at the very first frame of the video?&lt;/p&gt;&#xA;" OwnerUserId="34882" LastActivityDate="2021-05-11T08:00:30.297" Title="FFMPEG -vf does not extract first frame" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33806" PostTypeId="2" ParentId="33803" CreationDate="2021-05-11T09:08:03.410" Score="3" Body="&lt;p&gt;If the blades are rotating, and the camera is moving, you need to create a good foreground layer with anything the planet is supposed to be obscured by.&lt;/p&gt;&#xA;&lt;p&gt;So from the image it looks like it will be obscured by the spinning rotors.&lt;/p&gt;&#xA;&lt;p&gt;You need to find a good way to make a layer containing only the rotors.&lt;/p&gt;&#xA;&lt;p&gt;You could make a mask and move it frame by frame, but if you have more than a few frames this method will take a long time.&lt;/p&gt;&#xA;&lt;p&gt;You could try using a key - isolating your foreground based on hue (colour), brightness or saturation (how much colour is present).  The blades look like the whitest thing in the image, so this might work, but probably won't give you the result you're looking for...&lt;/p&gt;&#xA;&lt;p&gt;Or you could rotoscope the blades.  This will take a while, but will probably give the best result. &lt;a href=&quot;https://www.youtube.com/watch?v=1nYs9RjxiFk&quot; rel=&quot;nofollow noreferrer&quot;&gt;The new rotoscope v2 in the latest versions of After Effects&lt;/a&gt; is really amazing, and combined with some careful feathering / motion blur settings will probably work perfectly.  It will still take a while though.&lt;/p&gt;&#xA;&lt;p&gt;To get the planet in the right position in the sky, you need to &lt;a href=&quot;https://www.schoolofmotion.com/blog/how-to-use-camera-tracker-after-effects&quot; rel=&quot;nofollow noreferrer&quot;&gt;make a camera track of the scene&lt;/a&gt;, then place the planet as a 3D layer at the right distance and scale.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-05-11T09:08:03.410" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33807" PostTypeId="1" CreationDate="2021-05-11T13:24:48.323" Score="0" ViewCount="619" Body="&lt;p&gt;When I try to use bodymovin to convert my animation in After Effects my render button is disabled (gray instead of green and nothing happens if I click on it). Does anybody know why this happens and how to fix it?&lt;/p&gt;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="34922" LastEditorUserId="4426" LastEditDate="2021-05-11T13:30:54.920" LastActivityDate="2022-04-14T07:50:36.790" Title="After Effects Bodymovin plugin render button disabled" Tags="|after-effects|plugins|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33808" PostTypeId="2" ParentId="25894" CreationDate="2021-05-11T13:49:13.287" Score="0" Body="&lt;p&gt;If it is Windows then why not to use dshow instead of gdigrab?&lt;/p&gt;&#xA;&lt;p&gt;Please look at the&#xA;&lt;a href=&quot;https://github.com/rdp/screen-capture-recorder-to-video-windows-free&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/rdp/screen-capture-recorder-to-video-windows-free&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If both video and audio would be via dshow then you could use ffmpeg like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -i video=&amp;quot;VIDEO_DEVICE&amp;quot;:audio=&amp;quot;FIRST_AUDIO_DEVICE&amp;quot; -f dshow -i audio=&amp;quot;ANOTHER_AUDIO_DEVICE&amp;quot; ... &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="34894" LastActivityDate="2021-05-11T13:49:13.287" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33809" PostTypeId="2" ParentId="23470" CreationDate="2021-05-11T14:08:24.437" Score="1" Body="&lt;p&gt;Use ffmpeg (terminal tool).&#xA;&lt;a href=&quot;https://github.com/fluent-ffmpeg/node-fluent-ffmpeg/wiki/Installing-ffmpeg-on-Mac-OS-X&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/fluent-ffmpeg/node-fluent-ffmpeg/wiki/Installing-ffmpeg-on-Mac-OS-X&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Copy the audio into a separate file.&#xA;Then use ffmpeg again to silence desired part (&lt;a href=&quot;https://stackoverflow.com/q/38180809/2792138&quot;&gt;https://stackoverflow.com/q/38180809/2792138&lt;/a&gt; or &lt;a href=&quot;https://stackoverflow.com/q/29215197/2792138&quot;&gt;https://stackoverflow.com/q/29215197/2792138&lt;/a&gt;).&lt;/p&gt;&#xA;&lt;p&gt;Then merge new audio file with the initial video file, replacing old audio track.&lt;/p&gt;&#xA;" OwnerUserId="34894" LastActivityDate="2021-05-11T14:08:24.437" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33814" PostTypeId="2" ParentId="33803" CreationDate="2021-05-12T01:25:45.080" Score="2" Body="&lt;p&gt;You need to add a copy of your video (so you have two layers, only the bottom one needs the planet on it). Rotoscope the top layer - when you create your mask the only thing you will see is the bit of video inside the mask, the blade in this case and it will sit above the planet because it is the top layer. If you use more than one mask you will need to set it/them to &amp;quot;Add&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;You'll have to add 3d Camera Tracker only to the bottom video where the planet is. Also be aware that you only need to mask the areas that go over the planet when they go over the planet.&lt;/p&gt;&#xA;" OwnerUserId="34930" LastEditorUserId="674" LastEditDate="2021-05-28T11:37:38.620" LastActivityDate="2021-05-28T11:37:38.620" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33815" PostTypeId="1" CreationDate="2021-05-12T04:44:32.707" Score="0" ViewCount="195" Body="&lt;p&gt;I plan to use Retroarch to dump and create videos from the various cores that are featured there. I had asked for advice from other places online ranging from recommended emulators to what video editing programs to use for editing. Although I thank them for giving me some good advice, there are still things that I still need some help on.&lt;/p&gt;&#xA;&lt;p&gt;I want to ask what is a good setup for lossless, high quality videos that I can create on Retroarch? What is a good way to upscale my videos to 720p using FFMPEG/AVISynth? Retroarch usually dumps .mkv files so I figured that it would make my experience easier.&lt;/p&gt;&#xA;" OwnerUserId="34688" LastActivityDate="2021-05-12T04:44:32.707" Title="What is a good FFMPEG/AVISynth to upscale gaming videos?" Tags="|ffmpeg|davinci-resolve|recommendation|avisynth|video-game|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33817" PostTypeId="1" CreationDate="2021-05-13T12:00:50.590" Score="0" ViewCount="549" Body="&lt;p&gt;Davinci Resolve's &lt;a href=&quot;https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_16_Supported_Codec_List.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;supported Codecs list&lt;/a&gt; shows it only supports decoding VP9 if placed in an mov container. Add to that the audio limitations also present on the Linux version and mov is somewhat preferred overall.&lt;/p&gt;&#xA;&lt;p&gt;The issue of course is &lt;a href=&quot;https://en.wikipedia.org/wiki/Comparison_of_video_container_formats#Video_coding_formats_support&quot; rel=&quot;nofollow noreferrer&quot;&gt;Quicktime File Format doesn't officially support&lt;/a&gt; VP9.&lt;/p&gt;&#xA;&lt;p&gt;Attempting to do so with ffmpeg like so&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.webm -c:v libvpx-vp9 -c:a pcm_s16le output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;results in the error&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[mov @ 0x55719f592d40] vp9 only supported in MP4.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I contacted Blackmagic Design (BMD) support a few weeks ago now asking if there was an updated codecs list with the version 16 to 17 update (there isn't), and asking if the mov extension requirement for VP9 was in error. After providing a sample video they replied that VP9 is&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;... a Quicktime Render Option in Mac which would go in a .mov package.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;going on to say that&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;I have also confirmed that using Adobe Media Encoder along with the Webm plug-in that you can render [your video] as a QuickTime .mov format.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I was able to test the Adobe Media Encoder method myself, but the plug-in simply added an option to manipulate .webm files and export files with the .webm extension using VP9 codec. Webm extension doesn't import into Resolve though.&lt;/p&gt;&#xA;&lt;p&gt;The Quicktime option in Adobe Media Encoder uses .mov extension as expected, but the codecs aren't related to VP9 as far as I'm aware. I encoded a test video with each available Quicktime options in Adobe Media Encoder, checking each with ffprobe after, and none reported VP9 like BMD seemed to be saying was possible. They do match to other supported codecs listed on the PDF though. I relayed that to BMD to which they replied,&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Using the Adobe Encoder encodes the webm vp9 codec to Pro Res 422 which is .mov&lt;/p&gt;&#xA;&lt;p&gt;It does not specifically rewrap the vp9 codec as .mov&lt;/p&gt;&#xA;&lt;p&gt;A video in Resolve can be rendered as VP9.mov but there doesn't appear to be any way to import a VP9.webm video into Resolve first.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;If I'm understanding Blackmagic Designs response to my reply, then it seems they're confirming that yes, none of those options actually encode a .mov extension file which contains VP9 encoded video. Yet per their supported codec document, across all platforms that is the only extension that is able to import and decode VP9 coded video.&lt;/p&gt;&#xA;&lt;p&gt;I was also unable to render a video from Resolve as a VP9 coded video in mov format as support stated is possible, testing on both Windows and Linux.&lt;/p&gt;&#xA;&lt;p&gt;So am I missing something really obvious here? Or is this actually a combination of codecs and container that doesn't exist in a sane way?&lt;/p&gt;&#xA;" OwnerUserId="34847" LastActivityDate="2021-05-13T12:00:50.590" Title="Encode VP9 in mov container with pcm audio" Tags="|ffmpeg|codec|davinci-resolve|quicktime|vp9|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33818" PostTypeId="1" CreationDate="2021-05-13T13:55:19.703" Score="1" ViewCount="233" Body="&lt;p&gt;I have 5 cameras each having an RTSP stream. I am converting that rtsp stream to HLS. This is the command I am using:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -rtsp_transport tcp -i rtsp://*:*@*:*/ -f hls -codec copy -strftime 1 -strftime_mkdir 1 -hls_time 10 -hls_list_size 360 -hls_segment_filename %Y%m%d/%H/%M%S.ts playlist.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The command gives the right output for 2 of the cameras. For the rest, the playlist files always has the incorrect duration (It is supposed to be 10 seconds):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#EXTM3U&#xA;#EXT-X-VERSION:3&#xA;#EXT-X-TARGETDURATION:5&#xA;#EXT-X-MEDIA-SEQUENCE:0&#xA;#EXTINF:5.000000,&#xA;videos/0/2/20210513/13/2632.ts&#xA;#EXTINF:5.000000,&#xA;videos/0/2/20210513/13/2642.ts&#xA;#EXTINF:5.000000,&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For some reason the duration always gets written as half of the actual video duration in the playlist.&lt;/p&gt;&#xA;&lt;p&gt;When I set hls_time to 5 seconds, the playlists for those respective cameras shows duration as 2.5 seconds even though the '.ts' is 5 seconds long.&lt;/p&gt;&#xA;&lt;p&gt;What could be wrong?&lt;/p&gt;&#xA;" OwnerUserId="34948" LastActivityDate="2021-05-13T13:55:19.703" Title="FFMPEG is not writing the correct video duration in the output playlist file for HLS" Tags="|ffmpeg|hls|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33819" PostTypeId="1" CreationDate="2021-05-14T03:03:55.197" Score="1" ViewCount="1000" Body="&lt;p&gt;I am trying to use FFmpeg to generate for example a 1-hour video from concatenating a 1-second input video over and over and over again.&lt;/p&gt;&#xA;&lt;p&gt;The problem is that the length of my input video is of various lengths so I can't just hardcode it to make it concatenate 3600 times.&lt;/p&gt;&#xA;&lt;p&gt;My approach is:&lt;/p&gt;&#xA;&lt;p&gt;1.Acquire the length of the input video (in this example, 1s)&lt;br /&gt;&#xA;2.divide the target length by the length of input video (in this example, 3600)&lt;br /&gt;&#xA;3.Let FFmpeg concatenate for (3600) times with &lt;code&gt;-vcodec copy -acodec copy&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I am using Android Studio and the &lt;code&gt;com.writingminds:FFmpegAndroid:0.3.2&lt;/code&gt; module&lt;br /&gt;&#xA;Any ideas would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="34952" LastActivityDate="2021-05-14T09:38:51.483" Title="FFMPEG Loop Concatenate Video to Specific Length" Tags="|ffmpeg|android|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33820" PostTypeId="1" AcceptedAnswerId="33822" CreationDate="2021-05-14T07:49:58.130" Score="0" ViewCount="528" Body="&lt;p&gt;Hey guys I want to add a logo to my video with ffmpeg but I am getting this error while running the below command. What is the reason? Please do help.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;`Unable to find a suitable output format for 'overlay=x=main_w-overlay_w-(main_w*0.01):y=main_h-overlay_h-(main_h*0.01)' overlay=x=main_w-overlay_w-(main_w*0.01):y=main_h-overlay_h-(main_h*0.01): Invalid argument.`&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I am using python subprocess to run ffmpeg commands.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;subprocess.call([settings.VIDEO_ENCODING_FFMPEG_PATH, '-i', input_file_path,&#xA;                '-i', logo_path, '-filter_complex','scale=1920:1080',&#xA;                'overlay=x=main_w-overlay_w-(main_w*0.01):y=main_h-overlay_h-(main_h*0.01)',&#xA;                '-codec:v', 'libx264','-crf', '18',&#xA;                '-preset', 'slow', '-b:v', '1000k', '-maxrate', '2000k', '-bufsize', '2000k',&#xA;                &amp;quot;-pix_fmt&amp;quot;, &amp;quot;yuv420p&amp;quot;,&#xA;                '-codec:a', 'aac', '-b:a', '128k', '-strict', '-2', output_file_path])&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="34581" LastActivityDate="2021-05-14T09:41:07.207" Title="FFmpeg: Getting this error while trying to add a logo to video (Unable to find a suitable output format for ..)" Tags="|video|ffmpeg|video-editor|ffprobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33821" PostTypeId="2" ParentId="33819" CreationDate="2021-05-14T09:38:51.483" Score="1" Body="&lt;p&gt;Use stream_loop to loop the input indefinitely and set output &lt;code&gt;-t&lt;/code&gt; to limit the duration.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -stream_loop -1 -i input -c copy -t 3600 output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-05-14T09:38:51.483" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33822" PostTypeId="2" ParentId="33820" CreationDate="2021-05-14T09:41:07.207" Score="1" Body="&lt;p&gt;The entire filtergraph should be one argument.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;'-filter_complex','scale=1920:1080[main];[main][1]overlay=x=main_w-overlay_w-(main_w*0.01):y=main_h-overlay_h-(main_h*0.01)',&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-05-14T09:41:07.207" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33823" PostTypeId="1" CreationDate="2021-05-14T13:19:35.893" Score="0" ViewCount="10" Body="&lt;p&gt;I would like to know the proper term, so I can Google how to reduce the duration of a video with &lt;code&gt;ffmpeg&lt;/code&gt;.  For example, assume a 3600 second video that reduced in size by selecting the 2nd and third minute of the video.  This temporal window of time would be from t1=60 to t2=180.&lt;/p&gt;&#xA;&lt;p&gt;I suspect that cropping would be the correct term because common usage refers to a spacial and temporal reduction of the video.&lt;/p&gt;&#xA;&lt;p&gt;What is the correct term (i.e. from Google search standpoint) to indicate the said idea of a temporal window?&lt;/p&gt;&#xA;&lt;p&gt;I would like use this search keyword with ffmpeg to &lt;code&gt;[temporally slice up a video / audio][1]&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="34956" LastActivityDate="2021-05-14T13:19:35.893" Title="Nomenclature for a selecting a temporal window?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33824" PostTypeId="1" CreationDate="2021-05-14T14:53:13.977" Score="1" ViewCount="36" Body="&lt;p&gt;I have a video of a static background with a spider which is the only moving element.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tgfqqm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tgfqqm.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The spider is going forward for a few seconds, then the video stops.&lt;/p&gt;&#xA;&lt;p&gt;I want to summarize the video into a single image where the background doesn't change, but where we see each frame of the spider going forward, like a superposition. Something that I can illustrate with the following image:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bor5hm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bor5hm.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I understand that I will probably need to downsample my video to a few frames, &lt;strong&gt;but I don't know how to do the rest&lt;/strong&gt;. If needed I can put a green background like: (but I'd prefer not to)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LJP4om.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LJP4om.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;EDIT: This is the kind of results that I am looking for&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2meVP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2meVP.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34958" LastEditorUserId="34958" LastEditDate="2021-05-18T12:30:26.020" LastActivityDate="2021-05-18T12:30:26.020" Title="Keep residual image of an element in a video" Tags="|video|animation|effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33827" PostTypeId="2" ParentId="22059" CreationDate="2021-05-15T12:56:09.723" Score="7" Body="&lt;p&gt;Well, and yeah, all answers are wrong here. HDR is only the new transfer function, PQ or HLG. So that means you need to look into that, PQ is SMPTE 2084 and HLG is ARIB STD-B67.&lt;/p&gt;&#xA;&lt;p&gt;Yes, 8 bit file tagged as PQ will be played as HDR.&lt;/p&gt;&#xA;&lt;p&gt;Yes, 10 bit files tagged as BT.2020 transfer are SDR, because BT.2020 transfer is the same as BT.709 and BT.601. Moreover Rec. BT.2020 is SDR only spec., HDR was defined in BT.2100. Master files of Hollywood used 10 bit in SDR for a long time.&lt;/p&gt;&#xA;&lt;p&gt;Yes, you need to color manage BT.2020 primaries to your primaries. Just as before PAL primaries were supposed to be color managed to what display primaries are.&lt;/p&gt;&#xA;&lt;p&gt;Yes, it is 0.0001 to 10000 nits, not 0.001 to 4000 in PQ. Yes, 65 Y' is actually 0.00005 nits and 64 Y' is 0.000000 nits. Black body.&lt;/p&gt;&#xA;&lt;p&gt;Yes, BT.2390 EETF dynamical tone mapper is mandatory unless the master display is full 10000 nits.&lt;/p&gt;&#xA;&lt;p&gt;Yes, almost all movies are inside P3-D65 inside BT.2020, only Planet Earth 2 and Matrix are not and some others. That changed in 2022, since Netflix allowed to use BT.2020 primaries for their JPEG2000 masters.&lt;/p&gt;&#xA;&lt;p&gt;Yes, film cameras supported HDR back in 1970s and they are nowadays converted to PQ and image format .pcd (Photo CD) supported HDR and WCG.&lt;/p&gt;&#xA;" OwnerUserId="26140" LastEditorUserId="26140" LastEditDate="2022-12-25T09:02:32.953" LastActivityDate="2022-12-25T09:02:32.953" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="33829" PostTypeId="1" CreationDate="2021-05-15T14:39:12.427" Score="1" ViewCount="6398" Body="&lt;p&gt;I need to supply timecode, source timecode, and source filenames as an overlay for a colour grade.&#xA;In Premiere, I have set up my Overlay settings as shown:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/im2gM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/im2gM.png&quot; alt=&quot;overlay&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Note the checked box &amp;quot;enable overlays for transmit&amp;quot;&#xA;But when I export as usual I do not see the overlays.&lt;br /&gt;&#xA;What am I doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-10-23T04:20:44.827" Title="How to export source timecode and clip names as an overlay in Premiere?" Tags="|premiere|adobe|export|timecode|" AnswerCount="3" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33830" PostTypeId="1" CreationDate="2021-05-15T16:03:13.807" Score="2" ViewCount="172" Body="&lt;p&gt;I'm currently using DaVinci Resolve to subtitle my videos but I realize now that it has no support for people speaking with multi track subtitles. I want to color code subtitles for different speakers and perhaps move the subs closer to the speaker depending on who's speaking. What other software should I be using instead? Does premiere have a good workflow for this usecase?&lt;/p&gt;&#xA;" OwnerUserId="1795" LastActivityDate="2022-01-27T00:43:19.673" Title="Video editing software with good support for dual speaker subtitles?" Tags="|software-recommendation|davinci-resolve|subtitles|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33835" PostTypeId="1" CreationDate="2021-05-16T22:04:08.260" Score="1" ViewCount="556" Body="&lt;p&gt;I am trying to sync audio from the pulse stereo output with the video from kmsgrab. If I use the video stream as stream one the video is choppy. The command that works best a the moment is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -nostdin \&#xA;    -avioflags +direct -fflags +igndts -fflags flush_packets -fflags discardcorrupt \&#xA;    -fflags nofillin -flags low_delay -fflags nobuffer -frame_drop_threshold 1.0 -async 0 \&#xA;    -f pulse  -thread_queue_size 256  -i alsa_output.pci-0000_00_1b.0.analog-stereo.monitor \&#xA;    -avioflags +direct -fflags +igndts -fflags flush_packets -fflags discardcorrupt \&#xA;    -fflags nofillin -flags low_delay -fflags nobuffer -frame_drop_threshold 1.0 -async 0 \&#xA;    -f kmsgrab -framerate 25 -thread_queue_size 512 -i - \&#xA;    -vf hwmap=derive_device=vaapi,scale_vaapi=w=1920:h=1080:format=nv12 -c:v h264_vaapi \&#xA;    -compression_level 1 -b:v 4M -profile:v 578 \&#xA;    -map 0:a -map 1:v \&#xA;    -bsf:v h264_mp4toannexb -c:a aac -ab 96k -ar 48k -ac 2 -bsf:a aac_adtstoasc \&#xA;    -f flv -listen 1 -rtmp_flush_interval 4 -rtmp_buffer 3000 -rtmp_live live \&#xA;    -rtmp_subscribe out rtmp://0.0.0.0:1935/live/out&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The only problem is that the sound is retarded by about 3 seconds. Also the video stream is delayed by about 2 seconds, so the delay of the audio stream in absolute values is 5 or 6 seconds.&lt;/p&gt;&#xA;" OwnerUserId="35004" LastActivityDate="2021-05-16T22:04:08.260" Title="How to sync audio with kmsgrab video stream?" Tags="|sync|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33839" PostTypeId="2" ParentId="33829" CreationDate="2021-05-17T11:08:17.757" Score="1" Body="&lt;p&gt;I've finally found out the answer. It is possible, but fiddly.&lt;/p&gt;&#xA;&lt;p&gt;For the source timecodes for every clip:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Duplicate your sequence.&lt;/li&gt;&#xA;&lt;li&gt;Find the Timecode effects in the Effects panel and apply it to the first clip in the sequence.&lt;/li&gt;&#xA;&lt;li&gt;Double click the clip and go to Effects controls and make sure the Timecode Source effect is set to &amp;quot;Media&amp;quot;.&lt;/li&gt;&#xA;&lt;li&gt;Then copy the first clip on the timeline.&lt;/li&gt;&#xA;&lt;li&gt;Select all video clips on the timeline and then Paste Attributes, just the Timecode is needed, untick everything else.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;You will now see all the clips have the original source timecode and this can be compared to the original master clip.&lt;/p&gt;&#xA;&lt;p&gt;To show the filenames of every clip on a given track:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add a transparent video layer.&lt;/li&gt;&#xA;&lt;li&gt;Add it to the timeline.&lt;/li&gt;&#xA;&lt;li&gt;Add the Clip Name effect to it.&lt;/li&gt;&#xA;&lt;li&gt;Double click on the transparent video clip and go to Effects controls and select under File Name - Display choose - FileName&#xA;and under Source track choose the track that the clips are on on the timeline.&lt;/li&gt;&#xA;&lt;li&gt;You may need to move this down a bit to avoid overlapping the timecode.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;If you need to add filenames from another video track, just copy the Clip Name effect on your transparent video layer, and paste it below the existing effect, then adjust the position and size of each effect.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-05-17T11:08:17.757" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33841" PostTypeId="1" CreationDate="2021-05-17T14:31:46.683" Score="0" ViewCount="132" Body="&lt;p&gt;ok, so i ripped a dvd with handbrake, converted it to an mp4, i import the mp4 to kdenlive and kdenlive is doing this thing where it's giving me two audio tracks, so at first i thought it was a right ear audio track and a left ear audio track, and i was experimenting around and i deleted 1 audio track and it still sounds fine so it's weird it's not like there's a left ear and right ear track it's like they are both mono, now the issue is i just don't want there to be two tracks  because it just makes more work even if that work is only 1 step to delete the extra track, so i have no clue what's going on or how to merge the tracks, any ideas? how can i be able to import this video with only one audio track instead of two? thanks&lt;/p&gt;&#xA;" OwnerUserId="34402" LastActivityDate="2023-12-15T01:03:00.287" Title="imported a movie now it has two audio tracks" Tags="|audio|mp4|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33842" PostTypeId="2" ParentId="33824" CreationDate="2021-05-18T02:36:40.193" Score="1" Body="&lt;p&gt;You'll need to separate the spider from the background somehow. Then you can stack successive images of the spider on top of the initial background, and the previous spider image frames.&lt;/p&gt;&#xA;&lt;p&gt;here's an ascii art representation&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;        sp5-------------&amp;gt;&#xA;      sp4---------------&amp;gt;&#xA;    sp3-----------------&amp;gt;&#xA;  sp2-------------------&amp;gt;&#xA;sp1---------------------&amp;gt;&#xA;bg----------------------&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So on the first frame we see the BG with the first Spider frame composited above it. This frame is held, then on the next frame we add spider frame 2 and hold, then on the next spider frame 3 is added, and so on.&lt;/p&gt;&#xA;&lt;p&gt;How you actually achieve this depends on the software you're using.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-05-18T02:36:40.193" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33847" PostTypeId="1" CreationDate="2021-05-18T18:36:37.233" Score="1" ViewCount="280" Body="&lt;p&gt;I know how to import other content with normal specs but these QuickTime screen recordings from my Macbook has weird FPS data. When I import these .mov files in AE or PP I get weird glitches on the screen while I am scrubbing the timeline. I am assuming it's due to the fact that I want to work in a 60fps timeline but these .mov files have off FPS data.&lt;/p&gt;&#xA;&lt;p&gt;What is the proper way of importing files like this? I have already tried the &amp;quot;interpret file&amp;quot; option in AE but that didn't do anything either.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xfE5X.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xfE5X.png&quot; alt=&quot;Quicktime screen recording specs&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26665" LastActivityDate="2024-03-04T18:04:10.550" Title="How to import Quicktime screen recording in PP or AE?" Tags="|after-effects|premiere|screen-casting|quicktime|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33848" PostTypeId="1" CreationDate="2021-05-18T18:44:03.810" Score="0" ViewCount="527" Body="&lt;p&gt;I recently upgraded my MacBook Early 2015 2.9 i5 8gb ram computer to BigSur 11.3.1.&#xA;My previous command that would record a video with audio no longer works. The video is recording, but there is no audio. Here is the output. Does anybody have any thoughts on what may be the cause of this or how to troubleshoot. I've been trying different solutions all day! Here is the output when I run the command and hit control-C to stop recording:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -thread_queue_size 512 -f avfoundation -framerate 30 -async 1 -i &amp;quot;1&amp;quot; -thread_queue_size 512 -f avfoundation -framerate 30 -video_size 640x480 -i &amp;quot;0&amp;quot;:&amp;quot;0&amp;quot; -c:v libopenh264  -crf 30 -preset ultrafast -filter_complex &amp;quot;[0]scale=iw/16:ih/16 [pip]; [1][pip] overlay=main_w-overlay_w-10:main_h-overlay_h-10&amp;quot; -r 30 -movflags +faststart &amp;quot;/Users/research/Desktop/1_1_MorGen_May-18th-2021-1-47-08-pm.mp4&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-102535-g6ff2aba088-tessus  https://evermeet.cx/ffmpeg/  Copyright (c) 2000-2021 the FFmpeg developers&#xA;  built with Apple clang version 11.0.0 (clang-1100.0.33.17)&#xA;  configuration: --cc=/usr/bin/clang --prefix=/opt/ffmpeg --extra-version=tessus --enable-avisynth --enable-fontconfig --enable-gpl --enable-libaom --enable-libass --enable-libbluray --enable-libdav1d --enable-libfreetype --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libmysofa --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvmaf --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-libzmq --enable-libzvbi --enable-version3 --pkg-config-flags=--static --disable-ffplay&#xA;  libavutil      57.  0.100 / 57.  0.100&#xA;  libavcodec     59.  1.100 / 59.  1.100&#xA;  libavformat    59.  2.100 / 59.  2.100&#xA;  libavdevice    59.  0.100 / 59.  0.100&#xA;  libavfilter     8.  0.101 /  8.  0.101&#xA;  libswscale      6.  0.100 /  6.  0.100&#xA;  libswresample   4.  0.100 /  4.  0.100&#xA;  libpostproc    56.  0.100 / 56.  0.100&#xA;[AVFoundation indev @ 0x7f8ef8f04ac0] Configuration of video device failed, falling back to default.&#xA;[avfoundation @ 0x7f8ef8f04640] Selected pixel format (yuv420p) is not supported by the input device.&#xA;[avfoundation @ 0x7f8ef8f04640] Supported pixel formats:&#xA;[avfoundation @ 0x7f8ef8f04640]   uyvy422&#xA;[avfoundation @ 0x7f8ef8f04640]   yuyv422&#xA;[avfoundation @ 0x7f8ef8f04640]   nv12&#xA;[avfoundation @ 0x7f8ef8f04640]   0rgb&#xA;[avfoundation @ 0x7f8ef8f04640]   bgr0&#xA;[avfoundation @ 0x7f8ef8f04640] Overriding selected pixel format to use uyvy422 instead.&#xA;[avfoundation @ 0x7f8ef8f04640] Stream #0: not enough frames to estimate rate; consider increasing probesize&#xA;Input #0, avfoundation, from '1':&#xA;  Duration: N/A, start: 7316.562000, bitrate: N/A&#xA;  Stream #0:0: Video: rawvideo (UYVY / 0x59565955), uyvy422, 2560x1600, 1000k tbr, 1000k tbn&#xA;[avfoundation @ 0x7f8ef8c11580] Selected pixel format (yuv420p) is not supported by the input device.&#xA;[avfoundation @ 0x7f8ef8c11580] Supported pixel formats:&#xA;[avfoundation @ 0x7f8ef8c11580]   uyvy422&#xA;[avfoundation @ 0x7f8ef8c11580]   yuyv422&#xA;[avfoundation @ 0x7f8ef8c11580]   nv12&#xA;[avfoundation @ 0x7f8ef8c11580]   0rgb&#xA;[avfoundation @ 0x7f8ef8c11580]   bgr0&#xA;[avfoundation @ 0x7f8ef8c11580] Overriding selected pixel format to use uyvy422 instead.&#xA;Input #1, avfoundation, from '0:0':&#xA;  Duration: N/A, start: 7317.372133, bitrate: N/A&#xA;  Stream #1:0: Video: rawvideo (UYVY / 0x59565955), uyvy422, 640x480, 30 tbr, 1000k tbn&#xA;  Stream #1:1: Audio: pcm_f32le, 48000 Hz, stereo, flt, 3072 kb/s&#xA;Codec AVOption crf (Select the quality for constant quality mode) specified for output file #0 (/Users/research/Desktop/1_1_MorGen_May-18th-2021-1-47-08-pm.mp4) has not been used for any stream. The most likely reason is either wrong type (e.g. a video option with no video streams) or that it is a private option of some encoder which was not actually used for any stream.&#xA;Codec AVOption preset (Configuration preset) specified for output file #0 (/Users/research/Desktop/1_1_MorGen_May-18th-2021-1-47-08-pm.mp4) has not been used for any stream. The most likely reason is either wrong type (e.g. a video option with no video streams) or that it is a private option of some encoder which was not actually used for any stream.&#xA;Stream mapping:&#xA;  Stream #0:0 (rawvideo) -&amp;gt; scale (graph 0)&#xA;  Stream #1:0 (rawvideo) -&amp;gt; overlay:main (graph 0)&#xA;  overlay (graph 0) -&amp;gt; Stream #0:0 (libopenh264)&#xA;  Stream #1:1 -&amp;gt; #0:1 (pcm_f32le (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[libopenh264 @ 0x7f8ef8e63880] Slice count will be set automatically&#xA;[libopenh264 @ 0x7f8ef8e63880] [OpenH264] this = 0x0x7f8ef8f16110, Warning:SliceArgumentValidationFixedSliceMode(), unsupported setting with Resolution and uiSliceNum combination under RC on! So uiSliceNum is changed to 6!&#xA;[libopenh264 @ 0x7f8ef8e63880] [OpenH264] this = 0x0x7f8ef8f16110, Warning:bEnableFrameSkip = 0,bitrate can't be controlled for RC_QUALITY_MODE,RC_BITRATE_MODE and RC_TIMESTAMP_MODE without enabling skip frame.&#xA;-async is forwarded to lavfi similarly to -af aresample=async=1:min_hard_comp=0.100000:first_pts=0.&#xA;Output #0, mp4, to '/Users/research/Desktop/1_1_MorGen_May-18th-2021-1-47-08-pm.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf59.2.100&#xA;  Stream #0:0: Video: h264 (avc1 / 0x31637661), yuv420p(tv, progressive), 640x480, q=2-31, 30 fps, 15360 tbn (default)&#xA;    Metadata:&#xA;      encoder         : Lavc59.1.100 libopenh264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/2000000 buffer size: 0 vbv_delay: N/A&#xA;  Stream #0:1: Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc59.1.100 aac&#xA;[mp4 @ 0x7f8ef8e0e300] Starting second pass: moving the moov atom to the beginning of the file speed=1.12x    &#xA;frame=   62 fps= 32 q=-0.0 Lsize=     464kB time=00:00:02.06 bitrate=1836.1kbits/s dup=10 drop=0 speed=1.06x    &#xA;video:460kB audio:1kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.671077%&#xA;[aac @ 0x7f8ef8e64800] Qavg: 65536.000&#xA;Exiting normally, received signal 2.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="35037" LastEditorUserId="1871" LastEditDate="2021-05-18T19:40:25.310" LastActivityDate="2021-05-18T21:18:42.867" Title="ffmpeg mysteriously not recording audio in a video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33849" PostTypeId="1" AcceptedAnswerId="33857" CreationDate="2021-05-18T19:40:53.727" Score="0" ViewCount="37" Body="&lt;p&gt;I am taking a picture a day of someone, with the aim of obtaining an animation in a few months. The person is more or less always in the same pose, but of course there are minor variations day by day.&lt;/p&gt;&#xA;&lt;p&gt;What I would like to do is to mark some reference points in each picture in order to help some software animate smoothly.&lt;/p&gt;&#xA;&lt;p&gt;I am thinking of using a morph editor, but I wonder whether the morphing will create an uncanny valley effect. Maybe that would be less apparent if each picture only lasts a fraction of a second. In any case, I would need an editor that allows morphing hundreds of pictures, instead of just two.&lt;/p&gt;&#xA;&lt;p&gt;Or maybe I should look into some video editor, put the frames and do some manual adjustments? I am a programmer, so the option of writing some custom code is also fine. Every suggestion on how to create this short animation is welcome.&lt;/p&gt;&#xA;&lt;p&gt;Ideally, I would like to use some software available on Mac, but also using Linux (desktop) or Android is fine.&lt;/p&gt;&#xA;" OwnerUserId="35036" LastActivityDate="2021-05-19T11:17:32.290" Title="Animating a sequence of still frames" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33850" PostTypeId="1" AcceptedAnswerId="33852" CreationDate="2021-05-18T20:43:16.493" Score="1" ViewCount="35" Body="&lt;p&gt;I am trying to make a video showing me playing various instruments arranged together in a song. The effect that I want to achieve is exactly like &lt;a href=&quot;https://www.youtube.com/watch?v=yxlMO5XiSlc&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;The person in the video is a friend of mine, and he told me he created the video using iMovie. &lt;strong&gt;But&lt;/strong&gt; he was only able to mix two videos at once, so he resorted to mixing two videos, exporting, mixing together with another one and so on.&lt;/p&gt;&#xA;&lt;p&gt;I already have the various snippets filmed, and I would like to put them together in a collage, but using a software that allows superimposing many videos at once ( at certain points I have eight). What kind of software allows this?&lt;/p&gt;&#xA;&lt;p&gt;Ideally I would use a Mac, but Linux is also fine (as long as it does not need enormous amounts of resources, since it is an older machine)&lt;/p&gt;&#xA;" OwnerUserId="35036" LastActivityDate="2021-05-19T03:13:31.673" Title="Making a collage of several videos" Tags="|mixing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33851" PostTypeId="2" ParentId="33848" CreationDate="2021-05-18T21:18:42.867" Score="1" Body="&lt;p&gt;I figured it out; I hope my solution will help others.&lt;/p&gt;&#xA;&lt;p&gt;For some reason ZoomAudioDevice the '0' slot in my devices. Why in the world wouldn't that be reserved for the Built-in Microphone, ALWAYS? To make matters works, the ZoomAudioDevice was not in the Settings Panel in BigSur, so it couldn't be removed manually. I had to Uninstall Zoom, then do a command-alt-P-R (20 second) reboot to free it up. Now Zoom is gone, avfoundation has only one audio input (0 = built in microphone) and everything is working as before. I guess the lesson is 'Beware of Zoom'?&lt;/p&gt;&#xA;" OwnerUserId="35037" LastActivityDate="2021-05-18T21:18:42.867" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33852" PostTypeId="2" ParentId="33850" CreationDate="2021-05-19T02:58:01.900" Score="1" Body="&lt;p&gt;Blackmagic Design’s DaVinci Resolve offers a free version, is available on Mac, Linux, and Windows, and is well-suited to creating video collages. One of the effects added in version 17 is actually called “video collage” and greatly simplifies the process over past versions.  Additionally, if you synchronize the timecode of all cameras before you start shooting a multi-camera event, it offers features like “live overwrite” and “sync bins” which simplify typical multicam edits.&lt;/p&gt;&#xA;&lt;p&gt;Adobe Premiere is a viable alternative, but does not run on Linux, and is not free.&lt;/p&gt;&#xA;&lt;p&gt;Final Cut Pro X is a Mac-only alternative, and also does not offer a free version.&lt;/p&gt;&#xA;&lt;p&gt;Avid Media Composer is the other big-name player in the NLE space.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-05-19T03:13:31.673" LastActivityDate="2021-05-19T03:13:31.673" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33853" PostTypeId="2" ParentId="33830" CreationDate="2021-05-19T04:08:02.983" Score="2" Body="&lt;p&gt;Resolve does support multi-track subtitles.  To add a second subtitle track, right-click in the track header and select &amp;quot;add subtitle track.&amp;quot;  This is used for language localization, so that you can deliver different caption versions for the same program.  Resolve is advanced in this respect, with support for updates via supplemental IMF and DCP, so that film and broadcast studios don't need to re-export entire programs whenever they need to make minor corrections.&lt;/p&gt;&#xA;&lt;p&gt;You won't be able to use two tracks &lt;em&gt;at the same time&lt;/em&gt; in any software, because you can't display two languages of captions at the same time within current broadcast television standards.  It's the same reason you can't choose English and Spanish on your television at the same time.&lt;/p&gt;&#xA;&lt;p&gt;If all you want to do is control the appearance of two different styles of text, use the &amp;quot;Title&amp;quot; category of tools, located in the effects library, not the subtitle track.  I'd recommend &amp;quot;Text+&amp;quot; over the legacy &amp;quot;Text&amp;quot; which doesn't offer any advantages.  Define the settings you want for each style on independent titles on the timeline, then drag a copy of each look from the timeline to the media pool.  Use these as your templates/presets, it helps to rename them accordingly.&lt;/p&gt;&#xA;&lt;p&gt;If you need to alter the appearance of a batch of titles at the same time, you can copy the source style via cmd/ctrl-C and then &amp;quot;paste attributes&amp;quot; to multiple destination titles via alt/opt-V.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-05-19T04:25:43.290" LastActivityDate="2021-05-19T04:25:43.290" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33854" PostTypeId="2" ParentId="27913" CreationDate="2021-05-19T04:16:31.413" Score="0" Body="&lt;p&gt;Posting this in case some poor soul comes here looking for the same issue and the above doesn't solve it:&lt;/p&gt;&#xA;&lt;p&gt;I went into my Media Cache (C:\Users[YourName]\AppData\Roaming\Adobe\Common) and deleted all the files from &amp;quot;Media Cache&amp;quot;, &amp;quot;Media Cache Files&amp;quot;, and &amp;quot;Peak Files&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Tip: Do this with Premiere closed because sometimes files won't delete since Premiere is using them. (If you leave Premiere open, you'll have to restart it anyways since it will refer to the cache files to play audio, so you'll hear nothing)&lt;/p&gt;&#xA;" OwnerUserId="35041" LastActivityDate="2021-05-19T04:16:31.413" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33856" PostTypeId="2" ParentId="33847" CreationDate="2021-05-19T10:55:15.680" Score="0" Body="&lt;p&gt;I would try transcoding them in Media Encoder using a format useful for editing (eg ProRes or something similar) to (for example) 60 fps if they are at a variable FPS close to that, and see if it looks better.&lt;/p&gt;&#xA;&lt;p&gt;Or try transcoding them to the frame rate you're planning to deliver at.&lt;/p&gt;&#xA;&lt;p&gt;If you are capturing the screen recordings using ScreenFlow, there is an option to specify the frame rate. I don't think Quicktime has this.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-05-19T10:55:15.680" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33857" PostTypeId="2" ParentId="33849" CreationDate="2021-05-19T11:17:32.290" Score="1" Body="&lt;p&gt;The key thing is controlled lighting, and a camera positioned so that it never moves (locked off on a tripod).  It really helps to use a plain background - a solid colour is good.&lt;/p&gt;&#xA;&lt;p&gt;Beyond that, you could assemble the images in After Effects, or as an Image Sequence in QuickTime Player, Screenflow, or many other packages.&lt;/p&gt;&#xA;&lt;p&gt;After Effects is useful for things like this as you could overlap the images and make them semi-opaque, to see whether you need to tweak their positions very slightly.&lt;/p&gt;&#xA;&lt;p&gt;If the lighting matches on each shot and the camera is in the same position, and the model stands at the same point each time, you may not need to morph the shots, but if you do, &lt;a href=&quot;https://lesterbanks.com/2012/11/create-a-morph-between-faces-using-liquify-in-after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;the built-in Liquify plugin can help with this&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-05-19T11:17:32.290" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33859" PostTypeId="2" ParentId="17500" CreationDate="2021-05-19T13:08:17.023" Score="1" Body="&lt;p&gt;in the latest version it is now possible to import mixed framerates&lt;/p&gt;&#xA;" OwnerUserId="35045" LastActivityDate="2021-05-19T13:08:17.023" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33860" PostTypeId="2" ParentId="16386" CreationDate="2021-05-19T13:11:09.037" Score="0" Body="&lt;p&gt;you can select the clips, right click and select make proxies under media. this will render low quality versions of your clips to work with. It will take a while with those large files, but after that you can work fast. your playback will be of lower quality, but the export will use the original files (so this will also take quite long).&lt;/p&gt;&#xA;" OwnerUserId="35045" LastActivityDate="2021-05-19T13:11:09.037" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33863" PostTypeId="1" CreationDate="2021-05-19T18:02:51.980" Score="1" ViewCount="222" Body="&lt;p&gt;My computer is too old to run DaVinci Resolve, which hangs upon installing. I want to try the Chroma key feature of DaVinci and found &lt;a href=&quot;https://medium.com/@sethgoldin/a-cloud-dailies-supercomputer-workflow-rendering-via-davinci-resolve-on-an-aws-p3dn-24xlarge-a82c92f18d33&quot; rel=&quot;nofollow noreferrer&quot;&gt;this tutorial&lt;/a&gt; for launching a AWS EC2 instance running CentOS and installing DaVinci, TigerVNC, connecting to S3, etc. It seems too complicated for what I want, which is simply upload a clip, chroma key the green screen, and export. &lt;a href=&quot;https://aws.amazon.com/blogs/media/creating-a-feature-film-with-davinci-resolve-on-aws/&quot; rel=&quot;nofollow noreferrer&quot;&gt;This case study&lt;/a&gt; sets up cloud post-production for a feature film and seems even more complicated.&lt;/p&gt;&#xA;&lt;p&gt;What is the easiest way to test DaVinci Resolve on the cloud, with any cloud provider?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2021-05-20T08:21:09.020" Title="Testing DaVinci Resolve on the cloud" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="33864" PostTypeId="2" ParentId="33863" CreationDate="2021-05-20T08:21:09.020" Score="2" Body="&lt;p&gt;I would find a cloud provider that can offer full VNC access to dedicated hardware... Even so, your experience is going to be pretty unpleasant unless you've got a really fast connection. Latency is going to make it really fiddly to go frame by frame, and most VNC connections reduce the colour depth to a point where it's hard to tell what's going on.  I guess you can render and look at shots, but it's going to be laborious.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-05-20T08:21:09.020" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33867" PostTypeId="1" AcceptedAnswerId="33884" CreationDate="2021-05-21T01:58:44.387" Score="0" ViewCount="530" Body="&lt;p&gt;Can i record 4k video from a canon mirrorless (r6) directly to my laptop hard drive just like one would do with an Atomos Ninja? I record a lot of singing events where the camera is standing in one spot, recording, most often, choir singing.&#xA;using a laptop would give me several terabytes of recording space, and the option, hopefully, to simultaneously broadcast to youtube, without spending another $1k, which i'd rather spend on a gimbal.&#xA;I've dug around high and low, and there is very limited information on this topic. Figured I'd be able to acquire the 5 cents worth of some seasoned vets here. Thanks in advance.&lt;/p&gt;&#xA;&lt;p&gt;Jared&lt;/p&gt;&#xA;" OwnerUserId="35056" LastActivityDate="2021-05-25T05:41:49.497" Title="Can i use my laptop as an external recorder" Tags="|video-recording|canon|webvideos|live-recording|field-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33870" PostTypeId="1" AcceptedAnswerId="33872" CreationDate="2021-05-21T11:51:27.077" Score="2" ViewCount="2354" Body="&lt;p&gt;I have created a text layer and inserted text as shown below.  When I try to show more of the text by grabbing the text area handles, the font size increases, which I don't want.  I am trying to create some rolling credits (position keyframes working fine), but cannot get the text box bigger when I add text - it gets truncated as shown in the pic.&lt;a href=&quot;https://i.stack.imgur.com/xSePM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xSePM.png&quot; alt=&quot;Picture of truncated text in credit roll&quot; /&gt;&lt;/a&gt;&#xA;I'm clearly not looking up the right thing in google, as I get responses about expanding the text for titles.  Being new to Premiere / video editing, it could be I don't know the terminology, or just plain ignorance.&lt;/p&gt;&#xA;" OwnerUserId="35061" LastActivityDate="2021-05-22T09:05:41.880" Title="Increasing text layer area size without changing font in Premiere Pro" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33871" PostTypeId="1" AcceptedAnswerId="33875" CreationDate="2021-05-22T07:44:52.330" Score="1" ViewCount="366" Body="&lt;p&gt;I am trying to render out a music video in Davinci Resolve. I have a green screen in the shot and my band playing in front of the green screen. I duplicated the clip and put one clip on top of the other one. The top clip I keyed out the green screen, the bottom clip I made into a fusion clip where the green screen is corner pinned with animation to follow the green screen. The only thing appearing in the final fusion clip is the replaced green screen. The bottom layer is just a screen and the top layer is the rest of the clip with an empty spot for the green screen. It works perfectly in the view port, but when I render the video the screen is completely black. I can fix this by deleting the clip, dragging in the same clip from the media collection, and moving it into the fusion area as a new node and reattaching it exactly where the old version of the clip was. The only problem is as I keep editing Davinci &amp;quot;forgets&amp;quot; about it in the final render. What am I doing wrong?&lt;/p&gt;&#xA;&lt;p&gt;This is the view port:&lt;br /&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/4L1FG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4L1FG.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is the fusion background clip:&lt;br /&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/FFF7G.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FFF7G.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is a failed video render screenshot:&lt;br /&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/cz671.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cz671.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34546" LastActivityDate="2021-05-23T21:09:52.437" Title="Davinci Resolve 17 Omitting Clips from within Fusion Clips in Render" Tags="|davinci-resolve|rendering|fusion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33872" PostTypeId="2" ParentId="33870" CreationDate="2021-05-22T08:54:34.893" Score="2" Body="&lt;p&gt;This is a good question, and it's not obvious.&lt;/p&gt;&#xA;&lt;p&gt;When you click once with the text tool, you make a single line of text.  If you drag the handles of this line, the text gets bigger and smaller.&lt;/p&gt;&#xA;&lt;p&gt;But if you click and drag with the text tool instead to create your text, you get a text box.  Now resizing the box with the handles increases the amount of text in the box, not the font size.&lt;/p&gt;&#xA;&lt;p&gt;Video (animated gif because of this website) below to demonstrate:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UP0Gz.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UP0Gz.gif&quot; alt=&quot;clicking vs click and drag to make text&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-05-22T09:05:41.880" LastActivityDate="2021-05-22T09:05:41.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33873" PostTypeId="1" CreationDate="2021-05-22T09:03:08.700" Score="2" ViewCount="617" Body="&lt;p&gt;I am trying to use ffmpeg to merge two audios, in.mp3 and out.mp3, like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp3 -i out.mp3 -filter_complex amix=inputs=2:duration=longest -c:a libmp3lame res.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But the final output res.mp3 has different volume levels.&lt;/p&gt;&#xA;&lt;p&gt;When I run ffmpeg 'volumedetect' it gives these outputs:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;1. For in.mp3&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp3 -af &amp;quot;volumedetect&amp;quot; -vn -sn -dn -f null NUL&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Stream #0:0: Audio: pcm_s16le, 44100 Hz, stereo, s16, 1411 kb/s&lt;/p&gt;&#xA;&lt;p&gt;size=N/A time=00:02:07.17 bitrate=N/A speed= 344x&lt;/p&gt;&#xA;&lt;p&gt;[Parsed_volumedetect_0 @ 00554a00] mean_volume: -22.3 dB&lt;/p&gt;&#xA;&lt;p&gt;[Parsed_volumedetect_0 @ 00554a00] max_volume: -0.3 dB&lt;/p&gt;&#xA;&lt;hr&gt;&#xA;&lt;p&gt;&lt;strong&gt;2. For out.mp3&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i out.mp3 -af &amp;quot;volumedetect&amp;quot; -vn -sn -dn -f null NUL&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Stream #0:0: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s&lt;/p&gt;&#xA;&lt;p&gt;size=N/A time=00:02:07.17 bitrate=N/A speed= 434x&lt;/p&gt;&#xA;&lt;p&gt;[Parsed_volumedetect_0 @ 00441100] mean_volume: -22.5 dB&lt;/p&gt;&#xA;&lt;p&gt;[Parsed_volumedetect_0 @ 00441100] max_volume: -3.5 dB&lt;/p&gt;&#xA;&lt;hr&gt;&#xA;Given the differences in Hz, speed, mean/max volumes - what is the right way to normalize the two audios before merging them with amix?&#xA;&lt;p&gt;&lt;em&gt;THANKS!&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="35070" LastActivityDate="2021-10-23T13:06:25.543" Title="Correct way to normalize two audios before using filter_complex amix" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33875" PostTypeId="2" ParentId="33871" CreationDate="2021-05-23T20:45:13.550" Score="1" Body="&lt;p&gt;The best way to control the order-of-operations is to do all of your compositing in a single Fusion clip; all of your keying and corner-pinning happens in a single Fusion clip, ideally. To set this up, lasso both of the clips on V1 and V2, right-click, and choose &amp;quot;create Fusion clip&amp;quot; from the contextual menu (do this to new, ordinary video clips, not ones you’ve already made into Fusion clips).&lt;/p&gt;&#xA;&lt;p&gt;But in case you are trying to preserve some amount of edit flexibility, or have another reason to keep the Fusion clips distinct on the Edit timeline, I suspect that the issue is an order-of-operations problem related to the Color page.&lt;/p&gt;&#xA;&lt;p&gt;I &lt;em&gt;think&lt;/em&gt; that when Resolve sees two Fusion clips stacked on top of each other, it processes the&#xA;bottommost clip’s Fusion effects first, passes the V1 Fusion to the Color page, then calculates V2 Fusion and V2 Color.  I could be wrong about bottom-first processing, but it definitely does send to the Color page before returning to Fusion to handle the second clip, whichever one that actually is.&lt;/p&gt;&#xA;&lt;p&gt;So, it’s likely the Color page that’s messing up the alpha channel. You could try opening the topmost clip on the Color page, right-clicking anywhere in the node tree background, and choosing &amp;quot;add alpha output” from the dropdown menu. In previous versions of Resolve, it was necessary to inform the Color page that it should output an alpha. Since your alpha is coming from Fusion, you'll also probably need to right-click in the background select &amp;quot;add source,&amp;quot; and wire the new green triangle on the left to the blue alpha output on the right.  This is the manual way to tell the Color page to &amp;quot;pass through&amp;quot; an alpha channel.&lt;/p&gt;&#xA;&lt;p&gt;Resolve’s image pipeline undergoes frequent modification, especially with respect to alpha channels, and the way different Edit page containers prioritize and calculate (including premultiplication).  For the most part, it has improved greatly over the years, but you'll still run into situations where it doesn't do what you'd expect. The developers are great about incorporating user feedback, but on the other hand, that's why the image pipeline is in a constant state of flux.  And since the codebase changes more frequently than the documentation, sometimes the order of operations isn't clearly defined…&lt;/p&gt;&#xA;&lt;p&gt;Which is why it's still best to contain all of your Fusion compositing in a single clip.&lt;/p&gt;&#xA;&lt;p&gt;One last thing that might help, and I always forget to recommend, because it's a new feature; Render In Place.  You can render either (or both) clips to disk, which will both speed up playback and help you troubleshoot, and depending on your requirements may be a sufficient solution itself.  Right-click on either clip in the timeline and select the option from the dropdown, but be sure to select a codec which supports alpha channels, such as ProRes 4444.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-05-23T21:09:52.437" LastActivityDate="2021-05-23T21:09:52.437" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33876" PostTypeId="1" CreationDate="2021-05-24T01:57:48.633" Score="0" ViewCount="9" Body="&lt;p&gt;What is a standard tool to make videos that contain AR effect?&lt;/p&gt;&#xA;&lt;p&gt;I am very impressed with this movie because (a) it tracks the camera position of 3D coordinates smoothly and (b) gadgets of Mac OS are clearly placed with nice look.&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/sZeo3hCQ_34?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;I think AR is the future in front of us, so, eager to produce this kind of video by myself to feel how we see with it!&lt;/p&gt;&#xA;" OwnerUserId="35086" LastActivityDate="2021-05-24T04:17:18.383" Title="Standard software for producing video with AR effect" Tags="|effects|3d|tracking|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33877" PostTypeId="2" ParentId="28373" CreationDate="2021-05-24T02:08:34.633" Score="1" Body="&lt;p&gt;In the example above, when you're grabbing the end of the clip, you're performing a trim edit, but the clip has reached the full extent of the media, and shows red to indicate that there's no more media.&lt;/p&gt;&#xA;&lt;p&gt;To instead retime the clip, you need to first call up the retime controls by pressing ctrl/cmd-R.  Then grab the TOP right-hand corner of the clip.  When you're hovering over the correct spot, the mouse will change to a double arrow, indicating that you're about to perform a rate stretch action.  To dismiss the rate stretch tool, either click the &amp;quot;x&amp;quot; on the left side of the clip, or hit cmd/ctrl-R again.&lt;/p&gt;&#xA;&lt;p&gt;This works when you're trying to interactively stretch either END of the clip.  If you want to interactively adjust the timing of a place in the MIDDLE of the clip, you'd first need to add a speed point.  To add a speed point, summon the retime controls, and click the black disclosure triangle that appears in the middle of the clip, at the bottom, and select &amp;quot;add speed point&amp;quot; from the context menu.  When the new grey/white control device appears, notice that there's a difference between dragging one handle and the other.  Dragging the top handle stretches and squashes time, slowing and speeding it.  Dragging the bottom handle changes the point in time at which the speed change occurs, but it does not slow or speed the clip.&lt;/p&gt;&#xA;&lt;p&gt;You can rate stretch a moment indefinitely, but as long as you're only stretching it, time will always progress, even if it's very slowly.  To freeze time, click the same disclosure triangle you used to add a speed point, and instead, select &amp;quot;add freeze frame.&amp;quot;  This actually adds two speed points, between which time does not progress.  This is probably the approach you should use for your clock, because it will prevent Resolve from interpolating between two frames.&lt;/p&gt;&#xA;&lt;p&gt;By right-clicking on the clip, you can also expose the retime curve, which uses more traditional keyframes and bezier handles, and presents options for both &amp;quot;retime frame&amp;quot; and &amp;quot;retime speed&amp;quot; which are two additional interfaces for the same controls.  This is the interface in your screenshot.  In fact, you can use all three methods simultaneously and interchangeably, and doing so will give you both better insight into the tools' relationships, but ultimately more precision in retiming elements of your videos.&lt;/p&gt;&#xA;&lt;p&gt;One final note.  Like many actions in Resolve, the interactive retime controls respect the difference between Selection Mode (A) and Trim Edit Mode (T).  If you're in Trim Edit Mode, retiming a clip will ripple the timeline (subsequent clips will alter their timing automatically).  In Selection mode, they won't, allowing you to overwrite a subsequent clip by rate-stretching an earlier one overtop.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-05-24T02:57:08.340" LastActivityDate="2021-05-24T02:57:08.340" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33878" PostTypeId="2" ParentId="33876" CreationDate="2021-05-24T04:17:18.383" Score="1" Body="&lt;p&gt;There are a couple of ways to obtain such a result. You can record a video and add these objects using editing software like after effects or blender. This software can track the surfaces and you can add any 3d objects. The second way is to build an AR app using unity or an unreal engine. This method is good and you can use this with any surfaces, unlike the first method. You can find out more from &lt;a href=&quot;https://www.youtube.com/watch?v=yQKJkGenTnA&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35087" LastActivityDate="2021-05-24T04:17:18.383" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33880" PostTypeId="1" CreationDate="2021-05-24T13:34:16.643" Score="1" ViewCount="246" Body="&lt;p&gt;I have below expression on time-remap property which triggers transition based on the markers set on Action layer.&lt;/p&gt;&#xA;&lt;p&gt;Is it possible to add certain frames of pre-roll to this expression so if the maker is set at 1 sec the transition start at 0.5 sec.&lt;/p&gt;&#xA;&lt;p&gt;I have added n=1 so that it skips first marker as it does not require transition.&#xA;I have already tried replacing &lt;code&gt;t = m.key(n).time;&lt;/code&gt; with &lt;code&gt;t = m.key(n).time-0.5;&lt;/code&gt; which for some reason does not work.&#xA;Thank you!&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&#xA;    m = thisComp.layer(&amp;quot;Action&amp;quot;).marker;&#xA;    n = 1;&#xA;    if (m.numKeys &amp;gt; 1){&#xA;    n = m.nearestKey(time).index;&#xA;    if (m.key(n).time &amp;gt; time) n--;&#xA;    }&#xA;    if (n &amp;gt; 1){&#xA;    t = m.key(n).time;&#xA;    time - t ;&#xA;    }else&#xA;    0;&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="35081" LastEditorUserId="1950" LastEditDate="2022-07-03T11:31:17.893" LastActivityDate="2022-07-03T11:31:17.893" Title="Adding Time offset to Marker expression" Tags="|after-effects|after-effects-expressions|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33882" PostTypeId="1" CreationDate="2021-05-24T17:13:56.843" Score="1" ViewCount="5633" Body="&lt;p&gt;I am using the trial version of Adobe Premier Pro (also tried Elements) and I noticed that there is no option to export as H265. Is there something i should do in order to enable this functionality? Seems really strange that this is not supported, especially for such a suppoded high-end video editing application.&lt;/p&gt;&#xA;&lt;p&gt;I am running the following specs:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;OS: Windows 10&lt;/li&gt;&#xA;&lt;li&gt;CPU: i7 11700K&lt;/li&gt;&#xA;&lt;li&gt;GPU: RTX 3070&lt;/li&gt;&#xA;&lt;li&gt;RAM: 32GB DDR4 @ 3200mhz&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="24046" LastActivityDate="2023-03-12T22:22:44.650" Title="Adobe Premiere Pro no H265 export option?" Tags="|premiere|adobe|h265|hevc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33884" PostTypeId="2" ParentId="33867" CreationDate="2021-05-25T05:29:17.420" Score="0" Body="&lt;p&gt;Not really. Not unless your laptop happens to contain a 4K capture card.  Most laptops don’t have video signal inputs.  You can do HD with a Blackmagic Ultrastudio Mini Recorder for a little over a hundred dollars, as long as you can find capture+encode software, but putting the encoding onus on your laptop isn’t very reliable.&lt;/p&gt;&#xA;&lt;p&gt;If recording space is your major concern, many cameras are now capable of writing directly to externally attached SSDs, presuming the data rate generated by the codec you’re recording is lower than the write speed of the SSD.  I’m not sure about the R6, but if it doesn’t, you might consider trading it for one that does, depending on your priorities.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-05-25T05:41:49.497" LastActivityDate="2021-05-25T05:41:49.497" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33885" PostTypeId="2" ParentId="33882" CreationDate="2021-05-25T15:51:52.777" Score="1" Body="&lt;p&gt;It should be there, &amp;quot;HEVC (H.265)&amp;quot;, selectable under format. If it's not there the codec may not be installed on your system. Adobe describes how to check and install it here: &lt;a href=&quot;https://helpx.adobe.com/in/premiere-elements/using/hevc-decoding-on-windows.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/in/premiere-elements/using/hevc-decoding-on-windows.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="-1" LastEditDate="2023-03-12T22:22:44.650" LastActivityDate="2023-03-12T22:22:44.650" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33886" PostTypeId="1" AcceptedAnswerId="33888" CreationDate="2021-05-25T19:05:49.267" Score="1" ViewCount="4206" Body="&lt;p&gt;I'd like to convert a file recorded from an iPhone 12 to a royalty-free version (for upload to Wikimedia, Flickr, etc). So the transfer involves:&lt;/p&gt;&#xA;&lt;div class=&quot;s-table-container&quot;&gt;&#xA;&lt;table class=&quot;s-table&quot;&gt;&#xA;&lt;thead&gt;&#xA;&lt;tr&gt;&#xA;&lt;th&gt;Source (iPhone proprietary-encumbered)&lt;/th&gt;&#xA;&lt;th&gt;Destination (royalty-free)&lt;/th&gt;&#xA;&lt;/tr&gt;&#xA;&lt;/thead&gt;&#xA;&lt;tbody&gt;&#xA;&lt;tr&gt;&#xA;&lt;td&gt;4k 60fps (UHD, not DCI)&lt;/td&gt;&#xA;&lt;td&gt;4k 60fps&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;tr&gt;&#xA;&lt;td&gt;BT.2020 in HLG (WCG)&lt;/td&gt;&#xA;&lt;td&gt;BT.2020 in HLG (WCG)&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;tr&gt;&#xA;&lt;td&gt;Frame-level dynamic HDR metadata in Dolby Vision profile 8.4&lt;/td&gt;&#xA;&lt;td&gt;Frame-level dynamic HDR metadata in HDR10+&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;tr&gt;&#xA;&lt;td&gt;HEVC&lt;/td&gt;&#xA;&lt;td&gt;VP9 (open to AV1 as well but that's likely more nascent)&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;tr&gt;&#xA;&lt;td&gt;Bitrate is 31 Mb/s&lt;/td&gt;&#xA;&lt;td&gt;Fine with higher bitrate to maintain same SSIM/PSNR&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;tr&gt;&#xA;&lt;td&gt;Audio is in AAC&lt;/td&gt;&#xA;&lt;td&gt;Audio to Vorbis/OGG&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;/tbody&gt;&#xA;&lt;/table&gt;&#xA;&lt;/div&gt;&#xA;&lt;p&gt;According to &lt;a href=&quot;https://codecalamity.com/encoding-uhd-4k-hdr10-videos-with-ffmpeg/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://codecalamity.com/encoding-uhd-4k-hdr10-videos-with-ffmpeg/&lt;/a&gt; it should be possible to do most of this.&#xA;Anyone can help me cook up the right command for this?&lt;/p&gt;&#xA;" OwnerUserId="12781" LastActivityDate="2022-02-20T01:02:25.253" Title="How to convert Dolby Vision HDR to HDR10+?" Tags="|hdr|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="33887" PostTypeId="2" ParentId="13066" CreationDate="2021-05-25T23:02:43.053" Score="0" Body="&lt;p&gt;It sounds like you may the resultant video to have 30 frames per second for compatibility with certain devices (e.g. a DVD player), but you want the content to play back at an effective 7 frames per second to maintain the original temporal resolution. In that case, you'll need to use an FFmpeg video filter like &lt;a href=&quot;https://unix.stackexchange.com/questions/178503/ffmpeg-interpolate-frames-or-add-motion-blur&quot;&gt;tblend&lt;/a&gt; or &lt;a href=&quot;https://www.reddit.com/r/ffmpeg/comments/herifq/minterpolate_to_reduce_image_sequence_framerate/&quot; rel=&quot;nofollow noreferrer&quot;&gt;minterpolate&lt;/a&gt; to interpolate the 7 frames' worth of content to 30 frames (with varying visual changes), or use a third party application like &lt;a href=&quot;https://github.com/dthpham/butterflow&quot; rel=&quot;nofollow noreferrer&quot;&gt;butterflow&lt;/a&gt; which itself uses FFmpeg.&lt;/p&gt;&#xA;&lt;p&gt;If you purely want the 7 fps source content to be sped up to 30 fps (shortening the playback time ~4:1) then the other &lt;code&gt;-framerate&lt;/code&gt; based answers will suffice.&lt;/p&gt;&#xA;" OwnerUserId="546" LastActivityDate="2021-05-25T23:02:43.053" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33888" PostTypeId="2" ParentId="33886" CreationDate="2021-05-25T23:11:37.580" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://www.reddit.com/r/hometheater/comments/eholm5/dolby_vision_to_hdr10_conversion/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sadly no&lt;/a&gt;, not without expensive specialist broadcast processing hardware.&lt;/p&gt;&#xA;&lt;p&gt;From the Reddit link,&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Dolby Vision is 100% proprietary. There is no incentive at all for&#xA;Dolby to convert anything to HDR10+ to help out Samsung users (and&#xA;pre-2019 Panasonics) when the only reason HDR10+ exists is because&#xA;Samsung didn’t want to pay Dolby for the license.&lt;/p&gt;&#xA;&lt;p&gt;Dolby Vision is simply an enhancement layer on top of HDR10 which is&#xA;the base layer. There are a couple types of DV layers. The MEL&#xA;(minimum enhancement layer) and the FEL (full enhancement layer) which&#xA;reconstructs the original 12-bit signal. The FEL is what gives DV a&#xA;large advantage over HDR10 and HDR10+.&lt;/p&gt;&#xA;&lt;p&gt;Page 12:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dolby.com/us/en/technologies/dolby-vision/dolby-vision-for-creative-professionals/dolby-vision-uhd-bluray-authoring-workflow.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dolby.com/us/en/technologies/dolby-vision/dolby-vision-for-creative-professionals/dolby-vision-uhd-bluray-authoring-workflow.pdf&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="546" LastActivityDate="2021-05-25T23:11:37.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33891" PostTypeId="2" ParentId="33798" CreationDate="2021-05-26T07:36:35.070" Score="1" Body="&lt;p&gt;If you don't want to do your own animations, you might want to search for &lt;em&gt;Essential graphics presets&lt;/em&gt;. Essential graphics allows you to load AE compositions inside PP ready to edit like the ones you have seen. There are a bunch of places where you can get them, for free and paid, like Envato Elements, Premiumbeat, Mixkit, even Youtube itself.&lt;/p&gt;&#xA;&lt;p&gt;If you want to know more about it, here's a link to Adobe's wiki for &amp;quot;Essential Graphics&amp;quot;: &lt;a href=&quot;https://helpx.adobe.com/es/premiere-pro/how-to/essential-graphics-panel.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/es/premiere-pro/how-to/essential-graphics-panel.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12377" LastActivityDate="2021-05-26T07:36:35.070" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33892" PostTypeId="1" AcceptedAnswerId="33900" CreationDate="2021-05-26T11:17:30.183" Score="1" ViewCount="493" Body="&lt;p&gt;A client asked me to do an animated product visualization in 3D and then render out the animation in 4K with a transparent background to put on their website. The animation is done but if I want to export it without background I realized that Quicktime is the only option. The 4-sec video then becomes 1,8GB in size! Is there any way around this or do I have to tell them that we can't go with 4K? or can I compress it or use some other format? The animation is also choppy in the video exported without background. When I render out an MP4 with the background it runs smoothly.&lt;/p&gt;&#xA;" OwnerUserId="35106" LastActivityDate="2021-05-30T21:52:47.227" Title="Video with transparent background file-size issue" Tags="|file-formats|export|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33893" PostTypeId="2" ParentId="33873" CreationDate="2021-05-26T11:41:38.487" Score="1" Body="&lt;p&gt;One way to make the volume levels consistent is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp3 -i out.mp3 -filter_complex &amp;quot;[1:a]asplit=2[sc][mix];[0:a][sc]sidechaincompress[compr];[compr][mix]amerge&amp;quot; -c:a libmp3lame res.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But this may not be the best way. Please let me know if there are better ways, and what are the pros and cons of the above method. thanks.&lt;/p&gt;&#xA;" OwnerUserId="35070" LastActivityDate="2021-05-26T11:41:38.487" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33895" PostTypeId="1" CreationDate="2021-05-27T03:27:50.407" Score="0" ViewCount="635" Body="&lt;p&gt;I have 2 subtitle entries that look like this in the srt file&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;00:10:15,60 --&amp;gt; 00:10:18,00&#xA;- We're good here in the sun, right?&#xA;&#xA;00:10:15,80 --&amp;gt; 00:10:18,00&#xA;- You need some sunscreen? I got a 70 here.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;As you can see, they overlap in time. When I test the subtitles with my KMPlayer, the result is:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The first sub appears at sec 15,60 on the second line on the screen&lt;/li&gt;&#xA;&lt;li&gt;The second sub appears at sec 15,80 on the first line on the screen. They both disappear at sec 18,00.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/401ou.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/401ou.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;When uploading them onto Youtube, in the Subtitles Edit window,  the first sub appears on the first line and the second sub appears on the second line of the screen, which is even better to read:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ewf1t.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ewf1t.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;BUT in &lt;a href=&quot;https://youtu.be/ldjYX8zfhoQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;the actual YT video&lt;/a&gt;, the first sub appears at sec 15,60 and disappears right at sec 15,80 before the second sec appears, so the viewers could only see the second sub:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/TWMir.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TWMir.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is this a Youtube bug or somebody could show me how to fix this, please?&lt;/p&gt;&#xA;" OwnerUserId="35113" LastEditorUserId="35113" LastEditDate="2021-05-31T07:54:32.127" LastActivityDate="2022-02-17T06:24:18.320" Title="How to display multiple lines of subtitles that have overlapping time on Youtube?" Tags="|youtube|subtitles|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33896" PostTypeId="1" CreationDate="2021-05-27T14:48:54.280" Score="1" ViewCount="167" Body="&lt;p&gt;I am using FFMPEG for streaming 24/7 mp4 video on youtube.&#xA;The video is somewhere in 2 minutes, the stream starts but does not go on replay, what should I do?&lt;/p&gt;&#xA;&lt;p&gt;I am using this code:&lt;/p&gt;&#xA;&lt;p&gt;@echo off&lt;/p&gt;&#xA;&lt;p&gt;d:&lt;/p&gt;&#xA;&lt;p&gt;cd &amp;quot;D:\ffmpeg&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -stream_loop -1 -i 1.mp4 -c:v copy -c:a copy -f flv rtmp://a.rtmp.youtube.com/live2/my_Secret_key&lt;/p&gt;&#xA;" OwnerUserId="35122" LastEditorUserId="35122" LastEditDate="2021-05-27T16:19:37.860" LastActivityDate="2021-05-27T16:19:37.860" Title="Video Stream Loop FFMPEG for YouTube, what is missing here?" Tags="|video|ffmpeg|streaming|mp4|youtube|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33897" PostTypeId="1" CreationDate="2021-05-27T16:15:47.937" Score="1" ViewCount="147" Body="&lt;p&gt;I am new to this and wondering, how can I get the lowest latency sending an SRT stream? I can’t seem to get under six seconds. Using, latency=10000&lt;/p&gt;&#xA;" OwnerUserId="35125" LastActivityDate="2021-05-27T16:15:47.937" Title="Low latency on SRT stream" Tags="|video|ffmpeg|encoding|streaming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33898" PostTypeId="1" CreationDate="2021-05-27T20:17:51.123" Score="1" ViewCount="24" Body="&lt;p&gt;I have a few classes that I teach over Zoom that I need to edit every week. The edits are very simple: trim the beginning of the video and add an animation of our logo at the beginning. Basically, trim 2 minutes, and add another video at the beginning.&lt;/p&gt;&#xA;&lt;p&gt;Any ideas if there is a website that can do this automatically, or at least automates part of the process in the cloud? It only takes me about 20 minutes per video but it is very tedious and the rendering takes hours.&lt;/p&gt;&#xA;" OwnerUserId="35127" LastActivityDate="2021-05-27T20:17:51.123" Title="Automating Video Editing in the Cloud" Tags="|automation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33899" PostTypeId="1" CreationDate="2021-05-27T23:04:05.477" Score="1" ViewCount="154" Body="&lt;h3&gt;Background&lt;/h3&gt;&#xA;&lt;p&gt;I am using Final Cut Pro X on a new M1 MacBook Pro (16gb of RAM) on AC power, and I have noticed that when I export the video project (share) the resulting video file is so much larger than what I would expect from my knowledge of the PNG photo format.&lt;/p&gt;&#xA;&lt;p&gt;I created a &amp;quot;video&amp;quot; that is actually just my attempt to present a recorded phone call. So video quality doesn't matter. In the image below you can see that I created a static title card that lasted 60secs with an audio track (size 36mb) that lasts 30mins. I chose the export settings based on what I thought would be the fastest encoding and smallest video size. However encoding took 12mins and the resulting file size is 51mb.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BSigN.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BSigN.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/SKVNC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SKVNC.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;h3&gt;Overall Question&lt;/h3&gt;&#xA;&lt;p&gt;What do I not understand about my chosen export settings and video codec that would cause such a large file size and a long time to export?&lt;/p&gt;&#xA;&lt;h3&gt;Secondary Questions&lt;/h3&gt;&#xA;&lt;p&gt;What settings should I have chosen instead?&lt;/p&gt;&#xA;&lt;p&gt;Is there a specific codec that would be good to use when video doesn't matter in a video?&lt;/p&gt;&#xA;" OwnerUserId="1737" LastActivityDate="2021-07-03T20:04:24.133" Title="Why is my video file so large when there isn't any video?" Tags="|encoding|codec|final-cut-pro-x|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33900" PostTypeId="2" ParentId="33892" CreationDate="2021-05-28T08:43:14.520" Score="0" Body="&lt;p&gt;Transparent video on the web is possible, but it's going to only work for users with modern browsers.  You'll need to export in two different codecs - one for Chrome users, one for Safari.&lt;/p&gt;&#xA;&lt;p&gt;From &lt;a href=&quot;https://www.rotato.app/read/transparent-videos-for-the-web&quot; rel=&quot;nofollow noreferrer&quot;&gt;this site&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Safari supports HEVC with alpha, Chrome does not.&#xA;Chrome supports VP9 with alpha, Safari does not.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;You need to export an HEVC with alpha channel for Safari.&lt;/p&gt;&#xA;&lt;p&gt;You need a .webm VP9 codec with alpha for Chrome.&lt;/p&gt;&#xA;&lt;p&gt;The animation codec you've exported at is not designed for web publishing.  It's a lossless very large codec designed for editing or archiving your finished project before you use it to make a smaller lossy version to go on the web.&lt;/p&gt;&#xA;&lt;p&gt;This is how to make the webm using ffmpeg&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;movie-prores.mov&amp;quot; -c:v libvpx-vp9 movie-webm.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I would recommend also exporting a &amp;quot;fallback version&amp;quot; for browsers that can't cope with transparent video (as a normal h264 mp4 or webm).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-05-28T08:43:14.520" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33901" PostTypeId="1" CreationDate="2021-05-28T10:44:53.597" Score="0" ViewCount="153" Body="&lt;p&gt;I've been using OpenShot for a while on Fedora Linux from 27-33 and mostly not much problems.  I did notice occasionally that Render via GPU didn't work, but then I restarted the App, and was compiling again.&#xA;I have laptop with NV GTX 1500 TI with RPFusion nvidia drivers on, and since an update and install of cuda.  Openshot stopped working.  It gives me a message&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Sorry, there was an error exporting your video: error while writing raw video frame&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If I try to use ffmpeg with h.264 or h.265 directly it does encode normally.  So I'm not sure where to even look for detailed error info and howto go about solving this problem.&lt;/p&gt;&#xA;" OwnerUserId="33735" LastActivityDate="2021-05-28T10:44:53.597" Title="Where/what to check in Openshot to see why GPU render doesn't work?" Tags="|video-editor|encoding|nvidia|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33902" PostTypeId="1" CreationDate="2021-05-28T15:36:05.723" Score="0" ViewCount="167" Body="&lt;p&gt;I am creating animated sequences from video files. I am hoping to create image masks from the video files to save time on masking them by hand. &lt;a href=&quot;https://www.arj.no/2020/02/21/image-masks/&quot; rel=&quot;nofollow noreferrer&quot;&gt;This tutorial&lt;/a&gt; seems to clearly outline the process, however I have not been able to successfully input this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for i in *.tiff;&#xA;do&#xA;    name=`echo $i | cut -d'.' -f1';&#xA;    convert t01.tiff $i -compose difference -composite -threshold 5% -blur 0x3 \&#xA;          -threshold 20% -blur -0x3 &amp;quot;$name-mask.tiff&amp;quot; convert $i &amp;quot;name-mask.tiff&amp;quot; \&#xA;          -compose multiply -flatten &amp;quot;$name-clean.jpg&amp;quot;&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;When I enter this code, I receive:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I am using bash on Catalina and am a bit new to this workflow and command line in general.&lt;/p&gt;&#xA;" OwnerUserId="35134" LastEditorUserId="30687" LastEditDate="2021-05-29T11:53:58.080" LastActivityDate="2021-05-29T11:53:58.080" Title="Batch processing in ImageMagick to create image masks from .mp4" Tags="|ffmpeg|animation|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="33905" PostTypeId="1" CreationDate="2021-05-29T08:06:38.053" Score="1" ViewCount="52" Body="&lt;p&gt;ffmpeg -pattern_type glob -i '*.jpg&#xA;' -vf select='gt(scene,0.4)' out_%d.jpg&lt;/p&gt;&#xA;&lt;p&gt;In this command, i just want to select the separation frame from image sequences. But how can i make the output image filename same as the original image filename? Thx a lot.&lt;/p&gt;&#xA;&lt;p&gt;for example:&#xA;1.jpg&#xA;2.jpg&#xA;3.jpg&#xA;4.jpg&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;commmand&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I want the result is:&#xA;2.jpg&#xA;instead of out_1.jpg&lt;/p&gt;&#xA;" OwnerUserId="35139" LastActivityDate="2021-05-29T08:06:38.053" Title="how to output the origin filename when the inputs are images in ffmpeg?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33906" PostTypeId="2" ParentId="33899" CreationDate="2021-05-29T14:31:01.820" Score="3" Body="&lt;p&gt;You have 37 minutes and 14 seconds of audio, so it's going to be at least as large as the original audio file (36Mb) plus one image and a few bytes for each frame saying &amp;quot;the image has not changed&amp;quot;. You have some 67,000 frames if you build a 30 fps video.&lt;/p&gt;&#xA;&lt;p&gt;So it will look larger than the input audio file. It could be that the settings are such that the tool you're using adds full frames every now and then, like say once every second. These full frames are called key frames and allow one to start the video midway without having to replay everything from the start. So that could easily add a few Mb of data in a 37 minutes video. A 640x480 frame is about 1Mb uncompressed, probably about 0.01Mb once compressed (since it's just text). Your video has about 2,234 seconds, that would mean 0.01Mb x 2,234 = 22 Mb of key frames only and 36Mb + 22Mb = 58Mb.&lt;/p&gt;&#xA;&lt;p&gt;Some tools can remove all the key frames. I've used ffmpeg and generated mp4 without key frames. I don't know that the tool you're using would be capable of doing such, though.&lt;/p&gt;&#xA;" OwnerUserId="30687" LastEditorUserId="30687" LastEditDate="2021-07-03T20:04:24.133" LastActivityDate="2021-07-03T20:04:24.133" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33907" PostTypeId="1" CreationDate="2021-05-29T21:01:10.243" Score="0" ViewCount="285" Body="&lt;p&gt;I am using an iPhone (iOS 14.6), Shure Motive Video (1.5.0.229) and Davinci Resolve (Mac, 17.2 Build 11) to capture video. When I play back the video file in Quicktime (Version 10.5 (1086.4.2)), the audio and video are in sync, but when I drop it into Davinci Resolve, the video is several seconds ahead of the audio, despite the audio and video timelines looking like they are in sync.&lt;/p&gt;&#xA;&lt;p&gt;The video file in question is here: &lt;a href=&quot;https://drive.google.com/file/d/1adRm1rZRs-GKwFfnsw3YE9pMc8xVmIBM/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1adRm1rZRs-GKwFfnsw3YE9pMc8xVmIBM/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Strangely, if I open the file in Quicktime and export it as &amp;quot;4k&amp;quot;, the offset problem goes away and empty audio is inserted at the beginning of the audio timeline, but this means I have to pre-export every source video file.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to fix the audio sync problem without opening and exporting from Quicktime?&lt;/p&gt;&#xA;" OwnerUserId="35143" LastActivityDate="2024-02-17T02:06:30.787" Title="Audio from Motiv video file is offset wrong in Davinci Resolve" Tags="|audio|davinci-resolve|quicktime|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33908" PostTypeId="2" ParentId="23741" CreationDate="2021-05-30T02:43:02.313" Score="1" Body="&lt;p&gt;From the comment in the answer &lt;a href=&quot;https://superuser.com/questions/523286/how-to-make-handbrake-preserve-capture-time-creation-time/523696#comment2528176_523696&quot;&gt;https://superuser.com/questions/523286/how-to-make-handbrake-preserve-capture-time-creation-time/523696#comment2528176_523696&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;A full command line adding the option to copy special tags will be:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -i out.mp4 -map 1 -map_metadata 0 -c copy -movflags use_metadata_tags fixed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="35144" LastEditorUserId="6582" LastEditDate="2023-12-18T19:41:06.980" LastActivityDate="2023-12-18T19:41:06.980" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33912" PostTypeId="2" ParentId="33899" CreationDate="2021-05-30T20:03:50.837" Score="2" Body="&lt;p&gt;If a video does not matter on a video... you could use an audio file like mp3.&lt;/p&gt;&#xA;&lt;p&gt;But let us assume you are uploading it on a video platform like youtube. Then the video format should be accepted by the platform.&lt;/p&gt;&#xA;&lt;p&gt;If you want to use it on your website, the most commonly used container is MP4, so use that.&lt;/p&gt;&#xA;&lt;p&gt;But what you want to change are the video parameters. For example, if you have only one static image, you can change some options:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;The keyframing every, let's say, 5 seconds?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The FPS, try something really low, like 1 FPS&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The resolution, you can use a small file like 480P&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The aspect ratio. Try using a square video format. 480x480Px&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The bit depth. Use 8 bits.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The codec, either h.264 or x.264&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;And now choose an audio codec. The most common is ACC. Use it to maximize the compatibility across players.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2021-05-30T20:03:50.837" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33913" PostTypeId="2" ParentId="33892" CreationDate="2021-05-30T21:52:47.227" Score="1" Body="&lt;p&gt;Probably a good option, depending on the animation, is a CSS or JavaScript animation of a PNG sequence. This works well for 360° animations.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.google.com/search?client=firefox-b-d&amp;amp;q=360+javascript+animation&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.google.com/search?client=firefox-b-d&amp;amp;q=360+javascript+animation&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2021-05-30T21:52:47.227" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33916" PostTypeId="1" CreationDate="2021-05-31T12:40:06.917" Score="1" ViewCount="34" Body="&lt;p&gt;I want to make the text zoom when it passes the red rectangle. I have added the magnify effect, but it's not looking good. I want to make the long list of text from A to Z. And as the word passes or stops at the red rectangle it should zoom. Any suggestion as to how it works and make it good?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PWHjT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PWHjT.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35163" OwnerDisplayName="atikroshan" LastEditorUserId="17390" LastEditDate="2021-06-15T15:12:32.570" LastActivityDate="2021-06-15T15:12:32.570" Title="After effect how to make zoom effect" Tags="|after-effects|zoom|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33917" PostTypeId="2" ParentId="25591" CreationDate="2021-05-31T16:41:21.870" Score="0" Body="&lt;p&gt;Place the animation on the timeline. Clicking on the wrench at the lower right corner of the Program Monitor, set the monitor to display the transparency grid:If your animation looks correct (the transparency is correct) then export the animation from the timeline in a codec that supports a matte channel, like ProRes 4444, or QuickTime Animation.MtD&lt;/p&gt;&#xA;" OwnerUserId="35164" LastActivityDate="2021-05-31T16:41:21.870" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33920" PostTypeId="2" ParentId="33907" CreationDate="2021-06-01T21:49:38.460" Score="0" Body="&lt;p&gt;In the system settings-&amp;gt;user tab-&amp;gt;UI Settings, check the “delay viewer by x frames” box, and progressively raise the number of frames until the audio and video match.&lt;/p&gt;&#xA;&lt;p&gt;Sometimes, external audio processing can cause delays which bring the audio out of sync.  Running your sound through a Dolby sound system is one example; a high latency plugin would be another.  I’ve used “normal” computer speakers which introduced significant delay.   If other audio isn’t delayed, then it’s probably the extra overhead incurred by Fairlight overburdening your sound card. The “delay video by x fames” feature is built for such occasions.&lt;/p&gt;&#xA;&lt;p&gt;Sometimes the external delay isn’t consistent, though.  This is often the case with Bluetooth devices. Delaying the video by a consistent amount will never completely eliminate sync mismatch in these cases, and it’s therefore best to eliminate the source of the delay, if possible, &lt;em&gt;i.e.,&lt;/em&gt; never edit with Bluetooth headphones.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-06-01T21:55:40.557" LastActivityDate="2021-06-01T21:55:40.557" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33921" PostTypeId="1" CreationDate="2021-06-02T01:39:54.713" Score="1" ViewCount="907" Body="&lt;p&gt;I've been searching for a tool that would take an image--a screenshot of a frame from a movie--and search every frame of one video from that same movie for that same image and give me either the frame number or a timestamp.&lt;/p&gt;&#xA;&lt;p&gt;I've seen similar queries on this forum and there were ffmpeg command-lines that would do the job, but that hasn't worked out for me.  Here is one command-line I've found there from 2016:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/19588/find-position-in-a-film-video-by-a-frame?newreg=eaed67a30ec24f4f8fcfe7fb7610b75a&quot;&gt;Find Position in a Film/Video by a Frame&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.ts -loop 1 -i image.png -an -filter_complex &amp;quot;[0]crop=w:h:x:y[a];[1][a]blend=difference,blackframe=90:32&amp;quot; -f null - &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And this is the error message I got:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpegts, from 'input.ts':&#xA;  Duration: 02:04:46.06, start: 4200.000000, bitrate: 2037 kb/s&#xA;  Program 1&#xA;    Stream #0:0[0x1011](und): Video: h264 (High) (HDMV / 0x564D4448), yuv420p(tv, bt709, progressive), 1280x720 [SAR 1:1 DAR 16:9], 23.98 fps, 23.98 tbr, 90k tbn, 47.95 tbc&#xA;Input #1, png_pipe, from 'image.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #1:0: Video: png, rgb24(pc), 953x398 [SAR 3779:3779 DAR 953:398], 25 fps, 25 tbr, 25 tbn, 25 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; crop&#xA;  Stream #1:0 (png) -&amp;gt; blend:top&#xA;  blackframe -&amp;gt; Stream #0:0 (wrapped_avframe)&#xA;Press [q] to stop, [?] for help&#xA;[Parsed_crop_0 @ 0000028b59bfac00] [Eval @ 0000009124dfe6d0] Undefined constant or missing '(' in 'w'&#xA;[Parsed_crop_0 @ 0000028b59bfac00] [Eval @ 0000009124dfe6d0] Undefined constant or missing '(' in 'h'&#xA;[Parsed_crop_0 @ 0000028b59bfac00] Error when evaluating the expression 'h'&#xA;[Parsed_crop_0 @ 0000028b59bfac00] Failed to configure input pad on Parsed_crop_0&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid argument&#xA;Error while processing the decoded data for stream #1:0&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here another ffmpeg code I got from [here in 2018][1]:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;input.ts&amp;quot; -r 1 -loop 1 -i image.png -an -filter_complex &amp;quot;blend=difference:shortest=1,blackframe=99:32&amp;quot; -f null - 2&amp;gt;&amp;amp;1 | grep blackframe | sed 's/.*frame\:\(.*\)/\1/'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And here's the error message:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;'grep' is not recognized as an internal or external command,&#xA;operable program or batch file.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The version of ffmpeg I'm using is from December of 2020.&lt;/p&gt;&#xA;&lt;p&gt;I also have Adobe's After Effects.  Perhaps there's a plug-in of the tool I'm looking for.&lt;/p&gt;&#xA;" OwnerUserId="35175" LastActivityDate="2024-04-06T21:02:50.347" Title="Tool for searching for a video's frame by an image file" Tags="|ffmpeg|video-editor|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33922" PostTypeId="1" CreationDate="2021-06-02T04:55:22.760" Score="3" ViewCount="81" Body="&lt;p&gt;Whenever I move the pointer you can see video getting weird pixelation.&lt;/p&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/AKiev.jpg&quot; width=&quot;200&quot; /&gt;&#xA;&lt;p&gt;Complete video showing how it behaves in quicktime player: &lt;a href=&quot;https://jmp.sh/TMaknmp&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://jmp.sh/TMaknmp&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I am just applying overlay using &lt;code&gt;AVVideoCompositionCoreAnimationTool&lt;/code&gt; in &lt;code&gt;AVFoundation&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Video is being created using h264 codec, on iphone 12 device.&lt;/p&gt;&#xA;&lt;p&gt;I have tried changing codec to hevc but that had no effect.&lt;/p&gt;&#xA;" OwnerUserId="35176" LastActivityDate="2021-06-05T08:57:25.897" Title="editing video (overlaying text) using AVfoundation is resulting weird behaviour in video" Tags="|h.264|quicktime|ios|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33923" PostTypeId="1" AcceptedAnswerId="33968" CreationDate="2021-06-02T10:45:36.513" Score="0" ViewCount="286" Body="&lt;p&gt;I'm having problems trying to apply a polygon mask to a planar tracking media which is UHD. My project is HD and my background image (the building) is also UHD. My tracking window and mask look like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/u6MeX.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/u6MeX.jpg&quot; alt=&quot;Fusion mask and planar tracker&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Then when I attach the polygon mask it gets scaled like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fuLN8.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fuLN8.jpg&quot; alt=&quot;Fusion mask and planar tracker squashed&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I resize the media or the mask so it fits my background?&lt;/p&gt;&#xA;" OwnerUserId="35179" LastActivityDate="2021-06-10T08:40:09.420" Title="Davinci Fusion Planar tracking, effect mask distorted size" Tags="|davinci-resolve|mask|fusion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33924" PostTypeId="1" CreationDate="2021-06-02T12:15:48.020" Score="1" ViewCount="132" Body="&lt;p&gt;FFMPEG 9600x1080 5 video stitching outputs black video&#xA;Hello everyone. I’m trying to merge 5 1920x1080 videos into a one big 9600x1080 clip. I’m using FFMPEG for it with the following script:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.avi -i 2.avi -i 3.avi -i 4.avi -i 5.avi -filter_complex &amp;quot;[1:v][0:v]scale2ref=oh*mdar:ih[1v][0v];[2:v][0v]scale2ref=oh*mdar:ih[2v][0v];[3:v][0v]scale2ref=oh*mdar:ih[3v][0v];[4:v][0v]scale2ref=oh*mdar:ih[4v][0v];[0v][1v][2v][3v][4v]hstack=5,scale='2*trunc(iw/2)':'2*trunc(ih/2)'&amp;quot; 5vid_final.mp4&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I’ve also tried a simpler method:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 1.avi -i 2.avi -i 3.avi -i 4.avi -i 5.avi   -filter_complex hstack=inputs=5 s5.mp4&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;they both seem to work, but the problem is that when I play these files I get a black screen.&#xA;I’ve tried stitching 4 videos (using the same commands as above) and I get propper playback, but when I add additional input, the output file is black during playback.&#xA;Video details claim that the resolution is as it should be (9600x1080) which leads me to believe that it may not be FFMPEG’s fault? Or maybe it is?&lt;/p&gt;&#xA;&lt;p&gt;I don’t even know how to check what’s causing the problem. Maybe someone has a verified 9600x1080 sample video or know where I could get one to try and play it locally?&#xA;I would be grateful for any assistance you could spare.&lt;/p&gt;&#xA;&lt;p&gt;Best regards&#xA;RafałT&lt;/p&gt;&#xA;&lt;p&gt;p.s.&#xA;I could try and post my vid and maybe someone could check if it's viewable? If someone would like to help, I could post it somewhere online.&lt;/p&gt;&#xA;" OwnerUserId="35180" LastEditorUserId="35180" LastEditDate="2021-06-02T12:20:54.193" LastActivityDate="2023-06-22T22:03:50.473" Title="FFMPEG 9600x1080 5 video" Tags="|ffmpeg|encoding|playback|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33925" PostTypeId="2" ParentId="33924" CreationDate="2021-06-02T13:09:50.440" Score="0" Body="&lt;p&gt;Thanks to @Gyan I was able to solve my problem. Guess VLC isn't natively able to support such resolutions. Maybe there's an option somewhere to do it, but ffplay works out-of-the-box so I won't be pursuing other routes.&#xA;Topic closed.&#xA;Thank you again @Gyan&lt;/p&gt;&#xA;" OwnerUserId="35180" LastActivityDate="2021-06-02T13:09:50.440" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33926" PostTypeId="1" CreationDate="2021-06-02T17:33:32.000" Score="1" ViewCount="29" Body="&lt;p&gt;I have wondered if the encoders used by tools like ffpmeg and hardware encoders like NVENC are more efficient for common resolutions like 1920x1080. I've done a few informal tests with a variety of resolutions and I haven't seen 1080p to be any faster than any other nearby resolution. The documentation for NVENC gives max resolutions supported, but no indication that any are specialized. AVC has different levels specifying maximum frame size and bitrate, but again nothing indicates one resolution optimized for specifically.&lt;/p&gt;&#xA;" OwnerUserId="7946" LastActivityDate="2021-06-02T17:33:32.000" Title="Are video encoders specialized for certain resolutions?" Tags="|ffmpeg|encoding|performance|nvenc|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33927" PostTypeId="2" ParentId="33924" CreationDate="2021-06-02T17:44:45.597" Score="1" Body="&lt;p&gt;This is likely not the fault of ffmpeg or VLC, but the specified resolution is above H.264 limits, as Gyan says in the comment. &lt;a href=&quot;https://video.stackexchange.com/questions/16538/h-264-max-resolution&quot;&gt;H.264 Max Resolution&lt;/a&gt; says the max resolution would be 9437184 luma sample rate (samples per frame), and while your resolution of four videos is 7680x1080 = 8294400, five videos is 9600x1080 = 10368000 which is above the limit. That is a huge resolution that may be supported by some decoders but is technically invalid.&lt;/p&gt;&#xA;&lt;p&gt;If you really need such huge videos, look into &lt;a href=&quot;https://en.wikipedia.org/wiki/High_Efficiency_Video_Coding&quot; rel=&quot;nofollow noreferrer&quot;&gt;HEVC&lt;/a&gt;, which at the max level supports up to 4278190080 luma sample rate.&lt;/p&gt;&#xA;" OwnerUserId="7946" LastActivityDate="2021-06-02T17:44:45.597" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33931" PostTypeId="1" AcceptedAnswerId="33934" CreationDate="2021-06-03T04:22:12.103" Score="0" ViewCount="261" Body="&lt;p&gt;I have been working to remove certain intervals in audio using FFMPEG and was wondering if there is a command or certain technique to only display certain intervals selected.&lt;/p&gt;&#xA;&lt;p&gt;For example, say I have an audio file (audio.wav) of duration 400 sec, and I run a command to only select the intervals from 30 sec and beyond as such:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i audio.wav -af &amp;quot;aselect=not(between(t,0,30)), asetps=N/SR/TB&amp;quot; output.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The command above produces an audio file output that does not include the first 30 seconds, however, my goal is to know what intervals that it did include. I am looking for something to display some output like:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;start_time: 30 sec, end_time: 400 sec&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I do not want to hardcode these values which is why I am looking for some type of way for FFMPEG or technique to produce it based on the intervals not included in the original audio. If anyone could please share with me any command, technique it would be greatly appreciated!&lt;/p&gt;&#xA;" OwnerUserId="35185" LastActivityDate="2021-06-03T07:49:37.287" Title="Display only Intervals Selected using FFMPEG command" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33932" PostTypeId="1" CreationDate="2021-06-03T05:04:47.223" Score="0" ViewCount="220" Body="&lt;p&gt;Hey guys I’m struggling to export feature film  2hour 20 min long DCP from premier pro.&lt;/p&gt;&#xA;&lt;p&gt;1.I already exported 422 Hq.&#xA;2.Made separate project with new sq.&#xA;3.Using Adobe encoder as well.&#xA;4.Every time my Mac frozen at 13%.&lt;/p&gt;&#xA;&lt;p&gt;All movie we shot on IPhone&#xA;1920*1080&lt;/p&gt;&#xA;&lt;p&gt;My Mac&#xA;16gb&#xA;3.8 ghz intel core i7&#xA;1Tb hard drive&lt;/p&gt;&#xA;&lt;p&gt;For editing I using regular external hard drive on 4tb.&lt;/p&gt;&#xA;&lt;p&gt;Do you have any suggestions how to solve this?&lt;/p&gt;&#xA;" OwnerUserId="35186" LastActivityDate="2024-02-19T03:07:30.920" Title="Export DCP from Adobe premier pro" Tags="|video-editor|video-quality|adobe-media-encoder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33933" PostTypeId="1" CreationDate="2021-06-03T06:34:30.350" Score="0" ViewCount="252" Body="&lt;p&gt;I intend to add a logo and loop a set of pictures on top of a RTMP stream, my current command is as follows:&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -i rtmp://127.0.0.1:1935/live/xxx -i logo.png -f image2 -loop 1 -i prod.jpg -filter_complex [0:v][1:v]overlay=x=30:y=10[vt];[vt][2:v]overlay=x='if(lte(-w+(t)*100,200),-w+(t)*100+100,230)':y=10 -framerate 25 -r 30 -ar 44100 -c:a copy -b:a 20000k -movflags +faststart -preset medium -crf 1 -tune zerolatency -maxrate 20000k -vcodec libx264 -fflags nobuffer -g 60 -max_muxing_queue_size 1024 -f flv pipe:1&lt;/p&gt;&#xA;&lt;p&gt;however I notice when it loops to a new prod.jpg file, the logo would disappear.&lt;/p&gt;&#xA;&lt;p&gt;Thus I need some clues on command to loop the product pictures but maintaining the logo.&lt;/p&gt;&#xA;" OwnerUserId="35187" LastActivityDate="2021-06-03T06:34:30.350" Title="Adding a static overlay logo into ffmpeg video stream and switch another which maintaining the logo" Tags="|ffmpeg|" AnswerCount="0" CommentCount="15" ContentLicense="CC BY-SA 4.0" />
  <row Id="33934" PostTypeId="2" ParentId="33931" CreationDate="2021-06-03T07:49:37.287" Score="0" Body="&lt;p&gt;FFmpeg won't provide this information in compact form. At most, you can get the result of &lt;code&gt;aselect&lt;/code&gt;'s per-frame evaluation by switching to debug log level.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -v debug -i audio.wav -af &amp;quot;aselect=not(between(t,0,30)), asetpts=N/SR/TB&amp;quot; output.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The log will contain lines of the form&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_aselect_0 @ 000001ce36d7c440] n:107.000000 pts:219136.000000 t:9.938141 key:1 samples_n:2048 consumed_samples_n:nan -&amp;gt; select:1.000000 select_out:0&#xA;[Parsed_aselect_0 @ 000001ce36d7c440] n:108.000000 pts:221184.000000 t:10.031020 key:1 samples_n:2048 consumed_samples_n:nan -&amp;gt; select:0.000000 select_out:-1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;select:1.000000&lt;/code&gt; means the frame was selected, and &lt;code&gt;0.000000&lt;/code&gt; means it was dropped. The &lt;code&gt;t:&lt;/code&gt; on the same line is the timestamp.&lt;/p&gt;&#xA;&lt;p&gt;So, locate the first &lt;code&gt;select:1.000000&lt;/code&gt; and then the &lt;code&gt;select:0.000000&lt;/code&gt; following that. The corresponding timestamps form the selected range. Repeat till end.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-06-03T07:49:37.287" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="33936" PostTypeId="2" ParentId="33932" CreationDate="2021-06-03T22:42:11.813" Score="0" Body="&lt;p&gt;Here's a few things to try. I've never experienced any export getting stuck, so my advice is a bit generic.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Enable &amp;quot;Preview while Encoding&amp;quot; in Media Encoder's preferences. But it should be on by default.&lt;/li&gt;&#xA;&lt;li&gt;Using the preview, find the clip in the sequence where the export gets stuck.&lt;/li&gt;&#xA;&lt;li&gt;Find out what is different with this clip compared to the earlier clips or portion of the sequence.&lt;/li&gt;&#xA;&lt;li&gt;Disable all effects on that clip and try exporting again. If this works replace any problematic effect with something equivalent.&lt;/li&gt;&#xA;&lt;li&gt;Otherwise, replace the footage with a transcoded version of the clip, use something like ProRes with constant frame rate. There are some issues with variable frame rate footage in Premiere and After Effects and I assume your iPhone recordings use variable frame rate.&lt;/li&gt;&#xA;&lt;li&gt;Try exporting on another system or try another DCP exporter plugin.&lt;/li&gt;&#xA;&lt;li&gt;Contact Adobe for support if nothing else helps or find a service provider that creates the DCP for you.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-06-03T22:42:11.813" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33938" PostTypeId="2" ParentId="10412" CreationDate="2021-06-04T17:01:16.173" Score="0" Body="&lt;p&gt;The Domesday Duplicator is by far the most accurate way to transfer a Laserdisc.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.domesday86.com/?page_id=978&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.domesday86.com/?page_id=978&lt;/a&gt; says,&lt;/p&gt;&#xA;&lt;p&gt;Domesday Duplicator Overview&lt;/p&gt;&#xA;&lt;p&gt;Overview&lt;/p&gt;&#xA;&lt;p&gt;The Domesday Duplicator is intended to allow high-quality back-ups of the analogue information contained on the BBC Domesday laserdiscs by bypassing most of the 30-year-old electronics in the Philips VP415 player. Direct RF sampling also allows all information on the laserdiscs to be duplicated (unlike conventional RGB sampling of the video output). Since the BBC Domesday AIV laserdiscs are a combination of video, pictures, sound and data (as well as numerous VBI streams), direct RF sampling is the preferred method of preservation.  The Domesday Duplicator is not limited to duplicating just Domesday AIV laserdiscs and can be used to capture any type of laserdisc supported by the attached laserdisc player.&lt;/p&gt;&#xA;" OwnerUserId="6359" LastActivityDate="2021-06-04T17:01:16.173" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33939" PostTypeId="1" CreationDate="2021-06-05T13:09:27.583" Score="1" ViewCount="20" Body="&lt;p&gt;I have a video (for some testing), when I check dimensions in properties, it says 640x1136 pixels.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SN97V.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SN97V.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;To cross check dimensions, I played it in VLC media player and took a snapshot from there, which also had same dimensions.&lt;/p&gt;&#xA;&lt;p&gt;But here comes the issue which I couldn't solve in last 2 hours.&lt;/p&gt;&#xA;&lt;p&gt;I created a sequence in Premier with 1280x1136 dimensions. So it should fit 2 videos of same size side by side right? But isn't working as intended.&lt;/p&gt;&#xA;&lt;p&gt;It is cropping a bit the 2nd video (preview from Premiere):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xTh0q.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xTh0q.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vSoMh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vSoMh.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I exported the video and imported in Photoshop to cross check, and I saw same preview. But Photoshop document properties also says:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7cxiv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7cxiv.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So it made me wonder how it can be possible.&lt;/p&gt;&#xA;&lt;p&gt;What seems here is video is more wider actually than 640 pixels. I manually *measured left side of video preview, which showed approximately 703 pixels in Photoshop and hence the canvas is a bit narrow for fitting both videos.&lt;/p&gt;&#xA;&lt;p&gt;But I just don't understand why is it happening? Could it be some problem with video itself? Could it be true that real dimensions of this video are 703x1136 and it is showing 640 by some mistake?&lt;/p&gt;&#xA;" OwnerUserId="12245" LastActivityDate="2021-06-05T13:09:27.583" Title="Very weird behavior of video dimensions" Tags="|video|video-editor|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33942" PostTypeId="1" CreationDate="2021-06-06T00:11:39.727" Score="1" ViewCount="39" Body="&lt;p&gt;I've read online--though I forget the exact source--that when one wants to digitize a reel of Super 8 film and create a computer video file out of it at a resolution of 1080p that the final video file looks more like a 720p video file than it does as a 1080p video file because of the film grain that's present on the Super 8 film. Is this correct?&lt;/p&gt;&#xA;&lt;p&gt;Edit: To further clarify, I've read that when a display, say a 1080p display is fed 720p content, the display will upscale the 720p content, which will soften the image. I'm wondering if something similar happens when Super 8 film is digitized at 1080p because of the inherent nature of the medium, where a 1080p video file will look similar to a 720p video because of the film grain. Or am I conflating both the concepts of sharpness with individual pixel clarity?&lt;/p&gt;&#xA;" OwnerUserId="34157" LastEditorUserId="34157" LastEditDate="2021-06-06T05:35:38.357" LastActivityDate="2021-06-06T05:35:38.357" Title="Does digitizing a reel of (analog) Super 8 film at 1080p result in a lower *perceived* resolution/sharpness because of the said medium's film grain?" Tags="|digitisation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33943" PostTypeId="2" ParentId="33601" CreationDate="2021-06-06T02:13:24.950" Score="2" Body="&lt;p&gt;Go Edit, Preferences.&#xA;Your memory limit may be at 250mb&#xA;change it to 3000mb&lt;/p&gt;&#xA;" OwnerUserId="35211" LastActivityDate="2021-06-06T02:13:24.950" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33944" PostTypeId="2" ParentId="15329" CreationDate="2021-06-06T07:46:43.707" Score="1" Body="&lt;p&gt;Here is an interesting article that goes into detail on how to recognize an upscale, specifically for anime: &lt;a href=&quot;https://ultimatemegax.wordpress.com/2015/04/24/photography-and-resolution-of-anime/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ultimatemegax.wordpress.com/2015/04/24/photography-and-resolution-of-anime/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35214" LastActivityDate="2021-06-06T07:46:43.707" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33946" PostTypeId="1" AcceptedAnswerId="33950" CreationDate="2021-06-07T07:23:03.883" Score="1" ViewCount="82" Body="&lt;p&gt;Is copyright infringed when any animation is redone and not literally copy cut pasted but if the whole animation is done from scratch with different colours and different background but if the creative concept in general is the same? It is possible that an animated segment looks very similar to another one but has maybe more objects different colours and background. Will it still be an infringement of copyright?&lt;/p&gt;&#xA;&lt;p&gt;The animation made will be for an educational purpose but if uploaded on YouTube may/may not lead to monetisation....&lt;/p&gt;&#xA;" OwnerUserId="35173" LastEditorUserId="35173" LastEditDate="2021-06-07T07:35:23.810" LastActivityDate="2021-06-07T13:17:52.783" Title="Is copyright infringed when any animation is redone?" Tags="|animation|copyright|" AnswerCount="1" CommentCount="2" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33949" PostTypeId="2" ParentId="2500" CreationDate="2021-06-07T11:13:13.290" Score="0" Body="&lt;p&gt;For editing, the best book I've read on the subject is &amp;quot;In The Blink of an Eye&amp;quot; by Walter Murch.  It's nothing at all to do with shortcut keys, premiere tips etc.. It's all about the ideas of film making, how cuts work, what your eye perceives. Highly recommended (and short).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/In_the_Blink_of_an_Eye_(Murch_book)&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/In_the_Blink_of_an_Eye_(Murch_book)&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-06-07T11:13:13.290" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33950" PostTypeId="2" ParentId="33946" CreationDate="2021-06-07T13:17:52.783" Score="1" Body="&lt;p&gt;Copyright laws or similar intellectual property laws usually protect creative works or excerpts from such works but not the ideas nor techniques that were used to create these works.&lt;/p&gt;&#xA;&lt;p&gt;What you intend to do should be safe. Compare it with writing a story, where the final work is of course protected, but not the language itself, nor the plot ideas, structural decisions etc. Likewise, the steps to achieve a certain animation are not protected.&lt;/p&gt;&#xA;&lt;p&gt;However, there is one tiny exception: source code. Some animation tools, like After Effects, let you write short scripts or expressions to enhance animations. Theoretically the code can be protected by copyright, but only if the code shows enough originality. There is a certain threshold of originality required to be protected, however it depends on the individual case where the threshold is. As a rough rule of thumb, if there are only a handful of lines of code then the script will most likely be too trivial to be protected. Also, if there are no alternative ways to write such a script because the environment dictates the lines of code, then you can safely copy and paste other people's code. Most of the time this will be the case.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-06-07T13:17:52.783" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33952" PostTypeId="1" CreationDate="2021-06-07T16:43:38.890" Score="0" ViewCount="32" Body="&lt;p&gt;I'm working on an experimental video that uses a mask of a person.   Some of the masks were made in After Effects using the roto brush tool at full resolution, as is recommended.&lt;/p&gt;&#xA;&lt;p&gt;Some however were not and done at a much lower res.  The result is naturally masks with visible pixel notches in them as you can see below.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UNGo7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UNGo7.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Ideally within Premiere Pro where I'm editing the video, are there any reliable ways to simplify the mask edge ?&lt;/p&gt;&#xA;" OwnerUserId="14777" LastEditorUserId="14777" LastEditDate="2021-06-19T22:30:08.277" LastActivityDate="2021-06-19T22:30:08.277" Title="Best way to simplify edges of a pixely mask?" Tags="|after-effects|premiere|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33953" PostTypeId="2" ParentId="29659" CreationDate="2021-06-08T01:39:22.627" Score="3" Body="&lt;p&gt;Specify bitrate as &lt;code&gt;-b:v 0&lt;/code&gt; made the trick forme, the overall bitrate bumped from &lt;code&gt;2m&lt;/code&gt; to &lt;code&gt;16m&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -c:v h264_nvenc -b:v 0 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="34942" LastActivityDate="2021-06-08T01:39:22.627" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33954" PostTypeId="2" ParentId="29538" CreationDate="2021-06-08T01:54:31.550" Score="1" Body="&lt;p&gt;It's not currently a feature, but one work around is to throw all your sequences (nested) into one sequence and then in the Markers window right click the tab menu and select &amp;quot;Show all clip markers in sequence&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;This will give you one big searchable list of markers in all the sequences in your big sequence.&lt;/p&gt;&#xA;" OwnerUserId="35230" LastActivityDate="2021-06-08T01:54:31.550" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33955" PostTypeId="1" CreationDate="2021-06-08T11:09:51.623" Score="0" ViewCount="70" Body="&lt;p&gt;I need to skew an image, so I am using a Transform Effect rather than the regular layer's Transform. I'm finding difficult to position the skewing origin without the Pan Behind tool, as that changes the layer's regular Transform, not the Transform Effect. Is there a way to have the tool to change that instead?&lt;/p&gt;&#xA;" OwnerUserId="30069" LastActivityDate="2024-02-26T10:08:31.007" Title="Is there a way to &quot;Pan Behind (Anchor Point)&quot;, but with the &quot;Transform Effect&quot;'s anchor point?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33956" PostTypeId="1" CreationDate="2021-06-08T13:23:06.083" Score="1" ViewCount="47" Body="&lt;p&gt;I have downloaded a free version of CyberLink PowerDirector but is it good for editing video game footage especially from video files from multi emulators? I just want to some of my videos 720p for Youtube but I do not want to upload the video directly from PowerDirector.&lt;/p&gt;&#xA;" OwnerUserId="34688" LastActivityDate="2021-11-08T05:01:20.157" Title="CyberLink PowerDirector: Is it good for game footage?" Tags="|video-editor|editing|post-production|intermediate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33958" PostTypeId="1" CreationDate="2021-06-08T16:54:50.540" Score="1" ViewCount="215" Body="&lt;p&gt;If I take a video and a photo at the same time (both also have GPS tags in metadata, BTW) and upload them on Google Photos, the video will be wrongly sorted in the album because its creation time is thought to be  +2 hours GMT. in Mediainfo.exe the creation date is correct (in UTC) and same as in the EXIF of the photo.&lt;/p&gt;&#xA;&lt;p&gt;If I convert it with ffmpeg with -map_metadata 0 the problem persists.&lt;/p&gt;&#xA;&lt;p&gt;Does it makes sense to raise a bug for Google Photos or GoPro or it's something I am doing wrong? (I did a whole lot of research but did not find anyone struggling to find a fix for exactly this issue)&lt;/p&gt;&#xA;&lt;p&gt;Is there a ffmpeg parameter to &lt;strong&gt;shift the creation_time back 2 hours&lt;/strong&gt; so my album is aligned?&lt;/p&gt;&#xA;&lt;p&gt;something like this bat file would suffice&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;c:\gopro\ffmpeg&amp;quot; -i %1 -vcodec copy -acodec copy -metadata creation_time=&amp;quot;+02:00:00&amp;quot; &amp;quot;%~n1.remux.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;i also found about mp4box but did not find such option in command line / bat file&lt;/p&gt;&#xA;&lt;p&gt;my research that did not help &lt;a href=&quot;https://community.gopro.com/t5/Cameras/Time-zone-set-incorrectly/td-p/265136&quot; rel=&quot;nofollow noreferrer&quot;&gt;1&lt;/a&gt; &lt;a href=&quot;https://video.stackexchange.com/questions/25568/what-is-the-correct-format-of-media-creation-time&quot;&gt;2&lt;/a&gt; &lt;a href=&quot;https://exiftool.org/forum/index.php?topic=8756.0&quot; rel=&quot;nofollow noreferrer&quot;&gt;3&lt;/a&gt; &lt;a href=&quot;https://stackoverflow.com/questions/31541489/ffmpeg-get-creation-and-or-modification-date/31544668#31544668&quot;&gt;4&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35168" LastActivityDate="2021-06-09T04:11:08.177" Title="GoPro creation metadata on Google Photos different for photos and videos (timezone offset?)" Tags="|ffmpeg|metadata|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33960" PostTypeId="2" ParentId="33958" CreationDate="2021-06-09T04:11:08.177" Score="1" Body="&lt;p&gt;Assuming that the timestamp shows the exact same value for both the images and video, then that is the source of the problem.  Video timestamps in MP4/Mov files is supposed to be set to UTC.  Image files, on the other hand, are assumed to have the time set to the local time where the image was taken.&lt;/p&gt;&#xA;&lt;p&gt;Google Photos (as well as Windows and Mac) understand that the timestamp for video files is in UTC and will adjust it to the local time when displayed.  Side note, Adobe programs such as Photoshop/Lightroom, do not properly adjust the time in video files.&lt;/p&gt;&#xA;&lt;p&gt;For MP4/Mov files, &lt;a href=&quot;https://exiftool.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Exiftool&lt;/a&gt; would be better for adjusting the timestamp, as it will not remove any GoPro specific metadata, such as any GPS tracks.  You could use a command like this to subtract two hours from the video's main timestamps&lt;br /&gt;&#xA;&lt;code&gt;exiftool -CreateDate-=2 -ModifyDate-=2 /path/to/files/&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;There might be other timestamps in the file, such as stream specific timestamps.  If you wish to adjust all the timestamps, you could use&lt;br /&gt;&#xA;&lt;code&gt;exiftool -Time:All-=2 /path/to/files/&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This command creates backup files.  Add &lt;a href=&quot;https://exiftool.org/exiftool_pod.html#overwrite_original&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;-overwrite_original&lt;/code&gt;&lt;/a&gt; to suppress the creation of backup files.  Add &lt;a href=&quot;https://ExifTool.org/exiftool_pod.html#r-.--recurse&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;-r&lt;/code&gt;&lt;/a&gt; to recurse into subdirectories.&lt;/p&gt;&#xA;" OwnerUserId="24669" LastActivityDate="2021-06-09T04:11:08.177" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33961" PostTypeId="1" CreationDate="2021-06-09T10:51:22.200" Score="1" ViewCount="1963" Body="&lt;p&gt;I've seen this done in many programs. For example in the 3D world you can create a branch out of a single leaf, and a tree out of a single branch, automatically, by randomizing position and start of animation.&lt;/p&gt;&#xA;&lt;p&gt;Can After Effects do anything like that? I have a simple animation I want to repeat hundreds of times, like tiles, and in a pseudo random pattern, sort of like noise. Naturally, since it's hundreds of copies of the same animation, I want to avoid placing them manually one by one, for obvious reasons!&lt;/p&gt;&#xA;" OwnerUserId="30069" LastActivityDate="2022-07-11T07:07:20.617" Title="Duplicate layer multiple times automatically, and randomize position/start time of each copy, in After Effects" Tags="|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33966" PostTypeId="1" CreationDate="2021-06-10T06:36:10.853" Score="0" ViewCount="29" Body="&lt;p&gt;What are the best practices for scaling down framerate of a static video. For example, consider some footage captured at 360 FPS from a videogame. How would one scale this down for a 60 Hz display or a 30 FPS YouTube video? Is it possible to mix several frames into one in a way that a person watching the video would find satisfying or does throwing away the extra frames give the best possible result?&lt;/p&gt;&#xA;" OwnerUserId="35262" LastActivityDate="2024-03-29T05:07:15.837" Title="Displaying High Framerate Content on a Low Framerate Display" Tags="|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33968" PostTypeId="2" ParentId="33923" CreationDate="2021-06-10T08:40:09.420" Score="0" Body="&lt;p&gt;I figured it out. You have to apply the mask and background with a merge node after the original composite using the tracking data like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QtK4B.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QtK4B.jpg&quot; alt=&quot;Solution image&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35179" LastActivityDate="2021-06-10T08:40:09.420" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33969" PostTypeId="1" CreationDate="2021-06-10T09:39:55.957" Score="1" ViewCount="523" Body="&lt;p&gt;I am working on a film, which I'm editing, and I rendered the one-hour long video to MP4, and the file size is 64,8 GB, and I think it's absurd, when google says the typical file size for MP4 is 700 MB per hour. What did I do wrong? The video uses the H265 codec, and its 4096x1716 pixels, 24 fps, the bitrate is 148267. For audio, the bitrate is 195kbps, stereo, and the sample rate is 48.000 kHz.&lt;/p&gt;&#xA;" OwnerUserId="35264" LastActivityDate="2021-11-14T01:06:20.540" Title="Is my MP4 file size too big?" Tags="|editing|mp4|davinci-resolve|filming|rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33971" PostTypeId="2" ParentId="33961" CreationDate="2021-06-10T10:39:24.030" Score="0" Body="&lt;p&gt;If the animation is going to be relatively small in size on screen, but repeated a lot, I would look at using a Particle engine to repeat the pattern. You could use the built in ones in After Effects, or something like Red Giant’s Trapcode Particular or Form. It is possible to randomise the position of the repeats, and also to randomise the time within each animation as it repeats.&lt;/p&gt;&#xA;&lt;p&gt;Example of using a leaf to create many leaves using Trapcode Particular:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/-TTBzn0Fqgo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-06-10T10:39:24.030" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33972" PostTypeId="1" CreationDate="2021-06-10T11:11:04.160" Score="1" ViewCount="62" Body="&lt;p&gt;After I start doing chroma key with the following image&#xA;&lt;a href=&quot;https://i.stack.imgur.com/BsbmZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BsbmZ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;With black blackground it gets well&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WJu2o.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WJu2o.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But when I try to make the background white&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/va92r.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/va92r.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;After I tune it, it starts to be blue&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4rczJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4rczJ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="35242" LastActivityDate="2021-06-10T11:11:04.160" Title="Vegas Pro Chroma Key not working properly" Tags="|vegas-pro|greenscreen|chromakey|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33973" PostTypeId="2" ParentId="3850" CreationDate="2021-06-10T21:35:44.870" Score="0" Body="&lt;p&gt;Well this is about 9 year late but- &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/bqMAm_wYUm0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="35273" LastActivityDate="2021-06-10T21:35:44.870" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33974" PostTypeId="2" ParentId="33956" CreationDate="2021-06-11T02:03:49.793" Score="1" Body="&lt;p&gt;I've used PowerDirector for a couple of years - it's primary strength is relative ease of use.  You won't find a ton of fancy here, but if that's okay for you, you should be fine.&lt;/p&gt;&#xA;" OwnerUserId="34290" LastActivityDate="2021-06-11T02:03:49.793" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33975" PostTypeId="1" CreationDate="2021-06-11T03:07:17.347" Score="1" ViewCount="49" Body="&lt;p&gt;Example scenario:&lt;/p&gt;&#xA;&lt;p&gt;I have 4 boxes.&#xA;Box 1 is blue, Boxes 2 &amp;amp; 3 are a specific color of red and Box 4 is green.&#xA;I would like Box 1 (blue) to only be visible when overlapping a red box.&#xA;If Box 1 overlaps Box 4 (green) nothing happens.&lt;/p&gt;&#xA;&lt;p&gt;My question:&#xA;Is there a way I can matte a shape so that it is only visible when it overlaps a specific color?&#xA;Essentially like a &amp;quot;Set Matte&amp;quot; effect that is driven by an RGB hex code rather than a layer's bounds.&lt;/p&gt;&#xA;" OwnerUserId="35275" LastEditorUserId="1950" LastEditDate="2022-07-03T11:22:37.690" LastActivityDate="2022-07-03T11:22:37.690" Title="Matte only over items of a specific color?" Tags="|after-effects|after-effects-expressions|color|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33976" PostTypeId="2" ParentId="33955" CreationDate="2021-06-11T03:12:56.753" Score="0" Body="&lt;p&gt;In the transform effect, pickwhip the position property to the anchor point property within the same transform effect. You can then move the anchor point using the regular selection tool without repositioning the layer.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pJejH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pJejH.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35275" LastActivityDate="2021-06-11T03:12:56.753" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33980" PostTypeId="1" CreationDate="2021-06-12T06:16:32.490" Score="2" ViewCount="240" Body="&lt;p&gt;I'm trying to generate a video file out of 3 files:&#xA;file #1 and #2 are both dynamically generated image list file;&#xA;file #3 is a dynamically generated pcm file;&lt;/p&gt;&#xA;&lt;p&gt;I need to slow down or speed up the final video based on user input, for this I use &lt;code&gt;setpts&lt;/code&gt; and &lt;code&gt;asetrate&lt;/code&gt;, so for example the commands below generates a final file called video3.mp4, which is exactly what I need:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i file1.txt -f s16le -ar 11025 -ac 1 -i file3.pcm -filter_complex &amp;quot;[0:v]setpts=PTS/0.4[final], [1:a]asetrate=4410[audio]&amp;quot; -c:v libx264 -preset veryslow -crf 0 -map &amp;quot;[final]&amp;quot; -map &amp;quot;[audio]&amp;quot; video.mp4 -y&#xA;ffmpeg -i video.mp4 -f concat -safe 0 -stream_loop -1 -i file2.txt -filter_complex &amp;quot;[0:v][1:v]overlay=shortest=1[final]&amp;quot; -map &amp;quot;[final]&amp;quot; -c:v libx264 -preset veryslow -crf 0 -map 0:a video2.mp4 -y&#xA;ffmpeg -i video2.mp4 -filter_complex &amp;quot;[0:v]scale=480:-1:flags=neighbor[final]&amp;quot; -map &amp;quot;[final]&amp;quot; -c:v libx264 -preset veryslow -crf 0 -map 0:a video3.mp4 -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;as I said, the final output (video3.mp4) is exactly what I need but I didn't want to run 3 separated commands to get it, so I tried to combine it all into a single command but it does not output what I need. The issue I have is that the overlaid file (file2.txt) is out of timing.&lt;/p&gt;&#xA;&lt;p&gt;For example, this is the content of file2.txt:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file 'image1.png'&#xA;duration 1&#xA;file 'image25.png'&#xA;duration 1&#xA;file 'image37.png'&#xA;duration 1&#xA;file 'image75.png'&#xA;duration 1&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;so it basically needs to overlay a new image every 1 second but if I combine the commands it gets completely out of timing...&lt;/p&gt;&#xA;&lt;p&gt;this is the command I I have:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i file1.txt -f concat -safe 0 -stream_loop -1 -i file2.txt -f s16le -ar 11025 -ac 1 -i file3.pcm -filter_complex &amp;quot;[0:v]setpts=PTS/0.4[setpts],[2:a]asetrate=4410[audio];[setpts][1:v]overlay=shortest=1[overlay];[overlay]scale=480:-1:flags=neighbor[final]&amp;quot; -c:v libx264 -preset veryslow -crf 0 -map &amp;quot;[final]&amp;quot; -map &amp;quot;[audio]&amp;quot; video.mp4 -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;so do I really need to run separated commands or am I missing something in the combined one?&lt;/p&gt;&#xA;" OwnerUserId="35292" LastEditorUserId="35292" LastEditDate="2021-06-12T07:29:41.043" LastActivityDate="2021-06-14T22:26:56.493" Title="Problem combining multiple filters with ffmpeg" Tags="|ffmpeg|encoding|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33981" PostTypeId="2" ParentId="18456" CreationDate="2021-06-12T15:05:30.403" Score="0" Body="&lt;p&gt;Update : Try this, precompose all the layers so you have only one layer remaining in the time-line.&#xA;Then resize your comp with even numbers only! (2,4,6...) in your height and width composition settings. Apply the same height and width to the layer's scale.&#xA;Now, it should go with the H264 codec as well.&lt;/p&gt;&#xA;" OwnerUserId="35293" LastActivityDate="2021-06-12T15:05:30.403" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33984" PostTypeId="1" CreationDate="2021-06-13T04:29:29.153" Score="0" ViewCount="764" Body="&lt;p&gt;I need a ffmpeg command to first feed a mp4 video into a RTMP output stream, then followed by a RTMP input subsequently; what should be the parameters to get it working?&lt;/p&gt;&#xA;" OwnerUserId="35187" LastActivityDate="2024-03-03T09:02:50.307" Title="Combine mp4 video and a RTMP stream into 1 RTMP output stream via ffmpeg" Tags="|ffmpeg|mp4|rtmp|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33986" PostTypeId="1" CreationDate="2021-06-13T15:17:21.753" Score="2" ViewCount="1028" Body="&lt;p&gt;There is an article that says you can scale a video to be a multiple or fraction of the input size like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf &amp;quot;scale=iw/2:ih/2&amp;quot; to scale by half&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Are there any other symbols for input variables in addition to &lt;code&gt;iw&lt;/code&gt; and &lt;code&gt;ih&lt;/code&gt;?&lt;/p&gt;&#xA;&lt;p&gt;I've done multiple web searches and forum searches and I can't find anything that says what list of input values there are that are like &lt;code&gt;ih&lt;/code&gt; and &lt;code&gt;iw&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="35299" LastEditorUserId="18155" LastEditDate="2021-06-16T08:15:45.737" LastActivityDate="2021-06-16T08:15:45.737" Title="Is there a list of input variables?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="33987" PostTypeId="2" ParentId="33986" CreationDate="2021-06-13T17:37:34.787" Score="1" Body="&lt;p&gt;Documentation for ffmpeg is at &lt;a href=&quot;http://www.ffmpeg.org/documentation.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.ffmpeg.org/documentation.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;scale&lt;/code&gt; here refers to the scale filter, whose documentation is at &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-filters.html#scale-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.ffmpeg.org/ffmpeg-filters.html#scale-1&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The list of variables available in this filter is listed at the bottom of the &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-filters.html#Options-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;Options&lt;/a&gt; section.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-06-13T17:37:34.787" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="33988" PostTypeId="2" ParentId="33975" CreationDate="2021-06-14T00:20:40.240" Score="1" Body="&lt;p&gt;Place a duplicate copy of your red box as the top layer. Put the blue box as the next layer. Set the Blue box's TrkMat (track matte) to Alpha.&lt;/p&gt;&#xA;" OwnerUserId="35303" LastActivityDate="2021-06-14T00:20:40.240" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33993" PostTypeId="2" ParentId="33178" CreationDate="2021-06-15T19:46:08.903" Score="0" Body="&lt;p&gt;I found that using the &amp;quot;HLS protocol&amp;quot; instead of the &amp;quot;HLS demuxer&amp;quot; worked better for seeking.&lt;/p&gt;&#xA;&lt;p&gt;To use the &amp;quot;HLS protocol&amp;quot; prefix the HLS playlist url with &lt;code&gt;hls+https://&lt;/code&gt; instead of just &lt;code&gt;https://&lt;/code&gt; (which uses the HLS demuxer apparently), and doing that got the seek working for me. It was clearly not downloading the entire file as I noticed it made a fraction of the http requests that it was making before (with &lt;code&gt;-loglevel verbose&lt;/code&gt; set)&lt;/p&gt;&#xA;&lt;p&gt;Do note, if you use the hls protocol, ffmpeg reports this:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Using the hls protocol is discouraged, please try using the hls demuxer instead. The hls demuxer should be more complete and work as well as the protocol implementation. (If not, please report it.)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So maybe I should report the seeking issue to them if they're not already aware &lt;/p&gt;&#xA;" OwnerUserId="35322" LastActivityDate="2021-06-15T19:46:08.903" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33995" PostTypeId="2" ParentId="33961" CreationDate="2021-06-16T05:42:48.820" Score="1" Body="&lt;p&gt;To randomise the position apply an expression to the position property using the &lt;code&gt;random()&lt;/code&gt; function. This takes two parameters, the minimum and the maximum, and returns a random number between the two. Normally it returns a different number every time the frame gets rendered, which is not what we want, so we need to 'seed' it with a value and set it to timeless with the &lt;code&gt;seedRandom()&lt;/code&gt; function. We also need to return a two dimensional result because we need an x and y coordinate.&lt;/p&gt;&#xA;&lt;p&gt;Putting that together:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;seedRandom(index, timeless = true);&#xA;[random(12, 34), random(45, 67)]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Where 12, 34, 45, 67 are the values for the left, right, top and bottom minimum and maximums. Hard coding them is annoying if you want to be able to change the values later, so we'll set up a better system.&lt;/p&gt;&#xA;&lt;p&gt;Add a null to the comp and apply the slider effect to it (effects&amp;gt;expression controls&amp;gt;slider) name the slider &amp;quot;left&amp;quot;, then duplicate to make 3 more, called right, bottom and top. Make sure they're all visible in your timeline.&lt;/p&gt;&#xA;&lt;p&gt;Now, in your layer's position expression, at the start type&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;let left = &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then grab the expression pick-whip and drag it to the left slider. It will auto-fill something like&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;let left = thisComp.layer(&amp;quot;null 1&amp;quot;).effect(&amp;quot;left&amp;quot;)(&amp;quot;slider&amp;quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm on my phone so I can't remember if this is exactly right, but as long as you select the slider with your pick whip you're golden. Add a semicolon at the end of the line because that's how we roll in JavaScript.&lt;/p&gt;&#xA;&lt;p&gt;Now repeat, changing &lt;em&gt;left&lt;/em&gt; to &lt;em&gt;right, bottom&lt;/em&gt;, and &lt;em&gt;top&lt;/em&gt;, and pick-whipping the appropriate slider each time. The word &lt;code&gt;left&lt;/code&gt; here and the words &lt;code&gt;right&lt;/code&gt;, &lt;code&gt;bottom&lt;/code&gt;, &lt;code&gt;top&lt;/code&gt; are variables (we could have called them anything, like fee, fie, foe, fum, but you want your code to be readable). We'll use those variables instead of the hard coded values.&lt;/p&gt;&#xA;&lt;p&gt;One last detail. Random is good, but it returns a random number that is evenly distributed between the minimum and maximum, you probably want something that clusters toward the middle, so that the leaves are denser near the branch. The &lt;code&gt;gaussRandom()&lt;/code&gt; function does that, so swap it for random.&lt;/p&gt;&#xA;&lt;p&gt;Now we have:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; let left = thisComp.layer(&amp;quot;null 1&amp;quot;).effect(&amp;quot;left&amp;quot;)(&amp;quot;slider&amp;quot;);&#xA; let right = thisComp.layer(&amp;quot;null 1&amp;quot;).effect(&amp;quot;right&amp;quot;)(&amp;quot;slider&amp;quot;);             &#xA; let top = thisComp.layer(&amp;quot;null 1&amp;quot;).effect(&amp;quot;top&amp;quot;)(&amp;quot;slider&amp;quot;);&#xA; let bottom = thisComp.layer(&amp;quot;null 1&amp;quot;).effect(&amp;quot;bottom&amp;quot;)(&amp;quot;slider&amp;quot;);&#xA;seedRandom(index, timeless = true);&#xA;[gaussRandom(left, right), gaussRandom(top, bottom)];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Copy this expression to all your leaf layers and you'll have a cloud of leaves the size and position of which is controlled by your sliders. It's a DIY particle system.&lt;/p&gt;&#xA;&lt;p&gt;To make the animation offset, apply the time remap effect to the layer, then use another expression. In this we generate a timeless random number between 0 and the length of the layer, and add that to the time remap value. To loop it back to the beginning at the end,  we use the modulus operator &lt;code&gt;٪&lt;/code&gt;, which returns the remainder of the first number divided by the second. Apply this to the time remap property:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;seedRandom(index, timeless = true);&#xA;let myDuration = thisLayer.outPoint - thisLayer.inPoint;&#xA;(value + random(myDuration)) % myDuration;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In the &lt;code&gt;seedRandom()&lt;/code&gt; function you'll notice we're using &lt;code&gt;index&lt;/code&gt; as the first parameter. &lt;code&gt;index&lt;/code&gt; is the index of the layer, so for each different layer it returns a unique 'seed' for the &lt;code&gt;random()&lt;/code&gt; function, like spinning the roulette wheel each time. Also note that if you only give &lt;code&gt;random()&lt;/code&gt; one parameter it assumes that you want random numbers in the range 0 to that number.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-06-16T05:42:48.820" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33996" PostTypeId="1" CreationDate="2021-06-16T07:08:08.070" Score="0" ViewCount="955" Body="&lt;p&gt;I cannot edit and change color, font, text/numbered values of the layers at all on some sections of the project template am working on (They are animated) it just types in the background of the text/numerical values but nothing changes and it just types blank with nothing to see and the layer characters do not change.&lt;/p&gt;&#xA;&lt;p&gt;This also happens on other sections of the project, the color selects but it never changes.&lt;/p&gt;&#xA;&lt;p&gt;Any ideas why this is and workarounds?&lt;/p&gt;&#xA;&lt;p&gt;I found this but didn't help resolve the issue: &lt;a href=&quot;https://harshvardhanart.com/cannot-change-colors-shape-layer-after-effects/?currency=USD&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://harshvardhanart.com/cannot-change-colors-shape-layer-after-effects/?currency=USD&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Am using after effects 21.&lt;/p&gt;&#xA;" OwnerUserId="35328" LastActivityDate="2024-03-02T21:05:55.643" Title="Color, font and text does not change in some parts" Tags="|after-effects|animation|effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33998" PostTypeId="2" ParentId="33996" CreationDate="2021-06-16T13:24:13.767" Score="0" Body="&lt;p&gt;I suspect the controls you are trying to change have &lt;a href=&quot;https://helpx.adobe.com/uk/after-effects/user-guide.html/uk/after-effects/using/expression-basics.ug.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Expressions&lt;/a&gt; applied to them.  This means they are being controlled by a line of code instead of in the usual way.&lt;/p&gt;&#xA;&lt;p&gt;You can see whether the thing you are trying to adjust is controlled by an expression or not by looking at the controller.  If there is a blue equals sign next to the value, then it's being controlled by an expression.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lyZAW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lyZAW.png&quot; alt=&quot;screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can disable the expression by clicking on the blue equals sign.  But the expressions are probably necessary for your template to function correctly, so you may need to either figure out how they work, or use something else.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-06-16T13:24:13.767" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="33999" PostTypeId="1" CreationDate="2021-06-16T19:54:08.147" Score="1" ViewCount="6061" Body="&lt;p&gt;I want to convert ProRes RAW files (.mov extension) to an open source format such as CinemaDNG or Blackmagic RAW.  Is it possible?  If so, how?&lt;/p&gt;&#xA;" OwnerUserId="35335" LastEditorUserId="29988" LastEditDate="2021-06-17T07:19:59.907" LastActivityDate="2023-04-13T17:59:46.633" Title="Convert ProRes RAW to CinemaDNG or Blackmagic RAW" Tags="|prores|blackmagic|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34001" PostTypeId="2" ParentId="33969" CreationDate="2021-06-16T23:53:42.507" Score="1" Body="&lt;p&gt;Resolve’s default bitrates err on the side of caution.  For most use cases, it’s ok to reduce the default bitrate significantly, but an exact amount is subjective, and depends largely on the source footage and your intended delivery target.  If you care more about file size than artifacts, and especially if there’s not much high-frequency detail and not much camera movement, you can get away with a tenfold reduction for h.264.  H.265 will require some experimentation, especially if you’re trying to deliver HDR.  Audio has a negligible effect on file size &lt;em&gt;vs&lt;/em&gt; video bitrate.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-06-16T23:53:42.507" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34003" PostTypeId="2" ParentId="33984" CreationDate="2021-06-17T03:06:29.927" Score="0" Body="&lt;p&gt;You can do something like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg&#xA;-i intro.mp4&#xA;-i rtmp://second-input-server:port/input-id&#xA;-filter_complex &amp;quot;concat=n=2:v=1:a=1[merged_video][merged_audio]&amp;quot;&#xA;-map [merged_video] -map [merged_audio] -f flv rtmp://final-output:port/merged&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;We are taking two inputs, one from a local file (&lt;code&gt;intro.mp4&lt;/code&gt;) and one using an rtmp address (&lt;code&gt;rtmp://second-input-server:port/input-id&lt;/code&gt;).&lt;/li&gt;&#xA;&lt;li&gt;We are using the &lt;code&gt;concat&lt;/code&gt; filter here, specifying that it has 2 segments to concant (&lt;code&gt;n=2&lt;/code&gt;), each segment having 1 video (&lt;code&gt;v=1&lt;/code&gt;) and 1 audio stream (&lt;code&gt;a=1&lt;/code&gt;).&lt;/li&gt;&#xA;&lt;li&gt;We are labelling the concatted streams as &lt;code&gt;merged_video&lt;/code&gt; and &lt;code&gt;merged_audio&lt;/code&gt;, and muxing them into &lt;code&gt;flv&lt;/code&gt; format, before sending that to the output rtmp server (&lt;code&gt;rtmp://final-output:port/merged&lt;/code&gt;).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;This assumes that you have the two inputs having same number of streams (1 video and 1 audio), same frame rate, same dimensions etc. If you don't, you may need to add additional filters (e.g. &lt;code&gt;scale&lt;/code&gt;, &lt;code&gt;fps&lt;/code&gt;) and stream selectors (e.g. &lt;code&gt;[0:v:0]&lt;/code&gt;, &lt;code&gt;[1:a:1]&lt;/code&gt;) above to first make the two streams have the same characteristics, before feeding those to the &lt;code&gt;concat&lt;/code&gt; filter.&lt;/p&gt;&#xA;" OwnerUserId="35300" LastActivityDate="2021-06-17T03:06:29.927" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34005" PostTypeId="2" ParentId="33999" CreationDate="2021-06-17T08:33:03.927" Score="1" Body="&lt;p&gt;I want to advice against converting to any RAW format, I don't even know if that's possible at all. A RAW format is usually driven by the needs of the camera hardware and fits the purpose of efficiently storing the video data while providing very high flexibility, often much more than non-RAW codecs do. That's why you usually cannot convert to such a format, you can only convert from a RAW format to something else.&lt;/p&gt;&#xA;&lt;p&gt;Regarding CinemaDNG, there is this unofficial information on Adobe community forums (&lt;a href=&quot;https://community.adobe.com/t5/premiere-pro-discussions/does-premiere-pro-supports-cinema-dng-files-from-digma-fp/m-p/11571827#M308754&quot; rel=&quot;nofollow noreferrer&quot;&gt;Source&lt;/a&gt;):&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;The CinemaDNG format was dropped due to licensing issues and disputes. And only a few cameras were built to use it to begin with, so sadly support for that format was never great and is now nearly non-existent.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;That said, it is best to avoid CinemaDNG.&lt;/p&gt;&#xA;&lt;p&gt;But what should you do now? If I understand you correctly you need a codec for video editing, but ProRes doesn't work for you. There are a number of other options that are suitable as an high-quality intermediate codec (which means a codec that is suitable for doing video editing). Examples are Cineform, DNxHR or DPX. As far as I know, only &lt;a href=&quot;https://gopro.github.io/cineform-sdk/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Cineform is fully open source&lt;/a&gt;. Here's a table with codecs and their supported frame sizes, bit-depths and a few other key information: &lt;a href=&quot;https://blog.frame.io/2017/02/13/compare-50-intermediate-codecs/&quot; rel=&quot;nofollow noreferrer&quot;&gt;link&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;In order to transcode the ProRes file to your target codec, you need a tool that supports reading the first and writing the second one. It may be a little difficult to find something that can read ProRes RAW if you're on Windows, but you can install &lt;a href=&quot;https://support.apple.com/kb/dl2033?locale=en_US&quot; rel=&quot;nofollow noreferrer&quot;&gt;Apple's ProRes RAW&lt;/a&gt;. Beware, due to Apple's restrictive licensing politics, only the Adobe products listed there are officially supported on Windows. Other tools may be able to read the format too, but there is no guarantee that they correctly interpret the files. Which means, you should use Media Encoder or Premiere Pro to transcode the format to something else. In Premiere you can go to project settings-&amp;gt; ingest settings and choose another format. If you're unhappy with the choices &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/ingest-proxy-workflow.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;add your own ingest preset&lt;/a&gt;. I have not yet worked with ProRes RAW in Premiere or Media Encoder on Windows, so I can't tell you if everything works well. But you can use a trial version of Premiere Pro or Media Encoder and test if this works for you. Also, Premiere Rush is supported too, but I've got no experience with that whatsoever.&lt;/p&gt;&#xA;&lt;p&gt;On a Mac you can use Final Cut Pro, Motion, or Compressor to export ProResRAW to something else (&lt;a href=&quot;https://support.apple.com/en-us/HT208671&quot; rel=&quot;nofollow noreferrer&quot;&gt;see bottom of this article&lt;/a&gt;).&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="31877" LastEditDate="2023-04-12T13:02:36.883" LastActivityDate="2023-04-12T13:02:36.883" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="34006" PostTypeId="2" ParentId="26120" CreationDate="2021-06-17T17:16:22.043" Score="0" Body="&lt;p&gt;For me it was solved by going to &lt;strong&gt;file&lt;/strong&gt;-&amp;gt;&lt;strong&gt;project settings&lt;/strong&gt;-&amp;gt;&lt;strong&gt;Video Rendering and Effects(tab)&lt;/strong&gt; then selecting &lt;strong&gt;mercury software only&lt;/strong&gt; and saving it.&lt;/p&gt;&#xA;&lt;p&gt;After re-importing the video file, color was normal.&lt;/p&gt;&#xA;&lt;p&gt;Youtube video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/LEOLsdItNEA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tAq9F.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tAq9F.jpg&quot; alt=&quot;after effect setting image&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35343" LastEditorUserId="35343" LastEditDate="2021-06-17T17:30:05.150" LastActivityDate="2021-06-17T17:30:05.150" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34007" PostTypeId="1" CreationDate="2021-06-17T18:58:03.337" Score="0" ViewCount="1325" Body="&lt;p&gt;I know it's possible with after effects, but is it possible to modify existing text in a mp4 file, without the original source file ?&lt;/p&gt;&#xA;" OwnerUserId="35344" LastActivityDate="2021-11-15T16:06:40.727" Title="Is it possible to modify text in a video without the source file ? (just mp4)" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34011" PostTypeId="2" ParentId="34007" CreationDate="2021-06-18T14:27:49.197" Score="1" Body="&lt;p&gt;With only an MP4 (movie container file often using H.264 codec), you cannot edit the text as text, only as an image. In the MP4 file, the text is now pixels (compressed, keyframed, digitized, whatever --  but still ultimately just image data, not text.)&lt;/p&gt;&#xA;&lt;p&gt;MP4 files can have a subtitle stream, which could be separated from the image. But you mentioned text, so I assume you mean text overlaid within the image frame, not subtitle text.&lt;/p&gt;&#xA;&lt;p&gt;One strategy would be to block or mask the existing text and replace it with new text superimposed over the image. I've had to do that to change captions on industrial videos.&lt;/p&gt;&#xA;&lt;p&gt;You can also try to crop out the text, using only part of the frame and enlarging or letterboxing it to give you a new video without the text.&lt;/p&gt;&#xA;" OwnerUserId="19692" LastActivityDate="2021-06-18T14:27:49.197" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34013" PostTypeId="1" CreationDate="2021-06-19T13:13:31.847" Score="1" ViewCount="52" Body="&lt;p&gt;'The Man From U.N.C.L.E.' (2015) contains a neat break-in scene that shows a special force team arriving and infiltrating an industry area. A few seconds of this scene really got me and I wonder how it was shot:&lt;/p&gt;&#xA;&lt;p&gt;At around 1:30 there is a moment when both protagonists are captured by separate cameras, from separate angles and with even some shaky motions applied. The screen is split and shows those two shots at the same time. The cameras are turning and lining up and finally the black bar (that were separating the frames) gets removed. The &amp;quot;third&amp;quot; shot (fullscreen, now both actors) continues a free hand kind of movement.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/zxod_reabtc?t=50&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube: 'Invasion' scene at mentioned time stamp&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How was this achieved or could have been achieved?&lt;/p&gt;&#xA;" OwnerUserId="35363" LastActivityDate="2021-06-19T13:13:31.847" Title="Techniques for merging two separate and moving camera shots" Tags="|editing|camera|multi-camera|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34014" PostTypeId="1" CreationDate="2021-06-20T02:45:07.663" Score="0" ViewCount="50" Body="&lt;p&gt;I am trying to decrease the size of a clip by having it shrink over the span of a few seconds and disappear into the center of the frame. I couldn't find an answer elsewhere online but perhaps I didn't word it correctly in my search. Any suggestions/instructions would be appreciated. Thank you.&lt;/p&gt;&#xA;&lt;p&gt;-A&lt;/p&gt;&#xA;" OwnerUserId="35365" LastActivityDate="2021-10-28T17:53:48.460" Title="How do I animate a clip's scale in FCPX?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34015" PostTypeId="2" ParentId="22138" CreationDate="2021-06-20T22:02:54.627" Score="-1" Body="&lt;p&gt;I'm often using &lt;a href=&quot;https://calipio.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Calipio&lt;/a&gt; to record my screen, which is free for up to 20mins of recordings.&lt;/p&gt;&#xA;" OwnerUserId="35370" LastActivityDate="2021-06-20T22:02:54.627" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34016" PostTypeId="2" ParentId="32639" CreationDate="2021-06-21T01:58:17.410" Score="-1" Body="&lt;p&gt;To stream you don t need the elgato u need the software edge imaging installed and then you exit it. And add sony as a normal source webcam! Good luck!&lt;/p&gt;&#xA;" OwnerUserId="35371" LastActivityDate="2021-06-21T01:58:17.410" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34017" PostTypeId="1" AcceptedAnswerId="34051" CreationDate="2021-06-21T05:47:28.880" Score="-1" ViewCount="167" Body="&lt;p&gt;I recorded a video from 6:50 pm to 10:50 pm. Then I shrinked the video from 4 hrs to 1 min 40 seconds.&lt;/p&gt;&#xA;&lt;p&gt;Now I'd like to add timecode on this video to show the real time,&lt;/p&gt;&#xA;&lt;p&gt;I've tried to put timecode in a single sequence - drag it into the main video sequence - speed it up,&lt;/p&gt;&#xA;&lt;p&gt;but the duration of the first sequence is too long (4 hrs), I can only shrink it down to 5 min 57 sec(10000%) at most, still way longer than my video length 1 min 40 sec.&lt;/p&gt;&#xA;&lt;p&gt;Just wonder if anyone know how to add the timecode for it. Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="35374" LastEditorUserId="35374" LastEditDate="2021-06-21T06:48:50.763" LastActivityDate="2021-06-28T01:32:47.957" Title="How to add timecode for time-lapse video" Tags="|premiere|time-lapse|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34018" PostTypeId="1" CreationDate="2021-06-21T08:54:17.363" Score="1" ViewCount="129" Body="&lt;p&gt;I'm having a hard time deciding what framerate I should use. I live in the PAL region (50Hz), and when I use 25 fps, I can use any shutter speed and never have light flickering. This is convienent when shooting in the evening with my dslr when there isn't too much movement. For example, I set 25 fps with 1/30, which allows me to lower the noise. However, I've noticed that most screems are at 60Hz, and after some testing, I'm not sure that 25fps on 60Hz looks as good as 30fps on 60Hz.&lt;/p&gt;&#xA;&lt;p&gt;If I shoot at 30fps with a shutter of 1/50, I don't get flickering but a little more noise than at 1/30. I'd also like to mix that footage with my phone that can shoot 24fps, 25fps, 30fps, 60fps. My dslr can also shoot at 50fps with the advantage of no flickering at any shutter speed. For 60fps, a shutter of 1/100 doesn't give me flickering, but I wonder if slowed down, there's going to be too much blur. Unfortunaltely, my dslr down't have a shutter of 1/150 but 1/125 and after that it's 1/160, which have flickering. Or is it better to shoot 50fps at 1/100 for smoother motion even though it's not exactly half the speed of 30fps?&lt;/p&gt;&#xA;&lt;p&gt;My phone seems to handle light flickering much better at normal framerates.&lt;/p&gt;&#xA;&lt;p&gt;I also like the realistic look of 60 fps on a 60Hz display.&lt;/p&gt;&#xA;&lt;p&gt;My questions are:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Should I shoot at a normal speed at 25 fps even though it doesn't look as good on a 60Hz screen?&lt;/li&gt;&#xA;&lt;li&gt;Should I shoot at 30 fps 1/50 which looks better on 60Hz? Then should slow motion be 60fps 1/100?&lt;/li&gt;&#xA;&lt;li&gt;Can I shoot normal motion at 60fps 1/60 and slow motion at 60fps 1/125 and slow it down? How is it going to look like?&lt;/li&gt;&#xA;&lt;li&gt;Can I mix 25fps, 50fps and 60fps and export at 60fps assuming there's going to a pull down for the 25fps and 50fps clips on 60Hz screens?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerDisplayName="user35378" LastEditorDisplayName="user35378" LastEditDate="2021-06-21T12:53:49.127" LastActivityDate="2022-11-16T20:01:40.170" Title="Framerate dilemma" Tags="|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34020" PostTypeId="2" ParentId="21354" CreationDate="2021-06-21T16:12:52.557" Score="1" Body="&lt;p&gt;Some hand held recorders (including some Tascams) only supply limited current when supplying phantom power and if this isn't enough for the mic you will get noise, and sometimes it won't even work at all.&lt;/p&gt;&#xA;&lt;p&gt;I have the DR-100 mk3 which can supply 24 &amp;amp; 48 volt phantom power to a maximum of 3mA per channel. If I plug in a mic that needs more than 3mA (even if the voltage is correct) the mic will not perform well.&lt;/p&gt;&#xA;&lt;p&gt;I don't know what current (mA) the NTG2 needs but some of those Rode mics seem pretty &amp;quot;current hungry&amp;quot; to me (eg the NTG4+ needs 4.5 amps!) so that may be the problem. It would also explain why the mic is ok on its own power.&lt;/p&gt;&#xA;" OwnerUserId="35382" LastEditorUserId="14523" LastEditDate="2021-06-21T20:36:48.403" LastActivityDate="2021-06-21T20:36:48.403" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34021" PostTypeId="2" ParentId="10416" CreationDate="2021-06-21T18:30:24.247" Score="0" Body="&lt;p&gt;To make a subclip from the I to O marked section,   shift-U   (not ctrl-U or cmd-U on my MBP). Also under the Sequence menu.&lt;/p&gt;&#xA;" OwnerUserId="35383" LastActivityDate="2021-06-21T18:30:24.247" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34023" PostTypeId="1" CreationDate="2021-06-22T04:05:47.473" Score="1" ViewCount="492" Body="&lt;p&gt;I am unable to use the handles of the bezier curves with a &lt;em&gt;Effect &amp;gt; Distort &amp;gt; Transform&lt;/em&gt;'s &lt;em&gt;Position&lt;/em&gt;, whereas I can do that just fine using the layer's &lt;em&gt;Transform&lt;/em&gt;. Does anyone know why?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/r4qgc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/r4qgc.png&quot; alt=&quot;bezier curve no handle&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Szl70.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Szl70.png&quot; alt=&quot;bezier curve handles&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="30069" LastActivityDate="2021-06-22T04:05:47.473" Title="In After Effects, how do I enable the handles of the bezier curve in the graph editor, for &quot;Position&quot; in a &quot;Transform&quot; effect?" Tags="|after-effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34024" PostTypeId="1" CreationDate="2021-06-22T04:06:33.597" Score="0" ViewCount="402" Body="&lt;p&gt;I'm a complete beginner in all things photography, video compression and YouTube uploads so please bear with me. I recently uploaded a 4k 30fps video to YouTube, and when I select the 4k option it looks reasonably similar to the video on my PC (i.e. pretty clear, no visible artifacts or blocks). But when I switch to the 1080p, it starts looking a lot worse, even though I don't have a 4k screen.&lt;/p&gt;&#xA;&lt;p&gt;Now, I know videos on YouTube can be heavily compressed and the more moving objects are in the video, the worst it will look. What I don't understand though is why the 1080p looks so much worse and blocky while the 4k one is almost crystal clear. If this was because of the movement in the video, I would expect the compression to affect the 4k version similarly (even if it has a higher bitrate, it has to be spread over a lot more pixels). I've watched other 1080p YouTube videos with a lot more movement in it and it looks better than mine, and the difference between their 4k and 1080p version is barely noticeable on a 1080p screen. So I assume I'm doing something wrong.&lt;/p&gt;&#xA;&lt;p&gt;I've seen a few theories of what might be happening but I haven't seen anything convincing enough. Some people say that the encoding keeps working in the background even hours/days after the 1080p option becomes available, so it should be better in a few days. Some people say using 60fps and a higher bitrate would fix it, but it doesn't seem to be necessary for other 1080p 30 fps videos with fast movement that I've been watching.&lt;/p&gt;&#xA;&lt;p&gt;What should I be doing different to make the 1080p version look more like the 4k and limit those artifacts?&lt;/p&gt;&#xA;&lt;p&gt;For reference, here is a random capture of the same frame in 1080p and then in 4k (more noticeable when opening in fullscreen):&#xA;&lt;a href=&quot;https://i.stack.imgur.com/k3WQH.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/k3WQH.jpg&quot; alt=&quot;1080p&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ZOkVH.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZOkVH.jpg&quot; alt=&quot;4k&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35386" LastActivityDate="2024-02-21T06:02:20.293" Title="What causes the 1080p version of a video to be blocky but the 4k version look perfectly fine?" Tags="|video|youtube|compression|4k|1080p|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34025" PostTypeId="1" AcceptedAnswerId="34028" CreationDate="2021-06-22T05:26:20.057" Score="1" ViewCount="21" Body="&lt;p&gt;I have a shape that varies in height, and an image that varies in height.&lt;/p&gt;&#xA;&lt;p&gt;I would like the image height to be the same height as the shape at all times.&lt;/p&gt;&#xA;&lt;p&gt;I got as far as this, but none of my math seems to be making the image the same height as the bar constantly.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;kyronnb = thisComp.layer(&amp;quot;Kyron BG&amp;quot;).sourceRectAtTime();&#xA;&#xA;syz = 100 * thisLayer.height/thisComp.height - 100; &#xA;kper = 100 * kyronnb.height/thisComp.height;&#xA;&#xA;sizeW = kper - syz;&#xA;&#xA;[sizeW, sizeW]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="35387" LastActivityDate="2021-06-22T11:33:09.903" Title="Expression to make image same height as shape" Tags="|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34026" PostTypeId="2" ParentId="27548" CreationDate="2021-06-22T05:41:30.123" Score="1" Body="&lt;p&gt;A 180º shutter isn't a hard, fast rule, as much as it's a benchmark.  It's the most common setting in film, and you can think of it as a &amp;quot;normal&amp;quot; amount of motion blur for film and broadcast.  It's the average setting, for what people are used to seeing on any random moment of film or TV, and as a camera operator, it's the simplest decision to make, when you're aiming to produce &amp;quot;normal&amp;quot; motion.&lt;/p&gt;&#xA;&lt;p&gt;If you don't have an ND filter handy and you're shooting in bright conditions, you &lt;em&gt;can&lt;/em&gt; use a higher framerate to darken your exposure, but it &lt;em&gt;will&lt;/em&gt; cut the amount of blur in each frame by half.  How this affects your output depends on how you intend to display it.&lt;/p&gt;&#xA;&lt;p&gt;Let's say you record the footage with a 180º shutter at 60FPS, then plan to play it back on your timeline at 30FPS for broadcast, by displaying every frame you recorded, sequentially. This results in &amp;quot;slowmo&amp;quot; or &amp;quot;off-speed recording.&amp;quot;  In this case, the amount of blur feels natural, because it's exactly the same amount of blur an object would have if it were traveling half the speed.&lt;/p&gt;&#xA;&lt;p&gt;On the other hand, let's say you don't want slowmo, you want the action to occur &amp;quot;realtime,&amp;quot; so you use the &amp;quot;nearest frame&amp;quot; method of interpolation, which throws out every other frame.  In this case, because each frame has half the amount of blur as &amp;quot;normal&amp;quot; footage played at 100% speed, it will look stutter-y, more crisp, or less smooth, by comparison.  It will look more like the action movies which employ the technique for creative effect (Saving Private Ryan, 28 Days Later, e.g.)&lt;/p&gt;&#xA;&lt;p&gt;But you can also blend the two frames together instead of throwing one out, and if you do it intelligently, you can re-create the natural blur you'd get by using an ND filter and a slower framerate.  Optical Flow computes a vector analysis of each pixel's movement, and can re-create the way a frame should look with natural blur.&lt;/p&gt;&#xA;&lt;p&gt;Older optical flow algorithms use a purely mathematical approach, which struggle in certain cases, can produce artifacts, and have difficulty with regularly-repeating patterns.  Newer algorithms, like DaVinci Resolve's &amp;quot;Speed Warp&amp;quot; use machine learning based approaches, and can give better results, but are very computationally expensive, a cost which rises (literally) exponentially with resolution.&lt;/p&gt;&#xA;&lt;p&gt;Some software will blend the two frames together for you automatically, by simply layering one frame over top of the other, with 50% opacity.  This is easy for computers to do, and produces more smooth motion than you'd get otherwise, but when you pause a frame, you'll see a ghosted image, and discerning individuals will notice a difference on playback.&lt;/p&gt;&#xA;&lt;p&gt;Of course, most Cinematographers and hardcore pixel peepers will tell you there's no substitute for a good ND filter, but ultimately the decision to get one is between you and your pocketbook.  To make a truly informed decision, you should compare some of your own footage using the methods I mention, but be careful, or you'll become a pixel peeper, too.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-06-22T06:12:49.493" LastActivityDate="2021-06-22T06:12:49.493" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34027" PostTypeId="1" CreationDate="2021-06-22T10:57:54.730" Score="0" ViewCount="41" Body="&lt;p&gt;I edited a video using Kdenlive in my laptop. I played the video. It was fine .So I transferred it to my Phone. But when i played the video on my phone, it has a 1cm thick black border.&lt;/p&gt;&#xA;&lt;p&gt;Why is this happening?&lt;/p&gt;&#xA;&lt;p&gt;And why only on phone?&lt;/p&gt;&#xA;&lt;p&gt;Can someone please suggest a fix for this?&lt;/p&gt;&#xA;" OwnerUserId="35394" LastActivityDate="2021-06-22T10:57:54.730" Title="Blackborders on video edited on kdenlive (only on Phone not in Laptop)" Tags="|kdenlive|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34028" PostTypeId="2" ParentId="34025" CreationDate="2021-06-22T11:33:09.903" Score="1" Body="&lt;p&gt;I assume &amp;quot;Kyron BG&amp;quot; is the shape layer and thisLayer is the image layer and you're applying the expression on the scaling of the image layer. Then this should work:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;kyronnb = thisComp.layer(&amp;quot;Kyron BG&amp;quot;).sourceRectAtTime();&#xA;scaleFactor = kyronnb.height/thisLayer.height*100;&#xA;[scaleFactor, scaleFactor]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-06-22T11:33:09.903" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34032" PostTypeId="1" AcceptedAnswerId="34033" CreationDate="2021-06-22T17:52:52.893" Score="0" ViewCount="48" Body="&lt;p&gt;What method would be the most convenient for storing over a hundred hours of footage? Digital looks convenient, but I think backing up that much video can be expensive. My inspiration is Jonas Mekas, who recorded a lot of (mostly) home movies on film, and I'm wondering if film could hold any advantages for me. My biggest concerns are the cost and durability of storage.&lt;/p&gt;&#xA;" OwnerUserId="35398" LastActivityDate="2021-06-23T09:43:26.990" Title="Film or digital for a hundred hours of footage? Looking at cost and durability" Tags="|digital-recording|storage|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34033" PostTypeId="2" ParentId="34032" CreationDate="2021-06-23T09:43:26.990" Score="0" Body="&lt;p&gt;My general advice is not to worry too much about storage when you are starting. I gathered from the comments that those 100-something hours of video will accumulate over life and this allows to upgrade storage solutions as you go.&lt;/p&gt;&#xA;&lt;p&gt;Normally you record, edit, probably import other assets, record sound or music, etc. Then you export a video master file (for the archive and to create new delivery files from) and a number of delivery formats right away to publish the video.&lt;/p&gt;&#xA;&lt;p&gt;The actual capacity you need will also depend on what you keep: all source material or just the end result, like a high-quality masters and maybe a few delivery formats. If you also want to keep all source video files, storage needs depend on what the camera can produce. Cameras targeted for professionals use storage-hungry RAW formats whereas consumer-oriented cameras usually use compressed formats with low storage needs. You will probably start with the latter and won't produce huge files for quite a while.&lt;/p&gt;&#xA;&lt;p&gt;Since you said you make short videos, I think it's sufficient to buy a 8 TByte disk and it will be enough for a long time. After about 5 or max 10 years, the disk will reach its end of life and can be replaced by a larger one that surely will be cheaper than it is today. For fast editing you can use an SSD where your operating system and video software is installed and where you put the source material for the current video you're editing. So the SSD doesn't have to be that big.&lt;/p&gt;&#xA;&lt;p&gt;Regarding backups, it's safer to keep at least 2 copies besides the original. For fast access it's best to have a local backup on an external harddisk. To protect yourself against catastrophies, put another copy at a different geographical place, like a friend's house or upload it to a datacenter designed for backups/archiving needs. For a service like Wasabi you'd pay 6 USD per month for 1 TByte. If you use external harddisks they too have to be replaced over time as they degrade. However, since they are used less often, you can replace them at longer intervals. It's good if your backup program can use checksums to check if files on the backup medium have changed (because of bit flips or block read errors). When this happens replace the disk and re-generate a fresh backup using the original or the other backup copy.&lt;/p&gt;&#xA;&lt;p&gt;Tape backups are another option. If handled well, tapes should stay intact for about 30 years. Tapes are rather cheap, but tape drives not so much. I'd say tape storage makes not much sense in your case since your storage needs will grow slowly over time and you benefit from the cost degredation of harddisks. It has become harder to find a service for tape backups as the trend seems to go to cloud storage solutions.&lt;/p&gt;&#xA;&lt;p&gt;It's probably worth to re-evaluate backup strategies every 5 to 10 years for cheaper or better solutions. For small projects/businesses it's often best to invest only in the capacity you need for the time being and the next few years and not plan for decades ahead.&lt;/p&gt;&#xA;&lt;p&gt;That said, filming digitally with a good backup plan should fulfill your cost, durability and convenience requirements.&lt;/p&gt;&#xA;&lt;p&gt;To give you a glimpse on analog filming: A 400 ft roll of 35mm cost about 300 USD, or 16mm costs 200 USD, Super-8 is sold in small quantities and is therefore even pricier. Those 400ft rolls only enable you to film for a few minutes. Then there are costs for development, and costs for scanning if you want to edit it digitally - and this means you produce digital files anyway and those aren't small either. Finally, you do master prints and have to store all of them in some controlled environment. If treated well the durability is much greater than anything digital. But the archive space costs you. All this is why you won't be able to save money when working with film and it's much less convenient. It's also getting harder to find services that develop and scan the film for you.&lt;/p&gt;&#xA;&lt;p&gt;Still, it might be fun to make a short analog movie but it would be a costly choice when dealing with large amounts of material.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-06-23T09:43:26.990" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34035" PostTypeId="2" ParentId="34024" CreationDate="2021-06-23T18:22:35.687" Score="1" Body="&lt;p&gt;As far as I know YouTube always re-encodes the videos you upload. Sometimes this can introduce a larger degradation, especially if the video you upload is already a pretty compressed format. You could try to create a ProRes file and upload it, hopefully this reduces the issue a bit.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-06-23T18:22:35.687" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34036" PostTypeId="1" CreationDate="2021-06-24T04:08:18.937" Score="0" ViewCount="5797" Body="&lt;p&gt;I'm trying to convert .avi files to .mp4 using ffmpeg, as lossless-ly as possible.&lt;/p&gt;&#xA;&lt;p&gt;I tried this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i filename.avi -c:v copy -c:a copy -y filename.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and received this output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; configuration: --prefix=/ffbuild/prefix --pkg-config-flags=--static --pkg-config=pkg-config --cross-prefix=x86_64-w64-mingw32- --arch=x86_64 --target-os=mingw32 --enable-gpl --enable-version3 --disable-debug --enable-shared --disable-static --disable-w32threads --enable-pthreads --enable-iconv --enable-libxml2 --enable-zlib --enable-libfreetype --enable-libfribidi --enable-gmp --enable-lzma --enable-fontconfig --enable-libvorbis --enable-opencl --enable-libvmaf --enable-vulkan --enable-amf --enable-libaom --enable-avisynth --enable-libdav1d --enable-libdavs2 --enable-ffnvcodec --enable-cuda-llvm --enable-libglslang --enable-libgme --enable-libass --enable-libbluray --enable-libmp3lame --enable-libopus --enable-libtheora --enable-libvpx --enable-libwebp --enable-lv2 --enable-libmfx --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librav1e --enable-librubberband --enable-schannel --enable-sdl2 --enable-libsoxr --enable-libsrt --enable-libsvtav1 --enable-libtwolame --enable-libuavs3d --enable-libvidstab --enable-libx264 --enable-libx265 --enable-libxavs2 --enable-libxvid --enable-libzimg --extra-cflags=-DLIBTWOLAME_STATIC --extra-cxxflags= --extra-ldflags=-pthread --extra-ldexeflags= --extra-libs=-lgomp&#xA;  libavutil      57.  0.100 / 57.  0.100&#xA;  libavcodec     59.  1.101 / 59.  1.101&#xA;  libavformat    59.  3.100 / 59.  3.100&#xA;  libavdevice    59.  0.100 / 59.  0.100&#xA;  libavfilter     8.  0.102 /  8.  0.102&#xA;  libswscale      6.  0.100 /  6.  0.100&#xA;  libswresample   4.  0.100 /  4.  0.100&#xA;  libpostproc    56.  0.100 / 56.  0.100&#xA;Guessed Channel Layout for Input Stream #0.1 : stereo&#xA;Input #0, avi, from 'Filename.avi':&#xA;  Metadata:&#xA;    TAPE            : Filename&#xA;    TCOD            : 653986667&#xA;  Duration: 00:01:54.01, start: 0.000000, bitrate: 30411 kb/s&#xA;  Stream #0:0: Video: dvvideo (dvsd / 0x64737664), yuv411p, 720x480 [SAR 8:9 DAR 4:3], 28779 kb/s, 29.97 fps, 29.97 tbr, 29.97 tbn&#xA;  Stream #0:1: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 48000 Hz, stereo, s16, 1536 kb/s&#xA;[mp4 @ 000001d0ca8a1480] Could not find tag for codec dvvideo in stream #0, codec not currently supported in container&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Invalid argument&#xA;Error initializing output stream 0:1 --&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;    Last message repeated 1 times&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It outputs an .mp4 file with an error message that the file can't be played and the error code 0xc10100be.&lt;/p&gt;&#xA;&lt;p&gt;Can anyone interpret what is happening? What command would you recommend here?&lt;/p&gt;&#xA;&lt;p&gt;Thank you very much!&lt;/p&gt;&#xA;" OwnerUserId="35414" LastActivityDate="2023-04-20T01:01:30.213" Title="ffmpeg to convert .avi to .mp4 results in error: Could not find tag for codec dvvideo in stream #0, codec not currently supported in container" Tags="|ffmpeg|encoding|codec|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34037" PostTypeId="1" CreationDate="2021-06-24T11:48:28.357" Score="0" ViewCount="83" Body="&lt;p&gt;I'd like to purchase long-duration nature videos (30mn or even 1hr), in order to use them for a personal musical project, and then share on YouTube.&#xA;So, basically I also need to buy a license for that.&lt;/p&gt;&#xA;&lt;p&gt;Until now, the thing is that I only found &amp;quot;short&amp;quot; 4K nature videos (a couple of seconds long, several minutes at most). I can't believe long-duration videos are not available, for sale or even for free, I just didn't find relevant websites.&lt;/p&gt;&#xA;&lt;p&gt;Can anybody help?&#xA;Thank you&lt;/p&gt;&#xA;" OwnerUserId="35421" LastActivityDate="2024-03-11T03:07:55.930" Title="Can't find long-duration nature videos in 4K" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34038" PostTypeId="2" ParentId="34037" CreationDate="2021-06-24T13:34:33.510" Score="0" Body="&lt;p&gt;Stock videos are typically quite short. They cannot be long because they wouldn't sell well as the probability that you find a person, who needs exactly this video, plummets dramatically for longer videos. That's why you can't find anything. I can't rule out that there's some corner of the web where you can find such videos, but long stock videos are definitely rare.&lt;/p&gt;&#xA;&lt;p&gt;I see a couple of options:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;hire somebody to shoot the custom video for you, but this will be expensive&lt;/li&gt;&#xA;&lt;li&gt;get a couple of clips and assemble them to make a longer video. You could use cross-dissolve transitions to gradually go from one clip to the next. Pretty much every video editor software can do this or ask somebody to do it for you.&lt;/li&gt;&#xA;&lt;li&gt;create a slideshow video from a number of photographs&lt;/li&gt;&#xA;&lt;li&gt;loop a short clip&lt;/li&gt;&#xA;&lt;li&gt;evaluate if video is really required for your project. The simple fact that you're trying to find long videos on the web feels odd to me. When I come across a long music clip with no interesting video, like 1 hour of waves rolling onto the beach, I stop looking at it after a minute. The video serves no purpose for me.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I can't recommend any option in particular, nor do I know if they could wok for you, because I don't know the details of your project.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastEditorUserId="29988" LastEditDate="2021-06-24T15:57:40.503" LastActivityDate="2021-06-24T15:57:40.503" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34039" PostTypeId="2" ParentId="34018" CreationDate="2021-06-24T15:19:58.773" Score="1" Body="&lt;p&gt;I think the frame rate that you plan to deliver your final video at should inform all the shutter/frame rate decisions when you are shooting.&lt;/p&gt;&#xA;&lt;p&gt;If you're delivering at 25 fps, shoot at 25fps, or multiples of 25.&lt;/p&gt;&#xA;&lt;p&gt;If you mix frame rates in your project that aren't multiples of the deliverable frame rate, you will end up doing frame rate conversion - either throwing away or generating extra frames, which will usually look bad (especially if there is a lot of movement in your footage).&lt;/p&gt;&#xA;&lt;p&gt;You can change the frame rate of your footage after you've shot it by conforming it. This doesn't add or throw away frames, but will just play the footage slightly faster or slower to get to the frame rate you need.  It's surprising how often you can get away with this trick, but again it depends on what you are filming, and how much of a change you are conforming to (e.g. 24 to 25fps is hard to spot, 60 to 25 is very obvious).&lt;/p&gt;&#xA;&lt;p&gt;The choice about shutter speeds is trickier - because you might be able to get away with 1/50 shutter at 30fps, but if you're shooting smooth movement it might look weird.  In general I would always try to shoot at &amp;quot;1 over double the frame rate&amp;quot;, so 1/50 = 25 fps.  If you're shooting for slow mo, I would try to use 1/120 at 60fps, etc.&lt;/p&gt;&#xA;&lt;p&gt;It's tricky to answer more without knowing what you're actually shooting.  If you're filming a lot of screens, you might be better off capturing the screen directly with screen recording software, and compositing it back in afterwards?  That way you wouldn't get any flickering, and you would have more control (but it would take much longer to produce).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-06-24T15:19:58.773" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34041" PostTypeId="1" CreationDate="2021-06-24T15:56:57.907" Score="0" ViewCount="32" Body="&lt;p&gt;First the red box is selected&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KN6PE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KN6PE.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;now if you click outside and click near red box the main box is selected&#xA;&lt;a href=&quot;https://i.stack.imgur.com/IpbQI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IpbQI.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;moving this box also moves entire graphic&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WWGOp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WWGOp.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;what is this box called, how do you center it etc.&lt;/p&gt;&#xA;&lt;p&gt;GIF&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9eAc7.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9eAc7.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;UPDATE: it is NOT the black video...&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TeEcS.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TeEcS.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21099" LastEditorUserId="21099" LastEditDate="2021-06-24T21:16:23.560" LastActivityDate="2021-06-24T21:16:23.560" Title="Why does text or graphics in premiere pro have two boxes?" Tags="|premiere|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="34044" PostTypeId="1" CreationDate="2021-06-25T02:54:45.953" Score="1" ViewCount="315" Body="&lt;p&gt;QuickTime has an awesome feature called &amp;quot;Panoramic Size&amp;quot;. It basically scales the input video to the screen aspect ratio &lt;strong&gt;without cropping&lt;/strong&gt; by leaving the center as-is and gradually increasing the scale factor towards the sides.&lt;/p&gt;&#xA;&lt;p&gt;It’s a quite unique feature as far as I can tell, as I’ve only ever seen it in QuickTime.&lt;/p&gt;&#xA;&lt;p&gt;It can be activated like this (&lt;a href=&quot;https://support.apple.com/guide/quicktime-player/choose-a-screen-size-qtp31dfa136d/mac&quot; rel=&quot;nofollow noreferrer&quot;&gt;Apple Guide here&lt;/a&gt;):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LogjP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LogjP.png&quot; alt=&quot;QuickTime Panoramic View&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;What I’m looking for is any way to permanently use the same or a similar algorithm to re-encode some 4:3 videos into 16:9, so that they show correctly on all my devices, not just the ones using QuickTime.&lt;/p&gt;&#xA;&lt;h2&gt;4:3 input example:&lt;/h2&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pzYSt.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pzYSt.jpg&quot; alt=&quot;example 4:3 image&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;just for ease of comparison&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;h2&gt;Naïve 16:9 crop:&lt;/h2&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ldbvh.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ldbvh.jpg&quot; alt=&quot;16:9 crop of a 4:3 video&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;as you can see, there’s quite a lot of content missing top and bottom&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;h2&gt;Naïve 16:9 scale:&lt;/h2&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qKJd8.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qKJd8.jpg&quot; alt=&quot;naive scale of 16:9 video&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;as you can see, the circle barely looks like a circle anymore and a lot of content will look odd, especially faces&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;h2&gt;QuickTime 16:9 panoramic mode results:&lt;/h2&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tYzrs.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tYzrs.jpg&quot; alt=&quot;16:9 scaled via QuickTime Panoramic Mode&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;pretty good, if you ask me — that’s why I want to re-encode like this.&#xA;the sides are stretched much more than the center, which usually yields good results as the center is the most important part of the screen&lt;br /&gt;&#xA;this is actually why I chose a scene with a clearly visible circle — which stays nearly unchanged thanks to QuickTime magic&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;So, what can I do to accomplish this? Only way I can think of is making a screen recording, which would take hours and is very error-prone&lt;/p&gt;&#xA;" OwnerUserId="12741" LastEditorUserId="12741" LastEditDate="2021-06-25T03:32:12.230" LastActivityDate="2021-06-25T03:32:12.230" Title="Convert 4:3 to 16:9 like QuickTime Panoramic Size" Tags="|ffmpeg|quicktime|aspect|scale|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34049" PostTypeId="1" AcceptedAnswerId="34050" CreationDate="2021-06-27T09:07:23.120" Score="2" ViewCount="45" Body="&lt;p&gt;Today, I've used Adobe Premier Pro 2020 for reducing a video size.&lt;/p&gt;&#xA;&lt;p&gt;I have a video of size &lt;em&gt;400 MB&lt;/em&gt; that I have imported into Adobe Premier to reduce its size.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mM8iH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mM8iH.png&quot; alt=&quot;Exporting for reduction in size of video&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here the estimated file size is shown is : &lt;em&gt;167 MB&lt;/em&gt; but when I exported successfully with same settings the size of new video is &lt;em&gt;1 GB.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;My questions are:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;I'm unable to know — why it is not converting to the estimated size shown in the software, and how can I reduce the size without much reducing the quality of the video?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;I wanted to know if Premier Pro is the best option to use to reduce file,  or some basic video editing stuffs or other software&#xA;like Media Encode / After Effects is better?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="35442" LastEditorUserId="18155" LastEditDate="2021-07-10T23:56:28.577" LastActivityDate="2021-07-10T23:56:28.577" Title="Unable to reduce size in Adobe Premier Pro 2020" Tags="|video|premiere|editing|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34050" PostTypeId="2" ParentId="34049" CreationDate="2021-06-27T10:50:11.887" Score="2" Body="&lt;p&gt;I have seen this behaviour before and it is possible that you are experiencing the same issue. With some GPUs, the hardware acceleration is buggy, so that the target and maximum bitrate is ignored. This also depends on the codec. As a workaround, in the export dialog, go to the Video tab and under Encoding Settings try to switch from &amp;quot;Hardware Encoding&amp;quot; to &amp;quot;Software Encoding&amp;quot;. Now, the rendering will take a lot longer, but you should get a smaller file.&lt;/p&gt;&#xA;&lt;p&gt;Try to update to the very latest version of Premiere and update the driver for your GPU. If this doesn't help, you cannot do much about it. You could try different codecs or stick with software encoding. Report the bug to Adobe and hope they can fix it some day.&lt;/p&gt;&#xA;&lt;p&gt;Using Media Encoder won't help to fix that problem, however it's more convenient to send the render jobs to the queue of Media Encoder and let it work in the background. After Effects is specialized for animations and not well suited for general video editing.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-06-27T10:50:11.887" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34051" PostTypeId="2" ParentId="34017" CreationDate="2021-06-28T01:32:47.957" Score="0" Body="&lt;p&gt;Eventually I nested this video TWICE to speed it up&lt;/p&gt;&#xA;" OwnerUserId="35374" LastActivityDate="2021-06-28T01:32:47.957" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34053" PostTypeId="1" AcceptedAnswerId="34066" CreationDate="2021-06-28T18:56:23.650" Score="0" ViewCount="34" Body="&lt;p&gt;What kind of animation is when real toys are played during filmed real time?&lt;/p&gt;&#xA;&lt;p&gt;Look at this video:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/vOyoRaaepcw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;It is similar to &amp;quot;stop motion&amp;quot; but I guess it is some other genre.&lt;/p&gt;&#xA;&lt;p&gt;How is this style called?&lt;/p&gt;&#xA;" OwnerDisplayName="user35453" LastActivityDate="2021-07-04T07:54:55.710" Title="What kind of animation is when real toys are played during filmed real time?" Tags="|filming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34055" PostTypeId="1" CreationDate="2021-06-29T06:39:00.863" Score="0" ViewCount="211" Body="&lt;p&gt;I am working on my very first project in Da Vinci Resolve.&lt;/p&gt;&#xA;&lt;p&gt;I have created a new project and dragged two videos, one .mp4 and one .mkv, into the Media section of the Edit window. I have then dragged both videos into the timeline. Now, I want to zoom out the size of the .mp4, such that I can have this video be located at the bottom right of the .mkv, which fills the whole screen. To achieve this, I have clicked on the .mp4 video and then navigated to the Inspector. I am changing the zoom inside the inspector, but nothing happens.&lt;/p&gt;&#xA;&lt;p&gt;I have no clue what might be causing this issue. I have tried this out previously with 2 .mkv files and it worked. Then, yesterday, it seemed to be working for the .mkv, but not for the .mp4. Now, neither the .mkv nor the .mp4 can be zoomed out from inside the Inspector.&lt;/p&gt;&#xA;&lt;p&gt;I am probably forgetting about something really obvious, but I would appreciate help.&lt;/p&gt;&#xA;" OwnerUserId="35459" LastActivityDate="2024-04-06T14:04:35.613" Title="Da Vinci Resolve: Troubles zooming out an overlay video" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34057" PostTypeId="1" CreationDate="2021-06-30T04:50:05.463" Score="0" ViewCount="58" Body="&lt;p&gt;I am trying to a create 4:3 video upscale encodes with Sega Genesis videos that are usually around 320 x 224 using FFMPEG. While I had been advised to use FFMPEG (and AVISynth) in the past, it was only until fairly recently that I started it to use it and I am still learning about FFMPEG. Prior to using FFMPEG, I mostly used a setup where I used Virtualdub2 to do two resize filters (Nearest Neighbor; Lanzcos3) while using &amp;quot;compute from height ratio&amp;quot; on the second resize filter. I had been looking for better methods to upscale my videos while still maintaining the quality of the videos. &lt;a href=&quot;https://plutiedev.com/ffmpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here are some of the methods&lt;/a&gt; &lt;a href=&quot;http://trac.ffmpeg.org/wiki/Encode/H.264#LosslessH.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;tried using the resources&lt;/a&gt; I found on the internet:&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg i -s 1440x1080 -sws_flags neighbor -c:v libx264 -pix_fmt yuv420p -c:a aac -b:a 256k&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -i mysourcevideo.avi -vf scale=1600:1120 -sws_flags neighbor -c:v libx264 -crf 10 -c:a aac -q:a 2 outputfile.mp4&lt;/p&gt;&#xA;&lt;p&gt;These methods appear to work but the thing is I am working with pixel art form older videos and I do not what methods work those kinds of systems. I also learned that while some older consoles can upscaled to 4:3, not all may look good for those for video streaming. I could be wrong or at least inaccurate but what FFMPEG settings that I can use to upscale Genesis (both emulated or otherwise) videos? I also want it pixel accurate with Nearest Neighbor/PointResize, YUV420, AAC with an MP4 container.&lt;/p&gt;&#xA;" OwnerUserId="34688" LastEditorUserId="34688" LastEditDate="2021-07-07T22:20:01.487" LastActivityDate="2021-07-07T22:20:01.487" Title="How do you batch resizes of Genesis videos in FFMPEG?" Tags="|ffmpeg|encoding|codec|libx264|x264|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="34058" PostTypeId="1" CreationDate="2021-06-30T19:10:51.793" Score="1" ViewCount="14" Body="&lt;p&gt;I'm hoping to time-shift existing closed captions on a Vimeo file.&lt;/p&gt;&#xA;&lt;p&gt;Last month, my office helped produce a college graduation which was livestreamed on Vimeo, with live closed captioning.&lt;/p&gt;&#xA;&lt;p&gt;The livestream started well before the event, running a simple logo with the event name. So let's say the livestream started at 9:35. The event then began at 10:00 and went off without a hitch.&lt;/p&gt;&#xA;&lt;p&gt;In hosting the resultant video, the production company lopped off the first twenty-five minutes of footage (the simple logo). The end result is that the captions, which I assume were time stamped, are now a half-hour out of synch.&lt;/p&gt;&#xA;&lt;p&gt;For another reason, I already plan to download the video and upload it to another Vimeo account, so I'm especially interested in solutions that take advantage of that process.&lt;/p&gt;&#xA;" OwnerUserId="33879" LastActivityDate="2021-06-30T19:10:51.793" Title="hoping to time-shift existing closed captions on a Vimeo file" Tags="|closed-captioning|vimeo|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34060" PostTypeId="1" AcceptedAnswerId="34064" CreationDate="2021-07-01T09:09:57.057" Score="0" ViewCount="406" Body="&lt;p&gt;I thought when streaming a mp4 file on a browser, the browser needs to download the whole MP4  file before playing, because the player needs to know metadata like video codec, audio codec, etc. and MP4's metadata can only be known only after downloading the whole file.&lt;/p&gt;&#xA;&lt;p&gt;But today when I uploaded a 2 Gigabyte MP4 video on AWS S3, it plays instantly on Microsoft Edge (actually there is 1 or 2 seconds' delay, but still obviously the browser did not download the whole MP4 file before playing). By the way I have CloudFront (CDN) before S3, so Microsoft Edge first request the video url to CloudFront, then CoudFront request the MP4 file in S3.&lt;/p&gt;&#xA;&lt;p&gt;How is it possible? What is the magic behind AWS S3? Don't we have to download the whole MP4 file before knowing MP4's metadata then streaming?&lt;/p&gt;&#xA;" OwnerUserId="18532" LastActivityDate="2021-07-01T22:48:32.137" Title="A 2 Gigabyte MP4 file on AWS S3 can be played on Browser instantly (no need to download the whole file before streaming), why?" Tags="|streaming|mp4|" AnswerCount="1" CommentCount="1" ClosedDate="2021-07-02T13:33:11.130" ContentLicense="CC BY-SA 4.0" />
  <row Id="34064" PostTypeId="2" ParentId="34060" CreationDate="2021-07-01T22:48:32.137" Score="1" Body="&lt;p&gt;Mp4 files store all the metadata in the moov box of the file. The browser can download the moov box, then perform byte range requests to pull the rest of the file on demand as needed. the moov box is usually only a few hundred kilobytes.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Don't we have to download the whole MP4 file before knowing MP4's&#xA;metadata then streaming?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;No&lt;/p&gt;&#xA;" OwnerUserId="4169" LastActivityDate="2021-07-01T22:48:32.137" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34065" PostTypeId="2" ParentId="4912" CreationDate="2021-07-02T13:14:42.533" Score="1" Body="&lt;p&gt;mp4 in sRGB colorspace can be of at least 4 types, first it is possible to have RGB (RGB identity matrix) tagged as sRGB transfer and primaries (BT.709 primaries are used in sRGB, so you MUST tag the file as that). That can be full range and limited range. Second is YCbCr, you can use BT.709 or BT.601 matrix. One should use BT.601 matrix for sRGB as it is how it is specified in the IEC standard, even though BT.709 matrix is better than BT.601 for BT.709 primaries as BT.709 matrix is derived from BT.709 primaries. As for range full range is what should be used, even though video is everywhere limited range, so...&lt;/p&gt;&#xA;" OwnerUserId="26140" LastEditorUserId="26140" LastEditDate="2021-07-02T13:38:18.170" LastActivityDate="2021-07-02T13:38:18.170" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34066" PostTypeId="2" ParentId="34053" CreationDate="2021-07-02T22:43:56.907" Score="3" Body="&lt;p&gt;Since you see a person's hands moving the dolls, I don't think this can be called animation. I think the term which fits best is &lt;em&gt;puppetry&lt;/em&gt;.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-07-02T22:43:56.907" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34067" PostTypeId="1" AcceptedAnswerId="34113" CreationDate="2021-07-03T01:21:55.783" Score="0" ViewCount="164" Body="&lt;p&gt;Is there a way to undo a ripple delete much later?&lt;/p&gt;&#xA;&lt;p&gt;Long time after I lost the ability to ctrl-z my way back, I regret cutting out a section of the clip and I want it back. Anyway to find it?&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="1795" LastActivityDate="2021-07-12T23:30:03.497" Title="Undo ripple delete in davinci resolve" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34072" PostTypeId="2" ParentId="20302" CreationDate="2021-07-04T13:29:38.873" Score="3" Body="&lt;p&gt;The grey balls are actually used like the grey cards but with added lighting data cause they are spherical and refer to the surrounding light sources better, they usually reflect 18% of the light and are used to match the temperature of the CG Element to the footage and also exposure.&lt;/p&gt;&#xA;&lt;p&gt;We create the CGI versions of the grey and chrome ball since they are very easy to make and mostly mathematically very close to the real balls. So if your CGI balls don't match the pictures of the chrome/grey balls then you need to adjust:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;intensity of the CGI Lighting,&lt;/li&gt;&#xA;&lt;li&gt;exposure of the lights (individual or mostly overall) and finally&lt;/li&gt;&#xA;&lt;li&gt;the white balance or the temperature of the CGI Lighting to make it fit.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Sometimes they use the Mirror or Chrome Balls to take HDRIs to roughly recreate the surrounding lighting using a DSLR and multiple bracketed shots but nowadays VFX or On-set supervisors, the guy, you were asking about, used a compact 360 cameras like the Thetha Z1 or Insta 360 One X2 or even a 180 degree fisheye lens on a camera and quickly snapped the images without worrying about capturing what's behind the chromball or the other tedious job of actually paining out the camera and/or cameraman.&lt;/p&gt;&#xA;&lt;p&gt;The small colour squares you see are called colour checkers and they come in many types. They are used to unify the CG Camera and the footage in terms of colour profile, dynamic range and white/black points; usually there is a separate bigger card for white, black and grey points but all in all it's to mimic and dumb down CG Cameras to the characteristics of the real world cameras used to capture the image.&lt;/p&gt;&#xA;" OwnerUserId="35508" LastEditorUserId="29988" LastEditDate="2021-07-04T17:10:38.607" LastActivityDate="2021-07-04T17:10:38.607" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34074" PostTypeId="1" CreationDate="2021-07-05T00:13:29.010" Score="1" ViewCount="77" Body="&lt;p&gt;Is there any practical difference between a webcam on suitable mounting and a document camera or visualiser?&lt;/p&gt;&#xA;&lt;p&gt;This is a well worn topic but laced with less helpful information from manufacturers who are ultimately aiming to shift product.&lt;/p&gt;&#xA;&lt;p&gt;To my mind a document camera is just a camera on a mount allowing it to give a top down view. At minimum it needs to stay in focus on paper enough that you can read or photograph it.&#xA;I think you are just paying for the mounting arm letting you get a top down view and otherwise using a often quite low quality camera.&#xA;But perhaps someone more enlightened can re-educate me.&lt;/p&gt;&#xA;&lt;p&gt;I realize this is a hard question to answer objectively but is there any reason to have a dedicated document camera rather than a plain old webcam or phone on an adjustable mount?&lt;/p&gt;&#xA;&lt;p&gt;What are the competing considerations that could turn this from a subjective question to something more objective?&lt;/p&gt;&#xA;&lt;p&gt;For example, A webcam aims to show your face for teleconferencing and focus on that and its movement.&#xA;The focal length and depth of field requirements could be different enough to justify specialisation.&lt;/p&gt;&#xA;&lt;p&gt;The internet rumourmill also has it that webcams are well behind smartphones and digital SLRs in terms of quality due to the nature of the market. SLRs aim for quality and mobiles are competing with each other in a faster moving market and so allegedly improve more quickly.&lt;/p&gt;&#xA;&lt;p&gt;Put it another way if you already have a decent webcam and a spare mounting arm would you be better off purchasing a document camera / visualiser or a second webcam for the 'overhead' work?&lt;/p&gt;&#xA;&lt;p&gt;Consider a content creator who wishes to make a mix of face to face exposition anddemonstrating experiments handicrafts or music.&#xA;What are the critical features that a camera should have to make it good in each field?&#xA;Are there any fundamental trade offs?&lt;/p&gt;&#xA;&lt;p&gt;The aim is to avoid guessing in the form of buying cameras and sending them back if they don't have good results. Its not good for you, the planet or the manufacturers unless that is the specific aim of your videos of course. While there are plenty of reviews of webcams and document cameras there are not so many that review one for use as a the other.&lt;/p&gt;&#xA;" OwnerUserId="34913" LastActivityDate="2021-07-05T00:13:29.010" Title="document cameras vs webcams" Tags="|camera|multi-camera|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34075" PostTypeId="1" CreationDate="2021-07-05T00:54:17.717" Score="0" ViewCount="49" Body="&lt;p&gt;I have a &lt;a href=&quot;https://huntcctv.com/company-products/har324-8/&quot; rel=&quot;nofollow noreferrer&quot;&gt;HAR324-8 DVR&lt;/a&gt;, and when I export a video clip, I get an MP4 that I cannot play with Windows Media Player 12, Chrome, or Edge browser. When I open the file with VLC Media Player 3.0.16, it will play a few frames before VLC crashes.&lt;/p&gt;&#xA;&lt;p&gt;Oddly enough, I am able to upload the file to Google Drive and after a while, it seems there is some processing done in the background (I'm not sure what) but it will then allow me to play the MP4 I've uploaded using Chrome or my Pixel phone.&lt;/p&gt;&#xA;&lt;p&gt;Can someone tell me what is happening and how I can get this file converted to a format that can easily be played by any general-purpose OS/smartphone without needing to download additional codecs? Is there software that can be purchased that will allow me to analyze and convert this file to something playable by most platforms out of the box?&lt;/p&gt;&#xA;&lt;p&gt;Here is a sample clip:&#xA;&lt;a href=&quot;https://drive.google.com/file/d/1ihj0mWhldg8VhysxGS2aXFsefMgx1oxb/view?usp=drivesdk&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1ihj0mWhldg8VhysxGS2aXFsefMgx1oxb/view?usp=drivesdk&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35514" LastEditorUserId="35514" LastEditDate="2021-07-05T15:44:30.137" LastActivityDate="2021-07-05T15:44:30.137" Title="How to make DVR-generated MP4 easily playable in Windows?" Tags="|mp4|windows|android|vlc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34076" PostTypeId="2" ParentId="34075" CreationDate="2021-07-05T07:41:50.490" Score="1" Body="&lt;p&gt;As this should not be a problem, I can only assume there is either a fault with your DVR or your machine. Having some error messages could help, but really it's not a question of &amp;quot;how to make DVR generated mp4 playable&amp;quot; and more troubleshooting your setup.&lt;/p&gt;&#xA;&lt;p&gt;I'd be surprised if there was anything in your Google Drive that was processing your file, so perhaps your computer has a problem in reading a file from certain locations?&lt;/p&gt;&#xA;&lt;p&gt;There are various codec converters available that will transcode to the format of your choice, assuming they can successfully read the input.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2021-07-05T07:41:50.490" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34078" PostTypeId="1" AcceptedAnswerId="34080" CreationDate="2021-07-05T16:42:10.320" Score="0" ViewCount="39" Body="&lt;p&gt;I've read on several sources that when using artificial light, in Europe (50Hz mains frequency) you are supposed to record on 25/50fps or you can induce flickering. Makes sense in theory and all, but I wasn't able to ever reproduce it. I tried with my LED kitchen lightning, my LED studio light and even the halogen bulbs in my bathroom, everything both at 50 and 60fps. No recording shows even the slightest bit of flickering.&lt;/p&gt;&#xA;&lt;p&gt;Is this normal? Is the flickering effect overstated and actually occurs only in very specific circumstances? Or if not, what could be the reason I don't see it?&lt;/p&gt;&#xA;&lt;p&gt;(I'm using a Canon EOS200D if it matters. I watched the videos both on PC and camera, and I also double-checked on PC that I got the frame rate on the camera set right, which I did.)&lt;/p&gt;&#xA;" OwnerUserId="35522" LastActivityDate="2021-07-06T08:40:50.660" Title="Why don't I see flickering in artificial light despite using the wrong framerate?" Tags="|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34080" PostTypeId="2" ParentId="34078" CreationDate="2021-07-06T08:40:50.660" Score="2" Body="&lt;p&gt;You aren't using lights which will show up flicker.&lt;/p&gt;&#xA;&lt;p&gt;Fluorescent lights are the worst, as their light output varies significantly with the mains frequency - so if you record at 60Hz in Europe where the mains runs at 50Hz you will see a very obvious 10Hz beat frequency.&lt;/p&gt;&#xA;&lt;p&gt;Halogen lights don't really flicker, as the filament remains white hot throughout the cycle.&lt;/p&gt;&#xA;&lt;p&gt;Good quality LED lights, will have no flicker, and cheap ones, if they do flicker at all, are likely to be at either double the mains frequency or even higher, so you are less likely to see any flicker.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2021-07-06T08:40:50.660" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34081" PostTypeId="2" ParentId="30064" CreationDate="2021-07-06T14:40:34.277" Score="0" Body="&lt;p&gt;Generally, speaking there are a number of issues with systems that have two graphics cards or chips active (unless they are the exact same model).&lt;/p&gt;&#xA;&lt;p&gt;One option is to disable the Intel card in the BIOS and Premiere won't be able to use it anymore and hopefully uses the Nvidia card. Research for any potential side effects that your system may show afterwards. For example, I did this on one laptop with Windows and Bitlocker encryption active. After disabling the Intel chip it asked me for the Bitlocker recovery key (if I remember correctly). Therefore backup/print out the key before you change the BIOS setting.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-07-06T14:40:34.277" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34082" PostTypeId="2" ParentId="17948" CreationDate="2021-07-06T19:35:46.803" Score="6" Body="&lt;h2&gt;Short answer specific to this problem:&lt;/h2&gt;&#xA;&lt;p&gt;Use this option:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-map_metadata 0:s:2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h2&gt;Explanation:&lt;/h2&gt;&#xA;&lt;p&gt;Timecode often comes in a format specific to the file format, so ffmpeg can't be expected to just 'copy' it without getting explicit instructions.&lt;/p&gt;&#xA;&lt;p&gt;In Sony a7siii 4k 10bit footage mp4 file, there is a separate 'data' stream to which it is added as a metadata. It is usually stream indexed 2 (the third stream), but you can use this command to determine it for yourself:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i inputfile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This will display info about all the input streams, including the metadata.&lt;/p&gt;&#xA;&lt;p&gt;Example output (excerpts):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version...&#xA;...&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'inputfile.mp4':&#xA;  Metadata:&#xA;...&#xA;  Stream #0:0(und): Video: h264...&#xA;...&#xA;  Stream #0:2(und): Data: none (rtmd / 0x646D7472), 2252 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2021-06-19T16:39:17.000000Z&#xA;      handler_name    : Timed Metadata Media Handler&#xA;      timecode        : 07:15:07:17&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now, note that timecode is attached as metadata to a separate 'data' stream, which needs to be present in the output for a simple &lt;code&gt;-map_metadata 0&lt;/code&gt; to work. Since it cannot be copied, we need to map that metadata to the global metadata of the file itself.&lt;/p&gt;&#xA;&lt;p&gt;Note down the stream number containing the timecode, in this example stream 2 of input 0, and map it to global metadata using &lt;code&gt;-map_metadata 0:s:2&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i inputfile.mp4 -map_metadata 0:s:2 -c copy outputfile.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This should map metadata of the stream indexed 2 (s:2) from the first input (0:) to the global (default) metadata of the output file, and copy audio-video streams as they are.&lt;/p&gt;&#xA;&lt;p&gt;Note that the numbering and the meaning of 's' is different than how it is in other more common options. Check more info in the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#toc-Advanced-options&quot; rel=&quot;noreferrer&quot;&gt;advanced options part of the ffmpeg documentation&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg then reads whatever it understands from that stream's metadata (which includes timecode), converts it to the destination file format's ideal metadata format, and includes it in the output.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;The resulting file will have a timecode recognizable in editing software like DaVinci Resolve and Premiere Pro.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I tried other options like &lt;code&gt;-write_tmcd&lt;/code&gt; and several forms of  &lt;code&gt;-map 0&lt;/code&gt; with and without &lt;code&gt;-copy_unknown&lt;/code&gt; but they didn't work, probably because ffmpeg currently needs to understand what it is copying.&lt;/p&gt;&#xA;&lt;p&gt;Note that this does not copy the whole data stream, just its metadata. For our current requirement this is okay.&lt;/p&gt;&#xA;&lt;p&gt;Also, since I was converting to prores422hq, my exact command (that worked) was this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i inputfile.mp4 -map_metadata 0:s:2 -c:v prores_ks -profile hq -c:a pcm_s16le outputfile.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="35530" LastActivityDate="2021-07-06T19:35:46.803" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34083" PostTypeId="1" CreationDate="2021-07-06T20:52:38.327" Score="1" ViewCount="32" Body="&lt;p&gt;I'm making a YouTube video on discrimination, and among other things I'll explain &lt;a href=&quot;https://static1.squarespace.com/static/57967bc7cd0f68048126361d/t/5cdf2d4c7d1b310001d046fc/1558129997622/BohrenImasRosenberg_DynamicsDiscrimination_January2019.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;this study&lt;/a&gt; which shows anti-female bias against new female StackExchange users, but pro-female bias toward experienced female StackExchange users (i.e. high reputation users with female usernames).&lt;/p&gt;&#xA;&lt;p&gt;I'm thinking of animating it using the below picture, where the user upvotes Bruce's question, and Bruce's reputation increases to 11. Thereafter the reputation of both rapidly increases to 1000 (i.e. both become high reputation users). And then Emily receives an upvote, bringing her reputation to 1010.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8YHNH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8YHNH.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I do so? I am using ShotCut. After doing some internet searches, I think the &lt;a href=&quot;https://www.youtube.com/watch?v=m4nSFkyLvJU&quot; rel=&quot;nofollow noreferrer&quot;&gt;timer filter&lt;/a&gt; can be used to animate the reputation increase, but I'm not so sure how to animate user clicks short of manually creating a HTML/Javascript page and then recording my screen. Most of the videos on animating user clicks in ShotCut explain how to add pre-recorded &amp;quot;click on YouTube subscribe&amp;quot; buttons to one's video.&lt;/p&gt;&#xA;" OwnerUserId="35532" LastEditorUserId="35532" LastEditDate="2021-07-07T15:20:48.260" LastActivityDate="2021-07-07T15:20:48.260" Title="How can I animate reputation changes in Stack Exchange?" Tags="|animation|shotcut|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34086" PostTypeId="1" CreationDate="2021-07-08T00:53:37.420" Score="0" ViewCount="149" Body="&lt;p&gt;This program stands in stark contrast of the simple but effective Windows Movie Maker of old, Davinci is not as 'simple' and it seems like it very 'complex' at times. One of the things that I liked about Windows Movie Maker is the ability to put in transitions on a timeline. While it is simple to do in Windows Movie Maker, it is not as easy in Resolve as Resolve is much more complex program. How do you put in transitions on a timeline? Can anyone explain this to me? I am not used to programs like these.&lt;/p&gt;&#xA;" OwnerUserId="34688" LastActivityDate="2021-07-08T19:56:13.240" Title="How do I use the transitions in Davinci Resolve 17?" Tags="|video-editor|mp4|davinci-resolve|windows-movie-maker|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34087" PostTypeId="1" CreationDate="2021-07-08T12:58:54.250" Score="1" ViewCount="1617" Body="&lt;p&gt;I'm trying to decode a video from raw bytes using &lt;code&gt;ffmpeg -i pipe: -f rawvideo -pix_fmt bgr24 -an -sn pipe:&lt;/code&gt;, while the command exits with code 0, the stdout is empty and stderr contains the following message:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.3.2 Copyright (c) 2000-2021 the FFmpeg developers&#xA;  built with Apple clang version 12.0.0 (clang-1200.0.32.29)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/4.3.2_4 --enable-shared --enable-pthreads --enable-version3 --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-ffplay --enable-gnutls --enable-gpl --enable-libaom --enable-libbluray --enable-libdav1d --enable-libmp3lame --enable-libopus --enable-librav1e --enable-librubberband --enable-libsnappy --enable-libsrt --enable-libtesseract --enable-libtheora --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libxvid --enable-lzma --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libspeex --enable-libsoxr --enable-libzmq --enable-libzimg --disable-libjack --disable-indev=jack --enable-videotoolbox&#xA;  libavutil      56. 51.100 / 56. 51.100&#xA;  libavcodec     58. 91.100 / 58. 91.100&#xA;  libavformat    58. 45.100 / 58. 45.100&#xA;  libavdevice    58. 10.100 / 58. 10.100&#xA;  libavfilter     7. 85.100 /  7. 85.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  7.100 /  5.  7.100&#xA;  libswresample   3.  7.100 /  3.  7.100&#xA;  libpostproc    55.  7.100 / 55.  7.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fa862816a00] stream 0, offset 0x2c: partial file&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'pipe:':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2mp41&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:00:06.28, start: 0.000000, bitrate: N/A&#xA;    Stream #0:0(und): Video: hevc (Main) (hvc1 / 0x31637668), yuv420p(tv), 1080x1920, 50546 kb/s, 29 fps, 29 tbr, 14848 tbn, 14848 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (hevc (native) -&amp;gt; rawvideo (native))&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fa862816a00] stream 0, offset 0x2c: partial file&#xA;pipe:: Invalid data found when processing input&#xA;Output #0, rawvideo, to 'pipe:':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2mp41&#xA;    encoder         : Lavf58.45.100&#xA;    Stream #0:0(und): Video: rawvideo (BGR[24] / 0x18524742), bgr24, 1080x1920, q=2-31, 1443225 kb/s, 29 fps, 29 tbn, 29 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      encoder         : Lavc58.91.100 rawvideo&#xA;frame=    0 fps=0.0 q=0.0 Lsize=       0kB time=00:00:00.00 bitrate=N/A speed=   0x    &#xA;video:0kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;Output file is empty, nothing was encoded (check -ss / -t / -frames parameters if used)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any hint would be appreciated, as I don't have much experience with FFMPEG.&lt;/p&gt;&#xA;&lt;p&gt;I can probe the same video without problem with &lt;code&gt;ffprobe -show_format -show_streams -of json pipe:&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="35551" LastActivityDate="2022-04-05T09:05:25.480" Title="FFMPEG fails on pipe to pipe video decoding" Tags="|ffmpeg|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="34089" PostTypeId="1" AcceptedAnswerId="34094" CreationDate="2021-07-08T16:37:20.623" Score="3" ViewCount="67" Body="&lt;p&gt;So I'm pulling in text from a csv and I am trying to find a way to prevent widows (where there is a single word on a line).&lt;/p&gt;&#xA;&lt;p&gt;in JS we'd do this &lt;code&gt;text = text.replace(/\s(?=[^\s]*$)/g, '&amp;amp;nbsp;');&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;But I can't seem to find a similar method in After Effects with expressions, to insert a nonbreaking space between the last word and the second last word in a string.&lt;/p&gt;&#xA;" OwnerUserId="35387" LastActivityDate="2021-07-08T20:11:02.140" Title="After Effects Prevent Widows in Text" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34090" PostTypeId="2" ParentId="12942" CreationDate="2021-07-08T17:26:42.710" Score="2" Body="&lt;p&gt;I recently read about &lt;a href=&quot;https://massive.io&quot; rel=&quot;nofollow noreferrer&quot;&gt;MASV&lt;/a&gt; on TechRadar, it's a file transfer service that charges 25¢ per gig that is downloaded. If you're only sending 10GB at a time, this is much more cost-effective than mailing (in 2021 Fedex is charging $60+ to overnight an envelope from LA to NYC and even more to Canada).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://massive.io&quot; rel=&quot;nofollow noreferrer&quot;&gt;MASV&lt;/a&gt; is currently offering a 7day/100GB free trial.&lt;/p&gt;&#xA;" OwnerUserId="2352" LastActivityDate="2021-07-08T17:26:42.710" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34091" PostTypeId="1" CreationDate="2021-07-08T18:22:10.787" Score="2" ViewCount="488" Body="&lt;p&gt;I have two streams, one audio and the other video. I'm trying to combine them using this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i audio.m3u8 -i video.m3u8 -c copy Video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I found this syntax here:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/a/18216&quot;&gt;https://video.stackexchange.com/a/18216&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://stackoverflow.com/a/60663842&quot;&gt;https://stackoverflow.com/a/60663842&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://superuser.com/a/885958&quot;&gt;https://superuser.com/a/885958&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;The &lt;code&gt;m3u8&lt;/code&gt; playlists are below.&lt;/p&gt;&#xA;&lt;p&gt;The problem is that, while the audio in the resulting video is smooth and uninterrupted, the video  is not. &lt;code&gt;ffmpeg&lt;/code&gt; seems to have plucked only certain frames from each 5-second video segment and merged them with the corresponding audio segment. In the resulting video, each of these frames displays for exactly two seconds before moving on to the next one. There is no motion in the video.&lt;/p&gt;&#xA;&lt;p&gt;I can play a given video segment and it works fine (just no audio). I've randomly tested a dozen or so of these.&lt;/p&gt;&#xA;&lt;p&gt;How can I successfully merge all of these audio and video segments into an &lt;code&gt;mp4&lt;/code&gt; video?&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;Audio.m3u8&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#EXTM3U&#xA;#EXT-X-ALLOW-CACHE:NO&#xA;#EXT-X-VERSION:4&#xA;#EXT-X-TARGETDURATION:7&#xA;#EXT-X-MEDIA-SEQUENCE:1&#xA;#EXT-X-PLAYLIST-TYPE:VOD&#xA;#EXTINF:6.059,&#xA;nova4806_r-hls-16x9-1080pAudio_2_00001.aac&#xA;#EXTINF:5.995,&#xA;nova4806_r-hls-16x9-1080pAudio_2_00002.aac&#xA;#EXTINF:6.016,&#xA;nova4806_r-hls-16x9-1080pAudio_2_00003.aac&#xA;#EXTINF:5.995,&#xA;nova4806_r-hls-16x9-1080pAudio_2_00004.aac&#xA;#EXTINF:6.016,&#xA;nova4806_r-hls-16x9-1080pAudio_2_00005.aac&#xA;&#xA;...&#xA;&#xA;#EXTINF:4.117,&#xA;nova4806_r-hls-16x9-1080pAudio_2_00532.aac&#xA;#EXT-X-ENDLIST&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Video.m3u8&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#EXTM3U&#xA;#EXT-X-VERSION:4&#xA;#EXT-X-TARGETDURATION:6&#xA;#EXT-X-MEDIA-SEQUENCE:1&#xA;#EXT-X-I-FRAMES-ONLY&#xA;#EXT-X-PLAYLIST-TYPE:VOD&#xA;#EXTINF:2.002000,&#xA;#EXT-X-BYTERANGE:752@376&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00001.ts&#xA;#EXTINF:2.002000,&#xA;#EXT-X-BYTERANGE:71816@1983400&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00001.ts&#xA;#EXTINF:2.002000,&#xA;#EXT-X-BYTERANGE:44932@3277404&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00001.ts&#xA;#EXTINF:2.002000,&#xA;#EXT-X-BYTERANGE:111296@376&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00002.ts&#xA;#EXTINF:2.002000,&#xA;#EXT-X-BYTERANGE:89300@1748964&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00002.ts&#xA;#EXTINF:2.002000,&#xA;#EXT-X-BYTERANGE:124644@3753796&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00002.ts&#xA;#EXTINF:2.002000,&#xA;#EXT-X-BYTERANGE:107912@376&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00003.ts&#xA;#EXTINF:2.002000,&#xA;#EXT-X-BYTERANGE:83284@1639736&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00003.ts&#xA;#EXTINF:2.002000,&#xA;#EXT-X-BYTERANGE:198528@3142044&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00003.ts&#xA;#EXTINF:2.002000,&#xA;#EXT-X-BYTERANGE:95692@376&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00004.ts&#xA;#EXTINF:2.002000,&#xA;#EXT-X-BYTERANGE:119944@1713808&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00004.ts&#xA;#EXTINF:2.002000,&#xA;#EXT-X-BYTERANGE:167320@3345460&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00004.ts&#xA;#EXTINF:2.002000,&#xA;#EXT-X-BYTERANGE:146452@376&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00005.ts&#xA;#EXTINF:2.002000,&#xA;#EXT-X-BYTERANGE:172020@1739000&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00005.ts&#xA;#EXTINF:2.002000,&#xA;#EXT-X-BYTERANGE:135548@3396032&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00005.ts&#xA;&#xA;...&#xA;&#xA;#EXTINF:0.100100,&#xA;#EXT-X-BYTERANGE:564@3384376&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k_00532.ts&#xA;#EXT-X-ENDLIST&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Master.m3u8&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#EXTM3U&#xA;#EXT-X-INDEPENDENT-SEGMENTS&#xA;#EXT-X-VERSION:4&#xA;#EXT-X-MEDIA:URI=&amp;quot;nova4806_r-hls-16x9-1080pAudio%20Selector%201.m3u8&amp;quot;,TYPE=AUDIO,GROUP-ID=&amp;quot;multiple_audio_tracks&amp;quot;,LANGUAGE=&amp;quot;eng&amp;quot;,NAME=&amp;quot;English&amp;quot;,DEFAULT=YES,AUTOSELECT=YES&#xA;#EXT-X-MEDIA:URI=&amp;quot;nova4806_r-captions.m3u8&amp;quot;,TYPE=SUBTITLES,GROUP-ID=&amp;quot;subs&amp;quot;,LANGUAGE=&amp;quot;en&amp;quot;,NAME=&amp;quot;English&amp;quot;,DEFAULT=NO,AUTOSELECT=YES,FORCED=NO,CHARACTERISTICS=&amp;quot;public.accessibility.describes-music-and-sound,public.accessibility.transcribes-spoken-dialog&amp;quot;&#xA;#EXT-X-MEDIA:URI=&amp;quot;nova4806_r-hls-16x9-1080pAudio%20Selector%202.m3u8&amp;quot;,TYPE=AUDIO,GROUP-ID=&amp;quot;multiple_audio_tracks&amp;quot;,LANGUAGE=&amp;quot;eng&amp;quot;,NAME=&amp;quot;English AD&amp;quot;,DEFAULT=NO,AUTOSELECT=YES,CHARACTERISTICS=&amp;quot;public.accessibility.describes-video&amp;quot;&#xA;#EXT-X-STREAM-INF:BANDWIDTH=2629077,AVERAGE-BANDWIDTH=2265370,RESOLUTION=960x540,CODECS=&amp;quot;avc1.64001f,mp4a.40.2&amp;quot;,AUDIO=&amp;quot;multiple_audio_tracks&amp;quot;,SUBTITLES=&amp;quot;subs&amp;quot;&#xA;nova4806_r-hls-16x9-1080p-540p-2000k.m3u8&#xA;#EXT-X-STREAM-INF:BANDWIDTH=7966199,AVERAGE-BANDWIDTH=6905882,RESOLUTION=1920x1080,CODECS=&amp;quot;avc1.640028,mp4a.40.2&amp;quot;,AUDIO=&amp;quot;multiple_audio_tracks&amp;quot;,SUBTITLES=&amp;quot;subs&amp;quot;&#xA;nova4806_r-hls-16x9-1080p-1080p-6500k.m3u8&#xA;#EXT-X-STREAM-INF:BANDWIDTH=5471302,AVERAGE-BANDWIDTH=4841216,RESOLUTION=1280x720,CODECS=&amp;quot;avc1.64001f,mp4a.40.2&amp;quot;,AUDIO=&amp;quot;multiple_audio_tracks&amp;quot;,SUBTITLES=&amp;quot;subs&amp;quot;&#xA;nova4806_r-hls-16x9-1080p-720p-4500k.m3u8&#xA;#EXT-X-STREAM-INF:BANDWIDTH=3909956,AVERAGE-BANDWIDTH=3298061,RESOLUTION=1280x720,CODECS=&amp;quot;avc1.64001f,mp4a.40.2&amp;quot;,AUDIO=&amp;quot;multiple_audio_tracks&amp;quot;,SUBTITLES=&amp;quot;subs&amp;quot;&#xA;nova4806_r-hls-16x9-1080p-720p-3000k.m3u8&#xA;#EXT-X-STREAM-INF:BANDWIDTH=1583840,AVERAGE-BANDWIDTH=1338316,RESOLUTION=768x432,CODECS=&amp;quot;avc1.64001e,mp4a.40.2&amp;quot;,AUDIO=&amp;quot;multiple_audio_tracks&amp;quot;,SUBTITLES=&amp;quot;subs&amp;quot;&#xA;nova4806_r-hls-16x9-1080p-432p-1100k.m3u8&#xA;#EXT-X-STREAM-INF:BANDWIDTH=1108550,AVERAGE-BANDWIDTH=957278,RESOLUTION=640x360,CODECS=&amp;quot;avc1.64001e,mp4a.40.2&amp;quot;,AUDIO=&amp;quot;multiple_audio_tracks&amp;quot;,SUBTITLES=&amp;quot;subs&amp;quot;&#xA;nova4806_r-hls-16x9-1080p-360p-730k.m3u8&#xA;#EXT-X-STREAM-INF:BANDWIDTH=624245,AVERAGE-BANDWIDTH=565523,RESOLUTION=480x270,CODECS=&amp;quot;avc1.4d4015,mp4a.40.2&amp;quot;,AUDIO=&amp;quot;multiple_audio_tracks&amp;quot;,SUBTITLES=&amp;quot;subs&amp;quot;&#xA;nova4806_r-hls-16x9-1080p-270p-365k.m3u8&#xA;#EXT-X-STREAM-INF:BANDWIDTH=360807,AVERAGE-BANDWIDTH=334708,RESOLUTION=416x234,CODECS=&amp;quot;avc1.4d400c,mp4a.40.2&amp;quot;,AUDIO=&amp;quot;multiple_audio_tracks&amp;quot;,SUBTITLES=&amp;quot;subs&amp;quot;&#xA;nova4806_r-hls-16x9-1080p-234p-145k.m3u8&#xA;#EXT-X-I-FRAME-STREAM-INF:BANDWIDTH=1030462,RESOLUTION=960x540,CODECS=&amp;quot;avc1.64001f&amp;quot;,URI=&amp;quot;nova4806_r-hls-16x9-1080p-540p-2000k_I-Frame.m3u8&amp;quot;&#xA;#EXT-X-I-FRAME-STREAM-INF:BANDWIDTH=3127072,RESOLUTION=1920x1080,CODECS=&amp;quot;avc1.640028&amp;quot;,URI=&amp;quot;nova4806_r-hls-16x9-1080p-1080p-6500k_I-Frame.m3u8&amp;quot;&#xA;#EXT-X-I-FRAME-STREAM-INF:BANDWIDTH=1349242,RESOLUTION=1280x720,CODECS=&amp;quot;avc1.64001f&amp;quot;,URI=&amp;quot;nova4806_r-hls-16x9-1080p-720p-4500k_I-Frame.m3u8&amp;quot;&#xA;#EXT-X-I-FRAME-STREAM-INF:BANDWIDTH=1343232,RESOLUTION=1280x720,CODECS=&amp;quot;avc1.64001f&amp;quot;,URI=&amp;quot;nova4806_r-hls-16x9-1080p-720p-3000k_I-Frame.m3u8&amp;quot;&#xA;#EXT-X-I-FRAME-STREAM-INF:BANDWIDTH=630297,RESOLUTION=768x432,CODECS=&amp;quot;avc1.64001e&amp;quot;,URI=&amp;quot;nova4806_r-hls-16x9-1080p-432p-1100k_I-Frame.m3u8&amp;quot;&#xA;#EXT-X-I-FRAME-STREAM-INF:BANDWIDTH=436976,RESOLUTION=640x360,CODECS=&amp;quot;avc1.64001e&amp;quot;,URI=&amp;quot;nova4806_r-hls-16x9-1080p-360p-730k_I-Frame.m3u8&amp;quot;&#xA;#EXT-X-I-FRAME-STREAM-INF:BANDWIDTH=215984,RESOLUTION=480x270,CODECS=&amp;quot;avc1.4d4015&amp;quot;,URI=&amp;quot;nova4806_r-hls-16x9-1080p-270p-365k_I-Frame.m3u8&amp;quot;&#xA;#EXT-X-I-FRAME-STREAM-INF:BANDWIDTH=96159,RESOLUTION=416x234,CODECS=&amp;quot;avc1.4d400c&amp;quot;,URI=&amp;quot;nova4806_r-hls-16x9-1080p-234p-145k_I-Frame.m3u8&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="13926" LastActivityDate="2024-01-13T18:18:00.960" Title="Trouble combining audio and video streams" Tags="|ffmpeg|video|audio|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34092" PostTypeId="1" CreationDate="2021-07-08T19:13:24.403" Score="0" ViewCount="3638" Body="&lt;p&gt;I have a 480p video that was naïvely created from a 480i original and had no deinterlacing applied. The resulting format is 480p25. Combing is visible and I would like to convert it back to 480i50, so sort of &amp;quot;re-interlace&amp;quot; the video back to its original state.&lt;/p&gt;&#xA;&lt;p&gt;I have tried the solution from this question: &lt;a href=&quot;https://stackoverflow.com/questions/22471099/how-to-convert-a-1080p-to-1080i-using-ffmpeg&quot;&gt;https://stackoverflow.com/questions/22471099/how-to-convert-a-1080p-to-1080i-using-ffmpeg&lt;/a&gt; but it did not create the expected output.&lt;/p&gt;&#xA;&lt;p&gt;I looked at ffmpeg reference here: &lt;a href=&quot;https://www.ffmpeg.org/ffmpeg-all.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.ffmpeg.org/ffmpeg-all.html&lt;/a&gt; but I could not find a proper option. Tons of filters to deinterlace interlaced videos but nothing to &amp;quot;re-interlace&amp;quot; them.&lt;/p&gt;&#xA;&lt;p&gt;My expected output would be this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; ------&amp;gt; time&#xA;Input:&#xA;Frame 1 (0 ms)        Frame 2 (40 ms)&#xA;&#xA;11111                 33333&#xA;22222                 44444&#xA;11111                 33333&#xA;22222                 44444&#xA;&#xA;Output 1:&#xA;Frame 1 (0 ms)  Frame 2 (20 ms) Frame 3 (40 ms) Frame 4 (60 ms)&#xA;11111           22222           33333           44444&#xA;11111           22222           33333           44444&#xA;11111           22222           33333           44444&#xA;11111           22222           33333           44444&#xA;&#xA;(Alternative) Output 2:&#xA;Frame 1 (0 ms)  Frame 2 (20 ms) Frame 3 (40 ms) Frame 4 (60 ms)&#xA;22222           11111           44444           33333&#xA;22222           11111           44444           33333&#xA;22222           11111           44444           33333&#xA;22222           11111           44444           33333&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;(I'm not sure whether it's top field first or bottom field first, so I'd like to have an option to try both.)&lt;/p&gt;&#xA;&lt;p&gt;Is this possible?&lt;/p&gt;&#xA;&lt;p&gt;I'd prefer it to use ffmpeg, but I'm open to trying commercial tools if it's not possible using freeware.&lt;/p&gt;&#xA;" OwnerUserId="35555" LastActivityDate="2022-08-19T18:59:00.967" Title="How to “re-interlace” a video? How to convert a naïvely deinterlaced 480p video back to 480i?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34093" PostTypeId="2" ParentId="34086" CreationDate="2021-07-08T19:56:13.240" Score="1" Body="&lt;p&gt;You drag the transitions from the Toolbox in the Effects Library (Click the Effects Library at the top left of the Resolve interface if you don't see the Toolbox) over the two video clips.&lt;/p&gt;&#xA;&lt;p&gt;One thing to keep in mind is that if you try and put a transition over two full clips (un-trimmed) Resolve won't allow it to be dropped. You can overcome this by trimming the end of the first clip and the beginning of the second clip.&lt;/p&gt;&#xA;&lt;p&gt;Once they are clipped enough for resolve to do the transition you should be able to drag and drop the transition between the clips.&lt;/p&gt;&#xA;" OwnerUserId="22835" LastActivityDate="2021-07-08T19:56:13.240" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34094" PostTypeId="2" ParentId="34089" CreationDate="2021-07-08T20:11:02.140" Score="2" Body="&lt;p&gt;There is not much information about this. I have found a discussion where someone said there could be a bug with regex lookahead, maybe it's not even implemented (&lt;a href=&quot;https://community.adobe.com/t5/after-effects/regexp-bug/td-p/8904775&quot; rel=&quot;nofollow noreferrer&quot;&gt;source&lt;/a&gt;).&lt;/p&gt;&#xA;&lt;p&gt;Instead, you could capture the last word and add it along with the space (captured elements start with index 1, so $1 is the first and in this case only group):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;text = text.replace(/\s([^\s]*$)/g, &amp;quot; $1&amp;quot;);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-07-08T20:11:02.140" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34095" PostTypeId="2" ParentId="34087" CreationDate="2021-07-09T07:32:23.907" Score="1" Body="&lt;p&gt;The goal of the above question is potentially impossible, because:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;You generally cannot pipe mov (or mp4) files unless you used&#xA;-movflags +faststart when encoding or if run tools/qt-faststart&#xA;on the input file before piping it. - &lt;a href=&quot;http://ffmpeg.org/pipermail/ffmpeg-user/2016-June/032476.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Carl Eugen&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;This is, because they store crucial information needed to decode towards the end of the file by default, requiring a full load before being fully processable. However, they are able to store it towards the beginning, too. In that case, piping works.&lt;/p&gt;&#xA;&lt;p&gt;Since I control the files I am working with, I could simply rewrite the files so that this information is stored towards their beginning and now the command from the question works. I used ffmpeg to do that: &lt;code&gt;ffmpeg -i &amp;lt;ORIGINAL_FILENAME&amp;gt; -c copy -map 0 -movflags +faststart &amp;lt;NEW_FILENAME&amp;gt;&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I've written a small python script to do that for me:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-python prettyprint-override&quot;&gt;&lt;code&gt;from pathlib import Path&#xA;from subprocess import DEVNULL, PIPE, Popen&#xA;&#xA;def convert_video_to_faststart(path: Path):&#xA;    tmp_path = str(path).replace(path.name, f&amp;quot;tmp_{path.name}&amp;quot;)&#xA;    args = [&amp;quot;ffmpeg&amp;quot;, &amp;quot;-i&amp;quot;, str(path), &amp;quot;-c&amp;quot;, &amp;quot;copy&amp;quot;, &amp;quot;-map&amp;quot;, &amp;quot;0&amp;quot;, &amp;quot;-movflags&amp;quot;, &amp;quot;+faststart&amp;quot;,&#xA;            tmp_path]&#xA;&#xA;    process = Popen(args, stdin=DEVNULL, stdout=PIPE, stderr=PIPE)&#xA;    _, _ = process.communicate()&#xA;    if process.returncode != 0:&#xA;        raise RuntimeError(f&amp;quot;ffmpeg error\n\n{err.decode('utf-8')}&amp;quot;)&#xA;    path.unlink()&#xA;    Path(tmp_path).rename(path)&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="35551" LastActivityDate="2021-07-09T07:32:23.907" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34096" PostTypeId="1" CreationDate="2021-07-09T11:28:13.837" Score="0" ViewCount="174" Body="&lt;p&gt;I'm trying to figure out how to use FFMPEG to make a reference MOV from a ProRes MOV source.&lt;/p&gt;&#xA;&lt;p&gt;I've found commands that will take  reference file and make a rendered ProRes MOV file&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -enable_drefs 1 -use_absolute_path 1 -i SOURCE.mov -map 0 -c copy OUTPUTFILE.MOV&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But I want to go the other direction. Start with a ProRes MOV and make a reference MOV that points to the ProRes MOV source.&lt;/p&gt;&#xA;" OwnerUserId="25797" LastActivityDate="2024-03-25T19:08:51.193" Title="FFMPEG to make Quicktime reference MOV file from ProRes MOV source" Tags="|ffmpeg|prores|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34098" PostTypeId="2" ParentId="34096" CreationDate="2021-07-09T12:57:38.233" Score="0" Body="&lt;p&gt;FFmpeg does not support, at present, exporting a MOV or ISO BMFF file with external data references.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-07-09T12:57:38.233" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="34099" PostTypeId="1" AcceptedAnswerId="34101" CreationDate="2021-07-09T14:12:54.677" Score="0" ViewCount="17" Body="&lt;p&gt;I want to &amp;quot;stack&amp;quot; two (or more) videos with the same background, such that it looks like there are two people moving at the same time (not sure if stacking is the right term for that?).&lt;/p&gt;&#xA;&lt;p&gt;So far, I've tried that using opencv-python, both by summing or averaging the overlapping frames.&lt;/p&gt;&#xA;&lt;p&gt;The desired effect is there, but I get these weird colors:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Wt8ki.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Wt8ki.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Where do these effects come from and how can I avoid them?&lt;/p&gt;&#xA;" OwnerUserId="35567" LastActivityDate="2021-07-09T17:56:42.650" Title="Weird colors when stacking videos" Tags="|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34100" PostTypeId="1" AcceptedAnswerId="34102" CreationDate="2021-07-09T15:18:45.800" Score="3" ViewCount="660" Body="&lt;p&gt;I had initially used VLC to record the screen of computer using the following script:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;/Applications/VLC.app/Contents/MacOS/VLC -I rc screen:// --sout-keep --screen-fps=7.0 --screen-index=0 --sout #transcode{vcodec=h264,vb=1500,width=1280,height=720,acodec=mp3,ab=128,channels=2,samplerate=44100}:file{dst=/Users/shashi/temp/vlctesting4.mp4,no-overwrite}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The audio codec parameters are redundant because I am only recording the screen. However, with these video parameters, I get a decent recording of the screen without a noticeable cpu usage as well as relatively low file size.&lt;/p&gt;&#xA;&lt;p&gt;Now I have to achieve the same but using FFmpeg instead of VLC. I thought that should be possible because both use the same underlying library. However, no matter how much I try, FFmpeg recording takes more CPU and the resulting file takes up much more space than what VLC achieves.&lt;/p&gt;&#xA;&lt;p&gt;A sample FFmpeg command I tried:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner  -f avfoundation -i &amp;quot;2:none&amp;quot; -r 10 -vf &amp;quot;scale=-1:720,setsar=sar=10/9&amp;quot;  -c:v h264_videotoolbox -b:v 1250K -keyint_min 20 -bf 5 testing_ffmpeg.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Both are using the h264 encoding but how is VLC more efficient by such a degree? In fact VLC does not even seem to use the HW acceleration for encoding.. ? But a 1 minute recording from VLC is around 1 MB with decent quality but to get similar quality from FFmpeg, the file size is around 7 MB...&lt;/p&gt;&#xA;" OwnerUserId="30663" LastActivityDate="2021-07-09T20:41:21.590" Title="How to get VLC like screen recording performance with FFmpeg?" Tags="|ffmpeg|h.264|vlc|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34101" PostTypeId="2" ParentId="34099" CreationDate="2021-07-09T17:56:42.650" Score="0" Body="&lt;p&gt;That looks like a case where you get an &lt;em&gt;overflow&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Just doing an addition of two components with a char (or &lt;code&gt;std::uint8_t&lt;/code&gt; in C++) will often overflow. I don't know about python implementation and how you've done your add, but just checking whether it's more than 255 if the value is on one byte is not going to work. You need to do the addition in at least a short, average, then save the results.&lt;/p&gt;&#xA;&lt;p&gt;One way people deal with this issue is by using a float for each pixel. The addition won't break the type and you can easily calculate the average afterward.&lt;/p&gt;&#xA;" OwnerUserId="30687" LastActivityDate="2021-07-09T17:56:42.650" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34102" PostTypeId="2" ParentId="34100" CreationDate="2021-07-09T20:41:21.590" Score="2" Body="&lt;p&gt;Okay, I found the one option that will show you whether there is hardware support:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -codecs | less&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then search for your format, it looks like you'd type:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;/h264&amp;lt;enter&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In my case, it shows me that I have &lt;code&gt;nvenc&lt;/code&gt; as one of the sub-options:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;DEV.LS h264                 H.264 / AVC / MPEG-4 AVC / MPEG-4 part 10 (decoders: h264 h264_crystalhd h264_v4l2m2m h264_vdpau h264_cuvid ) (encoders: libx264 libx264rgb h264_nvenc h264_omx h264_v4l2m2m h264_vaapi nvenc nvenc_h264 )&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Reading from the &lt;a href=&quot;https://developer.nvidia.com/ffmpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;nvidia/ffmpeg&lt;/a&gt; page, if ffmpeg is compiled with hardware acceleration, it should auto-pickup the available hardware encoder. However, hardware may not always encode with the same level of quality so it may be preferable to use software anyway. If you need realtime, though, you definitely want the hardware when available.&lt;/p&gt;&#xA;&lt;p&gt;Next you need the following option:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;... -hwaccel auto ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The default, as I mentioned in my comment, is &lt;code&gt;none&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;For more info you may want to look at the manual page:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;man ffmpeg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and search for &lt;code&gt;hardware&lt;/code&gt; or &lt;code&gt;hw&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="30687" LastActivityDate="2021-07-09T20:41:21.590" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34104" PostTypeId="1" AcceptedAnswerId="34105" CreationDate="2021-07-11T09:50:28.117" Score="2" ViewCount="987" Body="&lt;p&gt;When importing a .PSD file into After Effects, I am able to easily maintain my separate layers with their original size, but is it possible to also retain the position of each layer?&lt;/p&gt;&#xA;&lt;p&gt;Right now, After Effects automatically centers each layer, but I need it to keep it's original position from the PSD file.&lt;/p&gt;&#xA;" OwnerUserId="26569" LastActivityDate="2021-07-12T08:34:26.203" Title="How to import PSD layers into After Effects and maintain their original positions?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34105" PostTypeId="2" ParentId="34104" CreationDate="2021-07-12T08:34:26.203" Score="1" Body="&lt;p&gt;Here's a photoshop file with four layers - a background, a shape, and two text layers &amp;quot;left&amp;quot; and &amp;quot;right&amp;quot;:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/byQhC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/byQhC.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I save as PSD, and import them into After Effects using the &amp;quot;Composition -Retain Layer Sizes&amp;quot; option:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DkOiI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DkOiI.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ySFmT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ySFmT.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here they are correctly imported into AE with the same positions:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eUpyg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eUpyg.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-07-12T08:34:26.203" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34107" PostTypeId="1" CreationDate="2021-07-12T16:44:58.463" Score="0" ViewCount="339" Body="&lt;p&gt;I have a HD video that plays fine locally on my computer. But when uploading it to YouTube or Vimeo and then playing it there, it will have a section where the video is frozen and no sound is playing at all. Both video and sound may resume after this section, but not for all uploads I tried.&lt;/p&gt;&#xA;&lt;p&gt;What is causing this malfunction?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Details:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;In the same YouTube / Vimeo upload, the freezing was always at the same time when playing it multiple times. So it seems to be an issue with the video data, not with the playback software.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;When comparing different uploads, the freezing never happened at exactly the same time, but often would last from around 5:30 (±10 s) to around 7:30 (±10 s). It seems to always be located somewhat later in the video, not right at the start.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The issue will not happen with short (~30 s) videos, even when these contain the exact clip that would freeze when inside a longer video.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;YouTube greeted me one time with a message &amp;quot;Processing 99%. Processing is taking longer than expected. Hold tight.&amp;quot; But when visiting the video's link, the video was already there and watchable in SD resolution (that is, processing had finished).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;On one video, the frame where the freeze started was only visible properly in the upper half while its lower half had been replaced with vertical stripes, colored according to the last line of pixels shown of the upper half.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I am using the Firefox browser and have some extensions installed and enabled, including AdGuard.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11699" LastEditorUserId="11699" LastEditDate="2021-08-26T08:37:20.873" LastActivityDate="2024-02-20T18:05:20.657" Title="Why is my video freezing after uploading to YouTube / Vimeo?" Tags="|youtube|vimeo|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34108" PostTypeId="2" ParentId="34107" CreationDate="2021-07-12T16:44:58.463" Score="0" Body="&lt;p&gt;There is a &lt;strong&gt;known bug in the AdGuard browser extension&lt;/strong&gt; since at least June 2019 that causes this behavior.&lt;/p&gt;&#xA;&lt;p&gt;Disable the AdGuard extension and re-upload your video to solve this.&lt;/p&gt;&#xA;&lt;p&gt;According to my test, it seems you have to really disable the extension for the whole browser (and for good measure, restart your browser afterwards). Just using a Firefox Private Window did not help, even though the extension was set to be disabled in Private Windows.&lt;/p&gt;&#xA;&lt;p&gt;As of this time, I also cannot exclude an issue with Firefox itself (Firefox 89 here). What always works is using Incognito Mode in Chrome.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Source:&lt;/strong&gt; There are several reports from around the web about this being the cause of the issue:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://support.google.com/youtube/thread/8493696&quot; rel=&quot;nofollow noreferrer&quot;&gt;Locally perfect video shows uploaded audio and video freeze spots&lt;/a&gt; (June 2019)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.reddit.com/r/Adguard/comments/cm80sz&quot; rel=&quot;nofollow noreferrer&quot;&gt;Freezing frames after upload to YT, Vimeo with Adguard on&lt;/a&gt; (August 2019)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://support.google.com/youtube/thread/13360186&quot; rel=&quot;nofollow noreferrer&quot;&gt;What is the cause of static and freezing in an uploaded video?&lt;/a&gt; (September 2019)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="11699" LastEditorUserId="11699" LastEditDate="2021-08-26T08:35:24.037" LastActivityDate="2021-08-26T08:35:24.037" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34109" PostTypeId="1" AcceptedAnswerId="34110" CreationDate="2021-07-12T18:37:33.653" Score="0" ViewCount="130" Body="&lt;p&gt;How can you slice a video and then play up to the the frame at the slice for multiple seconds, then resume the video after the slice? An example would be a 5 second video, sliced at 2.5 seconds, showing the frame at 2.5 for the next 5 seconds, then resuming to show the remaining 2.5 making it a total of 10 seconds long.&lt;/p&gt;&#xA;" OwnerUserId="35591" LastActivityDate="2021-07-12T20:51:21.197" Title="Play a single frame in a video for multiple seconds, as if video is paused on one frame" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34110" PostTypeId="2" ParentId="34109" CreationDate="2021-07-12T20:51:21.197" Score="1" Body="&lt;p&gt;Add a freeze frame, under the retime controls of the clip. It’s command/control-R with the clip selected to see the retime menu.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-07-12T20:51:21.197" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34111" PostTypeId="2" ParentId="33966" CreationDate="2021-07-12T22:13:54.453" Score="0" Body="&lt;p&gt;There are only two options to see every frame; play it slower, or get a display that can show it at its native frame rate.  The only other way, is to ignore the excess frames.&lt;/p&gt;&#xA;&lt;p&gt;And the second option only works if all of the components in the signal chain can handle such a high frame rate.  For example, if YouTube doesn’t support 360 FPS, you’ll only be able to see the max rate they support.  In fact, they’ll probably downconvert it to preserve bandwidth.  You don’t have any control over what processing YT applies to your uploads.&lt;/p&gt;&#xA;&lt;p&gt;For the first method, in most NLE’s, you would change the “Clip Attributes” (Resolve nomenclature) from interpreting the clip at 360 FPS, to your system’s maximum output rate.  If that’s limited by a 60hz monitor refresh, then 60FPS.&lt;/p&gt;&#xA;&lt;p&gt;This will slow down the clip enough for your system to show every frame. The amount of slowdown depends on the rate of original capture vs your systems max rate.  For example capturing at 360, but displaying at 60 is 60/300, or about 17% of the original speed.&lt;/p&gt;&#xA;&lt;p&gt;So another easy way to balance the equation closer to real-time is to limit your capture rate to the same as your display rate.  In other words, if all you can display is 60FPS, then capture at 60FPS if you want 1:1 playback.&lt;/p&gt;&#xA;&lt;p&gt;There is one scenario where capturing more frames than you need is practical, but it’s used more in VFX pipelines than video game streaming.   Capturing high frame rates with high-end cameras yields less motion blur than typical frame rates.  This makes tracking, keying, and rotoscoping for VFX more accurate, and the results can be blended together to re-create natural(ish) motion blur.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-07-12T23:01:15.147" LastActivityDate="2021-07-12T23:01:15.147" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34112" PostTypeId="1" CreationDate="2021-07-12T23:23:07.260" Score="0" ViewCount="255" Body="&lt;p&gt;I mostly use Virtualdub2 to upscale my videos (although I am looking for other methods) via two resize filters, Nearest Neighbor and Lanzcos3. Recently I am looking at the x264 encoder to encode my videos, I am not sure which is better for pixel art as I mostly deal with pixel art from video game dumps. Can anyone tell me which version x264 is good for pixel art? Which is better at preserving details and which is not?&lt;/p&gt;&#xA;" OwnerUserId="34688" LastActivityDate="2023-12-10T15:05:45.620" Title="What x264 encoder is better for upscaling pixel art? Is it x264 8bit or 10bit?" Tags="|ffmpeg|encoding|libx264|virtualdub|x264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34113" PostTypeId="2" ParentId="34067" CreationDate="2021-07-12T23:30:03.497" Score="2" Body="&lt;p&gt;No.  If you’re running out of undos, you can increase the max number of undos, or you can version more frequently.  Versioning in most apps is simply, “Save As,” but Resolve works differently.&lt;/p&gt;&#xA;&lt;p&gt;An easy way to version at the project level In Resolve is to turn on auto-save.  At any point, if you want to revert to an old version, you can restore a project backup from the contextual menu in the project manager.&lt;/p&gt;&#xA;&lt;p&gt;Personally, I like to version at the timeline level, though.  So, periodically, I’ll duplicate my current timeline, and increment its name with a version number.  Then, if I want to open an old version, I can just open an old timeline.  The advantage is that in Resolve, you can have two timelines open at the same time, but not two projects.*  So, copy/pasting or drag/drop from an old version to a new one is easy.&lt;/p&gt;&#xA;&lt;p&gt;*Technically, turning on “dynamic project switching” lets you have two projects “open” in memory at the same time, but they can’t both be visible in the UI, simultaneously.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-07-12T23:30:03.497" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34114" PostTypeId="1" CreationDate="2021-07-13T00:53:38.270" Score="0" ViewCount="734" Body="&lt;p&gt;I have a &lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B07N9KDCGV&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Canon EOS RP DSLR camera&lt;/a&gt; that is connected to the adapter through the battery, and plugged into a Pengo HDMI capture device, which is plugged into a USB hub (contains 16 USB ports), plugged into a MacBook Pro (new, M1). I also have the Rode NTG1 shotgun mic plugged into a &lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B077Y531H1&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Rode AI-1 USB Audio Interface&lt;/a&gt;, also plugged into the hub.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B07TFGJH1P&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Pengo HDMI Capture Device&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B00T3ES8PS&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Canon DC Coupler DR-E18&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B01BUYJVNQ&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Canon AC Adapter AC-E6N&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B08DK4LVYX&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Mini HDMI to HDMI Cable&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B07JM9ZFFV&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;USB hub&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I open Zoom app and everything appears to be working:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I can see input coming from my Rode mic.&lt;/li&gt;&#xA;&lt;li&gt;I can see my video coming from my Canon DSLR.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;However, when I press record, the video is delayed by as much as 0.5-1 seconds from the audio. What am I doing wrong? How do I get rid of all audio delay?&lt;/p&gt;&#xA;&lt;p&gt;I thought it might be a &amp;quot;Zoom app thing&amp;quot;, so I tried recording with the Screenshot app built into Mac (recording my video in zoom playing), and still I get audio delay though a different amount. If I remove the video from the DSLR and use the built-in FaceTime webcam, there is almost no audio delay but still a slight amount.&lt;/p&gt;&#xA;&lt;p&gt;Should I be plugging the Mic into the camera somehow instead? How do I get everything to sound/play in sync for live streaming or recording?&lt;/p&gt;&#xA;&lt;p&gt;Using something like &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS&lt;/a&gt; to delay the audio to match the video I think is not an option, unless that is the &lt;em&gt;only&lt;/em&gt; option haha. I would rather avoid having any delay at all. Why is the video even delaying given this system?&lt;/p&gt;&#xA;" OwnerUserId="22977" LastEditorUserId="22977" LastEditDate="2021-07-14T00:08:00.210" LastActivityDate="2021-07-15T22:46:58.477" Title="Noticeable video delay when connecting to laptop and DSLR + external mic" Tags="|video|audio|mac|recording|bug|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34115" PostTypeId="1" CreationDate="2021-07-13T01:22:03.040" Score="0" ViewCount="236" Body="&lt;p&gt;In the output of my video there is a short sequence where the whole video is solid red, with some corrupted text visible near the bottom. As usual in video editing software, this probably marks corrupted or missing frames. But why does it happen?&lt;/p&gt;&#xA;&lt;p&gt;This happens in a location in the video where I put a Kdenlive Title Clip below a still image with a Fade Out effect. It does not happen with all possible combinations of rendering settings. In my case, it happens in a MP4 HD 1920×1080 project if setting it to be scaled to 1280×720 in the rendering settings and with output quality set to 26.&lt;/p&gt;&#xA;&lt;p&gt;Kdenlive 19.12.3 under Ubuntu Linux 20.04 here.&lt;/p&gt;&#xA;" OwnerUserId="11699" LastActivityDate="2022-05-11T15:14:22.497" Title="What causes red flashes in Kdenlive rendering output?" Tags="|kdenlive|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34116" PostTypeId="2" ParentId="34115" CreationDate="2021-07-13T01:22:03.040" Score="0" Body="&lt;p&gt;This happens when you use &lt;strong&gt;effects that are not compatible with parallel processing&lt;/strong&gt;. Disable &amp;quot;Parallel processing&amp;quot; in the render options and try again. Also make sure that &amp;quot;Threads&amp;quot; in the render options is set to &amp;quot;0&amp;quot;, to choose the number of threads automatically. Otherwise parallel processing might still be done (though I doubt it).&lt;/p&gt;&#xA;&lt;p&gt;Notably, somebody already reported this issue with the very same video project content:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Switching off parallel processing solved my other problems (corrupt frames (flashes) when using titles with the fade effect and black rectangle). (&lt;a href=&quot;https://forum.kde.org/viewtopic.php?f=272&amp;amp;t=165297#p433021&quot; rel=&quot;nofollow noreferrer&quot;&gt;source&lt;/a&gt;)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Also to note, in Kdenlive version 20.08 there is a commit that marks the &amp;quot;Parallel processing&amp;quot; feature as experimental in the UI (&amp;quot;&lt;a href=&quot;https://github.com/KDE/kdenlive/commit/a155503&quot; rel=&quot;nofollow noreferrer&quot;&gt;Render widget: avoid misuse of parallel processing&lt;/a&gt;&amp;quot;).&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;If somebody can conform this issue in the latest Kdenlive release, please tell.&lt;/strong&gt; Because then we can &lt;a href=&quot;https://kdenlive.org/en/bug-reports/&quot; rel=&quot;nofollow noreferrer&quot;&gt;report this as a bug&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="11699" LastActivityDate="2021-07-13T01:22:03.040" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34122" PostTypeId="1" CreationDate="2021-07-15T07:21:44.720" Score="0" ViewCount="29" Body="&lt;p&gt;I have footage of someone driving a bike along a street in side view. I´d like it to appear more fast moving, like I filmed it through plants and trees which are moving swiftly across the screen. Kind of similar to 3:10 - 3:12 in this video &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ay-KbtIza4E?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;I was thinking of a stock video of cut-out vegetation that is moving swiftly and blurry across the screen and overlaying it on my footage. What would be your suggestion on how to do this? I have access to storyblocks, perhaps also enavto elements later.&#xA;Oh and I´m using premiere pro.&lt;/p&gt;&#xA;" OwnerUserId="35619" LastEditorUserId="674" LastEditDate="2021-07-26T18:52:46.133" LastActivityDate="2023-12-21T17:08:46.083" Title="Create a fast moving plant overlay for driving scene" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34123" PostTypeId="1" CreationDate="2021-07-15T10:07:32.860" Score="1" ViewCount="725" Body="&lt;p&gt;I just want to crop 2 pixels (Top) to get identical black bars (now is 138 TOP and 140 BOTTOM) but without re-encoding. I think it is possible with FFmpeg but I'm not sure. I want to do this with one H264 video (m2ts from blu-ray).&lt;/p&gt;&#xA;" OwnerUserId="35620" LastActivityDate="2021-07-15T12:14:12.133" Title="How to crop just 2 pixels without re-encoding (H264 video)?" Tags="|ffmpeg|aspect|bluray|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34124" PostTypeId="2" ParentId="34123" CreationDate="2021-07-15T10:32:56.767" Score="2" Body="&lt;p&gt;You can use the &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-bitstream-filters.html#h264_005fmetadata&quot; rel=&quot;nofollow noreferrer&quot;&gt;h264_metadata&lt;/a&gt; bitstream filter.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in -c copy -bsf:v h264_metadata=crop_top=140 out&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-07-15T10:32:56.767" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34126" PostTypeId="1" CreationDate="2021-07-15T12:39:24.217" Score="0" ViewCount="251" Body="&lt;p&gt;I am new to After Effects. I need to stop the animation at the end of the timeline. I've read this article and tried this solution &amp;quot;&lt;a href=&quot;https://graphicdesign.stackexchange.com/questions/109016/stop-looping-in-after-effect&quot;&gt;Stop looping in after effect&lt;/a&gt;&amp;quot;, however, when I get to Layer &amp;gt; Time, the only options I have are Time-Reverse Layer and Time Stretch. All the other ones are grayed out.&lt;/p&gt;&#xA;&lt;p&gt;I'm guessing my settings are wrong somewhere. Any help would be greatly appreciated!&lt;/p&gt;&#xA;" OwnerUserId="35623" LastEditorUserId="18155" LastEditDate="2023-08-06T14:09:52.487" LastActivityDate="2024-01-03T16:09:01.143" Title="Need to stop looping in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34128" PostTypeId="2" ParentId="34114" CreationDate="2021-07-15T22:41:01.697" Score="2" Body="&lt;p&gt;You're using two separate systems in parallel, which have no way to communicate timing info to each other.  There's some delay on the video side, and some delay on the audio side, both pre- and post-USB, and the Mac has no idea how to put them back together.  Normally, two-system sound setups are genlocked together to keep their internal clocks synchronized.&lt;/p&gt;&#xA;&lt;p&gt;To fix your issue, instead of using a USB microphone, plug in an analogue microphone into the camera's microphone input. The specs for the HDMI capture device say it's capable of capturing 48khz audio along with the video signal.  This way, the synchronization happens inside the camera, and picture and sound are locked before any other device performs processing.&lt;/p&gt;&#xA;&lt;p&gt;You might need to configure the audio input in MacOS System Preferences-&amp;gt;Sound-&amp;gt;Input to switch from the laptop's internal microphone to the Pengo capture device.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-07-15T22:46:58.477" LastActivityDate="2021-07-15T22:46:58.477" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34129" PostTypeId="1" CreationDate="2021-07-16T01:28:55.807" Score="1" ViewCount="165" Body="&lt;p&gt;I have tried taking the advice and &lt;a href=&quot;https://video.stackexchange.com/questions/34114/noticeable-video-delay-when-connecting-to-laptop-and-dslr-external-mic/34128#34128&quot;&gt;plugging my mic into my camera&lt;/a&gt;, but it is now not working, for the question &lt;a href=&quot;https://video.stackexchange.com/questions/34114/noticeable-video-delay-when-connecting-to-laptop-and-dslr-external-mic&quot;&gt;Noticeable video delay when connecting to laptop and DSLR + external mic&lt;/a&gt;. Now I am not getting any sound signal coming in from Zoom. How do I wire things up correctly?&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I have my Rode mic wired to the Rode USB audio interface.&lt;/li&gt;&#xA;&lt;li&gt;I have that plugged into my camera with &lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B0928WL1Q8&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;I have the camera using a mini HDMI to HDMI, plugged into an HDMI video capture device.&lt;/li&gt;&#xA;&lt;li&gt;The video capture device is plugged into a USB hub.&lt;/li&gt;&#xA;&lt;li&gt;The USB hub is plugged into my M1 MacBook Pro laptop.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;How do I get the audio to play so it (hopefully) syncs with the video? What am I plugging in wrong and/or doing incorrectly? Should I even be using the USB Audio Interface at all if I have that 3.5mm plug to go straight into the camera? Should I be having some sort of Mic-to-camera direct adapter or something? What should be done to get this system to work? Are things plugged into the right places on the camera and such?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8Klhn.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8Klhn.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/K8nHp.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/K8nHp.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22977" LastActivityDate="2021-07-17T06:16:03.650" Title="How to get external mic working through DSLR camera on Zoom on Mac?" Tags="|video|audio|dslr|microphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34132" PostTypeId="1" AcceptedAnswerId="34135" CreationDate="2021-07-16T20:18:12.143" Score="2" ViewCount="196" Body="&lt;p&gt;I know how to merge individual channel images in photoshop, but I can't seem to find a tutorial or even mention of how to achieve this with video clips. I have satellite footage shot at different wavelengths (R, G, B). I could take single frames and easily make images but I'd love to do a false color video. I guess I could do all of the frames individually but I'm curious, is there a way to do this in Premiere or After Effects? Any suggestions would be helpful.&lt;/p&gt;&#xA;" OwnerUserId="35630" LastActivityDate="2021-08-04T08:57:13.330" Title="Combine individual R G B channel videos into single false color video?" Tags="|after-effects|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34134" PostTypeId="2" ParentId="34129" CreationDate="2021-07-17T06:16:03.650" Score="1" Body="&lt;p&gt;Unfortunately there's multiple possible points of failure here - the splitter cable might be faulty, settings on the camera or mac might be incorrect, there might be no audio signal coming through your HDMI, etc. It will need narrowing down with further testing to determine where the audio is being lost.&lt;/p&gt;&#xA;&lt;p&gt;Do you have a basic 1/8&amp;quot; male to male cable that you can take audio output from another device to test the camera audio with? i.e. plug it into a headphone jack on a phone or similar device, and see if that audio is coming through on camera? Does the camera have any kind of monitoring facility, either on screen showing levels, or through headphones? I would also try making a recording on camera, and see if that has audio with it - perhaps the camera is getting the audio fine, but it is not passing through to the mac via the HDMI interface.&lt;/p&gt;&#xA;&lt;p&gt;Next check your HDMI interface. If you plug the camera HDMI out into a TV, do you get the sound through there? If you plug another HDMI device into the laptop, is there any sound on the capture? Under &amp;quot;System Preferences&amp;quot; / &amp;quot;Sound&amp;quot; on the mac, what is being shown as the input device? Is the volume correctly set, and is the monitoring showing active audio from the microphone?&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2021-07-17T06:16:03.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34135" PostTypeId="2" ParentId="34132" CreationDate="2021-07-17T06:41:02.283" Score="2" Body="&lt;p&gt;I would put all three files on three layers in either Premiere or After Effects, and play with the different blend modes and opacity of each layer until the image looks right. Screen, Add, or Overlay modes will probably be worth trying.&lt;/p&gt;&#xA;&lt;p&gt;Premiere:&#xA;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/blending-modes.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/using/blending-modes.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;After Effects:&#xA;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/blending-modes-layer-styles.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/after-effects/using/blending-modes-layer-styles.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-07-17T06:41:02.283" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34136" PostTypeId="1" CreationDate="2021-07-17T08:04:36.473" Score="0" ViewCount="476" Body="&lt;p&gt;I want to add a 22 pixel horizontal black bar to the top and bottom without re-encoding. I know it is possible to crop the black bars without re-encoding, but also to add them?&lt;/p&gt;&#xA;" OwnerUserId="35634" LastActivityDate="2021-07-17T08:04:36.473" Title="How to add black bars to top and bottom for one h264 video with FFmpeg without re-encoding?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34139" PostTypeId="2" ParentId="34126" CreationDate="2021-07-17T10:55:37.703" Score="0" Body="&lt;p&gt;Do you mean you don't want AE to loop playback when you're previewing?&lt;/p&gt;&#xA;&lt;p&gt;Look in the Preview tab (Windows&amp;gt;Preview if it's not visible) and click the button that looks like a square loop symbol&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Th1ns.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Th1ns.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-07-17T10:55:37.703" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34141" PostTypeId="1" AcceptedAnswerId="34144" CreationDate="2021-07-17T20:56:08.873" Score="2" ViewCount="777" Body="&lt;p&gt;I am using ffmpeg to scale video files to fit within a size of 1280:720, maintaining aspect ratio, using the below commands. This works most of the time, but every now and then a video with a weird aspect ratio comes out to a scale that is not a multiple of 2 in one of the dimensions, which throws an error when encoding to h.264. Is there a way I can keep the same scaling logic but round off that dimension to a multiple of 2?&lt;/p&gt;&#xA;&lt;p&gt;By way of example I am currently erroring on a video which is 4:3 720:486 - which scales to 1067:720.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-i input.mov -c:v libx264 -vf scale=w=1280:h=720:force_original_aspect_ration=decrease output.mov&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="19385" LastActivityDate="2021-07-18T04:10:18.023" Title="ffmpeg scale, force multiple of 2" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34143" PostTypeId="2" ParentId="28213" CreationDate="2021-07-18T01:01:57.383" Score="0" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;Is there a way that I could get, say, four numbers that change randomly and constantly, yet equal 100 at all times?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;Yes. The maths is below.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create four random numbers.&lt;/li&gt;&#xA;&lt;li&gt;Add the four random numbers (“random total”)&lt;/li&gt;&#xA;&lt;li&gt;Divide each random by the total (giving us “normalised” numbers)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;For example: four random numbers [0.83, 0.09, 0.95, 0.18] and the total: 2.05&lt;/p&gt;&#xA;&lt;p&gt;Each divided by the total [0.405, 0.044, 0.463, 0.088]&lt;/p&gt;&#xA;&lt;p&gt;Multiply each by 100, and add them – the sum of the four “normals” = 100.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;Here’s one way you could apply this to a composition.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Start by adding a Null layer, and then:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add four Slider effects, name them “randomA” to “randomD”&lt;/li&gt;&#xA;&lt;li&gt;Option-click each slider and add the expression: &lt;code&gt;random()&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Add another Slider effect, name “randomTotal”, with expression that adds them: &lt;code&gt;effect(&amp;quot;randomA&amp;quot;)(&amp;quot;Slider&amp;quot;) + effect(&amp;quot;randomB&amp;quot;)(&amp;quot;Slider&amp;quot;) + effect(&amp;quot;randomC&amp;quot;)(&amp;quot;Slider&amp;quot;) + effect(&amp;quot;randomD&amp;quot;)(&amp;quot;Slider&amp;quot;);&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Add four more Slider effects, name “a” to “d”&lt;/li&gt;&#xA;&lt;li&gt;Add expressions to each: &lt;code&gt;effect(&amp;quot;randomA&amp;quot;)(&amp;quot;Slider&amp;quot;) / effect(&amp;quot;randomTotal&amp;quot;)(&amp;quot;Slider&amp;quot;) * 100;&lt;/code&gt; swapping “randomA” for corresponding randoms (“randomB”, “randomC” and “randomD”).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Below is a screenshot:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ERln0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ERln0.png&quot; alt=&quot;expressions screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Then it’s just a matter of adding text layers that use the sliders “a”, “b”, “c” and “d”, as their source text with &lt;code&gt;Math.round()&lt;/code&gt;. And bars that are scaled with the same inputs.&lt;/p&gt;&#xA;" OwnerUserId="35171" LastActivityDate="2021-07-18T01:01:57.383" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34144" PostTypeId="2" ParentId="34141" CreationDate="2021-07-18T04:10:18.023" Score="2" Body="&lt;p&gt;The scale filter has an option called &lt;code&gt;force_divisible_by&lt;/code&gt; for this,&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;scale=w=1280:h=720:force_original_aspect_ration=decrease:force_divisible_by=2&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-07-18T04:10:18.023" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34147" PostTypeId="2" ParentId="7300" CreationDate="2021-07-18T15:29:45.230" Score="0" Body="&lt;p&gt;If the images are dated, &lt;code&gt;exiftool&lt;/code&gt; can be used to rename the source files to yyyy-mm-dd_hhmm pattern. Then a bash script can create an input file for &lt;code&gt;ffmpeg&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Here is a script that shows the idea:&#xA;&lt;a href=&quot;https://github.com/leobard/timelapse-prepare-and-run-ffmpeg.sh/blob/main/timelapse-prepare-and-run-ffmpeg.sh&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/leobard/timelapse-prepare-and-run-ffmpeg.sh/blob/main/timelapse-prepare-and-run-ffmpeg.sh&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35651" LastActivityDate="2021-07-18T15:29:45.230" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34148" PostTypeId="1" AcceptedAnswerId="34150" CreationDate="2021-07-18T20:11:19.683" Score="1" ViewCount="888" Body="&lt;p&gt;I'm using ffprobe to detect black frames of a video. However, the output produces duplicate entries for each black_start and black_end. Looking for help in figuring out why it duplicates these results.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffprobe -f lavfi -i &amp;quot;movie=movie.mp4,blackdetect[out0]&amp;quot; -show_entries tags=lavfi.black_start,lavfi.black_end -of default=nw=1 -v quiet&lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;TAG:lavfi.black_start=0&#xA;TAG:lavfi.black_start=0&#xA;TAG:lavfi.black_end=0.4004&#xA;TAG:lavfi.black_end=0.4004&#xA;TAG:lavfi.black_start=1813.68&#xA;TAG:lavfi.black_start=1813.68&#xA;TAG:lavfi.black_end=1814.38&#xA;TAG:lavfi.black_end=1814.38&#xA;TAG:lavfi.black_start=6620.85&#xA;TAG:lavfi.black_start=6620.85&#xA;TAG:lavfi.black_end=6621.88&#xA;TAG:lavfi.black_end=6621.88&#xA;TAG:lavfi.black_start=9069.16&#xA;TAG:lavfi.black_start=9069.16&#xA;TAG:lavfi.black_end=9070.69&#xA;TAG:lavfi.black_end=9070.69&#xA;TAG:lavfi.black_start=9081.84&#xA;TAG:lavfi.black_start=9081.84&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="35654" LastActivityDate="2023-02-03T07:53:17.497" Title="Using ffprobe to detect black frames outputs duplicate results" Tags="|ffmpeg|mac|ffprobe|libav|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34149" PostTypeId="1" CreationDate="2021-07-18T23:49:11.830" Score="1" ViewCount="412" Body="&lt;p&gt;I would like to create an overlay for my youtube channel that I can easily put into all my videos without having to set it up again and again.&lt;/p&gt;&#xA;&lt;p&gt;I know how to add a video track and stick an image in there, but how do I save it as an effect?&lt;/p&gt;&#xA;" OwnerUserId="35655" LastActivityDate="2021-07-21T08:31:26.260" Title="How can I create an overlay in davinci resolve that I can use on multiple projects" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34150" PostTypeId="2" ParentId="34148" CreationDate="2021-07-19T04:57:55.020" Score="1" Body="&lt;p&gt;The input is read via the lavfi device, and the tags are inserted by the blackdetect filter inside the filtergraph. So, they are present in the packets emitted by the filtergraph. Then, once decoded, they are also present in the decoded frames.&lt;/p&gt;&#xA;&lt;p&gt;Use either&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-show_entries packet_tags=lavfi.black_start,lavfi.black_end&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-show_entries frame_tags=lavfi.black_start,lavfi.black_end&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-07-19T04:57:55.020" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34153" PostTypeId="1" CreationDate="2021-07-19T18:44:36.060" Score="0" ViewCount="316" Body="&lt;p&gt;For a while I have been using a build of ffmpeg from 2019:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-94150-g231d0c819f Copyright (c) 2000-2019 the FFmpeg developers&#xA;built with gcc 9.1.1 (GCC) 20190621&#xA;configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt&#xA;libavutil      56. 30.100 / 56. 30.100&#xA;libavcodec     58. 53.101 / 58. 53.101&#xA;libavformat    58. 28.101 / 58. 28.101&#xA;libavdevice    58.  7.100 / 58.  7.100&#xA;libavfilter     7. 55.100 /  7. 55.100&#xA;libswscale      5.  4.101 /  5.  4.101&#xA;libswresample   3.  4.100 /  3.  4.100&#xA;libpostproc    55.  4.100 / 55.  4.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I recently tried out this version:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2021-07-14-git-ca56299fb3-full_build-www.gyan.dev Copyright (c) 2000-2021 the FFmpeg developers&#xA;built with gcc 10.3.0 (Rev2, Built by MSYS2 project)&#xA;configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-lzma --enable-libsnappy --enable-zlib --enable-librist --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-libbluray --enable-libcaca --enable-sdl2 --enable-libdav1d --enable-libzvbi --enable-librav1e --enable-libsvtav1 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-libaom --enable-libopenjpeg --enable-libvpx --enable-libass --enable-frei0r --enable-libfreetype --enable-libfribidi --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-libglslang --enable-vulkan --enable-opencl --enable-libcdio --enable-libgme --enable-libmodplug --enable-libopenmpt --enable-libopencore-amrwb --enable-libmp3lame --enable-libshine --enable-libtheora --enable-libtwolame --enable-libvo-amrwbenc --enable-libilbc --enable-libgsm --enable-libopencore-amrnb --enable-libopus --enable-libspeex --enable-libvorbis --enable-ladspa --enable-libbs2b --enable-libflite --enable-libmysofa --enable-librubberband --enable-libsoxr --enable-chromaprint&#xA;libavutil      57.  0.100 / 57.  0.100&#xA;libavcodec     59.  3.101 / 59.  3.101&#xA;libavformat    59.  4.100 / 59.  4.100&#xA;libavdevice    59.  0.100 / 59.  0.100&#xA;libavfilter     8.  0.103 /  8.  0.103&#xA;libswscale      6.  0.100 /  6.  0.100&#xA;libswresample   4.  0.100 /  4.  0.100&#xA;libpostproc    56.  0.100 / 56.  0.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I decided to compare the output files I get when using each version of ffempg above:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i inpath -y -c:v libx264 -x264-params &amp;quot;nal-hrd=cbr&amp;quot; -b:v 120M -minrate 120M -maxrate 120M -bufsize 2M -pix_fmt yuv420p out.mov&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;They look visually similar and are only a few bytes different in file size. However, the binaries are not identical and the compression isn't the same. For example, here is the pixelwise difference between the output &lt;code&gt;.mov&lt;/code&gt; files from each version of ffmpeg using the same input file (with the brightness increased for visibility of the artifacts):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Mx5dX.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Mx5dX.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Looking at the difference in the header of the file binaries, I see this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZqD3q.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZqD3q.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;(this is not the only difference between the files, just in the header)&lt;/p&gt;&#xA;&lt;p&gt;Apparently the older version is using &amp;quot;core 157&amp;quot; while the newer version is using &amp;quot;core 164.&amp;quot; I can't find any information about these when I search them online. What is difference between these two codecs? Why aren't the artifacts identical given the input file and the settings are the same?&lt;/p&gt;&#xA;" OwnerUserId="25617" LastEditorUserId="25617" LastEditDate="2021-07-19T18:53:13.183" LastActivityDate="2021-07-19T18:53:13.183" Title="ffmpeg libx264 core 157 vs core 164" Tags="|ffmpeg|encoding|h.264|x264|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="34156" PostTypeId="2" ParentId="34149" CreationDate="2021-07-21T08:31:26.260" Score="1" Body="&lt;p&gt;The simplest way to make it available across all projects in your current database is to add it to a power bin.&lt;/p&gt;&#xA;&lt;p&gt;To do this, make sure power bins are visible in the media pool by enabling &amp;quot;Show Power Bins&amp;quot; in the View menu, then drag your picture from the timeline to the power bin.  Then, to use it, you can access it like you would any normal clip.&lt;/p&gt;&#xA;&lt;p&gt;This works well for simple .png images with an alpha channel, or even moving video with an alpha, and it's good way to work with frequently-used brand images, logos, bugs, etc.&lt;/p&gt;&#xA;&lt;p&gt;But it's not technically a dynamic &amp;quot;effect&amp;quot; and won't show up with Resolve's other effects.  If you need more control over the elements in your asset -- say, you want to be able to change the text, for example -- you'll need to save a Fusion macro as a .setting file in the appropriate template location for your system.  The paths are different, depending on your operating system, but specific details are available in the Resolve Manual.  See the chapter, &amp;quot;Converting Fusion Compositions to Edit Effects,&amp;quot; for example.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-07-21T08:31:26.260" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34157" PostTypeId="2" ParentId="34055" CreationDate="2021-07-21T08:50:57.787" Score="0" Body="&lt;p&gt;First, the version of Resolve matters.  Older versions don't automatically make the edges of a stacked video transparent.  If I remember correctly, version 16 would, as long as you made some position or scale adjustment to the topmost clip.  I'd recommend updating to at least R17 for best result.&lt;/p&gt;&#xA;&lt;p&gt;Beyond that, make sure that the image you want on top is sitting on a &amp;quot;higher&amp;quot; track; a track with a larger V# in the timeline.  So, if the .mkv fills the whole screen, place it on V1, then place the .mp4 on V2, scale down the .mp4 by using the zoom and position controls in the inspector.&lt;/p&gt;&#xA;&lt;p&gt;One thing to be aware of is that if the &amp;quot;Selection follows Playhead&amp;quot; option is enabled in the Timeline menu, it's easy to mistakenly select or de-select a clip by simply playing the video.  An orange outline around a clip indicates which clip is selected, so watch out for unexpected movement of the selection outline because you might not be affecting the clip you intend to affect.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-07-21T08:50:57.787" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34159" PostTypeId="2" ParentId="34112" CreationDate="2021-07-23T07:45:05.597" Score="0" Body="&lt;p&gt;It depends on the bit depth of the source.  If the source material is greater than 8 bits, then 10 bit will give you more color fidelity and less banding in subtle gradients (if there is any in your “pixel art.” Flat cartoons wouldn’t have any gradient detail to preserve, e.g.)  If the source is only 8 bits per channel, 10 bit won’t give you any extra detail.&lt;/p&gt;&#xA;&lt;p&gt;Since a bit is binary (base 2), 8 bit is   2^8, or 256 shades of each color in a color channel.  So 256 R * 256 B * 256 G, or roughly 16 million colors.  The human eye can perceive more than that, which is why 10 bit color depth is one of the requirements for HDR.&lt;/p&gt;&#xA;&lt;p&gt;Most consumer displays are also only capable of displaying 8 bit color, so consider your audience, also.&lt;/p&gt;&#xA;&lt;p&gt;Most average viewers won’t notice the difference between 8 and 10, even if they’re using a 10 bit display.    Where that difference becomes mostly apparent is when you’re &lt;em&gt;developing&lt;/em&gt; the images; higher bit depths give colorists, editors and VFX artists more numeric/artistic headroom, which is the same reason Photoshop artists avoid 8 bit originals.&lt;/p&gt;&#xA;&lt;p&gt;So, if you don’t plan to do any further processing, 8 bit is fine.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-07-23T08:23:49.670" LastActivityDate="2021-07-23T08:23:49.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34165" PostTypeId="1" CreationDate="2021-07-25T17:12:58.543" Score="0" ViewCount="1304" Body="&lt;p&gt;Basically, I want to make a collage of my artworks. All are square images. Let's consider there are 48 photos. So I will make a grid in Illustrator of 8x6. Each photo in a separate layer.&lt;/p&gt;&#xA;&lt;p&gt;Now I'll import it into After Effects. Then I'll turn opacities of all of them to 0.&lt;/p&gt;&#xA;&lt;p&gt;Now I want to make them appear (0 to 100 opacity) one by one in a random order. Just like stars appear in evening sky.&lt;/p&gt;&#xA;&lt;p&gt;So one way to do so is manually. But I guess it will be time consuming and won't be that much random. So is there any effect or plugin for this?&lt;/p&gt;&#xA;" OwnerUserId="12245" LastActivityDate="2021-08-03T08:43:13.283" Title="Is there any plugin or effect in After Effects where each of many photo layers turn visible in a random order?" Tags="|video|after-effects|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34166" PostTypeId="1" CreationDate="2021-07-25T18:58:03.607" Score="0" ViewCount="183" Body="&lt;p&gt;I'm trying to make an animated slideshow in Premiere Pro, and the examples I've found on the net all use the motion effect. However I noticed that it doesn't do anything, and I noticed it's in the obsolete folder. There are a bunch of other effects in that folder, does that mean that they don't work anymore?&lt;/p&gt;&#xA;" OwnerUserId="35712" LastActivityDate="2021-07-26T14:28:01.703" Title="What are obsolete effects?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34168" PostTypeId="2" ParentId="34166" CreationDate="2021-07-26T14:28:01.703" Score="1" Body="&lt;p&gt;I think it means that they've been replaced by other in house effects made by Adobe which work better (ie less processing/rendering needed to create the same effect).  Adobe tends to keep the old versions around for backwards compatibility in case you need to open an old project.&lt;/p&gt;&#xA;&lt;p&gt;This link is to After Effects, but it's the same issue:&#xA;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/obsolete-effects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/after-effects/using/obsolete-effects.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-07-26T14:28:01.703" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34169" PostTypeId="2" ParentId="34165" CreationDate="2021-07-26T17:39:28.847" Score="2" Body="&lt;p&gt;You don't need to use Illustrator to do this - three cheap or free scripts will do it:&lt;/p&gt;&#xA;&lt;p&gt;Gridder (free) will arrange all the images the way you want:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/dokluch/gridder-aftereffects&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/dokluch/gridder-aftereffects&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;When you've gridded them as you like, select all the images, and apply a couple of Opacity keyframes on all the layers (to make them go from 0 to 100 opacity at the same time).  You'll randomise and stagger them all in the next steps.&lt;/p&gt;&#xA;&lt;p&gt;KindaSorta (free) will sort the layers randomly:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://aescripts.com/rd-kinda-sorta/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://aescripts.com/rd-kinda-sorta/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;ptShiftLayers (pay what you want) will stagger them over time:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://aescripts.com/pt_shiftlayers/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://aescripts.com/pt_shiftlayers/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-07-26T17:39:28.847" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34171" PostTypeId="1" CreationDate="2021-07-27T23:18:07.370" Score="2" ViewCount="520" Body="&lt;p&gt;I have a Garmin 66W dashcam for my work (street mapping surveyor) which produces several 1min. MP4 videos of my journey (60 min. = 60 videos).&#xA;All these videos have telemetry data on it as metadata (GPS location, speed, etc...).&lt;/p&gt;&#xA;&lt;p&gt;I want to concatenate every 5 files excluding the audio but preserving the video and the telemetry in the metadata.&lt;/p&gt;&#xA;&lt;p&gt;What I have tried:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Export GPS information as GPX file (result: successful)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;code&gt;exiftool -p gpx.fmt -ee X:\video_place\videos_1m\GRMN0005.mp4 &amp;gt; GRMN0005.gpx&lt;/code&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Merge MP4 videos as a single MP4 video (result: partially successful)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i X:\video_place\videos_1m\mylist.txt -c copy X:\video_place\videos_1m\GRMN0005to0011.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;When I use above command on ffmpeg I loose all my telemetry data.&lt;/p&gt;&#xA;&lt;p&gt;I tried in several different ways for days, searching on several forums, I even tried to export all GPS data from each single 1min. file merge them, and them merge the videos and put the telemetry back.&lt;/p&gt;&#xA;&lt;p&gt;The ffprobe output of my 1min. video is as following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;  Metadata:&#xA;    major_brand     : avc1&#xA;    minor_version   : 0&#xA;    compatible_brands: avc1isom&#xA;    creation_time   : 2021-07-26T17:08:23.000000Z&#xA;  Duration: 00:01:00.06, start: 0.000000, bitrate: 19553 kb/s&#xA;  Stream #0:0(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080, 19182 kb/s, 29.97 fps, 29.97 tbr, 30k tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2021-07-26T17:08:23.000000Z&#xA;      handler_name    :  Ambarella AVC&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : Ambarella AVC encoder&#xA;  Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2021-07-26T17:08:23.000000Z&#xA;      handler_name    :  Ambarella AAC&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #0:2(eng): Subtitle: mov_text (text / 0x74786574), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2021-07-26T17:08:23.000000Z&#xA;      handler_name    :  Ambarella EXT&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;When I use the ffmpeg code above to concatenate the videos, I get the following ffprobe without the telemetry:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'X:\video_place\videos_1m\GRMN0005to0011.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf59.4.100&#xA;  Duration: 00:07:00.42, start: 0.000000, bitrate: 19313 kb/s&#xA;  Stream #0:0(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080, 19178 kb/s, 29.97 fps, 29.97 tbr, 30k tbn (default)&#xA;    Metadata:&#xA;      handler_name    :  Ambarella AVC&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 127 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    :  Ambarella AAC&#xA;      vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have tried as well with following code, but none of them seems to work:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i X:\video_place\videos_1m\mylist.txt -c copy -scodec copy X:\video_place\videos_1m\GRMN0005to0011_scodec.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i X:\video_place\videos_1m\mylist.txt -c:s copy -c:v copy X:\video_place\videos_1m\GRMN0005to0011.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i X:\video_place\videos_1m\mylist.txt -c copy -c:s mov_text X:\video_place\videos_1m\GRMN0005to0011.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Can a good soul please guide me on how to perform this? I thought it was going to be simple...&lt;/p&gt;&#xA;" OwnerUserId="35738" LastActivityDate="2022-08-23T12:06:30.697" Title="Need to concatenate several MP4 from Garmin dashcam with telemetry" Tags="|ffmpeg|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34174" PostTypeId="2" ParentId="34122" CreationDate="2021-07-28T13:04:14.570" Score="0" Body="&lt;p&gt;I would do this in After Effects, not Premiere. It's better suited to &lt;a href=&quot;https://www.shutterstock.com/blog/compositing-special-effects-in-after-effects&quot; rel=&quot;nofollow noreferrer&quot;&gt;compositing video effects&lt;/a&gt; (which is what this is).&lt;/p&gt;&#xA;&lt;p&gt;You might get away with a lot of static foreground imagery of trees as a matte which flies past quickly, assuming the shot is as short as the one shown in the youtube video.&lt;/p&gt;&#xA;&lt;p&gt;You would need to overlay the matted tree images over the footage, and keyframe its position, so that it moves across the screen rapidly and convincingly with the motion of your camera.  Make sure motion blur is switched on, and that it matches how the footage looks, both in terms of motion, but also colour correction.&lt;/p&gt;&#xA;&lt;p&gt;Another &lt;a href=&quot;https://www.rocketstock.com/blog/compositing-tips-adobe-after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;compositing tutorial here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-07-28T13:04:14.570" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34175" PostTypeId="1" CreationDate="2021-07-28T14:08:57.740" Score="0" ViewCount="37" Body="&lt;p&gt;This &lt;a href=&quot;https://www.youtube.com/watch?v=ZXqQGuAt7SE&quot; rel=&quot;nofollow noreferrer&quot;&gt;video I'm trying to recreate&lt;/a&gt; seems like an insanely time consuming process in after effects.  Is AE the right way to go about it?  Does anyone know of a process or tutorial that may help?  I'm new to video production so any sort of direction would be greatly appreciated.  Here is &lt;a href=&quot;https://www.youtube.com/watch?v=gWTM8ToMAns&quot; rel=&quot;nofollow noreferrer&quot;&gt;another similar type of video&lt;/a&gt;.  Generally speaking a VoiceOver text video.  Thanks!&lt;/p&gt;&#xA;" OwnerUserId="35756" LastActivityDate="2021-08-28T05:05:55.567" Title="I'm trying to figure out what the easiest way to go about creating this type of video would be. I can't find a tutorial. Please help!" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34176" PostTypeId="2" ParentId="24829" CreationDate="2021-07-28T17:00:35.183" Score="2" Body="&lt;p&gt;Personally I always stick to multiple of 8 but here it is:&lt;/p&gt;&#xA;&lt;p&gt;Multiple of 4: In H.265, DCT can be done in 4x4 Transform Units, so it's not a problem for that. It can also use motion vectors for 8x4 or 4x8 Prediction Units if there is only a single reference frame, or 8x8 if there are 2 reference frames. I suspect this causes some inefficiency, but nowhere near as bad as not-divisible-by-16 was for MPEG-4.&lt;/p&gt;&#xA;&lt;p&gt;Multiple of 2: I would not do that. Both PUs and TUs have to be padded. (I suspect it's still better than MPEG-4, just because the &amp;quot;bad&amp;quot; blocks are not that huge.) Also, what are you gaining? Cutting off 2 pixels is not going to be noticeable.&lt;/p&gt;&#xA;&lt;p&gt;Multiple of 1: You can't even do it unless the pixel format is YUV444. Don't do it unless it's a really low resolution video, like maybe you are using it as a replacement for GIFs.&lt;/p&gt;&#xA;" OwnerUserId="32358" LastActivityDate="2021-07-28T17:00:35.183" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34177" PostTypeId="2" ParentId="34036" CreationDate="2021-07-28T19:46:36.960" Score="1" Body="&lt;p&gt;You are trying to include a codec (dvvideo) into a container (mp4), which doesn't support it (at least in ffmpeg). See difference between &lt;a href=&quot;https://superuser.com/a/300997/1076830&quot;&gt;codec and container&lt;/a&gt;. You better use a codec supported by mp4, say H.265 using libx265 and try converting. See the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.265&quot; rel=&quot;nofollow noreferrer&quot;&gt;docs&lt;/a&gt; for additional options you may want to apply. Here is the extensive list of &lt;a href=&quot;http://mp4ra.org/#/codecs&quot; rel=&quot;nofollow noreferrer&quot;&gt;codecs supported&lt;/a&gt; by mp4, but all of them may not be supported by ffmpeg. Here are  some popular &lt;a href=&quot;https://en.wikipedia.org/wiki/MPEG-4_Part_14#Data_streams&quot; rel=&quot;nofollow noreferrer&quot;&gt;codecs&lt;/a&gt;.&#xA;Also, pcm_s16le is a raw audio format, convert it to aac.&#xA;Try&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i filename.avi -c:v libx265 -x265-params lossless=1 -c:a libfdk_aac -b:a 128k -y filename.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It has H.265 lossless encoding and uses libfdk_aac, which is of better quality than native one.&lt;/p&gt;&#xA;" OwnerUserId="35763" LastEditorUserId="35763" LastEditDate="2021-07-28T20:05:45.650" LastActivityDate="2021-07-28T20:05:45.650" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34178" PostTypeId="1" CreationDate="2021-07-28T19:55:42.133" Score="0" ViewCount="745" Body="&lt;p&gt;I downloaded Cinema 4D R23.008 recently and since then it has only shown me a black viewport. What can I do about it?&lt;/p&gt;&#xA;&lt;p&gt;I have an Intel Core i7, 8gb RAM, and an AMD Radeon HD 7570M laptop.&lt;/p&gt;&#xA;" OwnerUserId="35764" LastEditorUserId="29988" LastEditDate="2021-07-29T10:35:27.603" LastActivityDate="2023-12-16T17:04:40.570" Title="Cinema 4D R23.008 Black Viewport" Tags="|cinema4d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34179" PostTypeId="2" ParentId="34175" CreationDate="2021-07-29T04:56:47.197" Score="1" Body="&lt;p&gt;The Typemonkey script will get you most of the way there, but ultimately there is no “just animate” button in After Effects. It’s designed to give you lots of control over how everything looks and moves.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;http://aescripts.com/typemonkey/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://aescripts.com/typemonkey/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Otherwise look for Kinetic Typography tutorials like this one:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/LSKOBNMjaQY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-07-29T04:56:47.197" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34180" PostTypeId="1" CreationDate="2021-07-29T06:08:31.300" Score="0" ViewCount="166" Body="&lt;p&gt;Suppose I have a set of 1000 .gif files, each of different durations, and I want to cycle the hue (hue as in the HLS color space) of each .gif file once over its duration. So, for example, at the beginning, (frame 1) the hue angle should be zero, halfway through (frame n/2) it should be 180 degrees, and at the last frame it should be 360 degrees (frame n). Is this possible to do with ffmpeg? Can you provide an example?&lt;/p&gt;&#xA;" OwnerUserId="25617" LastActivityDate="2023-12-26T21:09:16.157" Title="Hue Cycle .gif files with ffmpeg as percentage of duration" Tags="|ffmpeg|animation|hls|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34182" PostTypeId="5" CreationDate="2021-07-29T08:48:40.390" Score="0" Body="&lt;p&gt;Adobe Premiere Pro is a mainstream non-linear video editing software used by amateurs and professionals for video creation.  Premiere Pro CC comes tightly integrated into Adobe's Creative Cloud tools, including CC Libraries, Adobe Media Encoder, Adobe Audition, Adobe After Effects, Adobe Photoshop and more.&lt;/p&gt;&#xA;" OwnerUserId="22062" LastEditorUserId="22062" LastEditDate="2021-08-03T05:28:50.643" LastActivityDate="2021-08-03T05:28:50.643" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34183" PostTypeId="4" CreationDate="2021-07-29T08:48:40.390" Score="0" Body="Questions relating to Premiere Pro, an NLE video editor by Adobe that is currently also packaged as part of Adobe Creative Cloud" OwnerUserId="22062" LastEditorUserId="22062" LastEditDate="2021-08-03T05:28:38.597" LastActivityDate="2021-08-03T05:28:38.597" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34184" PostTypeId="2" ParentId="34171" CreationDate="2021-07-29T09:10:40.207" Score="1" Body="&lt;p&gt;add the tag operator and read the file in as text format.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -y -f concat -i test.txt -c copy \&#xA;    -map 0:v -map 0:a -map 0:3 \&#xA;    -copy_unknown -tag:2 gpmd \&#xA;    test2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;otherwise something like this might do the trick: &lt;a href=&quot;http://www.dashware.net/how-it-works/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.dashware.net/how-it-works/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22062" LastActivityDate="2021-07-29T09:10:40.207" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34185" PostTypeId="2" ParentId="34178" CreationDate="2021-07-29T10:38:47.927" Score="0" Body="&lt;p&gt;Laptops with dedicated graphic cards often have another simple graphic chip too. This usually causes problems. Check the manual of your laptop and see if you can disable the chip, so that the Radeon card is doing all the work. You probably have to do this in the BIOS menu.&lt;/p&gt;&#xA;&lt;p&gt;Additionally, try updating the Radeon driver.&lt;/p&gt;&#xA;&lt;p&gt;If all this doesn't help, open a support ticket at Maxon.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-07-29T10:38:47.927" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34187" PostTypeId="2" ParentId="34092" CreationDate="2021-07-29T14:39:57.547" Score="1" Body="&lt;p&gt;This seems to do what you want. &lt;code&gt;il&lt;/code&gt; moves the odd lines to the top of the frame, and even lines to the bottom. Then &lt;code&gt;split&lt;/code&gt; just creates 2 copies of this. We then &lt;code&gt;crop&lt;/code&gt; both copies, to only include the top or the bottom. Finally, &lt;code&gt;framepack&lt;/code&gt; will alternate frames from those two streams.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -c:v libx265 -filter_complex '[0:v]il=l=d:c=d,split[t0][b0];[t0]crop=720:240:0:0[t1];[b0]crop=720:240:0:240[b1];[t1][b1]framepack=frameseq' output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But usually &lt;code&gt;yadif&lt;/code&gt; can fix messed up videos like that, unless they also did something else to it to mess up the pattern too much. And if that's the case, this won't fix it either.&lt;/p&gt;&#xA;" OwnerUserId="32358" LastActivityDate="2021-07-29T14:39:57.547" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="34188" PostTypeId="1" CreationDate="2021-07-30T11:30:32.020" Score="1" ViewCount="53" Body="&lt;p&gt;We can use tool recording in Photoshop Actions to record the animation of the brush stroke and play it back, right? Can we export the playback in the form of a PNG sequence?&lt;/p&gt;&#xA;&lt;p&gt;Is there a script perhaps to do this?&lt;/p&gt;&#xA;&lt;p&gt;For example, the action shown here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/jaMOxFG6?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Can this playback be exported to a png sequence via a script?&lt;/p&gt;&#xA;" OwnerUserId="35777" LastActivityDate="2021-07-30T11:30:32.020" Title="Export brush stroke animation from Photoshop to a PNG sequence? Is there a script to do this?" Tags="|adobe|script|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34191" PostTypeId="2" ParentId="15641" CreationDate="2021-07-30T18:00:08.300" Score="-1" Body="&lt;p&gt;I've done this your way... ...Trying to recreate video from assets is like trying to run through a line at the DMV or an IRS counter, and it's always audit season, or two days after the day with the most births 16 years ago (kids drive at 16 here).&lt;/p&gt;&#xA;&lt;p&gt;Here's what I did to stop that:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create a project with all my most reused content and save that in a file.  Lock this file as READ ONLY.  You can unlock it when you want to make changes.&lt;/li&gt;&#xA;&lt;li&gt;When you are building the rest of your content, start from the read only, then save as... ...and build a file for your new project from that.&lt;/li&gt;&#xA;&lt;li&gt;For less used content, get a large RAID storage with rapid access, and a BDXL burner.  Store your content in fullest format on the RAID, then burn it to the BDXL in file mode, and burn 3 of them.  Put them in plastic out of the sunlight, in a temp-controlled safe or file cabinet area, with a sticker label on the case only.  When you need the data again, RAID will do for a storage block.  Older RAID will work ok for 720 video speeds, but newer with even cheap ssd will work far better for the larger video and frame\data rates.&lt;/li&gt;&#xA;&lt;li&gt;Keep the most used data and a copy of the project template it goes with together wherever you place them.  Personally, I have a drive hooked to a router, that houses a templates and folders for audio only, video only, or both.  The files kept here are the lower quality proxies.  They correspond by filename to the larger quality videos I keep on BDXL.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="35780" LastActivityDate="2021-07-30T18:00:08.300" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34192" PostTypeId="1" CreationDate="2021-07-30T21:47:04.207" Score="0" ViewCount="20" Body="&lt;p&gt;So, I want to capture from my analogue camcorder tapes using the RGB and from my digital camcorder using the mini-dv output so it never leaves the digital domain.&lt;/p&gt;&#xA;&lt;p&gt;I recently bought a device that seems to be ok for capturing the analogue though there may be better options out there. I don't have any way of capturing the digital so if anyone has advice that would be good. My laptop is a dell latitude 5480 running windows 10.&lt;/p&gt;&#xA;&lt;p&gt;I've considered trying to get a high spec PC with xp, if that's possible, as later versions of windows don't have movie maker. My brother transferred his tapes using that setup. Again, any thoughts on this or alternative capture software for windows 10 would be appreciated.&lt;/p&gt;&#xA;&lt;p&gt;Thanks,&#xA;Rick&lt;/p&gt;&#xA;" OwnerUserId="35781" LastActivityDate="2021-08-02T01:28:21.267" Title="Camcorder Tape Capture" Tags="|video-capture|camcorder|videotape|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34194" PostTypeId="1" AcceptedAnswerId="34228" CreationDate="2021-07-31T16:00:06.717" Score="1" ViewCount="1417" Body="&lt;p&gt;What is best way, to join a Video-Only file, .m4v&#xA;with m4a audio file, and output as mp4&lt;/p&gt;&#xA;&lt;p&gt;Want to join them, without losing original quality,&#xA;both file have same time length.&lt;/p&gt;&#xA;&lt;p&gt;any good software.etc?&lt;/p&gt;&#xA;" OwnerUserId="35789" LastEditorUserId="35789" LastEditDate="2021-07-31T16:34:52.583" LastActivityDate="2021-08-05T04:15:59.417" Title="Join video-file m4v and audio file m4a. to make a mp4?" Tags="|ffmpeg|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34198" PostTypeId="1" CreationDate="2021-08-01T20:56:25.407" Score="0" ViewCount="19" Body="&lt;p&gt;I have two videos of 1 minute each one. I would like to start the second video at the 50 seconds of the first one.&lt;/p&gt;&#xA;&lt;p&gt;Then I would like to decrease the opacity of the first video from 100% to 0 in the 50-60 seconds range, and to increase the opacity of the second video from 0 to 100% in the same range.&lt;/p&gt;&#xA;&lt;p&gt;Is this possible with ffmpeg?&lt;/p&gt;&#xA;&lt;p&gt;If yes, could you give me a code for that?&lt;/p&gt;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="35804" LastActivityDate="2021-08-01T20:56:25.407" Title="ffmpeg - sweeping opacity" Tags="|ffmpeg|video|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34200" PostTypeId="2" ParentId="34192" CreationDate="2021-08-02T01:28:21.267" Score="3" Body="&lt;p&gt;DV can be captured off tape with a firewire interface. Firewire was a data transfer protocol created by Apple, Panasonic and Sony that enabled the transfer of digital Video and data.&lt;/p&gt;&#xA;&lt;p&gt;Firewire plugs look like this&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OBy2B.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OBy2B.png&quot; alt=&quot;firewire 400 plugs&quot; /&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/PntJU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PntJU.png&quot; alt=&quot;firewire 800 and 400 plugs&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The era when computers had firewire connections out of the box has passed, so unless you can find an older machine (particularly a mac) with a firewire socket, you'll have to get either a firewire card to install internally, or a firewire to USB converter. Then you will be able to transfer the DV streams to HDD.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XWK9O.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XWK9O.png&quot; alt=&quot;usb to firewire converter&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Movie maker is &lt;em&gt;so&lt;/em&gt; not worth using XP for. There is better free editing software, like DaVinci Resolve which is a professional grade program with a very capable free version.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-08-02T01:28:21.267" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34203" PostTypeId="1" AcceptedAnswerId="34204" CreationDate="2021-08-02T17:00:07.710" Score="1" ViewCount="703" Body="&lt;p&gt;I have an MKV video file with 5.1 channel audio. I want to use the third channel (FC) as AAC Audio Track 1 (with language label Malayalam), the whole audio file copied as Audio Track 2  (also with language label Malayalam), and save the video as MKV. I don't want to reencode the video.&lt;/p&gt;&#xA;&lt;p&gt;How can I do that?&lt;/p&gt;&#xA;&lt;p&gt;I tried this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;input.mkv&amp;quot; -filter_complex &amp;quot;channelsplit=channel_layout=5.1[FL][FR][FC][LFE][BL][BR]&amp;quot; -map '[FC]' -acodec aac -map 0 -vcodec copy &amp;quot;output [Background Removed].mkv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It gave me the error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Filter channelsplit:BR has an unconnected output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="35814" LastActivityDate="2022-10-11T14:02:02.303" Title="FFMPEG Extract Front Centre Channel as an audio track" Tags="|ffmpeg|tracks|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34204" PostTypeId="2" ParentId="34203" CreationDate="2021-08-02T18:44:15.030" Score="2" Body="&lt;p&gt;Only extract the relevant channel using channelsplit.&lt;/p&gt;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &amp;quot;input.mkv&amp;quot; -filter_complex &amp;quot;channelsplit=channel_layout=5.1:channels=FC[FC]&amp;quot; -map '[FC]' -map 0 -c copy -c:a:0 aac &amp;quot;output [Background Removed].mkv&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-08-02T18:44:15.030" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34207" PostTypeId="5" CreationDate="2021-08-03T07:39:59.227" Score="0" Body="&lt;p&gt;Questions with this tag are focused on Frames per second.&lt;/p&gt;&#xA;&lt;p&gt;Frames per second, or FPS, is a measurement of the frame rate used in a video file, image sequence, or camera.&lt;/p&gt;&#xA;&lt;p&gt;A video is a series of images that are played quickly to form a moving image, and how quickly depends on the frame rate that is determined in the video file.&lt;/p&gt;&#xA;&lt;p&gt;Video recording equipment will usually have a series of preset frame rates that determine how many individual frames will be recorded per second of video.&lt;/p&gt;&#xA;&lt;p&gt;Photographic equipment will often have an FPS rating, but this will refer to how quickly a series of individual photographs can be recorded, which is often achieved using some kind of burst / high speed mode on the camera itself.&lt;/p&gt;&#xA;&lt;p&gt;The frame rate used in a video normally depends on the geographical location the video is being used.  In some countries such as America, the NTSC format is used which as standard records/plays videos at a rate of 29.97 fps.  In Europe and some other countries, the PAL format is used which uses a rate of 25 fps.&lt;/p&gt;&#xA;" OwnerUserId="22062" LastEditorUserId="674" LastEditDate="2021-08-03T19:03:03.487" LastActivityDate="2021-08-03T19:03:03.487" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34208" PostTypeId="4" CreationDate="2021-08-03T07:39:59.227" Score="0" Body="fps is an acronym for &quot;frames per second&quot; and is a measurement of the frame rate used in a video file, image sequence, or camera." OwnerUserId="22062" LastEditorUserId="22062" LastEditDate="2021-08-03T19:01:26.963" LastActivityDate="2021-08-03T19:01:26.963" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34209" PostTypeId="5" CreationDate="2021-08-03T07:41:43.817" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2021-08-03T07:41:43.817" LastActivityDate="2021-08-03T07:41:43.817" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34210" PostTypeId="4" CreationDate="2021-08-03T07:41:43.817" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2021-08-03T07:41:43.817" LastActivityDate="2021-08-03T07:41:43.817" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34211" PostTypeId="2" ParentId="32381" CreationDate="2021-08-03T08:09:04.330" Score="1" Body="&lt;p&gt;I solved this later but haven't ever posted my solution:&lt;/p&gt;&#xA;&lt;p&gt;At the time, a frame by frame edit in photoshop using healing tools seemed the only way to clean up the wire used.  When I tried this however, you get a lot of artifacting that looks fine on one image but differs from frame to frame and creates a fuzzy blur as a video.&lt;/p&gt;&#xA;&lt;p&gt;After some learning about the healing tools in After Effects itself, I found out that I could heal a frame using a previous frame:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select the Clone Stamp Tool, but don't alt click or set any source points - this means the source point remains the exact centre of the brush.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iuesQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iuesQ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;In the paint panel, there is an option called &amp;quot;Source Time Shift&amp;quot;:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KUqjw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KUqjw.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;When you increase this by +5, the source frame will be the frame that is 5 frames ahead of the one you are currently editing.  Depending on how quickly the object moves that you need to remove, you will need to tweak this.  For a fast moving object, offsetting the source frame by +/- 5 frames might be enough, but a slow moving object might need a frame from a whole second away or more.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;From there, you can quickly move along frame by frame and paint over a moving wire to clean it out of the shot.  Occasionally there'll be a point that needs more attention but overall it seems the fastest and best way to do this.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Because my footage was tripod shot and was absolutely still, the walls and background didn't move, making it easy to brush out the wires.  In a moving shot this could still be achieved by just offsetting the source of the brush.&lt;/p&gt;&#xA;" OwnerUserId="22062" LastActivityDate="2021-08-03T08:09:04.330" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34212" PostTypeId="2" ParentId="34165" CreationDate="2021-08-03T08:43:13.283" Score="1" Body="&lt;p&gt;If you're sure you want to use After Effects, you could try the following expression into the opacity field:&lt;/p&gt;&#xA;&lt;p&gt;Each image will need to be it's own layer.  For each image layer, alt + click the stopwatch for the opacity to open the expressions editor, then paste in this code:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;visible = 2; // how long the layer is visible for in seconds&#xA;transition = 0.05; // how long it takes for the layer to appear and disappear&#xA;&#xA;appear = (index-1) * visible;&#xA;disappear = index * visible;&#xA;&#xA;fxin = linear(time, appear, (appear+transition), 0,100);&#xA;fxout = linear(time, disappear-transition, disappear, 0, -100);&#xA;&#xA;opacity = fxin +fxout;&#xA;&#xA;opacity&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This will make the photos appear in the order the layers are in.  If you are looking for a random order, I found a script that lets you randomize layer order:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;{&#xA;var myComp = app.project.activeItem;&#xA;var n = myComp.numLayers;&#xA;var myLayers = [];&#xA;var myIdx = [];&#xA;for (var i = 1; i&amp;lt;= n; i++){ myIdx[i-1] = i; myLayers[i-1] = myComp.layer(i); } var idx; var temp; for (var i = 0; i &amp;lt; myIdx.length; i++){ idx = i + Math.floor(Math.random()*(myIdx.length - i)); temp = myIdx[i]; myIdx[i] = myIdx[idx]; myIdx[idx] = temp; } for (var i = 0; i &amp;lt; myIdx.length; i++){ myLayers[myIdx[i]-1].moveToBeginning(); } }&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Sourced from: &lt;a href=&quot;https://creativecow.net/forums/thread/randomize-layer-order/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://creativecow.net/forums/thread/randomize-layer-order/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Hope that helps.&lt;/p&gt;&#xA;" OwnerUserId="22062" LastActivityDate="2021-08-03T08:43:13.283" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34213" PostTypeId="5" CreationDate="2021-08-03T08:45:22.910" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2021-08-03T08:45:22.910" LastActivityDate="2021-08-03T08:45:22.910" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34214" PostTypeId="4" CreationDate="2021-08-03T08:45:22.910" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2021-08-03T08:45:22.910" LastActivityDate="2021-08-03T08:45:22.910" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34216" PostTypeId="2" ParentId="34122" CreationDate="2021-08-03T12:31:49.110" Score="0" Body="&lt;p&gt;The vegetation in the video is real.  There’s no substitute for that.  If you can’t re-shoot with real plants in the foreground, then the next best thing would be to shoot them on their own, matching the camera movement, lens attributes, etc, and composite that over top. Since plants are green, a blue screen would be ideal, but you might get away with a luma key, or shooting against a blue sky.&lt;/p&gt;&#xA;&lt;p&gt;It’s highly unlikely that you’ll find stock footage that matches your original conditions, lighting, time of day, etc.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-08-03T12:31:49.110" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34217" PostTypeId="1" CreationDate="2021-08-03T15:38:05.617" Score="0" ViewCount="511" Body="&lt;p&gt;I need to compress a bunch of FullHD(1920x1080, 3Gb, mp4) videos, each ~2 hrs long. Some loss of quality is okay as is the lower resolution. I'm shooting for a 500Mb output video in ~10 min processing time (2080TI Ryzen 9 3900X). It is important for the videos to be completely in sync, so frame x in the input video matches frame x in output. For this, I'm using &lt;code&gt;-vsync 0&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;My current working settings which get me to ~500MB size in 20 minutes.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input_fullhd.mp4 -vcodec libx265 -crf 28 -vsync 0 -vf scale=800:-1 -preset medium output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'd like it to be faster with potentially slightly better quality.&lt;/p&gt;&#xA;&lt;p&gt;My concern is that I'm not utilizing my GPU at all and my CPU shows only 30% utilization. So feels like it should be possible to speed this up. I tried adding &lt;code&gt;-hwaccel cuda&lt;/code&gt; but that made things a bit slower.&lt;/p&gt;&#xA;&lt;p&gt;Are there any other settings I can try that I'm missing to either improve my conversion or utilize more resources for speed?&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="35825" LastActivityDate="2023-12-23T02:05:10.607" Title="ffmpeg best parameteres for fastest compression on FullHD mp4?" Tags="|ffmpeg|compression|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34219" PostTypeId="5" CreationDate="2021-08-04T06:30:17.537" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2021-08-04T06:30:17.537" LastActivityDate="2021-08-04T06:30:17.537" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34220" PostTypeId="4" CreationDate="2021-08-04T06:30:17.537" Score="0" Body="This tag is for questions relating to Adobe owned software., such as Premiere Pro, After Effects, Media Encoder, Audition, Premiere Elements, Premiere Rush, Animate, or Creative Cloud etc." OwnerUserId="22062" LastEditorUserId="22062" LastEditDate="2021-08-04T19:02:01.750" LastActivityDate="2021-08-04T19:02:01.750" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34221" PostTypeId="2" ParentId="34132" CreationDate="2021-08-04T07:45:52.593" Score="1" Body="&lt;p&gt;Just to build on @tomh answer, to get false colour you will first need to get true colour by added the layers in after effects, use the &amp;quot;Add&amp;quot; blend mode as mentioned, which will get you true colour (rough enough without grading).&lt;/p&gt;&#xA;&lt;p&gt;Not sure this is exact &amp;quot;false color&amp;quot; but it will work near enough for your purpose I think:&lt;/p&gt;&#xA;&lt;p&gt;You will need to select all 3 layers and pre-compose them.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wEjWa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wEjWa.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Then go into Photoshop, create a blank, empty document of the same size as your footage.&lt;/p&gt;&#xA;&lt;p&gt;At the bottom of the layers panel, create a new Gradient Map adjustment layer.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/s4jiZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s4jiZ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Select a gradient map that fits your requirements, or create your own.  This is what will map light and dark values to colours.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UHyf4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UHyf4.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now you can export the gradient map as an LUT:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/n91vi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/n91vi.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Go through the save steps and note where you save the LUT files to.  Back in After Effects, you can add the &amp;quot;Lumetri Color&amp;quot; Effect to your pre-comp, open the Effect, then Basic Correction, then on Input LUT click Browse and import the LUT you just created.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/6sa9y.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6sa9y.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JuDGg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JuDGg.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Your footage should be gradient mapped to the LUT you created.  Hope that helps!&lt;/p&gt;&#xA;&lt;p&gt;EDIT:  couple notes, the &lt;code&gt;.3DL&lt;/code&gt; files seem to work best and go for about 60 grid points.  Can add LUT's in After FX or Premiere Pro.&lt;/p&gt;&#xA;" OwnerUserId="22062" LastEditorUserId="22062" LastEditDate="2021-08-04T08:57:13.330" LastActivityDate="2021-08-04T08:57:13.330" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34222" PostTypeId="2" ParentId="30904" CreationDate="2021-08-04T09:10:00.100" Score="0" Body="&lt;p&gt;In the latest versions of Premiere Pro CC, you can now rename video tracks by right clicking them:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iAvWF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iAvWF.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22062" LastActivityDate="2021-08-04T09:10:00.100" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34223" PostTypeId="2" ParentId="25014" CreationDate="2021-08-04T09:18:02.570" Score="0" Body="&lt;p&gt;You can keep the workflow you described in Windows 10.&lt;/p&gt;&#xA;&lt;p&gt;Firstly, you will need to set Windows Media Player as the default video player for that file type:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ugur0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ugur0.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;To change the default, click &amp;quot;Choose another app&amp;quot; and then select &amp;quot;Always use...&amp;quot; at the bottom:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XOxHN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XOxHN.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Next, enable the &amp;quot;Preview Pane&amp;quot; in windows explorer:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/McVQY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/McVQY.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now, when you click on a video file of the right file type, it will be playable in the preview pane:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/H727t.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/H727t.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Note: this feature only works for local files.  Cloud files such as those on onedrive / dropbox that aren't downloaded won't show up.&lt;/p&gt;&#xA;&lt;p&gt;In regards to your second point, if you use any Adobe programs you may find Adobe Bridge bundled with them.  Bridge is an Adobe type file explorer that can natively open many files, and also open them directly in the relevant Adobe editing software.&lt;/p&gt;&#xA;" OwnerUserId="22062" LastActivityDate="2021-08-04T09:18:02.570" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34226" PostTypeId="2" ParentId="34217" CreationDate="2021-08-04T17:59:00.767" Score="0" Body="&lt;p&gt;If you want to use the GPU, there is a different codec &lt;code&gt;hevc_vaapi&lt;/code&gt; or &lt;code&gt;hevc_nvenc&lt;/code&gt;. You can see some examples &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Hardware/VAAPI&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;https://trac.ffmpeg.org/wiki/HWAccelIntro&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. I got it to work once but the quality was much more terrible, so I didn't use it much.&lt;/p&gt;&#xA;" OwnerUserId="32358" LastActivityDate="2021-08-04T17:59:00.767" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34227" PostTypeId="2" ParentId="26249" CreationDate="2021-08-04T18:32:46.663" Score="0" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -i playlist.txt $OTHER_OPTIONS&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In playlist.txt, write this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file 'B'&#xA;file 'A'&#xA;inpoint &amp;lt;start_of_extra_content&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Would you like to know &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#concat-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;more&lt;/a&gt;?&lt;/p&gt;&#xA;" OwnerUserId="32358" LastActivityDate="2021-08-04T18:32:46.663" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34228" PostTypeId="2" ParentId="34194" CreationDate="2021-08-05T04:15:59.417" Score="2" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -i audiofile.m4a -i videofile.m4v  -c copy  combined.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here &lt;code&gt;-c copy&lt;/code&gt; tells to copy the stream instead of re-encoding. So the streams are as before. It is fastest and lossless.&lt;/p&gt;&#xA;" OwnerUserId="35763" LastActivityDate="2021-08-05T04:15:59.417" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34229" PostTypeId="2" ParentId="33789" CreationDate="2021-08-05T04:30:16.513" Score="0" Body="&lt;p&gt;The &lt;code&gt;-ss&lt;/code&gt; and &lt;code&gt;-to&lt;/code&gt; flag specifies start time and end time in format hh:mm:ss. Here goes the code&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i original_video.mp4 -ss &amp;lt;start time&amp;gt; -to &amp;lt;end time&amp;gt; -c:s copy cropped_sub.srt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This extract first subtitle stream in between start and end time in cropped_sub.srt. And now combining cropped files.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i cropped_video.mp4 -i cropped_sub.srt -c copy cropped_combined.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="35763" LastActivityDate="2021-08-05T04:30:16.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34230" PostTypeId="2" ParentId="33744" CreationDate="2021-08-05T05:19:02.687" Score="2" Body="&lt;p&gt;No need to extract, you can downmix two audio channels and keep video channel and generate a new file in one command.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v copy -ac 1 mono-output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here &lt;code&gt;-ac 1&lt;/code&gt; says 1 audio channel, downmixed from stereo, look in &lt;a href=&quot;https://trac.ffmpeg.org/wiki/AudioChannelManipulation&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg docs&lt;/a&gt;.&#xA;Now make a loop. Assuming you are using bash or similar unix shell&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for i in *.mp4; do ffmpeg -i $i -c:v copy -ac 1  mono-$i; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="35763" LastActivityDate="2021-08-05T05:19:02.687" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34231" PostTypeId="2" ParentId="33628" CreationDate="2021-08-05T05:51:02.297" Score="1" Body="&lt;p&gt;Why don't map everything&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -i input.aac -i input.srt -map 0:0 -map 0:a:0 -map 2:0 -map 1:a -c copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But it is unclear which one to map, you took different stream each time from the mkv &lt;code&gt;-map 0:0 -map 0:1 -map 0:2&lt;/code&gt; vs &lt;code&gt;-map 0:v -map 0:a:0&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="35763" LastActivityDate="2021-08-05T05:51:02.297" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34232" PostTypeId="2" ParentId="33485" CreationDate="2021-08-05T06:04:44.727" Score="0" Body="&lt;p&gt;To rotate, you can just edit the video metadata. For example the following command produce output that is shown 90 degree rotated in VLC, you may use -90, depending on orientetion of your video.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -metadata:s:v rotate=90 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I don't know but if the player is inept to read and apply this, it mightn't work.&lt;/p&gt;&#xA;" OwnerUserId="35763" LastActivityDate="2021-08-05T06:04:44.727" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34233" PostTypeId="2" ParentId="32506" CreationDate="2021-08-05T06:41:47.577" Score="0" Body="&lt;p&gt;Where possible, it seems best to disable the Intel integrated graphics if you have dual graphics.  Install the latest graphics from Nvidia for the Nvidia graphics card, and Premiere Pro should be good.&lt;/p&gt;&#xA;&lt;p&gt;If you have discrete graphics you might not be able to disable the integrated graphics.  However this also means it doesn't matter if you update the discrete GPU.&lt;/p&gt;&#xA;" OwnerUserId="22062" LastActivityDate="2021-08-05T06:41:47.577" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34235" PostTypeId="2" ParentId="28264" CreationDate="2021-08-05T15:00:54.453" Score="0" Body="&lt;p&gt;Here’s what I have learnt so far about about D-Cinelike:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;It appears to be a DJI proprietary colour profile used on Osmo and Mavic drones. It is similar to a log profile, which flattens colours for greater dynamic range and flexibility when colour grading, although the range is not as wide as log.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Being not as wide as log has pros and cons: compared to log it captures less extremes (bright whites and dark blacks) although you will get more detail in the midrange.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Compared to normal mode, it can be a little harder to determine if you're exposed correctly, since the picture looks less natural and “washed out”&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I found that it’s possible to lower the contrast setting even further (such as down to -3) to get a little wider dynamic range (extra highlights and shadows)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I’m not an expert colour grader, but from what I’ve discovered thus far, the best way to grade D-Cinelike footage (as with log) is via S-curves or highlight/shadow adjustments. You can use LUTs but they tend to be preset for particular scenarios and I find they often don’t fit well with my footage.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;This YouTube video compares D-Log with D-Cinelike:  &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/P8f-Pyzd478?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;br /&gt;&#xA;(the summary: it depends on your situation)&lt;/p&gt;&#xA;" OwnerUserId="6009" LastActivityDate="2021-08-05T15:00:54.453" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34236" PostTypeId="1" CreationDate="2021-08-05T18:44:29.103" Score="0" ViewCount="49" Body="&lt;p&gt;We have a massive 15TiB FCPX Library that takes 20 minutes to open and can only be worked on by one person. How can we edit the metadata, such as descriptions of what's in the clips, and have it sync across Libraries?&lt;/p&gt;&#xA;&lt;p&gt;We've given up and are looking at using a third party tool such the ones below. But we still want to be able to add metadata from a video we see on on the FCPX timeline.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://www.keyflowpro.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.keyflowpro.com/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://videux.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://videux.com/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Text files with metadata&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="25380" LastEditorUserId="25380" LastEditDate="2021-08-05T23:57:23.767" LastActivityDate="2023-12-24T04:04:05.433" Title="Manage video metadata across Final Cut Libraries?" Tags="|final-cut-pro-x|production|metadata|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34237" PostTypeId="2" ParentId="34236" CreationDate="2021-08-05T22:01:06.637" Score="0" Body="&lt;p&gt;If FCPX is reading the meta data only some can be changed as the meta data come from the video file and not from FCPX. So any library you load the video file into should show the same metadata.&#xA;If you change the metadata on the files with a 3rd party it should change in any library you use the file.&#xA;Playing with metadata from a file can cause problems and even make it unreadable.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2021-08-05T22:01:06.637" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34239" PostTypeId="1" CreationDate="2021-08-06T04:19:34.797" Score="0" ViewCount="35" Body="&lt;p&gt;Thanks for taking the time&lt;/p&gt;&#xA;&lt;p&gt;Im looking for the name of type of video/transition where you have many clips from many people saying many words. So you can grab all of the (every word they pronounce) and make a long speech made from many shorts of every person saying 1 one word...&lt;/p&gt;&#xA;&lt;p&gt;I remember one that was made time ago of Obama or Trump (or both)&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;Im making a birthdate video card&lt;/em&gt; :) =)&lt;/p&gt;&#xA;" OwnerUserId="35839" LastActivityDate="2021-08-06T04:19:34.797" Title="Name of type of video about many people saying short words to make a long speech" Tags="|after-effects|final-cut-pro-x|adobe|final-cut-pro|transitions|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34242" PostTypeId="2" ParentId="34180" CreationDate="2021-08-07T05:35:15.923" Score="0" Body="&lt;p&gt;Assuming you have bash or similar *nix shell. If you are on Windows, try using Cygwin, or translate the script to PowerShell.&lt;/p&gt;&#xA;&lt;p&gt;While I haven't tried with ffmpeg, I have came up with a solution that works with ImageMagick, here is the script&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#! /bin/bash&#xA;framecount=$(($(identify -format &amp;quot;%n\n&amp;quot; $1 | head -1)-1))&#xA;startcommand=&amp;quot;magick convert $1 &amp;quot;&#xA;for frameno in {0..$framecount}&#xA;do&#xA;startcommand+=&amp;quot;\( -clone $frameno -modulate 100,100,$(echo $framecount $frameno | awk '{ printf(&amp;quot;%.2f \n&amp;quot;, 200*($2/$1)) }') \) -swap $frameno +delete &amp;quot;&#xA;done&#xA;startcommand+=&amp;quot;-layers OptimizeFrame huecycled-$(basename $1)&amp;quot;&#xA;bash -c $startcommand&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Note that it doesn't work with GraphicsMagick. You can use a for loop to run it over all gifs.&lt;br /&gt;&#xA;&lt;code&gt;for i in *.gif; do huecyclar.sh $i;done&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Explanation:&lt;/strong&gt;&lt;br /&gt;&#xA;Line 1: Get number of frames. -1 for 0-based indexing&lt;br /&gt;&#xA;Line 2: Initial command, invoking convert of IM and the file.&lt;br /&gt;&#xA;For loop: For each frame, add command to clone the frame change hue to 300*(current frame number/number of frame)  but keep same brightness and saturation. 300 means 300% of original or 360 degree &lt;a href=&quot;https://imagemagick.org/script/command-line-options.php#modulate&quot; rel=&quot;nofollow noreferrer&quot;&gt;IM docs on &lt;code&gt;-modulate&lt;/code&gt;&lt;/a&gt;&lt;br /&gt;&#xA;Line 8: Add command to optimise frames and set output name to huecycled-&amp;lt;input filename&amp;gt;.&lt;br /&gt;&#xA;Line 9: Execute the command.&lt;br /&gt;&#xA;Hope it works.&lt;/p&gt;&#xA;&lt;p&gt;Here is a demo. First image is a gif consisting 360 frames, all of same image, rose.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BwMuf.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BwMuf.gif&quot; alt=&quot;Original image&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now this is the output of the script.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WkLiB.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WkLiB.gif&quot; alt=&quot;Modified version with script&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35763" LastEditorUserId="35763" LastEditDate="2021-08-08T15:36:19.990" LastActivityDate="2021-08-08T15:36:19.990" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34245" PostTypeId="2" ParentId="5497" CreationDate="2021-08-07T15:48:25.677" Score="1" Body="&lt;p&gt;tI am building a music box comb ( and everything else ) to make a musicbox. I have found little answers out there but this is what I KNOW from trial and error. Get a cheap , used miter saw blade. and using an angle grinder cut a square or rectangle out of it , ensuring that it does not get hot. Have a spray bottle of water or bowl of water to cool it every few seconds Choose how many notes you will need and with a sharpie and ruler draw lines about 1/8th inch wide but allow for the width or cut of your blade ( 40, ks ) I have used my angle grinder for years and using the  cutoff blade  is second nature... but be careful,  Draw a line at about 60 degrees at an angle for your cut teeth ensuring each one is a bit longer by cutting to that line. Drill 3 holes near the top and bolt it down to a sound carrying box of any kind. You can buy a clip on guitar tuner for under $10 . with that clipped on near the comb pluck a tooth and see what notes you have. By cutting a bit deeper the note will become lower.   Get it close for now. After I have a clean , deburred comb I heat it nearly red hoe and then quickly drop it into water. This tempers the steel. Any blacksmith shop can explain annealing... if you dont know simply lay it in your oven at 499 for a few hours... that will make the steel harder , but not brittle.&lt;/p&gt;&#xA;" OwnerUserId="35861" LastActivityDate="2021-08-07T15:48:25.677" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34246" PostTypeId="1" AcceptedAnswerId="34248" CreationDate="2021-08-07T17:56:30.500" Score="0" ViewCount="480" Body="&lt;p&gt;I'm working on a poker vlog, and I'm creating an overlay to show the cards I'm playing.  The overlay is intended to have a background color (rectangle + background), and two cards (rectangle + background + text).  When I try to merge these 3 things together, the background color I mentioned is disappearing, and only the two cards end up rendering.&lt;/p&gt;&#xA;&lt;p&gt;On the left you can see my rectangular background color, while on the right you can see the result of the merge.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/0Zr1d.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0Zr1d.png&quot; alt=&quot;background &amp;amp; merge&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;These are the nodes I've configured in Fusion:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the 5 nodes in the top-left corner represent the first card,&lt;/li&gt;&#xA;&lt;li&gt;the 5 nodes in the top-right corner represent the second card,&lt;/li&gt;&#xA;&lt;li&gt;the 2 nodes on the middle-left represent the background color,&lt;/li&gt;&#xA;&lt;li&gt;the 1 node on the middle-right represents the &amp;quot;Hole Cards&amp;quot; text.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/KtNRr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KtNRr.png&quot; alt=&quot;nodes&quot; /&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;The Merge1 node seems to bring everything together EXCEPT for the background color nodes, which are suddenly disappearing (as seen on the right of my first screenshot).&lt;/p&gt;&#xA;&lt;p&gt;I suspect I'm doing something wrong with merges or rectangles here, but I'm not sure since I literally just started using the software.  What am I doing wrong here?&lt;/p&gt;&#xA;" OwnerUserId="35862" LastActivityDate="2021-08-08T01:11:00.123" Title="Merging rectangles results in one rectangle disappearing in Davinci Resolve's Fusion" Tags="|davinci-resolve|fusion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34247" PostTypeId="1" CreationDate="2021-08-07T19:30:38.177" Score="0" ViewCount="994" Body="&lt;p&gt;The video converter incorporated in VLC warns me when I select the MKV format with the message: &lt;code&gt;This muxer is not provided by VLC. It could be missing.&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is there an official list of these MKV-related packages?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BBQHA.png?s=256&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BBQHA.png?s=256&quot; alt=&quot;mp4 screenshot&quot; /&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/uvuZN.png?s=256&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uvuZN.png?s=256&quot; alt=&quot;mkv screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm using VLC 3.0.9.2 in an Ubuntu based distro.&lt;/p&gt;&#xA;" OwnerUserId="35865" LastActivityDate="2021-08-08T18:56:11.350" Title="Linux mkv packages for VLC" Tags="|linux|mkv|vlc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34248" PostTypeId="2" ParentId="34246" CreationDate="2021-08-08T01:11:00.123" Score="1" Body="&lt;p&gt;I figured this out.  I didn't realize that the different colored arrows/connectors have different meanings.  There is a background, foreground, and mask connector on each merge (and on other node types as well).  When merging these three items, I was inadvertently making the hole cards background section be a mask instead of a background or foreground, which was not correct.  To solve it, I needed to add an extra merge node in so that I could use the correct background/foreground connectors.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3SX5S.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3SX5S.png&quot; alt=&quot;extra merge node&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35862" LastActivityDate="2021-08-08T01:11:00.123" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34250" PostTypeId="1" CreationDate="2021-08-08T12:32:20.710" Score="0" ViewCount="486" Body="&lt;p&gt;With default configuration there's no sound present.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/5mjI5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5mjI5.png&quot; alt=&quot;davinci resolve preferences&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I've tried different speaker configuration without any difference.&lt;/p&gt;&#xA;" OwnerUserId="24378" LastActivityDate="2024-02-27T06:08:05.937" Title="DaVinci Resolve 16 playback sound not working (Linux)" Tags="|audio|davinci-resolve|linux|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34251" PostTypeId="2" ParentId="34247" CreationDate="2021-08-08T18:49:16.147" Score="1" Body="&lt;p&gt;It is not an issue. VLC has many built-in codecs. MKV is not in them. So VLC rely on &lt;code&gt;libmatroska&lt;/code&gt; to manipulate MKV. As VLC cannot know if you have it installed, it gives a warning. Check if libmatroska is installed or not, using dpkg or apt.&lt;/p&gt;&#xA;" OwnerUserId="35763" LastEditorUserId="35763" LastEditDate="2021-08-08T18:56:11.350" LastActivityDate="2021-08-08T18:56:11.350" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34252" PostTypeId="1" CreationDate="2021-08-09T08:45:16.990" Score="0" ViewCount="620" Body="&lt;p&gt;I have a basic animation in After Effects which I want to export in a white version, a black version, and a colored version with a gradient. A frame of the animation is shown here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FJLBn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FJLBn.png&quot; alt=&quot;Screenshot of composition&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I can link all the fills and strokes of the individual shapes to a Color Control in an adjustment layer and as such easily change the color from black to white, no problem there. However, I am stuck with creating the gradient version of the animation. It is important that the gradient blends well within the different shapes, i.e. all shapes should follow some global gradient so that it seems like it is one shape instead of a collection.&lt;/p&gt;&#xA;&lt;p&gt;I tried putting a gradient ramp in an adjustment layer and link a gradient fill for a shape to that, but I can't link the colors of a gradient fill to the colors of a gradient ramp. I wondered if there is some solution to this.&lt;/p&gt;&#xA;&lt;p&gt;What I want is similar to the feature in Photoshop where you can put a gradient above some shape layer and clip it by holding Alt/Option and clicking between the two layers. If there's some way to do this in Premiere Pro by exporting my animation in black and fixing the colors afterward in Premiere, that's sufficient as well.&lt;/p&gt;&#xA;&lt;p&gt;Is this possible? Any help much appreciated!&lt;/p&gt;&#xA;" OwnerUserId="35873" LastActivityDate="2023-12-27T18:05:10.740" Title="After Effects: gradient overlay on multiple shape layers" Tags="|after-effects|premiere|color-correction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34253" PostTypeId="2" ParentId="34252" CreationDate="2021-08-09T10:38:59.323" Score="0" Body="&lt;p&gt;After some trying out, I found a solution that works for me: I can make a new composition containing my existing composition and an adjustment layer and put a Gradient Ramp on the adjustment layer. Works perfectly!&lt;/p&gt;&#xA;" OwnerUserId="35873" LastActivityDate="2021-08-09T10:38:59.323" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34254" PostTypeId="2" ParentId="23390" CreationDate="2021-08-09T15:08:50.320" Score="1" Body="&lt;p&gt;Well, now the default behavior of current/latest ffmpeg via:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;c:\sbin\ffmpeg.exe -i &amp;quot;D:\video.m4s&amp;quot; -i &amp;quot;\audio.m4s&amp;quot; -c:v copy -c:a copy &amp;quot;D:\combined.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;is padding/looping the last frame of the video until &lt;code&gt;audio.length&lt;/code&gt; === &lt;code&gt;video.length&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;See if this is acceptable for you.&lt;/p&gt;&#xA;&lt;p&gt;For details behavior:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;if (&lt;code&gt;audio.length&lt;/code&gt; &amp;lt; &lt;code&gt;video.length&lt;/code&gt;), then pad the audio with silent, so that &lt;code&gt;audio.length === video.length&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;if (&lt;code&gt;audio.length&lt;/code&gt; &amp;gt; v&lt;code&gt;ideo.length&lt;/code&gt;), then pad the video with the last frame of this video, so that &lt;code&gt;audio.length === video.length&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="35876" LastActivityDate="2021-08-09T15:08:50.320" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34257" PostTypeId="2" ParentId="24948" CreationDate="2021-08-10T19:28:17.143" Score="0" Body="&lt;p&gt;The idea is to be able to stream the data and play it on a dumb device (such as a &amp;quot;DVD Player&amp;quot;). The dumb device is generally going to use as little hardware as possible, so for sure, you wouldn't have enough memory to decompress the entire movie then play it back. Plus that would take forever to get started. The &lt;em&gt;streaming&lt;/em&gt; concept means you want the data to be played as it comes in.&lt;/p&gt;&#xA;&lt;p&gt;My understanding of H.264 is that you have one frame called an I-Frame which you can decompress on its own. This is essentially a JPEG image within your movie file.&lt;/p&gt;&#xA;&lt;p&gt;The following frames are going to be P-Frames which make use of the previous frame to generate the new frame. More or less, if only a character is moving on your screen, you &lt;em&gt;just&lt;/em&gt; need to erase the character where it was and render it were it's now. The rest of the screen can remain unchanged. In that case, you can very much compress the image data of that one frame (i.e. an I-Frame may be 250Kb in a 4K movie whereas a P-Frame could be as small as 2Kb).&lt;/p&gt;&#xA;&lt;p&gt;Further, the H.264 compression scheme supports B-Frames (Bidirectional). This is a bit more complicated. It means a frame can only be decompressed after some future frame gets decompressed. This means the device decompressing frames needs to be able to cache more decompressed frames than just the last I-Frame and the last P-Frame (and as far as I know, P-Frames may reference older P-Frames than the one just before).&lt;/p&gt;&#xA;&lt;p&gt;Each decoder will have limits to what it can do. For Example, I'm using Jetsons to create an embedded system and they only support video compressed in 4:2:0 (2 chroma bytes for every 4 pixels). The number of buffers that a decoder has and whether B-Frames are supported are other features that may or may not work depending on the decoder.&lt;/p&gt;&#xA;" OwnerUserId="30687" LastActivityDate="2021-08-10T19:28:17.143" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34260" PostTypeId="2" ParentId="29715" CreationDate="2021-08-11T09:19:28.350" Score="1" Body="&lt;p&gt;This is tricky to solve with a single camera shot  - your projector probably needs a darkened room to get decent contrast.  You need to balance the exposure as best you can between the speaker and the image.&lt;/p&gt;&#xA;&lt;p&gt;I would suggest that if you're making a video with the speaker visible, you probably want to prioritise being able to see the speaker more than the projection image (otherwise why bother filming them?).&lt;/p&gt;&#xA;&lt;p&gt;If you light the presenter separately from the projector and at a distance from the screen so the light doesn't spill onto it, you will have a better chance at getting them both visible.&lt;/p&gt;&#xA;&lt;p&gt;But another way to do it would be to just film the speaker with your camera, and take a copy of the presentation (either during the presentation or afterwards), and edit it into the video afterwards at appropriate points.&lt;/p&gt;&#xA;&lt;p&gt;This gives you the best of both worlds, and doesn't require a second camera, but does require more post-production editing time.&lt;/p&gt;&#xA;&lt;p&gt;The final suggestion is that sound is as important as pictures in these videos.  You can get away with a slightly dodgy shot of a speaker if their sound is good.  But if the sound is echoey and indistinct, few people will persevere with a long lecture.&lt;/p&gt;&#xA;&lt;p&gt;Record the speaker with a clip mic attached to a phone - even a pair of apple wired headphones work ok for this.  Clip it as close to the top of their shirt as you can without rubbing against them.  Plug it into a spare phone and record it as a voice memo.  Sync the audio and video up later when you add the presentation images.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-08-11T09:19:28.350" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34261" PostTypeId="1" CreationDate="2021-08-11T15:31:56.737" Score="0" ViewCount="214" Body="&lt;p&gt;I've been using kdenlive to make videos on ubuntu for a while and the screen grab has been fine but, for some reason (probably something I did to try to get the desktop start button to work on ubuntu 20.04) my display has changed from &lt;code&gt;:0&lt;/code&gt; to &lt;code&gt;:1&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have been able to muddle on by starting screen capture in a terminal with&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -video_size 1306x745 -framerate 25 -f x11grab -i :1.0+60,23 ./scrgrab01.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then importing each of the clips into kdenlive. But it's a bit messy having to edit a terminal command and remember which clip is which. Also I have now set up a desktop computer with more muscle and want to use that for rendering but that too has the display &lt;code&gt;:1&lt;/code&gt; not &lt;code&gt;:0&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I tried going into &lt;code&gt;configure&lt;/code&gt;-&amp;gt;&lt;code&gt;capture&lt;/code&gt;-&amp;gt;&lt;code&gt;manage encoding profiles&lt;/code&gt; and trying to add ffmpeg arguments like&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;-crf 25 -i :1.0+60,23 -vcodec libx264 -preset veryfast -threads 0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;(and lots of different permutations of that) But nothing has worked so far.&lt;/p&gt;&#xA;&lt;p&gt;Is there something really obvious that I have overlooked?&lt;/p&gt;&#xA;" OwnerUserId="35900" LastActivityDate="2022-05-12T01:26:18.773" Title="kdenlive screen grab on ubuntu stopped working with display changing from :0 to :1" Tags="|video-capture|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34262" PostTypeId="1" CreationDate="2021-08-11T17:14:37.120" Score="1" ViewCount="15" Body="&lt;p&gt;What are the steps necessary to create this?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://twitter.com/RedGiantNews/status/1425145716675125251&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://twitter.com/RedGiantNews/status/1425145716675125251&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Specifically how do you use the built in fractal noise plugin to create what looks like volumetric smoke effects in Lux? (And how do you get the text to appear as a black shadow before the third light comes on).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-08-11T17:14:37.120" Title="Using Knoll Light Factory and AE's Fractal Noise to improve volumetric lighting in Trapcode Lux" Tags="|after-effects|plugins|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34264" PostTypeId="1" CreationDate="2021-08-12T13:29:38.997" Score="1" ViewCount="26" Body="&lt;p&gt;I am a professor at the university. I have been recording my lectures and using Kdenlive for editing. See &lt;a href=&quot;https://www.youtube.com/playlist?list=PLMG2ETzS-iy80kspoqaE2bgLWvZFf9i3u&quot; rel=&quot;nofollow noreferrer&quot;&gt;this example of my videos&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I am starting a new course, and this time I will have more time to do the editing. I would like to be able to, at a certain time, substitute my background (the wall and the white board) by some image (a slide with mathematical content made with &lt;a href=&quot;https://en.wikipedia.org/wiki/Beamer_(LaTeX)&quot; rel=&quot;nofollow noreferrer&quot;&gt;beamer&lt;/a&gt;).&lt;/p&gt;&#xA;&lt;p&gt;Is it possible with Kdenlive?&lt;/p&gt;&#xA;&lt;p&gt;It would be nice if, for example, I could use a keyframe where I do not appear as a map on what to erase. Of course, I would have to shave off the writing on the board. I thought of, for example, computing the difference and changing the color balance to make myself white and the background black, so I could use the result as some sort of mask.&lt;/p&gt;&#xA;&lt;p&gt;I am new with Kdenlive and video editing in general. Is this a good approach? How exactly can I do it in Kdenlive?&lt;/p&gt;&#xA;" OwnerUserId="35906" LastActivityDate="2021-08-12T13:29:38.997" Title="Kind of &quot;chroma key&quot; using a key frame" Tags="|chromakey|kdenlive|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34265" PostTypeId="1" AcceptedAnswerId="34280" CreationDate="2021-08-12T18:44:02.227" Score="0" ViewCount="343" Body="&lt;p&gt;I'm quite new to the world of FFmpeg and video editing tools, but I essentially need to change the hash of a large set of videos that are organized in folders and subfolders and the easiest way I've come into is remuxing and/or re-encoding the video. Currently, I am using the program HandBrake to bulk re-encode videos in each folder from a &lt;code&gt;.mp4&lt;/code&gt; to a &lt;code&gt;.mkv&lt;/code&gt; and that has done the trick. However, it is practically infeasible to do this for every single subfolder with hundreds of video files in each folder.&lt;/p&gt;&#xA;&lt;p&gt;I have used FFmpeg briefly before and I'm wondering how I can best automate FFmpeg to search through each folder and its subfolders, find each &lt;code&gt;.mp4&lt;/code&gt; video, re-encode it to a &lt;code&gt;.mkv&lt;/code&gt;, and then save it under the same name and path as the original video.&lt;/p&gt;&#xA;&lt;p&gt;I've been reading through FFmpeg documentation to determine how this can be done, but I'm wondering if anyone here is experienced enough in FFmpeg to lend me a helping hand. Thank you very much&lt;/p&gt;&#xA;" OwnerUserId="35911" LastEditorUserId="3138" LastEditDate="2021-08-22T19:07:49.913" LastActivityDate="2024-01-17T11:17:35.270" Title="Bulk re-muxing/re-encoding with ffmpeg in multiple folders" Tags="|ffmpeg|windows|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34269" PostTypeId="1" CreationDate="2021-08-13T06:10:21.537" Score="1" ViewCount="60" Body="&lt;p&gt;Is it possible to have motion, scale and position, that is, zooming in in parts of the video, in an adjustment layer in Premiere Pro? I tried it and it seems the effects I add to the adjustment layer from the list of effects apply to the video, but the motion changes don't. Am I doing something wrong?&lt;/p&gt;&#xA;" OwnerUserId="19382" LastActivityDate="2021-08-13T06:10:21.537" Title="Motion in an adjustment layer in Premiere Pro" Tags="|premiere|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34272" PostTypeId="1" AcceptedAnswerId="34289" CreationDate="2021-08-13T18:27:40.680" Score="0" ViewCount="411" Body="&lt;p&gt;I'm using DaVinci Resolve 17 and on the Deliver page, the timeline panel takes up half the screen vertically (because I have a small monitor). It doesn't seem to be possible to shrink it with the cursor, so I'd like to hide it. But I can't find an option to do so in the View or Workspace menus. Is there some not-very-obvious way to hide it?&lt;/p&gt;&#xA;" OwnerUserId="35929" LastActivityDate="2021-08-18T22:51:37.730" Title="DaVinci Resolve: How to hide the timeline in the Deliver page" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34274" PostTypeId="1" CreationDate="2021-08-14T06:21:23.913" Score="0" ViewCount="305" Body="&lt;p&gt;According &lt;a href=&quot;https://video.stackexchange.com/questions/12105/add-an-image-overlay-in-front-of-video-using-ffmpeg&quot;&gt;this&lt;/a&gt; I try to put two pictures on video&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i photo01.jpg -i photo02.jpg  -filter_complex &amp;quot;[0:v][1:v] overlay=25:25:enable='between(t,10,20)';[0:v][2:v] overlay=25:25:enable='between(t,25,35)'&amp;quot; -pix_fmt yuv420p -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;no errors, but it shows only the first image, and the second is not show up.&lt;/p&gt;&#xA;" OwnerUserId="35933" LastEditorUserId="18155" LastEditDate="2021-08-14T18:05:12.737" LastActivityDate="2024-01-07T16:01:10.140" Title="Put two or more images on video" Tags="|ffmpeg|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34276" PostTypeId="2" ParentId="32638" CreationDate="2021-08-14T15:20:26.380" Score="1" Body="&lt;p&gt;It depends on the type of production and on the local traditions.&lt;/p&gt;&#xA;&lt;p&gt;In the late fifties, the &amp;quot;&lt;a href=&quot;https://en.wikipedia.org/wiki/French_New_Wave&quot; rel=&quot;nofollow noreferrer&quot;&gt;Nouvelle Vague&lt;/a&gt;&amp;quot; in France and then in many other European countries changed the way many feature films were made. This was also made possible by new equipment like silent cameras, the portable Nagra sound recorder, and more light sensitive film material.&lt;/p&gt;&#xA;&lt;p&gt;Since then, most features films in the countries influenced by this tradition use the direct sound recorded on stage. They only use dubbing exceptionally in scenes where the direct sound could not be used for whatever reason.&lt;/p&gt;&#xA;&lt;p&gt;Other countries however, like the US, mostly use the direct sound as guide and do dubbing afterwards. But maybe that is only the case on big productions, and indie films are done differently.&lt;/p&gt;&#xA;" OwnerUserId="3138" LastActivityDate="2021-08-14T15:20:26.380" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34277" PostTypeId="1" CreationDate="2021-08-14T21:03:46.533" Score="0" ViewCount="181" Body="&lt;p&gt;I work with video creation, animation, or fix video elements for several broadcasters in my area. My pipeline includes ffmpeg suite of libraries, and I have written one plugin specifically for ffmpeg to take care of one of the elements of my video editing.&lt;/p&gt;&#xA;&lt;p&gt;One thing I found myself struggling with is to preserve the format of the original video, and since this is one of the requirements to return edited video in the same format as the source, my biggest challenge is to:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;programmatically extract parameters of the source video (I use ffprobe)&lt;/li&gt;&#xA;&lt;li&gt;run my editing pipeline, one of which is my ffmpeg-plugin, then&lt;/li&gt;&#xA;&lt;li&gt;re-compress the video using the parameters extracted in step 1.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I've managed to automate big part of steps 1 &amp;amp; 3 with python, and I have a series of calls to extract elements of each video, my code  looks like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;color_string = 'ffprobe -v error -select_streams v:0 -show_entries stream=' \&#xA;                   'color_space,color_primaries,color_range -of default=nw=1:nk=1 &amp;quot;' + filename + '&amp;quot;'&#xA;# following running of subprocess:&#xA;color = subprocess.run(color_string, shell=True, capture_output=True)&#xA;# then parse:&#xA;color_array = str(color.stdout).split('\\n')&#xA;    color_primaries = color_array[1]&#xA;    color_range = color_array[2]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The problem is, every broadcaster uses their own coding standards, and while I don't care about audio at all, meaning, I can -c:a copy,  all the video parameters are different from broadcaster to broadcaster.&#xA;progressive/interlaced, DVCPRO which sometimes includes screen sizes of 1280x1080 (which drives me insane), prores with all its profiles and even deeper with -qscale and -bits_per_mb options, some codecs have vtag and some don't, and there are about 100+ others. And my list of ffprobe queries keeps growing, I have about 1k lines of extraction and then putting it all together for ffmpeg to run.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;My question is&lt;/strong&gt;, is there a library to extract video parameters from a source, then once the processing is done, use that library to populate all the arguments for ffmpeg?&#xA;As it turned out, I'm building one for myself, but I have a feeling I'm wasting my time.&lt;/p&gt;&#xA;&lt;p&gt;I know that many adobe applications use this logic, and provide an option to preserve source on re-encoding a video, but I am building one with python, and I believe this would be a great utility application as an open source, since there are simply too many options to consider for one person.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;I originally posted this question on superuser site, and was advised by&lt;/em&gt; @Tetsujin &lt;em&gt;to migrate my question to this site, since it is specifically video related.&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="35938" LastActivityDate="2021-08-17T04:02:56.997" Title="ffmpeg and ffprobe existing library or an add-on, pros/cons of building one myself" Tags="|ffmpeg|codec|compression|ffprobe|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34278" PostTypeId="2" ParentId="33402" CreationDate="2021-08-15T12:47:16.627" Score="1" Body="&lt;p&gt;Do not use ts, use mp4. MPEG-TS (.ts) and mkv default to VFR, while mp4 defaults to cfr. &lt;a href=&quot;https://trac.ffmpeg.org/wiki/ChangingFrameRate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/ChangingFrameRate&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;That is this bug. &lt;a href=&quot;https://trac.ffmpeg.org/ticket/4768&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/ticket/4768&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26140" LastActivityDate="2021-08-15T12:47:16.627" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34279" PostTypeId="2" ParentId="28134" CreationDate="2021-08-15T21:20:54.280" Score="1" Body="&lt;p&gt;I'm not sure you gathered the spirit of that article as intended. The author's point was to describe &amp;quot;capping&amp;quot; or constraining the CRF setting by creating a bandwidth ceiling per frame. The purpose of which is to constrain/limit the overall file size to a pre-defined maximum. This forcibly limits the freedom of the CRF algorithm with respect to its upper limit of bits-per-frame.&lt;/p&gt;&#xA;&lt;p&gt;Now, take that concept and think about applying ffmpeg's 2-pass model to it. Running 2-pass on capped CRF (aka Constrained CRF) is redundant and a waste of time. First, how would you constitute the 2nd pass? If you repeat the first pass logic, you'll likely attain a smaller target file, but you'll also likely dilute the overall image quality to some extent. The target file size will still have the same maximum possible size it had before. The 2nd pass will almost undoubtedly take longer to process than the first pass, because of how the 2-pass process works in ffmpeg, and the fact you'll be compressing already compressed images again.&lt;/p&gt;&#xA;&lt;p&gt;Overall, it's just plain a bad idea. It's a time waster and you'd likely end up with worse quality versus the first pass result. Best case scenario, they will look the same. If file size is your top priority, you need to move away from H.264 and choose a more recent codec library optimized for compression (such as h.265/HEVC or VP9, possibly AV1). Constrained CRF is not a poor idea at all, but attempting to run 2-pass encoding with it is.&lt;/p&gt;&#xA;" OwnerUserId="32394" LastActivityDate="2021-08-15T21:20:54.280" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34280" PostTypeId="2" ParentId="34265" CreationDate="2021-08-16T20:48:01.553" Score="0" Body="&lt;p&gt;If you are on Windows use WSL (it might be Ubuntu) and then something similar as mivik mentioned.&lt;/p&gt;&#xA;&lt;p&gt;cd TOP_DIRECTORY; find . -type f -iname &amp;quot;*.mp4&amp;quot; -exec ffmpeg -y -i '{}' -c:a copy -c:v libx264 -preset fast -profile:v baseline -pix_fmt yuv420p '{}.mkv' ;&lt;/p&gt;&#xA;" OwnerUserId="34894" LastActivityDate="2021-08-16T20:48:01.553" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34281" PostTypeId="2" ParentId="22800" CreationDate="2021-08-16T22:45:45.463" Score="0" Body="&lt;p&gt;2nd question: RGB JPEG can use all kinds of subsamplings, including 4:2:0 with &amp;quot;center&amp;quot; G, B siting. It makes little sense, since we have better vision in green.&lt;/p&gt;&#xA;" OwnerUserId="26140" LastActivityDate="2021-08-16T22:45:45.463" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34282" PostTypeId="2" ParentId="34277" CreationDate="2021-08-17T04:02:56.997" Score="1" Body="&lt;p&gt;ffprobe can output json, making it a lot simpler:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;import json&#xA;from subprocess import run, PIPE, DEVNULL&#xA;import sys&#xA;&#xA;def ffprobe_json(filename):&#xA;    proc = run(&#xA;        [ &amp;quot;ffprobe&amp;quot;, &amp;quot;-hide_banner&amp;quot;, &amp;quot;-print_format&amp;quot;, &amp;quot;json&amp;quot;, &amp;quot;-show_format&amp;quot;, &amp;quot;-show_streams&amp;quot;, filename ],&#xA;        stdin=DEVNULL, stdout=PIPE, stderr=PIPE&#xA;    )&#xA;    proc.check_returncode()&#xA;    return json.loads(proc.stdout.decode(sys.getdefaultencoding()))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32358" LastActivityDate="2021-08-17T04:02:56.997" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34283" PostTypeId="1" AcceptedAnswerId="34333" CreationDate="2021-08-17T16:18:16.657" Score="0" ViewCount="23" Body="&lt;p&gt;How to transfer huge videos from dslr to iPad quickly without wireless transfer and also without the usb?&#xA;I have a canon camera.&lt;/p&gt;&#xA;" OwnerUserId="35173" LastActivityDate="2021-09-02T11:46:19.590" Title="How to transfer huge files from dslr to ipad" Tags="|dslr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34284" PostTypeId="1" CreationDate="2021-08-17T16:34:58.463" Score="1" ViewCount="3650" Body="&lt;p&gt;We would like to overlay an image throughout the whole video file we have. We no longer have access to the original source, so need to modify the video we have. The current video is in MP4 format.&lt;/p&gt;&#xA;&lt;p&gt;The way we are thinking of going about it is taking an image, in PNG format with transparency, in the same dimensions of the video and then combining it with the source video to create the output we need.&lt;/p&gt;&#xA;&lt;p&gt;Can anyone suggest how to go about this with ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="23853" LastActivityDate="2024-01-14T02:03:35.460" Title="Overlay transparent image (png) over video (mp4) with ffpmeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34285" PostTypeId="2" ParentId="25729" CreationDate="2021-08-17T17:27:31.667" Score="1" Body="&lt;p&gt;I guess you cannot copy the video codec as you are changing the video profile, using this command worked for me&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -acodec copy -profile:v high -level 4.0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here I am only copying audio codec.&lt;/p&gt;&#xA;" OwnerUserId="35957" LastActivityDate="2021-08-17T17:27:31.667" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34289" PostTypeId="2" ParentId="34272" CreationDate="2021-08-18T22:51:37.730" Score="1" Body="&lt;p&gt;You can’t.  In Resolve, all of the main panels you can hide or un-hide are listed in tabs across the top of the screen.  So, you can hide the clips view for example, but not the timeline.&lt;/p&gt;&#xA;&lt;p&gt;There are some sub-panels on the color page that expand and collapse by other means, but for the most part Resolve’s layout is less flexible than many NLE’s, but this is by design.  If your monitor meets Resolve’s minimum resolution specs and you still feel encumbered, you should submit a feature request or bug report to Blackmagic.  They are typically more receptive to user feedback than other NLE developers.&lt;/p&gt;&#xA;&lt;p&gt;Most of the panels also have a button to toggle whether they occupy the full screen height. The Render Settings and Render Queue panels both support this on the Deliver page.  The buttons are directly adjacent to each tab, respectively.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-08-18T22:51:37.730" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34290" PostTypeId="2" ParentId="33829" CreationDate="2021-08-19T11:35:53.610" Score="0" Body="&lt;p&gt;Even easier, apply BOTH the timecode effect AND the Clip Name effect to the transparent clip and assign V1 or whatever you want.&lt;/p&gt;&#xA;" OwnerUserId="35980" LastActivityDate="2021-08-19T11:35:53.610" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34291" PostTypeId="1" CreationDate="2021-08-19T18:23:26.477" Score="0" ViewCount="22" Body="&lt;p&gt;Ill make this as quick as possible. I recorded with obs, used ffmpeg to convert from .mkv to .mp4 with 3 audio tracks in .aac&lt;/p&gt;&#xA;&lt;p&gt;Command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;@echo off &amp;amp; setlocal enabledelayedexpansion&#xA;for %%v in (&amp;quot;*.mkv&amp;quot;) do (&#xA;  set FileName=%%v&#xA;  set name=!FileName:~0,-4!&#xA;&#xA;  set outname=C:\Users\Ashto\Videos\actual obs\!name!&#xA;  echo Remuxing: !name! to !outname!&#xA;&#xA;  ffmpeg -i &amp;quot;!FileName!&amp;quot; -map 0:v -c copy &amp;quot;!outname!.mp4&amp;quot; -map 0:a:0 -c copy &amp;quot;!outname!_0.aac&amp;quot; -map 0:a:1 -c copy &amp;quot;!outname!_1.aac&amp;quot; -map 0:a:2 -c copy &amp;quot;!outname!_2.aac&amp;quot;&#xA;)&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;After doing this, for the first bit of footage I got a video output of 24:31, which was correct. However the first audio track was 23:04, the second audio track was almost 12 hours (it was just looped) and the 3rd was 24:39. The second bit of footage wasn't as extreme, however the 3rd audio track for it was missing 10 minutes of audio. If anyone knows why, I would love to know.&lt;/p&gt;&#xA;" OwnerUserId="35982" LastActivityDate="2021-08-19T18:23:26.477" Title="FFMPEG Audio Stream lengths" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34294" PostTypeId="2" ParentId="34274" CreationDate="2021-08-20T10:06:24.713" Score="0" Body="&lt;p&gt;So i find solution, making a chain&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i image.png -i image2.png  -filter_complex &amp;quot;[0:v][1:v] overlay=25:25:enable='between(t,1,10)'[1];[1][2:v] overlay=25:25:enable='between(t,15,25)'&amp;quot; -pix_fmt yuv420p -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="35933" LastActivityDate="2021-08-20T10:06:24.713" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34295" PostTypeId="1" CreationDate="2021-08-20T10:55:12.777" Score="0" ViewCount="705" Body="&lt;p&gt;I'm making a preset for my video projects. It's a shape layer that takes dimensions from a text layer, so the text fits accurately in the shape.&lt;/p&gt;&#xA;&lt;p&gt;For this, I'm doing the following:&lt;/p&gt;&#xA;&lt;p&gt;Shape Layer &amp;gt; Contents &amp;gt; Box &amp;gt; Box shape (X, Y in pixels) &amp;gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;width = thisComp.layer(&amp;quot;Text&amp;quot;).sourceRectAtTime().width;&#xA;height = thisComp.layer(&amp;quot;Text&amp;quot;).sourceRectAtTime().height;&#xA;&#xA;[width, height]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Wich, as I said, it makes the text fit in the box. It works all fine here.&#xA;What I want to do is to animate the shape's dimensions (X and Y property, as said above) using keyframes instead of &lt;code&gt;linear()&lt;/code&gt; or other expressions. I want to modify only one specified keyframe (in this case, the last one).&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance!&lt;/p&gt;&#xA;" OwnerUserId="12377" LastActivityDate="2024-03-17T07:04:30.540" Title="Change single keyframe value using expressions" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34297" PostTypeId="2" ParentId="29360" CreationDate="2021-08-20T21:05:41.133" Score="0" Body="&lt;p&gt;I use 21.08.0 sometimes when the render is still there. I've found that if restarting the program and opening the project file, Kdenlive will display a file search screen after searching for the file. The image returned to normal.&lt;/p&gt;&#xA;" OwnerUserId="35996" LastActivityDate="2021-08-20T21:05:41.133" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34298" PostTypeId="1" CreationDate="2021-08-21T09:28:00.097" Score="2" ViewCount="90" Body="&lt;p&gt;I develop an application to record from multiple high-speed (e.g. 200 fps) cameras simultaneously. Typically, the frame rate of these cameras is constant but this is not necessarily the case. Typically, these cameras have synchronized acquisition (from a trigger &amp;quot;GenLock&amp;quot; cable) but this is not necessarily the case. Up to now, I use a self-developed method for ensuring accurate timing is kept across the video clips saved from the different cameras (described below). This works but I would like to use standard tools to be able to open my multi-camera data and have the clips automatically synchronized. Is there a standard to store multi-camera high-speed video so that the relative timing between the cameras and individual frames is maintained?&lt;/p&gt;&#xA;&lt;p&gt;I understand that timecode tracks in the clips may be able to fill this role nicely for &amp;quot;normal&amp;quot; video. These generally seem to use the &lt;a href=&quot;https://en.wikipedia.org/wiki/SMPTE_timecode&quot; rel=&quot;nofollow noreferrer&quot;&gt;SMPTE&lt;/a&gt; standard. While I have not used this method myself, I am concerned that only common frame rates (like 24, 25, 29.97 and 30 fps) are supported, especially across different software. I have also read a little bit about the &lt;a href=&quot;https://en.wikipedia.org/wiki/IRIG_timecode&quot; rel=&quot;nofollow noreferrer&quot;&gt;IRIG&lt;/a&gt; standard, but I have also not used it.&lt;/p&gt;&#xA;&lt;p&gt;Does an existing standard file format fill the role I need? Is there a some established solution which may not be &amp;quot;standard&amp;quot;? Can you point me to any example videos stored with relevant data and any example applications which can open such data? Does the solution allow for variable frame rate, or is the frame rate fixed? Ideally, the solution would involve open standards and would be widely compatible and understood by various software.&lt;/p&gt;&#xA;&lt;p&gt;Here I describe my existing solution. I save video from each camera in a separate file using the MKV format which has the (unique among container formats?) characteristic that the &amp;quot;creation time&amp;quot; in the metadata can be specified to the nanosecond level. This is what I do for the first frame. (I additionally save this information redundantly by making the automatically calculated filename have the creation time also to a high precision.) Then, each subsequent frame uses the PTS (presentation time stamp) to indicate the time it was taken relative to the first frame. This works nicely and individual videos are compatible with existing tools like FFMPEG and VLC. However, this scheme is fragile. Many standard video editing programs (e.g. DaVinci Resolve) do not open MKV files and the creation time metadata is saved only to the second (not nanosecond) upon conversion to MP4 container and consequently I loose synchronization across multiple cameras if I convert them to MP4 containers.&lt;/p&gt;&#xA;" OwnerUserId="32679" LastActivityDate="2021-09-27T08:00:53.150" Title="Is there a standard for multi-camera, high-speed video?" Tags="|file-formats|sync|multi-camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34302" PostTypeId="1" CreationDate="2021-08-23T00:37:06.853" Score="2" ViewCount="29" Body="&lt;p&gt;im struggling to edit the template of an intro. Im quite new to adobe after effects, ideally i want to change the logo and text. Ive managed to change the text underneath the logo but no the logo itself. I tried to remove the logo, but it says &amp;quot;Are you sure, this logo is used in 10 other compositions&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://motionarray.com/after-effects-templates/glitch-logo-476737/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://motionarray.com/after-effects-templates/glitch-logo-476737/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JIhu5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JIhu5.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36012" LastActivityDate="2023-04-17T10:05:23.487" Title="Adobe after effects edit templates" Tags="|after-effects|adobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34310" PostTypeId="1" CreationDate="2021-08-24T21:30:11.970" Score="2" ViewCount="520" Body="&lt;p&gt;Is it possible to remove &lt;em&gt;only&lt;/em&gt; image based subtitles using ffmpeg? I know that you can manually select/exclude streams using -map, however I'm trying to automate this process, and the input files have a mix of image based subtitles (pgssubs) and text based subtitles. Since I'm trying to encode to an MP4 container, the image based subtitles are incompatible.&lt;/p&gt;&#xA;" OwnerUserId="36035" LastActivityDate="2021-10-03T13:05:50.620" Title="Using ffmpeg to strip image based subtitles" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34311" PostTypeId="2" ParentId="29312" CreationDate="2021-08-25T19:20:05.837" Score="0" Body="&lt;p&gt;3 Steps! I was having issues and was able to solve it by rendering in Adobe Media Encoder with the following settings/steps:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;When ready to export, in AE go to &amp;quot;File &amp;gt; Export &amp;gt; Add to Media Encoder Queue&amp;quot;. Media Encoder should automatically open (if not already open) and add your AE file to it's queue.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In the Media Encoder queue where your AE file is listed there are two sections with drop down arrows next to them. Click the first arrow and pick &amp;quot;Quicktime&amp;quot; from the drop down menu.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Then click the second drop down arrow and pick &amp;quot;Apple ProRes 4444 with Alpha&amp;quot; from that drop down menu.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Done! You can click the file path to the right to name your rendered file and choose where it will be saved.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="36045" LastActivityDate="2021-08-25T19:20:05.837" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34312" PostTypeId="1" AcceptedAnswerId="34324" CreationDate="2021-08-25T19:23:44.047" Score="1" ViewCount="58" Body="&lt;p&gt;I'm creating a video that will display in a specific zone on our home page that is not a standard 16:9 dimension, (it's 1920x539, shorter from top to bottom than usual).&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to embed this into the homepage without seeing the added black bars on top and bottom?&lt;/p&gt;&#xA;&lt;p&gt;I entered the video's actual dimensions of 1920x539 in the embed code HTML copied from YouTube, but, while the thumbnail displayed perfectly filling up the 1920x539 space, once you hit the play button, the video displays shrunken down with lots of black space around the ages.&lt;/p&gt;&#xA;&lt;p&gt;Any tips?&lt;/p&gt;&#xA;&lt;p&gt;(I know I can host the video myself, but I'm hoping to benefit from YouTube's handling of automatically providing the proper bitrate to users on slow connections, which our audience is likely to have.)&lt;/p&gt;&#xA;" OwnerUserId="36044" LastActivityDate="2021-08-31T07:55:34.520" Title="Are Custom Dimensions for YouTube Videos Possible?" Tags="|webvideos|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34313" PostTypeId="1" CreationDate="2021-08-26T10:41:02.043" Score="0" ViewCount="2699" Body="&lt;p&gt;When I use ffmpeg straight forward like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 'playlist.m3u8' -c copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;it searches for current segment (or maybe the last one) and drops all previous.&lt;/p&gt;&#xA;&lt;p&gt;I know that live playlist is a sliding window and contains only the last part of all segments. Even if there are some older segments in a m3u8 file, ffmpeg skips them but I want to download them too. I don't want to start from the very beginning of the stream I just need to prevent that skips.&lt;/p&gt;&#xA;" OwnerUserId="36048" LastEditorUserId="36048" LastEditDate="2021-08-26T11:04:54.300" LastActivityDate="2022-08-08T18:05:55.580" Title="How to force ffmpeg download live m3u8 from the first available segment?" Tags="|ffmpeg|hls|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34314" PostTypeId="2" ParentId="34284" CreationDate="2021-08-26T20:28:40.953" Score="0" Body="&lt;p&gt;Based on answers elsewhere and the docs referenced by Gyan:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \                                                                                                               &#xA; -i inputvideo.mp4 \&#xA; -i inputvideo-mask.png \&#xA; -filter_complex &amp;quot;[1:v]format=argb,geq=r='r(X,Y)':a='1.0*alpha(X,Y)'[zork]; \&#xA;   [0:v][zork]overlay&amp;quot; \&#xA; -vcodec libx264 \&#xA; outputvideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This takes a input video &lt;code&gt;inputvideo.mp4&lt;/code&gt; and the overlay image &lt;code&gt;inputvideo-mask.png&lt;/code&gt;, combines the two and then create the output video &lt;code&gt;outputvideo.mp4&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Note, you can change opacity of the layer by changing the &lt;code&gt;1.0&lt;/code&gt; in the &lt;code&gt;1.0*alpha(X,Y)&lt;/code&gt; part of the parameters, where value is 0.0-1.0. For the other parameters I can't provide more information, without needing to refer to the docs.&lt;/p&gt;&#xA;&lt;p&gt;Tested with ffmpeg 4.4 on macOS 11.4.&lt;/p&gt;&#xA;" OwnerUserId="23853" LastActivityDate="2021-08-26T20:28:40.953" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34316" PostTypeId="1" CreationDate="2021-08-27T06:49:19.203" Score="2" ViewCount="27" Body="&lt;p&gt;This question might sound weird but I've had it for a LONG time.&lt;/p&gt;&#xA;&lt;p&gt;Basically, is it possible to &amp;quot;track and copy&amp;quot; a &lt;strong&gt;zoom&lt;/strong&gt; from a video and save it as a preset, so I can apply it to other videos?&lt;/p&gt;&#xA;&lt;p&gt;For example, you can easily &amp;quot;track and copy&amp;quot; the motion of a video. All you need to do is to place trackers everywhere, and you can then paste that onto another video to make it move exactly the same way.&lt;/p&gt;&#xA;&lt;p&gt;But is the same possible for &lt;em&gt;&lt;strong&gt;zoom?&lt;/strong&gt;&lt;/em&gt; So, for example, can I copy the iconic &amp;quot;zoom into face&amp;quot; zoom of The Office, then use that on another video?&lt;/p&gt;&#xA;&lt;p&gt;I am talking specifically Adobe Premiere Pro or After Effects.&lt;/p&gt;&#xA;&lt;p&gt;This question might already have been asked, but I can't find any - Everything that comes up is simply about &amp;quot;zoom transitions&amp;quot;, not &amp;quot;zoom&amp;quot; itself.&lt;/p&gt;&#xA;&lt;p&gt;Thank you! I wish I can find an answer here!&lt;/p&gt;&#xA;" OwnerUserId="36059" LastActivityDate="2021-08-27T06:49:19.203" Title="How can I &quot;copy&quot; a zoom from another video?" Tags="|after-effects|effects|zoom|presets|premiere-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34317" PostTypeId="1" CreationDate="2021-08-27T08:21:35.930" Score="1" ViewCount="18" Body="&lt;p&gt;I read about optical image stabilization for the first time today.&lt;/p&gt;&#xA;&lt;p&gt;I would like to know if it can also work to remove camera shaking while recording a video.&lt;/p&gt;&#xA;" OwnerUserId="29976" LastActivityDate="2021-08-27T08:21:35.930" Title="Does optical image stabilization also work in video?" Tags="|stabilisation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34320" PostTypeId="1" CreationDate="2021-08-28T02:48:31.880" Score="0" ViewCount="186" Body="&lt;p&gt;Need your expertise. I can't seem to figure out how to delete Scene 07 in Media 3.3 and to reference it to another Media. Is there a way to edit the composition flowchart? Thank you&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zNcKY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zNcKY.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36072" LastActivityDate="2024-01-20T23:03:50.457" Title="Composition Flowchart in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34322" PostTypeId="1" AcceptedAnswerId="34325" CreationDate="2021-08-30T07:48:33.023" Score="2" ViewCount="107" Body="&lt;p&gt;I've created some graphics in Adobe After Effects which have a transparent background. I wish to render these and maintain the transparent background in the final video file so I can easily import them in my editing software. I've looked on the internet and most video tutorials show that QuickTime Animation is used to render transparent video but over the last few years support has been removed from adobe products for that video format (since premiere version 12.1).&lt;/p&gt;&#xA;&lt;p&gt;What video codec/format should I use for my graphics? If QuickTime is still preferable, how should I import it into Premiere Pro?&lt;/p&gt;&#xA;" OwnerUserId="12654" LastActivityDate="2021-08-31T16:19:05.210" Title="Which settings should I use for transparent video?" Tags="|after-effects|premiere|animation-rendering|rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34323" PostTypeId="1" CreationDate="2021-08-31T00:18:31.910" Score="0" ViewCount="124" Body="&lt;p&gt;I'm looking to digitize a couple of Super 8 film reels using what's called a &lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B0785H3FGN&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wolverine&lt;/a&gt; digitizer/converter, which is a device that allows a person to digitize Super 8 film. However, while researching what the reviews had to say, I stumbled upon this paragraph:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[In regard to the image posted by &lt;a href=&quot;https://8mmforum.film-tech.com/cgi-bin/ubb/ultimatebb.cgi?ubb=get_topic;f=1;t=011395;p=12&quot; rel=&quot;nofollow noreferrer&quot;&gt;user&lt;/a&gt; Laurent Bellier on 8mm Forum regarding the Wolverine device] Neat Video and other software plugins can help lessen the prominence&#xA;of the compression artifacts. But they can never recover the detail&#xA;lost to those artifacts in the first place. It's a garbage in-&amp;gt;garbage&#xA;out type situation. The problem with these machines is they produce&#xA;mp4 files that are bitrate-starved. Compression artifacts are the&#xA;result when there is too much detail for the capture settings to&#xA;reproduce accurately. Yes you can make them look a little bit better&#xA;but that does not fix the actual underlying problem: that detail was&#xA;never captured by the wolverine in the first place--it's permanently&#xA;lost.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I'm already somewhat familiar with the concept of bitrate. Bitrate, if I understand correctly, is the amount of information from a video that is being shown on the screen per second. That is why it is generally better to watch a movie on Blu-ray rather than on Netflix because Netflix uses compression algorithms that are much more aggressive since internet speeds are a limiting factors. By watching the Blu-ray version, you are experiencing the movie at a higher &amp;quot;fidelity,&amp;quot; since it's being shown at a higher bitrate. In other words, the Blu-ray offers a &amp;quot;truer&amp;quot; version of the movie compared to the Netflix version.&lt;/p&gt;&#xA;&lt;p&gt;But what I don't understand is what bitrate has to do with MP4 compression artifacts.&lt;/p&gt;&#xA;&lt;p&gt;Also, what is meant by bitrate in the above case?&lt;/p&gt;&#xA;&lt;p&gt;The way the above paragraph uses the word &amp;quot;bitrate,&amp;quot; isn't bitrate the amount of information that is being captured per second from each frame &lt;em&gt;before&lt;/em&gt; the video file is created &lt;em&gt;before&lt;/em&gt; applying MP4 compression?&lt;/p&gt;&#xA;&lt;p&gt;If my understanding of the way the word bitrate is used in the above paragraph is correct, what does the person mean when the person says that the Wolverine device creates MP4 files that are &amp;quot;bitrate-starved&amp;quot;? Does the phrase &amp;quot;bitrate-starved&amp;quot; mean that the device is recording each frame &lt;em&gt;at a low bitrate&lt;/em&gt;?&lt;/p&gt;&#xA;&lt;p&gt;If bitrate-starved means that the device is recording each frame at a low bitrate, what is the cause of this? Is a low bitrate caused by the machine scanning each frame too quickly, resulting in a low bitrate? Is a low bitrate caused by the light source not being bright enough to capture all of the information in each frame resulting in a low bitrate?&lt;/p&gt;&#xA;&lt;p&gt;And, finally, what do MP4 compression artifacts have to do with a low bitrate of an uncompressed video file? Does it have to do with there being too little information (low bitrate) in each frame? Is that what the person means by &amp;quot;bitrate-starved&amp;quot;?&lt;/p&gt;&#xA;&lt;p&gt;I really need help with this. I need to know the pros/cons of buying a consumer device vs. going with a professional service. The consumer device is cheaper but riskier as it uses the sprockets to move the film frame by frame, which can further damage old film.&lt;/p&gt;&#xA;" OwnerUserId="34157" LastEditorUserId="34157" LastEditDate="2021-08-31T03:07:30.000" LastActivityDate="2023-02-12T01:07:15.250" Title="Why would MP4 compression show up as noise because of a low bitrate when digitizing a Super 8 film reel to digital?" Tags="|digitisation|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34324" PostTypeId="2" ParentId="34312" CreationDate="2021-08-31T07:55:34.520" Score="0" Body="&lt;p&gt;Yes, videos with custom dimensions are possible and are displayed without black bars in the embedded player.&lt;/p&gt;&#xA;&lt;p&gt;I have just tested the same and it worked for me. I think the issue is with your video. In my case, there was no need to enter the actual dimensions, the copied embed-code already had it in there. If you see different dimensions I'd say something went wrong during exporting or uploading to YouTube. Maybe the wrong dimensions are stored in metadata, maybe black bars were hard-coded into the video. It's hard to say without more details of your workflow.&lt;/p&gt;&#xA;" OwnerUserId="29988" LastActivityDate="2021-08-31T07:55:34.520" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34325" PostTypeId="2" ParentId="34322" CreationDate="2021-08-31T16:19:05.210" Score="2" Body="&lt;p&gt;I normally use ProRes 4444 set to &amp;quot;RGB + Alpha&amp;quot; and &amp;quot;Millions of Colours+&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cGPbu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cGPbu.png&quot; alt=&quot;screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-08-31T16:19:05.210" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34327" PostTypeId="1" CreationDate="2021-09-01T03:34:50.260" Score="1" ViewCount="83" Body="&lt;p&gt;I have been re-encoding some movies using FFMPEG. I've noticed some movies have the black bars embedded in the video stream, while others don't. Should I keep the black bars in the videos that have them and/or add black bars to the videos that don't have them, or should I use FFMPEG to crop the black bars out? I don't notice any visual difference in any video player I've tested between a film with or without the black bars, so it seems the players are able to display the video properly no matter what.&lt;/p&gt;&#xA;&lt;p&gt;I know the reason why black bars exist (difference in aspect ratio between movie and display), but I fail to see the purpose of having them baked into the video stream. I know some movies (like the Ghostbusters reboot) use that space for visual effects, and so I wouldn't want to crop movies like that, but otherwise, wouldn't it just be a bunch of wasted storage space otherwise if I kept that padding in, or is there some technical reason why I should leave it?&lt;/p&gt;&#xA;" OwnerUserId="36105" LastActivityDate="2021-09-01T04:39:20.007" Title="Keep or Remove Black Bars from Movies?" Tags="|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34328" PostTypeId="2" ParentId="34327" CreationDate="2021-09-01T04:39:20.007" Score="1" Body="&lt;p&gt;It depends on how you intend to watch them, and whether or not the intended player is intelligent enough to recognize the blanking for titles which have them, and whether or not it will alter the aspect ratio of ones that don’t.  Most players today would be fine if you removed the bars, but the best way to know for sure is to test it yourself.  Videos have bars baked in when the destination format isn’t adaptive, and the viewing a/r doesn’t match the original a/r.  If a player can’t detect the presence of bars, but is supplied bars, and it tries to display an a/r other than the one supplied, it will “double window” the material.  Conversely, a player expecting bars, which receives the wrong material will display a cropped image.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-09-01T04:39:20.007" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34329" PostTypeId="2" ParentId="34323" CreationDate="2021-09-01T16:57:06.877" Score="2" Body="&lt;p&gt;I don't own this scanner, but &lt;a href=&quot;https://www.wolverinedata.com/assets/downloads/MovieMaker_PRO_V_3.0_Manual_.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;looking at the specs&lt;/a&gt;, it appears to record in MJPEG mode, scanning one frame at a time.&lt;/p&gt;&#xA;&lt;p&gt;The MJPEG codec records each frame of video as a JPEG image.  So each frame is compressed using JPEG, which is a lossy compression process.&lt;/p&gt;&#xA;&lt;p&gt;It then (I think?) has some software which can take the large MJPEG files and compress them further using mp4 h264? compression.&lt;/p&gt;&#xA;&lt;p&gt;MJPEG is a bit like a flick book of JPEG images - each one is compressed individually - there is no compression across multiple frames.  This means it takes up more space than mpeg-4 compression which does analyse across frames, and so can compress videos further.&lt;/p&gt;&#xA;&lt;p&gt;With all lossy compression systems, the more detail there is an image, the harder it is to compress it efficiently.  So if an image has lots of speckles and noise on it (like old film often does), this will either make the file much larger, or if the compressor is trying to target a given file size, the areas of low detail will become blocky.&lt;/p&gt;&#xA;&lt;p&gt;What &lt;em&gt;doesn't&lt;/em&gt; tend to happen with video compression is added noise.  By noise, I mean randomised pixels at different brightnesses or colours to the desired signal.  Noise tends to be an analogue artefact (e.g. &lt;a href=&quot;https://en.wikipedia.org/wiki/Film_grain&quot; rel=&quot;nofollow noreferrer&quot;&gt;grain in film&lt;/a&gt; or &lt;a href=&quot;https://en.wikipedia.org/wiki/Noise_(video)&quot; rel=&quot;nofollow noreferrer&quot;&gt;transmission noise&lt;/a&gt; (&amp;quot;snow&amp;quot;) in an analogue tv picture).  Digital compression systems are terrible at compressing noisy images because every pixel is different (look at &lt;a href=&quot;https://www.youtube.com/watch?v=P_Oh7HizY5I&amp;amp;ab_channel=bstore&quot; rel=&quot;nofollow noreferrer&quot;&gt;this HBO logo&lt;/a&gt; as a good example).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-09-01T16:57:06.877" CommentCount="16" ContentLicense="CC BY-SA 4.0" />
  <row Id="34331" PostTypeId="1" CreationDate="2021-09-01T21:19:55.160" Score="1" ViewCount="1292" Body="&lt;p&gt;I have a short clip, 10 seconds or so. I'd like to loop in/down the timeline to create a 6-hour video (for sleep music on youtube).&#xA;I can do this in Davinci with the Loop effect in a Fusion composition. Only thing is it takes a very long time to even pre-render and the CPU is maxed for 4+ hours (Macbook Pro w/ 16g).&#xA;Premiere doesn't require that kind of pre-render but I can't find a similar way of repeating. The only answers here are around copy/paste which would take a half hour just to do for this length of video.&#xA;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="36113" LastActivityDate="2024-01-20T19:06:55.837" Title="Repeating/looping a clip in the timeline" Tags="|premiere|davinci-resolve|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34332" PostTypeId="2" ParentId="34331" CreationDate="2021-09-02T10:54:55.567" Score="0" Body="&lt;p&gt;If you have After Effects, you can set a file to loop indefinitely by right clicking the file and selecting Interpret Footage:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gneXb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gneXb.png&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But I suspect rendering out may take longer than premier for a long comp.&lt;/p&gt;&#xA;&lt;p&gt;You may find that copying and pasting over and over in Premiere is quicker (ie paste two copies, copy those, paste four copies, copy those, paste 8 copies, etc etc) is quicker than using AE.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-09-02T10:54:55.567" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34333" PostTypeId="2" ParentId="34283" CreationDate="2021-09-02T11:15:41.310" Score="0" Body="&lt;p&gt;SD card to lightning adapter, unless you have a new M1 iPad Pro, in which case SD card to usb-c, or unless your camera uses something other than SD, such as cfast, in which case you’d use that.  The Apple supplied “Files” app is where you access the card reader, and move the photos to either local or iCloud storage.  No drivers or special software are necessary, only the hardware card reader.  Because the iPad has to supply power to the reader, check user reviews before you purchase.  Some are are less reliable than others. I have one that only works if the iPad is fully charged.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-09-02T11:46:19.590" LastActivityDate="2021-09-02T11:46:19.590" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34334" PostTypeId="2" ParentId="16965" CreationDate="2021-09-02T13:29:18.640" Score="1" Body="&lt;p&gt;ffmpeg overwrites &lt;code&gt;service_name&lt;/code&gt; and &lt;code&gt;service_provider&lt;/code&gt; with default values:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;Service01&lt;/code&gt; and &lt;code&gt;FFmpeg&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;You could overwrite it with the original metadata but first you have to retrieve it:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;i=&amp;quot;input.ts&amp;quot;&#xA;&#xA;# get service_name with ffprobe and store it in a variable&#xA;svc_name=$(ffprobe -hide_banner -v error -show_entries program_tags=service_name -of default=nw=1:nk=1 &amp;quot;${i}&amp;quot;);\&#xA;&#xA;# get service_provider with ffprobe and store it in a variable&#xA;svc_provider=$(ffprobe -hide_banner -v error -show_entries program_tags=service_provider -of default=nw=1:nk=1 &amp;quot;${i}&amp;quot;);\&#xA;&#xA;# add service_name and service_provider to new TS&#xA;ffmpeg -i &amp;quot;${i}&amp;quot; -c copy -copyts -muxdelay 0 -max_delay 0 -map_metadata 0 -metadata service_name=&amp;quot;${svc_name}&amp;quot; -metadata service_provider=&amp;quot;${svc_provider}&amp;quot; output.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Unfortunately ffprobe's &lt;code&gt;program_tags=&lt;/code&gt; doesn't work with &lt;code&gt;service_type&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2021-09-02T13:29:18.640" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34336" PostTypeId="1" CreationDate="2021-09-02T15:52:51.843" Score="0" ViewCount="120" Body="&lt;p&gt;When i was using ffmpeg i use libx264rgb to convert videos.&lt;/p&gt;&#xA;&lt;p&gt;But when I converted a video there was a error.&lt;/p&gt;&#xA;&lt;p&gt;I will put you a video so that you can see what happened.&lt;/p&gt;&#xA;&lt;p&gt;Original:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://archive.org/download/error_202109/Test.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://archive.org/download/error_202109/Test.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://archive.org/download/error_202109/libx264.log&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://archive.org/download/error_202109/libx264.log&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Converted in libx264rgb:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://archive.org/download/error_202109/Test%20%281%29.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://archive.org/download/error_202109/Test%20%281%29.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://archive.org/download/error_202109/libx264rgb.log&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://archive.org/download/error_202109/libx264rgb.log&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;if you could fix the libx264rgb error?&lt;/p&gt;&#xA;" OwnerUserId="36120" LastEditorUserId="36120" LastEditDate="2021-09-02T22:30:00.910" LastActivityDate="2024-01-21T13:04:40.557" Title="ffmpeg libx264rgb error" Tags="|ffmpeg|video|libx264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34337" PostTypeId="2" ParentId="34320" CreationDate="2021-09-02T18:19:50.190" Score="0" Body="&lt;p&gt;You can't edit the flow chart directly, but you can duplicate any comp from the project window, then replace another comp with your duplicate - see this answer: &lt;a href=&quot;https://video.stackexchange.com/questions/26019/how-to-duplicate-composition-and-subcompositions/26024#26024&quot;&gt;How to duplicate composition and subcompositions?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-09-02T18:19:50.190" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34338" PostTypeId="1" AcceptedAnswerId="34351" CreationDate="2021-09-02T19:32:47.807" Score="0" ViewCount="71" Body="&lt;p&gt;I borrowed an Apeman A87 and used it on a road trip. However, the audio came out apparently corrupted except sometimes when filming indoors and with the menu set to the default language of the market the camera was sold in -- i.e., in my case it was Italian, I set it to English because of the incomprehensible Italian translation, no audio, set it back to Italian, got some audio, switched it back to English, no audio again… except that I still got no audio when filming outside with the menu language set to Italian so that's probably not the culprit. Maybe. I don't know what to think anymore.&lt;/p&gt;&#xA;&lt;p&gt;I had a look at the waveforms and the spectra and two things stand out in the corrupted tracks:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;there are relatively large DC-biased sections at the beginning (and sometimes end) of the audio tracks which look to me like some kind of data blocks or markers, and&lt;/li&gt;&#xA;&lt;li&gt;the rest of the tracks contain very high pitched noise, which also sounds like raw data interpreted as audio.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;From one of the SD cards, I also retrieved a small file which reads like so:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ file -k H264.1.TO.BS&#xA;H264.1.TO.BS: JVT NAL sequence, H.264 video @ L 51&#xA;- data&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Anyway, I have two short examples here if anybody want to take a look. These come straight from the SD card, no re-encoding nor anything else.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://andreafranceschini.org/files/apeman/nope.mov&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://andreafranceschini.org/files/apeman/nope.mov&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://andreafranceschini.org/files/apeman/ok.mov&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://andreafranceschini.org/files/apeman/ok.mov&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://andreafranceschini.org/files/apeman/H264.1.TO.BS&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://andreafranceschini.org/files/apeman/H264.1.TO.BS&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Any pointers appreciated :)&lt;/p&gt;&#xA;" OwnerUserId="36122" LastEditorUserId="36122" LastEditDate="2021-09-02T19:37:48.027" LastActivityDate="2021-09-09T14:50:18.913" Title="Is the audio from these videos in some weird format that I can't decode, or is it just corrupted?" Tags="|audio|action-cam|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34339" PostTypeId="2" ParentId="34336" CreationDate="2021-09-03T09:30:19.900" Score="0" Body="&lt;p&gt;Recently, a bug was fixed in ffmpeg related to relaying of input color parameters onto the output. But this unmasked a bug in another component viz. updating color parameters when the scalers changes them. Till that is fixed, add &lt;code&gt;-colorspace rgb&lt;/code&gt; as an output option with &lt;code&gt;libx264rgb&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-09-03T09:30:19.900" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34341" PostTypeId="2" ParentId="34310" CreationDate="2021-09-03T12:55:21.607" Score="1" Body="&lt;p&gt;Sorry, I cannot write the script but here is the idea. First get the &lt;code&gt;codec_name&lt;/code&gt; of your text-based subtitle from a video&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -v error -show_entries stream=codec_name -of default=noprint_wrappers=1 &amp;lt;test video name&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now replace  with that with that codec name in te following script.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Usage: imgsrtremover &amp;lt;file name&amp;gt;&#xA;Output: &amp;lt;filename without extention&amp;gt;.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre&gt;&lt;code&gt;#! /bin/bash&#xA;imgsrtstreams=$(ffprobe -v error -show_entries stream=codec_name -of default=noprint_wrappers=1 $1 | grep -n &amp;quot;&amp;lt;codec&amp;gt;&amp;quot; | cut -f1 -d:)&#xA;cmd=&amp;quot;ffmpeg -i $1 -map 0&amp;quot;&#xA;for i in $imgsrtstreams&#xA;do&#xA;cmd+=&amp;quot; -map -0:$((i-1))&amp;quot;&#xA;done &#xA;$cmd -c copy $(echo &amp;quot;$1&amp;quot; | rev|cut -f 2- -d '.'|rev).mp4  &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="35763" LastActivityDate="2021-09-03T12:55:21.607" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34345" PostTypeId="1" CreationDate="2021-09-05T18:10:24.327" Score="0" ViewCount="33" Body="&lt;p&gt;I have a digital video that I need to show on a CRT monitor (PAL). It will play from a digital player and be fed to the monitor via s-video or composite video.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;What should I think of to get the highest possible playback quality on the monitor?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I guess that it would be best to transcode the video an interlaced PAL video file in the right resolution so that the transcoding won't be done sloppily by the digital player?&lt;/p&gt;&#xA;" OwnerUserId="17582" LastActivityDate="2021-09-21T10:38:33.383" Title="How do I get the best reproduction when playing a digital video on a PAL CRT monitor?" Tags="|analog|monitors|pal|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34347" PostTypeId="2" ParentId="26171" CreationDate="2021-09-07T02:54:22.770" Score="1" Body="&lt;p&gt;In Windows, you can right click on an MP4 file, ensure it's not set as read only (uncheck Read Only-&amp;gt;apply if it's set), then click the details tab.  At the bottom of the details tab there is a clickable option &amp;quot;Remove Properties and Personal Information.&amp;quot;  Click that then select the &amp;quot;Remove the following properties from this file&amp;quot; radio button and check Title (and any other properties like Comments that you want removed&amp;quot; then click Okay.  This process will remove the title property from .mp4 files.&lt;/p&gt;&#xA;&lt;p&gt;For MKV you can use mkvpropedit like you've been doing, but in powershell you can do it recursively for all files.  I use Plex, so my Movies dir has a child dir with the title and year, with the mkv and related files in that child dir.  With this script you only have to point it to the Movies dir and it will recursively clear up the title attribute on all of the mkv files in all of the child directories (Obvs, be sure to change your -Path to the root dir where all your media files exist):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;get-ChildItem -Path &amp;quot;D:\movies\&amp;quot; -Recurse -Filter *.mkv |&#xA;foreach-Object {&#xA;    &amp;amp; “C:\Program Files\MKVToolNix\mkvpropedit.exe” $filename -d title&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Hope this helps anyone who landed here after a google//Duck Duck Go search!&lt;/p&gt;&#xA;" OwnerUserId="36156" LastActivityDate="2021-09-07T02:54:22.770" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34350" PostTypeId="1" CreationDate="2021-09-08T17:34:06.587" Score="1" ViewCount="710" Body="&lt;p&gt;I'm trying to decode an HEVC/H.265+ rtsp stream to an image using ffmpeg as follows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -rtsp_transport tcp -stimeout 10000000 -i 'rtsp://user:passwd@url:port/Streaming/tracks/101?starttime=20210826T130000Z&amp;amp;endtime=20210826T130010Z' -vframes 1 -y image.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but I'm getting the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[rtsp @ 0x56031fe7f500] Multi-layer HEVC coding is not implemented. Update your FFmpeg version to the newest one from Git. If the problem still occurs, it means that your file has a feature which has not been implemented.&#xA;&#xA;[rtsp @ 0x56031fe7f500] Multi-layer HEVC coding is not implemented. Update your FFmpeg version to the newest one from Git. If the problem still occurs, it means that your file has a feature which has not been implemented.&#xA;&#xA;[rtsp @ 0x56031fe7f500] Multi-layer HEVC coding is not implemented. Update your FFmpeg version to the newest one from Git. If the problem still occurs, it means that your file has a feature which has not been implemented.&#xA;&#xA;[rtsp @ 0x56031fe7f500] Multi-layer HEVC coding is not implemented. Update your FFmpeg version to the newest one from Git. If the problem still occurs, it means that your file has a feature which has not been implemented.&#xA;&#xA;[rtsp @ 0x56031fe7f500] Multi-layer HEVC coding is not implemented. Update your FFmpeg version to the newest one from Git. If the problem still occurs, it means that your file has a feature which has not been implemented.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I tried using the latest version of ffmpeg but still the same issue.&lt;/p&gt;&#xA;" OwnerUserId="36171" LastActivityDate="2021-09-08T17:34:06.587" Title="Decode Multi-Layer HEVC" Tags="|ffmpeg|hevc|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34351" PostTypeId="2" ParentId="34338" CreationDate="2021-09-09T14:50:18.913" Score="1" Body="&lt;p&gt;It's not an issue with the audio format.&lt;/p&gt;&#xA;&lt;p&gt;Any player (VLC, ffplay) can decode the format because both videos have the same &lt;code&gt;AAC LC&lt;/code&gt; Audio format:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Format            : AAC LC&#xA;Bit rate          : 128 kb/s&#xA;Channel(s)        : 2 channels&#xA;Channel layout    : L R&#xA;Sampling rate     : 48.0 kHz&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2021-09-09T14:50:18.913" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34353" PostTypeId="2" ParentId="32779" CreationDate="2021-09-10T05:50:14.130" Score="0" Body="&lt;p&gt;Normal HDR still images are using special transfer functions, either PQ or HLG. That is what HDR is, a new transfer function. 2.4 gamma is what is BT.1886 on perfect OLED display is for SDR transfer (same in BT.601, BT.709, BT.2020, only BT.2100 introduced PQ and HLG).&lt;/p&gt;&#xA;&lt;p&gt;To convert to SDR you need to besides the obvious change of PQ transfer to sRGB or BT.1886&lt;/p&gt;&#xA;&lt;p&gt;a) change BT.2020 primaries to BT.709 primaries, b) remove the matrix of BT.2020-ncl and change to full range bt.601 matrix in case of JPEG or change to R'G'B'.&lt;/p&gt;&#xA;" OwnerUserId="26140" LastActivityDate="2021-09-10T05:50:14.130" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34354" PostTypeId="2" ParentId="32356" CreationDate="2021-09-10T05:54:42.880" Score="0" Body="&lt;p&gt;First of all there is a bug in ffmpeg swscale that saves 16 bit per 3 component PNG, so use zscale instead.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/ticket/7978#comment:7&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/ticket/7978#comment:7&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -i PQ_HDR_file.mp4 -vf zscale=matrixin=2020_ncl,format=gbrp16le -an -frames:v 1 out_zscale.png&lt;/p&gt;&#xA;&lt;p&gt;This will get you correct image (bt.2020-ncl matrix is removed correctly to R'G'B'). You still should present the file on HDR display since it will have PQ transfer (PQ is why you saw the gray image originally) and BT.2020 primaries. You may want to tag the file.&lt;/p&gt;&#xA;" OwnerUserId="26140" LastActivityDate="2021-09-10T05:54:42.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34355" PostTypeId="2" ParentId="25901" CreationDate="2021-09-10T06:06:04.790" Score="0" Body="&lt;p&gt;No, HDR has nothing to do with 10 bit, 8 bit can also be HDR, in both files and in displays, Nvidia/Windows supports that.&lt;/p&gt;&#xA;&lt;p&gt;HDR is PQ or HLG transfer and those transfers are HDR.&lt;/p&gt;&#xA;&lt;p&gt;H.264 supports even 14 bit. That is not a problem.&lt;/p&gt;&#xA;&lt;p&gt;You should see that PQ transfer the file tagged with in Mediainfo. That means HDR is in use. Same about AVIF images.&lt;/p&gt;&#xA;" OwnerUserId="26140" LastActivityDate="2021-09-10T06:06:04.790" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34356" PostTypeId="1" CreationDate="2021-09-10T11:53:58.397" Score="0" ViewCount="31" Body="&lt;p&gt;I have a precomposed layer that contains many shapes. Inside my global comp, I have various positions being applied to the precomposed layer. Unfortunately, I need everything in my precomposed layer to go to the global comp due to lottie requirements. I am now looking for a way to grab each position of each layer inside this precomposed layer. How can I do that?&lt;/p&gt;&#xA;&lt;p&gt;I have tried with this expression:&#xA;comp(&amp;quot;precomposedcomp&amp;quot;).layer(&amp;quot;precomposedcomplayer&amp;quot;).transform.position&lt;/p&gt;&#xA;&lt;p&gt;This expression works, but not the way I intended. It grabs the position of the layer inside the precomposed layer. The issue is that the positioning is set in the global comp... How could I possibly get this position? Assuming comps are exact same size.&lt;/p&gt;&#xA;" OwnerUserId="36191" LastActivityDate="2024-01-30T04:11:01.327" Title="Grab the positioning of a layer inside a precomposed layer?" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34359" PostTypeId="2" ParentId="32689" CreationDate="2021-09-10T17:06:44.563" Score="1" Body="&lt;p&gt;For anyone else looking to accomplish this, I've used both restream and onstream.live for this, with good success.  There are some video encoding requirements for each that you need to stick to.  I recommend a test stream to ensure your video works well with their service.&lt;/p&gt;&#xA;" OwnerUserId="36194" LastActivityDate="2021-09-10T17:06:44.563" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34361" PostTypeId="2" ParentId="21800" CreationDate="2021-09-11T14:24:10.947" Score="0" Body="&lt;p&gt;@ slhck&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/21800/ffmpeg-slow-fast-motion-part-a-video-anywhere/21804#21804&quot;&gt;This slows down one part of a video and keeps the rest as is.&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I've never seen &lt;code&gt;PTS-STARTPTS&lt;/code&gt; before. I have always used just &lt;code&gt;PTS&lt;/code&gt; for this purpose. I have a recent script that hangs with just &lt;code&gt;PTS&lt;/code&gt; but it works with &lt;code&gt;PTS-STARTPTS&lt;/code&gt;. Can you explain why?&lt;/p&gt;&#xA;&lt;p&gt;With &lt;code&gt;PTS&lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;input.mkv&amp;quot; \&#xA;-filter_complex \&#xA;&amp;quot; \&#xA;[0:v]trim='00\:08\:23.961':'00\:08\:24.379',setpts=4*PTS,curves=psfile=curves40.acv,unsharp=13:13:1.5:13:13:1.5[v0]; \&#xA;[0:a]atrim='00\:08\:23.961':'00\:08\:24.379',asetpts=PTS,atempo=0.5,atempo=0.5[a0]; \&#xA;[0:v]trim='00\:08\:23.961':'00\:08\:24.379',reverse,setpts=4*PTS,curves=psfile=curves40.acv,unsharp=13:13:1.5:13:13:1.5[v1]; \&#xA;[0:a]atrim='00\:08\:23.961':'00\:08\:24.379',areverse,asetpts=PTS,atempo=0.5,atempo=0.5[a1]; \&#xA;[v0][a0][v1][a1]concat=n=2:v=1:a=1[out] \&#xA;&amp;quot; \&#xA;-map &amp;quot;[out]&amp;quot; \&#xA;-r $fps -c:v libx264 -preset slow -crf 10 -map_chapters -1 -bf 2 -flags +cgop -pix_fmt yuv420p -codec:a aac -strict -2 -b:a 384k -r:a 48000 \&#xA;-movflags faststart &amp;quot;otput.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;With &lt;code&gt;PTS-STARTPTS&lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;input.mkv&amp;quot; \&#xA;-filter_complex \&#xA;&amp;quot; \&#xA;[0:v]trim='00\:08\:23.961':'00\:08\:24.379',setpts=4*(PTS-STARTPTS),curves=psfile=curves40.acv,unsharp=13:13:1.5:13:13:1.5[v0]; \&#xA;[0:a]atrim='00\:08\:23.961':'00\:08\:24.379',asetpts=PTS-STARTPTS,atempo=0.5,atempo=0.5[a0]; \&#xA;[0:v]trim='00\:08\:23.961':'00\:08\:24.379',reverse,setpts=4*(PTS-STARTPTS),curves=psfile=curves40.acv,unsharp=13:13:1.5:13:13:1.5[v1]; \&#xA;[0:a]atrim='00\:08\:23.961':'00\:08\:24.379',areverse,asetpts=PTS-STARTPTS,atempo=0.5,atempo=0.5[a1]; \&#xA;[v0][a0][v1][a1]concat=n=2:v=1:a=1[out] \&#xA;&amp;quot; \&#xA;-map &amp;quot;[out]&amp;quot; \&#xA;-r $fps -c:v libx264 -preset slow -crf 10 -map_chapters -1 -bf 2 -flags +cgop -pix_fmt yuv420p -codec:a aac -strict -2 -b:a 384k -r:a 48000 \&#xA;-movflags faststart &amp;quot;otput.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In both cases I get &lt;code&gt;frame=    0 fps=0.0 q=0.0 size=       0kB time=00:00:00.00 bitrate=N/A speed=   0x&lt;/code&gt; but it works in this case.&lt;/p&gt;&#xA;" OwnerUserId="10727" LastEditorUserId="10727" LastEditDate="2021-09-11T14:44:20.930" LastActivityDate="2021-09-11T14:44:20.930" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34363" PostTypeId="1" CreationDate="2021-09-11T19:55:59.167" Score="3" ViewCount="347" Body="&lt;p&gt;I am trying to trim my videos in Virtualdub but I also wanted to make a stream copy of the same video that I am trimming. Unfortunately, Virtualdub does not always give me the results I want as it is always a few seconds off and I cannot stream copy the video as it does not always support the codecs that my video has. I hope that FFMPEG can do the job for me, but I do not know how to trim and cut in FFMPEG. How do you cut and trim in FFMPEG?&lt;/p&gt;&#xA;" OwnerUserId="34688" LastEditorUserId="4426" LastEditDate="2021-12-02T13:04:08.167" LastActivityDate="2021-12-02T13:04:08.167" Title="How do you trim videos in FFMPEG?" Tags="|ffmpeg|virtualdub|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34366" PostTypeId="2" ParentId="34356" CreationDate="2021-09-11T22:30:05.927" Score="0" Body="&lt;p&gt;I think this is related to Layer Space Transforms:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/17615/parenting-a-null-causes-unexpected-results/17619#17619&quot;&gt;Parenting a null causes unexpected results&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://thatsmadden.wordpress.com/2014/12/31/tocomp-and-toworld/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://thatsmadden.wordpress.com/2014/12/31/tocomp-and-toworld/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://ae-expressions.docsforadobe.dev/layer-space.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ae-expressions.docsforadobe.dev/layer-space.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I think you could use &amp;quot;toWorld&amp;quot; to determine where the layer is in your outer comp.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-09-11T22:30:05.927" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34367" PostTypeId="2" ParentId="34363" CreationDate="2021-09-12T03:09:51.480" Score="3" Body="&lt;p&gt;ffmpeg parameters&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;-ss specifies the start time i.e. the 30th second of stream as 00:00:30&lt;/li&gt;&#xA;&lt;li&gt;-t specifies the duration i.e. 10 second stream as 10&lt;/li&gt;&#xA;&lt;li&gt;-to specifies the end time i.e. the 90th second of stream as 00:01:30&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Note: Only -t will take effect if both  -t and -to parameters are used.&lt;/p&gt;&#xA;&lt;p&gt;Example script:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i canada.mp4 -ss 00:00:30 -to 00:01:30 -c copy oneMinute.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="31818" LastEditorUserId="4426" LastEditDate="2021-12-02T13:03:03.347" LastActivityDate="2021-12-02T13:03:03.347" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34369" PostTypeId="2" ParentId="28184" CreationDate="2021-09-13T01:00:00.747" Score="0" Body="&lt;p&gt;Rather old question, but responding FBO whomever stumbles upon this in the future (besides me; lol)....&lt;/p&gt;&#xA;&lt;p&gt;Your issue was the fact you set total average bit rate to 192kbps, not per channel. Presuming ffmpeg's default AC-3 encoder, if you simply set the sample rate to 48kbps (which you did in your example above), you'd be encoding at 1,536kbps for all channels. That is because the only bit depth that codec supports is 32 bits per sample.&lt;/p&gt;&#xA;&lt;p&gt;32 bit depth x 48,000 sampling frequency = 1,536,000 bits per second&lt;/p&gt;&#xA;&lt;p&gt;If you had simply omitted this portion of your command line you should have gotten that bit rate:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-b:a 192k&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;That is because what you did there was limit the average bit rate to 192kbps, which is why you ended up with poor quality sound in your target file. At 6 channels (5+1), you're looking at 32 kbps per channel (192 / 6 = 32).&lt;/p&gt;&#xA;&lt;p&gt;To attain your goal of 192 kbps per channel, you should have limited the output to 6 x 192 or 1,152 kbps, like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-b:a 1152k&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Cheers. :-)&lt;/p&gt;&#xA;" OwnerUserId="32394" LastActivityDate="2021-09-13T01:00:00.747" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34371" PostTypeId="1" AcceptedAnswerId="34387" CreationDate="2021-09-13T18:47:04.687" Score="3" ViewCount="2093" Body="&lt;p&gt;I managed to cut the video and keep subtitle in sync by embedding the subtitles in the video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i sample-mp4-file.mp4 -hide_banner \&#xA;    -vf subtitles=subtitles.srt -ss 0:30:00 -t 1:33:31 \&#xA;    OutputVideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm wonder if it possible to cut subtitle file in accordance / sync with the cut video, instead of embedding them in the video?&lt;/p&gt;&#xA;" OwnerUserId="26767" LastActivityDate="2021-09-18T00:41:57.757" Title="ffmpeg to cut subtitle file in sync with the cut video" Tags="|ffmpeg|video|subtitles|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34372" PostTypeId="2" ParentId="18202" CreationDate="2021-09-13T22:37:22.497" Score="0" Body="&lt;p&gt;The answer here is &amp;quot;scalability&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Scalable_Video_Coding&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Scalable_Video_Coding&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;SVC has been available as an extension to H.264 for years.&lt;/p&gt;&#xA;" OwnerUserId="129" LastActivityDate="2021-09-13T22:37:22.497" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34373" PostTypeId="1" CreationDate="2021-09-14T10:39:21.613" Score="1" ViewCount="1297" Body="&lt;p&gt;I am a researcher, trying to string together a bunch of png files of a protein to a short video. I have all the png images with transparent backgrounds, but I can't seem to get this in the video.&lt;/p&gt;&#xA;&lt;p&gt;I use this (on macOS terminal) to convert:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 20 -pattern_type glob -i '*.png' -c:v libx264 -preset slow  -profile:v high -level:v 4.0 -pix_fmt yuv420p -vf pad=&amp;quot;width=ceil(iw/2)*2:height=ceil(ih/2)*2&amp;quot; -crf 22 -codec:a aac -pix_fmt yuva420p SST4.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I added the &lt;code&gt;-pix_fmt yuva420p&lt;/code&gt; that I found as an &lt;a href=&quot;https://video.stackexchange.com/a/33011&quot;&gt;accepted answer here&lt;/a&gt;, but it doesn't work for me. I also tried other options (&lt;code&gt;rgb24&lt;/code&gt;, &lt;code&gt;bgra&lt;/code&gt;, etc.), but none I have tried works. I get a nice video, just with black background instead of transparent.&lt;/p&gt;&#xA;" OwnerUserId="36220" LastActivityDate="2021-09-14T10:39:21.613" Title="How do I make ffmpeg create video that retains transparent background from *.png images with transparent background?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="34374" PostTypeId="2" ParentId="21412" CreationDate="2021-09-14T12:12:51.960" Score="2" Body="&lt;p&gt;Using the built-in exporter with &lt;strong&gt;individual clips&lt;/strong&gt; export doesn't give you processed audio or different layers rendered together. It just renders the source clips trimmed the way you put them in your timeline.&lt;/p&gt;&#xA;&lt;p&gt;I had this problem and ended up making &lt;a href=&quot;https://mediachopper.io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaChopper&lt;/a&gt;. It is a small utility program that lets you split the video files based on almost any data.&lt;/p&gt;&#xA;&lt;p&gt;First, you render the whole video file as usual. Then you export the &lt;strong&gt;Edit Index&lt;/strong&gt; from DaVinci Resolve.&lt;/p&gt;&#xA;&lt;p&gt;Take these two things, put them in MediaChopper and select which segments you want.&lt;/p&gt;&#xA;&lt;p&gt;Full disclosure: I made MediaChopper and would love to hear if it's useful for anyone.&lt;/p&gt;&#xA;" OwnerUserId="36158" LastActivityDate="2021-09-14T12:12:51.960" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34375" PostTypeId="1" CreationDate="2021-09-14T15:14:14.417" Score="0" ViewCount="536" Body="&lt;p&gt;I finished recording a multi audio track recording on obs, and it has no sound (in the editor, as a video its fine.) I don't understand why.&lt;/p&gt;&#xA;" OwnerUserId="36225" LastActivityDate="2024-02-02T18:06:35.773" Title="No Audio In VSDC editor" Tags="|audio|audio-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34379" PostTypeId="2" ParentId="34375" CreationDate="2021-09-15T12:28:37.823" Score="0" Body="&lt;p&gt;Before Play the recorded track, you may click on &amp;quot;Renders&amp;quot; on down left to let you hear the Audio. Many video software need to click on &amp;quot;Render&amp;quot; or &amp;quot;Enter&amp;quot; before click on &amp;quot;Play&amp;quot; button to hear audio. I hope this may work for you,  thank you.&lt;/p&gt;&#xA;&lt;p&gt;See: &lt;a href=&quot;https://forum.videohelp.com/threads/380841-VSDC-Free-Video-Capture-No-sound-while-recording&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forum.videohelp.com/threads/380841-VSDC-Free-Video-Capture-No-sound-while-recording&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If not, that might be your software encountered problem... you may search for solution or troubleshoot or issue-fixed, for example: &lt;a href=&quot;https://www.youtube.com/watch?v=2HCGsdZaz40&quot; rel=&quot;nofollow noreferrer&quot;&gt;Youtube-VSDC Video Editor: Trouble Shooting Audio Conversion Problems&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19937" LastActivityDate="2021-09-15T12:28:37.823" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34381" PostTypeId="1" CreationDate="2021-09-15T22:20:38.547" Score="0" ViewCount="7745" Body="&lt;p&gt;I have a video that extension is .exe. I try to open this file in Windows but I can't. I try to convert this file to mp4 but again return empty file. How can I open .exe video?&lt;/p&gt;&#xA;" OwnerUserId="36234" LastActivityDate="2021-09-17T15:45:47.893" Title=".EXE VIDEO CONVERT TO MP4" Tags="|video|video-editor|mp4|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34382" PostTypeId="2" ParentId="20934" CreationDate="2021-09-16T03:37:46.710" Score="1" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf&#xA;&amp;quot;select='if(gt(scene,0.01),st(1,t),lte(t-ld(1),1))',setpts=N/FRAME_RATE/TB&amp;quot;&#xA;trimmed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You can do it with FFMPEG. The standard mpeg command line tool.&lt;/p&gt;&#xA;&lt;p&gt;Reference: &lt;a href=&quot;https://stackoverflow.com/questions/40966394/how-to-simply-remove-duplicate-frames-from-a-video-using-ffmpeg&quot;&gt;https://stackoverflow.com/questions/40966394/how-to-simply-remove-duplicate-frames-from-a-video-using-ffmpeg&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21836" LastActivityDate="2021-09-16T03:37:46.710" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34383" PostTypeId="1" AcceptedAnswerId="34385" CreationDate="2021-09-17T13:42:55.737" Score="1" ViewCount="3724" Body="&lt;p&gt;I often have the same simple workflow:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Import a downloaded video&lt;/li&gt;&#xA;&lt;li&gt;Cut out a few seconds&lt;/li&gt;&#xA;&lt;li&gt;Move the small clip to 00:00:00&lt;/li&gt;&#xA;&lt;li&gt;Export&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;The third step seems pretty unintuitive for me, because I need to zoom out in the timeline, select the clip and drag it by hand to the timeline beginning. I would prefer using a “move clip to the beginning” or “move clip to the left until it collides with another clip” shortcut. Is there any?&lt;/p&gt;&#xA;&lt;p&gt;When I google, I find these shortcuts that are also too slow for me:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Move clip one frame to the left&lt;/li&gt;&#xA;&lt;li&gt;Move clip 5 frames to the left&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ldu6z.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ldu6z.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36241" LastActivityDate="2021-09-17T15:58:30.383" Title="Is there a hotkey to move the selected clip to the timeline beginning in Premiere?" Tags="|premiere|adobe|keyboard-shortcut|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34384" PostTypeId="2" ParentId="34381" CreationDate="2021-09-17T15:45:47.893" Score="1" Body="&lt;p&gt;Some things to try:&lt;/p&gt;&#xA;&lt;p&gt;First just change the filename from &amp;quot;example.exe&amp;quot; to &amp;quot;example.mp4&amp;quot; and then try to open it in a standard video player.  If the file is actually a video format with just a different file name extention then it might play fine.&lt;/p&gt;&#xA;&lt;p&gt;Secondly, download and install Format Factory - &lt;a href=&quot;http://www.pcfreetime.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.pcfreetime.com&lt;/a&gt; - and try to convert the file into an MP4 file or something.  Format Factory works with a massive range of file formats and has some really good failover routines.  If it can't open the file then it's 99.99% certain that it's not a video file.&lt;/p&gt;&#xA;&lt;p&gt;If neither work and you are certain that this is a video file then it probably means whoever created it embedded the file so that running the .exe actually extracted and placed the real video somewhere.  At this point do some standard troubleshooting:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Can you contact the owner / creator and find out how to run it properly?&lt;/li&gt;&#xA;&lt;li&gt;Can you right click, properties and run set to run as administrator, or run in compatibility mode for a different version of windows?&lt;/li&gt;&#xA;&lt;li&gt;if it runs ok, what happens?  Check your desktop / documents / video folders afterwards to make sure the video hasn't been extracted elsewhere?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;otherwise we need more information to be of any help to you.  Where did the file come from, how did it get into a .exe container, what are you expecting of it etc?&lt;/p&gt;&#xA;" OwnerUserId="22062" LastActivityDate="2021-09-17T15:45:47.893" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34385" PostTypeId="2" ParentId="34383" CreationDate="2021-09-17T15:52:08.320" Score="1" Body="&lt;p&gt;OK lots of ways to do this, here's a few:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Open a sequence, and then double click the imported video to open in the source window, go the beginning of what you want and press &amp;quot;I&amp;quot; to mark the in point.  If you are cropping anything off the end of it, you can also find that point and press &amp;quot;O&amp;quot; for outpoint.  Press the full stop &amp;quot;.&amp;quot; button and this will insert the clip from in to out into your sequence wherever your playhead is.  (if you have in/out points marked on your sequence it will use those instead)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;in the screenshot you've shared, use the Select tool (shortcut V) to click the empty space in front of the clip.  It will turn grey as selected.  press delete and that part will delete so any clips on the end of it will be pulled to the beginning.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Or drag the whole clip to your timeline, and put the playhead at the beginning of where you want to cut to.  Press B for the ripple edit tool, and then click and drag the beginning of the clip to the playhead and it will remove the front portion of the clip and pull the remained of the clip back to the beginning of your sequence at the same time.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I've used PPro for some years and I don't want to be patronising but this is quite basic stuff.  Any basic set of tutorials shouldcover this, I recommend you find some free youtube tutorials and learn the basics - it will really help you understand how PPro works and save you asking lots of questions and waiting for answers.  If you've gone through a proper course for this, please accept my apologies and send them a note requesting a refund and ask them why on earth they didn't cover the core tools!&lt;/p&gt;&#xA;&lt;p&gt;Edit: also on the first point - you don't have to have a sequence open.  Follow it up to pressing the full stop button, and instead of that click on the filmstrip icon below the video:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/SLkFr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SLkFr.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;and just drag this into the empty space where the sequence is when it's open.  PPro will auto create a sequence for you and just put the in to out part of the video at the beginning.&lt;/p&gt;&#xA;" OwnerUserId="22062" LastEditorUserId="22062" LastEditDate="2021-09-17T15:58:30.383" LastActivityDate="2021-09-17T15:58:30.383" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34387" PostTypeId="2" ParentId="34371" CreationDate="2021-09-18T00:41:57.757" Score="4" Body="&lt;p&gt;Found out that &lt;code&gt;ffmpeg&lt;/code&gt; works on the text based subtitle file just as well:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;$ cat subtitles.srt&#xA;1&#xA;00:00:06,000 --&amp;gt; 00:00:20,000&#xA;This is demo subtitle 1&#xA;&#xA;2&#xA;00:00:20,000 --&amp;gt; 00:00:40,000&#xA;This is demo subtitle 2&#xA;&#xA;$ ffmpeg -i subtitles.srt -ss 5 -t 60 -y cut.srt&#xA;&#xA;$ cat cut.srt&#xA;1&#xA;00:00:01,000 --&amp;gt; 00:00:15,000&#xA;This is demo subtitle 1&#xA;&#xA;2&#xA;00:00:15,000 --&amp;gt; 00:00:35,000&#xA;This is demo subtitle 2&#xA;&#xA;$ ffmpeg -i subtitles.srt -ss 10 -t 60 -y cut.srt&#xA;&#xA;$ cat cut.srt&#xA;1&#xA;00:00:10,000 --&amp;gt; 00:00:30,000&#xA;This is demo subtitle 2&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Just exactly as what I wanted.&lt;/p&gt;&#xA;" OwnerUserId="26767" LastActivityDate="2021-09-18T00:41:57.757" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34388" PostTypeId="2" ParentId="29188" CreationDate="2021-09-18T07:12:31.517" Score="0" Body="&lt;p&gt;Go to MPC settings, External filters, Add filter &lt;code&gt;ffdshow Video Decoder&lt;/code&gt;. Move it to the top of the list and set it to &lt;code&gt;Prefer&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Then double click it to open its settings. Check &lt;code&gt;OSD&lt;/code&gt; (On-Screen-Display) then check &lt;code&gt;Current Frame&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;You can easily enable and disable to revert to your normal decoder by unchecking the box next to &lt;code&gt;ffdshow Video Decoder&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/M9fXL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/M9fXL.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;taken from this &lt;a href=&quot;https://forum.videohelp.com/threads/369080-Easiest-way-to-see-frame-numbers#post2363489&quot; rel=&quot;nofollow noreferrer&quot;&gt;forum&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36248" LastActivityDate="2021-09-18T07:12:31.517" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34389" PostTypeId="2" ParentId="33485" CreationDate="2021-09-18T07:20:42.927" Score="2" Body="&lt;p&gt;For the blur effect command, you needed to swap a few widths with heights then rescale it so the original video fits in properly above the blurred video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf 'split[original][copy];[copy]scale=-1:ih*(16/9)*(16/9),crop=w=ih*9/16,gblur=sigma=20[blurred];[blurred][original]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2' output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;If you want black bars instead, &lt;a href=&quot;https://stackoverflow.com/questions/55383442/ffmpeg-how-to-convert-horizontal-video-169-to-vertical-video-916-with-black&quot;&gt;it was covered in this post&lt;/a&gt;, but for the tl;dr, it's this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &amp;quot;pad=iw:2*trunc(iw*16/18):(ow-iw)/2:(oh-ih)/2,setsar=1&amp;quot; -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="36247" LastActivityDate="2021-09-18T07:20:42.927" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34390" PostTypeId="1" CreationDate="2021-09-18T14:26:11.223" Score="3" ViewCount="1129" Body="&lt;p&gt;Today's episodes of &lt;em&gt;The Simpsons&lt;/em&gt; are bleak, washed-out, standardized and soulless. But for the first several seasons, possibly even roughly up until the late 1990s, they clearly used a completely different, &amp;quot;organic&amp;quot; technique to produce them.&lt;/p&gt;&#xA;&lt;p&gt;In particular, all of the many lighting effects seem to really &amp;quot;glow&amp;quot; and stand out in a very appealing manner. They are not just flat colors filled perfectly into areas surrounded by sharp, thin, black lines -- they are actually &amp;quot;glowing&amp;quot; out from the cells/frames somehow. I love that look. It really adds so much visual interest to many scenes.&lt;/p&gt;&#xA;&lt;p&gt;But how was this effect achieved? And why don't they use the same look now that it's all digital and they could probably easily apply various digital filters to make the episodes resemble the classic Simpsons look?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ibvUo.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ibvUo.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/YCDu5.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YCDu5.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/aPsqz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aPsqz.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36250" LastActivityDate="2021-09-24T19:26:44.000" Title="How were the &quot;glowing lights&quot; made for the classic The Simpsons episodes?" Tags="|animation|television|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34391" PostTypeId="1" CreationDate="2021-09-18T20:46:31.670" Score="0" ViewCount="1853" Body="&lt;p&gt;I have 40 &lt;code&gt;.jpg&lt;/code&gt; in my &lt;code&gt;dir&lt;/code&gt; folder and want to create a video at 20fps from them. I've tried the following command:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;find dir/ -iname '*.jpg' | xargs cat | ffmpeg -f image2pipe -framerate 20 -i - -s 1080x720 -pix_fmt yuv420p out.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I expect to obtain a 2 seconds video (40 images / 20 fps) but I get a 6 seconds video. Here is the output of ffmpeg:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[image2pipe @ 0x564d225dd940] Stream #0: not enough frames to estimate rate; consider increasing probesize&#xA;Input #0, image2pipe, from 'pipe:':&#xA;  Duration: N/A, bitrate: N/A&#xA;  Stream #0:0: Video: mjpeg (Baseline), yuvj422p(pc, bt470bg/unknown/unknown), 6000x4000, 20 fps, 20 tbr, 20 tbn, 20 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (mjpeg (native) -&amp;gt; h264 (libx264))&#xA;[swscaler @ 0x564d22b94b00] deprecated pixel format used, make sure you did set range correctly&#xA;[libx264 @ 0x564d225e3180] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX&#xA;[libx264 @ 0x564d225e3180] profile High, level 3.1, 4:2:0, 8-bit&#xA;[libx264 @ 0x564d225e3180] 264 - core 161 r3039 544c61f - H.264/MPEG-4 AVC codec - Copyleft 2003-2021 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=20 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, matroska, to 'out.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf58.76.100&#xA;  Stream #0:0: Video: h264 (H264 / 0x34363248), yuv420p(tv, bt470bg/unknown/unknown, progressive), 1080x720, q=2-31, 20 fps, 1k tbn&#xA;    Metadata:&#xA;      encoder         : Lavc58.134.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: N/A&#xA;frame=    1 fps=0.0 q=0.0 size=       1kB time=00:00:00.00 bitrate=N/A speed=   0x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 3 times&#xA;frame=    5 fps=0.0 q=0.0 size=       1kB time=00:00:00.00 bitrate=N/A speed=   0x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=   11 fps=9.9 q=0.0 size=       1kB time=00:00:00.00 bitrate=N/A speed=   0x    &#xA;[swscaler @ 0x564d237e33c0] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 4 times&#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;frame=   17 fps= 10 q=0.0 size=       1kB time=00:00:00.00 bitrate=N/A speed=   0x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=   23 fps= 10 q=0.0 size=       1kB time=00:00:00.00 bitrate=N/A speed=   0x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 4 times&#xA;[swscaler @ 0x564d247610c0] deprecated pixel format used, make sure you did set range correctly&#xA;frame=   29 fps= 10 q=0.0 size=       1kB time=00:00:00.00 bitrate=N/A speed=   0x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=   35 fps= 10 q=0.0 size=       1kB time=00:00:00.00 bitrate=N/A speed=   0x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 1 times&#xA;[swscaler @ 0x564d26bb8f80] deprecated pixel format used, make sure you did set range correctly&#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 2 times&#xA;frame=   41 fps= 10 q=0.0 size=       1kB time=00:00:00.00 bitrate=N/A speed=   0x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=   47 fps=9.9 q=0.0 size=       1kB time=00:00:00.00 bitrate=N/A speed=   0x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=   53 fps=9.8 q=28.0 size=       1kB time=00:00:00.00 bitrate=5024.0kbits/s speed=0.000184x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=   59 fps=9.7 q=28.0 size=       1kB time=00:00:00.30 bitrate=  16.7kbits/s speed=0.0496x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=   65 fps=9.7 q=28.0 size=       1kB time=00:00:00.60 bitrate=   8.4kbits/s speed=0.0894x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=   71 fps=9.7 q=28.0 size=       1kB time=00:00:00.90 bitrate=   5.6kbits/s speed=0.123x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=   77 fps=9.7 q=28.0 size=       1kB time=00:00:01.20 bitrate=   4.2kbits/s speed=0.151x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=   83 fps=9.7 q=28.0 size=       1kB time=00:00:01.50 bitrate=   3.3kbits/s speed=0.175x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=   89 fps=9.7 q=28.0 size=       1kB time=00:00:01.80 bitrate=   2.8kbits/s speed=0.196x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=   95 fps=9.7 q=28.0 size=       1kB time=00:00:02.10 bitrate=   2.4kbits/s speed=0.213x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=  101 fps=9.7 q=28.0 size=       1kB time=00:00:02.40 bitrate=   2.1kbits/s speed=0.23x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=  107 fps=9.7 q=28.0 size=       1kB time=00:00:02.70 bitrate=   1.9kbits/s speed=0.244x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=  113 fps=9.7 q=28.0 size=       1kB time=00:00:03.00 bitrate=   1.7kbits/s speed=0.258x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;    Last message repeated 5 times&#xA;frame=  119 fps=9.7 q=28.0 size=       1kB time=00:00:03.30 bitrate=   1.5kbits/s speed=0.269x    &#xA;[swscaler @ 0x564d22d76680] deprecated pixel format used, make sure you did set range correctly&#xA;frame=  120 fps=8.6 q=-1.0 Lsize=    1338kB time=00:00:05.85 bitrate=1873.8kbits/s speed=0.419x    &#xA;video:1337kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.115425%&#xA;[libx264 @ 0x564d225e3180] frame I:2     Avg QP:22.50  size: 53106&#xA;[libx264 @ 0x564d225e3180] frame P:40    Avg QP:23.81  size: 17895&#xA;[libx264 @ 0x564d225e3180] frame B:78    Avg QP:26.09  size:  7002&#xA;[libx264 @ 0x564d225e3180] consecutive B-frames:  1.7% 16.7% 55.0% 26.7%&#xA;[libx264 @ 0x564d225e3180] mb I  I16..4:  7.6% 74.5% 17.9%&#xA;[libx264 @ 0x564d225e3180] mb P  I16..4:  2.0% 12.3%  2.5%  P16..4: 43.7% 12.6%  5.6%  0.0%  0.0%    skip:21.3%&#xA;[libx264 @ 0x564d225e3180] mb B  I16..4:  0.8%  3.1%  0.4%  B16..8: 35.0%  2.9%  0.5%  direct: 3.7%  skip:53.5%  L0:35.9% L1:61.7% BI: 2.4%&#xA;[libx264 @ 0x564d225e3180] 8x8 transform intra:72.9% inter:80.7%&#xA;[libx264 @ 0x564d225e3180] coded y,uvDC,uvAC intra: 63.5% 86.3% 57.4% inter: 14.6% 31.4% 3.4%&#xA;[libx264 @ 0x564d225e3180] i16 v,h,dc,p: 27% 24% 10% 38%&#xA;[libx264 @ 0x564d225e3180] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 17% 16% 16%  7% 10% 10%  9%  8%  8%&#xA;[libx264 @ 0x564d225e3180] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 19% 16% 13%  7% 12% 10% 10%  7%  5%&#xA;[libx264 @ 0x564d225e3180] i8c dc,h,v,p: 45% 23% 21% 12%&#xA;[libx264 @ 0x564d225e3180] Weighted P-Frames: Y:52.5% UV:50.0%&#xA;[libx264 @ 0x564d225e3180] ref P L0: 49.9% 20.3% 12.0%  9.1%  8.7%&#xA;[libx264 @ 0x564d225e3180] ref B L0: 74.9% 17.1%  8.0%&#xA;[libx264 @ 0x564d225e3180] ref B L1: 97.6%  2.4%&#xA;[libx264 @ 0x564d225e3180] kb/s:1824.23&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here is some info about the &lt;code&gt;out.mkv&lt;/code&gt; file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Format                                   : Matroska&#xA;Format version                           : Version 4&#xA;File size                                : 850 KiB&#xA;Duration                                 : 6 s 0 ms&#xA;Overall bit rate                         : 1 160 kb/s&#xA;...&#xA;Format settings, Reference frames        : 4 frames&#xA;Codec ID                                 : V_MPEG4/ISO/AVC&#xA;Duration                                 : 6 s 0 ms&#xA;Bit rate                                 : 1 137 kb/s&#xA;Width                                    : 1 080 pixels&#xA;Height                                   : 720 pixels&#xA;Display aspect ratio                     : 3:2&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 20.000 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.073&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I've tried different strategies with the &lt;code&gt;-r&lt;/code&gt; option, but I cannot get my 2 seconds video at 20 fps. Can you see what going on?&lt;/p&gt;&#xA;&lt;p&gt;Also I would like to keep a &lt;code&gt;image2pipe&lt;/code&gt; solution instead of a &lt;code&gt;image2&lt;/code&gt; solution.&lt;/p&gt;&#xA;" OwnerUserId="36252" LastEditorUserId="36252" LastEditDate="2021-09-19T14:45:01.253" LastActivityDate="2024-03-21T01:07:50.920" Title="How to obtain the correct framerate with ffmpeg image2pipe format?" Tags="|ffmpeg|linux|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34392" PostTypeId="2" ParentId="15468" CreationDate="2021-09-20T03:27:55.853" Score="3" Body="&lt;p&gt;Ok, here's an answer that has worked well for me (as well as others: see link to helpful post below).&lt;/p&gt;&#xA;&lt;p&gt;As far as my knowledge goes, there are two main things that need to match up to make the videos reasonably playable after concatenation:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The video timebase&lt;/li&gt;&#xA;&lt;li&gt;The audio sampling frequency&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Before you can match those though, you need to know where your videos are starting from.  Run &lt;code&gt;ffprobe&lt;/code&gt; on your videos to get the video timebase value (e.g. &amp;quot;&lt;em&gt;30k tbn&lt;/em&gt;&amp;quot;) and the audio sample value (e.g. &amp;quot;&lt;em&gt;44100 Hz&lt;/em&gt;&amp;quot;), by running:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -i yourvideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now match the timebase value of your &lt;em&gt;odd&lt;/em&gt; videos (those with a minority &lt;code&gt;tbn&lt;/code&gt; value) as described &lt;a href=&quot;https://stackoverflow.com/a/56002050/1423189&quot;&gt;in this post&lt;/a&gt; using the &lt;code&gt;video_track_timescale&lt;/code&gt; parameter of &lt;code&gt;ffmpeg&lt;/code&gt; to match the timebase (tbn) of your other videos.  For example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libx264 -c:a copy -pix_fmt yuv420p -video_track_timescale 30000 ouput.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now for the audio, you can match the sampling frequency of the audio using the &lt;code&gt;ar&lt;/code&gt; parameter in ffmpeg.  For example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -acodec aac -vcodec copy -ar 32000 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If your run ffprobe now on your output file, your video timebase and audio sampling frequency should match your other video, and an attempt to run &lt;code&gt;concat&lt;/code&gt; on your videos should now work fairly well.&lt;/p&gt;&#xA;" OwnerUserId="32515" LastActivityDate="2021-09-20T03:27:55.853" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34393" PostTypeId="2" ParentId="34390" CreationDate="2021-09-20T07:14:53.027" Score="1" Body="&lt;p&gt;I can't speak for how the Simpsons was done, I've never seen it shown, but the 1980s Hitchhiker's Guide TV Series had a lot of similar &amp;quot;glow&amp;quot; effects in the book animations, which are all traditional animation techniques, multiple exposures, etc.&lt;/p&gt;&#xA;&lt;p&gt;The following interview with Rod Lord runs through how that was done, hopefully it is of interest, in the absence of something more Simpsons specific: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/XPS4GohlRn4?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2021-09-20T07:14:53.027" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34395" PostTypeId="1" CreationDate="2021-09-20T09:52:56.397" Score="1" ViewCount="29" Body="&lt;p&gt;When I play two videos e.g. side by side, the summed up volume sometimes ends up clipping.&lt;/p&gt;&#xA;&lt;p&gt;What I normally do, is lowering the volume of both the audio tracks (which have the same loudness), say of 1dB, and that usually sounds good enough.&lt;/p&gt;&#xA;&lt;p&gt;But, is there a formula to know exactly what is the volume reduction I need to apply on the tracks, to keep the same loudness of the individual audio tracks?&lt;/p&gt;&#xA;" OwnerUserId="30069" LastActivityDate="2021-09-21T10:16:02.687" Title="When I play two or more audio tracks at the same time, is there a formula to reduce volume so it does not clip?" Tags="|audio|clipping|loudness|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34396" PostTypeId="2" ParentId="28744" CreationDate="2021-09-20T19:47:42.837" Score="-1" Body="&lt;p&gt;There is a solution I have created: Timebolt.&lt;/p&gt;&#xA;&lt;p&gt;Narrate your video over PowerPoint. Then add file to TimeBolt desktop app to instantly cut dead-air, rapidly remove any scene or word, speed up silences, and then render or export XML into Premiere, FCPX, and Resolve.&lt;/p&gt;&#xA;&lt;p&gt;Takes 10 minutes to cut dead-air and fine-tune a 60 minute recording, not five hours.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.timebolt.io&quot; rel=&quot;nofollow noreferrer&quot;&gt;Remove silence with TimeBolt.io&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2NMV8.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2NMV8.jpg&quot; alt=&quot;TimeBolt Product&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26527" LastEditorUserId="674" LastEditDate="2021-09-22T09:56:17.473" LastActivityDate="2021-09-22T09:56:17.473" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34397" PostTypeId="1" CreationDate="2021-09-20T22:06:28.067" Score="0" ViewCount="204" Body="&lt;p&gt;I am a newbie in animation and I am learning by watching different projects.&lt;/p&gt;&#xA;&lt;p&gt;And I found this expression, but I try to find information and I am not lucky.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;comp(&amp;quot;Render Comp FHD&amp;quot;).layer(&amp;quot;Controls&amp;quot;).effect(&amp;quot;Bg Color&amp;quot;)(&amp;quot;ADBE Color Control-0001&amp;quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;this expression is used to set the background color&lt;/p&gt;&#xA;&lt;p&gt;Please I would like you to explain or give me links to deepen the subject&lt;/p&gt;&#xA;" OwnerUserId="36266" LastActivityDate="2023-02-21T08:06:15.860" Title="Please someone explain this expression" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34401" PostTypeId="2" ParentId="34395" CreationDate="2021-09-21T10:16:02.687" Score="2" Body="&lt;p&gt;Video editing software usually measures amplitude not loudness on its metering, so 0dbFS (decibels to Full Scale) is the largest amplitude it can play back without clipping, averaged over a few samples (I think).&lt;/p&gt;&#xA;&lt;p&gt;Different sounds have different perceived loudness, depending on where the energy is in the frequency spectrum, because our ears are more sensitive to some frequencies than others (babies crying at about 1kHz = very sensitive,  old TVs whistling at 15kHz = less sensitive).&lt;/p&gt;&#xA;&lt;p&gt;Generally I would give myself some headroom to avoid clipping when combining material, so make sure none of the speech is peaking above 5 or 6dB, and any commercial music files I usually immediately drop by 15dB or so, as most commercial music is mastered to peak very close near 0dB.&lt;/p&gt;&#xA;&lt;p&gt;I usually assume somewhere between 3-6 dB drop if I've got two sources that are going to be combined, but it totally depends on the source material.&lt;/p&gt;&#xA;&lt;p&gt;There is a way of &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/loudness-radar.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;measuring loudness (in LUFS) in Premiere&lt;/a&gt;, but just as you wouldn't drive a car just by watching the speedometer, you shouldn't balance audio just by watching the meters... The end product goes into someone's ears, so you need to judge it by listening.&lt;/p&gt;&#xA;&lt;p&gt;Finally, if you are delivering your video for broadcast, not the web, most companies have very specific rules about audio levels, clipping, and loudness - check them before delivering.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-09-21T10:16:02.687" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34402" PostTypeId="2" ParentId="34345" CreationDate="2021-09-21T10:38:33.383" Score="3" Body="&lt;p&gt;Yes - if the monitor is Standard Definition PAL, then you should make sure the source video is 25fps 720x576 with interlaced fields at 50i, &lt;a href=&quot;https://www.provideocoalition.com/field_order/&quot; rel=&quot;nofollow noreferrer&quot;&gt;lower field first&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;S-video should give a better image than composite, as the luminance signal is sent separately from the colour signal (which is combined into a single signal, reducing the original quality).  Component should give a better signal than s-video as the red, green, and blue signals are all sent separately.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-09-21T10:38:33.383" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34403" PostTypeId="1" CreationDate="2021-09-22T09:01:04.597" Score="0" ViewCount="1020" Body="&lt;p&gt;I have several images and I am reproducing them in &lt;strong&gt;78.7ms&lt;/strong&gt;, I am creating like the 80s video effect.&#xA;But, I am unable to find the correct ms, and those images with the original videos are unsynced.&lt;/p&gt;&#xA;&lt;p&gt;I dumped the video to images using this command =&amp;gt; &lt;code&gt;ffmpeg -i *.mp4 the80effect/img-%d.jpg&lt;/code&gt;&#xA;And now, I have 48622 frames.&#xA;The video FPS is 24.&lt;/p&gt;&#xA;&lt;p&gt;So, 48622/24 = 2025 (±)&lt;/p&gt;&#xA;&lt;p&gt;I cannot use 2025 ms since those images will load very slow. And the approximate value is 78.7ms per frame/image.&lt;/p&gt;&#xA;&lt;p&gt;How can I find the correct value? The video duration in seconds is 2026. I have tried all math to find this but I'm failing. How many images (one frame) per ms. Could you help me? Thank you.&lt;/p&gt;&#xA;" OwnerUserId="36282" LastEditorUserId="18155" LastEditDate="2021-09-28T17:57:06.043" LastActivityDate="2024-02-16T16:06:25.813" Title="ffmpeg frame rate" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34404" PostTypeId="1" CreationDate="2021-09-22T16:12:03.727" Score="0" ViewCount="364" Body="&lt;p&gt;I has some super 8 footage digitized a few years ago, unfortunately they captured it then encoded it to a DVD. I first experimented with handbrake to extract the footage then imported it to Premier. The results were fine but it occurred to me that I could make the edits directly from the VOD files rather than converting it to mpeg 4 first. The issue I'm having is with interlacing. Handbrake seems to have run a deinterlacing filter that did a pretty good job, you only see lines in some high motion frames.&lt;/p&gt;&#xA;&lt;p&gt;When I follow the instructions and simply click &amp;quot;always deinterlace&amp;quot; under the field options of my sequence containing the VOD file, the scan lines are still apparent even in low motion frames. When I export the sequence as pro-res, the same lines appear.&lt;/p&gt;&#xA;&lt;p&gt;Am I doing something wrong? is there a filter I can run inside premier to get rid of the lines an maximally preserve the information, or am I gunna have to get the footage re-digitized.&lt;/p&gt;&#xA;" OwnerUserId="2828" LastActivityDate="2024-02-18T20:01:45.220" Title="How do I properly de-interlace footage in Premier pro ( without scan lines)" Tags="|video|formats|footage|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34405" PostTypeId="1" CreationDate="2021-09-22T20:29:19.603" Score="0" ViewCount="278" Body="&lt;p&gt;To explain my confusion I'm going to use an example with a hypothetical sensor which clips at a max 1000% scene linear reflectance and crushes blacks at 0% light (I know there is no such thing as 0% light but it just makes the numbers easier to deal with). I've attached below a hypothetical 10bit Log Transform and a 16bit Linear RAW graph of the Input of Linear Light and Code value output(The so called OETF). The output values are both in Code Value (and Normalized from 0-1)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WHlbT.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WHlbT.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now, when the 10bit Log encoded image goes through a Color Space Transform the first thing that happens to it is that it gets &amp;quot;Linearized&amp;quot; to a 32bit Floating Point(this is Davinci Resolve) before any other thing happens to it. Now, I'm not a software developer or video engineer or anything of that sort but having read about Floating Point(which is much more confusing than integer values) it's been said that Floating Point allows for values greater than 1 and less than 0. The problem I'm having is understanding how does this relate to Scene Linear Reflectance getting matched to the output in Linear Floating Point? For instance is 100% light reflectance giving an output of 1(the highest possible value in integers)? Does a 500% reflectance give an output of 5?What about 1000% reflectance, would that be an output of 10 and would the graph end there?? Or am I completely way off and 1000% reflectance would still be an output of 1 just that between 0 and 1 there'd be approximately 4 billion values worth of data.&lt;/p&gt;&#xA;&lt;p&gt;The thing that's tricking me is that the entire dynamic range of the camera gets squeezed into a 0-1 range in the integer encoded camera files, but I can't understand what's happening with this Linearized 32bit Floating Point. How is this 32bit Floating Point any different than the Linear RAW(Other than it being 32 bit rather than 16 bit?). What's the significance of having values greater than 1 and less than 0? Just very lost on this. Thanks&lt;/p&gt;&#xA;" OwnerUserId="36287" LastActivityDate="2021-09-24T19:28:47.237" Title="Confusion about Floating Point in Color Space Transforms" Tags="|color-correction|color|color-grading|colorspace|gamma|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34406" PostTypeId="2" ParentId="14907" CreationDate="2021-09-23T14:15:17.640" Score="14" Body="&lt;h1&gt;Convert 4k to 1080 (no change in codec)&lt;/h1&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input4kvid.mp4 -vf scale=1920:1080 -c:a copy output1080vid.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h1&gt;Convert h.264 to h.265 (no change in resolution)&lt;/h1&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libx265 -vtag hvc1 -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h1&gt;Convert 4k(h.264) to 1080(h.265)&lt;/h1&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Downscaling + Change in compression codec&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libx265 -vtag hvc1 -vf scale=1920:1080 -crf 20 -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h2&gt;Options Explained&lt;/h2&gt;&#xA;&lt;p&gt;&lt;code&gt;-i&lt;/code&gt; input file name or file path&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-c:v libx265 -vtag hvc1&lt;/code&gt; selecting compression. Default is &lt;code&gt;libx264&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-vf scale=1920:1080&lt;/code&gt; specifying output resolution&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-c:a copy&lt;/code&gt; copy audio as it is without any compression&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-preset slow&lt;/code&gt; ask compression algorithm to take more time &amp;amp; look for more areas for compression. Default is &lt;code&gt;medium&lt;/code&gt;. Other options are &lt;code&gt;faster&lt;/code&gt;, &lt;code&gt;fast&lt;/code&gt;, &lt;code&gt;medium&lt;/code&gt;, &lt;code&gt;slow&lt;/code&gt;, &lt;code&gt;slower&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-crf 20&lt;/code&gt; Compression quality&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;code&gt;-crf 0&lt;/code&gt; high-quality, low compression, large file&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;code&gt;-crf 23&lt;/code&gt; default&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;code&gt;-crf 51&lt;/code&gt; low-quality, high compression, small file&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="20825" LastEditorUserId="20825" LastEditDate="2021-09-24T13:49:05.393" LastActivityDate="2021-09-24T13:49:05.393" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34408" PostTypeId="2" ParentId="22958" CreationDate="2021-09-24T07:25:51.837" Score="0" Body="&lt;p&gt;Its the order you pass the mappings.&lt;/p&gt;&#xA;&lt;p&gt;-map 0:3 becomes stream 0:0&lt;/p&gt;&#xA;&lt;p&gt;-map 0:1 becomes stream 0:1&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;  ffmpeg -i  2plp0.ts -map 0:3 -map 0:1 -c copy -y out.ts&#xA;&#xA;&#xA;&#xA;   Stream mapping:&#xA;  Stream #0:3 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26160" LastActivityDate="2021-09-24T07:25:51.837" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34409" PostTypeId="2" ParentId="33620" CreationDate="2021-09-24T15:43:38.290" Score="0" Body="&lt;p&gt;Why not just use ffprobe ?&lt;/p&gt;&#xA;&lt;p&gt;see the &lt;code&gt;  Stream #0:0[0x100]&lt;/code&gt; the hex number in the brackets is the pid.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;  Input #0, mpegts, from 'video_109936.ts':&#xA;  Duration: 00:00:06.03, start: 74973.058900, bitrate: 2252 kb/s&#xA;  Program 1 &#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;    Stream #0:0[0x100]: Video: h264 (Constrained Baseline) ([27][0][0][0] / 0x001B), yuv420p(progressive), 848x480, Closed Captions, 29.97 fps, 29.97 tbr, 90k tbn, 59.94 tbc&#xA;    Stream #0:1[0x101]: Audio: aac (LC) ([15][0][0][0] / 0x000F), 44100 Hz, stereo, fltp, 128 kb/s&#xA;    Stream #0:2[0x102]: Data: timed_id3 (ID3  / 0x20334449)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26160" LastActivityDate="2021-09-24T15:43:38.290" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34410" PostTypeId="2" ParentId="34405" CreationDate="2021-09-24T17:47:37.540" Score="1" Body="&lt;p&gt;Linear vs log(arithmic) are shapes of curves. Floating point and integer are data types, I.e., different approaches to storing numbers on silicon. 32bit vs 16bit is bit depth, or how precise a number can be.  These concepts are each independent of each other; your data can be any combination of curve, type, and depth.&lt;/p&gt;&#xA;&lt;p&gt;Light in the physical world behaves linearly; if you combine two sources with exactly the same output, you get twice the number of photons.&lt;/p&gt;&#xA;&lt;p&gt;But human vision doesn’t work that way, which is why shining two identical spotlights on the same target doesn’t appear doubly-bright. AND, the more spotlights you add, the less you’ll notice.&lt;/p&gt;&#xA;&lt;p&gt;Human vision is extremely complex and doesn’t map perfectly to any mathematical model, but computer scientists try to approximate it when data optimization is critical.&lt;/p&gt;&#xA;&lt;p&gt;So, while light in the real world goes from zero to infinity, the pixels on your screen might only go from zero to 255.  If that’s the case, developers get more bang for their buck by biasing the numbers to represent more change where it’s less noticeable, and more subtle change where people are more perceptive.&lt;/p&gt;&#xA;&lt;p&gt;This practice was born of necessity, as older technology had lower bit depth, and couldn’t (or wasn’t practical) to represent as many discreet values as is possible today.  As display, storage, processing, transmission, and compression become more efficient, the resulting image becomes more “HDR.”  As this trend continues, the need to convert between log and linear gammas diminishes.  One day, displays might be nearly linear, at least through the range of human perception.&lt;/p&gt;&#xA;&lt;p&gt;So as bit depth becomes more of a thing, gamma curves become less of a thing.&lt;/p&gt;&#xA;&lt;p&gt;Whether you use floating points or integers to store and process a number is more of computer science question; you can store either log or linear curves of lower or higher bit depth in both floating point or integer data types.&lt;/p&gt;&#xA;&lt;p&gt;A “floating point” in my naive understanding of the computer science term is sort of like a “sliding scale.”  You basically re-purpose some of the numbers’ digits as an exponent.  It makes sense for data that needs an exponent (nits), but less for data which doesn’t (code values).&lt;/p&gt;&#xA;&lt;p&gt;But in the context of DaVinci Resolve, “32bit Floating Point” refers to the internal processing precision that Resolve uses to approximate (reasonably) the linear mathematical behavior of physical light.&lt;/p&gt;&#xA;&lt;p&gt;Similarly, “Linear RAW” refers to unmodified, bare sensor data, which is naturally linear, but varies in constitution between camera vendors, and usually ranges between 12 to 16 bits.&lt;/p&gt;&#xA;&lt;p&gt;The terms are similar because they both refer to linear, physical light, but Resolve’s own internal calculations otherwise bear no correspondence with camera manufacturers’ external RAW data.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-09-24T19:28:47.237" LastActivityDate="2021-09-24T19:28:47.237" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34411" PostTypeId="2" ParentId="34390" CreationDate="2021-09-24T19:26:44.000" Score="1" Body="&lt;p&gt;I do not have direct experience with the Simpsons, but my photographic experience tells me there are a few factors involved. For one, the early episodes appear slightly blurry because of the lower resolution and photographic processes used, compared to today's vector computer graphics. And the objects that appear to be light sources become additionally softened (seem to glow) because they are relatively overexposed compared to the rest of the colors in the scenes. Several techniques can be used with physical, transparent animation paintings (&amp;quot;cells&amp;quot;) to spread colors -- brighter backlighting, diffusion lenses, frosted mylar. I suspect the light sources like neon signs and flames were on separate layers from the characters and were photographed using different exposure settings and focus.&lt;/p&gt;&#xA;" OwnerUserId="19692" LastActivityDate="2021-09-24T19:26:44.000" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34412" PostTypeId="1" CreationDate="2021-09-24T19:51:58.503" Score="0" ViewCount="329" Body="&lt;p&gt;I am using a screen capture component in delphi that I will use in my program, by enabling the recording option with the command ffmpegLGPL.exe -re -i% PIPE% -c: v h264 -threads 8 -profile: v baseline - loopfilter 0 -b: v 10M -an -f mp4% FILENAME% video streams with dark screen and audio only&lt;a href=&quot;https://i.stack.imgur.com/npG70.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/npG70.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36305" LastActivityDate="2021-09-24T19:51:58.503" Title="ffmpeg video command still with black screen" Tags="|ffmpeg|video|codec|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="34414" PostTypeId="1" CreationDate="2021-09-25T06:49:58.903" Score="0" ViewCount="130" Body="&lt;p&gt;I have a video with 480x480 width and height and my friend asked me to look if I can change it to the aspect ratio of 16:9 but he said that it will become 848x480&lt;/p&gt;&#xA;&lt;p&gt;How can I calculate that?&lt;/p&gt;&#xA;&lt;p&gt;if i am doing &lt;code&gt;480*16/9&lt;/code&gt; then the answer is &lt;code&gt;853.3333333333334&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;how can I make it &lt;code&gt;848x480&lt;/code&gt; and even &lt;code&gt;848x480&lt;/code&gt; is &lt;code&gt;16:9&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="36313" LastActivityDate="2021-09-28T08:42:03.940" Title="what is aspect ratio and how i can increase the width and height to match the aspect ratio?" Tags="|video|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34415" PostTypeId="1" AcceptedAnswerId="37191" CreationDate="2021-09-25T06:55:31.473" Score="0" ViewCount="185" Body="&lt;p&gt;I’m editing some video (and audio) I captured at an outdoor wedding a couple of weeks ago. I shot it with a consumer-grade Canon camera, but I had Automatic White Balance turned on. I did not shoot a color card. Weather was broken clouds, sometimes overcast, sometimes partial sun, and I had several different framings (pan/zoom). I’m doing the final edit in Final Cut Pro (and I have an audio track from a Zoom H6 that I want to use for 2/3 of the final product).&lt;/p&gt;&#xA;&lt;p&gt;I’ve brought all of the video and audio clips into FCPX, and synchronized them. But now that I’m editing this, I see some very distracting shifts in the color balance where the camera was “helping”. These happen when I changed the framing, or when the sun goes behind a cloud or comes out. The grass changes color, the distinctively colored wall in the background changes color, the groom’s pink/white plaid shirt changes color.&lt;/p&gt;&#xA;&lt;p&gt;Rubber duck time… What I think I want to do is to start over from the raw clips. Bring the video clips into Davinci Resolve (free version), join them into one track, and manually adjust the color balance in each “scene” to look better/close to reality. Then dump the improved/color-corrected video track into a brand new FCPX project, bring in the audio tracks, and continue from there (to do the audio fades, correct some camera tilt, and zoom into some scenes).&lt;/p&gt;&#xA;&lt;p&gt;Is that a reasonable approach? Is there a better way to fix this mistake?&lt;/p&gt;&#xA;&lt;p&gt;(I’ve turned off the AWB on the camera, so that if I don’t shoot a color card next time, at least I’ll only have one color change to make. And I’m going to order a color card too).&lt;/p&gt;&#xA;" OwnerUserId="36268" LastActivityDate="2024-01-30T21:33:04.267" Title="Recovering from an Automatic White Balanced mishap" Tags="|final-cut-pro-x|davinci-resolve|color-correction|color-grading|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34416" PostTypeId="2" ParentId="34415" CreationDate="2021-09-25T09:42:37.443" Score="2" Body="&lt;p&gt;DaVinci Resolve is industry standard for colour grading. However if you don’t need very special and specific functions in DaVinci Resolve, you can do the grading in FCP as well. In your situation I would not think you need all this back and fourth to DaVinci.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2021-09-25T09:42:37.443" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34417" PostTypeId="2" ParentId="25302" CreationDate="2021-09-25T21:12:46.107" Score="1" Body="&lt;p&gt;In fact, there are mostly 3 software for finding duplicate videos.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video Compare &lt;a href=&quot;https://www.video-comparer.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.video-comparer.com&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Duplicate Video Search  &lt;a href=&quot;https://duplicatevideosearch.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://duplicatevideosearch.com&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Duplicate Media Finder (my favorite) &lt;a href=&quot;https://duplicate-media-finder.kdo-rg.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://duplicate-media-finder.kdo-rg.com&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;All of them use fingerprints.&lt;/p&gt;&#xA;" OwnerUserId="36321" LastActivityDate="2021-09-25T21:12:46.107" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34418" PostTypeId="1" AcceptedAnswerId="34434" CreationDate="2021-09-25T23:38:56.607" Score="1" ViewCount="125" Body="&lt;p&gt;I've shot a short film and the files are using AVC codec within an .MP4 container. I'm wondering whether transcoding to say Quicktime (ProRes 422 HQ) would have any negatives that come with it.&lt;/p&gt;&#xA;&lt;p&gt;I would primarily do this because ProRes happens to work better with editing systems; in other words, it offers a faster preview because it's an intraframe codec.&lt;/p&gt;&#xA;&lt;p&gt;So, are there any negative sides to doing this - and would doing it using Premiere Pro be good enough or is there a better way?&lt;/p&gt;&#xA;" OwnerUserId="36323" LastActivityDate="2021-09-29T04:14:24.197" Title="Transcoding from AVC to ProRes: Are there any negatives that would happen to the footage?" Tags="|codec|workflow|prores|avchd|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34419" PostTypeId="2" ParentId="29465" CreationDate="2021-09-26T04:09:37.977" Score="-2" Body="&lt;p&gt;This is the equivalent to Sony Vegas macroblocks.&#xA;If you set it to 1, every frame will be built entirely, but if set to the the default 4 every frame will be divided by four.&#xA;This is designed for the compression ratio - if you're using it -&#xA;Depending on the profile, if using High for example, uses the h264 maximum compression rate that is 8.&#xA;In other words, a video of 640x360 at 60 fps is 13824000 bits per second: in baseline profile must be constant br at 1 macroblock.&#xA;This is the fastest rendering for any video editing program, because these are uncompressed values.&#xA;If you wish to add compression in render, use High profile, and divide the bit rate by 8.&#xA;If using variable bit rate, set the half of it to average and the divided by 8 total in the maximum bit rate and use 8 macroblocks.&#xA;If using  premiere, set the entire 1728 br and key frame distance to 8 too.&#xA;But in every case, when using in render compression, picture quality is not guaranteed.&#xA;If in doubt, always use uncompressed values.&lt;/p&gt;&#xA;" OwnerUserId="36325" LastEditorUserId="36325" LastEditDate="2021-09-26T14:14:57.107" LastActivityDate="2021-09-26T14:14:57.107" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34420" PostTypeId="1" CreationDate="2021-09-26T07:17:41.293" Score="2" ViewCount="295" Body="&lt;p&gt;I have a hard time getting blurry text in the background with a camera and depth of field look &amp;quot;right&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Because I need to use latex math equations, I can't use built-in text, I need to either use AI files, PDF files or a hi-res version of the text exported in png from photoshop.&#xA;The results are exactly the same though.&lt;/p&gt;&#xA;&lt;p&gt;In the example here below, I used:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1940*1080 composition&lt;/li&gt;&#xA;&lt;li&gt;A camera (-1500 back in the z axis, Zoom 1500, DOF on, Focus distance 1500, Aperture 800, Blur level 100%)&lt;/li&gt;&#xA;&lt;li&gt;The first text is at 0 on the z axis&lt;/li&gt;&#xA;&lt;li&gt;The second text is at 250 on the z axis&lt;/li&gt;&#xA;&lt;li&gt;The third text is at 500 on the z axis&lt;/li&gt;&#xA;&lt;li&gt;The fourth text is at 750 on the z axis&lt;/li&gt;&#xA;&lt;li&gt;The fifth text is at 1000 on the z axis&lt;/li&gt;&#xA;&lt;li&gt;All text instances have originally the same width (3840px) and are scaled just the same (46%).&lt;/li&gt;&#xA;&lt;li&gt;All text layers are in 3D.&lt;/li&gt;&#xA;&lt;li&gt;The image is rendered with the optimal settings.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;But the text layers seem very &amp;quot;pixelated&amp;quot; after I push them forward over 250 in the z axis. It doesn't seem natural at all passed the second layer.&#xA;The plus sign is the most obvious in terms of degradation. The results seem more fuzzy than blurry.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vdPjE.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vdPjE.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;&lt;p&gt;If nothing in particular and it is supposed to be that way, what can I do so that the blur/bokeh seems smooth at all distances?&lt;/p&gt;&#xA;&lt;p&gt;As it is, it doesn't seem THAT bad because I gradually pushed those texts backward and the sense of depth of field is there alright. But if I have, let's say, both the first and last text alone, it doesn't look like one is behind the other, only that one is fuzzier than the other. That's a problem since I have to move the camera rather often in my animation. The sense of depth should be there all the time.&lt;/p&gt;&#xA;&lt;p&gt;Any workaround that would enhance the result (more blurry, less fuzzy) would be welcome.&lt;/p&gt;&#xA;&lt;p&gt;Here is an example of something that is approaching what I'm looking for:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/6m6kM.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6m6kM.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The bokeh effect induced by the depth of field seems to smooth and &amp;quot;sphere&amp;quot; things out rather than &amp;quot;square&amp;quot; them.&lt;/p&gt;&#xA;&lt;p&gt;Thank you for your help and input.&lt;/p&gt;&#xA;" OwnerUserId="36326" LastEditorUserId="36326" LastEditDate="2021-09-26T18:15:23.000" LastActivityDate="2021-09-29T03:39:08.313" Title="After Effects, text layers and depth of field" Tags="|after-effects|camera|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34423" PostTypeId="2" ParentId="34298" CreationDate="2021-09-27T08:00:53.150" Score="1" Body="&lt;p&gt;There is the MISB Standard 0604.2 which specifies how MPEG-2 transport streams can store UTC-referenced precision time stamps in the user data field between the picture header and the picture data for frame. Commercial products advertise support for this standard. So far, I have not found sample videos with this standard. The MISB Standard 0604.2 also specifies how H264 streams can include a time stamp.&lt;/p&gt;&#xA;" OwnerUserId="32679" LastActivityDate="2021-09-27T08:00:53.150" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34424" PostTypeId="2" ParentId="34420" CreationDate="2021-09-27T08:57:16.667" Score="1" Body="&lt;p&gt;The default camera blur in after effects isn't very nice. You can adjust it a little by changing how the camera behaves in the Camera settings&lt;/p&gt;&#xA;&lt;p&gt;A larger aperture value on the camera will give you more blur at closer positions.&#xA;You could try making the aperture larger, and then change the amount of distance between the text layers (and compensating with the scale of each object to get the effect you want).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JQ7cb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JQ7cb.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Alternatively, a much more involved process is to use the &lt;a href=&quot;https://www.youtube.com/watch?v=fiWJcWdbUe4&quot; rel=&quot;nofollow noreferrer&quot;&gt;Camera Lens Blur&lt;/a&gt;, or a third party camera lens blur, and a &lt;a href=&quot;https://www.youtube.com/watch?v=485In_11OcQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;depth map&lt;/a&gt; to get a more realistic depth of field blur. This looks much nicer, but takes much longer to render.&lt;/p&gt;&#xA;&lt;p&gt;The depth map is a 2D greyscale version of your 3D image, where the shade of grey of each pixel represents how far the image is from the camera, so it allows a camera plugin to correctly calculate the blur for each point.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-09-27T08:57:16.667" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34426" PostTypeId="2" ParentId="34414" CreationDate="2021-09-27T17:54:05.027" Score="1" Body="&lt;p&gt;848 x 480 isn't an exact translation of 840x840 to a 16x9 stretch.&lt;/p&gt;&#xA;&lt;p&gt;To think about aspect ratio, you need to consider what shape your image is now, and what shape you want it to be. If you have a 480x480 image that looks correctly proportioned on your computer screen, then it is using square pixels (ie each pixel is the same height as it is wide).&lt;/p&gt;&#xA;&lt;p&gt;Imagine your footage showed a circle.&#xA;When you play back your footage correctly, it should still look like a circle.&lt;/p&gt;&#xA;&lt;p&gt;If it was filmed at a different aspect ratio, then you may need to squash or stretch it to compensate for the change when you play it back.&lt;/p&gt;&#xA;&lt;p&gt;480x480 stretched to a 16:9 aspect would become&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;16/9 = 1.777778&lt;/p&gt;&#xA;&lt;p&gt;480 * 1.77778 = 853.333&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So your new aspect ratio might be approximately&#xA;854 x 480.&lt;/p&gt;&#xA;&lt;p&gt;But you need to look at it and confirm what looks right. Often with old footage, aspect ratios aren't quite right, or aren't exactly 16x9 or 14x9.&lt;/p&gt;&#xA;&lt;p&gt;The correct way to do this in a video editing app would be to create a sequence with the settings your video should be delivered at (e.g. HD video at 16x9 with square pixels is 1920x1080), and then place the source material into this sequence, and adjust the source video until the scaling is correct, either by maths or by eye.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-09-28T08:42:03.940" LastActivityDate="2021-09-28T08:42:03.940" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34428" PostTypeId="1" CreationDate="2021-09-28T07:36:12.770" Score="1" ViewCount="18" Body="&lt;p&gt;What's the way to set the time format in the Source pane to be displayed as 00:00:00?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0yKaD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0yKaD.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36350" LastActivityDate="2021-09-28T07:50:19.923" Title="How to change the time format in the Source pane in Premiere?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34429" PostTypeId="2" ParentId="34428" CreationDate="2021-09-28T07:50:19.923" Score="1" Body="&lt;p&gt;Click on the video in &amp;quot;Source&amp;quot; panel (You'll see a blue rectangle)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vhJFy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vhJFy.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Then click Clip -&amp;gt; Modify -&amp;gt; Timecode...&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TTPqc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TTPqc.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Select &amp;quot;Original Timecode&amp;quot; and &amp;quot;Ok&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1lpqz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1lpqz.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;That's it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xSjZU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xSjZU.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36350" LastActivityDate="2021-09-28T07:50:19.923" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34430" PostTypeId="1" CreationDate="2021-09-28T13:29:40.910" Score="1" ViewCount="192" Body="&lt;p&gt;&lt;strong&gt;Summary&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm making an artwork and here's how it goes in a nutshell: A fictional movie scene that was (1) shot on film in the '60s, (2) restored in VHS format in the '80s or '90s, and (3) restored again in a digital format in the present day.&lt;/p&gt;&#xA;&lt;p&gt;Now, from that second bit onward, here's how I assumed it went in practical terms: In the '80s or '90s, the movie (my artwork) was restored in a VHS format (with PAL standard) by a telecine machine using the release print. At the present day, the tape was restored in a digital format by an RCA-to-USB converter that connects the VCR to a computer.&lt;/p&gt;&#xA;&lt;p&gt;In order to simplistically replicate this process, I've been trying to split my material up into 3 separate YUV channels and work from there intuitively, since I believe it's the luma and chroma signals that make up this analog video effect, before the video gets automatically decoded back into RGB (correct me if I'm wrong). This is where the question comes in: &lt;em&gt;What's the proper way to separate the YUV components of my clips for this particular effect?&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Additional info&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Here's the current state (top) and a rough sketch of the desired result (bottom):&#xA;&lt;a href=&quot;https://i.stack.imgur.com/dYEhw.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dYEhw.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/djvL5.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/djvL5.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;I want to separate the channels like this (I might be wrong):&#xA;&lt;a href=&quot;https://i.stack.imgur.com/UwrFk.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UwrFk.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;I'm currently using Adobe Premiere Pro 2017.&lt;/li&gt;&#xA;&lt;li&gt;I'm not looking for plugins or jumping to other softwares.&lt;/li&gt;&#xA;&lt;li&gt;I've tried:&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Separating 3 clips of Red-Luma, Blue-Luma, and Luma components onto 3 video tracks using Channel Mixer effect: The math way. I skipped because it returned an image that looks pink tinted, although there was an RGB-to-YUV conversion formula involved.&lt;/li&gt;&#xA;&lt;li&gt;Separating 3 clips of Red, Green and Blue components onto 3 video tracks using RGB Curves effect: The intuitive way. I skipped because it was obvious that I was working on RGB components instead of YUV, although there's one &lt;a href=&quot;https://www.premiumbeat.com/blog/working-with-chroma-luma-adobe-premiere/&quot; rel=&quot;nofollow noreferrer&quot;&gt;tutorial&lt;/a&gt; using this method.&lt;/li&gt;&#xA;&lt;li&gt;Separating 4 clips of Red, Green, Blue, and Luma components onto 4 video tracks using RGB Curves and Luma Curve effects: The intuitive way. I'm considering this because it returned the image back to normal.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="36337" LastEditorUserId="36337" LastEditDate="2021-10-01T12:02:27.260" LastActivityDate="2022-02-28T14:04:05.280" Title="Authentic VHS tape effect in Premiere Pro" Tags="|video|premiere|post-production|color|vhs|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="34431" PostTypeId="1" CreationDate="2021-09-28T18:50:16.300" Score="3" ViewCount="64" Body="&lt;p&gt;I've got a tricky camera track to do. Steadicam footage on a stage with a load of musicians and some smoke. After Effects built in tracker is not happy. I've tried masking the musicians out and just leaving the rest of the room visible, but it didn't help.&#xA;My question is - what to try next?  Should I wrestle with Blender's camera tracker?&#xA;Is there another technique?  Is the only option to fork out a load of cash for Mocha Pro or PFTrack? (Assume money is tight).&lt;/p&gt;&#xA;&lt;p&gt;It's to try and get a virtual camera position for the Plexus plugin - think dots flying around the room...&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2024-02-08T15:00:35.103" Title="How do you solve a difficult camera track?" Tags="|after-effects|tracking|blender|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="34432" PostTypeId="2" ParentId="34415" CreationDate="2021-09-28T20:13:14.363" Score="1" Body="&lt;p&gt;Resolve has a color stabilizer effect that’s expressly for this purpose. I don’t remember offhand if it’s included in the free version, but I’ll update my answer when I find out.&lt;/p&gt;&#xA;&lt;p&gt;If there’s any clipping in your image, though, shifting the white balance will cause the pure white areas to change color unnaturally, whether keyframing in FCPX, or by automated effect in Resolve.&lt;/p&gt;&#xA;&lt;p&gt;You might try to desaturate the high luminance areas in this case, but at that point it’s more damage mitigation than color correction; not an unusual scenario, but one where having a good toolset is helpful.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-09-28T20:28:45.493" LastActivityDate="2021-09-28T20:28:45.493" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34433" PostTypeId="2" ParentId="34420" CreationDate="2021-09-29T03:39:08.313" Score="0" Body="&lt;p&gt;The default iris on the 3D camera in AE is set to &lt;strong&gt;fast rectangle&lt;/strong&gt;. You'll get better bokeh if you change it to &lt;strong&gt;hexagon&lt;/strong&gt;, or higher sided polygon. You can also adjust the iris roundness. Double tap &lt;kbd&gt;a&lt;/kbd&gt; to show the camera settings.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xk34s.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xk34s.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You could also add a lens blur effect to each layer and drive the blurriness via expressions. E.G.:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;let dofFactor = 0.5; //how blurry things off the focal plane are, edit or connect to slider&#xA;let focusDistance = thisLayer(&amp;quot;Camera Options&amp;quot;)(&amp;quot;Focus Distance&amp;quot;);&#xA;let dist = length(thisComp.layer(&amp;quot;Camera 1&amp;quot;).position, thisLayer.position);&#xA;Math.abs(focusDistance - dist) * dofFactor;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-09-29T03:39:08.313" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34434" PostTypeId="2" ParentId="34418" CreationDate="2021-09-29T04:14:24.197" Score="1" Body="&lt;p&gt;Cons:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;There will be a small loss of quality due to transcription error, but it's likely to be negligible and not worth worrying about.&lt;/li&gt;&#xA;&lt;li&gt;it will take up way more drive space. Only a problem if you're limited for drive space (these days, not likely to be a major problem)&lt;/li&gt;&#xA;&lt;li&gt;extra work (see below for an easier way)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Pros:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;much easier to work with, as long as your storage is fast enough to deal with 255mb/s bit rate&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;So you're good to go. &lt;strong&gt;But read on before you do.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;The best workflow is to use proxy files, and then revert to your original footage for final output. Premiere has a built-in proxy workflow. Usually it's for working with higher quality or higher resolution footage by swapping in smaller, lower quality copies while cutting, and reconnecting to the originals at output time, but it will work just fine in your case. This also means you don't need to use the highest quality prores codec, Prores proxy does exactly what it says on the tin, it's a good-enough quality, all i-frame codec with smaller file size that is easier on the CPU and the storage.&lt;/p&gt;&#xA;&lt;p&gt;To create proxies, just right click on the media items in your project window and choose &lt;strong&gt;proxy &amp;gt; create proxy&lt;/strong&gt;. This will fire up media encoder in the bg, and replace all the clips with proxy versions.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uzKsa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uzKsa.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;By default it will want to create h.264/mp4 proxies, why I don't know. You may need to create a quicktime proxy ingest preset. You do that in Media encoder, &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/ingest-proxy-workflow.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this page has the deets&lt;/a&gt;. I'm not sure if prores proxy is one of the default presets or if it's one I made myself. As you can see you can even set lower resolution if you want fast editing on a crappy machine, or you have limited space. It will scale up the lower resolution proxies to match the dimensions of the originals, so you don't have to worry about resizing things. Where I work we often shoot 8k raw video, so I use this all the time.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7K8el.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7K8el.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;One gotcha is that you have to have proxies enabled in the media preferences (I've actually mapped this to a hotkey so I can toggle it while I work).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mYRAk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mYRAk.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;At export time you just make sure that &lt;strong&gt;Use Proxies&lt;/strong&gt; ain't checked. Out of superstition I usually turn off proxies in my preferences too, but that is almost certainly unnecessary.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1iu2C.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1iu2C.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-09-29T04:14:24.197" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34435" PostTypeId="2" ParentId="34430" CreationDate="2021-09-29T04:37:32.313" Score="1" Body="&lt;p&gt;Here's the current image (left) side by side with the desired image.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UVBbr.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UVBbr.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;To get there I opened up lumetri scopes and tweaked the RGB curves until the LHS matched the RHS -ish.&lt;/p&gt;&#xA;&lt;p&gt;Here's the histogram before:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0dCgU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0dCgU.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;and after:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yJ5wW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yJ5wW.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is how the curves looked. Could probably do with more work, but basically I'm reducing the exposure mostly in the blue, and also taking out some of the blacks, particularly in the blue and green.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GZI0B.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GZI0B.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I ulso reduced the saturation, moreso in the lighter parts of the picture&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5F2wv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5F2wv.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;To do it justice it needs some film grain, and some softness. PP doesn't have a built-in grain effect, and its noise effect is pretty feeble. I added about 7% noise and a 5.6 px gaussian blur. If I was to round trip to AE I'd go for the grain effect there, and possibly some camera lens blur.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2021-09-30T01:57:16.203" LastActivityDate="2021-09-30T01:57:16.203" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="34436" PostTypeId="2" ParentId="34397" CreationDate="2021-09-29T05:22:51.640" Score="1" Body="&lt;p&gt;That comp links to a layer in a comp called &amp;quot;Render Comp FHD&amp;quot; that has an effect called &amp;quot;Bg Color&amp;quot;, which is most likely an expression colour control effect (found in &lt;strong&gt;effects&amp;gt;expression controls&lt;/strong&gt;, they do nothing, but can be used in expressions).&lt;/p&gt;&#xA;&lt;p&gt;You can create an expression like this by &lt;a href=&quot;https://helpx.adobe.com/after-effects/how-to/link-properties.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;pick-whipping&lt;/a&gt; to the effect in question. If it's in another comp you can open the effect controls window (&lt;kbd&gt;shift&lt;/kbd&gt;&lt;kbd&gt;ctl/⌘&lt;/kbd&gt;&lt;kbd&gt;t&lt;/kbd&gt;) for the layer you want to be the controller, and click the padlock on the window tab. That will keep it open when you switch to the other comp, and you can drag the pick-whip to it.&lt;/p&gt;&#xA;&lt;p&gt;Expressions reference here: &lt;a href=&quot;https://ae-expressions.docsforadobe.dev/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ae-expressions.docsforadobe.dev/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2021-09-29T05:22:51.640" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34437" PostTypeId="2" ParentId="34403" CreationDate="2021-09-29T06:06:54.247" Score="0" Body="&lt;p&gt;Frame rate is Frame per second (FPS)&lt;/p&gt;&#xA;&lt;p&gt;1 sec has 1000ms&lt;/p&gt;&#xA;&lt;p&gt;Each input frame (image) is 78.7ms such that is 12.7 FPS&lt;/p&gt;&#xA;&lt;p&gt;The video output is 24 FPS not 23.97 FPS&lt;/p&gt;&#xA;&lt;p&gt;Then the repetition of each frame will be calculated by ffmpeg if using command&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -r 12.7 -i image_%d.jpg -vf fps=24 out_video.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;which is 24/12.7 = 1.8897 which is quite irregular&lt;/p&gt;&#xA;&lt;p&gt;Hope I could help you understand your question better.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2021-09-29T06:06:54.247" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34439" PostTypeId="1" CreationDate="2021-09-29T14:40:50.990" Score="1" ViewCount="75" Body="&lt;p&gt;I have a 2 minute game capture that ranges from 60fps to 2fps but the capture is in 30fps. is there any way to discard the duplicate frames so that the video looks smooth? I was thinking of extracting every frame and discarding duplicate frames but that sounds like effort.&lt;/p&gt;&#xA;" OwnerUserId="36358" LastActivityDate="2022-02-27T03:03:10.540" Title="is it possible to discard duplicate frames in a video?" Tags="|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34440" PostTypeId="2" ParentId="33606" CreationDate="2021-09-29T19:31:09.117" Score="1" Body="&lt;p&gt;I just ran into this myself. I had a bad file called: &lt;code&gt;P1100020.mdt&lt;/code&gt; from my Panasonic LUMIX GX85. The solution is to record a video with the same exact settings, then copy both to a Debian/Ubuntu box under Videos and run:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sudo apt install git libavformat-dev libavcodec-dev libavutil-dev&#xA;git clone https://github.com/anthwlock/untrunc&#xA;cd untrunc&#xA;make&#xA;sudo cp untrunc /usr/local/bin&#xA;cd ~/Videos&#xA;untrunc -s  P1100021.MP4 P1100020.mdt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Keep in mind that &lt;code&gt;P1100021.MP4&lt;/code&gt; is my working .mp4 with the same settings. That should spit out a working MP4 for those GNU/Linux users out there with a name like &lt;code&gt;P1100020.mdt_fixed-s1.MP4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="36362" LastActivityDate="2021-09-29T19:31:09.117" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34441" PostTypeId="2" ParentId="34439" CreationDate="2021-09-30T00:11:24.290" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#mpdecimate&quot; rel=&quot;nofollow noreferrer&quot;&gt;mpdecimate&lt;/a&gt; - Drop frames that do not differ greatly from the previous frame in order to reduce frame rate. Therefore, the command would be&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i canada_6.mp4 -vf mpdecimate out.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2021-09-30T00:11:24.290" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34443" PostTypeId="1" CreationDate="2021-10-01T09:13:15.150" Score="3" ViewCount="241" Body="&lt;p&gt;I have to create animations that will be displayed on a screen when a player scores.&#xA;Each player will have his own animation (with a photo and his name).&lt;/p&gt;&#xA;&lt;p&gt;But all the animations will essentially be the same : a title, then the photo, then the name.&lt;/p&gt;&#xA;&lt;p&gt;Do you have any idea what is the best workflow for doing this kind of &amp;quot;reusable&amp;quot; clips ? Maybe with placeholders ?&lt;/p&gt;&#xA;&lt;p&gt;Thank you very much !&lt;/p&gt;&#xA;" OwnerUserId="36372" LastActivityDate="2021-10-18T11:20:26.733" Title="After effects workflow for several similar clips" Tags="|after-effects|workflow|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34444" PostTypeId="2" ParentId="34443" CreationDate="2021-10-01T09:34:28.523" Score="1" Body="&lt;p&gt;You can link objects in After Effects to .csv files (as well as many other formats).&lt;/p&gt;&#xA;&lt;p&gt;For example, if you make a spreadsheet like the one below, and save it as a .csv file:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CaJ5f.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CaJ5f.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can drag the .csv file into your project, then drag it into each comp, and then choose which line of text to use in each object using an expression like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&amp;quot;After Effects csv test - Sheet1.csv&amp;quot;)(&amp;quot;Data&amp;quot;)(&amp;quot;Outline&amp;quot;)(&amp;quot;Name&amp;quot;)(&amp;quot;Name 0&amp;quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So in the example sheet shown, the text displays as &amp;quot;Apple&amp;quot;, because it counts from zero after the label row.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1LmaR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1LmaR.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is old but well worth your time - Chain Rendering by Felt Tips:&#xA;&lt;a href=&quot;https://vimeo.com/9914517&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/9914517&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And also &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/data-driven-animations.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Work with Data-driven animation&lt;/a&gt; shows how you can use a .csv file to link to text strings and image files in your comps.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-10-01T09:41:09.713" LastActivityDate="2021-10-01T09:41:09.713" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34445" PostTypeId="2" ParentId="34404" CreationDate="2021-10-01T11:52:16.343" Score="0" Body="&lt;p&gt;It's possible the footage on the originally digitised version was incorrectly imported, so the interlace lines can't be removed.  Super 8 video is inherently not interlaced as it's a series of film frames, but when they encoded the DVD, it may have been encoded as an interlaced video.&lt;/p&gt;&#xA;&lt;p&gt;Handbrake may also have incorrectly decoded the interlacing, which would mean anything you try to do in Premiere won't work.&lt;/p&gt;&#xA;&lt;p&gt;I think it's possible now to directly import .VOB files into Premiere now, so maybe try that - skipping the Handbrake stage.  Then check the &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/interlacing-field-order.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;interlacing options in Premiere&lt;/a&gt;, try &amp;quot;lower field first&amp;quot; if it's UK footage, &amp;quot;Upper Field First&amp;quot; if it's not (or just try either and see which one works by rendering a little section with lots of motion in the shot.&lt;/p&gt;&#xA;&lt;p&gt;There used to be a setting to ensure highest quality when de-interlacing in Premiere, but either it has disappeared or I can't find it.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-10-01T11:52:16.343" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34446" PostTypeId="1" CreationDate="2021-10-01T18:06:24.670" Score="1" ViewCount="51" Body="&lt;p&gt;I do frequent video shoots of a speaker standing in front of a white wall at the end of a hallway in a corporate office with limited clean background availability and tight spaces. I don't usually have the ability to carry a lot of extra gear with me, so setting up complex backgrounds and lighting is not easy. The existing lighting is pretty standard corporate ceiling fare, some fluorescent (possibly updated to LED) and some other locations with newer LED recessed lights. We've been mostly successful in keying with the white, but it's difficult due to the white wall and its orange-peel texture.&lt;/p&gt;&#xA;&lt;p&gt;I was thinking it would be nice to be able to set up a green LED or two to wash the wall in green, and then buy some portable and lower cost white LED panels to place in front of the speaker, who could step away from the wall a bit to avoid green spill.&lt;/p&gt;&#xA;&lt;p&gt;Does this sound like a good idea?&lt;/p&gt;&#xA;" OwnerUserId="36379" LastActivityDate="2021-10-04T13:19:25.320" Title="Can I achieve effective keying if I use green lights to illuminate a white wall?" Tags="|lighting|greenscreen|chromakey|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34447" PostTypeId="2" ParentId="34446" CreationDate="2021-10-02T20:22:15.857" Score="2" Body="&lt;p&gt;I think if you light the wall green, you will get lots of bounced light back onto your subject which will play havoc with your key. Amazon does very cheap greenscreens now, which work pretty well so long as you have a way to evenly light them and your subject is isolated far enough away from the screen and lit separately.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-10-02T20:22:15.857" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34449" PostTypeId="2" ParentId="33241" CreationDate="2021-10-04T05:22:50.270" Score="3" Body="&lt;p&gt;The &lt;a href=&quot;https://pypi.org/project/ttconv/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ttconv&lt;/a&gt; Python package will do it. It can be installed with pip.&lt;/p&gt;&#xA;" OwnerUserId="36394" LastActivityDate="2021-10-04T05:22:50.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34450" PostTypeId="1" CreationDate="2021-10-04T09:30:54.137" Score="0" ViewCount="796" Body="&lt;p&gt;I have a Insta360 video recorded on an Insta360 One X, and I'm trying to get it to display correctly. The video was displaying and exporting without difficulty until I updated Insta360 studio to 2021 (v4.0.0), and displayed correctly on my phone through the bluetooth connection to the camera.&lt;/p&gt;&#xA;&lt;p&gt;Now insta360 gives me a flickery illegible mostly black screen as a preview -- basically acting like the video is unreadable. I back-updated Insta360 Studio to v3.6.8 and then it displays as a distorted and badly stitched video, seemingly only through one of the two camera lenses. There's a second mystery video file, seemingly recorded simultaneously, that displays in Insta360 studio as a monocular fish-eye with no manipulation options in Insta360 Studio.&lt;/p&gt;&#xA;&lt;p&gt;I talked to Insta360 tech support, who advised me to turn CUDA off in the settings. That setting doesn't exist on the mac version of 4.0.0, but does on the windows version of 3.6.8. On the windows version of 3.6.8 it didn't do anything.&lt;/p&gt;&#xA;" OwnerUserId="29273" OwnerDisplayName="Schroeder" LastActivityDate="2021-10-04T09:39:23.173" Title="Insta360 Studio incorrectly displays .insv 360 video file as a black video, static, or distorted monocular video" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34451" PostTypeId="2" ParentId="34450" CreationDate="2021-10-04T09:30:54.137" Score="1" Body="&lt;p&gt;The problem was I had renamed the files at the same time as updating Insta360 studio. The camera produces a pair of files, one for each lens, and has a naming convention that lets Insta360 studio pair and stitch them. The naming convention is underscore delimited, and requires the same pattern of underscores as the camera-generated file name. Also, the files have to have the same name except for having &amp;quot;00&amp;quot; and &amp;quot;10&amp;quot; in the right place in the pattern. Below is my tabulation of insta360 studio behavior with different file names. &lt;a href=&quot;https://i.stack.imgur.com/tGdPm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tGdPm.png&quot; alt=&quot;Insta360 file name test results&quot; /&gt;&lt;/a&gt; Correct display requires four underscores in the pattern of &amp;quot;p_q_r_00_s.insv&amp;quot; and &amp;quot;p_q_r_10_s.insv&amp;quot;, where at least p,q,r,s can be empty or text containing spaces. So some text followed by three underscores, then &amp;quot;00_.insv&amp;quot; / &amp;quot;10_.insv&amp;quot; works.&lt;/p&gt;&#xA;" OwnerUserId="29273" OwnerDisplayName="Schroeder" LastActivityDate="2021-10-04T09:30:54.137" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34452" PostTypeId="5" CreationDate="2021-10-04T10:15:16.857" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Unity_(game_engine)&quot; rel=&quot;nofollow noreferrer&quot;&gt;Unity&lt;/a&gt; is a games engine also used for animation and in video production, especially for live virtual backgrounds&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-10-04T10:15:16.857" LastActivityDate="2021-10-04T10:15:16.857" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34453" PostTypeId="4" CreationDate="2021-10-04T10:15:16.857" Score="0" Body="Unity is a games engine also used for animation and in video production, especially for live virtual backgrounds" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-10-04T10:15:16.857" LastActivityDate="2021-10-04T10:15:16.857" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34454" PostTypeId="2" ParentId="34446" CreationDate="2021-10-04T12:20:15.163" Score="2" Body="&lt;p&gt;I interned at a company many years ago which used a retro-reflective background coupled with a green LED ring light, which surrounded the lens.  The wall looked silver/white when the device wasn’t in use, so it blended into their office better than a chroma green wall would.&lt;/p&gt;&#xA;&lt;p&gt;When the device was in use,  it’s trick was that it DID cast green spill onto the subject, but because it was a ring light aligned with the lens position, the spill contribution to the talent was relatively even and flat, but the retro-reflective material shot a highly chromatic green straight back to the lens.  White balancing at the center of the frame would be enough to counter most of the spill, and the contrast provided by the reflective material was enough to pull a decent key.&lt;/p&gt;&#xA;&lt;p&gt;This was long enough ago that I’m fairly certain they weren’t shooting a format any better than 4:2:2 8bit, and it might have even been 4:2:0 or 4:1:1.&lt;/p&gt;&#xA;&lt;p&gt;I don’t know how much effort went into correcting green falloff from the center of the frame outwards, but the company did also introduce me to the software ScopeBox, so they probably did tune it somewhat.&lt;/p&gt;&#xA;&lt;p&gt;I don’t know the exact brand they used, but a ddg search for “chroma key retroreflective ringlight” was enough to return relevant results.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-10-04T12:30:31.047" LastActivityDate="2021-10-04T12:30:31.047" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34456" PostTypeId="2" ParentId="34446" CreationDate="2021-10-04T13:19:25.320" Score="3" Body="&lt;p&gt;My favorite quick, cheap, DIY greenscreen over the years is a gallon of chromakey paint and a sheet of drywall from Lowe’s or Home Depot.  One sheet is enough for a seated, talking head, like you see in most corporate interviews, and the rigidity of the drywall keeps it flatter and more even than any fabric solution.  If you can get away with storing a sheet of drywall somewhere on site, this is a good option.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-10-04T13:19:25.320" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34457" PostTypeId="2" ParentId="33999" CreationDate="2021-10-04T19:30:26.103" Score="0" Body="&lt;p&gt;Note: Blackmagic RAW is not open source, there is no public source code available. They have a binary library/API which allows for decoding Blackmagic RAW in a host application.&lt;/p&gt;&#xA;&lt;p&gt;Blackmagic RAW and ProRes RAW are both closed source codecs which provide video frames to the host application in a demosaic’d format - therefore neither of them can output something that can be re-encoded as RAW.&lt;/p&gt;&#xA;&lt;p&gt;Very few RAW formats provide the ability to decode the data in such a way (mosaic’s in camera raw space) that can then be used as in the input to another RAW format. CinemaDNG is the only format which can do this due to being open source. There was once a tool that could read CinemaDNG and convert it to CineForm RAW (Both are open source so this could still exist)&lt;/p&gt;&#xA;&lt;p&gt;Regarding CinemaDNG, it is a mature and well supported format (Adobe Premiere, Apple Compressor, DaVinci Resolve) and the only fully implemented true open source RAW format. It is also the only RAW video format which can be lossless.&lt;/p&gt;&#xA;" OwnerUserId="36403" LastActivityDate="2021-10-04T19:30:26.103" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34458" PostTypeId="2" ParentId="21589" CreationDate="2021-10-04T21:19:26.243" Score="0" Body="&lt;p&gt;It does not always work I have a 2.37gb video stuck at 77% and each time I try to upload it it creates a new upload.&lt;/p&gt;&#xA;&lt;p&gt;I even disabled my network card to invoke loss of internet and it still does the same thing! Youtube is absolutely FULL of bugs I wish I? had never started my channel its a mess!!!&lt;/p&gt;&#xA;" OwnerUserId="36404" LastActivityDate="2021-10-04T21:19:26.243" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34459" PostTypeId="1" CreationDate="2021-10-05T19:41:12.053" Score="0" ViewCount="76" Body="&lt;p&gt;thank you for helping me! I'm currently learning the basics of DaVinci Resolve, coming from a way simpler program. But from that program, I'm used to a much thinner playhead. Is there a way to make the playhead thinner in DaVinci Resolve? I've of course searched on this site, on youtube and on the internet in general of course. Also, I've searched around in the program. Thank you for your help!&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EAaC7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EAaC7.png&quot; alt=&quot;&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The relatively thick playhead&lt;/p&gt;&#xA;" OwnerUserId="36415" LastActivityDate="2021-10-05T19:41:12.053" Title="Make the playhead in DaVinci Resolve thinner" Tags="|editing|davinci-resolve|playback|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34460" PostTypeId="1" CreationDate="2021-10-05T19:42:35.573" Score="0" ViewCount="109" Body="&lt;p&gt;I'm using OBS v25.0.8 for Mac and I'm trying to capture a two screen video, one from my laptop camera (Facetime camera 1280x720) and one presentation (Window share PowerPoint).&lt;/p&gt;&#xA;&lt;p&gt;I set up my video config as follows:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Canvas 3840x1080&lt;/li&gt;&#xA;&lt;li&gt;Output 1280x720 (OBS set this automatically)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bCiTp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bCiTp.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you can see from the screenshot above, the PowerPoint presentation is not taking the full width, leaving an empty space between the two screens.&lt;/p&gt;&#xA;&lt;p&gt;I tried changing the output ratio, but nothing seems to happen. My laptop is a Macbook Pro with the following display 15.4-inch (2880 × 1800)&lt;/p&gt;&#xA;&lt;p&gt;What is the correct calculation to get the two screens to fit proportionally?&lt;/p&gt;&#xA;" OwnerUserId="36416" LastActivityDate="2024-03-21T22:03:40.410" Title="OBS issues when capturing two screens" Tags="|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34461" PostTypeId="1" CreationDate="2021-10-06T00:54:10.047" Score="1" ViewCount="87" Body="&lt;p&gt;I'm still pretty new to Premier Pro (up to date) so maybe I'm overlooking some type of logic but is it normal for effect values to change sometimes when hitting enter? Using the slider I can't select certain values either sometimes it'll nudge 1 unit over to the left or right. I was using another effect that did this too.&lt;/p&gt;&#xA;&lt;p&gt;eg; changing Horizontal Intensity from 100 to 12 made it 13 while also changing the value of like every other one o_o&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ftcvy.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ftcvy.gif&quot; alt=&quot;Effect Controls &amp;gt; Bend &amp;gt;&amp;gt;&amp;gt; Values changing after hitting enter&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36418" LastEditorUserId="4426" LastEditDate="2021-10-07T11:38:46.567" LastActivityDate="2021-10-07T11:38:46.567" Title="Premier Pro &quot;Bend&quot; effect control values changing by themselves?" Tags="|premiere|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="34462" PostTypeId="5" CreationDate="2021-10-06T09:52:43.950" Score="0" Body="&lt;p&gt;OBS Studio is a free and open-source cross-platform streaming and recording progra maintained by the OBS Project. It is used to switch between audio and video sources, stream video online and act as a virtual camera.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-10-06T09:52:43.950" LastActivityDate="2021-10-06T09:52:43.950" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34463" PostTypeId="4" CreationDate="2021-10-06T09:52:43.950" Score="0" Body="OBS Studio is a free and open-source cross-platform streaming and recording program  maintained by the OBS Project. It is used to switch between audio and video sources, stream video online and act as a virtual camera." OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-10-06T09:52:43.950" LastActivityDate="2021-10-06T09:52:43.950" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34464" PostTypeId="1" AcceptedAnswerId="34465" CreationDate="2021-10-06T11:03:48.170" Score="3" ViewCount="630" Body="&lt;p&gt;I am in the process of doing post-production work for some footage filmed on an insta360 pro 2. In a great deal of these videos there are these annoying red dots from lens flare that can bee seen in this image on the right and left.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zOJUC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zOJUC.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have tried to look up what to do about something like this but found only information on removing dust particles in AE.&lt;/p&gt;&#xA;&lt;p&gt;Can anyone point me in the right direction on how to deal with this, is it something that I as an amateur would be able to do or are there extensions for this?&lt;/p&gt;&#xA;&lt;p&gt;I have AE and I am willing to put in the work of learning how to deal with it, but I simply cant find any good information on this.&lt;/p&gt;&#xA;&lt;p&gt;thanks kindly.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;" OwnerUserId="36426" LastEditorUserId="14523" LastEditDate="2021-10-07T15:38:30.787" LastActivityDate="2022-03-26T19:55:48.050" Title="How can I remove red dot lens flare from VR footage - Premiere Pro / After Effects" Tags="|after-effects|premiere|adobe|lenses|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34465" PostTypeId="2" ParentId="34464" CreationDate="2021-10-06T14:12:54.777" Score="1" Body="&lt;p&gt;I would try using &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/paint-tools-brush-clone-stamp.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;clone stamp&lt;/a&gt; or &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/content-aware-fill.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;content aware fill&lt;/a&gt; to replace them.&#xA;You may need to track them first using a &lt;a href=&quot;https://www.schoolofmotion.com/blog/motion-tracking-in-after-effects&quot; rel=&quot;nofollow noreferrer&quot;&gt;single point motion tracker&lt;/a&gt;, apply the track to a null, then parent your clone to that null.&lt;/p&gt;&#xA;&lt;p&gt;Or go nuts and &lt;a href=&quot;https://www.maxon.net/en/red-giant-complete/vfx-suite/knoll-light-factory&quot; rel=&quot;nofollow noreferrer&quot;&gt;whack a great big lens flare&lt;/a&gt; on there instead :)&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-10-06T14:12:54.777" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="34467" PostTypeId="2" ParentId="34464" CreationDate="2021-10-07T09:00:51.687" Score="0" Body="&lt;p&gt;After getting some inspiration from the anders below I took some hours to learn how to possibly fix this issue. Although I am an amateur I hope that my experience can help others who stumble into this and know very little.&lt;/p&gt;&#xA;&lt;p&gt;I use Adobe premiere Pro and I also have Adobe After Effects. I used both programs to establish a workflow that can do a suprisingly good job at fixing this.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;In Premiere identify which sections of the video have the red dot issues that you wish to correct and use the razor tool to cut directly before the issue start and directly after.&lt;/li&gt;&#xA;&lt;li&gt;Right-click the newly created section and select 'Replace With After Effects Composition' - AE will open with this section ready to work with. (If it fails make sure you have AE installed if it still fails uninstall both applications, log out of adobe cloud, reboot and reinstall both - worked for me)&lt;/li&gt;&#xA;&lt;li&gt;Now press 'Q' or select the Rectangle or Ellipse tool, which fits better.&lt;/li&gt;&#xA;&lt;li&gt;Draw a shape around the flare leaving a bit of space around it (we will need some pixels around it later)&lt;/li&gt;&#xA;&lt;li&gt;Set your newly created Mask to Subtract and click the little stopwatch on the 'Mask path' Layer, this will auto create keyframes.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wqgjW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wqgjW.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Now move through your footage making sure you place your Mask object over the flare for the entire duration. (Sadly auto-track seems to fail at this task)&lt;/li&gt;&#xA;&lt;li&gt;Once you've done this your ready to use &lt;strong&gt;Window&lt;/strong&gt; =&amp;gt; &lt;strong&gt;Content Aware Fill&lt;/strong&gt;. The settings of which really depend on the footage you are using and the power of your machine. (for reference I have a 64 core cpu, 130 GB RAM and an RTX 3080ti, yet because I am working with 8k footage I could only set 'Alpha Expansion' to 5 and I made sure to make my 'Work space' no more than 2-3 seconds at a time)&lt;/li&gt;&#xA;&lt;li&gt;To Set your work space move to the starting frame and press 'B' and then move as far along as you think you can get away with and press 'N'.&lt;/li&gt;&#xA;&lt;li&gt;Make sure 'Fill Method' is set to 'Object' and 'Range' is set to 'Workspace' and press 'Generate Fill layer'&lt;/li&gt;&#xA;&lt;li&gt;It will now analyze and then render and fix all frames in that workspace timeline. Now move to the first frame after the Workspace, where you still can see your Mask and Press 'B', this should set a new Workspace of the same size starting from that frame.&lt;/li&gt;&#xA;&lt;li&gt;Press 'Generate Fill layer'. Rinse repeat * n.&lt;/li&gt;&#xA;&lt;li&gt;When you're done make sure your work is saved and close After effects.&lt;/li&gt;&#xA;&lt;li&gt;Jump back into Premiere pro and you're done. your content is now fixed.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Hope this helps.&lt;/p&gt;&#xA;&lt;p&gt;Also check out this [Video][3] which goes through the steps in a really good way, but simply uses the Track motion option which I couldnt use in my case.&lt;/p&gt;&#xA;&lt;p&gt;Here is one frame of the thousands I managed to fix making 13 seconds of footage completely perfect.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bdL6K.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bdL6K.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36426" LastActivityDate="2021-10-07T09:00:51.687" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34470" PostTypeId="1" CreationDate="2021-10-08T09:18:09.290" Score="0" ViewCount="229" Body="&lt;p&gt;Win 7 - Audition CC v11.0.0.199&lt;/p&gt;&#xA;&lt;p&gt;For my videos I normally record audio through a Behringer Audio Interface. I connect main mono mic to Input 1 and a backup mono mic to Input 2. The result is a stereo audio file in which the left channel is my main mic and the right channel is the backup.&lt;/p&gt;&#xA;&lt;p&gt;In Premiere I prefer to have a separate &amp;quot;doubled-up&amp;quot; stereo track for each mic. So, for example, my audio track would be my main mic with both L &amp;amp; R channels showing the same signal that originated in the main mic. I only use the other mic as backup.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;I found an easy solution within Premiere... See below &amp;quot;SOLUTION&amp;quot;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;As I record many files in such a way I wish to quickly process them all as batches. I tried both Audacity and Audition and each have their own problems. Let's deal with Audition here:&lt;/p&gt;&#xA;&lt;p&gt;First I open one audio file. Let's call it &amp;quot;Audio1.wav&amp;quot;&lt;/p&gt;&#xA;&lt;ol start=&quot;0&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;Start the favorite recording process (Favorites / Start Recording Favorite) and follow these steps:&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Edit / Extract channels to Mono Files&#xA;I get two new files Audio1_L &amp;amp; Audio1_R&#xA;On selected file (Audio_R)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Edit / Convert Sample Type (Sample Rate: 48000. Channels: Stereo. Bit depth: 32)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Save As (keep file name with _R. New folder. Save as .wav). Ok.&#xA;It's saved with the &amp;quot;_R&amp;quot; suffix.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Double Clic the other file (Audio1_L)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Edit / Convert Sample Type (Sample Rate: 48000. Channels: Stereo. Bit depth: 32)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Save As (keep file name with _L. New folder. Save as .wav). Ok.&#xA;It's saved with the &amp;quot;_L&amp;quot; suffix.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Close All&#xA;No to All (when asked if I want to save changes)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;End the favorite recording process (Favorites / Stop recording process) and name it&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Ok...&lt;/p&gt;&#xA;&lt;p&gt;So now I try to use this favorite with just one file as a dry run:&lt;/p&gt;&#xA;&lt;p&gt;The result is just the same original Audio1 file again!!&lt;/p&gt;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;&lt;p&gt;Are there some commands that can't be added as favorites?&lt;/p&gt;&#xA;&lt;p&gt;What alternatives can I use instead?&lt;/p&gt;&#xA;&lt;p&gt;Thanks a bunch!!&#xA;Miguel&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;--SOLUTION--&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I had previously thought I couldn't double a mono track into stereo within Premiere, but I looked into it again and, turns out I can! It's actually quite simple and I can use my original (mixed stereo) file, side stepping Audition altogether.&lt;/p&gt;&#xA;&lt;p&gt;a. Import &amp;quot;mixed&amp;quot; stereo file into Premiere (say Audio1 as before)&lt;/p&gt;&#xA;&lt;p&gt;b. Right-click on &amp;quot;mixed&amp;quot; stereo file.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;- Modify / Audio Channels&#xA;&#xA;- Clip channel format: Stereo&#xA;&#xA;- Number of audio clips: 1&#xA;&#xA;- Select Left Channel &amp;quot;L&amp;quot; for both &amp;quot;L&amp;quot; and &amp;quot;R&amp;quot; in Clip1 (in my case)&#xA;&#xA;- Ok&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This works for all subsequent uses of the clip, NOT on clips already in the timeline.&lt;/p&gt;&#xA;&lt;p&gt;Thanks!!&lt;/p&gt;&#xA;" OwnerUserId="36440" LastEditorUserId="36440" LastEditDate="2021-10-08T16:15:23.060" LastActivityDate="2024-02-25T23:01:55.207" Title="Batch processing Stereo to DoubleMono in Adobe Audition" Tags="|adobe|audition|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="34472" PostTypeId="1" CreationDate="2021-10-08T12:56:56.463" Score="2" ViewCount="206" Body="&lt;p&gt;After recording a live show, there are several tasks I need to do before I can render out the video file to different formats. I need to trim the file, and then resync the audio as well. After this I render the video file out to WAV, MP3 and MP4. I created a script like the one below (omitting the command for mp3, as this is just an example).&lt;/p&gt;&#xA;&lt;p&gt;I'm obviously not very well versed in ffmpeg commands. The way this script works I first create a trimmed version, and then a second version that has the audio synced, before it finally does the encoding to other formats. Since I often have to do several massive files, I run into serious disk space problems with all the intermediary files being rendered out first.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to combine the trim and resync command into one, so I can render out a trimmed and resynced master file?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&#xA;ffmpeg -i ORIGINAL_TRIM.mxf -itsoffset 0.200 -i ORIGINAL_TRIM.mxf -map 0:v -map 1:a -c copy ORIGINAL_RESYNC.mxf&#xA;&#xA;ffmpeg -i ORIGINAL_RESYNC.mxf -vn ORIGINAL.wav&#xA;&#xA;ffmpeg -i ORIGINAL_RESYNC.mxf -c:v libx264 -preset slow -crf 22 -c:a aac ORIGINAL.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Pause&lt;/p&gt;&#xA;" OwnerUserId="36444" LastEditorUserId="14523" LastEditDate="2021-10-10T17:47:50.007" LastActivityDate="2021-10-10T17:47:50.007" Title="Combining multiple commands to render out different formats, while also resyncing the original file, and not have to render that one out first" Tags="|ffmpeg|video|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34473" PostTypeId="1" AcceptedAnswerId="34477" CreationDate="2021-10-08T16:17:09.613" Score="2" ViewCount="116" Body="&lt;p&gt;I'm trying to black out/censor segments of a screen-recording. I basically need something to check the color of a pixel on the video, and if the color does not match, it somehow censors the section of the video.&lt;/p&gt;&#xA;&lt;p&gt;Example:&#xA;The source video needs to have at position 100;150 the color #f3f3f3. If this condition is true, just display the clip normally, if it's some other color, change the opacity to 0 or apply a blur.&lt;/p&gt;&#xA;&lt;p&gt;(preferably in AfterEffects or PremierePro)&lt;/p&gt;&#xA;" OwnerUserId="36446" LastEditorUserId="4426" LastEditDate="2021-10-09T06:08:27.017" LastActivityDate="2021-10-09T06:11:47.933" Title="Change Opacity of Layer based on pixel value of another layer in PremierePro/AfterEffects" Tags="|after-effects|premiere|" AnswerCount="1" CommentCount="0" FavoriteCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34474" PostTypeId="2" ParentId="34470" CreationDate="2021-10-08T16:25:29.593" Score="0" Body="&lt;p&gt;I had previously thought I couldn't double a mono track into stereo within Premiere, but I looked into it again and, turns out I can! It's actually quite simple and I can use my original (mixed stereo) file, side stepping Audition altogether.&lt;/p&gt;&#xA;&lt;p&gt;a. Import &amp;quot;mixed&amp;quot; stereo file into Premiere (say Audio1 as before)&lt;/p&gt;&#xA;&lt;p&gt;b. Right-click on &amp;quot;mixed&amp;quot; stereo file.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Modify / Audio Channels&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Clip channel format: Stereo&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Number of audio clips: 1&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Select Left Channel &amp;quot;L&amp;quot; for both &amp;quot;L&amp;quot; and &amp;quot;R&amp;quot; in Clip1 (in my case)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Ok&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;This works for all subsequent uses of the clip, NOT on clips already in the timeline.&lt;/p&gt;&#xA;&lt;p&gt;Thanks!!&lt;/p&gt;&#xA;" OwnerUserId="36440" LastActivityDate="2021-10-08T16:25:29.593" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34476" PostTypeId="2" ParentId="34472" CreationDate="2021-10-09T04:16:46.510" Score="1" Body="&lt;p&gt;As shown below,&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:01:00 -to 00:45:00 -i ORIGINAL.mxf&#xA;       -ss 00:01:00 -to 00:45:00 -itsoffset 0.200 -i ORIGINAL.mxf&#xA;       -map 0:v -map 1:a -c:v libx264 -preset slow -crf 22 -c:a aac ORIGINAL.mp4&#xA;       -map 1:a -vn ORIGINAL.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-10-09T04:16:46.510" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34477" PostTypeId="2" ParentId="34473" CreationDate="2021-10-09T06:11:47.933" Score="0" Body="&lt;p&gt;Below is how to change the colour of a shape in after effects based on the background colour at a given position:&lt;/p&gt;&#xA;&lt;p&gt;Put a null on the position you wish to sample.&lt;/p&gt;&#xA;&lt;p&gt;Put this expression in the fill colour of the object you want to change:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;target = thisComp.layer(&amp;quot;BGLAYER&amp;quot;);&#xA;colorpicker = thisComp.layer(&amp;quot;sample 1 null&amp;quot;);&#xA;target.sampleImage(target.fromWorld(colorpicker.position), [0.5,0.5], true, time)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;BGLAYER&#xA;is the name of your background layer (eg your video)&lt;/p&gt;&#xA;&lt;p&gt;sample 1 null&#xA;Is the null which is colour picking&lt;/p&gt;&#xA;&lt;p&gt;You will also need a conditional statement in the expression to switch its opacity on or off - I'm not sure how to do that, but will add it to this answer if I work it out.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-10-09T06:11:47.933" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34478" PostTypeId="1" CreationDate="2021-10-09T06:59:16.193" Score="1" ViewCount="369" Body="&lt;p&gt;I have a video with green screen. Unfortunately there is a shadow on the green screen. Increasing the tolerance got side effects. Thus I thought of the obvious, just apply colorkey twice.&lt;/p&gt;&#xA;&lt;p&gt;I tried this, but it only applies the last colorkey. If I switch the two colorkeys then it either removes the shadowed area or the light area.&lt;/p&gt;&#xA;&lt;code&gt;&#xA;ffmpeg -i bacground.jpg -i green.mp4 -filter_complex '[1:v]colorkey=0x32AB57:0.25:[ckout1];[ckout1]colorkey=0x016733:0.2:[ckout];[0:v][ckout]overlay[out]' -map '[out]' -map '1:a:?' -y output.mp4&#xA;&lt;/code&gt;&#xA;&lt;p&gt;What Am I doing wrong here?&lt;/p&gt;&#xA;" OwnerUserId="36435" LastEditorUserId="4426" LastEditDate="2021-10-11T08:56:38.517" LastActivityDate="2023-04-30T18:07:10.917" Title="Applying colorkey twice in FFMpeg" Tags="|ffmpeg|greenscreen|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34480" PostTypeId="2" ParentId="29056" CreationDate="2021-10-09T16:07:23.207" Score="0" Body="&lt;p&gt;I suffered from the exact same problem. What you can do (what is a tedious process) is to convert all your hdr files to sdr files as shown in this video with vlc: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/SxSWabPxQMQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="36455" LastActivityDate="2021-10-09T16:07:23.207" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34482" PostTypeId="1" CreationDate="2021-10-10T09:31:32.533" Score="1" ViewCount="66" Body="&lt;p&gt;I tried a lot of different screen recording software but all of them can't record a video with the same quality I see on screen: looks like there is a unsharp mask, or something similar.&#xA;Now I'm using OBS Studio, with these setups:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;High recording quality (I've tried max quality, no change);&lt;/li&gt;&#xA;&lt;li&gt;coding Harware (NVNC), (I've tried Software x264, no change);&lt;/li&gt;&#xA;&lt;li&gt;exit resolution same of input&lt;/li&gt;&#xA;&lt;li&gt;30 fps&lt;/li&gt;&#xA;&lt;li&gt;rendering direct 3D 11&lt;/li&gt;&#xA;&lt;li&gt;color format NV12&lt;/li&gt;&#xA;&lt;li&gt;Color space 709&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;A screenshot of the original desktop:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/4EF9C.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4EF9C.png&quot; alt=&quot;Original image&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The recorded one:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ALbft.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ALbft.png&quot; alt=&quot;Recorded image&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is it possible to solve this problem and obtain a recorded screen with the same original quality?&lt;/p&gt;&#xA;" OwnerUserId="36459" LastActivityDate="2023-12-31T13:05:55.740" Title="Improve quality of recorded screen" Tags="|video-quality|screen-casting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34483" PostTypeId="2" ParentId="34482" CreationDate="2021-10-11T06:14:53.703" Score="0" Body="&lt;p&gt;How can you be sure you record what you see on screen? Well, to say it with a cyber security term, by pulling a man in the middle attack. What do I mean by that? Well, obviously, if we can record on the link between your desktop and your monitor, we would surely be capturing what is visible on the monitor. So we somehow need to find a way to get ourselves between that computer output and the input of your monitor.&lt;/p&gt;&#xA;&lt;p&gt;Now there are multiple ways to do this.&lt;/p&gt;&#xA;&lt;h2&gt;Using a video field recorder&lt;/h2&gt;&#xA;&lt;p&gt;The first and the best option would be to use some kind of recording device. Many of the professional videographers on this forum will own one of these and maybe better know it as a camera monitor. These kind of devices have an input and often an output and they are commonly used to record the live output from a video camera.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Uonxi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Uonxi.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;In the picture above we can see the &lt;a href=&quot;https://www.atomos.com/products/ninja-v&quot; rel=&quot;nofollow noreferrer&quot;&gt;Atomos Ninja V recorder&lt;/a&gt;. It has 2 hdmi ports, one input and one output. We could put a cable from the desktop on the input and than a cable to a monitor as output. We could than work as normal, but can use the recorder to record anything happening on the screen. This recorder would be doing all the hardwork so the recording won't eat up system resources and these recorders are made to record high quality video. Ideal!&lt;/p&gt;&#xA;&lt;h2&gt;Recording software&lt;/h2&gt;&#xA;&lt;p&gt;A second option would indeed be to use some kind of virtual recorder, like OBS. These are less favourable to recording with external hardware cause they often impact performance and they aren't actually recording the system output. This means that some colour shenanigans from a OS can change the recorded screen from the actual output. Secondly, if the computer crashes the recorded files often get corrupt and can't be used.&lt;/p&gt;&#xA;&lt;p&gt;I personally use &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS&lt;/a&gt; and &lt;a href=&quot;https://getsharex.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ShareX&lt;/a&gt; and never ran into problems with these tools. I have to admit thought that I'm usually wondering whether or not my night-mode is captured as well.&lt;/p&gt;&#xA;&lt;h2&gt;Things to be aware of&lt;/h2&gt;&#xA;&lt;p&gt;Now many things can affect the recorded video. That makes it quite difficult to give you specific instructions for fixing your problem. But I think it can be either bad settings in your streaming software, asking too much from your desktop or maybe it's your screen. Maybe your screen is using some kind of video profile and giving and alternating the image.&lt;/p&gt;&#xA;" OwnerUserId="20937" LastActivityDate="2021-10-11T06:14:53.703" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34484" PostTypeId="1" CreationDate="2021-10-11T09:04:46.500" Score="2" ViewCount="121" Body="&lt;p&gt;If I am rotoscoping a long clip using RotoPaint 2 in After Effects, and I do the following:&lt;/p&gt;&#xA;&lt;p&gt;Make a good rotopaint boundary in the middle of the clip, and adjust the Refine Edge tool around it to look right.&lt;/p&gt;&#xA;&lt;p&gt;I then go to the beginning of the clip, and fix anywhere the rotopaint has messed up.  This requires the computer to process the frames back to the beginning.&lt;/p&gt;&#xA;&lt;p&gt;Then I just to the end frame, allowing the computer to process the frames in between.&lt;/p&gt;&#xA;&lt;p&gt;Then I move a few frames back towards the middle of the clip.&lt;/p&gt;&#xA;&lt;p&gt;Why is the refine edge propagating backwards in time when I've already processed forward over that frame?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-10-11T09:04:46.500" Title="When does Roto Paint 2 decide to do &quot;refine edge propagating&quot;?" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34487" PostTypeId="1" CreationDate="2021-10-12T11:44:58.493" Score="2" ViewCount="87" Body="&lt;p&gt;I have two mkv files. One of them is the episode of a series and the other one the opening which is linked in the first one. Let's call them &lt;code&gt;episode.mkv&lt;/code&gt; resp. &lt;code&gt;opening.mkv&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I also have a &lt;code&gt;subtitle.srt&lt;/code&gt; which is used by a player (e.g. &lt;code&gt;mpv&lt;/code&gt;) which contains the subtitle for &lt;code&gt;episode.mkv&lt;/code&gt; and &lt;code&gt;opening.mkv&lt;/code&gt;. Aslong as both files are present, there is no problem. But once &lt;code&gt;opening.mkv&lt;/code&gt; is missing, &lt;code&gt;episode.mkv&lt;/code&gt; and &lt;code&gt;subtitle.srt&lt;/code&gt; are not synchoronized anymore of course.&lt;/p&gt;&#xA;&lt;p&gt;Can you point me to cli tools that are aware of linked segments, which can automatically create a time corrected subtitle file from &lt;code&gt;episode.mkv, opening.mkv, subtitle.srt&lt;/code&gt; that works with &lt;code&gt;episode.mkv&lt;/code&gt; alone?&lt;/p&gt;&#xA;&lt;p&gt;Any help is much appreciated!&lt;/p&gt;&#xA;" OwnerUserId="36476" LastEditorUserId="4426" LastEditDate="2021-10-12T12:11:03.977" LastActivityDate="2021-10-12T12:11:03.977" Title="Create time corrected .srt subtitle file for .mkv which uses file/segment linking" Tags="|subtitles|mkv|command-line|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34488" PostTypeId="2" ParentId="32710" CreationDate="2021-10-13T08:33:06.030" Score="1" Body="&lt;p&gt;You should put -i in.mkv  for the first place.&#xA;Please try&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mkv -ss 1:00 -t 5 -ss 2:00 -t 5 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I think your code have multiple &amp;quot;-i in.mkv&amp;quot; parts.&#xA;Remove all but one &amp;quot;-i&lt;/p&gt;&#xA;&lt;p&gt;Edit:&#xA;Then I think the easiest way is :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mkv -ss 1:00 -t 5 -c copy clip1.mkv&#xA;ffmpeg -i in.mkv -ss 2:00 -t 5 -c copy clip2.mkv&#xA;echo file clip1.mkv &amp;gt;&amp;gt; mylist.txt&#xA;echo file clip2.mkv &amp;gt;&amp;gt; mylist.txt&#xA;ffmpeg -f concat -i mylist.txt -c copy out.mkv&#xA;rm mylist.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Just make two clips from the original video &amp;quot;in.mkv&amp;quot; and just concat them in the usual ffmpeg concat way.&lt;/p&gt;&#xA;" OwnerUserId="36485" LastEditorUserId="36485" LastEditDate="2021-10-15T11:31:33.307" LastActivityDate="2021-10-15T11:31:33.307" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34489" PostTypeId="2" ParentId="32237" CreationDate="2021-10-13T12:31:08.377" Score="1" Body="&lt;h3&gt;Problem interpretation&lt;/h3&gt;&#xA;&lt;p&gt;I'm interpreting the issue you're having as follows:&lt;/p&gt;&#xA;&lt;p&gt;On the computer of the guest you want to record the audio and video stream from one or more devices. The same streams need to be available to the online meeting software (Skype/Zoom/Hangouts).&lt;/p&gt;&#xA;&lt;p&gt;The issue you're running into with Quicktime is that a webcam can (often) only supply it's video stream to one program at a time. It first supplies it to Hangouts, but when you ask Quicktime to record, it switches the stream to Quicktime, stopping the video stream to Hangouts.&lt;/p&gt;&#xA;&lt;p&gt;You need some way of &amp;quot;splitting&amp;quot; the signal.&lt;/p&gt;&#xA;&lt;h3&gt;Possible solution&lt;/h3&gt;&#xA;&lt;p&gt;You can use &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OSB Studio&lt;/a&gt; to achieve what you want. It allows you to record and stream the webcam video at the same time, the meeting software can then use OBS (not your webcam) as the video input device.&lt;/p&gt;&#xA;&lt;p&gt;Rough steps are:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Install OBS Studio&lt;/li&gt;&#xA;&lt;li&gt;In the sources panel, add a new &amp;quot;Video Capture Device&amp;quot;:&lt;br /&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/P9ITD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/P9ITD.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;In the properties window that pops up, select the webcam you want to use in the &amp;quot;Device&amp;quot; dropdown, leave the rest of the settings at their default:&lt;br /&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/3W1H2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3W1H2.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Now OBS studio should show you what the webcam is seeing. You can move/scale the image and apply effects or corrections as needed.&lt;/li&gt;&#xA;&lt;li&gt;Now you can let OBS start a &amp;quot;virtual camera&amp;quot;. This will provide the video stream you see in the OBS screen as if it is coming from a &amp;quot;webcam&amp;quot; named &amp;quot;OBS Virtual Camera&amp;quot;:&lt;br /&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/J56DL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/J56DL.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;In the meeting software, go to the device settings and select &amp;quot;OBS Virtual Camera&amp;quot; (screenshot shows Teams as an example):&lt;br /&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/8q3hk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8q3hk.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;In OBS Studio you can now turn on the recording, it will record the webcam (and any other sources you've added in step 2):&lt;br /&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/wbNSW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wbNSW.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;When you start your online meeting, the meeting software will use &amp;quot;OBS Virtual Camera&amp;quot; as the camera. OBS Studio will record the webcam output in the background.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I've described the steps for the video part, but I imagine you can do something similar with the audio such that you get a synced recording right away. Then you don't need to re-sync the Quicktime recorded audio with the OBS recorded video.&lt;/p&gt;&#xA;" OwnerUserId="2178" LastActivityDate="2021-10-13T12:31:08.377" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34492" PostTypeId="1" CreationDate="2021-10-15T02:31:26.977" Score="1" ViewCount="359" Body="&lt;p&gt;I have an Atomos Shogun Studio 2 that can only be remotely controlled by RS-422. Atomos says that it uses Sony 9-Pin Protocol and that several JL Cooper control surfaces will work with it. The JL Cooper devices are very expensive and huge to boot, so I hoped to be able to use a USB-to-serial converter to save money and space. My thought was to cobble something together with Companion and a Stream Deck to trigger records.&lt;/p&gt;&#xA;&lt;p&gt;My issue is that despite using the correct connection settings as specified in the Sony 9-Pin protocol spec detailed &lt;a href=&quot;ftp://ftp.jurassic.nl/mirrors/ftp.sgi.com/sgi/video/rld/vidpage/s9pinnt.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, I only ever get NAK (11 12) responses back from the device. At least getting a valid error code back from the device tells me that the connection works and it hears the commands being issued, even if the syntax is somehow wrong.&lt;/p&gt;&#xA;&lt;p&gt;I'm using Termite in hex mode to communicate with the deck at 38400 baud, 8-O-1. I'm trying to trigger a record by sending the REC command in hex (20 02, with a checksum of 22).&lt;/p&gt;&#xA;&lt;p&gt;I've been barking up Atomos' tree for some hints to no avail so far. The various pieces of documentation on the protocols provide precious little in the way of actual, practical examples of what the syntax looks like. Does anyone with experience from the old days when VTRs were commonplace know the secrets for talking to these devices via serial?&lt;/p&gt;&#xA;" OwnerUserId="13986" LastActivityDate="2022-12-22T16:36:51.963" Title="Controlling a modern record deck via serial (RS-422)" Tags="|hardware|recording|tape|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34493" PostTypeId="1" CreationDate="2021-10-15T13:29:39.193" Score="0" ViewCount="47" Body="&lt;p&gt;Disclaimer, I'm relatively new to After effects:&lt;/p&gt;&#xA;&lt;p&gt;Here is the problem, I need to track this lens flare:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lYZSe.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lYZSe.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Its very hard to do, however my thought was to apply some color correction in order to make it more easily trackable. I did this by increasing the saturation and I think the effect would make the lens flare much easier to track;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/M6cx9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/M6cx9.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Problem is when I now try to track motion, it wants to do so on the original footage rather than the footage with the color corrections. Can I not track the color corrected footage and then transplant the tracking data to the original footage?&lt;/p&gt;&#xA;&lt;p&gt;Here is a gif showing the problem.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://gifyu.com/image/epoq&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://s9.gifyu.com/images/ezgif.com-gif-maker11f2a3e481aa501d9.gif&quot; alt=&quot;ezgif.com-gif-maker11f2a3e481aa501d9.gif&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36426" LastEditorUserId="36426" LastEditDate="2021-10-16T17:29:43.293" LastActivityDate="2024-04-04T15:04:10.617" Title="After effects: How can I track motion AFTER applying saturation?" Tags="|color-correction|tracking|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34495" PostTypeId="1" AcceptedAnswerId="34498" CreationDate="2021-10-15T20:54:38.043" Score="4" ViewCount="2191" Body="&lt;p&gt;&lt;strong&gt;If I have a video file, how can I find out which kind of chroma subsampling (4:2:2, 4:2:0), if any, that is used?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;What I've tried so far:&lt;/p&gt;&#xA;&lt;p&gt;If I open the codec info in VLC I can see that it's in the ITU-R BT.709 color space. Does this tell me anything about which subsampling is used?&lt;/p&gt;&#xA;" OwnerUserId="17582" LastActivityDate="2021-10-25T16:06:31.523" Title="How can I find out which chroma subsampling (if any) is used in a video file?" Tags="|codec|colorspace|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34496" PostTypeId="2" ParentId="30802" CreationDate="2021-10-15T22:14:06.883" Score="1" Body="&lt;p&gt;I recently discovered a super-easy way to align perfectly.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Set your guides (if you're not aligning to just the edge of the frame)&#xA;&lt;ul&gt;&#xA;&lt;li&gt;You can either set up your guides manually or insert a grid that you want to align to. If you are just aligning to the edges then you can skip this step.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;Select the clip you want to align first in your timeline&lt;/li&gt;&#xA;&lt;li&gt;Then Click on the program monitor&lt;/li&gt;&#xA;&lt;li&gt;Click View &amp;gt; Snap to Program Monitor&lt;/li&gt;&#xA;&lt;li&gt;Then go back to the program monitor and double click on the frame you want to move and then click and drag and it'll automatically snap to an edge&lt;/li&gt;&#xA;&lt;li&gt;Once you set your first frame you can also use that as your new edge to snap to for your next clip&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="36514" LastActivityDate="2021-10-15T22:14:06.883" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34497" PostTypeId="1" CreationDate="2021-10-16T01:31:09.200" Score="0" ViewCount="147" Body="&lt;p&gt;I'm trying to use ffmpeg to encode a series of rendered images with a soundtrack. When we import that video into Premiere the audio seems to be 1/2 frame early. When we import that same video in Resolve the sync seems fine.&lt;/p&gt;&#xA;&lt;p&gt;To see this, run this script and import &amp;quot;output.mov&amp;quot; into Premiere and Resolve:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/sh&#xA;&#xA;# generate 3 seconds worth of test charts at 24fps&#xA;&#xA;ffmpeg -y \&#xA;       -f lavfi -i testsrc=duration=3:size=1280x720:rate=24 \&#xA;       -f image2 &amp;quot;%03d.png&amp;quot;&#xA;&#xA;# generate a 1kHz tone with duration 1/24s    &#xA;&#xA;duration=$(awk &amp;quot;BEGIN {print 1/24}&amp;quot;)&#xA;ffmpeg -y \&#xA;       -f lavfi -i sine=frequency=1000:duration=$duration \&#xA;       -t 3.0 -acodec aac 1000hz.m4a&#xA;&#xA;# combine the images and the audio, and offset the audio exactly 2 seconds&#xA;&#xA;ffmpeg -y \&#xA;       -f image2 -framerate 24.0 -i &amp;quot;%03d.png&amp;quot; \&#xA;       -itsoffset 2.0 -i 1000hz.m4a \&#xA;       -vcodec libx264 -pix_fmt yuv420p -crf 20 output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The result is supposed to be a 3 second video clip with the audio pop exactly on the 49th frame. And when our assistant editor loads the clip into Davinci Resolve the pop occurs exactly on frame 49 as we expect. In Premiere the pop is a half frame early.&lt;/p&gt;&#xA;&lt;p&gt;So in ffmpeg I can add a 1/2 frame offset to the audio. That video will import in Premiere with the audio on frame 49, and in Resolve I'm told the audio is a half frame late. Is there a way to encode this video so that the audio is properly synced for Premiere AND Resolve?&lt;/p&gt;&#xA;" OwnerUserId="36511" LastActivityDate="2024-03-04T23:02:15.260" Title="How to ffmpeg encode a video with audio properly synced in Adobe Premiere and Resolve?" Tags="|ffmpeg|premiere|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34498" PostTypeId="2" ParentId="34495" CreationDate="2021-10-16T12:49:01.403" Score="4" Body="&lt;p&gt;Mediainfo is a free, open source, cross-platform solution, available in 37 languages.  &lt;a href=&quot;https://en.m.wikipedia.org/wiki/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.m.wikipedia.org/wiki/MediaInfo&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;When run from the command line it outputs chrome subsampling info by default:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ mediainfo videofile.mov&#xA;&#xA;[...]&#xA;Chroma subsampling                       : 4:2:0&#xA;[...]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="17582" LastEditDate="2021-10-25T11:06:31.910" LastActivityDate="2021-10-25T11:06:31.910" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="34499" PostTypeId="2" ParentId="34497" CreationDate="2021-10-16T13:18:45.777" Score="0" Body="&lt;p&gt;Resolve has settings to compensate for playback audio latency. If there’s a difference between the sync offset you’re seeing while editing and the rendered output, you need to adjust the delay amount.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-10-16T13:18:45.777" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34500" PostTypeId="1" AcceptedAnswerId="34501" CreationDate="2021-10-17T00:08:33.627" Score="1" ViewCount="581" Body="&lt;p&gt;I am attempting to create a video loop by merging a 15 second video with about 4 minutes of audio. After finding a &lt;a href=&quot;https://stackoverflow.com/questions/5015771/merge-video-and-audio-with-ffmpeg-loop-the-video-while-audio-is-not-over/55841289#55841289&quot;&gt;similar question&lt;/a&gt;, I found a command that loops the input video for the length of the audio, and results in a merged video file that plays like I intended.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -stream_loop -1 -i loop.mp4 -i audio.mp3 -shortest -map 0:v:0 -map 1:a:0 -c copy output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;While the resulting video plays as I wanted, I noticed that the file size is much larger than I expected. I presume I am not understanding what the &lt;em&gt;-stream_loop&lt;/em&gt; option is actually doing. In my case, I input a 45Mb video clip and a 6Mb audio clip, yet the resulting video is about 690Mb. The video loop repeats about 15 times before the audio is done. Since 45Mb * 15 + 6Mb is about 680Mb, it looks like &lt;em&gt;-stream_loop&lt;/em&gt; is not instancing the clip, and is just repeating the memory. I expected a file size not much larger than the sum of the input files' sizes, just over 50Mb.&lt;/p&gt;&#xA;&lt;p&gt;I found several other questions and answers regarding merging a video loop with an audio track, but I didn't find anyone commenting about the resulting file size. Admittedly, I am a beginner with this process, but my expectation was the default behavior for a command that creates a loop from an input source would be to efficiently instance it whenever possible.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Is the &lt;em&gt;-stream_loop&lt;/em&gt; option actually repeating the input video clip frames to make the loop?&lt;/li&gt;&#xA;&lt;li&gt;Is there a way to tell ffmpeg to instance the input video frames when creating the loop?&lt;/li&gt;&#xA;&lt;li&gt;Is this actually a limitation with video formats (e.g. mp4, mkv, etc.)?&lt;/li&gt;&#xA;&lt;li&gt;If ffmpeg is not sufficient for this, is there some way to create a video that efficiently (with respect to file size) loops the video clip for the duration of an audio clip?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="36521" LastActivityDate="2021-10-17T05:11:34.987" Title="FFmpeg Optimized File Size Video Loop" Tags="|ffmpeg|video|audio|encoding|memory|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34501" PostTypeId="2" ParentId="34500" CreationDate="2021-10-17T05:11:34.987" Score="1" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;Is the -stream_loop option actually repeating the input video clip frames to make the loop?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Yes.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Is there a way to tell ffmpeg to instance the input video frames when creating the loop?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;No.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Is this actually a limitation with video formats (e.g. mp4, mkv, etc.)?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;For MP4s and MKVs, yes.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;If ffmpeg is not sufficient for this, is there some way to create a video that efficiently (with respect to file size) loops the video clip for the duration of an audio clip?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Not that I know of. Some vendors like Whatsapp have customized MP4s to allow this. However, the player has to recognize and implement the proprietary loop instruction.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-10-17T05:11:34.987" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34502" PostTypeId="2" ParentId="34493" CreationDate="2021-10-17T06:57:38.920" Score="0" Body="&lt;p&gt;one way that I would get around this issue would be to render the footage with the saturation effect applied and then track the rendered footage and apply that tracking data for your original footage without the saturation effect.&lt;/p&gt;&#xA;&lt;p&gt;You can also try plugins like Mocha which does amazing 2D planar tracking on difficult footage like these.&lt;/p&gt;&#xA;&lt;p&gt;You can also refer to the document here: &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/tracking-stabilizing-motion-cs5.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/after-effects/using/tracking-stabilizing-motion-cs5.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36523" LastActivityDate="2021-10-17T06:57:38.920" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34505" PostTypeId="2" ParentId="34443" CreationDate="2021-10-18T11:20:26.733" Score="0" Body="&lt;p&gt;This question and excellent @tomh 's answer shows the importance of being organized from your folder files structure first. If you name your photos with the right player name you can get the text for your text layer from the layers names photos. You can also duplicate a first one made comp and hold alt to drag-and-replace the photos without losing the animation keyframes to speed up even more the process.&lt;/p&gt;&#xA;" OwnerUserId="1466" LastActivityDate="2021-10-18T11:20:26.733" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34506" PostTypeId="2" ParentId="16895" CreationDate="2021-10-19T00:48:28.030" Score="3" Body="&lt;p&gt;Good news at the horizon. You should expect &lt;a href=&quot;https://support.google.com/youtube/thread/129769858/updates-to-captions-and-audio-features-on-youtube?hl=en#:%7E:text=Multi-audio%20tracks,the%20coming%20quarters.&quot; rel=&quot;nofollow noreferrer&quot;&gt;Multi-audio tracks and descriptive audio feeds&lt;/a&gt; support in the near future. There's actually a &lt;a href=&quot;https://youtu.be/WaOKSUlf4TM&quot; rel=&quot;nofollow noreferrer&quot;&gt;video demo&lt;/a&gt; with this capability, which is kind of proof of concept.&lt;/p&gt;&#xA;" OwnerUserId="36533" LastActivityDate="2021-10-19T00:48:28.030" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34508" PostTypeId="1" CreationDate="2021-10-19T09:13:19.910" Score="1" ViewCount="29" Body="&lt;p&gt;I'm working for an educational facility for social workers and have a project to shoot 2  scenarios, of physical escalation with therapists and patients with cognitive disabilities, in POV.&lt;/p&gt;&#xA;&lt;p&gt;The requirement of those scenarios are that the viewer should be able to select which subject he wants to follow.&lt;/p&gt;&#xA;&lt;p&gt;→ So I thought 360 video would be easy. Problem: the subjects are getting into each other's hands. Meaning - there can't be a camera between them.&lt;/p&gt;&#xA;&lt;p&gt;→ Now I'm more thinking of POV and shoot the scene twice. Once from the patient's perspective and once from the therapist.&#xA;Probably with the camera attached to a helmet (something like &lt;a href=&quot;https://www.bhphotovideo.com/c/product/1660202-REG/tilta_ta_hr_l_v_hermit_pov_support_system.html?gclid=CjwKCAjw2bmLBhBREiwAZ6ugo0AsONPZoNVr6HAaIeV5wfRwu-rnTQ9EnPmYnet0KaGLFsHIY3cwMBoC4nIQAvD_BwE&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;).&lt;/p&gt;&#xA;&lt;p&gt;Does anybody have experience with a shoot similar to this and can give me some advice?&lt;/p&gt;&#xA;&lt;p&gt;The helmet is pricey, and I couldn't find a rental place for that - any other good solutions?&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="36539" LastActivityDate="2021-10-19T09:13:19.910" Title="360video - POV Learning Scenarios" Tags="|video|video-quality|video-recording|production|360video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34510" PostTypeId="2" ParentId="22138" CreationDate="2021-10-20T12:35:03.043" Score="0" Body="&lt;p&gt;Agree with Gyan that &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Open Broadcaster Software&lt;/a&gt; is probably the best free tool.&lt;/p&gt;&#xA;&lt;p&gt;Or if you have an ATI videocard you probably have Radeon Software installed which can Record &amp;amp; Stream. Ofcourse you don't have to stream.&lt;/p&gt;&#xA;&lt;p&gt;Also VLC can do it. It's tucked away beneath: Media tab -&amp;gt; Convert / Save option -&amp;gt; Capture Device.&lt;/p&gt;&#xA;" OwnerUserId="36546" LastEditorUserId="36546" LastEditDate="2021-10-20T12:50:08.360" LastActivityDate="2021-10-20T12:50:08.360" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34511" PostTypeId="1" CreationDate="2021-10-20T14:18:00.553" Score="1" ViewCount="670" Body="&lt;p&gt;I'm using &lt;strong&gt;ffmpeg&lt;/strong&gt; to cut slices from a &lt;strong&gt;flac&lt;/strong&gt; audio file then concatenate them together.  I'm able to do this and the output file plays in VLC media player and appears to have the correct duration; however, I get several errors of the form:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&amp;quot;Application provided invalid, non monotonically increasing dts to muxer in stream 0&amp;quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I have two questions:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Do these errors matter?&lt;/li&gt;&#xA;&lt;li&gt;Which of the three concat commands that I use is preferable?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I create the slices with these commands:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg -ss 00:00:00.200 -to 00:00:03.100 -i &amp;quot;input.flac&amp;quot; -c:a copy &amp;quot;slice_1.flac&amp;quot;&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg -ss 00:00:04.400 -to 00:00:07.200 -i &amp;quot;input.flac&amp;quot; -c:a copy &amp;quot;slice_2.flac&amp;quot;&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;These are the three different ways I've tried to concat the files:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg  -i &amp;quot;concat:slice_1.flac|slice_2.flac&amp;quot; -codec copy -c:a flac -ignore_unknown merged_1.flac&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg  -i &amp;quot;concat:slice_1.flac|slice_2.flac&amp;quot; -c:a copy merged_2.flac&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg  -i &amp;quot;concat:slice_1.flac|slice_2.flac&amp;quot; -safe 0 -c copy merged_3.flac&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="36548" LastActivityDate="2021-10-20T14:18:00.553" Title="ffmpeg split and concat flac audio file generates error &quot;Application provided invalid, non monotonically increasing dts to muxer in stream 0&quot;" Tags="|ffmpeg|audio|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34512" PostTypeId="1" CreationDate="2021-10-20T17:56:28.140" Score="1" ViewCount="32" Body="&lt;p&gt;I hope this post finds you all well.&lt;/p&gt;&#xA;&lt;p&gt;I have a short video clip (.mp4) and I wish to trim the last 5-6 seconds of it.&lt;/p&gt;&#xA;&lt;p&gt;I tried the Ripple Cut approach and it works on trimming from the start of a clip to a place in the middle but not from near the end to the very end.&lt;/p&gt;&#xA;&lt;p&gt;Would the Razor function work better?&lt;/p&gt;&#xA;&lt;p&gt;Can you pls. share the exact steps?&lt;/p&gt;&#xA;&lt;p&gt;I place the Playhead exactly where I wish to start trimming and then press the Razor Blade (icon) to make that Razor Blade turn red? Then….?&lt;/p&gt;&#xA;&lt;p&gt;Thank you kindly.&lt;/p&gt;&#xA;" OwnerUserId="32639" LastActivityDate="2021-11-27T19:42:42.560" Title="Da Vinci Resolve Free" Tags="|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34516" PostTypeId="1" CreationDate="2021-10-22T03:09:09.677" Score="0" ViewCount="106" Body="&lt;p&gt;I've managed to loop a video, and it looks great in after effects, I used this tutorial video &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/uI5mbXnuzq4?start=169&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;I've then exported as an mp4. Which again, when imported back into after effects loops perfectly.&lt;/p&gt;&#xA;&lt;p&gt;However when mp4 played back using vlc/windows media/potplayer - it either pauses, or blinks when restarting the loop. It may pause 3 times, then blink, then pause another 4 times, then blink.&lt;/p&gt;&#xA;&lt;p&gt;Any tips ?  Does reducing file size help or anything ? A different format, I just used the default media encoder settings for mp4.&lt;/p&gt;&#xA;" OwnerUserId="36563" LastActivityDate="2021-10-22T03:09:09.677" Title="Perfectly looped in after effects, however playback pauses/blinks" Tags="|after-effects|playback|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="34518" PostTypeId="1" CreationDate="2021-10-22T17:51:50.360" Score="0" ViewCount="51" Body="&lt;p&gt;Is somewhere out there any software which can swap similar audio tracks ?&lt;/p&gt;&#xA;&lt;p&gt;For eg. I record video and audio on camera, but I'm also recording the audio with external recorder on the top of the camera. Than, I just want to swap the audio in video with audio from external recorder.&lt;/p&gt;&#xA;&lt;p&gt;I think it should be fairly easy for the software to detect exact audio track in video and swap it with audio track from external recorder. Definetly easier than doing it manualy.&lt;/p&gt;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="17386" LastActivityDate="2022-07-20T13:03:05.303" Title="Software to swap audio tracks automatically" Tags="|audio|audio-recording|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34519" PostTypeId="2" ParentId="34518" CreationDate="2021-10-23T11:13:04.093" Score="1" Body="&lt;p&gt;Adobe Premiere can help you to line up multiple audio and video recordings. Look at how to make multi-camera sequences and select Audio to synchronise the clips based on their waveforms:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/create-multi-camera-source-sequence.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/using/create-multi-camera-source-sequence.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-10-23T11:13:04.093" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34522" PostTypeId="2" ParentId="34495" CreationDate="2021-10-25T16:06:31.523" Score="4" Body="&lt;p&gt;Using the ffprobe command (part of FFmpeg, also a command line tool)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -show_entries stream=pix_fmt &amp;lt;VIDEO FILE&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The output will look like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;[STREAM]&#xA;pix_fmt=yuv420p&#xA;[/STREAM]&#xA;[STREAM]&#xA;[/STREAM]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You can then find &lt;a href=&quot;https://ffmpeg.org/doxygen/trunk/pixfmt_8h_source.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;the description of the pixel format&lt;/a&gt; as used in ffmpeg:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; AV_PIX_FMT_YUV420P,   ///&amp;lt; planar YUV 4:2:0, 12bpp, (1 Cr &amp;amp; Cb sample per 2x2 Y samples)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="5569" LastActivityDate="2021-10-25T16:06:31.523" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34524" PostTypeId="1" CreationDate="2021-10-26T16:44:55.053" Score="1" ViewCount="27" Body="&lt;p&gt;I am quite new to premiere pro. I started creating own lower thirds for Interview questions, but then used a template I found online (since it looks much better). &lt;a href=&quot;https://mixkit.co/free-premiere-pro-templates/lower-third-in-a-text-box-280/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://mixkit.co/free-premiere-pro-templates/lower-third-in-a-text-box-280/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I was able to customize the template for my needs, but could´t change the length. So the questions fly in, stay there for very short time, and fly back. Does anyone know, how I can make them stay longer, without changing the speed of moving in and out? Couldn't find any keyframes as well. Help is much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="36601" LastEditorUserId="14523" LastEditDate="2021-10-26T16:50:08.323" LastActivityDate="2021-10-26T16:50:08.323" Title="Extend lower thirds title" Tags="|premiere|animation|pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34526" PostTypeId="2" ParentId="30849" CreationDate="2021-10-27T07:32:13.310" Score="2" Body="&lt;p&gt;I resolved this issue by setting the attached SAR (Sample/Storage Aspect Ratio):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test.mp4 -vf scale=1000:200,setsar=1 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="36605" LastActivityDate="2021-10-27T07:32:13.310" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34530" PostTypeId="1" CreationDate="2021-10-28T10:47:50.550" Score="1" ViewCount="869" Body="&lt;p&gt;Can FFmpeg cut to a hundredth of a second?&lt;/p&gt;&#xA;&lt;p&gt;When I try to cut a video using :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -ss 0.989 -t 0.238 -r 30 -y output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The video duration of output.mov is 0.27 seconds and not 0.238 seconds.&lt;/p&gt;&#xA;&lt;p&gt;Is this something that is limited by the video frame rate?&lt;/p&gt;&#xA;&lt;p&gt;This is the input video data:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 512&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:00:04.43, start: 0.000000, bitrate: 12070 kb/s&#xA;    Stream #0:0: Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc), 1920x1080 [SAR 1:1 DAR 16:9], 11995 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : Core Media Video&#xA;      encoder         : Lavc58.54.100 libx264&#xA;    Stream #0:1: Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 133 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : Core Media Audio&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is the output video data:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 512&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:00:00.27, start: 0.000000, bitrate: 15299 kb/s&#xA;    Stream #0:0: Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc), 1920x1080 [SAR 1:1 DAR 16:9], 15144 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : Core Media Video&#xA;      encoder         : Lavc58.54.100 libx264&#xA;    Stream #0:1: Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 123 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : Core Media Audio&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="36611" LastEditorUserId="18155" LastEditDate="2021-12-06T00:49:01.443" LastActivityDate="2021-12-06T05:11:23.117" Title="How accurately can FFmpeg cut a video to a specific duration?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34531" PostTypeId="2" ParentId="22769" CreationDate="2021-10-28T17:10:37.897" Score="0" Body="&lt;p&gt;I wrote a shell script that uses fzf to create repls from linux commands: &lt;a href=&quot;https://github.com/vapniks/fzfrepl&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/vapniks/fzfrepl&lt;/a&gt;&#xA;There's an example in the Readme.org that shows how you can use it with ffmpeg, graph2dot &amp;amp; graph-easy to get a live preview diagram of the ffmpeg filtergraph thats entered at the prompt.&#xA;This could be useful for debugging filtergraphs.&lt;/p&gt;&#xA;" OwnerUserId="36619" LastActivityDate="2021-10-28T17:10:37.897" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34532" PostTypeId="2" ParentId="34014" CreationDate="2021-10-28T17:53:48.460" Score="1" Body="&lt;p&gt;You need to use keyframes.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select the clip.&lt;/li&gt;&#xA;&lt;li&gt;Place the playhead where you want the animation to&#xA;start.&lt;/li&gt;&#xA;&lt;li&gt;In video inspector, go to Transform-&amp;gt;Scale(All)&lt;/li&gt;&#xA;&lt;li&gt;Adjust Scale to the starting scale size.&lt;/li&gt;&#xA;&lt;li&gt;Click the add keyframe button on the right of the Scale parameter.&lt;/li&gt;&#xA;&lt;li&gt;Repeat process for the ending scale keyframe.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="36617" LastActivityDate="2021-10-28T17:53:48.460" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34533" PostTypeId="2" ParentId="34295" CreationDate="2021-10-29T02:41:45.803" Score="0" Body="&lt;p&gt;With my current understanding of how After Effects expressions work, I don't think that can be done.&lt;/p&gt;&#xA;&lt;p&gt;According to user Mylenium in &lt;a href=&quot;https://community.adobe.com/t5/after-effects-discussions/dynamic-keyframe-value-using-expression/m-p/10130410&quot; rel=&quot;nofollow noreferrer&quot;&gt;this comment thread&lt;/a&gt;,&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Keyframe values are read-only&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="36622" LastActivityDate="2021-10-29T02:41:45.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34534" PostTypeId="1" CreationDate="2021-10-29T04:11:35.160" Score="0" ViewCount="267" Body="&lt;p&gt;I'm working on a project made of hundreds of short video clips taken over the past year.  Some indoor clips, some outdoor, some in a quiet environment, some in loud, etc.  Naturally, they all have different &amp;quot;loudness&amp;quot; to them.  Some have quiet conversations, some have loud clapping or whatever.&lt;/p&gt;&#xA;&lt;p&gt;What I'd like is to amplify all clips uniformly (like apply a gain of 5db or so) but without making the already-loud moments overly loud.  I've read about the Limiter Logic effect, and I see there's also Compressor, Adaptive Limiter, etc.&lt;/p&gt;&#xA;&lt;p&gt;Is Final Cut's &amp;quot;analyze audio&amp;quot; feature good enough for this?  Or does that not deal with the already loud areas?  I can create a compound clip for the entire project, and apply Limiter to that, but is there a better way?&lt;/p&gt;&#xA;" OwnerUserId="36624" LastActivityDate="2024-02-06T18:01:20.140" Title="Applying Audio Effect to Entire Project" Tags="|audio|final-cut-pro-x|workflow|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34535" PostTypeId="2" ParentId="34391" CreationDate="2021-10-29T09:46:03.933" Score="0" Body="&lt;p&gt;you have to specify both an input and an output framerate, right now you are only setting the input framerate. Try&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;find dir/ -iname '*.jpg' | xargs cat | ffmpeg -f image2pipe -r 20 -i - -s 1080x720 -r 20 -pix_fmt yuv420p out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;hope this works&lt;/p&gt;&#xA;" OwnerUserId="36630" LastEditorUserId="14523" LastEditDate="2021-11-01T17:42:51.117" LastActivityDate="2021-11-01T17:42:51.117" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34536" PostTypeId="1" CreationDate="2021-10-30T09:02:57.010" Score="3" ViewCount="35" Body="&lt;p&gt;It seems to add a ripple effect the more I increase the degree, but would like to read about it somewhere more. Couldn't find anything about it with a google/youtube search that specifically explains it. What is it supposed to control precisely?&lt;/p&gt;&#xA;" OwnerUserId="36636" LastActivityDate="2021-10-30T09:02:57.010" Title="What does the 'evolution' property under Turbulent Displace in After Effects do?" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34537" PostTypeId="1" CreationDate="2021-10-30T17:17:21.307" Score="0" ViewCount="100" Body="&lt;p&gt;For example, my peak volume is -4dB, but I want to increase it to -1dB (as per youtube recommendation). In the mixer master volume, which increase should I set? +3dB does not produce a -1dB peak.&lt;/p&gt;&#xA;&lt;p&gt;Thank you in advance.&lt;/p&gt;&#xA;" OwnerUserId="30069" LastActivityDate="2024-03-20T14:04:40.500" Title="How do I calculate the adjustment to a target dbFS? What's the formula?" Tags="|audio|loudness|volume|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34539" PostTypeId="1" CreationDate="2021-10-30T23:43:20.980" Score="2" ViewCount="18982" Body="&lt;p&gt;I'm editing a video in Adobe Premiere Pro 2022. When I import video, it looks fine on the preview screen, but when I layer it over another video in the timeline, the timeline preview of the video looks distorted. Anyone know why this is happening, and how I can fix it? The colors look very saturated and the video looks overexposed. I haven't added any effects to the video that I know of(I just imported it and put it in the timeline).&lt;/p&gt;&#xA;&lt;p&gt;Here's a picture of what it looks like:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IcPVd.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IcPVd.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you can see, the image looks super distorted in the timeline preview, but the import preview on the left looks normal.&lt;/p&gt;&#xA;" OwnerUserId="36642" LastEditorUserId="36642" LastEditDate="2021-11-02T15:12:58.567" LastActivityDate="2021-12-30T20:25:17.130" Title="Why does my video look overexposed in Adobe premiere 2022?" Tags="|premiere|adobe|bug|" AnswerCount="4" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34540" PostTypeId="1" AcceptedAnswerId="34541" CreationDate="2021-10-31T22:13:58.947" Score="2" ViewCount="130" Body="&lt;p&gt;After-Effects newbie here.&lt;/p&gt;&#xA;&lt;p&gt;I have many many text lines all using exactly the same font. How can I best add background color textboxes &lt;em&gt;with a consistent height&lt;/em&gt;?&lt;/p&gt;&#xA;&lt;p&gt;The color background must not change height depending on the text. The top two green textbox colors are what I want. The bottom two red textbox colors, changing height depending on the letters, are what I am getting.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/udRbs.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/udRbs.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I tried box-blur/shift-channels techniques (&lt;a href=&quot;https://youtu.be/hjxGLOWrmD4&quot; rel=&quot;nofollow noreferrer&quot;&gt;example&lt;/a&gt;) but the textbox heights are not consistent.&lt;/p&gt;&#xA;&lt;p&gt;I also tried expression techniques using &lt;code&gt;sourceRectAtTime()&lt;/code&gt; on size and/or position of the shape (&lt;a href=&quot;https://youtu.be/kI3yzx6CATg&quot; rel=&quot;nofollow noreferrer&quot;&gt;example&lt;/a&gt;) but again the textbox height changes depending on letters used.&lt;/p&gt;&#xA;&lt;p&gt;I am experimenting with anchors and baseline and suspect there is a solution somewhere there but I am getting very confused and suspect I am reinventing the wheel badly. Surely there must be a widely used solution for this but I cannot find it!&lt;/p&gt;&#xA;&lt;p&gt;Many thanks, Polly&lt;/p&gt;&#xA;" OwnerUserId="29344" LastActivityDate="2021-11-03T23:13:16.440" Title="Color textbox with consistent height" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34541" PostTypeId="2" ParentId="34540" CreationDate="2021-11-01T09:16:05.820" Score="2" Body="&lt;p&gt;Make a text layer called “Text”.&lt;/p&gt;&#xA;&lt;p&gt;Align the text centrally using the&#xA;Paragraph controls.&lt;/p&gt;&#xA;&lt;p&gt;Make a filled rectangular shape layer beneath it.&lt;/p&gt;&#xA;&lt;p&gt;Add two sliders to the shape layer called &amp;quot;horizontal padding&amp;quot;and &amp;quot;vertical padding&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Apply this expression to the size control in the shape layer:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;var s = thisComp.layer(&amp;quot;Text&amp;quot;);&#xA;var w = s.sourceRectAtTime().width;&#xA;var h = s.sourceRectAtTime().height;  // note this isn't used&#xA;var paddinghorizontal = effect(&amp;quot;horizontal padding&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;var paddingvertical = effect(&amp;quot;vertical padding&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;&#xA;[w + paddinghorizontal,100 + paddingvertical];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The last line of the code above sets the width and the height of the box, ie [width, height].  The height is set to 100 (an arbitrary value), plus whatever vertical padding you add later.&lt;/p&gt;&#xA;&lt;p&gt;Write the largest vertical text you will need.&lt;/p&gt;&#xA;&lt;p&gt;Adjust the position of the shape layer.&lt;/p&gt;&#xA;&lt;p&gt;Adjust the height of the text layer using the vertical padding Slider control.&lt;/p&gt;&#xA;&lt;p&gt;Adjust the horizontal padding to make it look good.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ibdbL.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ibdbL.gif&quot; alt=&quot;screengrab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/jPhERt40yoQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-11-03T23:13:16.440" LastActivityDate="2021-11-03T23:13:16.440" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34542" PostTypeId="2" ParentId="34539" CreationDate="2021-11-01T09:32:24.667" Score="2" Body="&lt;p&gt;Check there are no effects on the clip (click the clip in the sequence, and then click on the Effects Controls tab in the left window), and no &lt;a href=&quot;https://helpx.adobe.com/uk/premiere-pro/using/master-clip-effects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;source effects&lt;/a&gt; on the source clip (from the Effect Controls tab, see if there's a Source tab beneath that).&lt;/p&gt;&#xA;&lt;p&gt;Try making a completely new sequence, by dragging the clip from the Project tab onto the New Item icon:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/gICSu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gICSu.png&quot; alt=&quot;new item&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;at the bottom of that panel.&#xA;This should make you a new sequence with exactly the same settings as your source clp.&lt;/p&gt;&#xA;&lt;p&gt;If this doesn't look weird, then the sequence settings in your original sequence might be different to this source clip.&lt;/p&gt;&#xA;&lt;p&gt;If the clip was shot in Log or Raw, and your sequence is set to Rec.709, you may need to adjust the footage to make it look right using &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/lumetri-color-overview.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lumetri&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-11-01T09:32:24.667" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34543" PostTypeId="2" ParentId="34537" CreationDate="2021-11-01T09:56:21.237" Score="0" Body="&lt;p&gt;It depends on your application, your project setup, and how it is metering signals.&lt;/p&gt;&#xA;&lt;p&gt;If you are playing a mono source through a mono project, and metering using VU meters, playing a continuous sine wave tone at -4dB would meter at -4dBFS. If you increase the gain by 3dB, it should meter at -1dBFS.&lt;/p&gt;&#xA;&lt;p&gt;Different metering systems use different ways to average the signal over time (eg &lt;a href=&quot;https://en.wikipedia.org/wiki/Peak_programme_meter?wprov=srpw1_0&quot; rel=&quot;nofollow noreferrer&quot;&gt;PPM meters&lt;/a&gt;).&lt;/p&gt;&#xA;&lt;p&gt;Different metering systems also use different loudness curves to try to approximate human loudness perception.&lt;/p&gt;&#xA;&lt;p&gt;Real-world audio signals have more energy across different parts of the frequency spectrum, so may not meter as precisely as sine tones through the metering system of your application.&lt;/p&gt;&#xA;&lt;p&gt;Premiere has a &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/loudness-radar.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;loudness radar tool&lt;/a&gt; that can help with this.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-11-01T09:56:21.237" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34544" PostTypeId="2" ParentId="24080" CreationDate="2021-11-01T13:41:26.407" Score="0" Body="&lt;p&gt;DaVinci Resolve offers a free version which is fully capable, and available for Mac, Windows, and Linux.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-11-01T13:41:26.407" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34546" PostTypeId="2" ParentId="28988" CreationDate="2021-11-01T19:53:08.550" Score="0" Body="&lt;p&gt;Use mocha to track the drum of the machine, but mask out its contents.  Mocha can handle rotation of planar surfaces, and there’s a lite version which ships with AE. Use the stabilize module to even out the movement.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-11-01T19:53:08.550" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34550" PostTypeId="1" AcceptedAnswerId="34551" CreationDate="2021-11-02T11:22:37.567" Score="0" ViewCount="92" Body="&lt;p&gt;I have a recording of a full musical theatre show with several cameras. However, the only full-length track I have is the audio. The cameras do not have ongoing tracks but separate clips with pauses inbetween. If manually arranged in Premiere, it could look like this mockup:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CCwA6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CCwA6.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As there are nine cameras with sometimes a lot of clips (not just four or five), it would be extremely time-consuming to manually synchronize audio and video. However, I did not find a way to synchronize them with the built-in tools:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Multi-camera mode could work if each camera would have cuts at the same points. However, this is not the case.&lt;/li&gt;&#xA;&lt;li&gt;Merging only works for exactly one video clip and audio.&lt;/li&gt;&#xA;&lt;li&gt;I also tried to arrange the videos and the audio on a timeline and apply synchronize for each video/audio combination. However, it moves the audio, not the video, therefore it doesn't work either.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Is there any trick to make this work? I need separate tracks per camera because the cameras are very different and need to be color corrected individually.&lt;/p&gt;&#xA;" OwnerUserId="36664" LastActivityDate="2021-11-02T16:11:01.277" Title="Prepare a timeline to one audio track with multiple cameras and multiple clips per camera" Tags="|premiere|premiere-pro|" AnswerCount="2" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="34551" PostTypeId="2" ParentId="34550" CreationDate="2021-11-02T11:35:10.267" Score="1" Body="&lt;p&gt;If there is audible speech of the event on the built-in microphone of each camera, Premiere is usually pretty good about syncing them up.&lt;/p&gt;&#xA;&lt;p&gt;I would throw all the clips into a multi-camera sequence, set to sync using audio.  Set whichever camera is the best one to be the main sequence settings, then let it do its thing.&lt;/p&gt;&#xA;&lt;p&gt;You will end up with a tonne of video tracks and a tonne of audio tracks, but from that point onwards, it's just shuffling the clips around in a game of video-Tetris until you have the right clips on the right tracks.  The syncing is the time consuming bit, and hopefully Premiere will do that part for you.&lt;/p&gt;&#xA;&lt;p&gt;Make the multi camera sequence using Audio to sync.&#xA;When it is done, duplicate the sequence, and work from the duplicate.&lt;/p&gt;&#xA;&lt;p&gt;Right click the multi-camera sequence and select &amp;quot;open in timeline&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;Move all the camera 1 clips to Layer 1, Camera 2 clips to layer 2 etc.&lt;/p&gt;&#xA;&lt;p&gt;When this is done, make a new &amp;quot;normal&amp;quot; sequence, and drag your multi-camera sequence into it.&lt;/p&gt;&#xA;&lt;p&gt;You should now be able to cut between cameras &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/create-multi-camera-source-sequence.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;using the multi-camera tools&lt;/a&gt; in Premiere (make a cut, right click, select which camera you want for each&#xA;clip).  There are shortcuts to make this faster.&lt;/p&gt;&#xA;&lt;p&gt;I often end up adding the master audio to the normal sequence after I've put the multicamera sequence in, because the multi-camera tool often messes with the audio panning per clip.&lt;/p&gt;&#xA;&lt;p&gt;You can colour correct afterwards using &lt;a href=&quot;https://helpx.adobe.com/uk/premiere-pro/using/master-clip-effects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;source clip effects&lt;/a&gt; per camera, or on a clip by clip basis, or you can apply them within the multi-camera sequence.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-11-02T11:35:10.267" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34553" PostTypeId="1" CreationDate="2021-11-02T14:53:31.703" Score="0" ViewCount="120" Body="&lt;p&gt;I have a number of video files I need to convert to &amp;quot;regular&amp;quot; .mp4 format to view on my computer. The format they are in is not supported by my device (the driver has not been backported to 18.04). I have a VM running a later edition of Ubuntu that can convert them, but this raised a question about the bitrate.&lt;/p&gt;&#xA;&lt;p&gt;I don't want to &amp;quot;worsen&amp;quot; the quality any more than the conversion would already do, so how do I choose an output bitrate that will contain all the information of the input file (especially as I'd imagine that the bitrate is also a function of the compression efficiency rather than the &amp;quot;raw&amp;quot; datarate)?&lt;/p&gt;&#xA;&lt;p&gt;Am I correct that the bitrate is not the same measure when the formats are different, and if so, how do I ensure that my output quality contains the same information without increasing the file size too much? Is there a tool for that (for Ubuntu, of course)?&lt;/p&gt;&#xA;&lt;p&gt;Also, VLC seems to automatically pick a bitrate which is larger than the input value and appears to vary between files (with a corresponding size increase after conversion). Would you know if it is doing this calculation automatically, or is it just padding my files?&lt;/p&gt;&#xA;" OwnerDisplayName="user36667" LastActivityDate="2024-03-21T21:07:20.813" Title="How to choose a bitrate when converting between formats?" Tags="|video|conversion|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34554" PostTypeId="2" ParentId="34553" CreationDate="2021-11-02T15:41:41.853" Score="0" Body="&lt;p&gt;Bitrate is not equal when formats differ. Some codecs are more effecient and thus less 'lossy' in terms of how they compress the data.&lt;/p&gt;&#xA;&lt;p&gt;Secondly, the software you use is a factor in terms of output quality when the source codec and bitrate rates are equal. Simply put, h.264 1080p29.97 at 25mbps CBR (constant bitrate) may look better when encoded using one software over another. VBR (Variable Bit Rate) is another factor. It's more effecient, but it's more susuptible to issues if the software you use doesn't handle the temporal analysis between side by side frames.&lt;/p&gt;&#xA;&lt;p&gt;Regarding you last comment on padding; yes you can certainly bloat your file size for no good reason, and adding that additional data will be all but un-noticable to even the best trained eye. Even on a scope the file which has more padding may be a near identical match.&lt;/p&gt;&#xA;&lt;p&gt;So it's a matter of trial and error.&lt;/p&gt;&#xA;&lt;p&gt;If you're starting with 444 Raw Source, you can certainly compress down to H.265 at 100 mbps CBR for 1080, or 200mbps for 4k, and you'd have a hard time, if even possible, to see the difference.&lt;/p&gt;&#xA;&lt;p&gt;But your new file would lose a lot of bit depth data in terms of the RGB values and the way that data is stored. Your source file would allow for a high lattude of color correction, exposure correction, etc.&lt;/p&gt;&#xA;&lt;p&gt;Your output, while visually indistinguishable from the source... would not allow much color correction at all.&lt;/p&gt;&#xA;" OwnerUserId="14504" LastActivityDate="2021-11-02T15:41:41.853" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34555" PostTypeId="2" ParentId="34550" CreationDate="2021-11-02T16:11:01.277" Score="1" Body="&lt;p&gt;In addition to tomh's answer which is correct:&lt;/p&gt;&#xA;&lt;p&gt;In my case, it could happen that at certain times there was only one camera filming at a time. In this case, the multi-camera sequence could not be generated as there was no way to determine where to add a certain clip.&lt;/p&gt;&#xA;&lt;p&gt;As I mentioned in the initial question, the only thing I have at full length is the audio track. However, you (naturally) cannot use audio files for creating a multi-camera sequence. I circumvented this by creating a video of my audio track with just a black background using ffmpeg:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i color=c=black:s=1280x720:r=5 -i input.mp3 -crf 0 -c:a copy -shortest output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/a/29547/36664&quot;&gt;Source&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As a consequence, I could use this clip for creating a multi-camera sequence and it combined all videos correctly.&lt;/p&gt;&#xA;" OwnerUserId="36664" LastActivityDate="2021-11-02T16:11:01.277" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34557" PostTypeId="2" ParentId="34460" CreationDate="2021-11-02T17:09:04.697" Score="0" Body="&lt;p&gt;You could eliminate the gap by reducing the width of the Base Resolution from 3840 to what fits: 1280 + the width of the powerpoint presentation. You may need to drag the righthand frame over, but it should fit.&lt;/p&gt;&#xA;&lt;p&gt;But you've got another issue: your Base and Output are very different aspect ratios, so your output will be distorted as it smushes 50% horizontally (to use a technical term :-).&lt;/p&gt;&#xA;&lt;p&gt;If you're going to output (capture) 16:9, I believe your canvas needs to be at that ratio too. If you keep the base height 1080, the base width should be 1280 / 720 * 1080 = 1920.&lt;/p&gt;&#xA;&lt;p&gt;To handle that, you can start by cropping your Facetime camera on the sides, although it won't be enough. You'll need a different aspect ratio in your PowerPoint itself, which will likely require changing the layout of all your slides. Alternately, you could shrink down the presentation in OBS, leaving a gap above and below it and have a nice background color behind the whole frame (or some cool looping animation).&lt;/p&gt;&#xA;" OwnerUserId="36669" LastActivityDate="2021-11-02T17:09:04.697" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34561" PostTypeId="1" AcceptedAnswerId="34567" CreationDate="2021-11-03T09:09:47.613" Score="0" ViewCount="89" Body="&lt;p&gt;I just went in manually and added a single frame before the change in font size a frame where the font is the previous size. Is manually adding a frame one frame before the change the best way to make the font change in size instantaneously or is there a more formal way of doing it?&lt;/p&gt;&#xA;&lt;p&gt;I also tried changing the easing to be instantaneous by going in a single frame prior and adjusting the easing speed to be 100% in a single frame as well, which worked.&lt;/p&gt;&#xA;&lt;p&gt;I just don't want the frame time stops section to get messy with so many time stops. Is this the right way to do it still?&lt;/p&gt;&#xA;" OwnerUserId="36636" LastActivityDate="2021-11-03T23:23:03.213" Title="Proper way to change font size instantaneously without any easing in After Effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34563" PostTypeId="1" CreationDate="2021-11-03T09:42:53.277" Score="0" ViewCount="201" Body="&lt;p&gt;I am trying to crop a video in Resolve while keeping and moving a part of the cropped scene.&lt;/p&gt;&#xA;&lt;p&gt;So the original footage is:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QP8k6.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QP8k6.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I want to do this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mdzXp.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mdzXp.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;With a final result of:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3dAvh.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3dAvh.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The only way I know to do this is to duplicate the movies in the &lt;code&gt;Edit&lt;/code&gt; tab and then crop and transform. Is there another way that does not require to duplicate the entire clip?&lt;/p&gt;&#xA;" OwnerUserId="30097" LastActivityDate="2024-03-23T07:06:30.770" Title="Resolve cropping keeping a part of a screen" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34566" PostTypeId="2" ParentId="34563" CreationDate="2021-11-03T20:25:26.713" Score="0" Body="&lt;p&gt;Which approach is easiest depends on your source material. If your source consists of two layers; a text layer and a background, then you’d crop the background and reposition the text. If the text is “burnt” into the background, on the other hand, or if the area you’re trying to keep isn’t text at all, the best approach is to 1) crop the background as described above, then 2) create a duplicate copy of the background layer described in 1, place the new one above the old one in the layer stack (i.e., old on V1, new on V2), and then crop the upper layer more tightly than the lower one.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-11-03T20:25:26.713" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34567" PostTypeId="2" ParentId="34561" CreationDate="2021-11-03T23:23:03.213" Score="2" Body="&lt;p&gt;You need to use a hold keyframe. Right click the keyframe, select hold frame.&lt;/p&gt;&#xA;&lt;p&gt;Each time the play head gets to a hold frame, the value will jump to that keyframe value with no interpolation.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/keyframe-interpolation.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/after-effects/using/keyframe-interpolation.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-11-03T23:23:03.213" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34569" PostTypeId="2" ParentId="34539" CreationDate="2021-11-04T07:28:11.930" Score="1" Body="&lt;p&gt;Same issue, I had to modify my footage, interpret footage, and override color space to rec 709 for EACH CLIP. I don't know how adobe screwed this up. It should automatically make a sequence according to my clip when I do &amp;quot;Make New Sequence from Clip&amp;quot; option. This is very frustrating and takes too much time and mental space when trying to edit content for clients.&lt;/p&gt;&#xA;" OwnerUserId="36693" LastActivityDate="2021-11-04T07:28:11.930" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34570" PostTypeId="1" CreationDate="2021-11-04T16:41:08.793" Score="2" ViewCount="989" Body="&lt;p&gt;In my live streaming scenario I need to grab a video source and inject subtitles that I generate algorithmically during the stream (i.e. I do not know the subtitles upfront), and publish the streams together.&lt;/p&gt;&#xA;&lt;p&gt;From what documentation and examples I found &lt;code&gt;-f srt&lt;/code&gt; input is always from a file, not a stream, or the subtitles already arrive inside a container stream.&lt;/p&gt;&#xA;&lt;p&gt;To test, a naive approach of mine was to send UDP packets like this one:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;00:00:05,000 --&amp;gt; 00:00:06,999&#xA;Hello World&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and consume them as follows&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f srt -i udp://localhost:1233 \&#xA;-c:s mov_text out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This does not work which may be obvious to all folks familiar with FFmpeg. I am having a hard time identifying why this does not work or how else to approach the problem, probably because this is not a usual use case?&lt;/p&gt;&#xA;" OwnerUserId="36696" LastActivityDate="2024-04-06T15:06:05.813" Title="Can I inject subtitles into a live stream with FFmpeg?" Tags="|ffmpeg|streaming|subtitles|live|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34575" PostTypeId="2" ParentId="34530" CreationDate="2021-11-05T22:30:48.050" Score="3" Body="&lt;p&gt;I &lt;em&gt;believe&lt;/em&gt; you cannot cut less than a frame dealing with video streams.&lt;/p&gt;&#xA;&lt;p&gt;With 30 fps a single frame is 0.033(3) seconds.&#xA;The closest value for your requested 0.238 is 0.233(3). But it is less than needed and to not miss any data ffmpeg takes one more frame which results in 0.266(6). When rounded it is exactly 0.27.&lt;/p&gt;&#xA;" OwnerUserId="36711" LastActivityDate="2021-11-05T22:30:48.050" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34577" PostTypeId="1" AcceptedAnswerId="34588" CreationDate="2021-11-06T01:37:16.540" Score="2" ViewCount="453" Body="&lt;p&gt;I need to toggle the wireframe option in the composition section but I'm missing the icons in the squared section in the image. How do I get these button icons so I can toggle the wireframe section? I tried toggling all of the menu bar options but can't seem to find the right one. Screenshot is from a youtube tutorial where the button icons that I'm looking for are visible.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iH8K6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iH8K6.png&quot; alt=&quot;screenshot of menu bar in composition menu&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;below is screenshot of what I see on my screen:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/hSifN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hSifN.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36636" LastEditorUserId="36636" LastEditDate="2021-11-09T08:37:39.590" LastActivityDate="2021-11-09T09:12:27.303" Title="How do I make visible the menu in the composition section in After Effects where I can choose wireframe view?" Tags="|after-effects|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34579" PostTypeId="1" CreationDate="2021-11-07T05:09:01.263" Score="1" ViewCount="313" Body="&lt;p&gt;I want to know if there is a way to extract single frames from DaVinci resolve and modify them using a python script or if you can add a hook in fusion so that each frame is run through a python script. I looked through the &amp;quot;API documentation&amp;quot; but can't see any specific way to do this.&lt;/p&gt;&#xA;&lt;p&gt;This would allow for integration with lots of other tools like OpenCV, TensorFlow and let you do lots of stuff like face detection aruco detection using scripting.&lt;/p&gt;&#xA;" OwnerUserId="36718" LastActivityDate="2021-11-07T05:09:01.263" Title="Extract and replace frames from davinci resolve using python scripting" Tags="|davinci-resolve|script|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34580" PostTypeId="1" CreationDate="2021-11-07T07:27:20.933" Score="0" ViewCount="120" Body="&lt;p&gt;is there an app that I can use windows that can take a video and divide the file to N number of files? Like for a 1 hour video, I'd like to create 6 videos or 12 then it will automatically determine where to split it.&lt;/p&gt;&#xA;&lt;p&gt;I discovered this amazing site that does it: &lt;a href=&quot;https://split-video.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://split-video.com/&lt;/a&gt;, but it's just taking too much time and I can probably take advantage of my computer that has good memory and gpu.&lt;/p&gt;&#xA;" OwnerUserId="36719" LastActivityDate="2021-11-08T12:57:10.103" Title="How to split a huge video into smaller files automatically in windows?" Tags="|video-editor|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34581" PostTypeId="1" CreationDate="2021-11-07T10:34:03.813" Score="1" ViewCount="113" Body="&lt;p&gt;My video intro and outro are created in after effects. I want to use them in my Premiere Pro videos but I also want to &lt;strong&gt;archive&lt;/strong&gt; these Premiere Pro projects after I'm done. I don't know yet how to do that, but I basically want to gather (and probably zip) &lt;strong&gt;every single file&lt;/strong&gt; used in that PP project so that I can not break it later by removing, renaming, or deleting files that this project depends on.&lt;/p&gt;&#xA;&lt;p&gt;As far as I know, there are 2 ways in which I can get an AE composition into PP: Either by rendering that clip and using it like a normal video, or by using the &amp;quot;Dynamic Link&amp;quot; functionality.&lt;/p&gt;&#xA;&lt;p&gt;The former option would be the easiest way to get my intro and outro into PP, and then later gather and archive the files. The problem is the huge file size of the generated clips. I get several GB for that 11-second intro clip. Remember that I wanna archive each video separately, meaning that each project will have &lt;strong&gt;its own copy of that intro and outro clip&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Dynamic links don't generate large files but I don't know if my &amp;quot;gather and archive&amp;quot; process will even work with dynamic links. I have a feeling that it will not work.&lt;/p&gt;&#xA;&lt;p&gt;What do you recommend to fix my problem? Should I just render a smaller file from AE? But then I am afraid to lose too much quality. What file type do you recommend?&lt;/p&gt;&#xA;" OwnerUserId="36720" LastActivityDate="2021-11-08T08:36:52.667" Title="How to archive a Premiere Pro project that uses After Effects compositions" Tags="|after-effects|premiere|adobe|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34583" PostTypeId="1" CreationDate="2021-11-08T03:25:16.567" Score="0" ViewCount="15" Body="&lt;p&gt;I have a video that contains screams at various points. Is there a way to (via script) cut the screams out based on audio attributes then merge all clips into one supercut of just screams?&lt;/p&gt;&#xA;" OwnerUserId="36727" LastActivityDate="2021-11-08T03:25:16.567" Title="Script to cut vid into clips based on audio peak?" Tags="|audio|script|" AnswerCount="0" CommentCount="4" ClosedDate="2021-11-10T10:42:31.797" ContentLicense="CC BY-SA 4.0" />
  <row Id="34585" PostTypeId="2" ParentId="34581" CreationDate="2021-11-08T08:36:52.667" Score="2" Body="&lt;p&gt;Working with video inevitably involves large file sizes.  Buy two large external spinning disks for backup, and a large fast SSD for active projects.&lt;/p&gt;&#xA;&lt;p&gt;I work on fast SSDs when I'm actively working on a project, making sure all my media, After Effects projects and premiere files are contained within a single folder (and then organised into subfolders).&lt;/p&gt;&#xA;&lt;p&gt;When it comes to backing up, I don't bother with any of the built in Premiere archiving processes.  They're slow and unreliable in my experience.&lt;/p&gt;&#xA;&lt;p&gt;I copy the entire project folder to a slower cheaper spinning hard disk using &lt;a href=&quot;https://www.econtechnologies.com/chronosync/overview.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Chronosync&lt;/a&gt;.  This is useful because it can do incremental backups, so if you make small changes on your source disk, Chronosync only needs to scan for the changes, and then backs those up on to the backup disk.&lt;/p&gt;&#xA;&lt;p&gt;So long as you religiously keep all your work in your project folder, this is a very quick and easy way to back up.&lt;/p&gt;&#xA;&lt;p&gt;When it's all finished, I check the size of my multiple backups agains the SSD project, then delete off the SSD.&lt;/p&gt;&#xA;&lt;p&gt;The ease of backing up this way is much simpler than trying to keep master copies of an intro and outro on another disk and referencing them across into different projects.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-11-08T08:36:52.667" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34586" PostTypeId="2" ParentId="34580" CreationDate="2021-11-08T12:57:10.103" Score="1" Body="&lt;p&gt;Have you tried &lt;a href=&quot;https://www.ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt;? It has several options how to split video on equal parts.&lt;/p&gt;&#xA;" OwnerUserId="34462" LastActivityDate="2021-11-08T12:57:10.103" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34587" PostTypeId="1" CreationDate="2021-11-08T19:56:49.503" Score="0" ViewCount="83" Body="&lt;p&gt;Can someone please help me with this ripple effect on the torus and the sphere.&#xA;Would appreciate the help a lot&lt;a href=&quot;https://i.stack.imgur.com/EBF7f.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EBF7f.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35764" LastActivityDate="2021-11-08T19:56:49.503" Title="Cinema 4D ripple effect" Tags="|3d|visual-effects|cinema4d|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34588" PostTypeId="2" ParentId="34577" CreationDate="2021-11-09T09:12:27.303" Score="2" Body="&lt;p&gt;The toggle wireframe icon is this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KVhRp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KVhRp.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It is visible in your top image here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yQzTn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yQzTn.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And the lower image here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SwZUa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SwZUa.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-11-09T09:12:27.303" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34590" PostTypeId="1" CreationDate="2021-11-10T12:01:19.643" Score="1" ViewCount="57" Body="&lt;p&gt;I have to edit a short movie (10 min long), made of several short scenes. Each scene has multiple takes and clips that need to be edited.&lt;/p&gt;&#xA;&lt;p&gt;I was wondering, which is the best/most efficient option:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Working with sequences, having one sequence for each scene, and work on each scene independently, and then merge all sequences in one at the end&lt;/li&gt;&#xA;&lt;li&gt;Having all the scenes in just one sequence, and editing them together one after the other?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;What is more efficient?&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="36749" LastEditorUserId="4426" LastEditDate="2021-11-10T12:29:37.780" LastActivityDate="2021-11-10T12:33:40.293" Title="Premiere Pro - Edit a video with different scenes - Use sequences or not?" Tags="|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34591" PostTypeId="2" ParentId="34590" CreationDate="2021-11-10T12:33:40.293" Score="1" Body="&lt;p&gt;I would say neither:&lt;/p&gt;&#xA;&lt;p&gt;I'd work on small parts in separate sequences until I'm fairly happy with them, then start to bring them into a main sequence, by copying them in using the lift control.  I don't nest sequences, because I always end up finding the lack of control in the master sequence becomes a problem.&lt;/p&gt;&#xA;&lt;p&gt;If there are multiple cameras within a single take, I'd use mutli-camera sequences to sync those up first.&lt;/p&gt;&#xA;&lt;p&gt;A key part of working like this is organising and reviewing takes rather than how you edit in Premiere - careful labelling of footage and a good spreadsheet is essential in my opinion!&lt;/p&gt;&#xA;&lt;p&gt;(Also really important to duplicate your sequences, so you can go back and retry different ideas, whilst labelling them carefully throughout)&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-11-10T12:33:40.293" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34593" PostTypeId="1" CreationDate="2021-11-10T19:13:27.737" Score="0" ViewCount="10" Body="&lt;p&gt;Would it be right to render elements in the scene that I made, in separate EXR image sequences?&lt;/p&gt;&#xA;&lt;p&gt;What else should I keep in mind to render before moving on to compositing?&lt;/p&gt;&#xA;" OwnerUserId="36753" LastActivityDate="2021-11-10T19:13:27.737" Title="Rendering 3D scene elements separately before compositing - Is it the right workflow" Tags="|3d|compositing|render|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34594" PostTypeId="1" AcceptedAnswerId="34595" CreationDate="2021-11-10T20:24:07.063" Score="1" ViewCount="46" Body="&lt;p&gt;I imported some videos in Premiere Pro (MOV format, captured with iPhone), but after adding them to the timeline, they start to have issues, like video and sound not sync, and videos that repeat themself  (i.e. they start again from the beginning after 15s). It is quite annoying, I tried changing the format to mp4 but I have the same issue. Of course the original files are not corrupt and play properly in any video player.&lt;/p&gt;&#xA;&lt;p&gt;I also tried to export the project in a video file, and it also shows the same behavior, so it is not just a playback bug in Premiere Pro.&lt;/p&gt;&#xA;&lt;p&gt;Any help on this would be much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="36749" LastActivityDate="2021-11-11T16:07:35.703" Title="Issue after importing video in Premiere" Tags="|video|audio|mp4|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34595" PostTypeId="2" ParentId="34594" CreationDate="2021-11-11T04:38:38.997" Score="2" Body="&lt;p&gt;Try to use any video converter and convert your files to constant frame rate.&#xA;Handbrake, movavi video converter, ffmpeg, xvid4psp or any other.&lt;/p&gt;&#xA;&lt;p&gt;For ffmpeg your command line will be similar:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;input-file-name.mov&amp;quot; -r 25 &amp;quot;output-file-name.mov&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;-r 25&lt;/code&gt; - it's a framerate.&lt;/p&gt;&#xA;&lt;p&gt;Mediainfo should show constant frame rate after render.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/2hzKl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2hzKl.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26758" LastEditorUserId="14523" LastEditDate="2021-11-11T16:07:35.703" LastActivityDate="2021-11-11T16:07:35.703" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34596" PostTypeId="2" ParentId="34482" CreationDate="2021-11-11T05:17:17.333" Score="0" Body="&lt;p&gt;It's a recorded screen with OBS and I see the difference with other elements, but your picture looks good with no difference.&#xA;&lt;a href=&quot;https://drive.google.com/drive/folders/18qSgfK4LpmKcWg7fV5DM_6dhBEvrO2m0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/drive/folders/18qSgfK4LpmKcWg7fV5DM_6dhBEvrO2m0&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It's a software x264.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/JLoNt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JLoNt.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Video renderer in video player also will impact how your video shows.&lt;/p&gt;&#xA;&lt;p&gt;Also you can set your color format to I444 and I think you should get the same picture in video as on your screen.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/t8cvQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/t8cvQ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2021-11-11T05:17:17.333" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34597" PostTypeId="2" ParentId="34539" CreationDate="2021-11-11T15:24:32.530" Score="1" Body="&lt;p&gt;In the sequence settings change the Working Color Space from Rec.709 to Rec.2100 HLG.  I had the same issue and this fixed it instantly.&lt;/p&gt;&#xA;" OwnerUserId="36760" LastActivityDate="2021-11-11T15:24:32.530" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34598" PostTypeId="2" ParentId="34313" CreationDate="2021-11-11T15:39:33.067" Score="1" Body="&lt;p&gt;Try this command, it worked for me:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -live_start_index -99999 -i https://your_url/source.m3u8 -c copy -bsf:a aac_adtstoasc outputtt.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="36761" LastEditorUserId="14523" LastEditDate="2021-11-11T16:05:37.717" LastActivityDate="2021-11-11T16:05:37.717" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34599" PostTypeId="1" CreationDate="2021-11-11T21:36:46.913" Score="1" ViewCount="900" Body="&lt;p&gt;I've got a multi-camera sequence with approximately 1,000 painstakingly timed cuts between its 8 cameras. I just got new source material for those cameras (better renders of the same clips) and would like to replace the old renders with the new ones.&lt;/p&gt;&#xA;&lt;p&gt;Is there any way to replace the videos &lt;em&gt;within&lt;/em&gt; a multicam sequence? Or transfer/map the cuts to a new multi-camera sequence? Or any other creative solution?&lt;/p&gt;&#xA;" OwnerUserId="36763" LastActivityDate="2021-11-11T22:54:57.067" Title="Replacing source clips in a multicam sequence in Premiere" Tags="|premiere|multi-camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34600" PostTypeId="2" ParentId="34599" CreationDate="2021-11-11T22:54:57.067" Score="2" Body="&lt;p&gt;Save your project as a new version before you do this.&lt;/p&gt;&#xA;&lt;p&gt;If the new higher quality files have the same file names as the old ones, you can re-link the media, so that the edit points to the new files instead of the old ones.&lt;/p&gt;&#xA;&lt;p&gt;If the new files don't have the same frame rate as the old ones, none of your edits will match up.&lt;/p&gt;&#xA;&lt;p&gt;If the resolution of the new files is different to the old ones, you may need to rescale all of your edits.  You can speed this process up by copying your Motion settings and using the &lt;a href=&quot;https://helpx.adobe.com/uk/premiere-pro/how-to/copy-paste-effects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;paste attribute&lt;/a&gt; command.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/relinking-media.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/using/relinking-media.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-11-11T22:54:57.067" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34601" PostTypeId="1" CreationDate="2021-11-12T01:52:49.277" Score="1" ViewCount="20" Body="&lt;p&gt;&lt;strong&gt;For landscape video&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Create a project with 1920x1080 resolution&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Rt0Yg.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Rt0Yg.jpg&quot; alt=&quot;create project 1920x1080&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Add a 1920x1080 resolution image and add a subtitle by pressing &lt;code&gt;control+T&lt;/code&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/oGy0k.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oGy0k.jpg&quot; alt=&quot;Add image and subtitle&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Let's take a look when the subtitle on these four positions respectively:&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;left border center&#xA;&lt;a href=&quot;https://i.stack.imgur.com/NPHu8.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NPHu8.jpg&quot; alt=&quot;title on left border center&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;right border center&#xA;&lt;a href=&quot;https://i.stack.imgur.com/PWvxG.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PWvxG.jpg&quot; alt=&quot;right border center&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;top border center&#xA;&lt;a href=&quot;https://i.stack.imgur.com/3jST8.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3jST8.jpg&quot; alt=&quot;top border center&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;bottom border center&#xA;&lt;a href=&quot;https://i.stack.imgur.com/iAc2E.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iAc2E.jpg&quot; alt=&quot;bottom border center&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;For the four image above, we can draw a conclusion: the origin of coordinates is at the center of the video&lt;/p&gt;&#xA;&lt;p&gt;For horizontal direction, we had 1920 pixels, half(960) for left and half(960) for right, the x coordinate of left border is -960 and is +960 for the right border&lt;/p&gt;&#xA;&lt;p&gt;For now, everything looks right, everything acts as what I expected. &lt;strong&gt;But this theory seems not work at vertical video(1080x1920) at all&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;For vertical video&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;For vertical video, it's in a similar way, it had 1080 pixels for the x axis, half for top side and half for the bottom side, the y coordinate of the top border is +540 and it's -540 for the bottom border.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Create a project with 1080x1920 resolution&#xA;&lt;a href=&quot;https://i.stack.imgur.com/vUh7U.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vUh7U.jpg&quot; alt=&quot;create project 1080x1920&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Add a 1080x1920 resolution image and add a subtitle by pressing &lt;code&gt;control+T&lt;/code&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/37vj3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/37vj3.jpg&quot; alt=&quot;Add image and subtitle&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Let's take a look when the subtitle on these four positions respectively:&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;left border center(if it’s as we expected, the x coordinate should be close to -540, but why it's -294?)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/NDeNC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NDeNC.jpg&quot; alt=&quot;left border center&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If we set the x coordinate to -540, the subtitle is totally out of the video box&#xA;&lt;a href=&quot;https://i.stack.imgur.com/dpsWv.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dpsWv.jpg&quot; alt=&quot;subtitle out of the box&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;right border center(if it’s as we expected, the x coordinate should be close to 540, but why it's 306?)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/SOFRN.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SOFRN.jpg&quot; alt=&quot;subtitle on right border center&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If we set the x coordinate to 540, the subtitle is totally out of the video box&#xA;&lt;a href=&quot;https://i.stack.imgur.com/HVC6q.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HVC6q.jpg&quot; alt=&quot;top border center&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;For vertical direction it's similar, it should be +960 and -960, but if we set it to +960 and -960, the subtitle is totally out of the video box&#xA;&lt;a href=&quot;https://i.stack.imgur.com/l9lUH.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/l9lUH.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/N6Mrv.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/N6Mrv.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bNvGi.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bNvGi.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/lJZh4.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lJZh4.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Anyone who knows why the vertical video subtitle position not acts like it in landscape video?&lt;/p&gt;&#xA;" OwnerUserId="36765" LastActivityDate="2021-11-12T01:52:49.277" Title="Final Cut Pro subtitle coordinates are not as expected when the project is vertical" Tags="|final-cut-pro-x|subtitles|final-cut-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34602" PostTypeId="1" CreationDate="2021-11-12T12:05:52.657" Score="0" ViewCount="123" Body="&lt;p&gt;I have two videos of the same format encoded with the same codecs. I want &lt;strong&gt;trailer.mkv&lt;/strong&gt; to be played after &lt;code&gt;n&lt;/code&gt; minutes in the middle of &lt;strong&gt;main.mkv&lt;/strong&gt;. After playing &lt;strong&gt;trailer.mkv&lt;/strong&gt;, the rest of the &lt;strong&gt;main.mkv&lt;/strong&gt; will continue playing. How can I concatenate them?&lt;/p&gt;&#xA;" OwnerUserId="26013" LastActivityDate="2023-04-07T13:06:00.677" Title="How to put a trailer clip in the middle of the main video with FFMPEG?" Tags="|ffmpeg|video|linux|concatenation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34603" PostTypeId="1" CreationDate="2021-11-12T15:45:55.207" Score="0" ViewCount="378" Body="&lt;p&gt;I'm kinda new to After Effects and I'm having a hard time creating a slider that I can control to move the chat windows with the same distance. The chat windows will start at the center and only one would show up. When I move the slider, it will show up the remaining 6 chat windows. I wanted for them to have the same distance and have the flexibility to use the slider. Here's an image of what the chat windows would look like if I move the slider.&lt;a href=&quot;https://i.stack.imgur.com/VebKX.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VebKX.jpg&quot; alt=&quot;multi chat window&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36769" LastActivityDate="2024-04-02T14:07:20.833" Title="After Effects creating slider for objects to have the same distance when moving the slider" Tags="|after-effects|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34604" PostTypeId="1" CreationDate="2021-11-12T19:03:18.373" Score="0" ViewCount="346" Body="&lt;p&gt;I'm fairly new to resolve. All I'm trying to achieve is to eliminate the black bars when importing a 16:9 video to a 4:5 format. However, the blanking fill only seems to affect the video area and not the whole frame. I've tried to do the same on a vertical video in a new project and the same thing was happening. I've also tried creating a new compound clip, sadly it also had no effect. I will attach a screenshot of a clip and fx window and send more information if needed. Rn, I am simply lost.&lt;a href=&quot;https://i.stack.imgur.com/B0HpC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/B0HpC.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36771" LastActivityDate="2024-04-01T05:05:50.667" Title="Davinci Resolve - Blanking Fill not working properly" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34605" PostTypeId="2" ParentId="34604" CreationDate="2021-11-12T20:13:24.273" Score="0" Body="&lt;p&gt;I've just updated the program and the issue evaporated. Question RESOLVEd, get it?&#xA;sorry&lt;/p&gt;&#xA;" OwnerUserId="36771" LastActivityDate="2021-11-12T20:13:24.273" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34606" PostTypeId="1" CreationDate="2021-11-12T22:33:07.410" Score="0" ViewCount="459" Body="&lt;p&gt;Setting &lt;code&gt;-pix_fmt&lt;/code&gt; to a yuv colorspace will use Bayer dithering by default. I don't know how to change that behaviour.&lt;/p&gt;&#xA;&lt;p&gt;When downsampling with &lt;code&gt;-pix_fmt&lt;/code&gt; to an RGB colorspace like rgb24, no dithering is applied, resulting in ugly banding.&lt;/p&gt;&#xA;&lt;p&gt;Edit:&lt;/p&gt;&#xA;&lt;p&gt;I figured out how to control dithering to YUV colorspace. My issue was just that I misunderstood the ffmpeg filter syntax regarding &lt;code&gt;format&lt;/code&gt;. It's not handled as a filter, but just tells the preceding filter what format to output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf zscale:r=tv:d=error_diffusion,format=yuv420p&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The issue is, zscale seems to be unable to dither at all when downsampling to RGB colorspace. 4 bpc RGB seems to be the exception, where ordered dithering is enforced. And I am unable to control dithering with the scale/swscale filter at all, using a global flag &lt;code&gt;-sws_dither ed&lt;/code&gt; does not work.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;colorspace&lt;/code&gt; filter can not output to RGB format.&lt;/p&gt;&#xA;" OwnerUserId="21926" LastEditorUserId="21926" LastEditDate="2023-06-29T19:44:55.977" LastActivityDate="2023-06-29T19:44:55.977" Title="How can I downsample video to rgb24 with dithering in ffmpeg?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34610" PostTypeId="2" ParentId="34602" CreationDate="2021-11-13T08:39:03.810" Score="1" Body="&lt;p&gt;I know how to do it in three steps.&#xA;Separate your main video.&lt;/p&gt;&#xA;&lt;p&gt;Step 1. Trim the end.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i main.mkv -c copy -t 00:02:00 main-intro.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Step 2. Trim the start.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i main.mkv -c copy -ss 00:02:00 main-outro.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Step 3. Concatenate them with your trailer file.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -safe 0 -i &amp;quot;concat:main-intro.mkv|trailer.mkv|main-outro.mkv&amp;quot; -c copy output.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can write script and you will have opportunity to do it in one click.&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2021-11-13T08:39:03.810" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34615" PostTypeId="2" ParentId="34603" CreationDate="2021-11-14T07:58:47.020" Score="0" Body="&lt;p&gt;Here's a way to do it&lt;/p&gt;&#xA;&lt;p&gt;Put a slider on your middle layer&#xA;Add the following expression to the middle layer's position control:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;xval = transform.position[0];&#xA;yval = transform.position[1];&#xA;x = xval + effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;y = yval + effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;[x,y]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then put this on your bottom layer's position control:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;xval = transform.position[0];&#xA;yval = transform.position[1];&#xA;x = xval + thisComp.layer(&amp;quot;middle&amp;quot;).effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;)*2;&#xA;y = yval + thisComp.layer(&amp;quot;middle&amp;quot;).effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;)*2;&#xA;[x,y]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then animate the slider value.&lt;/p&gt;&#xA;&lt;p&gt;This adjusts the x and y position of the middle image by the amount on the slider. And doubles that amount for the bottom image.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8x95u.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8x95u.gif&quot; alt=&quot;screengrab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-11-14T07:58:47.020" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="34617" PostTypeId="1" AcceptedAnswerId="34619" CreationDate="2021-11-14T14:09:57.283" Score="1" ViewCount="451" Body="&lt;p&gt;I have a problem with FFmpeg when writing a &lt;code&gt;pcm_f32le&lt;/code&gt; stream to a Wave64 file format (.w64).&lt;/p&gt;&#xA;&lt;p&gt;Basically, only FFplay can read the file back correctly. I tried with VLC, but it seems it cannot read any .w64 files I have, then Audacity and Ardour can read it but it is heavily distorted.&lt;/p&gt;&#xA;&lt;p&gt;Wave64 files with float32 samples created with Ardour do not have this problem, so this is not a codec to format incompatibility.&lt;/p&gt;&#xA;&lt;p&gt;Moreover, it works fine when writing to a usual WAV file, but that defeats the purpose of Wave64 which I require. It also works fine when writing a Wave64 embedding a &lt;code&gt;pcm_s16le&lt;/code&gt;, &lt;code&gt;pcm_s24le&lt;/code&gt; or &lt;code&gt;pcm_s32le&lt;/code&gt; stream. Only &lt;code&gt;pcm_f32le&lt;/code&gt; into .w64 seems problematic from what I tested (could not check &lt;code&gt;pcm_f64le&lt;/code&gt;).&lt;/p&gt;&#xA;&lt;p&gt;I tried using a &amp;quot;volume&amp;quot; filter at the end of the chain, to no avail.&lt;/p&gt;&#xA;&lt;p&gt;You can get a MWE using the following commands:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i &amp;quot;sine=frequency=440:duration=5&amp;quot; test.wav&#xA;ffmpeg -i test.wav -c:a pcm_f32le test.w64&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The resulting .w64 seems valid (FFplay, Audacity and Ardour can play it back), but only FFplay produces the expected audio.&lt;/p&gt;&#xA;&lt;p&gt;This hints me -- but I might be wrong -- that it may simply be a header-related problem, but I don't know how to solve it, and hand-editing is not an option (except for debugging purposes) since it eventually has to be done on many files by people other than me.&lt;/p&gt;&#xA;&lt;p&gt;I'm hoping there's an argument to FFmpeg that I missed... though &lt;code&gt;ffmpeg -h muxer=w64&lt;/code&gt; did not help, and the resulting .w64 file's codec is reported correctly as IEEE 32-bit by MediaInfo :-(&lt;/p&gt;&#xA;&lt;p&gt;Please excuse me if this is not the right place to ask this question (I read on StackOverflow that &amp;quot;[q]uestions about interactive use of the command line tool should be asked on Super User or Video Production&amp;quot;).&lt;/p&gt;&#xA;" OwnerUserId="36786" LastActivityDate="2021-11-14T17:52:03.397" Title="FFmpeg seems to write bad .w64 files for pcm_f32le streams" Tags="|ffmpeg|audio|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34618" PostTypeId="2" ParentId="22202" CreationDate="2021-11-14T14:40:30.963" Score="0" Body="&lt;p&gt;Based on ffmpeg output, restricted streams are: 0, 10 - 23&lt;/p&gt;&#xA;&lt;p&gt;stream 0 is probably the unscramble information/table for the encrypted streams, like program/stream descriptor tags (8 bits)&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg &amp;quot;Could not find codec parameters&amp;quot; nor &amp;quot;start time for stream&amp;quot;&#xA;for 3 of the restricted streams, therefore ffmpeg could not &amp;quot;estimate rate&amp;quot; of frames.&lt;/p&gt;&#xA;&lt;p&gt;Solution suggested to fix the problem was to &amp;quot;Consider increasing the value for the 'analyzeduration' and 'probesize' options&amp;quot;, which won't work without knowing how to implement/interpret stream 0&lt;/p&gt;&#xA;&lt;p&gt;Stream 0 contains PAT (Program Association Table), has information about all the programs contained in the Transport Stream. The PAT contains information showing the association of Program Map Table PID and Program Number. The PAT should end with a 32-bit CRC&lt;/p&gt;&#xA;&lt;p&gt;Streams 1-9 seems to be unrestricted:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;1 - 1080p video at 25 fps&lt;br&gt;&#xA;2,3 - German/English audio dubbing&lt;br&gt;&#xA;4 - German surround sound 5.1&lt;br&gt;&#xA;5 - German subtitle&lt;br&gt;&#xA;6 - German surround sound (Enhanced ac3 format - newer Dolby Digital Plus format)&lt;br&gt;&#xA;7,8,9 - subtitle (could be audio describing for hearing impaired)&lt;br&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Looks like at the time of recording, you were tuned into &amp;quot;ServusTV HD Deutschland&amp;quot;, therefore the other channels/programs have been left encrypted.&lt;/p&gt;&#xA;" OwnerUserId="27707" LastActivityDate="2021-11-14T14:40:30.963" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34619" PostTypeId="2" ParentId="34617" CreationDate="2021-11-14T17:52:03.397" Score="2" Body="&lt;p&gt;Actually, ffmpeg writes them correctly. Wave64 is a wav extension by Sony, and ffmpeg Wave64 with float samples play fine in Vegas Pro which reads these files using a plugin by Sony.&lt;/p&gt;&#xA;&lt;p&gt;If you change the 65th and 66th bytes (0x40 &amp;amp; 0x41) to &lt;code&gt;03 00&lt;/code&gt;, they open fine in Audacity.&lt;/p&gt;&#xA;&lt;p&gt;Alternatively you can write to rf64, which Audacity plays fine straight out of ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-11-14T17:52:03.397" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34621" PostTypeId="2" ParentId="24462" CreationDate="2021-11-15T18:23:12.023" Score="0" Body="&lt;p&gt;As an input option &lt;code&gt;-r&lt;/code&gt; &lt;strong&gt;ignore[s] any timestamps&lt;/strong&gt; [...] and instead generate[s] timestamps assuming constant frame rate &lt;em&gt;fps&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -r 25 -i &amp;quot;udp://...&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Source:&lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#Video-Options&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg Documentation: Video Options: -r&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This was the only option that worked for me.&lt;/p&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2021-11-15T18:23:12.023" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34622" PostTypeId="2" ParentId="34493" CreationDate="2021-11-16T09:18:16.557" Score="0" Body="&lt;p&gt;How long is the clip?  If it's short, maybe just do it manually, and use &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/paint-tools-brush-clone-stamp.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;clone stamp&lt;/a&gt; or &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/content-aware-fill.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;content aware fill&lt;/a&gt; to replace the grass?&#xA;You'll probably have better results than trying to track something with lots of movement (grass) and lots of edges, as the edges are what the tracker uses to find its way.&lt;/p&gt;&#xA;&lt;p&gt;If you do still want to track it as your question asks - you can apply the saturation to the clip, then pre-comp the clip.  Apply the track to the original main comp (not inside the pre-comp), and it will use the saturated version to create the track.  Then either remove the saturation setting once the track is good, or duplicate the video track and use that non-saturated version.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-11-16T09:18:16.557" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34624" PostTypeId="1" AcceptedAnswerId="34626" CreationDate="2021-11-16T12:10:10.817" Score="2" ViewCount="41" Body="&lt;p&gt;I'm trying to create an &lt;strong&gt;expression that changes source text from minutes to hours.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here is an example of the graphic I'm animating:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/r7is0.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/r7is0.gif&quot; alt=&quot;animation snippet&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you can see the 3 hours counter is on hold, &lt;strong&gt;I want that to start from 0 minutes and increase till 60 to then swap to hours and gradually reach 3&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I will apply that too on the blue bar which currently displays &lt;em&gt;'60 min'&lt;/em&gt; instead of &lt;em&gt;'1 hour'&lt;/em&gt;.&#xA;Of course, I can work around it but I'd love to know a working expression.&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="6118" LastActivityDate="2021-11-16T22:58:56.700" Title="AE Counter Switch (Mins &gt; Hs)" Tags="|after-effects|animation|adobe|after-effects-expressions|motion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34626" PostTypeId="2" ParentId="34624" CreationDate="2021-11-16T13:23:29.590" Score="3" Body="&lt;p&gt;Make three text layers with a slider on each.  Call the layers &lt;strong&gt;value 1&lt;/strong&gt;, &lt;strong&gt;value 2&lt;/strong&gt;, and &lt;strong&gt;value 3&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;In the source text of each of the text layers put this expression, to display the slider value and round it to the nearest minute:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;slider = (effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;).value);&#xA;rounding = (Math.round(slider));&#xA;SourceText = rounding + &amp;quot; minutes&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Make a text layer called &lt;strong&gt;total&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Put the following in its source text as an expression&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;totalmins = thisComp.layer(&amp;quot;value 1&amp;quot;).effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;) + thisComp.layer(&amp;quot;value 2&amp;quot;).effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;) + thisComp.layer(&amp;quot;value 3&amp;quot;).effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;)&#xA;&#xA;if (totalmins &amp;lt;60) {&#xA;    SourceText = totalmins + &amp;quot; minutes&amp;quot; } else&#xA;        if (totalmins &amp;gt; 61) {&#xA;        SourceText = Math.round((totalmins/60)*10)/10 + &amp;quot; hours&amp;quot; } &#xA;        else&#xA;        &amp;quot;1 hour&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;totalmins&lt;/strong&gt; is a variable which adds up the total minutes from the sliders in the other layers.&lt;/p&gt;&#xA;&lt;p&gt;If the total is under 60 minutes, it displays the total in minutes with the text &amp;quot; minutes&amp;quot; appended to it.&lt;/p&gt;&#xA;&lt;p&gt;If the total is over 61 minutes, it displays the total time in hours, to one decimal place (the &lt;strong&gt;Math.round&lt;/strong&gt; function normally rounds to the nearest whole number, so confusingly we have to multiply it by 10, then divide by 10 outside it to get one decimal place). Watch out for the capital letter on &amp;quot;Math&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Otherwise, display &amp;quot;1 hour&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sKC2h.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sKC2h.gif&quot; alt=&quot;screegrab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2021-11-16T22:58:56.700" LastActivityDate="2021-11-16T22:58:56.700" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34627" PostTypeId="1" AcceptedAnswerId="34792" CreationDate="2021-11-16T19:33:52.577" Score="3" ViewCount="2107" Body="&lt;p&gt;I am creating MPEG-TS segments for HLS playback from multiple ffmpeg processes (it will be used for parallel encoding at a later stage). The commands are as follows — they can be run in sequence for testing purposes:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;#!/usr/bin/env bash&#xA;rm seg*.ts master.m3u8&#xA;&#xA;ffmpeg \&#xA;  -f lavfi -i testsrc=s=320x240:r=30 -f lavfi -i sine=440 \&#xA;  -vf 'drawtext=text=%{n}:fontsize=72:r=60:x=(w-tw)/2: y=h-(2*lh): fontcolor=white: box=1: boxcolor=0x00000099' \&#xA;  -pix_fmt yuv420p \&#xA;  -preset ultrafast -c:v:0 libx264 -x264-params &amp;quot;nal-hrd=cbr:force-cfr=1&amp;quot; -b:v:0 4M -maxrate:v:0 4M -minrate:v:0 4M -bufsize:v:0 8M -g 60 -sc_threshold 0 -keyint_min 60 \&#xA;  -f hls -hls_time 2 -hls_playlist_type event \&#xA;  -hls_flags independent_segments+append_list+omit_endlist \&#xA;  -hls_segment_type mpegts -hls_list_size 0 \&#xA;  -hls_segment_filename seg_01_%02d.ts -master_pl_name master.m3u8 -start_number 0 \&#xA;  -muxdelay 0 \&#xA;  -muxpreload 0 \&#xA;  -output_ts_offset 0 \&#xA;  -t 10 \&#xA;  master.m3u8&#xA;&#xA;ffmpeg \&#xA;  -f lavfi -i testsrc=s=320x240:r=30 -f lavfi -i sine=440 \&#xA;  -vf 'drawtext=text=%{n}:fontsize=72:r=60:x=(w-tw)/2: y=h-(2*lh): fontcolor=white: box=1: boxcolor=0x00000099' \&#xA;  -pix_fmt yuv420p \&#xA;  -preset ultrafast -c:v:0 libx264 -x264-params &amp;quot;nal-hrd=cbr:force-cfr=1&amp;quot; -b:v:0 4M -maxrate:v:0 4M -minrate:v:0 4M -bufsize:v:0 8M -g 60 -sc_threshold 0 -keyint_min 60 \&#xA;  -f hls -hls_time 2 -hls_playlist_type event \&#xA;  -hls_flags independent_segments+append_list \&#xA;  -hls_segment_type mpegts -hls_list_size 0 \&#xA;  -hls_segment_filename seg_02_%02d.ts -master_pl_name master.m3u8 -start_number 0 \&#xA;  -muxdelay 0 \&#xA;  -muxpreload 0 \&#xA;  -output_ts_offset 10 \&#xA;  -ss 10 \&#xA;  -to 20 \&#xA;  master.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You can load this in your browser if you simply run a web server like &lt;code&gt;python3 -m http.server&lt;/code&gt; with:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-html prettyprint-override&quot;&gt;&lt;code&gt;&amp;lt;html&amp;gt;&#xA;  &amp;lt;head&amp;gt;&amp;lt;/head&amp;gt;&#xA;  &amp;lt;body&amp;gt;&#xA;    &amp;lt;script src=&amp;quot;https://cdn.jsdelivr.net/npm/hls.js@latest&amp;quot;&amp;gt;&amp;lt;/script&amp;gt;&#xA;    &amp;lt;video id=&amp;quot;video&amp;quot; controls autoplay&amp;gt;&amp;lt;/video&amp;gt;&#xA;    &amp;lt;script&amp;gt;&#xA;      var video = document.getElementById(&amp;quot;video&amp;quot;);&#xA;      var videoSrc = &amp;quot;master.m3u8&amp;quot;;&#xA;      var hls = new Hls({&#xA;        debug: true,&#xA;      });&#xA;      hls.loadSource(videoSrc);&#xA;      hls.attachMedia(video);&#xA;    &amp;lt;/script&amp;gt;&#xA;  &amp;lt;/body&amp;gt;&#xA;&amp;lt;/html&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now, the video seems to play fine. Looking at the frame counter, I see that no frames are lost (although it seems like the very last frame of segment set 1 is displayed a little bit shorter).&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;The audio, however, has a small dropout at the switch from segment set 1 to 2.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;The generated M3U8 has an &lt;code&gt;#EXT-X-DISCONTINUITY&lt;/code&gt; tag before switching to the second segment set.&lt;/p&gt;&#xA;&lt;p&gt;I noted that the start times of the segments don't quite correspond when comparing the audio and video streams. To test this, I run ffprobe and look at the &lt;code&gt;start_time&lt;/code&gt; and &lt;code&gt;start_pts&lt;/code&gt; values:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;for s in *.ts; do ffprobe -loglevel error -hide_banner -select_streams v -show_streams -of json &amp;quot;$s&amp;quot; | jq --arg input &amp;quot;$s&amp;quot; '.streams[0] | {$input, duration, start_time, start_pts}'; done | jq -s . &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is the output:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-json prettyprint-override&quot;&gt;&lt;code&gt;[&#xA;  {&#xA;    &amp;quot;input&amp;quot;: &amp;quot;seg_01_00.ts&amp;quot;,&#xA;    &amp;quot;duration&amp;quot;: &amp;quot;2.000000&amp;quot;,&#xA;    &amp;quot;start_time&amp;quot;: &amp;quot;0.023222&amp;quot;,&#xA;    &amp;quot;start_pts&amp;quot;: 2090&#xA;  },&#xA;  // ...&#xA;  {&#xA;    &amp;quot;input&amp;quot;: &amp;quot;seg_01_04.ts&amp;quot;,&#xA;    &amp;quot;duration&amp;quot;: &amp;quot;2.000000&amp;quot;,&#xA;    &amp;quot;start_time&amp;quot;: &amp;quot;8.023222&amp;quot;,&#xA;    &amp;quot;start_pts&amp;quot;: 722090&#xA;  },&#xA;  // ...&#xA;  {&#xA;    &amp;quot;input&amp;quot;: &amp;quot;seg_02_05.ts&amp;quot;,&#xA;    &amp;quot;duration&amp;quot;: &amp;quot;2.000000&amp;quot;,&#xA;    &amp;quot;start_time&amp;quot;: &amp;quot;10.000000&amp;quot;,&#xA;    &amp;quot;start_pts&amp;quot;: 900000&#xA;  },&#xA;  // ...&#xA;]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The second set is forced to start at 10 seconds, while the last segment of the first set actually extends to 8.023222 + 2 = 10.023222 seconds. This is due to the non-negative offset of the first segment of the first set.&lt;/p&gt;&#xA;&lt;p&gt;For audio, the timestamps and durations are completely different:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-json prettyprint-override&quot;&gt;&lt;code&gt;[&#xA;  {&#xA;    &amp;quot;input&amp;quot;: &amp;quot;seg_01_00.ts&amp;quot;,&#xA;    &amp;quot;duration&amp;quot;: &amp;quot;2.043344&amp;quot;,&#xA;    &amp;quot;start_time&amp;quot;: &amp;quot;0.000000&amp;quot;,&#xA;    &amp;quot;start_pts&amp;quot;: 0&#xA;  },&#xA;  // ...&#xA;  {&#xA;    &amp;quot;input&amp;quot;: &amp;quot;seg_01_04.ts&amp;quot;,&#xA;    &amp;quot;duration&amp;quot;: &amp;quot;1.996900&amp;quot;,&#xA;    &amp;quot;start_time&amp;quot;: &amp;quot;8.034111&amp;quot;,&#xA;    &amp;quot;start_pts&amp;quot;: 723070&#xA;  },&#xA;  {&#xA;    &amp;quot;input&amp;quot;: &amp;quot;seg_02_05.ts&amp;quot;,&#xA;    &amp;quot;duration&amp;quot;: &amp;quot;2.043344&amp;quot;,&#xA;    &amp;quot;start_time&amp;quot;: &amp;quot;9.976778&amp;quot;,&#xA;    &amp;quot;start_pts&amp;quot;: 897910&#xA;  },&#xA;  // ...&#xA;]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is there any way to fix this, so that the segments generated by the second ffmpeg command can be stitched during playback, without choppy audio?&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;I have tried another approach, which consists of generating the audio stream separately before starting to encode the video. The audio and video playlists are written into dedicated &lt;code&gt;.m3u8&lt;/code&gt; files which I am simply referencing from a &lt;code&gt;master.m3u8&lt;/code&gt; playlist. This one I have to  manually generate, because otherwise ffmpeg would overwrite it. The whole approach is &lt;a href=&quot;https://pastebin.com/raw/MAYJyHs5&quot; rel=&quot;nofollow noreferrer&quot;&gt;shown here&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;The problem is that the video won't start in hls.js:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[log] &amp;gt; Unknown video PTS for cc 0, waiting for video PTS before demuxing audio frag 1 of [0 ,10],track 0&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;This can be demoed &lt;a href=&quot;https://storage.googleapis.com/aveq-storage/examples/video.stackexchange.com-34627-ffmpeg-hls-stitching/index.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Once I remux everything into new sets of segments, as suggested by @Gyan, it works again. Demo is &lt;a href=&quot;https://storage.googleapis.com/aveq-storage/examples/video.stackexchange.com-34627-ffmpeg-hls-stitching/index-remux.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;However, this is not a workable solution here, since I need to be able to generate the HLS segments on the fly, and append to the playlists later.&lt;/p&gt;&#xA;" OwnerUserId="525" LastEditorUserId="525" LastEditDate="2021-11-17T15:22:09.587" LastActivityDate="2021-12-27T17:04:42.800" Title="Audio discontinuities when generating HLS segments in different processes" Tags="|ffmpeg|hls|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34629" PostTypeId="2" ParentId="34627" CreationDate="2021-11-17T04:29:54.823" Score="3" Body="&lt;p&gt;You have to render the audio in one command.&lt;/p&gt;&#xA;&lt;p&gt;MDCT-based codecs like AAC or MP3 carry out their transforms over multiple adjoining frames. When doing a segmented encode of a single stream, the encoder 'supplies' silent frames at the top and tail of each segment.&lt;/p&gt;&#xA;&lt;p&gt;From &lt;a href=&quot;https://developer.apple.com/library/content/documentation/QuickTime/QTFF/QTFFAppenG/QTFFAppenG.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Apple&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;AAC requires data beyond the source PCM audio samples in order to&#xA;correctly encode and decode audio samples due to the nature of the&#xA;encoding algorithm. AAC encoding uses a transform over consecutive&#xA;sets of 2048 audio samples, applied every 1024 audio samples&#xA;(overlapped). For correct audio to be decoded, both transforms for any&#xA;period of 1024 audio samples are needed. For this reason, encoders add&#xA;at least 1024 samples of silence before the first ‘true’ audio sample,&#xA;and often add more. This is called variously “priming”, “priming&#xA;samples”, or “encoder delay”.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;During muxing, these priming samples can either be discarded or kept. If kept, there will be a gap at the seams. If discarded, the decoder will use the tail frame of the previous segment for overlap purposes and the result will be a glitch.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2021-11-17T04:29:54.823" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="34630" PostTypeId="1" CreationDate="2021-11-17T12:24:02.220" Score="0" ViewCount="23" Body="&lt;p&gt;I produce a podcast that I also publish to YouTube. It's just two talking heads having an interview.&lt;/p&gt;&#xA;&lt;p&gt;The recording of my most recent guest came through &lt;em&gt;very&lt;/em&gt; badly.  The audio sounds fine, but the video averages about 2-3 fps.&lt;/p&gt;&#xA;&lt;p&gt;I'm looking for tips to make this less noticeable for those watching on YouTube. Most important, I don't want viewers to think they're having connectivity problems while watching the video.&lt;/p&gt;&#xA;&lt;p&gt;I'm &lt;em&gt;not&lt;/em&gt; trying to &amp;quot;improve the frame rate&amp;quot;... I'm sure that data is simply lost, and perhaps short of some AI magic, there's nothing to be done.  That's fine.&lt;/p&gt;&#xA;&lt;p&gt;I'm toying with two ideas:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Put the talking heads in a frame, and add a subtle animated background. This way the video is constantly moving, and it will be clear to the viewer that the choppiness is &amp;quot;intentional&amp;quot;&lt;/li&gt;&#xA;&lt;li&gt;Add an animated watermark to accomplish the same goal.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The third, more extreme idea I've had is to just ditch the video entirely, and use a publicity photo of the guest in place, as I've done when I was unable to record video entirely.&lt;/p&gt;&#xA;&lt;p&gt;Is there anything like a common approach to this sort of problem? Anything else I should consider?&lt;/p&gt;&#xA;" OwnerUserId="1072" LastActivityDate="2021-11-17T12:24:02.220" Title="Tips for making choppy video less jarring" Tags="|video-quality|effects|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34633" PostTypeId="2" ParentId="34570" CreationDate="2021-11-18T09:09:32.030" Score="0" Body="&lt;p&gt;You can transform the stream to hls, then you can add the subtitle to every fragment. Make sure that the subtitle and the stream are in sync. After adding the subtitles you can move the new m3u8 file and fragments to be served by nginx. This will add few seconds of latency to your stream ( depending on the fragment duration and fragment count )&lt;/p&gt;&#xA;" OwnerUserId="36824" LastActivityDate="2021-11-18T09:09:32.030" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34634" PostTypeId="2" ParentId="33342" CreationDate="2021-11-19T12:07:18.893" Score="0" Body="&lt;p&gt;After effects isn't an editor, so it's a bit of a pain if you try to treat it like one.&lt;/p&gt;&#xA;&lt;p&gt;But there are ways to reduce the pain if you have a lot of clips:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Pre-comps&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I know you said you don't want to use them, but this is often the most useful solution, as it reduces many layers to a single nested layer. If you need to snap to specific items in your outer comp - copy them inside, and set them as Guide Layers (Menu --&amp;gt; Layers --&amp;gt; Guide Layer).  This will make any Guide layers with this logo &lt;a href=&quot;https://i.stack.imgur.com/BYX3D.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BYX3D.png&quot; alt=&quot;guide&quot; /&gt;&lt;/a&gt; invisible when you render that comp, or any outer comps, but you can still see them in the viewer, and still use them for timings.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Shy layers&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can checkbox any layers you don't need to use often as &amp;quot;Shy&amp;quot; layers by using this icon next to your layer &lt;a href=&quot;https://i.stack.imgur.com/23Pga.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/23Pga.png&quot; alt=&quot;shy&quot; /&gt;&lt;/a&gt;  This means that you can hide them in your layout by pressing the bigger version of that icon:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/FYom4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FYom4.png&quot; alt=&quot;shybig&quot; /&gt;&lt;/a&gt;, but they will still render on screen and in your render.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-11-19T12:07:18.893" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34636" PostTypeId="1" CreationDate="2021-11-20T15:31:34.497" Score="2" ViewCount="303" Body="&lt;p&gt;I have a huge problem. Editing on new Macbook, latest version of Premiere. Color looks awesome in Premiere, on export, it is unwatchable.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0PxJT.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0PxJT.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I tried applying the Gamma Correction LUT and it helped one or two notches but still unwatchable.&#xA;I don't know what to do.&#xA;I have disabled True Tone and this happens each time I export.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PQsqg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PQsqg.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Watched the video on other devices, and the color is still terrible. &#xA;How can I fix this?&lt;/p&gt;&#xA;&lt;p&gt;Update:&lt;/p&gt;&#xA;&lt;p&gt;Turned on Color Management. So now the timeline and export look equally bad.&lt;/p&gt;&#xA;&lt;p&gt;Switched Display to HDR Video which is P3. Still export looks terrible.&lt;/p&gt;&#xA;" OwnerUserId="12801" LastEditorUserId="12801" LastEditDate="2021-11-20T16:53:19.863" LastActivityDate="2021-11-20T16:53:19.863" Title="2022 Premiere on New Macbook M1 export color looks terrible. How to fix?" Tags="|premiere|premiere-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34639" PostTypeId="1" CreationDate="2021-11-21T23:09:13.843" Score="0" ViewCount="52" Body="&lt;p&gt;When I am in post, for example Mocha, doing motion tracking - it really makes linear planar tracking more difficult with these random &amp;quot;extra&amp;quot; still frames once in a while. It happens without much of a pattern as far as I can tell. It'll be frame 20, 300, or whathave you. Once in a while, there will be two side to side identical frames.&lt;/p&gt;&#xA;&lt;p&gt;Any way I can eliminate these simply? Is it a mismatch of settings?&lt;/p&gt;&#xA;" OwnerUserId="36847" LastActivityDate="2021-11-21T23:09:13.843" Title="I have a Samsung Galaxy S10e and I record videos in UHD 30 fps. How come there are &quot;Extra&quot; frames?" Tags="|video|editing|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34641" PostTypeId="1" AcceptedAnswerId="34647" CreationDate="2021-11-23T11:16:49.083" Score="0" ViewCount="44" Body="&lt;p&gt;I have a video 3000x1000.&lt;/p&gt;&#xA;&lt;p&gt;I want the left part of video 1001x1000 and the right part of video 999x1000 to create a video 2000x1000. Center of original frame just dropped.&lt;/p&gt;&#xA;&lt;p&gt;Is this possible with ffmpeg in one pass? And how?&lt;/p&gt;&#xA;" OwnerUserId="35192" LastActivityDate="2021-11-24T13:32:03.900" Title="Crop outer parts of frame and rejoin" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34643" PostTypeId="1" CreationDate="2021-11-24T06:13:23.167" Score="2" ViewCount="1084" Body="&lt;p&gt;I am receiving an HEVC encoded live stream that contains SMPTE 12-1 timecode in the SEI picture timing, as it is recommended in  &lt;a href=&quot;https://www.itu.int/rec/T-REC-H.265-202108-I/en&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;ITU-T Rec-H.265-202108 Annex D.3.3 Picture timing SEI message semantics&lt;/strong&gt;&lt;/a&gt;. I want to copy this timecode to a new timecode stream in an MXF Container, according to &lt;a href=&quot;https://tech.ebu.ch/publications/r122&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;EBU – Recommendation R 122&lt;/strong&gt;&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I can use the command &lt;code&gt;ffprobe -i input.ts -show_frames&lt;/code&gt; to see the timecode information of each frame in a recording of such a stream:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;TAG:timecode=09:06:19:01&#xA;[SIDE_DATA]&#xA;side_data_type=SMPTE 12-1 timecode&#xA;[TIMECODE]&#xA;value=09:06:19:01&#xA;[/TIMECODE]&#xA;[/SIDE_DATA]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But I have not found any way to access the SEI messages with FFmpeg. I already did a lot of research and tried playing around with things like:&#xA;&lt;code&gt;-copytb 1&lt;/code&gt;, &lt;code&gt;-timecode 00:00:00:00&lt;/code&gt; or &lt;code&gt;-map_metadata 0:s:0&lt;/code&gt; without any luck. The only thing about SEI that I could find in the FFmpeg docs is the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-bitstream-filters.html#toc-h264_005fmetadata&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;sei_user_data&lt;/code&gt;&lt;/a&gt;, which is only used for insertion.&lt;/p&gt;&#xA;&lt;p&gt;Is there any way to achieve this with FFmpeg and without writing C/C++ (or any other) code around libav*?&lt;/p&gt;&#xA;" OwnerUserId="36861" LastActivityDate="2022-10-19T00:00:44.503" Title="Copy timecode from SEI Picture Timing to MXF Timecode Stream with FFmpeg" Tags="|ffmpeg|h.264|timecode|h.265|hevc|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34644" PostTypeId="1" CreationDate="2021-11-24T08:05:49.743" Score="1" ViewCount="299" Body="&lt;p&gt;I have a composition that has a puppet pin tool added for a simple head movement. The head animation works fine but when I move the frame, there seems to be a wire mesh left behind. I have created a Null Object as a controller and attached all of the layers to transition them out of the frame. Attached is a screenshot of the wire mesh.&lt;a href=&quot;https://i.stack.imgur.com/hJfc7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hJfc7.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36769" LastActivityDate="2023-12-14T12:07:16.260" Title="After Effects: How do I hide the wire mesh for puppet tool?" Tags="|after-effects|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34645" PostTypeId="2" ParentId="34644" CreationDate="2021-11-24T09:56:15.980" Score="0" Body="&lt;p&gt;Do you have the Collapse Transformations (the sun) icon &lt;a href=&quot;https://i.stack.imgur.com/52zer.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/52zer.png&quot; alt=&quot;sun&quot; /&gt;&lt;/a&gt; ticked on your puppet layer?  That seems to break the puppet pin tool for me.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-11-24T09:56:15.980" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34647" PostTypeId="2" ParentId="34641" CreationDate="2021-11-24T13:32:03.900" Score="1" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -filter_complex '[0:v]split[l0][r0];[l0]crop=1001:1000:0:0[l1];[r0]crop=999:1000:2001:0[r1];[l1][r1]hstack[out]' -map '[out]' ouput.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32358" LastActivityDate="2021-11-24T13:32:03.900" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34648" PostTypeId="1" CreationDate="2021-11-24T14:58:27.710" Score="0" ViewCount="52" Body="&lt;p&gt;I've searched here and elsewhere for an answer but I can't find exactly what I am looking for. I am working on a video ad in After Affects and I have an image that I want to make throb, kind of like a heartbeat. Not necessarily looking for a double throb like a heart, just a throb in general. Would appreciate some advice if anyone has created this effect before. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="36868" LastActivityDate="2021-11-24T14:58:27.710" Title="How To Create A Throbbing Effect In After Effects" Tags="|after-effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34649" PostTypeId="1" CreationDate="2021-11-24T17:16:36.223" Score="1" ViewCount="20" Body="&lt;p&gt;This shot has parallax as the camera is booming from high to low. I have a cloudpoint camera track in Blender but I'm trying to figure out how I can mask the ground of the tunnel so that it doesn't look like it is on the edge of the cliff but actually driving into the wall behind that edge. (obviously dealing with blur, light wrap and everything else after). I would basically need to duplicate the live action plate, mask the portion I want to use to hide about a quarter of the tunnel and bring the layer up but that would mean having to camera track irregular lines and I don't know how good it would come out. Any suggestions?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/6rJgq.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6rJgq.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36753" LastActivityDate="2021-11-24T17:16:36.223" Title="Fast and Easy way to mask ground of CGI element?" Tags="|compositing|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34652" PostTypeId="2" ParentId="33841" CreationDate="2021-11-24T22:04:32.913" Score="0" Body="&lt;p&gt;You need to verify if your videos only have a single audio stream as you believe them to have. It sounds like for whatever reason your videos have two streams that sound the same and so to you there should be no reason for them to show up twice.&lt;/p&gt;&#xA;&lt;p&gt;Maybe something like either VLC or &lt;a href=&quot;https://mediaarea.net/en/MediaInfo&quot; rel=&quot;nofollow noreferrer&quot;&gt;MediaInfo&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36870" LastActivityDate="2021-11-24T22:04:32.913" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34653" PostTypeId="1" CreationDate="2021-11-25T00:01:13.270" Score="0" ViewCount="91" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/7oAN2SaZPRg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;I think this is a good example, but there's no animation to speak, but I am wondering if there are other animation techniques that can yield similar cost per minutes as the &amp;quot;animation&amp;quot; in the video. I am thinking of doing a music video that's cheaply animated.&lt;/p&gt;&#xA;" OwnerUserId="25205" LastActivityDate="2022-12-21T02:02:30.367" Title="What are some animation techniques that help lower animation cost as much as possible?" Tags="|animation|budget|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34654" PostTypeId="1" CreationDate="2021-11-25T11:22:34.953" Score="0" ViewCount="319" Body="&lt;p&gt;I have a 30-fps video just downloaded by &lt;code&gt;youtube-dl&lt;/code&gt;, and it seems to have black frames in the beginning of it.&lt;/p&gt;&#xA;&lt;p&gt;Part of the result of &lt;code&gt;ffprobe youtube-dl.mp4&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'youtube-dl.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.43.100&#xA;  Duration: 00:04:53.69, start: 0.000000, bitrate: 1250 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1280x720 [SAR 1:1 DAR 16:9], 1115 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : ISO Media file produced by Google Inc.&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 127 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : ISO Media file produced by Google Inc.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then I tried to trim the video using &lt;code&gt;ffmpeg -i youtube-dl.mp4 -ss 0:0:0 -to 0:4:37 -vcodec copy -acodec copy youtube-dl-trimmed.mp4&lt;/code&gt;. Part of the result is below:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'youtube-dl.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.43.100&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1280x720 [SAR 1:1 DAR 16:9], 1115 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : ISO Media file produced by Google Inc.&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 127 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : ISO Media file produced by Google Inc.&#xA;Output #0, mp4, to 'youtube-dl-trimmed.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.43.100&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1280x720 [SAR 1:1 DAR 16:9], q=2-31, 1115 kb/s, 30 fps, 30 tbr, 15360 tbn, 15360 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : ISO Media file produced by Google Inc.&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 127 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : ISO Media file produced by Google Inc.&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame= 8288 fps=0.0 q=-1.0 Lsize=   43944kB time=00:04:36.99 bitrate=1299.6kbits/s speed= 382x&#xA;video:39364kB audio:4329kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.575328%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And use &lt;code&gt;ffprobe&lt;/code&gt; to probe it:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'youtube-dl-trimmed.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.43.100&#xA;  Duration: 00:04:37.02, start: 0.000000, bitrate: 1299 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1280x720 [SAR 1:1 DAR 16:9], 1167 kb/s, 30 fps, 30 tbr, 15360 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : ISO Media file produced by Google Inc.&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : ISO Media file produced by Google Inc.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What I wonder is that the playback results of some applications and video processing libraries vary. In some of them the video still remains the black frames, but in the others the first 22 frames disappear and certainly the total number of frames is decreased. The test result about the black frames is below:&lt;/p&gt;&#xA;&lt;div class=&quot;s-table-container&quot;&gt;&#xA;&lt;table class=&quot;s-table&quot;&gt;&#xA;&lt;thead&gt;&#xA;&lt;tr&gt;&#xA;&lt;th style=&quot;text-align: center;&quot;&gt;Applications or Libraries&lt;/th&gt;&#xA;&lt;th style=&quot;text-align: center;&quot;&gt;youtube-dl.mp4&lt;/th&gt;&#xA;&lt;th style=&quot;text-align: center;&quot;&gt;youtube-dl-trimmed.mp4&lt;/th&gt;&#xA;&lt;/tr&gt;&#xA;&lt;/thead&gt;&#xA;&lt;tbody&gt;&#xA;&lt;tr&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;ffplay&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;remained&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;disappeared&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;tr&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;PotPlayer&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;remained&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;remained&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;tr&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;VLC Player&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;remained&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;remained&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;tr&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;Aegisub&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;remained&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;disappeared&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;tr&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;Adobe Premiere&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;remained&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;remained&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;tr&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;OpenCV library&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;remained&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;disappeared&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;/tbody&gt;&#xA;&lt;/table&gt;&#xA;&lt;/div&gt;&#xA;&lt;p&gt;It bothers me a lot because I use Aegisub to create ASS subtitles but I use FFmpeg to burn a subtitle into &lt;code&gt;youtube-dl-trimmed.mp4&lt;/code&gt;, the black frames remain and thus the showing time of every line isn't fit with the speakers' words. Also the black frames still here when using &lt;code&gt;ffplay&lt;/code&gt; to play the hard-subtitled video. What's wrong with these videos? Does &lt;code&gt;youtube-dl-trimmed.mp4&lt;/code&gt; have dropped frames? Any reply is appreciated.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Version string and configuration options of my &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version git-2020-05-15-b18fd2b Copyright (c) 2000-2020 the FFmpeg developers&#xA;built with gcc 9.3.1 (GCC) 20200513&#xA;configuration: --enable-gpl --enable-version3 --enable-sdl2&#xA;--enable-fontconfig --enable-gnutls --enable-iconv --enable-libass&#xA;--enable-libdav1d --enable-libbluray --enable-libfreetype&#xA;--enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb&#xA;--enable-libopenjpeg --enable-libopus --enable-libshine&#xA;--enable-libsnappy --enable-libsoxr --enable-libsrt --enable-libtheora&#xA;--enable-libtwolame --enable-libvpx --enable-libwavpack&#xA;--enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2&#xA;--enable-libzimg --enable-lzma --enable-zlib --enable-gmp&#xA;--enable-libvidstab --enable-libvmaf --enable-libvorbis --enable-libvo-amrwbenc&#xA;--enable-libmysofa --enable-libspeex --enable-libxvid&#xA;--enable-libaom --disable-w32threads --enable-libmfx --enable-ffnvcodec&#xA;--enable-cuda-llvm --enable-cuvid --enable-d3d11va&#xA;--enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth&#xA;--enable-libopenmpt --enable-amf&#xA;libavutil      56. 45.100 / 56. 45.100&#xA;libavcodec     58. 84.100 / 58. 84.100&#xA;libavformat    58. 43.100 / 58. 43.100&#xA;libavdevice    58.  9.103 / 58.  9.103&#xA;libavfilter     7. 81.100 /  7. 81.100&#xA;libswscale      5.  6.101 /  5.  6.101&#xA;libswresample   3.  6.100 /  3.  6.100&#xA;libpostproc    55.  6.100 / 55.  6.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;EDIT 2:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;@slhck provided a workaround in the comments. Re-encoding the video can  keep all players behaving well.&lt;/p&gt;&#xA;" OwnerUserId="36875" LastEditorUserId="36875" LastEditDate="2021-12-01T11:07:22.837" LastActivityDate="2021-12-01T12:21:44.077" Title="Possible dropped frames after trimming a video" Tags="|ffmpeg|subtitles|" AnswerCount="1" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="34656" PostTypeId="2" ParentId="34653" CreationDate="2021-11-25T23:34:48.970" Score="1" Body="&lt;p&gt;The most common shortcut I know of is to animate “on twos” which basically means to show each frame twice.  So if the video standard calls for 24 frames per second, the animation will only consist of 12 unique frames, effectively cutting the cost per unit of runtime in half.  Since the technique cultivated a wide viewership with hand-drawn animation, it is also used on computer animated shows which seek to reduce the costs of render time.  Combining this technique with motion “tweening” can further reduce the associated costs.  Tweening software (Twixtor, e.g.)  calculates intermittent frames synthetically, usually through optical flow analysis of pixel motion, but increasingly also through machine learning techniques.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-11-25T23:43:14.743" LastActivityDate="2021-11-25T23:43:14.743" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34657" PostTypeId="1" AcceptedAnswerId="34693" CreationDate="2021-11-26T10:01:37.887" Score="0" ViewCount="38" Body="&lt;h1&gt;Background&lt;/h1&gt;&#xA;&lt;p&gt;I have recovered some large videos as explained here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://superuser.com/q/1686118/571029&quot;&gt;https://superuser.com/q/1686118/571029&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;There are 3 videos of almost the same size with the same content, apparently:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;&amp;gt; ls recoverit-Wondershare/ -lh&#xA;total 23G&#xA;-rw-r--r-- 1 m3 users 3.7G Nov 25 20:03 00000084.mp4&#xA;-rw-r--r-- 1 m3 users 3.3G Nov 25 18:10 39289942016.mp4&#xA;-rw-r--r-- 1 m3 users 3.3G Nov 25 20:30 5142605824.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h1&gt;Problem&lt;/h1&gt;&#xA;&lt;p&gt;The problem is all of the 3 videos could only be played up to 27m. I'm playing by VLC media player. But the video duration according to reported duration by &lt;code&gt;ffprobe&lt;/code&gt; is 1h27m:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;&amp;gt; ffprobe -v error -show_entries format=duration -of default=noprint_wrappers=1:nokey=1 -sexagesimal recoverit-Wondershare/00000084.mp4 &#xA;1:27:14.640000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Also, right-click details/properties menu shows that the 1h27m is the duration.&lt;/p&gt;&#xA;&lt;h1&gt;No fatal erros&lt;/h1&gt;&#xA;&lt;p&gt;I double-check video integrity by the method here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://superuser.com/a/100290/571029&quot;&gt;https://superuser.com/a/100290/571029&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;By this command:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;&amp;gt; ffmpeg -v fatal -i recoverit-Wondershare/00000084.mp4 -f null - 2&amp;gt;error-fatal.log&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But there are no fatal error reported in &lt;code&gt;error-fatal.log&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;h1&gt;Question&lt;/h1&gt;&#xA;&lt;p&gt;What else can I do to fix/play the videos?&lt;/p&gt;&#xA;" OwnerUserId="19052" LastEditorUserId="19052" LastEditDate="2021-11-26T10:07:04.700" LastActivityDate="2021-12-03T10:12:02.200" Title="A video of 1h27m duration, only plays up to 27m" Tags="|ffmpeg|mpeg|vlc|mpeg4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34658" PostTypeId="2" ParentId="15718" CreationDate="2021-11-26T21:06:46.557" Score="0" Body="&lt;p&gt;There is a free Wiggler effect that works on PPro. &lt;a href=&quot;https://www.prosya.com/software/wiggler-effect/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.prosya.com/software/wiggler-effect/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The entire wiggle function &lt;code&gt; wiggle(frequency, amplitude, octaves, amplitude multiplier, time)&lt;/code&gt; is implemented as effect params.&lt;/p&gt;&#xA;" OwnerUserId="21568" LastActivityDate="2021-11-26T21:06:46.557" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34659" PostTypeId="1" AcceptedAnswerId="34715" CreationDate="2021-11-27T12:20:15.807" Score="0" ViewCount="1333" Body="&lt;p&gt;I'm trying to edit and render a three-minute 1080p video in DaVinci Resolve 17. I don't have a GPU, but I've edited and rendered much longer 1080p videos before just using my CPU. In the past, I never opened the color tab. This time, attempting to shift the video to black and white, I opened the color tab. Resolve couldn't handle it and gave me the error message in the title above. Since then I've closed Resolve and restarted my computer, but Resolve keeps giving me the same message and it's unable to do anything: unable to edit and unable to render. The message just keeps popping up periodically as long as Resolve is open. There is no problem with the amount of memory on my computer and, as I said before, Resolve has handled much bigger projects before. This problem definitely arose when I tried to do some color grading, and now it won't go away. Does anyone know of a fix?&lt;/p&gt;&#xA;" OwnerUserId="36889" LastActivityDate="2021-12-08T07:49:42.957" Title="DaVinci Resolve 17 Error Code -1 ('The GPU failed to perform image processing because of an error')" Tags="|davinci-resolve|color-grading|rendering|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34660" PostTypeId="2" ParentId="34512" CreationDate="2021-11-27T14:38:55.577" Score="2" Body="&lt;p&gt;Ripple Cut works by shuffling everything to the right of your cut leftward until it butts against your existing timeline.&lt;/p&gt;&#xA;&lt;p&gt;If all you need to do is truncate the end of your video, just hover over the end of the clip in the timeline. The cursor will turn into a trim tool - either double-sided or single, as you slide the cursor slightly left. The double-sided cursor will, in effect, 'slide' your edit point without changing the timing of the overall timeline. The single razor will leave a gap if you shorten your clip. If you are only truncating a single clip, it doesn't matter in practise which you use, both will do the same thing in this instance.&lt;/p&gt;&#xA;&lt;p&gt;All you need to do is grab this &amp;amp; drag left.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/f7OHG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/f7OHG.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;br /&gt;&#xA;&lt;sub&gt;Image enlarged to make the tool easier to see.&lt;/sub&gt;&lt;/p&gt;&#xA;" OwnerUserId="12233" LastEditorUserId="12233" LastEditDate="2021-11-27T19:42:42.560" LastActivityDate="2021-11-27T19:42:42.560" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34663" PostTypeId="1" AcceptedAnswerId="34675" CreationDate="2021-11-29T04:03:02.097" Score="0" ViewCount="142" Body="&lt;p&gt;I recorded a video explaining some complicated things, and when I looked on the big screen, the spotlight is reflecting off my nostril creating a shiny white dot which can be confused with the most worst bogey situation that a human could suffer from, and i was like WHaaaat? Eeewww? It's only a reflection of a spotlight but it looks reeeealy freaky. Is there a way to erase the white dot as it moves through 2 minutes of video?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vEXfU.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vEXfU.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt; &lt;a href=&quot;https://i.stack.imgur.com/zCjRD.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zCjRD.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/7oCzg.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7oCzg.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26831" LastEditorUserId="4426" LastEditDate="2021-12-01T09:51:10.767" LastActivityDate="2021-12-01T09:51:10.767" Title="Is there a way to erase this white dot through 2 minutes of video?" Tags="|after-effects|video-editor|after-effects-expressions|signal-processing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34664" PostTypeId="2" ParentId="12859" CreationDate="2021-11-29T05:02:25.643" Score="0" Body="&lt;p&gt;Its always best to use the command line Aerender.  Personally, I have a single user account with adobe, which allows me to install and run AE GUI on one, while using AERENDER on the other.  No longer need to put in a text file for render only.  Here's the only issue you will run into: Some plugins require separate licensing for each machine, or even render only licenses.  The other issue you will run into is that each set of license for adobe software with 2 running seats (1 gui\commandline, 1 commandline render only) will require its own email address.  I miss the days when you could have unlimited command line renderers so long as you had the licesnses for your plugins, but they are long gone.  Adobe has also forced us to maintain multiple email addresses for this purpose, which defeats the purpose entirely.  If they sold off multi-render seating, which would allow more instances to be run concurrently under the same user, similar to their institutional licensing, it would allow them to retain the email address license model, bring in more revenue, and return a once powerful function to the user community.  But hey, I'm just sayin...  You might, and I wouldn't bet the farm on this, but might, get around it using a set of VM files to host your software on multiple machines with one vm copy holding the software and multiple machines with copies of that VM on a closed network.  You only need to update one VM, then copy it over to other machines and run it all inside a closed network with no internet (no way to limit license use).  Not perfect but it might work if you only utilize it on a per project basis, allowing the main vm to connect to the internet once every week or so to update etc, and then back to the closed network and copy the vm over... ...Just sayin...&#xA;There are other ways around this.&#xA;Look up online render farms.  They will take in your project files and render them out quickly.  Some even support Premiere Pro and other applications beyond adobe software, and their pricing is pretty fair for the most part.  Much faster to run a render with 20 cores and pay $5 to $10 US, get an output file in your desired format and go to print.  For 10 bucks, I'll save the headache and just do the upload.  Of course, you're best off with a wired network and a ton of bandwidth.&#xA;Option 2:&#xA;You could find a boxed CS6 with a valid key, apply it to your licensing online, and install the full on your main box, then buy a bunch of i5\i3 machines slap some nvidia 1-2gb cards in them, add 4-16gb of ram, and network them together.  Then you could hook them to RAID NAS drives, one input, one output, and use the Render only setting from cs6 to have your very own render farm.  This isn't cheap.  About 5 grand for all of it with a 20 core running farm.  You then have to install something to initiate the farm on each machine.  There are some good softwares for that too.  Then, open premiere, save project and files to input RAID, send the entire sequence to after effects, save that file with a render queue, and put into your farm initiator, let the other 10 machines work on it, Have one machine set up with media encoder to watch the folder and compress the output to a final file on your main machine.  You can have a coffee (or a beer), then start the next project, and since there is only one set of writes going to the input nas, but many reads, it will be slow going at first.  I suggest a third device for cache files, and raid-ed ssds on all of them (get cheapos, it'll be okay, just factor in the wear and tear to your pricing for clients; for personal work or sidehustle, you're better off with used disks, as cheap as you can get them, and replace them when they begin to have problems).&lt;/p&gt;&#xA;" OwnerUserId="35780" LastActivityDate="2021-11-29T05:02:25.643" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34665" PostTypeId="1" CreationDate="2021-11-29T11:34:03.993" Score="0" ViewCount="1213" Body="&lt;p&gt;I need a script for ffmpeg to do this:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Background color (drawbox) for all words like this:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SNQSm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SNQSm.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36901" LastEditorUserId="674" LastEditDate="2021-12-07T18:12:25.033" LastActivityDate="2023-12-28T16:00:20.057" Title="How can i do overlay subtitle with ffmpeg like in the links provided?" Tags="|ffmpeg|video|subtitles|script|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34666" PostTypeId="1" CreationDate="2021-11-29T18:27:46.930" Score="1" ViewCount="28" Body="&lt;p&gt;The &lt;a href=&quot;https://manpages.debian.org/bullseye/oggz-tools/oggz.1.en.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;man page for oggz&lt;/a&gt; reads:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[Oggz] can read and write Ogg Skeleton logical bitstreams.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have attempted the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;oggz-merge -o test-out.ogv test-in.theo.ogv&#xA;oggz-sort -o test-out.ogv test-in.theo.ogv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Both of them write a new Ogg video file with all the streams intact, but I do not see a Skeleton track being added. I have checked man pages, and cannot find anything akin to &lt;code&gt;addskel&lt;/code&gt; of &lt;code&gt;hogg&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;I have now also tried ripping the tracks (I have 3) with:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;oggz-rip -o test-out.ogv -i 0 -i 1 -i 2 test-in.theo.ogv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This has not created a skeleton track either.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="17390" LastEditDate="2023-01-10T04:27:56.523" LastActivityDate="2023-01-10T04:27:56.523" Title="How to add Ogg Skeleton 4 to an Ogg Theora file with oggz?" Tags="|untagged|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34668" PostTypeId="2" ParentId="33561" CreationDate="2021-11-29T23:32:40.513" Score="0" Body="&lt;p&gt;I'm also relatively new to KdenLive, but here is what I've learned about the Project Bin. This is where I drop video and/or image clips to add them to a project, from there I drag them onto the timeline to do the final editing.&lt;/p&gt;&#xA;&lt;p&gt;As far as I understand it, you must load clips, images, or sounds into the project bin before you can actually use them in your project.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://userbase.kde.org/Kdenlive/Manual/Projects_and_Files/Project_Tree&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://userbase.kde.org/Kdenlive/Manual/Projects_and_Files/Project_Tree&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I see this same question cross posted on Reddit. More info there:&#xA;&lt;a href=&quot;https://www.reddit.com/r/kdenlive/comments/mhs169/what_is_the_project_bin/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.reddit.com/r/kdenlive/comments/mhs169/what_is_the_project_bin/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="36907" LastActivityDate="2021-11-29T23:32:40.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34670" PostTypeId="2" ParentId="30503" CreationDate="2021-11-30T12:42:21.320" Score="1" Body="&lt;p&gt;This is absolutely not a problem. You can do this with MKVToolNix (specifically with it's GUI, since that is what you have requested).&lt;/p&gt;&#xA;&lt;p&gt;I am on Debian GNU/Linux, if you use something different, your screenshots will differ, do not worry about it.&lt;/p&gt;&#xA;&lt;p&gt;First start the application:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/u7yOj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/u7yOj.png&quot; alt=&quot;Empty MKVMerge&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Add the very first file to it:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JWOwg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JWOwg.png&quot; alt=&quot;File added&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now you will need to add or drop the other files.&lt;/p&gt;&#xA;&lt;p&gt;Doing so you will get a question of what to do with the files you've added:&lt;br /&gt;&#xA;Select &amp;quot;Append to an existing source file&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hDDmW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hDDmW.png&quot; alt=&quot;Select Append&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/n6eu0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/n6eu0.png&quot; alt=&quot;Append Several Files&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now you only need to provide the name of the output file and press &amp;quot;Start multiplexing&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yLcPU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yLcPU.png&quot; alt=&quot;Start multiplexing&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="29249" LastEditDate="2022-03-13T21:45:57.777" LastActivityDate="2022-03-13T21:45:57.777" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34671" PostTypeId="2" ParentId="30503" CreationDate="2021-11-30T12:51:35.670" Score="1" Body="&lt;p&gt;In case you will be unable to use MKVToolsNix for whatever reason, there is an older tool which is able to append files quite well: AVIDemux.&lt;/p&gt;&#xA;&lt;p&gt;The process is trivial. Start the program and open your first file.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4WDJx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4WDJx.png&quot; alt=&quot;Virgin AVIDemux&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/hdWdL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hdWdL.png&quot; alt=&quot;AVIDemux with one file open&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You then select append from menu and select files that you want to append.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/m5kZC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/m5kZC.png&quot; alt=&quot;Append menu item&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Oycjb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Oycjb.png&quot; alt=&quot;Several appended files&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;That is it. Now you simply save the output. Take a note that the video and audio streams are set to copy.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rszTV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rszTV.png&quot; alt=&quot;Save menu&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2021-11-30T12:51:35.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34672" PostTypeId="2" ParentId="26226" CreationDate="2021-11-30T13:14:16.157" Score="1" Body="&lt;p&gt;Your first line, which attempts to get the number of frames does not work for me. For whatever reason my test files report 'N/A' rather than a number. But since it worked for you, you were almost done.&lt;/p&gt;&#xA;&lt;p&gt;If you know that you want to remove frame number &lt;code&gt;$lf&lt;/code&gt;, you can just do the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;let frames=$lf-1&#xA;ffmpeg -i &amp;quot;$fn&amp;quot; -frames:v $frames -c:v copy -c:a copy &amp;quot;$of&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2021-11-30T13:14:16.157" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34673" PostTypeId="2" ParentId="12926" CreationDate="2021-11-30T13:40:42.560" Score="0" Body="&lt;p&gt;I think that you have misread the formula&lt;/p&gt;&#xA;&lt;p&gt;Let's say you want the subtitle to appear at 50.5 seconds. Current video rate is 25 frames per second.&lt;/p&gt;&#xA;&lt;p&gt;This will mean that the subtitle will appear at the frame number &lt;code&gt;50.5*25 = 1263&lt;/code&gt; (rounding up).&lt;/p&gt;&#xA;&lt;p&gt;If you then convert the frame rate to 30 frames per second, your new start frame much change and will be &lt;code&gt;50.5*30 = 1515&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Perhaps you have gotten confused with this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;new_start_frame = new_frame_rate / old_frame_rate * old_frame&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is not &lt;code&gt;ts_1 x f_1 = ts_2 x f_2&lt;/code&gt;, but rather &lt;code&gt;ts_1 x f_2 = ts_2 x f_1&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Let's check with the numbers i have calculated above:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ts_1 = 1263&#xA;f_1 = 25&#xA;ts_2 = 1515&#xA;f_2 = 30&#xA;&#xA;1263 * 30 = 1515 * 25&#xA;37890 = 37875&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;the error here was due to rounding.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2021-11-30T13:40:42.560" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34674" PostTypeId="1" CreationDate="2021-11-30T21:03:54.403" Score="0" ViewCount="47" Body="&lt;p&gt;thank you for helping me! My problem is that I'm working with a very noisy microphone, so just enabling noice reduction in the fairlight options doesn't do the trick. I'm switching from audacity, where I just &lt;strong&gt;applied noise reduction two times&lt;/strong&gt;. Now, my question is if &lt;strong&gt;the same is possible in Fairlight without completely destroying the audio quality&lt;/strong&gt;? I'm using DaVinci Resolve 17&lt;/p&gt;&#xA;" OwnerUserId="36415" LastActivityDate="2021-11-30T21:03:54.403" Title="DaVinci Resolve Fairlight advanced Noise Reduction" Tags="|audio|davinci-resolve|audio-recording|noise|noise-reduction|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34675" PostTypeId="2" ParentId="34663" CreationDate="2021-12-01T09:33:37.940" Score="1" Body="&lt;p&gt;I don't think it looks that severe, but you'll probably have to do this manually... That's a lot of frames:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Duplicate your video layer.&lt;/li&gt;&#xA;&lt;li&gt;Turn off the original video layer and select the new one.&lt;/li&gt;&#xA;&lt;li&gt;Make a small circular mask over the area you want to fix, just slightly larger than the suspicious white area.&lt;/li&gt;&#xA;&lt;li&gt;Set the mask to None, so it doesn't make a hole for now (we will change this later).&lt;/li&gt;&#xA;&lt;li&gt;Enable the Mask Path stop-watch on the mask, so that you can animate the position of the mask frame by frame.&lt;/li&gt;&#xA;&lt;li&gt;Move the mask frame by frame so it always covers the bogey, or whatever was up your nose...&lt;/li&gt;&#xA;&lt;li&gt;Now set the mask to Subtract, so it cuts a hole.&lt;/li&gt;&#xA;&lt;li&gt;Open the Content Aware Fill panel from the Window menu.&lt;/li&gt;&#xA;&lt;li&gt;Click Generate Fill Layer and wait a while.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;It will probably work pretty well.. If it doesn't, try adjusting the mask or the alpha expansion - &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/content-aware-fill.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;more info here&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;If you want to avoid manually moving the mask in every frame:&lt;/p&gt;&#xA;&lt;p&gt;Instead of step 6, you could try tracking the position of the suspicious white area &lt;a href=&quot;https://www.adobe.com/products/aftereffects/motion-tracking.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;with a 2D tracker&lt;/a&gt; instead, apply that track to a null object, then parent the first frame of your mask to the null instead.&lt;/p&gt;&#xA;&lt;p&gt;But I suspect a manual move will work better, because the tracker usually needs continuous areas of different contrast.&lt;/p&gt;&#xA;&lt;p&gt;(Also try coffee instead, it leaves fewer marks)&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-12-01T09:33:37.940" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34676" PostTypeId="2" ParentId="15532" CreationDate="2021-12-01T09:37:54.477" Score="0" Body="&lt;p&gt;I have not tested it, but i believe that it would be possible to do it with select scene change filter of &lt;code&gt;ffmpeg&lt;/code&gt;. You can try something like:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.ext -filter:v &amp;quot;select=gt(scene\,0.2)&amp;quot; -c:v copy output.ext&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Note that you need to escape the comma, even though the value is in quotes. The second parameter is what you need to play with to determine what you consider to be 'motion'.&lt;/p&gt;&#xA;&lt;p&gt;I got the idea from: &lt;a href=&quot;https://www.bogotobogo.com/FFMpeg/ffmpeg_thumbnails_select_scene_iframe.php&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.bogotobogo.com/FFMpeg/ffmpeg_thumbnails_select_scene_iframe.php&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2021-12-01T09:37:54.477" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34677" PostTypeId="2" ParentId="33574" CreationDate="2021-12-01T09:57:15.237" Score="1" Body="&lt;p&gt;Let's assume that your 'lower thirds' are images, and are not dynamically generated. For example you have &lt;code&gt;youtube-l3rd-1.png&lt;/code&gt;, &lt;code&gt;youtube-l3rd-2.png&lt;/code&gt;, and &lt;code&gt;youtube-l3rd-3.png&lt;/code&gt; for YouTube, and &lt;code&gt;school-l3rd-1.png&lt;/code&gt;, &lt;code&gt;school-l3rd-3.png&lt;/code&gt;, and &lt;code&gt;school-l3rd-3.png&lt;/code&gt; for school.&lt;/p&gt;&#xA;&lt;p&gt;You then create a way to put those thirds on the video with &lt;code&gt;-filter_complex&lt;/code&gt; of &lt;code&gt;ffmpeg&lt;/code&gt;. Since this was not your question, i am assuming that you did so. You can then do:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for platform in youtube school&#xA;do&#xA;  ffmpeg -i input.ogv -i &amp;quot;${platform}-l3rd-1.png&amp;quot; -i &amp;quot;${platform}-l3rd-3.png&amp;quot; -i &amp;quot;${platform}-l3rd-3.png&amp;quot; ..... &amp;quot;${platform}-output.ogv&amp;quot;&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2021-12-01T09:57:15.237" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34679" PostTypeId="2" ParentId="32696" CreationDate="2021-12-01T10:52:40.933" Score="1" Body="&lt;p&gt;What you can do is use &lt;code&gt;-shortest&lt;/code&gt; to stop encoding once the shortest stream ends. This option needs to be given before the output file.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2021-12-01T10:52:40.933" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34680" PostTypeId="2" ParentId="34659" CreationDate="2021-12-01T12:03:38.917" Score="0" Body="&lt;p&gt;Resolve requires a GPU to function properly, as listed in the system requirements.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-12-01T12:03:38.917" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34681" PostTypeId="2" ParentId="34654" CreationDate="2021-12-01T12:21:44.077" Score="1" Body="&lt;p&gt;To get the correct behavior on all players, you have to re-encode the video, i.e. remove the &lt;code&gt;-c:v copy&lt;/code&gt;/&lt;code&gt;-vcodec copy&lt;/code&gt; part and replace it with, for example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-c:v libx264 -crf 23&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Pair it with a positive specification for &lt;code&gt;-ss&lt;/code&gt;, e.g. &lt;code&gt;-ss 0.2&lt;/code&gt;, to get rid of whatever black frames there were in the beginning.&lt;/p&gt;&#xA;&lt;p&gt;This will ensure that all frames get re-encoded.&lt;/p&gt;&#xA;" OwnerUserId="525" LastActivityDate="2021-12-01T12:21:44.077" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34682" PostTypeId="2" ParentId="27771" CreationDate="2021-12-01T16:12:42.773" Score="1" Body="&lt;p&gt;Here is what i would be doing to try to resolve this:&lt;/p&gt;&#xA;&lt;p&gt;Check the video with &lt;code&gt;fprobe -show_streams&lt;/code&gt; note how many frames there are. From that and the knowledge of the total duration it can be possible to figure out the correct framerate.&lt;/p&gt;&#xA;&lt;p&gt;Try to reencode with:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i broken.mp4 -c copy -r (what you have calculated above) try1.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If this doesn't work, try reencoding rather than copying.&lt;/p&gt;&#xA;&lt;p&gt;If that doesn't work still, maybe it would work to dump all the frames as image files and then reencode them into video with a calculated framerate.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2021-12-01T16:12:42.773" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34683" PostTypeId="1" CreationDate="2021-12-01T20:27:53.410" Score="2" ViewCount="693" Body="&lt;p&gt;So I have 100 videos in a folder, I need to extract (ex.) 1:00 to 2:00. HB can do this but you have to set times for every video. Any software / Premiere script or other methods to do this?&lt;/p&gt;&#xA;" OwnerUserId="36920" LastActivityDate="2021-12-01T20:27:53.410" Title="How to batch trim 100 videos?" Tags="|video-editor|editing|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34684" PostTypeId="1" AcceptedAnswerId="34689" CreationDate="2021-12-01T21:00:43.797" Score="3" ViewCount="15" Body="&lt;p&gt;I'm very, very new to After Effects (using it for 3-4 days now). I have a bunch of videos added to my workspace, they're all of different lengths. Is it possible to somehow automatically insert them to timeline, where each sequential video is inserted 2 seconds before the previous video ends? I.e. if video1 length is 20 seconds, video2 should be inserted at 00:00:18:00 seconds. And if its length, for example, 28 seconds, video3 should be inserted at  00:00:44:00. And if they can do some cross-fading effect - even better! But at least inserting them automatically as described would be a huge time saver for me!&lt;/p&gt;&#xA;&lt;p&gt;I tried to Google it, but either my search was incorrect, or there are no results for it, but I wasn't able to find anything on that subject. I did find a YT video which explains how a bunch of videos may be automatically inserted one after another, but it depends on videos being the same length, so that's not it.&lt;/p&gt;&#xA;&lt;p&gt;So is there such possibility, and if there is - how do I do it? Or do I have to arrange all these files manually?&lt;/p&gt;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="36921" LastActivityDate="2021-12-02T13:46:37.440" Title="Is is possible to insert numerous videos to timeline automatically 2 seconds before the previous video ends" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34689" PostTypeId="2" ParentId="34684" CreationDate="2021-12-02T13:46:37.440" Score="2" Body="&lt;p&gt;After playing for some time with After Effects I think I found a solution. Here's what I did:&lt;/p&gt;&#xA;&lt;p&gt;Drag all the videos form workspace to timeline, then select all the videos I want to sequence in the timeline. Right click on the selected files, go to Keyframe Assistant -&amp;gt; Sequence Layers. In the opened window tick the Overlap checkbox and in the duration text insert 0:00:02:00. In the same window you can also set a transition effect. I selected Cross Dissolve Front and Back Layers, and for such a simple project I'm quite happy with the result! It did save me a lot of time!&lt;/p&gt;&#xA;&lt;p&gt;Perhaps someone will find it helpful!&lt;/p&gt;&#xA;" OwnerUserId="36921" LastActivityDate="2021-12-02T13:46:37.440" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34690" PostTypeId="1" CreationDate="2021-12-02T15:30:37.290" Score="0" ViewCount="458" Body="&lt;p&gt;Not sure what is going on, but glitch below is visible while editing and on exports. How can I fix this? Thanks for helping out!&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/v1gL7.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/v1gL7.jpg&quot; alt=&quot;glitch&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="28050" LastEditorUserId="28050" LastEditDate="2021-12-03T17:01:37.193" LastActivityDate="2021-12-03T17:01:37.193" Title="How to fix Adobe Premiere rendering glitch on M1 Mac" Tags="|premiere|adobe|mac|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34691" PostTypeId="2" ParentId="34690" CreationDate="2021-12-02T17:48:29.200" Score="2" Body="&lt;p&gt;Converting source from VBR to CBR (matching 23.976 timeline) fixed issue.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;video.mp4&amp;quot; -r 24/1.001 &amp;quot;video_cbr.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="28050" LastActivityDate="2021-12-02T17:48:29.200" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34692" PostTypeId="1" AcceptedAnswerId="34700" CreationDate="2021-12-02T20:24:54.233" Score="0" ViewCount="885" Body="&lt;p&gt;Thank you for helping me. Now, my question is quite simple but I can't find the answer: &lt;strong&gt;How can you add silence in DaVinci Resolve?&lt;/strong&gt; I'm switching from &lt;strong&gt;Audacity&lt;/strong&gt; to Fairlight and in Audacity, I just replaced breathing with silence to not make the recording shorter, but cut out the sound. Is something &lt;strong&gt;like this possible&lt;/strong&gt; in Fairlight or is there &lt;strong&gt;another solution&lt;/strong&gt;?&lt;/p&gt;&#xA;&lt;p&gt;I searched on this site, on youtube and just on the internet. &lt;strong&gt;Thanks!&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="36415" LastActivityDate="2021-12-05T19:01:45.913" Title="Add/Replace something with silence DaVinci Resolve" Tags="|editing|audio|davinci-resolve|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34693" PostTypeId="2" ParentId="34657" CreationDate="2021-12-03T10:12:02.200" Score="0" Body="&lt;p&gt;I was doing the recovering process in a wrong way. With a better way of recovering, now, 1h17m of the 1h27m video is recovered. Meaning only the last 10m is &lt;em&gt;not&lt;/em&gt; recovered. The details are here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://superuser.com/a/1691027/571029&quot;&gt;https://superuser.com/a/1691027/571029&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19052" LastActivityDate="2021-12-03T10:12:02.200" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34697" PostTypeId="2" ParentId="30507" CreationDate="2021-12-04T05:15:59.280" Score="0" Body="&lt;p&gt;Several approaches were discussed in the comments, but in case somebody is searching for an answer, i will explain more in depth here.&lt;/p&gt;&#xA;&lt;p&gt;The simplest solutions are to drop some frames or to change the frame rate. Visualy it can be looked at in the following way:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yvChe.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yvChe.png&quot; alt=&quot;fps change and frame drop&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;In here i assume the simple video with 4 frames per second (unrealistic, but it is only for us to get an idea of what is happening) and with only 6 frames. From this we can gather that this video will take 1,5 seconds to be shown to a viewer.&lt;/p&gt;&#xA;&lt;p&gt;The first thing we can do is to change the frame rate (frames per second, fps). Here i am doubling it. Now there are still the same data in the file, all 6 frames are available, but they will be displayed at the rate 8 per second, and thus the viewer will only see 6/8 of a second worth of video. You should note here that the computer will have to make the same work, but do it faster. Sometimes it means that if the frames are to be displayed faster than they can be read from disk and decoded, the video will start freezing up, random parts will be dropped, other weird things will start happening.&lt;/p&gt;&#xA;&lt;p&gt;The second thing that we can do is to keep the frame rate the same (4 frames per second), but drop every 3&lt;sup&gt;rd&lt;/sup&gt; frame. The effect here will be that the total video will be 1 second long, and the computer will not have to do any more work than usual. However, the data is actually gone from the video now, if we step through the video frame by frame, some frames are completely gone. If you are throwing a pot, i doubt that you will be able to have it fly by in a single frame, but if you are working one a film with a gun shot or something similar, you could potentially lose the frame where something appears on the screen.&lt;/p&gt;&#xA;&lt;p&gt;And finally, of course, you can do both. This is useful if you are trying to speed things up a lot, but you don't want something like 500fps video, which a computer will simply not be able to handle if the resolution is anything we would consider reasonable.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2021-12-04T05:15:59.280" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34698" PostTypeId="2" ParentId="30257" CreationDate="2021-12-04T05:51:12.017" Score="1" Body="&lt;p&gt;While you can go with the links approach, suggested by &lt;a href=&quot;https://video.stackexchange.com/users/1871/gyan&quot;&gt;Gyan&lt;/a&gt; in the comments. You could also generate a list of files that you want to use for encoding, and then use &lt;code&gt;-f concat&lt;/code&gt;. I have tried it with the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;find . -name '*.jpeg' -exec echo &amp;quot;file '&amp;quot;{}&amp;quot;'&amp;quot; &amp;gt;&amp;gt; list.text \;&#xA;ffmpeg  -f concat -r 25 -safe 0 -i list.text -c:v libtheora -q:v 8 out.ogv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Let's take it apart.&lt;/p&gt;&#xA;&lt;p&gt;First we generate the list of all the files matching '*.jpeg' name starting with the current directory &lt;code&gt;.&lt;/code&gt;, we do not want to output that list as is, because &lt;code&gt;ffmpeg&lt;/code&gt; for whatever reason cannot default to lines being files, and expects us to say it each and every line. So rather than &lt;code&gt;my_image_001.jpeg&lt;/code&gt; we want &lt;code&gt;file 'my_image_001.jpeg'&lt;/code&gt;. So we do a trick with the &lt;code&gt;-exec&lt;/code&gt; of &lt;code&gt;find&lt;/code&gt; piping the &lt;code&gt;echo&lt;/code&gt; command into a file. &lt;code&gt;list.text&lt;/code&gt; in this example.&lt;/p&gt;&#xA;&lt;p&gt;Now we get to &lt;code&gt;ffmpeg&lt;/code&gt;. You tell it that you wish to concatenate all of the files, by providing &lt;code&gt;-f concat&lt;/code&gt; as the format of the file it is about to read. Note that you will need to specify the frame rate, since images do not have this at all. The &lt;code&gt;-safe 0&lt;/code&gt; is needed so that &lt;code&gt;ffmpeg&lt;/code&gt; does not crash and burn with &lt;code&gt;Unsafe file name&lt;/code&gt; error message. I believe that is because we are using paths relative to the current directory. It makes little sense, but you just need to do this. After this, the line is the same as if you were just re-encoding another video.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2021-12-04T05:51:12.017" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34700" PostTypeId="2" ParentId="34692" CreationDate="2021-12-05T18:54:32.473" Score="1" Body="&lt;p&gt;Usually, it’s a good idea to replace unwanted sounds with “room tone,” rather than absolute silence.  To do this, you would edit in a recording of the environment where no one is speaking.&lt;/p&gt;&#xA;&lt;p&gt;In the cases where you do want absolute silence, you can simply delete the audio.   If you set the sequence out point on the deliver page first, you can be sure that the duration doesn’t change.&lt;/p&gt;&#xA;&lt;p&gt;Alternatively, you can disable the clip, by highlighting the clip and pressing “D.” This is a temporary and nondestructive method, and as long as the clip is disabled, it won’t contribute to any rendered output.&lt;/p&gt;&#xA;&lt;p&gt;Also, in edit selection mode (it’s the I-beam cursor icon in Fairlight), you can simply drag the long, horizontal gain line down to zero, and automation points will automatically be added wherever in and out points intersect the clip.  If there’s not a long, horizontal gain line visible across clips, you can enable it in the “track display options” menu.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2021-12-05T19:01:45.913" LastActivityDate="2021-12-05T19:01:45.913" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34701" PostTypeId="2" ParentId="34530" CreationDate="2021-12-06T04:29:02.350" Score="2" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;Is this something that is limited by the video frame rate?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Indirectly — if the input video stream has a fixed frame rate. The true reason is system of PTS.&lt;/p&gt;&#xA;&lt;p&gt;Every frame has its so-called &lt;em&gt;presentation time stamp&lt;/em&gt; (PTS), expressed as an &lt;em&gt;integer number&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Your input video stream has probably these PTS:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/bqtKm.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bqtKm.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;What is the meaning of these integer numbers?&lt;/p&gt;&#xA;&lt;p&gt;They are multiples of the &lt;em&gt;unit time&lt;/em&gt; (a tick) for the stream.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;In your case, the unit time is as small as &lt;code&gt;1/15360&lt;/code&gt; of second, because it is a &lt;em&gt;reciprocal value&lt;/em&gt; of the so-called &lt;em&gt;time base&lt;/em&gt;, and the time base for your input stream is 15360&lt;br /&gt;&#xA;(see &lt;code&gt;..., 15360 tbn, ...&lt;/code&gt; in your listing).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Here are the same PTS values and calculated corresponding times:&lt;/p&gt;&#xA;&lt;div class=&quot;s-table-container&quot;&gt;&#xA;&lt;table class=&quot;s-table&quot;&gt;&#xA;&lt;thead&gt;&#xA;&lt;tr&gt;&#xA;&lt;th&gt;PTS&lt;/th&gt;&#xA;&lt;th style=&quot;text-align: center;&quot;&gt;0&lt;/th&gt;&#xA;&lt;th style=&quot;text-align: center;&quot;&gt;512&lt;/th&gt;&#xA;&lt;th style=&quot;text-align: center;&quot;&gt;1024&lt;/th&gt;&#xA;&lt;th style=&quot;text-align: center;&quot;&gt;1536&lt;/th&gt;&#xA;&lt;th style=&quot;text-align: center;&quot;&gt;2048&lt;/th&gt;&#xA;&lt;/tr&gt;&#xA;&lt;/thead&gt;&#xA;&lt;tbody&gt;&#xA;&lt;tr&gt;&#xA;&lt;td&gt;&lt;strong&gt;Presen-tation time in seconds&lt;/strong&gt;&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;0*(1/15360)=&lt;strong&gt;0&lt;/strong&gt;&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;1*(1/15360)=&lt;strong&gt;1/30&lt;/strong&gt;&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;2*(1/15360)=&lt;strong&gt;2/30&lt;/strong&gt;&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;3*(1/15360)=&lt;strong&gt;3/30&lt;/strong&gt;&lt;/td&gt;&#xA;&lt;td style=&quot;text-align: center;&quot;&gt;1*(1/15360)=&lt;strong&gt;4/30&lt;/strong&gt;&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;/tbody&gt;&#xA;&lt;/table&gt;&#xA;&lt;/div&gt;&#xA;&lt;p&gt;Similar — but inverse — calculation is performed for your time values &lt;code&gt;-ss 0.989 -t 0.238&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;div class=&quot;s-table-container&quot;&gt;&#xA;&lt;table class=&quot;s-table&quot;&gt;&#xA;&lt;thead&gt;&#xA;&lt;tr&gt;&#xA;&lt;th&gt;Required starting PTS&lt;/th&gt;&#xA;&lt;th&gt;0.989 * 15360 = 15191&lt;/th&gt;&#xA;&lt;/tr&gt;&#xA;&lt;/thead&gt;&#xA;&lt;tbody&gt;&#xA;&lt;tr&gt;&#xA;&lt;td&gt;&lt;strong&gt;Required ending PTS&lt;/strong&gt;&lt;/td&gt;&#xA;&lt;td&gt;&lt;strong&gt;(0.989 + 0.238) * 15360 = 18847&lt;/strong&gt;&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;/tbody&gt;&#xA;&lt;/table&gt;&#xA;&lt;/div&gt;&#xA;&lt;p&gt;But frames with such PTS values in your input video don't exist, so FFmpeg will select frames with PTS &lt;strong&gt;15360&lt;/strong&gt; (=30 * 512) and &lt;strong&gt;18944&lt;/strong&gt; (=37 * 512), i.e. frame № 30 as a start frame and frame № 37 as an end frame.&lt;/p&gt;&#xA;&lt;p&gt;There are 8 frames between frames 30 and 37 (inclusive), so the duration will be 8 * (1/30) = 8/30 seconds. It is the &lt;em&gt;exact&lt;/em&gt; value. Your 0.27 seconds is the rounded one.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2021-12-06T05:11:23.117" LastActivityDate="2021-12-06T05:11:23.117" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34702" PostTypeId="2" ParentId="30763" CreationDate="2021-12-06T07:54:28.543" Score="2" Body="&lt;p&gt;While in many cases it is impossible, there are cases where it may be &lt;em&gt;theoretically&lt;/em&gt; possible. I will ignore here cases where no keyframes exist, since your question clearly stated that you are dealing with the codec with keyframe, but codecs differ in whether they allow keyframes in specific locations, or a keyframe may appear at any point.&lt;/p&gt;&#xA;&lt;p&gt;If you have the latter, it would be possible to set up a case like the following:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VGgi4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VGgi4.png&quot; alt=&quot;encode+copy&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here the green frames are Key Frames, and the red is the new keyframe that will be created. You can see that most blocks can be copied as is, without reencoding, that is because every frame that follows the keyframe that can be just copied, can just be copied itself. We can also simply drop the unneeded frames from the last block without any issues (in many cases).&lt;/p&gt;&#xA;&lt;p&gt;So what is happening with the red keyframe? It is generated from the information that come from the keyframe of the first block, plus all the changes that were applied by the frames following it up until the specific timestamp. This is 3.3 seconds in your example.&lt;/p&gt;&#xA;&lt;p&gt;I will repeat myself once again, that in order for this to generate a playable file, you would need to be dealing with the codec which allows you to have as few frames between keyframes as you have left in the first block.&lt;/p&gt;&#xA;&lt;p&gt;I am unaware of any tool which makes this approach easy, however.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2021-12-06T07:54:28.543" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34703" PostTypeId="1" AcceptedAnswerId="34704" CreationDate="2021-12-06T19:14:12.450" Score="12" ViewCount="6469" Body="&lt;p&gt;I came across &lt;a href=&quot;https://cdn.discordapp.com/attachments/642256326826786826/888362096075620362/top29quintillioncheese.mp4&quot; rel=&quot;noreferrer&quot;&gt;this joke mp4&lt;/a&gt; file online. (Warning: direct download link to an 8 mb file.) Media players as well as ffmpeg both list the file as having a length of 596523:14:07.00 (!). My first guess was that the video might have used a very low frame rate, but ffmpeg lists a frame rate of 10 fps, with no frames having a variable frame rate. What is going on in the encoding of this file to give it such a long length?&lt;/p&gt;&#xA;" OwnerUserId="17601" LastActivityDate="2023-11-05T23:45:02.413" Title="How is this .mp4 file 596523 hours long?" Tags="|encoding|mp4|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34704" PostTypeId="2" ParentId="34703" CreationDate="2021-12-07T01:14:44.443" Score="22" Body="&lt;p&gt;There are several things we can note here:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The file stops playing after 0:05:30.&lt;/li&gt;&#xA;&lt;li&gt;If you remux the file (mkvtools for example) you do have 5:30 displayed as the length.&lt;/li&gt;&#xA;&lt;li&gt;The original file does in fact show the ridiculous length.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;So, although it is a funny joke, it is not as cool as I first thought. Nobody has figured out how to do an infinite loop of frames or anything similar to that. This appears to be just a header of the file that is not matching the data.&lt;/p&gt;&#xA;&lt;p&gt;How does the player (or most tools) figure out the length of the video? They do not read the whole file, otherwise the load times of files would be impractical. So at the start of the file there is a marker that says the length, and the player just trusts it.&lt;/p&gt;&#xA;&lt;p&gt;Let's run through the maths:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;596523:14:07.00 = ((596523*60)+14)*60+7 = 2147483647 seconds&#xA;2147483647 (base 10) = 7FFFFFFF (base 16)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Oh, that's a nice number. Now let's open the file up with a hex editor, right at the start we see&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; 00000000:  00 00 00 18 66 74 79 70  6d 70 34 32 00 00 00 00  ....ftypmp42....&#xA; 00000010:  6d 70 34 32 6d 70 34 31  00 01 69 7b 6d 6f 6f 76  mp42mp41..i{moov&#xA; 00000020:  00 00 00 6c 6d 76 68 64  00 00 00 00 dd 69 a6 fb  ...lmvhd.....i..&#xA; 00000030:  dd 69 a6 fb 00 00 00 01  7f ff ff ff 00 01 00 00  .i..............&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;There's our culprit, right at the 0x38 mark. Let's edit it and see what happens. I actually get a funnier &amp;quot;joke&amp;quot; if I change 7f to ff at the start. To understand why it works, please see &lt;a href=&quot;https://www.geeksforgeeks.org/how-the-negative-numbers-are-stored-in-memory/&quot; rel=&quot;noreferrer&quot;&gt;How the negative numbers are stored in memory?&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastEditorUserId="17390" LastEditDate="2021-12-07T18:14:02.690" LastActivityDate="2021-12-07T18:14:02.690" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34705" PostTypeId="1" CreationDate="2021-12-07T10:41:02.880" Score="1" ViewCount="345" Body="&lt;p&gt;A setting on the Canon EOS R6 allows you to choose between NTSC and PAL for the video system. I am somewhat aware that NTSC and PAL were analog video standards used by (roughly) North America and Europe respectively. However, I am not expecting to ever play back my videos on analog TVs, so it looks to me like the main distinction is that the NTSC option allows access to higher frame rate movie recording (59.94p vs 50p for PAL).&lt;/p&gt;&#xA;&lt;p&gt;To me, the higher frame rate is better, and so I see no reason not to use NTSC, even though I live in a former-PAL region. Am I missing any disadvantage of doing this? Will it impact any still photography functionality?&lt;/p&gt;&#xA;" OwnerUserId="30266" LastActivityDate="2023-12-27T16:06:00.713" Title="Is there any disadvantage to using NTSC video system on a Canon EOS R6?" Tags="|formats|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34706" PostTypeId="2" ParentId="34705" CreationDate="2021-12-07T11:00:58.127" Score="0" Body="&lt;p&gt;I think the main consideration has to be - what frame rate are you planning to deliver your finished videos at, and will you be doing any frame rate conversion to get there?  If your delivery fps will be a multiple of 25, then 59.94 fps won't divide evenly, and any frame rate conversion would have to interpolate or drop frames at an uneven rate to compensate. If you're delivering a finished video at 30fps, or 60fps, then the NTSC rate may make more sense for your project.&lt;/p&gt;&#xA;&lt;p&gt;The &lt;a href=&quot;https://www.canon.co.uk/cameras/eos-r6/specifications/&quot; rel=&quot;nofollow noreferrer&quot;&gt;specs for the camera&lt;/a&gt; also suggest the video modes target a data bitrate for a given frame rate:&lt;/p&gt;&#xA;&lt;p&gt;eg 4K (59.94p/50.00p): IPB Approx. 230 Mbps&lt;/p&gt;&#xA;&lt;p&gt;So I guess it's possible you might get slightly higher quality per frame if you're running at 50fps vs 59.94 fps. Whether you could see this in practice is unlikely I reckon.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-12-07T11:00:58.127" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34708" PostTypeId="1" CreationDate="2021-12-07T16:38:04.770" Score="0" ViewCount="22" Body="&lt;p&gt;After a lot of research, i can't find how to do something stupid : I have a video template with photo frames in it. I would like to know what size image I need for the frame.&#xA;Problem, I can find the size of the composition (easy) but not the size of a layer ...&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="36962" LastEditorUserId="4426" LastEditDate="2021-12-08T08:53:41.777" LastActivityDate="2022-09-04T10:08:05.707" Title="to know what size image I need for the frame" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34709" PostTypeId="1" CreationDate="2021-12-07T19:46:13.163" Score="0" ViewCount="1141" Body="&lt;p&gt;thank you for helping me! Now, at the beginning of my video (I'm working in DaVinci Resolve), I want to add a table of contents. I thought about using a title to do that. But when I paste the text and then increase the line spacing, the text seems to be cut off. It seems like there's an invisible box, so the text just isn't allowed to get over that border and therefore it gets cut off. I searched in the settings, watched several videos, but I couldn't find a answer.&lt;/p&gt;&#xA;&lt;p&gt;Again, thank you for your help!&lt;/p&gt;&#xA;" OwnerUserId="36415" LastActivityDate="2024-01-04T05:04:50.617" Title="Title has &quot;invisible border&quot;, so not whole text is seen (DaVinci Resolve)" Tags="|editing|davinci-resolve|fusion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34710" PostTypeId="2" ParentId="10864" CreationDate="2021-12-07T21:03:10.870" Score="1" Body="&lt;p&gt;FLAC files can be opened into Adobe Audition and saved out into a different file format that is compatable.&lt;/p&gt;&#xA;" OwnerUserId="36965" LastActivityDate="2021-12-07T21:03:10.870" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34712" PostTypeId="2" ParentId="32689" CreationDate="2021-12-07T23:40:18.977" Score="0" Body="&lt;p&gt;Aslo StreamYard will do this job for you. It's similar to Restream.&lt;/p&gt;&#xA;" OwnerUserId="36969" LastActivityDate="2021-12-07T23:40:18.977" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34713" PostTypeId="2" ParentId="32689" CreationDate="2021-12-08T04:20:33.820" Score="0" Body="&lt;p&gt;This sounds exactly like the YouTube &lt;a href=&quot;https://support.google.com/youtube/answer/9080341?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;premiere&lt;/a&gt; feature.  You can set an uploaded video to &amp;quot;premiere&amp;quot; at a scheduled date and time:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;When the countdown is over, viewers watch the video together in real time. Viewers can rewind the video, but cannot forward past what’s been shown live.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="36974" LastActivityDate="2021-12-08T04:20:33.820" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34715" PostTypeId="2" ParentId="34659" CreationDate="2021-12-08T07:49:42.957" Score="0" Body="&lt;p&gt;(Answering my own question.) After uninstalling and reinstalling Resolve several times, the problem wouldn't go away. Eventually Resolve crashed as soon as I opened it, every time. Opening the color tab must have done something that messed with the way Resolve runs 'below' the level of the operating system -- I don't know much about computers, so I'm not sure how to express that properly.&lt;/p&gt;&#xA;&lt;p&gt;Anyway, I formatted my hard drive, installed a new copy of Windows, installed a new copy of Resolve, and now it works fine. I have not opened the color tab again because I suspect the same crash will occur.&lt;/p&gt;&#xA;&lt;p&gt;This is a pretty drastic solution, and I hope there's a better one for other users, but at least it worked.&lt;/p&gt;&#xA;" OwnerUserId="36889" LastActivityDate="2021-12-08T07:49:42.957" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34716" PostTypeId="2" ParentId="34708" CreationDate="2021-12-08T08:53:05.097" Score="1" Body="&lt;p&gt;Every asset in a project can be seen listed in the Project panel.&lt;/p&gt;&#xA;&lt;p&gt;When you click on each asset, a preview should appear at the top of the panel, which shows you the dimensions of the asset, and the pixel aspect ratio - e.g. 1920x1080 (1.00) as shown below:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gbHv2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gbHv2.jpg&quot; alt=&quot;grab2&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-12-08T08:53:05.097" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34717" PostTypeId="2" ParentId="34665" CreationDate="2021-12-08T10:26:18.373" Score="0" Body="&lt;p&gt;The idea of having a box with text is to use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg filter&lt;/a&gt; i.e&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf &amp;quot;drawtext=fontfile=Arial.ttf: text='%{frame_num}': start_number=1: x=(w-tw)/2: y=h-(2*lh): fontcolor=black: fontsize=20: box=1: boxcolor=white: boxborderw=5&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#drawtext-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;drawtext&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;fontfile&lt;/strong&gt;: The font file to be used for drawing text. The path must be included. This parameter is mandatory if the fontconfig support is disabled.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;text&lt;/strong&gt;: The text string to be drawn. The text must be a sequence of UTF-8 encoded characters. This parameter is mandatory if no file is specified with the parameter textfile.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;x,y&lt;/strong&gt;: The expressions which specify the offsets where text will be drawn within the video frame. They are relative to the top/left border of the output image. The default value of x and y is &amp;quot;0&amp;quot;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;fontcolor&lt;/strong&gt;: The color to be used for drawing fonts. For the syntax of this option, check the (ffmpeg-utils)&amp;quot;Color&amp;quot; section in the ffmpeg-utils manual. The default value of fontcolor is &amp;quot;black&amp;quot;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;fontsize&lt;/strong&gt;: The font size to be used for drawing text. The default value of fontsize is 16.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;box&lt;/strong&gt;: Used to draw a box around text using the background color. The value must be either 1 (enable) or 0 (disable). The default value of box is 0.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;boxcolor&lt;/strong&gt;: The color to be used for drawing box around text. For the syntax of this option, check the (ffmpeg-utils)&amp;quot;Color&amp;quot; section in the ffmpeg-utils manual. The default value of boxcolor is &amp;quot;white&amp;quot;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;boxborderw&lt;/strong&gt;: Set the width of the border to be drawn around the text using bordercolor. The default value of borderw is 0&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2021-12-08T10:26:18.373" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34718" PostTypeId="2" ParentId="25274" CreationDate="2021-12-08T12:50:16.533" Score="1" Body="&lt;p&gt;On my machine, &lt;em&gt;speed=0.953x&lt;/em&gt; while using the &lt;strong&gt;default&lt;/strong&gt; setting&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;c:\ffmpeg\ffmpeg -y -i out_music.opus -loop 1 -i temp.png -shortest -threads 4 -speed max -c:a copy  myFile.webm&#xA;&#xA;frame=  184 fps= 24 q=0.0 Lsize=     843kB time=00:00:07.32 bitrate= 943.8kbits/s speed=0.953x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;em&gt;speed=1.73x&lt;/em&gt; while using the &lt;strong&gt;realtime&lt;/strong&gt; setting&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;c:\ffmpeg\ffmpeg -y -i out_music.opus -loop 1 -i temp.png -shortest -threads 4 -speed max -c:a copy -deadline realtime myFile.webm&#xA;&#xA;frame=  491 fps= 43 q=0.0 Lsize=    1809kB time=00:00:19.60 bitrate= 755.9kbits/s speed=1.73x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Since the input is a png file, frame per second could be lower; &lt;em&gt;speed=5.84x&lt;/em&gt; while using the &lt;strong&gt;fps=5&lt;/strong&gt; setting&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;c:\ffmpeg\ffmpeg -y -i out_music.opus -loop 1 -i temp.png -shortest -threads 4 -speed max -c:a copy -deadline realtime -vf fps=5 myFile.webm&#xA;&#xA;frame=  218 fps= 29 q=0.0 Lsize=    1316kB time=00:00:43.40 bitrate= 248.3kbits/s speed=5.84x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Reference:&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/VP9&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/VP9&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="31818" LastEditorUserId="31818" LastEditDate="2021-12-08T13:10:01.037" LastActivityDate="2021-12-08T13:10:01.037" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34720" PostTypeId="2" ParentId="30064" CreationDate="2021-12-08T23:16:50.580" Score="1" Body="&lt;p&gt;You need to make sure that your graphics card model is listed within the file &lt;strong&gt;&amp;quot;cuda_supported_cards.txt&amp;quot;&lt;/strong&gt; which can be found in the &amp;quot;Common&amp;quot; folder of where you've installed Premier Pro. &lt;strong&gt;C:\Adobe\Premiere Pro\Common&lt;/strong&gt; for example.&lt;/p&gt;&#xA;&lt;p&gt;If you don't see GTX 1060 you will want to add it, without NVIDIA in the name, just GTX 1060.&lt;/p&gt;&#xA;&lt;p&gt;Depending on what version of PPro you are using, the 1060 may have been released after that version, so it wont be on that TXT file list. You'll need to add it to the list like I said above and just save the file.&lt;/p&gt;&#xA;&lt;p&gt;Also, keep in mind that Premiere will only use the Mercury Playback Engine and utilize your CUDA cores if what you are trying to do, either encoding wise, or effects wise, is supported by CUDA.&lt;/p&gt;&#xA;&lt;p&gt;Some effects within Premiere, are CPU only, and won't take advantage of your 1060, so there's no way to get around that. It will use your CPU instead and just run off your integrated Intel GPU.&lt;/p&gt;&#xA;&lt;p&gt;There should be no need to disable your integrated GPU.&lt;/p&gt;&#xA;&lt;p&gt;However if you do want to disable your integrated GPU, you should do that from within the BIOS settings when you boot. There should be an option inside your BIOS on which GPU to use and you can toggle the Intel Onboard GPU on/off.&lt;/p&gt;&#xA;&lt;p&gt;Make sure you have hardware acceleration enabled in the OS if you're using windows. Press the windows key, type &amp;quot;graphics&amp;quot;, hit enter and flip the switch to enable global hardware acceleration.&lt;/p&gt;&#xA;" OwnerUserId="14504" LastEditorUserId="674" LastEditDate="2023-01-03T10:21:56.580" LastActivityDate="2023-01-03T10:21:56.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34722" PostTypeId="2" ParentId="32912" CreationDate="2021-12-10T05:54:12.617" Score="0" Body="&lt;p&gt;(Oh my god watching that clip even for less than a minute has made me dumber, i can feel it)&lt;/p&gt;&#xA;&lt;p&gt;I believe that this is not an issue with the codec, but rather with the server not sending the data in full. This is not a problem and normally works as intended, your browser will ask for more parts as the video is playing. For whatever reason there is a slowdown getting some chunks.&lt;/p&gt;&#xA;&lt;p&gt;This maybe due to the internal caching of the server. Let's say that most people wisely stop watching this video after a few seconds, then he server caches the beginning of the video, but does not cache the later parts, which need to be loaded from some slower storage. For me the video stopped playing when i let it run from 3 minute mark and it stopped at 3:10, but then after i have a couple of times rewound it back, it played through that portion with no problem.&lt;/p&gt;&#xA;&lt;p&gt;As the user of the site, it is unlikely that you will be able to do anything about this.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2021-12-10T05:54:12.617" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34723" PostTypeId="1" AcceptedAnswerId="35978" CreationDate="2021-12-10T06:04:07.547" Score="0" ViewCount="4028" Body="&lt;p&gt;i have a mkv file and its resolution is 1280x720. when i calculated the crop using Handbrake, it shows that i need to crop &lt;strong&gt;40 from top&lt;/strong&gt; and &lt;strong&gt;30 from bottom&lt;/strong&gt;.&#xA;So far i know how to crop equal amount from top and bottom, but i cannot understand how to specify that the crop values for top and bottom are different&lt;/p&gt;&#xA;&lt;p&gt;so far i tried &lt;code&gt;crop=in_w:in_h-80&lt;/code&gt; which cuts 40 from top and 40 from bottom, but i want to cut only 30 from bottom&lt;/p&gt;&#xA;&lt;p&gt;thank you&lt;/p&gt;&#xA;" OwnerUserId="37004" LastActivityDate="2023-08-28T21:19:36.863" Title="ffmpeg - how do i crop different values from top and bottom" Tags="|ffmpeg|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34724" PostTypeId="1" AcceptedAnswerId="34769" CreationDate="2021-12-10T07:32:32.427" Score="2" ViewCount="2847" Body="&lt;p&gt;If i create a timeline in davinci resolve and drag some clips from bin on this timeline, then where is the list of clips used on this timeline ? the bin contains massive clips i don't want to sort it out one by one. I just want to see only used clips as a list.&lt;/p&gt;&#xA;&lt;p&gt;In Nuke studio, every timeline has its own clip list. But i can't find it in resolve.&lt;/p&gt;&#xA;" OwnerUserId="36728" LastActivityDate="2022-01-19T20:00:35.067" Title="How to see the list of all used clips in a timeline?" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34726" PostTypeId="2" ParentId="34723" CreationDate="2021-12-10T11:23:22.770" Score="0" Body="&lt;p&gt;Based on &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#toc-crop&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#toc-crop&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;should it be &lt;code&gt;crop=in_w:in_h-70:0:40&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2021-12-10T11:23:22.770" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34728" PostTypeId="2" ParentId="33277" CreationDate="2021-12-10T16:21:17.913" Score="1" Body="&lt;p&gt;It is very difficult to say, because quality is quite bad. It is pretty obvious that it was an interlased video that was then converted to be progressive. That is why you have many ghostly images appearing during the fast motion of the object.&lt;/p&gt;&#xA;&lt;p&gt;I do not know if this is 'fake' or 'true'. The only strange thing which i have managed to spot came at the frames 315-318 of the video.&lt;a href=&quot;https://i.stack.imgur.com/PFr70.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PFr70.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I was looking at the reflections, because they are often difficult to fake correctly. At at this moment we see the reflection coming from the part of the train with no window. In other frames during the metal part the reflection would disappear, but here it is visible, and is a little too perfect to be expected.&lt;/p&gt;&#xA;&lt;p&gt;Now, it is possible that we are seeing the ghost of the previous/next frame due to deinterlasing, but then why does this reflection appear on several frames?&lt;/p&gt;&#xA;&lt;p&gt;This is not something conclusive, but it did raise 32% of one of my eye brows.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2021-12-10T16:21:17.913" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34729" PostTypeId="1" CreationDate="2021-12-10T18:39:52.327" Score="0" ViewCount="1158" Body="&lt;p&gt;In Resolve, my audio is mixed exactly how I want it. However, when I render the video out and play it back on other devices, certain pieces of audio are bizarrely off in terms of volume.&lt;/p&gt;&#xA;&lt;p&gt;Example image:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/X0u2h.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/X0u2h.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Both faders in this image are the Main, final decibel level for the entire project. In example A, you can see it peaking about -2 to -5dBFS. In example B, it is somewhere around -12dBFS. HOWEVER, after rendering the video and listening back, the -12dBFS is audibly much louder than the -5dBFS. How can this be? I thought the decibel levels were pretty cut and dry. How can something be so off?&lt;/p&gt;&#xA;&lt;p&gt;Thanks for your help.&lt;/p&gt;&#xA;&lt;p&gt;P.S. Both pieces of audio come from the same source, only altered for volume.&lt;/p&gt;&#xA;" OwnerUserId="37008" LastActivityDate="2021-12-10T18:39:52.327" Title="Volume Problems After Render (DaVinci Resolve)" Tags="|audio|davinci-resolve|volume|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="34730" PostTypeId="2" ParentId="33458" CreationDate="2021-12-11T03:57:49.700" Score="1" Body="&lt;p&gt;I do not think it would be practical to expect FFMpeg to do something like this. However, we can note, that there is no way to actually finish this task in less than 4 minutes anyhow, so the slight overhead needed to encode the video after grabbing all the images is minor.&lt;/p&gt;&#xA;&lt;p&gt;Therefore, i would approach it in two steps:&lt;/p&gt;&#xA;&lt;p&gt;First, grab all the frames:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for i in {01..60}; do cp input.jpg $i.jpeg; sleep 4; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And only then do we encode:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 1 -i %02d.jpeg [other encoding options you may need] [output]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Once you are satisfied, simply remove the temporary files.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2021-12-11T03:57:49.700" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34731" PostTypeId="2" ParentId="33531" CreationDate="2021-12-11T06:13:14.017" Score="0" Body="&lt;p&gt;There is a reason why monotone background are used, they allow one to determine where the object is, and where is the background. As far as i know no took exists, which can always determine what is the background, and what is the object that is actually being filmed.&lt;/p&gt;&#xA;&lt;p&gt;If the background is really static (not moving in the frame, rather than simply always being behind the person), then you could attempt to extract frames and determine the pixels that keep their value above some arbitrary percentage of frames. You then can create a mask based on if the pixels of the specific frame are the same as the value of the 'stable pixels', and blur in that mask.&lt;/p&gt;&#xA;&lt;p&gt;The the background is moving in the frame due to camera movement or changes in some manner, this becomes very difficult, and i may even guess impossible in some situations. Also even if it will work, it will need to be double checked to see that you won't get false positives. You will definitely get false negatives near the person's head.&lt;/p&gt;&#xA;&lt;p&gt;In the even you have resources for development and really need it to be done, you could go neural network route. Be prepared to provide neural net lots and lots of training data. For that you would need to film akin to the videos that you will be processing, but doing that in front of the green screen. This will allow you to determine where the head truly is in each frame, because once you put in the background it will be the job of the neural net to figure out where the head is, and your job to tell it whether it is correct or not during the training, and to be able to do that in testing to see how well it has learnt to identify the human head.&lt;/p&gt;&#xA;&lt;p&gt;Good luck.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2021-12-11T06:13:14.017" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34732" PostTypeId="2" ParentId="33502" CreationDate="2021-12-11T06:29:41.893" Score="0" Body="&lt;p&gt;Although &lt;a href=&quot;https://video.stackexchange.com/users/34287/farahats9&quot;&gt;Farahats9&lt;/a&gt; has said that their command worked, i have tried it out, and i believe that it is not doing what they think it should be doing. Namely it reencodes the data, when that was not what was needed. In addition to this, perhaps there was an error in copying the command, but they are mapping two video tracks with no audio tracks in sight.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 01.mkv -i 02.mkv -map_metadata 0 -map 1:v -map 0:a -c copy output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What this command does is it reads 01.mkv and 02.mkv, then it copies the video from 02.mkv (&lt;code&gt;-map 1:v&lt;/code&gt;) and all audio tracks from 01.mkv (&lt;code&gt;-map 0:a&lt;/code&gt;). If there are subtitle tracks that need to be copied, one would need to add &lt;code&gt;-map 0:s&lt;/code&gt;, unfortunately ffmpeg will fail if there are no subtitle tags and you will try to copy them.&lt;/p&gt;&#xA;&lt;p&gt;Also note &lt;code&gt;-c copy&lt;/code&gt;, this instruct &lt;code&gt;ffmpeg&lt;/code&gt; to copy without reencoding, which is definitely what is needed in this case.&lt;/p&gt;&#xA;" OwnerUserId="4943" LastActivityDate="2021-12-11T06:29:41.893" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34734" PostTypeId="1" AcceptedAnswerId="34742" CreationDate="2021-12-11T22:19:28.797" Score="2" ViewCount="27" Body="&lt;p&gt;What is the name of these picture in picture squares that come up on studio mid shots?&lt;/p&gt;&#xA;&lt;p&gt;I've seem them used on YT as well for similar news-style channels.&lt;/p&gt;&#xA;&lt;p&gt;There's an industry term and I can't remember what it is...&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xIxeZ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xIxeZ.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37014" LastActivityDate="2021-12-13T17:05:16.990" Title="What are the small windows called in news-style mid shots?" Tags="|editing|visual-effects|studio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34735" PostTypeId="2" ParentId="33376" CreationDate="2021-12-12T03:02:34.290" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://docs.fileformat.com/video/mts/&quot; rel=&quot;nofollow noreferrer&quot;&gt;mts&lt;/a&gt; and &lt;a href=&quot;https://docs.fileformat.com/video/mp4/&quot; rel=&quot;nofollow noreferrer&quot;&gt;mp4&lt;/a&gt;, in this case, are file containers. In each mts video/audio frame has a presentation timestamp or PTS embedded in a packetized elementary stream or PES whereas mp4 video/audio frames don't. Each frame, in mp4, is a raw video/audio content depends on the encoding configuration, and it does not have a timestamp; the timestamp is the frame number/count divides by the frame per second.&lt;/p&gt;&#xA;&lt;p&gt;I am not sure where does the statement or question&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;for editing .mts files in a video editor&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;come from, but if I evaluate video contents against audio contents, I need to extract timestamps for those target video and audio contents. If the file contatiner is mp4, it would be pain in the neck since I need to know the frame number of the target contents and estimate the timestamps of them.&lt;/p&gt;&#xA;&lt;p&gt;But it's just the challenges of handling/validating stream content from scratch; talking of video editing, even Kdenlive and Openshot can handle a mp4 file well. I think the statment was about the early version of video editor, not for today.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2021-12-12T03:02:34.290" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="34736" PostTypeId="2" ParentId="28131" CreationDate="2021-12-12T05:05:12.233" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#overlay-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg overlay&lt;/a&gt; tells&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;x, y&lt;/strong&gt;: Set the expression for the x and y coordinates of the overlaid&#xA;video on the main video. Default value is &amp;quot;0&amp;quot; for both expressions. In&#xA;case the expression is invalid, it is set to a huge value (meaning&#xA;that the overlay will not be displayed within the output visible&#xA;area).&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;t&lt;/strong&gt;: The timestamp, expressed in seconds. It’s NAN if the input timestamp is unknown.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Scrolling means to update the x or y coordinate constantly, and the update formula should have the time variable.&lt;/p&gt;&#xA;&lt;p&gt;There is an example from the page&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Make a sliding overlay appearing from the left to the right top part of the screen starting since time 2&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;and the formula is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;overlay=x='if(gte(t,2), -w+(t-2)*20, NAN)':y=0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and the command would be&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i logo_video.ts -i logo_image.png -filter_complex &amp;quot;[0]overlay=x='if(gte(t,2), -w+(t-2)*20, NAN)':y=0[out]&amp;quot; -map [out] -map 0:a? slide.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2021-12-12T05:05:12.233" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34738" PostTypeId="2" ParentId="19784" CreationDate="2021-12-12T18:48:03.497" Score="2" Body="&lt;p&gt;Joakin, what you have suggested in your Update 2 is remuxing. Alternatively to what you have suggested &lt;a href=&quot;https://superuser.com/a/1572216/1106742&quot;&gt;atom manual editing&lt;/a&gt; can be utilized.&lt;/p&gt;&#xA;&lt;p&gt;Manual editing is&lt;/p&gt;&#xA;&lt;p&gt;(a) much faster - just the metadata is modified&lt;/p&gt;&#xA;&lt;p&gt;(b) can be applied both ways - to scale up and to scale down. I have persinally succeeded in decreasing length by remuxing, but i failed in increasing it.&lt;/p&gt;&#xA;" OwnerUserId="37019" LastActivityDate="2021-12-12T18:48:03.497" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34739" PostTypeId="1" CreationDate="2021-12-13T07:30:12.773" Score="0" ViewCount="260" Body="&lt;p&gt;I have two command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf crop='1280:720:0:0' -acodec copy croped.mp4&#xA;ffmpeg -loop 1 -i 1.jpg -i  croped.mp4 -filter_complex 'overlay=(W-w)/2:(H-h)/2:shortest=1,format=yuv420p' -c:a copy result.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Can these be combined into a single command? If so, how?&lt;/p&gt;&#xA;" OwnerUserId="37025" LastEditorUserId="14523" LastEditDate="2021-12-13T16:42:16.087" LastActivityDate="2022-05-12T17:07:05.700" Title="Can I crop and overlay at same time when useing ffmpeg?" Tags="|ffmpeg|filter|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34740" PostTypeId="2" ParentId="34739" CreationDate="2021-12-13T13:06:10.347" Score="1" Body="&lt;p&gt;I think you meant guys. Anyway, &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#Filtering-Introduction&quot; rel=&quot;nofollow noreferrer&quot;&gt;filtergraph&lt;/a&gt; uses label to handle one filter after another. In your case, you may try&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i vide.ts -i logo.png  -filter_complex &amp;quot;[0:v]crop=1280:720:0:0[crop]; [crop]overlay=(W-w)/2:(H-h)/2[out]&amp;quot; -map [out] -map 0:a crop_overlay.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2021-12-13T13:06:10.347" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34742" PostTypeId="2" ParentId="34734" CreationDate="2021-12-13T17:05:16.990" Score="0" Body="&lt;p&gt;It is an &amp;quot;&lt;a href=&quot;https://www.newscaststudio.com/tv-news-graphics-package/&quot; rel=&quot;nofollow noreferrer&quot;&gt;over the shoulder&lt;/a&gt;&amp;quot; graphic. One possible creator of the form was &lt;a href=&quot;https://www.nytimes.com/2009/02/18/arts/television/18blank.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Ben Blank&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2021-12-13T17:05:16.990" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34743" PostTypeId="1" CreationDate="2021-12-13T19:59:39.050" Score="0" ViewCount="453" Body="&lt;p&gt;This is my first time posting on this forum, so don't be too rough on me, haha.&lt;/p&gt;&#xA;&lt;p&gt;I have recently started taking up FFmpeg as a side project for my media class, and I am facing some problems when it comes to changing up some aspects of gamma/contrast.&lt;/p&gt;&#xA;&lt;p&gt;Whenever I use a command like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mp4 -lavfi colorcontrast=gm=-1:gmw=1 -y -c:a copy output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;the problem I have is of playing the specific output video (the video is only available when it is played by QuickTime Player, yet when I try to open it on other video players or video editing programs a message appears that the video is unavailable).&lt;/p&gt;&#xA;&lt;p&gt;I have already been using other FFmpeg commands for cropping, removing audio track etc., however this is my first time trying and/or having a problem of this kind for more complex changes of video track.&lt;/p&gt;&#xA;&lt;p&gt;Thank you and have a great day!&lt;/p&gt;&#xA;" OwnerUserId="37029" LastEditorUserId="18155" LastEditDate="2021-12-15T02:52:32.097" LastActivityDate="2024-01-04T07:09:11.143" Title="Changing up gamma with -lavfi and ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34744" PostTypeId="1" CreationDate="2021-12-13T20:30:14.720" Score="2" ViewCount="100" Body="&lt;p&gt;Is there a way to receive a notification by mobile phone when an export completes in Premiere 2022, like there is now in After Effects 2022? (After Effects links to the iOS  Creative Cloud app, and sends a notification).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cIs5B.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cIs5B.png&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-12-13T20:30:14.720" Title="Notify when export completes in Premiere - like After Effects" Tags="|premiere|adobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34745" PostTypeId="2" ParentId="34743" CreationDate="2021-12-14T01:51:58.670" Score="0" Body="&lt;p&gt;The following video codec settings should be the most common for all devices&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-c:v libx264 -profile:v baseline -level 3.0 -pix_fmt yuv420p&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;H.264 baseline profile and level 3.0 settings require less resources.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2021-12-14T01:51:58.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34747" PostTypeId="1" CreationDate="2021-12-14T11:37:43.517" Score="1" ViewCount="129" Body="&lt;p&gt;I created a screen recorder for iOS using FFmpeg. I concat the images into a video which is fine and the quality doesn't change much from the screenshots but when I use setpts to match the video to the audio, the quality drops a fair bit. How can I avoid this?&lt;/p&gt;&#xA;&lt;p&gt;The command for concatenating the images&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; &amp;quot;-f concat -i \(textFile) -c copy -b:v 20M -pattern_type sequence -r 25 concatVideo.mov&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The command to match video to audio length.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; &amp;quot;-i concatVideo.mov -vf setpts=\(audioDuration/videoDuration)*PTS -b:v 20M  -q:v 1 -qmin 1 -qmax 1 videoWithAdjustedLength.mov&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The command to combine the video with adjusted length and the audio file&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; &amp;quot;-i videoWithAdjustedLength.mov -i audioInput.m4a -c:v copy -c:a aac -shortest finalOutput.mov&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I am using &lt;strong&gt;Mobile FFmpeg&lt;/strong&gt; Cocoapod so I can use FFmpeg in XCode.&lt;/p&gt;&#xA;&lt;p&gt;Thanks for your help&lt;/p&gt;&#xA;" OwnerUserId="37036" LastActivityDate="2021-12-17T09:44:09.143" Title="FFmpeg - Loss of video quality when using vf setpts" Tags="|ffmpeg|video-quality|filter|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34748" PostTypeId="1" AcceptedAnswerId="34752" CreationDate="2021-12-14T13:06:59.737" Score="0" ViewCount="338" Body="&lt;p&gt;I'm aware there's a few different VR cameras out there that do different projection types (fisheye, parallax, etc).&lt;/p&gt;&#xA;&lt;p&gt;I have a video that I want to convert from its warped VR projection to regular left/right stereo. Is this possible? I did a quick google search and there seems to be software for this but I'm not sure it does what I want.&lt;/p&gt;&#xA;" OwnerUserId="37037" LastActivityDate="2021-12-15T04:30:37.657" Title="Convert Warped VR Video to Stereo" Tags="|software-recommendation|vr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34750" PostTypeId="2" ParentId="34709" CreationDate="2021-12-14T23:32:46.223" Score="0" Body="&lt;p&gt;Usually, the text gets created inside of “canvas” with the dimensions of the timeline.  So, if you have a 720p timeline, and scale up the text enough, it’ll get cropped when it runs out of room on the sides.  So be sure you’re scaling up the canvas, not the text.  Btw I put “canvas” in “scare quotes” because it’s not the terminology Resolve uses. A compound clip or fusion clip are two container types you might actually be using.  Also, I say “usually” because I think there may be exceptions, such as the legacy title tool, but I’m not near a machine to check.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-12-14T23:32:46.223" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34752" PostTypeId="2" ParentId="34748" CreationDate="2021-12-15T04:30:37.657" Score="3" Body="&lt;p&gt;If the original “VR video” is not stereoscopic (i.e., monoscopic panorama) and/or does not contain any depth data, then to create stereoscopic video, the second camera angle must be synthesized from the first.  The success of this project depends on the current state of the art machine learning models for view synthesis, and isn’t a simple matter of converting one format to another.&lt;/p&gt;&#xA;&lt;p&gt;But if the original content does contain left/right pairs, then, yes, changing the projection is relatively simple.  Andrew Hazledon has built a suite of tools for Blackmagic Fusion, called KartaVR, available through Reactor.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-12-15T04:30:37.657" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34755" PostTypeId="1" CreationDate="2021-12-16T19:01:44.723" Score="1" ViewCount="13" Body="&lt;p&gt;This is such an straight forward problem, but I just can't seem to figure it out. This is what I have:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/udYRW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/udYRW.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you can see I need to mask the part where the smoke is overlapping with the body to hide it.&lt;/p&gt;&#xA;&lt;p&gt;This is what I get from using pen tool, or shape tool to create the mask.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QZK0V.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QZK0V.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you can see the smoke is still overlapping the body, and I get these hard edges which doesn't follow the pen tool path at all.I also try to adjust the feathering setting under the mask, it only moves the bounding box outward, and doesn't smooth the edges at all.&lt;/p&gt;&#xA;&lt;p&gt;I am not that familiar with AE, so if someone can help me that would be great.&lt;/p&gt;&#xA;" OwnerUserId="33523" LastActivityDate="2021-12-17T10:35:24.773" Title="Trying to mask smoke from partical system but feathering doesn't work" Tags="|after-effects|editing|mask|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34759" PostTypeId="2" ParentId="34755" CreationDate="2021-12-17T10:35:24.773" Score="1" Body="&lt;p&gt;Pre-comp the smoke layer first, then apply the mask in your main outer comp.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-12-17T10:35:24.773" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34762" PostTypeId="1" CreationDate="2021-12-18T22:03:54.570" Score="0" ViewCount="76" Body="&lt;p&gt;I have 1440x1080 AVC/h.264 video that should be displayed with a 4:3 aspect ratio (which would correspond to square pixels).  I'd like to burn it to a Blu-ray disc to be playable in Blu-ray players, but my understanding is that &lt;a href=&quot;https://www.videohelp.com/hd&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blu-ray specifies that 1440x1080 video should be treated as 16:9&lt;/a&gt; (which makes no sense to me, but I digress).&lt;/p&gt;&#xA;&lt;p&gt;Are there any software tools (whether for Windows, Linux, or macOS) that can pillarbox AVC/h.264 video &lt;strong&gt;without lossily re-encoding the existing content&lt;/strong&gt;?  That is, it seems conceivable that 15 columns of 16x16 macroblocks could be added to each of the left and right sides to make it 1920x1080 without going through a lossy decode/encode cycle.&lt;/p&gt;&#xA;" OwnerUserId="36356" LastEditorUserId="36356" LastEditDate="2022-01-04T20:58:33.147" LastActivityDate="2022-01-04T20:58:33.147" Title="Pillarboxing AVC/h.264 video with minimal re-encoding?" Tags="|encoding|software-recommendation|h.264|aspect|bluray|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34765" PostTypeId="1" CreationDate="2021-12-19T16:34:18.123" Score="0" ViewCount="2441" Body="&lt;p&gt;I'm working on a fairly simple After Effects project where I can enable motion blur for most layers, but I can't turn it on for two pre-comps and I'm not sure why. The pre-comps contain only a few shape layers and the only effects applied are some fills. Why can't I enable motion blur?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xTT58.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xTT58.png&quot; alt=&quot;Two of my pre-comps have dashes where the motion blur icon usually goes, and I cannot click them to enable motion blur&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RkD5G.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RkD5G.jpg&quot; alt=&quot;Both of the pre-comps in question just have 3 simple shape layers in them. This is a view of the pre-comp&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37076" LastActivityDate="2024-01-09T16:00:55.110" Title="Why can't I enable motion blur on certain pre-comps in After Effects?" Tags="|after-effects|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34768" PostTypeId="2" ParentId="34765" CreationDate="2021-12-20T10:49:22.690" Score="0" Body="&lt;p&gt;It's because you have the collapse transformations button selected on those comps - the little sun icon on each layer.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NA7QJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NA7QJ.png&quot; alt=&quot;sun icon&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This changes the order in which after effects renders video.  &lt;a href=&quot;https://www.schoolofmotion.com/blog/collapse-transformations-continuously-rasterize-after-effects&quot; rel=&quot;nofollow noreferrer&quot;&gt;There's a good explanation of it here&lt;/a&gt;, but it doesn't go into motion blur.&lt;/p&gt;&#xA;&lt;p&gt;Essentially, you either need to turn collapse transformations off, then apply motion blur to the one layer in your main comp, or go into your inner comp, and switch motion blur on for each layer inside it.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-12-20T10:49:22.690" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34769" PostTypeId="2" ParentId="34724" CreationDate="2021-12-20T19:43:11.983" Score="1" Body="&lt;p&gt;The edit index lists all of the clips used in a timeline. It also provides ways to sort and filter the list, so you could limit the list to all clips containing a particular marker, for example.  Also if the filtering and sorting you require isn’t available, the edit index can export plain text, so that you can process its contents however you like.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2021-12-20T19:43:11.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34775" PostTypeId="2" ParentId="19670" CreationDate="2021-12-22T16:20:36.690" Score="0" Body="&lt;p&gt;I found a way to edit this date &amp;amp; time title:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;edit a copy of the date &amp;amp; time title in the common way using motion&lt;/li&gt;&#xA;&lt;li&gt;rename the copied and edited *.moti file in the user template path to &amp;quot;Date:Time.moti&amp;quot;. It will be displayed in finder as &amp;quot;Date/Time.moti&amp;quot;&lt;/li&gt;&#xA;&lt;li&gt;rename (with admin rights) the &amp;quot;Date:Time.moti&amp;quot; (displayed as &amp;quot;Date/Time.moti) to &amp;quot;Date:Time.moti_save&amp;quot; in the original template path &amp;quot;/Applications/Final Cut Pro.app/Contents/PlugIns/MediaProviders/MotionEffect.fxp/Contents/Resources/Templates.localized/Titles.localized/Lower Thirds.localized/Date:Time.localized&amp;quot;. This is only for safety reasons to have a way back to the old configuration&lt;/li&gt;&#xA;&lt;li&gt;copy (with admin rights) the edited and renamed &amp;quot;Date:Time.moti&amp;quot; file from the user template path to the original path above&lt;/li&gt;&#xA;&lt;li&gt;now Final Cut Pro will use the edited &amp;quot;Date:Time.moti&amp;quot; file and everything should work as aspected&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="37096" LastActivityDate="2021-12-22T16:20:36.690" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34778" PostTypeId="2" ParentId="16558" CreationDate="2021-12-23T12:27:04.180" Score="0" Body="&lt;p&gt;if you upload in ac3 it gets converted to he-aac it wont play back from youtube in 5.1 but youtube-dl will give you back a 5.1 track&lt;/p&gt;&#xA;" OwnerUserId="37103" LastActivityDate="2021-12-23T12:27:04.180" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34780" PostTypeId="1" CreationDate="2021-12-24T03:01:31.277" Score="3" ViewCount="911" Body="&lt;p&gt;I am trying to play a DVD by copying the contents (a Video TS and a Jacket_P folder) to my computer. I copied the Video_TS and Jacket_P folders from a DVD to my computer. The Video_TS folder has the VOB, IFO and BUP files and the Jacket_P folder has 3 .MP2 files. I opened the Video TS folder in VLC but the video does not play. I have also tried using software like Winx DVD Ripper but I get an error message with error code 1 saying that it is unable to convert the files. Does anyone know how to fix this issue, either by converting the DVD to MP4 or playing it in VLC?&lt;/p&gt;&#xA;" OwnerUserId="37114" LastActivityDate="2023-07-01T03:07:00.783" Title="How to play Video TS folder in VLC or convert it to MP4" Tags="|video|mp4|conversion|vlc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34781" PostTypeId="1" AcceptedAnswerId="34795" CreationDate="2021-12-24T19:20:15.410" Score="1" ViewCount="1325" Body="&lt;p&gt;I try to learn about the basics of video encoding/decoding so I played around with ffmpeg a little to get my hands on it and not just read about the topic.&lt;/p&gt;&#xA;&lt;p&gt;Accodring to the ffmpeg documentation there are two options to configure the compression of a h265 encoded video file.&#xA;The first is the -crf option and the second is the -preset option.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/H.264&lt;/a&gt;&#xA;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.265&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/H.265&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The crf option does what I expect that it does, the lower the value, the better the quality, the brigger the file size. So far so good. But what I don't understand is the -preset option.&lt;/p&gt;&#xA;&lt;p&gt;The documentation says:&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;A preset is a collection of options that will provide a certain encoding speed to compression ratio. A slower preset will provide better compression (compression is quality per file size). This means that, for example, if you target a certain file size or constant bit rate, you will achieve better quality with a slower preset. Similarly, for constant quality encoding, you will simply save bitrate by choosing a slower preset. Use the slowest preset that you have patience for. The available presets in descending order of speed are:&lt;/em&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ultrafast&#xA;superfast&#xA;veryfast&#xA;faster&#xA;fast&#xA;medium – default preset&#xA;slow&#xA;slower&#xA;veryslow&#xA;placebo – ignore this as it is not useful (see FAQ) &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So I encoded my input file once with ultrafast and once with veryslow:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i Input.mkv -c:a aac -c:v libx265 -preset ultrafast -crf 15 output_crf-15_preset_ultrafast.mp4&#xA;&#xA;ffmpeg -i Input.mkv -c:a aac -c:v libx265 -preset veryslow -crf 15 output_crf-15_preset_veryslow.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The results are very confusing for me:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;33M Dez 24 16:43 Input.mkv&#xA;90M Dez 24 16:48 output_crf-15_preset_ultrafast.mp4&#xA;116M Dez 24 19:34 output_crf-15_preset_veryslow.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;first of all, the copressed videos have a bigger filesize then the input file?&#xA;Then the veryslow-version which should compress better has a bigger filesize then the ultrafast-version?&#xA;That does not make any sense to me.&lt;/p&gt;&#xA;&lt;p&gt;In addition I also did a lossless encoding&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i Input.mkv -c:a aac -c:v libx265 -x265-params lossless=1 output_crf-15_lossless.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And the resulting file is about 1.2GB in size? Why does that happen? Shouldn't it be as big as the original?&lt;/p&gt;&#xA;&lt;p&gt;The testfile and results:&#xA;&lt;a href=&quot;https://mega.nz/folder/Ok8UhCRB#DDblMnGgSoJ0LeE_DtVmGg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://mega.nz/folder/Ok8UhCRB#DDblMnGgSoJ0LeE_DtVmGg&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37122" LastActivityDate="2021-12-28T09:33:19.167" Title="ffmpeg - why does h265 compression increase the filesize?" Tags="|ffmpeg|h.265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34782" PostTypeId="1" AcceptedAnswerId="34794" CreationDate="2021-12-25T17:52:53.837" Score="1" ViewCount="310" Body="&lt;p&gt;I am doing some experiments on the file size of recorded videos in &lt;code&gt;HEVC&lt;/code&gt; vs the ones recorded in &lt;code&gt;H264&lt;/code&gt; using a simple Android app that I developed. My impression was that videos recorded in HEVC should generally have &lt;strong&gt;almost half size&lt;/strong&gt; (or at least much lower size) compared to ones recorded in H264 given they have same duration and almost same contents (I capture the same scene with phone's camera). But when I compare their metadata using &lt;code&gt;mediaInfo&lt;/code&gt;, it is not really like. I wonder why.&lt;/p&gt;&#xA;&lt;p&gt;What is going on here? Am I missing anything?! What should I do to prove this concept?&lt;/p&gt;&#xA;&lt;p&gt;Here is what I set:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    mMediaRecorder.setOutputFormat(MediaRecorder.OutputFormat.MPEG_4);&#xA;    mMediaRecorder.setAudioEncoder(MediaRecorder.AudioEncoder.AAC);&#xA;    //choose HEVC or H264&#xA;    mMediaRecorder.setVideoEncoder(MediaRecorder.VideoEncoder.H264);&#xA;    mMediaRecorder.setVideoEncodingBitRate(5000 * 1000);&#xA;    mMediaRecorder.setVideoFrameRate(30);&#xA;    mMediaRecorder.setVideoSize(1280, 720);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here is the mediaInfo for the &lt;code&gt;HEVC&lt;/code&gt; video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General &#xA;Complete name : VID_20211225_210352.mp4 &#xA;Format : MPEG-4 &#xA;Format profile : Base Media / Version 2 &#xA;Codec ID : mp42 (isom/mp42) &#xA;File size : 763 KiB &#xA;Duration : 1 s 447 ms &#xA;Overall bit rate : 4 322 kb/s &#xA;Encoded date : UTC 2021-12-25 17:33:56 &#xA;Tagged date : UTC 2021-12-25 17:33:56 &#xA;com.android.version : 11 &#xA;&#xA;Video &#xA;ID : 1 &#xA;Format : HEVC &#xA;Format/Info : High Efficiency Video Coding &#xA;Format profile : Main@L3.1@Main &#xA;Codec ID : hvc1 &#xA;Codec ID/Info : High Efficiency Video Coding &#xA;Duration : 1 s 447 ms &#xA;Source duration : 1 s 441 ms &#xA;Bit rate : 4 316 kb/s &#xA;Width : 1 280 pixels &#xA;Height : 720 pixels &#xA;Display aspect ratio : 16:9 &#xA;Frame rate mode : Variable &#xA;Frame rate : 29.837 FPS &#xA;Minimum frame rate : 23.112 FPS &#xA;Maximum frame rate : 30.050 FPS &#xA;Standard : PAL &#xA;Color space : YUV &#xA;Chroma subsampling : 4:2:0 &#xA;Bit depth : 8 bits &#xA;Bits/(Pixel*Frame) : 0.157 &#xA;Stream size : 759 KiB (99%) &#xA;Source stream size : 759 KiB (99%) &#xA;Title : VideoHandle &#xA;Language : English &#xA;Encoded date : UTC 2021-12-25 17:33:56 &#xA;Tagged date : UTC 2021-12-25 17:33:56 &#xA;Color range : Limited &#xA;Color primaries : BT.709 &#xA;Transfer characteristics : BT.709 &#xA;Matrix coefficients : BT.709 &#xA;mdhd_Duration : 1447 &#xA;Codec configuration box : hvcC &#xA;&#xA;Audio &#xA;ID : 2 &#xA;Format : AAC LC &#xA;Format/Info : Advanced Audio Codec Low Complexity &#xA;Codec ID : mp4a-40-2 &#xA;Duration : 1 s 408 ms &#xA;Bit rate mode : Constant &#xA;Bit rate : 13.1 kb/s &#xA;Nominal bit rate : 12.2 kb/s &#xA;Channel(s) : 1 channel &#xA;Channel layout : C &#xA;Sampling rate : 8 000 Hz &#xA;Frame rate : 7.812 FPS (1024 SPF) &#xA;Compression mode : Lossy &#xA;Stream size : 2.26 KiB (0%) &#xA;Title : SoundHandle &#xA;Language : English &#xA;Encoded date : UTC 2021-12-25 17:33:56 &#xA;Tagged date : UTC 2021-12-25 17:33:56 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And here is the mediaInfo for the H264 video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General &#xA;Complete name : VID_20211225_210425.mp4 &#xA;Format : MPEG-4 &#xA;Format profile : Base Media / Version 2 &#xA;Codec ID : mp42 (isom/mp42) &#xA;File size : 719 KiB &#xA;Duration : 1 s 409 ms &#xA;Overall bit rate : 4 178 kb/s &#xA;Encoded date : UTC 2021-12-25 17:34:28 &#xA;Tagged date : UTC 2021-12-25 17:34:28 &#xA;com.android.version : 11 &#xA;&#xA;Video &#xA;ID : 1 &#xA;Format : AVC &#xA;Format/Info : Advanced Video Codec &#xA;Format profile : High@L3.1 &#xA;Format settings : CABAC / 1 Ref Frames &#xA;Format settings, CABAC : Yes &#xA;Format settings, Reference frames : 1 frame &#xA;Codec ID : avc1 &#xA;Codec ID/Info : Advanced Video Coding &#xA;Duration : 1 s 408 ms &#xA;Bit rate : 4 157 kb/s &#xA;Width : 1 280 pixels &#xA;Height : 720 pixels &#xA;Display aspect ratio : 16:9 &#xA;Frame rate mode : Variable &#xA;Frame rate : 29.832 FPS &#xA;Minimum frame rate : 23.107 FPS &#xA;Maximum frame rate : 30.050 FPS &#xA;Standard : PAL &#xA;Color space : YUV &#xA;Chroma subsampling : 4:2:0 &#xA;Bit depth : 8 bits &#xA;Scan type : Progressive &#xA;Bits/(Pixel*Frame) : 0.151 &#xA;Stream size : 714 KiB (99%) &#xA;Title : VideoHandle &#xA;Language : English &#xA;Encoded date : UTC 2021-12-25 17:34:28 &#xA;Tagged date : UTC 2021-12-25 17:34:28 &#xA;Color range : Limited &#xA;Color primaries : BT.709 &#xA;Transfer characteristics : BT.709 &#xA;Matrix coefficients : BT.709 &#xA;mdhd_Duration : 1408 &#xA;Codec configuration box : avcC &#xA;&#xA;Audio &#xA;ID : 2 &#xA;Format : AAC LC &#xA;Format/Info : Advanced Audio Codec Low Complexity &#xA;Codec ID : mp4a-40-2 &#xA;Duration : 1 s 409 ms &#xA;Source duration : 1 s 408 ms &#xA;Bit rate mode : Constant &#xA;Bit rate : 13.4 kb/s &#xA;Nominal bit rate : 12.2 kb/s &#xA;Channel(s) : 1 channel &#xA;Channel layout : C &#xA;Sampling rate : 8 000 Hz &#xA;Frame rate : 7.812 FPS (1024 SPF) &#xA;Compression mode : Lossy &#xA;Stream size : 2.31 KiB (0%) &#xA;Source stream size : 2.31 KiB (0%) &#xA;Title : SoundHandle &#xA;Language : English &#xA;Encoded date : UTC 2021-12-25 17:34:28 &#xA;Tagged date : UTC 2021-12-25 17:34:28 &#xA;mdhd_Duration : 1409 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2021-12-28T08:54:24.247" Title="HEVC vs H264 video file size" Tags="|encoding|codec|h.264|h265|hevc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34784" PostTypeId="1" AcceptedAnswerId="34813" CreationDate="2021-12-25T23:39:23.797" Score="0" ViewCount="19" Body="&lt;p&gt;I need to smoothly zoom &amp;quot;through&amp;quot; a person's eye to another scene behind it. The closest I've come is a linear function zoom in Kdenlive that appears to slow to a crawl the closer you get. I'm guessing I need an exponential function to give the appearance of a constant speed. Ideally you could define or edit a curve controlling the speed at any point. I'd consider getting Premiere Elements if it can do this, but I'd prefer something free.&lt;/p&gt;&#xA;" OwnerUserId="37132" LastActivityDate="2022-01-02T18:18:20.007" Title="Free software to zoom in/out using curve functions" Tags="|software-recommendation|effects|kdenlive|scale|zoom|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34785" PostTypeId="1" CreationDate="2021-12-26T05:12:18.553" Score="2" ViewCount="170" Body="&lt;p&gt;The Camera feature in AE has 2 properties: .  What is the difference between then?&lt;/p&gt;&#xA;&lt;p&gt;I believe the Zoom Distance, is the place where the camera is actually looking at (which is why it makes sense that when you change the Zoom Distance, the focal length also changes). But the focus distance? What is this? Also ignore the values I have set for these fields - I am just testing and trying to understand them that's all.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/c0mk5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/c0mk5.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33182" LastActivityDate="2022-01-27T16:01:20.107" Title="Zoom Distance vs Focal Distance in AE Camera - what is the difference?" Tags="|after-effects|camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34787" PostTypeId="1" CreationDate="2021-12-26T09:33:19.047" Score="0" ViewCount="339" Body="&lt;p&gt;Members. I'm facing a few issues while trying to edit 4K gameplay footage from my PS5. PS5 has two options to capture gameplay:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;1080P (.mp4)&lt;/li&gt;&#xA;&lt;li&gt;4K (.webm)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;First, the captured 4K footage extension is .webm, and neither Premier Pro nor DaVinci Resolve natively support the mentioned extension. Even after using a third party plugin called WebM at &lt;a href=&quot;https://www.fnordware.com/WebM/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.fnordware.com/WebM/&lt;/a&gt; for Premier Pro to support the .webm file,  the preview is laggy, and the colour Contrast and Brightness are messed up (Footage looks whitish). Is there a way to edit captured gameplay in Premier Pro without losing video quality?&lt;/p&gt;&#xA;&lt;p&gt;I have read about using &lt;strong&gt;FFMPEG&lt;/strong&gt; to convert .webm to .mp4 without losing quality (or minimal quality loss). I didn't try converting as I was confused with the parameters. I'm a beginner, and I don't know how to get going with editing in this case. All your guidance and support is highly appreciated.&lt;/p&gt;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="37136" LastActivityDate="2021-12-26T09:33:19.047" Title="How to edit my Playstation 5 4K gameplay?" Tags="|video|editing|mp4|video-capture|premiere-pro|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34789" PostTypeId="1" CreationDate="2021-12-27T07:44:55.870" Score="0" ViewCount="912" Body="&lt;p&gt;I want to cut a video using ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;This is the command I used.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -ss 1:40 -t 0:40 -i &amp;quot;1.ts&amp;quot; -c copy 100sts.ts&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Duration of the result file is 1m 43s.&lt;/p&gt;&#xA;&lt;p&gt;I guessed there is no keyframe in that section, but I was wrong.&lt;/p&gt;&#xA;&lt;p&gt;Below is the list of the command I typed, and duration of them respectively.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 1:40 -t 0:30 -i &amp;quot;1.ts&amp;quot; -c copy 100sts_2.ts&#xA;ffmpeg -ss 1:40 -t 0:10 -i &amp;quot;1.ts&amp;quot; -c copy 100sts_3.ts&#xA;ffmpeg -ss 1:40 -to 2:20 -i &amp;quot;1.ts&amp;quot; -c copy 100sts_4.ts&#xA;ffmpeg -ss 1:40 -to 1:50 -i &amp;quot;1.ts&amp;quot; -c copy 100sts_5.ts&#xA;ffmpeg -ss 1:40 -to 1:41 -i &amp;quot;1.ts&amp;quot; -c copy 100sts_6.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre&gt;&lt;code&gt;1min 30s&#xA;1min 13s&#xA;1min 43s&#xA;1min 13s&#xA;1min 4s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I want to cut this video so that its duration would be around 30~40s.&lt;/p&gt;&#xA;&lt;p&gt;But ffmpeg is cutting it 1 min more than specified time.&#xA;What have i done wrong?&lt;/p&gt;&#xA;" OwnerUserId="27304" LastActivityDate="2024-02-04T00:02:20.250" Title="Cutting a video by specific time" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34790" PostTypeId="1" CreationDate="2021-12-27T12:51:59.617" Score="2" ViewCount="704" Body="&lt;p&gt;I'm trying to change the tbn of a mkv file.&lt;/p&gt;&#xA;&lt;p&gt;Here is the command I typed.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg -i a.mkv -video_track_timescale 90000 -c copy a_9ktbn.mkv&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;But timebase didn't change&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, matroska,webm, from 'a.mkv':&#xA;  Metadata:&#xA;    ENCODER         : Lavf58.29.100&#xA;  Duration: 00:00:41.64, start: 0.000000, bitrate: 4647 kb/s&#xA;    Stream #0:0: Video: h264 (High), yuv420p(tv, bt709, progressive), 1920x1080 [SAR 1:1 DAR 16:9], 60 fps, 60 tbr, 1k tbn, 120 tbc (default)&#xA;    Metadata:&#xA;      DURATION        : 00:00:41.640000000&#xA;    Stream #0:1: Audio: aac (LC), 48000 Hz, stereo, fltp (default)&#xA;    Metadata:&#xA;      DURATION        : 00:00:41.600000000&#xA;Output #0, matroska, to 'a_9ktbn.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf58.29.100&#xA;    Stream #0:0: Video: h264 (High) (H264 / 0x34363248), yuv420p(tv, bt709, progressive), 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 60 fps, 60 tbr, 1k tbn, 1k tbc (default)&#xA;    Metadata:&#xA;      DURATION        : 00:00:41.640000000&#xA;    Stream #0:1: Audio: aac (LC) ([255][0][0][0] / 0x00FF), 48000 Hz, stereo, fltp (default)&#xA;    Metadata:&#xA;      DURATION        : 00:00:41.600000000&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Below is the result of ffprobe&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, matroska,webm, from 'a_9ktbn.mkv':&#xA;  Metadata:&#xA;    ENCODER         : Lavf58.29.100&#xA;  Duration: 00:00:41.64, start: 0.000000, bitrate: 4647 kb/s&#xA;    Stream #0:0: Video: h264 (High), yuv420p(tv, bt709, progressive), 1920x1080 [SAR 1:1 DAR 16:9], 60 fps, 60 tbr, 1k tbn, 120 tbc (default)&#xA;    Metadata:&#xA;      DURATION        : 00:00:41.639000000&#xA;    Stream #0:1: Audio: aac (LC), 48000 Hz, stereo, fltp (default)&#xA;    Metadata:&#xA;      DURATION        : 00:00:41.600000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;tbn didn't change.&lt;/p&gt;&#xA;&lt;p&gt;Also I found it weird that log of the ffmpeg command says tbc of output file is 1k, Whereas ffprobe say it is 120.&lt;/p&gt;&#xA;&lt;p&gt;I tried same thing on a ts file, It didn't worked too.&lt;/p&gt;&#xA;&lt;p&gt;Is it impossible to change the tbn of a mkv(+ts) file?&lt;/p&gt;&#xA;" OwnerUserId="27304" LastActivityDate="2023-05-31T15:02:35.220" Title="changing timebase of mkv file" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34791" PostTypeId="2" ParentId="34789" CreationDate="2021-12-27T13:50:04.227" Score="0" Body="&lt;p&gt;Idk know why you are having this issue, but a basic thing to try in your code line it's switch the position of time parameters to input, like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.ts -c copy -ss 1:40 -t 0:40 40s_ts.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For FFmpeg really matter the order, so try do in this order, other thing which you can do it's &lt;a href=&quot;http://ffmpeg.org/ffmpeg-all.html#trim&quot; rel=&quot;nofollow noreferrer&quot;&gt;try trimming use the -vf filter&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.ts -c copy -vf &amp;quot;trim=50:150&amp;quot; 50s_ts.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In this case the defaults are all the input is kept. So it is possible to set just the end values to keep everything before the specified time. So you are telling to ffmpeg &amp;quot;give me the final 50 seconds from 150 seconds of the input&amp;quot; if this don't work, maybe you'll need write in a verbose way: &lt;code&gt;-vf &amp;quot;trim=start=100:duration=50&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="37144" LastEditorUserId="37144" LastEditDate="2022-05-14T18:57:06.657" LastActivityDate="2022-05-14T18:57:06.657" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="34792" PostTypeId="2" ParentId="34627" CreationDate="2021-12-27T17:04:42.800" Score="1" Body="&lt;p&gt;I was able to make it work with the individual audio and video generation by ensuring that audio is generated with ffmpeg's &lt;code&gt;discont_start&lt;/code&gt; flag set.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-hls_flags independent_segments+append_list+discont_start&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I noticed that when looking at the CC counters in the hls.js debug logs, these were not aligned. Video started with 1, audio witht 0.&lt;/p&gt;&#xA;&lt;p&gt;Looking at the playlists, for some reason, video began with &lt;code&gt;#EXT-X-DISCONTINUITY&lt;/code&gt;, so I had to put an extra one into the audio stream to have the continuity counters align (i.e., start with 1 for both streams).&lt;/p&gt;&#xA;" OwnerUserId="525" LastActivityDate="2021-12-27T17:04:42.800" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34793" PostTypeId="2" ParentId="16766" CreationDate="2021-12-27T20:21:46.210" Score="3" Body="&lt;p&gt;I don't have the reputation here to comment, but there's a refinement to CyanideBaby's iterative solution for longer projects. Inspired by the &lt;a href=&quot;https://www.geeksforgeeks.org/binary-search/&quot; rel=&quot;nofollow noreferrer&quot;&gt;binary search&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;For big projects, instead of doing it a minute at a time, select the first half of your project. Then remove all effects. See if you still get the message. If not, Undo (put effects back) and try the second half.&lt;/p&gt;&#xA;&lt;p&gt;Now you know which half has the clip with the missing plugin. Do the same - try the first half of that half (so a quarter of the project). If not, then the second half of that half. And so on.&lt;/p&gt;&#xA;&lt;p&gt;6 iterations of this will get you down to a 3 minute section on a 200 minute project.&lt;/p&gt;&#xA;&lt;p&gt;For me, Jim Hoyle's solution was the fastest. However, it took me a while to track down the clip as the sequence it was in was nested and no longer used in the main timeline.&lt;/p&gt;&#xA;" OwnerUserId="37147" LastActivityDate="2021-12-27T20:21:46.210" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34794" PostTypeId="2" ParentId="34782" CreationDate="2021-12-28T08:54:24.247" Score="1" Body="&lt;p&gt;You've specified the encoding bit rate to be &lt;code&gt;5000*1000&lt;/code&gt; kbs. So the constraint here is the file size, not the quality of the video (i.e., all of your videos will be approximately &lt;code&gt;5 kbs * duration&lt;/code&gt; in size, regardless of the choice of encoding).&lt;/p&gt;&#xA;&lt;p&gt;HEVC has the potential to have higher quality at a given bit rate, though it comes at a cost of encoding speed (i.e., better compression also takes more time; for certain levels of compute, the difference between x264 and HEVC might be de minimus).&lt;/p&gt;&#xA;&lt;p&gt;See also &lt;a href=&quot;https://superuser.com/a/1557090/294360&quot;&gt;this answer&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="35533" LastActivityDate="2021-12-28T08:54:24.247" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34795" PostTypeId="2" ParentId="34781" CreationDate="2021-12-28T09:33:19.167" Score="1" Body="&lt;p&gt;CRF is not a constant quality guarantee, more of an approximate bitrate specification. &lt;code&gt;veryslow&lt;/code&gt; outperforms &lt;code&gt;ultrafast&lt;/code&gt; in SSIM:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i output_crf-15_preset_ultrafast.mp4 -i Input.mkv -lavfi ssim=stats_file=ssim_logfile.txt -f null -&#xA;ffmpeg -i output_crf-15_preset_veryslow.mp4 -i Input.mkv -lavfi ssim=stats_file=ssim_logfile.txt -f null -&#xA;ffmpeg -i output_crf-15_lossless.mp4 -i Input.mkv -lavfi ssim=stats_file=ssim_logfile.txt -f null -&#xA;&#xA;ultrafast&#xA;SSIM Y:0.988442 (19.371360) U:0.990816 (20.369877) V:0.989430 (19.759408) All:0.989003 (19.587190)&#xA;&#xA;veryslow&#xA;SSIM Y:0.994984 (22.996610) U:0.995488 (23.456610) V:0.994814 (22.851297) All:0.995040 (23.045022)&#xA;&#xA;Lossless&#xA;SSIM Y:1.000000 (inf) U:1.000000 (inf) V:1.000000 (inf) All:1.000000 (inf)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The result from the lossless compression is also not surprising. Suppose I have data in the form of integer coordinates for 2D functions (e.g. &lt;code&gt;y=x&lt;/code&gt;). Suppose I have an encoding scheme that assumes horizontal lines, and therefore only records &lt;code&gt;(x,y)&lt;/code&gt; coordinates when &lt;code&gt;y&lt;/code&gt; is different from the previous coordinate. Under this scheme, to save a horizontal line &amp;quot;losslessly&amp;quot;, I only need 1 coordinate. For a series of coordinates that define a horizontal line with 1 outlier coordinate with a different &lt;code&gt;y&lt;/code&gt;, I need to save at most 3 coordinates to losslessly save the data. But to losslessly store the integer coordinates of the line &lt;code&gt;y=x&lt;/code&gt;, I need to save every coordinate in the entire domain. Under other encoding schemes, &lt;code&gt;y=x&lt;/code&gt; is trivial to encode losslessly.&lt;/p&gt;&#xA;&lt;p&gt;Or imagine you have some image that consists only of circles, and an encoding scheme that is based on squares. It might take 10,000 squares to losslessly encode a circle at some resolution, while 100 squares gets you 99% of the way there, and close enough no one can tell the difference.&lt;/p&gt;&#xA;&lt;p&gt;Lossless encoding will be much closer in size to saving a bitmap for each frame than a very high quality, lossy encoding. You lose even if you losslessly compress something already compressed in the same format. E.g., if you losslessly compress a x264 video using x264, instead of reconstructing the raw, uncompressed video, you must now perfectly reconstruct this x264 lossy version of that video, but without the benefit of referring to the original video! There's no guarantee you'll find the same compression and in most cases, you're practically guaranteed not to.&lt;/p&gt;&#xA;&lt;p&gt;See also &lt;a href=&quot;https://superuser.com/a/1557090/294360&quot;&gt;this answer&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="35533" LastActivityDate="2021-12-28T09:33:19.167" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34796" PostTypeId="2" ParentId="34785" CreationDate="2021-12-28T14:55:42.543" Score="1" Body="&lt;p&gt;The Zoom adjustment is just like a zoom control on a traditional camera - it magnifies the image and zooms in as you increase it.&lt;/p&gt;&#xA;&lt;p&gt;The focus distance is the distance from the camera at which everything will be in focus.  If you have a low F-number (like 1 to 3), you should see a shallow &lt;a href=&quot;https://en.wikipedia.org/wiki/Depth_of_field&quot; rel=&quot;nofollow noreferrer&quot;&gt;depth of field&lt;/a&gt;, where only objects around the focus distance from the camera are in focus.  If you have a higher F-number (eg 22), you'll have a wider depth of field where more objects will be in focus.&lt;/p&gt;&#xA;&lt;p&gt;Shallow depth of field photo f=1.4 (from &lt;a href=&quot;https://en.wikipedia.org/wiki/Depth_of_field&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia&lt;/a&gt;)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/q0Uke.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/q0Uke.jpg&quot; alt=&quot;shallow depth of field&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Wide depth of field photo f=22 (from &lt;a href=&quot;https://en.wikipedia.org/wiki/Depth_of_field&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia&lt;/a&gt;)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/lquFO.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lquFO.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The aperture control corresponds to the F number, so adjusting either one changes the other. Aperture set to 500px is usually a good starting point if you want some depth of field, then adjust to taste.&lt;/p&gt;&#xA;&lt;p&gt;Unlike on a real camera, these adjustments don't affect the exposure of the camera's image.&lt;/p&gt;&#xA;&lt;p&gt;There's a good explanation on the After Effects camera here:&#xA;&lt;a href=&quot;https://www.schoolofmotion.com/blog/cameras-after-effects&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.schoolofmotion.com/blog/cameras-after-effects&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2021-12-28T14:55:42.543" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34798" PostTypeId="2" ParentId="34539" CreationDate="2021-12-28T20:11:12.307" Score="1" Body="&lt;p&gt;Go to the top toolbar and choose &lt;code&gt;Sequence -&amp;gt; Sequence Settings&lt;/code&gt;. The under &lt;code&gt;Video&lt;/code&gt;, change the &lt;code&gt;Working Color Space&lt;/code&gt; from Rec. 709 to Rec. 2100 HLG.&lt;/p&gt;&#xA;&lt;p&gt;When you export the file, if you choose a preset that does not &amp;quot;Match Source&amp;quot;, make sure you choose the correct color space &lt;code&gt;File -&amp;gt; Export | Video -&amp;gt; Encoding Settings -&amp;gt; Export Color Space&lt;/code&gt;. If &lt;code&gt;Color Space&lt;/code&gt; is greyed out, try changing the &lt;code&gt;Profile&lt;/code&gt;  under &lt;code&gt;Encoding Settings&lt;/code&gt; to something else (Main 10 and High10 works for me for HEVC and x264 respectively).&lt;/p&gt;&#xA;&lt;p&gt;To see what color space your original clips are filmed in, you can right-click on each file and find it under &lt;code&gt;Properties -&amp;gt; Color Space&lt;/code&gt;. If you have clips with different color spaces, you can right-click &lt;code&gt;Modify -&amp;gt; Interpret Footage -&amp;gt; Color Space Override&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://community.adobe.com/t5/premiere-pro-discussions/faq-setting-up-for-hdr-work-in-premiere-2020-updated-fall-2020/m-p/10646406#M229869&quot; rel=&quot;nofollow noreferrer&quot;&gt;Read more about setting color spaces in Premiere here.&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;A color space is the range of colors you're using. The reason for different color spaces is related to the imperfect correspondence between what the human eye can perceive, what our digital screens can display, and how we want to &amp;quot;quantize&amp;quot; colors (or how many bits do we want to use to encode a single color; colors are continuous, but we express a 24-bit color as 3 RGB numbers between 0 and 255). As screens, cameras, and post-production processes improve, new color space standards have been introduced. My impression is HDR videos often use some of these newer color space standards.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1oXwy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1oXwy.png&quot; alt=&quot;Select &amp;quot;Sequence Settings&amp;quot;&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/cWAxE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cWAxE.png&quot; alt=&quot;Change &amp;quot;Working Color Space&amp;quot;&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35533" LastEditorUserId="35533" LastEditDate="2021-12-30T20:25:17.130" LastActivityDate="2021-12-30T20:25:17.130" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34800" PostTypeId="1" CreationDate="2021-12-29T21:19:02.223" Score="1" ViewCount="1773" Body="&lt;p&gt;FFMPEG can make video from MP3 file and still image:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -loop 1 -i &amp;quot;img.png&amp;quot; -i &amp;quot;%1&amp;quot; -c:v libx264 -tune stillimage -shortest &amp;quot;%1.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But it honestly encodes the still image during the whole encoding process instead of encoding only a small piece, from key frame to key frame, and then just repeating it. Is there any way to optimize this?&lt;/p&gt;&#xA;" OwnerUserId="29775" LastActivityDate="2023-03-20T16:04:00.460" Title="Encode still image video effectively in FFMPEG" Tags="|ffmpeg|encoding|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34801" PostTypeId="1" CreationDate="2021-12-29T22:10:04.133" Score="1" ViewCount="35" Body="&lt;p&gt;A common issue I see with videos of &lt;a href=&quot;https://en.m.wikipedia.org/wiki/Poi_(performance_art)&quot; rel=&quot;nofollow noreferrer&quot;&gt;poi spinning&lt;/a&gt; is that as the poi spin faster, the video ends up with disjointed arcs of light, rather than a smooth motion as one would see in real life. Here is a frame from a video demonstrating the issue:&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/82Xhn.jpg&quot; alt=&quot;arc of light from spinning poi&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;Notice the hard edges showing the light collected in a single frame, which to me doesn't look good. In video, it produces this jarring effect:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dreamstime.com/stock-video-footage-k-night-led-show-circus-gentalman-spin-poi-k-night-led-show-circus-gentalman-spin-poi-action-video142647389&quot; rel=&quot;nofollow noreferrer&quot;&gt;Example using LED poi heads&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dreamstime.com/stock-video-two-guys-spinning-fire-poi-quickly-armor-helmets-video94347460&quot; rel=&quot;nofollow noreferrer&quot;&gt;Example using fire poi heads&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I want the video instead to mimic human persistence of vision, wherein each frame is blurred into the next in a way that the spinning poi will draw a smooth path.&lt;/p&gt;&#xA;&lt;p&gt;I do know that long exposure can be used in photography to mimic the effect, but I want the effect in video. My searching online for a solution hasn't been fruitful. How can I achieve this, either using camera settings or in post processing?&lt;/p&gt;&#xA;" OwnerUserId="37161" LastActivityDate="2022-01-02T17:48:05.243" Title="Mimicking persistence of vision for fast-moving objects" Tags="|motion|visual-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34803" PostTypeId="2" ParentId="21661" CreationDate="2021-12-30T05:34:06.697" Score="2" Body="&lt;p&gt;See &lt;a href=&quot;https://github.com/zeroepoch/plotbitrate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/zeroepoch/plotbitrate&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It uses &lt;code&gt;ffprobe&lt;/code&gt; under the hood and can output an xml file. Here's an example output.svg:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ugIED.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ugIED.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;(Although it is slow - almost as slow as transcoding, because it scans the whole video.)&lt;/p&gt;&#xA;" OwnerUserId="37163" LastEditorUserId="37163" LastEditDate="2021-12-30T16:23:13.840" LastActivityDate="2021-12-30T16:23:13.840" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34806" PostTypeId="2" ParentId="16552" CreationDate="2022-01-01T16:55:10.350" Score="3" Body="&lt;p&gt;I use these commands:&lt;/p&gt;&#xA;&lt;p&gt;4x speedup:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg&amp;quot; -r 60 -i &amp;quot;inputfile.mp4&amp;quot;  -vf &amp;quot;tmix=frames=4:weights='1',select='not(mod(n\,4))',setpts=0.25*PTS&amp;quot; -c:v libx265 -an -x265-params crf=25 &amp;quot;outputfile.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;16x speedup:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg&amp;quot; -r 60 -i &amp;quot;inputfile.mp4&amp;quot;  -vf &amp;quot;tmix=frames=16:weights='1',select='not(mod(n\,16))',setpts=0.0625*PTS&amp;quot; -c:v libx265 -an -x265-params crf=25 &amp;quot;outputfile.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The &amp;quot;-r 60&amp;quot; parameter is used to specify the source file fps.&lt;br /&gt;&#xA;The &amp;quot;crf=25&amp;quot; parameter define the encoding quality (lower number = higher quality = higher size)&lt;/p&gt;&#xA;" OwnerUserId="2585" LastActivityDate="2022-01-01T16:55:10.350" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34807" PostTypeId="1" AcceptedAnswerId="34809" CreationDate="2022-01-01T18:55:30.253" Score="0" ViewCount="118" Body="&lt;p&gt;I would like to learn how to make progressive hand-drawn animation (if it's not the correct term then it would be great if you could correct me).&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/EoaDgUgS6QA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is the type of effect I am wanting to achieve. I did my research on the internet but couldn't find anything useful. The closest thing I could find was &lt;a href=&quot;https://www.cassie.codes/posts/creating-my-logo-animation/&quot; rel=&quot;nofollow noreferrer&quot;&gt;SVG stroke animation in the web browser&lt;/a&gt;&#xA;I did however figure out a way to achieve this. The procedure is as follows:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Use a software like Inkscape or Figma to draw a figure and export it as an SVG path.&lt;/li&gt;&#xA;&lt;li&gt;Next use the CSS properties &lt;code&gt;stroke-dasharray&lt;/code&gt; and &lt;code&gt;stroke-dashoffset&lt;/code&gt; and &lt;code&gt;@keyframe&lt;/code&gt; to make the &lt;em&gt;progressive&lt;/em&gt; effect.&lt;/li&gt;&#xA;&lt;li&gt;Use some JavaScript to automate this process if SVG figure has multiple &lt;code&gt;&amp;lt;paths&amp;gt;&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;This was fine to generate the animation, but I need it as a video file so that I can edit it with the rest of the video components. The downside with my aforesaid approach was:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Converting the HTML, CSS, JS animation to a video file is not easy. I found two &lt;em&gt;( not so effective )&lt;/em&gt; ways to get around this problem:&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add more CSS to make the animation cover the entire page, enter fullscreen mode, and use any screen-recording software to record the animation. &lt;em&gt;( Not efficient as screen recording lowers the quality and this relatively low-quality video when merged with the rest of the clip will only make it look odd. )&lt;/em&gt; ...OR...&lt;/li&gt;&#xA;&lt;li&gt;Convert the HTML document to Canvas and use something like &lt;a href=&quot;https://github.com/muaz-khan/WebRTC-Experiment/tree/master/RecordRTC&quot; rel=&quot;nofollow noreferrer&quot;&gt;RecordRTC&lt;/a&gt; to record the canvas. ( Not efficient as its a quite tedious process )&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Is there any other ( hopefully simpler ) way to achieve such animations? A vector-based approach would be better as I might need to scale up and down graphics quite a lot of times.&lt;/p&gt;&#xA;&lt;p&gt;I am a complete beginner in animation and video editing so any help or guidance would be&#xA;appreciated.&lt;/p&gt;&#xA;" OwnerUserId="37179" LastActivityDate="2022-01-02T03:31:16.237" Title="how to make progressive hand drawn animation" Tags="|animation|recommendation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34808" PostTypeId="2" ParentId="24755" CreationDate="2022-01-01T21:51:36.487" Score="0" Body="&lt;h5&gt;Here is my solution with explanation&lt;/h5&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -filter:v &amp;quot;pad=3840:2160:0:280,setsar=1&amp;quot; -c:a copy -c:v libx265 -x265-params lossless=1 my_output_video.mkv&#xA;----------111111111----------------2222-3333-4-555----------------------------------------------------------6666666666666666666&#xA;&#xA;Legend&#xA;1 - input filename&#xA;2 - Target X dimension&#xA;3 - Target Y&#xA;4 - Bar's target X pos. Best: Floor( (Target X - Current X) / 2) . If the value is 0, no vertical baps will be present.&#xA;5 - Bar's target Y pos. Best: Floor( (Target Y - Current Y) / 2) . If the value is 0, no horizontal baps will be present.&#xA;6 - output filename&#xA;&#xA;Notes&#xA;-c:a copy is to maintain lossless-ness&#xA;-x265-params lossless=1 option is for lossless encoding. Adding -crf 0 is not required.&#xA;-c:v libx265 - added to reduce output video quality while maintaining lossless-ness&#xA;Floor() - means to floor DOWN where applicable (ideally, no non-integer calculations occur)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My example command to add bars from 1660x780 to 1920x1080,&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter:v &amp;quot;pad=1920:1080:130:150,setsar=1&amp;quot; -crf 0 -c:v libx265 -x265-params lossless=1 my_output_video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h5&gt;Sources,&lt;/h5&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/a/24756&quot;&gt;https://video.stackexchange.com/a/24756&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/a/28659&quot;&gt;https://video.stackexchange.com/a/28659&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;http://underpop.online.fr/f/ffmpeg/help/pad.htm.gz&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://underpop.online.fr/f/ffmpeg/help/pad.htm.gz&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://superuser.com/a/1667833&quot;&gt;https://superuser.com/a/1667833&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://forum.videohelp.com/threads/382367-X265-Lossless-not-really-lossless-and-I-can-prove-it&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forum.videohelp.com/threads/382367-X265-Lossless-not-really-lossless-and-I-can-prove-it&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.265&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/H.265&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="37172" LastEditorUserId="37172" LastEditDate="2022-01-04T14:25:55.023" LastActivityDate="2022-01-04T14:25:55.023" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34809" PostTypeId="2" ParentId="34807" CreationDate="2022-01-02T03:31:16.237" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://www.blender.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blender&lt;/a&gt; is a free 3d modeling software that also does 2d drawing (and animation), which could create the same video you posted.&#xA;Here's a good intro if your not familiar with Grease Pencil in Blender (multi-part series).&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/7qZWW0k41WA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here's a quick and to the point video for animating a Grease Pencil drawing, but takes for granite someone is alittle familiar with Blender.&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/5uE-kR99in8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="27674" LastActivityDate="2022-01-02T03:31:16.237" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34810" PostTypeId="1" CreationDate="2022-01-02T11:18:11.993" Score="0" ViewCount="84" Body="&lt;p&gt;I have a ATR2100x-USB mic from audio-technica. I've been recording some tutorial videos and overall like the sound quality.&lt;/p&gt;&#xA;&lt;p&gt;But the inherent sensitivity of the mic picks up a lot of residual mouth noises. Like inhaling, exhaling, smacking, swallowing etc.&lt;/p&gt;&#xA;&lt;p&gt;Is this a problem of mic placement? Audio settings? Lack of dampening equipment of some kind?&lt;/p&gt;&#xA;&lt;p&gt;Not sure how to begin trouble shooting this problem.&lt;/p&gt;&#xA;" OwnerUserId="37185" LastActivityDate="2022-01-02T14:01:38.660" Title="How to set-up mic for voice-over audio and minimize residual mouth noises" Tags="|audio-recording|microphone|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34811" PostTypeId="2" ParentId="34810" CreationDate="2022-01-02T14:01:38.660" Score="2" Body="&lt;p&gt;There is some good advice here : &lt;a href=&quot;https://training.npr.org/2017/01/31/the-ear-training-guide-for-audio-producers/#recording&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://training.npr.org/2017/01/31/the-ear-training-guide-for-audio-producers/#recording&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;How to avoid mouth noise:&lt;/p&gt;&#xA;&lt;p&gt;Changing mic placement can often help, especially if you are using a&#xA;shotgun mic.&lt;/p&gt;&#xA;&lt;p&gt;Sipping apple juice is known to work well, as are eating Granny Smith&#xA;apples. Remember that water can make this problem worse, as can coffee&#xA;and milk-based products. Not everyone can keep apple juice on hand&#xA;with them in the studio or out in the field, so you may want to advise&#xA;your guests to avoid coffee and milk products prior to the interview.&lt;/p&gt;&#xA;&lt;p&gt;How to fix mouth noise:&lt;/p&gt;&#xA;&lt;p&gt;If you have a recording with egregious mouth noise, the de-crackle&#xA;plugin included in Izotope RX can reduce the problem. Sometimes&#xA;spectral repair tools can also work (you can find those in Izotope or&#xA;Adobe Audition). That said, it may be helpful to seek the assistance&#xA;of an audio expert.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="9147" LastActivityDate="2022-01-02T14:01:38.660" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34812" PostTypeId="2" ParentId="34801" CreationDate="2022-01-02T17:48:05.243" Score="1" Body="&lt;p&gt;There are two ways to fundamentally solve this, neither necessarily feasible: 1) Acquiring and playing video at high frame rates. 2) acquiring at high frame rate but using eye-tracking dependent rendering to render appropriately. The reason why is that the eye is not stationary on the scene (well, if it is, the artifacts disappear and the motion looks smoothly blurred) but rather tracks the moving lights. In this case, the lights have low speed on the retina but had high speed on the image sensor. So the image sensor had a lot of blur during the exposure although the exposure suddenly ends so there is a sharp edge to the blurred arc. If the duty cycle of the exposures in subsequent frames is close to 100%, this may not much matter because the next frame will continue the blurred arc from the edge. However, if you are tracking the movement with your eyes, you will see these sharp edges. Playing high frame rate footage at the same at a very fast frame rate (which will require a high refresh rate display) will mimic the original situation in which blurring is created due to the slow visual response in the retina being distributed over space by movement and eye tracking will allow the tracked feature to remain sharp whereas non-tracked features will be blurred.&lt;/p&gt;&#xA;&lt;p&gt;You might be able to &amp;quot;cheat&amp;quot; by averaging frames together (e.g. a 3 frame rolling average), potentially with a non-uniform weighting. The idea would be to blur the sharp edges. If the source material is high frame rate, the blurred version could still maintain high temporal detail and not appear &amp;quot;too slow&amp;quot;. This may minimize the visual appearance of the artifacts by reducing the hard edges but it won't fundamentally solve the issues created by the eye moving around the scene.&lt;/p&gt;&#xA;&lt;p&gt;This is why action sports videographers keep the camera locked on the action - to minimize motion blur at the place where you are looking anyway.&lt;/p&gt;&#xA;" OwnerUserId="32679" LastActivityDate="2022-01-02T17:48:05.243" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34813" PostTypeId="2" ParentId="34784" CreationDate="2022-01-02T18:18:20.007" Score="0" Body="&lt;p&gt;Davinci Resolve has editatable curves for zoom and is free (there is a pid for vesion but the free version has the function). Steep learning curve though, and high high requirement for GPU hardware.&lt;/p&gt;&#xA;" OwnerUserId="37187" LastActivityDate="2022-01-02T18:18:20.007" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34814" PostTypeId="1" CreationDate="2022-01-02T23:10:19.977" Score="1" ViewCount="176" Body="&lt;p&gt;I have an HTTP server that streams images from a camera in a series of HTTP responses to a single request. The frame rate of this direct stream fluctuates, ie. some frames take longer to produce, some take shorter. The average framerate is around 2.1 FPS.&lt;/p&gt;&#xA;&lt;p&gt;I can open the stream directly from the server with gstreamer this way:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;gst-launch-1.0 -v souphttpsrc location=http://192.168.1.225:81/stream ! queue ! jpegdec ! videoconvert ! autovideosink&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I want to augment this pipeline to convert the image stream to a MPEG TS. I guess a part of my problem is to convert the asynchronous images from the original source to a constant frame rate for the resulting MPEG TS. But as soon as I add the mpeg2enc plugin to the pipeline I get this error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ERROR: from element /GstPipeline:pipeline0/GstSoupHTTPSrc:souphttpsrc0: Internal data stream error.&#xA;Additional debug info:&#xA;../libs/gst/base/gstbasesrc.c(3127): gst_base_src_loop (): /GstPipeline:pipeline0/GstSoupHTTPSrc:souphttpsrc0:&#xA;streaming stopped, reason not-negotiated (-4)&#xA;ERROR: pipeline doesn't want to preroll.&#xA;ERROR: from element /GstPipeline:pipeline0/GstQueue:queue0: Internal data stream error.&#xA;Additional debug info:&#xA;../plugins/elements/gstqueue.c(990): gst_queue_handle_sink_event (): /GstPipeline:pipeline0/GstQueue:queue0:&#xA;streaming stopped, reason not-negotiated (-4)&#xA;ERROR: pipeline doesn't want to preroll.&#xA;Setting pipeline to NULL ...&#xA;Freeing pipeline ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any ideas how to address this? I guess I need a &amp;quot;sample-and-hold&amp;quot; plugin that just feeds the most recent image to the mpeg2enc plugin at the rate it requires, and maybe other stuff as well.&lt;/p&gt;&#xA;" OwnerUserId="37191" LastActivityDate="2022-01-02T23:10:19.977" Title="How to convert asynchronous stream of JPEG images to video stream" Tags="|conversion|mpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34816" PostTypeId="1" CreationDate="2022-01-03T09:24:44.847" Score="1" ViewCount="823" Body="&lt;p&gt;I am recording an IP camera stream using ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;Here are the goals that I want to achieve:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Record an entire day in a single file&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;In case of a disconnect be able to restart the process and continue recording to the same file (appending to the previous content, not overwriting)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Be able to view the recorded content as its being recorded (so the format and codec should not need finalization)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I've tried a few approaches. In the end I settled on recording in the TS format because it allows for easy appending. The issue is that those files end up being huge (cca 20-25 GB per day). I can have a follow up job that compresses them but I don't see any way to do this that isnt either CPU intensive or takes 5 times as long as the video duration to complete.&lt;/p&gt;&#xA;&lt;p&gt;If I record using any other format like .mkv or .mp4 then appending to the file causes errors. Either not all of the content can be viewed or at the very least time seeking is broken.&lt;/p&gt;&#xA;&lt;p&gt;I've also tried recording in smaller chunks and then appending them. That also works, producing files that are without errors and with a decent size. If all else fails I will return to this approach. I would like to avoid this if possible, though.&lt;/p&gt;&#xA;&lt;p&gt;This breaks down into two questions:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;If I stick to recording using the TS format: Is there any non-resource-intensive way to bring the file size down under 10 GB after the file has finished recording?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If I change the file format (and codec) to something that is more manageable from the start: Can I somehow append to the existing file without breaking it? Or can I fix those errors in a second run?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="37196" LastEditorUserId="37196" LastEditDate="2022-01-05T14:08:22.920" LastActivityDate="2022-01-05T14:08:22.920" Title="Recording IP camera RTSP Stream with FFMPEG - append to file" Tags="|ffmpeg|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="34817" PostTypeId="1" CreationDate="2022-01-03T16:53:20.257" Score="0" ViewCount="43" Body="&lt;p&gt;Since I can't find any answers elsewhere, I may as well ask here – I have a video in which there is screen tearing present in the recording, not having anything to do with my monitor or graphics card. Is there a way to fix this? I am familiar with FFmpeg and have access to Adobe editors if that helps.&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Z22gAgmtU2s?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="33616" LastEditorUserId="18155" LastEditDate="2022-01-03T23:25:10.010" LastActivityDate="2024-01-24T15:08:16.080" Title="Fix screen recording in a prerecorded video" Tags="|video|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34818" PostTypeId="1" CreationDate="2022-01-03T17:32:07.027" Score="1" ViewCount="7381" Body="&lt;p&gt;I would like to know how to produce this effect, for example on 1. YouTube Livestream, 2. Zoom, or 3. Omegle meetings. Thank you for your &lt;strong&gt;thoughtful answers/comments&lt;/strong&gt; in advance!&lt;/p&gt;&#xA;&lt;p&gt;See this video:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/5ohIVoqSeUw?start=418&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;One is the spot with the piano in his own room:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SjIob.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SjIob.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Lru7a.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Lru7a.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Another is like Synthesiagame &lt;a href=&quot;https://synthesiagame.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://synthesiagame.com/&lt;/a&gt; on the screen during the Omegle meeting:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/53yCr.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/53yCr.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DQNsa.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DQNsa.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37199" LastActivityDate="2023-09-07T04:32:58.723" Title="How to accomplish this animated piano visual effect in a Livestream?" Tags="|animation|youtube|visual-effects|music|video-game|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34819" PostTypeId="2" ParentId="34817" CreationDate="2022-01-03T22:36:25.307" Score="0" Body="&lt;p&gt;I suppose that your video is 640×360. Then you may use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#crop&quot; rel=&quot;nofollow noreferrer&quot;&gt;crop&lt;/a&gt; filter&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;BTT jump - monk break 10.300.mp4&amp;quot; -vf crop=506:284:134:0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;to cut out unused (black) part from the left and the bottom of video.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;Note:&lt;/em&gt;&lt;br /&gt;&#xA;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#cropdetect&quot; rel=&quot;nofollow noreferrer&quot;&gt;cropdetect&lt;/a&gt; filter gave a little different values for width, high and x, y coordinates of the upper left corner:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;... w:496 h:272 x:140 y:8 ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;i.e. it recommended to use &lt;code&gt;crop=496:272:140:8&lt;/code&gt;. I manually adjusted these values.&lt;/p&gt;&#xA;&lt;p&gt;Original:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dGoDK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dGoDK.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Cropped:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4i3Iw.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4i3Iw.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2022-01-04T12:46:47.510" LastActivityDate="2022-01-04T12:46:47.510" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34820" PostTypeId="2" ParentId="23975" CreationDate="2022-01-04T04:08:48.630" Score="2" Body="&lt;p&gt;As of Adobe Premiere Pro 2020 (14.3.1) you need to use plugins to be able to use of different interpolation algorithms for scaling footage.&lt;/p&gt;&#xA;&lt;p&gt;For example the free 'PixelPerfect' Plugin by Autokroma adds Nearest Neighbor, Linear Interpolation and Nearest Neighbor with Anti Aliasing: &lt;a href=&quot;https://www.autokroma.com/Vizual&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.autokroma.com/Vizual&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Uje0u.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Uje0u.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37203" LastActivityDate="2022-01-04T04:08:48.630" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34821" PostTypeId="1" AcceptedAnswerId="34869" CreationDate="2022-01-04T08:34:18.003" Score="0" ViewCount="3460" Body="&lt;p&gt;I'm having regularily issue with hvc1 videos getting an inconsistent number of frames between ffprobe info and ffmpeg info, and I would like to know what could be the reason of this issue and how if it's possible to solve it without re-encoding the video.&lt;/p&gt;&#xA;&lt;p&gt;I wrote the following sample script with a test video I have&lt;/p&gt;&#xA;&lt;p&gt;I split the video in 5 sec segments and I get ffprobe giving the expected video length but ffmpeg giving 3 frame less that expected on every segment but the first one.&lt;/p&gt;&#xA;&lt;p&gt;The issue is exactly the same if I split by 10 seconds  or any split, I always lose 3 frames.&lt;/p&gt;&#xA;&lt;p&gt;I noted that the first segment is always 3 frame smaller (on ffprobe) than the other ones and it's the only consistent one.&lt;/p&gt;&#xA;&lt;p&gt;Here is an example script I wrote to test this issue :&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;# get total video frame number using ffprobe or ffmpeg&#xA;total_num_frames=$(ffprobe -v quiet -show_entries stream=nb_read_packets -count_packets -select_streams v:0 -print_format json test_video.mp4 | jq '.streams[0].nb_read_packets' | tr -d '&amp;quot;')&#xA;echo $total_num_frames&#xA;ffmpeg -hwaccel cuda -i test_video.mp4 -vsync 2 -f null -&#xA;&#xA;# Check ffprobe of each segment is consistent &#xA;rm -rf clips &amp;amp;&amp;amp; mkdir clips &amp;amp;&amp;amp; \&#xA;ffmpeg -i test_video.mp4 -acodec copy -f segment -vcodec copy -reset_timestamps 1 -segment_time 5 -map 0 clips/part_%d.mp4&#xA;count_frames=0&#xA;for i in {0..5}&#xA;do&#xA;    num_packets=$(ffprobe -v quiet -show_entries stream=nb_read_packets -count_packets -select_streams v:0 -print_format json clips/part_$i.mp4 | jq '.streams[0].nb_read_packets' | tr -d '&amp;quot;')&#xA;    count_frames=$(($count_frames+$num_packets))&#xA;    echo $num_packets $count_frames $total_num_frames&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Output is the following&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;3597&#xA;ffmpeg version 4.2.4-1ubuntu0.1 Copyright (c) 2000-2020 the FFmpeg developers&#xA;  built with gcc 9 (Ubuntu 9.3.0-10ubuntu2)&#xA;  configuration: --prefix=/usr --extra-version=1ubuntu0.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opencl --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-nvenc --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'test_video.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2mp41&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:00:59.95, start: 0.035000, bitrate: 11797 kb/s&#xA;    Stream #0:0(und): Video: hevc (Main) (hvc1 / 0x31637668), yuv420p(tv, bt709), 1920x1080, 11692 kb/s, 60.01 fps, 60 tbr, 19200 tbn, 19200 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : Core Media Video&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 91 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : Core Media Audio&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (hevc (native) -&amp;gt; wrapped_avframe (native))&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; pcm_s16le (native))&#xA;Press [q] to stop, [?] for help&#xA;Output #0, null, to 'pipe:':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2mp41&#xA;    encoder         : Lavf58.29.100&#xA;    Stream #0:0(und): Video: wrapped_avframe, nv12, 1920x1080, q=2-31, 200 kb/s, 60 fps, 60 tbn, 60 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : Core Media Video&#xA;      encoder         : Lavc58.54.100 wrapped_avframe&#xA;    Stream #0:1(und): Audio: pcm_s16le, 44100 Hz, mono, s16, 705 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : Core Media Audio&#xA;      encoder         : Lavc58.54.100 pcm_s16le&#xA;frame= 3597 fps=788 q=-0.0 Lsize=N/A time=00:00:59.95 bitrate=N/A speed=13.1x    &#xA;video:1883kB audio:5162kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;then&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;297 297 3597&#xA;300 597 3597&#xA;300 897 3597&#xA;300 1197 3597&#xA;300 1497 3597&#xA;300 1797 3597 &amp;lt;--- output are consistent based on ffprobe&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But then if i check segment size with ffmpeg with the following command&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hwaccel cuda -i clips/part_$i.mp4 -vsync 2 -f null - &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;for part 0 its ok&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;frame=  297 fps=0.0 q=-0.0 Lsize=N/A time=00:00:04.95 bitrate=N/A speed=12.5x    &#xA;video:155kB audio:424kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;for all other parts it's inconsistent and should be 300&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;frame=  297 fps=0.0 q=-0.0 Lsize=N/A time=00:00:04.95 bitrate=N/A speed=12.3x    &#xA;video:155kB audio:423kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The issue is exactly the same with any other interval size, e.g with 10 seconds I would get the following video size:&lt;/p&gt;&#xA;&lt;p&gt;ffprobe 597 - 600 ...&#xA;ffmpeg 597 597 ...&lt;/p&gt;&#xA;&lt;p&gt;I thought it could be related to source vfr or cfr but I tried to convert the input to cfr and nothing changes.&lt;/p&gt;&#xA;&lt;p&gt;Moreover I tried to force key frame at every second to check if it was a keyframe issue with the following arg :  -force_key_frames &amp;quot;expr:gte(t,n_forced*1)&amp;quot;, but the problem is exactly the same.&lt;/p&gt;&#xA;&lt;p&gt;What am I doing wrong ? it happens to me a lot with files in hvc1 and I really dont know how to deal with that.&lt;/p&gt;&#xA;" OwnerUserId="37206" LastEditorUserId="37206" LastEditDate="2022-01-04T11:39:57.723" LastActivityDate="2022-01-13T14:09:19.210" Title="Lost frames with ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34822" PostTypeId="2" ParentId="3196" CreationDate="2022-01-04T12:43:09.390" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/HowToBurnSubtitlesIntoVideo&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; has an amazing article on burning the subs into the videos.&lt;/p&gt;&#xA;&lt;p&gt;I trust ffmpeg to be very careful with (the lack of) quality loss.&lt;/p&gt;&#xA;&lt;p&gt;Given you are dealing with ASS, here are the important bits,&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;You can burn text subtitles (hardsubs) with one of two filters: subtitles or ass.&lt;/p&gt;&#xA;&lt;p&gt;ass filter&lt;/p&gt;&#xA;&lt;p&gt;Same as the subtitles filter, except that it doesn’t require libavcodec and libavformat to work. This filter requires ffmpeg to be compiled with --enable-libass. On the other hand, it is limited to ​ASS (Advanced Substation Alpha) subtitles files. See the ​ass video filter documentation for more details.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.avi -vf &amp;quot;ass=subtitle.ass&amp;quot; out.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If your subtitle is in SubRip, MicroDVD or any other supported text subtitles, you have to convert it to ASS before using this filter:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i subtitle.srt subtitle.ass&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Windows users will have to ​setup font paths to get libass to work&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="37172" LastEditorUserId="14523" LastEditDate="2022-01-04T16:53:19.033" LastActivityDate="2022-01-04T16:53:19.033" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34825" PostTypeId="1" CreationDate="2022-01-04T15:10:59.900" Score="3" ViewCount="2835" Body="&lt;p&gt;Occasionally, the video-files need to be cut to keep only the relevant parts. Thus, how does one go about cutting the common video files (H.264, MPEG) without any re-encoding and thus quality loss?&lt;/p&gt;&#xA;" OwnerUserId="37172" LastActivityDate="2023-11-11T17:33:53.060" Title="How to cut MPEG and H.264 files frame-accurately without re-encoding?" Tags="|editing|lossless|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34826" PostTypeId="2" ParentId="34825" CreationDate="2022-01-04T15:10:59.900" Score="0" Body="&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt; Solution does NOT work with H.265&lt;/p&gt;&#xA;&lt;p&gt;One solution that has proven to be stable and fast over the years is to use &lt;a href=&quot;https://www.fame-ring.com/smart_cutter.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Fame-Ring Smart.Cutter&lt;/a&gt;. The software is natively designed to perform frame-perfect cuts without quality loss or re-encoding.&lt;/p&gt;&#xA;&lt;p&gt;It is recommended to disable &amp;quot;audio VU meter&amp;quot; in program settings to improve stability, (&lt;a href=&quot;https://forum.videohelp.com/threads/391669-Trying-to-use-Smart-Cutter-for-1920x1080-video#post2580152&quot; rel=&quot;nofollow noreferrer&quot;&gt;learn more&lt;/a&gt;)&lt;/p&gt;&#xA;&lt;p&gt;Ever since Windows 7, the &lt;a href=&quot;https://forum.videohelp.com/threads/331916-Smart-Cutter-for-DV-and-DVB-crashes&quot; rel=&quot;nofollow noreferrer&quot;&gt;software is reported to crash, especially when seeking too fast&lt;/a&gt;. It's possible to avoid crashes either by seeking slowly or by using an XP VM.&lt;/p&gt;&#xA;" OwnerUserId="37172" LastEditorUserId="37172" LastEditDate="2023-11-11T17:33:53.060" LastActivityDate="2023-11-11T17:33:53.060" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34827" PostTypeId="2" ParentId="22059" CreationDate="2022-01-04T15:16:51.380" Score="6" Body="&lt;p&gt;This answer relies on but simplifies the answer by Валерий Заподовников who seems to know his stuff.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -v quiet -show_streams -select_streams v:0 video.mp4 | grep ^color_transfer=&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;IF color_transfer EQUALS &lt;code&gt;arib-std-b67&lt;/code&gt; OR &lt;code&gt;smpte2084&lt;/code&gt; THEN the video is HDR&lt;/p&gt;&#xA;" OwnerUserId="37209" LastActivityDate="2022-01-04T15:16:51.380" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34828" PostTypeId="1" CreationDate="2022-01-04T18:51:45.447" Score="0" ViewCount="582" Body="&lt;p&gt;How to convert the DVD .VOB collection to MPEG without re-encoding (and quality loss)? The .MPEG files are what DVD format is built upon, the singular files are easy to handle, and overall, can be manipulated and played more easily.&lt;/p&gt;&#xA;" OwnerUserId="37172" LastActivityDate="2024-01-29T15:08:51.110" Title="How to convert the DVD .VOB collection to MPEG without re-encoding (and quality loss)?" Tags="|conversion|mpeg|dvd|lossless|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34829" PostTypeId="2" ParentId="34828" CreationDate="2022-01-04T18:51:45.447" Score="0" Body="&lt;p&gt;I found one way, and you'll need the following software,&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://forum.videohelp.com/threads/376694-Instructions-for-Running-on-Windows-10&quot; rel=&quot;nofollow noreferrer&quot;&gt;BadgerIT VOB2MPG (with custom installation instructions for Windows 10)&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.ifoedit.com/%5D&quot; rel=&quot;nofollow noreferrer&quot;&gt;IfoEdit&lt;/a&gt; (v0.971 Public, see &lt;a href=&quot;https://systemexplorer.net/file-database/file/ifoedit-exe&quot; rel=&quot;nofollow noreferrer&quot;&gt;checksums&lt;/a&gt;) - For &amp;quot;Advanced&amp;quot; guide only.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Depending on what you have/want, you may need one of the following sets of instructions,&lt;/p&gt;&#xA;&lt;h3&gt;Basic - Convert the full DVD to .MPEG&lt;/h3&gt;&#xA;&lt;p&gt;With this method, you'll get the full DVD copy as a .MPEG file&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Get to the DVD files&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If you have a physical DVD, insert it in the drive. (optional) To increase future performance, copy all files to the local hard-drive&lt;/li&gt;&#xA;&lt;li&gt;If you have a DVD image, either extract it or mount it.&lt;/li&gt;&#xA;&lt;li&gt;If you have a raw DVD rip, just proceed with it&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;Open BadgerIT VOB2MPG, navigate to the DVD files directory, and select the &lt;code&gt;VIDEO_TS.IFO&lt;/code&gt; file.&#xA;&lt;em&gt;Note&lt;/em&gt;: If you have the .VOB files but not &lt;code&gt;VIDEO_TS.IFO&lt;/code&gt;, you'll need to follow the second (Advanced) guide below.&lt;/li&gt;&#xA;&lt;li&gt;In BadgerIT VOB2MPG, ensure&#xA;&lt;ul&gt;&#xA;&lt;li&gt;All necessary titles (if multiple) are selected&lt;/li&gt;&#xA;&lt;li&gt;Correct audio-stream is selected (if you want multiple, you can re-extract multiple times)&lt;/li&gt;&#xA;&lt;li&gt;The output folder is correct&#xA;and click &amp;quot;Start Extraction&amp;quot; (the large &amp;quot;DVD&amp;quot; icon in the top-right corner)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;em&gt;Note 1&lt;/em&gt;: You cannot edit the output filename in the software, and that's fine, you can change it later.&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;Note 2&lt;/em&gt;: If you want to select individual chapters, you'll need to follow the &amp;quot;Advanced&amp;quot; guide below.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;Advanced - Remove ads, select chapters, or extract a few chapters only.&lt;/h3&gt;&#xA;&lt;p&gt;This method is useful if you only want to convert without re-encoding one, few, or most (but not all) .VOB files,&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Get to the DVD files (like in the basic instructions)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Identify the list of the .VOB files you want/need, and copy it to another (empty) folder. For example,&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If you only want to extract one .VOB file, this is what you'll need to copy.&lt;/li&gt;&#xA;&lt;li&gt;If you only want to extract some of the .VOB files, these are what you'll need to copy&lt;/li&gt;&#xA;&lt;li&gt;If you want to remove ads, you'll need all .VOB files &lt;em&gt;except&lt;/em&gt; the .VOB files containing the ads&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;Important note&lt;/strong&gt;: You are identifying the list of the .VOB files that will be converted to &lt;strong&gt;a single&lt;/strong&gt; MPEG file. If you want to convert multiple .VOB files into the single MPEG files, you'll need to redo this set of instructions multiple times.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now make sure you copy the identified files in another folder. I.e. that the copying process is complete.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;Note 1&lt;/em&gt;: You only need to copy the .VOB files, nothing else.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;Note 2&lt;/em&gt;: Unless you know what you are going (changing order of video), do NOT rename any files, before or after the copying.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Open IfoEdit, click the button at the bottom, titled &amp;quot;Create IFOs&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;I. In &amp;quot;Output Stream &amp;gt; 1st VOB of Title-Set&amp;quot;, select the first .VOB file.&lt;/p&gt;&#xA;&lt;p&gt;II. In &amp;quot;Output Stream&amp;quot;, ensure &amp;quot;Same as Source&amp;quot; is &lt;strong&gt;Checked&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Finally, check &amp;quot;OK&amp;quot; and wait. .VOB files will be read, but not edited. If you feel paranoid, you can always verify hash, for example with &lt;a href=&quot;http://www.nirsoft.net/utils/hash_my_files.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;HashMyFiles&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now proceed with the steps from the &amp;quot;Basic&amp;quot; guide (specifically from step 2), by selecting the newly made folder in VOB2MPG&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;h3&gt;Extras - But I need to cut my MPG even further!&lt;/h3&gt;&#xA;&lt;p&gt;Luckily, frame-perfect cutting .MPG files without re-encoding and quality loss &lt;a href=&quot;https://video.stackexchange.com/a/34826&quot;&gt;is also possible&lt;/a&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;I hope this guide helps someone in the future.&lt;/p&gt;&#xA;" OwnerUserId="37172" LastEditorUserId="37172" LastEditDate="2022-01-09T11:24:05.410" LastActivityDate="2022-01-09T11:24:05.410" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34831" PostTypeId="1" CreationDate="2022-01-04T22:47:05.367" Score="1" ViewCount="121" Body="&lt;p&gt;Davinci Resolve 17's Color page has a &amp;quot;Qualifier&amp;quot; tab; while the default mode is HSL, the most powerful is the 3D keyer, which has the ability to build a matte with subsets of the possible chroma and luma values (selected by drawing over regions of a frame that contains the desired color, by default working in YUV).&lt;/p&gt;&#xA;&lt;p&gt;Is any equivalent available for use in the Fusion tab?&lt;/p&gt;&#xA;&lt;p&gt;There are certainly tools available in the Fusion tab for RGB regions; but the 3D qualifier is considerably more powerful.&lt;/p&gt;&#xA;" OwnerUserId="33766" LastActivityDate="2022-01-04T22:47:05.367" Title="Davinci Resolve Fusion equivalent to color-page 3D key qualifiers?" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34835" PostTypeId="1" CreationDate="2022-01-05T08:43:49.867" Score="0" ViewCount="2296" Body="&lt;p&gt;OBS is awesome because of its many many versatile features. Sadly, at the same time it seems very rough around the edges, making it hard to get even basic things working.&lt;/p&gt;&#xA;&lt;p&gt;I want to capture a portion of the screen. This seems very difficult, and never works out quite right. By comparison, when using QuickTime (on MAC), I don't get many other features, but at least I can just use the mouse to select a portion of the screen and start recording.&lt;/p&gt;&#xA;&lt;p&gt;In OBS (on Windows), I try to do the following:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add a &lt;code&gt;Window Capture&lt;/code&gt; source to the scene.&lt;/li&gt;&#xA;&lt;li&gt;Add a &lt;code&gt;Crop/Pad&lt;/code&gt; filter.&lt;/li&gt;&#xA;&lt;li&gt;Guess and adjust the numbers needed for the &lt;code&gt;Crop/Pad&lt;/code&gt; filter to work. (Why can you not just select the area with the mouse? Why does it want numbers? It has that &amp;quot;mouse selection&amp;quot; feature in other places...)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;Start Recording&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;h2&gt;Results&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Now it comes out with black bars because, for some reason, the input does not match the output resolution or something?&lt;/li&gt;&#xA;&lt;li&gt;I have to manually adjust the output resolution width and height, for this to work.&lt;/li&gt;&#xA;&lt;li&gt;Also, when making certain changes, the originally nicely configured Crop filter suddenly moved everything ever so slightly, and the recorded area needs more manual adjustments.&lt;/li&gt;&#xA;&lt;li&gt;The most fun part: the next time I do it again, I have to do all these steps again.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Can this be just ever so slightly less involved?&#xA;Maybe I'm just doing something completely wrong?&lt;/p&gt;&#xA;" OwnerUserId="37214" LastActivityDate="2024-01-25T13:00:18.897" Title="OBS: cropping without black bars" Tags="|video-recording|screen-casting|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34836" PostTypeId="2" ParentId="34835" CreationDate="2022-01-05T08:43:49.867" Score="0" Body="&lt;p&gt;I guess, OBS is just a bit buggy, but with some gentle nudges, it forgets being buggy for a little while.&lt;/p&gt;&#xA;&lt;p&gt;I found that this works:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add a &lt;code&gt;Window Capture&lt;/code&gt; source to the scene.&lt;/li&gt;&#xA;&lt;li&gt;Add a &lt;code&gt;Crop/Pad&lt;/code&gt; filter.&lt;/li&gt;&#xA;&lt;li&gt;Adjust the filter numbers.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Now, whenever recording (or after changing any numbers), the following &amp;quot;life-hacks&amp;quot; help fix all the size and misalignment issues:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Right-click the &lt;code&gt;Preview&lt;/code&gt; -&amp;gt; &lt;code&gt;Resize output (source size)&lt;/code&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;This fixes the preview and crop misalignment.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;Press &lt;code&gt;Stuio Mode&lt;/code&gt; twice, and voila! Fixed!&#xA;&lt;ul&gt;&#xA;&lt;li&gt;This fixes &lt;code&gt;Program&lt;/code&gt; on the right-hand side having those extra black bars.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="37214" LastActivityDate="2022-01-05T08:43:49.867" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34837" PostTypeId="1" AcceptedAnswerId="34840" CreationDate="2022-01-05T13:45:06.300" Score="1" ViewCount="214" Body="&lt;p&gt;I want to know if it's possible to &amp;quot;Slide/Move the Cut&amp;quot; so that both clips get shorter or longer depending on slide direction.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nBbIh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nBbIh.png&quot; alt=&quot;Adobe Premiere Pro Timeline&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Right now I'm trimming one clip and then stretching the next clip towards the left to extend. If there's a better way to do this then it'd save us huge time.&lt;/p&gt;&#xA;" OwnerUserId="37218" LastActivityDate="2022-01-05T23:23:10.020" Title="Adobe Premiere Pro &quot;Sliding The Cut&quot;" Tags="|premiere|video-editor|editing|adobe|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34838" PostTypeId="2" ParentId="16564" CreationDate="2022-01-05T18:37:32.903" Score="2" Body="&lt;p&gt;I've put together a Python script that will do all of this.&#xA;Generates the &lt;code&gt;ffprobe&lt;/code&gt; and &lt;code&gt;ffmpeg&lt;/code&gt; commands and runs them And outputs a file without black clips&lt;/p&gt;&#xA;&lt;p&gt;GitHub repo: &lt;a href=&quot;https://github.com/FarisHijazi/deblack&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FarisHijazi/deblack&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;GitHub gist (archived): &lt;a href=&quot;https://gist.github.com/FarisHijazi/eff7a7979440faa84a63657e085ec504&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://gist.github.com/FarisHijazi/eff7a7979440faa84a63657e085ec504&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-python prettyprint-override&quot;&gt;&lt;code&gt;&amp;quot;&amp;quot;&amp;quot;&#xA;@author: https://github.com/FarisHijazi&#xA;Use ffprobe to extract black frames and ffmpeg to trim them and output a new video&#xA;&amp;quot;&amp;quot;&amp;quot;&#xA;&#xA;# help from:&#xA;# https://video.stackexchange.com/questions/16564/how-to-trim-out-black-frames-with-ffmpeg-on-windows#new-answer?newreg=d534934be5774bd1938b535cd76608cd&#xA;# https://github.com/kkroening/ffmpeg-python/issues/184#issuecomment-493847192&#xA;&#xA;&#xA;import argparse&#xA;import os&#xA;import shlex&#xA;import subprocess&#xA;&#xA;parser = argparse.ArgumentParser(__doc__, formatter_class=argparse.ArgumentDefaultsHelpFormatter)&#xA;parser.add_argument('input', type=str, help='input video file')&#xA;parser.add_argument('--invert', action='store_true', help='remove nonblack instead of removing black')&#xA;args = parser.parse_args()&#xA;&#xA;##FIXME: sadly you must chdir so that the ffprobe command will work&#xA;os.chdir(os.path.split(args.input)[0])&#xA;args.input = os.path.split(args.input)[1]&#xA;&#xA;spl = args.input.split('.')&#xA;outpath = '.'.join(spl[:-1]) + '.' + ('invert' if args.invert else '') + 'out.' + spl[-1]&#xA;&#xA;&#xA;def delete_back2back(l):&#xA;  from itertools import groupby&#xA;  return [x[0] for x in groupby(l)]&#xA;&#xA;&#xA;def construct_ffmpeg_trim_cmd(timepairs, inpath, outpath):&#xA;  cmd = f'ffmpeg -i &amp;quot;{inpath}&amp;quot; -y -filter_complex '&#xA;  cmd += '&amp;quot;'&#xA;  for i, (start, end) in enumerate(timepairs):&#xA;    cmd += (f&amp;quot;[0:v]trim=start={start}:end={end},setpts=PTS-STARTPTS,format=yuv420p[{i}v]; &amp;quot; +&#xA;            f&amp;quot;[0:a]atrim=start={start}:end={end},asetpts=PTS-STARTPTS[{i}a]; &amp;quot;)&#xA;  for i, (start, end) in enumerate(timepairs):&#xA;    cmd += f&amp;quot;[{i}v][{i}a]&amp;quot;&#xA;  cmd += f'concat=n={len(timepairs)}:v=1:a=1[outv][outa]'&#xA;  cmd += '&amp;quot;'&#xA;  cmd += f' -map [outv] -map [outa] &amp;quot;{outpath}&amp;quot;'&#xA;  return cmd&#xA;&#xA;&#xA;def get_blackdetect(inpath, invert=False):&#xA;  ffprobe_cmd = f&amp;quot;ffprobe -f lavfi -i \&amp;quot;movie={inpath},blackdetect[out0]\&amp;quot; -show_entries tags=lavfi.black_start,lavfi.black_end -of default=nw=1 -v quiet&amp;quot;&#xA;  print('ffprobe_cmd:', ffprobe_cmd)&#xA;  lines = subprocess.check_output(shlex.split(ffprobe_cmd)).decode('utf-8').split('\n')&#xA;  times = [float(x.split('=')[1].strip()) for x in delete_back2back(lines) if x]&#xA;  assert len(times), 'no black detected'&#xA;&#xA;  if not invert:&#xA;    times = [0] + times[:-1]&#xA;  timepairs = [(times[i], times[i + 1]) for i in range(0, len(times) // 2, 2)]&#xA;  return timepairs&#xA;&#xA;&#xA;timepairs = get_blackdetect(args.input, invert=args.invert)&#xA;cmd = construct_ffmpeg_trim_cmd(timepairs, args.input, outpath)&#xA;&#xA;print(cmd)&#xA;os.system(cmd)&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Combining multiple answers together:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/a/16571/37220&quot;&gt;https://video.stackexchange.com/a/16571/37220&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://superuser.com/a/1498811/739491&quot;&gt;https://superuser.com/a/1498811/739491&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="37220" LastEditorUserId="37220" LastEditDate="2022-10-19T18:08:45.650" LastActivityDate="2022-10-19T18:08:45.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34839" PostTypeId="2" ParentId="24680" CreationDate="2022-01-05T20:02:03.230" Score="0" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;What is the point of having no-scenecut when keyint = min-keyint&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;There is the code in x264 (validate_parameters function):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;if( h-&amp;gt;param.i_keyint_min == X264_KEYINT_MIN_AUTO )&#xA;    h-&amp;gt;param.i_keyint_min = X264_MIN( h-&amp;gt;param.i_keyint_max / 10, (int)fps );&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It will disallow equality of the keyint and keyint_min.&lt;/p&gt;&#xA;" OwnerUserId="37221" LastActivityDate="2022-01-05T20:02:03.230" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34840" PostTypeId="2" ParentId="34837" CreationDate="2022-01-05T20:45:04.603" Score="0" Body="&lt;p&gt;Yes there is:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/9Ofn4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9Ofn4.png&quot; alt=&quot;icon&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Use the &lt;a href=&quot;https://theknowledgeburrow.com/what-is-the-rolling-edit-tool-in-premiere/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Rolling Edit tool&lt;/a&gt; by selecting the transition point between the two clips so it goes red:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/rvpD5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rvpD5.png&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Then press &lt;kbd&gt;N&lt;/kbd&gt; to select the Rolling Edit Tool, and drag the transition left or right.&lt;/p&gt;&#xA;&lt;p&gt;Any linked tracks will move together.  If you want to only move the track you selected, hold down the &lt;kbd&gt;option&lt;/kbd&gt; key (on a Mac) to only move one track.&lt;/p&gt;&#xA;&lt;p&gt;This is useful for doing &lt;a href=&quot;https://www.studiobinder.com/blog/what-is-an-l-cut-in-film/&quot; rel=&quot;nofollow noreferrer&quot;&gt;L-cut edits&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-01-05T23:23:10.020" LastActivityDate="2022-01-05T23:23:10.020" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34841" PostTypeId="2" ParentId="27913" CreationDate="2022-01-06T19:32:59.807" Score="1" Body="&lt;p&gt;Try under Audio Hardware in Preferences, change Input to No Input. Why this had an impact on the audio in the timeline... I have no clue. But it fixed the issue when I had it.&lt;/p&gt;&#xA;" OwnerUserId="37227" LastActivityDate="2022-01-06T19:32:59.807" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34846" PostTypeId="1" AcceptedAnswerId="34847" CreationDate="2022-01-07T08:53:59.593" Score="0" ViewCount="32" Body="&lt;p&gt;I found an interesting video that show two clips merge and blend so it looks like one video but two different scenes because the guys from the left scene can cross over to the right scene.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qp4U1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qp4U1.jpg&quot; alt=&quot;The guys cross over to the right scene&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;In the left image, part of the body of the guy from the left scene is disappear because it is covered by the right scene.&lt;/p&gt;&#xA;&lt;p&gt;In the right image, all of those guys can cross over to the right scene and nothing is disappear in the right scene (the wall and the person).&lt;/p&gt;&#xA;&lt;p&gt;Here is the link of the video &lt;a href=&quot;https://drive.google.com/file/d/1y98wt7n_lSbguiA0dYaO44gJ_j_6lcyj/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1y98wt7n_lSbguiA0dYaO44gJ_j_6lcyj/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I use keyword such transition, transform, merge, and blending to search for tutorial but no luck. What is the name of this technique? Does black-magic design software has features to do this?&lt;/p&gt;&#xA;" OwnerUserId="37232" LastActivityDate="2022-01-07T20:57:03.113" Title="Cross over from left scene to right scene" Tags="|editing|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34847" PostTypeId="2" ParentId="34846" CreationDate="2022-01-07T14:20:38.007" Score="0" Body="&lt;p&gt;There's two parts to this technique.&lt;/p&gt;&#xA;&lt;p&gt;The first one is sometimes called a “split screen” or “side by side” video technique. Pretty much any NLE “like Davinci Resolve will allow you to achieve this effect. The primary thing to make this technique work, is how you shoot the two video clips. Once you’ve shot them, you’ll simply crop or mask one to fill only half of the screen and then place the second one on a layer below it. Here’s a link to a video tutorial on how to make a split video:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/7wpD9INOlbE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;The second part is called rotoscoping. This is where an object (or person) from one clip &amp;quot;enters&amp;quot; the other video. There's a couple video tutorials for rotoscoping in Davinci Resolve:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/pTdm0soTUXI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/eyYUsD2Yk7o?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="2352" LastEditorUserId="2352" LastEditDate="2022-01-07T20:57:03.113" LastActivityDate="2022-01-07T20:57:03.113" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34850" PostTypeId="1" CreationDate="2022-01-09T23:35:58.220" Score="0" ViewCount="11" Body="&lt;p&gt;Suppose I subtitle a video of myself reading a story. I can use software like gaupol to insert subtitles into a .srt file at particular times. But I shouldn't have to retype the whole story, given I was reading it off the screen when I made the video!&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to auto-fill the .srt with the text I already have?&lt;/p&gt;&#xA;" OwnerUserId="37258" LastActivityDate="2022-01-09T23:35:58.220" Title="How can I auto-fill a subtitle file with the known text I was reading?" Tags="|subtitles|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34851" PostTypeId="1" CreationDate="2022-01-10T11:10:05.300" Score="1" ViewCount="107" Body="&lt;p&gt;I'm trying to create film grain effect using DaVinci Resolve's built in Film Grain effect in Fusion (ignore the brightness and ellipse nodes, it's irrelevant):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AVJzw.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AVJzw.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The film grain effects animates the grain as expected for the first few seconds (exactly 51 frames) perfectly. Then the grain animation stops and the whole video is overlaid with a static film grain &amp;quot;image&amp;quot; overlaid. As a result the first 51 frames of the video has the grain effect that I want, and for some reason, after 52nd frame it just stays static. I've also tried changing the random seed and time lock to see if it helps, but no avail.&lt;/p&gt;&#xA;&lt;p&gt;What should I do? (I'm on Resolve 17.4.3 build 10)&lt;/p&gt;&#xA;" OwnerUserId="37261" LastActivityDate="2022-01-10T11:10:05.300" Title="DaVinci Resolve FilmGrain effect staying static after 51 frames" Tags="|davinci-resolve|fusion|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="34857" PostTypeId="1" CreationDate="2022-01-11T16:38:21.053" Score="-1" ViewCount="54" Body="&lt;p&gt;Most of desktop recording software which I have tried - like sharex, obs studio - does not record everything - like right mouse click popup windows are missing from recording. At least for external applications, like Visual studio (For explorer right click popups are shown).&lt;/p&gt;&#xA;&lt;p&gt;Do you know some desktop recording software, which can be used to do that one ? Or may be some driver/ option / etc...&lt;/p&gt;&#xA;&lt;p&gt;Prefer open/ free software if possible.&lt;/p&gt;&#xA;" OwnerUserId="37275" LastEditorUserId="37275" LastEditDate="2022-01-11T17:23:35.290" LastActivityDate="2023-06-05T21:04:25.503" Title="Which desktop recording software can be used to record also right click popups" Tags="|video-recording|windows|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34858" PostTypeId="2" ParentId="34857" CreationDate="2022-01-11T17:32:08.193" Score="0" Body="&lt;p&gt;After some struggling - I've used sharex - but before that one following thing needs to be done first.&lt;/p&gt;&#xA;&lt;p&gt;Install TightVNC, register and start server.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;From settings enable loopback connection.&lt;/li&gt;&#xA;&lt;li&gt;Start TightVNC viewer&lt;/li&gt;&#xA;&lt;li&gt;From options select &lt;code&gt;'View only (Inputs ignored)'&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Connect to &lt;code&gt;localhost&lt;/code&gt; - resize to half of display on one side, on another side select application to record.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;You can also disable jpg compression / improve image for quality from VNC viewer settings.&lt;/p&gt;&#xA;&lt;p&gt;Record normally using shareX, from VNC viewer connection (not from desktop software).&lt;/p&gt;&#xA;" OwnerUserId="37275" LastActivityDate="2022-01-11T17:32:08.193" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34859" PostTypeId="1" CreationDate="2022-01-11T22:09:57.667" Score="1" ViewCount="1620" Body="&lt;p&gt;I'm converting a couple of videos that I have using the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v hevc_amf -c:a copy input_h265.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It works, but on some videos I get this warning message:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;More than 1000 frames duplicated    4608kB time=00:00:19.07 bitrate=1979.3kbits/s dup=914 drop=0 speed=3.68x&#xA;More than 10000 frames duplicated  53760kB time=00:03:28.34 bitrate=2113.8kbits/s dup=9934 drop=0 speed=3.44x&#xA;More than 100000 frames duplicated 560128kB time=00:35:52.64 bitrate=2131.6kbits/s dup=99919 drop=0 speed=3.69x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Does that mean that the input video already had those duplicate frames, or it is a problem that the converted one will have? Is it an issue at all? If so, how can I fix or prevent it from happening?&lt;/p&gt;&#xA;" OwnerUserId="37279" LastActivityDate="2022-10-21T05:05:10.627" Title="ffmpeg - duplicated frames" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34861" PostTypeId="1" CreationDate="2022-01-12T13:53:11.227" Score="2" ViewCount="129" Body="&lt;p&gt;I want to use the Depth Matte effect: &lt;a href=&quot;https://helpx.adobe.com/ca/after-effects/using/3d-channel-effects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/ca/after-effects/using/3d-channel-effects.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;but it seems these assume the sequence was loaded from a file that contains both color and depth in the same file.&lt;/p&gt;&#xA;&lt;p&gt;I have a color pass as exr file as well as a depth pass as exr file. How can I combine these two in After Effects so that I can use the Depth Matte effect (basically I want the opposite of what the &amp;quot;3D Channel Extract&amp;quot; effect does - instead of extracting a 3D channel, I want to inject one)?&lt;/p&gt;&#xA;" OwnerUserId="29821" LastActivityDate="2022-01-12T13:53:11.227" Title="After Effects: How to use Depth Matte if you have color and depth in different files?" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34862" PostTypeId="1" CreationDate="2022-01-12T18:34:17.953" Score="0" ViewCount="30" Body="&lt;ol&gt;&#xA;&lt;li&gt;What is the name of this operation(s) in general non-linear video editing?&lt;/li&gt;&#xA;&lt;li&gt;How to do it in Apple Final Cut Pro?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/KUR6N.png&quot; alt=&quot;Cutting types of outgoing and incoming clip regarding video and audio track&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/HfQev.png&quot; alt=&quot;Complimentary to L-cut and J-cut&quot; /&gt;&lt;/p&gt;&#xA;&lt;h2&gt;Note:&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I'm aware that the outcome is a J-cut or an L-cut.&lt;/li&gt;&#xA;&lt;li&gt;But when considering the clip boundary on the timeline as the starting point (&amp;quot;before&amp;quot;) and keeping the audio cutting point fixed on that reference line and instead moving the video cutting point, the outcome of the part I grabbed is a &amp;quot;┐&amp;quot; shape or &amp;quot;┌&amp;quot; shape.&lt;/li&gt;&#xA;&lt;li&gt;Indirectly of course for a &amp;quot;┐&amp;quot; shape you achieved an L-shape to the left and for a &amp;quot;┌&amp;quot; shape a J-shape to the right.&lt;/li&gt;&#xA;&lt;li&gt;But seeing it from the video track you grab you achieve an &amp;quot;┐&amp;quot; shape or &amp;quot;┌&amp;quot; shape.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Help appreciated!&lt;/h2&gt;&#xA;" OwnerUserId="35955" LastActivityDate="2022-01-13T20:15:03.237" Title="Between outgoing and incoming clip how do I keep the audio track cutting point as-is but only move the cutting point of the video track?" Tags="|editing|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34863" PostTypeId="2" ParentId="5020" CreationDate="2022-01-12T19:04:55.263" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://mifi.no/losslesscut/&quot; rel=&quot;nofollow noreferrer&quot;&gt;LosslessCut&lt;/a&gt; is the most efficient and free tool for your requirements which comes to my mind.&lt;/p&gt;&#xA;&lt;p&gt;Your mother would watch the footage and just press &lt;code&gt;I O   I O   I O   ... &lt;/code&gt; all the time to set in and out points while watching. One can operate:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;either inclusively: Keep everything between all in-out points and export the result.&lt;/li&gt;&#xA;&lt;li&gt;or exclusively: Throw away everything between all in-out points and export the remainder.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Pros&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Playback and operation is super fast and efficient.&lt;/li&gt;&#xA;&lt;li&gt;Export is super fast and lossless — Concatenation without any re-encoding) but the cuts will occur at keyframes (which can be up to ca 1 sec away where you set the in- or out-point)&lt;/li&gt;&#xA;&lt;li&gt;Operate by mouse or hotkeys. Very efficient.&lt;/li&gt;&#xA;&lt;li&gt;Suits both beginners and advanced users well in one UI.&lt;/li&gt;&#xA;&lt;li&gt;Free!&lt;/li&gt;&#xA;&lt;li&gt;Cross platform: Windows, Linux, Mac.&lt;/li&gt;&#xA;&lt;li&gt;Exclusive/inclusive mode can also be toggled any time. But ofc you should decide on your approach at the start of your cutting efforts and then stick to it.&lt;/li&gt;&#xA;&lt;li&gt;With this you can easily create one export with &amp;quot;the good stuff&amp;quot; then simple swap the mode and then export &amp;quot;all the rest&amp;quot; into another file. If you need it as a backup. Maybe in a second pass you go through the &amp;quot;all the rest part&amp;quot; and have some takeouts there again. Until you have the &amp;quot;very very rest&amp;quot; which you may simply delete and not bother keeping at all.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Cons&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Not frame-exact cutting (hh:mm:ss:ff), that would require to losslessly re-encode the portion from the last keyframe to that frame, but they look into implementing &lt;a href=&quot;https://github.com/mifi/lossless-cut/issues/126&quot; rel=&quot;nofollow noreferrer&quot;&gt;Smart Cut&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;As far as I understood you only need seconds precision, so this con should not affect you.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="35955" LastActivityDate="2022-01-12T19:04:55.263" CommentCount="0" CommunityOwnedDate="2022-01-12T19:04:55.263" ContentLicense="CC BY-SA 4.0" />
  <row Id="34864" PostTypeId="2" ParentId="4525" CreationDate="2022-01-12T19:19:55.997" Score="0" Body="&lt;h1&gt;My recommendation as a fellow Mac user: &lt;a href=&quot;https://mifi.no/losslesscut/&quot; rel=&quot;nofollow noreferrer&quot;&gt;LosslessCut&lt;/a&gt;&lt;/h1&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The most efficient and free tool for your requirements which comes to my mind.&lt;/li&gt;&#xA;&lt;li&gt;Just press &lt;code&gt;I O   I O   I O   ... &lt;/code&gt; all the time to set in and out points while watching. One can operate:&lt;/li&gt;&#xA;&lt;li&gt;either inclusively: Keep everything between all in-out points and export the result.&lt;/li&gt;&#xA;&lt;li&gt;or exclusively: Throw away everything between all in-out points and export the remainder.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Pros&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Playback and operation is super fast and efficient.&lt;/li&gt;&#xA;&lt;li&gt;Export is lossless and super fast — Concatenation without any re-encoding. But the cuts will occur at keyframes (which can be up to ca 1 sec away where you set the in- or out-point)&lt;/li&gt;&#xA;&lt;li&gt;Uses &lt;code&gt;ffmpeg&lt;/code&gt; under the hood, and that understands basically every video/audio codec and container format this world has ever seen. &lt;/li&gt;&#xA;&lt;li&gt;Operate by mouse or hotkeys. Very efficient.&lt;/li&gt;&#xA;&lt;li&gt;Suits both beginners and advanced users well in one UI.&lt;/li&gt;&#xA;&lt;li&gt;Free!&lt;/li&gt;&#xA;&lt;li&gt;Cross platform: Windows, Linux, Mac.&lt;/li&gt;&#xA;&lt;li&gt;Exclusive/inclusive mode can also be toggled any time. But ofc you should decide on your approach at the start of your cutting efforts and then stick to it.&lt;/li&gt;&#xA;&lt;li&gt;With this you can easily create one export with &amp;quot;the good stuff&amp;quot; then simple swap the mode and then export &amp;quot;all the rest&amp;quot; into another file. If you need it as a backup. Maybe in a second pass you go through the &amp;quot;all the rest part&amp;quot; and have some takeouts there again. Until you have the &amp;quot;very very rest&amp;quot; which you may simply delete and not bother keeping at all.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Cons&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Not frame-exact cutting (hh:mm:ss:ff), that would require to losslessly re-encode the portion from the last keyframe to that frame, but they look into implementing &lt;a href=&quot;https://github.com/mifi/lossless-cut/issues/126&quot; rel=&quot;nofollow noreferrer&quot;&gt;Smart Cut&lt;/a&gt;.&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Note that QuickTime can do this already (keep it lossless where possible and only re-encode the portions from keyframe to cut. But with these downsides:&#xA;&lt;ul&gt;&#xA;&lt;li&gt;❌ Either thumbs or waveform, not both. LossLesscut has bove.&lt;/li&gt;&#xA;&lt;li&gt;❌ No zooming into timeline. Exact editing de facto not possible for everything longer than 30secs. That dynamic zoom in (UX paradigm taken from iOS devices) is in-precise and unpractical.&lt;/li&gt;&#xA;&lt;li&gt;❌ No fast operation. In LosslessCut this goes very smooth with keyboard shortcuts and also mistakes are corrected VERY quickly.&lt;/li&gt;&#xA;&lt;li&gt;❌ Only neighboring clips. In Lossless cut you can have multiple clips with in/out points and gaps (throwaway or keep) inbetween. In QuickTime you have to manually delete the clips inbetween. Often you confuse them. Forget fast and precise batch cutting here.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="35955" LastActivityDate="2022-01-12T19:19:55.997" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34865" PostTypeId="1" AcceptedAnswerId="34879" CreationDate="2022-01-13T01:01:58.893" Score="0" ViewCount="35" Body="&lt;p&gt;I want to make an animation like this. What do you call them? And is it possible to do it in Sony Vegas? How do I get started?&lt;/p&gt;&#xA;&lt;p&gt;These came from the video of Consumed by the Apocalypse by Lemmino: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/nx2-4l4s4Nw?start=202&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XwEEL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XwEEL.png&quot; alt=&quot;Consumed by the Apocalypse: 1:22&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Wh0fU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Wh0fU.png&quot; alt=&quot;https://www.youtube.com/watch?v=nx2-4l4s4Nw&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37291" LastActivityDate="2022-01-18T04:58:25.573" Title="Best tools to start for 2D graphic animation for Physics?" Tags="|animation|vegas-pro|" AnswerCount="1" CommentCount="1" ClosedDate="2022-01-21T18:55:31.823" ContentLicense="CC BY-SA 4.0" />
  <row Id="34866" PostTypeId="1" CreationDate="2022-01-13T02:25:14.190" Score="2" ViewCount="164" Body="&lt;p&gt;How does one go about concatenating several H.264 raw streams into one without reencoding or quality loss?&lt;/p&gt;&#xA;&lt;p&gt;The streams lacked any advanced features and represented contuous recording. There is no random seek/random access feature, either.&lt;/p&gt;&#xA;" OwnerUserId="37172" LastActivityDate="2022-01-13T02:25:14.190" Title="Concatenate H.264 raw but basic streams without reencoding or quality loss" Tags="|h.264|concatenation|lossless|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34867" PostTypeId="2" ParentId="34866" CreationDate="2022-01-13T02:25:14.190" Score="2" Body="&lt;p&gt;I found the following way, when trying to concatenate videostreams from the dashcam. Note: the streams had no random seek/random access&lt;/p&gt;&#xA;&lt;p&gt;On Windows, perform the following,&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;copy /b file1.264 + file2.264 + file3.264 result.264&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The command would byte-merge the raw streams, which works out well. If no random seek/random access feature existed, then it won't appear; but upon the uploading to YouTube, the random seek/random access feature was re-added.&lt;/p&gt;&#xA;&lt;p&gt;Inspired by &lt;a href=&quot;https://superuser.com/a/1031182&quot;&gt;this source&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37172" LastActivityDate="2022-01-13T02:25:14.190" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34869" PostTypeId="2" ParentId="34821" CreationDate="2022-01-13T14:09:19.210" Score="0" Body="&lt;p&gt;from : &lt;a href=&quot;https://stackoverflow.com/questions/70578206/inconsistent-frame-number-with-ffmpeg&quot;&gt;https://stackoverflow.com/questions/70578206/inconsistent-frame-number-with-ffmpeg&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The source of the differences is that FFprobe counts the &lt;strong&gt;discarded packets&lt;/strong&gt;, and FFmpeg doesn't count the discarded packets as frames.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Your results are consistent with video stream that is created with 3 B-Frames (3 consecutive B-Frames for every P-Frame or I-Frame).&lt;/p&gt;&#xA;&lt;p&gt;According to &lt;a href=&quot;https://en.wikipedia.org/wiki/Video_compression_picture_types&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;I‑frames are the least compressible but don't require other video frames to decode.&lt;br /&gt;&#xA;P‑frames can use data from previous frames to decompress and are more compressible than I‑frames.&lt;br /&gt;&#xA;B‑frames can use both previous and forward frames for data reference to get the highest amount of data compression.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;When splitting a video with P-Frame and B-Frame into segments without re-encoding, the dependency chain breaks.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;There are (almost) always frames that depends upon frames from the previous segment or the next segment.&lt;/li&gt;&#xA;&lt;li&gt;The above frames are kept, but the matching packets are marked as &amp;quot;discarded&amp;quot; (marked with &lt;code&gt;AV_PKT_FLAG_DISCARD&lt;/code&gt; flag).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;For the purpose of working on the same dataset, we my build synthetic video (to be used as input).&lt;/p&gt;&#xA;&lt;p&gt;Building synthetic video with the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -r 60 -f lavfi -i testsrc=size=384x256:rate=1 -vf &amp;quot;setpts=N/60/TB&amp;quot; -g 60 -vcodec libx265 -x265-params crf=28:bframes=3:b-adapt=0 -tag:v hvc1 -pix_fmt yuv420p -t 20 test_video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-g 60&lt;/code&gt; set GOP size to 60 frames (insert a key frame every 60 frames).&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;bframes=3:b-adapt=0&lt;/code&gt; force 3 consecutive B-Frames.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;For verifying the number of I/P/B frames, we may use FFprobe:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -i test_video.mp4 -show_frames -show_entries frame=pict_type&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The output is like:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;pict_type=I&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;pict_type=B&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;pict_type=B&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;pict_type=B&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;pict_type=P&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;pict_type=B&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;pict_type=B&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;pict_type=B&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;...&lt;/code&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Segment the video by time (5 seconds per segment):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test_video.mp4 -f segment -vcodec copy -reset_timestamps 1 -segment_time 5 clips/part_%d.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;FFprobe counting:&lt;br /&gt;&#xA;&lt;code&gt;297 1497 1200&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;300 1797 1200&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;300 2097 1200&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;303 2400 1200&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;FFmpeg counting:&lt;br /&gt;&#xA;&lt;code&gt;frame=  297&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;frame=  297&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;frame=  297&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;frame=  300&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you can see, the result is consistent with your output.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;We may identify the &amp;quot;discarded&amp;quot; packets using FFprobe:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -i part_1.mp4 -show_packets&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Look for &lt;code&gt;flags=_D&lt;/code&gt;.&lt;br /&gt;&#xA;Packet with &lt;code&gt;flags=_D&lt;/code&gt; is marked as &amp;quot;discarded&amp;quot;&lt;br /&gt;&#xA;Note: In a video stream every packet matches a frame.&lt;/p&gt;&#xA;&lt;p&gt;FFprobe output begins with:&lt;br /&gt;&#xA;&lt;code&gt;flags=K_&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;flags=_D&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;flags=_D&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;flags=_D&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;flags=__&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;flags=__&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;flags=__&lt;/code&gt;&lt;br /&gt;&#xA;&lt;code&gt;...&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;For every middle segment, 3 packets are marked as &amp;quot;discarded&amp;quot;, and that is the reason for the 3 missing frames in FFmpeg compared to FFprobe.&lt;/p&gt;&#xA;" OwnerUserId="37206" LastActivityDate="2022-01-13T14:09:19.210" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34871" PostTypeId="2" ParentId="34862" CreationDate="2022-01-13T20:04:12.157" Score="1" Body="&lt;p&gt;&lt;strong&gt;Roll Edit&lt;/strong&gt; is the operation to move the edit point between two clips on the timeline.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;In Final Cut Pro&lt;/strong&gt; by default this operation affects both the video and the audio portion of a clip.&lt;/p&gt;&#xA;&lt;p&gt;In order to perform a roll edit only on the video portion of a clip you:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Select both clips on the timeline.&lt;/li&gt;&#xA;&lt;li&gt;Expand audio — &lt;kbd&gt;ctrl&lt;/kbd&gt;-&lt;kbd&gt;S&lt;/kbd&gt; — or in the context menu&lt;br&gt;&#xA;Now video and audio portion are shown separately on the main timeline&lt;/li&gt;&#xA;&lt;li&gt;Switch to the Trim tool — &lt;kbd&gt;T&lt;/kbd&gt; — or click on the dropdown menu top left above the timeline.&lt;/li&gt;&#xA;&lt;li&gt;Now move the edit point between the video clips or audio clips freely. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://www.dropbox.com/s/xdv287gpig4jkwc?raw=1&quot; alt=&quot;Final Cut Pro - Roll edit between two clips for audio and video portion separately with keyboard shortcuts&quot; /&gt;&lt;/p&gt;&#xA;&lt;p&gt;Long video with more explanation and explicitly shown tool menu and context menu:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/5wtxgk3pu64rrkq?raw=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;▶️ Final Cut Pro - Roll edit between two clips for audio and video portion together or separately&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35955" LastEditorUserId="35955" LastEditDate="2022-01-13T20:15:03.237" LastActivityDate="2022-01-13T20:15:03.237" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34872" PostTypeId="2" ParentId="6886" CreationDate="2022-01-14T14:55:02.143" Score="1" Body="&lt;p&gt;Because you need at least 3 samples per signal period, to uniquely interpolate the original signal. (with regard to aperiodic signals, ‘period’ refers to the time period over which it has been time-limited)The reason for this is as follows:&lt;/p&gt;&#xA;&lt;p&gt;When you sample a signal, there are three variables(degrees of freedom) involved:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The signal frequency/frequency spectrum. This determines the&#xA;magnitude variation between the sample points.&lt;/li&gt;&#xA;&lt;li&gt;The sampling frequency. This determines the spacing between the&#xA;sample points.&lt;/li&gt;&#xA;&lt;li&gt;The phase of the sampled signal. This determines the relative&#xA;orientation of the sample points. For example, a cosine wave sampled&#xA;at half its frequency, starting from the zero degree point, will&#xA;have a peak followed by a trough, while a sampled sine wave will&#xA;have a trough followed by a peak.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;To uniquely determine the original wave from three variables, we need three relations(constraints) between them. If the number of constraints is less than three, then the solution is not unique.&lt;/p&gt;&#xA;&lt;p&gt;Let’s illustrate this, by considering a sinusoid of frequency  &lt;em&gt;&lt;strong&gt;f&lt;/strong&gt;&lt;/em&gt;  sampled at a frequency  &lt;em&gt;&lt;strong&gt;fs&lt;/strong&gt;&lt;/em&gt;  :&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;&lt;strong&gt;Case 1:  fs≤f&lt;/strong&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;If the sampling frequency is less than or equal to the max signal frequency, then there would be at most one sample in a period. This one sample constrains only one variable - the sampling frequency(the spacing between the samples). The other two variables - the signal frequency and the phase can be freely chosen - meaning that any signal, with any phase, sampled at the given frequency, can pass through those points.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/OXfQG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OXfQG.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;&lt;strong&gt;Case 2:  fs=2f&lt;/strong&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;In this case, there are two samples per signal period. Now, consider two sinusoids, one of which has a frequency three times the other, as shown below:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/lbtAN.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lbtAN.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As can be seen, in this case, there are constraints on two variables - the signal frequency(the magnitude variation between the points) and the sampling frequency(spacing between the points), but the third variable - phase can be freely chosen.&lt;/p&gt;&#xA;&lt;p&gt;As a result, a sine wave of 3 times the frequency, but phase-shifted by 270 degrees, can perfectly pass through the points generated by sampling the original wave.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;&lt;strong&gt;Case 3:  fs&amp;gt;2f&lt;/strong&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;In this case, there are at least three constraints on the sample points and only a signal, that:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Has the required spacing between the sample points.(Sampling frequency)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Has the required magnitude variation between the sample points(Signal frequency)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Has the required relative orientation of sample points(Signal phase),&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;will pass through the generated sample points, enabling us to determine the original signal uniquely.&lt;/p&gt;&#xA;" OwnerUserId="37307" LastActivityDate="2022-01-14T14:55:02.143" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34873" PostTypeId="1" CreationDate="2022-01-14T19:09:09.703" Score="0" ViewCount="78" Body="&lt;p&gt;I would like to stabilize a video, but animate the amount of stabilization.&lt;/p&gt;&#xA;&lt;p&gt;I tried using the Warp Stabilizer VFX effect, but while I can controll the strength of stabilization using the 'smoothness' slider, I cannot animate this property.&lt;/p&gt;&#xA;&lt;p&gt;Is there another way to change the amount of stabilization during a video?&lt;/p&gt;&#xA;" OwnerUserId="29821" LastActivityDate="2023-03-26T03:05:10.580" Title="AfterEffects: How to animate amount of video stabilization" Tags="|after-effects|stabilisation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34874" PostTypeId="1" CreationDate="2022-01-14T21:24:00.317" Score="0" ViewCount="926" Body="&lt;p&gt;Is it possible to get a dump of the PSNR of every frame of a video using ffmpeg or ffprobe? So far all the options I've seen are for comparing two videos or getting the average across the whole video. If ffmpeg cannot do it, are there other softwares that can?&lt;/p&gt;&#xA;&lt;p&gt;Edit: OK it seems like I misunderstood what PSNR is. I thought it was a measure of quality of an image, but it seems like it is a measure of quality between an original image and a compressed image.&lt;/p&gt;&#xA;" OwnerUserId="37311" LastEditorUserId="37311" LastEditDate="2022-01-15T20:12:55.917" LastActivityDate="2022-01-15T20:12:55.917" Title="Frame-by-frame PSNR using ffmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34878" PostTypeId="2" ParentId="34534" CreationDate="2022-01-17T13:26:18.167" Score="0" Body="&lt;p&gt;Yes, I use it primarily and did not have problems.&#xA;Start with the Compressor to bring all sounds together. If necessary have a limiter at the end.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2022-01-17T13:26:18.167" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34879" PostTypeId="2" ParentId="34865" CreationDate="2022-01-18T04:58:25.573" Score="0" Body="&lt;p&gt;Just my thoughts:&lt;/p&gt;&#xA;&lt;p&gt;It looks like it (motion graphics) could be done with Vegas but the industry standard is to do it with After Effects, probably in partnership with something like Illustrator.&lt;/p&gt;&#xA;&lt;p&gt;TBH I am not too familiar with Vegas but I have seen its output; AE on the other hand has been around for a long time and I have seen physics, mathematical, medical, etc, motions graphics and video done with that as the norm.&lt;/p&gt;&#xA;&lt;p&gt;(Based on doing motion graphics eons ago)&lt;/p&gt;&#xA;&lt;p&gt;If you are new to this, best bet is to look at tutorials on youtube and get stuck in for a long ride and perhaps quite a learning curve.&lt;/p&gt;&#xA;" OwnerUserId="37289" LastActivityDate="2022-01-18T04:58:25.573" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34880" PostTypeId="2" ParentId="33604" CreationDate="2022-01-18T11:55:27.797" Score="0" Body="&lt;p&gt;Might be relevant for your question:&#xA;&lt;a href=&quot;https://github.com/nevoit/Dynamic-Adjustment-of-Playback-Speed&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/nevoit/Dynamic-Adjustment-of-Playback-Speed&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;However, it works only with video subtitles and assumes the subtitles are synchronized to the video.&lt;/p&gt;&#xA;" OwnerUserId="37347" LastActivityDate="2022-01-18T11:55:27.797" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34886" PostTypeId="2" ParentId="28631" CreationDate="2022-01-19T13:15:16.380" Score="0" Body="&lt;p&gt;What you need in addition to remove the frozen parts is &lt;strong&gt;setpts&lt;/strong&gt;. Keep in mind that &lt;strong&gt;mpdecimate&lt;/strong&gt; works only on the video stream, so you have to remove the audio because is not going to be synced.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -vf mpdecimate,setpts=N/FRAME_RATE/TB -an video-fixed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="37360" LastEditorUserId="14523" LastEditDate="2022-01-19T15:41:49.107" LastActivityDate="2022-01-19T15:41:49.107" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34887" PostTypeId="1" AcceptedAnswerId="34888" CreationDate="2022-01-19T17:06:57.577" Score="1" ViewCount="524" Body="&lt;p&gt;&lt;strong&gt;Source&lt;/strong&gt;: Quicktime movie or MP4 container which has chapter markers.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Intended output&lt;/strong&gt;: Plain text for use in YouTube or similar services. Chapter start time code as (HH:)MM:SS at the beginning of the line followed by the chapter name.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;00:00 Intro&#xA;00:30 Another Chapter&#xA;02:00 Fin&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="35955" LastEditorUserId="35955" LastEditDate="2022-01-19T17:19:58.480" LastActivityDate="2022-03-12T10:04:21.467" Title="How can I get timecode start times and chapter names as plain text from a video which has chapter markers?" Tags="|youtube|export|timecode|metadata|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34888" PostTypeId="2" ParentId="34887" CreationDate="2022-01-19T17:06:57.577" Score="2" Body="&lt;p&gt;&lt;a href=&quot;https://mifi.no/losslesscut/&quot; rel=&quot;nofollow noreferrer&quot;&gt;LosslessCut&lt;/a&gt; (GUI for ffmpeg and ffprobe, multi-platform, free)&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Open video file with video markers.&lt;/li&gt;&#xA;&lt;li&gt;A dialog opens:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;This file has embedded chapters. Do you want to import the chapters as cut-segments?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Click &amp;quot;Import chapters&amp;quot;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;Menu &amp;gt; File &amp;gt; Export project &amp;gt; Start times as Youtube Chapters&lt;/li&gt;&#xA;&lt;li&gt;A dialog with a multi line text area opens:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Copy the desired chapter names and timecodes&lt;/li&gt;&#xA;&lt;li&gt;Offers a &amp;quot;copy all&amp;quot; button for your convenience too.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;hr /&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/e4qkZ.png&quot; width=&quot;240&quot; alt=&quot;LossLessCut chapter markers 2 Import dialog&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/4YuaI.jpg&quot; width=&quot;240&quot; alt=&quot;LossLessCut chapter markers 3 Export start time as YouTube chapters&quot;&gt;&#xA;&lt;img src=&quot;https://i.stack.imgur.com/Orwyg.png&quot; width=&quot;240&quot; alt=&quot;LossLessCut chapter markers 4 Copy timecode and chapters&quot;&gt;&#xA;" OwnerUserId="35955" LastEditorUserId="35955" LastEditDate="2022-03-12T10:04:21.467" LastActivityDate="2022-03-12T10:04:21.467" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34889" PostTypeId="1" CreationDate="2022-01-19T20:03:17.527" Score="4" ViewCount="2123" Body="&lt;p&gt;I created a project with rec2020 HLG and imported my iPhone footage. I also want to include my footage from my drone but it's not in HDR. When I import it, it looks extremely dull. How can I use SDR clips in my HDR project / timeline in Final Cut Pro?&lt;/p&gt;&#xA;" OwnerUserId="37363" LastActivityDate="2023-08-10T08:00:30.513" Title="How can I add SDR clips into an HDR project / timeline?" Tags="|final-cut-pro-x|final-cut-pro|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34890" PostTypeId="2" ParentId="34889" CreationDate="2022-01-19T21:06:48.590" Score="5" Body="&lt;p&gt;I figured it out.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Goto effects panel and add HDR Tools Effect.&lt;/li&gt;&#xA;&lt;li&gt;Change mode to PQ to HLG, then lower nits to 100. That fixes it.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="37363" LastActivityDate="2022-01-19T21:06:48.590" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34898" PostTypeId="1" CreationDate="2022-01-22T12:45:24.430" Score="1" ViewCount="279" Body="&lt;p&gt;I'm trying to distribute an MP4 file with Chapters included, I'm fine if devices not supporting the chapters just ignore them, so long as the video still plays. I recently discovered some devices won't play the MP4 once it has chapters in it. Further investigation has given some odd results.&lt;/p&gt;&#xA;&lt;p&gt;The desired output file is 1080p50 (1920x1080, 50fps). If I encode to that from Adobe Premiere, and copy the file to USB, I can play the video fine on my old Samsung TV (10+ years old). If I add the chapter list with Subler, the Samsung will no longer play the file &amp;quot;Unsupported Video Data&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;If I rip a DVD of the same content with Handbrake, which also puts the DVD Chapters in the MP4, it plays fine on the Samsung. The video in this MP4 is DVD resolution/frame rate, I assumed that's why this file with chapters worked.&lt;/p&gt;&#xA;&lt;p&gt;On running further tests to get to the bottom of it, I discovered that if I re-encode the 1080p file in Handbrake, and put the chapters into that file with Subler, the TV also plays that file fine. So the MP4 Adobe Premiere makes does not work once it has chapters, but the MP4 that Handbrake makes (from the Adobe MP4 file) works fine with chapters added?&lt;/p&gt;&#xA;&lt;p&gt;On comparing the files with MediaInfo, I find some subtle differences. I tweaked the Handbrake encoding to get the file info as close as possible, Adobe is still different in a couple of spots, and I don't know how to influence either program from here to get one or the other to match.&lt;/p&gt;&#xA;&lt;p&gt;Under &amp;quot;General&amp;quot; the files show a different Codec ID (I'm thinking this alone might be the issue, but don't know how to change it in either encoder):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    (Adobe)Codec ID                                 : mp42 (mp42/mp41)&#xA;    (Handbrake)Codec ID                                 : mp42 (isom/iso2/avc1/mp41)&#xA;&#xA;    Also these fields only in the Adobe file:&#xA;    TIM                                      : 00:00:00:00&#xA;    TSC                                      : 50&#xA;    TSZ                                      : 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Under &amp;quot;Video&amp;quot;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    (Adobe)Format settings, GOP                     : M=1, N=30&#xA;    (Handbrake)Format settings, GOP                     : M=3, N=50&#xA;&#xA;    In Adobe info, not in Handbrake&#xA;    Language                                 : English&#xA;&#xA;    In Handbrake info, not in Adobe&#xA;    Color range                              : Limited&#xA;    Color primaries                          : BT.709&#xA;    Transfer characteristics                 : BT.709&#xA;    Matrix coefficients                      : BT.709&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&amp;quot;Audio&amp;quot; info is almost identical (I set Handbrake to passthru), just subtle differences:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    (Adobe Only)Source duration                          : 43 min 10 s&#xA;    (Adobe Only)Source stream size                       : 98.0 MiB (3%)&#xA;    (Handbrake Only)Title                                    : Stereo&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any advice on where to go from here? If there is a way to get Adobe to output to an identical codec configuration, that would be ideal to test next. Alternately, if I can make Handbrake encode the way Adobe does, I could at least see if that causes a fail. Either way, if I can alter either output file to closer match the other, it might reveal why the Handbrake file works, and the Adobe file doesn't.&lt;/p&gt;&#xA;&lt;p&gt;I can obviously resolve my issue be encoding in Adobe, and then re-encoding the file in Handbrake so I have one that will work when chapters are added, but I'd prefer to avoid the double encode if I can.&lt;/p&gt;&#xA;&lt;p&gt;I've put the mediainfo files in Dropbox if anyone wishes to browse them in full:&#xA;&lt;a href=&quot;https://www.dropbox.com/sh/dontq1jdc4ipfez/AACb8jH1Q7Qrn9sghLo9Ir-ca?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dropbox.com/sh/dontq1jdc4ipfez/AACb8jH1Q7Qrn9sghLo9Ir-ca?dl=0&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2022-02-12T09:54:31.257" Title="MP4 Playback Compatibility Issues on files with Chapters" Tags="|premiere|mp4|avchd|handbrake|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34901" PostTypeId="1" CreationDate="2022-01-23T05:59:57.617" Score="0" ViewCount="2125" Body="&lt;p&gt;I want to convert all my mp4 files in a folder into mp3 in a new folder&#xA;I've tried something like:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ffmpeg -i \*.mp4 -vn mp3/\*.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but it didn't work. It involved an infinite loop and my computer didn't respond anymore. Any solution ? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="37404" LastEditorUserId="14523" LastEditDate="2022-01-23T18:34:43.373" LastActivityDate="2022-01-23T18:34:43.373" Title="ffmpeg : Convert all mp4 files in a folder into mp3 in a new folder" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34902" PostTypeId="2" ParentId="27876" CreationDate="2022-01-23T11:26:47.657" Score="0" Body="&lt;p&gt;You be better off not care about window functions, no one pays attention to the rendered audio spectrum. Therefore you need not to be analytically correct so you can let spectral leakages happen and just use the &lt;code&gt;rect&lt;/code&gt; window. Which is the &lt;a href=&quot;https://en.wikipedia.org/wiki/Window_function#Rectangular_window&quot; rel=&quot;nofollow noreferrer&quot;&gt;identity window&lt;/a&gt;, simply put, FFmpeg doesn't do any windowing in this mode and performs plain &lt;a href=&quot;https://en.wikipedia.org/wiki/Short-time_Fourier_transform&quot; rel=&quot;nofollow noreferrer&quot;&gt;STFT&lt;/a&gt; on the audio waveform slicing each in &lt;code&gt;win_size&lt;/code&gt; sized blocks.&lt;/p&gt;&#xA;" OwnerUserId="37405" LastActivityDate="2022-01-23T11:26:47.657" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34903" PostTypeId="2" ParentId="23016" CreationDate="2022-01-23T15:48:42.457" Score="0" Body="&lt;p&gt;The best and easiest (and only) way that I have found to do this in Linux is to use OBS with the window size set to the desired crop output dimension. Add your video file as an input source, arrange the video output relative to the OBS window so that the desired rectangle that you wish to display initially is lined up with the OBS window, and start recording in OBS at the same time as you start playing the video. While the video plays, use your mouse to drag the video around in real time so that the part which you wish to view continues to line up with the OBS window. If you have a slow moving subject and you only need a couple of slow pans within a 3-minute window, this works really well. It can be a little more annoying if your crop area shifts around a lot.&lt;/p&gt;&#xA;&lt;p&gt;If you only need to crop in one dimension (e.g. 1920x1080 to 1080x1080) then you can temporarily lock your mouse pointer to move in one direction only, at least on X (not sure about Wayland). For example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;xinput set-prop 'Microsoft Corporation Microsoft ® Laser Mouse 6000' 'Coordinate Transformation Matrix' 1 0 1 0 0 0 0 0 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;is what I use with my hardware (the idea for this comes from &lt;a href=&quot;https://askubuntu.com/questions/1153697/screen-detection-and-mouse-reverse-x-y-axis&quot;&gt;https://askubuntu.com/questions/1153697/screen-detection-and-mouse-reverse-x-y-axis&lt;/a&gt;). To get back normal mouse movement:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;xinput set-prop 'Microsoft Corporation Microsoft ® Laser Mouse 6000' 'Coordinate Transformation Matrix' 1 0 0 0 1 0 0 0 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Of course the details will differ if you have a different mouse. This is useful while recording your crop because it prevents you from dragging the video in any direction other than the direction in which you need to pan.&lt;/p&gt;&#xA;" OwnerUserId="37408" LastActivityDate="2022-01-23T15:48:42.457" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34904" PostTypeId="2" ParentId="34901" CreationDate="2022-01-23T16:05:51.317" Score="1" Body="&lt;pre&gt;&lt;code&gt;for i in *.mp4; do ffmpeg -i &amp;quot;$i&amp;quot; -f mp3 -ab 192k -vn -ar 44100 -ac 2 aud/&amp;quot;${i%.*}.mp3&amp;quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;vn: disable video recording during the conversion.&lt;/li&gt;&#xA;&lt;li&gt;ar: set audio sampling rate in Hz.&lt;/li&gt;&#xA;&lt;li&gt;ab: set the audio bitrate.&lt;/li&gt;&#xA;&lt;li&gt;ac: set the number of audio channels.&lt;/li&gt;&#xA;&lt;li&gt;-f: format.&lt;/li&gt;&#xA;&lt;li&gt;aud: name of the audio folder&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="36053" LastActivityDate="2022-01-23T16:05:51.317" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34906" PostTypeId="1" AcceptedAnswerId="34908" CreationDate="2022-01-23T19:11:58.373" Score="0" ViewCount="223" Body="&lt;p&gt;&lt;a href=&quot;https://lacinato.com/pub/reaper/test3.wav&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here is a test file&lt;/a&gt; with peaks at +200 dBFS (it's an extreme example, but the same holds for a file with peaks a +1 dBFS).&lt;/p&gt;&#xA;&lt;p&gt;When running the &amp;quot;volumedetect&amp;quot; filter on this file, ffmpeg appears to change to 16bit int to run the volume detection, causing everything above 0 dBFS to be clipped (see &amp;quot;Stream mapping&amp;quot; in the transcript below). The result is that it detects the peak at 0 dBFS instead of 200 dBFS (see &amp;quot;max volume&amp;quot; below.)&lt;/p&gt;&#xA;&lt;p&gt;Am I missing something? Any way to work around this? The documentation says nothing about 32bit float being unsupported, so it seems like it should &amp;quot;just work&amp;quot;?&lt;/p&gt;&#xA;&lt;p&gt;Example run:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    $ ffmpeg -i test3.wav -filter:a volumedetect -f null /dev/null&#xA;    ffmpeg version 4.3.2-0+deb11u1ubuntu1 Copyright (c) 2000-2021 the FFmpeg developers&#xA;      built with gcc 10 (Ubuntu 10.2.1-20ubuntu1)&#xA;      configuration: --prefix=/usr --extra-version=0+deb11u1ubuntu1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libdav1d --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librabbitmq --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opencl --enable-opengl --enable-sdl2 --enable-pocketsphinx --enable-libmfx --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-nvenc --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;      libavutil      56. 51.100 / 56. 51.100&#xA;      libavcodec     58. 91.100 / 58. 91.100&#xA;      libavformat    58. 45.100 / 58. 45.100&#xA;      libavdevice    58. 10.100 / 58. 10.100&#xA;      libavfilter     7. 85.100 /  7. 85.100&#xA;      libavresample   4.  0.  0 /  4.  0.  0&#xA;      libswscale      5.  7.100 /  5.  7.100&#xA;      libswresample   3.  7.100 /  3.  7.100&#xA;      libpostproc    55.  7.100 / 55.  7.100&#xA;    Guessed Channel Layout for Input Stream #0.0 : stereo&#xA;    Input #0, wav, from 'test3.wav':&#xA;      Metadata:&#xA;        encoded_by      : REAPER&#xA;        date            : 2022-01-22&#xA;        creation_time   : 17-06-55&#xA;        time_reference  : 0&#xA;      Duration: 00:00:03.94, bitrate: 2823 kb/s&#xA;        Stream #0:0: Audio: pcm_f32le ([3][0][0][0] / 0x0003), 44100 Hz, stereo, flt, 2822 kb/s&#xA;    Stream mapping:&#xA;      Stream #0:0 -&amp;gt; #0:0 (pcm_f32le (native) -&amp;gt; pcm_s16le (native))&#xA;    Press [q] to stop, [?] for help&#xA;    Output #0, null, to '/dev/null':&#xA;      Metadata:&#xA;        encoded_by      : REAPER&#xA;        date            : 2022-01-22&#xA;        time_reference  : 0&#xA;        encoder         : Lavf58.45.100&#xA;        Stream #0:0: Audio: pcm_s16le, 44100 Hz, stereo, s16, 1411 kb/s&#xA;        Metadata:&#xA;          encoder         : Lavc58.91.100 pcm_s16le&#xA;    size=N/A time=00:00:03.93 bitrate=N/A speed= 911x&#xA;    video:0kB audio:678kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;    [Parsed_volumedetect_0 @ 0x55617ae5e140] n_samples: 347156&#xA;    [Parsed_volumedetect_0 @ 0x55617ae5e140] mean_volume: -0.0 dB&#xA;    [Parsed_volumedetect_0 @ 0x55617ae5e140] max_volume: 0.0 dB&#xA;    [Parsed_volumedetect_0 @ 0x55617ae5e140] histogram_0db: 347155&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="37411" LastActivityDate="2022-01-24T04:18:27.903" Title="ffmpeg volumedetect filter doesn't work on 32bit float audio?" Tags="|ffmpeg|filter|loudness|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34907" PostTypeId="2" ParentId="34859" CreationDate="2022-01-24T03:42:07.453" Score="1" Body="&lt;p&gt;From my personal experience: if you can not see anything unusual in the input video at specified times then most of the time it's not worth fixing as it's not broken.&lt;/p&gt;&#xA;&lt;p&gt;It can happen when input video has some static images (like some schematics) displayed over some periods of time.&lt;/p&gt;&#xA;&lt;p&gt;It can also happen when input video is a converted version of lower fps video to higher fps video. For example: the input video has 50 fps but its original in the past had 25 fps so the current input video has every second frame duplicated to reach the needed 50 fps.&lt;/p&gt;&#xA;" OwnerUserId="32599" LastActivityDate="2022-01-24T03:42:07.453" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34908" PostTypeId="2" ParentId="34906" CreationDate="2022-01-24T04:18:27.903" Score="0" Body="&lt;p&gt;Actually, the filter only supports 16-bit samples, so anything else will be converted. You can open a bug report of type enhancement at &lt;a href=&quot;http://trac.ffmpeg.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;trac.ffmpeg.org&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-01-24T04:18:27.903" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34912" PostTypeId="1" CreationDate="2022-01-25T04:18:27.920" Score="2" ViewCount="23" Body="&lt;p&gt;I've got a method for making subtitles for videos. They need to grow onto the screen from small to big, then shrink again before the next line pops up. My way of doing this is setting keyframes in the effect controls, first small, then big, then big, then small. This achieves the effect nicely. The problem, however, is when I try to apply that effect to the rest of the subtitles (there are too many to do by hand). I copy it and paste attributes to the others, so they get the same keyframes. That mostly works, but it appears to calculate keyframe positions based on clip length so that the longer clips have slower effects. This is subtle, but noticable.&lt;/p&gt;&#xA;&lt;p&gt;How do I make the words grow at a consistent rate? So all the subtitles would grow from 30% scale to 100% scale in a set number of frames, like 4?&lt;/p&gt;&#xA;" OwnerUserId="37427" LastActivityDate="2022-01-25T04:18:27.920" Title="How do you make consistent effects on different clips in premier?" Tags="|premiere|subtitles|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34913" PostTypeId="1" CreationDate="2022-01-25T16:31:01.707" Score="3" ViewCount="702" Body="&lt;p&gt;I'm making a complicated watch UI with a lot of expressions linked to different values of the display.&lt;/p&gt;&#xA;&lt;p&gt;As you can see from the image below, &lt;strong&gt;9hrs&lt;/strong&gt; isn't bonded to an expression yet, but it's graphically correct: &lt;strong&gt;9&lt;/strong&gt; and &lt;strong&gt;hrs&lt;/strong&gt; have different font sizes.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;100min&lt;/strong&gt; instead is bonded to an expression and it does disrupt the font formatting making &lt;strong&gt;min&lt;/strong&gt; the same size as &lt;strong&gt;100&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JhFtQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JhFtQ.png&quot; alt=&quot;screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;//This is the expression&#xA;Math.round(thisComp.layer(&amp;quot;Orange&amp;quot;).content(&amp;quot;Trim Paths 1&amp;quot;).end.value.toFixed(0)) + &amp;quot;min&amp;quot; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Is there a way to tell that string that the font size for 'min' needs to be of 40px?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;PLEASE, EXPRESSION ANSWERS ONLY&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="6118" LastEditorUserId="6118" LastEditDate="2022-05-27T09:20:37.057" LastActivityDate="2024-02-16T13:04:05.453" Title="AE Expression: Define FontSize" Tags="|after-effects|animation|after-effects-expressions|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34914" PostTypeId="2" ParentId="34913" CreationDate="2022-01-26T12:54:32.977" Score="0" Body="&lt;p&gt;Have you tried the parameter fontSize (note the lower case at beginning and upper case in the middle?)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://community.adobe.com/t5/after-effects-discussions/expressions-accessing-text-property-fontsize-from-another-layer/m-p/10727207&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://community.adobe.com/t5/after-effects-discussions/expressions-accessing-text-property-fontsize-from-another-layer/m-p/10727207&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-01-26T12:54:32.977" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34915" PostTypeId="2" ParentId="33830" CreationDate="2022-01-27T00:43:19.673" Score="0" Body="&lt;p&gt;I had the same question and I even came up with 2 ways to solve it!&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;The first solution&lt;/strong&gt; is: simply add another line of text in the same box, but 1 line lower. If you start the bottom line with 20-30 spaces every time, that line will move to the right and the top line to the left, if you centralize the subtitles of course. This way you can easily create two different lines of text. Just make sure that the text is never longer than one line. (And if so, cut the lyrics in more parts, or adjust the font size.) Here's an example, with two separate lyrics lines:&#xA;&lt;strong&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Rd1O1oq1ESg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;In this example, the top and bottom lines always start in the same frame. If you want them to start in different frames, just cut the boxes into different parts with blank lines where applicable. Just make sure the letters don't jump as you move from one box to another.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;The second solution&lt;/strong&gt; (which I haven't tried yet) is very simple: complete your project with a line of subtitles burned into the video, save the file, load it as the base file in a new project, and add the second line below the first! It may affect the overall quality of your video, but you can always try. And you will be able to choose a different font or color to distinguish the two lines even better. Also in this case: make sure that your text is never longer than one line. Good luck!&lt;/p&gt;&#xA;" OwnerUserId="37443" LastActivityDate="2022-01-27T00:43:19.673" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34916" PostTypeId="2" ParentId="30209" CreationDate="2022-01-27T10:16:51.240" Score="0" Body="&lt;p&gt;Try re-encoding the source footage before you add it into FCP. Use a codec suitable for FCP, maybe Quicktime ProRes.  Make sure the footage is the same frame rate as the sequence.  Make sure you are exporting at the same frame rate as well.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-01-27T10:16:51.240" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34918" PostTypeId="1" CreationDate="2022-01-28T02:09:11.343" Score="3" ViewCount="275" Body="&lt;p&gt;I'm editing a video in vertical/portrait orientation and I'm trying to have scrolling credits. The credits don't scroll in at the bottom of the video and the don't scroll out at the top. It looks like they're bounded by a horizontal/landscape box.&lt;/p&gt;&#xA;&lt;p&gt;What do I need to change to have them scroll from the bottom of the video to the top of the video?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jmG97.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jmG97.png&quot; alt=&quot;The bottom is cut off on these scrolling credits.&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qayOg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qayOg.png&quot; alt=&quot;The top is cut off on these scrolling credits.&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37454" LastActivityDate="2022-01-28T14:00:34.127" Title="Scrolling Titles are cut off in vertical video" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34919" PostTypeId="1" AcceptedAnswerId="34920" CreationDate="2022-01-28T09:17:50.603" Score="2" ViewCount="30" Body="&lt;p&gt;I was wondering if it is possible to revert the loss that was caused by MPEG-4 compression. I had HD quality images and our colleague made the grave mistake of converting these HD images into a &amp;quot;.MOV&amp;quot; file to save space, which caused a great loss of detail around the moving object due to MPEG-4 using temporal redundancy as well as spatial redundancy.&lt;/p&gt;&#xA;&lt;p&gt;My idea is to get the loss back, if it is possible. I know it is an unlikely thing, but still, I wanted to ask if anyone experienced such a situation.&lt;/p&gt;&#xA;&lt;p&gt;I can share &lt;a href=&quot;https://drive.google.com/file/d/1vhywWtODZMJrPvczTrAPs4s7-Pggr-Ri/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;a sample video&lt;/a&gt;. As you can see, although the resolution is 2K, there is a great amount of blur on the object that is moving. Ironically, that is the object we want to 3D reconstruct to have a model of. So, it all depends on the quality. Original images were taken by a DSLR camera, if it matters.&lt;/p&gt;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="37458" LastActivityDate="2022-01-28T11:35:14.800" Title="Reverting Loss from .MOV (MPEG-4 Compression)" Tags="|video|conversion|dslr|mpeg4|lossless|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34920" PostTypeId="2" ParentId="34919" CreationDate="2022-01-28T11:35:14.800" Score="3" Body="&lt;p&gt;No, there is no way to recover information lost during any encoding steps - they are discarded forever. The only way to avoid this is to use lossless encoding.&lt;/p&gt;&#xA;&lt;p&gt;That said, there are various algorithms available which will interpolate or try (using machine learning) to create detail based on various assumptions (such as buildings have edges, faces have a certain structure etc) so you may be able to produce something that looks better.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2022-01-28T11:35:14.800" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34921" PostTypeId="2" ParentId="34918" CreationDate="2022-01-28T14:00:34.127" Score="1" Body="&lt;p&gt;Double tapping on the bounding box revealed anchors that I used to stretch to the top and bottom.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OiFU0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OiFU0.png&quot; alt=&quot;Scrolling text generator with handles to stretch it.&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37454" LastActivityDate="2022-01-28T14:00:34.127" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34922" PostTypeId="1" AcceptedAnswerId="34924" CreationDate="2022-01-28T16:44:27.653" Score="0" ViewCount="1800" Body="&lt;p&gt;Thought this would be simple but doesn't seem so.  How can I remove all numbers after the decimal point in an expression, or round down to 0 decimal places (which is the same result)&lt;/p&gt;&#xA;&lt;p&gt;For instance I have an integer: &lt;code&gt;2903.99302&lt;/code&gt;&#xA;I want to remove everything after decimal place, so that it results in &lt;code&gt;2903&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Can't find how to do this.  Some ideas:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;num = 2903.99302;&#xA;dec = num.search(&amp;quot;.&amp;quot;);  // OR dec = num.find(&amp;quot;.&amp;quot;);&#xA;&#xA;result = num.substr(0, dec);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;num = 2903.99302;&#xA;result = num.rounddown(0);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;or&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;num = 2903.99302;&#xA;result = num.toFixed(0);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Apparently AE can also use JavaScript in recent versions.  I'm on version 2021 and it's not basic javascript functions aren't recognised so not sure if there's some weird syntax...&lt;/p&gt;&#xA;" OwnerUserId="22062" LastEditorUserId="1950" LastEditDate="2022-07-03T11:21:53.190" LastActivityDate="2022-07-03T11:21:53.190" Title="After effects expression how to round DOWN or remove numbers after decimal point" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34924" PostTypeId="2" ParentId="34922" CreationDate="2022-01-29T13:40:19.813" Score="1" Body="&lt;p&gt;Normally I would use Math.round like this when trying to display text:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;slider = (effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;).value);&#xA;tidying = (Math.round(slider * 100))/100;&#xA;SourceText = &amp;quot;$&amp;quot; + tidying + &amp;quot;bn&amp;quot; +&amp;quot;\r&amp;quot; +&amp;quot;DEBTS&amp;quot;;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;the .value is sometimes needed to force AE to look at the slider as a number, not as an object.&lt;/p&gt;&#xA;&lt;p&gt;tidying is being done to round (up) to 2 decimal places&#xA;\r gives a line break&lt;/p&gt;&#xA;&lt;p&gt;text is appended with +”text”+&lt;/p&gt;&#xA;&lt;p&gt;If you want to round down, you can use&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Math.floor()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;instead&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-01-29T13:40:19.813" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34926" PostTypeId="1" CreationDate="2022-01-29T23:27:27.177" Score="0" ViewCount="1917" Body="&lt;p&gt;I'm working on adding .mlp audio / TrueHD w/ Atmos content into an .mkv container (certain playback programs require a video track to bitstream audio).  I'm synthesizing a color background for the duration of the clip to serve as video track.  Strangely, the command below worked for a time, but now I'm getting a clip that is 12 minutes and 2 seconds, 2 minutes longer than the audio file.  The command is as follows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test.mlp -f lavfi -i color=c=blue:s=640x480:r=15 -acodec copy -shortest output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;ffprobe&lt;/code&gt; on the .mlp audio is as follows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version 2022-01-27-git-3c831847a8-full_build-www.gyan.dev Copyright (c) 2007-2022 the FFmpeg developers&#xA;  built with gcc 11.2.0 (Rev7, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-bzlib --enable-lzma --enable-libsnappy --enable-zlib --enable-librist --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-libbluray --enable-libcaca --enable-sdl2 --enable-libdav1d --enable-libdavs2 --enable-libuavs3d --enable-libzvbi --enable-librav1e --enable-libsvtav1 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs2 --enable-libxvid --enable-libaom --enable-libopenjpeg --enable-libvpx --enable-mediafoundation --enable-libass --enable-frei0r --enable-libfreetype --enable-libfribidi --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-libshaderc --enable-vulkan --enable-libplacebo --enable-opencl --enable-libcdio --enable-libgme --enable-libmodplug --enable-libopenmpt --enable-libopencore-amrwb --enable-libmp3lame --enable-libshine --enable-libtheora --enable-libtwolame --enable-libvo-amrwbenc --enable-libilbc --enable-libgsm --enable-libopencore-amrnb --enable-libopus --enable-libspeex --enable-libvorbis --enable-ladspa --enable-libbs2b --enable-libflite --enable-libmysofa --enable-librubberband --enable-libsoxr --enable-chromaprint&#xA;  libavutil      57. 19.100 / 57. 19.100&#xA;  libavcodec     59. 20.100 / 59. 20.100&#xA;  libavformat    59. 17.101 / 59. 17.101&#xA;  libavdevice    59.  5.100 / 59.  5.100&#xA;  libavfilter     8. 26.101 /  8. 26.101&#xA;  libswscale      6.  5.100 /  6.  5.100&#xA;  libswresample   4.  4.100 /  4.  4.100&#xA;  libpostproc    56.  4.100 / 56.  4.100&#xA;Input #0, truehd, from 'C:\[]\[]\[]\test.mlp':&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;  Stream #0:0: Audio: truehd, 48000 Hz, 7.1, s32 (24 bit)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;any idea how to force a true &amp;quot;shortest&amp;quot; output?  thanks!&lt;/p&gt;&#xA;" OwnerUserId="37470" LastEditorUserId="18155" LastEditDate="2022-01-30T10:38:40.547" LastActivityDate="2024-02-19T20:03:30.420" Title="ffmpeg &quot;-shortest&quot; yielding a clip longer than audio file" Tags="|ffmpeg|mkv|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34927" PostTypeId="1" CreationDate="2022-01-30T08:37:43.970" Score="1" ViewCount="1172" Body="&lt;p&gt;I'm searching for a reliable way to distinguish between the&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;em&gt;full-range (PC)&lt;/em&gt; and&lt;/li&gt;&#xA;&lt;li&gt;&lt;em&gt;limited range (TV)&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;pixel formats in a given video.&lt;/p&gt;&#xA;&lt;p&gt;(Particularly, I will be satisfied with a solution for Y'UV 4:2:0 H.264 videos in the MP4 container.)&lt;/p&gt;&#xA;&lt;p&gt;So my question is&lt;/p&gt;&#xA;&lt;p&gt;     &lt;strong&gt;How to reliably determine whether a particular video is full-ranged or limited ranged?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Here is what I did to find a reliable way:&#xA;I created 3 testing videos with commands&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i testsrc2=d=1                             test1.mp4&#xA;ffmpeg -f lavfi -i testsrc2=d=1 -vf scale=out_range=full    test2.mp4  &#xA;ffmpeg -f lavfi -i testsrc2=d=1 -vf scale=out_range=limited test3.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;which is the same as&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i testsrc2=d=1                             test1.mp4&#xA;ffmpeg -f lavfi -i testsrc2=d=1 -vf scale=out_range=pc      test2.mp4  &#xA;ffmpeg -f lavfi -i testsrc2=d=1 -vf scale=out_range=tv      test3.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;They created these files:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;test1.mp4  36,974 bytes&#xA;test2.mp4  40,178 bytes&#xA;test3.mp4  36,974 bytes&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;where &lt;code&gt;test1.mp4&lt;/code&gt; and &lt;code&gt;test3.mp4&lt;/code&gt; have not only the same size, but they are &lt;em&gt;binary identical&lt;/em&gt;, too.&lt;/p&gt;&#xA;&lt;p&gt;While processing these commands, FFmpeg shows this message in the appropriate line of &lt;code&gt;Output #0&lt;/code&gt; section (I show the message lines of these individual &lt;code&gt;ffmpeg&lt;/code&gt; commands together, respectively, to see differences):&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0: Video: h264 (avc1 / 0x31637661), yuv420p(progressive),     ... &#xA;Stream #0:0: Video: h264 (avc1 / 0x31637661), yuv420p(pc, progressive), ...&#xA;Stream #0:0: Video: h264 (avc1 / 0x31637661), yuv420p(tv, progressive), ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Using &lt;code&gt;ffprobe&lt;/code&gt; after creating videos, the appropriate lines (now from the &lt;code&gt;Input #0&lt;/code&gt; section) will be&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(progressive),      ...&#xA;Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, progressive), ...&#xA;Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(progressive),      ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Note changes in lines 2 and 3:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;pixel format for full range &lt;em&gt;changes&lt;/em&gt; from &lt;code&gt;yuv420p&lt;/code&gt; to &lt;code&gt;yuvj420p&lt;/code&gt; (which is strange, because developers of FFmpeg themselves discourage using this pixel format as an &lt;em&gt;obsolete&lt;/em&gt; one),&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;limited range is &lt;em&gt;not more mentioned&lt;/em&gt; (no “tv” in parentheses).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Now I will omit the &lt;code&gt;test1.mp4&lt;/code&gt;, because it is the same as &lt;code&gt;test3.mp4&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;So I have 2 videos, &lt;code&gt;test2.mp4&lt;/code&gt; with full-range and &lt;code&gt;test3.mp4&lt;/code&gt; with limited range. The difference is visible (no such bright colors), as in these 2 screenshots placed one just below the other:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8cYzu.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8cYzu.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The difference in the &lt;code&gt;ffprobe&lt;/code&gt; output is in the pixel format, as I already demonstrated: &lt;code&gt;yuvj420p&lt;/code&gt; vs. &lt;code&gt;yuv420p&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;But the &lt;code&gt;yuvj420p&lt;/code&gt; is an obsolete pixel format, so if I want to tell if the video is full range, I probably can't rely on its occurrence in the &lt;code&gt;ffprobe&lt;/code&gt; output as an indicator of the full-range video.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;I thank that a reliable way to distinguish between full-range and limited range is to &lt;em&gt;find values outside of limited range,&lt;/em&gt; i.e.,&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;outside of interval [16, 235] for the luma component (Y'), or&lt;/li&gt;&#xA;&lt;li&gt;outside of interval [16, 240] for color components (U, V).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;So I used the &lt;em&gt;signalstats&lt;/em&gt; filter as in this command&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -f lavfi movie='test3.mp4',signalstats \&#xA;        -show_entries frame_tags=lavfi.signalstats.YMIN,lavfi.signalstats.YMAX&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and filtered the output to see only outliers.&lt;/p&gt;&#xA;&lt;p&gt;The &lt;code&gt;test2.mp4&lt;/code&gt; video (full-ranged) gives me many of them:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;TAG:lavfi.signalstats.YMIN=3&#xA;TAG:lavfi.signalstats.YMIN=6&#xA;TAG:lavfi.signalstats.YMIN=9&#xA;TAG:lavfi.signalstats.YMAX=237&#xA;TAG:lavfi.signalstats.YMIN=10&#xA;TAG:lavfi.signalstats.YMIN=10&#xA;TAG:lavfi.signalstats.YMIN=6&#xA;TAG:lavfi.signalstats.YMAX=240&#xA;TAG:lavfi.signalstats.YMIN=7&#xA;TAG:lavfi.signalstats.YMIN=0&#xA;TAG:lavfi.signalstats.YMIN=7&#xA;TAG:lavfi.signalstats.YMAX=237&#xA;TAG:lavfi.signalstats.YMIN=1&#xA;TAG:lavfi.signalstats.YMIN=7&#xA;TAG:lavfi.signalstats.YMIN=7&#xA;TAG:lavfi.signalstats.YMIN=7&#xA;TAG:lavfi.signalstats.YMIN=7&#xA;TAG:lavfi.signalstats.YMIN=7&#xA;TAG:lavfi.signalstats.YMIN=5&#xA;TAG:lavfi.signalstats.YMIN=7&#xA;TAG:lavfi.signalstats.YMIN=7&#xA;TAG:lavfi.signalstats.YMIN=1&#xA;TAG:lavfi.signalstats.YMIN=4&#xA;TAG:lavfi.signalstats.YMIN=7&#xA;TAG:lavfi.signalstats.YMAX=239&#xA;TAG:lavfi.signalstats.YMIN=7&#xA;TAG:lavfi.signalstats.YMAX=239&#xA;TAG:lavfi.signalstats.YMIN=7&#xA;TAG:lavfi.signalstats.YMAX=239&#xA;TAG:lavfi.signalstats.YMIN=4&#xA;TAG:lavfi.signalstats.YMIN=7&#xA;TAG:lavfi.signalstats.YMAX=239&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;But for my surprise, the &lt;code&gt;test3.mp4&lt;/code&gt; video with &lt;em&gt;limited&lt;/em&gt; range &lt;strong&gt;gives me outliers, too&lt;/strong&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;TAG:lavfi.signalstats.YMIN=11&#xA;TAG:lavfi.signalstats.YMIN=11&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So it is NOT a reliable way.&lt;/p&gt;&#xA;&lt;p&gt;Let me repeat my question, accompanied by 2 secondary ones:&lt;/p&gt;&#xA;&lt;p&gt;Main question:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;How to reliably distinguish full-ranged and limited ranged videos?&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Two tangential questions:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Why a video, created &lt;em&gt;fully&lt;/em&gt; with FFmpeg, has an &lt;em&gt;obsolete pixel format&lt;/em&gt; &lt;code&gt;yuvj420p&lt;/code&gt;, discouraged by FFmpeg developers?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Why in a &lt;em&gt;limited-range&lt;/em&gt; video are still values &lt;em&gt;outside permitted range&lt;/em&gt;?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2024-01-31T21:03:48.353" LastActivityDate="2024-01-31T21:03:48.353" Title="How to find out if the yuv420 video has full or limited color range?" Tags="|ffmpeg|ffprobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34928" PostTypeId="2" ParentId="34926" CreationDate="2022-01-30T12:38:28.167" Score="0" Body="&lt;p&gt;From your &lt;code&gt;ffprobe&lt;/code&gt; output:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, truehd, from 'C:\[]\[]\[]\test.mlp':&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;No duration, no bitrate in your &lt;code&gt;.mlp&lt;/code&gt; file. MLP format (container) is raw, it doesn't contain metadata (as a duration and bitrate).&lt;/p&gt;&#xA;&lt;p&gt;Moreover, &lt;code&gt;-acodec copy&lt;/code&gt; in your &lt;code&gt;ffmpeg&lt;/code&gt; command simply copies the mlp audio as a stream of bytes, obtaining no info beyond number of bytes.&lt;/p&gt;&#xA;&lt;p&gt;So FFmpeg has hard time to estimate the duration of your audio&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;no direct info about duration,&lt;/li&gt;&#xA;&lt;li&gt;no bitrate info for a fair estimation,&lt;/li&gt;&#xA;&lt;li&gt;it has some info from your audio stream (as the sample rate and the bit depth),&lt;/li&gt;&#xA;&lt;li&gt;it may know the size (in bytes) of your audio stream.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;It means that the duration of your audio is guessed roughly enough, which results in such a difference (the &lt;code&gt;-shortest&lt;/code&gt; option is based only on such an approximation).&lt;/p&gt;&#xA;&lt;p&gt;One possibility how to fix it is using the &lt;code&gt;-t&lt;/code&gt; option (for total time) instead of &lt;code&gt;-shortest&lt;/code&gt;, for example&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test.mlp -f lavfi -i color=c=blue:s=640x480:r=15 -acodec copy -t &amp;quot;10:02&amp;quot; output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;(you may use apostrophes instead of quotes – it depends on your operating system, or simply express the time in seconds: &lt;code&gt;-t 602&lt;/code&gt;).&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2022-01-30T12:48:08.670" LastActivityDate="2022-01-30T12:48:08.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34931" PostTypeId="2" ParentId="21661" CreationDate="2022-01-30T19:13:09.750" Score="1" Body="&lt;p&gt;I wrote a simple tool to do this, called &lt;a href=&quot;https://github.com/slhck/ffmpeg-bitrate-stats&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;ffmpeg-bitrate-stats&lt;/code&gt;&lt;/a&gt;. It requires Python and &lt;code&gt;ffmpeg&lt;/code&gt; installed. Install it via &lt;code&gt;pip&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;pip3 install --user ffmpeg-bitrate-stats&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then run it on a file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg_bitrate_stats /path/to/file.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It will output a valid JSON object containing summary statistics like the maximum bitrate:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-json prettyprint-override&quot;&gt;&lt;code&gt;{&#xA;    &amp;quot;input_file&amp;quot;: &amp;quot;file.mp4&amp;quot;,&#xA;    &amp;quot;stream_type&amp;quot;: &amp;quot;video&amp;quot;,&#xA;    &amp;quot;avg_fps&amp;quot;: 23.976,&#xA;    &amp;quot;num_frames&amp;quot;: 150802,&#xA;    &amp;quot;avg_bitrate&amp;quot;: 2249.534,&#xA;    &amp;quot;avg_bitrate_over_chunks&amp;quot;: 2244.912,&#xA;    &amp;quot;max_bitrate&amp;quot;: 2993.706,&#xA;    &amp;quot;min_bitrate&amp;quot;: 1865.406,&#xA;    &amp;quot;max_bitrate_factor&amp;quot;: 1.331,&#xA;    &amp;quot;bitrate_per_chunk&amp;quot;: [&#xA;        2433.07,&#xA;        2329.958,&#xA;        2171.362,&#xA;        2227.863,&#xA;        2470.798,&#xA;        1978.106,&#xA;        2089.184,&#xA;        2993.706,&#xA;        1988.095,&#xA;        1865.406,&#xA;        2146.482&#xA;    ],&#xA;    &amp;quot;aggregation&amp;quot;: &amp;quot;time&amp;quot;,&#xA;    &amp;quot;chunk_size&amp;quot;: 600.0,&#xA;    &amp;quot;duration&amp;quot;: 6289.65&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The maximum bitrate in the above file would be roughly 3000 kBit/s (&lt;code&gt;max_bitrate&lt;/code&gt;). It is 1.3⨉ as much as the average bitrate (&lt;code&gt;max_bitrate_factor&lt;/code&gt;).&lt;/p&gt;&#xA;&lt;p&gt;Note that the meaning of &lt;em&gt;maximum bitrate&lt;/em&gt; depends on the time frame over which it is calculated. You can calculate the bitrate every second (the default in my tool), or choose a different chunk size with the &lt;code&gt;-c&lt;/code&gt; parameter. This means you'll get &amp;quot;smoothed&amp;quot; estimates, for instance when you set &lt;code&gt;-c 10&lt;/code&gt;, it only looks at 10 second chunks of video, and picks the maximum based on that.&lt;/p&gt;&#xA;&lt;p&gt;To just obtain that value, you can use &lt;code&gt;jq&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg_bitrate_stats /path/to/file.mp4 -c 600 | jq -r '.max_bitrate'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="525" LastEditorUserId="525" LastEditDate="2022-05-06T07:41:02.410" LastActivityDate="2022-05-06T07:41:02.410" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34933" PostTypeId="1" AcceptedAnswerId="34937" CreationDate="2022-01-31T19:51:17.020" Score="1" ViewCount="437" Body="&lt;p&gt;I am doing some transcoding via ffmpeg and am noticing video and audio FPS differing greatly. During playback there is no issue, everything is working as expected. So I am trying to understand what it means for audio to be at much higher framerate and how audio is not going out of sync due to that?&lt;/p&gt;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : High@L3&#xA;Format settings                          : CABAC / 4 Ref Frames&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 4 frames&#xA;Codec ID                                 : V_MPEG4/ISO/AVC&#xA;Duration                                 : 46 min 12 s&#xA;Width                                    : 852 pixels&#xA;Height                                   : 480 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 23.976 (24000/1001) FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Writing library                          : x264 core 152 r2854 e9a5903&#xA;Encoding settings                        : cabac=1 / ref=1 / deblock=1:0:0 / analyse=0x3:0x113 / me=hex / subme=2 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=0 / me_range=16 / chroma_me=1 / trellis=0 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=0 / threads=9 / lookahead_threads=3 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=2 / b_adapt=1 / b_bias=0 / direct=1 / weightb=1 / open_gop=0 / weightp=1 / keyint=250 / keyint_min=23 / scenecut=40 / intra_refresh=0 / rc_lookahead=10 / rc=crf / mbtree=1 / crf=23.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / ip_ratio=1.40 / aq=1:1.00&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC&#xA;Format/Info                              : Advanced Audio Codec&#xA;Format profile                           : LC&#xA;Codec ID                                 : A_AAC-2&#xA;Duration                                 : 46 min 12 s&#xA;Channel(s)                               : 2 channels&#xA;Channel positions                        : Front: L R&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 46.875 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;Delay relative to video                  : -104 ms&#xA;Writing library                          : Lavc57.107.100 aac&#xA;Language                                 : English&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="37482" LastActivityDate="2022-02-01T04:30:22.897" Title="What is the meaning behind video and audio framerates being different?" Tags="|ffmpeg|audio|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34935" PostTypeId="1" CreationDate="2022-02-01T04:01:24.120" Score="0" ViewCount="175" Body="&lt;p&gt;I am trying to loop a voice.mp3 in FFmpeg. And it is looping successfully with the stram_loop X command.&#xA;But the problem is it's looping breathless. How can I add a few seconds of silence between loops?&lt;/p&gt;&#xA;" OwnerUserId="37489" LastActivityDate="2022-02-01T04:26:52.147" Title="How to add a few seconds of gap between looped audio in FFMPEG" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34936" PostTypeId="2" ParentId="34935" CreationDate="2022-02-01T04:26:52.147" Score="1" Body="&lt;p&gt;You'll have to create a padded version and loop that.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i voice.mp3 -af apad=pad_dur=2.0 padded.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and then&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -stream_loop X -i padded.mp3 ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-02-01T04:26:52.147" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34937" PostTypeId="2" ParentId="34933" CreationDate="2022-02-01T04:30:22.897" Score="1" Body="&lt;p&gt;Audio data consists of samples. The sampling rate indicates the number of samples per channel in one second. But when dealing with audio, applications read and process samples in chunks. These chunks are the frames. The AAC encoder uses 1024 Samples Per Frame. So, the audio &amp;quot;Frame Rate&amp;quot; is Sampling rate/1024 for AAC audio. This is not related to video frame rate.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-02-01T04:30:22.897" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34939" PostTypeId="1" AcceptedAnswerId="34953" CreationDate="2022-02-01T18:30:26.033" Score="0" ViewCount="31" Body="&lt;p&gt;I want to speed up a video clip in the order of 10x. However, I wasn't able to find a suitable software for that. I tried Movavi but the maximum speed up is 1000%. So I am not able to change the speed by 40x. Any recommendation for that?&lt;/p&gt;&#xA;" OwnerUserId="37499" LastEditorUserId="4426" LastEditDate="2022-02-01T23:29:58.667" LastActivityDate="2022-02-05T18:38:20.650" Title="Software for speeding up a video" Tags="|video|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="34941" PostTypeId="1" AcceptedAnswerId="34942" CreationDate="2022-02-02T11:26:24.660" Score="0" ViewCount="548" Body="&lt;p&gt;Converting a Prores file with parameters:&lt;/p&gt;&#xA;&lt;p&gt;arguments: &lt;code&gt;-i &amp;quot;input.mov&amp;quot; -map 0 -c copy -c:v prores -profile:v 2 -c:a pcm_s16le &amp;quot;output.mov&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;gives the following output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2022-01-30-git-1530b3f566-essentials_build-www.gyan.dev Copyright (c) 2000-2022 the FFmpeg developers&#xA;  built with gcc 11.2.0 (Rev7, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-bzlib --enable-lzma --enable-zlib --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-sdl2 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-libaom --enable-libopenjpeg --enable-libvpx --enable-mediafoundation --enable-libass --enable-libfreetype --enable-libfribidi --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-libgme --enable-libopenmpt --enable-libopencore-amrwb --enable-libmp3lame --enable-libtheora --enable-libvo-amrwbenc --enable-libgsm --enable-libopencore-amrnb --enable-libopus --enable-libspeex --enable-libvorbis --enable-librubberband&#xA;  libavutil      57. 19.100 / 57. 19.100&#xA;  libavcodec     59. 20.100 / 59. 20.100&#xA;  libavformat    59. 17.101 / 59. 17.101&#xA;  libavdevice    59.  5.100 / 59.  5.100&#xA;  libavfilter     8. 26.101 /  8. 26.101&#xA;  libswscale      6.  5.100 /  6.  5.100&#xA;  libswresample   4.  4.100 /  4.  4.100&#xA;  libpostproc    56.  4.100 / 56.  4.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 00000061fbc9c240] Using non-standard frame rate 18432/1024&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'input.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 512&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf58.27.103&#xA;  Duration: 00:30:12.67, start: 0.000000, bitrate: 865279 kb/s&#xA;  Stream #0:0[0x1](eng): Video: prores (4444) (ap4h / 0x68347061), yuv444p12le(tv, bt709, progressive), 4096x2160, 864125 kb/s, SAR 1:1 DAR 256:135, 18 fps, 18 tbr, 18432 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : FFMP&#xA;      encoder         : Lavc58.53.100 prores_ks&#xA;      timecode        : 01:00:00:00&#xA;  Stream #0:1[0x2](eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, s16, 1536 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #0:2[0x3](eng): Data: none (tmcd / 0x64636D74)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      timecode        : 01:00:00:00&#xA;Multiple -c, -codec, -acodec, -vcodec, -scodec or -dcodec options specified for stream 0, only the last option '-c:v prores' will be used.&#xA;Multiple -c, -codec, -acodec, -vcodec, -scodec or -dcodec options specified for stream 1, only the last option '-c:a pcm_s16le' will be used.&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (prores (native) -&amp;gt; prores (native))&#xA;  Stream #0:1 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; pcm_s16le (native))&#xA;  Stream #0:2 -&amp;gt; #0:2 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[prores @ 00000061fbd03440] encoding with ProRes Proxy/LT/422/422 HQ (apco, apcs, apcn, ap4h) profile, need YUV422P10 input&#xA;[prores @ 00000061fbca0200] ff_frame_thread_encoder_init failed&#xA;Error initializing output stream 0:0 -- Error while opening encoder for output stream #0:0 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Does this:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;encoding with ProRes Proxy/LT/422/422 HQ (apco, apcs, apcn, ap4h)&#xA;profile, need YUV422P10 input&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;mean it's not supported by ffmpeg at all or is there a solution to this problem.&#xA;(Used the latest version of ffmpeg)&lt;/p&gt;&#xA;" OwnerUserId="26437" LastEditorUserId="1871" LastEditDate="2022-02-02T12:53:15.873" LastActivityDate="2022-02-02T13:21:32.123" Title="ffmpeg problem converting Prores 444 to Prores 422" Tags="|ffmpeg|prores|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34942" PostTypeId="2" ParentId="34941" CreationDate="2022-02-02T12:56:48.713" Score="1" Body="&lt;p&gt;The input has full chroma sub-sampling and is 12-bit, and, by default, ffmpeg will try to retain as much fidelity as possible when converting the pixel format for the output encoder. However, for the selected profile, the encoder needs a pixel format with chroma sub-sampling and a lower bit depth. So you'll have to manually set the required one.&lt;/p&gt;&#xA;&lt;p&gt;Add &lt;code&gt;-pix_fmt yuv422p10le&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2022-02-02T13:21:32.123" LastActivityDate="2022-02-02T13:21:32.123" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34944" PostTypeId="1" CreationDate="2022-02-02T20:13:59.523" Score="2" ViewCount="58" Body="&lt;p&gt;I am creating a software related to video editing.&lt;br&gt;&#xA;So, I need to understand what is a video file, how is it created and how does it work?&lt;br&gt;&#xA;One thing that I want to achieve is: I want to be able to add chapters to existing videos that can be used in vlc media players &lt;code&gt;Chapters&lt;/code&gt; option in the &lt;strong&gt;Playback&lt;/strong&gt; menu&#xA;&lt;br&gt;&lt;br&gt;&#xA;This question may sound weird. But please consider that I am completely new to realm of &lt;code&gt;video construction/editing/creating&lt;/code&gt; and I don't find any resource to start learning from&lt;br&gt;&lt;br&gt;&#xA;Any suggestion gratefully received. Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="37510" LastEditorUserId="37510" LastEditDate="2022-02-02T20:27:31.250" LastActivityDate="2022-02-02T20:42:25.353" Title="What is the anatomy of a video file?" Tags="|ffmpeg|editing|encoding|file-formats|recommendation|" AnswerCount="1" CommentCount="3" ClosedDate="2022-02-10T17:44:48.017" ContentLicense="CC BY-SA 4.0" />
  <row Id="34945" PostTypeId="2" ParentId="34944" CreationDate="2022-02-02T20:42:25.353" Score="0" Body="&lt;p&gt;Most of the common video files are containers (like *.mp4, *.mkv) - they can hold different type of streams (video, audio, subtitles, data) and some additional description of these streams (metadata). There are also some video files with a raw video data (like *.h264) - they are representing single video stream and they can also be used with some video players.&#xA;(&lt;a href=&quot;https://en.wikipedia.org/wiki/Video_file_format&quot; rel=&quot;nofollow noreferrer&quot;&gt;more info about video files&lt;/a&gt;)&lt;/p&gt;&#xA;" OwnerUserId="32599" LastActivityDate="2022-02-02T20:42:25.353" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34946" PostTypeId="2" ParentId="1057" CreationDate="2022-02-03T12:26:48.590" Score="0" Body="&lt;p&gt;&lt;strong&gt;bipbop Test Video&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://devstreaming-cdn.apple.com/videos/streaming/examples/bipbop_adv_example_hevc/master.m3u8%5Benter&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://devstreaming-cdn.apple.com/videos/streaming/examples/bipbop_adv_example_hevc/master.m3u8[enter&lt;/a&gt; link description here]&lt;a href=&quot;https://devstreaming-cdn.apple.com/videos/streaming/examples/bipbop_adv_example_hevc/master.m3u8&quot; rel=&quot;nofollow noreferrer&quot;&gt;1&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;For more info check &lt;a href=&quot;https://developer.apple.com/streaming/examples/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://developer.apple.com/streaming/examples/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37518" LastActivityDate="2022-02-03T12:26:48.590" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34948" PostTypeId="1" CreationDate="2022-02-03T20:45:53.477" Score="0" ViewCount="518" Body="&lt;p&gt;I need to check a set of MOV files for broken timecode so I've been attempting to export the entire timecode track of an MOV file using FFMPEG.&lt;/p&gt;&#xA;&lt;p&gt;I've attempted this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i [source] -map 0:d -c copy -f data data.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But it only outputs a small text file with just a couple of characters unrelated to timecode.&lt;/p&gt;&#xA;&lt;p&gt;Then I tried:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i [source] -map 0:d -c copy data.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and got back a timecode only mov file. Which is closer to what I am looking for.&lt;/p&gt;&#xA;&lt;p&gt;I also tried:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -print_format json -show_format -show_streams &amp;quot;input.mov&amp;quot;&amp;gt;&amp;quot;output.json&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This showed me the starting timecode in TAG:timecode&lt;/p&gt;&#xA;&lt;p&gt;I am looking for a means of outputting the timecode for every frame of video to a text file so that I can then scan it with a python script to look for timecode jumps.&lt;/p&gt;&#xA;" OwnerUserId="25797" LastEditorUserId="25797" LastEditDate="2022-02-03T21:24:27.007" LastActivityDate="2022-02-03T21:24:27.007" Title="Export MOV timecode track as a text file with FFMPEG" Tags="|ffmpeg|timecode|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="34949" PostTypeId="2" ParentId="34825" CreationDate="2022-02-03T23:02:12.390" Score="4" Body="&lt;p&gt;&lt;a href=&quot;http://fixounet.free.fr/avidemux/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Avidemux&lt;/a&gt; is the perfect tool for this. It's also free, open source and available for Windows, macOS and Linux.&lt;/p&gt;&#xA;&lt;p&gt;H.264 and H.265 encoded videos have certain complete frames (&lt;strong&gt;keyframes&lt;/strong&gt;) that are called &lt;strong&gt;I-frames&lt;/strong&gt; or &lt;strong&gt;Intra Frames&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;To ensure that you don't have to re-encode a video when you delete some some portions of it, just make sure that you select and delete the portion of video &lt;em&gt;between&lt;/em&gt; two &lt;strong&gt;I-frames&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Avidemux makes finding keyframes or I-Frames very easy - just open the video in it, and use the &lt;kbd&gt;UP&lt;/kbd&gt; or &lt;kbd&gt;DOWN&lt;/kbd&gt; arrow keys to move between keyframes. To select a portion of video between keyframes, use the &lt;kbd&gt;UP&lt;/kbd&gt; and &lt;kbd&gt;DOWN&lt;/kbd&gt; arrow keys on your keyboard to find the first keyframe of the video portion, and click the &lt;strong&gt;&lt;code&gt;[A&lt;/code&gt;&lt;/strong&gt; button on AviDemux. Then use the &lt;kbd&gt;UP&lt;/kbd&gt; and &lt;kbd&gt;DOWN&lt;/kbd&gt; arrow keys to again move to the final key frame of the video portion, and click the &lt;strong&gt;&lt;code&gt;][B&lt;/code&gt;&lt;/strong&gt; button on Avidemux. This will select the portion of video between the 2 keyframes.&lt;/p&gt;&#xA;&lt;p&gt;You can now either delete this portion or click save to just extract and save this portion of the video. No re-encoding will be done.&lt;/p&gt;&#xA;&lt;p&gt;More information on how to cut or extract videos on Avidemux can be read here - &lt;a href=&quot;https://www.avidemux.org/admWiki/doku.php?id=using:cutting&quot; rel=&quot;nofollow noreferrer&quot;&gt;Simple cutting on Avidemux&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="37521" LastEditorUserId="37521" LastEditDate="2022-02-08T10:16:48.210" LastActivityDate="2022-02-08T10:16:48.210" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="34950" PostTypeId="2" ParentId="1057" CreationDate="2022-02-04T10:49:48.127" Score="0" Body="&lt;p&gt;Also sometimes called a test card (famously the BBC one had a kid with a clown where the X on the board was approximately the centre of the screen)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Test_Card_F&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Test_Card_F&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/adCpr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/adCpr.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-02-04T10:49:48.127" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34952" PostTypeId="2" ParentId="33732" CreationDate="2022-02-05T13:27:16.513" Score="3" Body="&lt;p&gt;Here are some general guidelines how to use FFmpeg. The command to use FFmpeg includes: input(s) and output(s), codec(s) and filter(s). It can include also other options, like map(s), but these are probably the very basic ones.&lt;/p&gt;&#xA;&lt;p&gt;The most basic command is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It includes the input file (it is defined by &lt;code&gt;-i&lt;/code&gt; option) and the output file (it does not need any definition, just put its name at the end of the command). This command will convert &lt;code&gt;input.mkv&lt;/code&gt; to &lt;code&gt;output.mp4&lt;/code&gt; by using all the defaults of FFmpeg (including the re-encoding of streams from the input file).&lt;/p&gt;&#xA;&lt;p&gt;The more advanced (but still basic) command is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It will do the same as previous one but the streams from input file will not be re-encoded, they will be copied, as &lt;code&gt;-c&lt;/code&gt; parameter defines a codec to use (&lt;code&gt;copy&lt;/code&gt; means to copy the existing one, you can define other codec). You can define codec for video by using &lt;code&gt;-c:v&lt;/code&gt; and a codec for audio by using &lt;code&gt;-c:a&lt;/code&gt;. For example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -c:v libx264 -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This command will re-encode video stream and copy audio stream.&lt;/p&gt;&#xA;&lt;p&gt;If you want to do some more operations with the input streams (like to scale the resolution of video stream) you need to add some filters, like here:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -c:v libx264 -c:a copy -filter:v scale=1920:1080 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The &lt;code&gt;-filter:v&lt;/code&gt; defines the use of &lt;code&gt;scale&lt;/code&gt; filter to set the resolution of the output. You can use many different filters and you can use many different parameters with these filters. For example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -c:v libx264 -c:a copy -filter:v scale=1920:1080:flags=lanczos output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This command will scale the input video stream with the use of Lanczos algorithm.&lt;/p&gt;&#xA;&lt;p&gt;These all options above are really just the basic ones.&lt;/p&gt;&#xA;&lt;p&gt;You can find &lt;strong&gt;much&lt;/strong&gt; more of them in &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;the documentation&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="32599" LastEditorUserId="32599" LastEditDate="2022-02-05T22:34:02.300" LastActivityDate="2022-02-05T22:34:02.300" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34953" PostTypeId="2" ParentId="34939" CreationDate="2022-02-05T18:38:20.650" Score="1" Body="&lt;p&gt;Have you tried to use &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; already? It's a very versatile command line tool.&lt;/p&gt;&#xA;&lt;p&gt;Here is a &lt;a href=&quot;https://trac.ffmpeg.org/wiki/How%20to%20speed%20up%20/%20slow%20down%20a%20video&quot; rel=&quot;nofollow noreferrer&quot;&gt;dedicated page&lt;/a&gt; with a lot of examples on how to speed up/slow down a video with it.&lt;/p&gt;&#xA;" OwnerUserId="32599" LastActivityDate="2022-02-05T18:38:20.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34954" PostTypeId="1" CreationDate="2022-02-05T19:21:07.780" Score="0" ViewCount="206" Body="&lt;p&gt;I have a Sony A58 camera and 18-55mm lens. I did some recordings with AF (Auto-Focus). The frames are a bit blurry. They are actually clear, but it seems to me like the camera is taking two shots and then overlaying these to images to form a frame.&lt;/p&gt;&#xA;&lt;p&gt;When playing the video this comes off as the video is blurred but when I pause the video, you can clearly see the two images in one frame.&lt;/p&gt;&#xA;&lt;p&gt;I tried different different shutter speeds with MF with no change in the output.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xjOlE.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xjOlE.jpg&quot; alt=&quot;Frame blur&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37536" LastActivityDate="2022-02-05T19:21:59.250" Title="How to setup Sony A58 for clear movie recording?" Tags="|video-quality|video-recording|dslr|sony|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34955" PostTypeId="2" ParentId="34954" CreationDate="2022-02-05T19:21:59.250" Score="1" Body="&lt;p&gt;The solution is to change the video file format in the Menu:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;From AVCHD to MP4.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="37536" LastActivityDate="2022-02-05T19:21:59.250" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34956" PostTypeId="1" CreationDate="2022-02-05T19:26:25.700" Score="0" ViewCount="283" Body="&lt;p&gt;I want to create an rtmp player that receives the stream from the server and displays it on the &amp;quot;Decklink mini monitor&amp;quot;&#xA;this is my command&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -thread_queue_size 32768 -i rtmp://myserver/live/rahim -bufsize 5000k -preset ultrafast -async 1 -vsync -1 -c:a pcm_s16le -ac 2 -ar 48000 -r 50000/1000 -s 1280x720 -pix_fmt uyvy422 -f decklink 'DeckLink Mini Monitor'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Everything is fine&lt;/p&gt;&#xA;&lt;p&gt;but !!!&#xA;ffmpeg can not continue when the stream is disconnected and reconnected for any reason and ffmpeg output is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[flv @ 0x55b1c4d76d40] DTS 0 &amp;lt; 7258 out of order6.90 bitrate=N/A speed=1.13x&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!x&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!360 speed=0.506x&#xA;    Last message repeated 2 times&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;    Last message repeated 7 times&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;    Last message repeated 5 times&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!362 speed=0.516x&#xA;    Last message repeated 9 times&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;    Last message repeated 5 times&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;    Last message repeated 3 times&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;    Last message repeated 6 times&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;    Last message repeated 9 times&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;    Last message repeated 6 times&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;    Last message repeated 1 times&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;    Last message repeated 4 times&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!362 speed=0.554x&#xA;    Last message repeated 2 times&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;    Last message repeated 7 times&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;    Last message repeated 6 times&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!362 speed=0.564x&#xA;    Last message repeated 9 times&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;    Last message repeated 7 times&#xA;[decklink @ 0x55b1c4d8aec0] There are not enough buffered video frames. Video may misbehave!&#xA;[decklink @ 0x55b1c4d8aec0] There's no buffered audio. Audio will misbehave!&#xA;Last message repeated 8 times&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Does anyone have a solution&lt;/p&gt;&#xA;" OwnerUserId="37537" LastEditorUserId="14523" LastEditDate="2022-02-05T22:01:32.437" LastActivityDate="2022-02-05T22:01:32.437" Title="ffmpeg playout rtmp stream continuously when rtmp stream lost for few seconds" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34957" PostTypeId="2" ParentId="34956" CreationDate="2022-02-05T20:16:26.677" Score="1" Body="&lt;p&gt;You can create a batch file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;:START&#xA;ffmpeg ... &amp;lt;here is your command&amp;gt;&#xA;if errorlevel 1 goto START&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;That code should auto-restart your command if there was any error.&lt;/p&gt;&#xA;" OwnerUserId="32599" LastActivityDate="2022-02-05T20:16:26.677" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34958" PostTypeId="1" AcceptedAnswerId="34959" CreationDate="2022-02-05T20:50:03.517" Score="0" ViewCount="57" Body="&lt;p&gt;I have some copies of original theatrical films that came as bonus DVDs. These copies are in 4:3 aspect ratio but are widescreen. So playing the movies in a standard DVD player renders it in a small box with big black lines on all sides.&#xA;I have been able to fix that issue with ffmpeg.&#xA;The issue left now, is that while digitizing, it seems that whatever was used to playback the reel, wobbled in relation to whatever was capturing the image.&#xA;So throughout the whole movie, it shifts left and right a few pixels. It's not the most noticeable thing, but I feel like it is something that should be easily fixed.&lt;/p&gt;&#xA;&lt;p&gt;I have tried a number of settings with the ffmpeg included filter 'deshake', but have no idea what I'm doing. It either moves things way too much, or it does nothing. It has the setting rx, that is supposed to limit the corrective movement left and right, but it gives an error when I enter a value that's not a multiple of 16. (The documentation says it can be 0-64)&#xA;Here's an example of the deshake section of the command I've been trying:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;deshake=x=0:y=150:w=720:h=60:rx=16:ry=0:edge=3:blocksize=4:filename=loog.log&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;All searches I have done come up with solutions for shaky footage from something like a GoPro.&lt;/p&gt;&#xA;&lt;p&gt;How can I go about correcting the shifting with ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="37538" LastEditorUserId="37538" LastEditDate="2022-02-05T21:19:06.553" LastActivityDate="2022-02-05T21:51:31.403" Title="How to stablize a movie that wobbles right and left about 3 pixles throughout the whole thing?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34959" PostTypeId="2" ParentId="34958" CreationDate="2022-02-05T21:51:31.403" Score="0" Body="&lt;p&gt;If &lt;code&gt;deshake&lt;/code&gt; filter does not work for you then you can try to use &lt;code&gt;libvidstab&lt;/code&gt; library.&lt;/p&gt;&#xA;&lt;p&gt;The specific values of parameters can be hard to say without seeing your input video (you need to get them by testing) but the general workflow goes like this: first FFmpeg creates &amp;quot;the map of shakes&amp;quot; and then it will try to stabilize the video by using this info in its next pass.&lt;/p&gt;&#xA;&lt;p&gt;Here are some examples of &lt;a href=&quot;https://www.youtube.com/watch?v=pdriF_ATiX8&quot; rel=&quot;nofollow noreferrer&quot;&gt;video&lt;/a&gt; and &lt;a href=&quot;https://www.imakewebsites.ca/posts/2018/02/17/stabilizing-gopro-video-with-ffmpeg-and-vid.stab/&quot; rel=&quot;nofollow noreferrer&quot;&gt;commands&lt;/a&gt; to use.&lt;/p&gt;&#xA;" OwnerUserId="32599" LastActivityDate="2022-02-05T21:51:31.403" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="34960" PostTypeId="2" ParentId="34780" CreationDate="2022-02-05T23:46:49.310" Score="1" Body="&lt;p&gt;Video data should be in &lt;code&gt;*.vob&lt;/code&gt; files. You need to &lt;code&gt;copy&lt;/code&gt; almost all existing &lt;code&gt;*.vob&lt;/code&gt; files into one (almost all because &lt;code&gt;VTS_01_0.VOB&lt;/code&gt; has DVD menu data so you can skip it). Here is an example for five existing &lt;code&gt;*.vod&lt;/code&gt; files:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;copy /b VTS_01_1.VOB + VTS_01_2.VOB + VTS_01_3.VOB + VTS_01_4.VOB + VTS_01_5.VOB output.vob&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now you can convert &lt;code&gt;output.vob&lt;/code&gt; file to mp4 format with &lt;a href=&quot;https://ffmpeg.org/download.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i output.vob -c:v libx264 -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32599" LastActivityDate="2022-02-05T23:46:49.310" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34961" PostTypeId="2" ParentId="34250" CreationDate="2022-02-07T01:17:39.043" Score="0" Body="&lt;p&gt;It is working for me in dr 17.4.3.&lt;/p&gt;&#xA;&lt;p&gt;Also note, that aac is not currently (if ever will be) supported. Check with wav file.&lt;/p&gt;&#xA;" OwnerUserId="37413" LastActivityDate="2022-02-07T01:17:39.043" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34963" PostTypeId="1" AcceptedAnswerId="34977" CreationDate="2022-02-07T10:02:29.427" Score="0" ViewCount="3423" Body="&lt;p&gt;I want to ask that I have downloaded data which contains audio and video data separately like 1.mp4, 2.mp4 etc in both audio and video folders.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/NaUe5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NaUe5.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Video/Audio folder content :-&#xA;&lt;a href=&quot;https://i.stack.imgur.com/JCEjz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JCEjz.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I also have it's .mpd file. How can I play this video ? or is there any way I can combine both videos and audio files in a single one. Single file for e.g. 1.mp4 video or audio nothing seem to play.&lt;/p&gt;&#xA;" OwnerUserId="37553" LastActivityDate="2022-03-14T23:02:40.267" Title="I have .mpd file with video and audio data downloaded, how can I play it for offline use?" Tags="|ffmpeg|streaming|mpeg-dash|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34965" PostTypeId="1" CreationDate="2022-02-07T15:46:17.717" Score="1" ViewCount="82" Body="&lt;p&gt;I am relatively new to After Effects and Media Encoder.&lt;/p&gt;&#xA;&lt;p&gt;I have an application that is monitoring a folder for media delivered by a 3rd party. When that media arrives, I move the media to a watch folder setup in Media Encoder together with an AE project file - the intention being that Media Encoder will render out an MP4 file that I can then use elsewhere.&lt;/p&gt;&#xA;&lt;p&gt;The AE project file contains a composition that renders (among other things) some MOV footage. The application, AE and Media Encoder are all installed on a Windows 10 virtual machine. AE is configured as a render-only node. I also have the HEVC and HEIF extensions installed.&lt;/p&gt;&#xA;&lt;p&gt;This is largely working as expected - except the MOV footage is rendered as a test pattern. All other parts of the composition are rendered correctly.&lt;/p&gt;&#xA;&lt;p&gt;If I drop the MOV footage directly into Media Encoder, the footage is rendered correctly.&lt;/p&gt;&#xA;&lt;p&gt;If I configure AE so that it is not a render-only node, the MOV footage is rendered correctly.&lt;/p&gt;&#xA;&lt;p&gt;If I try the same setup, but with aerender.exe, the same thing happens - where the MOV footage is expected, there is just a black screen.&lt;/p&gt;&#xA;&lt;p&gt;The same happens even if I drop the files into the watch folder manually. I've even tried collecting the files to the same location - still no joy.&lt;/p&gt;&#xA;&lt;p&gt;Has anyone experienced anything like this and able to offer some advice please? Or perhaps how best to include MOV footage in a composition? If necessary I could pre-convert the MOV footage to MP4 (or other format) to be used in the composition instead. I have spoken to Adobe about this, but unfortunately they were unable to help as this is the first time they've seen this issue...&lt;/p&gt;&#xA;" OwnerUserId="37559" LastActivityDate="2022-02-07T15:46:17.717" Title="AE composition with MOV footage not rendering in Media Encoder" Tags="|after-effects|adobe-media-encoder|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34973" PostTypeId="1" AcceptedAnswerId="34991" CreationDate="2022-02-10T09:30:27.717" Score="1" ViewCount="222" Body="&lt;p&gt;I'm trying to finally transition away from Premiere Pro's Legacy Titles, but I'm having trouble getting used to the &amp;quot;Essential Graphics&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;In general I find it confusing that Graphics behave differently than clips, and my main questions at the moment are:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Where can I get an overview of all graphics used in a Project ? The Graphics I've created are not in the Project panel. (But the &amp;quot;Upgraded&amp;quot; graphics Premiere creates automatically, are there!)&lt;/li&gt;&#xA;&lt;li&gt;How can I create &lt;em&gt;a second instance&lt;/em&gt; of a Graphic, so that if I edit one instance, all the instances will be modified? If I &lt;code&gt;Alt-Drag&lt;/code&gt; a graphic in the timeline, this will create an &lt;em&gt;independent copy&lt;/em&gt;, i.e. that will be edited independently from the first.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="34036" LastEditorUserId="34036" LastEditDate="2022-02-10T09:41:31.940" LastActivityDate="2022-02-17T03:53:37.633" Title="Premiere Pro - Copies vs Instances of Graphics" Tags="|premiere|editing|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34974" PostTypeId="1" AcceptedAnswerId="34975" CreationDate="2022-02-10T19:06:17.290" Score="1" ViewCount="75" Body="&lt;p&gt;Was looking for hotkeys to ease working in AE and found a bunch but for rotation, it only allows 1 or 10 degrees at a time.&lt;/p&gt;&#xA;&lt;p&gt;Is there any hotkey to rotate the layer by 0.1 or 0.5 degrees?&lt;/p&gt;&#xA;&lt;p&gt;Or is there any way to hack/customize it?&lt;/p&gt;&#xA;" OwnerUserId="24320" LastActivityDate="2022-02-11T04:11:08.283" Title="After Effects rotate hotkey" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34975" PostTypeId="2" ParentId="34974" CreationDate="2022-02-11T04:11:08.283" Score="2" Body="&lt;p&gt;this script rotates the currently selected layer(s) 0.1 degree clockwise. Save it as rotate_0.1_cw.jsx and then &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/scripts.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;add it to a hotkey&lt;/a&gt;. Change the line &lt;code&gt;var inc = 0.1;&lt;/code&gt; to &lt;code&gt;var inc = -0.1;&lt;/code&gt; save as rotate_0.1_ccw.jsx and add it to another hotkey. Rinse, repeat.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;// @target aftereffects&#xA;(function () {&#xA;    var theComp = app.project.activeItem;&#xA;    if (theComp) {&#xA;        var theLayers = theComp.selectedLayers;&#xA;        for (var i = 0; i &amp;lt; theLayers.length; i++) {&#xA;            if (theLayers[i].transform.rotation.numKeys) {&#xA;                theLayers[i].transform.rotation.setValueAtTime(theComp.time, theLayers[i].transform.rotation.value + 0.1);&#xA;            } else {&#xA;                theLayers[i].transform.rotation.setValue(theLayers[i].transform.rotation.value + 0.1);&#xA;            }&#xA;        }&#xA;    }&#xA;})()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2022-02-11T04:11:08.283" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34976" PostTypeId="2" ParentId="34898" CreationDate="2022-02-12T09:54:31.257" Score="1" Body="&lt;p&gt;After a bunch of further testing and investigation, I've come to the following conclusions:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The file format Adobe Premiere uses is a function of their MainConcept codec/encoder. It's the file format they use, you can't change it, it's coupled to the encoding process. I had previously assumed the codec just encoded the streams, and Premiere packaged the file, but this appears to be an incorrect assumption.&lt;/li&gt;&#xA;&lt;li&gt;If you install a different codec into Adobe Premiere (Voukoder, TMPGEnc), you will get a different format file, more similar to handbrake/ffmpeg.&lt;/li&gt;&#xA;&lt;li&gt;If you take the Adobe MainConcept file, and do a stream copy with ffmpeg, you can get a repackaging of the file without changing the encoded data. i.e. ffmpeg -i &amp;quot;adobe.mp4&amp;quot; -c copy &amp;quot;ffmpeg.mp4&amp;quot; - exact same video/audio data, but packaged more like the handbrake format (which I believe handbrake uses ffmpeg, so no surprise there)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;So I've figured out how to get the file how I want it, which is to either change the codec Premiere is using, or to repackage the Adobe Premiere file with ffmpeg. Either  way gives me a file that once the chapters are added, it still works on the problematic devices.&lt;/p&gt;&#xA;&lt;p&gt;I would still be interested as to why these various methods package the same encoded data streams into slightly different formats, i.e. why have different formats been implemented in the various different pieces of software, but that info doesn't seem to be readily available. It would be useful to know if MainConcept have a particular reason for selecting their file format - perhaps using the other formats, which work better with chapters embedded, have drawbacks in other areas. Someone also pointed out that there might not be an issue with the MainConcept file at all, Subler might simply not understand that one properly, and be causing an issue with it, where it doesn't on the other formats. Without further info, and time to start digging into files with a hex editor, that's not really possibly to know either.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2022-02-12T09:54:31.257" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34977" PostTypeId="2" ParentId="34963" CreationDate="2022-02-12T22:21:06.910" Score="0" Body="&lt;p&gt;Here is the simplest FFmpeg command that should get you a working mp4 file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i master_480.mpd -c copy master_480.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32599" LastActivityDate="2022-02-12T22:21:06.910" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34978" PostTypeId="2" ParentId="33847" CreationDate="2022-02-13T14:53:24.793" Score="0" Body="&lt;p&gt;I made a QuickTime screen recording to check and it's recorded at 60 fps. So, I don't think that may be the issue.&lt;/p&gt;&#xA;&lt;p&gt;I've found that some programs become quirky with MOV container, and changing it to MPEG-4 (.mp4) container often helps. Since there's no re-encoding happening, this is quite simple and fast to do.&lt;/p&gt;&#xA;&lt;p&gt;With &lt;strong&gt;ffmpeg&lt;/strong&gt;, you can use the following command to quickly change the media container of media file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;(Note: Works properly only if your video stream is encoded in H.264 or H.265 format. QT screen recordings are in H.264 so your use case should cause no errors).&lt;/p&gt;&#xA;&lt;p&gt;If you aren't comfortable with the command line, &lt;strong&gt;&lt;a href=&quot;http://fixounet.free.fr/avidemux/&quot; rel=&quot;nofollow noreferrer&quot;&gt;AviDemux&lt;/a&gt;&lt;/strong&gt; is another fantastic simple media editor and converter with a GUI that you can use. All you have to do is open Avidemux, and open the .mov video file in it. Then click the &lt;em&gt;output format&lt;/em&gt; dropdown menu and select &lt;em&gt;MP4 Muxer&lt;/em&gt; in it. Make sure &lt;em&gt;Video Output&lt;/em&gt; and &lt;em&gt;Audio Output&lt;/em&gt; is set to &lt;em&gt;Copy&lt;/em&gt; mode and then just click the save button (or File &amp;gt; Save).&lt;/p&gt;&#xA;&lt;p&gt;Once the media file container has been changed to MP4, try opening it with AE and see if the issue persists.&lt;/p&gt;&#xA;" OwnerUserId="37521" LastActivityDate="2022-02-13T14:53:24.793" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34979" PostTypeId="1" CreationDate="2022-02-13T18:08:52.270" Score="1" ViewCount="35" Body="&lt;p&gt;I have a very specific goal: there is a device which is advertised to be able to playback my own media files from USB-pendrive, and I'm intended to do so.&lt;/p&gt;&#xA;&lt;p&gt;Further details are not disclosed about supported codecs, containers, fps, etc, so I did the easiest way first and tried with a &lt;code&gt;h264&lt;/code&gt; video in &lt;code&gt;MP4&lt;/code&gt; container:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Format                                   : MPEG-4&#xA;Format profile                           : Base Media / Version 2&#xA;Codec identifier                         : mp42 (isom/mp42)&#xA;File size                                : 23,0 MiB&#xA;Duration                                 : 6 perc 22 mp&#xA;Bitrate                                  : VBR 505 kb/s&#xA;gsst                                     : 0&#xA;gstd                                     : 382688&#xA;&#xA;Image&#xA;Streams                                  : 1&#xA;Format                                   : AVC&#xA;Format profile                           : Main@L3.1&#xA;Format settings                          : CABAC / 3 Ref Frames&#xA;Codec identifier                         : avc1&#xA;Duration                                 : 6 min 22 sec&#xA;Bitrate                                  : 373 kb/s&#xA;Width                                    : 1280 px&#xA;Height                                   : 720 px&#xA;Ratio                                    : 16:9&#xA;Frame per second                         : fixed, 23,976 (24000/1001) FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bit&#xA;Data size                                : 17,0 MiB (74%)&#xA;Color range                              : Limited&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.709&#xA;Codec configuration box                  : avcC&#xA;&#xA;Sound&#xA;Streams                                  : 2&#xA;Format                                   : AAC LC&#xA;Codec identifier                         : mp4a-40-2&#xA;Duration                                 : 6 perc 22 mp&#xA;Bitrate                                  : VBR, 128 kb/s&#xA;Channels                                 : 2&#xA;Channel layout                           : L R&#xA;Sampling rate                            : 44,1 kHz&#xA;Frame per second                         : 43,066 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;Data size                                : 5,84 MiB (25%)&#xA;Language                                 : English&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Video playback started, but it was choppy, here is a sample (audio is also chopping, in-sync with video):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UWgnb.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UWgnb.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is an in-flight entertainment, so I don't really have too much trials, and I have to prepare before getting onto the plane.&lt;/p&gt;&#xA;&lt;p&gt;What could be the reason this video is that choppy, and what would you recommend me to try?&#xA;Resolution seems reasonable, bitrate is not high, duration not too much, codec is a well-known one.&lt;/p&gt;&#xA;&lt;p&gt;I would be interested in which parameters might worth changing. I'd put various versions onto a thumbdrive, and give them a test.&lt;/p&gt;&#xA;" OwnerUserId="35578" LastActivityDate="2022-02-17T12:38:33.297" Title="Possible reasons of choppy video" Tags="|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34981" PostTypeId="2" ParentId="33081" CreationDate="2022-02-14T15:00:27.287" Score="2" Body="&lt;p&gt;The simplest way is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -loop 1  -t 10  -i input.jpg  output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;em&gt;The explanation and additions:&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;Your input file (an image) will go through the default &lt;code&gt;image2&lt;/code&gt; demuxer, which makes a video stream from it.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;By default, this video stream will contain &lt;strong&gt;only 1 frame&lt;/strong&gt; (the input picture), and its framerate will be &lt;strong&gt;25 FPS&lt;/strong&gt; (frames per second), so the duration of this stream will be only 40 miliseconds (= 1/25 s).&lt;/p&gt;&#xA;&lt;p&gt;To repeat your input image for obtaining more frames, I used the options &lt;code&gt;-loop 1&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-loop 1&lt;/code&gt;: The number &lt;code&gt;1&lt;/code&gt; means &lt;strong&gt;true&lt;/strong&gt; for &lt;em&gt;infinite looping&lt;/em&gt;, i.e. for repeating your input picture “infinitely” many times to obtain next and next frame in the case of need.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You need to &lt;em&gt;limit the number of generated frames&lt;/em&gt; (otherwise your &lt;code&gt;ffmpeg&lt;/code&gt; command will run &lt;em&gt;forever&lt;/em&gt;).&lt;/p&gt;&#xA;&lt;p&gt;As you want the 10-second video, I used the &lt;code&gt;-t 10&lt;/code&gt; option to limit the number of generated frames indirectly by the duration of the target video.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -loop 1  -t 10  -i input.jpg  output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you are &lt;em&gt;not&lt;/em&gt; satisfied with the default framerate (25 fps), you may use the &lt;code&gt;-framerate&lt;/code&gt; option, for example&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -loop 1  -framerate 15  -t 10  -i input.jpg  output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2023-05-18T19:39:13.407" LastActivityDate="2023-05-18T19:39:13.407" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34982" PostTypeId="1" CreationDate="2022-02-14T18:45:33.563" Score="0" ViewCount="526" Body="&lt;p&gt;I have a 3840x2160 MOV file taken with my EM1.II Olympus camera. It is a videoclip of a tiny bird taken in the wild without any aids. Hence, despite the good stabilization feature of the camera, the bird moves quite a bit along the frame. I want to stabilize the video USING LINUX ONLY (Fedora 35 fully updated).&lt;/p&gt;&#xA;&lt;p&gt;I can crop A LOT, since the bird is quite small in the frame. Yet, the bird moves quite a bit in the frame, in a circle of around 800 pixels in diameter. But the video is not &amp;quot;blurred&amp;quot;: the bird is fixed and sharp most of the time, thanks to the stabilization of the camera.&lt;/p&gt;&#xA;&lt;p&gt;I tried to install Blender, but it does not run complaining about my old video card. I then tried Kdenlive without luck: the motion tracker effect was removed last year. So the natural clues I found in Google do not apply anymore.&lt;/p&gt;&#xA;&lt;p&gt;Anyway, there should be a good way to stabilize the video using ffmpeg and other software. ffmpeg comes with a stabilization feature, but it only works for small movements, and my movements are not small at all.&lt;/p&gt;&#xA;" OwnerUserId="37621" LastEditorUserId="37621" LastEditDate="2022-02-14T19:05:44.113" LastActivityDate="2024-03-06T01:05:10.617" Title="Extreme video stabilization in Linux, again" Tags="|ffmpeg|video|video-editor|linux|stabilisation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34983" PostTypeId="2" ParentId="34982" CreationDate="2022-02-14T20:27:46.790" Score="0" Body="&lt;p&gt;DaVinci Resolve (free version) works on Linux and has good stabilization. I'm currently running Resolve 17 on Pop! OS 21.1 without a problem. To make a Debian type installer I used &lt;a href=&quot;https://www.danieltufvesson.com/makeresolvedeb&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.danieltufvesson.com/makeresolvedeb&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Edit:&#xA;Somehow missed that you are on Fedora, however it does seem like some folks have it running on that distro.&lt;/p&gt;&#xA;" OwnerUserId="11605" LastEditorUserId="11605" LastEditDate="2022-02-14T20:58:30.950" LastActivityDate="2022-02-14T20:58:30.950" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="34985" PostTypeId="1" CreationDate="2022-02-14T21:49:35.467" Score="0" ViewCount="64" Body="&lt;p&gt;So I have Downloaded the dynamic, zoom out-in youtube subscribe thingy and now Im just wondering how can I set my clip into the transparent rectangle, which is changing it's with and height in time (with some ease timing)&lt;/p&gt;&#xA;&lt;p&gt;Is there a way in Davinci resolve to merge a clip into a transparent rectangle with automatic 'scaling'?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lSpTY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lSpTY.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37624" LastActivityDate="2022-02-14T21:49:35.467" Title="Displaying a clip in a transparent rectangle" Tags="|video|video-editor|davinci-resolve|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="34986" PostTypeId="1" CreationDate="2022-02-15T12:31:10.687" Score="1" ViewCount="81" Body="&lt;p&gt;I have used a GoPro Max to record a long video.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;8 hours.&lt;/li&gt;&#xA;&lt;li&gt;indoor.&lt;/li&gt;&#xA;&lt;li&gt;well lit.&lt;/li&gt;&#xA;&lt;li&gt;static on a monopod.&lt;/li&gt;&#xA;&lt;li&gt;spherical (360).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Unfortunately, the &amp;quot;World Lock&amp;quot; pan stabilisation messed up (not sure why) so now the world slowly spins left, even though the camera did not physically move whatsoever. I have also tried turning off World Lock but the problem persists. Being well lit, indoor footage, there are plenty of clearly defined reference points that could be used for tracking.&lt;/p&gt;&#xA;&lt;p&gt;I have seen that it is possible to do &lt;a href=&quot;https://www.youtube.com/watch?v=aRI1cjM1UHE&quot; rel=&quot;nofollow noreferrer&quot;&gt;manual motion tracking&lt;/a&gt; using keyframes in Premiere Pro, and that the automatic tracking only works with masks. With so much footage, however, manual methods are not really feasible. Is there a way to automatically fix the pan using tracking points?&lt;/p&gt;&#xA;&lt;p&gt;Tagged with Premiere Pro and Resolve as I have both. Don't mind which one I use. If you have a better suggestion than either of these, I'm all ears.&lt;/p&gt;&#xA;&lt;p&gt;Apologies in advance if this is a bit of a newbie question!&lt;/p&gt;&#xA;" OwnerUserId="37631" LastEditorUserId="37631" LastEditDate="2022-02-15T14:00:15.170" LastActivityDate="2022-02-15T14:00:15.170" Title="How do you automatically fix pan in Equirectangular 360 video?" Tags="|premiere|davinci-resolve|stabilisation|360video|vr|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34988" PostTypeId="1" AcceptedAnswerId="34989" CreationDate="2022-02-15T18:22:49.297" Score="1" ViewCount="1872" Body="&lt;p&gt;I have three videos that I am trying to sync so I can setup a multi-camera editing project (I'm using Vegas Pro)&lt;/p&gt;&#xA;&lt;p&gt;Two are at 29.97fps and one is at 30fps. If I manually sync them all at the start, by the end of the clip, the 30fps video has drifted slightly out of sync.&lt;/p&gt;&#xA;&lt;p&gt;I've tried a few different things (manually dropping the odd frame and resyncing the clips, compressing the time of the clip so it syncs up at the end). These work, but they require quite a bit of work when editing lots of clips, so I'm looking for a way to streamline my workflow.&lt;/p&gt;&#xA;&lt;p&gt;I've been fiddling with ffmpeg to find a simple command to convert the 30fps footage to 29.97 (I was hoping it would be possible without re-encoding it).&lt;/p&gt;&#xA;&lt;p&gt;I've tried a few things including:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &amp;lt;input&amp;gt; -filter:v fps=29.97 &amp;lt;output&amp;gt;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;But that doesn't change the audio or overall time of the video, so the audio still drifts out of sync.&lt;/p&gt;&#xA;&lt;p&gt;Is someone able to help me identify what the correct ffmpeg command would be to convert the video so that it syncs with my other tracks?&lt;/p&gt;&#xA;&lt;p&gt;(As an aside, the reason I've ended up in this mess is that I'm using iPads and iPhones for the footage. Every iOS device I've used produces video at 29.97 fps, &lt;em&gt;except&lt;/em&gt; for one of the iPads which always produces video at 30fps. I have no idea why as it's the same model and running the same version of iOS, but for some reason, it's different from every other device and no amount of fiddling with the settings seems to change it)&lt;/p&gt;&#xA;" OwnerUserId="37637" LastActivityDate="2022-02-15T19:23:18.477" Title="Converting Video from 30 fps to 29.97fps so Audio Syncs to Other 29.97fps Videos with ffmpeg" Tags="|ffmpeg|conversion|framerate|vegas-pro|ios|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34989" PostTypeId="2" ParentId="34988" CreationDate="2022-02-15T19:05:03.297" Score="0" Body="&lt;p&gt;I always prefer to use more precise framerate values in my calculations: &lt;code&gt;29.97&lt;/code&gt; is &lt;code&gt;30000/1001&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Your command (&lt;code&gt;ffmpeg -i &amp;lt;input&amp;gt; -filter:v fps=29.97 &amp;lt;output&amp;gt;&lt;/code&gt;) changes the amount of frames per second but the presentation time stamps (PTS) remain the same and that is the reason why duration of the video does not change. You need to change PTS as well:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf &amp;quot;setpts=PTS*((30000/1001)/30),fps=30000/1001&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Audio needs a separate filter:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-af &amp;quot;atempo=(30/(30000/1001))&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The command to change your video framerate from &lt;code&gt;30&lt;/code&gt; to &lt;code&gt;29.97&lt;/code&gt; should look like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &amp;quot;setpts=PTS*((30000/1001)/30),fps=30000/1001&amp;quot; -af &amp;quot;atempo=(30/(30000/1001))&amp;quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="32599" LastEditorUserId="32599" LastEditDate="2022-02-15T19:23:18.477" LastActivityDate="2022-02-15T19:23:18.477" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34991" PostTypeId="2" ParentId="34973" CreationDate="2022-02-16T10:17:20.517" Score="0" Body="&lt;p&gt;Answering my own question, wrapping up &lt;a href=&quot;https://community.adobe.com/t5/premiere-pro-discussions/copies-vs-instances-of-graphics/m-p/12747302&quot; rel=&quot;nofollow noreferrer&quot;&gt;a thread from the Adobe Community&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;All Graphics used in the active sequence will be visible in the &amp;quot;Text&amp;quot; panel/window, under &amp;quot;Graphics&amp;quot;.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If you create a Graphic from scratch, it won't be visible in the Project panel, and if you Alt-drag, this will create an independent copy in the timeline.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Once a graphic is selected, from the &amp;quot;Graphics and Titles&amp;quot; menu, you can &amp;quot;&lt;strong&gt;Convert to Source Graphics&lt;/strong&gt;&amp;quot;. This will add the item to the Project Bin, and you can use the same graphic several times&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;From the &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/upgrade-legacy-titles.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Premiere Help&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Source Graphics are modern essential graphics that work in a similar&#xA;way to Legacy Titles:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;They have a project item.&lt;/li&gt;&#xA;&lt;li&gt;You can track usage through the metadata column for Video Usage.&lt;/li&gt;&#xA;&lt;li&gt;Edits made to the project item or an associated track item will ripple through all track items.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Note that if you Alt-drag a Source Graphics, it will be duplicated, creating a new copy of it in the Project Panel.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="34036" LastEditorUserId="14523" LastEditDate="2022-02-17T03:53:37.633" LastActivityDate="2022-02-17T03:53:37.633" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34992" PostTypeId="2" ParentId="34979" CreationDate="2022-02-16T18:51:34.887" Score="2" Body="&lt;p&gt;There could be many reasons, for example: that device can have very low level hardware decoder or low quality USB port (especially if the device does not come from some widely known and good brand). The first thing I would try is to use the Base codec profile instead of the Main one, the second thing is to downscale the resolution.&lt;/p&gt;&#xA;" OwnerUserId="32599" LastEditorUserId="32599" LastEditDate="2022-02-17T12:38:33.297" LastActivityDate="2022-02-17T12:38:33.297" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34993" PostTypeId="1" AcceptedAnswerId="35032" CreationDate="2022-02-17T03:07:55.910" Score="0" ViewCount="35" Body="&lt;p&gt;So I've just started using AE and was wondering what the best way to organise multiple animations was?&lt;/p&gt;&#xA;&lt;p&gt;So in this case I have a source file (PSD with multiple layers) and I'm playing around doing different animations on the same assets. What I've been doing is dragging the PSD composition down to the timeline and just turning the visibility off on the ones I've already completed.&lt;/p&gt;&#xA;&lt;p&gt;For this kind of thing is that okay? What about for bigger projects, would it be better to have a separate file for each animation?&lt;/p&gt;&#xA;" OwnerUserId="37640" LastActivityDate="2022-03-01T00:21:35.060" Title="Multiple animations using the same assets" Tags="|after-effects|animation|video-standards|composing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="34995" PostTypeId="2" ParentId="22897" CreationDate="2022-02-17T06:59:58.820" Score="1" Body="&lt;p&gt;another approach that uses mouse is:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kyMZc.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.stack.imgur.com/kyMZc.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;in other words, when you only need to adjust the zone out, you can drag this UI element or drag the middle.&lt;/p&gt;&#xA;&lt;p&gt;Sorry, I cannot make the mini video viewable inline.&lt;/p&gt;&#xA;" OwnerUserId="32979" LastActivityDate="2022-02-17T06:59:58.820" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="34996" PostTypeId="1" CreationDate="2022-02-17T09:55:26.070" Score="1" ViewCount="22" Body="&lt;p&gt;which is the best method for stabilizing a Ronin hand held sequence shot that moves along a path? I'm using DaVinci Resolve and Blender.&lt;/p&gt;&#xA;" OwnerUserId="37661" LastActivityDate="2022-02-17T09:55:26.070" Title="stabilizing a sequence shot that moves along a path" Tags="|davinci-resolve|tracking|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="34999" PostTypeId="1" AcceptedAnswerId="35000" CreationDate="2022-02-17T17:15:42.770" Score="1" ViewCount="37" Body="&lt;p&gt;I've seen this effect in a lot of videos, you can take a look here:&#xA;&lt;a href=&quot;https://i.imgur.com/ElEDOTN.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;video link&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Which key word identifies this contraction movement effect? Or how can we do that?&lt;/p&gt;&#xA;" OwnerUserId="37177" LastEditorUserId="1950" LastEditDate="2022-07-03T11:21:33.570" LastActivityDate="2022-07-03T11:21:33.570" Title="After Effects: How to do Organic Contraction effect" Tags="|video|after-effects|effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35000" PostTypeId="2" ParentId="34999" CreationDate="2022-02-18T14:10:49.233" Score="2" Body="&lt;p&gt;There's a 3D deformation happening here, along with an optical glow on the bass beats.&lt;/p&gt;&#xA;&lt;p&gt;I would guess this was made in After Effects, using the plugins &lt;a href=&quot;https://www.maxon.net/en/red-giant-complete/trapcode-suite/form&quot; rel=&quot;nofollow noreferrer&quot;&gt;Trapcode Form&lt;/a&gt; or possibly &lt;a href=&quot;https://aescripts.com/plexus/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Plexus&lt;/a&gt; with &lt;a href=&quot;https://www.maxon.net/en/red-giant-complete/trapcode-suite/sound-keys&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sound Keys&lt;/a&gt; applied to a deformer using the bass in the music.  Then an &lt;a href=&quot;https://www.maxon.net/en/red-giant-complete/vfx-suite/optical-glow&quot; rel=&quot;nofollow noreferrer&quot;&gt;Optical Glow&lt;/a&gt; added which gets more intense using the same keyframes from the bass.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-02-18T14:42:00.870" LastActivityDate="2022-02-18T14:42:00.870" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35004" PostTypeId="2" ParentId="33999" CreationDate="2022-02-18T19:13:32.377" Score="2" Body="&lt;p&gt;A Czech film maker, Nikolaj Pognerebko, has created a paid app (&lt;a href=&quot;https://apps.apple.com/app/raw-convertor/id1598580439&quot; rel=&quot;nofollow noreferrer&quot;&gt;macOS version&lt;/a&gt;, &lt;a href=&quot;https://apps.microsoft.com/store/detail/raw-convertor/9NSWB4KMD8JL&quot; rel=&quot;nofollow noreferrer&quot;&gt;Windows version&lt;/a&gt;) that will convert ProRes RAW to CinemaDNG for use in software such as Davinci Resolve.&lt;/p&gt;&#xA;" OwnerUserId="37681" LastEditorUserId="31877" LastEditDate="2023-04-13T17:59:46.633" LastActivityDate="2023-04-13T17:59:46.633" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35005" PostTypeId="1" CreationDate="2022-02-18T20:44:15.700" Score="2" ViewCount="101" Body="&lt;p&gt;Almost every time we deal with footage that was shot on an iOS device in a post production workflow, we find it's Variable Frame Rate (aka VFR) rather than Constant Frame Rate (CFR). The hardware seems to be doing timing based on a 600 Hz internal clock, so within the mov the timebase is based on 600 ticks per second. But what I'm seeing on multiple mp4/mov AVC clips shot on an iPad Pro running iOS 15.2.1 is that almost every frame is 25 ticks, but with every 30 seconds one frame will be 26 ticks. This results in an effective frame rate between 23.99865 fps and 23.99880 fps. I would understand a system where most frames are one number of ticks but occasionally one is longer if it resulted in a more common framerate, but that number seems very strange to me.&lt;/p&gt;&#xA;&lt;p&gt;Does anyone know why this would be a goal? Did someone at Apple just mess up their math, or is there some application where that frame rate would be desirable (instead of, say, 24.00 fps or something closer to the ntsc-film standard of ~23.976 fps)?&lt;/p&gt;&#xA;&lt;p&gt;UPDATE: This continues to be the case at least through the iPhone 14 Max, running iOS 16.3&lt;/p&gt;&#xA;" OwnerUserId="20549" LastEditorUserId="20549" LastEditDate="2023-05-05T02:56:29.973" LastActivityDate="2024-02-16T18:02:40.280" Title="What frame rate is the iOS camera aiming for when it shoots 24fps VFR?" Tags="|framerate|ios|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35006" PostTypeId="1" CreationDate="2022-02-18T22:01:20.153" Score="0" ViewCount="104" Body="&lt;p&gt;I have two files that I want to import into Final Cut Pro X. They are both clips pulled from the same source file using the same commands. I am using a generated script to extract dozens of clips at a time so they are identical other than the output filename. This is the command I am running to create them:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -ss 00:02:33 -to 00:02:37 -i c66d0aaedc7848f39066faa244542eac.mkv \&#xA;    -c:v prores_ks -profile:v 3 -vendor apl0 -bits_per_mb 8000 -pix_fmt yuv422p10le \&#xA;    -map_chapters -1 -c:a aac -ac 2 -b:a 128k -map 0:v:0 -map 0:a:0 \&#xA;    -metadata:s:a:0 title=&amp;quot;Stereo&amp;quot; cinderella33-extra.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;They seem almost identical when I check them with &lt;code&gt;mediainfo&lt;/code&gt; and &lt;code&gt;ffprobe&lt;/code&gt;. Here are the outputs from those.&lt;/p&gt;&#xA;&lt;p&gt;cinderalla3.mov:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : cinderella3.mov&#xA;Format                                   : MPEG-4&#xA;Format profile                           : QuickTime&#xA;Codec ID                                 : qt   0000.02 (qt  )&#xA;File size                                : 232 MiB&#xA;Duration                                 : 6 s 48 ms&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 322 Mb/s&#xA;Writing application                      : Lavf59.16.100&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : ProRes&#xA;Format version                           : Version 0&#xA;Format profile                           : 422 HQ&#xA;Codec ID                                 : apch&#xA;Duration                                 : 6 s 48 ms&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 322 Mb/s&#xA;Width                                    : 1 456 pixels&#xA;Height                                   : 1 080 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 23.976 (24000/1001) FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:2&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 8.545&#xA;Stream size                              : 232 MiB (100%)&#xA;Writing library                          : Apple&#xA;Language                                 : English&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC LC&#xA;Format/Info                              : Advanced Audio Codec Low Complexity&#xA;Codec ID                                 : mp4a-40-2&#xA;Duration                                 : 6 s 0 ms&#xA;Source duration                          : 6 s 21 ms&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 128 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Channel layout                           : L R&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 46.875 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 93.5 KiB (0%)&#xA;Source stream size                       : 94.0 KiB (0%)&#xA;Title                                    : Stereo&#xA;Language                                 : English&#xA;Default                                  : Yes&#xA;Alternate group                          : 1&#xA;&#xA;ffprobe version 5.0 Copyright (c) 2007-2022 the FFmpeg developers&#xA;  built with Apple clang version 13.0.0 (clang-1300.0.27.3)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/5.0-with-options --enable-shared --cc=clang --host-cflags= --host-ldflags= --enable-gpl --enable-libaom --enable-libdav1d --enable-libmp3lame --enable-libopus --enable-libsnappy --enable-libtheora --enable-libvmaf --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-demuxer=dash --enable-opencl --enable-videotoolbox --disable-htmlpages --enable-libfdk-aac --enable-nonfree&#xA;  libavutil      57. 17.100 / 57. 17.100&#xA;  libavcodec     59. 18.100 / 59. 18.100&#xA;  libavformat    59. 16.100 / 59. 16.100&#xA;  libavdevice    59.  4.100 / 59.  4.100&#xA;  libavfilter     8. 24.100 /  8. 24.100&#xA;  libswscale      6.  4.100 /  6.  4.100&#xA;  libswresample   4.  3.100 /  4.  3.100&#xA;  libpostproc    56.  3.100 / 56.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'cinderella3.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 512&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf59.16.100&#xA;  Duration: 00:00:06.05, start: 0.000000, bitrate: 322280 kb/s&#xA;  Stream #0:0[0x1](eng): Video: prores (HQ) (apch / 0x68637061), yuv422p10le(tv, progressive), 1456x1080, 322160 kb/s, SAR 1:1 DAR 182:135, 23.98 fps, 23.98 tbr, 24k tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : FFMP&#xA;      encoder         : Lavc59.18.100 prores_ks&#xA;  Stream #0:1[0x2](eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 127 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;cinderella191.mov:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : cinderella191.mov&#xA;Format                                   : MPEG-4&#xA;Format profile                           : QuickTime&#xA;Codec ID                                 : qt   0000.02 (qt  )&#xA;File size                                : 137 MiB&#xA;Duration                                 : 5 s 5 ms&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 230 Mb/s&#xA;Writing application                      : Lavf59.16.100&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : ProRes&#xA;Format version                           : Version 0&#xA;Format profile                           : 422 HQ&#xA;Codec ID                                 : apch&#xA;Duration                                 : 5 s 5 ms&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 230 Mb/s&#xA;Width                                    : 1 456 pixels&#xA;Height                                   : 1 080 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 23.976 (24000/1001) FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:2&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 6.106&#xA;Stream size                              : 137 MiB (100%)&#xA;Writing library                          : Apple&#xA;Language                                 : English&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC LC&#xA;Format/Info                              : Advanced Audio Codec Low Complexity&#xA;Codec ID                                 : mp4a-40-2&#xA;Duration                                 : 5 s 0 ms&#xA;Source duration                          : 5 s 21 ms&#xA;Bit rate mode                            : Constant&#xA;Bit rate                                 : 129 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Channel layout                           : L R&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 46.875 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 78.4 KiB (0%)&#xA;Source stream size                       : 78.9 KiB (0%)&#xA;Title                                    : Stereo&#xA;Language                                 : English&#xA;Default                                  : Yes&#xA;Alternate group                          : 1&#xA;&#xA;ffprobe version 5.0 Copyright (c) 2007-2022 the FFmpeg developers&#xA;  built with Apple clang version 13.0.0 (clang-1300.0.27.3)&#xA;  configuration: --prefix=/usr/local/Cellar/ffmpeg/5.0-with-options --enable-shared --cc=clang --host-cflags= --host-ldflags= --enable-gpl --enable-libaom --enable-libdav1d --enable-libmp3lame --enable-libopus --enable-libsnappy --enable-libtheora --enable-libvmaf --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-demuxer=dash --enable-opencl --enable-videotoolbox --disable-htmlpages --enable-libfdk-aac --enable-nonfree&#xA;  libavutil      57. 17.100 / 57. 17.100&#xA;  libavcodec     59. 18.100 / 59. 18.100&#xA;  libavformat    59. 16.100 / 59. 16.100&#xA;  libavdevice    59.  4.100 / 59.  4.100&#xA;  libavfilter     8. 24.100 /  8. 24.100&#xA;  libswscale      6.  4.100 /  6.  4.100&#xA;  libswresample   4.  3.100 /  4.  3.100&#xA;  libpostproc    56.  3.100 / 56.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'cinderella191.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 512&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf59.16.100&#xA;  Duration: 00:00:05.01, start: 0.000000, bitrate: 230352 kb/s&#xA;  Stream #0:0[0x1](eng): Video: prores (HQ) (apch / 0x68637061), yuv422p10le(tv, progressive), 1456x1080, 230215 kb/s, SAR 1:1 DAR 182:135, 23.98 fps, 23.98 tbr, 24k tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : FFMP&#xA;      encoder         : Lavc59.18.100 prores_ks&#xA;  Stream #0:1[0x2](eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and here's the result when I &lt;code&gt;diff&lt;/code&gt; the two outputs&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;2c2&#xA;&amp;lt; Complete name                            : cinderella3.mov&#xA;---&#xA;&amp;gt; Complete name                            : cinderella191.mov&#xA;6,7c6,7&#xA;&amp;lt; File size                                : 232 MiB&#xA;&amp;lt; Duration                                 : 6 s 48 ms&#xA;---&#xA;&amp;gt; File size                                : 137 MiB&#xA;&amp;gt; Duration                                 : 5 s 5 ms&#xA;9c9&#xA;&amp;lt; Overall bit rate                         : 322 Mb/s&#xA;---&#xA;&amp;gt; Overall bit rate                         : 230 Mb/s&#xA;18c18&#xA;&amp;lt; Duration                                 : 6 s 48 ms&#xA;---&#xA;&amp;gt; Duration                                 : 5 s 5 ms&#xA;20c20&#xA;&amp;lt; Bit rate                                 : 322 Mb/s&#xA;---&#xA;&amp;gt; Bit rate                                 : 230 Mb/s&#xA;29,30c29,30&#xA;&amp;lt; Bits/(Pixel*Frame)                       : 8.545&#xA;&amp;lt; Stream size                              : 232 MiB (100%)&#xA;---&#xA;&amp;gt; Bits/(Pixel*Frame)                       : 6.106&#xA;&amp;gt; Stream size                              : 137 MiB (100%)&#xA;39,40c39,40&#xA;&amp;lt; Duration                                 : 6 s 0 ms&#xA;&amp;lt; Source duration                          : 6 s 21 ms&#xA;---&#xA;&amp;gt; Duration                                 : 5 s 0 ms&#xA;&amp;gt; Source duration                          : 5 s 21 ms&#xA;42c42&#xA;&amp;lt; Bit rate                                 : 128 kb/s&#xA;---&#xA;&amp;gt; Bit rate                                 : 129 kb/s&#xA;48,49c48,49&#xA;&amp;lt; Stream size                              : 93.5 KiB (0%)&#xA;&amp;lt; Source stream size                       : 94.0 KiB (0%)&#xA;---&#xA;&amp;gt; Stream size                              : 78.4 KiB (0%)&#xA;&amp;gt; Source stream size                       : 78.9 KiB (0%)&#xA;66c66&#xA;&amp;lt; Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'cinderella3.mov':&#xA;---&#xA;&amp;gt; Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'cinderella191.mov':&#xA;72,73c72,73&#xA;&amp;lt;   Duration: 00:00:06.05, start: 0.000000, bitrate: 322280 kb/s&#xA;&amp;lt;   Stream #0:0[0x1](eng): Video: prores (HQ) (apch / 0x68637061), yuv422p10le(tv, progressive), 1456x1080, 322160 kb/s, SAR 1:1 DAR 182:135, 23.98 fps, 23.98 tbr, 24k tbn (default)&#xA;---&#xA;&amp;gt;   Duration: 00:00:05.01, start: 0.000000, bitrate: 230352 kb/s&#xA;&amp;gt;   Stream #0:0[0x1](eng): Video: prores (HQ) (apch / 0x68637061), yuv422p10le(tv, progressive), 1456x1080, 230215 kb/s, SAR 1:1 DAR 182:135, 23.98 fps, 23.98 tbr, 24k tbn (default)&#xA;78c78&#xA;&amp;lt;   Stream #0:1[0x2](eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 127 kb/s (default)&#xA;---&#xA;&amp;gt;   Stream #0:1[0x2](eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Why will FCPX import &lt;code&gt;cinderella191.mov&lt;/code&gt; but won't take &lt;code&gt;cinderella3.mov&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="37454" LastEditorUserId="18155" LastEditDate="2022-02-19T18:45:43.140" LastActivityDate="2024-03-11T00:07:00.790" Title="Final Cut Pro X won't accept similar files" Tags="|ffmpeg|final-cut-pro-x|ffprobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35008" PostTypeId="1" CreationDate="2022-02-19T01:37:33.627" Score="0" ViewCount="90" Body="&lt;p&gt;Wondering if there was a way to make an automated cuts programmatically (e.g.) show time ranges [0-1:00, 2:00-2:15, etc..]&lt;/p&gt;&#xA;&lt;p&gt;If I have a 1 hour long video and I know by time code for each cut and wanted to automate to trim. is there a way to accomplish this?&lt;/p&gt;&#xA;" OwnerUserId="37683" LastActivityDate="2024-03-24T15:07:00.827" Title="Adobe premiere Pro or After effects: is there a way to to programmatically make cuts?" Tags="|adobe|after-effects-scripting|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35010" PostTypeId="2" ParentId="35006" CreationDate="2022-02-19T16:03:46.300" Score="0" Body="&lt;p&gt;I moved all the files I'm trying to import to a different directory and FCPX was willing to import all of them. Obviously, I don't know the specifics about why it wouldn't import them but here's my best guess:&lt;/p&gt;&#xA;&lt;p&gt;Earlier I had tried to import a version of those files that were all blocked using the import option. Those were rejected because it didn't like the audio portion of the videos. The only difference between that first set of files and similar files that FCPX liked was they were missing a field called &lt;code&gt;Title&lt;/code&gt; that was set to &lt;code&gt;Stereo&lt;/code&gt; so I added &lt;code&gt;-metadata:s:a:0 title=&amp;quot;Stereo&amp;quot;&lt;/code&gt; to the &lt;code&gt;ffmpeg&lt;/code&gt; parameters.&lt;/p&gt;&#xA;&lt;p&gt;That created the set of files that prompted this question. Going back to the import screen, I noticed that the files FCPX didn't like were all on the first page of the file list, and subsequently all the files it would accept were after the first page. Instinct had me wonder if FCPX had cached the file information for that first page of the file list. So when I moved the files to a different subdirectory, I forced FCPX to reprocess the file check.&lt;/p&gt;&#xA;&lt;p&gt;That fixed it. Don't know that I'm 100% right about the cause but it fixed the issue so I'm good.&lt;/p&gt;&#xA;" OwnerUserId="37454" LastActivityDate="2022-02-19T16:03:46.300" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35011" PostTypeId="1" CreationDate="2022-02-19T22:11:44.490" Score="0" ViewCount="33" Body="&lt;p&gt;Playing a 720p movie file  by VLC-mediaplayer (working normally with all other videofiles), gave a peculiar distortion, intermittently showing rather interesting visually pleasing patternings. Tried to find a video distortion filter by diverse terms in google but came up empty, only visual effect tips using adobe and the like that don't get to too interesting  results. Could anyone please let me know of a way to get an adjustable/modifiable video distortion mechanism or &amp;quot;filter&amp;quot;? Something that messes the videostream image up in several ways and in a fine-grained manner.&lt;/p&gt;&#xA;" OwnerUserId="37693" LastActivityDate="2022-02-19T22:11:44.490" Title="Searching an Adjustable Distortion ' filter ' for video" Tags="|effects|filter|distortion|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35013" PostTypeId="1" AcceptedAnswerId="35047" CreationDate="2022-02-20T11:42:03.803" Score="0" ViewCount="911" Body="&lt;p&gt;Thank you for helping me! I have a very simple question but I just can't find the answer to it: &lt;strong&gt;Am I allowed to cut the music from the audio library of YouTube&lt;/strong&gt; (the one in YouTube studio)? So for example if the music is 2 min long but your video is only 1 min long, are you allowed to delete the rest?&#xA;I searched here, on YouTube and on the internet. I seem to not get an answer anywhere?&lt;/p&gt;&#xA;" OwnerUserId="36415" LastEditorUserId="36415" LastEditDate="2022-03-03T14:56:50.937" LastActivityDate="2022-03-04T08:51:46.803" Title="Am I allowed to cut the music from the audio library of YouTube?" Tags="|editing|audio|youtube|music|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35014" PostTypeId="1" CreationDate="2022-02-20T16:50:21.277" Score="1" ViewCount="211" Body="&lt;p&gt;When I change the &lt;em&gt;Speed/Duration&lt;/em&gt; of an audio track and check &lt;em&gt;Maintain Audio Pitch&lt;/em&gt;, I frequently get &lt;strong&gt;a moment of louder audio immediately following the edit point&lt;/strong&gt;. This is very frustrating…&lt;/p&gt;&#xA;&lt;p&gt;Here's &lt;a href=&quot;https://i.stack.imgur.com/uCSLz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;a screen recording.&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As a workaround I tried adding…&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;additional frames and…&lt;/li&gt;&#xA;&lt;li&gt;fades at the beginning of the audio, but the problem remains.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;What I also tried:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Updating from Premiere Pro version 15.4 to 22.2&lt;/li&gt;&#xA;&lt;li&gt;Removing all attributes and effects from audio clips&lt;/li&gt;&#xA;&lt;li&gt;Rendering and nest audio clips&lt;/li&gt;&#xA;&lt;li&gt;Exporting everything&lt;/li&gt;&#xA;&lt;li&gt;Deleting the Media Cache and Media Cache files&lt;/li&gt;&#xA;&lt;li&gt;Resetting the preferences&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I can reproduce the exact same problem with an entirely new project and different audio files (I tried MP3 and WAV). As soon as I change &lt;em&gt;Speed/Duration&lt;/em&gt; and check &lt;em&gt;Maintain Audio Pitch&lt;/em&gt;, the glitch appears.&lt;/p&gt;&#xA;&lt;p&gt;What can I do to fix this?&lt;/p&gt;&#xA;" OwnerUserId="37698" LastEditorUserId="37698" LastEditDate="2022-02-25T15:27:34.907" LastActivityDate="2022-02-25T15:27:34.907" Title="'Maintain Audio Pitch' in Speed/Duration causes Audio Glitch" Tags="|premiere|editing|audio|adobe|premiere-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35016" PostTypeId="1" CreationDate="2022-02-21T07:42:05.970" Score="1" ViewCount="215" Body="&lt;p&gt;I'm trying to use the Low Resolution Video files created by a GoPro camera as proxy videos to the HVEC clips for video editing. I'm running into a slight issue in which the camera seems to cut the last frame from these low resolution videos. I'm attempting to fix this issue by grabbing the last frame and then attempting to concatenate it to the proxy video while also preserving the start timecode.&lt;/p&gt;&#xA;&lt;p&gt;So far I was able to run the following to grab a screenshot of the last frame:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -sseof -1 -i VIDEO_PROXY.MP4 -update 1 -q:v 1 last.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Everything else I've found is to create a video of the image for N seconds and then concatenate it to this proxy video, but this is adding more than one frame and messing up the time codes.&lt;/p&gt;&#xA;&lt;p&gt;I'm thinking there is probably a straightway of doing what I need using &lt;code&gt;ffmpeg&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="37703" LastActivityDate="2022-02-21T07:42:05.970" Title="Extend video by exactly one frame using ffmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35017" PostTypeId="1" CreationDate="2022-02-21T12:32:02.473" Score="1" ViewCount="281" Body="&lt;p&gt;I am rendering a video of resolution 2704 x 1520 of 50 FPS on sony vegas.&#xA;Here are the parameters of the videos :&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GCcnO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GCcnO.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm trying to render for a clip video on &lt;strong&gt;youtube&lt;/strong&gt;. However I have an important loss of quality.&lt;/p&gt;&#xA;&lt;p&gt;Here are my render parameters :&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dJRGD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dJRGD.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And here pictures of the differences between original video and rendered video :&lt;/p&gt;&#xA;&lt;p&gt;Rendered :&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7eNdk.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7eNdk.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Original :&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VZ2ds.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VZ2ds.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It is a just a screenshot but you can see that the colors and the details on the rendered videos are less better.&#xA;Does someone have an idea to match the rendered quality and the original video quality?&#xA;Thank you&lt;/p&gt;&#xA;&lt;p&gt;EDIT : I already disabled resampling&lt;/p&gt;&#xA;" OwnerUserId="37707" LastActivityDate="2024-02-27T02:02:15.250" Title="High losing of quality after rendering sony vegas pro 17" Tags="|vegas-pro|rendering|quality|lossless|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35018" PostTypeId="5" CreationDate="2022-02-22T23:48:50.163" Score="0" Body="&lt;p&gt;Tag could be used for categorizing or associating queries or questions about a hardware or software setup, its process, its technicalities, relevant recommendations on &amp;quot;how-to&amp;quot; and relevant cautions for certain assembly and configuration thereby guiding a user towards a working solution to a task at hand.&lt;/p&gt;&#xA;" OwnerUserId="37724" LastEditorUserId="37724" LastEditDate="2022-02-28T18:22:43.547" LastActivityDate="2022-02-28T18:22:43.547" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35019" PostTypeId="4" CreationDate="2022-02-22T23:48:50.163" Score="0" Body="A configuration or an assembly of any set of hardware or software component(s) in a setting that helps you accomplish a particular video recording, creation, capture or processing task/activity." OwnerUserId="37724" LastEditorUserId="4426" LastEditDate="2022-03-31T14:59:59.717" LastActivityDate="2022-03-31T14:59:59.717" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35020" PostTypeId="1" AcceptedAnswerId="35022" CreationDate="2022-02-23T00:00:45.203" Score="0" ViewCount="3240" Body="&lt;p&gt;&lt;strong&gt;My aim :&lt;/strong&gt; (purpose - long drive activity)&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;to record a 10-12 hour long video (not a time lapse)&lt;/li&gt;&#xA;&lt;li&gt;possibly ultrawide (upwards of 130 degrees or something like a super-view from GoPro)&lt;/li&gt;&#xA;&lt;li&gt;higher resolutions upwards of 2k or 2.7k&lt;/li&gt;&#xA;&lt;li&gt;physical size not too Huge (not aiming for bigger than around 10x8x5 inches in general)&lt;/li&gt;&#xA;&lt;li&gt;Cannot Spend More Than $1200 Just For Camera Unit Alone.&lt;/li&gt;&#xA;&lt;li&gt;not overtly complex to set up and control&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;My Flexibilities :&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Am willing to get a big power-bank (already have a 600-750 Amps battery jumper of my car that can power most of my electronics for 10 hours straight)&lt;/li&gt;&#xA;&lt;li&gt;Am willing to get high quality max-memory storage cards&lt;/li&gt;&#xA;&lt;li&gt;Am ok with it being a dash cam, rash cam, stash cam or mickey-mouse's twinkle eyes for that matter (i believe you get the point). Could be any category of cam.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;My research so far :&lt;/strong&gt;&#xA;I searched twice for around 3 to 4 days on the internet on this matter but couldn't find any valuable clarity of guidance and gave up today. Mostly found people frantically sharing what they know in the world and having nothing to do with the context/matter of the question. for eg :- found individuals who started describing how handsome Brad Pitt would look in a specific lens as opposed to another specific lens (which obviously had nothing to do with the question).&lt;/p&gt;&#xA;&lt;p&gt;From my search, the only helpful and relevant pages I found were the following :&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://photo.stackexchange.com/questions/109226/do-camcorders-shoot-longer-video&quot;&gt;https://photo.stackexchange.com/questions/109226/do-camcorders-shoot-longer-video&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://photo.stackexchange.com/questions/34811/how-can-i-record-long-videos-on-my-eos-7d&quot;&gt;https://photo.stackexchange.com/questions/34811/how-can-i-record-long-videos-on-my-eos-7d&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://photo.stackexchange.com/questions/34863/can-i-charge-my-camera-while-it-is-taking-a-video&quot;&gt;https://photo.stackexchange.com/questions/34863/can-i-charge-my-camera-while-it-is-taking-a-video&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/26079/gopro-fusion-extended-recording/26107#26107&quot;&gt;GoPro Fusion extended recording?&lt;/a&gt;    (very close but not quite there, no way for me to confirm)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://camerajabber.com/buyersguides/best-4k-cameras-for-shooting-video/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://camerajabber.com/buyersguides/best-4k-cameras-for-shooting-video/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.digitalcameraworld.com/buying-guides/best-compact-camera&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.digitalcameraworld.com/buying-guides/best-compact-camera&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.quora.com/How-do-I-record-a-video-for-10-hours-straight&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.quora.com/How-do-I-record-a-video-for-10-hours-straight&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.dpreview.com/forums/thread/4040987&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dpreview.com/forums/thread/4040987&lt;/a&gt;    (this link was the closest to my aim except his case is theatre setting and mine is a milder case of a driving cockpit without sudden changes in lighting. In my case, it will only be gradual natural changes in lighting as the day passes and transitions into evening and then night)&lt;/li&gt;&#xA;&lt;li&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/K15ZXMlmXyE?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;   (this person was the closest to my context, but he replied to my question saying 'it is possible but only remote chances with lowest resolution')&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;My Thots :&lt;/strong&gt; (layman level)&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Would a newest model of GoPro be able to do this? (thinking if I remove battery and connect to power-bank the whole time)&lt;/li&gt;&#xA;&lt;li&gt;Are there dash cams which can do this?&lt;/li&gt;&#xA;&lt;li&gt;If yes, then what are the cautions do I need to take?&lt;/li&gt;&#xA;&lt;li&gt;Are there rental services for this kind of tech?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Can i achieve this task? Really want to know before I start buying a wrong setup only to fail and suffer some un-reasonable expenditure per my current budget.&lt;/p&gt;&#xA;" OwnerUserId="37724" LastActivityDate="2022-02-25T16:56:42.520" Title="What cameras/setup can record 10-12 hours long continuous video in very wide angles in high resolutions without being physically humongous?" Tags="|video-recording|camera|video-capture|recommendation|setup|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35021" PostTypeId="1" CreationDate="2022-02-23T01:01:14.140" Score="3" ViewCount="289" Body="&lt;p&gt;In After Effects, there's lots of times I've used the Parent feature (e.g., limbs of a body). However, I've run into an issue several times where &lt;strong&gt;I'd like the child layer to be still while the parent continues to move&lt;/strong&gt;, and I sure hope there's an easier way to do that than by eye.&lt;/p&gt;&#xA;&lt;p&gt;For example, say an animated character is landing on the ground. Once hitting the ground, their feet (terminal child layer) are stationary, but their body (topmost parent layer) keeps moving down for a moment. I've included this example as a gif below.&lt;/p&gt;&#xA;&lt;p&gt;I can handle this by eye, or mathematically (manually keeping track of the arithmetic to try to keep the foot mostly still), but that's pretty tedious and is hard to edit later if things need to change. I'm hoping I'm missing a feature I don't know about.&lt;/p&gt;&#xA;&lt;p&gt;To be clear, it would be really nice to maintain the parent-child relationship between layers in a solution to this issue if at all possible. Thanks!&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ph3NE.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ph3NE.gif&quot; alt=&quot;guy falling as described above&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37725" LastEditorUserId="14523" LastEditDate="2022-02-24T03:26:49.413" LastActivityDate="2023-08-30T18:40:17.103" Title="Keeping child object still while parent is moving in AE" Tags="|after-effects|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="35022" PostTypeId="2" ParentId="35020" CreationDate="2022-02-23T09:26:42.693" Score="0" Body="&lt;p&gt;Partial, started as a comment but anyway:&lt;/p&gt;&#xA;&lt;p&gt;If its  a driving setup, surely dash cams are a route to look at:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Recording times would only be limited by card capacity (can be set to overwrite or just stop when full).&lt;/li&gt;&#xA;&lt;li&gt;Wide angle, wide dynamic range.&lt;/li&gt;&#xA;&lt;li&gt;Powered constantly via USB to vehicle.&lt;/li&gt;&#xA;&lt;li&gt;Not large.&lt;/li&gt;&#xA;&lt;li&gt;hi res (but..)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The -but- with dash cams is that the camera tech is lower quality video compared to GoPro even though it might be hi-res.&lt;/p&gt;&#xA;&lt;p&gt;I do not have a specific model to look at because the market is saturated.&#xA;Just need to look at the higher spec ones.&lt;/p&gt;&#xA;&lt;p&gt;Heres an example:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;BlackVue DR900&lt;/li&gt;&#xA;&lt;li&gt;8 megapixels CMOS sensor recording in 4K Ultra High Definition (3840x2160) at 30FPS&lt;/li&gt;&#xA;&lt;li&gt;162-degree angle takes full advantage of the 4K UHD resolution&lt;/li&gt;&#xA;&lt;li&gt;128 gig sd card – 4K UHD @ 30 fps – 10HR 40Min&lt;/li&gt;&#xA;&lt;li&gt;7.64 x 4.84 x 3.9 inches&lt;/li&gt;&#xA;&lt;li&gt;1.65 pounds&lt;/li&gt;&#xA;&lt;li&gt;$600 (i think with card)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I think this has been out for a while, so there are a few variations of it.&lt;/p&gt;&#xA;&lt;p&gt;But yeah, this is what I do for long drive recording.&lt;/p&gt;&#xA;&lt;p&gt;But before dashcams and GoPro were a thing:&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;I recall doing a setup like this many decades ago, for recording military ops, which of course required wide angle, long periods of recording and was not too large (mounted on BA, kpots, weaps, etc ). This was of course before GoPro, but to a degree, GoPro would still not suite your needs due to limitations of recording times. I looked at new cheap tech and ended up with hard drive video recorders, custom battery banks, and bullet cameras, the latter kept the size down but i needed cables to battery and hard drive recorder packs. For even smaller and longer, I also tried early CCTV tech.&lt;/em&gt;  - but this was for wearing it. Sounds like you're in a vehicle, so less of an issue.&lt;/p&gt;&#xA;" OwnerUserId="37289" LastEditorUserId="37289" LastEditDate="2022-02-23T09:42:13.410" LastActivityDate="2022-02-23T09:42:13.410" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="35023" PostTypeId="2" ParentId="22679" CreationDate="2022-02-23T09:58:28.590" Score="0" Body="&lt;p&gt;Partial:&lt;/p&gt;&#xA;&lt;p&gt;The other answers are absolutely right, and will put you on the right path.&lt;/p&gt;&#xA;&lt;p&gt;I used to do this stuff decades ago (for broadcast/film) and for every day, quick and dirty, particle stuff I had a standalone program called Particle Illusion.&lt;/p&gt;&#xA;&lt;p&gt;I had not thought of it for years till I saw this question.&lt;/p&gt;&#xA;&lt;p&gt;Quick search beings up this: Boris FX Particle Illusion Standalone.&lt;/p&gt;&#xA;&lt;p&gt;So i guess it got sold off.&lt;/p&gt;&#xA;&lt;p&gt;But the point was, yes, this is a great product, but when you're using this you'll end up compositing anyway, and as the other answer says, you gotta comp the real thing in  - its the only way to throw off the uncanny-valley side effect of a computer generated elements.&lt;/p&gt;&#xA;&lt;p&gt;So, yes, get yourself real footage, or even shoot it yourself if you know what you're after and you're good to go on cleaning it up and making it comp-ready.&lt;/p&gt;&#xA;&lt;p&gt;Heres a guide as something to think about:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/4VAy2-xcGSU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="37289" LastActivityDate="2022-02-23T09:58:28.590" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35025" PostTypeId="2" ParentId="27555" CreationDate="2022-02-24T23:41:36.317" Score="1" Body="&lt;p&gt;It should eventually be possible to run Resolve without a GPU by using MESA. Windows builds recently began supporting OpenCL GPU emulation via CPU (using llvmpipe). However, OpenCL is still not working properly on Windows via MESA. Watch this space! --&amp;gt; &lt;a href=&quot;https://github.com/pal1000/mesa-dist-win&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/pal1000/mesa-dist-win&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37738" LastActivityDate="2022-02-24T23:41:36.317" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35026" PostTypeId="2" ParentId="35020" CreationDate="2022-02-25T16:56:42.520" Score="0" Body="&lt;p&gt;&lt;em&gt;A software-side comment:&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have a note for you that might be helpful, but it only addresses a narrow section of your question and might not be what you're looking for. I'll share in case you're interested.&lt;/p&gt;&#xA;&lt;p&gt;If the camera hardware you obtain is able to be used as a webcam (i.e., you can plug it in as a USB and it is selectable on your computer), &lt;a href=&quot;https://www.tomsguide.com/how-to/how-to-use-your-gopro-as-a-webcam&quot; rel=&quot;nofollow noreferrer&quot;&gt;which seems to be possible with a GoPro after a quick google search&lt;/a&gt;, a rather minimal Python script using the &lt;code&gt;OpenCV&lt;/code&gt; module can collect either individual frames* or segments of video**. Making your own software can really cut down on costs and also allows you to control finer aspects.&lt;/p&gt;&#xA;&lt;p&gt;Note that this all could be managed with a Raspberry Pi and an external hard drive, which &lt;em&gt;might&lt;/em&gt; just barely fit within your size requirements.&lt;/p&gt;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;&lt;p&gt;*&lt;em&gt;easier to store on hard drive, and don't require footage gaps, but requires converting back to video, but that's not too bad&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;**&lt;em&gt;ready-made video files, but might require small gaps in footage (a few seconds at most) to allow for the computer to save video files&lt;/em&gt;&lt;/p&gt;&#xA;" OwnerUserId="37725" LastActivityDate="2022-02-25T16:56:42.520" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35029" PostTypeId="2" ParentId="23741" CreationDate="2022-02-27T23:47:19.940" Score="1" Body="&lt;p&gt;Looking at the &lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/d61240f8c95e9cf7a0aaef2bb4495960d3fec62c/libavformat/movenc.c&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg source&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Which metadata is written is hard-coded. There isn't a normal way to write all metadata --- for mov, mp4, etc. Whereas I can see that &lt;a href=&quot;https://%60https://github.com/FFmpeg/FFmpeg/blob/d61240f8c95e9cf7a0aaef2bb4495960d3fec62c/libavformat/matroskaenc.c%60&quot; rel=&quot;nofollow noreferrer&quot;&gt;a mkv file&lt;/a&gt; gets all its metadata.&lt;/p&gt;&#xA;&lt;p&gt;I can't say why they have it work that way. For other encoders, it could be different.&lt;/p&gt;&#xA;&lt;p&gt;Now I found the &lt;code&gt;use_metadata_tags&lt;/code&gt; option to be a bad idea since it is not standard - for example Plex does not read &lt;strong&gt;any&lt;/strong&gt; of the metadata anymore. Funny that I was trying to get more metadata into Plex, but this option actually did the opposite. In the code above I can see that the MDTA way is to write all keys, then all values, whereas I guess most programs expect key/value pairs in a list, and therefore just don't know how to read MDTA metadata.&lt;/p&gt;&#xA;" OwnerUserId="36672" LastEditorUserId="37858" LastEditDate="2022-03-13T21:45:04.997" LastActivityDate="2022-03-13T21:45:04.997" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35030" PostTypeId="1" CreationDate="2022-02-28T09:34:21.657" Score="1" ViewCount="89" Body="&lt;p&gt;I recently learned about the neat responsive design feature in after effects called &amp;quot;protected areas&amp;quot;. While understanding the need and basic functionality of that feature, I am still wondering if there is a way to change the position of a protected area from a parent composition.&lt;/p&gt;&#xA;&lt;p&gt;Example: I have a composition A with 3 protected areas. One at the start of the comp (intro animation), one at the end (outro animation) and one right in the middle of the comp (animation to visualize a state change). Now once I put comp A into another comp B, I can see my protected areas being higlighted in blue. If I drag and drop the end of my placed comp A, the comp's duration will stretch while remaining the duration of each protected area. However, the space between each protected area is always equal obviously. What I am trying to achieve is to shift the position of the centered protected area to the left or right. This way I would be able to place my state change animation whereever I need within my parent comp.&lt;/p&gt;&#xA;&lt;p&gt;I hope my problem/wish gets clear and one of you has a solution in mind to tackle it.&lt;/p&gt;&#xA;" OwnerUserId="9154" LastActivityDate="2022-07-28T00:20:14.337" Title="After Effects: Moving Protected Areas from a parent compositions in time" Tags="|after-effects|after-effects-expressions|after-effects-scripting|motion-graphics|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35032" PostTypeId="2" ParentId="34993" CreationDate="2022-03-01T00:21:35.060" Score="0" Body="&lt;p&gt;I'm happy to share my project folder structure with you. This is what I've used in my professional work for years:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fINCF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fINCF.png&quot; alt=&quot;After Effects folder structure&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The '_main_comp' is made of the parts. As a soft rule, parts are to generally be kept to below 30s in length or a max of 100 layers. I had noticed that performance tends to drop swiftly if you have too many layers in a single comp.&lt;/p&gt;&#xA;&lt;p&gt;For the assets, 'AI' is for Adobe Illustrator, 'PSD' is for Photoshop Document and 'AE' is for when you need to import other After Effects files into the current one.&lt;/p&gt;&#xA;&lt;p&gt;If you are still doing a lot of experimenting, you could also add a 'TESTS' folder where you could keep them all organised. Be warned that AE's performance could also drop dramatically if your project file starts to get too bloated with assets and comps. What I would do if that happens, is to save a new version of my project and strip out anything that I think I no longer need. Though you definitely don't want to create a new file for each experiment, as there are going to be times where you want to copy/paste from one to another. Just keeping good organisation, with good naming conventions should be enough.&lt;/p&gt;&#xA;&lt;p&gt;Using an underscore is a great way of keeping important or more commonly used things at the top of the stack.&lt;/p&gt;&#xA;" OwnerUserId="27384" LastActivityDate="2022-03-01T00:21:35.060" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35034" PostTypeId="1" CreationDate="2022-03-01T00:36:57.287" Score="0" ViewCount="211" Body="&lt;p&gt;I have a 16 second video that contains an audio stream and a 4:18 audio file (music). I want to fade the audio and trim it to end at 16 seconds. Here's what I'm trying:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test.wav -i test.mp4 -y -filter_complex &amp;quot;[0:a]afade=t=out:st=12:d=4:curve=qua[faded];[faded]atrim=0:16,asetpts=PTS-STARTPTS[aout]&amp;quot; -map 1:v -map &amp;quot;[aout]&amp;quot; -ac 2 test-render.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The video renders with no errors and watching the time I see it end at 15.99&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;frame=  480 fps=115 q=-1.0 Lsize=    3992kB time=00:00:15.99 bitrate=2043.9kbits/s speed=3.84x&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;BUT, the resulting video is the duration of the audio file - 4:18.&#xA;The audio fades and the video stops right where it is supposed to but freezes at 16 seconds. Here's ffprobe for the resulting video:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/tkoH4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tkoH4.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;No matter what I've tried I can't seem to figure out how to resolve this.&#xA;I'm using ffmpeg 4.4.1&lt;/p&gt;&#xA;&lt;p&gt;Any help would be greatly appreciated. I'm stumped.&lt;/p&gt;&#xA;" OwnerUserId="37763" LastActivityDate="2022-03-01T00:36:57.287" Title="ffmpeg atrim not working with shorter video - results in same duration as wav file" Tags="|ffmpeg|audio|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35035" PostTypeId="2" ParentId="34873" CreationDate="2022-03-01T01:15:12.700" Score="1" Body="&lt;p&gt;If you are just stabilising the position of an object, it could be accomplished like this:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Track the footage using the tracker. Window -&amp;gt; Tracker&lt;/li&gt;&#xA;&lt;li&gt;Set it to 'Track Motion' not 'Stabilize Motion'.&lt;/li&gt;&#xA;&lt;li&gt;Make sure 'Position' is checked.&lt;/li&gt;&#xA;&lt;li&gt;Run the tracker.&lt;/li&gt;&#xA;&lt;li&gt;Once it is complete, hit 'U' with the layer selected to expose the tracked keyframes.&lt;/li&gt;&#xA;&lt;li&gt;Create a new Null layer. Layer -&amp;gt; New -&amp;gt; Null Object&lt;/li&gt;&#xA;&lt;li&gt;Add a 'Slider Control' effect to the Null layer. Rename it to 'Amount'.&lt;/li&gt;&#xA;&lt;li&gt;Press 'P' to expose the position property.&lt;/li&gt;&#xA;&lt;li&gt;Alt + click the stopwatch to create an expression.&lt;/li&gt;&#xA;&lt;li&gt;Paste in the expression below:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;pre&gt;&lt;code&gt;// The original position&#xA;var origX = 646; // Change this &#xA;var origY = 330; // Change this&#xA;&#xA;// Your tracked footage&#xA;var track = thisComp.layer(&amp;quot;Tracked Layer&amp;quot;).motionTracker(&amp;quot;Tracker 1&amp;quot;)(&amp;quot;Track Point 1&amp;quot;).featureCenter;&#xA;&#xA;// The difference between this frame and the first frame&#xA;var dx = origX - track[0];&#xA;var dy = origY - track[1];&#xA;&#xA;// Add the difference back to the original &#xA;// Multiply this by the amount you want to achieve&#xA;var newX = origX + dx * effect(&amp;quot;Amount&amp;quot;)(&amp;quot;Slider&amp;quot;).value;&#xA;var newY = origY + dy * effect(&amp;quot;Amount&amp;quot;)(&amp;quot;Slider&amp;quot;).value;&#xA;&#xA;[ newX, newY ]&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The origX and origY values should be set to be the same x and y value of that of the very first keyframe of the 'featureCenter' property on your tracked layer.&lt;/p&gt;&#xA;&lt;p&gt;You will also need to rename the layer referenced in the 'track' variable from 'Tracked Layer' to the name of you tracked footage layer.&lt;/p&gt;&#xA;&lt;p&gt;You can now keyframe the Amount slider values, keeping it between 0 and 1. Where 1 would be fully stabilised and 0 would be no stabilisation.&lt;/p&gt;&#xA;&lt;p&gt;I hope this is close to what you were hoping to achieve!&lt;/p&gt;&#xA;" OwnerUserId="27384" LastActivityDate="2022-03-01T01:15:12.700" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35041" PostTypeId="1" CreationDate="2022-03-02T19:42:12.340" Score="0" ViewCount="565" Body="&lt;p&gt;I am using Davinci Resolve. I would like to stretch a few images over an audio to fill the empty space. I was wondering if there is a systematic and quick approach to achieve this.&lt;/p&gt;&#xA;&lt;p&gt;One easy solution would be to simply drag each photo or using some math, I can use a formula like:&lt;/p&gt;&#xA;&lt;p&gt;the length of audio/the number of images&lt;/p&gt;&#xA;&lt;p&gt;to find the appropriate length for each picture. But if there are too many images, then this would be cumbersome. I was hoping there is a nicer way to achieve this. I have included a screenshot.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vn9RX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vn9RX.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37780" LastActivityDate="2022-03-02T19:42:12.340" Title="How to stretch multiple images in Davinci Resolve to fill a blank space in a video" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35043" PostTypeId="1" CreationDate="2022-03-03T11:08:58.300" Score="2" ViewCount="4304" Body="&lt;p&gt;Sorry I'm new, i can't find a tutorial to do this: i have a normal video and another one that i would like to use as an alpha mask to 'smooth borders' in davinci resolve, here is an example of my mask&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/twA9G.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/twA9G.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Can i do it on DaVinci Resolve? I suppose i should do it in Fusion, but can't figure out how.&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="37788" LastActivityDate="2023-02-22T20:16:44.980" Title="Using a video as alpha mask for another on Davinci Resolve" Tags="|davinci-resolve|mask|alpha|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35044" PostTypeId="1" CreationDate="2022-03-03T11:54:05.887" Score="0" ViewCount="280" Body="&lt;p&gt;I'm using guide provided at &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264#twopass&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; page to compress videos to specific size with ffmpeg. The sizes I'm aiming are relatively small (8mb wanted compared to 50mb original) and when I'm trying to compress video by inputting the calculated bitrate according to the guide into ffmpeg the result sometimes overshoots the target size and it's not fine for me. One solution could probably be to target sizes smaller (-0.5mb from wanted), but that's not really what I want it to be.&lt;/p&gt;&#xA;&lt;p&gt;I assume that some bit of file is dedicated to store some metadata which is not important for me. My strategy is to guess what the size of that metadata will be and target the wanted size minus the size of metadata.&lt;/p&gt;&#xA;&lt;p&gt;Of course, there could be something else that may increase filesize. So, the question is, how to compress video with ffmpeg to target size with more precision?&lt;/p&gt;&#xA;" OwnerUserId="37789" LastActivityDate="2022-03-03T11:54:05.887" Title="Compressing video to specific size accurately" Tags="|ffmpeg|mp4|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="35047" PostTypeId="2" ParentId="35013" CreationDate="2022-03-04T08:51:46.803" Score="0" Body="&lt;p&gt;YouTube hosts a couple of different licenses, the most common is YouTube Audio Library License, where you're allowed to edit/cut it down.&lt;/p&gt;&#xA;&lt;p&gt;Second most common is Creative Commons, there in most cases you are allowed, expect in the case of ND (= Symbol)&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2022-03-04T08:51:46.803" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35048" PostTypeId="2" ParentId="35043" CreationDate="2022-03-04T09:21:46.490" Score="2" Body="&lt;p&gt;You can simply add it to Fusion, and then pipe the alpha video into a MatteControl node. Alternatively, if your image does not have an alpha, but is just black to white gradients, you have to first go into a bitmap node like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VWO6d.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VWO6d.png&quot; alt=&quot;Mask image piped into bitmap node&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now configure the bitmap node to use Luminance instead of Alpha as the channel:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1UGYW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1UGYW.png&quot; alt=&quot;Setting channel to luminance for bitmap&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now you can use the output of that bitmap as a mask in the blue inputs of nodes, or as mentioned in the MatteControl.&lt;/p&gt;&#xA;&lt;p&gt;Or if you're using a Merge, you could also pipe it into the mask input of the merge node.&lt;/p&gt;&#xA;&lt;p&gt;You could in theory also pipe it into the blue mask input of the source footage, but that makes it so every instance of that footage will have the mask applied, so it's not reusable, which we generally try to avoid.&lt;/p&gt;&#xA;&lt;p&gt;So you can see the full setup here: (Note that Garbage mask of the MatteControl has to be set to invert)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/aTr6a.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aTr6a.jpg&quot; alt=&quot;Full node setup&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23732" LastEditorUserId="23732" LastEditDate="2023-02-22T20:16:44.980" LastActivityDate="2023-02-22T20:16:44.980" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="35050" PostTypeId="1" CreationDate="2022-03-05T01:02:06.640" Score="0" ViewCount="1279" Body="&lt;p&gt;I have five GoToMeeting (GTM) .mp4 recordings that I saved and downloaded from a five-day class I was teaching. Each recording represents each day's appx. 8 hour class duration.  I am importing them into Camtasia to trim some parts from them and then exporting them back out. It's all going fine until I get to the Day 3 file. Day 1 and Day 2 are 716 MB and 867 MB respectively, and have played back correctly within Camtasia and allowing me to trim and edit just fine.&lt;/p&gt;&#xA;&lt;p&gt;The Day 3 file is about 5x bigger than the other 4 files (5.7 GB vs ~1 GB). When I import the file into Camtasia it shows that it is 39:13:17 in duration.  This I know to be incorrect because I can see the computer's Windows system time in the video in my recording -- the first frame shows a Windows time of 8:00 AM in the recording and the last frame shows a Windows system time of 3:47 PM. So I know the true duration should be 07:47:00.&lt;/p&gt;&#xA;&lt;p&gt;I suspect that something got messed up when the file downloaded from my GTM account.  But I don't know what is messed up or how to fix it.  Maybe the framerate is wrong?  The bitrate?  At any rate, some kind of metadata in the file is obviously wrong and causing Camtasia to load it as a 39 hour file and making it playback at about 5x slower than it should. I'm sure all of the content is there (I see all of the video that I am expecting to see and the audio playback is super slo-mo, but there).&lt;/p&gt;&#xA;&lt;p&gt;I'm fairly inexperienced with ffmpeg so I'm unsure what settings and/or process I need to go through to fix the file.  Can someone kindly walk me through the steps/process?  I've been combing through the ffmpeg documentation and Googling from about 3 hours now and am very frustrated.&lt;/p&gt;&#xA;&lt;p&gt;Edit #1:  As requested by @Gyan, output from &lt;code&gt;ffmpeg -i day3.mp4 -report&lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\ffmpeg\day3.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41isom&#xA;    creation_time   : 2020-08-29T04:02:38.000000Z&#xA;  Duration: 39:13:17.43, start: 0.000000, bitrate: 331 kb/s&#xA;  Stream #0:0[0x1](und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 204 kb/s, 30 fps, 30 tbr, 30k tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-08-29T04:02:38.000000Z&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : AVC Coding&#xA;  Stream #0:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 121 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2020-08-29T04:02:38.000000Z&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;At least one output file must be specified&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="37803" LastEditorUserId="37803" LastEditDate="2022-03-05T15:52:31.590" LastActivityDate="2022-03-05T15:52:31.590" Title="MP4 file has incorrect length (duration) and plays back 5x slower than it should" Tags="|ffmpeg|video|video-quality|mp4|framerate|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35053" PostTypeId="1" AcceptedAnswerId="35054" CreationDate="2022-03-06T18:26:48.417" Score="1" ViewCount="1879" Body="&lt;p&gt;I have few video files I'd like to merge.&lt;/p&gt;&#xA;&lt;p&gt;I'd like to create a single video of them without any compression, just one after another.&lt;/p&gt;&#xA;&lt;p&gt;How can it be done using &lt;code&gt;FFMPEG&lt;/code&gt;?&lt;/p&gt;&#xA;&lt;p&gt;For the answer we may assume the files are named:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Video001.mp4&#xA;Video002.mp4&#xA;Video003.mp4&#xA;.&#xA;.&#xA;.&#xA;Video030.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If there a way to automate (Something like &lt;code&gt;Video*.mp4&lt;/code&gt;) it would be great.&lt;/p&gt;&#xA;" OwnerUserId="18378" LastEditorUserId="18378" LastEditDate="2022-03-06T18:42:00.387" LastActivityDate="2022-03-06T19:11:07.120" Title="Merge / Concatenate Video Files in a Lossless Manner (No Encoding / Compression)" Tags="|ffmpeg|lossless|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35054" PostTypeId="2" ParentId="35053" CreationDate="2022-03-06T19:02:45.897" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;Create a file named &lt;code&gt;FileList.txt&lt;/code&gt; with the content:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;pre&gt;&lt;code&gt;file full/path/to/Video001.mp4&#xA;file full/path/to/Video002.mp4&#xA;file full/path/to/Video003.mp4&#xA;.&#xA;.&#xA;.&#xA;file full/path/to/Video030.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;One could use the full path instead&lt;br /&gt;&#xA;2. Run &lt;code&gt;ffmpeg -f concat -safe 0 -i FileList.txt -c copy MergedFile.mp4&lt;/code&gt;.&lt;br /&gt;&#xA;3. In case of the error &lt;code&gt;Could not find tag for codec pcm_alaw in stream #1&lt;/code&gt; or something related to PCM audio, know that &lt;code&gt;FFMPEG&lt;/code&gt; can't generate an &lt;code&gt;MP4&lt;/code&gt; file with &lt;code&gt;PCM&lt;/code&gt; audio. Hence chose another container: &lt;code&gt;ffmpeg -f concat -safe 0 -i FileList.txt -c copy MergedFile.mkv&lt;/code&gt; or encode the audio: &lt;code&gt;ffmpeg -f concat -safe 0 -i FileList.txt -c:v copy -c:a aac MergedFile.mkv&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Remark&lt;/strong&gt;&lt;br /&gt;&#xA;The answer is based on:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://stackoverflow.com/questions/7333232&quot;&gt;StackOverflow - How to Concatenate Two MP4 Files Using &lt;code&gt;FFMPEG&lt;/code&gt;&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://stackoverflow.com/questions/47495713&quot;&gt;Handling PCM Stream in MP4 File in &lt;code&gt;FFMPEG&lt;/code&gt;&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="18378" LastEditorUserId="18378" LastEditDate="2022-03-06T19:11:07.120" LastActivityDate="2022-03-06T19:11:07.120" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35056" PostTypeId="1" CreationDate="2022-03-07T08:52:45.493" Score="1" ViewCount="130" Body="&lt;p&gt;I am using ffmpeg with vidstabdetect and vidstabstransform to (try to) stabilise some rather shaky footage.&#xA;The input file has a time stamp at the top of the video.&#xA;In the transformed video you can see this timestamp moves around a lot but it never rotates, while the video is still all over the place in terms of rotation.&#xA;I strongly suspect this is because the timestamp is confusing vidstabdetect (not unreasonably)&lt;/p&gt;&#xA;&lt;p&gt;I want to keep the timestamp on the final video.&lt;/p&gt;&#xA;&lt;p&gt;So far I didn't pass any parameters to vidstabdetect and vidstabtransform as the defaults appear to be reasonable (e.g. I think rotation is enabled by default)&lt;/p&gt;&#xA;&lt;p&gt;Is there a way I can ignore a specific region of the input video while vidstabdetect does it's thing, while keeping that region in the final video (despite any rotations that may be present)&lt;/p&gt;&#xA;&lt;p&gt;Or, if this can't be done with vidstabdetect, is there an alternative filter I can use with ffmpeg&lt;/p&gt;&#xA;" OwnerUserId="6230" LastActivityDate="2022-12-21T20:18:58.303" Title="Ignore region of video for vidstabdetect" Tags="|ffmpeg|stabilisation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35057" PostTypeId="2" ParentId="17061" CreationDate="2022-03-07T20:13:28.620" Score="1" Body="&lt;p&gt;In Windows...&#xA;Just click and drag to select some text from the CMD terminal, then you can see that the process has been &amp;quot;paused&amp;quot;, so no CPU usage is registered until you hit &amp;quot;enter&amp;quot; on the terminal (that unpause the process)&lt;/p&gt;&#xA;" OwnerUserId="37822" LastEditorUserId="14523" LastEditDate="2022-03-08T03:17:29.270" LastActivityDate="2022-03-08T03:17:29.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35058" PostTypeId="1" CreationDate="2022-03-08T08:42:04.320" Score="1" ViewCount="323" Body="&lt;p&gt;ffmpeg allows you to pass parameters through to the subtitling library, libass. For example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;# this is wrong&#xA;# 0057b8=blue, ffd700=gold&#xA;ffmpeg -i original.mp4 -vf &amp;quot;subtitles=russian.srt:force_style='Fontname=Gill\ Sans\ MT,Fontsize=20,borderstyle=3,outline=3,OutlineColour=0057b8,PrimaryColour=ffd700'&amp;quot; -y rc1.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If you try to set the colours, you will probably get them wrong on the first attempt:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sc8DU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sc8DU.png&quot; alt=&quot;black text on dark red&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37258" LastActivityDate="2022-03-08T08:42:04.320" Title="How can I set the colours in libass subtitles?" Tags="|ffmpeg|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35059" PostTypeId="2" ParentId="35058" CreationDate="2022-03-08T08:42:04.320" Score="2" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;The colour format used by libass is &lt;a href=&quot;http://www.tcax.org/docs/ass-specs.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;really weird&lt;/a&gt;: &lt;code&gt;&amp;amp;HAABBGGRR&lt;/code&gt; (alpha, blue, green, red). This is backwards from the standard web ordering, &lt;code&gt;&amp;amp;HRRGGBBAA&lt;/code&gt; (red, blue, green).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The alpha is inverted: &lt;code&gt;00&lt;/code&gt; is fully opaque, and &lt;code&gt;FF&lt;/code&gt; is fully transparent.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;You &lt;em&gt;have&lt;/em&gt; to spell it the British way. &lt;code&gt;PrimaryColor&lt;/code&gt; and &lt;code&gt;OutlineColor&lt;/code&gt; will fail without an error.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The correct form of the command line above is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i original.mp4 -vf &amp;quot;subtitles=russian.srt:force_style='Fontname=Gill\ Sans\ MT,Fontsize=20,borderstyle=3,outline=3,OutlineColour=&amp;amp;H00b85700,PrimaryColour=&amp;amp;H0000d7ff'&amp;quot; -y rc1.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uwr0F.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uwr0F.png&quot; alt=&quot;gold on blue&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37258" LastActivityDate="2022-03-08T08:42:04.320" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35060" PostTypeId="2" ParentId="27885" CreationDate="2022-03-09T13:16:49.743" Score="0" Body="&lt;p&gt;I suspect all these answers are correct, but also watch out for spaces in the filenames and or path.&lt;/p&gt;&#xA;&lt;p&gt;For example my batch file was failing due to have a space  &lt;code&gt;.../VSCode Workspace/...&lt;/code&gt; in my path.&lt;/p&gt;&#xA;" OwnerUserId="37839" LastActivityDate="2022-03-09T13:16:49.743" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35061" PostTypeId="1" CreationDate="2022-03-09T18:09:49.887" Score="0" ViewCount="541" Body="&lt;p&gt;Short version: Why did my total file size increase when I switched from constant quality to constrained quality at the same crf? Shouldn't this just set a maximum bitrate and thus only either do nothing or &lt;em&gt;lower&lt;/em&gt; file size, depending on whether the maximum is hit?&lt;/p&gt;&#xA;&lt;p&gt;Long version: I'm trying to maximise (subjective) overall quality in a library of video files given a fixed total file size limit for the entire library.&lt;/p&gt;&#xA;&lt;p&gt;I started off with constant quality, and adjusting the crf until I hit my limit.&#xA;But I found a subset of scenes (usually simple but with a single moving object) looked particularly low quality/smeary. After watching the bitrate meter during encoding I concluded too much of the budget was spent in complex high-action scenes (where subjectively I think the extra quality is somewhat wasted), leaving not enough for &amp;quot;simpler&amp;quot; scenes, so, short of a more direct method to apply an adjustable bias towards simpler scenes (I don't want to just switch straight to constant quantization or constant bitrate or anything, I'm trying to find an optimal middle ground), I decided to try constrained quality, as described here: &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/VP9&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/VP9&lt;/a&gt;, where I intended to slowly lower the maximum until I couldn't justify lower quality complex scenes, then use the freed space to boost the crf to the benefit of the simple scenes.&lt;/p&gt;&#xA;&lt;p&gt;This seems to have &lt;em&gt;sort of&lt;/em&gt; worked, but the behaviour I'm seeing is surprising, and I don't understand it.&lt;/p&gt;&#xA;&lt;p&gt;I &lt;em&gt;expected&lt;/em&gt; that setting a maximum bitrate with &lt;code&gt;-b:v 1M&lt;/code&gt; (I'd seen quite a few complex scenes were exceeding that bitrate, pushing to around 1.5M) would reduce the total size of the entire library of video files (at the cost of reducing quality in complex scenes).&#xA;Instead, I found the total file size had &lt;em&gt;increased&lt;/em&gt; after I applied this, meaning constrained quality mode does not behave the way I expected.&lt;/p&gt;&#xA;&lt;p&gt;Theories:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;My original expectation was that constrained quality meant &amp;quot;match constant quality but any scenes that exceed the maximum bitrate will use VBR/target bitrate rules to control their bitrate instead&amp;quot;.&lt;/li&gt;&#xA;&lt;li&gt;Now I wonder if perhaps another possibility is that the constraint only applies globally for the entire video, and once the constant quality goal tries to cross the bitrate constraint (momentarily?, or on average over a video?), the entire video stops trying to match constant quality, and instead follows the VBR rules, which forces the &amp;quot;simple&amp;quot; scenes to suddenly use vastly more bitrate than they needed in constant quality mode. That seems insane and pointless to me, constrained quality makes no claim about boosting the quality beyond that requested, so why waste bits giving higher quality that wasn't asked for?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Some videos use significantly less in constrained quality mode, as expected, and some videos use significantly more, which I didn't expect at all. On the other hand, without me having to change the crf at all, the &amp;quot;simple&amp;quot; scenes I originally wanted to boost the quality for &lt;em&gt;have&lt;/em&gt; actually increased in quality, exactly as I originally wanted, I just don't know why it behaves this way!&lt;/p&gt;&#xA;&lt;p&gt;I'm seeing a subset of longer videos reduce in size by 7% or so (276MB -&amp;gt; 257MB total for 17 files), but I'm seeing a subset of shorter videos &lt;em&gt;increase&lt;/em&gt; in size by 40% or so (95MB -&amp;gt; 133MB total for 220 files).&lt;/p&gt;&#xA;&lt;p&gt;Commands used look something like&lt;/p&gt;&#xA;&lt;p&gt;Constant Quality:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -i in_file.mov -c:v libvpx-vp9 -crf 32 -b:v 0  -pass 1 -passlogfile in_file.webm.log -an -f null /dev/null &amp;amp;&amp;amp; ffmpeg -i in_file.webm -c:v libvpx-vp9 -crf 32 -b:v 0  -pass 2 -passlogfile in_file.webm.log -an out_file.webm&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Constrained Quality:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -i in_file.mov -c:v libvpx-vp9 -crf 32 -b:v 1M -pass 1 -passlogfile in_file.webm.log -an -f null /dev/null &amp;amp;&amp;amp; ffmpeg -i in_file.webm -c:v libvpx-vp9 -crf 32 -b:v 1M -pass 2 -passlogfile in_file.webm.log -an out_file.webm&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;(so identical beyond the -b:v value)&lt;/p&gt;&#xA;" OwnerUserId="37843" LastEditorUserId="37843" LastEditDate="2022-03-09T18:14:50.437" LastActivityDate="2022-08-30T17:02:55.360" Title="Why does setting a maximum bitrate in Constrained Quality mode sometimes increase file size?" Tags="|ffmpeg|video-quality|bitrate|vp9|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35062" PostTypeId="1" CreationDate="2022-03-09T23:49:30.057" Score="1" ViewCount="731" Body="&lt;p&gt;I've spent hours searching the documentation and forums for a simple variable and it's driving me crazy. Can anyone tell me what the variable is that gives the total duration of a video, so that I can draw a progress bar on a video played by FFplay?&lt;/p&gt;&#xA;&lt;p&gt;My filter is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;drawbox=x=0:y=ih-8:w=pts/duration*iw:h=8:color=green@0.5:t=fill&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but &lt;code&gt;duration&lt;/code&gt; is not recognised. I've tried t, time, total_time, dur, len, length, total_length, s, secs, stream_length, all to no avail. (A box does get drawn if I just put w=50, for example, so the rest is correct, but I need it to change over time.)&lt;/p&gt;&#xA;&lt;p&gt;I'm amazed I haven't yet found a comprehensive list of these variables.&lt;/p&gt;&#xA;&lt;p&gt;If anyone can help, I'd be super grateful. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="36020" LastEditorUserId="18155" LastEditDate="2022-03-10T15:13:16.283" LastActivityDate="2022-03-10T15:13:16.283" Title="Which FFmpeg variable gives the total duration of a video?" Tags="|ffmpeg|filter|command-line|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35063" PostTypeId="1" CreationDate="2022-03-10T07:36:25.727" Score="0" ViewCount="52" Body="&lt;p&gt;I am helping a director access an archive file of a documentary. The file is presented as a 3GB MOV.&lt;/p&gt;&#xA;&lt;p&gt;FFmpeg indicates the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 537199360&#xA;    compatible_brands: qt  &#xA;    creation_time   : 2011-02-06T03:17:28.000000Z&#xA;    com.apple.quicktime.player.movie.audio.gain: 1.000000&#xA;    com.apple.quicktime.player.movie.audio.treble: 0.000000&#xA;    com.apple.quicktime.player.movie.audio.bass: 0.000000&#xA;    com.apple.quicktime.player.movie.audio.balance: 0.000000&#xA;    com.apple.quicktime.player.movie.audio.pitchshift: 0.000000&#xA;    com.apple.quicktime.player.movie.audio.mute: &#xA;    com.apple.quicktime.player.movie.visual.brightness: 0.000000&#xA;    com.apple.quicktime.player.movie.visual.color: 1.000000&#xA;    com.apple.quicktime.player.movie.visual.tint: 0.000000&#xA;    com.apple.quicktime.player.movie.visual.contrast: 1.000000&#xA;    com.apple.quicktime.player.version: 7.6.9 (7.6.9)&#xA;    com.apple.quicktime.version: 7.6.9 (1680.9) 0x7698000 (Mac OS X, 10.5.8, 9L31a)&#xA;  Duration: 00:50:17.15, start: 0.000000, bitrate: 8539 kb/s&#xA;  Stream #0:0(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, 2 channels, s16, 1536 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2011-02-06T03:17:28.000000Z&#xA;      handler_name    : Apple Sound Media Handler&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #0:1(eng): Data: none (m2v  / 0x2076326D) (default)&#xA;    Metadata:&#xA;      creation_time   : 2011-02-06T03:17:28.000000Z&#xA;      handler_name    : Apple elementary video MPEG-2 Media Handler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The bitrate and duration of the file indicates there is definitely data in the video stream, although it can't be accessed.&lt;/p&gt;&#xA;&lt;p&gt;From research, it appears that the &amp;quot;Apple elementary video MPEG-2 Media Handler&amp;quot; was the (very) old quicktime MPEG-2 component that was active in early versions of quicktime, but is now no longer supported in current versions of MacOS.&lt;/p&gt;&#xA;&lt;p&gt;So, how do I get access to the vision in this file?&lt;/p&gt;&#xA;" OwnerUserId="11321" LastActivityDate="2022-03-10T07:36:25.727" Title="MOV file contains data from &quot;Apple Elementary video MPEG-2 Media Handler&quot; codec. How do I access it in current MacOS?" Tags="|codec|conversion|mpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35064" PostTypeId="2" ParentId="33458" CreationDate="2022-03-10T10:05:24.807" Score="0" Body="&lt;p&gt;I'm not sure what you mean by &amp;quot;changing jpg image&amp;quot;. If you mean that you have 15 images in total (x4 = 60 secs) then you could create an image sequence and use a framerate of 0.25 when encoding.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Files:&lt;/strong&gt;&lt;br /&gt;&#xA;image01.jpg&lt;br /&gt;&#xA;image02.jpg&lt;br /&gt;&#xA;   ⁞     ⁞     ⁞&lt;br /&gt;&#xA;image15.jpg&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Command:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i image%02d.jpg -r 0.25&lt;/code&gt; &lt;em&gt;EncoderOptions&lt;/em&gt; &lt;code&gt;output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;(If the input isn't recognised, include the format: &lt;code&gt;ffmpeg -f image2 -i ...&lt;/code&gt;)&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;EDIT: &lt;strong&gt;An example with encoder options:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i image%02d.jpg -r 0.25 -pix_fmt yuv420p -c:v h264 -crf 21 -preset veryfast output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="36020" LastEditorUserId="36020" LastEditDate="2022-03-10T11:16:22.063" LastActivityDate="2022-03-10T11:16:22.063" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35065" PostTypeId="1" CreationDate="2022-03-10T03:54:37.287" Score="0" ViewCount="18" Body="&lt;p&gt;I use C4D R20, when I render a movie of any format, the alpha channel renders as a separate movie file. This did not happen with R19, R17, 13, it use to render the alpha channel embedded in the same movie file so when I import that file in any movie editing software, the movie came with a transparent background. When I render a Static Tiff file it saves the alpha channel in the PSD or Tiff file no problem, and yes I know there is a check button to render alpha channel, I have tried everything and not sure if I'm the only one with this issue or it is supposed to be this way.&lt;/p&gt;&#xA;" OwnerDisplayName="Raftarp" LastActivityDate="2022-03-10T14:22:02.670" Title="C4D R20 Movie Render Channel render Issue" Tags="|cinema4d|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="35068" PostTypeId="1" CreationDate="2022-03-12T15:17:41.920" Score="0" ViewCount="639" Body="&lt;p&gt;I found &lt;a href=&quot;https://www.junian.net/tech/powershell-ffmpeg-batch/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; extremely helpful batch script for Powershell (.ps1) file which I listed below:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$originalVids = Get-ChildItem *.ts -Recurse&#xA;&#xA;foreach ($inputVid in $originalVids) {&#xA;    $outputVid = [io.path]::ChangeExtension($inputVid.FullName, '.mp4')&#xA;    ffmpeg.exe -i $inputVid.FullName -c:v libx264 -crf 18 -c:a aac -map_metadata 0 $outputVid&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The thing I like the most about this script is that on the top line, you can change the *.ts to any video format you want (I've tested it with .avi, .mkv., .ts, and .wmv). The same is true about the output also, which in the above example is .mp4. Also, the script can be run from any folder, just drop the .ps1 file into the folder, right-click it and select Run With PowerShell.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;My first question is how could I change it to specify an output&#xA;folder?&lt;/li&gt;&#xA;&lt;li&gt;Also, how could I do the same for the origin file (specify a folder for the original file after the conversion is completed)?&lt;/li&gt;&#xA;&lt;li&gt;My last question is, how might this be able to be altered to convert a video file into images?&lt;/li&gt;&#xA;&lt;li&gt;But more specifically a GIF?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I want it all to be able to be done as a batch, so it can do multiple files at once, preferably keeping it's name.&lt;/p&gt;&#xA;" OwnerUserId="37867" LastEditorUserId="3138" LastEditDate="2022-03-14T00:07:15.077" LastActivityDate="2022-03-14T00:07:15.077" Title="Using ffmpeg to batch convert between different video formats, AND image formats" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35072" PostTypeId="1" CreationDate="2022-03-14T00:01:55.063" Score="1" ViewCount="27" Body="&lt;p&gt;I have several videos from movies,  which contain sections where the characters are talking with other types of sections (background music only, sound effects,  etc.). I'd like to extract the speech sections only. I'd like avoid finding the sections myself manually.&lt;/p&gt;&#xA;&lt;p&gt;How can I extract all the speech sections (as an audio file, not a transcription using speech-to-text) from a video?&lt;/p&gt;&#xA;" OwnerUserId="2117" LastActivityDate="2022-03-14T00:01:55.063" Title="How can I extract all the speech sections (as an audio file) from a videos?" Tags="|audio|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35073" PostTypeId="1" CreationDate="2022-03-14T20:48:02.440" Score="2" ViewCount="703" Body="&lt;p&gt;I'd like the bottom left text to do the same as the top right, but the randomized text should be limited to &amp;quot;ATCG&amp;quot; in pairs (e.g. &amp;quot;AATTCCGG), instead of numbers. Is there a way to do this with expressions? Preserve Case &amp;amp;  Digits seems to keep the random text to pairs, but I'm not sure how to make an expression so that the pairs are limited to As, Ts, Cs, and Gs. Thanks!&#xA;&lt;a href=&quot;https://i.stack.imgur.com/uvCcm.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uvCcm.gif&quot; alt=&quot;&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QGyqn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QGyqn.png&quot; alt=&quot;preview and timeline&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37881" LastActivityDate="2022-03-17T09:10:01.847" Title="AE: Character Offset to Randomize Specific Pairs of Letters" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35074" PostTypeId="1" CreationDate="2022-03-15T00:28:50.917" Score="1" ViewCount="21" Body="&lt;p&gt;I see all of these robot panning mounts, but all of them are for time lapses and are very slow. I simply need to replace the human hand with something more exact.&lt;/p&gt;&#xA;&lt;p&gt;I need a camera mount that can turn 90 degrees at a constant speed in a short amount of time (1-2 seconds) and with good precision. It would preferably have options to adjust the speed and tell me the angle the camera is currently facing.&lt;/p&gt;&#xA;&lt;p&gt;Any recommendations?&lt;/p&gt;&#xA;" OwnerUserId="37883" LastActivityDate="2022-03-15T00:28:50.917" Title="Best robotic camera mount for 'high speed' panning?" Tags="|camera|filming|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35075" PostTypeId="2" ParentId="35073" CreationDate="2022-03-15T13:06:03.630" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IdX5U.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IdX5U.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;Here's my updated way of doing it.&lt;/p&gt;&#xA;&lt;p&gt;A couple of points:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;This method will only work with fixed width fonts&lt;/li&gt;&#xA;&lt;li&gt;Make sure you have an even number of characters in your plain text layer.  Add a space on the end if you don't.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Make two identical text layers. In my example, they are labelled &amp;quot;AGCT text&amp;quot; and &amp;quot;plain text&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;In the &amp;quot;ACGT text&amp;quot; layer, put the following expression into the Source Text control:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;n = 4; // how many pairs of characters (starting from zero, so 0 to 4 is 5 pairs, so 10 characters).&#xA;letters = [&amp;quot;A&amp;quot;,&amp;quot;T&amp;quot;,&amp;quot;C&amp;quot;,&amp;quot;G&amp;quot;]; // array of possible characters to use&#xA;str = &amp;quot;&amp;quot;; // string we will print&#xA;&#xA;for (i = 0; i &amp;lt;= n; i++){  // start a loop, repeat it n times&#xA;&#xA;    var m = Math.round(random(3)); // pick a number between 0 and 3&#xA;    j = letters[m]; // make a variable using one of the characters &#xA;    str += (i &amp;gt; 0 ? &amp;quot;&amp;quot; : &amp;quot;&amp;quot;) + j + j; // append that character to the string twice&#xA;}&#xA;&#xA;str // print the string&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Add a text animator to both layers.&lt;/p&gt;&#xA;&lt;p&gt;Set the opacity on both text animators to 0%.&lt;/p&gt;&#xA;&lt;p&gt;In the Advanced settings of the text animator, set the Shape to Square.&lt;/p&gt;&#xA;&lt;p&gt;Animate the &amp;quot;plain text&amp;quot; animator so that the &amp;quot;Range Selector 1&amp;quot; Start control is 0% at the beginning of the animation, and 100% at the end.  Make sure the &amp;quot;Range Selector 1&amp;quot; End control is set to 100% throughout.&lt;/p&gt;&#xA;&lt;p&gt;Now animate the &amp;quot;ATCG text&amp;quot; layer:&lt;/p&gt;&#xA;&lt;p&gt;Set the &amp;quot;Range Selector 1&amp;quot; Start and End controls to 0% at the beginning of the animation.  Set the End control to 100% at the end of the animation. Make sure the Start control is 0% throughout.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-03-17T09:10:01.847" LastActivityDate="2022-03-17T09:10:01.847" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="35078" PostTypeId="1" CreationDate="2022-03-16T13:55:25.857" Score="1" ViewCount="1168" Body="&lt;p&gt;Meeting software such as Zoom or Google Meet allow someone to blur their background while allowing the face and body of the person to be shown clearly during the video conference. I would like to record some presentation of mine without a green screen first and then I want to blur my background using adobe premiere pro? I do not want to blur the background while I am recording. I want to blur my background after the recording. How can I achieve this?&lt;/p&gt;&#xA;" OwnerUserId="33482" LastEditorUserId="4426" LastEditDate="2022-03-17T13:09:51.087" LastActivityDate="2022-03-31T19:51:50.670" Title="How to blur background in Adobe Premiere like meeting apps like Zoom or Google Meet?" Tags="|premiere|adobe|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35079" PostTypeId="1" CreationDate="2022-03-16T13:58:27.967" Score="1" ViewCount="1725" Body="&lt;p&gt;I am trying to achieve two things:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Fisheye video to equirectangular&lt;/li&gt;&#xA;&lt;li&gt;Fisheye video to Flat (if I understood correctly, it is a non 360 interactive image. For this I need just the fisheye image but without distortions).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Camera specs: &lt;a href=&quot;https://documentation.meraki.com/MV/Viewing_Video/Understanding_Image_Quality_on_the_MV32&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://documentation.meraki.com/MV/Viewing_Video/Understanding_Image_Quality_on_the_MV32&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;For test purposes I am using an image as input&lt;/strong&gt;&lt;br /&gt;&#xA;For 1), I am using &lt;code&gt;ffmpeg -i input_file -vf v360=fisheye:e:ih_fov=180:iv_fov=180:pitch=90 output_file&lt;/code&gt; This command gives me a rectangular image where the half upper is blank/white, and when testing in &lt;a href=&quot;https://renderstuff.com/tools/360-panorama-web-viewer/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://renderstuff.com/tools/360-panorama-web-viewer/&lt;/a&gt; the user can navigate through this white space (not what I want). If I crop and remove the white part, the image in &lt;em&gt;renderstuff&lt;/em&gt; becomes distorted.&lt;/p&gt;&#xA;&lt;p&gt;For 2), I tried &lt;code&gt;ffmpeg -i input_file -vf v360=fisheye:flat:ih_fov=180:iv_fov=180 output_file&lt;/code&gt; but it doesn't seem to correct properly.&lt;/p&gt;&#xA;&lt;p&gt;FYI this video will be published in AntMedia server to be used as an iframe in web applications.&lt;/p&gt;&#xA;" OwnerUserId="37894" LastActivityDate="2022-03-16T13:58:27.967" Title="FFmpeg parameters for Fisheye image correction" Tags="|ffmpeg|conversion|360video|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35080" PostTypeId="1" CreationDate="2022-03-16T16:09:43.153" Score="2" ViewCount="258" Body="&lt;p&gt;In DaVinci Resolve 16, I see that you can edit the Metadata and that will get embedded into the mp4 container.  I also noticed that if an mp4 has embedded Chapters that Resolve doesn't recognize those as markers in the timeline.. In VLC, the chapters show up just fine however.&lt;/p&gt;&#xA;&lt;p&gt;Is there something I'm missing in Resolve that enables that functionality? The ability to embed markers as chapters in the files container as well as recognizing said embedded chapters?&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="37898" LastActivityDate="2022-03-16T16:09:43.153" Title="DaVinci Resolve 16 - Can you embed markers as chapters into the rendered metadata?" Tags="|mp4|davinci-resolve|metadata|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35081" PostTypeId="2" ParentId="35078" CreationDate="2022-03-16T21:10:35.733" Score="1" Body="&lt;p&gt;I don’t think there is any way to do this easily in Premiere.&lt;/p&gt;&#xA;&lt;p&gt;You can blur out certain portions of the image using a Gaussian blur effect, then mask around your subject, but you need to be careful that your subject doesn’t intrude on the mask, and it may look unnatural anyway.&lt;/p&gt;&#xA;&lt;p&gt;The best solution I have found to this is by using After Effects. I make a foreground layer by duplicating the footage layer, then running a Roto Brush effect across the footage to isolate the foreground. Then I can blur or adjust the background layer. This is time consuming and requires a fair amount of manual adjustment (although a lot less than RotoBrush version 1 did).&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Update:&lt;/strong&gt;&#xA;Thinking about it - it might be possible to output your video as a stream from &lt;a href=&quot;https://obsproject.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS&lt;/a&gt;, then choose this as a source in Google Meet or Zoom, set background to blur, then record the output from Meet/Zoom.  I haven't tried this approach.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-03-17T09:41:54.483" LastActivityDate="2022-03-17T09:41:54.483" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="35082" PostTypeId="2" ParentId="35078" CreationDate="2022-03-17T10:40:40.147" Score="1" Body="&lt;p&gt;You can do this fairly easily in DaVinci Resolve - even the freeware version.&lt;/p&gt;&#xA;&lt;p&gt;Essentially, you select an area to to remain clean at the start of your clip, set it to be motion-tracked [DaVinci makes tracking moving objects very easy], then blur its inverse.&lt;/p&gt;&#xA;&lt;p&gt;There's a 2-minute YouTube guide on how it works. I can't find anything simpler in text.&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/-2h5thLneK0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="12233" LastActivityDate="2022-03-17T10:40:40.147" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35084" PostTypeId="1" CreationDate="2022-03-18T09:08:53.037" Score="0" ViewCount="1477" Body="&lt;p&gt;I am currently creating a webm file using two mp4's (alpha - black background, white silthoette) and normal video.&lt;/p&gt;&#xA;&lt;p&gt;Using following ffmpeg command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i color.mp4 -i alpha.mp4 \&#xA;       -filter_complex [0][1]alphamerge,format=yuva420p \&#xA;       -c:v libvpx -strict -2 -auto-alt-ref 0 \&#xA;       output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And while this works fine for most browsers, it doesn't work on iOS, so I need to create a .mov (or maybe something else?) file with transparent background.&lt;/p&gt;&#xA;&lt;p&gt;What is the proper way to do it in ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="37915" LastActivityDate="2024-02-05T17:04:15.520" Title="FFMPEG: Video format replacement for webm (alpha channel)" Tags="|ffmpeg|video|ios|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35088" PostTypeId="2" ParentId="21084" CreationDate="2022-03-18T20:03:38.047" Score="2" Body="&lt;p&gt;As an adaption of kevmitch's answer, I went with&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -i &amp;quot;foo.mkv&amp;quot; -vf stereo3d=sbs2l:ml -c:a copy &amp;quot;bar.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Notable difference: It's using &lt;code&gt;sbs2l&lt;/code&gt; (instead of &lt;em&gt;sbsl2&lt;/em&gt;) and just copies audio streams (works for me). &lt;a href=&quot;http://underpop.online.fr/f/ffmpeg/help/stereo3d.htm.gz&quot; rel=&quot;nofollow noreferrer&quot;&gt;Further reading to stereo3d&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Edit: To whom it may concern, in another case I experienced problems with the aspect ratio with the command above. This can be fixed by using something like this command (adapt resolution, setdar and aspect ratio)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -i &amp;quot;foo.mkv&amp;quot; -vf stereo3d=sbs2l:ml,scale=1920x816,setdar=21:9 -aspect 21:9 -c:a copy &amp;quot;bar.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="37923" LastEditorUserId="37923" LastEditDate="2023-12-09T23:20:29.010" LastActivityDate="2023-12-09T23:20:29.010" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35089" PostTypeId="1" AcceptedAnswerId="35121" CreationDate="2022-03-18T23:29:11.413" Score="0" ViewCount="2011" Body="&lt;p&gt;I have a 10 seconds video clip and 60 seconds audio clip, so when I mux it with&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;mkvmerge --output video.mkv ./a.mp3 ./a.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;The output file shows the video only for the first 10 seconds, and then the last frame is displayed for 50 seconds.&lt;/p&gt;&#xA;&lt;p&gt;How can I loop the video in automatic mode so that it repeats for the whole 60 seconds with mkvmerge or any other command line tool (I need to automate it as I have to do it for 400 files)?&lt;/p&gt;&#xA;" OwnerUserId="37924" LastEditorUserId="4426" LastEditDate="2022-03-25T17:03:10.250" LastActivityDate="2022-03-26T09:13:20.973" Title="Loop video for the duration of audio" Tags="|ffmpeg|mkv|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35091" PostTypeId="1" CreationDate="2022-03-20T23:36:29.720" Score="2" ViewCount="33" Body="&lt;p&gt;I'm working on a project that involves filming playing cards, and then cropping/joining different parts of the video. For a seamless result, the background of the video needs to always remain the exact same, so a side by side of different timestamps doesn't look edited. I've found when I film, my iPhone camera is constantly changing the colour/lighting of the backdrop depending on what's in frame. This is not a result of any actual shadows that are created, I can see the table appears the same in real life while I film. I've linked an example video of this happening just by moving my hand in and out of frame.&lt;/p&gt;&#xA;&lt;p&gt;I've tried several &amp;quot;raw&amp;quot; and &amp;quot;manual&amp;quot; camera apps which lock focus/exposure/white balance, but they all have this issue. Is this something unique to the iPhone? Would I have this problem with another camera? Please advise!&lt;/p&gt;&#xA;&lt;p&gt;Example: &lt;a href=&quot;https://i.imgur.com/yGbGIVh.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.imgur.com/yGbGIVh.mp4&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37932" LastActivityDate="2022-03-21T18:27:20.673" Title="How do I get a totally consistent white tabletop background?" Tags="|lighting|filming|color|iphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35092" PostTypeId="2" ParentId="20212" CreationDate="2022-03-21T04:50:27.123" Score="0" Body="&lt;p&gt;In my case, i did this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i background.jpg -i input.mp3  -y -pix_fmt yuv420p -shortest -c:v libx264 -c:a aac -c:s mov_text -strict experimental -vprofile baseline -level 2  -threads 0 out4.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="37934" LastEditorUserId="14523" LastEditDate="2022-03-21T21:36:50.523" LastActivityDate="2022-03-21T21:36:50.523" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35093" PostTypeId="2" ParentId="35091" CreationDate="2022-03-21T14:57:40.443" Score="2" Body="&lt;p&gt;That's interesting.  Just tried it with locked AF/AE in the camera app as you showed, and it definitely is adjusting the white background even though the focus and exposure are supposed to be locked.  Same with &lt;a href=&quot;https://www.shootmavis.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MAVIS&lt;/a&gt; and &lt;a href=&quot;https://www.filmicpro.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Filmic Pro&lt;/a&gt; too, where you can lock the white balance.&lt;/p&gt;&#xA;&lt;p&gt;Usually when someone &lt;a href=&quot;https://www.youtube.com/watch?v=Y2415wV8mE4&amp;amp;t=60s&quot; rel=&quot;nofollow noreferrer&quot;&gt;films seamless white&lt;/a&gt;, they are shooting upright rather than top down.  They light the background so that it exposes at 100% white, then light the foreground so it is correctly exposed.  The problem with top down is that you can't separate your foreground from your background as easily, so I'm not sure what the correct setup would be here.&lt;/p&gt;&#xA;&lt;p&gt;A softbox (or a lightbox) pointing towards the camera, with additional soft lighting for the cards and hand.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-03-21T18:27:20.673" LastActivityDate="2022-03-21T18:27:20.673" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35094" PostTypeId="1" AcceptedAnswerId="35095" CreationDate="2022-03-21T15:06:15.797" Score="0" ViewCount="47" Body="&lt;p&gt;So, I am a complete beginner in davinci resolve and the video editing world, I wonder how to create this amazing looking image effect: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/UIJtrMDrnrk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;It is the effect in the background btw.&lt;/p&gt;&#xA;&lt;p&gt;Does anybody know what it is called and how to make it with davinci resolve 17?&lt;/p&gt;&#xA;" OwnerUserId="37938" LastEditorUserId="14523" LastEditDate="2022-03-21T21:39:01.760" LastActivityDate="2022-03-22T11:09:25.510" Title="What is this effect called and where can I find a tutorial about it and reproduce it today?" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35095" PostTypeId="2" ParentId="35094" CreationDate="2022-03-22T11:09:25.510" Score="3" Body="&lt;p&gt;The video you link to is unavailable in the UK, but viewable using the Tor browser.&lt;/p&gt;&#xA;&lt;p&gt;It's a series of motion blurred zoom-outs animated together, probably made using Adobe After Effects (eg &lt;a href=&quot;https://www.youtube.com/watch?v=jnKXMxVcyHo&quot; rel=&quot;nofollow noreferrer&quot;&gt;this tutorial&lt;/a&gt;).&lt;/p&gt;&#xA;&lt;p&gt;This page explains how to do motion blur transitions using Resolve and Fusion combined (Fusion comes as part of Resolve and is DaVinci's animation package, a bit like After Effects).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://beginnersapproach.com/davinci-resolve-add-motion-blur/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://beginnersapproach.com/davinci-resolve-add-motion-blur/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-03-22T11:09:25.510" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35098" PostTypeId="1" CreationDate="2022-03-22T22:01:14.023" Score="0" ViewCount="576" Body="&lt;p&gt;I have some CCTV recordings that I would like to speed up (like a timelapse) and I am confused about which method to use. I tested Avidemux and VSDC Video Editor and they both speed up videos in different ways:&lt;br /&gt;&#xA;•The &amp;quot;Change FPS&amp;quot; filter in Avidemux appears to speed up a video by cramming in more frames per second.&lt;br /&gt;&#xA;•The &amp;quot;Speed (%)&amp;quot; setting in VSDC appears to speed up the video by discarding extra frames, but keeps the final frame rate the same as the original file.&lt;/p&gt;&#xA;&lt;p&gt;Is one method better or preferred over the other? Are there any major pros/cons for each method?&lt;/p&gt;&#xA;&lt;p&gt;Here are the &amp;quot;MediaInfo&amp;quot; results for an MP4 test file I sped up by 10x using both methods:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;ORIGINAL FILE&lt;/strong&gt;&lt;br /&gt;&#xA;FILE SIZE/LENGTH: 37 MiB / 1 min 7 s 134 ms [00:01:07.134 (00:01:07:03)]&lt;br /&gt;&#xA;VIDEO BITRATE/FPS: 4 678 kb/s () @ &lt;strong&gt;15 FPS&lt;/strong&gt; (Constant) &lt;strong&gt;[Total Frames: 1008]&lt;/strong&gt;&lt;br /&gt;&#xA;SIZE/ASPECT: 1920px * 1080px @ 16:9 (1.778) Aspect Ratio&lt;br /&gt;&#xA;VIDEO FORMAT: AVC (Advanced Video Codec) / High@L4 / CABAC / 1 Ref Frames&lt;br /&gt;&#xA;VIDEO CODEC: video/H264 / Advanced Video Coding / 8 bits / Progressive Scan&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;VSDC (Changed speed from 100% to 1000%  to speed up by 10x)&lt;/strong&gt;&lt;br /&gt;&#xA;FILE SIZE/LENGTH: 14 MiB / 6 s 734 ms [00:00:06.734 (00:00:06:11)]&lt;br /&gt;&#xA;VVIDEO BITRATE/FPS: 17.0 Mb/s () @ &lt;strong&gt;15 FPS&lt;/strong&gt; (Constant) &lt;strong&gt;[Total Frames: 101]&lt;/strong&gt;&lt;br /&gt;&#xA;SIZE/ASPECT: 1920px * 1080px @ 16:9 (1.778) Aspect Ratio&lt;br /&gt;&#xA;VIDEO FORMAT: AVC (Advanced Video Codec) / High@L5.1 / CABAC / 3 Ref Frames&lt;br /&gt;&#xA;VIDEO CODEC: video/H264 / Advanced Video Coding / 8 bits / Progressive Scan&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;AVIDEMUX (Changed FPS from 15 to 150 to speed up by 10x)&lt;/strong&gt;&lt;br /&gt;&#xA;FILE SIZE/LENGTH: 17 MiB / 6 s 727 ms [00:00:06.727 (00:00:06::9)]&lt;br /&gt;&#xA;VIDEO BITRATE/FPS: 20.0 Mb/s () @ &lt;strong&gt;150 FPS&lt;/strong&gt; (Constant) &lt;strong&gt;[Total Frames: 1009]&lt;/strong&gt;&lt;br /&gt;&#xA;SIZE/ASPECT: 1920px * 1080px @ 16:9 (1.778) Aspect Ratio&lt;br /&gt;&#xA;VIDEO FORMAT: AVC (Advanced Video Codec) / High@L5.2 / CABAC / 4 Ref Frames&lt;br /&gt;&#xA;VIDEO CODEC: video/H264 / Advanced Video Coding / 8 bits / Progressive Scan&lt;/p&gt;&#xA;" OwnerUserId="37951" LastActivityDate="2022-03-22T22:01:14.023" Title="Confused about methods to speed up video" Tags="|video|video-editor|framerate|time-lapse|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35101" PostTypeId="1" CreationDate="2022-03-23T03:20:04.740" Score="0" ViewCount="215" Body="&lt;p&gt;I didn't do any research until after lol. I bought a trrs to trrs cable. Will I be okay to use this for my H5 recorder to my Sony a6400 camera? Or will I need a trs to trrs ?&lt;/p&gt;&#xA;" OwnerUserId="37954" LastActivityDate="2022-03-23T09:44:51.113" Title="Audio- The use of trrs cable" Tags="|audio|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35102" PostTypeId="2" ParentId="35101" CreationDate="2022-03-23T09:44:51.113" Score="1" Body="&lt;p&gt;According to &lt;a href=&quot;https://helpguide.sony.net/ilc/1810/v1/en/contents/TP0002280326.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; page, the Sony a6400 has a 3.5&amp;quot; stereo mini jack microphone input.&lt;/p&gt;&#xA;&lt;p&gt;And the Zoom has a 3.5&amp;quot; stereo line out mini jack &lt;a href=&quot;https://zoomcorp.com/media/documents/E_H5_v2.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;p144 of the PDF&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Both devices look to me like they probably use TRS not TRRS, although it's not clear from the manuals.&lt;/p&gt;&#xA;&lt;p&gt;It might work correctly, assuming both devices are wired the same way (e.g. my TRRS apple earbud &amp;amp; mic work correctly in a TRS wired headphone socket).&lt;/p&gt;&#xA;&lt;p&gt;(This is also assuming the Sony can handle line level inputs which are usually higher than mic input levels).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-03-23T09:44:51.113" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35103" PostTypeId="2" ParentId="30727" CreationDate="2022-03-23T12:38:35.067" Score="0" Body="&lt;p&gt;Assuming all your clips are the same format and dimensions:&lt;/p&gt;&#xA;&lt;p&gt;Using FFmpeg, I think this would append the &amp;quot;ending.mp4&amp;quot; on to &amp;quot;file1.mp4&amp;quot; and save it as &amp;quot;output1.mp4&amp;quot;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;concat:file1.mp4|ending.mp4&amp;quot; -c copy output1.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;On a Mac, I would install &lt;a href=&quot;https://brew.sh&quot; rel=&quot;nofollow noreferrer&quot;&gt;Homebrew&lt;/a&gt;, then run the &lt;a href=&quot;https://formulae.brew.sh/formula/ffmpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg brew command&lt;/a&gt; to install FFmpeg.&lt;/p&gt;&#xA;&lt;p&gt;You can also do this using &lt;a href=&quot;https://www.youtube.com/watch?v=wMwRwgqfSd4&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe Media Encoder&lt;/a&gt;, but would take longer if you have many clips.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-03-23T12:38:35.067" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35107" PostTypeId="1" AcceptedAnswerId="36387" CreationDate="2022-03-23T20:07:26.050" Score="1" ViewCount="347" Body="&lt;p&gt;I use ffmpeg because I want to do video editing without re-encoding. I only know the bare bones options for this though:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -ss 00:00:30 -to 00:05:00 -acodec copy -vcodec copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The audio, for the output of the above command, starts at 30 seconds, however this video only starts at the next i-frame after the 30 second mark, sometimes this might even be around 33 seconds.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Using -ss as input option together with -c:v copy might not be accurate since ffmpeg is forced to only use/split on i-frames. Though it will—if possible—adjust the start time of the stream to a negative value to compensate for that. Basically, if you specify &amp;quot;second 157&amp;quot; and there is no key frame until second 159, it will include two seconds of audio (with no video) at the start, then will start from the first key frame. So be careful when splitting and doing codec copy. &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Seeking&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Seeking&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;This is quite annoying, to have audio playing and be waiting for the video.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to seek the audio to the same timestamp as the first video time?&lt;/p&gt;&#xA;" OwnerUserId="37958" LastActivityDate="2023-04-20T06:47:38.270" Title="ffmpeg clipping: video splits on i-frames but not audio" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35116" PostTypeId="1" CreationDate="2022-03-25T13:31:08.060" Score="1" ViewCount="217" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/w7h4t.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/w7h4t.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have two curves/paths (path A and B) and a null point A that follows path A with an arbitrary speed.&lt;/p&gt;&#xA;&lt;p&gt;I need a null point B that follows the path B but with a speed dependent to null point A x position. In other words, point B must follow the path B but accordingly to point A x position.&lt;/p&gt;&#xA;&lt;p&gt;As you see in the image, at time 0 and 1, point B has the x position shared with point A  while point B y position is on the intersection of the vertical axis, passing trough point A, and path B.&lt;/p&gt;&#xA;&lt;p&gt;I need an expression for null point B position that can do that.&lt;/p&gt;&#xA;&lt;p&gt;Thank you for your help.&lt;/p&gt;&#xA;" OwnerUserId="37974" LastActivityDate="2024-02-10T04:07:40.913" Title="After Effects: Detect point of intersection between two paths" Tags="|after-effects|after-effects-expressions|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35117" PostTypeId="1" CreationDate="2022-03-25T15:36:10.420" Score="1" ViewCount="48" Body="&lt;p&gt;I need to blur out a car plate on a scene. I already tracked the plate with Mocha and used a mask with Camera Blur but the result is anything but subtle. Everything else on screen is on focus and blurring out just the plate just calls attention to it. Any thoughts?&lt;/p&gt;&#xA;" OwnerUserId="37976" LastActivityDate="2023-01-28T18:01:13.987" Title="How can I subtly blur a car plate?" Tags="|after-effects|video-editor|editing|tracking|visual-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35118" PostTypeId="2" ParentId="35116" CreationDate="2022-03-25T16:08:56.393" Score="0" Body="&lt;p&gt;OK, I can't do the maths, so I'm going straight to hell for this terrible hack instead:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Make a solid the size of your comp&lt;/li&gt;&#xA;&lt;li&gt;Make a shape layer containing two curves the shape of Path A and Path B.  Make them have some thickness (a few pixels).&lt;/li&gt;&#xA;&lt;li&gt;Put the shape layer above the white solid.&lt;/li&gt;&#xA;&lt;li&gt;Set the white solid to Alpha Invert Track Matte, so two holes are cut in it, using the shape layer to cut them. The shape layer will automatically become invisible.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NHpi5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NHpi5.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol start=&quot;5&quot;&gt;&#xA;&lt;li&gt;Put a bright red vertical line behind your white background.  Animate it from left to right.&lt;/li&gt;&#xA;&lt;li&gt;Add another white solid as the bottom layer, as a background so you can't see the holes.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eufCE.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eufCE.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Pre-comp all of the above.&lt;/p&gt;&#xA;&lt;p&gt;In your master comp which now contains only your new precomp, use the Tracker to Track Motion on your PreComp.&lt;br /&gt;&#xA;Track the small red dots that cut through the holes.&#xA;Attach both trackers to nulls, etc.&lt;/p&gt;&#xA;&lt;p&gt;It's really ugly but it works:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WDjkZ.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WDjkZ.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-03-25T16:08:56.393" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35119" PostTypeId="2" ParentId="35117" CreationDate="2022-03-25T16:13:05.200" Score="3" Body="&lt;p&gt;Replace it with a fictional plate?&lt;/p&gt;&#xA;&lt;p&gt;Alternatively, track the four corners of the plate where there's just solid background colour.&lt;/p&gt;&#xA;&lt;p&gt;Apply each of the four tracks to a null (call them Null 1, Null 2, etc).&lt;/p&gt;&#xA;&lt;p&gt;Make a solid colour layer.&lt;/p&gt;&#xA;&lt;p&gt;Apply a 4-Color Gradient to the solid.&lt;/p&gt;&#xA;&lt;p&gt;Set each of the positions of the colours in the &amp;quot;4-Color Gradient&amp;quot; effect to match Nulls 1-4 respectively.&lt;/p&gt;&#xA;&lt;p&gt;Add the following to each Fill colour in the &amp;quot;4-Color Gradient&amp;quot; effect, so that the colour at the position of each null on the car layer (car.jpg) is sampled and applied to the 4-Colour Gradient:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;target = thisComp.layer(&amp;quot;car.jpg&amp;quot;); // tells which layer to sample from&#xA;colorpicker = thisComp.layer(&amp;quot;Null 1&amp;quot;);  // Change this to the name of each Null respectively&#xA;target.sampleImage(target.fromWorld(colorpicker.position), [0.5,0.5], true, time) // Changes the fill colour to match the colour beneath the null&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Mask out the solid layer to obscure the number plate.&lt;/p&gt;&#xA;&lt;p&gt;Feather the mask.&lt;/p&gt;&#xA;&lt;p&gt;Add a bit of noise / Match Grain to the solid layer.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OTi8I.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OTi8I.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-03-25T17:00:10.250" LastActivityDate="2022-03-25T17:00:10.250" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35121" PostTypeId="2" ParentId="35089" CreationDate="2022-03-26T09:13:20.973" Score="3" Body="&lt;p&gt;To merge an audio stream with a repeated video stream&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -stream_loop -1 -i 20s.ts -i 120s.mp3 -map 0:v:0 -map 1:a:0 -shortest -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;-stream_loop -1 : to loop infinity of video input stream&lt;/li&gt;&#xA;&lt;li&gt;-map 0:v:0 : pick the video of the first input stream&lt;/li&gt;&#xA;&lt;li&gt;-map 1:a:0 : pick the audio of the second input stream&lt;/li&gt;&#xA;&lt;li&gt;-shortest : select the shortest length of input streams, which is the audio stream since the video will be looped infinity&lt;/li&gt;&#xA;&lt;li&gt;-c copy : no video and audio transcodes.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2022-03-26T09:13:20.973" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35122" PostTypeId="1" CreationDate="2022-03-26T10:38:48.553" Score="0" ViewCount="29" Body="&lt;p&gt;Some youtuber used few seconds of my footage in his video.&#xA;I discovered it randomly, he haven't even contacted me.&#xA;He say that if he credit me in description, it's already okay according the YT comunity.&lt;/p&gt;&#xA;&lt;p&gt;The footage he stealed was bought by several TV companies as it's about the place where most people never been to, so it has some value.&lt;/p&gt;&#xA;&lt;p&gt;I really can not do anything?&lt;/p&gt;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="17386" LastEditorUserId="4426" LastEditDate="2022-03-30T13:26:29.263" LastActivityDate="2023-12-20T17:08:56.070" Title="What if somebody use few valuable seconds of your YT video?" Tags="|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35123" PostTypeId="2" ParentId="35122" CreationDate="2022-03-26T12:35:47.300" Score="0" Body="&lt;p&gt;You can submit a copyright takedown request on YouTube:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://support.google.com/youtube/answer/2807622?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.google.com/youtube/answer/2807622?hl=en&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;They may be protected under &lt;a href=&quot;https://support.google.com/youtube/answer/9783148?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;Fair Use&lt;/a&gt; or Fair Dealing rules.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-03-26T12:35:47.300" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35125" PostTypeId="1" CreationDate="2022-03-26T17:29:47.740" Score="0" ViewCount="95" Body="&lt;p&gt;I have a video-only stream that I removed the audio from without re-encoding. The video information is as follows.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;hevc (Main 10), yuv420p10le(tv, bt2020nc/bt2020/smpte2084), 3840x1608&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Frame information is as such:&#xA;&lt;code&gt;23.98 fps, 23.98 tbr, 1k tbn, 23.98 tbc (default)&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I understand that this is already in a compressed format, so my goal is to prevent any further generational loss/not re-encoding in this process. I am trying to cut the video stream into clips, between &lt;strong&gt;actual&lt;/strong&gt; video frames, to get frame-accurate clips.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;I am only used to working with video sequences as lossless frames stored inside of directories&lt;/em&gt;, I am not used to working with actual streams or containers or anything of the sort. This concept of multiple types of frames and all the inter-frame-trickery that the containers/compression applies is 100% lost on me and I absolutely do not understand it at all.&lt;/p&gt;&#xA;&lt;p&gt;I don't understand how I can use &lt;code&gt;s&lt;/code&gt; to go forward one frame in ffplay, but I can't specify or work in frames directly to FFMPEG? How does it know what &amp;quot;forward one frame&amp;quot; is if the output of ffplay can't even give me discrete frames to reference for trimming? That's literally all I'm trying to do.&lt;/p&gt;&#xA;&lt;p&gt;What I read so far about this just says stuff along the lines of &amp;quot;divide the framerate by the time, then trim with that converted non-integer&amp;quot; -- in which &lt;strong&gt;every single thread that advocated for this&lt;/strong&gt; ultimately turned back to the nature of my question, or is answered with &amp;quot;what do you mean by frame?&amp;quot; -- I don't know, &lt;em&gt;what does FFMPEG mean&lt;/em&gt; by &lt;code&gt;NUMBER_OF_FRAMES-eng: 19295&lt;/code&gt;? -- That's the grid I want to work with.. the fully-quantized one made up of tangible frames.. and do so without re-encoding or incurring generational losses.&lt;/p&gt;&#xA;&lt;p&gt;Any clarifying information is greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="37989" LastActivityDate="2022-03-26T17:29:47.740" Title="FFMPEG: Why can't I work in frames instead of HH:MM:SS?" Tags="|ffmpeg|video|video-editor|encoding|framerate|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35130" PostTypeId="1" CreationDate="2022-03-28T08:55:07.660" Score="1" ViewCount="19" Body="&lt;p&gt;I'm a beginner in AE I'd like to create a similar effect to this example but I'm not quite sure how to achieve the smooth transition from 'FU' to a full title. Do you have any suggestions?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EmXfR.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EmXfR.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37998" LastActivityDate="2022-03-29T07:09:13.627" Title="How to extend short logotype to full logo in After Effects?" Tags="|after-effects|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35131" PostTypeId="2" ParentId="35130" CreationDate="2022-03-28T09:34:40.713" Score="1" Body="&lt;p&gt;This is a transition between a few layers of text and some shapes, probably with an Invert effect placed over all of it as an Adjustment Layer.&lt;/p&gt;&#xA;&lt;p&gt;The smoothness comes from the &lt;a href=&quot;https://vimeo.com/68022971?embedded=true&amp;amp;source=video_title&amp;amp;owner=16970690&quot; rel=&quot;nofollow noreferrer&quot;&gt;animating of the motion as curves&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;This is a great free beginner's course to After Effects (even though it's quite old):&#xA;&lt;a href=&quot;https://www.videocopilot.net/basic/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.videocopilot.net/basic/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-03-29T07:09:13.627" LastActivityDate="2022-03-29T07:09:13.627" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35132" PostTypeId="1" CreationDate="2022-03-28T11:56:41.380" Score="0" ViewCount="198" Body="&lt;p&gt;I'm a beginner in video editing and I would like to apply a similar transition to my project. Do you have any suggestions on how to do it in the best way?&lt;/p&gt;&#xA;&lt;p&gt;I have tried to use After Effects but I am not sure which program will do better.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eg47T.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eg47T.gif&quot; alt=&quot;here's the transition&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37998" LastActivityDate="2023-12-20T20:00:50.100" Title="How to achieve a smooth slide in transition in Premiere?" Tags="|after-effects|premiere|adobe|transitions|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35136" PostTypeId="1" CreationDate="2022-03-29T17:32:51.340" Score="1" ViewCount="69" Body="&lt;p&gt;Everything I'm searching for is for people who want to have their album artwork incorporated into a video. What I'm asking is if MKV can hold multiple images in succession, i.e. for videos like &lt;a href=&quot;https://www.youtube.com/watch?v=Qx55EmiFadg&quot; rel=&quot;nofollow noreferrer&quot;&gt;this one&lt;/a&gt;:  where the video has very few actual &amp;quot;frames&amp;quot; (thus not taking up nearly as much space) because it's guaranteed to be 100% static content other than to change to the next page/image.&lt;/p&gt;&#xA;&lt;p&gt;Unless modern compression algorithms make the amount of space saved in cases like this already negligible, I have no idea if that is the case --&lt;/p&gt;&#xA;" OwnerUserId="37989" LastActivityDate="2022-03-29T17:32:51.340" Title="Can MKV hold multiple images in sequence (i.e. slideshow?)" Tags="|video|compression|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35137" PostTypeId="2" ParentId="35132" CreationDate="2022-03-30T13:12:16.763" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WlTFl.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WlTFl.gif&quot; alt=&quot;animation example&quot; /&gt;&lt;/a&gt;&#xA;(The animation above is at 15fps to reduce file size, so won't playback smoothly).&lt;/p&gt;&#xA;&lt;p&gt;The example you've shown looks as though it might be from a web page, in which case it might have been made using CSS animations.&lt;/p&gt;&#xA;&lt;p&gt;If you want to make something similar using After Effects, you can animate it like this:&lt;/p&gt;&#xA;&lt;p&gt;Make a layer of text, centre it on the screen.&lt;/p&gt;&#xA;&lt;p&gt;Right click on the position control on the text layer and check &amp;quot;Separate Dimensions&amp;quot;.  This makes it easier to only animate the horizontal (x-axis) position of your text, especially when working with Curves (see below).&lt;/p&gt;&#xA;&lt;p&gt;Animate your position keyframe, so that it begins off-screen, then comes into your original position.  Add another keyframe to hold it there for a few seconds, then animate it off the other side.&lt;/p&gt;&#xA;&lt;p&gt;With the X position control selected, click on the Curves button&#xA;&lt;a href=&quot;https://i.stack.imgur.com/nYnAu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nYnAu.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You should be able to adjust the curve of the x-position so that it forms nice &amp;quot;S&amp;quot; shapes.  This will make the text slow down as it enters and leaves in a smoother more natural way.  See &lt;a href=&quot;https://lesterbanks.com/2016/04/2-tips-super-smooth-eases-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;easing&lt;/a&gt; for more info.&lt;/p&gt;&#xA;&lt;p&gt;Click the Curves button again to turn off the Curves view.&lt;/p&gt;&#xA;&lt;p&gt;Now go into the Text controller and click on the &amp;quot;Animate&amp;quot; button&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ZQGHd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZQGHd.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Choose Tracking.&lt;/p&gt;&#xA;&lt;p&gt;Go to the beginning of your timeline.&lt;/p&gt;&#xA;&lt;p&gt;Set the tracking type to &amp;quot;Before&amp;quot;, and keyframe it.&lt;/p&gt;&#xA;&lt;p&gt;Set the tracking amount to 45 and keyframe it.&lt;/p&gt;&#xA;&lt;p&gt;Move along your timeline until the text is in view.&lt;/p&gt;&#xA;&lt;p&gt;Set another keyframe to adjust the tracking to zero.&lt;/p&gt;&#xA;&lt;p&gt;Move along your timeline to where your next Position keyframe is.&lt;/p&gt;&#xA;&lt;p&gt;Set another &amp;quot;Tracking&amp;quot; keyframe (at zero), and set the Tracking Type to &amp;quot;After&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Move along your timeline until the text has moved off-screen, and set another tracking keyframe to &amp;quot;45&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Now click on the Tracking Amount control and click the Curves button again.&lt;/p&gt;&#xA;&lt;p&gt;Again, make the curves look like nice S shapes:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/1Kp83.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1Kp83.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Turn off the Curves view, and tweak the positions of all the keyframes until it looks right.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-03-30T13:12:16.763" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35139" PostTypeId="2" ParentId="29424" CreationDate="2022-03-30T17:38:55.177" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;Use razor tool (C) to make cuts at the beginning and end of the section of audio that you want removed.&lt;/li&gt;&#xA;&lt;li&gt;Switch to the pointer tool (V), then click the section of audio&lt;/li&gt;&#xA;&lt;li&gt;Press the Delete key to remove that section.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="38018" LastActivityDate="2022-03-30T17:38:55.177" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35140" PostTypeId="2" ParentId="29424" CreationDate="2022-03-30T18:50:58.967" Score="1" Body="&lt;p&gt;To minimise mousing around:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;kbd&gt;Cmd&lt;/kbd&gt; +&lt;kbd&gt;K&lt;/kbd&gt; with the razor&lt;/li&gt;&#xA;&lt;li&gt;&lt;kbd&gt;Space&lt;/kbd&gt; Play to the next point (and stop)&lt;/li&gt;&#xA;&lt;li&gt;&lt;kbd&gt;Cmd&lt;/kbd&gt; + &lt;kbd&gt;K&lt;/kbd&gt; to make the next cut&lt;/li&gt;&#xA;&lt;li&gt;&lt;kbd&gt;Cmd&lt;/kbd&gt; + &lt;kbd&gt;up arrow&lt;/kbd&gt; to select previous clip&lt;/li&gt;&#xA;&lt;li&gt;&lt;kbd&gt;Cmd&lt;/kbd&gt; + &lt;kbd&gt;shift&lt;/kbd&gt; + &lt;kbd&gt;E&lt;/kbd&gt; to mute that region&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&amp;quot;Select previous clip&amp;quot; always selects based on the clip that is currently selected (highlighted in white). Sometimes that won't be the clip nearest your playhead. You may have to tap &lt;kbd&gt;cmd&lt;/kbd&gt; + &lt;kbd&gt;up arrow&lt;/kbd&gt; or down arrow a few times to get to your clip.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-03-30T18:50:58.967" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35141" PostTypeId="1" AcceptedAnswerId="35142" CreationDate="2022-03-30T20:17:31.330" Score="0" ViewCount="5566" Body="&lt;p&gt;I captured my desktop screen using OBS Studio and when i import the captured videos into Adobe Premiere Pro 2022, their color become a little bit lighter, you can see the image i attached below, the original video is darker and the same video is imported into Premiere Pro, the color of video changes.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Difference&lt;/strong&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/iesrs.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iesrs.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;OBS Studio Settings&lt;/strong&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/4YMlL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4YMlL.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38019" LastEditorUserId="38019" LastEditDate="2022-03-31T08:08:54.853" LastActivityDate="2022-03-31T08:08:54.853" Title="Video Color is changing After Importing It Into Adobe Premiere Pro 2022" Tags="|premiere|video-editor|adobe|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35142" PostTypeId="2" ParentId="35141" CreationDate="2022-03-30T20:29:35.683" Score="2" Body="&lt;p&gt;Check the colour profile of the footage you imported from OBS.&lt;/p&gt;&#xA;&lt;p&gt;Make sure the colour profile of your footage matches the colour management settings in Premiere.&lt;/p&gt;&#xA;&lt;p&gt;OBS is likely to be exporting &lt;a href=&quot;https://en.wikipedia.org/wiki/SRGB&quot; rel=&quot;nofollow noreferrer&quot;&gt;sRGB&lt;/a&gt; colour footage.  Premiere defaults to working in &lt;a href=&quot;https://en.wikipedia.org/wiki/Rec._709&quot; rel=&quot;nofollow noreferrer&quot;&gt;rec.709&lt;/a&gt; colour profile.&lt;/p&gt;&#xA;&lt;p&gt;When you export from Premiere, again check which colour profile is being used.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://blog.frame.io/2019/08/26/color-management-abobe-cc/#Premiere_Pro&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://blog.frame.io/2019/08/26/color-management-abobe-cc/#Premiere_Pro&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-03-30T20:29:35.683" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35145" PostTypeId="1" CreationDate="2022-03-31T05:41:42.400" Score="1" ViewCount="758" Body="&lt;p&gt;The ffmpeg command below is being used to capture the desktop and create a resulting mp4.  ffmpeg log says the input stream is bmp and I specified the target as h264 yuv420p.   I found several older articles talking about a ffmpeg color shift problem issue and experimented several hours with the suggestions and filters.  But as the pics show the resulting mp4 is washed out and not as vibrant as the original screen.&lt;/p&gt;&#xA;&lt;p&gt;Using&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Win 10&lt;/li&gt;&#xA;&lt;li&gt;ffmpeg 5.0&lt;/li&gt;&#xA;&lt;li&gt;VLC 3.16&lt;/li&gt;&#xA;&lt;li&gt;Chrome&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -offset_x 1600 -offset_y 0 -video_size 1600x1200 -i desktop -pix_fmt yuv420p -vcodec libx264 -profile:v main -crf 16 outfile.mp4&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Original - &lt;a href=&quot;https://i.stack.imgur.com/czAf2l.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/czAf2s.png&quot; alt=&quot;orig screen&quot; /&gt;&lt;/a&gt; Resulting file - &lt;a href=&quot;https://i.stack.imgur.com/QVeHMl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QVeHMs.png&quot; alt=&quot;color shift&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;--- end of original post ---&lt;/p&gt;&#xA;&lt;h1&gt;Updates and information&lt;/h1&gt;&#xA;&lt;p&gt;I really needed this project done so after making the original post I made some further experiments which I think will mostly address the issue and create a workable solution.&lt;/p&gt;&#xA;&lt;p&gt;The first issue to resolve is which color space to use for the resulting file? The basic choice revolves around where you want to play the resulting file. Some players do not like certain formats.  According to &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; post yuv420p is for old players and it was yuv420p that was causing the issues that resulted in my posting here.&lt;/p&gt;&#xA;&lt;p&gt;The rest of this post will concern itself with the rgb &amp;amp; yuv options.&lt;/p&gt;&#xA;&lt;h3&gt;RGB&lt;/h3&gt;&#xA;&lt;p&gt;The ffmpeg string which captures desktop to an rgb colorspace mp4.  Played fine in chrome and vlc 3.16&lt;/p&gt;&#xA;&lt;p&gt;Just like the yuv file below the rgb colors in the output file were true to the original desktop.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -offset_x 1600 -offset_y 0 -video_size 1600x1200 -i desktop -c:v libx264rgb -qp 0 -pix_fmt rgb24 outfile.mp4&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ma9p2h.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ma9p2s.png&quot; alt=&quot;Media info results&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;h3&gt;YUV&lt;/h3&gt;&#xA;&lt;p&gt;The ffmpeg string which captures desktop to a yuv colorspace mp4.&#xA;Using the yuv444p color space results in a file which to the eye looks just like the desktop looked when it was recorded.  There may be some rounding errors and slight color variations if you look at it from a mathematical perspective but for my eyes and purposes it offers great fidelity to the original image.  I found no combination of parameters which could make yuv420p true to the original desktop - all my results with 420 resulted in washed out images.  Played fine in chrome and vlc 3.16&lt;/p&gt;&#xA;&lt;p&gt;I was hoping the file size would be significantly smaller than rgb but that was not the result of my test - yuv and rgb produced files approximately the same size.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -offset_x 1600 -offset_y 0 -video_size 1600x1200 -i desktop -vf scale=out_color_matrix=bt709:out_range=full,format=yuv444p -color_primaries bt709 -colorspace bt709 -color_trc bt709 -pix_fmt yuv444p outfile.mp4&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KRAuph.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KRAups.png&quot; alt=&quot;Media info results&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38024" LastEditorUserId="38024" LastEditDate="2022-04-02T00:38:28.443" LastActivityDate="2023-09-08T18:27:20.530" Title="Using ffmpeg gdigrab to capture desktop output to h264 yuv420p. Color shift problem" Tags="|ffmpeg|colorspace|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35149" PostTypeId="1" CreationDate="2022-03-31T20:03:00.707" Score="1" ViewCount="36" Body="&lt;p&gt;I've created an animation in After Effects, and dynamic linked the composition into Premiere for audio editing. Then I exported from PR using Media Encoder. The exported file looks good, but when uploaded to YouTube, it looks considerably more pixelated. I know this is a common issue for YouTube, but the problem is even more noticeable when working with animations.&lt;/p&gt;&#xA;&lt;p&gt;I've experimented with:&lt;/p&gt;&#xA;&lt;p&gt;Cineform,&#xA;ProRes 422 HQ, ProRes 422&#xA;Quicktime with the Animation codec&#xA;Render Queue PNG Sequence to ProRes 422 in ME&#xA;H.265 4K UHD&lt;/p&gt;&#xA;&lt;p&gt;H.265 looks slightly better in 2160P on YouTube, but 1440p and lower looks bad. Plus most users' players won't default to 2160P and I don't want them to have to manually select it.&lt;/p&gt;&#xA;&lt;p&gt;My compositon is 1920 x 1080, 23.976 FPS, square pixels.&lt;/p&gt;&#xA;&lt;p&gt;Are there settings I'm missing? Could my dynamic link workflow be affecting the export? I'm pretty stumped and I want to keep making animations for YouTube, so any advice is greatly appreciated!&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TQQvD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TQQvD.png&quot; alt=&quot;bad quality on YouTube&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Wj0C6.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Wj0C6.jpg&quot; alt=&quot;export quality&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37881" LastActivityDate="2022-03-31T20:03:00.707" Title="AE Animation Bad Quality on YouTube" Tags="|after-effects|video-quality|youtube|adobe-media-encoder|export|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35156" PostTypeId="2" ParentId="35061" CreationDate="2022-04-02T11:26:25.227" Score="1" Body="&lt;p&gt;You problem is easy: &lt;code&gt;-b:v&lt;/code&gt; does not set the maximum bitrate, but the target bitrate. Set target bitrate first &lt;code&gt;-b:v 1M&lt;/code&gt;, then maximum bitrate &lt;code&gt;-maxrate 2M&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="38044" LastEditorUserId="18155" LastEditDate="2022-04-02T15:45:01.770" LastActivityDate="2022-04-02T15:45:01.770" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35157" PostTypeId="1" AcceptedAnswerId="35167" CreationDate="2022-04-02T17:41:42.593" Score="1" ViewCount="300" Body="&lt;p&gt;My folder has some video files with mp3 audio and some video files with aac audio. I want to move all files which have mp3 audio to another folder. When I asked my friend, he gave me this script:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;mp3ToAAC.sh&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#To convert mp3 audio to AAC&#xA;for file in *;&#xA;do&#xA;    if [ $file == &amp;quot;mp3ToAAC.sh&amp;quot; ]; then&#xA;        continue;&#xA;    fi&#xA;    if [ -f &amp;quot;$file&amp;quot; ]; then&#xA;        ffmpeg -i &amp;quot;$file&amp;quot; -acodec aac -vcodec copy ../&amp;quot;$file&amp;quot;&#xA;    fi &#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;That will convert all video files with audio mp3 to aac. Before using this, I want to move the files which have mp3 audio to another directory. I want to run this script only on those files. How to do that?&lt;/p&gt;&#xA;" OwnerUserId="35814" LastActivityDate="2022-04-04T17:38:07.417" Title="How to move all video files with mp3 audio?" Tags="|ffmpeg|encoding|bash|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35159" PostTypeId="1" CreationDate="2022-04-02T21:10:25.543" Score="0" ViewCount="88" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oKfNN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oKfNN.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;A slightly blurry VHS filter: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/YC-GQHomxnY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;And a screenshot from a puppetcombo game called murderhouse. They seem to have blue-yellow accents and are slightly blurry.&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="38047" LastActivityDate="2022-04-03T07:54:01.403" Title="Trying to identify specific VHS filters used here" Tags="|effects|filter|vhs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35160" PostTypeId="2" ParentId="32492" CreationDate="2022-04-03T01:20:49.987" Score="0" Body="&lt;p&gt;A TBC will definitely solve the audio-video sync problem. I started with cheap Amazon/Ebay sourced transfer devices from China doing countless edits to get the audio right. A Blackmagic Intensity for good colour representation along  with a professional quality VCR with inbuilt TBC is the best way to go for a faultless transfer. Been doing this for years with no problems since.&lt;/p&gt;&#xA;" OwnerUserId="38048" LastActivityDate="2022-04-03T01:20:49.987" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35163" PostTypeId="2" ParentId="35159" CreationDate="2022-04-03T07:54:01.403" Score="1" Body="&lt;p&gt;I think this is chromatic aberation. On original VHS it comes from the way the colour signals are stored at lower fidelity than the luminance signals:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/VHS#Video_recording&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/VHS#Video_recording&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;VHS tapes have approximately 3 MHz of video bandwidth and 400 kHz of chroma bandwidth, which is lower than the 6 MHz in NTSC broadcasts, and the 5 MHz in Type C videotape. The luminance (black and white) portion of the video is recorded as a frequency modulated, with a down-converted &amp;quot;color under&amp;quot; chroma (color) signal recorded directly at the baseband.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;You can generate something similar by separating out the red, green, and blue channels of your image, then messing with them, by distorting, blurring, or adding noise to them, then recombining them.  There are lots of plugins that can do this - these two are good examples for After Effects / Premiere:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://aescripts.com/bad-tv/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://aescripts.com/bad-tv/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.maxon.net/en/red-giant-complete/universe/vhs&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.maxon.net/en/red-giant-complete/universe/vhs&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-04-03T07:54:01.403" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35164" PostTypeId="1" CreationDate="2022-04-03T20:24:59.620" Score="2" ViewCount="830" Body="&lt;p&gt;I am running a bash script using ubuntu server on arm64 that live streams video and audio to youtube, heres the script below&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#! /bin/bash&#xA;&#xA;VBR=&amp;quot;8000k&amp;quot;&#xA;FPS=&amp;quot;24&amp;quot;&#xA;QUAL=&amp;quot;superfast&amp;quot;&#xA;&#xA;YOUTUBE_URL=&amp;quot;rtmp://a.rtmp.youtube.com/live2&amp;quot;&#xA;KEY=&amp;quot;****&amp;quot;&#xA;&#xA;VIDEO_SOURCE=&amp;quot;/mnt/disk1/test/****&amp;quot;&#xA;&#xA;AUDIO_SOURCE=&amp;quot;****&amp;quot;&#xA;&#xA;ffmpeg \&#xA;    -re -f lavfi -i &amp;quot;movie=filename=$VIDEO_SOURCE:loop=0, setpts=N/(FRAME_RATE*TB)&amp;quot; \&#xA;    -thread_queue_size 512 -i &amp;quot;$AUDIO_SOURCE&amp;quot; \&#xA;    -map 0:v:0 -map 1:a:0 \&#xA;    -map_metadata:g 1:g \&#xA;    -vcodec libx264 -pix_fmt yuv420p -preset $QUAL -r $FPS -g $(($FPS * 2)) -b:v $VBR \&#xA;    -acodec libmp3lame -ar 44100 -threads 4 -qscale:v 3 -b:a 320000 -bufsize 512k \&#xA;    -report -loglevel fatal -nostats  \&#xA;    -f flv &amp;quot;$YOUTUBE_URL/$KEY&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The stream works fine, however after a seemingly random period of time, I get a conversion failed error&lt;/p&gt;&#xA;&lt;p&gt;first after 64 hours of streaming&#xA;second after 12 hours of streaming&#xA;third after 8 hours of streaming&#xA;fourth after 112 hours&lt;/p&gt;&#xA;&lt;p&gt;The server itsef is fine, cpu and memory usage are extremly low and there are no spikes&lt;/p&gt;&#xA;&lt;p&gt;from what i can guess the error has something to do with libx264 judging by the error logs, although I do not really know. After some guidance on what to do try next. Here is the tail end of the ffmpeg log report&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[libx264 @ 0xaaab23ad3e30] frame=1351975 QP=16.89 NAL=2 Slice:P Poc:14  I:6461 P:1224 SKIP:475  size=26602 bytes&#xA;av_interleaved_write_frame(): Broken pipe&#xA;No more output streams to write to, finishing.&#xA;[libx264 @ 0xaaab23ad3e30] frame=1351976 QP=17.90 NAL=2 Slice:B Poc:10  I:2395 P:3322 SKIP:2443 size=20127 bytes&#xA;[libx264 @ 0xaaab23ad3e30] frame=1351977 QP=17.89 NAL=0 Slice:B Poc:12  I:1848 P:3235 SKIP:3077 size=17313 bytes&#xA;[libx264 @ 0xaaab23ad3e30] frame=1351978 QP=15.65 NAL=2 Slice:P Poc:22  I:6458 P:1171 SKIP:531  size=26073 bytes&#xA;[libx264 @ 0xaaab23ad3e30] frame=1351979 QP=17.19 NAL=2 Slice:B Poc:18  I:2766 P:3514 SKIP:1880 size=19633 bytes&#xA;[libx264 @ 0xaaab23ad3e30] frame=1351980 QP=18.35 NAL=0 Slice:B Poc:16  I:1233 P:2876 SKIP:4051 size=11769 bytes&#xA;[libx264 @ 0xaaab23ad3e30] frame=1351981 QP=17.28 NAL=0 Slice:B Poc:20  I:822  P:3197 SKIP:4141 size=10699 bytes&#xA;[libx264 @ 0xaaab23ad3e30] frame=1351982 QP=17.08 NAL=2 Slice:P Poc:30  I:6351 P:1443 SKIP:366  size=29120 bytes&#xA;[libx264 @ 0xaaab23ad3e30] frame=1351983 QP=17.29 NAL=2 Slice:B Poc:26  I:2060 P:4211 SKIP:1889 size=18465 bytes&#xA;[libx264 @ 0xaaab23ad3e30] frame=1351984 QP=18.00 NAL=0 Slice:B Poc:24  I:472  P:3225 SKIP:4463 size=8893 bytes&#xA;[libx264 @ 0xaaab23ad3e30] frame=1351985 QP=17.98 NAL=0 Slice:B Poc:28  I:1339 P:3681 SKIP:3140 size=13378 bytes&#xA;[libx264 @ 0xaaab23ad3e30] frame=1351986 QP=15.57 NAL=2 Slice:P Poc:32  I:6270 P:1584 SKIP:306  size=33703 bytes&#xA;av_interleaved_write_frame(): Broken pipe&#xA;[libmp3lame @ 0xaaab23ac06f0] Trying to remove 47 more samples than there are in the queue&#xA;[flv @ 0xaaab23ad2ff0] Failed to update header with correct duration.&#xA;[flv @ 0xaaab23ad2ff0] Failed to update header with correct filesize.&#xA;Error writing trailer of rtmp://a.rtmp.youtube.com/live2/****: Broken pipe&#xA;frame=1351987 fps= 24 q=22.0 Lsize=37296521kB time=15:38:52.22 bitrate=5423.8kbits/s dup=0 drop=56332 speed=   1x    &#xA;video:35035969kB audio:2200479kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.161329%&#xA;Input file #0 (movie=filename=/mnt/disk1/test/****.mp4:loop=0, setpts=N/(FRAME_RATE*TB)):&#xA;  Input stream #0:0 (video): 1408319 packets read (4380435417600 bytes); 1408319 frames decoded; &#xA;  Total: 1408319 packets (4380435417600 bytes) demuxed&#xA;Input file #1 (https://****.mp3):&#xA;  Input stream #1:0 (audio): 2156470 packets read (901316441 bytes); 2156470 frames decoded (2484253440 samples); &#xA;  Total: 2156470 packets (901316441 bytes) demuxed&#xA;Output file #0 (rtmp://a.rtmp.youtube.com/live2/****):&#xA;  Output stream #0:0 (video): 1351987 frames encoded; 1351976 packets muxed (35876832486 bytes); &#xA;  Output stream #0:1 (audio): 2156470 frames encoded (2484253440 samples); 2156469 packets muxed (2253290057 bytes); &#xA;  Total: 3508445 packets (38130122543 bytes) muxed&#xA;3564789 frames successfully decoded, 0 decoding errors&#xA;[AVIOContext @ 0xaaab23ac4ef0] Statistics: 0 seeks, 3823215 writeouts&#xA;[rtmp @ 0xaaab23dab6a0] UnPublishing stream...&#xA;[rtmp @ 0xaaab23dab6a0] Deleting stream...&#xA;[libx264 @ 0xaaab23ad3e30] frame I:53166 Avg QP:16.31  size: 39514&#xA;[libx264 @ 0xaaab23ad3e30] frame P:500115 Avg QP:17.79  size: 32831&#xA;[libx264 @ 0xaaab23ad3e30] frame B:798706 Avg QP:19.67  size: 21732&#xA;[libx264 @ 0xaaab23ad3e30] consecutive B-frames: 13.9% 15.2% 20.2% 50.7%&#xA;[libx264 @ 0xaaab23ad3e30] mb I  I16..4: 45.9% 44.7%  9.4%&#xA;[libx264 @ 0xaaab23ad3e30] mb P  I16..4: 40.6% 37.1%  2.2%  P16..4: 16.5%  0.0%  0.0%  0.0%  0.0%    skip: 3.7%&#xA;[libx264 @ 0xaaab23ad3e30] mb B  I16..4: 16.3% 16.2%  0.2%  B16..8: 25.0%  0.0%  0.0%  direct:19.7%  skip:22.5%  L0:48.7% L1:48.4% BI: 2.9%&#xA;[libx264 @ 0xaaab23ad3e30] 8x8 transform intra:47.5% inter:31.9%&#xA;[libx264 @ 0xaaab23ad3e30] coded y,uvDC,uvAC intra: 15.8% 78.7% 25.0% inter: 2.0% 60.3% 1.8%&#xA;[libx264 @ 0xaaab23ad3e30] i16 v,h,dc,p: 50% 20%  9% 21%&#xA;[libx264 @ 0xaaab23ad3e30] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 19% 16% 31%  4%  7%  5%  5%  6%  6%&#xA;[libx264 @ 0xaaab23ad3e30] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 36% 20% 33%  2%  2%  2%  1%  2%  2%&#xA;[libx264 @ 0xaaab23ad3e30] i8c dc,h,v,p: 29% 18% 18% 35%&#xA;[libx264 @ 0xaaab23ad3e30] Weighted P-Frames: Y:3.0% UV:2.2%&#xA;[libx264 @ 0xaaab23ad3e30] kb/s:5095.01&#xA;[AVIOContext @ 0xaaab22460eb0] Statistics: 42281852862 bytes read, 2731 seeks&#xA;[AVIOContext @ 0xaaab23ac4de0] Statistics: 901390389 bytes read, 0 seeks&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="37931" LastActivityDate="2022-04-03T20:24:59.620" Title="FFMPEG conversion failed at random times on live stream to youtube" Tags="|ffmpeg|streaming|linux|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35165" PostTypeId="2" ParentId="30490" CreationDate="2022-04-04T00:36:54.487" Score="0" Body="&lt;p&gt;I've been looking for the same question, and saw you almost had it and thanks to that I've found my own answer.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; What would go in place of input1_c3 and input2_c3? &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;TOP (or A) and BOTTOM (or B) will have the values you're looking for.&lt;/p&gt;&#xA;" OwnerUserId="38050" LastActivityDate="2022-04-04T00:36:54.487" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35166" PostTypeId="1" CreationDate="2022-04-04T04:33:09.833" Score="1" ViewCount="472" Body="&lt;p&gt;I am trying to concatenate two videos using FFMPEG concat. The second video plays a slower speed and loses it's audio, but not only that, the time elapsed counter in the windows video player also slows down. When I play it in VLC, the timing is fine but the audio is still missing. I have searched many articles but can not find an answer. I'd prefer not to re-encode the videos. I am trying to make a tiktok compilation so I download the tiktoks and then use ffmpeg to create it. I am using win 10 and running it in cmd. Thank you for your help in advance and let me know if I can clarify anything here.&lt;/p&gt;&#xA;&lt;p&gt;To explain this effect better please view the video. Notice how the timer counts slowly&#xA;&lt;a href=&quot;https://youtube.com/shorts/k6QD_oqTRyE?feature=share&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://youtube.com/shorts/k6QD_oqTRyE?feature=share&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;What I have done is used the ffprobe to compare the details of the videos since they are both 30 fps, mp4 files, same size, and tbn.&lt;/p&gt;&#xA;&lt;p&gt;Video 1  &lt;code&gt;Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, smpte170m/bt470bg/smpte170m, progressive), 1024x576 [SAR 1:1 DAR 16:9], 622 kb/s, 30 fps, 30 tbr, 15360 tbn (default)&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Video 2&#xA;&lt;code&gt;Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709, progressive), 1024x576 [SAR 1:1 DAR 16:9], 760 kb/s, 30 fps, 30 tbr, 15360 tbn (default) &lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Output video&#xA;&lt;code&gt;Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709, progressive), 1024x576 [SAR 1:1 DAR 16:9], 655 kb/s, 29.92 fps, 30 tbr, 15360 tbn (default)&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is my code for concat&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt; ffmpeg -f concat -safe 0 -i mylist.txt -c copy output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;And this is the code during the concat process&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;libavutil      57. 24.101 / 57. 24.101&#xA;libavcodec     59. 25.100 / 59. 25.100&#xA;libavformat    59. 20.101 / 59. 20.101&#xA;libavdevice    59.  6.100 / 59.  6.100&#xA;libavfilter     8. 29.100 /  8. 29.100&#xA;libswscale      6.  6.100 /  6.  6.100&#xA;libswresample   4.  6.100 /  4.  6.100&#xA;libpostproc    56.  5.100 / 56.  5.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 000002a98ca76880] Auto-inserting h264_mp4toannexb bitstream filter&#xA;Input #0, concat, from 'mylist.txt':&#xA;Duration: N/A, start: 0.000000, bitrate: 792 kb/s&#xA;Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709, progressive), 1024x576 [SAR 1:1 DAR 16:9], 760 kb/s, 30 fps, 30 tbr, 15360 tbn&#xA;Metadata:&#xA;handler_name    : VideoHandler&#xA;vendor_id       : [0][0][0][0]&#xA;Stream #0:1(und): Audio: aac (HE-AACv2) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 32 kb/s&#xA;Metadata:&#xA;handler_name    : SoundHandler&#xA;vendor_id       : [0][0][0][0]&#xA;Output #0, mp4, to 'output.mp4':&#xA;Metadata:&#xA;encoder         : Lavf59.20.101&#xA;Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709, progressive), 1024x576 [SAR 1:1 DAR 16:9], q=2-31, 760 kb/s, 30 fps, 30 tbr, 15360 tbn&#xA;Metadata:&#xA;handler_name    : VideoHandler&#xA;vendor_id       : [0][0][0][0]&#xA;Stream #0:1(und): Audio: aac (HE-AACv2) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 32 kb/s&#xA;Metadata:&#xA;handler_name    : SoundHandler&#xA;vendor_id       : [0][0][0][0]&#xA;Stream mapping:&#xA;Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 000002a98ca89380] Auto-inserting h264_mp4toannexb bitstream filter&#xA;frame= 1737 fps=0.0 q=-1.0 Lsize=    5442kB time=00:00:58.14 bitrate= 766.8kbits/s speed= 989x&#xA;video:4647kB audio:736kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.084181%&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="38051" LastActivityDate="2022-04-04T04:33:09.833" Title="FFMPEG concat two video together but one plays back in a slower speed" Tags="|ffmpeg|video|concatenation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35167" PostTypeId="2" ParentId="35157" CreationDate="2022-04-04T17:38:07.417" Score="1" Body="&lt;p&gt;I think that the question has an error. I shall ask the OP to correct it.&lt;/p&gt;&#xA;&lt;p&gt;The code to move files is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#To move mp3 video to parent&#xA;for file in *;&#xA;do&#xA;    if [ &amp;quot;$file&amp;quot; == &amp;quot;moveMp3.sh&amp;quot; ]; then&#xA;        continue;&#xA;    fi&#xA;    if [ -f &amp;quot;$file&amp;quot; ]; then&#xA;        audioFormat=$(ffprobe -loglevel error -select_streams a:0 -show_entries stream=codec_name -of default=nw=1:nk=1 &amp;quot;$file&amp;quot;)&#xA;        if [ -z $audioFormat ]; then&#xA;            continue;&#xA;        fi&#xA;        if [ $audioFormat == &amp;quot;mp3&amp;quot; ]; then&#xA;            mv &amp;quot;$file&amp;quot; ../&amp;quot;$file&amp;quot;&#xA;        fi&#xA;    fi&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The code to convert mp3 can be:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#To convert mp3 audio to AAC&#xA;for file in *;&#xA;do&#xA;    if [ $file == &amp;quot;mp3ToAAC.sh&amp;quot; ]; then&#xA;        continue;&#xA;    fi&#xA;    if [ -f &amp;quot;$file&amp;quot; ]; then&#xA;        ffmpeg -i &amp;quot;$file&amp;quot; -map 0 -c copy -c:a:0 aac ../&amp;quot;$file&amp;quot;&#xA;    fi &#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="35815" LastActivityDate="2022-04-04T17:38:07.417" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35170" PostTypeId="1" AcceptedAnswerId="35171" CreationDate="2022-04-05T11:29:19.027" Score="0" ViewCount="153" Body="&lt;p&gt;I have season 21 of the Air Crash Investigation TV program. Each episode is around 40-50 minutes and in &lt;code&gt;ts&lt;/code&gt; format, but it is around 2.4 GB which is unacceptable. I have 2-3 hours movies that are less than 1.5 GB.&lt;/p&gt;&#xA;&lt;p&gt;So my question is that how can I end up with video files of around 500 MB (or less) and resolution of 720p with any format?&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="38061" LastActivityDate="2022-04-05T11:57:19.070" Title="How can I convert and reduce the size of a ts video?" Tags="|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35171" PostTypeId="2" ParentId="35170" CreationDate="2022-04-05T11:57:19.070" Score="0" Body="&lt;p&gt;Use software such as &lt;a href=&quot;https://handbrake.fr/downloads.php&quot; rel=&quot;nofollow noreferrer&quot;&gt;Handbrake&lt;/a&gt; to compress the files.&lt;br /&gt;&#xA;Compression is a trade off between file size and video quality.&#xA;You can choose how much compression to use in the app by &lt;a href=&quot;https://handbrake.fr/docs/en/1.5.0/workflow/adjust-quality.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;adjusting the quality&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-04-05T11:57:19.070" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35172" PostTypeId="2" ParentId="34478" CreationDate="2022-04-05T15:26:17.183" Score="1" Body="&lt;p&gt;You could apply the colorkey to the input twice then blend the alpha channels&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex &amp;quot;[1:v]colorkey=0x32AB57:0.25[ck1];[1:v]colorkey=0x016733:0.2[ck2];[ck1][ck2]blend=c3_mode=and&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="38050" LastActivityDate="2022-04-05T15:26:17.183" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35179" PostTypeId="1" CreationDate="2022-04-07T19:59:48.307" Score="1" ViewCount="133" Body="&lt;p&gt;I am using Davinci Resolve to cut and edit dashcam videos. I use power windows and nodes to blur out tracked license plates. However, in many occasions, I need the blur to be active / deactive on certain times (eg when the car is too far gone).&lt;/p&gt;&#xA;&lt;p&gt;How can I achieve that result with Davinci?&lt;/p&gt;&#xA;" OwnerUserId="38082" LastActivityDate="2022-04-07T19:59:48.307" Title="Enable / Disable Blur Effect On Timestamp" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35183" PostTypeId="1" AcceptedAnswerId="35184" CreationDate="2022-04-11T19:30:50.423" Score="0" ViewCount="732" Body="&lt;p&gt;I'm a software tester and I need to test a certain requirement for a vehicle camera that I'm not sure on how to test.&#xA;As in the title it's to verify that each frame is encoded with a single slice. This is done for more efficient encoding.&lt;/p&gt;&#xA;&lt;p&gt;AVTP/h264, configured with high profile, to have only I-frames, progressively encoded.&lt;/p&gt;&#xA;&lt;p&gt;I'm not that knowledgeable with imaging and video streaming, so any help would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="38108" LastActivityDate="2022-04-13T04:28:59.243" Title="How do I verify that the H264 video stream is encoded with a single slice per frame?" Tags="|ffmpeg|encoding|video-quality|streaming|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35184" PostTypeId="2" ParentId="35183" CreationDate="2022-04-12T04:50:29.193" Score="0" Body="&lt;p&gt;You can use ffmpeg (and grep) to do this.&lt;/p&gt;&#xA;&lt;p&gt;Run&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i H264file -c copy -bsf:v trace_headers -f null - 2&amp;gt;&amp;amp;1 | grep first_mb_in_slice&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This should print out lines of the form&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[trace_headers @ 000002087b24c3c0] 8   first_mb_in_slice                     1 = 0&#xA;[trace_headers @ 000002087b24c3c0] 8   first_mb_in_slice     00000000101000001 = 320&#xA;[trace_headers @ 000002087b24c3c0] 8   first_mb_in_slice   0000000001010000001 = 640&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If each frame is a single slice then ALL lines will have value 0 (&lt;code&gt;1 = 0&lt;/code&gt;) for &lt;code&gt;first_mb_in_slice&lt;/code&gt;. A non-zero value indicates sliced encoding.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2022-04-13T04:28:59.243" LastActivityDate="2022-04-13T04:28:59.243" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35186" PostTypeId="2" ParentId="24695" CreationDate="2022-04-13T01:25:13.330" Score="-1" Body="&lt;h2&gt;Adobe Media Encoder, as a Standalone App, Can Re-Render Videos&lt;/h2&gt;&#xA;&lt;p&gt;When using Adobe CC for video (After Effects, Premiere Pro, etc.), as part of the rendering process, the base program passes the files through &lt;a href=&quot;https://helpx.adobe.com/media-encoder/user-guide.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe Media Encoder&lt;/a&gt; (AME). The AME app can also be used on its own to fix your videos after an initial rendering:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;Open AME&lt;/strong&gt;,&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;drop in the file&lt;/strong&gt;,&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;adjust the video settings, especially the data-rate&lt;/strong&gt;; and&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;export the file&lt;/strong&gt;.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="38117" LastActivityDate="2022-04-13T01:25:13.330" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35188" PostTypeId="1" CreationDate="2022-04-13T15:49:24.253" Score="0" ViewCount="6" Body="&lt;p&gt;I'm doing a physics project and I measured the movement of some white spots on a field of wheat. Basically due to turbulence, there are spots with more intense wind and with wheat you see a white spot traveling. The issue is that in my video I have green grass with light white spots and I want to make those spots clearer, so they are easier to see in my video and make measurements based on it. How could I do it ?&lt;/p&gt;&#xA;" OwnerUserId="38125" LastActivityDate="2022-04-13T15:49:24.253" Title="How to intensify color white in a video" Tags="|color|color-grading|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35189" PostTypeId="2" ParentId="23351" CreationDate="2022-04-14T05:10:43.380" Score="-1" Body="&lt;p&gt;BT.709 and sRGB are completly different transfer functions. Sigh.&lt;/p&gt;&#xA;&lt;p&gt;Anyway, download ffmpeg from here: &lt;a href=&quot;https://github.com/BtbN/FFmpeg-Builds/releases/download/latest/ffmpeg-master-latest-win64-gpl-shared.zip&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/BtbN/FFmpeg-Builds/releases/download/latest/ffmpeg-master-latest-win64-gpl-shared.zip&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -i INPUT.mp4 -c:v libx265 -crf 20 -vf zscale=r=limited:m=2020_ncl:t=2020_10:p=2020:c=topleft,format=yuv420p10 -color_primaries bt2020 -colorspace bt2020nc -color_trc bt2020_10bit -color_range tv OUTPUT.mp4&lt;/p&gt;&#xA;&lt;p&gt;This will preserve the same colors and will preserve  SDR.&lt;/p&gt;&#xA;" OwnerUserId="26140" LastEditorUserId="26140" LastEditDate="2022-04-17T19:04:15.470" LastActivityDate="2022-04-17T19:04:15.470" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35191" PostTypeId="2" ParentId="33807" CreationDate="2022-04-14T07:50:36.790" Score="1" Body="&lt;p&gt;You must indicate the destination folder in order for the button to be enabled. Once you select the composition you want to render out, to the right side of the composition name in the plugin window, just click on the three dots icon and choose a destination. The render button should then be clickable.&lt;/p&gt;&#xA;" OwnerUserId="38132" LastActivityDate="2022-04-14T07:50:36.790" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35192" PostTypeId="1" AcceptedAnswerId="35199" CreationDate="2022-04-14T11:07:57.100" Score="0" ViewCount="466" Body="&lt;p&gt;I'm new to adobe premiere pro and I don't know what this effect called and how to create it.&#xA;&lt;a href=&quot;https://www.youtube.com/clip/UgkxeY76-qR74J6ueJ2LhYoaCpiGcbHH288O&quot; rel=&quot;nofollow noreferrer&quot;&gt;YouTube&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/K14S9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/K14S9.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38135" LastEditorUserId="12511" LastEditDate="2022-08-02T09:40:39.650" LastActivityDate="2022-08-02T09:40:39.650" Title="What is this effect (Motion Trails) called and how can i create it?" Tags="|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35194" PostTypeId="1" AcceptedAnswerId="35196" CreationDate="2022-04-14T18:08:45.853" Score="1" ViewCount="653" Body="&lt;p&gt;When using &lt;code&gt;trim&lt;/code&gt; to crop the start &lt;em&gt;and&lt;/em&gt; end of a video, the frames &lt;em&gt;leading&lt;/em&gt; up to my &amp;quot;crop start&amp;quot; time are static instead of removed.  However, the frames &lt;em&gt;following&lt;/em&gt; the &amp;quot;crop end&amp;quot; time are correctly removed.&lt;/p&gt;&#xA;&lt;p&gt;To clarify- if the input is 10s, crop start is 2s, crop end is 5s, I expect a 3s video.  Instead I get a 5s video, where 0-2s are black frames.&lt;/p&gt;&#xA;&lt;p&gt;What part of my command could be causing this?&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;const args = [&#xA;    // '-ss',           // not helping&#xA;    // `${trimStart}`,  // not helping&#xA;    '-i',&#xA;    `${file.path}`,&#xA;    '-filter_complex',&#xA;    `\&#xA;        [0]split[body][pre];\&#xA;        [pre]trim=duration=${crossfadeDuration / 2},\&#xA;        format=yuva420p,\&#xA;        fade=d=${crossfadeDuration / 2}:alpha=1,\&#xA;        setpts=PTS+(${trimStart + newDuration - crossfadeDuration / 2}/TB)[jt];\&#xA;        [body]trim=${crossfadeDuration / 2},\&#xA;        setpts=PTS-STARTPTS[main];\&#xA;        [main]trim=start=${trimStart}:duration=${newDuration}[main];\&#xA;        [main][jt]overlay,${filter}\&#xA;        fps=${fps &amp;lt; 24 ? fps : 24},\&#xA;        crop=trunc(iw/2)*2:trunc(ih/2)*2,\&#xA;        setsar=1:1`,&#xA;        // '-an',       // not helping&#xA;        // '-shortest', // not helping&#xA;        '-y',&#xA;    `${out}`,&#xA;]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For context- my app is adding seamless loops to videos with an interactive trimmer.  Here is a GIF of what the above command currently does:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3ht7N.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3ht7N.gif&quot; alt=&quot;timeline editor showing missing start frames&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I suspect it has to do with PTS, but I'm really struggling to wrap my head around which PTS settings do what depending on their order, especially when dealing with multiple streams of varrying length.&lt;/p&gt;&#xA;" OwnerUserId="38139" LastActivityDate="2022-04-15T02:58:54.733" Title="How to avoid black frames with ffmpeg &quot;trim&quot; filter?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35195" PostTypeId="1" CreationDate="2022-04-14T20:31:57.753" Score="0" ViewCount="1619" Body="&lt;p&gt;When I convert a video with &lt;code&gt;ffmpeg&lt;/code&gt;, and use &lt;code&gt;mediaInfo&lt;/code&gt; to review the metadata, I see the followings for the video codec:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Format : AVC &#xA;Format/Info : Advanced Video Codec &#xA;Format profile : Baseline@L3.1 &#xA;Format settings : 1 Ref Frames &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Whereas for some other videos, &lt;code&gt;mediaInfo&lt;/code&gt; shows this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Format : AVC &#xA;Format/Info : Advanced Video Codec &#xA;Format profile : High@L4.2 &#xA;Format settings : CABAC / 4 Ref Frames &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What are the differences between these two profiles and settings? Do they have any effects on the compression ratio/file sizes? Any pros/cons? My goal is to reduce the video file sizes at much as possible with negligible quality degradation.&lt;/p&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2022-04-14T20:31:57.753" Title="H264 AVC codec Baseline@L3.1 vs High@L4.2" Tags="|ffmpeg|video|video-quality|codec|h.264|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35196" PostTypeId="2" ParentId="35194" CreationDate="2022-04-15T02:58:54.733" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#trim&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#trim&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Also note that this filter does not modify the timestamps. If you wish for the output timestamps to start at zero, insert a setpts filter after the trim filter.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Add &lt;code&gt;setpts=PTS-STARTPTS&lt;/code&gt; after your trim filter&lt;/p&gt;&#xA;" OwnerUserId="38050" LastActivityDate="2022-04-15T02:58:54.733" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35198" PostTypeId="2" ParentId="35192" CreationDate="2022-04-15T04:31:45.923" Score="0" Body="&lt;p&gt;I would call it &amp;quot;Onion Skin&amp;quot; Effect.&lt;/p&gt;&#xA;&lt;p&gt;I suppose there is some plugin for some software like after effects, premiere, DavinciResolve, or something.&lt;/p&gt;&#xA;&lt;p&gt;A way to manually do it would be layering copies of the same video, let's say 10 copies and de-synchronize them by a couple of frames incrementally.&lt;/p&gt;&#xA;&lt;p&gt;Define also incremental or decrimental values for the opacity.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2022-04-15T04:31:45.923" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35199" PostTypeId="2" ParentId="35192" CreationDate="2022-04-15T07:24:08.717" Score="1" Body="&lt;p&gt;It’s a motion trail. You can use After Effects to create one using the Echo effect. Here’s a tutorial that explains how to do it:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Vtn-hjDol2o?start=0&quot;&gt;&lt;/iframe&gt;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-04-15T07:24:08.717" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35200" PostTypeId="2" ParentId="12883" CreationDate="2022-04-15T09:09:36.730" Score="0" Body="&lt;p&gt;I am currently doing this with an entire project. You'll need to go into each individual nest or sequence, resize the sequence, and then replace the clips.&lt;/p&gt;&#xA;" OwnerUserId="38144" LastActivityDate="2022-04-15T09:09:36.730" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35201" PostTypeId="2" ParentId="27727" CreationDate="2022-04-15T11:56:31.580" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://www.videolan.org/vlc/&quot; rel=&quot;nofollow noreferrer&quot;&gt;VLC&lt;/a&gt; has a motion blur option under Tools &amp;gt; Effects and Filters &amp;gt; Video Effects &amp;gt; Advanced.&lt;/p&gt;&#xA;&lt;p&gt;As a bonus, it can natively take the URL of some video sites, like YouTube.&lt;/p&gt;&#xA;" OwnerUserId="38148" LastActivityDate="2022-04-15T11:56:31.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35202" PostTypeId="2" ParentId="35145" CreationDate="2022-04-16T11:36:12.330" Score="1" Body="&lt;p&gt;You cannot go from BGR to YUV420p without having a shift in colors, a bug with a known workaround (accurate_rnd). &lt;a href=&quot;https://trac.ffmpeg.org/ticket/979&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/ticket/979&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You also did not tag the output.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -offset_x 1600 -offset_y 0 -video_size 1600x1200 -i desktop \&#xA;    -vf scale=flags=accurate_rnd:out_color_matrix=bt709, format=yuv420p \&#xA;    -color_primaries bt709 -colorspace bt709 -color_primaries bt709 \&#xA;    -color_trc iec61966_2_1 -c:v libx264 -profile:v main -crf 16 outfile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I hope you understand that sRGB uses sRGB transfer (iec61966_2_1), not BT.709, but uses BT.709 primaries.&lt;/p&gt;&#xA;&lt;p&gt;Your RGB is incorrectly tagged as limited, gdigrab had this bug, update FFmpeg to latest build here: &lt;a href=&quot;https://github.com/BtbN/FFmpeg-Builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/BtbN/FFmpeg-Builds/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="26140" LastEditorUserId="18155" LastEditDate="2023-09-08T18:27:20.530" LastActivityDate="2023-09-08T18:27:20.530" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35203" PostTypeId="2" ParentId="33140" CreationDate="2022-04-16T12:08:01.967" Score="2" Body="&lt;p&gt;Based on a ffmpeg users IRC conversation, looks like silenceremover doesn't keep the presentation timestamps after doing its thing, probably because it was thought to be used only for audio, so the muxer afterwards has no way to know that some frames should be dropped. So no, ffmpeg is not going to work like this.&lt;/p&gt;&#xA;&lt;p&gt;I found a few github repos doing this kind of thing, and I had the best result with &lt;a href=&quot;https://github.com/WyattBlue/auto-editor&quot; rel=&quot;nofollow noreferrer&quot;&gt;this one&lt;/a&gt;. Looks like it might even do some of you nice-to-haves.&lt;/p&gt;&#xA;" OwnerUserId="38154" LastActivityDate="2022-04-16T12:08:01.967" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35204" PostTypeId="1" AcceptedAnswerId="35209" CreationDate="2022-04-16T19:35:01.597" Score="0" ViewCount="29" Body="&lt;p&gt;I was looking for validation for my startup idea. Please flag if this is off-topic.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Idea:&lt;/strong&gt; CRF's as a service - When encoding h.264 and libvpx videos, I tend to guess good Constant Rate Factors(CRF's) to make my videos smaller. I bet you guys experience the same. Instead of guessing, why not send the video to a dedicated 'crf-finder' then encode it later? The &amp;quot;crf-finder&amp;quot; would take a single video frame and find the best crf value.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Questions&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Do you think this is dumb?&lt;/li&gt;&#xA;&lt;li&gt;How much would you pay for this?&#xA;This is my &lt;a href=&quot;https://phoneworker.online/&quot; rel=&quot;nofollow noreferrer&quot;&gt;landing page&lt;/a&gt;. Perhaps you could look at it, subscribe to my mailing list or even try it out. I'm not charging - only trying to figure out if this is useful.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;strong&gt;This is what crf-finding looks like&lt;/strong&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/L0RxP.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/L0RxP.gif&quot; alt=&quot;phoneworker finding a crf&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38155" LastActivityDate="2022-04-17T04:49:26.677" Title="Idea validation - CRF's as a service" Tags="|ffmpeg|video-quality|h.264|h.265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35206" PostTypeId="1" CreationDate="2022-04-16T22:06:59.783" Score="0" ViewCount="1279" Body="&lt;p&gt;I have a project that I made on my laptop and am moving to my computer for rendering but the text isn't showing up. I look in the fusion page and its something wrong with the keyframe stretcher node&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DELEv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DELEv.png&quot; alt=&quot;keyframe stretcher node&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I would just remake all the text but there is way too much of this title to do that&lt;/p&gt;&#xA;&lt;p&gt;I tried to make all of it a compound clip and export it as an archive again but that didn't work either. is this a glitch or something I can fix? i would supply the archive but seeing as its 12 GB, I don't think that's something i can do.&lt;/p&gt;&#xA;" OwnerUserId="37770" LastActivityDate="2022-10-04T00:04:41.037" Title="fusion title not showing after importing as davinci resolve archive from another computer" Tags="|davinci-resolve|fusion|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35207" PostTypeId="2" ParentId="33140" CreationDate="2022-04-17T04:06:00.077" Score="0" Body="&lt;p&gt;Not all constraints are met, but the following python+ffmpeg script removes silences:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/DarkTrick/python-video-silence-cutter&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/DarkTrick/python-video-silence-cutter&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33635" LastActivityDate="2022-04-17T04:06:00.077" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35208" PostTypeId="1" CreationDate="2022-04-17T04:16:35.003" Score="1" ViewCount="878" Body="&lt;p&gt;I have a very big problem with rendering my video in Davinci Resolve 17.&#xA;Every time i render a video it doesn't start at the beginning and it's rendering 1 clip only.&#xA;I am trying to finish a 3 minute video, but when IO render, I only get 20 seconds video.&lt;/p&gt;&#xA;&lt;p&gt;Same thing to copy/paste adjustment clips:&#xA;Whenever I paste the adjustment/text I had copied, then it'll paste only at 1 spot, and that spot is also where the render starts, and that clip is the only clip that's getting rendered.&#xA;I hope someone can help me to finish my project.&lt;/p&gt;&#xA;" OwnerUserId="38158" LastEditorUserId="33658" LastEditDate="2024-02-06T11:27:50.303" LastActivityDate="2024-03-07T12:06:10.710" Title="Rendering problem" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35209" PostTypeId="2" ParentId="35204" CreationDate="2022-04-17T04:49:26.677" Score="1" Body="&lt;p&gt;I assume you want to identify the CRF value that will either achieve a target file size or a target score on a quality metric like PSNR or VMAF.&#xA;However, a single frame is not enough to assess that.&lt;/p&gt;&#xA;&lt;p&gt;The obtained average bit rate for a CRF encode of a file depends on the visual texture complexity and motion within &lt;em&gt;each scene&lt;/em&gt;. So, you would need to process a set of representative range of frames from each scene. That doesn't fit with your proposal which appears to be a rapid assessment tool that looks at one frame (on a mobile device?).&lt;/p&gt;&#xA;&lt;p&gt;There is an appreciable need for such a service, but it would run on the final encoding machine and examine the whole file, so probably a piece of software or script.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-04-17T04:49:26.677" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35210" PostTypeId="2" ParentId="35208" CreationDate="2022-04-17T07:53:14.227" Score="1" Body="&lt;p&gt;On the Deliver page there is an option to process Single Clip or Individual Clips.  Choose Single clip. It is in the left-side menu close to the area where you choose the path and output options.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1tNwG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1tNwG.png&quot; alt=&quot;Render Settings&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Also, make sure you don't have any in-out areas selected on your timeline page or it will just render that out. Alt+X will clear all in-out points.&lt;/p&gt;&#xA;" OwnerUserId="38159" LastActivityDate="2022-04-17T07:53:14.227" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35211" PostTypeId="2" ParentId="35206" CreationDate="2022-04-17T10:43:14.763" Score="0" Body="&lt;p&gt;Make sure all of the file paths in the new project reflect their new location on the new machine.  If the name of the root directory’s changed, or if they were on a network drive and now have a different relative path, fusion won’t know where to find them.  Since you can copy fusion nodes as plain text, you can use most capable text editors to “find and replace” old file paths with new ones.  Then copy and paste the altered text back into fusion, and it’ll appear as nodes.  Wire it up, and everything should work as it did before.&lt;/p&gt;&#xA;&lt;p&gt;In case it’s the cache that’s confused about new file paths, you should also probably clear all caches for both fusion and resolve.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2022-04-17T10:43:14.763" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35212" PostTypeId="2" ParentId="10884" CreationDate="2022-04-18T02:20:17.390" Score="0" Body="&lt;p&gt;I ran into this issue, and unfortunately my vector images didn't have the resolution I needed and everything was already animated. I needed to scale everything, including the brush size, while keeping the continuously rasterize option ON.&lt;/p&gt;&#xA;&lt;p&gt;This is a workaround if you are in trouble. But of course the best solution is to start with the right resolution.&lt;/p&gt;&#xA;&lt;p&gt;I created a Null named Scale_All and parented all the vector layers to it.&lt;/p&gt;&#xA;&lt;p&gt;Leave the Null at 100% scale before applying the expression. you will be able to change it when the expression is applied.&lt;/p&gt;&#xA;&lt;p&gt;I left the continuously rasterize option ON&lt;/p&gt;&#xA;&lt;p&gt;On all the Stroke effects, I used this expression on the brush size:&lt;/p&gt;&#xA;&lt;p&gt;value*thisComp.layer(&amp;quot;Scale_All&amp;quot;).transform.scale[0]/100&lt;/p&gt;&#xA;&lt;p&gt;This expression links the brush size to the X Scale value of the null.&#xA;I saved 2 days of animation with this simple expression.&lt;/p&gt;&#xA;&lt;p&gt;(&amp;quot;Scale_All&amp;quot;) should be the name of the null you use to scale everything.&lt;/p&gt;&#xA;&lt;p&gt;Hope this helps others in the future.&lt;/p&gt;&#xA;" OwnerUserId="38162" LastActivityDate="2022-04-18T02:20:17.390" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35214" PostTypeId="1" CreationDate="2022-04-18T07:44:03.873" Score="0" ViewCount="304" Body="&lt;p&gt;So according to the docs located here&#xA;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Concatenate&lt;/a&gt;&lt;br /&gt;&#xA;&lt;strong&gt;section: Changing playlist files on the fly&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;it says you can do this:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Now you can change the looping clip by a simple move command:&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;mv next_clip.mxf dummy.mxf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I cant find any examples on the web of how this works.&lt;/p&gt;&#xA;&lt;p&gt;I will test it some more but i cant seems to get this to work, I added it on the last line in place of where i would normally put the next text file to open.  but it just kept cutting off.&lt;/p&gt;&#xA;&lt;p&gt;I am assuming that it would cut off because that once it loads up the txt file, it cant be changed.&lt;/p&gt;&#xA;&lt;p&gt;I have seen reference to such things as &amp;quot;outpoint and inpoint&amp;quot;  but can not find any info on that either.&lt;/p&gt;&#xA;&lt;p&gt;can someone point me in the direction to all the commands i can put into the txt file when using the concat demuxer.  i would like to learn what all i can do.&lt;/p&gt;&#xA;" OwnerUserId="33197" LastActivityDate="2022-04-18T07:44:03.873" Title="Concat Demuxer playlist" Tags="|ffmpeg|windows|concatenation|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35219" PostTypeId="1" CreationDate="2022-04-19T11:39:44.107" Score="2" ViewCount="112" Body="&lt;p&gt;In the last couple of years, I've been interviewing WW2 veterans living in Israel, as part of a project of mine - whose goal is to allow the last members of the greatest  generation to tell their story, while they're still here.&lt;/p&gt;&#xA;&lt;p&gt;To make the interviews more interesting, I thought about filming some parts of the interview while slowly walking in a park or around the interviewee's apartment.&#xA;It's just that I've seen some interview fragments which were shot that way - and in my opinion, it brings some extra &amp;quot;life&amp;quot; to the interview subject, as a contrast to a person which sits through the entire video.&lt;/p&gt;&#xA;&lt;p&gt;I thought about buying &lt;strong&gt;a gimbal and support belt to plug it into&lt;/strong&gt;, and just to hold the camera, via the gimbal, in one hand, slightly to the right side of me - so that the subject won't look straight into the camera and the footage will look good.&lt;/p&gt;&#xA;&lt;p&gt;So, considering the fact that I'm doing this on my own  – and I got a Canon 70D (+24mm f2.8 lens) and a Sony A6000 (+30mm 1.4 lens) – which I usually just use on tripods, during a standard &amp;quot;sitting&amp;quot; interview – does this seem reasonable to you, or do you have any tips\recommendations?&lt;/p&gt;&#xA;&lt;p&gt;It's important to emphasize that the walking speed is gonna be very slow, with potentially many parts of the interview taking place when the interviewee sits down on a bench or just stands still for a moment. So, my ultimate question is – &lt;strong&gt;will I be able to act as both the interviewer\listener and to operate the camera (holding the gimbal, making sure it's pointing at him) at the same time?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Any recommendations, tips, criticism or any other input will be greatly appreciated !&lt;/p&gt;&#xA;&lt;p&gt;Pictured below: Walter Bingham MM, from Jerusalem, which I interviewed about a year ago and an illustration of the gimbal +support belt setup I thought about using.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/503II.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/503II.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ITuJS.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ITuJS.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;A teaser of an upcoming episode, as an example of my footage - &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Gw3kj-aekME?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="38179" LastActivityDate="2022-05-20T17:00:15.053" Title="one-man-band outdoors interview filming, using gimbal" Tags="|video-recording|interview|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35220" PostTypeId="2" ParentId="35219" CreationDate="2022-04-19T14:21:00.437" Score="1" Body="&lt;p&gt;Maybe an insta360 might be more use for this? The stick is automatically deleted when you process the video, the motion is very smooth, and they’re small and light, so you could hold it for long periods of time. I’ve seen people use them on news reports as alternative views quite successfully.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.insta360.com/mobile/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.insta360.com/mobile/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Example on BBC News here:&#xA;&lt;a href=&quot;https://twitter.com/dougalshawbbc/status/1503755874770247682?s=21&amp;amp;t=OMTA_nM62KKcJbjDG1Lnaw&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://twitter.com/dougalshawbbc/status/1503755874770247682?s=21&amp;amp;t=OMTA_nM62KKcJbjDG1Lnaw&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-04-19T14:21:00.437" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35221" PostTypeId="1" CreationDate="2022-04-20T04:03:07.110" Score="0" ViewCount="39" Body="&lt;p&gt;I'm very new to creating videos and I want to create 3-4 rows of brand logos that are sliding right to left at a constant rate - not moving and stopping. There'll be limited logos so I want them to loop around if that's possible. The closest thing I've found as a reference is this: &lt;a href=&quot;https://demo.essentialplugin.com/prodemo/pro-logo-showcase-responsive-slider/logo-slider-with-multi-row/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://demo.essentialplugin.com/prodemo/pro-logo-showcase-responsive-slider/logo-slider-with-multi-row/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Can this be done with Adobe premiere or after effects? A detailed guide would be appreciated since I'm new to this.&lt;/p&gt;&#xA;" OwnerUserId="38182" LastActivityDate="2024-01-17T17:06:30.733" Title="Create sliding logos in multiple rows" Tags="|editing|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35222" PostTypeId="2" ParentId="35219" CreationDate="2022-04-20T15:42:18.893" Score="1" Body="&lt;p&gt;I see no reason you couldn't do it this way, assuming you're using lav mics for the sound to avoid you being much closer to the camera mic, yet off-axis.&lt;/p&gt;&#xA;&lt;p&gt;I'd grab a couple of friends for the rehearsals &amp;amp; definitely one for the shoot. If you're walking backwards, not only to you have to be able to keep the camera pointed in a sensible direction, you also have to actually be doing the interview - all whilst walking backwards so you can't see where you're going.&lt;br /&gt;&#xA;In the pro world, this is achieved using a Grips or Camera Assistant, who will literally just keep hold of your back as you walk. Their job is then two-fold - they stop you from walking into things &amp;amp; they shove people out of the way who might otherwise knock into you. [This is probably an easier task on set where camera is king. In public they might have to be a little more circumspect in their shoving;)&lt;br /&gt;&#xA;In short, though, this leaves you to be camera op, rather than camera op constantly looking over his own shoulder.&lt;/p&gt;&#xA;&lt;p&gt;So you then only have two jobs to do - keep the cam steady &amp;amp; keep up your side of the interview.&lt;br /&gt;&#xA;Alternatively - find a cameraman.&lt;/p&gt;&#xA;&lt;p&gt;I managed to find a picture of this setup in action, though I'm assuming you won't also have a boom op behind you. [Seems tough to find a pic of this with the AC facing the direction of travel, but I assure you this is the way to do it ;) I've seen camera ops who can do this whilst &lt;em&gt;running&lt;/em&gt; backwards.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nUMUC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nUMUCm.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You could of course, avoid the interview portion to camera &amp;amp; just use it as backdrop to a voiceover segment - seeing, doing, but not talking; or alternatively get the interviewee to run a part of a long narrative, so you don't need to be holding up your end of the interview at the time, just be the face to talk to, for sight line. It would perhaps give it a more documentary feel rather than straight talking heads.&lt;/p&gt;&#xA;&lt;p&gt;You might have to choose between longer lens, wider aperture &amp;amp; ability to keep the subject in focus whilst doing this. I always love a soft background for this type of thing for a more cinematic, less 90's TV news look. That's normally going to need a focus puller too, so I'd definitely get this decided in rehearsals, not when you're tracking a 97-year-old veteran for take 17.&lt;br /&gt;&#xA;I don't know how good your autofocus is for tracking this live, but personally I'd accept a shot going soft in places over one I can see the focus jumping around.&lt;/p&gt;&#xA;" OwnerUserId="12233" LastEditorUserId="12233" LastEditDate="2022-04-20T16:03:20.727" LastActivityDate="2022-04-20T16:03:20.727" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35223" PostTypeId="1" CreationDate="2022-04-20T18:13:14.900" Score="1" ViewCount="431" Body="&lt;p&gt;I was trying to compare ffmpeg 5.0 vs version 3.4.6 in how much performance improvements I would get while transcoding a simple 720p video into a H264 video. On my laptop, I noticed around 5-10% improvement in the total execution time when using the updated version.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i video.webm -r 30 -vf eq=gamma=.95:saturation=1.1,scale=w=960:h=540:force_original_aspect_ratio=decrease -c:v libx264 -profile:v high -level 4.2 -crf 25 -tune film -b:a 128k -ar 44100 -async 1 -movflags +faststart -max_muxing_queue_size 9999 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Should I really expect a performance improvement when using this updated version? And are there any other flags or ways I can add to improve performance or quality even more?&lt;/p&gt;&#xA;" OwnerUserId="43073" LastActivityDate="2022-04-20T18:13:14.900" Title="FFmpeg 5.0 vs 3.4 performance" Tags="|ffmpeg|video|encoding|video-quality|h.264|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35224" PostTypeId="1" AcceptedAnswerId="35331" CreationDate="2022-04-20T18:23:01.883" Score="1" ViewCount="2709" Body="&lt;p&gt;The (very useful) VideoCopilot plugin &lt;a href=&quot;https://www.videocopilot.net/tutorials/fx_console_plugin/?vc=true&quot; rel=&quot;nofollow noreferrer&quot;&gt;FX Console&lt;/a&gt; doesn't appear to work with M1 Macs with After Effects CC 2022.  Is there any workaround?&lt;/p&gt;&#xA;&lt;p&gt;When you open the plugin in After Effects, this error appears as the window tries to draw:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Dbydo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Dbydo.png&quot; alt=&quot;screengrab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-06-22T17:34:13.167" Title="FX Console plugin for After Effects not working on M1 Macs" Tags="|after-effects|after-effects-scripting|" AnswerCount="4" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35227" PostTypeId="1" CreationDate="2022-04-20T22:28:23.930" Score="3" ViewCount="1167" Body="&lt;p&gt;I have a lossy AAC audio file. I would like it to be slightly faster, and slightly higher pitched. I would like to avoid loosing any audio quality, such as by re-encoding the stream.&lt;/p&gt;&#xA;&lt;p&gt;I am well aware that if I wanted to increase the speed without increasing the pitch, I would be SOL for avoiding a re-encode. Same for increasing the pitch without increasing the speed, because these effects require relatively complicated filters.&lt;/p&gt;&#xA;&lt;p&gt;However, I want to do something a lot simpler—increase the speed &lt;em&gt;and&lt;/em&gt; the pitch at the same time, by the same amount. The same as what would happen if you played a vinyl record or cassette tape too quickly.&lt;/p&gt;&#xA;&lt;p&gt;My recording currently has a sample rate of 44100hz. If I could change it to 48000hz without re-encoding, I would get a ~9% speed bump, which would be perfect! However, I can't seem to find a way to do this! Ffmpeg's &lt;code&gt;asetrate&lt;/code&gt; filter, for example, requires a stream copy!&lt;/p&gt;&#xA;&lt;p&gt;Surely there should be a way to do this? It &lt;em&gt;seems&lt;/em&gt; technically simple...&lt;/p&gt;&#xA;" OwnerUserId="33278" LastEditorUserId="33278" LastEditDate="2023-03-07T13:40:25.657" LastActivityDate="2023-03-07T13:40:25.657" Title="How can I change the sample rate of an audio file, without re-encoding?" Tags="|ffmpeg|audio|sampling-frequency|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="35228" PostTypeId="2" ParentId="4693" CreationDate="2022-04-21T04:46:13.033" Score="0" Body="&lt;p&gt;I have several of each mixer. The Q1202USB has a compressor. The 1202FX does not. The Q1202USB has a digital USB interface. The 1202FX does not. The compressor is a useful feature and makes a difference, allowing things to cut through the mix. The Q1102USB is a notch above the 1202FX.&lt;/p&gt;&#xA;" OwnerUserId="38191" LastActivityDate="2022-04-21T04:46:13.033" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35229" PostTypeId="1" AcceptedAnswerId="35233" CreationDate="2022-04-21T08:48:28.750" Score="0" ViewCount="40" Body="&lt;p&gt;I wrote the following script that is meant to remove the unnecessary audio streams, aka dubbing, as well as subtitles from&#xA;the movies in my collection:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#!/usr/bin/bash&#xA;&#xA;echo &amp;quot;What is the path to the source file?&amp;quot;&#xA;read if&#xA;of=$(echo &amp;quot;${if}&amp;quot;|sed -E 's/(\.)([avimp4kv]{3,3}$)/\1stripped.\2/')&#xA;echo &amp;quot;What is the number of the audio stream that you want to copy?&amp;quot;&#xA;read no&#xA;&#xA;ffmpeg -v 0 -i &amp;quot;${if}&amp;quot; -map 0:v -map 0:${no} &amp;quot;${of}&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My intent is to save on storage while preserving the original quality of both video and audio stream of my choice.&#xA;I noticed that the reduction of the size of the media files is very large. For example:&#xA;&lt;code&gt;Todo_Sobre_Mi_Madre_(1999).avi&lt;/code&gt; that has 1.4GB and the following streams:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, avi, from 'Todo_Sobre_Mi_Madre_(1999).avi':&#xA;  Metadata:&#xA;    encoder         : VirtualDubMod 1.5.10.2 (build 2540/release)&#xA;  Duration: 01:41:24.67, start: 0.000000, bitrate: 1936 kb/s&#xA;    Stream #0:0: Video: mpeg4 (DX50 / 0x30355844), yuv420p, 720x304 [SAR 1:1 DAR 45:19], 1539 kb/s, 23.98 fps, 23.98 tbr, 23.98 tbn, 30k tbc&#xA;    Stream #0:1: Audio: mp3 (U[0][0][0] / 0x0055), 48000 Hz, stereo, fltp, 192 kb/s&#xA;    Stream #0:2: Audio: mp3 (U[0][0][0] / 0x0055), 48000 Hz, stereo, fltp, 192 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;was converted to &lt;code&gt;Todo_Sobre_Mi_Madre_(1999).stripped.avi&lt;/code&gt; of only 248MB with the following streams:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, avi, from 'Todo_Sobre_Mi_Madre_(1999).stripped.avi':&#xA;  Metadata:&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 01:41:24.75, start: 0.000000, bitrate: 341 kb/s&#xA;    Stream #0:0: Video: mpeg4 (Simple Profile) (FMP4 / 0x34504D46), yuv420p, 720x304 [SAR 1:1 DAR 45:19], 200 kb/s, 23.98 fps, 23.98 tbr, 23.98 tbn, 24k tbc&#xA;    Stream #0:1: Audio: mp3 (U[0][0][0] / 0x0055), 48000 Hz, stereo, fltp, 128 kb/s&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I noticed the unintended reduction of the bitrate of both the video, from 1539 kb/s to just 200 kb/s and the audio stream, from 192 kb/s to just 128 kb/s. The resolution remained unchanged. What am I doing wrong? How might I utilize &lt;code&gt;ffmpeg&lt;/code&gt; and its &lt;code&gt;-map&lt;/code&gt; option to accomplish my goal?&lt;/p&gt;&#xA;" OwnerUserId="38160" LastActivityDate="2022-04-21T15:33:58.867" Title="Why does this script reduce the bitrate of both the video and the audio stream?" Tags="|ffmpeg|video-quality|audio-quality|bitrate|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35230" PostTypeId="1" AcceptedAnswerId="35231" CreationDate="2022-04-21T11:40:17.133" Score="0" ViewCount="298" Body="&lt;p&gt;Currently I am converting MP3 to MP4 black video using following command line in Windows Registry:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;C:\Program Files\ffmpeg\bin\ffmpeg.exe -loop 1 -i &amp;quot;C:\Program Files (x86)\Utilities\BlackVideo\black640x480.png&amp;quot; -i &amp;quot;%1&amp;quot; -c:v libx264 -tune stillimage -shortest &amp;quot;%1.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It works fine, but FFMPEG isn't that smart to just encode a chunk from keyframe to keyframe and then repeat it without encoding. Instead, every second of the video is encoded, which is slow and causes unnecessary CPU load.&lt;/p&gt;&#xA;&lt;p&gt;To solve this problem I created a black video with no sound for the first 10 seconds. Now I'm looking for the right FFMPEG command line options to loop this video without re-encoding for as long as the MP3 track lasts.&lt;/p&gt;&#xA;" OwnerUserId="29775" LastActivityDate="2022-04-21T18:00:41.140" Title="Convert MP3 to MP4 looping black video with FFMPEG" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35231" PostTypeId="2" ParentId="35230" CreationDate="2022-04-21T12:38:16.480" Score="0" Body="&lt;p&gt;Use this command to generate a black video for wide playback compatibility.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg.exe -loop 1 -i &amp;quot;C:\Program Files (x86)\Utilities\BlackVideo\black640x480.png&amp;quot; -pix_fmt yuv420p -t 10 -c:v libx264 black.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;and then&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg.exe -stream_loop -1 -i &amp;quot;black.mp4&amp;quot; -i &amp;quot;%1&amp;quot; -c:v copy -shortest -fflags +shortest -max_interleave_delta 200M &amp;quot;%1.mp4&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;You will need ffmpeg 4.3 or later.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2022-04-21T18:00:41.140" LastActivityDate="2022-04-21T18:00:41.140" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35232" PostTypeId="1" AcceptedAnswerId="35237" CreationDate="2022-04-21T15:30:41.763" Score="0" ViewCount="432" Body="&lt;p&gt;I want to generate a slideshow video that is composed of 1–&lt;em&gt;n&lt;/em&gt; input images. Each input image is rendered in the foreground and simultaneously as a blurred background, for a few seconds. The next image will be placed on top of the previous image, and the background changes. Each image should fade in. The background should crossfade.&lt;/p&gt;&#xA;&lt;p&gt;I've got this working, and the script looks like this:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;#!/usr/bin/env bash&#xA;&#xA;ffmpeg \&#xA;  -y \&#xA;  -hide_banner \&#xA;  -f lavfi -i color=black:r=10:s=894x494:d=24 \&#xA;  -loop 1 -framerate 10 -i images/trees.jpg \&#xA;  -loop 1 -framerate 10 -i images/bridge.jpg \&#xA;  -loop 1 -framerate 10 -i images/river.jpg \&#xA;  -loop 1 -framerate 10 -i images/woman.jpg \&#xA;  -filter_complex &amp;quot;&#xA;    [1:v]setpts=PTS-STARTPTS,trim=duration=24,settb=AVTB,format=yuva444p,scale=894:494:force_original_aspect_ratio=increase,crop=894:494,boxblur=luma_radius=25:chroma_radius=25:luma_power=1[imageBg1];&#xA;    [2:v]setpts=PTS-STARTPTS,trim=duration=24,settb=AVTB,format=yuva444p,scale=894:494:force_original_aspect_ratio=increase,crop=894:494,boxblur=luma_radius=25:chroma_radius=25:luma_power=1[imageBg2];&#xA;    [3:v]setpts=PTS-STARTPTS,trim=duration=24,settb=AVTB,format=yuva444p,scale=894:494:force_original_aspect_ratio=increase,crop=894:494,boxblur=luma_radius=25:chroma_radius=25:luma_power=1[imageBg3];&#xA;    [4:v]setpts=PTS-STARTPTS,trim=duration=24,settb=AVTB,format=yuva444p,scale=894:494:force_original_aspect_ratio=increase,crop=894:494,boxblur=luma_radius=25:chroma_radius=25:luma_power=1[imageBg4];&#xA;&#xA;    [imageBg1][imageBg2]xfade=transition=fade:duration=1:offset=6[imageBgFade1];&#xA;    [imageBgFade1][imageBg3]xfade=transition=fade:duration=1:offset=12[imageBgFade2];&#xA;    [imageBgFade2][imageBg4]xfade=transition=fade:duration=1:offset=18[imageBgFade3];&#xA;&#xA;    [1:v]setpts=PTS-STARTPTS,trim=duration=24,settb=AVTB,format=yuva444p,scale=670.5:370.5:force_original_aspect_ratio=decrease,pad=width=894:height=494:x=(ow-iw)/2:y=(oh-ih)/2:color=#00000000,fade=in:st=0:d=1:alpha=1,rotate=0.03490658503988659:c=none[image1];&#xA;    [2:v]setpts=PTS-STARTPTS,trim=duration=24,settb=AVTB,format=yuva444p,scale=670.5:370.5:force_original_aspect_ratio=decrease,pad=width=894:height=494:x=(ow-iw)/2:y=(oh-ih)/2:color=#00000000,fade=in:st=6:d=1:alpha=1,rotate=-0.017453292519943295:c=none[image2];&#xA;    [3:v]setpts=PTS-STARTPTS,trim=duration=24,settb=AVTB,format=yuva444p,scale=670.5:370.5:force_original_aspect_ratio=decrease,pad=width=894:height=494:x=(ow-iw)/2:y=(oh-ih)/2:color=#00000000,fade=in:st=12:d=1:alpha=1,rotate=0.017453292519943295:c=none[image3];&#xA;    [4:v]setpts=PTS-STARTPTS,trim=duration=24,settb=AVTB,format=yuva444p,scale=670.5:370.5:force_original_aspect_ratio=decrease,pad=width=894:height=494:x=(ow-iw)/2:y=(oh-ih)/2:color=#00000000,fade=in:st=18:d=1:alpha=1,rotate=0:c=none[image4];&#xA;&#xA;    [imageBgFade3][image1]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2:shortest=1:enable='between(t,0,24)'[imageFg1];&#xA;    [imageFg1][image2]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2:shortest=1:enable='between(t,6,24)'[imageFg2];&#xA;    [imageFg2][image3]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2:shortest=1:enable='between(t,12,24)'[imageFg3];&#xA;    [imageFg3][image4]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2:shortest=1:enable='between(t,18,24)'[imageFg4];&#xA;    [imageFg4]fps=fps=30,format=yuv420p[finalVideo]&amp;quot; \&#xA;  -map &amp;quot;[finalVideo]&amp;quot; \&#xA;  -t 24 \&#xA;  -c:v libx264 \&#xA;  -preset ultrafast \&#xA;  -crf 28 \&#xA;  output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I am setting up a canvas of a predetermined size, and a rendering framerate of 10 FPS. Here I can achieve a speed of ~2.7⨉. With 30 FPS, the speed drops to 0.9⨉ (which is, understandably, 3⨉ less).&lt;/p&gt;&#xA;&lt;p&gt;For testing, the images are &lt;a href=&quot;https://storage.googleapis.com/aveq-storage/examples/video.stackexchange.com-ffmpeg-slideshow-complex-filter/images.zip&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. The output video is &lt;a href=&quot;https://storage.googleapis.com/aveq-storage/examples/video.stackexchange.com-ffmpeg-slideshow-complex-filter/output.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;The problem is that the complexity of the script (i.e., the encoding speed) increases with the number of inputs. The background is not the problem; using &lt;code&gt;xfade&lt;/code&gt; means only one image is shown at a particular time. However, the foreground has to perform the overlay calculations for every image, with up to &lt;em&gt;n&lt;/em&gt; overlays. Also, the blurring is done for each frame of the image.&lt;/p&gt;&#xA;&lt;p&gt;I am aware of the fact that even the ffmpeg manual says:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;You can chain together more overlays but you should test the efficiency of such approach.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I cannot think of any other way to improve the performance here. Reducing the FPS could work, since everything is static, except that the fades — they will not look smooth anymore.&lt;/p&gt;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="525" LastEditorUserId="525" LastEditDate="2022-04-25T09:47:28.177" LastActivityDate="2022-04-25T09:47:28.177" Title="Complex filter performance deteriorates with effects on images and multiple overlays" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35233" PostTypeId="2" ParentId="35229" CreationDate="2022-04-21T15:33:58.867" Score="1" Body="&lt;p&gt;You need to add &lt;code&gt;-c copy&lt;/code&gt; to make ffmpeg copy the bitstreams as-is. This is also called &lt;em&gt;remuxing&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Otherwise it will default to re-encoding each stream, and the chosen defaults usually mean a rather low bitrate (and, consequently a reduction in quality.)&lt;/p&gt;&#xA;&lt;p&gt;For more info, see the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Map&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg wiki entry on selecting streams&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="525" LastActivityDate="2022-04-21T15:33:58.867" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35236" PostTypeId="2" ParentId="30854" CreationDate="2022-04-22T11:59:52.390" Score="0" Body="&lt;p&gt;Already answered in other page&lt;/p&gt;&#xA;&lt;p&gt;I just copy paste it&lt;/p&gt;&#xA;&lt;p&gt;The overlay filter has a shortest option:&lt;/p&gt;&#xA;&lt;p&gt;If set to 1, force the output to terminate when the shortest input terminates. Default value is 0.&lt;/p&gt;&#xA;&lt;p&gt;Example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -filter_complex &amp;quot;color[c];[0:v][c]overlay=shortest=1&amp;quot; output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Usage of shortest is needed because the color duration is indefinite (unless you use the d option).&lt;/p&gt;&#xA;" OwnerUserId="38202" LastActivityDate="2022-04-22T11:59:52.390" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35237" PostTypeId="2" ParentId="35232" CreationDate="2022-04-22T16:29:23.450" Score="1" Body="&lt;p&gt;The main cause of slowdown is using boxblur filter on static images that are animated.&lt;/p&gt;&#xA;&lt;p&gt;Use gblur filter instead, it is generally faster. Also use loop filter to animate static images after heavy processing. About chaining bunch of overlays at end, that can become quite problematic for more images, perhaps using feedback filter from latest ffmpeg version could help, that is still open question.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    ffmpeg -f lavfi -i color=black:r=10:s=894x494:d=24 -framerate 30 -i images/trees.jpg -framerate 30 -i images/bridge.jpg  -framerate 30 -i images/river.jpg   -framerate 30 -i images/woman.jpg   -filter_complex &amp;quot;&#xA;    [1:v]format=yuva444p,scale=894:494:force_original_aspect_ratio=increase,crop=894:494,gblur=7,loop=800:1:0,trim=duration=24,setpts=PTS-STARTPTS,settb=AVTB[imageBg1];&#xA;    [2:v]format=yuva444p,scale=894:494:force_original_aspect_ratio=increase,crop=894:494,gblur=7,loop=800:1:0,trim=duration=24,setpts=PTS-STARTPTS,settb=AVTB[imageBg2];&#xA;    [3:v]format=yuva444p,scale=894:494:force_original_aspect_ratio=increase,crop=894:494,gblur=7,loop=800:1:0,trim=duration=24,setpts=PTS-STARTPTS,settb=AVTB[imageBg3];&#xA;    [4:v]format=yuva444p,scale=894:494:force_original_aspect_ratio=increase,crop=894:494,gblur=7,loop=800:1:0,trim=duration=24,setpts=PTS-STARTPTS,settb=AVTB[imageBg4];&#xA;    &#xA;    [imageBg1][imageBg2]xfade=transition=fade:duration=1:offset=6[imageBgFade1];&#xA;    [imageBgFade1][imageBg3]xfade=transition=fade:duration=1:offset=12[imageBgFade2];&#xA;    [imageBgFade2][imageBg4]xfade=transition=fade:duration=1:offset=18[imageBgFade3];&#xA;    &#xA;    [1:v]format=yuva444p,scale=670.5:370.5:force_original_aspect_ratio=decrease,pad=width=894:height=494:x=(ow-iw)/2:y=(oh-ih)/2:color=#00000000,rotate=0.03490658503988659:c=none,loop=800:1:0,trim=duration=24,setpts=PTS-STARTPTS,settb=AVTB,fade=in:st=0:d=1:alpha=1[image1];&#xA;    [2:v]format=yuva444p,scale=670.5:370.5:force_original_aspect_ratio=decrease,pad=width=894:height=494:x=(ow-iw)/2:y=(oh-ih)/2:color=#00000000,rotate=-0.017453292519943295:c=none,loop=800:1:0,trim=duration=24,setpts=PTS-STARTPTS,settb=AVTB,fade=in:st=6:d=1:alpha=1[image2];&#xA;    [3:v]format=yuva444p,scale=670.5:370.5:force_original_aspect_ratio=decrease,pad=width=894:height=494:x=(ow-iw)/2:y=(oh-ih)/2:color=#00000000,rotate=0.017453292519943295:c=none,loop=800:1:0,trim=duration=24,setpts=PTS-STARTPTS,settb=AVTB,fade=in:st=12:d=1:alpha=1[image3];&#xA;    [4:v]format=yuva444p,scale=670.5:370.5:force_original_aspect_ratio=decrease,pad=width=894:height=494:x=(ow-iw)/2:y=(oh-ih)/2:color=#00000000,rotate=0:c=none,loop=800:1:0,trim=duration=24,setpts=PTS-STARTPTS,settb=AVTB,fade=in:st=18:d=1:alpha=1[image4];&#xA;    &#xA;    [imageBgFade3][image1]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2:shortest=1:enable='between(t,0,24)'[imageFg1];&#xA;    [imageFg1][image2]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2:shortest=1:enable='between(t,6,24)'[imageFg2];&#xA;    [imageFg2][image3]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2:shortest=1:enable='between(t,12,24)'[imageFg3];&#xA;    [imageFg3][image4]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2:shortest=1:enable='between(t,18,24)'[finalVideo]&amp;quot;   -map &amp;quot;[finalVideo]&amp;quot; -c:v rawvideo x.nut&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="38203" LastActivityDate="2022-04-22T16:29:23.450" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="35238" PostTypeId="2" ParentId="34818" CreationDate="2022-04-23T20:45:05.730" Score="2" Body="&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;This is simply produce with a synthesia like software. (For example: &lt;a href=&quot;https://www.piano-vfx.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.piano-vfx.com/&lt;/a&gt;   ) Just record a MIDI-File and put some effects on it with this software.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;For the first one: I can imagine that he makes a video like in 2., but rotates the whole video for a specific angle. Then he puts his piano right next to the camera so it is the same angle as the already rotated video. After, he puts everything together into one video. That means, the particles doesn't even exist in real life but only on screen.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="38103" LastActivityDate="2022-04-23T20:45:05.730" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35240" PostTypeId="1" AcceptedAnswerId="35248" CreationDate="2022-04-24T17:34:56.820" Score="1" ViewCount="46" Body="&lt;p&gt;So I am looking to record a time lapse video with my used GoPro Hero 7 black that will capture 7 days and nights worth of video of my sprouts under the grow lights, with the final product being a 12 second video. I have been told it depends on whether I want to do 24fps, 30 or 60, but I do not know what the qualitative difference would be as I am a complete beginner.&lt;/p&gt;&#xA;" OwnerUserId="38220" LastActivityDate="2022-04-28T07:09:16.827" Title="what the difference between 24/30/60 frames per second in the context of a 7 day/night time lapse video?" Tags="|time-lapse|gopro|fps|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35241" PostTypeId="2" ParentId="20598" CreationDate="2022-04-24T22:14:16.653" Score="0" Body="&lt;p&gt;I record my Shadowplay content with the following settings:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;1440p&lt;/li&gt;&#xA;&lt;li&gt;50MBps&lt;/li&gt;&#xA;&lt;li&gt;60 FPS&lt;/li&gt;&#xA;&lt;li&gt;Microphone and Desktop Audio on seperate channels&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;So it's not compatible with the mentioned DNxHD. The audio channels are are also in variable framerates and must be synced.&lt;/p&gt;&#xA;&lt;p&gt;The following will re-encode the video and audio in 60 FPS CFR and will not have audio sync issues in Adobe Premier. You save it to a batch file (.bat) and then run it via the command line with the video file as the first argument.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;set inputFile=%1&#xA;set outputFile=%inputFile:.mp4=_cbr.mp4%&#xA;ffmpeg  ^&#xA;-i %inputFile% ^&#xA;-vsync 1 -async 1 ^&#xA;-map 0:v:0 ^&#xA;    -c:v libx264 ^&#xA;    -preset veryfast ^&#xA;    -x264-params &amp;quot;nal-hrd=cbr&amp;quot; ^&#xA;    -b:v 50M ^&#xA;    -framerate 60 ^&#xA;-map 0:a:0 ^&#xA;    -c:a:0 aac ^&#xA;    -b:a 384k ^&#xA;-map 0:a:1  ^&#xA;    -c:a:1 aac ^&#xA;    -b:a 384k ^&#xA;%outputFile%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;When comparing individual frames, I did not notice a difference in quality between this and the original recording. You can change some of the options like the framerate to match your content, or increase the bitrate if you think there is some loss.&lt;/p&gt;&#xA;" OwnerUserId="38224" LastActivityDate="2022-04-24T22:14:16.653" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35243" PostTypeId="1" CreationDate="2022-04-25T20:46:45.720" Score="1" ViewCount="730" Body="&lt;p&gt;So I have been testing the SRT streaming to use with OBS.  so far love it BUT ffplay will not close when the stream ends and try to reconnect. it just stays paused at last frame and the ffplay window stays up&lt;/p&gt;&#xA;&lt;p&gt;my code is here:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;%ffplay% srt://0.0.0.0:43560?mode=listener&amp;amp;transtype=live&amp;amp;latency=0&amp;amp;recv_buffer_size=0 -window_title &amp;quot;SRT Player 1.0 - Viewer (powered by FFPlay)&amp;quot; -x 720 -y 480 -sync audio -autoexit &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have tried using these commands too:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;connect_timeout=milliseconds&#xA;&#xA;linger=seconds&#xA;&#xA;timeout=microseconds&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What I would like to achieve that if stream ends it closes and then starts ffplay over again.  I have even used FFMPEG to grab the original and if it finds it to start ffplay like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;%ffmpeg% -hide_banner -loglevel 0 -stats  -re -i srt://127.0.0.1:5000?mode=listener -c copy -f mpegts &amp;quot;srt://127.0.0.1:43560?mode=caller&amp;amp;transtype=live&amp;amp;latency=400000&amp;quot; | %ffplay% srt://0.0.0.0:43560?mode=listener&amp;amp;transtype=live&amp;amp;latency=0&amp;amp;recv_buffer_size=0 -window_title &amp;quot;SRTt Player 1.0 - Viewer (powered by FFPlay)&amp;quot; -x 720 -y 480 -sync audio -autoexit -exitonmousedown -autorotate&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But this fails as well because of stream ends it just sits open.&lt;/p&gt;&#xA;" OwnerUserId="33197" LastActivityDate="2024-02-15T17:03:25.357" Title="FFplay will not close and reconnect when SRT stream ends" Tags="|ffmpeg|ffplay|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35244" PostTypeId="1" CreationDate="2022-04-26T04:54:40.280" Score="1" ViewCount="120" Body="&lt;p&gt;I have a little video animation. I want to change the backgroud color (Part of built-in Video) from black to white throughout the whole video without disturbing the main focused logo (RED logo).&lt;a href=&quot;https://i.stack.imgur.com/Sf8dg.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Sf8dg.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38234" LastActivityDate="2022-04-26T10:37:23.103" Title="How to change Background color in a Video? SOFTWARES: Filmora or Adobe Premier pro" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35245" PostTypeId="2" ParentId="35244" CreationDate="2022-04-26T10:37:23.103" Score="2" Body="&lt;p&gt;Without the original assets, anything you do will be less than ideal.&lt;/p&gt;&#xA;&lt;p&gt;In Premiere:&lt;/p&gt;&#xA;&lt;p&gt;Because the background is black, you could change the Blend Mode in the Opacity settings to Screen.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/51zG9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/51zG9.png&quot; alt=&quot;screen mode&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-04-26T10:37:23.103" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35247" PostTypeId="2" ParentId="35221" CreationDate="2022-04-27T13:17:11.113" Score="0" Body="&lt;p&gt;The &lt;a href=&quot;https://aescripts.com/gridder/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Gridder script&lt;/a&gt; for After Effects might be useful for this.&lt;/p&gt;&#xA;&lt;p&gt;There's a video &lt;a href=&quot;https://www.youtube.com/watch?v=nHaO8nw9QJI&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; showing how to use it.&lt;/p&gt;&#xA;&lt;p&gt;If you're new to After Effects, &lt;a href=&quot;https://www.videocopilot.net/basic/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this set of tutorials&lt;/a&gt; is old but good.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-04-27T13:17:11.113" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35248" PostTypeId="2" ParentId="35240" CreationDate="2022-04-27T13:31:30.593" Score="1" Body="&lt;p&gt;When you record a timelapse video over a long period of time, you usually only take a single image, then pause for a specific length of time, then take the next image.&lt;/p&gt;&#xA;&lt;p&gt;Frames per second are usually only considered when you choose to play back these images afterwards.&lt;/p&gt;&#xA;&lt;p&gt;In the GoPro Hero 7 Black &lt;a href=&quot;https://gopro.com/content/dam/help/hero7-black/manuals/HERO7Black_UM_ENG_REVC.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;manual&lt;/a&gt;, on page 108 it explains how to set the delay time on a time-lapse.&lt;/p&gt;&#xA;&lt;p&gt;If you want to record over 7 days and nights, to create a 12 second video at 30 frames per second, you would calculate it like this:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;A 12 second video at a playback speed of 30 frames per second = 12 x&#xA;30 = 360 frames in total.&lt;/p&gt;&#xA;&lt;p&gt;So recording over 7 days = 7 days * 24 hours * 60 minutes = 10,080&#xA;minutes in total.&lt;/p&gt;&#xA;&lt;p&gt;10080 / 360 = 28 minutes between each image taken&lt;/p&gt;&#xA;&lt;p&gt;28 * 360 = 10,080 minutes total&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;You can always choose to take images more frequently (I would, but this requires more storage space).&#xA;You can always dispose of them if you don't want to use them, but it gives you the option to either make your time-lapse longer if you decide to later, or to use a higher playback frame rate.&lt;/p&gt;&#xA;&lt;p&gt;In terms of using other playback frame rates - if you record at 24 or 60 fps, you would need these interval times:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;12 * 24fps = 288 frames needed&lt;/p&gt;&#xA;&lt;p&gt;12 * 60fps = 720 frames needed&lt;/p&gt;&#xA;&lt;p&gt;10080 / 288 = 35 minute interval&lt;/p&gt;&#xA;&lt;p&gt;10080 / 720 = 14 minute interval&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Other tips:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Use a tripod.&lt;/li&gt;&#xA;&lt;li&gt;Test the lighting conditions and think about exposure levels on the camera.&lt;/li&gt;&#xA;&lt;li&gt;Fixed exposure is better than variable so long as it is correctly set.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-04-28T07:09:16.827" LastActivityDate="2022-04-28T07:09:16.827" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35249" PostTypeId="2" ParentId="35224" CreationDate="2022-04-27T13:46:35.820" Score="-1" Body="&lt;p&gt;AEscripts - &lt;a href=&quot;https://aescripts.com/quick-menu/&quot; rel=&quot;nofollow noreferrer&quot;&gt;QuickMenu&lt;/a&gt;. Decent replacement. Does a bit more. Can apply stuff to multiple layers etc. I swapped over to it today and it works great as I' not sure FX Console would ever get updated....&lt;/p&gt;&#xA;" OwnerUserId="38248" LastEditorUserId="4426" LastEditDate="2022-04-27T19:42:56.050" LastActivityDate="2022-04-27T19:42:56.050" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35250" PostTypeId="2" ParentId="29309" CreationDate="2022-04-27T16:11:49.883" Score="0" Body="&lt;p&gt;You should be able to use FFMPEG to reassign the channels such that Premiere be able to recognize it as 5.1 channel layout.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;  -filter_complex \&#xA;    &amp;quot;[0:a]pan=FL|c0=c0[a0];[0:a]pan=FR|c0=c1[a1];....;\&#xA;    [a0][a1]..[a5]amerge=inputs=6[aout]&amp;quot; \&#xA;  -c:a pcm_s24le \&#xA;  -map &amp;quot;[aout]&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Documentation: &lt;a href=&quot;https://trac.ffmpeg.org/wiki/AudioChannelManipulation&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/AudioChannelManipulation&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38250" LastActivityDate="2022-04-27T16:11:49.883" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35252" PostTypeId="1" CreationDate="2022-04-27T21:22:15.843" Score="0" ViewCount="11086" Body="&lt;p&gt;I was trying to convert Premiere Pro 2022 project to 2020 for my colleagues to use. The converter site has a message popped out when I clicked CONVERT. The error message is &amp;quot;Invalid file type. [Error 3]&amp;quot;. I have a screenshot attached. How can I convert to a lower version from Premiere 2022. Thank you!&lt;/p&gt;&#xA;&lt;p&gt;Truly appreciate.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lLes7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lLes7.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/eHZf2.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eHZf2.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38252" LastActivityDate="2024-04-06T20:06:05.713" Title="Convert Premiere Pro 2022 to 2020" Tags="|premiere|premiere-pro|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35253" PostTypeId="2" ParentId="35224" CreationDate="2022-04-28T13:35:12.027" Score="0" Body="&lt;p&gt;You can open the Intel version of AE via the CC App Panel as a workaround.&lt;/p&gt;&#xA;" OwnerUserId="38256" LastActivityDate="2022-04-28T13:35:12.027" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35256" PostTypeId="2" ParentId="35252" CreationDate="2022-04-29T06:17:59.253" Score="0" Body="&lt;p&gt;I think Adobe only officially maintains compatibility within single version numbers of Premiere.  See here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/sea/premiere-pro/using/backward-compatibility.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/sea/premiere-pro/using/backward-compatibility.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You might be able to export the project as another format, like you would when exporting to another editor (like &lt;a href=&quot;https://www.mediaequipt.com/export-from-premiere-to-davinci-resolve/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this example exporting to Davinci Resolve&lt;/a&gt;).  But you're likely to lose some edit information (plugins etc), and it will be difficult to do.  You're better off all working on the same version.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-04-29T06:17:59.253" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35257" PostTypeId="1" CreationDate="2022-04-29T08:37:53.057" Score="0" ViewCount="202" Body="&lt;p&gt;DaVinci controls regarding stabilization are very limited, and there seems to be no documentation on how to achieve the following.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Given moderately shaky 100fps footage, one wants to&lt;/li&gt;&#xA;&lt;li&gt;produce a 30fps timeline,&lt;/li&gt;&#xA;&lt;li&gt;without slowing footage down (no slow-mo is needed for that bit), but&lt;/li&gt;&#xA;&lt;li&gt;making the stabilizer &lt;em&gt;use excess framerate to provide better stabilization&lt;/em&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;An example of similar approach is various timelapse apps, shooting a normal framerate video and produce a very smooth sped-up outcome.&lt;/p&gt;&#xA;&lt;p&gt;I have tried using stabilizer on the clip interpreted at 30fps and sped-up 300%, and on the same clip interpreted at 100fps without the speed-up. I have tried cranking up the Smooth parameter and turning off GPU acceleration. However, the outcome doesn’t seem to be improving, which makes me think the Resolve’s stabilizer is not designed to use excess framerate when it’s available.&lt;/p&gt;&#xA;" OwnerUserId="263" LastActivityDate="2022-10-10T18:02:50.367" Title="Is it possible to use high framerate to achieve better stabilization outcomes in DaVinci Resolve?" Tags="|davinci-resolve|framerate|post-production|stabilisation|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35260" PostTypeId="1" CreationDate="2022-04-30T10:36:45.127" Score="1" ViewCount="12" Body="&lt;p&gt;I have some video material that has been created by time-lapse video using a GoPro Hero 6 Black. Since the camera's position is fixed, the background of the video does not change much. The foreground however changes very fast because of time-lapse. Some objects in the foreground are only visible in one frame.&lt;/p&gt;&#xA;&lt;p&gt;I need a way to remove the fast-moving parts. If the software detects that a certain part of the video is the same in a few frames, but very different in just one frame, it should replace that part of the single frame by putting the content of the other frames there.&lt;/p&gt;&#xA;&lt;p&gt;This should result in a smoothening of the whole video.&lt;/p&gt;&#xA;&lt;p&gt;I don't have access to expensive professional video software. If possible, I need a way to do this in consumer-oriented software like iMovie. I could buy Final Cut Pro if necessary, but would prefer not to.&lt;/p&gt;&#xA;" OwnerUserId="38273" LastActivityDate="2022-04-30T10:36:45.127" Title="Smoothing video by filtering out single-frame parts in video" Tags="|imovie|time-lapse|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35262" PostTypeId="2" ParentId="17738" CreationDate="2022-05-01T00:58:35.230" Score="11" Body="&lt;p&gt;@Gyan is correct. You can reverse a video using &lt;code&gt;ffmegs&lt;/code&gt; built in &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#reverse&quot; rel=&quot;nofollow noreferrer&quot;&gt;reverse video filter&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i video.mp4 -vf reverse video_reversed.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However this is incredibly memory intensive. I wont go into details but it has to do with the video is saved in a compressed format. To reverse it, it needs basically load each frame of the video into memory.&lt;/p&gt;&#xA;&lt;p&gt;Therefor for any reasonably sized video (&amp;gt; 10 minutes) you are going to have a tough time using the above command. Thus to complete @Gyan's answer. Here is how to segment the video, reverse each part, and then concatenate them again.&lt;/p&gt;&#xA;&lt;p&gt;You can first segment a video into &lt;code&gt;300&lt;/code&gt; second chunks using:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i video.mp4 -map 0 -c copy -f segment -segment_time 300 -reset_timestamps 1 video_%03d.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This will output a bunch of video files named &lt;code&gt;video_000.mp4&lt;/code&gt;, &lt;code&gt;video_001.mp4&lt;/code&gt; etc. Next you need to reverse each of these segments. You can either do that manually using the original reverse command, or you can use the loop provided below.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;NOTE&lt;/strong&gt;: Make sure you remove the original video &lt;code&gt;video.mp4&lt;/code&gt; from the folder before using the loop below (otherwise you are back to the start).&lt;/p&gt;&#xA;&lt;p&gt;Alternatively for long videos you might want to use a loop. This loop looks for all &lt;code&gt;mp4&lt;/code&gt; files in the current directory and reverses each of them:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;To reverse only the video but not the audio:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;for f in *.mp4; do&#xA;    ffmpeg -i $f -vf reverse ${f/.mp4/_reversed.mp4}&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;To reverse the video and audio:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;for f in *.mp4; do&#xA;    ffmpeg -i $f -vf reverse -af areverse ${f/.mp4/_reversed.mp4}&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You will now have a set of reversed segments med &lt;code&gt;video_000_reversed.mp4&lt;/code&gt;, &lt;code&gt;video_001_reversed.mp4&lt;/code&gt; etc. The final command concatenates them into a single video. To do that we need a text file with all the files we want to concatenate. You can automatically create this text file using the following:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;for f in ./SegmentedVideos/*_reversed.mp4;  do &#xA;    echo file \'$f\' &amp;gt; tmp.txt&#xA;    cat fileList.txt &amp;gt;&amp;gt; tmp.txt&#xA;    rm fileList.txt&#xA;    mv tmp.txt fileList.txt&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;At this point you should have a text file &lt;code&gt;fileList.txt&lt;/code&gt; that contains the video files in reverse order like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file './video_XXX_reversed.mp4'&#xA;...&#xA;file './video_001_reversed.mp4'&#xA;file './video_000_reversed.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then all we need to do is concatenate everything:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i fileList.txt -c copy final_revered_video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="38278" LastEditorUserId="3061" LastEditDate="2023-04-13T18:11:49.577" LastActivityDate="2023-04-13T18:11:49.577" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35264" PostTypeId="1" AcceptedAnswerId="35265" CreationDate="2022-05-01T06:29:45.390" Score="0" ViewCount="305" Body="&lt;p&gt;I understand that my title requires further specification, so allow me to elaborate.&lt;/p&gt;&#xA;&lt;p&gt;I recently finished a model in Blender and rendered 1000 frames to PNG with alpha. The total size was roughly 2 GB for all frames.&lt;/p&gt;&#xA;&lt;p&gt;However, attempting to store them as a MOV file (QT-rle video codec, no audio) results in a whopping 5 GB file. That's two and a half times the original frames' storage size, for the exact same frames.&lt;/p&gt;&#xA;&lt;p&gt;I imagine that this is because MOV is an extremely inclusive container with an extremely inclusive chosen codec, and PNG may use a compression scheme that it does not... but beyond an alpha channel, I'm not sure I need any of these things. It would be just as easy to just use the lossless PNGs, wouldn't it?&lt;/p&gt;&#xA;&lt;p&gt;Normally I would blow this off as the price of video editing, and just delete the file when I know I'm done with it...the problem is, I can't even play it back, full speed, on my computer without it frequently pausing to buffer more of the file into memory. This makes it very difficult to work with, and this is not a slow computer. It's perhaps a year old.&lt;/p&gt;&#xA;&lt;p&gt;Why does QT-rle in MOV take so much space? How can I adjust its features to take up less? For now, I'm sticking with Matroska/H.264 and PNGs, but the format is likely preferred for a reason and I would like to understand what I'm looking at here.&lt;/p&gt;&#xA;&lt;p&gt;Thank you kindly.&lt;/p&gt;&#xA;&lt;p&gt;EDIT: After further research, apparently &amp;quot;rle&amp;quot; stands for &amp;quot;run length encoding&amp;quot;. This makes sense, as I've also seen it called &amp;quot;Quicktime Animation&amp;quot;, and this style of encoding would do well for drawings with large swatches of consistent color across rows, but terribly for high-detail or HDR images. This might be what I'm looking for... I just chose an inappropriate format, which is bending over backwards to handle my not-animated-looking video. Further study will tell.&lt;/p&gt;&#xA;" OwnerUserId="34752" LastActivityDate="2022-05-01T10:49:04.317" Title="How can I build a MOV (QT-rle) file with minimal unnecessary features?" Tags="|encoding|file-formats|compression|quicktime|metadata|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35265" PostTypeId="2" ParentId="35264" CreationDate="2022-05-01T10:49:04.317" Score="0" Body="&lt;p&gt;OK, I've come to understand the issue with QT-rle, and it isn't that it isn't compressed; it's that it's the worst kind of compression for the type of video I'm making.&lt;/p&gt;&#xA;&lt;p&gt;QT-rle uses &amp;quot;run length encoding&amp;quot;, which relies on long strips of pixels having the same color. In videos in which major hue, saturation, and lightness changes are regular, it packs the file with metadata which inflates its size to unusable levels. If I were working with an animation that had vast patches of solid colors, it would likely work better.&lt;/p&gt;&#xA;&lt;p&gt;So, that's why I'm dealing with crippling file sizes. Alternatives include storing frames as JPEG2000 or PNG, as I will be now, or other video codecs which happen to include an alpha channel; though there are admittedly few. The other possibility is to composite the alpha to a mask video and use that in post.&lt;/p&gt;&#xA;" OwnerUserId="34752" LastActivityDate="2022-05-01T10:49:04.317" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35266" PostTypeId="1" AcceptedAnswerId="35268" CreationDate="2022-05-01T15:11:06.460" Score="1" ViewCount="257" Body="&lt;p&gt;I have two videos, that i want to concatenate side by side but second one should play after the first one. If the video is not playing, thumbnail should be shown&lt;/p&gt;&#xA;&lt;p&gt;Below is the example that i want to achieve using ffmpeg &lt;a href=&quot;https://twitter.com/sunmor2901/status/1520024861619658752&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://twitter.com/sunmor2901/status/1520024861619658752&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38282" LastActivityDate="2022-05-01T21:02:22.093" Title="Stack two videos side and side but play one after another. Show thumbnail when not playing" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35268" PostTypeId="2" ParentId="35266" CreationDate="2022-05-01T21:02:22.093" Score="1" Body="&lt;p&gt;&lt;code&gt;ffmpeg -i left.mp4 -i right.mp4 -i -filter_complex &amp;quot;[1:v]tpad=start_mode=clone:start_duration=5[rvideo];[1:a]adelay=5s:all=true[raudio];[0][rvideo]hstack[vout];[0:a][raudio]amix[aout]&amp;quot; -map &amp;quot;[vout]&amp;quot; -map &amp;quot;[aout]&amp;quot; output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;You have to manually set the delay of the second (right) video from the 5 seconds in the example.&lt;/p&gt;&#xA;" OwnerUserId="38050" LastActivityDate="2022-05-01T21:02:22.093" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35270" PostTypeId="1" AcceptedAnswerId="35274" CreationDate="2022-05-02T22:22:40.110" Score="2" ViewCount="635" Body="&lt;p&gt;While using &lt;code&gt;ffmpeg&lt;/code&gt; to burn &lt;code&gt;.srt&lt;/code&gt; subtitles to &lt;code&gt;mp4&lt;/code&gt; files I'm having an issue with multiple text lines  - background is overlaying each other.&lt;/p&gt;&#xA;&lt;p&gt;Command I'm using:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i source_video_path.mp4 -vf &amp;quot;subtitles=srt_source.srt:force_style='OutlineColour=&amp;amp;H80000000,BorderStyle=3,Outline=1,Shadow=0,MarginV=25,Fontname=Arial,Fontsize=10,Alignment=2'&amp;quot; video_destination.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1QIDX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1QIDX.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Question is - is it possible to overcome the overlay while still having a transparent background while using &lt;code&gt;.srt&lt;/code&gt; format or I need to use &lt;code&gt;.ass&lt;/code&gt; format as a fix?&lt;/p&gt;&#xA;" OwnerUserId="38298" LastActivityDate="2022-05-03T13:43:20.167" Title="ffmpeg subtitles background issue when multiple lines (using .srt format)" Tags="|ffmpeg|.srt|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35271" PostTypeId="1" CreationDate="2022-05-03T00:07:51.477" Score="0" ViewCount="36" Body="&lt;p&gt;If it matters I'm trying to do this on iOS would I need resources from other apps to make the video&lt;/p&gt;&#xA;" OwnerUserId="38299" LastActivityDate="2022-05-03T00:07:51.477" Title="How can I make a top 10 videos on iMovie? Like does it have a feature on the Storyboards where I can do this?" Tags="|video-editor|video-recording|video-capture|imovie|iphone|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35272" PostTypeId="1" CreationDate="2022-05-03T05:20:56.307" Score="0" ViewCount="174" Body="&lt;p&gt;I am a novice coder using Terminal on MAC that has installed FFMPEG and attempting to edit an entire directory.&lt;/p&gt;&#xA;&lt;p&gt;My goal is &lt;strong&gt;to remove all of the audio from all of the videos and output or overwrite the existing files&lt;/strong&gt;. I was successful in writing a line of code that inputted and outputted ONE file accurately, however, when I attempted to adapt the code others have posted across the web, the terminal would time-out or error. Attached are a couple of screenshots of what happens for two of the scenarios I thought was sure to work:&lt;/p&gt;&#xA;&lt;p&gt;Screenshot one:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/HCDJ0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HCDJ0.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Screenshot two:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/niC1Y.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/niC1Y.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38301" LastEditorUserId="38301" LastEditDate="2022-05-03T19:13:52.783" LastActivityDate="2024-01-24T19:04:55.650" Title="FFMPEG: How to remove audio from entire directory" Tags="|ffmpeg|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35273" PostTypeId="1" AcceptedAnswerId="35278" CreationDate="2022-05-03T06:36:58.043" Score="0" ViewCount="38" Body="&lt;p&gt;Here's the setup I would like to achieve / the UX I am thinking of having in the end:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Let there be a canopy swing with three seats in front of a green screen.&lt;/li&gt;&#xA;&lt;li&gt;Any seat is equipped with a sensor, telling me if someone occupies the seat or not.&lt;/li&gt;&#xA;&lt;li&gt;Sensors tell me the current deflection of the swing.&lt;/li&gt;&#xA;&lt;li&gt;I have a camera set up in front of the swing delivering a live video feed into my computer.&lt;/li&gt;&#xA;&lt;li&gt;I have three different 3D modeled characters (people), for example in a game engine. These can programmatically move around in the scene and &amp;quot;sit&amp;quot; on the swing.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Depending on the number of available seats, whenever at least one person sits down on the swing, I would like to live rotoscope-in the missing number of 3D actors (one real person = two 3D actors, two real persons = one 3D actor, three real persons = no 3D actor).&lt;/p&gt;&#xA;&lt;p&gt;Is there such a software/software bundle/known software setup to achive this?&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Research so far:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Adobe After Effects seems to be post-production only, ie. non-live.&lt;/li&gt;&#xA;&lt;li&gt;Silhouette FX - ditto.&lt;/li&gt;&#xA;&lt;li&gt;DAZ 3D. Possible candidate, but the manufacturer never answered my emails asking if the above can be achieved.&lt;/li&gt;&#xA;&lt;li&gt;Blender. Can do my 3D characters but doesn't have any rotoscoping functions.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="11860" LastActivityDate="2022-05-06T05:33:57.757" Title="Live rotoscoping software (bonus: with reaction to sensor input)" Tags="|after-effects|blender|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35274" PostTypeId="2" ParentId="35270" CreationDate="2022-05-03T13:43:20.167" Score="3" Body="&lt;p&gt;You can avoid multiple lines overlaying each other by using &lt;code&gt;BorderStyle=4&lt;/code&gt; together with &lt;code&gt;BackColour=&amp;amp;H80000000&lt;/code&gt; which gives a 50% opaque black color background.&lt;/p&gt;&#xA;&lt;p&gt;Full command would be:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source_video_path.mp4 -vf &amp;quot;subtitles=srt_source.srt:force_style='OutlineColour=&amp;amp;H80000000,BorderStyle=4,BackColour=&amp;amp;H80000000,Outline=0,Shadow=0,MarginV=25,Fontname=Arial,Fontsize=10,Alignment=2'&amp;quot; video_destination.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uqgcb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uqgcb.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38298" LastActivityDate="2022-05-03T13:43:20.167" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35275" PostTypeId="2" ParentId="35272" CreationDate="2022-05-04T15:33:22.267" Score="1" Body="&lt;p&gt;The problem is that the code you adapted was intended for &lt;code&gt;.avi&lt;/code&gt; files, not &lt;code&gt;.mp4&lt;/code&gt;, so you are trying to replace a string that does not exist.&lt;/p&gt;&#xA;&lt;p&gt;The following would work:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;for f in *.mp4; do&#xA;  ffmpeg -i &amp;quot;$f&amp;quot; -an -c:v copy &amp;quot;${f/%.mp4/-noaudio.mp4}&amp;quot;&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="525" LastActivityDate="2022-05-04T15:33:22.267" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35276" PostTypeId="1" CreationDate="2022-05-05T07:36:24.317" Score="0" ViewCount="148" Body="&lt;p&gt;[I hope this is on-topic here as it appears somewhat related questions have been asked before]&lt;/p&gt;&#xA;&lt;p&gt;I have a 4-camera analog CCTV system using coax cable. I'd like to replace my analog DVR (digital video recorder) with a digital solution leveraging my Synology NAS.&lt;/p&gt;&#xA;&lt;p&gt;From my research, I believe I need a video encoder that converts BNC coax cable signals into an IP stream.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is this correct?&lt;/li&gt;&#xA;&lt;li&gt;Any recommendations for products that would do the job? Bonus for solutions that plug into Synology's Surveillance Station solution.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="38311" LastActivityDate="2022-05-05T07:36:24.317" Title="Connecting CCTV coax-based video surveillance cameras to a Synology IP solution" Tags="|video-recording|conversion|hardware|recommendation|digital-recording|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35278" PostTypeId="2" ParentId="35273" CreationDate="2022-05-06T05:33:57.757" Score="1" Body="&lt;p&gt;You seem to be a little confused on what &amp;quot;rotoscope&amp;quot; means, or I'm not understanding the question here. &lt;strong&gt;Rotoscoping&lt;/strong&gt; is tracing an outline of a subject in a video, for purpose of masking or animating. What you seem to be describing here is &lt;strong&gt;compositing&lt;/strong&gt;, which you'll find is a lot easier to research. You may want to look into how to composite 3D characters from a game engine (say, Unreal Engine 4) into a live video scene, which will probably answer your question. For example, UE4 has a tool called &amp;quot;Composure&amp;quot; that allows you to achieve something similar. &lt;a href=&quot;https://docs.unrealengine.com/4.27/en-US/WorkingWithMedia/IntegratingMedia/Composure/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here's a guide to get you fully set up.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33795" LastActivityDate="2022-05-06T05:33:57.757" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35279" PostTypeId="1" CreationDate="2022-05-06T13:50:20.203" Score="0" ViewCount="1477" Body="&lt;p&gt;I have the following code which adds a small overlay text over my video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -vf &amp;quot;drawtext=fontfile=path\font.ttf:text='ABC':fontcolor=black:fontsize=45:box=1:boxcolor=white@1:boxborderw=5:x=(w-text_w)/2:y=50:enable='gte(t,5)',drawtext=fontfile=path\font.ttf:text='DEF':fontcolor=black:fontsize=45:box=1:boxcolor=white@1:boxborderw=5:x=(w-text_w)/2:y=100:enable='gte(t,5)'&amp;quot; -codec:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have around videos for which I want to do the same command. I have the 100 commands ready through excel formulas.&#xA;Now, can someone please help me how I can execute these 100 FFMPEG commands as a batch file on Windows 11?&lt;/p&gt;&#xA;" OwnerUserId="33090" LastActivityDate="2024-01-30T14:04:25.617" Title="How to run multiple FFMPEG commands as a batch file in Windows 10/11?" Tags="|ffmpeg|video-editor|windows|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35280" PostTypeId="1" AcceptedAnswerId="35310" CreationDate="2022-05-06T16:05:01.217" Score="1" ViewCount="619" Body="&lt;p&gt;Using command :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source_video_path.mp4 -vf &amp;quot;subtitles=srt_source.srt:force_style='OutlineColour=&amp;amp;H80000000,BorderStyle=4,BackColour=&amp;amp;H80000000,Outline=0,Shadow=0,MarginV=25,Fontname=Arial,Fontsize=10,Alignment=2'&amp;quot; video_destination.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I get&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uqgcb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uqgcb.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Ideally I would like to increase the subtitles background padding - especially horizontally.&lt;/p&gt;&#xA;" OwnerUserId="38298" LastActivityDate="2022-05-13T10:04:15.643" Title="Is it possible to increase horizontal and vertical padding on ffmpeg burned subtitles - using .srt format?" Tags="|ffmpeg|subtitles|.srt|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35281" PostTypeId="1" CreationDate="2022-05-06T17:21:13.453" Score="0" ViewCount="371" Body="&lt;p&gt;I'm trying to import a video that has an effective frame rate of about 3.3 fps from a stream that I captured with the ffmpeg command line tool.&lt;/p&gt;&#xA;&lt;p&gt;The video profile seems to be reporting that the frame rate is 25 fps; so it plays at high speed.&lt;/p&gt;&#xA;&lt;p&gt;What should I do to get the video to play at the correct speed?&lt;/p&gt;&#xA;" OwnerUserId="2920" LastActivityDate="2024-01-27T06:06:40.850" Title="Importing video with very low frame rate into kdenlive" Tags="|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35282" PostTypeId="1" CreationDate="2022-05-06T20:04:12.083" Score="0" ViewCount="782" Body="&lt;p&gt;I have seen commands like this online:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i image.png -map 1 -map 0 -c copy \&#xA;-disposition:0 attached_pic out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However these command don't work as advertised with Windows Explorer, while other tools such as AtomicParsley and TagEditor do. What I mean is that, is appears that FFmpeg does add an image stream, but the thumbnail is not visible with Windows Explorer. Does FFmpeg have some command that will work with Windows?&lt;/p&gt;&#xA;" OwnerUserId="3912" LastEditorUserId="3912" LastEditDate="2022-05-06T20:10:55.097" LastActivityDate="2024-01-27T02:01:05.137" Title="FFmpeg embed thumbnail Windows" Tags="|ffmpeg|mp4|windows|thumbnails|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35283" PostTypeId="2" ParentId="35282" CreationDate="2022-05-06T20:32:26.380" Score="0" Body="&lt;p&gt;I figured it out. You have to change the video codec, for it to work:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i audio.opus -i image.jpg -c:a copy -c:v mjpeg \&#xA;-disposition:v attached_pic out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3912" LastActivityDate="2022-05-06T20:32:26.380" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35286" PostTypeId="2" ParentId="35281" CreationDate="2022-05-07T02:03:47.620" Score="0" Body="&lt;p&gt;I discovered that when one puts the video on the timeline, and right clicks on the clip and selects &amp;quot;change speed&amp;quot;, one can enter the rate that the clip should play (as a percentage).&lt;/p&gt;&#xA;&lt;p&gt;When I changed the percentage, the rendered video played at the correct speed.&lt;/p&gt;&#xA;" OwnerUserId="2920" LastActivityDate="2022-05-07T02:03:47.620" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35288" PostTypeId="1" CreationDate="2022-05-07T08:53:49.647" Score="3" ViewCount="413" Body="&lt;p&gt;I have a text animation (animated letters) in AFX with an &amp;quot;outline&amp;quot; font (that has no fill). There has to be a way to fill the inside of the font somehow? Are there any workarounds? I know I could manually &amp;quot;paint&amp;quot; behind the text, but that's no option since it should be animated (sure, I could keyframe).&lt;/p&gt;&#xA;&lt;p&gt;I could duplicate the animated text layer, add a stroke big enough. But how can I &amp;quot;matte&amp;quot; out the &amp;quot;overfill&amp;quot;? Is there an effect in AFX to take an alpha matte just from the &amp;quot;outside&amp;quot; of a layer? That would solve this issue..&lt;/p&gt;&#xA;" OwnerUserId="38327" LastActivityDate="2022-05-16T18:47:34.880" Title="Fill the inside of a hollow/outline font in AFX" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35290" PostTypeId="2" ParentId="35279" CreationDate="2022-05-07T14:12:43.313" Score="0" Body="&lt;p&gt;Open any txt file editor.&#xA;Paste each command separated by newline each (press &lt;kbd&gt;Enter&lt;/kbd&gt;).&#xA;Save as .bat (not .bat.txt, so click 'All files').&#xA;Execute it by right click Run or Execute&lt;/p&gt;&#xA;&lt;p&gt;Consider making the 100 commands in batch and not Excel next time.&lt;/p&gt;&#xA;" OwnerUserId="38328" LastEditorUserId="14523" LastEditDate="2022-05-07T20:46:15.257" LastActivityDate="2022-05-07T20:46:15.257" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35293" PostTypeId="2" ParentId="35279" CreationDate="2022-05-10T09:19:52.067" Score="0" Body="&lt;p&gt;You might also like to make a &amp;quot;.bat/.cmd&amp;quot; file that takes the file name as a parameter&#xA;Note the  %%1 is the input file and %%2 is the name of the output file&#xA;=&amp;gt;addABC.bat&lt;/p&gt;&#xA;&lt;pre&gt; ffmpeg -i %%1 -vf &quot;drawtext=fontfile=path\font.ttf:text='ABC':fontcolor=black:fontsize=45:box=1:boxcolor=white@1:boxborderw=5:x=(w-text_w)/2:y=50:enable='gte(t,5)',drawtext=fontfile=path\font.ttf:text='DEF':fontcolor=black:fontsize=45:box=1:boxcolor=white@1:boxborderw=5:x=(w-text_w)/2:y=100:enable='gte(t,5)'&quot; -codec:a copy output.mp4&#xA;&lt;/pre&gt;&#xA;&lt;p&gt;Then you can use it like this =&amp;gt;&lt;/p&gt;&#xA;&lt;pre&gt;&#xA; addabc  video.mp4 output.mp4&#xA;&lt;/pre&gt;&#xA;&lt;p&gt;its also possible to just use the input name and append something to it for the output file name&lt;/p&gt;&#xA;" OwnerUserId="38351" LastActivityDate="2022-05-10T09:19:52.067" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35294" PostTypeId="1" AcceptedAnswerId="35295" CreationDate="2022-05-10T10:20:25.797" Score="1" ViewCount="290" Body="&lt;p&gt;I want to filter a video stream&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf crop=300:ih,mpdecimate&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and add metadata for it to the output video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-metadata:s:v:0 rotate=90&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This command filter it, but the &lt;strong&gt;metadata are NOT added&lt;/strong&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -to 6 -i input.3gp -vf crop=300:ih,mpdecimate \&#xA;       -metadata:s:v:0 rotate=90 \&#xA;        output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But I do the same in &lt;strong&gt;2 steps&lt;/strong&gt;  (using a temporary output as input),&lt;br /&gt;&#xA;the result is OK, the &lt;strong&gt;metadata ARE added&lt;/strong&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -to 6 -i input.3gp -vf crop=300:ih,mpdecimate \&#xA;       temp.mp4&#xA;&#xA;ffmpeg -i temp.mp4 -c copy \&#xA;       -metadata:s:v:0 rotate=90 \&#xA;        output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My question is:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Is it impossible to filter a video &lt;strong&gt;and&lt;/strong&gt; add some metadata in one step?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;em&gt;Part of FFprobe output:&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;For the successful &lt;strong&gt;2-steps&lt;/strong&gt; method:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;    Metadata:&#xA;      handler_name    : Core Media Video&#xA;      vendor_id       : [0][0][0][0]&#xA;    Side data:&#xA;      displaymatrix: rotation of 90.00 degrees&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;For the &lt;strong&gt;1-step&lt;/strong&gt; method, the last 2 rows are missing.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2022-05-10T10:44:43.623" LastActivityDate="2022-05-10T11:42:43.513" Title="Filtering video and adding metadata in one step failed" Tags="|ffmpeg|metadata|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35295" PostTypeId="2" ParentId="35294" CreationDate="2022-05-10T11:42:43.513" Score="1" Body="&lt;p&gt;Yes, the rotate tag is ignored for encoded video streams.&lt;/p&gt;&#xA;&lt;p&gt;Should be patched in git master within a couple of days.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-05-10T11:42:43.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35296" PostTypeId="2" ParentId="34115" CreationDate="2022-05-10T14:17:05.187" Score="1" Body="&lt;p&gt;Not sure if this could be the problem, but I got that exact rendering error from a similar scenario. I had title clips with fades as you describe, but they were on a video track that was above an empty gap in a lower video track. I just made a dummy clip to go beneath and fill that gap, and it cleared up the rendering error.&lt;/p&gt;&#xA;&lt;p&gt;also, I had version 21.12.3 on Ubuntu 19.10 with the parallel processing on ( by default, didn't know it was an option) and encoder threads 0, also default. Since using a dummy clip was all it took to solve my issue, it means that the parallel processing bug has been fixed for 21.12.3 at least.&lt;/p&gt;&#xA;" OwnerUserId="38352" LastEditorUserId="38352" LastEditDate="2022-05-11T15:14:22.497" LastActivityDate="2022-05-11T15:14:22.497" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35299" PostTypeId="2" ParentId="33561" CreationDate="2022-05-10T19:31:51.377" Score="1" Body="&lt;p&gt;To add a few more aspects:&lt;/p&gt;&#xA;&lt;p&gt;The project bin is a 'container' that can encompass items across multiple directories in the filesystem. That way you don't have to physically copy clips from scattered locations to a single working directory. but from the perspective of kdenlive, they are now all in one place when they're in the bin.&lt;/p&gt;&#xA;&lt;p&gt;I believe this is a fairly generic concept which applies to other development software, like visual studio for example.&lt;/p&gt;&#xA;&lt;p&gt;A view is just a smaller window within the kdenlive main window. there are so many sub windows in kdenlive they can't all be shown at once, so if you need to see something else, get rid of the project bin view.&lt;/p&gt;&#xA;&lt;p&gt;Since project bin kind of glosses over the underlying file directory structure though, it doesn't take a very big project before you get hundreds or even thousands of items in the bin. therefore the bin has some extra features.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;you can make virtual sub directories for it.&lt;/li&gt;&#xA;&lt;li&gt;you can right-click any item and select 'locate' to find it in the physical directories.&lt;/li&gt;&#xA;&lt;li&gt;a search bar... if you know part of the name of what you're looking for. if you don't, but you do remember where it is on the timeline, another way to go to an item in the bin is to right-click the item in the timeline, and select 'find in project bin'.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;put it all together, and kdenlive project bin is about as fast and easy to use as anyone could want.&lt;/p&gt;&#xA;" OwnerUserId="38352" LastActivityDate="2022-05-10T19:31:51.377" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35300" PostTypeId="1" CreationDate="2022-05-10T20:30:09.967" Score="1" ViewCount="4698" Body="&lt;p&gt;I have an MKV with integrated subtitles as such:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XmKly.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XmKly.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I want to keep &amp;quot;English [Full] - [English]&amp;quot; when converting to MP4.&lt;/p&gt;&#xA;&lt;p&gt;Currently I use this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i myMovie.mkv -vcodec copy -acodec copy myMovieMP4.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The conversion works but the subtitles don't show up on the screen and if I go in &amp;quot;Subtitles&amp;quot; and select this, it still doesn't show up:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bIjio.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bIjio.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Ideally, I would like to those subtitles to automatically show up when running the .mp4 (as though it was hardcoded into the video). Is there any known way of doing that?&lt;/p&gt;&#xA;" OwnerUserId="38357" LastActivityDate="2022-06-12T16:07:50.760" Title="How can we keep the subtitle track when converting from MKV to MP4 with ffmpeg?" Tags="|ffmpeg|mp4|conversion|subtitles|mkv|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35303" PostTypeId="2" ParentId="34261" CreationDate="2022-05-12T01:16:01.817" Score="1" Body="&lt;p&gt;From what I can see, kdenlive is hard-coded to use DISPLAY :0, while ubuntu and gnome/gdm have switched (around ubuntu 18??) to put the user on DISPLAY :1. When I tried the lightdm manager, I found that it still has the older convention of putting the user on the :0 DISPLAY, which is compatible with kdenlive screen grab. So if you don't mind switching window manager, that could be a way to do it.&lt;/p&gt;&#xA;&lt;p&gt;I also tried to understand if it is possible to have gdm3 put the user on DISPLAY :0 as a default at boot time through some custom configuration, but couldn't figure it out.&lt;/p&gt;&#xA;&lt;p&gt;In the user's gdm3 session that is on :1 by default, I also tried to set DISPLAY :0 in an xterm and start kdenlive from the command line in that xterm. However, for some reason I got a Qt error doing that, and so I couldn't tell if that was a useful workaround or not.&lt;/p&gt;&#xA;&lt;p&gt;Note that kdenlive screen grab has some wonky behaviour, which made it harder for me to understand this problem. The 21.12.3 version I was using didn't show me the error output from the ffmpeg command, and it was only by chance I tried the 22.04 version this evening (which was scheduled for release tomorrow but I guess it went out early) and it did now show that error output.&lt;/p&gt;&#xA;&lt;p&gt;Note also KDE documentation talks about a need to obtain an ffmpeg binary compiled with --enable-x11grab (or more properly, --enable-libxcb) in order for kdenlive screen grab to work. In fact, I don't seem to need this ffmpeg option to get a screen grab. It was just the DISPLAY business that had to be fixed.&lt;/p&gt;&#xA;" OwnerUserId="38352" LastEditorUserId="38352" LastEditDate="2022-05-12T01:26:18.773" LastActivityDate="2022-05-12T01:26:18.773" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35305" PostTypeId="1" CreationDate="2022-05-12T03:27:52.783" Score="1" ViewCount="541" Body="&lt;p&gt;I shot some video at 60fps with the intention of putting it in a 24fps timeline slowed down. (59.97 and 23.976 actually) Usually I shoot at a shutter speed of 1/125 for shots like this. I shot some at 1/60 where it was too dark to shoot at 1/125. Between those two I really can't see a huge difference.&lt;/p&gt;&#xA;&lt;p&gt;At some point however I must have bumped the shutter speed to 1/50. They don't look too different at full speed but when slowed down it seems a bit choppy. It's kind of a neat claymation style effect but not what I was going for. Was wondering if there was some way to smooth it out? I edit in Davinci Resolve&lt;/p&gt;&#xA;" OwnerUserId="38365" LastActivityDate="2022-05-12T03:27:52.783" Title="Can I fix choppy video shot at wrong shutter speed?" Tags="|video|davinci-resolve|framerate|shutter|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35307" PostTypeId="2" ParentId="35300" CreationDate="2022-05-13T09:30:56.273" Score="2" Body="&lt;p&gt;You can find detailed answer on your question &lt;a href=&quot;https://askubuntu.com/questions/214199/how-do-i-add-and-or-keep-subtitles-when-converting-video&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Basically you need to add &amp;quot;-map&amp;quot; parameter to your command.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i myMovie.mkv -c copy -map 0:v:0 -map 0:a:0 -map 0:s:0 myMovieMP4.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;-map 0:v:0&lt;/code&gt; means, that you want to pick first video track from first input file &amp;quot;myMovie.mkv&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-map 0:a:0&lt;/code&gt; means, that you want to pick first audio track from first input file &amp;quot;myMovie.mkv&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-map 0:s:0&lt;/code&gt; means, that you want to pick first subtitles track from first input file &amp;quot;myMovie.mkv&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;You can can input ffmpeg &amp;quot;myMovie.mkv&amp;quot; to look at the list of streams in the file.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;This command with &amp;quot;-map 0&amp;quot; will put all available tracks into the output file:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -map 0 -c:v libx264 -c:a aac -c:s mov_text output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Map&quot; rel=&quot;nofollow noreferrer&quot;&gt;Selecting streams with the -map option&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;To burn-in subtitles you can read the link at the top of the message or find another subject here at the stackexchange.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Basically you can burn-in subtitles from MKV to MP4 using this command&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -filter_complex &amp;quot;[0:v:0]subtitles=input.mkv:si=0[v]&amp;quot; `-map &amp;quot;[v]&amp;quot;` -map 0:a:0 -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;[0:v:0]&lt;/code&gt; - means, that you want to take first video stream from input file.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;:si=0&lt;/code&gt; - means, that you want to take first subtitle stream from input file&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-map &amp;quot;[v]&amp;quot;&lt;/code&gt; - means, that you want to put into your output video processed by filter_complex stream (video + subtitles).&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-map 0:a:0&lt;/code&gt; - means, that you want to take first audio stream from input file&lt;/p&gt;&#xA;&lt;p&gt;Audio will be copied, video stream will be reencoded.&#xA;&lt;code&gt;-c:v libx264&lt;/code&gt; - reencode to x264&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2022-05-13T09:30:56.273" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35308" PostTypeId="2" ParentId="26485" CreationDate="2022-05-13T09:52:03.813" Score="0" Body="&lt;p&gt;Actually, I think that Media Encoder can't do it native.&#xA;I know, that &lt;a href=&quot;https://www.autokroma.com/AfterCodecs/&quot; rel=&quot;nofollow noreferrer&quot;&gt;After Codecs&lt;/a&gt; has function to render with certain filesize. This size won't be certain, but will be very approx. Also you will need to consider correct resolution for your files to leave your videos with enough good quality.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HrvjF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HrvjF.png&quot; alt=&quot;After Codecs set filesize for video&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Also you can export your files from Media Encoder and then reencode with any converter, that support file size limit.&#xA;For example ffmpeg:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -fs 10M output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For a lot of files you can create BASH or BATCH script, depends on your OS.&lt;/p&gt;&#xA;&lt;p&gt;You can read &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264#twopass&quot; rel=&quot;nofollow noreferrer&quot;&gt;this article&lt;/a&gt; to understand, how to encode files with two-pass reenconding and reach certain filesize.&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2022-05-13T09:52:03.813" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35309" PostTypeId="2" ParentId="35257" CreationDate="2022-05-13T09:58:57.920" Score="1" Body="&lt;p&gt;The stabilizer doesn’t “care” about the fidelity of time it’s processing.  It looks at the sequence as a whole, calculates the vector magnitude of pixel motion from one frame to the next, and then translates or warps (user choice) each frame in the opposite direction.&lt;/p&gt;&#xA;&lt;p&gt;A 3000 FPS video looks the same to the stabilizer as a 30 FPS one.&lt;/p&gt;&#xA;&lt;p&gt;HFR video is great at capturing temporal fidelity, but higher temporal fidelity of a shaky camera only gives you higher-frequency camera rotation noise.&lt;/p&gt;&#xA;&lt;p&gt;To smooth out the noise, you actually want to blend the frames together.  This is possible in Resolve by blending together nearby frames with motion blur, either through the motion tab of the color page, or as an edit effect.  Last I checked, the color page couldn’t simulate greater than a 360 degree shutter, however.&lt;/p&gt;&#xA;&lt;p&gt;But all of this happens naturally, in camera, when you use a lower frame rate and longer shutter speed.  So in most cases, using HFR works against you.&lt;/p&gt;&#xA;&lt;p&gt;You see the effect more commonly in time lapse videos because they are essentially the opposite of HFR ones, and high frequency rotational noise is naturally filtered out because each sample is spaced further apart temporally.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2022-05-13T09:58:57.920" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35310" PostTypeId="2" ParentId="35280" CreationDate="2022-05-13T10:04:15.643" Score="2" Body="&lt;p&gt;You need to increase value of shadow, like &lt;code&gt;&amp;quot;Shadow=10&amp;quot;&lt;/code&gt; and you will add padding to your BG.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1ah9t.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1ah9t.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://stackoverflow.com/questions/25870169/how-to-set-background-to-subtitle-in-ffmpeg&quot;&gt;Here&lt;/a&gt; you can read more about this.&lt;/p&gt;&#xA;&lt;p&gt;As I know, no way to change x,y axis separately for BG size.&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2022-05-13T10:04:15.643" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35311" PostTypeId="2" ParentId="35252" CreationDate="2022-05-13T10:18:39.900" Score="0" Body="&lt;p&gt;&lt;strong&gt;Usually method with unpacking PRPROJ with 7-zip helps me.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Unpack project file with 7-zip&lt;/li&gt;&#xA;&lt;li&gt;Open in notepad.&lt;/li&gt;&#xA;&lt;li&gt;Edit version in line number 4.&#xA;&lt;code&gt;Version=&amp;quot;40&amp;quot;&lt;/code&gt; is for Premiere 2022.&#xA;&lt;code&gt;Version=&amp;quot;39&amp;quot;&lt;/code&gt; is for Premiere 2021.&#xA;&lt;code&gt;Version=&amp;quot;38&amp;quot;&lt;/code&gt; is for Premiere 2020.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;You can even edit it to &lt;code&gt;Version=&amp;quot;30&amp;quot;&lt;/code&gt;, then Premiere should propose you to resave it to actual version.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/uhzcg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uhzcg.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol start=&quot;4&quot;&gt;&#xA;&lt;li&gt;Save the file and rename in to prproj.&#xA;4.1. Or pack it with 7-zip with these settings:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/qoyMz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qoyMz.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Then rename to *.prproj&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Video explanation&lt;/strong&gt;&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/n_5kdeXEbdQ?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="26758" LastEditorUserId="26758" LastEditDate="2022-05-13T10:23:53.997" LastActivityDate="2022-05-13T10:23:53.997" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35312" PostTypeId="1" AcceptedAnswerId="35317" CreationDate="2022-05-14T09:29:14.607" Score="3" ViewCount="418" Body="&lt;p&gt;I think it would be easier to share an image to show what I'm trying to accomplish.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Za4zi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Za4zi.png&quot; alt=&quot;offset path angle for each yellow corner&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This will be a mogrt so the actual rectangle size / aspect ratio is determined by variable text size.&lt;/p&gt;&#xA;&lt;p&gt;But, I think I should still be able to figure out offset angle so the trimmed paths will always be centered on the corners.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Edit:&lt;/strong&gt; Getting a bit further but still not there. This &lt;em&gt;should&lt;/em&gt; make the yellow stroke start directly in the lower right corner, but it doesn't.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LS69q.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LS69q.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;# text layer determines width and height&#xA;txt=thisComp.layer(&amp;quot;quote&amp;quot;).sourceRectAtTime();&#xA;&#xA;# padding adding to width and height&#xA;p=thisComp.layer(&amp;quot;controls&amp;quot;).effect(&amp;quot;box padding&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;h=txt.height+p;&#xA;w=txt.width+p;&#xA;&#xA;# angle from upper right corner to lower right corner (yay trigonometry)&#xA;x=radiansToDegrees(Math.atan(h/w))*2;&#xA;[x]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I still haven't figured out how I'm going to account for the length of the line yet (in degrees).&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Edit 2:&lt;/strong&gt; Decided to take a different approach and use a mask with 2 rectangle shapes (controlled with a second slider)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VkJsi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VkJsi.png&quot; alt=&quot;alternate approach&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/RL56I.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RL56I.png&quot; alt=&quot;any size works&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The yellow stroke shape uses the dual rectangle shape layer as a track matte and I'm using these two expressions to determine the width/height of the rectangles.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;txt=thisComp.layer(&amp;quot;quote&amp;quot;).sourceRectAtTime();&#xA;h=txt.height;&#xA;w=txt.width;&#xA;p=thisComp.layer(&amp;quot;controls&amp;quot;).effect(&amp;quot;box padding&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;sw=thisComp.layer(&amp;quot;controls&amp;quot;).effect(&amp;quot;stroke length&amp;quot;)(&amp;quot;Slider&amp;quot;)&#xA;x=w-sw;&#xA;y=h+p*2;&#xA;[x,y]&#xA;&#xA;txt=thisComp.layer(&amp;quot;quote&amp;quot;).sourceRectAtTime();&#xA;h=txt.height;&#xA;w=txt.width;&#xA;p=thisComp.layer(&amp;quot;controls&amp;quot;).effect(&amp;quot;box padding&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;sw=thisComp.layer(&amp;quot;controls&amp;quot;).effect(&amp;quot;stroke length&amp;quot;)(&amp;quot;Slider&amp;quot;)&#xA;x=w+p*2;&#xA;y=h-sw;&#xA;[x,y]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I won't be able to animate the way I had planned, but I should still be able to come up with a cool look by animating the track matte. I'm leaving this question open because I would love to know why my first solution wasn't correct.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Edit3:&lt;/strong&gt; Thanks for the answer Clif!&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QcGOO.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QcGOO.gif&quot; alt=&quot;solution&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38390" LastEditorUserId="38390" LastEditDate="2022-05-17T04:02:36.653" LastActivityDate="2022-05-17T04:02:36.653" Title="After Effects Trim paths offset corner position based on rectangle width and height" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35315" PostTypeId="2" ParentId="33790" CreationDate="2022-05-16T05:13:19.483" Score="1" Body="&lt;p&gt;I saw your code on the OBS Forum as well and wanted to help here too.&lt;/p&gt;&#xA;&lt;p&gt;I made some tweaks to your Python example and it worked great!&#xA;I want to clarify some things in case anyone wants to do exacly what OP wanted. You should follow these steps:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Install the obs-websocket plugin&lt;/li&gt;&#xA;&lt;li&gt;Install the obs-websocket-py which is the Python tool for the plugin (you can do this using pip)&lt;/li&gt;&#xA;&lt;li&gt;Create a new .py file wth this code:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Python:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;import obswebsocket&#xA;from obswebsocket import obsws, events, requests&#xA;&#xA;client = obswebsocket.obsws(&amp;quot;localhost&amp;quot;, 4444, &amp;quot;&amp;quot;) #Change this if you have a different name, port or password&#xA;client.connect()&#xA;client.call(obswebsocket.requests.GetFilenameFormatting())&#xA;print(&amp;quot;Hi! I'm your new video\nWhat's my name?\nFilename:&amp;quot;)&#xA;client.call(obswebsocket.requests.SetFilenameFormatting(input() + &amp;quot; - %MM-%DD %hh-%mm&amp;quot;)) #Custom name + date. The best of two worlds&#xA;client.call(obswebsocket.requests.StartRecording())&#xA;print(client.call(obswebsocket.requests.GetFilenameFormatting()))&#xA;client.call(obswebsocket.requests.SetFilenameFormatting(&amp;quot;-%MM-%DD %hh-%mm-%ss&amp;quot;))&#xA;print(client.call(obswebsocket.requests.GetFilenameFormatting()))&#xA;client.disconnect()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ol start=&quot;4&quot;&gt;&#xA;&lt;li&gt;Open OBS and execute the code&#xA;And voilà! A new window will open and it should ask you for your video's name and then start recording.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I wanted to write this bc it took me a lot of time to figure this out. So let me know if it helped you too.&lt;/p&gt;&#xA;" OwnerUserId="38404" LastActivityDate="2022-05-16T05:13:19.483" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35316" PostTypeId="2" ParentId="35084" CreationDate="2022-05-16T10:14:08.770" Score="0" Body="&lt;p&gt;Can you try using the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -y -i color.mp4 -i alpha.mp4 \&#xA;   -shortest -filter_complex [0:v][1:v]alphamerge -map \&#xA;   0:a:0 output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="38406" LastActivityDate="2022-05-16T10:14:08.770" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35317" PostTypeId="2" ParentId="35312" CreationDate="2022-05-16T17:08:54.227" Score="2" Body="&lt;p&gt;In order to align the lines to each corner, I was able to do this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Bottom left corner:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;No offset&lt;/li&gt;&#xA;&lt;li&gt;Set trim start to 50%&lt;/li&gt;&#xA;&lt;li&gt;Set trim end to 50%&lt;/li&gt;&#xA;&lt;li&gt;Set expression on trim end to be 100 minus the trim start or something like &lt;code&gt;100 - content(&amp;quot;Rectangle 1&amp;quot;).content(&amp;quot;Trim Paths 1&amp;quot;).start&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Now if you change the value of the trim start, it should stay equidistant with the trim end.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;This first corner can be used as a starting point for all of the other corners and we should only have to update the &lt;code&gt;offset&lt;/code&gt; to get them to align correctly to each corner.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Top right corner&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Set offset to 180 degrees&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;Bottom right corner&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Set expression for offset to be:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;pre&gt;&lt;code&gt;// If needed, change your width and height variables to whatever values you &#xA;// are using to drive your dimensions.&#xA;width = content(&amp;quot;Rectangle 1&amp;quot;).content(&amp;quot;Rectangle Path 1&amp;quot;).size[0];&#xA;height = content(&amp;quot;Rectangle 1&amp;quot;).content(&amp;quot;Rectangle Path 1&amp;quot;).size[1]&#xA;perimeter = 2 * width + 2 * height;&#xA;perc = width / perimeter;&#xA;&#xA;-perc * 360&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Top left corner&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Pickwhip the offset of the bottom right corner and add &lt;code&gt;180&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Then you should be able to hook up each of the trim path's start positions to a 'slider control' effect to have them all animate together.&lt;/p&gt;&#xA;" OwnerUserId="27384" LastEditorUserId="27384" LastEditDate="2022-05-16T17:31:44.540" LastActivityDate="2022-05-16T17:31:44.540" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35319" PostTypeId="2" ParentId="35288" CreationDate="2022-05-16T18:47:34.880" Score="1" Body="&lt;p&gt;Wow. This is actually pretty tricky. I can't think of an easy, perfect solution. But here are some workarounds:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Do your text in illustrator first, so you can manipulate the paths to create fills before bringing them into AE.&lt;/li&gt;&#xA;&lt;li&gt;You can right click on the text and choose create -&amp;gt; Create Shapes from Text or Create Masks from text, then manipulate the paths/masks to create fills. Tedious, but effective.&lt;/li&gt;&#xA;&lt;li&gt;This would be a bit more work, so I wouldn't suggest it unless you are going to have this same problem a lot. But you could use the font to create a new font in illustrator.&lt;/li&gt;&#xA;&lt;li&gt;Sometimes the same font exists that isn't an outline. If you could find the match, you could pair them up.&lt;/li&gt;&#xA;&lt;li&gt;This magic wand preset looks like it could be useful: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/njPyRPWvrNw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Since you mentioned that you need to do animated letters, pretty much all of these solutions would require you to break the text's characters down to individual letters. There are a couple of 'name your own price' scripts on aescripts.com that might be helpful. One is called 'Decompose Text' which helps to break the characters out to their own layers and the other is called 'Rift' which helps to offset the layers or keyframes depending on what type of animations you are doing.&lt;/p&gt;&#xA;" OwnerUserId="27384" LastActivityDate="2022-05-16T18:47:34.880" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35320" PostTypeId="1" AcceptedAnswerId="35321" CreationDate="2022-05-16T21:52:50.773" Score="0" ViewCount="186" Body="&lt;p&gt;I know the movie is old, but if there's so much as a production book of the film it would assist me a great deal.&lt;/p&gt;&#xA;&lt;p&gt;I'm attempting to confront all of the areas in animation which I'm inexperienced with, which has involved going back to a lot of classics. I have to say, &lt;em&gt;holy hell&lt;/em&gt;, I'm watching it again now and I have no idea how they did some of that at the time. An example would be the rippling water reflections or the path of the raindrops rolling off of the plants—I have no idea how they figured that out without modern computer-aided animation. I need to know.&lt;/p&gt;&#xA;&lt;p&gt;Do any records exist of either Bambi's behind-the-scenes production specifically, or failing that, the techniques used in early Disney animation studios? Where can I find them?&lt;/p&gt;&#xA;&lt;p&gt;Thank you kindly.&lt;/p&gt;&#xA;" OwnerUserId="34752" LastActivityDate="2022-05-17T09:00:58.967" Title="Does any record exist of the animation techniques used producing Disney's Bambi?" Tags="|animation|production|technical|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35321" PostTypeId="2" ParentId="35320" CreationDate="2022-05-17T08:52:13.233" Score="1" Body="&lt;p&gt;The 'The Illusion of Life: Disney Animation' book by Frank Thomas &amp;amp; Ollie Johnston is a great resource for this.  It's available in &lt;a href=&quot;https://www.amazon.co.uk/Illusion-Life-Disney-Animation-Editions/dp/0786860707/ref=sr_1_1?keywords=Illusion%20Of%20Life&amp;amp;qid=1652777349&amp;amp;sr=8-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;hardback&lt;/a&gt;, and &lt;a href=&quot;https://archive.org/details/TheIllusionOfLifeDisneyAnimation/page/n7/mode/2up&quot; rel=&quot;nofollow noreferrer&quot;&gt;online in many places&lt;/a&gt;.&#xA;It covers Bambi directly, and all the classic Disney animation techniques.&lt;/p&gt;&#xA;&lt;p&gt;Disney's multi-plane camera film is also well worth a watch:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/YdHTlUGN1zw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;They mention Bambi directly &lt;a href=&quot;https://youtu.be/YdHTlUGN1zw?t=269&quot; rel=&quot;nofollow noreferrer&quot;&gt;at 4m30&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-05-17T09:00:58.967" LastActivityDate="2022-05-17T09:00:58.967" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="35323" PostTypeId="1" CreationDate="2022-05-17T17:25:41.603" Score="1" ViewCount="53" Body="&lt;p&gt;Can you please help me with this issue here?&#xA;When I apply some transition effect to my videos colour correction gets mixed up and from something good looking I get a video with blue colour over it.&lt;/p&gt;&#xA;&lt;p&gt;See the pictures so you can know what am I talking about.&lt;/p&gt;&#xA;&lt;p&gt;By the way, I'm working in Sony Vegas Pro 17, and there are no colours added to the effect (transition) I am using.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/aroXg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/aroXg.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kTryM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kTryM.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38419" LastActivityDate="2022-05-17T17:25:41.603" Title="Sony Vegas Transition Effect and Colour Correction" Tags="|vegas-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35326" PostTypeId="2" ParentId="33097" CreationDate="2022-05-17T21:20:58.320" Score="0" Body="&lt;p&gt;If you only have 1 clip, you should be able to do lossless cutting using extract Zone in the clip monitor. The dialog for extract zone offers a codec 'copy' option as well as an encoding option. I have seen it mentioned elsewhere that the timing on the extract Zone function in kdenlive can be a little off at times so you might not be able to do precise cuts reliably, but it should work fine for rough cuts. Note that extract zone is not an option in the project monitor.&lt;/p&gt;&#xA;" OwnerUserId="38352" LastActivityDate="2022-05-17T21:20:58.320" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35327" PostTypeId="2" ParentId="35224" CreationDate="2022-05-18T06:40:45.833" Score="-1" Body="&lt;p&gt;Run After affect Intel version in Creative Cloud App. &lt;a href=&quot;https://i.stack.imgur.com/A5yNg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/A5yNg.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;Creative Cloud App &amp;gt; Apps &amp;gt; All apps &amp;gt; After effect &amp;gt; Button (...) &amp;gt; Open (Intel)&#xA;Done!&lt;/p&gt;&#xA;" OwnerUserId="38426" LastActivityDate="2022-05-18T06:40:45.833" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35329" PostTypeId="1" CreationDate="2022-05-18T14:54:37.050" Score="1" ViewCount="10" Body="&lt;p&gt;I have a fuji x-mount camera which is aps-c. As far as I understand it aps-c is just about the same size as super35, and I can buy a PL mount adapter for my fuji camera. Does this mean if i use something like an Atlas Orion 2x i would actually get a 2x squeeze? Or is there some other limiting factor I'm not understanding here. I can't seem to find videos or forums talking about using pro cine anamorphics on fuji, only those 1.3x sirui lenses made for fuji. Maybe I'm not even asking the right question.&lt;/p&gt;&#xA;" OwnerUserId="38430" LastActivityDate="2022-05-18T14:54:37.050" Title="Will a professional PL s35 anamorphic lens cover a fuji sensor and provide proper squeeze?" Tags="|lenses|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35331" PostTypeId="2" ParentId="35224" CreationDate="2022-05-18T19:53:49.427" Score="1" Body="&lt;p&gt;It seems they’ve just announced updated M1 versions of most of their plugins, including FX console:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.videocopilot.net/products/m1/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.videocopilot.net/products/m1/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-05-18T19:53:49.427" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35334" PostTypeId="1" CreationDate="2022-05-19T16:38:24.680" Score="2" ViewCount="396" Body="&lt;p&gt;I want to film two types of YouTube video:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Non moving shot, relatively close up. E.g under a lamp post capturing each failing droplet.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Virtual walk.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Are there specific cameras that will let me capture the rain in life like realism, or is it generally “higher res, higher FPS”?&lt;/p&gt;&#xA;&lt;p&gt;Which lenses should I be looking at?&lt;/p&gt;&#xA;&lt;p&gt;I have about $1000 to spend. Looking at the Sony a6000.&lt;/p&gt;&#xA;" OwnerUserId="38440" LastActivityDate="2022-05-19T22:13:31.310" Title="Best camera for filming rain" Tags="|gear|" AnswerCount="1" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="35335" PostTypeId="2" ParentId="33790" CreationDate="2022-05-19T17:38:46.597" Score="0" Body="&lt;p&gt;My final solution is a simple python script (for Windows) that starts OBS minimised (if not started yet), asks for the filename prefix and starts recording.&#xA;Dirty but fits my needs.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-python prettyprint-override&quot;&gt;&lt;code&gt;#!/usr/bin/env python&#xA;import psutil&#xA;import obswebsocket&#xA;import obswebsocket.requests&#xA;import subprocess&#xA;import sys&#xA;import signal&#xA;import time&#xA;&#xA;def signal_handler(sig, frame):&#xA;    print('\n\nExiting.')&#xA;    sys.exit(0)&#xA;&#xA;obs_process_name = &amp;quot;obs64.exe&amp;quot;&#xA;obs_bin_dir = &amp;quot;C:\\Program Files\\obs-studio\\bin\\64bit\\&amp;quot;&#xA;obs_bin_full_path = obs_bin_dir + obs_process_name&#xA;obs_params = &amp;quot;--minimize-to-tray&amp;quot;&#xA;&#xA;signal.signal(signal.SIGINT, signal_handler)&#xA;&#xA;if len(sys.argv) &amp;gt;= 2:&#xA;    file_name_prefix = ' '.join(sys.argv[1:])&#xA;else:&#xA;    print(&amp;quot;Enter recording name or exit with CTRL-C.&amp;quot;)&#xA;    file_name_prefix = input(&amp;quot;Recording name: &amp;quot;)&#xA;&#xA;if not obs_process_name in (p.name() for p in psutil.process_iter()):&#xA;    print(&amp;quot;Process &amp;quot; + obs_process_name + &amp;quot; not running. Starting.&amp;quot;)&#xA;    subprocess.Popen([obs_bin_full_path, obs_params], cwd=obs_bin_dir)&#xA;else:&#xA;    print(&amp;quot;Process &amp;quot; + obs_process_name + &amp;quot; already running.&amp;quot;)&#xA;&#xA;file_name_prefix = &amp;quot;&amp;quot;.join([c for c in file_name_prefix if c.isalpha() or c.isdigit() or c == ' ']).rstrip()&#xA;&#xA;print(&amp;quot;Will use name [&amp;quot; + file_name_prefix + &amp;quot;].&amp;quot;)&#xA;&#xA;client = obswebsocket.obsws(&amp;quot;localhost&amp;quot;, PORT_NUMBER, &amp;quot;PASSWORD&amp;quot;)&#xA;&#xA;while True:&#xA;    try:&#xA;        client.connect()&#xA;    except:&#xA;        sys.stdout.write(&amp;quot;.&amp;quot;)&#xA;        continue&#xA;    else:&#xA;        client.call(obswebsocket.requests.SetFilenameFormatting(file_name_prefix + &amp;quot; - %CCYY-%MM-%DD %hh-%mm-%ss&amp;quot;))&#xA;        client.call(obswebsocket.requests.StartRecording())&#xA;        client.call(obswebsocket.requests.SetFilenameFormatting(&amp;quot;%CCYY-%MM-%DD %hh-%mm-%ss&amp;quot;))&#xA;        client.disconnect()&#xA;        break&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="34894" LastActivityDate="2022-05-19T17:38:46.597" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35336" PostTypeId="2" ParentId="35334" CreationDate="2022-05-19T19:36:53.970" Score="1" Body="&lt;p&gt;This question is too broad and is difficult to answer.&lt;/p&gt;&#xA;&lt;p&gt;Are you making some kind of real-life documentary and you are traveling to a rainforest or a Monzon propensity country?&lt;/p&gt;&#xA;&lt;p&gt;Are you making a short film with fake rain and therefore your camera will be relatively dry?&lt;/p&gt;&#xA;&lt;p&gt;Besides some obvious things like choosing some waterproof camera or casing in the case of a real-life scenario, the specs of the camera do not matter.&lt;/p&gt;&#xA;&lt;p&gt;Any normal camera will capture what is in front of it... if it is well lit.&lt;/p&gt;&#xA;&lt;p&gt;Light is the key to capturing water. That is why you have a car with the lamps on a rainy scene, or a street lamp, or bright lights from a store.&lt;/p&gt;&#xA;&lt;p&gt;You need to look for some tutorials.&lt;/p&gt;&#xA;&lt;p&gt;Hi-res or normal res, depending on your project. You will never say, &amp;quot;you need a 4k camera or you can not film a rainy scene&amp;quot; Do not choose the resolution of the camera based on the weather.&lt;/p&gt;&#xA;&lt;p&gt;The same with the FPS. It could be the case you need a specific scene where droplets are in slow motion. But that is just one scene.&lt;/p&gt;&#xA;&lt;p&gt;You probably could use an action camera, but you are not defining if the field of view works for you for example. They have slow-mo capabilities, are waterproof, they will work in a virtual walk... But we do not know anything else of the project.&lt;/p&gt;&#xA;&lt;p&gt;Really, &lt;strong&gt;you need to make a more in-depth brief of your project&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;As you posted more info. Let me analyze your sample video:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Vqlf9.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Vqlf9.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;You can see that the maximum resolution this video is streaming is &amp;quot;only&amp;quot; 1&lt;strong&gt;080P, and at 30 Fps&lt;/strong&gt;. So, any modern Video camera is capable of that.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I can not tell, but probably it has a wide angle Probably an action will do.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The camera is protected against rain. So you do not really need it waterproof. Unless you want to walk in the rain.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The camera is streaming live, so, probably you need the camera connected 24/7. &lt;strong&gt;Probably a simple webcam can help you&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;But as I said. The rain has some backlights. You can not really see the rain in the air, only hitting the floor, because you need a strong light pointing to the middle air.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;One thing that is important to consider. The interesting part of the video is not the video, it is the audio (It is a really nice sound). &lt;strong&gt;You need a good mic&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;About 30Fps vs 60Fps. If you can see the raindrops at 30Fps, yes, probably 60 will give you an extra something. If you can not light them to see them at 30, you will neither at 60.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2022-05-19T22:13:31.310" LastActivityDate="2022-05-19T22:13:31.310" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="35337" PostTypeId="1" CreationDate="2022-05-19T20:03:01.377" Score="4" ViewCount="171" Body="&lt;p&gt;Windows has a great codec for screen recording called &lt;a href=&quot;https://en.wikipedia.org/wiki/Windows_Media_Video#Windows_Media_Video_Screen&quot; rel=&quot;nofollow noreferrer&quot;&gt;Windows Media Video Screen&lt;/a&gt;.&lt;br /&gt;&#xA;It generates artifacts free videos which are highly compressed (small size).&lt;/p&gt;&#xA;&lt;p&gt;I was wondering, what would be the equivalent using &lt;code&gt;FFMPEG&lt;/code&gt;?&lt;br /&gt;&#xA;Are there parameters to be set for any codec in &lt;code&gt;FFMPEG&lt;/code&gt; which can yield similar results?&lt;br /&gt;&#xA;Is there a mode for lossless intra and inter compression?&lt;/p&gt;&#xA;&lt;p&gt;If not, what would be a good set of parameters for &lt;code&gt;FFMPEG&lt;/code&gt; for this task?&lt;/p&gt;&#xA;" OwnerUserId="37909" LastEditorUserId="37909" LastEditDate="2022-09-29T11:48:37.860" LastActivityDate="2022-09-29T11:48:37.860" Title="Optimized Parameters of `FFMPEG` for Screen Recording" Tags="|ffmpeg|codec|compression|screen-casting|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35339" PostTypeId="1" AcceptedAnswerId="35344" CreationDate="2022-05-20T16:01:29.533" Score="0" ViewCount="397" Body="&lt;p&gt;I have a video, where the video resolution is 852x480.&#xA;When I open it up in VLC, &amp;quot;the Video Aspect&amp;quot; ratio defaults to *Default&#xA;However, all I see is a black screen with a thin line as the video!&lt;/p&gt;&#xA;&lt;p&gt;If I manually change the Aspect ratio to a something other than Default (e.g. 16:9) the video  displays normally.&lt;/p&gt;&#xA;&lt;p&gt;I've never seen this happen before, why is VLC not detecting the video properly, and why do I  have to change the aspect ratio manually?&lt;/p&gt;&#xA;&lt;p&gt;What command should I use with ffmpeg to fix it ?&lt;/p&gt;&#xA;&lt;p&gt;Output of ffmpeg:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'SomeLesboMovie (852x480).mp4':   Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 1&#xA;    compatible_brands: isomavc1&#xA;    creation_time   : 2015-08-02T16:17:23.000000Z   Duration: 01:36:06.23, start: 0.000000, bitrate: 2163 kb/s   Stream&#xA;#0:0[0x1](und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(progressive), 852x480 [SAR 1:270 DAR 71:10800], 1996 kb/s,&#xA;29.97 fps, 29.97 tbr, 30k tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-08-02T16:17:23.000000Z&#xA;      handler_name    : 264#video:fps=29.97:par=1:270@GPAC0.5.2-DEV-rev387-g3102094-master&#xA;      vendor_id       : [0][0][0][0]   Stream #0:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 162 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2015-08-02T16:05:42.000000Z&#xA;      handler_name    : Sound Media Handler&#xA;      vendor_id       : [0][0][0][0] At least one output file must be specified&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Fobzu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Fobzu.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37168" LastEditorUserId="37168" LastEditDate="2022-05-22T19:49:29.913" LastActivityDate="2023-10-01T03:03:23.143" Title="How to fix a file using ffmpeg so that VLC detects Aspect ratio automatically" Tags="|ffmpeg|aspect|vlc|" AnswerCount="2" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="35340" PostTypeId="1" CreationDate="2022-05-21T03:30:47.933" Score="2" ViewCount="1103" Body="&lt;p&gt;I'm trying to animate pngs of characters coming into frame when that person is talking but the easing that I can do when I right-click the keyframes is really bad. how can I make the easing more smooth because it still looks very linear? I can make a good, smooth ease in the curve editor but I don't want to do that to every keyframe in the video. what can I do?&lt;/p&gt;&#xA;&lt;p&gt;I'm using resolve 17 studio&lt;/p&gt;&#xA;" OwnerUserId="37770" LastActivityDate="2022-10-25T02:00:10.097" Title="is there a way to get better easing on keyframes in davinci resolve" Tags="|davinci-resolve|keyframes|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35341" PostTypeId="1" AcceptedAnswerId="35349" CreationDate="2022-05-21T20:11:34.833" Score="1" ViewCount="224" Body="&lt;p&gt;I have an image that has lens distortion on it (barrel or pincushion). This image is used as the background image. I want to get another image, scale it down, layer it on top of the first image, and then have it slide across the screen automatically. Assume this second image has no lens distortion.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/moLSo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/moLSo.png&quot; alt=&quot;distortion&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;In order to make it look very accurate, I need to stretch the image out as it moves from edge to edge. For example, if the background image had barrel distortion, then any two arbitrary reference points on the foreground image should be wider apart in the middle of the image, but closer together on the edges.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oGIKy.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oGIKy.gif&quot; alt=&quot;distortion_animation&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I know how to stretch images, but how do I do this on a continuous basis? Where every part of the foreground image is stretched depending on where it is in the background. I use After Effects.&lt;/p&gt;&#xA;&lt;p&gt;Btw I cannot use lens distortion remover software. It has to be manually done in editing for other specific reasons.&lt;/p&gt;&#xA;" OwnerUserId="37883" LastActivityDate="2022-05-24T08:03:39.783" Title="Manual Lens Distortion - Continuously Stretching Image" Tags="|after-effects|premiere|editing|lenses|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35342" PostTypeId="1" AcceptedAnswerId="36211" CreationDate="2022-05-22T20:01:44.833" Score="0" ViewCount="1142" Body="&lt;p&gt;I have found &lt;a href=&quot;https://video.stackexchange.com/a/28276/38402&quot;&gt;this solution&lt;/a&gt; provided by &lt;a href=&quot;https://video.stackexchange.com/users/25965/hackerb9&quot;&gt;hackerb9&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -i input.mp4  -b:v 0  -crf 30  -pass 1  -an -f webm -y /dev/null&#xA;ffmpeg  -i input.mp4  -b:v 0  -crf 30  -pass 2  output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It's works, but the second pass require more than 10 hours (for 30 minutes of video HD).&lt;/p&gt;&#xA;&lt;p&gt;Now the question is: can I do the same things in a reasonable time?&lt;/p&gt;&#xA;" OwnerUserId="38402" LastActivityDate="2023-02-17T11:26:50.900" Title="Convert mp4 to webm in a reasonable time" Tags="|ffmpeg|conversion|webvideos|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35343" PostTypeId="2" ParentId="35342" CreationDate="2022-05-23T07:57:53.313" Score="0" Body="&lt;p&gt;To speed it up you need to increase the compute power and throughput of your computer. I think on my machine the I/O is the bottleneck, but yours may be different so look at upgrading any or all of the following:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;CPU - a faster processor allows for more operations per second&lt;/li&gt;&#xA;&lt;li&gt;Hard drive - running all video operations off a separate drive to your operating system is essential for speed. For even higher throughput, you can use a &lt;a href=&quot;https://www.promax.com/blog/what-raid-is-best-for-video-editing&quot; rel=&quot;nofollow noreferrer&quot;&gt;RAID array&lt;/a&gt; of drives&lt;/li&gt;&#xA;&lt;li&gt;Entire system - running multiple computers in parallel can, well, parallelise lengthy operations like this. This may be overkill for what you want&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;It may be simplest for you to just buy a new machine.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2022-05-23T07:57:53.313" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35344" PostTypeId="2" ParentId="35339" CreationDate="2022-05-23T08:18:54.807" Score="0" Body="&lt;p&gt;I fixed my video by trying the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;MyBadMovie(852x480).mp4&amp;quot; -aspect 852:480 -c copy MyFixedMovie.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;NB: user @Gyan has confirmed that my display aspect ratio was 71:10800, and I can see this now in the line below, so credit to him for also sharing his expert knowledge.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;#0:00x1: Video: h264 (Main) (avc1 / 0x31637661), yuv420p(progressive), 852x480 [SAR 1:270 DAR 71:10800], 1996 kb/s,&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="37168" LastActivityDate="2022-05-23T08:18:54.807" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35345" PostTypeId="1" CreationDate="2022-05-23T14:48:56.737" Score="1" ViewCount="15" Body="&lt;p&gt;I'm currently building animations which will be exported into videos.&#xA;In some case I have stills in the background that won't change over the whole duration.&lt;/p&gt;&#xA;&lt;p&gt;Question: Are there any differences in exported video size when using SVG compared to PNG for my still background?&#xA;As far as I know, the video will render them in a fixed resolution anyways (and thus it won't affect file size)?&#xA;Does it change when using different container formats?&lt;/p&gt;&#xA;" OwnerUserId="38460" LastActivityDate="2022-05-23T14:48:56.737" Title="Should I use SVG or PNG for my animated videos?" Tags="|animation|file-formats|animation-rendering|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35347" PostTypeId="1" AcceptedAnswerId="35348" CreationDate="2022-05-24T00:47:24.177" Score="1" ViewCount="1470" Body="&lt;p&gt;I'm using Intel QuickSync to lower CPU loading of real time video transcode with FFmpeg.&lt;/p&gt;&#xA;&lt;p&gt;Specifically, qsv is used to deinterlace and decode the input video. A special HW module is used for the encoding side.  It works very well, but I'd like to do many streams in parallel (ie, launch multiple FFmpeg processes each transcoding different streams)&lt;/p&gt;&#xA;&lt;p&gt;My question is: what is the capacity limit of quick sync?  What is it limited by?&lt;/p&gt;&#xA;&lt;p&gt;The Intel documentation is not very clear other than it uses the internal GPU within the CPU, but not much more.&lt;/p&gt;&#xA;&lt;p&gt;For example, picking a random &lt;a href=&quot;https://ark.intel.com/content/www/us/en/ark/products/134597/intel-core-i912900-processor-30m-cache-up-to-5-10-ghz.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;i9 CPU from Intel's website&lt;/a&gt; says it:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;supports QuickSync&lt;/li&gt;&#xA;&lt;li&gt;has Intel® UHD Graphics 770&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;But that's about all.  Searching for specs on UHD Graphics 770 only gives a list of CPUs which support it but does not explain anything about the quick sync capabilities.&lt;/p&gt;&#xA;&lt;p&gt;So, other than trial and error, how would I calculate how many streams are possible with QuickSync on a given CPU?&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;FFmpeg command line something like:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loglevel info \&#xA;  -hwaccel qsv -c:v h264_qsv \&#xA;  -i udp://224.0.0.1:10001?fifo_size=1000000 -map 0:p:72 \&#xA;  -c:a aac -b:a 64k \&#xA;  -c:s copy \&#xA;  -c:v special_hw_encoder \&#xA;  -b:v 4M \&#xA;  -filter_complex [v:0]deinterlace_qsv,scale_qsv=w=1280:h=720:format=rgb32:mode=hq,hwdownload,format=rgb32,format=yuv420p \&#xA;  -flush_packets 0 \&#xA;  -f mpegts \&#xA;  -mpegts_copyts 1 \&#xA;  -mpegts_flags initial_discontinuity \&#xA;  -muxrate 5M \&#xA;  'udp://239.0.0.1:11001?pkt_size=1316&amp;amp;fifo_size=1000000&amp;amp;bitrate=5000000'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12757" LastActivityDate="2022-05-24T07:06:54.093" Title="Parallel throughput of Intel QuickSync (QSV) for real time streams" Tags="|ffmpeg|encoding|transcoding|decoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35348" PostTypeId="2" ParentId="35347" CreationDate="2022-05-24T07:06:54.093" Score="1" Body="&lt;p&gt;It depends on a lot of factors, but mainly the codec, bitrate and resolution of the source and output files. Unfortunately, I don't know of any websites that catalog the performance of quicksync, but you'll find a lot of user experiences when searching &amp;quot;plex quicksync (CPU model) max streams&amp;quot;. Plex is a media player that uses a slightly modified version of ffmpeg to transcode media so it's compatible on client devices.&lt;/p&gt;&#xA;&lt;p&gt;For instance, &lt;a href=&quot;https://www.reddit.com/r/PleX/comments/hrpuhf/wow_quicksync_on_newer_gen_intels_are_transcode/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this user&lt;/a&gt; was able to get 24 1080p to 720p transcodes (mix of H264 and some HEVC) at 1.12x using a 9600k. There's &lt;a href=&quot;https://www.reddit.com/r/PleX/comments/s2g4iq/can_we_aggregate_some_numbers_for_transcoder/&quot; rel=&quot;nofollow noreferrer&quot;&gt;another discussion&lt;/a&gt; that's in line with what you're requesting but unfortunately, it doesn't exist or no one has been able to find the data.&lt;/p&gt;&#xA;&lt;p&gt;The performance will be limited by the iGPUs &amp;quot;Graphics Max Dynamic Frequency&amp;quot;, which in the case of the 12900k has a base clock of 300MHz and a max of 1.55GHz. But as you know that doesn't exactly translate to real-world performance.&lt;/p&gt;&#xA;" OwnerUserId="38390" LastActivityDate="2022-05-24T07:06:54.093" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35349" PostTypeId="2" ParentId="35341" CreationDate="2022-05-24T08:03:39.783" Score="2" Body="&lt;p&gt;You could use an adjustment layer with the bulge distortion effect or the bezier warp effect applied, and then animate the image underneath. If you don't want that same effect applied to the background, just precomp the image and the adjustment layer.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TlJxI.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TlJxI.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/J2X9J.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/J2X9J.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38390" LastActivityDate="2022-05-24T08:03:39.783" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35350" PostTypeId="1" AcceptedAnswerId="35352" CreationDate="2022-05-24T08:21:08.447" Score="1" ViewCount="485" Body="&lt;p&gt;I want to fade-in/fade-out the saturation of a video based on the time (&lt;code&gt;t&lt;/code&gt;). For three videos, the saturation should fade in and fade out at different points in time, starting with 0, 6, and 12 seconds.&lt;/p&gt;&#xA;&lt;p&gt;Here is the script, using 1.5 seconds for fade-in and 2.0 seconds for fade-out. Each video should have saturation only for 6 seconds, with full saturation only for 2.5 seconds (6-2.0-1.5):&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg \&#xA;  -y \&#xA;  -f lavfi -i testsrc=size=640x480:rate=30:duration=18 \&#xA;  -f lavfi -i testsrc=size=640x480:rate=30:duration=18 \&#xA;  -f lavfi -i testsrc=size=640x480:rate=30:duration=18 \&#xA;  -filter_complex &amp;quot;&#xA;    [0:v]&#xA;      setpts=PTS-STARTPTS,drawtext=text='vid1 - %{pts}':fontsize=24:fontcolor=white,&#xA;      hue=s='clip(between(t,0,0+6) + ((t - 0)/1.5) * between(t,0,0+1.5) + (-(t-0+6)/2.0) * between(t,0+6-2.0,0+6), 0, 1)'&#xA;    [vid1];&#xA;    [1:v]&#xA;      setpts=PTS-STARTPTS,drawtext=text='vid2 - %{pts}':fontsize=24:fontcolor=white,&#xA;      hue=s='clip(between(t,6,6+6) + ((t - 6)/1.5) * between(t,6,6+1.5) + (-(t-6+6)/2.0) * between(t,6+6-2.0,6+6), 0, 1)'&#xA;    [vid2];&#xA;    [2:v]&#xA;      setpts=PTS-STARTPTS,drawtext=text='vid3 - %{pts}':fontsize=24:fontcolor=white,&#xA;      hue=s='clip(between(t,12,12+6) + ((t - 12)/1.5) * between(t,12,12+1.5) + (-(t-12+6)/2.0) * between(t,12+6-2.0,12+6), 0, 1)'&#xA;    [vid3];&#xA;    [vid1][vid2][vid3]&#xA;      hstack=inputs=3[out]&amp;quot; \&#xA;  -map &amp;quot;[out]&amp;quot; -pix_fmt yuv420p -f matroska - | ffplay -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The algorithm itself works, as I can use it in a Python program without problems. The issue is that the shift in saturation is instantaneous, i.e., the first video will have full saturation from 0-4, while it should have a fade-in and a fade-out with smooth transitions.&lt;/p&gt;&#xA;&lt;p&gt;Why is that, and how can I fix it? It's not that &lt;code&gt;t&lt;/code&gt; is integer-based … when I use &lt;code&gt;pts*tb&lt;/code&gt; instead of &lt;code&gt;t&lt;/code&gt;, the issue persists.&lt;/p&gt;&#xA;" OwnerUserId="525" LastActivityDate="2022-05-24T10:07:33.203" Title="Manual fade-in/fade-out expression in ffmpeg is not smooth" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35351" PostTypeId="2" ParentId="35350" CreationDate="2022-05-24T09:35:04.870" Score="2" Body="&lt;p&gt;In the expr,&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;clip(between(t,0,0+6) + ((t - 0)/1.5) * between(t,0,0+1.5) + (-(t-0+6)/2.0) * between(t,0+6-2.0,0+6), 0, 1)&lt;/code&gt;,&lt;/p&gt;&#xA;&lt;p&gt;the first term will contribute &lt;code&gt;1&lt;/code&gt; for the entire interval, and the fade-in clause can only add to that, and then ultimately get clipped to 1, so there's no progression for a fade-in to occur. For the fade-out, before clipping, the expr dips below 0 at once, and gets clipped to 0.&lt;/p&gt;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;hue=s=between(t\,0\,0+6) - (between(t\,0\,0+1.5)*(1-((t - 0)/1.5))+between(t\,0+6-2.0\,0+6)*((t-(6-2.0))/2.0))&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-05-24T09:35:04.870" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35352" PostTypeId="2" ParentId="35350" CreationDate="2022-05-24T10:07:33.203" Score="0" Body="&lt;p&gt;I had two errors in the script:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;The first &lt;code&gt;between()&lt;/code&gt; function should begin not at 0, 6, … and end at 6, 12, …, but have the fade-in duration added to it, i.e. &lt;code&gt;between(t,0+1.5,0+6-2.0)&lt;/code&gt; for the first one, and stop at the end minus the fade-out time.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The calculation of the offset for the fade-out was wrong. Instead of &lt;code&gt;(-(t-0+6)/2.0)&lt;/code&gt;, the offset must be in parentheses, meaning I should use &lt;code&gt;-(t-(0+6))/2.0)&lt;/code&gt; (as otherwise the sign is inverted).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Fully functioning code:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#!/usr/bin/env bash&#xA;&#xA;ffmpeg \&#xA;  -y \&#xA;  -f lavfi -i testsrc=size=640x480:rate=30:duration=18 \&#xA;  -f lavfi -i testsrc=size=640x480:rate=30:duration=18 \&#xA;  -f lavfi -i testsrc=size=640x480:rate=30:duration=18 \&#xA;  -filter_complex &amp;quot;&#xA;    [0:v]&#xA;      setpts=PTS-STARTPTS,drawtext=text='vid1 - %{pts}':fontsize=24:fontcolor=white,&#xA;      hue=s='clip(between(t,0+1.5,0+6-2.0) + ((t-0)/1.5) * between(t,0,0+1.5) + (-(t-(0+6))/2.0) * between(t,0+6-2.0,0+6),0,1)'&#xA;    [vid1];&#xA;    [1:v]&#xA;      setpts=PTS-STARTPTS,drawtext=text='vid2 - %{pts}':fontsize=24:fontcolor=white,&#xA;      hue=s='clip(between(t,6+1.5,6+6-2.0) + ((t-6)/1.5) * between(t,6,6+1.5) + (-(t-(6+6))/2.0) * between(t,6+6-2.0,6+6),0,1)'&#xA;    [vid2];&#xA;    [2:v]&#xA;      setpts=PTS-STARTPTS,drawtext=text='vid3 - %{pts}':fontsize=24:fontcolor=white,&#xA;      hue=s='clip(between(t,12+1.5,12+6-2.0) + ((t-12)/1.5) * between(t,12,12+1.5) + (-(t-(12+6))/2.0) * between(t,12+6-2.0,12+6),0,1)'&#xA;    [vid3];&#xA;    [vid1][vid2][vid3]&#xA;      hstack=inputs=3[out]&amp;quot; \&#xA;  -map &amp;quot;[out]&amp;quot; -pix_fmt yuv420p -f matroska - | ffplay -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="525" LastActivityDate="2022-05-24T10:07:33.203" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35354" PostTypeId="2" ParentId="33046" CreationDate="2022-05-24T22:21:30.487" Score="0" Body="&lt;p&gt;I have the same problem now and I found another reason for the Fusion nodes to be disappeared while everything is playing back perfectly. In Edit page you have to set the red cursor above the Fusion clip and the Fusion clip must be selected red too. But nothing should be put on an a layer above. I have put there Text later if the cursor is currently on this higher level layer and the Fusion clip the same time, the Nodes will not be displayed. &lt;a href=&quot;https://i.stack.imgur.com/Ay0Hz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ay0Hz.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38472" LastActivityDate="2022-05-24T22:21:30.487" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35356" PostTypeId="1" CreationDate="2022-05-25T08:11:08.697" Score="2" ViewCount="325" Body="&lt;p&gt;What are the best techniques that you have seen for hidden camera filming? It would probably be on-body, so needs to minimise motion blur/judder. This isn’t a question about legality or ethics - just techniques.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-05-25T21:23:15.067" Title="Best hidden camera rig techniques" Tags="|camera|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35357" PostTypeId="2" ParentId="35356" CreationDate="2022-05-25T09:03:09.477" Score="3" Body="&lt;p&gt;I've been on guerrilla shoots where they had a GoPro peeking through an O on a protest sign, held at head height like the protester isn't actually protesting right this minute.&lt;/p&gt;&#xA;&lt;p&gt;Also, I've seen a regular DSLR on a long lens, which whilst not technically hidden, is so unremarkable in public that no-one noticed.&lt;/p&gt;&#xA;&lt;p&gt;The boom op had a mic up his sleeve.&lt;/p&gt;&#xA;&lt;p&gt;Half the movie &lt;a href=&quot;https://en.wikipedia.org/wiki/51_Degrees_North&quot; rel=&quot;nofollow noreferrer&quot;&gt;51 Degrees North&lt;/a&gt; was shot using these tactics, though it does require that some of the people in the scene are placed, or that the crowd is large enough that these things go unnoticed.&lt;br /&gt;&#xA;For instance, the flash crowd at Piccadilly Circus were mainly in on it. The tube scene had a carriage-full of SAs taking up most of the space, to get the reactions right whilst the principals &amp;amp; crew ran the scene for a whole morning between stations without TfL catching on that the shoot was taking place.&lt;/p&gt;&#xA;&lt;p&gt;Behind glass [shop window etc] can also work, if your subject is fairly static.&lt;/p&gt;&#xA;" OwnerUserId="12233" LastEditorUserId="12233" LastEditDate="2022-05-25T09:11:39.963" LastActivityDate="2022-05-25T09:11:39.963" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35358" PostTypeId="2" ParentId="35356" CreationDate="2022-05-25T17:49:27.967" Score="0" Body="&lt;p&gt;From the &lt;strong&gt;fantastic&lt;/strong&gt; TV show &lt;a href=&quot;https://en.wikipedia.org/wiki/Brooklyn_Nine-Nine&quot; rel=&quot;nofollow noreferrer&quot;&gt;Brooklyn Nine-Nine&lt;/a&gt;: &lt;a href=&quot;https://www.youtube.com/watch?v=-uzgcs-Xdxw?t=96&quot; rel=&quot;nofollow noreferrer&quot;&gt;Buzzy cuddlebear&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jyfZM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jyfZM.png&quot; alt=&quot;teddybear screenshot&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The picture is from an opening scene where two police detectives are at an electronic store that has had a burglary and are investigating. The other cop is interviewing the owner while Jake (pictured) nonchalantly describes how the thieves look like because he has looked at the footage from a camera stuffed inside a teddybear&lt;sup&gt;1&lt;/sup&gt; that was was placed somewhere in the store.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;sup&gt;1&lt;/sup&gt;Referred to as &amp;quot;nanny cam teddybear&amp;quot;.&lt;/p&gt;&#xA;" OwnerUserId="475" LastEditorUserId="475" LastEditDate="2022-05-25T21:23:15.067" LastActivityDate="2022-05-25T21:23:15.067" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35360" PostTypeId="1" CreationDate="2022-05-25T19:30:51.683" Score="1" ViewCount="29" Body="&lt;p&gt;DSLR: Nikon D3300&lt;/p&gt;&#xA;&lt;p&gt;Microphone: MeiKe MK-MP1&lt;/p&gt;&#xA;&lt;p&gt;When using the microphone connected to the DSLR I only get a pulsating sound like the one in this video &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/3iad90JEAMk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;I tried to change the automatic sound sensitivity to manual (different levels) but to no avail.&lt;/p&gt;&#xA;&lt;p&gt;Any idea what is the cause of this or what solutions I could try?&lt;/p&gt;&#xA;" OwnerUserId="38486" LastEditorUserId="4426" LastEditDate="2022-05-27T09:58:27.410" LastActivityDate="2022-05-27T09:58:27.410" Title="Nikon D3300 and MeiKe MK-MP1 microphone results in pulsating sound" Tags="|dslr|microphone|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35361" PostTypeId="2" ParentId="34913" CreationDate="2022-05-26T07:31:17.040" Score="0" Body="&lt;p&gt;Would it work to right-align the number text layer, make a second left-aligned text layer for &amp;quot;min&amp;quot; and pick whip the position to the number text layer position?&lt;/p&gt;&#xA;&lt;p&gt;If you wanted a different alignment you could grab the number layer width and add that to the position so it would always be offset correctly.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CIjsm.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CIjsm.gif&quot; alt=&quot;example&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38390" LastActivityDate="2022-05-26T07:31:17.040" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35363" PostTypeId="2" ParentId="35360" CreationDate="2022-05-27T09:57:55.263" Score="1" Body="&lt;p&gt;I would try another microphone with the same camera, or plug the mic into a different camera, to try and work out where the fault is.&lt;/p&gt;&#xA;&lt;p&gt;Does the mic need a battery?  That can sometimes generate faults like this, if the battery is low.&lt;/p&gt;&#xA;&lt;p&gt;From the &lt;a href=&quot;https://www.dpreview.com/products/nikon/slrs/nikon_d3300/specifications&quot; rel=&quot;nofollow noreferrer&quot;&gt;specs&lt;/a&gt;, it looks as though that camera only has a mono mic input. From &lt;a href=&quot;http://www.mkgrip.com/goods/show-251.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;their webpage&lt;/a&gt;, it looks as though the microphone is a stereo mic, with a &lt;a href=&quot;https://audiouniversityonline.com/ts-vs-trs-vs-trrs-audio-connectors/&quot; rel=&quot;nofollow noreferrer&quot;&gt;TRS jack&lt;/a&gt; (tip, ring, sleeve).  Sometimes you can get incompatibilities depending on how the mic and the device expect to receive input signals.&lt;/p&gt;&#xA;&lt;p&gt;If you have any mains cables or data cables trailing nearby between the camera and the mic, try moving them out of the way, and see if the hum lessens. Unbalanced mic cables are more susceptible to interference than &lt;a href=&quot;https://en.wikipedia.org/wiki/Balanced_line&quot; rel=&quot;nofollow noreferrer&quot;&gt;balanced cabling&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-05-27T09:57:55.263" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35364" PostTypeId="2" ParentId="35340" CreationDate="2022-05-28T01:01:38.093" Score="1" Body="&lt;p&gt;Use Fusion inside of Resolve if you need better control over keyframes ease.  Fusion has the bézier curves you’d expect in an animation package.  Resolve’s Edit and Color pages are more simplified.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2022-05-28T01:01:38.093" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35365" PostTypeId="1" AcceptedAnswerId="35381" CreationDate="2022-05-28T08:29:06.883" Score="0" ViewCount="717" Body="&lt;p&gt;I am using the following command to make a video from a single image;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i MyInputImage.png -i MyInputSound.m4a ^&#xA;  -c:v libx264 -pix_fmt yuv420p -c:a aac ^&#xA;  -shortest MyOutputVideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Note that I have used the &lt;em&gt;&lt;strong&gt;-shortest&lt;/strong&gt;&lt;/em&gt; option;&lt;/p&gt;&#xA;&lt;p&gt;But I have noticed my resulting video IS ALWAYS 2 seconds longer than my AUDIO length. Why ?&lt;/p&gt;&#xA;&lt;p&gt;For example, if audio=5 secs, output vid lenght is 7 secs; if audio=9 secs, output video is 11 seconds long.&lt;/p&gt;&#xA;" OwnerUserId="37168" LastActivityDate="2022-07-03T09:56:12.577" Title="Resultant Video is always longer than input audio, even though I am using -shortest option of ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35367" PostTypeId="1" CreationDate="2022-05-28T17:10:26.600" Score="1" ViewCount="33" Body="&lt;p&gt;Can someone please break down this small bit of code for me,  at a highlevel. Particularly the part &lt;code&gt;n=n-1&lt;/code&gt;, I haven't worked out why we minus 1 from the marker here.&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    n = marker.nearestKey(time).index; &#xA; if(time &amp;lt; marker.key(n).time){&#xA;  n=n-1;&#xA; }&#xA; if(n==0){&#xA;  n=1&#xA; }&#xA; t=time-marker.key(n).time;&#xA; thisProperty.valueAtTime(t)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27932" LastActivityDate="2022-05-28T17:10:26.600" Title="Trigger on markers" Tags="|after-effects-expressions|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35370" PostTypeId="1" CreationDate="2022-05-31T15:29:20.533" Score="0" ViewCount="73" Body="&lt;p&gt;Combining ANALOG video feeds -- real time/low latency&lt;/p&gt;&#xA;&lt;p&gt;We fly fpv. One pilot, one second operator controlling the camera, both have analog video feeds.&lt;/p&gt;&#xA;&lt;p&gt;Pilot vtx feed: backgrond&#xA;gimbal feed: we want a small rectangle in the corner overlaying the pilot's background feed&lt;/p&gt;&#xA;&lt;p&gt;requirements:&#xA;real time, as we fly FPV, added latency &amp;lt; 20 ms ideally&lt;/p&gt;&#xA;&lt;p&gt;Which (ready made) hardware would allow this?&#xA;The inputs are AV out (we can convert to any plug).&lt;/p&gt;&#xA;&lt;p&gt;Should be portable and battery powered, ideally.&lt;/p&gt;&#xA;" OwnerUserId="38536" LastActivityDate="2022-05-31T18:46:53.650" Title="Real time merging of two analog video streams (coming for wireless receivers (pal/ntsc)" Tags="|streaming|live|analog|latency|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35372" PostTypeId="2" ParentId="35370" CreationDate="2022-05-31T18:46:53.650" Score="1" Body="&lt;p&gt;You'll need an analog &lt;a href=&quot;https://en.wikipedia.org/wiki/Digital_video_effect&quot; rel=&quot;nofollow noreferrer&quot;&gt;DVE&lt;/a&gt;. They aren't really manufactured anymore, but you can probably find something used. If you don't need to resize the overlay video, you might be able to get away using an analog switcher with a mix/effects bus and applying a wipe.&lt;/p&gt;&#xA;&lt;p&gt;No matter what, you'll need to frame sync the two feeds. That will add at least one frame (33ms) of delay. A DVE might add another frame on top of that.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2022-05-31T18:46:53.650" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="35373" PostTypeId="1" CreationDate="2022-05-31T22:39:17.157" Score="0" ViewCount="1332" Body="&lt;p&gt;I have two corresponding video files. One is a regular video and the other is meant to be the alpha channel for that video. I wish to combine them, and use the alpha video to lay a transparency key over the video, then output to a PNG sequence to avoid any lossy artifacts on the transparency key.&lt;/p&gt;&#xA;&lt;p&gt;The alpha video needs a threshold filter applied to remove the gray pixels, then the main video needs the transparency color applied where the alpha video has black pixels. From trying to understand the threshold filter in ffmpeg, is almost seems like it might be possible to do this one one operation, however I am having trouble understanding how streams work.&lt;/p&gt;&#xA;&lt;p&gt;The motivation here is that I would like to store these videos as small as possible. This could be done directly in a video editor, but I would need to keep the videos as PNG sequences to preserve the sharp transparency key. I have tried other codecs to keep this alpha data but they either aren't supported by my editor, are as large as PNG sequence and/or don't preserve the sharp transparency mask. I would like to use ffmpeg so that I can script this conversion when the frames are needed and they can remain as h264 the rest of the time.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Z1txc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Z1txc.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38539" LastActivityDate="2024-02-21T04:05:15.727" Title="ffmpeg to combine video + alpha video, transparency key with threshold" Tags="|ffmpeg|filter|alpha|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35374" PostTypeId="2" ParentId="35373" CreationDate="2022-06-01T02:08:55.490" Score="0" Body="&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-i test.mp4 -r 29.97 \&#xA;-i test_alpha.mp4 -r 29.97 \&#xA;-filter_complex &amp;quot;\&#xA;\&#xA;color=c=fuchsia:r=29.97,format=rgb24[fuchsia];\&#xA;color=c=black:r=29.97,format=rgb24[black];\&#xA;color=c=white:r=29.97,format=rgb24[white];\&#xA;color=c=0xe0e0e0:r=29.97,format=rgb24[gray];\&#xA;[fuchsia][0:v]scale2ref[fuchsia][i];\&#xA;[black][i]scale2ref[black][i];\&#xA;[white][i]scale2ref[white][i];\&#xA;[gray][i]scale2ref[gray][i];\&#xA;\&#xA;[1] [gray] [black] [white] threshold [mask];\&#xA;[i] [mask] alphamerge [merged];\&#xA;[fuchsia][merged]overlay=format=auto:shortest=1,setsar=1\&#xA;&amp;quot; \&#xA;tmp\%04d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I spent some time learning how filter_complex works while I wait for an answer.&lt;/p&gt;&#xA;&lt;p&gt;This fixes the alpha video with a threshold, does an alphamerge with the source video and threholded video, then just overlays that on top of a fuchsia background. The one tricky thing was setting all of their frame rates or else the frames wouldn't line up after the threshold.&lt;/p&gt;&#xA;&lt;p&gt;The only problem with trying to do this all with just the threshold filter is that when you set the &amp;quot;min&amp;quot; color to fuchsia, it comes out a dark gray.&lt;/p&gt;&#xA;" OwnerUserId="38539" LastActivityDate="2022-06-01T02:08:55.490" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35376" PostTypeId="1" AcceptedAnswerId="35377" CreationDate="2022-06-01T11:58:59.833" Score="0" ViewCount="85" Body="&lt;p&gt;I am not a media professional, But kind of mind-blown by the effect used in the Gulliver's travels title cards (in the beginning)&lt;/p&gt;&#xA;&lt;p&gt;Added few screenshots of it, As i couldn't find the right word to explain this effect.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/DaqoO.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DaqoO.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt; &lt;a href=&quot;https://i.stack.imgur.com/V0gyz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/V0gyz.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt; &lt;a href=&quot;https://i.stack.imgur.com/OLpOA.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OLpOA.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So the questions are below,&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;What is it called?&lt;/li&gt;&#xA;&lt;li&gt;Is there any software/mobile application/effects out there to produce it for mobile cam recorded videos ?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="38543" LastActivityDate="2022-06-01T14:55:56.960" Title="What is the effect used in movie gulliver's travels title cards" Tags="|video|video-recording|effects|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35377" PostTypeId="2" ParentId="35376" CreationDate="2022-06-01T14:30:59.210" Score="2" Body="&lt;p&gt;It's known as a tilt-shift, or miniature effect.&lt;br /&gt;&#xA;Essentially the focus is only sharp in the middle distance, both near &amp;amp; far are blurred. This mimics a shot of a toy town model shot from much closer.&lt;/p&gt;&#xA;&lt;p&gt;Traditionally it's done with a lens that can actually tilt, but these days can fairly easily be done in post. To get the shot you need to be high up &amp;amp; a long way back, as you'd normally be looking down at toys, &amp;amp; you really need a long-ish lens to 'compress'* the distances to get the best effect.&lt;/p&gt;&#xA;&lt;p&gt;I have a Nikon camera that can do this [in-camera post] to jpg, but not to video [or even RAW].&lt;/p&gt;&#xA;&lt;p&gt;In post you can just blur a vignette, top &amp;amp; bottom - it looks most convincing if the field is actually not level, following the main central element of the shot. It's easy enough to experiment in post, as you don't have to commit until you're happy.&lt;/p&gt;&#xA;&lt;p&gt;There's a decent workthrough on how to do this in Adobe AE [though it's simple enough to do in other suites] - &lt;a href=&quot;https://blog.pond5.com/20031-making-a-tilt-shift-miniature-effect-video-practically-and-in-post/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Making a Tilt-Shift “Miniature Effect” Video: Practically and In Post&lt;/a&gt;&lt;br /&gt;&#xA;I also found this - &lt;a href=&quot;https://www.smashingmagazine.com/2008/11/beautiful-examples-of-tilt-shift-photography/&quot; rel=&quot;nofollow noreferrer&quot;&gt;50 Beautiful Examples Of Tilt-Shift Photography&lt;/a&gt; - which personally (if I'm being generous;) I think is split maybe 50/50 with good ones &amp;amp; ones not so great. Study them to see what type of shot works best.&lt;/p&gt;&#xA;&lt;p&gt;Just for fun, here's one I did in Photoshop in about 2 minutes [actually took longer to make sure the number plates aren't legible ;) from camera to posting. Just a shot of the traffic from my workroom window - nothing special, &amp;amp; I'm not really high enough up or far enough away to really make it work.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Kn7v6.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Kn7v6.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;*It doesn't really compress, it just looks like it does. [Perspective 101]&lt;/p&gt;&#xA;" OwnerUserId="12233" LastEditorUserId="12233" LastEditDate="2022-06-01T14:55:56.960" LastActivityDate="2022-06-01T14:55:56.960" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="35378" PostTypeId="1" AcceptedAnswerId="35380" CreationDate="2022-06-02T17:38:21.000" Score="1" ViewCount="535" Body="&lt;p&gt;I have a file with extension .ts, information given by ffmpeg -i MyMovieFile.ts is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[mpegts @ 000001f8fc13fa80] start time for stream 0 is not set in estimate_timings_from_pts&#xA;Input #0, mpegts, from 'MyMovieFile.ts':&#xA;  Duration: 01:49:27.52, start: 0.000000, bitrate: 4319 kb/s&#xA;  Program 1&#xA;  Stream #0:0[0x102]: Data: timed_id3 (ID3  / 0x20334449)&#xA;  Stream #0:1[0x100]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(tv, bt709, progressive), 1920x1052 [SAR 997:1024 DAR 14955:8416], 25 fps, 25 tbr, 90k tbn&#xA;  Stream #0:2[0x101]: Audio: aac (LC) ([15][0][0][0] / 0x000F), 44100 Hz, stereo, fltp, 191 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I converted to MP4 using ffmpeg with&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf scale=1280:720 ^&#xA;-map 0:1 -map 0:2 ^&#xA;-c:v libx264 -c:a aac ^&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;After conversion, VLC codec information shows:&#xA;Video Resolution = 1280x720 (= Buffer Resolution).&lt;/p&gt;&#xA;&lt;p&gt;I am happy with this result; If I now run the converted file thru ffmpeg -i, I get&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf59.24.100&#xA;  Duration: 01:49:27.52, start: 0.000000, bitrate: 2178 kb/s&#xA;  Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709, progressive), 1280x720 [SAR 2206:2207 DAR 35296:19863], 2042 kb/s, SAR 28684:28697 DAR 458944:258273, 25 fps, 25 tbr, 12800 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #0:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My question is why am I getting two pairs of SAR/DAR&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[SAR 2206:2207 DAR 35296:19863]  &#xA;SAR 28684:28697 DAR 458944:258273&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And would it be better to also specify the expected SAR,DAR during ffmpeg conversion?&#xA;For example, [SAR 1:1 DAR 16:9]&lt;/p&gt;&#xA;" OwnerUserId="37168" LastActivityDate="2022-06-03T04:40:09.583" Title="Converted TS to MP4, what is the meaning of new (and multiple SAR, DAR ) in the output video?" Tags="|ffmpeg|aspect|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35380" PostTypeId="2" ParentId="35378" CreationDate="2022-06-03T04:40:09.583" Score="0" Body="&lt;p&gt;The values in the bracket comes from the stream decoder. The values may also be stored in the MP4 container, specifically the PASP box with a different precision. If they differ, ffmpeg will print both.&lt;/p&gt;&#xA;&lt;p&gt;In this case, they differ at the 7th digit after the decimal point.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;  2206/2207 = 0.9995468962392388&#xA;28684/28697 = 0.9995469909746663&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-06-03T04:40:09.583" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35381" PostTypeId="2" ParentId="35365" CreationDate="2022-06-03T14:10:11.980" Score="0" Body="&lt;p&gt;This was due to an imperfect implementation of -shortest, now rectified in version 5.0. So, upgrade.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i MyInputImage.png -t 2 -c:v libx264 -pix_fmt yuv420p ^&#xA;   imagevideo.mp4&#xA;&#xA;ffmpeg -stream_loop -1 -i imagevideo.mp4 -i MyInputSound.m4a ^&#xA;   -c copy -shortest MyOutputVideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2022-07-03T09:56:12.577" LastActivityDate="2022-07-03T09:56:12.577" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="35383" PostTypeId="1" AcceptedAnswerId="35384" CreationDate="2022-06-03T22:53:24.717" Score="1" ViewCount="12" Body="&lt;p&gt;I imported two clips into premiere pro, one is some dashcam footage, and the other is the screen recorded off my phone, where the screen shows a map.  (I got premiere pro to synchronise them by audio)  So regarding the two clips, we have the dashcam clip, and the phone screen clip.&lt;/p&gt;&#xA;&lt;p&gt;I'd like to make both big and side by side..  Or make the dashcam one big and the screen one in the corner. I know there are options to position and scale, in effect controls.&lt;/p&gt;&#xA;&lt;p&gt;But what I can do seems very limited, because I can only work within the black area, and the black area(within the program window) is so small. I need that black area to be much bigger, much wider, to give me room to put the two clips side by side or to experiment with how I position the two clips.&lt;/p&gt;&#xA;&lt;p&gt;How can I widen that black area in the program window?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YTvXZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YTvXZ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5555" LastActivityDate="2022-06-04T06:13:35.877" Title="How do I increase the size of the black space, so I have more room to reposition these two clips?" Tags="|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35384" PostTypeId="2" ParentId="35383" CreationDate="2022-06-04T06:13:35.877" Score="2" Body="&lt;p&gt;Create a new sequence with the dimensions you need by clicking on File —&amp;gt; New —&amp;gt; Sequence. Common sizes for HD video are 1920x1080 pixels or 3840x2160 for 4K.&lt;/p&gt;&#xA;&lt;p&gt;Then drag your footage into this sequence. If you need to adjust the size, make sure your clip is selected in the sequence, then go to Effects Settings and adjust the Scale under the Motion settings.&lt;/p&gt;&#xA;&lt;p&gt;Might be an idea to follow through all of the steps in this tutorial to get the hang of it first:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/creating-changing-sequences.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/using/creating-changing-sequences.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-06-04T06:13:35.877" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35387" PostTypeId="2" ParentId="14733" CreationDate="2022-06-05T11:29:58.533" Score="-1" Body="&lt;p&gt;I've found that this usually happens to me because at least one layer that other objects are parented to has a scale value (X,Y) that doesn't match. Deselect all your layers, press &amp;quot;S&amp;quot; to open the scale value of all your layers, and look for one whose X and Y values do not match (i.e 100,75.4). Correct that and see if it helps.&lt;/p&gt;&#xA;" OwnerUserId="38571" LastActivityDate="2022-06-05T11:29:58.533" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35388" PostTypeId="1" AcceptedAnswerId="35394" CreationDate="2022-06-05T15:26:00.273" Score="0" ViewCount="186" Body="&lt;p&gt;I'm producing a product that involves a composition of several videos, over alpha layers, and there are surprisingly few options aside from image lists. Quicktime's RLE (Run-Length Encoding) codec allows for an alpha channel, but was designed for animation—the encoding is over single rows and relies on swaths of consistent color, which does not apply to my current video and results in an exorbitantly large file size, making it difficult or impossible to play back in real time on my machine.&lt;/p&gt;&#xA;&lt;p&gt;Surely there are recommended and hopefully open formats which allow for alpha channels, but have a more reasonable compression scheme. Unfortunately I'm not sure what they are.&lt;/p&gt;&#xA;&lt;p&gt;Is there a codec recommended for high-color-variation videos with alpha, which provides a workable size?&lt;/p&gt;&#xA;" OwnerUserId="34752" LastActivityDate="2022-06-06T19:50:48.127" Title="Suitable alternative to Quicktime RLE for alpha-containing non-cartoon videos?" Tags="|encoding|codec|file-formats|compression|alpha|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35389" PostTypeId="2" ParentId="32406" CreationDate="2022-06-05T18:30:01.243" Score="1" Body="&lt;p&gt;According to &lt;a href=&quot;https://developer.mozilla.org/en-US/docs/Web/Media/Formats/Containers&quot; rel=&quot;nofollow noreferrer&quot;&gt;Mozilla Developers&lt;/a&gt; MPEG-4 containers can include FLAC audio.  Ditto for OGG containers.&lt;/p&gt;&#xA;" OwnerUserId="38574" LastActivityDate="2022-06-05T18:30:01.243" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35390" PostTypeId="1" CreationDate="2022-06-06T02:06:11.963" Score="0" ViewCount="814" Body="&lt;p&gt;I'm currently running two FFmpeg commends:&lt;/p&gt;&#xA;&lt;p&gt;[1] &lt;a href=&quot;https://stackoverflow.com/a/55841289/266435&quot;&gt;Looping a video for the entire duration of an audio file.&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg  -stream_loop -1 -i 1min-loop.mp4 -i 2min-song.mp3 -shortest -map 0:v:0 -map 1:a:0 -y looped-video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;[2] Taking the resulting file add overlaying image files.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i looped-video.mp4 -i overlay.png -i art.jpeg -filter_complex &amp;quot;\&#xA;  [2:v]scale=400:400[resized-artwork];\&#xA;  [0][resized-artwork]overlay=100:100[vid-and-artwork];\&#xA;  [vid-and-artwork][1:v]overlay=0:0&amp;quot; final-video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is it possible to combine these into one command? Thx&lt;/p&gt;&#xA;" OwnerUserId="38578" LastActivityDate="2024-02-26T09:03:25.647" Title="FFmpeg combine Stream Loop and Filter into one command" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35391" PostTypeId="2" ParentId="35390" CreationDate="2022-06-06T04:37:43.890" Score="0" Body="&lt;p&gt;Use the main input with stream loop, and add -shortest&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -stream_loop -1 -i 1min-loop.mp4 -i overlay.png -i art.jpeg \&#xA;-i 2min-song.mp3 -filter_complex &amp;quot;\&#xA;  [2:v]scale=400:400[resized-artwork];\&#xA;  [0][resized-artwork]overlay=100:100[vid-and-artwork];\&#xA;  [vid-and-artwork][1:v]overlay=0:0[v]&amp;quot; \&#xA;  -map [v] -map 3:a -shortest final-video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Use ffmpeg v5.0 or newer.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-06-06T04:37:43.890" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35393" PostTypeId="2" ParentId="30056" CreationDate="2022-06-06T16:57:38.007" Score="0" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -i sample.mp4 -i sample.png -map 0 -map 1 -c copy \&#xA;       -disposition:v:1 attached_pic sample_w_artwork.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Just change &lt;code&gt;v:0&lt;/code&gt; to &lt;code&gt;v:1&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="38584" LastEditorUserId="18155" LastEditDate="2022-08-09T22:15:01.793" LastActivityDate="2022-08-09T22:15:01.793" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35394" PostTypeId="2" ParentId="35388" CreationDate="2022-06-06T19:50:48.127" Score="1" Body="&lt;p&gt;ProRes 4444 is the go-to for compressed encoding if you want alpha, and you’re doing the encoding on a Mac.  It’s not exactly lightweight in terms of file size, but it’s optimized for playback on Mac hardware.&lt;/p&gt;&#xA;&lt;p&gt;OpenEXR is a heavyweight codec, used mostly in the VFX industry, is widely supported on different operating systems, and supports alpha and any number of auxiliary data channels, such as ones output by 3D rendering software.  It does support compression, but it’s not as playback-friendly as ProRes.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2022-06-06T19:50:48.127" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35395" PostTypeId="2" ParentId="35017" CreationDate="2022-06-06T21:41:08.527" Score="0" Body="&lt;p&gt;I had the same problem over and over again. I've read tons of &amp;quot;good advices&amp;quot; on many forums and watched quite a bit of videos on YT and never found any satisfactory answer that's why I decided never again to come close to this program. Vegas Pro has the best UI and is the most user friendly video editor on the market (I can't speak for Final Cut Pro as I work on a PC) but the rendering quality is among the worst, with a huge degradation of the original videos in the rendering process probably due to crappy codecs which the manufacturer has no idea how to improve. I'll never ever touch Vegas Pro again. Now I'm trying Premiere Pro and the quality of the rendered videos are SUPERB but some basic features (like transitions which I use all the time) are much worse than in any other program I've experienced with which could make Premiere Pro a difficult choice for some.&lt;/p&gt;&#xA;" OwnerUserId="38590" LastActivityDate="2022-06-06T21:41:08.527" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35396" PostTypeId="1" CreationDate="2022-06-06T22:54:46.767" Score="0" ViewCount="227" Body="&lt;p&gt;I've gotten to where I can track my object and see it's coordinates using &lt;a href=&quot;https://video.stackexchange.com/questions/21695/get-location-x-y-of-motion-tracking-object&quot;&gt;this resource&lt;/a&gt;.&#xA;I wanted to extract the location data for programming, but because I'm new to after effects, I'm not sure if I can or how I can extract it.&lt;/p&gt;&#xA;" OwnerUserId="38592" LastActivityDate="2024-02-29T16:08:25.980" Title="Download coordinates (x, y) of a tracked point" Tags="|after-effects|motion|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35397" PostTypeId="1" AcceptedAnswerId="35400" CreationDate="2022-06-07T02:04:25.607" Score="1" ViewCount="437" Body="&lt;p&gt;Given a list of keyframes, is it possible to download them or export them to be used elsewhere?&lt;/p&gt;&#xA;" OwnerUserId="38592" LastActivityDate="2022-06-07T13:43:04.310" Title="Export Keyframes as Text (After Effects)" Tags="|after-effects|keyframes|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35399" PostTypeId="1" CreationDate="2022-06-07T08:24:40.030" Score="1" ViewCount="83" Body="&lt;p&gt;I'm starting with my sony a6400 to get into videomaking (or at least trying to).&lt;/p&gt;&#xA;&lt;p&gt;I'm shooting a short movie in Slog2 30fps 1080p, but I noticed that I can't set my shutterspeed to be the double of my framerate( 1/60 ), because the camera doesn't allow me to go that lower on shutter speed. How do you manage that? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="38597" LastActivityDate="2022-06-07T08:24:40.030" Title="Sony a6400 Slog2 and minimum shutter speed?" Tags="|framerate|sony|shutter|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35400" PostTypeId="2" ParentId="35397" CreationDate="2022-06-07T13:37:50.950" Score="1" Body="&lt;p&gt;Yes it is.  When you select keyframes in After Effects, you can paste them into any text editor and modify them.&lt;/p&gt;&#xA;&lt;p&gt;Below is a shaped with some position keyframes applied, copied, then pasted into TextEdit on the Mac:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kTU9H.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kTU9H.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can tweak them in any editor, then return them back into After Effects, so long as you don't break the formatting.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-06-07T13:43:04.310" LastActivityDate="2022-06-07T13:43:04.310" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35401" PostTypeId="2" ParentId="25901" CreationDate="2022-06-07T13:49:13.297" Score="3" Body="&lt;p&gt;You can do HDR with almost any modern codec. All it means &lt;em&gt;in practice&lt;/em&gt; is that the boundary between the highest and lowest intensities in the image goes beyond what a non-HDR image could portray; if the colors linearly mapped to your monitor on a computer went from 0.0-1.0, then HDR could go above 1.0 (and potentially below 0.0) and be rendered in a convincing way with the right software.&lt;/p&gt;&#xA;&lt;p&gt;H.265/HEVC (and its royalty-free competitor AV1/VP9) are more about encoding efficiency; H.265 can create files which are roughly half the size of H.264, but due to its licensing fees, the web and world-at-large has been very slow to adopt it.&lt;/p&gt;&#xA;&lt;p&gt;The chief differences between H.264 and H.265 (the new stuff) are that H.265 supports up to 8K UHD as a resolution, which I don't believe H.264 did (and almost no one will use for the foreseeable future, if I'm reading the video market right); and has a more advanced compression scheme at the same quality level. This doesn't mean that the video will come through higher-quality, but that it will take less space to provide it with the same quality. It's a disk thing.&lt;/p&gt;&#xA;&lt;p&gt;On the other hand, while H.264 is widely supported, H.265 is proprietary and supporting it requires paying a reasonably hefty licensing fee, which is part of why everyone isn't using it already. (It is quality, it's just proprietary.) For this reason, H.264 is still a very popular standard. While H.264 is generally 8-bit, either one can support a wide range of bit depths in theory.&lt;/p&gt;&#xA;&lt;p&gt;H.264 can theoretically support up to 12-bit planar, which is usually plenty; unfortunately a lot of decoders (x264 included) have packed that into ten bits and sacrificed fidelity. I've seen people do 14-bit, I'm just not convinced that it mattered. This is still usually more than enough; but bit depth has little to do with HDR, as any range of bits can be HDR if it's just mapped to the appropriate intensities. If you need 14-bit, you will probably want to go with the more modern H.265, just on the basis of the reasons why you might need 14-bit... I &lt;em&gt;think&lt;/em&gt; VP9 also supports this, but I'm not sure. The only drawback of VP9 that comes to mind is that you would have a marginally slower stream speed, but it's good enough for Netflix.&lt;/p&gt;&#xA;&lt;p&gt;That said, a trained human eye can still only distinguish up to about 12 bits; for the everyman it's actually a lot lower. So, unless you're doing medical imaging or radio astronomy, this may be academic.&lt;/p&gt;&#xA;" OwnerUserId="34752" LastActivityDate="2022-06-07T13:49:13.297" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35405" PostTypeId="2" ParentId="35396" CreationDate="2022-06-09T11:30:12.960" Score="0" Body="&lt;p&gt;Once you have tracked the position of the object on screen, you can copy the Feature Centre keyframes as shown in the screen grab below.&lt;/p&gt;&#xA;&lt;p&gt;The coordinates relative to the comp will be available from the clipboard, which you can paste into any text editor (see screenshot using TextEdit on the Mac)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0UDbl.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0UDbl.jpg&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-06-09T11:30:12.960" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35406" PostTypeId="1" CreationDate="2022-06-10T06:18:54.210" Score="0" ViewCount="101" Body="&lt;p&gt;There are plenty of guides for shifting audio pitch, but is there a way to compress audio pitch?&lt;/p&gt;&#xA;&lt;p&gt;I have a video that has a voice with a very low pitch and a voice with a very high pitch. I can shift the pitch up to make the low-pitched voice easy to understand, but move the high-pitched one even futher away from my hearing range, or I can shift the pitch down to make the high-pitched voice easy to understand, but lose the low-pitched one.&lt;/p&gt;&#xA;&lt;p&gt;I am looking for a way to get both voices into my hearing range, i.e. compress the range of audio pitch, just like normal audio compression reduces the range of audio volume.&lt;/p&gt;&#xA;&lt;p&gt;Usecase: Change the audio so all voices fit into comfortable hearing range of a person.&lt;/p&gt;&#xA;" OwnerUserId="33429" LastEditorUserId="33429" LastEditDate="2022-06-13T16:15:37.370" LastActivityDate="2024-03-05T00:05:30.683" Title="Is there &quot;audio pitch compression&quot;?" Tags="|audio|" AnswerCount="1" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="35407" PostTypeId="2" ParentId="35406" CreationDate="2022-06-10T11:29:57.720" Score="0" Body="&lt;p&gt;You are looking for &lt;em&gt;frequency shifting&lt;/em&gt;, not a frequency-based analogue of &lt;em&gt;compression&lt;/em&gt;*.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;I am looking for a way to get both voices into my hearing range, i.e. compress the range of audio pitch, just like normal audio compression reduces the range of audio volume.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;em&gt;Frequency shifting&lt;/em&gt; is not a good analogue to compression, aka &lt;em&gt;dynamic range compression&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;em&gt;Dynamic&lt;/em&gt; is used because compression looks at audio &lt;em&gt;over time&lt;/em&gt; and uses varying levels of processing.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;em&gt;Range&lt;/em&gt; is used because compression changes audio amplitudes so they are closer together (i.e. within a desired range).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;em&gt;Frequency shifting&lt;/em&gt;, aka &lt;em&gt;pitch shifting&lt;/em&gt;, at its simplest, is not dynamic. A simple form changes each frequency by a &lt;em&gt;fixed&lt;/em&gt; multiple. (Therefore, this kind is not dynamic.) For example if a 2X multiple is used, a 400 Hz signal becomes 800 Hz, and a 600 Hz signal becomes 1200 Hz. Note that the frequencies are now further &lt;em&gt;apart&lt;/em&gt;. This is what your ears expect, however.&lt;/p&gt;&#xA;&lt;p&gt;You can find many audio tools that can do &lt;em&gt;frequency shifting&lt;/em&gt; (aka pitch shifting). One place to start is &lt;a href=&quot;https://en.wikipedia.org/wiki/Comparison_of_digital_audio_editors&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Comparison_of_digital_audio_editors&lt;/a&gt; which includes tools such as (in random order):&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Pro Tools (Avid)&lt;/li&gt;&#xA;&lt;li&gt;Logic Pro (Apple)&lt;/li&gt;&#xA;&lt;li&gt;GarageBand (Apple)&lt;/li&gt;&#xA;&lt;li&gt;Audacity (open source)&lt;/li&gt;&#xA;&lt;li&gt;Reason (Reason Studios)&lt;/li&gt;&#xA;&lt;li&gt;Audition (Adobe)&lt;/li&gt;&#xA;&lt;li&gt;Live (Ableton)&lt;/li&gt;&#xA;&lt;li&gt;Hindenburg Pro (Hindenburg)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I have not verified that each can do pitch shifting, but it is likely that most or all can.&lt;/p&gt;&#xA;&lt;p&gt;* A true frequency-based analogue of compression might be interesting. Or it might scare away all living things. To achieve it, I'd recommend programmatic audio processing software such as SuperCollider, CSound, ChucK, Max, or Sonic Pi.&lt;/p&gt;&#xA;" OwnerUserId="2149" LastEditorUserId="2149" LastEditDate="2022-06-10T11:37:15.733" LastActivityDate="2022-06-10T11:37:15.733" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35408" PostTypeId="1" CreationDate="2022-06-12T20:25:31.770" Score="1" ViewCount="14" Body="&lt;p&gt;Used to have an old SD camcorder which had a power &amp;quot;switch&amp;quot; not a button. You could mount it out of reach and then flip it on easily with like a wall switch via aux power. Worked nice for video recording at my church. We now have a HD camera but it has a power &amp;quot;button&amp;quot;. So now we have to reach or get a stool to turn on every time, total pain. Any way I can make this work like before or a better camera maybe that has a switch. Or maybe just need to get one with a remote?&lt;/p&gt;&#xA;" OwnerUserId="38628" LastActivityDate="2023-06-01T01:04:05.523" Title="Auto on camcorder" Tags="|camcorder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35412" PostTypeId="1" CreationDate="2022-06-15T10:52:26.960" Score="1" ViewCount="76" Body="&lt;p&gt;When I capture HDMI output of Sony a6500 or ZV-E10 using Blackmagicdesign ATEM Mini Pro ISO or CamLink 4K (and QuickTime), I see strange artifacts (circle patterns) in highlights and sometimes shadows.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XKlqW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XKlqW.jpg&quot; alt=&quot;Artifacts in highlights&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;These artifacts are not present when recording in-camera using SD card.&lt;/p&gt;&#xA;&lt;p&gt;Is there anything I can do to have an actual “clean” HDMI output?&lt;/p&gt;&#xA;&lt;p&gt;Thanks for helping out!&lt;/p&gt;&#xA;" OwnerUserId="28050" LastEditorUserId="28050" LastEditDate="2022-06-15T10:58:55.907" LastActivityDate="2022-06-15T10:58:55.907" Title="What can cause artifacts in highlights when capturing clean HDMI output?" Tags="|hdmi|sony|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35413" PostTypeId="1" CreationDate="2022-06-15T13:01:00.567" Score="1" ViewCount="872" Body="&lt;p&gt;It's been a week since I ventured into learning video editing.  I preferred to use KDEnlive because it is open surce software.&lt;/p&gt;&#xA;&lt;p&gt;My question is the following.  How to make the letter &amp;quot;b&amp;quot; move smoothly from the position x=900 and y=465 to the position x=1680 and y=465 following the blue trace in the picture below?&lt;/p&gt;&#xA;&lt;p&gt;Comments. The blue line is the upper part of an ellipse with extremities at&#xA;x=900 / y=465 and x=1680 / y=465.&lt;/p&gt;&#xA;&lt;p&gt;I was able to make the letter &amp;quot;b&amp;quot; move from x=900 / y=465 to x=1680 / y=465 in three rectilinear movements.  Red trace of the figure.&lt;/p&gt;&#xA;&lt;p&gt;[&lt;img src=&quot;https://i.stack.imgur.com/AB8KD.png&quot; alt=&quot;enter image description here&quot; /&gt;]&lt;/p&gt;&#xA;" OwnerUserId="38644" LastActivityDate="2024-04-06T22:00:25.097" Title="How do I move a picture along a curved path in KDEnlive?" Tags="|kdenlive|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35414" PostTypeId="1" CreationDate="2022-06-15T22:00:04.417" Score="0" ViewCount="130" Body="&lt;p&gt;I am trying to move an Region of Interest (RoI) around a multi-camera tiled source (which will be too big to encode for smooth viewing), and stream this &amp;quot;live&amp;quot;. The RoI is externally determined which is another problem.&lt;/p&gt;&#xA;&lt;p&gt;Does anyone have an idea how to achieve this? The solutions I have seen so far require pre-determined RoIs, or potentially change the filter parameters using the libzmq library, but I am not sure if that will be performant enough for a per frame stream.&lt;/p&gt;&#xA;&lt;p&gt;any help much appreciated!&lt;/p&gt;&#xA;" OwnerUserId="38648" LastEditorUserId="14523" LastEditDate="2022-06-19T17:54:28.950" LastActivityDate="2022-06-19T17:54:28.950" Title="can I change ffmpeg crop position at runtime for each frame during stream" Tags="|ffmpeg|streaming|filter|live|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35415" PostTypeId="1" CreationDate="2022-06-16T00:35:10.810" Score="1" ViewCount="120" Body="&lt;p&gt;I've used quite a few commercial products over the years to create mxf files for various application (OP-atom, OP-1a, AS02, IMF, DCP, etc) but now I need to find a CLI method (preferably open source) to wrap a 5.1 PCM interleaved audio track as an OP-1a mxf file.&lt;/p&gt;&#xA;&lt;p&gt;This is possible from a number of editing and mastering tools, but I need to incorporate this function into an automated pipeline and unfortunately, ffmpeg will not make an OP-1a without a video track. I have created a dummy video for other applications where the file spec isn't as stringent, but in this case I need a single interleaved BWF (or Stereo, depending on the source) muxed into an OP-1a MXF by itself (with the requisite MXF timecode, metadata, etc).&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="38649" LastActivityDate="2022-06-16T00:35:10.810" Title="I'm trying to make an op-1a pattern mxf file from an interleaved 5.1 BWF file. Must be audio only. Any ideas?" Tags="|ffmpeg|mxf|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35417" PostTypeId="1" CreationDate="2022-06-16T09:01:10.733" Score="0" ViewCount="21" Body="&lt;p&gt;I have a series of video clips that students created for their projects with embedded systems.&lt;/p&gt;&#xA;&lt;p&gt;I'm seeking for a tool that would allow me to quickly select highlights, add transitions, add title and intro section, end text section, captions on highlights etc...).&lt;/p&gt;&#xA;&lt;p&gt;As far as I have researched, &lt;a href=&quot;https://mifi.no/losslesscut/&quot; rel=&quot;nofollow noreferrer&quot;&gt;LosslessCut&lt;/a&gt; seems fine to select highlights. Is there any more complete tool or can I then use something else to add captions, music, intro and end sections with custom text for each clip (like project name, description, some photo of schematic, etc...) ?&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance for advice, pointers to tools and other sources to learn from,&#xA;regards.&lt;/p&gt;&#xA;" OwnerUserId="38653" LastEditorUserId="14523" LastEditDate="2022-06-19T17:52:46.043" LastActivityDate="2022-06-19T17:52:46.043" Title="How to automate video generation out of short video clips (losless selection of highlights, add intro with title, end texts, captions)?" Tags="|video|video-editor|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="35420" PostTypeId="1" CreationDate="2022-06-16T22:48:26.583" Score="0" ViewCount="55" Body="&lt;p&gt;I'm trying to digitise some old Hi8 camcorder tapes using VirtualDub 1.10.4 with lagarith lossless codec compression and a Magix USB video converter 5 capture card.&lt;/p&gt;&#xA;&lt;p&gt;When the captured file is played on my Windows 10 laptop using the latest version of Pot Player with deinterlace setting BOB (2x frame) the picture quality is sharp and motion beautifully smooth.&lt;/p&gt;&#xA;&lt;p&gt;When I play the file on my LG Smart TV (after conversion to a readable format using Handbrake) the picture is awful (much like the video capture monitoring screen on VirtualDub): motion is blurred and the picture is full of lines or combs.  Playback is fine on Pot Player.&lt;/p&gt;&#xA;&lt;p&gt;Please can you suggest how I can capture a file that looks as good on my TV as on my laptop.&lt;/p&gt;&#xA;&lt;p&gt;I've tried numerous combinations of codecs for compression and playback, but no use.&lt;/p&gt;&#xA;&lt;p&gt;The picture quality on my laptop seems better than using Magix Rescue Your Videotapes, which is why I'm trying VirtualDub.&lt;/p&gt;&#xA;" OwnerUserId="38661" LastActivityDate="2022-06-16T22:48:26.583" Title="Picture quality of video capture file produced using Virtualdub is excellent when played on my laptop but not on my smart TV. How can I fix this?" Tags="|video-quality|video-capture|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35421" PostTypeId="1" CreationDate="2022-06-17T23:42:22.343" Score="0" ViewCount="12" Body="&lt;p&gt;I'm currently editing a podcast that is mainly audio with only three unique images shown on screen. However, using h264 encoding gives me a massive file, how can I leverage the limited number of unique frames to reduce the file size?&lt;/p&gt;&#xA;" OwnerUserId="38668" LastActivityDate="2022-06-17T23:42:22.343" Title="How can I make a smaller video when it has limited unique frames?" Tags="|codec|file-formats|h.264|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35426" PostTypeId="1" AcceptedAnswerId="35445" CreationDate="2022-06-20T10:22:02.857" Score="1" ViewCount="788" Body="&lt;p&gt;What I'm trying to accomplish is the following:&#xA;I want to use &lt;code&gt;ffmpeg&lt;/code&gt; (preferably a single command) to combine a video (&lt;code&gt;video.mp4&lt;/code&gt;) file with an audio file (&lt;code&gt;audio.mp3&lt;/code&gt;) and have some background music (&lt;code&gt;music.mp3&lt;/code&gt;) playing.&#xA;The output should end after the length of &lt;code&gt;audio.mp3&lt;/code&gt; (or even better after the end of &lt;code&gt;audio.mp3&lt;/code&gt; + 5 seconds). So music and video are allowed to be cut.&lt;/p&gt;&#xA;&lt;p&gt;All separate tasks work in a way but putting everything together just doesn't work.&lt;/p&gt;&#xA;&lt;p&gt;My approach (with some extras like fading in video and audio volume control):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i audio.mp3 -i music.mp3 -vf &amp;quot;fade=t=in:st=0:d=5&amp;quot; -filter_complex&#xA;&amp;quot;[1:a]volume=1[audio]; [2:a]volume=0.25[music];&#xA;[audio][music]amix=inputs=2[mix]&amp;quot;&#xA;-map 0:v -map &amp;quot;[mix]&amp;quot; -c:v h264 -c:a aac -shortest output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;That works but the output is not cut after the the duration of the shortest file (which is always the &lt;code&gt;audio.mp3&lt;/code&gt;)&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Second question:&lt;/strong&gt;&#xA;Is it possible to refine that command so &lt;code&gt;video.mp4&lt;/code&gt; and &lt;code&gt;music.mp3&lt;/code&gt; don't need to be very long but are looped until the end of &lt;code&gt;audio.mp3&lt;/code&gt; + 5s?&lt;/p&gt;&#xA;" OwnerUserId="38683" LastEditorUserId="17147" LastEditDate="2023-02-13T19:06:59.987" LastActivityDate="2023-02-13T19:06:59.987" Title="ffmpeg merge video with 2 audio files" Tags="|ffmpeg|video|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35428" PostTypeId="1" CreationDate="2022-06-20T14:12:15.047" Score="1" ViewCount="27" Body="&lt;p&gt;First question on this site, unsure if it's off-topic to ask for specific solutions to specific problems. If it is, I'm sorry in advance.&lt;/p&gt;&#xA;&lt;h4&gt;Code&lt;/h4&gt;&#xA;&lt;p&gt;I have the following &lt;code&gt;ffmpeg&lt;/code&gt; command inside a &lt;code&gt;bash&lt;/code&gt; script. You can assume I have values for all the variables in it - it is working just fine as it is, after all.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;blackout_duration=14&#xA;transition_time=2&#xA;dur=$(ffprobe -loglevel error -show_entries format=duration -of default=nk=1:nw=1 &amp;quot;$1.mp3&amp;quot;)&#xA;echo &amp;quot;Duration $dur&amp;quot;&#xA;offset=$(bc -l &amp;lt;&amp;lt;&amp;lt; &amp;quot;$dur&amp;quot;-&amp;quot;$blackout_duration&amp;quot;)&#xA;ffmpeg -hide_banner -loop 1 -i $1.png -i $1.mp3 -c:v libx264 -preset ultrafast -tune stillimage -pix_fmt yuv420p -shortest -filter_complex &amp;quot;[0:v]fade=type=out:duration=$transition_time:start_time='$offset'[v]&amp;quot; -map &amp;quot;[v]&amp;quot; -map &amp;quot;1:a&amp;quot; $1.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h4&gt;Description&lt;/h4&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Combines a &lt;code&gt;png&lt;/code&gt; and &lt;code&gt;mp3&lt;/code&gt; files together to produce one &lt;code&gt;mkv&lt;/code&gt; video file.&lt;/li&gt;&#xA;&lt;li&gt;Fades the last &lt;code&gt;n&lt;/code&gt; seconds to black (while there's still some music playing in the audio).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;On a reasonably modern CPU (i7-8665U), I'm getting around 60 FPS while processing this.&lt;/p&gt;&#xA;&lt;p&gt;Is it me or this seems awfully slow, given the fact that there's absolutely no process being done on the audio and the video is just the same frame repeated over and over?&lt;/p&gt;&#xA;&lt;p&gt;And, if it is, could you provide a better approach?&lt;/p&gt;&#xA;&lt;p&gt;Thank you&lt;/p&gt;&#xA;" OwnerUserId="38689" LastActivityDate="2022-06-27T12:45:25.630" Title="Improve sound + image combination performance" Tags="|ffmpeg|bash|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35430" PostTypeId="2" ParentId="15170" CreationDate="2022-06-21T17:21:01.533" Score="0" Body="&lt;p&gt;First the three videos need to be the same length&#xA;Export as three separate files (mp4 H264).&lt;/p&gt;&#xA;&lt;p&gt;the way to do it is to use network connected Brightsign players and have one as master and the other two as slave (see tutorial on Brighsign webpage). The result is frame accurate sync. With this method you can sync as many monitors as you want.&lt;/p&gt;&#xA;" OwnerUserId="38695" LastActivityDate="2022-06-21T17:21:01.533" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35431" PostTypeId="1" AcceptedAnswerId="35432" CreationDate="2022-06-21T20:01:18.040" Score="1" ViewCount="105" Body="&lt;p&gt;I just got a Hero 9 and an Enduro battery.  It came with a USB cable but nothing to connect that cable to the wall socket.  I had thought that I could charge it with the computer, but apparently that's not recommended, as the laptop I had wouldn't (I was told) provide enough power.  I also thought that perhaps GoPro would sell what I needed, but apparently their SuperCharger isn't available, or at least not for the Hero 9.&lt;/p&gt;&#xA;&lt;p&gt;The GoPro site says I need something that provides 5V and 2A.  I've tried to find that, but am having difficulty.  I went to some local stores, but was told that what they had was meant for mobile phones and would provide &amp;quot;too high&amp;quot; a wattage for a GoPro, and would damage it and/or the batteries.  The components that I found -- the ones that plug into the wall socket and have a spot to plug in the USB cable -- all were something like 15 to 20W.  I have no idea what I'm looking for in terms of wattage.&lt;/p&gt;&#xA;&lt;p&gt;I would think that GoPro would provide a complete solution for charging their batteries.  Any suggestions much appreciated!&lt;/p&gt;&#xA;" OwnerUserId="38676" LastActivityDate="2022-06-22T10:28:19.207" Title="USB charger for GoPro -- I need 5V, 2A, but does the wattage matter?" Tags="|gopro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35432" PostTypeId="2" ParentId="35431" CreationDate="2022-06-22T10:28:19.207" Score="3" Body="&lt;p&gt;Wattage matters - it is inextricably tied to Voltage &amp;amp; Amperage.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Watts = Amps x Volts&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Standard' USB power is 5V, 500mW - which is only 0.1A.&lt;br /&gt;&#xA;Many computers, especially since USB-C, can negotiate with a device to provide  higher power, but on USB2 really only Apple devices generally display that ability. It was added to them with the advent of the iPad, which needs more power than a phone.&lt;/p&gt;&#xA;&lt;p&gt;You can get a stand-alone 5v 2.1A [10W] charger from just about anywhere these days, even supermarkets. it is a very common spec &amp;amp; should provide plenty of power for most devices.&lt;/p&gt;&#xA;&lt;p&gt;It is not in any way 'dangerous' to have a higher Amperage in a supply than needed for the device. Amps are 'pulled' by the device, not 'pushed' by the charger.&lt;/p&gt;&#xA;" OwnerUserId="12233" LastActivityDate="2022-06-22T10:28:19.207" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="35434" PostTypeId="1" AcceptedAnswerId="35435" CreationDate="2022-06-22T19:40:28.327" Score="0" ViewCount="193" Body="&lt;p&gt;I'm using the following to build a preview filmstrip image by grabbing every Nth frame and tiling them into a grid:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;$file&amp;quot; -frames 1 -vf &amp;quot;select=not(mod(n\,$N)),tile=${COLS}x${ROWS}&amp;quot; -y strip.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However the input video has black bars so I'd like to crop them out before grabbing those frames using something like:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-filter:v &amp;quot;crop=1440:1080&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Adding that has no effect on the tiled output image.  I have also tried incorporating that filter into the -vf option to no effect.  Is there any way to accomplish this without a second pass that renders the whole video (temporarily) cropped?  Thanks!&lt;/p&gt;&#xA;" OwnerUserId="38703" LastActivityDate="2022-06-23T04:00:43.317" Title="How can I apply a crop to frames before tiling with ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35435" PostTypeId="2" ParentId="35434" CreationDate="2022-06-23T04:00:43.317" Score="0" Body="&lt;p&gt;Simply insert crop after the select filter.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf &amp;quot;select=not(mod(n\,$N)),crop=1440:1080,tile=${COLS}x${ROWS}&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-06-23T04:00:43.317" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35437" PostTypeId="2" ParentId="34800" CreationDate="2022-06-23T13:31:48.307" Score="1" Body="&lt;p&gt;There are different ways of optimizing and I am not sure which one you are looking for.&#xA;You could optimize for reducing file size, reducing video encoding time, etc&lt;/p&gt;&#xA;&lt;p&gt;So, you might be aiming to reduce frame rate, as your way to optimize this, since it is for a still image video, with some mp3 audio. To have 1 frame after each 10 s time, you could do it like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -loop 1 -framerate 1/10 -i &amp;quot;img.png&amp;quot; -i &amp;quot;&amp;lt;your_sound&amp;gt;.mp3&amp;quot; -c:v libx264 -c:a copy -tune stillimage -shortest &amp;quot;&amp;lt;your_video_output_ex1&amp;gt;.mp4&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;For that, &lt;code&gt;-framerate&lt;/code&gt; refers to the &amp;quot;input stream&amp;quot;, so encoding is very fast. In case you decided to use &lt;code&gt;-r&lt;/code&gt;, you would get the same result, but really slower encoding time, because it refers to the output frame rate. ffmpeg would create lots of frames and then internally discard them to produce the same result.&lt;/p&gt;&#xA;&lt;p&gt;However, I am not sure if this is what you asked for. Even though you get constant frame rate, the encoder will still encode key frames and lots of I- and B-frames between them.&lt;/p&gt;&#xA;&lt;p&gt;--&lt;/p&gt;&#xA;&lt;p&gt;In case you want your video to have only key-frames, which is not much clear but somehow seems to be your request, here is a method. This consists on creating a video &amp;quot;building block&amp;quot; with only its initial key frame and then concatenating that video many times.&#xA;1 - Create a clip of video with the duration that you want to have between key frames, and having only 1 single frame, as key frame. I will assume 10 s:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -loop 1 -framerate 1/10 -i &amp;quot;img.png&amp;quot; -i &amp;quot;&amp;lt;your_sound&amp;gt;.mp3&amp;quot; -c:v libx264 -ss 00:00:00.000 -t 00:00:10.000 -c:a copy -tune stillimage -shortest &amp;quot;building_block.mp4&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Be warned that the number &amp;quot;10&amp;quot; appeared 2x in this command, one for the frame rate and the other for the duration of the video.&#xA;You can check that there is only 1 frame in the video, with the following command, that shows you how many frames there are:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffprobe -v error -select_streams v:0 -count_frames -show_entries stream=nb_read_frames &amp;quot;building_block.mp4&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Being only 1 frame, it is obviously a key frame, as I think you intend.&lt;/p&gt;&#xA;&lt;p&gt;2 - Concatenate that building block many times to reach the intended duration of the final video.&#xA;To create successive copies of the video stream without any reencoding, you need to create a text file, for example &amp;quot;sequence.txt&amp;quot; listing the sequence of clips that will be concatenated, using the following format inside the text file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file 'building_block.mp4'&#xA;file 'building_block.mp4'&#xA;file 'building_block.mp4'&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;One line per clip. You could also decide to use different files in the sequence, if you want. Here I am just concatenating always the same building block along time.&lt;/p&gt;&#xA;&lt;p&gt;Then ask ffmpeg to concatenate all the sequence into a single video:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i sequence.txt -c copy concatenated_building_blocks.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This video contains a sequence of only key frames with your image. For now, sound is also a repetition of the contents of the building_block.mp4-&lt;/p&gt;&#xA;&lt;p&gt;3 - Finally, replace the audio by the one you want to have there:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i concatenated_building_blocks.mp4 -i &amp;quot;&amp;lt;your_sound&amp;gt;.mp3&amp;quot; -map 0:v:0 -map 1:a:0 -c:v copy -c:a copy -shortest &amp;quot;&amp;lt;your_final_video_ex2&amp;gt;.mp4&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Maybe this is what you asked for.&#xA;File size is greater that that of &amp;quot;&amp;lt;your_video_output_ex1&amp;gt;.mp4&amp;quot;, from the first command I shared but, while ex1 has I-, P- and B-frames in it, ex2 only has I-frames, or exact copies of the same single one.&lt;/p&gt;&#xA;&lt;p&gt;--&lt;/p&gt;&#xA;&lt;p&gt;Final note1: I think video players were not intended for very low frame rates. If you experience difficulties playing this kind of video, you may wish to increase the frame rate. I think mpv and firefox browser are among the ones that best support variable frame rate and low frame rates.&lt;/p&gt;&#xA;&lt;p&gt;Final note2: If you decide to compress &amp;quot;&amp;lt;your_final_video_ex2&amp;gt;.mp4&amp;quot; using 7-zip or some other compressor with large enough dictionary you will see that it compresses really a lot, because of the copies inside. (.zip does not work because its 32KiB or 64KiB dictionary is not enough most probably.)&lt;/p&gt;&#xA;" OwnerUserId="38711" LastEditorUserId="38711" LastEditDate="2022-06-23T14:00:58.203" LastActivityDate="2022-06-23T14:00:58.203" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35439" PostTypeId="1" CreationDate="2022-06-24T07:49:46.917" Score="1" ViewCount="698" Body="&lt;p&gt;I have a Sony Alpha A5000 camera, and it has quite limited video recording options. In AVCHD format, there are basically two options: 50i and 25p. I do know the basic difference between these two scan types, interlaced and progressive.&lt;/p&gt;&#xA;&lt;p&gt;Here comes the main confusion. When I transfer the files from my camera to my desktop, and view the details in Mediainfo, both of them show&lt;/p&gt;&#xA;&lt;p&gt;Frame rate: 25.00&#xA;Scan type: Interlaced&lt;/p&gt;&#xA;&lt;p&gt;However, the 50i video file shows Scan type, store method: Separated fields, whereas 25p video shows Scan type, store method: Interleaved fields.&lt;/p&gt;&#xA;&lt;p&gt;The question here is that how these file outputs are different? Is one preferred over the another? Any help is appreciated!&lt;/p&gt;&#xA;&lt;p&gt;Google Drive links for these files:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://drive.google.com/file/d/1DrnLUHsSHIwvvz8N_ZBOv5Jgg6SEAq8m/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1DrnLUHsSHIwvvz8N_ZBOv5Jgg6SEAq8m/view?usp=sharing&lt;/a&gt;&#xA;&lt;a href=&quot;https://drive.google.com/file/d/1GDvInvgUQDY7Gl4Pzv89QxalnFZh0bOF/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1GDvInvgUQDY7Gl4Pzv89QxalnFZh0bOF/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38716" LastActivityDate="2024-03-15T17:09:31.153" Title="Difference Between 50i and 25p Video Formats" Tags="|file-formats|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35440" PostTypeId="2" ParentId="35439" CreationDate="2022-06-24T10:11:04.823" Score="0" Body="&lt;p&gt;They're kind of the same thing [not exactly, but kind of…]&lt;/p&gt;&#xA;&lt;p&gt;Progressive scan imaging starts at the first line &amp;amp; works its way - progressively, i.e. line by line - down the screen, meaning for a 1080&lt;strong&gt;p&lt;/strong&gt; signal it must draw 1080 lines for every frame [25 times a second, in your case].&lt;/p&gt;&#xA;&lt;p&gt;Interleaved scan uses only half the screen - it only scans each alternate line, so for a 1080&lt;strong&gt;i&lt;/strong&gt; image is only has to send 540 lines. The next frame fills the other half of the lines.&lt;/p&gt;&#xA;&lt;p&gt;Therefore, interleaving can send two frames in the time progressive takes to send one &amp;amp; using approximately the same data bandwidth to achieve it.&lt;/p&gt;&#xA;&lt;p&gt;Interleaving is, however, not as sharp as progressive, because half the image has moved on since the frame before.&lt;br /&gt;&#xA;This allows manufacturers to claim it's actually running at 50fps. It isn't really, it's running a data-saving method of 'pretending' it's running at 50 fps, whilst still only drawing the entire screen at 25fps.&lt;/p&gt;&#xA;&lt;p&gt;This is how the two are 'kind of' the same thing.&lt;/p&gt;&#xA;&lt;p&gt;Use 25fps progressive every time over any claimed 'double frame cheat'.&lt;/p&gt;&#xA;" OwnerUserId="12233" LastActivityDate="2022-06-24T10:11:04.823" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35442" PostTypeId="1" CreationDate="2022-06-25T23:50:29.207" Score="0" ViewCount="976" Body="&lt;p&gt;In After Effects, I want to animate an object from a position A = (960, 540), being the center of my 1920x1080 composition, to a position B = (960 - offset, 540) to the left, where offset is a positive number. My composition will be used as Motion Graphics template, so this offset needs to be adjustable with a Slider Control so that users can tweak the amount of movement.&lt;/p&gt;&#xA;&lt;p&gt;In &lt;a href=&quot;https://video.stackexchange.com/questions/21055/control-key-frame-value-with-slider-control&quot;&gt;this question&lt;/a&gt;, a method is shown where a slider can be used to interpolate between two positions. However, I want to have the temporal interpolation to be predefined, and it is more complicated than the simple linear or ease interpolation that expressions allow for.&lt;/p&gt;&#xA;&lt;p&gt;Thus, I want to be able to set the keyframe values with the slider, but I want the keyframe interpolation to be done with the graph editor. How can I make this work?&lt;/p&gt;&#xA;" OwnerUserId="35873" LastEditorUserId="1950" LastEditDate="2022-07-03T09:46:58.967" LastActivityDate="2024-03-24T17:07:25.997" Title="After Effects set keyframe value with slider and expression but interpolation with graph editor" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35443" PostTypeId="2" ParentId="34927" CreationDate="2022-06-26T00:38:58.317" Score="-1" Body="&lt;ol&gt;&#xA;&lt;li&gt;yuvj420p is not obsolete, the ffmpeg message is just misleading&lt;/li&gt;&#xA;&lt;li&gt;Compression errors? It doesn't really matter - all values less than 16 will be 16. Same with values over 235.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="38732" LastActivityDate="2022-06-26T00:38:58.317" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35445" PostTypeId="2" ParentId="35426" CreationDate="2022-06-27T10:22:14.123" Score="1" Body="&lt;p&gt;I think I managed to do the audio part at least (after that I combine the audio track with the video):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -t 5 -i anullsrc=channel_layout=stereo:sample_rate=192000 -i file1.mp3 -filter_complex &amp;quot;[1:a][0:a]concat=n=2:v=0:a=1[audio_silence],amovie=file2.mp3:loop=0,asetpts=N/SR/TB,volume=0.1[music];[audio_silence][music]amix=duration=shortest,volume=1&amp;quot; out.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But one thing is not quite as expected: The audio quality go really bad. There is hissing and some higher frequency noice ... i tried some low pass filtering but doesn't seem to help. Any ideas on that topic? I think I'll open another question for that.&lt;/p&gt;&#xA;&lt;p&gt;Cheers&lt;/p&gt;&#xA;" OwnerUserId="38683" LastEditorUserId="38683" LastEditDate="2022-06-27T10:27:59.333" LastActivityDate="2022-06-27T10:27:59.333" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35446" PostTypeId="1" CreationDate="2022-06-27T10:25:58.183" Score="2" ViewCount="1275" Body="&lt;p&gt;I have a image sensor that streams 640x480 in RAW8 format. A USB controller is receiving this data, packing two pixels of 8-bits each and sending to USB as a 16-bits per pixel YUV422 format (this is because currently UVC does not support RAW8 format).&lt;/p&gt;&#xA;&lt;p&gt;I was checking if I can use ffmpeg to receive the UVC stream and decode it as RAW8 video.&lt;/p&gt;&#xA;&lt;p&gt;Has anyone tried this before?&lt;/p&gt;&#xA;" OwnerUserId="38737" LastActivityDate="2024-02-06T19:01:35.160" Title="Use ffmpeg to stream rawvideo from a USB camera" Tags="|ffmpeg|video|windows|linux|raw|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35447" PostTypeId="1" AcceptedAnswerId="35504" CreationDate="2022-06-27T10:26:31.790" Score="1" ViewCount="419" Body="&lt;p&gt;I used some complex filters on a audio file and did some re-encoding.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -t 5 -i anullsrc=channel_layout=stereo:sample_rate=192000 -i file1.mp3 -filter_complex &amp;quot;[1:a][0:a]concat=n=2:v=0:a=1[audio_silence],amovie=file2.mp3:loop=0,asetpts=N/SR/TB,volume=0.1[music];[audio_silence][music]amix=duration=shortest,volume=1&amp;quot; out.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Everytime I do this the audio gets worse. The audio is some speech recording and there are a lot of hisses and high frequency noices in the output.&#xA;How can this be prevented or equalized afterwards?&#xA;I tried some low pass filters but that doesn't seem to work.&lt;/p&gt;&#xA;&lt;p&gt;Cheers&lt;/p&gt;&#xA;" OwnerUserId="38683" LastEditorUserId="38683" LastEditDate="2022-06-27T11:00:07.603" LastActivityDate="2022-07-14T09:49:39.467" Title="ffmpeg complex filter lowering audio quality" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35453" PostTypeId="1" CreationDate="2022-06-28T11:23:48.603" Score="0" ViewCount="28" Body="&lt;p&gt;I have a series of video clips that students created for their projects with embedded systems.&lt;/p&gt;&#xA;&lt;p&gt;I'm seeking for a tool that would allow me to quickly select highlights from short video clips, add transitions, add title and intro section, end text section, captions on highlights etc...).&lt;/p&gt;&#xA;&lt;p&gt;As far as I have researched, LosslessCut seems fine to select highlights. Is there any more complete tool or can I use LosslessCut and then use some other tool to add captions, music, intro and end sections with custom text for each clip (like project name, description, some photo of schematic, etc...) ? The best solution would be to prepare some kind of text scenario as a description and to automate video generation according to this file.&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance for advice, pointers to tools and other sources to learn from, regards.&lt;/p&gt;&#xA;" OwnerUserId="38653" LastActivityDate="2023-07-26T01:09:46.153" Title="Free tool/app to automate video generation out of video clips (quick selection of highlights from video clips, add intro and end texts, captions)?" Tags="|video|video-editor|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35455" PostTypeId="1" AcceptedAnswerId="35456" CreationDate="2022-06-29T01:36:33.700" Score="1" ViewCount="1924" Body="&lt;p&gt;I am using ffmpeg to tell me video info. Specifically:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.ext&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I get the output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0.0[0x1e0]: Video: mpeg2video, yuv420p, 704x576 [PAR 12:11 DAR 4:3], 9578 kb/s, 25 tbr, 90k tbn, 50 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Does anyone know what tbr, tbn and tbc are exactly? I have seen speculation on the net but nothing definitive?&lt;/p&gt;&#xA;" OwnerUserId="38507" LastEditorUserId="38507" LastEditDate="2022-06-29T01:58:24.447" LastActivityDate="2022-12-28T07:24:11.883" Title="Meaning of ffmpeg output (tbc, tbn, tbr)" Tags="|ffmpeg|video|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35456" PostTypeId="2" ParentId="35455" CreationDate="2022-06-29T01:54:40.213" Score="1" Body="&lt;p&gt;Well it's all about time. FFMpeg uses in fact three different timestamps in different bases in order to work.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;tbn&lt;/strong&gt; = the time base in AVStream that has come from the container&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;tbc&lt;/strong&gt; = the time base in AVCodecContext for the codec used for a particular stream&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;tbr&lt;/strong&gt; = tbr is guessed from the video stream and is the value users&#xA;want to see&#xA;when they look for the video frame rate&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;This was also asked on the FFmpeg mailing lists: &lt;a href=&quot;http://ffmpeg-users.933282.n4.nabble.com/What-does-the-output-of-ffmpeg-mean-tbr-tbn-tbc-etc-td941538.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;What does the output of ffmpeg mean? tbr tbn tbc etc?&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38507" LastEditorUserId="38507" LastEditDate="2022-06-29T01:57:22.710" LastActivityDate="2022-06-29T01:57:22.710" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35460" PostTypeId="2" ParentId="21086" CreationDate="2022-06-29T21:20:40.170" Score="0" Body="&lt;p&gt;In the current folder, covert all mp4 files to TS. Then use the Windows 'copy' command to merge every TS. Then, once you have a single ts, transmux to mp4 without re-encoding.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for %i in (*.mp4) do ffmpeg -i &amp;quot;%i&amp;quot; -c copy -bsf:v h264_mp4toannexb &amp;quot;%~ni.ts&amp;quot; &#xA;copy /b *.ts all.ts&#xA;ffmpeg -i all.ts -c copy all.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="38763" LastActivityDate="2022-06-29T21:20:40.170" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35461" PostTypeId="2" ParentId="25901" CreationDate="2022-06-30T06:11:17.650" Score="0" Body="&lt;p&gt;&lt;strong&gt;Yes&lt;/strong&gt;, it has to do with the codec. If you want to compress HDR10/10+ content, in H264 or HEVC, there are SPS &amp;amp; PPS markers that indicate what the HDR10 settings are within the elemental bitstream.&lt;/p&gt;&#xA;&lt;p&gt;The metadata merely indicates standard being used : HDR10, HDR10+. While the video is simply 10-bit YUV 4:2:0 or YUV 4:2:2 typically.&lt;/p&gt;&#xA;&lt;p&gt;After being received over the network, a decoder can extract this HDR metadata and pass it to the display for actual rendering (with full HDR effects).&lt;/p&gt;&#xA;&lt;p&gt;The HDR10 is a specification that acts like an umbrella for the metadata coming from various properties like HLG/PQ, Brightness Nit Values, Color Primaries etc. etc. However, HDR10 is static metadata, while HDR10+ or Dolby Vision are dynamic in their metadata meaning it can change from one frame to another.&lt;/p&gt;&#xA;" OwnerUserId="38764" LastActivityDate="2022-06-30T06:11:17.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35462" PostTypeId="2" ParentId="35453" CreationDate="2022-06-30T22:52:35.163" Score="1" Body="&lt;p&gt;Davinci Resolve has a free version with a fully capable edit suite.  For quick-turnaround projects, it also includes the “cut page,” which is a simplified, minimalistic version of its  full-featured “edit page.”  For automation, Resolve is scriptable in Python and Lua, or you can avoid scripting, build project templates, replace footage, and run a render queue.  Resolve runs on Mac, Windows, and Linux.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastEditorUserId="3592" LastEditDate="2022-06-30T22:57:48.373" LastActivityDate="2022-06-30T22:57:48.373" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35464" PostTypeId="2" ParentId="13090" CreationDate="2022-07-02T01:21:48.953" Score="0" Body="&lt;p&gt;if you want my experience in what has been working for me ...i use an amd 3970x and i can record render simult and pretty much can do whatever i want. i can push 2 4k live streams to different channels on the same cpu (not rtmp relay multistream) with an amd 3970 x and up you can pretty much do anything you are going to want to do.  but for what you are asking you can get by MAYBE with the latest 12 or 16 core amd cpus&lt;/p&gt;&#xA;" OwnerUserId="38774" LastActivityDate="2022-07-02T01:21:48.953" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35465" PostTypeId="2" ParentId="22018" CreationDate="2022-07-02T10:19:59.423" Score="1" Body="&lt;p&gt;I've used a 25ft HDMI with RedMere purchased from Amazon for about 3 years now.  Connecting a MacPro to a Yamaha ARx3070 Home theater amp. Predominantly for HiRes audio. I was skeptical as well. At the time of purchase, I wasn't able to find info online regarding RedMere. My understanding is the RedMere boosts the signal over the extended distance. Basically making it an &amp;quot;active&amp;quot; cable without requiring its own power source. With standard HDMI cables, I often experienced handshake issues upon power up between the computer and amp. Not an issue with this cable. I don't get how the cable being single direction still sends a signal in the opposite direction.  But clearly, my Mac receives a signal and is aware of the details from the amp. The funny thing is, since I installed this cable, I've not been able to get the two devices to connect with any other HDMI cable. Even with a HDMI cable that had previously worked.&#xA;I came across this thread researching RedMere again as I'm purchasing a new active HDMI 2.1 one direction fiber optic/ethernet cable with additional AC power connections on each end. I'm curious if it will work in place and how the ethernet functions in one direction. It had better.  At 20X the cost I'm also expecting it give a good old-fashioned handy before bed, if not a hummer. Fingers crossed...&lt;/p&gt;&#xA;" OwnerUserId="38775" LastActivityDate="2022-07-02T10:19:59.423" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35467" PostTypeId="2" ParentId="12905" CreationDate="2022-07-02T19:28:35.717" Score="0" Body="&lt;p&gt;If you have MP4 files, these could be losslessly concatenated by first re-wrapping them to MPEG-2 transport streams. With H.264 video and AAC audio, the following can be used:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c copy -bsf:v h264_mp4toannexb -f mpegts intermediate.ts&#xA;ffmpeg -i &amp;quot;concat:intermediate.ts|intermediate.ts|intermediate.ts|intermediate.ts&amp;quot; -c copy -bsf:a aac_adtstoasc output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="38507" LastEditorUserId="14523" LastEditDate="2022-07-08T20:11:50.960" LastActivityDate="2022-07-08T20:11:50.960" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35468" PostTypeId="1" AcceptedAnswerId="35469" CreationDate="2022-07-02T21:14:07.557" Score="0" ViewCount="187" Body="&lt;p&gt;I'm having a hard time understanding how non-integer frame rates are implemented in h264 and hevc.  For example, I just stepped through a 23.976fps video frame by frame using Shotcut, and looking at the timestamp of each frame, it looks like there are full 24 frames in each second.&lt;/p&gt;&#xA;&lt;p&gt;How do they do it?  Do the encoders actually write 24 full frames per second to file? (What even would be a non-full frame?)  But that would mean, when playing at 23.976, that to play 1000 seconds you need to render 23976 frames.  But the file contains 24000 frames (does it?)  Do they just drop some frames?  Who does the dropping?  The player?  Or does the encoder drop a frame every n seconds?&lt;/p&gt;&#xA;" OwnerUserId="38778" LastActivityDate="2022-07-02T21:54:48.190" Title="h264/hevc: non-integer frame rates" Tags="|encoding|framerate|h.264|hevc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35469" PostTypeId="2" ParentId="35468" CreationDate="2022-07-02T21:54:48.190" Score="1" Body="&lt;p&gt;It only looks like 24fps at first glance.  From the &lt;a href=&quot;https://en.wikipedia.org/wiki/SMPTE_timecode&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wikipedia entry&lt;/a&gt; on SMTPE timecode, the section on drop-frame:&lt;/p&gt;&#xA;&lt;p&gt;“In order to make an hour of timecode match an hour on the clock, drop-frame timecode skips frame numbers 0 and 1 of the first second of every minute, except when the number of minutes is divisible by ten.”&lt;/p&gt;&#xA;&lt;p&gt;Check the first and second frame of each minute.&lt;/p&gt;&#xA;&lt;p&gt;A clue that timecode is using drop-frame is when the separator before the frame number is a semicolon instead of a colon, although I’ve seen software ignore this convention.&lt;/p&gt;&#xA;" OwnerUserId="3592" LastActivityDate="2022-07-02T21:54:48.190" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35470" PostTypeId="2" ParentId="35442" CreationDate="2022-07-03T10:02:19.620" Score="0" Body="&lt;p&gt;Use the values of the keyframes as the driver for a &lt;code&gt;linear&lt;/code&gt; expression, and scale them with the slider:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;const firstKF = thisProperty.key(1); //which KeyFrames to use as the driver&#xA;const lastKF = thisProperty.key(2); // NB you could use multiple keyframes with this expression&#xA;const initialValue = [960, 540]; // the start pos—could also use [thisComp.width, thisComp.height]/2&#xA;const offsetAmt = thisLayer.effect(&amp;quot;offset slider&amp;quot;)(&amp;quot;Slider&amp;quot;); //pickwhip the slider control here&#xA;const finalValue = initialValue + [offsetAmt, 0];&#xA;&#xA;linear(value, firstKF, lastKF, initialValue, finalValue)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This will scale the original motion as you've keyframed it to match the motion with the offset applied.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2022-07-03T11:10:48.637" LastActivityDate="2022-07-03T11:10:48.637" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35471" PostTypeId="2" ParentId="35008" CreationDate="2022-07-03T11:20:18.417" Score="0" Body="&lt;p&gt;Both After Effects and Premiere Pro are scriptable using the extendscript API Adobe have provided for them: here are docs for &lt;a href=&quot;https://ae-scripting.docsforadobe.dev/&quot; rel=&quot;nofollow noreferrer&quot;&gt;AE&lt;/a&gt; and &lt;a href=&quot;https://ppro-scripting.docsforadobe.dev/&quot; rel=&quot;nofollow noreferrer&quot;&gt;PP&lt;/a&gt;. Extendscript is based on Javascript (ES5).&lt;/p&gt;&#xA;&lt;p&gt;Whether doing it by scripting or by hand is quicker depends on your coding skills and how fast you can learn the quirks of the API.&lt;/p&gt;&#xA;&lt;p&gt;There is also a &lt;a href=&quot;https://mamoworld.com/docs/automation-blocks/&quot; rel=&quot;nofollow noreferrer&quot;&gt;visual coding environment&lt;/a&gt; for after effects recently released (july 2022) in public beta that might help if you're unfamiliar with JS.&lt;/p&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2022-07-03T11:20:18.417" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35472" PostTypeId="5" CreationDate="2022-07-03T11:30:32.257" Score="0" Body="&lt;p&gt;Adobe® Extendscript is a platform-independent scripting language, based on Javascript (ES5) that you can use to control many features and automate many tasks in Adobe® applications. Anything that can be achieved with the application's UI can be done with scripting, which makes it useful for repetitive or time-consuming tasks.&#xA;Scripting is not able to access the pixels of a layer, or change the pixels in a composition, to do that you need to use the SDK for C++ developers.&#xA;Documentation is available here: &lt;a href=&quot;https://extendscript.docsforadobe.dev/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://extendscript.docsforadobe.dev/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2022-07-03T11:30:32.257" LastActivityDate="2022-07-03T11:30:32.257" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35473" PostTypeId="4" CreationDate="2022-07-03T11:30:32.257" Score="0" Body="Questions about using the After Effects scripting API using Adobe Extendscript. Do not use for questions that are about expressions, they are NOT the same thing." OwnerUserId="1950" LastEditorUserId="1950" LastEditDate="2022-07-03T11:30:32.257" LastActivityDate="2022-07-03T11:30:32.257" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35474" PostTypeId="2" ParentId="33083" CreationDate="2022-07-03T12:25:21.000" Score="0" Body="&lt;p&gt;I would use the ol' blur-and-threshold trick:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;make my lines slightly thicker than they need to be,&lt;/li&gt;&#xA;&lt;li&gt;precompose my lines and the control layer, and set the opacity of the control layer to say 50%.&lt;/li&gt;&#xA;&lt;li&gt;Then back in the original comp I would add Gaussian blur to the precomped layers, followed by the threshold effect.&lt;/li&gt;&#xA;&lt;li&gt;Muck around with the values for both effects and the opacity of the control layer until it's good.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="1950" LastActivityDate="2022-07-03T12:25:21.000" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35475" PostTypeId="1" CreationDate="2022-07-03T19:07:50.403" Score="0" ViewCount="317" Body="&lt;p&gt;I have recorded videos driving my car. I have setup a Nikon 3200 camera with the 18-55mm kit lens on a tripod in the rear hatch of my car. The tripod sits flat and level in the rear hatch. The tripod is a relatively cheap Optex TP160 with a basic pan head. I have uploaded a short example clip of one of my videos &lt;a href=&quot;https://www.youtube.com/watch?v=6_qvXq26_yU&quot; rel=&quot;nofollow noreferrer&quot;&gt;as an unlisted video on youtube&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;My issue is that I have small shakes/tremors in the video. I drive a cheap economy car, you feel all the little bumps in the road as you drive.&lt;/strong&gt; It seems like every time I go over the slightest crack in the road it is vibrating the tripod and causing the video to shake.&lt;/p&gt;&#xA;&lt;p&gt;I have placed my tripod like this, both with and withour rubber floot mats underneath:&lt;a href=&quot;https://i.stack.imgur.com/ULHtK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ULHtK.jpg&quot; alt=&quot;Tripod in rear hatch of car&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have tried basic software methods to stabilize the video, like ffmpeg's &amp;quot;vidstabdetect / vidstabtransform&amp;quot; filter, as well as the &amp;quot;deshake&amp;quot; and &amp;quot;deshake_cl&amp;quot; algorithms. Vidstabtransform did the best job and lessened the biggest shakes in the video, but small shakes were unaffected, especially in the peripherals like the top and sides of my windshield.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Are there any relatively cheap methods to stabilize my videos?&lt;/strong&gt; I would consider &amp;quot;cheap&amp;quot; to be a solution less than ~$250 Canadian (~190 USD / ~180 Euro).&lt;/p&gt;&#xA;&lt;p&gt;Here are some ideas I've seen on the internet:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&amp;quot;Better&amp;quot; software solutions, like working in after effects, davinci resolve or similar. I don't know if any software packages would beat the performance of ffmpeg's filters.&lt;/li&gt;&#xA;&lt;li&gt;Anti-vibration tripod pads: &lt;a href=&quot;https://www.amazon.ca/Astromania-Anti-vibration-Suppression-Telescope-Mounts/dp/B0140UAD20/ref=sr_1_19?crid=6GK7EF3QPDGV&amp;amp;keywords=tripod+vibration&amp;amp;qid=1656874037&amp;amp;sprefix=tripod+vibratio%2Caps%2C85&amp;amp;sr=8-19&quot; rel=&quot;nofollow noreferrer&quot;&gt;amazon example&lt;/a&gt;. Reviews are mixed, could these little pieces of rubber really dampen the vibrations inside a car?&lt;/li&gt;&#xA;&lt;li&gt;A tripod fluid/video head. It seems like these tripod heads are better for smooth pans and tilts, I don't know if this affects stability.&lt;/li&gt;&#xA;&lt;li&gt;A tripod gimbal head. I haven't seen someone using these the same way I want to, maybe its an option.&lt;/li&gt;&#xA;&lt;li&gt;A dash cam. This doesn't allow changeable lenses or the in-car positioning I would like.&lt;/li&gt;&#xA;&lt;li&gt;A motorized gimbal / steadycam / etc. These solutions are above my budget and would need another operator. I'm hoping for a solution I can setup in my car alone without another person.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="38785" LastEditorUserId="38785" LastEditDate="2022-07-03T20:29:11.817" LastActivityDate="2022-07-04T15:01:16.633" Title="How to stabilize DSLR video shot with a tripod in a car" Tags="|video-quality|software-recommendation|dslr|stabilisation|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35477" PostTypeId="1" CreationDate="2022-07-04T04:16:21.120" Score="0" ViewCount="248" Body="&lt;p&gt;I have been looking to &lt;strong&gt;live video streaming&lt;/strong&gt; where a client can join the stream of bytes and play the video automatically. I have recently found MPEG-TS which seems to work pretty well, and I noticed if I replace the .ts file with another format .mp4 or .mkv it doesn't work. I was just wondering if there are any alternative to MPEG-TS that I could test out, or is this the leading pioneer of this type of streaming?&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;&lt;p&gt;EDIT: Could I use a stream of h.264 bytes?&lt;/p&gt;&#xA;" OwnerUserId="38788" LastEditorUserId="38788" LastEditDate="2022-07-04T06:04:09.923" LastActivityDate="2022-07-04T06:04:09.923" Title="What video container formats are similar to MPEG-TS?" Tags="|ffmpeg|streaming|file-formats|live|formats|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35478" PostTypeId="2" ParentId="35475" CreationDate="2022-07-04T15:01:16.633" Score="1" Body="&lt;p&gt;Try a camera/lens with &lt;a href=&quot;https://en.wikipedia.org/wiki/Image_stabilization#Optical_image_stabilization&quot; rel=&quot;nofollow noreferrer&quot;&gt;optical image stabilization&lt;/a&gt;. Some newer phones have this.  Also I would suggest trying a lower cost DJI gimbal like the &lt;a href=&quot;https://store.dji.com/uk/shop/dji-om&quot; rel=&quot;nofollow noreferrer&quot;&gt;Osmo Mobile&lt;/a&gt; attached to the phone.  These two combined with some image stabilisation software such as mentioned in the other comment would go a long way.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-07-04T15:01:16.633" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35481" PostTypeId="1" CreationDate="2022-07-05T04:47:32.847" Score="0" ViewCount="17" Body="&lt;p&gt;I want to post-process the video file exported from FCP, using FFmpeg.&lt;/p&gt;&#xA;&lt;p&gt;Currently, I firstly do &amp;quot;Share&amp;quot; on FCP and wait for completion, then trigger the FFmpeg.&lt;/p&gt;&#xA;&lt;p&gt;However, I'd like to make these bothering steps into one, using shell-script like as follows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ __COMMAND_THAT_WAIT_FOR_EXPORT_COMPLETION__ fcp-output.mov&#xA;$ ffmpeg -i fcp-output.mov __OPTIONS__  processed-file.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is there an equivalent to &lt;code&gt;__COMMAND_THAT_WAIT_FOR_EXPORT_COMPLETION__&lt;/code&gt; above?&lt;/p&gt;&#xA;" OwnerUserId="6187" LastActivityDate="2024-03-26T13:09:21.253" Title="Is there a way to detect whether the FCP file export completed or not, via CLI" Tags="|final-cut-pro-x|final-cut-pro|fcpx|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35482" PostTypeId="2" ParentId="35481" CreationDate="2022-07-05T07:38:51.350" Score="0" Body="&lt;p&gt;The tool &lt;a href=&quot;https://commandpost.io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Command Post&lt;/a&gt; could be what you looking for.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastEditorUserId="20675" LastEditDate="2022-07-05T10:50:38.097" LastActivityDate="2022-07-05T10:50:38.097" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35483" PostTypeId="1" CreationDate="2022-07-05T08:46:15.647" Score="0" ViewCount="59" Body="&lt;p&gt;I've (almost) been able to apply a displacement based on 2 animated gaussian noise videos, but I'm having issues with a ghost image. &lt;a href=&quot;https://i.stack.imgur.com/EDbrB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;A picture is worth a thousand words&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Here you have a script to replicate the issue:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -t 2 -f lavfi -i color=c=blue:s=160x120 -c:v libx264 -tune stillimage -pix_fmt rgb24 00_empty.mp4&#xA;ffmpeg -y -i 00_empty.mp4 -vf &amp;quot;drawtext=text=string1:y=h/2:x=w-t*w/2:fontcolor=white:fontsize=60&amp;quot; 01_text.mp4&#xA;ffmpeg -y -t 2 -f lavfi -i color=c=gray:s=160x120 -c:v libx264 -tune stillimage -pix_fmt rgb24 02_gray.mp4&#xA;ffmpeg -y -i 01_text.mp4 -i 02_gray.mp4 -i 02_gray.mp4 -filter_complex &amp;quot;[0][1][2]displace=edge=mirror&amp;quot; 03_displaced_text.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It creates a test video with a scrolling text and a gray dummy video. Then it applies a displacement based on the gray video. If I understand correctly, because the gray video is 100% gray, it should leave the video unchanged (or maybe displace everything by a fixed ammount of pixels), but &lt;a href=&quot;https://i.stack.imgur.com/ODRVl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;it creates a &amp;quot;shadow&amp;quot;&lt;/a&gt;. I tried with 3 different pixel formats (yuv420p, yuv444p, rgb24) because I found this question on stackoverflow talking about that:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://stackoverflow.com/a/43820170&quot;&gt;Why are Cb and Cr planes displaced differently from lum by the displace complex filter in ffmpeg?&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;ffmpeg version 5.0.1-full_build-www.gyan.dev&lt;/p&gt;&#xA;&lt;p&gt;Any idea will be welcome.&lt;br /&gt;&#xA;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="38801" LastEditorUserId="-1" LastEditDate="2022-07-05T09:40:32.533" LastActivityDate="2022-07-05T14:15:17.667" Title="Ghost image issues with ffmpeg -filter_complex displace" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35484" PostTypeId="2" ParentId="35483" CreationDate="2022-07-05T14:15:17.667" Score="1" Body="&lt;p&gt;Solution: using &lt;code&gt;-pix_fmt rgb24&lt;/code&gt; and adding &lt;code&gt;-c:v libx264rgb&lt;/code&gt; to all commands fixes it:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -y -t 2 -f lavfi -i color=c=blue:s=160x120 -tune stillimage -c:v libx264rgb -pix_fmt rgb24 00_empty.mp4&#xA;ffmpeg -hide_banner -y -i 00_empty.mp4 -vf &amp;quot;drawtext=text=string1:y=h/2:x=w-t*w/2:fontcolor=white:fontsize=60&amp;quot; -c:v libx264rgb -pix_fmt rgb24 01_text.mp4&#xA;ffmpeg -hide_banner -y -t 2 -f lavfi -i color=c=gray:s=160x120 -tune stillimage -c:v libx264rgb -pix_fmt rgb24 02_gray.mp4&#xA;ffmpeg -hide_banner -y -i 01_text.mp4 -i 02_gray.mp4 -i 02_gray.mp4 -filter_complex &amp;quot;[0][1][2]displace=edge=mirror&amp;quot; -c:v libx264rgb -pix_fmt rgb24 03_displaced_text.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Thanks to &lt;a href=&quot;https://forum.videohelp.com/threads/406269-%5BSOLVED%5D-Ghost-image-issues-with-ffmpeg-filter_complex-displace#post2661776&quot; rel=&quot;nofollow noreferrer&quot;&gt;poisondeathray's answer in a post at forum.videohelp.com&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;the real reason is the 8it RGB to YUV gray conversion for 02_gray.mp4 becomes YUV 126,128,128 (loss of accuracy from the 8bit conversion)&#xA;&lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/master/libavfilter/vf_displace.c&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/blob/master/libavfilter/vf_displace.c&lt;/a&gt;&lt;br /&gt;&#xA;If you supply a true gray YUV 128,128,128 video it works ok too&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="38801" LastActivityDate="2022-07-05T14:15:17.667" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35485" PostTypeId="1" CreationDate="2022-07-06T07:01:16.857" Score="0" ViewCount="1534" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/itOGR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/itOGR.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Does anyone know what this red icon is? I'm on a project that someone has already worked on. Not sure how this icon came up.&lt;/p&gt;&#xA;" OwnerUserId="13987" LastActivityDate="2024-03-27T19:07:30.960" Title="Red Icon on PremierePro video track" Tags="|video|premiere|editing|adobe|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35486" PostTypeId="1" AcceptedAnswerId="35490" CreationDate="2022-07-06T12:47:47.360" Score="0" ViewCount="406" Body="&lt;p&gt;I have applied 'bounce effect' following the rules. The first keyframe of scale was 0 and the second one was 100. but the scale gets bigger after second keyframe, increase its size.&lt;/p&gt;&#xA;&lt;p&gt;Why is this happening? please help.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WCyPT.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WCyPT.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Bounce expression-&#xA;&#xA;amp =2;&#xA;freq = 2;&#xA;decay = 4;&#xA;&#xA;n= 0;&#xA;if (numkeys &amp;gt; O){&#xA;n = nearestKey(time).index;&#xA;if (key(n).time &amp;gt; time){&#xA;n--;&#xA;}}&#xA;if (n == O{t = 0;&#xA;}else{&#xA;t= time - key(n).time;&#xA;}&#xA;&#xA;if (n &amp;gt; 0 &amp;amp;&amp;amp; t &amp;lt; 1){&#xA;v = velocityAtTime(key(n).time - thisComp.frameDuration/10);&#xA;value + v*amp*Math.sin(freq*t*2*Math.PI)/Math.exp(decay*t);&#xA;}else{&#xA;Value;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eLYpY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eLYpY.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38789" LastEditorUserId="4426" LastEditDate="2022-07-08T08:56:38.160" LastActivityDate="2022-07-08T09:09:42.087" Title="Bounce effect is not working" Tags="|after-effects-expressions|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="35487" PostTypeId="2" ParentId="35485" CreationDate="2022-07-06T16:57:28.050" Score="0" Body="&lt;p&gt;It means the &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/ingest-proxy-workflow.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;proxy file&lt;/a&gt; for that clip is missing.  You need to find and relink them or make new ones (if you want to use proxy files).&lt;/p&gt;&#xA;&lt;p&gt;See the &amp;quot;Red proxy badge in icon view&amp;quot; section below:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://community.adobe.com/t5/premiere-pro-beta-discussions/discuss-project-panel-proxy-badge-in-icon-and-freeform-view-proxy-column-in-list-view/m-p/12594847&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://community.adobe.com/t5/premiere-pro-beta-discussions/discuss-project-panel-proxy-badge-in-icon-and-freeform-view-proxy-column-in-list-view/m-p/12594847&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-07-06T16:57:28.050" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35490" PostTypeId="2" ParentId="35486" CreationDate="2022-07-08T09:09:42.087" Score="1" Body="&lt;p&gt;I think the reason your shape is growing too large is because you have set the &lt;a href=&quot;https://en.wikipedia.org/wiki/Amplitude&quot; rel=&quot;nofollow noreferrer&quot;&gt;amplitude&lt;/a&gt; to above 1, ie greater than 100% of the original size.&lt;/p&gt;&#xA;&lt;p&gt;I think this is based on &lt;a href=&quot;https://www.graymachine.com/top-5-effects-expressions&quot; rel=&quot;nofollow noreferrer&quot;&gt;Harry Frank's inertial bounce code&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;If you use his code, and his suggested values:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;amp = .1;&#xA;freq = 2.0;&#xA;decay = 2.0;&#xA;n = 0;&#xA;time_max = 4;&#xA;if (numKeys &amp;gt; 0){&#xA;n = nearestKey(time).index;&#xA;if (key(n).time &amp;gt; time){&#xA;n--;&#xA;}}&#xA;if (n == 0){ t = 0;&#xA;}else{&#xA;t = time - key(n).time;&#xA;}&#xA;if (n &amp;gt; 0 &amp;amp;&amp;amp; t &amp;lt; time_max){&#xA;v = velocityAtTime(key(n).time - thisComp.frameDuration/10);&#xA;value + v*amp*Math.sin(freq*t*2*Math.PI)/Math.exp(decay*t);&#xA;}else{value}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Applied to a scale control with two keyframes of 0% and 100%, you get this effect, which I think is what you're looking for:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wWmiL.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wWmiL.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-07-08T09:09:42.087" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35491" PostTypeId="1" AcceptedAnswerId="35493" CreationDate="2022-07-09T09:02:59.797" Score="0" ViewCount="199" Body="&lt;p&gt;I'm trying to use ffmpeg to create a cropped &amp;quot;boomerang&amp;quot; video. Where it would take in a video, take a small segment, crop it and then play that little piece forward and then play it backwards.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -i x.mp4 -c:v libx264 -filter_complex 'trim=start=1.32:duration=0.4,crop=500:500:1200:300,split=2[f][ri];[ri]reverse[r];[f][r]concat'  x1.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;The end result, however, is &lt;code&gt;00:00:02.34&lt;/code&gt; long, almost the exact same as the original &lt;code&gt;00:00:02.46&lt;/code&gt;. What am I doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="871" LastEditorUserId="871" LastEditDate="2022-07-09T09:16:06.603" LastActivityDate="2022-07-10T04:11:10.783" Title="Crop and boomerang at the same time using ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35493" PostTypeId="2" ParentId="35491" CreationDate="2022-07-10T04:11:10.783" Score="1" Body="&lt;p&gt;Reset timestamps after the trim, and disable audio.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -i x.mp4 -c:v libx264 -filter_complex 'trim=start=1.32:duration=0.4,setpts=PTS-STARTPTS,crop=500:500:1200:300,split=2[f][ri];[ri]reverse[r];[f][r]concat' -an x1.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-07-10T04:11:10.783" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35494" PostTypeId="1" CreationDate="2022-07-10T16:35:05.930" Score="1" ViewCount="103" Body="&lt;p&gt;I've got half way through editing a clip on the timeline. Now I want to delete the remainder of that clip, but save a reference to it somewhere. And then I'm going to add a second clip afterwards, and I might or might not use the rest of the first clip later on the timeline, haven't decided yet. But I don't want it hanging around cluttering my timeline in the meantime.&lt;/p&gt;&#xA;&lt;p&gt;I understand that cutting on the timeline doesn't affect the original media, so I can simply 'delete' the remainder of the clip on the timeline, and then use I and O on the original clip, in the media bin, later on, and click 'E', in order to grab the rest of the first clip, back onto the timeline.&lt;/p&gt;&#xA;&lt;p&gt;However, there are a couple of inconvenient points about having to find the range of the original clip all over again:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I have to go off and find the exact range all over again... I'd like to store it somehow, ideally without eg having to write down in a notebook the exact start time of the rest of the clip&lt;/li&gt;&#xA;&lt;li&gt;I actually have two clips on the timeline, one above the other, linked together, that I've already gone to great pains to 'sync' together, so the actions in one are synced with the actions and audio in the other. I don't want to have to resync all over again.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Thoughts? Perhaps this isn't the exact way to achieve this in FCPX? What is your approach when you've edited half a clip, on the timeline, and you think you might use the rest of the clip later, but don't want to keep it hanging around on the timeline in the meantime?&lt;/p&gt;&#xA;&lt;p&gt;I have read through in detail all the answers of &lt;a href=&quot;https://video.stackexchange.com/questions/30632/how-can-i-save-clips-that-i-cut?newreg=2627ec78cd894981b7dc92ed793a8d4c&quot;&gt;How can I save clips that I cut?&lt;/a&gt; , but they do not appear to answer my question. Some of the answers simply say that the question isn't for an FCPX workflow, and to use a different workflow, but don't recommend an FCPX-compatible workflow to use.&lt;/p&gt;&#xA;&lt;p&gt;Having written the question, a couple of answers occurred to me, so I've added in an answer with these options.&lt;/p&gt;&#xA;" OwnerUserId="38830" LastActivityDate="2022-07-10T16:35:05.930" Title="I've got half way through editing a clip on the timeline. Now I want to delete the remainder of that clip, but save a reference to it" Tags="|editing|final-cut-pro-x|clipping|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35495" PostTypeId="2" ParentId="35494" CreationDate="2022-07-10T16:35:05.930" Score="1" Body="&lt;p&gt;There are a couple of options to achieve storing a partial clip for later use.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;1. keywords&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;The first option is to use keywords. I haven't tried using this approach, and it seems tricky to use to me, but maybe because I didn't try using it yet.&lt;/p&gt;&#xA;&lt;p&gt;Basically, what you do is:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;shift-F the clip, which is the same as opening the context menu and doing 'reveal in browser'&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the original media clip will be selected in the media bin&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;click the &lt;code&gt;&amp;gt;&lt;/code&gt; arrow next to the original media clip to expand it, to show the clips inside&lt;/li&gt;&#xA;&lt;li&gt;press shift-F again&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the cut clip, inside the original clip, will be selected&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;press command-K to open the keyword editor, or go to 'mark' menu, then do 'show keyword editor'&lt;/li&gt;&#xA;&lt;li&gt;type in some phrase to remember your clip, like &lt;code&gt;unused_part_of_my_clip&lt;/code&gt;, then press &lt;code&gt;,&lt;/code&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;this will label your sub-clip with the keyword, in the media bin&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;now you are free to delete your sub-clip from the timeline&lt;/li&gt;&#xA;&lt;li&gt;whenever you want, you can go to the media bin, expand the original media clip, and drag the labeled sub-clip back onto the timeline&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;2. Compound clips&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is particularly useful for your second case, where you have two clips already stuck together on the timeline. Simply select those two clips, then open the context menu and do 'New compount clip...'&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a new compound clip will be created in the media bin&#xA;&lt;ul&gt;&#xA;&lt;li&gt;also your original two sub-clips will be converted into a single clip in the timeline :P&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;you can now delete the clip from the timeline&lt;/li&gt;&#xA;&lt;li&gt;whenever you want, you can drag the compound clip from the media bin onto the timeline&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;By the way, after moving the compound clip onto the timeline, you can double-click it to get back to the original sub-clips, or you can select it in the timeline, go to the 'Clip' menu, and do 'Break apart clip items'&lt;/p&gt;&#xA;" OwnerUserId="38830" LastActivityDate="2022-07-10T16:35:05.930" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35497" PostTypeId="2" ParentId="13401" CreationDate="2022-07-12T14:46:24.263" Score="1" Body="&lt;p&gt;You can also just separate the dimensions, add an expression to each axis you want to lock and type in 0 (or wherever you want the position locked) in the expression field.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/YIxYG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YIxYG.png&quot; alt=&quot;Here you see the z axis is locked&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38839" LastActivityDate="2022-07-12T14:46:24.263" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35499" PostTypeId="1" CreationDate="2022-07-12T18:28:56.440" Score="0" ViewCount="384" Body="&lt;p&gt;I have a video editor that can speed up video (Shotcut) but it can only go to 50x. I have 90 minutes of video that I want to compress into 15 seconds (360x). How should I go about doing this? I know I can export it and then speed it up again, but that seems inefficient - is there some other software that can speed up video by a lot?&lt;/p&gt;&#xA;" OwnerUserId="38842" LastActivityDate="2023-12-24T18:02:45.313" Title="How to speed up video by more than 100x" Tags="|time-lapse|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35500" PostTypeId="1" CreationDate="2022-07-13T03:39:00.900" Score="0" ViewCount="27" Body="&lt;p&gt;I am trying to predict video file size given:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;camera fps.&lt;/li&gt;&#xA;&lt;li&gt;number of horizontal pixels.&lt;/li&gt;&#xA;&lt;li&gt;number of vertical pixels.&lt;/li&gt;&#xA;&lt;li&gt;bit depth.&lt;/li&gt;&#xA;&lt;li&gt;time duration of the video.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;using the following formula&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file_size = horizontal_px * vertical_px * bit_depth * fps * duration_s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For a specific video in my phone (mp4 format) a video of 13s occupies 23.72Mb of memory. However considering the characteristic value of each of the given parameters and the formula provided, that should be 2313Mb instead, almost a two orders of magnitude difference.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;camera fps: 30 fps.&lt;/li&gt;&#xA;&lt;li&gt;number of horizontal pixels: 1920.&lt;/li&gt;&#xA;&lt;li&gt;number of vertical pixels: 1080.&lt;/li&gt;&#xA;&lt;li&gt;bit depth (unspecified, assume it to be 24 bits).&lt;/li&gt;&#xA;&lt;li&gt;time duration: 13s.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I imagine that part of it may amount to the compression algorithms to reduce raw video size, but I wouldn't expect it to be able to reduce ~99% of the original size. What am I missing?&lt;/p&gt;&#xA;" OwnerUserId="38844" LastActivityDate="2022-07-13T10:47:31.500" Title="Estimating video file size given camera parameters" Tags="|video|file-formats|storage|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35501" PostTypeId="2" ParentId="35499" CreationDate="2022-07-13T10:16:40.377" Score="0" Body="&lt;p&gt;If you want a free one off option, I would recommend using ffmpeg.  Don't let commandline put you off, there's a ton of helpful stuff that will let you build a one off command to do this.  Here's a couple of links that will help.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://superuser.com/a/1261681/653198&quot;&gt;https://superuser.com/a/1261681/653198&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/How%20to%20speed%20up%20/%20slow%20down%20a%20video&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/How%20to%20speed%20up%20/%20slow%20down%20a%20video&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="22062" LastEditorUserId="22062" LastEditDate="2022-08-01T15:07:49.957" LastActivityDate="2022-08-01T15:07:49.957" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35502" PostTypeId="2" ParentId="35500" CreationDate="2022-07-13T10:47:31.500" Score="2" Body="&lt;p&gt;I don't think this is possible without more information.  Even if you only want a very rough estimated filesize, you are still missing information that will affect the final size.&lt;/p&gt;&#xA;&lt;p&gt;Couple of things you should know:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://momofilmfest.com/smartphone-iphone-filmmaking-what-is-variable-frame-rate-vfr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;some smartphones use a variable framerate&lt;/a&gt; in video.  This is the bane of any video editor but great for casual smartphone users.&lt;/li&gt;&#xA;&lt;li&gt;Video can be compressed in different ways, using different codecs, and this will vary between devices.  You may be able to create a formula for one device, but this won't apply to other devices.&lt;/li&gt;&#xA;&lt;li&gt;compressed video doesn't just reduce a file to a certain % of it's original size.  The compression ratio will vary a lot depending on the video contents.&lt;/li&gt;&#xA;&lt;li&gt;I should think it's unlikely your phone will record in 24-bit color.  Some new phones will record 10-bit but 8-bit is common.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Instead, you should see if your device you use has a standard or average bitrate.  Most digital cameras, camcorders, DSLR's, etc will shoot video that will have a fairly consistent bitrate across different files.  If your manual doesn't say specify this, shoot some videos in different environments and average out the bitrate from the files.  Bitrate is a standard piece of metadata that will be included in most video files.  For instance my Canon 5D records at about 17250kbps for FHD video in PAL at it's lowest compression rate.&lt;/p&gt;&#xA;&lt;p&gt;You can simply calculate by doing bitrate X time = filesize, and this will be reasonably accurate.&lt;/p&gt;&#xA;" OwnerUserId="22062" LastActivityDate="2022-07-13T10:47:31.500" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35503" PostTypeId="1" CreationDate="2022-07-14T02:25:27.653" Score="1" ViewCount="14" Body="&lt;p&gt;I am playing with Final Cut Pro, and I was wondering how to use the Keyer function beyond just making a specific colour transparent on an overlayed video or image.&lt;/p&gt;&#xA;&lt;p&gt;Say I had a video clip with portions of solid red which I want to make semi-transparent and display a blurred overlay of the video beneath it. Is this possible using a Keyer?&lt;/p&gt;&#xA;" OwnerUserId="38854" LastActivityDate="2022-07-14T02:25:27.653" Title="Is it possible to use the keyer more like a mask, adding effects to the keyed colour, rather than just making it transparent?" Tags="|final-cut-pro-x|final-cut-pro|chromakey|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35504" PostTypeId="2" ParentId="35447" CreationDate="2022-07-14T09:49:39.467" Score="1" Body="&lt;p&gt;Problem found. The input quality was already very bad. I used higher quality input which sounded already better.&#xA;Also minimizing the amount of conversions helped to increase output quality. Nothing too special but when I asked the question it was not obvious to me.&lt;/p&gt;&#xA;&lt;p&gt;Hope it helps. Cheers.&lt;/p&gt;&#xA;" OwnerUserId="38683" LastActivityDate="2022-07-14T09:49:39.467" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35505" PostTypeId="1" CreationDate="2022-07-14T21:05:29.040" Score="1" ViewCount="573" Body="&lt;p&gt;I have converted my old VHS-movies to MP4 and put them on a USB to be able to watch them on my smartTV which works well. However, I want a DVD-simular menu where I can have a description, and maybe a picture of each movie and links to play the movies instead of folders and long lists that the USB memory presents them when I put the flash drive in my TV. Is this possible? I know I can solve this by connecting a computer to my TV or cast to the TV (e.g Chromecast) but it is not a solution I am looking for.&lt;/p&gt;&#xA;&lt;p&gt;My first solution was to make a simple html page that opens in TV browsers but html is not viewable on a USB in my TV. See the image below which formats it supports.&lt;/p&gt;&#xA;&lt;p&gt;It supports the file format *.flv and thought I could make a simple page in old adobe flash but *.flv only supports moving images and not integration with buttons/links. I guess I need *.SWF-file to make a menu.&lt;/p&gt;&#xA;&lt;p&gt;I have tested several programs that can create DVDs and menus of movie files (mp4) because my TV can handle *.vob, the problem is that it also converts my mp4-files to DVD format. I want to keep them in mp4 (they should be untouched as they are already optimized) and only add the DVD menu.&lt;/p&gt;&#xA;&lt;p&gt;I found this &lt;a href=&quot;https://forum.doom9.org/showthread.php?p=410970&quot; rel=&quot;nofollow noreferrer&quot;&gt;HowTo create DVD-like Menus in MP4 - MP4Menu&lt;/a&gt; which seems to be something for what I want to accomplish but seems very complicated and the thread is 19 years old and thinks it should have gotten a little better since then.&lt;/p&gt;&#xA;&lt;p&gt;Is it possible to create a menu with a descriptive text for my movies that I have on a USB to my smartTV (not an android TV)?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QSFIT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QSFIT.png&quot; alt=&quot;Compatible Video Formats&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19057" LastEditorUserId="19057" LastEditDate="2022-07-14T21:18:37.960" LastActivityDate="2024-04-05T18:04:45.720" Title="DVD similar menu for USB with mp4 movies that work on SmartTV with USB?" Tags="|video|mp4|usb|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35506" PostTypeId="2" ParentId="35505" CreationDate="2022-07-15T10:10:17.453" Score="0" Body="&lt;p&gt;Unless there's a really good reason for doing it this way, I would do this in the cloud - ie make a &lt;a href=&quot;https://support.google.com/youtube/answer/3127309?hl=en-GB&quot; rel=&quot;nofollow noreferrer&quot;&gt;private playlist on YouTube&lt;/a&gt; or similar service, and use the Smart TV to access YouTube instead of trying to build something the TV might not do very effectively. Plus when you change your TV, it is likely to still work on your next device.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-07-15T10:10:17.453" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35507" PostTypeId="2" ParentId="28749" CreationDate="2022-07-15T10:16:55.167" Score="0" Body="&lt;p&gt;If you want to replace your edited but ungraded footage with your graded footage, you can do this by using &amp;quot;&lt;a href=&quot;https://helpx.adobe.com/uk/premiere-elements/using/replace-footage.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Replace Footage&lt;/a&gt;&amp;quot;, to swap the footage out, which will keep your edits but replace the media used.  Make sure all the graded media is exactly the same length and frame rate as your ungraded media.  Make sure you save your project as a different version before doing the Replace operation in case anything goes wrong.&lt;/p&gt;&#xA;&lt;p&gt;But, I would strongly suggest that your workflow isn't saving you time.&lt;/p&gt;&#xA;&lt;p&gt;My suggestion:&lt;/p&gt;&#xA;&lt;p&gt;Do the cuts first before the grading.&lt;/p&gt;&#xA;&lt;p&gt;If you plan to universally grade each camera, ie one grade per camera, you can do this by applying noise reduction &amp;amp; Lumetri effects to the &lt;a href=&quot;https://helpx.adobe.com/uk/premiere-pro/using/master-clip-effects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Source Clip&lt;/a&gt; instead of to each individual clip in your timeline.&lt;/p&gt;&#xA;&lt;p&gt;Your current process requires you to render at least 3 hours of graded footage.&lt;/p&gt;&#xA;&lt;p&gt;The proposed version only requires rendering 1 hour of graded footage. If you want to see how the footage is looking while you're editing you can turn the noise reduction &amp;amp; Lumetri effects on or off quickly by bypassing the effects on the source footage.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-07-15T10:23:35.847" LastActivityDate="2022-07-15T10:23:35.847" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35509" PostTypeId="1" CreationDate="2022-07-15T18:18:22.663" Score="2" ViewCount="551" Body="&lt;p&gt;What I'm doing seems to work but reading conflicting things online has me confused.&lt;/p&gt;&#xA;&lt;p&gt;Right now things I upload go to YouTube or Vimeo.&lt;/p&gt;&#xA;&lt;p&gt;I shoot 29.976 or 59.94 FPS and slow them down to 23.976 in Davinci Resolve clip attributes. (I'm pretty sure I shouldn't be using 24FPS right?)&lt;/p&gt;&#xA;&lt;p&gt;I create my timelines as 23.976, do my editing and color grading, then should I deliver to 24 FPS or 23.976 FPS?&lt;/p&gt;&#xA;&lt;p&gt;I'm currently doing 23.976 but I've read other advice to to use 24 but I couldn't understand why.&lt;/p&gt;&#xA;&lt;p&gt;What framerate should I use for uploading to the web? What goes right/wrong depending on my choice?&lt;/p&gt;&#xA;" OwnerUserId="38365" LastActivityDate="2024-04-06T19:01:10.163" Title="What FPS should I use for 59.94 footage slowed down?" Tags="|editing|davinci-resolve|fps|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35511" PostTypeId="1" CreationDate="2022-07-15T23:32:34.300" Score="1" ViewCount="37" Body="&lt;p&gt;I need to video a dance show on stage, the video is to be static and needs to cover all of the stage.&lt;/p&gt;&#xA;&lt;p&gt;For these types of requirements i generally just set up my camera on a tripod, use the widest lens i have (24mm) and let it be. But i do notice that there is some distortion and people around the edges are blocked by people in front of them. To tackle this issue i am thinking of using a 50 or 70mm and moving back.&lt;/p&gt;&#xA;&lt;p&gt;Wondering if there are any general rules around what focal length to use for stage performances?&lt;/p&gt;&#xA;&lt;p&gt;I obviously want to reduce the amount of empty space and get as much detail as I can of the dancers&lt;/p&gt;&#xA;" OwnerUserId="38868" LastActivityDate="2022-07-17T08:53:49.023" Title="Are there any general focal length rules around videoing a stage show" Tags="|live-recording|lenses|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35512" PostTypeId="2" ParentId="35509" CreationDate="2022-07-16T14:03:49.217" Score="0" Body="&lt;p&gt;The slight difference between the round number (30) and the other framerate (29.97) is due to historical reasons, where the signal of a black and white video was 30fps but when introducing the color data to the signal, and due they needed to maintain the parameters of the transmission, they reduced the framerate a bit so they had some space to integrate it.&lt;/p&gt;&#xA;&lt;p&gt;If your video is not going to be broadcasted, rounding numbers just makes life easier. (I am not sure if the broadcast by radiowaves spec has changed now that almost all signals are digital)&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;As you already edited the project at 23.97, you should export at the same framerate. In theory, if you change the export to 24, you will have a duplicate frame every, let's say every 1000 frames to compensate for the gap.&lt;/p&gt;&#xA;&lt;p&gt;When the video is delivered digitally, in theory, there is no need for FPS conversion. You can have a video with strange numbers, like 15Fps or 17.5...&lt;/p&gt;&#xA;&lt;p&gt;I say in theory because I have not made extensive tests. But when you see the stats on a youtube video, for example, as far as I can tell, it uses round numbers.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0Yi22.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0Yi22.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Probably is because everyone is actually using round numbers, or the text on the stats is simply rounding them.&lt;/p&gt;&#xA;&lt;p&gt;Another possible thing to consider, between 29.97 and 30, is that most monitors have a refresh rate of 60hz so, it could be an argument to round numbers too. But the difference is so small that probably no one will notice.&lt;/p&gt;&#xA;&lt;p&gt;For your next project, you can choose 24fps (or 30 and 60) and simplify your life.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2022-07-16T14:17:30.320" LastActivityDate="2022-07-16T14:17:30.320" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35513" PostTypeId="1" CreationDate="2022-07-16T19:28:10.917" Score="2" ViewCount="682" Body="&lt;p&gt;I am new to the Roto Brush (saw it on Corridor Crew!) and for the most part have it working.&lt;/p&gt;&#xA;&lt;p&gt;As I understand it, you roto out your first frame, then go through frame by frame tidying it up as required.&lt;/p&gt;&#xA;&lt;p&gt;What I don't understand, is why on every subsequent frame, when I make a change, it propagates EVERY frame from my original frame forward to the one I just changed. Surely nothing should be changing in the earlier frames as I was happy with those?&lt;/p&gt;&#xA;&lt;p&gt;Every change propagating every frame since frame 1 is taking aaages as I progress.&lt;/p&gt;&#xA;&lt;p&gt;I don't actually have to make any changes for the propagation to go through every frame again. I only have to go back one or two frames to check something and it goes off on its little propagation run again.&lt;/p&gt;&#xA;&lt;p&gt;Am I doing something wrong?&lt;/p&gt;&#xA;" OwnerUserId="38874" LastEditorUserId="38874" LastEditDate="2022-07-16T19:35:15.380" LastActivityDate="2022-07-16T19:35:15.380" Title="Can someone please help me understand Adobe After Effects Roto Brush 2 Propagation?" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35514" PostTypeId="2" ParentId="35511" CreationDate="2022-07-17T08:53:49.023" Score="1" Body="&lt;p&gt;Unless the dancers are all permanently in a line doing the can-can, there are likely always going to be occasions when masking occurs. I don't see this as being avoidable on a single camera shoot, one take.&lt;/p&gt;&#xA;&lt;p&gt;Your 24mm is going to have a good depth of field, but within that, because you're relatively close to the stage, you will see quite heavy 'sizing' differences between people at the front to those at the back - relative distances being large from that viewpoint. This can also affect your apparent stage size, making the far ends seem surprisingly far from the near point.&lt;/p&gt;&#xA;&lt;p&gt;A 70mm is going to look pretty 'cinematic' compared to that, but you might have to compensate with a really tight aperture [&amp;amp; high ISO… potentially noisy] to get enough depth of field for the whole stage, which will reduce the 'cinematic' feel at the same time. You will also get what people inaccurately call 'distance compression'*, when the sizing of people at the front &amp;amp; back of the stage will be closer to parity, because the relative distances between them compared to your camera position are smaller. This can lose your sense of depth.&lt;/p&gt;&#xA;&lt;p&gt;A 50mm might just split the difference enough to retain a sense of each; DoF without the 'compression'.&lt;/p&gt;&#xA;&lt;p&gt;One thing we don't know is your sensor size. The larger your sensor, the larger your field of view for any given lens length. This could make all the difference between choosing to go with the 50, or even a 35mm. Full-frame, even the 70mm might work, though for a one-off performance, I'd play safe &amp;amp; use something perceived as more 'what the eye sees', 35 or 50.&lt;/p&gt;&#xA;&lt;p&gt;*This is a matter of perspective &amp;amp; angle of view. What is perceived as 'compression' is really a misunderstanding of the effect as seen through the lens. It still &lt;em&gt;looks&lt;/em&gt; like compression, so that's what people call it, right ot wrong ;)&lt;/p&gt;&#xA;" OwnerUserId="12233" LastActivityDate="2022-07-17T08:53:49.023" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35519" PostTypeId="1" CreationDate="2022-07-18T15:56:15.453" Score="0" ViewCount="27" Body="&lt;p&gt;My screen recording software, OBS, seems to encourage recording in MKV.  My video editing software, DaVinci Resolve 18, doesn't support this format on Linux (as far as I can tell).  The options I have (that I know of) are:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Record in another format.&lt;/li&gt;&#xA;&lt;li&gt;Record in MKV and convert.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I would guess that (1) is always better, since I imagine converting always entails some amount of degradation or file size inflation over the native format.  But then again, I could imagine that OBS is optimized somehow for MKV.&lt;/p&gt;&#xA;&lt;p&gt;So that's basically my question, in this case and in general: Is it always better to avoid conversion, or are there situations when you actually get better quality video by recording in one format and then converting?&lt;/p&gt;&#xA;" OwnerUserId="35153" LastActivityDate="2022-07-19T21:54:09.460" Title="Is there an optimal way to preserve quality when translating file formats?" Tags="|conversion|file-formats|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35520" PostTypeId="2" ParentId="35519" CreationDate="2022-07-19T00:44:42.303" Score="1" Body="&lt;p&gt;A &lt;code&gt;.mkv&lt;/code&gt; file is video and audio inside a &lt;a href=&quot;https://en.wikipedia.org/wiki/Matroska&quot; rel=&quot;nofollow noreferrer&quot;&gt;Matroska Multimedia Container&lt;/a&gt;. The &lt;a href=&quot;https://matroska.org/index.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Matroska&lt;/a&gt; part is, just like the name implies, the outer bits that hold the essence streams, the actual audio and video. The essence will be compressed (for the video and, occasionally, the audio) or encoded (for the audio, usually) in their own formats. Something like H.264 for the video and linear PCM for the audio.&lt;/p&gt;&#xA;&lt;p&gt;You can use &lt;a href=&quot;https://ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg&lt;/a&gt; or a similar tool to &lt;strong&gt;re-wrap&lt;/strong&gt; the essence into another container that &lt;a href=&quot;https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_16_Supported_Codec_List.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;Resolve supports&lt;/a&gt;. Re-wrapping from one container to another is loseless because you don't actually change the video or audio, just how you access it. You will most likely want to use an MPEG-4/&lt;code&gt;.mp4&lt;/code&gt; or Quicktime/&lt;code&gt;.mov&lt;/code&gt; container, but it depends on what your video codec is.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastEditorUserId="14523" LastEditDate="2022-07-19T21:54:09.460" LastActivityDate="2022-07-19T21:54:09.460" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35523" PostTypeId="1" CreationDate="2022-07-20T14:33:34.203" Score="1" ViewCount="37" Body="&lt;p&gt;I have a couple of events coming up for a professional conference where I need to be able to record all the 35 breakout rooms over 4 days (650 hours of footage) to capture the slides bring run from the computer to the projector and the audio from the soundboard in the convention center.&lt;/p&gt;&#xA;&lt;p&gt;Since it is 450 sessions that have to be recorded and delivered within 3 days, I want to find a solution that means no real editing outside possible cropping the front and end of the recordings.&lt;/p&gt;&#xA;&lt;p&gt;I am looking at some capture device that is self contained that I can pull feed split from the computer or projector and from the speaker that will simply record the feeds with the push of a button. This would allow me to have volunteers in the sessions start the recording potentially since I could not be in 35 places.&lt;/p&gt;&#xA;&lt;p&gt;I am looking at the AJA HELO recorded and streamer or something similarly simple to start with input options as it would be used with different AV companies over the next couple of years. Are there any concerns there or recommendations for capture devices that are simple? It's just slides (no video) recording so audio is the larger quality factor.&lt;/p&gt;&#xA;&lt;p&gt;I have video editing background, but the AV specs is something I am trying to learn more of.&lt;/p&gt;&#xA;" OwnerUserId="38898" LastActivityDate="2022-07-20T14:33:34.203" Title="Capturing projector slides and audio at conference" Tags="|audio-recording|screen-casting|recording|projector|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35524" PostTypeId="1" CreationDate="2022-07-20T14:40:08.423" Score="0" ViewCount="434" Body="&lt;p&gt;To prevent lag, I need to create proxy files for each of my videos, but the built-in function is taking too long. Creating a separate file and swapping it in is too inconvenient.&lt;/p&gt;&#xA;&lt;p&gt;I used the built-in method to create a proxy video, then restarted the editor without saving. I re-added the same video and noticed that the proxy file was recognised and used. This means that if a proxy file were to be encoded externally, Vegas Pro should recognise it.&lt;/p&gt;&#xA;&lt;p&gt;How do I create proxy files myself with &lt;code&gt;ffmpeg&lt;/code&gt; for example?&lt;/p&gt;&#xA;&lt;p&gt;I discovered that the proxy file is an MPEG-4 Part II with codec ID &amp;quot;mp42&amp;quot;, the &amp;quot;Commercial name&amp;quot; in the metadata being set to &amp;quot;XDCAM EX 35&amp;quot; and timestamps. It also appears to be stretched from whatever aspect ratio to 16:9 at 1280x720.&lt;/p&gt;&#xA;&lt;p&gt;Knowing this, I composed the following &lt;code&gt;ffmpeg&lt;/code&gt; command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c:v mpeg2video -brand mp42 -metadata &amp;quot;Commerical name&amp;quot;=&amp;quot;XDCAM EX 35&amp;quot; -metadata:s:v:0 &amp;quot;Commerical name&amp;quot;=&amp;quot;XDCAM EX 35&amp;quot; -metadata &amp;quot;Encoded date&amp;quot;=&amp;quot;UTC 2022-07-20 23:16:01&amp;quot; -metadata &amp;quot;Tagged date&amp;quot;=&amp;quot;UTC 2022-07-20 23:16:01&amp;quot; -movflags use_metadata_tags -vf scale=1280:720 -an -f mp4 input.mp4.sfvp0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The editor did not recognise the file, as when I dragged the source in, I was still given the option to generate a proxy file. What am I missing?&lt;/p&gt;&#xA;" OwnerUserId="37755" LastEditorUserId="17147" LastEditDate="2023-02-13T19:07:25.687" LastActivityDate="2023-02-13T19:07:25.687" Title="Manually creating proxy files for Vegas Pro" Tags="|ffmpeg|vegas-pro|transcoding|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35525" PostTypeId="1" CreationDate="2022-07-20T15:23:09.840" Score="2" ViewCount="115" Body="&lt;p&gt;I'm trying to use the blending mode. When I start the project, there is no problem with the blending mode. But after a few days, the blending mode of some of my precomps always changes to &amp;quot;-&amp;quot;. After that the effects are deleted and I can't change the state.&lt;/p&gt;&#xA;&lt;p&gt;Does anyone know how to solve this problem?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/unIor.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/unIor.png&quot; alt=&quot;here is an example of how it looks like...&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38899" LastActivityDate="2022-07-21T10:44:41.223" Title="After effects: Blending Mode problem" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35529" PostTypeId="2" ParentId="35525" CreationDate="2022-07-21T10:44:41.223" Score="1" Body="&lt;p&gt;I think this can happen when you switch on Collapse Transformations (the sun icon &lt;a href=&quot;https://i.stack.imgur.com/tS3Yy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tS3Yy.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt; ) on your pre-comp.  This changes the order in which After Effects renders things - there's a good example of this here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://pixelsandpaths.com/posts/tutorials/using-collapse-transformations-and-continuously-rasterize-in-after-effects-by-school-of-motion/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pixelsandpaths.com/posts/tutorials/using-collapse-transformations-and-continuously-rasterize-in-after-effects-by-school-of-motion/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-07-21T10:44:41.223" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35531" PostTypeId="1" CreationDate="2022-07-22T07:46:46.863" Score="0" ViewCount="944" Body="&lt;p&gt;I am hoping you can help. I am trying to extract frames (1 per second) from various videos and from various sources. However, I am getting blur/deinterlacing (see below). I've tried with various types of footage and eventually downloaded some F1 highlights to demo to you the type of output I am getting.&lt;/p&gt;&#xA;&lt;p&gt;I am using the following command and below are 4 example frames. Does anyone have any advice on changes we could make to clean up the images extracted and sharpen them?&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg -ss 960 -t 100 -i &amp;quot;video.mp4&amp;quot; -qscale:v 2 -vf yadif=1:0:0 -r 1 &amp;quot;%06d.jpg&amp;quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;also tried&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg -ss 960 -t 100 -i &amp;quot;video.mp4&amp;quot; -qscale:v 2 -vf yadif=1:&lt;em&gt;&lt;strong&gt;-1&lt;/strong&gt;&lt;/em&gt;:0 -r 1 &amp;quot;%06d.jpg&amp;quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;Examples&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kScIt.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kScIt.jpg&quot; alt=&quot;Example1&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Gnnat.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Gnnat.jpg&quot; alt=&quot;Example2&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/NJEV2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NJEV2.jpg&quot; alt=&quot;Example3&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/wR0DM.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wR0DM.jpg&quot; alt=&quot;Example4&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38910" LastActivityDate="2022-07-22T07:46:46.863" Title="Best deinterlacing filter for FFMPEG (no GPU)" Tags="|ffmpeg|filter|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35534" PostTypeId="2" ParentId="29360" CreationDate="2022-07-26T13:52:05.947" Score="0" Body="&lt;p&gt;I also had a similar issue. A quick solution is to 'enable proxy clips'. It worked for me, at least.&lt;/p&gt;&#xA;" OwnerUserId="38930" LastActivityDate="2022-07-26T13:52:05.947" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35536" PostTypeId="1" CreationDate="2022-07-26T22:25:55.820" Score="1" ViewCount="40" Body="&lt;p&gt;When shooting a piano from overhead with a GoPro Hero10 Black,&#xA;the hands' skin texture and knuckle wrinkles are smoothed so much that it looks like a plastic mannequin.  It looks like what PhotoShop would do when denoising aggressively, or posterizing, or exporting to a low quality JPEG.&lt;/p&gt;&#xA;&lt;p&gt;How can I make the gopro's output look better, even as realistic as that of an&#xA;ancient point-and-shoot Canon PowerShot Elph 330 HS, never mind as good as a modern four-thirds camera?&lt;/p&gt;&#xA;&lt;p&gt;Here are 100% crops of video frames from&#xA;the GoPro (L) and the Canon (R),&#xA;taken with a wide range of settings and lighting.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fJiVc.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fJiVc.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/dx2wh.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dx2wh.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/T0NA7.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/T0NA7.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/UmJTo.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UmJTo.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I've tried adjusting the GoPro's ISO, resolution, frame rate, over/underexposure, H.264 vs HEVC, field of view, bit rate, and probably a few more things.&lt;/p&gt;&#xA;" OwnerUserId="6132" LastActivityDate="2022-07-26T22:25:55.820" Title="GoPro's denoising artifacts" Tags="|video-quality|video-recording|gopro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35537" PostTypeId="1" CreationDate="2022-07-27T10:38:25.170" Score="2" ViewCount="392" Body="&lt;pre&gt;&lt;code&gt;ffmpeg -f x11grab -framerate 60 -probesize 42M -i $DISPLAY -preset ultrafast -pix_fmt yuv420p  vid.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I use this currently and the video recording is smooth but colors are not accurate, they are dimmed. If I remove yuv420p pix_fmt then ffmpeg will use yuv444p (which is default right) , then the colors look accurate but the output video is laggy :/&lt;/p&gt;&#xA;&lt;p&gt;How do I get smooth video output + accurate colors? Been trying to fix this since yesterday, help!&lt;/p&gt;&#xA;&lt;p&gt;Check these :&lt;/p&gt;&#xA;&lt;p&gt;yuv420p : &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/GUeP-TNPa3E?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;yuv444p : &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/S17dYMGJ0As?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="38939" LastActivityDate="2022-07-27T18:01:54.550" Title="Whats the smoothest way to screen record with FFMPEG with accurate colors?" Tags="|ffmpeg|linux|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35538" PostTypeId="2" ParentId="35537" CreationDate="2022-07-27T15:26:44.480" Score="1" Body="&lt;p&gt;As wiki of ffmpeg recommends&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -video_size 1920x1080 -framerate 30 -f x11grab -i :0.0 -c:v libx264rgb -crf 0 -preset ultrafast -color_range 2 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This will give you lossless output but also lossless RGB, the same format used in the operating system.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Capture/Desktop&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Capture/Desktop&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Edit :  this worked&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -video_size 1920x1080 -framerate 30 -f x11grab -i $DISPLAY -c:v libx264rgb -crf 0 -preset ultrafast -color_range 2 output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26140" LastEditorUserId="38939" LastEditDate="2022-07-27T18:01:54.550" LastActivityDate="2022-07-27T18:01:54.550" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35539" PostTypeId="1" CreationDate="2022-07-27T16:00:07.433" Score="0" ViewCount="41" Body="&lt;p&gt;I have video shot using a Sony PXW-Z280V using AVC_3840_2160_HP@L51 with 29.97 frame rate. Upon analyzing the MXF file structure, I notice that the Index Entry Array seems incorrect. In particular the KeyFrameOffset values for the first two B-frames in every GOP points back two prior I-frames. But that doesn't make any sense, since the previous I-frame has all the information needed, so why go back to the one before that?&lt;/p&gt;&#xA;&lt;p&gt;See the following entries (especially #16, #17). To me it looks like the frame offset values for these two frames should be -1, -2 instead of -16, -17. Is this a problem with the Sony codec implementation, or something I'm not understanding correctly?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;              #  TempOffs  KeyOffs                 Flags       StreamOffs  Sl.Offs# 0&#xA;              0         1        0    0xC4 R S . . . 1 I   0x000000000000     2357760&#xA;              1         1       -1    0x13 . . . Bp. . B   0x000000244E00      162816&#xA;              2        -2       -2    0x13 . . . Bp. . B   0x000000271E00      278528&#xA;              3         1       -3    0x22 . . Fp. . . P   0x0000002BB200      488448&#xA;              4         1       -4    0x33 . . FpBp. . B   0x000000337A00      211456&#xA;              5        -2       -5    0x33 . . FpBp. . B   0x000000370800      297472&#xA;              6         1       -6    0x22 . . Fp. . . P   0x0000003BE600      553984&#xA;              7         1       -7    0x33 . . FpBp. . B   0x00000044AE00      315392&#xA;              8        -2       -8    0x33 . . FpBp. . B   0x00000049D200      293888&#xA;              9         1       -9    0x22 . . Fp. . . P   0x0000004EA200      612864&#xA;             10         1      -10    0x33 . . FpBp. . B   0x000000585000      305152&#xA;             11        -2      -11    0x33 . . FpBp. . B   0x0000005D4C00      306688&#xA;             12         1      -12    0x22 . . Fp. . . P   0x000000624E00      585216&#xA;             13         1      -13    0x33 . . FpBp. . B   0x0000006B9000      316928&#xA;             14        -2      -14    0x33 . . FpBp. . B   0x00000070BA00      299008&#xA;             15         1        0    0x40 . S . . . . I   0x000000759E00      582656&#xA;             16         1      -16    0x33 . . FpBp. . B   0x0000007ED600      302080&#xA;             17        -2      -17    0x33 . . FpBp. . B   0x00000083C600      236032&#xA;             18         1       -3    0x22 . . Fp. . . P   0x00000087B400      650240&#xA;             19         1       -4    0x33 . . FpBp. . B   0x00000091F400      246784&#xA;             20        -2       -5    0x33 . . FpBp. . B   0x000000960C00      252416&#xA;             21         1       -6    0x22 . . Fp. . . P   0x0000009A3A00      649216&#xA;             22         1       -7    0x33 . . FpBp. . B   0x000000A47600      251904&#xA;             23        -2       -8    0x33 . . FpBp. . B   0x000000A8A200      249856&#xA;             24         1       -9    0x22 . . Fp. . . P   0x000000ACC600      649216&#xA;             25         1      -10    0x33 . . FpBp. . B   0x000000B70200      252928&#xA;             26        -2      -11    0x33 . . FpBp. . B   0x000000BB3200      250368&#xA;             27         1      -12    0x22 . . Fp. . . P   0x000000BF5800      643584&#xA;             28         1      -13    0x33 . . FpBp. . B   0x000000C97E00      249856&#xA;             29        -2      -14    0x33 . . FpBp. . B   0x000000CDA200      247808&#xA;             30         1        0    0x40 . S . . . . I   0x000000D1BE00      951808&#xA;             31         1      -16    0x33 . . FpBp. . B   0x000000E09800      246272&#xA;             32        -2      -17    0x33 . . FpBp. . B   0x000000E4AE00      235520&#xA;             33         1       -3    0x22 . . Fp. . . P   0x000000E89A00      663552&#xA;             34         1       -4    0x33 . . FpBp. . B   0x000000F30E00      239104&#xA;            &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="38943" LastEditorUserId="38943" LastEditDate="2022-07-28T05:16:39.847" LastActivityDate="2022-07-28T05:16:39.847" Title="Sony PXW-Z280V AVC strange Long GOP pattern" Tags="|video|encoding|sony|gop|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35540" PostTypeId="1" CreationDate="2022-07-27T18:16:11.313" Score="0" ViewCount="783" Body="&lt;p&gt;how do I upscale a video to 4k or 2k with ffmpeg? youtube encodes the videos which results in some quality loss of the video. So to make youtube use VP09 encoder on my videos, I have to export the video in 2k or 4k&lt;/p&gt;&#xA;&lt;p&gt;I record videos at 1080P this way :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-f x11grab \&#xA;-framerate 60 \&#xA;-video_size &amp;quot;1920x1080&amp;quot; \&#xA;-i :1 \&#xA;-f lavfi -i anullsrc=channel_layout=stereo:sample_rate=44100 \&#xA;-vf setpts=N/FR/TB \&#xA;-c:v libx264rgb -crf 0 -preset ultrafast -color_range 2 \&#xA;output.mp4 \&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My upscale ffmpeg command ( produces laggy videos )&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i output.mp4 -vf scale=-1:2160:flags=lanczos -c:v libx264 -crf 21 -framerate 60 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;How do I export the video in 2k or 4k without the lag?&lt;/p&gt;&#xA;" OwnerUserId="38939" LastActivityDate="2022-07-27T18:16:11.313" Title="Export a video to 4k or 2k with FFMPEG and without lag (UPSCALE VIDEO)" Tags="|ffmpeg|video|encoding|video-quality|decoding|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="35541" PostTypeId="1" CreationDate="2022-07-27T22:29:03.690" Score="0" ViewCount="410" Body="&lt;p&gt;I have a png and would like to add there video, so png is my case is something like a border.&lt;/p&gt;&#xA;&lt;p&gt;I trying :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i cat.mp4 -framerate 30 -i dem.png -filter_complex &amp;quot;[0]pad=1920:1080:500:0[vid];[vid][1]overlay&amp;quot; -c:a copy -movflags +faststart out2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But png is not a transparent and video hiding behind the picture. How can i set order or &amp;quot;z-index&amp;quot; position of the video to see it OVER the image?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qheSl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qheSl.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37138" LastEditorUserId="37138" LastEditDate="2022-07-27T22:48:50.540" LastActivityDate="2022-07-27T22:48:50.540" Title="Add video in front of image (background) using ffmpeg?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="35544" PostTypeId="1" CreationDate="2022-07-29T21:09:50.157" Score="2" ViewCount="781" Body="&lt;p&gt;What i have :&lt;/p&gt;&#xA;&lt;p&gt;png picture dem.png (not transparent) and video cat.mp4. I need to put this png as a background to video with resizing video inside.&lt;/p&gt;&#xA;&lt;p&gt;Current result :&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/c2ZQ8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/c2ZQ8.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;by executing :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i cat.mp4 -framerate 30 -i dem.png -filter_complex &amp;quot;[1][0]overlay=x=100:y=100&amp;quot; -c:a copy -movflags +faststart out2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;How can i scale mp4 in case i know paddings/required height/width of scaled mp4 here?&lt;/p&gt;&#xA;&lt;p&gt;Very beginner in ffmpeg. I know, i need to use &lt;code&gt;scale&lt;/code&gt; param, but can't understand how to do it with my current ffmpeg command.&lt;/p&gt;&#xA;&lt;p&gt;Maybe someone know how to do it?&lt;/p&gt;&#xA;&lt;p&gt;Files are here if you need : &lt;a href=&quot;https://drive.google.com/drive/folders/1gKJCyVU0IgJ8g3zWFhCA-L93lDOWyOS-?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/drive/folders/1gKJCyVU0IgJ8g3zWFhCA-L93lDOWyOS-?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="37138" LastActivityDate="2023-08-24T00:05:55.660" Title="How to put an image on top of video using ffmpeg? +scale video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35545" PostTypeId="2" ParentId="35544" CreationDate="2022-07-29T21:09:50.157" Score="1" Body="&lt;p&gt;This works like a charm :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i cat.mp4 -framerate 20 -i dem.png -filter_complex &amp;quot;[0:v]scale=512x397,setsar=1[v0];[1][v0]overlay=x=45:y=45&amp;quot; -c:a copy -movflags +faststart out2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Result will be :&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bIhcC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bIhcC.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If anyone can step-by-step describe what each part of command do - will appreciate!&lt;/p&gt;&#xA;" OwnerUserId="37138" LastActivityDate="2022-07-29T21:09:50.157" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35547" PostTypeId="1" CreationDate="2022-07-30T21:30:24.213" Score="0" ViewCount="298" Body="&lt;p&gt;I use a GoPro 10 to record videos. The GoPro is placed on a car. There's some pretty audible wind noise, esp. when the speed is over 50 or 100 kph. How can I reduce the wind noise as much as possible when recording a video with a GoPro?&lt;/p&gt;&#xA;&lt;p&gt;I've turned the wind noise removal on on the GoPro settings. tried using the &lt;a href=&quot;https://smile.amazon.com/dp/B08FRTLX2M&quot; rel=&quot;nofollow noreferrer&quot;&gt;official GoPro protection case&lt;/a&gt; and some &amp;quot;&lt;a href=&quot;https://smile.amazon.com/dp/B09JMWZ28Y&quot; rel=&quot;nofollow noreferrer&quot;&gt;windscreen windslayer cover housing frame case&lt;/a&gt;&amp;quot;, it helps but there's still some wind noise. What else can I do?&lt;/p&gt;&#xA;&lt;p&gt;I'm aware of &lt;a href=&quot;https://video.stackexchange.com/q/8468/2117&quot;&gt;How to reduce wind noise from a video?&lt;/a&gt; but that's for post-processing the wind noise.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://smile.amazon.com/dp/B08FRTLX2M&quot; rel=&quot;nofollow noreferrer&quot;&gt;Official GoPro protection case&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wUSo5.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wUSo5.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://smile.amazon.com/dp/B09JMWZ28Y&quot; rel=&quot;nofollow noreferrer&quot;&gt;Windscreen windslayer cover housing frame case&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7gBLY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7gBLY.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2117" LastEditorUserId="2117" LastEditDate="2022-07-30T21:59:01.363" LastActivityDate="2023-12-28T10:09:46.153" Title="How can I reduce the wind noise as much as possible when recording a video with a GoPro?" Tags="|microphone|gopro|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35548" PostTypeId="1" CreationDate="2022-07-31T07:41:25.240" Score="1" ViewCount="198" Body="&lt;p&gt;I have some smartphone video that is absurdly large for what is low-quality casual video: 100MB per minute. What is the easiest way to compress this (on Mac) using command-line or GUI, given that I don't want to optimize settings for this casual video -- just some sort of default?&lt;/p&gt;&#xA;&lt;p&gt;I have found answers online (often quite outdated) to use  &lt;code&gt;ffmpeg -i in.mp4 -vf scale=1280:720 -preset slow -crf 18 out.mp4&lt;/code&gt; or the like, but I am none too sure about  what might be an acceptable default.&lt;/p&gt;&#xA;&lt;p&gt;I also tried  &lt;code&gt;ffmpeg -i in.mp4  -fs 100M out.mp4&lt;/code&gt;, which gives decent results -- I am interested in any further good ideas.&lt;/p&gt;&#xA;" OwnerUserId="38967" LastEditorUserId="38967" LastEditDate="2022-07-31T13:15:32.400" LastActivityDate="2022-08-03T09:17:42.063" Title="How can I easily shrink over-large MP4s where high quality is not relevant?" Tags="|mp4|compression|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35549" PostTypeId="2" ParentId="35548" CreationDate="2022-07-31T08:46:40.813" Score="1" Body="&lt;p&gt;I'd recommend a simple GUI app, such as &lt;a href=&quot;https://apps.apple.com/us/app/smart-converter/id447513724?mt=12&quot; rel=&quot;nofollow noreferrer&quot;&gt;Smart Converter&lt;/a&gt; [can't remember if it's free or paid, App Store won't tell you once you own it] or &lt;a href=&quot;https://handbrake.fr/downloads.php&quot; rel=&quot;nofollow noreferrer&quot;&gt;Handbrake&lt;/a&gt; (freeware) which is a lot like ffmpeg, but without all the typing.&lt;br /&gt;&#xA;In both you can set up, or choose from existing, presets.&lt;/p&gt;&#xA;" OwnerUserId="12233" LastEditorUserId="12233" LastEditDate="2022-07-31T10:46:24.897" LastActivityDate="2022-07-31T10:46:24.897" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35554" PostTypeId="2" ParentId="16750" CreationDate="2022-08-03T07:25:01.343" Score="3" Body="&lt;h2&gt;No&lt;/h2&gt;&#xA;&lt;p&gt;There is no way to precisely cut a video with FFmpeg if you need to cut outside an I-frame without re-encoding.&lt;/p&gt;&#xA;&lt;p&gt;You could try software that can handle &amp;quot;smart rendering&amp;quot;, but I am not aware of any such software for Linux. On Windows, you could use &amp;quot;TMPGEnc MPEG Smart Renderer&amp;quot; or SolveigMM Video Splitter. The latter has serious performance issues. I highly recommend TMPGEnc, but it is not free.&lt;/p&gt;&#xA;" OwnerUserId="12511" LastActivityDate="2022-08-03T07:25:01.343" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35555" PostTypeId="2" ParentId="35548" CreationDate="2022-08-03T09:17:42.063" Score="0" Body="&lt;p&gt;This bash script may be useful. It simply uses ffmpeg to compress  all large (&amp;gt;150MB) mp4 files in a directory to half the size.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#!/usr/bin/env bash&#xA;set -x&#xA;set -u&#xA;set -e&#xA;&#xA;for fn in *.mp4 ; do&#xA;  filesize=$( ls  -l &amp;quot;$fn&amp;quot; | awk '{print $5}')&#xA;  if [ &amp;quot;$filesize&amp;quot; -gt &amp;quot;150000000&amp;quot; ]; then&#xA;    new_filesize=$(($filesize / 2 ))&#xA;    new_filesize_MB=$(($new_filesize / 1000000 ))&#xA;    fn_base=&amp;quot;${fn%%.*}&amp;quot;&#xA;    fn_ext=&amp;quot;${fn#*.}&amp;quot;&#xA;    ffmpeg -i &amp;quot;${fn}&amp;quot;  -fs $new_filesize &amp;quot;${fn_base}.${new_filesize_MB}M.${fn_ext}&amp;quot;&#xA;  fi&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="38967" LastActivityDate="2022-08-03T09:17:42.063" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35556" PostTypeId="1" CreationDate="2022-08-03T23:44:50.830" Score="1" ViewCount="333" Body="&lt;p&gt;I want to use &lt;code&gt;ffmpeg&lt;/code&gt; with Python in a Jupyter notebook to create a video from 2000 PNG image files generated by &lt;code&gt;matplotlib&lt;/code&gt;. I'm on a Windows 7 machine.&lt;/p&gt;&#xA;&lt;p&gt;The frames are very narrow and high, so I'd like to cut them vertically into seven equal-sized &amp;quot;tiles&amp;quot; using &lt;code&gt;crop&lt;/code&gt; and stacked those &amp;quot;tiles&amp;quot; horizontally using &lt;code&gt;hstack&lt;/code&gt;, but I'm getting only getting cryptic error messages:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-py prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg_path = notebook_directory    # Make sure ffmpeg.exe is in notebook directory!&#xA;&#xA;frames_path = 'C:\\Users\\Username\\Desktop'&#xA;frames_renamed_path = os.path.join(frames_path, 'renamed')&#xA;os.chdir(frames_renamed_path)    # Temporarily change current working directory&#xA;&#xA;check_call(&#xA;    [&#xA;        os.path.join(ffmpeg_path, 'ffmpeg'),&#xA;        '-y',    # Overwrite output files without asking&#xA;        '-report',    # Write logfile to current working directory&#xA;        '-hwaccel', 'cuda',    # Use GPU acceleration&#xA;        '-framerate', '60',    # Input frame rate&#xA;        '-i', os.path.join(frames_renamed_path, 'frame%05d.png'),    # Path to input frames&#xA;        #'-r', '60',    # Output frame rate&#xA;        '-vf', 'pad=ceil(iw/2)*2:ceil(ih/2)*2',    # Pad frames to even pixel numbers (required by many codecs)&#xA;        #'-pix_fmt', 'yuv420p',&#xA;        '-pix_fmt', 'rgb32',    # Use RGB32 pixel format matching MatPlotLib image output&#xA;        '-filter_complex',    # Cut frames into tiles and rearrange (here: 7 horizontal tiles)&#xA;            'crop=in_w:in_h/7:0:0[tile_1],'    # 1st tile from top&#xA;            + 'crop=in_w:in_h/7:0:in_h*1/7[tile_2],'    # 2nd tile from top&#xA;            + 'crop=in_w:in_h/7:0:in_h*2/7[tile_3],'    # 3rd tile from top&#xA;            + 'crop=in_w:in_h/7:0:in_h*3/7[tile_4],'    # 4th tile from top&#xA;            + 'crop=in_w:in_h/7:0:in_h*4/7[tile_5],'    # 5th tile from top&#xA;            + 'crop=in_w:in_h/7:0:in_h*5/7[tile_6],'    # 6th tile from top&#xA;            + 'crop=in_w:in_h/7:0:in_h*6/7[tile_7],'    # 7th tile from top&#xA;            + '[tile_1][tile_2][tile_3][tile_4][tile_5][tile_6][tile_7]hstack=7',    # Stack tiles horizontally&#xA;        os.path.join(frames_renamed_path, 'video.mp4')    # Path to store output video&#xA;    ]&#xA;)&#xA;&#xA;os.chdir(notebook_directory)    # Reset current working directory to notebook directory&#xA;&#xA;---------------------------------------------------------------------------&#xA;CalledProcessError                        Traceback (most recent call last)&#xA;Input In [10], in &amp;lt;cell line: 9&amp;gt;()&#xA;      6 frames_renamed_path = os.path.join(frames_path, 'renamed')&#xA;      7 os.chdir(frames_renamed_path)    # Temporarily change current working directory&#xA;----&amp;gt; 9 check_call(&#xA;     10     [&#xA;     11         os.path.join(ffmpeg_path, 'ffmpeg'),&#xA;     12         '-y',    # Overwrite output files without asking&#xA;     13         '-report',    # Write logfile to current working directory&#xA;     14         '-hwaccel', 'cuda',    # Use GPU acceleration&#xA;     15         '-framerate', '60',    # Input frame rate&#xA;     16         '-i', os.path.join(frames_renamed_path, 'frame%05d.png'),    # Path to input frames&#xA;     17         #'-pattern_type', 'glob', '-i', os.path.join(frames_renamed_path, '*.png'),    # glob not available in Windows by default&#xA;     18         #'-r', '60',    # Output frame rate&#xA;     19         '-vf', 'pad=ceil(iw/2)*2:ceil(ih/2)*2',    # Pad frames to even pixel numbers (required by many codecs)&#xA;     20         #'-pix_fmt', 'yuv420p',&#xA;     21         '-pix_fmt', 'rgb32',    # Use RGB32 pixel format matching MatPlotLib image output&#xA;     22         '-filter_complex',    # Cut frames into tiles and rearrange (here: 7 horizontal tiles)&#xA;     23             'crop=in_w:in_h/7:0:0[tile_1],'    # 1st tile from top&#xA;     24             + 'crop=in_w:in_h/7:0:in_h*1/7[tile_2],'    # 2nd tile from top&#xA;     25             + 'crop=in_w:in_h/7:0:in_h*2/7[tile_3],'    # 3rd tile from top&#xA;     26             + 'crop=in_w:in_h/7:0:in_h*3/7[tile_4],'    # 4th tile from top&#xA;     27             + 'crop=in_w:in_h/7:0:in_h*4/7[tile_5],'    # 5th tile from top&#xA;     28             + 'crop=in_w:in_h/7:0:in_h*5/7[tile_6],'    # 6th tile from top&#xA;     29             + 'crop=in_w:in_h/7:0:in_h*6/7[tile_7],'    # 7th tile from top&#xA;     30             + '[tile_1][tile_2][tile_3][tile_4][tile_5][tile_6][tile_7]hstack=7',    # Stack tiles horizontally&#xA;     31         os.path.join(frames_renamed_path, 'video.mp4')    # Path to store output video&#xA;     32     ]&#xA;     33 )&#xA;     35 os.chdir(notebook_directory)&#xA;&#xA;File C:\Program Files\Python38\lib\subprocess.py:364, in check_call(*popenargs, **kwargs)&#xA;    362     if cmd is None:&#xA;    363         cmd = popenargs[0]&#xA;--&amp;gt; 364     raise CalledProcessError(retcode, cmd)&#xA;    365 return 0&#xA;&#xA;CalledProcessError: Command '['C:\\Users\\Username\\Desktop\\ffmpeg\\ffmpeg', '-y', '-report', '-hwaccel', 'cuda', '-framerate', '60', '-i', 'C:\\Users\\Username\\Desktop\\renamed\\frame%05d.png', '-vf', 'pad=ceil(iw/2)*2:ceil(ih/2)*2', '-pix_fmt', 'rgb32', '-filter_complex', 'crop=in_w:in_h/7:0:0[tile_1],crop=in_w:in_h/7:0:in_h*1/7[tile_2],crop=in_w:in_h/7:0:in_h*2/7[tile_3],crop=in_w:in_h/7:0:in_h*3/7[tile_4],crop=in_w:in_h/7:0:in_h*4/7[tile_5],crop=in_w:in_h/7:0:in_h*5/7[tile_6],crop=in_w:in_h/7:0:in_h*6/7[tile_7],[tile_1][tile_2][tile_3][tile_4][tile_5][tile_6][tile_7]hstack=7', 'C:\\Users\\Username\\Desktop\\renamed\\video.mp4']' returned non-zero exit status 1.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is the &lt;code&gt;ffmpeg&lt;/code&gt; log output (cropped):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg started on 2022-08-04 at 01:17:19&#xA;Report written to &amp;quot;ffmpeg-20220804-011719.log&amp;quot;&#xA;Log level: 48&#xA;Command line:&#xA;&amp;quot;C:\\Users\\Username\\Desktop\\ffmpeg\\ffmpeg&amp;quot; -y -report -hwaccel cuda -framerate 60 -i &amp;quot;C:\\Users\\Username\\Desktop\\renamed\\frame%05d.png&amp;quot; -vf &amp;quot;pad=ceil(iw/2)*2:ceil(ih/2)*2&amp;quot; -pix_fmt rgb32 -filter_complex &amp;quot;crop=in_w:in_h/7:0:0[tile_1],crop=in_w:in_h/7:0:in_h*1/7[tile_2],crop=in_w:in_h/7:0:in_h*2/7[tile_3],crop=in_w:in_h/7:0:in_h*3/7[tile_4],crop=in_w:in_h/7:0:in_h*4/7[tile_5],crop=in_w:in_h/7:0:in_h*5/7[tile_6],crop=in_w:in_h/7:0:in_h*6/7[tile_7],[tile_1][tile_2][tile_3][tile_4][tile_5][tile_6][tile_7]hstack=7&amp;quot; &amp;quot;C:\\Users\\Username\\Desktop\\renamed\\video.mp4&amp;quot;&#xA;ffmpeg version 2022-07-14-git-882aac99d2-full_build-www.gyan.dev Copyright (c) 2000-2022 the FFmpeg developers&#xA;  built with gcc 12.1.0 (Rev2, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-bzlib --enable-lzma --enable-libsnappy --enable-zlib --enable-librist --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-libbluray --enable-libcaca --enable-sdl2 --enable-libdav1d --enable-libdavs2 --enable-libuavs3d --enable-libzvbi --enable-librav1e --enable-libsvtav1 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs2 --enable-libxvid --enable-libaom --enable-libjxl --enable-libopenjpeg --enable-libvpx --enable-mediafoundation --enable-libass --enable-frei0r --enable-libfreetype --enable-libfribidi --enable-liblensfun --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-libshaderc --enable-vulkan --enable-libplacebo --ena  libavutil      57. 29.100 / 57. 29.100&#xA;  libavcodec     59. 38.100 / 59. 38.100&#xA;  libavformat    59. 28.100 / 59. 28.100&#xA;  libavdevice    59.  8.100 / 59.  8.100&#xA;  libavfilter     8. 45.100 /  8. 45.100&#xA;  libswscale      6.  8.100 /  6.  8.100&#xA;  libswresample   4.  8.100 /  4.  8.100&#xA;  libpostproc    56.  7.100 / 56.  7.100&#xA;Splitting the commandline.&#xA;Reading option '-y' ... matched as option 'y' (overwrite output files) with argument '1'.&#xA;Reading option '-report' ... matched as option 'report' (generate a report) with argument '1'.&#xA;Reading option '-hwaccel' ... matched as option 'hwaccel' (use HW accelerated decoding) with argument 'cuda'.&#xA;Reading option '-framerate' ... matched as AVOption 'framerate' with argument '60'.&#xA;Reading option '-i' ... matched as input url with argument 'C:\Users\Username\Desktop\renamed\frame%05d.png'.&#xA;Reading option '-vf' ... matched as option 'vf' (set video filters) with argument 'pad=ceil(iw/2)*2:ceil(ih/2)*2'.&#xA;Reading option '-pix_fmt' ... matched as option 'pix_fmt' (set pixel format) with argument 'rgb32'.&#xA;Reading option '-filter_complex' ... matched as option 'filter_complex' (create a complex filtergraph) with argument 'crop=in_w:in_h/7:0:0[tile_1],crop=in_w:in_h/7:0:in_h*1/7[tile_2],crop=in_w:in_h/7:0:in_h*2/7[tile_3],crop=in_w:in_h/7:0:in_h*3/7[tile_4],crop=in_w:in_h/7:0:in_h*4/7[tile_5],crop=in_w:in_h/7:0:in_h*5/7[tile_6],crop=in_w:in_h/7:0:in_h*6/7[tile_7],[tile_1][tile_2][tile_3][tile_4][tile_5][tile_6][tile_7]hstack=7'.&#xA;Reading option 'C:\Users\Username\Desktop\renamed\video.mp4' ... matched as output url.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option y (overwrite output files) with argument 1.&#xA;Applying option report (generate a report) with argument 1.&#xA;Applying option filter_complex (create a complex filtergraph) with argument crop=in_w:in_h/7:0:0[tile_1],crop=in_w:in_h/7:0:in_h*1/7[tile_2],crop=in_w:in_h/7:0:in_h*2/7[tile_3],crop=in_w:in_h/7:0:in_h*3/7[tile_4],crop=in_w:in_h/7:0:in_h*4/7[tile_5],crop=in_w:in_h/7:0:in_h*5/7[tile_6],crop=in_w:in_h/7:0:in_h*6/7[tile_7],[tile_1][tile_2][tile_3][tile_4][tile_5][tile_6][tile_7]hstack=7.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url C:\Users\Username\Desktop\renamed\frame%05d.png.&#xA;Applying option hwaccel (use HW accelerated decoding) with argument cuda.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: C:\Users\Username\Desktop\renamed\frame%05d.png.&#xA;[image2 @ 00000000005db0c0] Opening 'C:\Users\Username\Desktop\renamed\frame00000.png' for reading&#xA;[file @ 00000000005f6c00] Setting default whitelist 'file,crypto,data'&#xA;[AVIOContext @ 00000000005fed40] Statistics: 28860 bytes read, 0 seeks&#xA;&#xA;&amp;lt;...&amp;gt;&#xA;&#xA;[AVIOContext @ 00000000005fda00] Statistics: 67659 bytes read, 0 seeks&#xA;[image2 @ 00000000005db0c0] Probe buffer size limit of 5000000 bytes reached&#xA;Input #0, image2, from 'C:\Users\Username\Desktop\renamed\frame%05d.png':&#xA;  Duration: 00:00:25.00, start: 0.000000, bitrate: N/A&#xA;  Stream #0:0, 80, 1/60: Video: png, rgba(pc), 1200x1857 [SAR 3937:3937 DAR 400:619], 60 fps, 60 tbr, 60 tbn&#xA;Successfully opened the file.&#xA;[Parsed_crop_0 @ 00000000005fdc40] Setting 'out_w' to value 'in_w'&#xA;[Parsed_crop_0 @ 00000000005fdc40] Setting 'out_h' to value 'in_h/7'&#xA;[Parsed_crop_0 @ 00000000005fdc40] Setting 'x' to value '0'&#xA;[Parsed_crop_0 @ 00000000005fdc40] Setting 'y' to value '0'&#xA;[Parsed_crop_1 @ 0000000000607500] Setting 'out_w' to value 'in_w'&#xA;[Parsed_crop_1 @ 0000000000607500] Setting 'out_h' to value 'in_h/7'&#xA;[Parsed_crop_1 @ 0000000000607500] Setting 'x' to value '0'&#xA;[Parsed_crop_1 @ 0000000000607500] Setting 'y' to value 'in_h*1/7'&#xA;[Parsed_crop_2 @ 0000000000607880] Setting 'out_w' to value 'in_w'&#xA;[Parsed_crop_2 @ 0000000000607880] Setting 'out_h' to value 'in_h/7'&#xA;[Parsed_crop_2 @ 0000000000607880] Setting 'x' to value '0'&#xA;[Parsed_crop_2 @ 0000000000607880] Setting 'y' to value 'in_h*2/7'&#xA;[Parsed_crop_3 @ 0000000000607c00] Setting 'out_w' to value 'in_w'&#xA;[Parsed_crop_3 @ 0000000000607c00] Setting 'out_h' to value 'in_h/7'&#xA;[Parsed_crop_3 @ 0000000000607c00] Setting 'x' to value '0'&#xA;[Parsed_crop_3 @ 0000000000607c00] Setting 'y' to value 'in_h*3/7'&#xA;[Parsed_crop_4 @ 00000000005fda00] Setting 'out_w' to value 'in_w'&#xA;[Parsed_crop_4 @ 00000000005fda00] Setting 'out_h' to value 'in_h/7'&#xA;[Parsed_crop_4 @ 00000000005fda00] Setting 'x' to value '0'&#xA;[Parsed_crop_4 @ 00000000005fda00] Setting 'y' to value 'in_h*4/7'&#xA;[Parsed_crop_5 @ 0000000002b8f800] Setting 'out_w' to value 'in_w'&#xA;[Parsed_crop_5 @ 0000000002b8f800] Setting 'out_h' to value 'in_h/7'&#xA;[Parsed_crop_5 @ 0000000002b8f800] Setting 'x' to value '0'&#xA;[Parsed_crop_5 @ 0000000002b8f800] Setting 'y' to value 'in_h*5/7'&#xA;[Parsed_crop_6 @ 0000000000607d00] Setting 'out_w' to value 'in_w'&#xA;[Parsed_crop_6 @ 0000000000607d00] Setting 'out_h' to value 'in_h/7'&#xA;[Parsed_crop_6 @ 0000000000607d00] Setting 'x' to value '0'&#xA;[Parsed_crop_6 @ 0000000000607d00] Setting 'y' to value 'in_h*6/7'&#xA;[Parsed_hstack_7 @ 0000000002b8fb80] Setting 'inputs' to value '7'&#xA;Cannot find a matching stream for unlabeled input pad 0 on filter Parsed_crop_1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What is the problem here? Also, how does one interpret this cryptic error message at the end of the log output:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;Cannot find a matching stream for unlabeled input pad 0 on filter Parsed_crop_1&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;E.g. what is &lt;code&gt;input pad 0&lt;/code&gt;, why is it &lt;code&gt;unlabeled&lt;/code&gt;, and why can't it find a matching stream?&lt;/p&gt;&#xA;&lt;p&gt;(PS.: Yes, I do have a habit of excessively documenting my code. ^^)&lt;/p&gt;&#xA;" OwnerUserId="38990" LastEditorUserId="38990" LastEditDate="2022-08-03T23:56:59.910" LastActivityDate="2022-08-04T04:18:05.080" Title="Cryptic FFmpeg + Python error: &quot;Cannot find a matching stream for unlabeled input pad 0 on filter Parsed_crop_1&quot;" Tags="|ffmpeg|video|editing|mp4|filter|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35557" PostTypeId="2" ParentId="35556" CreationDate="2022-08-04T04:18:05.080" Score="1" Body="&lt;p&gt;Both -vf and -filter_complex can't be specified for the same input stream. In any case, you would have to carry out the pad at the end of the stacking, so remove the -vf and use the following.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    '-filter_complex',    # Cut frames into tiles and rearrange (here: 7 horizontal tiles)&#xA;        'split=7[i1][i2][i3][i4][i5][i6][i7];'          # 7 clones, 1 for each crop&#xA;        + '[i1]crop=in_w:in_h/7:0:0[tile_1];'           # 1st tile from top&#xA;        + '[i2]crop=in_w:in_h/7:0:in_h*1/7[tile_2];'    # 2nd tile from top&#xA;        + '[i3]crop=in_w:in_h/7:0:in_h*2/7[tile_3];'    # 3rd tile from top&#xA;        + '[i4]crop=in_w:in_h/7:0:in_h*3/7[tile_4];'    # 4th tile from top&#xA;        + '[i5]crop=in_w:in_h/7:0:in_h*4/7[tile_5];'    # 5th tile from top&#xA;        + '[i6]crop=in_w:in_h/7:0:in_h*5/7[tile_6];'    # 6th tile from top&#xA;        + '[i7]crop=in_w:in_h/7:0:in_h*6/7[tile_7];'    # 7th tile from top&#xA;        + '[tile_1][tile_2][tile_3][tile_4][tile_5][tile_6][tile_7]hstack=7,'&#xA;        + 'pad=ceil(iw/2)*2:ceil(ih/2)*2'&#xA;    '-pix_fmt', 'rgb32',    # Use RGB32 pixel format matching MatPlotLib image output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-08-04T04:18:05.080" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="35558" PostTypeId="2" ParentId="35524" CreationDate="2022-08-04T06:26:39.253" Score="1" Body="&lt;p&gt;Here's how I did it:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i input -c:v mpeg2video -brand mp42 -vf scale=1280:720,select=&amp;quot;gte(n\, 2)&amp;quot;,tpad=start=2 -profile:v main -level:v 4.0 -colorspace:v &amp;quot;bt709&amp;quot; -color_primaries:v &amp;quot;bt709&amp;quot; -color_trc:v &amp;quot;bt709&amp;quot; -color_range:v &amp;quot;tv&amp;quot; -qscale:v 5 -video_format component -g 2 -an -f mp4 input.mp4.sfvp0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;We configure ffmpeg as follows:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-c:v mpeg2video&lt;/code&gt; - &lt;code&gt;MPEG2&lt;/code&gt; codec&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-brand mp42&lt;/code&gt; - &lt;code&gt;mp42&lt;/code&gt; codec ID&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-profile:v main -level:v 4.0&lt;/code&gt; Main@High Profile&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-colorspace:v &amp;quot;bt709&amp;quot; -color_primaries:v &amp;quot;bt709&amp;quot; -color_trc:v &amp;quot;bt709&amp;quot; -color_range:v &amp;quot;tv&amp;quot;&lt;/code&gt; BT.709 colour space&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-video_format component&lt;/code&gt; - Component video format&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-an&lt;/code&gt; - Don't include audio&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-f mp4&lt;/code&gt; - &lt;code&gt;mp4&lt;/code&gt; container&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;To synchronise the proxy file with the original, I used &lt;code&gt;select=&amp;quot;gte(n\, 2)&amp;quot;,tpad=start=2&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;You may also be able to modify the scale of the video so long as it conforms to the 16:9 aspect ratio, regardless of stretching and increase the quality of the proxy file with &lt;code&gt;qscale:v&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Despite this, Vegas still tracks whether Proxy files were created before and does not recognise when this happens externally so these may not even be recognised in the first place.&lt;/p&gt;&#xA;" OwnerUserId="37755" LastActivityDate="2022-08-04T06:26:39.253" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35559" PostTypeId="2" ParentId="35547" CreationDate="2022-08-05T06:46:12.473" Score="0" Body="&lt;p&gt;As &lt;a href=&quot;https://video.stackexchange.com/users/12233/tetsujin&quot; title=&quot;273 reputation&quot;&gt;Tetsujin&lt;/a&gt; &lt;a href=&quot;https://video.stackexchange.com/questions/35547/how-can-i-reduce-the-wind-noise-as-much-as-possible-when-recording-a-video-with#comment46036_35547&quot;&gt;mentioned&lt;/a&gt; in the comment, a typical solution is to use an external microphone with a wind shield (aka windscreen or dead cat). One may get a &lt;a href=&quot;https://smile.amazon.com/gp/product/B01L2CPPH2&quot; rel=&quot;nofollow noreferrer&quot;&gt;GoPro Pro 3.5mm Mic Adapter&lt;/a&gt; to connect an external microphone to the GoPro.&lt;/p&gt;&#xA;&lt;p&gt;Here are the microphone suggestions I've read online:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://smile.amazon.com/gp/product/B000BTAH62/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Olympus ME-51S Stereo Microphone&lt;/a&gt; (&lt;a href=&quot;http://www.dragtimes.com/blog/how-to-record-great-exhaust-sound-videos-and-clips-using-a-gopro-and-external-microphone&quot; rel=&quot;nofollow noreferrer&quot;&gt;source 1&lt;/a&gt;, &lt;a href=&quot;https://youtu.be/IUZ6NdNcyw4&quot; rel=&quot;nofollow noreferrer&quot;&gt;source 2&lt;/a&gt;, &lt;a href=&quot;https://youtu.be/jeyhEXLx9iA&quot; rel=&quot;nofollow noreferrer&quot;&gt;demo&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://smile.amazon.com/gp/product/B015R0IQGW&quot; rel=&quot;nofollow noreferrer&quot;&gt;Rode VideoMicro Ultracompact Camera-Mount Shotgun Microphone&lt;/a&gt; (&lt;a href=&quot;https://youtu.be/nU6z9vu7iTI&quot; rel=&quot;nofollow noreferrer&quot;&gt;source&lt;/a&gt;, &lt;a href=&quot;https://youtu.be/nU6z9vu7iTI?t=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;demo&lt;/a&gt;) + Rode WS9 Deluxe Wind Shield for VideoMicro + Manfrotto 035RL Super Clamp with Standard Stud + Tape King Gaffers Tape.&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://smile.amazon.com/gp/product/B08XQBPJN5&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lavalier Lapel Microphone&lt;/a&gt; (&lt;a href=&quot;https://youtu.be/ujYxDr771Ww&quot; rel=&quot;nofollow noreferrer&quot;&gt;source&lt;/a&gt;, &lt;a href=&quot;https://youtu.be/ujYxDr771Ww?t=613&quot; rel=&quot;nofollow noreferrer&quot;&gt;demo&lt;/a&gt;)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Pictures of setup from &lt;a href=&quot;http://www.dragtimes.com/blog/how-to-record-great-exhaust-sound-videos-and-clips-using-a-gopro-and-external-microphone&quot; rel=&quot;nofollow noreferrer&quot;&gt;dragtimes.com&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OtW3o.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OtW3o.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OUO2D.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OUO2D.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Another picture of setup (&lt;a href=&quot;https://youtu.be/ujYxDr771Ww?t=707&quot; rel=&quot;nofollow noreferrer&quot;&gt;source&lt;/a&gt;):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RCXii.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RCXii.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;A more advanced setup: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/4kB458Q9Y9M?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="2117" LastEditorUserId="2117" LastEditDate="2022-08-05T06:51:25.187" LastActivityDate="2022-08-05T06:51:25.187" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35560" PostTypeId="1" AcceptedAnswerId="35653" CreationDate="2022-08-05T07:59:25.857" Score="0" ViewCount="841" Body="&lt;p&gt;My cameras and my audio recorders don't give me a single file from a recording session, but instead, I get many sequential clips. I'm trying to create a multi-cam sequence in Adobe Premiere with the 3 cameras and a single high-quality audio track. For reference, the video came for GoPro Hero 9 Black and the audio from a Tascam DR-10L. My sources look like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/d4uxV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/d4uxV.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If I just select everything and create a multi-cam sequence, I end with 15 cameras, so what I did was merge all the clips from each camera into a single sequence (I ended up with 3 of those, one for each GoPro), and then use those for the multi-cam. Is that the correct way to handle the video? It seems to work. This is how it ends up looking:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qhJ8s.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qhJ8s.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The audio is proving trickier. If I merge the 3 audio files (the ones with the _D suffix I'm not using) into a single sequence, it ends up being a video clip, not an audio clip (if that makes sense):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TZzLr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TZzLr.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The problem with that is that multi-cam treats it as a video source, not as the master audio source:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZFtIs.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZFtIs.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you can see there, the mic ended up being camera 4, and the master audio is camera 1's terrible audio.&lt;/p&gt;&#xA;&lt;p&gt;What I tried next was to do a multi-cam with the merged camera clips and the source audio clips (had to skip the 3rd one because there wasn't any overlap, I was already turning cameras off). The problem when I do that is that I end up with two audio tracks instead of one, and they are both only coming through the left channel:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fqZT7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fqZT7.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;My settings when creating that last multi-cam are these:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tk34S.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tk34S.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The audio from the Tascam DR-10L is mono, while the audio from the cameras is stereo. I'm happy to work in mono, so I selected all clips and switched them to mono:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GEIEA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GEIEA.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So, the question is, how do I handle the audio? How do I make a working multi-cam out of all of this with mono sound coming through both channels?&lt;/p&gt;&#xA;" OwnerUserId="19382" LastActivityDate="2022-08-31T04:49:29.233" Title="Multicam in Adobe Premiere when sources are split in several files" Tags="|premiere|multi-camera|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35564" PostTypeId="1" CreationDate="2022-08-05T23:29:35.853" Score="0" ViewCount="36" Body="&lt;p&gt;Suppose I import three videos:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-i 'video0.mov'&#xA;-i 'video1.mov'&#xA;-i 'video2.mov'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then I open a filter_complex. I can send the videos filters by referring to their number, which ffmpeg documentation calls &amp;quot;file_index&amp;quot;: &lt;code&gt;[0]&lt;/code&gt;, &lt;code&gt;[1]&lt;/code&gt;, and &lt;code&gt;[2]&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;This is fine, but suppose I come back later and remove everything related to video1.mov and the line that imports it. Now &lt;code&gt;[1]&lt;/code&gt; refers to video3.mov and there is no &lt;code&gt;[2]&lt;/code&gt; at all.&lt;/p&gt;&#xA;&lt;p&gt;In the filtergraph I can apply a label by sending the video to a labeled output, ie:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[0] copy [video0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but I have to be able to address the original file_index first.&lt;/p&gt;&#xA;&lt;p&gt;I'm trying to do irritatingly complicated things with scripts, which include things like &amp;quot;import a png and overlay it, or not, based on a boolean setting&amp;quot;. Once you have more than one import line that may or may not happen, labeling becomes an issue.&lt;/p&gt;&#xA;&lt;p&gt;Is there any way to apply a label to an input at the time of import, so I never have to use file_index and won't break anything if the number or order of imports changes?&lt;/p&gt;&#xA;" OwnerUserId="34748" LastActivityDate="2022-08-05T23:29:35.853" Title="Can I label streams during import in ffmpeg?" Tags="|ffmpeg|script|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35567" PostTypeId="1" CreationDate="2022-08-07T20:09:21.460" Score="0" ViewCount="110" Body="&lt;p&gt;I have the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loglevel verbose -y \&#xA;-i &amp;quot;https://my.domain/workspaces/473/RFP-107718.mp4&amp;quot; \&#xA;-i &amp;quot;https://my.domain/workspaces/473/margaritaville/palm_beach.png&amp;quot; \&#xA;-filter_complex &amp;quot;[0]drawbox=x=0:y=0:w=iw:h=ih:color=#FF0000@1:t=fill[padded];[0]format=yuva420p,pad=iw*2:ih*2:color=black@0,zoompan=z='if(lt(it,0),2,if(lte(pzoom,1.0),2,max(1.58,pzoom-0.005526315789473683)))':x=0:y=0:d=1:s=1920x1080[zp],[padded][zp]overlay=x='if(lt(t,3.04),t*20/3.04,20)':y='if(lt(t,3.04),t*18/3.04,18)':eval=frame[zp_stream],[1:v]scale=502:-1 [image1],[zp_stream][image1] overlay=1051.5078125:53.28906249999999:enable='between(t,0,10.048)' [overlay1]&amp;quot; -map &amp;quot;[overlay1]&amp;quot; -pix_fmt yuv420p -map 0:a -c:a copy &amp;quot;/usr/src/app/output/RFP-107718.mp4&amp;quot;&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If i run it locally works without any errors, but when i run on Docker container i have the following error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.1.9-0+deb10u1 Copyright (c) 2000-2022 the FFmpeg developers&#xA;  built with gcc 8 (Debian 8.3.0-6)&#xA;  configuration: --prefix=/usr --extra-version=0+deb10u1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;  libavutil      56. 22.100 / 56. 22.100&#xA;  libavcodec     58. 35.100 / 58. 35.100&#xA;  libavformat    58. 20.100 / 58. 20.100&#xA;  libavdevice    58.  5.100 / 58.  5.100&#xA;  libavfilter     7. 40.101 /  7. 40.101&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  3.100 /  5.  3.100&#xA;  libswresample   3.  3.100 /  3.  3.100&#xA;  libpostproc    55.  3.100 / 55.  3.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'https://dev-cdn.connected-stories.com/workspaces/473/RFP-107718.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 1&#xA;    compatible_brands: isommp41mp42&#xA;    creation_time   : 2022-04-15T18:31:51.000000Z&#xA;  Duration: 00:00:29.99, start: 0.000000, bitrate: 8207 kb/s&#xA;    Stream #0:0(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 7877 kb/s, 59.98 fps, 60 tbr, 60k tbn, 120k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2022-04-15T18:31:51.000000Z&#xA;      handler_name    : Core Media Video&#xA;      encoder         : AVC Coding&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 317 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2022-04-15T18:31:51.000000Z&#xA;      handler_name    : Core Media Audio&#xA;Input #1, png_pipe, from 'https://dev-cdn.connected-stories.com/workspaces/473/margaritaville/palm_beach.png':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #1:0: Video: png, rgba(pc), 1210x240 [SAR 2834:2834 DAR 121:24], 25 tbr, 25 tbn, 25 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; drawbox&#xA;  Stream #0:0 (h264) -&amp;gt; format&#xA;  Stream #1:0 (png) -&amp;gt; scale&#xA;  overlay -&amp;gt; Stream #0:0 (libx264)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[Parsed_zoompan_3 @ 0x40006c2500] [Eval @ 0x40018421e0] Unknown function in 'it,0),2,if(lte(pzoom,1.0),2,max(1.58,pzoom-0.005526315789473683)))'&#xA;[Parsed_zoompan_3 @ 0x40006c2500] Failed to configure output pad on Parsed_zoompan_3&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid argument&#xA;Error while processing the decoded data for stream #1:0&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My local version is 5.0.1 on mac os, the container one is 4.1.9 on ubuntu&lt;/p&gt;&#xA;&lt;p&gt;Here the docker file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;FROM node:16&#xA;&#xA;ENV NODE_ENV=production&#xA;&#xA;RUN apt-get -y update &amp;amp;&amp;amp; \&#xA;    apt-get install -y  ffmpeg \&#xA;    build-essential libcairo2-dev libpango1.0-dev libjpeg-dev libgif-dev librsvg2-dev &#xA;&#xA;WORKDIR /usr/src/app&#xA;COPY . .&#xA;RUN npm ci --production --silent&#xA;&#xA;CMD node src/index.js&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any hint to solve the issue is appreciated!&lt;/p&gt;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="39008" LastActivityDate="2023-12-31T17:01:15.150" Title="Help needed on ffmpeg zoompan filter expression syntax" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35570" PostTypeId="2" ParentId="35567" CreationDate="2022-08-08T03:54:40.173" Score="0" Body="&lt;p&gt;Edit: &lt;code&gt;it&lt;/code&gt; is available from v4.4 onwards, so upgrade.&lt;/p&gt;&#xA;&lt;p&gt;&lt;s&gt;Escape the commas, e.g.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;if(lt(t,3.04),t*20/3.04,20)&lt;/code&gt; becomes &lt;code&gt;if(lt(t\,3.04)\,t*20/3.04\,20)&lt;/code&gt;&lt;/s&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2022-08-08T14:28:55.520" LastActivityDate="2022-08-08T14:28:55.520" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35571" PostTypeId="1" CreationDate="2022-08-08T05:16:30.110" Score="1" ViewCount="635" Body="&lt;p&gt;I have a video with audio that I imported in Premiere Pro. I was able to make cuts in the video track by pressing C and Premiere Pro would then automatically make cuts at the exact same location in the audio track.&lt;/p&gt;&#xA;&lt;p&gt;I pressed some buttons that did something and I am no longer able to cut the video and audio at the same time. I searched on Google and links the tracks by going to Clip &amp;gt; Link does not help.&lt;/p&gt;&#xA;&lt;p&gt;Once again I would like to mention that the audio and video are from the same file and not independent. I was able to make cuts in them or delete them at once earlier.&lt;/p&gt;&#xA;&lt;p&gt;How can I start doing that again?&lt;/p&gt;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="33911" LastActivityDate="2022-08-08T05:16:30.110" Title="Unable to make cuts to audio and video track at the same time" Tags="|premiere|premiere-pro|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="35572" PostTypeId="1" CreationDate="2022-08-08T06:35:14.537" Score="6" ViewCount="1259" Body="&lt;p&gt;Insta produces 2 video files, from back and front camera. They have .INSV extenstion, but they are acutally mp4 video files. That's how they look:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/a8CUk.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/a8CUk.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IJuOB.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IJuOB.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And expected result is 360 panorama video:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/obFAS.png&quot; rel=&quot;noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/obFAS.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Can I use ffmpeg with 360 filter to get result as above? I mean that filter: &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#v360&quot; rel=&quot;noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#v360&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I can use Insta360 studio, but as I'm on Linux, I'm getting some troubles to use it (my video card driver opengl version is too old to run it on Wine). Also, I preffer command line interface for batch convert files.&lt;/p&gt;&#xA;&lt;p&gt;So, can I use ffmpeg to do that (or any other Linux tool)?&lt;/p&gt;&#xA;" OwnerUserId="39013" LastEditorUserId="14523" LastEditDate="2022-08-09T13:36:03.603" LastActivityDate="2022-08-09T13:36:03.603" Title="Merge Insta360 INSV files into 360 video with ffmpeg 360vr filter" Tags="|ffmpeg|360video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35573" PostTypeId="2" ParentId="10033" CreationDate="2022-08-08T10:36:31.723" Score="0" Body="&lt;p&gt;I usually use ffmpeg.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mkdir video_seq&#xA;ffmpeg -i video.mp4 video_seq/video_%05d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="39015" LastActivityDate="2022-08-08T10:36:31.723" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35574" PostTypeId="1" CreationDate="2022-08-09T03:13:20.620" Score="2" ViewCount="938" Body="&lt;p&gt;How I can remove tiktok video logo using FFmpeg? Like most sites are doing e.g &lt;a href=&quot;https://ssstik.io/en&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ssstik.io/en&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I tried to remove the logo using delogo filter but it leaves a blur effect in the video while the above site logo removal is clean, with no blurry effect.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &amp;quot;delogo=x=10:y=10:w=180:h=75&amp;quot; -c:a copy output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Any idea how I can remove watermark with clean output? Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="39019" LastActivityDate="2024-02-29T05:22:28.020" Title="Remove tiktok video logo/watermark using ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35575" PostTypeId="1" CreationDate="2022-08-09T11:19:53.330" Score="1" ViewCount="615" Body="&lt;p&gt;I want to be able to create a rectangular mask in Premiere Pro where I can type in how many pixels wide and how many pixels high it will be.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/16694/in-premiere-cc-how-do-you-create-a-tall-rectangular-mask&quot;&gt;This question&lt;/a&gt; is similar, but I've tested the technique in the answer (which is also the best I've found on YouTube) and it seems that the new Premiere Pro update has done away with the shift-click-and-drag way of snapping the mask to a rectangular shape. Besides, I wouldn't be able to get the mask pixel-perfect with any manual method.&lt;/p&gt;&#xA;&lt;p&gt;While it's possible to enlarge a mask while keeping it a perfect rectangle, Premiere Pro seems to have its ratio locked.&lt;/p&gt;&#xA;&lt;p&gt;What I'm trying to do, ultimately, is mask rectangles of video, where I decide exactly what shape the rectangles are, and then use the masks to round off the corners. I also want to be able to animate the masks so that the video grows and slides around the screen, maintaining the rounded corners. And I want to be able to position these masks precisely too.&lt;/p&gt;&#xA;" OwnerUserId="36889" LastActivityDate="2022-08-09T14:39:45.870" Title="Making a rectangular mask with custom dimensions in Premiere Pro" Tags="|premiere|adobe|mask|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35576" PostTypeId="1" CreationDate="2022-08-09T13:35:38.047" Score="2" ViewCount="300" Body="&lt;p&gt;I recently audited a large folder containing a variety of encoded videos from 2002-2014. Using ffmpeg, I extracted and recorded metadata, including the video codec used on the film. An example command I might run to get this data: &lt;code&gt;ffprobe -show_format -show_streams -print_format json -loglevel quiet &amp;lt;filename&amp;gt;&lt;/code&gt;. From there I am extracting the &lt;code&gt;streams -&amp;gt; [first video stream] -&amp;gt; codec_name&lt;/code&gt; key from the results.&lt;/p&gt;&#xA;&lt;p&gt;Many of the files return codecs I recognize (hevc, h264, vp9, mpeg2video, wmv1, etc.) However, confusingly, they also return many codecs that I would think are implementations of MPEG-4 part 2: divx, dx50, fmp4, mp4v, mpeg4, msmpeg4v1, msmpeg4v2, msmpeg4v3, and xvid.&lt;/p&gt;&#xA;&lt;p&gt;If MPEG-4 part 2 is considered a single video standard, then I would think that although there may be multiple encoders that produce video according to that standard, they'd all be the same &amp;quot;codec&amp;quot;. That's clearly an incorrect assumption on my part. But all of the MPEG-4 Part 10 files report as h264 irrespective of which encoder was used. So my first question is what is the distinction between a codec and an encoder, and why do all encoders lead to the same &amp;quot;codec&amp;quot; for MPEG-4 Part 10, but not for MPEG-4 Part 2?&lt;/p&gt;&#xA;&lt;p&gt;Second, how do all these files differ from one another? I presume there is no generalizable distinction in terms of quality, because quality is a setting of an encode, not an intrinsic feature of an encoder. But how would a video player think of each of these codecs as being separate? What features do each have that the other do not?&lt;/p&gt;&#xA;&lt;p&gt;Although &lt;a href=&quot;https://video.stackexchange.com/questions/10887/codec-genealogy-kinship-divx-mpeg-4-part-2-h-263&quot;&gt;this previous question&lt;/a&gt; overlaps mine, but I do not think it answers it in total. While it provides history, it does not discuss the encoder/codec distinction or bring in all of the codecs I ask about; I am less interested in learning &lt;em&gt;who&lt;/em&gt; developed each and more interested in understanding the technical distinction.&lt;/p&gt;&#xA;" OwnerUserId="39027" LastEditorUserId="39027" LastEditDate="2022-08-11T12:56:49.967" LastActivityDate="2022-08-11T14:18:22.400" Title="What actually distinguishes various MPEG-4 Part 2 video codecs (divx, xvid, mpeg4, msmpeg4v1, mp4v, etc.)" Tags="|ffmpeg|video-quality|codec|mpeg4|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35577" PostTypeId="2" ParentId="35575" CreationDate="2022-08-09T14:39:45.870" Score="1" Body="&lt;p&gt;I don't think this is possible in Premiere, or at least not simple to do.&lt;/p&gt;&#xA;&lt;p&gt;You'd think you could create some rulers, right click on them, enter some values, then create a shape and snap the corners of the shape to the rulers, but it doesn't work.&lt;/p&gt;&#xA;&lt;p&gt;I suspect this is one of those product differentiation things where Adobe has decided to restrict some features in Premiere so as to keep some in After Effects.  Whether this is deliberate or they just haven't programmed the features into both apps yet, I don't know.&lt;/p&gt;&#xA;&lt;p&gt;Essentially, if you want to do stuff like this, use After Effects.&lt;br /&gt;&#xA;(Not a great answer, sorry.)&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-08-09T14:39:45.870" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35578" PostTypeId="1" CreationDate="2022-08-09T21:10:58.170" Score="1" ViewCount="623" Body="&lt;p&gt;I raise such problem but in the same post I raise the solution.&lt;/p&gt;&#xA;&lt;p&gt;The first thing to know is that the .camrec format (from Camtasia) is a compressed file, so we must first decompress these files before converting them to .mp4.&lt;/p&gt;&#xA;&lt;p&gt;Using 7z it is possible to decompress a .camrec file, and generate a .avi:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;7z e &amp;quot;*file.camrec&amp;quot; &amp;quot;file.avi&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The second thing, is to convert this .avi file to .mp4 with ffmpeg.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;file.avi&amp;quot; &amp;quot;file.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If someone has a better solution I invite you to post it here.&lt;/p&gt;&#xA;" OwnerUserId="39006" LastActivityDate="2024-03-16T08:04:40.523" Title="How to convert camrec to mp4 using ffmpeg?" Tags="|ffmpeg|mp4|avi|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35579" PostTypeId="1" CreationDate="2022-08-10T12:50:59.460" Score="0" ViewCount="40" Body="&lt;p&gt;I read on a another photography site that the Nikon D3500 can overheat and suffer permanent damage while recording video. Does anyone know if there is any truth to this? It seems implausible that Nikon would sell a camera with this problem.&lt;/p&gt;&#xA;" OwnerUserId="39042" OwnerDisplayName="Dug" LastActivityDate="2022-08-10T14:32:08.797" Title="Nikon D3500 damage while recording video" Tags="|nikon|video|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="35581" PostTypeId="1" CreationDate="2022-08-10T20:16:16.860" Score="1" ViewCount="26" Body="&lt;p&gt;I have an adjustment layer in my project:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gZkzz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gZkzz.png&quot; alt=&quot;POV adjustment layer, tan&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Which you can see has three instances in my timeline on top of the same shot type (so all will want the same colour correction to match exactly)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dx1Wo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dx1Wo.png&quot; alt=&quot;POV adjustment layer in three instances above three shots in a timeline&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And as far as I can see, when dragging the adjustment layer in to my timeline this will always have its own properties on each of these three timeline instances (i.e. I can change each adjustment layer separately like the warmth and the other instances of POV will keep their own (old) warmth values)&lt;/p&gt;&#xA;&lt;p&gt;I'm new to Premiere Pro, but I assumed that creating an adjustment layer would be smarter and each adjustment layer would maintain its changes so I can update one and see these updates automatically in my timeline - again as an example, if I update the warmth of the first POV adjustment layer, then the other two would auto update.&lt;/p&gt;&#xA;&lt;p&gt;This doesn't seem to be the case, so I'm wondering if there is a way to do this so I can change one adjustment layer and have its brother instances auto update so I can quickly and efficiently colour correct multiple shots in my timeline.&lt;/p&gt;&#xA;&lt;p&gt;The only ideas I had was:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;to embed the adjustment layer in to a sequence and reuse that sequence three times, so opening one changes the embedded layer, but PP doesn't seem to want me to drag in the sequence, and instead inserts the adjustment layer in to the timeline.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;putting the adjustment layer in to a nested sequence seems to fix this but then I have the problem of the nested layer sitting above my footage causing it to just black out any layers below it&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="39033" LastActivityDate="2022-08-10T20:16:16.860" Title="Premiere Pro - auto update adjustment layers" Tags="|premiere-pro|adjustment-layers|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35582" PostTypeId="1" CreationDate="2022-08-12T04:57:53.693" Score="0" ViewCount="233" Body="&lt;p&gt;I accidentally deleted my premiere project and after effect project including assets and auto-save folders. Permanently deleted from trash too. &#xA;Is there a way to rebuild the project files from cache or anywhere else. I have copy of the assets - just need the project files. Any help is really appreciated. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="13987" LastActivityDate="2022-08-12T18:04:47.680" Title="Lost Premiere Project" Tags="|after-effects|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35583" PostTypeId="1" AcceptedAnswerId="35591" CreationDate="2022-08-12T06:38:43.070" Score="0" ViewCount="314" Body="&lt;p&gt;I am using Raspberrypi HiQ camera to capture High Speed(120fps) videos of planets for astronomy purposes.&#xA;Using libcamera-vid I can record h264 upto 4.2 but I saw h264 has limitation of 60fps. I wouldn't mind that if I do not loose any frames(video slowed down), but on the other hand I believe that recording in h264 would result in losses? And it is necessary for my purposes that I do not loose any bit of real data. So compression is fine, but lossy is not.&lt;/p&gt;&#xA;&lt;p&gt;Libcamera-vid can also record in mjpeg, and uncompressed and unformatted YUV420. The latter is interesting to me, but unfortunately I am having trouble decoding it... I learned that ffmpeg can convert it to other formats. As far as I care it even doesn't even have to be a video, series of TIFFs, FITS, SEQ are fine for me. The software I am using is accepts a long list of video and image files, but not yuv.&lt;/p&gt;&#xA;&lt;p&gt;I tried converting and playing it but I got passing green lines of different saturation on black background... Not planet Saturn :)&#xA;I saw there are different types of yuv420, but raspi documentation does not give whole lot information on it:&#xA;&lt;a href=&quot;https://www.raspberrypi.com/documentation/accessories/camera.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.raspberrypi.com/documentation/accessories/camera.html&lt;/a&gt;&#xA;So in short what tool, or command, on linux or windows, can I use to convert this yuv420 to any losseless format from list bellow&#xA;&lt;a href=&quot;https://ibb.co/mXKwqLL&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ibb.co/mXKwqLL&lt;/a&gt;&#xA;&lt;a href=&quot;https://ibb.co/mXKwqLL&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;or I can even use h264 without fear of losing data? Any alternative is acceptable from my side I am just interested in having video/images that I can work with.&lt;/p&gt;&#xA;&lt;p&gt;Command I Used to play video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffplay test23.yuv -video_size 256x256 -f rawvideo -pixel_format yuv420p&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Command I used to record the video&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;libcamera-vid --codec yuv420 --qt-preview  --analoggain 24 --shutter 8000 --framerate 120 --frames 2500 --mode 1332:990:10:P --roi 0.1,0.1,0.5,0.5 -o /mnt/ramdisk/test23.yuv --width 256 --height 256&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here is link to video:&#xA;&lt;a href=&quot;https://drive.google.com/file/d/1guvv4x7MuJ15H_g6v9EXuImZ2Xy-lghF/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://drive.google.com/file/d/1guvv4x7MuJ15H_g6v9EXuImZ2Xy-lghF/view?usp=sharing&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="39039" LastEditorUserId="39039" LastEditDate="2022-08-12T18:14:58.193" LastActivityDate="2022-08-14T14:13:28.433" Title="YUV420 to losseless" Tags="|conversion|h.264|transcoding|huffyuv|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35587" PostTypeId="2" ParentId="35582" CreationDate="2022-08-12T18:04:47.680" Score="1" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Stop using your computer right now. Every youtube video you see, and every webpage you visit is potentially overwriting the files you deleted, corrupting them.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Look for a computer technician that knows how to use an undelete program. A deleted file or folder is not deleted right away, it is only changed the name to something from&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;NameOfTheFolder to $ameOfTheFolder&lt;/p&gt;&#xA;&lt;p&gt;so, an undelete program can potentially find those deleted files, by name, date, etc, and retrieve them, only if some other file has not written new information on the designated space for the previous file.&lt;/p&gt;&#xA;&lt;p&gt;It might be necessary to use several undelete programs because sometimes they use different methods to retrieve information.&lt;/p&gt;&#xA;&lt;p&gt;Part of the service might involve connecting the hard drive to another computer, so no normal computer process overrides more disk space.&lt;/p&gt;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;Stop using your computer right now.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2022-08-12T18:04:47.680" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35590" PostTypeId="1" CreationDate="2022-08-14T12:14:11.943" Score="0" ViewCount="22" Body="&lt;p&gt;I want to make a video audit of my pc screen (4k). The distance would be about 40cm to the centre. Can it be done with much of distortion of the geometry (I cannot place the camera at the centre obviously - this is where my head is) ? How to calculate focus lenght of the lense and other relevant parameters?&lt;/p&gt;&#xA;&lt;p&gt;Screen size is 40in and it is curved.&lt;/p&gt;&#xA;&lt;p&gt;P.S. This has to be a separate camera. Software solutions are unacceptable&lt;/p&gt;&#xA;" OwnerUserId="39062" LastEditorUserId="39062" LastEditDate="2022-08-14T18:10:42.983" LastActivityDate="2022-08-14T18:10:42.983" Title="How to calculate lenses parameters to record a pc monitor" Tags="|video-recording|4k|lenses|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35591" PostTypeId="2" ParentId="35583" CreationDate="2022-08-14T14:12:02.913" Score="0" Body="&lt;p&gt;So I finally found an answer on stackoverflow.com. Check this answer for detailed parameters explanation:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://stackoverflow.com/questions/15778774/using-ffmpeg-to-losslessly-convert-yuv-to-another-format-for-editing-in-adobe-pr#15780960&quot;&gt;https://stackoverflow.com/questions/15778774/using-ffmpeg-to-losslessly-convert-yuv-to-another-format-for-editing-in-adobe-pr#15780960&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;In short use this command to generate lossless x264&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f rawvideo -vcodec rawvideo -s 1920x1080 -r 25 -pix_fmt yuv420p -i inputfile.yuv -c:v libx264 -preset ultrafast -qp 0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;To check is it really losseless use this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -f rawvideo -vcodec rawvideo -pix_fmt yuv420p -s 1920x1080 -r 25 rawvideo.yuv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And then I do:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;diff inputfile.yuv rawvideo.yuv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If there is no output, files are the same.&lt;/p&gt;&#xA;" OwnerUserId="39039" LastEditorUserId="39039" LastEditDate="2022-08-14T14:13:28.433" LastActivityDate="2022-08-14T14:13:28.433" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35592" PostTypeId="2" ParentId="35590" CreationDate="2022-08-14T16:05:02.517" Score="1" Body="&lt;p&gt;There is too much information missing to even start to calculate this. We'd need the screen dimensions [4k doesn't tell us anything we need to know] and camera frame size too [crop factor determines focal length compensation].&lt;br /&gt;&#xA;Anyway… what if your calculation showed you would need a 30mm lens? You can't buy one of those [easily], so you'd have to use a zoom &amp;amp; set it manually… which would be the same as if you hadn't done all the calculations in the first place.&lt;/p&gt;&#xA;&lt;p&gt;Anyway, a 27&amp;quot; screen from about 40cm on a full-frame camera would need &lt;em&gt;about&lt;/em&gt; a 30mm lens [I did this by eye using as zoom lens as above]. You will still get &lt;a href=&quot;https://en.wikipedia.org/wiki/Keystone_effect&quot; rel=&quot;nofollow noreferrer&quot;&gt;keystoning&lt;/a&gt; because you're not square on, possibly some &lt;a href=&quot;https://en.wikipedia.org/wiki/Distortion_(optics)&quot; rel=&quot;nofollow noreferrer&quot;&gt;barrel distortion&lt;/a&gt; because of the short lens &amp;amp; softness to the edges unless you close the aperture down a fair way.&lt;br /&gt;&#xA;The 'trick' to flat field capture is actually to use a long lens from much further away, but this wouldn't fix your keystoning.&lt;/p&gt;&#xA;&lt;p&gt;All in all, it would be far easier to just record with something like &lt;a href=&quot;https://obsproject.com&quot; rel=&quot;nofollow noreferrer&quot;&gt;OBS&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12233" LastActivityDate="2022-08-14T16:05:02.517" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="35593" PostTypeId="2" ParentId="9406" CreationDate="2022-08-14T19:10:42.167" Score="0" Body="&lt;p&gt;Instead of&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;avconv -i input.avi -aspect 4:3 -c:a copy -c:v copy output.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I tried on ffmpeg 5.1&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i input.mp4 -aspect 16:9 -c:a copy -c:v copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It works (I tried to convert 4:3 to 16:9)&lt;/p&gt;&#xA;" OwnerUserId="39064" LastEditorUserId="39064" LastEditDate="2022-08-14T19:12:25.770" LastActivityDate="2022-08-14T19:12:25.770" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35594" PostTypeId="1" CreationDate="2022-08-15T06:12:20.957" Score="0" ViewCount="856" Body="&lt;p&gt;I have a bunch of video files, They have the correct file name but the title in the metadata is gibberish, I want to copy the file name &amp;amp; set it as the tile in the metadata.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CwoeN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CwoeN.png&quot; alt=&quot;Here is an example video file&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="39066" LastActivityDate="2023-06-22T04:31:10.673" Title="How to copy the file name to the video metadata title?" Tags="|editing|mp4|metadata|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35596" PostTypeId="2" ParentId="35594" CreationDate="2022-08-15T14:35:40.143" Score="1" Body="&lt;p&gt;For MP4/Mov files (not Mkv), you could use &lt;a href=&quot;https://exiftool.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;exiftool&lt;/a&gt; on the command line.  Your command would be along these lines&lt;br /&gt;&#xA;&lt;code&gt;exiftool &amp;quot;-Title&amp;lt;Basename&amp;quot; /path/to/files/&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This command creates backup files.  Add &lt;a href=&quot;https://exiftool.org/exiftool_pod.html#overwrite_original&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;-overwrite_original&lt;/code&gt;&lt;/a&gt; to suppress the creation of backup files.  Add &lt;a href=&quot;https://ExifTool.org/exiftool_pod.html#r-.--recurse&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;-r&lt;/code&gt;&lt;/a&gt; to recurse into subdirectories.&lt;/p&gt;&#xA;" OwnerUserId="24669" LastActivityDate="2022-08-15T14:35:40.143" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35598" PostTypeId="1" CreationDate="2022-08-16T03:26:31.720" Score="4" ViewCount="2056" Body="&lt;p&gt;I am trying to embed a thumbnail in a &lt;code&gt;.mkv&lt;/code&gt; file with &lt;code&gt;h265&lt;/code&gt; video encoding using &lt;code&gt;ffmpeg&lt;/code&gt; from the Linux command line. I am able to embed thumbnails in &lt;code&gt;h264&lt;/code&gt;-encoded &lt;code&gt;.mp4&lt;/code&gt; files using the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video-in.mp4 -i thumb.png -map 0 -map 1 -c copy -c:v:1 png -disposition:v:1 attached_pic out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, a similar command substituting &lt;code&gt;.mkv&lt;/code&gt; files does not correctly embed the thumbnail:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video-in.mkv -i thumb.png -map 0 -map 1 -c copy -c:v:1 png -disposition:v:1 attached_pic out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg&lt;/code&gt; will run just fine, throwing no warnings or errors, but the thumbnail that shows in Dolphin after it's run its course is a generic auto-generated thumbnail instead of the one I specified with &lt;code&gt;-i thumb.png&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I first learned how to do this while reading the &lt;code&gt;ffmpeg&lt;/code&gt; documentation &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Main-options&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; (a bit further down, where it explains dispositions). I noticed that it says &amp;quot;Not all muxers support embedded thumbnails, and those who do, only support a few formats, like JPEG or PNG.&amp;quot; This makes me think that maybe the matroska/mkv muxer simply doesn't support embedded thumbnails. However, further research has me confused.&lt;/p&gt;&#xA;&lt;p&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg Formats documentation&lt;/a&gt; doesn't list thumbnail(s) as an option in the metadata section of &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#matroska&quot; rel=&quot;nofollow noreferrer&quot;&gt;the matroska muxer docs&lt;/a&gt;, which further supports the theory that embedding is impossible. I figured I'd double-check that thumbnails are listed as an option for mp4s just to be sure. However, the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#mov_002c-mp4_002c-ismv&quot; rel=&quot;nofollow noreferrer&quot;&gt;mov/mp4/ismv muxer section&lt;/a&gt; doesn't even &lt;em&gt;have&lt;/em&gt; a Metadata sub-section.&lt;/p&gt;&#xA;&lt;p&gt;The &lt;a href=&quot;https://docs.fileformat.com/video/mp4/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MP4 File Format Documentation&lt;/a&gt; I've been able to find isn't very helpful. I can't tell whether thumbnail embedding is possible based on this documentation alone (though obviously I know from experience that it's possible).&lt;/p&gt;&#xA;&lt;p&gt;The &lt;a href=&quot;https://docs.fileformat.com/video/mkv/&quot; rel=&quot;nofollow noreferrer&quot;&gt;MKV Container Documentation&lt;/a&gt; is a lot more thorough, though, and it says in the first section &lt;a href=&quot;https://docs.fileformat.com/video/mkv/#what-is-an-mkv-file&quot; rel=&quot;nofollow noreferrer&quot;&gt;(&amp;quot;What is an MKV File?&amp;quot;)&lt;/a&gt; that &amp;quot;MKV also supports descriptions, ratings, &lt;em&gt;&lt;strong&gt;cover art&lt;/strong&gt;&lt;/em&gt;, and even chapter points&amp;quot; (emphasis mine). In the &lt;a href=&quot;https://docs.fileformat.com/video/mkv/#matroska-structure&quot; rel=&quot;nofollow noreferrer&quot;&gt;&amp;quot;Matroska Structure&amp;quot;&lt;/a&gt; section it also lists &amp;quot;Attachments&amp;quot; as one of the top-level elements of the container structure. All of this leads me to believe that embedded thumbnails &lt;em&gt;are in fact&lt;/em&gt; possible with .mkv files.&lt;/p&gt;&#xA;&lt;p&gt;So, to summarize: on the one hand, &lt;code&gt;ffmpeg&lt;/code&gt;'s documentation makes me think I can't embed thumbnails in &lt;code&gt;.mkv&lt;/code&gt; files. But the MKV file format documentation makes me think I &lt;em&gt;should&lt;/em&gt; be able to. I haven't been able to figure out for sure either way, though, and even if it is possible, the method for doing so differs from the method I use for &lt;code&gt;.mp4&lt;/code&gt; files.&lt;/p&gt;&#xA;&lt;p&gt;Is it possible to embed thumbnails in &lt;code&gt;.mkv&lt;/code&gt; files? If so, how would I do it (preferably using &lt;code&gt;ffmpeg&lt;/code&gt; on Linux)?&lt;/p&gt;&#xA;" OwnerUserId="39079" LastActivityDate="2022-12-23T12:08:05.997" Title="Is it possible to embed a thumbnail in a .mkv file?" Tags="|ffmpeg|linux|mkv|thumbnails|embedding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35605" PostTypeId="1" CreationDate="2022-08-17T00:17:17.077" Score="0" ViewCount="65" Body="&lt;p&gt;I am using FFMPEG-Kit for iOS BUT this issue applies to all releases of FFMPEG-Kit... within my command I run &lt;code&gt;[1:v]format=argb,geq=r='r(X,Y)':a='0.5*alpha(X,Y)'[withOpacitySet]&lt;/code&gt; but it does not work, if I run the command without that it runs fine...&lt;/p&gt;&#xA;&lt;p&gt;Is it the commas? The quotation marks?&lt;/p&gt;&#xA;" OwnerUserId="39090" LastEditorUserId="14523" LastEditDate="2022-08-17T00:47:12.850" LastActivityDate="2022-08-17T00:47:12.850" Title="Run FFMPEG-Kit command with commas and single quotes" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35606" PostTypeId="1" CreationDate="2022-08-17T09:10:29.090" Score="0" ViewCount="113" Body="&lt;p&gt;I would like to put a png file as a background to an h264 encoded mp4 video. I am just trying to replace the video's white background with a specific png background. They are both of the same size.&lt;/p&gt;&#xA;&lt;p&gt;Can this be done using ffmpeg?&lt;/p&gt;&#xA;&lt;p&gt;I have looked into using ffmpeg -filter_complex overlay but the background ended up covering the whole video. This is the command I tried:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -loop 1 -i background.png -i video.mp4 -filter_complex 'overlay=10:main_h-overlay_h-10:shortest=1’ output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="39093" LastEditorUserId="14523" LastEditDate="2022-08-18T18:26:53.933" LastActivityDate="2022-08-18T18:26:53.933" Title="Putting a png background on h264 encoded mp4 video using ffmpeg" Tags="|ffmpeg|video|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35608" PostTypeId="1" CreationDate="2022-08-17T19:52:22.453" Score="0" ViewCount="209" Body="&lt;p&gt;I do time lapses. In the attached image, notice each image has slightly different shades but are otherwise consistent. This is an artifact of a mechanical shutter.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LLzeD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LLzeD.png&quot; alt=&quot;Collection of slightly off image thumbnails&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'd like to take a single pixel in the images that will not change color and use this as the baseline. Then apply a mask to the rest of the images in the sequence to make them match the baseline image.&lt;/p&gt;&#xA;&lt;p&gt;I imagine the code would look something like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;baseline_color = `convert baseline.png -format '#%[hex:u.p{75,20}]' info:-`&#xA;&#xA;for i in images/&#xA;do&#xA;    #get the color of the same pixel in another image&#xA;    new_color = `convert $i -format '#%[hex:u.p{75,20}]' info:-`&#xA;&#xA;    #get the difference betwen the two colors&#xA;    diff = baseline_color - new_color&#xA;&#xA;    #apply filter to make image color consistent with baseline&#xA;    ffmpeg -i $i -vf &amp;quot;filter=...&amp;quot; $i_filtered.png&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any thoughts on how to best accomplish this?&lt;/p&gt;&#xA;" OwnerUserId="39103" LastActivityDate="2022-08-17T19:52:22.453" Title="Applying dynamic mask across all images to make uniform with baseline" Tags="|ffmpeg|filter|time-lapse|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35609" PostTypeId="1" CreationDate="2022-08-18T13:16:34.680" Score="1" ViewCount="208" Body="&lt;p&gt;I have a long clip that I've cut down and now I am making changes in fusion. The timeline starts at the specific frame I cut it from (from my example, frames 984-1119). I Want the timeline to start at 0 frames instead of 984 for this specific clip so that my animated presets can easily work on it.&lt;/p&gt;&#xA;&lt;p&gt;I want fusion to act as if the clip I cut is its own independent clip so that the timeline could start from 0.&lt;/p&gt;&#xA;&lt;p&gt;Is this possible? Or is there an alternative way to get the same result?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/I7nXv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/I7nXv.png&quot; alt=&quot;Picture of my timeline in fusion.&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="39028" LastActivityDate="2022-08-18T13:16:34.680" Title="Change Davinci Resolve Fusion timeline to 0" Tags="|davinci-resolve|timecode|fusion|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35610" PostTypeId="1" AcceptedAnswerId="35647" CreationDate="2022-08-18T18:06:24.257" Score="1" ViewCount="2935" Body="&lt;p&gt;I have MKV files which contain multiple subtitle options, multiple audio options, and multiple chapters.&lt;/p&gt;&#xA;&lt;p&gt;I'm wanting to convert to MP4. The MKV's are x265 with DD 5.1. I just want x264 MP4's with plain stereo, no subs and the default audio.&lt;/p&gt;&#xA;&lt;p&gt;All I can find is solutions for converting with hardcoded subs or specific audio tracks. I need all of that stripped away, and more importantly, x265 to x264.&lt;/p&gt;&#xA;" OwnerUserId="39112" LastActivityDate="2022-08-29T11:31:51.370" Title="Using FFMPEG to convert an MKV with multiple subtitles, audio tracks and chapters to a plain mp4" Tags="|ffmpeg|mp4|conversion|mkv|x264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35611" PostTypeId="2" ParentId="34092" CreationDate="2022-08-18T21:37:16.363" Score="2" Body="&lt;p&gt;I've been on a 5 week holiday and have had this exact same problem. It has taken me a long time to figure all this out, but I think I've nailed it.&lt;/p&gt;&#xA;&lt;p&gt;My source was a PAL VHS recorded to HUFFYUV avi. recording top and bottom fields in a frame. i.e. 25p.. 50 fields per second&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffprobe.exe &amp;quot;my input video.avi&amp;quot;&lt;/code&gt; returns&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, avi, from 'nov 81 084.avi':&#xA;  Duration: 00:00:13.44, start: 0.000000, bitrate: 77673 kb/s&#xA;  Stream #0:0: Video: huffyuv (HFYU / 0x55594648), yuv422p, 720x576, 76993 kb/s, 25 fps, 25 tbr, 25 tbn&#xA;  Stream #0:1: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 48000 Hz, 1 channels, s16, 768 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Input is a video marked as progressive, containing two fields.&#xA;If VLC is told to deinterlace the video, it does so successfully, the issue is that VLC does not do it by &lt;strong&gt;default&lt;/strong&gt; .&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;┌----------┐----------┐----------┐&#xA;| Frame 1  | Frame 2  | Frame 3  |&#xA;| 0.00 sec | 0.04 sec | 0.08 sec |&#xA;├----------┼----------┼----------┤&#xA;| 111      | 333      | 555      |&#xA;| 222      | 444      | 666      |&#xA;| 111      | 333      | 555      |&#xA;| 222      | 444      | 666      |&#xA;└----------┴----------┴----------┘&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Numbers meaning in table above:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;111 is field recorded at 0.00 sec&lt;/li&gt;&#xA;&lt;li&gt;222 is field recorded at 0.02 sec&lt;/li&gt;&#xA;&lt;li&gt;333 is field recorded at 0.04 sec&lt;/li&gt;&#xA;&lt;li&gt;444 is field recorded at 0.06 sec&lt;/li&gt;&#xA;&lt;li&gt;555 is field recorded at 0.08 sec&lt;/li&gt;&#xA;&lt;li&gt;666 is field recorded at 0.10 sec&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Background reading:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg.html&lt;/a&gt; for &lt;code&gt;x264 x265&lt;/code&gt; options&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html&lt;/a&gt; for all the &lt;code&gt;-vf&lt;/code&gt; options&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://x265.readthedocs.io/en/master/cli.html#input-output-file-options&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://x265.readthedocs.io/en/master/cli.html#input-output-file-options&lt;/a&gt; for x265 encoder options&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-codecs.html#libx264_002c-libx264rgb&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-codecs.html#libx264_002c-libx264rgb&lt;/a&gt; for x264 encoder options&lt;/p&gt;&#xA;&lt;p&gt;I believe the *&lt;em&gt;correct&lt;/em&gt; answer, creating an 480i file is my &lt;code&gt;Option 1.&lt;/code&gt; and &lt;code&gt;Option 2.&lt;/code&gt; below.&lt;/p&gt;&#xA;&lt;p&gt;The OP &lt;strong&gt;Output 1&lt;/strong&gt; is created from my &lt;code&gt;Option 3.&lt;/code&gt; and &lt;code&gt;Option 4.&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;The OP &lt;strong&gt;Output 2&lt;/strong&gt; is created from my &lt;code&gt;Option 3.&lt;/code&gt; and &lt;code&gt;Option 4.&lt;/code&gt; using &lt;code&gt;-vf field_order bb&lt;/code&gt; directly after the &lt;code&gt;-i input.avi&lt;/code&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;x264 interlaced 25i (50 fields per second) visually lossless&lt;/li&gt;&#xA;&lt;li&gt;x265 interlaced 25i (50 fields per second) visually lossless&lt;/li&gt;&#xA;&lt;li&gt;x264 progressive 50p (50 frames per second) YUV420 - for modern tvs - chromecast 2/3&lt;/li&gt;&#xA;&lt;li&gt;x265 progressive 50p (50 frames per second) YUV420 - for chromecast ultra / google tv&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;h2&gt;Option 1.&lt;/h2&gt;&#xA;&lt;p&gt;The meta data on the output says it is interlaced top field first, so VLC will correctly deinterlace it on playback. I believe this is the best format to store the video, because it is staying true to the source, with no interpolation (which might improve in 10 years time).&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;┌---------------------┐---------------------┐---------------------┐&#xA;|       Frame 1       |       Frame 1       |       Frame 1       |&#xA;| Field 1  | Field 2  | Field 1  | Field 2  | Field 1  | Field 2  |&#xA;| 0.00 sec | 0.02 sec | 0.04 sec | 0.06 sec | 0.08 sec | 0.10 sec |&#xA;├----------┼----------┼----------┼----------┼----------┼----------┤&#xA;| 111      | ---      | 333      | ---      | 555      | ---      |&#xA;| ---      | 222      | ---      | 444      | ---      | 666      |&#xA;| 111      | ---      | 333      | ---      | 555      | ---      |&#xA;| ---      | 222      | ---      | 444      | ---      | 666      |&#xA;└----------┴----------┴----------┴----------┴----------┴----------┘&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i &amp;quot;my input video.avi&amp;quot; -field_order tt &#xA;  -c:v libx264 -crf 18 -preset veryslow -x264opts tff=1 -weightp none &#xA;  -c:a aac -b:a 128k &#xA;  &amp;quot;my output video.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Play around with &lt;code&gt;-field_order tt&lt;/code&gt; &lt;a href=&quot;https://ffmpeg.org/ffmpeg-codecs.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-codecs.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;field_order field_order (video)&#xA;&#xA;    Set/override the field order of the video. Possible values:&#xA;&#xA;    ‘progressive’&#xA;        Progressive video &#xA;&#xA;    ‘tt’&#xA;        Interlaced video, top field coded and displayed first &#xA;&#xA;    ‘bb’&#xA;        Interlaced video, bottom field coded and displayed first &#xA;&#xA;    ‘tb’&#xA;        Interlaced video, top coded first, bottom displayed first &#xA;&#xA;    ‘bt’&#xA;        Interlaced video, bottom coded first, top displayed first &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Results in the following file, my hint I got it right was &lt;code&gt;top first&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'my output video.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf59.16.100&#xA;  Duration: 00:15:55.16, start: 0.000000, bitrate: 13099 kb/s&#xA;  Stream #0:0[0x1](und): Video: h264 (High 4:2:2) (avc1 / 0x31637661), yuv422p(top first), 720x576, 12964 kb/s, 25 fps, 25 tbr, 12800 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #0:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h2&gt;Option 2.&lt;/h2&gt;&#xA;&lt;p&gt;Has all the same characteristics as &lt;code&gt;Option 1.&lt;/code&gt; but it is h265 so results in smaller files. When running ffmpeg, it will give you a warning &lt;code&gt;x265 [warning]: Support for interlaced video is experimental&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have found the experiment to be very successful, the VMAF (below) suggests the content is visually identical.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i &amp;quot;my input video.avi&amp;quot; -field_order tt &#xA;  -c:v libx265 -x265-params interlace=tff -crf 23 -preset veryslow&#xA;  -c:a aac -b:a 128k &#xA;  &amp;quot;my output video.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Results in the following file, my hint was the (tv, top first), Meaning the &lt;code&gt;tv&lt;/code&gt; is the colour space (16-240) instead of &lt;code&gt;pc&lt;/code&gt; 0-255&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '01 nov 81 060 -field_order tt x265-ttf crf23 win64.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2mp41&#xA;    encoder         : Lavf59.16.100&#xA;  Duration: 00:15:55.16, start: 0.000000, bitrate: 5502 kb/s&#xA;  Stream #0:0[0x1](und): Video: hevc (Rext) (hev1 / 0x31766568), yuv422p(tv, top first), 720x576, 5368 kb/s, 25 fps, 25 tbr, 12800 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #0:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h2&gt;Option 3.&lt;/h2&gt;&#xA;&lt;pre&gt;&lt;code&gt;┌----------┐----------┐----------┐----------┐----------┐----------┐&#xA;| Frame 1  | Frame 2  | Frame 3  | Frame 4  | Frame 5  | Frame 6  |&#xA;| 0.00 sec | 0.02 sec | 0.04 sec | 0.06 sec | 0.08 sec | 0.10 sec |&#xA;├----------┼----------┼----------┼----------┼----------┼----------┤&#xA;| 111      | 2**      | 333      | 4**      | 555      | 6**      |&#xA;| 1**      | 222      | 3**      | 444      | 5**      | 666      |&#xA;| 111      | 2**      | 333      | 4**      | 555      | 6**      |&#xA;| 1**      | 222      | 3**      | 444      | 5**      | 666      |&#xA;└----------┴----------┴----------┴----------┴----------┴----------┘&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The video is encoded as progressive, doubling the frame rate, now at 50p.&#xA;1** Interpolate the missing fields. Doubler. &lt;a href=&quot;https://wiki.videolan.org/Deinterlacing/#Doublers&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://wiki.videolan.org/Deinterlacing/#Doublers&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe  -i &amp;quot;my input video.avi&amp;quot; -vf format=yuv420p,yadif=mode=send_field &#xA;  -c:v libx264 -crf 18 -preset veryslow &#xA;  -c:a aac -b:a 128k&#xA;  &amp;quot;my output video.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Results in a progressive file for 50 frames per second from the yadif 2x.&lt;/p&gt;&#xA;&lt;p&gt;If you find that it looks crap, because it is bottom field first, experiement with addind &lt;code&gt;-field_order xx&lt;/code&gt; after the &lt;code&gt;-i filename.avi&lt;/code&gt; part&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'my output video.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf59.16.100&#xA;  Duration: 00:00:13.52, start: 0.000000, bitrate: 6658 kb/s&#xA;  Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(progressive), 720x576, 6521 kb/s, 50 fps, 50 tbr, 12800 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #0:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h2&gt;Option 4.&lt;/h2&gt;&#xA;&lt;p&gt;Has all the same characteristics as &lt;code&gt;Option 3.&lt;/code&gt; but it is h265 so results in smaller files. When running ffmpeg, it will give you a warning &lt;code&gt;x265 [warning]: Support for interlaced video is experimental&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have found the experiment to be very successful, the VMAF (below) suggests the content is visually identical.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i &amp;quot;my input video.avi&amp;quot; -vf format=yuv420p,yadif=mode=send_field&#xA;  -c:v libx265 -crf 23 -preset veryslow &#xA;  -c:a aac -b:a 128k&#xA;  &amp;quot;my output video.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Results in a progressive file for 50 frames per second from yadif 2x&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '01 nov 81 084 yadif x2 x265 crf23.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2mp41&#xA;    encoder         : Lavf59.16.100&#xA;  Duration: 00:00:13.52, start: 0.000000, bitrate: 3806 kb/s&#xA;  Stream #0:0[0x1](und): Video: hevc (Rext) (hev1 / 0x31766568), yuv420p(tv, progressive), 720x576, 3667 kb/s, 50 fps, 50 tbr, 12800 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #0:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h2&gt;Objective quality analysis of output&lt;/h2&gt;&#xA;&lt;p&gt;Compare how visually lossy your chosen &lt;code&gt;-crf&lt;/code&gt; number was:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;my output video.mp4&amp;quot; -i &amp;quot;my input video.avi&amp;quot; -lavfi libvmaf=log_path=output.xml -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I got around 97-96% with my 720x576. However I read that &lt;code&gt;-lavfi&lt;/code&gt; thing does its best work at 1080p. &lt;a href=&quot;https://github.com/Netflix/vmaf/blob/master/resource/doc/faq.md&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/Netflix/vmaf/blob/master/resource/doc/faq.md&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So scaling both videos to get a true value from &lt;code&gt;Option 1.&lt;/code&gt; and &lt;code&gt;Option 2.&lt;/code&gt; never got above 88.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i &amp;quot;my output video.mp4&amp;quot; -i &amp;quot;my input video.avi&amp;quot; -filter_complex &amp;quot;[0:v]yadif=1:0:0,scale=1920x1080:flags=bicubic[main];[1:v]yadif=1:0:0,scale=1920x1080:flags=bicubic[ref];[main][ref]libvmaf&amp;quot; -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;yadif=1:0:0&lt;/code&gt; means to go to 50fps &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#yadif-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#yadif-1&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;For &lt;code&gt;Option 3.&lt;/code&gt; and &lt;code&gt;Option 4.&lt;/code&gt; the yadif filter isn't required.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -i &amp;quot;my output video.mp4&amp;quot; -i &amp;quot;my input video.avi&amp;quot; -filter_complex &amp;quot;[0:v]scale=1920x1080:flags=bicubic[main];[1:v]scale=1920x1080:flags=bicubic[ref];[main][ref]libvmaf&amp;quot; -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="39113" LastEditorUserId="39113" LastEditDate="2022-08-19T18:59:00.967" LastActivityDate="2022-08-19T18:59:00.967" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35614" PostTypeId="1" AcceptedAnswerId="35615" CreationDate="2022-08-19T19:55:00.123" Score="0" ViewCount="8" Body="&lt;p&gt;So I have an animated background, I use slide to bring something into view, its not taking up the entire screen, just an image sliding in and back out again on one side of the screen, when the slide animation is happening the background (a mov file) become brighter, then goes darker again once the slide in is finished.&lt;/p&gt;&#xA;&lt;p&gt;I tries converting a mov file to a mp4 and put that in instead and the lightning of the background didn't happen when I slid in the sane png file (though the converted file appears to be permanently a little lighter, animation or not which I'm not sure why at the moment but I'll stick with that and just make it darker again to suit.&lt;/p&gt;&#xA;&lt;p&gt;Anyone else ever experienced this or know why it is?&lt;/p&gt;&#xA;" OwnerUserId="19913" LastActivityDate="2022-08-19T20:05:39.470" Title="Transition to bring overlay into view is making mov background go lighter but not mp4" Tags="|fcpx|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35615" PostTypeId="2" ParentId="35614" CreationDate="2022-08-19T20:05:39.470" Score="0" Body="&lt;p&gt;I think I know the answer, the main difference between the file types is that the mov file actually had its opacity reduced below 100% and that seems to be a factor, TIL...&lt;/p&gt;&#xA;" OwnerUserId="19913" LastActivityDate="2022-08-19T20:05:39.470" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35616" PostTypeId="1" CreationDate="2022-08-20T01:51:08.343" Score="0" ViewCount="4540" Body="&lt;p&gt;Certain video conferencing apps mirror the input so it needs to be flipped when coming out of OBS or it will show backwards.&lt;/p&gt;&#xA;&lt;p&gt;So far I have been achieving this by flipping each input source individually in my scenes. This is extremely tedious especially since I go back and forth between apps that need my virtual cam flipped or not.&lt;/p&gt;&#xA;&lt;p&gt;Instead of flipping every source individually it would make sense to just have an option to flip the virtual camera. I don't seem to see any settings for this (mac), but I have seen youtube videos of folks on PCs that seem to have this option (image below) to flip the entire virtual camera. Thier settings are under tools &amp;gt; virtual cam or something like this.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rQT6r.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rQT6r.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm not sure if they have some kind of plugin that I don't or what's up. Is there a way to do this?&lt;/p&gt;&#xA;" OwnerUserId="5949" LastActivityDate="2024-03-21T06:06:50.830" Title="how do I flip (horizontal) the entire virtual camera?" Tags="|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35620" PostTypeId="1" CreationDate="2022-08-23T21:38:22.583" Score="0" ViewCount="490" Body="&lt;p&gt;Is there any way to remove &amp;amp; replace black frames from a video without losing video quality? There are like just 3-4 frames to be removed.&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/23589/replace-black-frames-with-previous-frames#new-answer&quot;&gt;I tried this method, but the result was nt that great and the video was heavily compressed&lt;/a&gt;&#xA;This is 2022 and thought may be there any better ways to do it now. :)&lt;/p&gt;&#xA;" OwnerUserId="39152" LastEditorUserId="39152" LastEditDate="2022-08-23T21:40:07.713" LastActivityDate="2022-08-23T21:40:07.713" Title="Remove black frames from a videos" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35621" PostTypeId="1" CreationDate="2022-08-24T13:39:12.870" Score="0" ViewCount="153" Body="&lt;p&gt;I want to select this frame right here, can I do it?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/n1bZE.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/n1bZE.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This happens all the time where I have two clips together and I have a transition in between them. Now I want to tighten up the transition by removing some frames from the clips on either side. Here is what I do:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Delete the transition.&lt;/li&gt;&#xA;&lt;li&gt;Select the clip on the right (or the left).&lt;/li&gt;&#xA;&lt;li&gt;Click again to get the first frame.&lt;/li&gt;&#xA;&lt;li&gt;Use the &lt;kbd&gt;,&lt;/kbd&gt; and &lt;kbd&gt;.&lt;/kbd&gt; keys to nudge/extend that edge of that clip.&lt;/li&gt;&#xA;&lt;li&gt;Reconfigure and re-add the transition.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Getting this right can require repeating this process maybe 5 or 10 times.&lt;/p&gt;&#xA;" OwnerUserId="16363" LastActivityDate="2022-10-21T08:04:28.523" Title="How to select the first frame of a clip?" Tags="|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35622" PostTypeId="1" CreationDate="2022-08-24T14:14:32.703" Score="0" ViewCount="114" Body="&lt;p&gt;I have a 329MB MP3 file and a 200K JPEG image, which I'd like to combine into an MP4 file which simply plays the MP3 with the image in the background.&lt;/p&gt;&#xA;&lt;p&gt;The way I go about it today is by using FFMPEG with the following command:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -loop 1 -i &amp;quot;$image&amp;quot; -i &amp;quot;$audio&amp;quot; -c:a copy -c:v libx264 -shortest output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This, however, generates a 818MB MP4 file - Taking a long time to encode, network bandwidth to upload later on, etc.&lt;/p&gt;&#xA;&lt;p&gt;What's a more efficient way of creating the file, so the output is also of a smaller size? Surely there must be a way to get a video file which doesn't need to inflate the overall size by that much?&lt;/p&gt;&#xA;" OwnerUserId="39155" LastActivityDate="2024-01-17T15:09:11.103" Title="How to efficiently create a video from an mp3 and a single jpeg using ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35623" PostTypeId="2" ParentId="32135" CreationDate="2022-08-24T17:44:46.763" Score="0" Body="&lt;p&gt;I met this issue when I'm developing a player. And I checked codes in &lt;a href=&quot;https://github.com/Aegisub/Aegisub/blob/master/src/auto4_base.cpp&quot; rel=&quot;nofollow noreferrer&quot;&gt;Aegisub&lt;/a&gt; (line:159). I saw there is a scale from calculated size to real size. I think this is to keep the rendered text height being same with set fontSize. Maybe there's a spec that says something about this.&lt;/p&gt;&#xA;" OwnerUserId="39159" LastActivityDate="2022-08-24T17:44:46.763" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35625" PostTypeId="1" CreationDate="2022-08-25T07:24:07.840" Score="1" ViewCount="11485" Body="&lt;p&gt;Adding all &lt;code&gt;mp4&lt;/code&gt; file in the directory with FFMPEG .&lt;/p&gt;&#xA;&lt;p&gt;my usual command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i &amp;lt;(for f in ./*.mp4; do echo &amp;quot;file '$PWD/$f'&amp;quot;; done) -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This shows below problem sometimes.&lt;/p&gt;&#xA;&lt;p&gt;Now what do i need to do to resolve this problem?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[mp4 @ 0x556a367c4200] Non-monotonous DTS in output stream 0:0; previous: 26783482, current: 16149020; changing to 26783483. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x556a367c4200] Non-monotonous DTS in output stream 0:0; previous: 26783483, current: 16150020; changing to 26783484. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x556a367c4200] Non-monotonous DTS in output stream 0:0; previous: 26783484, current: 16151020; changing to 26783485. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x556a367c4200] Non-monotonous DTS in output stream 0:0; previous: 26783485, current: 16152020; changing to 26783486. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x556a367c4200] Non-monotonous DTS in output stream 0:0; previous: 26783486, current: 16153020; changing to 26783487. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x556a367c4200] Non-monotonous DTS in output stream 0:0; previous: 26783487, current: 16154020; changing to 26783488. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x556a367c4200] Non-monotonous DTS in output stream 0:0; previous: 26783488, current: 16155020; changing to 26783489. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x556a367c4200] Non-monotonous DTS in output stream 0:0; previous: 26783489, current: 16156020; changing to 26783490. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x556a367c4200] Non-monotonous DTS in output stream 0:0; previous: 26783490, current: 16157020; changing to 26783491. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x556a367c4200] Non-monotonous DTS in output stream 0:0; previous: 26783491, current: 16158020; changing to 26783492. This may result in incorrect timestamps in the output file.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have tried Multiple solutions:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -safe 0 -f concat -segment_time_metadata 1 -i &amp;lt;(for f in ./*.mp4; do echo &amp;quot;file '$PWD/$f'&amp;quot;; done) -vf select=concatdec_select -af aselect=concatdec_select,aresample=async=1 -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -use_wallclock_as_timestamps 1 -i &amp;lt;(for f in ./*.mp4; do echo &amp;quot;file '$PWD/$f'&amp;quot;; done) -acodec copy -vcodec copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -err_detect ignore_err -safe 0 -i &amp;lt;(for f in ./*.mp4; do echo &amp;quot;file '$PWD/$f'&amp;quot;; done) -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i &amp;lt;(for f in ./*.mp4; do echo &amp;quot;file '$PWD/$f'&amp;quot;; done) -filter_complex &amp;quot;[0:v] [0:a] [1:v] [1:a] [2:v] [2:a] concat=n=3:v=1:a=1 [vv] [aa]&amp;quot; -map &amp;quot;[vv]&amp;quot; -map &amp;quot;[aa]&amp;quot; -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have tried from&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://stackoverflow.com/questions/57167127/non-monotonous-dts-in-output-stream-00-this-may-result-in-incorrect-timestamps&quot;&gt;https://stackoverflow.com/questions/57167127/non-monotonous-dts-in-output-stream-00-this-may-result-in-incorrect-timestamps&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://stackoverflow.com/questions/53021266/non-monotonous-dts-in-output-stream-previous-current-changing-to-this-may-result&quot;&gt;https://stackoverflow.com/questions/53021266/non-monotonous-dts-in-output-stream-previous-current-changing-to-this-may-result&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;But none of their solutions worked for me.&lt;/p&gt;&#xA;" OwnerUserId="39162" LastActivityDate="2024-03-11T12:06:50.837" Title="&quot;Non-monotonous DTS in output stream 0:0 This may result in incorrect timestamps in the output file.&quot; error" Tags="|ffmpeg|video|mp4|concatenation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35627" PostTypeId="1" CreationDate="2022-08-25T11:43:51.463" Score="0" ViewCount="72" Body="&lt;p&gt;I'm trying to make the next effect in AE:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/MPMzq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MPMzq.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Take the 1st string of guitar and 'broke it', transforming line into a spiral, like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NBSDR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NBSDR.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;What is the fastest and optimal way to do this? Thanks!&lt;/p&gt;&#xA;" OwnerUserId="39166" LastActivityDate="2023-06-02T12:04:35.587" Title="Roll up line in After Effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35628" PostTypeId="2" ParentId="35622" CreationDate="2022-08-25T13:19:21.017" Score="0" Body="&lt;p&gt;The best I could find was adding the &lt;code&gt;-r 1&lt;/code&gt; parameter, to indicate a lower frame rate. This helped quite a bit, though the output file size is still larger than I'd have expected it to be.&lt;/p&gt;&#xA;" OwnerUserId="39155" LastActivityDate="2022-08-25T13:19:21.017" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35631" PostTypeId="1" AcceptedAnswerId="35632" CreationDate="2022-08-26T02:35:04.207" Score="0" ViewCount="1262" Body="&lt;p&gt;My colleague made a really nice video to hype my record release. The file he exported is a 1.3GB MOV file, and appears to use the Apple ProRes codec in a quicktime container (I have no idea what this means). My goal is to post this video on instagram, which refuses to let me select it with a desktop browser.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NT1lB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NT1lB.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If I visit instagram in my desktop browser (ubuntu using latest firefox), I can browse for the video, I can choose it, but when I click OK, instagram simply ignores the video I've chosen, and the prompt to choose a video just stays the same.&lt;/p&gt;&#xA;&lt;p&gt;I have tried uploading this video using the instagram app using my phone. Sadly, I can't seem to get the video into my Photos app. When I download to my phone using the WeTransfer link he sent me, it ends up in the Files folder and, curiously, i when i try to play it there, i can hear the audio but not see the video. I tried to share the video from Files and chose instagram. This seems to sort of work, but the file upload never seems to complete, and this approach completely fails to make use of my high speed internet connection, averaging a paltry 3.5 Mbit/second or so.&lt;/p&gt;&#xA;&lt;p&gt;According to &lt;a href=&quot;https://www.adobe.com/creativecloud/video/hub/ideas/best-instagram-video-format&quot; rel=&quot;nofollow noreferrer&quot;&gt;this adobe page&lt;/a&gt;, one should use these parameters if you want to get the video into instagram:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;mp4 format&lt;/li&gt;&#xA;&lt;li&gt;AAC audio&lt;/li&gt;&#xA;&lt;li&gt;3500 kbps bitrate&lt;/li&gt;&#xA;&lt;li&gt;30 fps (frames per second)&lt;/li&gt;&#xA;&lt;li&gt;Maximum of 60 seconds long&lt;/li&gt;&#xA;&lt;li&gt;1080 pixels wide (max)&lt;/li&gt;&#xA;&lt;li&gt;1920 pixels tall&lt;/li&gt;&#xA;&lt;li&gt;H.264 codec&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;The problem seems to be a combination of instagram hating my video format and the file being too large to upload in a reasonable time frame. I'd like to try and convert it using FFMPEG on this ubuntu workstation to the parameters above. I know it's a bit long, but I'd like to try a straight conversion without cropping the ends first.&lt;/p&gt;&#xA;&lt;p&gt;Can anyone help me cook up the right command? Seems like we need to change the codec to h.264, change the audio from pcm to AAC, and set the 3500 kbps bitrate. Any help would be MUCH appreciated.&lt;/p&gt;&#xA;&lt;p&gt;EDIT: I've been searching for a suitable ffmpeg command and one i found &lt;a href=&quot;https://superuser.com/questions/1155186/convert-mov-video-to-mp4-with-ffmpeg&quot;&gt;here&lt;/a&gt; seems pretty close:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i {in-video}.mov -vcodec h264 -acodec aac {out-video}.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm not at all sure that will do the trick but it does appear to be converting to h.264 and audio to AAC. However, the output from the command looks like the bitrate, 4577kbps, is too high.&lt;/p&gt;&#xA;" OwnerUserId="34858" LastEditorUserId="34858" LastEditDate="2022-08-26T02:53:28.227" LastActivityDate="2022-08-26T04:31:41.867" Title="How to convert ProRes/Quicktime MOV to instagram-friendly with ffmpeg so I can post it on IG" Tags="|ffmpeg|quicktime|prores|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35632" PostTypeId="2" ParentId="35631" CreationDate="2022-08-26T04:31:41.867" Score="1" Body="&lt;p&gt;For a web-compatible encode, you will need the video stream to have a &lt;code&gt;yuv420p&lt;/code&gt; pixel format. ProRes, as a editing codec, uses different pixel formats.&lt;/p&gt;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mov -pix_fmt yuv420p -c:v libx264 -b:v 3500k -c:a aac -movflags +faststart out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The input framerate should already be between 25-30, as exported by your friend, as well the resolution. Bitrate values for streaming services are typically recommendations, not a requirement.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-08-26T04:31:41.867" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35637" PostTypeId="2" ParentId="30090" CreationDate="2022-08-27T18:08:47.840" Score="-1" Body="&lt;p&gt;The button is used to show, in the main window, the original top video in the source, and the selected video. It ignores your current camera selection if off, or shows your current camera selection when on.&lt;/p&gt;&#xA;&lt;p&gt;The problem is that when you select a new camera, it automatically goes on. Thats the confusion :)&lt;/p&gt;&#xA;" OwnerUserId="39181" LastActivityDate="2022-08-27T18:08:47.840" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35639" PostTypeId="1" CreationDate="2022-08-28T00:46:54.423" Score="1" ViewCount="17" Body="&lt;p&gt;I plan to do some stop motion animation and would like to shooot in twos - basically shooting at 12fps and duplicating every frame.  I can do this with the camera, but was wondering if there isn't some way to do it with ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="39182" LastActivityDate="2022-08-28T00:46:54.423" Title="Duplicating every frame with ffmeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35640" PostTypeId="1" AcceptedAnswerId="35652" CreationDate="2022-08-28T16:17:15.110" Score="0" ViewCount="391" Body="&lt;p&gt;I have the recordings from 4 cameras. The recordings were broken into smaller files, something the cameras do by themselves, but the cameras were also turned on and off. I don't know when the boundaries between two consecutive clips is the automatic file cut or a camera on/off.&lt;/p&gt;&#xA;&lt;p&gt;I want to do a pass watching all the footage on all the angles in multicam mode, to learn what's on each camera and start editing this. The problem that I'm having is that Adobe Premiere Pro doesn't seem to be able to synchronize clips when I select more than one clip per track.&lt;/p&gt;&#xA;&lt;p&gt;This might help. I'm trying to synchronize this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/jrJFB.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jrJFB.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;and yes, there might be gaps, when a camera was turned off for a bit and turned back on again. That's ok.&lt;/p&gt;&#xA;&lt;p&gt;I can only synchronize this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4JvU7.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4JvU7.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19382" LastActivityDate="2023-02-21T06:06:18.847" Title="Is it possible to sync clips in Adobe Premiere Pro when there are more than one clip per track?" Tags="|premiere|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35641" PostTypeId="1" AcceptedAnswerId="35651" CreationDate="2022-08-28T16:27:41.127" Score="0" ViewCount="16" Body="&lt;p&gt;In Premiere Pro, is it possible to choose which clips move and which is the one that stays put when synchronizing them?&lt;/p&gt;&#xA;&lt;p&gt;The audio seems to be moved to match one of the videos, and I need the audio to stay put.&lt;/p&gt;&#xA;" OwnerUserId="19382" LastActivityDate="2022-08-31T04:35:46.317" Title="Chose what to move and what not to move when synchronizing clips" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35642" PostTypeId="1" CreationDate="2022-08-29T02:43:40.283" Score="1" ViewCount="18" Body="&lt;p&gt;I'm producing a slide show on my new MacBook Air but my song is too short.  Is there a way to lengthen my 2-minute song to maybe 3+ minutes without making it sound edited?&lt;/p&gt;&#xA;" OwnerUserId="39190" LastActivityDate="2022-08-29T08:55:28.007" Title="Lengthening a song when producing a slide show on my new MacBook Air" Tags="|editing|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35643" PostTypeId="1" CreationDate="2022-08-29T06:17:00.860" Score="0" ViewCount="69" Body="&lt;p&gt;When I try to drag and drop an effect to adjustment layer, the cursor become frozen and can't be used to attach any effect to a layer.&lt;/p&gt;&#xA;&lt;p&gt;What are the solutions for this? Any solutions will be accepted.&lt;/p&gt;&#xA;" OwnerUserId="39193" LastEditorUserId="4426" LastEditDate="2022-09-05T08:52:49.040" LastActivityDate="2022-09-05T08:52:49.040" Title="Adobe Premiere cursor problem" Tags="|premiere|premiere-pro|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35644" PostTypeId="2" ParentId="35642" CreationDate="2022-08-29T08:55:28.007" Score="1" Body="&lt;p&gt;You could probably time stretch it a bit without anyone noticing, but trying to stretch the length by 50% would be too much for any algorithm.&lt;/p&gt;&#xA;&lt;p&gt;You best bet would be to edit in one of the verses or choruses twice. If the song has sufficient similarity at your cut points you can make this totally seamless. If the cuts don't match perfectly, you can add a little cross-fade to smooth it out. This is pretty easy in any modern audio editor.&lt;/p&gt;&#xA;" OwnerUserId="12233" LastActivityDate="2022-08-29T08:55:28.007" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35645" PostTypeId="2" ParentId="25821" CreationDate="2022-08-29T09:51:23.047" Score="0" Body="&lt;ol&gt;&#xA;&lt;li&gt;Select all layers in timeline&lt;/li&gt;&#xA;&lt;li&gt;Right click on any layers selected and click on &amp;quot;keyframe assistant&amp;quot; then select &amp;quot;sequence layers&amp;quot;&lt;/li&gt;&#xA;&lt;li&gt;After open &amp;quot;sequence layers window&amp;quot;, just click &amp;quot;OK&amp;quot;&lt;/li&gt;&#xA;&lt;li&gt;Done!&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="39195" LastEditorUserId="17390" LastEditDate="2022-08-31T22:27:41.427" LastActivityDate="2022-08-31T22:27:41.427" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35646" PostTypeId="1" CreationDate="2022-08-29T10:45:20.893" Score="2" ViewCount="999" Body="&lt;p&gt;I'm trying to create an HLS subtitle playlist from subtitles embedded within a video file.&#xA;So the input looks something like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;container: mkv&#xA;  stream 0: video h264&#xA;  stream 1: audio aac&#xA;  stream 2: subtitle ass&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And the output folder should look something like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;index.m3u8&#xA;subs_0.vtt&#xA;subs_1.vtt&#xA;subs_2.vtt&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Currently, I get to the desired output by using the following two commands:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg \&#xA;  -i in.mkv \&#xA;  -map 0:2 \&#xA;  -scodec webvtt \&#xA;  temp.vtt&#xA;&#xA;ffmpeg -y \&#xA;  -i temp.vtt \&#xA;  -scodec webvtt \&#xA;  -f segment \&#xA;  -segment_list_type m3u8 \&#xA;  -segment_list_size 0 \&#xA;  -segment_time 6 \&#xA;  -segment_start_number 0 \&#xA;  -segment_format webvtt \&#xA;  -segment_list index.m3u8 \&#xA;  -map 0:0 \&#xA;  -scodec copy subs_%d.vtt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, due to constraints in the surrounding system, I'd prefer to combine these two steps into a single command.&#xA;But, whenever I try that, the output file is collapsed to a single subs_0.vtt file.&lt;/p&gt;&#xA;&lt;p&gt;Currently failing attempt:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -y \&#xA;  -f matroska,webm \&#xA;  -i in.mkv \&#xA;  -scodec webvtt \&#xA;  -f segment \&#xA;  -segment_list_type m3u8 \&#xA;  -segment_list_size 0 \&#xA;  -segment_time 6 \&#xA;  -segment_start_number 0 \&#xA;  -segment_format webvtt \&#xA;  -segment_list index.m3u8 \&#xA;  -map 0:2 \&#xA;  out_%d.vtt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This command only creates a single vtt file, rather than the desired segmented files.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to combine the two commands without losing the segmentation?&lt;/p&gt;&#xA;&lt;p&gt;Edit:&lt;/p&gt;&#xA;&lt;p&gt;I'm not sure if this is relevant, so I'm going to add it here.&#xA;The failing command produces multiple &amp;quot;Non-monotonous DTS in output stream&amp;quot; messages.&#xA;It sources from &amp;quot;segment&amp;quot;, so I'd assume at least the correct format should be active, but maybe it prevents the segmented from splitting the file?&lt;/p&gt;&#xA;&lt;p&gt;Example line:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[segment @ 0000011cec905440] Non-monotonous DTS in output stream 0:0; previous: 90402, current: 90400; changing to 90403. This may result in incorrect timestamps in the output file.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33116" LastEditorUserId="33116" LastEditDate="2022-08-29T10:50:42.993" LastActivityDate="2023-09-16T11:06:25.773" Title="ffmpeg convert and segment subtitles" Tags="|ffmpeg|hls|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35647" PostTypeId="2" ParentId="35610" CreationDate="2022-08-29T11:31:51.370" Score="2" Body="&lt;p&gt;There are multiple questions; I'll try to answer them separately for simplicity.&lt;/p&gt;&#xA;&lt;p&gt;First of all, converting from mkv to mp4:&#xA;The easiest way would be something like this &lt;code&gt;ffmpeg -i input.mkv output.mp4&lt;/code&gt;&#xA;This will cause ffmpeg to infer the format based on the filename and isn't always possible.&lt;/p&gt;&#xA;&lt;p&gt;If you need to specify the type explicitly, you can add the parameter &lt;code&gt;-f &amp;lt;format&amp;gt;&lt;/code&gt;.&#xA;In your case, something like this:&#xA;&lt;code&gt;ffmpeg -f matroska -i input.mkv -f mp4 output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Note: The format before the input (&lt;code&gt;-i&lt;/code&gt;) corresponds to the input format, while the format after the input corresponds to the output format.&lt;/p&gt;&#xA;&lt;p&gt;Next, let's look at the codec:&lt;/p&gt;&#xA;&lt;p&gt;FFmpeg uses a predefined codec by default; you can disable this by specifying the &lt;code&gt;copy&lt;/code&gt; codec using &lt;code&gt;-codec copy&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;There are multiple options to specify a codec, depending on the scenario:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-codec copy&lt;/code&gt; Use the original codec for all mapped streams&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-codec libx264&lt;/code&gt; Convert all video streams to h264 (type of stream is deduced by the codec)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-vcodec libx264&lt;/code&gt; Convert video streams to h264 (&lt;code&gt;-acodec&lt;/code&gt; and &lt;code&gt;-scodec&lt;/code&gt; for audio and subtitles, respectively)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-c copy&lt;/code&gt; Short for &lt;code&gt;-codec copy&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-c:v copy&lt;/code&gt; Short for &lt;code&gt;-vcodec copy&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;In your case, something like &lt;code&gt;ffmpeg -i input.mkv -c libx264 output.mp4&lt;/code&gt; should produce the desired result.&lt;/p&gt;&#xA;&lt;p&gt;Next, audio channels:&lt;/p&gt;&#xA;&lt;p&gt;FFmpeg already integrates a downmixer; therefore, the standard solution is to use &lt;code&gt;-ac 2&lt;/code&gt; (Set the number of audio channels to 2).&#xA;As Dolby digital is probably not supported within mp4, you should change the audio codec as well:&#xA;&lt;code&gt;ffmpeg -i input.mkv -c aac -ac 2 output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;A much more detailed answer is provided &lt;a href=&quot;https://superuser.com/a/1410620/1130613&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Next, chapters:&#xA;Removing chapters is relatively easy; adding the following option &lt;code&gt;-map_chapters -1&lt;/code&gt; will remove the Chapter-TOC from the output.&lt;/p&gt;&#xA;&lt;p&gt;Last but not least, stream selection:&lt;/p&gt;&#xA;&lt;p&gt;The simplest way of selecting a stream is by number, but there are multiple other options:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-map 0:0&lt;/code&gt; use the first stream from the first input file&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-map 0:v:0&lt;/code&gt; select the first video stream from the first input file&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-map -0:s&lt;/code&gt; everything except subtitles from the first input file&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-map 0:m:language:eng&lt;/code&gt; select by language&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-map 0:v:0?&lt;/code&gt; use the first video stream of the first input if exists&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;To conclude this answer, your final command should look something like this:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i input.mkv \&#xA;  -map 0:v:0 \&#xA;  -map 0:m:language:eng? \&#xA;  -c:v libx264 \&#xA;  -c:a aac \&#xA;  -map_chapters -1 \&#xA;  -ac 2 \&#xA;  output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Output contains:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;First video stream&lt;/li&gt;&#xA;&lt;li&gt;English audio (if exists)&lt;/li&gt;&#xA;&lt;li&gt;No chapters&lt;/li&gt;&#xA;&lt;li&gt;Only two audio channels&lt;/li&gt;&#xA;&lt;li&gt;video codec: h264&lt;/li&gt;&#xA;&lt;li&gt;Audio codec: aac&lt;/li&gt;&#xA;&lt;li&gt;Output format: mp4&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Hope this helps, and I didn't miss any requirements&lt;/p&gt;&#xA;" OwnerUserId="33116" LastActivityDate="2022-08-29T11:31:51.370" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35648" PostTypeId="1" CreationDate="2022-08-30T08:22:41.007" Score="2" ViewCount="575" Body="&lt;p&gt;When you set a GoPro to mitigating flickering problems in Europe, where AC comes at 50Hz, instead of 30 and 60FPS, you get 25 and 50FPS as the options. I'm recording videos to upload to YouTube. Normally I would go for 30 or 60FPS.&lt;/p&gt;&#xA;&lt;p&gt;Are there any reasons to not record at 50FPS?&lt;/p&gt;&#xA;&lt;p&gt;I haven't checked whether I get flickering at 60FPS, but I would have to check with each light I'm using. It might not be visible until I playback on a big screen and I don't know when I'm going to encounter a flickering light ruining some footage.&lt;/p&gt;&#xA;&lt;p&gt;Update: the resulting video will be uploaded to YouTube and snippets will be uploaded to Instagram, TikTok, etc.&lt;/p&gt;&#xA;" OwnerUserId="19382" LastEditorUserId="19382" LastEditDate="2022-09-02T22:52:03.563" LastActivityDate="2022-09-02T22:52:03.563" Title="Are there any reasons to not use 50 frames per second?" Tags="|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35649" PostTypeId="2" ParentId="25398" CreationDate="2022-08-30T13:41:32.247" Score="0" Body="&lt;p&gt;You can read/write the expressions from ExtendScript ;)&#xA;For example for changing placeholders:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;var propertyExpression = property.expression;&#xA;if (property.expressionEnabled &amp;amp;&amp;amp; propertyExpression) {&#xA;  try {&#xA;    property.expression = propertyExpression.replace(new RegExp(placeholder, 'g'), 'string for replacement');&#xA;  } catch(e) {&#xA;  }&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I had to make 6 nested loops to get into all expressions...&#xA;(The layers have properties, which have sub properties, which also have sub properties, ...)&lt;/p&gt;&#xA;&lt;p&gt;So I guess you can insert &lt;code&gt;alert(&amp;quot;stuff&amp;quot;)&lt;/code&gt; directly into an expression.&lt;/p&gt;&#xA;" OwnerUserId="39210" LastActivityDate="2022-08-30T13:41:32.247" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35651" PostTypeId="2" ParentId="35641" CreationDate="2022-08-31T04:35:46.317" Score="0" Body="&lt;p&gt;I believe I achieved this. When synchronizing, clips are never moved to the left, so I achieved by putting the audio that I wanted to keep still to the right of all the clips that I'm synchronizing to it. I also select it first, just in case.&lt;/p&gt;&#xA;" OwnerUserId="19382" LastActivityDate="2022-08-31T04:35:46.317" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35652" PostTypeId="2" ParentId="35640" CreationDate="2022-08-31T04:45:19.330" Score="0" Body="&lt;p&gt;As far as I can see, the answer is no, which means syncing each column of clips by hand.&lt;/p&gt;&#xA;&lt;p&gt;I understand Premiere Pro wants to avoid one clip conflicting with another, but that's trivial to detect and they could just abort syncing those when that happens. They already avoid synchronizing when the audio doesn't match.&lt;/p&gt;&#xA;" OwnerUserId="19382" LastActivityDate="2022-08-31T04:45:19.330" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35653" PostTypeId="2" ParentId="35560" CreationDate="2022-08-31T04:49:29.233" Score="0" Body="&lt;p&gt;On &lt;a href=&quot;https://premierepro.net/multicam/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://premierepro.net/multicam/&lt;/a&gt; it says:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Many users get audio problems (all tracks panned left) because they’re&#xA;creating a new sequence from the Multicam. Don’t. Create a new&#xA;sequence manually, then drag your Multicam into that sequence.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Creating the sequence manually and then placing the multicam helped solve this problem.&lt;/p&gt;&#xA;" OwnerUserId="19382" LastActivityDate="2022-08-31T04:49:29.233" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35656" PostTypeId="2" ParentId="35648" CreationDate="2022-09-01T15:07:27.943" Score="1" Body="&lt;p&gt;It totally depends what frame rate you need to deliver your final project at.&lt;/p&gt;&#xA;&lt;p&gt;If you're delivering at 30 or 60 fps, then your 50 fps source material will have to drop or create frames in order to deliver at 30 or 60.&lt;/p&gt;&#xA;&lt;p&gt;This is visible, especially on long smooth pans for example.&lt;/p&gt;&#xA;&lt;p&gt;50 fps is useful for delivering for european / UK broadcast which is often at 25 fps - when it's a multiple of your original source material, the dropping of every other frame isn't jarring - there won't be any suddenly noticeable jumps, unlike trying to divide 50 into 30.&lt;/p&gt;&#xA;&lt;p&gt;You might decide that a flickering light is more annoying than the frame rate conversion. Or you can sometimes get away with running footage at a slower or faster rate instead of doing frame rate conversion (but this often looks odd if there are humans moving or speaking in the shot).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-09-01T15:07:27.943" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35657" PostTypeId="1" AcceptedAnswerId="35658" CreationDate="2022-09-02T09:47:09.350" Score="0" ViewCount="131" Body="&lt;p&gt;I've created this slider and counter which works just fine going from &lt;code&gt;5x&lt;/code&gt; down to the &lt;code&gt;W&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BwDro.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BwDro.png&quot; alt=&quot;current view&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The problem is that I need to create a condition that when a number hits &lt;code&gt;.0&lt;/code&gt; it becomes a whole number, so in this case below, it shouldn't be &lt;code&gt;5.0x&lt;/code&gt; but &lt;code&gt;5x&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ty5Yp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ty5Yp.png&quot; alt=&quot;problem&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here is my current expression:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;code&gt;effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;).value.toFixed(1) + &amp;quot;x&amp;quot;;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="6118" LastActivityDate="2022-09-02T11:42:22.543" Title="If function: turn into whole number when decimal is .0" Tags="|after-effects|animation|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35658" PostTypeId="2" ParentId="35657" CreationDate="2022-09-02T11:42:22.543" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/78dmy.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/78dmy.gif&quot; alt=&quot;screengrab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here's the code:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;myval = effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;SourceText = (Math.round(myval * 10))/10 + &amp;quot;x&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It's a really non-intuitive thing, but multiplying the value by 10, then rounding it to the nearest whole number, then dividing by 10 gives you what you need.&lt;/p&gt;&#xA;&lt;p&gt;Think of it as &amp;quot;how many values after the decimal point do I want?&amp;quot; and count the number of zeroes in the number used.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-09-02T11:42:22.543" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35660" PostTypeId="1" CreationDate="2022-09-02T12:39:19.123" Score="1" ViewCount="56" Body="&lt;p&gt;In &lt;a href=&quot;https://www.youtube.com/watch?v=TYpc0I3lBJQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; video,&lt;/p&gt;&#xA;&lt;p&gt;I'm curious about the type of blur used in the photo below.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/jBr59.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jBr59.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/bHRbo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bHRbo.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/kzWhZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kzWhZ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I think it's not a Gaussian Blur(Because Gaussian Blur looks like this&#xA;&lt;a href=&quot;https://i.stack.imgur.com/WJMrf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WJMrf.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;or a Direction Blur(Because Direction Blur looks like this&#xA;&lt;a href=&quot;https://i.stack.imgur.com/TksaN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TksaN.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;), but it's not flat.&lt;/p&gt;&#xA;" OwnerUserId="39230" LastActivityDate="2024-01-25T20:07:45.960" Title="What's the type of blur in this?" Tags="|after-effects|premiere-pro|bluray|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35661" PostTypeId="1" CreationDate="2022-09-02T15:18:00.563" Score="2" ViewCount="46" Body="&lt;p&gt;I would like to record sport events happening in the evening.&#xA;This would be recorded from static points, around 150 m from where the sporting people move.&lt;/p&gt;&#xA;&lt;p&gt;I'm choosing the camcorders for this. What technical parameters should I pay attention to?&lt;/p&gt;&#xA;&lt;p&gt;I've tried a few. They are excellent at a shorter distance, but as the zoom increases, the image becomes blurry and/or grainy - even in a direct sunlight from the right direction.&lt;/p&gt;&#xA;&lt;p&gt;I have read some theory about how camcorders work, and it seems to be a physical phenomenon, going to the quantum nature of light. It improves with the size of the sensor and the camera lenses. But the zoom cameras tend to have rather smaller sensors.&lt;/p&gt;&#xA;&lt;p&gt;What qualities should I prioritize to have a decent FHD picture?&lt;/p&gt;&#xA;" OwnerUserId="14588" LastEditorUserId="14588" LastEditDate="2022-09-04T17:03:55.320" LastActivityDate="2022-09-04T17:03:55.320" Title="What qualities to search for in a camcorder for high zoom, lower light?" Tags="|camcorder|zoom|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35662" PostTypeId="2" ParentId="35660" CreationDate="2022-09-02T16:20:47.057" Score="0" Body="&lt;p&gt;Having watched the video, it looks a lot like the Red Giant Chromatic Abberation plugin:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.maxon.net/en/red-giant/universe/chromatic-aberration&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.maxon.net/en/red-giant/universe/chromatic-aberration&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-09-02T16:20:47.057" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35663" PostTypeId="1" AcceptedAnswerId="35672" CreationDate="2022-09-03T03:18:10.550" Score="2" ViewCount="283" Body="&lt;p&gt;I've these shapes:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pG1qF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pG1qF.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kLeuz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kLeuz.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The first one has three path within, my question is how do I merge these three dots into the big one during an animation?&lt;/p&gt;&#xA;&lt;p&gt;I saw some tutorials about &lt;code&gt;reshape&lt;/code&gt; but when I've tried it, it just appears the mask related to the first shape.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YQFfi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YQFfi.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="39231" LastActivityDate="2023-05-26T12:14:38.517" Title="How do I merge two shapes in one during an animation?" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35666" PostTypeId="2" ParentId="35661" CreationDate="2022-09-03T18:07:10.670" Score="3" Body="&lt;p&gt;For high zoom, low light you need &lt;em&gt;all&lt;/em&gt; these things.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Large sensor.&lt;/li&gt;&#xA;&lt;li&gt;Long lens [&lt;em&gt;not&lt;/em&gt; software zoom].&lt;/li&gt;&#xA;&lt;li&gt;Large aperture.&lt;/li&gt;&#xA;&lt;li&gt;High ISO capability with low self-noise.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;This is not a cheap combination, by any stretch of the imagination.&lt;/p&gt;&#xA;&lt;p&gt;I would very, &lt;em&gt;very&lt;/em&gt; much doubt any 'camcorder' can do all the above. I don't know of any camcorder with a large sensor at all. They sacrifice sensor size because it's factors easier &amp;amp; cheaper to make a long-throw lens for a tiny sensor.&lt;/p&gt;&#xA;&lt;p&gt;I could suggest a good combination, but you'd need a spare $£€ 50,000 in your sock drawer.&lt;/p&gt;&#xA;" OwnerUserId="12233" LastActivityDate="2022-09-03T18:07:10.670" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="35667" PostTypeId="2" ParentId="35408" CreationDate="2022-09-03T22:14:17.863" Score="1" Body="&lt;p&gt;Almost all mid-range camcorders nowadays allow controlling them from a smart phone over wifi. You can leave the camera on a DC cable, always on (not all models support this), and just connect to it and start recording when you need to.&lt;/p&gt;&#xA;&lt;p&gt;Not as simple, needs connecting etc, but could help.&lt;/p&gt;&#xA;" OwnerUserId="14588" LastActivityDate="2022-09-03T22:14:17.863" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35668" PostTypeId="2" ParentId="33523" CreationDate="2022-09-03T22:18:10.577" Score="0" Body="&lt;p&gt;I have experimented with AVCHD, but it often led to corrupted files. It is quite sensitive to SD card quality, stability of the power, etc.&lt;/p&gt;&#xA;&lt;p&gt;I ended up recording at FHD 50p.  FHD because the 4K isn't really good enough to call it 4K - the result, when played on a 4K screen, is rather blurry and grainy, as if the camera upscaled. 50p because anything below is almost unusable.&lt;/p&gt;&#xA;&lt;p&gt;Update: I have digged a bit deeper. And it seems that AVCHD is there basically only for compatibility with Apple, somehow. AVCHD also records using the h264 codec. But the bitrate for AVCHD is way lower than for MP4 50p. Which means: Do not record to AVCHD if you do not have any technical reason for it (processing your videos on uncompatible Apple products).&lt;/p&gt;&#xA;&lt;p&gt;Also, if it's for indoor family videos, I recommend not to use HDR, it just makes everything foggy. Better pay attention to where the light comes from.&lt;/p&gt;&#xA;" OwnerUserId="14588" LastEditorUserId="14588" LastEditDate="2022-11-14T14:40:21.070" LastActivityDate="2022-11-14T14:40:21.070" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35669" PostTypeId="2" ParentId="28738" CreationDate="2022-09-03T22:33:18.790" Score="1" Body="&lt;p&gt;The filesystem limit and the 30 minutes EU tax limit are unrelated.&lt;/p&gt;&#xA;&lt;p&gt;The 30 minutes limit is on most cameras, like Nikon P1000. It is typically not on camcorders.&lt;/p&gt;&#xA;&lt;p&gt;The file size limit on FAT is 4GB. Some cameras can record to &amp;quot;extfs&amp;quot; from Linux, some on exFAT: &lt;a href=&quot;https://en.wikipedia.org/wiki/ExFAT&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/ExFAT&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But I did not find a low-end camcorder (&amp;lt; $1000) that can handle these. The exception is smart phones, which nowadays use Ext4 from Linux, or F2FS (Flash Friendly File System).&lt;/p&gt;&#xA;&lt;p&gt;The continuous recording split into 4G files is relatively well done by Panasonic HC-VX9xx models at FHD. The fraction of a second pause is because the camcorder needs to &amp;quot;wrap up&amp;quot; the file (add a header and a footer) and begin a new file, which it could do in the background, but then they couldn't be so cheap :)&lt;/p&gt;&#xA;&lt;p&gt;Panasonix X1000 does this without the drop.&lt;/p&gt;&#xA;" OwnerUserId="14588" LastActivityDate="2022-09-03T22:33:18.790" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35671" PostTypeId="2" ParentId="18086" CreationDate="2022-09-05T07:02:56.350" Score="1" Body="&lt;p&gt;8K = 8000 x 8000, if 1:1. But you normaly have 16:9 for videos which is 7680 * 4320, since 7680 ≈ 8000, the width is rounded to 8K, if 9:16 aspect ratio, then the height is rounded to 8K.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;7680 * 4320 = 33177600 which is 33MegaPixels, since 33177600 ≈ 33 Million Pixels.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;33 / 4 ≈ 8. 8MP is 4K when 16:9 aspect ratio. Since 3840×2160 = 8294400 ≈ 8 Million pixels. The reason it's Mega is because Mega is a greek word and means 10^6 which is Million.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;So 1080p is easy since 1920 x 1080 ≈ 2MP. Since 2 073 600 is ≈ 2 Million.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;What is then 2MP x 16? It's 32MP. 8K on an 16:9 Aspect ratio is ≈ 33MP, but on an 2:1 Aspect ratio it would be 32MP, since 8K x 4K would be 32 Million.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;h2&gt;Let's do a final calculation.&lt;/h2&gt;&#xA;&lt;p&gt;8K x 4K (8K) = 32MP.&lt;/p&gt;&#xA;&lt;p&gt;4K x 2K (4K) = 8MP.&lt;/p&gt;&#xA;&lt;p&gt;2K x 1K (2K, at 16:9 it's called 1080p) = 2MP.&lt;/p&gt;&#xA;&lt;p&gt;2 x 4 = 8&lt;/p&gt;&#xA;&lt;p&gt;8 x 4 = 32.&lt;/p&gt;&#xA;&lt;p&gt;4 x 4 = 16.&lt;/p&gt;&#xA;&lt;p&gt;So 16 times since you multiply the width with 4 and the height with 4.&lt;/p&gt;&#xA;&lt;p&gt;(x&lt;em&gt;4) * (y&lt;/em&gt;4).&#xA;at 2K with aspect ratio of 16:9:&#xA;x would be width, so x is 1920,&#xA;y would be height, so y is 1080.&lt;/p&gt;&#xA;&lt;p&gt;(1920 * 4) * (1080 * 4)= 7680 * 4320 = 33177600 ≈ 33MP&lt;/p&gt;&#xA;&lt;p&gt;So as you can see 7680 * 4320 is called 8K.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/8K_resolution&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/8K_resolution&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="39244" LastEditorUserId="39244" LastEditDate="2022-09-05T10:33:55.300" LastActivityDate="2022-09-05T10:33:55.300" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35672" PostTypeId="2" ParentId="35663" CreationDate="2022-09-05T08:18:08.200" Score="2" Body="&lt;p&gt;As far as I know, there isn't a great automatic way of doing this in AE.&lt;/p&gt;&#xA;&lt;p&gt;One technique is to make keyframes on your all shape paths, then paste the initial shapes into the path of the end shape after the required number of frames. The result often isn't good:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gQBwy.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gQBwy.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You're often better off manually moving all your bezier paths yourself.&lt;/p&gt;&#xA;&lt;p&gt;PS:&#xA;There's a useful script called Masks to Shapes (rd_MasksToShapes.jsx) which was part of the &lt;a href=&quot;http://redefinery.com/ae/rd_scripts/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ReDefinery&lt;/a&gt; Scripts bundle.  It seems to be offline now, but is &lt;a href=&quot;http://web.archive.org/web/20190305110031/http://redefinery.com/ae/scripts/rd_scripts_20170108.zip&quot; rel=&quot;nofollow noreferrer&quot;&gt;archived&lt;/a&gt; on the Internet Archive Wayback Machine, but it helps with switching between masks and shapes, but won't help with the morphing&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2023-05-26T12:14:38.517" LastActivityDate="2023-05-26T12:14:38.517" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35673" PostTypeId="1" CreationDate="2022-09-05T08:55:29.750" Score="2" ViewCount="274" Body="&lt;p&gt;I'd like to know how can I import a PSD file into AE keeping the size of the PS layers. When I import my PSD as a composition all layers are created with the size of the composition itself and don't fit to the original size of each shape (image) contained in them, although I'm using the &amp;quot;preserve layer sizes&amp;quot; option. So, the images keep their size, but the layer where they are contained in the composition shows a lot of useles transparency that, besides, becomes an annoyance when I need to resize the layer.&lt;/p&gt;&#xA;&lt;p&gt;If I open the PSD with GIMP (and if I'm not wrong) I'd say that I can see the layers fit exactly the size of the pixels and alpha channel, not the whole image, as it should be.&lt;/p&gt;&#xA;&lt;p&gt;Maybe I'm doing something wrong in PS?&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="39242" LastActivityDate="2022-09-05T08:55:29.750" Title="Importing a PSD into After Effects, can't retain the layer sizes" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35674" PostTypeId="2" ParentId="35627" CreationDate="2022-09-05T10:03:00.880" Score="1" Body="&lt;p&gt;Make a spiral like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/STjPyY2zolg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Keyframe it back to a straight line.&lt;/p&gt;&#xA;&lt;p&gt;If you need more control, you could auto-trace it, and then manually reshape the traced path back to a straight line?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-09-05T10:03:00.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35675" PostTypeId="2" ParentId="30607" CreationDate="2022-09-05T13:11:23.393" Score="1" Body="&lt;p&gt;Just an FYI - you can't just force a codec if the &lt;code&gt;moov atom&lt;/code&gt; or &lt;code&gt;headers&lt;/code&gt; are missing.&lt;/p&gt;&#xA;&lt;p&gt;For that you need to repair the file by copying valid headers and atoms from another functional file created the same way.&lt;/p&gt;&#xA;&lt;p&gt;The only utility that worked for me was &lt;a href=&quot;https://codecpack.co/download/recover-mp4.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://codecpack.co/download/recover-mp4.html&lt;/a&gt; - which gives instructions when run without arguments, runs fine on &lt;code&gt;wine&lt;/code&gt;, and worked, unlike &lt;code&gt;untrunc&lt;/code&gt; and a bunch of other ffpmeg-based utilities.&lt;/p&gt;&#xA;&lt;p&gt;(The file is archived here: &lt;a href=&quot;http://web.archive.org/web/20220320003709/https://download1491.mediafire.com/u39upc91ggmg/yf8ct3b58ipbc3l/recover_mp4.zip&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://web.archive.org/web/20220320003709/https://download1491.mediafire.com/u39upc91ggmg/yf8ct3b58ipbc3l/recover_mp4.zip&lt;/a&gt;)&lt;/p&gt;&#xA;" OwnerUserId="39248" LastEditorUserId="-1" LastEditDate="2023-03-24T09:18:59.317" LastActivityDate="2023-03-24T09:18:59.317" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35678" PostTypeId="2" ParentId="26254" CreationDate="2022-09-06T01:57:35.027" Score="0" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;When I drop files from the drive onto my premier timeline, RAM and&#xA;disk usage shoots up taking all the RAM then goes down to 11 GB or so.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Probably it's normal, because Premiere use all available RAM at first, then it cleans up part of ram that it don't use or maybe locate data from RAM to SWAP file.&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2022-09-06T01:57:35.027" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35679" PostTypeId="1" CreationDate="2022-09-07T02:06:05.737" Score="1" ViewCount="82" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/l00D7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/l00D7.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm trying to achieve this effect on After Effects with Trapcode Form plugin, because it's particles around the edges with hollow center, I thought it's got to be the spherical field, so I created box-string base form and cranked up the spherical field and I ended up with similar result&#xA;&lt;a href=&quot;https://i.stack.imgur.com/0BxCP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0BxCP.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;how ever soon I realized the strings around the circle is in segments rather than a continuous line, it becomes more obvious when it's in motion, I'm curious to know how it's supposed to be done, thanks!!!&lt;/p&gt;&#xA;" OwnerUserId="33694" LastActivityDate="2022-09-07T09:38:37.757" Title="Trapcode sphere" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35681" PostTypeId="2" ParentId="35679" CreationDate="2022-09-07T09:38:37.757" Score="1" Body="&lt;p&gt;The &amp;quot;Ring Emitter&amp;quot; preset in Trapcode Particular gets pretty close to this - you could probably use it as a starting point.&lt;/p&gt;&#xA;&lt;p&gt;Look in the Presets tab on the left under &amp;quot;Spline Primitives&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/N31uX.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/N31uX.jpg&quot; alt=&quot;screengrab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-09-07T09:38:37.757" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35683" PostTypeId="1" AcceptedAnswerId="35687" CreationDate="2022-09-07T11:17:44.597" Score="0" ViewCount="27" Body="&lt;p&gt;I'm trying to make a motion of position of shape and I'm getting next:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TNYJn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TNYJn.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;In this frame, position getting automatically lower than I desired to. I mean, I want that the 1st keyframe to be 950 px (for example) and the 2nd ketframe to be 930px. But when I do this, automatically, the curve goes to 900px and then, from this location (circled orange in image), goes to 930px.&lt;/p&gt;&#xA;&lt;p&gt;That I want to do is a transition from 950px to 930px, and not 950 to 900 and then to 930; but AE automatically creates that type of curve.&lt;/p&gt;&#xA;&lt;p&gt;Why?&lt;/p&gt;&#xA;" OwnerUserId="39166" LastEditorUserId="39166" LastEditDate="2022-09-07T11:18:40.357" LastActivityDate="2022-09-07T15:58:13.953" Title="After effect position keyframes motion problems" Tags="|after-effects|keyframes|motion-graphics|" AnswerCount="1" CommentCount="0" ClosedDate="2022-09-09T07:37:48.570" ContentLicense="CC BY-SA 4.0" />
  <row Id="35686" PostTypeId="1" AcceptedAnswerId="35691" CreationDate="2022-09-07T12:59:49.640" Score="2" ViewCount="554" Body="&lt;p&gt;I produce videos that are mainly audio with some slides as visuals.&lt;/p&gt;&#xA;&lt;p&gt;The slides change about once every 30 seconds, so even at a frame rate of 1fps my video would play smoothly.&lt;/p&gt;&#xA;&lt;p&gt;When I try and export my video from Premiere Pro the lowest frame rate h.265 encoding allows is 10fps. Is that limit put in place by the Codec?&lt;/p&gt;&#xA;" OwnerUserId="38668" LastActivityDate="2022-09-09T19:32:40.570" Title="Is 10 frames a second the lowest h.265 can go?" Tags="|premiere|codec|h.265|fps|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35687" PostTypeId="2" ParentId="35683" CreationDate="2022-09-07T15:58:13.953" Score="0" Body="&lt;p&gt;It's because you're not using Linear spatial interpolation on the keyframes.&#xA;See this answer:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/14687/object-moving-to-a-position-i-didnt-specify/14697#14697&quot;&gt;Object moving to a position I didn&amp;#39;t specify&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-09-07T15:58:13.953" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35690" PostTypeId="2" ParentId="35574" CreationDate="2022-09-08T11:28:30.340" Score="2" Body="&lt;p&gt;I'm also looking into this topic of watermark removal. But I'm not specifically knowledgeable about logo removal, so this is just my best guess as a software engineer.&lt;/p&gt;&#xA;&lt;p&gt;From what I know about ffmpeg, I'd say that it's just using differential mpeg data to fill in the deleted region. Probably works really poorly when the camera doesn't move. Probably just copies pixels on the borders of the missing region until it's been filled completely.&lt;/p&gt;&#xA;&lt;p&gt;The site you mention only handles TikTok logos specifically, which means it can still use the pixels between the letters. In addition to what ffmpeg does, I'm sure it applies some machine learning algorithms to determine the most likely missing pixels.&lt;/p&gt;&#xA;&lt;p&gt;So the way I see it, what you need to do proper watermark removal, is 1) Determine exactly which pixels in which frames are part of the logo. This is easier for moving video, where you can use gradient data to identify which pixels show an edge throughout the video, whereas with still video, all background would get marked as logo. 2) Then you need to use the differential mpeg data (hopefully, you can access that from ffmpeg) to do some initial filling in of empty pixels. If not, you're stuck having to do some optical flow algorithm yourself on consecutive video frames. And 3) You need a properly trained ML algorithm, probably a recurrent convolutional neural network to make a good guess from context about the missing pixels. Fortunately, it's easy to generate training data from existing video.&lt;/p&gt;&#xA;&lt;p&gt;Usually, a company will apply the same logo to every video it produces, which means that once you have successfully delogoed one video, others become easier. Some logos are ever partially transparent, which means you can reverse engineer how the logo changes the pixels underneath, and directly correct them without going through all the hoops of differential mpeg data and ML smart fill.&lt;/p&gt;&#xA;&lt;p&gt;All in all, that sounds like a massive project. But if you do it well, the possibilities are endless, and you can probably make a career out of what you learned along the way, or from the product directly.&lt;/p&gt;&#xA;" OwnerUserId="39280" LastEditorUserId="39280" LastEditDate="2022-09-08T11:33:35.400" LastActivityDate="2022-09-08T11:33:35.400" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35691" PostTypeId="2" ParentId="35686" CreationDate="2022-09-09T19:19:43.557" Score="1" Body="&lt;p&gt;To answer the title question exactly, no, the theoretical floor for H265 framerate is probably less than 1fps. But you don't want to fiddle with framerate anyway. It won't help you produce a quality video within your spec requirements (unless some unusually low framerate is in your specs).&lt;/p&gt;&#xA;&lt;p&gt;When making videos from slides presentations is tempting to believe that you will gain meaningful file size reductions by lowering the framerate, but this notion is completely false. It is also false that you will gain meaningful quality increases with no size increase.&lt;/p&gt;&#xA;&lt;p&gt;H265 is very good at interframe compression. If you take a static image and make a 30fps H265 video from it, the resultant file will be pragmatically identical to 1fps, or even 60fps versions.&lt;/p&gt;&#xA;&lt;p&gt;Continuing on pragmatism, most end user players I've looked at for this issue struggle to play framerates under 15fps. In my experience, your videos won't play smoothly at 1fps. Any quality gains or size reductions are meaningless if end users cannot play the file.&lt;/p&gt;&#xA;&lt;p&gt;You need to render your file with a variable bitrate. I'm not familiar with Primere Pro; and complete control over your renders, as can be attained from ffmpeg, may not be available, but I'm sure you have a VBR option. Try it out, and leave the framerate at the standard 30fps. Optionally, render for your permanent archive, then process with ffmpeg for end user distributions.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2022-09-09T19:32:40.570" LastActivityDate="2022-09-09T19:32:40.570" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="35692" PostTypeId="1" CreationDate="2022-09-09T20:34:43.133" Score="0" ViewCount="1407" Body="&lt;p&gt;I'm trying to stabilize a clip in DaVinci Resolve (18.0.1 (also updated to 18.0.2, same), M1 Mac, macOS 12.5.1). I've tried both Edit tab (Inspector / Stabilization) and Color tab (Tracker / Stabilization), but nothing happens when I click Stabilize button. Nothing happens as if I've not hit the button, and the clip is not stabilized. Changing mode (perspective/similarity/camera lock etc) doesn't do anything. Stabilization toggle is enabled in Edit/Inspect and bypass isn't checked in Color tab either.&lt;/p&gt;&#xA;&lt;p&gt;I've also disabled proxies/optimized media/caches too, no luck.&lt;/p&gt;&#xA;&lt;p&gt;From what I've seen in tutorials, it should start analyzing but nothing happens.&lt;/p&gt;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="37261" LastEditorUserId="37261" LastEditDate="2022-09-09T20:51:27.010" LastActivityDate="2024-02-02T10:10:11.247" Title="DaVinci Resolve Stabilize button not doing anything" Tags="|davinci-resolve|stabilisation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35693" PostTypeId="2" ParentId="35692" CreationDate="2022-09-10T06:20:39.437" Score="0" Body="&lt;p&gt;Okay, I've found the reason. For some reason, Stabilization only works on direct footage files, not timelines.&lt;/p&gt;&#xA;&lt;p&gt;I was applying it to a timeline. I created a new timeline with the clip and applied stabilization on the clip, it worked.&lt;/p&gt;&#xA;&lt;p&gt;Perhaps this could be improved. I had a timelapse with a drone that I wanted to stabilize, and there were two files as the file size grew &amp;gt; 4GB it was cut into two files.&lt;/p&gt;&#xA;&lt;p&gt;I was unable to stabilize joining two clips as stabilize button wasn't working that way.&lt;/p&gt;&#xA;&lt;p&gt;I was also unable to stabilize two clips individually first, as it was creating an incoherent jump in intersection point of the clips as it stabilized them individually without knowing the other.&lt;/p&gt;&#xA;&lt;p&gt;I had to end up closing Resolve, use ffmpeg to concat two videos without re-encoding into a single large file, import that into Resolve as a single file and then continue my workflow.&lt;/p&gt;&#xA;" OwnerUserId="37261" LastActivityDate="2022-09-10T06:20:39.437" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35694" PostTypeId="2" ParentId="16469" CreationDate="2022-09-10T19:42:56.223" Score="0" Body="&lt;p&gt;If anyone is still looking for a solution that wont blow up computation times, I found this workaround using environment variables which will store values outside of the script context.&lt;/p&gt;&#xA;&lt;p&gt;The if statement will define the Env-Variable at frame 0 and afterwards increase and use the variable each frame. Note that &lt;code&gt;x&lt;/code&gt; could be any value. In my case it was an audio amplitude effect slider value.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;if ($.myEnvVariable == null){&#xA;    $.myEnvVariable = 0&#xA;} &#xA;// x = value from slider&#xA;$.myEnvVariable = $.myEnvVariable + x&#xA;$.myEnvVariable&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="39296" LastEditorUserId="39296" LastEditDate="2022-09-10T19:45:02.740" LastActivityDate="2022-09-10T19:45:02.740" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35695" PostTypeId="2" ParentId="33659" CreationDate="2022-09-10T21:56:51.353" Score="0" Body="&lt;p&gt;I have a project with several separate video lessons but within the same timeline for later with the in an out, export separately, as well as the subtitles where in delivery I choose the option to export separately too, to upload to the platform, but how to make srt subtitles export respecting the input/output intervals, since I have several blocks of videos on the same timeline? It exports the video normally and in any player, the video starts with the timecode at zero, but the subtitles always in the timecode 22 sec of the timeline of davinci as you can see in the print.&lt;a href=&quot;https://i.stack.imgur.com/yFQQM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yFQQM.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/CKgDn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CKgDn.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/m8JK7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/m8JK7.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="39298" LastActivityDate="2022-09-10T21:56:51.353" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35696" PostTypeId="1" AcceptedAnswerId="35713" CreationDate="2022-09-11T00:05:41.650" Score="0" ViewCount="738" Body="&lt;p&gt;I have tried 4 times now to export a 16 minute long video consisting only of an image sequence and audio tracks.&lt;/p&gt;&#xA;&lt;p&gt;The video is a 360/vr video, and on this old machine, takes roughly 2 and a half hours to render every time, only to output a corrupt video that will neither play in vlc nor upload to youtube (youtube abandons processing pretty quickly.)&lt;/p&gt;&#xA;&lt;p&gt;when I export a significantly shorter video from the timeline it outputs just fine, and other video projects I've rendered have never had this problem. the file just ends up 0 bytes every time&lt;/p&gt;&#xA;" OwnerUserId="39052" LastEditorUserId="39052" LastEditDate="2022-09-11T22:21:38.723" LastActivityDate="2022-09-14T20:23:49.577" Title="premiere pro exports are corrupt / wont play or upload to YouTube" Tags="|premiere|export|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35697" PostTypeId="2" ParentId="35696" CreationDate="2022-09-11T10:05:29.820" Score="0" Body="&lt;p&gt;Don't use Media Encoder for the export, do it in Premiere.&lt;/p&gt;&#xA;&lt;p&gt;Export a small section first, to see if that works.&lt;/p&gt;&#xA;&lt;p&gt;If the small section works, expand it - maybe try half the sequence, and see if that half works.  If it does/doesn't, then hone it down until you find where the problem is in the timeline. Purge the cache, keep trying...&lt;/p&gt;&#xA;&lt;p&gt;How big is the final exported file?  Could it be a file size limit based on the format of the drive you're exporting on to?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-09-11T10:05:29.820" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35700" PostTypeId="2" ParentId="25643" CreationDate="2022-09-11T20:25:46.383" Score="3" Body="&lt;p&gt;I first came across this message today when trying to pipe curl output (inside a while loop) as input to ffmpeg and then remux to mkv. The process was much more time-consuming than downloading all the files locally first and then concating and remuxing them with ffmpeg afterwards. I believe this message indicates how many bytes of the input file ffmpeg is trying to read at a time. In my case the message was&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[mpegts @ 0x55c7f9fe7a00] Thread message queue blocking; consider raising the thread_queue_size option (current value: 1)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;which would explain the delay in the process. After putting &lt;code&gt;-thread_queue_size 4096&lt;/code&gt; before the input, the message disappeared and the process was as fast as it should.&lt;/p&gt;&#xA;" OwnerUserId="39306" LastEditorUserId="18155" LastEditDate="2022-09-20T18:16:52.350" LastActivityDate="2022-09-20T18:16:52.350" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35702" PostTypeId="1" CreationDate="2022-09-12T04:33:43.537" Score="1" ViewCount="129" Body="&lt;p&gt;I want to use frame interpolation to convert videos from 30 FPS to 60 FPS. I found many programs for that: &lt;a href=&quot;https://redd.it/pxw655&quot; rel=&quot;nofollow noreferrer&quot;&gt;Davinci Resolve&lt;/a&gt;, &lt;a href=&quot;https://nmkd.itch.io/flowframes&quot; rel=&quot;nofollow noreferrer&quot;&gt;Flowframes&lt;/a&gt;, &lt;a href=&quot;https://www.svp-team.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;SmoothVideo Project&lt;/a&gt;, &lt;a href=&quot;https://www.topazlabs.com/video-enhance-ai&quot; rel=&quot;nofollow noreferrer&quot;&gt;Topaz Video Enhance AI&lt;/a&gt; (Chronos model), etc.&lt;/p&gt;&#xA;&lt;p&gt;Is there any reliable benchmark for frame interpolation that would show me how these programs compare against each others (in terms of output quality + computational cost)?&lt;/p&gt;&#xA;" OwnerUserId="2117" LastEditorUserId="2117" LastEditDate="2022-09-12T04:39:50.313" LastActivityDate="2022-09-12T04:39:50.313" Title="Any reliable benchmark for frame interpolation?" Tags="|framerate|frame-interpolation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35703" PostTypeId="5" CreationDate="2022-09-12T04:40:36.860" Score="0" Body="" OwnerUserId="-1" LastEditorUserId="-1" LastEditDate="2022-09-12T04:40:36.860" LastActivityDate="2022-09-12T04:40:36.860" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35704" PostTypeId="4" CreationDate="2022-09-12T04:40:36.860" Score="0" Body="Frame interpolation is a form of video processing in which intermediate animation frames are generated between existing ones by means of interpolation, in an attempt to make animation more fluid, to compensate for display motion blur, and for fake slow motion effects." OwnerUserId="2117" LastEditorUserId="2117" LastEditDate="2022-09-19T15:05:27.530" LastActivityDate="2022-09-19T15:05:27.530" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35705" PostTypeId="1" AcceptedAnswerId="35706" CreationDate="2022-09-12T12:40:29.763" Score="1" ViewCount="2056" Body="&lt;p&gt;I noticed recently that even when on a 'known good' configuration of computer and network, NDI sources could not be found even by NDI Studio Monitor or by the OBS plugins that provide NDI sources.&lt;/p&gt;&#xA;&lt;p&gt;This problems appears to be intermittent in nature, often going away after various investigations.&lt;/p&gt;&#xA;" OwnerUserId="39282" LastActivityDate="2022-09-12T12:40:29.763" Title="Why do my NDI Sources not appear in Windows (or OBS on Windows)" Tags="|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35706" PostTypeId="2" ParentId="35705" CreationDate="2022-09-12T12:40:29.763" Score="2" Body="&lt;p&gt;After some diagnostics we eventually determined this to be caused by a strange issue in windows where if you switch between Wireless networks then mDNS starts to misbehave. (Helped, enormously, by this thread: &lt;a href=&quot;https://docs.microsoft.com/en-us/answers/questions/101168/mdns-not-sending-queries-to-the-network.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://docs.microsoft.com/en-us/answers/questions/101168/mdns-not-sending-queries-to-the-network.html&lt;/a&gt;)&lt;/p&gt;&#xA;&lt;p&gt;To fix the issue, you can simply disable the wireless interface, then re-enable it. This is not the same as 'turning off your wifi'. You must do this disable through the Control Panel -&amp;gt; Network and Internet -&amp;gt; Network Connections screen.&lt;/p&gt;&#xA;&lt;p&gt;If you restart the NDI Studio Monitor you should now see all your missing sources!&lt;/p&gt;&#xA;" OwnerUserId="39282" LastActivityDate="2022-09-12T12:40:29.763" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35708" PostTypeId="2" ParentId="33701" CreationDate="2022-09-12T19:11:56.150" Score="0" Body="&lt;p&gt;No, Premiere Pro does not support this codec format.&lt;/p&gt;&#xA;" OwnerUserId="37316" LastEditorUserId="14523" LastEditDate="2022-09-13T15:20:28.670" LastActivityDate="2022-09-13T15:20:28.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35713" PostTypeId="2" ParentId="35696" CreationDate="2022-09-13T22:09:04.733" Score="1" Body="&lt;p&gt;solved: the problem, for whatever reason, was that I was using an image sequence instead of a video. this works for shorter durations, but for long durations its no wonder premier has trouble. to solve it, i followed these steps:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;using FFMPEG, turned the image sequence into an .mp4 with &lt;code&gt;ffmpeg -framerate 60 -i %d.png -framerate 60 out.mp4&lt;/code&gt; which ensures the framerate is both interpreted and written as 60fps&lt;/li&gt;&#xA;&lt;li&gt;replace footage in premier with the newly rendered &lt;code&gt;out.mp4&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;render from adobe premier- remarkably, the process is also substantially faster. it took me roughly 10 minutes, down from 2 and a half hours.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="39052" LastEditorUserId="14523" LastEditDate="2022-09-14T20:23:49.577" LastActivityDate="2022-09-14T20:23:49.577" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35714" PostTypeId="2" ParentId="35446" CreationDate="2022-09-14T15:36:47.590" Score="0" Body="&lt;p&gt;With&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f video4linux2 -list_formats all -i /dev/video0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;you can query all available formats and resolutions&lt;/p&gt;&#xA;&lt;p&gt;With&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -f video4linux2 -input_format raw -i /dev/video0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;you can access the raw video stream of the UVC device&lt;/p&gt;&#xA;" OwnerUserId="9102" LastActivityDate="2022-09-14T15:36:47.590" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35716" PostTypeId="1" CreationDate="2022-09-15T05:48:38.170" Score="0" ViewCount="419" Body="&lt;p&gt;How can I interplote a 30FPS video to a 50 FPS video without affecting the length of the video?&lt;/p&gt;&#xA;&lt;p&gt;I have used the VSDC video editor to do so. I have set the reframing mode to optical flow.&#xA;However, I found that it just inserted a previous frame between the adjacent frames.&lt;/p&gt;&#xA;&lt;p&gt;I have tried the mkvtoolnix, unfortunately, it just shortened the video duration.&lt;/p&gt;&#xA;&lt;p&gt;Is there any better solution?&lt;/p&gt;&#xA;" OwnerUserId="39333" LastEditorUserId="39333" LastEditDate="2022-09-15T09:06:50.607" LastActivityDate="2022-09-15T13:46:32.260" Title="How can I convert a 30FPS video to 50FPS video without affecting the length of the video?" Tags="|framerate|frame-interpolation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35717" PostTypeId="2" ParentId="32445" CreationDate="2022-09-15T09:52:41.000" Score="0" Body="&lt;p&gt;It's difficult to know without actually seeing the script, but one possibility has to do with the rotopaint node and the clone brush (if any are used). Sourcing from other frames in nuke often causes recomputation. the smart vector node also sources information from other frames. You might have more luck if you pre-render the smartvectors or the output of the paint (whichever comes first)&lt;/p&gt;&#xA;" OwnerUserId="39339" LastActivityDate="2022-09-15T09:52:41.000" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35719" PostTypeId="1" AcceptedAnswerId="35721" CreationDate="2022-09-15T13:37:33.070" Score="0" ViewCount="104" Body="&lt;p&gt;I have some videos which I took during some experimental work which ended up being so dark that the details can't really be seen (these are of spheres hitting a body of liquid and splashing).&lt;/p&gt;&#xA;&lt;p&gt;It will be a bit difficult for me to re-do the experiments so was wondering if someone  can explain how I can fix these videos (.avi files) to make the details more visible.  The jpegs below are cut from certain frames of the video to show the problem.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/foiOr.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/foiOr.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;  &lt;a href=&quot;https://i.stack.imgur.com/gkATw.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gkATw.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/FSSvp.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FSSvp.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="39349" LastActivityDate="2022-09-15T14:20:26.100" Title="Increasing brightness and visibility of .avi files?" Tags="|video-editor|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35720" PostTypeId="2" ParentId="35716" CreationDate="2022-09-15T13:46:32.260" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Frame_rate#Instruments&quot; rel=&quot;nofollow noreferrer&quot;&gt;Several commercial solutions&lt;/a&gt; seem only to support full integers as multipliers for frame rate conversion. Assuming VSDC works a similar way, thus you might try to go via the LCM of 30 and 50 frames per second and first do a upconversion to 150 frames/sec and afterwards reduce it to 50 frames/sec.&#xA;Sadly &lt;a href=&quot;https://www.videosoftdev.com/how-to-achieve-perfect-slow-motion-effect-with-reframing&quot; rel=&quot;nofollow noreferrer&quot;&gt;the official docs&lt;/a&gt; do not say anything about that.&lt;/p&gt;&#xA;" OwnerUserId="39340" LastActivityDate="2022-09-15T13:46:32.260" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35721" PostTypeId="2" ParentId="35719" CreationDate="2022-09-15T14:20:26.100" Score="3" Body="&lt;p&gt;The free video editing tool &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Davinci Resolve&lt;/a&gt; will do the job. But be aware that there is already much quality lost in your video files due to the low brightness together with video compression. You will be able to make it bright again, but you will not be able to restore full quality!&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2f40o.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2f40o.jpg&quot; alt=&quot;Screenshot of Davinci resolve showing adjustment curve&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol start=&quot;0&quot;&gt;&#xA;&lt;li&gt;Make sure Davinci Resolve is &lt;a href=&quot;https://www.premiumbeat.com/blog/davinci-resolve-system-requirements/&quot; rel=&quot;nofollow noreferrer&quot;&gt;supported on your hardware and platform&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;Download and install Davinci Resolve&lt;/li&gt;&#xA;&lt;li&gt;Open Davinci Resolve, create a new project&lt;/li&gt;&#xA;&lt;li&gt;Load your avi-files into Davinci Resolve and create a new timeline from your video file(s).&lt;/li&gt;&#xA;&lt;li&gt;Go To the &amp;quot;Colors&amp;quot; tab (at the bottom of the screen) and look for the &amp;quot;Curves&amp;quot; section. Play around with the curves until you like your result.&lt;/li&gt;&#xA;&lt;li&gt;Go to the Deliver Tab (at the bottom right of the screen) and export your video footage.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="39340" LastActivityDate="2022-09-15T14:20:26.100" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35726" PostTypeId="1" CreationDate="2022-09-16T13:16:40.230" Score="0" ViewCount="93" Body="&lt;p&gt;I am dabbling in After Effects and I thought I'd create a sequence that mimicks how an old camera focused. This means I need to do the following:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Offset some layers in one direction, others in other directions&lt;/li&gt;&#xA;&lt;li&gt;Apply blur effects to layers&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;All this has to be animated.&lt;/p&gt;&#xA;&lt;p&gt;Now, since I'm a complete beginner, and I just found out about the NULL object, I did the following:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Added a NULL object to my composition&lt;/li&gt;&#xA;&lt;li&gt;Linked the x-position of one of my layers to the x-position of the NULL object, and then adjusted the expression so that it moves in the direction&lt;/li&gt;&#xA;&lt;li&gt;I then linked the blur amount to the same x-position of the NULL object&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Now, I have made all the layers, they move and blur exactly like I want. Additionally, I can animate this single x-position of the NULL object to get all the other layers to animate like I want.&lt;/p&gt;&#xA;&lt;p&gt;However, I now want to adjust the blur strength. If I want to keep the blur amounts linked to the x-position, is there a way for me to add a new custom property somewhere, like a number, and then incorporate this property into the expressions?&lt;/p&gt;&#xA;&lt;p&gt;This is what the expression looks like now:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Math.abs(thisComp.layer(&amp;quot;TRANSFORM&amp;quot;).transform.xPosition)*10&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;rather than just adjusting the 10 there, in all those expressions, I would like to have a property somewhere so that I could do:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Math.abs(thisComp.layer(&amp;quot;TRANSFORM&amp;quot;).transform.xPosition)*thisComp.layer(&amp;quot;TRANSFORM&amp;quot;).Factor&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Like, naively what I looked for:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Right-click the NULL object, &amp;quot;Add custom property&amp;quot;, name it Factor, then go back to all those expressions and add support for this property?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Or do I just need to (ab)use one of the other properties of the NULL object as my scaling factor in this case? I could of course just link the blur amount to the y-position, but I'd rather have to animate just one and have them all linked.&lt;/p&gt;&#xA;&lt;p&gt;Is there such support? If so, where? Or am I perhaps not making any sense whatsoever?&lt;/p&gt;&#xA;&lt;p&gt;Or, if what I want to accomplish is in fact easier or rather &amp;quot;more appropriately&amp;quot; done in a completely different manner, feel free to school me in the comments, as long as you guide me in the right direction :)&lt;/p&gt;&#xA;" OwnerUserId="16762" LastActivityDate="2022-09-16T13:16:40.230" Title="Create custom properties in After Effects?" Tags="|after-effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35728" PostTypeId="2" ParentId="33499" CreationDate="2022-09-16T14:19:03.550" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oXKRD.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oXKRD.gif&quot; alt=&quot;screen grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Add a solid layer&lt;/p&gt;&#xA;&lt;p&gt;Add Red Giant 3D stroke to it&lt;/p&gt;&#xA;&lt;p&gt;Make a path with Bézier curves in it on the same layer.&lt;/p&gt;&#xA;&lt;p&gt;Adjust the taper settings in 3D stroke to look like the original tentacle&lt;/p&gt;&#xA;&lt;p&gt;Select your Mask Path in the 3D stroke&lt;/p&gt;&#xA;&lt;p&gt;Create Nulls from Paths&lt;/p&gt;&#xA;&lt;p&gt;Click the Points Follow Nulls button&lt;/p&gt;&#xA;&lt;p&gt;Now a null will be created for every point on your path.&lt;/p&gt;&#xA;&lt;p&gt;Go to a null you want to animate&lt;/p&gt;&#xA;&lt;p&gt;Right click on its Position and select Separate dimensions&lt;/p&gt;&#xA;&lt;p&gt;Add an expression to the Y position by alt/option clicking on its keyframe icon&lt;/p&gt;&#xA;&lt;p&gt;Put in an expression like “wiggle(1, 100)” where 1 is the frequency of the wiggle (one wiggle per second) and 100 is the amplitude in pixels (how far it should move from its original position).&lt;/p&gt;&#xA;&lt;p&gt;Do this for each tentacle&lt;/p&gt;&#xA;&lt;p&gt;Mask out your original tentacles once you’ve done this.&lt;/p&gt;&#xA;&lt;p&gt;Adjust the wiggles until they look nice&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-09-16T14:19:03.550" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35729" PostTypeId="1" CreationDate="2022-09-17T15:27:32.490" Score="0" ViewCount="88" Body="&lt;p&gt;Thanks in advance for your input.&lt;br /&gt;&#xA;First, I have a composition that has one square in it that has opacity and scale keyframe automations.  This composition is named Square and is 25px by 25px.&lt;/p&gt;&#xA;&lt;p&gt;Square composition is then added to another composition and is duplicated 3 times to equal 4 squares.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;1 2&#xA;3 4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;These 4 squares are placed in a larger square and are offset by a few frames.  This composition is named Square_4 and is 50px by 50px&lt;/p&gt;&#xA;&lt;p&gt;I now create a new composition named Square_reveal that is 1000px by 1000px.  I want to add my Square_4 composition to Square_reveal and duplicate it so that each Square_4 layer fills the entire composition of Square_reveal.  This will be 20 Square_4 layers across (50px x 20 = 1000px across).  I then want to duplicate this row 20 times and place each row under the one above it.  This will fill the entire composition.&lt;/p&gt;&#xA;&lt;p&gt;I have successfully done this by duplicating Square_4 20 times in one Square_reveal composition but then I have to duplicate Square_reveal 20 times and change the y position of each layer.  I feel like there could be an expression that would do this duplicating for me (400 duplicates).  If you have any idea how to do this using an expression or any other way other than manually duplicating I would appreciate your help!&lt;/p&gt;&#xA;&lt;p&gt;Edit: My goal is to place 400 animated squares into one square  composition.  You can reference this part of the Voxyde video tutorial to see want I to accomplish.  &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/KYMGjM-Znyg?start=522&quot;&gt;&lt;/iframe&gt;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="24663" LastEditorUserId="24663" LastEditDate="2022-09-22T14:49:09.317" LastActivityDate="2022-09-22T14:49:09.317" Title="How do I clone layers in Adobe After Effects" Tags="|after-effects|adobe|after-effects-expressions|after-effects-scripting|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35730" PostTypeId="1" CreationDate="2022-09-17T11:00:33.713" Score="0" ViewCount="35" Body="&lt;p&gt;Whenever I draw a shape, the transparency is 14%, how do I reset it to 100%?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/9XGXH.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9XGXH.jpg&quot; alt=&quot;Because every time I reset it and it annoys me&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerDisplayName="Akil" LastEditorUserId="17390" LastEditDate="2022-09-27T16:04:20.447" LastActivityDate="2024-02-22T11:08:31.160" Title="Whenever I draw a shape, the transparency is 14%, how do I reset it to 100%?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35731" PostTypeId="1" AcceptedAnswerId="36145" CreationDate="2022-09-18T11:11:31.397" Score="0" ViewCount="379" Body="&lt;p&gt;I have a video device and an audio device I'm trying to record from, as below:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ v4l2-ctl -d /dev/video0 --list-formats-ext&#xA;ioctl: VIDIOC_ENUM_FMT&#xA;    Type: Video Capture&#xA;&#xA;    [0]: 'MJPG' (Motion-JPEG, compressed)&#xA;        Size: Discrete 1280x720&#xA;            Interval: Discrete 0.033s (30.000 fps)&#xA;        Size: Discrete 960x540&#xA;            Interval: Discrete 0.033s (30.000 fps)&#xA;        Size: Discrete 848x480&#xA;            Interval: Discrete 0.033s (30.000 fps)&#xA;        Size: Discrete 640x480&#xA;            Interval: Discrete 0.033s (30.000 fps)&#xA;        Size: Discrete 640x360&#xA;            Interval: Discrete 0.033s (30.000 fps)&#xA;    [1]: 'YUYV' (YUYV 4:2:2)&#xA;        Size: Discrete 640x480&#xA;            Interval: Discrete 0.033s (30.000 fps)&#xA;        Size: Discrete 640x360&#xA;            Interval: Discrete 0.033s (30.000 fps)&#xA;        Size: Discrete 424x240&#xA;            Interval: Discrete 0.033s (30.000 fps)&#xA;        Size: Discrete 320x240&#xA;            Interval: Discrete 0.033s (30.000 fps)&#xA;        Size: Discrete 320x180&#xA;            Interval: Discrete 0.033s (30.000 fps)&#xA;        Size: Discrete 160x120&#xA;            Interval: Discrete 0.033s (30.000 fps)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ arecord -l&#xA;**** List of CAPTURE Hardware Devices ****&#xA;card 0: PCH [HDA Intel PCH], device 0: ALC289 Analog [ALC289 Analog]&#xA;  Subdevices: 1/1&#xA;  Subdevice #0: subdevice #0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm using ffmpeg, with the mjpeg input stream for the video, and hardware acceleration to encode it as h.265, along with flac encoding for the audio:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#!/usr/bin/env bash&#xA;&#xA;input_framerate=30&#xA;input_resolution=hd720&#xA;&#xA;v4l2_thread_queue_size=32&#xA;alsa_thread_queue_size=8192&#xA;&#xA;ffmpeg -init_hw_device vaapi=my_intel_gpu:/dev/dri/renderD128 \&#xA;       -f v4l2 -c:v mjpeg -input_format mjpeg -video_size &amp;quot;${input_resolution}&amp;quot; -r &amp;quot;${input_framerate}&amp;quot; -thread_queue_size &amp;quot;${v4l2_thread_queue_size}&amp;quot; -hwaccel vaapi -hwaccel_device my_intel_gpu -hwaccel_output_format yuv420p -i /dev/video0  \&#xA;       -f alsa -thread_queue_size &amp;quot;${alsa_thread_queue_size}&amp;quot; -i hw:0 \&#xA;       -vf 'format=nv12,hwupload' -c:v hevc_vaapi -rc_mode ICQ -qp 24 \&#xA;       -af 'aresample=async=1000' -c:a flac -compression_level:a 3 \&#xA;       &amp;quot;file:output.mkv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This works well in a well-lit environment, but if I don't have sufficient light, the framerate drops on the camera, but not in the resulting video: the output still plays at the input framerate, speeding up and giving a &lt;a href=&quot;https://youtu.be/Zat9CRfUr-E?t=62&quot; rel=&quot;nofollow noreferrer&quot;&gt;'Benny Hill'-style effect&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;How do I ask ffmpeg to output a 'constant-speed'/'variable frame rate' recording? I've tried doing video on its own, excluding audio, as well as using unaccelerated hevc, but these suffer from the same issue.&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="39368" LastActivityDate="2023-01-31T00:07:04.910" Title="FFmpeg v4l2 recording - variable frame rate output" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35735" PostTypeId="1" CreationDate="2022-09-19T10:09:37.977" Score="1" ViewCount="373" Body="&lt;p&gt;I have a 3.6gb mpeg2 video file the length should be about 25min but the file is corrupt after about 13 minutes and it stops there.&lt;/p&gt;&#xA;&lt;p&gt;This is the result I got when I tried to correct it:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Z:\Recovery\bin&amp;gt;ffmpeg -i BrokenFile.mpg FixedFile.mpg&#xA;ffmpeg version 5.1.1-full_build-www.gyan.dev Copyright (c) 2000-2022 the FFmpeg developers&#xA;  built with gcc 12.1.0 (Rev2, Built by MSYS2 project)&#xA;[mpeg @ 0000022832230440] stream 0 : no PTS found at end of file, duration not set&#xA;[mpeg @ 0000022832230440] stream 1 : no PTS found at end of file, duration not set&#xA;Input #0, mpeg, from 'BrokenFile.mpg':&#xA;  Duration: N/A, start: 0.685389, bitrate: N/A&#xA;  Stream #0:0[0x1e0]: Video: mpeg2video (Main), yuv420p(tv, progressive), 1920x1080 [SAR 1:1 DAR 16:9], 15000 kb/s, 25 fps, 25 tbr, 90k tbn&#xA;BrokenFile.mpg: corrupt decoded frame in stream 0&#xA;frame=23478 fps=505 q=31.0 Lsize=  340586kB time=00:15:39.04 &#xA;bitrate=2971.2kbits/s dup=2 drop=0 speed=20.2x&#xA;video:294684kB audio:43989kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.564961%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Can anyone suggest me how to fix the problem?&lt;/p&gt;&#xA;" OwnerUserId="39377" LastEditorUserId="674" LastEditDate="2022-09-19T15:15:08.300" LastActivityDate="2024-02-13T00:02:15.280" Title="Mpeg file not playing to the end - how to fix corruption" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35737" PostTypeId="2" ParentId="27519" CreationDate="2022-09-19T11:11:23.320" Score="0" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Create a new text layer, call it &lt;strong&gt;NewText&lt;/strong&gt; for example.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Connect the Source Text property of it to the Source Text of the Original text layer (call it &lt;strong&gt;OriginalText&lt;/strong&gt; for example). Do this by either clicking and dragging the pick whip, or by using this code:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&amp;quot;OriginalText&amp;quot;).text.sourceText &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now you can change Color, Font, and anything you want.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="39379" LastEditorUserId="18155" LastEditDate="2022-09-20T18:18:14.120" LastActivityDate="2022-09-20T18:18:14.120" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35738" PostTypeId="1" CreationDate="2022-09-19T17:40:28.800" Score="0" ViewCount="117" Body="&lt;p&gt;I have a gif opened in After Effects. I typed w to allow me to rotate the gif. But, now I cannot drag the gif up or down. It just continues to rotate. How do I stop the rotation? Thank you.&lt;/p&gt;&#xA;" OwnerUserId="39382" LastActivityDate="2024-02-18T12:07:56.100" Title="Stop rotation in After Effects" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35740" PostTypeId="2" ParentId="35735" CreationDate="2022-09-20T04:39:14.790" Score="0" Body="&lt;p&gt;Though not a free solution, I have had quite a bit of success upconverting to MP4 using AVS Video Converter; even when the data source was not in perfect shape or completely corrupted. My initial thought on this is that your headers may be corrupted.  I am not super-familiar with FFmpeg (save that it is included with the K-Lite Codec Pack!), but I would assume that there is a way to submit the repair sans headers.&lt;br /&gt;&#xA;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="38504" LastEditorUserId="18155" LastEditDate="2022-09-20T18:13:49.417" LastActivityDate="2022-09-20T18:13:49.417" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35743" PostTypeId="1" CreationDate="2022-09-21T19:28:43.810" Score="0" ViewCount="303" Body="&lt;p&gt;I have a .webm video captured through a web browser. Using ffmpeg, I want to trim it into its first 30s &lt;strong&gt;without&lt;/strong&gt; re-encoding and quality degradation. But I have issues doing it and ffmpeg complains about it.&lt;/p&gt;&#xA;&lt;p&gt;What is the problem? How can I address it?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.webm -to 30 -c copy out.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[webm @ 0000014ea3249a00] Only VP8 or VP9 or AV1 video and Vorbis or Opus audio and WebVTT subtitles are supported for WebM.&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Invalid argument&#xA;Error initializing output stream 0:1 --&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43073" LastEditorUserId="43073" LastEditDate="2022-09-21T20:18:58.907" LastActivityDate="2022-09-21T20:18:58.907" Title="Issues in trimming a video with FFmpeg" Tags="|ffmpeg|video|encoding|transcoding|webvideos|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="35747" PostTypeId="1" CreationDate="2022-09-23T07:11:06.603" Score="1" ViewCount="679" Body="&lt;p&gt;I'm writing a program to automate building of an ffmpeg command line.&lt;/p&gt;&#xA;&lt;p&gt;One thing that is challenging me is that ffmpeg uses index numbers to identify the input sources.  It would be easier if there was a way I could name or label the input sources, which would make constructing -filter_complex arguments a whole lot easier.&lt;/p&gt;&#xA;&lt;p&gt;Is there some way to name/label the inputs in ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="39406" LastActivityDate="2023-02-21T23:44:35.410" Title="Is there a way to name/label inputs in ffmpeg, instead of using input number?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35748" PostTypeId="2" ParentId="35243" CreationDate="2022-09-23T13:24:20.990" Score="0" Body="&lt;p&gt;you can specify -autoexit it works for me&lt;/p&gt;&#xA;" OwnerUserId="39410" LastActivityDate="2022-09-23T13:24:20.990" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35749" PostTypeId="1" CreationDate="2022-09-23T13:53:32.050" Score="1" ViewCount="37" Body="&lt;p&gt;I'm trying to find a way to generate a sound wave animation where the colour of the wave being generated changes as the person speaking swaps over.  I can do this with text just fine, and I have expressions to switch over based on some keyframes, but I cannot work out how to do this on an audio waveform.&lt;/p&gt;&#xA;&lt;p&gt;After Effects' built-in Audio Waveform plugin can switch colour, but it changes the entire waveform when you animated it.  I want existing waves to stay one colour when new audio after the keyframe should be a different colour.&lt;/p&gt;&#xA;&lt;p&gt;I tried using Trapcode Particular with Sound Keys.  I analysed the amplitude of my audio, and made a null which is modified in the Y-axis as the amplitude changes.&lt;/p&gt;&#xA;&lt;p&gt;I want the waveform to look as much as possible like the built-in Audio Waveform- ie an amplitude and time graph moving over time, and ideally would be symmetrical about its X axis.&lt;/p&gt;&#xA;&lt;p&gt;I set Particular to emit a directional stream of Streaklet particles, and increased the Wind on the Y axis to &amp;quot;blow&amp;quot; them along.  But as they blow along, they compress down over time.&lt;/p&gt;&#xA;&lt;p&gt;Example below - top line is Particular, lower line is Audio Waveform:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/u0bOw4bXJow?start=0&quot;&gt;&lt;/iframe&gt;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;I've tried adjusting many other values - air resistance is zero, mass at very low numbers - nothing seems to achieve the right effect.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to do this?  Or another way entirely?&lt;/p&gt;&#xA;&lt;p&gt;Many thanks&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-09-23T13:53:32.050" Title="Generate a sound wave in After Effects that changes colour over time via an expression" Tags="|after-effects|after-effects-expressions|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35750" PostTypeId="2" ParentId="35747" CreationDate="2022-09-23T23:52:24.513" Score="1" Body="&lt;p&gt;Credit to @Gyan - the answer I was looking for, name each numbered input via the null filter:&lt;/p&gt;&#xA;&lt;p&gt;These would go at the beginning of a filter_complex&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[0]null[sourcevideo];[1]null[qrcode];[2]null[logo];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="39406" LastEditorUserId="14523" LastEditDate="2022-09-25T00:09:12.877" LastActivityDate="2022-09-25T00:09:12.877" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35751" PostTypeId="1" CreationDate="2022-09-24T07:55:03.540" Score="0" ViewCount="729" Body="&lt;p&gt;I've set the original audio to mono, and the multicam sequence is also mono. The original clip comes through both ears in the headphones, but in the multicam sequence it doesn't. This video will make things more clear:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/NJf874cotWM?start=0&quot;&gt;&lt;/iframe&gt;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="19382" LastActivityDate="2024-02-17T11:00:45.183" Title="Why is audio coming out of only one ear in my headphones in this multicam sequence?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35752" PostTypeId="1" CreationDate="2022-09-24T08:23:43.863" Score="0" ViewCount="251" Body="&lt;p&gt;For a few days, when I play a mp4 video in Windows Media Player (WMP), there is something like a grey filter/overlay.&#xA;Thus, the whites are greyish and blacks lack depth. This problem is only encountered when playing the video with Windows Media Player. If I use VLC or the Windows movies &amp;amp; TV app, the rendering is as expected.&lt;/p&gt;&#xA;&lt;p&gt;The picture below illustrates the problem well:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/vfCQM.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vfCQM.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have been suspecting an issue with the rendering dynamic range: 16-235 vs. 0-255, but:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video options in WPM are rather poor and there are no such parameters to be set;&lt;/li&gt;&#xA;&lt;li&gt;In my graphic-card setting panel, I was not able to find any relevant parameters (I am using the Radeon RX Vega 10 graphics of my laptop &amp;amp; AMD software Adrenalin edition. No HDMI cables).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;It might be something else related to a Windows update (I am using Windows 10 21H2), but I don't really know what.&lt;/p&gt;&#xA;&lt;p&gt;Any help is very welcome.&lt;/p&gt;&#xA;" OwnerUserId="39416" LastEditorUserId="39416" LastEditDate="2022-09-24T08:25:22.957" LastActivityDate="2024-02-17T01:03:30.470" Title="Grey overlay when reading mp4 files in WMP" Tags="|mp4|windows|vlc|rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35753" PostTypeId="2" ParentId="9314" CreationDate="2022-09-24T08:49:56.957" Score="0" Body="&lt;p&gt;If you want to render a lot of clips from one sequence, you can use markers and After Codecs software. It allows to render a lot of clips from one sequence (multirender function).&lt;/p&gt;&#xA;&lt;p&gt;You can learn more here about this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.autokroma.com/blog/Batch-Export-Clips-Quickly-Premiere-Pro-with-our-Panel/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.autokroma.com/blog/Batch-Export-Clips-Quickly-Premiere-Pro-with-our-Panel/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;In case if you need to render parts like 0:10:00 to 0:30:00 and 1:10:00 to 1:30:00.&lt;/p&gt;&#xA;&lt;p&gt;And you need to render these two parts for example for video track 1, video track 2, 3, 4 etc... Then I think you can create the script with AutoHotKey or similar software, that will make subclip or subsequence with needed tracks for you. It can be done using only keyboard.&#xA;Maybe ExtendScript will work too in this case, but it need to test.&lt;/p&gt;&#xA;" OwnerUserId="26758" LastActivityDate="2022-09-24T08:49:56.957" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35754" PostTypeId="1" CreationDate="2022-09-24T17:56:11.887" Score="1" ViewCount="323" Body="&lt;p&gt;I am currently working with the &lt;code&gt;drawtext&lt;/code&gt;/&lt;code&gt;alphamerge&lt;/code&gt; filters to have the text coloured with &lt;code&gt;colorspectrum&lt;/code&gt; on a transparent background. While I have been trying many options, the closest I managed to get is a partial transparent background, which is just not good enough. The colours are slightly visible on most backgrounds I will use this on. &lt;a href=&quot;https://i.stack.imgur.com/3MrAY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3MrAY.png&quot; alt=&quot;colorspectrum is bleeding through&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I make the &lt;code&gt;colorspectrum&lt;/code&gt; disappear completely, except in the text?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -hide_banner -loglevel error -stats -filter_complex \&#xA;   &amp;quot;color=black@0:1920x1080:r=60,trim=end=10[bg]; \&#xA;   colorspectrum=size=1920x2:r=60,crop=iw:1,scale=iw:1080,scroll=horizontal=-0.0025[gradient]; \&#xA;   color=black@0:s=1920x1080:r=60,drawtext=text='Lorem ipsum':fontsize=60:fontcolor=white:x=w-t*w/5:y=1006[text]; \&#xA;   [gradient][text]alphamerge, [bg]overlay=shortest=1&amp;quot; \&#xA;-c:v libvpx-vp9 -an -movflags faststart stream-fans.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="39417" LastActivityDate="2023-03-08T16:52:36.950" Title="ffmpeg drawtext + colorspectrum - background partly transparent only" Tags="|ffmpeg|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35755" PostTypeId="2" ParentId="35752" CreationDate="2022-09-24T21:05:15.543" Score="0" Body="&lt;p&gt;I think I found a solution to my problem.&lt;/p&gt;&#xA;&lt;p&gt;The issue seemed to be in the Windows HD Color settings.&lt;/p&gt;&#xA;&lt;p&gt;Thus, I reset the calibration of my built-in display for HDR content in Windows. The option is a bit tricky to find, because it is in a deep Windows graphics menu. However, you may find a comprehensive description of the process to follow at the following link:&#xA;&lt;a href=&quot;https://support.microsoft.com/en-us/windows/calibrate-your-built-in-display-for-hdr-content-in-windows-de1c66fa-6cc0-b327-e73a-1bac6bd46bc0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.microsoft.com/en-us/windows/calibrate-your-built-in-display-for-hdr-content-in-windows-de1c66fa-6cc0-b327-e73a-1bac6bd46bc0&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I hope this is helpful for people facing the same issue.&lt;/p&gt;&#xA;" OwnerUserId="39416" LastActivityDate="2022-09-24T21:05:15.543" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35756" PostTypeId="2" ParentId="35751" CreationDate="2022-09-25T06:32:29.570" Score="0" Body="&lt;p&gt;I think it does this by default.&#xA;As you are only using one channel of audio, it only plays from one of your two speakers.&lt;/p&gt;&#xA;&lt;p&gt;If you want to hear it from two speakers, your sequence is going to need to have two channels, and then your mono audio track needs to be set centrally between those two channels.&lt;/p&gt;&#xA;&lt;p&gt;The way I usually resolve this is to drag my multicam sequence into a &amp;quot;normal&amp;quot; sequence, then adjust the pan controls on that clip. For some reason, the pan controls are often set to be keyframe enabled (animated), so turn that off before you start editing, otherwise you'll have to disable it individually in every clip you cut.&lt;/p&gt;&#xA;&lt;p&gt;Also, multicam editing is still buggy.  If you have any weirdness and don't need the audio to reflect your camera cuts, I often just make sure my &amp;quot;normal&amp;quot; sequence has identical settings to my multicam sequence (apart from the number of channels), then just bring the audio into the normal sequence as a normal clip.&lt;/p&gt;&#xA;&lt;p&gt;Any other multicam weirdness is usally resolved by restarting Premiere.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-09-25T06:32:29.570" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35759" PostTypeId="2" ParentId="35738" CreationDate="2022-09-26T09:29:38.073" Score="0" Body="&lt;p&gt;Select the cursor tool using the V key, or by pressing the icon on the toolbar.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ivXc3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ivXc3.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Then when you select your object, you will be able to drag it around.&lt;/p&gt;&#xA;&lt;p&gt;I highly recommend watching the first few videos here, as a beginners guide:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.videocopilot.net/basic/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.videocopilot.net/basic/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It's old, but it's a great overview.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-09-26T09:29:38.073" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35760" PostTypeId="2" ParentId="14720" CreationDate="2022-09-26T15:33:12.930" Score="0" Body="&lt;p&gt;Try converting it to a different file type, like an MP3. I'd use CloudConvert. I think it could be an issue with audio support, but I'm not sure. I had a problem with the audio appearing choppy. I converted it to an MP3, and it worked fine. I know this was made seven years ago but, I hope this helps anyone with a similar issue!&lt;/p&gt;&#xA;" OwnerUserId="39434" LastActivityDate="2022-09-26T15:33:12.930" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35761" PostTypeId="1" CreationDate="2022-09-26T18:45:04.987" Score="1" ViewCount="112" Body="&lt;p&gt;Here's the detailed info of the .mxf video&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : D:\R-2180634-1250074380.jpeg-gigapixel-low_res-scale-2_00x.mxf&#xA;Format                                   : MXF&#xA;Format version                           : 1.3&#xA;Format profile                           : OP-1a&#xA;Format settings                          : Closed / Complete&#xA;File size                                : 123 GiB&#xA;Duration                                 : 45 min 38 s&#xA;Overall bit rate                         : 387 Mb/s&#xA;Package name                             : Source Package&#xA;Encoded date                             : 2022-09-26 15:48:32.968&#xA;Writing application                      : Adobe Inc. Adobe Media Encoder 2.0.0.0.1&#xA;Writing library                          : win32 5.3.6.0.1&#xA;&#xA;Video&#xA;ID                                       : 512&#xA;Format                                   : ProRes&#xA;Format version                           : Version 0&#xA;Format profile                           : 422 HQ&#xA;Format settings, wrapping mode           : Frame&#xA;Codec ID                                 : 0D010301021C0100-0401020203060400&#xA;Duration                                 : 45 min 38 s&#xA;Bit rate                                 : 387 Mb/s&#xA;Width                                    : 1 200 pixels&#xA;Height                                   : 1 078 pixels&#xA;Display aspect ratio                     : 1.113&#xA;Frame rate                               : 60.000 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:2&#xA;Bit depth                                : 10 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 4.981&#xA;Stream size                              : 123 GiB (100%)&#xA;Writing library                          : adb0&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.709&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="39436" LastEditorUserId="39436" LastEditDate="2022-09-26T19:09:40.713" LastActivityDate="2023-10-22T07:06:55.863" Title="How do I add (layer) a .wav audio file to a ProRes 422 HQ .mxf video without re-encoding?" Tags="|ffmpeg|video|premiere|video-editor|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35762" PostTypeId="2" ParentId="35761" CreationDate="2022-09-27T04:06:07.217" Score="1" Body="&lt;p&gt;The basic syntax is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mxf -i in.wav -c copy out.mxf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The audio should be Linear PCM signed 16 or 24 bit at 48000 Hz.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-09-27T04:06:07.217" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35766" PostTypeId="1" AcceptedAnswerId="36487" CreationDate="2022-09-27T19:12:16.187" Score="2" ViewCount="694" Body="&lt;p&gt;I have a QuickTime .mov file which has 1 video track (ProRes 4444 XQ) and 8 mono audio tracks, which combined make up the 5.1 surround mix and a stereo mixdown. Per delivery requirements, I need to modify the audio track metadata to specify which channel each track represents - F, L, C, LFE, etc. - as visible in the attached screenshot from QuickTime Player.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/38UdDl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/38UdDl.png&quot; alt=&quot;QuickTime Audio Details&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have successfully modified this using a very old copy of QuickTime Pro 7 running on Windows, but I would like to use ffmpeg on a modern system. The .mov file is exported from DaVinci Resolve, but there doesn't seem to be any option for modifying these labels. With ffmpeg, I have attempted numerous combinations of -map and -filter_complex flags, but I have not been successful yet.&lt;/p&gt;&#xA;&lt;p&gt;I know I can keep the 8 audio tracks separate using the following command, but with the channel layout for each still listed as 'mono':&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i test_8mono.mov -c:v copy -c:a pcm_s24le -map 0:v:0 -map 0:a:0 -map 0:a:1 -map 0:a:2 -map 0:a:3 -map 0:a:4 -map 0:a:5 -map 0:a:6 -map 0:a:7 ~/Desktop/test1.mov&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I know I can output only one of the 8 tracks using this command, and have the channel layout correctly listed as 'Left' in QuickTime Player:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i test_8mono.mov -c:v copy -c:a pcm_s24le -filter_complex &amp;quot;[0:a]channelmap='map=0':channel_layout=FL&amp;quot; ~/Desktop/test1.mov&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;But I cannot figure what combination of these two will keep all 8 tracks separate (not multi-channel audio), but with channel_layout specified for each.&lt;/p&gt;&#xA;" OwnerUserId="39444" LastActivityDate="2023-05-24T04:49:29.823" Title="ffmpeg - How do I modify Channel Layout labels only on 8 separate mono audio tracks?" Tags="|ffmpeg|audio|davinci-resolve|metadata|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35769" PostTypeId="1" AcceptedAnswerId="35771" CreationDate="2022-09-28T15:42:39.947" Score="1" ViewCount="279" Body="&lt;p&gt;So I'm trying to add text and a logo onto all my video qualities with HLS and I am receiving the error &lt;code&gt;Too many inputs specified for the &amp;quot;split&amp;quot; filter&lt;/code&gt;. I am not sure how to correct it so that my command is working.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -hide_banner -i /var/www/area51-process1.example.com/html/v/he2IqMmhZLG-f205e4f3-2351-447d-a16c-52855da761e9.mp4&#xA;-i /var/www/area51-process1.example.com/html/includes/assets/watermark_logo.png&#xA;-filter_complex &amp;quot;[0:v]drawtext=fontfile=/var/www/area51-process1.example.com/html/includes/helveticaneue/HelveticaNeueMed.ttf:text=@mustsee:fontcolor=white@0.7:fontsize=(h/32):x=w-tw-25:y=h-th-10,format=yuv420p[wm];[1:v]scale2ref=oh*mdar:ih[logo];[logo]overlay=main_w-overlay_w-10:main_h-overlay_h-65;[wm][logo]split=5[s0][s1][s2][s3][s4];[s0]scale=854:450[480p];[s1]scale=640:338[360p];[s2]scale=1280:-2[720p];[s3]scale=1920:-2[1080p];[s4]scale=2560:1350[1440p]&amp;quot;&#xA;-map &amp;quot;[480p]&amp;quot; -map &amp;quot;[360p]&amp;quot; -map &amp;quot;[720p]&amp;quot; -map &amp;quot;[1080p]&amp;quot; -map &amp;quot;[1440p]&amp;quot; -maxrate:v:0 4000000 -bufsize:v:0 4000000 -maxrate:v:1 3000000 -bufsize:v:1 3000000 -maxrate:v:2 8000000 -bufsize:v:2 8000000&#xA;-maxrate:v:3 14000000 -bufsize:v:3 14000000 -maxrate:v:4 20000000 -bufsize:v:4 20000000 -map 0:a -c:a libfdk_aac -ac 2 -async 1 -ar 48000 -b:a 128k -c:v libx264 -preset superfast -crf:v:0 24&#xA;-profile:v:0 high -crf:v:1 25 -profile:v:1 high -crf:v:2 23 -profile:v:2 high -crf:v:3 22 -profile:v:3 high -crf:v:4 21 -profile:v:4 high  -g 100 -keyint_min 100 -force_key_frames &amp;quot;expr:gte(t,n_forced*2)&amp;quot; -sc_threshold 0 -flags +global_header&#xA;-movflags +faststart -max_muxing_queue_size 4096 -threads 0 -f tee &amp;quot;[select=\'v:0,a\':f=hls:start_number=0:hls_flags=single_file:hls_playlist_type=vod:hls_segment_type=fmp4:hls_time=4:hls_list_size=0:hls_segment_filename=/var/www/area51-process1.example.com/html/v/he2IqMmhZLG-f205e4f3-2351-447d-a16c-52855da761e9-480p-segment.mp4]/var/www/area51-process1.example.com/html/v/he2IqMmhZLG-f205e4f3-2351-447d-a16c-52855da761e9-480p.m3u8|[select=\'v:1,a\':f=hls:start_number=0:hls_flags=single_file:hls_playlist_type=vod:hls_segment_type=fmp4:hls_time=4:hls_list_size=0:hls_segment_filename=/var/www/area51-process1.example.com/html/v/he2IqMmhZLG-f205e4f3-2351-447d-a16c-52855da761e9-360p-segment.mp4]/var/www/area51-process1.example.com/html/v/he2IqMmhZLG-f205e4f3-2351-447d-a16c-52855da761e9-360p.m3u8|[select=\'v:2,a\':f=hls:start_number=0:hls_flags=single_file:hls_playlist_type=vod:hls_segment_type=fmp4:hls_time=4:hls_list_size=0:hls_segment_filename=/var/www/area51-process1.example.com/html/v/he2IqMmhZLG-f205e4f3-2351-447d-a16c-52855da761e9-720p-segment.mp4]/var/www/area51-process1.example.com/html/v/he2IqMmhZLG-f205e4f3-2351-447d-a16c-52855da761e9-720p.m3u8|[select=\'v:3,a\':f=hls:start_number=0:hls_flags=single_file:hls_playlist_type=vod:hls_segment_type=fmp4:hls_time=4:hls_list_size=0:hls_segment_filename=/var/www/area51-process1.example.com/html/v/he2IqMmhZLG-f205e4f3-2351-447d-a16c-52855da761e9-1080p-segment.mp4]/var/www/area51-process1.example.com/html/v/he2IqMmhZLG-f205e4f3-2351-447d-a16c-52855da761e9-1080p.m3u8|[select=\'v:4,a\':f=hls:start_number=0:hls_flags=single_file:hls_playlist_type=vod:hls_segment_type=fmp4:hls_time=4:hls_list_size=0:hls_segment_filename=/var/www/area51-process1.example.com/html/v/he2IqMmhZLG-f205e4f3-2351-447d-a16c-52855da761e9-1440p-segment.mp4]/var/www/area51-process1.example.com/html/v/he2IqMmhZLG-f205e4f3-2351-447d-a16c-52855da761e9-1440p.m3u8&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;update:&#xA;After using the new code it works but the image is huge. what could be causing that?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FRUsv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FRUsv.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="39451" LastEditorUserId="39451" LastEditDate="2022-10-01T07:53:10.127" LastActivityDate="2022-10-06T08:00:26.447" Title="ffmpeg - Too many inputs specified for the &quot;split&quot; filter" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35771" PostTypeId="2" ParentId="35769" CreationDate="2022-09-29T04:22:17.820" Score="2" Body="&lt;p&gt;The split filter expects exactly one input. Also, scale2ref requires two, as does overlay. As currently specified, the filters will rely on implicit routing which won't help with debugging or clarity.&lt;/p&gt;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;[0:v]drawtext=fontfile=/var/www/area51-process1.example.com/html/includes/helveticaneue/HelveticaNeueMed.ttf:text=@mustsee:fontcolor=white@0.7:fontsize=(h/32):x=w-tw-25:y=h-th-10,format=yuv420p[wm];[1:v][wm]scale2ref=oh*mdar:ih[logo][wm];[wm][logo]overlay=main_w-overlay_w-10:main_h-overlay_h-65,split=5[s0][s1][s2][s3][s4];[s0]scale=854:450[480p];[s1]scale=640:338[360p];[s2]scale=1280:-2[720p];[s3]scale=1920:-2[1080p];[s4]scale=2560:1350[1440p]&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-09-29T04:22:17.820" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35772" PostTypeId="1" CreationDate="2022-09-29T17:46:16.973" Score="1" ViewCount="9" Body="&lt;p&gt;Good day! I'm new to premiere pro, and here is my issue. I have an animation/sequence I'm currently compositing in premiere pro that has a transparent background and I forgot to add shadows on it, that it is supposed to look like it enters a tunnel, and I don't want to re-render my animation just for that. Is there a way to clip an image that acts like a shadow onto the animation/sequence like clipping layers in photoshop? I already tried using track matte but it only works for videos that are going to be clipped on a text/image/shape, not images that are the ones gonna clip onto a video.&lt;/p&gt;&#xA;&lt;p&gt;Example using Photoshop:&#xA;Assume the train is moving, but the shadow is static.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/DSQnS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DSQnS.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="39462" LastActivityDate="2022-09-29T17:46:16.973" Title="How to clip an image/layer like photoshop to an animation that has a transparent background in Premier pro?" Tags="|video|editing|premiere-pro|compositing|clipping|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35774" PostTypeId="1" CreationDate="2022-09-30T00:05:01.840" Score="1" ViewCount="25" Body="&lt;h2&gt;BACKGROUND / PROBLEM&lt;/h2&gt;&#xA;&lt;p&gt;Hi, I plan on getting a Blackmagic Pocket Cinema Camera 6k g2 sometime soon, and don't know the physical limits of what the body of it can withstand. I've heard that EF lens mounts are weak, not meant to bear weight, and that the Black Magic Pocket series have the mounts screwed into the plastic, not metal. So I fear it breaking.&lt;/p&gt;&#xA;&lt;p&gt;I'll have rails and a matte box mounted to them, plus a 135mm telephoto lens that weighs a little under 2 lbs.&lt;/p&gt;&#xA;&lt;p&gt;Some shots with it will be done from overhead, so the lens is perpendicular with the ground. Lets assume some minor hand shake is applied as if you were doing an earthquake scene.&lt;/p&gt;&#xA;&lt;p&gt;And although I have no plans to do this, lets assume you whip panned this same setup 135 degrees from any direction as fast as your arms could do it &lt;em&gt;(bottom to top, left to right, etc).&lt;/em&gt;&lt;/p&gt;&#xA;&lt;h2&gt;QUESTIONS&lt;/h2&gt;&#xA;&lt;p&gt;Assuming the above...&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Does anyone know if parts of the camera would break or loosen from these actions?? What are it's physical limits, particularly around the mount??&lt;/li&gt;&#xA;&lt;li&gt;Do you have any suggestions on what would be best for doing these movements safely?? Because the only lens supports I've seen are for when the camera is held horizontally, never overhead. I also know I can use like a GoPro, but let's assume that wasn't possible, because I want to know the limits of this camera.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="39466" LastActivityDate="2022-09-30T00:05:01.840" Title="Is the EF mount on the BMPCC 6k weak? If yes, how weak?" Tags="|video|video-recording|lenses|action-cam|blackmagic|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35776" PostTypeId="2" ParentId="15168" CreationDate="2022-09-30T04:44:12.960" Score="0" Body="&lt;p&gt;It sounds like you are having problems with drop-frame frame rates. When color was added to broadcast TV, the frame rate was reduced from 30 frames per second to 29.976 to squeeze in that extra color data.&lt;/p&gt;&#xA;&lt;p&gt;To fix this, you may be able to correct the capture settings in your current software to ensure it is using 29.976 instead of 30 fps. If not, there is some software, such as Quicktime Pro (on a mac) that allows you to edit the metadata of the saved video file to correct the playback speed.&lt;/p&gt;&#xA;&lt;p&gt;If those do not work for you, I would try using VLC to capture from that hardware. Here is one &lt;a href=&quot;https://www.vlchelp.com/how-to-record-webcam-video-using-vlc-media-player/&quot; rel=&quot;nofollow noreferrer&quot;&gt;guide&lt;/a&gt; you can follow to record from a capture device. There is a de-interlace filter you can use in VLC; just keep in mind that de-interlaced footage can look worse than using the interlaced footage as-is.&lt;/p&gt;&#xA;" OwnerUserId="39468" LastActivityDate="2022-09-30T04:44:12.960" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35778" PostTypeId="1" CreationDate="2022-09-30T09:11:38.990" Score="0" ViewCount="127" Body="&lt;p&gt;I have a powerful graphics card so would like to use it for rendering, rather than my cpu. How can I do this in Cinema4D&lt;/p&gt;&#xA;" OwnerUserId="39422" LastEditorUserId="674" LastEditDate="2022-09-30T12:36:34.113" LastActivityDate="2024-02-22T15:05:20.647" Title="How to render with graphic card in Cinema4D?" Tags="|motion-graphics|cinema4d|render|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35779" PostTypeId="2" ParentId="35730" CreationDate="2022-09-30T09:56:23.673" Score="0" Body="&lt;p&gt;It happens sometimes make opacity 100%  than make another shape, that should do it.  But don't delete the current shape before make another one or problem will continue. Then you can delete both, enjoy your 100% opacity :)&lt;/p&gt;&#xA;" OwnerUserId="39422" LastActivityDate="2022-09-30T09:56:23.673" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35781" PostTypeId="2" ParentId="35778" CreationDate="2022-09-30T12:25:37.140" Score="0" Body="&lt;p&gt;Cinema 4D is constrained to CPU rendering. You'll need to look at other products if you want to use GPU.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2022-09-30T12:25:37.140" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35782" PostTypeId="1" CreationDate="2022-10-01T11:53:26.413" Score="0" ViewCount="68" Body="&lt;p&gt;Why are there arrows above my timeline? And why is the timeline outside of these arrows grayed out somewhat, using crosshatch? I tried things like selecting a range, or unselecting a range, but didn't affect these arrows. I tried dragging, and clicking, the arrows, but no obvious way to move them. No name or help appears when I mouse-over the top of them.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xPDLG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xPDLG.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38830" LastActivityDate="2022-10-01T11:53:26.413" Title="What are the arrows above the timeline in final cut pro?" Tags="|final-cut-pro-x|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35783" PostTypeId="2" ParentId="35782" CreationDate="2022-10-01T11:53:26.413" Score="1" Body="&lt;p&gt;So, it turns out that it's because I was inside a compound clip, and I'd clicked into that compound click from its parent. The arrows show which part of this compound click is being shown inside the parent. If one clicks back into the parent, and expands the range of the compound being shown, then the arrows move.&lt;/p&gt;&#xA;&lt;p&gt;In parent, before:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TfHCC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TfHCC.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;In parent, after expanding clip a bit:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/IJjEj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IJjEj.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;Back inside the compound clip, the arrows are now further apart:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Yn7rn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Yn7rn.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Also, if you find the current compound in the event viewer, and double-click it, to open it directly, there will no longer be any arrows at all:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2h7Dk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2h7Dk.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="38830" LastActivityDate="2022-10-01T11:53:26.413" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35784" PostTypeId="1" AcceptedAnswerId="35786" CreationDate="2022-10-02T02:07:17.477" Score="1" ViewCount="103" Body="&lt;p&gt;I've been using FFmpeg to combine an audio file (.wav) and an image (.jpg) into a video (.mp4), the command I looked up seemed to work when testing it, so I tweaked it a bit (mostly just adding the scale argument) to fit that I needed and wrote a python script to run through the whole folder and create the videos.&lt;/p&gt;&#xA;&lt;p&gt;They seemed fine until I noticed one was a lot longer than intended, and when I loaded all the videos &amp;amp; songs into VLC, every video was &lt;em&gt;exactly&lt;/em&gt; one minute longer than the audio source was.&lt;/p&gt;&#xA;&lt;p&gt;This is the command I've been using:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -loop 1 -framerate 1 -i &amp;quot;{image}&amp;quot; -i &amp;quot;{audio}&amp;quot; -c:a aac -b:a 128k -s 1080x1080 -shortest &amp;quot;{name}&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;The curly brackets are just for python's &lt;code&gt;.format()&lt;/code&gt; function, I've tested it with specific files just in the command prompt and I get the same output. Here's said output for a test I did:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-91869-g5632044939 Copyright (c) 2000-2018 the FFmpeg developers&#xA;  built with gcc 8.2.1 (GCC) 20180813&#xA;  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth&#xA;  libavutil      56. 19.101 / 56. 19.101&#xA;  libavcodec     58. 29.100 / 58. 29.100&#xA;  libavformat    58. 18.100 / 58. 18.100&#xA;  libavdevice    58.  4.103 / 58.  4.103&#xA;  libavfilter     7. 29.100 /  7. 29.100&#xA;  libswscale      5.  2.100 /  5.  2.100&#xA;  libswresample   3.  2.100 /  3.  2.100&#xA;  libpostproc    55.  2.100 / 55.  2.100&#xA;Input #0, image2, from 'cover.jpg':&#xA;  Duration: 00:00:01.00, start: 0.000000, bitrate: 1031 kb/s&#xA;    Stream #0:0: Video: mjpeg, yuvj420p(pc, bt470bg/unknown/unknown), 810x810 [SAR 72:72 DAR 1:1], 1 fps, 1 tbr, 1 tbn, 1 tbc&#xA;Guessed Channel Layout for Input Stream #1.0 : stereo&#xA;Input #1, wav, from '15 Intermission ~ Applaud The Dog!.wav':&#xA;  Metadata:&#xA;    encoder         : FL Studio 20&#xA;  Duration: 00:00:16.18, bitrate: 1411 kb/s&#xA;    Stream #1:0: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 44100 Hz, stereo, s16, 1411 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (mjpeg (native) -&amp;gt; h264 (libx264))&#xA;  Stream #1:0 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[swscaler @ 0000014cab299600] deprecated pixel format used, make sure you did set range correctly&#xA;[libx264 @ 0000014cab314300] using SAR=1/1&#xA;[libx264 @ 0000014cab314300] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0000014cab314300] profile High, level 3.2, 4:2:0, 8-bit&#xA;[libx264 @ 0000014cab314300] 264 - core 157 r2932 303c484 - H.264/MPEG-4 AVC codec - Copyleft 2003-2018 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=1 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'vid/15 Intermission ~ Applaud The Dog!.mp4':&#xA;  Metadata:&#xA;    encoder         : Lavf58.18.100&#xA;    Stream #0:0: Video: h264 (libx264) (avc1 / 0x31637661), yuvj420p(pc, progressive), 1080x1080 [SAR 1:1 DAR 1:1], q=-1--1, 1 fps, 16384 tbn, 1 tbc&#xA;    Metadata:&#xA;      encoder         : Lavc58.29.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1: Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc58.29.100 aac&#xA;frame=   76 fps= 57 q=-1.0 Lsize=     798kB time=00:01:13.00 bitrate=  89.5kbits/s speed=54.8x&#xA;video:536kB audio:256kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.658655%&#xA;[libx264 @ 0000014cab314300] frame I:1     Avg QP: 8.10  size:534314&#xA;[libx264 @ 0000014cab314300] frame P:19    Avg QP: 7.98  size:   565&#xA;[libx264 @ 0000014cab314300] frame B:56    Avg QP:13.34  size:    58&#xA;[libx264 @ 0000014cab314300] consecutive B-frames:  1.3%  0.0%  3.9% 94.7%&#xA;[libx264 @ 0000014cab314300] mb I  I16..4:  5.4% 25.8% 68.8%&#xA;[libx264 @ 0000014cab314300] mb P  I16..4:  0.0%  0.0%  0.0%  P16..4:  2.3%  0.0%  0.0%  0.0%  0.0%    skip:97.7%&#xA;[libx264 @ 0000014cab314300] mb B  I16..4:  0.0%  0.0%  0.0%  B16..8:  0.4%  0.0%  0.0%  direct: 0.0%  skip:99.6%  L0: 7.5% L1:92.5% BI: 0.0%&#xA;[libx264 @ 0000014cab314300] 8x8 transform intra:25.8% inter:68.4%&#xA;[libx264 @ 0000014cab314300] coded y,uvDC,uvAC intra: 98.1% 85.1% 84.5% inter: 0.2% 0.1% 0.0%&#xA;[libx264 @ 0000014cab314300] i16 v,h,dc,p: 13% 13% 55% 18%&#xA;[libx264 @ 0000014cab314300] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 14% 14% 12% 12% 10%  9% 10%  8% 12%&#xA;[libx264 @ 0000014cab314300] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 21% 15%  8%  8% 10% 10%  9%  8% 10%&#xA;[libx264 @ 0000014cab314300] i8c dc,h,v,p: 35% 28% 27% 11%&#xA;[libx264 @ 0000014cab314300] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;[libx264 @ 0000014cab314300] ref P L0: 98.6%  0.0%  1.2%  0.2%&#xA;[libx264 @ 0000014cab314300] ref B L0:  5.4% 94.6%&#xA;[libx264 @ 0000014cab314300] kb/s:57.72&#xA;[aac @ 0000014cab28c740] Qavg: 145.257&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I can't for the life of me figure out why this is happening, would anyone know and have a solution? Again, this happens with &lt;em&gt;every&lt;/em&gt; audio file I try and with different images as well.&lt;/p&gt;&#xA;" OwnerUserId="39477" LastActivityDate="2022-10-02T04:43:25.150" Title="Why is FFmpeg adding a minute to videos created with an audio source &amp; image source?" Tags="|ffmpeg|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35786" PostTypeId="2" ParentId="35784" CreationDate="2022-10-02T04:43:25.150" Score="0" Body="&lt;p&gt;There was a bug with &lt;code&gt;-shortest&lt;/code&gt;. Upgrade to a recent git build (5.1 series won't do).&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-10-02T04:43:25.150" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35787" PostTypeId="1" AcceptedAnswerId="35822" CreationDate="2022-10-02T20:54:08.667" Score="0" ViewCount="107" Body="&lt;p&gt;Image editors are classified either as &lt;strong&gt;destructive&lt;/strong&gt; (&lt;strong&gt;Photoshop&lt;/strong&gt; and &lt;strong&gt;Gimp&lt;/strong&gt;) or &lt;strong&gt;non-destructive&lt;/strong&gt; (&lt;strong&gt;Darktable&lt;/strong&gt;) editors. The former irreversibly hard-codes effects and edits into the image based on the sequence they are applied, whereas for the latter, &lt;em&gt;all changes to the image are reversible and agnostic to the sequence in which the other effects and changes are applied&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Adobe Premiere Pro, being the video counterpart to Photoshop, must therefore be a destructive video editor, right? Are there any video editors that are non-destructive instead?&lt;/p&gt;&#xA;" OwnerUserId="33408" LastEditorUserId="33408" LastEditDate="2022-10-05T18:47:28.760" LastActivityDate="2022-10-17T17:17:29.707" Title="Non-destructive video editors" Tags="|video-editor|editing|software-recommendation|software|" AnswerCount="1" CommentCount="12" ContentLicense="CC BY-SA 4.0" />
  <row Id="35790" PostTypeId="2" ParentId="35206" CreationDate="2022-10-04T00:04:41.037" Score="1" Body="&lt;p&gt;I found this question when doing a search as I was running into the same exact problem the OP described. I tried the suggestion from Jason in his reply, but it didn't work for me.&lt;/p&gt;&#xA;&lt;p&gt;I was able to solve the problem though. After some digging, I discovered it was an unusual issue with the font I was using! (Note that both systems below are Windows 10)&lt;/p&gt;&#xA;&lt;p&gt;I was using the &amp;quot;Arial Rounded MT Bold&amp;quot; font with the Fusion titles as it's easy to read and scales well when resizing the video (shot and edited in UHD, will be streamed in 1080 and also delivered on DVD, so that was an important factor).&lt;/p&gt;&#xA;&lt;p&gt;On the computer I created the project, that font had a style of &amp;quot;Bold&amp;quot; as the only listing in the drop down below the font name in the title's Controls panel.&lt;/p&gt;&#xA;&lt;p&gt;On the computer I transferred the archived project to, the same font had only the style of &amp;quot;Regular&amp;quot; listed instead of &amp;quot;Bold&amp;quot;. I found that I could fix the problem with the title and the keyframe stretcher if I went into the Controls panel for the title and updated the selection of &amp;quot;Regular&amp;quot; for the font (while it already showed &amp;quot;Regular&amp;quot; selected, I had to select it again).&lt;/p&gt;&#xA;&lt;p&gt;I wasn't going to do this on every title I had placed on the timeline (they were informational pop-ups on an instructional video and there were quite a few), so I inspected the font itself on both systems and found that the original system was v1.50, while the other system showed v1.51. While unusual, this might account for the differences I was seeing.&lt;/p&gt;&#xA;&lt;p&gt;So, I uninstalled the v1.51 font on the second system and copied the v1.50 over, installed it and then rebooted. The font now showed a style of &amp;quot;Bold&amp;quot; rather than &amp;quot;Regular&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;This solved the problem and all the titles on the timeline work now, as well as the template I had copied over for the title!&lt;/p&gt;&#xA;&lt;p&gt;While this kind of problem might normally be caused by a missing font or a missing font style for the font family being used, this was a case of a single font in a single style where the version of the font was at issue and was only fixed by reverting to the version the Fusion template was expecting.&lt;/p&gt;&#xA;&lt;p&gt;James&lt;/p&gt;&#xA;&lt;p&gt;Note- it's possible that simply making a copy of the TTF file for &amp;quot;Arial Rounded MT Bold&amp;quot; in the Windows font directory, uninstalling the font and then re-installing the same font using the copy might work, but I didn't try this and didn't think of it until afterwards. If you try it, let me know if it worked as this problem might have been a bad install of the font initially rather than a version crash.&lt;/p&gt;&#xA;" OwnerUserId="39489" LastActivityDate="2022-10-04T00:04:41.037" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35794" PostTypeId="1" AcceptedAnswerId="36847" CreationDate="2022-10-04T15:18:11.010" Score="1" ViewCount="32" Body="&lt;p&gt;I received several video files for editing that were recorded on a mobile phone. (Samsung S21, if it matters.)&lt;/p&gt;&#xA;&lt;p&gt;When I brought the files into VEGAS (still using version 15.0 Platinum), it reports some unusual framerates that are approximately standard, including (in fps): 60.015, 59.722, 31.036, 30.058, 30.022, 30.009, 30.007, and 29.919.&lt;/p&gt;&#xA;&lt;p&gt;The files are in MP4 format, AVC/AAC compression, with standard 1920 × 1080 resolution.&lt;/p&gt;&#xA;&lt;p&gt;Are the reported framerates legitimate, or is this more likely an error in the way VEGAS calculates and reports framerate? Something else?&lt;/p&gt;&#xA;&lt;p&gt;For my purposes, I'm sure the difference in framerate will not be noticeable if I disable resampling on these clips and use them in a 60p or 30p project (except maybe for the one at 31.036).&lt;/p&gt;&#xA;" OwnerUserId="39496" LastEditorUserId="39496" LastEditDate="2023-10-01T22:51:30.870" LastActivityDate="2023-10-01T22:51:30.870" Title="Do mobile phones really record in these odd framerates?" Tags="|mp4|file-formats|framerate|vegas-pro|mobile|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35801" PostTypeId="1" CreationDate="2022-10-06T05:40:12.387" Score="1" ViewCount="187" Body="&lt;p&gt;How can I export a video to .mjpeg at my selected FPS value (7 FPS for stop motion video) while including audio in the export?&lt;/p&gt;&#xA;&lt;p&gt;I use the -i input command in ffmpeg to include my .ogg audio file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 7 -i /path/to/audio/file/audioexample.ogg -i &amp;quot;$IMAGEPATH/%06d.jpg&amp;quot; -vcodec mjpeg -shortest &amp;quot;$VIDEOFILE&amp;quot;.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This doesn't export at 7 fps, it's much faster, looks like about 25 FPS. The -shortest option works and cuts the audio length to the video length, otherwise without -shortest the audio goes on longer than the video, so about 25 FPS either way regardless of -shortest.&lt;/p&gt;&#xA;&lt;p&gt;The FPS will only correctly export at 7 FPS if I remove the audio from the ffmpeg export like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 7 -i &amp;quot;$IMAGEPATH/%06d.jpg&amp;quot; -vcodec mjpeg &amp;quot;$VIDEOFILE&amp;quot;.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm using Linux Stopmotion video creation software which uses this ffmpeg command.&lt;/p&gt;&#xA;&lt;p&gt;How can I include my audio but still have control of the FPS value using ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="39503" LastEditorUserId="39503" LastEditDate="2022-10-06T05:41:30.373" LastActivityDate="2024-03-01T21:07:15.827" Title="ffmpeg: Changes to FPS only work if I don't include audio in the export, how can I keep audio and choose the FPS value?" Tags="|ffmpeg|framerate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35803" PostTypeId="1" CreationDate="2022-10-07T09:32:16.577" Score="1" ViewCount="161" Body="&lt;p&gt;I'm using FFmpeg's &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#showspectrumpic&quot; rel=&quot;nofollow noreferrer&quot;&gt;showspectrumpic&lt;/a&gt; function to generate spectrogram pictures :&#xA;&lt;a href=&quot;https://i.stack.imgur.com/TNTsK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TNTsK.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have a working FFmpeg build that does what I need, but it's quite heavy (almost 100mo).&lt;/p&gt;&#xA;&lt;p&gt;Is it possible to compile a FFmpeg build with the minimal requirements to run just the “showspectrumpic” function ? I have no clue how compiling works.&lt;/p&gt;&#xA;&lt;p&gt;I've already tried the &lt;a href=&quot;https://github.com/m-ab-s/media-autobuild_suite&quot; rel=&quot;nofollow noreferrer&quot;&gt;media-autobuild_suite&lt;/a&gt;, but it gives me errors that I don't understand. Maybe I messed up the setup, I honestly don't know.&lt;/p&gt;&#xA;&lt;p&gt;Either way, any info on “FFmpeg builds for noobs” is more than welcome&lt;/p&gt;&#xA;&lt;p&gt;Thanks y'all \o&lt;/p&gt;&#xA;" OwnerUserId="39511" LastEditorUserId="18155" LastEditDate="2022-10-07T19:22:48.543" LastActivityDate="2022-10-07T19:22:48.543" Title="Need help compiling a custom, minimal FFmpeg build" Tags="|ffmpeg|audio|music|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35805" PostTypeId="2" ParentId="35801" CreationDate="2022-10-07T22:51:27.873" Score="0" Body="&lt;p&gt;The location of the audio &lt;code&gt;-i&lt;/code&gt; input within the ffmpeg command makes a difference. If the audio is input right after the FPS value, then the FPS value doesn't work and instead uses a default FPS. Put your sound input after your existing images input then the FPS value you input will work.&lt;/p&gt;&#xA;&lt;p&gt;The working command is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 7 -i &amp;quot;$IMAGEPATH/%06d.jpg&amp;quot; -i /path/to/audio/file/audioexample.ogg -vcodec mjpeg -shortest &amp;quot;$VIDEOFILE&amp;quot;.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="39503" LastEditorUserId="14523" LastEditDate="2022-10-08T17:34:53.153" LastActivityDate="2022-10-08T17:34:53.153" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35806" PostTypeId="1" CreationDate="2022-10-08T13:26:41.633" Score="2" ViewCount="98" Body="&lt;p&gt;I can use &lt;code&gt;ffmpeg -mpdecimate&lt;/code&gt; to &lt;em&gt;remove&lt;/em&gt; duplicate frames in a video file, but is there any way to just &lt;em&gt;list&lt;/em&gt; them, using ffmpeg or otherwise?&lt;/p&gt;&#xA;&lt;p&gt;Ideally I'd get an output saying nothing happens at time x for y frames.&lt;/p&gt;&#xA;" OwnerUserId="37994" LastEditorUserId="14523" LastEditDate="2022-10-08T17:35:35.910" LastActivityDate="2022-10-08T17:35:35.910" Title="Any way to *list*, not remove, duplicate frames in an an MP4 file?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35807" PostTypeId="2" ParentId="25801" CreationDate="2022-10-09T06:39:36.770" Score="1" Body="&lt;p&gt;You can use &lt;a href=&quot;https://www.shutterencoder.com/en/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Shutter Encoder&lt;/a&gt; to do that. It's free, but they did a really good job putting this app together. I've recently started using it in place of other higher profile programs.&lt;/p&gt;&#xA;&lt;p&gt;It's basically a really nice GUI front end for ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;This one will definitely merge video and audio for you, and you can even trim whichever is shorter if you'd like. See if this helps you.&lt;/p&gt;&#xA;" OwnerUserId="39518" LastEditorUserId="39518" LastEditDate="2022-10-09T06:40:28.663" LastActivityDate="2022-10-09T06:40:28.663" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35808" PostTypeId="1" CreationDate="2022-10-10T22:53:22.227" Score="0" ViewCount="282" Body="&lt;p&gt;I'm just starting with ffmpeg, and i can't get any command to run, they all return&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;quot;Unable to find a suitable output format for 'i'&#xA;i: Invalid argument&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The command was just &lt;code&gt;ffmpeg i StarWars1977.m4v&lt;/code&gt;. Does the input file need too be in somewhere specific, or do I need to copy the file path?&lt;/p&gt;&#xA;&lt;p&gt;I'm trying to extract frames from a video, but it was giving the same error, so i was trying a simpler test.&lt;/p&gt;&#xA;" OwnerUserId="39523" LastEditorUserId="14523" LastEditDate="2022-10-11T21:00:58.410" LastActivityDate="2022-10-11T21:00:58.410" Title="Error when trying to execute ffmpeg command" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35809" PostTypeId="2" ParentId="35808" CreationDate="2022-10-11T02:04:05.503" Score="1" Body="&lt;p&gt;This will get you one frame at the one minute mark.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:01:00 -i &amp;quot;[FilePath]&amp;quot; -frames:v 1 img.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12626" LastActivityDate="2022-10-11T02:04:05.503" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35811" PostTypeId="1" CreationDate="2022-10-11T19:34:37.907" Score="0" ViewCount="58" Body="&lt;p&gt;I have a few videos which are quite shaky: similar to this one: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/QIuhIyj9CcE?start=0&quot;&gt;&lt;/iframe&gt;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;These are shot with DJI's Action2, which has a fixed aperture of f/2.8.&lt;/p&gt;&#xA;&lt;p&gt;The main problem here is EIS and DJI's algorithm: in auto mode it always aims to bring EV at 0.&lt;/p&gt;&#xA;&lt;p&gt;How does it solve this? First it increases ISO to maximal 12800. When this is not enough, it raises the shutter speed to somewhat maximum of 1/30.&lt;/p&gt;&#xA;&lt;p&gt;However this is a huge drawback, as EIS needs much shorter shutter speeds, typically around 1/100 or even shorter.&lt;/p&gt;&#xA;&lt;p&gt;Now I can set the exposure manually to have a constant shutter speed of 1/100, and a semi-auto ISO between 100-12800, and this brings back EIS to life. I wish to keep it on auto, as if I forget to change back once I'm shooting in a bright sunny day, 1/100 with f/2.8 and ISO 100 will result overexposed shots.&lt;/p&gt;&#xA;&lt;p&gt;Taking a bit step further my videos are more similar to this (bit longer) one: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/goLNBo_G8Bo?start=38&quot;&gt;&lt;/iframe&gt;&#xA;            &lt;/div&gt;&lt;/div&gt;, please check it from 38th second, you can see these artifical ligths are shaking:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0K8G5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0K8G5.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Whereas in just a few milliseconds later:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZvKeg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZvKeg.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I wish to know if there is a way to stabilise these kind of artifacts with FinalCut.&lt;/p&gt;&#xA;&lt;p&gt;I tried to enable &lt;em&gt;Stabilization&lt;/em&gt; with various methods, but it seems it just can't realise what I wish to achieve.&lt;/p&gt;&#xA;&lt;p&gt;I might have to try with AfterEffects, but first I'd need some directing, if this is at all possible. (I would be amazed if not, since Google can even make photos moving these days..)&lt;/p&gt;&#xA;" OwnerUserId="35578" LastActivityDate="2024-03-05T09:08:01.027" Title="(How) is it possible to stabilize video suffering from this type of shaking?" Tags="|after-effects|final-cut-pro-x|final-cut-pro|stabilisation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35812" PostTypeId="2" ParentId="35811" CreationDate="2022-10-12T05:11:06.053" Score="0" Body="&lt;p&gt;Every example video they show on their &lt;a href=&quot;https://www.dji.com/uk/dji-action-2&quot; rel=&quot;nofollow noreferrer&quot;&gt;product page&lt;/a&gt; is shot in bright daylight, except for a couple which have very low movement, and no artificial light spots in view.&lt;/p&gt;&#xA;&lt;p&gt;The artefacts you're seeing are from the camera trying to stabilise the footage in software - the smearing is when it fails to do so. From &lt;a href=&quot;https://www.dji.com/uk/dji-action-2&quot; rel=&quot;nofollow noreferrer&quot;&gt;their site&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&amp;quot;HorizonSteady keeps your footage level, no matter how wild the action&#xA;gets. From go-karting to dirt biking, DJI's built-in stabilization&#xA;algorithm detects and corrects camera shake and rotation in&#xA;real-time.&amp;quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;At lower shutter rates with this kind of camera, you're either going to get noisy under-exposed footage with motion blur, or buy a gimbal to smooth out the jumps.  There's not a software solution to fix that amount of blurring that I'm aware of.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-10-12T05:11:06.053" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35820" PostTypeId="1" CreationDate="2022-10-17T06:45:37.187" Score="0" ViewCount="172" Body="&lt;p&gt;I'm building low delay live streaming with use webrtc. My server application use gstreamer and UDP as transport. It works fine except that lost UDP packets leads to too long drops. To improve user experience I enabled intra-refresh mode of gstreamer's x264enc. It should lead to more flat bitrate and faster picture restoring in case of lost UDP packets.&lt;/p&gt;&#xA;&lt;p&gt;But browser's player works fine until the first dropped packet and then it freezes and does not decodes anything. I tried chrome/safari/firefox and the result is same.&#xA;I believe video decoders in browsers should process that kind of video streams.&lt;/p&gt;&#xA;&lt;p&gt;Maybe I should add some additional option to x264enc or I can somehow diagnose the problem with player on lower level?&lt;/p&gt;&#xA;&lt;p&gt;Options I use now:&#xA;x264enc bitrate=10000 pass=qual intra-refresh=1 speed-preset=1 tune=zerolatency&lt;/p&gt;&#xA;" OwnerUserId="37221" LastActivityDate="2024-03-15T10:03:30.427" Title="Intra-refresh mode in x264 encoder causes browser's player freeze" Tags="|video|streaming|x264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35822" PostTypeId="2" ParentId="35787" CreationDate="2022-10-17T17:17:29.707" Score="-1" Body="&lt;p&gt;Adobe Premiere Pro, Final Cut Pro and Da Vinci are all non-destructive video editors, although it hasn't been tested in these programs whether the sequence in which effects are applied are independent.&lt;/p&gt;&#xA;" OwnerUserId="33408" LastActivityDate="2022-10-17T17:17:29.707" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35824" PostTypeId="1" AcceptedAnswerId="35828" CreationDate="2022-10-18T07:33:51.720" Score="0" ViewCount="1404" Body="&lt;p&gt;I am using &lt;a href=&quot;https://kkroening.github.io/ffmpeg-python/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffmpeg-python&lt;/a&gt; to convert an hevc mkv file to an h264 mp4. This is the relevant code:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.input(video_file).output(out_name, vcodec='libx264', **{'pix_fmt': 'yuv420p'}).run()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Yet after converting the file, the resulting mp4 will only play in certain media players. Here is the result of running ffprobe on the mp4:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FHJt1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FHJt1.png&quot; alt=&quot;ffprobe output&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I know this should be possible, so does anyone have an idea of why it isn't playing in older/more standard media players?&lt;/p&gt;&#xA;" OwnerUserId="29716" LastActivityDate="2022-10-19T13:04:27.903" Title="ffmpeg-converted video file won't play in Windows Media Player or Movies &amp; TV" Tags="|ffmpeg|mp4|conversion|h.264|windows|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35825" PostTypeId="2" ParentId="35625" CreationDate="2022-10-18T09:51:08.477" Score="0" Body="&lt;p&gt;This is due to the different configurations/formats of your input files, like fps. You need to convert all the files to the sample configuration.&lt;/p&gt;&#xA;&lt;p&gt;You can refer to my answer &lt;a href=&quot;https://superuser.com/questions/1730350/i-want-to-concatenate-two-mp4-files-but-ffmpeg-shows-an-error-all-over/1748092#1748092&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="39575" LastActivityDate="2022-10-18T09:51:08.477" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35826" PostTypeId="2" ParentId="9558" CreationDate="2022-10-18T10:32:02.640" Score="0" Body="&lt;p&gt;One aspect that I hadn’t considered when posting the question: For this to work, the 2D version would have to be somehow be “contained” in the 3D version. I wasn’t considering that this might not be true at all.&lt;/p&gt;&#xA;&lt;p&gt;What 3D-MVC being backwards-compatible to 2D-AVC actually means is that a non-3D-capable decoder will “see” either the left or right eye track of the 3D version.&lt;/p&gt;&#xA;&lt;p&gt;It’s possible that a proper 2D version doesn’t match either of those.&lt;/p&gt;&#xA;&lt;p&gt;That is especially true for movies not initially produced in 3D and not captured with stereo cameras. 3D conversion is often easier to do by slightly modifying the perspective of the 2D version for both the left and the right eye. The end result being that neither side exactly matches the original 2D version.&lt;/p&gt;&#xA;" OwnerUserId="5091" LastEditorUserId="5091" LastEditDate="2022-10-18T10:37:24.683" LastActivityDate="2022-10-18T10:37:24.683" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35828" PostTypeId="2" ParentId="35824" CreationDate="2022-10-19T13:04:27.903" Score="2" Body="&lt;p&gt;Legacy media players like Windows Media Player may be finicky about the files they will accept. In this case, it looks like the audio channel count of 6 is too high.&lt;/p&gt;&#xA;&lt;p&gt;Add the CLI option &lt;code&gt;-ac 2&lt;/code&gt; and check.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-10-19T13:04:27.903" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35829" PostTypeId="1" CreationDate="2022-10-19T14:49:07.297" Score="1" ViewCount="37" Body="&lt;p&gt;I created the below semi-truncated octahedron in blender and exported the object has a .obj file for use in Trapcode Form.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Etzxr.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Etzxr.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;However, when I import the model into Trapcode Form and select &lt;code&gt;Particles From: Edges&lt;/code&gt;, the below shape is rendered.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0zYbT.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0zYbT.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you can hopefully see, it has added two bisecting lines to each of the truncated faces (one horizontal one vertical), as well as adding additional asymmetrical edges below each truncated face.&lt;/p&gt;&#xA;&lt;p&gt;I have viewed my .obj in multiple viewers, both as solid and mesh, and none of them show these edges existing. Is there a way to prevent these from being created in Trapcode Form? I'm a little lost as to what could be causing this.&lt;/p&gt;&#xA;" OwnerUserId="39588" LastActivityDate="2022-10-19T14:49:07.297" Title="Trapcode Form - imported OBJ has additional unwanted edges" Tags="|after-effects|plugins|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35831" PostTypeId="1" CreationDate="2022-10-20T08:41:00.430" Score="1" ViewCount="543" Body="&lt;p&gt;I've seen similar issues but can't seem to come to a resolution myself.&#xA;I have a 4K rip that is in hevc, 10bit depth, which my older phone can't play since it lacks GPU acceleration. Therefore, I'm reencoding it on ffmpeg to a YUV420p scheme. I've done this by GPU acceleration and without, at multiple qualities and bitrates. I figured I'd measure each output against the original video and simply use the one with the higher VMAF score as the one I use to reencode some other 4K videos with the same 10bit depth.&lt;/p&gt;&#xA;&lt;p&gt;However, the VMAF score for every output, whether CPU or GPU encoded, 1M or 10M bitrate, is somewhere around 32.2%. This is despite the fact that the higher bitrate ones generally look pretty decent. After looking around, I saw that some people recommend using a filter for &lt;code&gt;setpts=PTS-STARTPTS&lt;/code&gt; to sync up the frames, since maybe the encoding process desynced some frames? This still doesn't help.&lt;/p&gt;&#xA;&lt;p&gt;Here's where it gets weird. I looked in the log when running the VMAF filter to pick one frame in particular and test it. I found one frame where the VMAF score reported a score of 0.0000:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    &amp;lt;frame frameNum=&amp;quot;487&amp;quot; integer_motion2=&amp;quot;7.639184&amp;quot; integer_motion=&amp;quot;9.133736&amp;quot; integer_adm2=&amp;quot;0.516201&amp;quot; integer_adm_scale0=&amp;quot;0.902589&amp;quot; integer_adm_scale1=&amp;quot;0.619710&amp;quot; integer_adm_scale2=&amp;quot;0.445753&amp;quot; integer_adm_scale3=&amp;quot;0.428904&amp;quot; integer_vif_scale0=&amp;quot;0.443259&amp;quot; integer_vif_scale1=&amp;quot;0.513409&amp;quot; integer_vif_scale2=&amp;quot;0.532767&amp;quot; integer_vif_scale3=&amp;quot;0.533751&amp;quot; vmaf=&amp;quot;0.000000&amp;quot; /&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then in ffmpeg I ran a command to extract this frame in both source and encoded with something like:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;.\ffmpeg.exe -i &amp;quot;(sourceVid)&amp;quot; -vf &amp;quot;select=eq(n\,487)&amp;quot; -vframes 1 source.png&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;to just get a sample of the frame that VMAF has ranked at 0. Looking at the two pngs, they seem identical to the eye. When running the two pngs through VMAF in ffmpeg, they report a score of 98, which is what I actually expect and is obviously not 0.&lt;/p&gt;&#xA;&lt;p&gt;This is driving me mad. I can't tell why VMAF would keep reporting a much lower rate than expected. It does seem like an issue with frame syncing, but I can't see a way to resolve it. Any help would be appreciated&lt;/p&gt;&#xA;" OwnerUserId="39595" LastActivityDate="2023-12-09T22:02:50.317" Title="FFMPEG VMAF consistently low rating despite quality encode" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="35833" PostTypeId="1" CreationDate="2022-10-20T21:01:21.603" Score="0" ViewCount="55" Body="&lt;p&gt;I have a video camera and two lavalier microphones which both come with 3.5mm audio connections. My camera only has one 3.5mm microphone input port. I would like to mix both microphones, which are originally mono, by channeling them into the left and right channels on the camera directly. I do &lt;em&gt;not&lt;/em&gt; want to use a mixer, since it is heavy and expensive.&lt;/p&gt;&#xA;&lt;p&gt;My question: which audio splitter cable do I get to make this happen? Reason I’m asking is most splitters are designed either for dual headphone output or for combined headphone output+microphone input. I need an adapter with two microphone inputs, which takes the left channel from one connection and right channel from another. Does such a thing even exist?&lt;/p&gt;&#xA;" OwnerUserId="2811" LastActivityDate="2022-11-04T15:25:22.283" Title="What adapter do I need to merge two microphones as L and R channels?" Tags="|audio|audio-recording|microphone|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35835" PostTypeId="2" ParentId="35621" CreationDate="2022-10-21T08:04:28.523" Score="1" Body="&lt;p&gt;Up-arrow will do the trick. Down-arrow takes you to the first frame of the next clip.&lt;/p&gt;&#xA;&lt;p&gt;Trick: if you're looking for the &lt;em&gt;last&lt;/em&gt; frame of a clip, go to the start of the next one, then use back-arrow once to move back a frame.&lt;/p&gt;&#xA;" OwnerUserId="19316" LastActivityDate="2022-10-21T08:04:28.523" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35839" PostTypeId="1" CreationDate="2022-10-22T19:31:19.870" Score="1" ViewCount="413" Body="&lt;p&gt;I have three audio files which I am attempting to combine into a multitrack audio file.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i A.wav -i B.mp3 -i C.wav -map 0 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But the result seems to be (testing with &lt;code&gt;ffmpeg -i&lt;/code&gt;) just a single track.&lt;/p&gt;&#xA;&lt;p&gt;It is possible to get all tracks?&lt;/p&gt;&#xA;" OwnerUserId="16363" LastActivityDate="2024-03-16T06:03:55.547" Title="ffmpeg combine multitrack audio" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35840" PostTypeId="1" CreationDate="2022-10-23T01:38:18.033" Score="0" ViewCount="434" Body="&lt;p&gt;I am trying to convert dvd .VOB files (unencrypted) to .mp4, but first want to concat them&lt;/p&gt;&#xA;&lt;p&gt;...  I made a text file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file './VTS_01_1.VOB'&#xA;file './VTS_01_2.VOB'&#xA;file './VTS_01_3.VOB'&#xA;file './VTS_01_4.VOB'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And then ran: &lt;code&gt;ffmpeg -f concat -safe 0 -i vobs.txt -c copy output.vob&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I got a bunch of mentions about invalid frame dimensions-- here is the actual output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 5.1.2 Copyright (c) 2000-2022 the FFmpeg developers&#xA;  built with Apple clang version 14.0.0 (clang-1400.0.29.102)&#xA;  configuration: --prefix=/opt/homebrew/Cellar/ffmpeg/5.1.2 --enable-shared --enable-pthreads --enable-version3 --cc=clang --host-cflags= --host-ldflags= --enable-ffplay --enable-gnutls --enable-gpl --enable-libaom --enable-libbluray --enable-libdav1d --enable-libmp3lame --enable-libopus --enable-librav1e --enable-librist --enable-librubberband --enable-libsnappy --enable-libsrt --enable-libtesseract --enable-libtheora --enable-libvidstab --enable-libvmaf --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libxvid --enable-lzma --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libspeex --enable-libsoxr --enable-libzmq --enable-libzimg --disable-libjack --disable-indev=jack --enable-videotoolbox --enable-neon&#xA;  libavutil      57. 28.100 / 57. 28.100&#xA;  libavcodec     59. 37.100 / 59. 37.100&#xA;  libavformat    59. 27.100 / 59. 27.100&#xA;  libavdevice    59.  7.100 / 59.  7.100&#xA;  libavfilter     8. 44.100 /  8. 44.100&#xA;  libswscale      6.  7.100 /  6.  7.100&#xA;  libswresample   4.  7.100 /  4.  7.100&#xA;  libpostproc    56.  6.100 / 56.  6.100&#xA;Input #0, concat, from 'vobs.txt':&#xA;  Duration: N/A, start: 0.000000, bitrate: N/A&#xA;  Stream #0:0: Data: dvd_nav_packet&#xA;  Stream #0:1: Video: mpeg2video (Main), yuv420p(tv, top first), 720x480 [SAR 32:27 DAR 16:9], 29.75 fps, 59.94 tbr, 90k tbn&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 8300000/0/0 buffer size: 1835008 vbv_delay: N/A&#xA;  Stream #0:2: Audio: ac3, 48000 Hz, stereo, fltp, 192 kb/s&#xA;Output #0, svcd, to 'output.vob':&#xA;  Metadata:&#xA;    encoder         : Lavf59.27.100&#xA;  Stream #0:0: Video: mpeg2video (Main), yuv420p(tv, top first), 720x480 [SAR 32:27 DAR 16:9], q=2-31, 29.75 fps, 59.94 tbr, 90k tbn&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 8300000/0/0 buffer size: 1835008 vbv_delay: N/A&#xA;  Stream #0:1: Audio: ac3, 48000 Hz, stereo, fltp, 192 kb/s&#xA;Stream mapping:&#xA;  Stream #0:1 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:2 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame=    0 fps=0.0 q=-1.0 size=       0kB time=00:00:00.00 bitrate=N/A speed=N/[svcd @ 0x15c023e40] Timestamps are unset in a packet for stream 0. This is deprecated and will stop working in the future. Fix your code to set the timestamps properly&#xA;frame=17685 fps=0.0 q=-1.0 size=  499968kB time=00:12:16.90 bitrate=5558.0kbits/frame=37385 fps=37385 q=-1.0 size= 1000448kB time=00:25:58.47 bitrate=5258.8kbit[mpeg2video @ 0x15c005d10] Invalid frame dimensions 0x0.&#xA;    Last message repeated 9 times&#xA;[svcd @ 0x15c023e40] Non-monotonous DTS in output stream 0:0; previous: 144980089, current: 144980089; changing to 144980090. This may result in incorrect timestamps in the output file.&#xA;frame=68424 fps=45616 q=-1.0 size= 1065984kB time=00:42:44.01 bitrate=3405.8kbit[mpeg2video @ 0x15c005be0] Invalid frame dimensions 0x0.&#xA;    Last message repeated 10 times&#xA;[svcd @ 0x15c023e40] Non-monotonous DTS in output stream 0:0; previous: 289151513, current: 289151513; changing to 289151514. This may result in incorrect timestamps in the output file.&#xA;frame=98383 fps=49191 q=-1.0 size= 1092608kB time=00:58:42.71 bitrate=2540.8kbitframe=131893 fps=52756 q=-1.0 size= 1122304kB time=01:16:35.18 bitrate=2000.8kbi[mpeg2video @ 0x15c005880] Invalid frame dimensions 0x0.&#xA;    Last message repeated 3 times&#xA;[svcd @ 0x15c023e40] Non-monotonous DTS in output stream 0:0; previous: 439137237, current: 439137237; changing to 439137238. This may result in incorrect timestamps in the output file.&#xA;frame=164495 fps=54830 q=-1.0 size= 1151232kB time=01:33:58.44 bitrate=1672.6kbiframe=182556 fps=55587 q=-1.0 Lsize= 1167534kB time=01:43:36.26 bitrate=1538.6kbits/s speed=1.89e+03x&#xA;video:1097216kB audio:55703kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.267720%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The output.vob file is only 1.2gb, where I am expecting it to be close to 4gb, and when I play it, it appears to be missing all the content from &lt;code&gt;VTS_01_2&lt;/code&gt;, &lt;code&gt;VTS_01_3&lt;/code&gt;, and &lt;code&gt;VTS_01_4&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;The source material seems to be fine, if I drag the VIDEO_TS folder containing these files to VLC, or DVD player, it plays fine all the way through.......&lt;/p&gt;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="38034" LastActivityDate="2024-03-18T19:04:45.540" Title="ffmpeg concat vob files not working?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35841" PostTypeId="2" ParentId="35839" CreationDate="2022-10-23T01:54:12.850" Score="0" Body="&lt;p&gt;Is this what you're looking for?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i A.wav -i B.mp3 -i C.wav -c copy -map 0:a -map 1:a -map 2:a out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="12626" LastActivityDate="2022-10-23T01:54:12.850" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35842" PostTypeId="2" ParentId="35578" CreationDate="2022-10-23T04:52:26.507" Score="0" Body="&lt;p&gt;Camtasia file format is a &lt;strong&gt;colsed&lt;/strong&gt; and composed file with multiple assets and instructions called MS-CFB. The binary header does not correspond to 7zip, rar, zip or gzip. You can not conver &lt;code&gt;.camrec&lt;/code&gt; from &lt;code&gt;ffmpeg&lt;/code&gt; or &lt;code&gt;unzip&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;In Microsoft website says: &lt;a href=&quot;https://learn.microsoft.com/en-us/openspecs/windows_protocols/ms-cfb/68530324-9d3d-4441-9ea9-66a2c8f79567&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://learn.microsoft.com/en-us/openspecs/windows_protocols/ms-cfb/68530324-9d3d-4441-9ea9-66a2c8f79567&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[MS-CFB]: Compound File Binary File Format&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;000000: D0CF 11E0 A1B1 1AE1 0000 0000 0000 0000 ................&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And i have a &lt;code&gt;.camrec&lt;/code&gt; file for the example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;whk@machine:~/Vídeos$ file fest.camrec;&#xA;fest.camrec: Composite Document File V2 Document, Cannot read section info&#xA;whk@machine:~/Vídeos$ head -n 16 fest.camrec | xxd;&#xA;00000000: d0cf 11e0 a1b1 1ae1 0000 0000 0000 0000  ................&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The best option is download Camtasia Studio and install it on a Windows machine and export the project as video file format.&lt;/p&gt;&#xA;" OwnerUserId="39611" LastEditorUserId="39611" LastEditDate="2022-10-23T05:04:37.730" LastActivityDate="2022-10-23T05:04:37.730" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35843" PostTypeId="2" ParentId="32710" CreationDate="2022-10-23T13:59:45.610" Score="0" Body="&lt;p&gt;Found one &lt;a href=&quot;https://github.com/suntong/ffcvt/wiki/Tips:-To-concatenate-videos&quot; rel=&quot;nofollow noreferrer&quot;&gt;answer here&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;p&gt;Here is the exception:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;To concatenate 2-part videos into one, without re-encoding:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -safe 0 -f concat -i &amp;lt;(find . -type f -name '*.mp4' -printf &amp;quot;file '$PWD/%p'\n&amp;quot; | sort) -c copy output.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;or,&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &amp;quot;concat:File1.mp4|File2.mp4&amp;quot; -c:v copy -c:a copy -codec copy .output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;To concatenate 2-part videos into one, with encoding:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i 01.mp4 -i 02.mp4 -filter_complex &amp;quot;[0:v] [0:a] [1:v] [1:a] concat=n=2:v=1:a=1 [v] [a]&amp;quot; -map &amp;quot;[v]&amp;quot; -map &amp;quot;[a]&amp;quot; -c:v libvpx-vp9 -b:v 0 -crf 43.8 -c:a libopus -b:a 64k -c:s copy out.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Refer to the original url for updates.&lt;/p&gt;&#xA;" OwnerUserId="26767" LastActivityDate="2022-10-23T13:59:45.610" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35844" PostTypeId="1" AcceptedAnswerId="35850" CreationDate="2022-10-23T15:37:22.110" Score="0" ViewCount="93" Body="&lt;p&gt;I want to attach a video to a wall that appears in a main video, like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3QoUK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3QoUK.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Problem is that video is static shot, is not a track movement. So, I watched videos that explain how to make Motion 3D Tracking, with the Camera track, but it does not work, and I think is due to my video is static. So, how can I put another video with perspective there? I mean, I want to use something similar to the PS Perspective Crop Tool.&lt;/p&gt;&#xA;" OwnerUserId="39166" LastActivityDate="2022-10-24T06:51:55.823" Title="Attach objects to wall without camera tracking in After Effects" Tags="|after-effects|3d|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35845" PostTypeId="2" ParentId="35840" CreationDate="2022-10-23T18:31:10.873" Score="0" Body="&lt;p&gt;I ended up converting each vob to mp4 and then combined them the same way and it seemed to have solved the problem.&lt;/p&gt;&#xA;" OwnerUserId="38034" LastActivityDate="2022-10-23T18:31:10.873" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35846" PostTypeId="1" AcceptedAnswerId="35848" CreationDate="2022-10-23T22:56:41.480" Score="0" ViewCount="322" Body="&lt;p&gt;By default, 4K videos shot at night with a Google Pixel 6 can be very grainy:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cUyqC.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cUyqC.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I make 4K videos shot at night with a Google Pixel 6 less grainy?&lt;/p&gt;&#xA;" OwnerUserId="2117" LastActivityDate="2022-10-24T03:08:50.140" Title="How can I make 4K videos shot at night with a Google Pixel 6 less grainy?" Tags="|video-recording|noise|noise-reduction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35847" PostTypeId="2" ParentId="35844" CreationDate="2022-10-24T03:03:58.667" Score="-1" Body="&lt;p&gt;What you're looking for is called &lt;strong&gt;planar tracking.&lt;/strong&gt; Instead of tracking points, planar tracking tracks whole clusters of pixels within a rectangle, or a plane (hence the name planar). Fortunately ,most After Effects versions come with a basic version of the most popular planar tracker, Boris FX Mocha. Just search &amp;quot;Mocha AE&amp;quot; in the Effects &amp;amp; Presets panel.&lt;/p&gt;&#xA;" OwnerUserId="33795" LastActivityDate="2022-10-24T03:03:58.667" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35848" PostTypeId="2" ParentId="35846" CreationDate="2022-10-24T03:08:50.140" Score="2" Body="&lt;p&gt;There's not much you can do. Either make the entire video darker or use some form of denoising software. Unfortunately, to get the video to be as bright as you see, it requires amplifying the image quite a bit which also amplifies the otherwise hard to see noise.&lt;/p&gt;&#xA;" OwnerUserId="33795" LastActivityDate="2022-10-24T03:08:50.140" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35850" PostTypeId="2" ParentId="35844" CreationDate="2022-10-24T06:51:55.823" Score="0" Body="&lt;p&gt;If it's a static shot, you don't need any tracking at all.&lt;/p&gt;&#xA;&lt;p&gt;Use the built-in Corner Pin tool to reposition the corners of the thing you want to stick on the wall:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/djdBy.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/djdBy.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you want to make it look more convincing afterwards, you could:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Add a tiny bit of movement to the whole comp,&lt;/li&gt;&#xA;&lt;li&gt;Add motion blur to your sign, add a subtle shadow to the pinned sign matching the direction of the light in the video,&lt;/li&gt;&#xA;&lt;li&gt;Make sure the colour correction and grain/noise on your sign match those of your background video&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-10-24T06:51:55.823" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35853" PostTypeId="1" CreationDate="2022-10-24T20:11:08.407" Score="1" ViewCount="335" Body="&lt;p&gt;Testing a move to AWS Thinkbox Deadline (10.1.23nnn) for the VFX studio I work at.  Just rolled updates to Adobe After Effects, which moves the version to 2023--causing all manner of references to &amp;quot;23&amp;quot; to fail on my tests.  Is there a straightforward way to &amp;quot;line up&amp;quot; these versions?&lt;/p&gt;&#xA;&lt;p&gt;Thanks,&#xA;PGE&lt;/p&gt;&#xA;" OwnerUserId="39631" LastActivityDate="2022-10-24T20:11:08.407" Title="after effects 2023 (latest) and deadline" Tags="|after-effects|render|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35854" PostTypeId="2" ParentId="24435" CreationDate="2022-10-24T21:06:25.953" Score="2" Body="&lt;p&gt;In addition to ffmpeg and youtube-dl/yt-dlp mentioned upthread, you can try&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;streamlink -o /tmp/output.mp4 &amp;lt;MPD-URL&amp;gt; best&lt;/code&gt; (from &lt;a href=&quot;https://streamlink.github.io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://streamlink.github.io/&lt;/a&gt;)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;vlc &amp;lt;MPD-URL&amp;gt;&lt;/code&gt; (from &lt;a href=&quot;https://www.videolan.org/vlc/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.videolan.org/vlc/&lt;/a&gt;)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;gst-launch-1.0 playbin uri=&amp;lt;MPD-URL&amp;gt;&lt;/code&gt; (from gstreamer)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;dash-mpd-cli &amp;lt;MPD-URL&amp;gt;&lt;/code&gt; (from &lt;a href=&quot;https://github.com/emarsden/dash-mpd-cli&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/emarsden/dash-mpd-cli&lt;/a&gt;)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Only dash-mpd-cli will work with DRM-encrypted content (assuming you have the necessary decryption keys).&lt;/p&gt;&#xA;" OwnerUserId="24668" LastEditorUserId="24668" LastEditDate="2023-11-19T13:40:16.407" LastActivityDate="2023-11-19T13:40:16.407" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35855" PostTypeId="1" CreationDate="2022-10-24T21:46:27.100" Score="1" ViewCount="70" Body="&lt;p&gt;I am leveraging ffmpeg (specifically the python-ffmpeg lib) to take two mp4 inputs, partially overlay them using xstack and output the combined mp4. This is mostly working but I consistently am getting the undesired effect of the overlapping cross-section flickering back and forth between the two inputs.&lt;/p&gt;&#xA;&lt;p&gt;I first thought this might be happening because the inputs have different bitrate values. I tried to force the bitrates of the individual inputs to be as close as possible using &lt;strong&gt;b:v&lt;/strong&gt;, &lt;strong&gt;minrate&lt;/strong&gt;, &lt;strong&gt;maxrate&lt;/strong&gt;, and &lt;strong&gt;bufsize&lt;/strong&gt;. I have been unable to get identical bitrates this way but got them very close but it did not affect my flickering symptoms.&lt;/p&gt;&#xA;&lt;p&gt;Does anyone have any suggestions for preventing this flickering side-effect for overlapping inputs?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f mp4 -rtbufsize 50M -thread_queue_size 512 -i /shared-storage/video/2/2.mp4 -f mp4 -rtbufsize 50M -thread_queue_size 512 -i /shared-storage/video/2/1.mp4 -filter_complex &amp;quot;[0][1]xstack=fill=#171f29:inputs=2:layout=628_172|26_26[s0];[s0]scale=1920:-2[s1];[s1]yadif[s2]&amp;quot; -map &amp;quot;[s2]&amp;quot; -b:v 1200k -bufsize 1200k -c:v libx264 -color_primaries 1 -color_trc iec61966_2_1 -colorspace 1 -maxrate 1200k -minrate 1200k -pix_fmt yuv420p -threads auto -x264opts &amp;quot;keyint_min=1:keyint=1&amp;quot; /shared-storage/video/2/Untitled.mp4 -report -y&#xA;&#xA;&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7686e80] All info found&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7686e80] After avformat_find_stream_info() pos: 136186 bytes read:169955 seeks:2 frames:1&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/shared-storage/video/2/2.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf59.16.100&#xA;  Duration: 00:00:54.00, start: 0.000000, bitrate: 1084 kb/s&#xA;  Stream #0:0[0x1](und), 1, 1/16384: Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709/bt709/iec61966-2-1, progressive), 864x788, 1084 kb/s, 1 fps, 1 tbr, 16384 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;Successfully opened the file.&#xA;Parsing a group of options: input url /shared-storage/video/2/1.mp4.&#xA;Applying option f (force format) with argument mp4.&#xA;Applying option thread_queue_size (set the maximum number of queued packets from the demuxer) with argument 512.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: /shared-storage/video/2/1.mp4.&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7694940] Opening '/shared-storage/video/2/1.mp4' for reading&#xA;[file @ 0x76ffc80] Setting default whitelist 'file,crypto,data'&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7694940] ISO: File Type Major Brand: isom&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7694940] Unknown dref type 0x206c7275 size 12&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7694940] Processing st: 0, edit list 0 - media time: 0, duration: 884736&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7694940] Before avformat_find_stream_info() pos: 7261674 bytes read:33817 seeks:1 nb_streams:1&#xA;[h264 @ 0x76af480] nal_unit_type: 7(SPS), nal_ref_idc: 3&#xA;[h264 @ 0x76af480] nal_unit_type: 8(PPS), nal_ref_idc: 3&#xA;[h264 @ 0x76af480] nal_unit_type: 7(SPS), nal_ref_idc: 3&#xA;[h264 @ 0x76af480] nal_unit_type: 8(PPS), nal_ref_idc: 3&#xA;[h264 @ 0x76af480] nal_unit_type: 6(SEI), nal_ref_idc: 0&#xA;[h264 @ 0x76af480] nal_unit_type: 5(IDR), nal_ref_idc: 3&#xA;[h264 @ 0x76af480] Format yuv420p chosen by get_format().&#xA;[h264 @ 0x76af480] Reinit context to 864x800, pix_fmt: yuv420p&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7694940] All info found&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7694940] After avformat_find_stream_info() pos: 134991 bytes read:168760 seeks:2 frames:1&#xA;Input #1, mov,mp4,m4a,3gp,3g2,mj2, from '/shared-storage/video/2/1.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf59.16.100&#xA;  Duration: 00:00:54.00, start: 0.000000, bitrate: 1075 kb/s&#xA;  Stream #1:0[0x1](und), 1, 1/16384: Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709/bt709/iec61966-2-1, progressive), 864x788, 1075 kb/s, 1 fps, 1 tbr, 16384 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;Successfully opened the file.&#xA;[Parsed_xstack_0 @ 0x76fec40] Setting 'fill' to value '#171f29'&#xA;[Parsed_xstack_0 @ 0x76fec40] Setting 'inputs' to value '2'&#xA;[Parsed_xstack_0 @ 0x76fec40] Setting 'layout' to value '628_172|26_26'&#xA;[Parsed_scale_1 @ 0x76a3100] Setting 'w' to value '1920'&#xA;[Parsed_scale_1 @ 0x76a3100] Setting 'h' to value '-2'&#xA;[Parsed_scale_1 @ 0x76a3100] w:1920 h:-2 flags:'' interl:0&#xA;Parsing a group of options: output url /shared-storage/video/2/Untitled.mp4.&#xA;Applying option map (set input stream mapping) with argument [s2].&#xA;Applying option b:v (video bitrate (please use -b:v)) with argument 1200k.&#xA;Applying option c:v (codec name) with argument libx264.&#xA;Applying option pix_fmt (set pixel format) with argument yuv420p.&#xA;Successfully parsed a group of options.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="39632" LastActivityDate="2024-03-18T21:07:30.917" Title="FFMPEG xstack output flickering between inputs" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35858" PostTypeId="2" ParentId="35840" CreationDate="2022-10-25T17:00:30.927" Score="0" Body="&lt;p&gt;Try to precise output format :&lt;br /&gt;&#xA;&lt;code&gt;ffmpeg -f concat -safe 0 -i vobs.txt -c copy -f dvd output.vob&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="37160" LastActivityDate="2022-10-25T17:00:30.927" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35863" PostTypeId="1" AcceptedAnswerId="35864" CreationDate="2022-10-27T13:22:00.487" Score="1" ViewCount="26" Body="&lt;p&gt;When the speaker is further away from the microphone, noise gets louder as (that is my assumption) the compressors wants to compensate for the missing loudness.&lt;/p&gt;&#xA;&lt;p&gt;An audio sample can be found here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://drive.google.com/file/d/1QWCiC35D0ke3Ukx20120fmtzvPi5ngpt/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;Example of noisy audio recording&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The microphone is a Neumann U87, the pre-amplifier is a Manley.&lt;/p&gt;&#xA;&lt;p&gt;How do I solve this situation?&lt;/p&gt;&#xA;&lt;p&gt;Or would the noise be absent if a perfectly clean environment would be used?&#xA;I do not know in which environment this audio has been recorded, but if she is close to the microphone, no noise can be heard at all.&lt;/p&gt;&#xA;" OwnerUserId="29439" LastActivityDate="2022-11-04T13:40:37.890" Title="How do I avoid noise when speaker is further away?" Tags="|compression|audio-recording|studio|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35864" PostTypeId="2" ParentId="35863" CreationDate="2022-10-27T14:32:26.583" Score="2" Body="&lt;p&gt;All analogue electronics generates some level of &lt;a href=&quot;https://en.wikipedia.org/wiki/Noise_(electronics)&quot; rel=&quot;nofollow noreferrer&quot;&gt;noise&lt;/a&gt;, and digital recordings also introduce a small amount of &lt;a href=&quot;https://en.wikipedia.org/wiki/Dither#Digital_audio&quot; rel=&quot;nofollow noreferrer&quot;&gt;dither noise&lt;/a&gt; in order to accurately record signals.&lt;/p&gt;&#xA;&lt;p&gt;When you record sound from a microphone, you are recording the person speaking, but also the sounds present in the room, the indirect sound of the person speaking reflecting off the objects in the room, and the noise associated with the analogue and digital systems being used.&lt;/p&gt;&#xA;&lt;p&gt;What we're listening for is the ratio between the desired signal and the undesired noise.  Generally when recording with high quality microphones (like the U87) and a good pre-amp, noise is likely to be introduced by poor microphone placement, the wrong directional pattern being used on the U87, or recording levels being too low at some point within the signal chain before the audio is recorded.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en-de.neumann.com/u-87-ai&quot; rel=&quot;nofollow noreferrer&quot;&gt;U87s&lt;/a&gt; have a directional pattern setting which can change the response of the mic between omni, cardioid, and figure of 8.  In an echoey room with no acoustic absorption, a recording of a person speaking in front of the mic set to a 'cardioid' pattern will have a greater proportion of direct to indirect sound recorded.  The trade-off is that 'figure of 8' and 'omni' have slightly better frequency response patterns.&lt;/p&gt;&#xA;&lt;p&gt;Even if you recorded in an &lt;a href=&quot;https://en.wikipedia.org/wiki/Anechoic_chamber&quot; rel=&quot;nofollow noreferrer&quot;&gt;anechoic chamber&lt;/a&gt;, there would be no room noise, but there would still be noise caused by the analogue and digital circuitry.  If your gain is set too low on the pre-amp or any other gain module before the signal is recorded, an undesirable level of noise would be introduced to the signal path.  If the digital level that you record at is set too low, you will also be introducing more noise into your recording, as the ratio of your signal to the &lt;a href=&quot;https://en.wikipedia.org/wiki/Quantization_(signal_processing)#Noise_and_error_characteristics&quot; rel=&quot;nofollow noreferrer&quot;&gt;quantising&lt;/a&gt; and dither noise introduced by sampling the signal digitally will be worsened.&lt;/p&gt;&#xA;&lt;p&gt;Practically speaking, your audio clip doesn't sound that bad to me.  You could try noise reducing the recording using &lt;a href=&quot;https://helpx.adobe.com/audition/using/noise-reduction-restoration-effects.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe Audition's built in noise reduction tools&lt;/a&gt;.  You could re-record with your subject closer to the mic (but they sound pretty close mic'd already given the amount of mouth noise), and you could check your recording levels throughout your signal chain.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-10-27T14:32:26.583" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="35865" PostTypeId="1" CreationDate="2022-10-27T15:27:36.190" Score="0" ViewCount="591" Body="&lt;p&gt;I need to cut a video in Resolve 18 and export it. The video is already in the format and encoding I want it to have, I just need to cut out  some parts. After that, I want the file to be saved. Quality is not a priority here, speed is! So I want to simply write the cut file back to an mp4-file within a matter of a few minutes on my 2016 macbook pro (i5). The clip is a simple Zoom-recording in a mp4-container.&lt;/p&gt;&#xA;&lt;p&gt;Whatever I try to do in the Deliver page, Resolve always starts re-encoding the file, taking 1-2 hours for a clip. How to simply export/write out the cut clip?&lt;/p&gt;&#xA;" OwnerUserId="31922" LastActivityDate="2022-10-27T15:27:36.190" Title="How to export video in DaVinci Resolve 18 without (!) reencoding?" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35866" PostTypeId="1" AcceptedAnswerId="35901" CreationDate="2022-10-27T15:37:33.233" Score="0" ViewCount="103" Body="&lt;p&gt;My wife is trying to use Media Composer 2022.10.0 on her rather new MacBook Pro (2021) and compared to her iMac (2019) it seems not to work as smoothly as she expected. Sadly I never worked with MC and/or Premiere myself. Is there a way to optimize its performance on the laptop?&lt;/p&gt;&#xA;&lt;p&gt;MacBook Pro (14&amp;quot;, 2021, M1 Pro, 32 Gb RAM, macOS 12.4), MC 2022.10.0&lt;/p&gt;&#xA;&lt;p&gt;iMac (21.5&amp;quot;, 2019, i7, 16 Gb RAM, Radeon Pro 560 X 4 Gb, macOS 10.15.7), MC 2020.8.0&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IowRe.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IowRe.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="39654" LastEditorUserId="39654" LastEditDate="2022-11-06T20:36:49.390" LastActivityDate="2022-11-06T20:36:49.390" Title="How to optimize Media Composer performance on a MacBook Pro (2021)?" Tags="|avid|media|macbook|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35867" PostTypeId="2" ParentId="35616" CreationDate="2022-10-28T01:09:14.127" Score="0" Body="&lt;p&gt;If you highlight the virtual camera, then in the top ribbon go to Edit&amp;gt;Transform&amp;gt;Flip Horizontal. There doesn't seem to be a properties or right click option from the dashboard, if you will.&lt;/p&gt;&#xA;" OwnerUserId="39656" LastEditorUserId="39656" LastEditDate="2022-10-28T01:10:00.777" LastActivityDate="2022-10-28T01:10:00.777" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35868" PostTypeId="2" ParentId="22377" CreationDate="2022-10-28T18:47:01.357" Score="-1" Body="&lt;p&gt;I solved it with the enable flocking option&#xA;attract 0%&#xA;separate 20%&lt;/p&gt;&#xA;" OwnerUserId="39661" LastActivityDate="2022-10-28T18:47:01.357" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35869" PostTypeId="1" CreationDate="2022-10-29T02:35:51.183" Score="0" ViewCount="79" Body="&lt;p&gt;So i have this scene where there's a lot of on tube lights and i wanna dim some of them and turn them back on (replicating the flashing effect in stranger things) so does anyone have an app that can do that? Do make sure to tell me how to do it in said app please.&lt;/p&gt;&#xA;" OwnerUserId="39663" LastActivityDate="2022-10-29T11:38:31.703" Title="How to make lights flash like in stranger things" Tags="|video|lighting|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35870" PostTypeId="2" ParentId="35869" CreationDate="2022-10-29T11:29:19.657" Score="1" Body="&lt;p&gt;This is the kind of thing they use these days -&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UvheH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UvheH.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It looks like a 'neon' or fluorescent tube, but it's actually LED driven. They can be remotely controlled or programmed into virtually any pattern, any colour. They drive from a phone/pad app or over DMX.&lt;/p&gt;&#xA;&lt;p&gt;In the old days, they'd have to use actual fluorescent tubes, individually switched, some with intentionally bad starters to make them flicker. They were horrible to work with because they weren't really very controllable, so it's LED all the way now.&lt;/p&gt;&#xA;&lt;p&gt;Downside: They're damned expensive - $£€ 650 each - but you can rent them.&lt;br /&gt;&#xA;Example - &lt;a href=&quot;https://astera-led.com/products/titan/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://astera-led.com/products/titan/&lt;/a&gt;&lt;br /&gt;&#xA;&amp;amp; watch the video to really see what they can do - &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/V83BQca2MDY?start=8&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="12233" LastEditorUserId="12233" LastEditDate="2022-10-29T11:38:31.703" LastActivityDate="2022-10-29T11:38:31.703" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35871" PostTypeId="2" ParentId="35855" CreationDate="2022-10-29T15:25:18.573" Score="0" Body="&lt;p&gt;Add option threads=1 to xstack filter, that way overlaps will have consistent output.&lt;/p&gt;&#xA;" OwnerUserId="39670" LastActivityDate="2022-10-29T15:25:18.573" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35873" PostTypeId="1" AcceptedAnswerId="35874" CreationDate="2022-10-31T09:30:55.920" Score="1" ViewCount="632" Body="&lt;p&gt;My text file &lt;code&gt;list_of_fragments&lt;/code&gt; contains the list of video files to be concatenated.&#xA;I assumed they have the same streams (shot from the same smartphone, with the same settings)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file barbell-home.mp4&#xA;file before.mp4&#xA;file before-otherview.mp4&#xA;file rotated.tr.mp4&#xA;file squatting-rack.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I attempted to concatenate them all with: &lt;code&gt;ffmpeg -loglevel warning -hide_banner -f concat -safe 0 -i list_of_fragments -c copy conc-output.mp4&lt;/code&gt;&#xA;Sadly, the video corresponding to the files &lt;code&gt;before.mp4&lt;/code&gt;, &lt;code&gt;before-otherview.mp4&lt;/code&gt;, &lt;code&gt;rotated.tr.mp4&lt;/code&gt;, &lt;code&gt;squatting-rack.mp4&lt;/code&gt; was flipped upside down, i.e. rotated 180 degrees (the part corresponding to &lt;code&gt;barbell-home.mp4&lt;/code&gt; was not rotated).&#xA;&lt;code&gt;ffprobe&lt;/code&gt; returns (for the sake of brevity I've not included audio streams):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'barbell-home.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2022-10-30T15:11:45.000000Z&#xA;    com.android.version: 11&#xA;  Duration: 00:00:02.05, start: 0.000000, bitrate: 21155 kb/s&#xA;  Stream #0:0(eng): Video: h264 (Baseline) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080, 20059 kb/s, SAR 1:1 DAR 16:9, 29.92 fps, 29.92 tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      rotate          : 180&#xA;      creation_time   : 2022-10-30T15:11:45.000000Z&#xA;      handler_name    : VideoHandle&#xA;      vendor_id       : [0][0][0][0]&#xA;    Side data:&#xA;      displaymatrix: rotation of -180.00 degrees&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'before.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2022-10-26T11:50:04.000000Z&#xA;    com.android.version: 11&#xA;  Duration: 00:00:04.22, start: 0.000000, bitrate: 21335 kb/s&#xA;  Stream #0:0(eng): Video: h264 (Baseline) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080, 20384 kb/s, SAR 1:1 DAR 16:9, 29.94 fps, 29.92 tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2022-10-26T11:50:04.000000Z&#xA;      handler_name    : VideoHandle&#xA;      vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'before-otherview.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2022-10-26T11:50:15.000000Z&#xA;    com.android.version: 11&#xA;  Duration: 00:00:02.47, start: 0.000000, bitrate: 21370 kb/s&#xA;  Stream #0:0(eng): Video: h264 (Baseline) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080, 20377 kb/s, SAR 1:1 DAR 16:9, 29.94 fps, 29.92 tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2022-10-26T11:50:15.000000Z&#xA;      handler_name    : VideoHandle&#xA;      vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'rotated.tr.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.76.100&#xA;  Duration: 00:00:04.85, start: 0.000000, bitrate: 25889 kb/s&#xA;  Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 25605 kb/s, 29.92 fps, 29.92 tbr, 11488 tbn, 59.83 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandle&#xA;      vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'squatting-rack.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.76.100&#xA;  Duration: 00:00:01.77, start: 0.021000, bitrate: 19986 kb/s&#xA;  Stream #0:0(eng): Video: h264 (Baseline) (avc1 / 0x31637661), yuv420p(tv, bt709), 1920x1080, 20105 kb/s, SAR 1:1 DAR 16:9, 29.94 fps, 29.92 tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandle&#xA;      vendor_id       : [0][0][0][0]&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;After taking a closer look at &lt;code&gt;ffprobe&lt;/code&gt;'s output I realized:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The files differ in their bitrate.&lt;/li&gt;&#xA;&lt;li&gt;Only the first file does &lt;code&gt;rotate : 180&lt;/code&gt; in the metadata of its video stream.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;My questions:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Why does only &lt;code&gt;barbell-home.mp4&lt;/code&gt; have &lt;code&gt;rotate : 180&lt;/code&gt; in the metadata of its video stream and what is the significance of it when concatenating with &lt;code&gt;ffmpeg&lt;/code&gt;?&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://superuser.com/a/1535778/1221334&quot;&gt;Adding&lt;/a&gt; &lt;code&gt;-noautorotate&lt;/code&gt; to the command, &lt;code&gt;ffmpeg -loglevel warning -hide_banner -f concat -safe 0 -noautorotate -i list_of_fragments -c copy conc-output.mp4&lt;/code&gt;, does not change the output? Why so?&lt;/li&gt;&#xA;&lt;li&gt;Should I add &lt;code&gt;rotate : 180&lt;/code&gt; to the rest of the files or should I remove &lt;code&gt;rotate : 180&lt;/code&gt;&#xA;from &lt;code&gt;barbell-home.mp4&lt;/code&gt; before proceeding to concatenate them all? If so, how might I accomplish this?&lt;/li&gt;&#xA;&lt;li&gt;How might I concatenate the files in question without flipping the video upside-down?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="38160" LastActivityDate="2022-11-01T04:54:44.157" Title="Why does ffmpeg flip upside-down the video when concatenating with -f concat?" Tags="|ffmpeg|metadata|ffprobe|concatenation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35874" PostTypeId="2" ParentId="35873" CreationDate="2022-11-01T04:54:44.157" Score="2" Body="&lt;p&gt;The concat demuxer amalgamates all its inputs and presents them as a single input. It takes the properties of the first input as representing the properties of the amalgam. Since the 1st input has a rotation angle, that gets carried over.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;noautorotate&lt;/code&gt; only takes effect during encoding, not with &lt;code&gt;-c copy&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Easiest way forward, at present, is to re-encode all inputs without &lt;code&gt;noautorotate&lt;/code&gt; and then concat.&#xA;Next is to re-encode only the first input. But then you have to match the encoding of the other inputs (bitrate doesn't matter).&lt;/p&gt;&#xA;&lt;p&gt;Ultimately, during recording next time, make sure all videos are taken with the phone in identical orientation (not flipped in one recording).&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-11-01T04:54:44.157" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35877" PostTypeId="1" AcceptedAnswerId="35882" CreationDate="2022-11-01T14:21:15.097" Score="0" ViewCount="36" Body="&lt;p&gt;I am new to After Effects, and I am trying to make an Animation that is a bit hard for my poor skills. I made a Trim Path, and now I want to transform the &amp;quot;form&amp;quot; that follows it into an ellipse shape. Is that possible?&lt;a href=&quot;https://i.stack.imgur.com/NKO0M.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NKO0M.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="39683" LastActivityDate="2022-11-02T12:14:46.460" Title="Can I morph my Trim Path &quot;form&quot; into an object?" Tags="|after-effects|animation|motion-graphics|shape|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35879" PostTypeId="2" ParentId="26382" CreationDate="2022-11-01T23:03:11.033" Score="-1" Body="&lt;p&gt;ffmpeg  -i &amp;quot;foo.mkv&amp;quot; -vf stereo3d=sbs2l:ml -c:a copy &amp;quot;bar.mp4&amp;quot;&lt;/p&gt;&#xA;" OwnerUserId="39690" LastActivityDate="2022-11-01T23:03:11.033" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35880" PostTypeId="1" AcceptedAnswerId="35920" CreationDate="2022-11-02T00:16:49.350" Score="0" ViewCount="891" Body="&lt;p&gt;I'm using ffmpeg to record NTSC analog video on Linux Fedora 36 using a Blackmagic Intensity Pro 4K for video and a Scarlett 2i2 for audio. I'm using a TBC to avoid dropped frames and to ensure a constant S-Video Y/C framerate on the analog end.&lt;/p&gt;&#xA;&lt;p&gt;The problem I'm running into is that on playback the audio will start out relatively in sync with the video at the beginning of the captured file but will eventually run ahead of the video eventually becoming many seconds off.&lt;/p&gt;&#xA;&lt;p&gt;Nothing I do seems to change this or change the degree to which it happens. The audio and video stay in sync throughout the entire video as I'm monitoring the source so I don't understand how they can diverge so much once encoded into a digital file?&lt;/p&gt;&#xA;&lt;p&gt;Here is the command I am using:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hwaccel cuda -fflags +igndts -format_code ntsc -f decklink -raw_format auto -vsync passthrough -rtbufsize 1500M -thread_queue_size 512 -i 'Intensity Pro 4K' -f pulse -rtbufsize 500M -thread_queue_size 512 -i 'Scarlett 2i2 Camera Analog Stereo' -c copy -map 0:1 -map 1:0 &amp;quot;/tmp/ffmpeg-raw/file-raw.avi&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;here's the ffprobe output from one of my files:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, avi, from 'test2-raw.avi':&#xA;  Metadata:&#xA;    software        : Lavf59.33.100&#xA;  Duration: 00:11:42.87, start: 0.000000, bitrate: 169341 kb/s&#xA;  Stream #0:0: Video: rawvideo (UYVY / 0x59565955), uyvy422, 720x486, 167801 kb/s, 59.94 fps, 59.94 tbr, 59.94 tbn&#xA;  Stream #0:1: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 48000 Hz, 2 channels, s16, 1536 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;As you can see in my code snippet, I've been throwing things at the wall for a bit. I've tried different rtbufsizes, adding -copyts, and going through the different -vsync options. I've tried it with and without hardware acceleration ( I do have a NVIDIA card), +igdts did get rid of a warning but did not help with the sync, as did changing the thread queue sizes.&lt;/p&gt;&#xA;&lt;p&gt;OBS can do this, why can't I?&lt;/p&gt;&#xA;" OwnerUserId="39691" LastActivityDate="2022-11-11T20:52:20.933" Title="ffmpeg recording audio / video sync issues" Tags="|ffmpeg|video-recording|video-capture|blackmagic|analog|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35881" PostTypeId="1" CreationDate="2022-11-02T09:40:12.690" Score="1" ViewCount="12" Body="&lt;p&gt;The following command overlays &lt;code&gt;main.mp4&lt;/code&gt; with &lt;code&gt;talkingHead.mp4&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -i main.mp4 -vf &amp;quot;movie=talkingHead.mp4, scale=400:-1 [inner]; [in][inner] overlay=main_w-(overlay_w+10): main_h-(overlay_h+10) [out]&amp;quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It works fine when the videos are of the same length.&#xA;But assuming that &lt;code&gt;talkingHead.mp4&lt;/code&gt; is 10 seconds long and &lt;code&gt;main.mp4&lt;/code&gt; is 100 seconds long..&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;1.&lt;/strong&gt; How do I overlay &lt;code&gt;main.mp4&lt;/code&gt; with &lt;code&gt;talkingHead.mp4&lt;/code&gt; only after the 5 seconds of &lt;code&gt;main.mp4&lt;/code&gt;?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;2.&lt;/strong&gt; How do I make the right bottom corner disappear after &lt;code&gt;talkingHead.mp4&lt;/code&gt; has finished? Right now &lt;code&gt;talkingHead.mp4&lt;/code&gt; just freezes after 10 seconds.&lt;/p&gt;&#xA;&lt;p&gt;P.S. I'm that there are &lt;code&gt;-ss&lt;/code&gt; and &lt;code&gt;-t&lt;/code&gt; but I cannot figure out their proper place in the command.&lt;/p&gt;&#xA;" OwnerUserId="38160" LastActivityDate="2022-11-02T09:40:12.690" Title="How do I control the time of the movie= parameter when overlaying video with video?" Tags="|ffmpeg|filter|time|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35882" PostTypeId="2" ParentId="35877" CreationDate="2022-11-02T12:14:46.460" Score="0" Body="&lt;p&gt;This is quite a tricky one, because one shape is open and the other (the ellipse) is closed.  Usually I would take one shape, turn it into bezier curves, add a keyframe to it, then do the same to another shape, then copy one keyframe from the first shape into the other shape to allow it to morph between the two.  But with one open and one closed shape that won't work.&lt;/p&gt;&#xA;&lt;p&gt;So in this case, I think I would make a guide ellipse shape first, and make it a different colour to my spiral shape.&lt;/p&gt;&#xA;&lt;p&gt;Then make the spiral shape on a new layer, above the ellipse.&lt;/p&gt;&#xA;&lt;p&gt;Set the spiral shape to bezier, and make sure both shapes have a shape position transform of 0,0.&lt;/p&gt;&#xA;&lt;p&gt;Then add a keyframe to the spiral shape, and a second keyframe later on, which we'll use to match the ellipse.&lt;/p&gt;&#xA;&lt;p&gt;Go to the second keyframe, and add some guide rulers to exactly line up where the centre of each ellipse point is, as shown:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GzwZG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GzwZG.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Make sure Snap to Guides and Lock Guides are both enabled in the View menu.&lt;/p&gt;&#xA;&lt;p&gt;Then lock your ellipse layer, and select your spiral layer.&lt;/p&gt;&#xA;&lt;p&gt;Go through one by one, making sure the points manually are positioned to hide the ellipse layer:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kdQul.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kdQul.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-11-02T12:14:46.460" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35888" PostTypeId="2" ParentId="33281" CreationDate="2022-11-03T16:34:56.973" Score="0" Body="&lt;p&gt;I think &lt;a href=&quot;https://handbrake.fr/features.php&quot; rel=&quot;nofollow noreferrer&quot;&gt;Handbrake&lt;/a&gt; can do this, and it's free:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Supported Input Sources: Handbrake can process most common multimedia&#xA;files and any DVD or BluRay sources that do not contain any kind of&#xA;copy protection.&lt;/p&gt;&#xA;&lt;p&gt;Outputs:&lt;/p&gt;&#xA;&lt;p&gt;File Containers: .MP4(.M4V), .MKV and WebM Video Encoders: H.264 and&#xA;H.265 (Including hardware acceleration support), MPEG-4 and MPEG-2,&#xA;VP8, VP9 and Theora Audio Encoders: AAC / HE-AAC, MP3, FLAC, AC3,&#xA;E-AC3, Opus and Vorbis Audio Pass-thru: AC-3, E-AC3, FLAC, DTS,&#xA;DTS-HD, TrueHD, AAC, MP3 and MP2 tracks&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-11-03T16:34:56.973" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35891" PostTypeId="2" ParentId="35863" CreationDate="2022-11-04T13:39:49.987" Score="1" Body="&lt;p&gt;It's easy to forget that like sound quality, electronics vary wildly in the amount of self-noise they produce. In most recording situations, this doesn't end up being a significant problem because we're recording instruments and voices that allow us to reduce gain to lower levels and NOT amplify the noise as much.&lt;/p&gt;&#xA;&lt;p&gt;In situations where we're recording a very quiet (or distant) sound source, self noise quickly becomes an issue. Noise is compounding: the self noise of your microphone is amplified by your preamp (which adds its own noise), then all of that noise may be amplified through your compressor (which adds its own noise), and on it goes.&lt;/p&gt;&#xA;&lt;p&gt;Put a dynamic mic in front of an electric guitar amp, and your gains will be so low through the whole recording chain that any self noise never makes an appearance. Put a &amp;quot;vintage&amp;quot; tube mic (often noisy) in front of a whispering actor, run that into a &amp;quot;vintage&amp;quot; preamp (often noisy) and you may have as much noise as voice at the end of the signal chain.&lt;/p&gt;&#xA;&lt;p&gt;For the cleanest recordings possible, you need to start with a microphone with high sensitivity and low self-noise.&lt;/p&gt;&#xA;&lt;p&gt;Two affordable examples:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Rode NT2A, self noise 7 dBA&lt;/li&gt;&#xA;&lt;li&gt;Audio-Technica AT4047, self noise 9 dBA&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Then you need to run that into a low-noise preamp (most decent solid-state preamps today fit the bill, check out the Grace M101). Preamps designed for ribbon mics (typically very low sensitivity) are usually very clean with gobs of gain and low self-noise.&lt;/p&gt;&#xA;&lt;p&gt;If you still have noise in your recordings, active noise removal plug-ins have come a long way and will do a fantastic job cleaning up most audio files.&lt;/p&gt;&#xA;" OwnerUserId="39534" LastEditorUserId="39534" LastEditDate="2022-11-04T13:40:37.890" LastActivityDate="2022-11-04T13:40:37.890" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35892" PostTypeId="2" ParentId="35833" CreationDate="2022-11-04T15:25:22.283" Score="2" Body="&lt;p&gt;This is a tricky question, and much depends on the specifics of your camera and the microphones you're using. Without those details, it's impossible to make specific recommendations.&lt;/p&gt;&#xA;&lt;p&gt;In broad strokes, here are some things you need to consider:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Do your lavalier microphones require power? Most &lt;em&gt;condenser&lt;/em&gt; lavs do, and that has to be supplied through the cable and connector (often TRRS, for tip ring ring sleeve). You'll have to make sure that whatever splitter contraption you work up gets power to both lavalier mics if needed.&lt;/li&gt;&#xA;&lt;li&gt;Does your camera offer independent manual record levels for the left and right mic inputs? If not, you'll be setting one record level for both microphones. This may create a large volume difference between the mics (which you should be able to make up for in post).&lt;/li&gt;&#xA;&lt;li&gt;Do you want a splitter contraption hanging off your camera? Those 3.5mm jacks are notoriously flimsy, and the more stuff you attach to them the greater the risk. At least put your splitter(s) on a short cable and tape everything so it doesn't get snagged and break your camera.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;You're not the first to face this problem, obviously, so keep researching solutions other people have come up with. At least splitters are inexpensive, so you're not out a lot of money if your first attempt or two fails.&lt;/p&gt;&#xA;&lt;p&gt;A shoe-mount mixer sure would be a tidy solution...&lt;/p&gt;&#xA;" OwnerUserId="39534" LastActivityDate="2022-11-04T15:25:22.283" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35893" PostTypeId="2" ParentId="4324" CreationDate="2022-11-04T16:13:25.577" Score="0" Body="&lt;p&gt;You can create a custom production preset when you are selecting your video settings. I noticed that when I did this it also includes the output save location.&lt;/p&gt;&#xA;" OwnerUserId="39708" LastActivityDate="2022-11-04T16:13:25.577" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35896" PostTypeId="1" CreationDate="2022-11-05T00:33:36.947" Score="0" ViewCount="44" Body="&lt;p&gt;I have two, at first glance very similar &lt;a href=&quot;https://mega.nz/folder/Z0VGHbaQ#VqTrfNIkMqYnK2H5vyapnA&quot; rel=&quot;nofollow noreferrer&quot;&gt;mp4 files&lt;/a&gt; (A &amp;amp; B), each of them created by different capture software.&lt;/p&gt;&#xA;&lt;div class=&quot;s-table-container&quot;&gt;&#xA;&lt;table class=&quot;s-table&quot;&gt;&#xA;&lt;thead&gt;&#xA;&lt;tr&gt;&#xA;&lt;th&gt;File&lt;/th&gt;&#xA;&lt;th&gt;Captured using&lt;/th&gt;&#xA;&lt;th&gt;codec&lt;/th&gt;&#xA;&lt;th&gt;resolution&lt;/th&gt;&#xA;&lt;th&gt;fps&lt;/th&gt;&#xA;&lt;th&gt;bitrate&lt;/th&gt;&#xA;&lt;/tr&gt;&#xA;&lt;/thead&gt;&#xA;&lt;tbody&gt;&#xA;&lt;tr&gt;&#xA;&lt;td&gt;A.mp4&lt;/td&gt;&#xA;&lt;td&gt;Elgato 4K Capture Utility&lt;/td&gt;&#xA;&lt;td&gt;h.264&lt;/td&gt;&#xA;&lt;td&gt;2560x1440&lt;/td&gt;&#xA;&lt;td&gt;60&lt;/td&gt;&#xA;&lt;td&gt;106Mb/s&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;tr&gt;&#xA;&lt;td&gt;B.mp4&lt;/td&gt;&#xA;&lt;td&gt;Xsplit Broadcaster&lt;/td&gt;&#xA;&lt;td&gt;h.264&lt;/td&gt;&#xA;&lt;td&gt;2560x1440&lt;/td&gt;&#xA;&lt;td&gt;60&lt;/td&gt;&#xA;&lt;td&gt;128Mb/s&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;/tbody&gt;&#xA;&lt;/table&gt;&#xA;&lt;/div&gt;&#xA;&lt;p&gt;I noticed that scrubbing video A is very smooth while scrubbing video B is extremely choppy.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtube.com/watch?v=SsMr8u9K4B0&quot; rel=&quot;nofollow noreferrer&quot;&gt;This video&lt;/a&gt; illustrates the difference. Note that althought for demonstration purpose I've used DaVinci Resolve software, the same scrubbing performance is present in other programs e.g. VLC Player.&lt;/p&gt;&#xA;&lt;p&gt;I would like to understand what is causing this difference in scrubbing performance. Looking at task manager graphs, it seems like video B is more complex to decode but I have no idea why.&lt;/p&gt;&#xA;&lt;p&gt;This is what I got using MediaInfo&#xA;&lt;a href=&quot;https://i.stack.imgur.com/JrMjI.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JrMjI.jpg&quot; alt=&quot;Media info&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="39711" LastActivityDate="2022-11-07T19:26:36.353" Title="Different decode performance in two similar H.264 videos" Tags="|encoding|h.264|performance|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35897" PostTypeId="2" ParentId="35896" CreationDate="2022-11-05T05:41:20.270" Score="1" Body="&lt;p&gt;Figured it out. The difference in scrubbing performance comes from different &lt;a href=&quot;https://en.wikipedia.org/wiki/Group_of_pictures&quot; rel=&quot;nofollow noreferrer&quot;&gt;GOP&lt;/a&gt; in those two videos. The video which played smoothly had GOP=(N, M)=(15, 1).&lt;/p&gt;&#xA;&lt;p&gt;So for people who'll encounter this issue in videos produced by their capture software: to fix it set keyframe interval to low value e.g. 30 frames (0.5sec)&lt;/p&gt;&#xA;&lt;p&gt;It's also possible to convert existing videos using ffmpeg in order to add more keyframes e.g.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libx264 -crf 16 -preset faster -g 15 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;where &lt;code&gt;-g 15&lt;/code&gt; sets keyframe every 15 frames&lt;/p&gt;&#xA;" OwnerUserId="39711" LastEditorUserId="39711" LastEditDate="2022-11-07T19:26:36.353" LastActivityDate="2022-11-07T19:26:36.353" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35899" PostTypeId="1" CreationDate="2022-11-06T17:58:37.470" Score="1" ViewCount="230" Body="&lt;p&gt;I've recently started using Kdenlive and am continually frustrated by its apparent default behaviour of not using audio from my clips.&lt;/p&gt;&#xA;&lt;p&gt;I add stills and short clips to the timeline, but the audio in the clips is ignored.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iuTOb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iuTOb.png&quot; alt=&quot;No audio in timeline&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If I go ahead and render the whole video is silenced.&lt;/p&gt;&#xA;&lt;p&gt;I have to manually go through each track and click on &amp;quot;Restore audio&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XqUKs.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XqUKs.png&quot; alt=&quot;Audio restored&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I can't even &amp;quot;select all&amp;quot; and do it &lt;em&gt;en masse&lt;/em&gt;, I have to do it all manually.&lt;/p&gt;&#xA;&lt;p&gt;I cannot find an option anywhere in the settings that has any effect on this behaviour.&lt;/p&gt;&#xA;&lt;p&gt;Can anyone help?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ apt show kdenlive&#xA;Package: kdenlive&#xA;Version: 4:22.08.3-1~ubuntu22.04.1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="17678" LastActivityDate="2023-09-10T12:08:46.067" Title="kdenlive won't automatically enable audio on clips" Tags="|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35901" PostTypeId="2" ParentId="35866" CreationDate="2022-11-06T20:36:31.817" Score="0" Body="&lt;p&gt;An update to macOS Ventura (13.0) solved the problem!&lt;/p&gt;&#xA;" OwnerUserId="39654" LastActivityDate="2022-11-06T20:36:31.817" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35903" PostTypeId="1" CreationDate="2022-11-07T14:00:22.683" Score="1" ViewCount="79" Body="&lt;p&gt;I have a video file say &lt;code&gt;input.mp4&lt;/code&gt; and I would like to loop this file say 6 times&#xA;The following command does the job&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -stream_loop 5 -i input.mp4  -c copy out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, the result is a shaky video. It plays the &lt;code&gt;input.mp4&lt;/code&gt; first time without any problem and then it adds a few milliseconds before playing it the second time. And the third time and so on. The second iteration onwards, the video looks shaky and not as clear as the first time.&lt;/p&gt;&#xA;&lt;p&gt;Am I using the command/option wrong ?&#xA;Any hints would be appreciated.&lt;/p&gt;&#xA;&lt;p&gt;I looked at &lt;a href=&quot;https://video.stackexchange.com/questions/21759/why-does-ffmpegs-stream-loop-option-add-a-pause&quot;&gt;this question&lt;/a&gt; but it did not help&lt;/p&gt;&#xA;" OwnerUserId="39724" LastActivityDate="2022-11-07T14:00:22.683" Title="ffmpeg stream_loop option produces shaky video and adds (milli) seconds to the beginning" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35904" PostTypeId="1" AcceptedAnswerId="35905" CreationDate="2022-11-07T19:02:48.593" Score="0" ViewCount="25" Body="&lt;p&gt;I want to get this stroke style in After Effects:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dAI9m.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dAI9m.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is like it's a little little bit deformed, isn't it? Or is the filter? It seems like in some tracks is 2.5px and 2.3 in anothers... Compare with my current stroke:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FWURp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FWURp.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Mine is more defined and 'perfect'. I need to apply these old cartoon effect in stroke.&lt;/p&gt;&#xA;&lt;p&gt;Any idea? Thanks&lt;/p&gt;&#xA;" OwnerUserId="39166" LastActivityDate="2022-11-07T19:09:37.807" Title="Cartoon styled stroke effect?" Tags="|after-effects|noise|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35905" PostTypeId="2" ParentId="35904" CreationDate="2022-11-07T19:09:37.807" Score="1" Body="&lt;p&gt;&amp;quot;Roughen edges&amp;quot; effect applied to the stroke layer - play with the settings.&lt;/p&gt;&#xA;&lt;p&gt;Then &amp;quot;Add Grain&amp;quot; effect as an adjustment layer, as shown below:&lt;/p&gt;&#xA;&lt;p&gt;Also see &lt;a href=&quot;https://video.stackexchange.com/questions/33422/why-effects-flow-during-camera-movement-in-after-effects-2020/33426#33426&quot;&gt;this answer&lt;/a&gt; if you need to animate the stroke with roughen edges applied to it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/euvgs.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/euvgs.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-11-07T19:09:37.807" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35906" PostTypeId="1" CreationDate="2022-11-07T19:20:53.320" Score="1" ViewCount="201" Body="&lt;p&gt;I have four separate text layers (each have custom expressions so must be separate instead of a single paragraph) and I wish to create a single slider control that simulates a line spacing control across all four layers as if they were all part of a single paragraph of text.&lt;/p&gt;&#xA;&lt;p&gt;I've been attempting to do this via y-value expressions which exponentially increase for each layer (as below) but this doesn't work as the amount they need to change relative to each-other is variable based on the line spacing itself.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;First layer -&amp;gt; value+(thisComp.layer(&amp;quot;Null 53&amp;quot;).effect(&amp;quot;SPACING&amp;quot;)(&amp;quot;Slider&amp;quot;))*10&#xA;&#xA;Second layer -&amp;gt; value+(thisComp.layer(&amp;quot;Null 53&amp;quot;).effect(&amp;quot;SPACING&amp;quot;)(&amp;quot;Slider&amp;quot;))*12&#xA;&#xA;Third layer -&amp;gt; value+(thisComp.layer(&amp;quot;Null 53&amp;quot;).effect(&amp;quot;SPACING&amp;quot;)(&amp;quot;Slider&amp;quot;))*15 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any help with this would be fantastic - I'm fairly new to AE expressions so would love to learn from some pros!&lt;/p&gt;&#xA;" OwnerUserId="39727" LastActivityDate="2024-04-01T00:06:25.803" Title="After Effects: Simulate Line Spacing Controls Across Multiple Text Layer Position Values" Tags="|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35907" PostTypeId="2" ParentId="35906" CreationDate="2022-11-07T21:40:19.363" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Myigd.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Myigd.gif&quot; alt=&quot;screengrab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is probably a really hacky way to do it, but you can use the &amp;quot;sourceRectAtTime&amp;quot; function to work out how tall or wide a layer is at any moment in time.&lt;/p&gt;&#xA;&lt;p&gt;This means even if your text layer has multiple lines in it, you can still work out where the layer below it should be positioned.&lt;/p&gt;&#xA;&lt;p&gt;So make a text layer, and call it Text 1.  Add a Slider effect to it -this will be your line height adjuster&lt;/p&gt;&#xA;&lt;p&gt;Make a text layer below it called Text 2. Add the following expression to its position:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;height = thisComp.layer(&amp;quot;Text 1&amp;quot;).sourceRectAtTime().height;&#xA;xpos = thisComp.layer(&amp;quot;Text 1&amp;quot;).transform.position[0];&#xA;ypos = thisComp.layer(&amp;quot;Text 1&amp;quot;).transform.position[1]&#xA;sliderval = thisComp.layer(&amp;quot;Text 1&amp;quot;).effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;&#xA;[xpos, (ypos + height) * sliderval]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then make another text layer, call it Text 3 and add this to its position:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;height = thisComp.layer(&amp;quot;Text 2&amp;quot;).sourceRectAtTime().height;&#xA;xpos = thisComp.layer(&amp;quot;Text 2&amp;quot;).transform.position[0];&#xA;ypos = thisComp.layer(&amp;quot;Text 2&amp;quot;).transform.position[1]&#xA;sliderval = thisComp.layer(&amp;quot;Text 1&amp;quot;).effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;&#xA;[xpos, (ypos + height) * 1.1 * sliderval]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Where the &amp;quot;1.1&amp;quot; is the multiplier you want to apply to the increase in line height.&lt;/p&gt;&#xA;&lt;p&gt;Now wiggle the Slider and you should see all the layers below the first one move appropriately.  You may need to adjust the range of the slider to be quite small by right clicking on its value and choosing &amp;quot;Edit Value&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2JdR9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2JdR9.png&quot; alt=&quot;edit value&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-11-07T21:40:19.363" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35908" PostTypeId="1" CreationDate="2022-11-08T11:36:02.873" Score="0" ViewCount="100" Body="&lt;p&gt;I realize there are 2 ways to illustrate a script with stock footage.&lt;/p&gt;&#xA;&lt;p&gt;One way is to simply use footage that matches what the script is about, for example for a script that talks about being rich, the footage would show a man with many banknotes and a luxury car. That would turn into a boring illustration because it shows what we already know.&lt;/p&gt;&#xA;&lt;p&gt;The other way is to use footage that correspond to a thought with an extra step and... this is the a concept I don't fully understand so I would like you to explain it, with many examples.&lt;/p&gt;&#xA;" OwnerUserId="1361" LastActivityDate="2024-04-01T17:01:30.133" Title="How to use b-roll to give more depth to the script" Tags="|footage|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35909" PostTypeId="2" ParentId="35908" CreationDate="2022-11-08T15:02:31.537" Score="0" Body="&lt;p&gt;Lord Privy Seal&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/AVlfvdH7qwY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;(A privy is a slang UK english word for a toilet.)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/The_Frost_Report#%22Lord_Privy_Seal%22&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/The_Frost_Report#%22Lord_Privy_Seal%22&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Charlie Brooker - How to report the news:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/aHun58mz3vI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Watch all of Adam Curtis.  Love him or hate him, he knows how to use B-roll... It's all B-roll!&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/hc-YMpgcqKg?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;It's all about taste, and deciding what feels right in your video. There are conventions, but not rules.  I highly recommend the book &lt;a href=&quot;https://www.amazon.co.uk/Blink-Eye-2nd-PerspectIve-Editing-ebook/dp/B08LS9WHW3/ref=sr_1_1?keywords=in%20the%20blink%20of%20an%20eye%20book&amp;amp;qid=1667919618&amp;amp;sr=8-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;In the Blink of an Eye by Walter Murch&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;It won't teach you any Adobe Premiere Shortcuts.  It &lt;em&gt;will&lt;/em&gt; make you think about how you edit.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-11-08T15:02:31.537" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35912" PostTypeId="1" AcceptedAnswerId="35913" CreationDate="2022-11-10T09:03:56.857" Score="1" ViewCount="113" Body="&lt;p&gt;I want to have a circle with dashed stroke line. But I don't want them to have these proportions, I want to have it as straight line. Here's what I have on AE:&lt;a href=&quot;https://i.stack.imgur.com/zkH7z.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zkH7z.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And here's what I want to achieve:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zom8W.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zom8W.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I need the dashes to stay a straight line, regardless of the gap I will add (because the gap will be animated).&lt;/p&gt;&#xA;" OwnerUserId="39745" LastActivityDate="2022-11-10T09:47:18.073" Title="How do I fix dash proportions on After Effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35913" PostTypeId="2" ParentId="35912" CreationDate="2022-11-10T09:47:18.073" Score="1" Body="&lt;p&gt;I would try doing this using a text layer.&lt;/p&gt;&#xA;&lt;p&gt;Type some text dashes &amp;quot;-------&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Add a circular mask path to the same layer.&lt;/p&gt;&#xA;&lt;p&gt;Turn the mask off.&lt;/p&gt;&#xA;&lt;p&gt;Set the text to follow Along the Path (in the Path Options twirl down).&lt;/p&gt;&#xA;&lt;p&gt;Using the Animation triangle thingy, click on Rotation to apply per-character-rotation.&lt;/p&gt;&#xA;&lt;p&gt;Add more dashes if you need them.&lt;/p&gt;&#xA;&lt;p&gt;Adjust the thickness using the &amp;quot;horizontally scale&amp;quot; control in the Character Panel.&lt;/p&gt;&#xA;&lt;p&gt;Adjust the tracking in the Character Panel to adjust the distance between the dashes.&lt;/p&gt;&#xA;&lt;p&gt;It gives you loads of flexibility, and the ability to make really nice animations too.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/i5XsY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/i5XsY.jpg&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As explained in more depth here by @&lt;a href=&quot;https://twitter.com/KylasaurusRex/status/1091426236973416449?s=20&amp;amp;t=4EFKfi3rVUzNCftLJEdpGg&quot; rel=&quot;nofollow noreferrer&quot;&gt;KylasaurusRex&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://kylehamrick.com/textperiments-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://kylehamrick.com/textperiments-1&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-11-10T09:47:18.073" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35917" PostTypeId="1" CreationDate="2022-11-11T07:01:31.033" Score="0" ViewCount="1548" Body="&lt;p&gt;I have a timelapse video from a GoPro and want to overlay the time of the recording on the current frame. For instance, a frame taken at 9am might show &lt;code&gt;09:00&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;It seems like &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#drawtext-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;the &lt;code&gt;drawtext&lt;/code&gt; filter&lt;/a&gt; is the way to go. I'm struggling to figure out the right invocation to grab the right time and make that work.&lt;/p&gt;&#xA;&lt;p&gt;ffprobe shows that there's a &lt;code&gt;timecode&lt;/code&gt; attached to each individual stream, but not the input's overall metadata:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'GX010246.MP4':&#xA;  Metadata:&#xA;    major_brand     : mp41&#xA;    minor_version   : 538120216&#xA;    compatible_brands: mp41&#xA;    creation_time   : 2022-11-01T23:24:04.000000Z&#xA;    firmware        : H22.01.01.12.00&#xA;  Duration: 00:00:00.23, start: 0.000000, bitrate: 106869 kb/s&#xA;  Stream #0:0[0x1](eng): Video: hevc (Main) (hvc1 / 0x31637668), yuvj420p(pc, bt709), 5312x2988 [SAR 1:1 DAR 16:9], 105367 kb/s, 29.97 fps, 29.97 tbr, 30k tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2022-11-01T23:24:04.000000Z&#xA;      handler_name    : GoPro H.265&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : GoPro H.265 encoder&#xA;      timecode        : 09:23:30:08&#xA;  Stream #0:1[0x2](eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2022-11-01T23:24:04.000000Z&#xA;      handler_name    : GoPro TCD&#xA;      timecode        : 09:23:30:08&#xA;  Stream #0:2[0x3](eng): Data: bin_data (gpmd / 0x646D7067), 408 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2022-11-01T23:24:04.000000Z&#xA;      handler_name    : GoPro MET&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;To make it even harder, this timecode is the &lt;em&gt;end&lt;/em&gt; of the recording - when it was saved - so the timestamp on each frame has to be &lt;code&gt;((timecode from metadata) - (clip duration) + (time since start))&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;h2&gt;Some attempts&lt;/h2&gt;&#xA;&lt;p&gt;This is a start, which overlays the local time when ffmpeg was run:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &amp;quot;drawtext=text='%{localtime\:%T}': fontcolor=white@0.8: x=7: y=460: fontsize=96&amp;quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This can't find &lt;code&gt;timecode&lt;/code&gt;, maybe because it's not defined:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &amp;quot;drawtext=text='%{timecode\:%T}': fontcolor=white@0.8: x=7: y=460: fontsize=96&amp;quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This tries to reference &lt;code&gt;metadata:s:v:0:timecode&lt;/code&gt;, but the reference is invalid somehow, even with &lt;a href=&quot;https://stackoverflow.com/a/10729560&quot;&gt;the right amount of escaping&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &amp;quot;drawtext=text='%{metadata\\\\\\:s\\\\\\:v\\\\\\:0\\\\\\:timecode}': r=29.97 : fontcolor=white@0.8:fontsize=96&amp;quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#Text-expansion&quot; rel=&quot;nofollow noreferrer&quot;&gt;pts&lt;/a&gt; function could work, but I can't figure out how to invoke it or pass it the start time &lt;/p&gt;&#xA;&lt;p&gt;There's also &lt;code&gt;drawtext=timecode=&amp;lt;start timecode&amp;gt;&lt;/code&gt;, which seems promising:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &amp;quot;drawtext=timecode='00\:00\:00\:00': r=29.97 : fontcolor=white@0.8: x=7: y=460: fontsize=96&amp;quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but I also haven't figured out how to put this dynamic data into it:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &amp;quot;drawtext=timecode='%{s:v:0:timecode}': r=29.97 : fontcolor=white@0.8: x=7: y=460: fontsize=96&amp;quot; out.mp4&#xA;# fails&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Would really appreciate some help with this tricky problem!&lt;/p&gt;&#xA;" OwnerUserId="29224" LastActivityDate="2024-03-10T13:08:51.177" Title="ffmpeg: How to burn in the timecode from a stream's metadata" Tags="|ffmpeg|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35920" PostTypeId="2" ParentId="35880" CreationDate="2022-11-11T20:52:20.933" Score="0" Body="&lt;p&gt;I figured it out, I just needed to add &lt;code&gt;-video_pts reference&lt;/code&gt; to change the timestamp source. I also needed to add &lt;code&gt;-itsoffset -0.4&lt;/code&gt; to remove the constant delay between the video and audio.&lt;/p&gt;&#xA;" OwnerUserId="39691" LastActivityDate="2022-11-11T20:52:20.933" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35923" PostTypeId="2" ParentId="35413" CreationDate="2022-11-13T15:25:13.957" Score="0" Body="&lt;p&gt;It seems that some of the options for transform are not showing in the sub-window of your screenshot, probably because it is not horizontally wide enough. Try to enlarge the width of that sub-window, and then you will see the additional options appear. In a pull-down menu, select the Smooth option for keyframe interpolation rather than Linear. Then, with maybe a couple additional keyframes along the ellipse, the motion should track the ellipse pretty well.&lt;/p&gt;&#xA;" OwnerUserId="38352" LastActivityDate="2022-11-13T15:25:13.957" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35925" PostTypeId="1" CreationDate="2022-11-14T19:02:14.447" Score="0" ViewCount="364" Body="&lt;p&gt;In a bit of a panic here. I've recorded a bunch of footage and had some sort of overlay grid that appears to be baked into the video. Using Premiere or some other tool, is there a way to kill it? Sort of like a content aware fill in Photoshop. It's in the same spot throughout each clip. Is there hope? &lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5BtXh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5BtXh.png&quot; alt=&quot;image with lines&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1573" LastActivityDate="2022-11-14T19:02:14.447" Title="Remove Overlay Lines From Video" Tags="|premiere|post-production|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35928" PostTypeId="2" ParentId="16279" CreationDate="2022-11-15T12:33:18.103" Score="0" Body="&lt;p&gt;This works perfectly:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Click to select the last visible frame of the clip.&lt;/li&gt;&#xA;&lt;li&gt;From the menu, choose Clip -&amp;gt; Video Options -&amp;gt; Insert Frame Hold.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="39795" LastActivityDate="2022-11-15T12:33:18.103" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35929" PostTypeId="1" CreationDate="2022-11-15T14:09:13.933" Score="1" ViewCount="9" Body="&lt;p&gt;I have some irregular polygons defined by points whose coordinates depend on a variable &lt;code&gt;r&lt;/code&gt;, for example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;x = if(1 / sqrt(10) &amp;lt;= r &amp;lt; 1 / sqrt(5)) { &#xA;        -2 r² + r sqrt(1 - r²) - sqrt(2 r⁴ - r² + 2 r sqrt(1 - r²) (2 - 2 r²) - 1) + 2&#xA;    } else if(r &amp;lt; 1 / sqrt(10)) { &#xA;        (2 (5 - r²) + r sqrt(5 - r²)) / 5&#xA;    }&#xA;&#xA;y = if(1 / sqrt(10) &amp;lt;= r &amp;lt; 1 / sqrt(5)) { &#xA;        (r sqrt(1 - r²)) / (1 - r²) (-2 r² + r sqrt(1 - r²) - sqrt(2 r⁴ - r² + 2 r sqrt(1 - r²) (2 - 2 r²) - 1) + 2)&#xA;    } else if(r &amp;lt; 1 / sqrt(10)) {&#xA;        ((5 - r²) - 2 r sqrt(5 - r²)) / 5&#xA;    }&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I want to create a high-quality rendered video of the polygons changing shape as &lt;code&gt;r&lt;/code&gt; varies, but After Effects, my normal go-to for animations, does not allow the user to control the exact positions of the points of shape layers with expressions in the way that I want. Is there an alternative animation program that supports this kind of thing?&lt;/p&gt;&#xA;" OwnerUserId="39796" LastActivityDate="2022-11-15T14:09:13.933" Title="Is there a program similar to After Effects that lets you animate the points of a polygon according to a mathematical function?" Tags="|animation|software-recommendation|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35930" PostTypeId="1" CreationDate="2022-11-15T20:48:10.253" Score="1" ViewCount="118" Body="&lt;p&gt;I am trying to import illustrator shapes into after effects. But when I import I get different colors for some reason.&lt;/p&gt;&#xA;&lt;p&gt;This is original in Illustrator:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/70HgN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/70HgN.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And this is what I get in after effects:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/S7Dth.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/S7Dth.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can i fix this?&lt;/p&gt;&#xA;" OwnerUserId="39800" LastActivityDate="2022-11-16T06:31:55.443" Title="Illustrator 2022 to After effects 2022 - colors differ" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35934" PostTypeId="2" ParentId="35930" CreationDate="2022-11-16T06:31:55.443" Score="1" Body="&lt;p&gt;You need to make sure you're working in the same &lt;a href=&quot;https://en.wikipedia.org/wiki/Color_space&quot; rel=&quot;nofollow noreferrer&quot;&gt;Colour Space&lt;/a&gt; in both products.&lt;/p&gt;&#xA;&lt;p&gt;Colour Space in Illustrator:&#xA;&lt;a href=&quot;https://helpx.adobe.com/illustrator/using/color.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/illustrator/using/color.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Colour Space in After Effects:&#xA;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/color-management.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/after-effects/using/color-management.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;sRGB is likely to work well in both, but if you're making animation for television, you'll probably need Rec709 colour space in After Effects.  This means you may need to convert your profile.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-11-16T06:31:55.443" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35939" PostTypeId="1" CreationDate="2022-11-18T11:47:54.257" Score="-1" ViewCount="31" Body="&lt;p&gt;This is something which has baffled me for many years already. I just watched this freshly uploaded video (out of many): &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/68xYIobU2TI?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;It seriously looks like somebody took a consumer video camera from 1985, smeared grease all over the lens and then recorded the video.&lt;/p&gt;&#xA;&lt;p&gt;How is it possible to capture such fuzzy video in 2022? Or even many years ago now? I do not understand it. The defaults, or even worst possible settings, seem like they would be infinitely superior to the video's quality.&lt;/p&gt;&#xA;&lt;p&gt;It's not how they &amp;quot;handle&amp;quot; the camera. It's not because they don't know about XYZ technical stuff. Anyone could record ultra-crisp video in daylight with the cheapest device which isn't even a dedicated camera. Yet this kind of video keeps appearing, where you can't even tell what you're looking at.&lt;/p&gt;&#xA;&lt;p&gt;What am I missing? How can they look so extremely low-res and fuzzy?&lt;/p&gt;&#xA;" OwnerUserId="39822" LastActivityDate="2022-11-18T17:44:15.463" Title="How can people apparently manage to capture video in such poor quality in 2022?" Tags="|video|video-quality|audio-quality|quality|technical|" AnswerCount="1" CommentCount="0" ClosedDate="2022-11-24T11:55:25.207" ContentLicense="CC BY-SA 4.0" />
  <row Id="35940" PostTypeId="2" ParentId="35939" CreationDate="2022-11-18T17:44:15.463" Score="1" Body="&lt;p&gt;The short answer is compression. While cameras these days are modern marvels, the images they capture are often encoded, re-encoded, and re-encoded again as they make the trip from the camera sensor to what you see posted online. Think of it like a xerox of a xerox of a xerox. The video you posted was probably recorded in 1080p but compressed down to 240p - roughly the equivalent of VHS tapes - before Youtube then re-encoded it again, removing even more detail.&lt;/p&gt;&#xA;&lt;p&gt;Obligatory reference: &amp;quot;&lt;a href=&quot;https://www.youtube.com/watch?v=jmaUIyvy8E8&quot; rel=&quot;nofollow noreferrer&quot;&gt;Do I look like I know what a Jpeg is?&lt;/a&gt;&amp;quot;&lt;/p&gt;&#xA;" OwnerUserId="39824" LastActivityDate="2022-11-18T17:44:15.463" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35941" PostTypeId="1" CreationDate="2022-11-18T17:51:13.777" Score="1" ViewCount="54" Body="&lt;p&gt;I have a question for Adobe Premier Pro experts. There was a need to stabilize the video, and I faced a problem: I strongly do not understand the logic of settings and the mechanics of the Warp Stabilazer effect. I imagined it this way: there is a 'Smoothness' parameter that is responsible for the degree of stabilization, and which, I thought, directly affects the degree of crop: more 'Smoothness' is stronger than crop, less 'Smoothness' is less than crop, zero 'Smoothness' is the original frame size (no stabilization). I imagined the mechanics of the process something like this: a crop is made to some size (say, let there be a decrease of 22% of the original size), then the stabilizer moves and turns this crop so that the image that got into it changes as smoothly as possible, but at the same time so that the crop does not go beyond the original image. Then, if you set the 'Framing' parameter to &amp;quot;Stabilize, Crop, Auto-scale,&amp;quot; as I thought, the croped stabilized picture is scaled to the original dimensions so that there are no black borders. However, in practice, it turned out that Warp Stabilazer behaves completely different from what I expected, and also has many not quite obvious settings. I got the following unexpected result:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/evw5U.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/evw5U.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Accordingly, I do not understand:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;How does 'Smoothness' relate to the size of the crop?&lt;/li&gt;&#xA;&lt;li&gt;How does the 'Crop Less &amp;lt;-&amp;gt; Smooth More' parameter relate to the 'Smoothness' parameter itself, and how does it, in turn, affect the crop?&lt;/li&gt;&#xA;&lt;li&gt;What does the 'Preserve Scale' parameter really do with the selected &amp;quot;Position, Scale, Rotation&amp;quot; method? Does this mean that when the checkmark is removed, the amount (scale) of the crop will &amp;quot;float&amp;quot; throughout the timeline, thereby creating the effect of an ever-changing focal length? Or what scale is then preserved here?&lt;/li&gt;&#xA;&lt;li&gt;Why did the crop at the specified parameters in the picture turn out to be so huge, at the specified 'Maximum Scale' value of 122%?&lt;/li&gt;&#xA;&lt;li&gt;Why does the value of &amp;quot;Stabilize, Crop, Auto-scale&amp;quot; not scale the picture so as to get rid of black borders?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;And here is what I have so far unsuccessfully tried to get:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;constant crop by a given value (22%) with keeping of the aspect ratio.&lt;/li&gt;&#xA;&lt;li&gt;maximum stabilization by the method of turns and paranomization with a given crop.&lt;/li&gt;&#xA;&lt;li&gt;increasing the stabilized picture to its original size so that there are no black borders.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;If anyone can clarify all this to me I would be very grateful. I myself could not find anything intelligible stuff on this topic...&lt;/p&gt;&#xA;&lt;p&gt;P.S. Sorry for my not perfect English. And don't judge me strongly - I'm noob at the Adobe Premiere Pro.&lt;/p&gt;&#xA;" OwnerUserId="39825" LastActivityDate="2022-11-18T17:51:13.777" Title="Understanding the Warp Stabilizer mechanics and settings meaning" Tags="|stabilisation|premiere-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35944" PostTypeId="2" ParentId="28779" CreationDate="2022-11-19T19:30:22.697" Score="-2" Body="&lt;p&gt;If I could suggest, You can use Photoshop to import you Pictures, Then Export it as video and then get it edited with editor of your choice which i would Recommend You  to use Prem. pro&lt;/p&gt;&#xA;" OwnerUserId="39835" LastActivityDate="2022-11-19T19:30:22.697" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35945" PostTypeId="1" AcceptedAnswerId="35954" CreationDate="2022-11-20T14:12:19.427" Score="-1" ViewCount="215" Body="&lt;p&gt;For shooting a YouTube videos as a talking head I'm choosing a camera.&lt;/p&gt;&#xA;&lt;p&gt;The shooting will be indoors. Everything will be calm, no fast movements.&#xA;That is talking and occasionally to write something on the whiteboard. Educational videos.&lt;/p&gt;&#xA;&lt;p&gt;I need Full HD 1080, this is understandable. The question is whether I can shoot as interlaced or progressive is a must?&lt;/p&gt;&#xA;&lt;p&gt;In other words for the abovementioned purposes must the minimum be 1920x1080/30p or 30i is also possible?&lt;/p&gt;&#xA;" OwnerUserId="39840" LastActivityDate="2022-11-22T17:35:23.067" Title="Interlaced or progressive for YouTube?" Tags="|video|youtube|" AnswerCount="1" CommentCount="0" ClosedDate="2022-11-24T11:56:35.470" ContentLicense="CC BY-SA 4.0" />
  <row Id="35947" PostTypeId="2" ParentId="33399" CreationDate="2022-11-21T01:37:22.930" Score="2" Body="&lt;p&gt;From DaVinci Resolve you can go to Help -&amp;gt; Documentation -&amp;gt; Developer. It will open the folder with available development options for DaVinci Resolve. In linux it is in &lt;code&gt;/opt/resolve/Developer/Scripting/README.txt&lt;/code&gt;&#xA;Some of types of plugins are: python/lua scripting, OpenFX plugins, Electron integrations, Fusion, Codec plugins, lut.&lt;/p&gt;&#xA;&lt;p&gt;Explore files, there are examples there. And you can start programming.&lt;/p&gt;&#xA;" OwnerUserId="37413" LastActivityDate="2022-11-21T01:37:22.930" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35950" PostTypeId="1" CreationDate="2022-11-21T21:24:17.703" Score="0" ViewCount="21" Body="&lt;p&gt;I have a .mov file that is a slide show of many pictures set to music. One of the images was not rotated properly when the movie was made, it needs to be rotated 90 degrees to the right. Is there a way to just rotate that one image or group of frames that composes that image in the movie or does the .mov need to be recreated with the file correctly rotated?&lt;/p&gt;&#xA;" OwnerUserId="39849" LastActivityDate="2022-11-21T21:24:17.703" Title="Can One Frame Be Rotated In A .mov File?" Tags="|video-editor|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="35951" PostTypeId="1" CreationDate="2022-11-22T01:00:17.597" Score="1" ViewCount="19" Body="&lt;p&gt;I'd like to seek help here about rendering in AE CS6 ...&lt;/p&gt;&#xA;&lt;p&gt;I'm a noob by the way, I just finished a few 4sec animation and have no problem rendering non-3d compositions...&lt;/p&gt;&#xA;&lt;p&gt;But my first 3d composition consisting of multiple pre-compositions: 2 non-3d text composition and 1 composition that contains multiple shapes as 3d layers (ray-traced 3d not classic) renders &amp;quot;blurry&amp;quot; or maybe at a very low resolution..&lt;/p&gt;&#xA;&lt;p&gt;During normal playback in the composition view, everything is sharp.&lt;/p&gt;&#xA;&lt;p&gt;During render at the render queue (and the actual output video), the 3d shapes are low-res (blurry) but the normal non-3d text are sharp&lt;/p&gt;&#xA;&lt;p&gt;Render settings are all default except for:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;32bit color depth&lt;/li&gt;&#xA;&lt;li&gt;H.264 (but I also tried lossless AVI)&lt;/li&gt;&#xA;&lt;li&gt;Bitrate at 8, 10, 12 (same output)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Note (I don't know if this matters):&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;I tried using both motion blur at on and off&lt;/li&gt;&#xA;&lt;li&gt;I used time stretch to increase the speed of the 3d composition&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QKaS2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QKaS2.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This the quality if played normally in the composition view&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/anexO.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/anexO.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And this is the result after rendering to video file&lt;/p&gt;&#xA;&lt;p&gt;Please help......&lt;/p&gt;&#xA;" OwnerUserId="39851" LastActivityDate="2022-11-22T01:00:17.597" Title="Rendering 3d in AE CS6 is blurry" Tags="|after-effects|video-quality|3d|animation-rendering|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35953" PostTypeId="1" CreationDate="2022-11-22T15:40:09.050" Score="0" ViewCount="472" Body="&lt;p&gt;I am importing an illustrator file including svg shapes to after effects. The shapes in the files are filled with gradients and when I import them to AE they are all gray. Is there a way to quickly apply the gradient to all of the shapes? I am doing a lottie animation, so the fill needs to be gradient (not using an effect).&lt;/p&gt;&#xA;&lt;p&gt;Some shapes also have a full layer size gray frame that I did not add in illustrator. So the layer basically has the shape I want (Group 1) and the full layer size shape (Group 2) covering everything else. IF I remove Group 2, I cannot add the fill to Group 1.&lt;/p&gt;&#xA;" OwnerUserId="34922" LastActivityDate="2023-12-25T13:05:25.717" Title="Importing gradient filled shapes from adobe illustrator to after effects" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35954" PostTypeId="2" ParentId="35945" CreationDate="2022-11-22T17:35:23.067" Score="0" Body="&lt;p&gt;IMHO, there is no reason to shoot interlaced in this digital world. Use P.&lt;/p&gt;&#xA;&lt;p&gt;Also, if you do not need 30FPS, you could use 24 FPS, that way in your indoor setting, you could use a tiny bit of slower shutter speed, allowing your images to be a bit brighter.&lt;/p&gt;&#xA;&lt;p&gt;I don't know if you are asking because of some budget constraints on the two models of cameras you are comparing, but 30p will look better than even 60i.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2022-11-22T17:35:23.067" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35955" PostTypeId="2" ParentId="28779" CreationDate="2022-11-22T17:57:17.227" Score="1" Body="&lt;p&gt;This question has some time, but I would like to comment.&lt;/p&gt;&#xA;&lt;p&gt;Efficiency&lt;/p&gt;&#xA;&lt;p&gt;In my opinion, the first step would be a batch resize and crop. Do not overwrite the original, but generate a copy instead. There are several programs to do that, that do not even &amp;quot;open&amp;quot; the file.&lt;/p&gt;&#xA;&lt;p&gt;The reason is that after this step, you can work with smaller-sized assets and not have to drag a humungous file on the next steps, even the planned color adjustments. That is a common task in video editing, so you will have perfectly capable color correction tools on video software. No need to use Gimp.&lt;/p&gt;&#xA;&lt;p&gt;Even on normal editing, is common to use a lower resolution proxy when editing.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;An additional note. 1440x1080 is not a common aspect ratio. Some players or users could be tempted to resize to a more common 1920x1080. So it is better to make that decision yourself.&lt;/p&gt;&#xA;&lt;p&gt;If you do not want to make that decision yet, In my opinion, is better to resample the photos to 1920x1440px first, and use those to make the video. They are easier to work than the original, and you can choose to crop or not once you see the sequence as a video.&lt;/p&gt;&#xA;&lt;p&gt;Then you could either crop to FullHD without sacrificing the sharpness, or if you still want that aspect ratio, then resample the video once finished.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2022-11-22T17:57:17.227" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35956" PostTypeId="1" CreationDate="2022-11-23T10:38:26.087" Score="1" ViewCount="291" Body="&lt;p&gt;Good morning, after 1 month of research and attempts, still wondering the correct solution.&lt;/p&gt;&#xA;&lt;p&gt;I have frequently tv mpeg-ts (h264+aac) file to cut part from. I have a script to cut at exact times inserted in a text file; the timestamp of the cut point is identified overlaying the pts on every frame with drawtext filter, and/or exporting exact frame number as a pic and checking frame's timestamp with ffprobe, and/or with &lt;code&gt;ffmpeg -i xxxx -ss [...]&lt;/code&gt; (accurate seek).&lt;/p&gt;&#xA;&lt;p&gt;if I cut only the video, with the trim filter, according those timestamp, the result is perfect. the problem arises when I cut audio as well (with the same timestamps, obviously, from the same input (&lt;code&gt;[0:v]trim.....; [0:a]trim.....&lt;/code&gt;): audio/video is synced BUT not at the exact position.&lt;/p&gt;&#xA;&lt;p&gt;after troubleshooting I checked that &lt;code&gt;start_pts&lt;/code&gt; of the video and audio track are different; after checking many files I found that audio always starts earlier, between around 0.4 - 1.5 sec.&lt;/p&gt;&#xA;&lt;p&gt;video start pts:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -show_entries stream=codec_type,start_time  00001.ts 2&amp;gt;/dev/null  | grep -m 1 -A1 codec_type=video | grep -v video | sed  -e 's/^.*=//'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;audio start pts:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -show_entries stream=codec_type,start_time  00001.ts 2&amp;gt;/dev/null  | grep -m 1 -A1 codec_type=audio | grep -v audio | sed  -e 's/^.*=//'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;in this case, for instance, I get:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;35918.124589 (video)&#xA;35917.700589 (audio)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;difference is 35918.124589 - 35917.700589 = 0.424 s.&lt;/p&gt;&#xA;&lt;p&gt;this is the exact offset of the cut as compared from my input timestamps.&lt;/p&gt;&#xA;&lt;p&gt;my understanding is that if I use the trim filter only on a video track, ffmpeg position on the requested time starting from intial video track timestamp, but if I trim both video and audio, BOTH are cut at requested time starting from intial AUDIO track timestamp (thus shifting the video cutting point).&lt;/p&gt;&#xA;&lt;p&gt;if I decide to use separate inputs (&lt;code&gt;ffmpeg -i 00001.ts -i 00001.is -filter_complex &amp;quot;[0:v]trim xxx yyy[v1];[1:a]atrim xxx yyy[a1]&amp;quot;&lt;/code&gt;) then video is cut at original desired position, but audio and video are out of sync.&lt;/p&gt;&#xA;&lt;p&gt;presently my two options are to use separate inputs and INCREASE audio cut time by the calculated offset, OR use, as normal, one input for each part to be cut, and increase both video and audio cut time by the offset (since is going to be counted from audio initial pts for both the audio and the video).&lt;/p&gt;&#xA;&lt;p&gt;I would like to understand how ffmpeg use pts from different tracks: how it decides if looking to audio track pts, or video track pts, etc?&#xA;which should be the correct approach to have audio vidfeo in sync, and cutting exactly at the timestamp identified from the video track?&lt;/p&gt;&#xA;&lt;p&gt;best regards&lt;/p&gt;&#xA;" OwnerUserId="39860" LastEditorUserId="20528" LastEditDate="2022-12-08T11:24:11.673" LastActivityDate="2022-12-08T11:24:11.673" Title="MPEG-TS imprecise cut position on exact PTS, if cutting audio as well" Tags="|ffmpeg|video|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35957" PostTypeId="2" ParentId="35598" CreationDate="2022-11-23T11:49:25.663" Score="2" Body="&lt;p&gt;I was also going down this rabbit hole and found that there's an option &lt;code&gt;-attach filename&lt;/code&gt; that's more specific to &lt;code&gt;mkv&lt;/code&gt; files. It's at the end of the &amp;quot;Main Options&amp;quot; section of the manual: &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Main-options&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg.html#Main-options&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mkv -attach cover.jpg -metadata:s:t:0 mimetype=image/jpeg -c copy out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The &lt;code&gt;-metadata:s:t:0&lt;/code&gt; specifically selects the first attachment stream (which should be just the cover photo).&lt;/p&gt;&#xA;" OwnerUserId="39861" LastActivityDate="2022-11-23T11:49:25.663" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35960" PostTypeId="1" CreationDate="2022-11-23T16:09:48.057" Score="1" ViewCount="56" Body="&lt;p&gt;I have a VHS tape made from 1970s-era super-8 home video footage (the originals for which are lost), and am trying to make what improvements I can.&lt;/p&gt;&#xA;&lt;p&gt;I used a Blackmagic UltraStudio to perform raw frame captures of the component output from a Panasonic DMR-ES46V (avoiding encoding artifacts from using that hardware's on-board MPEG encoder to write to DVD). The result is not great -- the footage was underlit, and a lot of shadow detail, as far as I can tell, is simply unrecoverable -- but the thing I &lt;em&gt;would&lt;/em&gt; hope to fix is the duplicated frames.&lt;/p&gt;&#xA;&lt;p&gt;The conversion from 18p to 59.94i was not pretty: there are repeated frames, frames with interlace artifacts (which I &lt;em&gt;can&lt;/em&gt; correct with existing tools), and frames that mix two original frames. It's those last ones I have no idea how to deal with; if both those and the duplicated frames are gone, I presume I'll be able to use something like Topaz Video's retiming capabilities to get a reasonable result (whether at 18fps or otherwise)&lt;/p&gt;&#xA;&lt;p&gt;Are tools available to identify and remove frames? I mostly use Davinci Resolve on MacOS (and also have Linux hosts at hand); the only tool I've seen so far that looks plausible for the purpose is &lt;a href=&quot;http://avisynth.nl/index.php/Srestore&quot; rel=&quot;nofollow noreferrer&quot;&gt;the Srestore script for avisynth&lt;/a&gt;; but this appearing to be an unmaintained Windows-only tool, I'm hoping that plausible alternatives exist.&lt;/p&gt;&#xA;" OwnerUserId="33766" LastActivityDate="2022-11-23T16:09:48.057" Title="Recovering 18fps super-8 from NTSC 59.94i: Duplicate frame removal?" Tags="|framerate|post-production|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="35961" PostTypeId="1" CreationDate="2022-11-24T11:25:36.470" Score="1" ViewCount="33" Body="&lt;p&gt;I'm experienced with Illustrator though very new to After Effects and having big trouble with the most basic of things.&lt;/p&gt;&#xA;&lt;p&gt;What I'm trying to do is that basically I have a huge HD map and I want to show a path in part of this map. I've successfully got it scrolling just where I want it in the Viewport that I see, however when I export the entire map is exported, not just the section I was zoomed into.&lt;/p&gt;&#xA;&lt;p&gt;The question is, how do you extract only part of an image in After Effects with the rest being considered out of bounds?&lt;/p&gt;&#xA;&lt;p&gt;In doing this, I don't actually want to reduce the image resolution and the rest still has to 'exist' as the path will scroll there.&lt;/p&gt;&#xA;" OwnerUserId="39872" LastEditorUserId="41669" LastEditDate="2023-12-23T15:00:23.807" LastActivityDate="2024-01-22T16:02:55.330" Title="How to export only the Viewport in After Effects?" Tags="|after-effects|zoom|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35963" PostTypeId="1" CreationDate="2022-11-25T12:12:02.097" Score="0" ViewCount="407" Body="&lt;p&gt;I want to reconnect my Motion Tracker. But I cant &amp;quot;Edit Target&amp;quot;.&#xA;For example: I track the video and forgot to create a null-object for the connection with the tracker. When I do this, there is no more possibility to connect the tracker with the null-object and the only chance for me is to track the motion again (but the former tracking path is visible, but no more connectable). Anyone an idea?&lt;/p&gt;&#xA;" OwnerUserId="39882" LastActivityDate="2023-12-23T13:01:50.263" Title="To reconnect Motion Tracker in After Effects" Tags="|after-effects|tracking|motion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35964" PostTypeId="2" ParentId="35961" CreationDate="2022-11-26T01:02:42.100" Score="0" Body="&lt;p&gt;Precompose the map layers, then in your Main composition scale up the Precomposition to show what you want exported (and keyframe Position if that's what you are doing to keep the path in view). Your Main composition only needs to be the size of the exported video - not the size of the HD Map (the Precomposition should be the size of the HD Map).&lt;/p&gt;&#xA;" OwnerUserId="39883" LastActivityDate="2022-11-26T01:02:42.100" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35967" PostTypeId="1" CreationDate="2022-11-28T00:57:08.440" Score="1" ViewCount="39" Body="&lt;p&gt;Something I do to help me organize my timeline is typing out section descriptions, relevant quotes, and other information in text layers over my video. This is the easiest thing to do in Resolve, where you put a text layer over your video and then, in a separate panel, type what you want while you play the video. For a project that I have to edit in Premiere, I have 8 hours of interview to sort through, and I want to be able to type these descriptions in real time.&lt;/p&gt;&#xA;&lt;p&gt;But it seems like I have two options: type what I want into the horrible text box in the program monitor, or use the Graphics tab in the Captions and Graphics panel, which overwrites everything you write as you write it if the video is playing. Both options require pausing the video, which sounds small but with this much footage that could end up costing me hours. Is there a way I can keep my workflow in Premiere?&lt;/p&gt;&#xA;" OwnerUserId="39900" LastEditorUserId="14523" LastEditDate="2022-11-30T03:38:32.783" LastActivityDate="2022-11-30T03:38:32.783" Title="Edit text while playing a video in Premiere" Tags="|premiere|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35968" PostTypeId="2" ParentId="35963" CreationDate="2022-11-28T09:23:46.443" Score="0" Body="&lt;p&gt;Steps:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add your footage.&lt;/li&gt;&#xA;&lt;li&gt;Go to the Tracker panel&lt;/li&gt;&#xA;&lt;li&gt;Select the layer to be tracked&lt;/li&gt;&#xA;&lt;li&gt;Click Track Motion&lt;/li&gt;&#xA;&lt;li&gt;Position your track point (or points if you're doing Scale and Rotation as well)&lt;/li&gt;&#xA;&lt;li&gt;Click the Play icon in the Tracker panel&lt;/li&gt;&#xA;&lt;li&gt;If it mis-tracks, manually reposition the markers, and continue playing from the Tracker panel.&lt;/li&gt;&#xA;&lt;li&gt;A load of motion tracker keyframes appear in your footage&lt;/li&gt;&#xA;&lt;li&gt;Add a null to your comp&lt;/li&gt;&#xA;&lt;li&gt;Go back to the Tracker panel.&lt;/li&gt;&#xA;&lt;li&gt;Click 'Edit Target'&lt;/li&gt;&#xA;&lt;li&gt;Select your null and press OK.&lt;/li&gt;&#xA;&lt;li&gt;Click 'Apply' and choose whether you want X and/or Y coordinates applied.&lt;/li&gt;&#xA;&lt;li&gt;Your null now has position keyframes derived from the tracker marker.&lt;/li&gt;&#xA;&lt;li&gt;If you delete the null and make another one, you can repeat the process.&lt;/li&gt;&#xA;&lt;li&gt;Select your footage layer&lt;/li&gt;&#xA;&lt;li&gt;Go to the Tracker panel.&lt;/li&gt;&#xA;&lt;li&gt;Choose the correct Motion Source (your footage layer).&lt;/li&gt;&#xA;&lt;li&gt;Choose the correct Current Track (probably Tracker 1).&lt;/li&gt;&#xA;&lt;li&gt;Choose Track Type - probably 'Stabilize'.&lt;/li&gt;&#xA;&lt;li&gt;Click Edit Target, choose your Null, and hit Apply as before.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I suspect the 'Track Type' pull-down is working differently, and this is what you had to do, in order to be able to re-apply to a new null.. I don't remember it working like that before?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ciznX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ciznX.png&quot; alt=&quot;track type&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-11-28T09:23:46.443" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35972" PostTypeId="2" ParentId="19428" CreationDate="2022-11-29T04:54:40.217" Score="1" Body="&lt;p&gt;I don't have enough reputation to make a comment on the selected answer, but if you're using a version of ffmpeg with GPU support, you can use the GPU to render the output way faster. This is what I used. I don't know if all the settings are appropriate, especially the bitrate (I used a 45M bitrate in the input video and wasn't sure if halving that is appropriate for the outputs, so I didn't halve it). This took me a while to figure out, so I wanted to leave this here for others.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i sbs.mkv -filter_complex &amp;quot;split[l][r];[l]stereo3d=sbsl:ml[left];[r]stereo3d=sbsl:mr[right]&amp;quot; -map [left] -map 0:a -c:a copy -c:v h264_nvenc -b:v 45M left.mkv -map &amp;quot;[right]&amp;quot; -map 0:a -c:a copy -c:v h264_nvenc -b:v 45M right.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If you're using hsbs (half resolution side-by-side) like I am, you may also want to change sbsl to sbs2l so the video outputs are at &amp;quot;unsquished&amp;quot; aspect ratios.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i sbs.mkv -filter_complex &amp;quot;split[l][r];[l]stereo3d=sbs2l:ml[left];[r]stereo3d=sbs2l:mr[right]&amp;quot; -map [left] -map 0:a -c:a copy -c:v h264_nvenc -b:v 45M left.mkv -map &amp;quot;[right]&amp;quot; -map 0:a -c:a copy -c:v h264_nvenc -b:v 45M right.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="39909" LastActivityDate="2022-11-29T04:54:40.217" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35974" PostTypeId="2" ParentId="29516" CreationDate="2022-11-30T01:32:20.587" Score="0" Body="&lt;p&gt;I had the exact same problem with an intel hd 3000 igpu (i5-2467), but then I lowered the framerate and it was mostly gone, albeit once or twice it bothered me with this image glitch.&lt;/p&gt;&#xA;&lt;p&gt;The &lt;strong&gt;lower&lt;/strong&gt; the &lt;strong&gt;framerate&lt;/strong&gt;, the less errors = 15 fps was a good tradeoff I found ; 30fps was smoother but every minute or so I had some milliseconds lost.&lt;/p&gt;&#xA;" OwnerUserId="10871" LastActivityDate="2022-11-30T01:32:20.587" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35975" PostTypeId="1" AcceptedAnswerId="35999" CreationDate="2022-11-30T02:36:50.763" Score="0" ViewCount="1279" Body="&lt;p&gt;I am presently using ffmpeg to pull a stream from a camera using RTSP, and then output it as an HLS stream. I also have a webpage with a video.js player, using the example code found on &lt;a href=&quot;https://videojs.com/getting-started/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this page&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;My full ffmpeg command is as follows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -rtsp_transport tcp -fflags nobuffer -i rtsp://my_rtsp_url_here -c copy -f hls -hls_base_url http://my_base_url_here/ -hls_time 2 -hls_list_size 8 -hls_flags delete_segments stream.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;(As you can see, I've already done some things in an attempt to reduce latency, such as setting -fflags nobuffer.)&lt;/p&gt;&#xA;&lt;p&gt;Currently, latency seems to be sitting at at least 12 seconds, though I don't have an exact measure. I would be interested in any suggestions for reducing latency, even if that means switching protocols. The only requirement is that I'd like to be able to serve this stream on a webpage.&lt;/p&gt;&#xA;&lt;p&gt;I suspect that reducing video.js' buffer might help, but I don't know how to go about doing that.&lt;/p&gt;&#xA;" OwnerUserId="39916" LastActivityDate="2022-12-10T20:24:10.390" Title="Reducing latency with ffmpeg RTSP-&gt;HLS-&gt;video.js" Tags="|ffmpeg|hls|latency|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35976" PostTypeId="2" ParentId="35953" CreationDate="2022-11-30T08:47:33.057" Score="0" Body="&lt;p&gt;The &lt;a href=&quot;https://www.battleaxe.co/overlord/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Overlord plugin&lt;/a&gt; lets you move projects between Illustrator and After Effects in a better way than the built in processes do.  They have some support for gradients:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://help.battleaxe.co/overlord/gradients.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://help.battleaxe.co/overlord/gradients.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;#LIMITATIONS&#xA;Because of the complexity of the workaround, there is a limit of 8 colors on gradients. Additional color stops will be&#xA;ignored. Gradient strokes are supported, but the additional methods of&#xA;applying gradients (Along stroke and Across stroke) are not possible&#xA;in Ae and will be ignored. Radial gradient aspect ratio will be&#xA;ignored&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;It's a good plugin, highly recommended&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-11-30T08:47:33.057" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35978" PostTypeId="2" ParentId="34723" CreationDate="2022-12-01T10:48:11.667" Score="3" Body="&lt;p&gt;After two days of looking for an answer to this question, I found out the logic behind it and I'll share it here, because this topic looks as the best place for it, I hope it helps people understand it more easily through my explanation than through all the other explanations I found with Google on many sites and forums.&lt;/p&gt;&#xA;&lt;p&gt;So I wanted to crop different number of rows - 20 from the top and 10 from the bottom - of a video file, and I used this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.file -vf crop=iw:ih-30:0:10 -c:v av1_nvenc -c:a copy output.file&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The logic of the &lt;code&gt;crop=iw:ih-30:0:10&lt;/code&gt; is as follows:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;iw&lt;/code&gt; - input width of the video, which stays the same as the original&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;ih&lt;/code&gt; - input height of the video, which we want to cut&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;30&lt;/code&gt; - the total number of rows we want to remove&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;0 &lt;/code&gt;- I don't know why we have to input this, but we just have to&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;10&lt;/code&gt; - the number of rows, which we want to cut from the bottom&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="39927" LastEditorUserId="14523" LastEditDate="2022-12-01T21:11:43.287" LastActivityDate="2022-12-01T21:11:43.287" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35980" PostTypeId="2" ParentId="25054" CreationDate="2022-12-02T10:40:42.437" Score="0" Body="&lt;p&gt;This answer builds on the &lt;a href=&quot;https://video.stackexchange.com/a/25059/11621&quot;&gt;one above&lt;/a&gt; by veikk0 with some thoughts on how this can be incorporated into a more automated workflow.&lt;/p&gt;&#xA;&lt;p&gt;You can automate this using a windows batch file. Create a new text file with Notepad or your preferred text editor and include the following&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;+@echo off&#xA;set currentPath=%~dp0&#xA;set targetPath=%~dp0&#xA;:Loop&#xA;echo &amp;quot;%~1&amp;quot;&#xA;IF &amp;quot;%~1&amp;quot;==&amp;quot;&amp;quot; GOTO Continue&#xA;&#xA;&amp;quot;%currentPath%ffmpeg.exe&amp;quot; -i &amp;quot;%~1&amp;quot; -c:v dnxhd -profile:v dnxhr_hqx -color_range 2 -c:a copy &amp;quot;%targetPath%%~n1dnxhr_hqx.mov&amp;quot;&#xA;&#xA;SHIFT&#xA;GOTO Loop&#xA;:Continue&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Save the file as 10bitTranscode.BAT in the same folder as your ffmpeg.exe&lt;/p&gt;&#xA;&lt;p&gt;Now open the windows Run dialog (windows key + R) and run &lt;code&gt;shell:sendto&lt;/code&gt; . This will open the Windows SendTo folder. Create a shortcut to your .BAT file in this folder (by right-click dragging the bat file over to the SendTo folder and selecting 'Create shortcut here' from the menu that appears).&lt;/p&gt;&#xA;&lt;p&gt;Now you should be able to select a whole bunch of clips in File Explorer, right click on them, and select SendTo &amp;gt; 10bitTranscode.BAT and windows will automatically batch transcode all of them in sequence.&lt;/p&gt;&#xA;&lt;p&gt;By default the outputted files will be saved in the same folder as ffmpeg, but you can have the output written to a different folder by editing the &lt;code&gt;set targetpath=&lt;/code&gt; line in the code above to &lt;code&gt;set targetpath=&amp;quot;&amp;lt;your desired output path without trailing \&amp;gt;&amp;quot;&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="11621" LastActivityDate="2022-12-02T10:40:42.437" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35981" PostTypeId="1" CreationDate="2022-12-02T17:58:02.343" Score="1" ViewCount="18" Body="&lt;p&gt;I created some User Interface in Adobe XD including some shapes with blur and color each one. In XD everything looks OK, like:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1NFWx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1NFWx.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But, when i Export that to After Effects (Adobe XD lets you export artboards directly from it to After Effects), this shape lose the color! Example:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KuHDk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KuHDk.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Why is this happening? This is the configurations shown in After Effects for this shape:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eGfCw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eGfCw.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Someone can help me?&lt;/p&gt;&#xA;" OwnerUserId="39937" LastActivityDate="2022-12-02T17:58:02.343" Title="Can't fill a shape in After Effects (imported from XD)" Tags="|after-effects|color|shape|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35983" PostTypeId="1" CreationDate="2022-12-04T14:46:28.363" Score="0" ViewCount="376" Body="&lt;p&gt;I'm trying to achieve something pretty simple, but it's very hard to describe:&lt;/p&gt;&#xA;&lt;p&gt;There is a live video stream which uses &lt;em&gt;h264&lt;/em&gt; for it's video, and &lt;em&gt;m4a&lt;/em&gt; for it's audio. This stream is not mine, and I have absolutely no control on it: I can use it as-is.&lt;/p&gt;&#xA;&lt;p&gt;The required transfer bandwidth graph looks like this below:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8MVJA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8MVJA.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Huge impact when there is a &lt;em&gt;keyframe&lt;/em&gt;, then relax period until next keyframe.&lt;/p&gt;&#xA;&lt;p&gt;My &lt;em&gt;MachineA&lt;/em&gt; receives this stream, and I want to republish it to my other &lt;em&gt;MachineB&lt;/em&gt; (only to 1 single place).&lt;/p&gt;&#xA;&lt;p&gt;Why? Because MachineA &lt;em&gt;can&lt;/em&gt; receive the stream, however MachineB (due to geo-lock), can't.&lt;/p&gt;&#xA;&lt;p&gt;But, between MachineA and MachineB there is a VPN, so MachineA could (and actually can) forward (republish) the stream to MachineB.&lt;/p&gt;&#xA;&lt;p&gt;The only problem is, that there is a bandwidth limitation between MachineA and MachineB, which causes the stream to quite frequently pausing: (green line shows the bandwidth limitation):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oCf8G.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oCf8G.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The solution I'm looking for is to utilize some clever &lt;em&gt;ffmpeg&lt;/em&gt; approach:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;ffmpeg opens the stream on MachineA&lt;/li&gt;&#xA;&lt;li&gt;On MachineB I open the stream from MachineA, and &lt;strong&gt;buffers&lt;/strong&gt; it for &lt;em&gt;X&lt;/em&gt; seconds, before playing.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;So I basically want to solve this problem similar to old-school &lt;em&gt;disc-man&lt;/em&gt;'s anti-shock protection:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;fill up the buffer&lt;/li&gt;&#xA;&lt;li&gt;play the buffer&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;This was a FIFO approach, ie.: MachineA sends a frame to MachineB, which puts it into buffer. Once buffer is full, MachineB starts feeding it to decoder. This way it can smoothen the bandwidth, as long as the average bandwidth of the stream is less-than-equal to the max bandwidth of the VPN between machines.&lt;/p&gt;&#xA;&lt;p&gt;How could I manage this with &lt;em&gt;ffmpeg&lt;/em&gt;? I.e.: ffmpeg on MachineA receives the stream and republish to ffmpeg on MachineB. ffmpeg on MachineB applies this FIFO approach, and then it displays the received stream.&lt;/p&gt;&#xA;" OwnerUserId="35578" LastActivityDate="2024-04-01T04:07:10.797" Title="FFMPEG: FIFO buffer to smoothen bandwidth requirements?" Tags="|ffmpeg|streaming|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35987" PostTypeId="1" CreationDate="2022-12-06T09:54:10.580" Score="1" ViewCount="70" Body="&lt;p&gt;I have a video, &lt;code&gt;video.mp4&lt;/code&gt;, and an image, &lt;code&gt;artwork.png&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I would like, to use FFmpeg:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;To display the &lt;code&gt;video.mp4&lt;/code&gt; effect inside the image &lt;code&gt;artwork.png&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;If possible, resize &lt;code&gt;output.mp4&lt;/code&gt; as per the demo &lt;code&gt;demo_output.mp4&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Is this possible?&lt;/p&gt;&#xA;&lt;p&gt;Resources: &lt;a href=&quot;https://www.dropbox.com/transfer/AAAAAGgUAt5aTw0W5DYH75y-CvJTKQUqxXatnMPNjHBxpz4DDiOH9IM&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dropbox.com/transfer/AAAAAGgUAt5aTw0W5DYH75y-CvJTKQUqxXatnMPNjHBxpz4DDiOH9IM&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Have tried :&#xA;&lt;code&gt;ffmpeg -i video.mp4 -i artwork.jpg -filter_complex '[1:v][0:v]scale2ref[ckout][vid];[vid][ckout]blend=all_mode='lighten'[out]' -map '[out]' output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="39954" LastActivityDate="2024-01-04T15:04:30.513" Title="FFMPEG : Add video (partial video effect) under the image with ffmpeg" Tags="|ffmpeg|video|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35991" PostTypeId="1" CreationDate="2022-12-07T12:29:48.997" Score="0" ViewCount="79" Body="&lt;p&gt;So, at this point, I'm not sure if this is a programming or a physics problem! I'm attempting to concatinate 2 video inputs together to cover a wider field of view. As far as I can tell, this is usually done by &amp;quot;stitching&amp;quot; using matching keypoints in the two images. This can be computationally expensive, and as I'm trying to show the output in real time, my approach has been a simple mechanical allignment and a pixel overlap, blending/merging the overlap together.&lt;/p&gt;&#xA;&lt;p&gt;Here's the problem. Usually stitching is done with 2 cameras placed next to each other. My cameras are places 3 meters apart. Two different point of views resulting in two different perspectives.&lt;/p&gt;&#xA;&lt;p&gt;Now, the stitching doesn't have to be absolutely perfect. My goal is to concatinate the inputs while NOT losing objects. Obviously, depending on the field of view of the cameras, there will be a &amp;quot;dead space&amp;quot; close to the cameras.&lt;/p&gt;&#xA;&lt;p&gt;Here's my starting point:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SDE10.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SDE10.jpg&quot; alt=&quot;Starting point&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;One idea was to do a cut with an angle and then stitch the images together. That way, I keep information close by while avoiding double objects further out. But this introduces an unwanted distortion and I still get double objects further out:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GqBvg.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GqBvg.jpg&quot; alt=&quot;angle cut &amp;amp; stitched&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Any ideas how to move forward? Any help appriciated!&lt;/p&gt;&#xA;" OwnerUserId="39965" LastActivityDate="2022-12-08T17:48:54.650" Title="2 camera stitching with 3m distance" Tags="|video|camera|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="35992" PostTypeId="1" AcceptedAnswerId="35993" CreationDate="2022-12-07T13:07:14.137" Score="0" ViewCount="21" Body="&lt;p&gt;I want to be able to do at least this:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Ao62bglL_2o?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Someone told me &amp;quot;Could adobe after effects, if 3D camera mode was used, and then if text was added on path.&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;I at least I need to know what tools can assuredly do this before I start getting into courses for it.&lt;/p&gt;&#xA;&lt;p&gt;A suggested workflow like the quote would be much appreciated as well.&lt;/p&gt;&#xA;" OwnerUserId="39966" LastEditorUserId="39966" LastEditDate="2022-12-07T13:08:01.160" LastActivityDate="2022-12-07T18:53:17.247" Title="What software can I use to make fluid text 3D motion graphic?" Tags="|video-editor|software-recommendation|motion-graphics|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35993" PostTypeId="2" ParentId="35992" CreationDate="2022-12-07T18:53:17.247" Score="2" Body="&lt;p&gt;This was quite possibly made with After Effects.&lt;/p&gt;&#xA;&lt;p&gt;You could learn how to make something pretty similar by following this old but good set of tutorials for beginners:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.videocopilot.net/basic/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.videocopilot.net/basic/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;You could start by making a layer&lt;/li&gt;&#xA;&lt;li&gt;Make sure the text is left aligned&lt;/li&gt;&#xA;&lt;li&gt;Make it 3D&lt;/li&gt;&#xA;&lt;li&gt;Duplicate it several times&lt;/li&gt;&#xA;&lt;li&gt;Make a null object and place it on the left edge of your text layers&lt;/li&gt;&#xA;&lt;li&gt;Parent the text layers to the null object&lt;/li&gt;&#xA;&lt;li&gt;Rotate each of the text layers in 3D space&lt;/li&gt;&#xA;&lt;li&gt;Then animate the rotation of the null object&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/n9kYU.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/n9kYU.gif&quot; alt=&quot;screengrab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-12-07T18:53:17.247" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35994" PostTypeId="1" CreationDate="2022-12-08T00:28:05.973" Score="1" ViewCount="63" Body="&lt;p&gt;I'm trying to merge 3 videos and 1 audio track to 1 signle video with ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;At the moment i got working command which converts 2 videos and 1 audio together.&lt;/p&gt;&#xA;&lt;p&gt;One video called overlay is with transparent background and is delayed 13 s as well as audio.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -i main.mp4 -i click.mp3 -i overlay.mov\&#xA;    -filter_complex &amp;quot; \&#xA;        [1:a] adelay=13000|13000 [voice]; \&#xA;        [0:a][voice] amix=inputs=2:duration=longest [audio_out],setpts=PTS-STARTPTS,scale=1920x1080[top]; \&#xA;        [2:v]setpts=PTS-STARTPTS+13/TB,scale=1920x1080[bottom]; \&#xA;        [top][bottom]overlay=x=(W-w)/2:eof_action=pass&amp;quot; \&#xA;    -map 0:v -map &amp;quot;[audio_out]&amp;quot; -y -acodec aac -vcodec libx264 -preset ultrafast output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm not sure if it is possible but my goal is to add intro a.k.a 3rd video before these videos. So in total it would be 3 videos and 1 audio track.&lt;/p&gt;&#xA;&lt;p&gt;I tried a lot of varations and nothing has worked. Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="39973" LastActivityDate="2022-12-08T00:28:05.973" Title="FFMPEG merge 3 videos and audio together with 1 command" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35995" PostTypeId="2" ParentId="35991" CreationDate="2022-12-08T17:48:54.650" Score="2" Body="&lt;p&gt;There's a pretty good explanation of how to do this fro polyhaven (who make lots of HDRI images which require stitching of multiple shots):&#xA;&lt;a href=&quot;https://blog.polyhaven.com/how-to-create-high-quality-hdri/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://blog.polyhaven.com/how-to-create-high-quality-hdri/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;They recommend using PTGui to stitch the images together&#xA;&lt;a href=&quot;https://ptgui.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ptgui.com/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;To do this for a video you'd have to convert to an image sequence, then script something to sequentially stitch all your files.  it would take a while.&lt;/p&gt;&#xA;&lt;p&gt;I'd try mesh warping them in After Effects and carefully masking between them.  You might just about get away with it.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-12-08T17:48:54.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35996" PostTypeId="1" CreationDate="2022-12-10T12:22:57.213" Score="1" ViewCount="63" Body="&lt;p&gt;Sorry, my question is not very well put out but I have trouble understanding my own problem.&lt;/p&gt;&#xA;&lt;p&gt;I'm currently working on a music video project where I need to put green screened actors in a CGI scene.&#xA;What I'm doing is using After Effects to color key the green screen out, then export each file with a transparent background before putting them in a 3D scene.&lt;/p&gt;&#xA;&lt;p&gt;When I export the After Effects files, I choose to have them played at 24FPS.&#xA;I then put them in a Blender file that is set at a 24FPS ratio.&#xA;When I scroll the scene in Blender, the lip-syncing is on point and all the actors seem to be singing the song file imported in Blender.&#xA;When the scene is done, i export the Blender file in order to put the scene in my Premiere Pro project.&#xA;The Premiere project is also set at 24FPS.&lt;/p&gt;&#xA;&lt;p&gt;The thing is, I export everything in a PNG sequence and when I place it in the Premiere timeline, its length doesn't match the song. It's the same song file that I've put in the Blender and Premiere projects.&#xA;I did a test where I exported the Blender scene in a mp4 video file and, in this case, everything matches. There's a slight delay but nothing to be worry about.&lt;/p&gt;&#xA;&lt;p&gt;So, to sum up the thing :&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Everything from After Effects to Premiere is at 24FPS&lt;/li&gt;&#xA;&lt;li&gt;Export in PNG sequence doesn't match&lt;/li&gt;&#xA;&lt;li&gt;Export in MP4 does match (but looks awful)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;How can there be two different 24FPS ?&#xA;What am I missing ?&lt;/p&gt;&#xA;" OwnerUserId="39994" LastActivityDate="2024-01-05T10:07:05.797" Title="How to be sure of the FPS needed for any given export?" Tags="|after-effects|sync|export|blender|fps|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35997" PostTypeId="2" ParentId="35987" CreationDate="2022-12-10T12:51:35.007" Score="0" Body="&lt;p&gt;You would use scale2ref to match the fx clip with the artwork and then the blended result with the demo reference. For correct results, blend will have to work with RGB inputs, so those inputs have to be converted first.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -framerate 30 -i artwork.jpg -i video.mp4 -i demo_output.mp4 -filter_complex &amp;quot;[1][0]scale2ref[fx][bg];[bg]format=gbrp[bg];[fx]format=gbrp[fx];[fx][bg]blend=all_mode=lighten[mix];[mix][2]scale2ref[v][ref];[v]setsar=1[v];[ref]nullsink&amp;quot; -pix_fmt yuv420p -map [v] out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2022-12-10T12:51:35.007" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="35999" PostTypeId="2" ParentId="35975" CreationDate="2022-12-10T20:24:10.390" Score="0" Body="&lt;p&gt;I've solved my issue by switching webservers. Previously, I was using Python's builtin http.server, which was taking over 2 seconds to serve a single 2-second segment. (Naturally, this caused clientside stuttering and forced it to increase its buffer.)&lt;/p&gt;&#xA;&lt;p&gt;Now, using Apache (though any other production webserver would probably be just as good) I'm enjoying stutter-free streaming at acceptable latency levels.&lt;/p&gt;&#xA;" OwnerUserId="39916" LastActivityDate="2022-12-10T20:24:10.390" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36001" PostTypeId="2" ParentId="35996" CreationDate="2022-12-11T07:23:35.517" Score="0" Body="&lt;p&gt;Premiere and After Effects can default to import PNG files at different frames per second.  Double check that they are definitely at 24 fps, and that your sequence in Premiere is set to 24 fps, and that your comp in After Effects is set to 24 fps.  Was the original footage shot at 24 fps in the camera?&lt;/p&gt;&#xA;&lt;p&gt;Another thought - where is the music originating from?  Often video cameras record audio at 48kHz sample rate, but a lot of music is recorded at 44.1kHz sample rate.  If you put a recording at 48kHz synced up with one at 44.1kHz that hasn't been sample rate converted, they won't play in sync.&lt;/p&gt;&#xA;&lt;p&gt;Another thought: Blender defaults (or used to? can't remember) to play from frame zero, whereas Premiere/AE default to play from frame 1, so that may also cause you an issue.&lt;/p&gt;&#xA;&lt;p&gt;In general, if your footage was shot at 24fps, and your whole pipeline is 24fps, your image sequence should be matching perfectly.  If it isn't, it suggests to me that something is frame rate converting somewhere.  If you in-camera settings were anything other than 24fps, I would work at your camera's frame rate throughout, otherwise you are more likely to have syncing issues. If you want to frame-rate convert to 24fps, do it after you have finished your visual effects.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-12-11T07:23:35.517" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36002" PostTypeId="2" ParentId="7627" CreationDate="2022-12-11T07:30:07.307" Score="1" Body="&lt;p&gt;With all due respect I believe this is a common misconception being promoted as an answer here:  i.e. &amp;quot;its already low quality so a high quality copy isn't necessary&amp;quot;.  In fact it is the fact that it is already encoded to the point of almost being humanly annoying which means you need to get it as good as possible.  If you don't do this, special effects (think star wars or smoke) come out pixelated or with harsh contrast/saturation zone lines between the gradients and fine details such as the nap of a jacket get homogenized in to one color/contrast/brightness and saturation which begin to make the video look like an animated paint by number piece.&#xA;This is a hotly debated topic, I expect lots of backlash so I urge you to do several trial runs and prove this to yourself rather than deciding based on who is most verbal in the forums with their advice.&lt;/p&gt;&#xA;&lt;p&gt;&amp;quot;Ya canno change the laws o physics.&amp;quot;:&#xA;Montgomery Scott&lt;/p&gt;&#xA;" OwnerUserId="40002" LastActivityDate="2022-12-11T07:30:07.307" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36005" PostTypeId="1" AcceptedAnswerId="36007" CreationDate="2022-12-11T23:21:47.793" Score="2" ViewCount="293" Body="&lt;p&gt;I just purchased a Sirui 50mm 1.8 anamorphic lens, the Sony E-mount version. It fits on the camera fine as expected. However, there is a lot of vignetting. It happens on both 4k and HD recording modes. Is there some kind of camera setting that will fix this? From what I've read this lens should be compatible with the a7s2.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FrOF2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FrOF2.jpg&quot; alt=&quot;example&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19162" LastActivityDate="2022-12-12T08:16:36.143" Title="Vignetting with Sirui Anamorphic Lens on a Sony A7sii" Tags="|video|lenses|sony|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36006" PostTypeId="1" CreationDate="2022-12-11T23:47:30.103" Score="0" ViewCount="50" Body="&lt;p&gt;I'm using audacity to record my mic at 44100 hz and using obs studio to record my screen at 60 fps. when I start recording, I enable my mic on obs for a few seconds while audacity is also recording to I can sync them in editing. so I do that later and its aligned well give or take some frames. however, later in the video my mic audio from audacity doesn't align with the video at all. so I align it again at that point using video context clues but then later the same thing happens. I checked obs settings and it says i was recording audio at 48khz (48000hz) the only other option was 44.1khz (44100 as audacity was using) so I switched it to 44.1 but I don't know if it works. I'm pretty confident that this will fix it but I don't have the time to test it so I just want to know if that is what the answer would most likely be.&lt;/p&gt;&#xA;" OwnerUserId="37770" LastActivityDate="2022-12-11T23:47:30.103" Title="audio never lines up with video correctly" Tags="|audio|audio-recording|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="36007" PostTypeId="2" ParentId="36005" CreationDate="2022-12-12T08:16:36.143" Score="2" Body="&lt;p&gt;The lens is built for crop-frame [APS-C] cameras, not full-frame. It cannot fill a full 35mm frame, so you get very heavy vignetting.&lt;br /&gt;&#xA;Ref: &lt;a href=&quot;https://cf.sirui.com/Anamorphic-Lens.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://cf.sirui.com/Anamorphic-Lens.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Unless your camera can shoot video in crop-frame, I'd just send it back.&lt;/p&gt;&#xA;&lt;p&gt;They do make a FF 50mm anamorphic, but it's a lot more expensive. It's a T2.9 - idk how much difference that is going to make to the final image. &lt;a href=&quot;https://cf.sirui.com/lens/Anamorphic/fullframe?lang=en-us&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://cf.sirui.com/lens/Anamorphic/fullframe?lang=en-us&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12233" LastActivityDate="2022-12-12T08:16:36.143" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36010" PostTypeId="2" ParentId="24691" CreationDate="2022-12-16T15:43:29.797" Score="0" Body="&lt;p&gt;I just made a fairly general web-based &lt;a href=&quot;https://arpruss.github.io/webpanim/&quot; rel=&quot;nofollow noreferrer&quot;&gt;timer/clock animator&lt;/a&gt; that outputs WebP animations which you can then import into Premiere Pro (or Rush or anything else that supports animated WebP). E.g., to display numbers from 30 seconds to 1 seconds, set the start time to 30, the end time to 1, and change the line 1 format dropdown to &amp;quot;SS&amp;quot; to count 30,29,...,02,01, and to &amp;quot;S&amp;quot; to count 30,29,...,2,1. Adjust font, size and color to taste. Set background opacity to 0 if you want a fully transparent background. Click Generate and once it's done, you can download the WebP, and add it to a new track in Premiere.&lt;/p&gt;&#xA;&lt;p&gt;If you want some text with the number, choose &amp;quot;Custom formatting&amp;quot; instead and then put something like &amp;quot;{S} seconds remaining&amp;quot;.&lt;/p&gt;&#xA;" OwnerUserId="40064" LastActivityDate="2022-12-16T15:43:29.797" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36011" PostTypeId="2" ParentId="31978" CreationDate="2022-12-16T16:20:22.963" Score="-1" Body="&lt;p&gt;I'm not sure of what brand of software might be capable of this, but I disagree with the commenters saying it's impossible to assess.&lt;/p&gt;&#xA;&lt;p&gt;Imagine a 480p video consisting entirely of black and white pixel lines.&#xA;Assuming away compression artifacts, it'd be clear that upscaled to 1080p, the contrast edges would likely not be clean and sharp compared to a proper 1080p video made of black and white lines.  Some measurement of average contrast between pixels or peak contrast would probably let you cull what's lowest contrast versus not.  While I agree there's no way to tell what the native original resolution was, you'd be able to rank videos by contrast/detail in a way.&#xA;In short, how strongly on average one pixel differs from the next will give you a measurement of detail.&lt;/p&gt;&#xA;" OwnerUserId="40071" LastActivityDate="2022-12-16T16:20:22.963" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36012" PostTypeId="2" ParentId="33014" CreationDate="2022-12-17T00:46:01.287" Score="0" Body="&lt;p&gt;For macOS check out VDMX.&#xA;You could also try processing.org and create something that can do exactly what you need.&lt;/p&gt;&#xA;" OwnerUserId="40075" LastActivityDate="2022-12-17T00:46:01.287" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36015" PostTypeId="1" CreationDate="2022-12-18T13:29:04.260" Score="1" ViewCount="30" Body="&lt;p&gt;Watched La Haine 4k version the other day and was captivated by how BFI gave the film a much low contrast soft look in comparison to criterion hard contrast look. I know lightning plays a vital role but did they add a filter or lower the whites?. It seems as if there is a glowing outline around body figures and objects , in which I wondering if they used a HDR effect?. Has the tool of clarity been used too?. I'm not planning on using any types of mist filters because it will strengthen the highlights too much in which this is something that I don't attend to aim for , due to me editing in post-production&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tHgLq.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tHgLq.jpg&quot; alt=&quot;4k&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/moLlg.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/moLlg.jpg&quot; alt=&quot;criterion&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/MTFkH.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MTFkH.jpg&quot; alt=&quot;4k&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/cYreI.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cYreI.png&quot; alt=&quot;criterion&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/oILOk.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oILOk.jpg&quot; alt=&quot;4k&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/iLIut.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iLIut.jpg&quot; alt=&quot;criterion&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40085" LastActivityDate="2022-12-18T13:29:04.260" Title="How do you achieve this soft/glowish low contrast black and white look?" Tags="|editing|video-quality|color-correction|color-grading|premiere-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36018" PostTypeId="1" CreationDate="2022-12-19T06:52:33.387" Score="1" ViewCount="104" Body="&lt;p&gt;I am new to recording videos. My room is cluttery and I want to hide all that clutter under a backdrop. I have watched some videos on YouTube but I am still not sure of what I need. From the videos I saw on YouTube I believe the best option is using fabric backdrops. Though, I have realized there are types of fabric backdrops. There is a the muslin backdrops and there is the non-woven backdrops. Also, on amazon I have found seamless fabric. I am not sure what that is. On YouTube people say that non-woven is bad for closeup product shooting. I have realized why after I saw the visible pattern of non-woven cloth in videos. Anyway, &lt;a href=&quot;https://www.amazon.sa/-/en/Professional-Photography-Background-Polyester-Cotton-One-Piece/dp/B08BCRDQVH&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; and &lt;a href=&quot;https://www.amazon.sa/-/en/Professional-Photography-Background-Polyester-Cotton-One-Piece/dp/B08S71SXP3&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; are the seamless fabrics I am talking about.&lt;/p&gt;&#xA;&lt;p&gt;Also, &lt;a href=&quot;https://www.amazon.sa/-/en/Andoer-Photography-Studio-Fabric-Background/dp/B07MVXK4QV&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; is the non-woven:&lt;/p&gt;&#xA;&lt;p&gt;Here are my requirements. I need a green backdrop for replacing it with different colors to have a variety of (realistic) backgrounds. I will be sitting in a chair recording the videos using a webcam placed on the laptop screen right in front of me (on top of it). The distance between my body and the laptop is around 1 meter. The backdrop will be placed 1 meter behind me (I want my video to have a wide angle not closeup angle. I am not sure if I am using the terminology right but to clarify I do not want the camera to be very close to my body). I want the backdrop to cover everything behind me. My room is very wide. I do not want it to be transparent. I have decided to save on buying a backdrop stand (I am on a very tight budget). I will be using two adhesive hooks plus a line between them and I will place the backdrop on the line (if that is problematic please let me know).&lt;/p&gt;&#xA;&lt;p&gt;What backdrop do I go for? Also, what dimensions should I go for? I have noticed that on some videos people go for small size green backdrop and then hide what is not covered by the backdrop using video editing software like the guy from &lt;a href=&quot;https://youtu.be/mJhS-wdjyCE?t=459&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I want what is behind me to as realistic as possible. I do not want what is behind me to look as fake as images in the video above. Any background color is fine as long as it is realistic.&lt;/p&gt;&#xA;" OwnerUserId="40091" OwnerDisplayName="Luka" LastEditorUserId="4089" LastEditDate="2022-12-23T16:41:15.400" LastActivityDate="2022-12-25T05:27:31.713" Title="Deciding on backdrop for making YouTube videos" Tags="|video|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36019" PostTypeId="2" ParentId="36018" CreationDate="2022-12-19T10:44:47.387" Score="2" Body="&lt;p&gt;I see this as equally applicable to still &amp;amp; video. In either case the quality of the camera is going to partly drive the decision.&lt;/p&gt;&#xA;&lt;p&gt;You decide on the size you need by checking the field of view in your camera. You need something larger than the camera can see.&lt;/p&gt;&#xA;&lt;p&gt;If you have the green screen properly lit &amp;amp; far enough behind you that it's out of focus, it won't matter what material it's made from. If you can't get it out of focus then you need one that manages to maintain a good solid colour. The main problem I can see with using a webcam is it's likely to be a wide lens with a narrow aperture on a small sensor - each of which is going to make it harder to get the backdrop out of focus, so your lighting will need to be good &amp;amp; even.&lt;/p&gt;&#xA;&lt;p&gt;&amp;quot;Real&amp;quot; green-screen is a kind of fuzzy material, like the 'loops' side of a piece of velcro - &amp;amp; in fact velcro 'hook' pieces are used to add markers in significant line-up zones, so it serves two purposes. It looks very flat and even, making it very easy to light.  It also doesn't crease nearly as badly as regular woven or non-woven fabrics.&lt;br /&gt;&#xA;See &lt;a href=&quot;https://www.eufabrics.com/display-fabrics/529-green-screen-fabric-for-background-photography.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.eufabrics.com/display-fabrics/529-green-screen-fabric-for-background-photography.html&lt;/a&gt; for an example retailer.&lt;/p&gt;&#xA;&lt;p&gt;After that, it's down to how good your chroma-key software is at separating the image from the background &amp;amp; killing any green spill onto the subject. Of course, the better your initial setup, the easier that task becomes.&lt;/p&gt;&#xA;" OwnerUserId="12233" OwnerDisplayName="Tetsujin" LastActivityDate="2022-12-19T10:44:47.387" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36020" PostTypeId="1" AcceptedAnswerId="36022" CreationDate="2022-12-20T01:54:40.963" Score="1" ViewCount="1356" Body="&lt;p&gt;I have a long timeline and want to export multiple clips from it. I know I can set an in point and an out point and export that part. But since I want to export a lot of clips, it quickly becomes tedious to do it one clip at a time. Also, having the in and out of each clips persisted in the project would be great, if I need to export again sometime (using other settings etc).&lt;/p&gt;&#xA;&lt;p&gt;Ideally I'd like to set multiple in and out points and then just batch export all those clips using the same settings, but I'm not sure if that is possible. I'm of course also open to other solutions to speed up the process.&lt;/p&gt;&#xA;&lt;p&gt;I've seen guides on how to export multiple clips, but they have all been based on exporting actual clips on the timeline. I need to export parts of the timeline, regardless of the clips in it. That is, the parts of the timeline I need to export may be a part of a clip, or contain multiple clips. I want to set the start and end of each exported part myself.&lt;/p&gt;&#xA;&lt;p&gt;Maybe there's some way using markers?&lt;/p&gt;&#xA;" OwnerUserId="40097" LastActivityDate="2022-12-20T07:55:40.383" Title="Export multiple clips from timeline in Adobe Premiere Pro" Tags="|premiere|export|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36021" PostTypeId="1" CreationDate="2022-12-20T06:13:29.267" Score="1" ViewCount="188" Body="&lt;p&gt;Is it possible to solve this problem using ffmpeg+python or in conjunction with another solution.&#xA;I need a server solution, so Vmix, obs, etc are not suitable. (&#xA;eg: I have two (and/or more) streams&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;rtmp://host/live/input_stream_1&#xA;rtmp://host address/live/input_stream_2&#xA; etc.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is it possible to organize &amp;quot;routing&amp;quot; of streams (choosing a priority live-video-stream and applying layers to them according to the logic&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The logic of the layers might be like:&lt;a href=&quot;https://i.stack.imgur.com/U42Ms.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/U42Ms.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;There is &lt;code&gt;input_stream_1&lt;/code&gt; - it is default and local - videos from a network folder are packed via ffmpeg and fly to &lt;code&gt;rtmp://host address/live/output_stream_1A&lt;/code&gt; (+ overlay layers -ect logos).&lt;/p&gt;&#xA;&lt;p&gt;It is necessary, when an incoming stream &lt;code&gt;input_stream_2&lt;/code&gt; appears, to replace the content of &lt;code&gt;input_stream_1&lt;/code&gt; with the content of &lt;code&gt;input_stream_2&lt;/code&gt; and send it, and when &lt;code&gt;input_stream_2&lt;/code&gt; stops, going to return &lt;code&gt;input_stream_1&lt;/code&gt; ?&lt;/p&gt;&#xA;&lt;p&gt;Maybe it will be a combination of ffmpeg (&lt;a href=&quot;https://video.stackexchange.com/questions/33984/combine-mp4-video-and-a-rtmp-stream-into-1-rtmp-output-stream-via-ffmpeg&quot;&gt;as suggested in this thread&lt;/a&gt; &lt;a href=&quot;https://stackoverflow.com/questions/57278415/how-to-sync-multiple-rtsp-inputs-in-ffmpeg&quot;&gt;and in this thread&lt;/a&gt;) and &lt;a href=&quot;https://github.com/kkroening/ffmpeg-python&quot; rel=&quot;nofollow noreferrer&quot;&gt;python solutions&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="40101" LastEditorUserId="14523" LastEditDate="2022-12-21T01:20:20.787" LastActivityDate="2022-12-21T01:20:20.787" Title="routing rtmp ect streams via ffmpeg+python is it possible?" Tags="|ffmpeg|streaming|rtmp|mixing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36022" PostTypeId="2" ParentId="36020" CreationDate="2022-12-20T07:55:40.383" Score="2" Body="&lt;p&gt;Try this:&lt;/p&gt;&#xA;&lt;p&gt;Make a new sequence. Call it 'Clip 1'.&lt;/p&gt;&#xA;&lt;p&gt;Drag your original sequence into it.&lt;/p&gt;&#xA;&lt;p&gt;It will import as a &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/how-to/premiere-pro-nesting-sequence-cc.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;nested sequence&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Set your in and out points on Clip 1.&lt;/p&gt;&#xA;&lt;p&gt;Duplicate the Clip 1 sequence, and rename it as Clip 2.&lt;/p&gt;&#xA;&lt;p&gt;Open the Clip 2 sequence, and change the in and out points.&lt;/p&gt;&#xA;&lt;p&gt;Select the Clip 1 and Clip 2 sequences in your Project window, right click on them and choose 'Export Media'.&lt;/p&gt;&#xA;&lt;p&gt;The export window will appear.&lt;/p&gt;&#xA;&lt;p&gt;Make sure that the Range drop down is set to 'Source In/Out'&#xA;&lt;a href=&quot;https://i.stack.imgur.com/FDZkX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FDZkX.png&quot; alt=&quot;grab2&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Choose you export video format.&lt;/p&gt;&#xA;&lt;p&gt;Click on 'Send to Media Encoder'&lt;/p&gt;&#xA;&lt;p&gt;Media Encoder should open and export your clips.&lt;/p&gt;&#xA;&lt;p&gt;If you change the edit your main sequence, Clips 1 and 2 will still export from their In/Out points.&lt;/p&gt;&#xA;&lt;p&gt;If you need more clips, make additional duplicates of Clip 1 or 2 and adjust their In/Out points as needed.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/N54Y9.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/N54Y9.jpg&quot; alt=&quot;grab3&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2022-12-20T07:55:40.383" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36023" PostTypeId="2" ParentId="32412" CreationDate="2022-12-20T10:58:02.750" Score="1" Body="&lt;p&gt;The first thing you need is to deploy an &lt;a href=&quot;https://github.com/arut/nginx-rtmp-module&quot; rel=&quot;nofollow noreferrer&quot;&gt;nginx-rtmp&lt;/a&gt; or &lt;a href=&quot;https://wmspanel.com/nimble&quot; rel=&quot;nofollow noreferrer&quot;&gt;nimble streamer&lt;/a&gt; server to receive and process the signal from the obs. They can be deployed locally on your computer.(&lt;a href=&quot;https://www.youtube.com/watch?v=n-EdUHNK9UI&quot; rel=&quot;nofollow noreferrer&quot;&gt;video&lt;/a&gt;)&lt;/p&gt;&#xA;&lt;p&gt;Second in vmix :) read this faq &lt;a href=&quot;https://www.vmix.com/help24/index.htm?Stream.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.vmix.com/help24/index.htm?Stream.html&lt;/a&gt;&#xA;and install &lt;a href=&quot;http://www.vmix.com/vlcdownload&quot; rel=&quot;nofollow noreferrer&quot;&gt;VLC_VMIX_MODULE&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;AND Just srteam.&lt;/p&gt;&#xA;" OwnerUserId="40101" LastEditorUserId="40101" LastEditDate="2022-12-21T08:06:23.787" LastActivityDate="2022-12-21T08:06:23.787" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36026" PostTypeId="2" ParentId="35056" CreationDate="2022-12-21T19:12:20.983" Score="1" Body="&lt;p&gt;You can use a crop filter in the detect phase. I do this to ignore the date/timestamp in the bottom of my old videos. E.g. for my 1440x1080p 60fps video I use&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf &amp;quot;crop=1440:750:1:1 , vidstabdetect=shakiness=1:stepsize=2:mincontrast=0.6&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40113" LastEditorUserId="14523" LastEditDate="2022-12-21T20:18:58.303" LastActivityDate="2022-12-21T20:18:58.303" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36027" PostTypeId="1" CreationDate="2022-12-21T22:09:27.997" Score="0" ViewCount="55" Body="&lt;p&gt;I register an audio track from Audacity and export to wav&#xA;At that stage sound is OK&lt;/p&gt;&#xA;&lt;p&gt;But when I load in Openshot sound like fast and very acute, voice is very strange.&lt;/p&gt;&#xA;&lt;p&gt;I don't understand what happen and what to do&lt;/p&gt;&#xA;" OwnerUserId="40114" LastActivityDate="2022-12-21T22:09:27.997" Title="Audio plays fast and acute" Tags="|video-editor|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="36029" PostTypeId="1" CreationDate="2022-12-23T01:31:33.127" Score="1" ViewCount="30" Body="&lt;p&gt;This seems like it would have a solution but I haven't had luck online. I am working on a video project that involves taking subtitles for four videos and then stacking them on top of each other. In order to do this, I need to basically take the bottom 25% of four videos, so that I have four videos that are &amp;quot;slivers&amp;quot;, almost like horizontal videos shot on a phone. I'm not sure how to do this cropping, for one.&lt;/p&gt;&#xA;&lt;p&gt;Second, I need to stack all of these four videos together on top of each other. They would all have the same horizontal and vertical size. I'm not really sure how to do any of this, and would like to do it using only free tools. None of the videos will have audio, as that will be processed separately.&lt;/p&gt;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="40119" LastActivityDate="2024-01-31T12:07:25.870" Title="How can I crop four videos into an unusual aspect ratio, and then stack them all on top of each other?" Tags="|video|software|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36030" PostTypeId="2" ParentId="36018" CreationDate="2022-12-24T12:04:29.930" Score="0" Body="&lt;p&gt;I agree with all of @Tetsujin’s answer.&#xA;In addition: the key to getting a good green screen keys is the lightning. If you can separate your foreground from your background with enough distance and you have soft lighting- large diffuse light boxes, not small spotlights, you will get radically better keys than if you use mixed colour temperature lighting and have hard shadows and green spilling onto your subjects.&lt;/p&gt;&#xA;&lt;p&gt;Also highly recommend taking a look at After Effects - its Advanced Spill Suppressor and Keylight plugins are great if you have access to AE.&lt;/p&gt;&#xA;&lt;p&gt;Addition: the key to great realism on a green screen is to examine the video background you  plan to use, and mimic the lighting on your subject as much as possible. Then colour correct your subject after keying to improve the match even more.&lt;/p&gt;&#xA;&lt;p&gt;This is a pretty good tutorial showing how to plan and match the lighting:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/OCt1ijvfVr8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2022-12-24T12:16:22.030" LastActivityDate="2022-12-24T12:16:22.030" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36032" PostTypeId="1" CreationDate="2022-12-24T13:48:55.043" Score="-2" ViewCount="21" Body="&lt;p&gt;quick question,&lt;/p&gt;&#xA;&lt;p&gt;i am curious to know what is the difference between a video compressor and a video encoder? are they the same thing? if not, what differences are there?&lt;/p&gt;&#xA;&lt;p&gt;what are the fundamental differences between a video encoder and a video compressor?&lt;/p&gt;&#xA;&lt;p&gt;i heard a phrase &amp;quot;not all forms of encoding are compression but all forms of compression are encoding&amp;quot; or do i have it backwards? or is the phrase just wrong?&lt;/p&gt;&#xA;&lt;p&gt;thank you&lt;/p&gt;&#xA;" OwnerUserId="40124" LastActivityDate="2023-10-12T10:32:33.403" Title="what is the difference between a video compressor and an video encoder?" Tags="|video|video-production|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36033" PostTypeId="2" ParentId="36018" CreationDate="2022-12-25T05:26:55.027" Score="0" Body="&lt;p&gt;The main problem is that the green screen will be so close that you will get green spill light onto you, contaminating your skin tone and potentially making the edges appear part of the background. I think you should consider a neutral-color backdrop and forget about green-screen.&lt;/p&gt;&#xA;" OwnerUserId="40126" LastEditorUserId="40126" LastEditDate="2022-12-25T05:27:31.713" LastActivityDate="2022-12-25T05:27:31.713" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36034" PostTypeId="2" ParentId="36032" CreationDate="2022-12-26T18:22:42.837" Score="1" Body="&lt;p&gt;It's kinda two separate things, encoding is the practice of how the visual data is stored. A very simple example would be that encoding for talking is written language, for each vowel, we set one character like A. So to encode spoken language to text, we use the 26 characters in the alphabet.&lt;/p&gt;&#xA;&lt;p&gt;Compression on the other hand is the practice of reducing the storage space required to store said encoding. To continue with the language example, instead of saying &amp;quot;It is&amp;quot;, we just write &amp;quot;It's&amp;quot; and have thus saved 1 character. Or instead of writing &amp;quot;Best Regards&amp;quot; we write &amp;quot;BR&amp;quot;. This is compression, since it requires less space to write. Compression comes in two forms, lossy or lossless, in lossless compression, all data is stored, just in a smaller size, like in &amp;quot;It is&amp;quot; -&amp;gt; &amp;quot;It's&amp;quot;, the meaning is still the same. Lossy on the otherhand removes some information, &amp;quot;BR&amp;quot; isn't definitely &amp;quot;Best Regards&amp;quot;, but could also be anything else. So we lost some information there. But since we know what BR in a letter means, we can still read it correctly.&lt;/p&gt;&#xA;&lt;p&gt;Encoding is always neccessary to store visual data, but compression is not.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2022-12-26T18:22:42.837" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36037" PostTypeId="1" CreationDate="2022-12-27T10:25:17.537" Score="0" ViewCount="2390" Body="&lt;p&gt;I Googled, watched YouTube tutorials and none have the answer. Please keep in mind that I am asking about the Capcut mobile app and not the Pc version&lt;/p&gt;&#xA;" OwnerUserId="40163" LastActivityDate="2022-12-27T10:25:17.537" Title="If I split one video into 2 in Capcut mobile app is there a way to merge them again?" Tags="|video-editor|editing|video-recording|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36038" PostTypeId="2" ParentId="26463" CreationDate="2022-12-27T14:31:37.527" Score="1" Body="&lt;p&gt;Sorry for the late reply. For anyone wondering, the video actually is progressive.  The next line in the mediainfo shows 2:3 pulldown, which is a software added telecine (soft telecine).  You can also see the framerate is 23.976 fps, which should never indicate interlaced video.  This means each frame is progressive, and the video file has flags on the frames so the video player can add telecine during playback so the video is 29.97 fps.  I believe VLC media player ignore the flags completely these days and only shows the progressive frames. You can also use AVISynth to do an inverse telecine with the plugin TIVTC, I suggest making a d2v file with DGIndex from DGMPGDec, but it will be a reencode.  There might also be a way to remove the 2:3 pulldown flag in the metadata, which would remove the telecine without reencoding.&lt;/p&gt;&#xA;" OwnerUserId="40165" LastActivityDate="2022-12-27T14:31:37.527" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36039" PostTypeId="2" ParentId="35455" CreationDate="2022-12-28T07:24:11.883" Score="2" Body="&lt;div class=&quot;s-table-container&quot;&gt;&#xA;&lt;table class=&quot;s-table&quot;&gt;&#xA;&lt;thead&gt;&#xA;&lt;tr&gt;&#xA;&lt;th&gt;abbrev&lt;/th&gt;&#xA;&lt;th&gt;full&lt;/th&gt;&#xA;&lt;th&gt;variable&lt;/th&gt;&#xA;&lt;th&gt;explanation&lt;/th&gt;&#xA;&lt;/tr&gt;&#xA;&lt;/thead&gt;&#xA;&lt;tbody&gt;&#xA;&lt;tr&gt;&#xA;&lt;td&gt;fps&lt;/td&gt;&#xA;&lt;td&gt;frames per second&lt;/td&gt;&#xA;&lt;td&gt;AVStream.avg_frame_rate&lt;/td&gt;&#xA;&lt;td&gt;average frame rate = total frames / total seconds. A variable frame rate video may have an fps of 57.16&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;tr&gt;&#xA;&lt;td&gt;tbr&lt;/td&gt;&#xA;&lt;td&gt;time base, real (?)&lt;/td&gt;&#xA;&lt;td&gt;AVStream.r_frame_rate&lt;/td&gt;&#xA;&lt;td&gt;user-friendly, target frame rate. The same variable frame rate video above could have a tbr of 60.&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;tr&gt;&#xA;&lt;td&gt;tbn&lt;/td&gt;&#xA;&lt;td&gt;time base number (?)&lt;/td&gt;&#xA;&lt;td&gt;AVStream.time_base&lt;/td&gt;&#xA;&lt;td&gt;timescale (ticks per second). This number could be 90000, 15360, etc. It is used to &lt;a href=&quot;https://stackoverflow.com/questions/43333542/what-is-video-timescale-timebase-or-timestamp-in-ffmpeg/43337235#43337235&quot;&gt;calculate the actual time from a PTS&lt;/a&gt; (Presentation Time Stamp). If timescale is 90000, and PTS for a frame is 45000, that frame is displayed at 0.5 seconds.&lt;br/&gt;&lt;br/&gt;(Note: this abbreviation and variable name is a misnomer because it is actually timescale, not timebase. Timebase should be the reciprocal, such as 1/90000, 1/15360, etc.)&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;tr&gt;&#xA;&lt;td&gt;tbc&lt;/td&gt;&#xA;&lt;td&gt;time base, codec (?)&lt;/td&gt;&#xA;&lt;td&gt;AVCodecContext.time_base&lt;/td&gt;&#xA;&lt;td&gt;codec timescale. Same as tbn, but for the codec. This has been deprecated and removed.&lt;/td&gt;&#xA;&lt;/tr&gt;&#xA;&lt;/tbody&gt;&#xA;&lt;/table&gt;&#xA;&lt;/div&gt;&#xA;&lt;p&gt;There is no mention in the source code explaining the full words for tbr, tbn, tbc. My guess is that tbr, tbn, tbc originally meant something, but the original names no longer apply, and now would be misnomers. For example, &lt;code&gt;tbn&lt;/code&gt; is not even a timebase, it's a timescale (the reciprocal). I made a guess at the original full words based on clues from the source code.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;References&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;variable names: &lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/commit/bb3388fd60e55db0b162dc78409ae495cbc6b64f&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/commit/bb3388fd60e55db0b162dc78409ae495cbc6b64f&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;fps (AVStream.avg_frame_rate):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/master/libavformat/avformat.h&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/blob/master/libavformat/avformat.h&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;/**&#xA; * Average framerate&#xA; */&#xA;AVRational avg_frame_rate;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;tbr (AVStream.r_frame_rate):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/master/libavformat/avformat.h&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/blob/master/libavformat/avformat.h&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;/**&#xA; * Real base framerate of the stream.&#xA; * This is the lowest framerate with which all timestamps can be&#xA; * represented accurately (it is the least common multiple of all&#xA; * framerates in the stream). Note, this value is just a guess!&#xA; * For example, if the time base is 1/90000 and all frames have either&#xA; * approximately 3600 or 1800 timer ticks, then r_frame_rate will be 50/1.&#xA; */&#xA;AVRational r_frame_rate;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;tbn (AVStream.time_base):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/master/libavformat/avformat.h&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/blob/master/libavformat/avformat.h&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;/**&#xA; * This is the fundamental unit of time (in seconds) in terms&#xA; * of which frame timestamps are represented.&#xA; */&#xA;AVRational time_base;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;tbc (AVCodecContext.time_base) has been deprecated/removed:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/master/libavcodec/avcodec.h&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/blob/master/libavcodec/avcodec.h&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;/**&#xA; * This is the fundamental unit of time (in seconds) in terms&#xA; * of which frame timestamps are represented. For fixed-fps content,&#xA; * timebase should be 1/framerate and timestamp increments should be&#xA; * identically 1.&#xA; * This often, but not always is the inverse of the frame rate or field rate&#xA; * for video. 1/time_base is not the average frame rate if the frame rate is not&#xA; * constant.&#xA; */&#xA;AVRational time_base;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;deprecation commits for tbc:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/commit/202e06870eb4bbc4636aff5f461c1a0654ec2435&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/commit/202e06870eb4bbc4636aff5f461c1a0654ec2435&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/commit/3749eede66c3774799766b1f246afae8a6ffc9bb#diff-a48d0f241f423be450908b536b6adec39606ef72847aeeb500cee81e88a19697&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/commit/3749eede66c3774799766b1f246afae8a6ffc9bb#diff-a48d0f241f423be450908b536b6adec39606ef72847aeeb500cee81e88a19697&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/commit/4796ec5d4ea00a86f9f6732653469e682e5266da&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/commit/4796ec5d4ea00a86f9f6732653469e682e5266da&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/commit/2b41463b8706638b9aaf967655f95ddc195c32eb&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/commit/2b41463b8706638b9aaf967655f95ddc195c32eb&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="24259" LastActivityDate="2022-12-28T07:24:11.883" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36042" PostTypeId="1" CreationDate="2022-12-28T21:20:31.160" Score="1" ViewCount="97" Body="&lt;p&gt;I used ffmpeg to generate some segment files that I'm using as slate to play before a program starts. Using nodejs, I'm generating a an m3u8 file that loops perfectly in HLS.js, but on some players (namely VLC), it stutters around and can't seem to play smoothly at all.&lt;/p&gt;&#xA;&lt;p&gt;Here is what the playlist looks like:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#EXT-X-TARGETDURATION:3&#xA;#EXT-X-PLAYLIST-TYPE:EVENT&#xA;#EXT-X-VERSION:7&#xA;#EXT-X-START:TIME-OFFSET=6.256256,PRECISE=YES&#xA;#EXT-X-MEDIA-SEQUENCE:39&#xA;#EXT-X-DISCONTINUITY&#xA;#EXTINF:2.502500,&#xA;http://localhost:8000/slate/000000003.ts&#xA;#EXT-X-DISCONTINUITY&#xA;#EXTINF:1.251244,&#xA;http://localhost:8000/slate/000000004.ts&#xA;#EXT-X-DISCONTINUITY&#xA;#EXTINF:1.001067,&#xA;http://localhost:8000/slate/000000005.ts&#xA;#EXT-X-DISCONTINUITY&#xA;#EXTINF:2.502500,&#xA;http://localhost:8000/slate/000000000.ts&#xA;#EXT-X-DISCONTINUITY&#xA;#EXTINF:2.502500,&#xA;http://localhost:8000/slate/000000001.ts&#xA;#EXT-X-DISCONTINUITY&#xA;#EXTINF:1.251256,&#xA;http://localhost:8000/slate/000000002.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm dynamically updating the &lt;code&gt;EXT-X-START:TIME-OFFSET&lt;/code&gt; and &lt;code&gt;EXT-X-MEDIA-SEQUENCE&lt;/code&gt; tags and the order of the segments when a request comes in.&lt;/p&gt;&#xA;&lt;p&gt;Is there something obvious I can change to make it playback normally in VLC?&lt;/p&gt;&#xA;&lt;p&gt;I've noticed that if I don't have the &lt;code&gt;EXT-X-DISCONTINUITY&lt;/code&gt; tag then it won't loop on any player but it does play smoother for about 5 seconds in VLC...&lt;/p&gt;&#xA;" OwnerUserId="40179" LastActivityDate="2022-12-28T21:20:31.160" Title="Looping segments breaks some players" Tags="|video|streaming|hls|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36044" PostTypeId="1" AcceptedAnswerId="36045" CreationDate="2022-12-29T14:45:35.097" Score="0" ViewCount="226" Body="&lt;p&gt;When I upload a video to YouTube, the white areas become grey and the colors seem a bit washed out.&lt;/p&gt;&#xA;&lt;p&gt;This is how it looks locally:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CKCnj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CKCnj.png&quot; alt=&quot;Local Video&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And this is how it looks on YouTube (Screenshot from Firefox):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wjSgP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wjSgP.png&quot; alt=&quot;YouTube Video&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This happens when uploading the original screen recording (via OBS), as well as when uploading an edited version (edited with Shotcut).&lt;/p&gt;&#xA;&lt;p&gt;YouTube is clearly able to show &amp;quot;full white&amp;quot; in screen-recorded videos, as seen in this screenshot:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Tfdyb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Tfdyb.png&quot; alt=&quot;Other YT video&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;These are my Shotcut export settings:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/a2ueN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/a2ueN.png&quot; alt=&quot;Shotcut export settings&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;When I change the &amp;quot;Color range&amp;quot; option from MPEG to JPEG, there is no difference except for Windows Media Player (WMP) showing the colors too bright. VLC Player and YouTube show the same as before.&lt;/p&gt;&#xA;&lt;p&gt;Changing the codec to libx264rgb made no difference except now WMP isn't able to play the file. Changing the framerate and quality also made no difference.&lt;/p&gt;&#xA;&lt;p&gt;I just want the video to look the same on YouTube as it does locally. To look the same as the screen that I recorded. And how Shotcut previews it. Why is that just not working? VLC player always shows the video correctly, and even WMP usually does. So why is YouTube different?&lt;/p&gt;&#xA;&lt;p&gt;Surely I'm just making some stupid mistake here?&lt;/p&gt;&#xA;" OwnerUserId="40184" LastActivityDate="2023-01-20T01:00:03.283" Title="Understanding YouTube Video Color" Tags="|encoding|youtube|colorspace|shotcut|" AnswerCount="1" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="36045" PostTypeId="2" ParentId="36044" CreationDate="2022-12-29T17:11:01.450" Score="0" Body="&lt;p&gt;It seems to be related to NVIDIA Hardware Acceleration, though I don't know why it only affects some videos.&lt;/p&gt;&#xA;&lt;p&gt;When I disable Hardware Acceleration in the Firefox settings, white areas become white.&lt;/p&gt;&#xA;&lt;p&gt;(Firefox must be restarted between changes)&lt;/p&gt;&#xA;&lt;p&gt;When I enable Hardware Acceleration again, they become gray-ish again.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Hardware Acceleration can be enabled but then this option needs to be explicitly set as well in the NVIDIA Control Panel:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Also, the NVIDIA Display Service must be running at all times.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hdQZQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hdQZQ.png&quot; alt=&quot;NVIDIA Control Panel&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40184" LastEditorUserId="40184" LastEditDate="2023-01-20T01:00:03.283" LastActivityDate="2023-01-20T01:00:03.283" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36046" PostTypeId="1" CreationDate="2022-12-29T22:20:38.900" Score="2" ViewCount="246" Body="&lt;p&gt;On any given build of ffmpeg, &lt;code&gt;ffmpeg -encoders&lt;/code&gt; will list which encoders can be used for encoding video.&lt;/p&gt;&#xA;&lt;p&gt;Of the encoders listed, how can I tell which ones use hardware acceleration?&lt;/p&gt;&#xA;" OwnerUserId="40186" LastActivityDate="2024-01-14T17:03:35.397" Title="How to know which ffmpeg encoders are hardware accelerated?" Tags="|ffmpeg|encoding|transcoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36053" PostTypeId="1" CreationDate="2023-01-04T11:14:18.463" Score="0" ViewCount="106" Body="&lt;p&gt;I can't open the BPAV folder on my mac, not in quicktime or in Final cut pro. I don't know why can anybody help?&#xA;&lt;a href=&quot;https://i.stack.imgur.com/6zC3p.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6zC3p.png&quot; alt=&quot;this is what i'm seeing&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40235" LastActivityDate="2023-06-08T21:00:50.080" Title="SONY XDCAM Cant open files on macbook" Tags="|video-editor|final-cut-pro-x|file-formats|mac|sony|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36054" PostTypeId="1" CreationDate="2023-01-04T11:45:58.230" Score="0" ViewCount="32" Body="&lt;p&gt;My picture layer background color was set to white, so in AE it appeared to be light. But in AME it used a black background color instead, so it appeared to be dark. I fixed this by adding a white solid layer under all other layers.&lt;/p&gt;&#xA;&lt;p&gt;It's so confusing for a newbie like me.&lt;/p&gt;&#xA;&lt;p&gt;In my AE it appears like this&#xA;&lt;a href=&quot;https://i.stack.imgur.com/u7rB0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/u7rB0.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;but in AME it renders this&#xA;&lt;a href=&quot;https://i.stack.imgur.com/IrNVa.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IrNVa.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;if I choose Render Alpha Channel Only, it appears like this&#xA;&lt;a href=&quot;https://i.stack.imgur.com/T0owl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/T0owl.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm wondering how to make the rendered one look like the one in AE&lt;/p&gt;&#xA;" OwnerUserId="40236" LastEditorUserId="674" LastEditDate="2023-01-04T16:32:21.330" LastActivityDate="2024-01-29T19:06:30.790" Title="AME doesn't export the right opacity" Tags="|after-effects|adobe-media-encoder|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36055" PostTypeId="2" ParentId="36054" CreationDate="2023-01-04T12:30:41.020" Score="0" Body="&lt;p&gt;Media Encoder is notoriously unreliable for correctly rendering anything out of Premiere or After Effects. I would only use it for very simple comps and sequences.  Anything else seems to confuse it.&lt;/p&gt;&#xA;&lt;p&gt;If you need to automate a lot of renders, you could try rendering them from the command line instead?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/after-effects/using/automated-rendering-network-rendering.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/after-effects/using/automated-rendering-network-rendering.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-01-04T12:30:41.020" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36059" PostTypeId="2" ParentId="36029" CreationDate="2023-01-06T10:25:38.283" Score="0" Body="&lt;p&gt;Depends on the software you're using.&#xA;But here's an example with the free DaVinci Resolve:&lt;/p&gt;&#xA;&lt;p&gt;First you stack all four images on top of each other.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/56a3T.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/56a3T.png&quot; alt=&quot;Four videos stacked on the timeline&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Then you can go to the inspector in the top right and scroll down to cropping.&#xA;Here you can crop off the top 3/4. In my case, the height of the video is 2560, that /4*3 = 1920.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/gycoP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gycoP.png&quot; alt=&quot;Enter Crop Top in Inspector&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;now repeat this for all four videos.&lt;/p&gt;&#xA;&lt;p&gt;Now you can stack the images vertically. You need to do this again in 1/4 increments, so in the inspector, for the first element, you move it up with Position.Y by 640 (2560 pixels timeline height / 4). The second by 2*640 and so on.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/U18pF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/U18pF.png&quot; alt=&quot;Enter Position.Y in inspector&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And now you'll have a video with just the four lower fourths stacked on each other.&lt;/p&gt;&#xA;" OwnerUserId="23732" LastActivityDate="2023-01-06T10:25:38.283" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36060" PostTypeId="1" AcceptedAnswerId="36353" CreationDate="2023-01-06T12:54:09.113" Score="0" ViewCount="1243" Body="&lt;p&gt;The free &lt;a href=&quot;https://www.videocopilot.net/tutorials/fx_console_plugin/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FX Console plugin&lt;/a&gt; for After Effects allows you to instantly apply effects and other things to the selected clip. Is there an equivalent for Adobe Premiere? It would be a real timesaver.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-04-07T11:48:51.797" Title="Is there an equivalent to FX Console in Premiere?" Tags="|premiere|adobe|plugins|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36063" PostTypeId="1" CreationDate="2023-01-06T19:10:59.760" Score="0" ViewCount="978" Body="&lt;p&gt;Been trying this for some time now with little to no results.&lt;/p&gt;&#xA;&lt;p&gt;I have an MP4 of characters recorded against a Green Screen and have managed, through FFMpeg to strip out the green screen with an Alpha Key chroma filter in to a WebM.&lt;/p&gt;&#xA;&lt;p&gt;However, the background is always black and is either not output as transparent or does not render transparent.&lt;/p&gt;&#xA;&lt;p&gt;Here is the command I'm currently using, which &amp;quot;in theory&amp;quot; should be working, but just outputs a black background:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i color=c=black:s=1280x720 -i input.mp4 -vcodec libvpx-vp9 -acodec libvorbis -pix_fmt yuva420p -filter_complex &amp;quot;[1:v]chromakey=0x339E3E:0.1:0.1[ckout];[0:v][ckout]overlay[o]&amp;quot; -map [o] -map 1:a -auto-alt-ref 0 output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have even tried using a transparent background texture of the same video dimensions as well&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i bg.png -i 3.mp4 -vcodec libvpx-vp9 -acodec libvorbis -pix_fmt yuva420p -filter_complex &amp;quot;[1:v]chromakey=0x339E3E:0.1:0.1[ckout];[0:v][ckout]overlay[o]&amp;quot; -map [o] -map 1:a -auto-alt-ref 0 output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;No Joy&lt;/p&gt;&#xA;&lt;p&gt;Getting a bit frustrated as most information out there seems out of date or does not even work any more, please help!.&lt;/p&gt;&#xA;" OwnerUserId="40260" LastActivityDate="2023-01-06T19:10:59.760" Title="How to create a webM with a Transparent background from a MP4 Green Screen" Tags="|ffmpeg|greenscreen|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36064" PostTypeId="2" ParentId="34889" CreationDate="2023-01-06T22:33:55.153" Score="2" Body="&lt;p&gt;While you can try to use the HDR Tools Effect, depending on the input video it might not work very well - e.g. shadows might be a bit crushed, or the result otherwise too contrasty.  You can try higher nits values, as one option.&lt;/p&gt;&#xA;&lt;p&gt;I almost always get better results by simply using a Colour Board and raising shadows, midtones, and highlights by e.g. 5%, 35%, 60%.  You need to tweak to taste and based on the source camera, but once you dial it in you can copy that Colour Board onto all clips from that camera.&lt;/p&gt;&#xA;&lt;p&gt;Alas, to my knowledge, Final Cut Pro has no way to set any such corrections for &lt;em&gt;all&lt;/em&gt; clips from a given camera; you have to manually apply them to every clip as you add it to your project's timeline.&lt;/p&gt;&#xA;" OwnerUserId="40262" LastActivityDate="2023-01-06T22:33:55.153" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36065" PostTypeId="1" AcceptedAnswerId="36066" CreationDate="2023-01-07T01:39:41.503" Score="0" ViewCount="419" Body="&lt;p&gt;&lt;strong&gt;CURRENTLY&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I am drawing brush strokes in after effects that will be animated as arrows.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;ISSUE&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Every time I draw my brush strokes they come out jagged (not smooth).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/K3cj8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/K3cj8.png&quot; alt=&quot;brush strokes aren't smooth&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to make smooth brush strokes? or edit existing ones to make smooth?&#xA;I know that Illustrator has &amp;quot;Fidelity&amp;quot; option, but I cannot find something similar in After Effects. I couldn't find anything online to solve this problem.&lt;/p&gt;&#xA;" OwnerUserId="40264" LastActivityDate="2023-01-07T08:18:55.807" Title="How to make smooth brush strokes in After Effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36066" PostTypeId="2" ParentId="36065" CreationDate="2023-01-07T08:18:55.807" Score="2" Body="&lt;p&gt;Draw them as paths instead, using bezier curves.&#xA;Then add arrows to the paths using this:&#xA;&lt;a href=&quot;https://kylasaurusrex.gumroad.com/l/LNSVU&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://kylasaurusrex.gumroad.com/l/LNSVU&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-01-07T08:18:55.807" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36067" PostTypeId="1" CreationDate="2023-01-07T22:12:44.493" Score="1" ViewCount="32" Body="&lt;p&gt;Intending to make a test video using Dolby ATMOS in Resolve 18.1 I wonder:&#xA;When I have a sound recorded at some fixed spot, and I want that sound to move in space via the ATMOS controls, will Resolve just blend the sound across the speaker channels, or will it add a Doppler-effect?&lt;/p&gt;&#xA;&lt;p&gt;Also I wonder: If Resolve is working with a &amp;quot;unit cube&amp;quot;, can a Doppler-effect be created correctly at all (meaning: If you don't know the real speed, you cannot compute the effect, right?)?&lt;/p&gt;&#xA;" OwnerUserId="33658" LastActivityDate="2023-01-07T22:12:44.493" Title="Will moving a sound source in ATMOS just &quot;blend&quot; the sound, or will it create a Doppler-effect?" Tags="|audio|davinci-resolve|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36069" PostTypeId="1" CreationDate="2023-01-08T12:36:34.360" Score="0" ViewCount="13" Body="&lt;p&gt;Previously, I rendered a 3D animation in JPEG-2000 format, thinking that Preview supports it, so apple pro apps must also support it, but it turns out, compressor can't take J2K image sequence and produce a intermediate ProRes QT video.&lt;/p&gt;&#xA;&lt;p&gt;My options now is limited to Targa, OpenEXR, PNG, and TIFF. I'd like to select one for use in the future, and I'm evaluating these formats in the following dimensions:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Compression ratio: JPEG-2000 was accidentally used because I thought it'd provide better compression using wavelet transform while being lossless. Advanced algorithm achieving good compression ratio is preferred.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Lossless coding: JPEG-2000 has the option of using a bijective lossless coding method, and I'd like to retain the lossless capability in my workflow before final product. However, some loss may be acceptable, for example, instead of macro-block artifect, change in least-significant bits of color channels are acceptable.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;10-bit and 16-bit channel depth: This is desirable for color grading, as well as HDR.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Basing on the above criteria, what formats are suited for what purposes?&lt;/p&gt;&#xA;" OwnerUserId="16433" LastActivityDate="2023-02-07T14:03:55.403" Title="Image sequence format for working with Blender and Apple Compressor" Tags="|compression|formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36070" PostTypeId="2" ParentId="36069" CreationDate="2023-01-08T12:36:34.360" Score="1" Body="&lt;p&gt;OpenEXR should be your friend.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Targa doesn't support hi bit depth, and only supports run-length compression encoding.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;TIFF supports run-length and DEFLATE compression encoding, but that's no superior to PNG.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;OpenEXR on the other hand, does have wavelet-based lossless compression coding, as well as several others to choose from. It even has 32-bit floating-point color channel support.&lt;/p&gt;&#xA;" OwnerUserId="16433" LastActivityDate="2023-01-08T12:36:34.360" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36071" PostTypeId="1" CreationDate="2023-01-08T16:45:07.483" Score="3" ViewCount="3212" Body="&lt;p&gt;I am trying to shrink some videos from 1920x1080 to 1280x720 and to achieve a reasonable compromise between video quality and file size. I have decided to give FFMPEG's H.265 encoder a try, and now would like to know which CRF value I should use to get &amp;quot;visually lossless&amp;quot; results.&lt;/p&gt;&#xA;&lt;p&gt;I know that this term may be misleading, but I have taken it from &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFMPEG's H.264 documentation&lt;/a&gt;. In the section about the CRF value:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Consider 17 or 18 to be visually lossless or nearly so; it should look the same or nearly the same as the input but it isn't technically lossless.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Furthermore, in &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.265&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFMPEG's H.265 documentation&lt;/a&gt;, in the section about the CRF value:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;The default is 28, and it should visually correspond to libx264 video at CRF 23, but result in about half the file size.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So I have learned that a H.265 CRF 28 should produce roughly the same visual results as a H.264 CRF 23.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Question:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Does that mean that a H.265 CRF 22 should produce roughly the same visual results as a H.264 CRF 17?&lt;/p&gt;&#xA;&lt;p&gt;In other words, is the following statement correct: If I encode a video with H.264 with a CRF of &lt;code&gt;N&lt;/code&gt;, do I get the same visual result if I encode the same video with H.265 with a CRF of &lt;code&gt;N+5&lt;/code&gt;, independent of &lt;code&gt;N&lt;/code&gt;? Or does that formula only apply for &lt;code&gt;N=28&lt;/code&gt; and &lt;code&gt;N=23&lt;/code&gt;, respectively, since this is the example the FFMPEG H.265 documentation gives?&lt;/p&gt;&#xA;" OwnerUserId="34155" LastEditorUserId="34155" LastEditDate="2023-01-08T16:53:09.377" LastActivityDate="2024-02-26T22:08:11.030" Title="In FFMPEG's H.265 encoder, which CRF value leads to &quot;visually lossless&quot; results?" Tags="|ffmpeg|video-quality|h.264|h.265|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36073" PostTypeId="1" CreationDate="2023-01-08T22:58:47.390" Score="1" ViewCount="1224" Body="&lt;p&gt;If the caja file properties report YUV for color space, why does &lt;a href=&quot;/questions/tagged/ffprobe&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;ffprobe&amp;#39;&quot; aria-label=&quot;show questions tagged &amp;#39;ffprobe&amp;#39;&quot; rel=&quot;tag&quot; aria-labelledby=&quot;ffprobe-container&quot;&gt;ffprobe&lt;/a&gt; report color space as unknown ?&lt;/p&gt;&#xA;&lt;p&gt;The video in question was obtained from Astronomy Picture of the Day (APOD) &lt;a href=&quot;https://apod.nasa.gov/apod/ap180318.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Spinning Moon&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Here is the snapshot from caja:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/UBLG9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UBLG9.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;ffprobe reports as follows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;# ffprobe -v error -show_streams &amp;quot;${file}&amp;quot;&#xA;FILE: VIDEO__MOON__SpinningMoon.mp4&#xA;[STREAM]&#xA;index=0&#xA;codec_name=h264&#xA;codec_long_name=H.264 / AVC / MPEG-4 AVC / MPEG-4 part 10&#xA;profile=Main&#xA;codec_type=video&#xA;codec_time_base=1/60&#xA;codec_tag_string=[27][0][0][0]&#xA;codec_tag=0x001b&#xA;width=640&#xA;height=800&#xA;coded_width=640&#xA;coded_height=800&#xA;has_b_frames=2&#xA;sample_aspect_ratio=1:1&#xA;display_aspect_ratio=4:5&#xA;pix_fmt=yuv420p     &amp;lt;&amp;lt;&amp;lt;===&#xA;level=32&#xA;color_range=unknown     &amp;lt;&amp;lt;&amp;lt;===&#xA;color_space=unknown     &amp;lt;&amp;lt;&amp;lt;===&#xA;color_transfer=unknown     &amp;lt;&amp;lt;&amp;lt;===&#xA;color_primaries=unknown     &amp;lt;&amp;lt;&amp;lt;===&#xA;chroma_location=left&#xA;field_order=progressive&#xA;timecode=N/A&#xA;refs=1&#xA;is_avc=false&#xA;nal_length_size=0&#xA;id=0x1e1&#xA;r_frame_rate=30/1&#xA;avg_frame_rate=30/1&#xA;time_base=1/90000&#xA;start_pts=192410&#xA;start_time=2.137889&#xA;duration_ts=1959000&#xA;duration=21.766667&#xA;bit_rate=N/A&#xA;max_bit_rate=N/A&#xA;bits_per_raw_sample=8&#xA;nb_frames=N/A&#xA;nb_read_frames=N/A&#xA;nb_read_packets=N/A&#xA;...{snip - DISPOSITION:*}...&#xA;[/STREAM]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But when I play the video in VLC, it reports CODECs as follows:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ftRV7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ftRV7.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I must say that when I start the playing in VLC, the moon image is initally presented (for a fraction of a second) as an elipse going full width of the screen, but then it blanks out and continues with &amp;quot;proper&amp;quot; proportions (i.e. near circle), and when I tell VLC to go on repeat loop, you don't see that initial &amp;quot;deformation&amp;quot; (&lt;em&gt;as if it was able to figure something out and remember that as a setting, during ongoing playback&lt;/em&gt;).&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;QUESTION:&lt;/strong&gt;  Is the reporting of &amp;quot;&lt;strong&gt;unknown&lt;/strong&gt;&amp;quot; for the color space parameters a bug with &lt;strong&gt;&lt;a href=&quot;/questions/tagged/ffprobe&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;ffprobe&amp;#39;&quot; aria-label=&quot;show questions tagged &amp;#39;ffprobe&amp;#39;&quot; rel=&quot;tag&quot; aria-labelledby=&quot;ffprobe-container&quot;&gt;ffprobe&lt;/a&gt;/&lt;a href=&quot;/questions/tagged/ffmpeg&quot; class=&quot;post-tag&quot; title=&quot;show questions tagged &amp;#39;ffmpeg&amp;#39;&quot; aria-label=&quot;show questions tagged &amp;#39;ffmpeg&amp;#39;&quot; rel=&quot;tag&quot; aria-labelledby=&quot;ffmpeg-container&quot;&gt;ffmpeg&lt;/a&gt;&lt;/strong&gt;, even though it has recognized the pixel format at &amp;quot;&lt;strong&gt;yuv420p&lt;/strong&gt;&amp;quot;?  Is that an oversight in coding?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;My environment:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Ubuntu MATE 20.04 LTS&#xA;&#xA;ffprobe version 4.2.7-0ubuntu0.1 Copyright (c) 2007-2022 the FFmpeg developers&#xA;built with gcc 9 (Ubuntu 9.4.0-1ubuntu1~20.04.1)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40272" LastActivityDate="2024-02-03T06:05:55.683" Title="Why does ffprobe report color space as unknown?" Tags="|ffmpeg|colorspace|ffprobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36074" PostTypeId="2" ParentId="36073" CreationDate="2023-01-09T04:02:51.447" Score="0" Body="&lt;p&gt;caja is using mediainfo and mediainfo has some misleading labels.&lt;/p&gt;&#xA;&lt;p&gt;What mediainfo is describing as &lt;code&gt;Color space&lt;/code&gt; is more accurately a &lt;a href=&quot;https://en.wikipedia.org/wiki/Color_model&quot; rel=&quot;nofollow noreferrer&quot;&gt;color model&lt;/a&gt;. What ffprobe displays is the pixel format (&lt;code&gt;pix_fmt&lt;/code&gt;) which is the specific combination of color model, chroma subsampling, bit depth and component interleaving that the decoder will produce.&lt;/p&gt;&#xA;&lt;p&gt;A &lt;a href=&quot;https://en.wikipedia.org/wiki/Color_space&quot; rel=&quot;nofollow noreferrer&quot;&gt;Color space&lt;/a&gt; is a mathematical organization of reproducible colors. Two videos may both have YUV (or RGB) encoding and yet have different color spaces. If the output device doesn't know or guess the color space of the image/video, reproduced colors will be different from what is intended.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-01-09T04:02:51.447" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="36075" PostTypeId="2" ParentId="36053" CreationDate="2023-01-09T19:21:35.290" Score="1" Body="&lt;p&gt;It's possible that you haven't installed needed additional software as is mentioned in the Apple's support page &lt;a href=&quot;https://support.apple.com/en-us/HT202252&quot; rel=&quot;nofollow noreferrer&quot;&gt;Import Sony XAVC and XDCAM media in Final Cut Pro&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;You need to install additional software to import Sony XAVC and XDCAM&#xA;media.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;As of January 2023, there are two options depending on the Final Cut Pro version you're running, one of which (for FCP version 10.1.4 or earlier) requires installing Sony software.&lt;/p&gt;&#xA;" OwnerUserId="9147" LastActivityDate="2023-01-09T19:21:35.290" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36076" PostTypeId="1" AcceptedAnswerId="36081" CreationDate="2023-01-10T04:12:01.797" Score="0" ViewCount="116" Body="&lt;p&gt;I have watched hours of videos on the subject, but I just can't understand it without a slightly deeper explanation. If it helps you to explain, my production software of choice is DaVinci Resolve.&lt;/p&gt;&#xA;&lt;p&gt;I understand the need for reference color spaces, but not at all their application. Unless you are on a display using Y'CbCr, it is fundamentally RGB. It's also likely quantized to an integer between 0-255. With that in mind, &lt;strong&gt;what are ICC profiles and monitor settings doing to the output signal?&lt;/strong&gt; For example, you can set the gamma value and relative RGB strengths within most monitors' menus. But with their digital processors, wouldn't messing with these on a 24-bit signal cause significant color degradation? The same question applies to ICC profiles, especially since I watched &lt;a href=&quot;https://youtu.be/QPubgoqtfbk&quot; rel=&quot;nofollow noreferrer&quot;&gt;Taran Van Hemert's video&lt;/a&gt; on color calibration, wherein he found that desktop recording software &lt;em&gt;did&lt;/em&gt; capture the differences in color brought on by ICC profiles, &lt;em&gt;and&lt;/em&gt; some software bypasses color management altogether.&lt;/p&gt;&#xA;&lt;p&gt;(Bonus question! Online video is typically in limited-range rec.709. Does this mean consumer NLEs are outputting the wrong colors since most computer displays are in full-range sRGB?)&lt;/p&gt;&#xA;" OwnerUserId="40280" LastEditorUserId="40280" LastEditDate="2023-01-10T04:18:06.027" LastActivityDate="2023-01-15T03:30:33.423" Title="How does color management work, fundamentally?" Tags="|davinci-resolve|color-correction|color|colorspace|fusion|" AnswerCount="2" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36077" PostTypeId="1" AcceptedAnswerId="36115" CreationDate="2023-01-10T09:24:04.987" Score="0" ViewCount="530" Body="&lt;p&gt;I have several hours of CCTV footage that I'd like to reasonably quickly skim. If there was a way to take every say 60th frame from it and put together a video from those frames that would be perfect.&lt;/p&gt;&#xA;&lt;p&gt;Is there a &lt;code&gt;ffmpeg&lt;/code&gt; command that does that in one go? Or do I have to extract the frames first, and then encode a video from them?&lt;/p&gt;&#xA;" OwnerUserId="29391" LastActivityDate="2023-01-23T15:53:28.323" Title="How to re-encode leaving only every Nth frame in?" Tags="|ffmpeg|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36078" PostTypeId="2" ParentId="36076" CreationDate="2023-01-10T10:40:03.830" Score="0" Body="&lt;p&gt;Not a colour expert, but I think:&lt;/p&gt;&#xA;&lt;p&gt;YCbCr is just a mathematically different way of representing RGB.&lt;/p&gt;&#xA;&lt;p&gt;Y is luminance, Cb and Cr are mathematically derived ways of representing the other colours.&lt;/p&gt;&#xA;&lt;p&gt;It is possible to reduce the bandwidth used to send Cb and Cr in order to reduce the overall bandwidth, because your eyes see luminance more precisely than they do colour.&lt;/p&gt;&#xA;&lt;p&gt;It isn't necessarily true that everything is quantised to 0-255, if you're working with footage that is greater than 8 bit, or in software that allows you to process footage at colour depths greater than 8 bit.&lt;/p&gt;&#xA;&lt;p&gt;I think Rec.709 more or less fits within the colour space of sRGB?&lt;/p&gt;&#xA;&lt;p&gt;When you calibrate a monitor, you're trying as best you can to match a desired gamma curve based on the profile your computer thinks it should be displaying to you.  Assigning where black white and mid-grey are along that curve.&lt;/p&gt;&#xA;&lt;p&gt;I've no idea about where within the chain desktop recording software records video. It's quite possible some more diddling about happens in some monitors after the calibration, and I think that's one of the reasons people use broadcast monitors - because they can trust that there's no additional smoothing, noise reduction, or pumping up of colour just to make things look punchy.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-01-10T10:40:03.830" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36079" PostTypeId="1" CreationDate="2023-01-10T18:55:28.297" Score="1" ViewCount="235" Body="&lt;p&gt;I shortened a 1h clip into 1min by speeding up the video 4x, saving it as .veg, and repeating until I was at 1min. When I try to render it as an mp4 it takes over 6h for 1 minute clip...&lt;/p&gt;&#xA;&lt;p&gt;I render at 1080x1920 (for tiktok), 60fps, max bps 40mb, average bps 20mb, no audio, video rendering quality: best.&lt;/p&gt;&#xA;&lt;p&gt;GPU: NVIDIA GeForxe GTX 1070&lt;/p&gt;&#xA;&lt;p&gt;RAM: 16GB&lt;/p&gt;&#xA;&lt;p&gt;CPU: Intel(R) Core(TM) i7-6700K CPU @ 4.00GHz, 4001 Mhz, 4 Core(s), 8 Logical Processor(s)&lt;/p&gt;&#xA;&lt;p&gt;Any Idea why the rendering might be taking so long and how could I shorten it? In the bottom right of sony vegas there is a time of around 1h which is the main clip. I am wondering if vegas is trying render all of the clip for some reason?&lt;/p&gt;&#xA;" OwnerUserId="40286" LastActivityDate="2024-02-25T18:07:20.977" Title="Sony Vegas Pro 17 - Speeding Up Video Slow Render" Tags="|vegas-pro|sony|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36080" PostTypeId="1" AcceptedAnswerId="36159" CreationDate="2023-01-10T20:21:39.583" Score="0" ViewCount="138" Body="&lt;p&gt;Lots of high-grossing older films including some that were released in the 90s have an almost imperceptible shake that is maybe due to the conversion from film to digital. You can only see it in static scenes and it's easier to notice in objects close to the edge of the screen.&lt;/p&gt;&#xA;&lt;p&gt;For those of us preoccupied with this kind of artefact, is there a tool or a (ffmpeg, vlc, mpv, mpc-hg, ...) filter that can remove this shakiness ? It seems like a very simplified version of the stabilization done by action cameras, since it looks like roughly all frames are always offset by some small amount (2 to 10 pixels or so).&lt;/p&gt;&#xA;" OwnerUserId="14485" LastActivityDate="2023-02-03T18:41:52.683" Title="A video tool or ffmpeg filter to fix slightly shaky films from the 70s and 80s?" Tags="|ffmpeg|filter|stabilisation|vlc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36081" PostTypeId="2" ParentId="36076" CreationDate="2023-01-10T23:25:19.340" Score="0" Body="&lt;p&gt;After months of confusion, I make a post on a forum and hours later find &lt;a href=&quot;https://photographylife.com/the-basics-of-monitor-calibration&quot; rel=&quot;nofollow noreferrer&quot;&gt;an article&lt;/a&gt; that answers (most) of my questions.&lt;/p&gt;&#xA;&lt;p&gt;The parts I'm most concerned with are in sections 2 and 7. Per the article:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;This is where color management comes into play: if applications know the actual gamut of that monitor, they can translate this “0,255,0” sRGB value to another set of RGB values that represent the same color (or fairly close) in a bigger color space: sRGB 0,255,0 (green) -&amp;gt; 144,255,60 AdobeRGB (same sRGB green color)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Since we output discrete RGB numbers to a monitor, usually from 0 to 255 for each channel, and since a monitor accepts a discrete RGB number as input, usually from 0 to 255, then if we modify this one-to-one translation with a calibration curve, we may be introducing “gaps” or “jumps” in that 256 step stair. Such gaps may result in visible jumps between neighbor grey values and even coloration of some grays (red, green or blue tint in them).&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So yes, ICC profiles &lt;em&gt;can&lt;/em&gt; cause color degradation since they act on 24-bit color most of the time. This also explains why ICC profiles would show up in screen recordings and why you're able to activate color management on a per-app basis since they're just modifying the RGB values to match the standardized color definition with respect to the monitor's gamut/gamma.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;TL;DR:&lt;/strong&gt; ICC profiles are more or less just LUTs that transform RGB values with respect to your monitor's gamut so that the values match the physical scientific definition of each color in the real world. They aren't magic voodoo and are still constrained to the precision of the output signal to your monitor. (but also according to the same article and &lt;a href=&quot;https://www.reddit.com/r/Amd/comments/8pkpo5/a_small_detail_that_will_drive_me_and_many_people/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; Reddit post, some graphics cards have a dithering option that helps)&lt;/p&gt;&#xA;&lt;p&gt;This doesn't address my questions about monitor settings, but it eliminates the most confusing part for me. If any part of this is wrong, I'd love more information! Until then, I'm marking this as the answer.&lt;/p&gt;&#xA;&lt;p&gt;Edit: For those wondering how this applies to DaVinci Resolve or Blackmagic Fusion, it kinda doesn't. See &lt;a href=&quot;https://forum.blackmagicdesign.com/viewtopic.php?f=21&amp;amp;t=174053&amp;amp;p=915347#p915347&quot; rel=&quot;nofollow noreferrer&quot;&gt;this post.&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40280" LastEditorUserId="40280" LastEditDate="2023-01-15T03:30:33.423" LastActivityDate="2023-01-15T03:30:33.423" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36084" PostTypeId="2" ParentId="25570" CreationDate="2023-01-11T23:57:00.787" Score="0" Body="&lt;p&gt;IT will help merge &lt;code&gt;movie1..3.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;For cut can add &lt;code&gt;-ss 00:00:XX&lt;/code&gt; &lt;code&gt;-to 00:00:XX&lt;/code&gt; for -i file&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -hide_banner  \&#xA; -i &amp;quot;movie1.mp4&amp;quot; -c copy -bsf:v h264_mp4toannexb -an -f mpegts \&#xA; intermediate1.ts&#xA;&#xA;ffmpeg -y -hide_banner  \&#xA; -i &amp;quot;movie2.mp4&amp;quot; -c copy -bsf:v h264_mp4toannexb -an -f mpegts \&#xA; intermediate2.ts&#xA;&#xA;ffmpeg -y -hide_banner  \&#xA; -i &amp;quot;movie3.mp4&amp;quot; -c copy -bsf:v h264_mp4toannexb -an -f mpegts \&#xA; intermediate3.ts&#xA;&#xA;ffmpeg -y  -hide_banner \&#xA; -i &amp;quot;concat:intermediate1.ts|intermediate2.ts|intermediate3.ts&amp;quot; \&#xA; -i wind.wav \&#xA; -c:v copy -c:a aac -b:a 64k \&#xA; &amp;quot;mergedmovie.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40300" LastActivityDate="2023-01-11T23:57:00.787" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36085" PostTypeId="1" AcceptedAnswerId="36214" CreationDate="2023-01-12T10:30:23.767" Score="0" ViewCount="270" Body="&lt;p&gt;I've used ffmpeg for years for minor tweaks to sound &amp;amp; video but I know pretty much zero about containers and codecs and whatnot.&lt;/p&gt;&#xA;&lt;p&gt;I've recently had a need to reduce the physical (disk) size of videos recorded on my phone to meet restrictions for uploads to social media.&lt;/p&gt;&#xA;&lt;p&gt;Because it's disposable content for social media, best quality isn't that important.&lt;/p&gt;&#xA;&lt;p&gt;What I really want is to understand what is happening in the following situation:&lt;/p&gt;&#xA;&lt;p&gt;Source video is from OpenCamera on Android 12, using default settings.&lt;/p&gt;&#xA;&lt;p&gt;The source video is about 80mb on disk, and the output from ffprobe looks like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'VID_20221101_101217Z.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2022-11-01T10:13:05.000000Z&#xA;    com.android.version: 11&#xA;  Duration: 00:00:46.89, start: 0.000000, bitrate: 14227 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 1600x900, 14075 kb/s, SAR 1:1 DAR 16:9, 29.95 fps, 29.95 tbr, 90k tbn, 180k tbc (default)&#xA;    Metadata:&#xA;      rotate          : 90&#xA;      creation_time   : 2022-11-01T10:13:05.000000Z&#xA;      handler_name    : VideoHandle&#xA;    Side data:&#xA;      displaymatrix: rotation of -90.00 degrees&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 96 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2022-11-01T10:13:05.000000Z&#xA;      handler_name    : SoundHandle&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If I do &lt;em&gt;nothing else&lt;/em&gt; except this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&#xA;ffmpeg -i VID_20221101_101217Z.mp4 VID_20221101_101217Z_NO_CHANGE.mp4&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The file size drops to 29mb and the output of ffprobe looks like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'VID_20221101_101217Z_NO_CHANGE.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf57.83.100&#xA;  Duration: 00:00:46.88, start: 0.000000, bitrate: 5019 kb/s&#xA;    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 900x1600 [SAR 1:1 DAR 9:16], 4888 kb/s, 29.95 fps, 29.95 tbr, 18k tbn, 59.90 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 121 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The subjective quality of the two are barely distinguishable &amp;amp; the second version is easily good enough for social media.&lt;/p&gt;&#xA;&lt;p&gt;I can see that some numbers are different: kb/s, tbn, tbc are smaller, and I can see that 'yuv420p' no longer has '(tv,bt709)' appended. I also note that the kb/s for the audio stream in the second version is &lt;em&gt;higher&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;But I don't understand what these numbers mean and what has been &amp;quot;lost&amp;quot; so that the file size has been reduced by ~64%&lt;/p&gt;&#xA;&lt;p&gt;It's a bt of a general question for SE I realise, but nevertheless I'd hope for some clarification.&lt;/p&gt;&#xA;&lt;p&gt;thanks&lt;/p&gt;&#xA;" OwnerUserId="40304" LastEditorUserId="40304" LastEditDate="2023-01-12T11:24:13.247" LastActivityDate="2023-02-18T16:18:21.740" Title="ffmpeg: video size/quality changes when applying ffmpeg with no filters or other parameters" Tags="|ffmpeg|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36087" PostTypeId="1" CreationDate="2023-01-13T15:13:02.393" Score="1" ViewCount="428" Body="&lt;p&gt;I'm digitizing a number of VHS tapes into lossless video files using FFmpeg. How can I optimize my FFmpeg command further in order to come closer to the requested specs below, with the best possible quality?&lt;/p&gt;&#xA;&lt;h2&gt;Target (ideal) lossless specs&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;File format: MKV/AVI/MOV/MXF&lt;/li&gt;&#xA;&lt;li&gt;Video Codecs: FFV1/JPG2000 lossless/HuffYUV/Dirac/H.264 lossless&lt;/li&gt;&#xA;&lt;li&gt;Chroma: 4:2:2&lt;/li&gt;&#xA;&lt;li&gt;Pixel size: Rec. 601&lt;/li&gt;&#xA;&lt;li&gt;Aspect ratio: 4:3&lt;/li&gt;&#xA;&lt;li&gt;Resolution: 720x576&lt;/li&gt;&#xA;&lt;li&gt;PAL&lt;/li&gt;&#xA;&lt;li&gt;25 fps&lt;/li&gt;&#xA;&lt;li&gt;Audio: 48Khz/24-bit PCM 48Khz/16&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;FFmpeg command&lt;/h2&gt;&#xA;&lt;p&gt;(OS is Ubuntu Studio, CPU has 8 cores)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;sudo \&#xA;nice --20 \&#xA;ffmpeg \&#xA;-hide_banner \&#xA;-v verbose \&#xA;-report \&#xA;-err_detect +crccheck+bitstream+buffer+compliant+aggressive \&#xA;-fflags +igndts \&#xA;-f video4linux2 -thread_queue_size 1024 -i &amp;quot;/dev/video4&amp;quot; \&#xA;-f alsa -thread_queue_size 1024 -channel_layout stereo -ac 2 -i &amp;quot;hw:1&amp;quot; \&#xA;-vcodec ffv1 -level 3 -threads 8 -coder 1 -context 1 -g 1 -slices 30 -slicecrc 1 \&#xA;-acodec copy \&#xA;-aspect 4:3 \&#xA;-colorspace bt470bg \&#xA;-t 00:00:00 \&#xA;&amp;quot;NAME_HERE.mkv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h2&gt;Additional info&lt;/h2&gt;&#xA;&lt;p&gt;Capture device is &lt;a href=&quot;https://www.hauppauge.com/pages/products/data_usblive2.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;USB-Live2&lt;/a&gt; from Hauppauge,&#xA;using &lt;a href=&quot;https://hauppauge.com/pages/support/support_linux.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;semi-official drivers&lt;/a&gt; for Linux compability.&lt;/p&gt;&#xA;&lt;p&gt;FFmpeg Input streams from capture device:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, video4linux2,v4l2, from '/dev/video4':&#xA;  Duration: N/A, start: 3909.466392, bitrate: 165888 kb/s&#xA;  Stream #0:0: Video: rawvideo, 1 reference frame (YUY2 / 0x32595559), yuyv422, 720x576, 165888 kb/s, 25 fps, 25 tbr, 1000k tbn&#xA;Guessed Channel Layout for Input Stream #1.0 : stereo&#xA;Input #1, alsa, from 'hw:1':&#xA;  Duration: N/A, start: 1673622488.857382, bitrate: 1536 kb/s&#xA;  Stream #1:0: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; ffv1 (native))&#xA;  Stream #1:0 -&amp;gt; #0:1 (copy)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;FFprobe streams for sample output video file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; ffprobe -hide_banner sample.mkv&#xA;Input #0, matroska,webm, from 'sample.mkv':&#xA;  Metadata:&#xA;    ENCODER         : Lavf59.27.100&#xA;  Duration: 00:00:10.02, start: 0.000000, bitrate: 59168 kb/s&#xA;  Stream #0:0: Video: ffv1 (FFV1 / 0x31564646), yuv422p(tv, bt470bg/unknown/unknown, progressive), 720x576, SAR 16:15 DAR 4:3, 25 fps, 25 tbr, 1k tbn&#xA;    Metadata:&#xA;      ENCODER         : Lavc59.37.100 ffv1&#xA;      DURATION        : 00:00:10.000000000&#xA;  Stream #0:1: Audio: pcm_s16le, 48000 Hz, 2 channels, s16, 1536 kb/s&#xA;    Metadata:&#xA;      DURATION        : 00:00:10.016000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h2&gt;Current command rationalizations&lt;/h2&gt;&#xA;&lt;p&gt;sudo nice --20 ensures that the ffmpeg process is maximally prioritized by the CPU. (Afterwards, I use chown to change ownership of the video file from root.)&lt;/p&gt;&#xA;&lt;p&gt;err_detect is there to catch any and all errors. Should something come up I restart the digitisation session. Dunno if any of the flags are entirely redundant with one another and/or performance-impacting.&lt;/p&gt;&#xA;&lt;p&gt;As I understand it, because ffv1 is an &amp;quot;&lt;a href=&quot;https://en.wikipedia.org/wiki/Intra-frame_coding&quot; rel=&quot;nofollow noreferrer&quot;&gt;intra-frame&lt;/a&gt;&amp;quot; codec and not an &lt;a href=&quot;https://en.wikipedia.org/wiki/Inter_frame&quot; rel=&quot;nofollow noreferrer&quot;&gt;inter-frame&lt;/a&gt; one, DTS errors should be safe to ignore trough fflags +igndts. (It's fairly common that they pop up during a session and it seems unnecessary to restart because of them.)&lt;/p&gt;&#xA;&lt;p&gt;Without the excessive thread_queue_size 1024, ffmpeg has a tendency to warn about &amp;quot;Thread message queue blocking&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;ffv1 seems to be the most powerful lossless video codec available, and the parameters seems to be the most powerful possible: &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/FFV1&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/FFV1&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Input audio is close enough to the target specs (and AFAIK can't be improved anyway) so they're just copied as-is.&lt;/p&gt;&#xA;" OwnerUserId="40314" LastEditorUserId="40314" LastEditDate="2023-01-16T07:05:45.687" LastActivityDate="2023-07-28T13:04:30.593" Title="FFmpeg: maximum VHS quality?" Tags="|ffmpeg|linux|vhs|digitisation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36089" PostTypeId="2" ParentId="34431" CreationDate="2023-01-14T11:59:27.587" Score="0" Body="&lt;p&gt;In very rough cases, you may want to resort to brute force or tedious manual labor.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Brute force:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Open your footage in Blender and auto-select tracking-markers in the vfx-tab. Set the threshold so that you select at least 100 markers. Track them all to the end. At the last frame, auto-select &amp;gt;100 markers again and track backwards.&lt;/p&gt;&#xA;&lt;p&gt;Then look at the graph below. Select all the markers which deviate from the x-axis and delete them. Continue cleaning up the bad markers like this. Solve your camera and test it, in most cases, you will get a good 3D track from it.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Tedious Manual Labor:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Inspect the content of the frame very carefully. If you spot any static points that don't move, track them manually. Make sure to have at least 5 tracking points at a time. This may or may not work depending on the content of the frame.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2023-01-14T11:59:27.587" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36090" PostTypeId="2" ParentId="3983" CreationDate="2023-01-16T00:08:47.257" Score="0" Body="&lt;p&gt;FreeMocap has a way of syncing multiple webcam videos based on source time code after the capture and may be what you are looking for. Free but in pre-alpha.&lt;/p&gt;&#xA;" OwnerUserId="40326" LastActivityDate="2023-01-16T00:08:47.257" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36091" PostTypeId="1" CreationDate="2023-01-16T01:27:38.757" Score="0" ViewCount="46" Body="&lt;p&gt;I use a GoPro 10 to record videos. The GoPro is placed on a car. How can I shoot a clear video when under the rain with a GoPro?&lt;/p&gt;&#xA;&lt;p&gt;Currently, the rain makes the videos very unclear:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7c9j1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7c9j1.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2117" LastActivityDate="2023-01-16T01:27:38.757" Title="How can I shoot a clear video when under the rain with a GoPro?" Tags="|shooting|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36092" PostTypeId="2" ParentId="35116" CreationDate="2023-01-16T01:43:55.687" Score="0" Body="&lt;p&gt;Hoped this is useful to you&#xA;even if it's quite late&lt;a href=&quot;https://i.stack.imgur.com/Vi32a.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Vi32a.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40327" LastActivityDate="2023-01-16T01:43:55.687" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36095" PostTypeId="1" CreationDate="2023-01-18T00:13:38.897" Score="1" ViewCount="20" Body="&lt;p&gt;I hope this is the right place...&lt;/p&gt;&#xA;&lt;p&gt;I normally use &lt;a href=&quot;https://www.videohelp.com/software/MPC-BE&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPC-BE&lt;/a&gt; and &lt;a href=&quot;https://www.videohelp.com/software/Media-Player-Classic-Home-Cinema&quot; rel=&quot;nofollow noreferrer&quot;&gt;MPC-HC&lt;/a&gt; (which has quite audio processing options including a &lt;em&gt;custom channel mapping&lt;/em&gt;, although it doesn't seem to go that far with tracks), but I've also tried many others and never found such level of control over audio tracks and channels. What I'd want is e. g. reproduce a dual video file and can choose send English language audio track to the left channel and the Spanish one to the right, so I can hear both at the same time and in perfect sync.&lt;/p&gt;&#xA;&lt;p&gt;I don't think so, sincerely... but if one don't ask &lt;/p&gt;&#xA;" OwnerUserId="40347" LastEditorUserId="40347" LastEditDate="2023-01-18T03:18:53.740" LastActivityDate="2023-01-18T03:18:53.740" Title="Is there a video player that allows to reproduce one audio track through left channel and the other through right one?" Tags="|audio|playback|video-player|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36097" PostTypeId="2" ParentId="29027" CreationDate="2023-01-19T04:24:36.560" Score="-1" Body="&lt;p&gt;&lt;strong&gt;part 1 of the answer&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Usually, it's the encoder software producer that provides usage guideline documents on codec parameters.&lt;/p&gt;&#xA;&lt;p&gt;The general idea (workflow) is that:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;the standard developers, hardware and software developers, and patent holders gather together to produce a standard, and develop coders (software, hardware, media boxes) that're interoperable with each other.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;the &lt;strong&gt;media platforms&lt;/strong&gt; (TV stations, video sharing websites, cinema, etc.) &lt;strong&gt;sets requirements and specifications&lt;/strong&gt; for deliverables, based on their technical capability and financial budget, (sometimes also technical experiments they carry out for signal quality assessment).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;the creative people &lt;strong&gt;follows the specifications&lt;/strong&gt; for deliverables and sets the parameters in their encoder accordingly.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;the consumers watches your movies.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;The OP had an implicit premise that it's the creative people that sets the requirements and the specifications for themselves. This is true majority of the time nowadays, as indie movies are delivered less formally than their commercial and professional counterparts.&lt;/p&gt;&#xA;&lt;p&gt;This is why coders (FOSS, commercial, and proprietary) provides presets and documents for codec parameters, to save creative people the time that media platforms had already taken to assess and set coding specifications.&lt;/p&gt;&#xA;&lt;hr/&gt;&#xA;&lt;p&gt;&lt;strong&gt;part 2 of the answer&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;The International Telecommunication Union (ITU) has recommendations on profiles, levels, and bitrates of codecs. I found these one year after asking this, downloaded the PDFs, and forgot them until today.&lt;/p&gt;&#xA;&lt;p&gt;The &lt;a href=&quot;https://www.itu.int/rec/R-REC-BT/en&quot; rel=&quot;nofollow noreferrer&quot;&gt;BT&lt;/a&gt; (Broadcasting Service (Television)) has the following recommendation(s):&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;ITU-R BT.1737 &lt;em&gt;Use of the ITU-T Recommendation &lt;strong&gt;H.264 (MPEG-4/AVC)&lt;/strong&gt; video source-coding method to transport &lt;strong&gt;high definition TV&lt;/strong&gt; programme material&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;ITU-R BT.1870 &lt;em&gt;Video coding for digital television broadcasting emission&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;ITR-R BT.2073 &lt;em&gt;Use of the &lt;strong&gt;high efficiency video coding (HEVC)&lt;/strong&gt; standard for &lt;strong&gt;UHDTV and HDTV&lt;/strong&gt; broadcasting&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;The &lt;a href=&quot;https://www.itu.int/rec/R-REC-BS/en&quot; rel=&quot;nofollow noreferrer&quot;&gt;BS&lt;/a&gt; (Broadcasting Service (Sound)) has the following recommendation(s):&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;ITU-R BS.1196 &lt;em&gt;Audio coding for digital broadcasting&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="16433" LastEditorUserId="16433" LastEditDate="2023-01-20T12:52:30.110" LastActivityDate="2023-01-20T12:52:30.110" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36098" PostTypeId="1" CreationDate="2023-01-19T08:14:30.860" Score="0" ViewCount="28" Body="&lt;p&gt;So I have a Mp4 file, and I want to &lt;strong&gt;add multiples subtitles choices&lt;/strong&gt; to it that will stay forever. A bit like how YouTube, like there are the subtitles choices, and you select which one you want or none if you want none.&lt;/p&gt;&#xA;&lt;p&gt;The problem is that I don't found how to do it.&lt;/p&gt;&#xA;&lt;p&gt;I tried with &lt;strong&gt;VLC&lt;/strong&gt;, but it doesn't add the subtitles as a choice it just put them on the video. I've also made some research, but it's always the same over and over.&lt;/p&gt;&#xA;&lt;p&gt;So if you know how to do it or have a &lt;strong&gt;website/software&lt;/strong&gt; (free is better) that does it, it'll be very welcome.&lt;/p&gt;&#xA;" OwnerUserId="40365" LastActivityDate="2023-01-19T08:14:30.860" Title="How to add subtitles choices to MP4" Tags="|mp4|software-recommendation|subtitles|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="36101" PostTypeId="1" CreationDate="2023-01-20T10:38:26.920" Score="1" ViewCount="248" Body="&lt;p&gt;Currently, I record video games at 1080p 30 fps and 10,000 bitrate in OBS (MKV) but render vids after editing in DaVinci Resolve at 7,500.&lt;/p&gt;&#xA;&lt;p&gt;So I basically 'downscale' but with bitrate instead of resolution.&lt;/p&gt;&#xA;&lt;p&gt;I'm wondering whether that helps in anyway instead of both recording and rendering at 7,500.&lt;/p&gt;&#xA;&lt;p&gt;Visually, I'm satisfied with the quality. But I'm wondering if it's better to just record both at the same bitrate.&lt;/p&gt;&#xA;&lt;p&gt;Is there any advantage in recording at a higher bitrate and rendering at a lower one?&lt;/p&gt;&#xA;" OwnerUserId="40375" LastActivityDate="2023-01-20T15:13:22.853" Title="Does it help to record at a higher bitrate and render at a lower one?" Tags="|bitrate|rendering|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36102" PostTypeId="2" ParentId="36101" CreationDate="2023-01-20T11:05:09.037" Score="2" Body="&lt;p&gt;Yes there is.  When you edit a video, you're making cuts to the existing stream that has been encoded.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Lossy_compression&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lossy&lt;/a&gt; video codecs (like h264, which most people use when they make an mp4 for online viewing) only encode a full frame image every so often.  In between those times, they only encode changes between those images.  These are called &lt;a href=&quot;https://en.wikipedia.org/wiki/Video_compression_picture_types&quot; rel=&quot;nofollow noreferrer&quot;&gt;I frames and P frames&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;So if you're making edits and cutting things out, ideally you would have as little image quality lost as possible (depending on your storage space etc).&lt;/p&gt;&#xA;&lt;p&gt;If you are colour grading, higher bit rate files will handle colour tweaking better (as will codecs with less &lt;a href=&quot;https://en.wikipedia.org/wiki/Chroma_subsampling&quot; rel=&quot;nofollow noreferrer&quot;&gt;colour subsampling&lt;/a&gt;).&lt;/p&gt;&#xA;&lt;p&gt;Rendering to lower bitrates makes your video faster to download, and/or faster to start streaming.  (Although most streaming services specify their recommended bitrates then make additional versions that they stream to users depending on how fast their network connections are).&lt;/p&gt;&#xA;&lt;p&gt;Another thought: when you are editing, you generally get snappier performance in your editor if you use codecs that are (mostly? completely?) I-frame based, like ProRes, instead of using h264 for your recordings.  These are usually bigger than the equivalent h264 files, but your software doesn't have to generate in-between frames on the fly, so you can scroll around your timeline more quickly.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2023-01-20T15:13:22.853" LastActivityDate="2023-01-20T15:13:22.853" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36103" PostTypeId="2" ParentId="16516" CreationDate="2023-01-20T16:29:37.967" Score="2" Body="&lt;p&gt;What works for me was:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -ss 00:01:00 -i video.mp4 -to 00:02:00 -c:v libx264 -c:a aac cut.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="40380" LastEditorUserId="40380" LastEditDate="2023-01-20T16:30:03.907" LastActivityDate="2023-01-20T16:30:03.907" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36104" PostTypeId="2" ParentId="12329" CreationDate="2023-01-20T16:46:42.973" Score="0" Body="&lt;p&gt;The transition seems to catch audio from the next video. What worked for me was to detach the audio from that next clip and then play the segment.&lt;/p&gt;&#xA;" OwnerUserId="40381" LastActivityDate="2023-01-20T16:46:42.973" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36105" PostTypeId="1" CreationDate="2023-01-21T03:26:43.250" Score="0" ViewCount="24" Body="&lt;p&gt;So, I have an audio file that's a video but unencoded and as an audio file. I recorded it in Audacity, and I need to view it as a video. Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="40383" LastActivityDate="2024-02-15T06:06:20.793" Title="I have an audio file that's supposed to be video" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36106" PostTypeId="2" ParentId="36105" CreationDate="2023-01-21T03:28:09.817" Score="0" Body="&lt;p&gt;In order to view an audio file as a video, you would need to combine the audio with a visual element, such as a still image or a series of images. One way to do this is to use a video editing software, such as Adobe Premiere Pro or Final Cut Pro, to import the audio file and combine it with visual elements to create a video file. Another option would be to use a software specifically designed for creating videos from audio files.&lt;/p&gt;&#xA;" OwnerUserId="40384" LastActivityDate="2023-01-21T03:28:09.817" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36110" PostTypeId="1" CreationDate="2023-01-22T07:27:49.040" Score="1" ViewCount="10" Body="&lt;p&gt;I created a shaped masked over a video clip. How do I change the position of the video but keep the mask fixed? I just want to change the position of the video within the mask (without keyframes)&lt;/p&gt;&#xA;" OwnerUserId="20543" LastActivityDate="2023-01-22T07:27:49.040" Title="How to move a video/image within a mask?" Tags="|final-cut-pro-x|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36111" PostTypeId="1" CreationDate="2023-01-22T18:47:10.833" Score="0" ViewCount="146" Body="&lt;p&gt;I am converting video taken with various personal cameras in .MTS format to mp4 in order to reduce the file size. I am getting some strange artefacts and I wonder what simple mistake I am making?&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg finds this content in the infile:&#xA;Program 1&#xA;Stream #0:0[0x1011]: Video: h264 (High) (HDMV / 0x564D4448), yuv420p(top first), 1920x1080 [SAR 1:1 DAR 16:9], 25 fps, 50 tbr, 90k tbn, 50 tbc&#xA;Stream #0:1[0x1100]: Audio: ac3 (AC-3 / 0x332D4341), 48000 Hz, stereo, fltp, 256 kb/s&#xA;Stream #0:2[0x1200]: Subtitle: hdmv_pgs_subtitle ([144][0][0][0] / 0x0090), 1920x1080&lt;/p&gt;&#xA;&lt;p&gt;I used:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i infile.MTS -c:a copy -c:v libx264 -r 25 -b 8M outfile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I set the frame rate in order to keep the original frame rate, otherwise I get 50 fps, but even at 50 fps the artefacts are there.&lt;/p&gt;&#xA;&lt;p&gt;See attached screen grab (a small crop) for the artefacts, followed by the original.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/CjlJD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CjlJD.png&quot; alt=&quot;Artefacts:crop&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/7SIo9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7SIo9.png&quot; alt=&quot;No artefacts&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40394" LastEditorUserId="40394" LastEditDate="2023-01-22T20:12:43.467" LastActivityDate="2023-01-22T20:12:43.467" Title="Converting MTS to MP4 gives strange artefacts" Tags="|ffmpeg|mp4|conversion|h.264|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36112" PostTypeId="1" AcceptedAnswerId="36118" CreationDate="2023-01-23T04:08:03.580" Score="0" ViewCount="102" Body="&lt;p&gt;I am unable to re-encode an H.264 video that I downloaded from Youtube back to its original size. The MediaInfo is pasted below. The size of the video stream is 20 MB.&lt;/p&gt;&#xA;&lt;p&gt;I decoded the video into raw YUV (using ffmpeg and JM separately, ensuring that I get an identical file). Then I re-encoded it using the x264 library with a variety of configs. The encoded H.264 videos that I generated are around 40 MB in size.&lt;/p&gt;&#xA;&lt;p&gt;This is the commandline that I used:&#xA;&lt;code&gt;x264 -o out.h264 --input-res 1280x720 --preset slow autl.yuv&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Any ideas on what options I might be missing that YouTube would have used to encode the video?&lt;/p&gt;&#xA;&lt;p&gt;Mediainfo:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : autl.h264&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;File size                                : 19.9 MiB&#xA;Writing library                          : x264 core 155 r2901 7d0ff22&#xA;&#xA;Video&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Main@L3.1&#xA;Format settings                          : CABAC / 3 Ref Frames&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, Reference frames        : 3 frames&#xA;Width                                    : 1 280 pixels&#xA;Height                                   : 720 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Variable&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Writing library                          : x264 core 155 r2901 7d0ff22&#xA;Color range                              : Limited&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.709&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40398" LastActivityDate="2023-02-23T18:10:31.317" Title="Encoding to the same H.264 size as YouTube" Tags="|encoding|youtube|h.264|libx264|x264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36113" PostTypeId="1" CreationDate="2023-01-23T13:49:34.213" Score="0" ViewCount="58" Body="&lt;p&gt;I encode with ffmpeg and noticed that when I encode a y4m video in 29,97 FPS into a h265 video with libx265, the parameter of the two videos are the following :&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;original y4m :&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;29.97 fps, tbc : 29.97 tbr 29.97 &lt;strong&gt;tbn : 29.97&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;H265 converted file :&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;29.97 fps, tbc : 29.97 tbr 29.97 &lt;strong&gt;tbn : 1k&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I noticed the problem when I tried to compare the two videos with metrics like VMAF or SSIM, it says that the timestamp are 30000/1001 in one case and an other thing in the other case and the metric result is clearly false.&lt;/p&gt;&#xA;&lt;p&gt;As far as I understand, tbn mean the internal time interval used by the codec to place the images and it should be a number that can help to get the FPS easily, but I don't see how 1k will help in any way to place images at precise 29.97FPS (30000/1001). Or I miss something ? On the net it seems that classical number is more or less things like 90k, which seem more logical ...&lt;/p&gt;&#xA;&lt;p&gt;My main question :&#xA;&lt;strong&gt;This is, here a simple conversion with default parameter, why this default parameter is used in this case ?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Subsidiary questions :&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;I guess it is possible to force the tbn to another factor during conversion, but is it costless or have this an impact on the quality or size of the compressed video ?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Why in the y4m, the tbn is simply the FPS (29,97) what does it means ?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Thanks you ;)&lt;/p&gt;&#xA;" OwnerUserId="40402" LastEditorUserId="40402" LastEditDate="2023-01-23T13:50:24.373" LastActivityDate="2023-01-23T13:50:24.373" Title="Why, in FFmpeg with libx265 the timestamp tbn parameter is always 1k even when it seems not logical?" Tags="|ffmpeg|encoding|h265|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36114" PostTypeId="1" CreationDate="2023-01-23T14:03:57.047" Score="3" ViewCount="84" Body="&lt;p&gt;Me and my partner are working on a project in Premiere Pro of which I saved on the Creative Cloud directory and carefully synced all the files. My partner (who shot the video) from the other end created a sequence and makes some cuts on different clips so that I can take it from there and continue with the editing. However, after she's done trimming the clips she informed me so that I can have a look. but, when I open the projects there's a particular spot on the line that instead of showing the usual Yellow Line just like the rest of the section of the clip, the Yellow line wasn't there and that particular clip doesn't show anything on the preview despite the fact that the clip is still there in the project panel. please Help.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/NHkM1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NHkM1.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40401" LastEditorUserId="4426" LastEditDate="2023-01-23T17:06:53.633" LastActivityDate="2023-01-23T17:06:53.633" Title="One of my clip's Preview's isn't showing and the timeline color isn't showing in Adobe Premiere Pro. What should I do?" Tags="|premiere|adobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36115" PostTypeId="2" ParentId="36077" CreationDate="2023-01-23T15:53:28.323" Score="2" Body="&lt;p&gt;See FFmpeg documentation regarding &lt;code&gt;select&lt;/code&gt; filter &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#Examples-160&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#Examples-160&lt;/a&gt;, so to keep every 60th frame use &lt;code&gt;-vf &amp;quot;select=not(mod(n\,60))&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;And this has been already discussed with another example here &lt;a href=&quot;https://video.stackexchange.com/questions/32756/using-select-in-ffmpeg-to-choose-frames&quot;&gt;Using select in ffmpeg to choose frames&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21133" LastActivityDate="2023-01-23T15:53:28.323" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="36118" PostTypeId="2" ParentId="36112" CreationDate="2023-01-24T16:44:02.107" Score="1" Body="&lt;p&gt;I was able to produce the same size as Youtube by varying the &lt;code&gt;qp&lt;/code&gt; option for x264. The value that worked to approximately the same size was qp=20.&lt;/p&gt;&#xA;" OwnerUserId="40398" LastActivityDate="2023-01-24T16:44:02.107" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36120" PostTypeId="1" CreationDate="2023-01-25T13:41:05.763" Score="1" ViewCount="62" Body="&lt;p&gt;I've been looking for a way to achieve&#xA;this effect but it doesn't seem to work accurately well.&lt;/p&gt;&#xA;" OwnerUserId="40419" LastEditorUserId="40419" LastEditDate="2023-02-24T10:22:09.097" LastActivityDate="2023-02-24T10:22:09.097" Title="How to achieve this liney camcorder effect on Premiere Pro or After Effects?" Tags="|after-effects|video-editor|effects|visual-effects|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36121" PostTypeId="2" ParentId="36120" CreationDate="2023-01-25T13:53:43.257" Score="2" Body="&lt;p&gt;This is an artefact from de-&lt;a href=&quot;https://en.wikipedia.org/wiki/Interlaced_video&quot; rel=&quot;nofollow noreferrer&quot;&gt;interlacing&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;You can simulate it using things like the &lt;a href=&quot;https://aescripts.com/bad-tv/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Bad TV&lt;/a&gt; or &lt;a href=&quot;https://www.maxon.net/en/red-giant/universe/holomatrix&quot; rel=&quot;nofollow noreferrer&quot;&gt;Holomatrix&lt;/a&gt; plugins.&lt;/p&gt;&#xA;&lt;p&gt;You can get some way towards it using the free Venetian Blinds plugin in After Effects (or by interlacing and de-interlacing some footage).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2023-01-25T21:56:43.853" LastActivityDate="2023-01-25T21:56:43.853" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36122" PostTypeId="2" ParentId="32155" CreationDate="2023-01-25T16:05:07.317" Score="1" Body="&lt;p&gt;I was looking for that kind of software as well.&#xA;Then I found the .cube specification.&lt;/p&gt;&#xA;&lt;p&gt;I thought to myself ... an average programmer should be able to do it in a couple of days ... and then I did the job ;-)&lt;/p&gt;&#xA;&lt;p&gt;It's called &lt;em&gt;&lt;strong&gt;lutcraft&lt;/strong&gt;&lt;/em&gt;, a command line tool written in python3.&lt;/p&gt;&#xA;&lt;p&gt;You can find it on github:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/EinExperte/lutcraft&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/EinExperte/lutcraft&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Instruction:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create a neutral png image&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;lutc lut-neutral.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Manipulate the colors of the image&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Do pixel-level color adjustments as desired.&lt;/p&gt;&#xA;&lt;p&gt;Tools I suggest are darktable, gimp, flowblade or cinelerra. Any other program doing pixel-level imaging will do fine.&lt;/p&gt;&#xA;&lt;p&gt;Then save the image. I assume you call the file lut-x.png.&lt;/p&gt;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;Convert the image into a lookup table (.cube file)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;lutc -i lut-x.png lut-x.cube&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;This will output a 3D lookup tabble corresponding to the file lut-x.cube&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;If you have any questions / suggestions / etc., feel free to comment or e-mail me.&lt;/p&gt;&#xA;" OwnerUserId="40208" LastActivityDate="2023-01-25T16:05:07.317" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36125" PostTypeId="1" CreationDate="2023-01-26T20:37:56.743" Score="0" ViewCount="22" Body="&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/l_sYkDE5OH0?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Hey guys, the question I'm asking can easily be understood by just watching the video via the above link, if anyone knows what this effect is called, I'll much appreciate it, bless up!&lt;/p&gt;&#xA;" OwnerUserId="40429" LastEditorUserId="40429" LastEditDate="2023-01-26T20:39:36.693" LastActivityDate="2023-01-28T17:58:51.430" Title="How can I pause selected objects in a motion scene?" Tags="|visual-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36126" PostTypeId="1" AcceptedAnswerId="36194" CreationDate="2023-01-26T22:07:12.070" Score="0" ViewCount="128" Body="&lt;p&gt;I am editing some video in Kdenlive and I want to make a subsection of my video black &amp;amp; white.&lt;/p&gt;&#xA;&lt;p&gt;I know that I can make the whole clip black and white by adding a &amp;quot;saturation&amp;quot; effects. But could I (for example) choose a square within the clip and make only that part black and white?&lt;/p&gt;&#xA;" OwnerUserId="18345" LastActivityDate="2023-02-09T22:36:08.590" Title="Can I make a small part of my video frame black and white?" Tags="|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36127" PostTypeId="2" ParentId="25537" CreationDate="2023-01-27T03:31:09.597" Score="0" Body="&lt;p&gt;AviDemux will do this - keyframe accurate without re-encoding ('copy' mode) as long as the vid file encoder settings are identical (I get driven nuts when the specs vary somewhat unexpectedly. I wish there was a clever workaround...)&lt;/p&gt;&#xA;&lt;p&gt;Avidemux is a free video editor designed for simple cutting, filtering and encoding tasks. Tasks can be automated using projects, job queue and powerful scripting capabilities. It supports most video formats like DVD, VOB, AVI, WMV, MPG, MP4, AVI, MOV, MKV, DV, FLV and codecs like H.264/AVC, H.265/HEVC, MPEG4 ASP(DivX, XviD), MPEG2, MJPEG, HUffYUV, PNG, YV12.&#xA;It's available on the three main operating systems (Linux/Mac/Windows), and there's a 'portable' version.&#xA;I use it on a Mac.&#xA;GREAT APP!&#xA;&lt;a href=&quot;https://www.videohelp.com/software/AviDemux&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.videohelp.com/software/AviDemux&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;=========&#xA;I have also used LosslessCut recently and am very impressed by the possibilities of its 'smart cut' potential:&#xA;&amp;quot;...This experimental feature will re-encode the part of the video from the cutpoint until the next keyframe in order to attempt to make a 100% accurate cut while losslessly copying the rest of the segment.&#xA;Only works on some files:...&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/mifi/lossless-cut/issues/126&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/mifi/lossless-cut/issues/126&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/mifi/lossless-cut/blob/master/README.md&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/mifi/lossless-cut/blob/master/README.md&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40433" LastActivityDate="2023-01-27T03:31:09.597" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36128" PostTypeId="1" CreationDate="2023-01-27T03:31:21.080" Score="0" ViewCount="20" Body="&lt;p&gt;I use a GoPro 10. When it is recording, how can I see whether it is recording a regular video or a timelapse?&lt;/p&gt;&#xA;" OwnerUserId="2117" LastActivityDate="2024-02-21T08:07:25.907" Title="When a GoPro is recording, how can I see whether it is recording a regular video or a timelapse?" Tags="|video-recording|time-lapse|gopro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36130" PostTypeId="2" ParentId="36128" CreationDate="2023-01-27T05:39:40.437" Score="0" Body="&lt;p&gt;Reddit user &lt;a href=&quot;https://www.reddit.com/user/All-Sorts-of-Stuff&quot; rel=&quot;nofollow noreferrer&quot;&gt;All-Sorts-of-Stuff&lt;/a&gt; &lt;a href=&quot;https://redd.it/10maztg&quot; rel=&quot;nofollow noreferrer&quot;&gt;mentioned&lt;/a&gt; that one can look at the red timer to see whether it is recording a regular video or a timelapse:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;While the camera is recording, there will be a red timer showing the footage duration on the rear screen. If that timer is ticking upwards slowly - eg., it takes a full minute for each &amp;quot;second&amp;quot; of the timer to increase - then the camera is recording a timelapse. If that timer is ticking upwards in real time, it's recording a video&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="2117" LastActivityDate="2023-01-27T05:39:40.437" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36132" PostTypeId="1" AcceptedAnswerId="36134" CreationDate="2023-01-27T10:54:44.333" Score="1" ViewCount="595" Body="&lt;p&gt;I can use ss and sseof parameters with mp4 files and stream the result, but I get errors when I use same commands on h264 file (checked that it also works without seek parameters)&lt;/p&gt;&#xA;&lt;p&gt;here are the commands I have:&lt;/p&gt;&#xA;&lt;h3&gt;1&lt;/h3&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -i xx.h264 -c copy -f rtsp rtsp://localhost:8554/mystream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;working fine,&lt;/p&gt;&#xA;&lt;h3&gt;2&lt;/h3&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -sseof -10 -re -i xx.h264 -c copy -f rtsp rtsp://localhost:8554/mystream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;ignoring sseof parameter&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;error message:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Cannot use -sseof, duration of xx.h264 not known&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;h3&gt;3&lt;/h3&gt;&#xA;&lt;pre&gt;&lt;code&gt;xx.h264: could not seek to position -10.000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;not working at all&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;error message:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;xx.h264: could not seek to position -10.000&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;How can I fix this issue?&lt;/p&gt;&#xA;" OwnerUserId="40437" LastActivityDate="2023-02-02T19:04:44.180" Title="ffmpeg seek position options not working with h264" Tags="|ffmpeg|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36133" PostTypeId="1" CreationDate="2023-01-27T11:28:37.093" Score="0" ViewCount="27" Body="&lt;p&gt;Perhaps too basic for this forum... but it might help someone in the future.&lt;/p&gt;&#xA;&lt;p&gt;I want to make translated lyric videos, with the lyrics hardcoded onto the video (English on top, my translation in my native language below). The opposite of fancy, just plain text with no effects.&lt;/p&gt;&#xA;&lt;p&gt;I'm struggling with ensuring that each lyric appears on the exact moment as the audio.&lt;/p&gt;&#xA;&lt;p&gt;Is there a program or a tool who finds a way to automatically sync text with the audio? Or detects when a new &amp;quot;line&amp;quot; begins? It would be enough to get a txt. file with the timestamps. For some reason I feel the need to be precise by the millisecond, so eye-balling it isn't doing it for me.&lt;/p&gt;&#xA;" OwnerUserId="40439" LastActivityDate="2023-01-28T18:53:56.460" Title="Syncing hard-coded text with audio" Tags="|audio|subtitles|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36134" PostTypeId="2" ParentId="36132" CreationDate="2023-01-27T11:38:52.327" Score="1" Body="&lt;p&gt;&lt;em&gt;.h264&lt;/em&gt; is a raw format. It has no timestamps or metadata storing the input duration. Therefore you need to convert it to mp4 or another suitable format.&lt;/p&gt;&#xA;&lt;p&gt;You can mux to MP4 and use that.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i xx.h264 -c copy xx.mp4&#xA;&#xA;ffmpeg -sseof -10 -re -i xx.mp4 -c copy -f rtsp rtsp://localhost:8554/mystream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="40437" LastEditDate="2023-02-02T19:04:44.180" LastActivityDate="2023-02-02T19:04:44.180" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36136" PostTypeId="2" ParentId="36125" CreationDate="2023-01-28T16:26:46.233" Score="1" Body="&lt;p&gt;It's like a freeze frame effect.  I reckon they've just asked all the actors to hold still, and for the few shots that can't work in real life (the baseball, the spilling coffee etc) they've &lt;a href=&quot;https://www.schoolofmotion.com/blog/how-to-use-camera-tracker-after-effects&quot; rel=&quot;nofollow noreferrer&quot;&gt;tracked the camera movement&lt;/a&gt; and added in a 3D version of the objects (eg &lt;a href=&quot;https://www.youtube.com/watch?v=6B0QM4Cft5c&amp;amp;ab_channel=CGCookie&quot; rel=&quot;nofollow noreferrer&quot;&gt;this coffee demo&lt;/a&gt; in Blender).  You can see the actors moving in some of the scenes, eg his eyes move at 2m11, back of the had at 0m36, etc..&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-01-28T16:26:46.233" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="36139" PostTypeId="2" ParentId="36133" CreationDate="2023-01-28T18:53:56.460" Score="1" Body="&lt;p&gt;This will certainly vary depending on the type of music. If there's not excessive compression, and the instrumentation is quite a bit lower volume than the singer (such as a jazz crooner song, e.g. &amp;quot;The Way You Look Tonight&amp;quot;), you might have some luck with putting &lt;a href=&quot;https://www.audacityteam.org/download/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Audacity&lt;/a&gt; and &lt;a href=&quot;https://ffmpeg.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; to work.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;As long as you've installed FFmpeg for Audacity (Edit -&amp;gt; Preferences: Libraries -&amp;gt; FFmpeg Library: Download), you can use &amp;quot;File -&amp;gt; Import -&amp;gt; Audio...&amp;quot; to import audio direct from a video. (NOTE: FFmpeg for Audacity is a separate install from the command line tool FFmpeg.)&lt;/li&gt;&#xA;&lt;li&gt;Then, you can select all the audio and choose &amp;quot;Analyze -&amp;gt; Label Sounds&amp;quot;. Experiment with the threshold level to make the line detection more accurate. -30dB is much more sensitive than -10dB.&lt;/li&gt;&#xA;&lt;li&gt;CTRL+B can manually establish any additional new labels at the cursor position on the timeline.&lt;/li&gt;&#xA;&lt;li&gt;Then, File -&amp;gt; Export -&amp;gt; Export Labels... will give you a text file with the start/end times and the labels you chose for the sounds.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;From there, you might have either a little bit of grunt work translating the seconds to the &lt;code&gt;hh:mm:ss,mmm&lt;/code&gt; style of timestamp required by, for example, the &lt;a href=&quot;https://en.wikipedia.org/wiki/SubRip&quot; rel=&quot;nofollow noreferrer&quot;&gt;.SRT format&lt;/a&gt; for subtitles. Or hopefully you have a bit of scripting or reg-ex replace knowhow :-) to automate that process. Then, mix it in. For example, I use this command to mix in subtitles onto a video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.avi -vf subtitles=lyrics.srt -max_muxing_queue_size 9999 CONCERT.AVI&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The &lt;code&gt;-max_muxing_queue_size 9999&lt;/code&gt; is related to an obscure problem with ffmpeg that may have been fixed since I last used this feature.&lt;/p&gt;&#xA;&lt;p&gt;Of course, it will also vary by the tools you use. It will help to know your environment and favored toolchain. Good luck!&lt;/p&gt;&#xA;" OwnerUserId="40432" LastActivityDate="2023-01-28T18:53:56.460" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36140" PostTypeId="2" ParentId="29274" CreationDate="2023-01-28T19:25:59.287" Score="1" Body="&lt;p&gt;This worked beautifully, many thanks to @Gyan.&lt;/p&gt;&#xA;&lt;p&gt;Just to add to the accepted answer, as I needed to do this for a large number of mp3 audio files with similar noise profiles and with a naming scheme of 001_somefile.mp3. I wrote myself a batch script to do so. The &lt;code&gt;-y&lt;/code&gt; confirms overwrite and the &lt;code&gt;|| pause&lt;/code&gt; causes the script to halt if the command was bad. I don't know if there's any available constants to automagically obtain the length of the &lt;code&gt;noise_profile.mp3&lt;/code&gt; input, so I hard-coded the 0.89 seconds length:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;&#xA;for /F &amp;quot;usebackq delims=&amp;quot; %%f in (`dir /B ???_*.mp3`) do (&#xA;   ffmpeg -y -i &amp;quot;%%f&amp;quot; -i noise_sample.mp3 -filter_complex &amp;quot;[1][0]concat=n=2:v=0:a=1,asendcmd=c='0.0 afftdn@n sn start; 0.89 afftdn@n sn stop',afftdn@n,atrim=0.89,asetpts=PTS-STARTPTS&amp;quot; &amp;quot;0%%f&amp;quot; || pause&#xA;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40432" LastActivityDate="2023-01-28T19:25:59.287" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36143" PostTypeId="1" CreationDate="2023-01-29T18:44:24.690" Score="1" ViewCount="1487" Body="&lt;p&gt;What do these red and blue icons mean in Adobe Premiere?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/LhEMh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LhEMh.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="19382" LastActivityDate="2023-01-29T19:56:14.460" Title="What do these red and blue icons mean in Adobe Premiere?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36144" PostTypeId="2" ParentId="36143" CreationDate="2023-01-29T19:56:14.460" Score="2" Body="&lt;p&gt;The blue icon on the clips means your clip has a proxy file attached to it, and the red icon means the proxy file is missing from that clip.&lt;/p&gt;&#xA;&lt;p&gt;Proxies are lower quality versions of your video clips that you can generate using Premiere and Media Encoder.  The advantage of using them is that when you are using very large video files, Premiere can become slower and less responsive.  When you generate smaller proxy files, Premiere uses those instead if you click the &amp;quot;Use Proxies&amp;quot; button in the transport controls:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/R6GFa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/R6GFa.png&quot; alt=&quot;proxy button&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you can't see the &amp;quot;Use Proxies&amp;quot; button, you might need to click on the plus icon in the transport window to edit which buttons are visible:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KdmVC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KdmVC.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;There's a good tutorial explaining how and when to use them here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/-b8VtZX62XA?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;and Adobe's page is here:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/uk/premiere-pro/using/ingest-proxy-workflow.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/uk/premiere-pro/using/ingest-proxy-workflow.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-01-29T19:56:14.460" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36145" PostTypeId="2" ParentId="35731" CreationDate="2023-01-31T00:07:04.910" Score="0" Body="&lt;p&gt;I've since resolved this; the key was replacing the &lt;code&gt;-r &amp;quot;${input_framerate}&amp;quot;&lt;/code&gt; in the second line of the &lt;code&gt;ffmpeg&lt;/code&gt; invocation with &lt;code&gt;-framerate &amp;quot;${input_framerate}&amp;quot;&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;The differences between these options is nicely described within &lt;a href=&quot;https://stackoverflow.com/questions/51143100/framerate-vs-r-vs-filter-fps/51224132&quot;&gt;this&lt;/a&gt; answer.&lt;/p&gt;&#xA;" OwnerUserId="39368" LastActivityDate="2023-01-31T00:07:04.910" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36146" PostTypeId="1" CreationDate="2023-01-31T01:57:12.087" Score="0" ViewCount="1050" Body="&lt;p&gt;Is there a way for me to export &amp;quot;individual clips&amp;quot; with their timeline changes?&lt;/p&gt;&#xA;&lt;p&gt;I am new to resolve and am trying to export &amp;quot;individual clips&amp;quot; with their effects and audio edits mixed in.&lt;/p&gt;&#xA;&lt;p&gt;When I export &amp;quot;individual clips&amp;quot;, the clip is unedited and none of the effects and audio changes are saved. In addition, the audio is not mixed down. E.g. I delete track 2 of the clip and export,  the rendered clip still has multiple tracks and the deleted track can still be heard. Also, if I have a zoom in, the exported clip doesn't have the effect.&lt;/p&gt;&#xA;&lt;p&gt;I currently have to mark in and out each and every clip individually and export as a &amp;quot;single clip&amp;quot; in order for these changes to be affected. This means I cannot use many of the &amp;quot;individual clips&amp;quot; features like automatic sequential naming.&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="40459" LastActivityDate="2023-06-14T07:33:15.923" Title="Davinci Resolve 17: How do you export individual clips with timeline audio and effect changes?" Tags="|davinci-resolve|export|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36148" PostTypeId="1" CreationDate="2023-01-31T05:42:33.877" Score="1" ViewCount="48" Body="&lt;p&gt;Whenever I add a polygon mask, it causes strange flickering/ cutting where it doesn't intersect with the polygon (as in picture).&lt;/p&gt;&#xA;&lt;p&gt;It cutts it off at the top, when surely it should be displaying everything outside of the mask.&lt;a href=&quot;https://i.stack.imgur.com/BkvSq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BkvSq.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40461" LastActivityDate="2023-01-31T05:42:33.877" Title="Adding a polygon mask causes flicker/ cutting" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36149" PostTypeId="1" CreationDate="2023-01-31T14:18:20.797" Score="0" ViewCount="298" Body="&lt;p&gt;I want to create a simple background video for a Lofi video &lt;a href=&quot;https://www.youtube.com/watch?v=reCMB81A70k&quot; rel=&quot;nofollow noreferrer&quot;&gt;like this&lt;/a&gt;. Besides being comical, the elements seem quite simple: moving background, some smoke and train movement. I tried something like that with falling snow back a window, but it does not even start to render. Or it does, but never leaves 0%. I got some .png files to make the window transparent etc. and then move them with keyframes. Falling snow is done by adding a prerendered video of snow and removing the black background. I tried performance enhancing settings and have a quite powerful CPU and GPU. Is there perhaps something I am doing that Davinci just doesn't like? Do you have other thoughts of why this does not work?&lt;/p&gt;&#xA;" OwnerUserId="40465" LastActivityDate="2023-02-02T22:26:34.023" Title="Davinci Resolve: Animating several layers of photos" Tags="|animation|davinci-resolve|photos|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36150" PostTypeId="2" ParentId="36146" CreationDate="2023-01-31T14:28:49.913" Score="2" Body="&lt;p&gt;I think setting an &lt;em&gt;In-&lt;/em&gt; and &lt;em&gt;Outpoint&lt;/em&gt; would do the trick. Essentially you are cropping down the timeline to the time between In- and Outpoint. When on the Edit tab, you set the Inpoint by pressing I and the Outpoint with O. Then you can just export the entire video, which will be cropped down with color grading, music etc. applied. You can of course choose where to place the points freely and include several clips following each other.&lt;/p&gt;&#xA;&lt;p&gt;Don't forget to remove the In- and Outpoints afterwards by pressing Alt/Option + X in the Edit tab. These points cause weird behavior sometimes.&lt;/p&gt;&#xA;" OwnerUserId="40465" LastActivityDate="2023-01-31T14:28:49.913" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36151" PostTypeId="2" ParentId="23282" CreationDate="2023-01-31T16:30:41.803" Score="0" Body="&lt;ul&gt;&#xA;&lt;li&gt;Open SVG File in Adobe XD&lt;/li&gt;&#xA;&lt;li&gt;select your paths&lt;/li&gt;&#xA;&lt;li&gt;Menu &amp;quot;File&amp;quot; -&amp;gt; &amp;quot;Export&amp;quot; -&amp;gt; After Effects&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Now you have the paths in AE :-)&lt;/p&gt;&#xA;" OwnerUserId="40466" LastActivityDate="2023-01-31T16:30:41.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36154" PostTypeId="2" ParentId="3917" CreationDate="2023-02-01T10:36:14.883" Score="0" Body="&lt;p&gt;If you need to keep the track settings and move the entire track you can use the Premium version of PlumePack (it's a plugin).&#xA;You will be able to change the order of all your tracks without having to create empty tracks and keeping all audio effects and associated key-framing.&lt;/p&gt;&#xA;" OwnerUserId="40473" LastActivityDate="2023-02-01T10:36:14.883" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36156" PostTypeId="2" ParentId="32695" CreationDate="2023-02-01T22:32:46.303" Score="2" Body="&lt;p&gt;I wanted to avoid &lt;a href=&quot;https://video.stackexchange.com/a/32697/40480&quot;&gt;grepping ffmpeg's warnings from stdout/stderr&lt;/a&gt; in my own tools, so I looked for an alternative/stabler approach. The key to how ffmpeg detects packed B-frames is here:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/f4b4e16641184b2414e5822c49fa5f6f9a57f2fb/libavcodec/mpeg4videodec.c#L2949&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/blob/f4b4e16641184b2414e5822c49fa5f6f9a57f2fb/libavcodec/mpeg4videodec.c#L2949&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/f4b4e16641184b2414e5822c49fa5f6f9a57f2fb/libavcodec/mpeg4videodec.c#L3677&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/blob/f4b4e16641184b2414e5822c49fa5f6f9a57f2fb/libavcodec/mpeg4videodec.c#L3677&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Unfortunately, &lt;code&gt;ffprobe&lt;/code&gt; does not inform on the existence of packed B-frames and depending on your needs, implementing/linking an entire MPEG4 stream decoder might be overkill.&lt;/p&gt;&#xA;&lt;p&gt;Fortunately you can use &lt;code&gt;ffprobe&lt;/code&gt; and little code to programmatically detect them:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffprobe -show_packets -select_streams v -read_intervals '%+#1' -show_entries packet=size,pos path/to/file.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then open the AVI file, seek &lt;code&gt;pos&lt;/code&gt;, read &lt;code&gt;size&lt;/code&gt; bytes and Regex-search for &lt;code&gt;\x00\x00\x01\xB2DivX(\d+)b(\d+)p&lt;/code&gt; or &lt;code&gt;\x00\x00\x01\xB2DivX(\d+)Build(\d+)p&lt;/code&gt;. Here &lt;code&gt;\x00\x00\x01\xB2&lt;/code&gt; stands for the MPEG4 &amp;quot;User data&amp;quot; magic sequence.&lt;/p&gt;&#xA;&lt;p&gt;You can see an example here: &lt;a href=&quot;https://github.com/AlexAltea/curator/commit/f9b06146fde30dce0a422ca05a6ed7fa675da6ad&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/AlexAltea/curator/commit/f9b06146fde30dce0a422ca05a6ed7fa675da6ad&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This should always correctly identify packed B-frames: when reformatting with &lt;code&gt;-bsf:v mpeg4_unpack_bframes&lt;/code&gt; (or equivalent options in other tools), the &lt;code&gt;p&lt;/code&gt; flag at the end of the DivX identifier gets removed.&lt;/p&gt;&#xA;&lt;p&gt;If you ever come across false postives (unpacked videos that still have the &lt;code&gt;p&lt;/code&gt; flag), you can further improve by querying &lt;code&gt;ffprobe -show_frames&lt;/code&gt;. I've noticed that packed B-frames always get reported as having &lt;code&gt;pkt_size == 8&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="40480" LastEditorUserId="40480" LastEditDate="2023-02-02T11:56:12.470" LastActivityDate="2023-02-02T11:56:12.470" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36159" PostTypeId="2" ParentId="36080" CreationDate="2023-02-02T12:41:59.340" Score="1" Body="&lt;p&gt;This is most often caused by interlace artifacts as televisions and video devices prior to 1998 used interlace to pass video between them. This included VCR's DVD players TV's (even HDTV's at the time) and capture cards used to digitize content. As the displays were also interlaced at the time the images looked good. Today all displays are progressive so content from that era has to be de-interlaced either at the same frame rate or double if content is film source or very fast motion.&#xA;Use this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i infile.mp4 -vf bwdif=0:-1:0 -c:a aac -c:v ibx264 outfile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Or use this for fast action or sports action:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i infile.mp4 -vf bwdif=1:-1:0 -c:a aac -c:v ibx264 outfile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40484" LastEditorUserId="14523" LastEditDate="2023-02-03T18:41:52.683" LastActivityDate="2023-02-03T18:41:52.683" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36160" PostTypeId="1" CreationDate="2023-02-02T21:00:30.900" Score="0" ViewCount="273" Body="&lt;p&gt;I am using a Mac, I've run this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source.mxf -map_channel 0.1.0 -map_channel 0.1.1 \&#xA;       -af 'volume=volume=6dB:precision=fixed' target.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but I keep getting 'no such file or directory' even though I've used the exact file name and have even tried renaming and trying again.&lt;/p&gt;&#xA;&lt;p&gt;Is there any other way to do this?&lt;/p&gt;&#xA;" OwnerUserId="40487" LastEditorUserId="18155" LastEditDate="2023-02-10T01:29:50.130" LastActivityDate="2024-03-06T03:09:41.207" Title="How do you convert an mxf file to wav using ffmpeg?" Tags="|ffmpeg|mxf|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36161" PostTypeId="2" ParentId="36149" CreationDate="2023-02-02T22:26:34.023" Score="1" Body="&lt;p&gt;I don't think I can help with your specific render issue without more description, but the method you describe doesn't really seem like a very good way to do it in Davinci Resolve.&lt;/p&gt;&#xA;&lt;p&gt;If you have a still image, you're probably better off masking out the transparent window with polygons right in DR than using a separate png file.&lt;/p&gt;&#xA;&lt;p&gt;Adding snow would be better (and more realistic) if done in Fusion with Particles (pEmitter &amp;amp; pRender nodes).  Here's a tutorial video specifically for making snow:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/hKV8oGaCLwY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;(This may not be the best one, just the first one I found.  There &lt;em&gt;lots&lt;/em&gt; of Fusion tutorial videos out there.&lt;/p&gt;&#xA;" OwnerUserId="39496" LastActivityDate="2023-02-02T22:26:34.023" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36163" PostTypeId="1" AcceptedAnswerId="36525" CreationDate="2023-02-03T16:33:47.593" Score="1" ViewCount="354" Body="&lt;p&gt;I'm trying to get the output name to be the same as the input name while using the pipe command in ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;The file is called &lt;strong&gt;1-Minute Audio Test for Stereo Speakers &amp;amp; Headphones [2ZrWHtvSog4].m4a&lt;/strong&gt;&#xA;I'm trying to get the &lt;strong&gt;output filename&lt;/strong&gt; to be &lt;strong&gt;automatically&lt;/strong&gt; the same as the &lt;strong&gt;input file name&lt;/strong&gt; but with the &lt;strong&gt;mp3&lt;/strong&gt; extension.&lt;/p&gt;&#xA;&lt;p&gt;So the final name should be &lt;strong&gt;1-Minute Audio Test for Stereo Speakers &amp;amp; Headphones [2ZrWHtvSog4].mp3&lt;/strong&gt; without having to type it in manually.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Example:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;yt-dlp -o - -f 139 --external-downloader aria2c --external-downloader-args '-d ./ -x 10' https://www.youtube.com/watch?v=2ZrWHtvSog4 | ffmpeg -i pipe: -codec:a libmp3lame -b:a 8000 -ac 1 -ar 8000 test_audio.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;These commands create a file called &lt;strong&gt;test_audio.mp3&lt;/strong&gt; it should be &lt;strong&gt;1-Minute Audio Test for Stereo Speakers &amp;amp; Headphones [2ZrWHtvSog4].mp3&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;I'm not sure how to pipe the name variable from the input file to the output file of ffmpeg.&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="6602" LastActivityDate="2023-05-24T16:18:34.120" Title="Use same output file name from pipe as input name with ffmpeg" Tags="|ffmpeg|bash|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36164" PostTypeId="1" CreationDate="2023-02-04T01:09:04.747" Score="0" ViewCount="170" Body="&lt;p&gt;I shot a video in portrait mode on iphone, and its a mov file with a vertical aspect ratio (ie, when i open it in quicktime, it has no black areas on its sides).&lt;/p&gt;&#xA;&lt;p&gt;I open that video in imovie version 10.3.5, and i cut some frames to shorten the video, i then export it as a mp4. Now when i open the mp4, quicktime has black areas on its side.&lt;/p&gt;&#xA;&lt;p&gt;I read that i have to first preserve the original ratio by going to crop setting in imovie and select 'Fit', then edit, then export. I did that, and still it comers out with black areas on its side.&lt;/p&gt;&#xA;&lt;p&gt;Same when I upload it to Google Video and play it, it plays in a very small window on my phone, whereas the orignal un-edited video plays on full screen veritically on my phone.&lt;/p&gt;&#xA;&lt;p&gt;I've spent 8 hours on this and can't fix it.&lt;/p&gt;&#xA;&lt;p&gt;How do I edit this video and still have it preserve original aspect ratio?&lt;/p&gt;&#xA;" OwnerUserId="40501" LastEditorUserId="4426" LastEditDate="2023-02-04T08:06:54.180" LastActivityDate="2023-02-04T08:06:54.180" Title="How to prevent iMovie from changing aspect ratio on a video short in portrait mode?" Tags="|video|imovie|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36165" PostTypeId="2" ParentId="36164" CreationDate="2023-02-04T08:06:33.717" Score="1" Body="&lt;p&gt;This is not a very elegant solution but it works.&lt;/p&gt;&#xA;&lt;p&gt;Import your vertical video into iMovie.&lt;/p&gt;&#xA;&lt;p&gt;When you have edited, rotate all the clips by 90 degrees&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VYVOG.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VYVOG.jpg&quot; alt=&quot;screengrab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Export your video as a horizontal video eg &amp;quot;1080p&amp;quot; mode.&lt;/p&gt;&#xA;&lt;p&gt;Open it in Quicktime Player&lt;/p&gt;&#xA;&lt;p&gt;Rotate it back again:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YlPk4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YlPk4.png&quot; alt=&quot;grab2&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Export it as 1080p.&lt;/p&gt;&#xA;&lt;p&gt;The exported video will be rotated correctly:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sOPe3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sOPe3.jpg&quot; alt=&quot;grab3&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-02-04T08:06:33.717" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36168" PostTypeId="1" CreationDate="2023-02-04T20:06:07.683" Score="1" ViewCount="812" Body="&lt;p&gt;I have obtained a video, &lt;code&gt;ffprobe&lt;/code&gt; for it shows:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-none prettyprint-override&quot;&gt;&lt;code&gt;$ ffprobe test-000000.mp4&#xA;ffprobe version 4.2.7-0ubuntu0.1 Copyright (c) 2007-2022 the FFmpeg developers&#xA;...&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'test-000000.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:01:25.76, start: 0.040000, bitrate: 187 kb/s&#xA;    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 608x448, 186 kb/s, 8.98 fps, 25 tbr, 12800 tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;mediainfo&lt;/code&gt; for the same shows:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-none prettyprint-override&quot;&gt;&lt;code&gt;$ mediainfo test-000000.mp4&#xA;General&#xA;Complete name                            : test-000000.mp4&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media&#xA;Codec ID                                 : isom (isom/iso2/avc1/mp41)&#xA;File size                                : 1.92 MiB&#xA;Duration                                 : 1 min 25 s&#xA;Overall bit rate                         : 187 kb/s&#xA;Writing application                      : Lavf58.29.100&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : High@L3&#xA;Format settings                          : CABAC / 4 Ref Frames&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, Reference frames        : 4 frames&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 1 min 25 s&#xA;Bit rate                                 : 186 kb/s&#xA;Width                                    : 608 pixels&#xA;Height                                   : 448 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate mode                          : Variable&#xA;Frame rate                               : 8.979 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.076&#xA;Stream size                              : 1.90 MiB (99%)&#xA;Writing library                          : x264 core 155 r2917 0a84d98&#xA;Encoding settings                        : cabac=1 / ref=1 / deblock=1:0:0 / analyse=0x3:0x3 / me=dia / subme=1 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=0 / me_range=16 / chroma_me=1 / trellis=0 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=0 / threads=12 / lookahead_threads=2 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=2 / b_adapt=1 / b_bias=0 / direct=1 / weightb=1 / open_gop=0 / weightp=1 / keyint=25 / keyint_min=2 / scenecut=40 / intra_refresh=0 / rc=crf / mbtree=0 / crf=35.0 / qcomp=0.00 / qpmin=0 / qpmax=69 / qpstep=4 / ip_ratio=1.40 / pb_ratio=1.30 / aq=1:1.00&#xA;Codec configuration box                  : avcC&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;When I start playing this video with &lt;code&gt;vlc&lt;/code&gt;, it starts playing fine for 5-6 seconds, and then I get suddenly:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;[00007f066cc1bad0] avcodec decoder error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;[00007f066cc1bad0] avcodec decoder error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;[00007f066cc1bad0] avcodec decoder error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;[00007f066cc1bad0] avcodec decoder error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;[00007f066cc1bad0] avcodec decoder error: more than 5 seconds of late video -&amp;gt; dropping frame (computer too slow ?)&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I think also, the video at that point was showing a still frame for quite a long time (screen capture from a PC desktop), so it's quite possible the capturing process did not insert keyframes there or something.&lt;/p&gt;&#xA;&lt;p&gt;So, I was wondering, is it possible to fix this kind of an error message without reencoding (in &lt;code&gt;ffmpeg&lt;/code&gt; that would be &lt;code&gt;-vcodec copy&lt;/code&gt;), aside from inserting keyframes if that is necessary (though I'm not sure, maybe inserting keyframes does count like re-encoding in greater extent than &lt;code&gt;-vcodec copy&lt;/code&gt;?)? If not, what would be the best way to fix this problem with ffmpeg, so I end up with minimal changes in existing quality?&lt;/p&gt;&#xA;" OwnerUserId="26523" LastActivityDate="2023-02-05T21:12:50.943" Title="Can you fix videos with &quot;error: more than 5 seconds of late video&quot; without re-encoding with ffmpeg?" Tags="|ffmpeg|encoding|conversion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36169" PostTypeId="1" CreationDate="2023-02-04T21:31:06.883" Score="1" ViewCount="57" Body="&lt;p&gt;I animate in Adobe Flash Professional CS5.5 on Windows 7. All my work exists in that version. The problem is that once I export an SWF Movie I can't convert it to MP4 with tools such as Swivel or other kind of online convert sites. (I know Adobe canceled Flash...) Is there any alternative way out there?&lt;/p&gt;&#xA;&lt;p&gt;I would be grateful for any help.&lt;/p&gt;&#xA;" OwnerDisplayName="Luka " LastActivityDate="2023-02-05T17:06:32.693" Title="How to convert SWF movie to MP4?" Tags="|animation|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36170" PostTypeId="1" CreationDate="2023-02-05T18:26:23.590" Score="1" ViewCount="225" Body="&lt;p&gt;Kdenlive is displaying a white window in the effect section instead of the expected list of effects, as seen in the accompanying image. I encountered this issue on both Fedora 36 and Fedora 37, using Kdenlive version 22.12.2.&lt;/p&gt;&#xA;&lt;p&gt;I would greatly appreciate any help or suggestions in resolving this issue. If there is any additional information I can provide to help diagnose the problem, please let me know.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/6ZNno.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6ZNno.png&quot; alt=&quot;bug illustration&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40514" LastEditorUserId="40514" LastEditDate="2023-02-05T18:37:10.057" LastActivityDate="2023-12-09T12:02:05.237" Title="Kdenlive Effect Section is White" Tags="|effects|kdenlive|bug|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36171" PostTypeId="1" CreationDate="2023-02-05T19:18:46.010" Score="0" ViewCount="127" Body="&lt;p&gt;I am trying to add two overlays using ffmpeg as below:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[v0][1:v] overlay=21:24:enable='between(t,0.000, 1.135)' [v1];&#xA;[v1][2:v] overlay=120:24:enable='between(t,0.000, 1.135)' &amp;quot; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;These two images [1:v] and [2:v] are below pngs:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kXIua.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kXIua.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/BFXBf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BFXBf.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The first png is 99px wide and I want to place it on x=21&lt;/p&gt;&#xA;&lt;p&gt;The second png I want to place right behind the first one x=21+99=120&lt;/p&gt;&#xA;&lt;p&gt;But I am getting the output as below: It seems that there is 1px gap between them and I have no idea where is it coming from.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IinpP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IinpP.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I ensure it is pixel perfect and there is no gap?&lt;/p&gt;&#xA;&lt;p&gt;Also I noticed that if the image is 98px and I use:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[v0][1:v] overlay=21:24:enable='between(t,0.000, 1.135)' [v1];&#xA;[v1][2:v] overlay=119:24:enable='between(t,0.000, 1.135)' &amp;quot; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;then suprisingly it is fine, same for 100px wide and next images x=121&lt;/p&gt;&#xA;&lt;p&gt;The whole command to give more context (remove newlines to execute):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;.\bin\ffmpeg.exe -ss 0 -to 5.681 &#xA;-i C:\Users\Radoslaw\Videos\ttt.mp4 &#xA;-i .\tempAssets\player1.png &#xA;-i .\tempAssets\serving.png &#xA;-filter_complex &#xA;[0:v] select='between(t,1.247,2.550)+between(t,4.181,5.681)', setpts='PTS-STARTPTS-((gt(T,2.550)*1.630))/TB' [v0]; &#xA;[0:a] aselect='between(t,1.247,2.550)+between(t,4.181,5.681)', asetpts='PTS-STARTPTS-((gt(T,2.550)*1.630))/TB'; &#xA;[v0][1:v] overlay=21:21:enable='between(t,0.000, 2.803)' [v1];&#xA;[v1][2:v] overlay=120:21:enable='between(t,0.000, 2.803)' &#xA;Untitled.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;@Gyan your answer helped for the mentioned simple scenario but if I change the order:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[v0][2:v] overlay=120:24:enable='between(t,0.000, 1.135)':format=auto,format=yuv444p [v1];&#xA;[v1][1:v] overlay=21:24:enable='between(t,0.000, 1.135)' &amp;quot; &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;then I get the 1px gap again. Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="40515" LastEditorUserId="40515" LastEditDate="2023-02-07T19:15:35.650" LastActivityDate="2023-02-07T19:15:35.650" Title="ffmpeg - inacurate overlay position" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36172" PostTypeId="2" ParentId="36168" CreationDate="2023-02-05T20:14:56.410" Score="1" Body="&lt;p&gt;Will just note, that I experienced this on one machine's vlc; when I tried on what would be presumably the same vlc version on the same OS (Ubuntu 20.04) but on a different machine, I did not get that error.&lt;/p&gt;&#xA;&lt;p&gt;Found also these threads:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://bbs.archlinux.org/viewtopic.php?id=125478&quot; rel=&quot;nofollow noreferrer&quot;&gt;vlc problems. [solved] / Multimedia and Games / Arch Linux Forums&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/ticket/8075&quot; rel=&quot;nofollow noreferrer&quot;&gt;#8075 (ability to play video successfully depends on encoding fps) – FFmpeg&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;... that imply this error might be due to graphics acceleration, and &lt;em&gt;not&lt;/em&gt; something to do with the encoding of the video, or ffmpeg or vlc per se.&lt;/p&gt;&#xA;" OwnerUserId="26523" LastEditorUserId="26523" LastEditDate="2023-02-05T21:12:50.943" LastActivityDate="2023-02-05T21:12:50.943" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36173" PostTypeId="1" CreationDate="2023-02-05T22:14:27.537" Score="1" ViewCount="687" Body="&lt;p&gt;I have SVHS video cassetes and Panasonic NV-HS1000B. It has 2 outputs.&#xA;S-VIDEO and SCART.&lt;/p&gt;&#xA;&lt;p&gt;There is any reason to use SCART and not the SVIDEO output?&lt;/p&gt;&#xA;&lt;p&gt;I was googling but was confused. I read that SCART also carry a digital singal.&lt;/p&gt;&#xA;&lt;p&gt;I'm also read this: &lt;a href=&quot;https://video.stackexchange.com/questions/29933/does-using-an-s-video-output-via-a-scart-connector-improve-the-output-quality-of&quot;&gt;Does using an S-Video output via a SCART connector improve the output quality of a VCR?&lt;/a&gt;&#xA;But I didn't received a specific answer&lt;/p&gt;&#xA;" OwnerUserId="16717" LastActivityDate="2023-02-06T01:49:46.613" Title="Which gives better quality SCART or S-VIDEO?" Tags="|video-quality|video-capture|vhs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36174" PostTypeId="2" ParentId="36173" CreationDate="2023-02-06T01:49:46.613" Score="3" Body="&lt;p&gt;I'm a US-based broadcast engineer who hasn't worked on analog systems in long time, so I haven't had any direct experience with &lt;a href=&quot;https://en.wikipedia.org/wiki/SCART&quot; rel=&quot;nofollow noreferrer&quot;&gt;SCART&lt;/a&gt; connections. That said, there shouldn't be any difference in quality between S-Video out via a DIN connector or SCART on the same device. There's no difference in shielding, balancing, or signal between the two connectors. &lt;a href=&quot;https://www.stereonet.com/forums/topic/164826-uec-dsd-720i-s-video-via-scart-vs-mini-din/&quot; rel=&quot;nofollow noreferrer&quot;&gt;This forum post&lt;/a&gt; seems to agree. (Though it does sound like the device in that post has a termination issue, which might be something to check your VCR setup for.)&lt;/p&gt;&#xA;&lt;p&gt;As best as I can tell, SCART never carries a digital signal. Some primarily professional devices (as noted in the &lt;a href=&quot;https://video.stackexchange.com/questions/29933/does-using-an-s-video-output-via-a-scart-connector-improve-the-output-quality-of#29936&quot;&gt;comments to the other question&lt;/a&gt;), had RGB and color difference (YPbPr) component outputs which &lt;em&gt;might&lt;/em&gt; have better quality and &lt;em&gt;might not&lt;/em&gt; be available on a separate connector.&lt;/p&gt;&#xA;" OwnerUserId="14523" LastActivityDate="2023-02-06T01:49:46.613" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36175" PostTypeId="2" ParentId="15390" CreationDate="2023-02-06T03:12:33.273" Score="0" Body="&lt;p&gt;This worked for me.  create a batch file.  Make a directory called output in your videos directory.  Also put a copy of ffmpeg.exe in the directory.  You can get ffmpeg download with google.  it is a zip file, you just need ffmpeg.exe.&lt;/p&gt;&#xA;&lt;p&gt;Run the batch file and wait.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for %%a in (&amp;quot;*.mp4&amp;quot;) do ffmpeg -i &amp;quot;%%a&amp;quot; -vf transpose=2 -c:a copy -metadata:s:v rotate=&amp;quot;&amp;quot; &amp;quot;output\%%~na.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40517" LastEditorUserId="14523" LastEditDate="2023-02-06T17:00:57.560" LastActivityDate="2023-02-06T17:00:57.560" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36176" PostTypeId="1" AcceptedAnswerId="36180" CreationDate="2023-02-06T06:43:14.763" Score="0" ViewCount="410" Body="&lt;p&gt;I have 2 clips in one of my graphics in Premiere, as shown in the screenshot below. How can I change the image used in a clip?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IumbK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IumbK.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The question seems simple but I've been looking for a solution for over 15 minutes without any success except for swapping the underlying file via Windows Explorer, but I feel there must be a way to do it in Premiere.&lt;/p&gt;&#xA;" OwnerUserId="2117" LastEditorUserId="2117" LastEditDate="2023-02-06T07:06:18.427" LastActivityDate="2023-02-07T09:51:44.527" Title="How can I change the images used in my graphics in Adobe Premiere?" Tags="|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36177" PostTypeId="2" ParentId="29713" CreationDate="2023-02-06T08:44:42.850" Score="0" Body="&lt;p&gt;There is also another software called &lt;a href=&quot;https://cascable.se/pro-webcam/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Cascable&lt;/a&gt;. It is by far the best solution for connecting unsupported cameras to macOS. No additional video capture hardware needed. Purely software and the software even provides some control over the camera like focus, light settings etc. It actually depends on the camera connected and which mode it is in. They even support the recent sandboxing changes in macOS if you are also into that kind of technical stuff.&lt;/p&gt;&#xA;&lt;p&gt;At the time of this writing, I'm having &lt;a href=&quot;https://twitter.com/cansurmeli/status/1621807673313316864&quot; rel=&quot;nofollow noreferrer&quot;&gt;a minor issue&lt;/a&gt; with them where my video is captured but not distributed to the video conferencing apps but hopefully they will get back to me or release an update.&lt;/p&gt;&#xA;" OwnerUserId="39568" LastActivityDate="2023-02-06T08:44:42.850" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36179" PostTypeId="1" AcceptedAnswerId="36183" CreationDate="2023-02-06T12:02:06.163" Score="0" ViewCount="897" Body="&lt;p&gt;I want to use this free preset: &lt;a href=&quot;https://motionarray.com/after-effects-templates/upbeat-opener-1190720/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://motionarray.com/after-effects-templates/upbeat-opener-1190720/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It has text like &amp;quot;hello&amp;quot; and &amp;quot;it is a fresh idea&amp;quot;. If I want to use different text, then After Effects will crop it. How can I make the &amp;quot;box&amp;quot; bigger?&lt;/p&gt;&#xA;&lt;p&gt;I'm trying to apply this:&#xA;&lt;code&gt;idea&lt;/code&gt; -&amp;gt; &lt;code&gt;it is a long long text&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I see there is a project view and it has text added there. Can I adjust the textbox there?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mz3Dj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mz3Dj.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/uzFNc.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uzFNc.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17835" LastEditorUserId="4426" LastEditDate="2023-02-06T15:51:23.120" LastActivityDate="2023-02-07T10:28:10.880" Title="How to change the text box size in After Effects?" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36180" PostTypeId="2" ParentId="36176" CreationDate="2023-02-06T20:38:19.147" Score="2" Body="&lt;p&gt;When you add an image to Essential Graphics, I think it is also added as an item in your Project.  If you can find the item in your Project window, you can replace it by right clicking on it and choosing Replace Footage.&lt;/p&gt;&#xA;&lt;p&gt;Annoyingly, there doesn't seem to be a &amp;quot;Reveal In Project&amp;quot; option when you right click on an item in the Essential Graphics --&amp;gt; Edit pane, like there is when you click on a clip in a sequence.&lt;/p&gt;&#xA;&lt;p&gt;If you are working with After Effects graphics templates, I'm not sure the individual items are added to your Project window, as I think those are designed to only be adjusted in After Effects.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Screenshot showing the &amp;quot;Replace Footage&amp;quot; option in Project window -&amp;gt; Select the image one wishes to change -&amp;gt; Right click on it:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FWYSN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FWYSN.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="2117" LastEditDate="2023-02-07T09:51:44.527" LastActivityDate="2023-02-07T09:51:44.527" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36181" PostTypeId="1" CreationDate="2023-02-07T01:29:43.310" Score="0" ViewCount="217" Body="&lt;p&gt;I have a sequence composed of two subsequent clips in an Adobe Premiere Pro 2022 project. Each clip is a video taken with a GoPro and contains GPS information. However, when exporting the sequence using the export default settings, the GPS metadata is lost (I use this tool to view &lt;a href=&quot;https://goprotelemetryextractor.com/free/#&quot; rel=&quot;nofollow noreferrer&quot;&gt;GPS data&lt;/a&gt;). How can I keep all the clips' metadata when exporting a sequence in Adobe Premiere Pro?&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Adobe Premiere Pro 2022 export options (I'm keeping all the metadata that I was allowed to keep but maybe I messed up something):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bAXjD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bAXjD.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lX4q1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lX4q1.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2117" LastEditorUserId="2117" LastEditDate="2023-02-07T01:43:56.757" LastActivityDate="2023-02-07T01:43:56.757" Title="How can I keep all the clips' metadata when exporting a sequence in Adobe Premiere Pro?" Tags="|export|metadata|premiere-pro|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36182" PostTypeId="2" ParentId="36171" CreationDate="2023-02-07T07:02:38.480" Score="2" Body="&lt;p&gt;Change base video to full chroma sampling and try.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;[0:v] select='between(t,1.247,2.550)+between(t,4.181,5.681)', setpts='PTS-STARTPTS-((gt(T,2.550)*1.630))/TB',format=yuv444p[v0];&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[v0][1:v] overlay=21:21:enable='between(t,0.000, 2.803)':format=auto,format=yuv444p [v1];&#xA;[v1][2:v] overlay=120:21:enable='between(t,0.000, 2.803)'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-02-07T07:02:38.480" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36183" PostTypeId="2" ParentId="36179" CreationDate="2023-02-07T10:28:10.880" Score="0" Body="&lt;p&gt;To change the length of the text used in this project, you would also need to change the dimensions of each comp used to hold the text.  So for example in &amp;quot;BLOK 1&amp;quot; there is a comp called &amp;quot;Text01&amp;quot; that is 1576x500.  If you want to make it longer you can (using the Composition --&amp;gt; Composition Settings menu item), but then you will also have to adjust the animations in BLOK 1.&lt;/p&gt;&#xA;&lt;p&gt;E.g. here I have replaced the first word with &amp;quot;length&amp;quot; and the letters &amp;quot;g&amp;quot; and &amp;quot;h&amp;quot; are cropped:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NbvrT.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NbvrT.jpg&quot; alt=&quot;grab1&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If I change the width of the comp to 1676x700, it is no longer cropped:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YSyD1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YSyD1.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But if I go back to the BLOCK1 comp, the text no longer fits nicely into the boxes:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eOUYo.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eOUYo.jpg&quot; alt=&quot;grab3&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So you would have to adjust the animation on&amp;quot;Shape Layer 1&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;If you select the layer and press &lt;KBD&gt;u&lt;/KBD&gt; you can see it has some animation key frames on it - it is a straight line which changes length and stroke width (thickness of the line):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/olEkg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/olEkg.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;After a while it becomes easier to make your own animations than it is try to tweak other people's.&lt;/p&gt;&#xA;&lt;p&gt;I highly recommend &lt;a href=&quot;https://www.videocopilot.net/basic/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this free course&lt;/a&gt; to get to grips with the basics of After Effects that you would need to continue tweaking this project.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-02-07T10:28:10.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36184" PostTypeId="1" AcceptedAnswerId="36186" CreationDate="2023-02-07T13:13:09.823" Score="0" ViewCount="60" Body="&lt;p&gt;In the &lt;code&gt;xfade&lt;/code&gt; filter, the speed of transition may be controlled by the &lt;code&gt;duration=&lt;/code&gt; parameter – longer duration implies slower transition and vice versa.&lt;/p&gt;&#xA;&lt;p&gt;So why are there – beside the &lt;code&gt;fade&lt;/code&gt; value for the &lt;code&gt;transition=&lt;/code&gt; parameter – other 2 values for the same effect, &lt;code&gt;fadefast&lt;/code&gt; and &lt;code&gt;fadeslow&lt;/code&gt;? What is the difference?&lt;/p&gt;&#xA;" OwnerUserId="18155" LastActivityDate="2023-02-08T04:21:17.090" Title="Fade transition - fade vs. fadefast vs. fadeslow" Tags="|ffmpeg|transitions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36186" PostTypeId="2" ParentId="36184" CreationDate="2023-02-08T04:21:17.090" Score="1" Body="&lt;p&gt;They differ in rate of progression, i.e. fade is a linear progression, so that at half the duration, fade status is 50% i.e. both inputs are equally mixed. For fadefast, it starts fast and then slows down. Opposite for fadeslow.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-02-08T04:21:17.090" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36188" PostTypeId="1" CreationDate="2023-02-08T22:28:11.810" Score="1" ViewCount="94" Body="&lt;p&gt;I have a square that I am trying to fold in half in After Effects. I made two squares and masked each one. I then made the bottom half a 3D layer and tried working with the Y and Z rotation. But it isn't working the way I need it to.&lt;/p&gt;&#xA;&lt;p&gt;Here is a visual for what I am trying to achieve.&#xA;Here is the square in the original format:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Urx9J.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Urx9J.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The I am trying to fold it on the diagonal but it isn't working.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/X57f0.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/X57f0.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40535" LastEditorUserId="4426" LastEditDate="2023-02-09T12:59:51.227" LastActivityDate="2023-02-09T14:15:52.580" Title="How to animate a square folding in half diagonally in After Effects?" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36189" PostTypeId="2" ParentId="9891" CreationDate="2023-02-09T03:06:24.367" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://opalcamera.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Opal C1&lt;/a&gt; and &lt;a href=&quot;https://www.razer.com/streaming-cameras/razer-kiyo-pro-ultra&quot; rel=&quot;nofollow noreferrer&quot;&gt;Razer Kiyo Pro Ultra&lt;/a&gt; are product offerings that offer DSLR-like quality, and specifically, aperture control, and both cost about $300 at the time of this answer.&lt;/p&gt;&#xA;" OwnerUserId="40537" LastEditorUserId="4426" LastEditDate="2023-02-09T16:46:40.817" LastActivityDate="2023-02-09T16:46:40.817" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36191" PostTypeId="1" CreationDate="2023-02-09T07:04:02.117" Score="0" ViewCount="398" Body="&lt;p&gt;I am using ffmpeg to convert an input stream into multiple resolutions and creating an mpd for each resolution.&#xA;So far, so good.&#xA;But I am trying to find a way to create a single mpd for all resolutions. This will reduce a lot of pain for me, downstream.&#xA;Is there an option available for this in ffmpeg natively or should I look at ways to merge mpd files ?&lt;/p&gt;&#xA;&lt;p&gt;This is how my script looks so far. Please do the needful.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;quot;ffmpeg -f avfoundation -framerate 30 -i 0:0 -filter_complex '[0:v]split=3[out1][out2][out3]' \ -map '[out1]' -s 1280x720 -vcodec libx264 -single_file 1 -f dash /path/to/720.mpd \  -map '[out2]' -s 854x480  -vcodec libx264 -single_file 1 -f dash /path/to/480.mpd \  -map '[out3]' -s 640x360  -vcodec libx264 -single_file 1 -f dash /path/to/360.mpd&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40539" LastActivityDate="2024-01-27T14:05:45.623" Title="ffmpeg dash output for multiple resolutions to be in the same mpd file" Tags="|ffmpeg|streaming|hls|mpeg-dash|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36192" PostTypeId="2" ParentId="36188" CreationDate="2023-02-09T08:35:42.823" Score="1" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VbIDk.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VbIDk.gif&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Make a square&lt;/p&gt;&#xA;&lt;p&gt;Centre the square on screen&lt;/p&gt;&#xA;&lt;p&gt;Make sure the &lt;a href=&quot;https://www.schoolofmotion.com/blog/anchor-point-in-after-effects&quot; rel=&quot;nofollow noreferrer&quot;&gt;anchor point&lt;/a&gt; for the square is exactly at the position where the rotation should take place.&lt;/p&gt;&#xA;&lt;p&gt;Add a mask revealing half the square&lt;/p&gt;&#xA;&lt;p&gt;Duplicate the square&lt;/p&gt;&#xA;&lt;p&gt;Change the colour of the duplicate to make it easier to see what you're doing&lt;/p&gt;&#xA;&lt;p&gt;Change the mask on square 2 to 'subtract' mode, to reveal the other half&lt;/p&gt;&#xA;&lt;p&gt;Make both layers 3D&lt;/p&gt;&#xA;&lt;p&gt;Add a null object (it will be in the centre of the screen)&lt;/p&gt;&#xA;&lt;p&gt;Make it 3D&lt;/p&gt;&#xA;&lt;p&gt;Rotate it on the Z axis by 45 degrees&lt;/p&gt;&#xA;&lt;p&gt;Pair square 2 to the null object&lt;/p&gt;&#xA;&lt;p&gt;Animate the Y axis on the null object between 0 and -180 degrees.&lt;/p&gt;&#xA;&lt;p&gt;The lower half of the square will fold up to meet the upper half.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2023-02-09T14:15:52.580" LastActivityDate="2023-02-09T14:15:52.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36194" PostTypeId="2" ParentId="36126" CreationDate="2023-02-09T22:36:08.590" Score="1" Body="&lt;p&gt;Yes, it is possible but with different tools and another workflow.&lt;/p&gt;&#xA;&lt;p&gt;[ Your video] + [ Cropped black &amp;amp; white video part ]  ---TRANSCODING-----&amp;gt; New_video ready for Kdenlive.&lt;/p&gt;&#xA;&lt;p&gt;To do that, you need to transcode with a tool such as FFmpeg and look for &amp;quot;overlay&amp;quot; and &amp;quot;ffmpeg&amp;quot; keywords.&lt;/p&gt;&#xA;" OwnerDisplayName="user40547" LastActivityDate="2023-02-09T22:36:08.590" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36195" PostTypeId="2" ParentId="36160" CreationDate="2023-02-10T01:51:41.967" Score="1" Body="&lt;p&gt;The problem is with the &lt;code&gt;source.mxf&lt;/code&gt; file – there are 2 possibilities:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;there is &lt;strong&gt;no such a file&lt;/strong&gt; in your file system, or&lt;/li&gt;&#xA;&lt;li&gt;it is there, but in the &lt;strong&gt;other directory&lt;/strong&gt; (folder) than the directory from which you run your &lt;code&gt;ffmpeg&lt;/code&gt; command.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;If the second one is a case, there are 3 options how to fix it:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;move the &lt;code&gt;source.mxf&lt;/code&gt; to the same directory, from which you launch the &lt;code&gt;ffmpeg&lt;/code&gt; command,&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;run the &lt;code&gt;ffmpeg&lt;/code&gt; command from the same directory, where is the &lt;code&gt;source.mxf&lt;/code&gt; file&lt;br /&gt;&#xA;(i.e. first change your working directory),&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;instead of the bare &lt;code&gt;source.mxf&lt;/code&gt; (after the &lt;code&gt;-i&lt;/code&gt; option) use the (full or relative) path to it.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2023-02-10T01:56:43.463" LastActivityDate="2023-02-10T01:56:43.463" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36196" PostTypeId="1" CreationDate="2023-02-10T17:50:31.297" Score="0" ViewCount="48" Body="&lt;p&gt;This code compose 3 mp4 into 1 with ffmepg, it works, but there is no animation:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg()&#xA;                    .input(`./media/001.mp4`)&#xA;                    .inputFormat('mp4')&#xA;                    .input(`/tmp/looped_video.mp4`)&#xA;                    .inputFormat('mp4')&#xA;                    .input(`./media/003.mp4`)&#xA;                    .inputFormat('mp4')&#xA;                    .noAudio()&#xA;                    .videoCodec('libx264')&#xA;                    .format('mp4')&#xA;                    .complexFilter([&#xA;                        '[0]pad=1080:1080:-1:-1,setsar=1,fps=30,format=yuv420p[v0]',&#xA;                        '[1]pad=1080:1080:-1:-1,setsar=1,fps=30,format=yuv420p[v1]',&#xA;                        `[2]pad=1080:1080:-1:-1,setsar=1,fps=30,format=yuv420p[v2]`,&#xA;                        `[v0][v1][v2]concat=n=3:v=1:a=0`,&#xA;                    ])&#xA;                    .outputOptions([&#xA;                        '-tune animation',&#xA;                        '-loop 1',&#xA;                        '-profile:v baseline',&#xA;                        '-level 3.0',&#xA;                        '-preset medium',&#xA;                        '-threads 4',&#xA;                    ])&#xA;                    .output(`/tmp/output.mp4`)&#xA;                    .on('end', () =&amp;gt; {&#xA;                        console.log('MP4 video generated')&#xA;                        const endTime = Date.now()&#xA;                        console.log(&#xA;                            `FFmpeg took ${endTime - startTime} milliseconds to render.`&#xA;                        )&#xA;                    })&#xA;                    .on('error', (e) =&amp;gt; {&#xA;                        console.log(e)&#xA;                    })&#xA;                    .run()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I tried adding animation like this&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg()&#xA;                    .input(`./media/001.mp4`)&#xA;                    .inputFormat('mp4')&#xA;                    .input(`/tmp/looped_video.mp4`)&#xA;                    .inputFormat('mp4')&#xA;                    .input(`./media/003.mp4`)&#xA;                    .inputFormat('mp4')&#xA;                    .noAudio()&#xA;                    .videoCodec('libx264')&#xA;                    .format('mp4')&#xA;                    .complexFilter([&#xA;                        '[0]pad=1080:1080:-1:-1,setsar=1,fps=30,format=yuv420p[v0]',&#xA;                        '[1]pad=1080:1080:-1:-1,setsar=1,fps=30,format=yuv420p[v1]',&#xA;                        `[2]pad=1080:1080:-1:-1,setsar=1,fps=30,format=yuv420p[v2]`,&#xA;                        '[0:v][1:v]crossfade=duration=1[faded]',&#xA;                        `[faded][v2]concat=n=3:v=1:a=0`,&#xA;                    ])&#xA;                    .outputOptions([&#xA;                        '-tune animation',&#xA;                        '-loop 1',&#xA;                        '-profile:v baseline',&#xA;                        '-level 3.0',&#xA;                        '-preset medium',&#xA;                        '-threads 4',&#xA;                        '-map [faded]',&#xA;                    ])&#xA;                    .output(`/tmp/output.mp4`)&#xA;                    .on('end', () =&amp;gt; {&#xA;                        console.log('MP4 video generated')&#xA;                        const endTime = Date.now()&#xA;                        console.log(&#xA;                            `FFmpeg took ${endTime - startTime} milliseconds to render.`&#xA;                        )&#xA;                    })&#xA;                    .on('error', (e) =&amp;gt; {&#xA;                        console.log(e)&#xA;                    })&#xA;                    .run()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but it raise an error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;yarn run dev&#xA;yarn run v1.22.19&#xA;$ ts-node index.ts&#xA;MP4 video generated&#xA;FFmpeg took 2063 milliseconds to render.&#xA;Error: ffmpeg exited with code 1: Error initializing complex filters.&#xA;Invalid argument&#xA;&#xA;    at ChildProcess.&amp;lt;anonymous&amp;gt; (/Users/janoskukoda/Workspace/test/node_modules/fluent-ffmpeg/lib/processor.js:182:22)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;I tried &lt;code&gt;xfade&lt;/code&gt; filter also, but raise an error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;.complexFilter([&#xA;                        '[0:v]pad=1080:1080:-1:-1,setsar=1,fps=30,format=yuv420p[v0]',&#xA;                        '[1:v]pad=1080:1080:-1:-1,setsar=1,fps=30,format=yuv420p[v1]',&#xA;                        `[2:v]pad=1080:1080:-1:-1,setsar=1,fps=30,format=yuv420p[v2]`,&#xA;                        `[v0][v1]xfade=duration=1:offset=3:crossfade=1[xf0]`,&#xA;                        `[xf0][v2]xfade=duration=1:offset=3:crossfade=1[out]`,&#xA;                    ])&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Error: ffmpeg exited with code 1: Error initializing complex filters.&#xA;Option not found&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="17835" LastEditorUserId="17835" LastEditDate="2023-02-11T04:35:10.457" LastActivityDate="2023-02-11T04:35:10.457" Title="How to make animation when composing mp4 with ffmpeg?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36197" PostTypeId="1" AcceptedAnswerId="36200" CreationDate="2023-02-10T21:44:08.903" Score="3" ViewCount="90" Body="&lt;p&gt;Equipment for making closeup object videos. I want to do a video like this: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/OhNEZfG4EHU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&#xA;Would my Galaxy s22 Ultra take such a close-up video?&#xA;Also what Bluetooth microphone would you recommend?&lt;/p&gt;&#xA;" OwnerUserId="40558" LastEditorUserId="40558" LastEditDate="2023-02-12T14:56:11.157" LastActivityDate="2023-02-14T12:12:26.657" Title="Equipment for making closeup object videos" Tags="|mobile|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36199" PostTypeId="1" CreationDate="2023-02-13T05:05:55.130" Score="1" ViewCount="200" Body="&lt;p&gt;I use keylight in After effects to remove my green suit, but it leaves ghost like stuff on my video. How do I completely remove it? You can see my hands do not match the color of the background from the exactly the same video.&lt;/p&gt;&#xA;&lt;p&gt;It is strange that I cannot find tutorials for such basic questions.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/y3o0D.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/y3o0D.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34805" LastActivityDate="2023-05-02T00:45:08.443" Title="How to make green suit completely invisible?" Tags="|after-effects|chromakey|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36200" PostTypeId="2" ParentId="36197" CreationDate="2023-02-13T11:34:35.573" Score="3" Body="&lt;p&gt;I would very much doubt you'll do this with a phone.&lt;/p&gt;&#xA;&lt;p&gt;Macro photography is not easy; macro videography is harder still; videography with a zoom lens is not only hard, but &lt;em&gt;expensive&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Let's run through what you need…&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;A tripod. You cannot shoot macro hand-held unless you have an extremely steady hand. No-one has a steady-enough hand to shoot macro video. It &lt;em&gt;might&lt;/em&gt; be possible with a good gimbal - not something I've ever tried.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;A lot of light. It just comes with the territory, you're asking for the amount of light from a tiny object to be sufficient to get a decent exposure - you're going to have to add light to do this. More light still if you're shooting high frame-rate for slo-mo. [The picture of the bud further down took two kino-type flat panels for the subject &amp;amp; 2 strobes for the background - that's all the more reason your example video didn't attempt to light a background too.]&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;A macro lens or a very long telephoto. True macro lenses can not only focus from very close, but they also have a high magnification factor; they can bring the object 1:1 on a full frame camera.&lt;br /&gt;&#xA;A long telephoto can do without the extreme closeup capability, but needs sufficient magnification to compensate. It's a trade-off.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Here's a very quick [&amp;amp; a bit blurry because I shot it hand held so focus drifted a little] picture of a lightning connector, done on a cheap macro-capable 300mm lens on a crop-frame stills camera [still a &lt;em&gt;far&lt;/em&gt; larger sensor than a phone].&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zYLBmm.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zYLBmm.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;br /&gt;&#xA;&lt;sup&gt;Click for larger size&lt;/sup&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you can see, we're not close enough yet, even on a 300mm lens. This was minimum focus distance. Also note, if you view it larger, how noisy the image is - this is because I only had some weak sunlight diffused through voile curtains, so I had to ramp up the camera's ISO quite a long way to get exposure time down far enough to not have camera-shake. I also shot at f/11 which is this particular lens's optimum between depth of field &amp;amp; diffraction blur.&lt;br /&gt;&#xA;To get closer, on an interchangeable lens camera you either buy a 'proper' macro lens, or you put extensions between the body &amp;amp; lens. This shortens the close-focus point [&amp;amp; simultaneously prevents it from focussing to infinity.]&lt;br /&gt;&#xA;That can get you close enough.&lt;br /&gt;&#xA;Here's one I did earlier…&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/esb9N.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/esb9Nm.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now we're close enough. This entire bud is 2mm long. But this is not a single exposure, this is focus-stacked… something you cannot do on video.&lt;br /&gt;&#xA;I did a brief explanation of using extension tubes for macro here - &lt;a href=&quot;https://photo.stackexchange.com/a/128915/57929&quot;&gt;https://photo.stackexchange.com/a/128915/57929&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ol start=&quot;4&quot;&gt;&#xA;&lt;li&gt;The toughest one of all - the zoom at the head of the video's macro shots. This is partly faked in post, so I can't tell how much was really done with a zoom lens… but regular stills lenses change focus if you change zoom. This is a cost-cutting exercise, but stills cameras don't really need to be able to keep focus whilst zooming; it's an expensive luxury. You can get a good stills zoom for $£€ 1,500 - 3,000 depending on length.&lt;br /&gt;&#xA;A good video zoom, however, with &lt;em&gt;parfocal&lt;/em&gt; capability [focus does not change as you zoom] can be anywhere from maybe $£€20,000 - 50,000. Few people buy this stuff, they rent it.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;By the time you'd bought that, you'll realise how cheap your lighting was, by comparison;)&lt;br /&gt;&#xA;The lighting for the bud was under $£€ 1,000.&lt;/p&gt;&#xA;&lt;p&gt;Having said all that - you &lt;em&gt;can&lt;/em&gt; get macro &amp;amp; telephoto adapters [diopters] for phones. They are by comparison dirt cheap - couple of hundred bucks.&lt;br /&gt;&#xA;You could always give it a go &amp;amp; let us know how you get on…&lt;/p&gt;&#xA;" OwnerUserId="12233" LastEditorUserId="12233" LastEditDate="2023-02-14T12:12:26.657" LastActivityDate="2023-02-14T12:12:26.657" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36202" PostTypeId="2" ParentId="35917" CreationDate="2023-02-14T10:00:17.353" Score="0" Body="&lt;p&gt;A colleague just pointed this out to me&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf &amp;quot;drawtext=text='%{metadata\:timecode}':box=1:boxcolor=black:fontcolor=white:fontsize=48:x=100:y=100&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Works with both timecode in SEI &amp;amp; MXF timecode track&#xA;NB: Doesn't work with ffmpeg 4&lt;/p&gt;&#xA;" OwnerUserId="40592" LastActivityDate="2023-02-14T10:00:17.353" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36203" PostTypeId="2" ParentId="36197" CreationDate="2023-02-14T10:37:33.607" Score="3" Body="&lt;p&gt;You can't get that close, and it would be tricky to do it for video, but if your phone doesn't have a macro lens, a drop of water on the lens can serve as a makeshift macro lens:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/lt0N9t-j34k?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;(I wouldn't do this unless your phone is waterproof, and you'll need lots of light).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-02-14T10:37:33.607" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36206" PostTypeId="1" CreationDate="2023-02-15T18:14:49.163" Score="0" ViewCount="27" Body="&lt;p&gt;How do I recreate the first scene of this video in After Effects?&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/cnjBeHX2xVw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="40604" LastActivityDate="2023-02-15T18:14:49.163" Title="How do I create a network effect in After Effects?" Tags="|after-effects|adobe|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36208" PostTypeId="1" AcceptedAnswerId="36212" CreationDate="2023-02-15T21:29:05.600" Score="0" ViewCount="17" Body="&lt;p&gt;This is for curiosity only; I'm not trying to break copyright.&lt;br /&gt;&#xA;(I own the disc and there's a much better quality version available on YouTube).&lt;/p&gt;&#xA;&lt;p&gt;I copy one file from the disc, convert it from .vob to .mp4 format and end up with a file that's less than 15% of the size of the original disc.&lt;/p&gt;&#xA;&lt;p&gt;What exactly gets lost during this process?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ find /tmp/Name -type f | wc&#xA;     13      13     405&#xA;&#xA;$ du -s -m /tmp/Name/*&#xA;0   /tmp/Name/AUDIO_TS&#xA;1   /tmp/Name/AUTORUN.INF&#xA;7   /tmp/Name/IVI&#xA;192 /tmp/Name/VIDEO_TS&#xA;&#xA;$ ls -l /tmp/Name/VIDEO_TS/&#xA;-r--r--r-- 1 ray ray     16384 Jan 10  2003 VIDEO_TS.BUP&#xA;-r--r--r-- 1 ray ray     16384 Jan 10  2003 VIDEO_TS.IFO&#xA;-r--r--r-- 1 ray ray    116736 Jan 10  2003 VIDEO_TS.VOB&#xA;-r--r--r-- 1 ray ray     20480 Jan 10  2003 VTS_01_0.BUP&#xA;-r--r--r-- 1 ray ray     20480 Jan 10  2003 VTS_01_0.IFO&#xA;-r--r--r-- 1 ray ray     75776 Jan 10  2003 VTS_01_0.VOB&#xA;-r--r--r-- 1 ray ray 200710144 Jan 10  2003 VTS_01_1.VOB&#xA;&#xA;$ ffmpeg -i /tmp/Name/VTS_01_1.VOB  /tmp/Name/Name.mp4&#xA;&#xA;$ ls -l /data/Music/Download/Hurt.mp4&#xA;-rw-rw-r-- 1 ray ray 28439944 Feb 15 15:38 /tmp/Name/Name.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;start with: 13 files, 198 Mb&lt;/li&gt;&#xA;&lt;li&gt;select: 1 file, 192 Mb&lt;/li&gt;&#xA;&lt;li&gt;convert: 1 file, 28 Mb&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;What was lost in the other 12 files?&lt;/p&gt;&#xA;&lt;p&gt;What was lost in the 85% reduction during the conversion?&lt;/p&gt;&#xA;&lt;p&gt;The video is 720p at 29.97 fps, and I don't see any significant difference between the two versions on a 4K monitor.&lt;/p&gt;&#xA;" OwnerUserId="40609" LastActivityDate="2023-02-17T12:48:52.630" Title="What are the apparently extra files on a DVD, and what gets lost when the VOB file is converted to MP4?" Tags="|mp4|conversion|dvd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36210" PostTypeId="2" ParentId="24370" CreationDate="2023-02-16T17:06:09.463" Score="0" Body="&lt;p&gt;Gaussian Blur is now GPU accelerated, and it's the one that they suggest as the successor to fast blur. They've even included a script to update old projects to use the new blur, look for it i&lt;/p&gt;&#xA;" OwnerUserId="40615" LastActivityDate="2023-02-16T17:06:09.463" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36211" PostTypeId="2" ParentId="35342" CreationDate="2023-02-17T11:26:50.900" Score="1" Body="&lt;p&gt;First of all, consider to avoid &amp;quot;2-pass&amp;quot; if you only need to convert format.&#xA;Most of time, CRF is enough unless you have specific requirement on the output file size.&lt;/p&gt;&#xA;&lt;p&gt;Use &amp;quot;CRF&amp;quot; to control on the quality and size. CRF lower means better quality.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libvpx-vp9 -crf 30 -b:v 0 output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;There's parameter &amp;quot;-row-mt&amp;quot; for VP9 encoder to turn on &amp;quot;Row based multithreading&amp;quot; function, which enhances the number of encoder threads.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libvpx-vp9 -crf 30 -b:v 0 -row-mt 1 output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And there're some parameters for VP9 encoder to control on the quality/speed tradeoff. So in the &amp;quot;Two-Pass&amp;quot; case, you could try to use those parameter to get more speed by give-up some quality.&lt;/p&gt;&#xA;&lt;p&gt;-deadline can be set to realtime, good, or best.&lt;/p&gt;&#xA;&lt;p&gt;-cpu-used sets how efficient the compression will be.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;[Reference]&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/VP9&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/VP9&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Encode/H.264&lt;/a&gt; - &amp;quot;Two-Pass Section&amp;quot;&lt;/p&gt;&#xA;" OwnerUserId="40617" LastActivityDate="2023-02-17T11:26:50.900" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36212" PostTypeId="2" ParentId="36208" CreationDate="2023-02-17T12:48:52.630" Score="1" Body="&lt;p&gt;DVDs are usually encoded using an MPEG 2 codec. This is an older codec than h264, and encodes at a higher bitrate (and also encodes video differently) to a low bitrate mp4 encoder which uses an h264 codec.&lt;/p&gt;&#xA;&lt;p&gt;The VOB files contain the video. The other files are metadata and other stuff you probably don't need if you're just looking to encode the video.&lt;/p&gt;&#xA;&lt;p&gt;When you compress a video using any lossy compression algorithm, the codec looks for areas in each frame that the human vision system is less likely to notice. So it uses less data to encode areas with less detail in them.&lt;/p&gt;&#xA;&lt;p&gt;So for example, someone's face might be clearly encoded, but when you look at the shadow on the wall behind them, you may see it looking blocky and those blocks jumping around, as the encoder struggles to render the original video to the best of its ability given the bandwidth constraints.&lt;/p&gt;&#xA;&lt;p&gt;Watching on a well calibrated large display, it's usually possible to see the difference, especially on darker footage with lots of movement.  A classic way to spot it is looking at things like confetti or water, where the whole screen is in motion.  On low motion scenes, it can be hard to spot.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-02-17T12:48:52.630" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36213" PostTypeId="1" CreationDate="2023-02-18T12:05:04.287" Score="0" ViewCount="28" Body="&lt;p&gt;I made a simple turntable animation in blender and while the file runs seamless as a loop when playing back in any video player, once I bring it into resolve then render it out again, it seems to add a frame or something as it pauses between loops in any video player, the same 60fps 1920 by 1080 screen size is used and the output file is around the same size as the original, it seems to be an issue with Davinci resolve itself but have been playing all day trying to find out why with no results, if anyone can point to what may be happening id be grateful, thanks in advance&lt;/p&gt;&#xA;" OwnerUserId="40625" LastActivityDate="2023-02-21T02:32:46.137" Title="Error with turntable render out of Blender and Davinci Resolve" Tags="|davinci-resolve|blender|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="36214" PostTypeId="2" ParentId="36085" CreationDate="2023-02-18T16:18:21.740" Score="1" Body="&lt;p&gt;When you run ffmpeg without specifying any options, its default behavior is to decode the audio and video and then reencode them. In the case of mp4, it chooses its aac encoder for the audio, and libx264 for the video. You can see this change when you run ffmpeg:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (opus (native) -&amp;gt; aac (native))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here, my video that originally was encoded using an unknown h264 encoder, is now being encoded with libx264, and the opus audio was converted to aac. As in your case the video and audio were already h264 and aac respectively, so there was no change in codec, but the encoder used to encode each stream changed. As for why the size changed, ffmpeg's default parameters for x264 are evidently more aggressive compared to the defaults of OpenCamera, resulting in a smaller file size.&lt;/p&gt;&#xA;&lt;p&gt;An analogy for this would be like opening a jpeg photo in photoshop or paint, and then saving it as a jpeg again. The resulting photo might be larger or smaller, depending on how the program compresses it.&lt;/p&gt;&#xA;&lt;p&gt;If you find this behavior undesirable, you can also copy codecs like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i VID_20221101_101217Z.mp4 -c:v copy -c:a copy VID_20221101_101217Z_NO_CHANGE.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This will not reencode either codec, preserving the file size.&lt;/p&gt;&#xA;" OwnerUserId="40628" LastActivityDate="2023-02-18T16:18:21.740" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36215" PostTypeId="2" ParentId="19784" CreationDate="2023-02-18T19:45:27.077" Score="1" Body="&lt;p&gt;I also faced with this issue and I had to add &lt;code&gt;-vcodec libx264&lt;/code&gt; in addition to &lt;code&gt;-an&lt;/code&gt;. Cutting a video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss {sec2time(start)} -to {sec2time(end)} -i {video_path} -c copy -vcodec libx264 -an {save_path}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40629" LastActivityDate="2023-02-18T19:45:27.077" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36217" PostTypeId="1" CreationDate="2023-02-21T04:42:53.283" Score="0" ViewCount="14" Body="&lt;p&gt;new here and to video production in general.&lt;/p&gt;&#xA;&lt;p&gt;The issue I have is audio-related.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Background&lt;/strong&gt;:&#xA;I have this video clip made by a vendor - it has background music, speech, visuals, etc. The video clip plays fine with no missing audio on laptops/desktops/mobile devices.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Problem&lt;/strong&gt;:&#xA;When the playing device, e.g. laptop is plugged in to a projector and speakers via HDMI, some speech in the video clip disappears (i.e. cannot be heard). The background music and such is still present, as is speech in other parts of the clip. There are no problems with the projector and speakers AFAIK, as they have been used to play other videos with no issue.&lt;/p&gt;&#xA;&lt;p&gt;Does anyone have any idea what the specific problem may be that I can feedback to my vendor to look into? Thank you.&lt;/p&gt;&#xA;&lt;p&gt;(Apologies if this is not the right place to ask this question)&lt;/p&gt;&#xA;" OwnerUserId="40645" LastActivityDate="2023-02-21T09:13:50.860" Title="Missing speech at a certain part of video" Tags="|audio|playback|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36218" PostTypeId="2" ParentId="35640" CreationDate="2023-02-21T06:06:18.847" Score="0" Body="&lt;p&gt;Sync by making a multicam source sequence from the clips in your bin.  You’ll have to rearrange the clips in the timeline since it will send them to different tracks but it will sync all of them&lt;/p&gt;&#xA;" OwnerUserId="40646" LastActivityDate="2023-02-21T06:06:18.847" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36219" PostTypeId="2" ParentId="36217" CreationDate="2023-02-21T09:13:50.860" Score="1" Body="&lt;p&gt;This is almost certainly because that section of the speech has been recorded as a stereo pair of files, but one of the files is &lt;a href=&quot;https://en.wikipedia.org/wiki/Phase_(waves)#Phase_difference&quot; rel=&quot;nofollow noreferrer&quot;&gt;out of phase&lt;/a&gt; with the other (if you looked at the waveform it would appear is upside down compared to the other channel's waveform).&lt;/p&gt;&#xA;&lt;p&gt;If you play these two channels out of a mono loudspeaker (which many projectors have), the two channels will cancel each other out, and you will only hear the background sounds which are correctly in phase.&lt;/p&gt;&#xA;&lt;p&gt;More here:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/27926/premiere-pro-audio-muffled-and-distorted-on-export/32275#32275&quot;&gt;Premiere Pro audio muffled and distorted on export&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-02-21T09:13:50.860" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36221" PostTypeId="2" ParentId="16750" CreationDate="2023-02-21T11:17:51.473" Score="2" Body="&lt;p&gt;You can't do it simply, but here's a pretty good work around.&lt;/p&gt;&#xA;&lt;p&gt;First, cut near the desired position (at keyframes) with stream copy and then re-encode the frame-exact part of the video. Let's say:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 120 -t 40 -i input.mp4 -c copy -y temp.mp4&#xA;ffmpeg -i temp.mp4 -vcodec h264 -crf 21 -acodec mp3 -ss 1.080 -t 38.480 -y final.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Thus, temp.mp4 starts &lt;em&gt;before&lt;/em&gt; 120 sec and has a duration of &lt;em&gt;at least&lt;/em&gt; 40 seconds&#xA;and final.mp4 has a duration of &lt;em&gt;exactly&lt;/em&gt; 38.48 seconds.&lt;/p&gt;&#xA;&lt;p&gt;When processing my home videos and stuff recorded from television, I use (-2s) for the desired start position and (+4s) for the duration. During re-encoding, I use milliseconds.&lt;/p&gt;&#xA;" OwnerUserId="40652" LastEditorUserId="14523" LastEditDate="2023-02-23T03:40:15.203" LastActivityDate="2023-02-23T03:40:15.203" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36222" PostTypeId="1" CreationDate="2023-02-21T12:11:58.877" Score="0" ViewCount="319" Body="&lt;p&gt;I have a dark video and'd like to adjust its histogram. In a graphical editor I've found the values of the color levels that enhance video contrast.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/PoQdG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/PoQdG.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How to set this level values in ffmpeg?&lt;/p&gt;&#xA;" OwnerUserId="40648" LastActivityDate="2024-03-19T05:06:35.747" Title="How to adjust video histogram using ffmpeg?" Tags="|ffmpeg|video|filter|color-correction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36223" PostTypeId="2" ParentId="35747" CreationDate="2023-02-21T23:39:27.750" Score="0" Body="&lt;p&gt;The other answer (Duke's) suggests using the &lt;code&gt;null&lt;/code&gt; filter, however, &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Null&quot; rel=&quot;nofollow noreferrer&quot;&gt;there are a variety of &amp;quot;null&amp;quot; filters&lt;/a&gt; and the &lt;code&gt;null&lt;/code&gt; filter alone won't cover every use case. Take Duke's example filter graph:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; [0]null[sourcevideo];[1]null[qrcode];[2]null[logo];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;[sourcevideo]&lt;/code&gt; will not contain the audio track, so, you couldn't theoretically later use &lt;code&gt;[sourcevideo:a]&lt;/code&gt; or &lt;code&gt;[sourcevideo:v]&lt;/code&gt;, though &lt;code&gt;[0:a]&lt;/code&gt; would still be available to you. You also can't pass both with something like this: &lt;code&gt;[0:v][0:a]null[sourcevideov][sourcevideoa]&lt;/code&gt;. &lt;code&gt;null&lt;/code&gt; takes only one input and cannot take audio inputs. You'd have to use &lt;code&gt;anull&lt;/code&gt; to get the audio track in the same way. Using the same assumed inputs, a filter graph that also grabs the first input's audio would look something like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; [0]null[sourcevideov];[0]anull[sourcevideoa];[1]null[qrcode];[2]null[logo];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Notice the use of &lt;code&gt;anull&lt;/code&gt; for the &lt;code&gt;[0]&lt;/code&gt; input audio track. Look through that link and you can probably imagine a few other instances where you might need to use a different &amp;quot;null&amp;quot; filter, but, in general, the null filters can be used to rename inputs.&lt;/p&gt;&#xA;" OwnerUserId="3643" LastEditorUserId="3643" LastEditDate="2023-02-21T23:44:35.410" LastActivityDate="2023-02-21T23:44:35.410" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36224" PostTypeId="2" ParentId="28758" CreationDate="2023-02-22T04:34:06.020" Score="1" Body="&lt;p&gt;The main answer didn't work for me, this did:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -f lavfi -i color=gray:s=1280x720 -f lavfi -i color=black:s=1280x720 -f lavfi -i color=white:s=1280x720 -filter_complex &amp;quot;[0:v]scale=1280x720,threshold&amp;quot; output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40660" LastActivityDate="2023-02-22T04:34:06.020" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36225" PostTypeId="1" AcceptedAnswerId="36248" CreationDate="2023-02-22T06:02:26.727" Score="0" ViewCount="42" Body="&lt;p&gt;I just started transitioning from Xbox Game Bar which I previously used for recordings to OBS, and I don't know why, but the game I'm playing records the mouse in a very different way. The first image is how the recording looked to me and Xbox Game Bar, and the second is what OBS showed. Obviously, OBS is trying to contrast the mouse to the background, but I don't want that. How would I turn mouse contrast off?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wBPif.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wBPif.png&quot; alt=&quot;pointer type 1&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/cm08E.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cm08E.png&quot; alt=&quot;pointer type 2&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40661" LastActivityDate="2023-03-02T14:47:14.140" Title="How do I stop OBS from contrasting my mouse pointer?" Tags="|software|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36226" PostTypeId="1" CreationDate="2023-02-22T08:33:37.893" Score="0" ViewCount="304" Body="&lt;p&gt;I use ffmpeg to embed .ssa subtitles into mkv, but ffprobe recognizes that the subtitle is ass format.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.avi -i input.ssa -map 0:0 -map 0:1 -map 1:0 -c copy demo.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Also, I learned that ssa subtitles also support MP4, but when I use the command to convert to MP4 that ffmpeg report error：could not find tag for codec ass in stream #2, codec not currently supported in container&#xA;&lt;a href=&quot;https://i.stack.imgur.com/LEoZg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LEoZg.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;http://www.mezzmo.com/wiki/doku.php?id=supported_subtitle_formats&quot; rel=&quot;nofollow noreferrer&quot;&gt;enter link description here&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I solve this problem？&lt;/p&gt;&#xA;" OwnerUserId="40663" LastActivityDate="2023-11-20T05:05:05.700" Title="Why do I use ffmpeg to embed .ssa subtitles and ffprobe recognizes that the subtitle is ass format？" Tags="|ffmpeg|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36229" PostTypeId="2" ParentId="36226" CreationDate="2023-02-23T02:37:51.733" Score="1" Body="&lt;p&gt;Mp4 container needs you specify the subtitle codec to use.&lt;br /&gt;&#xA;Add : &lt;code&gt;-c:s mov_text&lt;/code&gt;&lt;br /&gt;&#xA;Like that :&lt;br /&gt;&#xA;&lt;code&gt;ffmpeg -i input.avi -i input.ssa -map 0:0 -map 0:1 -map 1 -c copy -c:s mov_text demo.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="37160" LastActivityDate="2023-02-23T02:37:51.733" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="36230" PostTypeId="2" ParentId="36222" CreationDate="2023-02-23T02:48:06.307" Score="0" Body="&lt;p&gt;Look at the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#eq&quot; rel=&quot;nofollow noreferrer&quot;&gt;eq filter&lt;/a&gt;.&lt;br /&gt;&#xA;Example :&lt;br /&gt;&#xA;&lt;code&gt;ffplay input -vf eq=contrast=1.25:brightness=.05:saturation=2.5:gamma=1.07&lt;/code&gt;&lt;br /&gt;&#xA;to determine the good values for you.&lt;/p&gt;&#xA;" OwnerUserId="37160" LastEditorUserId="37160" LastEditDate="2023-02-23T02:49:47.153" LastActivityDate="2023-02-23T02:49:47.153" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36231" PostTypeId="1" CreationDate="2023-02-23T14:57:06.047" Score="0" ViewCount="27" Body="&lt;p&gt;I have a file with text, typically about 2 paragraphs long. I am looking to create a video where the audio is text-to-speech and the visual is simply the text that is currently being spoken, say, about one sentence at a time.&lt;/p&gt;&#xA;&lt;p&gt;This would need to be a lightweight process. Ideally this would be as simple as uploading the text file, choosing a voice, and clicking a process button.&lt;/p&gt;&#xA;&lt;p&gt;However, I am having trouble finding a software application that will both create the audio and semi-animated text from the text file in a simple fashion. It seems relatively easy to find text-to-speech services or to find subtitling, separately. But creating a video of just subtitles based on interpretation of the audio from an original text source seems unnecessarily clunky.&lt;/p&gt;&#xA;&lt;p&gt;What are my options here?&lt;/p&gt;&#xA;" OwnerUserId="40676" LastActivityDate="2024-01-26T19:00:40.107" Title="What application/software can convert text-to-speech and create a synced video of just the text simultaneously?" Tags="|closed-captioning|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36232" PostTypeId="1" AcceptedAnswerId="36234" CreationDate="2023-02-23T18:37:51.490" Score="0" ViewCount="125" Body="&lt;p&gt;I changed my video container with:&lt;br /&gt;&#xA;&lt;code&gt;ffmpeg -hide_banner -y -i in.mkv -c copy -video_track_timescale 1k out.mp4&lt;/code&gt;&lt;br /&gt;&#xA;But video_track_timescale only changes video tbn, not audio tbn.&lt;/p&gt;&#xA;&lt;p&gt;To check it:&lt;br /&gt;&#xA;&lt;code&gt;ffprobe -hide_banner .\in.mkv -read_intervals %+0.3 -show_entries frame=media_type,key_frame,pts,pts_time,pkt_duration,pkt_size -print_format compact&lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;frame|media_type=video|key_frame=1|pts=0|pts_time=0.000000|pkt_duration=16|pkt_size=203501|side_data|&#xA;side_data|&#xA;&#xA;frame|media_type=audio|key_frame=1|pts=0|pts_time=0.000000|pkt_duration=N/A|pkt_size=622&#xA;frame|media_type=video|key_frame=0|pts=17|pts_time=0.017000|pkt_duration=16|pkt_size=5333&#xA;frame|media_type=audio|key_frame=1|pts=21|pts_time=0.021000|pkt_duration=21|pkt_size=551&#xA;frame|media_type=video|key_frame=0|pts=33|pts_time=0.033000|pkt_duration=16|pkt_size=1221&#xA;frame|media_type=audio|key_frame=1|pts=43|pts_time=0.043000|pkt_duration=21|pkt_size=538&#xA;frame|media_type=video|key_frame=0|pts=50|pts_time=0.050000|pkt_duration=16|pkt_size=12132&#xA;frame|media_type=audio|key_frame=1|pts=64|pts_time=0.064000|pkt_duration=21|pkt_size=662&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;ffprobe -hide_banner .\out.mp4 -read_intervals %+0.3 -show_entries frame=media_type,key_frame,pts,pts_time,pkt_duration,pkt_size -print_format compact&lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;frame|media_type=video|key_frame=1|pts=0|pts_time=0.000000|pkt_duration=16|pkt_size=203501|side_data|&#xA;side_data|&#xA;&#xA;frame|media_type=audio|key_frame=1|pts=0|pts_time=0.000000|pkt_duration=1024|pkt_size=622&#xA;frame|media_type=video|key_frame=0|pts=17|pts_time=0.017000|pkt_duration=16|pkt_size=5333&#xA;frame|media_type=audio|key_frame=1|pts=1024|pts_time=0.021333|pkt_duration=1024|pkt_size=551&#xA;frame|media_type=video|key_frame=0|pts=33|pts_time=0.033000|pkt_duration=16|pkt_size=1221&#xA;frame|media_type=audio|key_frame=1|pts=2048|pts_time=0.042667|pkt_duration=1024|pkt_size=538&#xA;frame|media_type=video|key_frame=0|pts=50|pts_time=0.050000|pkt_duration=16|pkt_size=12132&#xA;frame|media_type=audio|key_frame=1|pts=3072|pts_time=0.064000|pkt_duration=1024|pkt_size=662&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;As we can see, in in.mkv, tbn is same for both audio/video aka 1k. But in out.mp4, tbn is different. Video has 1k tbn because I set it with -video_track_timescale, but where's the similar option for audio?&lt;/p&gt;&#xA;" OwnerUserId="40679" LastActivityDate="2023-02-24T04:14:53.580" Title="ffmpeg how to change audio tbn" Tags="|ffmpeg|audio|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36234" PostTypeId="2" ParentId="36232" CreationDate="2023-02-24T04:14:53.580" Score="1" Body="&lt;p&gt;There's no such option for audio in MP4. MKV uses a fixed timescale of 1000 which is why audio has that tbn. In MP4, ffmpeg will set it to the sample rate.&lt;/p&gt;&#xA;&lt;p&gt;The latter is precise.&#xA;Notice the timestamps for audio in MKV are not evenly spaced:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;pts=0|pts_time=0.000000&#xA;pts=21|pts_time=0.021000&#xA;pts=43|pts_time=0.043000&#xA;pts=64|pts_time=0.064000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Compare with MP4, which are:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;pts=0|pts_time=0.000000&#xA;pts=1024|pts_time=0.021333&#xA;pts=2048|pts_time=0.042667&#xA;pts=3072|pts_time=0.064000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-02-24T04:14:53.580" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36236" PostTypeId="1" AcceptedAnswerId="36246" CreationDate="2023-02-26T10:50:19.180" Score="1" ViewCount="166" Body="&lt;p&gt;I am trying to move the playhead a small amount to trim a clip with a very fine cut. Howerver, the playhead can only move in relatively large increments. Here is a gif to demonstrate the problem:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AXGIV.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/AXGIV.gif&quot; alt=&quot;playhead granularity&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Has anyone got an idea how fix that?&lt;/p&gt;&#xA;" OwnerUserId="40694" LastEditorUserId="12233" LastEditDate="2023-02-27T13:52:45.553" LastActivityDate="2023-03-01T09:12:47.503" Title="Playhead movement increment is too large in DaVinci Resolve 18" Tags="|davinci-resolve|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36241" PostTypeId="2" ParentId="35831" CreationDate="2023-02-27T11:55:47.157" Score="1" Body="&lt;p&gt;I've noticed that sometimes either the encoder or FFmpeg itself likes to drop frames they deem as duplicates, possibly with the intent that a decoder will just display the same frame multiple times on playback and thus saving some bitrate by not having to encode the same frame twice (or more). This doesn't play nice with calculating VMAF or other metrics afterwards due to desynchronization of frames between the reference and target files, leading to invalid scores because different frames are being compared.&lt;/p&gt;&#xA;&lt;p&gt;To get around this, I've started adding &lt;code&gt;-fps_mode passthrough&lt;/code&gt; to my encoding commands (&lt;code&gt;-vsync 0&lt;/code&gt; for FFmpeg versions prior to 5.1). This way all frames are passed on as-is.&lt;/p&gt;&#xA;&lt;p&gt;To see if this is the issue affecting you, simply count the number of frames in your files. This can be done with ffprobe:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffprobe -v error -count_frames -select_streams v:0 -show_entries stream=nb_read_frames -of default=nokey=1:noprint_wrappers=1 -threads auto input.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="22468" LastActivityDate="2023-02-27T11:55:47.157" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36242" PostTypeId="1" CreationDate="2023-02-27T17:00:43.247" Score="0" ViewCount="27" Body="&lt;p&gt;Sorry I do not give better details, I am too new on this&lt;/p&gt;&#xA;&lt;p&gt;this weekend we left OBS recording a small portion of the screen, with audio, for an university experiment (we have a software that analize noise, but lacks video record)&lt;/p&gt;&#xA;&lt;p&gt;today I got a 12 GB file for 11 hours 27 mins, and a space disk error (yep, we were short of space)&lt;/p&gt;&#xA;&lt;p&gt;acording Media Info, file settigns are:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Gneral&#xA;Complete name                            : N:\File.mkv&#xA;Format                                   : Matroska&#xA;Format version                           : Version 4&#xA;File size                                : 12.4 GiB&#xA;Duration                                 : 11 h 27 min&#xA;Overall bit rate                         : 2 577 kb/s&#xA;Writing application                      : Lavf58.76.100&#xA;Writing library                          : Lavf58.76.100&#xA;ErrorDetectionType                       : Per level 1&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : High@L2&#xA;Format settings                          : CABAC / 4 Ref Frames&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, Reference frames        : 4 frames&#xA;Codec ID                                 : V_MPEG4/ISO/AVC&#xA;Duration                                 : 11 h 27 min&#xA;Nominal bit rate                         : 2 500 kb/s&#xA;Width                                    : 192 pixels&#xA;Height                                   : 108 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 10.000 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 12.056&#xA;Writing library                          : x264 core 163 r3060 5db6aa6&#xA;Encoding settings                        : cabac=1 / ref=1 / deblock=1:0:0 / analyse=0x3:0x113 / me=hex / subme=2 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=0 / me_range=16 / chroma_me=1 / trellis=0 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=0 / threads=3 / lookahead_threads=1 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=2 / b_adapt=1 / b_bias=0 / direct=1 / weightb=1 / open_gop=0 / weightp=1 / keyint=250 / keyint_min=10 / scenecut=40 / intra_refresh=0 / rc_lookahead=10 / rc=cbr / mbtree=1 / bitrate=2500 / ratetol=1.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / vbv_maxrate=2500 / vbv_bufsize=2500 / nal_hrd=none / filler=1 / ip_ratio=1.40 / aq=1:1.00&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;Color range                              : Limited&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.709&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC LC&#xA;Format/Info                              : Advanced Audio Codec Low Complexity&#xA;Codec ID                                 : A_AAC-2&#xA;Duration                                 : 11 h 27 min&#xA;Channel(s)                               : 1 channel&#xA;Channel layout                           : C&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 46.875 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;Title                                    : simple_aac&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;as analizing the file by one person is too much, I split in files, with MKVToolNix, and due to creation time, I chose: 01:04:45,04:04:45,07:04:45,10:04:45  (first and last are shorter, other 3 files are 3 hours long).  MKVToolNix suposelly split the file WITHOUT recodification.&lt;/p&gt;&#xA;&lt;p&gt;SURPRISE, output file are 40MB, 3 of 100MB, and last of 45 MB, total 375 MB instead of 12 GB&lt;/p&gt;&#xA;&lt;p&gt;I got details for the second file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : D:\File-002.mkv&#xA;Format                                   : Matroska&#xA;Format version                           : Version 4&#xA;File size                                : 97.8 MiB&#xA;Duration                                 : 3 h 0 min&#xA;Overall bit rate                         : 75.9 kb/s&#xA;Encoded date                             : UTC 2023-02-27 16:15:19&#xA;Writing application                      : mkvmerge v60.0.0 ('Are We Copies?') 64-bit&#xA;Writing library                          : libebml v1.4.2 + libmatroska v1.6.4 / Lavf58.76.100&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : High@L2&#xA;Format settings                          : CABAC / 4 Ref Frames&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, Reference frames        : 4 frames&#xA;Codec ID                                 : V_MPEG4/ISO/AVC&#xA;Duration                                 : 3 h 0 min&#xA;Bit rate                                 : 1 246 b/s&#xA;Width                                    : 192 pixels&#xA;Height                                   : 108 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 10.000 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.006&#xA;Stream size                              : 1.60 MiB (2%)&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;Color range                              : Limited&#xA;Color primaries                          : BT.709&#xA;Transfer characteristics                 : BT.709&#xA;Matrix coefficients                      : BT.709&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC LC&#xA;Format/Info                              : Advanced Audio Codec Low Complexity&#xA;Codec ID                                 : A_AAC-2&#xA;Duration                                 : 3 h 0 min&#xA;Bit rate                                 : 73.5 kb/s&#xA;Channel(s)                               : 1 channel&#xA;Channel layout                           : C&#xA;Sampling rate                            : 48.0 kHz&#xA;Frame rate                               : 46.875 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;Delay relative to video                  : 5 ms&#xA;Stream size                              : 94.6 MiB (97%)&#xA;Title                                    : simple_aac&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Not sure what has happend, why the file stop after 11 hours, why it takes so much space, and why the splited files are much lower size&lt;/p&gt;&#xA;&lt;p&gt;may somebody help us??&#xA;(we need to repeat the experiment, and we need the recording to last for 72 hours straigh)&lt;/p&gt;&#xA;" OwnerUserId="40708" LastActivityDate="2024-03-26T17:07:20.830" Title="Recording webcam got too big file in 12 hours, spliting the file takes much less space" Tags="|audio|video-quality|video-recording|audio-recording|recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36243" PostTypeId="2" ParentId="36087" CreationDate="2023-02-28T10:15:20.607" Score="1" Body="&lt;p&gt;we're recently experimenting with FFMPEG (analog) capture too, so we opened this &amp;quot;issue&amp;quot; @ github:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/cdgriffith/FastFlix/issues/418&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/cdgriffith/FastFlix/issues/418&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Feel free to join the discussion in order to achieve the best rerults for anyone.&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="27889" LastActivityDate="2023-02-28T10:15:20.607" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36246" PostTypeId="2" ParentId="36236" CreationDate="2023-03-01T09:12:47.503" Score="2" Body="&lt;p&gt;Seems you're limited by the frame rate, it cant move between frames, if you play the clip the minimum gap will be a single frame&lt;/p&gt;&#xA;" OwnerUserId="40625" LastActivityDate="2023-03-01T09:12:47.503" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36247" PostTypeId="1" CreationDate="2023-03-02T01:34:39.943" Score="0" ViewCount="71" Body="&lt;p&gt;I want to convert videos to mpeg2 422P Profile H-14 Layer, (422P@H-14), with the use of ffmpeg.&#xA;What arguments would i need to use?&lt;/p&gt;&#xA;&lt;p&gt;I followed the comments in &lt;a href=&quot;https://forum.videohelp.com/threads/345143-mpeg2-MP-ML-with-ffmpeg&quot; rel=&quot;nofollow noreferrer&quot;&gt;this forum post&lt;/a&gt; to solve my problem. I followed comment 6:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;422P@H-14 would be &lt;code&gt;-profile:v 0 -level:v 6&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;But it did not work.&lt;/p&gt;&#xA;" OwnerUserId="40663" LastEditorUserId="14523" LastEditDate="2023-03-03T17:03:59.707" LastActivityDate="2023-03-03T17:03:59.707" Title="mpeg-2 422P@H-14 by ffmpeg" Tags="|ffmpeg|mpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36248" PostTypeId="2" ParentId="36225" CreationDate="2023-03-02T14:47:14.140" Score="0" Body="&lt;p&gt;This script looks as though it would allow you to add a &amp;quot;skin&amp;quot; to your mouse cursor, which would allow you to make the mouse cursor look like whatever you wanted:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://obsproject.com/forum/resources/obs-studio-mouse-cursor-skin.1010/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://obsproject.com/forum/resources/obs-studio-mouse-cursor-skin.1010/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-03-02T14:47:14.140" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36249" PostTypeId="2" ParentId="36242" CreationDate="2023-03-02T15:18:47.270" Score="0" Body="&lt;p&gt;Your split files are smaller because they are being recompressed.&lt;/p&gt;&#xA;&lt;p&gt;The split files have a bit-rate of 75.9 kbps.&lt;/p&gt;&#xA;&lt;p&gt;The original file had a bit-rate of 7,577 kbps.&lt;/p&gt;&#xA;&lt;p&gt;Optimise this by deciding what bit-rate you need to record at. This will be a trade off between file size and image quality needed.&lt;/p&gt;&#xA;&lt;p&gt;Check the amount of free space left on your drive before you record.&lt;/p&gt;&#xA;&lt;p&gt;Use a &lt;a href=&quot;https://toolstud.io/video/filesize.php?width=1920&amp;amp;height=1080&amp;amp;framerate=25&amp;amp;timeduration=60&amp;amp;timeduration_unit=seconds&amp;amp;compression=19290&amp;amp;specificbitrate=100&amp;amp;specificbitrate_unit=1000000&quot; rel=&quot;nofollow noreferrer&quot;&gt;video file size calculator&lt;/a&gt; to work out how much space your recordings will take up.&lt;/p&gt;&#xA;&lt;p&gt;Bear in mind that other apps and your OS may use some space over time on the drive to swap files etc.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-03-02T15:18:47.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36252" PostTypeId="2" ParentId="26027" CreationDate="2023-03-03T14:06:09.880" Score="0" Body="&lt;p&gt;Definitely not option 2.&lt;/p&gt;&#xA;&lt;p&gt;I remember watching an Indian film with English subtitles that didn't supply subtitles when English words were spoken.&#xA;Normally that's not a problem when entire conversations, or at least full sentences, are in one of the languages.&lt;/p&gt;&#xA;&lt;p&gt;The problem was that many of the characters continually used English phrases or words mixed into their Indian sentences, and the English words were omitted from the subtitles.&lt;/p&gt;&#xA;&lt;p&gt;This meant that one had to read the subtitles completely in sync with the spoken dialog so that the spoken English was heard at exactly the time when one would have read the next word.&#xA;That was effectively impossible, and after far too many rewinds I finally gave up on it.&lt;/p&gt;&#xA;&lt;p&gt;Even when one &lt;em&gt;can&lt;/em&gt; synchronize the two, continually switching back and forth between eyes and ears within the same sentence can be very tiring.&lt;/p&gt;&#xA;&lt;p&gt;This is the opposite situation of what you are trying to do, but I think it has the same annoyance factor.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;The suggestion to subtitle everything is a good one.&lt;/p&gt;&#xA;&lt;p&gt;That not only allows people to decide for themselves whether they need to use it, it also means that people that have trouble hearing can understand it too.&lt;/p&gt;&#xA;&lt;p&gt;(I frequently have subtitles turned on, even when watching in English, because so many modern actors love to mumble and slur their words.)&lt;/p&gt;&#xA;" OwnerUserId="40609" LastActivityDate="2023-03-03T14:06:09.880" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36253" PostTypeId="2" ParentId="2932" CreationDate="2023-03-03T21:22:40.347" Score="-1" Body="&lt;p&gt;Open any 20y old PSD file with the latest version of PhotoshopCC on either windows or Mac - yes. Open any 10y old FCP file on a the latest version of FinalCut X on Mac - no. The developers best suited to address the issue - don't.&lt;/p&gt;&#xA;" OwnerUserId="40736" LastActivityDate="2023-03-03T21:22:40.347" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36254" PostTypeId="2" ParentId="35983" CreationDate="2023-03-06T02:54:03.520" Score="0" Body="&lt;p&gt;You might have done by this time.&#xA;Please share if done.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input -c copy -f fifo -fifo_format flv -map 0:v -map 0:a rtmp://url&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Ref:&#xA;&lt;a href=&quot;http://underpop.online.fr/f/ffmpeg/help/fifo.htm.gz&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://underpop.online.fr/f/ffmpeg/help/fifo.htm.gz&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40746" LastEditorUserId="14523" LastEditDate="2023-03-07T21:11:00.357" LastActivityDate="2023-03-07T21:11:00.357" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36255" PostTypeId="1" CreationDate="2023-03-06T11:04:50.583" Score="1" ViewCount="9" Body="&lt;p&gt;I know, the use case might be specific but more and more stuff in all industry sectors is digitalized—and so is the communication between different departments which sometimes talk very different languages. I searched the internet, but I wasn't able to find a clear answer (either I didn't find the right search phrases or the internet itself just doesn't know).&lt;/p&gt;&#xA;&lt;p&gt;Here's my scenario: I'm working with several departments which work with diagrams (for example a lighting setup). This diagram solves different purposes:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;which devices are used?&lt;/li&gt;&#xA;&lt;li&gt;where are they placed?&lt;/li&gt;&#xA;&lt;li&gt;where are they pointing?&lt;/li&gt;&#xA;&lt;li&gt;how are they configured (e.g. exposure)?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;They tend to export their finalized diagram as either an image or a PDF— which is fine if you want to print it out but considerably less helpful if another department (mine) has to work with the raw information. That's where I wondered if there's some kind of industry standard (SVG, XML, JSON, etc.) which is both supported by the programs these departments used and can be interpreted by some sort of programming language. Do you know anything like that?&lt;/p&gt;&#xA;&lt;p&gt;They might be integrated into floor plans also showing staging/blocking and/or camera setup.&lt;/p&gt;&#xA;" OwnerUserId="40266" LastActivityDate="2023-03-06T11:04:50.583" Title="Lighting diagrams language and notation" Tags="|software-recommendation|lighting|export|programming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36256" PostTypeId="1" CreationDate="2023-03-06T15:51:54.717" Score="0" ViewCount="15" Body="&lt;p&gt;I was inquisitive, about a thing many youtubers do - storytelling with a hand drawing the pictures - if you know what I mean.&lt;/p&gt;&#xA;&lt;p&gt;It's like the hand is drawing them real quick and the hand is like moving in a scribbly fashion.&lt;/p&gt;&#xA;&lt;p&gt;Since many youtubers do it, it seems like it is automated - how is it done?&lt;/p&gt;&#xA;" OwnerUserId="40749" LastActivityDate="2023-03-07T10:17:23.117" Title="Video tools which show hand drawing pictures?" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36257" PostTypeId="2" ParentId="29527" CreationDate="2023-03-07T00:11:44.383" Score="0" Body="&lt;p&gt;To achieve the same result, on macOS, I'm using:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -hwaccel videotoolbox -f lavfi -i color=c=black:s=1280x720:r=25/1 -i input_audio.mp3 -c:v h264_videotoolbox -q:v 50 -c:a aac -shortest output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="40751" LastActivityDate="2023-03-07T00:11:44.383" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36259" PostTypeId="2" ParentId="36256" CreationDate="2023-03-07T10:17:23.117" Score="1" Body="&lt;p&gt;It's usually just a &lt;a href=&quot;https://en.wikipedia.org/wiki/Time-lapse_photography&quot; rel=&quot;nofollow noreferrer&quot;&gt;timelapse&lt;/a&gt; video - you &lt;a href=&quot;https://en.wikipedia.org/wiki/Rostrum_camera&quot; rel=&quot;nofollow noreferrer&quot;&gt;lock-off a camera&lt;/a&gt; above your drawing on a white board or sheet, then make sure you have consistent soft lighting across the white sheet.  Expose the sheet to be near full white, then record the drawing.  Then speed it up to the required rate for your video.  Then edit it all together using Premiere if it's simple edits, or After Effects if there are any more complex animations or&#xA;thing you need to add in.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-03-07T10:17:23.117" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36265" PostTypeId="1" AcceptedAnswerId="36268" CreationDate="2023-03-09T08:02:53.917" Score="0" ViewCount="281" Body="&lt;p&gt;I use both Topaz AI (to upscale the resolution of the frames) and Flowframes (to double the FPS), but I'm interested in knowing whether the order of these 2 operations will affect the final result if you have any idea or a technical detail to share about this ? Thank you very much !&lt;/p&gt;&#xA;" OwnerUserId="40769" LastActivityDate="2023-03-10T00:09:09.430" Title="Upscale before or after doubling framerate?" Tags="|fps|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36268" PostTypeId="2" ParentId="36265" CreationDate="2023-03-10T00:09:09.430" Score="0" Body="&lt;p&gt;Probably this answer is a bit of trial and error. But Imho is a way better option to upscale the images before and double the frames after.&lt;/p&gt;&#xA;&lt;p&gt;My tests with Flow frame showed me some glitches when two moving objects intersected. It was a 3D animation, so there was no motion blur. This shows me that the &amp;quot;guessing&amp;quot; that needs to do and analyze is way more than an upscaling. You do not want to amplify any imperfection that the process does.&lt;/p&gt;&#xA;&lt;p&gt;Although we now have AI algorithms to upscale, it is a process that have being done for years, and it is more simple. So do this process that needs to &amp;quot;guess&amp;quot; very little. Then do the second one with &amp;quot;reliable&amp;quot; pixel data; invented but reliable.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2023-03-10T00:09:09.430" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36269" PostTypeId="1" CreationDate="2023-03-10T15:37:14.030" Score="0" ViewCount="22" Body="&lt;p&gt;For the two activities of&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;transferring 10GB-large mp4 (&lt;code&gt;.mts&lt;/code&gt;) video files from external HDD&#xA;to laptop, and&lt;/li&gt;&#xA;&lt;li&gt;editing these same files directly on the connected external HDD drive,&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;how much better/faster do these activities become using a &lt;strong&gt;Thunderbolt connection&lt;/strong&gt; instead of a &lt;strong&gt;USB connection&lt;/strong&gt; on a Windows 11 laptop?&lt;/p&gt;&#xA;" OwnerUserId="33408" LastActivityDate="2023-03-10T15:37:14.030" Title="How much better is Thunderbolt external HDD for video editing?" Tags="|mp4|windows|usb|laptop|thunderbolt|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="36271" PostTypeId="1" CreationDate="2023-03-10T22:16:11.827" Score="0" ViewCount="126" Body="&lt;p&gt;I found a video posted on discord once that made the whole webpage underneath it bounce up and down when it was played. I assume it must have been encoded using a codec that supports a variable resolution, so the y frame height got shorter and longer to make the whole page bounce. I downloaded the video and these are the details:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DRFeP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DRFeP.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It appears to be a WebM file. I don't understand how it would have been encoded using a variable resolution though. Any ideas how to do this? Can ffmpeg encode a PNG sequence with variable resolutions for each frame into a single video that also has variable resolution?&lt;/p&gt;&#xA;" OwnerUserId="25617" LastActivityDate="2023-03-12T07:01:50.890" Title="Codecs supporting variable resolution (y height of frame changes with time)?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36273" PostTypeId="2" ParentId="29188" CreationDate="2023-03-12T03:10:11.587" Score="2" Body="&lt;p&gt;I landed here before finding the answer elsewhere (&lt;a href=&quot;https://forum.videohelp.com/threads/307102-MPC-not-showing-frame-rate&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://forum.videohelp.com/threads/307102-MPC-not-showing-frame-rate&lt;/a&gt;). Try View\Statistics (or Ctrl+4) to display the framerate, multiplier, and other statistics (w/o using a different filter).&lt;a href=&quot;https://i.stack.imgur.com/2t6zd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2t6zd.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40782" LastActivityDate="2023-03-12T03:10:11.587" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36274" PostTypeId="2" ParentId="36271" CreationDate="2023-03-12T07:01:50.890" Score="1" Body="&lt;p&gt;create videos with different resolutions:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -lavfi &amp;quot;color=green:704x396;anullsrc&amp;quot; -t 1 &amp;quot;in-01.webm&amp;quot; -y&#xA;ffmpeg -lavfi &amp;quot;color=yellow:640x480;anullsrc&amp;quot; -t 1 &amp;quot;in-02.webm&amp;quot; -y&#xA;ffmpeg -lavfi &amp;quot;color=red:800x450;anullsrc&amp;quot; -t 1 &amp;quot;in-03.webm&amp;quot; -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and concat:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;echo &amp;quot;file 'in-01.webm'&amp;quot; &amp;gt; list.txt&#xA;echo &amp;quot;file 'in-02.webm'&amp;quot; &amp;gt;&amp;gt; list.txt&#xA;echo &amp;quot;file 'in-03.webm'&amp;quot; &amp;gt;&amp;gt; list.txt&#xA;&#xA;ffmpeg -f concat -safe 0 -i &amp;quot;list.txt&amp;quot; -c copy output.webm -y&#xA;&#xA;mpv output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40740" LastActivityDate="2023-03-12T07:01:50.890" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36275" PostTypeId="1" CreationDate="2023-03-13T09:48:14.460" Score="1" ViewCount="101" Body="&lt;p&gt;I have many shapes that I want to reference to a single comp with a shape in it, in case I need to change them later on.&lt;/p&gt;&#xA;&lt;p&gt;The shapes are 2D and in different positions all over my canvas.&lt;/p&gt;&#xA;&lt;p&gt;I want to be able to position each comp using the position data from the layer above it.&lt;/p&gt;&#xA;&lt;p&gt;When I try to map the position data from the layer above, I get the wrong position.&lt;/p&gt;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;&lt;p&gt;As a simple example - I want to position the green star in the same place at the pentagon.  The pentagon is pre-comped in a 300x300 comp, but everything is centred.&lt;/p&gt;&#xA;&lt;p&gt;I put this in the star's position field:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;x = (index-1);&#xA;y = (index-1);&#xA;[x,y]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And place the star layer below the pentagon layer.&lt;/p&gt;&#xA;&lt;p&gt;Why does the star jump to -1,-1?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HjNIF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HjNIF.png&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2024-04-06T16:06:55.863" Title="After Effects expression using Index position isn't working between comps and shapes" Tags="|after-effects|after-effects-expressions|shape|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36276" PostTypeId="2" ParentId="36275" CreationDate="2023-03-13T10:46:04.960" Score="0" Body="&lt;p&gt;ah I think i've got it:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;x = thisComp.layer(index-1).position[0];&#xA;y = thisComp.layer(index-1).position[1];&#xA;[x,y]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;(I was returning the value of the layer, not the position of that layer)&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-03-13T10:46:04.960" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36277" PostTypeId="1" CreationDate="2023-03-13T11:14:35.167" Score="0" ViewCount="63" Body="&lt;p&gt;I am trying to create an FFMPEG script for some of my emulated game captures. I normally use Virtualdub2 (formerly Virtualdubmod) to upscale and trim my game captures for YouTube. With my laptop gone and the nearest area where can I use Virtualdub2 is at my library. My Chromebook does not use Windows programs anyway and my old XP computer is too slow (I need more memory, an SSD drive and a new Pentium 4 processor). I was hoping to create an FFMPEG script that I can use to automate my process. I want to know what I can do to improve the script as I mostly upscale the emulated game captures from Genesis, Super Nintendo, Nintendo games for YouTube. I could try AVISynth but I am still trying to learnt he process. Here is the script in question:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg -i input -vf &amp;quot;scale=iwX:ihX&amp;quot; -sws_flags neighbor -pix_fmt yuv420p -c:v libx264 -preset slower -crf 16 -c:a libopus -b:a 128k&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;I am mostly aiming for lossless with a Slower compression, HD 720 (4x upscaling) and nearest neighbor (pointresize). I want to put it in an mp4 container with aac or libopus for audio sound. I also wanted to have aspect ratio correction as well. What do you think of my script? Or can it use some improvements? I mostly got my ideas from these sites &lt;a href=&quot;https://www.retrorgb.com/virtualdub.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;right&lt;/a&gt; &lt;a href=&quot;https://tasvideos.org/EncodingGuide/CasualEncoding&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="34688" LastActivityDate="2023-12-22T22:01:20.130" Title="What improvements can I make to my FFMPEG script?" Tags="|ffmpeg|youtube|h.264|compression|avisynth|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36279" PostTypeId="2" ParentId="33921" CreationDate="2023-03-13T17:45:02.627" Score="0" Body="&lt;p&gt;The second ffmpeg command you posted works fine. The error message suggests that you are running the command on a non-unix-like system such as Windows. Just remove the part of the command after &lt;code&gt;2&amp;gt;&amp;amp;1&lt;/code&gt; and it should work fine on windows.&#xA;Here is the full command without unix/linux specific stuff:&#xA;&lt;code&gt;ffmpeg -i &amp;quot;input.ts&amp;quot; -r 1 -loop 1 -i image.png -an -filter_complex &amp;quot;blend=difference:shortest=1,blackframe=99:32&amp;quot; -f null -&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="40799" LastActivityDate="2023-03-13T17:45:02.627" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36280" PostTypeId="1" CreationDate="2023-03-13T21:18:37.963" Score="0" ViewCount="21" Body="&lt;p&gt;I am currently using Adobe After Effects 2023 and am having difficulty finding a solution on how to add effects to the text layer that is being used for a track matte.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FXWAL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FXWAL.png&quot; alt=&quot;Setup of my project on After Effects&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I would like for the pattern of &amp;quot;S&amp;quot; (made by an image that gets distorted throughout) to stay, but I would also like to include the effects that are on the other letters that make them a little 2.5D, similar to Photoshop with embossing and lighting. I am now trying to find a way to make it so the text with those effects (&amp;quot;T&amp;quot; and so on) is available on top of the style of the letter &amp;quot;S&amp;quot;. Basically, I'd like the solid colors on the other letters to no longer be #EEEEEE but transparent.&lt;/p&gt;&#xA;&lt;p&gt;I see the eye icon is turned off for the text layer being used for track matte so I assume the effects on it are not visible. The one thing I am starting to work on for another try is making those similar effects that are constant in Adobe Illustrator by checking which opacity would work on top of the colors on &amp;quot;S&amp;quot; and making a gradient mask. Either way, if there is any solution to just using AE for this, that would be lovely.&lt;/p&gt;&#xA;" OwnerUserId="40801" LastActivityDate="2023-12-10T13:04:50.530" Title="How to have stylize and generate effects visible on top of text that is being used for track matte in After Effects?" Tags="|after-effects|adobe|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36281" PostTypeId="1" CreationDate="2023-03-14T10:16:11.723" Score="0" ViewCount="2357" Body="&lt;p&gt;Can anyone provide me with the ffmpeg code to convert deinterlaced 80's video to progressive video without any loss of quality - ideally where I could deinterlace only the interlaced fields(I use mediainfo to determine that) and basically preserve all the information in the video.&lt;/p&gt;&#xA;&lt;p&gt;Thanks&#xA;Simon&lt;/p&gt;&#xA;" OwnerUserId="40804" LastActivityDate="2023-12-22T19:07:05.837" Title="ffmpeg command to convert interlaced video to progressive without any loss of quality" Tags="|ffmpeg|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36283" PostTypeId="1" AcceptedAnswerId="36290" CreationDate="2023-03-15T09:35:09.103" Score="0" ViewCount="152" Body="&lt;p&gt;I am familiar with the UNIX command &lt;code&gt;jpegtran&lt;/code&gt; which supports the &lt;code&gt;wipe&lt;/code&gt; (1) command line option for JPEG (ITU.81) format.&lt;/p&gt;&#xA;&lt;p&gt;Using ffmpeg one can &lt;a href=&quot;https://video.stackexchange.com/questions/7903/how-to-losslessly-encode-a-jpg-image-sequence-to-a-video-in-ffmpeg&quot;&gt;losslessly encode a jpg image sequence&lt;/a&gt; to a MJPEG video.&lt;/p&gt;&#xA;&lt;p&gt;I was wondering if ffmpeg would support the same &lt;code&gt;wipe&lt;/code&gt; implementation for h264 ? I could not find anything related to lossless-editing of video other than &lt;a href=&quot;https://github.com/mifi/lossless-cut&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt;. Looking at the features page, I do not see anything related to 'wipe' or 'mask' image.&lt;/p&gt;&#xA;&lt;p&gt;I am looking for masking of a rectangular region, replacement color is not important (eg. neutral gray as in jpegtran implementation is acceptable).&lt;/p&gt;&#xA;&lt;p&gt;(1)&lt;/p&gt;&#xA;&lt;p&gt;$ man jpegtran&#xA;[...]&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;A complementary lossless wipe option is provided to discard (gray out) data inside a given image region while losslessly preserving what is outside:&#xA;&#xA;       -wipe WxH+X+Y&#xA;              Wipe (gray out) a rectangular region of width W and height H from the input image, starting at point X,Y.&#xA;&#xA;       Attaching an 'f' character (&amp;quot;flatten&amp;quot;) to the width number will cause the region to be filled with the average of adjacent blocks rather than grayed out.  If the wipe region and the region outside&#xA;       the wipe region, when adjusted to the nearest iMCU boundary, form two horizontally adjacent rectangles, then attaching an 'r' character (&amp;quot;reflect&amp;quot;) to the width number will cause the  wipe  region&#xA;       to be filled with repeated reflections of the outside region rather than grayed out.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10558" LastEditorUserId="10558" LastEditDate="2023-03-17T07:10:05.093" LastActivityDate="2023-03-28T13:06:04.870" Title="Lossless masking of MP4/h.264" Tags="|ffmpeg|h.264|lossless|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36284" PostTypeId="2" ParentId="36280" CreationDate="2023-03-15T10:26:04.033" Score="0" Body="&lt;p&gt;If you're using layer styles and/or some rasterising video effects, you'll need to pre-comp those layers before applying track mattes to them.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-03-15T10:26:04.033" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36285" PostTypeId="1" CreationDate="2023-03-15T11:48:59.247" Score="1" ViewCount="184" Body="&lt;p&gt;We're using ffmpeg to batch out some TIFF images that are being resized and having white borders created to fit specific paper sizes.&lt;/p&gt;&#xA;&lt;p&gt;The resulting images default to 72dpi, even when the source is 300dpi. Is there a way to set the dpi flag in the output file?&lt;/p&gt;&#xA;&lt;p&gt;Many thanks :-)&lt;/p&gt;&#xA;&lt;p&gt;Edit:&lt;/p&gt;&#xA;&lt;p&gt;I have managed to answer my own question:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for %%a in (&amp;quot;*.tif&amp;quot;) do ffmpeg -i &amp;quot;%%a&amp;quot; -vf &amp;quot;scale=6974:4919:force_original_aspect_ratio=decrease,pad=7016:4961:(ow-iw)/2:(oh-ih)/2:color=white,format=rgb24&amp;quot; -dpi 300 &amp;quot;%%~na A2 poster 594x420mm-Border.tif&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40809" LastEditorUserId="40809" LastEditDate="2023-03-17T21:53:07.833" LastActivityDate="2023-03-17T21:53:07.833" Title="Setting dpi flag in image files generated using ffmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36287" PostTypeId="1" CreationDate="2023-03-15T21:07:10.387" Score="0" ViewCount="117" Body="&lt;p&gt;Currently I have the following command,&lt;/p&gt;&#xA;&lt;p&gt;which cuts the video, adds audio and burns subtitle into the video.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-ss 00:00:30 -t -i video.mp4 -i audio.wav -vcodec copy  -acodec copy -map 0:0 -map 1:0 -vf subtitles=subtitle.srt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but I need to crop the video before the subtitle is added. I know it is possible to crop video using the command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf crop=405:720&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;or using&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-filter:v crop=405:720&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but I am unable to use it in conjunction with the above statement. What would be the best approch to get the desribed outcome?&lt;/p&gt;&#xA;" OwnerUserId="40815" LastActivityDate="2023-12-14T00:06:51.010" Title="How to cut video, add audio and burn subtitle while cropping video all in one command - ffmpeg" Tags="|ffmpeg|video|command-line|ffprobe|ffplay|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36290" PostTypeId="2" ParentId="36283" CreationDate="2023-03-17T04:22:51.787" Score="1" Body="&lt;p&gt;The short answer is no.&lt;/p&gt;&#xA;&lt;p&gt;You can use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#drawbox&quot; rel=&quot;nofollow noreferrer&quot;&gt;drawbox filter&lt;/a&gt; to overlay a gray or any other color box over a rectangular region of a video.&lt;/p&gt;&#xA;&lt;p&gt;However, it then has to be re-encoded. You can specify lossless encoding, however the output stream will usually be (much) larger.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="10558" LastEditDate="2023-03-17T15:48:14.413" LastActivityDate="2023-03-17T15:48:14.413" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36291" PostTypeId="2" ParentId="36287" CreationDate="2023-03-17T11:14:20.913" Score="0" Body="&lt;p&gt;I was able to find the answer:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -ss 00:00:30 -t 00:00:10 -i video.mp4 -i audio.wav -c:a copy -map 0:0 -map 1:0  -vf &amp;quot;crop=405:720,subtitles=subtitle.srt&amp;quot;  output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40815" LastEditorUserId="14523" LastEditDate="2023-03-18T21:50:19.207" LastActivityDate="2023-03-18T21:50:19.207" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36293" PostTypeId="1" CreationDate="2023-03-19T16:29:07.630" Score="0" ViewCount="179" Body="&lt;p&gt;I have been trying to make an 8K MP4 video @ 30 FPS out of a few hundred 8K PNG images using FFMPEG since forever, but to no avail. The PNG images are serially numbered, starting from 000000 and going like 000001, 000002, 000003 etc. They are also in the same folder as the FFMPEG directory.&lt;/p&gt;&#xA;&lt;p&gt;This is the command I am using:&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -framerate 30 -i 000%3d.png -pix_fmt yuv420p out.mp4`&lt;/p&gt;&#xA;&lt;p&gt;I have tried various other permutations of the command but no joy. Any help is appreciated.&lt;/p&gt;&#xA;&lt;p&gt;UPDATE:&#xA;I renamed all my PNG files to the following format: pic000.PNG, pic001.PNG, pic002.PNG etc.&lt;/p&gt;&#xA;&lt;p&gt;After doing that I ran this command:&#xA;&lt;code&gt;ffmpeg -framerate 30 -i &amp;quot;pic%03d.png&amp;quot; -level:v 6.0 -pix_fmt yuv420p  output.mp4 -report&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here is the error report:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg started on 2023-03-23 at 20:58:19&#xA;Report written to &amp;quot;ffmpeg-20230323-205819.log&amp;quot;&#xA;Log level: 48&#xA;Command line:&#xA;ffmpeg -i &amp;quot;picC:\\Users\\User\\Videos\\FFMPEG\\tif-to-mp4.bat3d.png&amp;quot; -framerate 30 -level:v 6.0 -pix_fmt yuv420p output.mp4 -report&#xA;ffmpeg version 2022-01-30-git-1530b3f566-full_build-www.gyan.dev Copyright (c) 2000-2022 the FFmpeg developers&#xA;  built with gcc 11.2.0 (Rev7, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-bzlib --enable-lzma --enable-libsnappy --enable-zlib --enable-librist --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-libbluray --enable-libcaca --enable-sdl2 --enable-libdav1d --enable-libdavs2 --enable-libuavs3d --enable-libzvbi --enable-librav1e --enable-libsvtav1 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs2 --enable-libxvid --enable-libaom --enable-libopenjpeg --enable-libvpx --enable-mediafoundation --enable-libass --enable-frei0r --enable-libfreetype --enable-libfribidi --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-libshaderc --enable-vulkan --enable-libplacebo --enable-opencl --enable-libcdio --enable  libavutil      57. 19.100 / 57. 19.100&#xA;  libavcodec     59. 20.100 / 59. 20.100&#xA;  libavformat    59. 17.101 / 59. 17.101&#xA;  libavdevice    59.  5.100 / 59.  5.100&#xA;  libavfilter     8. 26.101 /  8. 26.101&#xA;  libswscale      6.  5.100 /  6.  5.100&#xA;  libswresample   4.  4.100 /  4.  4.100&#xA;  libpostproc    56.  4.100 / 56.  4.100&#xA;     Splitting the commandline.&#xA;Reading option '-i' ... matched as input url with argument 'picC:\Users\User\Videos\FFMPEG\tif-to-mp4.bat3d.png'.&#xA;Reading option '-framerate' ... matched as AVOption 'framerate' with argument '30'.&#xA;Reading option '-level:v' ... matched as AVOption 'level:v' with argument '6.0'.&#xA;Reading option '-pix_fmt' ... matched as option 'pix_fmt' (set pixel format) with argument 'yuv420p'.&#xA;Reading option 'output.mp4' ... matched as output url.&#xA;Reading option '-report' ... matched as option 'report' (generate a report) with argument '1'.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option report (generate a report) with argument 1.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url picC:\Users\User\Videos\FFMPEG\tif-to-mp4.bat3d.png.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: picC:\Users\User\Videos\FFMPEG\tif-to-mp4.bat3d.png.&#xA;[NULL @ 000001716758de40] Opening 'picC:\Users\User\Videos\FFMPEG\tif-to-mp4.bat3d.png' for reading&#xA;picC:\Users\User\Videos\FFMPEG\tif-to-mp4.bat3d.png: Protocol not found&#xA;Did you mean file:picC:\Users\User\Videos\FFMPEG\tif-to-mp4.bat3d.png?&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40837" LastEditorUserId="1871" LastEditDate="2023-03-24T04:15:53.883" LastActivityDate="2023-03-24T04:15:53.883" Title="FFMPEG Trying to make a 8K 30 FPS MP4 video out of several hundred 8K PNG images" Tags="|ffmpeg|h.264|" AnswerCount="0" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="36296" PostTypeId="2" ParentId="24973" CreationDate="2023-03-22T03:12:09.883" Score="0" Body="&lt;p&gt;Yes you can as a cable is a cable, you just need to know the particular specs of the cable in question. XLR cables are typically rated from 50 to over 300 volts depending on which one you have, you just need to verify it is rated over your local mains voltage depending on what you have (120 vs. 240). The amperage rating some manufacturers specify can be a bit questionable as most XLR cables are made from either 24 AWG or 22 AWG wires. Continuous rating for PVC 24 AWG is 3.5 amps while 22 AWG is 5 amps, however if it is using a bit more exotic insulation such as ETFE that increases to 5 amps for 24 AWG and 6.5 amps for 22 AWG. I believe the reason why manufacturers are able to state up to 12 amps is because they are using charts for 22 AWG ETFE or PTFE in a NON continuous mode. Over voltage on a cable will cause insulation breakdown and arcing and over amperage will cause enough heat to build up to soften, melt or burn the insulation away. Regardless it is always good to test an experimental cable made like this with an experimental proof test after constuction. Simply plug in something slightly above your desired rated load and leave it to sit powered non stop in and outdoor environment continuously powered for several or more hours while being monitored. This way you will have your own proof testing to fall back on before you plug in your labtop and fall asleep one night and burn your house down. Make no mistakes this will be a specialist cable after construction, typical bare minimum for a power cord should be 14 AWG although 16 AWG does exist. People have burned down their home using 16 AWG cables and plugging in high amperage loads such as space heaters.&lt;/p&gt;&#xA;" OwnerUserId="40860" LastActivityDate="2023-03-22T03:12:09.883" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36297" PostTypeId="1" CreationDate="2023-03-22T18:21:04.060" Score="0" ViewCount="113" Body="&lt;p&gt;Using After Effects, I am trying to do a countdown of 5 minutes with a setup like this: 5m 00s, 4m 59s, 4m 58s... I have the countdown already set up with Slider Control. However, I'm trying to use a mask for each character separately, which I also mostly have under control, except I realized that the text moves when the width of the text box changes as the text changes, for example, 2m 00s vs 1m 59s because of the width of the character &amp;quot;1&amp;quot; is smaller than &amp;quot;2&amp;quot; in the font I am using. Is there a way I can make the text box width, specifically each character's placement, not change even while Slider is in use? I have already gotten started on creating changes to the mask each time it changes, but I have a feeling it will be a lot of work.&lt;/p&gt;&#xA;" OwnerUserId="40801" LastActivityDate="2023-12-18T00:03:45.390" Title="After Effects: How to keep text same width through changes" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36298" PostTypeId="2" ParentId="36297" CreationDate="2023-03-22T20:06:36.573" Score="0" Body="&lt;p&gt;Option 1 - use a fixed width font, and make sure the text layer you create is left aligned. You'll need to select the text in your layer before you switch the paragraph to left alignment.&lt;/p&gt;&#xA;&lt;p&gt;Option 2 -  Do something like this (I'm sure there's a nicer way to do it), but from looking at &lt;a href=&quot;https://mediarealm.com.au/articles/after-effects-countdown-timer-expression/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this script for countdown timers&lt;/a&gt;, and &lt;a href=&quot;https://ukramedia.com/charat-expression-in-after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this script for finding the right character&lt;/a&gt;, I hacked up this:&lt;/p&gt;&#xA;&lt;p&gt;Make a text layer for each character.&lt;/p&gt;&#xA;&lt;p&gt;Make sure each text layer is left aligned.&lt;/p&gt;&#xA;&lt;p&gt;Put this in the source text expression of each character you want to control:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;st = 300;  &#xA;t = st - time;  &#xA;c = timeToTimecode(t);  &#xA;c = c.substring(4,8)&#xA;output = c.charAt(3);&#xA;output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Change the “charAt” variable for each position. Eg 0 is the furthest right character, and (3) would be the furthest left character (the minute).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lk0q1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lk0q1.jpg&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2023-03-22T22:18:13.610" LastActivityDate="2023-03-22T22:18:13.610" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36299" PostTypeId="1" CreationDate="2023-03-23T12:51:51.933" Score="0" ViewCount="12" Body="&lt;p&gt;I have a question about optimizing my workflow in regards to archiving. I feel like there must be a better way method to what I’m doing at the moment. What I currently do, after I’m done working in a .aep file, is clean up my project, organize my Project panel, get rid of any unused or redundant compositions/files etc., and finally use &lt;em&gt;File &amp;gt; Dependencies &amp;gt; Collect Files…&lt;/em&gt;, to put everything in one place, and have everything linked up in a concise, local location.&lt;/p&gt;&#xA;&lt;p&gt;This works great imo. I was wondering however whether it was possible to, say, when working from this new .aep file – adding new files/directories to it, maybe removing some – ‘update’ it in such a way that the directory setup doesn’t change, but all the additional files get added to this directory.&lt;/p&gt;&#xA;&lt;p&gt;Am I using the &lt;em&gt;Collect Files…&lt;/em&gt; function wrong? Is it something only used for preparing files for passing them on? Is there a way of working that comes close to what I’m describing? Very curious to hear your guys input or workflow advice. I feel like there’s a better way of working that I’m not utilizing.&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance, and kind regards,&lt;/p&gt;&#xA;&lt;p&gt;Armand&lt;/p&gt;&#xA;" OwnerUserId="40249" LastActivityDate="2023-12-18T18:02:00.270" Title="After Effects: Workflow advice, working from/updating archived projects" Tags="|after-effects|workflow|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36300" PostTypeId="1" AcceptedAnswerId="36301" CreationDate="2023-03-23T14:28:44.970" Score="0" ViewCount="21" Body="&lt;p&gt;This is a bit of a niche question but, I recorded a video with a strange bird call that I was going to post somewhere for someone to ID it but there were people talking so you can’t hear the bird call that well. The human voices are at a lower pitch than the bird call. Is there any way in any software to cut out the lower pitch human voices but leave the higher pitch bird call so you can hear it better?&lt;/p&gt;&#xA;&lt;p&gt;Thanks so much!&lt;/p&gt;&#xA;&lt;p&gt;Tip11000&lt;/p&gt;&#xA;" OwnerUserId="40867" LastActivityDate="2023-03-23T14:33:51.667" Title="Removing parts of audio while leaving other parts intact" Tags="|editing|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36301" PostTypeId="2" ParentId="36300" CreationDate="2023-03-23T14:33:51.667" Score="2" Body="&lt;p&gt;You can have a go at doing this in Adobe Audition by switching the view from Waveform to Spectral Frequency Display. If the birds and the voices occupy totally different parts of the frequency spectrum, you may be in luck.  Use the Spot Healing Brush to erase the unwanted frequences in your audio file.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://blog.adobe.com/en/publish/2020/01/24/quickly-remove-unwanted-audio-content-with-the-spot-healing-brush-in-adobe-audition&quot; rel=&quot;nofollow noreferrer&quot;&gt;More on adobe's blog page&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-03-23T14:33:51.667" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36302" PostTypeId="2" ParentId="36299" CreationDate="2023-03-23T16:25:04.307" Score="0" Body="&lt;p&gt;This isn't the right answer, but it's what I do:&lt;/p&gt;&#xA;&lt;p&gt;Keep everything for your project in a single folder.  Everthing.  Even if it means duplicating things from other projects or from templates that you use all the time.&lt;/p&gt;&#xA;&lt;p&gt;Regularly back up the folder to another drive.  Use &lt;a href=&quot;https://www.econtechnologies.com/chronosync/overview.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Chronosync&lt;/a&gt; to do this.  It works very reliably, and can do incremental backups intelligently.&lt;/p&gt;&#xA;&lt;p&gt;When you're done, keep your backups somewhere sensible and delete from your working drives.&lt;/p&gt;&#xA;&lt;p&gt;This isn't the most space-efficient way to work, but it means you reliably never lose anything.&lt;/p&gt;&#xA;&lt;p&gt;Collect files takes forever and is complicated.  Chronosync means pressing a single button then forgetting about it.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-03-23T16:25:04.307" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36307" PostTypeId="1" CreationDate="2023-03-27T17:02:03.030" Score="1" ViewCount="173" Body="&lt;p&gt;I have videos that include ad breaks whereupon the frames include a big logo in the middle (and text saying ad break). I have extracted one of those frames as an image.&#xA;I want to run an ffmpeg command to delete those ad breaks (to reduce the size of the video), but still haven't found how.&lt;/p&gt;&#xA;&lt;p&gt;After researching those parts, I think I have a command which identifies those frames that match the extracted image (based on &lt;a href=&quot;https://superuser.com/a/1615601/1784971&quot;&gt;https://superuser.com/a/1615601/1784971&lt;/a&gt;)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.ts -i image.png -filter_complex &amp;quot;blend=all_mode=difference,blackframe=amount=0:threshold=1,metadata=select:key=lavfi.blackframe.pblack:value=10:function=greater,metadata=print:file=ads.txt&amp;quot; -an -v 0 -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Sample output&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;frame:0    pts:0       pts_time:0&#xA;timecode=20:00:05:10&#xA;lavfi.blackframe.pblack=13&#xA;frame:1    pts:1502    pts_time:0.0166889&#xA;timecode=20:00:05:11&#xA;lavfi.blackframe.pblack=13&#xA;frame:2    pts:3003    pts_time:0.0333667&#xA;timecode=20:00:05:11&#xA;lavfi.blackframe.pblack=13&#xA;frame:3    pts:4505    pts_time:0.0500556&#xA;timecode=20:00:05:12&#xA;lavfi.blackframe.pblack=13&#xA;frame:4    pts:6006    pts_time:0.0667333&#xA;timecode=20:00:05:12&#xA;lavfi.blackframe.pblack=13&#xA;frame:5    pts:7508    pts_time:0.0834222&#xA;timecode=20:00:05:13&#xA;lavfi.blackframe.pblack=13&#xA;frame:6    pts:9009    pts_time:0.1001&#xA;timecode=20:00:05:13&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Now I don't know how to tell ffmpeg to delete/ignore those frames. Would the -select option work? If so, how to combine -select with the filter above? Those videos also have audio so I'm looking for a solution that keeps that in sync.&lt;/p&gt;&#xA;&lt;p&gt;Thanks,&lt;/p&gt;&#xA;" OwnerUserId="40886" LastActivityDate="2023-03-27T17:02:03.030" Title="FFMpeg - How to delete parts of a video that (partially) match an image" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36308" PostTypeId="2" ParentId="36281" CreationDate="2023-03-27T17:56:59.263" Score="0" Body="&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFMpeg video filter documentation&lt;/a&gt; mentioned supporting deinterlacing filters&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#toc-bwdif&quot; rel=&quot;nofollow noreferrer&quot;&gt;bwdif&lt;/a&gt;: Bob Weaver&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#toc-estdif&quot; rel=&quot;nofollow noreferrer&quot;&gt;estdif&lt;/a&gt;: Edge Slope Tracing&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#toc-kerndeint&quot; rel=&quot;nofollow noreferrer&quot;&gt;kerndeint&lt;/a&gt;: Donald Graft’s adaptive kernel&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#toc-mcdeint&quot; rel=&quot;nofollow noreferrer&quot;&gt;mcdeint&lt;/a&gt;: Apply motion-compensation&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#toc-nnedi&quot; rel=&quot;nofollow noreferrer&quot;&gt;nnedi&lt;/a&gt;: neural network edge directed interpolation&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#toc-w3fdif&quot; rel=&quot;nofollow noreferrer&quot;&gt;w3fdif&lt;/a&gt;: Weston 3 Field&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#toc-yadif-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;yadif&lt;/a&gt;: yet another&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;and &lt;a href=&quot;https://videoprocessing.ai/benchmarks/deinterlacer.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;the MSU result&lt;/a&gt; includes&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://videoprocessing.ai/benchmarks/deinterlacer-participants.html#bwdif&quot; rel=&quot;nofollow noreferrer&quot;&gt;bwdif&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://videoprocessing.ai/benchmarks/deinterlacer-participants.html#kerndeint&quot; rel=&quot;nofollow noreferrer&quot;&gt;kerndeint&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://videoprocessing.ai/benchmarks/deinterlacer-participants.html#mcdeint&quot; rel=&quot;nofollow noreferrer&quot;&gt;mcdeint&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://videoprocessing.ai/benchmarks/deinterlacer-participants.html#nnedi&quot; rel=&quot;nofollow noreferrer&quot;&gt;nnedi&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://videoprocessing.ai/benchmarks/deinterlacer-participants.html#w3fdif&quot; rel=&quot;nofollow noreferrer&quot;&gt;w3fdif&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://videoprocessing.ai/benchmarks/deinterlacer-participants.html#yadif&quot; rel=&quot;nofollow noreferrer&quot;&gt;yadif&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The best among all FFMpeg filters is the rank 13 &lt;strong&gt;NNEDI&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;MOS: 0.511&lt;/li&gt;&#xA;&lt;li&gt;PSNR: 37.099&lt;/li&gt;&#xA;&lt;li&gt;SSIM: 0.954&lt;/li&gt;&#xA;&lt;li&gt;VMAF: 93.246&lt;/li&gt;&#xA;&lt;li&gt;FPS on CPU: &lt;em&gt;1.910&lt;/em&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;However, i would prefer to the rank 14 Bob-Weave Deinterlacer due to the FPS on CPU: &lt;em&gt;46.450&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;At last, people had done &lt;a href=&quot;https://github.com/kfrn/ffmpeg-things/blob/master/deinterlacing.md&quot; rel=&quot;nofollow noreferrer&quot;&gt;the screen captures of using those filter&lt;/a&gt;, you may take a look for reference&lt;/p&gt;&#xA;&lt;p&gt;P.S. forget to mention, here is the Bing Chat answer&#xA;&lt;a href=&quot;https://i.stack.imgur.com/uVkqY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/uVkqY.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="31818" LastEditorUserId="31818" LastEditDate="2023-03-27T18:02:14.050" LastActivityDate="2023-03-27T18:02:14.050" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36309" PostTypeId="2" ParentId="36277" CreationDate="2023-03-27T18:44:27.597" Score="0" Body="&lt;p&gt;you can add &lt;code&gt;-vf &amp;quot;scale=iwX:ihX:force_original_aspect_ratio=decrease,pad=max(iw\,ih*(16/9)):ow/(16/9):(ow-iw)/2:(oh-ih)/2&amp;quot;&lt;/code&gt; to your script to correct aspect ratio and pad the video.&lt;/p&gt;&#xA;&lt;p&gt;You can also add &lt;code&gt;-filter_complex &amp;quot;[0:v]setpts=0.5*PTS[v];[0:a]atempo=2.0[a]&amp;quot;&lt;/code&gt; to speed up your video and audio2.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2023-03-27T18:44:27.597" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36310" PostTypeId="1" CreationDate="2023-03-27T23:06:10.520" Score="0" ViewCount="69" Body="&lt;p&gt;Why is my cursor non existent? I'm trying to get it to the right size. The cursor should align exactly with the circle (inside the circle with no overlap, but the exact same size). That's how it looks for me, but it looks different once Medal clips it. How do I change this?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/01Ath.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/01Ath.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40661" LastActivityDate="2023-03-27T23:06:10.520" Title="How do I adjust my cursor to normal size in Medal?" Tags="|digital-recording|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36311" PostTypeId="2" ParentId="36283" CreationDate="2023-03-28T12:47:42.730" Score="0" Body="&lt;p&gt;For later reference, here is what I found out:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;% identify 300.jpg&#xA;300.jpg JPEG 200x300 200x300+0+0 8-bit sRGB 10839B 0.000u 0:00.000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Convert to yuv444:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;% ffmpeg -y -i 300.jpg -pix_fmt yuv444p 300.yuv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Convert to mp4:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;% ffmpeg -y -s 200x300 -pix_fmt yuv444p -i 300.yuv -c:v libx264 -pix_fmt yuv444p -profile:v high444 -crf 0 -preset:v slow lossless.m4v&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Convert back to image:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;% ffmpeg -y -i lossless.m4v -vcodec rawvideo -pix_fmt yuv444p m4v_decoded.yuv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Verify:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;% md5sum m4v_decoded.yuv 300.yuv&#xA;b7e89f5a091b680e6991c6ae6aad8564  m4v_decoded.yuv&#xA;b7e89f5a091b680e6991c6ae6aad8564  300.yuv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Thanks to &lt;a href=&quot;https://stackoverflow.com/a/18506577/136285&quot;&gt;SO&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;To extract all I-Frames:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;% ffmpeg -skip_frame nokey -i file -vsync 0 -frame_pts true out%d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Thanks to &lt;a href=&quot;https://superuser.com/questions/1421133/extract-i-frames-to-images-quickly&quot;&gt;SuperUser&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;For 420 pay attention that high profile is not supported.&lt;/p&gt;&#xA;&lt;p&gt;Thanks again to &lt;a href=&quot;https://superuser.com/a/1095656/106444&quot;&gt;SuperUser&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="10558" LastEditorUserId="10558" LastEditDate="2023-03-28T13:06:04.870" LastActivityDate="2023-03-28T13:06:04.870" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36313" PostTypeId="1" CreationDate="2023-03-28T21:15:01.583" Score="1" ViewCount="18" Body="&lt;p&gt;I have a video of a lecture but the resolution is not great and I can't really read what's written on the blackboard. Is there a way to artificially increase the resolution or decrease blurriness? It doesn't have to be perfect, just so that I can read the text. Preferably in After effects since that's the one editor I have, but anything else will do as well.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RraWz.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RraWz.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40898" LastActivityDate="2023-03-28T21:15:01.583" Title="Is there a way to decrease blurriness in video so that the text is readable?" Tags="|video-editor|video-quality|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36317" PostTypeId="2" ParentId="18946" CreationDate="2023-03-29T15:31:07.593" Score="0" Body="&lt;p&gt;If you don't really need to see the video as you're shooting it, you could simply strap your phone to your chin (if you need it to move like your field of vision) or you could also strap it in the space where the neck and chest meet, with a slight tilt (if all you need to film is your hands). This is a very DIY solution and can be adjusted as you please if you have legos or spare plastic or cardboard lying around.&lt;/p&gt;&#xA;&lt;p&gt;If you don't mind buying something, there are straps specifically designed for first-person video. Check out &lt;a href=&quot;https://rads.stackoverflow.com/amzn/click/com/B08L6MTKMQ&quot; rel=&quot;nofollow noreferrer&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.amazon.com/Head-Mounted-First-Person-Shooting-Compatible-Smartphones/dp/B08L6MTKMQ&lt;/a&gt; or other similar products.&lt;/p&gt;&#xA;" OwnerUserId="40909" LastActivityDate="2023-03-29T15:31:07.593" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36322" PostTypeId="1" AcceptedAnswerId="36338" CreationDate="2023-03-30T20:46:50.983" Score="0" ViewCount="141" Body="&lt;p&gt;I'm making some viewing files of some neg film scans. The film scans are converted to FFV1.mkv using rawcooked and then I have an ffmpeg recipe to create the viewing files.&lt;/p&gt;&#xA;&lt;p&gt;I have managed to convert from neg to pos, but would also like to change the colour space from log to lin so the viewing files are a bit easier to watch.&lt;/p&gt;&#xA;&lt;p&gt;Is this possible in ffmpeg?&lt;/p&gt;&#xA;&lt;p&gt;My recipe so far :&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;for %%a in (&amp;quot;*.mkv&amp;quot;) do ffmpeg -i &amp;quot;%%a&amp;quot; -i .\THE_LOGO.png -c:v libx264 -crf 23 -maxrate 5M -bufsize 2M -c:a aac -b:a 192k -filter_complex &amp;quot;yadif, format=yuv420p, negate, [1]scale2ref=w=oh*mdar:h=ih*0.17[logo][video];[video][logo]overlay=290:48, drawtext='fontfile=c\:/Windows/Fonts/Arial.ttf': timecode='00\:00\:00\:00': r=25: x=(w-tw)/2: y=h-(2.2*lh) :fontsize=100 :fontcolor=white: box=1: boxcolor=black: boxborderw=7&amp;quot; -y &amp;quot;%%~na_BITC.mp4&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Many thanks :-)&lt;/p&gt;&#xA;" OwnerUserId="40809" LastActivityDate="2023-04-03T19:57:24.163" Title="Converting a log colour space to linear using ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36323" PostTypeId="1" CreationDate="2023-03-31T09:52:39.407" Score="1" ViewCount="948" Body="&lt;p&gt;I'm trying to run this command in Windows 10. The script ran fine with 2 60mb samples. But now trying to run it on the full video, I'm getting this error: &lt;code&gt;Unable to find a suitable output format for 'libfdk_aac' libfdk_aac: Invalid argument&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is the command I'm using:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 300roae.mp4 -pix_fmt yuv420p10le -c:v libx265 -preset ultrafast -crf 28 -x265-params -c:a libfdk_aac -profile:a aac_he -b:a 72k C:\Users\hifim\Videos\300roae.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40925" LastEditorUserId="14523" LastEditDate="2023-03-31T17:28:30.050" LastActivityDate="2023-03-31T17:28:30.050" Title="Unable to find a suitable output format for 'libfdk_aac' libfdk_aac: Invalid argument" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36324" PostTypeId="2" ParentId="36323" CreationDate="2023-03-31T10:08:17.400" Score="1" Body="&lt;p&gt;The error is happening because the &lt;code&gt;-x265-params&lt;/code&gt; option is missing the required parameter. Instead of a real parameter to pass to libx265, it is swallowing the audio codec option. See &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.265#PassingOptions&quot; rel=&quot;nofollow noreferrer&quot;&gt;Passing Options&lt;/a&gt; in FFmpeg's &amp;quot;H.265/HEVC Video Encoding Guide&amp;quot;.&lt;/p&gt;&#xA;" OwnerUserId="37160" LastEditorUserId="14523" LastEditDate="2023-03-31T17:26:28.670" LastActivityDate="2023-03-31T17:26:28.670" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36325" PostTypeId="1" CreationDate="2023-03-31T13:03:36.430" Score="0" ViewCount="481" Body="&lt;p&gt;How do I fix a presumably HDR video file that displays super washed out in the Linux video player totem, the cross-platform player VLC, and also in Handbrake's video preview? All colors are extremely muted and gray.&lt;/p&gt;&#xA;&lt;p&gt;I think the most obvious fix would be some way to fix the metadata, since I'm assuming somehow the colors are interpreted as SDR by every piece of software. I'm on Linux, so I think the preferred tool to somehow fix the embedded color profile would be the ffmpeg command line. But I have no idea what to do for this, I'm not very familiar with color profiles. It's an MKV file.&lt;/p&gt;&#xA;&lt;p&gt;As a second approach, I want to re-encode it anyway at a lower bitrate, so if there's a way to fix this in Handbrake via a new encode I would find that useful too. However, Handbrake's color settings seem minimal and don't even have a way to manually readjust contrast and brightness for any eyeballed attempt to fix this, let alone any &amp;quot;this is a broken HDR file&amp;quot; setting.&lt;/p&gt;&#xA;" OwnerUserId="40927" LastActivityDate="2023-03-31T17:11:53.740" Title="How to fix a presumably HDR video file that displays super washed out in all video players?" Tags="|transcoding|color-correction|colorspace|hdr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36326" PostTypeId="1" AcceptedAnswerId="36332" CreationDate="2023-03-31T16:37:25.023" Score="1" ViewCount="160" Body="&lt;p&gt;I used VLC to play what's supposed to be a video file, and it plays just a still image with sound; Before trashing it, I decided to open it in the Windows Media Player, and to my surprise I can see video and sound normally.&lt;/p&gt;&#xA;&lt;p&gt;Next I used ffprobe and discovered the video file contains 3 streams, and VLC picks up the 1st (video) stream, which is just a mjpeg image! Whereas WMP picks up the 2nd (video) stream.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'mySupaDupaFile.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.33.100&#xA;  Duration: 01:46:15.80, start: 0.000000, bitrate: 3191 kb/s&#xA;  Stream #0:0[0x1](und): Video: mjpeg (Baseline) (mp4v / 0x7634706D), yuvj444p(pc, bt470bg/unknown/unknown), 749x972, 99348 kb/s, 25 fps, 25 tbr, 12800 tbn (default)&#xA;  Stream #0:1[0x2](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 3101 kb/s, 25 fps, 25 tbr, 90k tbn&#xA;  Stream #0:2[0x3](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 82 kb/s (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Looking at the ffprobe output, stream#0 is marked as (default).&#xA;Does ffmpeg have a command that can unset (default) on stream-0, and set (default) on stream-1 ?&lt;/p&gt;&#xA;&lt;p&gt;For now, I have just re-encoded into another file the h264 + aac streams, and discarded the mjpeg stream, but would like to know if it's possible just to change the default video stream ! (and more generally how to mark a stream as DEFAULT when there are multiple streams).&lt;/p&gt;&#xA;" OwnerUserId="37168" LastActivityDate="2023-04-01T17:36:41.097" Title="Changing the DEFAULT video stream?" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36327" PostTypeId="2" ParentId="36325" CreationDate="2023-03-31T17:11:53.740" Score="1" Body="&lt;p&gt;Was the footage straight from a camera, or is it an edited, finished video?&lt;/p&gt;&#xA;&lt;p&gt;If it's from a camera, it may have been shot using a gamma curve, such as &lt;a href=&quot;https://zsyst.com/2015/07/working-with-slog3-cine-footage/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Slog3&lt;/a&gt;.  This is where the image is recorded looking &amp;quot;washed out&amp;quot; and corrected afterwards during the editing/grading/post-production phase.  If this is the case, you can correct it in any modern video editing software, like Adobe Premiere or Davinci Resolve.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Gamma_correction&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/Gamma_correction&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-03-31T17:11:53.740" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36328" PostTypeId="1" CreationDate="2023-03-31T22:45:09.577" Score="0" ViewCount="187" Body="&lt;p&gt;I'm trying to downscale a video with nearest-neighbour scaling, but the results are very poor.&lt;/p&gt;&#xA;&lt;p&gt;To try and get to the bottom of it, I created &lt;a href=&quot;https://i.stack.imgur.com/yeLkN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;this image&lt;/a&gt; which is a repeating pattern of various colours. The expected result is that the output image, when downscaled from 1080p to 360p, is solid green (#00ff00). Or possibly red, if it samples from the top-left instead of the centre.&lt;/p&gt;&#xA;&lt;p&gt;Instead, the resulting image is green with vertical bars of #25e525 and #44c383, neither of which are present anywhere in the original image.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EoGt4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EoGt4.png&quot; alt=&quot;&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I've applied various other things to my command, as seen below, but it makes no difference.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i 1080.png -vf scale=-1:360:flags=neighbor+accurate_rnd:sws_dither=none -pix_fmt rgb24 360.png&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Upscaling works fine - it's just downscaling that goes wrong. Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="14558" LastEditorUserId="14558" LastEditDate="2023-03-31T22:53:29.167" LastActivityDate="2023-12-27T00:06:45.837" Title="ffmpeg nearest-neighbor downscale not working as expected" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36329" PostTypeId="2" ParentId="36328" CreationDate="2023-03-31T23:11:03.363" Score="0" Body="&lt;p&gt;After some more back-and-forth with Bing, it seems &lt;code&gt;zscale&lt;/code&gt; works far better than &lt;code&gt;scale&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i 1080.png -vf &amp;quot;zscale=-1:360:filter=point&amp;quot; 360.png&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;With video, add &lt;code&gt;format=pix_fmts=rgb24,&lt;/code&gt; to the start of the &lt;code&gt;vf&lt;/code&gt; chain.&lt;/p&gt;&#xA;" OwnerUserId="14558" LastActivityDate="2023-03-31T23:11:03.363" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36330" PostTypeId="2" ParentId="36328" CreationDate="2023-03-31T23:29:00.527" Score="0" Body="&lt;p&gt;It also seems that &lt;code&gt;full_chroma_inp&lt;/code&gt; works with &lt;code&gt;scale&lt;/code&gt;. Another option in case &lt;code&gt;zscale&lt;/code&gt; isn't available.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i 1080.png -vf scale=-1:360:flags=neighbor+full_chroma_inp 360.png&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="14558" LastActivityDate="2023-03-31T23:29:00.527" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36331" PostTypeId="2" ParentId="36326" CreationDate="2023-04-01T02:46:55.200" Score="0" Body="&lt;p&gt;Based on &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg.html&lt;/a&gt;, there is an example of making the second audio stream the default stream:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mkv -c copy -disposition:a:1 default out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;such that making the second video stream the default stream would be&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mkv -c copy -disposition:v:1 default out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2023-04-01T02:46:55.200" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36332" PostTypeId="2" ParentId="36326" CreationDate="2023-04-01T17:36:41.097" Score="1" Body="&lt;p&gt;Final answer: Use -map to copy all 3 streams. First disposition UNSETS the existing default; Second disposition SETS the NEW default;&lt;/p&gt;&#xA;&lt;p&gt;If you don't unset, all 3 streams are marked as default, and thus when opening in VLC the mjpeg will still play !&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;myInputFile.mp4&amp;quot; -y ^&#xA;    -c copy -map 0:0 -map 0:1 -map 0:2 ^&#xA;    -disposition:v:0 0 ^&#xA;    -disposition:v:1 default ^&#xA;    myOutputFile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="37168" LastActivityDate="2023-04-01T17:36:41.097" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36334" PostTypeId="1" CreationDate="2023-04-02T09:47:45.710" Score="0" ViewCount="12" Body="&lt;p&gt;I would render videos like this in cloud:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://previews.customer.envatousercontent.com/h264-video-previews/6505acb5-647e-4740-a3ec-efe9ccaffe7e/40871529.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://previews.customer.envatousercontent.com/h264-video-previews/6505acb5-647e-4740-a3ec-efe9ccaffe7e/40871529.mp4&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I heared about AWS EC3 and Workspaces.&lt;/p&gt;&#xA;&lt;p&gt;Important, some part of the movie is changing rendering by rendering, but most of it remains the same.&lt;/p&gt;&#xA;&lt;p&gt;I would renderer only a 5-10 sec video, but not longer then 30 sec.&lt;/p&gt;&#xA;&lt;p&gt;I do not insist to use After Effect, but I need high quality solution.&lt;/p&gt;&#xA;&lt;p&gt;Would you suggest me alternatives?&lt;/p&gt;&#xA;" OwnerUserId="17835" LastActivityDate="2023-04-02T09:47:45.710" Title="How can high quality custom animation video be rendered in cloud in a reasonable short time?" Tags="|after-effects|animation|" AnswerCount="0" CommentCount="2" ClosedDate="2023-04-03T15:05:34.537" ContentLicense="CC BY-SA 4.0" />
  <row Id="36336" PostTypeId="1" CreationDate="2023-04-03T03:34:43.963" Score="0" ViewCount="207" Body="&lt;p&gt;When I am converting my video using FFMpeg, I am using x265 to do the compression. But the issue is this conversion is much much slower. But while I am using my iPad 6th Generation, this works much faster. So I want to know the reason behind this.&lt;/p&gt;&#xA;&lt;p&gt;Note : X264 is working fine on both devices.&lt;/p&gt;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;" OwnerUserId="40907" LastActivityDate="2024-03-21T07:22:54.960" Title="Why X265 conversion is very slow on some devices" Tags="|ffmpeg|video|conversion|compression|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36338" PostTypeId="2" ParentId="36322" CreationDate="2023-04-03T19:57:24.163" Score="0" Body="&lt;p&gt;I have managed to create a working recipe using curves - whilst not strictly a log to lin lut, it gives a more watchable output.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;for %%a in (&amp;quot;*.mkv&amp;quot;) do ffmpeg -i &amp;quot;%%a&amp;quot; -i .\THE_LOGO.png -c:v libx264 -crf 23 -maxrate 10M -bufsize 2M -c:a aac -b:a 192k -filter_complex &amp;quot;yadif, format=yuv420p, curves=all='0/0 0.5/0.75 1/1', curves=increase_contrast, negate, [1]scale2ref=w=oh*mdar:h=ih*0.17[logo][video];[video][logo]overlay=100:100, drawtext='fontfile=c\:/Windows/Fonts/Arial.ttf': timecode='00\:00\:00\:00': r=25: x=(w-tw)/2: y=h-(2.2*lh) :fontsize=150 :fontcolor=white: box=1: boxcolor=black: boxborderw=7&amp;quot; -color_primaries bt709 -color_trc bt709 -colorspace bt709 -y &amp;quot;%%~na_BITC.mp4&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="40809" LastActivityDate="2023-04-03T19:57:24.163" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36340" PostTypeId="1" AcceptedAnswerId="36466" CreationDate="2023-04-04T00:18:35.717" Score="1" ViewCount="110" Body="&lt;p&gt;Small M.2 SSD (solid-state drives) are increasingly replacing HDD (hard disk drives) in new PCs for file storage.&lt;/p&gt;&#xA;&lt;p&gt;SSD is proven to be better for &lt;strong&gt;video editing&lt;/strong&gt;, but what about &lt;strong&gt;video storage&lt;/strong&gt;? Is a PC with 2 SSDs (1 for editing, 1 for storage) better than a PC with 1 HDD (for storage) and 1 SSD (for editing)?&lt;/p&gt;&#xA;&lt;p&gt;In terms of your valuable video files being &lt;strong&gt;safe&lt;/strong&gt; from data loss, corruption or fragmentation. For the purpose of &lt;strong&gt;safe&lt;/strong&gt; storage.&lt;/p&gt;&#xA;" OwnerUserId="33408" LastEditorUserId="33408" LastEditDate="2023-04-04T01:00:36.373" LastActivityDate="2023-05-05T08:34:44.903" Title="Is SSD a safe replacement for HDD video storage?" Tags="|editing|file-formats|hardware|storage|ssd|" AnswerCount="2" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36341" PostTypeId="2" ParentId="36340" CreationDate="2023-04-04T09:04:56.190" Score="1" Body="&lt;p&gt;There's a &lt;em&gt;lot&lt;/em&gt; of technical data on this, if you research…&lt;/p&gt;&#xA;&lt;p&gt;In broad strokes, once you've disconnected it &amp;amp; put it on a shelf for long-term storage an HD will last a lot longer than an SSD.&lt;/p&gt;&#xA;&lt;p&gt;Here's one very simple citation from a reputable data recovery company [no tech details, you'd have to look up the research if you need more]&lt;br /&gt;&#xA;&lt;a href=&quot;http://www.datarecoveryspecialists.co.uk/blog/the-lifespan-of-hdds-vs-ssds&quot; rel=&quot;nofollow noreferrer&quot;&gt;Data Recovery Specialists - The lifespan of HDDs vs SSDs&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12233" LastActivityDate="2023-04-04T09:04:56.190" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36343" PostTypeId="1" AcceptedAnswerId="36344" CreationDate="2023-04-04T12:18:10.160" Score="0" ViewCount="23" Body="&lt;p&gt;I guess it is an After Effect text animation. Starts at 00:13&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/Cn8SzZEU8nM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;I did search a lot here, but did not found it: &lt;a href=&quot;https://motionarray.com/browse/after-effects-templates/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://motionarray.com/browse/after-effects-templates/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="17835" LastEditorUserId="4426" LastEditDate="2023-04-04T14:06:02.047" LastActivityDate="2023-04-04T14:06:02.047" Title="Which text animation is this?" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36344" PostTypeId="2" ParentId="36343" CreationDate="2023-04-04T13:59:58.200" Score="2" Body="&lt;p&gt;You don't need a template to do this.&lt;/p&gt;&#xA;&lt;p&gt;The font is a variation of Zolina according to WhatTheFont:&#xA;&lt;a href=&quot;https://www.myfonts.com/products/bold-zolina-7192&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.myfonts.com/products/bold-zolina-7192&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The animation is a series of masks revealing the text, and a stylised dot on the letter &amp;quot;i&amp;quot;.  The dot on the &amp;quot;i&amp;quot; is then rotated.&lt;/p&gt;&#xA;&lt;p&gt;Enter your text on a layer.&#xA;Make a new shape layer above it, and draw some paths such that the text is obscured. It might be easier to use a different colour, so you can check you have fully obscured the original text with your paths.&lt;/p&gt;&#xA;&lt;p&gt;Add a trim path to your shape layers, and animated the end of the trim paths, to make the shape layers grow over time.  You could trim all the paths at the same time, or animate them one by one:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/bVD6h.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bVD6h.gif&quot; alt=&quot;grab1&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Then set your text layer to be a Track Matte, using the shape layer you created above it:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Ha8g7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Ha8g7.png&quot; alt=&quot;grab2&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Do this for all your letters.&lt;/p&gt;&#xA;&lt;p&gt;Then after that, make a new shape layer for the dot on the &amp;quot;i&amp;quot;, and animate it like this - note the position of the anchor point to make the rotation move appropriately:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3xDWz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3xDWz.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-04-04T13:59:58.200" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36345" PostTypeId="1" CreationDate="2023-04-05T00:56:00.793" Score="1" ViewCount="89" Body="&lt;p&gt;I've switched from an RTX 3070 to an AMD Radeon Vega7 APU (4600G/5600G). I'm trying to tweak the ffmpeg parameters, so that the transcode output results in a similar quality AND file size. &lt;code&gt;hevc_vaapi&lt;/code&gt; with &lt;code&gt;-qp 25&lt;/code&gt; or greater results in worse quality and / or larger files.&lt;/p&gt;&#xA;&lt;p&gt;Why am i failing - and is it actually me who's failing? ;)&lt;/p&gt;&#xA;&lt;p&gt;Here are my command lines&lt;/p&gt;&#xA;&lt;p&gt;NVENC (edit: i've got these parameters from &lt;em&gt;EposVox&lt;/em&gt;'s GitHub scripts, look him up on YouTube, he knows what he's doing - i've altered them to support subtitles)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hwaccel auto -i &amp;quot;$1&amp;quot; -map 0:v -map 0:a -c:v hevc_nvenc -rc constqp -qp 24 -b:v 0K -c:a aac -b:a 256k -map 0:s -c:s copy &amp;quot;ff_out/$1.hevc_nvenc.qp24.mkv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;VAAPI&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -vaapi_device /dev/dri/renderD128 -hwaccel vaapi -i &amp;quot;$1&amp;quot; -map 0:v -map 0:a -vf 'format=nv12,hwupload' -c:v hevc_vaapi -qp 24 -c:a aac -b:a 256k -map 0:s -c:s copy &amp;quot;ff_out/$1.hevc_vaapi.qp24.mkv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and a directory listing for file size comparison&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-rw-rw-r-- 1 user user 1,8G Apr  2 04:01 eval2.mkv&#xA;-rw-rw-r-- 1 user user 374M Feb 16 18:17 eval2.mkv.hevc_nvenc.qp24.mkv&#xA;-rw-rw-r-- 1 user user 787M Apr  2 04:19 eval2.mkv.hevc_vaapi.qp20.mkv&#xA;-rw-rw-r-- 1 user user 709M Apr  2 04:33 eval2.mkv.hevc_vaapi.qp21.mkv&#xA;-rw-rw-r-- 1 user user 641M Apr  2 04:47 eval2.mkv.hevc_vaapi.qp22.mkv&#xA;-rw-rw-r-- 1 user user 522M Apr  2 05:01 eval2.mkv.hevc_vaapi.qp23.mkv&#xA;-rw-rw-r-- 1 user user 483M Apr  2 05:15 eval2.mkv.hevc_vaapi.qp24.mkv&#xA;-rw-rw-r-- 1 user user 443M Apr  2 05:48 eval2.mkv.hevc_vaapi.qp25.mkv&#xA;-rw-rw-r-- 1 user user 2,7G Apr  2 04:07 eval3.mkv&#xA;-rw-rw-r-- 1 user user 532M Feb 23 19:46 eval3.mkv.hevc_nvenc.qp24.mkv&#xA;-rw-rw-r-- 1 user user 1,5G Apr  2 04:23 eval3.mkv.hevc_vaapi.qp20.mkv&#xA;-rw-rw-r-- 1 user user 1,3G Apr  2 04:36 eval3.mkv.hevc_vaapi.qp21.mkv&#xA;-rw-rw-r-- 1 user user 1,2G Apr  2 04:49 eval3.mkv.hevc_vaapi.qp22.mkv&#xA;-rw-rw-r-- 1 user user 936M Apr  2 05:02 eval3.mkv.hevc_vaapi.qp23.mkv&#xA;-rw-rw-r-- 1 user user 851M Apr  2 05:15 eval3.mkv.hevc_vaapi.qp24.mkv&#xA;-rw-rw-r-- 1 user user 762M Apr  2 05:48 eval3.mkv.hevc_vaapi.qp25.mkv&#xA;-rw-rw-r-- 1 user user  15G Mär 28 06:49 eval4.mkv&#xA;-rw-rw-r-- 1 user user 5,7G Mär 28 07:05 eval4.mkv.hevc_nvenc.qp24.mkv&#xA;-rw-rw-r-- 1 user user 9,7G Apr  2 07:23 eval4.mkv.hevc_vaapi.qp24.mkv&#xA;-rw-rw-r-- 1 user user 8,7G Apr  2 08:15 eval4.mkv.hevc_vaapi.qp25.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I've tried varying the &lt;code&gt;-qp&lt;/code&gt; parameter and expected a similar file size.&lt;/p&gt;&#xA;" OwnerUserId="40953" LastActivityDate="2023-04-05T00:56:00.793" Title="ffmpeg QP: AMD Radeon (Vega7) hevc_vaapi results in lager files than hevc_nvenc - why?" Tags="|ffmpeg|transcoding|hevc|nvenc|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36346" PostTypeId="1" CreationDate="2023-04-05T08:14:15.090" Score="0" ViewCount="104" Body="&lt;p&gt;I observed a strange behavior while using the &lt;code&gt;select&lt;/code&gt; filter. In short, I'm using ffmpeg to detect frozen sections in a video, calculate the exact middle point of these sections, then using filters to extract image snapshots at these timestamps.&lt;/p&gt;&#xA;&lt;p&gt;The frames are selected with the &amp;quot;select&amp;quot; filter by comparing the timestamps with the desired position: &lt;code&gt;select=eq(t\,TIMESTAMP1)[+eq(...)]&lt;/code&gt;, which is supplemented with the &lt;code&gt;-vsync 0&lt;/code&gt; option to drop other frames.&lt;/p&gt;&#xA;&lt;p&gt;As you can see in the last two lines of the console output, the filter returned only 3 frames out of 6:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;/opt/ffmpeg/ffmpeg-4.4-amd64-static/ffmpeg -y -hide_banner -i &amp;quot;/tmp/in.mp4&amp;quot; -map 0:v:0 -an -vf 'select=eq(t\,30)+eq(t\,76.84)+eq(t\,104.32)+eq(t\,150.32)+eq(t\,290.6)+eq(t\,524.32)' -q:v 1 -vsync 0 -f image2 /tmp/%06d.jpg&#xA;&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/tmp/in.mp4':&#xA;  Metadata:&#xA;    major_brand     : M4V&#xA;    minor_version   : 1&#xA;    compatible_brands: M4V mp42isom&#xA;    creation_time   : 2014-10-02T11:59:55.000000Z&#xA;  Duration: 00:08:47.92, start: 0.000000, bitrate: 373 kb/s&#xA;  Stream #0:0(eng): Video: h264 (avc1 / 0x31637661), yuv420p(tv), 1024x768 [SAR 1:1 DAR 4:3], 371 kb/s, 25 fps, 25 tbr, 25k tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-10-02T11:59:55.000000Z&#xA;      handler_name    : Mainconcept MP4 Video Media Handler&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : AVC Coding&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; mjpeg (native))&#xA;Press [q] to stop, [?] for help&#xA;[swscaler @ 0x5556655cc480] deprecated pixel format used, make sure you did set range correctly&#xA;Output #0, image2, to '/tmp/%06d.jpg':&#xA;  Metadata:&#xA;    major_brand     : M4V&#xA;    minor_version   : 1&#xA;    compatible_brands: M4V mp42isom&#xA;    encoder         : Lavf58.76.100&#xA;  Stream #0:0(eng): Video: mjpeg, yuvj420p(pc, progressive), 1024x768 [SAR 1:1 DAR 4:3], q=2-31, 200 kb/s, 25 fps, 25 tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2014-10-02T11:59:55.000000Z&#xA;      handler_name    : Mainconcept MP4 Video Media Handler&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : Lavc58.134.100 mjpeg&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/200000 buffer size: 0 vbv_delay: N/A&#xA;frame=    3 fps=0.8 q=1.0 Lsize=N/A time=00:08:44.36 bitrate=N/A speed= 145x&#xA;video:209kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My intention was to extract these images in a single step, but if the filter solution proves to be unreliable, I'll stick to the &lt;code&gt;-ss [timestamp]&lt;/code&gt; option.&#xA;The question is, what causes FFmpeg to behave this way?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;EDIT:&lt;/strong&gt; There seems to be a correlation with the timestamps. When I drop the fractional parts of the timestamps, the command produces four (&lt;code&gt;4!!!&lt;/code&gt;) frames instead of three.&lt;/p&gt;&#xA;" OwnerUserId="11950" LastEditorUserId="11950" LastEditDate="2023-04-05T09:04:23.510" LastActivityDate="2023-04-05T09:04:23.510" Title="FFmpeg select filter does not return frames" Tags="|ffmpeg|video|filter|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36349" PostTypeId="2" ParentId="26327" CreationDate="2023-04-06T17:47:10.457" Score="0" Body="&lt;p&gt;I don't think there's a way to do this in Premiere that I can think of.&lt;/p&gt;&#xA;&lt;p&gt;I tried nesting a track, then masking it and tracking the mask, but it doesn't help: you can track mattes in Premiere, but there's no way to copy the keyframed data from one track to another, or convert it into position keyframes.&lt;/p&gt;&#xA;&lt;p&gt;If anyone can think of a work-around, I'd be interested to see it.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-04-06T17:47:10.457" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36350" PostTypeId="1" CreationDate="2023-04-07T01:50:17.200" Score="0" ViewCount="101" Body="&lt;p&gt;I have a 10 frame timelapse video (@ 1 fps = 10 seconds long). I would like to add additional frames between these 10 frames that blend between them (so the transitions aren't so jarring) and still keep the video to 10 seconds long.&lt;/p&gt;&#xA;" OwnerUserId="4762" LastActivityDate="2023-04-07T01:50:17.200" Title="How do you blend smoothly between frames of video with ffmpeg?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36351" PostTypeId="1" AcceptedAnswerId="36358" CreationDate="2023-04-07T06:44:26.063" Score="0" ViewCount="39" Body="&lt;p&gt;I'm trying to create a 3d animated video link this&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.veed.io/view/b19fbccb-2f97-405e-bb64-3d8ffc5e9401?sharingWidget=true&amp;amp;panel=share&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.veed.io/view/b19fbccb-2f97-405e-bb64-3d8ffc5e9401?sharingWidget=true&amp;amp;panel=share&lt;/a&gt;&lt;/p&gt;&#xA;&#xA;&lt;p&gt;I've researched and found the following:&#xA;Blender: Can be used for 3d modelling but it's more geared towards artists to create 3d artwork.&#xA;Solidworks: Parametric design software used for manufacturing.&lt;/p&gt;&#xA;&lt;p&gt;I did like what I saw in solidworks but found out it's to model products and used mostly for manufacturing.&lt;/p&gt;&#xA;&lt;p&gt;I understand there could be multiple softwares (like After Effects, Premier Pro) involved in making a video like this but I'm starting now and want to make a videos like these 6 months to 1 year for now. I don't want to learn a tool only to realise I need to learn something else.&lt;/p&gt;&#xA;" OwnerUserId="40960" LastEditorUserId="40960" LastEditDate="2023-04-07T06:59:40.233" LastActivityDate="2023-05-11T08:29:21.943" Title="Which software/s to create a video like this - 3d explainer video" Tags="|video|after-effects|3d|blender|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36352" PostTypeId="1" AcceptedAnswerId="36361" CreationDate="2023-04-07T10:21:07.043" Score="0" ViewCount="181" Body="&lt;p&gt;I'm creating a sprite sheet for my website which will be used as an animated background mask on a button hover. The only issue I'm having is creating the sprite sheet mask&lt;/p&gt;&#xA;&lt;p&gt;I have 297 720p images I want to put as one long line, so I am using ffmpeg's tile_complex&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i %04d.png -filter_complex tile=297x1 output.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I get this output, which basically says the image resolution is too high and therefore it can't encode&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Picture size 380160x720 is invalid&#xA;Error initializing output stream 0:0 -- Error while opening encoder for output stream #0:0 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;&lt;p&gt;For the buttons, I can descale the resolution a lot as they will appear small using this&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i %04d.png -vf scale=iw/6:-1 %04d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, with the title that appears large on the screen, I don't want a loss of quality&lt;/p&gt;&#xA;&lt;p&gt;I am following Kevin Powell's video on it: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/dldpud1PuL8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;The mask he uses he draws by hand, so he doesn't show how to take a pre-existing image sequence and use it&lt;/p&gt;&#xA;" OwnerUserId="40964" LastActivityDate="2023-04-09T11:24:14.627" Title="ffmpeg max resolution surpassed" Tags="|ffmpeg|encoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36353" PostTypeId="2" ParentId="36060" CreationDate="2023-04-07T11:48:30.737" Score="2" Body="&lt;p&gt;Seems like Excalibur is and is even more polished than FX console but not for free :&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://knightsoftheeditingtable.com/excalibur&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://knightsoftheeditingtable.com/excalibur&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40966" LastEditorUserId="40966" LastEditDate="2023-04-07T11:48:51.797" LastActivityDate="2023-04-07T11:48:51.797" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36354" PostTypeId="1" CreationDate="2023-04-07T19:33:18.600" Score="0" ViewCount="125" Body="&lt;p&gt;Each time I download a video from a &lt;a href=&quot;https://jsfiddle.net/thoughtassassin/dufke4y0/36/&quot; rel=&quot;nofollow noreferrer&quot;&gt;jsfiddle&lt;/a&gt; that I created the r_frame_rate is reported as 1000/1. However, I set the frameRate constraint to: { ideal: 30, max: 60}. When the stream object is logged in the console, the frame rate is 30.&lt;/p&gt;&#xA;&lt;p&gt;When I process the downloaded video with ffmpeg the output shows the r_frame_rate as 1000/1 when recorded on an M1 Macbook.&lt;/p&gt;&#xA;&lt;p&gt;This is the ffmpeg command that I am using:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -i &amp;lt;video input source here&amp;gt; -show_streams -of json &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40969" LastActivityDate="2023-04-07T19:33:18.600" Title="Why do I get a r_frame_rate of 1000/1 in ffmpeg for videos when using MediaRecorder to record getDisplayMedia?" Tags="|ffmpeg|framerate|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36355" PostTypeId="1" CreationDate="2023-04-08T05:19:00.377" Score="1" ViewCount="150" Body="&lt;p&gt;When I remux the transport stream (.ts file) of a satellite recording to mkv, file size shrinks considerably.&lt;/p&gt;&#xA;&lt;p&gt;Why is that ?&lt;br /&gt;&#xA;What is inside the .ts container that gets &amp;quot;lost&amp;quot; during remuxing ?&lt;/p&gt;&#xA;&lt;p&gt;For testing purposes, I recorded a few seconds of a TV satellite broadcast, resulting in a 4 MB .ts file. I then remuxed this file to .mkv, keeping all streams (1 video stream + 2 audio streams) and got a 3 MB .mkv file.&lt;br /&gt;&#xA;What accounts for the -25% difference in file size ?&lt;/p&gt;&#xA;&lt;p&gt;I can attach the files if needed.&#xA;No reencoding takes place.&lt;/p&gt;&#xA;" OwnerUserId="40972" LastEditorUserId="40972" LastEditDate="2023-04-11T03:20:38.547" LastActivityDate="2024-03-29T16:05:57.933" Title="Why has transport stream (TS) a much bigger file size than mkv?" Tags="|video|mkv|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36356" PostTypeId="1" CreationDate="2023-04-08T09:59:54.803" Score="1" ViewCount="86" Body="&lt;p&gt;How would I use the wiggle expression only on the y-axis?&lt;/p&gt;&#xA;&lt;p&gt;I'm using two sliders. The first for the frequency and the second for the amplitude.&lt;/p&gt;&#xA;&lt;p&gt;Here's my expression so far. This works but wiggles on both the x and y axis. I just want the y only. How would I ammend the expression below?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;wiggle(effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;),effect(&amp;quot;Slider Control 2&amp;quot;)(&amp;quot;Slider&amp;quot;))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;update:&lt;/p&gt;&#xA;&lt;p&gt;the following seems to work:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[position[0],wiggle(effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;),effect(&amp;quot;Slider Control 2&amp;quot;)(&amp;quot;Slider&amp;quot;))[1]] &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;any advice is still appreciated&lt;/p&gt;&#xA;&lt;p&gt;thanks.&lt;/p&gt;&#xA;" OwnerUserId="40974" LastEditorUserId="40974" LastEditDate="2023-04-08T13:56:01.420" LastActivityDate="2023-04-08T16:29:44.810" Title="How would I wiggle only on the y-axis when using wiggle with the slider expression control?" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36357" PostTypeId="2" ParentId="36356" CreationDate="2023-04-08T16:29:44.810" Score="1" Body="&lt;pre&gt;&lt;code&gt;amp = effect(&amp;quot;amplitude&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;freq = effect(&amp;quot;frequency&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;wiggle(freq, amp, octaves = 1, amp_mult = .5, t = time)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add sliders to the layer you want to wiggle. Call them &amp;quot;amp&amp;quot; and &amp;quot;freq&amp;quot;.&lt;/li&gt;&#xA;&lt;li&gt;Right click on the position control on the layer you want to wiggle.&lt;/li&gt;&#xA;&lt;li&gt;Select &amp;quot;separate dimensions&amp;quot;.  The x and y controls will now be seperate.&lt;/li&gt;&#xA;&lt;li&gt;Apply the expression above to whichever dimension you want to control.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sKYyb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sKYyb.png&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-04-08T16:29:44.810" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36358" PostTypeId="2" ParentId="36351" CreationDate="2023-04-09T06:55:43.823" Score="2" Body="&lt;p&gt;This could definitely be made using Blender. The text and lines could have been added using After Effects afterwards (Blender can do this too), but the 3D modelling would all be rendered in a 3D tool like Blender.&lt;/p&gt;&#xA;&lt;p&gt;It's free, you should give it a go.  Start by &lt;a href=&quot;https://www.youtube.com/watch?v=nIoXOplUvAw&amp;amp;list=PLjEaoINr3zgFX8ZsChQVQsuDSjEqdWMAD&amp;amp;index=1&amp;amp;ab_channel=BlenderGuru&quot; rel=&quot;nofollow noreferrer&quot;&gt;building a donut&lt;/a&gt; - it's a great set of free tutorials.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-04-09T06:55:43.823" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36359" PostTypeId="1" CreationDate="2023-04-09T09:40:27.217" Score="1" ViewCount="1843" Body="&lt;p&gt;I am using FFMpeg to compress a video to X265/HEVC. When I am doing it normally the converted video doesn't working on iPhone or iPad. But while I am using the tag - &amp;quot;-tag:v hvc1&amp;quot; in the command. Now the output video working fine. So what does the tag means? and what's the pros and cons of using this tag?&lt;/p&gt;&#xA;&lt;p&gt;Lastly, form where I can get these tags and command easily?&lt;/p&gt;&#xA;" OwnerUserId="40907" LastActivityDate="2023-04-09T16:46:12.370" Title="What does the tag &quot;-tag:v hvc1&quot; means?" Tags="|ffmpeg|video|compression|hevc|ios|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36360" PostTypeId="2" ParentId="36352" CreationDate="2023-04-09T11:04:54.690" Score="0" Body="&lt;p&gt;While ffmpeg is a powerful tool for video and image processing, it may not be the best option for creating sprite sheets with large image sequences due to the limitation you've encountered. However, there are other tools and libraries that can help you automate the process of creating sprite sheets without reducing the image resolution.&lt;/p&gt;&#xA;&lt;p&gt;One such tool is TexturePacker, which is a commercial software that allows you to create sprite sheets from image sequences, with the ability to customize the layout, compression, and other settings. TexturePacker also supports multiple output formats and can generate CSS code for easy integration with your website or application.&lt;/p&gt;&#xA;&lt;p&gt;Another option is to use a library like Phaser, which is an open-source game development framework that includes built-in support for sprite sheets. With Phaser, you can load your image sequence and automatically create a sprite sheet, which can be used to animate your game objects or as a background mask in CSS.&lt;/p&gt;&#xA;&lt;p&gt;If you prefer a command-line approach, you can use a scripting language like Python or Node.js to automate the process of creating sprite sheets. For example, you can use the Pillow library in Python to load and manipulate images, and then generate a sprite sheet using the Pygame library or a custom script. Similarly, you can use the Jimp library in Node.js to load and process images, and then generate a sprite sheet using a custom script.&lt;/p&gt;&#xA;&lt;p&gt;In summary, while ffmpeg may not be the best tool for creating sprite sheets with large image sequences, there are other options available that can help you automate the process without reducing the image resolution, such as TexturePacker, Phaser, or custom scripts using Python or Node.js.&lt;/p&gt;&#xA;" OwnerUserId="40964" LastActivityDate="2023-04-09T11:04:54.690" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36361" PostTypeId="2" ParentId="36352" CreationDate="2023-04-09T11:21:39.520" Score="0" Body="&lt;p&gt;Using jimp (js)&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-javascript prettyprint-override&quot;&gt;&lt;code&gt;const Jimp = require('jimp');&#xA;const path = require('path');&#xA;&#xA;async function createSpriteSheet(inputPath, frameCount, frameWidth, frameHeight, outputFilePath) {&#xA;  // Create a new image to hold the sprite sheet&#xA;  const spriteWidth = frameWidth * frameCount;&#xA;  const spriteHeight = frameHeight;&#xA;  const sprite = new Jimp(spriteWidth, spriteHeight);&#xA;&#xA;  // Iterate over the frames and append them to the sprite sheet&#xA;  for (let i = 0; i &amp;lt; frameCount; i++) {&#xA;    const framePath = path.join(inputPath, `frame_${i}.png`);&#xA;    const frame = await Jimp.read(framePath);&#xA;    sprite.blit(frame, i * frameWidth, 0);&#xA;  }&#xA;&#xA;  // Save the sprite sheet to disk&#xA;  await sprite.writeAsync(outputFilePath);&#xA;}&#xA;&#xA;// Example usage:&#xA;const inputPath = 'path/to/image/sequence';&#xA;const frameCount = 10;&#xA;const frameWidth = 1280;&#xA;const frameHeight = 720;&#xA;const outputFilePath = 'path/to/sprite_sheet.png';&#xA;&#xA;createSpriteSheet(inputPath, frameCount, frameWidth, frameHeight, outputFilePath);&#xA;&#xA;&#xA;// Example usage:&#xA;createSpriteSheet(10, 1280, 720, 'path/to/sprite_sheet.png');&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This code defines a function called createSpriteSheet that takes four arguments: frameCount, frameWidth, frameHeight, and outputFilePath. The frameCount argument specifies the number of frames in the image sequence, the frameWidth and frameHeight arguments specify the dimensions of each frame, and the outputFilePath argument specifies where to save the resulting sprite sheet.&lt;/p&gt;&#xA;&lt;p&gt;To use this function, simply call it with the appropriate arguments. In the example usage above, the function is called with frameCount set to 10, frameWidth set to 1280, frameHeight set to 720, and outputFilePath set to 'path/to/sprite_sheet.png'. You should replace these values with the actual dimensions and file paths of your image sequence.&lt;/p&gt;&#xA;" OwnerUserId="40964" LastEditorUserId="40964" LastEditDate="2023-04-09T11:24:14.627" LastActivityDate="2023-04-09T11:24:14.627" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36362" PostTypeId="1" CreationDate="2023-04-09T11:28:50.640" Score="1" ViewCount="189" Body="&lt;p&gt;I am trying to perform a video segmentation for background blurring similar to Google Meet or Zoom using FFmpeg, and I'm not very familiar with it.&lt;/p&gt;&#xA;&lt;p&gt;Google's MediaPipe model is available as a tensorflow .pb file &lt;a href=&quot;https://github.com/PINTO0309/PINTO_model_zoo/tree/main/082_MediaPipe_Meet_Segmentation&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt; (using &lt;code&gt;download_hhxwww.sh&lt;/code&gt;).&lt;/p&gt;&#xA;&lt;p&gt;I can load it in python and it works as expected, though I do need to format the input frames: scaling to the model input dimension, adding a batch dimension, dividing the pixel values by 255 to have a range 0-1.&lt;/p&gt;&#xA;&lt;p&gt;FFmpeg has a filter that can use tensorflow models thanks to &lt;a href=&quot;http://ffmpeg.org/ffmpeg-filters.html#dnn_005fprocessing-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;dnn_processing&lt;/a&gt;, but I'm wondering about these preprocessing steps. I tried to read the &lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/master/libavfilter/dnn/dnn_backend_tf.c&quot; rel=&quot;nofollow noreferrer&quot;&gt;dnn_backend_tf.c file in ffmpeg's github repo&lt;/a&gt;, but C is not my forte. I'm guessing it adds a batch dimension somewhere otherwise the model wouldn't run, but I'm not sure about the rest.&lt;/p&gt;&#xA;&lt;p&gt;Here is my current command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;    -i $FILE -filter_complex \&#xA;    &amp;quot;[0:v]scale=160:96,format=rgb24,dnn_processing=dnn_backend=tensorflow:model=$MODEL:input=input_1:output=segment[masks];[masks]extractplanes=2[mask]&amp;quot; \&#xA;    -map &amp;quot;[mask]&amp;quot; output.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I'm already applying a scaling to match the input dimension.&lt;/li&gt;&#xA;&lt;li&gt;I wrote this &lt;code&gt;[masks]extractplanes=2[mask]&lt;/code&gt; because the model outputs a HxWx2 tensor (background mask and foreground mask) and I want to keep the foreground mask.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;The result I get with this command is the following (input-output):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/udvBX.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/udvBX.jpg&quot; alt=&quot;Output example&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm not sure how to interpret the problems in this output. In python I can easily get a nice grayscale output:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wnqVkm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wnqVkm.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm trying to obtain something similar with FFmpeg.&lt;/p&gt;&#xA;&lt;p&gt;Any suggestion or insights to obtain a correct output with FFmpeg would be greatly appreciated.&lt;/p&gt;&#xA;&lt;p&gt;PS: If I try to apply this on a video file, it hits a Segmentation Fault somewhere before getting any output so I stick with testing on an image for now.&lt;/p&gt;&#xA;" OwnerUserId="40983" LastActivityDate="2023-04-09T11:28:50.640" Title="FFmpeg dnn_processing with tensorflow backend: difficulties applying a dnn filter on an image" Tags="|ffmpeg|filter|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36363" PostTypeId="2" ParentId="36359" CreationDate="2023-04-09T16:46:12.370" Score="3" Body="&lt;p&gt;The &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFMpeg document&lt;/a&gt; gave the idea of using the tag option with a FourCC code, and &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.265&quot; rel=&quot;nofollow noreferrer&quot;&gt;H.265/HEVC Video Encoding Guide&lt;/a&gt; gave the idea of &lt;em&gt;Final Cut and Apple stuff compatibility&lt;/em&gt;. The hvc1 is defined to support Apple devices.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2023-04-09T16:46:12.370" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36366" PostTypeId="1" CreationDate="2023-04-11T14:59:39.913" Score="0" ViewCount="297" Body="&lt;p&gt;I have a video file that contains 4 streams, 3 videos streams and one steam for metadata.&lt;/p&gt;&#xA;&lt;p&gt;Stream Info:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, matroska,webm, from 'output_master.mkv':&#xA;Metadata:&#xA;title           : Azure Kinect&#xA;encoder         : libmatroska-1.4.9&#xA;creation_time   : 2021-05-20T12:11:15.000000Z&#xA;K4A_DEPTH_DELAY_NS: 0&#xA;K4A_WIRED_SYNC_MODE: MASTER&#xA;K4A_COLOR_FIRMWARE_VERSION: 1.6.110&#xA;K4A_DEPTH_FIRMWARE_VERSION: 1.6.79&#xA;K4A_DEVICE_SERIAL_NUMBER: 000123102712&#xA;K4A_START_OFFSET_NS: 298800000&#xA;Duration: 00:00:40.03, start: 0.000000, bitrate: 480934 kb/s&#xA;&#xA;Stream #0:0(eng): Video: mjpeg (Baseline) (MJPG / 0x47504A4D), yuvj422p(pc, bt470bg/unknown/unknown), 2048x1536, SAR 1:1 DAR 4:3, 30 fps, 30 tbr, 1000k tbn (default)&#xA;Metadata:&#xA;  title           : COLOR&#xA;  K4A_COLOR_TRACK : 14499183330009048&#xA;  K4A_COLOR_MODE  : MJPG_1536P&#xA;Stream #0:1(eng): Video: rawvideo (b16g / 0x67363162), gray16be, 640x576, SAR 1:1 DAR 10:9, 30 fps, 30 tbr, 1000k tbn (default)&#xA;Metadata:&#xA;  title           : DEPTH&#xA;  K4A_DEPTH_TRACK : 429408169412322196&#xA;  K4A_DEPTH_MODE  : NFOV_UNBINNED&#xA;Stream #0:2(eng): Video: rawvideo (b16g / 0x67363162), gray16be, 640x576, SAR 1:1 DAR 10:9, 30 fps, 30 tbr, 1000k tbn (default)&#xA;Metadata:&#xA;  title           : IR&#xA;  K4A_IR_TRACK    : 194324406376800992&#xA;  K4A_IR_MODE     : ACTIVE&#xA;Stream #0:3: Attachment: none&#xA;Metadata:&#xA;  filename        : calibration.json&#xA;  mimetype        : application/octet-stream&#xA;  K4A_CALIBRATION_FILE: calibration.json&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I am using this command to extract the first stream:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i output_master.mkv -c copy  -map 0:v:0 out_1.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For the other two streams, I am using this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i output_master.mkv -c:v ffv1 -pix_fmt gray16be -allow_raw_vfw 1 -map 0:v:1 out_2.mkv&#xA;ffmpeg -i output_master.mkv -c:v ffv1 -pix_fmt gray16be -allow_raw_vfw 1 -map 0:v:2 out_3.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I do not know if I am using the right commands to extracting the video streams.&lt;/p&gt;&#xA;" OwnerUserId="41000" LastActivityDate="2023-04-11T14:59:39.913" Title="Extracting multiple video streams using FFmpeg" Tags="|ffmpeg|video-editor|windows|libx264|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36368" PostTypeId="1" CreationDate="2023-04-12T09:58:35.140" Score="0" ViewCount="47" Body="&lt;p&gt;Trying to convert a directory of jpeg2000 grayscale images to a video with ffmpeg, I get warnings&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[0;36m[jpeg2000 @ 0x55d8fa1b68c0] [0m[0;33mEnd mismatch 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;(and lots of&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Last message repeated &amp;lt;N&amp;gt; times&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;)&lt;/p&gt;&#xA;&lt;p&gt;The command was&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -r 10 -start_number 1 -i &amp;lt;PATH&amp;gt;/surface_30///img_000%01d.jp2 -vcodec msmpeg4 -vf scale=1920:-1 -q:v 8 &amp;lt;PATH&amp;gt;//surface_30///surface_30.avi&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The output is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.2.2 Copyright (c) 2000-2019 the FFmpeg developers&#xA;  built with gcc 7.3.0 (crosstool-NG 1.23.0.449-a04d0)&#xA;  configuration: --prefix=/home/jklebes001/miniconda3 --cc=/tmp/build/80754af9/ffmpeg_1587154242452/_build_env/bin/x86_64-conda_cos6-linux-gnu-cc --disable-doc --enable-avresample --enable-gmp --enable-hardcoded-tables --enable-libfreetype --enable-libvpx --enable-pthreads --enable-libopus --enable-postproc --enable-pic --enable-pthreads --enable-shared --enable-static --enable-version3 --enable-zlib --enable-libmp3lame --disable-nonfree --enable-gpl --enable-gnutls --disable-openssl --enable-libopenh264 --enable-libx264&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;[0;36m[jpeg2000 @ 0x55cb44144480] [0m[0;33mEnd mismatch 1&#xA;&#xA;[0m    Last message repeated 1 times&#xA;    Last message repeated 2 times&#xA;    Last message repeated 3 times&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;...&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Last message repeated 73 times&#xA;&#xA;Input #0, image2, from '&amp;lt;PATH&amp;gt;//surface_30///img_000%01d.jp2':&#xA;&#xA;  Duration: 00:00:00.20, start: 0.000000, bitrate: N/A&#xA;&#xA;    Stream #0:0: Video: jpeg2000, gray, 6737x4869, 25 tbr, 25 tbn, 25 tbc&#xA;&#xA;Stream mapping:&#xA;&#xA;  Stream #0:0 -&amp;gt; #0:0 (jpeg2000 (native) -&amp;gt; msmpeg4v3 (msmpeg4))&#xA;&#xA;Press [q] to stop, [?] for help&#xA;&#xA;[0;36m[jpeg2000 @ 0x55cb4418e200] [0m[0;33mEnd mismatch 1&#xA;&#xA;[0m[0;36m[jpeg2000 @ 0x55cb441900c0] [0m[0;33mEnd mismatch 1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;...&lt;/p&gt;&#xA;&lt;p&gt;(about 600 lines of &amp;quot;end mismatch&amp;quot; and &amp;quot;last message repeated&amp;quot; cut)&lt;/p&gt;&#xA;&lt;p&gt;...&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[0m[0;36m[jpeg2000 @ 0x55cb4418e8c0] [0m[0;33mEnd mismatch 1&#xA;&#xA;[0mOutput #0, avi, to '&amp;lt;PATH&amp;gt;/surface_30///surface_30.avi':&#xA;&#xA;  Metadata:&#xA;&#xA;    ISFT            : Lavf58.29.100&#xA;&#xA;    Stream #0:0: Video: msmpeg4v3 (msmpeg4) (MP43 / 0x3334504D), yuv420p, 1920x1388, q=2-31, 200 kb/s, 10 fps, 10 tbn, 10 tbc&#xA;&#xA;    Metadata:&#xA;&#xA;      encoder         : Lavc58.54.100 msmpeg4&#xA;&#xA;    Side data:&#xA;&#xA;      cpb: bitrate max/min/avg: 0/0/200000 buffer size: 0 vbv_delay: -1&#xA;&#xA;frame=    2 fps=0.8 q=8.0 size=       6kB time=00:00:00.20 bitrate= 227.1kbits/s speed=0.0844x    &#xA;frame=    5 fps=1.7 q=8.0 size=       6kB time=00:00:00.50 bitrate=  90.8kbits/s speed=0.172x    &#xA;frame=    5 fps=1.7 q=8.0 Lsize=     213kB time=00:00:00.50 bitrate=3494.7kbits/s speed=0.172x    &#xA;video:208kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 2.732246%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What is the meaning of characters like [0;33m here?&lt;/p&gt;&#xA;&lt;p&gt;I thought it might have something to do with bit depth and color format.  Setting &lt;code&gt;-pix_fmt gray&lt;/code&gt; had no effect, and indeed the format of the jp2 images is already detected as 8-bit gray.&lt;/p&gt;&#xA;&lt;p&gt;The output .avi exists and seems fine.&lt;/p&gt;&#xA;&lt;p&gt;The line was previously used on jpeg files and works fine on jpeg.  With jpeg, the output has the line&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, image2, from '&amp;lt;PATH&amp;gt;/surface_30///img_000%01d.jpeg':&#xA;&#xA;  Duration: 00:00:00.16, start: 0.000000, bitrate: N/A&#xA;&#xA;    Stream #0:0: Video: mjpeg (Baseline), gray(bt470bg/unknown/unknown), 6737x4869 [SAR 1:1 DAR 6737:4869], 25 tbr, 25 tbn, 25 tbc&#xA;&#xA;Stream mapping:&#xA;&#xA;  Stream #0:0 -&amp;gt; #0:0 (mjpeg (native) -&amp;gt; msmpeg4v3 (msmpeg4))&#xA;&#xA;Press [q] to stop, [?] for help&#xA;&#xA;Output #0, avi, to '&amp;lt;PATH&amp;gt;/surface_30///surface_30.avi':&#xA;&#xA;  Metadata:&#xA;&#xA;    ISFT            : Lavf58.29.100&#xA;&#xA;    Stream #0:0: Video: msmpeg4v3 (msmpeg4) (MP43 / 0x3334504D), yuv420p, 6737x4869 [SAR 1:1 DAR 6737:4869], q=2-31, 200 kb/s, 10 fps, 10 tbn, 10 tbc&#xA;&#xA;    Metadata:&#xA;&#xA;      encoder         : Lavc58.54.100 msmpeg4&#xA;&#xA;    Side data:&#xA;&#xA;      cpb: bitrate max/min/avg: 0/0/200000 buffer size: 0 vbv_delay: -1&#xA;&#xA;frame=    2 fps=0.0 q=8.0 size=    6662kB time=00:00:00.20 bitrate=272859.9kbits/s speed=0.334x    &#xA;frame=    3 fps=2.2 q=10.0 size=   10502kB time=00:00:00.30 bitrate=286764.2kbits/s speed=0.22x    &#xA;frame=    4 fps=1.9 q=12.3 size=   13574kB time=00:00:00.40 bitrate=277987.7kbits/s speed=0.19x    &#xA;frame=    4 fps=1.4 q=12.3 size=   13574kB time=00:00:00.40 bitrate=277987.7kbits/s speed=0.145x    &#xA;frame=    4 fps=1.4 q=12.3 Lsize=   13657kB time=00:00:00.40 bitrate=279702.3kbits/s speed=0.145x    &#xA;video:13652kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.041926%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;detecting mjpeg format and similar, but more detailed format &lt;code&gt;gray(bt470bg/unknown/unknown), 6737x4869 [SAR 1:1 DAR 6737:4869].&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;What is the difference when switching input from jpeg to jp2?&lt;/p&gt;&#xA;" OwnerUserId="41009" LastActivityDate="2023-04-12T09:58:35.140" Title="ffmpeg &quot;end mismatch&quot; warning, jpeg2000 to video" Tags="|ffmpeg|jpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36370" PostTypeId="1" CreationDate="2023-04-13T10:56:37.260" Score="0" ViewCount="48" Body="&lt;p&gt;I am new to video editing. I am trying to use layers, transparency and masks in order to achieve the following:&lt;/p&gt;&#xA;&lt;p&gt;I want to have a opaque background with a shape, say a circle, that would be transparent and show some video in it, e.g. someone presenting a given topic.&lt;/p&gt;&#xA;&lt;p&gt;I am not sure how to go about implementing this with iMovie. Is it possible at all? If not, what other software could achieve this? Also, what is the appropriate vocabulary/lingo that corresponds to what I am describing?&lt;/p&gt;&#xA;" OwnerUserId="41015" LastActivityDate="2023-04-13T10:56:37.260" Title="Using masks and transparency" Tags="|mask|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36371" PostTypeId="1" CreationDate="2023-04-13T15:34:00.730" Score="0" ViewCount="22" Body="&lt;p&gt;Sorry I know nothing about cameras/recording. I'd like to maximize the video-quality given my current situation, and also appreciate any basic tips for next time!&lt;/p&gt;&#xA;&lt;p&gt;I have an iPhone 14, and I recorded some overhead footage of piano-playing, at 0.5x zoom. The problem at the time was that 1x zoom was slightly too zoomed in, so I made it 0.5x zoom when recording. In hindsight, I feel I should have manually zoomed in to about 0.9x or something (am I right about this, or does it not even matter?).&lt;/p&gt;&#xA;&lt;p&gt;So now I have a 0.5x zoom HDR video, and I want to edit it in a video-editor, and I would like to know what's the best I can do to improve the situation. Should I edit the video's zoom on my iPhone before giving it to my video-editor? Or is that the same effect as zooming it in my video-editor?&lt;/p&gt;&#xA;" OwnerUserId="41022" LastActivityDate="2023-04-13T15:34:00.730" Title="I've already recorded my iphone video at a non-ideal zoom - anything I can do to make the best of the situation?" Tags="|scale|iphone|zoom|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36372" PostTypeId="1" CreationDate="2023-04-13T23:08:09.843" Score="1" ViewCount="19" Body="&lt;p&gt;I'm filming a relatively low budget horror film with a few friends, so we don't have any fancy equipment for this. The shot is supposed to be a guy driving then suddenly swerving the car off the road, maybe into a tree or, even better, ending upside down. Is there a good looking way to do this?&lt;/p&gt;&#xA;" OwnerUserId="41026" LastActivityDate="2023-04-14T00:57:03.510" Title="How can I simulate a single car crash without ruining a vehicle?" Tags="|recording|budget|field-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36373" PostTypeId="2" ParentId="36372" CreationDate="2023-04-14T00:57:03.510" Score="1" Body="&lt;p&gt;If you can record at 5× the normal frame rate, using a 1/25&lt;sup&gt;th&lt;/sup&gt; scale model car will look somewhat realistic.&#xA;Things that roll over or bounce, or even fall off a cliff, will appear correct.&lt;/p&gt;&#xA;&lt;p&gt;Yes, it will still look fake and cheesy, but perhaps that's what you want.&lt;/p&gt;&#xA;" OwnerUserId="40609" LastActivityDate="2023-04-14T00:57:03.510" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36374" PostTypeId="1" CreationDate="2023-04-14T05:38:23.287" Score="0" ViewCount="50" Body="&lt;p&gt;I understand that a LUT is roughly a structure which converts every pixel of an image from RGB(r1,g1,b1) to RGB(r2,g2,b2) which means that it executes a color transformation.&lt;/p&gt;&#xA;&lt;p&gt;I have a field monitor which can use external LUTs but provides only a few build in grids. I would like to use my own grids like user defined aspect ratio borders, dynamic symmetry lines etc.&lt;/p&gt;&#xA;&lt;p&gt;I wonder if there is a way to provide these grid lines via a LUT, like merge some lines drawn on an alpha channel layer and merge it to an image or something like that.&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="32019" LastActivityDate="2023-04-14T05:38:23.287" Title="Can I create an LUT which provides solid lines?" Tags="|lut|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36375" PostTypeId="1" CreationDate="2023-04-14T10:29:44.863" Score="0" ViewCount="32" Body="&lt;p&gt;I'm searching for a way to very quickly and efficiently trim and Cut my raw video material without the need to re-encode.&lt;/p&gt;&#xA;&lt;p&gt;My raw material mostly consists of a big number of clips from my Drone for example. The purpose is to throw away all really trashy parts, e.g. when trying to setup the correct angle / shot or purely flying the Drone around --&amp;gt; Just to save storage, directly while viewing the material after coming home from a shoot.&lt;/p&gt;&#xA;&lt;p&gt;Doing it in Premiere is quick and easy, has very nice shortcuts, very straight forward, but requires lengthy encoding times while exporting to a new .mp4 file. Maybe I'm missing something and this can be done easily to just pass-through the original videostream in trimmed version? If no, the other option I know of, is the software &amp;quot;LosslessCut&amp;quot;. It is great and convenient - but rather for single video files. It's a bit time consuming to open up each and every video file on its own, ending up with strangely named splitfiles etc etc...&lt;/p&gt;&#xA;&lt;p&gt;Do you know another better way doing so?&lt;/p&gt;&#xA;" OwnerUserId="41027" LastEditorUserId="674" LastEditDate="2023-04-18T18:23:20.600" LastActivityDate="2023-04-18T18:23:20.600" Title="Fast pass-through Trimming/Cutting of Videos without re-encoding" Tags="|software-recommendation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36376" PostTypeId="1" AcceptedAnswerId="36377" CreationDate="2023-04-15T19:46:13.063" Score="1" ViewCount="239" Body="&lt;p&gt;I tried to run the following code, but it didn't work.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex [0:v]drawbox=x=100:y=100:w=100:h=100:color='r=66-ceil(48*Y/H):g=74-ceil(59*Y/H):b=199-ceil(72*Y/H)':t=fill -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Please teach me how to overlay a rectangular shape with a vertical gradient onto a video, with a constant duration.&lt;br /&gt;&#xA;I mean that I want to place an image similar to the one shown below over a video.&lt;br /&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/xY1xT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xY1xT.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41032" LastEditorUserId="41032" LastEditDate="2023-04-15T19:53:33.997" LastActivityDate="2023-04-20T10:00:31.840" Title="How to dynamically set the color of a box using rgba in 'drawbox' in ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36377" PostTypeId="2" ParentId="36376" CreationDate="2023-04-16T08:54:10.733" Score="1" Body="&lt;p&gt;geq, overlay&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -lavfi &amp;quot;&#xA;color=black:size=100x100,geq=r=0:g=0:b='lerp(255,127,Y/H)'[o];&#xA;[0:v][o]overlay=100:100:shortest=1&#xA;&amp;quot; -y out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;drawtext, geq, overlay&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;in 1.mp4&amp;quot; -lavfi &amp;quot;&#xA;color=black@0:size=1280x720,&#xA;drawtext=text='Some text'&#xA;:box=1&#xA;:boxborderw=30&#xA;:boxcolor=blue&#xA;:borderw=5&#xA;:bordercolor=red&#xA;:fontsize=h/4&#xA;:fontcolor=white&#xA;:x=(w-text_w)/2&#xA;:y=(h-text_h)/2,&#xA;format=rgba,geq=&#xA;r='if(eq(r(X,Y),0)*eq(g(X,Y),0)*eq(b(X,Y),255),0,r(X,Y))'&#xA;:g='if(eq(r(X,Y),0)*eq(g(X,Y),0)*eq(b(X,Y),255),0,g(X,Y))'&#xA;:b='if(eq(r(X,Y),0)*eq(g(X,Y),0)*eq(b(X,Y),255),lerp(63,255,Y/H),b(X,Y))'&#xA;:a='if(eq(r(X,Y),0)*eq(g(X,Y),0)*eq(b(X,Y),0),0,255)'[t];&#xA;[0][t]overlay=(W-w)/2:(H-h)/2&#xA;&amp;quot; -c:a copy out.mp4 -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40740" LastEditorUserId="40740" LastEditDate="2023-04-20T10:00:31.840" LastActivityDate="2023-04-20T10:00:31.840" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="36378" PostTypeId="1" CreationDate="2023-04-16T13:47:34.840" Score="0" ViewCount="49" Body="&lt;p&gt;I am outputting a HDMI signal from my camera Canon EOS M50, capturing it with HD60X game capture.&lt;/p&gt;&#xA;&lt;p&gt;In OBS, it appears cropped and with wrong aspect ratio, Why?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wcT1o.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wcT1o.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Pressing info to get rid of info icons, still no cake:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DnNwc.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DnNwc.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The camera is set to filming mode&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IcHAF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IcHAF.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;with resolution 1920x1080&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/6B44q.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6B44q.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is also how I setup OBS&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vPDIa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vPDIa.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="21523" LastEditorUserId="21523" LastEditDate="2023-04-16T14:10:27.017" LastActivityDate="2023-04-16T14:10:27.017" Title="HD60X Game capture getting wrong aspect ratio from Canon EOS M50" Tags="|canon|obs|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36380" PostTypeId="1" CreationDate="2023-04-17T08:55:57.680" Score="1" ViewCount="68" Body="&lt;p&gt;How can you access Premiere's local transcription engine outside of Premiere? Is there CLI access? I want the raw (hopefully JSON) data for analysis and additional per-word processing with time codes.&lt;/p&gt;&#xA;" OwnerUserId="27348" LastActivityDate="2023-04-17T08:55:57.680" Title="Premiere Pro offline transcription engine via CLI?" Tags="|premiere|audio|transcription|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36382" PostTypeId="1" CreationDate="2023-04-17T20:23:30.617" Score="0" ViewCount="257" Body="&lt;p&gt;How can I enable the blue animation handles in &lt;code&gt;Effect Controls&lt;/code&gt; in order to be able to shorten my sequence without breaking animation keyframes?&lt;/p&gt;&#xA;&lt;p&gt;See also: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ocAXOTDzSD0?start=328&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="18846" LastActivityDate="2023-04-18T09:13:05.647" Title="How to enable blue animation handles in Adobe Premiere Pro?" Tags="|premiere|animation|adobe|keyframes|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36383" PostTypeId="2" ParentId="36382" CreationDate="2023-04-17T22:12:07.547" Score="2" Body="&lt;p&gt;You can't do this to an entire sequence - it's done to individual graphics items within your sequence.&lt;/p&gt;&#xA;&lt;p&gt;You can adjust the intro and outro times in the Responsive Design - Time section of the Essential Graphics panel:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/responsive-design-features.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/using/responsive-design-features.html&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It's not totally obvious, but to get access to the &amp;quot;Responsive Design - Time&amp;quot; section in the Essential Graphics Panel, you need to select the keyframes you've made in the Vector Motion section of your graphic, otherwise you won't be presented with those options.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2023-04-18T09:13:05.647" LastActivityDate="2023-04-18T09:13:05.647" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36385" PostTypeId="1" AcceptedAnswerId="36386" CreationDate="2023-04-18T19:36:30.963" Score="0" ViewCount="20" Body="&lt;p&gt;So this is a bit of an odd usage scenario even for AfterEffects, but I wanted to see if it might be possible. Short version, I have a path that I made with the Pen tool, whose anchor points are parents to nulls, with a Round Corners effect applied.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to get another object to animate along a path set up like this?&lt;/p&gt;&#xA;&lt;p&gt;The only way I know of to get an object to animate along a path is to copy the path itself and paste it onto the Position property of the object I want to animate. That isn't working with this setup, and neither is trying to drag the parent pickwhip from the object's Position property to the Path property of the path layer.&lt;/p&gt;&#xA;&lt;p&gt;Failing that, I'm out of ideas. Is what I'm describing even possible?&lt;/p&gt;&#xA;" OwnerUserId="41057" OwnerDisplayName="tnpir4002" LastActivityDate="2023-04-19T09:34:24.803" Title="AE2023: Parent object to null-parented path with round corners?" Tags="|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36386" PostTypeId="2" ParentId="36385" CreationDate="2023-04-19T09:03:40.127" Score="0" Body="&lt;p&gt;This isn't easily modifiable but should work:&lt;/p&gt;&#xA;&lt;p&gt;Make the shape path&lt;/p&gt;&#xA;&lt;p&gt;Round the corners&lt;/p&gt;&#xA;&lt;p&gt;Make the stroke width as thin as possible but visible&lt;/p&gt;&#xA;&lt;p&gt;Select Layer --&amp;gt; AutoTrace, and AutoTrace the shape, being sure to set all the tolerances very low, so the traced version closely fits your original rounded path.&lt;/p&gt;&#xA;&lt;p&gt;After tracing, you will have a new layer containing some masks.  Make sure there's only one mask - find the right one that best matches your shape.  Delete any extra ones that appear that are not needed.&lt;/p&gt;&#xA;&lt;p&gt;Copy the mask keyframe.&lt;/p&gt;&#xA;&lt;p&gt;Select the new object that you want to move along the path.  Give it one position keyframe.&lt;/p&gt;&#xA;&lt;p&gt;Paste your mask keyframes onto the position keyframe of your second object.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2023-04-19T09:34:24.803" LastActivityDate="2023-04-19T09:34:24.803" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36387" PostTypeId="2" ParentId="35107" CreationDate="2023-04-20T06:41:11.047" Score="0" Body="&lt;p&gt;The answer is contained in this SE answer &lt;a href=&quot;https://unix.stackexchange.com/a/388148/551103&quot;&gt;https://unix.stackexchange.com/a/388148/551103&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You use two &lt;code&gt;-ss.&lt;/code&gt; Before the input: &lt;code&gt;-ss ${starting_timestamp_minus_10s}&lt;/code&gt;. After the input: &lt;code&gt;-ss 10&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;i.e.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -ss ${starting_timestamp_minus_10s} -i input_file -ss 10 output_file&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="37958" LastEditorUserId="37958" LastEditDate="2023-04-20T06:47:38.270" LastActivityDate="2023-04-20T06:47:38.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36388" PostTypeId="1" CreationDate="2023-04-20T08:18:25.187" Score="0" ViewCount="29" Body="&lt;p&gt;I captured a video with dual screen.&#xA;In File-&amp;gt;Settings-&amp;gt;Video there is Base (Canvas) Resolution 3840x1080 and Output (Scaled) Resolution 3840x1080.&#xA;In the Sources there is &lt;code&gt;Display Capture&lt;/code&gt; 1920x1080 and &lt;code&gt;Display Capture 2&lt;/code&gt; 1920x1080.&lt;/p&gt;&#xA;&lt;p&gt;After recording before saving it has written something with &lt;code&gt;... overloaded ...&lt;/code&gt; and the resulting video is missing some information (like every second, or third frame is dropped), so I can't see parts of a video.&lt;/p&gt;&#xA;&lt;p&gt;Can I fix this?&lt;/p&gt;&#xA;" OwnerUserId="41062" LastActivityDate="2023-04-22T08:47:55.763" Title="OBS studio - missing video parts after recording" Tags="|obs|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36389" PostTypeId="2" ParentId="7267" CreationDate="2023-04-20T11:01:55.893" Score="1" Body="&lt;p&gt;&lt;strong&gt;TLDR&lt;/strong&gt;: Increase the Shutter Angle&lt;/p&gt;&#xA;&lt;p&gt;I came across this (or similar problem) as I was using Transform on an adjustment layer to scale and alter the position of footage. One of the benefits of the Transform effect over the Motion effect is that it seems to scale text better - due to the Sampling option I imagine.&lt;/p&gt;&#xA;&lt;p&gt;However I was getting really jerky results. I discovered increasing the Shutter Angle solved this. I used a value of 90 but lower might be fine as well depending on the speed of the transform you are performing.&lt;/p&gt;&#xA;" OwnerUserId="41063" LastActivityDate="2023-04-20T11:01:55.893" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36390" PostTypeId="1" CreationDate="2023-04-20T13:02:13.293" Score="1" ViewCount="224" Body="&lt;p&gt;I have the following expression on the position of a layer that makes it follow another layer(FollowNull). Basically, I set an initial position with a PointController and the expression does it's magic.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;s = effect(&amp;quot;Speed&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;p1 = effect(&amp;quot;InitialPosition&amp;quot;)(&amp;quot;Point&amp;quot;);&#xA;p2 = thisComp.layer(&amp;quot;FollowNull&amp;quot;).transform.position;&#xA;d = (length(p1,p2))/s;&#xA;t = (time - inPoint)%d;&#xA;&#xA;linear(t, 0, d, p1, p2);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The problem is when I actually start moving (keyframing) the FollowNull layer, the speed changes. I'm assuming it is because the distance between both layers is only calculated once, so the travel time stays the same, even if one layer is going away from the other.&lt;/p&gt;&#xA;&lt;p&gt;Any idea how I can fix this behaviour?&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="41065" LastEditorUserId="41065" LastEditDate="2023-04-20T15:09:48.330" LastActivityDate="2024-01-16T17:05:55.763" Title="Making an After Effects layer follow another one at constant speed" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36391" PostTypeId="1" CreationDate="2023-04-20T16:31:48.343" Score="0" ViewCount="23" Body="&lt;p&gt;this is my first post here:&lt;/p&gt;&#xA;&lt;p&gt;I have several homemade, simple Bluray PAL SD Video iso files without menus. They are converted from PAL DV to mpeg2video and PCM audio to .mts and with tsMuxer to Bluray.iso. Duration playtime on each BD-R DL 50 GB disc is about 3.0 - 3.5 hours.&lt;/p&gt;&#xA;&lt;p&gt;Instead of making DVD video options also from scratch, I wonder if it easier/possible to convert the SD-BD M2TS files to compliant target DVD video?&lt;/p&gt;&#xA;&lt;p&gt;I would be thankful for suggestions on using ffmpeg procedures for this.&lt;/p&gt;&#xA;&lt;p&gt;Inspecting a typical SD-BD-video.m2ts by mounting the iso:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mount SD-BD_DV58_09+DV59+DV60.iso /mnt2&#xA;mount: /mnt2: WARNING: source write-protected, mounted read-only.&#xA;&#xA;ls -lh /mnt2/BDMV/STREAM&#xA;total 36G&#xA;-r--r--r-- 1 nobody nobody 36G Apr 16 18:58 00000.m2ts&#xA;&#xA;ffprobe -hide_banner /mnt2/BDMV/STREAM/00000.m2ts&#xA;Input #0, mpegts, from '/mnt2/BDMV/STREAM/00000.m2ts':&#xA;  Duration: 03:00:12.12, start: 4200.000000, bitrate: 28013 kb/s&#xA;  Program 1&#xA;  Stream #0:0[0x1011]: Video: mpeg2video (Main) (HDMV / 0x564D4448), yuv420p(tv, bottom first), 720x576 [SAR 16:15 DAR 4:3], 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 25000000/0/0 buffer size: 28000256 vbv_delay: N/A&#xA;  Stream #0:1[0x1100]: Audio: pcm_bluray (HDMV / 0x564D4448), 48000 Hz, stereo, s16, 1536 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Thanks&#xA;Terje J. Hanssen&lt;/p&gt;&#xA;" OwnerUserId="41067" LastActivityDate="2023-04-20T16:31:48.343" Title="How to convert SD-BD Video to DVD Video?" Tags="|ffmpeg|video|dvd|bluray|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36392" PostTypeId="1" CreationDate="2023-04-20T19:13:24.430" Score="0" ViewCount="115" Body="&lt;p&gt;I would like to overlay a text and an image in a video. I know how to overlay text and an image.&#xA;The problem is the text is not fixed, e.g “Sad, “Happy,” “Excited,” etc. I need to show an image right next to the text.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to save the width of the text (&lt;code&gt;text_w&lt;/code&gt;) and use it in overlay for displaying image?&lt;/p&gt;&#xA;&lt;p&gt;Something like&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i out.mp4 -i image.jpg -filter_complex \&#xA;  &amp;quot;[0:v][1:v] overlay=(main_w-overlay_w)/2+text_w:(main_h-overlay_h)/2:enable='between(t,0,20)'&amp;quot; \&#xA;  -pix_fmt yuv420p -c:a copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="41068" LastEditorUserId="18155" LastEditDate="2023-04-26T07:23:48.670" LastActivityDate="2024-01-21T09:08:41.000" Title="Displaying an image next to a text using ffmpeg" Tags="|ffmpeg|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36393" PostTypeId="2" ParentId="36392" CreationDate="2023-04-21T07:38:26.260" Score="0" Body="&lt;p&gt;Hard way with 3 steps. Used scale2ref, drawtext, imagemagick trim, xstack, overlay&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;f=&amp;quot;input.mp4&amp;quot;&#xA;l=&amp;quot;logo.png&amp;quot;&#xA;t=&amp;quot;/tmp/text.png&amp;quot;&#xA;o=&amp;quot;/tmp/output.mp4&amp;quot;&#xA;&#xA;ffmpeg -i &amp;quot;$l&amp;quot; -lavfi &amp;quot;&#xA;color=black@0,format=rgba[b];&#xA;[b][0]scale2ref=3*ih:ih[b][v];&#xA;[v]nullsink;&#xA;[b]setsar=1,&#xA;drawtext=text='Some text'&#xA;:borderw=2&#xA;:bordercolor=red&#xA;:fontsize=h/4&#xA;:fontcolor=white&#xA;:x=(w-tw)/2&#xA;:y=(h-th)/2&#xA;&amp;quot; -frames 1 &amp;quot;$t&amp;quot; -y&#xA;&#xA;magick mogrify -define trim:edges=west,east -trim &amp;quot;$t&amp;quot;&#xA;&#xA;ffmpeg -i &amp;quot;$f&amp;quot; -i &amp;quot;$t&amp;quot; -i &amp;quot;$l&amp;quot; -lavfi &amp;quot;&#xA;[1][2]xstack[o];&#xA;[0][o]overlay=(W-w)/2:(H-h)/2&#xA;&amp;quot; -c:a copy &amp;quot;$o&amp;quot; -y&#xA;&#xA;xdg-open &amp;quot;$o&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40740" LastActivityDate="2023-04-21T07:38:26.260" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36394" PostTypeId="2" ParentId="36390" CreationDate="2023-04-21T15:20:39.373" Score="0" Body="&lt;p&gt;From &lt;a href=&quot;https://www.youtube.com/watch?v=n4j0vqUCBDM&quot; rel=&quot;nofollow noreferrer&quot;&gt;this tutorial&lt;/a&gt;, if you parent one layer's position to another's position, you can use an expression like this to follow the first layer:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&amp;quot;red star&amp;quot;).transform.position.valueAtTime(time-0.5)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-04-21T15:20:39.373" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36396" PostTypeId="1" CreationDate="2023-04-22T16:27:55.113" Score="0" ViewCount="301" Body="&lt;p&gt;I can do audio phase subtraction in Adobe Audition like so: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/vNvJKBg3yds?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I do this with FFmpeg? Is it possible?&lt;/p&gt;&#xA;&lt;p&gt;I've googled for audio phase subtraction, and looked at &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html&lt;/a&gt;, nothing seems to work for me.&lt;/p&gt;&#xA;&lt;p&gt;I want to do phase subtraction in batches and support for stereo audio.&lt;/p&gt;&#xA;" OwnerUserId="41080" LastActivityDate="2023-05-23T06:01:40.230" Title="Can FFmpeg perform audio phase subtraction?" Tags="|ffmpeg|audio|signal-processing|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36397" PostTypeId="1" CreationDate="2023-04-22T20:27:03.080" Score="0" ViewCount="29" Body="&lt;p&gt;In order to digitalize video tapes (K7) recorded with a camcorder, I used a SCART to hdmi converter (I think it's this model &lt;a href=&quot;https://www.amazon.co.uk/Converter-Upscale-Adaptor-Monitor-Projector-Black/dp/B08HVNYH4X?&amp;amp;linkCode=ll1&amp;amp;tag=bluecine-21&amp;amp;linkId=2524a257eefa7b5f01ed7778adf49231&amp;amp;language=en_GB&amp;amp;ref_=as_li_ss_tl&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.amazon.co.uk/Converter-Upscale-Adaptor-Monitor-Projector-Black/dp/B08HVNYH4X?&amp;amp;linkCode=ll1&amp;amp;tag=bluecine-21&amp;amp;linkId=2524a257eefa7b5f01ed7778adf49231&amp;amp;language=en_GB&amp;amp;ref_=as_li_ss_tl&lt;/a&gt;), in between my VHS tape reader and an hdmi to usb acquisition card.&lt;/p&gt;&#xA;&lt;p&gt;This work nicely to record Disney tapes, but if I use instead a K7 recorded from the camcorder, I get from the SCART to hdmi converter a blue screen with a &amp;quot;no output&amp;quot; message (if my memory is good). I tried to plug the scart converter to an hdmi screen directly, same message. However, I tried to replace the SCART converter with another SCART to HDMI device (actually it's a device used to record scart or hdmi inputs to a hard drive to save them for later use… but for some reasons I don't have access to this device anymore) and it's working…&lt;/p&gt;&#xA;&lt;p&gt;Any idea why my original SCART to HDMI converter is working only for Disney tapes but not for manually camrecorded tapes?&lt;/p&gt;&#xA;" OwnerUserId="32276" LastActivityDate="2023-05-03T20:23:12.600" Title="Why this SCART adapter only works for some video tapes?" Tags="|digital-recording|vhs|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="36398" PostTypeId="2" ParentId="36396" CreationDate="2023-04-23T05:08:22.687" Score="2" Body="&lt;p&gt;I have found a solution:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i input0.wav -i input1.wav \&#xA;  -filter_complex \&#xA;  &amp;quot;[1]    aeval  = -val(0) | -val(1)                     [a]; \&#xA;   [0][a] amerge = inputs=2,pan=stereo|c0&amp;lt;c0+c2|c1&amp;lt;c1+c3 [b]&amp;quot; \&#xA;  -map &amp;quot;[b]&amp;quot; -c:a flac output.flac&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This command subtracts &lt;code&gt;input1.wav&lt;/code&gt; from &lt;code&gt;input0.wav&lt;/code&gt; and assumes that both inputs are stereo.&lt;/p&gt;&#xA;&lt;p&gt;See &lt;a href=&quot;https://trac.ffmpeg.org/wiki/AudioChannelManipulation&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/AudioChannelManipulation&lt;/a&gt; for manipulating audio channels.&lt;/p&gt;&#xA;" OwnerUserId="41080" LastActivityDate="2023-04-23T05:08:22.687" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36400" PostTypeId="1" CreationDate="2023-04-21T08:23:28.277" Score="1" ViewCount="1013" Body="&lt;p&gt;I'm building a &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/motion-graphics-templates.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Mogrt&lt;/a&gt; using After Effects.&#xA;I need to be able to drive the size of a paragraph text box dynamically using expressions.&lt;/p&gt;&#xA;&lt;p&gt;Is that possible?&#xA;I can't find a parameter related to this.&lt;/p&gt;&#xA;" OwnerUserId="15961" OwnerDisplayName="gordie" LastEditorUserId="17390" LastEditDate="2023-05-01T14:45:26.877" LastActivityDate="2024-02-10T00:02:40.280" Title="Resize a paragraph text box in After Effects using expressions" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36402" PostTypeId="1" CreationDate="2023-04-24T09:08:16.630" Score="0" ViewCount="58" Body="&lt;p&gt;I'd like to very closely mask my head for this 'clone effect' multilayered camera shot.&lt;/p&gt;&#xA;&lt;p&gt;Is there an efficient tool I can use which will detect a human figure/face and mask based on that?&lt;/p&gt;&#xA;&lt;p&gt;Should I just use the motion tracking within FCP and assign the transform of a spherical head shaped draw mask to that tracker?&lt;/p&gt;&#xA;&lt;p&gt;How best can I 'cut out' my head/body against the background footage to sell the clone illusion? &lt;a href=&quot;https://i.stack.imgur.com/G3ft3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/G3ft3.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="25594" LastActivityDate="2023-09-21T12:07:00.820" Title="AI / Automatic assisted mask with face/body detection for clone effect video?" Tags="|video|video-editor|final-cut-pro-x|mask|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36404" PostTypeId="2" ParentId="36402" CreationDate="2023-04-24T10:43:09.280" Score="1" Body="&lt;p&gt;I would do this using After Effects and the built in &lt;a href=&quot;https://helpx.adobe.com/after-effects/using/roto-brush-refine-matte.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;RotoBrush&lt;/a&gt; tool.&lt;/p&gt;&#xA;&lt;p&gt;Apply Rotobrush to each overlaying layer to make the layers behave naturally with each other.&lt;/p&gt;&#xA;&lt;p&gt;It will take some time, but I reckon it's what is usually used to make videos like this.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=ZfMJTXVQezE&quot; rel=&quot;nofollow noreferrer&quot;&gt;Runway&lt;/a&gt; also has some very cool looking AI rotobrush-type tools, but I haven't used them.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-04-24T10:43:09.280" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36405" PostTypeId="1" CreationDate="2023-04-24T10:57:19.443" Score="0" ViewCount="60" Body="&lt;p&gt;Good afternoon.&#xA;Can you please tell me how to make slow video appear&#xA;So that the video appears gradually from top to bottom or bottom to top? And from right to left.&#xA;Thank you!&#xA;&lt;a href=&quot;https://youtube.com/shorts/EzhuvJg8WsQ?feature=share&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://youtube.com/shorts/EzhuvJg8WsQ?feature=share&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Why doesn't the script work?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;@Echo Off&#xA;cd input1&#xA;dir /b *.mp4 &amp;gt; ..\temp.txt&#xA;cd ..&#xA;(FOR /F &amp;quot;tokens=*&amp;quot; %%G IN (temp.txt) DO (&#xA;xffmpeg\FFmpeg-x86_64-N-74566-g531b0a3\ffmpeg.exe -y -i &amp;quot;input1\%%G&amp;quot; -c:v libx264 -crf 18 -preset slow -pix_fmt yuv420p -an ^&#xA;-filter_complex &amp;quot;crop=in_w:in_h/2:0:0, drawbox=x=0:y=h/2-w/2:w=in_w:h=in_h/2:t=30:color=black, crop=in_w:in_h/2:0:h/2, curtain=vertical:0.4:0.2:0.05, setpts=PTS-STARTPTS&amp;quot; -c:a copy -vf hflip &amp;quot;output\%%~nG_1.mp4&amp;quot;&#xA;))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="41091" LastEditorUserId="14523" LastEditDate="2023-04-25T00:48:49.873" LastActivityDate="2023-04-25T00:48:49.873" Title="How to make the effect of gradually appearing video in FFmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36406" PostTypeId="2" ParentId="36402" CreationDate="2023-04-24T11:54:13.420" Score="1" Body="&lt;p&gt;I would break up the mask into a couple of pieces. Easier to handle the fine-tuning.&#xA;There are plugins that can track this. You have to try and see which works best.&#xA;Rotoscoping is still one of the things that need a lot of work by hand. Sometimes it's just you have to sit and do it.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2023-04-24T11:54:13.420" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36407" PostTypeId="1" CreationDate="2023-04-24T17:08:25.847" Score="1" ViewCount="24" Body="&lt;p&gt;I'm looking to position a null at the intersection of two paths. I'm creating a bending elbow rig with irregular shapes, and I wanted to be able to place something in the crease of the elbow as it moves.&lt;/p&gt;&#xA;&lt;p&gt;Hopefully this image helps; as the shape rotates, the point at which the intersection of the path changes, and I'd like to be able to automatically track that point of the intersection where the cross is, which follows the slight curvature of the path.&lt;/p&gt;&#xA;&lt;p&gt;This diagram maybe over complicated by the fact that there are two places where the paths cross (at the back of the elbow) too.&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;img src=&quot;https://i.stack.imgur.com/toRMj.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/p&gt;&#xA;" OwnerUserId="41092" LastActivityDate="2023-04-24T17:08:25.847" Title="After Effects: Add a Null to a point of two path's intersection" Tags="|after-effects|after-effects-expressions|after-effects-scripting|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36408" PostTypeId="1" AcceptedAnswerId="36416" CreationDate="2023-04-24T18:18:20.867" Score="1" ViewCount="752" Body="&lt;p&gt;I'm using FFmpeg to generate streaming files for a single resolution initially. Here is how my playlist and master-playlist looks like.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;master.m3u8&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#EXTM3U&#xA;#EXT-X-VERSION:3&#xA;#EXT-X-STREAM-INF:BANDWIDTH=2305600,RESOLUTION=852x480,CODECS=&amp;quot;avc1.640034,mp4a.40.2&amp;quot;&#xA;stream_480p.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;stream_480p.m3u8&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#EXTM3U&#xA;#EXT-X-VERSION:3&#xA;#EXT-X-TARGETDURATION:10&#xA;#EXT-X-MEDIA-SEQUENCE:0&#xA;#EXT-X-PLAYLIST-TYPE:EVENT&#xA;#EXTINF:10.000000,&#xA;stream_480p0.ts&#xA;#EXTINF:10.000000,&#xA;stream_480p1.ts&#xA;#EXT-X-ENDLIST&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;later, if I add another stream, say 720p. I want my master.m3u8 to include that stream and serve the clients. How to achieve this? Are there any existing commands in FFmpeg that I can use here? or create the master.m3u8 programmatically?&lt;/p&gt;&#xA;" OwnerUserId="34575" LastActivityDate="2023-04-26T18:27:17.077" Title="How do I create an master HLS playlist using existing .m3u8 playlists" Tags="|ffmpeg|hls|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36409" PostTypeId="1" CreationDate="2023-04-24T19:52:29.730" Score="0" ViewCount="105" Body="&lt;p&gt;I have a &lt;a href=&quot;https://www.behringer.com/product.html?modelCode=P0246&quot; rel=&quot;nofollow noreferrer&quot;&gt;Behringer BCF2000&lt;/a&gt; which I recently purchased on eBay.&lt;/p&gt;&#xA;&lt;p&gt;Video example of the problem:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/ApRuN_SURUk?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;It's an older device with motorised faders which can function as a MIDI controller or as a Mackie control surface.&lt;/p&gt;&#xA;&lt;p&gt;I want to use it as a control surface inside Adobe Premiere CC 2023 and Audition, mainly to adjust levels on projects.&lt;/p&gt;&#xA;&lt;p&gt;I have connected the Behringer to my M1 MacBook Pro via USB.  I'm running MacOS Ventura.&lt;/p&gt;&#xA;&lt;p&gt;I have followed &lt;a href=&quot;https://www.youtube.com/watch?v=57zkGrodZBQ&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt; precisely, and tried rebooting the Behringer into &lt;a href=&quot;https://www.sweetwater.com/sweetcare/articles/what-are-the-emulation-modes-on-my-behringer-b-control-bcf2000/&quot; rel=&quot;nofollow noreferrer&quot;&gt;modes 2 and 4, which are supposed to be&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Mode 2 = Mackie Control (Cubase and Nuendo)&lt;/li&gt;&#xA;&lt;li&gt;Mode 4 = Mackie Control (Sonar)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I can write volume moves from the Behringer into Premiere / Audition.&#xA;I cannot get those moves to play back on the motorised faders in any way.&lt;/p&gt;&#xA;&lt;p&gt;When I set the faders to Read mode in Premiere, and play back my project, all the faders on the Behringer jump to zero and do not move.&lt;/p&gt;&#xA;&lt;p&gt;In the video he says to use Mode 4.  I have tried Modes 2 and 4 without success.&#xA;After powering up the Behringer with the 4th button held down, I then press the Exit button.  This isn't mentioned in the video, but without doing it, the Behringer never appears as an interface to the Mac.&lt;/p&gt;&#xA;&lt;p&gt;When my Behringer powers up, it appears to be using Firmware 1.10. In the video he is using 1.07.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2023-04-25T09:29:22.263" LastActivityDate="2023-04-25T09:29:22.263" Title="Using a Behringer BCF2000 control surface with Adobe Premiere" Tags="|premiere|audition|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36410" PostTypeId="1" CreationDate="2023-04-24T20:00:40.423" Score="1" ViewCount="89" Body="&lt;p&gt;The code below is a Null.fuse node, packed with debugging statements.&lt;/p&gt;&#xA;&lt;p&gt;I'm running it under Davinci Resolve 18.1.4 beta 9.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-lua prettyprint-override&quot;&gt;&lt;code&gt;print(&amp;quot;Debug: script start&amp;quot;)&#xA;print(test)&#xA;test = 0&#xA;print(test)&#xA;&#xA;FuRegisterClass(&amp;quot;ScopeTest&amp;quot;, CT_Tool, {&#xA;    REGS_Name = &amp;quot;ScopeTest&amp;quot;,&#xA;    REGS_Category = &amp;quot;Color&amp;quot;,&#xA;    REGS_OpIconString = &amp;quot;fCL&amp;quot;,&#xA;    REGS_OpDescription = &amp;quot;ScopeTest&amp;quot;,&#xA;    REG_OpNoMask = true,&#xA;    REG_NoBlendCtrls = true,&#xA;    REG_NoObjMatCtrls = true,&#xA;    REG_NoMotionBlurCtrls = true,&#xA;    })&#xA;&#xA;function Create()&#xA;    print(&amp;quot;Debug: Create start&amp;quot;)&#xA;    print(test)&#xA;&#xA;    InImage = self:AddInput(&amp;quot;Input&amp;quot;, &amp;quot;Input&amp;quot;, {&#xA;        LINKID_DataType = &amp;quot;Image&amp;quot;,&#xA;        LINK_Main = 1,&#xA;        })&#xA;&#xA;    OutImage = self:AddOutput(&amp;quot;Output&amp;quot;, &amp;quot;Output&amp;quot;, {&#xA;        LINKID_DataType = &amp;quot;Image&amp;quot;,&#xA;        LINK_Main = 1,&#xA;        })              &#xA;&#xA;    InButton = self:AddInput(&amp;quot;Button&amp;quot;, &amp;quot;Button&amp;quot;, {&#xA;        INPID_InputControl = &amp;quot;ButtonControl&amp;quot;,&#xA;        INP_DoNotifyChanged = true,&#xA;        INP_External = false,&#xA;        })&#xA;&#xA;    test = 1&#xA;    print(test)&#xA;    print(&amp;quot;Debug: Create end&amp;quot;)&#xA;end&#xA;&#xA;function Process(req)&#xA;    print(&amp;quot;Debug: Process start&amp;quot;)&#xA;    print(test)&#xA;&#xA;    local img = InImage:GetValue(req)&#xA;    OutImage:Set(req, img)&#xA;&#xA;    test = 2&#xA;    print(test)&#xA;    print(&amp;quot;Debug: Process end&amp;quot;)&#xA;end&#xA;&#xA;function NotifyChanged(inp, param, time)&#xA;    print(&amp;quot;Debug: Notify start&amp;quot;)&#xA;    print(test)&#xA;    test = 3&#xA;    print(test)&#xA;    print(&amp;quot;Debug: Notify end&amp;quot;)&#xA;end&#xA;&#xA;print(test)&#xA;test = 4&#xA;print(test)&#xA;print(&amp;quot;Debug: script end&amp;quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My expectation is for the global &lt;em&gt;test&lt;/em&gt; variable to be 3 after pushing the button, and for it to be still 3 when entering &lt;em&gt;Process&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;This is what I observe in the console instead:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[...]&#xA;Debug: Notify start&#xA;3&#xA;3&#xA;Debug: Notify end&#xA;Debug: Notify start&#xA;3&#xA;3&#xA;Debug: Notify end&#xA;Debug: Process start&#xA;2&#xA;2&#xA;Debug: Process end&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm very confused by &lt;em&gt;test&lt;/em&gt; still being 2 after entering &lt;em&gt;Process&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Any help appreciated!&lt;/p&gt;&#xA;" OwnerUserId="41095" LastActivityDate="2023-04-24T20:00:40.423" Title="Global variable scoping in Davinci Resolve Fusion?" Tags="|davinci-resolve|fusion|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36412" PostTypeId="1" CreationDate="2023-04-25T11:04:50.993" Score="0" ViewCount="296" Body="&lt;p&gt;Could anyone suggest the colour-management settings in da Vinci resolve for editing 14 pro max footage?&lt;/p&gt;&#xA;&lt;p&gt;Here is the metadata for my footage&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2lHw8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2lHw8.png&quot; alt=&quot;Meta data&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;and here is the resolve &lt;a href=&quot;https://i.stack.imgur.com/G38dO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/G38dO.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt; Thanks a lot.&lt;/p&gt;&#xA;" OwnerUserId="41100" LastActivityDate="2023-04-25T11:04:50.993" Title="Color management for editing iphone 14 pro max in Da Vicci resolve 18.4" Tags="|davinci-resolve|iphone|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36413" PostTypeId="1" CreationDate="2023-04-26T07:59:32.277" Score="1" ViewCount="90" Body="&lt;p&gt;I am building an API endpoint as part of which i am signing an AWS s3 url to a video file encoded with mp4, then using ffmpeg to split the provided video by url to a time range (for example from second 4.0 to second 12.0), and pipe it to a stream which is directly returned to the user.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;I am running into an issue where the video is split starting on the 10 second mark. In the command below it is splitting from 0-14 sec instead of 6-14. if i specify 12-18 it will split from 10-18 etc..&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;As part of this process this is the ffmpeg command i am using to split the video (omitting the full signed S3 url and writing to a file instead of a pipe).&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -protocol_whitelist file,http,https,tcp,tls,crypto -ss 6.0 -to 14.0 -i https://XXXXXXXX.s3.amazonaws.com/stopwatch.mp4 -movflags +frag_keyframe+separate_moof+omit_tfhd_offset+empty_moov -f mp4 -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If i try to &lt;code&gt;re-encode&lt;/code&gt; the video instead of using &lt;code&gt;-c copy&lt;/code&gt; splitting works perfectly well, but is quite a lot slower.&lt;/p&gt;&#xA;&lt;p&gt;This is the command i use to initially encode the videos and make them uniform as I upload them to AWS S3. I can control the encoding process and change if needed to be able to do the splits correctly.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -vf scale=1280:-2 -c:v libx264 -movflags faststart -preset slow -crf 24 -r 25 -c:a aac -b:a 128k&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;From the ffmpeg docs:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-ss position (input/output)&#xA;When used as an input option (before -i), seeks in this input file to position. Note that in most formats it is not possible to seek exactly, so ffmpeg will seek to the closest seek point before position. When transcoding and -accurate_seek is enabled (the default), this extra segment between the seek point and position will be decoded and discarded. When doing stream copy or when -noaccurate_seek is used, it will be preserved.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So this looks like intended behaviour, I also found out that mp4 will have IFrames set on every 10 seconds (250 frames on 25fps in my case) where the fastseek (-ss) option will seek on remote videos to the nearest Iframe and use that as a starting point.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Is there a way to change this behavior? Add IFrames to at least 1 second so i can split accurately at least to 1 second? If so are there any drawbacks to doing that? Is there another option to avoid re-encoding the segments?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I was thinking i can do multiple splits and a concat where i split-re-encode 6-10sec then split-copy 10-14 then concat the 2 segments to get 6-14sec video.&lt;/p&gt;&#xA;&lt;p&gt;What i find strange is that with the same video provided as a local file reference to ffmpeg it splits it correctly if i simply do:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 6.0 -to 14.0 -i stopwatch.mp4 -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="41104" LastActivityDate="2023-04-26T07:59:32.277" Title="Split mp4 video from URL (stored on AWS s3) with ffmpeg without re-encode, causes an issue with the start point" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36414" PostTypeId="1" CreationDate="2023-04-26T13:52:53.960" Score="0" ViewCount="15" Body="&lt;h2&gt;Background&lt;/h2&gt;&#xA;&lt;p&gt;I am looking into ways to isolate moving entities, such as person, or objects on a relatively static background without using green screen, due to cost and location restriction.&lt;/p&gt;&#xA;&lt;h2&gt;What it's used for?&lt;/h2&gt;&#xA;&lt;p&gt;Isolating moving objects, but particularly choreography, or at least a concept of it, where a single person takes multiple takes and act like a group dance.&lt;/p&gt;&#xA;&lt;h2&gt;What I've looked into&lt;/h2&gt;&#xA;&lt;p&gt;I have &amp;quot;some&amp;quot; knowledge regarding photography, and it is to my understanding that &lt;code&gt;Long Exposure&lt;/code&gt; is used by some photographers to capture a static object in a relatively dynamic environment by blurring or out-right &amp;quot;ignoring&amp;quot; the non-static entities in the image.&lt;/p&gt;&#xA;&lt;p&gt;What I think would fit well for the scenario I need is something like &lt;code&gt;Long Exposure&lt;/code&gt;, but inverse, some kind of Inverse Exposure. That way I won't need to consider green screen or post-production much, and slice and arrange footages in a way that it becomes good and seamless enough.&lt;/p&gt;&#xA;&lt;h3&gt;Additional Info&lt;/h3&gt;&#xA;&lt;p&gt;The camera will always be static on recording, so some method where it take the initial sceen image and remove any background from that image is welcome, and if it exist, I would like to know the application.&lt;/p&gt;&#xA;" OwnerUserId="41107" LastActivityDate="2023-04-26T13:52:53.960" Title="Is there a method to isolate moving entity using &quot;reverse exposure&quot; instead of using green screen?" Tags="|editing|software|post-production|greenscreen|digital-recording|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36416" PostTypeId="2" ParentId="36408" CreationDate="2023-04-26T18:27:17.077" Score="1" Body="&lt;p&gt;Here is how I programmatically created the master playlist, reading from 2 different master playlists using python.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;        streams = list()&#xA;&#xA;        # read from 1st master playlist&#xA;        primary_master_playlist = open(&amp;quot;master_1.m3u8&amp;quot;, &amp;quot;r&amp;quot;)&#xA;        while True:&#xA;            line = primary_master_playlist.readline()&#xA;            if not line:&#xA;                break&#xA;            elif line.lower().startswith(&amp;quot;#ext-x-stream-inf&amp;quot;):&#xA;                streams.append(line + primary_master_playlist.readline() + &amp;quot;\n&amp;quot;)&#xA;&#xA;        # read from 2nd master playlist&#xA;        secondary_master_playlist = open(&amp;quot;master_2.m3u8&amp;quot;, &amp;quot;r&amp;quot;)&#xA;        while True:&#xA;            line = secondary_master_playlist.readline()&#xA;            if not line:&#xA;                break&#xA;            elif line.lower().startswith(&amp;quot;#ext-x-stream-inf&amp;quot;):&#xA;                streams.append(line + secondary_master_playlist.readline() + &amp;quot;\n&amp;quot;)&#xA;&#xA;        # write to final master playlist&#xA;        final_master_playlist = open(&amp;quot;master.m3u8&amp;quot;, &amp;quot;w&amp;quot;)&#xA;        final_master_playlist.write(&amp;quot;#EXTM3U\n&amp;quot;)&#xA;        final_master_playlist.write(&amp;quot;#EXT-X-VERSION:3\n&amp;quot;)&#xA;&#xA;        for stream in streams:&#xA;            final_master_playlist.write(stream)&#xA;        final_master_playlist.close()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="34575" LastActivityDate="2023-04-26T18:27:17.077" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36417" PostTypeId="1" CreationDate="2023-04-27T14:20:16.037" Score="0" ViewCount="781" Body="&lt;p&gt;I have an mp4 video file with these characteristics:&lt;/p&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/4cQyI.png&quot; alt=&quot;video description according to VLC&quot; /&gt;&lt;br&gt;&#xA;-Encoder: Lavf58.29.100&lt;/p&gt;&#xA;&lt;p&gt;I want to extract each frame as an image, with the following requirements:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;one image file is one frame (i.e., account for variable framerates to work in all cases),&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;the image file has to be lossless TIFF.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I use Linux and would prefer Python to do this, but I can also use FFmpeg.&lt;/p&gt;&#xA;&lt;p&gt;However, I have seen some other posts here, but they are either not-replied to or just need JPG format. I have read the &lt;a href=&quot;https://docs.opencv.org/3.4/d4/da8/group__imgcodecs.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;imwrite&lt;/a&gt; documentation (OpenCV) and saw that it is actually possible to export as TIFF (even with different bit-depths),  but I can't see an example of using that. I also do not know how to confirm if the exported TIFF is actually without compression.&lt;/p&gt;&#xA;&lt;p&gt;The reason I need each frame as a lossless image file is that I need the images for further analysis in research, and I don't want to lose any information at this stage (the sequence of images is the starting 'raw material' of my analysis pipeline).&lt;/p&gt;&#xA;" OwnerUserId="41118" LastEditorUserId="18155" LastEditDate="2023-04-28T07:24:06.863" LastActivityDate="2024-02-27T09:01:40.263" Title="lossless frame extraction from video" Tags="|ffmpeg|lossless|" AnswerCount="2" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36418" PostTypeId="1" CreationDate="2023-04-27T20:31:37.873" Score="0" ViewCount="526" Body="&lt;p&gt;Newbie here. This is my input.mp4 video, according to VLC:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;codec&lt;/code&gt;:  H265 – MPEG-4 AVC (part 10) (avc1)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;Encoder&lt;/code&gt;:    Lavf58.29.100&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;FPS&lt;/code&gt;:    70.476432&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;Resolution&lt;/code&gt;: 1824 x 1216&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;Duration&lt;/code&gt;:   0m31s&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I need to convert the video into a sequence of images. &lt;strong&gt;Is it possible to predict given the information above, how many frames I will get?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I tried two methods:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Using OpenCV (basically with the command &lt;code&gt;cv2.imwrite(name, frame, [cv2.IMWRITE_TIFF_COMPRESSION, 1])&lt;/code&gt;)&lt;/li&gt;&#xA;&lt;li&gt;Using ffmpeg (&lt;code&gt;ffmpeg -i input.mp4 $filename%05d.tiff&lt;/code&gt;)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;With OpenCV I get 2246 TIFF files (~14 GB). With ffmpeg I get more than 17k TIFF files but I had to stop the operation (see below) when it had already generated ~49GB of files.&lt;/p&gt;&#xA;&lt;p&gt;You can tell that I am not an expert in this since initially I thought that my conversion should be 2185 TIFF files (from 2185 frames, i.e. &lt;code&gt;FPS&lt;/code&gt; times &lt;code&gt;Duration&lt;/code&gt;). But then I read another &lt;a href=&quot;https://video.stackexchange.com/questions/25981/how-to-extract-the-real-frames-without-rely-on-fps&quot;&gt;post and changed my expectation&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Anyway, is there a reliable way to know how many frames I should expect when exporting my video in a lossless file format?&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Detail about ffmpeg: I had to stop the operation because it was taking forever and finding lots of duplicates (I don't know why, will make a separate post). Last lines shown in the operation were as follow:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;More than 1000 frames duplicatedN/A time=00:00:01.04 bitrate=N/A dup=976 drop=0 speed=0.0308x                                                                                                &#xA;More than 10000 frames duplicated/A time=00:00:10.74 bitrate=N/A dup=9989 drop=0 speed=0.0265x                                                                                               &#xA;frame=17673 fps= 26 q=-0.0 Lsize=N/A time=00:00:17.67 bitrate=N/A dup=16428 drop=0 speed=0.0262x &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="41118" LastActivityDate="2023-04-28T03:45:32.747" Title="frame rate vs extracted frames" Tags="|ffmpeg|framerate|export|lossless|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36421" PostTypeId="2" ParentId="36418" CreationDate="2023-04-28T03:45:32.747" Score="1" Body="&lt;p&gt;Your video looks to be variable frame rate, and its maximum frame rate looks to be fairly high. Which is what ffmpeg will use as target frame rate in constant frame rate mode for the output.&lt;/p&gt;&#xA;&lt;p&gt;To keep 1:1 correspondence between input and output frames, add &lt;code&gt;-fps_mode passthrough&lt;/code&gt;. For ffmpeg versions older than 5.1, add &lt;code&gt;-vsync passthrough&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-04-28T03:45:32.747" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36422" PostTypeId="2" ParentId="36417" CreationDate="2023-04-28T10:51:00.780" Score="0" Body="&lt;hr /&gt;&#xA;&lt;p&gt;After research and help from here and other places, I found 3 ways to do it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Pillow (Python)&lt;/strong&gt;&lt;br&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Command: &lt;code&gt;img.save(output_filename,format='TIFF',compression='tiff_deflate',tiffinfo={})&lt;/code&gt;&lt;br&gt;&lt;/li&gt;&#xA;&lt;li&gt;Result: Generates 2246&#xA;TIFF files (variable sizes, between 761 and 566 KiB)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;OpenCV (Python)&lt;/strong&gt;&lt;br&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Command: &lt;code&gt;cv2.imwrite(name, frame, [cv2.IMWRITE_TIFF_COMPRESSION, 1])&lt;/code&gt;&lt;br&gt;&lt;/li&gt;&#xA;&lt;li&gt;Result: Generates 2246 TIFF files (6.4 MiB each one)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;ffmpeg (tested on Linux)&lt;/strong&gt;&lt;br&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Command: (&lt;a href=&quot;https://superuser.com/questions/1781258/avoid-duplicate-frames-in-ffmpeg&quot;&gt;see different ways&lt;/a&gt;)&lt;br&gt;&lt;/li&gt;&#xA;&lt;li&gt;Result: Generates 2246 or 2247 TIFF files, depending on the exact command (&lt;a href=&quot;https://superuser.com/questions/1781258/avoid-duplicate-frames-in-ffmpeg&quot;&gt;see different ways&lt;/a&gt;). Each file is 2.8 MiB&lt;br&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;Edit 1&lt;/strong&gt;: The differences between file sizes in each option (e.g. 600 KiB vs 6.4 MiB vs 2.8 MiB) seem to be related to the compression used by different algorithms. I used &lt;a href=&quot;https://exiftool.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;exiftool&lt;/a&gt; and found that in deed the compression is different: &lt;em&gt;uncompressed&lt;/em&gt; (Python/OpenCV), &lt;em&gt;PackBits&lt;/em&gt; (ffmpeg) and &lt;em&gt;Adobe Deflate&lt;/em&gt; (Python/Pillow).&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Edit 2&lt;/strong&gt;: after further inspection and comparison, I observed that Python/Pillow (which uses &lt;em&gt;Adobe Deflate&lt;/em&gt; method) also significantly changed the colors in the picture! I am unsure if this is due to the compression method or is something else done by Pillow.&lt;/p&gt;&#xA;" OwnerUserId="41118" LastEditorUserId="41118" LastEditDate="2023-05-02T09:42:31.897" LastActivityDate="2023-05-02T09:42:31.897" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36423" PostTypeId="2" ParentId="1323" CreationDate="2023-04-28T18:58:24.140" Score="0" Body="&lt;p&gt;I'm no audio engineer, but I wonder: When doing multitrack-recordings anyway, why not place a &amp;quot;backup microphone&amp;quot; at some distance?&lt;/p&gt;&#xA;&lt;p&gt;So if the main vocal microphone starts clipping, you could blend over to the backup microphone that has a lower input level.&#xA;Maybe you'll have to compensate for the runtime of the audio, too.&lt;/p&gt;&#xA;&lt;p&gt;The other thing is that 24-bits covers a huge range, allowing for a safety margin (meaning: don't head for 0dB) unless your equipment is rather noisy.&lt;/p&gt;&#xA;" OwnerUserId="33658" LastActivityDate="2023-04-28T18:58:24.140" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36424" PostTypeId="1" CreationDate="2023-04-28T19:24:17.070" Score="1" ViewCount="118" Body="&lt;p&gt;I spend &lt;em&gt;many&lt;/em&gt; of hours, getting this, done, but I never succeeded:&lt;/p&gt;&#xA;&lt;p&gt;In a video with rather small moving objects I wanted to have a &amp;quot;Call Out&amp;quot; (i.e. a text label with a line leading to the object to be tracked) to label the moving object.&#xA;As IMHO the text readability will be better if it doe not move with the object, I wanted the text to be static.&lt;/p&gt;&#xA;&lt;p&gt;Resolve has a CallOut, but it seems it's not easy to misuse it for my purpose (read later on).&#xA;The exist Youtube tutorials making the &lt;em&gt;whole&lt;/em&gt; callout follow the object, but that's not what I want.&lt;/p&gt;&#xA;&lt;p&gt;I tried to &lt;a href=&quot;https://forum.blackmagicdesign.com/viewtopic.php?f=21&amp;amp;t=177521&quot; rel=&quot;nofollow noreferrer&quot;&gt;construct my own callout&lt;/a&gt;, but I never got it working.&#xA;So I started to examine the built-in Call Out:&lt;/p&gt;&#xA;&lt;p&gt;I realized that the square at the line-end can be controlled via a &lt;code&gt;Publish2&lt;/code&gt;, so I created my own simplified macro from the original Call Out.&#xA;There I can move the line's end by changing a position, but when I connect that position to my tracker, the line does not move, or moves just for a short moment.&lt;/p&gt;&#xA;&lt;h1&gt;Some Details&lt;/h1&gt;&#xA;&lt;p&gt;Here is my simplified macro, showing how the line can be moved (I exaggerated the colors for clarity):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zJZAf.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zJZAf.jpg&quot; alt=&quot;Simplified callout screenshot #1&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lcoKN.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lcoKN.jpg&quot; alt=&quot;Simplified callout screenshot #2&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Finally here's the simplified macro code (Resolve adds &lt;code&gt;1&lt;/code&gt;s to the name for each modification, so don't ask about the name)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;{&#xA;    Tools = ordered() {&#xA;        MyCallout4111 = MacroOperator {&#xA;            Inputs = ordered() {&#xA;                Input1 = InstanceInput {&#xA;                    SourceOp = &amp;quot;Text1&amp;quot;,&#xA;                    Source = &amp;quot;StyledText&amp;quot;,&#xA;                },&#xA;                Input2 = InstanceInput {&#xA;                    SourceOp = &amp;quot;Text1&amp;quot;,&#xA;                    Source = &amp;quot;Font&amp;quot;,&#xA;                    ControlGroup = 2,&#xA;                },&#xA;                Input3 = InstanceInput {&#xA;                    SourceOp = &amp;quot;Text1&amp;quot;,&#xA;                    Source = &amp;quot;Style&amp;quot;,&#xA;                    ControlGroup = 2,&#xA;                },&#xA;                Input4 = InstanceInput {&#xA;                    SourceOp = &amp;quot;Text1&amp;quot;,&#xA;                    Source = &amp;quot;Red1Clone&amp;quot;,&#xA;                    Name = &amp;quot;Color&amp;quot;,&#xA;                    ControlGroup = 3,&#xA;                    Default = 1,&#xA;                },&#xA;                Input5 = InstanceInput {&#xA;                    SourceOp = &amp;quot;Text1&amp;quot;,&#xA;                    Source = &amp;quot;Green1Clone&amp;quot;,&#xA;                    ControlGroup = 3,&#xA;                    Default = 1,&#xA;                },&#xA;                Input6 = InstanceInput {&#xA;                    SourceOp = &amp;quot;Text1&amp;quot;,&#xA;                    Source = &amp;quot;Blue1Clone&amp;quot;,&#xA;                    ControlGroup = 3,&#xA;                    Default = 1,&#xA;                },&#xA;                Input7 = InstanceInput {&#xA;                    SourceOp = &amp;quot;Text1&amp;quot;,&#xA;                    Source = &amp;quot;Alpha1Clone&amp;quot;,&#xA;                    ControlGroup = 3,&#xA;                    Default = 1,&#xA;                },&#xA;                Input8 = InstanceInput {&#xA;                    SourceOp = &amp;quot;Text1&amp;quot;,&#xA;                    Source = &amp;quot;Size&amp;quot;,&#xA;                    Default = 0.0591,&#xA;                },&#xA;                Input9 = InstanceInput {&#xA;                    SourceOp = &amp;quot;Text1&amp;quot;,&#xA;                    Source = &amp;quot;CharacterSpacingClone&amp;quot;,&#xA;                    Name = &amp;quot;Tracking&amp;quot;,&#xA;                    Default = 1,&#xA;                },&#xA;                Input10 = InstanceInput {&#xA;                    SourceOp = &amp;quot;Publish2&amp;quot;,&#xA;                    Source = &amp;quot;Value&amp;quot;,&#xA;                    Name = &amp;quot;Value C&amp;quot;,&#xA;                },&#xA;                Input11 = InstanceInput {&#xA;                    SourceOp = &amp;quot;Line_BG&amp;quot;,&#xA;                    Source = &amp;quot;TopLeftRed&amp;quot;,&#xA;                    Name = &amp;quot;Color&amp;quot;,&#xA;                    ControlGroup = 7,&#xA;                    Default = 0.535,&#xA;                },&#xA;                Input12 = InstanceInput {&#xA;                    SourceOp = &amp;quot;Line_BG&amp;quot;,&#xA;                    Source = &amp;quot;TopLeftGreen&amp;quot;,&#xA;                    ControlGroup = 7,&#xA;                    Default = 0.535,&#xA;                },&#xA;                Input13 = InstanceInput {&#xA;                    SourceOp = &amp;quot;Line_BG&amp;quot;,&#xA;                    Source = &amp;quot;TopLeftBlue&amp;quot;,&#xA;                    ControlGroup = 7,&#xA;                    Default = 0.535,&#xA;                },&#xA;                Input14 = InstanceInput {&#xA;                    SourceOp = &amp;quot;Line_BG&amp;quot;,&#xA;                    Source = &amp;quot;TopLeftAlpha&amp;quot;,&#xA;                    ControlGroup = 7,&#xA;                    Default = 1,&#xA;                },&#xA;            },&#xA;            Outputs = {&#xA;                Output1 = InstanceOutput {&#xA;                    SourceOp = &amp;quot;Text1Opacity1&amp;quot;,&#xA;                    Source = &amp;quot;Value&amp;quot;,&#xA;                },&#xA;                Output2 = InstanceOutput {&#xA;                    SourceOp = &amp;quot;Publish2&amp;quot;,&#xA;                    Source = &amp;quot;Value&amp;quot;,&#xA;                },&#xA;                MainOutput1 = InstanceOutput {&#xA;                    SourceOp = &amp;quot;KeyStretcheronForeground&amp;quot;,&#xA;                    Source = &amp;quot;Result&amp;quot;,&#xA;                }&#xA;            },&#xA;            ViewInfo = GroupInfo { Pos = { 0, 0 } },&#xA;            Tools = ordered() {&#xA;                Text1 = TextPlus {&#xA;                    ExtentSet = true,&#xA;                    CtrlWShown = false,&#xA;                    NameSet = true,&#xA;                    Inputs = {&#xA;                        Position7 = Input { Value = 1, },&#xA;                        ExtendHorizontal7 = Input { Value = 0.89, },&#xA;                        ExtendVertical7 = Input { Value = 0.053, },&#xA;                        ElementShape7 = Input { Value = 2, },&#xA;                        GlobalOut = Input { Value = 5000, },&#xA;                        Width = Input { Value = 1920, },&#xA;                        Height = Input { Value = 1080, },&#xA;                        UseFrameFormatSettings = Input { Value = 1, },&#xA;                        [&amp;quot;Gamut.SLogVersion&amp;quot;] = Input { Value = FuID { &amp;quot;SLog2&amp;quot; }, },&#xA;                        Center = Input {&#xA;                            SourceOp = &amp;quot;Publish1&amp;quot;,&#xA;                            Source = &amp;quot;Value&amp;quot;,&#xA;                        },&#xA;                        LineSpacing = Input { Value = 0.693, },&#xA;                        Name8 = Input { Value = &amp;quot;White&amp;quot;, },&#xA;                        Opacity1 = Input {&#xA;                            SourceOp = &amp;quot;Text1Opacity1&amp;quot;,&#xA;                            Source = &amp;quot;Value&amp;quot;,&#xA;                        },&#xA;                        Position1 = Input { Value = 1, },&#xA;                        StyledText = Input { Value = &amp;quot;Sample&amp;quot;, },&#xA;                        Font = Input { Value = &amp;quot;Open Sans&amp;quot;, },&#xA;                        Style = Input { Value = &amp;quot;Light&amp;quot;, },&#xA;                        Size = Input { Value = 0.0591, },&#xA;                        VerticalJustificationNew = Input { Value = 3, },&#xA;                        HorizontalJustificationNew = Input { Value = 3, },&#xA;                        ElementShape8 = Input { Value = 2, },&#xA;                        ExtendHorizontal8 = Input { Value = 0.1, },&#xA;                        ExtendVertical8 = Input { Value = 0.19, },&#xA;                        Position8 = Input { Value = 1, },&#xA;                    },&#xA;                    ViewInfo = OperatorInfo { Pos = { 45, 120.683 } },&#xA;                },&#xA;                Publish1 = PublishPoint {&#xA;                    CtrlWZoom = false,&#xA;                    CustomData = {&#xA;                        Path = {&#xA;                            Map = {&#xA;                                [&amp;quot;Setting:&amp;quot;] = &amp;quot;Templates:\\Templates.drfx\\Edit\\Titles\\&amp;quot;&#xA;                            }&#xA;                        }&#xA;                    },&#xA;                },&#xA;                Text1Opacity1 = BezierSpline {&#xA;                    SplineColor = { Red = 179, Green = 28, Blue = 244 },&#xA;                    CtrlWZoom = false,&#xA;                    KeyFrames = {&#xA;                        [4] = { 0, RH = { 6, 0 } },&#xA;                        [10] = { 1, LH = { 8, 1 } }&#xA;                    }&#xA;                },&#xA;                Polygon1 = PolylineMask {&#xA;                    DrawMode = &amp;quot;ModifyOnly&amp;quot;,&#xA;                    DrawMode2 = &amp;quot;InsertAndModify&amp;quot;,&#xA;                    CtrlWShown = false,&#xA;                    NameSet = true,&#xA;                    Inputs = {&#xA;                        Filter = Input { Value = FuID { &amp;quot;Fast Gaussian&amp;quot; }, },&#xA;                        BorderWidth = Input { Value = 0.0018, },&#xA;                        WriteLength = Input {&#xA;                            SourceOp = &amp;quot;Polygon1Length&amp;quot;,&#xA;                            Source = &amp;quot;Value&amp;quot;,&#xA;                        },&#xA;                        MaskWidth = Input { Value = 1920, },&#xA;                        MaskHeight = Input { Value = 1080, },&#xA;                        PixelAspect = Input { Value = { 1, 1 }, },&#xA;                        UseFrameFormatSettings = Input { Value = 1, },&#xA;                        ClippingMode = Input { Value = FuID { &amp;quot;None&amp;quot; }, },&#xA;                        Polyline = Input {&#xA;                            Value = Polyline {&#xA;                                Points = {&#xA;                                    { Linear = true, X = 0, Y = 0, RX = 0.0525445223067593, RY = -0.0416169894737017, PublishID = &amp;quot;Point1&amp;quot; },&#xA;                                    { Linear = true, X = 0.157633566920278, Y = -0.124850968421105, LX = -0.0525445223067593, LY = 0.0416169894737017, PublishID = &amp;quot;Point0&amp;quot; }&#xA;                                }&#xA;                            },&#xA;                        },&#xA;                        Polyline2 = Input {&#xA;                            Value = Polyline {&#xA;                            },&#xA;                            Disabled = true,&#xA;                        },&#xA;                        Point0 = Input {&#xA;                            SourceOp = &amp;quot;Publish2&amp;quot;,&#xA;                            Source = &amp;quot;Value&amp;quot;,&#xA;                        },&#xA;                        Point1 = Input {&#xA;                            SourceOp = &amp;quot;Publish1&amp;quot;,&#xA;                            Source = &amp;quot;Value&amp;quot;,&#xA;                        },&#xA;                    },&#xA;                    ViewInfo = OperatorInfo { Pos = { -97.176, 91.5131 } },&#xA;                },&#xA;                Polygon1Length = BezierSpline {&#xA;                    SplineColor = { Red = 141, Green = 167, Blue = 243 },&#xA;                    CtrlWZoom = false,&#xA;                    KeyFrames = {&#xA;                        [10] = { 0, RH = { 22.9066666666667, 0 } },&#xA;                        [32] = { 1, LH = { 19.0933333333333, 1 } }&#xA;                    }&#xA;                },&#xA;                Publish2 = PublishPoint {&#xA;                    CtrlWZoom = false,&#xA;                    CustomData = {&#xA;                        Path = {&#xA;                            Map = {&#xA;                                [&amp;quot;Setting:&amp;quot;] = &amp;quot;Templates:\\Templates.drfx\\Edit\\Titles\\&amp;quot;&#xA;                            }&#xA;                        }&#xA;                    },&#xA;                    Inputs = {&#xA;                        Value = Input { Value = { 0.657633566920278, 0.375149031578895 }, },&#xA;                    },&#xA;                },&#xA;                sRectangle1_5 = sRectangle {&#xA;                    CtrlWZoom = false,&#xA;                    CtrlWShown = false,&#xA;                    Inputs = {&#xA;                        Width = Input {&#xA;                            SourceOp = &amp;quot;Publish3&amp;quot;,&#xA;                            Source = &amp;quot;Value&amp;quot;,&#xA;                        },&#xA;                        Height = Input {&#xA;                            SourceOp = &amp;quot;Publish3&amp;quot;,&#xA;                            Source = &amp;quot;Value&amp;quot;,&#xA;                        },&#xA;                        Angle = Input { Value = 45, },&#xA;                    },&#xA;                    ViewInfo = OperatorInfo { Pos = { -225.629, 8.70111 } },&#xA;                },&#xA;                Publish3 = PublishNumber {&#xA;                    CtrlWZoom = false,&#xA;                    CustomData = {&#xA;                        Path = {&#xA;                            Map = {&#xA;                                [&amp;quot;Setting:&amp;quot;] = &amp;quot;Templates:\\Templates.drfx\\Edit\\Titles\\&amp;quot;&#xA;                            }&#xA;                        }&#xA;                    },&#xA;                    Inputs = {&#xA;                        Value = Input { Value = 0.009, },&#xA;                    },&#xA;                },&#xA;                RenderDot = sRender {&#xA;                    ExtentSet = true,&#xA;                    CtrlWShown = false,&#xA;                    NameSet = true,&#xA;                    Inputs = {&#xA;                        GlobalOut = Input { Value = 5000, },&#xA;                        Width = Input { Value = 1920, },&#xA;                        Height = Input { Value = 1080, },&#xA;                        UseFrameFormatSettings = Input { Value = 1, },&#xA;                        [&amp;quot;Gamut.SLogVersion&amp;quot;] = Input { Value = FuID { &amp;quot;SLog2&amp;quot; }, },&#xA;                        Input = Input {&#xA;                            SourceOp = &amp;quot;sRectangle1_5&amp;quot;,&#xA;                            Source = &amp;quot;Output&amp;quot;,&#xA;                        },&#xA;                    },&#xA;                    ViewInfo = OperatorInfo { Pos = { -225.629, 53.8624 } },&#xA;                },&#xA;                Bitmap1 = BitmapMask {&#xA;                    CtrlWShown = false,&#xA;                    NameSet = true,&#xA;                    Inputs = {&#xA;                        EffectMask = Input {&#xA;                            SourceOp = &amp;quot;Polygon1&amp;quot;,&#xA;                            Source = &amp;quot;Mask&amp;quot;,&#xA;                        },&#xA;                        Filter = Input { Value = FuID { &amp;quot;Fast Gaussian&amp;quot; }, },&#xA;                        MaskWidth = Input { Value = 1920, },&#xA;                        MaskHeight = Input { Value = 1080, },&#xA;                        PixelAspect = Input { Value = { 1, 1 }, },&#xA;                        UseFrameFormatSettings = Input { Value = 1, },&#xA;                        ClippingMode = Input { Value = FuID { &amp;quot;None&amp;quot; }, },&#xA;                        Image = Input {&#xA;                            SourceOp = &amp;quot;Transform2_5&amp;quot;,&#xA;                            Source = &amp;quot;Output&amp;quot;,&#xA;                        },&#xA;                    },&#xA;                    ViewInfo = OperatorInfo { Pos = { -97.176, 124.767 } },&#xA;                },&#xA;                Transform2_5 = Transform {&#xA;                    CtrlWShown = false,&#xA;                    Inputs = {&#xA;                        Center = Input {&#xA;                            SourceOp = &amp;quot;Publish2&amp;quot;,&#xA;                            Source = &amp;quot;Value&amp;quot;,&#xA;                        },&#xA;                        Size = Input {&#xA;                            SourceOp = &amp;quot;Transform2_5Size&amp;quot;,&#xA;                            Source = &amp;quot;Value&amp;quot;,&#xA;                        },&#xA;                        Input = Input {&#xA;                            SourceOp = &amp;quot;RenderDot&amp;quot;,&#xA;                            Source = &amp;quot;Output&amp;quot;,&#xA;                        },&#xA;                    },&#xA;                    ViewInfo = OperatorInfo { Pos = { -225.629, 124.767 } },&#xA;                },&#xA;                Transform2_5Size = BezierSpline {&#xA;                    SplineColor = { Red = 254, Green = 144, Blue = 123 },&#xA;                    CtrlWZoom = false,&#xA;                    KeyFrames = {&#xA;                        [32] = { 0.00100000004749745, RH = { 33.3333333333333, 0.334000000031665 }, Flags = { Linear = true } },&#xA;                        [36] = { 1, LH = { 34.6666666666667, 0.667000000015832 }, Flags = { Linear = true } }&#xA;                    }&#xA;                },&#xA;                Line_BG = Background {&#xA;                    ExtentSet = true,&#xA;                    CtrlWShown = false,&#xA;                    NameSet = true,&#xA;                    Inputs = {&#xA;                        EffectMask = Input {&#xA;                            SourceOp = &amp;quot;Bitmap1&amp;quot;,&#xA;                            Source = &amp;quot;Mask&amp;quot;,&#xA;                        },&#xA;                        GlobalOut = Input { Value = 5000, },&#xA;                        Width = Input { Value = 1920, },&#xA;                        Height = Input { Value = 1080, },&#xA;                        UseFrameFormatSettings = Input { Value = 1, },&#xA;                        [&amp;quot;Gamut.SLogVersion&amp;quot;] = Input { Value = FuID { &amp;quot;SLog2&amp;quot; }, },&#xA;                        TopLeftRed = Input { Value = 0.535, },&#xA;                        TopLeftGreen = Input { Value = 0.535, },&#xA;                        TopLeftBlue = Input { Value = 0.535, },&#xA;                        Line = Input { Value = 1, }&#xA;                    },&#xA;                    ViewInfo = OperatorInfo { Pos = { -97.176, 167.178 } },&#xA;                    UserControls = ordered() { Line = { INP_Integer = false, LBLC_DropDownButton = true, LINKID_DataType = &amp;quot;Number&amp;quot;, LBLC_NumInputs = 6, INPID_InputControl = &amp;quot;LabelControl&amp;quot;, LINKS_Name = &amp;quot;Line&amp;quot;, } }&#xA;                },&#xA;                Text_Mask = TextPlus {&#xA;                    ExtentSet = true,&#xA;                    CtrlWShown = false,&#xA;                    NameSet = true,&#xA;                    SourceOp = &amp;quot;Text1&amp;quot;,&#xA;                    Inputs = {&#xA;                        ShadingMapping7 = Input { },&#xA;                        Thickness7 = Input { },&#xA;                        Green7 = Input { },&#xA;                        AngleZ7 = Input { },&#xA;                        ShadingMappingSize7 = Input { },&#xA;                        SizeY7 = Input { },&#xA;                        Offset7 = Input { },&#xA;                        Pivot7 = Input { },&#xA;                        SoftnessX7 = Input { },&#xA;                        Properties7 = Input { },&#xA;                        AdaptThicknessToPerspective7 = Input { },&#xA;                        Position7 = Input { Value = 1, },&#xA;                        ImageShadingSampling7 = Input { },&#xA;                        AngleY7 = Input { },&#xA;                        Alpha7 = Input { },&#xA;                        JoinStyle7 = Input { },&#xA;                        OutsideOnly7 = Input { },&#xA;                        Round7 = Input { },&#xA;                        Type7 = Input { },&#xA;                        SizeX7 = Input { },&#xA;                        Softness7 = Input { },&#xA;                        ColorBrush7 = Input { },&#xA;                        OffsetZ7 = Input { },&#xA;                        ShearY7 = Input { },&#xA;                        PriorityBack7 = Input { },&#xA;                        ShearX7 = Input { },&#xA;                        SoftnessGlow7 = Input { },&#xA;                        SoftnessOnFillColorToo7 = Input { },&#xA;                        Opacity7 = Input { },&#xA;                        SoftnessBlend7 = Input { },&#xA;                        Red7 = Input { },&#xA;                        SoftnessY7 = Input { },&#xA;                        ImageShadingEdges7 = Input { },&#xA;                        ColorImage7 = Input { },&#xA;                        Overlap7 = Input { },&#xA;                        Blue7 = Input { },&#xA;                        Size7 = Input { },&#xA;                        Shear7 = Input { },&#xA;                        Rotation7 = Input { },&#xA;                        Level7 = Input { },&#xA;                        ShadingMappingAspect7 = Input { },&#xA;                        ShadingGradient7 = Input { },&#xA;                        PivotZ7 = Input { },&#xA;                        ColorFile7 = Input { },&#xA;                        ShadingMappingLevel7 = Input { },&#xA;                        ImageSource7 = Input { },&#xA;                        AngleX7 = Input { },&#xA;                        LineStyle7 = Input { },&#xA;                        ShadingMappingAngle7 = Input { },&#xA;                        EffectMask = Input { },&#xA;                        SettingsNest = Input { },&#xA;                        ImageNest = Input { },&#xA;                        [&amp;quot;Gamut.ColorSpaceNest&amp;quot;] = Input { },&#xA;                        [&amp;quot;Gamut.GammaSpaceNest&amp;quot;] = Input { },&#xA;                        Layout = Input { },&#xA;                        LayoutRotation = Input { },&#xA;                        Background = Input { },&#xA;                        TransformTransform = Input { },&#xA;                        TransformRotation = Input { },&#xA;                        TransformShear = Input { },&#xA;                        TransformSize = Input { },&#xA;                        Enabled1 = Input { Value = 0, },&#xA;                        Enabled7 = Input { },&#xA;                        Enabled8 = Input { Value = 1, },&#xA;                        Properties1 = Input { },&#xA;                        Softness1 = Input { },&#xA;                        Position1 = Input { },&#xA;                        Rotation1 = Input { },&#xA;                        Shear1 = Input { },&#xA;                        Size1 = Input { },&#xA;                        TextText = Input { },&#xA;                        TabSpacing = Input { },&#xA;                        AdvancedFontControls = Input { Value = 1, },&#xA;                        ClearSelectedKerning = Input { },&#xA;                        ClearAllKerning = Input { },&#xA;                        ClearSelectedPlacement = Input { },&#xA;                        ClearAllPlacement = Input { },&#xA;                        Internal = Input { },&#xA;                        CommentsNest = Input { },&#xA;                        FrameRenderScriptNest = Input { },&#xA;                        StartRenderScripts = Input { },&#xA;                        EndRenderScripts = Input { },&#xA;                        Properties8 = Input { },&#xA;                        Opacity8 = Input { },&#xA;                        Overlap8 = Input { },&#xA;                        Thickness8 = Input { },&#xA;                        AdaptThicknessToPerspective8 = Input { },&#xA;                        OutsideOnly8 = Input { },&#xA;                        JoinStyle8 = Input { },&#xA;                        LineStyle8 = Input { },&#xA;                        Level8 = Input { Value = 0, },&#xA;                        Round8 = Input { },&#xA;                        Type8 = Input { },&#xA;                        Red8 = Input { },&#xA;                        Green8 = Input { },&#xA;                        Blue8 = Input { },&#xA;                        Alpha8 = Input { },&#xA;                        ImageSource8 = Input { },&#xA;                        ColorImage8 = Input { },&#xA;                        ColorFile8 = Input { },&#xA;                        ColorBrush8 = Input { },&#xA;                        ShadingGradient8 = Input { },&#xA;                        ImageShadingSampling8 = Input { },&#xA;                        ImageShadingEdges8 = Input { },&#xA;                        ShadingMapping8 = Input { },&#xA;                        ShadingMappingAngle8 = Input { },&#xA;                        ShadingMappingSize8 = Input { },&#xA;                        ShadingMappingAspect8 = Input { },&#xA;                        ShadingMappingLevel8 = Input { },&#xA;                        Softness8 = Input { },&#xA;                        SoftnessX8 = Input { },&#xA;                        SoftnessY8 = Input { },&#xA;                        SoftnessOnFillColorToo8 = Input { },&#xA;                        SoftnessGlow8 = Input { },&#xA;                        SoftnessBlend8 = Input { },&#xA;                        Position8 = Input { Value = 1, },&#xA;                        PriorityBack8 = Input { },&#xA;                        Offset8 = Input { },&#xA;                        OffsetZ8 = Input { },&#xA;                        Pivot8 = Input { },&#xA;                        PivotZ8 = Input { },&#xA;                        Rotation8 = Input { },&#xA;                        AngleX8 = Input { },&#xA;                        AngleY8 = Input { },&#xA;                        AngleZ8 = Input { },&#xA;                        Shear8 = Input { },&#xA;                        ShearX8 = Input { },&#xA;                        ShearY8 = Input { },&#xA;                        Size8 = Input { },&#xA;                        SizeX8 = Input { },&#xA;                        SizeY8 = Input { }&#xA;                    },&#xA;                    ViewInfo = OperatorInfo { Pos = { 45, 197.671 } },&#xA;                },&#xA;                Merge1 = Merge {&#xA;                    CtrlWShown = false,&#xA;                    NameSet = true,&#xA;                    Inputs = {&#xA;                        EffectMask = Input {&#xA;                            SourceOp = &amp;quot;Text_Mask&amp;quot;,&#xA;                            Source = &amp;quot;Output&amp;quot;,&#xA;                        },&#xA;                        ApplyMaskInverted = Input { Value = 1, },&#xA;                        Background = Input {&#xA;                            SourceOp = &amp;quot;Text1&amp;quot;,&#xA;                            Source = &amp;quot;Output&amp;quot;,&#xA;                        },&#xA;                        Foreground = Input {&#xA;                            SourceOp = &amp;quot;Line_BG&amp;quot;,&#xA;                            Source = &amp;quot;Output&amp;quot;,&#xA;                        },&#xA;                        PerformDepthMerge = Input { Value = 0, },&#xA;                    },&#xA;                    ViewInfo = OperatorInfo { Pos = { 45, 156.036 } },&#xA;                },&#xA;                KeyStretcheronForeground = KeyStretcher {&#xA;                    CtrlWShown = false,&#xA;                    NameSet = true,&#xA;                    Inputs = {&#xA;                        Keyframes = Input {&#xA;                            SourceOp = &amp;quot;Merge1&amp;quot;,&#xA;                            Source = &amp;quot;Output&amp;quot;,&#xA;                        },&#xA;                        StretchStart = Input { Value = 36, },&#xA;                        StretchEnd = Input { Value = 120, },&#xA;                    },&#xA;                    ViewInfo = OperatorInfo { Pos = { 225, 167.178 } },&#xA;                }&#xA;            },&#xA;        }&#xA;    },&#xA;    ActiveTool = &amp;quot;MyCallout4111&amp;quot;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have the feeling that it cannot be as hard to do as it seems, but I just don't get it.&lt;/p&gt;&#xA;" OwnerUserId="33658" LastActivityDate="2023-04-28T19:24:17.070" Title="Add a &quot;CallOut&quot; that follows an object with a line in DaVinci Resolve" Tags="|davinci-resolve|tracking|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36425" PostTypeId="1" AcceptedAnswerId="37026" CreationDate="2023-04-28T22:15:17.360" Score="0" ViewCount="53" Body="&lt;p&gt;When I try to resize the Motion Tracking &amp;quot;Marquee&amp;quot;, I am not getting the &amp;quot;Resize Handles&amp;quot; that used to be there yesterday. I am sure I hit a wrong key somewhere, but I dont have a clue what it might be and not sure of the name for them so google searches come back with random videos that do not mention these &amp;quot;Resize Handles&amp;quot;. Any clue how to get them back?&lt;a href=&quot;https://i.stack.imgur.com/I0dJv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/I0dJv.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The Image on the Left is what I am getting, the Image on the Right is what SHOULD be showing,&lt;/p&gt;&#xA;" OwnerUserId="2997" LastActivityDate="2023-11-30T00:42:50.050" Title="No Resize Handles showing in Kdenlive" Tags="|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36426" PostTypeId="1" CreationDate="2023-04-28T23:20:32.223" Score="1" ViewCount="104" Body="&lt;p&gt;How can I change the output order of FFprobe?&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffprobe -hide_banner -show_streams -show_format space.mkv -of json=c=0 -o output.json&lt;/code&gt; creates a json output file with the &lt;code&gt;streams&lt;/code&gt; sections first and the &lt;code&gt;format&lt;/code&gt; section last.&lt;/p&gt;&#xA;&lt;p&gt;I need the reverse order (&lt;code&gt;format&lt;/code&gt; section first, &lt;code&gt;streams&lt;/code&gt; section last).&lt;/p&gt;&#xA;&lt;p&gt;But reordering the parameters (i.e. &lt;code&gt;-show_format -show_streams&lt;/code&gt;) has no effect unfortunately.&lt;/p&gt;&#xA;&lt;p&gt;This is the output of the command above:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;{&#xA;    &amp;quot;streams&amp;quot;: [&#xA;        {&#xA;            &amp;quot;index&amp;quot;: 0,&#xA;            &amp;quot;codec_name&amp;quot;: &amp;quot;h264&amp;quot;,&#xA;            &amp;quot;codec_long_name&amp;quot;: &amp;quot;H.264 / AVC / MPEG-4 AVC / MPEG-4 part 10&amp;quot;,&#xA;            &amp;quot;profile&amp;quot;: &amp;quot;Main&amp;quot;,&#xA;            &amp;quot;codec_type&amp;quot;: &amp;quot;video&amp;quot;,&#xA;            &amp;quot;codec_tag_string&amp;quot;: &amp;quot;[0][0][0][0]&amp;quot;,&#xA;            &amp;quot;codec_tag&amp;quot;: &amp;quot;0x0000&amp;quot;,&#xA;            &amp;quot;width&amp;quot;: 256,&#xA;            &amp;quot;height&amp;quot;: 144,&#xA;            &amp;quot;coded_width&amp;quot;: 256,&#xA;            &amp;quot;coded_height&amp;quot;: 144,&#xA;            &amp;quot;closed_captions&amp;quot;: 0,&#xA;            &amp;quot;film_grain&amp;quot;: 0,&#xA;            &amp;quot;has_b_frames&amp;quot;: 1,&#xA;            &amp;quot;sample_aspect_ratio&amp;quot;: &amp;quot;1:1&amp;quot;,&#xA;            &amp;quot;display_aspect_ratio&amp;quot;: &amp;quot;16:9&amp;quot;,&#xA;            &amp;quot;pix_fmt&amp;quot;: &amp;quot;yuv420p&amp;quot;,&#xA;            &amp;quot;level&amp;quot;: 11,&#xA;            &amp;quot;color_range&amp;quot;: &amp;quot;tv&amp;quot;,&#xA;            &amp;quot;color_space&amp;quot;: &amp;quot;bt709&amp;quot;,&#xA;            &amp;quot;color_transfer&amp;quot;: &amp;quot;bt709&amp;quot;,&#xA;            &amp;quot;color_primaries&amp;quot;: &amp;quot;bt709&amp;quot;,&#xA;            &amp;quot;chroma_location&amp;quot;: &amp;quot;left&amp;quot;,&#xA;            &amp;quot;field_order&amp;quot;: &amp;quot;progressive&amp;quot;,&#xA;            &amp;quot;refs&amp;quot;: 1,&#xA;            &amp;quot;is_avc&amp;quot;: &amp;quot;true&amp;quot;,&#xA;            &amp;quot;nal_length_size&amp;quot;: &amp;quot;4&amp;quot;,&#xA;            &amp;quot;r_frame_rate&amp;quot;: &amp;quot;3737/250&amp;quot;,&#xA;            &amp;quot;avg_frame_rate&amp;quot;: &amp;quot;3737/250&amp;quot;,&#xA;            &amp;quot;time_base&amp;quot;: &amp;quot;1/1000&amp;quot;,&#xA;            &amp;quot;start_pts&amp;quot;: 0,&#xA;            &amp;quot;start_time&amp;quot;: &amp;quot;0.000000&amp;quot;,&#xA;            &amp;quot;bits_per_raw_sample&amp;quot;: &amp;quot;8&amp;quot;,&#xA;            &amp;quot;extradata_size&amp;quot;: 41,&#xA;            &amp;quot;disposition&amp;quot;: {&#xA;                &amp;quot;default&amp;quot;: 1,&#xA;                &amp;quot;dub&amp;quot;: 0,&#xA;                &amp;quot;original&amp;quot;: 0,&#xA;                &amp;quot;comment&amp;quot;: 0,&#xA;                &amp;quot;lyrics&amp;quot;: 0,&#xA;                &amp;quot;karaoke&amp;quot;: 0,&#xA;                &amp;quot;forced&amp;quot;: 0,&#xA;                &amp;quot;hearing_impaired&amp;quot;: 0,&#xA;                &amp;quot;visual_impaired&amp;quot;: 0,&#xA;                &amp;quot;clean_effects&amp;quot;: 0,&#xA;                &amp;quot;attached_pic&amp;quot;: 0,&#xA;                &amp;quot;timed_thumbnails&amp;quot;: 0,&#xA;                &amp;quot;captions&amp;quot;: 0,&#xA;                &amp;quot;descriptions&amp;quot;: 0,&#xA;                &amp;quot;metadata&amp;quot;: 0,&#xA;                &amp;quot;dependent&amp;quot;: 0,&#xA;                &amp;quot;still_image&amp;quot;: 0&#xA;            },&#xA;            &amp;quot;tags&amp;quot;: {&#xA;                &amp;quot;HANDLER_NAME&amp;quot;: &amp;quot;ISO Media file produced by Google Inc.&amp;quot;,&#xA;                &amp;quot;VENDOR_ID&amp;quot;: &amp;quot;[0][0][0][0]&amp;quot;,&#xA;                &amp;quot;DURATION&amp;quot;: &amp;quot;00:10:53.276000000&amp;quot;&#xA;            }&#xA;        },&#xA;        {&#xA;            &amp;quot;index&amp;quot;: 1,&#xA;            &amp;quot;codec_name&amp;quot;: &amp;quot;aac&amp;quot;,&#xA;            &amp;quot;codec_long_name&amp;quot;: &amp;quot;AAC (Advanced Audio Coding)&amp;quot;,&#xA;            &amp;quot;profile&amp;quot;: &amp;quot;HE-AAC&amp;quot;,&#xA;            &amp;quot;codec_type&amp;quot;: &amp;quot;audio&amp;quot;,&#xA;            &amp;quot;codec_tag_string&amp;quot;: &amp;quot;[0][0][0][0]&amp;quot;,&#xA;            &amp;quot;codec_tag&amp;quot;: &amp;quot;0x0000&amp;quot;,&#xA;            &amp;quot;sample_fmt&amp;quot;: &amp;quot;fltp&amp;quot;,&#xA;            &amp;quot;sample_rate&amp;quot;: &amp;quot;44100&amp;quot;,&#xA;            &amp;quot;channels&amp;quot;: 2,&#xA;            &amp;quot;channel_layout&amp;quot;: &amp;quot;stereo&amp;quot;,&#xA;            &amp;quot;bits_per_sample&amp;quot;: 0,&#xA;            &amp;quot;initial_padding&amp;quot;: 0,&#xA;            &amp;quot;r_frame_rate&amp;quot;: &amp;quot;0/0&amp;quot;,&#xA;            &amp;quot;avg_frame_rate&amp;quot;: &amp;quot;0/0&amp;quot;,&#xA;            &amp;quot;time_base&amp;quot;: &amp;quot;1/1000&amp;quot;,&#xA;            &amp;quot;start_pts&amp;quot;: 0,&#xA;            &amp;quot;start_time&amp;quot;: &amp;quot;0.000000&amp;quot;,&#xA;            &amp;quot;extradata_size&amp;quot;: 25,&#xA;            &amp;quot;disposition&amp;quot;: {&#xA;                &amp;quot;default&amp;quot;: 1,&#xA;                &amp;quot;dub&amp;quot;: 0,&#xA;                &amp;quot;original&amp;quot;: 0,&#xA;                &amp;quot;comment&amp;quot;: 0,&#xA;                &amp;quot;lyrics&amp;quot;: 0,&#xA;                &amp;quot;karaoke&amp;quot;: 0,&#xA;                &amp;quot;forced&amp;quot;: 0,&#xA;                &amp;quot;hearing_impaired&amp;quot;: 0,&#xA;                &amp;quot;visual_impaired&amp;quot;: 0,&#xA;                &amp;quot;clean_effects&amp;quot;: 0,&#xA;                &amp;quot;attached_pic&amp;quot;: 0,&#xA;                &amp;quot;timed_thumbnails&amp;quot;: 0,&#xA;                &amp;quot;captions&amp;quot;: 0,&#xA;                &amp;quot;descriptions&amp;quot;: 0,&#xA;                &amp;quot;metadata&amp;quot;: 0,&#xA;                &amp;quot;dependent&amp;quot;: 0,&#xA;                &amp;quot;still_image&amp;quot;: 0&#xA;            },&#xA;            &amp;quot;tags&amp;quot;: {&#xA;                &amp;quot;HANDLER_NAME&amp;quot;: &amp;quot;ISO Media file produced by Google Inc.&amp;quot;,&#xA;                &amp;quot;VENDOR_ID&amp;quot;: &amp;quot;[0][0][0][0]&amp;quot;,&#xA;                &amp;quot;DURATION&amp;quot;: &amp;quot;00:10:53.409000000&amp;quot;&#xA;            }&#xA;        }&#xA;    ],&#xA;    &amp;quot;format&amp;quot;: {&#xA;        &amp;quot;filename&amp;quot;: &amp;quot;space.mkv&amp;quot;,&#xA;        &amp;quot;nb_streams&amp;quot;: 2,&#xA;        &amp;quot;nb_programs&amp;quot;: 0,&#xA;        &amp;quot;format_name&amp;quot;: &amp;quot;matroska,webm&amp;quot;,&#xA;        &amp;quot;format_long_name&amp;quot;: &amp;quot;Matroska / WebM&amp;quot;,&#xA;        &amp;quot;start_time&amp;quot;: &amp;quot;0.000000&amp;quot;,&#xA;        &amp;quot;duration&amp;quot;: &amp;quot;653.409000&amp;quot;,&#xA;        &amp;quot;size&amp;quot;: &amp;quot;5252652&amp;quot;,&#xA;        &amp;quot;bit_rate&amp;quot;: &amp;quot;64310&amp;quot;,&#xA;        &amp;quot;probe_score&amp;quot;: 100,&#xA;        &amp;quot;tags&amp;quot;: {&#xA;            &amp;quot;title&amp;quot;: &amp;quot;SpaceX Starship explodes on first launch attempt&amp;quot;,&#xA;            &amp;quot;COMMENT&amp;quot;: &amp;quot;https://www.youtube.com/watch?v=gk1BViilFFk&amp;quot;,&#xA;            &amp;quot;COMPATIBLE_BRANDS&amp;quot;: &amp;quot;iso6avc1mp41&amp;quot;,&#xA;            &amp;quot;MAJOR_BRAND&amp;quot;: &amp;quot;dash&amp;quot;,&#xA;            &amp;quot;MINOR_VERSION&amp;quot;: &amp;quot;0&amp;quot;,&#xA;            &amp;quot;ARTIST&amp;quot;: &amp;quot;CNN&amp;quot;,&#xA;            &amp;quot;DATE&amp;quot;: &amp;quot;20230420&amp;quot;,&#xA;            &amp;quot;DESCRIPTION&amp;quot;: &amp;quot;SpaceX’s Starship, the most powerful rocket ever built, took off from a launch pad on the coast of South Texas, but exploded midair before stage separation. #CNN #News&amp;quot;,&#xA;            &amp;quot;SYNOPSIS&amp;quot;: &amp;quot;SpaceX’s Starship, the most powerful rocket ever built, took off from a launch pad on the coast of South Texas, but exploded midair before stage separation. #CNN #News&amp;quot;,&#xA;            &amp;quot;PURL&amp;quot;: &amp;quot;https://www.youtube.com/watch?v=gk1BViilFFk&amp;quot;,&#xA;            &amp;quot;ENCODER&amp;quot;: &amp;quot;Lavf60.4.101&amp;quot;&#xA;        }&#xA;    }&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40972" LastActivityDate="2023-05-02T04:19:59.737" Title="change output order of FFprobe" Tags="|ffmpeg|formats|ffprobe|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36427" PostTypeId="1" CreationDate="2023-04-29T00:45:46.650" Score="0" ViewCount="162" Body="&lt;p&gt;I have very little experience with FFmpeg but a process that worked flawlessly on one video (60fps @1920x1080) is dropping frames like crazy on another (58.56fps @1920x1080).&lt;/p&gt;&#xA;&lt;p&gt;I believe I have my offsets right (1/60= 0.0166 and 1/58.56 = 0.01707) but the proessr said drop=0 on the first one but drop=[greater than framecount] onthe second Can't see what element in the code is telling it to do that, or how to change it.&lt;/p&gt;&#xA;&lt;p&gt;Here's my code for the first 60Hz file which worked nicely:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i G:\PropFlicker.mp4 -itsoffset 0.01666 -i G:\PropFlicker.mp4 -filter_complex color=0x202020:r=60:s=1920x1080:d=24[mask];[mask][0][1]maskedmax=[out] -map [out] -crf 10 G:\PropNoFlicker.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And here's the report with no frames dropping:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2FaJW.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2FaJW.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here's my code for the second file at 58.56Hz:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i C:\20150104_164428.mp4 -itsoffset 0.01707 -i C:\20150104_164428.mp4 -filter_complex color=0x202020:r=58.56:s=1920x1080:d=60[mask];[mask][0][1]maskedmax=[out] -map [out] -crf 8 -r 58.56 G:\Output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And here is the report where you can see frames dropping like crazy&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YM2eu.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YM2eu.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I don't know what -crf does and if it has anything to do with it, and I also tried changing the d=60 to other values, makes no apparent difference.  No idea what duration that is changing either&lt;/p&gt;&#xA;&lt;p&gt;I tried with and without the last -r 58.56 and it made no difference.&lt;/p&gt;&#xA;&lt;p&gt;Any help will be appreciated!&lt;/p&gt;&#xA;" OwnerUserId="41128" LastActivityDate="2023-04-29T00:45:46.650" Title="FFmpeg is dropping a lot of frames but I can't see why" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36428" PostTypeId="1" CreationDate="2023-04-29T07:48:21.257" Score="1" ViewCount="454" Body="&lt;p&gt;When i use this command it in generally works with no issues but I get this warning and the video is super long (should be 20 or 30 seconds and is 24 minutes)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i manual.txt -c copy C:\Users\Eric\Downloads\manual_merge\asdf.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;this is the output from the command promp&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[mp4 @ 000001b34d593fc0] Non-monotonous DTS in output stream 0:1; previous: 608569, current: 12201; changing to 608570. This may result in incorrect timestamps in the output file.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;how do i fix this warning?&lt;/p&gt;&#xA;" OwnerUserId="41129" LastActivityDate="2023-04-29T07:48:21.257" Title="FFMPEG merging videos Non-monotonous DTS in output stream 0:1" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36429" PostTypeId="1" CreationDate="2023-04-30T04:24:33.197" Score="2" ViewCount="20" Body="&lt;p&gt;I am trying to simulate a node graph like &lt;a href=&quot;https://www.usenodl.dev/&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; where a path with 4 points (start, 2 middle, end) adapts to the movement of an object connected to the start and end:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Vt4BD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Vt4BD.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If you move a node at the link above you can see this demonstrated. So far I've followed &lt;a href=&quot;https://www.youtube.com/watch?v=2NZCj8vVZZM&quot; rel=&quot;nofollow noreferrer&quot;&gt;this tutorial using a beam&lt;/a&gt; but this is 2 points - not 4 - with no support for curved paths.&lt;/p&gt;&#xA;&lt;p&gt;How can I simulate this node graph effect?&lt;/p&gt;&#xA;" OwnerUserId="41136" LastActivityDate="2024-01-25T07:07:30.927" Title="How to make a 4 point path follow an object at either end? (How to make a fake node graph)?" Tags="|after-effects|animation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36430" PostTypeId="1" CreationDate="2023-04-30T05:50:33.383" Score="0" ViewCount="379" Body="&lt;p&gt;I am using ffmpeg to record a camera stream using rtsp protocol. Camera stream is being consumed via rtsp-simple-server. I am creating 10 second files by setting output_ts_offset to epoch realtime.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;ffmpeg command:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -hide_banner -loglevel warning -rtsp_transport tcp -i rtsp://rtsp_simple_server_ip:rtsp_simple_server_port/stream_url -muxpreload 0 -muxdelay 0 -c:v copy -an -f segment -strftime 1 -segment_time 10 -output_ts_offset $EPOCHREALTIME -segment_atclocktime 1 -segment_clocktime_offset 30 -segment_format mp4 file_%s.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Each file is saved with offset - start_time as epoch timestamp(current timestamp when ffmpeg pipeline starts and keep on adding 10 seconds as it creates 10 second files) and adding the same timestamp in file name also. eg file_1669903600.mp4.&#xA;&lt;strong&gt;FPS is 15.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;ffprobe output:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;start_time=1669903599.93233&#xA;duration=10.106771&#xA;[/STREAM]&#xA;[FORMAT]&#xA;filename=file_1669903600.mp4&#xA;[/FORMAT]&#xA;&#xA;[STREAM]&#xA;start_time=1669903605.53452&#xA;duration=10.106771&#xA;[/STREAM]&#xA;[FORMAT]&#xA;filename=file_1669903610.mp4&#xA;[/FORMAT]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In second example, there is difference of 5 seconds in start_time and filename which is incorrect.&#xA;Similarily sometimes there are differences upto 50000 seconds in timestamps.&lt;/p&gt;&#xA;&lt;p&gt;Files are being saved with start_time metadata either in past or future. Anyone faced the same issue with ffmpeg?&lt;/p&gt;&#xA;&lt;p&gt;Suddenly I am getting files with 76ms duration and framerate increases to 1986 from 15 and then this timestamp diff(start_time - filename timestamp) starts increasing negatively by 10 and goes up to -47270(in past) or sometimes it goes in future.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[STREAM]&#xA;r_frame_rate=25/1&#xA;avg_frame_rate=778240/51953  &amp;lt;-- framerate = 15&#xA;time_base=1/15360&#xA;start_pts=25872908239503&#xA;start_time=1684434130.175977&#xA;duration=10.147070&#xA;nb_frames=152&#xA;[/STREAM]&#xA;[FORMAT]&#xA;filename=file_1684434130.mp4&#xA;[/FORMAT]&#xA;[STREAM]&#xA;r_frame_rate=25/1&#xA;avg_frame_rate=2334720/155849  &amp;lt;-- framerate = 15&#xA;time_base=1/15360&#xA;start_pts=25872908394947&#xA;start_time=1684434140.296029&#xA;duration=10.146419&#xA;nb_frames=152&#xA;[/STREAM]&#xA;[FORMAT]&#xA;filename=file_1684434140.mp4&#xA;[/FORMAT]&#xA;[STREAM]&#xA;r_frame_rate=25/1&#xA;avg_frame_rate=389120/16871  &amp;lt;-- framerate = 23&#xA;time_base=1/15360&#xA;start_pts=25872908551004&#xA;start_time=1684434150.455990&#xA;duration=6.590234&#xA;nb_frames=152&#xA;[/STREAM]&#xA;[FORMAT]&#xA;filename=file_1684434150.mp4&#xA;[/FORMAT]&#xA;[STREAM]&#xA;r_frame_rate=15360/1&#xA;avg_frame_rate=466944/235  &amp;lt;-- framerate = 1986&#xA;time_base=1/15360&#xA;start_pts=25872908651213&#xA;start_time=1684434156.980013 &amp;lt;-- behind 4 seconds than filename timestamp&#xA;duration=0.076497&#xA;nb_frames=152&#xA;[/STREAM]&#xA;[FORMAT]&#xA;filename=file_1684434160.mp4&#xA;[/FORMAT]&#xA;[STREAM]&#xA;r_frame_rate=15360/1&#xA;avg_frame_rate=466944/235  &amp;lt;-- framerate = 1986&#xA;time_base=1/15360&#xA;start_pts=25872908651366&#xA;start_time=1684434156.989974  &amp;lt;-- behind 14 seconds than filename timestamp&#xA;duration=0.076497&#xA;nb_frames=152&#xA;[/STREAM]&#xA;[FORMAT]&#xA;filename=file_1684434170.mp4&#xA;[/FORMAT]&#xA;...&#xA;...&#xA;...&#xA;[STREAM]&#xA;r_frame_rate=15360/1&#xA;avg_frame_rate=466944/235 &amp;lt;-- framerate = 1986&#xA;time_base=1/15360&#xA;start_pts=25872908681733&#xA;start_time=1684434158.966992 &amp;lt;-- behind 2042 seconds than filename&#xA;duration=0.076497&#xA;nb_frames=152&#xA;[/STREAM]&#xA;[FORMAT]&#xA;filename=file_1684436200.mp4&#xA;[/FORMAT]&#xA;&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Why framerate is jumping to 1986 suddenly and why ffmpeg is adding 10 seconds to timestamp metadata?&lt;/p&gt;&#xA;&lt;p&gt;Expected output:&#xA;Timestamps should match(start_time timestamp should be equal to filename timestamp)&lt;/p&gt;&#xA;" OwnerUserId="41137" LastEditorUserId="41137" LastEditDate="2023-05-23T07:09:07.053" LastActivityDate="2023-05-23T07:09:07.053" Title="ffmpeg not adding correct timestamps in recorded files" Tags="|ffmpeg|ffprobe|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36431" PostTypeId="2" ParentId="36429" CreationDate="2023-04-30T06:48:21.267" Score="0" Body="&lt;p&gt;This is a tricky one to do without plugins.  I've used &lt;a href=&quot;https://aescripts.com/connect-layers/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ConnectLayersPro&lt;/a&gt; to achieve this kind of thing, with the curves set to Step mode:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SmiIL.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SmiIL.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If anyone knows how to do it using expressions (and maybe the built in Beam plugin?) I'd love to know.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-04-30T06:48:21.267" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36432" PostTypeId="1" CreationDate="2023-04-30T08:27:31.470" Score="1" ViewCount="533" Body="&lt;p&gt;This is probably the same question as &lt;a href=&quot;https://www.reddit.com/r/kdenlive/comments/ik44o2/image_sequences_cutting_and_transparency/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.reddit.com/r/kdenlive/comments/ik44o2/image_sequences_cutting_and_transparency/&lt;/a&gt; ( and probably related to &lt;a href=&quot;https://kdenlive.org/en/project/compositing-with-transparency/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://kdenlive.org/en/project/compositing-with-transparency/&lt;/a&gt; )&lt;/p&gt;&#xA;&lt;p&gt;Let's say I have an image sequence, with transparent background, and an element (here a rectangle) with a fill color with fading alpha/transparency; for instance, one generated with &lt;code&gt;imagemagick&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;for ix in `seq 1 9`; do \&#xA;  convert -size 640x480 xc:none \&#xA;   -strokewidth 0 -fill &amp;quot;rgba( 255, 215, 30, 0.$ix )&amp;quot; \&#xA;     -draw &amp;quot;rectangle 30,30 500,250&amp;quot; \&#xA;   -strokewidth 2 -stroke blue -fill none \&#xA;   -draw &amp;quot;rectangle 0,0 639,479&amp;quot; output$ix.png; \&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It is very difficult obtaining a proper .gif animation directly from the above images; so I opened each one in an image viewer, took screenshot of the image viewer, and finally composed the screenshot images with &lt;code&gt;convert -delay 0 -loop 0 Screenshot*.png animation_im.gif&lt;/code&gt;, just to show what this image sequence looks like:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pAhp6.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pAhp6.gif&quot; alt=&quot;image sequence animated gif via screenshots&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The animation above shows that there is a &amp;quot;gradual&amp;quot; or &amp;quot;continuous&amp;quot; &amp;quot;fade&amp;quot; of the color via the alpha channel.&lt;/p&gt;&#xA;&lt;p&gt;Now, the problem is - typically, if I import this image sequence in &lt;code&gt;kdenlive&lt;/code&gt; (&lt;code&gt;kdenlive-23.04.0-x86_64.AppImage&lt;/code&gt;), and I render a video - the gradual fade is &lt;em&gt;gone&lt;/em&gt;/disappears, and the only thing I get is a sudden/instantaneous appearance of the rectangle; similar to output of &lt;code&gt;convert -delay 0 -loop 0 output*.png animation_im.gif&lt;/code&gt; (ran on the original image sequence):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/r3odF.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/r3odF.gif&quot; alt=&quot;animated gif from original image sequence&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;So, my question is: how do I preserve an alpha/transparency gradual/continuous fade in an image sequence, also in the rendered video output of &lt;code&gt;kdenlive&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="26523" LastEditorUserId="26523" LastEditDate="2023-04-30T08:33:49.197" LastActivityDate="2023-09-27T09:06:45.787" Title="KDenlive, image sequence, and transparency/alpha/opacity of fades" Tags="|kdenlive|alpha|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36433" PostTypeId="2" ParentId="36432" CreationDate="2023-04-30T08:27:31.470" Score="1" Body="&lt;p&gt;Well, discovered this almost by accident - but it turns out, to preserve the alpha gradual  fades, you MUST add Composite and transform: Composition track: automatic; Compositing: Alpha blend, for the duration of the image sequence:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Zvkxx.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Zvkxx.png&quot; alt=&quot;kdenlive image sequence video track with Composite&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;... - even if the image sequence is the only track (so compositing then works against the background)!&lt;/p&gt;&#xA;" OwnerUserId="26523" LastActivityDate="2023-04-30T08:27:31.470" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36434" PostTypeId="1" CreationDate="2023-05-01T03:15:32.750" Score="0" ViewCount="212" Body="&lt;p&gt;Kdenlive users.  I am brand new to editing. I'm using version 22.12.3.&lt;/p&gt;&#xA;&lt;p&gt;I had a 17 minute MP4 that I'd edited down to 11 minutes + added a jpg at beginning and end. Rendered, and the new MP4 is completely white - no sound, nothing. Is it just ruined? Do I have to do all the editing again? I'm also having trouble understanding what the .kdenlive file is. It just seems to have my original 17 minute video, so I'm guessing I did not save the project after rendering.&lt;/p&gt;&#xA;" OwnerUserId="41142" LastEditorUserId="674" LastEditDate="2023-10-19T19:40:31.847" LastActivityDate="2024-01-14T19:04:20.547" Title="Kdenlive rendered my MP4 as a white screen, no sound" Tags="|kdenlive|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36435" PostTypeId="2" ParentId="28710" CreationDate="2023-05-01T09:16:09.040" Score="0" Body="&lt;p&gt;One great option might be iZotope RX for noise and background removal.&lt;/p&gt;&#xA;&lt;p&gt;It works wonders e.g. with tape hiss. Might be great for coughing, too.&lt;/p&gt;&#xA;" OwnerUserId="41144" LastActivityDate="2023-05-01T09:16:09.040" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36436" PostTypeId="1" CreationDate="2023-05-01T11:15:41.330" Score="0" ViewCount="297" Body="&lt;p&gt;Running into a wee issue here.&#xA;I'm trying to use an rtmp stream as an input and then outputting it to twitch.&#xA;&lt;code&gt;ffmpeg -re -i rtmp://localhost:1935/live/ -f flv -c:v libx264 -c:a aac rtmp://mad01.contribute.live-video.net/app//stream_key&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;The only issue with this, is that the rtmp sometimes restarts (whenever the video being sent to it ends), and after it restarts, it causes this script to output&#xA;&lt;code&gt;Non-monotonous DTS in output stream 0:1; previous: 10006, current: timestamp; changing to 10006&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This plays the first video fine, but anything after that just stops working.&lt;/p&gt;&#xA;&lt;p&gt;I believe this would be a fine fix, if it wasn't for the fact that previous and current were ALWAYS the same value (the length of the video sent to the rtmp stream in ms). This should be the reason as of why it just stops outputting, because the current timestamp isn't incrementing at all.&#xA;The example I gave was for a 10 second video sent to the rtmp stream.&#xA;This issue disappears if the first video was like 10 seconds, and the second one is 20, and it reaches the 10s mark on the second video.&lt;/p&gt;&#xA;&lt;p&gt;I've tried searching quite literally everywhere but couldn't even find someone with the same issue I have. Appreciate any kind of help&lt;/p&gt;&#xA;" OwnerUserId="41145" LastEditorUserId="14523" LastEditDate="2023-05-09T13:44:08.067" LastActivityDate="2023-05-09T13:44:08.067" Title="FFMPEG RTMP stream Non-monotonous DTS in output stream 0:1" Tags="|ffmpeg|rtmp|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36437" PostTypeId="2" ParentId="36231" CreationDate="2023-05-01T11:38:01.510" Score="0" Body="&lt;p&gt;I think the easiest to use for your case should be &lt;a href=&quot;http://www.animaker.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Animaker&lt;/a&gt; . If it's not enough for you, try &lt;a href=&quot;https://www.descript.com/tools&quot; rel=&quot;nofollow noreferrer&quot;&gt;Descript&lt;/a&gt;. Which has more features and is quite easy to use as well.&lt;/p&gt;&#xA;" OwnerUserId="40936" LastEditorUserId="14523" LastEditDate="2023-05-01T16:56:28.860" LastActivityDate="2023-05-01T16:56:28.860" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36438" PostTypeId="1" CreationDate="2023-05-01T13:28:28.463" Score="0" ViewCount="62" Body="&lt;p&gt;How can I extract images from a video at each scene change (i.e. the 1st image from each new scene in a video) ?&lt;/p&gt;&#xA;&lt;p&gt;FFmpeg is &lt;a href=&quot;https://stackoverflow.com/a/38205105/3161220&quot;&gt;said&lt;/a&gt; to be able to detect scene changes but I don't know how to adapt the FFmpeg parameters used there to this question.&lt;/p&gt;&#xA;&lt;p&gt;I'd like to use a command line tool (like FFmpeg) for Windows.&lt;/p&gt;&#xA;" OwnerUserId="40972" LastEditorUserId="40972" LastEditDate="2023-05-01T13:35:34.363" LastActivityDate="2023-05-01T13:35:34.363" Title="extracting/exporting images from a video at every scenechange" Tags="|ffmpeg|video|ffprobe|analysis|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36439" PostTypeId="2" ParentId="34790" CreationDate="2023-05-01T14:31:15.117" Score="1" Body="&lt;p&gt;Although the Matroska format supports up to nanosecond precision timestamps, currently ffmpeg only seems to support milisecond timestamps, which is the default value. (There is &lt;a href=&quot;https://lists.ffmpeg.org/pipermail/ffmpeg-devel/2021-May/280460.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;a patch&lt;/a&gt; to fix this, but it doesn't appear to be merged)&lt;/p&gt;&#xA;&lt;p&gt;Instead of ffmpeg, you can use the &lt;code&gt;mkvmerge&lt;/code&gt; parameter &lt;code&gt;--timestamp-scale&lt;/code&gt; to change the time base as nanoseconds. For example, for a tbn of 90000, use &lt;code&gt;--timestamp-scale 11111&lt;/code&gt;, since 1000000ns / 90000 = 11111.111111ns. Note however that it's impossible to get exact precision timestamps with the mkv format when you have a timebase that is a multiple of 3 since you will have repeating decimals, but all timestamps are rounded to nanoseconds.&lt;/p&gt;&#xA;&lt;p&gt;See &lt;a href=&quot;https://mkvtoolnix.download/doc/mkvmerge.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://mkvtoolnix.download/doc/mkvmerge.html&lt;/a&gt; for details about &lt;code&gt;mkvmerge&lt;/code&gt; usage&lt;/p&gt;&#xA;&lt;p&gt;See also &lt;code&gt;TimestampScale&lt;/code&gt; in &lt;a href=&quot;https://www.matroska.org/technical/notes.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.matroska.org/technical/notes.html&lt;/a&gt; about the format&lt;/p&gt;&#xA;" OwnerUserId="1294" LastActivityDate="2023-05-01T14:31:15.117" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36441" PostTypeId="2" ParentId="36426" CreationDate="2023-05-02T04:19:59.737" Score="2" Body="&lt;p&gt;The order in which sections are printed is hard-coded and insensitive to user specification.&lt;/p&gt;&#xA;&lt;p&gt;This is the layout in the source.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;if (do_read_frames || do_read_packets) {&#xA;...&#xA;}&#xA;&#xA;if (do_show_programs) {&#xA;...&#xA;}&#xA;&#xA;if (do_show_streams) {&#xA;...&#xA;}&#xA;if (do_show_chapters) {&#xA;...&#xA;}&#xA;if (do_show_format) {&#xA;...&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-05-02T04:19:59.737" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36442" PostTypeId="1" CreationDate="2023-05-02T13:12:52.700" Score="0" ViewCount="159" Body="&lt;p&gt;I have 3 complex filters and can't figure how do i make it in one command to work:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Random text position&#xA;&lt;code&gt;ffmpeg -i video.mp4 -vf drawtext=\&amp;quot;fontsize=40:fontfile=FreeSerif.ttf:fontcolor={color}:text='{watermarkText}':x=if(eq(mod(n\\,20)\\,0)\\,rand(0\\,(w-text_w))\\,x):y=if(eq(mod(n\\,20)\\,0)\\,rand(0\\,(h-text_h))\\,y)\&amp;quot; -c:a copy {outputFile}&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Logo opacity&#xA;&lt;code&gt;ffmpeg -i video.mp4 -i pog.png -filter_complex &amp;quot;[1:v]format=argb,geq=r='r(X,Y)':a='0.1*alpha(X,Y)'[zork]; [0:v][zork]overlay&amp;quot; {outputFile}&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Logo scaling&#xA;&lt;code&gt;ffmpeg -i video.mp4 -i pog.png -filter_complex &amp;quot;[1][0]scale2ref=w='iw*10/100':h='ow/mdar'[wm][vid];[vid][wm]overlay=10:10&amp;quot; video1.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Is it even possible to make it as one working command?&lt;/p&gt;&#xA;" OwnerUserId="41152" LastActivityDate="2023-05-02T13:12:52.700" Title="Place logo + change its opacity and scale + add text at random position" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36443" PostTypeId="1" CreationDate="2023-05-02T14:01:08.613" Score="0" ViewCount="361" Body="&lt;p&gt;I want to loop an audio file infinitely. The &lt;code&gt;-stream_loop -1&lt;/code&gt; option adds a small pause  / jerk between the loops, as also mentioned in &lt;a href=&quot;https://video.stackexchange.com/questions/21759/why-does-ffmpegs-stream-loop-option-add-a-pause&quot;&gt;this question with no solution&lt;/a&gt;.&#xA;The same question mentions that filter loop works fine without delay. But I am unable to get the filter loop to work. The below code along with rest of the command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; -filter_complex &amp;quot;[1:a]aloop=loop=-1&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;gives a warning:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_aloop_0 @ 0x55d83e516b80] Number of samples to loop is not set!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What is the correct way to loop an audio endlessly using filter loop? I am trying to merge a video and audio, having them both independently loop infinitely. I have got that part to work using &lt;code&gt;-stream_loop -1&lt;/code&gt; but it has a minor delay between loops as I mentioned. I am looking for a solution using either &lt;code&gt;filter_complex&lt;/code&gt; or any other way if possible. Thanks!&lt;/p&gt;&#xA;&lt;p&gt;Note, I have also noticed that &lt;code&gt;ffplay -loop 0&lt;/code&gt;  plays the loop smoothly without adding this pause.&lt;/p&gt;&#xA;" OwnerUserId="41151" LastEditorUserId="18155" LastEditDate="2023-06-01T18:16:41.890" LastActivityDate="2024-02-26T20:07:10.857" Title="Using ffmpeg audio filter loop instead of stream_loop as stream_loop adds a delay" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36444" PostTypeId="2" ParentId="36443" CreationDate="2023-05-02T14:21:50.580" Score="0" Body="&lt;p&gt;I found a workaround for this &lt;a href=&quot;https://www.reddit.com/r/ffmpeg/comments/vooezk/stream_loop_creates_gap_in_audio/&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;! Using &lt;code&gt;wav&lt;/code&gt; file as input instead of &lt;code&gt;mp3&lt;/code&gt; works.&lt;/p&gt;&#xA;&lt;p&gt;Also in my trials, I found that even &lt;code&gt;aac&lt;/code&gt; files suffer from this delay, somehow, &lt;code&gt;wav&lt;/code&gt; files do not!&lt;/p&gt;&#xA;" OwnerUserId="41151" LastActivityDate="2023-05-02T14:21:50.580" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36445" PostTypeId="2" ParentId="19886" CreationDate="2023-05-02T21:20:35.177" Score="0" Body="&lt;p&gt;After lots of unsuccessful attempts to connect different players on my laptop to rtsp://192.168.1.254/sjcam.mov I decided to make a bit of debugging with a packet sniffer to find out what occurs when SJCAM Zone Android app talks to the camera.&lt;/p&gt;&#xA;&lt;p&gt;As a result I discovered that in the case of my camera the correct URL for VLC stream player is:&#xA;&lt;code&gt;http://192.168.1.254:8192&lt;/code&gt;.&#xA;Seems that it's using a technique called HLS (HTTP Live Streaming).&lt;/p&gt;&#xA;&lt;p&gt;My SJCam4000 Wifi is v1.7.&lt;/p&gt;&#xA;" OwnerUserId="41153" LastEditorUserId="41153" LastEditDate="2023-05-02T21:23:18.143" LastActivityDate="2023-05-02T21:23:18.143" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36446" PostTypeId="1" CreationDate="2023-05-02T23:50:27.560" Score="0" ViewCount="63" Body="&lt;p&gt;I have the following use case: I have two videos from different sources (two different cameras) observing the same event. These two obviously do not start at the same absolute time point, so one of them has to be offset in time relative to the other so both video streams appear in sync.&lt;/p&gt;&#xA;&lt;p&gt;For this, in Kdenlive, I'd import the two videos as clips in the project bin; and then I'd create a new sequence in the project bin, and place and offset/align the two videos in the sequence. In order to see both videos at the same time, I'd probably have to setup a &amp;quot;picture-in-picture&amp;quot; as in &lt;a href=&quot;https://userbase.kde.org/Kdenlive/Manual/Tutorials/Split_Screen_How_To&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://userbase.kde.org/Kdenlive/Manual/Tutorials/Split_Screen_How_To&lt;/a&gt; ; and that means that the video tracks within my sequence would look like in the screenshot of that tutorial:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qQvHT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qQvHT.png&quot; alt=&quot;kdenlive tracks&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;... except I'd have only two tracks, and one of them would be offset at the start.&lt;/p&gt;&#xA;&lt;p&gt;So here is the problem: let's say, from two video clip tracks synchronized like this in a sequence, I'd like to cut a clip of the sequence, let's say between 31m:10s:10f to 32m:02s:05f - that in itself is trivial and not a problem. But then, I'd like to rearrange the tracks inside this cut clip of a sequence (so I change the final output of the effects) - &lt;em&gt;without&lt;/em&gt; changing the original sequence! (so it remains as a master record of the time offset required to sync the two original long video files).&lt;/p&gt;&#xA;&lt;p&gt;Right now, in &lt;code&gt;kdenlive-23.04.0-x86_64.AppImage&lt;/code&gt;, if you cut a clip in the middle of a sequence, and then double-click that click to edit it, you're just taken to the original sequence (and as mentioned, I would not like to change it in any way).&lt;/p&gt;&#xA;&lt;p&gt;What I would like, then, is that when I've cut a clip from a sequence, to have an extra (say) right-click menu, &amp;quot;recreate clip sequence&amp;quot; or something - so that once chosen, a &lt;em&gt;new&lt;/em&gt; sequence gets created, which contains &lt;em&gt;only&lt;/em&gt; the cut regions of interest (and correctly offset, as in master sequence), of the original long video files! Then I could rearrange tracks and change effects in this sequence, without changing the original sequence.&lt;/p&gt;&#xA;&lt;p&gt;Is there any way to achieve this in kdenlive?&lt;/p&gt;&#xA;" OwnerUserId="26523" LastActivityDate="2023-05-02T23:50:27.560" Title="Reuse clip of a sequence as a new sequence in Kdenlive?" Tags="|kdenlive|clipping|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36447" PostTypeId="1" CreationDate="2023-05-03T09:25:00.733" Score="2" ViewCount="47" Body="&lt;p&gt;Currently, I'm making a video that I intend to upload to YouTube. I used After Effects and Premiere Pro for this. Since it's a video that's almost 2 hours long, the export takes me about 16 hours according to my PC specifications:&lt;/p&gt;&#xA;&lt;p&gt;11th Gen Intel(R) Core(TM) i5-1135G7 @ 2.40GHz, 2419 Mhz (I'm using the integrated GPU) Installed physical memory 8.00 GB.&lt;/p&gt;&#xA;&lt;p&gt;The first question is, is it normal to have such high export times? From all the video tutorials I've seen, I haven't seen export times as high as mine, but I suppose it's due to the added effects and the length of the video.&lt;/p&gt;&#xA;&lt;p&gt;Exporting for 16 hours straight is very inconvenient for me because I plan on continuing to upload videos, and if I have to leave each video for 16 hours or more, that means the laptop battery will deteriorate, and I also use the computer for university work. The solution I've come up with is to slice the video into several parts, export them, and then join them with ffmpeg, which I understand does not perform rendering (or something like that).&lt;/p&gt;&#xA;&lt;p&gt;When I did it, it came out correctly, and there were no issues. The second question is that I would like to know if this technique has a name and how to do it correctly. I would also like to know if there are any disadvantages to doing it this way. I exported in H.264 at 1080p and 24 fps, and then I joined them, but there may be a better way to do it.&lt;/p&gt;&#xA;&lt;p&gt;I'm asking this question because before attempting it, I searched the internet and didn't find much information about this technique. The information I found mentioned that there would be problems between frames because a frame contains information about its next frame, but I found that it worked for me, and in case of problems, the cut can be made just at scene changes so that it doesn't affect much.&lt;/p&gt;&#xA;" OwnerUserId="41154" LastActivityDate="2024-01-30T08:02:20.250" Title="Is splitting a video for export a good technique?" Tags="|ffmpeg|after-effects|premiere|export|render|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36449" PostTypeId="1" CreationDate="2023-05-03T15:21:08.743" Score="0" ViewCount="94" Body="&lt;p&gt;I am making a small video for some of my colleagues where I show them how CI/CD with GitLab and Kubernetes works (software development stuff). For that purpose I would like too keep 4 windows visible at all time.&lt;/p&gt;&#xA;&lt;p&gt;I am running OBS on Linux so I use xcompose for the Window Capture entities (WC). Respectively I added 4 separate WCs each with &amp;quot;Capture cursor&amp;quot; enabled.&lt;/p&gt;&#xA;&lt;p&gt;Once I started recording the video I immediately realized that this was not the best way to set things up. In my head I imagined that the capturing of the cursor would only appear in the currently active window. Instead I have 4 WCs with each displaying my cursor and its motion across the screen. Needless to say this looks highly unprofessional not to mention distracting and disables me from e.g. pointing things out separately based on the WC I am currently viewing on my computer.&lt;/p&gt;&#xA;&lt;p&gt;I cannot put all windows on my screen, since my screen is not really that big (just in case someone suggests that :D).&lt;/p&gt;&#xA;" OwnerUserId="36199" LastActivityDate="2024-01-19T18:11:24.457" Title="When multiple windows are captured simultaniously can OBS capture only cursor in currently active window?" Tags="|linux|screen-casting|obs|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36450" PostTypeId="1" CreationDate="2023-05-03T19:05:19.117" Score="0" ViewCount="7" Body="&lt;p&gt;My question offloading video to composite video for Video 8 (in shot)to view on plane, if my hdmi &amp;gt; SD converter output is 576i50 should I set my source output as high as poss (2160p60 or 50) or should I output 576p50 so there is less for the converter to do? Appreciate any advice.&lt;/p&gt;&#xA;" OwnerUserId="41159" LastEditorUserId="41159" LastEditDate="2023-05-03T19:12:24.837" LastActivityDate="2023-05-03T19:12:24.837" Title="What output to feed" Tags="|video-quality|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36451" PostTypeId="2" ParentId="30722" CreationDate="2023-05-03T20:12:32.330" Score="2" Body="&lt;p&gt;I was an assistant editor on Song Remains the Same. I think the fast lens answer is probably correct and I think the stage was lit a lot more than you would think. It was shot multi camera at MSG and single camera on the other material. To my knowledge there was no special stock used but it may have been pushed in the labs.&lt;/p&gt;&#xA;" OwnerUserId="41159" LastEditorUserId="14523" LastEditDate="2023-05-04T21:33:46.440" LastActivityDate="2023-05-04T21:33:46.440" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36452" PostTypeId="2" ParentId="36397" CreationDate="2023-05-03T20:23:12.600" Score="1" Body="&lt;p&gt;Secam L (which was the broadcast format for Analog Color in France) does have differences in the video signal to PAL though both are 625 lines, it is likely this did not trigger the digitizer. You could check if there are settings for your digitizer to select line/field rate and or Color system. Ironic as the complexity of SECAM meant that a large amount of production was shot and edited in PAL and then transcoded for transmission. SECAM L being much more suitable for the use of fewer higher power transmitters and longer range reception in France. NTSC was much easier with no ABBA as you had in PAL...&lt;/p&gt;&#xA;" OwnerUserId="41159" LastActivityDate="2023-05-03T20:23:12.600" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36453" PostTypeId="2" ParentId="29246" CreationDate="2023-05-03T20:50:21.180" Score="1" Body="&lt;p&gt;Fast conversion does not do much compression if you select slowest setting it will produce much smaller file size. Or you could swap from H.264 code to H.265, it will reduce your file size dramatically.&lt;/p&gt;&#xA;" OwnerUserId="41159" LastEditorUserId="14523" LastEditDate="2023-05-04T21:33:27.000" LastActivityDate="2023-05-04T21:33:27.000" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36455" PostTypeId="2" ParentId="35005" CreationDate="2023-05-03T21:12:25.287" Score="0" Body="&lt;p&gt;When shooting at 24 frames per second you are better off using a professional camera which can shoot at 24 frames per second. NTSC based field rate equipment has a compromise and it will be 23.976 frames per second. NTSC field rates were know as 30 frames or 60 fields per second but they were actually 29.97 or 59.94. NTSC was the result of adding color to an existing monochrome standard. There's a thorough explanation of how the math for this worked &lt;a href=&quot;https://youtu.be/3GJUM6pCpew&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;. The 625 line systems which adopted a lower field rate due to the higher line rate and the need to ensure channel usage was maximized and they just sped up the film shot at 24 fps so it sounds higher pitched and for people like me with Migraine, working with 625i50 editing screen you need external light to cut the flicker effect which ordinary viewers do not notice. So it is a mess and if you want 24 fps then you need a pro camera which can capture it.&lt;/p&gt;&#xA;" OwnerUserId="41159" LastEditorUserId="20549" LastEditDate="2023-05-22T11:58:21.310" LastActivityDate="2023-05-22T11:58:21.310" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36456" PostTypeId="1" CreationDate="2023-05-03T21:34:14.187" Score="0" ViewCount="174" Body="&lt;p&gt;I'm running it on modern equipment with latest drivers. I use it to compress video files, like so:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 20230502_200913.mp4 -vcodec libx265 -crf 28 -vf &amp;quot;scale=trunc(iw/10)*2:trunc(ih/10)*2&amp;quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;that command runs in 160 seconds on the CPU. but if I use the GPU, like so:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hwaccel cuda -i 20230502_200913.mp4 -vcodec libx265 -crf 28 -vf &amp;quot;scale=trunc(iw/10)*2:trunc(ih/10)*2&amp;quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;it actually takes 280 seconds. And again, these are same era CPU and GPU. I can see it uses 100% of the GPU when running on the GPU but only 50% of the CPU when running on the CPU. I expected it to run much faster on the GPU than the CPU.&lt;/p&gt;&#xA;&lt;p&gt;Am I missing something?&lt;/p&gt;&#xA;" OwnerUserId="41160" LastActivityDate="2023-05-03T21:34:14.187" Title="Why would ffmpeg run slower on a GPU than a CPU when doing mp4 compression?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36457" PostTypeId="1" CreationDate="2023-05-03T22:08:33.877" Score="0" ViewCount="12" Body="&lt;p&gt;From the online youtube videos&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/jEC-CpL8Gps?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/xSe7y9tYex8?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;It was mentioned that the professional audio equipment was usually set at -18 dbfs while the home studio was usually set at -16 dbfs. However, the &amp;quot;momentary transient&amp;quot; could be as loud as 20 db fs than the rms level. Doesn't that mean the -18 dbfs or the -16 dbfs were almost certain to have the issue of clipping?&lt;/p&gt;&#xA;&lt;p&gt;There's many videos online stated that the autio for DSLR camera should be set at -12 db(headroom).This does not seem to make much sense from the above introduction, and, also, how was the -12 db being calculated? since this only allow the range of the sound to be 10 times more powerful. Is there a specific calculation for that value?&lt;/p&gt;&#xA;&lt;p&gt;Especially, in the music and the human sound can range from 20 dbpsl to 80 dbpsl. That's a lot of range than the (-10)-(-20) dbfs head room. In videoing opera, this needed to be considered since the singers can sing from very quite whisper to very loud high frequency vocal. How to calculate the optimal gain on the DSLR camera? (The usual &amp;quot;-12 db rule&amp;quot; probably would suffer from the clipping, rather, a range from 10 dbpsl to 90 dbpsl may be needed?)&lt;/p&gt;&#xA;" OwnerUserId="37074" LastActivityDate="2023-05-03T22:08:33.877" Title="Why the DSLR camera audio was set at -12 db?" Tags="|audio|audio-recording|audio-quality|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36458" PostTypeId="1" CreationDate="2023-05-04T06:22:22.770" Score="0" ViewCount="17" Body="&lt;p&gt;I have a lot of JPEG photos taken by GoPro. All the photos have metadata on them, but I want that metadata to be displayed on the picture. I can view metadata in the properties of photo, but I want to see it in the photo as well.&#xA;Please guide me if there is any way to do this.&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="41162" LastActivityDate="2023-05-04T06:22:22.770" Title="Burn metadata onto a picture" Tags="|editing|software-recommendation|metadata|photos|jpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36459" PostTypeId="1" CreationDate="2023-05-04T17:41:23.877" Score="0" ViewCount="85" Body="&lt;p&gt;How can I use ffmpeg to create a video such that it pauses after 1 second but retains the full duration of the video? i.e. I am not looking to trim it. For example&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;input.mp4&amp;quot; pause=00:01:00 &amp;quot;output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I tried this from but it did not work. &lt;a href=&quot;https://superuser.com/questions/1071369/ffmpeg-pause-video-every-10-seconds-for-3-seconds&quot;&gt;https://superuser.com/questions/1071369/ffmpeg-pause-video-every-10-seconds-for-3-seconds&lt;/a&gt; Any suggestions?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;test.mp4&amp;quot; -filter_complex \&#xA;       &amp;quot;[0:v]split=2[v0][v1]; \&#xA;        [v0]trim=start_frame=0:end_frame=1,loop=90:1:0,setpts=N/FRAME_RATE/TB[0v]; \&#xA;        [v1]trim=start_frame=1:end_frame=301,loop=90:1:299,setpts=N/FRAME_RATE/TB[1v]&amp;quot; \&#xA;       -map &amp;quot;[v]&amp;quot; &amp;quot;test.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="25317" LastEditorUserId="25317" LastEditDate="2023-05-04T18:38:55.763" LastActivityDate="2023-05-04T18:38:55.763" Title="ffmpeg - pause video after 1 second" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36460" PostTypeId="1" CreationDate="2023-05-04T20:52:58.123" Score="0" ViewCount="26" Body="&lt;p&gt;need some help after trying days on this. I'm able to process one input to two outputs with two encodings:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -i video=&amp;quot;Integrated Camera&amp;quot; -c:v mpeg2video -b:v 50000k -vf &amp;quot;scale=1920:1080&amp;quot; -an -flags +global_header -f segment -segment_time 60 -segment_format mxf -strftime 1 -reset_timestamps 1 -minrate 50000k -maxrate 50000k -bufsize 50000k &amp;quot;C:\ffmpeg\Master\Master_%Y-%m-%d_%H-%M-%S.mxf&amp;quot; -b:v 50000k -vf &amp;quot;scale=1920:1080&amp;quot; -an -flags +global_header -f segment -segment_time 60 -segment_wrap 3 -segment_format mxf -reset_timestamps 1 -minrate 50000k -maxrate 50000k -bufsize 50000k &amp;quot;C:\ffmpeg\Backup\backup_%02d.mxf&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But when i try to do something to get rid of the second encoding and working with &amp;quot;tee&amp;quot; filter, i run into the problem that the other filters will not work anymore. If i run this without the extra filters:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -i video=&amp;quot;Integrated Camera&amp;quot; -c:v mpeg2video -an -f tee -map 0:v -an &amp;quot;Main.mxf|[f=mxf]Backup.mxf&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This works but trying to add this filters after the -f tee filter will lead into an error. As well to define this before the tee filter will not work due to different filter settings in segmentation.&lt;/p&gt;&#xA;&lt;p&gt;I think the way how it could work is to split the output and use afterwards the tee filter. But i wasn't able to do. Maybe someone could help me here.&lt;/p&gt;&#xA;&lt;p&gt;Best&lt;/p&gt;&#xA;&lt;p&gt;Francois&lt;/p&gt;&#xA;" OwnerUserId="41169" LastActivityDate="2023-05-04T20:52:58.123" Title="ffMpeg recording one input into 2 files with one encoder process" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36462" PostTypeId="1" CreationDate="2023-05-04T23:47:41.263" Score="0" ViewCount="320" Body="&lt;p&gt;ive been using ffmpeg and recover mp4 to try and restore a dashcam video from a car accident. im a beginner using this method/ software and im running into this issue. not sure how to &amp;quot;increase analyzeduration and probesize&amp;quot;  any and all help appreciated ASAP&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;C:\ffmpeg-2023-03-20-git-57afccc0ef-essentials_build\recovery\bin&amp;gt;ffmpeg.exe -r 25.000 -i result.h264 -i result.aac -bsf:a aac_adtstoasc -c:v copy -c:a copy result.mp4&#xA;ffmpeg version 2023-03-20-git-57afccc0ef-essentials_build-www.gyan.dev Copyright (c) 2000-2023 the FFmpeg developers&#xA;  built with gcc 12.2.0 (Rev10, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-bzlib --enable-lzma --enable-zlib --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-sdl2 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-libaom --enable-libopenjpeg --enable-libvpx --enable-mediafoundation --enable-libass --enable-libfreetype --enable-libfribidi --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-d3d11va --enable-dxva2 --enable-libvpl --enable-libgme --enable-libopenmpt --enable-libopencore-amrwb --enable-libmp3lame --enable-libtheora --enable-libvo-amrwbenc --enable-libgsm --enable-libopencore-amrnb --enable-libopus --enable-libspeex --enable-libvorbis --enable-librubberband&#xA;  libavutil      58.  4.100 / 58.  4.100&#xA;  libavcodec     60.  6.101 / 60.  6.101&#xA;  libavformat    60.  4.100 / 60.  4.100&#xA;  libavdevice    60.  2.100 / 60.  2.100&#xA;  libavfilter     9.  4.100 /  9.  4.100&#xA;  libswscale      7.  2.100 /  7.  2.100&#xA;  libswresample   4. 11.100 /  4. 11.100&#xA;  libpostproc    57.  2.100 / 57.  2.100&#xA;[h264 @ 0000025867b3dac0] Format h264 detected only with low score of 1, misdetection possible!&#xA;[h264 @ 0000025867b4f940] missing picture in access unit with size 23&#xA;[h264 @ 0000025867b4f940] no frame!&#xA;[h264 @ 0000025867b3dac0] Could not find codec parameters for stream 0 (Video: h264, none): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' (0) and 'probesize' (5000000) options&#xA;Input #0, h264, from 'result.h264':&#xA;  Duration: N/A, bitrate: N/A&#xA;  Stream #0:0: Video: h264, none, 25 tbr, 1200k tbn&#xA;[aac @ 0000025867c0e5c0] Format aac detected only with low score of 1, misdetection possible!&#xA;result.aac: End of file&#xA;&#xA;C:\ffmpeg-2023-03-20-git-57afccc0ef-essentials_build\recovery\bin&amp;gt;&#xA;C:\ffmpeg-2023-03-20-git-57afccc0ef-essentials_build\recovery\bin&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="41170" LastEditorUserId="12233" LastEditDate="2023-05-18T04:32:36.327" LastActivityDate="2023-05-18T04:32:36.327" Title="FFmpeg recover_mp4 help" Tags="|ffmpeg|video|encoding|mp4|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36463" PostTypeId="1" CreationDate="2023-05-05T04:11:06.077" Score="0" ViewCount="71" Body="&lt;p&gt;As a beginner I don't know much about ffprobe and other video editing command line tools. Please guide me here.&lt;/p&gt;&#xA;&lt;p&gt;I am trying to download a video with yt-dlp and trim it to the nearest key-frame of my starting interval.&lt;/p&gt;&#xA;&lt;p&gt;That is, lets say, I want &amp;quot;https://www.youtube.com/watch?v=mZqWloHCjyY&amp;quot; this video from 00:04:30 to 00:04:40.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;yt-dlp -o &amp;quot;output.%(ext)s&amp;quot; -S &amp;quot;res,asr,+abr,+size&amp;quot; --external-downloader ffmpeg --external-downloader-args &amp;quot;ffmpeg_i:-ss 00:4:30.00 -to 00:4:40.00 -avoid_negative_ts make_zero&amp;quot; https://www.youtube.com/watch?v=mZqWloHCjyY //to download the video&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;After download I am trying to get some information about 'only the first frame',&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -read_intervals &amp;quot;%+#1&amp;quot; -select_streams v -show_frames &amp;quot;output.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But there is no output.&#xA;Now if I remove &lt;code&gt;-read_intervals &amp;quot;%+#1&amp;quot;&lt;/code&gt; I am getting information of all the frames.(But I want only first frame info)&lt;/p&gt;&#xA;&lt;p&gt;Also I noticed if I use hard coded URL of video which I get with this command,&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;yt-dlp -S &amp;quot;res,asr,+abr,+size&amp;quot; --get-url https://www.youtube.com/watch?v=mZqWloHCjyY&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Then after I can get 'only the first frame data' with previous &lt;code&gt;-read_intervals &amp;quot;%+#1&amp;quot;&lt;/code&gt;.&#xA;ie now &lt;code&gt;ffprobe -read_intervals &amp;quot;%+#1&amp;quot; -select_streams v -show_frames &amp;quot;URL from previous command&amp;quot;&lt;/code&gt; works&lt;/p&gt;&#xA;" OwnerUserId="41167" LastEditorUserId="41167" LastEditDate="2023-05-05T04:12:44.333" LastActivityDate="2023-05-05T04:12:44.333" Title="FFprobe not showing frames data" Tags="|ffmpeg|encoding|windows|ffprobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36464" PostTypeId="2" ParentId="36447" CreationDate="2023-05-05T07:03:41.437" Score="0" Body="&lt;p&gt;I've seen a few names used, but generally speaking you're talking &amp;quot;parallel encoding&amp;quot;, Netflix and others dealing with large volumes of video data do this, you can dig into a lot more detail in their blog &lt;a href=&quot;https://netflixtechblog.com/high-quality-video-encoding-at-scale-d159db052746&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://netflixtechblog.com/high-quality-video-encoding-at-scale-d159db052746&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Given your described render times, it's certainly a good solution to prevent having to re-encode pieces over and over if you only change only part of your sequence, you just have to trade off against the manual disassembly/re-assembly times to do it this way, Netflix have built their own custom software for these tasks, I'm not aware of anything off the shelf for end users to automate this.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2023-05-05T07:03:41.437" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36465" PostTypeId="2" ParentId="33234" CreationDate="2023-05-05T07:36:51.330" Score="0" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;PAL was an improvement over NTSC, a superior solution, that simply didn't have the harmonious problem that NTSC ran into with the introduction of the colour signal, which is the root cause of the slowdown from 60,000/1000s to 60,0000/1001s, and as a corollary becaus of telecine, from 24,000/1000s to 24,000/1001s.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Legacy support, backwards compatibility.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Same as 2.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6029" LastActivityDate="2023-05-05T07:36:51.330" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36466" PostTypeId="2" ParentId="36340" CreationDate="2023-05-05T08:34:44.903" Score="1" Body="&lt;p&gt;I agree with Tetsujin's answer - I would not use SSD for long term storage. I've already had scenarios where I've gone to read data of stored SSDs, and found them not readable. I'm yet to encounter this on any external HDD I have parked away (but would not be surprised if I have some dead ones in my archive at this point).&lt;/p&gt;&#xA;&lt;p&gt;If the footage is particularly valuable, I would keep at least 2 copies in different mediums, and check them at regular intervals. All my important material sits on network storage (NAS), which has disk redundancy within the unit. My primary NAS is backed up to a secondary NAS, and then I have a set of backup disks that I plug in at various intervals, which also keep a backup of the same data. I also keep some data backed up to the cloud (Dropbox, Backblaze), but those services come with a cost - it's a more limited backup.&lt;/p&gt;&#xA;&lt;p&gt;I also have tons of raw footage that I don't ever expect to need again, which just sits around on external drives - again, HDD, not SSD. I would not trust SSD with anything important, how many other backups you keep depends on how important the material is to you, and how long you want to keep it safe.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastActivityDate="2023-05-05T08:34:44.903" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="36467" PostTypeId="1" CreationDate="2023-05-05T12:57:10.923" Score="1" ViewCount="31" Body="&lt;p&gt;I'm currently trying to make a &amp;quot;video wall&amp;quot;. It should look &lt;a href=&quot;https://twitter.com/singhcredible/status/1651561505798901761&quot; rel=&quot;nofollow noreferrer&quot;&gt;something like this&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I have Final Cut Pro but the process was more tedious than I'd originally anticipated.&lt;/p&gt;&#xA;&lt;p&gt;Is there a better, preferably free (no plugins) way to easily to this?&lt;/p&gt;&#xA;" OwnerUserId="41177" LastActivityDate="2024-02-05T15:03:10.390" Title="How to make a &quot;Video Wall&quot;" Tags="|final-cut-pro-x|final-cut-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36468" PostTypeId="1" CreationDate="2023-05-05T21:26:21.377" Score="0" ViewCount="42" Body="&lt;p&gt;I'm experimenting with extracting motion vectors from h.264 videos for some vision task and I was wondering whether it's possible with ffmpeg to encode a h.264 stream so that it consists only of P-Frames with all macroblocks being temporally predicted (so that all blocks contain motion vectors)?&lt;/p&gt;&#xA;&lt;p&gt;If so, how?&lt;/p&gt;&#xA;" OwnerUserId="29821" LastActivityDate="2023-05-05T21:26:21.377" Title="ffmpeg: possible to encode zerolatency stream with only P frames?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36469" PostTypeId="1" CreationDate="2023-05-08T02:01:09.853" Score="1" ViewCount="74" Body="&lt;p&gt;When I watch videos from my GoPro, the colors look much better in Dragonplayer (stock player with KDE).  This is the case for both x264 videos:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/KmLkm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KmLkm.png&quot; alt=&quot;h264 encoding. Note that the detail visible in the darker parts of the image in Dragonplayer&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;With HEVC there is also a difference, although I think it is less clear which one I prefer (Dragonplayer seems to have brighter colors though):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rYPki.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rYPki.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I am on Linux, but I see similar issues mentioned on Windows (related to NVIDIA cards), such as in this video: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/P68CXnhAPFw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Unfortunately the NVIDA control panel in Linux does not seem to have this &amp;quot;Adjust video color settings&amp;quot; section that the Windows one has.&lt;/p&gt;&#xA;&lt;p&gt;I tried changing the hardware decoder in Preferences &amp;gt; Input/Codecs, but nothing changed whether I have it set to automatic, VA-API, VA-API w DRM, VDPAU, and disabled.&lt;/p&gt;&#xA;&lt;p&gt;VLC was built with the following USE flags:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;+X +a52 +alsa +aom +archive +aribsub -bidi -bluray -cddb -chromaprint -chromecast +cpu_flags_x86_mmx +cpu_flags_x86_sse +dav1d +dbus -dc1394 -debug +dts +dvbpsi +dvd +encode -faad +fdk +ffmpeg +flac -fluidsynth +fontconfig +gcrypt +gme -gnome-keyring +gstreamer +gui -ieee1394 +jack +jpeg +kate +libass -libcaca +libnotify +libsamplerate +libtar +libtiger -linsys -lirc +live +lua +lua_single_target_lua5-1 -macosx-notifications +mad +matroska -modplug +mp3 +mpeg +mtp +musepack +ncurses +nfs +ogg -omxil -optimisememory +opus +png +projectm +pulseaudio -rdp -run-as-root +samba -sdl-image -sftp -shout -sid +skins -soxr +speex +srt +ssl +svg +taglib -test -theora -tremor +truetype +twolame +udev -upnp +v4l +vaapi +vdpau -vnc +vpx +wayland +x264 +x265 +xml -zeroconf -zvbi &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Dragon was built with just:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-debug&#xA;+handbook&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My questions are two:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;What else might I try to get VLC color looking like Dragon?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;How might I re-encode these videos such that I can be reasonably sure that most people will see them the way I do (in Dragon)?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Edit: I found the dynamic range settings in the Linux version of NVIDIA settings, but they were already set to full, so I guess that wasn't the problem. For anyone trying to find them though, they are here:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/EfaUv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EfaUv.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41195" LastEditorUserId="41195" LastEditDate="2023-05-08T18:07:19.160" LastActivityDate="2023-05-08T18:07:19.160" Title="Less color and detail visible when videos are played in VLC (Linux, NVIDIA)" Tags="|codec|linux|color|playback|vlc|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36470" PostTypeId="1" CreationDate="2023-05-08T09:13:40.813" Score="1" ViewCount="67" Body="&lt;p&gt;What issues does Sony have, if any, with the NDI protocol?&lt;br /&gt;&#xA;Is the image as good if it was recorded in camera?&lt;/p&gt;&#xA;&lt;p&gt;I appreciate any help you can provide.&lt;/p&gt;&#xA;&lt;p&gt;Here is a list of the items Im researching&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Sony FR7&lt;/li&gt;&#xA;&lt;li&gt;Sony FE 16-35MM&lt;/li&gt;&#xA;&lt;li&gt;NDI License (maybe)&lt;/li&gt;&#xA;&lt;li&gt;Tricaster Mini 4k (maybe with HDMI or the NDI option)&lt;/li&gt;&#xA;&lt;li&gt;Netgear GMS4212UX // M4250-10G2XF-POE++&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="41196" LastActivityDate="2023-05-08T09:13:40.813" Title="What type of issues does Sony FR7 have with NDI?" Tags="|video-quality|streaming|broadcasting|zoom|sony|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36471" PostTypeId="1" CreationDate="2023-05-08T14:51:35.553" Score="0" ViewCount="34" Body="&lt;p&gt;I have imported multiple video files (roughly 3h30min / roughly 11GB).  I have stripped out the Audio and reduced my total cuts to roughly 2m12sec.  I have tried multiple render video output formats, ideally .mp4.&lt;/p&gt;&#xA;&lt;p&gt;Note:  I understand the Re-scale and Customer Quality options.&lt;/p&gt;&#xA;&lt;p&gt;My question is:&lt;/p&gt;&#xA;&lt;p&gt;Why is my default output for a 2 Minute file 12.4GB for a 2min12sec file?  This is larger that the 3h30 min RAW footage I started with.  Can someone confirm this is correct or way off.  If way off, please provide some options for correction?&lt;/p&gt;&#xA;&lt;p&gt;Thank you very much,&lt;/p&gt;&#xA;" OwnerUserId="41202" LastActivityDate="2023-05-08T14:51:35.553" Title="Why is my rendered video output larger than imported files?" Tags="|video|encoding|mp4|render|output|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36472" PostTypeId="1" CreationDate="2023-05-08T16:54:42.077" Score="0" ViewCount="308" Body="&lt;p&gt;I would like to test ffmpeg for encoding a stream on my VM to see how much CPU % it uses, and how many cores. I don't have streams going, but I plan to use webcams to provide the stream in the future. How should I go about doing this?&lt;/p&gt;&#xA;&lt;p&gt;I have test mp4 files I could provide.&lt;/p&gt;&#xA;&lt;p&gt;Should I:&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to tell ffmpeg to only encode at 1x speed (ie only do 30fps per second for encoding)?&#xA;Or do I have to create a stream first and have ffmpeg encode the stream? I found SRS (Simple Realtime Server) &lt;a href=&quot;https://github.com/ossrs/srs&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/ossrs/srs&lt;/a&gt;. I was going to start a stream from there and have ffmpeg ingest it. But it seems complicated I was wondering if there was an easier way by doing #1? Or is there an easier way to do #2?&#xA;So far I have tried to get ffmpeg running, but have encountered some errors. The SRS is complicated to setup, so I have not tried it yet.&lt;/p&gt;&#xA;" OwnerUserId="41203" LastActivityDate="2023-05-08T16:54:42.077" Title="How to test ffmpeg for streaming encoding at 1x?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36474" PostTypeId="2" ParentId="13266" CreationDate="2023-05-08T18:02:27.480" Score="0" Body="&lt;p&gt;Hey this is a really late answer but when you save as an .AI file, make sure you have the &amp;quot;Create PDF Compatible File&amp;quot; checked off. I ran into the same issue but once you check that box you should be good to go. &lt;a href=&quot;https://i.stack.imgur.com/sxU7H.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sxU7H.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41206" LastActivityDate="2023-05-08T18:02:27.480" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36475" PostTypeId="1" AcceptedAnswerId="36476" CreationDate="2023-05-09T11:20:19.517" Score="1" ViewCount="32" Body="&lt;p&gt;I'm trying to sync the audio and video of 2 different files, one is a 15 FPS webcam stream with audio and the other is a screen share with 5 FPS. This is an educational setting.&lt;/p&gt;&#xA;&lt;p&gt;I'm trying to do the math in my head on what causes the audio desync, is it the 10FPS difference?&lt;/p&gt;&#xA;&lt;p&gt;I first extracted the audio from the webcam mp4 and inserted it into the video using mkvmerge, then used handbrake to encode it in constant fps and it didn't work. I tried 5, 15 and 30 fps in handbrake.&lt;/p&gt;&#xA;&lt;p&gt;The question is, is there a way I can sync these by messing with FPS or some other property, or d I need to manually determine how desynced the audio is and manually shift it?&lt;/p&gt;&#xA;" OwnerUserId="41214" LastActivityDate="2023-05-09T12:40:07.683" Title="2 video files, one has the audio with 15FPS, the other has the video with 5FPS, audio is out of sync" Tags="|audio|framerate|sync|handbrake|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36476" PostTypeId="2" ParentId="36475" CreationDate="2023-05-09T12:40:07.683" Score="1" Body="&lt;p&gt;The two devices that recorded the videos weren't synchronised together, so their clocks will drift over time.  There's no way to guarantee perfect synchronisation, but if you have audio recorded on both, you could use something like &lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/create-multi-camera-source-sequence.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Premiere's multi-cam workflow&lt;/a&gt; to sync the footage.  If it drifts, you'll have to do some manual editing and recutting to get it back into sync.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-05-09T12:40:07.683" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36477" PostTypeId="1" CreationDate="2023-05-09T23:33:28.153" Score="0" ViewCount="52" Body="&lt;p&gt;I would like to use FFMPEG compiled &lt;a href=&quot;https://ffmpeg.org/download.html#build-windows&quot; rel=&quot;nofollow noreferrer&quot;&gt;.exe files&lt;/a&gt; in my commercial Windows OS application and I am wondering if it can be used commercially mainly if:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;a) The compiled ffmpeg.exe is distributed with the application&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I will include ffmpeg.exe binary (got from &lt;a href=&quot;https://www.gyan.dev/ffmpeg/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;official Windows builds URL&lt;/a&gt;) in the application setup file and it will be copied in the same application folder when installed, so the application will run it to perform video conversion tasks.&lt;/p&gt;&#xA;&lt;p&gt;Or:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;b) The compiled ffmpeg.exe is downloaded from the &lt;a href=&quot;https://www.gyan.dev/ffmpeg/builds/&quot; rel=&quot;nofollow noreferrer&quot;&gt;official Windows builds URL&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;In this case the setup file of the application will automatically download ffmpeg.exe while the program is being installed (or I can show a window with like &amp;quot;Downloading FFMPEG .exe file...&amp;quot;) and then it will be copied in the application folder, so the application will run it to perform video conversion tasks.&lt;/p&gt;&#xA;&lt;p&gt;I will not use the static linked libraries (dlls) and with option b) I can even not directly distribute ffmpeg.exe file but it will be downloaded from the official URL for Windows builds during installation of the application. In both cases I will write &amp;quot;This application uses FFMPEG&amp;quot; in the application's footer and it will link to FFMPEG website.&lt;/p&gt;&#xA;&lt;p&gt;Will a) and/or b) case be fine?&lt;/p&gt;&#xA;&lt;p&gt;Additionally, will I need to buy &lt;a href=&quot;https://x264.org/en/&quot; rel=&quot;nofollow noreferrer&quot;&gt;x254&lt;/a&gt; and &lt;a href=&quot;https://x265.com/about/license-x265-and-uhdcode-for-your-product-or-service/&quot; rel=&quot;nofollow noreferrer&quot;&gt;x265&lt;/a&gt; licenses also for the above cases?&lt;/p&gt;&#xA;&lt;p&gt;Thank you everyone.&lt;/p&gt;&#xA;" OwnerUserId="41220" LastActivityDate="2023-05-09T23:33:28.153" Title="Use of FFMPEG (compiled exe, not linked DLLs) on a commercial closed-source Windows program" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36478" PostTypeId="1" CreationDate="2023-05-10T11:37:10.433" Score="0" ViewCount="20" Body="&lt;p&gt;If the title is leaving you with a big &amp;quot;!!?!&amp;quot; then... my bad... I am lacking the needed vocabulary I guess. lol PLUS... I don't know if what I am trying is even feasible.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Here's what I want:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I am using an app on my mobilephone, within which I can create a live stream - just like twitch, yt, ig, ... you name it. Since I am using the phone for the video, I am basically setting it up like a webcam, which makes it kinda hard to still take part in the chat. Additionally I want to add AR-effects to my video, which this app doesn't provide by itself.&lt;/p&gt;&#xA;&lt;p&gt;✅ &lt;strong&gt;Goal 1:&lt;/strong&gt; I wanted to remote control my smartphone from my Laptop to be able to use the chat, while my phone was setup for the stream. I am using an open source tool (scrcpy) to mirror my android phone to my laptop. So this step is covered.&lt;/p&gt;&#xA;&lt;p&gt;⏳ &lt;strong&gt;Goal 2:&lt;/strong&gt; Unfortunately said app offers very limited filters and no AR to make the streaming experience more entertaining. Which is why I came up with the idea of using tools on my laptop that use my smartphone as webcam, pimp the videostream with AR effects, which then is sent to my mobile as kind of default camera output(?), in order for said streaming app to recognize that incoming stream as default video source.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Here's what I've tried:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;OBS Studio allows me to use my smartphone as videosource as if it was a webcam.&lt;/li&gt;&#xA;&lt;li&gt;I am using a 2nd tool that recognizes the video output from OBS studio (virtual camera) and adds effects to it.&lt;/li&gt;&#xA;&lt;li&gt;Now I want to use this video output as video source for my app on my smartphone when I start a stream. &lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;strong&gt;OR...&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is there maybe a different and simpler solution to this? &lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xKLrJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xKLrJ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41226" LastEditorUserId="41226" LastEditDate="2023-05-11T13:46:01.367" LastActivityDate="2023-05-11T13:46:01.367" Title="Project: Use smartphone as webcam, add AR-filters to videostream, send output as feed to smartphone for further usage within mobile app" Tags="|streaming|filter|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36480" PostTypeId="2" ParentId="36351" CreationDate="2023-05-11T08:29:21.943" Score="1" Body="&lt;p&gt;I think also that Blender is the best for making similar explainer videos. This will be the best universal DIY solution in view of the ease of learning and the budget. You can, of course, try, for example, Autodesk Maya or Unity. These are also reletively not very complex tools enabling you create similar 3D models. The question may be the price and time to get used to them.&#xA;Depending on how much detailed modeling is required and what skills you have, a similar task can be implemented with one of the &lt;a href=&quot;https://www.g2.com/categories/3d-modeling&quot; rel=&quot;nofollow noreferrer&quot;&gt;Best 3D Modeling Software&lt;/a&gt; list.  You need to try and experiment. This will take time. Although, there are options, when refining the task.&#xA;If I understood the question correctly, the task for the next 6-12 months is to create several videos explaining the assembly of certain objects, without specifying their technical characteristics, but giving a visual representation of the process and sequence. At the same time, the budget is limited and by the end of the project there are no plans to create any more videos in the future. Right?&#xA;Under such task conditions, I think it worth to get understanding of the &lt;a href=&quot;https://bluecarrot.io/blog/how-to-create-an-animation-pipeline-pre-amp-post-production-process/&quot; rel=&quot;nofollow noreferrer&quot;&gt;animation pipeline&lt;/a&gt; in order to choose the optimal solution for such tasks. After all, 3D modeling is still a skill that needs to be mastered. What is not included in your plans for the future, as I understand it, right?&#xA;Then, with a limited budget, you can simplify the decision, how to choose a different type of animation with ready-made templates and any other &lt;a href=&quot;https://www.webdew.com/blog/explainer-video-software&quot; rel=&quot;nofollow noreferrer&quot;&gt;explainer video software&lt;/a&gt;. Or save time by ordering ready reels from those who understand the processes of creating such videos.&#xA;Well, if, nevertheless, you want to DIY, then I would recommend proceeding from what you already know and can do. If you are already familiar with the blender, then try to do the maximum with it and look at the materials recommended above by Tomh&lt;/p&gt;&#xA;" OwnerUserId="40936" LastActivityDate="2023-05-11T08:29:21.943" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36481" PostTypeId="1" CreationDate="2023-05-11T10:10:37.600" Score="1" ViewCount="12" Body="&lt;p&gt;I've been looking for a way to Extract and consolidate specific parts of a clip in the timeline.&lt;/p&gt;&#xA;&lt;p&gt;I've thought of marking the parts of the clip that I want, make a subclip out of it, lift that specific part and replace it with the previously made subclip and then nest the subclip and export it using the project manager option and selecting the nested sequence. However since I've just recently started in Adobe Premiere I was wondering if there was a more efficient way of simplifying this process.&lt;/p&gt;&#xA;&lt;p&gt;If anyone could point me into the right direction I'd really appreciate it!&lt;/p&gt;&#xA;" OwnerUserId="41230" LastActivityDate="2023-05-11T10:10:37.600" Title="Extract and consolidate specific parts of a clip" Tags="|premiere|export|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36482" PostTypeId="2" ParentId="36467" CreationDate="2023-05-11T13:22:26.340" Score="0" Body="&lt;p&gt;I would use Motion and make a template with Drop Zones and then fill the zones with videos in FCP.&lt;/p&gt;&#xA;" OwnerUserId="20675" LastActivityDate="2023-05-11T13:22:26.340" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36485" PostTypeId="1" CreationDate="2023-05-13T05:35:12.097" Score="0" ViewCount="15" Body="&lt;p&gt;I have a directory where new files in jpeg format are periodically emerge.&lt;/p&gt;&#xA;&lt;p&gt;How can these files be processed one by one,&#xA;waiting for the next one and convert them to a mp4 file.&lt;/p&gt;&#xA;&lt;p&gt;I tried like this&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -framerate 1 -i test%d.jpg -c:v libx264 -r 30 -pix_fmt yuv420p output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but ffmpeg do not wait for new files and exits.&lt;/p&gt;&#xA;&lt;p&gt;Is there a solution?&lt;/p&gt;&#xA;" OwnerUserId="41247" LastActivityDate="2023-05-13T05:35:12.097" Title="FFmpeg. Processing new jpeg files that appear" Tags="|ffmpeg|video-recording|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36486" PostTypeId="1" CreationDate="2023-05-13T06:13:48.327" Score="0" ViewCount="97" Body="&lt;p&gt;I am generating short videos from screenshots (e.g. 900 screenshots for a 30 seconds clip) with ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;It works great and I can play the videos in different video players on Windows without a problem. When I upload the video to my YouTube channel it still works fine in the small preview under studio.youtube.com. But as soon as I preview the video on YouTube the whole video is &amp;quot;scrambled&amp;quot; (see attached image).&lt;/p&gt;&#xA;&lt;p&gt;Other YouTube videos uploaded by other users play fine in my Chrome.&lt;/p&gt;&#xA;&lt;p&gt;I am using Chrome and if I deactivate Hardware Acceleration in Chrome settings the video plays fine on YouTube. But that obviously is not a viable solution. Users should be able to watch the videos on YouTube without changing settings.&lt;/p&gt;&#xA;&lt;p&gt;The video also plays fine in the Android YouTube app and in Firefox on Windows.&lt;/p&gt;&#xA;&lt;p&gt;I have tried a lot of settings for ffmpeg - no success.&lt;/p&gt;&#xA;&lt;p&gt;This is one of the commands I have tried. The parameters are supposed to be according to YouTube's best practice requirements:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 30 -s 1080x1920 -i storage/screenshot-%03d.jpg -pix_fmt yuv420p -c:v libx264 -profile:v high -preset slow -crf 18 -g 30 -bf 2 storage/testvideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Has anybody experienced this problem with ffmpeg generated YouTube videos on Chrome and solved the problem? Any idea appreciated.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/A7biG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/A7biG.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41248" LastActivityDate="2023-05-13T06:13:48.327" Title="Video (generated with FFMPEG) scrambled in Chrome after upload to YouTube" Tags="|ffmpeg|youtube|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36487" PostTypeId="2" ParentId="35766" CreationDate="2023-05-14T00:12:03.820" Score="0" Body="&lt;p&gt;For anyone who needs the same thing as OP - MultitrackMaker for Mac does exactly this and is free.  Haven't tried it on Ventura, but it runs on Monterey.  &lt;a href=&quot;https://www.mixagesoftware.com/index.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.mixagesoftware.com/index.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41252" LastEditorUserId="41252" LastEditDate="2023-05-14T00:14:43.433" LastActivityDate="2023-05-14T00:14:43.433" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36488" PostTypeId="1" CreationDate="2023-05-14T15:06:58.153" Score="1" ViewCount="10" Body="&lt;p&gt;I'm just wondering if someone can help me out. I'm getting error when trying to increase the location of the data in CSV by the composition index.&#xA;Here's code I am using&#xA;\\&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;var compIndex = parseInt(thisComp.index);&#xA;var dataValue = footage(&amp;quot;data.csv&amp;quot;).dataValue([compIndex - 1, 0]);&#xA;dataValue;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;\\&lt;/p&gt;&#xA;&lt;p&gt;The reason i'm doing this is to easily duplicate a composition and the expression will grab the data from correct location in CSV file without me going into each composition to increment it manually.&lt;/p&gt;&#xA;" OwnerUserId="41260" LastActivityDate="2023-05-14T15:06:58.153" Title="Increasing Expression by Comp Index when access CSV File" Tags="|after-effects|after-effects-expressions|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36489" PostTypeId="1" CreationDate="2023-05-14T19:59:50.023" Score="1" ViewCount="10" Body="&lt;p&gt;I want to edit a video with this same type of &amp;quot;endless paper&amp;quot; background. On screen graphics, and zooms.&lt;/p&gt;&#xA;&lt;p&gt;I was trying by importing a large paper photo, then adding all of my on screen graphics to it scaled down, and then using a 3D camera to move between graphics on screen giving the video the same dynamic motion feel as the one linked in this inquiry.&lt;/p&gt;&#xA;&lt;p&gt;This quickly turned into a nightmare task and I can not seem to find anything on google or maybe my phrasing is just terribly off to search for this.&lt;/p&gt;&#xA;&lt;p&gt;PLEASE can someone at least tell me what it is I need to search to learn this. I can learn what I ever I need to editing wise but in this particular case I do not know what I do not know to even begin to learn.&lt;/p&gt;&#xA;&lt;p&gt;MTIA&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://https:/https://youtu.be/Ps34BrekZds&quot; rel=&quot;nofollow noreferrer&quot;&gt;&amp;quot;Endless Paper background in intro. and Eased zoom ins and outs&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41265" LastActivityDate="2023-05-15T14:36:03.397" Title="I want to edit a video just like the one in this example but have no clue what to even look up to learn it" Tags="|editing|fcpx|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36490" PostTypeId="1" CreationDate="2023-05-15T07:34:27.247" Score="1" ViewCount="1561" Body="&lt;p&gt;I get the following error when I try to open a playlist with FFmpeg:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2023-03-05-git-912ac82a3c-essentials_build-www.gyan.dev Copyright (c) 2000-2023 the FFmpeg developers&#xA;  built with gcc 12.2.0 (Rev10, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-bzlib --enable-lzma --enable-zlib --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-sdl2 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-libaom --enable-libopenjpeg --enable-libvpx --enable-mediafoundation --enable-libass --enable-libfreetype --enable-libfribidi --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-d3d11va --enable-dxva2 --enable-libvpl --enable-libgme --enable-libopenmpt --enable-libopencore-amrwb --enable-libmp3lame --enable-libtheora --enable-libvo-amrwbenc --enable-libgsm --enable-libopencore-amrnb --enable-libopus --enable-libspeex --enable-libvorbis --enable-librubberband&#xA;  libavutil      58.  3.100 / 58.  3.100&#xA;  libavcodec     60.  6.100 / 60.  6.100&#xA;  libavformat    60.  4.100 / 60.  4.100&#xA;  libavdevice    60.  2.100 / 60.  2.100&#xA;  libavfilter     9.  4.100 /  9.  4.100&#xA;  libswscale      7.  2.100 /  7.  2.100&#xA;  libswresample   4. 11.100 /  4. 11.100&#xA;  libpostproc    57.  2.100 / 57.  2.100&#xA;playlist.m3u8: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Command I use:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg [-allowed_extensions ALL] [-protocol_whitelist file,http,https,tcp,tls,crypto] -i playlist.m3u8 -c copy -report playlist.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Playlist file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#EXTM3U&#xA;#EXTINF:-1,0&#xA;https://20230515.s3.eu-central-1.amazonaws.com/output0000f.mp4&#xA;#EXTINF:-1,1&#xA;https://20230515.s3.eu-central-1.amazonaws.com/output0001f.mp4&#xA;#EXTINF:-1,2&#xA;https://20230515.s3.eu-central-1.amazonaws.com/output0002f.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The playlist plays fine in VLC player&lt;/p&gt;&#xA;&lt;p&gt;Report:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg started on 2023-05-15 at 13:23:08&#xA;Report written to &amp;quot;ffmpeg-20230515-132308.log&amp;quot;&#xA;Log level: 48&#xA;Command line:&#xA;&amp;quot;F:\\Applications\\ffmpeg-2023-03-05-git-912ac82a3c-essentials_build\\ffmpeg-2023-03-05-git-912ac82a3c-essentials_build\\bin\\ffmpeg.exe&amp;quot; -allowed_extensions ALL -i playlist.m3u8 -c copy -report playlist.mp4&#xA;ffmpeg version 2023-03-05-git-912ac82a3c-essentials_build-www.gyan.dev Copyright (c) 2000-2023 the FFmpeg developers&#xA;  built with gcc 12.2.0 (Rev10, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-bzlib --enable-lzma --enable-zlib --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-sdl2 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-libaom --enable-libopenjpeg --enable-libvpx --enable-mediafoundation --enable-libass --enable-libfreetype --enable-libfribidi --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-d3d11va --enable-dxva2 --enable-libvpl --enable-libgme --enable-libopenmpt --enable-libopencore-amrwb --enable-libmp3lame --enable-libtheora --enable-libvo-amrwbenc --enable-libgsm --enable-libopencore-amrnb --enable-libopus --enable-libspeex --enable-libvorbis --enable-librubberband&#xA;  libavutil      58.  3.100 / 58.  3.100&#xA;  libavcodec     60.  6.100 / 60.  6.100&#xA;  libavformat    60.  4.100 / 60.  4.100&#xA;  libavdevice    60.  2.100 / 60.  2.100&#xA;  libavfilter     9.  4.100 /  9.  4.100&#xA;  libswscale      7.  2.100 /  7.  2.100&#xA;  libswresample   4. 11.100 /  4. 11.100&#xA;  libpostproc    57.  2.100 / 57.  2.100&#xA;Splitting the commandline.&#xA;Reading option '-allowed_extensions' ... matched as AVOption 'allowed_extensions' with argument 'ALL'.&#xA;Reading option '-protocol_whitelist' ... matched as AVOption 'protocol_whitelist' with argument 'file,http,https,tcp,tls,crypt'.&#xA;Reading option '-i' ... matched as input url with argument 'playlist.m3u8'.&#xA;Reading option '-c' ... matched as option 'c' (codec name) with argument 'copy'.&#xA;Reading option '-report' ... matched as option 'report' (generate a report) with argument '1'.&#xA;Reading option 'playlist.mp4' ... matched as output url.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option report (generate a report) with argument 1.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url playlist.m3u8.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: playlist.m3u8.&#xA;[NULL @ 00000256fef51600] Opening 'playlist.m3u8' for reading&#xA;[AVIOContext @ 00000256fef59fc0] Statistics: 249 bytes read, 0 seeks&#xA;playlist.m3u8: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="41268" LastEditorUserId="41268" LastEditDate="2023-05-15T11:43:30.817" LastActivityDate="2023-05-15T12:50:00.723" Title="FFmpeg with m3u8 playlist: Invalid data found when processing input" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36491" PostTypeId="2" ParentId="36490" CreationDate="2023-05-15T12:50:00.723" Score="2" Body="&lt;p&gt;FFmpeg requires one of the following 3 tags to immediately follow #EXTM3U at the beginning.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#EXT-X-STREAM-INF &#xA;#EXT-X-TARGETDURATION&#xA;#EXT-X-MEDIA-SEQUENCE&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You can work around the probe failure by adding &lt;code&gt;-f hls&lt;/code&gt; before &lt;code&gt;-i&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Also, #EXTINF values should be non-negative, which is not the case here.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-05-15T12:50:00.723" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36492" PostTypeId="2" ParentId="36489" CreationDate="2023-05-15T14:36:03.397" Score="1" Body="&lt;p&gt;The youtube link doesn't work, but a lot of these are made using the iOS app which is literally called &lt;a href=&quot;https://apps.apple.com/gb/app/endless-paper/id1294105620&quot; rel=&quot;nofollow noreferrer&quot;&gt;Endless Paper&lt;/a&gt;!&lt;/p&gt;&#xA;&lt;p&gt;The illustrator draws it all inside the app, or imports sections from other drawing apps at each zoom level, and remembers where they plan to go with each pinch-to-zoom.&lt;/p&gt;&#xA;&lt;p&gt;Then it is just filmed with a &lt;a href=&quot;https://en.wikipedia.org/wiki/Rostrum_camera&quot; rel=&quot;nofollow noreferrer&quot;&gt;rostrum camera&lt;/a&gt; over the tablet.&lt;/p&gt;&#xA;&lt;p&gt;If you wanted to achieve a similar effect using video software, I would use After Effects with a series of parented comps.  I suspect Final Cut or Premiere wouldn't be the right tool for the job (but the actual right tool for the job is the iOS app mentioned).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-05-15T14:36:03.397" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36493" PostTypeId="2" ParentId="36400" CreationDate="2023-05-15T21:22:14.597" Score="0" Body="&lt;p&gt;It's not possible directly from what I understand, but you can make a &amp;quot;faux text box&amp;quot; and alter the scale while inversely altering the text size and leading.&lt;/p&gt;&#xA;&lt;p&gt;For example, add a paragraph text box and resize it (closely) to 1920x1080. Drag the anchor to the upper left corner. The anchor point will be the point the text box scales from. Then add 3 sliders to the text layer: FontSize, TextBoxWidth, and FontLeading. Set these sliders to arbitrary values to start, maybe 16 for FontSize, 800 for TextBoxWidth, and 1.6 for FontLeading.&lt;/p&gt;&#xA;&lt;p&gt;Add this as the Source Text expression&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;textSize = effect(&amp;quot;FontSize&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;targetWidth = effect(&amp;quot;TextBoxWidth&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;textLeading = effect(&amp;quot;FontLeading&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;originalBoxWidth = 1920;&#xA;&#xA;boxScale = targetWidth / originalBoxWidth;&#xA;&#xA;text.sourceText.style.setFontSize(textSize / boxScale).setLeading(textSize * textLeading / boxScale);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Add this expression to Transform &amp;gt; Scale of the text layer.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;targetWidth = effect(&amp;quot;TextBoxWidth&amp;quot;)(&amp;quot;Slider&amp;quot;);&#xA;originalBoxWidth = 1920;&#xA;&#xA;boxScale = targetWidth / originalBoxWidth;&#xA;&#xA;value * boxScale;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You'll then be able to adjust the sliders to set the text box width, font size, and leading.&lt;/p&gt;&#xA;&lt;p&gt;See this video for more details: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/FpVPabZw3vU?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="38390" LastActivityDate="2023-05-15T21:22:14.597" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36494" PostTypeId="1" CreationDate="2023-05-15T22:04:55.487" Score="0" ViewCount="23" Body="&lt;p&gt;I'm trying to make this effect for a car video, you can imagine the camera movement for this kind of stuff.&lt;/p&gt;&#xA;&lt;p&gt;I was going to try &lt;a href=&quot;https://youtu.be/S0mx2jI05y4&quot; rel=&quot;nofollow noreferrer&quot;&gt;this technique&lt;/a&gt; which is simply a 3D shape layer in After Effects with a taper.&#xA;Right now, I'm doing this above with a 3D Camera Tracker effect which seems to do the job so far, but in the case that I need extra movements such as overtaking the car and going off-screen might be hard to do with a shape layer.&lt;/p&gt;&#xA;&lt;p&gt;I will be on a deadline and I would like to not follow the wrong strategy wasting time.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/putZP.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/putZP.jpg&quot; alt=&quot;example&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is there anyone who could help me understand the best thing to do?&lt;/p&gt;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="6118" LastEditorUserId="6118" LastEditDate="2023-05-16T21:13:19.687" LastActivityDate="2024-02-11T00:07:10.903" Title="Lightstreaks on Video Footage" Tags="|video|after-effects|special-effects|footage|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36496" PostTypeId="2" ParentId="23269" CreationDate="2023-05-16T11:25:02.913" Score="1" Body="&lt;p&gt;I use Topaz Video AI. Works great. (But to get the best results it can take some time fiddling with different AI settings and previewing and comparing resultant 2second previews.) The improvement is “miraculous.” Cons: Topaz AI costs $250-300, is resource-intensive, enhanced file sizes can get very large, and it really needs a fast processor if you are doing lengthy videos (eg Mac Studio or computer with fast CUDA Nvideo). If the DVD footage is interlaced, I use Handbrake to first deinterlace the VOB files (under the “filters” tab) being sure to set to 60fps output (that way each interlaced field becomes a separate frame, rather than blending the interlaced frames and outputting 30fps), then use Video AI to either upscale the 640x480 to 1080p FHD (1920x1080 with black sidebars), or 2x to get 1280x960 (no bars), or 4x to get 2560x1920 (no bars). The improvement to DVD quality is amazing! Especially if the DVD was originally a VHS tape that was transferred to DVD using a VHS-DVD machine. For my purposes Topaz Video AI is well worth the cost.&lt;/p&gt;&#xA;" OwnerUserId="41280" LastActivityDate="2023-05-16T11:25:02.913" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36497" PostTypeId="2" ParentId="36494" CreationDate="2023-05-16T13:27:39.513" Score="0" Body="&lt;p&gt;I think you could get 90% of the way towards the example shown in that video using the free &lt;a href=&quot;https://www.videocopilot.net/tutorials/saber_plug-in/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Saber plugin from videocopilot&lt;/a&gt;. It can't do 3D strokes (for that you would need to use &lt;a href=&quot;https://www.maxon.net/en/red-giant/trapcode-suite/3d-stroke&quot; rel=&quot;nofollow noreferrer&quot;&gt;Red Giant's 3D stroke&lt;/a&gt;, or some other elaborate method).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-05-16T13:27:39.513" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36498" PostTypeId="1" AcceptedAnswerId="36500" CreationDate="2023-05-16T17:41:30.603" Score="0" ViewCount="106" Body="&lt;p&gt;I'm fairly new to FFmpeg, I'm using this command: ffmpeg -i &amp;quot;C:\FFmpeg\Handbrake\Trackmania\Trackmania.mp4&amp;quot; -c:v libx264 -preset veryslow -b:v 10000  -fps_mode passthrough &amp;quot;C:\FFmpeg\Handbrake\Trackmania\Compressed\AV1\QSV VERYSLOW.mp4&amp;quot;, but FFmpeg is actually encoding at around 300kbps, which result in a horrible video quality. I've tried changing the bitrate, but this doesn't fix the issue&lt;/p&gt;&#xA;" OwnerUserId="41284" LastActivityDate="2023-05-17T04:01:40.460" Title="FFmpeg is encoding at a lower bitrate than what is specified" Tags="|ffmpeg|h.264|bitrate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36499" PostTypeId="1" CreationDate="2023-05-16T23:47:54.037" Score="0" ViewCount="7" Body="&lt;p&gt;I annotate a bunch of files with:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i migrant.mp4 -vf &amp;quot;drawtext=text='Migrant':fontcolor=white:x=100:y=100:font=Arial:fontsize=50&amp;quot; -codec:a copy migrant_test.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I then concatenate them with:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i list.txt -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I get errors during concatenating and the output has lots of problems.&lt;/p&gt;&#xA;&lt;p&gt;If I concatenate the original files, there is no problem in the output&lt;/p&gt;&#xA;" OwnerUserId="41289" LastActivityDate="2023-05-16T23:47:54.037" Title="Annotating files with ffmpeg and concatenating problem" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36500" PostTypeId="2" ParentId="36498" CreationDate="2023-05-17T04:01:40.460" Score="0" Body="&lt;p&gt;&lt;code&gt;-b:v&lt;/code&gt; is &lt;strong&gt;bit&lt;/strong&gt;rate, so &lt;code&gt;10000&lt;/code&gt; is &lt;code&gt;10 kbps&lt;/code&gt;. You probably want &lt;code&gt;10000k&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-05-17T04:01:40.460" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36501" PostTypeId="1" CreationDate="2023-05-17T10:23:24.623" Score="0" ViewCount="337" Body="&lt;p&gt;Background: I'm trying to overlay a full frame image on top of an MP4, in ffmpeg, using as much hardware-assistance as possible. The inputs to ffmpeg are:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;a stream from an MP4 file - with 1 audio and 1 video stream&lt;/li&gt;&#xA;&lt;li&gt;frames from some software, which are supplied as raw RGBA frames, at the same frame size as the movie.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I struggled for some time to get &lt;em&gt;something&lt;/em&gt; working and through various iterations, ended up with this:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-none prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -y -report -hide_banner -loglevel verbose &#xA;-hwaccel cuda -hwaccel_output_format yuv420p &#xA;-i movie.mp4 &#xA;-f rawvideo -framerate 10.0 -s 1024x576 -pix_fmt rgba -i - &#xA;-filter_complex [0:v]hwupload[mp4_stream];[1:v]format=yuva420p,hwupload[overlay_stream];[mp4_stream][overlay_stream]overlay_cuda[out] &#xA;-map [out] -vcodec h264_nvenc &#xA;-rc:v cbr -b:v 20M -bf:v 3 -profile:v main -spatial-aq true -movflags faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I picked &lt;code&gt;yuv420p&lt;/code&gt; because looking at the overlay code ( &lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/blob/4976b102d89787d59a3aaa438b76c62aec86ad5a/libavfilter/vf_overlay_cuda.c#L94&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/FFmpeg/FFmpeg/blob/4976b102d89787d59a3aaa438b76c62aec86ad5a/libavfilter/vf_overlay_cuda.c#L94&lt;/a&gt; ) - you can only overlay an image with alpha on top of an image of this type.&lt;/p&gt;&#xA;&lt;p&gt;However, this results in a very green image! - although the overlay (the date, in this case) seems to have been overlaid with the right alpha etc.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/P3DiQ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/P3DiQ.jpg&quot; alt=&quot;a green image&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I was wondering if the blend mode or some other aspect of the overlay was causing a problem, so attempted to reduce the problem size. I thought that perhaps just processing the video -  movie-&amp;gt;decode-&amp;gt;encode - might shed some light, so I tried this:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-none prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -y -report -hide_banner -loglevel verbose &#xA;-hwaccel cuda -hwaccel_output_format yuv420p -i movie.mp4 &#xA;-f rawvideo -framerate 10.0 -s 1024x576 -pix_fmt rgba -i - &#xA;-filter_complex [0:v]hwupload[mp4_stream] &#xA;-map [mp4_stream] -vcodec h264_nvenc &#xA;-rc:v cbr -b:v 20M -bf:v 3 -profile:v main -spatial-aq true -movflags faststart output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is essentially the same (I hope) but just ignoring the overlay frames - still green.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;However&lt;/em&gt;, replacing the &lt;code&gt;yuv420p&lt;/code&gt; with &lt;code&gt;nv12&lt;/code&gt;: &lt;code&gt;-hwaccel cuda -hwaccel_output_format nv12 &lt;/code&gt; results in a correctly coloured image. This is no use for my actual use case, as nv12 does not support alpha overlays.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1x2Ca.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1x2Ca.png&quot; alt=&quot;a correctly coloured image&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Versions:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg version 4.4.2-0ubuntu0.22.04.1&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;Hardware: NVIDIA Corporation GA106 [GeForce RTX 3060 Lite Hash Rate] (rev a1)&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;Kernel: 5.15.0-71-generic #78-Ubuntu SMP&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;Driver: 525.105.17&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;How to get the output the correct colour, while still using yuv420p, so I can overlay properly on top of it.&lt;/p&gt;&#xA;&lt;p&gt;I have an inkling that this is due to some planes of the YUV file being zero? But how to fix this in the command line &lt;code&gt;ffmpeg&lt;/code&gt; - I'm not sure. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="41292" LastActivityDate="2024-02-11T16:05:25.600" Title="Using ffmpeg nvidia/cuda overlay processing results in green output - how to get the correct colours?" Tags="|ffmpeg|nvidia|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36502" PostTypeId="2" ParentId="32414" CreationDate="2023-05-17T12:42:36.670" Score="1" Body="&lt;p&gt;After improving for my case what &lt;a href=&quot;https://video.stackexchange.com/users/34364/thiago-cond%c3%a9&quot;&gt;Thiago&lt;/a&gt; said.&lt;/p&gt;&#xA;&lt;p&gt;I arrived to this:&lt;/p&gt;&#xA;&lt;h1&gt;First the ffmpeg code&lt;/h1&gt;&#xA;&lt;p&gt;For mp4:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -f lavfi -i color=c=black:s=640x480:d=8 -vf &amp;quot;subtitles=typewriter.ass&amp;quot; -video_track_timescale 24000 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h1&gt;ASS file&lt;/h1&gt;&#xA;&lt;p&gt;Then let's create a minimal ASS:&#xA;&lt;a href=&quot;https://aegi.vmoe.info/docs/3.0/ASS_Tags/.&quot; rel=&quot;nofollow noreferrer&quot;&gt;All Tags info are here&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[Script Info]&#xA;; Comment with &amp;quot;;&amp;quot;&#xA;ScriptType: v4.00+&#xA;&#xA;[V4+ Styles]&#xA;Format: Name,  Fontname,  Fontsize,  PrimaryColour,  SecondaryColour,  OutlineColour,  BackColour,  Bold,  Italic,  Underline,  StrikeOut,  ScaleX,  ScaleY,  Spacing,  Angle,  BorderStyle,  Outline,  Shadow,  Alignment,  MarginL,  MarginR,  MarginV,  Encoding&#xA;Style: style1,  Arial,  30,  &amp;amp;H00FFFFFF, &amp;amp;HFF0000FF, &amp;amp;HFF000000, &amp;amp;H00000000, 0, 0, 0, 0, 100, 100, 0, 0, 1, 0, 0, 7, 20, 20, 20, 1&#xA;&#xA;&#xA;[Events]&#xA;Format: Layer,  Start,  End,  Style,  Name,  MarginL,  MarginR,  MarginV,  Effect,  Text&#xA;Dialogue: 0, 0:00:00.5, 0:00:12.00, style1, , 0, 0, 0, , Your text is here&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Let's the text only as a typewriter style. I will let you play with the tags for your purpose.&lt;/p&gt;&#xA;&lt;p&gt;Here is the simpler command I do to create the &lt;code&gt;\k&lt;/code&gt; (karaoke) balise for each letter.&#xA;I use a random sequence between 10 and 25 centisecondes with an increment of 5 cs for each character.&#xA;You can run in in &lt;code&gt;bash&lt;/code&gt; (check &lt;a href=&quot;https://learn.microsoft.com/en-us/windows/wsl/install&quot; rel=&quot;nofollow noreferrer&quot;&gt;WSL for Windows&lt;/a&gt;)&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;echo &amp;quot;Let's try to create a type writer text rapidly&amp;quot; | sed 's/./&amp;amp;\n/g' | while read p; do r=$(seq 10 5 25| shuf | head -1); echo {\\k$r}$p; done | tr -d '\n' | sed 's/}{/} {/g'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;which will output e.g.: &lt;code&gt;{\k10}L{\k15}e{\k25}t{\k25}'{\k25}s{\k25} {\k15}t{\k10}r{\k10}y{\k25} {\k15}t{\k15}o{\k15} {\k25}c{\k25}r{\k10}e{\k15}a{\k20}t{\k15}e{\k15} {\k10}a{\k25} {\k10}t{\k10}y{\k20}p{\k20}e{\k10} {\k25}w{\k20}r{\k25}i{\k15}t{\k15}e{\k25}r{\k15} {\k15}t{\k15}e{\k15}x{\k10}t{\k15} {\k25}r{\k20}a{\k10}p{\k15}i{\k25}d{\k15}l{\k25}y{\k20}&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;You just have to put it in your file :)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/52OZF.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/52OZF.gif&quot; alt=&quot;Gif to show the result&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="23915" LastActivityDate="2023-05-17T12:42:36.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36503" PostTypeId="2" ParentId="36501" CreationDate="2023-05-17T14:54:35.077" Score="0" Body="&lt;p&gt;So, after some (long) time - it is a problem with the old version of &lt;code&gt;ffmpeg&lt;/code&gt; - which is the version bundled with Ubuntu 22.04.&lt;/p&gt;&#xA;&lt;p&gt;Using a self-compiled version of &lt;code&gt;ffmpeg&lt;/code&gt; version 6.0 with CUDA Extensions. I can run the following command line, and everything is working perfectly.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-none prettyprint-override&quot;&gt;&lt;code&gt;/home/richja/bin/ffmpeg -y -report -hide_banner -loglevel verbose &#xA;-hwaccel cuda -hwaccel_output_format cuda &#xA;-i movie.MP4 &#xA;-f rawvideo -framerate 10.0 -s 1920x1080 -pix_fmt rgba -i - &#xA;-filter_complex [0:v]scale_cuda=format=yuv420p[mp4_stream];[1:v]format=yuva420p,hwupload[overlay_stream];[mp4_stream][overlay_stream]overlay_cuda &#xA;-vcodec h264_nvenc &#xA;-rc:v cbr -b:v 20M -bf:v 3 -profile:v main -spatial-aq true -movflags faststart overlay.MP4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The performance of this setup is frankly incredible, and can render overlays at more than 12x real-time.&lt;/p&gt;&#xA;" OwnerUserId="41292" LastActivityDate="2023-05-17T14:54:35.077" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36504" PostTypeId="1" CreationDate="2023-05-17T16:14:25.077" Score="0" ViewCount="341" Body="&lt;p&gt;my objective is to extract frames and corresponding audio from a .webm file. Then crop the faces shown in those frames and resize the cropped images to 256x256 and concatenate them back to a video with that specific audio.&lt;/p&gt;&#xA;&lt;p&gt;To make it more clear,&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Extract the required frames from the video and their corresponding audio.&lt;/li&gt;&#xA;&lt;li&gt;Crop the faces of those frames and resize them to 256x256.&lt;/li&gt;&#xA;&lt;li&gt;Concatenate the faces back to a video with the corresponding audio.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The problems come at stage 1 and 3.&lt;/p&gt;&#xA;&lt;p&gt;For instance, I am extracting the frames using the following command:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -loglevel error -i /download_youtube/_5rNOD1nsDg.webm -vf &amp;quot;select=between(n\,576\,768),setpts=PTS-STARTPTS&amp;quot; -qscale:v 1 -qmin 1 -qmax 1 -vsync 0 extracted_hq_results/_5rNOD1nsDg/Clip+_5rNOD1nsDg+P0+C0+F575-769/%08d.jpg &lt;/code&gt;&#xA;It will give me the images of the video from the frames.&lt;/p&gt;&#xA;&lt;p&gt;When I try to extract the audio from the .webm.  &lt;code&gt; ffmpeg -i _5rNOD1nsDg.webm -vn -y -ar 44100 -ac 2 output.wav&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I get something like below and there is not any .wav file generated.&#xA;&lt;code&gt; Input #0, matroska,webm, from '_5rNOD1nsDg.webm': Metadata: encoder         : google/video-file Duration: 00:10:08.96, start: 0.000000, bitrate: 18219 kb/s Stream #0:0(eng): Video: vp9 (Profile 0), yuv420p(tv, bt709), 3840x2160, SAR 1:1 DAR 16:9, 25 fps, 25 tbr, 1k tbn, 1k tbc (default) Output #0, wav, to 'output.wav': Output file #0 does not contain any stream&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;My question is how can I use ffmpeg to extract audio given a range of time or frames I want from a .webm file.&lt;/p&gt;&#xA;" OwnerUserId="41295" LastActivityDate="2023-05-17T16:14:25.077" Title="ffmpeg Output file #0 does not contain any stream during the extraction of audio from a .webm file" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36505" PostTypeId="1" CreationDate="2023-05-18T12:58:13.077" Score="0" ViewCount="259" Body="&lt;p&gt;I'm trying to convert an rgba png to prores 4444 with an alpha. When I run the following command it will create prores file with an alpha. But, the alpha is full white, it doesn't retain the values I put in.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -start_number 1001 -r 24.000 - &amp;quot;pngWithAlpha_%06d.png&amp;quot; -c:v prores_ks -profile:v 4 -alpha_bits 16 -y &amp;quot;proresWithAlpha.mov&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I've tried this with both FFMPEG 4.2.2 and 6.0.0 on a linux system, I'm not sure if I'm doing it wrong or if it is a bug.&lt;/p&gt;&#xA;&lt;p&gt;Looking at this &lt;a href=&quot;https://video.stackexchange.com/questions/20024/bad-quality-encodes-to-prores4444-with-alpha-from-ffmpeg&quot;&gt;post&lt;/a&gt; it seems it should be possible (they're complaining about quality not a fully missing transfer of the alpha).&lt;/p&gt;&#xA;&lt;p&gt;I would expect it to pass the alpha straight through but it doesn't. I used alpha_extract to copy the alpha in to the rgb to confirm I'm able to read the alpha from the png, which worked. But the alpha was still full white.&lt;/p&gt;&#xA;" OwnerUserId="41300" LastEditorUserId="14523" LastEditDate="2023-05-22T21:04:38.853" LastActivityDate="2023-05-22T21:04:38.853" Title="FFMPEG Encoding to prores 4444 with alpha doesn't retain original alpha" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36506" PostTypeId="1" CreationDate="2023-05-18T16:59:46.283" Score="0" ViewCount="20" Body="&lt;p&gt;The video format is .avi. It was recorded with an unregistered copy of Hypercam 1. I don't know exactly what kind of effect this is.&#xA;&lt;a href=&quot;https://streamable.com/88pjs3&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41303" LastEditorUserId="41303" LastEditDate="2023-05-18T17:02:19.013" LastActivityDate="2023-05-18T17:02:19.013" Title="I found this old video on my computer and there's some sort of corruption? Please tell me what this is" Tags="|avi|bug|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36509" PostTypeId="1" CreationDate="2023-05-19T12:01:27.647" Score="1" ViewCount="33" Body="&lt;p&gt;I tried to make a DVD-Video of my favorite songs with a menu.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;vmgm&amp;gt;&#xA;&amp;lt;menus&amp;gt;&#xA;  &amp;lt;video format=&amp;quot;pal&amp;quot; aspect=&amp;quot;4:3&amp;quot;/&amp;gt;&#xA;  &amp;lt;audio lang=&amp;quot;DE&amp;quot;/&amp;gt;&#xA;  &amp;lt;subpicture lang=&amp;quot;EN&amp;quot;/&amp;gt;&#xA;  &amp;lt;!--************** MENU 1 **************--&amp;gt;&#xA;  &amp;lt;pgc entry=&amp;quot;title&amp;quot;&amp;gt;&#xA;    &amp;lt;button name=&amp;quot;button01&amp;quot;&amp;gt;g0=0;jump titleset 1 menu;&amp;lt;/button&amp;gt;&#xA;    &amp;lt;button name=&amp;quot;button02&amp;quot;&amp;gt;g0=0;jump titleset 5 menu;&amp;lt;/button&amp;gt;&#xA;    &amp;lt;button name=&amp;quot;button03&amp;quot;&amp;gt;g0=0;jump titleset 9 menu;&amp;lt;/button&amp;gt;&#xA;    &amp;lt;button name=&amp;quot;button04&amp;quot;&amp;gt;g0=0;jump titleset 13 menu;&amp;lt;/button&amp;gt;&#xA;    &amp;lt;vob file=&amp;quot;/home/NTFS/DVD-VIDEO/tmp/dvd-tmp/menu0-0.mpg&amp;quot; pause=&amp;quot;inf&amp;quot;/&amp;gt;&#xA;    &amp;lt;pre&amp;gt;g2=101;if (g0 == 3) { g0 = 2; jump title 2; }if (g0 == 4) { g0 = 2; jump title 3; }if (g0 == 5) { g0 = 2; jump title 4; }if (g0 == 6) { g0 = 2; jump title 5; }if (g0 == 7) { g0 = 2; jump title 6; }if (g0 == 8) { g0 = 2; jump title 7; }if (g0 == 9) { g0 = 2; jump title 8; }if (g0 == 10) { g0 = 2; jump title 9; }if (g0 == 11) { g0 = 2; jump title 10; }if (g0 == 12) { g0 = 2; jump title 11; }if (g0 == 13) { g0 = 2; jump title 12; }if (g0 == 14) { g0 = 2; jump title 13; }if (g0 == 15) { g0 = 2; jump title 14; }if (g0 == 16) { g0 = 2; jump title 15; }if (g0 == 17) { g0 = 2; jump title 16; }&amp;lt;/pre&amp;gt;&#xA;  &amp;lt;/pgc&amp;gt;&#xA;&amp;lt;/menus&amp;gt;&#xA;&amp;lt;/vmgm&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So, we have a list of 4 artists. Then we assign a menu of 4 songs to each artist in titleset. And one more song in this titleset.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;titleset&amp;gt;&#xA;&amp;lt;menus&amp;gt;&#xA;  &amp;lt;video format=&amp;quot;pal&amp;quot; aspect=&amp;quot;4:3&amp;quot;/&amp;gt;&#xA;  &amp;lt;audio lang=&amp;quot;EN&amp;quot;/&amp;gt;&#xA;  &amp;lt;subpicture lang=&amp;quot;EN&amp;quot;/&amp;gt;&#xA;  &amp;lt;!--************** MENU 1 **************--&amp;gt;&#xA;  &amp;lt;pgc entry=&amp;quot;root&amp;quot;&amp;gt;&#xA;    &amp;lt;button name=&amp;quot;button01&amp;quot;&amp;gt;g1=button;g0=2;jump title 1;&amp;lt;/button&amp;gt;&#xA;    &amp;lt;button name=&amp;quot;button02&amp;quot;&amp;gt;g1=button;g0=2;jump titleset 2 title 1;&amp;lt;/button&amp;gt;&#xA;    &amp;lt;button name=&amp;quot;button03&amp;quot;&amp;gt;g1=button;g0=2;jump titleset 3 title 1;&amp;lt;/button&amp;gt;&#xA;    &amp;lt;button name=&amp;quot;button04&amp;quot;&amp;gt;g1=button;g0=2;jump titleset 4 title 1;&amp;lt;/button&amp;gt;&#xA;    &amp;lt;button name=&amp;quot;button00&amp;quot;&amp;gt;g1=button;g0=0;jump vmgm menu 1;&amp;lt;/button&amp;gt;&#xA;    &amp;lt;vob file=&amp;quot;/home/NTFS/DVD-VIDEO/tmp/dvd-tmp/menu1-0.mpg&amp;quot; pause=&amp;quot;inf&amp;quot;/&amp;gt;&#xA;    &amp;lt;pre&amp;gt;if (g2 &amp;amp;amp; 0xFFF == 1 and g1 gt 0) button = g1; else button = 1024;if (g2 &amp;amp;amp; 0x8000 !=0) {g2^=0x8000;if (g2==101) jump vmgm menu 1;}g2=1;&amp;lt;/pre&amp;gt;&#xA;  &amp;lt;/pgc&amp;gt;&#xA;&amp;lt;/menus&amp;gt;&#xA;&amp;lt;titles&amp;gt;&#xA;  &amp;lt;video aspect=&amp;quot;4:3&amp;quot;/&amp;gt;&#xA;  &amp;lt;audio lang=&amp;quot;EN&amp;quot;/&amp;gt;&#xA;  &amp;lt;!--************** TITLE 1 **************--&amp;gt;&#xA;  &amp;lt;pgc&amp;gt;&#xA;    &amp;lt;vob file=&amp;quot;/home/NTFS/DVD-VIDEO/tmp//dvd-cache/entry001.vob&amp;quot; chapters=&amp;quot;0:00,0:30&amp;quot;/&amp;gt;&#xA;    &amp;lt;post&amp;gt;if (g0 gt 1) { g0 = 3; call vmgm menu entry title; }&amp;lt;/post&amp;gt;&#xA;  &amp;lt;/pgc&amp;gt;&#xA;&amp;lt;/titles&amp;gt;&#xA;&amp;lt;/titleset&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;We place the remaining 3 artist's songs in separate sections below.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;titleset&amp;gt;&#xA;&amp;lt;menus&amp;gt;&#xA;  &amp;lt;audio lang=&amp;quot;EN&amp;quot;/&amp;gt;&#xA;  &amp;lt;subpicture lang=&amp;quot;EN&amp;quot;/&amp;gt;&#xA;  &amp;lt;!--************** MENU 1 **************--&amp;gt;&#xA;  &amp;lt;pgc entry=&amp;quot;root&amp;quot;&amp;gt;&#xA;    &amp;lt;vob file=&amp;quot;/usr/share/dvdstyler/data/empty_pal_ac3.mpg&amp;quot;/&amp;gt;&#xA;    &amp;lt;pre&amp;gt;if (g2 &amp;amp;amp; 0x8000 !=0) {g2^=0x8000;if (g2==101) jump vmgm menu 1;}g2=1;jump vmgm menu;&amp;lt;/pre&amp;gt;&#xA;  &amp;lt;/pgc&amp;gt;&#xA;&amp;lt;/menus&amp;gt;&#xA;&amp;lt;titles&amp;gt;&#xA;  &amp;lt;video aspect=&amp;quot;4:3&amp;quot;/&amp;gt;&#xA;  &amp;lt;audio lang=&amp;quot;EN&amp;quot;/&amp;gt;&#xA;  &amp;lt;!--************** TITLE 1 **************--&amp;gt;&#xA;  &amp;lt;pgc&amp;gt;&#xA;    &amp;lt;vob file=&amp;quot;/home/NTFS/DVD-VIDEO/tmp//dvd-cache/entry002.vob&amp;quot; chapters=&amp;quot;0:00,0:30&amp;quot;/&amp;gt;&#xA;    &amp;lt;post&amp;gt;if (g0 gt 1) { g0 = 4; call vmgm menu entry title; }&amp;lt;/post&amp;gt;&#xA;  &amp;lt;/pgc&amp;gt;&#xA;&amp;lt;/titles&amp;gt;&#xA;&amp;lt;/titleset&amp;gt;&#xA;&amp;lt;titleset&amp;gt;&#xA;&amp;lt;menus&amp;gt;&#xA;  &amp;lt;audio lang=&amp;quot;EN&amp;quot;/&amp;gt;&#xA;  &amp;lt;subpicture lang=&amp;quot;EN&amp;quot;/&amp;gt;&#xA;  &amp;lt;!--************** MENU 1 **************--&amp;gt;&#xA;  &amp;lt;pgc entry=&amp;quot;root&amp;quot;&amp;gt;&#xA;    &amp;lt;vob file=&amp;quot;/usr/share/dvdstyler/data/empty_pal_ac3.mpg&amp;quot;/&amp;gt;&#xA;    &amp;lt;pre&amp;gt;if (g2 &amp;amp;amp; 0x8000 !=0) {g2^=0x8000;if (g2==101) jump vmgm menu 1;}g2=1;jump vmgm menu;&amp;lt;/pre&amp;gt;&#xA;  &amp;lt;/pgc&amp;gt;&#xA;&amp;lt;/menus&amp;gt;&#xA;&amp;lt;titles&amp;gt;&#xA;  &amp;lt;video aspect=&amp;quot;4:3&amp;quot;/&amp;gt;&#xA;  &amp;lt;audio lang=&amp;quot;EN&amp;quot;/&amp;gt;&#xA;  &amp;lt;!--************** TITLE 1 **************--&amp;gt;&#xA;  &amp;lt;pgc&amp;gt;&#xA;    &amp;lt;vob file=&amp;quot;/home/NTFS/DVD-VIDEO/tmp//dvd-cache/entry003.vob&amp;quot; chapters=&amp;quot;0:00,0:30&amp;quot;/&amp;gt;&#xA;    &amp;lt;post&amp;gt;if (g0 gt 1) { g0 = 5; call vmgm menu entry title; }&amp;lt;/post&amp;gt;&#xA;  &amp;lt;/pgc&amp;gt;&#xA;&amp;lt;/titles&amp;gt;&#xA;&amp;lt;/titleset&amp;gt;&#xA;&amp;lt;titleset&amp;gt;&#xA;&amp;lt;menus&amp;gt;&#xA;  &amp;lt;audio lang=&amp;quot;EN&amp;quot;/&amp;gt;&#xA;  &amp;lt;subpicture lang=&amp;quot;EN&amp;quot;/&amp;gt;&#xA;  &amp;lt;!--************** MENU 1 **************--&amp;gt;&#xA;  &amp;lt;pgc entry=&amp;quot;root&amp;quot;&amp;gt;&#xA;    &amp;lt;vob file=&amp;quot;/usr/share/dvdstyler/data/empty_pal_ac3.mpg&amp;quot;/&amp;gt;&#xA;    &amp;lt;pre&amp;gt;if (g2 &amp;amp;amp; 0x8000 !=0) {g2^=0x8000;if (g2==101) jump vmgm menu 1;}g2=1;jump vmgm menu;&amp;lt;/pre&amp;gt;&#xA;  &amp;lt;/pgc&amp;gt;&#xA;&amp;lt;/menus&amp;gt;&#xA;&amp;lt;titles&amp;gt;&#xA;  &amp;lt;video aspect=&amp;quot;4:3&amp;quot;/&amp;gt;&#xA;  &amp;lt;audio lang=&amp;quot;EN&amp;quot;/&amp;gt;&#xA;  &amp;lt;!--************** TITLE 1 **************--&amp;gt;&#xA;  &amp;lt;pgc&amp;gt;&#xA;    &amp;lt;vob file=&amp;quot;/home/NTFS/DVD-VIDEO/tmp//dvd-cache/entry001.vob&amp;quot; chapters=&amp;quot;0:00,0:30&amp;quot;/&amp;gt;&#xA;    &amp;lt;post&amp;gt;if (g0 gt 1) { g0 = 6; call vmgm menu entry title; }g2|=0x8000; call menu entry root;&amp;lt;/post&amp;gt;&#xA;  &amp;lt;/pgc&amp;gt;&#xA;&amp;lt;/titles&amp;gt;&#xA;&amp;lt;/titleset&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;We repeat the same for the remaining 3 artists. So we have a DVD with 16 songs. After adding an artist with 4 songs, we get an error. The same error if we will add a song for each artist. DVD file structure ends on 16-th item.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;VIDEO_TS.BUP&#xA;VIDEO_TS.IFO&#xA;VIDEO_TS.VOB&#xA;VTS_01_0.BUP&#xA;VTS_01_0.IFO&#xA;VTS_01_0.VOB&#xA;VTS_01_1.VOB&#xA;...&#xA;VTS_16_0.BUP&#xA;VTS_16_0.IFO&#xA;VTS_16_0.VOB&#xA;VTS_16_1.VOB&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;How to make it fit 99 items?&lt;/p&gt;&#xA;" OwnerUserId="29967" LastActivityDate="2024-03-06T15:05:25.713" Title="dvdauthor ERR: Can only have 128 commands for pre, post, and cell commands" Tags="|dvd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36510" PostTypeId="1" AcceptedAnswerId="36805" CreationDate="2023-05-19T23:12:47.290" Score="1" ViewCount="92" Body="&lt;p&gt;I'm trying to create a script that randomly selects an option from a drop-down list.&lt;/p&gt;&#xA;&lt;p&gt;For that I use a randomly generated number as the index of the set value. The issue is that if it tries to select an item that doesn't exist (like, if the randomly generated number is 6 and the list only has 5 options), the script stops and doesn't run the rest of the code.&lt;/p&gt;&#xA;&lt;p&gt;So it needs to generate a random integer in the range from 1 to the exact number of options. For now I have hard coded the range in the script, so it works ok in this specific case, but I would like it to work for whatever number of options the drop-down may have, so it continues working if the number of options is changed.&lt;/p&gt;&#xA;&lt;p&gt;So I would need to get the number of options in the drop-down to set as the maximum value of the range to generate a random number from.&#xA;But I can't find anywhere a way to get the &amp;quot;size&amp;quot; or &amp;quot;length&amp;quot; of the drop-down options. How do I do that?&lt;/p&gt;&#xA;" OwnerUserId="41314" LastEditorUserId="41314" LastEditDate="2023-05-19T23:25:45.730" LastActivityDate="2023-09-01T14:25:57.567" Title="How to get the number of options in a drop-down list (After Effects script)?" Tags="|after-effects|after-effects-scripting|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36511" PostTypeId="1" CreationDate="2023-05-20T18:03:31.217" Score="0" ViewCount="39" Body="&lt;p&gt;I'm trying to mount this PTZ camera to the side of the wall not the ceiling or on a pole.&lt;br /&gt;&#xA;On the side of the wall is there a good way of doing this?&lt;/p&gt;&#xA;&lt;p&gt;I've looked at &lt;a href=&quot;https://helpguide.sony.net/ilc/2240/v1/en/contents/TP1000669517.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sony's Documentation&lt;/a&gt; and they only offer a guide on Upright in a High location or a Ceiling mount solution&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ywW7z.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ywW7z.png&quot; alt=&quot;Sony FR7 Drawing&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41196" LastEditorUserId="41196" LastEditDate="2023-05-20T19:20:45.357" LastActivityDate="2023-05-20T19:20:45.357" Title="How to mount Sony FR7 to Wall" Tags="|video-recording|camera|broadcasting|sony|grip|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36512" PostTypeId="1" CreationDate="2023-05-20T22:37:26.097" Score="0" ViewCount="12" Body="&lt;p&gt;I really like this explainer video put together on Bukowskis: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/eMTDAHK-tkE?start=216&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;It's simple with a lot of still images and minimal animations.&lt;/p&gt;&#xA;&lt;p&gt;Does anyone know what video editing program I can use to make this kind of video? And does this style of video have a name - so I can look for tutorials on making some of these?&lt;/p&gt;&#xA;" OwnerUserId="41320" LastActivityDate="2023-05-20T22:37:26.097" Title="What video editor should I use for this or what style of video is this called?" Tags="|video-editor|animation|software-recommendation|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36513" PostTypeId="1" CreationDate="2023-05-21T08:54:52.023" Score="0" ViewCount="82" Body="&lt;p&gt;I am developing a function that converts RTSP files to HLS and displays them in a web browser (chrome). Development is node.js, I am using ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;The part that is converted to HLS and displayed on the screen plays well without any problems. Video cannot be played the moment the folder is changed for file management.&lt;/p&gt;&#xA;&lt;p&gt;This is the existing working ffmpeg code and m3u8 code.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -rtsp_transport tcp -i rtsp://210.99.70.120:1935/live/cctv001.stream -c:v copy -f hls -hls_time 1 -hls_segment_type mpegts -hls_flags delete_segments+independent_segments+omit_endlist -hls_list_size 0 -master_pl_name playlist.m3u8 -hls_segment_filename /Users/name/Movies/cam/1/hls/1684560902700_%06d.ts -var_stream_map v:0 /Users/name/Movies/cam/1/hls/1684560902700_playlist.m3u8&#xA;&#xA;Local Path : /Users/name/Movies/cam/1/hls/1684560902700_playlist.m3u8&#xA;EndPoint : http://localhost:3000/video/cam/1/hls/1684560902700_playlist.m3u8&#xA; #EXTM3U&#xA;#EXT-X-VERSION:6&#xA;#EXT-X-TARGETDURATION:2&#xA;#EXT-X-MEDIA-SEQUENCE:0&#xA;#EXT-X-INDEPENDENT-SEGMENTS&#xA;#EXTINF:2.000000,&#xA;1684560902700_000000.ts&#xA;#EXTINF:1.969000,&#xA;1684560902700_000001.ts&#xA;#EXTINF:2.000000,&#xA;1684560902700_000002.ts&#xA;#EXTINF:2.015000,&#xA;1684560902700_000003.ts&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is the ffmpeg code and the m3u8 code with the path added.(Video not played)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -rtsp_transport tcp -i rtsp://210.99.70.120:1935/live/cctv001.stream -c:v copy -f hls -hls_time 1 -hls_segment_type mpegts -hls_flags delete_segments+independent_segments+omit_endlist -hls_list_size 0 -master_pl_name playlist.m3u8 -hls_segment_filename /Users/name/Movies/cam/1/hls/1684561736286/cam_%06d.ts -var_stream_map v:0 /Users/name/Movies/cam/1/hls/1684561736286/playlist.m3u8&#xA;&#xA;Local Path : /Users/name/Movies/cam/1/hls/1684561736286/playlist.m3u8&#xA;EndPoint : http://localhost:3000/video/cam/1/hls/1684561736286/playlist.m3u8&#xA;#EXTM3U&#xA;#EXT-X-VERSION:6&#xA;#EXT-X-TARGETDURATION:2&#xA;#EXT-X-MEDIA-SEQUENCE:0&#xA;#EXT-X-INDEPENDENT-SEGMENTS&#xA;#EXTINF:1.986000,&#xA;cam_000000.ts&#xA;#EXTINF:1.984000,&#xA;cam_000001.ts&#xA;#EXTINF:2.000000,&#xA;cam_000002.ts&#xA;#EXTINF:2.000000,&#xA;cam_000003.ts&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The difference is the file name and the folder created one step further.&lt;/p&gt;&#xA;&lt;p&gt;If you change POSIX from file name to folder name, you will not know the problem of not playing the video. Can someone please explain this?&lt;/p&gt;&#xA;" OwnerUserId="41322" LastActivityDate="2023-05-21T08:54:52.023" Title="Video converted with FFMPEG cannot be played" Tags="|ffmpeg|hls|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36514" PostTypeId="1" CreationDate="2023-05-21T13:11:37.980" Score="1" ViewCount="166" Body="&lt;p&gt;I have an ffmpeg command that changes the PTS of several segments of a video file. the problem is that all the segments are being re encoded (instead of COPY), even the segments that retain the same PTS, and the operation is very slow&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i t.mp4 -i y.wav -filter_complex  &amp;quot;[0:v]trim=0.0:60.859,setpts=PTS-STARTPTS[v1];[0:v]trim=60.859:64.379,setpts=1.2946875*(PTS-STARTPTS)[v2];[0:v]trim=64.379:70.858,setpts=PTS-STARTPTS[v3];[0:v]trim=70.858:72.378,setpts=1.1231231*(PTS-STARTPTS)[v4];[0:v]trim=72.378:,setpts=PTS-STARTPTS[v5];[0:a]atrim=0.0:60.859,asetpts=PTS-STARTPTS[a1];[0:a]atrim=60.859:64.379,asetpts=PTS-STARTPTS,atempo=0.7723871590634805[a2];[0:a]atrim=64.379:70.858,asetpts=PTS-STARTPTS[a3];[0:a]atrim=70.858:72.378,asetpts=PTS-STARTPTS,atempo=0.8903743498820388[a4];[0:a]atrim=72.378:,asetpts=PTS-STARTPTS[a5];[v1][a1][v2][a2][v3][a3][v4][a4][v5][a5]concat=n=5:v=1:a=1&amp;quot; -map 0:v:0 -map 1:a:0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I tried appending &lt;code&gt;-map &amp;quot;[v]&amp;quot; -map &amp;quot;[a]&amp;quot; -c:v copy -c:a copy&lt;/code&gt; to the command but i get an error Streamcopy requested for output stream fed from a complex filtergraph. Filtering and streamcopy cannot be used together.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to do that task without running a separate ffmpeg command for each segment and then concatenating them at the end?&lt;/p&gt;&#xA;&lt;p&gt;thanks!&lt;/p&gt;&#xA;" OwnerUserId="41323" LastEditorUserId="14523" LastEditDate="2023-05-22T21:03:16.703" LastActivityDate="2023-05-22T21:03:16.703" Title="combining filter with copy commands in ffmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36515" PostTypeId="1" CreationDate="2023-05-22T00:38:17.960" Score="0" ViewCount="57" Body="&lt;p&gt;Starting with a single input video (with no audio), suppose I'm interested in time segments [a,b], [b,c], [d, e], [f,g], [h,i], ... where the letters are some timestamps. I am looking for an ffmpeg command that will create output files where each one is a concatenation of specified time segments, say 1.mp4 is [a,b]+[b,c], 2.mp4 is [d, e]+[f,g]+[h,i], ... such that the input video is seeked through only once; that is, seeking is O(1) w.r.t. the number of segments and/or output files and so seeking time is solely dependent on the length of the input video, not how it's cut. Thanks.&lt;/p&gt;&#xA;" OwnerUserId="41326" LastActivityDate="2023-05-22T00:38:17.960" Title="How to with single ffmpeg command (= single seek through the input file) cut into segments and concatenate some of them into several output files?" Tags="|ffmpeg|command-line|concatenation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36516" PostTypeId="1" CreationDate="2023-05-22T20:29:20.200" Score="1" ViewCount="32" Body="&lt;p&gt;I have two solids right next to each other.  At certain points in the timeline, I increase the scale of one or the other for emphasis.  The problem is that one of the solids is located behind the other, so when its scale increases, it's partially blocked.&lt;/p&gt;&#xA;&lt;p&gt;How can I modify the layer stack using expressions?  I found moveBefore(), moveAfter(), etc., but those appear to be scripting only.&lt;/p&gt;&#xA;" OwnerUserId="41339" LastActivityDate="2024-02-17T18:02:05.263" Title="Bringing layers forward or sending back with After Effects expressions" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36517" PostTypeId="1" CreationDate="2023-05-22T22:42:44.277" Score="0" ViewCount="13" Body="&lt;p&gt;I want to highlight a certain part of an image by recutting it and fading away the rest gradually.&#xA;Moments later, I'd like to restore the whole picture back gradually.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/hbMSy.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/hbMSy.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;I've been told this gif was done in the following web, but I cannot find the way to highlight a specific region&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.photo-kako.com/en/gif-animation/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.photo-kako.com/en/gif-animation/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;A variation of this effect is the gradual superimposition of one picture over another, and then the gradual disappearance of the former.&lt;/p&gt;&#xA;&lt;p&gt;I am sorry I do not know the technical name of these effects.&#xA;I am not knowledgeable so I do not know what software to use. If available online, I'd go that way.&lt;/p&gt;&#xA;" OwnerUserId="27917" LastEditorUserId="27917" LastEditDate="2023-05-25T18:32:24.933" LastActivityDate="2023-05-25T18:32:24.933" Title="Recut part of an image and gradually fade out the rest" Tags="|photos|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36518" PostTypeId="1" CreationDate="2023-05-23T04:02:46.733" Score="0" ViewCount="26" Body="&lt;p&gt;Ffmpeg Command to get video with only English audio or only one language audio&lt;/p&gt;&#xA;&lt;p&gt;I tried running &lt;code&gt;ffmpeg -i input_video.ext -map 0:v -map 0:a:language=eng -c:v copy -c:a copy -map_metadata -1 -sn output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;But the output file I got is 0 byte. So can anyone tell me the write command.&lt;/p&gt;&#xA;&lt;p&gt;I want to get video with only one language audio, I specify with code like eng, hin etc. With subtitles removed and x264 and .mp4 format! I tried getting .mkv which seem to be successful I don't know whats problem in getting .mp4&lt;/p&gt;&#xA;" OwnerUserId="41342" LastActivityDate="2023-05-23T04:02:46.733" Title="Command to get only one audio track in output specified by language code with ffmpeg" Tags="|ffmpeg|mp4|command-line|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36520" PostTypeId="2" ParentId="36516" CreationDate="2023-05-23T16:30:02.077" Score="0" Body="&lt;p&gt;After getting some good advice, there's no way to modify the layer stack via expressions.  This should be handled by making the layers 3D or by creating a duplicate layer further up the stack and flipping the opacity on and off.&lt;/p&gt;&#xA;" OwnerUserId="41339" LastActivityDate="2023-05-23T16:30:02.077" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36521" PostTypeId="1" CreationDate="2023-05-23T20:31:32.937" Score="0" ViewCount="11" Body="&lt;p&gt;Some 20 years ago I used BSPlayer and some other audio players. They came with visualizations that displayed audio histogram in a variety of shapes and forms. It all worked in real time, for stereo, simultaneously with the audio playback, and only used a small fraction of the CPU cycles (about 5%).&lt;/p&gt;&#xA;&lt;p&gt;Fast forward 20 years, I am rendering the same thing in After Effects. It is a very simplistic audio histogram visualization, in mono, in monochrome, about 300x300 pixels. And this renders at 1/5 real time, using 100% of only 1 CPU core (because Adobe did not bother to implement SMP).&lt;/p&gt;&#xA;&lt;p&gt;Over the 20 year that've passed, the CPUs have allegedly grown in performance about 100-1000 times, let's say 500 on average, depending on what you consider. So, what factors limit After Effects to 1/50,000 of the performance of the olden days' BSPlayer visualization?&lt;/p&gt;&#xA;" OwnerUserId="41351" LastActivityDate="2023-05-23T20:31:32.937" Title="Horrendous performance in After Effects" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36523" PostTypeId="1" AcceptedAnswerId="36552" CreationDate="2023-05-24T10:49:14.607" Score="0" ViewCount="12" Body="&lt;p&gt;I've tried setting the resolution to 1080i while Dolby Vision is active and it would revert to 2160p.&lt;/p&gt;&#xA;&lt;p&gt;So is Interlaced Scanning compatible with Dolby Vision?&lt;/p&gt;&#xA;&lt;p&gt;I didn't manage to find a definitive answer on the internet.&lt;/p&gt;&#xA;" OwnerUserId="41359" LastActivityDate="2023-07-02T13:00:50.097" Title="Is Interlaced Scanning compatibile with Dolby Vision" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36525" PostTypeId="2" ParentId="36163" CreationDate="2023-05-24T16:18:34.120" Score="0" Body="&lt;pre&gt;&lt;code&gt;yt-dlp -o - -f 139 --external-downloader aria2c --external-downloader-args '-d ./ -x 10' https://www.youtube.com/watch?v=2ZrWHtvSog4 | ffmpeg -i pipe: -codec:a libmp3lame -b:a 8000 -ac 1 -ar 8000 -f mp3 &amp;quot;$(basename &amp;quot;$(yt-dlp -e https://www.youtube.com/watch?v=2ZrWHtvSog4 | sed 's/[\/:*?&amp;quot;&amp;lt;&amp;gt;|]/_/g')&amp;quot;).mp3&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;To use the same output file name from the pipe as the input name with &lt;code&gt;ffmpeg&lt;/code&gt;, you can modify the command as follows:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;yt-dlp -o - -f 139 --external-downloader aria2c --external-downloader-args '-d ./ -x 10' https://www.youtube.com/watch?v=2ZrWHtvSog4 | ffmpeg -i pipe: -codec:a libmp3lame -b:a 8000 -ac 1 -ar 8000 -f mp3 &amp;quot;$(basename &amp;quot;$(yt-dlp -e https://www.youtube.com/watch?v=2ZrWHtvSog4 | sed 's/[\/:*?&amp;quot;&amp;lt;&amp;gt;|]/_/g')&amp;quot;).mp3&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Explanation:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;The &lt;code&gt;basename&lt;/code&gt; command is used to extract the base name from the URL. It retrieves the video title using &lt;code&gt;yt-dlp -e https://www.youtube.com/watch?v=2ZrWHtvSog4&lt;/code&gt; and then replaces any characters that are not allowed in file names with underscores using &lt;code&gt;sed 's/[\/:*?&amp;quot;&amp;lt;&amp;gt;|]/_/g'&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;The &lt;code&gt;$(...)&lt;/code&gt; syntax is used to execute a command and use its output as part of the larger command.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;$(basename &amp;quot;$(yt-dlp -e https://www.youtube.com/watch?v=2ZrWHtvSog4 | sed 's/[\/:*?&amp;quot;&amp;lt;&amp;gt;|]/_/g')&amp;quot;).mp3&lt;/code&gt; is the resulting file name with the &lt;code&gt;.mp3&lt;/code&gt; extension added.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Replace &lt;code&gt;test_audio.mp3&lt;/code&gt; in your original command with the modified file name expression. This will create an output file with the same name as the video title retrieved from the URL.&lt;/p&gt;&#xA;" OwnerUserId="6602" LastActivityDate="2023-05-24T16:18:34.120" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36527" PostTypeId="1" AcceptedAnswerId="36528" CreationDate="2023-05-25T08:22:34.040" Score="0" ViewCount="178" Body="&lt;p&gt;I am using arch linux and bash and ffmpeg, all are up to date and the latest versions.&lt;/p&gt;&#xA;&lt;p&gt;I am clipping a video that is 30 seconds long and wish to clip from 5 secs to 10 seconds to a new file, from the original.&lt;/p&gt;&#xA;&lt;p&gt;In the bottom right hand corner of the clip I wish to show timestamps from the original video as follows&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;in the  5th second &amp;quot;00:00:05/ 00:00:30&amp;quot;&lt;/li&gt;&#xA;&lt;li&gt;in the  6th second &amp;quot;00:00:06/ 00:00:30&amp;quot;&lt;br /&gt;&#xA;etc&lt;/li&gt;&#xA;&lt;li&gt;in the 10th second &amp;quot;00:00:10/ 00:00:30&amp;quot;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;This is an apparentley simple question(?) but the syntax of the command is not at all obvious and I am hoping an expert may shed some light on this.&lt;/p&gt;&#xA;&lt;p&gt;All I have so far for the drawtext part, which does not do what I want as it only counts the elapsed time from t=0 of the &lt;strong&gt;new&lt;/strong&gt; clip, whereas &lt;strong&gt;I want it to show the timestamp and total duration of the original clip&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;drawtext&lt;/code&gt; I started with&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;quot;drawtext=text='%{pts\:gmtime\:0\:%M\\\\\:%S}':fontsize=24:fontcolor=black:x=(w-text_w-10):y=(h-text_h-10)&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;ffmpeg line with drawtext I have started with&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:00:05 -i  &amp;quot;$in_file&amp;quot; -filter_complex &amp;quot;drawtext=fontfile=font.ttf:text='sample text':x=10:y=10:fontsize=12:fontcolor=white:box=1:boxcolor=black@0.5:boxborderw=5,drawtext=text='%{duration\:hms}':fontsize=12:fontcolor=black:x=(w-text_w-10):y=(h-text_h-10)&amp;quot; -t 5 -c:a copy -c:v libx264 out_file.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20984" LastActivityDate="2023-05-25T08:23:35.447" Title="With ffmpeg print onto clipped video hh:mm:ss time *from original* and hh:mm:ss total duration from original" Tags="|ffmpeg|video|clipping|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36528" PostTypeId="2" ParentId="36527" CreationDate="2023-05-25T08:23:35.447" Score="0" Body="&lt;p&gt;Here is the solution.&lt;/p&gt;&#xA;&lt;p&gt;The ffmpeg presentation timestamp &lt;code&gt;%{pts}&lt;/code&gt; can only be zeroed and offest, as far as I know, using the &lt;code&gt;C gmtime&lt;/code&gt; function, with the time set to 1st Jan 2000 in unix time seconds, ie 946684800 seconds, or some other arbitrary time at midnight.&lt;/p&gt;&#xA;&lt;p&gt;946684800 seconds in UNIX time gives midnight 00:00:00 on 01/01/2000  as a starting point for our calculations, to which we can add our own offset, in this case 5 seconds, as follows.&lt;/p&gt;&#xA;&lt;p&gt;We don't display the &lt;code&gt;%d-%m-%Y&lt;/code&gt; portion of the date, so our method is not seen. Works very well. Took a bit of figuring out though.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;# set file names&#xA;in_file=&amp;quot;my_video_file.mp4&amp;quot;&#xA;out_file=&amp;quot;my_video__clipped.mp4&amp;quot;&#xA;&#xA;# set start and end times of the clip to be made&#xA;start_time_z=&amp;quot;00:00:05&amp;quot;&#xA;end_time_z=&amp;quot;00:00:10&amp;quot;   &#xA;&#xA;######################################################################&#xA;##########                                                  ########## &#xA;##########       get the duration of the                    ##########&#xA;##########          input video in hh:mm:ss format          ##########&#xA;##########        and convert it to seconds                 ##########&#xA;##########                                                  ########## &#xA;######################################################################&#xA;&#xA;&#xA;total_duration=$(ffprobe -v error -show_entries format=duration \&#xA;  -of default=noprint_wrappers=1:nokey=1 &amp;quot;$in_file&amp;quot; \&#xA;  | awk '{printf(&amp;quot;%02d:%02d:%02d\n&amp;quot;, ($1/3600), ($1%3600)/60, $1%60)}')&#xA;&#xA;# escape the &amp;quot;:&amp;quot; in the time stamp so that they can be printed by ffmpeg&#xA;total_duration=&amp;quot;$(echo $total_duration | sed 's@:@\\:@g')&amp;quot;&#xA;&#xA;# display the duration of the original video. Check we have captured it correctly&#xA;####    yad --text=&amp;quot;\n\n$total_duration\n\n&amp;quot; --button=&amp;quot;Submit&amp;quot;:0&#xA;&#xA;&#xA;######################################################################&#xA;##########                                                  ########## &#xA;##########       convert the variable                       ##########&#xA;##########             $start_time_z   which                ##########&#xA;##########                    = 00:00:05                    ##########&#xA;##########                                                  ##########&#xA;##########    into seconds and add to it unix time for      ##########&#xA;##########           00:00:00 on 1st Jan 2000               ##########&#xA;##########                                                  ########## &#xA;######################################################################&#xA;&#xA;&#xA;# convert the clip start time from hh:mm:ss to seconds&#xA;start_secs=$(echo &amp;quot;$start_time_z&amp;quot; | awk -F: '{ print ($1 * 3600) + ($2 * 60) + $3 }')&#xA;&#xA;# convert the clip end time from hh:mm:ss to seconds&#xA;end_secs=$(echo &amp;quot;$end_time_z&amp;quot; | awk -F: '{ print ($1 * 3600) + ($2 * 60) + $3 }')&#xA;&#xA;# duration of the clip&#xA;duration_z=$((end_secs-start_secs))&#xA;&#xA;&#xA;# Add start time to 946684800 which is 00:00:00 on 1st Jan 2000&#xA;total_z=$(echo &amp;quot;$start_secs + 946684800&amp;quot; | bc)&#xA;echo $total&#xA;&#xA;&#xA;######################################################################&#xA;##########                                                  ########## &#xA;##########   run the command to create the MAIN  clip       ##########&#xA;##########                                                  ########## &#xA;######################################################################&#xA;&#xA;&#xA;#   below string shows unix time in action&#xA;#     by removing the %d-%m-%Y portion we remove the 01-01-2000 part&#xA;#       this appears to be the only way to shift pts and add a time shift onto it&#xA;&#xA;# drawtext=fontfile=font.ttf:text='%{pts\:gmtime\:$total_z\:%d-%m-%Y %T} / &amp;quot;$total_duration&amp;quot;':fontsize=$main_clip_font_size:fontcolor=white:x=(w-text_w-10):y=(h-text_h-10)&amp;quot; \&#xA;&#xA;ffmpeg -ss &amp;quot;$start_time_z&amp;quot; \&#xA;    -i &amp;quot;$in_file_name&amp;quot; \&#xA;    -filter_complex \&#xA;&amp;quot;drawtext=fontfile=font.ttf:text='%{pts\:gmtime\:$total_z\:%T} / &amp;quot;$total_duration&amp;quot;':fontsize=$main_clip_font_size:fontcolor=white:x=(w-text_w-10):y=(h-text_h-10)&amp;quot; \&#xA;       -t  $duration_z \&#xA;       -c:a copy -c:v libx264 \&#xA;       &amp;quot;$out_file&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="20984" LastActivityDate="2023-05-25T08:23:35.447" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36529" PostTypeId="1" CreationDate="2023-05-25T15:05:08.583" Score="0" ViewCount="14" Body="&lt;p&gt;I have a &lt;a href=&quot;https://drive.google.com/file/d/1s3Bxp4Cowye8tbUilkhMpcVhgQfAlEjj/view?usp=sharing&quot; rel=&quot;nofollow noreferrer&quot;&gt;video of a lizard&lt;/a&gt;. The lizard matches its environment very well making it difficult for predators and algorithms to distinguish it from the background. I've tried using 3 different online video stabilizers and none of them work. I have no access to any commercial video processing software. I do have MacOs (Sierra) and Linux (Ubuntu). What can you suggest?&lt;/p&gt;&#xA;" OwnerUserId="30059" LastEditorUserId="30059" LastEditDate="2023-05-25T15:28:01.657" LastActivityDate="2023-05-25T15:28:01.657" Title="How to Stabliize Video when foreground and background are similar?" Tags="|video|mp4|stabilisation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36530" PostTypeId="1" CreationDate="2023-05-26T04:02:17.297" Score="0" ViewCount="21" Body="&lt;p&gt;I am trying to animate a square into a an isometric cube-like shape. In the image, I want the square on the left to &amp;quot;extrude&amp;quot; into the cube on the right. How can I achieve this effect? &lt;a href=&quot;https://i.stack.imgur.com/UN3AZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UN3AZ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41380" LastActivityDate="2023-05-26T04:02:17.297" Title="How to animate a shape to expand/morph a certain way?" Tags="|after-effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36531" PostTypeId="1" CreationDate="2023-05-27T05:45:20.707" Score="0" ViewCount="40" Body="&lt;p&gt;I downloaded an m3u8 stream using a &lt;a href=&quot;https://chrome.google.com/webstore/detail/m3u8-downloader/pibnhedpldjakfpnfkabbnifhmokakfb&quot; rel=&quot;nofollow noreferrer&quot;&gt;Chrome plugin&lt;/a&gt;, and it created an mp4 file which I can play fully in VLC.&lt;/p&gt;&#xA;&lt;p&gt;Next, I am attempting to use Handbrake to encode this file to be played on an old iPod Nano.  I am using the Apple 240p30 preset.  The resulting mp4 does play on my Mac (Preview, Quicktime) and on my Nano.&lt;/p&gt;&#xA;&lt;p&gt;However, the final video has a glitch whereby at the first interstitial (commercial) the video fast-forwards for a second and then freezes permanently, while the audio carries on valiantly for the entire 30 minutes of the video.  This happens when I play it on the Mac and Nano.&lt;/p&gt;&#xA;&lt;p&gt;I'm a software engineer, so I tried researching this problem but I came up blank, possibly because I do not know the terminology and am not deeply familiar with the various ways that video encoding works.  The most likely lead was &lt;a href=&quot;https://discussion.mcebuddy2x.com/t/video-freezes-for-a-few-seconds-in-the-begining/4322/2&quot; rel=&quot;nofollow noreferrer&quot;&gt;this thread about MCEBuddy&lt;/a&gt; which I believe uses Handbrake under the hood.  The description of &lt;em&gt;&amp;quot;I have noticed similar behavior. The video freezes at the commercial cut point (chapter break) but the audio keeps going&amp;quot;&lt;/em&gt; matches what I am experiencing.&lt;/p&gt;&#xA;&lt;p&gt;Does anyone familiar with Handbrake know how to configure it to avoid this behavior?&lt;/p&gt;&#xA;" OwnerUserId="41391" LastActivityDate="2024-02-21T12:04:15.623" Title="Handbrake Output Visually Freezes on Interstitial" Tags="|video|encoding|mp4|conversion|handbrake|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36532" PostTypeId="2" ParentId="36531" CreationDate="2023-05-27T09:50:40.753" Score="0" Body="&lt;p&gt;After some further investigation, I found that when you use the &lt;code&gt;Apple 240p30&lt;/code&gt; preset, Handbrake uses the &lt;code&gt;x264&lt;/code&gt; encoder.  I tried various &lt;a href=&quot;http://www.chaneru.com/Roku/HLS/X264_Settings.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;command-line options&lt;/a&gt; for this tool but was not able to affect a change.  If the problem relates to keyframes, there seem to be options to &lt;em&gt;create&lt;/em&gt; keyframes at various intervals in the output, but not to detect where they are in the input, nor to affect the demuxer beyond choosing which library to use (and they must be bundled with the compiled x264 software, which I can't know if they are or not with Handbrake).&lt;/p&gt;&#xA;&lt;p&gt;Instead, going earlier on the chain, I revisited the m3u8 downloader Chrome plugin, and tried to export as a &lt;code&gt;.ts&lt;/code&gt; file instead of &lt;code&gt;.mp4&lt;/code&gt;, and when I ran this through Handbrake it worked perfectly.  Presumably this was then a problem with the downloader plugin and not Handbrake.  I am guessing that VLC was simply robust enough to fudge over the issue and continue to play the original file, whereas x264 was not.&lt;/p&gt;&#xA;&lt;p&gt;Problem solved.&lt;/p&gt;&#xA;" OwnerUserId="41391" LastActivityDate="2023-05-27T09:50:40.753" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36533" PostTypeId="1" CreationDate="2023-05-27T11:02:36.353" Score="0" ViewCount="22" Body="&lt;p&gt;I recently bought a GoPro Hero 11 Black Camera. It records 5.3K quality videos, which is crips and rich in colour. But whenever I try to edit and export using any known video editor, it simply fades a little and lose its punchy colour. I tried using Filmora X and Powerdirector 19. Both are producing exactly same result and both are capped at maximum 4K resolution. Could anyone tell me how to keep the colour from getting faded? I'm new to GoPro and video editing. Please !&lt;/p&gt;&#xA;" OwnerUserId="41396" LastActivityDate="2023-05-27T11:02:36.353" Title="GoPro 11 video colour fades after export" Tags="|video|editing|color-grading|gopro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36534" PostTypeId="1" CreationDate="2023-05-27T19:58:28.527" Score="0" ViewCount="57" Body="&lt;p&gt;I have a few seconds of videos. I want one that loads the first cube and waits. Immediately issuing the pause command from the keyboard, it no longer shows that. What parameters should I use for this?&lt;/p&gt;&#xA;" OwnerUserId="41399" LastActivityDate="2023-05-27T19:58:28.527" Title="FFPLAY, video shouldn't play automatically" Tags="|ffmpeg|ffplay|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36535" PostTypeId="1" AcceptedAnswerId="36537" CreationDate="2023-05-28T17:28:36.690" Score="0" ViewCount="77" Body="&lt;p&gt;I'm currently using this, and i want it to be loop 6 or 8hours, how to edit this?&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -re -y -i HayDay.mp4 -c:a copy -ac 1 -ar 44100 -b:a 96k -vcodec libx264 -pix_fmt yuv420p -vf scale=1080:-1 -r 30 -g 60 -tune zerolatency -f flv -maxrate 2000k -preset veryfast &amp;quot;rtmps://live-api-s.facebook.com:443/rtmp/FB-222653387188323-0-AbwCY_lFkOiN-FhG&amp;quot;&lt;/p&gt;&#xA;" OwnerUserId="41409" LastActivityDate="2023-05-28T19:06:13.263" Title="how to input ffmpeg to live loop 6 or 8 hours?" Tags="|ffmpeg|live|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36536" PostTypeId="1" CreationDate="2023-05-28T19:01:59.330" Score="0" ViewCount="207" Body="&lt;p&gt;I use a programm that needs .mp4 video files in the resolution 1080x608 px (width x height).&lt;/p&gt;&#xA;&lt;p&gt;My original videos have a smaller resolution - mostly 640x480 px.&lt;/p&gt;&#xA;&lt;p&gt;I have to rotate my original videos 90 degree (CounterClockwise) and after the rotation resize to the resolution 1080x608 px. It should used the centered area of the video.&lt;/p&gt;&#xA;&lt;p&gt;What is the correct command for ffmpeg?&lt;/p&gt;&#xA;&lt;p&gt;For larger videos I use the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;md Jukebox_Converted-90_30fps_Audio_HD&#xA;cd Files_To_Be_Converted&#xA;for %%f in (*) do ..\ffmpeg -i &amp;quot;%%f&amp;quot; -vf &amp;quot;crop=608:1080:0:0,transpose=2&amp;quot; -pix_fmt yuv420p -r 30 -c:a copy &amp;quot;..\Jukebox_Converted-90_30fps_Audio_HD\%%f&amp;quot;&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Thanks &amp;amp; Regards&lt;/p&gt;&#xA;" OwnerUserId="41410" LastActivityDate="2024-03-16T00:10:21.307" Title="How can I rotate and resize a video with ffmpeg?" Tags="|ffmpeg|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36537" PostTypeId="2" ParentId="36535" CreationDate="2023-05-28T19:06:13.263" Score="0" Body="&lt;p&gt;The direct answer is to add &lt;code&gt;-stream_loop -1 -t 6:00:00&lt;/code&gt; before &lt;code&gt;-i HayDay.mp4&lt;/code&gt; but the better answer is to encode it once and then apply the above options to the encoded file and stream that.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-05-28T19:06:13.263" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36539" PostTypeId="1" CreationDate="2023-05-31T05:18:32.247" Score="0" ViewCount="29" Body="&lt;p&gt;Using a virtual studio package that uses Element 3D v2 with 2 Display screens meant for footage to be added. How can I render the scene which is heavy in after effects and leaving the Screen placeholders empty so that I can easily change the footage in Premiere Pro, not having to render the scene each timein AE? Any good tutorials or advice would be really helpful. thnx&lt;/p&gt;&#xA;" OwnerUserId="41430" LastEditorUserId="18155" LastEditDate="2023-06-05T01:30:09.157" LastActivityDate="2024-03-03T13:01:05.130" Title="Element 3d placeholder to premiere pro?" Tags="|after-effects|3d|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36540" PostTypeId="1" CreationDate="2023-05-31T19:03:56.020" Score="0" ViewCount="318" Body="&lt;p&gt;I am using the following command to read a RTSP stream from an IP camera and record it as HLS:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i rtsp://&amp;lt;user&amp;gt;:&amp;lt;password&amp;gt;@&amp;lt;ip&amp;gt;:&amp;lt;port&amp;gt; -c:v copy -c:a copy -hls_segment_type mpegts -segment_list_type m3u8 -hls_list_size 5 -hls_wrap 5 -hls_time 5 -hls_flags split_by_time -segment_time_delta 1.00 -start_number 1 -segment_list live -reset_timestamps 1 -movflags faststart  live.m3u8&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Everything goes well. However, while I am using ffplay as &lt;code&gt;ffplay -i live.m3u8&lt;/code&gt;, it only plays a few first segments. Even VLC does play a few first segments too! What am I missing? shall I change my ffmpeg command or what?&lt;/p&gt;&#xA;&lt;p&gt;Thank you all in advance.&lt;/p&gt;&#xA;" OwnerUserId="41440" LastActivityDate="2023-05-31T19:03:56.020" Title="ffplay does not play hls continuously and it stop after a few first segments" Tags="|ffmpeg|hls|ffplay|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36541" PostTypeId="1" AcceptedAnswerId="36613" CreationDate="2023-05-31T21:02:23.687" Score="0" ViewCount="16" Body="&lt;p&gt;I have 25 short videos of family (~3 min each) that I would like to label with names of the various people. There can of course be many people on the screen at once, so I need to be able to add multiple labels (maybe with a box around the person and the name below, I'll have to see what it looks like). The labels also need to move with the person they're labeling, so AI object tracking would be nice, but that sounds complex/expensive so I can do that manually if need be.&lt;/p&gt;&#xA;&lt;p&gt;This will make it easy to see who's who, but it would ruin the video for casual viewing. So I also want to be able to turn this layer/track off, just like subtitles.&lt;/p&gt;&#xA;&lt;p&gt;This is inspired by &lt;a href=&quot;https://youtu.be/fQ351dJ0txk?t=125&quot; rel=&quot;nofollow noreferrer&quot;&gt;Flickr's note feature&lt;/a&gt;, but that's just for static images.&lt;/p&gt;&#xA;&lt;p&gt;So my questions are:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Can I do this with a standard format like MP4? I'd like to avoid a proprietary format or website if possible, since this is for genealogy and will be archived. Who knows if &amp;quot;VideoAnnotations.io&amp;quot; will still be a thing in 30 years.&lt;/li&gt;&#xA;&lt;li&gt;HOW do I do this? I'm even having trouble figuring out how to search for what I want, since I'm not a video person and I don't really know the right terms to use. I'd appreciate a description of what this process is called, and then what tools I'd need to do it. Hopefully free tools, although I can get free access to iMovie, Pixelmator Pro and Adobe Creative Cloud. (I've never used Premire, but… there's a first time for everything.)&lt;/li&gt;&#xA;&lt;li&gt;It would be awesome if this could just be a text file I set next to the video, like an .srt, which would hold the various screen locations, strings and time stamps. I'd be willing to sacrifice a lot in the looks department to get something simple like this. But I don't know if it exists.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="41442" LastActivityDate="2023-06-23T12:03:33.130" Title="Overlay text annotation on an independent video track" Tags="|video|video-editor|subtitles|tracks|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36542" PostTypeId="1" AcceptedAnswerId="36544" CreationDate="2023-06-01T03:07:56.473" Score="1" ViewCount="35" Body="&lt;p&gt;I was working on a video project with some classmates and after our class ended I asked our editor if I could have the footage. She everso-nicely renamed the files so they are human-readable, however, included &lt;code&gt;/&lt;/code&gt; in many of the files. For example, &lt;code&gt;scene2_shot17_take1-OTS/chairs.MP4&lt;/code&gt; is the name of a file. Mac, for some reason, is able to read the &lt;code&gt;/&lt;/code&gt;. Windows, however, reads it as &lt;code&gt;scene2_shot17_take1-OTSchairs.MP4&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;For Premiere Pro, when I load up the project, it asks me to locate all of the files. It says the last path was &lt;code&gt;Path/to/file/scene2_shot17_take1-OTS:chairs.MP4&lt;/code&gt;. So instead of replacing &lt;code&gt;/&lt;/code&gt; with &lt;code&gt;&lt;/code&gt;, it replaces it with &lt;code&gt;:&lt;/code&gt; which is also an illegal character to have in filenames!&lt;/p&gt;&#xA;&lt;p&gt;I've used &lt;a href=&quot;https://www.advancedrenamer.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Advanced Renamer&lt;/a&gt; to rename all the files that contain &lt;code&gt;&lt;/code&gt; to &lt;code&gt;_&lt;/code&gt;. My only question now is how to inform premier pro that I have made that change. I have almost 100 files that had &lt;code&gt;/&lt;/code&gt; in them and I would not like to have to manually link them all. Thanks&lt;/p&gt;&#xA;" OwnerUserId="41445" LastEditorUserId="41445" LastEditDate="2023-06-01T04:56:15.120" LastActivityDate="2023-06-01T05:17:20.587" Title="Premiere Pro media linking with illegal filenames" Tags="|premiere|video-editor|adobe|file-formats|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36543" PostTypeId="1" CreationDate="2023-06-01T04:02:24.780" Score="1" ViewCount="183" Body="&lt;p&gt;I use a capture device from Atomos to capture video in ProRes format over HDMI. The issue is, this device will &lt;em&gt;only&lt;/em&gt; capture video in the exact same frame rate as the HDMI signal's refresh rate. So a 60hz signal MUST capture to a 60fps file. There's no way to capture in 30fps mode, and no way to do IVTC for 24fps capture either, unless the source is 1080i (which is not useful for 4K capture).&lt;/p&gt;&#xA;&lt;p&gt;Since ProRes is an I-Frame only video format, I would imagine it &lt;strong&gt;should&lt;/strong&gt; theoretically be possible to simply drop the unnecessary duplicated frames, spitting out a video that contains bit-identical frames, but uses much less storage. I capture both 30fps and 24fps content using this method, so it would be especially useful to me to be able to transfer that to my computer in a reduced file size, without any loss in quality.&lt;/p&gt;&#xA;&lt;p&gt;So how would I go about doing this? I plan to create a small app that will allow me to do this for every 30/24 fps capture I make, but my experience with ffmpeg is too limited to figure out exactly what command line to use for this problem.&lt;/p&gt;&#xA;&lt;p&gt;Note that the output frame rate should be exactly 50% of the input frame rate for 30fps sources, and exactly 40% of the input frame rate for 24fps sources . I can't work with variable frame rates, or frame rates that are slightly off from the standard rates. So ffmpeg should not be dropping any more extra frames than that, even if it decides they're duplicates.&lt;/p&gt;&#xA;" OwnerUserId="41446" LastEditorUserId="41446" LastEditDate="2023-06-01T04:05:08.817" LastActivityDate="2023-06-01T04:05:08.817" Title="ffmpeg: How to decimate frame rate without recompressing, for I-Frame only video, like ProRes?" Tags="|ffmpeg|framerate|prores|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36544" PostTypeId="2" ParentId="36542" CreationDate="2023-06-01T05:17:20.587" Score="1" Body="&lt;p&gt;After some STRUGGLE. I found this worked (strap in for a ride). Here's the step-by-step:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;(Since I was in a group) have your project open and go to &lt;code&gt;Edit&amp;gt;Team Project&amp;gt;Convert Team Project to Project&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The Premiere Pro project file (.prproj) is actually a compressed XML file. Exit Premiere Pro and then rename your project file from &lt;code&gt;YourProject.prproj&lt;/code&gt; to &lt;code&gt;YourProject.zip&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;unzip the file. It wouldn't work on my computer unless I used 7-zip to unzip it.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;open the file titled &lt;code&gt;YourProject&lt;/code&gt; in a text editor (I used VSCode)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Access the find and replace functionality (here's where it gets complicated)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Some text/code editors have an option like &lt;a href=&quot;https://en.wikipedia.org/wiki/Regular_expression&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;regular expression&lt;/code&gt;&lt;/a&gt; or &lt;a href=&quot;https://en.wikipedia.org/wiki/Regular_expression&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;use regex&lt;/code&gt;&lt;/a&gt;. You will need to enable this.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;input &lt;code&gt;([a-zA-Z0-9\s_\\.-]+):([a-zA-Z0-9\s_\\.-]+)\.MP4&lt;/code&gt; for the &lt;code&gt;find&lt;/code&gt; field. this finds any &lt;code&gt;.MP4&lt;/code&gt; file that contains &lt;code&gt;:&lt;/code&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;input &lt;code&gt;$1_$2.MP4&lt;/code&gt; in the &lt;code&gt;replace&lt;/code&gt; field. &lt;code&gt;$1&lt;/code&gt; is all the text before &lt;code&gt;:&lt;/code&gt; and &lt;code&gt;$2&lt;/code&gt; is all the text after up until &lt;code&gt;.MP4&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Hit replace all and save the file- make sure to add the &lt;code&gt;.prproj&lt;/code&gt; extension to it.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Load it up!&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;remember to always make a backup of your project file as I've only tested this a little bit. It worked for me!&lt;/p&gt;&#xA;" OwnerUserId="41445" LastActivityDate="2023-06-01T05:17:20.587" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36545" PostTypeId="1" AcceptedAnswerId="36548" CreationDate="2023-06-01T06:20:18.590" Score="1" ViewCount="284" Body="&lt;p&gt;I have two video files, one on landscape and one on portrait. On my phone's gallery detail screen their resolutions are, respectively, 1280x720 and 720x1280. This is correct because the landscape video has the width larger than the height and the portrait one has the opposite.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7BItZm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7BItZm.png&quot; alt=&quot;Smartphone screenshot showing file information. File name: 20230531_083540.mp4; file path: /Internal storage/DCMI/Camera; device name: Samsung SM-S908E; other information: 128.31 MB, 1280x720, HD, 3:20, HEVC, AAC, 30fps.&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RqzJTm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RqzJTm.png&quot; alt=&quot;Smartphone screenshot showing file information. File name: 20230531_085120.mp4; file path: /Internal storage/DCMI/Camera; device name: Samsung SM-S908E; other information: 147.38 MB, 720x1280, HD, 4:27, HEVC, AAC, 30fps.&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;However if I use &lt;code&gt;ffprobe&lt;/code&gt; to get video resolution, they both show 1280x720.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;$ ffprobe -v quiet -select_streams v:0 -show_entries stream=width,height -of csv=s=x:p=0 20230531_083540.mp4 &#xA;1280x720&#xA;&#xA;$ ffprobe -v quiet -select_streams v:0 -show_entries stream=width,height -of csv=s=x:p=0 20230531_085120.mp4 &#xA;1280x720&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is there something I'm missing? Complete &lt;code&gt;ffprobe&lt;/code&gt; output for both files below.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;$ ffprobe 20230531_083540.mp4 &#xA;ffprobe version 4.4.2-0ubuntu0.22.04.1 Copyright (c) 2007-2021 the FFmpeg developers&#xA;  built with gcc 11 (Ubuntu 11.2.0-19ubuntu1)&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.22.04.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libdav1d --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librabbitmq --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzimg --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opencl --enable-opengl --enable-sdl2 --enable-pocketsphinx --enable-librsvg --enable-libmfx --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;  libavutil      56. 70.100 / 56. 70.100&#xA;  libavcodec     58.134.100 / 58.134.100&#xA;  libavformat    58. 76.100 / 58. 76.100&#xA;  libavdevice    58. 13.100 / 58. 13.100&#xA;  libavfilter     7.110.100 /  7.110.100&#xA;  libswscale      5.  9.100 /  5.  9.100&#xA;  libswresample   3.  9.100 /  3.  9.100&#xA;  libpostproc    55.  9.100 / 55.  9.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '20230531_083540.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2023-05-31T11:40:02.000000Z&#xA;    com.android.version: 13&#xA;    com.android.capture.fps: 30.000000&#xA;  Duration: 00:03:20.57, start: 0.000000, bitrate: 5366 kb/s&#xA;  Stream #0:0(eng): Video: hevc (Main) (hvc1 / 0x31637668), yuv420p(tv, bt709), 1280x720, 5111 kb/s, 30.01 fps, 30 tbr, 90k tbn, 90k tbc (default)&#xA;    Metadata:&#xA;      rotate          : 180&#xA;      creation_time   : 2023-05-31T11:40:02.000000Z&#xA;      handler_name    : VideoHandle&#xA;      vendor_id       : [0][0][0][0]&#xA;    Side data:&#xA;      displaymatrix: rotation of -180.00 degrees&#xA;  Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 256 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2023-05-31T11:40:02.000000Z&#xA;      handler_name    : SoundHandle&#xA;      vendor_id       : [0][0][0][0]&#xA;&#xA;$ ffprobe 20230531_085120.mp4 &#xA;ffprobe version 4.4.2-0ubuntu0.22.04.1 Copyright (c) 2007-2021 the FFmpeg developers&#xA;  built with gcc 11 (Ubuntu 11.2.0-19ubuntu1)&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.22.04.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libdav1d --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librabbitmq --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzimg --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opencl --enable-opengl --enable-sdl2 --enable-pocketsphinx --enable-librsvg --enable-libmfx --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;  libavutil      56. 70.100 / 56. 70.100&#xA;  libavcodec     58.134.100 / 58.134.100&#xA;  libavformat    58. 76.100 / 58. 76.100&#xA;  libavdevice    58. 13.100 / 58. 13.100&#xA;  libavfilter     7.110.100 /  7.110.100&#xA;  libswscale      5.  9.100 /  5.  9.100&#xA;  libswresample   3.  9.100 /  3.  9.100&#xA;  libpostproc    55.  9.100 / 55.  9.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '20230531_085120.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2023-05-31T11:59:27.000000Z&#xA;    com.android.version: 13&#xA;    com.android.capture.fps: 30.000000&#xA;  Duration: 00:04:27.17, start: 0.000000, bitrate: 4627 kb/s&#xA;  Stream #0:0(eng): Video: hevc (Main) (hvc1 / 0x31637668), yuv420p(tv, bt709), 1280x720, 4370 kb/s, 29.78 fps, 30 tbr, 90k tbn, 90k tbc (default)&#xA;    Metadata:&#xA;      rotate          : 270&#xA;      creation_time   : 2023-05-31T11:59:27.000000Z&#xA;      handler_name    : VideoHandle&#xA;      vendor_id       : [0][0][0][0]&#xA;    Side data:&#xA;      displaymatrix: rotation of 90.00 degrees&#xA;  Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 256 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2023-05-31T11:59:27.000000Z&#xA;      handler_name    : SoundHandle&#xA;      vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="41450" LastActivityDate="2023-06-01T13:08:45.703" Title="ffmpeg showing &quot;landscape resolution&quot; for portrait video" Tags="|ffmpeg|ffprobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36547" PostTypeId="1" AcceptedAnswerId="36549" CreationDate="2023-06-01T09:38:26.430" Score="1" ViewCount="154" Body="&lt;p&gt;Here is my current command :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i [videoFilepath] -i [musicFile] -stream_loop -1 -shortest -filter_complex &amp;quot;[1]volume=0.15:enable=between(t\,4\,10)+between(t\,14\,20)[a1];[0:a][a1]amix=inputs=2&amp;quot; -map 0:v:0 [outputFilepath]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What it does :&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Takes a video file as an input&lt;/li&gt;&#xA;&lt;li&gt;Takes a music file as an input&lt;/li&gt;&#xA;&lt;li&gt;Loops the music if it is shorter than the video duration&lt;/li&gt;&#xA;&lt;li&gt;If the music is longer, outputs a file the duration of the video&lt;/li&gt;&#xA;&lt;li&gt;Reduce volume by 85% between 4 and 10 seconds as well as between 14 and 20 seconds&lt;/li&gt;&#xA;&lt;li&gt;Mixes the 2 audio streams so we have both the original video audio non-filtered and the music with the volume filter&lt;/li&gt;&#xA;&lt;li&gt;Outputs a video file&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I want the volume filter to ease-in and ease-out for a duration of 1 second, instead of abruptly changing. Is this possible ?&lt;/p&gt;&#xA;" OwnerUserId="41452" LastEditorUserId="41452" LastEditDate="2023-06-05T13:06:23.180" LastActivityDate="2023-06-05T13:06:23.180" Title="How to add a afade effect to a complex filter (In this case volume)?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36548" PostTypeId="2" ParentId="36545" CreationDate="2023-06-01T13:08:45.703" Score="1" Body="&lt;p&gt;ffprobe is correct.&lt;/p&gt;&#xA;&lt;p&gt;Generally, cameras will store portrait videos as landscape along with metadata to indicate to players if the video needs to be re-oriented for display.&lt;/p&gt;&#xA;&lt;p&gt;See the following in the ffprobe readouts:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '20230531_083540.mp4':&#xA;...&#xA;Side data:&#xA;  displaymatrix: rotation of -180.00 degrees&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '20230531_085120.mp4':&#xA;...&#xA;Side data:&#xA;  displaymatrix: rotation of 90.00 degrees&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-06-01T13:08:45.703" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36549" PostTypeId="2" ParentId="36547" CreationDate="2023-06-01T18:48:09.150" Score="0" Body="&lt;p&gt;A quick, maybe imperfect solution – use an expression in the &lt;code&gt;volume&lt;/code&gt; filter, e.g. for linearly decreasing volume from 1 to 0.15 in the time interval between 4&lt;sup&gt;th&lt;/sup&gt; and 5&lt;sup&gt;th&lt;/sup&gt; second:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;volume=1-0.85/(5-4)*(t-4):eval=frame&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For time  t=4, the volume will evaluate to 1, for t=5 it will be 0.15:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for t=4:    1 - 0.85 / (5-4) * (4-4) = 1 - 0.85 / (10-4) * 0 = 1 - 0 = 1&#xA;for t=5:    1 - 0.85 / (5-4) * (5-4) = 1 - 0.85 = 0.15 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/18tZ8.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/18tZ8.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;You may use (nested) &lt;code&gt;if&lt;/code&gt; functions for evaluating the volume value in different time intervals of your audio stream.&lt;/p&gt;&#xA;&lt;p&gt;For example, to keep the value 1 for the first 4 seconds you may extend the previous formula&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;              1-0.85/(5-4)*(t-4)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;with the help of the &lt;code&gt;lt&lt;/code&gt; (less than) function into&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;if(lt(t\,4),1,1-0.85/(5-4)*(t-4))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1cLtT.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1cLtT.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;and then – for keeping the value 0.15 after 5&lt;sup&gt;th&lt;/sup&gt; second – into&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;if(lt(t\,4),1,if(lt(t\,5),1-0.85/(5-4)*(t-4),0.15))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Oq4Pk.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Oq4Pk.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And so on, always rewriting the last item with a new &lt;code&gt;if&lt;/code&gt; function.&lt;/p&gt;&#xA;&lt;p&gt;Of course, the resulting expression is not the optimal one, but the procedure is pretty straightforward.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2023-06-04T18:27:16.203" LastActivityDate="2023-06-04T18:27:16.203" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="36550" PostTypeId="2" ParentId="36071" CreationDate="2023-06-01T18:54:56.437" Score="0" Body="&lt;p&gt;considering that in ffmpeg every +6 in crf means half the bitrate&#xA;and considering that hevc is 50% more efficient than avc&#xA;a crf of 23-24 will lead to visually-lossless compression in ffmpeg with libx265.&lt;/p&gt;&#xA;" OwnerUserId="41457" LastActivityDate="2023-06-01T18:54:56.437" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36551" PostTypeId="1" CreationDate="2023-06-02T08:23:11.990" Score="0" ViewCount="90" Body="&lt;p&gt;I've tried using the following ffmpeg command :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i path/to/input.ts -af silenceremove=start_periods=1:start_silence=0.1:start_threshold=-50dB,areverse,silenceremove=start_periods=1:start_silence=0.1:start_threshold=-50dB,areverse path/to/output.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The command worked and generated a file except it only cut the audio stream and not both the audio stream and video stream.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to make it cut both with &lt;code&gt;ffmpeg&lt;/code&gt; or it's javascript equivalent &lt;code&gt;fluent-ffmpeg&lt;/code&gt; ?&lt;/p&gt;&#xA;" OwnerUserId="41452" LastEditorUserId="41452" LastEditDate="2023-06-02T13:55:14.813" LastActivityDate="2023-06-02T13:55:14.813" Title="Cut start and end of video file if audio is silent or contains noise" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36552" PostTypeId="2" ParentId="36523" CreationDate="2023-06-02T12:41:14.690" Score="1" Body="&lt;p&gt;Interlaced scanning is a legacy carried from SDR TV to Full-HD era, and it's long deprecated in the UHD time. So yes, Interlaced scanning will be incompatible with any UHD technology, including Dolby Vision (which is an HDR format)&lt;/p&gt;&#xA;" OwnerUserId="16433" LastActivityDate="2023-06-02T12:41:14.690" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36553" PostTypeId="1" CreationDate="2023-06-04T14:02:19.363" Score="0" ViewCount="24" Body="&lt;p&gt;After rendering the movie, strange frames periodically appear, as in the picture&lt;a href=&quot;https://i.stack.imgur.com/CsMzk.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CsMzk.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41469" LastActivityDate="2023-06-04T14:02:19.363" Title="Problems with rendering in davinci resolve" Tags="|davinci-resolve|rendering|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36555" PostTypeId="1" CreationDate="2023-06-05T07:40:18.807" Score="0" ViewCount="51" Body="&lt;p&gt;I am experiencing continuous computer freezes when using Resolve. Normally it happens when I am playing the video or moving the cursor over the timeline, and the computer stops working - it is not a crash, it freezes the whole computer, so I hear the uncomfortable robotic sound of the video stuck, playing the same millisecond.&lt;/p&gt;&#xA;&lt;p&gt;I have upgraded to the latest v&lt;code&gt;18.1.4&lt;/code&gt; and I have upgraded my &lt;code&gt;Nvidia Studio Driver&lt;/code&gt; but the problem is still there. It makes editing very tedious, as at any time my computer might freeze and I have to reset it to start again, sometimes losing work progress.&lt;/p&gt;&#xA;&lt;p&gt;My computer is not bad to not be able to cope with the load of the videos. I have M.2 drives, 32 GB RAM and a Nvidia RTX 2080. And the error seems to happen even with a few videos, nothing really demanding.&lt;/p&gt;&#xA;&lt;p&gt;I am getting out of options for a solution.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;I assume this is unrelated, but when I start Resolve, I often see this screen:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/8frK6.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8frK6.jpg&quot; alt=&quot;GPU Configuration Reset&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Then I have to go to the menu option:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7I6X2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7I6X2.jpg&quot; alt=&quot;Menu&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Change it:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lF0wP.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lF0wP.jpg&quot; alt=&quot;Menu2&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And then close and start again Resolve.&lt;/p&gt;&#xA;&lt;p&gt;This time works. But the next time I use it, Resolve complains again of the very same thing. Like if it was not able to save the configuration.&lt;/p&gt;&#xA;" OwnerUserId="30097" LastEditorUserId="33658" LastEditDate="2024-02-06T11:26:12.747" LastActivityDate="2024-02-06T11:26:12.747" Title="Resolve continuous computer freezing with Nvidia RTX 2080 and &quot;Nvidia Studio Driver&quot;" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36556" PostTypeId="1" CreationDate="2023-06-05T13:08:54.037" Score="0" ViewCount="140" Body="&lt;p&gt;Thanks to the answers i got on my last &lt;a href=&quot;https://video.stackexchange.com/questions/36547/how-to-add-a-afade-effect-to-a-complex-filter-in-this-case-volume&quot;&gt;question&lt;/a&gt;, i came up with the following if statement named &lt;code&gt;string&lt;/code&gt; :&#xA;&lt;code&gt;&amp;quot;if(between(t,6,12.6)+between(t,16.6,29.8)+between(t,33.8,44),0.15,if(between(t,5,6),0.15/(6-5)*(t-5),if(between(t,15.6,16.6),0.15/(16.6-15.6)*(t-15.6),if(between(t,32.8,33.8),0.15/(33.8-32.8)*(t-32.8),if(between(t,12.6,13.6),0.15/(13.6-12.6)*(13.6-t),if(between(t,29.8,30.8),0.15/(30.8-29.8)*(30.8-t),if(between(t,44,45),0.15/(45-44)*(45-t))))))))&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;And i'm applying it in the following fluent-ffmpeg command thanks to this complex filter :&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-js prettyprint-override&quot;&gt;&lt;code&gt;.complexFilter([&#xA;    {&#xA;        filter: &amp;quot;volume&amp;quot;,&#xA;        options: [string], &#xA;        inputs: &amp;quot;1&amp;quot;,&#xA;        outputs: 'audio',&#xA;        eval: 'frame'&#xA;    },&#xA;    {&#xA;        filter: &amp;quot;amix&amp;quot;,&#xA;        options: 'inputs=2',&#xA;        inputs: [&amp;quot;0:a&amp;quot;, &amp;quot;audio&amp;quot;]&#xA;    }&#xA;])&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What this does is just like -filter_complex &amp;quot;[1:a]volume=&lt;code&gt;string&lt;/code&gt;:eval=frame[&amp;quot;audio&amp;quot;]&amp;quot; then it applies an amix on 0:a and audio. I'm getting the following errors though :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_volume_0 @ 0x7fffe828d140] [Eval @ 0x7ffff0835170] Missing ')' or too many args in 'between(t'&#xA;[Parsed_volume_0 @ 0x7fffe828d140] Error when evaluating the volume expression '&amp;quot;if(between(t'&#xA;[AVFilterGraph @ 0x7fffe81e0400] Error initializing filter 'volume' with args '&amp;quot;if(between(t'&#xA;Error initializing complex filters.&#xA;Invalid argument&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="41452" LastActivityDate="2023-06-05T13:08:54.037" Title="&quot;Error initializing complex filters&quot; Using volume filter in fluent-ffmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="36557" PostTypeId="1" CreationDate="2023-06-05T15:33:17.933" Score="0" ViewCount="172" Body="&lt;p&gt;I have used ffmpeg-2022-05-26 to convert simple .avi to .mp4 and these videos get supported on almost all platforms, including PowerPoint. When I updated ffmpeg to the version released around 2023-05-31, using the same conversion code, the mp4 videos are not supported by PowerPoint. Any suggestions will be helpful.&lt;/p&gt;&#xA;" OwnerUserId="41477" LastActivityDate="2023-06-05T15:33:17.933" Title="mp4 videos not supported by powerpoint" Tags="|ffmpeg|mp4|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36558" PostTypeId="1" CreationDate="2023-06-06T13:44:57.740" Score="0" ViewCount="20" Body="&lt;p&gt;Opening the converted .mp4 file with windows 10 mediaplayer doesn't play the audio but does play the video.&#xA;Opening the converted .mp4 file with the same VLC used to convert the DVD to MP4 doesn't play the video but does play the audio.&lt;/p&gt;&#xA;" OwnerUserId="41488" LastActivityDate="2024-03-02T15:05:15.640" Title="Converting DVD (VIDEO_TS) to MP4 (h.264/h.265) using VLC plays only audio or video but not both" Tags="|mp4|dvd|vlc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36559" PostTypeId="2" ParentId="36558" CreationDate="2023-06-06T13:50:05.257" Score="0" Body="&lt;p&gt;Posted this question as I wanted to share my answer to this. I found that customizing the audiocodec used for the &lt;code&gt;Video - H.264 + MP3 (MP4)&lt;/code&gt; profile to &lt;code&gt;MPEG 4 Audio (AAC)&lt;/code&gt; from the default &lt;code&gt;MPEG Audio&lt;/code&gt; fixed the issue.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Vy6Vs.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Vy6Vs.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/0XwS3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0XwS3.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41488" LastActivityDate="2023-06-06T13:50:05.257" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36560" PostTypeId="1" CreationDate="2023-06-06T16:44:55.367" Score="0" ViewCount="40" Body="&lt;p&gt;I have an MP4 file which I want to manipulate on a hex basis, without re-encoding. More specifically I want to replace the I-Frames of the MP4 file with a kind of placeholder code.&lt;/p&gt;&#xA;&lt;p&gt;What I want to do with the MP4 file:&#xA;The video.mp4 is basically a hex file which I want to manipulate as the following.&lt;/p&gt;&#xA;&lt;p&gt;-video.mp4 viewed as hex-&lt;br /&gt;&#xA;I-Frame-Code&lt;br /&gt;&#xA;....&lt;br /&gt;&#xA;P-Frame-Code&lt;br /&gt;&#xA;....&lt;br /&gt;&#xA;I-Frame-Code&lt;br /&gt;&#xA;....&lt;/p&gt;&#xA;&lt;p&gt;What I want to accomplish is:&lt;br /&gt;&#xA;-video.mp4 viewed as hex-&lt;br /&gt;&#xA;Placeholder-Code&lt;br /&gt;&#xA;....&lt;br /&gt;&#xA;P-Frame-Code&lt;br /&gt;&#xA;....&lt;br /&gt;&#xA;Placeholder-Code&lt;br /&gt;&#xA;....&lt;/p&gt;&#xA;" OwnerUserId="41489" LastActivityDate="2023-06-06T16:44:55.367" Title="Replace MP4 I-Frames with a placeholder" Tags="|ffmpeg|video|encoding|mp4|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36561" PostTypeId="1" CreationDate="2023-06-06T22:53:33.737" Score="0" ViewCount="147" Body="&lt;p&gt;Hiya new to after effects and trying to follow along with a tutorial. Can't figure out though why there is a black box when I make a new composition? I've imported an illustrator file with different layers I don't think I'm zoomed in too much perhaps theres some kind of view I'm in I need to get out of?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/iJfrH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iJfrH.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5eoxG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5eoxG.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pfM9I.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pfM9I.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Theres also a warning dialogue box that pops up before I open After Effects potentially that has something to do with it?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dX4FV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dX4FV.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41491" LastActivityDate="2023-06-07T10:59:19.417" Title="Black box in new composition - After Effects CC" Tags="|after-effects|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36562" PostTypeId="1" CreationDate="2023-06-07T07:50:00.543" Score="0" ViewCount="10" Body="&lt;p&gt;I often need to take a desktop capture video, and then simultaneously capture something else with a video camera; and then I want to watch the two synchronized recordings simultaneously.&lt;/p&gt;&#xA;&lt;p&gt;For simplicity's sake, let's assume that both videos have been processed, so they have the same resolution (say 1280x720 pixels) and same framerate (say 25 fps) - and they have been synchronized, in the sense of being clipped, so they both start at the same &amp;quot;absolute&amp;quot; (or &amp;quot;calendar&amp;quot;) time.&lt;/p&gt;&#xA;&lt;p&gt;Is there a video file format, that would allow me to store these two videos as two independent streams - and is there a video player that could play this kind of format, that would allow for the following:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;At start, the player would show the two video streams &lt;em&gt;side-by-side&lt;/em&gt; playing simultaneously - it might look like this in a 640x480 player window size (images generated from &lt;a href=&quot;https://vioso.com/testpattern-generator/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vioso.com/testpattern-generator/&lt;/a&gt;):&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/dGAt6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/dGAt6.png&quot; alt=&quot;side-by-side&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Then, if I click a button or otherwise issue a command to the player, I can choose that I look only at the first stream, &lt;em&gt;while playback time continues&lt;/em&gt; - so it would look like this in a 640x480 player window size:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Mvthm.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Mvthm.png&quot; alt=&quot;first-vid-only&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;... and, if I again click a button or otherwise issue a command to the player, I can choose that I look only at the second stream, &lt;em&gt;while playback time continues&lt;/em&gt; - so it would look like this in a 640x480 player window size:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sLHB3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sLHB3.png&quot; alt=&quot;second-vid-only&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;... and of course, I should be able to go back to the &amp;quot;side-by-side&amp;quot; view again (&lt;em&gt;while playback time continues&lt;/em&gt;) by issuing a command (clicking a button) to the player.&lt;/p&gt;&#xA;&lt;p&gt;Is there any video file format and video player (hopefully, cross-platform; JavaScript/web based would be fine too) that would support something like this?&lt;/p&gt;&#xA;" OwnerUserId="26523" LastActivityDate="2023-06-07T07:50:00.543" Title="File format and player for synchronized dual video tracks?" Tags="|software-recommendation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36563" PostTypeId="1" CreationDate="2023-06-07T10:47:33.107" Score="0" ViewCount="21" Body="&lt;p&gt;&lt;em&gt;&lt;strong&gt;TLDR:&lt;/strong&gt; What do I need to do to set up a decent quality live stream of a live event? I'm talking gear, setup, the whole thing.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm no stranger to video production but I'm getting an increased amount of requests for live streaming events (both within the company I work for and externally) and I'm not 100% sure of the best way to go about setting this up. I'm going to try and break down a few of the assumptions and questions I've got in the hopes that someone will be able to answer them for me.&lt;/p&gt;&#xA;&lt;p&gt;The most common request I have is:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&amp;quot;Can we Live Stream this event that we're hosting for people who can't attend?&amp;quot;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Obviously the answer is &amp;quot;Yes - how much do you want to spend?&amp;quot; so let's assume that they don't want to spend much and I've not got a huge pot of money to buy new kit.&lt;/p&gt;&#xA;&lt;p&gt;AFAIK I'll need: a camera to film the event (could be as simple as a webcam but I've got a DSLR that I'd like to use), some way of capturing sound (events typically have presenters that are miked up so perhaps I can pull audio off the mixer?), a laptop to run the A/V feed through (possibly a capture card or some sort of switcher, too?), streaming software (I'm thinking OBS or similar) and finally the stream provider (Zoom, for example).&lt;/p&gt;&#xA;&lt;p&gt;Here're the questions:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;What else do I need to consider?&lt;/li&gt;&#xA;&lt;li&gt;Do I need a capture card or can I just run HDMI from the camera?&lt;/li&gt;&#xA;&lt;li&gt;How do I get live sound from the mixer without compromising the live event?&lt;/li&gt;&#xA;&lt;li&gt;Do I run the sound via the camera or via a recorder to the laptop?&lt;/li&gt;&#xA;&lt;li&gt;Do I need an external switcher or will OBS software solution do the job just fine?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Thank you in advance, sorry this is a bit of a beast of a question!&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2023-06-07T10:47:33.107" Title="Live Streaming a Live Event" Tags="|video|streaming|video-production|live-streaming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36564" PostTypeId="2" ParentId="36561" CreationDate="2023-06-07T10:59:19.417" Score="1" Body="&lt;p&gt;Looks like that's just the composition preview window - where you'll see what you've put into the comp. If you need to change the size of the window, right-click the comp name and go to 'Composition settings'. I also like to change the background colour of my comps to something like #8E4545 to differentiate from black elements and the 'empty' screen.&lt;/p&gt;&#xA;&lt;p&gt;The warning message is telling you that you need more space on the drive that your disk cache is stored on (sort of like preview files that are generated when you render the content in your AE project). Go to Edit &amp;gt; Preferences &amp;gt; Media &amp;amp; Disk Cache to clear it out or change how much storage it's allowed to access.&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2023-06-07T10:59:19.417" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36565" PostTypeId="2" ParentId="36539" CreationDate="2023-06-07T11:10:53.090" Score="0" Body="&lt;p&gt;I'm not 100% sure that I understand the question, sorry, but could you render out an AVI (both RGB + Alpha channels) of the scene (presuming that the areas for the video don't have anything behind them) from AE and then, in PPro, drop the AVI on a video layer above the videos, adjusting their size/scale to fit into the 'windows'?&lt;/p&gt;&#xA;&lt;p&gt;In AE; if the video 'windows' aren't already cut out, you should be able to use a mask to get rid of them (you might need to pre-compose the layers if they're not in a comp already).&lt;/p&gt;&#xA;" OwnerUserId="21965" LastActivityDate="2023-06-07T11:10:53.090" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36566" PostTypeId="1" CreationDate="2023-06-07T13:58:09.620" Score="0" ViewCount="148" Body="&lt;p&gt;I have the following videofile (uploaded as is):&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/zREUYOoC6wI?start=16&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Which is a static timelapse of panorama photo's that spans a horizontal 360 degree field of view(and about a 40 degree vertical one), where the far left side of the frame would wrap to the far right side. I would like to convert/tag it to a proper 360 format to be recognized by YouTube and other applications.&lt;/p&gt;&#xA;&lt;p&gt;I have tried importing it into Premiere Pro and creating a Equirectangular Monoscopic VR sequence and exporting it as a VR file which failed processing on Youtube after uploading. I have also tried passing it through ffmpeg first using the 360 filters, but I honestly don't know which format/projection I currently have(if any?) and what I should convert to.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/s7fWk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/s7fWk.png&quot; alt=&quot;Error message in YouTube after processing&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I correctly convert my file, ideally using the tools I own/know (ffmpeg, Premiere Pro, Davinci Resolve)?&lt;/p&gt;&#xA;" OwnerUserId="41497" LastActivityDate="2023-06-07T13:58:09.620" Title="How to convert/tag my video file so YouTube correctly identifies and displays it as 360 video" Tags="|ffmpeg|youtube|360video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36567" PostTypeId="1" CreationDate="2023-06-07T15:13:59.213" Score="0" ViewCount="51" Body="&lt;p&gt;I want to be able to use a command to &amp;quot;edit&amp;quot; a video to have an image over the entire length of the video. Some videos I download have hardcoded subtitles that I want to remove. But I also have a regular .srt to add subtitles back (which are better). Which means I can't just get out a notepad and cover the subs since that'd also cover the soft subtitles.&lt;/p&gt;&#xA;&lt;p&gt;I found an old question that was similar, but their solution didn't seem to work for me. I'm not really sure what I'm doing, but here's what I tried:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i originalvideo.mp4 -i imagetooverlay.png -filter_complex &amp;quot;[0:v][1:v] overlay=0:0:enable='between(t,0,635)'&amp;quot; -pix_fmt yuv420p -c:a copy output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is there a better command that I can use that will overlay the image on the video and rerender it? The image is 1920x1080 and is mostly transparent except for the &amp;quot;bar&amp;quot; that I placed in the correct position. I think that means that it's position doesn't need to be specified, just lined up with the 1920x1080 video.&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="41499" LastActivityDate="2023-06-07T15:13:59.213" Title="Use ffmpeg to &quot;overlay&quot; a png on top of an entire video file" Tags="|ffmpeg|video|video-editor|subtitles|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36568" PostTypeId="1" CreationDate="2023-06-08T03:10:40.353" Score="0" ViewCount="81" Body="&lt;p&gt;I can broadcast my desktop to a rtmp server successfully using&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;gst-launch-1.0 ximagesrc use-damage=0 show-pointer=false ! video/x-raw,framerate=30/1 ! videoconvert ! queue ! x264enc ! queue ! flvmux name=mux ! queue ! progressreport ! queue ! rtmpsink sync=false async=true location=&amp;quot;rtmp://xxxxxx&amp;quot; pulsesrc do-timestamp=true device=&amp;quot;alsa_output.pci-0000_00_1b.0.analog-stereo.monitor&amp;quot; ! queue ! audioconvert ! queue ! voaacenc bitrate=128000 ! queue ! mux. &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But If I try to do same using hw acceleration vaapi then it does not work !!&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;gst-launch-1.0 ximagesrc use-damage=0 show-pointer=false ! video/x-raw,framerate=30/1 ! videoconvert ! queue ! vaapih264enc dct8x8=true cabac=true rate-control=cbr bitrate=1000 keyframe-period=30 max-bframes=1 ! queue ! flvmux name=mux ! queue ! progressreport ! queue ! rtmpsink sync=false async=true location=&amp;quot;rtmp://xxxx&amp;quot; pulsesrc do-timestamp=true device=&amp;quot;alsa_output.pci-0000_00_1b.0.analog-stereo.monitor&amp;quot; ! queue ! audioconvert ! queue ! voaacenc bitrate=128000 ! queue ! mux.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It is just stuck at below if i use hw acceleration:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;letting pipeline to PAUSED ... Pipeline is live and does not need&#xA;PREROLL ... Got context from element 'vaapiencodeh264-0':&#xA;gst.vaapi.Display=context,&#xA;gst.vaapi.Display=(GstVaapiDisplay)&amp;quot;(GstVaapiDisplayGLX)&lt;br /&gt;&#xA;vaapidisplayglx0&amp;quot;; Pipeline is PREROLLED ... Setting pipeline to&#xA;PLAYING ... Redistribute latency... New clock: GstPulseSrcClock&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="41505" LastEditorUserId="41505" LastEditDate="2023-06-08T03:11:51.933" LastActivityDate="2023-06-08T03:11:51.933" Title="unable to record desktop using latest gstreamer in ubuntu 22.04" Tags="|video|encoding|linux|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36569" PostTypeId="1" CreationDate="2023-06-08T10:39:48.130" Score="0" ViewCount="118" Body="&lt;p&gt;What format will 3D video on Apple’s new Vision Pro headset take? What are the recommended specs and processes for creating 3D video for the headset?&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-06-08T10:39:48.130" Title="Producing 3D video for Apple’s Vision Pro headset" Tags="|3d|apple|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36570" PostTypeId="1" CreationDate="2023-06-08T15:16:25.247" Score="0" ViewCount="96" Body="&lt;p&gt;I need to record from an RTSP at two different resolutions (original and something lower). I also need to have the files broken up according to clock time on every even 30 minutes, ex. 1:00, 1:30, 2:00, etc.&lt;/p&gt;&#xA;&lt;p&gt;I imagine the command would look like this.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -rtsp_transport tcp -i rtsp://&amp;lt;rtsp url&amp;gt; \&#xA;  -filter_complex &amp;quot;[0:v]split=2[v1][v2];[v1]scale=1920:1080[out1];[v2]scale=448:252[out2]&amp;quot; \&#xA;  -map &amp;quot;[out1]&amp;quot; \&#xA;  -c:v -an -vcodec libx264 \&#xA;  -f segment -segment_format mp4 -segment_time 00:30:00 -strftime 1 \ &#xA;  /mnt/data/original-%Y-%m-%d-%H.%M.%S.mp4 \&#xA;  -map &amp;quot;[out2]&amp;quot; \&#xA;  -c:v -an -vcodec libx264 \&#xA;  -f segment -segment_format mp4 -segment_time 00:30:00 -strftime 1 \ &#xA;  /mnt/data/low-reso-%Y-%m-%d-%H.%M.%S.mp4 \&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Of course, this doesn't work. The command above gives me this error.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[NULL @ 0x556c999c2140] Unable to find a suitable output format for 'segment'&#xA;segment: Invalid argument&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I've tried so many perturbations of this command to get it to work without any luck. Does anyone know how to do this?&lt;/p&gt;&#xA;" OwnerUserId="41511" LastActivityDate="2023-06-08T15:16:25.247" Title="Use ffmpeg to record from RTSP stream to two outputs at different resolutions while segmenting the video based on time" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36571" PostTypeId="2" ParentId="10825" CreationDate="2023-06-09T00:30:22.700" Score="3" Body="&lt;p&gt;This solution is much faster because it does not require re-encoding.&lt;/p&gt;&#xA;&lt;p&gt;If there already is an existing audio stream:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vcodec copy -af apad -t 60 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If there is NO existing audio stream:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -f lavfi -i anullsrc -vcodec copy -af apad -t 60 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Note that the &lt;code&gt;-t 60&lt;/code&gt; refers to the length in seconds of the final output, not the seconds to extend it by.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The reason this works is because when the video and audio are different lengths, ffmpeg will extend the shorter stream to match the longer one by default (unless you use the &lt;code&gt;-shortest&lt;/code&gt; option).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;(&lt;a href=&quot;https://stackoverflow.com/questions/66197914/how-to-extend-a-video-by-freezing-the-last-frame-without-reencoding-the-whole-st/66202619#66202619&quot;&gt;credit Gyan&lt;/a&gt;)&lt;/p&gt;&#xA;" OwnerUserId="24259" LastActivityDate="2023-06-09T00:30:22.700" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36572" PostTypeId="2" ParentId="36509" CreationDate="2023-06-10T13:12:25.567" Score="0" Body="&lt;p&gt;I've create&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;TITLE menu with 11 items of artists&lt;/li&gt;&#xA;&lt;li&gt;11 VMGM menus with items of songs&lt;/li&gt;&#xA;&lt;li&gt;99 TITLESET with menu and song&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Then insert commands&lt;/p&gt;&#xA;&lt;p&gt;TITLE menu:&#xA;&lt;strong&gt;jump to vmgm menu ARTISTNO&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;VMGM menu of artist:&#xA;&lt;strong&gt;jump to titleset TITLESET title 1&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Titleset TITLESET title 1:&#xA;&lt;strong&gt;g0=1; call vmgm menu ARTISTNO;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;vmgm menu 1:&#xA;(pre commands) &lt;strong&gt;if(g0==1){jump titleset 2 menu;} if(g0==2){jump titleset 3 menu;} if(g0==3){jump titleset 4 menu;} if(g0==4){jump titleset 5 menu;} if(g0==5){jump titleset 6 menu;} if(g0==6){jump titleset 7 menu;} if(g0==7){jump titleset 8 menu;} if(g0==8){jump titleset 9 menu;} (show menu)&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;titleset (root) 2 menu 1:&#xA;&lt;strong&gt;jump title 1;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;...&lt;/p&gt;&#xA;" OwnerUserId="29967" LastActivityDate="2023-06-10T13:12:25.567" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36573" PostTypeId="1" CreationDate="2023-06-10T18:04:05.963" Score="0" ViewCount="89" Body="&lt;p&gt;I have an AC3 sound file in 5.1 surround, and an MOV file with no sound. I am using FFMPEG to add the sound to the MOV file, and although it works succesfully, for some reason it is modifying the layout of the sound channels, and looking at the audio waveforms it even looks as though it may be mixing them, which is very worrying.&lt;/p&gt;&#xA;&lt;p&gt;The layout of audio channels in the AC3 file is: L, R, C, LFE, Ls, Rs.&lt;/p&gt;&#xA;&lt;p&gt;Here is the command I am using to combine them:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i [path to MOV] -i [path to AC3] -c:v copy -c:a copy -map 0:v:0 -map 1:a:0 [path to output MOV]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;When I look at the final MOV (with sound added) in Mediainfo, the layout of audio channels has changed to: L, C, R, Ls, Rs, LFE. And again, as I shared above when I look at the waveform of the 6 audio channels in the new MOV not only are they out of order, but one of them looks unfamilliar compared to the original AC3 file, which leads me to believe it may even be doing some mixing?&lt;/p&gt;&#xA;&lt;p&gt;What am I doing wrong? Do I need to add more specificity to my command to preserve the audio's integrity?&lt;/p&gt;&#xA;" OwnerUserId="41525" LastActivityDate="2023-06-10T18:04:05.963" Title="Why is ffmpeg modifying my 5.1 channel layout?" Tags="|ffmpeg|audio|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36574" PostTypeId="1" CreationDate="2023-06-10T19:47:57.523" Score="1" ViewCount="212" Body="&lt;h2&gt;Scenario&lt;/h2&gt;&#xA;&lt;p&gt;I recorded a video that looks like this:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/SlXCm.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SlXCm.jpg&quot; alt=&quot;Nintendo Switch virtual console&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;(which is 1920x1080) But I want to crop the video to only have the actual game rectangle. In MS Paint I measured that the game rectangle is 1435x957 (although odd numbers aren't supported for mp4). So far, the cropping I've tried has resulted in black bars (which is what I'm trying to remove in the first place).&lt;/p&gt;&#xA;&lt;h2&gt;Settings&lt;/h2&gt;&#xA;&lt;p&gt;For my Project Settings &amp;gt; Master settings &amp;gt; Timeline format &amp;gt; Timeline resolution I have set to 1434x956 and have Project Settings &amp;gt; Image Scaling &amp;gt; Output scaling set to match timeline settings and for Mismatched resolutions files I've tried stretch and both scales (for the same result). My actual timeline's settings use the project settings. In the deliver tab the resolution is likewise 1434x956.&lt;/p&gt;&#xA;&lt;h2&gt;Steps&lt;/h2&gt;&#xA;&lt;p&gt;On the edit tab I used the frame's drop down for cropping a box which generates video cropping values of about 176.599, 180.145, 21.862, 66.592 (which aren't in pixels and thus arbitrary). The video transform section remains default (zoom 1, positions 0).&lt;/p&gt;&#xA;&lt;p&gt;The resulting video is indeed 1434x956 (as per the file properties in windows) but it also has black bars (which can be detected by resizing the video player's window to show that the gameplay doesn't reach the edges like my normal videos do). So, despite the zoom of 1 it seems like the source was zoomed out. The crop is certainly doing something since it replaces the profile icon and controls with black bars (so yes: it is being applied to the video track of the timeline).&lt;/p&gt;&#xA;&lt;p&gt;Yes, I tried deleting the source/timeline from the cut tab and re-adding them. Doing so didn't say anything about &amp;quot;source will be resized&amp;quot;.&lt;/p&gt;&#xA;&lt;h2&gt;Work around&lt;/h2&gt;&#xA;&lt;p&gt;Instead of cropping if I use video transform of zoom 1.330 and position 5, -33 I can get it to render into 1434x956. But it seems like there should be a better way of doing this.&lt;/p&gt;&#xA;&lt;h2&gt;Question&lt;/h2&gt;&#xA;&lt;p&gt;How can I prevent my source from being zoomed out? Is there any way to crop and have the output be whatever size the resulting rectangle is (rather than manually setting 1434x956)? If not (to both), is there a way to get the crop result to auto zoom/position to fit the output size?&lt;/p&gt;&#xA;" OwnerUserId="41526" LastActivityDate="2023-06-10T19:47:57.523" Title="How to output the cropped resolution" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36575" PostTypeId="1" CreationDate="2023-06-10T21:36:39.973" Score="0" ViewCount="149" Body="&lt;p&gt;There has been &lt;a href=&quot;https://video.stackexchange.com/questions/22059/how-to-identify-hdr-video&quot;&gt;questions&lt;/a&gt; like this in the past, but as the topic states, can one diffrentiate a HDR video whether it is HDR10-compatible or Dolby Vision compatible, or both, with tools such as ffprobe and or mediainfo.&lt;/p&gt;&#xA;" OwnerUserId="41527" LastEditorUserId="41527" LastEditDate="2023-06-10T21:37:40.680" LastActivityDate="2023-06-10T21:37:40.680" Title="How identify whether HDR video is HDR10(+) or Dolby Vision?" Tags="|ffprobe|hdr|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36576" PostTypeId="1" CreationDate="2023-06-12T02:36:57.303" Score="0" ViewCount="61" Body="&lt;p&gt;I could not find the official description for AOM encoding options. There are some documentations available online. However I get following contradicting explanations for aq-mode. can someone help me with the correct documentation?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://api.encoding.com/reference/adv-av1-libaom&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://api.encoding.com/reference/adv-av1-libaom&lt;/a&gt; says the default value for aq-mode is 0 and &amp;quot;ffmpeg -h encoder=libaom-av1&amp;quot; gives default value = -1.&lt;/p&gt;&#xA;" OwnerUserId="41532" LastActivityDate="2023-06-12T02:36:57.303" Title="Official AOM documentation" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36578" PostTypeId="1" CreationDate="2023-06-12T11:11:44.763" Score="0" ViewCount="68" Body="&lt;p&gt;I transcoded a video with ffmpeg to hevc using the below command.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v libx265 -crf 23 -preset medium -x265-params keyint=60 -c:a aac -b:a 128k -f hls -hls_time 10 -hls_segment_type fmp4 -hls_playlist_type vod -tag:v hvc1  -single_file 1 playlist.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;ffmpeg version: 5.0.1&lt;/p&gt;&#xA;&lt;p&gt;The output is playing fine in chrome but not in safari.&lt;/p&gt;&#xA;&lt;p&gt;I found from apple support community that fmp4 should work fine in safari. I tried with different tags, presets and x265 params but I can't make it work.&lt;/p&gt;&#xA;&lt;p&gt;I want the output to be hevc hls and it should be playable in safari and chrome. Any help is really appreciated.&lt;/p&gt;&#xA;" OwnerUserId="41537" LastActivityDate="2023-06-12T11:11:44.763" Title="hevc transcoded video not playing in safari" Tags="|ffmpeg|hls|hevc|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36579" PostTypeId="1" CreationDate="2023-06-12T11:13:00.530" Score="0" ViewCount="33" Body="&lt;p&gt;As above. Thanks in advance!&lt;/p&gt;&#xA;&lt;p&gt;PS. I'm on Windows.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;This is the stream information as retrieved by ffprobe.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Program 1&#xA;Stream #0:0[0x1011]: Video: h264 (High) (HDMV / 0x564D4448), yuv420p(tv, bt709, progressive), 1920x1080 [SAR 1:1 DAR 16:9], 23.98 fps, 23.98 tbr, 90k tbn&#xA;Stream #0:1[0x1100]: Audio: ac3 (AC-3 / 0x332D4341), 48000 Hz, stereo, fltp, 192 kb/s&#xA;Stream #0:2[0x1101]: Audio: ac3 (AC-3 / 0x332D4341), 48000 Hz, stereo, fltp, 192 kb/s&#xA;Stream #0:3[0x1200]: Subtitle: hdmv_pgs_subtitle ([144][0][0][0] / 0x0090)&#xA;Stream #0:4[0x1201]: Subtitle: hdmv_pgs_subtitle ([144][0][0][0] / 0x0090)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I tried these commands as a start (got them by putting together various info from various guides and ffmpeg documentation)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;//works but selects all audio and no subtitle (no warnings or error)&#xA;.\ffmpeg.exe -i my-video.m2ts -c:v hevc_amf -rc cqp -c:a libfdk_aac -map 0:a:1 my-video.mkv&#xA;&#xA;//trying to select audio stream but getting warnings (see below)&#xA;.\ffmpeg.exe -i my-video.m2ts -c:v hevc_amf -rc cqp -qp_i 25 -qp_p 25 -c:a libfdk_aac -map 0:a:1 my-video.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is the warning for the 2nd command.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[out#0/matroska @ 0000011e505deec0] Codec AVOption rc (Bit rate control mode) has not been used for any stream. The most likely reason is either wrong type (e.g. a video option with no video streams) or that it is a private option of some encoder which was not actually used for any stream.&#xA;[out#0/matroska @ 0000011e505deec0] Codec AVOption qp_i (quantization parameter for I-frame) has not been used for any stream. The most likely reason is either wrong type (e.g. a video option with no video streams) or that it is a private option of some encoder which was not actually used for any stream.&#xA;[out#0/matroska @ 0000011e505deec0] Codec AVOption qp_p (quantization parameter for P-frame) has not been used for any stream. The most likely reason is either wrong type (e.g. a video option with no video streams) or that it is a private option of some encoder which was not actually used for any stream.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="19040" LastEditorUserId="19040" LastEditDate="2023-06-12T16:38:20.477" LastActivityDate="2023-06-12T16:38:20.477" Title="ffmpeg: how to encoded video using AMD VCE h265 + encoded the 2nd audio stream as AAC + burn-in the 2nd subtitle stream?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36580" PostTypeId="1" CreationDate="2023-06-12T18:18:45.287" Score="0" ViewCount="58" Body="&lt;p&gt;A video I uploaded to youtube has clips from various sources.  All the clips from one source (Source 1) show blurred results.  Clips from all the other sources looked fine.&lt;/p&gt;&#xA;&lt;p&gt;All the clips are 1920x1080 and everything looks good when exported from Davinci Resolve.&lt;/p&gt;&#xA;&lt;p&gt;I’ve tried uploading several times with the same result.  And I checked several hours after uploading to give youtube processing plenty of time.&lt;/p&gt;&#xA;&lt;p&gt;Searching google suggested that differences between the specs of clips can cause trouble on YouTube, so I’ve now uploaded another version of the video using only clips from source 1.  (The Davinci project is set to the same resolution as all the clips)&lt;/p&gt;&#xA;&lt;p&gt;All the footage is blurred on YouTube.&lt;/p&gt;&#xA;&lt;p&gt;This all seems kind of impossible to me and I've never had a problem like it on other videos!  Can anyone help please?&lt;/p&gt;&#xA;&lt;p&gt;Thanks&#xA;Andy&lt;/p&gt;&#xA;" OwnerUserId="41542" LastActivityDate="2024-03-12T23:04:10.503" Title="Problem with blur in uploaded YouTube video" Tags="|youtube|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36581" PostTypeId="1" CreationDate="2023-06-13T14:47:18.327" Score="0" ViewCount="43" Body="&lt;p&gt;I want to create a shape that has a border that is different from the shape's fill.&#xA;Here is an example of what I want to achieve in the end:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/2v2jQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/2v2jQ.png&quot; alt=&quot;ellipse example&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Please note that the image in the background is only an example to better demonstrate the transparency of the ellipse and its border. Also yes in this case it is not different colours, but I figure if I can do different colours, different opacities will be basically the same.&lt;/p&gt;&#xA;&lt;p&gt;Now here is where I thought I was smart:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/F31N8.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/F31N8.png&quot; alt=&quot;fusion nodes&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have the same shape node feeding into a merge node and an outline node respectively, the latter of which also feeding into the merge node. I thought the outline node would allow me to pick a colour but sadly it doesnt. Now my next idea was to add some different node after the outline node that allows me to change the colour of the outline, however I am unable to find any ...&lt;/p&gt;&#xA;&lt;p&gt;My current output is just an ellipse because the outline has the same colour (and in this case opacity) as the ellipse ...&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RYGUc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RYGUc.png&quot; alt=&quot;fusion output&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="10977" LastActivityDate="2023-06-13T14:47:18.327" Title="In Fusion, how can I add a different coloured border around a shape?" Tags="|motion-graphics|blackmagic|fusion|shape|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36582" PostTypeId="2" ParentId="36146" CreationDate="2023-06-14T07:33:15.923" Score="0" Body="&lt;p&gt;Copy your timeline and paste it at the end of the timeline. Select this cloned timeline and convert it to compound clip. Move that compound clip above your original timeline. Then use the arrow keys up or down to jump to each cut and press C. Do this to match every cut for the clips you want to have individualized, then move this new sequence to a new timeline&lt;/p&gt;&#xA;" OwnerUserId="41556" LastActivityDate="2023-06-14T07:33:15.923" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36583" PostTypeId="1" CreationDate="2023-06-14T21:05:30.780" Score="1" ViewCount="26" Body="&lt;p&gt;When working with 3D scenes involving transparent-background fire or other glow effects, what is the standard format to render &amp;amp; save them in that will be compatible with VFX software, and allow overlaying the image/sequence over other footage?&lt;/p&gt;&#xA;&lt;p&gt;This has been a problem I've run into a occasionally as a 3D artist who also creates renders and animations, and although it's not critical for my work I really want to know the answer!&lt;/p&gt;&#xA;&lt;p&gt;As an example, take this basic scene in Blender involving an emissive square with bloom effects, and a volume with emission and 0 density. In Blender, they appear as you'd expect; but after rendering and saving as a PNG, all the glow effects are gone.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Lmwvd.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Lmwvd.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now this is a pretty common problem I see online, and everyone says to just use EXR instead of a PNG - but when I import an EXR from Blender into Davinci Resolve, the color space ends up wrong - and correcting that issue requires downloading a custom LUT, which seems to once again remove the glowing areas, bring me right back to where I started.&lt;/p&gt;&#xA;&lt;p&gt;And sure, I'm not a VFX artist so I may be doing something wrong, but I feel like there's no way it has to be this complicated - when I download transparent fire effects from online, they just come as a PNG sequence and work perfectly fine.&lt;/p&gt;&#xA;&lt;p&gt;So, back to my question; In terms of image formats and alpha channels, what is the standard way to take a transparent-background fire simulation, glow effect, etc. from 3D software to VFX software? And why does everyone say that using EXR will solve the problem when clearly it's possible to have effects like this in PNG format too?&lt;/p&gt;&#xA;&lt;p&gt;Apologies if this question is confusing or overly long - it seems like there are so many different aspects to the issue that it's hard to narrow it down to a single concise question!&lt;/p&gt;&#xA;" OwnerUserId="41562" LastActivityDate="2023-06-14T21:05:30.780" Title="What is the standard format for transparent fire and glow effects in VFX?" Tags="|davinci-resolve|blender|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36584" PostTypeId="2" ParentId="36536" CreationDate="2023-06-15T02:03:03.737" Score="0" Body="&lt;p&gt;This will change the resolution of the videos without cropping them:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;md Jukebox_Converted-90_30fps_Audio_HD&#xA;cd Files_To_Be_Converted&#xA;for %%f in (*) do ..\ffmpeg -i &amp;quot;%%f&amp;quot; -vf &amp;quot;transpose=cclock,scale=1080:608&amp;quot; -pix_fmt yuv420p -r 30 -c:a copy &amp;quot;..\Jukebox_Converted-90_30fps_Audio_HD\%%f&amp;quot;&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Things I fixed about your command:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Arbitrary Cropping&lt;/li&gt;&#xA;&lt;li&gt;Use of deprecated numeric value on transpose&lt;/li&gt;&#xA;&lt;li&gt;Wrong order of filters&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="38507" LastEditorUserId="38507" LastEditDate="2023-06-19T21:51:20.943" LastActivityDate="2023-06-19T21:51:20.943" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36585" PostTypeId="1" CreationDate="2023-06-15T07:03:57.257" Score="0" ViewCount="25" Body="&lt;p&gt;I used this command to trim the video:&lt;/p&gt;&#xA;&lt;p&gt;&amp;quot;ffmpeg -i input.mp4 -to 00:06:49 -c copy out1.ts ffmpeg -ss 00:07:13 -i input.mp4 -c copy out2.ts ffmpeg -i 'concat:out1.ts|out2.ts' -c copy output3.mp4&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;This command works, but it causes the video to freeze for about 1 second wherever I trim it. I have attached a video below to provide an example of the freeze frame issue.&lt;/p&gt;&#xA;&lt;p&gt;example : &lt;a href=&quot;https://jumpshare.com/v/r510dpNflKUFJEFXQXlP&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://jumpshare.com/v/r510dpNflKUFJEFXQXlP&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41565" LastActivityDate="2023-06-15T07:03:57.257" Title="Trimming ffmpeg" Tags="|ffmpeg|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36586" PostTypeId="1" CreationDate="2023-06-15T23:03:18.920" Score="0" ViewCount="37" Body="&lt;p&gt;I have an EDL file, which contains a bunch of different media files, along with timestamps in each file of when to start playback and playback duration, formatted for use by &lt;code&gt;mpv&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;As I understand it, &lt;code&gt;mpv&lt;/code&gt; creates a virtual file of sorts from all these little segments and then plays that file. What I would like to know is if there is some way to get &lt;code&gt;mpv&lt;/code&gt; to print each filename as it switches to a different file. I would like to see the filename from each segment as it plays.&lt;/p&gt;&#xA;&lt;p&gt;At the moment when I run &lt;code&gt;mpv playlist.edl&lt;/code&gt;, it prints the name of the first file in &lt;code&gt;playlist.edl&lt;/code&gt;, but that filename stays as the segments in subsequent files are played.&lt;/p&gt;&#xA;&lt;p&gt;Where should I be looking? A custom plugin? Should this be posted on an entirely different SE site? I'm a bit lost here.&lt;/p&gt;&#xA;" OwnerUserId="41570" LastEditorUserId="41570" LastEditDate="2023-06-15T23:04:25.050" LastActivityDate="2023-06-15T23:04:25.050" Title="How to print filenames when using MPV's EDL mode" Tags="|playback|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36587" PostTypeId="1" CreationDate="2023-06-15T23:42:39.353" Score="0" ViewCount="24" Body="&lt;p&gt;New to After Effects!&lt;/p&gt;&#xA;&lt;p&gt;I'm following a tutorial and I don't quite understand the function of the stopwatch icon.My understanding at this stage is in order for an action/animation to happen a keyframe is needed and to activate the action you need to click the stopwatch icon to the left of that action.&lt;/p&gt;&#xA;&lt;p&gt;In the tutorial a repeater gets added to the shape so that multiple copies of it get created making this startburst effect coming out from a centre position. For these repeater actions however the stopwatch doesn't get clicked and there appears to be no keyframe but it still seems to work? I am wondering maybe since keyframes have been created for the size and position of the original shape the copies don't need to?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/IzHmH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/IzHmH.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/23VhA.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/23VhA.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41491" LastActivityDate="2024-03-12T12:08:01.117" Title="Does a keyframe need to be created with a repeater? - After Effects CC" Tags="|after-effects|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36588" PostTypeId="1" AcceptedAnswerId="36592" CreationDate="2023-06-16T09:35:07.837" Score="0" ViewCount="56" Body="&lt;p&gt;we need to preview videos with overlayed so-called &amp;quot;safe areas&amp;quot; according to this EBU document: &lt;a href=&quot;https://tech.ebu.ch/docs/r/r095.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;SAFE AREAS FOR 16:9 TELEVISION PRODUCTION&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Here's the scheme for 1080p resolution:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/acMUH.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/acMUH.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Those consist of three different &amp;quot;zones&amp;quot;, each with the same percentage size-to-the-edge of the video frame for any resolution:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Action Safe Area&lt;/strong&gt; (GREEN box): 3.5%&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Graphics Safe Area&lt;/strong&gt; (RED box): 5%&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;4:3 Safe Area&lt;/strong&gt; (GREY box): 16.25%&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;It should be easily achieveable using the &lt;em&gt;drawbox&lt;/em&gt; command, but how can be dynamically adapted to any video resolution?&lt;/p&gt;&#xA;" OwnerUserId="27889" LastEditorUserId="27889" LastEditDate="2023-06-16T09:41:35.290" LastActivityDate="2023-06-16T18:02:17.377" Title="How to draw - scalable - &quot;EBU safe areas&quot; in ffplay" Tags="|ffmpeg|video|preview|ffplay|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36589" PostTypeId="2" ParentId="36587" CreationDate="2023-06-16T09:47:50.267" Score="0" Body="&lt;p&gt;From your screen shots, I would guess that 13 copies of the original object are being made, but they are all hidden exactly on top of each other originally before the movement starts.&lt;/p&gt;&#xA;&lt;p&gt;The size and position keyframes are (I think) moving the position of the shape away from its origin point, which causes the 13 copies all to move relatively away from each other when those numbers are no longer zero.&lt;/p&gt;&#xA;&lt;p&gt;Below is an example-&#xA;I've added a shape.&#xA;I've offset its position within the shape settings itself, not the transform position.&#xA;Then added a repeater to make 13 copies.&#xA;I've set a rotation in the repeater settings.&#xA;When you adjust the position control inside the shape to zero, all the shapes pull into the central position to make a star burst effect.&lt;/p&gt;&#xA;&lt;p&gt;This is because each repeat shape is made relative to the shape before it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UxHei.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UxHei.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2023-06-16T10:20:30.203" LastActivityDate="2023-06-16T10:20:30.203" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36590" PostTypeId="2" ParentId="24506" CreationDate="2023-06-16T10:25:15.183" Score="0" Body="&lt;p&gt;Bump.&lt;/p&gt;&#xA;&lt;p&gt;We've finally collected (almost all ?) open source synch software tools here:&#xA;&lt;a href=&quot;https://github.com/forart/HyMPS/blob/main/A_Tools.md#alignmentsynch-&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/forart/HyMPS/blob/main/A_Tools.md#alignmentsynch-&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Enjoy !&lt;/p&gt;&#xA;" OwnerUserId="27889" LastActivityDate="2023-06-16T10:25:15.183" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36591" PostTypeId="2" ParentId="26422" CreationDate="2023-06-16T11:33:29.243" Score="0" Body="&lt;p&gt;For me the best option is to convert audio files first to lossless .wav, do all things that I need to do and then covert them back to .mp3 or other lossy formats. This is the way that is used in audio editing apps and the most gentle way to work with audio or video files&lt;/p&gt;&#xA;" OwnerUserId="41576" LastActivityDate="2023-06-16T11:33:29.243" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36592" PostTypeId="2" ParentId="36588" CreationDate="2023-06-16T15:17:15.577" Score="0" Body="&lt;p&gt;Here we go, (driven) ChatGPT did it:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -vf &amp;quot;drawgrid=x=(iw/2):(ih/2):t=3:color=yellow@0.5, drawbox=x=(iw-iw*0.95)/2:y=(ih-ih*0.95)/2:w=iw*0.95:h=ih*0.95:color=red@1, drawbox=x=(iw-iw*0.965)/2:y=(ih-ih*0.965)/2:w=iw*0.965:h=ih*0.965:color=green@1&amp;quot; filename.ext&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="27889" LastEditorUserId="27889" LastEditDate="2023-06-16T18:02:17.377" LastActivityDate="2023-06-16T18:02:17.377" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36593" PostTypeId="2" ParentId="36580" CreationDate="2023-06-16T19:49:59.180" Score="0" Body="&lt;p&gt;My first questions would be:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is the exported clip interlaced? Maybe your video player can account for interlacing artifacts in a way that youtube does differently.&lt;/li&gt;&#xA;&lt;li&gt;Does the original clip, as used in the timeline, have a different frame rate that the others, or perhaps it is interlaced and others aren't? Maybe first transcoding it to match the others will help.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;If the answer to both is no, I would start looking at the exported file. Does the blurring appear in youtube when other exported codecs are used, like H.264 versus VP9, AVC etc?&lt;/p&gt;&#xA;&lt;p&gt;I hope that helps you find a solution.&lt;/p&gt;&#xA;" OwnerUserId="41580" LastEditorUserId="41580" LastEditDate="2023-06-16T20:11:40.033" LastActivityDate="2023-06-16T20:11:40.033" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="36596" PostTypeId="1" CreationDate="2023-06-17T13:42:46.430" Score="0" ViewCount="44" Body="&lt;p&gt;I was working to change the pitch of several audio files by a factor of 0.981818... and was trying to use FFMpeg, but now I have no idea what the afreqshift filter does or how it works. It seems to always reduce any frequency by a constant amount somehow, which basically makes music sound like that Mr. Incredible horrified meme music. I'm working on a potential different way to solve the pitch changing, but for now what IS this filter supposed to do, and how to properly use it?&lt;/p&gt;&#xA;" OwnerUserId="35706" LastActivityDate="2023-06-17T13:42:46.430" Title="What does the FFMpeg afreqshift filter do precisely?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36597" PostTypeId="1" CreationDate="2023-06-17T14:02:57.013" Score="0" ViewCount="268" Body="&lt;p&gt;I want to get the mpv output into FFmpeg, to utilize some mpv-exclusive shaders.&lt;/p&gt;&#xA;&lt;p&gt;I am not sure if directly piping into FFmpeg is possible, or maybe an extra step in-between is needed.&lt;/p&gt;&#xA;" OwnerUserId="21926" LastActivityDate="2023-06-17T14:02:57.013" Title="How do I pipe the output of mpv into FFmpeg on Linux?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36598" PostTypeId="1" CreationDate="2023-06-18T01:37:11.227" Score="0" ViewCount="252" Body="&lt;p&gt;There is this nice ffmpeg command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video1.mp4 -i video2.mp4 -filter_complex &amp;quot;[0:v][1:v]blend=difference,blackframe=1:10&amp;quot; -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This command compares 2 videos but always at the same frame. Imagine I want to compare those 2 with 5 frames offset...like frame 0 of video1 with frame 5 of video2, is this possible with ffmpeg ?&lt;/p&gt;&#xA;&lt;p&gt;I already tried:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video1.mp4 -i video2.mp4 -filter_complex &amp;quot;[0:v]select=gte(n\,0)[video1]; [1:v]select=gte(n\,5)[video2]; [video1][video2]blend=difference,blackframe=1:10&amp;quot; -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but this command just starts the compare at frame 5 for both...&lt;/p&gt;&#xA;&lt;p&gt;I had success with image compare of every frame (create image from frame - compare - go next frame) but that was taking forever if i have a longer clip due to creating and checking single images. cutting and reencoding is also no option due to quality loss and time.&lt;/p&gt;&#xA;&lt;p&gt;I really appreciate any help, didnt find more on google and ai was useless :(&lt;/p&gt;&#xA;" OwnerUserId="41598" LastEditorUserId="39526" LastEditDate="2023-07-26T11:46:18.993" LastActivityDate="2023-07-26T11:46:18.993" Title="Compare 2 videos at different frames with ffmpeg" Tags="|ffmpeg|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36599" PostTypeId="2" ParentId="28269" CreationDate="2023-06-18T18:39:21.037" Score="1" Body="&lt;p&gt;As the topic asks for ffmpeg in general, an additional info to the answer of MarianD if you have only audio; there are no frames, so you have to use the start time option and for that you have to use key/value pairs (at least for fading out):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.m4a -af afade=in:st=0:d=5,afade=out:st=595:d=5 output.m4a&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="41606" LastEditorUserId="41606" LastEditDate="2023-06-18T18:39:56.217" LastActivityDate="2023-06-18T18:39:56.217" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36600" PostTypeId="1" AcceptedAnswerId="36620" CreationDate="2023-06-18T18:58:58.707" Score="0" ViewCount="156" Body="&lt;p&gt;I am trying to reconstruct a 7.1 channel output after processing, and ffmpeg keeps outputting a &lt;code&gt;5.0(side)&lt;/code&gt;. (trimmed for readability)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;intermediate/refined.mka&amp;quot; -i &amp;quot;intermediate/extracted.data&amp;quot; -filter_complex &amp;quot;\&#xA;...&#xA;[ml9][mr9][mc2][ms1][mm2][mt2][mw2][me2]amerge=inputs=8,aformat=channel_layouts=7.1[out]&amp;quot; -map &amp;quot;[out]&amp;quot; &amp;quot;intermediate/mixed.mka&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;Input #0, matroska,webm, from 'intermediate/refined.mka':&#xA;    Stream #0:0: Audio: wavpack, 44100 Hz, stereo, fltp&#xA;...&#xA;Input #1, dts, from 'intermediate/extracted.data':&#xA;    Stream #1:0: Audio: dts (DTS-HD MA), 48000 Hz, 7.1, s32p (24 bit)&#xA;...&#xA;Output #0, matroska, to 'intermediate/mixed.mka':&#xA;    Stream #0:0: Audio: ac3 ([0] [0][0] / 0x2000), 48000 Hz, 5.0(side), fltp, 448 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I am feeding 8 mono channels into &lt;code&gt;amerge&lt;/code&gt; and adding the 7.1 &lt;code&gt;aformat&lt;/code&gt; constraint, and it gives me a 5.0 without warning or error. By everything I've read in the docs &lt;code&gt;amerge&lt;/code&gt; should only add channels, never discarding them. Any idea what's going on here?&lt;/p&gt;&#xA;" OwnerUserId="2219" LastActivityDate="2023-06-27T23:18:40.103" Title="ffmpeg amerge ignoring channel layout" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36602" PostTypeId="1" CreationDate="2023-06-19T15:20:14.293" Score="0" ViewCount="89" Body="&lt;p&gt;I've been converting some of my BluRays to watch on a streaming machine elsewhere in the house but I'm having trouble when it comes to burning subtitles, or more specifically, I'm having trouble figuring out what FFMPEG wants from me to make the process actually work.&lt;/p&gt;&#xA;&lt;p&gt;It's easy enough to do this in software, but I'm using hardware decoding and encoding and that's where the complexity seems to come from (VAAPI/QSV for decoding, QSV AV1 for encoding).&lt;/p&gt;&#xA;&lt;p&gt;I can use the following when dealing with SDR content:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf &amp;quot;scale_vaapi=w='min(1920,iw)':h=-8:mode=nl_anamorphic:format=p010le:extra_hw_frames=120,hwmap=derive_device=qsv,format=qsv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And the following when dealing with HDR content:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf &amp;quot;scale_vaapi=w='min(1920,iw)':h=-8:mode=nl_anamorphic:format=p010le,tonemap_vaapi=format=p010le:t=bt709:m=bt709:p=bt709:extra_hw_frames=120,hwmap=derive_device=qsv,format=qsv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But I cannot, in the hundreds of permutations I've tried now, find a single way to shoehorn subtitle baking into the process. I'm using SRT files for simplicity, so I just need to add &lt;code&gt;subtitles=blah.srt&lt;/code&gt; somewhere to get it to work, but the crux of the issue is knowing where in the chain it needs to go and more importantly, what supporting arguments it needs with it (e.g. hwupload, hwdownload, and their associated switches, etc).&lt;/p&gt;&#xA;&lt;p&gt;Pretty much every single attempt just results in:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Impossible to convert between the formats supported by the filter 'graph 0 input from stream 0:0' and the filter 'auto_scale_0'&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Function not implemented&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So, what am I missing?&lt;/p&gt;&#xA;" OwnerUserId="41615" LastActivityDate="2023-06-19T15:20:14.293" Title="Adding Subtitles to a VAAPI/QSV 10bit Accelerated Transcode" Tags="|ffmpeg|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36603" PostTypeId="1" CreationDate="2023-06-20T08:14:19.300" Score="0" ViewCount="151" Body="&lt;p&gt;I'm streaming a video using &lt;code&gt;ffmpeg -i bbb.mp4 -c:v copy -c:a copy -f rtp_mpegts &amp;quot;rtp://239.1.1.1:8000&amp;quot;&lt;/code&gt;. The command line output is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.3.6-0+deb11u1 Copyright (c) 2000-2023 the FFmpeg developers&#xA;  built with gcc 10 (Debian 10.2.1-6)&#xA;  configuration: --prefix=/usr --extra-version=0+deb11u1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libdav1d --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librabbitmq --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opencl --enable-opengl --enable-sdl2 --enable-pocketsphinx --enable-libmfx --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;  WARNING: library configuration mismatch&#xA;  avcodec     configuration: --prefix=/usr --extra-version=0+deb11u1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libdav1d --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librabbitmq --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opencl --enable-opengl --enable-sdl2 --enable-pocketsphinx --enable-libmfx --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared --enable-version3 --disable-doc --disable-programs --enable-libaribb24 --enable-liblensfun --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libtesseract --enable-libvo_amrwbenc&#xA;  libavutil      56. 51.100 / 56. 51.100&#xA;  libavcodec     58. 91.100 / 58. 91.100&#xA;  libavformat    58. 45.100 / 58. 45.100&#xA;  libavdevice    58. 10.100 / 58. 10.100&#xA;  libavfilter     7. 85.100 /  7. 85.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  7.100 /  5.  7.100&#xA;  libswresample   3.  7.100 /  3.  7.100&#xA;  libpostproc    55.  7.100 / 55.  7.100&#xA;Guessed Channel Layout for Input Stream #0.1 : 5.1&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'bbb.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    title           : Big Buck Bunny, Sunflower version&#xA;    artist          : Blender Foundation 2008, Janus Bager Kristensen 2013&#xA;    composer        : Sacha Goedegebure&#xA;    encoder         : Lavf58.45.100&#xA;    comment         : Creative Commons Attribution 3.0 - http://bbb3d.renderfarming.net&#xA;    genre           : Animation&#xA;  Duration: 00:10:34.64, start: 0.000000, bitrate: 4195 kb/s&#xA;    Stream #0:0(und): Video: h264 (Constrained Baseline) (avc1 / 0x31637661), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], 4094 kb/s, 25 fps, 25 tbr, 12800 tbn, 50 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : GPAC ISO Video Handler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, 5.1, fltp, 96 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : GPAC ISO Audio Handler&#xA;Output #0, rtp_mpegts, to 'rtp://239.1.1.1:8000':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    title           : Big Buck Bunny, Sunflower version&#xA;    artist          : Blender Foundation 2008, Janus Bager Kristensen 2013&#xA;    composer        : Sacha Goedegebure&#xA;    genre           : Animation&#xA;    comment         : Creative Commons Attribution 3.0 - http://bbb3d.renderfarming.net&#xA;    encoder         : Lavf58.45.100&#xA;    Stream #0:0(und): Video: h264 (Constrained Baseline) (avc1 / 0x31637661), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 4094 kb/s, 25 fps, 25 tbr, 90k tbn, 25 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : GPAC ISO Video Handler&#xA;    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, 5.1, fltp, 96 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : GPAC ISO Audio Handler&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:1 (copy)&#xA;Press [q] to stop, [?] for help&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;When I run &lt;code&gt;ffprobe rtp://239.1.1.1:8000&lt;/code&gt; (without restarting the stream), around one in ten times I get&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, rtp, from 'rtp://239.1.1.1:8000':&#xA;  Duration: N/A, start: 411.533978, bitrate: N/A&#xA;  Program 1 &#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;    Stream #0:1: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 25 fps, 25 tbr, 90k tbn, 50 tbc&#xA;    Stream #0:0: Audio: mp2 ([3][0][0][0] / 0x0003), 48000 Hz, stereo, s16p, 384 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Meaning that the video and audio streams swapped indices. I'm writing a program which uses &lt;code&gt;libav&lt;/code&gt; where I rely on this to not happen. What is the reason for this and can it be fixed?&lt;/p&gt;&#xA;" OwnerUserId="41621" LastActivityDate="2023-06-20T08:14:19.300" Title="ffmpeg streaming via rtp reorders streams" Tags="|ffmpeg|rtp|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36604" PostTypeId="1" CreationDate="2023-06-20T16:13:48.537" Score="1" ViewCount="102" Body="&lt;p&gt;ffmpeg version 2023-06-19-git-1617d1a752-full_build-www.gyan.dev&lt;/p&gt;&#xA;&lt;p&gt;i7-1255U, Windows 11&lt;/p&gt;&#xA;&lt;p&gt;The command line is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;quot;ffmpeg.exe&amp;quot;  -y  -hwaccel qsv  -ss 00:00:03.461  -to 00:00:12.009  -i &amp;quot;input.mov&amp;quot;   -c:v h264_qsv -global_quality 25 -look_ahead 1 -preset veryslow -c:a aac -ar 48000 -ac 2 -ab 128k output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The &amp;quot;input.mov&amp;quot; is mjpeg.&lt;/p&gt;&#xA;&lt;p&gt;The result is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[mjpeg_qsv @ 0000019930260080] get_buffer() failed&#xA;[vist#0:0/mjpeg @ 000001993025ff00] Error submitting packet to decoder: Cannot allocate memory&#xA;[mjpeg_qsv @ 0000019930260080] get_buffer() failed&#xA;[vist#0:0/mjpeg @ 000001993025ff00] Error submitting packet to decoder: Cannot allocate memory&#xA;[mjpeg_qsv @ 0000019930260080] get_buffer() failed&#xA;[vist#0:0/mjpeg @ 000001993025ff00] Error submitting packet to decoder: Cannot allocate memory&#xA;[mjpeg_qsv @ 0000019930260080] get_buffer() failed&#xA;[vist#0:0/mjpeg @ 000001993025ff00] Error submitting packet to decoder: Cannot allocate memory&#xA;[mjpeg_qsv @ 0000019930260080] get_buffer() failed&#xA;[vist#0:0/mjpeg @ 000001993025ff00] Error submitting packet to decoder: Cannot allocate memory&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The messages above repeats many many many times. Finally, it shows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[vist#0:0/mjpeg @ 000001993025ff00] Error submitting EOF to decoder: Cannot allocate memory&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For the version 6.0-full_build-www.gyan.dev, it shows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[mjpeg_qsv @ 000001b820955b00] Too many errors when draining, this is a bug. Stop draining and force EOF.&#xA;Error while decoding stream #0:0: Internal bug, should not have happened&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I tried the same command line on a very old version, and it works fine. Is this a bug or there is something new that comes with the new version?&lt;/p&gt;&#xA;&lt;p&gt;Thank you for your help.&lt;/p&gt;&#xA;" OwnerUserId="41625" LastActivityDate="2023-06-20T16:13:48.537" Title="ffmpeg shows &quot;get_buffer() failed&quot;. Is this a bug?" Tags="|ffmpeg|video|video-editor|hardware|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36605" PostTypeId="1" CreationDate="2023-06-21T07:53:36.150" Score="0" ViewCount="221" Body="&lt;p&gt;I try to convert gopro videos applying software filters using hwaccel capabilities.&#xA;Using only cpu, I used to encode color space with this option -pix-fmt  yuv420p, otherwise a black&amp;amp;white video is produced with a vertical green line.&lt;/p&gt;&#xA;&lt;p&gt;Now, using ffmpeg to decode video using hardware acceleration vaapi (hwaccel_output_format), then download video (hwdownload) to CPU to apply software filters (-vf ....), then upload to GPU (hwupload) to apply hardware encoding (hevc_vaapi).&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg   -hwaccel_output_format vaapi  -vaapi_device /dev/dri/renderD128 -f concat -safe 0 -i &amp;quot;./vids.txt&amp;quot;   -vf &amp;quot;hwdownload,format=yuv420p,eq=brightness=0.2:contrast=0.7:saturation=1:gamma=1,setpts=2*PTS,hwupload&amp;quot; -c:v hevc_vaapi  -rc_mode CQP -global_quality 21   video.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;video is produced as black and white with a vertical green line. It appears that yuv420p is not applied at all. I have tried a lot of things, I failed to produce a properly video with these software filters. What i am doing wrong? Is there any other parameter that i must use? or vaapi dont support yuv420p color space at all?&lt;/p&gt;&#xA;&lt;p&gt;sample unconverted video from wetransfer for 7 days: &lt;a href=&quot;https://%E2%80%8Bhttps://we.tl/t-o0nDKtFYSr&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;(please add vaapi as tags)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 5.1.3-1 Copyright (c) 2000-2022 the FFmpeg developers&#xA;   built with gcc 12 (Debian 12.2.0-14)&#xA;   configuration: --prefix=/usr --extra-version=1 --toolchain=hardened&#xA; --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu&#xA; --arch=amd64 --enable-gpl --disable-stripping --enable-gnutls --enable-&#xA; ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b&#xA; --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libdav1d&#xA; --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-&#xA; libfribidi --enable-libglslang --enable-libgme --enable-libgsm --enable-&#xA; libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg&#xA; --enable-libopenmpt --enable-libopus --enable-libpulse --enable-&#xA; librabbitmq --enable-librist --enable-librubberband --enable-libshine&#xA; --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libsrt&#xA; --enable-libssh --enable-libsvtav1 --enable-libtheora --enable-libtwolame&#xA; --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp&#xA; --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzimg&#xA; --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal&#xA; --enable-opencl --enable-opengl --enable-sdl2 --disable-sndio --enable-&#xA; libjxl --enable-pocketsphinx --enable-librsvg --enable-libmfx --enable-&#xA; libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint&#xA; --enable-frei0r --enable-libx264 --enable-libplacebo --enable-librav1e&#xA; --enable-shared&#xA;   libavutil      57. 28.100 / 57. 28.100&#xA;   libavcodec     59. 37.100 / 59. 37.100&#xA;   libavformat    59. 27.100 / 59. 27.100&#xA;   libavdevice    59.  7.100 / 59.  7.100&#xA;   libavfilter     8. 44.100 /  8. 44.100&#xA;   libswscale      6.  7.100 /  6.  7.100&#xA;   libswresample   4.  7.100 /  4.  7.100&#xA;   libpostproc    56.  6.100 / 56.  6.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="30052" LastActivityDate="2023-06-21T07:53:36.150" Title="using ffmpeg in linux, with vaapi, using filters, yuv420p colorspace is not correctly applied, green line, without hardware acceleration, no problem" Tags="|ffmpeg|hardware|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36607" PostTypeId="1" CreationDate="2023-06-21T16:13:23.517" Score="1" ViewCount="70" Body="&lt;p&gt;this is driving me mad, I have one clip at 4K 3840x2160 and I export it via After Effects as h264, Constant Bitrate 16 and let's say it's 56 MBs. If I resize it in After Effects export/render window to 1080p (1920x1080) I get a 1080p file that is something like 54MBs. I thought it was weird so I made a duplicate comp, changed its resolution to 1080p, resized everything in there with a null, exported it with same settings h264 CBR16 and now its size is something like 36MBs. I thought it was a bug in the resize when exporting and from then on kept duplicating all comps, resizing them down to 1080p and exporting separately. But I now found out that the problem returned (AE v.23.4.0 Build 53) and even with the internally resized comps I still get an exported mp4 size close to 4K resolution even when the comp has 1080p natively. The only way to bring size down is to lower the CBR rate to, say, 10. Why is this happening? Should a clip with half resolution than an other 4K clip with same content have 95% its size? Am I doing something wrong?&lt;/p&gt;&#xA;" OwnerUserId="21737" LastActivityDate="2023-06-21T16:13:23.517" Title="After Effects &amp; Media Encoder different resolution clips with same content export similar size using same settings" Tags="|after-effects|export|adobe-media-encoder|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36608" PostTypeId="2" ParentId="35594" CreationDate="2023-06-22T01:15:17.360" Score="0" Body="&lt;p&gt;You will need python, MKVtoolnix and Kid3-cli for this. Exif actually rewrites the file; this method just writes the metadata.  Leaps and bounds quicker.  Huge thank you to  &lt;a href=&quot;https://github.com/HarveyDevel/rmeta&quot; rel=&quot;nofollow noreferrer&quot;&gt;Harvey at Github&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Run this script from Python. I copy this file into the parent directory where I want the files to be edited.  Then within that parent directory, I go to the address bar and type &lt;code&gt;cmd&lt;/code&gt; in the address bar, then type the command below to run the script.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;python remeta_mp4.py mp4&lt;/code&gt; for the current directory only and &lt;code&gt;python remeta_mp4.py mp4 -r&lt;/code&gt; to change all mp4 files in its subdirectories&lt;/p&gt;&#xA;&lt;p&gt;Copy and save into notepad and ensure save as .py extension.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;import glob&#xA;import subprocess&#xA;import os&#xA;import sys&#xA;&#xA;def mp4_string(title):&#xA;    name, name_extension = os.path.splitext(os.path.basename(title).replace(&amp;quot;'&amp;quot;, &amp;quot;\\'&amp;quot;))&#xA;    return name&#xA;&#xA;def exec_mp4(mp4name):&#xA;    mp4name_title = mp4_string(mp4name)&#xA;    subprocess.run([&amp;quot;kid3-cli&amp;quot;, &amp;quot;-c&amp;quot;, f&amp;quot;set title '{mp4name_title}'&amp;quot;, mp4name], shell=True)&#xA;&#xA;def mp4(recursive=False):&#xA;    if recursive:&#xA;        for mp4name in glob.glob('**/*.mp4', recursive=True):&#xA;            exec_mp4(mp4name)&#xA;            print(f&amp;quot;Title metadata of {mp4name} has been changed&amp;quot;)&#xA;    else:&#xA;        for mp4name in glob.glob(&amp;quot;*.mp4&amp;quot;):&#xA;            exec_mp4(mp4name)&#xA;            print(f&amp;quot;Title metadata of {mp4name} has been changed&amp;quot;)&#xA;&#xA;if __name__ == &amp;quot;__main__&amp;quot;:&#xA;    if len(sys.argv) &amp;lt; 2:&#xA;        print(&amp;quot;Usage: python rmeta.py mp4 [-r] for recursive operations&amp;quot;)&#xA;        sys.exit(1)&#xA;&#xA;    action_type = sys.argv[1]&#xA;    recursive = False&#xA;    if len(sys.argv) &amp;gt; 2 and sys.argv[2] == &amp;quot;-r&amp;quot;:&#xA;        recursive = True&#xA;&#xA;    if action_type == &amp;quot;mp4&amp;quot;:&#xA;        mp4(recursive)&#xA;    else:&#xA;        print(&amp;quot;Usage: python rmeta.py mp4 [-r] for recursive operations&amp;quot;)&#xA;        sys.exit(1)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If you want to be able to double-click the .py file instead of using cmd prompt, you can use the below code. The code below will write ALL .mp4 files in the current AND subdirectories.  Just make sure you save it as .py file&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;import glob&#xA;import subprocess&#xA;import os&#xA;import sys&#xA;&#xA;def mp4_string(title):&#xA;    name, name_extension = os.path.splitext(os.path.basename(title).replace(&amp;quot;'&amp;quot;, &amp;quot;\\'&amp;quot;))&#xA;    return name&#xA;&#xA;def exec_mp4(mp4name):&#xA;    mp4name_title = mp4_string(mp4name)&#xA;    subprocess.run([&amp;quot;kid3-cli&amp;quot;, &amp;quot;-c&amp;quot;, f&amp;quot;set title '{mp4name_title}'&amp;quot;, mp4name], shell=True)&#xA;&#xA;def mp4(recursive=True):&#xA;    if recursive:&#xA;        for mp4name in glob.glob('**/*.mp4', recursive=True):&#xA;            exec_mp4(mp4name)&#xA;            print(f&amp;quot;Title metadata of {mp4name} has been changed&amp;quot;)&#xA;    else:&#xA;        for mp4name in glob.glob(&amp;quot;*.mp4&amp;quot;):&#xA;            exec_mp4(mp4name)&#xA;            print(f&amp;quot;Title metadata of {mp4name} has been changed&amp;quot;)&#xA;&#xA;if __name__ == &amp;quot;__main__&amp;quot;:&#xA;mp4()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="41638" LastEditorUserId="41638" LastEditDate="2023-06-22T04:31:10.673" LastActivityDate="2023-06-22T04:31:10.673" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36610" PostTypeId="1" AcceptedAnswerId="36612" CreationDate="2023-06-22T15:45:57.853" Score="0" ViewCount="396" Body="&lt;p&gt;As I understand, &lt;code&gt;ffmpeg&lt;/code&gt; compiled with &lt;code&gt;--enable-libopus&lt;/code&gt; has two opus decoders: builtin and &lt;code&gt;libopus&lt;/code&gt;. I am decoding an opus file to wav.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;How can I know which opus decoder is being used by &lt;code&gt;ffmpeg&lt;/code&gt;?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;opusdec&lt;/code&gt; has an option &lt;code&gt;--rate&lt;/code&gt; which can directly downsample to the needed sample rate. When I use &lt;code&gt;ffmpeg&lt;/code&gt; for decoding an opus file and set &lt;code&gt;-ar&lt;/code&gt;, the decoding time grows x6 from the baseline 10sec (for a 3Mb, 2hour opus file). For &lt;code&gt;opusdec&lt;/code&gt;, the decoding time is same regardless of used &lt;code&gt;--rate&lt;/code&gt;. So I suspect that &lt;code&gt;ffmpeg&lt;/code&gt; has some bug or duplicates resampling work. For workaround, is there a way to pass an option to &lt;code&gt;ffmpeg&lt;/code&gt; to pass it down to &lt;code&gt;libopus&lt;/code&gt; and to emulate the effect of &lt;code&gt;--rate&lt;/code&gt;?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;UPD&lt;/strong&gt;&#xA;Adding &lt;code&gt;-acodec libopus&lt;/code&gt; in the beginning of ffmpeg command clearly does something (forces &lt;code&gt;libopus&lt;/code&gt; decoder?) and completes decoding in 6.2sec. When I add &lt;code&gt;-ar 8000&lt;/code&gt;, it slows down to 7.3sec. I would assume, it's still too large of a change for a fair effect of downsampling (for &lt;code&gt;opusdec&lt;/code&gt; &lt;code&gt;-ar 8000&lt;/code&gt; actually speeds things up, not slows it), so maybe &lt;code&gt;ffmpeg&lt;/code&gt; has a decoder configuration / resampling bug even when &lt;code&gt;libopus&lt;/code&gt; decoder is used.&lt;/p&gt;&#xA;" OwnerUserId="22985" LastEditorUserId="22985" LastEditDate="2023-06-22T22:24:52.653" LastActivityDate="2023-06-23T04:01:11.857" Title="opus decoding in ffmpeg: how to pass target sample rate and ensure libopus decoder?" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36611" PostTypeId="1" CreationDate="2023-06-22T16:51:20.310" Score="0" ViewCount="104" Body="&lt;p&gt;I am rewrapping an HLS stream as an mxf file.  The HLS is 1080p59.94 10bit 4:2:2.  The mxf is a video codec copy and an audio conversion to pcm. The stream has video timecode burn-in for me to watch the video frames. Here is the command&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;https://myinput/index.m3u8&amp;quot; -f segment -timecode &amp;quot;01:01:01:00&amp;quot; -segment_time 600 -reset_timestamps 1 -c:v copy output_%03d.mxf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I get the following non-fatal error&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;quot;Application provided invalid, non monotonically increasing dts to muxer in stream 1&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The file is still created, however. In VLC the file plays correctly frame by frame. But in Adobe premiere when I play frame by frame I get video stuttering and I see the timecode burn in plays in a sequence like this... 3 frames ahead, then 2 frames back... so the frame sequence would be something like ;03 ;01 ;02 ;06 ;04 ;05 ;09 ;07 ;08&lt;/p&gt;&#xA;&lt;p&gt;It's almost like Premiere does not know how to order the frames back together but VLC does. Any thoughts on how I might change the command to reorder the dts monotonically?&lt;/p&gt;&#xA;&lt;p&gt;When I wrap to a .ts file I don't get this issue in Premiere, but I need MXF because Premiere can play an MXF file as a growing file.&lt;/p&gt;&#xA;" OwnerUserId="36612" LastActivityDate="2023-06-22T16:51:20.310" Title="FFMpeg HLS to MXF video codec copy non monotonically increasing dts issue" Tags="|ffmpeg|premiere|hls|mxf|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36612" PostTypeId="2" ParentId="36610" CreationDate="2023-06-23T04:01:11.857" Score="0" Body="&lt;p&gt;The libopus decoder in ffmpeg will only output at a fixed rate of 48000 Hz. Using &lt;code&gt;-ar&lt;/code&gt; leads to resampling using the swresample library.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-06-23T04:01:11.857" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36613" PostTypeId="2" ParentId="36541" CreationDate="2023-06-23T12:03:33.130" Score="0" Body="&lt;p&gt;I have learned that subtitles are WAY more flexible than I understood. Using the free &lt;a href=&quot;https://aegisub.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Aegisub tool&lt;/a&gt;, you can create multiple, overlapping subtitle lines synced up to video or audio. And you also have control of the font, size, style &lt;em&gt;and position&lt;/em&gt; of the text. So while it would still be a pain to use this to have labels literally follow people moving around the screen, you can easily place temporary text next to the person the first time they show up, and let the viewer do the &amp;quot;tracking&amp;quot; themselves.&lt;/p&gt;&#xA;&lt;p&gt;And the best part is that the subtitle files are all just UTF-8 text, so they're small and easily to edit as needed. And the subtitle format used, &lt;code&gt;.ass&lt;/code&gt;, &lt;a href=&quot;http://www.tcax.org/docs/ass-specs.htm&quot; rel=&quot;nofollow noreferrer&quot;&gt;is a standard&lt;/a&gt; which is &lt;a href=&quot;https://wiki.videolan.org/subtitles#Subtitles_formats&quot; rel=&quot;nofollow noreferrer&quot;&gt;supported by VLC&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="41442" LastActivityDate="2023-06-23T12:03:33.130" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36614" PostTypeId="1" CreationDate="2023-06-25T16:21:24.990" Score="1" ViewCount="224" Body="&lt;p&gt;I have a Adobe Premiere Pro CC 2017 project with an mp4 in the sequence.&lt;/p&gt;&#xA;&lt;p&gt;That mp4's sound plays fine in Source Monitor.&lt;/p&gt;&#xA;&lt;p&gt;And its sound plays fine if I right-click the mp4 in the Project panel and choose Modify &amp;gt; Audio Channels &amp;gt; Preview Media Source Channel.&lt;/p&gt;&#xA;&lt;p&gt;But this mp4 clip's sound does &lt;em&gt;not&lt;/em&gt; play in Timeline.&lt;/p&gt;&#xA;&lt;p&gt;In Timeline, the track itself does not have the muted M enabled. I've tried toggling that back and forth too, just to be sure. I've also tried the trick of clicking the S to solo the audio of this clip or others (and then disable all S buttons).&lt;/p&gt;&#xA;&lt;p&gt;The Audio Clip Mixer panel seems disabled when this clip plays in Timeline. But Audio Clip Mixer works (and shows dynamic levels of sound) when other clips in this project play.&lt;/p&gt;&#xA;&lt;p&gt;In Effect Controls &amp;gt; Audio Effects &amp;gt; Volume, I see 6.0 dB. Changing this value up or down doesn't seem to help.&lt;/p&gt;&#xA;&lt;p&gt;How can I get the audio back for this clip?&lt;/p&gt;&#xA;&lt;p&gt;P.S. I've also tried Edit &amp;gt; Preferences &amp;gt; Media Cache &amp;gt; Media Cache Database &amp;gt; Clean.&lt;/p&gt;&#xA;" OwnerUserId="5657" LastEditorUserId="5657" LastEditDate="2023-06-25T16:39:38.290" LastActivityDate="2024-02-11T11:04:25.510" Title="Adobe Premiere Pro clip audio works in Source panel but not timeline" Tags="|audio|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36615" PostTypeId="1" CreationDate="2023-06-25T16:28:03.777" Score="0" ViewCount="18" Body="&lt;p&gt;I have tried several times to open the Foundry Nuke (11.v01). Nuke closes unexpectedly just after starting it. My MacPro meets the system requirements for that version of Nuke. Does it have something to do with the 32-bit EFI of MacPro Pro 1.1? With previous versions I don't have any problems.&lt;/p&gt;&#xA;&lt;p&gt;When I’ve tried to launch Nuke in verbose or safe mode from the terminal, &amp;quot;Illegal instruction: 4&amp;quot; appears in both cases.&#xA;Process:               Nuke11.0v1 [47687]&#xA;Path:                  /Applications/Nuke11.0v1/NukeX11.0v1.app/NukeX11.0v1&#xA;Identifier:            uk.co.thefoundry.NukeX11.0v1&#xA;Version:               11.0.1.21 (11.0.1.21)&#xA;Code Type:             X86-64 (Native)&#xA;Parent Process:        ??? [1]&#xA;Responsible:           Nuke11.0v1 [47687]&#xA;User ID:               501&lt;/p&gt;&#xA;&lt;p&gt;Date/Time:             2023-06-25 18:11:05.656 +0200&#xA;OS Version:            Mac OS X 10.11.6 (15G31)&#xA;Report Version:        11&#xA;Anonymous UUID:        17E24410-AF6D-B965-58B7-C01AF443E8F0&lt;/p&gt;&#xA;&lt;p&gt;Sleep/Wake UUID:       F76F3A0D-82BB-429A-8A10-5579EF4A93F2&lt;/p&gt;&#xA;&lt;p&gt;Time Awake Since Boot: 31000 seconds&#xA;Time Since Wake:       5300 seconds&lt;/p&gt;&#xA;&lt;p&gt;System Integrity Protection: enabled&lt;/p&gt;&#xA;&lt;p&gt;Crashed Thread:        0  Dispatch queue: com.apple.main-thread&lt;/p&gt;&#xA;&lt;p&gt;Exception Type:        EXC_BAD_INSTRUCTION (SIGILL)&#xA;Exception Codes:       0x0000000000000001, 0x0000000000000000&#xA;Exception Note:        EXC_CORPSE_NOTIFY&lt;/p&gt;&#xA;&lt;p&gt;Application Specific Information:&#xA;/Applications/Nuke11.0v1/Nuke11.0v1.app/Contents/MacOS//libcom-api.dylib&lt;/p&gt;&#xA;&lt;p&gt;Thread 0 Crashed:: Dispatch queue: com.apple.main-thread&#xA;0   libcom-api.dylib                0x0000000111f78dc4 AAFObjectModel::SortDefinitions() + 276&#xA;1   libcom-api.dylib                0x0000000111f79fb9 AAFObjectModel::InitializeDefinitions() + 25&#xA;2   dyld                            0x00007fff665f810b ImageLoaderMachO::doModInitFunctions(ImageLoader::LinkContext const&amp;amp;) + 265&#xA;3   dyld                            0x00007fff665f8284 ImageLoaderMachO::doInitialization(ImageLoader::LinkContext const&amp;amp;) + 40&#xA;4   dyld                            0x00007fff665f48bd ImageLoader::recursiveInitialization(ImageLoader::LinkContext const&amp;amp;, unsigned int, ImageLoader::InitializerTimingList&amp;amp;, ImageLoader::UninitedUpwards&amp;amp;) + 305&#xA;5   dyld                            0x00007fff665f4852 ImageLoader::recursiveInitialization(ImageLoader::LinkContext const&amp;amp;, unsigned int, ImageLoader::InitializerTimingList&amp;amp;, ImageLoader::UninitedUpwards&amp;amp;) + 198&#xA;6   dyld                            0x00007fff665f4743 ImageLoader::processInitializers(ImageLoader::LinkContext const&amp;amp;, unsigned int, ImageLoader::InitializerTimingList&amp;amp;, ImageLoader::UninitedUpwards&amp;amp;) + 127&#xA;7   dyld                            0x00007fff665f49b3 ImageLoader::runInitializers(ImageLoader::LinkContext const&amp;amp;, ImageLoader::InitializerTimingList&amp;amp;) + 75&#xA;8   dyld                            0x00007fff665e9eb0 dyld::runInitializers(ImageLoader*) + 89&#xA;9   dyld                            0x00007fff665f1308 dlopen + 555&#xA;10  libdyld.dylib                   0x00007fff9c2de79c dlopen + 59&#xA;11  uk.co.thefoundry.NukeX11.0v1    0x000000010f851b54 mainLinux(int, char**, char const*, char const*) + 324&#xA;12  uk.co.thefoundry.NukeX11.0v1    0x000000010f851957 main + 23&#xA;13  libdyld.dylib                   0x00007fff9c2df5ad start + 1&lt;/p&gt;&#xA;&lt;p&gt;Thread 0 crashed with X86 Thread State (64-bit):&#xA;rax: 0x0000000112216060  rbx: 0x0000000111f861b0  rcx: 0x0000000000000000  rdx: 0x0000000112216060&#xA;rdi: 0x00000001122070a0  rsi: 0x0000000112206fe0  rbp: 0x00007fff503abde0  rsp: 0x00007fff503abdb0&#xA;r8: 0x0000000112206fe0   r9: 0x0000000112216060  r10: 0x000000010f8a4a18  r11: 0x0000000000000000&#xA;r12: 0x00000001121b4a60  r13: 0x000000011220f610  r14: 0x0000000112219eb0  r15: 0x0000000000000001&#xA;rip: 0x0000000111f78dc4  rfl: 0x0000000000010206  cr2: 0x000000011215b050&lt;/p&gt;&#xA;&lt;p&gt;Logical CPU:     0&#xA;Error Code:      0x00000000&#xA;Trap Number:     6&lt;/p&gt;&#xA;&lt;p&gt;Heading&lt;/p&gt;&#xA;&lt;p&gt;Heading&lt;/p&gt;&#xA;" OwnerUserId="41662" LastActivityDate="2023-06-25T16:28:03.777" Title="Software (Nuke 11.0.v1) quits unexpectedly Mac Pro 1.1 running macOS v10.11.6 (El Capitan)" Tags="|software|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36616" PostTypeId="2" ParentId="36614" CreationDate="2023-06-25T16:53:52.523" Score="0" Body="&lt;p&gt;I would appreciate a better answer than this because although I finally found how to get the sound back, I still don't fully understand what is going on here.&lt;/p&gt;&#xA;&lt;p&gt;I stumbled onto the Remove Attributes menu when right-clicking a clip.&lt;/p&gt;&#xA;&lt;p&gt;Removing &amp;quot;ERA4_ReverbRemover&amp;quot; from each of my clips seems to restore their audio.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/E1FTT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/E1FTT.png&quot; alt=&quot;screenshot of Remove Attributes&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I still don't know:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;What ERA4_ReverbRemover is&lt;/li&gt;&#xA;&lt;li&gt;How or when it got added to these clips&lt;/li&gt;&#xA;&lt;li&gt;Why it removed their audio completely&lt;/li&gt;&#xA;&lt;li&gt;What are the risks of me removing this attribute from each clip&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I'll gladly accept a better answer. Thanks!&lt;/p&gt;&#xA;" OwnerUserId="5657" LastActivityDate="2023-06-25T16:53:52.523" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36617" PostTypeId="1" CreationDate="2023-06-25T20:30:57.487" Score="0" ViewCount="45" Body="&lt;p&gt;I recently shot a 20-minute clip on a Panasonic GH6.  I recorded 5.7K at 29.97 fps with ProRes 422, and the resulting file is about 500 GB.  I recorded to a Samsung 2 TB T7 Shield.&lt;/p&gt;&#xA;&lt;p&gt;I plugged the drive into my M1 MBP (16&amp;quot;, 16 GB RAM, 1 TB SSD).&lt;/p&gt;&#xA;&lt;p&gt;Macbook Pro is running Venture 13.4.1 with FCP 10.6.6.&lt;/p&gt;&#xA;&lt;p&gt;Playback of the 5.7K video is really slow, so I set it to transcode proxies at 25%.  However, I've waited over an hour and &amp;quot;Transcoding clip&amp;quot; is still at 0%.&lt;/p&gt;&#xA;&lt;p&gt;I couldn't believe it was that slow, so I rebooted my machine and tried again-- still, after an hour, I'm at 0%.  How can I speed this up?  I need proxies to edit, and I can't believe it takes dozens of hours to go from ProRes ~6k to ProRes ~2k.&lt;/p&gt;&#xA;&lt;p&gt;Although it's stuck at 0%, I don't think the process is actually stuck because the blue activity light on the T7 Shield is flickering.&lt;/p&gt;&#xA;" OwnerUserId="5349" LastActivityDate="2023-06-25T20:30:57.487" Title="Can't create proxies of Panasonic GH6 5.7K ProRes in Final Cut Pro" Tags="|final-cut-pro-x|conversion|apple|panasonic|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36618" PostTypeId="1" CreationDate="2023-06-26T10:32:11.703" Score="0" ViewCount="67" Body="&lt;p&gt;I have 300 clips on my timeline and I want to batch rename them using sequential number, for example to something like 'clip_xxx' format where xxx starts from 10 and increment is 10 :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;clip_010&#xA;clip_020&#xA;clip_030&#xA;etc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is it possible to do it in Resolve ?&lt;/p&gt;&#xA;" OwnerUserId="36728" LastActivityDate="2024-02-15T10:53:55.823" Title="How to batch rename clip using sequential number" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36619" PostTypeId="1" CreationDate="2023-06-27T21:17:38.403" Score="0" ViewCount="21" Body="&lt;p&gt;I've noticed on a few youtube videos that captions can be animated to have karaoke style effects. How can you animate or fine-tune youtube transcriptions with custom animating like in the example below (top section). How much control do you have over this, and what's the extent of customization available so far?&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/_VIeV_LZXHM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="6057" LastActivityDate="2023-06-27T21:17:38.403" Title="Karaoke Style Captioning Youtube" Tags="|animation|youtube|closed-captioning|transcription|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36620" PostTypeId="2" ParentId="36600" CreationDate="2023-06-27T23:18:40.103" Score="0" Body="&lt;p&gt;AC3 doesn't support 7.1.  Only took like 25 hours of messing with the filter chain to figure it out.&lt;/p&gt;&#xA;" OwnerUserId="2219" LastActivityDate="2023-06-27T23:18:40.103" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36621" PostTypeId="1" AcceptedAnswerId="36629" CreationDate="2023-06-28T17:10:49.613" Score="0" ViewCount="37" Body="&lt;p&gt;I am currently working on a personal programming challenge to develop an MP4 decoder using VB.NET and the .NET Framework 4.8.1 as a WinForms application. I have obtained the &lt;code&gt;ISO 14496-12&lt;/code&gt; documentation, which serves as the basic structure for MP4 files.&lt;/p&gt;&#xA;&lt;p&gt;At this stage, I have successfully prepared various lists containing frame sizes, chunk positions, and information from the stsc and stts boxes. Additionally, I have been able to identify keyframes within the MP4 files.&lt;/p&gt;&#xA;&lt;p&gt;However, I have come to realize that the &lt;code&gt;ISO 14496-12&lt;/code&gt; documentation is not sufficient for decoding the frame bytes, which are encoded in H.264/AVC. To proceed with decoding, I understand that I need to refer to the &lt;code&gt;ISO/IEC 14496-10&lt;/code&gt; documentation specifically for H.264/AVC.&lt;/p&gt;&#xA;&lt;p&gt;My question is twofold:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;When decoding the frame bytes according to the documentation, would the output data be in a specific format, such as JPEG (identified by the FF D8 marker), or would it be raw bytes representing pixel data? This clarification would help me. In the former case, I could simply save an image using .NET functions.&lt;/li&gt;&#xA;&lt;li&gt;Considering my current progress and the information I have mentioned, do you foresee any need for me to purchase a third documentation source?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Any guidance or suggestions would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="41690" LastActivityDate="2023-06-29T18:40:13.730" Title="Decoding H.264/AVC Frames in MP4: What's the Output Format?" Tags="|mp4|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36622" PostTypeId="1" CreationDate="2023-06-28T21:36:50.817" Score="0" ViewCount="17" Body="&lt;p&gt;I happened to visit a TV show room which had so many big TVs(55,65,70,75 inch TVs, Sony Bravia , Samsung , LG , TLC etc..) with amazing technologies such as&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;LED&#xA;OLED&#xA;QLED&#xA;QNED&#xA;NANO&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and amazing resolutions like FHD,UHD,4k and 8k&lt;/p&gt;&#xA;&lt;p&gt;with different back panels such as Edge lit and back lit.&lt;/p&gt;&#xA;&lt;p&gt;I played videos from Netflix,amazon prime , hotstar etc.. on these TVs I can see the video clarity is good I mean it's not pixelating and video quality is good and admirable.&lt;/p&gt;&#xA;&lt;p&gt;But when I play TV channels either from Cable operator or premium high quality DTH(Direct to Home) Dish satellite , I can see the videos are pix-elating regardless of TV technology such as premium OLED&lt;/p&gt;&#xA;&lt;p&gt;Most of the TV channels in my country is either SD or HD only.&lt;/p&gt;&#xA;&lt;p&gt;Even I played some HD TV channels and the video clarity is horrible even in the TVs which they claim they have separate chip for up-scaling.&lt;/p&gt;&#xA;&lt;p&gt;What are the other factors that we should be aware of while buying TV ? so I can choose the right TV and watch HD TV channels in 4k 65 inch TV with good quality&lt;/p&gt;&#xA;" OwnerUserId="41691" LastActivityDate="2023-06-28T21:36:50.817" Title="what are the factors in TV that affects video quality in cable tv/dish satellite tv in bigger(65 Iinch) 4K TV screens" Tags="|4k|cable|full-hd|television|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36623" PostTypeId="1" CreationDate="2023-06-29T07:38:38.173" Score="1" ViewCount="19" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/sKnM1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sKnM1.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;I have some softboxes that use light bulbs. My goal is to have a youtube video studio.&lt;/p&gt;&#xA;&lt;p&gt;I want to know what bulb to use and if I can use LEDs. Hopefully LEDs that change temperature colour.&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="39635" LastActivityDate="2023-06-29T07:38:38.173" Title="light bulb recommendations for my youtube channel setup" Tags="|lighting|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36624" PostTypeId="1" CreationDate="2023-06-29T09:39:33.667" Score="2" ViewCount="13" Body="&lt;p&gt;I'm in a bit of an annoying problem. I know nothing about video, so sorry if I'm using wrong terminology.&lt;/p&gt;&#xA;&lt;p&gt;I live in an apartment buliding in downtown Tel Aviv. On the ground floor of my building there's a sunglasses shop. Recently, its alarm has been going on at night, keeping me up with its incessant siren.&lt;/p&gt;&#xA;&lt;p&gt;When it happened, I got out of bed, got dressed, and discovered the source of the alarm. I took a video of it with my Pixel 6 camera, and by &amp;quot;it&amp;quot; I mean the sunglasses store, the siren sound, and the light flashing on the alarm device that's on the outside of the store.&lt;/p&gt;&#xA;&lt;p&gt;Today I talked about it with the manager of the alarm store. He claims that the alarm isn't his. I was going to use my damning video as proof that the alarm is indeed his. However, when I watched the video, the light didn't flash.&lt;/p&gt;&#xA;&lt;p&gt;I suspect that because the light flashes for such a short time, it clashes with the Pixel 6's video camera framerate, making the light invisible.&lt;/p&gt;&#xA;&lt;p&gt;In case this dispute with the store owner escalates, I want to have definite proof that his alarm's light is flashing in my videos, otherwise he might be able to claim the alarm isn't his, and I won't be able to sleep at night.&lt;/p&gt;&#xA;&lt;p&gt;Any ideas on what I can do?&lt;/p&gt;&#xA;" OwnerUserId="33431" LastActivityDate="2023-06-29T09:39:33.667" Title="Using video to prove an alarm is flashing" Tags="|framerate|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36625" PostTypeId="1" CreationDate="2023-06-29T13:43:04.327" Score="1" ViewCount="41" Body="&lt;p&gt;I was preparing for an interview and came across this wonderful YouTube channel called Tap Academy. In their videos, the tutor's explanation is amazing, and he uses animations on a whiteboard to teach concepts. As he speaks, the animations appear, making it visually appealing (I'm unsure if these animations are pre-scripted). In my opinion it would be very difficult to prepare a script before hand (and I doubt animations are created even before the video begins).&lt;/p&gt;&#xA;&lt;p&gt;Another YouTube channel that employs a similar approach is The Modern Coder. They are excellent at teaching git concepts using animation. The instructor demonstrates code in his editor while typing simultaneously. Whenever he wants to illustrate a concept, an animation suddenly appears on the screen, making it easy to understand.&lt;/p&gt;&#xA;&lt;p&gt;My question is, what tools do they use to create such videos? Initially, I thought it might be PowerPoint animation, but PowerPoint may not have advanced options like displaying people on the screen and synchronizing animations with speech.&lt;/p&gt;&#xA;&lt;p&gt;I also came across coding video tutorials on Udemy by Scott Barrett, where he explains coding using only animations without showing his face. These videos are incredibly helpful, as they allow for easy visualization of complex concepts and understanding of why and how they work. Learning to code becomes much easier with this style of videos.&lt;/p&gt;&#xA;&lt;p&gt;After some research, I found that Adobe After Effects can be used to create such animation videos (I have no knowledge about AE), but I'm still uncertain about how the first two YouTube videos I mentioned were created using Adobe AE. Are there other tools specifically designed for creating these types of videos?&lt;/p&gt;&#xA;&lt;p&gt;I haven't been able to find any resources on YouTube or Google that explain how to create these kinds of videos, so I would appreciate any insights on the tools and techniques used.&lt;/p&gt;&#xA;" OwnerUserId="41699" LastActivityDate="2023-06-29T13:43:04.327" Title="How these kind of coding tutorial videos can be made using ANIMATION with your face shown on screen?" Tags="|video|video-editor|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36626" PostTypeId="1" CreationDate="2023-06-29T16:09:06.687" Score="0" ViewCount="48" Body="&lt;p&gt;Is there a way of using ffmpeg or similar, taking a 1920x1080 video, cut out the middle bit for creating a 1080x1920 YouTube short and then getting it to upscale the middle bit?&lt;/p&gt;&#xA;&lt;p&gt;EDIT: I think this is it:&#xA;ffmpeg.exe -i input.mp4 -filter:v &amp;quot;crop=1080:1080:420:0,scale=1920:1920:flags=lanczos:param0=3,crop=1080:1920&amp;quot; -acodec copy output.mp4&lt;/p&gt;&#xA;" OwnerUserId="41701" LastEditorUserId="41701" LastEditDate="2023-06-29T18:48:00.883" LastActivityDate="2023-06-29T18:48:00.883" Title="Command line approach to taking a 16:9 video and creating a 1080x1920 YouTube short?" Tags="|ffmpeg|youtube|short|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="36627" PostTypeId="2" ParentId="32406" CreationDate="2023-06-29T16:52:59.950" Score="1" Body="&lt;p&gt;To my knowledge, the only lossless audio format with really wide compatibility is plain old &lt;strong&gt;linear PCM&lt;/strong&gt;.&#xA;As container format, MP4 is the most wide-spread.&lt;/p&gt;&#xA;" OwnerUserId="41669" LastActivityDate="2023-06-29T16:52:59.950" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36628" PostTypeId="2" ParentId="32406" CreationDate="2023-06-29T17:35:44.033" Score="0" Body="&lt;p&gt;The MP4 container officially supports the Apple Lossless Audio Codec (ALAC). Doesn't mean it's supported by other software, though.&lt;/p&gt;&#xA;" OwnerUserId="21926" LastActivityDate="2023-06-29T17:35:44.033" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36629" PostTypeId="2" ParentId="36621" CreationDate="2023-06-29T17:48:45.113" Score="2" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;em&gt;&amp;quot;would the output data be in a specific format, such as JPEG (identified by the &lt;code&gt;FF D8&lt;/code&gt; marker), or would it be raw bytes representing pixel data?&amp;quot;&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;An H.264 decoder should decode to raw YUV by default, although it's generally appreciated for standalone use to have a YUV4MPEG2 mode as well, for easier piping, and to have basic format metadata preserved.&lt;/p&gt;&#xA;&lt;p&gt;Usually the encoding is in YU420P format. There are many examples of converting (via a &lt;code&gt;For-loop&lt;/code&gt;) any YUV420p data into RGB data. You can finally encode the newly converted RGB into JPEG.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;&lt;em&gt;&amp;quot;Do you foresee any need for me to purchase a third documentation source?&amp;quot;&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;No, unless you want to also handle audio then you'll need the AAC documentation. &lt;br&gt;That is &lt;code&gt;iso/iec 13818-7&lt;/code&gt;. You can also learn by analysing AAC bytes whilst following the source code of some open-source projects that are decoding AAC data. Articles online also explain structure of AAC. You can still get a result without the ISO document itself (&lt;em&gt;eg:&lt;/em&gt; read articles from those who repeat its words as they teach about AAC audio's bytes structure).&lt;/p&gt;&#xA;" OwnerUserId="21926" LastEditorUserId="21926" LastEditDate="2023-06-29T18:40:13.730" LastActivityDate="2023-06-29T18:40:13.730" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36630" PostTypeId="1" CreationDate="2023-06-29T23:33:29.117" Score="0" ViewCount="48" Body="&lt;p&gt;My normal process is to export a project to mp4 and then use ffmpeg to speed up the video like &lt;a href=&quot;https://superuser.com/a/611927/74576&quot;&gt;this&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex &amp;quot;[0:v]setpts=PTS/1.3[v];[0:a]atempo=1.3[a]&amp;quot; -map &amp;quot;[v]&amp;quot; -map &amp;quot;[a]&amp;quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It's super annoying for this to be 2 steps, which become especially time-consuming for long videos.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to tell Premiere to do this during the original export?&lt;/p&gt;&#xA;" OwnerUserId="5657" LastActivityDate="2023-06-29T23:33:29.117" Title="How to replicate ffmpeg filter during Adobe Premiere Pro 2022 export (to speed up the video without pitch distortion)" Tags="|ffmpeg|premiere|premiere-pro|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36631" PostTypeId="1" CreationDate="2023-06-30T17:00:40.517" Score="0" ViewCount="27" Body="&lt;p&gt;I am using FFmpeg to render a video in Unity. For the FFmpegCaptureCommand.OutputOptions I'm using this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-g 24 -c:v h264 -preset medium -crf 32 -pix_fmt yuv420p -color_primaries bt709 -color_trc bt709 -colorspace bt709 -color_range pc -f mov -movflags frag_keyframe+empty_moov -vf setpts=2*PTS&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The video output plays fine on windows media player or VLC but when I try to import the clip into Unity I get the following error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;WindowsVideoMedia error 0xc00d36e6 while reading C:/.../d.mov&#xA;&#xA;Context: Getting duration.&#xA;Error details: The requested attribute was not found.&#xA;Track types:&#xA;   Video Track [1024 x 1024], type: H264&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I can create a working copy of the video with this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I assume ffmpeg creates a new container for the video when it copies it but I can't figure out why is not doing it in the first place.&lt;/p&gt;&#xA;&lt;p&gt;Using ffprobe&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -show_streams -select_streams v C:\...\d.mov   &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I get this info on the original video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\...\d.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 512&#xA;    compatible_brands: qt&#xA;    encoder         : Lavf59.4.101&#xA;  Duration: 00:00:02.97, start: 0.066667, bitrate: 2471 kb/s&#xA;  Stream #0:0: Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 1024x1024, 2465 kb/s, 30 fps, 30 tbr, 15360 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : FFMP&#xA;      encoder         : Lavc59.4.100 libx264&#xA;[STREAM]&#xA;index=0&#xA;codec_name=h264&#xA;codec_long_name=H.264 / AVC / MPEG-4 AVC / MPEG-4 part 10&#xA;profile=High&#xA;codec_type=video&#xA;codec_tag_string=avc1&#xA;codec_tag=0x31637661&#xA;width=1024&#xA;height=1024&#xA;coded_width=1024&#xA;coded_height=1024&#xA;closed_captions=0&#xA;has_b_frames=2&#xA;sample_aspect_ratio=N/A&#xA;display_aspect_ratio=N/A&#xA;pix_fmt=yuvj420p&#xA;level=32&#xA;color_range=pc&#xA;color_space=bt709&#xA;color_transfer=bt709&#xA;color_primaries=bt709&#xA;chroma_location=left&#xA;field_order=unknown&#xA;refs=1&#xA;is_avc=true&#xA;nal_length_size=4&#xA;id=N/A&#xA;r_frame_rate=30/1&#xA;avg_frame_rate=30/1&#xA;time_base=1/15360&#xA;start_pts=1024&#xA;start_time=0.066667&#xA;duration_ts=45568&#xA;duration=2.966667&#xA;bit_rate=2465649&#xA;max_bit_rate=N/A&#xA;bits_per_raw_sample=8&#xA;nb_frames=N/A&#xA;nb_read_frames=N/A&#xA;nb_read_packets=N/A&#xA;DISPOSITION:default=1&#xA;DISPOSITION:dub=0&#xA;DISPOSITION:original=0&#xA;DISPOSITION:comment=0&#xA;DISPOSITION:lyrics=0&#xA;DISPOSITION:karaoke=0&#xA;DISPOSITION:forced=0&#xA;DISPOSITION:hearing_impaired=0&#xA;DISPOSITION:visual_impaired=0&#xA;DISPOSITION:clean_effects=0&#xA;DISPOSITION:attached_pic=0&#xA;DISPOSITION:timed_thumbnails=0&#xA;DISPOSITION:captions=0&#xA;DISPOSITION:descriptions=0&#xA;DISPOSITION:metadata=0&#xA;DISPOSITION:dependent=0&#xA;DISPOSITION:still_image=0&#xA;TAG:handler_name=VideoHandler&#xA;TAG:vendor_id=FFMP&#xA;TAG:encoder=Lavc59.4.100 libx264&#xA;[/STREAM]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and this on the copied video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\...\d1.mov':&#xA;  Metadata:&#xA;    major_brand     : qt&#xA;    minor_version   : 512&#xA;    compatible_brands: qt&#xA;    encoder         : Lavf59.4.101&#xA;  Duration: 00:00:02.97, start: 0.000000, bitrate: 2869 kb/s&#xA;  Stream #0:0: Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 1024x1024, 2865 kb/s, 30 fps, 30 tbr, 15360 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : FFMP&#xA;      encoder         : Lavc59.4.100 libx264&#xA;[STREAM]&#xA;index=0&#xA;codec_name=h264&#xA;codec_long_name=H.264 / AVC / MPEG-4 AVC / MPEG-4 part 10&#xA;profile=High&#xA;codec_type=video&#xA;codec_tag_string=avc1&#xA;codec_tag=0x31637661&#xA;width=1024&#xA;height=1024&#xA;coded_width=1024&#xA;coded_height=1024&#xA;closed_captions=0&#xA;has_b_frames=2&#xA;sample_aspect_ratio=N/A&#xA;display_aspect_ratio=N/A&#xA;pix_fmt=yuvj420p&#xA;level=32&#xA;color_range=pc&#xA;color_space=bt709&#xA;color_transfer=bt709&#xA;color_primaries=bt709&#xA;chroma_location=left&#xA;field_order=unknown&#xA;refs=1&#xA;is_avc=true&#xA;nal_length_size=4&#xA;id=N/A&#xA;r_frame_rate=30/1&#xA;avg_frame_rate=30/1&#xA;time_base=1/15360&#xA;start_pts=0&#xA;start_time=0.000000&#xA;duration_ts=45568&#xA;duration=2.966667&#xA;bit_rate=2865152&#xA;max_bit_rate=N/A&#xA;bits_per_raw_sample=8&#xA;nb_frames=89&#xA;nb_read_frames=N/A&#xA;nb_read_packets=N/A&#xA;DISPOSITION:default=1&#xA;DISPOSITION:dub=0&#xA;DISPOSITION:original=0&#xA;DISPOSITION:comment=0&#xA;DISPOSITION:lyrics=0&#xA;DISPOSITION:karaoke=0&#xA;DISPOSITION:forced=0&#xA;DISPOSITION:hearing_impaired=0&#xA;DISPOSITION:visual_impaired=0&#xA;DISPOSITION:clean_effects=0&#xA;DISPOSITION:attached_pic=0&#xA;DISPOSITION:timed_thumbnails=0&#xA;DISPOSITION:captions=0&#xA;DISPOSITION:descriptions=0&#xA;DISPOSITION:metadata=0&#xA;DISPOSITION:dependent=0&#xA;DISPOSITION:still_image=0&#xA;TAG:handler_name=VideoHandler&#xA;TAG:vendor_id=FFMP&#xA;TAG:encoder=Lavc59.4.100 libx264&#xA;[/STREAM]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I noticed the &lt;code&gt;start_time&lt;/code&gt; is 0.000000 on the copied video but the original is 0.066667, I wonder if that has anything to do with it.&lt;/p&gt;&#xA;&lt;p&gt;If I look at the video properties/details the &amp;quot;Length&amp;quot; attribute is missing on the original video but exists in the copy. Does Unity need that info maybe?&lt;/p&gt;&#xA;&lt;p&gt;What am I missing here? How could I make my original command output a video with the proper data that Unity needs for importing it?.&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="41705" LastActivityDate="2023-06-30T17:00:40.517" Title="Can't import to Unity video clip rendered using FFmpeg for Unity" Tags="|ffmpeg|unity|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36632" PostTypeId="1" CreationDate="2023-06-30T18:27:21.690" Score="0" ViewCount="34" Body="&lt;p&gt;I have 3 mp4 videos with audio and 92 jpg images and 1 png image. I need merge all of them, since images dont have audio i have added dummy audio at the end.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-f lavfi -t 0.1 -i anullsrc=channel_layout=stereo:sample_rate=44100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I checked all mp4 video have 30 fps. But im getting error when i run this command in terminal. I have added error end of this question.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg -i vlog.mp4 -loop 1 -framerate 30 -t 10 -i&#xA;176289846_105097328309081_601023439308451104_n.jpg -loop 1 -framerate&#xA;30 -t 10 -i&#xA;2048x2730--elleuk-com-gallery-2543-k-launches-the-estee-edit-at-selfridges-london-rex-gallery-jpg.jpg&#xA;-loop 1 -framerate 30 -t 10 -i 240509456_951357192092578_7024031524462711198_n.jpg -loop 1 -framerate&#xA;30 -t 10 -i 269773026_139944861743460_5973031789377429736_n.jpg -loop&#xA;1 -framerate 30 -t 10 -i&#xA;272185356_5184945991539492_8655458649809306173_n.jpg -loop 1&#xA;-framerate 30 -t 10 -i 272982846_982963685973335_4505762263706805155_n.jpg -loop 1 -framerate&#xA;30 -t 10 -i 284894134_779193733247375_8179012576894655236_n.jpg -loop&#xA;1 -framerate 30 -t 10 -i&#xA;292010277_105616508829281_6546460775317951397_n.jpg -loop 1 -framerate&#xA;30 -t 10 -i 299579923_366974645463442_3067763790958680676_n.jpg -loop&#xA;1 -framerate 30 -t 10 -i&#xA;308586860_1460806071064928_724646131074541655_n.jpg -loop 1 -framerate&#xA;30 -t 10 -i 316251042_1182932825658575_1973331576384811644_n.jpg -loop&#xA;1 -framerate 30 -t 10 -i&#xA;317375204_825333288586225_3494327956540386564_n.jpg -loop 1 -framerate&#xA;30 -t 10 -i 320657986_171627788829176_6704693822753482970_n.jpg -i&#xA;336023902_1388216378646434_1274549774807386832_n1.mp4 -loop 1&#xA;-framerate 30 -t 10 -i 336023902_1388216378646434_1274549774807386832_n.jpg -loop 1&#xA;-framerate 30 -t 10 -i 337139845_175124041999226_2450227144918414731_n.jpg -loop 1 -framerate&#xA;30 -t 10 -i 341010813_1260501997880528_5775042343016088518_n.jpg -loop&#xA;1 -framerate 30 -t 10 -i&#xA;350350134_628274322245654_7834055219271640131_n.jpg -loop 1 -framerate&#xA;30 -t 10 -i bguk-1806442-001-1-1575885182.jpg -loop 1 -framerate 30 -t&#xA;10 -i gallery-1501231161-rexfeatures-8975296f.jpg -loop 1 -framerate&#xA;30 -t 10 -i gallery-1501490122-gettyimages-824543634.jpg -loop 1&#xA;-framerate 30 -t 10 -i gallery-1501662360-rexfeatures-8979657s.jpg -loop 1 -framerate 30 -t 10 -i gallery-1519118258-gettyimages-920660202.jpg -loop 1 -framerate 30 -t&#xA;10 -i gettyimages-1007594756-1-1533302417.jpg -loop 1 -framerate 30 -t&#xA;10 -i gettyimages-1041395230-1-1545137745.jpg -loop 1 -framerate 30 -t&#xA;10 -i gettyimages-1041507006.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1046789262.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1056952122.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-10597661501.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1059766150.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1061995120.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1068006128.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1071199786-1-1545137825.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1166095264.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1166462980.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1166619485.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1172717451.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1173046637.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1193584885.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1204872171.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1206702698.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1231869163.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1233125094.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1233143812.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1238147989.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1239252757.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1308337144.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1339403524.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1395051825.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1395099206.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1486931966-1-64506b1876fe3.jpg -loop 1 -framerate 30 -t 10&#xA;-i gettyimages-1497108210-6486cde03c9cb.jpg -loop 1 -framerate 30 -t 10 -i gettyimages-1661158508.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1663746244.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1667813271.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1667909592.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1668160883.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-1673863517.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-626934148.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-631291776.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-632556354.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-639891306.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-670606036.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-685410728.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-686201670.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-686442088.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-686480630.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-686749012.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-690994782.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-691692354.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-692007384.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-692204670.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-805671172.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-806281110.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-809176540.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-810594198.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-902346518.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-911129522.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-911331944.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-916007400.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-916331340.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-927557366-1523295081.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-942427832-1523295081.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-956246212-1532081998.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-956938402-1532081997.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-957678822-1532082000.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-957710836-1532081997.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-967568846-1532081998.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-969598422-1532081998.jpg -loop 1 -framerate 30 -t 10 -i&#xA;gettyimages-973460626-1532081998.jpg -loop 1 -framerate 30 -t 10 -i&#xA;k-style-file-1642411215.jpg -loop 1 -framerate 30 -t 10 -i&#xA;k-style-file-643d14ad02791.png -loop 1 -framerate 30 -t 10 -i&#xA;k-stylefile-july2016-2.jpg -loop 1 -framerate 30 -t 10 -i&#xA;k-wears-bottega-veneta-2-1669215583.jpg -i&#xA;app_video_308468950_1515994365517349_3800958547012720966_n.mp4 -f&#xA;lavfi -t 0.1 -i anullsrc=channel_layout=stereo:sample_rate=44100&#xA;-filter_complex &amp;quot;[0:v][0:a][1:v][96:a][2:v][96:a][3:v][96:a][4:v][96:a][5:v][96:a][6:v][96:a][7:v][96:a][8:v][96:a][9:v][96:a][10:v][96:a][11:v][96:a][12:v][96:a][13:v][96:a][14:v][14:a][15:v][96:a][16:v][96:a][17:v][96:a][18:v][96:a][19:v][96:a][20:v][96:a][21:v][96:a][22:v][96:a][23:v][96:a][24:v][96:a][25:v][96:a][26:v][96:a][27:v][96:a][28:v][96:a][29:v][96:a][30:v][96:a][31:v][96:a][32:v][96:a][33:v][96:a][34:v][96:a][35:v][96:a][36:v][96:a][37:v][96:a][38:v][96:a][39:v][96:a][40:v][96:a][41:v][96:a][42:v][96:a][43:v][96:a][44:v][96:a][45:v][96:a][46:v][96:a][47:v][96:a][48:v][96:a][49:v][96:a][50:v][96:a][51:v][96:a][52:v][96:a][53:v][96:a][54:v][96:a][55:v][96:a][56:v][96:a][57:v][96:a][58:v][96:a][59:v][96:a][60:v][96:a][61:v][96:a][62:v][96:a][63:v][96:a][64:v][96:a][65:v][96:a][66:v][96:a][67:v][96:a][68:v][96:a][69:v][96:a][70:v][96:a][71:v][96:a][72:v][96:a][73:v][96:a][74:v][96:a][75:v][96:a][76:v][96:a][77:v][96:a][78:v][96:a][79:v][96:a][80:v][96:a][81:v][96:a][82:v][96:a][83:v][96:a][84:v][96:a][85:v][96:a][86:v][96:a][87:v][96:a][88:v][96:a][89:v][96:a][90:v][96:a][91:v][96:a][92:v][96:a][93:v][96:a][94:v][96:a][95:v][95:a]concat=n=96:v=3:a=3&amp;quot;&#xA;out.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;strong&gt;Error:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Input #95, mov,mp4,m4a,3gp,3g2,mj2, from&#xA;'app_video_308468950_1515994365517349_3800958547012720966_n.mp4':&lt;br /&gt;&#xA;Metadata:&#xA;major_brand     : isom&#xA;minor_version   : 512&#xA;compatible_brands: isomiso2avc1mp41   Duration: 00:00:07.15, start: 0.000000, bitrate: 1707 kb/s&#xA;Stream #95:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, bt709), 576x720, 1614 kb/s, 30 fps, 30 tbr, 15360 tbn, 60&#xA;tbc (default)&#xA;Metadata:&#xA;handler_name    : VideoHandler&#xA;Stream #95:1(und): Audio: aac (HE-AAC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 112 kb/s (default)&#xA;Metadata:&#xA;handler_name    : SoundHandler Input #96, lavfi, from 'anullsrc=channel_layout=stereo:sample_rate=44100':   Duration: N/A,&#xA;start: 0.000000, bitrate: 705 kb/s&#xA;Stream #96:0: Audio: pcm_u8, 44100 Hz, stereo, u8, 705 kb/s Stream specifier ':a' in filtergraph description&#xA;[0:v][0:a][1:v][96:a][2:v][96:a][3:v][96:a][4:v][96:a][5:v][96:a][6:v][96:a][7:v][96:a][8:v][96:a][9:v][96:a][10:v][96:a][11:v][96:a][12:v][96:a][13:v][96:a][14:v][14:a][15:v][96:a][16:v][96:a][17:v][96:a][18:v][96:a][19:v][96:a][20:v][96:a][21:v][96:a][22:v][96:a][23:v][96:a][24:v][96:a][25:v][96:a][26:v][96:a][27:v][96:a][28:v][96:a][29:v][96:a][30:v][96:a][31:v][96:a][32:v][96:a][33:v][96:a][34:v][96:a][35:v][96:a][36:v][96:a][37:v][96:a][38:v][96:a][39:v][96:a][40:v][96:a][41:v][96:a][42:v][96:a][43:v][96:a][44:v][96:a][45:v][96:a][46:v][96:a][47:v][96:a][48:v][96:a][49:v][96:a][50:v][96:a][51:v][96:a][52:v][96:a][53:v][96:a][54:v][96:a][55:v][96:a][56:v][96:a][57:v][96:a][58:v][96:a][59:v][96:a][60:v][96:a][61:v][96:a][62:v][96:a][63:v][96:a][64:v][96:a][65:v][96:a][66:v][96:a][67:v][96:a][68:v][96:a][69:v][96:a][70:v][96:a][71:v][96:a][72:v][96:a][73:v][96:a][74:v][96:a][75:v][96:a][76:v][96:a][77:v][96:a][78:v][96:a][79:v][96:a][80:v][96:a][81:v][96:a][82:v][96:a][83:v][96:a][84:v][96:a][85:v][96:a][86:v][96:a][87:v][96:a][88:v][96:a][89:v][96:a][90:v][96:a][91:v][96:a][92:v][96:a][93:v][96:a][94:v][96:a][95:v][95:a]concat=n=96:v=3:a=3&#xA;matches no streams.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="41708" LastActivityDate="2023-06-30T18:27:21.690" Title="Combining 97 items like jpg, png and mp4 using ffmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36633" PostTypeId="1" CreationDate="2023-07-01T06:51:41.243" Score="0" ViewCount="160" Body="&lt;p&gt;I'm having issues with my After Effects freezing my whole laptop and having to press the shutdown button to restart it. I have talked to two Adobe Agents and screen shared with them and neither of them could figure out what the problem was. Apparently I have sufficient memory and one of them has installed a cleaner application of some sort. I have also reinstalled After Effects. I have also cleared cache in After Effects preferences so am wondering what else I can do so that it doesn't do this. Wondering if buying more ram would work to speed up the laptop? I am not heavily dependant on this App I was just trying tutorials and wanting to have an additional skill I mostly use Illustrator and InDesign. So not to keen on investing a lot of money in something that I just want to learn at a fairly basic level.&lt;/p&gt;&#xA;&lt;p&gt;It freezes on certain tutorial files the ones that have more keyframes but its a beginners tutorial so the animations aren't that complex so when Im editing the keyframes thats when it usually freezes.&lt;/p&gt;&#xA;&lt;p&gt;I tried a mac desktop at work which is actually older than my laptop and it did freeze when I opened one of the files up in my tutorials it took longer but eventually happened.&lt;/p&gt;&#xA;&lt;p&gt;Have also opened in Safemode and it still crashed, went through a series of troubleshooting things with the Adobe Agents.&lt;/p&gt;&#xA;&lt;p&gt;This is the memory I have so far on my laptop&lt;a href=&quot;https://i.stack.imgur.com/wOuM5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wOuM5.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HTrra.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HTrra.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41491" LastEditorUserId="41491" LastEditDate="2023-07-01T21:27:20.183" LastActivityDate="2023-07-01T21:27:20.183" Title="After Effects crashing Mac Book Pro 2019" Tags="|after-effects|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36635" PostTypeId="1" CreationDate="2023-07-02T00:19:57.980" Score="0" ViewCount="17" Body="&lt;p&gt;This is a pretty well known process for HDR to SD. Is there a way to use this or similar with CUDA/NVEnc?&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg.exe -i input.mkv -vf zscale=t=linear:npl=100,format=gbrpf32le,&#xA;zscale=p=bt709,tonemap=tonemap=hable:desat=0,zscale=t=bt709:m=bt709:r=tv,&#xA;format=yuv420p -c:v libx265 -crf 18 -preset slower output.mkv&lt;/p&gt;&#xA;" OwnerUserId="41719" LastActivityDate="2023-07-02T00:19:57.980" Title="HDR to SD using CUDA" Tags="|hdr|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36636" PostTypeId="1" CreationDate="2023-07-02T14:31:56.327" Score="1" ViewCount="24" Body="&lt;p&gt;I have 4 video clips loaded into Davinci Resolve, and my goal is to get all 4 of them to show like a grid. So I put 2 of them on separate video tracks, and was editing the zoom and position of each clip when I found that only one was showing at a time.&lt;/p&gt;&#xA;&lt;p&gt;It turns out that for some reason, only the video clip on the highest video track (say, Video 6) is showing, and the other videos on lower number video tracks (say, Video 5) isn't showing.&lt;/p&gt;&#xA;&lt;p&gt;Here is a screenshot to hopefully demonstrate my issue further:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/7QTKE.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7QTKE.jpg&quot; alt=&quot;screenshot showing the error&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The video's border is still appearing in the transform, but the video itself isn't showing.&lt;/p&gt;&#xA;&lt;p&gt;I've done this before with other videos and have had no issues. I did multiple google searches but wasn't able to find anyone complaining of this issue. Am I missing something very simple?&lt;/p&gt;&#xA;&lt;p&gt;If any more information is needed please let me know and I'll be glad to provide it.&lt;/p&gt;&#xA;" OwnerUserId="41726" LastActivityDate="2023-08-02T18:48:30.413" Title="Video track hierarchy isn't allowing me to use split screen, in davinci resolve" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36637" PostTypeId="1" CreationDate="2023-07-02T17:36:32.870" Score="1" ViewCount="177" Body="&lt;p&gt;I created an .ass file with specified font (SF Pro Semibold) and wanted to merge with a video.&lt;/p&gt;&#xA;&lt;p&gt;.ass file:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;[V4+ Styles]&#xA;Format: Name, Fontname, Fontsize, PrimaryColour, SecondaryColour, OutlineColour, BackColour, Bold, Italic, Underline, StrikeOut, ScaleX, ScaleY, Spacing, Angle, BorderStyle, Outline, Shadow, Alignment, MarginL, MarginR, MarginV, Encoding&#xA;Style: videoaltyazi,SF Pro Semibold,75.0,&amp;amp;H00CDCDCD,&amp;amp;H0000FFFF,&amp;amp;H00000000,&amp;amp;H00000000,0,0,0,0,100,100.0,0.0,0,3,10.5,3.0,2,10,10,120,1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;FFmpeg can actually detect the font either specifying the location of font or not.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;PS &amp;gt; ffmpeg -i input.mp4 -vf ass=sub.ass:fontsdir=&amp;quot;.\subtitle\SF-Pro-Display-Semibold.otf&amp;quot; output.mp4&#xA;ffmpeg version 6.0-full_build-www.gyan.dev Copyright (c) 2000-2023 the FFmpeg developers&#xA;  built with gcc 12.2.0 (Rev10, Built by MSYS2 project)&#xA;...&#xA;[Parsed_ass_0 @ 000001c267a2d180] libass API version: 0x1700000&#xA;[Parsed_ass_0 @ 000001c267a2d180] libass source: commit: 0.17.0-39-g04a208d5d200360d2ac75f8f6cfc43dd58dd9225&#xA;[Parsed_ass_0 @ 000001c267a2d180] Shaper: FriBidi 1.0.12 (SIMPLE) HarfBuzz-ng 7.0.1 (COMPLEX)&#xA;[Parsed_ass_0 @ 000001c267a2d180] Using font provider directwrite (with GDI)&#xA;[Parsed_ass_0 @ 000001c267a2d180] Added subtitle file: 'sub.ass' (2 styles, 1 events)&#xA;...&#xA;[Parsed_ass_0 @ 000001c267a2d180] fontselect: (SF Pro Semibold, 400, 0) -&amp;gt; SFPro-Semibold, 0, SFPro-Semibold&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But subtitle font of output video is not Sf Pro Semibold. It's just look like SF Pro.&lt;/p&gt;&#xA;&lt;p&gt;When I drag subtitle file to original video in MPC-HC, subtitle just look like what I want. I edited a screenshot in ShareX and used font I guess. Here is the comparison:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.imgur.com/78iedb7.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.imgur.com/78iedb7.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I use the font I want?&lt;/p&gt;&#xA;" OwnerUserId="37439" LastActivityDate="2023-07-02T17:36:32.870" Title="FFmpeg ass filter doesn't use font i choose" Tags="|ffmpeg|subtitles|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36638" PostTypeId="1" CreationDate="2023-07-02T19:42:49.213" Score="0" ViewCount="27" Body="&lt;p&gt;I am trying to repair a corrupted 3GP video using the untrunc program, but I'm facing an issue due to an error.&lt;/p&gt;&#xA;&lt;p&gt;The command I ran:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;./untrunc -v ~/Desktop/logic/Video0086.3gp ~/Desktop/logic/Video0035.3gp&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I am running Ubuntu 20.04 LTS and using the 'v308-d72ec32' version of the untrunc. The error message I encounter is as follows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Info: version 'v308-d72ec32' using ffmpeg '4.4.2-0ubuntu0.22.04.1'&#xA;Info: reading /home/hsrv/Desktop/logic/Video0086.3gp&#xA;Info: parsing healthy moov atom ... &#xA;ftyp_ = 'mp42'&#xA;[amrnb @ 0x56075d7656c0] Multiple frames in a packet.&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '/home/hsrv/Desktop/logic/Video0086.3gp':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2014-04-26T21:38:29.000000Z&#xA;    com.android.version: 12&#xA;  Duration: 00:02:22.80, start: 0.000000, bitrate: 154 kb/s&#xA;  Stream #0:0(eng): Video: h263 (s263 / 0x33363273), yuv420p, 176x144 [SAR 12:11 DAR 4:3], 140 kb/s, 10.74 fps, 11 tbr, 90k tbn, 29.97 tbc (default)&#xA;    Metadata:&#xA;      creation_time   : 2023-07-02T15:34:22.000000Z&#xA;      handler_name    : VideoHandle&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #0:1(eng): Audio: amr_nb (samr / 0x726D6173), 8000 Hz, mono, flt, 12 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2023-07-02T15:34:22.000000Z&#xA;      handler_name    : SoundHandle&#xA;      vendor_id       : [0][0][0][0]&#xA;ss: s263 is_stable: 0&#xA;ss: using f=7 span&#xA;assuming constant duration of 640 for 'samr' (x1785)&#xA;&#xA;Info: unknown track 's263' found -&amp;gt; fallback to dynamic stats&#xA;created dummy track 'free'&#xA;removed dummy track 'free'&#xA;first_failed: 0 of 101&#xA;simpleOrder: 0 &#xA;order ( 101): (0, 14) (0, 11) (0, 11) (0, 12) (0, 11) (0, 12) (0, 11) (0, 12) (0, 11) (0, 11) (0, 11) (0, 11) (0, 12) (0, 12) (0, 11) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 11) (0, 11) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 11) (0, 11) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 11) (0, 11) (0, 12) (0, 11) (0, 11) (0, 12) (0, 12) (0, 11) (0, 12) (0, 12) (0, 11) (0, 10) (0, 12) (0, 12) (0, 12) (0, 11) (0, 12) (0, 11) (0, 10) (0, 12) (0, 11) (0, 11) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 12) (0, 10) (0, 12) (0, 11) (0, 11) (0, 12) (0, 12) (0, 12) (0, 12) &#xA;isTrackOrderEnough: 0  (sz=0)&#xA;genPatternPerm of: s263&#xA;0 s263 0.918296 3&#xA;1 samr 1 2&#xA;genPatternPerm of: samr&#xA;0 s263 4.8125 32&#xA;1 samr 0 1&#xA;has_zero_transitions_: 0&#xA;**Error: bad track: 's263'**&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;How can I resolve this error and successfully repair the corrupted 3GP video? What steps should I follow or can you suggest an alternative approach?&lt;/p&gt;&#xA;&lt;p&gt;Thank you in advance!&lt;/p&gt;&#xA;&lt;p&gt;I was expecting trunc tool to fix the corrupted/trunced video. But it gave me this error and no matter how much I searched for a solution, I couldn't find anything.&lt;/p&gt;&#xA;" OwnerUserId="41730" LastActivityDate="2023-07-02T19:42:49.213" Title="Issue with repairing 3GP video using untrunc - Error: bad track: 's263'" Tags="|ffmpeg|video|mp4|codec|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36639" PostTypeId="1" CreationDate="2023-07-03T12:49:45.983" Score="1" ViewCount="182" Body="&lt;p&gt;&lt;em&gt;This will be a long post, so I thank you in advance for your patience in digesting it.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;h1&gt;Context&lt;/h1&gt;&#xA;&lt;p&gt;I have different sources that generate visual content that eventually need to be all composed into a single .mp4 file.  The sources are:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;H.264 video (encoded using CUDA NVENC).&#xA;&lt;ul&gt;&#xA;&lt;li&gt;This video can have in-sequence resolution change that is natively supported by H.264 codec.&lt;/li&gt;&#xA;&lt;li&gt;I.e. stream may start as HxW resolution and mid-stream change to WxH. This behavior happens because it comes from a camera device that can be rotated and flipped between portrait and landscape (e.g. think of a phone camera recording video and phone being flipped from one orientation to another, and video recording adjusting its encoding for proper video scaling and orientation).&lt;/li&gt;&#xA;&lt;li&gt;When rotation occurs, most of the time H &amp;amp; W are just swaps, but may actually be entirely new values -- e.g. in some cases 1024x768 will switch to 768x1024, but in other cases 1024x768 may become 460x640 (depends on source camera capabilities that I have no control over).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;JPEGs.  A series (a.k.a. batch) of still JPEGs.&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The native resolution of JPEGs may or may not match the video resolution in the earlier bullet.&lt;/li&gt;&#xA;&lt;li&gt;JPEGs can also reflect rotation of device and so some JPEGs in a sequence may start at HxW resolution and then from some arbitrary JPEG file can flip and become WxH. Similar to video, resolution dimensions are likely to be just a swap, but may become altogether different values.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;There can be any number of batches and intermixes between video and still sources.  E.g. V&lt;sub&gt;1&lt;/sub&gt; + S&lt;sub&gt;2&lt;/sub&gt; + S&lt;sub&gt;3&lt;/sub&gt; + V&lt;sub&gt;4&lt;/sub&gt; + V&lt;sub&gt;5&lt;/sub&gt; + V&lt;sub&gt;6&lt;/sub&gt; + S&lt;sub&gt;7&lt;/sub&gt; + ...&lt;/li&gt;&#xA;&lt;li&gt;There can be any number of resolution changes between or within batches. e.g. V&lt;sub&gt;1;r1&lt;/sub&gt; + V&lt;sub&gt;1;r2&lt;/sub&gt; + S&lt;sub&gt;2;r1&lt;/sub&gt; + S&lt;sub&gt;2;r3&lt;/sub&gt; + V&lt;sub&gt;3;r2&lt;/sub&gt; + ... (where first subscript is batch sequence; rX is resolution)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h1&gt;Problem&lt;/h1&gt;&#xA;&lt;p&gt;I'm attempting to do this conversion with &lt;code&gt;ffmpeg&lt;/code&gt; and can't quite get it right.  The problem is that I can't get output to respect source resolutions, and it just squishes all into a single output resolution.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/QWwMQ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QWwMQ.jpg&quot; alt=&quot;Example of squishing problem&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As already mentioned above, H.264 supports resolution changes in-sequence (mid-stream), and it should be possible to convert and concatenate all the content and have final output contain in-sequence resolution changes.&lt;/p&gt;&#xA;&lt;p&gt;Since MP4 is just a container, I'm assuming that MP4 files can do so as well?&lt;/p&gt;&#xA;&lt;h2&gt;Attempts so far&lt;/h2&gt;&#xA;&lt;p&gt;The approach thus far has been to take each batch of content (i.e. .h264 video or a set of JPEGs), and individually convert to .mp4. Video is converted using &lt;code&gt;-c copy&lt;/code&gt; to ensure it doesn't try to transcode, e.g.:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -i videoX.h264 -c copy -vsync vfr -video_track_timescale 90000 intermediateX.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;... and JPEGs are converted using &lt;code&gt;-f concat&lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -f concat -safe 0 -i jpegsX.txt -vf 'scale=trunc(iw/2)*2:trunc(ih/2)*2' -r 30 -vsync vfr -video_track_timescale 90000 intermediateX.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;... and then all the intermediates concatenated together&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -f concat -safe 0 -i final.txt -pix_fmt yuv420p -c copy -vsync vfr -video_track_timescale 90000 -metadata title='yabadabadoo' -fflags +bitexact -flags:v +bitexact -flags:a +bitexact final.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This concatenates, but if resolution changes at some mid point, then that part of content comes up squished/stretched in final output.&lt;/p&gt;&#xA;&lt;h3&gt;Use h.264 as intermediates&lt;/h3&gt;&#xA;&lt;p&gt;All the intermediates are produced the same, except as .h264.  All intermediate .h264 are &lt;code&gt;cat&lt;/code&gt;'ed together like `cat intermediate1.h264 intermediate2.264 &amp;gt; final.h264.&lt;/p&gt;&#xA;&lt;p&gt;If final output is &lt;code&gt;final.mp4&lt;/code&gt;, the output is incorrect and images are squished/stretched.&lt;/p&gt;&#xA;&lt;p&gt;If &lt;code&gt;final.h264&lt;/code&gt;, then at least it seems to be respecting aspect ratios of input and managing to produce correctly looking output.  However, examining with &lt;code&gt;ffprobe&lt;/code&gt; it seems that it uses SAR weird ratios, where first frames are &lt;code&gt;width=1440 height=3040 sample_aspect_ratio=1:1&lt;/code&gt;, but later SAR takes on values like &lt;code&gt;width=176 height=340 sample_aspect_ratio=1545:176&lt;/code&gt;, which I suspect isn't right, since all original input was with &amp;quot;square pixels&amp;quot;.  I think the reason for it is that it was composed out of different sized JPEGs, and concat filter somehow caused ffmpeg to manipulate SAR &amp;quot;to get things fit&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;But at least it renders respectably, though hard to say with &lt;code&gt;ffplay&lt;/code&gt; if player would actually see resolution change and resize accordingly .&lt;/p&gt;&#xA;&lt;p&gt;And, that's .h264; and I need final output to be .mp4.&lt;/p&gt;&#xA;&lt;h3&gt;Use &lt;code&gt;-vf&lt;/code&gt; filter&lt;/h3&gt;&#xA;&lt;p&gt;I tried enforcing SAR using &lt;code&gt;-vf 'scale=trunc(iw/2)*2:trunc(ih/2)*2,setsar=1:1'&lt;/code&gt; (scaling is to deal with odd dimension JPEGs), but it still produces frames with SAR like stated earlier.&lt;/p&gt;&#xA;&lt;h3&gt;Other thoughts&lt;/h3&gt;&#xA;&lt;p&gt;For now, while I haven't given up, I'm trying to avoid in my code examining each individual JEPG in a batch to see if there are differing sizes, and splitting batch so that each sub-batch is homogenous resolution-wise, and generating individual intermediate .h264 so that SAR remains sane, and keep fingers crossed that the final would work correctly. It'll be very slow, unfortunately.&lt;/p&gt;&#xA;&lt;h1&gt;Question&lt;/h1&gt;&#xA;&lt;p&gt;What's the right way to deal with all that using &lt;code&gt;ffmpeg&lt;/code&gt;, and how to concatenate multiple varying resolution sources into a final mp4 so that it respects resolution changes mid-stream?&lt;/p&gt;&#xA;" OwnerUserId="41741" LastActivityDate="2024-03-29T17:00:40.023" Title="ffmpeg h264 to mp4 conversion from multiple files fails to preserve in-sequence resolution changes" Tags="|ffmpeg|mp4|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36640" PostTypeId="1" AcceptedAnswerId="36648" CreationDate="2023-07-03T12:58:50.423" Score="0" ViewCount="134" Body="&lt;p&gt;I have a 2 audio track mxf file and need to clone the video but create 8 audio tracks. The tracks 1 and 2 should be copied into 3 and 4, 5 and 6 and 7 and 8. Some files that I'm dealing with are 4 track files with the silence in 3 and 4, and some are genuine 2 track mxf's with a mono audio in each one. Not wearing my ffmpeg boots for quite some time, any ideas how to achieve this? Thanks!&lt;/p&gt;&#xA;" OwnerUserId="41742" LastActivityDate="2023-09-24T16:35:34.243" Title="ffmpeg - Copy the first 2 tracks of audio to new 6 tracks so all 8 tracks contains audio from the first 2" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36641" PostTypeId="2" ParentId="36639" CreationDate="2023-07-03T14:44:37.793" Score="0" Body="&lt;p&gt;FFmpeg does not support writing multiple sample descriptions for a MP4 track, which is what would be required for codec parameter changes to be signaled.&lt;/p&gt;&#xA;&lt;p&gt;FFmpeg also does not support an encoding session with resolution change except for raw uncompressed video and VP9, IIRC.&lt;/p&gt;&#xA;&lt;p&gt;However, what you can do, is segment the input video(s) at keyframes using the &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-formats.html#segment_002c-stream_005fsegment_002c-ssegment&quot; rel=&quot;nofollow noreferrer&quot;&gt;segment muxer&lt;/a&gt; into MPEG-TS segments. Encode these segments without inserting a scaler to MPEG-TS output segments.&lt;/p&gt;&#xA;&lt;p&gt;Similarly, generate one H264 in MPEG-TS segment for the images.&lt;/p&gt;&#xA;&lt;p&gt;Then concat the outputs together using streamcopy and avc3 tag (&lt;code&gt;-c copy -tag:v avc3&lt;/code&gt;). The final MP4 will have only one track sample description but a compliant decoder should come across the parameter sets at segment boundaries and reset the decoder.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-07-03T14:44:37.793" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36642" PostTypeId="1" CreationDate="2023-07-03T18:46:00.233" Score="0" ViewCount="126" Body="&lt;p&gt;I'm quite new to DaVinci Resolve, so bear with me please. I'm having an issue with deleting gaps in the timeline and ripple deleting.&lt;/p&gt;&#xA;&lt;p&gt;I have a clip in Track 1 that I want to delete, and then remove the gap created by that deletion. The complication comes because further on in the video I have some clips in Track 2 that are overlayed on the clips from Track 1.&lt;/p&gt;&#xA;&lt;p&gt;Whenever I delete the gap created by deleting the clip, the clips in Track 2 are not moving, causing the overlay to appear at the wrong point in the video. This is very frustrating as it pulls pretty much my entire video out of sync. I appreciate any help.&lt;/p&gt;&#xA;&lt;p&gt;Here is a link to a video showing exactly what I mean: &lt;a href=&quot;https://vimeo.com/841960350?share=copy&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vimeo.com/841960350?share=copy&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41746" LastEditorUserId="41746" LastEditDate="2023-07-03T18:56:16.233" LastActivityDate="2023-07-03T18:56:16.233" Title="Deleting gaps does not move clips in other tracks?" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36643" PostTypeId="1" CreationDate="2023-07-04T12:55:36.073" Score="0" ViewCount="75" Body="&lt;p&gt;When I start a UDP stream with ffmpeg on Debian 11 server, I'm trying to transfer this UDP stream to set-top boxes via the Stalker portal. However, when I start watching these UDP streams through VLC or on the set-top box itself, the stream stops after about 5 minutes or so. But ffmpeg on Debian keeps running without any issues. I can observe that the command is running continuously. I think I need to make a configuration on the Debian server to ensure the continuous transmission of this UDP stream, but I couldn't find the right method to apply. What do you think I should try?&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -re -i input.m3u8 -max_muxing_queue_size 9999 -c:v copy -c:a copy -strict experimental -tune zerolatency -b:v 1050k -maxrate 1300k -bufsize 4000k -g 60 -f mpegts &amp;quot;udp://239.100.1.1:5001?pkt_size=1316&amp;quot;&lt;/p&gt;&#xA;" OwnerUserId="41754" LastActivityDate="2023-07-04T12:55:36.073" Title="Broadcast is interrupted while streaming udp with ffmpeg" Tags="|ffmpeg|video|streaming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36644" PostTypeId="1" CreationDate="2023-07-05T08:09:38.470" Score="0" ViewCount="12" Body="&lt;p&gt;My gimbal today went wrong while recording, and while fixing it, I accidentally pressed stop on my camera.  Thus, I have two YouTube videos (&lt;a href=&quot;https://youtu.be/9zg7e0D6m1E&quot; rel=&quot;nofollow noreferrer&quot;&gt;1&lt;/a&gt; and &lt;a href=&quot;https://youtu.be/Z70Pc_Rea6k&quot; rel=&quot;nofollow noreferrer&quot;&gt;2&lt;/a&gt;).  If straightforward, I'd like to concatenate them from within YouTube.&lt;/p&gt;&#xA;&lt;p&gt;I know how to use video editing software on my computer to make a new video, but these are just videos of me practicing Chinese, so they're not majorly important and I'm not keen in juggling large video files just to fix this problem (it can take hours to compile, and uploading videos to YouTube from China requires a VPN which has monthly limits, etc.).  I'm wondering if there's a simple way to do this from within YouTube.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Question&lt;/strong&gt;: Is there a way I can concatenate two of my YouTube videos from within YouTube?&lt;/p&gt;&#xA;&lt;p&gt;I asked &lt;a href=&quot;https://poe.com/Sage&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sage&lt;/a&gt; and it said: &amp;quot;As of 2021, there is no official video editing feature within YouTube itself that allows you to concatenate two of your own YouTube videos.&amp;quot;  I'm not sure if this is accurate, but it's likely if it were possible in some easy way, Sage would point it out.&lt;/p&gt;&#xA;&lt;p&gt;It may just be easiest to leave things as they are.&lt;/p&gt;&#xA;" OwnerUserId="27545" LastActivityDate="2023-07-05T08:09:38.470" Title="Is there a way I can concatenate two of my YouTube videos from within YouTube?" Tags="|youtube|concatenation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36645" PostTypeId="1" CreationDate="2023-07-05T11:56:30.223" Score="0" ViewCount="10" Body="&lt;p&gt;My program generates images with different frame durations. I want to generate a video of them using ffmpeg simultaneously while new images are generated&lt;/p&gt;&#xA;&lt;p&gt;I know how to generate a video using &lt;code&gt;concat&lt;/code&gt; and an input file, but it requires all images to be already generated. Also I know how to work with pipes and &lt;code&gt;stdin&lt;/code&gt; but it seems it doesn't accept different durations for each input image or I couldn't find the flag/option in documentation or internet.&lt;/p&gt;&#xA;&lt;p&gt;So my question is how to combine these 2 approaches to generate video from stream of images with different durations?&lt;/p&gt;&#xA;&lt;p&gt;Best Regards&lt;/p&gt;&#xA;" OwnerUserId="41764" LastActivityDate="2023-07-05T11:56:30.223" Title="Converting updating series of images to video with different durations using ffmpeg" Tags="|ffmpeg|video|conversion|concatenation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36646" PostTypeId="1" CreationDate="2023-07-05T13:59:54.587" Score="1" ViewCount="290" Body="&lt;h2&gt;Source Material&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Having many scenes which essentially are still frames (for many seconds)&lt;/li&gt;&#xA;&lt;li&gt;Commonly found in: Slideshows, Screen Recording or Software Mockup/Prototype&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;✅ This kind of source material &lt;a href=&quot;https://superuser.com/questions/908295/ffmpeg-libx264-how-to-specify-a-variable-frame-rate-but-with-a-maximum/1792778#1792778&quot;&gt;wonderfully shrinks in file size without loosing any extra quality&lt;/a&gt; simply by using &lt;code&gt;ffmpeg&lt;/code&gt; with &lt;code&gt;-vf -mpdecimate -vsync vfr&lt;/code&gt; which decimates duplicate (=still) frames and in consequence makes a variable frame rate video from it.&lt;/p&gt;&#xA;&lt;h2&gt;But what if I have a few scenes which need more/less CFR ?&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The H.264 video throughout the majority of its runtime looks totally fine at CRF 28 (lowest recommended quality)&lt;/li&gt;&#xA;&lt;li&gt;But in the intro I slide in/out a portrait photo, which requires significantly more intra and inter frame compression as in the rest of the video (prototype of a flat design software, compresses really well).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt; How do I encode my intro at CR28, and the rest at CR18, and still get a variable frame rate in my video?&lt;/p&gt;&#xA;" OwnerUserId="35955" LastActivityDate="2024-03-31T15:04:10.460" Title="How to encode scenes with different CRF into a H.264 MP4 video with a variable frame rate?" Tags="|ffmpeg|encoding|video-quality|framerate|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36647" PostTypeId="2" ParentId="36646" CreationDate="2023-07-05T13:59:54.587" Score="0" Body="&lt;h1&gt;TL;DR&lt;/h1&gt;&#xA;&lt;h2&gt;Correct Approach&lt;/h2&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;strong&gt;Pick up the necessary scenes&lt;/strong&gt; of videos with &lt;code&gt;ffmpeg&lt;/code&gt; 's &lt;strong&gt;time related arguments&lt;/strong&gt; &lt;code&gt;-ss&lt;/code&gt; in-point, &lt;code&gt;-t&lt;/code&gt; duration and &lt;code&gt;-to&lt;/code&gt; out-point before the &lt;code&gt;-i&lt;/code&gt; input argument and encode each such scene with your desired CRF and with VFR (see question above) as a &lt;strong&gt;standalone intermediary clip&lt;/strong&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Then &lt;code&gt;-f concat&lt;/code&gt; your scenes (same dimension, same codec, variable framerate (inherently different!), different CRF) together and use &lt;code&gt;-movflags faststart&lt;/code&gt; to be streaming compatible.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Full ffmpeg command lines for steps 1+2 in detail section below.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Playback of video file&lt;/h2&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;From ffmpeg 5.1.2:** on macOS 11 Big Sur&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;✅ &lt;strong&gt;QuickLook&lt;/strong&gt;, &lt;strong&gt;QuickTime Player&lt;/strong&gt;  10.5, &lt;strong&gt;mpv&lt;/strong&gt; 0.35.0 — Play back fine.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;❌ &lt;strong&gt;VLC&lt;/strong&gt;: The variant with intro and main part both having VFR does not play back fine! Audio remains in sync throughout the video. But during the intro the portrait photo slide in gets stuck along the way and then from that position slides out later, and then when the main part starts, the video stream recovers and resumes correctly.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt; &lt;strong&gt;Maximum compatibility solution&lt;/strong&gt;: Intro part with fixed frame rate and start with variable frame rates only in the main part.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;To visually debug/inspect your resulting video files&lt;/h3&gt;&#xA;&lt;p&gt;ℹ️ &lt;a href=&quot;https://github.com/mpv-player/mpv/issues/3428#issuecomment-240394048&quot; rel=&quot;nofollow noreferrer&quot;&gt;mpv can display frame numbers in its On Screen Display&lt;/a&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;To your &lt;code&gt;~/.config/mpv/mpv.conf&lt;/code&gt; add the following line: &lt;code&gt;osd-status-msg=${playback-time/full} / ${duration} (${percent-pos}%)\nframe: ${estimated-frame-number} / ${estimated-frame-count}&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;Play back your video file and press &lt;a href=&quot;https://mpv.io/manual/stable/#keyboard-control&quot; rel=&quot;nofollow noreferrer&quot;&gt;hotkey&lt;/a&gt; &lt;code&gt;⇧-O&lt;/code&gt; to toggle OSD on/off.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Wrong Approach&lt;/h2&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Encode full video with VFR once as CR18, once as CR28.&lt;/li&gt;&#xA;&lt;li&gt;Concat intro with inpoint/outpoint from CR18, followed by main part as CR28 with inpoint being outro's outpoint.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;❌ &lt;strong&gt;Fail&lt;/strong&gt;: Concat's inpoint/outpoint/duration functions seem to not work correctly with VFR sources. Result:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Video track: Intro played twice. That by itself is already inacceptable.&lt;/li&gt;&#xA;&lt;li&gt;Worse: Audio plays continously, so after the outro is out of sync.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h1&gt;Details&lt;/h1&gt;&#xA;&lt;h2&gt;Correct Approach&lt;/h2&gt;&#xA;&lt;h4&gt;Creating the intro&lt;/h4&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg \&#xA;-to 00:06.300 \ # The intro lasts til 6secs and .300 fractions&#xA;-i VID.m4v \&#xA;\&#xA;-movflags faststart \&#xA;-c:v libx264 -preset veryslow -crf 18 \&#xA;-vf mpdecimate -vsync vfr \&#xA;\&#xA;VID-intro-CR18-vfr.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h4&gt;Creating the main part&lt;/h4&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg \&#xA;-ss 00:06.300 \  # The main part starts when the intro ends.&#xA;-t 30s \         # Duration limited to -t 30s (seconds) during testing. Omit for real run.&#xA;-i VID.m4v \&#xA;\&#xA;-movflags faststart \&#xA;-c:v libx264 -preset veryslow -crf 28 \&#xA;-vf mpdecimate -vsync vfr \&#xA;\&#xA;VID-main-from-intro-endpoint-for-30secs-CR28-vfr.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h3&gt;Creating concatenation instructions&lt;/h3&gt;&#xA;&lt;p&gt;assembly.txt&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file VID-intro-CR18-vfr.mp4&#xA;file VID-main-from-intro-endpoint-CR28-vfr.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h3&gt;Running concatenation&lt;/h3&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -f concat -i assembly.txt -c copy -movflags faststart \&#xA;VID--intro-CR18-vfr--main-CR28-vfr.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Resulting file plays back fine.&lt;/p&gt;&#xA;&lt;p&gt;Processing throws only two &amp;quot;Non-monotonous DTS in output stream&amp;quot; warning messages.&#xA;That seems to be the timecode correction before/after the stitching point between intro and main part:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fd44a005580] Auto-inserting h264_mp4toannexb bitstream filter&#xA;[mp4 @ 0x7fd44a007b00] Non-monotonous DTS in output stream 0:0; previous: 95589, current: 25445; changing to 95590. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fd44a007b00] Non-monotonous DTS in output stream 0:1; previous: 278528, current: 277830; changing to 278529. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fd44a007b00] Starting second pass: moving the moov atom to the beginning of the file&#xA;frame=  467 fps=0.0 q=-1.0 Lsize=    1898kB time=00:00:36.32 bitrate= 428.0kbits/s speed=1.04e+03x&#xA;video:1311kB audio:566kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.112216%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;With a high probability your &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#Syntax:%7E:text=inpoint%20timestamp&quot; rel=&quot;nofollow noreferrer&quot;&gt;timecode will get some auto correction&lt;/a&gt; at the stitching point(s), as the cuts most likely will not occur at a keyframes but at interframes. I guess the warning message just told us that.&lt;/p&gt;&#xA;&lt;h2&gt;Wrong Approach&lt;/h2&gt;&#xA;&lt;h3&gt;Concatenation instructions by copying out the scenes from full length VFR videos encoded at different CRFs&lt;/h3&gt;&#xA;&lt;p&gt;assembly.txt&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file VID-CR18-vfr.mp4&#xA;inpoint 00:00&#xA;outpoint 00:06.300&#xA;&#xA;file VID-CR28-vfr.mp4&#xA;inpoint 00:06.300&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The resulting file has issues (see above).&lt;/p&gt;&#xA;&lt;p&gt;The warning message &amp;quot;Non-monotonous DTS in output stream&amp;quot; occurs ~450 times for a 49min video. Exceprt (with &amp;quot;...&amp;quot; omissions):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441344, current: 0; changing to 441345. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441345, current: 1024; changing to 441346. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441346, current: 2048; changing to 441347. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441347, current: 3072; changing to 441348. This may result in incorrect timestamps in the output file.&#xA;&#xA;...&#xA;&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441364, current: 20480; changing to 441365. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441365, current: 21504; changing to 441366. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:0; previous: 95077, current: -7835; changing to 95078. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441366, current: 22528; changing to 441367. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441367, current: 23552; changing to 441368. This may result in incorrect timestamps in the output file.&#xA;&#xA;...&#xA;&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441385, current: 41984; changing to 441386. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441386, current: 43008; changing to 441387. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:0; previous: 95078, current: -155; changing to 95079. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441387, current: 44032; changing to 441388. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441388, current: 45056; changing to 441389. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:0; previous: 95079, current: 357; changing to 95080. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441389, current: 46080; changing to 441390. This may result in incorrect timestamps in the output file.&#xA;&#xA;...&#xA;&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441773, current: 439296; changing to 441774. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441774, current: 440320; changing to 441775. This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 0x7fecd573b440] Non-monotonous DTS in output stream 0:1; previous: 441775, current: 441344; changing to 441776. This may result in incorrect timestamps in the output file.&#xA;frame=38540 fps=38539 q=-1.0 size=   56832kB time=00:42:38.23 bitrate= 182.0kbits/s speed=2.56e+03x  frame=44130 fps=38101 q=-1.0 Lsize=   68207kB time=00:49:27.67 bitrate= 188.3kbits/s speed=2.56e+03x    &#xA;video:20486kB audio:45963kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 2.645229%&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="35955" LastActivityDate="2023-07-05T13:59:54.587" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36648" PostTypeId="2" ParentId="36640" CreationDate="2023-07-05T14:30:00.563" Score="0" Body="&lt;p&gt;In case anyone ever needs it, this worked out for me, the combination of split filter and map.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-filter_complex &amp;quot;[0:1]asplit=4[1:1][1:3][1:5][1:7];[0:2]asplit=4[2:2][2:4][2:6][2:8]&amp;quot;&#xA;&#xA;-map 0:v:0 -map &amp;quot;[1:1]&amp;quot; -map &amp;quot;[2:2]&amp;quot; -map &amp;quot;[1:3]&amp;quot; -map &amp;quot;[2:4]&amp;quot; -map &amp;quot;[1:5]&amp;quot; -map &amp;quot;[2:6]&amp;quot; -map &amp;quot;[1:7]&amp;quot; -map &amp;quot;[2:8]&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The whole command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i &amp;lt;input_2_tracks&amp;gt;.mxf -filter_complex \&#xA;&amp;quot;[0:1]asplit=4[1:1][1:3][1:5][1:7];[0:2]asplit=4[2:2][2:4][2:6][2:8]&amp;quot; \&#xA;-map 0:v:0 -map &amp;quot;[1:1]&amp;quot; -map &amp;quot;[2:2]&amp;quot; -map &amp;quot;[1:3]&amp;quot; -map &amp;quot;[2:4]&amp;quot; -map &amp;quot;[1:5]&amp;quot; \&#xA;-map &amp;quot;[2:6]&amp;quot; -map &amp;quot;[1:7]&amp;quot; -map &amp;quot;[2:8]&amp;quot; \&#xA;-c:v copy -c:a pcm_s24le -ar 48000 &amp;lt;output_8_tracks&amp;gt;.mxf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This will take input with any number of tracks and copy the first two tracks into the eight tracks in the output file. The &lt;code&gt;asplit&lt;/code&gt; arguments &lt;code&gt;[1:1][1:3]&lt;/code&gt; etc. may be named arbitrarily.&lt;/p&gt;&#xA;" OwnerUserId="41742" LastEditorUserId="27573" LastEditDate="2023-09-24T16:35:34.243" LastActivityDate="2023-09-24T16:35:34.243" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36649" PostTypeId="1" CreationDate="2023-07-06T00:59:15.753" Score="0" ViewCount="11" Body="&lt;p&gt;I dragged a clip file to the timeline, and it was given a caption as the file name.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to view the source directory of a clip? I can't find it on the properties.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to always view it?&lt;/p&gt;&#xA;&lt;p&gt;Motivation: I have a bunch of clips with the same name that differ by their directories.&lt;/p&gt;&#xA;&lt;p&gt;Possible solution: write a python script that for each chain in the xml (.mlt) sets the caption as the resource property.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Related: when moving a source clip to a different location, is editing the xml the only way to update it?&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Not many questions are posted on Shotcut here. I posted the same question on their forum.&lt;/p&gt;&#xA;" OwnerUserId="29535" LastEditorUserId="29535" LastEditDate="2023-07-06T23:34:40.843" LastActivityDate="2023-07-06T23:34:40.843" Title="View source path" Tags="|shotcut|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36650" PostTypeId="1" CreationDate="2023-07-06T20:05:28.847" Score="0" ViewCount="16" Body="&lt;p&gt;ffmpeg produced freezed frames in joining multiple videos&#xA;(either using GPU or not same results).&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -loglevel 99 -hwaccel_output_format vaapi  -vaapi_device&#xA; /dev/dri/renderD128  -f concat -safe 0 -i &amp;quot;./vids.txt&amp;quot;   -c:v libx265&#xA; -x265-params  crf=18  -pix_fmt yuvj420p -vf&#xA; &amp;quot;eq=brightness=0.2:contrast=0.7:saturation=1:gamma=1&amp;quot;    -fps_mode vfr&#xA; -fflags  +genpts  vid_output.mp4&#xA; ffmpeg version 5.1.3-1 Copyright (c) 2000-2022 the FFmpeg developers&#xA; built with gcc 12 (Debian 12.2.0-14)&#xA; configuration: --prefix=/usr --extra-version=1 --toolchain=hardened&#xA; --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu&#xA; --arch=amd64 --enable-gpl --disable-stripping --enable-gnutls --enable-&#xA; ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b&#xA; --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libdav1d&#xA; --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-&#xA; libfribidi --enable-libglslang --enable-libgme --enable-libgsm --enable-&#xA; libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg&#xA; --enable-libopenmpt --enable-libopus --enable-libpulse --enable-&#xA; librabbitmq --enable-librist --enable-librubberband --enable-libshine&#xA; --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libsrt&#xA; --enable-libssh --enable-libsvtav1 --enable-libtheora --enable-libtwolame&#xA; --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp&#xA; --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzimg&#xA; --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal&#xA; --enable-opencl --enable-opengl --enable-sdl2 --disable-sndio --enable-&#xA; libjxl --enable-pocketsphinx --enable-librsvg --enable-libmfx --enable-&#xA; libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint&#xA; --enable-frei0r --enable-libx264 --enable-libplacebo --enable-librav1e&#xA; --enable-shared&#xA; libavutil      57. 28.100 / 57. 28.100&#xA; libavcodec     59. 37.100 / 59. 37.100&#xA; libavformat    59. 27.100 / 59. 27.100&#xA; libavdevice    59.  7.100 / 59.  7.100&#xA; libavfilter     8. 44.100 /  8. 44.100&#xA; libswscale      6.  7.100 /  6.  7.100&#xA; libswresample   4.  7.100 /  4.  7.100&#xA; libpostproc    56.  6.100 / 56.  6.100&#xA; }}}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;videos here for 7 days: (vid1 + vid2 = vid_output.mp4)&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://wetransfer.com/downloads/16f8b0f60d92369886c11b940f4d404520230706113434/953d45d2eb7bde0e8664630c0ae640a120230706113445/e72977?trk=TRN_TDL_01&amp;amp;utm_campaign=TRN_TDL_01&amp;amp;utm_medium=email&amp;amp;utm_source=sendgrid&quot; rel=&quot;nofollow noreferrer&quot;&gt;link for videos with vid output&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://file.io/mTUgPSUpi19f&quot; rel=&quot;nofollow noreferrer&quot;&gt;link for full ffmpeg log&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="30052" LastEditorUserId="30052" LastEditDate="2023-07-06T20:13:03.390" LastActivityDate="2023-07-06T20:13:03.390" Title="ffmpeg produced freezed frames in joining multiple videos" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36652" PostTypeId="1" CreationDate="2023-07-07T22:42:20.060" Score="0" ViewCount="146" Body="&lt;p&gt;I have two effects on a clip where I have to apply motion tracking to their respective masks. Gaussian Blur and Lumetri Color, respectively.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/29elc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/29elc.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But I have a large number of clips I have to apply these to, and I would like to know if there's a way to copy the keyframes from one mask, to the other within the same clip. They are both tracking the same object. So it would cut my time almost in half if I could just run the motion tracker in one effect mask, and then just use those keyframes for the other.&lt;/p&gt;&#xA;&lt;p&gt;So far, I haven't been able to find a way to do this. Standard Copy and Paste just lets me move the keyframes around the same timeline of the effect mask it originated from.&lt;/p&gt;&#xA;" OwnerUserId="41779" LastActivityDate="2023-07-07T22:42:20.060" Title="Can I Copy/Paste Keyframes from one Mask Effect into Another in Premiere Pro 2023?" Tags="|keyframes|mask|premiere-pro|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36653" PostTypeId="1" CreationDate="2023-07-08T15:02:58.710" Score="0" ViewCount="48" Body="&lt;p&gt;Hello dear ffmpeg experts!  &lt;/p&gt;&#xA;&lt;p&gt;I ran the following command, which worked perfectly:&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -protocol_whitelist https,concat,tls,tcp -i &amp;quot;concat:&lt;a href=&quot;https://dash.akamaized.net/akamai/bbb_30fps/bbb_30fps_1280x720_4000k/bbb_30fps_1280x720_4000k_0.m4v%7Chttps://dash.akamaized.net/akamai/bbb_30fps/bbb_30fps_1280x720_4000k/bbb_30fps_1280x720_4000k_1.m4v%7Chttps://dash.akamaized.net/akamai/bbb_30fps/bbb_30fps_1280x720_4000k/bbb_30fps_1280x720_4000k_2.m4v%22&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://dash.akamaized.net/akamai/bbb_30fps/bbb_30fps_1280x720_4000k/bbb_30fps_1280x720_4000k_0.m4v|https://dash.akamaized.net/akamai/bbb_30fps/bbb_30fps_1280x720_4000k/bbb_30fps_1280x720_4000k_1.m4v|https://dash.akamaized.net/akamai/bbb_30fps/bbb_30fps_1280x720_4000k/bbb_30fps_1280x720_4000k_2.m4v&amp;quot;&lt;/a&gt; -c:v copy -vframes 180 -y Movie_of_6_seconds.mp4&lt;/p&gt;&#xA;&lt;p&gt;I followed the recommended solution of the following post:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://stackoverflow.com/questions/76641562/how-to-concatenate-two-mp4-files-which-require-http-basic-authorization-bearer&quot;&gt;https://stackoverflow.com/questions/76641562/how-to-concatenate-two-mp4-files-which-require-http-basic-authorization-bearer&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can execute the command on your local computer and see that it should run just fine...&lt;/p&gt;&#xA;&lt;p&gt;I used 3. concat protocol, which does indeed concat init + progressive segments&lt;/p&gt;&#xA;&lt;p&gt;However... when every segment on a server I refer to, is password protected, it fails with 401 Unauthorized, even though I added the following line: -headers &amp;quot;Authorization: Bearer bas64user:password&amp;quot; , before specifying the -i &amp;quot;concat:...&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;It seems to me... that the headers don't pass to the concat command inside of the input of ffmpeg... and it simply ignores them. When I used the same -headers command, on a single file, without concat, it passed the authorization successfully&lt;/p&gt;&#xA;&lt;p&gt;Notes:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Even though every segment has a length of 120 frames (So in maximum, I could have generated 2*120 = 240 frames... I wanted a movie of 6 seconds and not 8... And by this way, to test that ffmpeg is smart enough to stop processing the whole input). To do that, I used -vframes 180, where 180 / 30 (FPS) = 6 seconds&lt;/li&gt;&#xA;&lt;li&gt;I used -c:v copy, to get without re-encoding, only the video part (No audio!)&lt;/li&gt;&#xA;&lt;li&gt;I used -y to override existing file...&lt;/li&gt;&#xA;&lt;li&gt;0.m4v, is the init file! it is a small file, that has metadata of the original video which was produced with mpeg-dash&lt;/li&gt;&#xA;&lt;li&gt;1.m4v and 2.m4v, are the progressive segments&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Is there a way, to pass the http basic headers (Authorization: Bearer) to all of the chained files?&lt;/p&gt;&#xA;&lt;p&gt;Like:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Via a json content type on the ffmpeg request&lt;/li&gt;&#xA;&lt;li&gt;Or user:password@video_segment (Although... it seems to me it's not a header?)&lt;/li&gt;&#xA;&lt;li&gt;Somehow specify header inside the concat command?&#xA;I don't want to first download all files and then get rid of the password protected... as it both takes ridiculous time &amp;amp; other resources... and I would like to record from a segment that is &amp;quot;endless&amp;quot;, meaning a camera that keeps streaming data.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Thanks in advance ,&lt;/p&gt;&#xA;&lt;p&gt;FFmpeg noobie &lt;/p&gt;&#xA;" OwnerUserId="41787" LastActivityDate="2023-07-08T15:02:58.710" Title="How to concatenate two MP4 files, which require http basic Authorization: Bearer &lt;base64,user:password&gt;, using ffmpeg?" Tags="|ffmpeg|mpeg-dash|concatenation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36654" PostTypeId="1" CreationDate="2023-07-08T15:46:35.690" Score="0" ViewCount="36" Body="&lt;p&gt;ffmpeg fails to merge two video of different orientation.&#xA;See my bug  &lt;a href=&quot;https://trac.ffmpeg.org/ticket/10449&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Two videos - one horizontally and one vertically. Trying to merge them using ffmpeg produce freeze frames and &amp;quot;No start code is found.&amp;quot; or &amp;quot;Error splitting the input into NAL units.&amp;quot; or &amp;quot;Error while decoding stream #0:0: Invalid data found when processing input&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;By changing &amp;quot;rotation&amp;quot; using ffmpeg, in metadata only, same results.&lt;/p&gt;&#xA;&lt;p&gt;So what is the proper way to encode two videos of different orientation without producing freeze frames in linux?&lt;/p&gt;&#xA;" OwnerUserId="30052" LastActivityDate="2023-07-08T15:46:35.690" Title="ffmpeg - how to encode two videos of different orientation without producing freeze frames in linux?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36655" PostTypeId="1" CreationDate="2023-07-08T17:39:07.487" Score="0" ViewCount="79" Body="&lt;p&gt;using ffmpeg, using ffmpeg, how to concetrate multiple videos into one, but audio will be sync per video in linux?&lt;/p&gt;&#xA;&lt;p&gt;I have tried async, vsync, atempo but i dont know how make ffmpeg to autosync audio for each video.&lt;/p&gt;&#xA;&lt;p&gt;In other words, how to match audio with video frame rate in each video independently when framerate is different in each video, otherwise freeze frames are produced. If -an parameter is specified no freeze frames exists  in video output.&lt;/p&gt;&#xA;&lt;p&gt;I found that tuning atempo can match video duration. How i can making work automatically in each video?&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg  -f concat -safe 0 -i &amp;quot;./vids.txt&amp;quot;  -c:v libx265   -video_track_timescale 90000    -x265-params  crf=18  -pix_fmt yuvj420p    -af atempo=1.1     vid_outatempo1_1.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;video 1&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name :&#xA;/mnt/temp_dir/v1_tyes.mp4&#xA;Format :&#xA;MPEG-4&#xA;Format profile :&#xA;Base Media&#xA;Codec ID :&#xA;isom (isom/iso2/mp41)&#xA;File size :&#xA;94.3 MiB&#xA;Duration :&#xA;49 s 174 ms&#xA;Overall bit rate :&#xA;16.1 Mb/s&#xA;Frame rate :&#xA;29.480 FPS&#xA;Writing application :&#xA;Lavf59.27.100&#xA;Video&#xA;ID :&#xA;1&#xA;Format :&#xA;HEVC&#xA;Format/Info :&#xA;High Efficiency Video Coding&#xA;Format profile :&#xA;Main@L4@Main&#xA;Codec ID :&#xA;hev1&#xA;Codec ID/Info :&#xA;High Efficiency Video Coding&#xA;Duration :&#xA;49 s 153 ms&#xA;Bit rate :&#xA;16.0 Mb/s&#xA;Width :&#xA;1 920 pixels&#xA;Height :&#xA;1 080 pixels&#xA;Display aspect ratio :&#xA;16:9&#xA;Frame rate mode :&#xA;Variable&#xA;Frame rate :&#xA;29.480 FPS&#xA;Minimum frame rate :&#xA;14.750 FPS&#xA;Maximum frame rate :&#xA;29.500 FPS&#xA;Original frame rate :&#xA;29.500 FPS&#xA;Color space :&#xA;YUV&#xA;Chroma subsampling :&#xA;4:2:0 (Type 0)&#xA;Bit depth :&#xA;8 bits&#xA;Scan type :&#xA;Progressive&#xA;Bits/(Pixel*Frame) :&#xA;0.262&#xA;Stream size :&#xA;93.8 MiB (100%)&#xA;Title :&#xA;VideoHandle&#xA;Writing library :&#xA;x265 3.5+1-f0c1022b6:[Linux][GCC 12.2.0][64 bit] 8bit+10bit+12bit&#xA;Encoding settings :&#xA;cpuid=1111039 / frame-threads=4 / wpp / no-pmode / no-pme / no-psnr / no-ssim / log-level=2 / input-csp=1 / input-res=1920x1080 / interlace=0 / total-frames=0 / level-idc=0 / high-tier=1 / uhd-bd=0 / ref=3 / no-allow-non-conformance / no-repeat-headers / annexb / no-aud / no-hrd / info / hash=0 / no-temporal-layers / open-gop / min-keyint=25 / keyint=250 / gop-lookahead=0 / bframes=4 / b-adapt=2 / b-pyramid / bframe-bias=0 / rc-lookahead=20 / lookahead-slices=6 / scenecut=40 / hist-scenecut=0 / radl=0 / no-splice / no-intra-refresh / ctu=64 / min-cu-size=8 / no-rect / no-amp / max-tu-size=32 / tu-inter-depth=1 / tu-intra-depth=1 / limit-tu=0 / rdoq-level=0 / dynamic-rd=0.00 / no-ssim-rd / signhide / no-tskip / nr-intra=0 / nr-inter=0 / no-constrained-intra / strong-intra-smoothing / max-merge=3 / limit-refs=1 / no-limit-modes / me=1 / subme=2 / merange=57 / temporal-mvp / no-frame-dup / no-hme / weightp / no-weightb / no-analyze-src-pics / deblock=0:0 / sao / no-sao-non-deblock / rd=3 / selective-sao=4 / early-skip / rskip / no-fast-intra / no-tskip-fast / no-cu-lossless / b-intra / no-splitrd-skip / rdpenalty=0 / psy-rd=2.00 / psy-rdoq=0.00 / no-rd-refine / no-lossless / cbqpoffs=0 / crqpoffs=0 / rc=crf / crf=18.0 / qcomp=0.60 / qpstep=4 / stats-write=0 / stats-read=0 / ipratio=1.40 / pbratio=1.30 / aq-mode=2 / aq-strength=1.00 / cutree / zone-count=0 / no-strict-cbr / qg-size=32 / no-rc-grain / qpmax=69 / qpmin=0 / no-const-vbv / sar=1 / overscan=0 / videoformat=5 / range=1 / colorprim=5 / transfer=2 / colormatrix=2 / chromaloc=1 / chromaloc-top=0 / chromaloc-bottom=0 / display-window=0 / cll=0,0 / min-luma=0 / max-luma=255 / log2-max-poc-lsb=8 / vui-timing-info / vui-hrd-info / slices=1 / no-opt-qp-pps / no-opt-ref-list-length-pps / no-multi-pass-opt-rps / scenecut-bias=0.05 / hist-threshold=0.03 / no-opt-cu-delta-qp / no-aq-motion / no-hdr10 / no-hdr10-opt / no-dhdr10-opt / no-idr-recovery-sei / analysis-reuse-level=0 / analysis-save-reuse-level=0 / analysis-load-reuse-level=0 / scale-factor=0 / refine-intra=0 / refine-inter=0 / refine-mv=1 / refine-ctu-distortion=0 / no-limit-sao / ctu-info=0 / no-lowpass-dct / refine-analysis-type=0 / copy-pic=1 / max-ausize-factor=1.0 / no-dynamic-refine / no-single-sei / no-hevc-aq / no-svt / no-field / qp-adaptation-range=1.00 / scenecut-aware-qp=0conformance-window-offsets / right=0 / bottom=0 / decoder-max-rate=0 / no-vbv-live-multi-pass&#xA;Language :&#xA;English&#xA;Color range :&#xA;Full&#xA;Color primaries :&#xA;BT.601 PAL&#xA;Codec configuration box :&#xA;hvcC&#xA;Audio&#xA;ID :&#xA;2&#xA;Format :&#xA;AAC LC&#xA;Format/Info :&#xA;Advanced Audio Codec Low Complexity&#xA;Codec ID :&#xA;mp4a-40-2&#xA;Duration :&#xA;49 s 174 ms&#xA;Source duration :&#xA;49 s 195 ms&#xA;Bit rate mode :&#xA;Constant&#xA;Bit rate :&#xA;69.5 kb/s&#xA;Channel(s) :&#xA;1 channel&#xA;Channel layout :&#xA;M&#xA;Sampling rate :&#xA;48.0 kHz&#xA;Frame rate :&#xA;46.875 FPS (1024 SPF)&#xA;Compression mode :&#xA;Lossy&#xA;Stream size :&#xA;417 KiB (0%)&#xA;Source stream size :&#xA;417 KiB (0%)&#xA;Title :&#xA;SoundHandle&#xA;Language :&#xA;English&#xA;Default :&#xA;Yes&#xA;Alternate group :&#xA;1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;video 2&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name :&#xA;/mnt/temp_dir/v2_h265.mp4&#xA;Format :&#xA;MPEG-4&#xA;Format profile :&#xA;Base Media&#xA;Codec ID :&#xA;isom (isom/iso2/mp41)&#xA;File size :&#xA;36.3 MiB&#xA;Duration :&#xA;54 s 763 ms&#xA;Overall bit rate :&#xA;5 554 kb/s&#xA;Frame rate :&#xA;29.529 FPS&#xA;Writing application :&#xA;Lavf59.27.100&#xA;Video&#xA;ID :&#xA;1&#xA;Format :&#xA;HEVC&#xA;Format/Info :&#xA;High Efficiency Video Coding&#xA;Format profile :&#xA;Main@L4@Main&#xA;Codec ID :&#xA;hev1&#xA;Codec ID/Info :&#xA;High Efficiency Video Coding&#xA;Duration :&#xA;54 s 727 ms&#xA;Bit rate :&#xA;5 478 kb/s&#xA;Width :&#xA;1 920 pixels&#xA;Height :&#xA;1 080 pixels&#xA;Display aspect ratio :&#xA;16:9&#xA;Frame rate mode :&#xA;Variable&#xA;Frame rate :&#xA;29.529 FPS&#xA;Minimum frame rate :&#xA;9.861 FPS&#xA;Maximum frame rate :&#xA;29.583 FPS&#xA;Original frame rate :&#xA;29.583 FPS&#xA;Color space :&#xA;YUV&#xA;Chroma subsampling :&#xA;4:2:0 (Type 0)&#xA;Bit depth :&#xA;8 bits&#xA;Scan type :&#xA;Progressive&#xA;Bits/(Pixel*Frame) :&#xA;0.089&#xA;Stream size :&#xA;35.7 MiB (99%)&#xA;Title :&#xA;VideoHandle&#xA;Writing library :&#xA;x265 3.5+1-f0c1022b6:[Linux][GCC 12.2.0][64 bit] 8bit+10bit+12bit&#xA;Encoding settings :&#xA;cpuid=1111039 / frame-threads=4 / wpp / no-pmode / no-pme / no-psnr / no-ssim / log-level=2 / input-csp=1 / input-res=1920x1080 / interlace=0 / total-frames=0 / level-idc=0 / high-tier=1 / uhd-bd=0 / ref=3 / no-allow-non-conformance / no-repeat-headers / annexb / no-aud / no-hrd / info / hash=0 / no-temporal-layers / open-gop / min-keyint=25 / keyint=250 / gop-lookahead=0 / bframes=4 / b-adapt=2 / b-pyramid / bframe-bias=0 / rc-lookahead=20 / lookahead-slices=6 / scenecut=40 / hist-scenecut=0 / radl=0 / no-splice / no-intra-refresh / ctu=64 / min-cu-size=8 / no-rect / no-amp / max-tu-size=32 / tu-inter-depth=1 / tu-intra-depth=1 / limit-tu=0 / rdoq-level=0 / dynamic-rd=0.00 / no-ssim-rd / signhide / no-tskip / nr-intra=0 / nr-inter=0 / no-constrained-intra / strong-intra-smoothing / max-merge=3 / limit-refs=1 / no-limit-modes / me=1 / subme=2 / merange=57 / temporal-mvp / no-frame-dup / no-hme / weightp / no-weightb / no-analyze-src-pics / deblock=0:0 / sao / no-sao-non-deblock / rd=3 / selective-sao=4 / early-skip / rskip / no-fast-intra / no-tskip-fast / no-cu-lossless / b-intra / no-splitrd-skip / rdpenalty=0 / psy-rd=2.00 / psy-rdoq=0.00 / no-rd-refine / no-lossless / cbqpoffs=0 / crqpoffs=0 / rc=crf / crf=18.0 / qcomp=0.60 / qpstep=4 / stats-write=0 / stats-read=0 / ipratio=1.40 / pbratio=1.30 / aq-mode=2 / aq-strength=1.00 / cutree / zone-count=0 / no-strict-cbr / qg-size=32 / no-rc-grain / qpmax=69 / qpmin=0 / no-const-vbv / sar=1 / overscan=0 / videoformat=5 / range=1 / colorprim=5 / transfer=2 / colormatrix=2 / chromaloc=1 / chromaloc-top=0 / chromaloc-bottom=0 / display-window=0 / cll=0,0 / min-luma=0 / max-luma=255 / log2-max-poc-lsb=8 / vui-timing-info / vui-hrd-info / slices=1 / no-opt-qp-pps / no-opt-ref-list-length-pps / no-multi-pass-opt-rps / scenecut-bias=0.05 / hist-threshold=0.03 / no-opt-cu-delta-qp / no-aq-motion / no-hdr10 / no-hdr10-opt / no-dhdr10-opt / no-idr-recovery-sei / analysis-reuse-level=0 / analysis-save-reuse-level=0 / analysis-load-reuse-level=0 / scale-factor=0 / refine-intra=0 / refine-inter=0 / refine-mv=1 / refine-ctu-distortion=0 / no-limit-sao / ctu-info=0 / no-lowpass-dct / refine-analysis-type=0 / copy-pic=1 / max-ausize-factor=1.0 / no-dynamic-refine / no-single-sei / no-hevc-aq / no-svt / no-field / qp-adaptation-range=1.00 / scenecut-aware-qp=0conformance-window-offsets / right=0 / bottom=0 / decoder-max-rate=0 / no-vbv-live-multi-pass&#xA;Language :&#xA;English&#xA;Color range :&#xA;Full&#xA;Color primaries :&#xA;BT.601 PAL&#xA;Codec configuration box :&#xA;hvcC&#xA;Audio&#xA;ID :&#xA;2&#xA;Format :&#xA;AAC LC&#xA;Format/Info :&#xA;Advanced Audio Codec Low Complexity&#xA;Codec ID :&#xA;mp4a-40-2&#xA;Duration :&#xA;54 s 763 ms&#xA;Source duration :&#xA;54 s 784 ms&#xA;Bit rate mode :&#xA;Constant&#xA;Bit rate :&#xA;70.0 kb/s&#xA;Channel(s) :&#xA;1 channel&#xA;Channel layout :&#xA;M&#xA;Sampling rate :&#xA;48.0 kHz&#xA;Frame rate :&#xA;46.875 FPS (1024 SPF)&#xA;Compression mode :&#xA;Lossy&#xA;Stream size :&#xA;468 KiB (1%)&#xA;Source stream size :&#xA;468 KiB (1%)&#xA;Title :&#xA;SoundHandle&#xA;Language :&#xA;English&#xA;Default :&#xA;Yes&#xA;Alternate group :&#xA;1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My tries failed - either 2nd video audio is truncuated, or video is truncuated or produce freezed frames.&lt;/p&gt;&#xA;" OwnerUserId="30052" LastEditorUserId="30052" LastEditDate="2023-07-08T18:04:18.237" LastActivityDate="2024-04-03T20:06:10.713" Title="using ffmpeg, how to concetrate multiple videos into one, but audio will be sync per video in linux?" Tags="|ffmpeg|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36656" PostTypeId="2" ParentId="36655" CreationDate="2023-07-08T18:21:24.683" Score="0" Body="&lt;p&gt;UPDATE:&#xA;Finally, fixing frame rates to 30 for each video, as well fixing audio encoder,&#xA;&lt;code&gt;ffmpeg  -i v1.mp4 -strict -2 -c:v libx265   -video_track_timescale 90000   -vf fps=30   -x265-params  crf=18   -pix_fmt yuvj420p -c:a flac -ar 48000  -b:a 64k   v2_same.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;then concetrated them without rencoding them, solved my problem&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg  -f concat  -safe 0 -i './vids.txt'  -strict -2  -c copy  -fflags  +genpts output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;However, I feel that ffmpeg must provide an option to &amp;quot;fix frame rate to audio sync&amp;quot; without needing to run a second ffmpeg to concentrate them.&lt;/p&gt;&#xA;" OwnerUserId="30052" LastActivityDate="2023-07-08T18:21:24.683" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36657" PostTypeId="1" CreationDate="2023-07-09T08:33:16.003" Score="0" ViewCount="107" Body="&lt;p&gt;I'm a newbie and watched some tutorials but I couldn't do what I want to achieve. I'm not even sure if it's actually possible.&lt;/p&gt;&#xA;&lt;p&gt;Consider I have a video clip. Then I want to blur it. Then I want to add a text title on it say &amp;quot;HELLO&amp;quot;. I can easily do it using Fusion nodes. And here's how I do it:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/W4gzc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/W4gzc.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Now, what I want is this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/VZl6N.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VZl6N.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;OR even this (manual mask for specific shape):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BRloc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BRloc.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Basically, it's the video clip, the blur effect and the text (certain portion of text) to be cropped according to any type of mask. A circle mask in this case.&lt;/p&gt;&#xA;&lt;p&gt;One way would be create individual masks for the clip, for blur effect and lastly one for text and then put them together. I don't want to do that.&lt;/p&gt;&#xA;&lt;p&gt;I just think that maybe it's possible to do with a single mask in the end. Something like we do in Premiere Pro where you could Nest everything and then crop/mask it.&lt;/p&gt;&#xA;" OwnerUserId="12245" LastActivityDate="2023-07-09T08:33:16.003" Title="How to create a mask on multiple objects/effects in Davinci Resolve Fusion?" Tags="|davinci-resolve|fusion|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36659" PostTypeId="1" CreationDate="2023-07-03T23:15:50.313" Score="0" ViewCount="17" Body="&lt;p&gt;I've been scraping the internet for this topic in general for so long and it's reeeally hard to find a lot online even though it can be so prevalent in 2d animation. There's your basic banana pans and other panoramic/curvilinear layouts that seem very straightforward to tackle in my mind, even in something more complicated like this: &lt;a href=&quot;https://twitter.com/fmod91/status/1328751781535387649?s=20&amp;amp;t=90CCxSE2Dgz1FBL1iS_oPw&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://twitter.com/fmod91/status/1328751781535387649?s=20&amp;amp;t=90CCxSE2Dgz1FBL1iS_oPw&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;BUT then there is deconstructing way more complex ones of a different nature like these:&#xA;&lt;a href=&quot;https://twitter.com/JimZub/status/1330715701796102144?s=20&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://twitter.com/JimZub/status/1330715701796102144?s=20&lt;/a&gt; video&#xA;&lt;a href=&quot;https://i.stack.imgur.com/sYigo.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sYigo.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;OR: &lt;a href=&quot;https://twitter.com/kawakami_yu/status/1577932605173174272?t=d5M3lUShkk-2gsKi0w0Vig&amp;amp;s=19&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://twitter.com/kawakami_yu/status/1577932605173174272?t=d5M3lUShkk-2gsKi0w0Vig&amp;amp;s=19&lt;/a&gt; video&#xA;&lt;a href=&quot;https://i.stack.imgur.com/7jPkC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7jPkC.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Where THESE feel way more complex and harder to wrap my head around trying to set up or even grasp the theory on how and why it works so perfectly. Is there any resources that cover this topic and if so are there any parts that specifically address THESE types where the camera seems to be moving a lot more than just a simple &amp;quot;nodal&amp;quot; pan, and how to make them? It would be such an absolute godsend&lt;/p&gt;&#xA;" OwnerUserId="41830" OwnerDisplayName="turdmuncher" LastActivityDate="2023-07-10T06:28:28.677" Title="Resources for making multi-perspective panoramic backgrounds?" Tags="|animation|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="36660" PostTypeId="2" ParentId="3396" CreationDate="2023-07-10T14:05:13.443" Score="0" Body="&lt;p&gt;YouTube offers users the means to modify tempo. Accelerated playback exists all over YouTube. Sometimes this occurs when film recorded at 24fps is played back on video at 25fps. However, faster does not mean better or more musical. Our brains are good at detecting musicality or the absence thereof, but sometimes it’s possible to compare the length of a piece as stated on the original disk with the length of playback on YouTube.&lt;/p&gt;&#xA;" OwnerUserId="41796" LastActivityDate="2023-07-10T14:05:13.443" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36661" PostTypeId="1" CreationDate="2023-07-12T12:42:26.567" Score="0" ViewCount="27" Body="&lt;p&gt;Can someone please tell me what A.I. software was used to create these videos?&#xA;&lt;a href=&quot;https://www.tiktok.com/@conspiracyworld_/video/7254322742898494762&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.tiktok.com/@conspiracyworld_/video/7254322742898494762&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41808" LastEditorUserId="41808" LastEditDate="2023-07-12T12:43:59.477" LastActivityDate="2023-07-12T12:43:59.477" Title="Can someone please tell me what A.I. software was used to create these videos?" Tags="|video|editing|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36664" PostTypeId="1" AcceptedAnswerId="36665" CreationDate="2023-07-12T21:32:29.857" Score="1" ViewCount="53" Body="&lt;p&gt;I watched this aviation video and I am trying to replicate the text pop-up exactly like this in Adobe Premier Pro when it says GROSSKOTZENBURG:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.dropbox.com/s/26cbgpw235f2374/PilotsEye%20Sound%20Effect.mp4?dl=0&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dropbox.com/s/26cbgpw235f2374/PilotsEye%20Sound%20Effect.mp4?dl=0&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Specs are:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Background sound effect as soon as the text appears (if you could kindly help me identify what effect is used precisely, that would be much appreciated as I really like it)&lt;/li&gt;&#xA;&lt;li&gt;Text appears to reveal itself in stages and moves as the video moves (if you could guide me to a youtube tutorial that perhaps covers the text motion side of things)&lt;/li&gt;&#xA;&lt;li&gt;Text revelation itself (animation) - if you could point out a tutorial that covers this, would be highly appreciated&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Apologies if my question isn't up to the standards of this forum&lt;/p&gt;&#xA;" OwnerUserId="41814" LastActivityDate="2023-07-13T16:45:45.523" Title="Sound Effect Identification and Text Pop Up Editing" Tags="|after-effects|premiere|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36665" PostTypeId="2" ParentId="36664" CreationDate="2023-07-13T16:45:45.523" Score="1" Body="&lt;p&gt;The sound is three short 1kHz sine wave bursts with a gap between them. You could &lt;a href=&quot;https://helpx.adobe.com/audition/using/generate-tones-effect.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;generate this in Adobe Audition&lt;/a&gt; or Audacity.&lt;/p&gt;&#xA;&lt;p&gt;The effect looks like a 2D motion track in after effects, so the movement of the text tracks the movement of the landscape.  Before that there are two position and scale keyframes to make the text jump into position and out of position at the end.&lt;/p&gt;&#xA;&lt;p&gt;All of this could be made with After Effects or Premiere. Here's a tutorial that explains both methods:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/NP0LhHyzYMY?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;The font looks like &lt;a href=&quot;https://www.myfonts.com/products/pro-43-light-extended-189171-neue-helvetica-369559&quot; rel=&quot;nofollow noreferrer&quot;&gt;Helvetica Neue Extended Light&lt;/a&gt; according to &lt;a href=&quot;https://www.myfonts.com/pages/whatthefont&quot; rel=&quot;nofollow noreferrer&quot;&gt;WhatTheFont&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-07-13T16:45:45.523" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36666" PostTypeId="1" CreationDate="2023-07-14T01:25:55.397" Score="0" ViewCount="50" Body="&lt;p&gt;I cut videos using the command below, and I sometimes find that the resulting video has imperfections at the beginning (square artifacts in the image). If I advance the start time parameter value (&lt;code&gt;START_AT_SECONDS&lt;/code&gt;) by a few seconds (usually 1..3s), the artifacts go away.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to avoid the hit-and-miss, e.g. to know in advance that &lt;code&gt;START_AT_SECONDS=53&lt;/code&gt; works but &lt;code&gt;START_AT_SECONDS=52&lt;/code&gt; will give artifacts? Is there an option that means &amp;quot;START_AT_SECONDS=52, or later as needed to make a good cut&amp;quot;?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss START_AT_SECONDS -i &amp;quot;some_file_name.mp4&amp;quot; -t DURATION_SECONDS -c copy &amp;quot;new_name.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="41791" LastEditorUserId="41791" LastEditDate="2023-07-29T13:01:47.357" LastActivityDate="2023-12-26T14:00:50.103" Title="ffmpeg - Finding the right point to cut" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36667" PostTypeId="1" CreationDate="2023-07-14T04:39:08.573" Score="0" ViewCount="2067" Body="&lt;p&gt;After uploading the reels to the profile after what time (about 1 hour) the colours on the video become not very saturated. For example, the orange colour becomes almost yellow - it looks terrible. Only the first frame of the reel is in good colours.&lt;/p&gt;&#xA;&lt;p&gt;I uploaded the same reel via an android phone and after a couple of hours the reel still looks ok - no such problem.&lt;/p&gt;&#xA;&lt;p&gt;Does anyone have any idea what could cause something like this? Maybe some specific iOS settings?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://instagram.com/klev.lb&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://instagram.com/klev.lb&lt;/a&gt; here's a profile with this same issue on 3 last reels and illustrates exactly the problem that I have.&lt;/p&gt;&#xA;" OwnerUserId="41828" LastActivityDate="2023-09-19T01:40:47.233" Title="Incorrect reels colors on mobile instagram" Tags="|color-correction|color|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36668" PostTypeId="1" CreationDate="2023-07-15T04:20:04.060" Score="0" ViewCount="37" Body="&lt;p&gt;I've got a movie that I captured with my iphone. Let's call it &lt;strong&gt;input.mov&lt;/strong&gt;. Having edited this video using my iphone, it appears to have dimensions of 1370x970, at least according to the iphone's information panel.  I also have some audio in a separate file, let's call it &lt;strong&gt;song.wav&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I want to:&lt;/p&gt;&#xA;&lt;p&gt;STEP 1) extract the middle of input.mov, trimming off the first 14 frames or so (0.45 seconds) and the last few frames (not sure how many yet)&lt;/p&gt;&#xA;&lt;p&gt;STEP 2) loop an image, &lt;strong&gt;text-image.jpg&lt;/strong&gt; for 3 seconds and append the resulting video to the end of the trimmed output of STEP 1&lt;/p&gt;&#xA;&lt;p&gt;STEP 3) extract the middle part of song.wav, let's say starting at &lt;em&gt;x&lt;/em&gt; seconds and running just long enough to replace the audio of the video yielded by STEP 2. I.e., the song will be too long; I want just enough of the song to match the video's length.&lt;/p&gt;&#xA;&lt;p&gt;STEP 4) output the whole resulting video in a format I can upload to instagram using a browser.&lt;/p&gt;&#xA;&lt;p&gt;I've used some handy commands before, but I can't seem to combine them to get the results I want. This command works to trim off the beginning of &lt;strong&gt;input.mov&lt;/strong&gt; and output an instagram-friendly result.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 00:00:00.45 -i &amp;quot;input.mov&amp;quot; -pix_fmt yuv420p -c:v libx264 -b:v 3500k -c:a aac -preset slow -movflags +faststart &amp;quot;trimmed-instagram.mov&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Working from that trimmed video, I try this command to loop &lt;strong&gt;text-image.jpg&lt;/strong&gt; as suggested &lt;a href=&quot;https://video.stackexchange.com/questions/17228/how-to-add-images-at-the-end-of-an-existing-movie&quot;&gt;here&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;trimmed-instagram.mov&amp;quot; -loop 1 -t 3 -i &amp;quot;text-image.jpg&amp;quot; -f lavfi -t 3 -i anullsrc -filter_complex &amp;quot;[0:v] [0:a] [1:v] [2:a] concat=n=2:v=1:a=1 [v] [a]&amp;quot; -c:v libx264 -c:a aac -strict -2 -map &amp;quot;[v]&amp;quot; -map &amp;quot;[a]&amp;quot; with-text.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;That command always barfs with this error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[swscaler @ 0x564345f8a340] deprecated pixel format used, make sure you did set range correctly&#xA;[Parsed_concat_0 @ 0x56434572ee00] Input link in1:v0 parameters (size 1370x970, SAR 1:1) do not match the corresponding output link in0:v0 parameters (1370x970, SAR 9974:9977)&#xA;[Parsed_concat_0 @ 0x56434572ee00] Failed to configure output pad on Parsed_concat_0&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid argument&#xA;Error while processing the decoded data for stream #2:0&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;NOTE that text-image.jpg is 1370x970, like input.mov.&lt;/p&gt;&#xA;&lt;p&gt;I've also used this command to replace the audio for some video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i trimmed-instagram.mov -i 'song.wav' -c:v copy -map 0:v:0 -map 1:a:0 -shortest with-audio.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;em&gt;However&lt;/em&gt;, I need to trim off the beginning of the audio file, and when I provide an &lt;code&gt;-ss&lt;/code&gt; parameter, this command trims the beginning of both the video input and the audio input:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i trimmed-instagram.mov -i 'song.wav' -ss 00:05 -c:v copy -map 0:v:0 -map 1:a:0 -shortest with-audio.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I need to specify different start/duration parameters at this point. I want &lt;em&gt;all&lt;/em&gt; of trimmed-instagram.mov but want to start &lt;em&gt;x&lt;/em&gt; seconds into &lt;strong&gt;song.wav&lt;/strong&gt; and either go for some duration or use just enough of the song to match the video length.&lt;/p&gt;&#xA;&lt;p&gt;EDIT: As suggested by @Gyan, I have tried this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -an -ss 00:00:00.45 -i &amp;quot;input.mov&amp;quot; -loop 1 -t 3 -i &amp;quot;text-image.jpg&amp;quot; -ss 00:05 -i &amp;quot;song.wav&amp;quot; -filter_complex &amp;quot;[1]setsar=1[img];[0][img]concat=n=2:v=1:a=0;[2]apad&amp;quot; -pix_fmt yuv420p -c:v libx264 -preset slow -b:v 3500k -c:a aac -shortest -movflags +faststart &amp;quot;final-instagram.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, this also results in an error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[swscaler @ 0x55573305b040] deprecated pixel format used, make sure you did set range correctly&#xA;[Parsed_concat_1 @ 0x55573303a880] Input link in1:v0 parameters (size 1370x970, SAR 1:1) do not match the corresponding output link in0:v0 parameters (1370x970, SAR 132987:133027)&#xA;[Parsed_concat_1 @ 0x55573303a880] Failed to configure output pad on Parsed_concat_1&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid argument&#xA;Error while processing the decoded data for stream #2:0&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="34858" LastEditorUserId="34858" LastEditDate="2023-07-15T15:36:22.567" LastActivityDate="2023-07-15T19:49:51.743" Title="how to extract segment of input.mov, loop an image at the end, and then replace audio with segment of audio file?" Tags="|ffmpeg|video|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36669" PostTypeId="1" CreationDate="2023-07-15T06:38:12.357" Score="0" ViewCount="192" Body="&lt;p&gt;The effect I am trying to achieve has film grain inside colored texts. I was able to somewhat recreate it using Track Matte Key. But I can't get the color part to work.&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;&lt;p&gt;Sample:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ig3P9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ig3P9.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;Mine:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rsH2P.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rsH2P.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41841" LastActivityDate="2023-12-17T14:00:45.090" Title="Film grain in text effect - Premiere Pro" Tags="|premiere|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36670" PostTypeId="2" ParentId="36668" CreationDate="2023-07-15T09:47:42.317" Score="1" Body="&lt;p&gt;In one command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg &#xA; -an -ss 00:00:00.45 -i &amp;quot;input.mov&amp;quot;&#xA; -loop 1 -t 3 -i &amp;quot;text-image.jpg&amp;quot;&#xA; -ss 00:05 -i 'song.wav'&#xA; -filter_complex&#xA; &amp;quot;[0]setsar=1[v];[1]setsar=1[img];[v][img]concat=n=2:v=1:a=0;[2]apad&amp;quot;&#xA; -pix_fmt yuv420p&#xA; -c:v libx264 -preset slow -b:v 3500k&#xA; -c:a aac&#xA; -shortest&#xA; -movflags +faststart&#xA; &amp;quot;final-instagram.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2023-07-15T19:49:51.743" LastActivityDate="2023-07-15T19:49:51.743" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36671" PostTypeId="1" CreationDate="2023-07-16T05:06:44.127" Score="0" ViewCount="40" Body="&lt;p&gt;As the title suggests, I have a &lt;code&gt;video.mp4&lt;/code&gt; which I know visually has been extended from 5 fps to 20 fps. I know this because there are 256 frames and when I run ffprobe it reports 20 fps and the video is 12.8 sec long. I also run&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -v 0 -select_streams v -show_entries stream=duration_ts,time_base,nb_frames video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;reports to me 256 frames, 1/20 timebase and 256 duration. This matches the expected 12.8 s duration. When I manually sort through the extracted frames, I can see the frames have been held for 4 ticks. So it should be 5 fps.&lt;/p&gt;&#xA;&lt;p&gt;I then run the below to view the packets and the frames (cmd not typed)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe -show_packets -select_streams v:0 video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and the packets or frames don't seem to give me a huge indication that the frames have been duplicated.&lt;/p&gt;&#xA;&lt;p&gt;With the &lt;code&gt;-show_packets&lt;/code&gt; cmd the only possible indication of duplication I can see is that every 0.2 seconds, (consistent with 5 fps) the size of the packets go from a consistent 150-300 size to around 16000 or so.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way I can better articulate what I am seeing with the packet size change? Why has their compression or encoder (forgive any error in verbiage) decided to duplicate frames to achieve 20fps vs. extending the pts to 0.2 seconds for each packet? It seems like simply defining a longer pts would reduce overall file size anyways?&lt;/p&gt;&#xA;&lt;p&gt;All that said, is there something within ffprobe or other tool I can use to more efficiently confirm what I am visually seeing to say yep these frames were just duplicated from another program? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="41851" LastEditorUserId="18155" LastEditDate="2023-07-27T21:36:52.333" LastActivityDate="2023-07-27T21:36:52.333" Title="How can I show that a frame has been duplicated to extend the video framerate using ffprobe?" Tags="|ffmpeg|ffprobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36672" PostTypeId="1" AcceptedAnswerId="36679" CreationDate="2023-07-17T08:28:25.367" Score="0" ViewCount="464" Body="&lt;p&gt;I want to test streaming av1 encoded video from the command line but I don't have enough expertise to know if I'm doing something wrong or if it's simply unsupported.&lt;/p&gt;&#xA;&lt;p&gt;So far I've tried &lt;code&gt;gst-launch-1.0 videotestsrc ! av1enc ! rtspclientsink location=rtsp://localhost:8554/usbcamera&lt;/code&gt; and &lt;code&gt;ffmpeg -f v4l2 -i /dev/video1 -c:v libsvtav1 -an -f rtsp rtsp://localhost:8554/usbcamera&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Using a file source with ffmpeg works with &lt;code&gt;ffmpeg -re -stream_loop -1 -i av1noaudio.mp4 -f rtsp rtsp://localhost:8554/usbcamera&lt;/code&gt; but not with &lt;code&gt;gstreamer gst-launch-1.0 filesrc location=av1noaudio.mp4 ! videoconvert !  rtspclientsink location=rtsp://localhost:8554/usbcamera&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="41866" LastEditorUserId="41866" LastEditDate="2023-07-17T08:57:06.700" LastActivityDate="2024-01-21T09:48:21.597" Title="How to send av1 encoded stream to a mediamtx server?" Tags="|ffmpeg|codec|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36673" PostTypeId="1" CreationDate="2023-07-17T15:10:49.290" Score="0" ViewCount="62" Body="&lt;p&gt;Recently, I randomly played around a bit with the video encoder settings of my OBS Studio (29.1.2) and recorded a video playing in the browser. In this particular video (recorded with some settings I cannot recall), it takes VLC a lot of time to jump forward or backward in time. Can someone please explain why? Codec and encoder screenshots attached.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/lgSTY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lgSTY.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/tQolC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tQolC.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41868" LastActivityDate="2023-07-17T15:10:49.290" Title="Jumping forward or backward in a .mp4 file takes a long time in VLC" Tags="|encoding|mp4|obs|vlc|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36674" PostTypeId="1" CreationDate="2023-07-17T21:43:26.167" Score="1" ViewCount="22" Body="&lt;p&gt;How to change the color of a layer randomly in markers?&lt;/p&gt;&#xA;" OwnerUserId="41873" LastActivityDate="2023-07-17T21:43:26.167" Title="Use markers in After Effects as triggers for a random color animation" Tags="|after-effects|after-effects-expressions|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36675" PostTypeId="1" CreationDate="2023-07-18T12:29:32.777" Score="0" ViewCount="116" Body="&lt;p&gt;Error:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg exited with code 1: Stream specifier ':a' in filtergraph description  &#xA;   [0:a]adelay=41.71881518564873[audio0];[audio0]amerge[a] matches no streams&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;The code that I entered&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;const audios = await Movie.getAudio(req.body.id);&#xA;    let complexFilterString = &amp;quot;&amp;quot;;&#xA;    for (const i in audios) {&#xA;    const audio = audios[i];&#xA;    const baseDuration = audio.stop - audio.start;&#xA;    const duration = Math.max(baseDuration, audio.trimEnd) - audio.trimStart;&#xA;    console.log(duration, baseDuration)&#xA;    ok.input(audio.filepath);&#xA;    ok.addInputOptions(&amp;quot;-t&amp;quot;, frameToSec(duration));&#xA;    complexFilterString += `[${i}:a]adelay=` + frameToSec(audio.start - 0) * 1e3 + `[audio${i}];`&#xA;     }&#xA;    ok&#xA;        .complexFilter(complexFilterString + `${audios.map((_, i) =&amp;gt; `[audio${i}]`).join(&amp;quot;&amp;quot;)}amerge[a]`)&#xA;        .videoCodec(&amp;quot;libx264&amp;quot;)&#xA;        .audioCodec(&amp;quot;aac&amp;quot;)&#xA;        .outputOptions(&amp;quot;-map&amp;quot;, &amp;quot;[0:v]&amp;quot;)&#xA;        .outputOptions(&amp;quot;-map&amp;quot;, &amp;quot;[a]&amp;quot;)&#xA;        .outputOptions(&amp;quot;-framerate&amp;quot;, &amp;quot;23.97&amp;quot;)&#xA;        .outputOptions(&amp;quot;-r&amp;quot;, &amp;quot;23.97&amp;quot;)&#xA;        .output(path.join(base, &amp;quot;output.mp4&amp;quot;))&#xA;        .run();&#xA;});&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="41881" LastEditorUserId="18155" LastEditDate="2023-07-27T21:38:55.200" LastActivityDate="2023-07-27T21:38:55.200" Title="Does anyone know how to fix this error" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36677" PostTypeId="1" CreationDate="2023-07-19T01:03:54.757" Score="0" ViewCount="26" Body="&lt;p&gt;I am attempting to automate multicam editing with FFMPEG. Basically there is some number of time-synced videos, typically up to 7. There is also a list of &amp;quot;clips&amp;quot; from the source videos (e.g. Camera 1 from 0-4sec, Camera 2 from 4-5.5sec, Camera 1 from 5.5-8sec). I have tried three methods to render a final video: &lt;code&gt;overlay&lt;/code&gt; clips, render clips then &lt;code&gt;concat&lt;/code&gt; them, and &lt;code&gt;trim&lt;/code&gt;/&lt;code&gt;concat&lt;/code&gt; to extract clips in one command and I have not had success with any of them.&lt;/p&gt;&#xA;&lt;h3&gt;Attempted Method 1: Overlays&lt;/h3&gt;&#xA;&lt;p&gt;The idea here was for each source video to be an input, then create a large filter of overlays to take place each cut/clip at the correct time. The audio is given as the first input and a black screen is given as the second input.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;FFMPEG command:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i audio.flac -f lavfi -i color=c=black:s=1920x1080 \&#xA;  -i video1.mp4 -i video2.mp4 -i video3.mp4 -i video4.mp4 -i video5.mp4 \&#xA;  -filter_complex_script ffmpeg_filters.txt -map &amp;quot;[edit289]&amp;quot; -map 0:a \&#xA;  -vcodec libx264 -c:a copy -t 4629 &amp;quot;output.mp4&amp;quot;&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Example &lt;code&gt;ffmpeg_filters.txt&lt;/code&gt;:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[1:v][2:v]overlay=enable='between(t,0,4.99229)'[edit1];&#xA;[edit1][3:v]overlay=enable='between(t,4.99229,10.0078)'[edit2];&#xA;[edit2][2:v]overlay=enable='between(t,10.0078,14.0016)'[edit3];&#xA;[edit3][5:v]overlay=enable='between(t,14.0016,15.9985)'[edit4];&#xA;...&#xA;[edit287][2:v]overlay=enable='between(t,4503,4624)'[edit288];&#xA;[edit288][4:v]overlay=enable='between(t,4624,4629.99)'[edit289]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The issue here is that it renders at something like 0.04x speed. The final video is something like 1-2 hours, so it would take well over 24 hours to render. This seems absurdly slow. Additionally the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#overlay-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt; specifically says &lt;code&gt;You can chain together more overlays but you should test the efficiency of such approach.&lt;/code&gt; So perhaps this is not a good way to do it. Is there any way to speed this method up?&lt;/p&gt;&#xA;&lt;h3&gt;Attempted Method 2: Render Clips and Concatenate&lt;/h3&gt;&#xA;&lt;p&gt;Since the first method was proving to be far too slow, I attempted to render each clip into its own file named &lt;code&gt;edit###.mp4&lt;/code&gt; and then concatenate them, but I ran into issues there, as well.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Rendering clips to files (with no audio):&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i video1.mp4 -ss 0 -t 4.99229 -an -c:v libx264 edit000.mp4&#xA;ffmpeg -y -i video2.mp4 -ss 4.99229 -t 5.01551 -an -c:v libx264 edit001.mp4&#xA;ffmpeg -y -i video1.mp4 -ss 10.0078 -t 3.99383 -an -c:v libx264 edit002.mp4&#xA;...&#xA;ffmpeg -y -i video3.mp4 -ss 4624 -t 209.001 -an -c:v libx264 edit288.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This appears to mostly work, however, some of the resulting files are under 1K and are not valid video files. I believe they may be too short. I can work around that, so I'm not worried about that part.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Concatenating clips:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i audio.flac -f lavfi -i color=c=black:s=1920x1080 -safe 0 \&#xA;  -f concat -i input_clips.txt -filter_complex_script clip_filters.txt \&#xA;  -map [0:a] -map &amp;quot;[outv]&amp;quot; -c:v libx264 -t 4833 -c:a aac output_clips.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Since the list of input files is so long, I put them into &lt;code&gt;input_clips.txt&lt;/code&gt;. &lt;code&gt;clip_filters.txt&lt;/code&gt; contains all the time offsets for each input file.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;input_clips.txt&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file 'edit000.mp4'&#xA;file 'edit001.mp4'&#xA;file 'edit002.mp4'&#xA;...&#xA;file 'edit288.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;clip_filters.txt&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[2:v]setpts=PTS-STARTPTS+0/TB[v0];&#xA;[3:v]setpts=PTS-STARTPTS+4.99229/TB[v1];&#xA;[4:v]setpts=PTS-STARTPTS+10.0078/TB[v2];&#xA;[5:v]setpts=PTS-STARTPTS+14.0016/TB[v3];&#xA;...&#xA;[290:v]setpts=PTS-STARTPTS+4624/TB[v288];&#xA;[v0][v1][v2][v3]...[v290]concat=n=289:v=1[outv]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This call causes an error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;Input #2, concat, from 'input_clips.txt':&#xA;  Duration: N/A, start: 0.000000, bitrate: 4781 kb/s&#xA;  Stream #2:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709, progressive), 1920x1080 [SAR 1:1 DAR 16:9], 4781 kb/s, 59.94 fps, 59.94 tbr, 60k tbn&#xA;    Metadata:&#xA;      handler_name    :  GoPro AVC&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : Lavc60.2.100 libx264&#xA;      timecode        : 10:20:07:10&#xA;  Stream #2:1: Unknown: none&#xA;Invalid file index 3 in filtergraph description [2:v]setpts=PTS-STARTPTS+0/TB[v0];&#xA;[3:v]setpts=PTS-STARTPTS+4.99229/TB[v1];&#xA;[4:v]setpts=PTS-STARTPTS+10.0078/TB[v2];&#xA;[5:v]setpts=PTS-STARTPTS+14.0016/TB[v3];&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is it having problems reading in the 'input_clips.txt' or something? It's not clear to me what is causing the errors. I have tried using full paths, relative paths, no paths (as shown), and using &lt;code&gt;file file:edit###.mp4&lt;/code&gt; syntax.&lt;/p&gt;&#xA;&lt;h3&gt;Attempted Method 3: Trim &amp;amp; Concat&lt;/h3&gt;&#xA;&lt;p&gt;This method will run but is even slower than the &lt;code&gt;overlay&lt;/code&gt; method above. It is sort of an amalgamation of the two methods above but it uses the &lt;code&gt;trim&lt;/code&gt; filter instead of &lt;code&gt;overlay&lt;/code&gt; or rendering.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;FFMPEG command:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i video1.mp4 -i video2.mp4 -i video3.mp4 -i video4.mp4 -i video5.mp4 \&#xA;  -filter_complex_script ffmpeg_filters.txt -map &amp;quot;[edit289]&amp;quot; -map &amp;quot;[outv]&amp;quot; \&#xA;  -vcodec libx264 -an -t 4629 &amp;quot;output.mp4&amp;quot;&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Example &lt;code&gt;ffmpeg_filters.txt&lt;/code&gt;:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[0:v]trim=0:4.99229,setpts=PTS-STARTPTS[v0];&#xA;[5:v]trim=4.99229:10.0078,setpts=PTS-STARTPTS[v1];&#xA;[0:v]trim=10.0078:14.0016,setpts=PTS-STARTPTS[v2];&#xA;[5:v]trim=14.0016:15.9985,setpts=PTS-STARTPTS[v3];&#xA;...&#xA;[2:v]trim=4624:4833,setpts=PTS-STARTPTS[v288];&#xA;[v0][v1][v2][v3]...[v288]concat=n=289:v=1[outv]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h3&gt;Bottom Line&lt;/h3&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Since none of these methods have been too successful, is there a better way to go about rendering these time-offset cuts to a single video?&lt;/li&gt;&#xA;&lt;li&gt;Is there any way to speed up the &lt;code&gt;overlay&lt;/code&gt; render?&lt;/li&gt;&#xA;&lt;li&gt;What is causing the error in the &lt;code&gt;concat&lt;/code&gt; method?&lt;/li&gt;&#xA;&lt;li&gt;Any idea why &lt;code&gt;trim&lt;/code&gt; is slower than &lt;code&gt;overlay&lt;/code&gt; in this implementation?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="41874" LastActivityDate="2023-07-19T01:03:54.757" Title="Correcting errors and inefficiency when concatenating hundreds of clips with time offsets in FFMPEG" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36678" PostTypeId="1" CreationDate="2023-07-19T14:26:44.570" Score="0" ViewCount="203" Body="&lt;p&gt;I am trying to create an MPEG DASH video stream with perfectly sync'd audio and video segments. I have already figured out the correlation of the aac smapling rate and video fps, so that shouldn't be the problem ( I am using 60 fps and 48kHz sampling rate =&amp;gt; ideal segment size would be 0.5333..s but I scaled up to 1.6s).&lt;/p&gt;&#xA;&lt;p&gt;The manifest file correctly notes that for video segments the timescale is 15360 and all segments are 24576 =&amp;gt; 24576 / 15360 = 1.6. However, the first audio segment is 75776 and with a timescale of 48000 results in 75776 / 48000 = 1.5786..s and all the following are 76800 / 4800 = 1.6s.&lt;/p&gt;&#xA;&lt;p&gt;Here is the (shortened, removed additional qualities) command I run:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source.mp4 \&#xA;-preset medium -sc_threshold 0 -r 60 -keyint_min 96 -g 96 \&#xA;-c:v libx264 -pix_fmt yuv420p \&#xA;-filter_complex &amp;quot;split[v0][v1]; \&#xA;    [v0] \&#xA;    drawtext=text='Frame %{frame_num} | PTS=%{pts\:hms}': \&#xA;    start_number=1:box=1:boxcolor=black@0.75:boxborderw=32: \&#xA;    x=(w-text_w)/2: \&#xA;    y=(h-text_h)/1.5: \&#xA;    fontsize=128:fontcolor=yellow, \&#xA;    drawtext=text='256x144 | 95 kbbps | 60 fps': \&#xA;    start_number=1:box=1:boxcolor=black@0.75:boxborderw=32: \&#xA;    x=(w-text_w)/2: \&#xA;    y=(h-text_h)/8: \&#xA;    fontsize=128:fontcolor=yellow, \&#xA;    scale=256x144 \&#xA;    [v0]; \&#xA;    [v1] \&#xA;    drawtext=text='Frame %{frame_num} | PTS=%{pts\:hms}': \&#xA;    start_number=1:box=1:boxcolor=black@0.75:boxborderw=32: \&#xA;    x=(w-text_w)/2: \&#xA;    y=(h-text_h)/1.5: \&#xA;    fontsize=128:fontcolor=yellow, \&#xA;    drawtext=text='640x360 | 276 kbbps | 60 fps': \&#xA;    start_number=1:box=1:boxcolor=black@0.75:boxborderw=32: \&#xA;    x=(w-text_w)/2: \&#xA;    y=(h-text_h)/8: \&#xA;    fontsize=128:fontcolor=yellow, \&#xA;    scale=640x360 \&#xA;    [v1]&amp;quot; \&#xA;-b:v:0 95k -maxrate:0 100k -bufsize:0 150k \&#xA;-b:v:1 276k -maxrate:1 290k -bufsize:1 430k \&#xA;-c:a aac -b:a 128k -ar 48000 \&#xA;-map [v0] \&#xA;-map [v1] \&#xA;-map 0:a:0 \&#xA;-init_seg_name \$RepresentationID\$/source_init.\$ext\$ \&#xA;-media_seg_name \$RepresentationID\$/source_chunk_\$Number%05d\$.\$ext\$ \&#xA;-use_template 1 -use_timeline 1 \&#xA;-seg_duration 1.6 -adaptation_sets &amp;quot;id=0,streams=v id=1,streams=a&amp;quot; \&#xA;-f dash ./bbb/source.mpd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And here is the resulting manifest:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;?xml version=&amp;quot;1.0&amp;quot; encoding=&amp;quot;utf-8&amp;quot;?&amp;gt;&#xA;&amp;lt;MPD xmlns:xsi=&amp;quot;http://www.w3.org/2001/XMLSchema-instance&amp;quot;&#xA;    xmlns=&amp;quot;urn:mpeg:dash:schema:mpd:2011&amp;quot;&#xA;    xmlns:xlink=&amp;quot;http://www.w3.org/1999/xlink&amp;quot;&#xA;    xsi:schemaLocation=&amp;quot;urn:mpeg:DASH:schema:MPD:2011 http://standards.iso.org/ittf/PubliclyAvailableStandards/MPEG-DASH_schema_files/DASH-MPD.xsd&amp;quot;&#xA;    profiles=&amp;quot;urn:mpeg:dash:profile:isoff-live:2011&amp;quot;&#xA;    type=&amp;quot;static&amp;quot;&#xA;    mediaPresentationDuration=&amp;quot;PT10M34.5S&amp;quot;&#xA;    maxSegmentDuration=&amp;quot;PT1.6S&amp;quot;&#xA;    minBufferTime=&amp;quot;PT3.2S&amp;quot;&amp;gt;&#xA;    &amp;lt;ProgramInformation&amp;gt;&#xA;        &amp;lt;Title&amp;gt;Big Buck Bunny, Sunflower version&amp;lt;/Title&amp;gt;&#xA;    &amp;lt;/ProgramInformation&amp;gt;&#xA;    &amp;lt;ServiceDescription id=&amp;quot;0&amp;quot;&amp;gt;&#xA;    &amp;lt;/ServiceDescription&amp;gt;&#xA;    &amp;lt;Period id=&amp;quot;0&amp;quot; start=&amp;quot;PT0.0S&amp;quot;&amp;gt;&#xA;        &amp;lt;AdaptationSet id=&amp;quot;0&amp;quot; contentType=&amp;quot;video&amp;quot; startWithSAP=&amp;quot;1&amp;quot; segmentAlignment=&amp;quot;true&amp;quot; bitstreamSwitching=&amp;quot;true&amp;quot; frameRate=&amp;quot;60/1&amp;quot; maxWidth=&amp;quot;640&amp;quot; maxHeight=&amp;quot;360&amp;quot; par=&amp;quot;16:9&amp;quot;&amp;gt;&#xA;            &amp;lt;Representation id=&amp;quot;0&amp;quot; mimeType=&amp;quot;video/mp4&amp;quot; codecs=&amp;quot;avc1.64000d&amp;quot; bandwidth=&amp;quot;95000&amp;quot; width=&amp;quot;256&amp;quot; height=&amp;quot;144&amp;quot; sar=&amp;quot;1:1&amp;quot;&amp;gt;&#xA;                &amp;lt;SegmentTemplate timescale=&amp;quot;15360&amp;quot; initialization=&amp;quot;$RepresentationID$/source_init.m4s&amp;quot; media=&amp;quot;$RepresentationID$/source_chunk_$Number%05d$.m4s&amp;quot; startNumber=&amp;quot;1&amp;quot;&amp;gt;&#xA;                    &amp;lt;SegmentTimeline&amp;gt;&#xA;                        &amp;lt;S t=&amp;quot;0&amp;quot; d=&amp;quot;24576&amp;quot; r=&amp;quot;395&amp;quot; /&amp;gt;&#xA;                        &amp;lt;S d=&amp;quot;14848&amp;quot; /&amp;gt;&#xA;                    &amp;lt;/SegmentTimeline&amp;gt;&#xA;                &amp;lt;/SegmentTemplate&amp;gt;&#xA;            &amp;lt;/Representation&amp;gt;&#xA;            &amp;lt;Representation id=&amp;quot;1&amp;quot; mimeType=&amp;quot;video/mp4&amp;quot; codecs=&amp;quot;avc1.64001f&amp;quot; bandwidth=&amp;quot;276000&amp;quot; width=&amp;quot;640&amp;quot; height=&amp;quot;360&amp;quot; sar=&amp;quot;1:1&amp;quot;&amp;gt;&#xA;                &amp;lt;SegmentTemplate timescale=&amp;quot;15360&amp;quot; initialization=&amp;quot;$RepresentationID$/source_init.m4s&amp;quot; media=&amp;quot;$RepresentationID$/source_chunk_$Number%05d$.m4s&amp;quot; startNumber=&amp;quot;1&amp;quot;&amp;gt;&#xA;                    &amp;lt;SegmentTimeline&amp;gt;&#xA;                        &amp;lt;S t=&amp;quot;0&amp;quot; d=&amp;quot;24576&amp;quot; r=&amp;quot;395&amp;quot; /&amp;gt;&#xA;                        &amp;lt;S d=&amp;quot;14848&amp;quot; /&amp;gt;&#xA;                    &amp;lt;/SegmentTimeline&amp;gt;&#xA;                &amp;lt;/SegmentTemplate&amp;gt;&#xA;            &amp;lt;/Representation&amp;gt;&#xA;        &amp;lt;/AdaptationSet&amp;gt;&#xA;        &amp;lt;AdaptationSet id=&amp;quot;1&amp;quot; contentType=&amp;quot;audio&amp;quot; startWithSAP=&amp;quot;1&amp;quot; segmentAlignment=&amp;quot;true&amp;quot; bitstreamSwitching=&amp;quot;true&amp;quot; lang=&amp;quot;und&amp;quot;&amp;gt;&#xA;            &amp;lt;Representation id=&amp;quot;2&amp;quot; mimeType=&amp;quot;audio/mp4&amp;quot; codecs=&amp;quot;mp4a.40.2&amp;quot; bandwidth=&amp;quot;128000&amp;quot; audioSamplingRate=&amp;quot;48000&amp;quot;&amp;gt;&#xA;                &amp;lt;AudioChannelConfiguration schemeIdUri=&amp;quot;urn:mpeg:dash:23003:3:audio_channel_configuration:2011&amp;quot; value=&amp;quot;2&amp;quot; /&amp;gt;&#xA;                &amp;lt;SegmentTemplate timescale=&amp;quot;48000&amp;quot; initialization=&amp;quot;$RepresentationID$/source_init.m4s&amp;quot; media=&amp;quot;$RepresentationID$/source_chunk_$Number%05d$.m4s&amp;quot; startNumber=&amp;quot;1&amp;quot;&amp;gt;&#xA;                    &amp;lt;SegmentTimeline&amp;gt;&#xA;                        &amp;lt;S t=&amp;quot;0&amp;quot; d=&amp;quot;75776&amp;quot; /&amp;gt;&#xA;                        &amp;lt;S d=&amp;quot;76800&amp;quot; r=&amp;quot;394&amp;quot; /&amp;gt;&#xA;                        &amp;lt;S d=&amp;quot;29824&amp;quot; /&amp;gt;&#xA;                    &amp;lt;/SegmentTimeline&amp;gt;&#xA;                &amp;lt;/SegmentTemplate&amp;gt;&#xA;            &amp;lt;/Representation&amp;gt;&#xA;        &amp;lt;/AdaptationSet&amp;gt;&#xA;    &amp;lt;/Period&amp;gt;&#xA;&amp;lt;/MPD&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="41889" LastActivityDate="2023-07-19T14:26:44.570" Title="FFMPEG - creating MPEG DASH stream, makes the first audio segment ever so slightly too short" Tags="|ffmpeg|mpeg-dash|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36679" PostTypeId="2" ParentId="36672" CreationDate="2023-07-20T06:52:33.187" Score="0" Body="&lt;p&gt;I got it working&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;gst-launch-1.0 filesrc location=Videos/av1noaudio.mp4 ! qtdemux ! av1parse ! rtspclientsink location=rtsp://localhost:8554/usbcamera&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I don't know if this is the most optimal solution, but at least it'll help any other newbie coming behind me.&lt;/p&gt;&#xA;" OwnerUserId="41866" LastActivityDate="2023-07-20T06:52:33.187" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36680" PostTypeId="2" ParentId="36669" CreationDate="2023-07-20T12:43:07.270" Score="0" Body="&lt;p&gt;That looks more like coloured noise and less like grain to me.  To make something similar:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZU3EB.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZU3EB.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The font looks to be Acuta Fat according to whatthefont.com&#xA;&lt;a href=&quot;https://www.myfonts.com/products/fat-acuta-medium-110325&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.myfonts.com/products/fat-acuta-medium-110325&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Add your text to a layer and put it on track V2.&lt;/p&gt;&#xA;&lt;p&gt;Create a Colour Matte, choose a pinky red colour, and add it to track V1.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3yPWv.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3yPWv.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Add the Noise effect to the colour matte, and raise the amount of noise to 92% or so.  Make sure &amp;quot;Use Colour Noise&amp;quot; is selected.&lt;/p&gt;&#xA;&lt;p&gt;Add a Track Matte Key effect to your colour matte clip on track V1.&#xA;For the Matte setting, make sure it is set to track V2.&#xA;Composite using Matte Alpha&lt;/p&gt;&#xA;&lt;p&gt;Scale up the clip on V1 slightly to make the grain bigger.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-07-20T12:43:07.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36682" PostTypeId="1" CreationDate="2023-07-20T17:38:01.097" Score="0" ViewCount="33" Body="&lt;p&gt;For example, given a video 1.mp4 (no audio) of 17s, output a 20s video where the last frame fades out.&lt;/p&gt;&#xA;&lt;p&gt;What I came up with:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Extract the last frame&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -sseof -1 -i 1.mp4 -update true last.png&lt;/code&gt;&lt;/p&gt;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Create a 3s fade-out video&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -r 60 -loop 1 -t 3 -i last.png -vf &amp;quot;fade=out:st=0:d=3&amp;quot; 2.mp4 -y&lt;/code&gt;&lt;/p&gt;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;concatenate&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;ffmpeg -f concat -i list.txt -c copy 3.mp4 -y&lt;/p&gt;&#xA;&lt;p&gt;where list.txt is&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file '1.mp4'&#xA;file '2.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I was wondering if there's an easier method, e.g. something base on&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://video.stackexchange.com/questions/23340/how-to-use-ffmpeg-to-fade-in-out-a-veriable-frame-rate-video-clip-with-unknown-d&quot;&gt;How to use ffmpeg to fade in/out a veriable frame rate video clip with unknown duration&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29535" LastEditorUserId="29535" LastEditDate="2023-07-21T01:36:06.527" LastActivityDate="2023-07-24T07:34:58.217" Title="Add 3sec fade out of the last frame to a video" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36683" PostTypeId="1" CreationDate="2023-07-21T05:22:28.700" Score="1" ViewCount="85" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JBokg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JBokg.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;When importing an after effects comp onto premiere, it shows as off-center, wrapping around so that the right edge shows up on the left side, both in the preview window and in render from Premiere.&lt;/p&gt;&#xA;&lt;p&gt;Here are my sequence/comp settings:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/7qePP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/7qePP.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;My process:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Import after effects comp into premiere&lt;/li&gt;&#xA;&lt;li&gt;Premiere shows comp as weirdly off-center. It renders this way too.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Things I've tried:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Creating a new sequence/project in premiere&lt;/li&gt;&#xA;&lt;li&gt;Importing after effects comp via import option, via copy paste, or via drag &amp;amp; drop&lt;/li&gt;&#xA;&lt;li&gt;Creating a new after effects comp (just a simple shape layer) and importing that.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Any ideas? Really confused and this is holding up my video production pretty bad right now!&lt;/p&gt;&#xA;" OwnerUserId="41902" LastEditorUserId="41902" LastEditDate="2023-07-24T06:59:29.003" LastActivityDate="2023-07-24T06:59:29.003" Title="Adobe premier preview window shows (and renders after effects compositions as off-center? (pic attached)" Tags="|after-effects|premiere|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36684" PostTypeId="2" ParentId="36666" CreationDate="2023-07-21T11:23:25.727" Score="0" Body="&lt;p&gt;There is a mistake in your ffmpeg command.&lt;/p&gt;&#xA;&lt;p&gt;The &lt;code&gt;-c&lt;/code&gt; option either needs a codec (e.g. &lt;code&gt;-c:v libx264&lt;/code&gt;) if you want to encode the video or the special value &amp;quot;copy&amp;quot; if it shouldn't be re-encoded (&lt;code&gt;-c copy&lt;/code&gt;).&lt;/p&gt;&#xA;&lt;p&gt;Using &lt;code&gt;-ss&lt;/code&gt; together with &lt;code&gt;-c copy&lt;/code&gt; might not be accurate since ffmpeg is forced to only split on i-frames.&#xA;But starting on an i-frame should fix the problem with artifacts.&lt;/p&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2023-07-21T11:23:25.727" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36685" PostTypeId="1" CreationDate="2023-07-21T12:53:47.893" Score="0" ViewCount="116" Body="&lt;p&gt;I used the example in the ffmpeg-all man page to write an &lt;code&gt;ffmpeg&lt;/code&gt; command line to build an MPEG-DASH stream with multiple encoding options from a single source file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;lt;input&amp;gt;.mp4 -map 0 -map 0 -map 0 -map 0 -map 0 -map 0 -map 0 -crf 23&#xA;  -c:v:0 libsvtav1 -preset:v:0 8&#xA;  -c:v:1 libsvtav1 -preset:v:1 8 -s:v:1 640x360&#xA;  -c:v:2 libsvtav1 -preset:v:2 8 -s:v:2 320x180&#xA;  -c:v:3 libx264 -b:v:3 1024k -preset:v:3 veryfast -filter:v:3 'scale=900:trunc(ow/a/2)*2'&#xA;  -c:v:4 libx264 -b:v:4 768k -preset:v:4 veryfast -filter:v:4 'scale=720:trunc(ow/a/2)*2'&#xA;  -c:v:5 libx264 -b:v:5 256k -preset:v:5 veryfast -filter:v:5 'scale=480:trunc(ow/a/2)*2'&#xA;  -c:v:6 copy&#xA;  -c:a:0 aac -b:a:0 128k&#xA;  -c:a:1 aac -b:a:1 64k&#xA;  -c:a:2 libopus -b:a:2 128k&#xA;  -c:a:3 libopus -b:a:3 64k&#xA;  -adaptation_sets &amp;quot;id=0,streams=v id=1,streams=a&amp;quot;&#xA;  -f dash &amp;lt;output&amp;gt;.mpd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The idea here is to create a DASH stream with MPEG-4 and AV1 options for video, and Opus and AAC options for audio.&lt;/p&gt;&#xA;&lt;p&gt;This &amp;quot;works&amp;quot;, in that it does not produce an error message, and it creates a stream that can be played using &lt;code&gt;mpv&lt;/code&gt;. I can select an audio or video stream explicitly using &lt;code&gt;--vid=&lt;/code&gt; and/or &lt;code&gt;--aid=&lt;/code&gt; options to mpv, so the muxing &lt;em&gt;seems&lt;/em&gt; to work.&lt;/p&gt;&#xA;&lt;p&gt;However, when I investigate in detail, it turns out that all the chunks are stored in &lt;code&gt;.m4s&lt;/code&gt; containers, which (I believe?) is invalid for AV1 streams (those need to be in &lt;code&gt;.webm&lt;/code&gt; containers). As such, the AV1 alternatives are not playable by media players that are not ffmpeg based. At any rate, whether my guess is wrong or not, I seem to be unable to play the DASH stream using things like &lt;a href=&quot;https://dashjs.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;dash.js&lt;/a&gt; or &lt;a href=&quot;https://videolan.org&quot; rel=&quot;nofollow noreferrer&quot;&gt;VLC&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Am I doing this right? Is the &lt;code&gt;-f dash&lt;/code&gt; muxer the right thing to use for this?&lt;/p&gt;&#xA;&lt;p&gt;I looked at &lt;code&gt;DASHEncoder&lt;/code&gt;, but that (at first glance) seemed to be specific to MPEG-4; ffmpeg's man page at least &lt;em&gt;mentions&lt;/em&gt; WebM-DASH, so one would think that this could work.&lt;/p&gt;&#xA;&lt;p&gt;What am I missing?&lt;/p&gt;&#xA;" OwnerUserId="32024" LastActivityDate="2023-07-21T12:53:47.893" Title="mixing H.264 and AV1 in a single DASH manifest?" Tags="|ffmpeg|mp4|mpeg-dash|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36686" PostTypeId="2" ParentId="36683" CreationDate="2023-07-21T13:45:00.613" Score="1" Body="&lt;p&gt;Check your sequence size in Premiere, and your Comp Size in After Effects are exactly the same.&lt;/p&gt;&#xA;&lt;p&gt;In Premiere:&#xA;Make sure your sequence is selected in the timeline, then&#xA;Sequence menu. --&amp;gt; Sequence Settings --&amp;gt; Frame Size&lt;/p&gt;&#xA;&lt;p&gt;In After Effects:&#xA;Maker sure your comp is selected and visible, then&#xA;Composition menu --&amp;gt; Composition Settings --&amp;gt; Width/Height.&lt;/p&gt;&#xA;&lt;p&gt;Check pixel aspect ratios are Square too.&lt;/p&gt;&#xA;&lt;p&gt;Also: make sure you're viewing your full canvas in Premiere and AE.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-07-21T13:45:00.613" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36688" PostTypeId="2" ParentId="28758" CreationDate="2023-07-21T18:48:51.927" Score="1" Body="&lt;p&gt;maskfun filter has a slightly easier syntax and I assume gets the same result.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -vf format=gray,maskfun=low=128:high=128:fill=0:sum=128 video-bw.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#maskfun&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-filters.html#maskfun&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="27219" LastActivityDate="2023-07-21T18:48:51.927" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36689" PostTypeId="1" CreationDate="2023-07-22T07:27:45.060" Score="0" ViewCount="62" Body="&lt;p&gt;I have a file video.mp4 and file audio.mp3, how to with the audio inserted every 2 seconds of video&#xA;i try it but doesn't seem right. Please help me!&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i audio.wav -filter_complex &amp;quot;[1]adelay=2s:all=true[delayed];[0][delayed]amix=duration=shortest&amp;quot; -c:v copy output.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="41912" LastEditorUserId="41912" LastEditDate="2023-07-22T07:28:17.763" LastActivityDate="2023-07-22T07:28:17.763" Title="How to add audio every x time [ffmpeg]" Tags="|ffmpeg|video|audio|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36692" PostTypeId="2" ParentId="3108" CreationDate="2023-07-23T16:43:11.777" Score="0" Body="&lt;p&gt;I used some painter tape (I had some in blue, see &lt;a href=&quot;https://amzn.to/3DpVKTD&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://amzn.to/3DpVKTD&lt;/a&gt;).&#xA;Cut 21x pieces of 12x8mm.&#xA;The blue tape mentioned above sticks nicely but you can remove it any time without leaving any trace. I also tested with eletrical tape (in white) but the painter tape in blue diffused those nasty lights better.&lt;/p&gt;&#xA;" OwnerUserId="41922" LastActivityDate="2023-07-23T16:43:11.777" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36693" PostTypeId="1" CreationDate="2023-07-23T19:27:50.860" Score="0" ViewCount="20" Body="&lt;p&gt;I'm working on a project and have created a graphic layer with text on it. I added some keyframes for position to move the text over time. then I added another text that need its own distinct position animation. but because I had added position keyframes in Vector Motion, now both of them are effected. my question is how to copy and paste the keyframes of position in Vector Motion into the position of one of the text.&lt;/p&gt;&#xA;&lt;p&gt;I tried edit&amp;gt;copy but when I paste it, it goes under Vector motion not the transform part of the text I want.&lt;/p&gt;&#xA;&lt;p&gt;What should I do. And notice I don't want to add another graphic layer for the new text&lt;/p&gt;&#xA;" OwnerUserId="41923" LastActivityDate="2023-07-23T19:27:50.860" Title="Moving keyframes out of Vector Motion in Premiere" Tags="|keyframes|premiere-pro|motion-graphics|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36694" PostTypeId="1" CreationDate="2023-07-24T02:03:28.643" Score="0" ViewCount="156" Body="&lt;p&gt;There is this command that sends files (input1.mp4, input2.mp4...) as an HLS stream to the site,&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg -i -re input1.mp4 -f hls -hls_time 4 -hls_playlist_type event /opt/metal-country_ru/live/stream.m3u8&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;but only plays one file. I want to make sure that all the files that are in the directory are consistently and continuously sent in one stream to the site's player. I'm not good at this topic, so please help.&lt;/p&gt;&#xA;" OwnerUserId="41929" LastActivityDate="2023-07-24T02:03:28.643" Title="How to streaming all files in directory in &quot;input&quot; (FFmpeg HLS stream)" Tags="|ffmpeg|hls|live-streaming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36695" PostTypeId="1" CreationDate="2023-07-24T02:19:53.143" Score="0" ViewCount="153" Body="&lt;p&gt;I have a mov file with HEVC with Alpha codec on Mac. The mov file has no background color, but have some foreground contents in it. I want to use FFMPEG to grab some PNG pictures from it. Following is the command line I used to grab the first image from the video.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;ffmpeg -i hevc-alpha-video.mov -r 1 -pix_fmt rgba -frames:v 1 out.png&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I can get the output PNG picture. But it has black background color. What I want is the transparent background PNG picture.&lt;/p&gt;&#xA;&lt;p&gt;Do you have any idea to handle this? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="41927" LastActivityDate="2023-07-24T02:19:53.143" Title="FFMPEG converts HEVC with Alpha mov to PNG sequence not work well" Tags="|ffmpeg|video|alpha|hevc|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36696" PostTypeId="1" CreationDate="2023-07-24T02:40:48.560" Score="0" ViewCount="336" Body="&lt;p&gt;I am trying to export a 44 minute, 2.641 GB video on the latest version of adobe premiere 2023, but everytime I do, I get a video with a black screen. Note that I am exporting with Range: Source In/Out and no effects aside from cross dissolves.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rESAr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rESAr.png&quot; alt=&quot;Export Settings 1&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/QLld5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/QLld5.png&quot; alt=&quot;Export Settings 2&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="29929" LastActivityDate="2023-08-24T22:08:41.947" Title="Adobe Premiere: H.264 export results in black screen" Tags="|premiere|adobe|export|premiere-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36698" PostTypeId="1" CreationDate="2023-07-24T15:08:46.927" Score="0" ViewCount="97" Body="&lt;p&gt;Is there a way I can programmatically identify an ideal start and finish frame for looping a video using freely available or open source tooling such as ffmpeg?&lt;/p&gt;&#xA;&lt;p&gt;I found &lt;a href=&quot;https://video.stackexchange.com/questions/19869/finding-the-place-where-a-video-loops&quot;&gt;this solution&lt;/a&gt; which is close, but looks for an exact frame. I need to just find some best frames out of whats available in a given video.&lt;/p&gt;&#xA;&lt;p&gt;The videos in my use case are moderately complex, mostly a single person with a still  camera.&lt;/p&gt;&#xA;" OwnerUserId="41935" LastActivityDate="2023-07-24T15:08:46.927" Title="How can I find the best start and finish frames for looping a video?" Tags="|ffmpeg|video|software-recommendation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36699" PostTypeId="1" CreationDate="2023-07-24T15:09:30.373" Score="0" ViewCount="45" Body="&lt;p&gt;Let's say i have a 2 TB drive. If i want to use ffmpeg to concatenate two files, they cannot be larger than 1 TB in total, otherwise I won't have enough storage space to save the output file.&lt;/p&gt;&#xA;&lt;p&gt;Is it possible for ffmpeg (or, perhaps, another tool) to concatenate two videos while also removing parts of the source files on the fly, allowing me to concatenate larger files? The files in questions will be encoded with the ffv1 codec and saved as mkv, although I'm fine with trying different containers.&lt;/p&gt;&#xA;&lt;p&gt;Would saving files in smaller chunks to begin with be the only solution?&lt;/p&gt;&#xA;" OwnerUserId="41936" LastActivityDate="2023-07-24T15:09:30.373" Title="ffmpeg - concatenate files while space constrained" Tags="|ffmpeg|windows|storage|concatenation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36700" PostTypeId="1" CreationDate="2023-07-25T09:45:19.437" Score="0" ViewCount="63" Body="&lt;p&gt;I'm working on a video where I use an adjustment layer to zoom in and position multiple clips at once. This is what my timeline and preview look like in premiere pro:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/f9jCZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/f9jCZ.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Note the position of the serum application in the preview view.&lt;/p&gt;&#xA;&lt;p&gt;now here is the same moment from the rendered video show using vlc media player (black bars on the side aren't part of the video):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/cQPR0.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/cQPR0.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;you can see everything in the background has moved over to the right, note the position of the serum application with regards to the facecam. I've been using the transform effect for a long time like this and only recently this started happening. I do tend to copy over the zoom layer from one project to another to save time.&lt;/p&gt;&#xA;&lt;p&gt;What is going on here? how do I fix this?&lt;/p&gt;&#xA;" OwnerUserId="12654" LastActivityDate="2023-07-25T09:45:19.437" Title="Using the transform effect on an adjustment layer in premiere pro renders differently from timeline view" Tags="|premiere|rendering|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36701" PostTypeId="1" CreationDate="2023-07-26T06:45:27.780" Score="0" ViewCount="13" Body="&lt;p&gt;This script uses ffmpeg to overlay a red [1] and blue [2] stream atop a yellow [0] stream. The intent is that the red stream will be exactly adjacent to the blue stream; at frame 1731 the output video should transition immediately from pure red to pure blue:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;# These values result in a blank frame where the videos join at around 58s&#xA;LENGTH=1800&#xA;SPLIT_AT=1731&#xA;&#xA;# These values work just fine.&#xA;# LENGTH=1800&#xA;# SPLIT_AT=2&#xA;&#xA;ffmpeg \&#xA;-f lavfi -r 30 -i &amp;quot;color=c=yellow:s=1920x1080&amp;quot; \&#xA;-f lavfi -r 30 -i &amp;quot;color=c=990000:s=1920x1080&amp;quot; \&#xA;-f lavfi -r 30 -i &amp;quot;color=c=000099:s=1920x1080&amp;quot; \&#xA;-filter_complex \&#xA;&amp;quot;[1]concat=n=1[red_concat];&amp;quot;\&#xA;&amp;quot;[red_concat]tpad=start=0[red_pad];&amp;quot;\&#xA;&amp;quot;[0][red_pad]overlay=enable=between(n\,0\,$SPLIT_AT):eof_action=repeat[red_overlay];&amp;quot;\&#xA;&amp;quot;[2]concat=n=1[blue_concat];&amp;quot;\&#xA;&amp;quot;[blue_concat]tpad=start=$SPLIT_AT[blue_pad];&amp;quot;\&#xA;&amp;quot;[red_overlay][blue_pad]overlay=enable=between(n\,$SPLIT_AT\,$LENGTH):eof_action=repeat[blue_overlay];&amp;quot;\&#xA;&amp;quot;[blue_overlay]trim=end_frame=$LENGTH[full];&amp;quot; \&#xA; -map &amp;quot;[full]&amp;quot; video.mp4 -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, what I see is that there is a single black frame between the pure red and pure blue. This black seems to be coming from the frames that &lt;code&gt;tpad&lt;/code&gt; adds.&lt;/p&gt;&#xA;&lt;p&gt;What I don't understand is why I'm seeing that black frame. As far as I can tell, my uses of &lt;code&gt;tpad&lt;/code&gt; and &lt;code&gt;overlay/enable-between&lt;/code&gt; should produce a seamless transition from red to blue. And indeed, if I change the &lt;code&gt;SPLIT_AT&lt;/code&gt; value to almost anything else I get exactly that; the value 1731 is &amp;quot;special&amp;quot; in some way.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Can anyone explain what's going on? Maybe more importantly, can anyone reproduce this problem?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;My first thought was that I've got some form of fencepost error in how I'm using &lt;code&gt;tpad&lt;/code&gt; or &lt;code&gt;enable-between&lt;/code&gt;. However, that doesn't explain why the script works for most values but not 1731. This difference in results feels like there's a rounding error somewhere, but since I'm dealing purely in terms of integer frame numbers, I don't see how I could be introducing them.&lt;/p&gt;&#xA;&lt;p&gt;Removing the uses of &lt;code&gt;concat&lt;/code&gt; makes the immediate problem go away, so one possibility is that the problem comes entirely from &lt;code&gt;concat&lt;/code&gt; (e.g. perhaps it does frame-to-time conversions which introduce rounding). But it's hard to be positive if &lt;code&gt;concat&lt;/code&gt; is entirely to blame or just part of a larger issue.&lt;/p&gt;&#xA;&lt;p&gt;A few notes:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;This is a drastically reduced example from a larger video compositing system. Things like the use of concat may appear unnecessary, but they're representative of what the larger system is doing.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I've seen this with ffmpeg-6.0 (installed via homebrew) and a recent daily build on an M1 macbook.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="41946" LastActivityDate="2023-07-26T06:45:27.780" Title="Inconsistent behavior when placing adjacent video overlays" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36702" PostTypeId="1" CreationDate="2023-07-26T11:47:15.880" Score="0" ViewCount="98" Body="&lt;h2&gt;Original Issue&lt;/h2&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i macos-sreenrecording-2560x1600-h264-FPS60.mov -movflags faststart -an -c:v libx264 -crf 18 -preset veryslow 2560x1600-CR18-FPS60.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Yields an MP4 with H.264 at High@L6 (aka High Profile Level 6)&lt;/li&gt;&#xA;&lt;li&gt;❌ Does not play back on iPhones 6S, &lt;a href=&quot;https://help.shopmoment.com/article/135-video-formats-for-ios&quot; rel=&quot;nofollow noreferrer&quot;&gt;whose maximum is High@L5.1 (4K @ 30 FPS)&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;Realized root cause and solution (in principle!)&lt;/h3&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Wikipedia lists these maximum values for &lt;a href=&quot;https://en.wikipedia.org/wiki/Advanced_Video_Coding#Levels&quot; rel=&quot;nofollow noreferrer&quot;&gt;video Width×Height@Framerate(Stored Frames)&lt;/a&gt; for Profile 5.1&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;1920×1080 @ 120.5 (16), 2560×1920 @ 51.2 (9), 3840×2160 @ 31.7 (5), ...&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt; So I thought I have these viable alternatives:&#xA;&lt;ul&gt;&#xA;&lt;li&gt; Keep dimensions 2560x1600 and lower framerate from 60 to 50 FPS&lt;/li&gt;&#xA;&lt;li&gt; Keep the framerate of 60 FPS and reduce the dimensions from 2560x1600 to 1920x1200.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Remaining issue (in practice &amp;amp; theory)&lt;/h2&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i 2560x1600-h264-FPS60.mov -movflags faststart -an -c:v libx264 -r 50 -vsync cfr -crf 18 -preset fast 2560x1600-CR18-FPS50.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;With &lt;code&gt;-preset fast&lt;/code&gt; according to &lt;code&gt;mediainfo&lt;/code&gt; this yields an MP4 with H.264 at High Profile Level 5.1 with:&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Format settings: CABAC / 4 Ref Frames&lt;/li&gt;&#xA;&lt;li&gt;Bit rate: 185 kb/s&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;If I change &lt;code&gt;-preset&lt;/code&gt; to &lt;code&gt;veryslow&lt;/code&gt; then according to &lt;code&gt;mediainfo&lt;/code&gt; it becomes a High Profile Level 6 with:&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Format settings: CABAC / 16 Ref Frames&lt;/li&gt;&#xA;&lt;li&gt;Bit rate: 179 kb/s&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;Learning:&lt;/strong&gt; The &lt;strong&gt;H.264 Profile Level&lt;/strong&gt; seems to be &lt;strong&gt;not only determined&lt;/strong&gt; by &lt;em&gt;video dimensions + framerate + average and/or peak bitrate&lt;/em&gt;, &lt;strong&gt;but also by the reference frame count&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;h2&gt;Remaining Question&lt;/h2&gt;&#xA;&lt;p&gt;How can I encode this video with the most CPU effort (for the best possible outcome, except placebo which is explictly &amp;quot;too much&amp;quot;) to remain High@L5.1 compatible with the maximum image dimensions and framerate?&lt;/p&gt;&#xA;" OwnerUserId="35955" LastEditorUserId="35955" LastEditDate="2023-07-27T12:35:47.080" LastActivityDate="2023-12-24T15:08:56.090" Title="Why do different libx264 encoding presets yield different H264 profiles? For same video: Same source, same target dimension + framerate + CRF" Tags="|ffmpeg|h.264|libx264|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36703" PostTypeId="1" CreationDate="2023-07-26T14:25:57.713" Score="0" ViewCount="13" Body="&lt;p&gt;I have one laptop with 4 different applications running on it. I would like to separate these 4 applications into each television. Each television will display one of the applications. I have bought 1 HDMI transmitter and 4 HDMI Receivers for the television. However, I was under the impression that I can separate the 4 applications for each television. This turned out to be false.&lt;/p&gt;&#xA;" OwnerUserId="41953" LastActivityDate="2023-07-26T14:25:57.713" Title="How do I display 4 different outputs with HDMI when I only have one input device?" Tags="|streaming|software-recommendation|screen-casting|hdmi|television|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36704" PostTypeId="1" CreationDate="2023-07-26T16:06:46.600" Score="0" ViewCount="4" Body="&lt;p&gt;I was wondering if anyone has any idea why when I duplicate a layer which has paint on it, it causes the paint to warp in the duplicated layer. I have attached 2 photos which shows what happens. Copy and pasting the effect does not help either.&lt;/p&gt;&#xA;&lt;p&gt;If anyone knows a solution I would greatly appreciate it.&lt;/p&gt;&#xA;&lt;p&gt;Thanks,&#xA;Vika&#xA;&lt;a href=&quot;https://i.stack.imgur.com/BLCwJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BLCwJ.png&quot; alt=&quot;before&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/GWLS4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GWLS4.png&quot; alt=&quot;after&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33467" LastEditorUserId="33467" LastEditDate="2023-07-26T16:07:31.090" LastActivityDate="2023-07-26T16:07:31.090" Title="Question About After Effects Paint Tool" Tags="|after-effects|video-editor|adobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36705" PostTypeId="1" AcceptedAnswerId="36709" CreationDate="2023-07-26T16:43:44.300" Score="1" ViewCount="70" Body="&lt;p&gt;I'm trying to program an automation process to add a message at the beginning and end of an input video in Windows. I have a png being looped into a mp4 with a silent audio stream added on. This is the filter complex that I'm using:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    ffmpeg -i messageWithSilence.mp4 -i gif.mp4 -filter_complex &amp;quot;[0:v]scale=1920:1080:force_original_aspect_ratio=decrease,format=yuv420p,pad=1920:1080:-1:-1,setsar=1[video_1]; &#xA;    [0:a]aformat=sample_fmts=fltp:sample_rates=44100:channel_layouts=stereo[audio_1]; &#xA;    [1:a]aformat=sample_fmts=fltp:sample_rates=44100:channel_layouts=stereo[audio_2];&#xA;    [video_1][1:v][video_1]concat=n=3:v=1:a=0[v_concat]; &#xA;    [audio_1][audio_2][audio_1]concat=n=3:v=0:a=1[a_concat]&amp;quot; -map &amp;quot;[v_concat]&amp;quot; -map &amp;quot;[a_concat]&amp;quot; -c:v libx264 -c:a aac -r 30 -shortest &amp;quot;%output_name%.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any ideas as to why I would be getting the error&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream specifier 'video_1' in filtergraph description matches no streams&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;?&lt;/p&gt;&#xA;" OwnerUserId="41956" LastEditorUserId="18155" LastEditDate="2023-07-26T23:13:08.100" LastActivityDate="2023-07-27T00:00:12.943" Title="Simple FFMPEG Concatenation" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36706" PostTypeId="2" ParentId="17116" CreationDate="2023-07-26T17:26:53.107" Score="0" Body="&lt;p&gt;I actually have a solution that puts it in one track! Drag over a title sequence from Essential graphics, and while inside the edit panel use CTRL-ALT-T (a shortcut I added to 'Add New Layer From File') and the folder explorer will appear for you to choose as many images as you'd like to add. Then you can simply delete the original elements for the title sequence. Voila! One clip with all the images you need, each with their own individual controls. Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="41957" LastActivityDate="2023-07-26T17:26:53.107" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36707" PostTypeId="2" ParentId="5361" CreationDate="2023-07-26T18:07:28.610" Score="0" Body="&lt;p&gt;In my case, it was lack of space on the drive with the Project (I did not recognize it). It probably could not somehow create the audio peak file. I created more free space and all audio tracks were exported correctly.&lt;/p&gt;&#xA;" OwnerUserId="41958" LastActivityDate="2023-07-26T18:07:28.610" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36708" PostTypeId="1" AcceptedAnswerId="36711" CreationDate="2023-07-26T19:21:00.587" Score="1" ViewCount="15" Body="&lt;p&gt;While making videos at home, there is a considerable amount of ambient noise throughout the day (e.g. airplanes, cars honking, dogs barking, etc).  I know there are (software) tools that are capable of filtering out such noise while recording voice audio.  For example, Microsoft's &amp;quot;Teams&amp;quot; software has a digital/software filter that, when turned on, causes all of those sounds to be filtered out of the audio that is transmitted to others in the &amp;quot;Team&amp;quot; call. It does a flawless job of this, allowing essentially only voice audio to pass through.&lt;/p&gt;&#xA;&lt;p&gt;However, I have yet to find what software would do this for a typical home video recording setup.  In my case, the hardware I have is:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;Sound&lt;/strong&gt;: a Professional Scarlett Studio MIC, connected to a Focusrite Scarlett 2i2, which is then connected to a MacBook Pro.  The MacBook is running Ableton Live 11.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;Video&lt;/strong&gt;: A Sony ZV-1F.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Honestly, I have yet to make my first video...but audio tests show that absolutely every ambient sound is mingled with my voice.&lt;/p&gt;&#xA;&lt;p&gt;I am not looking for a solution of &amp;quot;go to a recording studio&amp;quot;.  Also, I am not talking about playback of a recording (I am not looking for a noise-cancellation headset).  I am looking for software, presumably compatible with the above, which filters out the noise while the recording of my voice is in progress.  Any suggestions?&lt;/p&gt;&#xA;" OwnerUserId="41959" LastEditorUserId="41959" LastEditDate="2023-07-26T19:49:06.073" LastActivityDate="2023-07-27T07:55:03.077" Title="Noise filtering/cancellation via software while recording voice" Tags="|noise|noise-reduction|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36709" PostTypeId="2" ParentId="36705" CreationDate="2023-07-26T22:32:31.030" Score="0" Body="&lt;p&gt;In this part of your filtergraph&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[video_1][1:v][video_1]concat=n=3:v=1:a=0[v_concat];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;you used the link label &lt;code&gt;[video_1]&lt;/code&gt; twice. The first occurrence of it “consumes” the previously defined output pad &lt;code&gt;[video_1]&lt;/code&gt; output, so the second one has no chance to connect to it.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;em&gt;Solution:&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;You may append the &lt;code&gt;split&lt;/code&gt; filter to your first filterchain (i.e. just before the &lt;code&gt;[video_1]&lt;/code&gt; output pad label)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;...,setsar=1,split[video_1][video_2];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;to create 2 identical video outputs, and then replace the second occurrence of &lt;code&gt;[video_1]&lt;/code&gt; with &lt;code&gt;[video_2]&lt;/code&gt; in your &lt;code&gt;concat&lt;/code&gt; filter:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[video_1][1:v][video_2]concat=n=3:v=1:a=0[v_concat];&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;em&gt;Note:&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;You have to perform a similar procedure for your &lt;code&gt;[audio_1]&lt;/code&gt; label – you used it twice as input label, too.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2023-07-27T00:00:12.943" LastActivityDate="2023-07-27T00:00:12.943" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36710" PostTypeId="1" CreationDate="2023-07-27T01:49:37.563" Score="0" ViewCount="67" Body="&lt;p&gt;I ran into such a problem with hls streaming, adding filters to the overlay logo, but it was smeared with pink and green stripes. Has anyone come across this.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -re -i &amp;lt;(for f in *.mp4; do echo &amp;quot;file '$PWD/$f'&amp;quot;; done) \ -i /opt/metal-country_ru/logo-full.png \ -filter_complex &amp;quot;[0:v][1:v]overlay=x=main_w-overlay_w-(main_w*0.011):y=main_h*0.02&amp;quot; \ -f hls -hls_time 4 -hls_playlist_type event /opt/metal-country_ru/live/stream.m3u8\&lt;/code&gt;&lt;a href=&quot;https://i.stack.imgur.com/XFlfq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XFlfq.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41929" LastActivityDate="2023-07-27T01:49:37.563" Title="Pink and green color on overlay logo" Tags="|ffmpeg|streaming|hls|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36711" PostTypeId="2" ParentId="36708" CreationDate="2023-07-27T07:55:03.077" Score="1" Body="&lt;p&gt;As you're working in mono, this becomes easy, using that dreaded misnomer… &lt;strong&gt;AI&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Just record your soundtrack as normal, then throw the resulting file at &lt;a href=&quot;https://podcast.adobe.com/enhance&quot; rel=&quot;nofollow noreferrer&quot;&gt;Adobe Enhance&lt;/a&gt; (free but requires sign-up). It only takes wav or mp3. It &lt;em&gt;will&lt;/em&gt; take stereo but gives you mono back.&lt;br /&gt;&#xA;Tadahh. Clean audio track.&lt;/p&gt;&#xA;&lt;p&gt;Honestly, it's nearly put me out of a job :\&lt;/p&gt;&#xA;&lt;p&gt;There's also a &lt;a href=&quot;https://podcast.adobe.com/miccheck&quot; rel=&quot;nofollow noreferrer&quot;&gt;Mic Check&lt;/a&gt; tool, which I haven't yet tried.&lt;/p&gt;&#xA;&lt;p&gt;&lt;sup&gt;BTW, the kind of routines that Teams et al use is 'clever' but pretty low bandwidth/complexity. You wouldn't want to use it for broadcast&lt;/sup&gt;&lt;/p&gt;&#xA;" OwnerUserId="12233" LastActivityDate="2023-07-27T07:55:03.077" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36712" PostTypeId="2" ParentId="36702" CreationDate="2023-07-27T13:44:19.273" Score="0" Body="&lt;p&gt;&lt;em&gt;&lt;strong&gt;Note&lt;/strong&gt;: Take this my answer with a grain of salt. Derived from lots of trial'n'error observations in combination with some knowhow of video encoding in general and ffmpeg in particular. But I'm in no way an expert. Would love if someone can chime in and give the exact explanations.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;h2&gt;Add &lt;code&gt;-profile:v high -level:v 5.1&lt;/code&gt; (or your appropriate limitation) as a &amp;quot;further limiter&amp;quot;&lt;/h2&gt;&#xA;&lt;p&gt;within the other main constraints video dimension + framerate, implicit in the &lt;code&gt;-i input-video.mov&lt;/code&gt; or explicit in the output arguments &lt;code&gt;-vf scale=WIDTH:HEIGHT -r FRAMERATE&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i macos-sreenrecording-2560x1600-h264-FPS60.mov -movflags faststart -an -c:v libx264 -crf 18 -preset fast -r 50 -vsync cfr -profile:v high -level:v 5.1 2560x1600-CR18-FPS50-High@5.1.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;I think the basic limiters &lt;strong&gt;dimension&lt;/strong&gt; and &lt;strong&gt;framerate&lt;/strong&gt; by itself MUST comply with the profile and level you are targeting.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The arguments &lt;code&gt;-profile&lt;/code&gt; and &lt;code&gt;-level&lt;/code&gt; seem to be able to just make some other tweaks WITHIN that constraints (mainly the reference framecount, what I could observe). But they can not magically make it conform if the outer constraints break the profile/level limit.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If you state a very low &lt;code&gt;-profile&lt;/code&gt; and &lt;code&gt;-level&lt;/code&gt; but for a dimension/framerate combo way above that profile/level's maximums then ffmpeg / libx264 can do little.&#xA;&lt;ul&gt;&#xA;&lt;li&gt;According to mediainfo that video file then has the targeted profile/level declared in the video header (moov atom) but its contents contradict it.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;So I guess the video players / chipsets / devices have some additional heuristics to skip such &amp;quot;falsely labeled&amp;quot; video files.&#xA;&lt;ul&gt;&#xA;&lt;li&gt;And as the next point shows, possible those heuristics possibly even falsely disqualify a video file, if carefully evaluated would qualify.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;On the concrete targeting device (iPhone 6S)&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I found only the vague spec: High@L5.1 and an exemplary maximum of 4K @ 30FPS.&lt;/li&gt;&#xA;&lt;li&gt;According to Wikipedia High@L5.1 should allow my 2560x1600 source as within the &lt;code&gt;2560×1920 @ 51.2 (9) &lt;/code&gt; boundaries if I encode it at 50 FPS (below that 51.2), and the &lt;code&gt;-profile&lt;/code&gt; and &lt;code&gt;-level&lt;/code&gt; then make sure, that the last variables (which I don't state explicitly), such as the reference frame amount, stay within the maximum, in the case of High@L5 ref=9 or lower.&#xA;&lt;ul&gt;&#xA;&lt;li&gt;But the practical test on the iPhone 6S: Not playing back!&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;Interestingly the EXACT same command line, just swapping &lt;code&gt;-level:v&lt;/code&gt; from &lt;code&gt;5.1&lt;/code&gt; down to &lt;code&gt;5&lt;/code&gt;, produced a video file of the EXACT same size in bytes. The 2 bytes which differ are the profile/level declaration flags (see screenshot).&lt;/li&gt;&#xA;&lt;li&gt;That High@L5 file then played back on the iPhone 6S.&lt;/li&gt;&#xA;&lt;li&gt;So if you don't know the exact limitation, it's a guesswork, and sometimes lowering the -level, in practice creates the same video, just with a different flag, and by this if passes a video player's pre-check.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;img src=&quot;https://i.stack.imgur.com/63hv2.png&quot; alt=&quot;ffmpeg - profile level difference only in header not video content&quot; /&gt;&lt;/p&gt;&#xA;" OwnerUserId="35955" LastActivityDate="2023-07-27T13:44:19.273" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36713" PostTypeId="1" CreationDate="2023-07-27T20:24:34.250" Score="0" ViewCount="15" Body="&lt;p&gt;In most of the places my Cross Dissolve transition is of normal size, but at one place it is small size, any idea why ?&lt;/p&gt;&#xA;&lt;p&gt;Small Size&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UfcKi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UfcKi.png&quot; alt=&quot;Small Size&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Normal Size&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TJLVl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TJLVl.png&quot; alt=&quot;Normal Size&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41965" LastActivityDate="2023-07-27T20:24:34.250" Title="Why some cuts my transition is small" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36715" PostTypeId="2" ParentId="22024" CreationDate="2023-07-28T16:28:05.297" Score="1" Body="&lt;p&gt;Why not use the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#channelsplit&quot; rel=&quot;nofollow noreferrer&quot;&gt;channelsplit&lt;/a&gt; filter?&lt;/p&gt;&#xA;&lt;p&gt;First, get audio streams:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe &amp;quot;$f&amp;quot; 2&amp;gt;&amp;amp;1 | grep Stream | grep Audio&#xA;Stream #0:1(eng): Audio: dts (DTS-HD MA), 48000 Hz, 7.1, s32p (24 bit) (default)&#xA;Stream #0:2(eng): Audio: ac3, 48000 Hz, 5.1(side), fltp, 384 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Choose Stream #0:1 and get layout:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -layouts 2&amp;gt;&amp;amp;1 | grep &amp;quot;7.1&amp;quot;&#xA;7.1            FL+FR+FC+LFE+BL+BR+SL+SR&#xA;7.1(wide)      FL+FR+FC+LFE+BL+BR+FLC+FRC&#xA;7.1(wide-side) FL+FR+FC+LFE+FLC+FRC+SL+SR&#xA;7.1(top)       FL+FR+FC+LFE+BL+BR+TFL+TFR&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Choose:&#xA;&lt;code&gt;7.1            FL+FR+FC+LFE+BL+BR+SL+SR&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Use:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;&amp;quot;[0:1]channelsplit=channel_layout=7.1[FL][FR][FC][LFE][BL][BR][SL][SR]&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Note that stream 0:1 is in &lt;code&gt;[]&lt;/code&gt; . This is how to specify a specific stream out of more than one stream. Note that the channel order follows the chosen layout.&lt;/p&gt;&#xA;&lt;p&gt;Extract channels as W64 wavs. This insures that output files greater than 4GB don't trigger the error '&lt;em&gt;Filesize ####### invalid for wav, output file will be broken&lt;/em&gt;' . This format is compatible with most DAWs.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i &amp;quot;$f&amp;quot; -vn -sn -map_chapters -1 \&#xA;-filter_complex &amp;quot;[0:1]channelsplit=channel_layout=7.1[FL][FR][FC][LFE][BL][BR][SL][SR]&amp;quot; \&#xA;-c:a pcm_s32le -map &amp;quot;[FL]&amp;quot; FL.w64 \&#xA;-c:a pcm_s32le -map &amp;quot;[FR]&amp;quot; FR.w64 \&#xA;-c:a pcm_s32le -map &amp;quot;[FC]&amp;quot; FC.w64 \&#xA;-c:a pcm_s32le -map &amp;quot;[LFE]&amp;quot; LFE.w64 \&#xA;-c:a pcm_s32le -map &amp;quot;[BL]&amp;quot; BL.w64 \&#xA;-c:a pcm_s32le -map &amp;quot;[BR]&amp;quot; BR.w64 \&#xA;-c:a pcm_s32le -map &amp;quot;[SL]&amp;quot; SL.w64 \&#xA;-c:a pcm_s32le -map &amp;quot;[SR]&amp;quot; SR.w64&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="10727" LastActivityDate="2023-07-28T16:28:05.297" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36716" PostTypeId="2" ParentId="34818" CreationDate="2023-07-28T19:58:22.587" Score="0" Body="&lt;p&gt;Except it does happen in real-time due to people reacting about the lights and asking how the lights are levitating.&lt;/p&gt;&#xA;&lt;p&gt;Possibly using a green screen hanging above the piano. If he can animate the lights on his synthesia videos, pretty sure he can just put it on a green screen at that point lol&lt;/p&gt;&#xA;" OwnerUserId="41975" LastActivityDate="2023-07-28T19:58:22.587" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36717" PostTypeId="1" CreationDate="2023-07-29T11:50:53.180" Score="0" ViewCount="29" Body="&lt;p&gt;First I would like to say that I use MacOS, I am new using ffmpeg and keyboard maestro and have no little to none experience in coding. But I think I did learned a bit is the past few weeks trying to solve the problem I will ask now. Believe me I tried searching for answers online and did a lot of trial and error before coming here to ask my question. so here is what I am trying to do:&lt;/p&gt;&#xA;&lt;p&gt;I have a folder (/Users/Documents/clips) with 450 short AVI clips (foto1.avi, foto2.avi...., foto450.avi) from which I would like to extract all frames from. I know how to extract all frames from 1 clip and copy them to an existing directory:&lt;/p&gt;&#xA;&lt;p&gt;*ffmpeg -i /Users/Documents/clips/foto1.avi /Users/Documents/Frames/Foto1/frame%06d.png *&lt;/p&gt;&#xA;&lt;p&gt;With their command all frames from the clip Foto1.avi (frame000001.png, frame000002.png...., frame000132.png) are copied to the folder /Foto1.&lt;/p&gt;&#xA;&lt;p&gt;With keyboard Maestro I created 450 folders named afters the 450 .avi clips.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to write a ffmpeg command that will extract the frames of all 450 .avi clips to the folder with the same name as the file?&lt;/p&gt;&#xA;&lt;p&gt;I was hoping there would be a way of seeing variables in this kind of way:&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -i /Users/Documents/clips/foto%.avi /Users/Documents/Frames/Foto%/frame%06d.png&lt;/p&gt;&#xA;&lt;p&gt;I really appreciate any help. Thank you!&lt;/p&gt;&#xA;&lt;p&gt;I tried searching for answers in forums, ffmpeg database. And since I have almost no knowledge on coding sometimes is hard to decipher and understand the meaning of the code.&lt;/p&gt;&#xA;" OwnerUserId="41980" LastActivityDate="2023-07-29T11:50:53.180" Title="ffmpeg - extract frames from video from multiple files to add to Keyboard Maestro macro" Tags="|ffmpeg|automation|time-lapse|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36718" PostTypeId="1" CreationDate="2023-07-30T14:24:17.743" Score="0" ViewCount="12" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OAnZh.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OAnZh.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have a short video of length 11s in mp4 format. As you can see from the screenshot, it is 1080 by 1920 with Data rate 2097 kbps and total bitrade 2208 kbps. Frame rate is 30.00 fps.&lt;/p&gt;&#xA;&lt;p&gt;The audio bit rate is 111 kbps with two stereo channels and the audio sample rate is 44.100 kHz.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Question: how to compute the size of my video based on the information above?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Observation: Total bitrate = (video) Data rate + (audio) Bit rate = 2097 + 111 = 2208&lt;/p&gt;&#xA;&lt;p&gt;But I guess 2208kbps * 11s = 24288 kb, while my video size is much bigger, see &lt;a href=&quot;https://i.stack.imgur.com/LOw2E.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LOw2E.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;What goes wrong here? Or am I using the wrong formula?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="41988" LastEditorUserId="41988" LastEditDate="2023-07-30T14:25:03.243" LastActivityDate="2023-07-30T14:25:03.243" Title="Is there a math formula computing the size of the video given its video and audio information?" Tags="|video|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36719" PostTypeId="1" CreationDate="2023-07-31T08:59:37.383" Score="0" ViewCount="146" Body="&lt;p&gt;I've created command, which connects video file with music, use shortest(video) duration, and output this to result file&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg \&#xA;-i ./source/video/women/1.mp4 \&#xA;-i ./source/audio/women.mp3 -y \&#xA;-filter:v drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=1:boxcolor=black@1:y=280,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=a0:boxcolor=black@0.8:enable='between(t,0,6.5)':y=700,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=a1:boxcolor=black@0.8:enable='between(t,0,6.5)':y=800,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=a2:boxcolor=black@0.8:enable='between(t,0,6.5)':y=900,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=a3:boxcolor=black@0.8:enable='between(t,0,6.5)':y=1000,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=b0:boxcolor=black@0.8:enable='between(t,7,10)':y=1000,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=b1:boxcolor=black@0.8:enable='between(t,7,10)':y=1100,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=b2:boxcolor=black@0.8:enable='between(t,7,10)':y=1200,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=b3:boxcolor=black@0.8:enable='between(t,7,10)':y=1300,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=b4:boxcolor=black@0.8:enable='between(t,7,10)':y=1400,drawtext=fontsize=30:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=c:enable='between(t,10.2,inf)':boxcolor=black@1:y=1500,drawtext=fontsize=30:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=d:enable='between(t,10.2,inf)':boxcolor=black@1:y=1550 \&#xA;-map 0:v:0 \&#xA;-map 1:a:0 \&#xA;-shortest out2/_.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If I add second output, it works, but without audio and drawtext. How could I fixe this and get draw text works on both outputs?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;UPD 1:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i ./source/video/kids/1.mp4 -i ./source/audio/kids.mp3 -y \&#xA;-filter_complex drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=Facts about children:boxcolor=black@1:y=280:text='Facts about children':boxcolor=black@1:y=280,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=Facts about children:boxcolor=black@1:y=280:text='a0':boxcolor=black@0.8:y=700:enable='between(t,0,6.5)',drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=Facts about children:boxcolor=black@1:y=280:text='a1':boxcolor=black@0.8:y=800:enable='between(t,0,6.5)',drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=Facts about children:boxcolor=black@1:y=280:text='a2':boxcolor=black@0.8:y=900:enable='between(t,0,6.5)',drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=Facts about children:boxcolor=black@1:y=280:text='a3':boxcolor=black@0.8:y=1000:enable='between(t,0,6.5)',split=2[o0][o1] \&#xA;-map [o0] -map 1:a:0 -shortest 1.mp4 \&#xA;-map [o1] 2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;now it works almost correctly, but gives the following error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stderr output: frame=    0 fps=0.0 q=0.0 q=0.0 size=       0kB time=-577014:32:22.77 bitrate=  -0.0kbits/s speed=N/A&#xA;Stderr output: frame=    0 fps=0.0 q=0.0 q=0.0 size=       0kB time=-577014:32:22.77 bitrate=  -0.0kbits/s speed=N/A&#xA;Stderr output: frame=    8 fps=6.2 q=28.0 q=28.0 size=       0kB time=00:00:00.20 bitrate=   1.9kbits/s speed=0.156x&#xA;Stderr output: frame=   14 fps=7.7 q=28.0 q=28.0 size=       0kB time=00:00:00.44 bitrate=   0.9kbits/s speed=0.242x&#xA;Stderr output: frame=   22 fps=9.3 q=28.0 q=28.0 size=       0kB time=00:00:00.76 bitrate=   0.5kbits/s speed=0.321x&#xA;Stderr output: frame=   30 fps= 10 q=28.0 q=28.0 size=       0kB time=00:00:01.12 bitrate=   0.3kbits/s speed=0.389x&#xA;Stderr output: frame=   39 fps= 11 q=28.0 q=28.0 size=       0kB time=00:00:01.44 bitrate=   0.3kbits/s speed=0.424x&#xA;Stderr output: frame=   50 fps= 12 q=28.0 q=28.0 size=       0kB time=00:00:01.88 bitrate=   0.2kbits/s speed=0.462x&#xA;Stderr output: frame=   57 fps= 12 q=28.0 q=28.0 size=       0kB time=00:00:02.20 bitrate=   0.2kbits/s speed=0.478x&#xA;Stderr output: frame=   67 fps= 13 q=28.0 q=28.0 size=       0kB time=00:00:02.56 bitrate=   0.1kbits/s speed=0.496x&#xA;Stderr output: frame=   75 fps= 13 q=28.0 q=28.0 size=       0kB time=00:00:02.88 bitrate=   0.1kbits/s speed=0.502x&#xA;Stderr output: frame=   83 fps= 13 q=28.0 q=28.0 size=       0kB time=00:00:03.20 bitrate=   0.1kbits/s speed=0.507x&#xA;Stderr output: frame=   92 fps= 13 q=28.0 q=28.0 size=       0kB time=00:00:03.56 bitrate=   0.1kbits/s speed=0.52x&#xA;Stderr output: frame=  100 fps= 14 q=28.0 q=28.0 size=       0kB time=00:00:03.88 bitrate=   0.1kbits/s speed=0.527x&#xA;Stderr output: frame=  108 fps= 14 q=28.0 q=28.0 size=       0kB time=00:00:04.20 bitrate=   0.1kbits/s speed=0.533x&#xA;Stderr output: frame=  117 fps= 14 q=28.0 q=28.0 size=       0kB time=00:00:04.56 bitrate=   0.1kbits/s speed=0.534x&#xA;Stderr output: frame=  126 fps= 14 q=28.0 q=28.0 size=       0kB time=00:00:04.92 bitrate=   0.1kbits/s speed=0.543x&#xA;Stderr output: frame=  134 fps= 14 q=28.0 q=28.0 size=       0kB time=00:00:05.24 bitrate=   0.1kbits/s speed=0.547x&#xA;Stderr output: frame=  142 fps= 14 q=28.0 q=28.0 size=       0kB time=00:00:05.56 bitrate=   0.1kbits/s speed=0.551x&#xA;Stderr output: frame=  151 fps= 14 q=28.0 q=28.0 size=       0kB time=00:00:05.92 bitrate=   0.1kbits/s speed=0.559x&#xA;Stderr output: frame=  158 fps= 14 q=28.0 q=28.0 size=       0kB time=00:00:06.20 bitrate=   0.1kbits/s speed=0.558x&#xA;Stderr output: frame=  165 fps= 14 q=28.0 q=28.0 size=     256kB time=00:00:06.52 bitrate= 321.7kbits/s speed=0.559x&#xA;Stderr output: frame=  174 fps= 14 q=28.0 q=28.0 size=     512kB time=00:00:06.84 bitrate= 613.3kbits/s speed=0.559x&#xA;Stderr output: frame=  184 fps= 14 q=28.0 q=28.0 size=     768kB time=00:00:07.24 bitrate= 869.0kbits/s speed=0.568x&#xA;Stderr output: frame=  193 fps= 15 q=28.0 q=28.0 size=    1024kB time=00:00:07.60 bitrate=1103.8kbits/s speed=0.571x&#xA;Stderr output: frame=  252 fps= 16 q=-1.0 Lq=-1.0 size=    8271kB time=00:00:09.96 bitrate=6802.6kbits/s speed=0.626x&#xA;Stderr output: video:16476kB audio:28kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] frame I:2     Avg QP:23.97  size: 87068&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] frame P:80    Avg QP:24.66  size: 47762&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] frame B:170   Avg QP:25.98  size: 26117&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] consecutive B-frames:  1.2% 23.0% 10.7% 65.1%&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] mb I  I16..4: 12.8% 74.6% 12.6%&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] mb P  I16..4: 12.3% 44.9%  2.2%  P16..4: 24.9%  7.9%  2.0%  0.0%  0.0%    skip: 5.7%&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] mb B  I16..4:  6.4% 15.8%  0.4%  B16..8: 35.7%  7.8%  1.1%  direct: 4.7%  skip:28.2%  L0:48.4% L1:46.8% BI: 4.8%&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] 8x8 transform intra:73.1% inter:88.7%&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] coded y,uvDC,uvAC intra: 43.3% 71.1% 18.0% inter: 20.2% 36.8% 0.9%&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] i16 v,h,dc,p: 32% 22% 10% 37%&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 27% 17% 19%  5%  7%  7%  6%  7%  5%&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 27% 19% 12%  5% 11% 10%  7%  7%  4%&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] i8c dc,h,v,p: 45% 21% 25%  9%&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] ref P L0: 63.6% 17.3% 14.5%  4.6%&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] ref B L0: 89.1%  9.4%  1.5%&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] ref B L1: 97.7%  2.3%&#xA;Stderr output: [libx264 @ 0xffffa27d79f0] kb/s:6694.37&#xA;Stderr output: [aac @ 0xffffa26739b0] Qavg: 530.098&#xA;Stderr output: [libx264 @ 0xffffa21358d0] frame I:2     Avg QP:23.97  size: 87068&#xA;Stderr output: [libx264 @ 0xffffa21358d0] frame P:80    Avg QP:24.66  size: 47762&#xA;Stderr output: [libx264 @ 0xffffa21358d0] frame B:170   Avg QP:25.98  size: 26117&#xA;Stderr output: [libx264 @ 0xffffa21358d0] consecutive B-frames:  1.2% 23.0% 10.7% 65.1%&#xA;Stderr output: [libx264 @ 0xffffa21358d0] mb I  I16..4: 12.8% 74.6% 12.6%&#xA;Stderr output: [libx264 @ 0xffffa21358d0] mb P  I16..4: 12.3% 44.9%  2.2%  P16..4: 24.9%  7.9%  2.0%  0.0%  0.0%    skip: 5.7%&#xA;Stderr output: [libx264 @ 0xffffa21358d0] mb B  I16..4:  6.4% 15.8%  0.4%  B16..8: 35.7%  7.8%  1.1%  direct: 4.7%  skip:28.2%  L0:48.4% L1:46.8% BI: 4.8%&#xA;Stderr output: [libx264 @ 0xffffa21358d0] 8x8 transform intra:73.1% inter:88.7%&#xA;Stderr output: [libx264 @ 0xffffa21358d0] coded y,uvDC,uvAC intra: 43.3% 71.1% 18.0% inter: 20.2% 36.8% 0.9%&#xA;Stderr output: [libx264 @ 0xffffa21358d0] i16 v,h,dc,p: 32% 22% 10% 37%&#xA;Stderr output: [libx264 @ 0xffffa21358d0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 27% 17% 19%  5%  7%  7%  6%  7%  5%&#xA;Stderr output: [libx264 @ 0xffffa21358d0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 27% 19% 12%  5% 11% 10%  7%  7%  4%&#xA;Stderr output: [libx264 @ 0xffffa21358d0] i8c dc,h,v,p: 45% 21% 25%  9%&#xA;Stderr output: [libx264 @ 0xffffa21358d0] Weighted P-Frames: Y:0.0% UV:0.0%&#xA;Stderr output: [libx264 @ 0xffffa21358d0] ref P L0: 63.6% 17.3% 14.5%  4.6%&#xA;Stderr output: [libx264 @ 0xffffa21358d0] ref B L0: 89.1%  9.4%  1.5%&#xA;Stderr output: [libx264 @ 0xffffa21358d0] ref B L1: 97.7%  2.3%&#xA;Stderr output: [libx264 @ 0xffffa21358d0] kb/s:6694.37&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In result I need one video with all draw text + audio from input trimmed by video duration (I use shortest for this, maybe I'm wrong), and a second video with all draw text and without any audio.&lt;/p&gt;&#xA;" OwnerUserId="41995" LastEditorUserId="18155" LastEditDate="2023-08-01T21:32:56.963" LastActivityDate="2023-08-01T21:32:56.963" Title="ffmpeg one draw text to multiple outputs" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36720" PostTypeId="1" CreationDate="2023-07-31T11:20:45.860" Score="0" ViewCount="27" Body="&lt;p&gt;Videos have same framerate (30fps), same video encoders / containers (aVC- mp4), same audio encoders (aac LC) sampling audio rate 44.1hz, and frame rate in audio (43.066 FPS (1024 SPF)) and same dimensions.&lt;/p&gt;&#xA;&lt;p&gt;Produced video is 304 hours while it is not more than 1 hour long.&lt;/p&gt;&#xA;&lt;p&gt;What is going wrong?&#xA;I have found that the error message appears when videos do not have same properties. Here what is wrong?&lt;/p&gt;&#xA;&lt;p&gt;tried:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;fmpeg -f concat -safe 0 -i vids.txt -crf 15  -vcodec libx265 -vb 20M   -c:a copy  -fflags +genpts output.mp4&#xA;&#xA;ffmpeg -safe 0 -f concat -segment_time_metadata 1 -i vids.txt -vf select=concatdec_select -af aselect=concatdec_select,aresample=async=1 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;a lot of errors of type:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;PTS 16594278, next:2245566668 invalid dropping st:0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;when try to encode them individually, produce black screen&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -i &amp;quot;vid 1.mp4&amp;quot;  -crf 15  -vcodec libx265 -vb 20M   -c:a copy  -fflags +genpts output_1.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;1st video&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : /Queen of Swords (ep6 - part1) [_p0aHIi2DPw].mp4&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media / Version 2&#xA;Codec ID                                 : mp42 (isom/mp42)&#xA;File size                                : 30.6 MiB&#xA;Duration                                 : 9 min 0 s&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 475 kb/s&#xA;Frame rate                               : 30.000 FPS&#xA;Encoded date                             : 2014-03-02 15:56:52 UTC&#xA;Tagged date                              : 2014-03-02 15:56:52 UTC&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Constrained Baseline@L2.1&#xA;Format settings                          : 1 Ref Frames&#xA;Format settings, CABAC                   : No&#xA;Format settings, Reference frames        : 1 frame&#xA;Format settings, GOP                     : M=1, N=60&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 9 min 0 s&#xA;Bit rate                                 : 377 kb/s&#xA;Maximum bit rate                         : 1 065 kb/s&#xA;Width                                    : 474 pixels&#xA;Height                                   : 352 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 30.000 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.075&#xA;Stream size                              : 24.2 MiB (79%)&#xA;Tagged date                              : 2014-03-02 15:56:59 UTC&#xA;Codec configuration box                  : avcC&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC LC&#xA;Format/Info                              : Advanced Audio Codec Low Complexity&#xA;Codec ID                                 : mp4a-40-2&#xA;Duration                                 : 9 min 0 s&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 96.0 kb/s&#xA;Maximum bit rate                         : 104 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Channel layout                           : L R&#xA;Sampling rate                            : 44.1 kHz&#xA;Frame rate                               : 43.066 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 6.18 MiB (20%)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;2nd video&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Complete name                            : /Queen of Swords - Duel With A Stranger (ep6 - part2) [xHvbA6ZZGug].mp4&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media / Version 2&#xA;Codec ID                                 : mp42 (isom/mp42)&#xA;File size                                : 31.7 MiB&#xA;Duration                                 : 9 min 0 s&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 493 kb/s&#xA;Frame rate                               : 30.000 FPS&#xA;Encoded date                             : 2014-02-06 16:05:26 UTC&#xA;Tagged date                              : 2014-02-06 16:05:26 UTC&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Constrained Baseline@L2.1&#xA;Format settings                          : 1 Ref Frames&#xA;Format settings, CABAC                   : No&#xA;Format settings, Reference frames        : 1 frame&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 9 min 0 s&#xA;Source duration                          : 9 min 0 s&#xA;Bit rate                                 : 394 kb/s&#xA;Maximum bit rate                         : 1 000 kb/s&#xA;Width                                    : 474 pixels&#xA;Height                                   : 352 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 30.000 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.079&#xA;Stream size                              : 25.4 MiB (80%)&#xA;Source stream size                       : 25.4 MiB (80%)&#xA;Tagged date                              : 2014-02-06 16:05:35 UTC&#xA;Codec configuration box                  : avcC&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC LC&#xA;Format/Info                              : Advanced Audio Codec Low Complexity&#xA;Codec ID                                 : mp4a-40-2&#xA;Duration                                 : 9 min 0 s&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 96.0 kb/s&#xA;Maximum bit rate                         : 103 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Channel layout                           : L R&#xA;Sampling rate                            : 44.1 kHz&#xA;Frame rate                               : 43.066 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 6.18 MiB (19%)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;3rd video&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Complete name                            : /Queen of Swords - Duel With A Stranger (ep6 - part3) [USaMBAMlLYY].mp4&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media / Version 2&#xA;Codec ID                                 : mp42 (isom/mp42)&#xA;File size                                : 25.3 MiB&#xA;Duration                                 : 9 min 0 s&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 393 kb/s&#xA;Frame rate                               : 30.000 FPS&#xA;Encoded date                             : 2018-10-30 06:40:01 UTC&#xA;Tagged date                              : 2018-10-30 06:40:01 UTC&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : Constrained Baseline@L2.1&#xA;Format settings                          : 1 Ref Frames&#xA;Format settings, CABAC                   : No&#xA;Format settings, Reference frames        : 1 frame&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 9 min 0 s&#xA;Bit rate                                 : 295 kb/s&#xA;Width                                    : 474 pixels&#xA;Height                                   : 352 pixels&#xA;Display aspect ratio                     : 4:3&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 30.000 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.059&#xA;Stream size                              : 19.0 MiB (75%)&#xA;Title                                    : ISO Media file produced by Google Inc. Created on: 10/29/2018.&#xA;Encoded date                             : 2018-10-30 06:40:01 UTC&#xA;Tagged date                              : 2018-10-30 06:40:01 UTC&#xA;Codec configuration box                  : avcC&#xA;&#xA;Audio&#xA;ID                                       : 2&#xA;Format                                   : AAC LC&#xA;Format/Info                              : Advanced Audio Codec Low Complexity&#xA;Codec ID                                 : mp4a-40-2&#xA;Duration                                 : 9 min 0 s&#xA;Bit rate mode                            : Variable&#xA;Bit rate                                 : 96.0 kb/s&#xA;Channel(s)                               : 2 channels&#xA;Channel layout                           : L R&#xA;Sampling rate                            : 44.1 kHz&#xA;Frame rate                               : 43.066 FPS (1024 SPF)&#xA;Compression mode                         : Lossy&#xA;Stream size                              : 6.18 MiB (24%)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;UPDATE:&#xA;Using libx264 fixed the problem. But with libx265 not.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; for avii in *.mp4;   do ffmpeg -i &amp;quot;$avii&amp;quot; -vcodec  libx264 -vb 20M  -r 30  -crf 17  -c:a copy -fflags +genpts &amp;quot;ab_${avii//.*}.avi&amp;quot;   ; done;&#xA;&#xA;fmpeg -fflags +igndts -f concat -safe 0  -i vids.txt -c copy  -shortest finalvideo_.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;UPDATE 2:&#xA;When the format of downloaded videos (if supported) is webm there is no such problem. They can be concetrated.&lt;/p&gt;&#xA;&lt;p&gt;UPDATE 3:&#xA;The following command results&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -fflags +genpts -i &amp;quot;Queen of Swords.webm&amp;quot;  -vcodec  libx264 -vb 20M  -r 30  -crf 17  -c:a copy  -fflags +genpts output1.avi&#xA;&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Operation not permitted&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;when &amp;quot;-c:a copy&amp;quot; is removed, then it runs without problem. Why?&lt;/p&gt;&#xA;" OwnerUserId="30052" LastEditorUserId="30052" LastEditDate="2023-07-31T13:25:18.180" LastActivityDate="2023-07-31T13:25:18.180" Title="Concetrating videos with same attributes in ffmpeg result much longer in time invalid output video (300hours+) than 1hour" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36721" PostTypeId="1" CreationDate="2023-07-31T14:56:47.640" Score="0" ViewCount="6" Body="&lt;p&gt;I tried to attach two images to show the difference but it doesn't seem possible, so this is just the cropped version. I shot some exteriors with exactly the same settings as my previous footage, and in the source window they're fine but as soon as I import them into the assembly (different timeline) they're cropped. I've tried adjusting the percentage and all other things that were obvious to me (not a pro). I really need this help, if anybody can give it, please. &lt;a href=&quot;https://i.stack.imgur.com/5n1y3.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5n1y3.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="41999" LastActivityDate="2023-07-31T14:56:47.640" Title="Clips in Premiere Pro are correct in source window but cropped when copied into timeline" Tags="|editing|premiere-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36722" PostTypeId="1" CreationDate="2023-07-31T15:02:06.930" Score="0" ViewCount="16" Body="&lt;p&gt;I got a cheap action camera that allows me to choose the encoding of the video being recorded between H.264 and H.265.&lt;/p&gt;&#xA;&lt;p&gt;When I set it to H.264, the video's bitrate is set to around 10,000+ kbps. When I set the encoder to H.265, it sets the bitrate to around 5,000-6,000+ kbps.&lt;/p&gt;&#xA;&lt;p&gt;Aside from that, I have no further control about the quality of the video. So in this scenario, which combination would eventually end up with a higher detailed video?&lt;/p&gt;&#xA;&lt;p&gt;I'm asking because if I'm being honest, I can't tell the difference between the two and I feel like any difference I see would just be placebo.&lt;/p&gt;&#xA;" OwnerUserId="38063" LastActivityDate="2023-07-31T15:02:06.930" Title="Which will have better quality, an H.264 encoded video with higher bitrate or an H.265 with lower bitrate?" Tags="|encoding|h.264|action-cam|h.265|hevc|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36723" PostTypeId="2" ParentId="36719" CreationDate="2023-08-01T04:15:24.037" Score="2" Body="&lt;p&gt;You need to split the drawtext output and then map a split result for each output.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-i ./source/video/women/1.mp4 \&#xA;-i ./source/audio/women.mp3 -y \&#xA;-filter_complex drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=1:boxcolor=black@1:y=280,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=a0:boxcolor=black@0.8:enable='between(t,0,6.5)':y=700,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=a1:boxcolor=black@0.8:enable='between(t,0,6.5)':y=800,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=a2:boxcolor=black@0.8:enable='between(t,0,6.5)':y=900,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=a3:boxcolor=black@0.8:enable='between(t,0,6.5)':y=1000,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=b0:boxcolor=black@0.8:enable='between(t,7,10)':y=1000,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=b1:boxcolor=black@0.8:enable='between(t,7,10)':y=1100,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=b2:boxcolor=black@0.8:enable='between(t,7,10)':y=1200,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=b3:boxcolor=black@0.8:enable='between(t,7,10)':y=1300,drawtext=fontsize=80:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=b4:boxcolor=black@0.8:enable='between(t,7,10)':y=1400,drawtext=fontsize=30:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=c:enable='between(t,10.2,inf)':boxcolor=black@1:y=1500,drawtext=fontsize=30:fontcolor=white:x=(w-tw)/2:box=1:boxborderw=20:fontfile=./OpenSans-Light.ttf:text=d:enable='between(t,10.2,inf)':boxcolor=black@1:y=1550,split=2[o0][o1] \&#xA;-map [o0] \&#xA;-map 1:a:0 \&#xA;-shortest out1/_.mp4&#xA;-map [o1] \&#xA;-map 1:a:0 \&#xA;-shortest out2/_.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-08-01T04:15:24.037" CommentCount="7" ContentLicense="CC BY-SA 4.0" />
  <row Id="36724" PostTypeId="1" CreationDate="2023-08-02T01:19:53.007" Score="0" ViewCount="2" Body="&lt;p&gt;I'm having trouble finding a mount for GoPro/any general action camera that uses clamping to hold the device down instead of an external case or thumb screws.&lt;/p&gt;&#xA;&lt;p&gt;Basically I'm looking for something like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XS9qF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XS9qF.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Only, I'm looking for one that can clamp down on something smaller than a smartphone because the one for smartphone doesn't close up enough.&lt;/p&gt;&#xA;&lt;p&gt;If there aren't any out there, what are some alternatives that people have used so they can quickly remove the action cam from whatever it's mounted on aside from the &lt;a href=&quot;https://i.stack.imgur.com/jh7zG.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;quick release&lt;/a&gt; things?&lt;/p&gt;&#xA;" OwnerUserId="38063" LastActivityDate="2023-08-02T01:19:53.007" Title="Is there a mount for GoPros that clamp the gopro itself instead of using thumbscrews?" Tags="|action-cam|gopro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36725" PostTypeId="1" CreationDate="2023-08-02T15:26:12.057" Score="0" ViewCount="30" Body="&lt;p&gt;I'm trying to compress my content while preserving quality. I'm measuring the quality using Netflix's VMAF.&lt;/p&gt;&#xA;&lt;p&gt;Only focusing on HEVC and tried different parameters available for libx265 such as crf, two pass encoding, preset, tune. Not all of these together for example crf doesn't go with two pass encoding.&lt;/p&gt;&#xA;&lt;p&gt;Now the same video was shared with a third party content management service(or vendor) and somehow they have created a video that has only 1 i_frame per 5 seconds and remaining frames are b_frames.&lt;/p&gt;&#xA;&lt;p&gt;For similar VMAF, this results in their file size being almost half of what I have generated using different params.&lt;/p&gt;&#xA;&lt;p&gt;I looked into forcing the same split of i_frames and b_frames but am running into error.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;FFMPEG command I used&lt;/strong&gt;, something could be horribly wrong though -&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i original.mp4 -c:a copy -c:v libx265 -g 248 -keyint_min 248 -x265-params &amp;quot;keyint=248:bframes=247:no-scenecut=1:no-open-gop=1&amp;quot; -crf 20 -preset faster -tag:v hvc1 del.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Error&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[libx265 @ 0x123e07b10] Cannot open libx265 encoder.&#xA;[vost#0:0/libx265 @ 0x123e07840] Error initializing output stream: Error while opening encoder for output stream #0:0 - maybe incorrect parameters such as bit_rate, rate, width or height&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Can someone please help me with the correct way to force a single i_frame every x seconds and remaining all frames be b_frames?&lt;/p&gt;&#xA;" OwnerUserId="42015" LastActivityDate="2023-08-02T15:26:12.057" Title="libx265 set 1 i_frame per x seconds and force all other frames to be b_frames" Tags="|ffmpeg|encoding|hevc|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36727" PostTypeId="1" CreationDate="2023-08-02T18:58:39.910" Score="0" ViewCount="676" Body="&lt;p&gt;0&lt;/p&gt;&#xA;&lt;p&gt;I want to use FFmpeg for frame extraction with a stream as an input in C#. However, I am encountering a failure while processing files that have metadata present at the end. FFmpeg tries to read the metadata, which causes it to seek to the end of the stream. After reading the Moov atom, it is unable to seek back in the stream to extract the frames. I am actively seeking possible solutions to solve this problem. Additionally, I am wondering if there is any existing FFmpeg C# wrapper that handles this issue effectively.&lt;/p&gt;&#xA;&lt;p&gt;This is how I was trying to use ffmpeg.exe in C#&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;using System.Diagnostics;&#xA;var inputArgs = &amp;quot;-i -&amp;quot;;&#xA;var outputArgs = &amp;quot;-vcodec libx264 -crf 23 -pix_fmt yuv420p -preset ultrafast -r 20 out.mp4&amp;quot;;&#xA;&#xA;var process = new Process&#xA;{&#xA;StartInfo =&#xA;{&#xA;FileName = &amp;quot;ffmpeg.exe&amp;quot;,&#xA;Arguments = $&amp;quot;{inputArgs} {outputArgs}&amp;quot;,&#xA;UseShellExecute = false,&#xA;CreateNoWindow = true,&#xA;RedirectStandardInput = true&#xA;}&#xA;};&#xA;&#xA;process.Start();&#xA;&#xA;var ffmpegIn = process.StandardInput.BaseStream;&#xA;&#xA;// Write Data&#xA;ffmpegIn.Write(Data, Offset, Count);&#xA;&#xA;// After you are done&#xA;ffmpegIn.Flush();&#xA;ffmpegIn.Close();&#xA;&#xA;// Make sure ffmpeg has finished the work&#xA;process.WaitForExit();&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42020" LastActivityDate="2023-08-02T18:58:39.910" Title="How to use FFMPEG with stream as an input in C#" Tags="|ffmpeg|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36728" PostTypeId="1" CreationDate="2023-08-03T20:42:54.073" Score="0" ViewCount="33" Body="&lt;p&gt;I have seen a .mp4 movie file with two video streams. The first one is the trailer of the movie with 10 minutes of movie length, and the second one is the whole movie of 2 hours.&lt;/p&gt;&#xA;&lt;p&gt;Can I access the two movie streams separately based on some conditions in Android programming with the help of ExoPlayer or VLC libraries? If you can suggest other libraries, I would be happy to get some help.&lt;/p&gt;&#xA;" OwnerUserId="42028" LastEditorUserId="14571" LastEditDate="2023-11-11T17:48:27.700" LastActivityDate="2023-11-11T17:48:27.700" Title="How can I switch between multiple video stream with ExoPlayer?" Tags="|vlc|android|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36729" PostTypeId="1" AcceptedAnswerId="36757" CreationDate="2023-08-04T03:09:22.803" Score="0" ViewCount="211" Body="&lt;p&gt;I am using the nginx-rtmp-module for accepting RTMP streams and then publishing them locally for transcoding with FFmpeg.&lt;/p&gt;&#xA;&lt;p&gt;After a recording is made, there is an observable freeze in the video for the first ~1-2 seconds, but the audio plays without issue. After that initial pause, the video will start playing without issue.&lt;/p&gt;&#xA;&lt;p&gt;This issue only appears when the FFmpeg process starts after the RTMP stream has already been published locally. If the FFmpeg process is started before the RTMP stream has been received by the nginx-rtmp-module, I do not observe the freeze.&lt;/p&gt;&#xA;&lt;p&gt;I would like to know what is causing this issue and if it can be avoided. Any assistance would be greatly appreciated. Thank you.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Flow:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;[Internet] --------&amp;gt;[RTMP stream]--------&amp;gt;[Server running nginx-rtmp-module]--------&amp;gt;[FFmpeg attached to locally publish RTMP stream (rtmp://localhost/live/stream-key)]&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Tools used:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/arut/nginx-rtmp-module&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/arut/nginx-rtmp-module&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;FFmpeg version 5.1.3-1&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Example command:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loglevel info -hide_banner -y \&#xA;-i rtmp://localhost/live/stream-key \&#xA;-c:v libx264 -s 640x360 -b:v 600k -profile:v main -preset veryfast \&#xA;-c:a copy \&#xA;output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40490" LastActivityDate="2023-08-17T02:15:46.070" Title="Video delay when transcoding from an nginx-rtmp-module RTMP stream" Tags="|ffmpeg|rtmp|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36730" PostTypeId="1" CreationDate="2023-08-04T18:41:17.870" Score="0" ViewCount="51" Body="&lt;p&gt;I have a friend in an institution. He only has access to a SanDisk sansa clip sport mp3 player, but it has been modded to run firmware for a Ruizu X10 mp3 player.&lt;/p&gt;&#xA;&lt;p&gt;It can display videos in amv format only, due to the weak processor.&lt;/p&gt;&#xA;&lt;p&gt;He is converting MP4 videos on an Android phone using ffmpeg, using the following commands:&lt;/p&gt;&#xA;&lt;p&gt;-c:v amv -c:a adpcm_ima_amv -pix_fmt yuvj420p -vf&#xA;&amp;quot;scale=148:128:force_original_aspect_ratio=dec reas e,crop=128:in_h:10:0,pad=160:128:32:-1:c&#xA;olor=black&amp;quot; -vstrict -1 -r 30 -ac 1 -ar 22050 -block_size 735&lt;/p&gt;&#xA;&lt;p&gt;However, the video quality is poor, blurry.&lt;/p&gt;&#xA;&lt;p&gt;We are completely new to this and don't understand the code above.&lt;/p&gt;&#xA;&lt;p&gt;Can you guys please help tweak the code to deliver better video quality that the weak mp3 processor can still handle?&lt;/p&gt;&#xA;&lt;p&gt;If possible, please just tell us what to type in the ffmpeg template box, because we are very new.&lt;/p&gt;&#xA;&lt;p&gt;The command to resize the video is necessary because the firmware on the mp3 player was made for a larger screen.&lt;/p&gt;&#xA;&lt;p&gt;Maybe 30fps is unnecessary? Not sure&lt;/p&gt;&#xA;&lt;p&gt;Thank you all!!!&lt;/p&gt;&#xA;" OwnerUserId="42034" LastActivityDate="2023-08-04T18:41:17.870" Title="Ffmpeg amv conversion" Tags="|ffmpeg|conversion|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="36732" PostTypeId="1" CreationDate="2023-08-06T13:10:29.780" Score="0" ViewCount="143" Body="&lt;p&gt;So I want to have two different &amp;quot;Perspectives&amp;quot; in premiere pro. But so far on the internet I only found multi-cam editing. This won't work cause it's not a camera it's me and my friend playing games so I want to have his perspective of the game and mine at the same time so I can edit it.&lt;/p&gt;&#xA;&lt;p&gt;I've attempted multi-cam either way. Didn't work since you can only select one camera at a time. What I want is having two different videos playing at the same time, But I don't want to crop the clips in order to fit another clip in since if I were to add effects I will also have to reposition them and resize them accordingly.&lt;/p&gt;&#xA;" OwnerUserId="42039" LastActivityDate="2023-08-08T15:36:25.927" Title="How to have more than one video preview in premiere pro?" Tags="|premiere|video-editor|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36733" PostTypeId="1" CreationDate="2023-08-07T05:39:13.960" Score="0" ViewCount="13" Body="&lt;p&gt;I've tried to understand how to manage SMPTE sync in Vegas.&lt;/p&gt;&#xA;&lt;p&gt;For that, i've generated and recorded one SMPTE track in a dawn, then i've cut some part of it at various time, export it as wav file and import them in Vegas (like simulating many camera receiving the signal). Projects are set in audio at 48 khz both. FPS in Vegas is set by defaut at 29,970.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oVKMF.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oVKMF.jpg&quot; alt=&quot;Cubase project&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But regarding the part i've cut, the sync work correctly every time and i don't understant why.&lt;/p&gt;&#xA;&lt;p&gt;Full length part : 3 minuts&#xA;First part : start at 60s, 10s -&amp;gt; ko, Vegas SMPT sync set the part start at 90s&#xA;Second part : start at 61s, 10s -&amp;gt; ko, Vegas SMPT sync set the part start at 90s&#xA;Third part : start at 70s, 10s -&amp;gt; ok&#xA;Fourth part : start at 60s, 20s -&amp;gt; ok&#xA;Fith part : start at 0s, 60s -&amp;gt; ok&#xA;Sixth part : start at 80s, 100s -&amp;gt; ok&lt;/p&gt;&#xA;&lt;p&gt;If i put the full length with the first and second at same time, it's worst :&#xA;First part : start at 60s, 10s -&amp;gt; ko, Vegas SMPT sync set the part start at 9,896s&#xA;Second part : start at 61s, 10s -&amp;gt; ko, Vegas SMPT sync set the part start at 19,896s&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/14cKH.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/14cKH.jpg&quot; alt=&quot;See the Vegas timeline...&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The files : &lt;a href=&quot;https://ufile.io/f/s90vc&quot; rel=&quot;nofollow noreferrer&quot;&gt;All wav files used&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;One more strange thing ? if i select first the little part, then the full length part, the synchronization work correctly for the second part (and almost for the third, 60s start point instead of 61 expected)&lt;/p&gt;&#xA;&lt;p&gt;All other parts works like a charm in sync, no strange time positionning&lt;/p&gt;&#xA;&lt;p&gt;Any idea what's going wrong ?&lt;/p&gt;&#xA;" OwnerUserId="42045" LastActivityDate="2023-08-07T05:39:13.960" Title="Can't understand the synchronise function for SMPTE/Vegas" Tags="|sync|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36735" PostTypeId="1" CreationDate="2023-08-08T10:47:44.940" Score="0" ViewCount="4" Body="&lt;p&gt;I'm using obs to live stream a number of cameras, and pc sources. All are at 1080, but I want to resize some for picture in picture.&lt;/p&gt;&#xA;&lt;p&gt;Keeping the aspect ratio the same, is it better, for image quality and reducing processor demands, to use resolutions that are fractions of 1080, for example half, which is 960x540, or quater 480 x 270? Or will it not make much difference?&lt;/p&gt;&#xA;" OwnerUserId="42069" LastActivityDate="2023-08-08T10:47:44.940" Title="Optimizing scaled video for quality and performance" Tags="|scale|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36736" PostTypeId="2" ParentId="36732" CreationDate="2023-08-08T15:36:25.927" Score="1" Body="&lt;p&gt;You have a few options:&lt;/p&gt;&#xA;&lt;p&gt;1)&#xA;If the two clips are approximately in sync, you could import them both into a multi-cam sequence, then switch between &amp;quot;cameras&amp;quot; to switch between the two recordings.  This is probably the best method. If you need to tweak the sync manually before you start switching, then open the multicam sequence in the timeline first, by right-clicking the multicam clip and choose &amp;quot;&lt;a href=&quot;https://community.adobe.com/t5/premiere-pro-discussions/how-to-have-two-open-timelines-in-the-same-project/td-p/10964044&quot; rel=&quot;nofollow noreferrer&quot;&gt;open in timeline&lt;/a&gt;&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;2)&#xA;Edit the conventional way - open the clips one by one in the clip editor, select the in/out points using &lt;KBD&gt;I&lt;/KBD&gt; and &lt;KBD&gt;O&lt;/KBD&gt; of each clip, then insert or overlay that clip into your sequence using &lt;KBD&gt;.&lt;/KBD&gt; or &lt;KBD&gt;,&lt;/KBD&gt;&lt;/p&gt;&#xA;&lt;p&gt;3)&#xA;&lt;a href=&quot;https://community.adobe.com/t5/premiere-pro-discussions/how-to-have-two-open-timelines-in-the-same-project/td-p/10964044&quot; rel=&quot;nofollow noreferrer&quot;&gt;Open two timelines at the same time&lt;/a&gt;, and cut clips out of one and overlay/insert them into the other using &lt;a href=&quot;https://www.premiumbeat.com/blog/lift-extract-premiere-pro/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Lift and Extract&lt;/a&gt; (usually &lt;KBD&gt;;&lt;/KBD&gt; and &lt;KBD&gt;'&lt;/KBD&gt;) then paste the clip into the other sequence.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-08-08T15:36:25.927" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36737" PostTypeId="1" AcceptedAnswerId="36773" CreationDate="2023-08-08T17:17:15.140" Score="0" ViewCount="34" Body="&lt;p&gt;I am running FFMPEG on AWS Lambda using nodejs (installed via @ffmpeg-installer/ffmpeg).  I am able to convert videos recorded on most devices / browsers, but when I attempt to convert videos recorded on Mobile Safari, the length of the output video is ~1/2 a second regardless of the input length.&lt;/p&gt;&#xA;&lt;p&gt;The command executed in the lambda is:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i input.mp4 -y -crf 18 -vcodec libx264 -codec:a aac -preset medium  output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Using FFprobe, The metadata of the input file is:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-json prettyprint-override&quot;&gt;&lt;code&gt;{&#xA;  streams: [&#xA;    {&#xA;      index: 0,&#xA;      codec_name: 'h264',&#xA;      codec_long_name: 'H.264 / AVC / MPEG-4 AVC / MPEG-4 part 10',&#xA;      profile: 'Baseline',&#xA;      codec_type: 'video',&#xA;      codec_tag_string: 'avc1',&#xA;      codec_tag: '0x31637661',&#xA;      width: 1920,&#xA;      height: 1080,&#xA;      coded_width: 1920,&#xA;      coded_height: 1080,&#xA;      closed_captions: 0,&#xA;      film_grain: 0,&#xA;      has_b_frames: 0,&#xA;      sample_aspect_ratio: 'N/A',&#xA;      display_aspect_ratio: 'N/A',&#xA;      pix_fmt: 'yuvj420p',&#xA;      level: 40,&#xA;      color_range: 'pc',&#xA;      color_space: 'unknown',&#xA;      color_transfer: 'unknown',&#xA;      color_primaries: 'unknown',&#xA;      chroma_location: 'left',&#xA;      field_order: 'progressive',&#xA;      refs: 1,&#xA;      is_avc: 'true',&#xA;      nal_length_size: 4,&#xA;      id: '0x1',&#xA;      r_frame_rate: '30000/1001',&#xA;      avg_frame_rate: '60000/1991',&#xA;      time_base: '1/600',&#xA;      start_pts: 26,&#xA;      start_time: 0.043333,&#xA;      duration_ts: 4008,&#xA;      duration: 6.68,&#xA;      bit_rate: 10175170,&#xA;      max_bit_rate: 'N/A',&#xA;      bits_per_raw_sample: 8,&#xA;      nb_frames: 'N/A',&#xA;      nb_read_frames: 'N/A',&#xA;      nb_read_packets: 'N/A',&#xA;      extradata_size: 31,&#xA;      side_data_type: 'Display Matrix',&#xA;      displaymatrix: '',&#xA;      rotation: '-90',&#xA;      tags: [Object],&#xA;      disposition: [Object]&#xA;    },&#xA;    {&#xA;      index: 1,&#xA;      codec_name: 'aac',&#xA;      codec_long_name: 'AAC (Advanced Audio Coding)',&#xA;      profile: 'LC',&#xA;      codec_type: 'audio',&#xA;      codec_tag_string: 'mp4a',&#xA;      codec_tag: '0x6134706d',&#xA;      sample_fmt: 'fltp',&#xA;      sample_rate: 48000,&#xA;      channels: 1,&#xA;      channel_layout: 'mono',&#xA;      bits_per_sample: 0,&#xA;      initial_padding: 0,&#xA;      id: '0x2',&#xA;      r_frame_rate: '0/0',&#xA;      avg_frame_rate: '0/0',&#xA;      time_base: '1/48000',&#xA;      start_pts: 0,&#xA;      start_time: 0,&#xA;      duration_ts: 319488,&#xA;      duration: 6.656,&#xA;      bit_rate: 181302,&#xA;      max_bit_rate: 'N/A',&#xA;      bits_per_raw_sample: 'N/A',&#xA;      nb_frames: 'N/A',&#xA;      nb_read_frames: 'N/A',&#xA;      nb_read_packets: 'N/A',&#xA;      extradata_size: 2,&#xA;      tags: [Object],&#xA;      disposition: [Object]&#xA;    }&#xA;  ],&#xA;  format: {&#xA;    filename: 'input.mp4',&#xA;    nb_streams: 2,&#xA;    nb_programs: 0,&#xA;    format_name: 'mov,mp4,m4a,3gp,3g2,mj2',&#xA;    format_long_name: 'QuickTime / MOV',&#xA;    start_time: 0,&#xA;    duration: 6.723333,&#xA;    size: 8651792,&#xA;    bit_rate: 10294646,&#xA;    probe_score: 100,&#xA;    tags: {&#xA;      major_brand: 'iso5',&#xA;      minor_version: '1',&#xA;      compatible_brands: 'isomiso5hlsf',&#xA;      creation_time: '2023-08-05T19:03:15.000000Z'&#xA;    }&#xA;  },&#xA;  chapters: []&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any ideas on why the output of my command on this file always results in a ~0.5 second long output?&lt;/p&gt;&#xA;" OwnerUserId="42073" LastActivityDate="2023-08-18T15:12:05.300" Title="FFMPEG on AWS Lambda Only outputs half a second of video when converting video from mobile safari" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36738" PostTypeId="1" CreationDate="2023-08-09T12:57:20.303" Score="0" ViewCount="426" Body="&lt;p&gt;Assume my video resolution is 848x480. I add subtitles on the video and I want it to be positioned on the middle of the video. How to do it? (Please write a solution that can position the subtitle at video.height/3,  video.height/4 also and so on..&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -y -i video.mp4 -filter_complex [0:v]subtitles='subtitles.srt:force_style='FontName=opensans_extrabold',fontsize=30' -c:a copy -preset superfast -y output.mp4&lt;/p&gt;&#xA;&lt;p&gt;This command positions the subtitles at the bottom of the video. I tried using marginV=240 (half of the height) and it positions the subtitles on the top of the video&lt;/p&gt;&#xA;&lt;p&gt;Edit: I can use Alignment=10 but I want to control the height by pixels and not always in the middle&lt;/p&gt;&#xA;" OwnerUserId="42076" LastActivityDate="2023-08-09T12:57:20.303" Title="position subtitles in the middle of the video height using ffmpeg" Tags="|ffmpeg|subtitles|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36739" PostTypeId="1" CreationDate="2023-08-09T16:56:07.523" Score="0" ViewCount="26" Body="&lt;p&gt;I have added several Titles to my Filmora project. I am doing some basic motion tracking to multiple elements on my timeline. When I want to link one of the titles to a motion tracked object, it gives me a list of elements/titles to attach.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ElicK.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ElicK.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;When I look closer at my titles in the timeline I can see their names in the tooltip&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/YcdOg.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/YcdOg.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How do I edit these names? &amp;quot;Basic 6&amp;quot; isn't helpful or descriptive. I have no idea which title I'm linking to the motion tracking without trial/error.&lt;/p&gt;&#xA;&lt;p&gt;I don't see anything in the interface for renaming titles but it's possible I'm just missing it.&lt;/p&gt;&#xA;" OwnerUserId="42077" LastEditorUserId="4426" LastEditDate="2023-08-12T08:40:05.820" LastActivityDate="2023-08-12T08:40:05.820" Title="How do you rename a title in Filmora?" Tags="|video-editor|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36740" PostTypeId="2" ParentId="34889" CreationDate="2023-08-10T08:00:30.513" Score="0" Body="&lt;p&gt;As for the gamut shift you can use the inverse LUT by &lt;a href=&quot;https://cc-lut.hotglue.me/&quot; rel=&quot;nofollow noreferrer&quot;&gt;pointecc&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="42059" LastActivityDate="2023-08-10T08:00:30.513" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36741" PostTypeId="1" CreationDate="2023-08-10T20:25:22.037" Score="0" ViewCount="256" Body="&lt;p&gt;I followed the guide &lt;a href=&quot;https://stevethemoose.blogspot.com/2021/07/converting-rtsp-to-mjpeg-stream-on.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Converting RTSP to an MJPEG stream on demand using ffmpeg&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I keep on getting this error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&#xA;ffmpeg version 4.4.2-0ubuntu0.22.04.1 Copyright (c) 2000-2021 the FFmpeg developers&#xA;  built with gcc 11 (Ubuntu 11.2.0-19ubuntu1)&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.22.04.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libdav1d --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librabbitmq --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzimg --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opencl --enable-opengl --enable-sdl2 --enable-pocketsphinx --enable-librsvg --enable-libmfx --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;  libavutil      56. 70.100 / 56. 70.100&#xA;  libavcodec     58.134.100 / 58.134.100&#xA;  libavformat    58. 76.100 / 58. 76.100&#xA;  libavdevice    58. 13.100 / 58. 13.100&#xA;  libavfilter     7.110.100 /  7.110.100&#xA;  libswscale      5.  9.100 /  5.  9.100&#xA;  libswresample   3.  9.100 /  3.  9.100&#xA;  libpostproc    55.  9.100 / 55.  9.100&#xA;[rtsp @ 0x55a82ac5e300] Could not find codec parameters for stream 0 (Video: h264, none): unspecified size&#xA;Consider increasing the value for the 'analyzeduration' (0) and 'probesize' (5000000) options&#xA;Input #0, rtsp, from 'rtsp://10.206.87.37/media/video1':&#xA;  Metadata:&#xA;    title           : SONY RTSP Server&#xA;  Duration: N/A, bitrate: N/A&#xA;  Stream #0:0: Video: h264, none, 90k tbr, 90k tbn, 180k tbc&#xA;Output #0, mpjpeg, to 'pipe:':&#xA;Output file #0 does not contain any stream&#xA;Exiting normally, received signal 2.&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42089" LastEditorUserId="18155" LastEditDate="2023-08-18T08:15:01.110" LastActivityDate="2023-08-18T08:15:01.110" Title="FFMPEG error RTSP to MJPEG stream" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36742" PostTypeId="1" CreationDate="2023-08-11T04:01:11.820" Score="0" ViewCount="41" Body="&lt;p&gt;For one of our 3rd party tool to work we need our AVI files should contain the Frame rate mode                          : Variable Using FFMPEG is it possible to add this tag in the video section?&lt;/p&gt;&#xA;&lt;p&gt;Tried different commands like&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i Input.avi -r 30 Output.avi&#xA;&#xA; ffmpeg -i Input.avi -vf &amp;quot;fps=30,settb=1/1000&amp;quot;  Output.avi&#xA;&#xA;ffmpeg -i Input.avi -r 30 -fps_mode vbr Output.avi &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But none of them inserting the &amp;quot;Frame rate Mode&amp;quot; tag.&lt;/p&gt;&#xA;&lt;p&gt;Expected structure is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;mediainfo Input.avi &#xA;General&#xA;Complete name                            : Input.avi&#xA;Format                                   : AVI&#xA;Format/Info                              : Audio Video Interleave&#xA;Format settings                          : BitmapInfoHeader / WaveFormatEx&#xA;File size                                : 2.17 MiB&#xA;Duration                                 : 30 s 613 ms&#xA;Overall bit rate                         : 596 kb/s&#xA;Frame rate                               : 30.000 FPS&#xA;Writing application                      : Lavf57.19.100&#xA;&#xA;Video&#xA;ID                                       : 0&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : High@L4&#xA;Format settings                          : CABAC / 4 Ref Frames&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, Reference frames        : 4 frames&#xA;Codec ID                                 : H264&#xA;Duration                                 : 30 s 33 ms&#xA;Bit rate                                 : 447 kb/s&#xA;Width                                    : 1 920 pixels&#xA;Height                                   : 1 080 pixels&#xA;Display aspect ratio                     : 16:9&#xA;**Frame rate mode                          : Variable**&#xA;Frame rate                               : 30.000 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 8 bits&#xA;Scan type                                : Progressive&#xA;Bits/(Pixel*Frame)                       : 0.007&#xA;Stream size                              : 1.60 MiB (74%)&#xA;Writing library                          : x264 core 148&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42091" LastActivityDate="2023-08-11T04:01:11.820" Title="How to add only Frame rate mode using FFMPEG for an AVI file" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36745" PostTypeId="2" ParentId="35899" CreationDate="2023-08-11T11:59:59.390" Score="1" Body="&lt;p&gt;This was frustrating to me too but I finally figured out that if you add images and videos in one drag it will ignore the audio of the videos (probably because images don't have audio).&lt;br /&gt;&#xA;So what you need to do as you are building up your timeline, don't combine stills and videos in the same drag operation. if you want to have 3 stills  followed by 2 videos and then some more stills, drag the 3 stills, then drag the 2 videos (and it will immediately become apparent that the audio portion of these videos is there), then the rest of the stills in the 3rd drag.&lt;/p&gt;&#xA;&lt;p&gt;I don't know if this is the best way to do it in KdenLive but it works.&#xA;I Hope the developers would improve this or someone would explain how to better do this&lt;/p&gt;&#xA;" OwnerUserId="42100" LastActivityDate="2023-08-11T11:59:59.390" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36746" PostTypeId="1" CreationDate="2023-08-11T18:40:55.320" Score="1" ViewCount="28" Body="&lt;p&gt;I'm trying to use an eq filler to increase the saturation of half of the video, that is, half of the screen will be changed and the other half will remain unchanged.&lt;/p&gt;&#xA;&lt;p&gt;Example:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/wMcn2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;eq filter on half of the video screen&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I was able to achieve this by using the crop and hstack filters:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -filter_complex \&#xA;    &amp;quot;[0:v]crop=iw/2:ih:0:0,eq=saturation=0.4[left];\&#xA;    [0:v]crop=iw/2:ih:iw/2:0,eq=saturation=3[right];\&#xA;    [left][right]hstack[out]&amp;quot; \&#xA;    -map &amp;quot;[out]&amp;quot; -c:v libx264 -threads 1 -t 5 -n &amp;quot;Intro\output.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;However, is there a faster way to apply this filter to half of the video?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="42104" LastActivityDate="2023-08-11T18:40:55.320" Title="Use eq filter to half of the video" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36747" PostTypeId="1" CreationDate="2023-08-13T13:30:48.980" Score="0" ViewCount="67" Body="&lt;p&gt;QuickTime supports streaming from an HTTP server, for instance try opening &lt;code&gt;https://ia801307.us.archive.org/18/items/kontikipart2/kontikipart2.mp4&lt;/code&gt; via &lt;em&gt;File -&amp;gt; Open Location&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;However, streaming the same file to QuickTime from the &lt;code&gt;http://localhost:8080/kontikipart2.mp4&lt;/code&gt; URL on a local FFmpeg HTTP server launched with the following command&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i kontikipart2.mp4 -f mp4 -movflags frag_keyframe+empty_moov -pix_fmt yuv420p -listen 1 http://localhost:8080/kontikipart2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;or without re-coding&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i kontikipart2.mp4 -f mp4 -movflags frag_keyframe+empty_moov -c:v copy -c:a copy -listen 1 http://localhost:8080/kontikipart2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;results in the &lt;code&gt;The document “kontikipart2.mp4” could not be opened. The file isn’t compatible with QuickTime Player.&lt;/code&gt; error, even though the stream can be opened normally in VLC.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to launch a QuickTime-compatible HTTP server with FFmpeg?&lt;/p&gt;&#xA;" OwnerUserId="42119" LastActivityDate="2023-08-13T13:30:48.980" Title="Stream an MP4 file via HTTP in a QuickTime-compatible format using FFmpeg" Tags="|ffmpeg|streaming|quicktime|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36748" PostTypeId="1" CreationDate="2023-08-13T13:38:43.200" Score="0" ViewCount="33" Body="&lt;p&gt;I am running ffmpeg like this, to overlay a picture with a video (but could be also a video and a video of course):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i /tmp/bild.jpg -i rtmp://127.0.0.1:1935/other/stream -reconnect_at_eof 1 -reconnect_streamed 1 -filter_complex &amp;quot;[1:v]scale=720:-1[fg];[0:v][fg]overlay=(W-w)/3:(H-h)/3:shortest=1&amp;quot; -c:v libx264 -preset veryfast -c:a aac -b:a 128k -f flv rtmp://127.0.0.1:1935/publish/camera1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The reconnect with reconnect_at_eof works fine, but while the second input is unavailable, the last frame of the input will just get stuck on the screen.&lt;/p&gt;&#xA;&lt;p&gt;Is there any way to change the behavior so that ffmpeg hides the unavailable stream while it is reconnecting and unhides it once available?&lt;/p&gt;&#xA;" OwnerUserId="42121" LastActivityDate="2023-08-13T13:38:43.200" Title="Hide overlayed/embedded rtmp stream when rtmp input is having connection issues or is reconnecting" Tags="|ffmpeg|rtmp|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36749" PostTypeId="1" CreationDate="2023-08-14T13:41:19.597" Score="0" ViewCount="24" Body="&lt;p&gt;I'm trying to overlay some subs on an .mp4 file using the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i count5.mp4 -i subs1.png -i subs2.png \&#xA;-filter_complex &amp;quot;[0][1]overlay=enable=between(t\,1\,2):x=0:y=0[out]; \&#xA;[out][2]overlay=enable=between(t\,3.5\,4.6):x=0:y=0[out]&amp;quot; \&#xA;-map [out] -map 0:a? new.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It works, but the subtitle colors are not correct:&#xA;Here is the overlay:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/CMImF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CMImF.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here is how it looks on the .mp4 output:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Mj9gw.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Mj9gw.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Looks like it turned a little pink or orange. Maybe the better question is how do I maintain the correct video quality? I have very limited knowledge of video formats and ffmpeg so not sure where to start debugging or the right keywords to use.&lt;/p&gt;&#xA;&lt;p&gt;Finder tells me the png is color profile &lt;code&gt;sRGB IEC61966-2.1&lt;/code&gt; and the video is &lt;code&gt;HD (1-1-1)&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="42124" LastActivityDate="2023-08-14T13:41:19.597" Title="ffmpeg png overlay to mp4 color is not correct" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36750" PostTypeId="1" CreationDate="2023-08-14T13:50:41.967" Score="0" ViewCount="11" Body="&lt;p&gt;Is there a Video Player for Linux where I can play a RGBA .mov file and set a Background Color? VLC is displaying transparency as black and I've found no way to change that.&lt;/p&gt;&#xA;&lt;p&gt;I know that OBS is capable of doing it but I'm looking for a way to play the video via CLI or a Python script.&lt;/p&gt;&#xA;&lt;p&gt;regards&#xA;Matthias&lt;/p&gt;&#xA;" OwnerUserId="42125" LastEditorUserId="4426" LastEditDate="2023-08-14T16:11:09.773" LastActivityDate="2023-08-14T16:11:09.773" Title="Looking for a player that can change the background of an RGBA video" Tags="|video|linux|vlc|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36751" PostTypeId="1" CreationDate="2023-08-14T21:58:48.230" Score="0" ViewCount="69" Body="&lt;p&gt;Trying to record rstp stream from an IP camera into ~10 mins chunks.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;FFREPORT=file=$log_DIR/ffmpeg_recording.log \&#xA;ffmpeg -i &amp;quot;rtsp://$CAMERA_USERNAME:$CAMERA_PASSWORD@$IP:$PORT/stream1&amp;quot; \&#xA;-acodec aac -vcodec copy \&#xA;-f segment -segment_time 600 -min_seg_duration 300 -segment_atclocktime 1 -reset_timestamps 1 -segment_format mp4 \&#xA;-strftime 1 &amp;quot;$cap_DIR/record_%Y-%m-%d-%H.%M.%S.mp4&amp;quot; \&#xA;-report -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, the video segments saved by ffmpeg are only ~1 min long, instead of 10mins.&lt;/p&gt;&#xA;&lt;p&gt;Even the parameter for &lt;code&gt;min_seg_duration&lt;/code&gt; of 5min is not respected.&lt;/p&gt;&#xA;&lt;p&gt;Log file: &lt;a href=&quot;https://pastebin.com/xNLYh5Vq&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pastebin.com/xNLYh5Vq&lt;/a&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Reference: &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#segment_002c-stream_005fsegment_002c-ssegment&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-formats.html#segment_002c-stream_005fsegment_002c-ssegment&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;originally posted: &lt;a href=&quot;https://stackoverflow.com/q/76896277/3125466&quot;&gt;https://stackoverflow.com/q/76896277/3125466&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="42128" LastActivityDate="2023-08-14T21:58:48.230" Title="ffmpeg segments are not working as expected" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36752" PostTypeId="2" ParentId="33241" CreationDate="2023-08-15T11:41:04.140" Score="0" Body="&lt;p&gt;If you need more formats and better file parsing capabilities, you can use &lt;a href=&quot;https://github.com/mantas-done/subtitles&quot; rel=&quot;nofollow noreferrer&quot;&gt;subtitles package&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;php subtiltes.phar input.ttml output.stl&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42132" LastActivityDate="2023-08-15T11:41:04.140" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36753" PostTypeId="1" CreationDate="2023-08-15T23:23:57.563" Score="0" ViewCount="33" Body="&lt;p&gt;(I'm using ffmpeg version 6.0-essentials_build-www.gyan.dev)&lt;/p&gt;&#xA;&lt;p&gt;I've successfully split a file (in this example a .mp3) &amp;amp; given the resulting files unique names using &amp;quot;XX_%02d.mp3&amp;quot; in the following command: XX_01, XX_02 etc.&lt;/p&gt;&#xA;&lt;p&gt;How do I perform similar for the file's metadata title or track? &lt;code&gt;-metadata track=&amp;quot;YY_%02d&amp;quot;&lt;/code&gt; gives the file the literal track name of YY%02d. How can I get the -metadata command to accept the numerical coding?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;input.mp3&amp;quot; -c copy -segment_time 500 -f segment -segment_start_number 1 -metadata title=&amp;quot;YY_%02d&amp;quot; -metadata track=&amp;quot;YY%02d&amp;quot; &amp;quot;XX_%02d.mp3&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42135" LastActivityDate="2023-08-15T23:23:57.563" Title="How do you use FFmpeg to give unique title/track names (%02d) using -metadata when splitting a file?" Tags="|ffmpeg|metadata|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36754" PostTypeId="1" CreationDate="2023-08-16T10:08:42.720" Score="0" ViewCount="45" Body="&lt;p&gt;I have a SAAS software that does video transcoding using ffmpeg. The hardware is expected to have no GPU and other hardware acceleration technologies. The input video stream will have the following basic parameters: 1 video stream, full HD resolution, bitrate = 5500 kbps, h264 codec, audio codec is aac, 160 kbps. The desired output includes 3 video streams with the following parameters: - Stream 1: Full HD resolution, bitrate = 3500 kbps, h264 codec; - Stream 2: HD resolution, bitrate = 1800 kbps, h264 codec; - Stream 3: SD resolution, bitrate = 500, h264 codec. The sound is the same as the input stream, unchanged. The question is whether there is a specific calculation method or anyone has experience calculating the required hardware resources (CPU + Memory) for each 10 input streams and the requirements as I have stated?&lt;/p&gt;&#xA;" OwnerUserId="42137" LastActivityDate="2023-08-16T10:08:42.720" Title="How to calculate the CPU resources required to use ffmpeg to transcode a video stream" Tags="|ffmpeg|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36755" PostTypeId="1" CreationDate="2023-08-16T12:45:32.710" Score="0" ViewCount="113" Body="&lt;p&gt;I want to display two images that alternate (3sec each) in infinite loop into v4l2 virtual camera.&lt;/p&gt;&#xA;&lt;p&gt;i tried this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -stream_loop -1 -f concat -safe 0 -r 1 -i input.txt -vf format=yuv420p -f v4l2 /dev/video0&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;with content of &lt;strong&gt;input.txt&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file '1.png'&#xA;file '1.png'&#xA;file '1.png'&#xA;file '2.png'&#xA;file '2.png'&#xA;file '2.png'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but unfortunately it didn't work, i can see only first image when i display the virtual camera in the browser.&lt;/p&gt;&#xA;&lt;p&gt;the issue is that the same command using a video file output, works fine!&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -stream_loop -1 -f concat -safe 0 -r 1 -i input.txt -vf format=yuv420p output.mp4 -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and i want to avoid creating mp4 file for each combination of images that i want to stream out&lt;/p&gt;&#xA;" OwnerUserId="42138" LastActivityDate="2023-08-16T12:45:32.710" Title="ffmpeg infinite loop over multiple images to v4l2" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36756" PostTypeId="1" CreationDate="2023-08-16T21:45:18.410" Score="0" ViewCount="32" Body="&lt;p&gt;I'm trying to copy the first minute of an mp4 file, but getting a strange result in which I try to play the file output from ffmpeg and the first 5 secs are missing!&lt;/p&gt;&#xA;&lt;p&gt;I have tried using the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i The\ Big\ Fight\ \(1972\).mp4 -ss 0 -t 30 -c copy fight.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;as well as this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i The\ Big\ Fight\ \(1972\).mp4 -acodec copy -vcodec copy -ss 0 -t 00:0:30 fight.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;both result in the video starting to play at 05s, and nothing exisiting prior to that 05s&lt;/p&gt;&#xA;" OwnerUserId="42139" LastActivityDate="2024-01-15T04:05:25.590" Title="ffmpeg skips first 5 secs" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36757" PostTypeId="2" ParentId="36729" CreationDate="2023-08-17T02:15:46.070" Score="0" Body="&lt;p&gt;I found a solution on the nginx side by setting the wait_key and wait_video options to on in the nginx.conf file.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/dreamsxin/nginx-rtmp-wiki/blob/master/Directives.md#wait_key&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/dreamsxin/nginx-rtmp-wiki/blob/master/Directives.md#wait_key&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40490" LastActivityDate="2023-08-17T02:15:46.070" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36758" PostTypeId="1" CreationDate="2023-08-17T07:35:22.630" Score="0" ViewCount="5" Body="&lt;p&gt;Recently I revisited my old kickstarter project, just to find that the video produced heavy glitches, as shown in the picture below. These were (and are) not there in the original .mp4, and only appeared way after the &lt;a href=&quot;https://www.kickstarter.com/projects/1534474899/the-flexatube-a-mathematical-folding-puzzle?lang=de&quot; rel=&quot;nofollow noreferrer&quot;&gt;project&lt;/a&gt; was finished. I assume the video player of kickstarter implemented some backwards-incompatible changes or bugs, or could it be my browser Frontend? Do you see them as well? I use Firefox in the newest version.&#xA;Would be great if someone here has insight on this.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GlNow.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GlNow.png&quot; alt=&quot;video glitch&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="42141" LastActivityDate="2023-08-17T07:35:22.630" Title="Why is my video that worked fine previously glitching now?" Tags="|mp4|video-player|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36759" PostTypeId="1" CreationDate="2023-08-17T08:17:32.317" Score="0" ViewCount="27" Body="&lt;p&gt;I've pulled out all guns to merge 13 episodes into one video, failing and staring at a brick wall. I've rendered on KDenlive in Linux and Davinci Resolve on Windows.&lt;/p&gt;&#xA;&lt;p&gt;I even screen recorded the whole damn thing in OBS, still audio out of sync and midway it just starts choking, stuttering and leaving gaps without audio XD&lt;/p&gt;&#xA;&lt;p&gt;When I play the original videos in VLC, they play just fine. My problem is simply that I don't know what is causing issues here.&lt;/p&gt;&#xA;&lt;p&gt;Here's the mediainfo output of all the episodes, hoping somebody more savvy can see the culprit in it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://pastebin.com/3mQ4Q1wV&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pastebin.com/3mQ4Q1wV&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33593" LastEditorUserId="33593" LastEditDate="2023-08-17T11:45:30.923" LastActivityDate="2023-09-10T09:57:20.423" Title="Why can't I render these videos without audio being out of sync?" Tags="|audio|sync|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36762" PostTypeId="2" ParentId="35646" CreationDate="2023-08-17T10:23:23.153" Score="1" Body="&lt;p&gt;You need to disable the video and audio streams with &lt;code&gt;-an&lt;/code&gt; and &lt;code&gt;-vn&lt;/code&gt; options respectively, then use the generic &lt;code&gt;segment&lt;/code&gt; output format instead of &lt;code&gt;hls&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;The &lt;strong&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#segment_002c-stream_005fsegment_002c-ssegment&quot; rel=&quot;nofollow noreferrer&quot;&gt;segment muxer&lt;/a&gt;&lt;/strong&gt; can produce HLS playlist format if the output file format has &lt;code&gt;.m3u8&lt;/code&gt; extension.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;Copied from my answer on S:O (&lt;a href=&quot;https://stackoverflow.com/a/76920564/1957951&quot;&gt;https://stackoverflow.com/a/76920564/1957951&lt;/a&gt;):&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here's an example that creates segmented &lt;code&gt;VTT&lt;/code&gt; subtitles with &lt;code&gt;0000.vtt&lt;/code&gt; filename format and a playlist named &lt;code&gt;index.m3u8&lt;/code&gt;.&#xA;Please note that FFmpeg automatically determines the internal format of the playlist by analyzing the file extension of the &lt;code&gt;-segment_list&lt;/code&gt;, but this can be set with the &lt;code&gt;segment_format&lt;/code&gt; option.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Command breakdown:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -hide_banner -i input.mp4 \&#xA;-vn \                       # drop all video streams&#xA;-an \                       # drop all audio streams&#xA;-map s:0 \                  # select the first embedded subtitle stream&#xA;-f segment \                # use generic segment format&#xA;-segment_time 3.0 \         # set segment duration&#xA;-segment_list index.m3u8 \  # set playlist filename (internal format determined by extension)&#xA;%04d.vtt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Output files:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;By printing the contents of a subtitle segment, you can see that these contain only fragments of the original subtitle:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ cat 0000.vtt&#xA;WEBVTT&#xA;&#xA;00:00.000 --&amp;gt; 00:02.880&#xA;you may have seen videos in which someone is using  &#xA;&#xA;00:02.880 --&amp;gt; 00:06.660&#xA;an old computer when it suddenly &#xA;makes popping and crackling noises&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The command produces a playlist in HLS format:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ head -n9 index.m3u8&#xA;#EXTM3U&#xA;#EXT-X-VERSION:3&#xA;#EXT-X-MEDIA-SEQUENCE:0&#xA;#EXT-X-ALLOW-CACHE:YES&#xA;#EXT-X-TARGETDURATION:12&#xA;#EXTINF:6.660000,&#xA;0000.vtt&#xA;#EXTINF:6.120000,&#xA;0001.vtt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="11950" LastEditorUserId="11950" LastEditDate="2023-08-17T10:28:46.573" LastActivityDate="2023-08-17T10:28:46.573" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36763" PostTypeId="2" ParentId="36046" CreationDate="2023-08-17T15:15:57.857" Score="0" Body="&lt;p&gt;You can tell by the name.&lt;/p&gt;&#xA;&lt;p&gt;If the encoder or decoder includes _qsv, then it's Intel Quick Sync.&lt;/p&gt;&#xA;&lt;p&gt;If it contains nvenc or cuda, it's Nvidia&lt;/p&gt;&#xA;&lt;p&gt;If it includes amf it's AMD AMF&lt;/p&gt;&#xA;&lt;p&gt;For example, x264_qsv encodes H264 using Intel Quick Sync&lt;/p&gt;&#xA;&lt;p&gt;(if all of the proper software is installed.  Determining that is something that belongs in a different topic, and has probably already been answered).&lt;/p&gt;&#xA;" OwnerUserId="35299" LastActivityDate="2023-08-17T15:15:57.857" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36764" PostTypeId="1" AcceptedAnswerId="36768" CreationDate="2023-08-17T18:06:27.127" Score="0" ViewCount="236" Body="&lt;p&gt;I'm using this command to create screenshots from a video, each time there is a frame change.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &amp;quot;$video_file&amp;quot; -filter_complex &amp;quot;select=bitor(gt(scene\,0.5)\,eq(n\,0))&amp;quot; -vsync drop &amp;quot;$frames_dir/%04d.jpg&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;It seems to work pretty well, but there are a few black images in the screenshots that I'd like to remove.&lt;/p&gt;&#xA;&lt;p&gt;I'm not well versed in advanced ffmpeg commands and I think the command above can be adapted to throw away the black frames. Does anybody know how?&lt;/p&gt;&#xA;" OwnerUserId="33593" LastActivityDate="2023-08-18T04:20:02.457" Title="How to filter out black frames from ffmpeg command that takes screenshots?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36765" PostTypeId="1" CreationDate="2023-08-17T20:10:17.127" Score="0" ViewCount="31" Body="&lt;p&gt;I have a use case where I need to take individual WAV files with 128 channels in each one and output corresponding MKVs with each source channel as its own discrete mono track.&lt;/p&gt;&#xA;&lt;p&gt;I've been playing around with the channelsplit and channelmap functions but am having a hard time finding parameters that work with this many channels / this specific use case.&lt;/p&gt;&#xA;&lt;p&gt;Is this even possible with FFmpeg?&lt;/p&gt;&#xA;&lt;p&gt;So far I've mostly been trying different variations of:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.wav -filter_complex channelsplit out.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any help would be greatly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="42146" LastActivityDate="2023-08-17T20:10:17.127" Title="FFmpeg - Take 128 Channel WAV and Transcode to MKV with 128 Discrete Mono Tracks" Tags="|ffmpeg|audio|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36766" PostTypeId="1" AcceptedAnswerId="36771" CreationDate="2023-08-17T23:52:06.863" Score="1" ViewCount="717" Body="&lt;p&gt;I feel like this should be so simple but I just can't find any way to do it. I simply want to grab the opening frame of a video file and output it as a PNG within a filter-complex command.&lt;/p&gt;&#xA;&lt;p&gt;I can do this using the following command in isolation although I get a warning:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -i infile -frames:v 1 output.png&lt;/code&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[image2 @ 0000020bbf053640] The specified filename 'output.png' does not contain an image sequence pattern or a pattern is invalid.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[image2 @ 0000020bbf053640] Use a pattern such as %03d for an image sequence or use the -update option (with -frames:v 1 if needed) to write a single image.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;How do I incorporate the same outcome in a filter-complex function?&lt;/p&gt;&#xA;&lt;p&gt;I have used the following crop command:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -i input.mp4 -filter_complex &amp;quot;[0]crop=iw:ih[grab]&amp;quot; -map [grab] &amp;quot;out.png&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;and although I do get the required output, I get warning/error which I'd rather not get:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[image2 @ 000002a9089c1280] The specified filename 'out.png' does not contain an image sequence pattern or a pattern is invalid.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[image2 @ 000002a9089c1280] Use a pattern such as %03d for an image sequence or use the -update option (with -frames:v 1 if needed) to write a single image.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[image2 @ 000002a9089c1280] Cannot write more than one file with the same name. Are you missing the -update option or a sequence pattern?&#xA;av_interleaved_write_frame(): Invalid argument&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Error muxing a packet for output file #0&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="41171" LastActivityDate="2023-08-21T12:29:21.433" Title="Extracting a screenshot from a video using ffmpeg" Tags="|ffmpeg|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36767" PostTypeId="2" ParentId="36756" CreationDate="2023-08-18T03:44:11.500" Score="0" Body="&lt;p&gt;this command seems to work:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 0 -i The\ Big\ Fight\ \(1972\).mp4 -to 45 -c:v copy -c:a copy newfight.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42139" LastActivityDate="2023-08-18T03:44:11.500" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36768" PostTypeId="2" ParentId="36764" CreationDate="2023-08-18T04:20:02.457" Score="1" Body="&lt;p&gt;Use the &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-filters.html#blackframe&quot; rel=&quot;nofollow noreferrer&quot;&gt;blackframe&lt;/a&gt; and &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-filters.html#metadata_002c-ametadata&quot; rel=&quot;nofollow noreferrer&quot;&gt;metadata&lt;/a&gt; filters after select.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;$video_file&amp;quot; -filter:v &amp;quot;select=bitor(gt(scene\,0.5)\,eq(n\,0)),blackframe=amount=1,metadata=mode=select:key=lavfi.blackframe.pblack:value=95:function=less&amp;quot; -vsync drop &amp;quot;$frames_dir/%04d.jpg&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-08-18T04:20:02.457" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36769" PostTypeId="2" ParentId="36766" CreationDate="2023-08-18T04:29:07.537" Score="1" Body="&lt;p&gt;As the 2nd warning says, use &lt;code&gt;-frames&lt;/code&gt; along with &lt;code&gt;-update&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -i input.mp4 -filter_complex &amp;quot;[0]crop=iw:ih[grab]&amp;quot; -map [grab] -frames:v 1 -update true &amp;quot;out.png&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-08-18T04:29:07.537" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36770" PostTypeId="1" CreationDate="2023-08-18T08:12:16.190" Score="0" ViewCount="54" Body="&lt;p&gt;Using FFMPEG, my goal is to create a video with a &amp;quot;smooth&amp;quot; parallax effect out of two large images.&lt;/p&gt;&#xA;&lt;p&gt;I create two videos out of two PNG images (scroll animation).&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -loop 1 -framerate 60 -i in1.png -vf &amp;quot;scroll=horizontal=0.00026,crop=1080:1920:0:500,format=yuv420p&amp;quot; -t 30 -c:v h264 out1.mp4&#xA;&#xA;ffmpeg -y -loop 1 -framerate 60 -i in2.png -vf &amp;quot;scroll=horizontal=0.00022,crop=1080:1920:0:500,format=yuva420p&amp;quot; -t 30 -c:v png out2.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My goal is to create a smooth parallax effect. This was my attempt:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i out1.mp4 -vf &amp;quot;movie=out2.mp4 [mv]; [in][mv] overlay=0:0&amp;quot; out3.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Problem&lt;/strong&gt;: The animation of the overlay in out3.mp4 is not smooth at all.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Question&lt;/strong&gt;: Is it possible to combine the first two ffmpeg commands to generate a smooth video output?&lt;/p&gt;&#xA;" OwnerUserId="42148" LastActivityDate="2023-08-18T08:12:16.190" Title="FFMPEG - Smooth overlay of two video streams" Tags="|ffmpeg|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36771" PostTypeId="2" ParentId="36766" CreationDate="2023-08-18T09:34:48.247" Score="0" Body="&lt;p&gt;Just drop the output label &lt;code&gt;&amp;quot;[grab]&amp;quot;&lt;/code&gt; so you don't have to &lt;code&gt;-map&lt;/code&gt; it.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg-4.4-amd64-static/ffmpeg -y -i input.mp4 -filter_complex &amp;quot;[v:0]crop=iw:ih&amp;quot; -frames:v 1 -f image2 out.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;On newer versions of FFmpeg, you'll get a &lt;strong&gt;warning&lt;/strong&gt; that tells you that you have to put a number pattern in your output filename. You can ignore this warning, since you're using the &lt;code&gt;-frames:v 1&lt;/code&gt; option to write only a single frame to that file.&lt;/p&gt;&#xA;&lt;p&gt;However, if you drop the &lt;code&gt;-frame&lt;/code&gt; parameter, you'll get an error, because FFmpeg tries to write to the same file again (as indicated by the frame counter at the end):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg-6.0-amd64-static/ffmpeg -y -i input.mp4 -filter_complex &amp;quot;[v:0]crop=iw:ih&amp;quot; -frames:v 1 -update 1 -f image2 out3.png&#xA;[...]&#xA;[image2 @ 0x5f5b280] The specified filename 'out3.png' does not contain an image sequence pattern or a pattern is invalid.&#xA;[image2 @ 0x5f5b280] Use a pattern such as %03d for an image sequence or use the -update option (with -frames:v 1 if needed) to write a single image.&#xA;[image2 @ 0x5f5b280] Cannot write more than one file with the same name. Are you missing the -update option or a sequence pattern?&#xA;av_interleaved_write_frame(): Invalid argument&#xA;[out#0/image2 @ 0x5f5b140] Error muxing a packet&#xA;frame=    2 fps=0.0 q=-0.0 Lsize=N/A time=00:00:00.40 bitrate=N/A speed= 1.1x&#xA;video:2023kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Despite the error, the first frame is still written to disk&lt;/strong&gt;, and that's what you wanted anyways.&lt;/p&gt;&#xA;&lt;p&gt;To avoid these warnings and errors, pass the &lt;code&gt;-update 1&lt;/code&gt; option which tells the &lt;code&gt;image2&lt;/code&gt; muxer that it's okay to overwrite the same image file over and over again. Since you're writing a single file only with the &lt;code&gt;frames:v 1&lt;/code&gt; option, the &lt;code&gt;-update 1&lt;/code&gt; option is unnecessary, but doesn't hurt.&lt;/p&gt;&#xA;&lt;p&gt;Of course, if you're using number patterns in your filename, you won't encounter this overwrite issue at all, e.g.: &lt;code&gt;out_%03d.png&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="11950" LastEditorUserId="11950" LastEditDate="2023-08-21T12:29:21.433" LastActivityDate="2023-08-21T12:29:21.433" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36772" PostTypeId="2" ParentId="36759" CreationDate="2023-08-18T11:00:05.650" Score="1" Body="&lt;p&gt;The issue was, the videos had a &lt;code&gt;variable frame rate&lt;/code&gt; which choked up the editors.&lt;/p&gt;&#xA;&lt;p&gt;The solution was using &lt;code&gt;Handbrake&lt;/code&gt; to encode the videos with a &lt;code&gt;constant frame rate&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="33593" LastEditorUserId="33593" LastEditDate="2023-09-10T09:57:20.423" LastActivityDate="2023-09-10T09:57:20.423" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36773" PostTypeId="2" ParentId="36737" CreationDate="2023-08-18T15:12:05.300" Score="0" Body="&lt;p&gt;Turns out that the version of FFmpeg that I had installed via the &lt;code&gt;@ffmpeg-installer/ffmpeg&lt;/code&gt; npm package was ~5 years out of date (compiled in 2017). I manually updated to the latest version and the problem with ios Safari videos disappeared.&lt;/p&gt;&#xA;" OwnerUserId="42073" LastActivityDate="2023-08-18T15:12:05.300" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36774" PostTypeId="1" CreationDate="2023-08-18T16:12:20.867" Score="0" ViewCount="97" Body="&lt;p&gt;I have a sequence of images which I would like to display to some music that plays at 130bpm. I'll also need to scale down the images, which are a rather strange 2673x2151 pixels, to something that would fit inside a 1080p frame -- e.g. 1342x1080.&lt;/p&gt;&#xA;&lt;p&gt;130BPM yields weirdness with the most common frame rates. There are 2.16666666667 (13/6) beats per second. This being the case, there doesn't seem to be an integer (i.e., non-fractional) number of frames to show each each image at the usual frame rates (24, 25, 30 fps). If I can make a movie with a frame rate of 2.16666667 frames per second, i could simply show each image for one frame. This seems like it might actually be optimal -- it would probably make a a very compact video file, right?? &lt;strong&gt;Question 1: can one specify fractional frame rates?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Alternatively, if we must set the frame rate to an positive integer value, 13 frames per second works if we just display each image for six frames. 13 FPS means 780 frames per minute. 780 frames divided by 130 beats means 6 frames per beat.&lt;/p&gt;&#xA;&lt;p&gt;Finally, my images are named j1.jpg, j2.jpg, j3.jpg, etc.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Question 2: Can someone help me concoct an ffmpeg command to assemble these images, first in order, then reversed, into a video with each image lasting one beat at 130BPM?&lt;/strong&gt; I'd like some common video format like MP4 or h264/265, something I can post to social media.&lt;/p&gt;&#xA;&lt;p&gt;I've been trying to massage this command, which does assemble the images into a movie, but my attempts to specify a frame rate have had weird effects. E.g., doing a -r results in strange videos that change image very erratically. I think it's because there's a &lt;code&gt;setpts=N/25/TB&lt;/code&gt; bit in there.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -pattern_type glob -i &amp;quot;j*.jpg&amp;quot; -filter_complex &amp;quot;[0]reverse[r];[0][r]concat,loop=2:250,setpts=N/25/TB,scale=1342:1080&amp;quot; -pix_fmt yuv420p -c:v libx264 -preset slow -b:v 3500k output_looped.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Question 3: how does one specify a number of frames to repeat each image?&lt;/strong&gt; The default is one frame per image. If we want to specify more than one frame per image, how?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Question 4: What does &lt;code&gt;setpts=N/25/TB&lt;/code&gt; specify?&lt;/strong&gt; I've read the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#setpts_002c-asetpts&quot; rel=&quot;nofollow noreferrer&quot;&gt;docs on setpts&lt;/a&gt; but it's not clear to me what the three values are specifying without the option names.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Question 5: What does the 250 mean in &lt;code&gt;loop=2:250&lt;/code&gt;?&lt;/strong&gt; The &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#loop&quot; rel=&quot;nofollow noreferrer&quot;&gt;docs on loop&lt;/a&gt; also don't explain what values are set when you don't supply the specific option names.&lt;/p&gt;&#xA;" OwnerUserId="34858" LastActivityDate="2024-01-16T06:07:40.990" Title="ffmpeg command to scale, show images at exactly 130bpm" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36775" PostTypeId="2" ParentId="36774" CreationDate="2023-08-19T04:07:27.670" Score="0" Body="&lt;p&gt;You can specify fractional frame rates.&lt;/p&gt;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -pattern_type glob -framerate 130/60 -i &amp;quot;j*.jpg&amp;quot; -filter_complex &amp;quot;[0]scale=1342:1080,setpts=1*PTS,split=2[f][r];[r]reverse[r];[f][r]concat&amp;quot; -pix_fmt yuv420p -fps_mode cfr -c:v libx264 -preset slow -b:v 3500k output_looped.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Change the coefficient in &lt;code&gt;setpts&lt;/code&gt; to set frame repeat value.&lt;/p&gt;&#xA;&lt;p&gt;P.S. option values without option names are treated as corresponding to order of option declaration, e.g. in &lt;code&gt;loop=2:250&lt;/code&gt; &lt;code&gt;2&lt;/code&gt; is value for option &lt;code&gt;loop&lt;/code&gt;, and &lt;code&gt;250&lt;/code&gt; for &lt;code&gt;size&lt;/code&gt;. In setpts, &lt;code&gt;N/25/TB&lt;/code&gt; is an expression and means to retime frames to be 25 fps.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-08-19T04:07:27.670" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36776" PostTypeId="1" CreationDate="2023-08-19T04:23:23.110" Score="2" ViewCount="97" Body="&lt;p&gt;I am trying to edit some 4K clips in Kdenlive and so I would like to use the &lt;a href=&quot;https://kdenlive.org/en/project/kdenlive-proxy-clips/&quot; rel=&quot;nofollow noreferrer&quot;&gt;proxy clips&lt;/a&gt; feature to speed up editing experience.&lt;/p&gt;&#xA;&lt;p&gt;I have enabled the feature by default:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0KNvN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0KNvN.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I've also checked that it is enabled for the project:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/RbMSd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/RbMSd.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;However, it does not look like any proxy clips are actually generated — neither when I add clips to the Project Bin, nor when I later drag them onto the timeline. Monitor navigation is still as slow as without the proxy feature enabled. Neither I can see any proxy clips on the disk in the project cache folder.&lt;/p&gt;&#xA;&lt;p&gt;How to get the proxies to work?&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Kdenlive 20.12.3&lt;/li&gt;&#xA;&lt;li&gt;MLT 6.24.0&lt;/li&gt;&#xA;&lt;li&gt;OS: PureOS Byzantium&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="29391" LastActivityDate="2024-04-01T12:35:18.700" Title="Kdenlive does not seem to be leveraging proxy clips" Tags="|linux|kdenlive|intermediate|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36777" PostTypeId="1" CreationDate="2023-08-19T10:22:37.783" Score="0" ViewCount="29" Body="&lt;p&gt;Insert PNG at exact position of a video, with exact duration - is it possible with FFMPEG?&lt;/p&gt;&#xA;&lt;p&gt;If not, then may be with other software?&lt;/p&gt;&#xA;&lt;p&gt;I have several hundreds of PNGs. Each needs to be inserted at exact position and displayed until the next PNG comes.&lt;/p&gt;&#xA;&lt;p&gt;Time intervals between them are irregular. Some should be displayed for 10 seconds, the other - for 2 minutes etc.&lt;/p&gt;&#xA;" OwnerUserId="29775" LastActivityDate="2024-01-18T17:05:20.653" Title="Insert PNG at exact position of a video, with exact duration" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36778" PostTypeId="1" CreationDate="2023-08-19T22:20:27.720" Score="0" ViewCount="14" Body="&lt;p&gt;I'm writing software that exports fcpxml files to allow import of video clips into Final Cut Pro.&lt;/p&gt;&#xA;&lt;p&gt;The file looks like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;?xml version=&amp;quot;1.0&amp;quot; encoding=&amp;quot;UTF-8&amp;quot;?&amp;gt;&#xA;&amp;lt;!DOCTYPE fcpxml&amp;gt;&#xA;&amp;lt;fcpxml version=&amp;quot;1.10&amp;quot;&amp;gt;&#xA;&amp;lt;resources&amp;gt;&#xA;&amp;lt;asset name=&amp;quot;ProjectName~FileName&amp;quot; id=&amp;quot;r1&amp;quot; uid=&amp;quot;013f2d56-c250-46b9-8b1b-3b1e2bc6ddee&amp;quot; start=&amp;quot;0s&amp;quot; duration=&amp;quot;3584434/1000s&amp;quot;&amp;gt;&#xA;&amp;lt;media-rep kind=&amp;quot;original-media&amp;quot; sig=&amp;quot;013f2d56-c250-46b9-8b1b-3b1e2bc6ddee&amp;quot; src=&amp;quot;myurlthatworks&amp;quot;&amp;gt;&amp;lt;/media-rep&amp;gt;&#xA;&amp;lt;/asset&amp;gt;&#xA;&amp;lt;format id=&amp;quot;r2&amp;quot; name=&amp;quot;FFVideoFormat1080p30&amp;quot;/&amp;gt;&#xA;&amp;lt;/resources&amp;gt;&#xA;&amp;lt;library location=&amp;quot;&amp;quot;&amp;gt;&#xA;&amp;lt;event name=&amp;quot;FileName&amp;quot; uid=&amp;quot;56b2e8bf-3369-46d1-a083-458c7da313f2&amp;quot;&amp;gt;&#xA;&amp;lt;asset-clip ref=&amp;quot;r1&amp;quot; name=&amp;quot;mykeyword&amp;quot; start=&amp;quot;15550/24s&amp;quot; duration=&amp;quot;718/24s&amp;quot; format=&amp;quot;r2&amp;quot; tcFormat=&amp;quot;NDF&amp;quot; audioRole=&amp;quot;dialogue&amp;quot;&amp;gt;&amp;lt;keyword start=&amp;quot;15550/24s&amp;quot; duration=&amp;quot;718/24s&amp;quot; value=&amp;quot;mykeyword&amp;quot;/&amp;gt;&amp;lt;/asset-clip&amp;gt;&#xA;&amp;lt;keyword-collection name=&amp;quot;mykeyword&amp;quot;/&amp;gt;&#xA;&amp;lt;/event&amp;gt;&#xA;&amp;lt;/library&amp;gt;&#xA;&amp;lt;/fcpxml&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The url in the actual file is correct.&lt;/p&gt;&#xA;&lt;p&gt;If I create a library, create an event, then &amp;quot;Import Xml&amp;quot; to import this file, the clips and keywords show.&lt;/p&gt;&#xA;&lt;p&gt;However, each clip has a yellow &amp;quot;warning&amp;quot; icon and each thumbnail has a &amp;quot;Downloading Remote Media&amp;quot; message, which never goes away if I just wait.&lt;/p&gt;&#xA;&lt;p&gt;If I drag a clip to the project, the clip is there and I can play it.&lt;/p&gt;&#xA;&lt;p&gt;If I close the library, then reopen it, all the error icons and &amp;quot;Downloading&amp;quot; thumbnail messages disappear and everything works.&lt;/p&gt;&#xA;&lt;p&gt;The mp4 file is not that large.  The background task icons show all idle.  If I find the mp4 file in the Finder I can see that it has downloaded completely.  I have a fast network connection.&lt;/p&gt;&#xA;&lt;p&gt;The problem is not the url, or the clips would load after the library is closed/opened.  The problem is not the file size/network because timing doesn't matter.  If I instantly close/reopen the library everything works.&lt;/p&gt;&#xA;&lt;p&gt;What am I doing wrong here?&lt;/p&gt;&#xA;&lt;p&gt;Thanks very much in advance!&lt;/p&gt;&#xA;&lt;p&gt;Adam Leffert&lt;/p&gt;&#xA;" OwnerUserId="42163" LastActivityDate="2023-08-19T22:20:27.720" Title="Final Cut Pro v. 10.6.6 - fcpxml file with reference to mp4 file via url works, but only after closing/reopening library" Tags="|mp4|file-formats|export|clipping|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36779" PostTypeId="1" CreationDate="2023-08-20T01:34:13.217" Score="1" ViewCount="25" Body="&lt;p&gt;I found a YouTube video with a post-production editing effect I'd never seen before. Could someone explain how they did this, and what software they used? Below is the link to a short Loom video.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.loom.com/share/93cf81bf3892480abedcfa3c572ca0b3?sid=60e70cad-2fe3-4e6c-96f5-87bd6651d9c7&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.loom.com/share/93cf81bf3892480abedcfa3c572ca0b3?sid=60e70cad-2fe3-4e6c-96f5-87bd6651d9c7&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;They've split the screen area to 2/3 camera and 1/3 text sidebar panel, so smoothly with text fading in. Thanks in advance!! Pavi&lt;/p&gt;&#xA;" OwnerUserId="42161" LastActivityDate="2024-01-17T04:09:56.240" Title="Post Production Video Effect: How is this done?" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36780" PostTypeId="2" ParentId="36779" CreationDate="2023-08-20T02:04:17.047" Score="0" Body="&lt;p&gt;That looks like an effect dubbed as &amp;quot;Text Slider&amp;quot; by ArteRamgopal; he has an ~10 minute video tutorial on reproducing it in Camtasia:&#xA;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/kbeYk0n9Hqw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt; .&lt;/p&gt;&#xA;" OwnerUserId="21848" LastEditorUserId="21848" LastEditDate="2023-08-20T02:14:21.413" LastActivityDate="2023-08-20T02:14:21.413" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36781" PostTypeId="1" CreationDate="2023-08-21T01:51:37.740" Score="0" ViewCount="117" Body="&lt;p&gt;I have two videos and I want to go through them frame by frame&lt;br /&gt;&#xA;taking one frame from video 1, followed by 1 frame of video 2&lt;br /&gt;&#xA;then the next frame of video 1, followed by the next frame of video 2.&lt;/p&gt;&#xA;&lt;p&gt;Like depicted in the following image:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/c8ZHd.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/c8ZHd.png&quot; alt=&quot;Example of input and output&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Or, if the image does not load:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Video 1: [a][b][c]&#xA;Video 2: [1][2][3]&#xA;Result:  [a][1][b][2][c][3]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The way I have done it now is by using &lt;code&gt;ffmpeg&lt;/code&gt; to convert every&lt;br /&gt;&#xA;video to a series of &lt;code&gt;png&lt;/code&gt; files on disk. Renaming them and then&lt;br /&gt;&#xA;combining them back into a single video:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -framerate 60 -i %03d.png -c:v libx265 -preset slow -crf 23 output4.mp4 &lt;/code&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Note: The input videos were each 30fps, so I selected 60fps for the output.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is there a way to do this using &lt;code&gt;ffmpeg&lt;/code&gt; in a single command without storing all frames on disk first?&lt;/p&gt;&#xA;" OwnerUserId="42167" LastActivityDate="2024-01-18T06:07:55.920" Title="Is there a way to combine two videos interlaced frame by frame with a single ffmpeg command?" Tags="|ffmpeg|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36782" PostTypeId="2" ParentId="36781" CreationDate="2023-08-21T03:44:08.167" Score="1" Body="&lt;p&gt;Use the &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-filters.html#interleave_002c-ainterleave&quot; rel=&quot;nofollow noreferrer&quot;&gt;interleave&lt;/a&gt; filter.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video1 -i video2 -filter_complex &amp;quot;[0]settb=AVTB,setpts=N/30/TB[v0];[1]settb=AVTB,setpts=N/30/TB[v1];[v0][v1]interleave=n=2&amp;quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-08-21T03:44:08.167" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36783" PostTypeId="2" ParentId="36777" CreationDate="2023-08-21T14:44:28.377" Score="0" Body="&lt;p&gt;Here is an example:&lt;/p&gt;&#xA;&lt;p&gt;Overlay &amp;quot;01.png&amp;quot; after 3 seconds for a duration is 4 seconds.&lt;/p&gt;&#xA;&lt;p&gt;Then overlay &amp;quot;02.png&amp;quot; immediately after the first image for a duration of 5 seconds.&lt;/p&gt;&#xA;&lt;p&gt;Both images are scaled to 400x300 and positioned in the upper right corner.&lt;/p&gt;&#xA;&lt;p&gt;The variables make the ffmpeg commands easier to understand.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;# video&#xA;v=video.mp4&#xA;&#xA;# image 1&#xA;i1=01.png&#xA;&#xA;# image 1 start&#xA;i1_s=3&#xA;&#xA;# image 1 duration in seconds&#xA;i1_dur=4&#xA;&#xA;# wait after image 1 is displayed for this duration. &amp;quot;0&amp;quot; displays image 2 immediately after image 1&#xA;w1=0&#xA;&#xA;# image 2&#xA;i2=02.png &#xA;&#xA;# image 2 duration in seconds&#xA;i2_dur=5&#xA;&#xA;# framerate&#xA;fr=25&#xA;&#xA;# image width&#xA;i_w=400&#xA;&#xA;# image height&#xA;i_h=300&#xA;&#xA;ffmpeg \&#xA;-i &amp;quot;$v&amp;quot; -framerate $fr \&#xA;-i &amp;quot;$i1&amp;quot; -framerate $fr \&#xA;-i &amp;quot;$i2&amp;quot; -filter_complex &amp;quot;\&#xA;[0:v]scale=1280:720[v0];\&#xA;[1:v]fps=$fr,trim=0:$i1_dur,scale=$i_w:$i_h[i1];\&#xA;[2:v]fps=$fr,trim=0:$i2_dur,scale=$i_w:$i_h[i2];\&#xA;[v0][i1]overlay=W-w-10:10:enable='between(t,$i1_s,$i1_s+$i1_dur)'[v1];\&#xA;[v1][i2]overlay=W-w-10:10:enable='between(t,$w1+$i1_s+$i1_dur,$w1+$i1_s+$i1_dur+$i2_dur)'&amp;quot; -c:v libx264 -crf 18 -preset veryfast output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2023-08-21T14:44:28.377" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36784" PostTypeId="1" CreationDate="2023-08-23T18:58:23.913" Score="0" ViewCount="90" Body="&lt;p&gt;I built a mp4 video from jpg images using this command:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -framerate 1 -i img%d.jpg -c:v libx264 -pix_fmt yuv420p -r 1 output.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I can open and play video on my computer (in VLC and in a browser), but I can't play it on mobile (Chrome 116.0.5845.93 on Android 11, the phone is Oppo A73). There's info about duration, I can press the &amp;quot;play&amp;quot; button, but the video doesn't play at all.&lt;/p&gt;&#xA;&lt;p&gt;It has 1920 × 1280 resolution and 16 seconds length - as expected.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe output.mp4             &#xA;ffprobe version 6.0 Copyright (c) 2007-2023 the FFmpeg developers&#xA;  built with Apple clang version 14.0.0 (clang-1400.0.29.202)&#xA;  configuration: --prefix=/opt/homebrew/Cellar/ffmpeg/6.0 --enable-shared --enable-pthreads --enable-version3 --cc=clang --host-cflags= --host-ldflags= --enable-ffplay --enable-gnutls --enable-gpl --enable-libaom --enable-libaribb24 --enable-libbluray --enable-libdav1d --enable-libmp3lame --enable-libopus --enable-librav1e --enable-librist --enable-librubberband --enable-libsnappy --enable-libsrt --enable-libsvtav1 --enable-libtesseract --enable-libtheora --enable-libvidstab --enable-libvmaf --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libxvid --enable-lzma --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libspeex --enable-libsoxr --enable-libzmq --enable-libzimg --disable-libjack --disable-indev=jack --enable-videotoolbox --enable-neon&#xA;  libavutil      58.  2.100 / 58.  2.100&#xA;  libavcodec     60.  3.100 / 60.  3.100&#xA;  libavformat    60.  3.100 / 60.  3.100&#xA;  libavdevice    60.  1.100 / 60.  1.100&#xA;  libavfilter     9.  3.100 /  9.  3.100&#xA;  libswscale      7.  1.100 /  7.  1.100&#xA;  libswresample   4. 10.100 /  4. 10.100&#xA;  libpostproc    57.  1.100 / 57.  1.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'output.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf60.3.100&#xA;  Duration: 00:00:16.00, start: 0.000000, bitrate: 1173 kb/s&#xA;  Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt470bg/unknown/unknown, progressive), 1920x1280 [SAR 1:1 DAR 3:2], 1172 kb/s, 1 fps, 1 tbr, 16384 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : Lavc60.3.100 libx264&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;How to fix that?&lt;/p&gt;&#xA;" OwnerUserId="42186" LastEditorUserId="42186" LastEditDate="2023-08-24T18:08:56.047" LastActivityDate="2023-08-24T18:08:56.047" Title="mp4 video doesn't play on mobile, but it plays locally" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36786" PostTypeId="1" CreationDate="2023-08-24T22:14:54.873" Score="0" ViewCount="407" Body="&lt;p&gt;I've googled this and can't find anyone having the same issue.&lt;/p&gt;&#xA;&lt;p&gt;Using Capcut on a Mac, trying to export to an external hard drive.&lt;/p&gt;&#xA;&lt;p&gt;Is there a permissions things I need to grant Capcut?&lt;/p&gt;&#xA;" OwnerUserId="12801" LastActivityDate="2024-03-18T16:11:24.777" Title="Trying to export from Capcut to external harddrive get error 'no access to save path'" Tags="|video-editor|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36787" PostTypeId="1" CreationDate="2023-08-25T10:39:35.003" Score="0" ViewCount="46" Body="&lt;p&gt;I have a video with 2 audio tracks.&lt;/p&gt;&#xA;&lt;p&gt;After using the following command line&#xA;the other audio track is gone&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;movie.mkv&amp;quot; -i &amp;quot;subtitles.ass&amp;quot; -c:v copy -c:a copy -c:s copy &amp;quot;movie with subtitles.mkv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What am I doing wrong?&lt;/p&gt;&#xA;" OwnerUserId="42201" LastEditorUserId="18155" LastEditDate="2023-08-28T23:21:38.927" LastActivityDate="2024-01-26T02:08:51.180" Title="After adding subtitles the second audio track gone" Tags="|ffmpeg|video|encoding|subtitles|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36788" PostTypeId="1" CreationDate="2023-08-25T20:51:34.690" Score="0" ViewCount="130" Body="&lt;p&gt;As the header suggests I have a video file that seems to have been modified. When I call ffprobe and look at the timebase I see a 1/120 and get 120fps as the framerate. Let's say the video has 4000 frames according to the readout from ffprobe. When I manually click through each frame I see the frame number jumping by 200 frames vs going each individual frame. How can I filter this out and determine the actual framerate of the video file? I also run the freeze-detect command and can see there is &amp;quot;Frozen&amp;quot; frames but this isn't helping me narrow down the true framerate&lt;/p&gt;&#xA;" OwnerUserId="41851" LastActivityDate="2023-08-25T20:51:34.690" Title="Identifying true framerate of a video file using ffprobe/ffmpeg?" Tags="|ffmpeg|ffprobe|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36789" PostTypeId="1" CreationDate="2023-08-26T00:52:12.090" Score="0" ViewCount="28" Body="&lt;p&gt;I have a Camtasia video where the main track is playing at half-speed (slo-mo). I want to have a media timestamp or clock of some kind that shows the correct amount of elapsed time. My main track is at half-speed and a plain media timestamp shows twice the actual elapsed time. How can I show the accurate elapsed time? I'm using Camtasia 2023 (Windows).&lt;/p&gt;&#xA;" OwnerUserId="42203" LastActivityDate="2023-08-31T00:20:10.747" Title="How can I slow down my media time stamp in Camtasia 2023 so it is in sync with a slowed down video?" Tags="|video|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36790" PostTypeId="1" CreationDate="2023-08-26T13:02:01.407" Score="0" ViewCount="13" Body="&lt;p&gt;Difficulty with frame accuracy when generating subcaps with FFmpeg at 23.976fps&lt;/p&gt;&#xA;&lt;p&gt;Currently testing .srt &amp;amp; .ass subcaps in a VFX workflow.&#xA;The goal is to drop specfic text over specific shots and the in/out points have to be frame accurate&#xA;We're working in a 23.976 project.&lt;/p&gt;&#xA;&lt;p&gt;We're currently having no trouble using FFmpeg to generate frame-accurate subclips of individual shots from a full-show export by converting hh:mm:ss:ff to seconds and then handling the 24 to 23.976 offset (see algorithm below)&lt;/p&gt;&#xA;&lt;p&gt;BUT when applying the same logic to subcaps using .srt &amp;amp; .ass files, sometimes they land perfectly on frame, and sometimes they don't.  They'll be 1 frame late at most (never early).  There's no drift overtime; the 1-frame delay does not increase over the span of the source clip.&lt;/p&gt;&#xA;&lt;p&gt;Tech tl;dr below&lt;/p&gt;&#xA;&lt;p&gt;The algorithm we're using:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;InPoint_Seconds = ConvertToSeconds(InPoint_Hmsf_FullShow) - ConvertToSeconds(Start_Hmsf_FullShow) // Convert from SMTPE Time Code to seconds.&#xA;InPoint_Seconds = InPoint_Seconds * (1001 / 1000) //Handle 24 to 23.976 offset&#xA;OutPoint_Seconds = [Same idea as above]&#xA;Duration_Seconds = Output_Seconds - InPoint_Seconds&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;With that we get can subclip with perfect accuracy using the following.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;gt; ffmpeg -ss InPoint_Seconds -t Duration_Seconds -i SourcePath -c copy DestPath&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For subcaps we convert the InPoint_Seconds &amp;amp; OutPoint_Seconds to hh:mm:ss.ddd (for .srt) &amp;amp; hh:mm:ss.dd (for .ass), we get our on-again/off-again 1-frame delays.&lt;/p&gt;&#xA;&lt;p&gt;For subcaps we convert the InPoint_Seconds &amp;amp; OutPoint_Seconds to hh:mm:ss.ddd (for .srt) &amp;amp; hh:mm:ss.dd (for .ass) as follows (all values padded for leading 0s, not shown here):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;dd = InPoint_Seconds - parseInt(InPoint_Seconds);&#xA;ddd = Math.round(dd * 100); // for .srt&#xA;dd = Math.round(dd * 1000); // for .ass&#xA;ss = parseInt(InPoint_Seconds);&#xA;hh = parseInt(ss / (60 * 60));&#xA;ss -= (hh * 60);&#xA;mm = parseInt(ss / 60);&#xA;ss -= (mm * 60);&#xA;hmsd_srt = hh + &amp;quot;:&amp;quot; + mm + &amp;quot;:&amp;quot; + ss + &amp;quot;.&amp;quot; + dd;&#xA;hmsd_ass = hh + &amp;quot;:&amp;quot; + mm + &amp;quot;:&amp;quot; + ss + &amp;quot;.&amp;quot; + ddd;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Perhaps something in our conversion Seconds to hmsd is off?&lt;/p&gt;&#xA;" OwnerUserId="42211" LastEditorUserId="42211" LastEditDate="2023-08-26T13:59:31.187" LastActivityDate="2023-08-26T13:59:31.187" Title="Difficulty with frame accuracy when generating subcaps with FFmpeg at 23.976fps" Tags="|ffmpeg|subtitles|.srt|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36792" PostTypeId="2" ParentId="26209" CreationDate="2023-08-26T14:18:12.857" Score="0" Body="&lt;p&gt;You can also try &lt;a href=&quot;https://github.com/mantas-done/subtitles&quot; rel=&quot;nofollow noreferrer&quot;&gt;this tool&lt;/a&gt;. It is scc file conversion is tested on a lot of files and is under active development. If you have any problems, report your file and it will be fixed.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;php subtitles.phar input.scc output.srt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42132" LastEditorUserId="42132" LastEditDate="2024-02-23T14:25:58.847" LastActivityDate="2024-02-23T14:25:58.847" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36793" PostTypeId="1" CreationDate="2023-08-27T15:49:03.453" Score="0" ViewCount="13" Body="&lt;p&gt;Does any one knows how to replace with after effect beta while working on stable premier ?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zjLt5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zjLt5.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="42173" LastActivityDate="2023-08-27T15:49:03.453" Title="Replace With After Effect Beta" Tags="|adobe|effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36794" PostTypeId="2" ParentId="34723" CreationDate="2023-08-28T21:15:48.803" Score="0" Body="&lt;p&gt;This being the first result I got from searching, I decided to use WYSIWYG answer and write a bash script that simplifies this significantly (at least for me):&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;#!/bin/bash&#xA;if [[ -z $6 ]];then&#xA;        printf &amp;quot;Usage:\n&amp;quot;&#xA;        printf &amp;quot;        $0 [input file] [output file] [top crop] [bottom crop] [left crop] [right crop]\n&amp;quot;&#xA;        printf &amp;quot;Any edges you do not want to crop, enter 0.\n&amp;quot;&#xA;        printf &amp;quot;For example, to crop 10 pixels from the top, 11 from the botom, none from the left and 8 from the right:\n&amp;quot;&#xA;        printf &amp;quot;        $0 input-file.jpg output-file.jpg 10 11 0 8\n&amp;quot;&#xA;        exit 2&#xA;fi&#xA;&#xA;inpFile=$1&#xA;outFile=$2&#xA;tCrop=$3&#xA;bCrop=$4&#xA;lCrop=$5&#xA;rCrop=$6&#xA;let xCrop=$lCrop+$rCrop&#xA;let yCrop=$tCrop+$bCrop&#xA;&#xA;ffmpeg -i $inpFile -vf crop=iw-$xCrop:ih-$yCrop:$lCrop:$tCrop $outFile&#xA;exit $?&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Run this script without any arguments to get a how-to printout.&lt;/p&gt;&#xA;&lt;p&gt;When you specify your crop values for each edge, it does the math for you.  Saves you from having to add up your top &amp;amp; bottom / left &amp;amp; right crops.&lt;/p&gt;&#xA;&lt;p&gt;A full explanation for the ffmpeg's &lt;code&gt;crop&lt;/code&gt; formatting is below. Each of these values represent what they should be in the &lt;em&gt;output&lt;/em&gt; file.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;crop=w:h:x:y&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;w = width.&lt;/p&gt;&#xA;&lt;p&gt;h = height.&lt;/p&gt;&#xA;&lt;p&gt;x = X (horizontal) position the output should start at, from the left. AKA how many pixels to lose from the left.&lt;/p&gt;&#xA;&lt;p&gt;y = Y (vertical) position the output should start at, from the top. AKA how many pixels to lose from the top.&lt;/p&gt;&#xA;&lt;p&gt;As you can see, width and height support &amp;quot;iw&amp;quot; and &amp;quot;ih&amp;quot; respectively to keep those values from the input file. And, you can perform math on those within the command. That's where the &amp;quot;iw-30&amp;quot; comes from in WYSIWYG's answer.&lt;/p&gt;&#xA;" OwnerUserId="42223" LastEditorUserId="42223" LastEditDate="2023-08-28T21:19:36.863" LastActivityDate="2023-08-28T21:19:36.863" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36795" PostTypeId="2" ParentId="36787" CreationDate="2023-08-28T23:36:31.633" Score="0" Body="&lt;p&gt;If you don't use the &lt;code&gt;-map&lt;/code&gt; options, then by &lt;a href=&quot;https://video.stackexchange.com/a/27779/18155&quot;&gt;ffmpeg Documentation &lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg will pick one stream, when available, from among all the inputs.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;It means that it selects only one video stream, &lt;strong&gt;only one audio stream&lt;/strong&gt;, and only one subtitle stream (by criteria listed in that doc).&lt;/p&gt;&#xA;&lt;p&gt;So you have to use &lt;code&gt;-map&lt;/code&gt; option:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i movie.mkv -i subtitles.ass -map 0:v -c copy -map 0:a -c copy -map 1:s -c copy &amp;quot;movie with subtitles.mkv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;em&gt;The detailed explanation:&lt;/em&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i movie.mkv -i subtitles.ass ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Input files&lt;/strong&gt; are introduced with &lt;code&gt;-i&lt;/code&gt; options, and are enumerated from &lt;code&gt;0&lt;/code&gt;, so&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;movie.mkv&lt;/code&gt; has the number &lt;code&gt;0&lt;/code&gt;,&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;subtitles.ass&lt;/code&gt; has the number &lt;code&gt;1&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;This number is the first one in every &lt;code&gt;-map&lt;/code&gt; option:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;... -map 0:v -map 0:a:0 - map 0:a:1 -map 1:s ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;After the semicolon (&lt;code&gt;:&lt;/code&gt;) may be the &lt;strong&gt;stream specifier&lt;/strong&gt;, in your case:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;v&lt;/code&gt; for video stream&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;a&lt;/code&gt; for audio stream&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;s&lt;/code&gt; for subtitle stream&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;If there is &lt;em&gt;only one&lt;/em&gt; video stream or &lt;em&gt;only one&lt;/em&gt; audio stream or &lt;em&gt;only one&lt;/em&gt; subtitle stream in a particular input file, there is nothing more to specify:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;... -map 0:v ... -map 1:s ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In your more complicated case with more audio streams, after another semicolon you may specify its &lt;code&gt;ordinal number&lt;/code&gt;, enumerated again from &lt;code&gt;0&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;... -map 0:a:0 -map 0:a:1 ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;or – in your case - you my simply omit ordinal number to select &lt;em&gt;all&lt;/em&gt; audio streams:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;... -map 0:a ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;em&gt;Note:&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;The offered command may be further simplified.&lt;/p&gt;&#xA;&lt;p&gt;To better understand stream specifiers (as e.g. &lt;code&gt;0:a:1&lt;/code&gt;), see &lt;a href=&quot;https://video.stackexchange.com/a/27779/18155&quot;&gt;my another answer&lt;/a&gt; – at least the picture near the end of it.&lt;/p&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2023-08-29T00:38:25.613" LastActivityDate="2023-08-29T00:38:25.613" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36796" PostTypeId="1" CreationDate="2023-08-30T09:09:24.893" Score="0" ViewCount="110" Body="&lt;p&gt;I have an input feed that contains video, multiple audio, and dvb_subtitles streams. I am transcoding the audio and video and copying the dvb_subtitles where subtitles are not coming continuously(for example during commercial breaks). But as per the FFmpeg documentation &lt;strong&gt;max_interleave_delta&lt;/strong&gt; default value will be &lt;strong&gt;10sec&lt;/strong&gt; so the other streams will be buffered without writing into the output file.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;FFmpeg command&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -v debug -fix_sub_duration -i &amp;lt;srt_input&amp;gt; -f mpegts -vcodec libx264 -scodec copy -s 1920x1080 -b:v 3M -r 25/1 -acodec libfdk_aac -b:a 128000 -ar 48000 -sc_threshold 0 -profile:v main -level 4.0 -preset fast -x264opts nal-hrd=cbr -g 50 -maxrate 3M -minrate 3M -bufsize 6M -muxrate 4.5M -pcr_period 20 -pat_period 0.1 -map 0:v -map 0:a -map 0:s -max_muxing_queue_size 9999 &amp;lt;srt_output&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Below are my questions:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Can we able to flush the audio and video packets without buffering?&#xA;tried -fflags +flush_packets and -flush_packets 1 but failed to achive&lt;/li&gt;&#xA;&lt;li&gt;Will reducing the max_interleave_delta to 3sec or lesser sec causes any issues(like PES drops, sync issues etc)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I truly appreciate any suggestions, or corrections you can offer to help me overcome these challenges.&lt;/p&gt;&#xA;" OwnerUserId="42235" LastActivityDate="2023-08-30T09:09:24.893" Title="Handling non continuous input dvb_subtitles in mpegts stream using FFmpeg" Tags="|ffmpeg|subtitles|mpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36797" PostTypeId="1" AcceptedAnswerId="36798" CreationDate="2023-08-30T09:32:41.170" Score="1" ViewCount="130" Body="&lt;p&gt;I need to concatenate n mp4 videos of different resolutions via &lt;strong&gt;ffmpeg&lt;/strong&gt;. However, I am receiving an error despite the fact that in the &lt;code&gt;filter_complex&lt;/code&gt; before performing the concat operation I scale all the vdeos to the same resolution:&lt;/p&gt;&#xA;&lt;p&gt;Example of the command with 3 videos:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video1.mp4 -i video2.mp4 -i video3.mp4 -filter_complex &amp;quot;[0:v]scale=1024:576:force_original_aspect_ratio=1[v0]; [1:v]scale=1024:576:force_original_aspect_ratio=1[v1]; [2:v]scale=1024:576:force_original_aspect_ratio=1[v2]; [v0][0:a][v1][1:a][v2][2:a]concat=n=3:v=1:a=1[v][a]&amp;quot; -map [v] -map [a] output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i video1.mp4 -i video2.mp4 -i video3.mp4 -filter_complex &amp;quot;[0:v]scale=1024:576:force_original_aspect_ratio=1[v0]; [1:v]scale=1024:576:force_original_aspect_ratio=1[v1]; [2:v]scale=1024:576:force_original_aspect_ratio=1[v2]; [v0][0:a][v1][1:a][v2][2:a]concat=n=3:v=1:a=1[v][a]&amp;quot; -map [v] -map [a] output.mp4&#xA;ffmpeg version 2023-08-28-git-b5273c619d-full_build-www.gyan.dev Copyright (c) 2000-2023 the FFmpeg developers&#xA;  built with gcc 12.2.0 (Rev10, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-bzlib --enable-lzma --enable-libsnappy --enable-zlib --enable-librist --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-libbluray --enable-libcaca --enable-sdl2 --enable-libaribb24 --enable-libaribcaption --enable-libdav1d --enable-libdavs2 --enable-libuavs3d --enable-libzvbi --enable-librav1e --enable-libsvtav1 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs2 --enable-libxvid --enable-libaom --enable-libjxl --enable-libopenjpeg --enable-libvpx --enable-mediafoundation --enable-libass --enable-frei0r --enable-libfreetype --enable-libfribidi --enable-libharfbuzz --enable-liblensfun --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-dxva2 --enable-d3d11va --enable-libvpl --enable-libshaderc --enable-vulkan --enable-libplacebo --enable-opencl --enable-libcdio --enable-libgme --enable-libmodplug --enable-libopenmpt --enable-libopencore-amrwb --enable-libmp3lame --enable-libshine --enable-libtheora --enable-libtwolame --enable-libvo-amrwbenc --enable-libcodec2 --enable-libilbc --enable-libgsm --enable-libopencore-amrnb --enable-libopus --enable-libspeex --enable-libvorbis --enable-ladspa --enable-libbs2b --enable-libflite --enable-libmysofa --enable-librubberband --enable-libsoxr --enable-chromaprint&#xA;  libavutil      58. 17.100 / 58. 17.100&#xA;  libavcodec     60. 23.100 / 60. 23.100&#xA;  libavformat    60. 10.101 / 60. 10.101&#xA;  libavdevice    60.  2.101 / 60.  2.101&#xA;  libavfilter     9. 11.100 /  9. 11.100&#xA;  libswscale      7.  3.100 /  7.  3.100&#xA;  libswresample   4. 11.100 /  4. 11.100&#xA;  libpostproc    57.  2.100 / 57.  2.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'video1.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2021-10-08T12:31:56.000000Z&#xA;  Duration: 00:03:15.51, start: 0.000000, bitrate: 464 kb/s&#xA;  Stream #0:0[0x1](eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, smpte170m, progressive), 1444x876 [SAR 1:1 DAR 361:219], 335 kb/s, 30 fps, 30 tbr, 30k tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2021-10-08T12:31:56.000000Z&#xA;      handler_name    : Mainconcept MP4 Video Media Handler&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : AVC Coding&#xA;  Stream #0:1[0x2](eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 125 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2021-10-08T12:31:56.000000Z&#xA;      handler_name    : Mainconcept MP4 Sound Media Handler&#xA;      vendor_id       : [0][0][0][0]&#xA;Input #1, mov,mp4,m4a,3gp,3g2,mj2, from 'video2.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2023-02-28T15:42:03.000000Z&#xA;  Duration: 00:03:00.70, start: 0.000000, bitrate: 518 kb/s&#xA;  Stream #1:0[0x1](eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, smpte170m, progressive), 1796x970 [SAR 1:1 DAR 898:485], 390 kb/s, 30 fps, 30 tbr, 30k tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2023-02-28T15:42:03.000000Z&#xA;      handler_name    : Mainconcept MP4 Video Media Handler&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : AVC Coding&#xA;  Stream #1:1[0x2](eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 125 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2023-02-28T15:42:03.000000Z&#xA;      handler_name    : Mainconcept MP4 Sound Media Handler&#xA;      vendor_id       : [0][0][0][0]&#xA;Input #2, mov,mp4,m4a,3gp,3g2,mj2, from 'video3.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: isommp42&#xA;    creation_time   : 2023-02-27T11:18:11.000000Z&#xA;  Duration: 00:03:00.67, start: 0.000000, bitrate: 589 kb/s&#xA;  Stream #2:0[0x1](eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, smpte170m, progressive), 1800x970 [SAR 1:1 DAR 180:97], 461 kb/s, 30 fps, 30 tbr, 30k tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2023-02-27T11:18:11.000000Z&#xA;      handler_name    : Mainconcept MP4 Video Media Handler&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : AVC Coding&#xA;  Stream #2:1[0x2](eng): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 125 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2023-02-27T11:18:11.000000Z&#xA;      handler_name    : Mainconcept MP4 Sound Media Handler&#xA;      vendor_id       : [0][0][0][0]&#xA;File 'output.mp4' already exists. Overwrite? [y/N] y&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; scale:default&#xA;  Stream #0:1 (aac) -&amp;gt; concat&#xA;  Stream #1:0 (h264) -&amp;gt; scale:default&#xA;  Stream #1:1 (aac) -&amp;gt; concat&#xA;  Stream #2:0 (h264) -&amp;gt; scale:default&#xA;  Stream #2:1 (aac) -&amp;gt; concat&#xA;  concat -&amp;gt; Stream #0:0 (libx264)&#xA;  concat -&amp;gt; Stream #0:1 (aac)&#xA;Press [q] to stop, [?] for help&#xA;[Parsed_concat_3 @ 000001c73586c800] Input link in0:v0 parameters (size 1024x553, SAR 248297:248320) do not match the corresponding output link in0:v0 parameters (949x576, SAR 69312:69277)&#xA;[Parsed_concat_3 @ 000001c73586c800] Failed to configure output pad on Parsed_concat_3&#xA;[fc#0 @ 000001c735837640] Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid argument&#xA;Error while filtering: Invalid argument&#xA;[Parsed_concat_3 @ 000001c73586b300] Input link in0:v0 parameters (size 1024x553, SAR 248297:248320) do not match the corresponding output link in0:v0 parameters (949x576, SAR 69312:69277)&#xA;[Parsed_concat_3 @ 000001c73586b300] Failed to configure output pad on Parsed_concat_3&#xA;[fc#0 @ 000001c735837640] Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid argument&#xA;[Parsed_concat_3 @ 000001c73586c600] Input link in0:v0 parameters (size 1024x553, SAR 248297:248320) do not match the corresponding output link in0:v0 parameters (949x576, SAR 69312:69277)&#xA;[Parsed_concat_3 @ 000001c73586c600] Failed to configure output pad on Parsed_concat_3&#xA;[fc#0 @ 000001c735837640] Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid argument&#xA;[Parsed_concat_3 @ 000001c73586ce00] Input link in0:v0 parameters (size 1024x553, SAR 248297:248320) do not match the corresponding output link in0:v0 parameters (949x576, SAR 69312:69277)&#xA;[Parsed_concat_3 @ 000001c73586ce00] Failed to configure output pad on Parsed_concat_3&#xA;[fc#0 @ 000001c735837640] Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid argument&#xA;[out#0/mp4 @ 000001c73710c900] Nothing was written into output file, because at least one of its streams received no packets. frame=    0 fps=0.0 q=0.0 Lsize=       0kB time=N/A bitrate=N/A speed=N/A&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The solution provided to this problem in &lt;a href=&quot;https://video.stackexchange.com/questions/25136/ffmpeg-concat-problem&quot;&gt;this question&lt;/a&gt; partially solves the problem, as the second concatenated video has no audio (the first one does), but I still can't figure out how to extend the solution to 3 or more videos.&#xA;Anyone know how to help me?&lt;/p&gt;&#xA;" OwnerUserId="42236" LastActivityDate="2023-08-30T12:24:37.403" Title="ffmpeg error Input link parameters do not match the corresponding output link parameters" Tags="|ffmpeg|concatenation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36798" PostTypeId="2" ParentId="36797" CreationDate="2023-08-30T12:24:37.403" Score="1" Body="&lt;p&gt;You're setting &lt;code&gt;force_original_aspect_ratio&lt;/code&gt; to &lt;code&gt;1&lt;/code&gt; (&lt;code&gt;decrease&lt;/code&gt;) so the videos can't be assumed to be the same resolution after scale. You'll need to pad the video to a common resolution and then reset the SAR.&lt;/p&gt;&#xA;&lt;p&gt;So,&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;scale=1024:576:force_original_aspect_ratio=1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;should become&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;scale=1024:576:force_original_aspect_ratio=decrease,pad=1024:576:-1:-1,setsar=1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-08-30T12:24:37.403" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36799" PostTypeId="2" ParentId="36191" CreationDate="2023-08-30T13:33:02.167" Score="0" Body="&lt;p&gt;I am using this command, to generate 2 resolution(640x360 and 1920x1080) with single file mpd.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -re -i naruto.mp4 -map 0 -map 0 -c:a aac&#xA; -c:v libx264&#xA; -b:v:0 300k -b:v:1 3000k -s:v:0 640x360 -s:v:1 1920x1080&#xA; -profile:v:1 baseline -profile:v:0 main -bf 1 -keyint_min 120 -g 120&#xA; -sc_threshold 0 -b_strategy 0 -ar:a:1 22050 -use_timeline 1 -use_template 1&#xA; -adaptation_sets &amp;quot;id=0,streams=v id=1,streams=a&amp;quot;&#xA; -f dash out.mpd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33208" LastActivityDate="2023-08-30T13:33:02.167" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36802" PostTypeId="2" ParentId="36789" CreationDate="2023-08-31T00:20:10.747" Score="2" Body="&lt;p&gt;I was trying to do it the hard way. The solution is simply to:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;create the video and timer running at normal speed&lt;/li&gt;&#xA;&lt;li&gt;export it as an MP4&lt;/li&gt;&#xA;&lt;li&gt;create a new Camtasia project and add the MP4 to the timeline&lt;/li&gt;&#xA;&lt;li&gt;slow down the video (with the timer) to half-speed and export to mp4&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The key is to produce the video with the timer and it's natively synced. Then that composite (video with timer) can be slowed down and both timer and video are slowed down together.&lt;/p&gt;&#xA;" OwnerUserId="42203" LastActivityDate="2023-08-31T00:20:10.747" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36805" PostTypeId="2" ParentId="36510" CreationDate="2023-09-01T14:25:57.567" Score="1" Body="&lt;p&gt;I ended up making a custom function that gets the number of values in a dropdown effect. I have no idea if this is a good way of doing it but it worked for me! :)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;function getDropdownLength(dropdownMenu) {&#xA;    var length = 1;&#xA;    var originalValue = dropdownMenu.value;&#xA;    dropdownMenu.setValue(1);&#xA;&#xA;    while (true) {&#xA;        try {&#xA;            dropdownMenu.setValue(dropdownMenu.value + 1);&#xA;            length++;&#xA;        }&#xA;        catch (e) {&#xA;            break;&#xA;        }&#xA;    }&#xA;&#xA;    dropdownMenu.setValue(originalValue);&#xA;    return length;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42252" LastActivityDate="2023-09-01T14:25:57.567" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36807" PostTypeId="2" ParentId="25100" CreationDate="2023-09-03T04:36:23.557" Score="0" Body="&lt;p&gt;Now, after some period of time, there are versions of AviSynth+ &lt;strong&gt;3.6&lt;/strong&gt;+, which &lt;strong&gt;support arrays&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;So you may still use the script from your answer, although with some fixes, mostly in your syntax (you used C/C++ syntax ;-)):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;original = Last&#xA;segments = [ \&#xA;    [ 0,  100, &amp;quot;high&amp;quot;], \&#xA;    [101, 200, &amp;quot;low&amp;quot; ]  \&#xA;]&#xA;clip = original.Trim(0, -1)             # a &amp;quot;base&amp;quot; 1-frame clip - see note 1&#xA;for (i = 0, segments.ArraySize-1, 1)    # syntax different from C/C++ - see notes 2, 3 &#xA;{&#xA;    clip = clip + original.Trim(segments[i,0], segments[i,1]).RemoveNoise(segments[i,2])&#xA;}&#xA;clip = clip.Trim(1, 0)                  # remove a “base” 1-frame clip &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;em&gt;Notes:&lt;/em&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Instead of your &lt;code&gt;BlankClip()&lt;/code&gt;&lt;br /&gt;&#xA;(which is a pitch-black 10 seconds RGB32 clip, 640×480, 24 fps, 16 bit 44100 Hz mono)&lt;br /&gt;&#xA;I &amp;quot;borrowed&amp;quot; the first frame of your original clip as a &amp;quot;base&amp;quot; clip:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;clip = original.Trim(0, -1)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;(0-frame clips are not allowed.)&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Syntax for &lt;code&gt;for&lt;/code&gt; block is different from C/C++:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;commas&lt;/strong&gt; (&lt;code&gt;,&lt;/code&gt;) instead of semicolons (&lt;code&gt;;&lt;/code&gt;),&lt;/li&gt;&#xA;&lt;li&gt;the 2&lt;sup&gt;nd&lt;/sup&gt; “parameter” is not a condition, but simply the &lt;strong&gt;upper limit&lt;/strong&gt;,&lt;/li&gt;&#xA;&lt;li&gt;the 3&lt;sup&gt;nd&lt;/sup&gt; “parameter” is not a repeatedly computed expression, but simply the &lt;strong&gt;step&lt;/strong&gt;.&lt;br /&gt;&#xA;(It may be omitted – the default step is 1).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The correct name of the function is &lt;em&gt;not&lt;/em&gt; &lt;code&gt;Size()&lt;/code&gt;, but &lt;strong&gt;&lt;code&gt;ArraySize()&lt;/code&gt;&lt;/strong&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;segments.ArraySize               # or segments.ArraySize()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;There is no &lt;code&gt;+=&lt;/code&gt; assignment operator in AviSynth, so I changed your&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;clip += original.Trim(...)...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;to&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;clip = clip + original.Trim(...)...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Instead of using indexes in the form &lt;code&gt;segments[i][k]&lt;/code&gt; (which is OK), I used a shorter form &lt;code&gt;segments[i,k]&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="18155" LastEditorUserId="18155" LastEditDate="2023-09-03T14:35:17.903" LastActivityDate="2023-09-03T14:35:17.903" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36808" PostTypeId="1" CreationDate="2023-09-03T18:33:21.673" Score="0" ViewCount="4" Body="&lt;p&gt;I have 4 png layers (3 display text and 1 displays a button) in AE. When I apply rectangle + alpha it works for txt, but when i apply alpha to button, the rectangular does not disappear but becomes as a size of the button. How to solve this please?&lt;/p&gt;&#xA;" OwnerUserId="42266" LastActivityDate="2023-09-03T18:33:21.673" Title="can't apply alpha to a button image on png layer" Tags="|editing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36809" PostTypeId="1" CreationDate="2023-09-03T17:05:32.493" Score="0" ViewCount="17" Body="&lt;p&gt;I have 4 PNG layers (3 display text and 1 displays a button) in AE. When I apply rectangle + alpha it works for text, but when I apply alpha to button, the rectangular does not disappear but becomes as a size of the button. How to solve this?&lt;/p&gt;&#xA;" OwnerDisplayName="Maria" LastEditorUserId="17390" LastEditDate="2023-09-08T14:28:22.057" LastActivityDate="2023-09-08T14:28:22.057" Title="In After Effects alpha does not apply to a PNG layer with a button image" Tags="|after-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36810" PostTypeId="1" CreationDate="2023-09-05T13:58:26.400" Score="1" ViewCount="11" Body="&lt;p&gt;This is a Canon M50 4K footage [manual focus] using Kit-lens, using very fast shutter speed around 1/300, ISO around 400, and Aperture f/4. (No edit just straight from the memory card)&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/RyVwQT1WMyo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is another one that is better looking (flower):&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/jet5NWFZs7o?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Viewed at 360p it looks so terrible compared to other Youtube videos that only used smartphones.&lt;/p&gt;&#xA;&lt;p&gt;I already tried to export with very high bit rate like 120Mb/s and even higher than that, but it does not seem to ameliorate the Youtube compression on my video.&lt;/p&gt;&#xA;&lt;p&gt;Does wider Aperture really matter on the picture quality? even though I already set very low ISO less than 500. I can see that Thomas Vennet's video using Canon M50 looks good even in 360p, he was using wider aperture lens f2.8.&#xA;(&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/oj3ckwgMN2M?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;)&lt;/p&gt;&#xA;" OwnerUserId="42296" LastActivityDate="2023-09-05T13:58:26.400" Title="Why I cannot seem to get a good image in 360p Youtube?" Tags="|video-quality|youtube|camera|compression|canon|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36811" PostTypeId="1" CreationDate="2023-09-06T05:12:24.200" Score="0" ViewCount="64" Body="&lt;p&gt;I am using ffmpeg concat demuxer to join multiple(189) videos together. The videos are originally split from a single video using the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss time[2] -vsync 1 -copyts -i inputfile.mp4 -ss time[0] -to time[1] -c:a copy -c:v libx264 -b:v 800k output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Thereafter I am using the following concat command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f concat -safe 0 -i list.txt -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The problem is that the sum of the lengths of the input videos is 24:03:520 The output.mp4 video comes out to be 24:05:550. Which is &lt;strong&gt;two seconds longer&lt;/strong&gt; than the constituent video length.&lt;/p&gt;&#xA;&lt;p&gt;I need the output video to be time accurate. How can I achieve this without reencoding the video?&lt;/p&gt;&#xA;" OwnerUserId="42294" LastEditorUserId="42294" LastEditDate="2023-09-06T08:08:05.100" LastActivityDate="2023-12-27T10:04:35.597" Title="FFMPEG Concat Demuxer adds more time to output than expected" Tags="|ffmpeg|video|concatenation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36812" PostTypeId="2" ParentId="34818" CreationDate="2023-09-07T04:32:58.723" Score="1" Body="&lt;p&gt;Both are incorrect. For live capturing you can use something like this:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Use any audio visualizer (with a solid background) and add some&#xA;visual effects;&lt;/li&gt;&#xA;&lt;li&gt;Chroma key/mask the background of the visualiser output, similar to how they do with greenscreen;&lt;/li&gt;&#xA;&lt;li&gt;Set up your camera at a fixed position;&lt;/li&gt;&#xA;&lt;li&gt;Overlay and skew the footage to the correct (fixed) camera angle on&#xA;top of the live feed with a virtual camera feed (through OBSe.g.)&lt;/li&gt;&#xA;&lt;li&gt;Go to Omegle or any other site and select your virtual feed as the&#xA;camera input instead of the actual camera feed. Voila!&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="42308" LastActivityDate="2023-09-07T04:32:58.723" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36813" PostTypeId="1" CreationDate="2023-09-07T08:05:31.917" Score="0" ViewCount="354" Body="&lt;p&gt;We know that we can use ffmpeg command line &lt;code&gt;ffmpeg -i input.mp4 -movflags faststart -acodec copy -vcodec copy output.mp4&lt;/code&gt; to move the moov atom to the start of a mp4 video, but how do we check the moov atom has already been mooven with command line, can we do this check by ffmpeg API? After many times test, I find the ffprobe command &lt;code&gt;ffprobe -i output.mp4 -v trace  2&amp;gt;&amp;amp;1 | grep -E &amp;quot;type:'mdat'|type:'moov'&amp;quot;&lt;/code&gt; , after movflags faststart, the moov of output.mp4 is at front of mdat, but I still don't know whether it is right or not, and how to implementation it with ffmpeg API.&lt;/p&gt;&#xA;&lt;p&gt;Before:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb048904640] type:'mdat' parent:'root'&#xA;sz: 263261034 48 263435919 [mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fb048904640]&#xA;type:'moov' parent:'root' sz: 174845 263261082 263435919&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;After:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fc170804380] type:'moov' parent:'root'&#xA;sz: 174115 40 263435189 [mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fc170804380]&#xA;type:'mdat' parent:'root' sz: 263261034 174163 263435189&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="42310" LastActivityDate="2023-09-07T08:05:31.917" Title="How to check moov atom of a mp4 video is already faststart through ffmpeg api?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36814" PostTypeId="1" AcceptedAnswerId="36815" CreationDate="2023-09-07T08:50:14.750" Score="0" ViewCount="209" Body="&lt;h1&gt;Description&lt;/h1&gt;&#xA;&lt;p&gt;I found a strange behavior in &lt;code&gt;setpts&lt;/code&gt; filter: sometimes when I use it to speed up a video it inserts more frames than expected.&lt;/p&gt;&#xA;&lt;p&gt;My ffmpeg version is the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 6.0-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2023 the FFmpeg developers&#xA;built with gcc 8 (Debian 8.3.0-6)&#xA;configuration: --enable-gpl --enable-version3 --enable-static --disable-debug --disable-ffplay --disable-indev=sndio --disable-outdev=sndio --cc=gcc --enable-fontconfig --enable-frei0r --enable-gnutls --enable-gmp --enable-libgme --enable-gray --enable-libaom --enable-libfribidi --enable-libass --enable-libvmaf --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librubberband --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libvorbis --enable-libopus --enable-libtheora --enable-libvidstab --enable-libvo-amrwbenc --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libdav1d --enable-libxvid --enable-libzvbi --enable-libzimg&#xA;libavutil      58.  2.100 / 58.  2.100&#xA;libavcodec     60.  3.100 / 60.  3.100&#xA;libavformat    60.  3.100 / 60.  3.100&#xA;libavdevice    60.  1.100 / 60.  1.100&#xA;libavfilter     9.  3.100 /  9.  3.100&#xA;libswscale      7.  1.100 /  7.  1.100&#xA;libswresample   4. 10.100 /  4. 10.100&#xA;libpostproc    57.  1.100 / 57.  1.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h1&gt;Preparation&lt;/h1&gt;&#xA;&lt;p&gt;Use this video as input, taken from &lt;a href=&quot;https://trac.ffmpeg.org/wiki/ChangingFrameRate#Verifyingframeratechanges&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg Wiki page about changing frame rate&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f lavfi -i testsrc=duration=10:size=854x480:rate=60 -vf &amp;quot;drawtext=text=%{n}:fontsize=72:r=60:x=(w-tw)/2: y=h-(2*lh):fontcolor=white:box=1:boxcolor=0x00000099&amp;quot; test.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The &lt;code&gt;test.mp4&lt;/code&gt; video has 60 fps, 600 total frames and a duration of 10 s.&lt;/p&gt;&#xA;&lt;p&gt;Use this command to create a 2x version of the input.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test.mp4 -vf &amp;quot;setpts=0.5*PTS&amp;quot; test_2x.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The output should be twice as fast as the input, dropping half the frames to maintain the same framerate in half the duration: it should be still at 60 fps, but have a duration of 5 s and 300 total frames.&lt;/p&gt;&#xA;&lt;h1&gt;Problem&lt;/h1&gt;&#xA;&lt;p&gt;The issue is that the output video has 302 frames, not the exact 300, and consequently it has a duration of 05.033333 s. As the input video has the frame number printed on it, I can see that the first frames are not correctly dropped.&lt;/p&gt;&#xA;&lt;p&gt;This is what I get:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; input frame:  | 0 | 1 | 2 | 3 | 4 | 5 | 6 |  7 |  8 |  9 | ... |&#xA;output frame:  | 0 | 1 | 2 | 3 | 4 | 6 | 8 | 10 | 12 | 14 | ... |&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Notice that the first 5 frames are replicated without any drop, while 2 of them (1 and 3) should have been dropped.&lt;/p&gt;&#xA;&lt;p&gt;This is what I expected:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; input frame:  | 0 | 1 | 2 | 3 | 4 |  5 |  6 |  7 |  8 |  9 | ... |&#xA;output frame:  | 0 | 2 | 4 | 6 | 8 | 10 | 12 | 14 | 16 | 18 | ... |&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The issue is present also if I use other encoders or containers to create my output file: I tried ffvhuff in an mkv file and raw video in an y4m file, with the same results.&lt;/p&gt;&#xA;&lt;p&gt;The problem desappears if I add a &lt;code&gt;fps=60&lt;/code&gt; filter after the &lt;code&gt;setps&lt;/code&gt; one.&lt;/p&gt;&#xA;" OwnerUserId="42309" LastEditorUserId="42309" LastEditDate="2023-09-07T09:14:58.367" LastActivityDate="2023-09-07T10:27:37.630" Title="FFmpeg setpts filter produces wrong frame number" Tags="|ffmpeg|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36815" PostTypeId="2" ParentId="36814" CreationDate="2023-09-07T10:27:37.630" Score="1" Body="&lt;p&gt;setpts filter only retimes frames; it cannot add or drop frames.&lt;/p&gt;&#xA;&lt;p&gt;The MP4 format is configured to require constant frame rate, and so ffmpeg's frame management (vsync) logic gets to work. This looks at the output frame rate, and the timestamps of the supplied frames to carry out frame duplication or drop decisions. But it first rebases the timestamps in terms of the output frame rate, and in this case, there seems to be some quirk in the output of that logic.&lt;/p&gt;&#xA;&lt;p&gt;Instead of debugging it, I suggest you manually drop half the frames before retiming.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf &amp;quot;select=mod(n+1\,2),setpts=0.5*PTS&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-09-07T10:27:37.630" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36816" PostTypeId="1" CreationDate="2023-09-07T11:48:30.537" Score="0" ViewCount="121" Body="&lt;p&gt;I have a multi resolution m3u8 file, created from 1080p60 source file. Resolutions lower than 720p are converted to 30fps, while 720p+ stay at 60fps.&lt;/p&gt;&#xA;&lt;p&gt;The problem is that the first segment is broken between 30 and 60fps renditions, causing an overlap, which is detected by hls.js as a gap between segments for some reason.&lt;/p&gt;&#xA;&lt;p&gt;I have checked the segment files manually and it looks like they are fine, except for single audio frame missing between them, 60fps one has 187 'frames', while 30fps one has 186 'frames'.&lt;/p&gt;&#xA;&lt;p&gt;Videos are segmented in &lt;strong&gt;separate&lt;/strong&gt; ffmpeg runs, but using the same settings, differing only in FPS, resolution and bitrate. Source file is always the same.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to fix this?&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zsxY0.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zsxY0.jpg&quot; alt=&quot;first segment gap&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/XATnQ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XATnQ.png&quot; alt=&quot;segment info&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="42313" LastActivityDate="2023-09-07T11:48:30.537" Title="First HLS segment overlapping when renditions have different framerates" Tags="|ffmpeg|hls|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36817" PostTypeId="1" CreationDate="2023-09-07T20:45:10.823" Score="1" ViewCount="27" Body="&lt;p&gt;I’m making a pixel art video, so I definitely want hard edges on pixels. However, Premiere Pro likes blurring them all when I export the video (and also some in preview). Moreover, I have a Pixel font as well.&lt;/p&gt;&#xA;&lt;p&gt;My Pixels Sprites are sized for a 640x480 screen size.&lt;/p&gt;&#xA;&lt;p&gt;Now, look at the image below. Do you see those shadows around “SCH”, “LV 1” and “HP”? They are awful. Do you see that red ribbon? Well, it looks different from the original one (second photo below). Do you see that ugly yellow shadow on the health bar? Horrible! On the other hand, the feet on the top are totally ok.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/E6jGt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/E6jGt.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zoM3Y.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zoM3Y.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The texts have not been scaled up and the yellow bar was made in Premiere Pro itself with the Rectangle tool.&lt;/p&gt;&#xA;&lt;p&gt;What did I try?&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;AVI Uncompressed UYVY 422 8bit&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;AVI Codec Intel IYUV&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;H.264&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;And I can’t see any noticeable difference. Maybe H.264 is the worse. I’m using 2018 Premiere Pro. It’s the first time that I tried to make a pixel art animation and I really do not know which export settings to pick. Actually, I have the same problem even in preview (except for the red ribbon, which looks great). Many thanks to the ones are gonna help me :slightly_smiling_face:&lt;/p&gt;&#xA;&lt;p&gt;Note: I've already checked &lt;a href=&quot;https://www.reddit.com/r/premiere/comments/6awbo7/help_how_to_fix_blurry_titles_with_pixel_font/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.reddit.com/r/premiere/comments/6awbo7/help_how_to_fix_blurry_titles_with_pixel_font/&lt;/a&gt;&#xA;&lt;a href=&quot;https://www.reddit.com/r/premiere/comments/h09mnu/premiere_wont_export_pixel_perfect_even_if/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.reddit.com/r/premiere/comments/h09mnu/premiere_wont_export_pixel_perfect_even_if/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here's a suggestion I got:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;You’re seeing the effects of chroma sub sampling. Export your video&#xA;to a video with 4:4:4 subsampling, such as ProRes 4444 or QuickTime&#xA;Animation. Upscale it in another application 2x, 4x, 8x etc using&#xA;nearest neighbour scaling.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="42316" LastActivityDate="2023-09-07T20:45:10.823" Title="How to KEEP PIXELS when exporting my video?" Tags="|premiere|video-quality|export|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36819" PostTypeId="2" ParentId="13019" CreationDate="2023-09-09T02:31:49.717" Score="0" Body="&lt;p&gt;Our client just finished up a project using a similar construction time-lapse camera.&#xA;&lt;a href=&quot;https://cam-do.com/blogs/camdo-blog/how-solar-saved-the-topcon-time-lapse-project&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://cam-do.com/blogs/camdo-blog/how-solar-saved-the-topcon-time-lapse-project&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="42330" LastActivityDate="2023-09-09T02:31:49.717" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36820" PostTypeId="1" CreationDate="2023-09-09T06:51:55.843" Score="0" ViewCount="5" Body="&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/D7k6p.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/D7k6p.png&quot; alt=&quot;davinci resolve media menu&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I import video successfully and davinci  able to locate file but video not playing why ?&lt;strong&gt;strong text&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="42334" LastActivityDate="2023-09-09T06:51:55.843" Title="I import video successfully and davinci able to locate file but video not playing why?" Tags="|video-editor|davinci-resolve|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36822" PostTypeId="1" CreationDate="2023-09-10T12:18:47.687" Score="0" ViewCount="7" Body="&lt;p&gt;Folks, I have a problem with rendering in Sony Vegas 13 Pro for the android.&lt;/p&gt;&#xA;&lt;p&gt;I'm taking the vertically videos via my phone without changing any video and audio options.&#xA;On PC BEFORE and after rendering it looks like this: &lt;a href=&quot;https://i.ibb.co/6DnfbJ3/Clipboard01.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.ibb.co/6DnfbJ3/Clipboard01.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;After I upload it to any of my android phones it looks like this: &lt;a href=&quot;https://i.ibb.co/QbLdmRw/Clipboard02.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://i.ibb.co/QbLdmRw/Clipboard02.jpg&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I tried to change the codec, frame and bit rate and frame size but nothing helped.&#xA;My Android keep showing me this small videos regarding of parameters i chose.&lt;/p&gt;&#xA;&lt;p&gt;Please advise what's wrong as on PC everything looks good.&lt;/p&gt;&#xA;" OwnerUserId="42339" LastActivityDate="2023-09-10T12:18:47.687" Title="Problem with rendering to Android on Sony Vegas 13 Pro" Tags="|editing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36823" PostTypeId="1" CreationDate="2023-09-10T19:17:26.167" Score="0" ViewCount="17" Body="&lt;p&gt;The recording sound of my microphone is weak, so I resorted to using ffmpeg to add a volume increase effect and some other effects. I created a simple batch file and recorded the sound with it, and it works very well. This is the batch file code:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f dshow -i audio=&amp;quot;Microphone (USBAudio2.0)&amp;quot; -channels 1 -af &amp;quot; stereotools=level_in=2 , afftdn=nf=-25 , volume=10 &amp;quot; Output.wav&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But the problem occurs when I want to make calls or use the microphone in Windows applications, the recording is very weak. Is there a way to make the ffmpeg effects that are in the batch file apply to all system applications, and how can that be done?&lt;/p&gt;&#xA;&lt;p&gt;I searched and found that I have to create a virtual microphone device with some programs and make it the main microphone for the system. I tried these programs, but there was no option to add ffmpeg codes or pass the audio through the batch file that I created earlier.&lt;/p&gt;&#xA;" OwnerUserId="42343" LastActivityDate="2023-09-10T19:17:26.167" Title="Make sound settings created by ffmpeg apply to entire Windows applications" Tags="|ffmpeg|windows|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36824" PostTypeId="1" CreationDate="2023-09-10T22:23:42.150" Score="0" ViewCount="195" Body="&lt;p&gt;From a video, I want to clip out a part I like. It's &lt;strong&gt;roughly&lt;/strong&gt; from &lt;code&gt;12:34&lt;/code&gt; to &lt;code&gt;43:21&lt;/code&gt;, so I do:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;input.mp4&amp;quot; -ss 12:34 -to 43:21 -c copy &amp;quot;output.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The result is cut exactly at those timestamps, not at keyframes, so I get a few seconds of audio with frozen image at both ends.&lt;/p&gt;&#xA;&lt;p&gt;How do I tell ffmpeg to cut at closest keyframes?&lt;/p&gt;&#xA;&lt;p&gt;I've tried putting &lt;code&gt;-ss&lt;/code&gt; in front, like &lt;code&gt;-ss 12:34 -i &amp;quot;input.mp4&amp;quot;&lt;/code&gt;, this does start the clip at a keyframe, but it makes &lt;code&gt;12:34&lt;/code&gt; the new &lt;code&gt;00:00&lt;/code&gt;, so &lt;code&gt;-to&lt;/code&gt; won't work the same. Now I need to manually calculate the duration of my clip and put the duration after &lt;code&gt;-to&lt;/code&gt;, but the calculation is too hard to be the best solution.&lt;/p&gt;&#xA;&lt;p&gt;The &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Seeking#Cuttingsmallsections&quot; rel=&quot;nofollow noreferrer&quot;&gt;official wiki&lt;/a&gt; suggests using &lt;code&gt;-copyts&lt;/code&gt; to maintain the original timestamps, but it messes up the timeline, and the progress bar in the player shows a wrong total video length.&lt;/p&gt;&#xA;&lt;p&gt;There's also a &lt;code&gt;-noaccurate_seek&lt;/code&gt; flag which sounds like what I need, but is actually not what it sounds.&lt;/p&gt;&#xA;&lt;p&gt;(In case it matters, I'm using ffmpeg v6.0, input v=AVC and a=AAC)&lt;/p&gt;&#xA;" OwnerUserId="42344" LastActivityDate="2023-09-10T22:23:42.150" Title="How to tell ffmpeg -ss and -to to cut at keyframes (no re-encoding)" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36826" PostTypeId="1" AcceptedAnswerId="36836" CreationDate="2023-09-12T18:11:13.500" Score="0" ViewCount="22" Body="&lt;p&gt;My employer owns a number of video recordings that discuss a company product. Many of those videos were created using Camtasia, a commercial video editing software product. The video recordings repeatedly mention terminology associated with a given company product. That terminology is used both in the audio and video portions of those video recordings. When that terminology is used in the video portion of the video recordings, the related text was often entered into a Powerpoint slide deck that was then incorporated into the video recording.&lt;/p&gt;&#xA;&lt;p&gt;A small amount of updated terminology needs to be incorporated into both the audio and video portions of those video recordings. I'd like to see whether there are one or more tools that we might use to automatically perform a search-and-replace operation for the updated terminology.&lt;/p&gt;&#xA;&lt;p&gt;Ideally:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Text shown in the video would be updated using the same font and other formatting used in the original text to display the updated terminology.&lt;/li&gt;&#xA;&lt;li&gt;Audio would be updated using a credible simulation of the original speaker's voice reading the updated terminology.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Whatever degree of automation we can use to accomplish this task would be worth our consideration.&lt;/p&gt;&#xA;&lt;p&gt;I'd like to thank the StackExchange Video Production community for your anticipated assistance in answering this question.&lt;/p&gt;&#xA;" OwnerUserId="42362" LastActivityDate="2023-09-21T16:16:24.883" Title="Video editing software that automatically performs search-and-replace" Tags="|video|editing|audio|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36828" PostTypeId="1" CreationDate="2023-09-14T08:17:27.670" Score="0" ViewCount="11" Body="&lt;p&gt;When I do Shift + S, it adds the subtitle at the monitor/preview head. But almost always I have passed a bit outside of the end time of the previous subtitle, which generates an empty space between the end of the old subtitle, and the start of the new one.&lt;/p&gt;&#xA;&lt;p&gt;To remove that empty space, I currently have to manually mouse drag the new subtitle back to meet the previous one, which is tiring.&lt;/p&gt;&#xA;&lt;p&gt;Is there a keyboard shortcut like Shift + S, that will add a new subtitle, but starting immediately after the previous one, without any spacing, regardless of the monitor position?&lt;/p&gt;&#xA;&lt;p&gt;Tested on Kdenlive 22.12.3.&lt;/p&gt;&#xA;" OwnerUserId="13868" LastActivityDate="2023-09-14T08:17:27.670" Title="How to add a new subtitle immediately after the previous one finishes with a keyboard shortcut?" Tags="|kdenlive|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36829" PostTypeId="1" CreationDate="2023-09-14T11:57:59.437" Score="0" ViewCount="78" Body="&lt;pre&gt;&lt;code&gt;const ffStreamYouTube = ffmpeg()&#xA;      .setFfmpegPath(ffmpegPath)&#xA;      .input(dataStream)&#xA;      .inputFormat(&amp;quot;bin&amp;quot;)&#xA;      // .inputFPS(30)&#xA;      .videoFilters(`scale=${desiredWidth}:${desiredHeight}`)&#xA;      .videoCodec(&amp;quot;libx264&amp;quot;)&#xA;      .outputFormat(&amp;quot;flv&amp;quot;)&#xA;      .output(&amp;quot;rtmp://localhost:1935/live&amp;quot;)&#xA;      .on(&amp;quot;end&amp;quot;, () =&amp;gt; {&#xA;        console.log(&amp;quot;YouTube streaming finished&amp;quot;);&#xA;      })&#xA;      .on(&amp;quot;error&amp;quot;, (err) =&amp;gt; {&#xA;        console.error(&amp;quot;Error:&amp;quot;, err.message);&#xA;      });&#xA;&#xA;    ffStreamYouTube.run();&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is the server-side code I got the data as binary&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;pre&gt;&lt;code&gt;FFmpeg Error: Error: ffmpeg exited with code 1: rtmp://localhost:1935/live: I/O error&#xA;&#xA;at ChildProcess.&amp;lt;anonymous&amp;gt; (C:\Users\abhimanue\Desktop\Livenex\LiveNex\server\live-stream\node_modules\fluent-ffmpeg\lib\processor.js:182:22)&#xA;at ChildProcess.emit (node:events:512:28)&#xA;at ChildProcess._handle.onexit (node:internal/child_process:293:12) can anyone help me&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="42371" LastEditorUserId="18155" LastEditDate="2023-09-24T16:38:15.480" LastActivityDate="2023-09-24T16:38:15.480" Title="i want to convert my webcam video into rtmp format i use react as client and node js as server but facing issue I/ error" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36836" PostTypeId="2" ParentId="36826" CreationDate="2023-09-21T16:16:24.883" Score="0" Body="&lt;p&gt;While each of these things you want are technically possible right now, in reality you would need to create the tooling for your needs. There is no off the shelf product to do this, there is no way to shortcut the effort you need to make.&lt;/p&gt;&#xA;&lt;p&gt;tl;dr - you're going to need to re-record the audio, and recreate the powerpoint slides and edit them into your video.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2023-09-21T16:16:24.883" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36837" PostTypeId="1" CreationDate="2023-09-22T08:28:23.333" Score="1" ViewCount="51" Body="&lt;pre&gt;&lt;code&gt;bash $ mediainfo myaudio.opus&#xA;General&#xA;Complete name                            : /Users/qaz/myaudio.opus&#xA;Format                                   : Ogg&#xA;File size                                : 3.52 MiB&#xA;Duration                                 : 3 min 48 s&#xA;Overall bit rate                         : 129 kb/s&#xA;Writing application                      : Lavf60.3.100&#xA;&#xA;Audio&#xA;ID                                       : 4122949963 (0xF5BF394B)&#xA;Format                                   : Opus&#xA;Duration                                 : 3 min 48 s&#xA;Channel(s)                               : 2 channels&#xA;Channel layout                           : L R&#xA;Sampling rate                            : 48.0 kHz&#xA;Compression mode                         : Lossy&#xA;Writing library                          : Lavf60.3.100&#xA;Language                                 : English&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Should I keep it as &lt;code&gt;myaudio.opus&lt;/code&gt; or is it better to rename it as &lt;code&gt;myaudio.ogg&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="10738" LastActivityDate="2023-09-25T18:21:03.293" Title="Should this audio file have ogg or opus as file name extension?" Tags="|audio|encoding|file-formats|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36838" PostTypeId="1" CreationDate="2023-09-25T12:42:18.913" Score="0" ViewCount="22" Body="&lt;p&gt;I am using Sony Vegas 18.&lt;/p&gt;&#xA;&lt;p&gt;I am attempting to squish an image from above, keeping the width and bottom x, y coordinates fully fixed, meaning the image &amp;quot;squishes&amp;quot; while being reducing in the y dimension over time.&lt;/p&gt;&#xA;&lt;p&gt;Please see this crude image of what I would like to achieve. The orange box is the image I would like to squish with the red arrow indicating from where I want to reduction to take place.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3epDt.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/3epDt.png&quot; alt=&quot;Example&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have attempted to achieve this with the pan/crop tool but it does not provide me with the means to do so. How could I go about doing this?&lt;/p&gt;&#xA;" OwnerUserId="42451" LastEditorUserId="42451" LastEditDate="2023-09-25T14:57:57.177" LastActivityDate="2024-02-25T19:06:55.900" Title="Squishing an image from above in Sony Vegas Pro 18" Tags="|video|video-editor|editing|vegas-pro|keyframes|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36839" PostTypeId="2" ParentId="36837" CreationDate="2023-09-25T18:21:03.293" Score="2" Body="&lt;p&gt;Ogg is a container format, and Opus files use the Ogg container.  &lt;code&gt;.opus&lt;/code&gt; is therefore correct.  Historically, the extension used for Ogg/Vorbis files was &lt;code&gt;.ogg&lt;/code&gt; (by now &lt;code&gt;.ogv&lt;/code&gt; is available but not always in use) and there is no guarantee that a file declared to process &lt;code&gt;.ogg&lt;/code&gt; files is actually able to deal with the Opus codec inside.&lt;/p&gt;&#xA;&lt;p&gt;So I would not rename.&lt;/p&gt;&#xA;" OwnerDisplayName="user42453" LastActivityDate="2023-09-25T18:21:03.293" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36840" PostTypeId="1" CreationDate="2023-09-25T18:41:11.770" Score="1" ViewCount="23" Body="&lt;p&gt;Pretty much any time I am exporting from Final Cut Pro, either via it's native &amp;quot;share&amp;quot; interface or by &amp;quot;send to compressor&amp;quot; the progress bar does absolutely nothing for a very long time, although in Compressor I can see at least the &amp;quot;elapsed time&amp;quot; is moving.&lt;/p&gt;&#xA;&lt;p&gt;When I open Activity Monitor though I can see my CPU is working hard, and there is a process using a ton of resources called &amp;quot;VTEncoderXPCService&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Am I doing something wrong? Is this normal behavior?&lt;/p&gt;&#xA;&lt;p&gt;With short videos it may only linger in this state for a few minutes, but right now I am compressing nine hours of footage and it has so far been in this state of not showing any progress for ~25 minutes.&lt;/p&gt;&#xA;" OwnerUserId="41525" LastActivityDate="2023-11-05T16:19:37.593" Title="Final Cut Pro and/or Compressor exports not showing progress" Tags="|final-cut-pro-x|final-cut-pro|apple|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36841" PostTypeId="1" AcceptedAnswerId="36850" CreationDate="2023-09-26T18:00:22.043" Score="1" ViewCount="23" Body="&lt;p&gt;I'd like to create a POV scene where my hands are visible doing something, but the camera must not move.&lt;/p&gt;&#xA;&lt;p&gt;Something like this (jump to 1:00)&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/sF_kMvmu9TM?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;I think some kind of POV gear which is mounted to the body is not working here, since there's absolutely no movement of the camera.&lt;/p&gt;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;" OwnerUserId="42462" LastActivityDate="2023-09-29T09:47:05.363" Title="How can I create a POV scene with no camera movement?" Tags="|video|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36842" PostTypeId="1" CreationDate="2023-09-27T13:42:04.600" Score="0" ViewCount="63" Body="&lt;p&gt;I'm curious, is it possible to do frame-perfect audio cutting using ffmpeg's complex filter graphs + frame filtering &lt;code&gt;aselect&lt;/code&gt; functionality?&lt;/p&gt;&#xA;&lt;p&gt;I've tried a bunch of other approaches (using &lt;code&gt;-segment_times&lt;/code&gt; and &lt;code&gt;-ss&lt;/code&gt;/&lt;code&gt;-t&lt;/code&gt;) - they worked but were only &lt;code&gt;~0.02sec&lt;/code&gt; accurate, just for reference:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg -f lavfi -i &amp;quot;sine=frequency=1000:duration=5&amp;quot; -ar 48000 test.wav&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg -y -i test.wav -f segment -segment_times &amp;quot;1.55,2.00&amp;quot; -segment_list_type csv -segment_list output.csv test%04d.opus&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg -y -i test.wav -ss 0.00 -t 1.55 test0000.opus -ss 2.00 -t 1.00 test0001.opus&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;My filter-based attempts:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg -y -i test.wav -ar 48000 -af &amp;quot;aselect=between(samples_n\,100\,16100)&amp;quot; test0000.opus&lt;/code&gt; as an example but this produces a 5-second long &lt;code&gt;test0000.opus&lt;/code&gt; instead of a 0.25-second one&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;ffmpeg -y -i test.wav -ar 48000 -af &amp;quot;aselect=between(t\,0.0\,1.55)&amp;quot; test0000.opus&lt;/code&gt; kind of works, but still gives a 1.57-second audio instead of 1.55-second one.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Can this be done in principle using frame filtering? Am I missing something in these commands above? If the filter-based approach is not more accurate, I will fall back to my initial attempts.&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="22985" LastEditorUserId="22985" LastEditDate="2023-09-27T14:59:51.477" LastActivityDate="2023-09-27T14:59:51.477" Title="Frame-perfect audio cutting using ffmpeg filter graphs and frame filtering" Tags="|ffmpeg|audio|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36843" PostTypeId="1" CreationDate="2023-09-27T18:01:02.490" Score="0" ViewCount="157" Body="&lt;p&gt;I'm expected to do color correction to multiple separate parts of the same clip at the same time, which is why I have assumed using multiple masks for Lumetri Color effect and changing the effect for each mask would affect the part that is masked. However, it seems having multiple masks doesn't matter: It adds the same effect color change to each mask. How is it that I can use Lumetri Color to make a color correction on the same part of the clip but with different colors on each mask? After searching on YouTube, the results returned how to use one mask.&lt;/p&gt;&#xA;" OwnerUserId="40801" LastActivityDate="2024-03-05T01:06:55.770" Title="Premiere Pro: How to add multiple masks for Lumetri Color effect?" Tags="|effects|color-correction|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36844" PostTypeId="1" CreationDate="2023-09-27T23:47:19.063" Score="0" ViewCount="18" Body="&lt;p&gt;I've been searching around for a way to improve my editing experience as an editor on Premiere Pro. I have a 6-core Mac Pro, with 64GB graphics, but I'm a long form documentary editor, I don't care about rendering speed, I basically just want untranscoded files to have smooth playback in the timeline (a big timeline ~2hrs).&lt;/p&gt;&#xA;&lt;p&gt;It's difficult to get any clarity. I've been advised that storing media on an SSD will help, and indeed I'll try this (even though I'm using smaller compressed files out of the camera, so drive speed shouldn't make that much difference to my understanding). I've also been told that more cores does very little for decoding codecs like H264. So I'm looking for a faster CPU essentially. But it seems as though processor speed has majorly plateaued and computer manufacturers appear to be making up for this by adding loads of cores (which don't help me with my issue).&lt;/p&gt;&#xA;&lt;p&gt;I had a assumed that buying a $10k computer in 2013 would solve this problem for me with H264, but I was disappointed. Surely in 2023 there is a computer that can playback H264 smoothly in a timeline.&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions would be much appreciated. Please don't reply with comments about using proxies - I know I could spend days transcoding on every project, I work in Premiere so I don't have to do that. I have money to spend, I just don't want to waste it on another computer that doesn't solve the problem.&lt;/p&gt;&#xA;" OwnerUserId="35230" LastActivityDate="2023-09-27T23:47:19.063" Title="Best mac processor for single core processing, video editing performance" Tags="|premiere|editing|h.264|1080p|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36845" PostTypeId="1" CreationDate="2023-09-28T17:50:24.697" Score="0" ViewCount="71" Body="&lt;p&gt;When using videos taken on my phone (Pixel 4a) kdenlive reports variable framerate and asks to transcode with several options,&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Lossless (huge files)&lt;/li&gt;&#xA;&lt;li&gt;Intermediate DNxHR HQ (large files)&lt;/li&gt;&#xA;&lt;li&gt;x264 I frame only&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;How does I-frame only work? If it really is only keyframes, then wouldn't the output would be a 1 fps slideshow? Are frames interpolated or dropped?&lt;/p&gt;&#xA;&lt;p&gt;Discussion&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://www.reddit.com/r/kdenlive/comments/un4njd/what_is_exactly_is_to_transcode_videos_and_is_it/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.reddit.com/r/kdenlive/comments/un4njd/what_is_exactly_is_to_transcode_videos_and_is_it/&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://discuss.kde.org/t/transcoding-clips-due-to-vfr-samsung-s21settings/4784&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://discuss.kde.org/t/transcoding-clips-due-to-vfr-samsung-s21settings/4784&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="7946" LastEditorUserId="7946" LastEditDate="2023-09-28T18:06:18.653" LastActivityDate="2023-09-28T18:06:18.653" Title="Kdenlive VFR to CFR" Tags="|transcoding|keyframes|kdenlive|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36846" PostTypeId="2" ParentId="36079" CreationDate="2023-09-28T17:56:09.137" Score="0" Body="&lt;p&gt;From my experience I believe Vegas will go through the entire hour of footage even if the end result is 1 minute. It is only possible to speed up by 12x each time (&lt;a href=&quot;https://video.stackexchange.com/questions/15187/is-it-possible-to-speed-up-footage-by-more-than-4x-in-sony-vegas-movie-studio&quot;&gt;Is it possible to speed up footage by more than 4x in Sony Vegas Movie Studio?&lt;/a&gt;, using 4x playback rate and 300% velocity) so it's not efficient for greater speedup like 60x.&lt;/p&gt;&#xA;&lt;p&gt;What I do for my timelapses is use ffmpeg.  &lt;a href=&quot;https://superuser.com/questions/1261678/how-do-i-speed-up-a-video-by-60x-in-ffmpeg&quot;&gt;https://superuser.com/questions/1261678/how-do-i-speed-up-a-video-by-60x-in-ffmpeg&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="7946" LastActivityDate="2023-09-28T17:56:09.137" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36847" PostTypeId="2" ParentId="35794" CreationDate="2023-09-28T18:02:26.230" Score="1" Body="&lt;p&gt;Yes, most phones record variable frame rate (VFR). Discussion: &lt;a href=&quot;https://www.dpreview.com/forums/thread/4277721&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.dpreview.com/forums/thread/4277721&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;To check, see &lt;a href=&quot;https://superuser.com/questions/1487401/how-can-i-tell-if-a-video-has-a-variable-frame-rate&quot;&gt;https://superuser.com/questions/1487401/how-can-i-tell-if-a-video-has-a-variable-frame-rate&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="7946" LastActivityDate="2023-09-28T18:02:26.230" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36848" PostTypeId="2" ParentId="36838" CreationDate="2023-09-28T18:10:23.920" Score="0" Body="&lt;p&gt;Create two keyframes, the first with your original size, the second with the cropped size. You should turn off fixed aspect ratio for your case.&lt;/p&gt;&#xA;" OwnerUserId="7946" LastActivityDate="2023-09-28T18:10:23.920" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36849" PostTypeId="1" AcceptedAnswerId="36951" CreationDate="2023-09-28T20:26:39.460" Score="1" ViewCount="85" Body="&lt;p&gt;I have a 10-bit XAVC-HS file encoded with yuv422p10le pixel format and would like to render it out of my NLE, but my GPU does not support this. It does, however, support yuv444p and yuv444p16. Can I encode in either of those without losing information, since 16 bits should just straight up save more information?&lt;/p&gt;&#xA;&lt;p&gt;I need to reencode in a format that preserves everything because due to workflow we need to chain two different NLEs. This is out of my hands. However, since there are a lot of files, I would rather render for five hours on the GPU than for 50 hours on my CPU.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Additional Details in case they are useful&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;The input file is straight out of a Sony ILME-FX3 in XAVC-HS 4k 200M 4:2:2 mode, which to my understanding outputs 10-bit h.265 files. I am rendering on an NVIDIA card under GNU/Linux, which severely limits compatibility. The program with which I am exporting gives me the choice between &amp;quot;h.265/HEVC&amp;quot;, &amp;quot;ProRes&amp;quot;, and &amp;quot;DNxHD&amp;quot;. I figured that since I am already in h.265, the former would probably be the best choice for lossless conversion, but I may well be wrong there.&lt;/p&gt;&#xA;&lt;p&gt;The files are in slog, and LUTs and colour grading are done on the reencoded files, so I really do not want to lose colour information in this step.&lt;/p&gt;&#xA;&lt;p&gt;Edit: choosing the h.265 yuv444p16le rendering shrinks my test file from 2.3G to 1.5G, which makes me rather suspicious.&lt;/p&gt;&#xA;" OwnerUserId="42477" LastEditorUserId="42477" LastEditDate="2023-09-28T20:38:32.797" LastActivityDate="2023-11-30T10:02:55.413" Title="Can I reencode losslessly from yuv422p10 to yuv444? Or into a different format?" Tags="|encoding|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36850" PostTypeId="2" ParentId="36841" CreationDate="2023-09-29T09:47:05.363" Score="1" Body="&lt;p&gt;You are correct, the camera is not mounted to the body in that example.&lt;/p&gt;&#xA;&lt;p&gt;Instead, use a tripod or work surface mount to hold you camera in front of you. For modern small cameras, it is easy to ensure it does not get in your way.&lt;/p&gt;&#xA;" OwnerUserId="674" LastActivityDate="2023-09-29T09:47:05.363" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36851" PostTypeId="1" CreationDate="2023-09-29T11:19:31.427" Score="0" ViewCount="66" Body="&lt;p&gt;Considering that, per &lt;a href=&quot;https://video.stackexchange.com/a/18726/34808&quot;&gt;https://video.stackexchange.com/a/18726/34808&lt;/a&gt;, animated &lt;code&gt;.SVG&lt;/code&gt; can be used (even across the internet, via browsers) as a vectoral video format, why are cartoons not served to the user in this format?&lt;/p&gt;&#xA;&lt;p&gt;Surely it would be significantly more efficient for the distribution company (Crunchyroll, Funimation, etc.) and a superior experience for those with high-resolution displays and/or slow internet connections?&lt;/p&gt;&#xA;" OwnerUserId="34808" LastEditorUserId="34808" LastEditDate="2023-09-29T11:22:51.393" LastActivityDate="2023-09-30T07:15:27.200" Title="Why is animated SVG not used for streaming cartoons?" Tags="|video|video-quality|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36852" PostTypeId="2" ParentId="36851" CreationDate="2023-09-29T11:35:35.570" Score="0" Body="&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://www.reddit.com/r/anime/comments/16v8xa6/comment/k2pj6xh/?utm_source=share&amp;amp;utm_medium=web2x&amp;amp;context=3&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.reddit.com/r/anime/comments/16v8xa6/comment/k2pj6xh/?utm_source=share&amp;amp;utm_medium=web2x&amp;amp;context=3&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Anime isn't drawn with vectors. You would need to reinvent every animator, studio workflow just to make happen what you are proposing.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://www.reddit.com/r/anime/comments/16v8xa6/comment/k2pj6xh/?utm_source=share&amp;amp;utm_medium=web2x&amp;amp;context=3&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.reddit.com/r/anime/comments/16v8xa6/comment/k2pj6xh/?utm_source=share&amp;amp;utm_medium=web2x&amp;amp;context=3&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Anime is not produced with vector images. It would look no different in high res screens.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="34808" LastActivityDate="2023-09-29T11:35:35.570" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36853" PostTypeId="2" ParentId="12243" CreationDate="2023-09-29T15:14:03.687" Score="0" Body="&lt;p&gt;I found that when I changed my color depth to 32b, I got my transparencies. Beta does not like anything under 32 apparently. I opened a project that was set for 16 bits and my transparencies were gone. When I changed it to 32, everything ran fine.&lt;/p&gt;&#xA;" OwnerUserId="42486" LastActivityDate="2023-09-29T15:14:03.687" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36854" PostTypeId="1" CreationDate="2023-09-29T17:16:25.993" Score="0" ViewCount="11" Body="&lt;p&gt;Is there a a name for this effect where the pace of the footage is changing as seen in this video? &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/h7oqtfgvT64?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;?&lt;/p&gt;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="42490" LastActivityDate="2023-09-29T17:16:25.993" Title="How to create this effect in Premiere or After Effects" Tags="|after-effects|editing|adobe|special-effects|premiere-pro|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36855" PostTypeId="1" CreationDate="2023-09-30T02:14:53.767" Score="0" ViewCount="24" Body="&lt;p&gt;How can i make something like this:&#xA;&lt;a href=&quot;https://courtyard.io/asset/d624168fe54977ee1f91639fd7d4c70ca003f6cd750ed4e89a852dfec700deda&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://courtyard.io/asset/d624168fe54977ee1f91639fd7d4c70ca003f6cd750ed4e89a852dfec700deda&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Where the text and the card is added in by ffmpeg or other program? The challenge here is i would like to program it. So when a user uploads an jpeg and adds text we generate this video.&lt;/p&gt;&#xA;" OwnerUserId="42491" LastActivityDate="2023-09-30T02:14:53.767" Title="FFMpeg How can i add an image and text to other video with moving background" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36856" PostTypeId="2" ParentId="36849" CreationDate="2023-09-30T06:53:51.840" Score="0" Body="&lt;p&gt;Shot answer: No, not really.&#xA;While 16-bit does allow for a wider range compared to 10-bit, you won't be able to recover the information that has been lost when saving it in 10-bit initially.&#xA;Therefore, converting to yub444p16 will involve some form of interpolation/upsampling.&#xA;This could introduce some quality differences, but in my experience they are very subtle.&#xA;You will have to try for yourself if they are acceptable though.&lt;/p&gt;&#xA;&lt;p&gt;You can use the following two commands to change the format:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i input.yuv -pix_fmt yuv444p output.yuv&#xA;ffmpeg -i input.yuv -pix_fmt yuv444p16 output.yuv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33116" LastActivityDate="2023-09-30T06:53:51.840" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36857" PostTypeId="2" ParentId="36851" CreationDate="2023-09-30T07:15:27.200" Score="1" Body="&lt;p&gt;There are multiple reasons.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Anime and cartoons are not created for the web.&#xA;They are mostly created for TV and broadcasted there, and TV simply don't support SVG most of the time.&lt;/li&gt;&#xA;&lt;li&gt;Even today, Anime is mostly drawn. So SVGs would be require fitting to the source image.&#xA;This process is prone to errors and artifacts, and usually doesn't look that good.&#xA;Some of them use 3D or 2D models, but they still require rendering, therefore the same limitation applies.&lt;/li&gt;&#xA;&lt;li&gt;SVGs require quite a bit of math to render on the client, so streaming the latest episodes on your phone would be extremely wasteful and probably impossible.&lt;/li&gt;&#xA;&lt;li&gt;SVGs are extremely limited in supported shapes and colorization.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The only way to get rid of the limitations of SVGs and make it work in this context, would be to send about 2 million tiny rectangles.&#xA;We could call them pixels, which brings me to my last point:&lt;/p&gt;&#xA;&lt;ol start=&quot;5&quot;&gt;&#xA;&lt;li&gt;SVGs are extremely wasteful. Normal video is compressed to save bandwith, SVG uses big shapes and options for customization to optimize.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;&amp;lt;rect x=&amp;quot;100&amp;quot; y=&amp;quot;100&amp;quot; width=&amp;quot;100&amp;quot; height=&amp;quot;100&amp;quot; /&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is the simplest rectangle in SVG i know of. You could use 2'000'000 of these for your initial frame.&#xA;Add attributes for coloring and you have your first frame.&#xA;Then continue by adding animations.&#xA;That would require about 60Mb for your first frame (if it's completely black).&#xA;SVG would be producing the amount of data Crunchyroll uses for an episode, but within a couple of frames.&lt;/p&gt;&#xA;&lt;p&gt;Edit:&#xA;SVG simply has different applications than video.&#xA;Modern containers and codecs are highly optimized toward video production, while svg excels in simple shapes and logos.&#xA;I would shake my had and walk out if the graphics designer would bring me the new logo as a png.&#xA;And I would do the same if an Animation studio would provide me with animated SVGs as videos&lt;/p&gt;&#xA;" OwnerUserId="33116" LastActivityDate="2023-09-30T07:15:27.200" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36858" PostTypeId="2" ParentId="36417" CreationDate="2023-09-30T07:23:38.587" Score="0" Body="&lt;p&gt;This ffmpeg command should do the trick for you:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &amp;quot;select=eq(n\,0),setpts=N/(FRAME_RATE*TB)&amp;quot; output_%08d.tif&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Note: Your input is allready encoded in a lossy encoding, so you will have artifacts from the h264 codec.&lt;/p&gt;&#xA;" OwnerUserId="33116" LastActivityDate="2023-09-30T07:23:38.587" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36860" PostTypeId="2" ParentId="35339" CreationDate="2023-10-01T03:03:23.143" Score="0" Body="&lt;p&gt;Thank you NB.  I was able to take a video which always displayed as 4:3 to correctly display in VLC as 16:9 with&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -i &amp;quot;1440x1080_video.wmv&amp;quot; -aspect 1920:1080 -c copy 1920x1080_video_fixed.wmv&lt;/p&gt;&#xA;&lt;p&gt;The file properties still show as 1440x1080, but now plays in VLC with the correct aspect ratio without manually forcing VLC to play it with an AR of 16:9&lt;/p&gt;&#xA;" OwnerUserId="42503" LastActivityDate="2023-10-01T03:03:23.143" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36861" PostTypeId="1" CreationDate="2023-10-01T05:46:14.410" Score="1" ViewCount="45" Body="&lt;p&gt;I need to encode a &lt;strong&gt;smpte170m&lt;/strong&gt; color space MPEG-2 (&amp;quot;mpeg2video&amp;quot;) video to &lt;strong&gt;10 bit&lt;/strong&gt; &lt;strong&gt;x265&lt;/strong&gt; (libx265, with &lt;strong&gt;FFMPEG&lt;/strong&gt;).&#xA;Hoping to use &lt;strong&gt;yuv420p10le&lt;/strong&gt;, but any suggestions are welcome.&lt;/p&gt;&#xA;&lt;p&gt;Source video is in &lt;strong&gt;smpte170m&lt;/strong&gt; color space and &lt;strong&gt;NTSC&lt;/strong&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;pix_fmt=yuv420p&#xA;level=8&#xA;color_range=tv&#xA;color_space=smpte170m&#xA;color_transfer=smpte170m&#xA;color_primaries=smpte170m&#xA;chroma_location=left&#xA;field_order=progressive&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is &lt;strong&gt;smpte170m&lt;/strong&gt; space even &lt;strong&gt;compatible&lt;/strong&gt; with 10 bit such as &lt;strong&gt;yuv420p10le&lt;/strong&gt;?&lt;/p&gt;&#xA;&lt;p&gt;Should I keep smpte170m space or convert it to BT907 or other?&lt;/p&gt;&#xA;&lt;p&gt;Resolution (after scaling) will be approximately &lt;strong&gt;848x304&lt;/strong&gt;.&#xA;Which color space is more widely supported for such resolution?&lt;/p&gt;&#xA;&lt;p&gt;Can FFMPEG/libx265 perform/compute correct color space conversion or it simply changes symbols in metadata without computing actual color conversion?&lt;/p&gt;&#xA;&lt;p&gt;Encoded video is purely for personal use and will be played 99% of time on PC/android phones (No HDR screens at present).&lt;/p&gt;&#xA;&lt;p&gt;Does NTSC standard still apply AFTER encoding to x265 or it becomes irrelevant? (say encoding to Matroska)&lt;/p&gt;&#xA;&lt;p&gt;The only limitation I have in choosing a destination color space, etc (in encoded/destination video) is so that its play is supported in hardware on modern android phones/tablets/PC.&lt;/p&gt;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="42504" LastEditorUserId="42504" LastEditDate="2023-10-01T05:50:15.623" LastActivityDate="2023-10-02T04:12:09.910" Title="Is smpte170m Color Space Compatible with 10 bit yuv420p10le? Color Space choice(x265)" Tags="|ffmpeg|video|encoding|colorspace|h.265|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36862" PostTypeId="2" ParentId="36861" CreationDate="2023-10-02T04:12:09.910" Score="1" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;Is smpte170m space even compatible with 10 bit such as yuv420p10le?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;There's no incompatibility - H.265 supports BT601-525 / SMPTE170m tagging. It depends on your player if colours are rendered correctly during playback.&lt;/p&gt;&#xA;&lt;p&gt;So, first encode without any colorspace onversion and check. Else, convert to BT.709 using colorspace or zscale filter.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-10-02T04:12:09.910" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36863" PostTypeId="1" CreationDate="2023-10-02T11:49:22.910" Score="0" ViewCount="68" Body="&lt;p&gt;So we have 2 IP camera RTSP streams that we are saving to disk. At some point we stop the recording on both streams and go back to N frames in each video.&lt;/p&gt;&#xA;&lt;p&gt;The problem that we are facing is that the Nth frame in video 1 does not point to the same instance as that of the Nth frame in video 2. Basically they are out of sync by X frames. This problem occurs because both cameras are not emitting frames at constant 60 fps and their actual fps usually varies b/w 58-60. Over time this variable difference in fps leads to greater out of sync behavior.&lt;/p&gt;&#xA;&lt;p&gt;How can I overcome this out of sync behavior without going the hardware route (genlocking etc etc).&#xA;I do not have much understanding of ONVIF, can that be of any help here?&lt;/p&gt;&#xA;" OwnerUserId="42517" LastActivityDate="2023-10-02T11:49:22.910" Title="Synchronize 2 IP camera RTSP Streams" Tags="|h.264|sync|multi-camera|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36864" PostTypeId="1" CreationDate="2023-10-03T10:21:27.870" Score="1" ViewCount="115" Body="&lt;p&gt;I'm using FFmpeg to generate previews for the videos added to my website. The site script's (KVS) built-in tools help to some extent by automatically creating previews with the following properties:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Max. duration: 15s&lt;/li&gt;&#xA;&lt;li&gt;Offset from beginning: 10%&lt;/li&gt;&#xA;&lt;li&gt;Offset from end: 10%&lt;/li&gt;&#xA;&lt;li&gt;Fragments: 5 (each lasting about 3s)&lt;/li&gt;&#xA;&lt;li&gt;Crossfade between fragments: 1s&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;However, I don't know how to recreate those through the FFmpeg command line, in addition to adding an if/else part that will check if the video is landscape or portrait.&lt;/p&gt;&#xA;&lt;p&gt;If the video is landscape, the previous properties should execute and generate the preview.&lt;/p&gt;&#xA;&lt;p&gt;If the video is portrait, I'd like to execute the previously-listed properties as well as additional ones to insert a blurred video in the background.&lt;/p&gt;&#xA;&lt;p&gt;I'm using the following command line for that, and it generates exactly what I had in mind.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i source-video.mp4 -vf split[original][copy];[copy]scale=ih*16/9:-1,crop=h=iw*9/16,gblur=sigma=20[blurred];[blurred][original]overlay=(main_w-overlay_w)/2:(main_h-overlay_h)/2 new-video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm also using the following flags, which I'd like to apply to the preview video regardless of orientation.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-c:v libx264 -c:a copy -movflags +faststart -preset veryfast -strict 0 -f mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I found several unrelated solutions on if/else but none of them really match what I'm trying to achieve and only add to the confusion.&lt;/p&gt;&#xA;&lt;p&gt;Note: I am not using PHP, Python, or otherwise, and would like to know whether it's achievable only through the FFmpeg command line itself.&lt;/p&gt;&#xA;" OwnerUserId="42524" LastActivityDate="2023-10-03T10:21:27.870" Title="How can I use if/else with FFmpeg to check if a video is portrait or landscape and execute different settings?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36865" PostTypeId="1" CreationDate="2023-10-03T17:57:02.337" Score="0" ViewCount="134" Body="&lt;p&gt;Hello I am trying to crop a 9:16 video to a 1:1 video with FFmpeg. The command is throwing this error&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Exception: FFmpeg process exited with state COMPLETED and return code 255.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is my code:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-ss 0:00:00.000000 -i 's879-1696171712815.mp4' -t 0:00:24.149000 -codec:v libx264 -filter:v 'crop=720.0:720.0:0.0:327.25067794421483'   -y 'cropped.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Can anyone help with this issue?&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="34848" LastActivityDate="2023-10-03T17:57:02.337" Title="FFmpeg code throwing error when trying to crop the video: FFmpeg process exited with state COMPLETED and return code 255" Tags="|ffmpeg|video|video-editor|ffprobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36867" PostTypeId="1" CreationDate="2023-10-04T06:20:36.593" Score="0" ViewCount="19" Body="&lt;p&gt;I have a complicated video file (.mkv, 12.78 GB, 2160p) with two audio streams (MLP FBA 16-ch and AC-3, respectively), and 11 subtitle streams (all of format PGS and Muxing mode zlib). The native Media Player on my LG C2 does not recognise the subtitles, and only one of the audio streams (I'm not sure which one). I want to end up with an MKV file (preferably, any that the player will recognise will suffice) containing only the first audio stream and only the first and fifth (English and Dutch, respectively) subtitle streams, but converted to one that this Media Player does recognise (e.g., SRT). I have some affinity with FFmpeg, but, even after wrestling with GTP-3.5 a lot, have been unsuccessful. I must add that my MacBook on which I am trying this is quite old (Late-2013), and cannot update its os beyond Big Sur 11.7.10, which prevents newer updates of FFmpeg being installed.&#xA;I can provide the MediaInfo information if necessary.&lt;/p&gt;&#xA;&lt;p&gt;I think the closest I've gotten (i.e., the command running without error, but also changing very little) is via the command&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 32_-_2_-_The_Winter_Line.mkv -map 0 -c:v copy -map 0:a:0 -c:a:0 copy -map 0:s:0 -c:s:0 copy -map 0:s:4 -c:s:1 copy output_1.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Am I close? The main error I seem to encounter that&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[ssa @ 0x7fc575045600] Only SUBTITLE_ASS type supported..42 bitrate=  74.5kbits/s speed=4.85x    &#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm pretty sure that .ass has worked before, but maybe this has to do with the FFmpeg version (4.0.2) I am using.&lt;/p&gt;&#xA;&lt;p&gt;EDIT: this is my first question on this SE, and I haven't been programming for about 8 years, so I might pose the question ill-defined..&lt;/p&gt;&#xA;&lt;p&gt;EDIT2: When running&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 32_-_2_-_The_Winter_Line.mkv -map 0 -c:v copy -map 0:a:0 -c:a:0 copy -map 0:s:0 -c:s:0 ass -map 0:s:4 -c:s:1 ass output_1.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;which I &lt;em&gt;expected&lt;/em&gt; to work, I get an error, the last lines of which are&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[ass @ 0x7fda8780c800] Only SUBTITLE_ASS type supported..89 bitrate=  64.0kbits/s speed=5.78x    &#xA;Subtitle encoding failed&#xA;[libvorbis @ 0x7fda8780b600] 47 frames left in the queue on closing&#xA;[libvorbis @ 0x7fda88849200] 43 frames left in the queue on closing&#xA;Conversion failed!```&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42531" LastEditorUserId="4426" LastEditDate="2023-10-06T10:00:48.473" LastActivityDate="2023-10-06T10:00:48.473" Title="Stripping audio and subtitle tracks and converting subs to ones that LG C2 Media Player recognises" Tags="|ffmpeg|audio|subtitles|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36869" PostTypeId="1" CreationDate="2023-10-05T17:21:27.733" Score="0" ViewCount="21" Body="&lt;p&gt;I am working on a project that involves aligning dubbed audio with corresponding subtitles by manipulating video speeds. While I have been using FFmpeg (both directly and indirectly via MoviePy) for video processing, I’ve encountered a peculiar issue.&lt;/p&gt;&#xA;&lt;p&gt;When using MoviePy to adjust video speeds and concatenate clips, the final video duration aligns perfectly with the dubbed audio duration. Conversely, when employing FFmpeg directly with a complex filter script to manipulate speed and concatenate video parts, the final video tends to be 1-2 seconds shorter than the dubbed audio, leading to misalignment near the end of the video.&lt;/p&gt;&#xA;&lt;p&gt;Here’s a simplified pseudocode of the process: (MoviePy that works perfectly, but twice as slow)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;total_video_duration_sec = get_video_duration(input_video)&#xA;durations = get_durations()&#xA;&#xA;if subtitles[0].start.total_seconds() &amp;gt; 0:&#xA;    gap_clip = clip.subclip(0, subtitles[0].start.total_seconds()).without_audio()&#xA;    processed_clips.append(gap_clip)&#xA;&#xA;for i, (subtitle, audio_durations_sec) in enumerate(zip(subtitles, durations)):&#xA;&#xA;    start_sec = subtitle.start.total_seconds()&#xA;    end_sec = subtitle.end.total_seconds()&#xA;    next_start_sec = subtitles[i + 1].start.total_seconds() if i &amp;lt; len(subtitles) - 1 else total_video_duration_sec&#xA;    original_duration_sec = end_sec - start_sec&#xA;&#xA;    pause_duration_sec = next_start_sec - end_sec&#xA;&#xA;    # Calculate the speed factor&#xA;    speed_factor = original_duration_sec / audio_duration_sec&#xA;&#xA;    # Extract the subtitle clip from the original video&#xA;    subtitle_clip = clip.subclip(start_sec, end_sec).without_audio()&#xA;    &#xA;    # Apply speed effect to the subtitle clip&#xA;    adjusted_clip = subtitle_clip.fx(speedx, speed_factor)&#xA;    &#xA;    # Append the adjusted clip to the list&#xA;    processed_clips.append(adjusted_clip)&#xA;&#xA;&#xA;    if pause_duration_sec &amp;gt; 0:&#xA;        gap_clip = clip.subclip(end_sec, next_start_sec).without_audio()&#xA;        processed_clips.append(gap_clip)&#xA;&#xA; &#xA;# Concatenate all processed clips back together&#xA;final_clip = concatenate_videoclips(processed_clips)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and FFmpeg script that works fast, but leads to a slightly shorter video which the gap increasing as length of subtitles increases.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&#xA;# Fetch the total video duration and frames per second (fps) from the input video&#xA;total_video_duration_sec, fps = get_video_info(input_video)&#xA;&#xA;# Fetch the durations of the audio clips associated with each subtitle&#xA;durations = get_durations()&#xA;&#xA;# If the first subtitle doesn't start at the beginning of the video, &#xA;# add a segment from the video start to the first subtitle's start&#xA;if subtitles[0].start.total_seconds() &amp;gt; 0:&#xA;    initial_pause_video_script = f&amp;quot;[0:v]trim=start=0:end={round(subtitles[0].start.total_seconds(), 3)},setpts=PTS-STARTPTS[v0]&amp;quot;&#xA;    filter_script.insert(0, initial_pause_video_script)&#xA;    inputs.insert(0, &amp;quot;[v0]&amp;quot;)&#xA;&#xA;# Iterate over each subtitle and its associated audio duration&#xA;for i, (subtitle, audio_duration_sec) in enumerate(zip(subtitles, durations)):&#xA;    &#xA;    # Determine the starting time of the next subtitle (or use the total video duration if this is the last subtitle)&#xA;    next_start_sec = subtitles[i + 1].start.total_seconds() if i &amp;lt; len(subtitles) - 1 else total_video_duration_sec&#xA;    start_sec = subtitle.start.total_seconds()&#xA;    end_sec = subtitle.end.total_seconds()&#xA;    original_duration_sec = end_sec - start_sec&#xA;    pause_duration_sec = next_start_sec - end_sec&#xA;    &#xA;    # Calculate the speed factor based on the audio duration and original subtitle duration&#xA;    speed_factor = audio_duration_sec / original_duration_sec &#xA;&#xA;    # Create the filter script for the subtitle segment of the video&#xA;    filter_script.append(f&amp;quot;[0:v]trim=start={start_sec}:end={end_sec},setpts={speed_factor}*(PTS-STARTPTS)[v{i*2+1}]&amp;quot;)&#xA;    inputs.append(f&amp;quot;[v{i*2+1}]&amp;quot;)&#xA;    &#xA;    # If there's a gap/pause between this subtitle and the next, create a filter script for that gap&#xA;    if pause_duration_sec &amp;gt; 0:&#xA;        filter_script.append(f&amp;quot;[0:v]trim=start={end_sec}:end={next_start_sec},setpts=PTS-STARTPTS[v{i*2+2}]&amp;quot;)&#xA;        inputs.append(f&amp;quot;[v{i*2+2}]&amp;quot;)&#xA;&#xA;# Combine all filter scripts and inputs to create the final filter script&#xA;filter_chain = &amp;quot;;&amp;quot;.join(filter_script)&#xA;inputs_chain = &amp;quot;&amp;quot;.join(inputs)&#xA;final_filter_script = f&amp;quot;{filter_chain};{inputs_chain}concat=n={len(inputs)}:v=1,fps={fps}[outv]&amp;quot;&#xA;&#xA;# Write the final filter script to a file&#xA;with open(filter_complex_file, &amp;quot;w&amp;quot;) as f:&#xA;    f.write(final_filter_script)&#xA;&#xA;# Create and run the ffmpeg command to process the video using the generated filter script&#xA;cmd = [&#xA;    'ffmpeg', '-y', &#xA;    '-i', input_video,  # First input: video file&#xA;    '-filter_complex_script', 'filtergraph.txt', &#xA;    '-map', '[outv]',  # Map video stream from filter output&#xA;    '-c:v', 'libx264', '-preset', 'veryfast', '-crf', '18',&#xA;    final_output_video  # Output file&#xA;]&#xA;subprocess.run(cmd)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;what cou&lt;/p&gt;&#xA;" OwnerUserId="42547" LastActivityDate="2023-10-05T17:21:27.733" Title="Discrepancy in video duration when adjusting speeds using FFmpeg filters" Tags="|ffmpeg|video|editing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36870" PostTypeId="1" CreationDate="2023-10-06T19:48:29.223" Score="0" ViewCount="45" Body="&lt;p&gt;I am on Windows 10 Pro.&lt;/p&gt;&#xA;&lt;p&gt;I am trying to find an effcient logic or way using a batch file, to search for videos in a folder.&lt;/p&gt;&#xA;&lt;p&gt;And give me 5 file names w/paths that have the lowest bitrate or video preset.&lt;/p&gt;&#xA;&lt;p&gt;Then once I have that will convert those five to a higher preset.&lt;/p&gt;&#xA;&lt;p&gt;This is the current logic of my batch file.&lt;/p&gt;&#xA;&lt;p&gt;Loop thru all the video file extensions&lt;/p&gt;&#xA;&lt;p&gt;Loop thru all files in subfolders with that file extension&lt;/p&gt;&#xA;&lt;p&gt;ffprobe to get the bitrate and push that to a temporary text file&lt;/p&gt;&#xA;&lt;p&gt;end both loops&lt;/p&gt;&#xA;&lt;p&gt;then parse temporary text file to show video files w/paths that have the lowest bitrate/video preset.&lt;/p&gt;&#xA;&lt;p&gt;Is there logic that would speed up this process?&lt;/p&gt;&#xA;&lt;p&gt;OR better usage of ffprobe or an alternative tool?&lt;/p&gt;&#xA;&lt;p&gt;Thank you for your thoughts.&lt;/p&gt;&#xA;" OwnerUserId="42389" LastActivityDate="2023-10-06T19:48:29.223" Title="Using Batch Files and ffprobe what is the best approach for finding 5 videos with lowest preset?" Tags="|windows|ffprobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36871" PostTypeId="1" CreationDate="2023-10-06T20:57:37.430" Score="0" ViewCount="13" Body="&lt;p&gt;I was wondering if anyone can think of a way of recreating this infinite rainbow circle loop in After Effects&#xA;&lt;a href=&quot;https://giphy.com/gifs/loop-rainbow-unicorn-l0LIYv9tJFIVHxF5u&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://giphy.com/gifs/loop-rainbow-unicorn-l0LIYv9tJFIVHxF5u&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40227" LastActivityDate="2024-01-04T09:12:14.937" Title="Infinite Rainbow Circle Loop" Tags="|after-effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36872" PostTypeId="2" ParentId="36843" CreationDate="2023-10-06T22:15:54.817" Score="0" Body="&lt;p&gt;I have found an answer!&lt;/p&gt;&#xA;&lt;p&gt;It works by duplicating the clip and placing it on a track right above (or below), masking each so it only shows the part that is color-corrected as well with no need to mask with Lumetri Color, and the final step is to add the clip that includes the background. That final clip can also be using Lumetri Color but without masking required as long as this is the bottom track.&lt;/p&gt;&#xA;&lt;p&gt;In order for them to look more natural, I used feathering to make the masks less sharp.&lt;/p&gt;&#xA;" OwnerUserId="40801" LastActivityDate="2023-10-06T22:15:54.817" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36873" PostTypeId="1" CreationDate="2023-10-06T22:28:25.940" Score="0" ViewCount="40" Body="&lt;p&gt;Good evening.&#xA;I'm struggling to figure out a set of ffmpeg6 commands/flags for the following scenario:&#xA;I have a large batch of 1080p 5.1ch lossless MKV's (courtesy of MakeMKV) that I want to encode to Ogg Theora specifically, downscale to 720p, 2ch audio, and both video and audio at a somewhat higher Q (quality) setting for both. Can anyone offer some direction? I am stuck on MacOS on a 2020 Intel Macbook Air, and no Linux or BSD distro can use the built in keyboard and trackpad so far as I can tell (believe me, I have tried many.) GUI tools like nch prism and miro produce poor quality, laggy video while ffmpeg6 does well, but I'd really like to encode more than one at a time. Thank you.&lt;/p&gt;&#xA;" OwnerUserId="42556" LastActivityDate="2023-10-06T22:28:25.940" Title="How Do I Batch Convert to Ogg Theora with FFmpeg6?" Tags="|ffmpeg|mac|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36874" PostTypeId="1" CreationDate="2023-10-07T04:37:09.233" Score="0" ViewCount="64" Body="&lt;p&gt;Just for learning purposes, who can answer this:&lt;/p&gt;&#xA;&lt;p&gt;I have two video files, lets call it video1.mp4 and video2.mp4 (their size in bytes are exactly the same).&lt;/p&gt;&#xA;&lt;p&gt;Upon doing file compare in Windows &amp;quot;fc video1.mp4 video2.mp4&amp;quot; the output shows differences.&lt;/p&gt;&#xA;&lt;p&gt;Upon doing &amp;quot;ffprobe video1.mp4&amp;quot;, and then &amp;quot;ffprobe video2.mp4, the output is exactly the same.&lt;/p&gt;&#xA;&lt;p&gt;Does this mean that the 2 videos are REALLY the same, and what could be the differences as reported by file compare ?&lt;/p&gt;&#xA;&lt;p&gt;--&lt;/p&gt;&#xA;&lt;p&gt;Output from ffprobe, only the title is different obviously, but the rest is the same.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, matroska,webm, from 'My scary movie.mkv':&#xA;  Metadata:&#xA;    COMPATIBLE_BRANDS: isomiso2avc1mp41&#xA;    MAJOR_BRAND     : isom&#xA;    MINOR_VERSION   : 512&#xA;    ENCODER         : Lavf58.11.101&#xA;  Duration: 01:32:45.07, start: 0.000000, bitrate: 6274 kb/s&#xA;  Stream #0:0: Video: h264 (Constrained Baseline), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 30 fps, 30 tbr, 1k tbn (default)&#xA;    Metadata:&#xA;      ENCODER         : Lavc58.17.100 libx264&#xA;      DURATION        : 01:32:45.072000000&#xA;  Stream #0:1: Audio: ac3, 44100 Hz, stereo, fltp, 320 kb/s (default)&#xA;    Metadata:&#xA;      ENCODER         : Lavc58.17.100 ac3&#xA;      DURATION        : 01:32:44.988000000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="37168" LastActivityDate="2023-10-07T04:37:09.233" Title="Output from ffprobe and understanding where are the file differences?" Tags="|ffmpeg|ffprobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36875" PostTypeId="1" CreationDate="2023-10-07T11:24:15.760" Score="0" ViewCount="43" Body="&lt;p&gt;I have a code that allows me to download videos from &lt;code&gt;.m3u8&lt;/code&gt;, but for some reason it hasn't worked since yesterday&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -user_agent &amp;quot;Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/117.0.0.0 Safari/537.36&amp;quot; -headers &amp;quot;Referer: https://upstream.to/&amp;quot; -i &amp;quot;https://s92.upstreamcdn.co/hls2/01/03509/wc3i5yhdfgyk_o/master.m3u8?t=M9p8oTpo_LgYLnh2Ay4UEOT6Szltp5vGepiZ09ZjnFo&amp;amp;s=1696668614&amp;amp;e=10800&amp;amp;f=17548793&amp;amp;i=169.150&amp;amp;sp=0&amp;quot; -c copy -bsf:a aac_adtstoasc &amp;quot;name.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;what can I do to make it similar to the upstream task which looks like this&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Request URL:https://s92.upstreamcdn.co/hls2/01/03509/wc3i5yhdfgyk_o/master.m3u8?t=M9p8oTpo_LgYLnh2Ay4UEOT6Szltp5vGepiZ09ZjnFo&amp;amp;s=1696668614&amp;amp;e=10800&amp;amp;f=17548793&amp;amp;i=169.150&amp;amp;sp=0&#xA;Request Method: GET&#xA;Status Code:    200 OK&#xA;Remote Address: 164.132.163.19:443&#xA;Referrer Policy:    strict-origin-when-cross-origin&#xA;Access-Control-Allow-Origin:    *&#xA;Cache-Control:  max-age=8640000&#xA;Cache-Control:  public, no-transform&#xA;Connection: keep-alive&#xA;Content-Encoding:   gzip&#xA;Content-Type:   application/vnd.apple.mpegurl&#xA;Date:   Sat, 07 Oct 2023 08:50:16 GMT&#xA;Expires:    Mon, 15 Jan 2024 08:50:16 GMT&#xA;Last-Modified:  Sat, 07 Oct 2023 08:50:16 GMT&#xA;Server: nginx&#xA;Transfer-Encoding:chunked&#xA;Accept:*/*&#xA;Accept-Encoding:gzip, deflate, br&#xA;Accept-Language:pl-PL,pl;q=0.9,en-US;q=0.8,en;q=0.7&#xA;Connection:keep-alive&#xA;Host:s92.upstreamcdn.co&#xA;Origin:https://upstream.to&#xA;Referer:https://upstream.to/&#xA;Sec-Ch-Ua:&amp;quot;Google Chrome&amp;quot;;v=&amp;quot;117&amp;quot;, &amp;quot;Not;A=Brand&amp;quot;;v=&amp;quot;8&amp;quot;, &amp;quot;Chromium&amp;quot;;v=&amp;quot;117&amp;quot;&#xA;Sec-Ch-Ua-Mobile:?0&#xA;Sec-Ch-Ua-Platform:&amp;quot;Windows&amp;quot;&#xA;Sec-Fetch-Dest:empty&#xA;Sec-Fetch-Mode:cors&#xA;Sec-Fetch-Site:cross-site&#xA;User-Agent:Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/117.0.0.0 Safari/537.36&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42563" LastActivityDate="2023-10-07T11:24:15.760" Title="no access to m3u8 when using ffmpeg" Tags="|ffmpeg|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36876" PostTypeId="1" CreationDate="2023-10-07T12:19:40.567" Score="0" ViewCount="67" Body="&lt;p&gt;I've have some screen recorded video with OBS software using the video codec &amp;quot;NVIDIA NVENC HEVC&amp;quot; (which is h.265 via GPU hardware) using CQP level 17.&lt;/p&gt;&#xA;&lt;p&gt;Full encoder options in OBS were:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/GkdAf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GkdAf.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The output is a 06:08:33.94 long video, (around 5.6GB) that I need to slice into shorter videos trimmed at specific timestamps. Because of how h.264 and h.265 works, it seems I need to re-encode whole the video to do that without missing the first few seconds of each trimmed video. The full output of &lt;code&gt;ffprobe&lt;/code&gt; this source file is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe.exe source-00.mp4&#xA;ffprobe version 6.0-essentials_build-www.gyan.dev Copyright (c) 2007-2023 the FFmpeg developers&#xA;  built with gcc 12.2.0 (Rev10, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-lzma --enable-zlib --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-sdl2 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-libaom --enable-libopenjpeg --enable-libvpx --enable-libass --enable-libfreetype --enable-libfribidi --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-libgme --enable-libopenmpt --enable-libopencore-amrwb --enable-libmp3lame --enable-libtheora --enable-libvo-amrwbenc --enable-libgsm --enable-libopencore-amrnb --enable-libopus --enable-libspeex --enable-libvorbis --enable-librubberband&#xA;  libavutil      58.  2.100 / 58.  2.100&#xA;  libavcodec     60.  3.100 / 60.  3.100&#xA;  libavformat    60.  3.100 / 60.  3.100&#xA;  libavdevice    60.  1.100 / 60.  1.100&#xA;  libavfilter     9.  3.100 /  9.  3.100&#xA;  libswscale      7.  1.100 /  7.  1.100&#xA;  libswresample   4. 10.100 /  4. 10.100&#xA;  libpostproc    57.  1.100 / 57.  1.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '.\source-00.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2mp41&#xA;    encoder         : Lavf60.3.100&#xA;  Duration: 06:08:33.94, start: 0.000000, bitrate: 2179 kb/s&#xA;  Stream #0:0[0x1](und): Video: hevc (Main) (hev1 / 0x31766568), yuv420p(tv, bt709/bt709/iec61966-2-1), 1920x1080 [SAR 1:1 DAR 16:9], 1976 kb/s, 60 fps, 60 tbr, 15360 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #0:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 190 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The thing is I'm happy with the current quality, I'd like that this re-encoding process does mess as less as possible with the original quality, while maintaining the sum of all the output videos not to far away in size to those 5.6GB from the original source.&lt;/p&gt;&#xA;&lt;p&gt;The first thing I tried, was to trim some unwanted footage from the beginning and the end of the source, and following this suggestion from &lt;a href=&quot;https://superuser.com/a/1056632/535840&quot;&gt;this answer superuser&lt;/a&gt;, I didn't specify any options to the video codec:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg will automatically attempt to use many of the same parameters&#xA;when encoding including: frame rate, width, height, pixel format,&#xA;audio channel layout, audio sample rate, etc. So you usually don't&#xA;have to do anything special.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So:&#xA;ffmpeg -i source-00.mp4 -ss 00:00:01.80 -to 06:07:34.0 -map 0 -c copy -c:v libx265 actual-footage-0.mp4&lt;/p&gt;&#xA;&lt;p&gt;After many hours of re-encoding the result was a 1.26GB video with a much worse quality, full info:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe actual-footage-0.mp4&#xA;ffprobe version 6.0-essentials_build-www.gyan.dev Copyright (c) 2007-2023 the FFmpeg developers&#xA;  built with gcc 12.2.0 (Rev10, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-lzma --enable-zlib --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-sdl2 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-libaom --enable-libopenjpeg --enable-libvpx --enable-libass --enable-libfreetype --enable-libfribidi --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-libgme --enable-libopenmpt --enable-libopencore-amrwb --enable-libmp3lame --enable-libtheora --enable-libvo-amrwbenc --enable-libgsm --enable-libopencore-amrnb --enable-libopus --enable-libspeex --enable-libvorbis --enable-librubberband&#xA;  libavutil      58.  2.100 / 58.  2.100&#xA;  libavcodec     60.  3.100 / 60.  3.100&#xA;  libavformat    60.  3.100 / 60.  3.100&#xA;  libavdevice    60.  1.100 / 60.  1.100&#xA;  libavfilter     9.  3.100 /  9.  3.100&#xA;  libswscale      7.  1.100 /  7.  1.100&#xA;  libswresample   4. 10.100 /  4. 10.100&#xA;  libpostproc    57.  1.100 / 57.  1.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'actual-footage-0.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2mp41&#xA;    encoder         : Lavf60.3.100&#xA;  Duration: 06:07:32.22, start: 0.000000, bitrate: 493 kb/s&#xA;  Stream #0:0[0x1](und): Video: hevc (Main) (hev1 / 0x31766568), yuv420p(tv, bt709/bt709/iec61966-2-1, progressive), 1920x1080 [SAR 1:1 DAR 16:9], 289 kb/s, 60 fps, 60 tbr, 15360 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : Lavc60.3.100 libx265&#xA;  Stream #0:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 191 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;What can I do to preserve the quality as much a possible while re-encoding a HEVC video?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="25061" LastEditorUserId="25061" LastEditDate="2023-10-09T11:05:31.700" LastActivityDate="2023-10-09T11:05:31.700" Title="ffmpeg: preserve quality in trimmed video from a HEVC (h.265) source video" Tags="|ffmpeg|encoding|obs|h.265|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36877" PostTypeId="1" CreationDate="2023-10-07T14:21:36.227" Score="0" ViewCount="37" Body="&lt;p&gt;I am trying to use FFmpeg to stream a specific window on my computer. While the video works flawlessly, adding the audio is being problematic. Whenever I had audio (using &lt;code&gt;-f dshow&lt;/code&gt;), the video's fps dramatically drops to 3 to 5 fps and a ton of dropped frames occur. Here is the command I am using:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -f gdigrab -draw_mouse 0 -i title=&amp;quot;MainWindow&amp;quot; -f dshow \&#xA;       -i audio=&amp;quot;CABLE Output (VB-Audio Virtual Cable)&amp;quot; \&#xA;       -c:v mpeg2video -b:v 4000k -c:a aac -b:a 64k -f mpegts udp://localhost:1234&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The audio doesn't seem clear also (like it sound somewhat garbleled). I have tried to split the video and audio and then combine them. When I combine the audio and video, I get a black and white screen with what looks like an old-fashioned image. (The window I am trying to record isn't recognizable). What is going on and how can I fix it?&lt;/p&gt;&#xA;" OwnerUserId="42565" LastEditorUserId="18155" LastEditDate="2023-10-09T18:14:17.637" LastActivityDate="2023-10-09T18:14:17.637" Title="Audio and Video Streaming Issues with FFmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36878" PostTypeId="2" ParentId="16352" CreationDate="2023-10-08T14:49:43.027" Score="0" Body="&lt;p&gt;@kingfishersfire&lt;/p&gt;&#xA;&lt;p&gt;Thanks for this script. It is the only one that works. I tried &lt;a href=&quot;https://github.com/fehlfarbe/gimp2acv&quot; rel=&quot;nofollow noreferrer&quot;&gt;gimp2acv&lt;/a&gt;, which purportedly outputs an &lt;code&gt;acv&lt;/code&gt; file directly, which is ideal because you only need use &lt;code&gt;curves=psfile='&amp;lt;acv file&amp;gt;'&lt;/code&gt; , instead of a long string of points as with  &lt;code&gt;curves=master='0....1.000'&lt;/code&gt;, but it is an old script written for python2 and has many errors with python3, which is the only version that comes with OS X Ventura. I tried converting it to python3 with &lt;code&gt;2to3&lt;/code&gt; but still got some issues that I had to correct manually. When it finally worked, I got a 4 byte &lt;code&gt;.acv&lt;/code&gt; file.&lt;/p&gt;&#xA;&lt;p&gt;Your script works but it is inconvenient to use because you have to run it each time and manually enter file paths each time you run it. I am using ffmpeg from a bash script and would like to simply call this script with file path args and cat the file to a variable to avoid pasting all those points in each ffmpeg call (&lt;code&gt;curves=master='$curves'&lt;/code&gt;). That's what I do manually now. Is it possible for you to add that functionality to this same script as an option? I tried to do it myself but found that reading arguments from the command line is no trivial task like it is with other languages.&lt;/p&gt;&#xA;" OwnerUserId="10727" LastActivityDate="2023-10-08T14:49:43.027" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36879" PostTypeId="1" CreationDate="2023-10-09T14:11:16.833" Score="0" ViewCount="31" Body="&lt;p&gt;I'm wondering if the stock video capture program is used solely for video and not audio. Are there other programs that will record video with audio (for Youtube)? Am I missing something here (settings perhaps)?&lt;/p&gt;&#xA;&lt;p&gt;I'm open to programs other than the Windows 11 camera if that is part of your answer here.&lt;/p&gt;&#xA;" OwnerUserId="42587" LastEditorUserId="42587" LastEditDate="2023-10-11T14:31:43.210" LastActivityDate="2023-10-11T14:31:43.210" Title="Windows 11 video capture program not recording audio with video" Tags="|video|windows|microphone|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36881" PostTypeId="2" ParentId="16352" CreationDate="2023-10-10T00:34:26.730" Score="0" Body="&lt;p&gt;I did some work on converting the &lt;code&gt;gimp2acv&lt;/code&gt; python module at &lt;strong&gt;&lt;a href=&quot;https://github.com/fehlfarbe/gimp2acv&quot; rel=&quot;nofollow noreferrer&quot;&gt;fehlfarbe/gimp2acv: Converts GIMP curves to Adobe ACV curves&lt;/a&gt;&lt;/strong&gt; from python2 to python3 and it now does exactly what the OP asked for. I posted it at the issue I started: &lt;strong&gt;&lt;a href=&quot;https://github.com/fehlfarbe/gimp2acv/issues/1&quot; rel=&quot;nofollow noreferrer&quot;&gt;After converting gimp2acv.py to python3 and manually correcting a few string-related TypeErrors, got .acv file of 4 bytes · Issue #1 · fehlfarbe/gimp2acv&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here is a direct link to it:&#xA;&lt;strong&gt;&lt;a href=&quot;https://github.com/fehlfarbe/gimp2acv/files/12851462/gimp2acv-master.-.python3.zip&quot; rel=&quot;nofollow noreferrer&quot;&gt;gimp2acv-master - python3.zip&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Unzip it and cd to the directory 'gimp2acv-master - python3'.&lt;/p&gt;&#xA;&lt;p&gt;Example:&#xA;&lt;code&gt;python3 ./gimp2acv.py -i GIMPcurves.gcv -o GIMPcurves.acv&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I tested it with &lt;code&gt;ffmpeg -i &amp;quot;input.jpg&amp;quot; -vf &amp;quot;curves=psfile=GIMPcurves.acv&amp;quot; &amp;quot;output.jpg&amp;quot;&lt;/code&gt; and got the expected output.&lt;/p&gt;&#xA;" OwnerUserId="10727" LastActivityDate="2023-10-10T00:34:26.730" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36882" PostTypeId="1" AcceptedAnswerId="36885" CreationDate="2023-10-10T05:48:21.527" Score="0" ViewCount="20" Body="&lt;p&gt;&lt;a href=&quot;https://www.youtube.com/shorts/cXGA9wAMuSY&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.youtube.com/shorts/cXGA9wAMuSY&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I want to edit it like this video, but I want to know how to edit it by lowering the quality and then raising it again.&lt;/p&gt;&#xA;" OwnerUserId="42591" LastActivityDate="2023-10-10T10:43:12.670" Title="How do you edit the video by lowering the quality and then uploading it again using Premiere Pro like this video?" Tags="|premiere|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36883" PostTypeId="1" AcceptedAnswerId="36884" CreationDate="2023-10-10T10:10:14.370" Score="0" ViewCount="89" Body="&lt;p&gt;I can not upload 4K 60 FPS video from Iphone 14 Pro to Youtube from PC (with Camera default settings).&lt;/p&gt;&#xA;&lt;p&gt;Site says about unsupported format.&lt;/p&gt;&#xA;&lt;p&gt;How to fix this without 3rd party apps?&lt;/p&gt;&#xA;" OwnerUserId="42594" LastActivityDate="2023-10-16T07:09:41.940" Title="Can not upload 4K 60 FPS video from Iphone 14 Pro to Youtube with default settings" Tags="|youtube|iphone|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36884" PostTypeId="2" ParentId="36883" CreationDate="2023-10-10T10:27:11.607" Score="2" Body="&lt;p&gt;Are you recording HEVC files?  YouTube &lt;a href=&quot;https://support.google.com/youtube/troubleshooter/2888402?hl=en&quot; rel=&quot;nofollow noreferrer&quot;&gt;says&lt;/a&gt; it supports it, but that would be my first guess - try switching and see if it works...&lt;/p&gt;&#xA;&lt;p&gt;From &lt;a href=&quot;https://support.apple.com/en-us/HT207022&quot; rel=&quot;nofollow noreferrer&quot;&gt;Apple's support page&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Go to Settings &amp;gt; Camera.&#xA;Tap Formats.&#xA;Tap Most Compatible.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;YouTube recommend using H.264 files:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://support.google.com/youtube/answer/1722171&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.google.com/youtube/answer/1722171&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You might be able to convert your files to h.264 format using Windows' built in &lt;a href=&quot;https://www.howtogeek.com/355524/how-to-use-windows-10s-hidden-video-editor/&quot; rel=&quot;nofollow noreferrer&quot;&gt;hidden video editor inside the Photos app&lt;/a&gt; (but I'm on a Mac so can't confirm).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-10-10T10:27:11.607" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36885" PostTypeId="2" ParentId="36882" CreationDate="2023-10-10T10:43:12.670" Score="0" Body="&lt;p&gt;It's an effect known as Data Moshing - here's how to do it in After Effects:&#xA;&lt;a href=&quot;https://www.premiumbeat.com/blog/datamoshing-make-footage-look-trippy/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.premiumbeat.com/blog/datamoshing-make-footage-look-trippy/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-10-10T10:43:12.670" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36887" PostTypeId="1" CreationDate="2023-10-10T17:31:43.043" Score="0" ViewCount="34" Body="&lt;p&gt;I'm trying to dynamically extract multiple different frames from single video input. So the command I'm calling looking like this&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loglevel debug -hide_banner -t 13.269541 -y -ss 0 -i &amp;quot;input-s3-url&amp;quot; -ss 13.269541 -i &amp;quot;same-input-s3-url&amp;quot; -map 0:v -vframes 1 /tmp/ca4cd7a3159743938c5362c171ea2cae.0.png -map 1:v -vframes 1 /tmp/ca4cd7a3159743938c5362c171ea2cae.13.269541.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It works and everything is good, until I deploy it to lambda. Even though I'm using 10gb of RAM it still failing with error. Locally it works like a charm but not on lambda. I'm not sure what the problem here but i'm regularly (not always) getting SIGSEGV&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/HKIPn.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/HKIPn.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Double-checked memory usage and it's doesn't look like a reason&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/nJ8KX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/nJ8KX.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I'm think maybe it's because it's making requests for each input, at least that's what I saw in debug mode, but still have no idea what's the problem here, would appreciate any suggestions/optimizations/help.&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="42603" LastActivityDate="2023-10-10T17:31:43.043" Title="ffmpeg extract multiple frames from single input" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36888" PostTypeId="2" ParentId="30289" CreationDate="2023-10-11T07:19:02.810" Score="0" Body="&lt;p&gt;There are lots of reasons for this problem.&#xA;I have found this useful thread from Adobe.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://community.adobe.com/t5/premiere-pro-discussions/audio-and-video-speed-not-matching-how-to-sync/td-p/10908974&quot; rel=&quot;nofollow noreferrer&quot;&gt;Audio and Video not matching&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="42609" LastActivityDate="2023-10-11T07:19:02.810" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36889" PostTypeId="1" CreationDate="2023-10-11T09:08:38.823" Score="0" ViewCount="77" Body="&lt;p&gt;I am highlighting subtitle like this&lt;a href=&quot;https://i.stack.imgur.com/tTtoR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tTtoR.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Dialogue: 0,0:00:00.00,0:00:05.00,Default,,0,0,0,,{\t(0,500, \3c&amp;amp;H00FFFF&amp;amp;\3a&amp;amp;H128&amp;amp;)}highlighted&lt;/p&gt;&#xA;&lt;p&gt;How to change the border so it will look rounded?&lt;/p&gt;&#xA;&lt;p&gt;I have used \be and \bord but it looks this tag not for border radius&lt;/p&gt;&#xA;" OwnerUserId="42610" LastActivityDate="2023-10-11T09:08:38.823" Title="Rounded Border in .ass subtitle" Tags="|ffmpeg|subtitles|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36890" PostTypeId="2" ParentId="36032" CreationDate="2023-10-12T10:32:06.103" Score="-1" Body="&lt;p&gt;Imagine you have a big bag of candy, and you want to make it smaller to save space, but you still want it to taste yummy. That's kinda of like what video compression and video encoding do but for videos instead of candy.&lt;/p&gt;&#xA;&lt;p&gt;Video Compression-&lt;/p&gt;&#xA;&lt;p&gt;Video compression is like squishing your video to make it smaller. It takes up less space, which is great for saving storage and for streaming videos online. It's like making your candy pieces smaller so you can fit more in your bag, but they still taste good.&lt;/p&gt;&#xA;&lt;p&gt;Video Encoding-&lt;/p&gt;&#xA;&lt;p&gt;Video encoding is a bit like a magic recipe to make your video look great while it's squished. It's about making sure the video still looks good even when it's small.&lt;/p&gt;&#xA;&lt;p&gt;So, in simple terms, video compression is about making the video file smaller, and video encoding is about making sure it still looks good even after it's squished. They work together to make videos easy to store, send, and watch.&lt;/p&gt;&#xA;&lt;p&gt;Technically, video compression reduces the file size by removing unnecessary data, while video encoding prepares the compressed video for playback by converting it into a specific format and encoding it using a chosen codec. These two processes work hand in hand to make videos smaller for storage and transmission while ensuring they still look good.&lt;/p&gt;&#xA;&lt;p&gt;I hope this helps you.&lt;/p&gt;&#xA;" OwnerUserId="42609" LastEditorUserId="42609" LastEditDate="2023-10-12T10:32:33.403" LastActivityDate="2023-10-12T10:32:33.403" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36891" PostTypeId="1" CreationDate="2023-10-13T03:12:22.040" Score="0" ViewCount="465" Body="&lt;p&gt;Now I have a Dolby Vison streaming with Filmmaker mode which is from DV cert. lab. I want to convert this streaming file to SDR and HDR. I'm an outdoor for ffmpeg. Who can help me to write a ffmpeg command to reach the target? Very appreciate it.&lt;/p&gt;&#xA;&lt;p&gt;PS: I use this command, but it only execute successfully when input video file is HDR.&#xA;ffmpeg -i HDR.mp4  -vf zscale=t=linear:npl=100,format=gbrpf32le,zscale=p=bt709,tonemap=tonemap=hable:desat=0,zscale=t=bt709:m=bt709:r=tv,format=yuv420p -c:v h264 -crf 19 -preset ultrafast output.mp4&lt;/p&gt;&#xA;&lt;p&gt;Filmmaker Mode is a standard from the UHD Alliance. It enables the TV to display the content of a movie or&#xA;television show precisely as intended by the filmmaker. Filmmaker Mode disables all postprocessing and&#xA;preserves the correct aspect ratios, colors, and frame rates.&lt;/p&gt;&#xA;" OwnerUserId="42622" LastEditorUserId="42622" LastEditDate="2023-10-13T03:24:49.617" LastActivityDate="2023-10-13T03:24:49.617" Title="How to convert Dolby Vision to SDR/HDR and sustain metadata?" Tags="|ffmpeg|video|video-editor|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36892" PostTypeId="1" CreationDate="2023-10-13T15:53:45.990" Score="0" ViewCount="30" Body="&lt;p&gt;Let there exist some function process_frame that takes in the current frame from a video and crops it to some new dimensions X2 x Y2. This can be accomplished by slicing the frame to the new dimensions:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;frame[Y2:Y2+H, X2:X2+W]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I can return this value and blit it to the screen with SDL2, but I want to just export the cropped frames to a new mp4 file. This can be accomplished with cv2, but it is blurry, choppy, no audio, and the export is 2x slower than the FPS specified. I want to maintain as clean of a resolution as possible, maintain audio, speed, encoding (HEVC.265 preferably), but I have no clue how this is done iteratively with FFMPEG.&lt;/p&gt;&#xA;&lt;p&gt;I've seen video exports done in one Terminal function, but the nuance here is that each cropped frame location will be &lt;em&gt;different,&lt;/em&gt; so it is necessary to do this iteratively.&lt;/p&gt;&#xA;&lt;p&gt;How is this done, and more specifically, how can I keep quality?&lt;/p&gt;&#xA;&lt;p&gt;Code for reference:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;import cv2&#xA;import sdl2&#xA;import sdl2.ext&#xA;import numpy as np&#xA;import time, sys, os&#xA;&#xA;from display import Display&#xA;&#xA;# auto-reframe new feature resolution&#xA;W, H = 1920//2, 1080//2&#xA;prev_x = 0&#xA;new_W_ratio = int((9*H) / 16)&#xA;cropped_frames = []&#xA;&#xA;disp = Display(new_W_ratio, H)&#xA;&#xA;def BlurValue(W, H):&#xA;    &amp;quot;&amp;quot;&amp;quot; The blur value is the dimension average  divided by 10 &amp;quot;&amp;quot;&amp;quot;&#xA;    avg = (W + H) // 2&#xA;    return int(avg//10)&#xA;&#xA;def process_frame(img, firstFrame=None):&#xA;    global prev_x&#xA;    img = cv2.resize(img, (W, H))&#xA;&#xA;    # take note of crop ratio (16:9)&#xA;    new_W_ratio = int((9*H) / 16)&#xA;    # ...&#xA;    cnts, _ = cv2.findContours(thresh, cv2.RETR_EXTERNAL, cv2.CHAIN_APPROX_SIMPLE)&#xA;&#xA;    # Loop through all contours and find the average nearest neighbor&#xA;    for c in cnts:&#xA;        (x, y, w, h) = cv2.boundingRect(c)&#xA;        if prev_x == 0: prev_x = x&#xA;        avg_x = (x+prev_x)/2&#xA;        if prev_x == 0: prev_x = x&#xA;&#xA;        if abs(x - prev_x) &amp;lt; 25 and abs(prev_x - avg_x) &amp;lt; 50 and x != 0:&#xA;            prev_x = x&#xA;            cropped_frame = img[0:H, x:x+new_W_ratio]&#xA;            cropped_frames.append(cropped_frame)&#xA;        elif x != 0:&#xA;            cropped_frame = img[0:H, prev_x:prev_x+new_W_ratio]&#xA;            cropped_frames.append(cropped_frame)&#xA;        else:&#xA;            cropped_frame = img[0:H, prev_x:prev_x+new_W_ratio]&#xA;            cropped_frames.append(cropped_frame)&#xA;&#xA;    disp.paint(cropped_frame)&#xA;&#xA;if __name__ == &amp;quot;__main__&amp;quot;:&#xA;    cap = cv2.VideoCapture(&amp;quot;TESTAUTOREFRAME.mov&amp;quot;)&#xA;    previousFrame = None&#xA;&#xA;    # save the auto reframe as a new file&#xA;    fourcc = cv2.VideoWriter_fourcc(*'mp4v')&#xA;    output_video = cv2.VideoWriter('output_auto_reframe.mp4', fourcc, 120, (new_W_ratio, H))&#xA;&#xA;    while cap.isOpened():&#xA;        ret, frame = cap.read()&#xA;        if ret == True:&#xA;            process_frame(frame)&#xA;        else:&#xA;            break&#xA;&#xA;    for f in cropped_frames:&#xA;        output_video.write(f)&#xA;    output_video.release()&#xA;    cap.release()&#xA;    cv2.destroyAllWindows()&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42631" LastActivityDate="2023-10-13T15:53:45.990" Title="How to crop iteratively and export new video in original resolution? (ffmpeg/cv2)" Tags="|ffmpeg|encoding|export|frame-interpolation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36893" PostTypeId="1" CreationDate="2023-10-14T08:41:04.747" Score="1" ViewCount="58" Body="&lt;p&gt;Have an command to make slideshow mp4 from *.jpg files:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -r 1/3 -f concat -safe 0 -i &amp;lt;(ls -v *.jpg | sed &amp;quot;s|^|file '$PWD/|&amp;quot;) -vf &amp;quot;scale='min(1920,iw)':min'(1080,ih)':force_original_aspect_ratio=decrease,pad=1920:1080:(ow-iw)/2:(oh-ih)/2&amp;quot; -c:v libx264 -pix_fmt yuv420p -r 60 -preset slow -crf 14 slideshow.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Need good effects from one jpg to another like morphing or just fade in fade out, not just &amp;quot;one picture 3 sec, next picture 3 sec, etc.&amp;quot;. Need exactly mp4 video file as result to make possibility to view this on other devices: mediaplayer, tv, smartphone etc.&lt;/p&gt;&#xA;" OwnerUserId="42634" LastActivityDate="2024-03-13T12:02:55.330" Title="Slideshow mp4 from jpg files with ffmpeg" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36894" PostTypeId="1" CreationDate="2023-10-14T08:53:34.880" Score="0" ViewCount="18" Body="&lt;p&gt;Is there any automatic way to make words highlight when talking? For example, when I display the phrase &lt;code&gt;Join the StackExchange community&lt;/code&gt;, each &lt;code&gt;word&lt;/code&gt; of the phrase is &lt;code&gt;highlighted&lt;/code&gt; as I say it. I see many videos with this feature on tiktok, but I wanna make youtube video.&#xA;I use canva pro and davinci resolve free version to edit my videos.&#xA;Of course I can do this manually but its hard to synchronize voice with displayed text.&lt;/p&gt;&#xA;&lt;p&gt;Like in the photos below&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4Gch5.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4Gch5.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ghj0T.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ghj0T.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="42635" LastEditorUserId="42635" LastEditDate="2023-10-14T08:54:29.610" LastActivityDate="2023-10-14T08:54:29.610" Title="Words highlighting when talking" Tags="|video|animation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36895" PostTypeId="1" CreationDate="2023-10-14T09:56:28.647" Score="0" ViewCount="269" Body="&lt;p&gt;The goal is to play a rtsp video stream in the chrome browser using Websocket and MSE. The structure of the system looks almost identical to &lt;a href=&quot;https://stackoverflow.com/questions/73562944/ffmpeg-live-streaming-for-media-source-extensionsmse&quot;&gt;https://stackoverflow.com/questions/73562944/ffmpeg-live-streaming-for-media-source-extensionsmse&lt;/a&gt;. This setup works in most situations but the moment B-Frames come into play everything breaks. FFmpeg starts to output &lt;code&gt;Non-monotonous DTS in output stream&lt;/code&gt; and shortly after the video played via MSE freezes for a few seconds. As a layman my understanding of the situation is that:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;There are decode timestamp (DTS) and presentation timestamp (PTS) and an RTSP stream does not carry DTS information but allows somehow to relay PTS information.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Without B-Frames DTS=PTS but when B-Frames occur, the frames have to be decoded ahead of time for later frames to be displayed correctly, resulting in a PTS &amp;gt; DTS for these frames.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;A mp4 muxer requires monotonously increasing DTS and DTS &amp;lt;= PTS. As the RTSP does not have DTS ffmpeg deduces DTS from PTS by default which results in jumps when a B-Frame occurs, hinted by the output &lt;code&gt;Non-monotonous DTS in output stream&lt;/code&gt;. FFmpeg &lt;em&gt;repairs&lt;/em&gt; the DTS by increment from the last valid DTS.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Now DTS is running behind video playback time the video presentation breaks down. Even the mode &lt;code&gt;segments&lt;/code&gt; does not help here as ffmpeg rewrote DTS to make it monotonous for the mp4 container and the underlying h264 does not include any timestamps so reordering can no longer happen.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;As I have no control over the existence of B-Frames in the RTSP stream, I must assist FFmpeg in the deduction of DTS or at least fix the decoding order. &lt;strong&gt;Important:&lt;/strong&gt; The live stream can only have a latency around one second so that expensive operations like reencoding the stream without B-Frames is not a valid option! I would also prefer to not build a specific application with ffmpeg's lib and instead use FFmpeg only via command line.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Idea 1&lt;/strong&gt;: Buffer around one second of the rtsp packets, reoder them by PTS and then generate DTS based on PTS. The reordering should effectivly prevent the issues of non monotonous dts increase and presentation. While I think this is the most promising solution, it does not seem to be possible with ffmpeg cli?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Idea 2&lt;/strong&gt;: Offset PTS by one second and set DTS to decode as soon as possible that frames are always ready for presentation. This assumes that B-Frames can be decoded after their respective partners are already decoded. I am not sure if this is even possible because the decoder may uses B-Frames as direct dependecies for the frames afterwards?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Idea 3&lt;/strong&gt;: Somehow export ISO BMFF with non monotonous DTS for each packet and let the &lt;code&gt;MediaSource&lt;/code&gt; sort the segments by DTS. As far as I understand the &lt;code&gt;segments&lt;/code&gt; mode reorders by PTS and not DTS, but maybe someone has more knowledge here?&lt;/p&gt;&#xA;&lt;p&gt;I already did a ton of research but was not able to implement the mentioned ideas with ffmpeg cli. Does someone know how to do it or has someone successfully used a similar system? I greatly appreciate other suggestions or technical feedback to improve my understanding. Solutions using ffmpeg as a programming library are also welcome but I am more interested in cli.&lt;/p&gt;&#xA;&lt;p&gt;Here the current ffmpeg command that works well without B-Frames:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -nostats -hide_banner -loglevel fatal -i &amp;lt;rtsp_src&amp;gt; -c copy -an -f mp4 -frag_duration 50000 -movflags +frag_keyframe+empty_moov+default_base_moof pipe:1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;My understanding is based on these sources: &lt;br&gt;&#xA;&lt;a href=&quot;https://stackoverflow.com/questions/60181618/how-to-write-a-video-stream-containing-b-frame-and-no-dts-to-a-mp4-container&quot;&gt;https://stackoverflow.com/questions/60181618/how-to-write-a-video-stream-containing-b-frame-and-no-dts-to-a-mp4-container&lt;/a&gt; &lt;br&gt;&#xA;&lt;a href=&quot;https://stackoverflow.com/questions/24354179/does-rtp-timestamp-represents-the-pts-of-the-audio-video-present-in-media&quot;&gt;https://stackoverflow.com/questions/24354179/does-rtp-timestamp-represents-the-pts-of-the-audio-video-present-in-media&lt;/a&gt; &lt;br&gt;&#xA;&lt;a href=&quot;https://stackoverflow.com/questions/2439096/h264-rtp-timestamp&quot;&gt;https://stackoverflow.com/questions/2439096/h264-rtp-timestamp&lt;/a&gt; &lt;br&gt;&#xA;&lt;a href=&quot;https://www.ietf.org/rfc/rfc3550.txt&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.ietf.org/rfc/rfc3550.txt&lt;/a&gt; &lt;br&gt;&#xA;&lt;a href=&quot;https://www.w3.org/TR/mse-byte-stream-format-isobmff/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.w3.org/TR/mse-byte-stream-format-isobmff/&lt;/a&gt; &lt;br&gt;&lt;/p&gt;&#xA;" OwnerUserId="42636" LastActivityDate="2023-10-14T09:56:28.647" Title="Use ffmpeg to transform rtsp stream containing B-Frames and no DTS into fragmented mp4" Tags="|ffmpeg|video|mp4|streaming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36896" PostTypeId="1" CreationDate="2023-10-14T18:44:12.053" Score="0" ViewCount="24" Body="&lt;p&gt;I want to change my YouTube channel niche and start creating content on a different category on the same channel that i currently have. The reason why i decided doing this is because my current channel is suspended from getting approved for YouTube Partner Program (YPP) and i believe that YouTube Won't accept any possible appeal i make. So by deleting all of my previous videos and uploading new content on a new category, will my channel be able to reapply for YPP and get approved for monitization?&lt;/p&gt;&#xA;" OwnerDisplayName="Ali.twoforkstower" LastActivityDate="2023-10-14T19:59:21.773" Title="Can i delete all of my YouTube channel videos and start creating new content on a different category but on the same channel? Will it get monitized?" Tags="|youtube|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36897" PostTypeId="1" CreationDate="2023-10-15T03:40:51.690" Score="0" ViewCount="22" Body="&lt;p&gt;I am editing a video which shot in &lt;code&gt;iPhone 14 pro max&lt;/code&gt; using &lt;code&gt;Filmic Pro&lt;/code&gt;, &lt;code&gt;4k-10 bit&lt;/code&gt;, &lt;code&gt;HEVC10&lt;/code&gt;, &lt;code&gt;30 fps&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I colour grade the video using &lt;code&gt;Davinci resolve 18.5&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;While doing the color grading, it is showing nice output in the screen. But when I upload it in youtube and preview there, the colour looks dull. I am giving the Davinci settings and screenshots from edited video played in mac and played in youtube given below&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Davinci Settings&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SxCWU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SxCWU.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Played in VLC player mac&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Vt8cE.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Vt8cE.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Played in youtube&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/p3Cuf.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/p3Cuf.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As clearly visible in the pictures, the output are different with less saturated in youtube. How can I fix this issue??&lt;/p&gt;&#xA;&lt;p&gt;Please help. Thanks in advance.&lt;/p&gt;&#xA;" OwnerUserId="29838" LastActivityDate="2023-10-15T03:40:51.690" Title="Export for youtube: video shot with iPhone 14 promax with filmic pro log v3 4k 10 bit HEVC10 and Davinci resolve" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36898" PostTypeId="2" ParentId="36893" CreationDate="2023-10-15T09:15:30.497" Score="1" Body="&lt;p&gt;I have done some research around this problem. Looks like it’s not easy to construct a one line command. Need a script with several steps describing the effects between each individual picture. Something with &lt;code&gt;-loop 1 -i './01.jpg' -loop 1 -i './02.jpg'&lt;/code&gt; use &lt;code&gt;filter_complex&lt;/code&gt; and something like &lt;code&gt;setpts=PTS-STARTPTS,split=2[stream1out1][stream1out2];[stream2blurred][stream2raw]&lt;/code&gt; step by step.&lt;br /&gt;&#xA;This is useful &lt;a href=&quot;https://github.com/tanersener/ffmpeg-video-slideshow-scripts&quot; rel=&quot;nofollow noreferrer&quot;&gt;github link&lt;/a&gt; with slideshow-scripts, e.g. blurred background, fade in/out, zoom in/out.  But this scripts eat many memory, slow generation time, and big mp4 final size.&lt;br /&gt;&#xA;So looks like initial command not so bad for using as is.&lt;/p&gt;&#xA;" OwnerUserId="42634" LastEditorUserId="42634" LastEditDate="2023-10-15T09:19:27.213" LastActivityDate="2023-10-15T09:19:27.213" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36899" PostTypeId="1" CreationDate="2023-10-15T12:57:47.917" Score="0" ViewCount="24" Body="&lt;p&gt;I am trying to concat two .ts files using ffmpeg. The files look like&lt;/p&gt;&#xA;&lt;p&gt;Part 0:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe -hide_banner part0.ts&#xA;Input #0, mpegts, from 'part0.ts':&#xA;  Duration: 00:00:25.02, start: 1.408000, bitrate: 76 kb/s&#xA;  Program 1 &#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;  Stream #0:0[0x100]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(tv, unknown/bt709/iec61966-2-1, progressive), 1920x1080, 50 fps, 50 tbr, 90k tbn&#xA;  Stream #0:1[0x101]: Audio: aac (LC) ([15][0][0][0] / 0x000F), 32000 Hz, stereo, fltp, 3 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Part 1:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpegts, from 'part1.ts':&#xA;  Duration: 00:33:03.10, start: 1.408000, bitrate: 886 kb/s&#xA;  Program 1 &#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;  Stream #0:0[0x100]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 50 fps, 50 tbr, 90k tbn&#xA;  Stream #0:1[0x101](und): Audio: aac (LC) ([15][0][0][0] / 0x000F), 32000 Hz, stereo, fltp, 129 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And concatenation is done using:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i &amp;quot;concat:part0.ts|part1.ts&amp;quot; -c copy -bsf:a aac_adtstoasc bla.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But the concatenated file always shows sync issues between audio and video. I have been using these to concatenate in the past without errors, but now it fails.&lt;/p&gt;&#xA;&lt;p&gt;Details about my ffmpeg:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -version&#xA;ffmpeg version n6.0 Copyright (c) 2000-2023 the FFmpeg developers&#xA;built with gcc 13.2.1 (GCC) 20230801&#xA;configuration: --prefix=/usr --disable-debug --disable-static --disable-stripping --enable-amf --enable-avisynth --enable-cuda-llvm --enable-lto --enable-fontconfig --enable-gmp --enable-gnutls --enable-gpl --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libdav1d --enable-libdrm --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libiec61883 --enable-libjack --enable-libjxl --enable-libmodplug --enable-libmp3lame --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librav1e --enable-librsvg --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libssh --enable-libsvtav1 --enable-libtheora --enable-libv4l2 --enable-libvidstab --enable-libvmaf --enable-libvorbis --enable-libvpl --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxcb --enable-libxml2 --enable-libxvid --enable-libzimg --enable-nvdec --enable-nvenc --enable-opencl --enable-opengl --enable-shared --enable-version3 --enable-vulkan&#xA;libavutil      58.  2.100 / 58.  2.100&#xA;libavcodec     60.  3.100 / 60.  3.100&#xA;libavformat    60.  3.100 / 60.  3.100&#xA;libavdevice    60.  1.100 / 60.  1.100&#xA;libavfilter     9.  3.100 /  9.  3.100&#xA;libswscale      7.  1.100 /  7.  1.100&#xA;libswresample   4. 10.100 /  4. 10.100&#xA;libpostproc    57.  1.100 / 57.  1.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42643" LastActivityDate="2023-10-15T12:57:47.917" Title="Concat two .ts files gets audio out of sync" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36900" PostTypeId="1" AcceptedAnswerId="36924" CreationDate="2023-10-15T15:21:31.743" Score="0" ViewCount="120" Body="&lt;p&gt;I am trying to add chapters to a .mp4 file.&#xA;When I tried extracting the metadata using the following command:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i INPUT.mp4 -f ffmetadata FFMETADATAFILE.txt&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I got an output file as follows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;;FFMETADATA1&#xA;major_brand=mp42&#xA;minor_version=0&#xA;compatible_brands=isommp42&#xA;encoder=Lavf60.15.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So now I try to add some chapters as such&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[CHAPTER]&#xA;TIMEBASE=1/1000&#xA;START=0&#xA;END=424510&#xA;title=mytitle1&#xA;&#xA;[CHAPTER]&#xA;TIMEBASE=1/1000&#xA;START=424511&#xA;END=941600&#xA;title=mytitle2&#xA;&#xA;[CHAPTER]&#xA;TIMEBASE=1/1000&#xA;START=941601&#xA;END=1227260&#xA;title=mytitle3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I use the &lt;code&gt;ffmpeg -i INPUT.mp4 -i FFMETADATAFILE.txt -map_metadata 1 -codec copy OUTPUT.mp4&lt;/code&gt; command to encode the metadata to my video file, and for some reason I only ever get 'Chapter 0', 'Chapter 1', and 'Chapter 2'.&lt;/p&gt;&#xA;&lt;p&gt;I tried using the &lt;code&gt;-map_chapters 1&lt;/code&gt; argument as well but results have been unchanged.&lt;/p&gt;&#xA;&lt;p&gt;I am using the &lt;code&gt;Latest Auto-Build (2023-10-14 13:02)&lt;/code&gt; Windows build by BtbN. Thanks in advance for the help.&lt;/p&gt;&#xA;" OwnerUserId="42646" LastActivityDate="2023-10-22T09:44:16.157" Title="FFmpeg does not encode chapter titles" Tags="|ffmpeg|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36901" PostTypeId="1" CreationDate="2023-10-15T16:00:54.567" Score="0" ViewCount="9" Body="&lt;p&gt;I'm currently working on a youtube project with guitar playing in the videos. Is there any one program I can use to do this? I don't mind if it's paid or free. I need to capture both audio and video in one file.&lt;/p&gt;&#xA;" OwnerUserId="42587" LastActivityDate="2023-10-15T16:00:54.567" Title="Need a program to make youtube videos with" Tags="|video|audio|youtube|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36902" PostTypeId="1" CreationDate="2023-10-15T16:13:12.510" Score="0" ViewCount="18" Body="&lt;p&gt;I’ve got an analog glitch fx module. It takes rca video input and outputs the same.&lt;/p&gt;&#xA;&lt;p&gt;The footage is on my pc.&lt;/p&gt;&#xA;&lt;p&gt;My plan is to connect it as follows.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Play the footage on my pc.&lt;/li&gt;&#xA;&lt;li&gt;HDMI cable from pc to a (HDMI/RCA) converter.&lt;/li&gt;&#xA;&lt;li&gt;RCA cable from converter to glitch fx&lt;/li&gt;&#xA;&lt;li&gt;RCA cable from glitch fx to tv.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;My question is: &lt;strong&gt;is there any way I can record the footage from the tv directly onto something eg memory card, stream to another pc, dvd, some sort of other recorder?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;At the moment, the only way I know for sure is to record the tv with a camera pointed at it.&lt;/p&gt;&#xA;&lt;p&gt;I think the problem is that the tv will only output on one ‘source’, so for it to play the rca in, I don’t think it will send the video out via hdmi to another pc where I could record it, for example.&lt;/p&gt;&#xA;&lt;p&gt;Any help appreciated.&lt;/p&gt;&#xA;" OwnerUserId="25930" LastActivityDate="2023-10-15T16:13:12.510" Title="How to record glitch footage on a tv?" Tags="|editing|video-recording|video-capture|setup|television|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36903" PostTypeId="1" CreationDate="2023-10-16T02:16:37.593" Score="0" ViewCount="50" Body="&lt;p&gt;My cut-down video is 5 minutes long but the timeline is still 20 minutes long.&lt;/p&gt;&#xA;" OwnerUserId="7946" LastActivityDate="2023-10-16T02:16:37.593" Title="How do I shorten the Kdenlive timeline length?" Tags="|kdenlive|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36904" PostTypeId="2" ParentId="36883" CreationDate="2023-10-16T07:09:41.940" Score="0" Body="&lt;p&gt;The default upload resolution is 1080p,&#xA;Try to change the upload quality settings to &amp;quot;full quality&amp;quot; on the YouTube app.&lt;/p&gt;&#xA;&lt;p&gt;I hope this helps.&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/P7nPFfpYtuw?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="42609" LastActivityDate="2023-10-16T07:09:41.940" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36905" PostTypeId="2" ParentId="31984" CreationDate="2023-10-16T07:16:37.593" Score="1" Body="&lt;p&gt;In the world of video editing, we don't typically use the term &amp;quot;render&amp;quot; in the same way it's used in 3D graphics. In 3D graphics, rendering refers to the process of generating the final 2D image or animation from a 3D scene.&lt;/p&gt;&#xA;&lt;p&gt;In video editing, the equivalent of &amp;quot;rendering&amp;quot; is usually referred to as &amp;quot;exporting&amp;quot; or &amp;quot;finalizing&amp;quot; the video. When you've finished editing your video and you want to create the final, watchable version that can be shared or uploaded, you would export or render it. This process converts your edited project into a format that can be easily played on various devices or platforms.&lt;/p&gt;&#xA;&lt;p&gt;So, to answer your question, you would call the final &amp;quot;render&amp;quot; in video editing either the &amp;quot;export&amp;quot; or the &amp;quot;finalizing&amp;quot; of the video.&lt;/p&gt;&#xA;" OwnerUserId="42609" LastEditorUserId="42609" LastEditDate="2023-10-16T07:17:05.053" LastActivityDate="2023-10-16T07:17:05.053" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36906" PostTypeId="1" CreationDate="2023-10-16T15:03:23.873" Score="1" ViewCount="22" Body="&lt;h2&gt;&lt;strong&gt;Context&lt;/strong&gt;&lt;/h2&gt;&#xA;&lt;p&gt;I'm a videography beginer. I am an experienced enthusiast photographer.&lt;/p&gt;&#xA;&lt;p&gt;I am trying to move into wildelife videography as a hobby. My aim at this stage isn't to create full peices but just to get good at capturing high quality, aesthetically pleasing footage of wildlife. As such I'm using photography/hybrid equipment, which I know is probably a stumbling block but it's what I can afford, and also it seems a lot of wildlife videographers use photographic lenses.&lt;/p&gt;&#xA;&lt;p&gt;Having done some initial research, I have obtained a sturdy tripod, fluid head, and tiny rig that allows me to use a tilta follow focus with my lens.&lt;/p&gt;&#xA;&lt;p&gt;My lens is a fly-by-wire focussing 100-400mm Fuji zoom, and I'm using a Fuji XH2s.&#xA;I have been trying to practice tracking wildlife near me - deer, and also birds in flight at locations near me where there are lots of birds to practice on.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;I am having struggling in two major areas, and wanting to know if it is likely that this is principally due to my skill level, or technical factors such as the gear I have, or both, and what i can do to improve.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;h2&gt;&lt;strong&gt;Panning/tacking smoothly&lt;/strong&gt;&lt;/h2&gt;&#xA;&lt;p&gt;Even with the Manfrotto fluid-head (MVH 500AH, which has fixed fluid drag for both tilt and pan), I struggle with smooth panning and tracking. My issue is keeping the speed of the movement uniform. I also find it impossible to go from stationary to moving with a noticeable jerk. I have tried adjusting the drag of the head but this doesn't seem to help, nor does turning off the camera &amp;amp; lens stabilisation. I appreciate that the use of a long lens will be making this harder than if it were a wide shot.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Is there anything in my set-up that might be making this more difficult - e.g. could some of the issue down to the performance of my fluid head; would one with variable drag be a lot better?&lt;/strong&gt;&#xA;&lt;strong&gt;In terms of my skill, are there any known techniques or practice exercises that I would benefit from knowing about?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;h2&gt;&lt;strong&gt;Focusing whilst tracking&lt;/strong&gt;&lt;/h2&gt;&#xA;&lt;p&gt;Whilst the camera has subject tracking, I'm keen to learn to MF as a skill in its own sake, and also because I don't think the tracking is reliable or necessarily pleasing in how it tracks. I appreciate that my lens being fly-by-wire focussing isn't a good start, but I think most longer tele lenses are and the youtuber I've been learning from uses a lens that works this way (and acheives results that nat geo use).&#xA;I've fiddled with the settings to require less throw for focusing which has helped. However, one thing I'm struggling with is whether to use focus assist (where the display shows a crop of the overall frame) in addition to peaking. Without this assist, I struggle to see the peaking for further away subjects (e.g. a bird coming towards me - it's at infinity but i need to be able to tell when I'm going to start to need to bring the focus in). However, in the crop focus asssist view, tracking a fast moving bird becomes really difficult, and even for slower subjects obviosuly i can't see what else may have come into frame etc. Furthermore, as one hand is on the pan arm and the other on the follow focus knob, I don't have a third had to operate the button that toggles between full/cropped view. The camera has an option where it switches into the crop view when the focus ring is moved, however it then stays there till a button is pressed so  I have no way to get it back and am stuck in the croped view.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;How do people tend to deal with this issue? Do they rely on more video-specific set ups than have function buttons operable from the pan arm or elsewhere? Do other camera systems have more sophisticated manual focus assist systems (e.g. a dual view that works for video capture). Would it help a lot to have a larger LCD or an external EVF, rather than relying on the camera's built in ones?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Or is it more likely that  I just need more practice, and if so, again are there any known techniques or practice exercises that I could look into?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="42649" LastEditorUserId="42649" LastEditDate="2023-10-16T15:31:41.493" LastActivityDate="2023-10-17T09:35:25.690" Title="How can I improve my tracking and manual focusing of fast moving subjects? (using a hybrid mirrorles camera)" Tags="|camera|tracking|lenses|focus|field-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36908" PostTypeId="2" ParentId="35820" CreationDate="2023-10-17T08:27:18.900" Score="0" Body="&lt;p&gt;Don't use intra-refresh with WebRTC - no implementation supports it, they all will wait for a full-blown IDR frame&lt;/p&gt;&#xA;" OwnerUserId="42656" LastActivityDate="2023-10-17T08:27:18.900" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36909" PostTypeId="1" CreationDate="2023-10-17T08:39:38.797" Score="0" ViewCount="59" Body="&lt;p&gt;I'am using ffmpeg to convert many video in .Mxf &amp;quot;Op Atom DNxHD 36&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;If I export the file from davinci and try to reopen it with davinci, I can import it.&#xA;If I export the file with ffmpeg I can't import it into davinci.&lt;/p&gt;&#xA;&lt;p&gt;i use this in ffmpeg:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -i $inputFile -c:v dnxhd -f mxf_opatom -an -vf &amp;quot;scale=1920x1080,fps=25/1,format=yuv422p&amp;quot; -b:v 36M -an $outputFile&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42655" LastEditorUserId="42655" LastEditDate="2023-10-17T08:40:54.300" LastActivityDate="2023-10-17T08:40:54.300" Title="Mxf DNxHD (Op-Atom) with ffmepg, problem with Da vinci resolve" Tags="|ffmpeg|mxf|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36910" PostTypeId="2" ParentId="36906" CreationDate="2023-10-17T09:35:25.690" Score="1" Body="&lt;p&gt;I cannot hope to provide a fully-qualified answer to this, but maybe one or two hints towards the right direction.&lt;br /&gt;&#xA;For starters, I don't think you're doing anything 'wrong'. You might need a bit more practise, but I think you're doing all the right things, so much as you can. You could experiment with different pan-heads &amp;amp;/or tensions, but I think you're inherently behind the game compared to the pros in terms of gear/technology &amp;amp; 'manpower'.&lt;/p&gt;&#xA;&lt;p&gt;For background, I'm also an experienced amateur photographer doing a lot of wildlife work &amp;amp; occasional videographer. I have a basic camera rig myself, but I actually work in film/TV [not on camera] so I do see the 'big boy's toys' in action almost daily.&lt;/p&gt;&#xA;&lt;p&gt;Of course, back in the day, everybody shot on film, everything was manual. Wildlife crews spent days, weeks, months getting enough non-blurry footage to fill an hour's slot. Note the wide/zoom ratio they used to have to use compared to what they can do now.&lt;/p&gt;&#xA;&lt;p&gt;Today, it's all in the technology. Cranes and gimbals can get closer than people. Cameras can be controlled wirelessly, with the op a safe distance away. A good gimbal can turn the roughest pan into a smooth wonder. Good autofocus can keep the subject pin-sharp at the same time, if they're not running manual, which they usually do; see below.&lt;br /&gt;&#xA;That's all well and good if you can afford the best gear in the business. I work on productions where they have both a Steadicam or Ronin op &amp;amp; another Ronin on a 20ft crane, every lens you could wish for and cameras that would make your bank manager cry. I couldn't afford those if I sold my house and car, so that's right out of the window.&lt;/p&gt;&#xA;&lt;p&gt;Stabilisation and auto-focus on dual purpose DSLR/mirrorless cameras is… not great. Stabilisation often is tuned towards stills; some lenses have dual-mode stabilisation for tripod/hand-held use - I didn't check for your lens specifically. [I read on DPReview that the XH2's auto-focus is jumpy, but improves at lower frame-rates, 30 or even 20 fps.]&lt;br /&gt;&#xA;Manual focussing on a pro rig is usually done by another operator [focus puller, now usually called 1st AC (assistant camera)], the camera op doesn't have to do both jobs at once. The camera op's job is to keep it pointing in the right direction, not keep it in focus. The focus puller can look away from the scene on screen to better judge distances directly, and the calibrated focus ring remote is right there in their hand to see, rather than on the camera body - whereas you can't see the measurements on a lens from behind the camera. They will also quite likely have measured to significant points so they can quickly get to approximate before needing to use peaking or other methods to get pin sharp.&lt;/p&gt;&#xA;&lt;p&gt;They're using something like this, and whilst the camera is rolling, keeping focus is their entire job.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Dd8i1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Dd8i1m.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt; &lt;a href=&quot;https://i.stack.imgur.com/9NtWh.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9NtWhm.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;sup&gt;Click for full size&lt;/sup&gt;&lt;br /&gt;&#xA;So, you're trying to do the job of two people, with gear that's not as good as they have.&lt;br /&gt;&#xA;That's a hill to climb.&lt;/p&gt;&#xA;&lt;p&gt;Dedicated video cameras are getting down towards affordable now - same price as a decent DSLR/mirrorless multi-function. They have stabilisation in software that makes it feel like you're on a gimbal, even hand-held, that doesn't fight with an in-lens stabiliser. Good focus peaking right there on-screen.&lt;br /&gt;&#xA;I don't really like recommending specific products, but sometimes they're no-brainers;) If you have an iPhone I'd definitely check out the new &lt;a href=&quot;https://www.blackmagicdesign.com/products/blackmagiccamera&quot; rel=&quot;nofollow noreferrer&quot;&gt;Blackmagic Camera app&lt;/a&gt; - free, as is their &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve&quot; rel=&quot;nofollow noreferrer&quot;&gt;DaVinci Resolve&lt;/a&gt; edit suite, for home/semi-pro use. The iPhone app is, as far as I can gather, the 'brains' that is in their new semi-pro &lt;a href=&quot;https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera&quot; rel=&quot;nofollow noreferrer&quot;&gt;Pocket Cinema Cameras&lt;/a&gt;.&#xA;Having tried the app just on a couple of test scenes, nothing serious, I'm now having a serious debate with myself about going to see the bank manager to get one of the cameras… so I can get proper lenses on the front of that software.&lt;/p&gt;&#xA;&lt;p&gt;Give the app a try, check out the stabilisation &amp;amp; focus assist - I don't think you can use manual focus on the iPhone &amp;amp; my single lens 28mm equivalent has far too long a DoF to properly test it.&lt;br /&gt;&#xA;I hope this doesn't come over as a one-man advertising campaign - that was not my intent - but just to show what the technology can add to your arsenal.&lt;/p&gt;&#xA;" OwnerUserId="12233" LastActivityDate="2023-10-17T09:35:25.690" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36911" PostTypeId="1" CreationDate="2023-10-17T11:28:12.807" Score="1" ViewCount="37" Body="&lt;p&gt;I'm trying to convert a simple animation from MOV to WEBM so it can be used as an OBS alert for my Twitch stream.&lt;/p&gt;&#xA;&lt;p&gt;However, when I convert using FFMPEG, the colour is slightly washed out.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pOOOK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pOOOK.png&quot; alt=&quot;As you can see on the left red line, the right half (WEBM) is washed out compared to the left half (MOV).&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is what I'm currently using:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;file_name.mov&amp;quot; -c:v libvpx-vp9 -lossless 1 -auto-alt-ref 0 &amp;quot;file_name.webm&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I was not expecting the colour to be slightly washed out.&lt;/p&gt;&#xA;&lt;p&gt;Is there anyway to ensure that the WEBM, once converted from the MOV file does not lose its colour?&lt;/p&gt;&#xA;&lt;p&gt;Many thanks.&lt;/p&gt;&#xA;" OwnerUserId="42657" LastActivityDate="2023-10-17T11:28:12.807" Title="Washed out colours when converting MOV to WEBM using FFMPEG" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36912" PostTypeId="2" ParentId="8639" CreationDate="2023-10-17T20:59:37.650" Score="1" Body="&lt;p&gt;Hash the video and publish the hash of the video on any blockchain that is likely to still be there in the future. Later you can prove the video existed at the time its hash was published.&lt;/p&gt;&#xA;" OwnerUserId="42661" LastActivityDate="2023-10-17T20:59:37.650" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36914" PostTypeId="2" ParentId="36434" CreationDate="2023-10-18T14:06:38.033" Score="-1" Body="&lt;p&gt;ok so i figured it out. basically the simple solution is that this is a random glitch, and you need to restart the whole project.&#xA;just restart. start new project, import a clip or two, make some quick edits,&#xA;and do a quick test render. should work from there, worked for me.&#xA;i was unable to figure out how to fix this glitch, on a current project.&lt;/p&gt;&#xA;" OwnerUserId="42666" LastActivityDate="2023-10-18T14:06:38.033" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36915" PostTypeId="1" CreationDate="2023-10-17T23:06:23.493" Score="0" ViewCount="28" Body="&lt;p&gt;I am an audiovisual student and I have to record a short sequence of a party.&#xA;My teacher asks us for a report with the following camera configurations:&lt;/p&gt;&#xA;&lt;p&gt;ISO:&#xA;Fps:&#xA;Shutter:&#xA;Codec:&#xA;Format:&#xA;Contrast range:&lt;/p&gt;&#xA;&lt;p&gt;My question is how could I know that or how to calculate it.&lt;/p&gt;&#xA;" OwnerDisplayName=" Jay " LastEditorUserId="-1" LastEditDate="2023-11-11T17:49:11.837" LastActivityDate="2023-11-11T17:49:11.837" Title="How can I know the settings of a camera without being there?" Tags="|video-recording|camera|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36916" PostTypeId="2" ParentId="36434" CreationDate="2023-10-19T14:13:19.797" Score="0" Body="&lt;p&gt;I found some info on another thread that helped tremendously. Haven't had the problem since - and have created several MP4s successfully.  The main thing was:&lt;/p&gt;&#xA;&lt;p&gt;Don't add a JPG clip.  Use PNG.  It doesn't like JPG for some reason.&lt;/p&gt;&#xA;&lt;p&gt;Another was to name everything you add with one word.  Instead of naming the MP4 your importing into your project &amp;quot;My Video.MP4&amp;quot;, name it MyVideo.MP4. Spaces can cause issues.&lt;/p&gt;&#xA;" OwnerUserId="41142" LastEditorUserId="674" LastEditDate="2023-10-19T19:39:19.587" LastActivityDate="2023-10-19T19:39:19.587" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36917" PostTypeId="1" AcceptedAnswerId="36918" CreationDate="2023-10-19T22:15:34.030" Score="0" ViewCount="32" Body="&lt;p&gt;Very new to audio stuff so sorry if i get some terms wrong in advance.&lt;/p&gt;&#xA;&lt;p&gt;I'm using automation to keyframe the frequency on band 6 in the EQ as shown here&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WXCAe.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WXCAe.png&quot; alt=&quot;Automation on the clip&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Even when it hits the bottom, i still dont feel its enough. Band 6 seems to have a frequency limit (automation wise) that changes depending on the starting point of the band. This image shows what i want automation to keep doing but it wont. i start it at 20k6 and it stops at 1k4 for some reason.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BahSN.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BahSN.png&quot; alt=&quot;What i want to keep doing&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I can move the band before hand to get a lower frequency but that also effects the starting point. &lt;strong&gt;My goal is to get a stronger muffle effect at the end by automating the 6th band to go lower while keeping the same starting point.&lt;/strong&gt; Please let me know if there is a better way to get this effect.&lt;/p&gt;&#xA;" OwnerUserId="37770" LastActivityDate="2023-10-20T08:07:08.693" Title="How can i go higher than the frequency limit set on EQ band 6 automation in davinci resolve" Tags="|audio|davinci-resolve|automation|equalization|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36918" PostTypeId="2" ParentId="36917" CreationDate="2023-10-20T08:07:08.693" Score="1" Body="&lt;p&gt;it's in the manual…page 3300 (yeah, ikr, it's a big manual, but it is searchable;)&lt;/p&gt;&#xA;&lt;p&gt;Im trying to do this without having to launch DaVinci, as my machine is currently editing another huge project in a different app.&lt;/p&gt;&#xA;&lt;p&gt;Each of the bands will have a highest &amp;amp; lowest frequency it can reach. Try maybe the middle band. Set it to hi-shelf [which is not quite the same as hi-pass, but should be OK for this]. If it will reach even 12k it's probably high enough to start.&#xA;Dial in a negative gain - you can automate this too.&lt;br /&gt;&#xA;You can change the slope with the Q dial.&lt;br /&gt;&#xA;Then automate reducing the frequency over the period you need the sound to get duller.&lt;/p&gt;&#xA;&lt;p&gt;With a little fiddling, you ought to be able to get what you want, with only a maximum of 6 parameter points in your automation.&lt;/p&gt;&#xA;" OwnerUserId="12233" LastActivityDate="2023-10-20T08:07:08.693" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36920" PostTypeId="1" CreationDate="2023-10-20T08:51:02.437" Score="0" ViewCount="132" Body="&lt;p&gt;I would like to encode with &lt;code&gt;hevc_vaapi&lt;/code&gt; and also to filter with &lt;code&gt;nlmeans_opencl&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I've tried many combinations, such as&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -vaapi_device /dev/dri/renderD128 -init_hw_device vaapi=vaapi -init_hw_device opencl=opencl -filter_hw_device opencl -hwaccel vaapi -hwaccel_output_format vaapi -i input.mp4 -vf &amp;quot;format=yuv420p,hwupload,hwmap=derive_device=opencl,nlmeans_opencl=4.0:7:5:5:5,hwmap=derive_device=vaapi:reverse=1:extra_hw_frames=16,format=vaapi&amp;quot; -c:v hevc_vaapi -rc_mode CQP -global_quality 25  output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;the error is always&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Impossible to convert between the formats supported by the filter 'Parsed_format_5' and the filter 'auto_scale_1'&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Function not implemented&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is there a way to do that? If so, what is the minimum set of options to pass to ffmpeg? (I guess that some of the options above are wrong or unneded)&lt;/p&gt;&#xA;&lt;p&gt;Thanks for any comment or suggestion.&lt;/p&gt;&#xA;" OwnerUserId="35612" LastActivityDate="2023-10-20T08:51:02.437" Title="ffmpeg vaapi encoding with opencl filters" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36921" PostTypeId="1" CreationDate="2023-10-20T17:27:14.767" Score="0" ViewCount="63" Body="&lt;p&gt;I created a 3d animation that I converted from an image sequence (211 pngs @ 30fps) using this command:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -framerate 30 -pattern_type glob -i '*.png' -vf &amp;quot;scale=460:-1&amp;quot; -c:v libvpx-vp9 -pix_fmt yuva420p output.webm&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Since Safari doesn't support transparent WebM videos, I need to create an h265 mov file. I found these parameters but it creates a ~1mb video for a 3s loop.&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -framerate 30 -pattern_type glob -i '*.png' -c:v hevc_videotoolbox -allow_sw 1 -vf &amp;quot;scale=460:-1, premultiply=inplace=1&amp;quot; -vtag hvc1 -alpha_quality 0.85 -q:v 80 output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Is there a way to compress the loop to get closer to the webm video filesize (360kb)?&lt;/p&gt;&#xA;" OwnerUserId="3215" LastActivityDate="2023-10-20T17:27:14.767" Title="Better compression for h265 transparent mov video" Tags="|ffmpeg|compression|h265|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36922" PostTypeId="2" ParentId="24278" CreationDate="2023-10-21T13:28:29.183" Score="1" Body="&lt;p&gt;Update, as of March 2023, RTMP has added support for HEVC. Refer to &lt;a href=&quot;http://ossrs.io/lts/en-us/docs/v6/doc/hevc&quot; rel=&quot;nofollow noreferrer&quot;&gt;Enhanced RTMP&lt;/a&gt;. Therefore, both RTMP and FLV standards now support HEVC.&lt;/p&gt;&#xA;&lt;p&gt;Support status for related open-source projects:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;OBS 29 supports RTMP HEVC. Refer to &lt;a href=&quot;https://github.com/obsproject/obs-studio/pull/8522&quot; rel=&quot;nofollow noreferrer&quot;&gt;Enable AV1, HEVC via RTMP to YouTube&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;FFmpeg's patch for Enhanced RTMP support has been submitted and is under review.&lt;/li&gt;&#xA;&lt;li&gt;mpegts.js 1.7.3 supports HTTP-FLV HEVC. Refer to &lt;a href=&quot;https://github.com/xqq/mpegts.js/issues/64&quot; rel=&quot;nofollow noreferrer&quot;&gt;FLV with HEVC support&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;SRS media server 6.0 supports RTMP HTTP-FLV HEVC. Refer to &lt;a href=&quot;https://github.com/ossrs/srs/issues/465&quot; rel=&quot;nofollow noreferrer&quot;&gt;H265: Support HEVC in RTMP/SRT/HLS/WebRTC/DASH/GB28181&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;To test RTMP HEVC, you can use OBS, patched FFmpeg, and SRS. First, start SRS:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;docker run --rm -it -p 1935:1935 -p 8080:8080 ossrs/srs:6 \&#xA;  ./objs/srs -c conf/hevc.flv.conf&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Download OBS 29+ from &lt;a href=&quot;https://github.com/obsproject/obs-studio/releases&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, select the HEVC codec, or use FFmpeg 6.0 to publish RTMP HEVC stream:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -stream_loop -1 -re -i doc/source.flv -acodec copy -vcodec libx265 \&#xA;  -f flv rtmp://localhost/live/livestream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Note: Build or patch FFmpeg 4/5/6+ with HEVC over RTMP, please see this &lt;a href=&quot;https://ossrs.io/lts/en-us/docs/v6/doc/hevc#ffmpeg-tools&quot; rel=&quot;nofollow noreferrer&quot;&gt;post&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Now, you are able to play HTTP-FLV or HLS with HEVC codec:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;HTTP-FLV(by H5): &lt;a href=&quot;http://localhost:8080/players/srs_player.html?autostart=true&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://localhost:8080/live/livestream.flv&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;HLS(by VLC or fflay): &lt;code&gt;http://localhost:8080/live/livestream.m3u8&lt;/code&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Keep in mind that FFmpeg 6.0 does not support HEVC over RTMP until the following commit&#xA;&lt;a href=&quot;https://github.com/FFmpeg/FFmpeg/commit/637c761be1bf9c3e1f0f347c5c3a390d7c32b282&quot; rel=&quot;nofollow noreferrer&quot;&gt;637c761b&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;commit 637c761be1bf9c3e1f0f347c5c3a390d7c32b282&#xA;Author: Steven Liu &amp;lt;liuqi05@kuaishou.com&amp;gt;&#xA;Date:   Mon Aug 28 09:59:24 2023 +0800&#xA;&#xA;    avformat/rtmpproto: support enhanced rtmp&#xA;    &#xA;    add option named rtmp_enhanced_codec,&#xA;    it would support hvc1,av01,vp09 now,&#xA;    the fourcc is using Array of strings.&#xA;    &#xA;    Signed-off-by: Steven Liu &amp;lt;lq@chinaffmpeg.org&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For details, please refer to &lt;a href=&quot;http://ossrs.io/lts/en-us/docs/v6/doc/hevc#usage&quot; rel=&quot;nofollow noreferrer&quot;&gt;SRS HEVC Usage&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="42693" LastEditorUserId="42693" LastEditDate="2023-10-26T03:55:29.677" LastActivityDate="2023-10-26T03:55:29.677" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36923" PostTypeId="2" ParentId="17816" CreationDate="2023-10-21T23:58:55.587" Score="0" Body="&lt;p&gt;The problem you're facing is the high latency of HLS, which causes a longer delay for viewers to see new content when switching live content, such as changing cameras or restarting the stream. In simple terms: How to reduce the end-to-end latency of HLS.&lt;/p&gt;&#xA;&lt;p&gt;Generally, HLS latency is around 30 seconds. This is because TS segments are typically set to 10 seconds per TS file, and the window (number of TS files) is set to 6, resulting in a total duration of 60 seconds for TS files in the M3U8 playlist. If the player starts requesting segments from the middle position, i.e., from the third-to-last segment, the latency will naturally be around 30 seconds.&lt;/p&gt;&#xA;&lt;p&gt;You can reduce these two parameters, for example, by changing the TS file duration to 2 seconds, which will result in a latency of 6 to 8 seconds. Due to the HLS segment and window mechanism, it is difficult to optimize the latency to less than 8 seconds, as players may encounter network delays, segment loading failures, and retries, with different behaviors for different players. For more details, please refer to &lt;a href=&quot;https://ossrs.io/lts/en-us/docs/v5/doc/hls#hls-low-latency&quot; rel=&quot;nofollow noreferrer&quot;&gt;SRS HLS Latency&lt;/a&gt;. The config for SRS media server:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;vhost __defaultVhost__ {&#xA;    hls {&#xA;        enabled  on;&#xA;        hls_fragment 2;&#xA;        hls_window 10;&#xA;    }&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If you want to reduce the latency to within 3 seconds, you need to change the streaming protocol to HTTP-FLV. For more information, please refer to &lt;a href=&quot;https://ossrs.io/lts/en-us/docs/v5/doc/flv&quot; rel=&quot;nofollow noreferrer&quot;&gt;SRS FLV&lt;/a&gt;. Since iOS Safari does not yet support &lt;a href=&quot;https://caniuse.com/?search=MSE&quot; rel=&quot;nofollow noreferrer&quot;&gt;MSE&lt;/a&gt;, you still need to use HLS or WebRTC protocol. The config for SRS media server:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;vhost __defaultVhost__ {&#xA;    http_remux {&#xA;        enabled on;&#xA;    }&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;If you want to reduce the latency to within 1 second or achieve low latency on iOS Safari, you can use the WebRTC protocol. For more information, please refer to &lt;a href=&quot;https://ossrs.io/lts/en-us/docs/v5/doc/webrtc#rtmp-to-rtc&quot; rel=&quot;nofollow noreferrer&quot;&gt;SRS WebRTC&lt;/a&gt;. The config for SRS media server:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;rtc_server {&#xA;    enabled on;&#xA;}&#xA;vhost __defaultVhost__ {&#xA;    rtc {&#xA;        enabled on;&#xA;        rtmp_to_rtc on;&#xA;    }&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The root cause of this problem is not the Nginx distribution server, but the HLS segmentation mechanism and streaming protocol. It is recommended to switch to the SRS media server, which supports all these protocols and has the following workflow:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;OBS/FFmpeg --RTMP--&amp;gt; SRS Media Server ---+--HTTP-FLV----&amp;gt; Browser&#xA;                                         +--HLS/WebRTC--&amp;gt; iOS Safari&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Note: WebRTC is generally used in the online conferencing field and is gradually being applied in low-latency broadcasting. The protocol used to push streams with WebRTC is called WHIP, similar to RTMP, and the protocol used to play streams with WebRTC is called WHEP, similar to HLS.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="42693" LastActivityDate="2023-10-21T23:58:55.587" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36924" PostTypeId="2" ParentId="36900" CreationDate="2023-10-22T09:44:16.157" Score="2" Body="&lt;p&gt;Turns out the latest version by BtbN and gyan.dev &lt;strong&gt;does&lt;/strong&gt; have an issue, because the chapters encoded just fine when I used the version 5.1.2 build by gyan.dev.&lt;/p&gt;&#xA;&lt;p&gt;I previously tried using the release version 6.0 but it had the same problem, so the solution is to simply use release version 5.1.2.&lt;/p&gt;&#xA;" OwnerUserId="42646" LastActivityDate="2023-10-22T09:44:16.157" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36925" PostTypeId="2" ParentId="10663" CreationDate="2023-10-23T01:33:35.570" Score="0" Body="&lt;p&gt;In addition to the mentioned Red5 and Wowza, there have been new protocols and media servers introduced in the past decade. For example, SRT/RIST is widely used in streaming and broadcasting, WebRTC/WHIP has replaced Flash for web streaming, and new codecs like H.265 and AV1 are becoming more popular. The new media server &lt;a href=&quot;https://github.com/ossrs/srs&quot; rel=&quot;nofollow noreferrer&quot;&gt;SRS&lt;/a&gt; supports these protocols well and works well with clients.&lt;/p&gt;&#xA;&lt;p&gt;Streaming servers need to support various streaming protocols, such as RTMP, SRT, HLS, HTTP-FLV, WebRTC, DASH, etc. They also need to support protocol conversion, like converting RTMP to HLS or WebRTC, and WebRTC to RTMP or HLS. This is because, during streaming, OBS might use RTMP or SRT, or a web page might use WebRTC, while viewers may require HLS or WebRTC. Modern streaming servers have the capability to perform these protocol conversions.&lt;/p&gt;&#xA;&lt;p&gt;In fact, streaming solutions not only include media servers like SRS and clients like FFmpeg, OBS, and WebRTC, but also essential features such as authentication, recording, re-streaming, and transcoding. These features require a combination of multiple open-source projects, working together with servers and clients. &lt;a href=&quot;https://github.com/ossrs/srs-stack&quot; rel=&quot;nofollow noreferrer&quot;&gt;SRS Stack&lt;/a&gt; is designed to address this issue.&lt;/p&gt;&#xA;&lt;p&gt;SRS Stack is a more suitable solution for you, which can be deployed on a VPS or started directly using Docker. You can refer to the following documentation:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://blog.ossrs.io/how-to-setup-a-video-streaming-service-by-1-click-e9fe6f314ac6&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to Setup a Video Streaming Service by 1-Click&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://blog.ossrs.io/publish-your-srs-livestream-through-wordpress-ec18dfae7d6f&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to Publish Your SRS Livestream Through WordPress&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://blog.ossrs.io/maximize-your-live-streaming-reach-a-guide-to-multi-platform-streaming-38be22beec57&quot; rel=&quot;nofollow noreferrer&quot;&gt;Maximize Your Live Streaming Reach: A Guide to Multi-Platform Streaming&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://blog.ossrs.io/how-to-record-live-streaming-to-mp4-file-2aa792c35b25&quot; rel=&quot;nofollow noreferrer&quot;&gt;How to Record Live Streaming to MP4 File&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://blog.ossrs.io/virtual-live-events-revolutionizing-the-way-we-experience-entertainment-ba1895828b4f&quot; rel=&quot;nofollow noreferrer&quot;&gt;Virtual Live Events: Revolutionizing the Way We Experience Entertainment&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://blog.ossrs.io/easily-stream-your-rtsp-ip-camera-to-youtube-twitch-or-facebook-c078db917149&quot; rel=&quot;nofollow noreferrer&quot;&gt;Easily Stream Your RTSP IP Camera to YouTube, Twitch, or Facebook&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Streaming solutions need to support specific business scenarios. We welcome your feedback to continuously improve SRS Stack.&lt;/p&gt;&#xA;" OwnerUserId="42693" LastEditorUserId="42693" LastEditDate="2023-10-23T01:39:16.180" LastActivityDate="2023-10-23T01:39:16.180" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36926" PostTypeId="2" ParentId="33829" CreationDate="2023-10-23T04:20:44.827" Score="0" Body="&lt;p&gt;Had the same issue. Here was my workaround:&lt;/p&gt;&#xA;&lt;p&gt;Apply a timecode effect to first video clip. This allows you to set multiple overlays (source and record timecode as well file name).&lt;/p&gt;&#xA;&lt;p&gt;Position everything where you want it - and then copy the effect to all other clips in your sequence.&lt;/p&gt;&#xA;&lt;p&gt;Ideally works best if you've collapsed all video to 1 track beforehand.&lt;/p&gt;&#xA;" OwnerUserId="42705" LastActivityDate="2023-10-23T04:20:44.827" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36927" PostTypeId="1" AcceptedAnswerId="36940" CreationDate="2023-10-23T11:32:54.247" Score="0" ViewCount="622" Body="&lt;p&gt;I have ip and usb cameras. I try restream rtsp from camera using ffmpeg and mediamtx (rtsp simple server). For usb camera it works fine without any delay:&lt;br /&gt;&#xA;mediamtx output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;anton@anton:~$ RTSP_RTSPADDRESS=:9000 ./mediamtx&#xA;INF MediaMTX v1.2.0&#xA;INF configuration loaded from /home/anton/mediamtx.yml&#xA;INF [RTSP] listener opened on :9000 (TCP), :8000 (UDP/RTP), :8001 (UDP/RTCP)&#xA;INF [RTMP] listener opened on :1935&#xA;INF [HLS] listener opened on :8888&#xA;INF [WebRTC] listener opened on :8889 (HTTP)&#xA;INF [SRT] listener opened on :8890 (UDP)&#xA;INF [RTSP] [conn 127.0.0.1:36742] opened&#xA;INF [RTSP] [session b6d6f987] created by 127.0.0.1:36742&#xA;INF [RTSP] [session b6d6f987] is publishing to path 'camera1', 1 track (MPEG-4 Video)&#xA;INF [RTSP] [conn 192.168.3.77:50422] opened&#xA;INF [RTSP] [session cec77920] created by 192.168.3.77:50422&#xA;INF [RTSP] [session cec77920] is reading from path 'camera1', with UDP, 1 track (MPEG-4 Video)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;ffmpeg pipeline output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;anton@anton:~$ ffmpeg -re -rtsp_transport tcp -i rtsp://192.168.3.100:9005/camera5 -codec copy -f rtsp rtsp://localhost:9000/camera1&#xA;ffmpeg version 3.2.18-0+deb9u1 Copyright (c) 2000-2022 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;  configuration: --prefix=/usr --extra-version=0+deb9u1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libebur128 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared&#xA;  libavutil      55. 34.101 / 55. 34.101&#xA;  libavcodec     57. 64.101 / 57. 64.101&#xA;  libavformat    57. 56.101 / 57. 56.101&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libavresample   3.  1.  0 /  3.  1.  0&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;Input #0, rtsp, from 'rtsp://192.168.3.100:9005/camera5':&#xA;  Metadata:&#xA;    title           : Session streamed with GStreamer&#xA;    comment         : rtsp-server&#xA;  Duration: N/A, start: 0.000367, bitrate: N/A&#xA;    Stream #0:0: Video: mpeg4 (Simple Profile), yuv420p, 648x486 [SAR 1:1 DAR 4:3], 30 tbr, 90k tbn, 30 tbc&#xA;Output #0, rtsp, to 'rtsp://localhost:9000/camera1':&#xA;  Metadata:&#xA;    title           : Session streamed with GStreamer&#xA;    comment         : rtsp-server&#xA;    encoder         : Lavf57.56.101&#xA;    Stream #0:0: Video: mpeg4 (Simple Profile), yuv420p, 648x486 [SAR 1:1 DAR 4:3], q=2-31, 30 tbr, 90k tbn, 30 tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;Press [q] to stop, [?] for help&#xA;frame= 2609 fps= 30 q=-1.0 Lsize=N/A time=00:01:26.93 bitrate=N/A speed=0.999x    &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;for ip camera the same commands work too, but restreaming comes out with 0.5 - 1 second delay:&lt;br /&gt;&#xA;mediamtx output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;anton@anton:~$ RTSP_RTSPADDRESS=:9000 ./mediamtx&#xA;INF MediaMTX v1.2.0&#xA;INF configuration loaded from /home/anton/mediamtx.yml&#xA;INF [RTSP] listener opened on :9000 (TCP), :8000 (UDP/RTP), :8001 (UDP/RTCP)&#xA;INF [RTMP] listener opened on :1935&#xA;INF [HLS] listener opened on :8888&#xA;INF [WebRTC] listener opened on :8889 (HTTP)&#xA;INF [SRT] listener opened on :8890 (UDP)&#xA;INF [RTSP] [conn 127.0.0.1:36736] opened&#xA;INF [RTSP] [session 967ae51e] created by 127.0.0.1:36736&#xA;INF [RTSP] [session 967ae51e] is publishing to path 'camera1', 1 track (H264)&#xA;INF [RTSP] [conn 192.168.3.77:50408] opened&#xA;INF [RTSP] [session 5b412272] created by 192.168.3.77:50408&#xA;INF [RTSP] [session 5b412272] is reading from path 'camera1', with UDP, 1 track (H264)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;ffmpeg pipeline output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;anton@anton:~$ ffmpeg -re -rtsp_transport tcp -i rtsp://192.168.3.107:554/av2_0 -codec copy -f rtsp rtsp://localhost:9000/camera1&#xA;ffmpeg version 3.2.18-0+deb9u1 Copyright (c) 2000-2022 the FFmpeg developers&#xA;  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516&#xA;  configuration: --prefix=/usr --extra-version=0+deb9u1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libebur128 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared&#xA;  libavutil      55. 34.101 / 55. 34.101&#xA;  libavcodec     57. 64.101 / 57. 64.101&#xA;  libavformat    57. 56.101 / 57. 56.101&#xA;  libavdevice    57.  1.100 / 57.  1.100&#xA;  libavfilter     6. 65.100 /  6. 65.100&#xA;  libavresample   3.  1.  0 /  3.  1.  0&#xA;  libswscale      4.  2.100 /  4.  2.100&#xA;  libswresample   2.  3.100 /  2.  3.100&#xA;  libpostproc    54.  1.100 / 54.  1.100&#xA;Input #0, rtsp, from 'rtsp://192.168.3.107:554/av2_0':&#xA;  Metadata:&#xA;    title           : av2_0&#xA;  Duration: N/A, start: 0.040000, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (Main), yuv420p(progressive), 720x576, 25 fps, 25 tbr, 90k tbn, 180k tbc&#xA;Output #0, rtsp, to 'rtsp://localhost:9000/camera1':&#xA;  Metadata:&#xA;    title           : av2_0&#xA;    encoder         : Lavf57.56.101&#xA;    Stream #0:0: Video: h264 (Main), yuv420p(progressive), 720x576, q=2-31, 25 fps, 25 tbr, 90k tbn, 90k tbc&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;Press [q] to stop, [?] for help&#xA;[rtsp @ 0x5e0a3706a960] Timestamps are unset in a packet for stream 0. This is deprecated and will stop working in the future. Fix your code to set the timestamps properly&#xA;[rtsp @ 0x5e0a3706a960] Non-monotonous DTS in output stream 0:0; previous: 0, current: 0; changing to 1. This may result in incorrect timestamps in the output file.&#xA;frame= 2568 fps= 25 q=-1.0 Lsize=N/A time=00:01:42.64 bitrate=N/A speed=   1x    &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Can I remove this delay for ip camera? Is it necessary to change some params for ip camera or add extra arguments for ffmpeg command? I tried to minimize delay, but it didn't have any effect.&lt;/p&gt;&#xA;" OwnerUserId="42707" LastEditorUserId="42707" LastEditDate="2023-10-23T12:02:42.147" LastActivityDate="2023-10-26T08:58:48.850" Title="restreaming rtsp using ffmpeg delay problem" Tags="|ffmpeg|streaming|h.264|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36928" PostTypeId="1" CreationDate="2023-10-23T16:40:38.670" Score="1" ViewCount="89" Body="&lt;p&gt;I'm having difficulty achieving the desired fading effect for the logo in my video using ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;I would like to make a 3-second video (&lt;a href=&quot;https://local-banners.s3.eu-west-1.amazonaws.com/video/video-with-partial-fade-effects.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;here is an example&lt;/a&gt;) with:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;A background image (300x350 jpeg file)&lt;/li&gt;&#xA;&lt;li&gt;A logo overlaid in the center of the background image (100x40 png file)&lt;/li&gt;&#xA;&lt;li&gt;And I would like the logo to fade in and out with the following opacity timeline:&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;At 0 second, the opacity is 0.5&lt;/li&gt;&#xA;&lt;li&gt;At 1 second, the opacity is 1&lt;/li&gt;&#xA;&lt;li&gt;At 2 second, the opacity is 0.2&lt;/li&gt;&#xA;&lt;li&gt;At 3 second, the opacity is 1.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;As the fade filter does not support any target or source value (it is a full fade from 0 to 1 or the reverse), I cannot use it.&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;For example:&#xA;Here is how to add an overlay with a fully fade IN (between 0 to 1s) and a fully fade OUT (from 2s to 3s):&lt;/em&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -i background.jpeg -framerate 30 -loop 1 -i logo.png -filter_complex &amp;quot;[0]format=rgba,scale=300:250[o];[1]format=rgba,fade=in:st=0:d=1:alpha=1,fade=out:st=2:d=1:alpha=1[i];[o][i]overlay=x=(W-w)/2:(H-h)/2&amp;quot; -c:v libx264 -t 3 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I also tried the &lt;code&gt;geq&lt;/code&gt; filter with a &lt;code&gt;lerp&lt;/code&gt; operation but it is quite difficult to write (and the result I got is wrong, I may have a problem with the &lt;code&gt;lerp&lt;/code&gt; operator):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i background.jpeg -framerate 30 -loop 1 -i logo.png -filter_complex &amp;quot;[0]scale=300:250[o];[1]format=yuva420p,geq=a='if(lt(T\,1)\,lerp(0\,1\,T)*0.5*alpha(X\,Y)\,if(lt(T\,2)\,lerp(1\,2\,T)*0.2*-alpha(X\,Y),lerp(2\,3\,T)*alpha(X\,Y)))':r='r(X\,Y)'[i];[o][i]overlay=x=(W-w)/2:(H-h)/2&amp;quot; -c:v libx264 -t 3 -pix_fmt yuv420p -crf 0 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I also found that scripting filters (&lt;a href=&quot;https://trac.ffmpeg.org/wiki/FilteringGuide#ScriptingFilters&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/FilteringGuide#ScriptingFilters&lt;/a&gt;) are also available for the &lt;code&gt;geq&lt;/code&gt; filter but I haven't found a way to use it for that specific use case.&lt;/p&gt;&#xA;&lt;p&gt;What would be the more appropriate approach to handle that kind of effect?&lt;/p&gt;&#xA;" OwnerUserId="42710" LastEditorUserId="42710" LastEditDate="2023-11-01T15:50:04.040" LastActivityDate="2023-11-01T15:50:04.040" Title="FFMPEG - Partial fade effects" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36929" PostTypeId="1" CreationDate="2023-10-23T18:45:56.293" Score="0" ViewCount="154" Body="&lt;p&gt;I have created a fusion composition in an adjustmen clip that takes two input videos.&#xA;My MediaIn1 comes from the &amp;quot;background&amp;quot; and my MediaIn2 comes from the MediaPool.&lt;/p&gt;&#xA;&lt;p&gt;I want to be able to get my MediaIn 1 &amp;amp; 2 from the timeline directly, to make it easier to adjust/swap out clips later on.&lt;/p&gt;&#xA;&lt;p&gt;I assumed that the &amp;quot;Layer&amp;quot; drop down that shows up when selecting &amp;quot;Timeline&amp;quot; as a Media Source would allow me to do this, but the dropdown is an empty list&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/p46w3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/p46w3.png&quot; alt=&quot;MediaIn1 Layer empty list&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is it possible to get MediaIn from different tracks on the timeline in an adjustment clip in Fusion? If so, how?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/BdQNc.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/BdQNc.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="42711" LastActivityDate="2024-03-22T14:07:50.903" Title="Davinci Resolve Fusion Media In get two different clips from the timeline in adjustment clip" Tags="|davinci-resolve|fusion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36930" PostTypeId="1" AcceptedAnswerId="36936" CreationDate="2023-10-24T03:02:01.103" Score="2" ViewCount="144" Body="&lt;p&gt;As shown in these &lt;a href=&quot;https://cdn.vox-cdn.com/uploads/chorus_asset/file/22291118/ASL_Bible__1_.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;video screen captures&lt;/a&gt;, I would like to &lt;strong&gt;replace&lt;/strong&gt; the text in the upper left of the videos to another language.&lt;/p&gt;&#xA;&lt;p&gt;What I am thinking is first to create a &lt;strong&gt;gradient box&lt;/strong&gt; with colors that are &lt;strong&gt;automatically sampled&lt;/strong&gt; along the edges of the box. Then it would be easy to &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#drawtext-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;drawtext&lt;/code&gt;&lt;/a&gt; the replacement text. For each &lt;a href=&quot;https://www.jw.org/finder?wtlocale=ASL&amp;amp;pub=nwt&quot; rel=&quot;nofollow noreferrer&quot;&gt;video file&lt;/a&gt;, the background gradient doesn't change, so it can be sampled only once for each file.&lt;/p&gt;&#xA;&lt;p&gt;Is this possible in FFmpeg? Other ideas on how to achieve the text replacement is also welcome.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/wLVla.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/wLVla.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="40156" LastActivityDate="2023-10-26T01:26:44.143" Title="Can FFmpeg create a gradient box with colors sampled from the box edges?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36931" PostTypeId="2" ParentId="36929" CreationDate="2023-10-24T11:36:48.993" Score="0" Body="&lt;p&gt;I couldn't find a way to make this work using an adjustment clip, so I'm using a fusion transition instead.&lt;/p&gt;&#xA;&lt;p&gt;This way I can get my two clips from the &amp;quot;Layer&amp;quot; property and adjust their in/out on from edit tab&lt;/p&gt;&#xA;" OwnerUserId="42711" LastActivityDate="2023-10-24T11:36:48.993" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36932" PostTypeId="1" CreationDate="2023-10-24T11:42:47.767" Score="0" ViewCount="4" Body="&lt;p&gt;I am creating a macro for a 3D object that needs to be adjusted to the result of a CameraTracker.&lt;/p&gt;&#xA;&lt;p&gt;Instead of exposing the Transform's properties in the macro's editor, I would like to be able to take a transform as a pipe input. This would make it easier for the macro's user to fine tune the position.&lt;/p&gt;&#xA;&lt;p&gt;The problem is that I need to pass my 3D object into the transform, which doesn't work if it's not part of the macro. Is there any node that allows me to apply a transform which would take the 3D object &amp;amp; transform as inputs?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/n2Xa4.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/n2Xa4.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="42711" LastActivityDate="2023-10-24T11:42:47.767" Title="Take Transform3D as input in a macro" Tags="|davinci-resolve|fusion|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36933" PostTypeId="1" CreationDate="2023-10-24T17:56:17.800" Score="0" ViewCount="41" Body="&lt;p&gt;I use software from NCH called Videopad for all my video editing. I am trying to combine two video clips. The first is a standard MP4 video clip, but I have a second WEBM video file, encoded with the VP9 codec, which uses an alpha channel. That second clip is a short stinger that effectively does a stylistic wipe transition, and starts out with a transparent background. However, when I import it into Videopad, onto Video Track 2, it renders the transparent background as solid black, meaning I can't cleanly overlay it.&lt;/p&gt;&#xA;&lt;p&gt;I am wondering if anyone else here has used Videopad before, and if you know of any way to force it to respect the alpha channel within an imported video.&lt;/p&gt;&#xA;" OwnerUserId="4163" LastActivityDate="2023-10-24T17:56:17.800" Title="Does Videopad support alpha channels / transparency in videos?" Tags="|video|video-editor|alpha|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36934" PostTypeId="1" CreationDate="2023-10-25T12:51:33.813" Score="1" ViewCount="79" Body="&lt;p&gt;I'm testing ways to compare image similarity using ffmpeg. I'm looking at using SSIM, PSNR and VMAF.&lt;br&gt;&#xA;For reference, I'm running the comparison with duplicated sources and expect a score of 100%.&lt;br&gt;&lt;br&gt;&#xA;Running SSIM like this:&lt;br&gt;&#xA;&lt;code&gt;ffmpeg -hide_banner -f lavfi -i color=red:duration=10:size=1280x720:rate=30 -f lavfi -i color=red:duration=10:size=1280x720:rate=30 -filter_complex &amp;quot;ssim&amp;quot; -pix_fmt yuv420p -t 1 -f null&lt;/code&gt;&lt;br&gt;&#xA;Gives a perfect score:&lt;br&gt; &lt;code&gt;[Parsed_ssim_0 @ 0x6000015844d0] SSIM Y:1.000000 (inf) U:1.000000 (inf) V:1.000000 (inf) All:1.000000 (inf)&lt;/code&gt;&lt;p&gt;&#xA;Running PSNR like this:&lt;br&gt;&#xA;&lt;code&gt;ffmpeg -hide_banner -f lavfi -i color=red:duration=10:size=1280x720:rate=30 -f lavfi -i color=red:duration=10:size=1280x720:rate=30 -filter_complex &amp;quot;PSNR&amp;quot; -pix_fmt yuv420p -t 1 -f null&lt;/code&gt;&lt;br&gt;&#xA;Gives a perfect score:&lt;br&gt; &lt;code&gt;[Parsed_psnr_0 @ 0x600001478630] PSNR y:inf u:inf v:inf average:inf min:inf max:inf&lt;/code&gt;&lt;p&gt;&#xA;Running &lt;strong&gt;VMAF&lt;/strong&gt; like this:&lt;br&gt;&#xA;&lt;code&gt;ffmpeg -hide_banner -f lavfi -i color=red:duration=10:size=1280x720:rate=30 -f lavfi -i color=red:duration=10:size=1280x720:rate=30 -filter_complex &amp;quot;libvmaf&amp;quot; -pix_fmt yuv420p -t 1 -f null&lt;/code&gt;&lt;br&gt;&#xA;I get:&lt;br&gt; &lt;code&gt;[Parsed_libvmaf_0 @ 0x600002c10630] VMAF score: 97.428043&lt;/code&gt;&lt;p&gt;&#xA;Why does VMAF give less the perfect score for the duplicated inputs?&lt;br&gt;Is there a way around this?&lt;/p&gt;&#xA;" OwnerUserId="18756" LastActivityDate="2023-10-26T04:18:59.480" Title="Why does VMAF show lower then 100 on same image?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36935" PostTypeId="1" CreationDate="2023-10-25T13:23:01.607" Score="0" ViewCount="21" Body="&lt;p&gt;When we post video on Linkedin, Time-lapase looks bad vs Drone video looks Crisp and clean. Video link and screenshot below.&lt;/p&gt;&#xA;&lt;p&gt;See below&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Time-lapse footage:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ByG7h.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ByG7h.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Drone Footage&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/6IBYf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/6IBYf.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here is the Link to Original video: &lt;a href=&quot;https://www.linkedin.com/posts/the-b1m-ltd_construction-architecture-engineering-activity-7104781406131609600-kElA&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.linkedin.com/posts/the-b1m-ltd_construction-architecture-engineering-activity-7104781406131609600-kElA&lt;/a&gt;?&lt;/p&gt;&#xA;&lt;p&gt;Why is that and how to make time-lapse better.&lt;/p&gt;&#xA;" OwnerUserId="42729" LastEditorUserId="42729" LastEditDate="2023-10-25T16:36:56.630" LastActivityDate="2023-10-25T16:36:56.630" Title="Time-lapse vs Drone Video Quality on Linkedin" Tags="|video|after-effects|premiere|video-quality|render|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36936" PostTypeId="2" ParentId="36930" CreationDate="2023-10-26T01:18:41.007" Score="1" Body="&lt;p&gt;I eventually found an answer to my question: &lt;strong&gt;FFmpeg &lt;a href=&quot;https://ffmpeg.org/ffmpeg-filters.html#delogo&quot; rel=&quot;nofollow noreferrer&quot;&gt;delogo filter&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;delogo&lt;/code&gt; options I used for the videos in the question is: (for testing you can set &lt;code&gt;show=1&lt;/code&gt;)&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;delogo=x=85:y=47:w=300:h=40:show=0&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Sample &lt;code&gt;ffmpeg&lt;/code&gt;/&lt;code&gt;ffplay&lt;/code&gt; &lt;code&gt;-vf&lt;/code&gt; options for encoding, &lt;code&gt;delogo&lt;/code&gt; + &lt;code&gt;drawtext&lt;/code&gt; filters:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-vf &amp;quot;delogo=x=85:y=47:w=300:h=40:show=0,drawtext=text='SampleText':fontfile=&amp;quot;${FONTFILE}&amp;quot;:fontcolor=white:fontsize=34:x=93:y=54:alpha=0.9&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;delogo&lt;/code&gt; is pretty neat, I wonder how they did this. Quite fast too.&lt;/p&gt;&#xA;" OwnerUserId="40156" LastEditorUserId="40156" LastEditDate="2023-10-26T01:26:44.143" LastActivityDate="2023-10-26T01:26:44.143" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36937" PostTypeId="2" ParentId="23278" CreationDate="2023-10-26T01:47:26.260" Score="0" Body="&lt;p&gt;Switching between multiple HLS streams can be useful in two scenarios:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The typical scenario is multi-bitrate HLS, where you switch between different bitrates and resolutions to accommodate different client bandwidths.&lt;/li&gt;&#xA;&lt;li&gt;Backup and disaster recovery scenarios, where you switch between two similar HLS streams when one becomes unavailable.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Multiple Resolution HLS&lt;/h2&gt;&#xA;&lt;p&gt;Multi-bitrate HLS cannot be implemented on the streaming server itself. As you mentioned, two HLS .ts files need to be switchable, with the same name and content, to avoid issues like stuttering or image repetition. Multi-bitrate encoding needs to be done at the encoder level, such as using FFmpeg to transcode an RTMP stream into multiple HLS streams with different bitrates:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -f flv -i &amp;quot;rtmp://server/live/livestream&amp;quot; \&#xA;  -map 0:v:0 -map 0:a:0 -map 0:v:0 -map 0:a:0 -map 0:v:0 -map 0:a:0 \&#xA;  -c:v libx264 -crf 22 -c:a aac -ar 44100 \&#xA;  -filter:v:0 scale=w=480:h=360  -maxrate:v:0 600k -b:a:0 500k \&#xA;  -filter:v:1 scale=w=640:h=480  -maxrate:v:1 1500k -b:a:1 1000k \&#xA;  -filter:v:2 scale=w=1280:h=720 -maxrate:v:2 3000k -b:a:2 2000k \&#xA;  -var_stream_map &amp;quot;v:0,a:0,name:360p v:1,a:1,name:480p v:2,a:2,name:720p&amp;quot; \&#xA;  -preset fast -hls_list_size 10 -threads 0 -f hls \&#xA;  -hls_time 3 -hls_flags independent_segments \&#xA;  -master_pl_name &amp;quot;livestream.m3u8&amp;quot; \&#xA;  -y &amp;quot;livestream-%v.m3u8&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It will generate a master.m3u8, which contains 3 different m3u8 with different resulutions. You can refer to the detailed explanation in the provided &lt;a href=&quot;https://stackoverflow.com/a/71985380/17679565&quot;&gt;link&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;h2&gt;Fault Tolerance HLS&lt;/h2&gt;&#xA;&lt;p&gt;For backup and disaster recovery scenarios, the two HLS streams don't need to be identical. When one HLS stream becomes unavailable, users will likely refresh the encoder. At this point, switching to another HLS stream or providing a manual switch option can achieve fault tolerance.&lt;/p&gt;&#xA;&lt;p&gt;Additionally, HLS distribution is usually done through a CDN, which inherently provides fault tolerance for an HLS stream. For self-built HLS CDN distribution scenarios, you'll need to handle this yourself. In this case, it's more suitable to have backup and switching at the RTMP level. You can push multiple RTMP streams, choose an available one to generate HLS, and use an FFmpeg script to achieve this:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;while TRUE; do&#xA;  ffmpeg -re -i rtmp://ip/app/stream1 -c copy -f flv rtmp://ip/app/production;&#xA;  ffmpeg -re -i rtmp://ip/app/stream2 -c copy -f flv rtmp://ip/app/production;&#xA;  sleep 0.5;&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It only generate one HLS stream, but switch between different source RTMP stream. For more information, refer to the detailed explanation in this &lt;a href=&quot;https://stackoverflow.com/a/77363633/17679565&quot;&gt;post&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="42693" LastActivityDate="2023-10-26T01:47:26.260" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36938" PostTypeId="2" ParentId="36934" CreationDate="2023-10-26T04:18:59.480" Score="2" Body="&lt;p&gt;Short answer: the VMAF engine isn't comparing pixel to pixel. The engine calculates some objective metrics for each stream (subject and reference); the final VMAF score then is &lt;em&gt;a prediction of a machine learning model&lt;/em&gt;, hence the imperfect score.&lt;/p&gt;&#xA;&lt;p&gt;Long answer: read the discussion at &lt;a href=&quot;https://github.com/Netflix/vmaf/issues/76&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/Netflix/vmaf/issues/76&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-10-26T04:18:59.480" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36939" PostTypeId="1" CreationDate="2023-10-26T05:10:33.390" Score="0" ViewCount="28" Body="&lt;p&gt;I've got a low-resolution 4 hour clip, and need to do a lot of seeking in the video to write down when stuff happens.&lt;/p&gt;&#xA;&lt;p&gt;Do you have any suggestions for what format/settings would be the most &amp;quot;seek-friendly?&amp;quot;  Right now it is a H264 mp4, ~200mb on disk, and every time I move the playback bar to a new part, it stops and thinks for a few seconds - especially if I have to back up 20 seconds.  I'm looking to be able to move backwards and forwards as fast as possible.  Maybe throwing in more keyframes?  A different video format that is less compressed, but more skip-around optimized?&lt;/p&gt;&#xA;" OwnerUserId="24787" LastActivityDate="2023-10-26T05:10:33.390" Title="Best ffmpeg compression settings for fast seeking of long 4 hour clip" Tags="|ffmpeg|codec|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36940" PostTypeId="2" ParentId="36927" CreationDate="2023-10-26T08:58:48.850" Score="0" Body="&lt;p&gt;I have solved the problem. Removing &amp;quot;-re&amp;quot; option in ffmpeg pipeline sets delay to 0.&#xA;My final pipeline:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -rtsp_transport udp -i rtsp://192.168.3.107:554/av2_0 -codec copy -f rtsp rtsp://localhost:9000/camera1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42707" LastActivityDate="2023-10-26T08:58:48.850" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36942" PostTypeId="1" CreationDate="2023-10-27T10:54:05.513" Score="0" ViewCount="46" Body="&lt;p&gt;Consider the following ffprobe output for a MP4 file. This is an extraction of first 10 frames in the audio stream and its metadata. The audio stream has a sampling rate of 48000, and is encoded with AAC with 1024 samples per AAC frame. This means each AAC frame should have a 1024/48k =0.021333333 sec. duration.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version 5.1.3 Copyright (c) 2007-2022 the FFmpeg developers&#xA;built with gcc 13 (GCC)&#xA;  configuration: --prefix=/home/thanuja/ffmpeg_build --pkg-config-flags=--static --extra-cflags=-I/home/thanuja/ffmpeg_build/include --extra-ldflags=-L/home/thanuja/ffmpeg_build/lib --extra-libs=-lpthread --extra-libs=-lm --bindir=/home/thanuja/bin --enable-gpl --enable-libfdk_aac --enable-libfreetype --enable-libmp3lame --enable-libopus --enable-libvpx --enable-libx264 --enable-libx265 --enable-nonfree --enable-openssl --enable-demuxer=spdif --enable-decoder=dolby_e --enable-decoder=ac3 --enable-decoder=eac3 --enable-indev=alsa --enable-outdev=alsa --enable-shared&#xA;  libavutil      57. 28.100 / 57. 28.100&#xA;  libavcodec     59. 37.100 / 59. 37.100&#xA;  libavformat    59. 27.100 / 59. 27.100&#xA;  libavdevice    59.  7.100 / 59.  7.100&#xA;  libavfilter     8. 44.100 /  8. 44.100&#xA;  libswscale      6.  7.100 /  6.  7.100&#xA;  libswresample   4.  7.100 /  4.  7.100&#xA;  libpostproc    56.  6.100 / 56.  6.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'file.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 1&#xA;    compatible_brands: isommp41mp42&#xA;    creation_time   : 2023-04-02T23:52:12.000000Z&#xA;  Duration: 00:04:47.84, start: 0.000000, bitrate: 7374 kb/s&#xA;  Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709/unknown/bt709, progressive), 1920x1080 [SAR 1:1 DAR 16:9], 7198 kb/s, 59.94 fps, 59.94 tbr, 90k tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2023-04-02T23:52:12.000000Z&#xA;      handler_name    : Core Media Video&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #0:1[0x2](eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 125 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2023-04-02T23:52:12.000000Z&#xA;      handler_name    : Core Media Audio&#xA;      vendor_id       : [0][0][0][0]&#xA;&#xA;frames.frame.0.media_type=&amp;quot;audio&amp;quot;&#xA;frames.frame.0.stream_index=1&#xA;frames.frame.0.key_frame=1&#xA;frames.frame.0.pts=-1&#xA;frames.frame.0.pts_time=&amp;quot;-0.000021&amp;quot;&#xA;frames.frame.0.pkt_dts=-1&#xA;frames.frame.0.pkt_dts_time=&amp;quot;-0.000021&amp;quot;&#xA;frames.frame.0.best_effort_timestamp=-1&#xA;frames.frame.0.best_effort_timestamp_time=&amp;quot;-0.000021&amp;quot;&#xA;frames.frame.0.pkt_duration=325&#xA;frames.frame.0.pkt_duration_time=&amp;quot;0.006771&amp;quot;&#xA;frames.frame.0.pkt_pos=&amp;quot;379&amp;quot;&#xA;frames.frame.0.pkt_size=&amp;quot;334&amp;quot;&#xA;frames.frame.0.sample_fmt=&amp;quot;fltp&amp;quot;&#xA;frames.frame.0.nb_samples=326&#xA;frames.frame.0.channels=2&#xA;frames.frame.0.channel_layout=&amp;quot;stereo&amp;quot;&#xA;frames.frame.1.media_type=&amp;quot;audio&amp;quot;&#xA;frames.frame.1.stream_index=1&#xA;frames.frame.1.key_frame=1&#xA;frames.frame.1.pts=324&#xA;frames.frame.1.pts_time=&amp;quot;0.006750&amp;quot;&#xA;frames.frame.1.pkt_dts=324&#xA;frames.frame.1.pkt_dts_time=&amp;quot;0.006750&amp;quot;&#xA;frames.frame.1.best_effort_timestamp=324&#xA;frames.frame.1.best_effort_timestamp_time=&amp;quot;0.006750&amp;quot;&#xA;frames.frame.1.pkt_duration=1023&#xA;frames.frame.1.pkt_duration_time=&amp;quot;0.021312&amp;quot;&#xA;frames.frame.1.pkt_pos=&amp;quot;713&amp;quot;&#xA;frames.frame.1.pkt_size=&amp;quot;334&amp;quot;&#xA;frames.frame.1.sample_fmt=&amp;quot;fltp&amp;quot;&#xA;frames.frame.1.nb_samples=1024&#xA;frames.frame.1.channels=2&#xA;frames.frame.1.channel_layout=&amp;quot;stereo&amp;quot;&#xA;frames.frame.2.media_type=&amp;quot;audio&amp;quot;&#xA;frames.frame.2.stream_index=1&#xA;frames.frame.2.key_frame=1&#xA;frames.frame.2.pts=1347&#xA;frames.frame.2.pts_time=&amp;quot;0.028063&amp;quot;&#xA;frames.frame.2.pkt_dts=1347&#xA;frames.frame.2.pkt_dts_time=&amp;quot;0.028063&amp;quot;&#xA;frames.frame.2.best_effort_timestamp=1347&#xA;frames.frame.2.best_effort_timestamp_time=&amp;quot;0.028063&amp;quot;&#xA;frames.frame.2.pkt_duration=1026&#xA;frames.frame.2.pkt_duration_time=&amp;quot;0.021375&amp;quot;&#xA;frames.frame.2.pkt_pos=&amp;quot;1047&amp;quot;&#xA;frames.frame.2.pkt_size=&amp;quot;335&amp;quot;&#xA;frames.frame.2.sample_fmt=&amp;quot;fltp&amp;quot;&#xA;frames.frame.2.nb_samples=1024&#xA;frames.frame.2.channels=2&#xA;frames.frame.2.channel_layout=&amp;quot;stereo&amp;quot;&#xA;frames.frame.3.media_type=&amp;quot;audio&amp;quot;&#xA;frames.frame.3.stream_index=1&#xA;frames.frame.3.key_frame=1&#xA;frames.frame.3.pts=2373&#xA;frames.frame.3.pts_time=&amp;quot;0.049437&amp;quot;&#xA;frames.frame.3.pkt_dts=2373&#xA;frames.frame.3.pkt_dts_time=&amp;quot;0.049437&amp;quot;&#xA;frames.frame.3.best_effort_timestamp=2373&#xA;frames.frame.3.best_effort_timestamp_time=&amp;quot;0.049437&amp;quot;&#xA;frames.frame.3.pkt_duration=1023&#xA;frames.frame.3.pkt_duration_time=&amp;quot;0.021312&amp;quot;&#xA;frames.frame.3.pkt_pos=&amp;quot;1382&amp;quot;&#xA;frames.frame.3.pkt_size=&amp;quot;334&amp;quot;&#xA;frames.frame.3.sample_fmt=&amp;quot;fltp&amp;quot;&#xA;frames.frame.3.nb_samples=1024&#xA;frames.frame.3.channels=2&#xA;frames.frame.3.channel_layout=&amp;quot;stereo&amp;quot;&#xA;frames.frame.4.media_type=&amp;quot;audio&amp;quot;&#xA;frames.frame.4.stream_index=1&#xA;frames.frame.4.key_frame=1&#xA;frames.frame.4.pts=3396&#xA;frames.frame.4.pts_time=&amp;quot;0.070750&amp;quot;&#xA;frames.frame.4.pkt_dts=3396&#xA;frames.frame.4.pkt_dts_time=&amp;quot;0.070750&amp;quot;&#xA;frames.frame.4.best_effort_timestamp=3396&#xA;frames.frame.4.best_effort_timestamp_time=&amp;quot;0.070750&amp;quot;&#xA;frames.frame.4.pkt_duration=1023&#xA;frames.frame.4.pkt_duration_time=&amp;quot;0.021312&amp;quot;&#xA;frames.frame.4.pkt_pos=&amp;quot;1716&amp;quot;&#xA;frames.frame.4.pkt_size=&amp;quot;334&amp;quot;&#xA;frames.frame.4.sample_fmt=&amp;quot;fltp&amp;quot;&#xA;frames.frame.4.nb_samples=1024&#xA;frames.frame.4.channels=2&#xA;frames.frame.4.channel_layout=&amp;quot;stereo&amp;quot;&#xA;frames.frame.5.media_type=&amp;quot;audio&amp;quot;&#xA;frames.frame.5.stream_index=1&#xA;frames.frame.5.key_frame=1&#xA;frames.frame.5.pts=4419&#xA;frames.frame.5.pts_time=&amp;quot;0.092062&amp;quot;&#xA;frames.frame.5.pkt_dts=4419&#xA;frames.frame.5.pkt_dts_time=&amp;quot;0.092062&amp;quot;&#xA;frames.frame.5.best_effort_timestamp=4419&#xA;frames.frame.5.best_effort_timestamp_time=&amp;quot;0.092062&amp;quot;&#xA;frames.frame.5.pkt_duration=1026&#xA;frames.frame.5.pkt_duration_time=&amp;quot;0.021375&amp;quot;&#xA;frames.frame.5.pkt_pos=&amp;quot;2050&amp;quot;&#xA;frames.frame.5.pkt_size=&amp;quot;335&amp;quot;&#xA;frames.frame.5.sample_fmt=&amp;quot;fltp&amp;quot;&#xA;frames.frame.5.nb_samples=1024&#xA;frames.frame.5.channels=2&#xA;frames.frame.5.channel_layout=&amp;quot;stereo&amp;quot;&#xA;frames.frame.6.media_type=&amp;quot;audio&amp;quot;&#xA;frames.frame.6.stream_index=1&#xA;frames.frame.6.key_frame=1&#xA;frames.frame.6.pts=5445&#xA;frames.frame.6.pts_time=&amp;quot;0.113437&amp;quot;&#xA;frames.frame.6.pkt_dts=5445&#xA;frames.frame.6.pkt_dts_time=&amp;quot;0.113437&amp;quot;&#xA;frames.frame.6.best_effort_timestamp=5445&#xA;frames.frame.6.best_effort_timestamp_time=&amp;quot;0.113437&amp;quot;&#xA;frames.frame.6.pkt_duration=1023&#xA;frames.frame.6.pkt_duration_time=&amp;quot;0.021312&amp;quot;&#xA;frames.frame.6.pkt_pos=&amp;quot;2385&amp;quot;&#xA;frames.frame.6.pkt_size=&amp;quot;334&amp;quot;&#xA;frames.frame.6.sample_fmt=&amp;quot;fltp&amp;quot;&#xA;frames.frame.6.nb_samples=1024&#xA;frames.frame.6.channels=2&#xA;frames.frame.6.channel_layout=&amp;quot;stereo&amp;quot;&#xA;frames.frame.7.media_type=&amp;quot;audio&amp;quot;&#xA;frames.frame.7.stream_index=1&#xA;frames.frame.7.key_frame=1&#xA;frames.frame.7.pts=6468&#xA;frames.frame.7.pts_time=&amp;quot;0.134750&amp;quot;&#xA;frames.frame.7.pkt_dts=6468&#xA;frames.frame.7.pkt_dts_time=&amp;quot;0.134750&amp;quot;&#xA;frames.frame.7.best_effort_timestamp=6468&#xA;frames.frame.7.best_effort_timestamp_time=&amp;quot;0.134750&amp;quot;&#xA;frames.frame.7.pkt_duration=1023&#xA;frames.frame.7.pkt_duration_time=&amp;quot;0.021312&amp;quot;&#xA;frames.frame.7.pkt_pos=&amp;quot;2719&amp;quot;&#xA;frames.frame.7.pkt_size=&amp;quot;334&amp;quot;&#xA;frames.frame.7.sample_fmt=&amp;quot;fltp&amp;quot;&#xA;frames.frame.7.nb_samples=1024&#xA;frames.frame.7.channels=2&#xA;frames.frame.7.channel_layout=&amp;quot;stereo&amp;quot;&#xA;frames.frame.8.media_type=&amp;quot;audio&amp;quot;&#xA;frames.frame.8.stream_index=1&#xA;frames.frame.8.key_frame=1&#xA;frames.frame.8.pts=7491&#xA;frames.frame.8.pts_time=&amp;quot;0.156062&amp;quot;&#xA;frames.frame.8.pkt_dts=7491&#xA;frames.frame.8.pkt_dts_time=&amp;quot;0.156062&amp;quot;&#xA;frames.frame.8.best_effort_timestamp=7491&#xA;frames.frame.8.best_effort_timestamp_time=&amp;quot;0.156062&amp;quot;&#xA;frames.frame.8.pkt_duration=1026&#xA;frames.frame.8.pkt_duration_time=&amp;quot;0.021375&amp;quot;&#xA;frames.frame.8.pkt_pos=&amp;quot;3053&amp;quot;&#xA;frames.frame.8.pkt_size=&amp;quot;335&amp;quot;&#xA;frames.frame.8.sample_fmt=&amp;quot;fltp&amp;quot;&#xA;frames.frame.8.nb_samples=1024&#xA;frames.frame.8.channels=2&#xA;frames.frame.8.channel_layout=&amp;quot;stereo&amp;quot;&#xA;frames.frame.9.media_type=&amp;quot;audio&amp;quot;&#xA;frames.frame.9.stream_index=1&#xA;frames.frame.9.key_frame=1&#xA;frames.frame.9.pts=8517&#xA;frames.frame.9.pts_time=&amp;quot;0.177437&amp;quot;&#xA;frames.frame.9.pkt_dts=8517&#xA;frames.frame.9.pkt_dts_time=&amp;quot;0.177437&amp;quot;&#xA;frames.frame.9.best_effort_timestamp=8517&#xA;frames.frame.9.best_effort_timestamp_time=&amp;quot;0.177437&amp;quot;&#xA;frames.frame.9.pkt_duration=1023&#xA;frames.frame.9.pkt_duration_time=&amp;quot;0.021312&amp;quot;&#xA;frames.frame.9.pkt_pos=&amp;quot;3388&amp;quot;&#xA;frames.frame.9.pkt_size=&amp;quot;334&amp;quot;&#xA;frames.frame.9.sample_fmt=&amp;quot;fltp&amp;quot;&#xA;frames.frame.9.nb_samples=1024&#xA;frames.frame.9.channels=2&#xA;frames.frame.9.channel_layout=&amp;quot;stereo&amp;quot;&#xA;frames.frame.10.media_type=&amp;quot;audio&amp;quot;&#xA;frames.frame.10.stream_index=1&#xA;frames.frame.10.key_frame=1&#xA;frames.frame.10.pts=9540&#xA;frames.frame.10.pts_time=&amp;quot;0.198750&amp;quot;&#xA;frames.frame.10.pkt_dts=9540&#xA;frames.frame.10.pkt_dts_time=&amp;quot;0.198750&amp;quot;&#xA;frames.frame.10.best_effort_timestamp=9540&#xA;frames.frame.10.best_effort_timestamp_time=&amp;quot;0.198750&amp;quot;&#xA;frames.frame.10.pkt_duration=1023&#xA;frames.frame.10.pkt_duration_time=&amp;quot;0.021312&amp;quot;&#xA;frames.frame.10.pkt_pos=&amp;quot;3722&amp;quot;&#xA;frames.frame.10.pkt_size=&amp;quot;334&amp;quot;&#xA;frames.frame.10.sample_fmt=&amp;quot;fltp&amp;quot;&#xA;frames.frame.10.nb_samples=1024&#xA;frames.frame.10.channels=2&#xA;frames.frame.10.channel_layout=&amp;quot;stereo&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;However, if we check the PTS values, and pkt_duration for the first few frames we see the following:&lt;/p&gt;&#xA;&lt;pre&gt;&#xA;frames.frame.1.pkt_duration=1023 &#xA;frames.frame.1.pkt_duration_time=&quot;0.021312&quot; &#xA;frames.frame.1.nb_samples=1024 &#xA;&#xA;frames.frame.2.pkt_duration=1026 &#xA;frames.frame.2.pkt_duration_time=&quot;0.021375&quot; &#xA;frames.frame.2.nb_samples=1024 &#xA;&#xA;frames.frame.3.pkt_duration=1023 &#xA;frames.frame.3.pkt_duration_time=&quot;0.021312&quot; &#xA;frames.frame.3.nb_samples=1024 &#xA;&#xA;frames.frame.4.pkt_duration=1023 &#xA;frames.frame.4.pkt_duration_time=&quot;0.021312&quot; &#xA;frames.frame.4.nb_samples=1024 &#xA;&#xA;frames.frame.5.pkt_duration=1026 &#xA;frames.frame.5.pkt_duration_time=&quot;0.021375&quot; &#xA;frames.frame.5.nb_samples=1024 &#xA;&lt;/pre&gt;&#xA;&lt;p&gt;As I understand, this means that frame 1 has 1024 samples, but it has a duration of 0.021312s (less than 0.02133s which it actually should be). This implies that sample time doesn't adhere to 48k sampling rate.&lt;/p&gt;&#xA;&lt;p&gt;Can you please help me understand the following:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;What are the possible reasons for MP4 timestamps to have variable duration for audio samples in different frames even though they all have equal number of samples?&lt;/li&gt;&#xA;&lt;li&gt;How does the media player deal with this? For instance, frame 2 has 1024 samples and if it honours sampling rate of 48k, it should have a duration of 0.02133s. However, frame 2 has a duration of 0.021375s. Therefore, with respect to timing, frame 2 is two sample units longer. So does the media player respect these time durations or does it just ignore these and play the samples at 48k sampling rate?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="6298" LastActivityDate="2023-10-27T10:54:05.513" Title="variable timestamps for audio samples in MP4" Tags="|ffmpeg|audio|mp4|timecode|media|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36943" PostTypeId="1" CreationDate="2023-10-28T17:41:16.653" Score="0" ViewCount="10" Body="&lt;p&gt;In Premiere Pro, there are many places where mouse pointer gets a two-sided arrow:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/pfOiD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/pfOiD.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It took me quite a while to figure out I have to click-and-hold while panning to adjust these &amp;quot;sliders&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to recofingure Premiere to allow me to use the wheel, without any clicking while I'm hovering over some of these controls?&lt;/p&gt;&#xA;" OwnerUserId="35578" LastActivityDate="2023-10-28T17:41:16.653" Title="Premiere control with mouse wheel" Tags="|premiere|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36946" PostTypeId="1" AcceptedAnswerId="36948" CreationDate="2023-10-30T10:02:47.843" Score="1" ViewCount="53" Body="&lt;p&gt;From an all day event shoot, I have a 13 hour file recorded on a Sony HXR-NX5R camera. Catalyst Browse transferred the 160GB file OK, Premiere imported the file (but choked for quite a while doing so), but now I can't actually edit with it - adding it to the timeline just comes up &amp;quot;Media Pending&amp;quot;, and sits there. Maybe if it sits long enough it will cope, but I wasn't seeing any life after an hour or so. It seems the file is too big for Premiere to handle (Premiere 22.5.0 Build 62, have tried same version on both Mac and PC - I can update to the latest Premiere if it's worth a shot, I've been sitting on this version a while to not disrupt some projects in progress)&lt;/p&gt;&#xA;&lt;p&gt;I looked into using Catalyst Browse to split the file when copying, but it seems that option isn't available for AVCHD files.&lt;/p&gt;&#xA;&lt;p&gt;I looked at using ffmpeg to split the big file to smaller ones, it throws &amp;quot;Non-monotonous DTS in output stream 0:2&amp;quot;, so I guess I'm just not sure if the files I'm cutting up this way have issues (missing frames, etc). I just don't understand the error, or what I might need to do to validate if the file is still good. Command issued is:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &amp;quot;input.m2ts&amp;quot; -map 0 -c copy -ss 00:00:00 -t 2:10:00 output.m2ts&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I know some Sony cameras will let you split the recorded file into parts on the camera, but I can't find any such option in the NX5R menus.&lt;/p&gt;&#xA;&lt;p&gt;Suggestions on any other software or method of processing this that I might try? At this stage it looks like going the ffmpeg route, and crossing my fingers that the split files don't contain issues, I'm just surprised Premiere is having issues (VLC plays/scans the file fine), and disappointed there doesn't seem to be anything on the Sony side to assist in splitting the file up once it has been created.&lt;/p&gt;&#xA;&lt;p&gt;UPDATE: I decided to let Premiere chew on the file overnight, to see if the &amp;quot;Media Pending&amp;quot; would clear at any point. But I had removed it from the project, so I re-added it back, along with the ffmpeg split version. Premiere didn't choke bringing in the big file at all this time. I dropped it onto the timeline, expecting the &amp;quot;Media Pending&amp;quot;, but this time it just came up and worked. So it seems Premiere can handle the file, but there was something internally going wrong, and somewhere between trying to import straight off the SD card files, and playing with split files, and various other things I tried, Premiere must have forgotten whatever it was referencing on the file that wasn't working, and it has now just come in clean. Who knows.&lt;/p&gt;&#xA;" OwnerUserId="25579" LastEditorUserId="25579" LastEditDate="2023-11-08T02:07:46.913" LastActivityDate="2023-11-08T02:07:46.913" Title="Is there a way to split up an AVCHD file into smaller files (Sony HXR-NX5R)" Tags="|ffmpeg|premiere|premiere-pro|avchd|sony|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36948" PostTypeId="2" ParentId="36946" CreationDate="2023-10-31T04:19:01.120" Score="2" Body="&lt;p&gt;You should use the segment muxer for this.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i &amp;quot;input.m2ts&amp;quot; -map 0:v -map 0:a -c copy -f segment -segment_time 02:00 -reset_timestamps 1 output_%04d.m2ts&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This will create a sequence of files named output_0000.m2ts, output_0001.m2ts ...&lt;/p&gt;&#xA;&lt;p&gt;I've changed mapping to video and audio to avoid copying data streams that your editor may not make sense of.&lt;/p&gt;&#xA;&lt;p&gt;P.S. &lt;code&gt;.ts&lt;/code&gt;, &lt;code&gt;.m2ts&lt;/code&gt; are MPEG-TS files. AVCHD is just a commercial name given to Sony's flavour of H.264 video. Such video streams can be contained within many container formats (MOV, MP4, MXF, TS.. etc).&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-10-31T04:19:01.120" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36949" PostTypeId="1" CreationDate="2023-10-31T08:06:09.617" Score="0" ViewCount="14" Body="&lt;p&gt;There are several tracks in the Editor panel. I would like to choose one of the tracks and delete it. Is there any method such as a shortcut or button that I can use to do it easily?&lt;/p&gt;&#xA;&lt;p&gt;How can I choose a specific track?&lt;/p&gt;&#xA;" OwnerUserId="42784" LastEditorUserId="674" LastEditDate="2023-10-31T22:44:24.880" LastActivityDate="2023-10-31T22:44:24.880" Title="How can I choose a specific track in Adobe Premier Editor panel?" Tags="|premiere|premiere-pro|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36951" PostTypeId="2" ParentId="36849" CreationDate="2023-10-31T08:55:52.983" Score="0" Body="&lt;p&gt;No, bit depth reduction always results in information loss, and even the chroma upscaling, while usually reversible with knowledge about the upscaling algorithm and the right algorithm to reverse it, is, without that special knowledge, technically not lossless either.&lt;/p&gt;&#xA;&lt;p&gt;However, for practical use cases, the perceptual loss in such a conversion can be virtually nonexistent, if dithering is used in the conversion step, as should always be done during bit depth reductions.&lt;/p&gt;&#xA;&lt;p&gt;But I'm not sure that you actually want lossless encoding, because except for H.265, none of the mentioned formats are able to encode losslessly, and H.265 is not particularly good at lossless encoding. So, be careful how you use that word. If you mean perceptually lossless, don't call it lossless.&lt;/p&gt;&#xA;&lt;p&gt;For lossy encoding, using the same format as the input format indeed provides advantages, although it's probably not that important here, considering that your camera encoder should have very different behaviour from a proper CPU encoder like the common x265.&lt;/p&gt;&#xA;&lt;p&gt;H.265 does not support 16 bit, the highest it supports is 12 bits. And every encoder has at least two important parameters that should always be set consciously by the user: effort/speed and quality/bitrate. In this case you want to set the effort/speed parameter &amp;quot;preset&amp;quot; (I highly recommend value &amp;quot;slow&amp;quot;), and the quality parameter &amp;quot;crf&amp;quot; (lower means higher quality). Always make sure to encode in a bit depth of at least 10 when doing lossy encoding, if possible, to prevent ugly banding artifacts.&lt;/p&gt;&#xA;" OwnerUserId="21926" LastActivityDate="2023-10-31T08:55:52.983" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36952" PostTypeId="1" CreationDate="2023-10-31T18:59:15.433" Score="0" ViewCount="32" Body="&lt;p&gt;Every time I record audio on the timeline in Adobe Premiere, I have to do three things for all recordings:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Add the right hand side audio channel as my microphone is mono.&lt;/li&gt;&#xA;&lt;li&gt;Increase the DB to 4.4.&lt;/li&gt;&#xA;&lt;li&gt;Add in a sound preset effect.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I'm sure I'm not utilising Premiere properly and that there has to be a way to automate these three things whenever I record audio?&lt;/p&gt;&#xA;&lt;p&gt;An example of me doing these three things, that I would like automated is below:&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xD;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/zF32FioEZgo?start=0&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;" OwnerUserId="14204" LastActivityDate="2023-10-31T18:59:15.433" Title="Can I Use Macros When Recording Audio in Adobe Premiere?" Tags="|premiere|automation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36954" PostTypeId="1" AcceptedAnswerId="36955" CreationDate="2023-11-01T14:52:52.580" Score="0" ViewCount="108" Body="&lt;p&gt;I am trying to move a shape (an image) over a background image to each corner. &lt;a href=&quot;https://local-banners.s3.eu-west-1.amazonaws.com/video/video-with-shape-overlay-issue.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here is the video example&lt;/a&gt; I generated with ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;As you can see from the example, at the end of the video the shape is not positioned on the top right corner as it should be:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/C7INV.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/C7INV.png&quot; alt=&quot;last frame shape positionning issue&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here is the ffmpeg command I use:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i background.jpeg -loop 1 -i logo.png -filter_complex &amp;quot;[0]scale=300:250[s0];[1]format=gbrap[s4];[s0][s4]overlay=x=if(between(t\\,0.0\\,0.8)\\,lerp(0.0\\,240.0\\,round((t-0.0)/0.8*100)/100)\\,if(between(t\\,0.8\\,2.2)\\,lerp(240.0\\,0.0\\,round((t-0.8)/1.4*100)/100)\\,if(between(t\\,2.2\\,3.0)\\,lerp(0.0\\,240.0\\,round((t-2.2)/0.8*100)/100)))):y=if(between(t\\,0.0\\,0.8)\\,lerp(0.0\\,200.0\\,round((t-0.0)/0.8*100)/100)\\,if(between(t\\,0.8\\,2.2)\\,lerp(200.0\\,200.0\\,round((t-0.8)/1.4*100)/100)\\,if(between(t\\,2.2\\,3.0)\\,lerp(200.0\\,0.0\\,round((t-2.2)/0.8*100)/100))))[s5]&amp;quot; -map &amp;quot;[s5]&amp;quot; -c:v libx264 -crf 0 -pix_fmt yuv420p -t 3.0 video.mp4 &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;video is 300x250&lt;/li&gt;&#xA;&lt;li&gt;logo.png is the blue shape (width=60px, height=50px)&lt;/li&gt;&#xA;&lt;li&gt;the coordinates are set as follow: 0s: x=0,y=0 / 0.8s: x=240px,y=200px / 2.2s: x=0,y=200px / 3s: x=240px,y=0&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I am using &lt;code&gt;lerp&lt;/code&gt; to retrieve the right position depending on the current time &lt;code&gt;t&lt;/code&gt;.&#xA;It seems like the last frames are not played.&lt;/p&gt;&#xA;&lt;p&gt;I tried to:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;set a framerate (30 &amp;amp; 100) to the logo.png input,&lt;/li&gt;&#xA;&lt;li&gt;round the value given by lerp,&lt;/li&gt;&#xA;&lt;li&gt;use setpts to define a number of frames.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;But I do not understand the problem I am facing, could you help me?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE 1&lt;/strong&gt;: If I extend the video duration to 4s, the shape position at 3s is the right one&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE 2&lt;/strong&gt;: I added &lt;code&gt;-framerate 100&lt;/code&gt; as option the logo.png input and &lt;code&gt;fps=24&lt;/code&gt; just after the &lt;em&gt;scale&lt;/em&gt; filter. The problem is still present. I extracted every frame as png (as expected there are 72 frames) &amp;amp; 17 were generated between 2.2s &amp;amp; 3s.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;UPDATE 3&lt;/strong&gt;: The problem is resolved by settings a &lt;code&gt;fps&lt;/code&gt; of &lt;em&gt;100&lt;/em&gt;. However the generated video file is too big. Is there any other way to get it to work at 24fps?&lt;/p&gt;&#xA;" OwnerUserId="42710" LastEditorUserId="42710" LastEditDate="2023-11-01T18:31:20.513" LastActivityDate="2023-11-02T04:01:28.597" Title="ffmpeg - overlay position at the end of the video is wrong" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36955" PostTypeId="2" ParentId="36954" CreationDate="2023-11-02T04:01:28.597" Score="0" Body="&lt;p&gt;Since your total duration is 3 seconds, there is no frame &lt;em&gt;at&lt;/em&gt; 3 seconds. The last frame is at 3 seconds - &lt;em&gt;1/framerate&lt;/em&gt; seconds.&lt;/p&gt;&#xA;&lt;p&gt;The default framerate of image inputs is 25, so you should interpolate to the final position at 2.96 seconds.&lt;/p&gt;&#xA;&lt;p&gt;i.e.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;if(between(t\\,2.2\\,3.0)\\, lerp(200.0\\,0.0\\,round((t-2.2)/0.76*100)/100))&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-11-02T04:01:28.597" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36956" PostTypeId="1" CreationDate="2023-11-02T08:05:09.790" Score="0" ViewCount="55" Body="&lt;p&gt;When converting the framerate of a video, ffmpeg offers multiple options&lt;/p&gt;&#xA;&lt;p&gt;one options is &lt;code&gt;-r&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i myvideo.mp4 -r 10 my10fpsvideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;another option is using filters:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i myvideo.mp4 -filter_complex [0]fps=fps=10[s0] -map [s0] my10fpsvideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Using the second option I can apply further filters on the changed fps stream, like selecting a start frame number for exemple &lt;code&gt;select=gte(n,42)&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Both these solutions don't return the same frames from the original video:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-r 10 return the frame indexes  0,1,2,4,7,9,12...&#xA;-filter_complex returns indexes     1,3,6,8,11...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;As you can see &lt;code&gt;-r&lt;/code&gt; somehow shift the output video by 2 frames and doesn't return the same frames as &lt;code&gt;-complex_filter&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;My problem is I need to apply that start frame number filters, but I also need to extract the exact frames from the original video as &lt;code&gt;-r&lt;/code&gt; would do&lt;/p&gt;&#xA;&lt;p&gt;For exemple: If I convert to 10 fps and want to start at frame index &lt;code&gt;3&lt;/code&gt; I should receive frames &lt;code&gt;4,7,9,12...&lt;/code&gt;, the frame I would have gotten if had changed framerate using &lt;code&gt;-r&lt;/code&gt; and skipped the result's first 2 frame&lt;/p&gt;&#xA;&lt;p&gt;I am constrained to the exact frames returned by &lt;code&gt;-r&lt;/code&gt; by legacy data that relies on these specific frames to be returned. I am also constrained by the fact that input can be VFR and I can't precompute what frames I need to extract for a given framerate.&lt;/p&gt;&#xA;&lt;p&gt;Right now the only solution I've found is to read the entire video and discard all frame up to that frame number, which is long and cost a lot of resources.&lt;/p&gt;&#xA;&lt;p&gt;Is there any way to do what I'm trying to do ?&lt;/p&gt;&#xA;" OwnerUserId="42804" LastActivityDate="2024-04-01T03:01:40.273" Title="Replicate the behavior of -r option before applying filters" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36957" PostTypeId="2" ParentId="36956" CreationDate="2023-11-02T08:16:26.843" Score="0" Body="&lt;p&gt;You cannot use &lt;code&gt;-r&lt;/code&gt; and &lt;code&gt;-filter_complex&lt;/code&gt; together. They are different ways of changing the frame rate. &lt;code&gt;-r&lt;/code&gt; is an input or output option. &lt;code&gt;-filter_complex&lt;/code&gt; is a &lt;code&gt;filtergraph&lt;/code&gt; option. They have different logic and behavior.&#xA;You may try this command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i myvideo.mp4 -vf “select=‘gte(n,3)’,setpts=N/10/TB” my10fpsvideo.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This will skip the first three frames and then change the frame rate to 10 using the &lt;code&gt;setpts&lt;/code&gt; filter. It should give you the same result as &lt;code&gt;-r 10&lt;/code&gt; and then skipping two frames. However, I do not know if it works for variable frame rate input. You have to test it yourself.&lt;/p&gt;&#xA;&lt;p&gt;I hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="42805" LastEditorUserId="14523" LastEditDate="2023-11-03T01:57:42.150" LastActivityDate="2023-11-03T01:57:42.150" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36958" PostTypeId="1" CreationDate="2023-11-02T08:45:12.877" Score="0" ViewCount="40" Body="&lt;p&gt;i've transcoded an interlaced JPEG2000 video file to H.264 using ffmpeg.  following &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Encode/H.264&quot; rel=&quot;nofollow noreferrer&quot;&gt;the guidelines&lt;/a&gt;, i constructed the following command line:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -i $input \&#xA;        -vf tinterlace=0 \&#xA;        -c:v libx264 -crf 0 -qp 0 -preset veryslow \&#xA;        -x264-params interlaced=1 -flags +ildct+ilme \&#xA;        -profile:v high444 \&#xA;        -map 0 -c:a aac -c:d copy -c:s copy -c:t copy -y $output&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;here is part of the mediainfo report of the resulting video (non-video tracks excluded for brevity):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : output.mp4&#xA;Format                                   : MPEG-4&#xA;Format profile                           : Base Media&#xA;Codec ID                                 : isom (isom/iso2/avc1/mp41)&#xA;File size                                : 263 MiB&#xA;Duration                                 : 1 min 0 s&#xA;Overall bit rate                         : 36.8 Mb/s&#xA;Writing application                      : Lavf60.3.100&#xA;&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : AVC&#xA;Format/Info                              : Advanced Video Codec&#xA;Format profile                           : High 4:2:2@L4&#xA;Format settings                          : CABAC / 16 Ref Frames&#xA;Format settings, CABAC                   : Yes&#xA;Format settings, ReFrames                : 16 frames&#xA;Codec ID                                 : avc1&#xA;Codec ID/Info                            : Advanced Video Coding&#xA;Duration                                 : 1 min 0 s&#xA;Bit rate                                 : 36.5 Mb/s&#xA;Width                                    : 720 pixels&#xA;Height                                   : 576 pixels&#xA;Display aspect ratio                     : 16:9&#xA;Frame rate mode                          : Constant&#xA;Frame rate                               : 25.000 FPS&#xA;Standard                                 : PAL&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:2&#xA;Bit depth                                : 10 bits&#xA;Scan type                                : MBAFF&#xA;Scan type, store method                  : Interleaved fields&#xA;Scan order                               : Top Field First&#xA;Bits/(Pixel*Frame)                       : 3.523&#xA;Stream size                              : 261 MiB (99%)&#xA;Writing library                          : x264 core 164 r3106 eaa68fa&#xA;Encoding settings                        : cabac=1 / ref=16 / deblock=1:0:0 / analyse=0x3:0x133 / me=umh / subme=10 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=1 / me_range=24 / chroma_me=1 / trellis=2 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-2 / threads=18 / lookahead_threads=3 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=tff / bluray_compat=0 / constrained_intra=0 / bframes=8 / b_pyramid=2 / b_adapt=2 / b_bias=0 / direct=3 / weightb=1 / open_gop=0 / weightp=0 / keyint=250 / keyint_min=25 / scenecut=40 / intra_refresh=0 / rc_lookahead=60 / rc=crf / mbtree=1 / crf=0.0 / qcomp=0.60 / qpmin=0 / qpmax=81 / qpstep=4 / ip_ratio=1.40 / aq=1:1.00&#xA;Color range                              : Full&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;my question is: is there a way to tell if the resulting output file truly is lossless?  (there is no output line that says 'lossless' in the ffmpeg output nor in the mediainfo report on the file.)&lt;/p&gt;&#xA;&lt;p&gt;[NB - even though it might not be common modern practice to create interlaced video, the output video needs to preserve interlacing because it's part of The Requirements®.]&lt;/p&gt;&#xA;" OwnerUserId="42806" LastEditorUserId="42806" LastEditDate="2023-11-02T09:27:40.433" LastActivityDate="2023-11-02T09:27:40.433" Title="verify lossless in H.264" Tags="|ffmpeg|h.264|transcoding|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36959" PostTypeId="1" CreationDate="2023-11-02T12:14:19.857" Score="0" ViewCount="23" Body="&lt;p&gt;I am trying to lower the bitrate of a video using ffmpeg to 1000 bits/s and 500 bits/s using the commands&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i __temp__.mp4  -vf &amp;quot;scale=-2:360&amp;quot; -b:v 1000 out_1000.ts&#xA;ffmpeg -i __temp__.mp4  -vf &amp;quot;scale=-2:360&amp;quot; -b:v 500 out_500.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but the output files seem to have the same size:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-rw-rw-r-- 1 alex alex 8160140 Nov  2 13:11 out_1000.ts&#xA;-rw-rw-r-- 1 alex alex 8160140 Nov  2 13:11 out_500.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Size of original video: 8344903&lt;/li&gt;&#xA;&lt;li&gt;Framerate: 15 fps&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;What is going on?&lt;/p&gt;&#xA;" OwnerUserId="42808" LastEditorUserId="42808" LastEditDate="2023-11-02T12:26:25.190" LastActivityDate="2023-11-02T12:26:25.190" Title="Why does setting the bitrate with ffmpeg has no affect on the filesize?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36960" PostTypeId="1" CreationDate="2023-11-04T21:01:20.860" Score="0" ViewCount="17" Body="&lt;p&gt;I have two B&amp;amp;H Filmo 70HR 16mm film cameras that can use 400’ film magazines with the aid of motors to drive the take-up reel. One has a 24v motor and the other has a 110v motor. Both motors use 3 pin XLR female type power supply connectors. I’m comfortable building a cable to run from a 24v/5w power supply to the 3 pin female XLR power input connector, but using a standard “audio” XLR connector for 110v seems unwise because of the possibility of overheating. Is there a safe way to get from 110v Edison power plug to a female 3 pin XLR connector?&lt;/p&gt;&#xA;" OwnerUserId="42825" LastActivityDate="2023-11-04T21:01:20.860" Title="Old Bell &amp; Howell Filmo 70HR 16mm camera" Tags="|cable|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="36961" PostTypeId="1" CreationDate="2023-11-05T12:17:53.540" Score="0" ViewCount="46" Body="&lt;p&gt;I want to know how can i turn off Anti-aliasing when i convert video into gif file with ffmpeg, Actually i want ouput  in 100% pure aliased gif animation.  like this sample image &lt;a href=&quot;https://i.stack.imgur.com/5wnzZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5wnzZ.png&quot; alt=&quot;aliased vs anti-aliased&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here i try this but i did not get the results as i expected.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i video.mp4 -t 5 out.gif&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Any help will be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="42828" LastActivityDate="2023-11-05T12:17:53.540" Title="How to turn-off Anti-aliasing when convert video into gif file with ffmpeg" Tags="|ffmpeg|video|video-quality|animation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36963" PostTypeId="1" CreationDate="2023-11-05T15:03:22.610" Score="1" ViewCount="113" Body="&lt;p&gt;Anyone knows a method to extend last frame of clip in kdenlive?&#xA;I am aware of the &amp;quot;export frame to project&amp;quot; but if you update the clip, you will have redo this part.&lt;/p&gt;&#xA;" OwnerUserId="40560" LastActivityDate="2023-11-05T15:03:22.610" Title="Easy way of extanding last frame in kdenlive?" Tags="|kdenlive|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36964" PostTypeId="1" CreationDate="2023-11-05T15:10:25.843" Score="0" ViewCount="185" Body="&lt;p&gt;I am trying to use ffmpeg to &lt;strong&gt;zoom in &amp;amp; out an image with its center as origin&lt;/strong&gt; &amp;amp; overlay the animation over a background image.&lt;/p&gt;&#xA;&lt;p&gt;Details: The background image is a 300x250 jpeg file, the button is a 134×44 png file, the zoom animation is defined as follows: from 0 to 1s -&amp;gt; zoom in ; from 2s to 3s -&amp;gt; zoom out.&lt;/p&gt;&#xA;&lt;p&gt;I managed to do this with a mix of &lt;code&gt;pan&lt;/code&gt;, &lt;code&gt;zoompan&lt;/code&gt; &amp;amp; &lt;code&gt;overlay&lt;/code&gt; filters.  However it seems to me that &lt;code&gt;zoompan&lt;/code&gt; is quite limited as it only supports a zoom range of 1-10. &lt;a href=&quot;https://local-banners.s3.eu-west-1.amazonaws.com/video/video-zoom-in-out-zoompan.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here is the video&lt;/a&gt; &amp;amp; the corresponding command line:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i background.jpeg -framerate 25 -loop 1 -i button.png -filter_complex &amp;quot;[0]scale=300:250:in_range=jpeg[s0];[s0]fps=25[s1];[1]pad=iw*10:ih*10:(ow-iw)/2:(oh-ih)/2:color=black@0,zoompan='if(between(ot,0,1), min(1+on/25*10,10), if(gte(ot,2), max(10-(on-50)/25*10,1), 10))':x='iw/2-iw/2/zoom':y='(ih-(ih/zoom))/2':d=75:s=134x44,format=gbrap[s2];[s1][s2]overlay=eof_action=repeat:x=(W-w)/2:y=200:enable=between(t\,0.04\,2.95)[s4]&amp;quot; -map &amp;quot;[s4]&amp;quot; -c:v libx264 -crf 0 -pix_fmt yuv420p -t 3.0 video_zoompan.mp4 -hide_banner&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This is just a test, my goal is to make it work even if the zoom effect has a wider range.&lt;/p&gt;&#xA;&lt;p&gt;So, I tried with the &lt;code&gt;scale&lt;/code&gt; &amp;amp; &lt;code&gt;overlay&lt;/code&gt; filters. &lt;a href=&quot;https://local-banners.s3.eu-west-1.amazonaws.com/video/video-zoom-in-out-scale.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;Here is the video&lt;/a&gt; &amp;amp; the corresponding command line:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i background.jpeg -framerate 25 -loop 1 -i button.png -filter_complex &amp;quot;[0]scale=300:250:in_range=jpeg[s0];[s0]fps=25[s1];[1]format=gbrap[s2];[s2]scale=eval=frame:h=-1:w=if(between(t\,0.0\,0.8)\,lerp(iw*0.0\,iw*1.0\,t/0.76)\,if(lte(t\,2.0)\,lerp(iw*1.0\,iw*1.0\,(t-0.8)/1.16)\,if(lte(t\,3.0)\,lerp(iw*1.0\,iw*0.0\,(t-2.0)/0.96))))[s3];[s1][s3]overlay=eof_action=repeat:x=(W-w)/2:y=(200-h/2):enable=between(t\,0.04\,2.95)[s4]&amp;quot; -map &amp;quot;[s4]&amp;quot; -c:v libx264 -crf 0 -pix_fmt yuv420p -t 3.0 video_scale.mp4 -hide_banner&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;As you can see, using the scale &amp;amp; overlay (with a center origin) filters make the animation jerky.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to fix this, as it seems to me that using the &lt;code&gt;scale&lt;/code&gt; filter allows more possibilities (even if it is more time/process consuming?)?&lt;/p&gt;&#xA;&lt;p&gt;&lt;em&gt;UPDATE 15nov23:&lt;/em&gt; &lt;strong&gt;Using &lt;code&gt;format=yuv444&lt;/code&gt; as the &lt;code&gt;overlay&lt;/code&gt; option solves my problem&lt;/strong&gt; (overlay=format=yuv444).&lt;/p&gt;&#xA;" OwnerUserId="42710" LastEditorUserId="42710" LastEditDate="2023-11-15T17:24:13.790" LastActivityDate="2023-11-15T17:24:13.790" Title="ffmpeg - best way to zoom in/out an overlay image by its center without jerky movements" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36965" PostTypeId="1" CreationDate="2023-11-05T16:58:27.103" Score="0" ViewCount="28" Body="&lt;p&gt;0&lt;/p&gt;&#xA;&lt;p&gt;I have a link that streams. When I use the link for an IPTV player like Televizo, this plays for an unlimited of time, but when I use this link to my app Exoplayer or my computer's VLC player, this only gets played for some seconds.&lt;/p&gt;&#xA;&lt;p&gt;The link - &lt;a href=&quot;http://sample.com:8080/live/789/789/14756.ts&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://sample.com:8080/live/789/789/14756.ts&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;My Code -&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    MediaItem mediaItem = MediaItem.fromUri(videoUrl);&#xA;    player.setMediaItem(mediaItem);&#xA;    player.prepare();&#xA;    player.setPlayWhenReady(true);&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42833" LastActivityDate="2023-11-05T16:58:27.103" Title=".ts included stream links gets stop after some time in exoplayer" Tags="|video|streaming|codec|android|media|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36966" PostTypeId="1" CreationDate="2023-11-05T17:44:12.670" Score="0" ViewCount="12" Body="&lt;p&gt;I'm streaming some songs with a video in Facebook live using OBS Studio and VLC player. In some particular songs, I get the strange effect that the video speeds up. I could understand that the video slows down, but speed up? That doesnt make any sense to me. Is this some issue related to the streaming or configuration of Facebook live streaming service?&lt;/p&gt;&#xA;" OwnerUserId="21306" OwnerDisplayName="Pablo" LastEditorUserId="-1" LastEditDate="2023-11-11T17:48:45.773" LastActivityDate="2023-11-11T17:48:45.773" Title="Strange effects in streaming with Facebook live" Tags="|streaming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36967" PostTypeId="2" ParentId="29385" CreationDate="2023-11-05T19:23:47.687" Score="0" Body="&lt;p&gt;If anyone is interested, here is &lt;a href=&quot;https://community.adobe.com/t5/after-effects-discussions/increasing-the-value-of-a-property-using-markers-with-linear-interpolation/m-p/14210780#M239110&quot; rel=&quot;nofollow noreferrer&quot;&gt;a solution from the Adobe forums&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;m = marker;&#xA;val = 0;&#xA;if(m.numKeys &amp;gt; 0){&#xA;  n = m.nearestKey(time).index;&#xA;  if (time &amp;gt;= m.key(n).time) n = Math.min(m.numKeys,n+1);&#xA;  t = m.key(n).time - time;&#xA;  val = linear(t,0,framesToTime(5),n,n-1);&#xA;}&#xA;val&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42831" LastEditorUserId="14523" LastEditDate="2023-11-06T02:06:34.783" LastActivityDate="2023-11-06T02:06:34.783" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36969" PostTypeId="1" CreationDate="2023-11-06T13:40:28.390" Score="0" ViewCount="29" Body="&lt;p&gt;I have an After Effects composition that I imported into Premiere Pro. It has the same resolution and frame rate as my Premiere Pro project, and I can import it without any issues. However, when I preview my After Effects composition in Premiere Pro &amp;quot;Berwang,&amp;quot; it starts to shift to the right when I either edit the position or scaling or simply press play.&lt;/p&gt;&#xA;&lt;p&gt;Take note of how the red line connects to the roof of the church in the first paused preview picture. In the second picture, you can see how far the red line jumped to the right milliseconds after i pressed play.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Q9G3b.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Q9G3b.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/P0hR9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/P0hR9.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="42843" LastEditorUserId="4426" LastEditDate="2023-11-06T22:47:34.307" LastActivityDate="2023-11-06T22:47:34.307" Title="Why does my After Effects Comp jump in Premiere Pro Preview" Tags="|after-effects|video-editor|premiere-pro|compositing|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="36970" PostTypeId="2" ParentId="22281" CreationDate="2023-11-06T14:57:32.877" Score="0" Body="&lt;p&gt;I fixed by uncommenting the &lt;code&gt;RIGHT seek 5&lt;/code&gt; and &lt;code&gt;LEFT seek -5&lt;/code&gt; lines in input.conf&#xA;and also by adding &lt;code&gt;hr-seek=yes&lt;/code&gt; in mpv.conf&lt;/p&gt;&#xA;" OwnerUserId="42845" LastActivityDate="2023-11-06T14:57:32.877" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36972" PostTypeId="1" CreationDate="2023-11-08T16:26:17.180" Score="0" ViewCount="19" Body="&lt;p&gt;I am making an almost slide show video clip in Premiere pro 2022.&lt;/p&gt;&#xA;&lt;p&gt;Some part of the music I am using contains regular (I think) notes with mathematical sequence.&#xA;For example the music beats patern are almost like this at the end of each peak:  &lt;code&gt;D ----- D ---- D --- D -- D - D&lt;/code&gt; (steps are 5 - 4 - 3 - 2 - 1). It contains many parts like this with various max steps.&lt;/p&gt;&#xA;&lt;p&gt;For example consider &lt;strong&gt;Beethoven's Moonlight&lt;/strong&gt; or &lt;strong&gt;Fur Elise&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Q 1:&lt;/strong&gt; I wonder if there is any way to add markers according to a certain pattern, for example according to mathematical sequences?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Q 2:&lt;/strong&gt; If the answer to Q 1 is negative, How to add multiple markers with equal spacing with specified distance between any two markers?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;P.S.&lt;/strong&gt; I am aware of Edit Beats Premiere Plugin.&lt;/p&gt;&#xA;" OwnerUserId="27988" LastActivityDate="2023-11-08T16:26:17.180" Title="How to add multiple markers easily in Premiere Pro?" Tags="|premiere-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36973" PostTypeId="2" ParentId="36170" CreationDate="2023-11-09T11:47:54.550" Score="0" Body="&lt;p&gt;don't know if still actual, ran into the exact same problem and solved it with&#xA;&lt;code&gt;apt-get install -y qml-module-org-kde-kcm&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="42864" LastActivityDate="2023-11-09T11:47:54.550" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36974" PostTypeId="2" ParentId="26406" CreationDate="2023-11-09T15:33:07.333" Score="1" Body="&lt;p&gt;As someone already replied, &lt;code&gt;-map 0&lt;/code&gt; is used to grab everything from the first given input, in your case &lt;code&gt;-i toto1.mp4&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;To achieve what you want you can remove a specific stream this way (notice the &lt;code&gt;-&lt;/code&gt; sing):&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-map -0:0&lt;/code&gt; which removes the first stream of the input&lt;br /&gt;&#xA;or&lt;br /&gt;&#xA;&lt;code&gt;-map -0:v:0&lt;/code&gt; which removes the first video stream of the input&lt;/p&gt;&#xA;&lt;p&gt;But if you need to remove the second video from the input:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-map -0:6&lt;/code&gt; which removes the sixth stream of the input&lt;br /&gt;&#xA;or&lt;br /&gt;&#xA;&lt;code&gt;-map -0:v:1&lt;/code&gt; which remove the second video stream of the input&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;More info:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Map&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/Map&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-selection&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg.html#Stream-selection&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-specifiers&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg.html#Stream-specifiers&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="40794" LastEditorUserId="40794" LastEditDate="2023-11-09T15:34:15.377" LastActivityDate="2023-11-09T15:34:15.377" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36975" PostTypeId="1" CreationDate="2023-11-10T11:27:20.243" Score="0" ViewCount="24" Body="&lt;p&gt;Is there any standardized format for raw audio which very efficiently compresses silence (e.g. decided by a parametrizable energy threshold)? I think this could be solved by some sort of custom RLE-encoding, but I wonder, are there any standardized format with existing encoders/decoders.&lt;/p&gt;&#xA;&lt;p&gt;If we have audio with a lot of silence (which is very frequent with multi-person conference call audios), then this format can be intermediate target for decoding the original well-compressed audio (especially if more processing like speech recognition is done down the pipeline).&lt;/p&gt;&#xA;&lt;p&gt;Could I in theory somehow use FLAC as target format and force it to use only &lt;code&gt;verbatim&lt;/code&gt; and &lt;code&gt;constant&lt;/code&gt; modes? (prior to that, force silence to be exactly zero by passing the signal through some shrinking operation) It appears so from the issue I submitted to &lt;code&gt;flac&lt;/code&gt;: &lt;a href=&quot;https://github.com/xiph/flac/issues/656&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/xiph/flac/issues/656&lt;/a&gt;, but I wonder if there are any other standardized formats for achieving the same? e.g. do any container formats (such as ogg or mkv/mp4/webm) support storing a PCM stream with missing segments / gaps (which would correspond to silence)?&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="22985" LastEditorUserId="22985" LastEditDate="2023-11-13T18:02:16.747" LastActivityDate="2023-11-13T18:02:16.747" Title="Raw audio format efficiently compressing exact silence" Tags="|file-formats|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36976" PostTypeId="1" CreationDate="2023-11-10T12:33:44.337" Score="0" ViewCount="7" Body="&lt;p&gt;I would like to draw a line between two circles. The endpoints of the line have to be linked each to one circle. When I move one circle the line should automatically expand to keep the connection.&lt;/p&gt;&#xA;&lt;p&gt;Is this possible with Apple Motion5 (because I already have Motion5)?&lt;/p&gt;&#xA;" OwnerUserId="42875" LastActivityDate="2023-11-10T12:33:44.337" Title="Link line endpoints to objects in Apple Motion5" Tags="|motion|apple|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36977" PostTypeId="2" ParentId="20543" CreationDate="2023-11-10T15:01:12.753" Score="0" Body="&lt;p&gt;This answer is indeed quite late.&lt;/p&gt;&#xA;&lt;p&gt;If you don't specifically have to use a TV, you may do with a projector. There are projectors with 3D stereoscpy support, such as the Optoma UHD506 which I use. These projectors advertise support for &amp;quot;Bluray and PC 3D&amp;quot;, which I'm assume it's some kind of marketing term.&lt;/p&gt;&#xA;&lt;p&gt;However, they don't convert left-right pictures into 3D imagery, instead, some of these DLP-Link require the HDMI source to output at 120Hz, with each eye getting 60 frames every second.&lt;/p&gt;&#xA;&lt;p&gt;Optoma provided glasses that can switch eye when the left-right signal goes out of sync.&lt;/p&gt;&#xA;&lt;p&gt;Also, these 3D modes are often only available at 1080p resolution.&lt;/p&gt;&#xA;&lt;p&gt;Finally, if you want to play a 3D movies on these projectors, you need some software like &lt;a href=&quot;https://bino3d.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Bino3D&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I've also written the &lt;a href=&quot;https://github.com/dannyniu/Studio-Media-Player&quot; rel=&quot;nofollow noreferrer&quot;&gt;Studio Media Player&lt;/a&gt; for Mac using the Swift programming language for my own use. Because I don't have the finacial motive to enroll in Apple developer program, I can't offer that as an App, so you need to compile it using Xcode if you were to use my player.&lt;/p&gt;&#xA;" OwnerUserId="16433" LastActivityDate="2023-11-10T15:01:12.753" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36978" PostTypeId="1" CreationDate="2023-11-10T15:34:17.313" Score="0" ViewCount="4" Body="&lt;p&gt;I occasionally do video editing in spare time. I've made a few 3D videos, and I seek to improve my workflow. I use Final Cut (I hope to get FCPX answers, but open to others so that it'd be useful to folks using other NLEs, and I may adapt that for FCPX as well), and here's roughly my existing workflow:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Shooting&lt;/strong&gt;: I shoot with 2 Canon EOS R7, set in video mode (it has separate modes for stills and motion), with shutter port connected using a 2.5mm cable (I've set shutter signal to &amp;quot;start/stop recording&amp;quot; under video mode). Although this simpifies synchronizing, it still have some delays.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Pre-Processing&lt;/strong&gt;: Video assets are imported into multi-cam timeline. Assets are&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;time-aligned (because I cable-synced 2 cameras, L/R videos usually ends simultaneously)&lt;/li&gt;&#xA;&lt;li&gt;rotated and shifted to align 2 eyes' image.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Here's the part that's most effort consuming: I have to edit 2 versions: one with only 1 eye, and another with both eyes. And when I color-grade 1 eye, I'll have to copy the color-grading effects one-by-one to the other eye, since when I switch side on the multi-cam clip, the corresponding color-grading effect is also switched away.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;strong&gt;Render &amp;amp; Release&lt;/strong&gt;: The platform I use (due to national Internet censorship, I don't use Youtube) allows me to post multiple videos in a single entry. I send a 4K version, and a 1080p SBS version to Compressor to encode into MP4 for upload.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The 3rd point is where my pain is. I suppose I could make a Motion &amp;quot;effect&amp;quot; to help switching eye when grading color; there's the stereoscopy role in the &amp;quot;info&amp;quot; panel of selected clips/assets, but I don't know how they're to be used.&lt;/p&gt;&#xA;&lt;p&gt;Any and all recommendations and suggestions are appreciated.&lt;/p&gt;&#xA;" OwnerUserId="16433" LastActivityDate="2023-11-10T15:34:17.313" Title="Recommendation request for stereoscopy workflow" Tags="|final-cut-pro-x|3d|workflow|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36979" PostTypeId="1" AcceptedAnswerId="36980" CreationDate="2023-11-10T18:03:25.070" Score="0" ViewCount="29" Body="&lt;p&gt;How can I use ffmpeg to create 1 second of 240fps from every 4 seconds of 60fps video?&lt;/p&gt;&#xA;&lt;p&gt;I see only seen questions asking for the opposite.&lt;/p&gt;&#xA;&lt;h3&gt;Background&lt;/h3&gt;&#xA;&lt;p&gt;Our drone is only able to capture 60fps, but if we move it around slowly and compress 4 seconds into 1 second then we should make a &amp;quot;slow motion&amp;quot; video. Right?&lt;/p&gt;&#xA;" OwnerUserId="42878" LastActivityDate="2023-11-10T19:34:00.090" Title="ffmpeg make 1s of 240fps video from 4s of 60fps?" Tags="|ffmpeg|slowmotion|fps|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36980" PostTypeId="2" ParentId="36979" CreationDate="2023-11-10T19:34:00.090" Score="1" Body="&lt;p&gt;The basic command would be&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i 60fps.mp4 -vf &amp;quot;settb=1/240,setpts=(PTS-STARTPTS)/4,fps=240&amp;quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I assume audio is absent or immaterial.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-11-10T19:34:00.090" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36981" PostTypeId="1" CreationDate="2023-11-10T21:42:34.837" Score="0" ViewCount="32" Body="&lt;p&gt;When you have two or more live streams, and you want the ability to toggle between the two,  such as switching to camera 2's feed on the main screen, how do you do that and what do you need to consider when constructing such a system?&lt;/p&gt;&#xA;&lt;p&gt;I prefer to do this programmatically via the command line or python, etc. and have been experimenting with combinations of VLC, nginx rtmp, and ffmpeg but I'm missing a key concept. Is the correct term for this video stream injecting?&lt;/p&gt;&#xA;" OwnerUserId="42881" LastActivityDate="2023-11-10T21:42:34.837" Title="How to inject video into a live stream?" Tags="|ffmpeg|video|live|vlc|rtmp|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36982" PostTypeId="1" CreationDate="2023-11-11T18:01:30.597" Score="1" ViewCount="21" Body="&lt;p&gt;On &lt;a href=&quot;https://youtu.be/F7A503llNBA?t=920&quot; rel=&quot;nofollow noreferrer&quot;&gt;15:20 of &lt;em&gt;How To Make Vox Style Videos - After Effects Tutorial&lt;/em&gt;&lt;/a&gt;, YouTuber Mapal uses &lt;em&gt;Turbulent Displace&lt;/em&gt; in After Effects to add a more natural look to the highlighter/marker effect typical of Vox videos. Note how the edges are imperfect, so they appear more natural:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Fdl3g.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Fdl3g.png&quot; alt=&quot;Note the edges on the highlighter effect&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is there a way of doing something like that through Kdenlive?&lt;/p&gt;&#xA;&lt;p&gt;The rest of the highlighter effect is shown in both these 2 videos:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://youtu.be/p-J2x_6bnZM&quot; rel=&quot;nofollow noreferrer&quot;&gt;Simple4Brain Tech Tutorials - &lt;em&gt;Correct way✅ to highlight text in #kdenlive  23.08.1 (without changing opacity) | Simple4Brain&lt;/em&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;a href=&quot;https://youtu.be/mtiyl9qCnJw&quot; rel=&quot;nofollow noreferrer&quot;&gt;Fabiano from Brazil - &lt;em&gt;KDENLIVE: Marker effect | Text highlighter effect in 2 minutes&lt;/em&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;I've also asked &lt;a href=&quot;https://www.reddit.com/r/kdenlive/comments/17szys6/is_there_a_way_of_creating_a_natural_highlighter/?utm_source=share&amp;amp;utm_medium=web2x&amp;amp;context=3&quot; rel=&quot;nofollow noreferrer&quot;&gt;this question on r/kdenlive&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="34281" LastEditorUserId="34281" LastEditDate="2023-11-11T18:06:30.747" LastActivityDate="2023-11-11T18:06:30.747" Title="Is there a way of creating a &quot;natural&quot; highlighter effect through Kdenlive?" Tags="|effects|kdenlive|visual-effects|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36983" PostTypeId="1" CreationDate="2023-11-12T12:56:27.477" Score="0" ViewCount="12" Body="&lt;p&gt;I am trying to &amp;quot;pin&amp;quot; a 3D title to a mountain peak while I have a drone shot flyover.&lt;/p&gt;&#xA;&lt;p&gt;From tutorials I've gotten into the following.&lt;/p&gt;&#xA;&lt;p&gt;Creating a camera tracker, tracking the scene and solving the tracking. (0.1pxels)&lt;/p&gt;&#xA;&lt;p&gt;I have my 3D text in the 3D scene, and it makes sense (layout wise) in the 3D scene.&lt;/p&gt;&#xA;&lt;p&gt;My problem is that my title does not &amp;quot;stick&amp;quot; to the tracking points... As my drone moves over the peak, the title also pushes back. I want to title to stay put , locked to that point of the peak, and get bigger and eventually drop out as I &amp;quot;fly&amp;quot; over it.&lt;/p&gt;&#xA;&lt;p&gt;In the 3D scene everything looks good but the camera never flies &amp;quot;through/over&amp;quot; the text, and that is obviously why my output is also not rendering properly.&lt;/p&gt;&#xA;&lt;p&gt;What am I missing? In the pic below, my camera is tracking over/passed the 3D text, but the media out does not reflect this.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ZpoN7.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ZpoN7.jpg&quot; alt=&quot;Resolve Text clip&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5926" LastActivityDate="2023-11-12T12:56:27.477" Title="3D Text for mountain peak flyover (Drone shot) not sticking to camera track" Tags="|video-editor|davinci-resolve|tracking|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36985" PostTypeId="2" ParentId="32428" CreationDate="2023-11-14T03:42:37.140" Score="0" Body="&lt;p&gt;I had the same problem. It seems to be working now, after I changed the setting under Preferences -&amp;gt; Playback, and unchecked &amp;quot;Disable video output when in the background&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Edit: Ten minutes after I posted it, my &amp;quot;solution&amp;quot; stopped working. So YMMV. Sorry.&lt;/p&gt;&#xA;" OwnerUserId="42905" LastEditorUserId="14523" LastEditDate="2023-11-14T22:44:56.107" LastActivityDate="2023-11-14T22:44:56.107" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36986" PostTypeId="1" CreationDate="2023-11-14T08:25:03.163" Score="0" ViewCount="13" Body="&lt;p&gt;I am using Adobe Premiere Pro - 2021 for the first time. I know all the basics of it. But I want to replace an audio/video from a new marked in and out one.&lt;/p&gt;&#xA;&lt;p&gt;Please see the image below for better understanding.&lt;/p&gt;&#xA;&lt;p&gt;Read the number sequence for a better understanding. Thanks&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FCqbb.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FCqbb.png&quot; alt=&quot;Image&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="42908" LastActivityDate="2023-12-14T15:31:35.553" Title="Adobe premier pro how to replace a new mark in mark out video / audio from the previous one?" Tags="|premiere|adobe|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36987" PostTypeId="1" CreationDate="2023-11-14T22:30:52.063" Score="0" ViewCount="23" Body="&lt;p&gt;I have a sound file with an interview and separate files with a transcription of the interview (one SRT and one text with one sentence per line).&lt;/p&gt;&#xA;&lt;p&gt;I want to create an animation or video where the transcription scrolls upwards and the sound file is played while the text scrolls. That is, so you can listen to the interview while also reading it. It is nice if it is synchronized but not necessary. The background should be empty/black.&lt;/p&gt;&#xA;&lt;p&gt;The ultimate goal is to insert the result in a slide in a presentation or PDF.&lt;/p&gt;&#xA;&lt;p&gt;I am on a Mac.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;What are my (free) options?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Bonus: it would be nice if the text was aligned to the left (rather than centred).&lt;/p&gt;&#xA;" OwnerUserId="29642" LastActivityDate="2023-11-14T22:30:52.063" Title="Create scrolling text on empty background, with sound, for presentation?" Tags="|video|.srt|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36989" PostTypeId="1" CreationDate="2023-11-15T10:14:40.567" Score="0" ViewCount="48" Body="&lt;p&gt;I have two videos in different formats, sizes, video quality, framerate etc, but I want to stack them as SIMPLE as possible. Does not need to look good, but in the final video I want to see both videos at the same time. Sound does not matter at all, just the video.&lt;/p&gt;&#xA;&lt;p&gt;I tried to rescale the videos first and then did&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i hexcam_480.mp4 -i GL_480.mp4 \&#xA; -filter_complex &amp;quot;hstack,format=yuv420p&amp;quot;\&#xA; -c:v  libx264  -crf 18\&#xA; outstream.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But here I got a warning &amp;quot;More than 1000 frames duplicated&amp;quot; and the speed was0.00927x...&lt;/p&gt;&#xA;&lt;p&gt;I also might need to adjust the starting time as the videos might not start at the same time.&lt;/p&gt;&#xA;&lt;p&gt;Alternatively, anyone can recommend a simple screen recorder? Might be easier ...&lt;/p&gt;&#xA;" OwnerUserId="42808" LastEditorUserId="42808" LastEditDate="2023-11-15T10:20:51.447" LastActivityDate="2023-11-15T10:20:51.447" Title="How to stack two videos with ffmpeg if they might have different size, format, framerate etc?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36990" PostTypeId="1" CreationDate="2023-11-15T13:56:27.493" Score="0" ViewCount="18" Body="&lt;p&gt;I have a video recorded with fps 15 and when I reply it with mplayer it is replayed way too fast (it has a timestamp in it so you can see it is at least double as fast as normal speed). Even when I specify &lt;code&gt;-fps 15&lt;/code&gt; the video still runs too fast.&lt;/p&gt;&#xA;&lt;p&gt;Is there a command line option for mplayer to have the video played at normal speed?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.ts&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;shows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpegts, from 'hexcam02-20231110-130000.ts':&#xA;  Duration: 00:10:00.00, start: 0.133333, bitrate: 1753 kb/s&#xA;  Program 1 &#xA;    Metadata:&#xA;      service_name    : 2023-11-10 13:00:00.001&#xA;      service_provider: gvos-6.0&#xA;  Stream #0:0[0x100]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(progressive), 1920x1080, 15 fps, 15 tbr, 90k tbn, 30 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42808" LastActivityDate="2023-11-15T13:56:27.493" Title="How to play video at correct frame rate?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36991" PostTypeId="1" CreationDate="2023-11-15T14:46:59.633" Score="1" ViewCount="175" Body="&lt;p&gt;ffmpeg community&lt;/p&gt;&#xA;&lt;p&gt;I am new to ffmpeg and i am facing this error for more then 2 days. This ffmpeg command:&#xA;&lt;code&gt;!ffmpeg -i &amp;quot;{fromPath}&amp;quot; -i &amp;quot;{toPath}&amp;quot; -filter_complex &amp;quot;xfade=transition={chosenTransition}:duration={transitionDuration}:offset=-1.5&amp;quot; -c:v libx264 -crf 18 -preset veryfast &amp;quot;{outPath}&amp;quot;&lt;/code&gt;&#xA;I run that previous command 3 times in row where output of the previous command is input that is getting produced as 15360 timebase video i guess.&lt;/p&gt;&#xA;&lt;p&gt;is giving me this error: &amp;quot;First input link main timebase (1/15360) do not match the corresponding second input link xfade timebase (1/90000)&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;So when i merge two of my videos the output is video with (1/15360) timebase. Original videos has (1/90000) timebase.&lt;/p&gt;&#xA;&lt;p&gt;Pls help what i wana archive is basicly multiple videos inside a folder called &amp;quot;clips&amp;quot; merge together using a random transition from xfade/ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;On colab i tried all this ways:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;!rm -rf chunks&#xA;!mkdir chunks&#xA;time.sleep(1)&#xA;folderPath = '/content/clips'&#xA;videoOutput = '/content/test.mp4'&#xA;transitionDuration = 6&#xA;&#xA;videoFiles = [f&amp;quot;{folderPath}/{f}&amp;quot; for f in os.listdir(folderPath) if f.endswith('.mp4')]&#xA;random.shuffle(videoFiles)&#xA;fromPath = videoFiles[0]&#xA;toPath = ''&#xA;outPath = ''&#xA;transitions = ['fade', 'wipeup', 'slidedown', 'circleclose', 'radial' , 'hrslice', 'hblur', 'smoothleft', 'smoothright']&#xA;&#xA;for videoIndex, videoName in enumerate(videoFiles):&#xA;    if videoIndex == 0:&#xA;        continue&#xA;    toPath = videoName&#xA;    chosenTransition = random.choice(transitions)&#xA;    print('chosenTransition', chosenTransition)&#xA;    clipDuration = int((imageio.get_reader(fromPath)).get_meta_data()['duration']) - transitionDuration&#xA;    # !echo -i /content/clips/clip0.mp4 -i /content/clips/clip1.mp4 -filter_complex xfade=transition={chosenTransition}:duration=3:offset={clipDuration} dissolveVideo.mp4&#xA;&#xA;    if videoIndex == len(videoFiles) - 1:&#xA;        outPath = videoOutput&#xA;    else:&#xA;        outPath = f'/content/chunks/chunk{videoIndex}.mp4'&#xA;    time.sleep(2)&#xA;    &#xA;    # !echo -i &amp;quot;{fromPath}&amp;quot; -i &amp;quot;{toPath}&amp;quot; -filter_complex &amp;quot;[0:v]xfade=transition={chosenTransition}:duration=3:offset={clipDuration},settb=1/19000[v0];[0:a][1:a]acrossfade=d=3[aout]&amp;quot; -map &amp;quot;[v0]&amp;quot; -map &amp;quot;[aout]&amp;quot; -c:v libx264 -crf 18 -preset ultrafast &amp;quot;{outPath}&amp;quot;&#xA;    !ffmpeg -i &amp;quot;{fromPath}&amp;quot; -i &amp;quot;{toPath}&amp;quot; -filter_complex &amp;quot;xfade=transition={chosenTransition}:duration={transitionDuration}:offset=-1.5,settb=1/15360&amp;quot; -c:v libx264 -crf 18 -preset veryfast &amp;quot;{outPath}&amp;quot;&#xA;    # !ffmpeg -i &amp;quot;{fromPath}&amp;quot; -i &amp;quot;{toPath}&amp;quot; -filter_complex &amp;quot;[0:v]settb=1/15360,setpts=PTS-STARTPTS[v0];[1:v]settb=1/15360,setpts=PTS-STARTPTS[v1];[v0][v1]xfade=transition={chosenTransition}:duration={transitionDuration}:offset=-1.5[vout]&amp;quot; -map &amp;quot;[vout]&amp;quot; -c:v libx264 -crf 18 -preset ultrafast &amp;quot;{outPath}&amp;quot;&#xA;    # !ffmpeg -i &amp;quot;{fromPath}&amp;quot; -i &amp;quot;{toPath}&amp;quot; -filter_complex &amp;quot;[0]settb=AVTB [0v]; [1]settb=AVTB [1v]; [0v] [1v]xfade=transition={chosenTransition}:duration={transitionDuration}:offset=1&amp;quot; -c:v libx264 -crf 18 -preset ultrafast &amp;quot;{outPath}&amp;quot;&#xA;    # !ffmpeg -i &amp;quot;{fromPath}&amp;quot; -i &amp;quot;{toPath}&amp;quot; -filter_complex &amp;quot;[0:v]xfade=transition={chosenTransition}:duration=3:offset={clipDuration},settb=1/15360[v0];[0:a][1:a]acrossfade=d=3[aout]&amp;quot; -map &amp;quot;[v0]&amp;quot; -map &amp;quot;[aout]&amp;quot; -c:v libx264 -crf 18 -preset ultrafast &amp;quot;{outPath}&amp;quot;&#xA;    # !ffmpeg -y -progress .progressinfo.dat -i &amp;quot;{fromPath}&amp;quot; -i &amp;quot;{toPath}&amp;quot; -filter_complex &amp;quot;[0:v]settb=AVTB,setpts=PTS-STARTPTS[v0];[1:v]settb=AVTB,setpts=PTS-STARTPTS[v1];[v0][v1]xfade=transition={chosenTransition}:duration={transitionDuration}:offset={clipDuration}[vout];[0:a]asettb=AVTB,asetpts=PTS-STARTPTS[a0];[1:a]asettb=AVTB,asetpts=PTS-STARTPTS[a1];[a0][a1]acrossfade=d=3[aout]&amp;quot; -map &amp;quot;[vout]&amp;quot; -map &amp;quot;[aout]&amp;quot; -c:v libx264 -crf 18 -preset ultrafast &amp;quot;{outPath}&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42931" LastActivityDate="2023-12-18T21:04:45.680" Title="First input link main timebase (1/15360) do not match the corresponding second input link xfade timebase (1/90000)" Tags="|ffmpeg|ffprobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36992" PostTypeId="1" CreationDate="2023-11-15T17:57:12.083" Score="0" ViewCount="140" Body="&lt;p&gt;I'm trying to concat a video (mp4) and an audio (mp4 or aac) - both cut out using &lt;code&gt;-ss&lt;/code&gt; and &lt;code&gt;-t&lt;/code&gt; from the same mp4 file. I'd like to basically freeze the last frame from the video and then append the audio.&lt;/p&gt;&#xA;&lt;p&gt;I've tried using the concat demuxer &lt;code&gt;-f conat&lt;/code&gt; and &lt;code&gt;-c copy&lt;/code&gt;, but it produces a video of wrong duration (much longer than it should be, so I'm thinking some PTS are wrong in the audio, how can I reset them?). Also, bad output using &lt;code&gt;-i concat:video_cut.mp4|audio_cut.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I also wonder if it's possible to do whole treat in one call of ffmpeg making use of &lt;code&gt;filter_complex&lt;/code&gt;: apply certain filters to one part of video (&lt;code&gt;drawbox&lt;/code&gt;, &lt;code&gt;drawtext&lt;/code&gt;), then freeze a frame and continue audio as is.&lt;/p&gt;&#xA;&lt;p&gt;Thank you!&lt;/p&gt;&#xA;" OwnerUserId="22985" LastEditorUserId="22985" LastEditDate="2023-11-16T12:23:51.440" LastActivityDate="2023-11-16T12:23:51.440" Title="Concat a video and an audio using ffmpeg, freezing the last video frame, without re-encoding" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="36994" PostTypeId="2" ParentId="8295" CreationDate="2023-11-16T21:51:34.827" Score="1" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;A P frame stores only the changes from the previous frame and a B&#xA;frame stores only the changes in either direction.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Not exactly - encoding happens at the macroblock level, and macroblocks, like frames, can be I, P or B (or Skip, but we'll ignore those here).  Frame type definitions follow from these:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I frames may only have I macroblocks (remember, we are ignoring skip blocks)&lt;/li&gt;&#xA;&lt;li&gt;P frames may have I and P macroblocks&lt;/li&gt;&#xA;&lt;li&gt;B frames may have I, P, and B macroblocks&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;P (and B) blocks are reconstructed by starting with a reference block (or two, whose time offsets may be from the same direction, not necessarily both) that typically has a spatial offset (&amp;quot;motion vector&amp;quot;), and then adding the reconstructed residual to the reference block (or weighted combination of reference blocks).  So it isn't straightforward at all to characterize what happens in generic P and B frames.&lt;/p&gt;&#xA;" OwnerUserId="17470" LastActivityDate="2023-11-16T21:51:34.827" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36995" PostTypeId="1" CreationDate="2023-11-17T03:54:53.040" Score="0" ViewCount="44" Body="&lt;p&gt;I'm having an issue generating automatic subtitles over a specific portion of my video. it worked just fine scanning the middle to end but it only gets off 2 subtitles in the beginning then stops for a few minutes&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/eXZPu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eXZPu.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I only need titles for one layer so all the others are muted as to not interfere with generation. Generating without anything aside from the audio track itself did nothing. Anyone know what causes this?&lt;/p&gt;&#xA;" OwnerUserId="37770" LastActivityDate="2023-11-17T03:54:53.040" Title="Davinci resolve stops generating subtitles in specific part of timeline" Tags="|audio|davinci-resolve|subtitles|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36996" PostTypeId="2" ParentId="32428" CreationDate="2023-11-17T05:27:13.857" Score="0" Body="&lt;p&gt;I also just noticed that sometimes when I use the keyboard in another window while the video is still playing, the audio will come back.&lt;/p&gt;&#xA;&lt;p&gt;So, alt-tab into the other window, let the audio stop, type something in the current (non-Premiere) window, and the audio comes back. Not a &amp;quot;solution&amp;quot;, but it does result in audio playing while Premiere is not the focused window.&lt;/p&gt;&#xA;" OwnerUserId="42906" LastActivityDate="2023-11-17T05:27:13.857" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36997" PostTypeId="1" CreationDate="2023-11-17T21:55:25.980" Score="0" ViewCount="126" Body="&lt;p&gt;I have a file with 7.1 audio, where each channel is in a separate mono stream. How can I convert all these mono streams to plain stereo?&lt;/p&gt;&#xA;&lt;p&gt;(The &lt;a href=&quot;https://trac.ffmpeg.org/wiki/AudioChannelManipulation#a5.1stereo&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt; suggests to use the &lt;code&gt;-ac 2&lt;/code&gt; option, but that is meant for converting 5.1 in one stream of 6 channels, not 8 separate streams)&lt;/p&gt;&#xA;&lt;p&gt;The audio I have has the streams labelled, presumably correctly, so that might help:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-sh prettyprint-override&quot;&gt;&lt;code&gt;$ mediainfo &amp;quot;$in&amp;quot; | egrep '^(Audio|Channel)'&#xA;Audio #1&#xA;Channel(s)                               : 1 channel&#xA;Channel layout                           : Lt&#xA;Audio #2&#xA;Channel(s)                               : 1 channel&#xA;Channel layout                           : Rt&#xA;Audio #3&#xA;Channel(s)                               : 1 channel&#xA;Channel layout                           : L&#xA;Audio #4&#xA;Channel(s)                               : 1 channel&#xA;Channel layout                           : R&#xA;Audio #5&#xA;Channel(s)                               : 1 channel&#xA;Channel layout                           : C&#xA;Audio #6&#xA;Channel(s)                               : 1 channel&#xA;Channel layout                           : LFE&#xA;Audio #7&#xA;Channel(s)                               : 1 channel&#xA;Channel layout                           : Ls&#xA;Audio #8&#xA;Channel(s)                               : 1 channel&#xA;Channel layout                           : Rs&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;:&#xA;In fact, the file I have is not 7.1, but Stereo + 5.1. So I already have the stereo tracks that I want, correctly labelled &amp;quot;Lt&amp;quot; and &amp;quot;Rt&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;But there is still an aspect in the question which I would like to learn: how to convert 7.1 or 5.1 separate mono streams to a single stereo stream?&lt;/p&gt;&#xA;" OwnerUserId="3138" LastEditorUserId="3138" LastEditDate="2023-11-18T14:53:18.070" LastActivityDate="2024-01-05T04:07:25.883" Title="ffmpeg from 5.1 or 7.1 audio in separate mono streams to stereo" Tags="|ffmpeg|audio|stereo|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36998" PostTypeId="2" ParentId="5577" CreationDate="2023-11-18T14:37:48.753" Score="0" Body="&lt;p&gt;If you are using ffmpeg, you need to supply some additional parameters to maintain the color, I would recommend:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 24 -start_number 1 -i inputfile.%04d.png -sws_flags area+accurate_rnd+full_chroma_int  -pix_fmt yuv420p \&#xA;        -vf &amp;quot;scale=in_color_matrix=bt709:out_color_matrix=bt709&amp;quot; \&#xA;        -frames:v 100 -c:v libx264 -preset slower \&#xA;        -color_range tv -colorspace bt709 -color_primaries bt709 -color_trc iec61966-2-1 \&#xA;        outputfile.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;See &lt;a href=&quot;https://academysoftwarefoundation.github.io/EncodingGuidelines/Quickstart.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;ORI Encoding Guidelines&lt;/a&gt; for more details.&lt;/p&gt;&#xA;" OwnerUserId="42967" LastActivityDate="2023-11-18T14:37:48.753" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="36999" PostTypeId="1" CreationDate="2023-11-18T18:19:43.440" Score="0" ViewCount="20" Body="&lt;p&gt;Has anyone been able to use Pano2VR Pro to generate videos of their tours using the Animation Output option? Pano2VR uses ffmpeg to generate video frames.&#xA;I have attempted to use this feature numerous times over the years and always get bad results. The video frames it generates for the video has bits and pieces of 2-3 photos overlapped in the frame. I am attaching a sample.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/NmTmn.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NmTmn.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&#xA;This has happen on 3 different computers so I am fairly confident it isn't hardware related. I can create html type tours with no problem. It only happens if I try to create a set of images to make a video. It happens if I enable the Generate Video File or leave it disabled. Note that I have the ffmpeg installed.&#xA;In this screenshot of the Pano2VR screen, the photo that I am using to attempt to create the video from is a 2.85 Giga-pixel (37,788 x 75,576 pixels) image.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/FbbbZ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FbbbZ.jpg&quot; alt=&quot;screenshot&quot; /&gt;&lt;/a&gt;&#xA;Currently i am using Pano2VR on a Windows 11 OS to create virtual tours of my Gigapixel photography.  I am running a 13th Generation Raptor Lake Intel(R) Core(TM) i9-13900K 24 Core, 32 thread CPU, ASUS ProART Z790 Creator Motherboard is populated with 128 Gigabytes of DDR5 memory,  ASUS GEFORCE RTX 4070 Ti GPU video card.&lt;/p&gt;&#xA;&lt;p&gt;Any suggestions anyone might have would be most appreciated. I would really like to be able to create videos from Pan02VR.&lt;/p&gt;&#xA;" OwnerUserId="42968" LastEditorUserId="42968" LastEditDate="2023-11-18T18:20:22.450" LastActivityDate="2023-11-18T18:20:22.450" Title="Creating a Video from Pano2VR results in corrupted frames" Tags="|ffmpeg|animation|animation-rendering|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="37000" PostTypeId="2" ParentId="36991" CreationDate="2023-11-18T19:38:01.740" Score="0" Body="&lt;p&gt;Firstly, there is nothing wrong with the timebase; ffmpeg can compare timebases, and generate new timebases.&lt;/p&gt;&#xA;&lt;p&gt;Secondly, the problem is about different frame rates. if you use &lt;strong&gt;input frame rate settings&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -r 30 -i &amp;quot;{fromPath}&amp;quot; -r 30 -i &amp;quot;{toPath}&amp;quot; ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;or use &lt;strong&gt;filter frame rate settings&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;{fromPath}&amp;quot; -i &amp;quot;{toPath}&amp;quot; -filter_complex &amp;quot;[0:v]fps=30[v0];[1:v]fps=30[v1];[v0][v1]xfade=transition ...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;or use &lt;strong&gt;same frame rate input streams&lt;/strong&gt;, i.e. 30 frame per second, on your original command,&lt;/p&gt;&#xA;&lt;p&gt;, ffmpeg will have no problems generating an output with fading transitions.&lt;/p&gt;&#xA;" OwnerUserId="31818" LastActivityDate="2023-11-18T19:38:01.740" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37001" PostTypeId="1" CreationDate="2023-11-19T19:43:54.210" Score="0" ViewCount="8" Body="&lt;p&gt;The origins on this question are quite similar to &lt;a href=&quot;https://video.stackexchange.com/questions/12743/what-are-the-most-common-project-formats-for-modern-nle-software&quot;&gt;What are the most common project formats for modern NLE software?&lt;/a&gt; almost ten years ago. If you would edit in an NLE, and want to transfer all assets (maybe not even as an EDL) is there any format that would allow assets to be placed synchronised on multiple tracks relative to each other, without the requirement they have to start at the same time, or render the content?&lt;/p&gt;&#xA;&lt;p&gt;I am basically looking for a format that would could work with a tool like lossless-cut, in a multi track fashion. And exchange format or container preferably importable by another NLE.&lt;/p&gt;&#xA;" OwnerUserId="33326" LastActivityDate="2023-11-19T19:43:54.210" Title="What are the most common formats that allow interchange of timelines, including footage" Tags="|file-formats|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37002" PostTypeId="1" CreationDate="2023-11-20T13:27:03.717" Score="0" ViewCount="34" Body="&lt;p&gt;How can I use the selection made using the Lumetri HSL Secondary Set Color tool to define alpha transparency. That is to say: how can I use my Lumetri colour selection to create a transparency mask to reveal the color matte on the layer below? Thanks.&lt;/p&gt;&#xA;" OwnerUserId="42979" LastEditorUserId="4426" LastEditDate="2023-11-21T11:12:38.773" LastActivityDate="2023-12-21T12:05:05.603" Title="Using Lumetri HSL secondary mask to create alpha transparency" Tags="|mask|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37003" PostTypeId="1" CreationDate="2023-11-20T15:35:19.953" Score="0" ViewCount="84" Body="&lt;p&gt;i want to convert mp4 video into hls multi resolution (360 , 720) and add watermark image inside the output segments&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;i did two result but missing the watermark image with the multi scale&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;//one hls with water mark image&#xA;ffmpeg \&#xA;-i input.mp4 \&#xA;-i watermark.png \&#xA;-filter_complex &amp;quot;[0:v][1:v] overlay=10:10:format=auto,format=yuv420p&amp;quot; \&#xA;-c:a copy -b:a 128k -c:v libx264 -crf 23 \&#xA;-f hls \&#xA;-hls_time 3 \&#xA;-hls_flags independent_segments \&#xA;-master_pl_name &amp;quot;output.m3u8&amp;quot; &amp;quot;output-%v.m3u8&amp;quot;&#xA;&#xA;&#xA;//multi hls with watermark text&#xA;ffmpeg \&#xA;-i ../input.mp4 \&#xA;-map 0:v:0 -map 0:a:0 -map 0:v:0 -map 0:a:0 \&#xA;-c:v:0 libx264 -crf 28 -preset faster -maxrate:v:0 600k -vf &amp;quot;drawtext=fontfile=font.ttf:text='Your Watermark Text':x=10:y=10:fontsize=24:fontcolor=white, scale=-1:360&amp;quot;  -b:a:0 64k \&#xA;-c:v:1 libx264 -crf 28 -preset faster -maxrate:v:0 3000k -vf &amp;quot;drawtext=fontfile=font.ttf:text='Your Watermark Text':x=10:y=10:fontsize=24:fontcolor=white, scale=-1:720&amp;quot; -b:a:0 64k \&#xA;-var_stream_map &amp;quot;v:0,a:0,name:360p v:1,a:1,name:460p&amp;quot; \&#xA;-f hls \&#xA;-hls_list_size 0 \&#xA;-threads 0 \&#xA;-hls_playlist_type event \&#xA;-hls_time 3 \&#xA;-hls_key_info_file ../keys/enc.keyinfo \&#xA;-hls_flags independent_segments \&#xA;-master_pl_name &amp;quot;output.m3u8&amp;quot; &amp;quot;output-%v.m3u8&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42983" LastEditorUserId="42983" LastEditDate="2023-11-20T16:19:49.003" LastActivityDate="2023-11-20T16:19:49.003" Title="FFMPEG watermark + hls multi stream" Tags="|ffmpeg|streaming|hls|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37004" PostTypeId="1" CreationDate="2023-11-20T20:40:04.660" Score="0" ViewCount="120" Body="&lt;p&gt;I am trying to move a png image by 10px over a white background during 2s (fps=25), but the transition I got is not smooth.&lt;/p&gt;&#xA;&lt;p&gt;Here is the command I am using:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -vsync passthrough -f lavfi -i color=c=white:size=300x250 -loop 1 -framerate 25 -i image.png -filter_complex &amp;quot;[0][1]overlay=eval=frame:format=yuv444:x=120:y=lerp(100\,110\,t/2)[s1]&amp;quot; -map &amp;quot;[s1]&amp;quot;  -c:v libx264 -t 2 video.mp4 -hide_banner -loglevel debug&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;At first I thought that all decimals were rounded to integers, but from what I see in the logs it seems that ffmpeg skips frames that contain a fraction of a pixel as a &lt;code&gt;y&lt;/code&gt; coordinate &lt;em&gt;(i.e. 100.2)&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Here is the &lt;a href=&quot;https://local-banners.s3.eu-west-1.amazonaws.com/video/video.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;generated video&lt;/a&gt; &amp;amp; &lt;a href=&quot;https://local-banners.s3.eu-west-1.amazonaws.com/video/log.txt&quot; rel=&quot;nofollow noreferrer&quot;&gt;the log file.&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to generate a smooth effect?&lt;/p&gt;&#xA;" OwnerUserId="42710" LastActivityDate="2023-11-21T04:53:57.913" Title="ffmpeg - Prevent ffmpeg to skip frames" Tags="|ffmpeg|effects|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37005" PostTypeId="2" ParentId="37004" CreationDate="2023-11-21T04:53:57.913" Score="1" Body="&lt;p&gt;ffmpeg does not do sub-pixel overlay. Computed co-ordinates are truncated to integers.&lt;/p&gt;&#xA;&lt;p&gt;The closest to getting a smooth result is to overlay a large PNG on a large background and then downscale the result to the final resolution i.e. &lt;code&gt;[largebg][largefg]overlay=...,scale=300:250:flags=bicubic&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-11-21T04:53:57.913" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="37006" PostTypeId="2" ParentId="37002" CreationDate="2023-11-21T09:21:07.900" Score="0" Body="&lt;p&gt;Set Lumetri to reveal the sections of your clip that you want. (In the example shown, I have also inverted the mask).&lt;/p&gt;&#xA;&lt;p&gt;Click the &amp;quot;Show Mask&amp;quot; checkbox in the 'HSL Secondary' section of the Lumetri plugin.  All the parts that are not selected by your 'HSL secondary' settings will appear grey in the viewer window.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/zidFi.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/zidFi.jpg&quot; alt=&quot;screen2&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;On the same clip, add the Ultra Key plugin so that it appears beneath your Lumetri plugin.&lt;/p&gt;&#xA;&lt;p&gt;In the Ultra Key, set the Key Colour using the paint dropper to the same shade of grey that appears in the greyed out areas of your clip.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/UibC2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UibC2.jpg&quot; alt=&quot;screen&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Those sections of your clip are now transparent.&lt;/p&gt;&#xA;&lt;p&gt;To check, click the wrench icon below the viewer, and enable 'transparency grid'&#xA;&lt;a href=&quot;https://i.stack.imgur.com/JAyyf.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JAyyf.png&quot; alt=&quot;wrench&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2023-11-21T09:21:07.900" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37007" PostTypeId="1" CreationDate="2023-11-21T13:19:07.817" Score="0" ViewCount="18" Body="&lt;pre&gt;&lt;code&gt;spumux tmp.xml &amp;lt; tmp.mpg &amp;gt; output.mpg&#xA;INFO: Picture tmp.png had 255 colors&#xA;INFO: Picture tmp.select.png had 256 colors&#xA;spumux: subgen.c:313: findmasterpal: Assertion `s-&amp;gt;numpal &amp;lt; 16' failed.&#xA;.MakeMenus.sh: line 70: 18832 Aborted (core dumped) &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Picturies created:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;head -c -1 tmp.txt | convert -background none -size 720x576 -font Courier -pointsize 20 -fill white -gravity center caption:@- tmp.png&#xA;head -c -1 tmp.txt | convert -background none -size 720x576 -font Courier -pointsize 20 -undercolor black -fill white -gravity center caption:@- tmp.select.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;File tmp.xml:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;lt;subpictures format=&amp;quot;PAL&amp;quot;&amp;gt;&amp;lt;stream&amp;gt;&#xA;&amp;lt;spu start=&amp;quot;00:00:00.00&amp;quot; force=&amp;quot;yes&amp;quot; autoorder=&amp;quot;rows&amp;quot; autooutline=&amp;quot;infer&amp;quot; outlinewidth=&amp;quot;6&amp;quot; image=&amp;quot;tmp.png&amp;quot; highlight=&amp;quot;tmp.select.png&amp;quot; select=&amp;quot;tmp.png&amp;quot;&amp;gt;&#xA;&amp;lt;/spu&amp;gt;&#xA;&amp;lt;/stream&amp;gt;&amp;lt;/subpictures&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;COMMENT:&#xA;Spumux, the subtitle multiplexing tool in DVD authoring, supports a limited range of colors for subpictures. Here is a list of some commonly used colors in spumux along with their corresponding hexadecimal color codes:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;White - #FFFFFF&lt;/li&gt;&#xA;&lt;li&gt;Black - #000000&lt;/li&gt;&#xA;&lt;li&gt;Red - #FF0000&lt;/li&gt;&#xA;&lt;li&gt;Green - #00FF00&lt;/li&gt;&#xA;&lt;li&gt;Blue - #0000FF&lt;/li&gt;&#xA;&lt;li&gt;Yellow - #FFFF00&lt;/li&gt;&#xA;&lt;li&gt;Magenta - #FF00FF&lt;/li&gt;&#xA;&lt;li&gt;Cyan - #00FFFF&lt;/li&gt;&#xA;&lt;li&gt;Gray - #808080&lt;/li&gt;&#xA;&lt;li&gt;Light Gray - #C0C0C0&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Remember, spumux has a limit of 16 colors for the subpicture palette, so you should choose your colors from this limited set.&lt;/p&gt;&#xA;" OwnerUserId="29967" LastEditorUserId="29967" LastEditDate="2023-11-21T13:24:54.383" LastActivityDate="2023-12-22T10:01:10.120" Title="dvdauthor spumux aborted: picture had 256 colors" Tags="|ffmpeg|dvd|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37008" PostTypeId="1" CreationDate="2023-11-22T02:42:24.453" Score="1" ViewCount="53" Body="&lt;p&gt;I am creating a video with audio that consists of 25 images that fade into each other for the duration of an audio file. There is also some text that will appear on the finished video.&lt;/p&gt;&#xA;&lt;p&gt;What I currently have works but it is terrible slow. On an AMD 3500x using all 6 cores it can only get between .9 and 1.1 frames per second using libx264 to encode a mp4 file. Using h264_nvenc I can only get slightly better at 1.1 to 1.3 frames per second. I am going to be making 100's of these videos so would really like to do it as efficiently as possible.&lt;/p&gt;&#xA;&lt;p&gt;It seems to be the fades that cause the problem as I can encode at 7 to 12 fps if it just jumps from one image to the other without the fade. And it seems cuda doesn't have anything that can speed up the image processing.&lt;/p&gt;&#xA;&lt;p&gt;Here is what I have that works but I'm sure it can be made more compact. I have tried different things like setting a time -t to the input of each image but that didn't help. I have tried doing just a fade in over the previous image instead of a fade out then the next image fading in. My thinking was half as many filters would make it faster but it didn't change the speed of encoding at all.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;    &#xA;full_path=&amp;quot;/Videos&amp;quot;&#xA;a_path=$full_path&amp;quot;/&amp;quot;$1&amp;quot;/&amp;quot;$2&amp;quot;.wav&amp;quot;&#xA;    &#xA;images=25&#xA;    &#xA;duration_function() {&#xA;    ffprobe -v error -show_entries format=duration -of default=noprint_wrappers=1:nokey=1 $a_path&#xA;        return 100&#xA;    }&#xA;    &#xA;duration=&amp;quot;$(duration_function &amp;quot;$a_path&amp;quot;)&amp;quot; &#xA;   &#xA;duration=${duration%.*}&#xA;minutes=$((duration / 60))&#xA;seconds=$((duration / 60))&#xA;seconds=$(printf &amp;quot;%02d&amp;quot; $seconds)&#xA;fade=$((duration / images))&#xA; &#xA;&#xA;intro1=1&#xA;intro2=$((fade+2))&#xA;intro3=$((intro2+fade))&#xA;intro4=$((intro3+fade))&#xA;intro5=$((intro4+fade))&#xA;intro6=$((intro5+fade))&#xA;intro7=$((intro6+fade))&#xA;intro8=$((intro7+fade))&#xA;intro9=$((intro8+fade))&#xA;intro10=$((intro9+fade))&#xA;intro11=$((intro10+fade))&#xA;intro12=$((intro11+fade))&#xA;intro13=$((intro12+fade))&#xA;intro14=$((intro13+fade))&#xA;intro15=$((intro14+fade))&#xA;intro16=$((intro15+fade))&#xA;intro17=$((intro16+fade))&#xA;intro18=$((intro17+fade))&#xA;intro19=$((intro18+fade))&#xA;intro20=$((intro19+fade))&#xA;intro21=$((intro20+fade))&#xA;intro22=$((intro21+fade))&#xA;intro23=$((intro22+fade))&#xA;intro24=$((intro23+fade))&#xA;intro25=$((intro24+fade))&#xA;&#xA;outro1=$((fade+2))&#xA;outro2=$((outro1+fade))&#xA;outro3=$((outro2+fade))&#xA;outro4=$((outro3+fade))&#xA;outro5=$((outro4+fade))&#xA;outro6=$((outro5+fade))&#xA;outro7=$((outro6+fade))&#xA;outro8=$((outro7+fade))&#xA;outro9=$((outro8+fade))&#xA;outro10=$((outro9+fade))&#xA;outro11=$((outro10+fade))&#xA;outro12=$((outro11+fade))&#xA;outro13=$((outro12+fade))&#xA;outro14=$((outro13+fade))&#xA;outro15=$((outro14+fade))&#xA;outro16=$((outro15+fade))&#xA;outro17=$((outro16+fade))&#xA;outro18=$((outro17+fade))&#xA;outro19=$((outro18+fade))&#xA;outro20=$((outro19+fade))&#xA;outro21=$((outro20+fade))&#xA;outro22=$((outro21+fade))&#xA;outro23=$((outro22+fade))&#xA;outro24=$((outro23+fade))&#xA;outro25=$((duration-1))&#xA;&#xA;&#xA;/usr/bin/ffmpeg -y -hide_banner -threads 6 -f lavfi -i color=c=black:s=3840x2160:r=30:d=$duration -pix_fmt rgba -loop 1 -i 1.png -loop 1 -i 2.png -loop 1 -i 3.png -loop 1 -i 4.png -loop 1 -i 5.png -loop 1 -i 6.png -loop 1 -i 7.png -loop 1 -i 8.png -loop 1 -i 9.png -loop 1 -i 10.png -loop 1 -i 11.png -loop 1 -i 12.png -loop 1 -i 13.png -loop 1 -i 14.png -loop 1 -i 15.png -loop 1 -i 16.png -loop 1 -i 17.png -loop 1 -i 18.png -loop 1 -i 19.png -loop 1 -i 20.png -loop 1 -i 21.png -loop 1 -i 22.png -loop 1 -i 23.png -loop 1 -i 24.png -loop 1 -i 25.png -i $a_path -filter_complex 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Time  %{pts\:gmtime\:0\:%M\\\\\:%S} / $minutes\:$seconds':box=1:boxcolor=black@.4:boxborderw=9:x=300:y=1860,&#xA;drawtext=fontfile=/font.ttf:fontsize=50:fontcolor=red:text='\:':box=1:boxcolor=black@.4:boxborderw=9:x=823:y=1865:enable='lt(mod(t,1),.4)',&#xA;drawtext=fontfile=/font.ttf:text='Text':y=1712:x=(if(lt(10*n/(300+tw)\,1)\,mod(10*n\,300+tw)-tw\,300)):fontcolor=white:fontsize=85:enable='between(t,0,$((duration-1)))',\&#xA;drawtext=fontfile=/font.ttf:text='Text':y=1711:x=(if(lt(10*n/(300+tw)\,1)\,mod(10*n\,300+tw)-tw\,300)):fontcolor=red:fontsize=85:enable='between(t,0,$((duration-1)))'[out]&amp;quot;\&#xA; -map &amp;quot;[out]&amp;quot; -map 26:a -c:v libx264 -crf 18  -acodec aac video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;So I'm not sure if setting a color format would help or what I can do. I know it is 4k and will be slow but for most of the video all it really needs to do is display a static picture but it seem like because there is an alpha channel it slows it way doing even it the transparency for most of the frames is at 0%.&lt;/p&gt;&#xA;&lt;p&gt;Thank you to anyone who can help me make this more efficient!&lt;/p&gt;&#xA;&lt;p&gt;Thanks to the helpful links provided I ended up with this and it runs at over 20 fps and looks great. I wish I could get the cuda HW acceleration to work but I couldn't figure out the hwupload hwdoanload and told me the pixel formats were incompatable but I am very happy with this!&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;full_path=&amp;quot;/Videos&amp;quot;&#xA;a_path=$full_path&amp;quot;/&amp;quot;$1&amp;quot;/&amp;quot;$2&amp;quot;.wav&amp;quot;&#xA;font=&amp;quot;/font.ttf&amp;quot;&#xA;images=25&#xA;&#xA;duration_function() {&#xA;    ffprobe -v error -show_entries format=duration -of default=noprint_wrappers=1:nokey=1 $a_path&#xA;    return 100&#xA;}&#xA;&#xA;duration=&amp;quot;$(duration_function &amp;quot;$a_path&amp;quot;)&amp;quot; &#xA;duration=${duration%.*}&#xA;&#xA;minutes=$((duration / 60))&#xA;seconds=$((duration % 60))&#xA;&#xA;seconds=$(printf &amp;quot;%02d&amp;quot; $seconds)&#xA;fade=$((duration / images))&#xA;&#xA;intro1=1&#xA;intro2=$((intro1+fade))&#xA;intro3=$((intro2+fade))&#xA;intro4=$((intro3+fade))&#xA;intro5=$((intro4+fade))&#xA;intro6=$((intro5+fade))&#xA;intro7=$((intro6+fade))&#xA;intro8=$((intro7+fade))&#xA;intro9=$((intro8+fade))&#xA;intro10=$((intro9+fade))&#xA;intro11=$((intro10+fade))&#xA;intro12=$((intro11+fade))&#xA;intro13=$((intro12+fade))&#xA;intro14=$((intro13+fade))&#xA;intro15=$((intro14+fade))&#xA;intro16=$((intro15+fade))&#xA;intro17=$((intro16+fade))&#xA;intro18=$((intro17+fade))&#xA;intro19=$((intro18+fade))&#xA;intro20=$((intro19+fade))&#xA;intro21=$((intro20+fade))&#xA;intro22=$((intro21+fade))&#xA;intro23=$((intro22+fade))&#xA;intro24=$((intro23+fade))&#xA;intro25=$((intro24+fade))&#xA;&#xA;ffmpeg -y -hide_banner -threads 6 -f lavfi -i color=c=black:s=3840x2160:r=25:d=$duration -loop 1 -i 1.png -loop 1 -i 2.png -loop 1 -i 3.png -loop 1 -i 4.png -loop 1 -i 5.png -loop 1 -i 6.png -loop 1 -i 7.png -loop 1 -i 8.png -loop 1 -i 9.png -loop 1 -i 10.png -loop 1 -i 11.png -loop 1 -i 12.png -loop 1 -i 13.png -loop 1 -i 14.png -loop 1 -i 15.png -loop 1 -i 16.png -loop 1 -i 17.png -loop 1 -i 18.png -loop 1 -i 19.png -loop 1 -i 20.png -loop 1 -i 21.png -loop 1 -i 22.png -loop 1 -i 23.png -loop 1 -i 24.png -loop 1 -i 25.png -i $a_path -filter_complex &amp;quot;\&#xA;[0:v][1]xfade=transition=fade:duration=2:offset=$intro1[out];\&#xA;[out][2]xfade=transition=fade:duration=2:offset=$intro2[out];\&#xA;[out][3]xfade=transition=fade:duration=2:offset=$intro3[out];\&#xA;[out][4]xfade=transition=fade:duration=2:offset=$intro4[out];\&#xA;[out][5]xfade=transition=fade:duration=2:offset=$intro5[out];\&#xA;[out][6]xfade=transition=fade:duration=2:offset=$intro6[out];\&#xA;[out][7]xfade=transition=fade:duration=2:offset=$intro7[out];\&#xA;[out][8]xfade=transition=fade:duration=2:offset=$intro8[out];\&#xA;[out][9]xfade=transition=fade:duration=2:offset=$intro9[out];\&#xA;[out][10]xfade=transition=fade:duration=2:offset=$intro10[out];\&#xA;[out][11]xfade=transition=fade:duration=2:offset=$intro11[out];\&#xA;[out][12]xfade=transition=fade:duration=2:offset=$intro12[out];\&#xA;[out][13]xfade=transition=fade:duration=2:offset=$intro13[out];\&#xA;[out][14]xfade=transition=fade:duration=2:offset=$intro14[out];\&#xA;[out][15]xfade=transition=fade:duration=2:offset=$intro15[out];\&#xA;[out][16]xfade=transition=fade:duration=2:offset=$intro16[out];\&#xA;[out][17]xfade=transition=fade:duration=2:offset=$intro17[out];\&#xA;[out][18]xfade=transition=fade:duration=2:offset=$intro18[out];\&#xA;[out][19]xfade=transition=fade:duration=2:offset=$intro19[out];\&#xA;[out][20]xfade=transition=fade:duration=2:offset=$intro20[out];\&#xA;[out][21]xfade=transition=fade:duration=2:offset=$intro21[out];\&#xA;[out][22]xfade=transition=fade:duration=2:offset=$intro22[out];\&#xA;[out][23]xfade=transition=fade:duration=2:offset=$intro23[out];\&#xA;[out][24]xfade=transition=fade:duration=2:offset=$intro24[out];\&#xA;[out][25]xfade=transition=fade:duration=2:offset=$intro25[out];\&#xA;[out]drawtext=fontfile=$font:text='Text':fontcolor=white:fontsize=50:box=1:boxcolor=black@.4:boxborderw=9:x=300:y=1810,\&#xA;drawtext=fontfile=$font:text='\:':fontcolor=red:fontsize=50:box=1:x=762:y=1813:enable='lt(mod(t,1),.5)',\&#xA;drawtext=fontfile=$font:fontsize=50:fontcolor=white:text='Elapsed Time  %{pts\:gmtime\:0\:%M\\\\\:%S} / $minutes\:$seconds':box=1:boxcolor=black@.4:boxborderw=9:x=300:y=1860,&#xA;drawtext=fontfile=$font:fontsize=50:fontcolor=red:text='\:':x=823:y=1865:enable='lt(mod(t,1),.4)',&#xA;drawtext=fontfile=$font:text='Text':y=1712:x=(if(lt(10*n/(300+tw)\,1)\,mod(10*n\,300+tw)-tw\,300)):fontcolor=white:fontsize=85:enable='between(t,0,$((duration-1)))',\&#xA;drawtext=fontfile=$font:text='Text':y=1711:x=(if(lt(10*n/(300+tw)\,1)\,mod(10*n\,300+tw)-tw\,300)):fontcolor=red:fontsize=85:enable='between(t,0,$((duration-1)))'[out]&amp;quot;\&#xA; -map &amp;quot;[out]&amp;quot; -map 26:a -shortest -c:v hevc_nvenc -rc vbr -cq 24 -qmin 24 -qmax 24 -profile:v main10 -b:v 0K -c:a aac -map 0 video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42991" LastEditorUserId="42991" LastEditDate="2023-11-23T00:51:06.027" LastActivityDate="2023-11-23T00:51:06.027" Title="Most efficiant way to create a video with series of images faded in and out with ffmpeg" Tags="|ffmpeg|bash|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="37009" PostTypeId="2" ParentId="37007" CreationDate="2023-11-22T08:23:18.753" Score="0" Body="&lt;pre&gt;&lt;code&gt;head -c -1 tmp.txt | convert -background none -size 720x576 -font Courier -pointsize 20 -undercolor black -fill white -gravity center caption:@- -threshold 50% tmp.select.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The &amp;quot;-threshold 50%&amp;quot; option converts all shades of gray to pure black and white, considering any pixel with a brightness level below 50% as black and anything above as white.&lt;/p&gt;&#xA;" OwnerUserId="29967" LastActivityDate="2023-11-22T08:23:18.753" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37010" PostTypeId="1" CreationDate="2023-11-22T18:49:44.077" Score="0" ViewCount="13" Body="&lt;p&gt;I have questions regarding the time slot in-between two frames of video stream, i.e. Horizontal Blanking Interval (let's say HBI in the following), seen as Idling Time sometimes.&#xA;Considering a CMOS image sensor with Electronic Rolling Shutter, lighting is permanent)&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Is it possible to set the HBI to 0 (or very minimum) ? (increasing the VBI to respect frame rate)&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I understand the historical need (old screen display) to have an HBI (beam needed to come back to the beginning of the next line, but in the case of an image sensor case I &amp;quot;only&amp;quot; (if I can say so) see two cases where it is required:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;frame &amp;quot;real&amp;quot; size is too small, compared to the exposure duration requirement (=&amp;gt; virtually increasing line size by adding HBI).&lt;/li&gt;&#xA;&lt;li&gt;slot(s) may be needed to reconfigure some registers (Exposure, Gain, ...) of the image sensor, without stopping/restarting the stream&#xA;Apart from these cases, I don't see some need to have it greater than 0. Yet it seems to me that there are always constraints on this parameter (i.e. it has to be greater than 0).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Linked to this point (understanding the possible constraints), &lt;strong&gt;what is -- precisely -- included (meaning regarding low level) under the &amp;quot;readout&amp;quot; term ?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I was not able to find it after lots of research.&#xA;My assumption/understanding is that it is the amount of time for transmission from the image sensor shift register to the outside world (likely PC)&lt;/p&gt;&#xA;&lt;p&gt;Here-below is a schematic I have made trying to represent the video stream:&#xA;Legend is as follow:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;$\color{black}{\text{RESET}}$&lt;/strong&gt; photosites well&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;$\color{gold}{\text{EXPO}}$&lt;/strong&gt; exposure time&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;$\color{red}{\text{CHARGE TRANSFER}}$&lt;/strong&gt; from photosites to shift register&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;$\color{darkblue}{\text{READOUT}}$&lt;/strong&gt; from shift register to the outside (through DVP, MIPI, ....)&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;$\color{black}{\text{HBI}}$&lt;/strong&gt;&lt;em&gt;(white)&lt;/em&gt; (horizontal blanking interval, idling time)&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Oc51B.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Oc51B.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;em&gt;note: this schematic is on purpose not really well scaled, or even incorrect (see next question)&#xA;For example EXPO is very small, and probably there no sensor that allow such a small duration. But it is only for the sake of the point(s) I wanted to put the emphasis on.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Ultimately, how constrained is the flow of images, i.e. how much can they overlap each others?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I don't see how the two green arrows could be not aligned (like in the schematic), I think it is not possible. But it seems to me that (at least) some sensor are able to readout multiple lines at once, even more some other readout &amp;quot;straight&amp;quot; (meaning line#, only then line#n+1, then ....) readout strategy, reading line specific order, ....&#xA;Is that correct ?&lt;/p&gt;&#xA;" OwnerUserId="42998" LastActivityDate="2023-11-22T18:49:44.077" Title="Horizontal Blanking Interval (Idling Time) optimization" Tags="|streaming|capturing|image-sensors|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37013" PostTypeId="1" CreationDate="2023-11-25T12:42:50.937" Score="0" ViewCount="99" Body="&lt;p&gt;I have several dash cam videos. The first 3 of them are opened through the VLC. Other files - no&lt;/p&gt;&#xA;&lt;p&gt;When trying to open them ffmpeg:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.4.2-0ubuntu0.22.04.1 Copyright (c) 2000-2021 the FFmpeg developers&#xA;  built with gcc 11 (Ubuntu 11.2.0-19ubuntu1)&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.22.04.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libdav1d --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librabbitmq --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzimg --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opencl --enable-opengl --enable-sdl2 --enable-pocketsphinx --enable-librsvg --enable-libmfx --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;  libavutil      56. 70.100 / 56. 70.100&#xA;  libavcodec     58.134.100 / 58.134.100&#xA;  libavformat    58. 76.100 / 58. 76.100&#xA;  libavdevice    58. 13.100 / 58. 13.100&#xA;  libavfilter     7.110.100 /  7.110.100&#xA;  libswscale      5.  9.100 /  5.  9.100&#xA;  libswresample   3.  9.100 /  3.  9.100&#xA;  libpostproc    55.  9.100 / 55.  9.100&#xA;Splitting the commandline.&#xA;Reading option '-i' ... matched as input url with argument '/home/b/Downloads/Normal/FILE20231122-184948-000049.MP4'.&#xA;Reading option '-loglevel' ... matched as option 'loglevel' (set logging level) with argument '48'.&#xA;Finished splitting the commandline.&#xA;Parsing a group of options: global .&#xA;Applying option loglevel (set logging level) with argument 48.&#xA;Successfully parsed a group of options.&#xA;Parsing a group of options: input url /home/b/Downloads/Normal/FILE20231122-184948-000049.MP4.&#xA;Successfully parsed a group of options.&#xA;Opening an input file: /home/b/Downloads/Normal/FILE20231122-184948-000049.MP4.&#xA;[NULL @ 0x55fddf21a5c0] Opening '/home/b/Downloads/Normal/FILE20231122-184948-000049.MP4' for reading&#xA;[file @ 0x55fddf21b240] Setting default whitelist 'file,crypto,data'&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x55fddf21a5c0] Format mov,mp4,m4a,3gp,3g2,mj2 detected only with low score of 1, misdetection possible!&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x55fddf21a5c0] moov atom not found&#xA;[AVIOContext @ 0x55fddf223640] Statistics: 1081344 bytes read, 3 seeks&#xA;/home/b/Downloads/Normal/FILE20231122-184948-000049.MP4: Invalid data found when processing input&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I tried &lt;a href=&quot;https://github.com/ponchio/untrunc&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/ponchio/untrunc&lt;/a&gt; because I have the &amp;quot;correct&amp;quot; videos, but it didn't work, I just started getting another error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x55936f11b5c0] stream 0, contradictionary STSC and STCO&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x55936f11b5c0] error reading header&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I tried different online video recovery services - it didn’t help.&lt;/p&gt;&#xA;&lt;p&gt;Is it possible to restore the video? (not necessarily with audio track)&#xA;Considering that I have working videos from the same DVR&lt;/p&gt;&#xA;" OwnerUserId="43023" LastActivityDate="2023-11-28T09:54:04.900" Title="'FFMPEG: moov atom not found' on my dash cam videos" Tags="|ffmpeg|mp4|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37014" PostTypeId="1" CreationDate="2023-11-26T15:02:16.753" Score="0" ViewCount="74" Body="&lt;p&gt;I am trying to making a video using 1 background image and 5 transparent images (all the images are in same dimensions 500x500). Where the 5 transparent images animate for 2 seconds (Slideup, WipeDown, Fade etc.) and come to their original positions using Xfade and FFMpeg.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/e43aB.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/e43aB.jpg&quot; alt=&quot;Final Video Image&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;When I tried the example in the Xfade site using 3 images (1 background image and two transparent images), the first image i.e. 1.png is overlaid on the background image i.e. bg.jpg and after 4 seconds next the second image i.e. 2.png moved from right to left, I got the transition what I expected but the 2.png is overlapping the 1.png, where I want to show the 1.png also. Below is the example I tried.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -loop 1 -t 5 -i bg.jpg -loop 1 -t 5 -i 1.png -loop 1 -t 5 -i 2.png -filter_complex &amp;quot;[1][2]xfade=transition=wipeleft:duration=1:offset=4,format=yuva420p[trans];[0][trans]overlay=10:10&amp;quot; -c:v libx264 -preset ultrafast -tune stillimage -c:a aac -strict experimental -b:a 192k output3.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;All I want to animate the 5 images on a background image, each image should come one after the other with 2 seconds transitions and all the 5 transparent images should overlay on the background image and all the images should be visible. Over all the video should be of 20 seconds length.&lt;/p&gt;&#xA;&lt;p&gt;Note: all the images are in same dimensions 500x500, I attached all the images below.&lt;/p&gt;&#xA;&lt;p&gt;Thank you.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/90P7t.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/90P7t.jpg&quot; alt=&quot;Background Image&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/FhjCg.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/FhjCg.png&quot; alt=&quot;1.png&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/idXsz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/idXsz.png&quot; alt=&quot;2.png&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/DSqUr.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/DSqUr.png&quot; alt=&quot;3.png&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/L96ad.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/L96ad.png&quot; alt=&quot;4.png&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/UETTs.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UETTs.png&quot; alt=&quot;5.png&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OtlcV.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OtlcV.jpg&quot; alt=&quot;Final Video should be like this&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43029" LastActivityDate="2023-11-26T15:02:16.753" Title="How to animate transparent images using Xfade and ffmpeg" Tags="|ffmpeg|animation|" AnswerCount="0" CommentCount="6" ContentLicense="CC BY-SA 4.0" />
  <row Id="37015" PostTypeId="1" CreationDate="2023-11-27T01:30:58.123" Score="0" ViewCount="85" Body="&lt;p&gt;I am using ffmpeg with a lot of filters. I am currently using one gpu for using cuda filters like overlay_cuda and the encoding with:&#xA;-hwaccel_output_format cuda -hwaccel_device 3 -hwaccel cuda.&lt;/p&gt;&#xA;&lt;p&gt;I am using several opencl filters with another GPU with:&#xA;-init_hw_device opencl=gpu:0.0 -filter_hw_device gpu&lt;/p&gt;&#xA;&lt;p&gt;The GPU doing the opencl filters is my bottle neck. Some of the opencl filters being used are xfade_opencl. I was wondering if there was a way I could also initialize a vulkan gpu and change those filters over to xfade_vulkan. It seems I would need to add this:&#xA;-init_hw_device &amp;quot;vulkan=vk:1&amp;quot; -hwaccel vulkan&lt;/p&gt;&#xA;&lt;p&gt;but the trouble is obvious, I can't set:&lt;/p&gt;&#xA;&lt;p&gt;-init_hw_device &amp;quot;vulkan=vk:1&amp;quot; -hwaccel vulkan -hwaccel_output_format cuda -hwaccel_device 3 -hwaccel cuda -init_hw_device opencl=gpu:0.0 -filter_hw_device gpu&lt;/p&gt;&#xA;&lt;p&gt;I get the message:&#xA;Multiple -hwaccel options specified for stream 0, only the last option '-hwaccel cuda' will be used.&lt;/p&gt;&#xA;&lt;p&gt;Is there any way around this? Any way to initialize a vulkan processor and opencl processor from the command line?&lt;/p&gt;&#xA;" OwnerUserId="42991" LastActivityDate="2023-11-27T01:30:58.123" Title="ffmpeg able to use cuda, Vulkan and opencl at the time?" Tags="|ffmpeg|video|encoding|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37016" PostTypeId="1" CreationDate="2023-11-27T07:04:54.107" Score="0" ViewCount="41" Body="&lt;p&gt;I have a folder with video files. Some are &lt;code&gt;.mov&lt;/code&gt;, some are &lt;code&gt;.mp4&lt;/code&gt;. As a first step I am converting the &lt;code&gt;.mov&lt;/code&gt;-files into &lt;code&gt;.mp4&lt;/code&gt; with:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;while read mov; do&#xA;   mp4=$(echo &amp;quot;$mov&amp;quot;|sed -e 's|\.mov$|.mp4|i')&#xA;   if [ &amp;quot;$mov&amp;quot; == &amp;quot;$mp4&amp;quot; ]; then&#xA;     echo &amp;quot;Failed to generate unique MP4 filename for file $mov&amp;quot;&#xA;   fi&#xA;   ffmpeg -i &amp;quot;$mov&amp;quot; -c:v libx264 -f mp4 &amp;quot;$mp4&amp;quot;&#xA; done &amp;lt; &amp;lt;(find . -type f -iname '*.mov')&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This works technically fine.&lt;/p&gt;&#xA;&lt;p&gt;As a second step I need to merge two video files: the first one is always the same (&lt;code&gt;intro.mp4&lt;/code&gt; with audio), the second file is the either converted &lt;code&gt;.mov&lt;/code&gt; or the &lt;code&gt;.mp4&lt;/code&gt; from the folder (also with audio).&#xA;Additionally I need a screenshot of the first frame from the second video, which shall be the very first frame and visible for e.g. half a second (for e.g. youtube-shorts to differentiate the videos).&lt;/p&gt;&#xA;&lt;p&gt;I create the screenshot with&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i ${fzbVideo} -ss 1 -vframes 1 ${cover}&amp;quot;_%01d.jpg&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;which works perfectly fine.&lt;/p&gt;&#xA;&lt;p&gt;As far as I could I followed the example shown &lt;a href=&quot;https://stackoverflow.com/questions/43958438/merge-videos-and-images-using-ffmpeg&quot;&gt;here&lt;/a&gt; and the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Concatenate#filter&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation of ffmpeg&lt;/a&gt;&#xA;and created a loop for all the videos and the steps of merge screenshot and videos:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;for fzbVideo in *.mp4; do&#xA;    # intro should be at the beginning of each video&#xA;    intro=&amp;quot;intro/fzb-intro.mp4&amp;quot;&#xA;    # getting a cover imge&#xA;    cover=&amp;quot;$(basename ${fzbVideo} .mp4)_cover&amp;quot;&#xA;    # naming the output file&#xA;    fzbVideoOutput=&amp;quot;$(basename ${fzbVideo} .mp4)_output.mp4&amp;quot;&#xA;    #   create a cover image from the first frame of the video&#xA;    ffmpeg -i ${fzbVideo} -ss 1 -vframes 1 ${cover}&amp;quot;_%01d.jpg&amp;quot;&#xA;    # combine the cover image with the intro and the actual video file&#xA;    ffmpeg \&#xA;-loop 1 -framerate 1 -t 1 -i ${cover}&amp;quot;_1.jpg&amp;quot; \&#xA;-i ${intro} \&#xA;-i ${fzbVideo} \&#xA;-f lavfi -t 0.1 -i anullsrc=channel_layout=stereo:sample_rate=44100 \&#xA;-filter_complex '[0:v:0][0:a:0][1:v:0][1:a:0][2:a:0][2:a:0]concat=n=3:v=1:a=1' ${fzbVideoOutput}&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But this creates the error:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;Stream specifier ':a:0' in filtergraph description [0:v:0][0:a:0][1:v:0][1:a:0][2:a:0][2:a:0]concat=n=3:v=1:a=1 matches no streams.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What do I need to change?&#xA;Additionally, is there a way to combine the converstion from &lt;code&gt;.mov&lt;/code&gt; to &lt;code&gt;.mp4&lt;/code&gt; also in the loop (if necessary)?&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;Meta information: content from the CLI, in case this is important information:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg version 6.0 Copyright (c) 2000-2023 the FFmpeg developers&#xA;  built with Apple clang version 14.0.3 (clang-1403.0.22.14.1)&#xA;  configuration: --prefix=/opt/homebrew/Cellar/ffmpeg/6.0_1 --enable-shared --enable-pthreads --enable-version3 --cc=clang --host-cflags= --host-ldflags= --enable-ffplay --enable-gnutls --enable-gpl --enable-libaom --enable-libaribb24 --enable-libbluray --enable-libdav1d --enable-libmp3lame --enable-libopus --enable-librav1e --enable-librist --enable-librubberband --enable-libsnappy --enable-libsrt --enable-libsvtav1 --enable-libtesseract --enable-libtheora --enable-libvidstab --enable-libvmaf --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libxvid --enable-lzma --enable-libfontconfig --enable-libfreetype --enable-frei0r --enable-libass --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libspeex --enable-libsoxr --enable-libzmq --enable-libzimg --disable-libjack --disable-indev=jack --enable-videotoolbox --enable-audiotoolbox --enable-neon&#xA;  libavutil      58.  2.100 / 58.  2.100&#xA;  libavcodec     60.  3.100 / 60.  3.100&#xA;  libavformat    60.  3.100 / 60.  3.100&#xA;  libavdevice    60.  1.100 / 60.  1.100&#xA;  libavfilter     9.  3.100 /  9.  3.100&#xA;  libswscale      7.  1.100 /  7.  1.100&#xA;  libswresample   4. 10.100 /  4. 10.100&#xA;  libpostproc    57.  1.100 / 57.  1.100&#xA;Input #0, image2, from 'IMG_5546_cover_1.jpg':&#xA;  Duration: 00:00:01.00, start: 0.000000, bitrate: 836 kb/s&#xA;  Stream #0:0: Video: mjpeg (Baseline), yuvj420p(pc, bt470bg/unknown/unknown), 1080x1920, 1 fps, 1 tbr, 1 tbn&#xA;Input #1, mov,mp4,m4a,3gp,3g2,mj2, from 'intro/fzb-intro.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 1&#xA;    compatible_brands: isommp41mp42&#xA;    creation_time   : 2023-11-24T21:59:10.000000Z&#xA;  Duration: 00:00:00.83, start: 0.000000, bitrate: 1247 kb/s&#xA;  Stream #1:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709, progressive), 602x1070, 1191 kb/s, 30 fps, 30 tbr, 600 tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2023-11-24T21:59:10.000000Z&#xA;      handler_name    : Core Media Video&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #1:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 38 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2023-11-24T21:59:10.000000Z&#xA;      handler_name    : Core Media Audio&#xA;      vendor_id       : [0][0][0][0]&#xA;Input #2, mov,mp4,m4a,3gp,3g2,mj2, from 'IMG_5546.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf60.3.100&#xA;  Duration: 00:00:28.37, start: 0.000000, bitrate: 3126 kb/s&#xA;  Stream #2:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709, progressive), 1080x1920, 2989 kb/s, 29.97 fps, 29.97 tbr, 30k tbn (default)&#xA;    Metadata:&#xA;      handler_name    : Core Media Video&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : Lavc60.3.100 libx264&#xA;  Stream #2:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 128 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : Core Media Audio&#xA;      vendor_id       : [0][0][0][0]&#xA;Stream specifier ':a' in filtergraph description [0:v] [0:a] [1:v] [1:a] [2:v] [2:a] concat=n=3:v=1:a=1 [v] [a] matches no streams.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43033" LastActivityDate="2023-11-27T07:04:54.107" Title="How can I combine a screenshot and two video files with ffmpeg?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="37017" PostTypeId="2" ParentId="36811" CreationDate="2023-11-27T09:41:04.723" Score="0" Body="&lt;p&gt;In my experience -safe 0 with a file with relative paths sometimes messes up the concat command, adding time, in my case, over an hour.&lt;/p&gt;&#xA;&lt;p&gt;The other thing is that the files might have different timebases.&lt;/p&gt;&#xA;&lt;p&gt;Check them and make sure they are the same. Premiere for me output the same files using the same codec and compressdifferent timebases.&lt;/p&gt;&#xA;" OwnerUserId="43035" LastActivityDate="2023-11-27T09:41:04.723" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37018" PostTypeId="1" CreationDate="2023-11-27T11:59:50.850" Score="0" ViewCount="18" Body="&lt;p&gt;I screen recorded a lot of webinars that now I have to compress in order to have less space occupied.&lt;/p&gt;&#xA;&lt;p&gt;The content of this webinars are mostly persons talking like in zoom, few pixels of them in webcam and the rest of the screen is a power point or acrobat presentation with still images that lasts like 10 minutes during the explanation of the lecturer.&lt;/p&gt;&#xA;&lt;p&gt;I would like to compress them in h265 to retain the best quality possible but at the same time the smallest amount of data.&lt;/p&gt;&#xA;&lt;p&gt;Given the fact the most of the frame is a still image make no sense use a fixed style bitrate, I would like to know if there's a specific setting for ffmpeg libx265 in order to save the best amount possible of space having the data mostly occupied for the scene change and repeating the frame part for the rest of the time.&lt;/p&gt;&#xA;&lt;p&gt;Tried to use:&#xA;ffmpeg -i &amp;quot;input_h264.mp4&amp;quot; -t 20 -filter:v &amp;quot;crop=1600:1078:0:77&amp;quot; -c:v libx265 -crf 23 -preset slow -tune stillimage -profile main -c:a aac -b:a 192k &amp;quot;out_h265.mp4&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;But ffmpeg says: Error setting preset/tune medium/stillimage.&lt;/p&gt;&#xA;&lt;p&gt;Reading the libx265 implementation probably the preset stillimage isn't there, there's a &amp;quot;animation&amp;quot; preset, but I'm not sure that this could work for my the case.&lt;/p&gt;&#xA;&lt;p&gt;My guess is that this could be a situation where use a very long GOP.&lt;/p&gt;&#xA;&lt;p&gt;Do you think I should give up with preset and setup libx265-params manually? and if so what of them?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;BONUS:&#xA;Can you provide the same answer if using the libx264 and the av1 codecs?&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2023-11-27T12:49:02.947" LastActivityDate="2023-11-27T12:49:02.947" Title="Converting with ffmpeg a bunch of webinars that contains a lot of slides (still images) aside a webcam speaker/lecturer" Tags="|ffmpeg|h.264|compression|h.265|av1|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37019" PostTypeId="5" CreationDate="2023-11-27T12:04:37.267" Score="0" Body="&lt;p&gt;AV1 is an open-source, royalty-free video codec that was developed by the Alliance for Open Media (AOM). It is a successor to the H.264/MPEG-4 AVC and HEVC/H.265 codecs, and is designed to offer improved compression efficiency.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;AV1 uses a number of new techniques to achieve this, including:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Adaptive motion compensation: This allows the encoder to adapt the amount of motion compensation used to the scene content, which can improve compression efficiency without sacrificing quality.&lt;/li&gt;&#xA;&lt;li&gt;Transform domain quantization: This allows the encoder to use a more efficient quantization scheme in the transform domain, which can also improve compression efficiency.&lt;/li&gt;&#xA;&lt;li&gt;Entropy coding: AV1 uses a new entropy coding scheme that is more efficient than the entropy coding schemes used in previous codecs.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;As a result of these new techniques, AV1 can achieve up to 50% better compression efficiency than H.264/MPEG-4 AVC and HEVC/H.265. This can lead to smaller file sizes and faster streaming speeds, which can benefit both consumers and content providers.&lt;/p&gt;&#xA;&lt;p&gt;AV1 is already being supported by a growing number of devices and platforms, including YouTube, Netflix, and Chrome. It is expected to become the dominant video codec in the coming years.&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2024-01-02T02:01:32.447" LastActivityDate="2024-01-02T02:01:32.447" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37020" PostTypeId="4" CreationDate="2023-11-27T12:04:37.267" Score="0" Body="Use this tag for questions related to the AV1 codec." OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2023-12-18T19:41:12.813" LastActivityDate="2023-12-18T19:41:12.813" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37021" PostTypeId="1" CreationDate="2023-11-28T02:53:06.240" Score="2" ViewCount="157" Body="&lt;p&gt;I need to extract bitmap-based subtitles to a standard image format like PNG or BMP. Preserving transparency would be a bonus. I don't need to convert to text, and I don't want a subtitle-specific format.&lt;/p&gt;&#xA;" OwnerUserId="14452" LastActivityDate="2024-03-23T15:06:44.793" Title="How do you extract bitmap subtitles to a standard image format using ffmpeg?" Tags="|ffmpeg|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37022" PostTypeId="2" ParentId="37021" CreationDate="2023-11-28T02:53:06.240" Score="2" Body="&lt;p&gt;The key is using the overlay filter to embed the subtitles on a transparent or fixed-color background. Adjust the &lt;code&gt;size&lt;/code&gt; and &lt;code&gt;rate&lt;/code&gt; to match your input video.&lt;/p&gt;&#xA;&lt;h2&gt;Transparent version&lt;/h2&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i my_video.mkv -f lavfi -i &amp;quot;color=size=1920x1080:rate=23.98:color=black@0.0,format=rgba&amp;quot; -filter_complex &amp;quot;[1:v][0:s]overlay,mpdecimate[out]&amp;quot; -map &amp;quot;[out]&amp;quot; -an -vsync vfr frames_%04d.png&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This means:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;code&gt;-i my_video.mkv&lt;/code&gt;: Input filename&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-f lavfi&lt;/code&gt;: The next input is a &lt;a href=&quot;https://ffmpeg.org/ffmpeg-devices.html#lavfi&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;libavfilter&lt;/code&gt; graph specification&lt;/a&gt;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-i &amp;quot;color=size=1920x1080:rate=23.98:color=black@0.0,format=rgba&amp;quot;&lt;/code&gt;: Produce a video stream that is 1080p with a 23.98 fps frame rate. The &lt;code&gt;@0.0&lt;/code&gt; specifier indicates a fully-transparent color, which requires &lt;code&gt;format=rgba&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-filter_complex &amp;quot;[1:v][0:s]overlay,mpdecimate[out]&amp;quot;&lt;/code&gt;: Overlay the first subtitle stream in input source 0 (the original video) atop the first video stream in input source 1 (the &lt;code&gt;lavfi&lt;/code&gt; output). Decimate the output frames by removing all duplicates. Output a stream named &amp;quot;out&amp;quot;.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-map &amp;quot;[out]&amp;quot;&lt;/code&gt;: Use the stream named &amp;quot;out&amp;quot; in the final output.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-an&lt;/code&gt;: Audio is disabled.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;-vsync vfr&lt;/code&gt;: Drop frame timestamps so that each unique frame, in sequence, is output only once.&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;frames_%04d.png&lt;/code&gt;: Output frames_0000.png where &lt;code&gt;0000&lt;/code&gt; is an increasing number. If you expect more than 10000 unique frames, increase &lt;code&gt;%04d&lt;/code&gt; to &lt;code&gt;%05d&lt;/code&gt; for 5 digits, etc.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h2&gt;Non-transparent version (much faster?)&lt;/h2&gt;&#xA;&lt;p&gt;If you can tolerate, or prefer, a non-transparent background, the process may run much faster. It goes 3-4x faster on my machine. Just remove the &lt;code&gt;@0.0,format=rgba&lt;/code&gt; part.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i my_video.mkv -f lavfi -i &amp;quot;color=size=1920x1080:rate=23.98:color=black&amp;quot; -filter_complex &amp;quot;[1:v][0:s]overlay,mpdecimate[out]&amp;quot; -map &amp;quot;[out]&amp;quot; -an -vsync vfr frames_%04d.png&lt;/code&gt;&lt;/p&gt;&#xA;&lt;h2&gt;Output&lt;/h2&gt;&#xA;&lt;p&gt;You'll get a PNG for each frame of unique subtitle content, plus a frame of black/transparent in between. Maybe there's a way to filter out those blank frames, but for now I can handle that outside ffmpeg.&lt;/p&gt;&#xA;&lt;h2&gt;Caution&lt;/h2&gt;&#xA;&lt;p&gt;If you add &lt;code&gt;-t&lt;/code&gt; to limit the time of the extracted subtitles, be sure to add it twice: once after the &lt;code&gt;-i&lt;/code&gt; for the input video and once after the &lt;code&gt;-i&lt;/code&gt; for the black frames &amp;amp; subtitles. This will ensure that both streams terminate at the specified time; otherwise one stream will keep going for the full video duration.&lt;/p&gt;&#xA;" OwnerUserId="14452" LastEditorUserId="14452" LastEditDate="2024-03-23T15:06:44.793" LastActivityDate="2024-03-23T15:06:44.793" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37023" PostTypeId="1" CreationDate="2023-11-29T04:58:23.973" Score="0" ViewCount="187" Body="&lt;p&gt;I'm currently trying to concatenate multiple videos in a folder using FFmpeg. I've successfully applied a xfade transition between two videos using the following command: However, I'm facing &lt;strong&gt;two&lt;/strong&gt; challenges:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Applying xfade to multiple videos:&lt;/strong&gt; I want to extend this process to apply the xfade transition between all videos in the folder and save it as a single video.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Audio issue after transition:&lt;/strong&gt; While the visual transition works seamlessly, I've noticed that the audio is muted as soon as the transition finishes in the output video. Is there a modification I can make to the FFmpeg command to ensure that the audio remains synchronized with the video throughout the output?&lt;/p&gt;&#xA;&lt;p&gt;This is the command i am currently using:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input1.mp4 -i input2.mp4 -filter_complex &amp;quot;xfade=transition=fade:duration=0.25:offset=4.5&amp;quot; -c:v libx264 -c:a aac -strict experimental output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43046" LastActivityDate="2023-12-31T07:01:20.133" Title="How do i add xfade transition to a batch of videos using ffmpeg?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37024" PostTypeId="1" CreationDate="2023-11-29T14:52:14.737" Score="0" ViewCount="27" Body="&lt;p&gt;I'm on ffmpeg 6.&lt;/p&gt;&#xA;&lt;p&gt;Take a video then:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -hide_banner -ss 00:01:09 -t 20s -i &amp;quot;video.mkv&amp;quot; -map 0:0 -c:v libx265 -crf 25 -filter_complex &amp;quot;setpts=PTS-STARTPTS&amp;quot; &amp;quot;output_reference.mkv&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;then:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -hide_banner -i &amp;quot;output_reference.mkv&amp;quot; -map 0:0 -c:v libx265 -preset medium -crf 25 -filter_complex &amp;quot;setpts=PTS-STARTPTS&amp;quot; &amp;quot;output_test_01.mkv&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Why &lt;strong&gt;output_test_01.mkv&lt;/strong&gt; has 2 video stream inside?&#xA;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="37242" LastActivityDate="2023-11-29T17:16:25.117" Title="ffmpeg: why 2 video stream?" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37025" PostTypeId="2" ParentId="37024" CreationDate="2023-11-29T17:16:25.117" Score="1" Body="&lt;p&gt;&lt;code&gt;-map 0:0&lt;/code&gt; leads to inclusion of one stream, &lt;code&gt;-filter_complex &amp;quot;setpts=PTS-STARTPTS&amp;quot;&lt;/code&gt; leads to another. The filter_complex does NOT operate upon the initially mapped stream. Mapped video streams are operated upon by &lt;code&gt;-vf&lt;/code&gt; or &lt;code&gt;-filter:v&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;See &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg.html#Stream-selection&quot; rel=&quot;nofollow noreferrer&quot;&gt;http://www.ffmpeg.org/ffmpeg.html#Stream-selection&lt;/a&gt;&lt;br /&gt;&#xA;especially 4.1.2, 4.1.3 and the last set of examples.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-11-29T17:16:25.117" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="37026" PostTypeId="2" ParentId="36425" CreationDate="2023-11-30T00:42:50.050" Score="0" Body="&lt;p&gt;I found it. After uninstalling, reinstalling, updating, I finally found the answer. It is the button near the Play controls, looks like a Crop Tool, says &amp;quot;Show/Hide Edit Mode&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/XGlLl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/XGlLl.png&quot; alt=&quot;Show/Hide Edit Mode&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="2997" LastActivityDate="2023-11-30T00:42:50.050" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37027" PostTypeId="1" CreationDate="2023-11-30T03:27:23.773" Score="0" ViewCount="21" Body="&lt;p&gt;Hello I have one corrupted video file created with Chinese Camera DV4K_V23.&lt;/p&gt;&#xA;&lt;p&gt;I created one small sample video from this camera and I uploaded it for someone to help me, to decipher exactly which encoding and creating tool they used to create the mp4 output video.&lt;/p&gt;&#xA;&lt;p&gt;As I see in the hex editor it's something with the version 20032014. Its Hevc x265&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Format                                   : MPEG-4&#xA;Format profile                           : Base Media / Version 2&#xA;Codec ID                                 : mp42 (isom/avc1/mp42)&#xA;Video&#xA;ID                                       : 1&#xA;Format                                   : HEVC&#xA;Format/Info                              : High Efficiency Video Coding&#xA;Format profile                           : Main@L5@High&#xA;Codec ID                                 : hvc1&#xA;Codec ID/Info                            : High Efficiency Video Coding&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Could you help me to remux this video and to get identical video and did they use ffmpeg or they used some other encoder?&lt;/p&gt;&#xA;&lt;p&gt;Here is the sample video file&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;https://drive.google.com/drive/folders/1dq1ibBxLcIcDcZ9V2udr6ulVGnVgqOA9?usp=sharing&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43051" LastActivityDate="2023-11-30T03:27:23.773" Title="Help me with corrupt video mp42" Tags="|mp4|hevc|h265|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37029" PostTypeId="1" CreationDate="2023-11-30T11:27:04.743" Score="0" ViewCount="26" Body="&lt;p&gt;I have a video file I want to fade in and out over a duration of three seconds each.&lt;/p&gt;&#xA;&lt;p&gt;My code is, run over WSL on WIN 10 pro 22H2:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i video.mp4 -vf &amp;quot;fade=t=in:st=0:d=3,fade=t=out:st=169.288000:d=3&amp;quot; videofaded.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Expected behaviour: Fade from and to black over 3s. This is what I got in the past.&#xA;What I get: No fade in at all but a fade out as specified.&lt;/p&gt;&#xA;&lt;p&gt;If I run &lt;code&gt;ffmpeg -i video.mp4 -vf &amp;quot;fade=t=in:st=0:d=3&amp;quot; -c:a copy fadein.mp4&lt;/code&gt; to just fade in everything works as expected.&lt;/p&gt;&#xA;&lt;p&gt;Can anybody help my identify the problem? I want to fade in and out in the same turn as there are a couple of videos to edit.&lt;/p&gt;&#xA;&lt;p&gt;Thanks,&#xA;Chris&lt;/p&gt;&#xA;&lt;p&gt;Here is my ffmpeg output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 4.2.7-0ubuntu0.1 Copyright (c) 2000-2022 the FFmpeg developers&#xA;  built with gcc 9 (Ubuntu 9.4.0-1ubuntu1~20.04.1)&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opencl --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-nvenc --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;[mov,mp4,m4a,3gp,3g2,mj2 @ 0x7fffda8a7300] Could not find codec parameters for stream 0 (Video: h264 (avc1 / 0x31637661), none, 1920x1080, 1087 kb/s): unspecified pixel format&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '20231106_Einfuehrung_Word_Mark_Fragen.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.29.100&#xA;  Duration: 00:02:52.29, start: 0.016000, bitrate: 1126 kb/s&#xA;    Stream #0:0(eng): Video: h264 (avc1 / 0x31637661), none, 1920x1080, 1087 kb/s, 16 fps, 16 tbr, 10k tbn, 20k tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 16000 Hz, mono, fltp, 72 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;File 'videofaded.mp4' already exists. Overwrite ? [y/N] y&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; h264 (libx264))&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; aac (native))&#xA;Press [q] to stop, [?] for help&#xA;[libx264 @ 0x7fffda8c2c40] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2 AVX512&#xA;[libx264 @ 0x7fffda8c2c40] profile High, level 4.0&#xA;[libx264 @ 0x7fffda8c2c40] 264 - core 155 r2917 0a84d98 - H.264/MPEG-4 AVC codec - Copyleft 2003-2018 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=24 lookahead_threads=4 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=16 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'videofaded.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.29.100&#xA;    Stream #0:0(eng): Video: h264 (libx264) (avc1 / 0x31637661), yuv420p, 1920x1080, q=-1--1, 16 fps, 16384 tbn, 16 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      encoder         : Lavc58.54.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1&#xA;    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 16000 Hz, mono, fltp, 69 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      encoder         : Lavc58.54.100 aac&#xA;frame= 2757 fps=273 q=-1.0 Lsize=   21394kB time=00:02:52.28 bitrate=1017.2kbits/s dup=92 drop=0 speed=17.1x&#xA;video:19842kB audio:1492kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.280957%&#xA;[libx264 @ 0x7fffda8c2c40] frame I:12    Avg QP:15.18  size:232156&#xA;[libx264 @ 0x7fffda8c2c40] frame P:1751  Avg QP:20.38  size:  9540&#xA;[libx264 @ 0x7fffda8c2c40] frame B:994   Avg QP:23.59  size:   832&#xA;[libx264 @ 0x7fffda8c2c40] consecutive B-frames: 40.7% 29.5% 13.1% 16.8%&#xA;[libx264 @ 0x7fffda8c2c40] mb I  I16..4: 44.5% 15.6% 39.9%&#xA;[libx264 @ 0x7fffda8c2c40] mb P  I16..4:  0.5%  0.2%  0.2%  P16..4:  9.3%  1.1%  1.0%  0.0%  0.0%    skip:87.8%&#xA;[libx264 @ 0x7fffda8c2c40] mb B  I16..4:  0.1%  0.1%  0.0%  B16..8:  6.2%  0.2%  0.1%  direct: 0.1%  skip:93.1%  L0:31.0% L1:66.2% BI: 2.9%&#xA;[libx264 @ 0x7fffda8c2c40] 8x8 transform intra:20.6% inter:17.2%&#xA;[libx264 @ 0x7fffda8c2c40] coded y,uvDC,uvAC intra: 40.5% 40.6% 18.4% inter: 3.2% 2.1% 0.3%&#xA;[libx264 @ 0x7fffda8c2c40] i16 v,h,dc,p: 40% 33%  8% 19%&#xA;[libx264 @ 0x7fffda8c2c40] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 36% 14% 43%  2%  1%  1%  1%  1%  2%&#xA;[libx264 @ 0x7fffda8c2c40] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 37% 32% 15%  2%  3%  3%  3%  3%  3%&#xA;[libx264 @ 0x7fffda8c2c40] i8c dc,h,v,p: 56% 20% 19%  5%&#xA;[libx264 @ 0x7fffda8c2c40] Weighted P-Frames: Y:0.7% UV:0.7%&#xA;[libx264 @ 0x7fffda8c2c40] ref P L0: 85.4%  5.7%  6.2%  2.7%  0.0%&#xA;[libx264 @ 0x7fffda8c2c40] ref B L0: 79.1% 18.3%  2.6%&#xA;[libx264 @ 0x7fffda8c2c40] ref B L1: 96.6%  3.4%&#xA;[libx264 @ 0x7fffda8c2c40] kb/s:943.30&#xA;[aac @ 0x7fffda8f1e00] Qavg: 18927.953&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43055" LastActivityDate="2023-11-30T11:27:04.743" Title="ffmpeg: fade-in not rendered when used in conjunction with fade-out" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37030" PostTypeId="1" CreationDate="2023-11-30T15:30:47.223" Score="0" ViewCount="98" Body="&lt;p&gt;I am trying to add a transparent image (png) (that I would like to rotate - amongst other things...) over another image (jpeg).&lt;/p&gt;&#xA;&lt;p&gt;Here is the result (left = non rotated, right = rotated):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EEyDa.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EEyDa.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;As you can see, the rotation causes the png to bleed. Do you have any idea how to improve the output (I also tried the &lt;code&gt;bilinear&lt;/code&gt; option of the &lt;code&gt;rotate&lt;/code&gt; filter) ?&#xA;Here is the ffmpeg command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt; ffmpeg -y -vsync 0 -i background.jpeg -loop 1 -pix_fmt rgba -i button.png -filter_complex &amp;quot;[1]setsar=1,rotate=a=PI/6:c=none:ow=rotw(PI/6):oh=roth(PI/6)[s1];[0][s1]overlay=x=100:y=100[s2]&amp;quot; -map &amp;quot;[s2]&amp;quot; -c:v libx264 -crf 0 -pix_fmt yuv420p -t 5 video.mp4 -hide_banner&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="42710" LastActivityDate="2023-11-30T15:30:47.223" Title="ffmpeg - lossless image rotation" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37031" PostTypeId="1" CreationDate="2023-11-30T18:08:53.357" Score="0" ViewCount="46" Body="&lt;p&gt;I am brand new to Davinci Resolve, video recording, and editing in general.&lt;/p&gt;&#xA;&lt;p&gt;I'm running Davinci Resolve Free 18.6.3 on Windows.&lt;/p&gt;&#xA;&lt;p&gt;(Part of my issue in finding the answer(s) might be in my lack of terminology in this space, and Google is no longer my friend, so please stick with me here.)&lt;/p&gt;&#xA;&lt;p&gt;I have a 5-minute video... it's an unscripted, random, incoherent mess.&lt;/p&gt;&#xA;&lt;p&gt;I believe I can make it somewhat watchable by removing some parts and moving others.&lt;/p&gt;&#xA;&lt;p&gt;I'm not suggesting that a bunch of transitions in a such a short video is good, but it'll be better than what I have (the scene is reasonably static), and I don't have an opportunity to re-shoot it.&lt;/p&gt;&#xA;&lt;p&gt;Here's the workflow I would like to figure out...&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Watch the video, add markers (Done)&lt;/li&gt;&#xA;&lt;li&gt;Cut at every marker (I accomplished this with Arrow Up/Down, Ctrl-B)&lt;/li&gt;&#xA;&lt;li&gt;&amp;quot;Split&amp;quot; or &amp;quot;separate&amp;quot; each resulting &amp;quot;clip&amp;quot; into a new track.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Is there a quicker way to accomplish #2? All markers at once?&lt;/p&gt;&#xA;&lt;p&gt;Is there a quick way to accomplish #3? I can &amp;quot;Add Track&amp;quot; then drag and drop with the mouse, one by one, but I'm looking for something quicker (preferably with keystrokes).&lt;/p&gt;&#xA;" OwnerUserId="43057" LastActivityDate="2023-11-30T18:08:53.357" Title="How to &quot;quickly&quot; cut and separate video into tracks (Davinci Resolve 18)?" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37033" PostTypeId="2" ParentId="37023" CreationDate="2023-12-01T06:05:55.247" Score="0" Body="&lt;p&gt;python script:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#!/usr/bin/python3&#xA;import os,subprocess,math&#xA;def get_length(filename):&#xA;  result=subprocess.run([&amp;quot;ffprobe&amp;quot;, &amp;quot;-v&amp;quot;, &amp;quot;error&amp;quot;, &amp;quot;-show_entries&amp;quot;,&#xA;                        &amp;quot;format=duration&amp;quot;, &amp;quot;-of&amp;quot;,&#xA;                        &amp;quot;default=nw=1:nk=1&amp;quot;, filename],&#xA;    stdout=subprocess.PIPE,&#xA;    stderr=subprocess.STDOUT)&#xA;  return float(result.stdout)&#xA;&#xA;LST=[]&#xA;DIR=&amp;quot;/mnt/public/upload/video/&amp;quot;&#xA;for f in os.listdir(DIR):&#xA;  if (f.endswith(&amp;quot;.mp4&amp;quot;)):&#xA;    print(f)&#xA;    LST.append(f)&#xA;&#xA;FLV=''&#xA;FLA=''&#xA;OFS=0&#xA;XFD=0.25&#xA;CNT=0&#xA;&#xA;INP=[]&#xA;f=DIR+LST[0]&#xA;INP.append(f' -i &amp;quot;{f}&amp;quot;')&#xA;PDV='[0:v]'&#xA;PDA='[0:a]'&#xA;&#xA;for i in range(len(LST)-1):&#xA;  OFS=OFS+get_length(f)-XFD&#xA;  FLV+=f'{PDV}'&#xA;  FLA+=f'{PDA}'&#xA;  CNT=i+1&#xA;  PDV=f'[v{CNT}]'&#xA;  PDA=f'[a{CNT}]'&#xA;  FLV+=f'[{CNT}:v]xfade=transition=pixelize:offset={OFS}:duration={XFD}{PDV};'&#xA;  FLA+=f'[{CNT}:a]acrossfade=d={XFD}{PDA}'&#xA;  if i &amp;lt; len(LST)-2:&#xA;    FLA+=&amp;quot;;&amp;quot;&#xA;  f=DIR+LST[i+1]&#xA;  INP.append(f' -i &amp;quot;{f}&amp;quot;')&#xA;&#xA;s='ffmpeg'&#xA;for t in INP:&#xA;  s=s+t&#xA;s=s+f' -filter_complex &amp;quot;{FLV}{FLA}&amp;quot; -map {PDV} -map {PDA} -c:v h264_nvenc -cq 18 -c:a aac -q:a 4 -map_metadata -1 /tmp/output.mp4 -y -hide_banner'&#xA;print(s)&#xA;os.system(s)&#xA;os.system(f'mpv /tmp/output.mp4')&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40740" LastEditorUserId="40740" LastEditDate="2023-12-01T06:26:29.727" LastActivityDate="2023-12-01T06:26:29.727" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37034" PostTypeId="1" CreationDate="2023-12-01T12:37:50.813" Score="0" ViewCount="19" Body="&lt;p&gt;Current hardware and software for converting family tapes to digital please.  Many of the existing links appear out of date/not manufactured.  I have a Mac M3.&lt;/p&gt;&#xA;" OwnerUserId="43062" LastActivityDate="2024-01-02T09:02:20.233" Title="Current hardware and software for converting family tapes to digital. Most of the existing links are out of date/not manufactured. I have a Mac M3" Tags="|video-capture|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37035" PostTypeId="1" CreationDate="2023-12-01T13:49:19.953" Score="0" ViewCount="109" Body="&lt;p&gt;The title sums up the quest.  I am assuming I can do this with Premiere Pro somehow but if I need to use some other method, I'm fine with that as well.&lt;/p&gt;&#xA;&lt;p&gt;An example of what I imagine I want to do:  I have footage from my Canon R5C using the VR dual fisheye lens.  This produces dual fisheye video.  I converted it in the EOS VR Utility to rectilinear and loaded it into Premiere Pro.  I hit the &amp;quot;Toggle VR Video Display&amp;quot; and I get a flat square render with two controls for the camera angle (which I assume I can key frame).  What I'd like to do is to export a video with this rendering -- just a flat &amp;quot;normal&amp;quot; monoscopic render without the VR effect so that people can watch it without a VR headset.&lt;/p&gt;&#xA;" OwnerUserId="9326" LastActivityDate="2024-03-12T09:05:15.807" Title="How do I export 180º stereoscopic VR footage as &quot;normal&quot; monoscopic video for consumption by normal video players" Tags="|conversion|vr|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37036" PostTypeId="1" CreationDate="2023-12-02T11:54:23.767" Score="0" ViewCount="15" Body="&lt;p&gt;For example, i am trying to apply blur effect to video in ffmpeg using gblur filter, i want the blur strength to gradually increase from 0 to 50 in 2 secs starting at 5 secs and fade back from 50 to 0 in 3 secs thus finishing at 15 secs. In summary the blur is between 5 and 15 secs but from 5 to 7, the effect will gradually grow from 0 to 50 and from 12 to 15 it will fade from 50 back to 0.&lt;/p&gt;&#xA;&lt;p&gt;here is what i tried :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i test-video.mp4 -loop 1 -t 5 -i test-image.jpg -filter_complex &amp;quot;[0:v]gblur=sigma='if( lte(t,5) + gte(t, 15), 0, if( between(t, 7, 12), 50, min( max(25t - 125, 0), max(-16.67t + 250, 0) ) ) )':enable='between(t,5,15)'[bg];[1:v]fade=in:0:30[ol];[ol]fps=fps=15[ol];[bg][ol]overlay=(W-w)/2:(H-h)/2:enable='between(t,5,15)'[out]&amp;quot; -map &amp;quot;[out]&amp;quot; -map 0:a output_video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Expectations:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[0:v]gblur=sigma='if( lte(t,5) + gte(t, 15), 0, if( between(t, 7, 12), 50, min( max(25t - 125, 0), max(-16.67t + 250, 0) ) ) )':enable='between(t,5,15)'[bg]:&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;The blur strength depends dynamically on the time (t) as described above, controlled by the expression. The enable parameter ensures that this filter is only applied between 5 and 15 seconds.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[1:v]fade=in:0:30[ol]: [ol]fps=fps=15[ol]: [bg][ol]overlay=(W-w)/2:(H-h)/2:enable='between(t,5,15)'[out]:&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;The overlay input should be faded in for 2 secs starting from 5secs and will last 10secs (same time for the blur)&lt;/p&gt;&#xA;&lt;p&gt;As result, i am getting Invalid char error. Seems like sigma does not accept the &amp;quot;t&amp;quot; timestamp variable.&lt;/p&gt;&#xA;" OwnerUserId="43069" LastActivityDate="2023-12-02T11:54:23.767" Title="how to make any filter's value that accept integer value be a function of the timestamp in ffmpeg?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37037" PostTypeId="1" CreationDate="2023-12-02T20:32:36.277" Score="0" ViewCount="34" Body="&lt;p&gt;SE community&lt;/p&gt;&#xA;&lt;p&gt;Since yesterday I have been experiencing a problem using ffmpeg concat.&#xA;I was merging two videos and I noticed frozen frames over my video where videos are merged. I don't know what am I doing wrong. Why do I have a frozen frame in my video? Then I did a test. First I split my single video into 2 parts and tried to merge them together again and I still noticed a frozen frame around the merged second. Test video name &amp;quot;clip24.mp4&amp;quot;, duration = 40 seconds. Those commands I used on my test.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i clip24.mp4 -ss 00:00:00 -t 00:00:07 -c copy -avoid_negative_ts 1 part1.mp4&#xA;ffmpeg -i clip24.mp4 -ss 00:00:07 -t 00:00:40 -c copy -avoid_negative_ts 1 part2.mp4&#xA;echo -e &amp;quot;file part1.mp4\nfile part2.mp4&amp;quot; &amp;gt; input.txt&#xA;ffmpeg -f concat -safe 0 -i input.txt -c copy output25.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;PS: I have tried also this one. And this just gives more than one second of freezing time.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i part1.mp4 -c copy -bsf:v h264_mp4toannexb -f mpegts intermediate1.ts &#xA;ffmpeg -i part2.mp4 -c copy -bsf:v h264_mp4toannexb -f mpegts intermediate2.ts&#xA;ffmpeg -i &amp;quot;concat:intermediate1.ts|intermediate2.ts&amp;quot; -c copy -bsf:a aac_adtstoasc output26.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Gives 6 second frozen frame on second 7 up to second 13 and extends the video size for 6 second on the end so duration = 46 istead of 40&lt;/p&gt;&#xA;" OwnerUserId="42931" LastEditorUserId="42931" LastEditDate="2023-12-02T20:53:28.163" LastActivityDate="2023-12-02T20:53:28.163" Title="ffmpeg concat demuxer merge two videos, output contain frozen frames per second" Tags="|ffmpeg|ffprobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37038" PostTypeId="1" CreationDate="2023-12-03T02:11:05.210" Score="0" ViewCount="27" Body="&lt;p&gt;I want to create a video that consists of same video encoded at 2 different quality levels, half of each stitched side by side. Basically, like this image, right half of the video is the right half of one video and left half from the left-half of the other video. The aim is to show the visual difference of the videos. How can I achieve this using &lt;code&gt;ffmpeg&lt;/code&gt; (or any other software)?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Wc796l.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Wc796l.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43073" LastEditorUserId="43073" LastEditDate="2023-12-03T05:41:08.970" LastActivityDate="2023-12-03T05:41:08.970" Title="How to stitch two videos side by side using ffmpeg?" Tags="|ffmpeg|video|video-editor|encoding|concatenation|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37039" PostTypeId="2" ParentId="37034" CreationDate="2023-12-03T08:05:18.690" Score="0" Body="&lt;p&gt;It would probably be easier, cheaper  &amp;amp; better quality to get the conversions done by a specialist. You can then edit in iMovie or even &lt;a href=&quot;https://www.blackmagicdesign.com/products/davinciresolve/&quot; rel=&quot;nofollow noreferrer&quot;&gt;DaVinci Resolve&lt;/a&gt; [freeware for non-pro use.]&lt;/p&gt;&#xA;" OwnerUserId="12233" LastActivityDate="2023-12-03T08:05:18.690" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37040" PostTypeId="1" CreationDate="2023-12-04T04:35:57.947" Score="0" ViewCount="31" Body="&lt;p&gt;I have the following FFmpeg script:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i video.vtt \&#xA; -map 0:v -map 0:a:0 -map 1 \&#xA; -s:v:0 1080x1920 -c:v:0 h264 -b:v:0 500K \&#xA; -c:a:0 copy -c:a:1 copy -c:a:2 copy -c:s webvtt \&#xA; -f hls -hls_playlist_type vod -var_stream_map &amp;quot;v:0,a:0,s:0&amp;quot; \&#xA; -master_pl_name video.m3u8 -hls_time 6 -hls_list_size 0 -hls_allow_cache 1 -start_number 1 \&#xA; -hls_segment_filename &amp;quot;output/hls/%v/seg-%d.ts&amp;quot; output/hls/%v/index.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Currently it only produces one 1080x1920 stream, how do I produce more lower resolution ones so it can adjust based on client bandwidth?&lt;/p&gt;&#xA;&lt;p&gt;Also, I've noticed that it doesn't add the reference to the VTT file to the master HLS playlist; I had to add this manually but is there a way to make FFmpeg do it for me?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#EXT-X-MEDIA:TYPE=SUBTITLES,GROUP-ID=&amp;quot;subs&amp;quot;,NAME=&amp;quot;English&amp;quot;,DEFAULT=YES,AUTOSELECT=YES,FORCED=NO,LANGUAGE=&amp;quot;en&amp;quot;,CHARACTERISTICS=&amp;quot;public.accessibility.transcribes-spoken-dialog&amp;quot;,URI=&amp;quot;0/index_vtt.m3u8&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I've tried this, but I get an argument error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video.mp4 -i video.vtt \&#xA; -map 0:v -map 0:a:0 -map 1 \&#xA; -s:v:0 1080x1920 -c:v:0 h264 -b:v:0 500K \&#xA; -s:v:1 720x1280 -c:v:1 h264 -b:v:1 300K \&#xA; -s:v:2 480x854 -c:v:2 h264 -b:v:2 150K \&#xA; -c:a:0 copy -c:a:1 copy -c:a:2 copy -c:s webvtt \&#xA; -f hls -hls_playlist_type vod -var_stream_map &amp;quot;v:0,a:0,s:0 v:1,a:1 s:1 v:2,a:2 s:2&amp;quot; \&#xA; -master_pl_name video.m3u8 -hls_time 6 -hls_list_size 0 -hls_allow_cache 1 -start_number 1 \&#xA; -hls_segment_filename &amp;quot;output/hls/%v/seg-%d.ts&amp;quot; output/hls/%v/index.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43079" LastActivityDate="2023-12-04T04:35:57.947" Title="How to update this script to generate HLS video with different resolution streams?" Tags="|ffmpeg|hls|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="37041" PostTypeId="1" CreationDate="2023-12-04T12:12:45.783" Score="0" ViewCount="32" Body="&lt;p&gt;I am trying to soft-encode 3 subtitle files into my film.&#xA;I extracted the subtitles from the DVD using ByteCopy&lt;/p&gt;&#xA;&lt;p&gt;I am using this command to add the files:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i BloodDiamond.mp4 -i BLOODDIAMOND_1_English.srt -i BLOODDIAMOND_6_English.srt -i BLOODDIAMOND_8_English.srt -map 0 -map 1 -map 2 -map 3 -c copy -c:s mov_text -metadata:s:s:0 language=eng -metadata:s:s:1 language=eng -metadata:s:s:2 language=eng BloodDiamond_Subs.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But I get this kind of errors in the output:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;[mp4 @ 000001bdadf19c40] pts has no value&#xA;[mp4 @ 000001bdadf19c40]&#xA;Application provided duration: -103001 / timestamp: 3405107000 is out of range for mov/mp4 format [mp4 @ 000001bdadf19c40] pts has no value&lt;/p&gt;&#xA;&lt;p&gt;[mp4 @ 000001bdadf19c40] Application provided duration: -857000 / timestamp: 3476787000 is out of range for mov/mp4 format [mp4 @000001bdadf19c40] pts has no value&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;is there something I am missing here?&lt;/p&gt;&#xA;" OwnerUserId="43084" LastActivityDate="2023-12-04T12:12:45.783" Title="Errors adding multiple Subtitles with FFMPEG" Tags="|ffmpeg|video|mp4|subtitles|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37042" PostTypeId="1" CreationDate="2023-12-04T20:30:57.183" Score="0" ViewCount="15" Body="&lt;p&gt;I am using veed.io to edit some videos, I am syncing video + audio, as the first step, then I have to clip mistake parts and delete them...&lt;/p&gt;&#xA;&lt;p&gt;I have discovered that is faster to sync them, export that as a new video, then clip the new video, because if I clip the video and sound tracks some times they move and loose the sync, or other errors happen, so is there a way to join the video and audio in veed with out exporting?&lt;/p&gt;&#xA;" OwnerUserId="39635" LastActivityDate="2023-12-04T20:30:57.183" Title="efficient way to clip video + audio with out exporting on veed" Tags="|video-editor|editing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37043" PostTypeId="1" CreationDate="2023-12-04T21:03:20.803" Score="0" ViewCount="8" Body="&lt;p&gt;I'm running OBS [[[ 30.0.0 (64 bit) ]]]on Mac OS [[[ 14.2 Beta (23C5055b) ]]]&lt;a href=&quot;https://i.stack.imgur.com/Z6W2A.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Z6W2A.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;My only options are vertical video. This just happened and I think it's since the beta update.&lt;/p&gt;&#xA;" OwnerUserId="43086" LastActivityDate="2023-12-04T21:03:20.803" Title="My OBS Studio Mac OS is stuck in 9:16 aspect ratio" Tags="|video|mac|obs|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37044" PostTypeId="1" CreationDate="2023-12-05T05:19:27.373" Score="0" ViewCount="5" Body="&lt;p&gt;I'm pretty new to Premiere Pro, and can't get my text (separate boxes, same layer) to align properly. I made a Photoshop mockup. Say you start with this.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4PY8D.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4PY8D.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here is what is happening&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/xbN8X.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/xbN8X.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here is what I would like to happen.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oMkqB.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oMkqB.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Basically just have the text go to the vertical center of the screen while keeping the original layout.&lt;/p&gt;&#xA;" OwnerUserId="43090" LastActivityDate="2023-12-05T05:19:27.373" Title="How to align text boxes while keeping layout" Tags="|video|premiere-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37045" PostTypeId="2" ParentId="36997" CreationDate="2023-12-06T03:57:37.683" Score="0" Body="&lt;p&gt;&lt;code&gt;-ac 2&lt;/code&gt; will work for any number of input channels. The example is just one use-case.&lt;/p&gt;&#xA;" OwnerUserId="43093" LastActivityDate="2023-12-06T03:57:37.683" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37046" PostTypeId="1" CreationDate="2023-12-06T17:09:51.977" Score="0" ViewCount="17" Body="&lt;p&gt;I have a Nikon D7500, which I've been using to record some video.  I know that most DSLRs have a 30 minute recording limit, and mine started off that way as well.  The more I filmed, the more my recording limit time decreased.  I assumed it was because there was too much video storage on the memory card, although the memory card is 16 GB, and I'd only used a couple.  I transferred the videos and images from the memory card to my computer and went to film another video.  The 30 minute recording limit had reset.  After filming one short video, however, the limit decreased to 1 minute and 17 seconds.  I tried transferring the video to my computer, but my camera recording time refuses to change from 1 minute and 17 seconds.  I tried looking for a solution online, and read that the camera might be overheated, so I let it cool and also charged the battery, in case that could have affected it.  I tried googling some more answers, but just found tips for going past the 30 minute limit.  I am fine with a 30 minute limit, and my camera should be too.  Why is the limit staying at 1 minute and 17 seconds?  Ho&lt;/p&gt;&#xA;" OwnerUserId="43103" LastActivityDate="2023-12-06T17:09:51.977" Title="Why does my DSLR have a 1 minute recording limit?" Tags="|video|dslr|recording|nikon|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37047" PostTypeId="1" CreationDate="2023-12-06T17:21:31.587" Score="0" ViewCount="68" Body="&lt;p&gt;So I download ts files from h264.m3u8. The files look like this &amp;quot;https://.net/data/3/a/e/6d162b532610fdae/h264_00000005.ts &amp;quot;. I merge them into one common ts file. And I'm trying to get an mp4 file using ffmpeg. I execute the following command &lt;code&gt;sudo /opt/ffmpeg/bin/ffmpeg -y -f mpeg ts -i concat:/tmp/yLx1B9X9Mb/lujqnqQrtm.ts -c copy -bsf:a aac_adtstoasc output.mp4.&lt;/code&gt; After that, I get&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version n3.1-1-g36fcb8c Copyright (c) 2000-2016 the FFmpeg developers&#xA;  built with gcc 4.4.7 (GCC) 20120313 (Red Hat 4.4.7-17)&#xA;  configuration: --enable-gpl --enable-version3 --enable-libfdk_aac --enable-libmp3lame --enable-libtheora --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-nonfree --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libgsm --enable-libxvid --disable-static --enable-shared --prefix=/opt/ffmpeg&#xA;  libavutil      55. 27.100 / 55. 27.100&#xA;  libavcodec     57. 48.101 / 57. 48.101&#xA;  libavformat    57. 40.101 / 57. 40.101&#xA;  libavdevice    57.  0.101 / 57.  0.101&#xA;  libavfilter     6. 46.102 /  6. 46.102&#xA;  libswscale      4.  1.100 /  4.  1.100&#xA;  libswresample   2.  1.100 /  2.  1.100&#xA;  libpostproc    54.  0.100 / 54.  0.100&#xA;[mpegts @ 0x1bc9540] Could not detect TS packet size, defaulting to non-FEC/DVHS&#xA;[mpegts @ 0x1bc9540] PES packet size mismatch&#xA;    Last message repeated 1 times&#xA;[mpegts @ 0x1bc9540] probed stream 0 failed&#xA;[mpegts @ 0x1bc9540] nothing to probe for stream 1&#xA;[mpegts @ 0x1bc9540] probed stream 1 failed&#xA;[mpegts @ 0x1bc9540] probed stream 2 failed&#xA;[mpegts @ 0x1bc9540] Could not find codec parameters for stream 0 (Unknown: none): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x1bc9540] Could not find codec parameters for stream 1 (Unknown: none): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;[mpegts @ 0x1bc9540] Could not find codec parameters for stream 2 (Unknown: none): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' and 'probesize' options&#xA;Input #0, mpegts, from 'concat:/tmp/yLx1B9X9Mb/lujqnqQrtm.ts':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #0:0[0xfaf]: Unknown: none&#xA;    Stream #0:1[0x15]: Unknown: none&#xA;    Stream #0:2[0x15b4]: Unknown: none&#xA;Output #0, mp4, to 'output.mp4':&#xA;Output file #0 does not contain any stream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The main problem is that it works for other ts files, but in this case it doesn't. I suspect that the whole problem is that there is a block with h264_init.mp4 here in m3u8, but to be honest I don't understand what I need to do with it.&lt;/p&gt;&#xA;&lt;p&gt;It seems to me that I have already tried everything, but maybe I was doing it wrong&lt;/p&gt;&#xA;" OwnerUserId="43102" LastActivityDate="2023-12-06T17:21:31.587" Title="The problem with converting ts files to mp4" Tags="|ffmpeg|linux|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37048" PostTypeId="1" AcceptedAnswerId="37049" CreationDate="2023-12-07T17:47:51.220" Score="0" ViewCount="182" Body="&lt;p&gt;It all begins with Plex and appears to end at ffmpeg as the easiest possible solution.  I love ffmpeg!  I use Plex running on Linux to stream over home network to a Roku.  I've used this for years until recently as I'll describe below.  I have a temporary workaround using Chromecast to bypass this issue.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Some videos don't play.&lt;/strong&gt; There are two differences between the ones that play and the ones that don'that (&lt;strong&gt;sound but black screen&lt;/strong&gt;).  I list these below.  Another possibility not listed is that Roku / Plex / Ubuntu have some kind of interaction (bug).  Maybe the Roku device is old and unsupported?  I listed my config way below.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;ffmpeg used to generate mkv / mp4 for the ones that don't play (sound but black screen).   Handbrake and WinxDVD used to generate mkv / m4a for the ones that do play.  My ffmpeg command is:&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;code&gt;**ffmpeg -threads 4 -f gdigrab -probesize 42M -thread_queue_size 1024 -i desktop -f dshow -thread_queue_size 1024 -i audio=&amp;quot;CABLE Output (VB-Audio Virtual Cable)&amp;quot; -vf scale=720:404 -vcodec libx264 -crf 28 -t   6.0 -y  &amp;quot;C:/Users/daveg/Documents/Recordings\trial4_raw.mp4&amp;quot;**&lt;/code&gt;&lt;/p&gt;&#xA;&lt;ol start=&quot;2&quot;&gt;&#xA;&lt;li&gt;Video file properties show &lt;strong&gt;codec H.264 High 4:4:4&lt;/strong&gt; for the ones that don't play (sound but black screen). and &lt;strong&gt;H.264 Constrained Baseline Profile&lt;/strong&gt; for the ones that do play.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;&lt;strong&gt;Does somebody know how to configure ffmpeg to generate H.264 Constrained Baseline Profile?&lt;/strong&gt; That seems like my next logical step. I tried various crf values only to produce grainy results still with High 4:4:4 nature.&lt;/p&gt;&#xA;&lt;p&gt;Plex 1.32.8.7639 running on Ubuntu 22.04.1&lt;/p&gt;&#xA;&lt;p&gt;Roku 3920X s/w 12.5.0 build 4178-91&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg 4.4.2 running on Ubuntu 22.04.1&lt;/p&gt;&#xA;" OwnerUserId="43113" LastEditorUserId="43113" LastEditDate="2023-12-07T17:50:13.997" LastActivityDate="2023-12-07T18:27:30.903" Title="ffmpeg Config to Produce H.264 Constrained Baseline Profile" Tags="|ffmpeg|video|encoding|video-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37049" PostTypeId="2" ParentId="37048" CreationDate="2023-12-07T18:27:30.903" Score="0" Body="&lt;p&gt;You may not actually need baseline profile, but only a compatible pixel format i.e. YUV 4:2:0 as opposed to YUV 4:4:4 that ffmpeg converts gdigrab's RGB frames to.&lt;/p&gt;&#xA;&lt;p&gt;Add &lt;code&gt;-pix_fmt yuv420p&lt;/code&gt;. For baseline profile, also add &lt;code&gt;-profile:v baseline&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-12-07T18:27:30.903" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37051" PostTypeId="1" CreationDate="2023-12-08T07:15:45.293" Score="2" ViewCount="51" Body="&lt;p&gt;I'm trying to cut a video into pieces and rejoin them using &lt;code&gt;ffmpeg&lt;/code&gt; on Windows 11 x64. Here's the details of &lt;code&gt;ffmpeg&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2023-11-22-git-0008e1c5d5-full_build-www.gyan.dev Copyright (c) 2000-2023 the FFmpeg developers&#xA;  built with gcc 12.2.0 (Rev10, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --pkg-config=pkgconf --disable-w32threads&#xA;--disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp&#xA;--enable-bzlib --enable-lzma --enable-libsnappy --enable-zlib --enable-librist --enable-libsrt&#xA;--enable-libssh --enable-libzmq --enable-avisynth --enable-libbluray --enable-libcaca --enable-sdl2&#xA;--enable-libaribb24 --enable-libaribcaption --enable-libdav1d --enable-libdavs2 --enable-libuavs3d&#xA;--enable-libzvbi --enable-librav1e --enable-libsvtav1 --enable-libwebp --enable-libx264 --enable-libx265&#xA;--enable-libxavs2 --enable-libxvid --enable-libaom --enable-libjxl --enable-libopenjpeg --enable-libvpx&#xA;--enable-mediafoundation --enable-libass --enable-frei0r --enable-libfreetype --enable-libfribidi&#xA;--enable-libharfbuzz --enable-liblensfun --enable-libvidstab --enable-libvmaf --enable-libzimg&#xA;--enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc&#xA;--enable-dxva2 --enable-d3d11va --enable-libvpl --enable-libshaderc --enable-vulkan --enable-libplacebo&#xA;--enable-opencl --enable-libcdio --enable-libgme --enable-libmodplug --enable-libopenmpt&#xA;--enable-libopencore-amrwb --enable-libmp3lame --enable-libshine --enable-libtheora --enable-libtwolame&#xA;--enable-libvo-amrwbenc --enable-libcodec2 --enable-libilbc --enable-libgsm --enable-libopencore-amrnb&#xA;--enable-libopus --enable-libspeex --enable-libvorbis --enable-ladspa --enable-libbs2b --enable-libflite&#xA;--enable-libmysofa --enable-librubberband --enable-libsoxr --enable-chromaprint&#xA;  libavutil      58. 32.100 / 58. 32.100&#xA;  libavcodec     60. 34.100 / 60. 34.100&#xA;  libavformat    60. 17.100 / 60. 17.100&#xA;  libavdevice    60.  4.100 / 60.  4.100&#xA;  libavfilter     9. 13.100 /  9. 13.100&#xA;  libswscale      7.  6.100 /  7.  6.100&#xA;  libswresample   4. 13.100 /  4. 13.100&#xA;  libpostproc    57.  4.100 / 57.  4.100&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I've a video file in MKV format. I've cut it into 3 pieces using the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -ss 0:0:0 -i input.mkv -t 0:54:15 -c:v hevc_amf -b:v 3M -c:s mov_text seg-01.mp4&#xA;ffmpeg.exe -ss 0:54:29 -i input.mkv -t 0:35:35 -c:v hevc_amf -b:v 3M -c:s mov_text seg-02.mp4&#xA;ffmpeg.exe -ss 1:30:12 -i input.mkv -t 0:4:10 -c:v hevc_amf -b:v 3M -c:s mov_text seg-03.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The audio is copied in all 3 pieces like original. Now I'm joining them using the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg.exe -y -f concat -safe 0 -i .\join.txt -c:v hevc_amf -c:a copy -c:s copy -fflags +genpts out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;where, &lt;code&gt;join.txt&lt;/code&gt; is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file seg-01.mp4&#xA;file seg-02.mp4&#xA;file seg-03.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg&lt;/code&gt; throws the following warning:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[mp4 @ 000002a5cf9cc040] Non-monotonic DTS in output stream 0:1; previous: 156240896, current: 156240084; changing to 156240897.&#xA;This may result in incorrect timestamps in the output file.&#xA;[mp4 @ 000002a5cf9cc040] Non-monotonic DTS in output stream 0:1; previous: 258720980, current: 258720462; changing to 258720981.&#xA;This may result in incorrect timestamps in the output file.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I've observed that audio is de-synchronized after the places where I cut.&lt;/p&gt;&#xA;&lt;p&gt;How to keep audio, video and subtitle synchronized after cutting and rejoining the video using &lt;code&gt;ffmpeg&lt;/code&gt;?&lt;/p&gt;&#xA;" OwnerUserId="43118" LastActivityDate="2023-12-08T07:15:45.293" Title="Cutting and rejoining videos causes audio de-synchronization using ffmpeg" Tags="|ffmpeg|video|audio|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37052" PostTypeId="1" CreationDate="2023-12-08T11:01:38.160" Score="1" ViewCount="231" Body="&lt;p&gt;I have 10 webm videos, each one has the same size ~15mb. When I run following code:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video1.webm -f mp4 video1.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;9 of them finish in ~10 seconds, but 1 lasts more then 3 minutes. I run ffprobe to see difference and noticed only this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;25 fps, 25 tbr, 1k tbn (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;vs&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;1k tbr, 1k tbn (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Can someone please explain to me the difference and the best way to speed up the process to transform all 10 at nearly the same time?&lt;/p&gt;&#xA;" OwnerUserId="43121" LastEditorUserId="43121" LastEditDate="2023-12-08T11:12:12.070" LastActivityDate="2023-12-09T05:14:24.677" Title="Convert video from webm to mp4 using ffmpeg" Tags="|ffmpeg|video|ffprobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37053" PostTypeId="1" CreationDate="2023-12-08T22:31:22.413" Score="0" ViewCount="56" Body="&lt;p&gt;I am using ffmpeg to merge multiple images and an audio to produce a video. I am using drawtext and xfade with dissolve transition. My ffmpeg command is given below.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loop 1 -t 5 -i ./img/img0.jpg -loop 1 -t 5 -i ./img/img1.jpg -loop 1 -t 5 -i ./img/img2.jpg -loop 1 -t 5 -i ./img/img3.jpg -t 20 -i audio.mp3 -filter_complex &amp;quot; &#xA;[0]xfade=transition=dissolve:duration=1:offset=4,drawtext=fontfile='./Lato/Lato-Regular.ttf':text='Text1':fontcolor='#666333':fontsize=(h/30):x=50:y=20,setsar=1[v0];&#xA;[1]xfade=transition=dissolve:duration=1:offset=4,drawtext=fontfile='./Lato/Lato-Regular.ttf':text='Text1':fontcolor='#666333':fontsize=(h/30):x=50:y=20,setsar=1[v1];&#xA;[2]xfade=transition=dissolve:duration=1:offset=4,drawtext=fontfile='./Lato/Lato-Regular.ttf':text='Text1':fontcolor='#666333':fontsize=(h/30):x=50:y=20,setsar=1[v2];&#xA;[3]xfade=transition=dissolve:duration=1:offset=4,drawtext=fontfile='./Lato/Lato-Regular.ttf':text='Text1':fontcolor='#666333':fontsize=(h/30):x=50:y=20,setsar=1[v3];&#xA;[v0][v1][v2][v3]concat=n=4:v=1:a=0,format=yuv420p[vid]&amp;quot; -map &amp;quot;[vid]&amp;quot; -map 4:a -c:v libx264 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I am getting below error when executing this command.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Cannot find a matching stream for unlabeled input pad 1 on filter Parsed_xfade_9&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="26396" LastActivityDate="2023-12-17T03:46:08.383" Title="Combine images and draw text on each image with animation xfade" Tags="|ffmpeg|video|audio|video-production|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37055" PostTypeId="1" CreationDate="2023-12-09T00:55:42.157" Score="0" ViewCount="160" Body="&lt;p&gt;Does &lt;code&gt;webm&lt;/code&gt;/&lt;code&gt;mka&lt;/code&gt;/&lt;code&gt;mkv&lt;/code&gt;/&lt;code&gt;mp4&lt;/code&gt; support discontinuous audio streams?&lt;/p&gt;&#xA;&lt;p&gt;I'm wondering, can &lt;code&gt;ffmpeg&lt;/code&gt; transcode &lt;code&gt;.wav&lt;/code&gt;-audio into &lt;code&gt;opus&lt;/code&gt;-encapsulated-into-&lt;code&gt;webm&lt;/code&gt;, but filter out silent frames - especially full seconds of silence, completely drop them from the stream to save space? (maybe via &lt;a href=&quot;https://ffmpeg.org/ffmpeg-bitstream-filters.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-bitstream-filters.html&lt;/a&gt; ?)&lt;/p&gt;&#xA;&lt;p&gt;The goal of all this is to very efficiently represent near-silence in phone-call-recording files for archival purposes (i.e. by completely omitting it from the stream and having it replaced by digital zeros at audio decoding time).&lt;/p&gt;&#xA;&lt;p&gt;As far as I understand &lt;code&gt;opus&lt;/code&gt;-encapsulated-into-&lt;code&gt;ogg&lt;/code&gt; does not support such timestamp discontinuities. &lt;code&gt;opus&lt;/code&gt;-encapsulated-into-&lt;code&gt;rtp&lt;/code&gt; assumingly does support this, but I'm wondering if more &amp;quot;offline&amp;quot; formats such as &lt;code&gt;webm&lt;/code&gt; and whether it's possible to produce them directly without passing by &lt;code&gt;rtp&lt;/code&gt; format first.&lt;/p&gt;&#xA;&lt;p&gt;These frames could then be replaced by zeros at audio decoding time by some form of PLC or DTS gaps replacement by zero signal.&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;UPD1&lt;/strong&gt;: Unfortunately, &lt;code&gt;silenceremove&lt;/code&gt; filter does not work as I need it. The way I used it below, the audio duration after &lt;code&gt;silenceremove&lt;/code&gt; is shortened by the amount of silence. This is not what I am looking for. I am looking to preserve the timestamps, have the silence imputed by digital silence at decoding time and preserve the original audio duration (as reported by &lt;code&gt;ffprobe&lt;/code&gt; or audio players)&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-shell prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -y -f lavfi -i sine=f=440:d=5 -f lavfi -i anullsrc=d=3600:cl=mono -f lavfi -i sine=f=880:d=5 -filter_complex &amp;quot;[0][1][2]concat=n=3:v=0:a=1&amp;quot; 5sec_silent1h_5sec.wav&#xA;&#xA;ffmpeg -y -i 5sec_silent1h_5sec.wav -acodec libopus 5sec_silent1h_5sec.opus&#xA;&#xA;ffmpeg -y -i 5sec_silent1h_5sec.wav -acodec libopus -af silenceremove=window=0:detection=peak:stop_mode=all:start_mode=all:stop_periods=-1:stop_threshold=0 5sec_5sec.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The good duration of 5sec_silent1h_5sec.opus and bad duration of 5sec_5sec.mkv are confirmed by ffprobe (1h10s and 10s respectively).&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to adjust the filters/command line arguments to preserve the audio duration?&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;UPD2&lt;/strong&gt;&#xA;The following somewhat works, although ~1s of 880hz audio leaks into the first segment (before the long silence segment), no matter how I adjust the &lt;code&gt;between&lt;/code&gt; bounds - very strange!&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -y -i 5sec_silent1h_5sec.wav -acodec libopus -af &amp;quot;aselect='between(t,0,4)+between(t,3606,3610)'&amp;quot; 5sec_silent1h_5sec_with_leakage.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;If this leakage can be fixed, then this can be used &lt;a href=&quot;https://superuser.com/a/1659916/813257&quot;&gt;together&lt;/a&gt; &lt;a href=&quot;https://stackoverflow.com/questions/74418102/more-precision-from-ffmpeg-silencedetect&quot;&gt;with&lt;/a&gt; &lt;code&gt;silencedetect&lt;/code&gt; filter.&lt;/p&gt;&#xA;&lt;p&gt;But of course it would be nicer to get the output in a single invokation of ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;The example output file with &amp;quot;leakage&amp;quot;: &lt;a href=&quot;https://1drv.ms/u/s!Apx8USiTtrYmq9Q4QaETF2OJWdKGQA?e=ACTmMg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://1drv.ms/u/s!Apx8USiTtrYmq9Q4QaETF2OJWdKGQA?e=ACTmMg&lt;/a&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;&lt;strong&gt;UPD3&lt;/strong&gt;: On a recent ffmpeg 6.1 adding &lt;code&gt;timestamp=copy&lt;/code&gt; filter option also produces a file with a correct duration, but with leakage &lt;code&gt;ffmpeg -y -i 5sec_silent1h_5sec.wav -acodec libopus -af silenceremove=window=0:detection=peak:stop_mode=all:start_mode=all:stop_periods=-1:stop_threshold=0:timestamp=copy 5sec_1hsilence_5sec_with_leakage.mkv&lt;/code&gt;. So it seems that timestamps are still not copied exactly.&lt;/p&gt;&#xA;" OwnerUserId="22985" LastEditorUserId="22985" LastEditDate="2023-12-26T20:27:15.757" LastActivityDate="2024-01-25T21:02:30.300" Title="Possible to force FFmpeg to omit silence in audio files and produce discontinuous `webm`/`mka`?" Tags="|ffmpeg|audio|matroska|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37056" PostTypeId="2" ParentId="37055" CreationDate="2023-12-09T04:31:38.507" Score="0" Body="&lt;p&gt;You can have timestamp gaps in an audio stream in Matroska-family or MOV/MP4 format files. That's how Google records and stores WebRTC recordings. There won't be zero signal audio data, rather there will be no packets corresponding to the gap and timestamps of the packets before and after the gap will indicate audio position.&lt;/p&gt;&#xA;&lt;p&gt;However, it is not the encoder's job or feature in ffmpeg to drop those sections. You will need to use the &lt;a href=&quot;http://www.ffmpeg.org/ffmpeg-filters.html#silenceremove&quot; rel=&quot;nofollow noreferrer&quot;&gt;silenceremove&lt;/a&gt; filter with option &lt;code&gt;timestamp=copy&lt;/code&gt; (6.1+ or git master &amp;gt; May 2023 needed).&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2023-12-14T16:14:09.757" LastActivityDate="2023-12-14T16:14:09.757" CommentCount="12" ContentLicense="CC BY-SA 4.0" />
  <row Id="37057" PostTypeId="2" ParentId="37052" CreationDate="2023-12-09T05:14:24.677" Score="1" Body="&lt;p&gt;That anomalous file likely has been detected (wrongly) to have a high frame rate.&lt;/p&gt;&#xA;&lt;p&gt;Use&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i video1.webm -fps_mode passthrough -f mp4 video1.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Your ffmpeg version should be recent i.e. at least &lt;code&gt;5.1&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2023-12-09T05:14:24.677" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37058" PostTypeId="2" ParentId="17526" CreationDate="2023-12-09T10:57:57.913" Score="0" Body="&lt;p&gt;The detailed answer by Gyan helped me to solve a practical problem which may be worth mentioning.&lt;/p&gt;&#xA;&lt;p&gt;Davinci Resolve cannot import .mpg files, but can import the same files when they are re-wrapped in .mov with the correct tag.&lt;/p&gt;&#xA;&lt;p&gt;The bash+ffmpeg command below can be used to:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;re-wrap all &amp;quot;.mpg&amp;quot; (or &amp;quot;.MPG&amp;quot;) files in the current directory to Quicktime .mov&lt;/li&gt;&#xA;&lt;li&gt;set the Codec ID to &amp;quot;mp2v&amp;quot; which works with both VLC and with Resolve&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;for file in *.mpg *.MPG; do&#xA;    ffmpeg -i &amp;quot;$file&amp;quot; -c copy -vtag mp2v &amp;quot;${file%%.[Mm][Pp][Gg]}&amp;quot;.mov&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3138" LastEditorUserId="3138" LastEditDate="2023-12-11T16:03:01.537" LastActivityDate="2023-12-11T16:03:01.537" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37059" PostTypeId="1" CreationDate="2023-12-09T16:59:46.653" Score="0" ViewCount="13" Body="&lt;p&gt;I have some clips at different resolutions I want to put on my timeline (configured at 1920 x 1080), precisely at 2 pixels from the left, 2 pixels from the bottom, each clip being supposed to be resized to 1280 x 720.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to (easily) do this on DaVinci Resolve (free version), without starting a bachelor of mathematics ?&lt;/p&gt;&#xA;" OwnerUserId="1571" LastActivityDate="2023-12-09T16:59:46.653" Title="Precise positioning and dimensioning using DaVinci Resolve" Tags="|editing|davinci-resolve|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="37060" PostTypeId="1" CreationDate="2023-12-10T01:26:58.337" Score="0" ViewCount="68" Body="&lt;p&gt;I wanted to comment on a thread that already exists on this topic in general, but I just signed up to SO and have not earned my contribution credits yet! If anyone has advice on how to better handle that in the future, I am all ears!!&lt;/p&gt;&#xA;&lt;p&gt;None-the-less, here is that thread:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://stackoverflow.com/questions/69029439/a-good-way-to-detect-alpha-channel-in-a-video-using-ffmpeg-ffprobe/69030041#69030041?newreg=ba5899a955914c74a99a2e8b4ce3d12c&quot;&gt;https://stackoverflow.com/questions/69029439/a-good-way-to-detect-alpha-channel-in-a-video-using-ffmpeg-ffprobe/69030041#69030041?newreg=ba5899a955914c74a99a2e8b4ce3d12c&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I tried both the answers listed in that post to detect the presence of an alpha channel in a PR4444 video file.&lt;/p&gt;&#xA;&lt;p&gt;For Gyan's answer, I get the following pixel format from any PR4444 file (regardless if encoded with alpha or no alpha), when running part 1:&lt;/p&gt;&#xA;&lt;p&gt;yuva444p12le&lt;/p&gt;&#xA;&lt;p&gt;As you will see in Gyan's notes, even if a FFprobe returns an &amp;quot;a&amp;quot; in the return string (for the call for pixel format), that does not equate to the presence of an alpha channel. Hence their note for the subsequent (part 2) call...&lt;/p&gt;&#xA;&lt;p&gt;I then plugged that into the part 2 of Gyan's answer, but that produced an empty from FFmpeg, and a message providing valid arguments to pair with grep. It seems as though -oP is not a valid arg for grep? Because it wasn't listed in the returned list of options. This is the template I used (pulled verbatim from Gyan's posted solution):&lt;/p&gt;&#xA;&lt;p&gt;ffprobe -v 0 -show_entries pixel_format=name:flags=alpha -of compact=p=0 | grep &amp;quot;$PIX_FMT|&amp;quot; | grep -oP &amp;quot;(?&amp;lt;=alpha=)\d&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;Where $PIX_FMT is to be replaced with yuva444p121e (per Gyan's instructions).&lt;/p&gt;&#xA;&lt;p&gt;I then tried Benji's solution for part 2, but that just returns the following:&lt;/p&gt;&#xA;&lt;p&gt;pix_fmt=yuva444p12le&lt;/p&gt;&#xA;&lt;p&gt;Of course, this isn't any more useful than part 1...&lt;/p&gt;&#xA;&lt;p&gt;I suspect Gyan is on the right track as he mentions part 2 should produce a boolean result for the presence of an alpha channel. However, either I am misunderstanding the syntax of his template, or something has changed in FFprobe since. There is so limited information out there for this specific task. Hoping someone with more experience and knowledge can help shed some light for me??&lt;/p&gt;&#xA;" OwnerUserId="43134" LastEditorUserId="43134" LastEditDate="2023-12-10T01:27:50.017" LastActivityDate="2023-12-10T01:27:50.017" Title="Using FFmpeg to detect alpha channel in PR4444 file" Tags="|ffmpeg|ffprobe|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="37061" PostTypeId="1" CreationDate="2023-12-10T07:34:16.727" Score="0" ViewCount="116" Body="&lt;p&gt;operating system: ubuntu 22&lt;/p&gt;&#xA;&lt;p&gt;kdenlive version: 21.12.3&lt;/p&gt;&#xA;&lt;p&gt;Audio is available in editing mode and can be played, however, after the project is rendered/exported into a file, video is fine but there is no audio.&lt;/p&gt;&#xA;&lt;p&gt;The attached screenshot shows the rendering configuration:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/b1ICU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/b1ICU.png&quot; alt=&quot;rendering configuration&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I resolve the issue?&lt;/p&gt;&#xA;" OwnerUserId="43135" LastEditorUserId="43135" LastEditDate="2023-12-10T07:39:38.983" LastActivityDate="2023-12-10T07:39:38.983" Title="kdenlive no audio in rendered video" Tags="|audio|kdenlive|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37063" PostTypeId="1" CreationDate="2023-12-13T08:41:11.170" Score="0" ViewCount="23" Body="&lt;p&gt;I have a video downloaded from the Internet. The file properties indicate that the video has 29.75 fps.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/q26Kp.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/q26Kp.jpg&quot; alt=&quot;File props&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;When I play this video frame by frame using the &amp;quot;E&amp;quot; key in the VLC player, it looks smooth and the frames are not duplicated. When I import this video into a video editor like KDENLIVE or SHOTCUT, it imports at 17.97fps.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EojmH.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EojmH.jpg&quot; alt=&quot;Kdenlive import&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Using &amp;quot;ffprobe -v error -show_format -show_streams video.mp4&amp;quot;, I discovered that the video parameters r_frame_rate and avg_frame_rate are different.&lt;/p&gt;&#xA;&lt;p&gt;codec_name=h264&lt;/p&gt;&#xA;&lt;p&gt;codec_long_name=H.264 / AVC / MPEG-4 AVC / MPEG-4 part 10&lt;/p&gt;&#xA;&lt;p&gt;profile=Baseline&lt;/p&gt;&#xA;&lt;p&gt;codec_type=video&lt;/p&gt;&#xA;&lt;p&gt;codec_tag_string=avc1&lt;/p&gt;&#xA;&lt;p&gt;codec_tag=0x31637661&lt;/p&gt;&#xA;&lt;p&gt;...&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;r_frame_rate=119/4&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;avg_frame_rate=293000/16303&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;time_base=1/90000&lt;/p&gt;&#xA;&lt;p&gt;start_pts=0&lt;/p&gt;&#xA;&lt;p&gt;start_time=0.000000&lt;/p&gt;&#xA;&lt;p&gt;duration_ts=22009050&lt;/p&gt;&#xA;&lt;p&gt;duration=244.545000&lt;/p&gt;&#xA;&lt;p&gt;bit_rate=897235&lt;/p&gt;&#xA;&lt;p&gt;max_bit_rate=N/A&lt;/p&gt;&#xA;&lt;p&gt;bits_per_raw_sample=8&lt;/p&gt;&#xA;&lt;p&gt;nb_frames=4395&lt;/p&gt;&#xA;&lt;p&gt;nb_read_frames=N/A&lt;/p&gt;&#xA;&lt;p&gt;nb_read_packets=N/A&lt;/p&gt;&#xA;&lt;p&gt;extradata_size=25&lt;/p&gt;&#xA;&lt;p&gt;r_frame_rate has a value of 119/4, which is equal to 29.75fps and avg_frame_rate has a value of 293000/16303, which is equal to 17.9721523646fps. Apparently video editors use avg_frame_rate when creating a project, but this leads to some frames being ignored during importing and playback. If I play a video frame by frame in a video editor, it duplicates the frames, as if the video really has 17.97 fps, and not 29.75 fps. Even if, when importing a video, I force 29.75 fps or change the fps after importing, Kdenlive and Shotcut still miss some frames. I tried using &amp;quot;ffmpeg -i video.mp4 -q:v 1 img%d.png&amp;quot; to convert the video into a sequence of PNG images and got all the frames without gaps. Most likely, the problem of missing frames during import occurs due to differences in the r_frame_rate and avg_frame_rate parameters for the video. For some reason, the video editor does not take into account the value of the r_frame_rate parameter and ignores some frames, despite the fact that frames are present in the video. How to force a video editor to take into account all frames present in a video file? Is it possible to somehow change the avg_frame_rate, preferably without reencoding? Or should I use another way to import videos? Or am I missing something?&lt;/p&gt;&#xA;" OwnerUserId="43155" LastEditorUserId="43155" LastEditDate="2023-12-13T09:56:29.457" LastActivityDate="2023-12-13T09:56:29.457" Title="Frames are ignored when importing video into the video editor (Kdenlive, Shotcut)" Tags="|kdenlive|shotcut|fps|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37064" PostTypeId="1" CreationDate="2023-12-13T22:06:51.617" Score="1" ViewCount="9" Body="&lt;p&gt;I'm dealing with a tricky situation involving high frame rate video recording and need some guidance. For an experiment, I needed to record a video at a high frame rate. The only way to achieve this on my iPhone was by using the slow motion setting, which records at 240 fps. However, the problem arose after transferring the video via AirDrop. The video automatically converted to 30 fps, and the slow motion effect became a permanent feature, eliminating the high frame rate I originally intended to capture. Additionally I have already lost the original video file, so I’m left only with the 30 fps version.&lt;/p&gt;&#xA;&lt;p&gt;To salvage the situation, I used Flowframes to interpolate the video back to 240 fps. This step successfully restored the frame rate, but the video still retains the unwanted slow motion effect. My questions are:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;How can I manually adjust the speed of the video to negate the slow motion effect and return it to normal playback speed? Is there a specific factor or method that should be used for this adjustment?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Could the conversion from 30 fps to 240 fps have impacted the video in a way that complicates restoring it to its original speed?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Any advice or solutions to revert my video to its intended high frame rate without the slow motion effect would be greatly appreciated!&lt;/p&gt;&#xA;" OwnerUserId="43158" LastEditorUserId="43158" LastEditDate="2023-12-13T22:13:58.613" LastActivityDate="2023-12-13T22:13:58.613" Title="Restoring High Frame Rate Video After Forced Slow Motion Conversion" Tags="|framerate|iphone|frame-interpolation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37065" PostTypeId="1" CreationDate="2023-12-13T23:31:05.317" Score="0" ViewCount="48" Body="&lt;p&gt;I have a set of transparent png images, each image having a coresponding wav audio file (the audio files are of different lengths): 1.png, 1.wav, 2.png, 2.wav, etc...&#xA;There is also a 10 seconds looping background video, back.mp4.&lt;/p&gt;&#xA;&lt;p&gt;The video should be as such:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;an image fades-in for 2 seconds&lt;/li&gt;&#xA;&lt;li&gt;the image is displayed while playing the coresponding audio&lt;/li&gt;&#xA;&lt;li&gt;the image fades-out for 2 seconds&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;... and so on for all the images/audio files.&lt;/p&gt;&#xA;&lt;p&gt;Finally, all of this should be overlaid on top of back.mp4, which needs to loop until the end.&lt;/p&gt;&#xA;&lt;p&gt;I need to achieve this with a filter_complex_script file (that is automatically generated), preferrably putting everything in the file (using movie/amovie instead of command line parameters to ffmpeg). It should be done also without having to calculate the lengths of the audio files.&lt;/p&gt;&#xA;&lt;p&gt;I am struggling with this for days, and having problems with looping the image. Either the fade doesn't show, or the concatenation of the image with the audio gets endless.&lt;/p&gt;&#xA;&lt;p&gt;Is it even possible to achieve?&lt;/p&gt;&#xA;" OwnerUserId="43161" LastEditorUserId="43161" LastEditDate="2023-12-14T08:13:58.133" LastActivityDate="2023-12-14T08:13:58.133" Title="ffmpeg multiple png fade in/out, audio and overlay with filter_complex_script" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37067" PostTypeId="1" CreationDate="2023-12-14T13:59:49.100" Score="0" ViewCount="56" Body="&lt;p&gt;We are doing some automation regarding video creation. Idea is that we have one video but we wanna create 1000 videos from that one, each one having a unique number visible on it. Like a water mark. Animator exports the video in MOV (MOV supports alpha channel). The thing is that we need the final videos in webm. I managed to convert MOV to WEBM with &lt;code&gt;ffmpeg -i video.mov -c:v libvpx -pix_fmt yuva420p output_video.webm&lt;/code&gt; and the output WEBM video is perfect. The issue is when I try to put PNG transparent overlay over it, then the shadows are screwed and transparency is in the toilet. Overlay command: &lt;code&gt;ffmpeg -i ${inputFileName}.webm -i number_${getHash(imageNumber)}.png -filter_complex &amp;quot;[0:v][1:v] overlay=format=auto&amp;quot; -c:v libvpx-vp9 -auto-alt-ref 0 test2.webm&lt;/code&gt; Images have no background.&lt;/p&gt;&#xA;&lt;p&gt;Any clues?&lt;/p&gt;&#xA;&lt;p&gt;Steps:&lt;/p&gt;&#xA;&lt;p&gt;Generate transparent PNG with a label&#xA;Convert MOV to WEBM&#xA;Put PNG overlay&lt;/p&gt;&#xA;" OwnerUserId="43168" LastActivityDate="2023-12-14T13:59:49.100" Title="Add transparent image over webm video that has transparency" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37069" PostTypeId="1" CreationDate="2023-12-15T00:07:45.993" Score="0" ViewCount="37" Body="&lt;p&gt;The problem is:&lt;/p&gt;&#xA;&lt;p&gt;When I use my compiled version of ffmpeg, it does NOT remove any metadata.&lt;/p&gt;&#xA;&lt;p&gt;I've compiled/built ffmpeg using the (general) guide on &lt;a href=&quot;https://trac.ffmpeg.org/wiki/CompilationGuide/Ubuntu&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/CompilationGuide/Ubuntu&lt;/a&gt; many times before and except for this issue with &amp;quot;-map_metadata -1&amp;quot; not working, everything else works great with my ffmpeg, encoding, decoding, video, audio, ...&lt;/p&gt;&#xA;&lt;p&gt;So, is there a configure option or an --enable-*** switch, when building ffmpeg, that is missing in the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/CompilationGuide/Ubuntu&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://trac.ffmpeg.org/wiki/CompilationGuide/Ubuntu&lt;/a&gt; guide, so that my (compiled) ffmpeg will work with &amp;quot;-map_metadata -1&amp;quot; to remove metadata.?&lt;/p&gt;&#xA;" OwnerUserId="43173" LastActivityDate="2023-12-15T00:07:45.993" Title="&quot;-map_metadata -1&quot; not working on my compiled ffmpeg?" Tags="|ffmpeg|video-editor|linux|metadata|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37070" PostTypeId="2" ParentId="36434" CreationDate="2023-12-15T17:25:54.883" Score="0" Body="&lt;p&gt;I just had this issue, saved my project, reopened it and it became clear what happened, because Kdenlive prompted me to relocate a file.&lt;/p&gt;&#xA;&lt;p&gt;What happened was, I changed the name of the directory where my source video files resided, used as clips in the Kdenlive timeline.&lt;/p&gt;&#xA;&lt;p&gt;The issue was solved simply by redirecting Kdenlive to the newly named directory.&lt;/p&gt;&#xA;&lt;p&gt;Use the 'locate clip' and 'replace clip' buttons to point Kdenlive to the correct file or directory locations.&lt;/p&gt;&#xA;&lt;p&gt;I suppose if you renamed one video file outside Kdenlive, or several, you could run into the same issue.&lt;/p&gt;&#xA;&lt;p&gt;Once I did that, the video played fine on VLC, but after uploading the video, it was white again in the browser.&lt;/p&gt;&#xA;&lt;p&gt;I rendered the video again with parallel processing disabled and now all is good.&lt;/p&gt;&#xA;" OwnerUserId="33593" LastEditorUserId="33593" LastEditDate="2023-12-15T18:07:52.660" LastActivityDate="2023-12-15T18:07:52.660" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37071" PostTypeId="1" CreationDate="2023-12-15T22:24:19.133" Score="0" ViewCount="27" Body="&lt;p&gt;I'm running this ffmpeg command that does multiple trims on input video and concats those trims to generate output.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i https://d8r14y803bnlk.cloudfront.net/usetldr/2736037/u/796/st/5a919413ff884892bbfffcd0671687a9/p/67c1a16438bf4bb78b785557f4cef7ef/OJx1SIKTNbbGHmQfKT4C_render.mp4 -filter_complex &amp;quot;[0:v:0]trim=start=0.0:end=4.289,setpts=PTS-STARTPTS,format=yuva420p[0v];[0:v:0]trim=start=4.84:end=1034.7,setpts=PTS-STARTPTS,format=yuva420p[1v];[0v][1v]concat=n=2:v=1:a=0&amp;quot; -crf 18 -an -preset ultrafast -y /tmp/8TZeqB3Z6h.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This command works fine on my M1 mac but hangs EC2 instances (c5.4xlarge).&lt;/p&gt;&#xA;&lt;p&gt;I'm using &lt;code&gt;ffmpeg version 6.1-static https://johnvansickle.com/ffmpeg/  Copyright (c) 2000-2023 the FFmpeg developers built with gcc 8 (Debian 8.3.0-6)&lt;/code&gt;  on EC2.&lt;/p&gt;&#xA;&lt;p&gt;Any idea why this could be happening?&lt;/p&gt;&#xA;" OwnerUserId="20745" LastActivityDate="2023-12-15T22:24:19.133" Title="machine hangs during ffmpeg command execution" Tags="|ffmpeg|video|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="37073" PostTypeId="2" ParentId="37053" CreationDate="2023-12-17T03:46:08.383" Score="1" Body="&lt;p&gt;&lt;code&gt;xfade&lt;/code&gt; requires two input video streams. You are using only one. It has to fade from a video and into another. Use a black &lt;code&gt;color&lt;/code&gt; filter for the other.&lt;/p&gt;&#xA;" OwnerUserId="43093" LastActivityDate="2023-12-17T03:46:08.383" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37075" PostTypeId="1" CreationDate="2023-12-18T13:49:09.217" Score="0" ViewCount="27" Body="&lt;p&gt;my goal is to do this with ffmpeg complex_filters:&lt;/p&gt;&#xA;&lt;p&gt;I have a background 1080 vid and like to slide in some overlay graphics and texts. So my input is the vid and 3 jpg files. The jpg files should slide in to a position over the background-video, fade in in the same time, stay for a few seconds and then fade out. Then the same thing should be displayed with the second and third jpg. Additionally, a text should be displayed.&lt;/p&gt;&#xA;&lt;p&gt;My main problem is, that the left-to right transition works only on the first jpg, not the second or third one. The second and third one does the fade-in, but not the slide. All other things work, it's just the &amp;quot;slide in&amp;quot; of the second and third jpg that is ignored after rendering.&lt;/p&gt;&#xA;&lt;p&gt;My command is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i concat-video.mp4  -loop 1 -i card1.jpg -loop 1 -i card2.jpg -loop 1 -i card3.jpg -filter_complex &amp;quot;[0:v] drawtext=alpha='&#xA;&#xA;    # The transition in this block works&#xA;    if(lt(t,0),0,if(lt(t,1.5),(t-0)/1.5,if(lt(t,10.5),1,if(lt(t,12.0),(1.5-(t-10.5))/1.5,0))))':fontcolor=ffffff:fontsize=64:text=Title1:x=100:y=100 [cardset1];&#xA;    [1:v] format=pix_fmts=yuva420p,scale=765:1083,fade=in:st=0:d=1.5:alpha=1 [fadeIn1];&#xA;    [cardset1][fadeIn1] overlay=x='if(lte(-w+(t)*1065,300),-w+(t)*1065,300)':y=300:enable='between(t,0,1.5)':shortest=1 [slideIn1];&#xA;    [1:v] format=pix_fmts=yuva420p,scale=765:1083,fade=out:st=3.5:d=1.5:alpha=1 [display1];&#xA;    [slideIn1][display1] overlay=300:300:enable='between(t,1.5,8.0)':shortest=1 [fadeOut1];&#xA;    [fadeOut1] drawtext=alpha='if(lt(t,0),0,if(lt(t,1.5),(t-0)/1.5,if(lt(t,3.5),1,if(lt(t,5.0),(1.5-(t-3.5))/1.5,0))))':fontcolor=ffffff:fontsize=64:text=Card 1:x=200:y=200 [final1];&#xA;    &#xA;    # The transition in this block don't work, only fade-in&#xA;    [2:v] format=pix_fmts=yuva420p,scale=765:1083,fade=in:st=6:d=1.5:alpha=1 [fadeIn2];&#xA;    [final1][fadeIn2] overlay=x='if(lte(-w+(t)*1065,300),-w+(t)*1065,300)':y=300:enable='between(t,6,7.5)':shortest=1 [slideIn2];&#xA;    [2:v] format=pix_fmts=yuva420p,scale=765:1083,fade=out:st=9.5:d=1.5:alpha=1 [display2];&#xA;    [slideIn2][display2] overlay=300:300:enable='between(t,7.5,14.0)':shortest=1 [fadeOut2];&#xA;    [fadeOut2] drawtext=alpha='if(lt(t,6),0,if(lt(t,7.5),(t-6)/1.5,if(lt(t,9.5),1,if(lt(t,11.0),(1.5-(t-9.5))/1.5,0))))':fontcolor=ffffff:fontsize=64:text=Card 2:x=200:y=200 [final2];&#xA;    &#xA;    # The transition in this block don't work too, only fade-in&#xA;    [final2] drawtext=alpha='if(lt(t,12),0,if(lt(t,13.5),(t-12)/1.5,if(lt(t,17.5),1,if(lt(t,19.0),(1.5-(t-17.5))/1.5,0))))':fontcolor=ffffff:fontsize=64:text=Title2:x=100:y=100 [cardset2];&#xA;    [3:v] format=pix_fmts=yuva420p,scale=765:1083,fade=in:st=12:d=1.5:alpha=1 [fadeIn3];&#xA;    [cardset2][fadeIn3] overlay=x='if(lte(-w+(t)*1065,300),-w+(t)*1065,300)':y=300:enable='between(t,12,13.5)':shortest=1 [slideIn3];&#xA;    [3:v] format=pix_fmts=yuva420p,scale=765:1083,fade=out:st=15.5:d=1.5:alpha=1 [display3];&#xA;    [slideIn3][display3] overlay=300:300:enable='between(t,13.5,20.0)':shortest=1 [fadeOut3];&#xA;    [fadeOut3] drawtext=alpha='if(lt(t,12),0,if(lt(t,13.5),(t-12)/1.5,if(lt(t,15.5),1,if(lt(t,17.0),(1.5-(t-15.5))/1.5,0))))':fontcolor=ffffff:fontsize=64:text=Card 3:x=200:y=200 [final3];&#xA;    &#xA;&amp;quot; -pix_fmt yuva420p -map &amp;quot;[final3]&amp;quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I've tried several thing, but nothing helped. So i hope somebody here can help me :)&lt;/p&gt;&#xA;" OwnerUserId="43201" LastActivityDate="2023-12-18T13:49:09.217" Title="Left-to right transition on overlay works only on first one in chain, not second one" Tags="|ffmpeg|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="37076" PostTypeId="1" CreationDate="2023-12-19T06:06:31.103" Score="0" ViewCount="10" Body="&lt;p&gt;So, I downloaded an after effects file with animated boxes, lets suppose for example there are three boxes , all 3 boxes are in three different composition. when I change colour of the box in one composition the color changes from all composition, I deleted expression value and disabled expression still somehow its all connected.&lt;/p&gt;&#xA;" OwnerUserId="43207" LastActivityDate="2024-02-03T09:06:05.683" Title="Change Colours of Composition" Tags="|after-effects|after-effects-expressions|color|" AnswerCount="1" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37077" PostTypeId="1" CreationDate="2023-12-13T15:24:16.100" Score="0" ViewCount="85" Body="&lt;p&gt;&lt;a href=&quot;https://support.google.com/youtube/answer/71673&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://support.google.com/youtube/answer/71673&lt;/a&gt; states:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;The maximum file size you can upload is 256 GB or 12 hours, whichever is less. We've changed the limits on uploads in the past, so you may see older videos that are longer than 12 hours.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;However, I saw this recent video &lt;a href=&quot;https://www.youtube.com/watch?v=JgHRMd-sihk&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.youtube.com/watch?v=JgHRMd-sihk&lt;/a&gt; published 4 months ago, which is 24 hours 5 minutes and 28 seconds long. How can one upload a video of over 12 hours on YouTube?&lt;/p&gt;&#xA;" OwnerUserId="2117" OwnerDisplayName="Franck Dernoncourt" LastActivityDate="2023-12-19T22:30:12.840" Title="How can one upload a video of over 12 hours on YouTube?" Tags="|youtube|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37078" PostTypeId="1" CreationDate="2023-12-20T03:25:09.187" Score="0" ViewCount="47" Body="&lt;p&gt;I have been researching and cannot find anything on how to preserve just one color / color range while converting a video to greyscale / black &amp;amp; white using FFMPEG. For example; all black and white, except the people's Blue Jeans, etc.&lt;/p&gt;&#xA;&lt;p&gt;Anyone know how to do this in FFMPEG?&lt;/p&gt;&#xA;" OwnerUserId="43213" LastEditorUserId="674" LastEditDate="2023-12-20T09:32:10.833" LastActivityDate="2023-12-20T09:32:10.833" Title="How can I use FFMPEG to convert video to black and white, but leave one color / color range?" Tags="|ffmpeg|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37079" PostTypeId="1" CreationDate="2023-12-20T06:06:22.243" Score="0" ViewCount="44" Body="&lt;p&gt;When attempting to continuously loop a video using the ffmpeg command with the following syntax:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffmpeg -re -stream_loop -1 -i abc.mp4 -c copy -f flv rtmps://abc.xyz/.....&lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I encounter an issue where the process automatically terminates after a few hours. The error message includes the following details:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;**av_interleaved_write_frame(): Broken pipe&#xA;[flv @ 0x55d73001dd00] Failed to update header with correct duration.&#xA;[flv @ 0x55d73001dd00] Failed to update header with correct filesize.&#xA;Error writing trailer of rtmp://a.rtmp.youtube.com/live2/........................: Broken pipe&#xA;frame=1812023 fps= 30 q=-1.0 Lsize= 4902934kB time=16:47:41.10 bitrate= 664.3kbits/s speed=   1x    &#xA;video:3879605kB audio:944717kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.629512%&#xA;Conversion failed!**&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It seems to be related to a &amp;quot;Broken pipe&amp;quot; error during the writing of the trailer, and issues updating the header with correct duration and filesize. The overall conversion fails with a muxing overhead of 1.629512%.=&lt;/p&gt;&#xA;&lt;p&gt;I attempted to address the issue by incorporating ffmpeg's reconnect command options, specifically using the following command:&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;&lt;code&gt;ffmpeg -stream_loop -1 -re -i abc.mp4 -c copy -f flv -reconnect 1 -reconnect_streamed 1 -reconnect_delay_max 2 rtmps://abc.xyz/...... &lt;/code&gt;&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;However, despite including the reconnect commands such as -reconnect 1, -reconnect_streamed 1, and -reconnect_delay_max 2, the error persisted, and the issue of automatic termination after a few hours remained unresolved.&lt;/p&gt;&#xA;&lt;p&gt;I suspect that the problem may be related to network issues. Although I have included the reconnect command to solve this, I have not yet found a successful solution. I would appreciate assistance in understanding the root cause of this problem and any suggested solutions.&lt;/p&gt;&#xA;" OwnerUserId="43215" LastActivityDate="2023-12-20T06:06:22.243" Title="When I attempt to live a video in an infinite loop using the ffmpeg command, it automatically terminates after" Tags="|ffmpeg|video|video-editor|rtmp|live-streaming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37081" PostTypeId="1" CreationDate="2023-12-20T13:50:11.940" Score="0" ViewCount="52" Body="&lt;p&gt;video1.mp4 1280×720, with a green area&lt;/p&gt;&#xA;&lt;p&gt;video2.mp4 1280×720&lt;/p&gt;&#xA;&lt;p&gt;I need to reduce video2.mp4 to 640x480 and insert what fits into the green area of video1.mp4&lt;/p&gt;&#xA;&lt;p&gt;I went through all the options that I found on the Internet, but they don't work in my case.&lt;/p&gt;&#xA;&lt;p&gt;An example that reduces, but the chromakey does not work:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i video1.mp4 -i video2.mp4 -filter_complex &amp;quot;[0]colorkey=0x00b200:0.02:0.03[v0];[1]scale=800:640[v1];[v0][v1]overlay[out]&amp;quot; -codec:v libx264 -crf 23 -preset slow -map &amp;quot;[out]&amp;quot; -map 0:a result.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Please tell me how to fix it.&lt;/p&gt;&#xA;" OwnerUserId="43218" LastEditorUserId="43218" LastEditDate="2023-12-20T13:50:58.663" LastActivityDate="2023-12-20T13:50:58.663" Title="FFMPEG - scale and chromakey not working together?" Tags="|ffmpeg|chromakey|scale|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="37083" PostTypeId="1" CreationDate="2023-12-21T10:27:01.137" Score="1" ViewCount="28" Body="&lt;p&gt;I am new to video editing and would like to know how to color my videos like the professionals do. I can always tell the difference between an amateur video shot with a Handycam and a professional movie, and I think part of that difference is in the coloring. I have a screenshot from a video with beautiful coloring, and I would like to apply it to my family videos. Is there a simple way to do this?&lt;a href=&quot;https://i.stack.imgur.com/omSqT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/omSqT.png&quot; alt=&quot;Perfect color correction 1&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="34130" LastActivityDate="2023-12-21T10:27:01.137" Title="Coloring videos to give bright colors" Tags="|color-correction|" AnswerCount="0" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="37084" PostTypeId="1" AcceptedAnswerId="37094" CreationDate="2023-12-21T17:31:47.677" Score="3" ViewCount="25" Body="&lt;p&gt;I have been at this for a few days and while I have made progress I am stuck on the last bit, getting timecode to display as &lt;code&gt;HH:MM:SS:MS&lt;/code&gt; rather than &lt;code&gt;HH:MM:SS:FF&lt;/code&gt;. To do this I need a formula for the milliseconds part&lt;/p&gt;&#xA;&lt;p&gt;I know this is will be complicated for Drop-Frame Timecodes so I have ruled them out. I am only concerned with NDF Timecodes.&lt;/p&gt;&#xA;&lt;p&gt;The formula I have for finding a NDF Timecode, for example a video of 30 frames with a 12 FPS:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;To get the hours, &lt;code&gt;30 / (12* 3600)&lt;/code&gt;, &lt;code&gt;3600&lt;/code&gt; is the number of seconds in a hour&lt;/li&gt;&#xA;&lt;li&gt;To get the minutes, &lt;code&gt;30 / (12 * 60) - (0 * 60)&lt;/code&gt;, &lt;code&gt;0&lt;/code&gt; is the sum from step 1&lt;/li&gt;&#xA;&lt;li&gt;To get the seconds, &lt;code&gt;(30 / 12) - ( (0 * 3600) - (0 * 60)&lt;/code&gt;&lt;/li&gt;&#xA;&lt;li&gt;To get the frames, &lt;code&gt;30 % 12&lt;/code&gt; (Modulas)&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The Timecode would be &lt;code&gt;00:00:02:06&lt;/code&gt;, as shown at &lt;a href=&quot;https://www.omnicalculator.com/other/frames-to-timecode?c=GBP&amp;amp;v=frames:30,fpses:12&quot; rel=&quot;nofollow noreferrer&quot;&gt;Frames to Timecode Calculator&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I would like to make a slight tweak at step 4, to instead get the milliseconds needed for format &lt;code&gt;HH:MM:SS:MMM&lt;/code&gt;. I have tried to unsuccessfully solve it on my own, I searched around and turned up with nothing too.&lt;/p&gt;&#xA;&lt;p&gt;I am not a math wizard by any chance, not even a half rate one. I would really like to learn how to do this though. Any help would be greatly appreciated!&lt;/p&gt;&#xA;" OwnerUserId="43227" LastActivityDate="2023-12-24T23:22:46.947" Title="Math formula for finding 'HH:MM:SS:MMM' Timecode given a number of frames and FPS?" Tags="|timecode|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37085" PostTypeId="1" CreationDate="2023-12-21T22:59:54.590" Score="0" ViewCount="16" Body="&lt;p&gt;I am trying to do black and white video, while leaving just one color / color range.  I was told &amp;quot;ColorHold&amp;quot; filter can do this.  But, when I run it with different encoders; I either get a video that doesn't play.  Or one that nothing has been modified at all it seems.&lt;/p&gt;&#xA;&lt;p&gt;This is the Command Line statement I'm running.  I know my logging isn't right.  But it still logged.  LOL.  It won't let me post my log.  Thanks.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg  -i MVI_7523.MP4 -filter_complex &amp;quot;colorhold=color=0xE60000:similarity=1:blend=0.0&amp;quot;     -r 59.94     -b 60M -crf 0 output-leave-color-005.mp4 &amp;gt; &amp;quot;outputlog.txt&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;" OwnerUserId="43213" LastEditorUserId="18155" LastEditDate="2023-12-23T15:10:22.447" LastActivityDate="2023-12-23T15:10:22.447" Title="FFMPEG COLORHOLD FILTER NOT WORKING. VIDEOS WON'T PLAY" Tags="|ffmpeg|video|" AnswerCount="0" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="37086" PostTypeId="1" CreationDate="2023-12-22T09:02:26.390" Score="0" ViewCount="9" Body="&lt;p&gt;this is my FFMPEG command&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-re -fflags +genpts -stream_loop -1 -i rtmp://&amp;lt;&amp;gt; \&#xA;-flags +global_header -r 30000/1001 \&#xA;-filter_complex &amp;quot;scale=1280x720&amp;quot; \&#xA;-pix_fmt yuv420p \&#xA;-c:v libx264 \&#xA;-b:v:0 3000K -maxrate:v:0 3000K -bufsize:v:0 3000K/2 \&#xA;-g:v 30 -keyint_min:v 30 -sc_threshold:v 0 \&#xA;-color_primaries bt709 -color_trc bt709 -colorspace bt709 \&#xA;-c:a aac -ar 48000 -b:a 96k \&#xA;-map 0:v:0 \&#xA;-map 0:a:0 \&#xA;-preset ultrafast \&#xA;-tune zerolatency \&#xA;-adaptation_sets 'id=0,seg_duration=2.002,streams=v id=1,seg_duration=2.002,streams=a' \&#xA;-use_timeline 0 \&#xA;-streaming 1 \&#xA;-http_user_agent Akamai_Broadcaster_v1.0 \&#xA;-http_persistent 1 \&#xA;-target-latency 10 \&#xA;-media_seg_name $timestamp'/chunk-stream_$RepresentationID$-$Number%05d$.$ext$' \&#xA;-init_seg_name $timestamp'/init-stream_$RepresentationID$.$ext$' \&#xA;-f dash \&#xA;/&amp;lt;event&amp;gt;/out.mpd&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Dash Mpd plays correctly.&lt;/p&gt;&#xA;&lt;p&gt;BUT,&#xA;I found out some of the m4s chunks go to 404.&lt;br /&gt;&#xA;CPU of 8GB -&amp;gt; used only 12%.&lt;br /&gt;&#xA;and we found out that some of the m4s did not generate and some are generating late.&lt;br /&gt;&#xA;Analysis based on the timestamp of the file creation.&lt;/p&gt;&#xA;&lt;p&gt;please help me. Am I doing something wrong here?&lt;/p&gt;&#xA;" OwnerUserId="43233" LastActivityDate="2023-12-22T09:02:26.390" Title="FFMEPG livestreaming chunks 404 issues" Tags="|ffmpeg|live-streaming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37087" PostTypeId="1" CreationDate="2023-12-22T19:22:31.063" Score="0" ViewCount="29" Body="&lt;p&gt;At the risk of this being a bug, and not something I'm doing wrong, I'm posting here mostly because I don't even know where to report ffmpeg bugs.&lt;/p&gt;&#xA;&lt;p&gt;It looks like the newest version of ffmpeg &lt;code&gt;ffmpeg version 2023-12-21-git-1e42a48e37-full_build-www.gyan.dev&lt;/code&gt; will not run the concat filter correctly, when used in combination with vstack. I don't think these two very common filters would be changed syntactically in only the one year since I last upgraded my ffmpeg, but if this is something I'm doing wrong, please tell me.&lt;/p&gt;&#xA;&lt;p&gt;I have the following ffmpeg command, running through a batch script in Windows CMD:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;rem Folder and file paths&#xA;set speakerPath=C:\&#xA;set slidesPath=C:\&#xA;set outputPath=C:\&#xA;&#xA;rem -----------------------------------------------------------------------------------------&#xA;&#xA;set commands=-crf 24 -c:a aac -b:a 96k -ac 1 -movflags +faststart &#xA;ffmpeg -ss 00:53:11.124 -t 00:00:53.720 -i %speakerPath%speaker_2019-04-25_09-59-21.mp4 -ss 01:40:03.403 -t 00:08:05.819 -i %speakerPath%speaker_2019-04-25_09-59-21.mp4 -ss 01:48:49.229 -t 00:04:32.372 -i %speakerPath%speaker_2019-04-25_09-59-21.mp4 -ss 01:54:22.229 -t 00:02:46.834 -i %speakerPath%speaker_2019-04-25_09-59-21.mp4 -ss 00:53:11.091 -t 00:00:53.720 -i %slidesPath%slides_2019-04-25_09-59-21.mp4 -ss 01:40:03.370 -t 00:08:05.819 -i %slidesPath%slides_2019-04-25_09-59-21.mp4 -ss 01:48:49.196 -t 00:04:32.372 -i %slidesPath%slides_2019-04-25_09-59-21.mp4 -ss 01:54:22.196 -t 00:02:46.834 -i %slidesPath%slides_2019-04-25_09-59-21.mp4 \&#xA;   -filter_complex &amp;quot;[0:v][0:a][1:v][1:a][2:v][2:a][3:v][3:a]concat=n=4:v=1:a=1[speakerv][speakera]; \&#xA;                    [4][5][6][7]concat=n=4:v=1:a=0[slides]; \&#xA;                    [speakerv][slides]vstack=inputs=2[v1],[v1]scale=-1:1080[v2]&amp;quot; \&#xA;                    -map &amp;quot;[v2]&amp;quot; -map &amp;quot;[speakera]&amp;quot; %commands% %outputPath%output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You can see that it takes several inputs with in/out times, concats them, then vertically stacks them. The command does exactly what it is supposed to do with &lt;code&gt;ffmpeg version 2022-03-07-git-e645a1ddb9-full_build-www.gyan.dev&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;However, when I upgraded to the most recent build &lt;code&gt;ffmpeg version 2023-12-21-git-1e42a48e37-full_build-www.gyan.dev&lt;/code&gt;, the command will not run correctly. It runs without any errors, but it runs as if the concat filters are not even being considered. It skips straight to the vstack filter and outputs the vstack correctly, but only with the first input.&lt;/p&gt;&#xA;&lt;p&gt;Here are the LOGS. You can see the issue when it reports output video time as &lt;code&gt;time=00:00:53.52&lt;/code&gt;, when it should be &lt;code&gt;time=00:16:18.81&lt;/code&gt;. I don't see any errors or warnings. It's almost like it is running without the concat filters at all, jumping straight to the vstack with the first inputs from the concat filter.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2023-12-21-git-1e42a48e37-full_build-www.gyan.dev Copyright (c) 2000-2023 the FFmpeg developers&#xA;  built with gcc 12.2.0 (Rev10, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --pkg-config=pkgconf --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-bzlib --enable-lzma --enable-libsnappy --enable-zlib --enable-librist --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-libbluray --enable-libcaca --enable-sdl2 --enable-libaribb24 --enable-libaribcaption --enable-libdav1d --enable-libdavs2 --enable-libuavs3d --enable-libzvbi --enable-librav1e --enable-libsvtav1 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs2 --enable-libxvid --enable-libaom --enable-libjxl --enable-libopenjpeg --enable-libvpx --enable-mediafoundation --enable-libass --enable-frei0r --enable-libfreetype --enable-libfribidi --enable-libharfbuzz --enable-liblensfun --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-dxva2 --enable-d3d11va --enable-libvpl --enable-libshaderc --enable-vulkan --enable-libplacebo --enable-opencl --enable-libcdio --enable-libgme --enable-libmodplug --enable-libopenmpt --enable-libopencore-amrwb --enable-libmp3lame --enable-libshine --enable-libtheora --enable-libtwolame --enable-libvo-amrwbenc --enable-libcodec2 --enable-libilbc --enable-libgsm --enable-libopencore-amrnb --enable-libopus --enable-libspeex --enable-libvorbis --enable-ladspa --enable-libbs2b --enable-libflite --enable-libmysofa --enable-librubberband --enable-libsoxr --enable-chromaprint&#xA;  libavutil      58. 36.100 / 58. 36.100&#xA;  libavcodec     60. 36.100 / 60. 36.100&#xA;  libavformat    60. 20.100 / 60. 20.100&#xA;  libavdevice    60.  4.100 / 60.  4.100&#xA;  libavfilter     9. 14.100 /  9. 14.100&#xA;  libswscale      7.  6.100 /  7.  6.100&#xA;  libswresample   4. 13.100 /  4. 13.100&#xA;  libpostproc    57.  4.100 / 57.  4.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\speaker_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41isom&#xA;    creation_time   : 2019-04-25T14:59:21.000000Z&#xA;  Duration: 02:19:25.93, start: 0.000000, bitrate: 25178 kb/s&#xA;  Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 24998 kb/s, 29.97 fps, 29.97 tbr, 29970 tbn (default)&#xA;      Metadata:&#xA;        creation_time   : 2019-04-25T14:59:21.000000Z&#xA;        handler_name    : VideoHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;        encoder         : AVC Coding&#xA;  Stream #0:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;      Metadata:&#xA;        creation_time   : 2019-04-25T14:59:21.000000Z&#xA;        handler_name    : SoundHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;Input #1, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\speaker_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41isom&#xA;    creation_time   : 2019-04-25T14:59:21.000000Z&#xA;  Duration: 02:19:25.93, start: 0.000000, bitrate: 25178 kb/s&#xA;  Stream #1:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 24998 kb/s, 29.97 fps, 29.97 tbr, 29970 tbn (default)&#xA;      Metadata:&#xA;        creation_time   : 2019-04-25T14:59:21.000000Z&#xA;        handler_name    : VideoHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;        encoder         : AVC Coding&#xA;  Stream #1:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;      Metadata:&#xA;        creation_time   : 2019-04-25T14:59:21.000000Z&#xA;        handler_name    : SoundHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;Input #2, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\speaker_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41isom&#xA;    creation_time   : 2019-04-25T14:59:21.000000Z&#xA;  Duration: 02:19:25.93, start: 0.000000, bitrate: 25178 kb/s&#xA;  Stream #2:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 24998 kb/s, 29.97 fps, 29.97 tbr, 29970 tbn (default)&#xA;      Metadata:&#xA;        creation_time   : 2019-04-25T14:59:21.000000Z&#xA;        handler_name    : VideoHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;        encoder         : AVC Coding&#xA;  Stream #2:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;      Metadata:&#xA;        creation_time   : 2019-04-25T14:59:21.000000Z&#xA;        handler_name    : SoundHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;Input #3, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\speaker_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41isom&#xA;    creation_time   : 2019-04-25T14:59:21.000000Z&#xA;  Duration: 02:19:25.93, start: 0.000000, bitrate: 25178 kb/s&#xA;  Stream #3:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 24998 kb/s, 29.97 fps, 29.97 tbr, 29970 tbn (default)&#xA;      Metadata:&#xA;        creation_time   : 2019-04-25T14:59:21.000000Z&#xA;        handler_name    : VideoHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;        encoder         : AVC Coding&#xA;  Stream #3:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;      Metadata:&#xA;        creation_time   : 2019-04-25T14:59:21.000000Z&#xA;        handler_name    : SoundHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;Input #4, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\slides_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;  Duration: 02:19:26.17, start: 0.000000, bitrate: 1288 kb/s&#xA;  Stream #4:0[0x1](und): Video: h264 (High 4:4:4 Predictive) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 1104 kb/s, 29.97 fps, 29.97 tbr, 11988 tbn (default)&#xA;      Metadata:&#xA;        handler_name    : VideoHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;  Stream #4:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;      Metadata:&#xA;        handler_name    : SoundHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;Input #5, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\slides_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;  Duration: 02:19:26.17, start: 0.000000, bitrate: 1288 kb/s&#xA;  Stream #5:0[0x1](und): Video: h264 (High 4:4:4 Predictive) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 1104 kb/s, 29.97 fps, 29.97 tbr, 11988 tbn (default)&#xA;      Metadata:&#xA;        handler_name    : VideoHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;  Stream #5:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;      Metadata:&#xA;        handler_name    : SoundHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;Input #6, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\slides_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;  Duration: 02:19:26.17, start: 0.000000, bitrate: 1288 kb/s&#xA;  Stream #6:0[0x1](und): Video: h264 (High 4:4:4 Predictive) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 1104 kb/s, 29.97 fps, 29.97 tbr, 11988 tbn (default)&#xA;      Metadata:&#xA;        handler_name    : VideoHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;  Stream #6:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;      Metadata:&#xA;        handler_name    : SoundHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;Input #7, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\slides_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;  Duration: 02:19:26.17, start: 0.000000, bitrate: 1288 kb/s&#xA;  Stream #7:0[0x1](und): Video: h264 (High 4:4:4 Predictive) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 1104 kb/s, 29.97 fps, 29.97 tbr, 11988 tbn (default)&#xA;      Metadata:&#xA;        handler_name    : VideoHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;  Stream #7:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;      Metadata:&#xA;        handler_name    : SoundHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; concat&#xA;  Stream #0:1 (aac) -&amp;gt; concat&#xA;  Stream #1:0 (h264) -&amp;gt; concat&#xA;  Stream #1:1 (aac) -&amp;gt; concat&#xA;  Stream #2:0 (h264) -&amp;gt; concat&#xA;  Stream #2:1 (aac) -&amp;gt; concat&#xA;  Stream #3:0 (h264) -&amp;gt; concat&#xA;  Stream #3:1 (aac) -&amp;gt; concat&#xA;  Stream #4:0 (h264) -&amp;gt; concat&#xA;  Stream #5:0 (h264) -&amp;gt; concat&#xA;  Stream #6:0 (h264) -&amp;gt; concat&#xA;  Stream #7:0 (h264) -&amp;gt; concat&#xA;  scale:default -&amp;gt; Stream #0:0 (libx264)&#xA;  concat -&amp;gt; Stream #0:1 (aac)&#xA;Press [q] to stop, [?] for help&#xA;[libx264 @ 000001e18c448080] using SAR=1/1&#xA;[libx264 @ 000001e18c448080] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 000001e18c448080] profile High, level 3.2, 4:2:0, 8-bit&#xA;[libx264 @ 000001e18c448080] 264 - core 164 r3172 c1c9931 - H.264/MPEG-4 AVC codec - Copyleft 2003-2023 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=24.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'C:\output.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41isom&#xA;    encoder         : Lavf60.20.100&#xA;  Stream #0:0: Video: h264 (avc1 / 0x31637661), yuv420p(tv, progressive), 960x1080 [SAR 1:1 DAR 8:9], q=2-31, 29.97 fps, 11988 tbn&#xA;      Metadata:&#xA;        encoder         : Lavc60.36.100 libx264&#xA;      Side data:&#xA;        cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: N/A&#xA;  Stream #0:1: Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 96 kb/s&#xA;      Metadata:&#xA;        encoder         : Lavc60.36.100 aac&#xA;[mp4 @ 000001e1fc0fbf40] Starting second pass: moving the moov atom to the beginning of the file0 speed=2.35x&#xA;[out#0/mp4 @ 000001e1fdcc1c80] video:2169kB audio:662kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 2.081158%&#xA;frame= 1606 fps= 72 q=-1.0 Lsize=    2891kB time=00:00:53.52 bitrate= 442.4kbits/s dup=0 drop=1600 speed=2.39x&#xA;[libx264 @ 000001e18c448080] frame I:7     Avg QP:18.49  size: 42064&#xA;[libx264 @ 000001e18c448080] frame P:405   Avg QP:18.76  size:  2688&#xA;[libx264 @ 000001e18c448080] frame B:1194  Avg QP:25.40  size:   702&#xA;[libx264 @ 000001e18c448080] consecutive B-frames:  0.9%  0.0%  0.0% 99.1%&#xA;[libx264 @ 000001e18c448080] mb I  I16..4: 28.8% 51.3% 19.9%&#xA;[libx264 @ 000001e18c448080] mb P  I16..4:  0.7%  0.9%  0.2%  P16..4: 11.5%  1.8%  1.3%  0.0%  0.0%    skip:83.6%&#xA;[libx264 @ 000001e18c448080] mb B  I16..4:  0.0%  0.0%  0.0%  B16..8: 11.9%  0.3%  0.0%  direct: 0.1%  skip:87.7%  L0:42.2% L1:57.0% BI: 0.8%&#xA;[libx264 @ 000001e18c448080] 8x8 transform intra:50.8% inter:87.8%&#xA;[libx264 @ 000001e18c448080] coded y,uvDC,uvAC intra: 31.4% 50.0% 22.6% inter: 1.2% 2.1% 0.1%&#xA;[libx264 @ 000001e18c448080] i16 v,h,dc,p: 60% 24%  6% 10%&#xA;[libx264 @ 000001e18c448080] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 23% 16% 47%  3%  2%  3%  2%  2%  3%&#xA;[libx264 @ 000001e18c448080] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 49% 21% 11%  3%  3%  4%  3%  3%  3%&#xA;[libx264 @ 000001e18c448080] i8c dc,h,v,p: 55% 21% 22%  2%&#xA;[libx264 @ 000001e18c448080] Weighted P-Frames: Y:1.2% UV:0.7%&#xA;[libx264 @ 000001e18c448080] ref P L0: 67.3% 10.8% 15.8%  6.0%  0.2%&#xA;[libx264 @ 000001e18c448080] ref B L0: 88.1% 10.0%  1.9%&#xA;[libx264 @ 000001e18c448080] ref B L1: 95.9%  4.1%&#xA;[libx264 @ 000001e18c448080] kb/s:331.54&#xA;[aac @ 000001e18c44b480] Qavg: 302.654&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 2022-03-07-git-e645a1ddb9-full_build-www.gyan.dev Copyright (c) 2000-2022 the FFmpeg developers&#xA;  built with gcc 11.2.0 (Rev7, Built by MSYS2 project)&#xA;  configuration: --enable-gpl --enable-version3 --enable-static --disable-w32threads --disable-autodetect --enable-fontconfig --enable-iconv --enable-gnutls --enable-libxml2 --enable-gmp --enable-bzlib --enable-lzma --enable-libsnappy --enable-zlib --enable-librist --enable-libsrt --enable-libssh --enable-libzmq --enable-avisynth --enable-libbluray --enable-libcaca --enable-sdl2 --enable-libdav1d --enable-libdavs2 --enable-libuavs3d --enable-libzvbi --enable-librav1e --enable-libsvtav1 --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs2 --enable-libxvid --enable-libaom --enable-libopenjpeg --enable-libvpx --enable-mediafoundation --enable-libass --enable-frei0r --enable-libfreetype --enable-libfribidi --enable-libvidstab --enable-libvmaf --enable-libzimg --enable-amf --enable-cuda-llvm --enable-cuvid --enable-ffnvcodec --enable-nvdec --enable-nvenc --enable-d3d11va --enable-dxva2 --enable-libmfx --enable-libshaderc --enable-vulkan --enable-libplacebo --enable-opencl --enable-libcdio --enable-libgme --enable-libmodplug --enable-libopenmpt --enable-libopencore-amrwb --enable-libmp3lame --enable-libshine --enable-libtheora --enable-libtwolame --enable-libvo-amrwbenc --enable-libilbc --enable-libgsm --enable-libopencore-amrnb --enable-libopus --enable-libspeex --enable-libvorbis --enable-ladspa --enable-libbs2b --enable-libflite --enable-libmysofa --enable-librubberband --enable-libsoxr --enable-chromaprint&#xA;  libavutil      57. 22.100 / 57. 22.100&#xA;  libavcodec     59. 22.100 / 59. 22.100&#xA;  libavformat    59. 17.103 / 59. 17.103&#xA;  libavdevice    59.  5.100 / 59.  5.100&#xA;  libavfilter     8. 27.100 /  8. 27.100&#xA;  libswscale      6.  5.100 /  6.  5.100&#xA;  libswresample   4.  4.100 /  4.  4.100&#xA;  libpostproc    56.  4.100 / 56.  4.100&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\speaker_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41isom&#xA;    creation_time   : 2019-04-25T14:59:21.000000Z&#xA;  Duration: 02:19:25.93, start: 0.000000, bitrate: 25178 kb/s&#xA;  Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 24998 kb/s, 29.97 fps, 29.97 tbr, 29970 tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-04-25T14:59:21.000000Z&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : AVC Coding&#xA;  Stream #0:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-04-25T14:59:21.000000Z&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;Input #1, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\speaker_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41isom&#xA;    creation_time   : 2019-04-25T14:59:21.000000Z&#xA;  Duration: 02:19:25.93, start: 0.000000, bitrate: 25178 kb/s&#xA;  Stream #1:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 24998 kb/s, 29.97 fps, 29.97 tbr, 29970 tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-04-25T14:59:21.000000Z&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : AVC Coding&#xA;  Stream #1:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-04-25T14:59:21.000000Z&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;Input #2, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\speaker_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41isom&#xA;    creation_time   : 2019-04-25T14:59:21.000000Z&#xA;  Duration: 02:19:25.93, start: 0.000000, bitrate: 25178 kb/s&#xA;  Stream #2:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 24998 kb/s, 29.97 fps, 29.97 tbr, 29970 tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-04-25T14:59:21.000000Z&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : AVC Coding&#xA;  Stream #2:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-04-25T14:59:21.000000Z&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;Input #3, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\speaker_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41isom&#xA;    creation_time   : 2019-04-25T14:59:21.000000Z&#xA;  Duration: 02:19:25.93, start: 0.000000, bitrate: 25178 kb/s&#xA;  Stream #3:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 24998 kb/s, 29.97 fps, 29.97 tbr, 29970 tbn (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-04-25T14:59:21.000000Z&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : AVC Coding&#xA;  Stream #3:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;    Metadata:&#xA;      creation_time   : 2019-04-25T14:59:21.000000Z&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;Input #4, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\slides_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;  Duration: 02:19:26.17, start: 0.000000, bitrate: 1288 kb/s&#xA;  Stream #4:0[0x1](und): Video: h264 (High 4:4:4 Predictive) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 1104 kb/s, 29.97 fps, 29.97 tbr, 11988 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #4:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;Input #5, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\slides_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;  Duration: 02:19:26.17, start: 0.000000, bitrate: 1288 kb/s&#xA;  Stream #5:0[0x1](und): Video: h264 (High 4:4:4 Predictive) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 1104 kb/s, 29.97 fps, 29.97 tbr, 11988 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #5:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;Input #6, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\slides_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;  Duration: 02:19:26.17, start: 0.000000, bitrate: 1288 kb/s&#xA;  Stream #6:0[0x1](und): Video: h264 (High 4:4:4 Predictive) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 1104 kb/s, 29.97 fps, 29.97 tbr, 11988 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #6:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;Input #7, mov,mp4,m4a,3gp,3g2,mj2, from 'C:\slides_2019-04-25_09-59-21.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf58.27.103&#xA;  Duration: 02:19:26.17, start: 0.000000, bitrate: 1288 kb/s&#xA;  Stream #7:0[0x1](und): Video: h264 (High 4:4:4 Predictive) (avc1 / 0x31637661), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 1104 kb/s, 29.97 fps, 29.97 tbr, 11988 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #7:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 176 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;Stream mapping:&#xA;  Stream #0:0 (h264) -&amp;gt; concat&#xA;  Stream #0:1 (aac) -&amp;gt; concat&#xA;  Stream #1:0 (h264) -&amp;gt; concat&#xA;  Stream #1:1 (aac) -&amp;gt; concat&#xA;  Stream #2:0 (h264) -&amp;gt; concat&#xA;  Stream #2:1 (aac) -&amp;gt; concat&#xA;  Stream #3:0 (h264) -&amp;gt; concat&#xA;  Stream #3:1 (aac) -&amp;gt; concat&#xA;  Stream #4:0 (h264) -&amp;gt; concat&#xA;  Stream #5:0 (h264) -&amp;gt; concat&#xA;  Stream #6:0 (h264) -&amp;gt; concat&#xA;  Stream #7:0 (h264) -&amp;gt; concat&#xA;  scale:default -&amp;gt; Stream #0:0 (libx264)&#xA;  concat -&amp;gt; Stream #0:1 (aac)&#xA;Press [q] to stop, [?] for help&#xA;[libx264 @ 0000020f9a3fba80] using SAR=1/1&#xA;[libx264 @ 0000020f9a3fba80] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264 @ 0000020f9a3fba80] profile High, level 3.2, 4:2:0, 8-bit&#xA;[libx264 @ 0000020f9a3fba80] 264 - core 164 r3094 bfc87b7 - H.264/MPEG-4 AVC codec - Copyleft 2003-2022 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 lookahead_threads=2 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=24.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xA;Output #0, mp4, to 'C:\output.mp4':&#xA;  Metadata:&#xA;    major_brand     : mp42&#xA;    minor_version   : 0&#xA;    compatible_brands: mp41isom&#xA;    encoder         : Lavf59.17.103&#xA;  Stream #0:0: Video: h264 (avc1 / 0x31637661), yuv420p(tv, progressive), 960x1080 [SAR 1:1 DAR 8:9], q=2-31, 29.97 fps, 11988 tbn&#xA;    Metadata:&#xA;      encoder         : Lavc59.22.100 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: N/A&#xA;  Stream #0:1: Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, mono, fltp, 96 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc59.22.100 aac&#xA;[mp4 @ 0000020f9ab7bf80] Starting second pass: moving the moov atom to the beginning of the file18 speed=2.38x&#xA;frame=29338 fps= 71 q=-1.0 Lsize=   46001kB time=00:16:18.81 bitrate= 385.0kbits/s dup=0 drop=29329 speed=2.38x&#xA;video:33194kB audio:11755kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 2.342363%&#xA;[libx264 @ 0000020f9a3fba80] frame I:120   Avg QP:17.97  size: 69944&#xA;[libx264 @ 0000020f9a3fba80] frame P:7394  Avg QP:20.84  size:  2127&#xA;[libx264 @ 0000020f9a3fba80] frame B:21824 Avg QP:25.37  size:   452&#xA;[libx264 @ 0000020f9a3fba80] consecutive B-frames:  0.8%  0.0%  0.1% 99.1%&#xA;[libx264 @ 0000020f9a3fba80] mb I  I16..4: 31.7% 41.9% 26.5%&#xA;[libx264 @ 0000020f9a3fba80] mb P  I16..4:  0.3%  0.5%  0.1%  P16..4:  8.4%  1.7%  1.1%  0.0%  0.0%    skip:87.9%&#xA;[libx264 @ 0000020f9a3fba80] mb B  I16..4:  0.0%  0.0%  0.0%  B16..8:  8.5%  0.1%  0.0%  direct: 0.0%  skip:91.3%  L0:41.5% L1:57.9% BI: 0.6%&#xA;[libx264 @ 0000020f9a3fba80] 8x8 transform intra:48.0% inter:82.4%&#xA;[libx264 @ 0000020f9a3fba80] coded y,uvDC,uvAC intra: 35.5% 55.7% 32.7% inter: 0.7% 1.2% 0.1%&#xA;[libx264 @ 0000020f9a3fba80] i16 v,h,dc,p: 67% 16%  8%  9%&#xA;[libx264 @ 0000020f9a3fba80] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 17% 15% 47%  4%  3%  4%  3%  3%  4%&#xA;[libx264 @ 0000020f9a3fba80] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 44% 20% 11%  4%  4%  5%  4%  4%  4%&#xA;[libx264 @ 0000020f9a3fba80] i8c dc,h,v,p: 58% 19% 20%  4%&#xA;[libx264 @ 0000020f9a3fba80] Weighted P-Frames: Y:0.7% UV:0.3%&#xA;[libx264 @ 0000020f9a3fba80] ref P L0: 66.7% 11.1% 16.0%  6.0%  0.2%&#xA;[libx264 @ 0000020f9a3fba80] ref B L0: 87.5% 10.6%  1.9%&#xA;[libx264 @ 0000020f9a3fba80] ref B L1: 96.4%  3.6%&#xA;[libx264 @ 0000020f9a3fba80] kb/s:277.78&#xA;[aac @ 0000020f9a3fca40] Qavg: 2402.612&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="3643" LastActivityDate="2023-12-22T19:22:31.063" Title="New ffmpeg build will not concat, gives no error message" Tags="|ffmpeg|filter|bug|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37088" PostTypeId="1" CreationDate="2023-12-22T20:08:13.160" Score="0" ViewCount="22" Body="&lt;p&gt;I'm working on a feature for a project that aims to replicate the interactive video timeline preview functionality similar to what you see on YouTube. The idea is to display a preview thumbnail as the user hovers over different parts of the video timeline.&lt;/p&gt;&#xA;&lt;p&gt;e.g : &lt;a href=&quot;https://i.stack.imgur.com/bb53G.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/bb53G.png&quot; alt=&quot;Thumbnail preview on hover timeline&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;To achieve this, I'm using FFmpeg to extract keyframes from a video and compile them into a mosaic. While I've successfully created a basic mosaic of these keyframes, I'm encountering challenges in optimizing the layout to minimize empty space and ensure all keyframes are included. My current FFmpeg command is as follows:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -skip_frame nokey -i input2.mp4 -vf &amp;quot;scale=112:63, tile=NxM&amp;quot; mosaic.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This command often results in a mosaic with unnecessary black thumbnails (empty spaces) due to the pre-set grid size.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;My specific goals are:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;To determine the optimal number of rows and columns for the mosaic based on the total number of extracted keyframes, aiming for a YouTube-like preview where the mosaic fits the keyframes closely.&lt;/li&gt;&#xA;&lt;li&gt;To adjust the FFmpeg command to create a mosaic with these optimized dimensions.&lt;/li&gt;&#xA;&lt;li&gt;To calculate the coordinates of each thumbnail in the mosaic based on the mouse hover timing over the timeline, for accurate preview display.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I'm also wondering if there might be a more efficient or effective approach to achieve this functionality, beyond the method I'm currently using.&lt;/p&gt;&#xA;&lt;p&gt;I would greatly appreciate any advice, suggestions, or insights on the best layout calculation for the thumbnails, or on any alternative methods that could be more suitable for this kind of feature.&lt;/p&gt;&#xA;&lt;p&gt;Thank you in advance for your help!&lt;/p&gt;&#xA;" OwnerUserId="43239" LastEditorUserId="43239" LastEditDate="2023-12-22T20:31:44.817" LastActivityDate="2023-12-22T20:31:44.817" Title="Seeking Efficient Method for Keyframe Thumbnail Mosaic for Interactive Video Timeline Preview (Similar to YouTube)" Tags="|ffmpeg|video-editor|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37089" PostTypeId="1" CreationDate="2023-12-23T08:16:28.273" Score="1" ViewCount="75" Body="&lt;p&gt;Given a video with anamorphic pixel aspect ratio (see the screenshot from &lt;code&gt;HandBrake&lt;/code&gt;).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SrFj6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SrFj6.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;What I need is to stretch the images stored in the video stream (in other words, to convert the video to &lt;code&gt;1:1&lt;/code&gt; pixel aspect ratio). So, the converted video should have the following parameters:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;- Storage Size: 758x540&#xA;- Display Size: 758x540&#xA;- Pixel Aspect: 1:1&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The only way that currently I can think up is to export the images, scale them by means of a bash utility like &lt;code&gt;convert&lt;/code&gt;, and assemble them back into a video.&lt;/p&gt;&#xA;&lt;p&gt;Are there any simpler ways to do that?&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Notes:&lt;/strong&gt; I'm currently using &lt;code&gt;HandBrake&lt;/code&gt;, &lt;code&gt;MKVToolNix GUI&lt;/code&gt;, and &lt;code&gt;Kdenlive&lt;/code&gt; on &lt;code&gt;Ubuntu&lt;/code&gt; OS. Any other software recommendations are welcome.&lt;/p&gt;&#xA;" OwnerUserId="42369" LastActivityDate="2023-12-23T16:19:20.963" Title="Convert Anamorphic Pixels to Square Ones and Preserve Displayed Image Size" Tags="|video-editor|video-quality|non-square-pixels|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37090" PostTypeId="2" ParentId="37089" CreationDate="2023-12-23T08:36:17.430" Score="1" Body="&lt;p&gt;I think I've found the solution. In &lt;code&gt;HandBrake&lt;/code&gt;, set &lt;code&gt;Anamorphic&lt;/code&gt; to &lt;code&gt;None&lt;/code&gt;, tick &lt;code&gt;Allow Upscaling&lt;/code&gt;, and change &lt;code&gt;Scaled Size&lt;/code&gt;. Unticking &lt;code&gt;Automatic&lt;/code&gt; may also be needed. If so, playing with the first value in &lt;code&gt;Display Size&lt;/code&gt; and second value in &lt;code&gt;Scaled Size&lt;/code&gt; may be required.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/KIxBD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/KIxBD.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="42369" LastEditorUserId="42369" LastEditDate="2023-12-23T16:19:20.963" LastActivityDate="2023-12-23T16:19:20.963" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37091" PostTypeId="2" ParentId="32601" CreationDate="2023-12-23T22:02:19.437" Score="0" Body="&lt;p&gt;Try this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vf &amp;quot;crop=960:1080&amp;quot; out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43254" LastEditorUserId="14523" LastEditDate="2023-12-24T21:06:15.810" LastActivityDate="2023-12-24T21:06:15.810" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37092" PostTypeId="1" CreationDate="2023-12-24T06:03:59.853" Score="0" ViewCount="37" Body="&lt;p&gt;I use the below command to detect the black screen in the video, but it can't output the time field with detected. May I know does have any command can let ffmpeg output the time format with &amp;quot;mm:ss:sss&amp;quot; in the detected?&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;inputfile.mkv&amp;quot; -vf &amp;quot;blackdetect=d=2:pix_th=0.00&amp;quot; -an -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[blackdetect @ 0000024d543c41c0] black_start:876.009 black_end:878.011 black_duration:2.002&#xA;[blackdetect @ 0000024d543c41c0] black_start:893.026 black_end:895.028 black_duration:2.002&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43256" LastActivityDate="2023-12-24T06:03:59.853" Title="ffmpeg output the time(mm:ss) with scan the black screen in the vdeo file" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37094" PostTypeId="2" ParentId="37084" CreationDate="2023-12-24T23:22:46.947" Score="1" Body="&lt;p&gt;Frames are fractions of a second, thus:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;frameduration = 1 / framerate&#xA;framecomponent = totalframes % framerate&#xA;millisecondscomponent = framecomponent * frameduration * 1000&#xA;// finally&#xA;millisecondscomponent = ((totalframes % framerate) * 1000 ) / framerate&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;In your example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;millisecondscomponent = ((30 % 12) * 1000 ) / 12 = 500 ms&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="41669" LastActivityDate="2023-12-24T23:22:46.947" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37095" PostTypeId="2" ParentId="29941" CreationDate="2023-12-25T16:34:53.530" Score="2" Body="&lt;p&gt;4:3 25 fps interlaced rectangular pixel 720x576 PAL .dv to 50 fps progressive 768x576 square pixel H.265 .mp4 (bob deinterlace, scale 788x576, crop 768x576, H.265, CRF18, slow, timecode, hvc1, AAC):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.dv -vf bwdif=1,scale=788:576,crop=768:576:10:0,setsar=sar=1/1 -c:v libx265 -crf 18 -preset slow -timecode 00:00:00:00 -tag:v hvc1 -c:a aac -b:a 128k output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The same as a batch:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for i in *.dv; do ffmpeg -i &amp;quot;$i&amp;quot; -vf bwdif=1,scale=788:576,crop=768:576:10:0,setsar=sar=1/1 -c:v libx265 -crf 18 -preset slow -timecode 00:00:00:00 -tag:v hvc1 -c:a aac -b:a 128k &amp;quot;${i%.*}_converted.mp4&amp;quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;That is slightly too good quality for most input so you might do it somewhat faster with '-crf 28 -preset medium' defaults. But some of my source material needed that.&lt;/p&gt;&#xA;&lt;p&gt;Essentially the same for 4:3 NTSC .dv:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.dv -vf bwdif=1,scale=648:480,crop=640:480:4:0,setsar=sar=1/1 -c:v libx265 -crf 18 -preset slow -timecode '00:00:00;00' -tag:v hvc1 -c:a aac -b:a 128k output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;pre&gt;&lt;code&gt;for i in *.dv; do ffmpeg -i &amp;quot;$i&amp;quot; -vf bwdif=1,scale=648:480,crop=640:480:4:0,setsar=sar=1/1 -c:v libx265 -crf 18 -preset slow -timecode '00:00:00;00' -tag:v hvc1 -c:a aac -b:a 128k &amp;quot;${i%.*}_converted.mp4&amp;quot;; done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Matti&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="43022" LastEditorUserId="14523" LastEditDate="2023-12-26T18:43:07.117" LastActivityDate="2023-12-26T18:43:07.117" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37096" PostTypeId="1" CreationDate="2023-12-26T22:51:19.073" Score="0" ViewCount="18" Body="&lt;p&gt;I have a square screen amv format video player which is 1 inch by 1 inch.&#xA;I would like to rescale videos that have different aspect ratios to fit the screen. I am using ffmpeg.&lt;/p&gt;&#xA;&lt;p&gt;My goal is to have the best quality video possible. I need to downscale all videos to a square screen about 256x256 resolution. Right now, widescreen videos are so squished that the quality is bad and I can't read any text.&lt;/p&gt;&#xA;&lt;p&gt;I don't mind cropping some of the sides of the video so that the quality is better.&lt;/p&gt;&#xA;&lt;p&gt;Please give me some ideas on how to use the ffmpeg scale filter to downscale videos to fit a square screen with the best possible quality.&lt;/p&gt;&#xA;&lt;p&gt;Here is my current command:&lt;/p&gt;&#xA;&lt;p&gt;-c:v amv -c:a adpcm_ima_amv -pix_fmt yuvj420p -vf &amp;quot;scale=296:256:force_original_aspect_ratio=decreas e,crop=256:in_h:20:0&amp;quot; -vstrict -1 -r 25 -ac 1 -ar 22050 -block_size 882&lt;/p&gt;&#xA;&lt;p&gt;This works well and it crops some of the side of the widescreen videos, but I think it can be better.&lt;/p&gt;&#xA;&lt;p&gt;Thanks!!&lt;/p&gt;&#xA;" OwnerUserId="42034" LastActivityDate="2023-12-26T22:51:19.073" Title="Rescale videos to square screen" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37098" PostTypeId="1" AcceptedAnswerId="37099" CreationDate="2023-12-27T14:25:33.537" Score="0" ViewCount="89" Body="&lt;p&gt;I am partially downloading a video file, sequentially.&lt;/p&gt;&#xA;&lt;p&gt;What I've managed to achieve is for FFmpeg to encode the file as it is being downloaded if the download is faster than encoding. I cannot guarantee that the download will always be faster than encoding.&lt;/p&gt;&#xA;&lt;p&gt;When download becomes slower than encoding I get this error, and ffmpeg exists:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[matroska,webm @ 0x1248040d0] File ended prematurely&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What I am hoping to achieve is for FFmpeg to wait/hang until new bits are added to the input file, and continue with encoding when it has enough of bits for a new segment until file is complete.&lt;/p&gt;&#xA;&lt;p&gt;I am using this command to generate hls stream:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    ffmpeg -y \&#xA;        -i ./appdata/input/Sintel.mkv \&#xA;        -preset fast \&#xA;        -c:a aac \&#xA;        -b:a 192k \&#xA;        -ac 2 \&#xA;        -c:v libx264 \&#xA;        -b:v 1024k \&#xA;        -profile:v high \&#xA;        -level 4.1 \&#xA;        -crf 34 \&#xA;        -pix_fmt yuv420p \&#xA;        -threads 0 \&#xA;        -f hls \&#xA;        -hls_list_size 0 \&#xA;        -hls_time 10 \&#xA;        -hls_playlist_type event \&#xA;        -hls_flags independent_segments+append_list \&#xA;        -master_pl_name &amp;quot;livestream.m3u8&amp;quot; \&#xA;        ./appdata/test/livestream-%v.m3u8&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Can FFmpeg monitor and process the input as new bits are added to the input file?&lt;/p&gt;&#xA;&lt;p&gt;Best solution I got so far was is to use segments and segments list from this answer:&#xA;&lt;a href=&quot;https://video.stackexchange.com/questions/32297/resuming-a-partially-completed-encode-with-ffmpeg&quot;&gt;Resuming a partially-completed encode with FFmpeg&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;And couple it with some programming to keep retrying in the loop until the input file is complete, however, that feels like a bad solution that I would love to avoid.&lt;/p&gt;&#xA;" OwnerUserId="35075" LastActivityDate="2023-12-28T05:24:05.393" Title="FFMPEG encoding partial file and monitoring input for addition" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37099" PostTypeId="2" ParentId="37098" CreationDate="2023-12-28T04:43:15.790" Score="2" Body="&lt;p&gt;Add &lt;code&gt;-follow 1&lt;/code&gt; before the input i.e.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y \&#xA;    -rw_timeout 30M -follow 1 -i ./appdata/input/Sintel.mkv \&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Note that the option belongs to the file protocol. It won't apply to other protocols, and ability to wait for further data depends on whether the other protocol allows it.&lt;/p&gt;&#xA;&lt;p&gt;The option &lt;code&gt;-rw_timeout&lt;/code&gt; is needed to terminate the file read. If no updates have occurred in that interval, ffmpeg will treat it as EOF. Its value is in microseconds i.e. &lt;code&gt;1M&lt;/code&gt; = 1 million microseconds = 1 second.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastEditorUserId="1871" LastEditDate="2023-12-28T05:24:05.393" LastActivityDate="2023-12-28T05:24:05.393" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37100" PostTypeId="1" AcceptedAnswerId="37270" CreationDate="2023-12-28T19:37:04.540" Score="2" ViewCount="108" Body="&lt;p&gt;Quite a while back, I used a now-discontinued 360-degree camera called the YI 360 camera to record some videos.&lt;/p&gt;&#xA;&lt;p&gt;The software that came with the camera is no longer available, and to my knowledge, it didn't work very well anyway.&lt;/p&gt;&#xA;&lt;p&gt;I need to find a way, using FFmpeg's v360 filter, to convert this footage into an equirectangular format.&lt;/p&gt;&#xA;&lt;p&gt;Since I am not very well versed in FFmpeg's filter usage, there are a couple of challenges.&lt;/p&gt;&#xA;&lt;p&gt;Firstly, the video is split into two 220-degree (not 180, at least according to the camera's website) fisheye views that overlap slightly.&lt;/p&gt;&#xA;&lt;p&gt;Secondly, the camera itself is visible within the overlapping region, which must be removed.&lt;/p&gt;&#xA;&lt;p&gt;How can I use FFmpeg to accomplish the equirectangular projection I want?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/O3JR0.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/O3JR0.jpg&quot; alt=&quot;220 degree fisheye vr video recorded with yi 360 camera&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="39052" LastActivityDate="2024-03-01T13:50:05.660" Title="how do i use ffmpeg to stitch 220-degree fisheyes into a 360 equirectangular video?" Tags="|ffmpeg|360video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37101" PostTypeId="1" CreationDate="2023-12-28T20:11:49.833" Score="1" ViewCount="10" Body="&lt;p&gt;I have used Davinci in Windows but I'm new on mac. So I would like to learn how to display sound bus, layer visualization bigger. I've tried to show which I meant in attached image.&lt;/p&gt;&#xA;&lt;p&gt;Thanks.&lt;a href=&quot;https://i.stack.imgur.com/qm3EX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qm3EX.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43279" LastActivityDate="2023-12-28T20:26:15.373" Title="How to make sound layers visible on right side of screen in Davinci Resolve" Tags="|video|editing|davinci-resolve|software|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37102" PostTypeId="2" ParentId="37101" CreationDate="2023-12-28T20:26:00.433" Score="2" Body="&lt;p&gt;Well, I have found it. For anyone who struggles like me, you have to click &amp;quot;Mixer&amp;quot; button on top right corner&#xA;&lt;a href=&quot;https://i.stack.imgur.com/jAvxR.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/jAvxR.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43279" LastEditorUserId="43279" LastEditDate="2023-12-28T20:26:15.373" LastActivityDate="2023-12-28T20:26:15.373" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37103" PostTypeId="1" AcceptedAnswerId="37111" CreationDate="2023-12-29T04:47:15.183" Score="0" ViewCount="159" Body="&lt;p&gt;I created an FFMpeg script to rotate &lt;code&gt;-90&lt;/code&gt; some videos that I record on my Sony A7iii, with the camera vertically, this makes these videos display correctly.&lt;/p&gt;&#xA;&lt;p&gt;the script is this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v copy -metadata:s:v:0 rotate=-90 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The issue is that for some reason all the output files are having variations of &lt;code&gt;2 frames&lt;/code&gt;, which causes me problems when I use these files as Proxy videos in Premiere Pro.&lt;/p&gt;&#xA;&lt;p&gt;For example, if the original file has a &lt;code&gt;Media Duration&lt;/code&gt; (in Premiere Pro) of &lt;code&gt;00:00:32:12&lt;/code&gt;, the output file for some reason will have a &lt;code&gt;Media Duration&lt;/code&gt; of &lt;code&gt;00:00:32:10&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;The files were written in &lt;code&gt;XAVC 4K&lt;/code&gt; with &lt;code&gt;23,976 fps&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I fix this problem?&lt;/p&gt;&#xA;&lt;p&gt;I've already tried adding &lt;code&gt;-r 23.976&lt;/code&gt; to the code to force the frame rate, but that didn't help either.&lt;/p&gt;&#xA;&lt;p&gt;The crucial point here is to rotate the video without re-encoding the file, for this reason, I took the approach of changing only the metadata, keeping the video stream untouched, re-encoding will cause a significant time penalty in my workflow.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;EDIT&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I did a test by completely copying the audio and video streams from my original file, the command line looked like this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i C2526.MP4 -c:v copy -c:a copy -metadata:s:v:0 rotate=-90 C2526-test.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I know that the &lt;code&gt;.mov&lt;/code&gt; output would not return a valid file, since no conversion is being done, but it is necessary because &lt;code&gt;ffmpeg&lt;/code&gt; does not accept copying the &lt;code&gt;PCM&lt;/code&gt; stream from the camera file to the &lt;code&gt;.mp4&lt;/code&gt; container, so after generating it I rename it the extension to &lt;code&gt;.mp4&lt;/code&gt; for the file to be valid.&lt;/p&gt;&#xA;&lt;p&gt;See that this command doesn't change anything other than the video rotation metadata, everything stays exactly the same, and even so the &lt;code&gt;Media Duration&lt;/code&gt; has a variation of 2 frames...&lt;/p&gt;&#xA;" OwnerUserId="43281" LastEditorUserId="43281" LastEditDate="2023-12-29T14:50:03.383" LastActivityDate="2024-01-01T14:35:28.543" Title="Rotate video without re-encoding - problems" Tags="|ffmpeg|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37105" PostTypeId="1" CreationDate="2023-12-30T10:46:08.403" Score="1" ViewCount="28" Body="&lt;p&gt;I'm setting up live streaming using three overlaid inputs in ffmpeg. O:v is a webcam directly connected to the streaming box (a headless linux box) while 2:v and 3:v are ultra-low latency UDP streams from two remote R-Pis.&lt;/p&gt;&#xA;&lt;p&gt;The filter_complex argument I'm using (that works, with all three video inputs perfectly in sync) is [0:v] fifo [v1];[2:v] fifo [v2]; [3:v] fifo [v3];[v1]setpts=PTS-STARTPTS[sync1];[v2]setpts=PTS-STARTPTS[sync2]; &lt;strong&gt;[v3] setpts=PTS-STARTPTS+5/TB [sync3]&lt;/strong&gt; ;[sync1][sync2] overlay=x=W-w:y=H-h [out1];[out1][sync3] overlay=x=0:y=H-h [vfinal]&lt;/p&gt;&#xA;&lt;p&gt;What I don't understand is why I am having to add +5/TB to [sync3] via setpts (in bold above)? If I omit that, [3:v] is synced in to the stream noticeably ahead of the other two inputs. My best guess is that this may be to compensate for the processing time of the first overlay [sync1][sync2] which is introducing extra latency into that part of the stream.&lt;/p&gt;&#xA;&lt;p&gt;Importantly - the value of the extra pts compensation has to be dialed in by hand and will be specific to the underlying hardware used. So the question is, is there a way of getting ffmpeg to calculate this automatically so I don't have to worry about keeping it dialed in, in production?&lt;/p&gt;&#xA;&lt;p&gt;Thanks for reading! I'm at the limit of the ffmpeg docs here...&lt;/p&gt;&#xA;" OwnerUserId="43289" LastEditorUserId="43289" LastEditDate="2023-12-30T10:46:47.297" LastActivityDate="2023-12-30T10:46:47.297" Title="ffmpeg filter_complex multiple overlays - why are they not syncing properly" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37106" PostTypeId="1" CreationDate="2023-12-30T16:01:10.370" Score="1" ViewCount="28" Body="&lt;p&gt;I'm having a few mp4 with two audio tracks,&#xA;an english one in aac and a french one in dts.&lt;/p&gt;&#xA;&lt;p&gt;Now I want to &lt;strong&gt;convert &lt;em&gt;only&lt;/em&gt; the french dts to eac3&lt;/strong&gt; with a single ffmpeg command.&lt;/p&gt;&#xA;&lt;p&gt;I use&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hide_banner -i input.mp4 ^&#xA;             -map_metadata -1 ^&#xA;             -map 0:0 -c:v copy ^&#xA;             -map 0:1 -c:a copy ^&#xA;             -map 0:2 -c:a eac3 -b:a 1536k ^&#xA;             -metadata:s:a:0 language=eng ^&#xA;             -metadata:s:a:0 title=&amp;quot;Stereo&amp;quot; ^&#xA;             -metadata:s:a:1 language=fra ^&#xA;             -metadata:s:a:1 title=&amp;quot;Stereo&amp;quot; ^&#xA;output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;This works quite nice, &lt;strong&gt;but it converts both audio tracks&lt;/strong&gt; to eac3, instead of leaving the first one untouched ...&#xA;What's wrong in the command?&lt;/p&gt;&#xA;&lt;p&gt;(ffmpeg version 2023-12-23-git-f5f414d9c4-full_build-www.gyan.dev under Windows 10)&lt;/p&gt;&#xA;" OwnerUserId="43292" LastActivityDate="2023-12-30T16:01:10.370" Title="ffmpeg - converting one audio track of a multi-track mp4" Tags="|ffmpeg|audio|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37109" PostTypeId="1" CreationDate="2023-12-31T19:47:33.710" Score="1" ViewCount="17" Body="&lt;p&gt;Is it possible to combine multiple scripts into one in ffmpeg?&lt;/p&gt;&#xA;&lt;p&gt;What I am trying to do is create one master script that changes commands based on the aspect ratio of the input video.&lt;/p&gt;&#xA;&lt;p&gt;For example, if the input video is closest to a 16:9 aspect ratio, ffmpeg will automatically convert the video using script &amp;quot;A&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;If the input video is closest to a 4:3 aspect ratio, ffmpeg will automatically convert the video using script &amp;quot;B&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;Finally, if the input video has a strange aspect ratio, (for example, cell phone videos) ffmpeg will automatically convert the video using script &amp;quot;C&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;I am new to ffmpeg and do not understand much. If possible, will you please give a script that I can simply copy and paste into ffmpeg?&lt;/p&gt;&#xA;&lt;p&gt;I already have scripts A, B, and C ready.&lt;/p&gt;&#xA;&lt;p&gt;Also, as a side question, can you command ffmpeg to delete the original input video after successfully converting it?&lt;/p&gt;&#xA;&lt;p&gt;Thanks everyone&lt;/p&gt;&#xA;" OwnerUserId="42034" LastActivityDate="2023-12-31T19:47:33.710" Title="Can you make if/then scripts in ffmpeg?" Tags="|ffmpeg|script|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37110" PostTypeId="1" CreationDate="2023-12-31T20:18:17.727" Score="1" ViewCount="22" Body="&lt;p&gt;I'm trying to create a new timeline from a Mark In and Mark Out segment.  I have the I/O set, I right click in the bin and select &lt;code&gt;New Timline&lt;/code&gt; and `Use Selected Mark In/Out.  You can see  the settings in the snip below.  I have two minutes marked out of a 1 hour timeline.&lt;/p&gt;&#xA;&lt;p&gt;FYI, I also removed the errant cut you see in the timeline.  That didn't resolve anything.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/lR5XD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/lR5XD.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;When I click &lt;code&gt;Create&lt;/code&gt; it copies the whole 1 hour timeline.  I must be missing something really simple?&lt;/p&gt;&#xA;" OwnerUserId="43298" LastActivityDate="2023-12-31T20:18:17.727" Title="Can't Create New Timeline from IN/OUT" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37111" PostTypeId="2" ParentId="37103" CreationDate="2024-01-01T14:14:40.647" Score="1" Body="&lt;p&gt;Losslessly rotate QuickTime mov, mp4 or m4v 90° clockwise (270 CW is the same as -90 CCW. macOS Quick Look can also do the same):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;exiftool -m -P -overwrite_original -api LargeFileSupport=1 -rotation=90 movie.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43022" LastEditorUserId="43022" LastEditDate="2024-01-01T14:35:28.543" LastActivityDate="2024-01-01T14:35:28.543" CommentCount="8" ContentLicense="CC BY-SA 4.0" />
  <row Id="37112" PostTypeId="2" ParentId="14529" CreationDate="2024-01-02T00:08:58.547" Score="1" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;I'm looking for recommendations for software to get all that done more&#xA;quickly / easily than the manual process I used.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;If you're willing to experiment with beta software from a noob programmer (and solder some boards too) there's my DIY open source low cost (43 USD) timecode generator and its companion application that corrects  drift between devices in post: &lt;a href=&quot;https://tictacsync.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;TicTacSync&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Eh, you could even participate to the project... that'd be great! For starter, I lack the IT skills to wrap up an installer script  (for windows, linux and mac).&lt;/p&gt;&#xA;" OwnerUserId="33814" LastEditorUserId="33814" LastEditDate="2024-01-02T01:20:25.380" LastActivityDate="2024-01-02T01:20:25.380" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37113" PostTypeId="1" CreationDate="2024-01-02T22:13:57.470" Score="1" ViewCount="68" Body="&lt;p&gt;I created an &lt;code&gt;ffmpeg&lt;/code&gt; script to rotate -90 some videos that I record on my Sony A7iii, with the camera vertically, this makes these videos display correctly.&lt;/p&gt;&#xA;&lt;p&gt;the script is this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -c:v copy -metadata:s:v:0 rotate=-90 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The issue is that for some reason all the output files are having variations of 2 frames, which causes me problems when I use these files as &lt;code&gt;Proxy&lt;/code&gt; in Premiere Pro.&lt;/p&gt;&#xA;&lt;p&gt;For example, if the original file has a &lt;code&gt;Media Duration&lt;/code&gt; (in Premiere Pro) of &lt;code&gt;00:00:32:12&lt;/code&gt;, the output file for some reason will have a &lt;code&gt;Media Duration&lt;/code&gt; of &lt;code&gt;00:00:32:10&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Another very curious point is that the file generated by &lt;code&gt;ffmpeg&lt;/code&gt; always has a size variation, whereas the file generated by ExifTool has no variation at all...&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;ExifTool&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Using this &lt;code&gt;ExifTool&lt;/code&gt; command I can do the same conversion and I don't have this frame shifting problem:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;exiftool -m -P -overwrite_original -api LargeFileSupport=1 -rotation=90 movie.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But I would still like to be able to get the proper result using &lt;code&gt;ffmpeg&lt;/code&gt;, because doing the work through &lt;code&gt;ffmpeg&lt;/code&gt; would make my workflow easier.&lt;/p&gt;&#xA;&lt;p&gt;Any idea why the problem is occurring?&lt;/p&gt;&#xA;&lt;h3&gt;Edit&lt;/h3&gt;&#xA;&lt;p&gt;I still haven't managed to get it to work through FFMPEG, does anyone have any ideas?&lt;/p&gt;&#xA;" OwnerUserId="43281" LastEditorUserId="43281" LastEditDate="2024-01-18T00:17:44.853" LastActivityDate="2024-01-18T00:17:44.853" Title="Rotate Video Metadata - ffmpeg vs ExifTool" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37114" PostTypeId="1" CreationDate="2024-01-03T19:30:55.970" Score="0" ViewCount="11" Body="&lt;p&gt;I have Xiaomi smartphone with Android operating system in it. Whenever I record something using the front camera, even if just for a few seconds, the recorded video file size comes out to be very large as compared to the duration of the video. I say this because I have previously downloaded YouTube videos and movies of 1080p and Blu ray quality. Even for videos/movies of such high quality with long durations of a few hours take just 2-3 Gigabytes. However, in my phone, just a few minutes random video (made using 108 mega pixels front camera) can take nearly upto a Gigabyte. This makes making and storing videos difficult. I know many YouTubers make higher quality videos of longer duration and still those videos have very low file size compared to mine. Please suggest how do I record good quality videos and still have reduced file size.&lt;/p&gt;&#xA;&lt;p&gt;Should I buy a new hardware or install any recording app to help myself?&lt;/p&gt;&#xA;" OwnerUserId="43320" LastActivityDate="2024-01-03T19:30:55.970" Title="How to have manageable video size while recording using Android smartphones?" Tags="|video-recording|digital-recording|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37115" PostTypeId="1" CreationDate="2024-01-03T20:17:01.977" Score="0" ViewCount="36" Body="&lt;p&gt;I'm using FFMPEG to take an RTMP stream and output it to a Decklink device.  Here's the command I'm using:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i rtmp://192.168.1.4:1935:/publish/internal -async 1 -r 60 -b:a 320k -aspect 16:9 -vf &amp;quot;scale=1920:-1:flags=bicubic&amp;quot; -f decklink -vcodec v210 &amp;quot;DeckLink Mini Monitor HD&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Occasionally (also randomly) the output will get what I can best describe as &amp;quot;crunchy&amp;quot; audio.  I see this error in the ffmpeg output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Jan 02 22:47:36 kiri bash[505081]: [decklink @ 0x5653d27e0f00] There's no buffered audio. Audio will misbehave!&#xA;Jan 02 22:47:36 kiri bash[505081]: [decklink @ 0x5653d27e0f00] There are not enough buffered video frames. Video may misbehave!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I suspect this is due to a hiccup from the device sending the RTMP stream or the RTMP server, but I'd like to find a way to have ffmpeg handle this situation.  I was hoping that the &lt;code&gt;-async 1&lt;/code&gt; flag would tell ffmpeg to speed up or slow down the audio to catch up to the video, but I still ran into issues doing this.&lt;/p&gt;&#xA;&lt;p&gt;The full ffmpeg output is here:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, flv, from 'rtmp://192.168.1.4:1935:/publish/internal':&#xA;  Metadata:&#xA;    |RtmpSampleAccess: true&#xA;    Server          : NGINX RTMP (github.com/arut/nginx-rtmp-module)&#xA;    displayWidth    : 1920&#xA;    displayHeight   : 1080&#xA;    fps             : 60&#xA;    profile         :&#xA;    level           :&#xA;  Duration: 00:00:00.00, start: 6.508000, bitrate: N/A&#xA;  Stream #0:0: Video: h264, yuv420p(tv, bt709, progressive), 1920x1080 [SAR 1:1 DAR 16:9], 8192 kb/s, 60 fps, 60 tbr, 1k tbn&#xA;  Stream #0:1: Audio: aac, 48000 Hz, stereo, fltp, 327 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; v210 (native))&#xA;  Stream #0:1 -&amp;gt; #0:1 (aac (native) -&amp;gt; pcm_s16le (native))&#xA;Press [q] to stop, [?] for help&#xA;[decklink @ 0x563c7fb34440] Found Decklink mode 1920 x 1080 with rate 60.00&#xA;Output #0, decklink, to 'DeckLink Mini Monitor HD':&#xA;  Metadata:&#xA;    |RtmpSampleAccess: true&#xA;    Server          : NGINX RTMP (github.com/arut/nginx-rtmp-module)&#xA;    displayWidth    : 1920&#xA;    displayHeight   : 1080&#xA;    fps             : 60&#xA;    profile         :&#xA;    level           :&#xA;    encoder         : Lavf59.27.100&#xA;  Stream #0:0: Video: v210, yuv422p(tv, bt709, progressive), 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 2654208 kb/s, 60 fps, 60 tbn&#xA;    Metadata:&#xA;      encoder         : Lavc59.37.100 v210&#xA;  Stream #0:1: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc59.37.100 pcm_s16le&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Anybody have any ideas of what I can change with my command to better address this?&lt;/p&gt;&#xA;" OwnerUserId="43321" LastActivityDate="2024-01-03T20:17:01.977" Title="RTMP to decklink output using FFMPEG results in eventual &quot;crunchy&quot; audio" Tags="|ffmpeg|blackmagic|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37116" PostTypeId="2" ParentId="37076" CreationDate="2024-01-04T09:03:26.007" Score="0" Body="&lt;p&gt;The reason for this is most likely that there is a single Box precomposed in its own comp. This comp is likely used in all the other comps, which is why every comp changes when changing the box at one place.&lt;/p&gt;&#xA;&lt;p&gt;This is often the case in After-Effects presets or animation-packs, so that you can preview each comp with your footage without having to place it into each and every comp.&lt;/p&gt;&#xA;&lt;p&gt;To circumvent that, locate the composition that contains the box. Press TAB and you will all the compositions in which this box-comp is used. Most likely, it will show many/all comps. Now copy the box (the layer, not the comp), go up one into the comp you want to render, delete the comp containing the box and paste the layer. It will now be separated since its outside the precomp.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2024-01-04T09:03:26.007" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37117" PostTypeId="2" ParentId="36871" CreationDate="2024-01-04T09:12:14.937" Score="1" Body="&lt;p&gt;There's many ways to achieve this effect. I will try to propose a flexible one:&lt;/p&gt;&#xA;&lt;p&gt;Create a new circular shape layer and choose your first color. Open the scale and add keyframes scaling the layer from 1% to 1000%. Choose the distance between your keyframes to set the speed.&lt;/p&gt;&#xA;&lt;p&gt;Next, duplicate that layer and choose your next color. Repeat this for as many colors as you like (your example used six). If you now offset each layer a little bit by shifting it to the right (so that it starts later), starting from the lowest layer going up, you will see that the circles overlap and form these colorful circles. The more you shift the layers to the right, the thicker the rings will be.&lt;/p&gt;&#xA;&lt;p&gt;Now, select all layers and pre-compose them. Duplicate your precomp twice and shift it to the right so that the animation continues. Timing this offset right will result in a loopable animation. Try to find two frames that look the same, set them as your IN and OUT and render the sequence. This should result in a loopable sequence.&lt;/p&gt;&#xA;" OwnerUserId="24627" LastActivityDate="2024-01-04T09:12:14.937" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37118" PostTypeId="1" CreationDate="2024-01-07T05:34:01.333" Score="0" ViewCount="21" Body="&lt;p&gt;I am trying to record a rtsp stream with ffmpeg, segmented by certain amount of time, and name the file with the start time. I used strftime to expand the output filename with timestamp, but I wonder if there is an option that can expand the filename with rtp timestamp instead of local time.&lt;/p&gt;&#xA;&lt;p&gt;Below is my current ffmpeg command&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg -y -i url -f segment -segment_time 60 -segment_format mp4&#xA;-segment_atclocktime 1 -strftime 1  -acodec copy -vcodec copy ./%Y/%m/%d/%H/record_%Y-%m-%d-%H-%M-%S.mp4&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="43349" LastActivityDate="2024-01-07T05:34:01.333" Title="How to achieve something like strftime but with rtp frame timstamp" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37119" PostTypeId="1" CreationDate="2024-01-07T13:56:43.453" Score="0" ViewCount="12" Body="&lt;p&gt;I'm going to shoot a real estate type of video of a local fashion/beauty salon (well, not a typical real estate video, I just need to showcase the studio which only has 2-3 rooms, that's it). The problem is, I have just inspected the place and to my surprise, it is full of mirrors, both the &lt;a href=&quot;https://drive.google.com/drive/folders/15GCDpIxGX2HhGe3j_QVdCaqLcjE6g-fH?usp=drive_link&quot; rel=&quot;nofollow noreferrer&quot;&gt;ground floor&lt;/a&gt; and the &lt;a href=&quot;https://drive.google.com/drive/folders/13jMQ18_zWKe1J4RchNJsX0MoqbZpXQZU?usp=drive_link&quot; rel=&quot;nofollow noreferrer&quot;&gt;first floor&lt;/a&gt;. This latter one is especially tricky, because, as you can see, a little pathway leads up to the room. Now generally, the way I would shoot a real estate video, is that in case of each room I would want to walk through the doorstep (as a foreground) to give a feeling of actually entering that room, as if I was touring the house myself (as in &lt;a href=&quot;https://vimeo.com/130903115&quot; rel=&quot;nofollow noreferrer&quot;&gt;here&lt;/a&gt;, for example). In my case however, it seems to be impossible without me showing up in the big mirror(s) in front. It's not like I can squat and problem solved, because I'll show up no matter what.&lt;/p&gt;&#xA;&lt;p&gt;Question: how would you approach this problem professionally?&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Should I just try to shoot everything from the mirrors' direction, from the mirrors' point of view and thus potentially skipping any &amp;quot;walk through the doorway&amp;quot; kind of shots?&lt;/li&gt;&#xA;&lt;li&gt;Or, should I still force these walk through the doorway shots and then somehow try to remove myself from the image in post production (using After Effects I believe)? Or this latter would overcomplicate the issue a ton?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I tried to research the problem and I have only found to relevant posts. &lt;a href=&quot;https://video.stackexchange.com/questions/21379/filming-in-a-house-of-mirrors&quot;&gt;This first one&lt;/a&gt; mainly focuses on big budget Hollywood solutions (which is obviously not the situation in my case), this &lt;a href=&quot;https://video.stackexchange.com/questions/24705/how-can-i-remove-an-object-from-a-shot&quot;&gt;second one&lt;/a&gt; suggests that the problem could be tackled in After Effects by applying so called &lt;em&gt;clean plates&lt;/em&gt;?&lt;/p&gt;&#xA;&lt;p&gt;Any ideas or insights are highly appreciated.&lt;/p&gt;&#xA;" OwnerUserId="43350" LastActivityDate="2024-01-07T13:56:43.453" Title="Removing myself from mirror" Tags="|video|after-effects|camera|filming|mask|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37120" PostTypeId="1" CreationDate="2024-01-08T10:33:56.963" Score="0" ViewCount="2" Body="&lt;p&gt;Can someone please help. I am new to Cinema 4d Lite and After Effects, when I am looking to colour tint in After effects its pulling the artwork through all white so I can't change the colour and render it out.&lt;/p&gt;&#xA;&lt;p&gt;Any ideas of what I am doing wrong?&lt;/p&gt;&#xA;&lt;p&gt;Thanks&#xA;Sam&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/JIbE1.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/JIbE1.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/5L9LY.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5L9LY.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43359" LastActivityDate="2024-01-08T10:33:56.963" Title="Cinema 4d lite to After Effects pulling through white" Tags="|after-effects|3d|cinema4d|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37122" PostTypeId="1" CreationDate="2024-01-09T11:15:36.220" Score="1" ViewCount="67" Body="&lt;p&gt;i notice that ffmpeg often provides four different scan modes (for example with &lt;code&gt;-field_order&lt;/code&gt;) : top field first ; bottom field first ; top coded first, bottom displayed first ; and bottom coded first, top displayed first.   the first two (tff, bff) i'm familiar with.   does anyone know definitively what the other two are?   i'd assume that they might refer to the way the video is stored within the container ; perhaps the top field is stored first in the stream, but nevertheless the decoder should display it &lt;em&gt;after&lt;/em&gt; reading the following field in the stream ?   although frankly i'm not sure, and i've found exactly &lt;em&gt;zero&lt;/em&gt; information on this.   does anyone know ?&lt;/p&gt;&#xA;" OwnerUserId="42806" LastActivityDate="2024-01-09T11:15:36.220" Title="&quot;top coded first&quot;?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37123" PostTypeId="1" CreationDate="2024-01-09T23:22:44.133" Score="0" ViewCount="16" Body="&lt;p&gt;so we're working on our end-of-school project and it's an FPV-Drone with an Analogue Camera on it. Plan is to send the video feed to a Raspberry Pi running an RTMP-Server from where a Phone-Application can view the live Video of the camera.&lt;/p&gt;&#xA;&lt;p&gt;To convert this analogue Data from the camera we use a USB2.0 Grabber (this one).&lt;/p&gt;&#xA;&lt;p&gt;To create the RTMP Stream from the converted USB-Input we use FFMPEG with the following command:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;fmpeg -f v4l2 -input_format yuyv422 -i /dev/video0 -c:v libx264 -crf 20 -preset ultrafast -b:v 2000k -fflags nobuffer -rtmp_live live -f flv rtmp://192.168.8.107:554/live/stream&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;It works fine, but the main problems at the moment are:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the video is in Black and White&#xA;&lt;a href=&quot;https://i.stack.imgur.com/iEonJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;B&amp;amp;W Image Stream&lt;/a&gt;&lt;/li&gt;&#xA;&lt;li&gt;the stream has a delay of 10-20s depending on the network&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;When I'm using the official Software provided by the Reseller I had the same problem, but as soon as it set PAL/BDGHI in the Settings the colour was shown correctly:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/3Ss99.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Settings and Color Image in official software&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;the video is in Black and White&lt;/p&gt;&#xA;&lt;p&gt;Does anyone know what settings there are to correctly decode the feed from the Camera and send the video with the colour over RTMP? I don't know if this is the right place to ask this question, but I'm running out of ideas and every single decoder I have tried apart from the ones I'm currently using does not work.&lt;/p&gt;&#xA;&lt;p&gt;Any help is greatly appreciated :)&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Nevermind someone on Reddit found the problem:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.reddit.com/r/ffmpeg/comments/18or1xt/fpv_camera_input_in_black_and_white_help/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://www.reddit.com/r/ffmpeg/comments/18or1xt/fpv_camera_input_in_black_and_white_help/&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43376" LastEditorUserId="43376" LastEditDate="2024-01-14T10:44:41.397" LastActivityDate="2024-01-14T18:08:49.153" Title="FPV-Camera Input in Black and White / losses Color on conversion with FFMPEG" Tags="|ffmpeg|streaming|video-capture|linux|rtmp|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37125" PostTypeId="1" AcceptedAnswerId="37128" CreationDate="2024-01-10T11:13:37.320" Score="0" ViewCount="50" Body="&lt;p&gt;Is there any way to overlay vertical (eg, Japanese) text using the &lt;code&gt;ffmpeg&lt;/code&gt; drawtext filter?&lt;/p&gt;&#xA;&lt;p&gt;I've searched around but didn't find anything.  &lt;a href=&quot;https://www.ffmpeg.org/ffmpeg-all.html#drawtext-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;The documentation&lt;/a&gt; makes reference to the &lt;code&gt;ft_load_flags= vertical_layout&lt;/code&gt; as a parameter to &lt;code&gt;libfreetype&lt;/code&gt; but searching further came up with nothing.&lt;/p&gt;&#xA;&lt;p&gt;Something like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NJlTU.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NJlTU.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="12757" LastActivityDate="2024-01-11T06:32:08.253" Title="Vertical text with drawtext filter" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37126" PostTypeId="1" CreationDate="2024-01-10T16:31:41.107" Score="0" ViewCount="11" Body="&lt;p&gt;How can I add several audio tracks with different translations to a series, as film sites do in some series with 10 translations, where can I find them?&lt;/p&gt;&#xA;" OwnerUserId="43380" LastActivityDate="2024-01-10T16:31:41.107" Title="Where to find alternative audio tracks for TV series" Tags="|video|audio|video-quality|filming|video-player|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37127" PostTypeId="1" CreationDate="2024-01-10T23:51:04.613" Score="0" ViewCount="18" Body="&lt;p&gt;As Premiere allows to integrate third party plug-ins I wonder if there is an integration of free filters used in ffmpeg / libavfilter?&lt;/p&gt;&#xA;" OwnerUserId="43383" LastActivityDate="2024-01-10T23:51:04.613" Title="Integration of FFMPEG filters into Adobe Premiere?" Tags="|ffmpeg|premiere|adobe|filter|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37128" PostTypeId="2" ParentId="37125" CreationDate="2024-01-11T06:32:08.253" Score="0" Body="&lt;p&gt;drawtext using textfile&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;echo &amp;quot;こ&#xA;れ&#xA;は&#xA;蹤&#xA;型&#xA;で&#xA;す&#xA;。&amp;quot; &amp;gt; test.txt&#xA;&#xA;ffmpeg -i &amp;quot;input.mp4&amp;quot; -vf &amp;quot;&#xA;drawtext=textfile=test.txt:&#xA;fontcolor=white:&#xA;font='Noto Serif CJK JP':&#xA;fontsize=h/12:&#xA;x=w-text_w-20:&#xA;y=(h-text_h)/2&#xA;&amp;quot; -c:a copy -t 5 output.mp4 -y&#xA;ffplay output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40740" LastActivityDate="2024-01-11T06:32:08.253" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37129" PostTypeId="1" CreationDate="2024-01-11T13:21:27.270" Score="0" ViewCount="21" Body="&lt;p&gt;I am transcoding a couple of blu-ray videos using Handbrake (v1.2.2). I play the resulting MKV containers mainly using Video LAN Client (VLC).&lt;/p&gt;&#xA;&lt;p&gt;Often a blu-ray has several audiotracks that are basically identical in content, but different encoding. Since I'm transcoding all audio to AAC, all but one appear redundant to me, and I'd like to get rid of them. Doing so, however, severely reduces volume of the remaining tracks, in the order of magnitude of 10 to 12db! I'd like to understand this behaviour.&lt;/p&gt;&#xA;&lt;p&gt;For instance there are four tracks in two languages, each language in DTS and DTS-HD MA. If I keep all tracks (transcoding them to AAC), the play-back volume is preserved. If in Handbrake (under the Audio/Track List section) I delete any one of the four tracks (&amp;quot;delete&amp;quot; meaning exempt from transcoding), the transcode result plays back with each of the remaining three audio tracks with reduced volume. Since this appears to be global, I thought maybe a global replay gain tag was reset. But checking the MKV container with MKVToolNix I cannot find any replay gain tag, neither global, nor track-specific, in the result of any of the experiments. If I do include all tracks, however, such that the full volume is retained, I can afterwards use MKVToolNix to remove (re-multiplex) the undesired audio without affecting volume - a slightly laborious workaround, but I really would like to understand what's going on.&lt;/p&gt;&#xA;&lt;p&gt;The Handbrake settings for the AAC are the default (Bitrate 192kb/s, 5.1ch, sample rate as in source, extra gain and DRC off. Interestingly, I found the extra gain setting, when using it, does not effect the volume.&lt;/p&gt;&#xA;&lt;p&gt;Edit:&#xA;I found the behaviour to be not as consistent as I thought, in fact, I've come to believe that I found a bug. Apparently, leaving the extra gain off (it is displayed as 0dB), does not leave the volume untouched, but in fact applies a more or less random gain (apparently triggered by deleting audio tracks), as can be confirmed in the activity log. Activating the extra gain, and explicitly setting it to 0dB makes Handbrake behave as expected.&lt;/p&gt;&#xA;&lt;p&gt;Since StackExchange is not a place for bug reports, I wonder if I should delete this question? Please advise.&lt;/p&gt;&#xA;" OwnerUserId="43389" LastEditorUserId="43389" LastEditDate="2024-01-11T16:26:08.333" LastActivityDate="2024-01-11T16:26:08.333" Title="Why does removing an audio track in Handbrake reduce volume?" Tags="|audio|mkv|handbrake|volume|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37130" PostTypeId="2" ParentId="30298" CreationDate="2024-01-11T14:40:00.643" Score="0" Body="&lt;p&gt;I too have met this problem and am scratching my head.&#xA;But I found one solution, once converted to h.265 and then to h.264, it worked.&lt;/p&gt;&#xA;" OwnerUserId="43392" LastActivityDate="2024-01-11T14:40:00.643" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37131" PostTypeId="1" CreationDate="2024-01-11T18:07:38.027" Score="0" ViewCount="66" Body="&lt;p&gt;Given media that contains a video stream that includes Dolby Vision as one of the HDR metadata, how does one transcode the media and maintain the video stream as is (including the Dolby Vision and any other HDR metadata)?&lt;/p&gt;&#xA;&lt;p&gt;Sample media &lt;code&gt;mediainfo&lt;/code&gt; excerpt:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Video&#xA;ID                                       : 1&#xA;Format                                   : HEVC&#xA;Format/Info                              : High Efficiency Video Coding&#xA;Format profile                           : Main 10@L5@High&#xA;HDR format                               : Dolby Vision, Version 1.0, dvhe.08.06, BL+RPU, HDR10 compatible / SMPTE ST 2094 App 4, Version 1, HDR10+ Profile B compatible&#xA;Codec ID                                 : V_MPEGH/ISO/HEVC&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;-c:v:0 copy&lt;/code&gt; drops the Dolby Vision metadata from this and retains only the latter HDR metadata.&lt;/p&gt;&#xA;" OwnerUserId="43395" LastActivityDate="2024-01-11T18:07:38.027" Title="ffmpeg pass through video including Dolby Video" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37132" PostTypeId="1" CreationDate="2024-01-11T18:13:52.757" Score="0" ViewCount="90" Body="&lt;p&gt;I need to use a dslr as a webcam on my laptop, windows 11. The dslr that I have is a nikon d3200.&lt;/p&gt;&#xA;&lt;p&gt;I then want to use the camera on OBS Studio when I am live streaming.&lt;/p&gt;&#xA;&lt;p&gt;What are the different ways for me to do so?&lt;/p&gt;&#xA;&lt;p&gt;I tried with digicamcontrol. I connected via the usb port on the camera and the usb on the laptop. But when I used hdmi I couldn't find the camera on my laptop.&lt;/p&gt;&#xA;" OwnerUserId="43394" LastActivityDate="2024-01-11T18:13:52.757" Title="Need to connect a Nikon D3200 to a windows laptop and use it as webcam" Tags="|dslr|obs|studio|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37133" PostTypeId="1" AcceptedAnswerId="37136" CreationDate="2024-01-12T09:27:20.877" Score="1" ViewCount="143" Body="&lt;p&gt;I managed to create the subtitle file, using different language with one single FFMPEG command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -loglevel &amp;quot;repeat+info&amp;quot; &#xA;-i &amp;quot;file:Intervista.mp4&amp;quot; &#xA;-i &amp;quot;file:Intervista_fr.srt&amp;quot; &#xA;-i &amp;quot;file:Intervista_en.srt&amp;quot; &#xA;-i &amp;quot;file:Intervista_it.srt&amp;quot; &#xA;-c copy &#xA;-map 0 -dn -map &amp;quot;-0:s&amp;quot; -map &amp;quot;-0:d&amp;quot;  &#xA;-map &amp;quot;1:0&amp;quot; &amp;quot;-metadata:s:s:0&amp;quot; &amp;quot;language=FR&amp;quot; &amp;quot;-metadata:s:s:0&amp;quot; &amp;quot;handler_name=French&amp;quot;  &amp;quot;-metadata:s:s:0&amp;quot; &amp;quot;title=French&amp;quot; &#xA;-map &amp;quot;2:0&amp;quot; &amp;quot;-metadata:s:s:1&amp;quot; &amp;quot;language=ENG&amp;quot; &amp;quot;-metadata:s:s:1&amp;quot; &amp;quot;handler_name=English&amp;quot; &amp;quot;-metadata:s:s:1&amp;quot; &amp;quot;title=English&amp;quot; &#xA;-map &amp;quot;3:0&amp;quot; &amp;quot;-metadata:s:s:2&amp;quot; &amp;quot;language=ITA&amp;quot; &amp;quot;-metadata:s:s:2&amp;quot; &amp;quot;handler_name=Italiano&amp;quot;  &amp;quot;-metadata:s:s:2&amp;quot; &amp;quot;title=Italiano&amp;quot; &#xA;&amp;quot;file:output.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;For some reason, the default subtitles shown when I start the video is English, which is the one in the middle. How do I set the default subtitle file to Italian?&lt;/p&gt;&#xA;" OwnerUserId="43401" LastActivityDate="2024-01-12T12:31:33.963" Title="Setting the default subtitles" Tags="|ffmpeg|audio|encoding|subtitles|.srt|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37136" PostTypeId="2" ParentId="37133" CreationDate="2024-01-12T12:31:33.963" Score="2" Body="&lt;p&gt;Add &lt;code&gt;-disposition&lt;/code&gt; &lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Main-options&quot; rel=&quot;nofollow noreferrer&quot;&gt;option&lt;/a&gt; :&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;-disposition:s:0 0 -disposition:s:1 0&lt;/code&gt; to clear the disposition for first and second subtitles (fr and eng).&lt;/p&gt;&#xA;" OwnerUserId="37160" LastActivityDate="2024-01-12T12:31:33.963" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37139" PostTypeId="2" ParentId="34091" CreationDate="2024-01-13T18:18:00.960" Score="1" Body="&lt;p&gt;I've got same problem yesterday. Solution is first convert them separately to mp4 files and merge audio.mp4 and video.mp4 into one file afterwards.&lt;/p&gt;&#xA;" OwnerUserId="43421" LastActivityDate="2024-01-13T18:18:00.960" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37140" PostTypeId="1" CreationDate="2024-01-14T00:22:38.933" Score="0" ViewCount="27" Body="&lt;p&gt;I'm trying to help my father who digitizes various video and audio tape formats.&#xA;It appears that occasionally digitization hard- and software does not receive enough information from a frame and the output result turns out to be a solid blue frame.&lt;/p&gt;&#xA;&lt;p&gt;I'm a complete newbie in this type of thing but I found out FFMPEG might help me. I want to write a command that takes input .mp4 video, detects frames with a certain hex color and removes them from the output video (frames should be completely ignored/skipped/trimmed, audio must be synced as well).&lt;/p&gt;&#xA;&lt;p&gt;I've tried using free ChatGPT (I know, I know..) but no luck so far.&#xA;I'm not a power user by any means.&lt;/p&gt;&#xA;&lt;p&gt;Help please!&lt;/p&gt;&#xA;" OwnerUserId="43424" LastEditorUserId="43424" LastEditDate="2024-01-14T00:25:53.903" LastActivityDate="2024-01-14T00:25:53.903" Title="FFMPEG: Remove entirely blue frames from a video" Tags="|ffmpeg|editing|color|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37141" PostTypeId="1" CreationDate="2024-01-14T17:07:38.900" Score="0" ViewCount="8" Body="&lt;p&gt;I have &lt;a href=&quot;https://youtu.be/A77ft4eGXhA&quot; rel=&quot;nofollow noreferrer&quot;&gt;made a video&lt;/a&gt; where i pan evenly across vertical surface (white door edge) and i can notice rolling shutter happening, how do i calculate exactly the amount of rolling shutter or camera shutter speed based on this video footage?&lt;/p&gt;&#xA;&lt;p&gt;So far i can tell whole movement from edge to edge of the sensor took 1second video made at 50fps so about 1000ms/50ms = 20ms movement speed between frames.&lt;/p&gt;&#xA;&lt;p&gt;But how do i get shutter speed out of this?&lt;/p&gt;&#xA;" OwnerUserId="43428" LastActivityDate="2024-01-14T17:07:38.900" Title="Calculate rolling shutter or shutter speed based on video footage?" Tags="|shutter|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37143" PostTypeId="1" CreationDate="2024-01-15T16:38:26.667" Score="1" ViewCount="177" Body="&lt;p&gt;I'm doing some nvidia GPU hevc transcoding to get stuff done at faster speeds. Most of the ~2000 titles that I'm transcoding work fine, but a handful are failing like&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Impossible to convert between the formats supported by the filter 'Parsed_hwupload_cuda_3' and the filter 'auto_scale_0'&#xA;[vf#0:0 @ 0x55b72ac9a3c0] Error reinitializing filters!&#xA;Failed to inject frame into filter network: Function not implemented&#xA;Error while filtering: Function not implemented&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm aware of the need to &lt;code&gt;hwdownload&lt;/code&gt; and &lt;code&gt;hwupload&lt;/code&gt; during a filtering pipeline, but when I remove all video filters from the command, it instead says&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Impossible to convert between the formats supported by the filter 'Parsed_null_0' and the filter 'auto_scale_0'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here are a couple of examples of commands producing the errors. With filters and an error mentioning &lt;code&gt;Parsed_hwupload_cuda_3&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;quot;ffmpeg&amp;quot; &amp;quot;-hwaccel&amp;quot; &amp;quot;cuda&amp;quot; &amp;quot;-hwaccel_output_format&amp;quot; &amp;quot;cuda&amp;quot; &amp;quot;-hide_banner&amp;quot; &amp;quot;-y&amp;quot; &amp;quot;-i&amp;quot; \&#xA;    &amp;quot;in.mkv&amp;quot; &amp;quot;-max_muxing_queue_size&amp;quot; &amp;quot;1024&amp;quot; &amp;quot;-map&amp;quot; &amp;quot;0&amp;quot; &amp;quot;-c&amp;quot; &amp;quot;copy&amp;quot; &amp;quot;-filter:v:0&amp;quot; \&#xA;    &amp;quot;hwdownload,format=nv12,crop=1456:1080:232:0,hwupload_cuda&amp;quot; &amp;quot;-c:0&amp;quot; &amp;quot;hevc_nvenc&amp;quot; \&#xA;    &amp;quot;-f&amp;quot; &amp;quot;matroska&amp;quot; &amp;quot;out.mkv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and without filters and the error mentioning &lt;code&gt;Parsed_null_0&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;quot;ffmpeg&amp;quot; &amp;quot;-hwaccel&amp;quot; &amp;quot;cuda&amp;quot; &amp;quot;-hwaccel_output_format&amp;quot; &amp;quot;cuda&amp;quot; &amp;quot;-hide_banner&amp;quot; &amp;quot;-y&amp;quot; &amp;quot;-i&amp;quot; \&#xA;    &amp;quot;in.mkv&amp;quot; &amp;quot;-max_muxing_queue_size&amp;quot; &amp;quot;1024&amp;quot; &amp;quot;-map&amp;quot; &amp;quot;0&amp;quot; &amp;quot;-c&amp;quot; &amp;quot;copy&amp;quot; &amp;quot;-c:0&amp;quot; &amp;quot;hevc_nvenc&amp;quot; \&#xA;    &amp;quot;-f&amp;quot; &amp;quot;matroska&amp;quot; &amp;quot;out.mkv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Note: The quoting in the commands is because I'm generating them with a script and logging them out before running.&lt;/p&gt;&#xA;&lt;p&gt;I can't find any info about that &lt;code&gt;auto_scale_0&lt;/code&gt; filter. Why is it failing like this?&lt;/p&gt;&#xA;" OwnerUserId="43434" LastActivityDate="2024-01-15T16:38:26.667" Title="Why does ffmpeg fail to &quot;convert between the formats&quot; with hevc_nvenc when I'm not doing video filtering?" Tags="|ffmpeg|nvenc|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37146" PostTypeId="1" CreationDate="2024-01-18T17:48:42.900" Score="0" ViewCount="14" Body="&lt;p&gt;I am setting up a musical project where our ensemble (5 people) will play live music to a silent movie. We seek the best setup for a live performance where:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;the audience sees just the movie (monitor 1), presumably via a beamer or projector in the theater&lt;/li&gt;&#xA;&lt;li&gt;the musicians see the movie plus an overlay with time stamp, cues, countdowns etc. (monitor 2, signal through a splitter distributing the signal to 5 screens).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;We would like to be able to&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;command everything from one laptop (with two hdmi ports, one connected to the beamer, the other to the splitter, if that’s a good idea?)&lt;/li&gt;&#xA;&lt;li&gt;have the movie and the overlay in separate files, and mix the two together in real time for the musicians, in order to be able to edit them easily during the rehearsal process&lt;/li&gt;&#xA;&lt;li&gt;control the settings (resolution, warmth, saturation etc.) of both monitors separately (the beamer will be different for every performance, but the ensemble will use the same screens every time)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I’d think this should be a fairly standard application, but am unable to find the right software to do so.&lt;/p&gt;&#xA;&lt;p&gt;I hope I explained clearly what we are looking for. All hints that can point me in the right direction are much appreciated. Also tips for user friendly software to create and tweak the overlay (timing is crucial since in some scenes we are really playing in sync with the situations as they happen in the movie – sound effects etc.) are welcome.&lt;/p&gt;&#xA;" OwnerUserId="43463" LastActivityDate="2024-01-18T17:48:42.900" Title="Setup with two monitors, show overlay on one but not on the other" Tags="|video|live|mixing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37147" PostTypeId="1" CreationDate="2024-01-18T23:20:20.283" Score="0" ViewCount="26" Body="&lt;p&gt;I was trying to push stream to a rtmp server. firstly, I use OBS with default settings, it works ok. then I decide to use ffmpeg to do it. below is the command I use.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;./ffmpeg -re -stream_loop -1 -i input.mp4 \&#xA; -vcodec libx264 \&#xA; -r 60 \&#xA; -b:v 10000k\&#xA; -vf scale=1920*1080\&#xA; -c:a aac\&#xA; -b:a 160k -ar 48000 -ac 2\&#xA; -f flv\&#xA; -flvflags no_duration_filesize\&#xA; -chunk_size 4096\&#xA; rtmp://txy2.live-push.bilivideo.com/live-bvc/?streamname=live_423756438_27609488&amp;amp;key=***************&amp;amp;schedule=rtmp&amp;amp;pflag=1&#xA;  #rtmp://192.168.3.2:1935/live/test&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;all the options above refer from the network packages catched by wireshark when push video with OBS as the screenshot shows below&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/rE90d.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/rE90d.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;but I got some error after the command executed.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/fLkDJ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/fLkDJ.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I've tried pushing stream to both of the rtmp server(you can see at the end of the command,one is a vedio website and another is local) with OBS and both works well but neither of them works with the same error message thrown as shown in the first image.&lt;/p&gt;&#xA;" OwnerUserId="43465" LastActivityDate="2024-01-18T23:20:20.283" Title="ffmpeg broken pipeline error when push stream to rtmp server" Tags="|ffmpeg|rtmp|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37148" PostTypeId="1" CreationDate="2024-01-19T02:15:20.753" Score="0" ViewCount="7" Body="&lt;p&gt;Adobe Premier, Windows 10: I accidentally deleted some audio from some clips I had edited in the timeline by just moving one clip's audio over the other clip's audio in the same audio lane. I have looked for solutions, and the popular answer seems to be to use match frame and then hit &amp;quot;.&amp;quot; This will reproduce the same clip with no audio on my timeline. Frustrating! I can find the original clip in the project, and it still has audio, and I could redo all the editing I have done so far, but that would take hours. Is there an actual solution to this issue? Am I pressing &amp;quot;F .&amp;quot; incorrectly? I've also tried &amp;quot;Generate audio waveform&amp;quot; - no luck. I refuse to believe that accidentally dragging one track's audio over another track's is such an irreversible mistake in such a high end program.&#xA;Please help&lt;/p&gt;&#xA;" OwnerUserId="43468" LastEditorUserId="43468" LastEditDate="2024-01-19T18:50:19.477" LastActivityDate="2024-01-19T18:50:19.477" Title="Audio missing from clips, standard solution not working" Tags="|audio|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37149" PostTypeId="1" AcceptedAnswerId="37150" CreationDate="2024-01-19T05:52:47.750" Score="0" ViewCount="72" Body="&lt;p&gt;Since I heard librav1e is kind of the fastest AV1 software encoder, I attempted to use it to convert an old MPEG-4 Visual video to AV1, but the result is way slower than the popular SVT-AV1 encoder. When I was using the default preset and a vbr of ~1200kbps of SVT-AV1 I can get an about 110 fps speed for that video, but when I use librav1e it barely exceeds 8fps, even with &lt;code&gt;--speed 10&lt;/code&gt;. Manually setting thread count or ramping up tiles does not work either. When I examine closely I see my CPU usage is normally 100% all the time with SVT-AV1, but with rav1e I only get about 30%~40% CPU Utilization.&lt;/p&gt;&#xA;&lt;p&gt;I have confirmed that rav1e is using AVX2 by piping YUV output to a natively-built rav1e, both on Windows and Linux, so now I am quite puzzled by the situation: why does rav1e failed to pump out the full potential of my machine?&lt;/p&gt;&#xA;&lt;p&gt;For a bit more context I am using a gaming laptop with 5800H CPU.&lt;/p&gt;&#xA;" OwnerUserId="43467" LastActivityDate="2024-01-19T10:11:44.783" Title="librav1e cannot even utilize half of my CPU" Tags="|ffmpeg|av1|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37150" PostTypeId="2" ParentId="37149" CreationDate="2024-01-19T10:11:44.783" Score="1" Body="&lt;p&gt;rav1e isn't the fastest AV1 software encoder. Compared to the other encoders, it's barely been developed since 2020 when Mozilla laid off many of their employees, &lt;a href=&quot;https://redd.it/i9yu0h&quot; rel=&quot;nofollow noreferrer&quot;&gt;including the Xiph team working on rav1e&lt;/a&gt;. No one's probably bothered to rethink the &amp;quot;fastest and safest AV1 encoder&amp;quot; tagline, or maybe they think it's technically correct because rav1e is the only AV1 encoder written in Rust, which is a memory-safe programming language, thus making rav1e the fastest AV1 encoder that is also &amp;quot;safe&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;In any case, I think the claim is misleading to most people who come across it.&lt;/p&gt;&#xA;&lt;p&gt;The actually fastest AV1 software encoder is SVT-AV1, followed by libaom (to the best of my knowledge. I have no idea about proprietary encoders, and FOSS ones seem to be the only ones relevant to your question). rav1e is the slowest and least efficient of the pack. It only supports tile threading, and it's inadvisable to split an old, likely low-resolution MPEG-4 file to enough tiles to saturate a 16-thread CPU. Tiles decrease compression efficiency and ideally you'd avoid them altogether.&lt;/p&gt;&#xA;&lt;p&gt;I kinda doubt you'll be able to get 100% CPU utilization with any of these encoders, though YMMV as always. I'm only getting ~75% CPU usage at best on a Ryzen 7 3700X (measured with &lt;code&gt;/usr/bin/time -f &amp;quot;%P&amp;quot;&lt;/code&gt;), depending on the preset. If you have a bunch of files you need to encode, consider running two or more encoding processes in parallel if you want to max out your CPU.&lt;/p&gt;&#xA;" OwnerUserId="22468" LastActivityDate="2024-01-19T10:11:44.783" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37151" PostTypeId="2" ParentId="36449" CreationDate="2024-01-19T18:11:24.457" Score="1" Body="&lt;p&gt;If you want to keep recording all windows at same time(e.g. in same Scene) and they overlap this won't work(to my knowledge). Should be working if they don't, as it is for me in &lt;code&gt;OBS Studio - 30.0.2-1&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Alternatively, you can use Tools -&amp;gt; Automatic Scene Switcher&lt;/p&gt;&#xA;&lt;p&gt;Put each window in separate workspace if you wish.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Create separate scene for each Window Capture entity(WC)&lt;/li&gt;&#xA;&lt;li&gt;In Automatic Scene Switcher create rules (select &lt;code&gt;Scene&lt;/code&gt; you want to switch to when &lt;code&gt;Window name&lt;/code&gt; gets focus)&lt;/li&gt;&#xA;&lt;li&gt;Start/Activate Automatic Scene Switcher&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ndrNP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ndrNP.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="43471" LastActivityDate="2024-01-19T18:11:24.457" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37152" PostTypeId="1" CreationDate="2024-01-20T07:36:52.043" Score="0" ViewCount="6" Body="&lt;p&gt;I have a Google Pixel 7 smartphone with support for HDR (10 bit) video recording technology in 4k 30 frames. And I was wondering how the environment affects the shooting of this video format. When recording HDR in good daylight, the picture really becomes pleasant and colorful in appearance, but for example, when shooting a single light source in a room (with an average brightness level) at the edges of the video, in places where there is relatively little illumination (the light source in the center of the frame), strong noise begins to appear, which is observed in the form of lots of vertical stripes. At the same time, if I shoot a video with the HDR mode turned off in the same conditions, then this noise will not be noticeable (well, accordingly, the video will be with a smaller range of colors). I tried changing the exposure and noticed that when the exposure is lowered, there is less noise, but dark objects in the photo become less distinguishable as a result.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;So, how does using this mode affect the final video and why, under the same conditions, may there be noise from turning on HDR?&lt;/li&gt;&#xA;&lt;li&gt;When do you think it is worth and not worth using this mode?&lt;/li&gt;&#xA;&lt;li&gt;What needs to be monitored when using it (settings or objects in the frame)?&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I apologize in advance to the professionals, I do not understand this topic well, I would like to learn more in simple and understandable language) Thank you&lt;/p&gt;&#xA;" OwnerUserId="43474" LastActivityDate="2024-01-20T07:36:52.043" Title="Noise artifacts when recording HDR videos" Tags="|video-quality|video-recording|noise|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37153" PostTypeId="1" CreationDate="2024-01-20T11:45:58.157" Score="0" ViewCount="49" Body="&lt;p&gt;When I play the video using the code below, it plays normally.&lt;/p&gt;&#xA;&lt;p&gt;youtube-dl   &amp;quot;https://www.youtube.com/watch?v=cqEp0Kr2kak&amp;quot;  -o  - | ffplay  -autoexit  -i -&lt;/p&gt;&#xA;&lt;p&gt;But when I specify the video format to play, it downloads the video to the local instead of playing it. I just want to specify the video format to play the video instead of downloading it.&lt;/p&gt;&#xA;&lt;p&gt;youtube-dl   -f  &amp;quot;bestvideo[height&amp;lt;=?480]+bestaudio/best&amp;quot;   &amp;quot;https://www.youtube.com/watch?v=cqEp0Kr2kak&amp;quot;  -o  - | ffplay  -autoexit  -&lt;/p&gt;&#xA;&lt;p&gt;what should I do.&lt;/p&gt;&#xA;" OwnerUserId="30189" LastActivityDate="2024-01-20T11:45:58.157" Title="How to use &quot;youtube-dl + ffplay&quot; to play youtube videos?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37155" PostTypeId="1" CreationDate="2024-01-20T15:47:09.647" Score="0" ViewCount="20" Body="&lt;p&gt;at the moment some colleagues and myself are working on our end-of-school-project, which is a FPV-Drone, where we're doing the electronics and more importantly the Live-Video ourselves.&lt;/p&gt;&#xA;&lt;p&gt;For this Video-Transmission we have an analogue Camera, which sends a CVBS Signal over a TBS-Unify Transmitter to a Receiver, from where we then Grab the Videosignal and digitize it via a USB2.0-Videograbber (&lt;a href=&quot;https://www.berrybase.at/easycap-usb-2.0-audio-und-video-grabber-mit-syntek-stk1160-chipsatz&quot; rel=&quot;nofollow noreferrer&quot;&gt;one like this&lt;/a&gt;) and stick it into a USB-Port on our Ground-Station a.k.a a Raspberry PI.&lt;/p&gt;&#xA;&lt;p&gt;Now the Interesting part, the Device is being detected by linux as a /dev/video0 device. This device then acts as the input for the conversion via FFMPEG to an RTMP-Stream, following that gets distributed and can be accessed via a running NGINX-Server on the same RaspberryPi.&lt;/p&gt;&#xA;&lt;p&gt;Now the problems, it takes ages to load, is laggy as hell and has a massive amount of latency in the range of 5-30s.&lt;/p&gt;&#xA;&lt;p&gt;I have tested the video input directly from the USB-Interface using VLC-Player, where it has an acceptable amount of delay of ~1s. So, I come to the conclusion that I'm doing something terribly wrong or misunderstanding the conversion via ffmpeg, since it doesn't seem to be such a major problem for other people.&lt;/p&gt;&#xA;&lt;p&gt;​&lt;/p&gt;&#xA;&lt;p&gt;Sidenote, while vlc runs this RTMP-Conversion we get the following warning:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[video4linux2,v4l2 @ 0x55bddeb710] Dequeued v4l2 buffer contains 827396 bytes, but 829440 were expected. Flags: 0x00002001.&#xA;Input #0, video4linux2,v4l2, from '/dev/video0':&#xA;  Duration: N/A, start: 1937.166532, bitrate: 165888 kb/s&#xA;  Stream #0:0: Video: rawvideo (UYVY / 0x59565955), uyvy422, 720x576, 165888 kb/s, 25 fps, 25 tbr, 1000k tbn&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have come to the conclusion that these missing bytes in the buffer are simply because if the transmission over the air, but I wanted to add it if its important&lt;/p&gt;&#xA;&lt;p&gt;​&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;The FFMPEG Command Line Arguments:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;fpv@raspberrypi:~ $ ffmpeg -f v4l2 -standard pal -i /dev/video0 -c:v libx264 -crf 23 -an -strict experimental -preset ultrafast -tune zerolatency -maxrate 3000k -fflags nobuffer -fflags discardcorrupt -r 24 -vf scale=480:320 -f flv rtmp://192.168.0.105:554/live/stream&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;​&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Here come my questions:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is there something I'm doing inherently wrong or missing during the conversion from the device to the final RTMP-Stream?&lt;/li&gt;&#xA;&lt;li&gt;Is it normal  that the Buffer size for a Video of is so unbelivably large (~800000 bytes) / is there some way to compress / reduce that amount&lt;/li&gt;&#xA;&lt;li&gt;Are all those flags I have found on the internet to speed up the conversion even sensical or are the just thin air, bloating the length of the command?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;​&lt;/p&gt;&#xA;&lt;p&gt;I really have run out of ideas on how to improve on the current sorry state of our video transmission and would now be greatly appreciative if people more knowledgeable than myself in ffmpeg and video in general could lend me a hand here.&lt;/p&gt;&#xA;" OwnerUserId="43376" LastActivityDate="2024-01-20T15:47:09.647" Title="Extreme Latency issues when streaming RTMP with FFMPEG" Tags="|ffmpeg|streaming|transcoding|video-capture|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37156" PostTypeId="1" AcceptedAnswerId="37160" CreationDate="2024-01-20T16:50:25.100" Score="0" ViewCount="27" Body="&lt;p&gt;I am trying to use FFmpeg to insert an audio clip at every 60 seconds into an audio file. I also want to delay the original audio stream  until the end of the inserted audio clip , so that the inserted audio doesn't overlap with the original audio.&lt;/p&gt;&#xA;&lt;p&gt;I would prefer a solution that doesn't involve splitting the original file into 60 seconds videos and then combine then together , as it makes the following steps, that I have to do, many times more complex.&lt;/p&gt;&#xA;&lt;h2&gt;Possible Solution:&lt;/h2&gt;&#xA;&lt;p&gt;I think the &lt;code&gt;-ss&lt;/code&gt; flag could be used to set the timestamp of the inserted audio clip to 60 seconds after the end of the last segment. Then, I could use a delay filter to delay the original audio track until the end of the inserted audio clip.&lt;/p&gt;&#xA;&lt;p&gt;However I am not sure how to create command. Mainly the part , where we apply this filter at every 60 seconds intervals.&lt;/p&gt;&#xA;&lt;p&gt;Thanks for any help in advance!!&lt;/p&gt;&#xA;" OwnerUserId="43477" LastActivityDate="2024-01-22T02:21:37.237" Title="Insert Audio at Every 60 Seconds and Delay Another Audio Stream until the End of the Inserted Audio with ffmpeg" Tags="|ffmpeg|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37158" PostTypeId="1" CreationDate="2024-01-20T20:15:33.393" Score="0" ViewCount="11" Body="&lt;p&gt;I am trying to create a pip video from two separate sources while keeping the audio from both clips and delaying the pip video x number of seconds. I have successfully done it but sometimes the pip video is delayed/offset the correct time but the audio from the same clip starts immediately at the beginning. if it was consistent, I could debug it further but half the time it offsets properly, other times it doesn't.&lt;br&gt;&#xA;I have tried converting both videos beforehand to various formats to try and eliminate a file/codec issue.&lt;/p&gt;&#xA;&lt;p&gt;Can someone point me in the right direction?&lt;br&gt;&#xA;Here is my command that works part of the time.&lt;br&gt;&#xA;I am a novice using ffmpeg so this has been a challenge getting this far.&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg.exe -y -i &amp;quot;path to main video.mp4&amp;quot; -itsoffset 104 -i &amp;quot;path to pip video.mp4&amp;quot; -filter_complex &amp;quot;[1]scale=iw&lt;em&gt;0.3333:ih&lt;/em&gt;0.3333 [pip]; [0][pip] overlay=main_w-overlay_w-5:main_h-overlay_h-5[v];[1:a]adelay=104000|104000[a1];[0:a][a1]amerge[a]&amp;quot; -map &amp;quot;[v]&amp;quot; -map &amp;quot;[a]&amp;quot; -ac 2 -ar 44100 -vcodec libx264 -acodec aac &amp;quot;.\Output video.mp4&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;Thanks in advance&lt;/p&gt;&#xA;" OwnerUserId="43478" LastActivityDate="2024-01-20T20:15:33.393" Title="audio not offset with video in PIP using ffmpeg" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37160" PostTypeId="2" ParentId="37156" CreationDate="2024-01-21T05:04:53.610" Score="0" Body="&lt;p&gt;concat demuxer&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;f=&amp;quot;../input.mp3&amp;quot;&#xA;a=&amp;quot;in.mp3&amp;quot;&#xA;&#xA;# get duration of input&#xA;d=$(ffprobe -v 0 -show_entries format=duration -of default=nw=1:nk=1 &amp;quot;$f&amp;quot;)&#xA;&#xA;# get seconds&#xA;d=${d%.*}&#xA;echo $d&#xA;&#xA;# variables&#xA;i=0&#xA;o=60&#xA;&#xA;# create list of inputs&#xA;l=&amp;quot;list.txt&amp;quot;&#xA;echo &amp;quot;ffconcat version 1.0&amp;quot; &amp;gt; $l&#xA;echo &amp;quot;file '$f'&amp;quot; &amp;gt;&amp;gt; $l&#xA;echo &amp;quot;outpoint $o&amp;quot; &amp;gt;&amp;gt; $l&#xA;# increase variables by 60 sec&#xA;i=$o&#xA;((o+=60))&#xA;while (( $i &amp;lt; $d )); do&#xA;    # insert audio clip&#xA;    echo &amp;quot;file '$a'&amp;quot; &amp;gt;&amp;gt; $l&#xA;    # add audio next 60 sec&#xA;    echo &amp;quot;file '$f'&amp;quot; &amp;gt;&amp;gt; $l&#xA;    echo &amp;quot;inpoint $i&amp;quot; &amp;gt;&amp;gt; $l&#xA;    echo &amp;quot;outpoint $o&amp;quot; &amp;gt;&amp;gt; $l&#xA;    # increase variables by 60 sec&#xA;    i=$o&#xA;    ((o+=60))&#xA;done&#xA;cat $l&#xA;&#xA;ffmpeg -f concat -safe 0 -i &amp;quot;$l&amp;quot; -c copy output.mp3 -y&#xA;&#xA;ffplay output.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="40740" LastEditorUserId="40740" LastEditDate="2024-01-22T02:21:37.237" LastActivityDate="2024-01-22T02:21:37.237" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37161" PostTypeId="1" CreationDate="2024-01-21T05:43:53.780" Score="0" ViewCount="24" Body="&lt;p&gt;I'm trying to download a livestream that is just a plain hls with no encryption. I usually use streamlink, but this site I'm trying to use recently doesn't output a correct video/audio synced output when downloaded with streamlink/yt-dlp/nm3u8dl etc.&lt;/p&gt;&#xA;&lt;p&gt;The only option that produces the correct output with the audio and video in sync is ffmpeg, but ffmpeg is very user-unfriendly and lacks functionality related to retries when connection is lost, and etc.&lt;/p&gt;&#xA;&lt;p&gt;This is super weird cuz when I play the hls stream using VLC or any other livestream supported players, they are on sync. But what I do noticed is that when I play them on a player, the audio is mute for a second or two and then plays the audio correctly.&lt;/p&gt;&#xA;&lt;p&gt;Can anyone possibly explain the cause of this situation and probably a fix? I would love to use streamlink instead of ffmpeg.&lt;/p&gt;&#xA;" OwnerUserId="43480" LastActivityDate="2024-01-21T05:43:53.780" Title="Downloading an HLS stream: ONLY in sync when downloading with ffmpeg. Possible explanations?" Tags="|ffmpeg|video|audio|sync|hls|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37163" PostTypeId="1" CreationDate="2024-01-21T15:08:25.090" Score="0" ViewCount="26" Body="&lt;p&gt;I have a question. Do you think I could do the following with FFMpeg:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;split a long video in MP4 format into three parts&lt;/li&gt;&#xA;&lt;li&gt;alter only the first and the third part, reencode them into MP4&lt;/li&gt;&#xA;&lt;li&gt;finally, merge everything into a single video&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;and all this without unnecessary processing the middle part?&lt;/p&gt;&#xA;&lt;p&gt;I have tested two approaches but in both cases there are issues with audio and video at points of merging. Additional info: I work in Windows 10. I currently export part 1 and 3 into AVI, then encode both files to MP4 before they are merged.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Method 1 - no encoding&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I simply created a text file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;# inputs.txt&#xA;file `input1.mp4`&#xA;file `input2.mp4`&#xA;file `input3.mp4`&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and run &lt;code&gt;ffmpeg -f concat -i inputs.txt -c copy output.mp4&lt;/code&gt;. Unfortunately, the video freezes for a fraction of second with distorted audio at merging points, then continue.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Method 2 - using filter complex&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&amp;gt; ffmpeg -i input1.mp4 -i input2.mp4 -input3.mp4 ^&#xA;More? -filter_complex &amp;quot;[0:v][0:a][1:v][1:a][2:v][2:a] concat=n=3:v=1:a=1 [outv][outa]&amp;quot; ^&#xA;More? -map [outv] -map [outa] output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The video gets encoded but there are still problems at merge points, possibly less noticeable comparing to the method 1.&lt;/p&gt;&#xA;&lt;p&gt;I wonder if there is anything else I could do to improve the output video, ideally without any issues.&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="4273" LastActivityDate="2024-01-21T15:08:25.090" Title="FFMpeg: how to split a video, process only parts and merge everything back together" Tags="|ffmpeg|concatenation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37164" PostTypeId="1" AcceptedAnswerId="37165" CreationDate="2024-01-21T20:06:52.520" Score="0" ViewCount="48" Body="&lt;p&gt;I have a sequence of pngs &lt;strong&gt;with alpha&lt;/strong&gt;, and I'd like to encode to h264 &lt;strong&gt;without alpha&lt;/strong&gt;, overlaid on black.&lt;/p&gt;&#xA;&lt;p&gt;My usual command for image sequence to h264 is&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -r 30 -i 'template %05d.png' -c:v libx264 -pix_fmt yuv420p out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;(unfortunately &lt;code&gt;-pattern_type glob -i '*.png'&lt;/code&gt; doesn't work on windows)&lt;/p&gt;&#xA;&lt;p&gt;But this seems to be doing something strange, as if treating the alpha as single bit:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Where the alpha is 1, the output pixels are from my input image (correct and nice).&lt;/li&gt;&#xA;&lt;li&gt;Where the alpha is 0, the output pixels in the video is black (correct and nice).&lt;/li&gt;&#xA;&lt;li&gt;But anywhere in between, it's as if it's ignoring the alpha for those pixels.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;My alpha is straight (not premultiplied), and I'd like the output to be as if I'd overlaid the images with non-premultiplied alpha on black.&lt;/p&gt;&#xA;&lt;p&gt;See image below (from aftereffects. left: alpha, middle: desired output, right: ffmpeg output)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/z067L.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/z067L.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;(Note. Everything I've searched on this topic always comes up with &amp;quot;how to preserve alpha in video&amp;quot;. But that's not what I'm after).&lt;/p&gt;&#xA;" OwnerUserId="43484" LastActivityDate="2024-01-22T03:50:55.537" Title="How to create a video WITHOUT alpha, from a png sequence WITH alpha using ffmpeg" Tags="|ffmpeg|alpha|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37165" PostTypeId="2" ParentId="37164" CreationDate="2024-01-22T03:50:55.537" Score="1" Body="&lt;p&gt;Use the overlay filter to composite the output image.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -framerate 30 -i 'template %05d.png' -vf &amp;quot;split=2[bg][img];[bg]format=yuv420p,drawbox=c=black:t=fill[bg];[bg][img]overlay=alpha=straight&amp;quot; -pix_fmt yuv420p -c:v libx264 out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2024-01-22T03:50:55.537" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37166" PostTypeId="2" ParentId="27913" CreationDate="2024-01-22T17:49:35.837" Score="0" Body="&lt;p&gt;I seem to have found a solution. It seems that if you have your file in a ONE DRIVE (cloud) folder, then it might bug.&#xA;I think it is because premiere pro needs to have directly access to the file, but when it's in a &amp;quot;OneDrive' or other cloud system service, the connection needed is way more than what it can provide to play it well.&lt;/p&gt;&#xA;&lt;p&gt;It can be the same on Adobe Audition, I think that if it tries to &amp;quot;write&amp;quot; the file on a &amp;quot;OneDrive&amp;quot; folder it might bug.&lt;/p&gt;&#xA;" OwnerUserId="43491" LastEditorUserId="14523" LastEditDate="2024-01-24T01:14:56.540" LastActivityDate="2024-01-24T01:14:56.540" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37167" PostTypeId="1" CreationDate="2024-01-22T19:46:47.463" Score="0" ViewCount="5" Body="&lt;p&gt;0&lt;/p&gt;&#xA;&lt;p&gt;I recently had an interview experience that was un-aligned with my software engineering experience, but I still think want to get a better understanding of what the interviewer was asking, which I didn't really understand at the time.&lt;/p&gt;&#xA;&lt;p&gt;Basically, I was given a design and implementation question where I was supposed to design/scope out the APIs to query a video manifest file, and another set of APIs that controls a video player. In terms of the interview itself, I only had to design what the APIs returned, and didn't have to implement the APIs.&lt;/p&gt;&#xA;&lt;p&gt;The goal is to achieve adaptive quality control using known network conditions and video playback progress for some live stream/video using the APIs that I designed, and I was supposed to implement the adaptive quality control part.&lt;/p&gt;&#xA;&lt;p&gt;This was a 45 minute interview and was meant to be an implementation question (which I didn't really get to because I was stuck on the design part due to not having any knowledge of this topic area).&lt;/p&gt;&#xA;&lt;p&gt;My question is what are the complexities when it comes to implementation such a system? What data structures and algorithms are necessary? I would like to understand better some basic adaptive algorithms as it applies here.&lt;/p&gt;&#xA;" OwnerUserId="43492" LastActivityDate="2024-01-22T19:46:47.463" Title="Algorithm to perform adaptive quality control for videos?" Tags="|video-quality|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37168" PostTypeId="1" CreationDate="2024-01-23T05:44:50.967" Score="0" ViewCount="9" Body="&lt;p&gt;I was unsure about whether to post this on the Computer Graphics stack exchange. I could also have chosen the Graphic Design stack exchange or the Arts &amp;amp; Crafts stack exchange.&lt;/p&gt;&#xA;&lt;p&gt;However, as you will be reading this question, you will realize that the first night be a good but incomplete fit, and that the best place to post this is here.&lt;/p&gt;&#xA;&lt;p&gt;I am interested in the scenario where a graphics designer and an artist (really, two types of different artists, A and B), depict, graphics, in different styles.&lt;/p&gt;&#xA;&lt;p&gt;Now imagine that one of them goes and draws on the other's art, and give versa. Each artist just draws in their specific style.&lt;/p&gt;&#xA;&lt;p&gt;When the eye sees this, (and hears what the artists say), the brain produces certain neurotrasmitter release interactions.&lt;/p&gt;&#xA;&lt;p&gt;This leads me to think about how different videos would interact, if each video projected, a different kind of area in the other's with is own style.&lt;/p&gt;&#xA;&lt;p&gt;More generally, just suppose there is one video with two styles, interacting with each other (the interaction can occur in a variety of ways).&lt;/p&gt;&#xA;&lt;p&gt;If the video is about what is produced by the brain before pleasure, and after pleasure, in graphics, the video can be used to produce an analyzation of what is in the cloud in the user's brain after certain types, of, pleasure.&lt;/p&gt;&#xA;&lt;p&gt;So, this describes a little bit of what I am looking for.&lt;/p&gt;&#xA;&lt;p&gt;So, the question is, what types of video interaction can be achieved between two different types of arts using modern video editing, animation, and prediction, techniques, to produce, an art video (of this sort)?&lt;/p&gt;&#xA;&lt;p&gt;What has been done in this area, what examples and types of examples (example, categories) of this thing exist, (even from a technical point of view)?&lt;/p&gt;&#xA;&lt;p&gt;As I explained, this question is about art videos, rather than just art, and how computer science told support this, either by starting from pictures of painings, or creating the entire thing in the computer.&lt;/p&gt;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;" OwnerUserId="24972" LastEditorUserId="24972" LastEditDate="2024-01-23T05:50:17.960" LastActivityDate="2024-01-23T05:50:17.960" Title="Videos of interacting art (from two different types of art genres)" Tags="|video|video-editor|video-quality|video-capture|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37170" PostTypeId="1" CreationDate="2024-01-23T13:06:13.320" Score="0" ViewCount="32" Body="&lt;p&gt;I have a 4K 50fps video file that is split into 4 quadrants (only 3 are needed). It is generated by a slow motion camera running at 150 FPS. Each of the quadrants contains the same image shifted by a frame.&lt;/p&gt;&#xA;&lt;p&gt;I want to cut out the 3 sections of the picture, take a frame from each image and insert them sequentially. This will result in a 1920x1080 50FPS clip 3 times a long as the original, but the motion in the picture will run slower.&lt;/p&gt;&#xA;&lt;p&gt;I know how to cut the sections from the image, but I'm struggling to find a filter to insert the frames sequentially.&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i TriMotion.ts -filter:v &amp;quot;crop=1920:1080:0:0&amp;quot; out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i TriMotion.ts -filter:v &amp;quot;crop=1920:1080:1920:0&amp;quot; out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i TriMotion.ts -filter:v &amp;quot;crop=1920:1080:0:1080&amp;quot; out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have tried the following, but the output is normal speed;&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i TriMotion.ts -filter_complex &amp;quot;[0]crop=1920:1080:0:0[v1];[0]crop=1920:1080:1920:0[v2];[0]crop=1920:1080:0:1080[v3];[v1][v2][v3] interleave=nb_inputs=3&amp;quot;  -c:v libx265 out.mov&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="43499" LastEditorUserId="43499" LastEditDate="2024-01-23T17:42:24.893" LastActivityDate="2024-02-24T12:05:50.657" Title="How to insert alternate frames from multipule video sources to create a single output file using ffmpeg" Tags="|ffmpeg|video|slowmotion|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37171" PostTypeId="1" AcceptedAnswerId="37196" CreationDate="2024-01-23T19:32:28.303" Score="1" ViewCount="62" Body="&lt;p&gt;I tried to copy all streams (video, audio, subtitle) and add a tag with the following command in order to play the files using QuickTime player:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vcodec copy -tag:v hvc1 -acodec copy -scodec copy -map 0 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The resulting file does open with QuickTime player, and the video/subtitles play fine, but the two audio tracks (E-AC3 in English and German) from the input file cannot be selected (&lt;code&gt;View → Languages → None&lt;/code&gt;) and are in fact merged into each other while playing the video, even though both tracks are shown separately in &lt;code&gt;Inspector → Audio Details&lt;/code&gt; and VLC handles them correctly. Is this a bug in QuickTime player, or would I need to add another option for QuickTime?&lt;/p&gt;&#xA;&lt;p&gt;I experimented with various mapping options, e.g.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -map:v:0 0:v:0 -tag:v hvc1 -c:v:0 copy -map:a:0 0:a:0 -c:a:0 copy -map:a:1 0:a:1 -c:a:1 copy out.mp4&#xA;ffmpeg -i in.mp4 -map 0:v -map 0:1 -metadata:s:a:0 language=eng -map 0:2 -metadata:s:a:1 language=deu -c copy -tag:v hvc1 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;without success.&lt;/p&gt;&#xA;" OwnerUserId="43501" LastActivityDate="2024-02-01T18:29:20.237" Title="ffmpeg, audio tracks, and QuickTime player" Tags="|ffmpeg|quicktime|h265|" AnswerCount="1" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37172" PostTypeId="1" CreationDate="2024-01-23T21:16:43.993" Score="0" ViewCount="46" Body="&lt;p&gt;I have a HEVC HLS stream that does not play when I paste it e.g. in Safari. The video is encoded in HEVC and has a resolution of 4608x1728. The screen just stays black.&lt;/p&gt;&#xA;&lt;p&gt;The URL is: &lt;a href=&quot;https://cdn2.taggy.cam/videos/JFNi2a3JVxmUxWh8t6YkbzR5t9HyS94ZaQy81KVrbwJ2ztTp9f/hls/h265/video.m3u8&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://cdn2.taggy.cam/videos/JFNi2a3JVxmUxWh8t6YkbzR5t9HyS94ZaQy81KVrbwJ2ztTp9f/hls/h265/video.m3u8&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;(or &lt;a href=&quot;https://cdn2.taggy.cam/videos/JFNi2a3JVxmUxWh8t6YkbzR5t9HyS94ZaQy81KVrbwJ2ztTp9f/hls/h265/playlist.m3u8&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://cdn2.taggy.cam/videos/JFNi2a3JVxmUxWh8t6YkbzR5t9HyS94ZaQy81KVrbwJ2ztTp9f/hls/h265/playlist.m3u8&lt;/a&gt; for the master playlist)&lt;/p&gt;&#xA;&lt;p&gt;VLC player does play it.&lt;/p&gt;&#xA;&lt;p&gt;I tried several different players to get an error message, but the only thing I got was &amp;quot;MEDIA.VIDEO_ERROR (4,,CHUNK_DEMUXER_ERROR_APPEND_FAILED: Video stream codec hevc doesn't match SourceBuffer codecs.)&amp;quot;&lt;/p&gt;&#xA;&lt;p&gt;The video is initially created with FFMpeg by recording the RTSP stream of a webcam with&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i rtsp://stream -tag:v hvc1 -f hls -hls_time 1 -hls_list_size 0 -hls_segment_filename output-directory/video-%05d.m4s -c copy&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Any ideas how to debug this would be appreciated!&lt;/p&gt;&#xA;&lt;p&gt;Thanks,&#xA;Sebastian&lt;/p&gt;&#xA;" OwnerUserId="43503" LastActivityDate="2024-01-23T21:16:43.993" Title="Why does this HEVC HLS stream not play on browsers?" Tags="|ffmpeg|hls|hevc|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37173" PostTypeId="1" CreationDate="2024-01-23T21:27:30.507" Score="-1" ViewCount="96" Body="&lt;p&gt;This is not so much a hardware enquiry as academic curiosity. AV1 encoding is extremely resource demanding and using HW encoding can reduce encoding time considerably.&lt;/p&gt;&#xA;&lt;p&gt;However, a lot of people seem to believe that AV1 hardware encoding produces notably worse results than software encoding.&lt;/p&gt;&#xA;&lt;p&gt;While this is often true for live stream situations where the encoding settings are tuned to maintain low bit rates, it is my understanding that using the same encoding settings (or similar settings) a hardware encoder should be able to produce the same visual quality as a SW encoder, but faster.&lt;/p&gt;&#xA;&lt;p&gt;Is there anything suggesting that AV1 hardware encoding produces worse visual results than software encoding? If so, is there any credible source to suggest so?&lt;/p&gt;&#xA;&lt;p&gt;Please refrain from using anecdotal examples.&lt;/p&gt;&#xA;" OwnerUserId="12511" LastEditorUserId="12511" LastEditDate="2024-02-03T16:52:50.977" LastActivityDate="2024-02-10T07:04:44.863" Title="AV1 hardware encoding vs software encoding" Tags="|encoding|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37174" PostTypeId="1" CreationDate="2024-01-25T10:07:05.703" Score="0" ViewCount="30" Body="&lt;p&gt;I have different crop parameters for every frame. I was using sendcmd but apparently, that is not working.&lt;/p&gt;&#xA;&lt;p&gt;This is the format of my sendcmd file&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;0.00 crop 'w=466:h=432:x=1373:y=336';&#xA;0.02 crop 'w=324:h=382:x=277:y=693';&#xA;0.03 crop 'w=304:h=332:x=1364:y=794';&#xA;0.05 crop 'w=348:h=448:x=1500:y=966';&#xA;0.07 crop 'w=466:h=412:x=794:y=193';&#xA;0.08 crop 'w=390:h=502:x=1425:y=813';&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And I am running this command&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 0 -t 1 -i Demo.mp4 -filter_complex &amp;quot;[0:v]sendcmd=f=crop_parameters.txt[video]&amp;quot; -map &amp;quot;[video]&amp;quot; output_%03d.png&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;These are the logs coming from FFmpeg&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_sendcmd_0 @ 0x6000016709a0] [expr] interval #0 start_ts:0.000000 end_ts:9223372036854.775391 ts:0.083367&#xA;[Parsed_sendcmd_0 @ 0x6000016709a0] [expr] interval #1 start_ts:0.040000 end_ts:9223372036854.775391 ts:0.083367&#xA;[Parsed_sendcmd_0 @ 0x6000016709a0] [enter+expr] interval #2 start_ts:0.080000 end_ts:9223372036854.775391 ts:0.083367&#xA;[Parsed_sendcmd_0 @ 0x6000016709a0] Processing command #0 target:crop command:w arg:147&#xA;[Parsed_sendcmd_0 @ 0x6000016709a0] Command reply for command #0: ret:Function not implemented res:&#xA;[Parsed_sendcmd_0 @ 0x6000016709a0] Processing command #1 target:crop command:h arg:258&#xA;[Parsed_sendcmd_0 @ 0x6000016709a0] Command reply for command #1: ret:Function not implemented res:&#xA;[Parsed_sendcmd_0 @ 0x6000016709a0] Processing command #2 target:crop command:x arg:928&#xA;[Parsed_sendcmd_0 @ 0x6000016709a0] Command reply for command #2: ret:Function not implemented res:&#xA;[Parsed_sendcmd_0 @ 0x6000016709a0] Processing command #3 target:crop command:y arg:102&#xA;[Parsed_sendcmd_0 @ 0x6000016709a0] Command reply for command #3: ret:Function not implemented res:&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It resulted in no cropping of the video, it just gives the exact same frame&lt;/p&gt;&#xA;" OwnerUserId="43509" LastActivityDate="2024-01-25T10:07:05.703" Title="Ffmpeg dynamic cropping for every frame" Tags="|ffmpeg|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37175" PostTypeId="2" ParentId="37170" CreationDate="2024-01-25T11:57:33.727" Score="0" Body="&lt;p&gt;For anyone else looking for this, I think that I have worked it out.&lt;/p&gt;&#xA;&lt;p&gt;You need to change the frame numbers of the incoming sources before they are combined:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i TriMotion.ts -framerate 50 -filter_complex &amp;quot;[0]crop=1920:1080:0:0,setpts=(PTS*3)-2[v1];[0]crop=1920:1080:1920:0,setpts=(PTS*3)-1[v2];[0]crop=1920:1080:0:1080,setpts=(PTS*3)[v3];[v1][v2][v3] interleave=nb_inputs=3&amp;quot;  -c:v libx265 out.mov&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;This command sets the frame numbers in increments of 3 before the interleave filter combines them.&lt;/p&gt;&#xA;" OwnerUserId="43499" LastEditorUserId="43499" LastEditDate="2024-01-25T11:58:31.460" LastActivityDate="2024-01-25T11:58:31.460" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37176" PostTypeId="1" CreationDate="2024-01-25T18:40:27.870" Score="0" ViewCount="134" Body="&lt;p&gt;When I run the following Ffmpeg command it produces empty mp4 files as an output.&lt;/p&gt;&#xA;&lt;p&gt;The command takes segments of a video as inputs, crops each input at particular locations, and then concatenates them :&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -ss 551.389000 -t 47.292417 -i ./testo.mp4 -ss 598.681417 -t 34.217583 -i ./testo.mp4 -vcodec libx264 -r 59.94005994005994 -b:v 6890k -movflags faststart ./out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have used this command for thousands of videos, but for this particular video it causes this empty mp4 files. Depending on the specific regions of the video that I specify as inputs, sometimes the command works without issues. The inputs supplied for this video are valid, as the video is 15mins or so.&lt;/p&gt;&#xA;&lt;p&gt;Here are the relevant output logs for the video (see appendices for all other input/output):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[vost#0:0/libx264 @ 0xfae9410] No filtered frames for output stream, trying to initialize anyway.&#xA;[aost#0:1/aac @ 0xfaeab60] No filtered frames for output stream, trying to initialize anyway.&#xA;frame=    0 fps=0.0 q=0.0 size=       0kB time=N/A bitrate=N/A speed=N/A    &#xA;[mp4 @ 0xfae88d0] Starting second pass: moving the moov atom to the beginning of the file&#xA;[out#0/mp4 @ 0xfae87d0] video:0kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;[out#0/mp4 @ 0xfae87d0] Output file is empty, nothing was encoded(check -ss / -t / -frames parameters if used)&#xA;frame=    0 fps=0.0 q=0.0 Lsize=       0kB time=N/A bitrate=N/A speed=N/A    &#xA;[libx264 @ 0xfae9790] final ratefactor: 17.79&#xA;[aac @ 0xfaeaee0] Qavg: nan&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Main insights from outputs:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;The output &lt;code&gt;tbn&lt;/code&gt; is 1000k (usually 60k)&lt;/li&gt;&#xA;&lt;li&gt;&lt;code&gt;&amp;quot;No filtered frames for output stream&amp;quot;&lt;/code&gt; for both video and audio outputs.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Things I have tried:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;I have a feeling its to do with the video frame-rate, so I tried using several permutations of commands like &lt;code&gt;fps_mode&lt;/code&gt;, &lt;code&gt;video_track_timescale&lt;/code&gt;, &lt;code&gt;copytb&lt;/code&gt;, and &lt;code&gt;enc_time_base&lt;/code&gt;.&lt;/li&gt;&#xA;&lt;li&gt;Unsetting output fps&lt;/li&gt;&#xA;&lt;li&gt;Changing input locations (this works)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;h3&gt;Appendices&lt;/h3&gt;&#xA;&lt;p&gt;Here is the ffprobe input for the video, which was downloaded from YouTube:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from './testo.mp4':&#xA;Metadata:&#xA;  major_brand     : isom&#xA;  minor_version   : 512&#xA;  compatible_brands: isomiso2avc1mp41&#xA;  encoder         : Lavf60.16.100&#xA;Duration: 00:14:31.44, start: 0.000000, bitrate: 939 kb/s&#xA;Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709, progressive), 1920x1080 [SAR 1:1 DAR 16:9], 6848 kb/s, 59.94 fps, 59.94 tbr, 60k tbn (default)&#xA;  Metadata:&#xA;    handler_name    : ISO Media file produced by Google Inc.&#xA;    vendor_id       : [0][0][0][0]&#xA;Stream #0:1[0x2](eng): Audio: opus (Opus / 0x7375704F), 48000 Hz, stereo, fltp, 105 kb/s (default)&#xA;  Metadata:&#xA;    handler_name    : SoundHandler&#xA;    vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Ffmpeg output format, note the very high &lt;code&gt;tbn&lt;/code&gt; value (usually this is 60k):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Output #0, mp4, to './out.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf60.16.100&#xA;  Stream #0:0: Video: h264 (avc1 / 0x31637661), yuv420p(progressive), 608x1080 [SAR 1:1 DAR 76:135], &#xA;  q=2-31, 6890 kb/s, 59.94 fps, 1000k tbn&#xA;    Metadata:&#xA;      encoder         : Lavc60.31.102 libx264&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/6890000 buffer size: 0 vbv_delay: N/A&#xA;  Stream #0:1: Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc60.31.102 aac&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Full command log can be found here: &lt;a href=&quot;https://pastebin.com/5CpnaUvg&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://pastebin.com/5CpnaUvg&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43511" LastActivityDate="2024-02-01T14:46:05.133" Title="Ffmpeg outputting empty mp4 files for video concatenation command" Tags="|ffmpeg|h.264|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37177" PostTypeId="1" AcceptedAnswerId="37178" CreationDate="2024-01-25T21:53:58.787" Score="0" ViewCount="18" Body="&lt;p&gt;I am attempting to add secondary audio with FFmpeg to copy my primary audio over and encode it with libfdk_aac using profile aac_he. When I do, I am getting the following errors:&lt;/p&gt;&#xA;&lt;p&gt;[NULL @ 000001f4d7830b80] [Eval @ 0000003fb93fdf50] Undefined constant or missing '(' in 'aac_he'&#xA;[NULL @ 000001f4d7830b80] Unable to parse option value &amp;quot;aac_he&amp;quot;&#xA;[NULL @ 000001f4d7830b80] Error setting option profile to value aac_he.&#xA;Error setting up codec context options.&#xA;Error initializing output stream 0:1 --*&#xA;Here is the command I am trying to use:&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -y -fflags -genpts -i -map 0:v -c:v copy -map 0:a -c:a:0 copy -map 0:a -c:a:1 libfdk_aac -profile:a aac_he e:\nf.ts&#xA;I would expect it to copy the Primary audio to Audio 1 (AC3), and then re-encode the audio from Audio 1 to to Audio 2 (aac_he).&lt;/p&gt;&#xA;&lt;p&gt;If I only use aac native audio, instead of aac_he, it works fine using this command:&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -y -fflags -genpts -i %%f -map 0:v -c:v copy -map 0:a -c:a:0 copy -map 0:a -c:a:1 aac e:\nf.ts&#xA;From this, I get Audio 1 (AC3) and Audio 2(aac).&lt;/p&gt;&#xA;&lt;p&gt;or it works if I just re-encode the primary audio like using this command:&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -y -fflags -genpts -i %%f -map 0:v -c:v copy -map 0:a -c:a:0 libfdk_aac -profile:a aac_he e:\nf.ts&#xA;From this, I get Audio 1(aac_he)&lt;/p&gt;&#xA;&lt;p&gt;Is there something about using the aac_he in the secondary audio position that ffmpeg has issues with?&lt;/p&gt;&#xA;" OwnerUserId="43512" LastActivityDate="2024-01-26T04:03:17.887" Title="Getting an error when attempting to use FFmpeg to copy primary AC3 audio to aac_he secondary audio" Tags="|ffmpeg|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37178" PostTypeId="2" ParentId="37177" CreationDate="2024-01-26T04:03:17.887" Score="0" Body="&lt;p&gt;&lt;code&gt;-profile:a aac_he&lt;/code&gt; applies to &lt;em&gt;all&lt;/em&gt; output audio streams. Apply it to only the intended stream; &lt;code&gt;-profile:a:1 aac_he&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2024-01-26T04:03:17.887" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37179" PostTypeId="1" CreationDate="2024-01-26T07:25:45.340" Score="0" ViewCount="9" Body="&lt;p&gt;I usually use DeLogo under Video Effects/Filter options. Now I am wondering if one can create an Ellipse that has the DeLogo effects applied.&lt;/p&gt;&#xA;&lt;p&gt;I attempted this by creating an ellipse object and then applying a DeLogo filter. As you can see in the image, only the border of the ellipse seems to have the DeLogo filter applied and not the inner part of the shape.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EMRDR.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EMRDR.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43513" LastActivityDate="2024-01-26T07:25:45.340" Title="(VSDC) Can you apply a DeLogo filter to an ellipse shape?" Tags="|video|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37180" PostTypeId="2" ParentId="32297" CreationDate="2024-01-26T23:26:47.523" Score="1" Body="&lt;p&gt;You could run ffmpeg in a KVM Virtual Machine, which should run nearly as fast native hardware. Then you could pause, snapshot, and resume the VM as necessary.&lt;/p&gt;&#xA;" OwnerUserId="43520" LastActivityDate="2024-01-26T23:26:47.523" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37182" PostTypeId="1" CreationDate="2024-01-28T08:04:27.820" Score="1" ViewCount="20" Body="&lt;p&gt;I am involved in a project where we would have a video with srt or vtt subtitles and we will need to split it into multiple shorter videos with the subtitles adjusted accordingly for each of the split videos.&lt;/p&gt;&#xA;&lt;p&gt;I did some online research and although there are many programmes that offer video splitting, I could not find anything about the subtitles. My workflow is that I load up the big video file with its subtitle file and I am specifying the segments for splitting - I want to be able to do all segments in one go and when the video is split, the corresponding part of the subtitle is included in the clipped file.&lt;/p&gt;&#xA;&lt;p&gt;Could you please suggest any programmes that will accommodate this (commercial programmes are fine and, actually, preferable)?&lt;/p&gt;&#xA;&lt;p&gt;Regards,&#xA;George&lt;/p&gt;&#xA;" OwnerUserId="43532" LastActivityDate="2024-02-29T13:04:50.563" Title="Splitting videos andsubtitles together" Tags="|video|video-editor|subtitles|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37183" PostTypeId="1" CreationDate="2024-01-28T22:19:49.227" Score="0" ViewCount="23" Body="&lt;p&gt;Trying to stream a video (mkv) on a &lt;a href=&quot;https://developer.samsung.com/smarttv/develop/specifications/media-specifications/2017-tv-video-specifications.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Samsung 2017 TV&lt;/a&gt; and some videos are &amp;quot;lagging&amp;quot; / buggy. I don't know the term for this kind of issue so it's hard for me to pinpoint the problem.&lt;/p&gt;&#xA;&lt;p&gt;The video stream is AVC, the audio AAC LC.&lt;/p&gt;&#xA;&lt;p&gt;I did try to re-encode into a different format, but it's not always a sure shot. If someone can point me in the right direction as to how this issue is called and how properly convert if needed, it'd be appreciated.&lt;/p&gt;&#xA;&lt;p&gt;The file is transferred through a network base app called Jellyfin, no transcoding is being applied.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/MgYoj.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/MgYoj.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43537" LastActivityDate="2024-02-29T12:02:05.220" Title="What kind of video or audio encoding is causing this?" Tags="|video-quality|streaming|transcoding|audio-quality|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37185" PostTypeId="2" ParentId="21676" CreationDate="2024-01-29T10:26:35.217" Score="0" Body="&lt;p&gt;HDR is high dynamic range. The older technology is SDR - standard dynamic range. When we talk about colorspaces, there are also colorspaces specifically designed for HDR like ICtCp. ICtCp is derived from IPT (a colorspace for SDR) by using a different function for lightness.&lt;/p&gt;&#xA;&lt;p&gt;Standard colorspaces are usually poorly defined for highlights and dark tones. This means highlights would be most likely encoded as a small region around pure white (i.e. loose precision/data/information there). Similar with shadows.&lt;/p&gt;&#xA;&lt;p&gt;So, HDR in the colorspace terms is: a different lightness function (HLG - hybrid log or PQ function) + better defined color information for highlights and shadows.&lt;/p&gt;&#xA;&lt;p&gt;Using HDR colorspace is only relevant for editing/storing when you deal with SDR content (that is why you can recover shadows/highlights when editing RAW files). When you deal with HDR content - you would have to use a colorspace for HDR content.&lt;/p&gt;&#xA;&lt;p&gt;A lot of research papers clearly say that SDR colorspaces (i.e. CIECAM02, Lab) were only tested for illuminant around 100 nits. Higher illuminant or extreme changes in lightness and SDR colorspaces enter an &amp;quot;uncharted&amp;quot; territory. They could work fine, but less optimal as colorspaces defined for HDR.&lt;/p&gt;&#xA;" OwnerUserId="43543" LastEditorUserId="43543" LastEditDate="2024-01-29T10:37:37.403" LastActivityDate="2024-01-29T10:37:37.403" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37186" PostTypeId="1" AcceptedAnswerId="37188" CreationDate="2024-01-29T12:52:08.040" Score="0" ViewCount="31" Body="&lt;p&gt;if you compare these two screenshots which were made from a video (DJI Osmo Action 4) with the same settings, you see the quality on the one is pretty nice, but the trees in the other one look pretty bright with bad quality.&#xA;What could be the reason, that the trees look so bad in the other case? It is because it was too light and should I have used some ND filter or something?&lt;/p&gt;&#xA;&lt;p&gt;Color was set to &amp;quot;normal, 10bit&amp;quot;, light is set to &amp;quot;auto&amp;quot;, recording was 4K 25 frames.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/OLF06.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/OLF06.jpg&quot; alt=&quot;good&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/9bpLU.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/9bpLU.jpg&quot; alt=&quot;bad&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="5275" LastActivityDate="2024-01-30T11:52:36.547" Title="Action cam - Bad video color in some cases - reason?" Tags="|video-quality|lighting|action-cam|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37187" PostTypeId="2" ParentId="37182" CreationDate="2024-01-29T13:45:06.960" Score="0" Body="&lt;p&gt;You could easily do that with FFMpeg if you are ok with the program. Here's the official &lt;a href=&quot;https://ffmpeg.org/documentation.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt; and the &lt;a href=&quot;https://trac.ffmpeg.org/wiki&quot; rel=&quot;nofollow noreferrer&quot;&gt;Wiki&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;For instance, I have a following video &lt;a href=&quot;https://sample-videos.com/video321/mp4/720/big_buck_bunny_720p_30mb.mp4&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;code&gt;SampleVideo_1280x720_30mb_srt.mp4&lt;/code&gt;&lt;/a&gt; (the &lt;a href=&quot;https://sample-videos.com/&quot; rel=&quot;nofollow noreferrer&quot;&gt;source&lt;/a&gt;), which I added a few subtitles to. Let's probe the file:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;$&amp;gt; ffmpeg -hide_banner SampleVideo_1280x720_30mb_srt.mp4&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'SampleVideo_1280x720_30mb_srt.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf60.20.100&#xA;  Duration: 00:02:50.86, start: 0.000000, bitrate: 1474 kb/s&#xA;  Stream #0:0[0x1](und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(progressive), 1280x720 [SAR 1:1 DAR 16:9], 1086 kb/s, 25 fps, 25 tbr, 12800 tbn (default)&#xA;      Metadata:&#xA;        handler_name    : VideoHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;  Stream #0:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, 5.1, fltp, 383 kb/s (default)&#xA;      Metadata:&#xA;        handler_name    : SoundHandler&#xA;        vendor_id       : [0][0][0][0]&#xA;  Stream #0:2[0x3](eng): Subtitle: mov_text (tx3g / 0x67337874), 0 kb/s (default)&#xA;      Metadata:&#xA;        handler_name    : SubtitleHandler&#xA;  Stream #0:3[0x4](ger): Subtitle: mov_text (tx3g / 0x67337874), 0 kb/s&#xA;      Metadata:&#xA;        handler_name    : SubtitleHandler&#xA;  Stream #0:4[0x5](fre): Subtitle: mov_text (tx3g / 0x67337874), 0 kb/s&#xA;      Metadata:&#xA;        handler_name    : SubtitleHandler&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It's &lt;code&gt;02:50&lt;/code&gt; long with 5 streams: video, audio, and 3 subtitles in EN, DE, and FR. FFMpeg can cut/trim videos including all streams. The following command extracts 30 secs after the first minute including all streams: audio, video, and subtitles:&lt;/p&gt;&#xA;&lt;p&gt;(Note  metadata info are excluded from the following outputs)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$&amp;gt; ffmpeg -ss 00:01:00 -t 00:00:30 -i SampleVideo_1280x720_30mb_srt.mp4 -map 0 -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;-ss&lt;/code&gt; and &lt;code&gt;-t&lt;/code&gt; depict beginning of the time and duration. &lt;code&gt;-map 0&lt;/code&gt; instructs on including ALL streams from the input 0, that is the first input file. Here's the output from &lt;code&gt;ffprobe&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;$&amp;gt; ffprobe -hide_banner output.mp4&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'output.mp4':&#xA;  Duration: 00:00:30.01, start: 0.000000, bitrate: 1806 kb/s&#xA;  Stream #0:0[0x1](und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(progressive), 1280x720 [SAR 1:1 DAR 16:9], 1213 kb/s, 25 fps, 25 tbr, 12800 tbn (default)&#xA;  Stream #0:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, 5.1, fltp, 384 kb/s (default)&#xA;  Stream #0:2[0x3](eng): Subtitle: mov_text (tx3g / 0x67337874), 0 kb/s (default)&#xA;  Stream #0:3[0x4](ger): Subtitle: mov_text (tx3g / 0x67337874), 0 kb/s&#xA;  Stream #0:4[0x5](fre): Subtitle: mov_text (tx3g / 0x67337874), 0 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The duration of a new video is &lt;code&gt;00:30&lt;/code&gt; and all subtitles have been copied. If I decided to keep only one subtitle, I'd have to be more specific in which stream to include in output file. This is done via &lt;code&gt;-map&lt;/code&gt;s:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$&amp;gt; ffmpeg -ss 00:01:00 -t 00:00:30 -i SampleVideo_1280x720_30mb_srt.mp4 -map 0:v -map 0:a -map 0:s:0 -c copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here maps &lt;code&gt;0:v&lt;/code&gt; and &lt;code&gt;0:a&lt;/code&gt; tell FFMpeg to include both video and audio streams from the input 0. Then, &lt;code&gt;-map 0:s:0&lt;/code&gt; only includes the first subtitle, the one in English. Again, using &lt;code&gt;ffprobe&lt;/code&gt; on such video gives the following output:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;&amp;gt; ffprobe -hide_banner output.mp4&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'output.mp4':&#xA;  Duration: 00:00:30.01, start: 0.000000, bitrate: 1806 kb/s&#xA;  Stream #0:0[0x1](und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(progressive), 1280x720 [SAR 1:1 DAR 16:9], 1213 kb/s, 25 fps, 25 tbr, 12800 tbn (default)&#xA;  Stream #0:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, 5.1, fltp, 384 kb/s (default)&#xA;  Stream #0:2[0x3](eng): Subtitle: mov_text (tx3g / 0x67337874), 0 kb/s (default)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;I have used &lt;code&gt;-c copy&lt;/code&gt; in all above examples, which copies streams without any processing. Sometimes &lt;code&gt;-ss&lt;/code&gt; may produce artefacts at split points. A simple way to avoid is to slightly adjust  time for &lt;code&gt;-ss&lt;/code&gt;. Otherwise, re-encode the video stream&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$&amp;gt; ffmpeg -ss 00:01:00 -t 00:00:30 -i SampleVideo_1280x720_30mb_srt.mp4 -map 0 -c:v libx264 -preset slow -crf 20 -c:a copy -c:s copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;libx264&lt;/code&gt; and its settings is only an example.&lt;/p&gt;&#xA;&lt;p&gt;You should check &lt;a href=&quot;https://ffmpeg.org/documentation.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFMpeg manual&lt;/a&gt; or &lt;a href=&quot;https://trac.ffmpeg.org/wiki&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFMpeg official Wiki&lt;/a&gt; if you need more info. Just for completion &lt;code&gt;ffmpeg -hide_banner -codecs&lt;/code&gt; lists all available codecs, while &lt;code&gt;ffmpeg -hide_banner -h encoder=libx264&lt;/code&gt; will for instance list options available for H264 encoder.&lt;/p&gt;&#xA;&lt;p&gt;Hope this helps.&lt;/p&gt;&#xA;" OwnerUserId="4273" LastEditorUserId="4273" LastEditDate="2024-01-30T12:23:47.370" LastActivityDate="2024-01-30T12:23:47.370" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37188" PostTypeId="2" ParentId="37186" CreationDate="2024-01-30T11:52:36.547" Score="0" Body="&lt;p&gt;The second image isn't exposed as well as the first image. If the camera was on Auto mode, it will continuously try to adjust the exposure and colour settings to compensate to get the best image recorded. But sometimes it will fail to correctly guess the right settings.&lt;/p&gt;&#xA;&lt;p&gt;All cameras have a lower dynamic range than your eyes, so they have to make some compromises through adjustments to colour, exposure, white balance etc to create a pleasing image.&lt;/p&gt;&#xA;&lt;p&gt;Check &lt;a href=&quot;https://dl.djicdn.com/downloads/DJI_Osmo_Action_4/UM/20230906/DJI_Osmo_Action_4_User_Manual_v1.2_en.pdf&quot; rel=&quot;nofollow noreferrer&quot;&gt;the manual on pages 13-14&lt;/a&gt; for how to manually adjust exposure and white balance. You will get more consistency, but this might be less useful on an &amp;quot;action&amp;quot; camera, where you're often shooting for motion and excitement rather than precise accuracy (e.g. if you set the exposure in an outdoor position, then go into a tunnel, the camera will not adjust the exposure and the image will appear too dark).&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2024-01-30T11:52:36.547" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37189" PostTypeId="2" ParentId="37183" CreationDate="2024-01-30T11:56:04.107" Score="0" Body="&lt;p&gt;It looks like it is dropping data when trying to stream to the client device.&lt;/p&gt;&#xA;&lt;p&gt;Take your original footage and re-encode it using several different bitrates for the video. See which ones drop out and which ones work with your network connection. You can convert videos using e.g.  &lt;a href=&quot;https://handbrake.fr/downloads.php&quot; rel=&quot;nofollow noreferrer&quot;&gt;Handbrake&lt;/a&gt; (free) or &lt;a href=&quot;https://www.adobe.com/uk/products/media-encoder.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Media Encoder&lt;/a&gt; (not free).&lt;/p&gt;&#xA;&lt;p&gt;This should give you a sense of how many megabits per second can be streamed over your network. Then you need to decide whether to transcode your videos in advance, or whether you have a server with enough processing power to transcode them on the fly.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2024-01-30T11:56:04.107" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37190" PostTypeId="1" CreationDate="2024-01-30T16:18:52.030" Score="0" ViewCount="278" Body="&lt;p&gt;I'm trying to use ffmpeg to get a 10-second clip from the middle of a video. The execution time of the command is important, that's why I've decided to use combined input &amp;amp; output seeking (as illustrated here). The input video file is a CMAF with fragmented MP4, duration of 10 minutes.&lt;/p&gt;&#xA;&lt;p&gt;I'm testing on a Mac, Ffmpeg version is 6.1.1.&lt;/p&gt;&#xA;&lt;p&gt;This is the command that I'm using:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -nostdin -y -ss 290 -copyts -start_at_zero -i https://devcdn.flowplayer.com/5f07362e-c358-41d0-857a-c64302a3fcc9/cmaf/17bdb16d-71d1-414c-a291-a028bd45b9ec/playlist_360.m3u8 -ss 300.0 -t 10 -vcodec libwebp -lossless 0 -quality 60 -compression_level 2 -loop 0 -an -sn output.webp&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;strong&gt;Result:&lt;/strong&gt; no output file is created.&lt;/p&gt;&#xA;&lt;p&gt;From what I understand it fails to seek position &amp;quot;290&amp;quot; in the video, probably due to &amp;quot;Invalid NAL unit size&amp;quot; errors.&lt;/p&gt;&#xA;&lt;p&gt;Here's the output:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-106797-g580fb6a8c9-tessus Copyright (c) 2000-2022 the FFmpeg developersbuilt with Apple clang version 11.0.0 (clang-1100.0.33.17)configuration: --cc=/usr/bin/clang --prefix=/opt/ffmpeg --extra-version=tessus --enable-avisynth --enable-fontconfig --enable-gpl --enable-libaom --enable-libass --enable-libbluray --enable-libdav1d --enable-libfreetype --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libmysofa --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvmaf --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-libzmq --enable-libzvbi --enable-version3 --pkg-config-flags=--static --disable-ffplaylibavutil      57. 24.101 / 57. 24.101libavcodec     59. 27.100 / 59. 27.100libavformat    59. 23.100 / 59. 23.100libavdevice    59.  6.100 / 59.  6.100libavfilter     8. 37.100 /  8. 37.100libswscale      6.  6.100 /  6.  6.100libswresample   4.  6.100 /  4.  6.100libpostproc    56.  5.100 / 56.  5.100Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'https://devcdn.flowplayer.com/5f07362e-c358-41d0-857a-c64302a3fcc9/cmaf/17bdb16d-71d1-414c-a291-a028bd45b9ec/playlist_360.cmfv':Metadata:major_brand     : isomminor_version   : 1compatible_brands: isomavc1dashcmfccreation_time   : 2024-01-30T07:41:03.000000ZDuration: 00:09:56.54, start: 0.083333, bitrate: 458 kb/sStream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709, progressive), 640x360 [SAR 1:1 DAR 16:9], 1 kb/s, 24 fps, 24 tbr, 90k tbn (default)Metadata:creation_time   : 2024-01-30T07:41:03.000000Zhandler_name    : ETI ISO Video Media Handlervendor_id       : [0][0][0]ffmpeg version 6.1.1-tessus  https://evermeet.cx/ffmpeg/  Copyright (c) 2000-2023 the FFmpeg developers&#xA;  built with Apple clang version 11.0.0 (clang-1100.0.33.17)&#xA;  configuration: --cc=/usr/bin/clang --prefix=/opt/ffmpeg --extra-version=tessus --enable-avisynth --enable-fontconfig --enable-gpl --enable-libaom --enable-libass --enable-libbluray --enable-libdav1d --enable-libfreetype --enable-libgsm --enable-libmodplug --enable-libmp3lame --enable-libmysofa --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-libopus --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvmaf --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxml2 --enable-libxvid --enable-libzimg --enable-libzmq --enable-libzvbi --enable-version3 --pkg-config-flags=--static --disable-ffplay&#xA;  libavutil      58. 29.100 / 58. 29.100&#xA;  libavcodec     60. 31.102 / 60. 31.102&#xA;  libavformat    60. 16.100 / 60. 16.100&#xA;  libavdevice    60.  3.100 / 60.  3.100&#xA;  libavfilter     9. 12.100 /  9. 12.100&#xA;  libswscale      7.  5.100 /  7.  5.100&#xA;  libswresample   4. 12.100 /  4. 12.100&#xA;  libpostproc    57.  3.100 / 57.  3.100&#xA;[hls @ 0x7fc7bb904280] Skip ('#EXT-X-VERSION:6')&#xA;[hls @ 0x7fc7bb904280] Opening 'https://devcdn.flowplayer.com/5f07362e-c358-41d0-857a-c64302a3fcc9/cmaf/17bdb16d-71d1-414c-a291-a028bd45b9ec/playlist_360.cmfv' for reading&#xA;    Last message repeated 2 times&#xA;Input #0, hls, from '[**]/playlist_360.m3u8':&#xA;  Duration: 00:09:56.46, start: 0.083333, bitrate: 0 kb/s&#xA;  Program 0 &#xA;    Metadata:&#xA;      variant_bitrate : 0&#xA;  Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709), 640x360 [SAR 1:1 DAR 16:9], 1 kb/s, 24 fps, 24 tbr, 90k tbn (default)&#xA;    Metadata:&#xA;      variant_bitrate : 0&#xA;      compatible_brands: isomavc1dashcmfc&#xA;      handler_name    : ETI ISO Video Media Handler&#xA;      vendor_id       : [0][0][0][0]&#xA;      encoder         : Elemental H.264&#xA;      major_brand     : isom&#xA;      minor_version   : 1&#xA;      creation_time   : 2024-01-30T07:41:03.000000Z&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (h264 (native) -&amp;gt; webp (libwebp))&#xA;[hls @ 0x7fc7bb904280] Opening 'https://devcdn.flowplayer.com/5f07362e-c358-41d0-857a-c64302a3fcc9/cmaf/17bdb16d-71d1-414c-a291-a028bd45b9ec/playlist_360.cmfv' for reading&#xA;    Last message repeated 2 times&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (1772342253 &amp;gt; 1534).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 1538&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (-1977545460 &amp;gt; 1481).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 1485&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (1694403391 &amp;gt; 1582).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 1586&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (-1404850266 &amp;gt; 1661).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 1665&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (703351242 &amp;gt; 1680).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 1684&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (-836978648 &amp;gt; 1751).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 1755&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (752797651 &amp;gt; 1867).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 1871&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (-1831058223 &amp;gt; 1833).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 1837&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (-1238958831 &amp;gt; 2067).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2071&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (435683248 &amp;gt; 2090).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2094&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (2136335178 &amp;gt; 2229).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2233&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (-1468707300 &amp;gt; 2203).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2207&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (482758774 &amp;gt; 2402).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2406&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (-1079612217 &amp;gt; 2417).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2421&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (-608087491 &amp;gt; 2546).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2550&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (-1457748625 &amp;gt; 2527).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2531&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (1933919710 &amp;gt; 2734).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2738&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (1004643870 &amp;gt; 2803).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2807&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (-207765435 &amp;gt; 2988).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2992&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (-196888537 &amp;gt; 2306).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2310&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (1118966683 &amp;gt; 2620).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2624&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (1325583054 &amp;gt; 2715).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2719&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (-2003602869 &amp;gt; 2906).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2910&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (1666330272 &amp;gt; 3085).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 3089&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (-742329993 &amp;gt; 2593).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2597&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (1326266794 &amp;gt; 2347).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2351&#xA;[NULL @ 0x7fc7bb804f40] Invalid NAL unit size (2459776 &amp;gt; 2155).&#xA;[NULL @ 0x7fc7bb804f40] missing picture in access unit with size 2159&#xA;[https @ 0x7fc7ba022a00] Opening 'https://devcdn.flowplayer.com/5f07362e-c358-41d0-857a-c64302a3fcc9/cmaf/17bdb16d-71d1-414c-a291-a028bd45b9ec/playlist_360.cmfv' for reading&#xA;[...]&#xA;[vost#0:0/libwebp @ 0x7fc7bbb05780] No filtered frames for output stream, trying to initialize anyway.&#xA;Output #0, webp, to 'output.webp':&#xA;  Metadata:&#xA;    encoder         : Lavf60.16.100&#xA;  Stream #0:0(und): Video: webp, yuv420p(progressive), 640x360 [SAR 1:1 DAR 16:9], q=2-31, 200 kb/s, 24 fps, 1k tbn (default)&#xA;    Metadata:&#xA;      variant_bitrate : 0&#xA;      compatible_brands: isomavc1dashcmfc&#xA;      handler_name    : ETI ISO Video Media Handler&#xA;      vendor_id       : [0][0][0][0]&#xA;      creation_time   : 2024-01-30T07:41:03.000000Z&#xA;      major_brand     : isom&#xA;      minor_version   : 1&#xA;      encoder         : Lavc60.31.102 libwebp&#xA;[out#0/webp @ 0x7fc7bbb04900] video:0kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown&#xA;[out#0/webp @ 0x7fc7bbb04900] Output file is empty, nothing was encoded(check -ss / -t / -frames parameters if used)&#xA;frame=    0 fps=0.0 q=0.0 Lsize=       0kB time=N/A bitrate=N/A speed=N/A &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What I've tried so far:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Downloaded the input file to a local directory and used it as input to ffmpeg - same results.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Used the mp4 file from the playlist directly as an input to ffmpeg - worked but the execution time is very slow&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Emmited the input seeking part (-ss 290 -copyts -start_at_zero) from the command - worked but also very slow in terms of execution time&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Do you have any ideas on why I'm getting &amp;quot;Invalid NAL unit size&amp;quot; and how to make the command work with input seeking?&lt;/p&gt;&#xA;" OwnerUserId="43552" LastEditorUserId="43552" LastEditDate="2024-01-30T16:20:37.870" LastActivityDate="2024-01-30T16:20:37.870" Title="Ffmpeg input seeking - &quot;Invalid NAL unit size&quot;" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37191" PostTypeId="2" ParentId="34415" CreationDate="2024-01-30T21:33:04.267" Score="1" Body="&lt;p&gt;Maybe &amp;quot;&lt;em&gt;Shot Match&lt;/em&gt;&amp;quot; is what you are looking for (citing page 2802 of &amp;quot;Chapter 126 Automated Grading Commands and Imported Grades&amp;quot; from DaVinci Resolve 18 Reference Manual):&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;After you make a general adjustment to improve the color of a clip in a scene, one of the other&#xA;principal tasks of the colorist is to adjust all of the clips in that scene so that they match the clip you&#xA;started with, such that they all look like they were shot at the same time and in the same place. This is&#xA;called scene-to-scene color correction, scene balancing, or shot matching. While there are abundant&#xA;tools in DaVinci Resolve to ease the process of doing this manually, wouldn’t it be nice if you could just&#xA;select a series of clips that you want to match, and have the software do the work?&#xA;That’s exactly what Shot Match has been designed to do.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="33658" LastActivityDate="2024-01-30T21:33:04.267" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37192" PostTypeId="1" CreationDate="2024-01-31T12:13:54.873" Score="0" ViewCount="13" Body="&lt;p&gt;I want to receive an mpeg4 stream with gstreamer, the stream information is(using ffprobe shows the following):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mpeg, from 'udp://192.168.0.101@225.1.1.40:8001':&#xA;Duration: N/A, start: 19215.434044, bitrate: N/A&#xA;Stream #0:0[0x1e0]: Video: mpeg4 (Advanced Simple Profile), yuv420p, 352x288 [SAR 1:1 DAR 11:9], 25 fps, 25 tbr, 90k tbn&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and the pipeline that I came up with is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;gst-launch-1.0 -v udpsrc uri=udp://225.1.1.40:8004 caps=&amp;quot;video/mpeg, mpegversion=(int)4, systemstream=(boolean)false, parsed=(boolean)false, profile=(string)advanced-simple, level=(string)4&amp;quot; ! mpeg4videoparse ! nvmpeg4videodec ! xvimagesink sync=false&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;which kinda works but is quite unusable as you can see in the screenshot below:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kc4Z1.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kc4Z1.png&quot; alt=&quot;stream using gstreamer&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;P.S: playbin doesn't open the stream but ffplay does.&#xA;P.S2: when I use this pipeline:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;GST_DEBUG=3 gst-launch-1.0 -v udpsrc uri=udp://225.1.1.40:8004 caps=&amp;quot;video/mpeg, mpegversion=(int)4, systemstream=(boolean)false, parsed=(boolean)false, profile=(string)advanced-simple, level=(string)4&amp;quot; ! mpeg4videoparse ! avdec_mpeg4 ! xvimagesink sync=false&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I get this image and these errors:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4qn5a.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4qn5a.png&quot; alt=&quot;second stream&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;this is also kinda working(when I move in front of the camera those pixels will change)&#xA;Errors:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;    0:00:00.142530876 232851 0x7f0dec000b90 ERROR                  libav :0:: ac-tex damaged at 12 0&#xA;    0:00:00.142550122 232851 0x7f0dec000b90 ERROR                  libav :0:: Error at MB: 12&#xA;    0:00:00.221094402 232851 0x7f0dec000b90 ERROR                  libav :0:: Error at MB: 259&#xA;    0:00:00.302009028 232851 0x7f0dec000b90 ERROR                  libav :0:: ac-tex damaged at 8 5&#xA;    0:00:00.302061716 232851 0x7f0dec000b90 ERROR                  libav :0:: Error at MB: 123&#xA;    0:00:00.342253369 232851 0x7f0dec000b90 ERROR                  libav :0:: ac-tex damaged at 17 5&#xA;...&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;gst-launch-1.0 version 1.22.8&lt;/li&gt;&#xA;&lt;li&gt;garuda linux(arch)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="43553" LastEditorUserId="4426" LastEditDate="2024-01-31T14:09:48.237" LastActivityDate="2024-01-31T14:09:48.237" Title="receive mpeg4 stream using gstreamer" Tags="|ffmpeg|mpeg4|gstreamer|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37193" PostTypeId="1" CreationDate="2024-02-01T07:06:36.943" Score="0" ViewCount="40" Body="&lt;p&gt;We're looking to enhance a video using Ffmpeg by implementing several effects sequentially. First, we aim to apply a blur effect to the entire video. Then, we want to overlay a logo and a waveform onto the blurred video. Finally, we need to add a border around the entire composition. This step-by-step process requires precise commands and careful consideration of parameters to achieve the desired result effectively.&#xA;I utilized Ffmpeg commands to sequentially apply blur, overlay the logo and waveform, and add a border to the video. I expected each effect to be applied in the specified order, resulting in a visually enhanced video with all desired elements. However, I encountered challenges in properly configuring the parameters for each effect, leading to unexpected results such as misaligned overlays or improper blur intensity.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;setlocal enabledelayedexpansion&#xA;&#xA;rem Set paths and directories&#xA;set &amp;quot;ffmpeg_path=C:\ffmpeg\bin\ffmpeg.exe&amp;quot;&#xA;set &amp;quot;input_dir=_input&amp;quot;&#xA;set &amp;quot;output_dir=_output&amp;quot;&#xA;&#xA;rem Ensure input and output directories exist&#xA;if not exist &amp;quot;%input_dir%&amp;quot; (&#xA;    echo Error: Input directory &amp;quot;%input_dir%&amp;quot; not found.&#xA;    exit /b 1&#xA;)&#xA;&#xA;if not exist &amp;quot;%output_dir%&amp;quot; (&#xA;    mkdir &amp;quot;%output_dir%&amp;quot;&#xA;)&#xA;&#xA;rem Loop through input directory&#xA;for %%t in (&amp;quot;%input_dir%\*.*&amp;quot;) DO (&#xA;&#xA;    rem Process each file with ffmpeg&#xA;    &amp;quot;%ffmpeg_path%&amp;quot; -y -i &amp;quot;%%t&amp;quot; -i logo.png -filter_complex &amp;quot;\&#xA;        [0:v]eq=brightness=0.2:saturation=2.0:contrast=1.2, crop=iw/1.2:ih/1.2, \&#xA;        boxblur=1:2 [blurred_bg]; \&#xA;        [blurred_bg][1:v]overlay=(main_w-overlay_w)/2:(main_h-overlay_h-10)[bg_with_logo]; \&#xA;        [0:a]showwaves=s=1080x100:mode=line:colors=white [waveform]; \&#xA;        [bg_with_logo][waveform]overlay=10:H-h-10, \&#xA;        format=yuv420p[v]; \&#xA;        [v]pad=iw+20:ih+20:x=10:y=10:color=white[final_output]&amp;quot; \&#xA;        -map &amp;quot;[final_output]&amp;quot; -map 0:a -c:v h264 -c:a aac -b:a 128k -ar 44100 &amp;quot;%output_dir%\temp.mp4&amp;quot;&#xA;&#xA;    rem Check if output file exists&#xA;    if exist &amp;quot;%output_dir%\temp.mp4&amp;quot; (&#xA;        rem Calculate new MD5 hash&#xA;        certutil -hashfile &amp;quot;%output_dir%\temp.mp4&amp;quot; MD5 &amp;gt; &amp;quot;%output_dir%\temp_md5.txt&amp;quot;&#xA;&#xA;        rem Remove ID3 tag metadata&#xA;        &amp;quot;%ffmpeg_path%&amp;quot; -i &amp;quot;%output_dir%\temp.mp4&amp;quot; -map_metadata -1 -c:v copy -c:a copy &amp;quot;%output_dir%\%%~nt.mp4&amp;quot;&#xA;&#xA;        rem Clean up temporary files&#xA;        del &amp;quot;%output_dir%\temp.mp4&amp;quot;&#xA;        del &amp;quot;%output_dir%\temp_md5.txt&amp;quot;&#xA;    ) else (&#xA;        echo Error: Failed to create output file for &amp;quot;%%~nt&amp;quot;&#xA;    )&#xA;)&#xA;&#xA;pause&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43560" LastEditorUserId="4273" LastEditDate="2024-02-01T11:34:51.470" LastActivityDate="2024-02-01T11:34:51.470" Title="How can we use Ffmpeg to apply blur, overlay a logo and waveform, and add a border around a video, step by step?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37196" PostTypeId="2" ParentId="37171" CreationDate="2024-02-01T18:29:20.237" Score="1" Body="&lt;p&gt;Alain1A45 posted the correct answer as a comment, the following command creates an output file with working audio tracks for QuickTime player:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i in.mp4 -vcodec copy -tag:v hvc1 -acodec copy -scodec copy -map 0 -disposition:a:1 0 out.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43501" LastActivityDate="2024-02-01T18:29:20.237" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37197" PostTypeId="1" CreationDate="2024-02-01T21:23:52.213" Score="0" ViewCount="44" Body="&lt;p&gt;Im attempting to make a wave video script in bash that allows the user to input an audio file and a background and displaying a wave filter over that image, and 1 that has a border around it so it doesnt look look so ugly being overlayed on the video. My solution to getting this border is adding another show waves filter first that is bigger than the second show waves filter. Getting 1 wave filter was relatively easy and I was able to do that without much a problem.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;function designwavevideo() {&#xA;        outputpath=&amp;quot;/storage/emulated/0/Pictures/Wave Audio Videos/&amp;quot;&#xA;        read -p &amp;quot;Enter Audio File: &amp;quot; audiofile&#xA;        read -p &amp;quot;Enter Background File: &amp;quot; backgroundfile&#xA;        backgroundwidth=$(ffprobe -v error -select_streams v -show_entries stream=width -of csv=p=0:s=x &amp;quot;$backgroundfile&amp;quot;)&#xA;        backgroundheight=$(ffprobe -v error -select_streams v -show_entries stream=height -of csv=p=0:s=x &amp;quot;$backgroundfile&amp;quot;)&#xA;        # read -p &amp;quot;Enter Border Wave Thickness:&amp;quot; borderwavethickness&#xA;        read -p &amp;quot;Output File Name:&amp;quot; outputfilename&#xA;        let widthwavethickness=$backgroundwidth+$borderwavethickness&#xA;        let heightwavethickness=$backgroundheight+$borderwavethickness&#xA;        ffmpeg -y -i &amp;quot;${audiofile}&amp;quot; -i &amp;quot;${backgroundfile}&amp;quot; -threads 16  -filter_complex &amp;quot;[0:a]aformat=channel_layouts=mono,showwaves=size=${backgroundwidth}x${backgroundheight}:mode=cline:rate=25:draw=full:colors=#43fa62[v];[1:v][v]overlay=format=auto:x=(W-w)/2:y=(H-h)/2,format=yuv420p[outv]&amp;quot; -map &amp;quot;[outv]&amp;quot; -c:a aac -map 0:a -c:v libx264 -crf 28 -preset veryslow -b:v 0 -shortest &amp;quot;${outputpath}${outputfilename}&amp;quot;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But Adding 2 waves to the same video is proving to be a bit complicated for me. As shown by the snippet below. I tried to add another wave filter and set the overlays but that dint work so now I hit a stump and im not quite sure how to go about fixing this.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;function designwavevideo() {&#xA;        outputpath=&amp;quot;/storage/emulated/0/Pictures/Wave Audio Videos/&amp;quot;&#xA;        read -p &amp;quot;Enter Audio File: &amp;quot; audiofile&#xA;        read -p &amp;quot;Enter Background File: &amp;quot; backgroundfile&#xA;        backgroundwidth=$(ffprobe -v error -select_streams v -show_entries stream=width -of csv=p=0:s=x &amp;quot;$backgroundfile&amp;quot;)&#xA;        backgroundheight=$(ffprobe -v error -select_streams v -show_entries stream=height -of csv=p=0:s=x &amp;quot;$backgroundfile&amp;quot;)&#xA;        read -p &amp;quot;Enter Border Wave Thickness:&amp;quot; borderwavethickness&#xA;        read -p &amp;quot;Output File Name:&amp;quot; outputfilename&#xA;        let widthwavethickness=$backgroundwidth+$borderwavethickness&#xA;        let heightwavethickness=$backgroundheight+$borderwavethickness&#xA;        ffmpeg -y -i &amp;quot;${audiofile}&amp;quot; -i &amp;quot;${backgroundfile}&amp;quot; -threads 16 -filter_complex &amp;quot;[0:a]aformat=channel_layouts=mono,showwaves=size=${widthwavethickness}x${heightwavethickness}:mode=cline:rate=25:draw=full:colors=#000000[v1];[0:a]aformat=channel_layouts=mono,showwaves=size=${backgroundwidth}x${backgroundheight}:mode=cline:rate=25:draw=full:colors=#43fa62[v2];[1:v][0][v1]overlay=format=auto[o1];[o1][v2]overlay=format=auto[o1]&amp;quot; -map &amp;quot;[outv]&amp;quot; -c:a aac -map 0:a -c:v libx264 -crf 28 -preset veryslow -b:v 0 -shortest &amp;quot;${outputpath}${outputfilename}&amp;quot;&#xA;}&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43567" LastEditorUserId="43567" LastEditDate="2024-02-01T21:36:49.127" LastActivityDate="2024-02-01T21:36:49.127" Title="How do I add a &quot;border&quot; in showwaves filter with FFMPEG?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37198" PostTypeId="1" CreationDate="2024-02-04T06:16:10.867" Score="0" ViewCount="15" Body="&lt;p&gt;I am trying to make a voice communication between two peers. The first peer is my local machine which is behind a symmetric NAT. The second peer is my server running on an AWS EC2 device which has a public IP address. I want to use FFMPEG for sending the audio stream through RTP while at the same time listening to a known port to receive the audio stream the remote peer sends to my device. In order to not deal with NAT traversal issues, I want to be able to use the same IP address and port number I use for sending on my local device for receiving. Is this plausible? I'm starting to think that this is not possible and here is my rationale:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If my understanding is correct UDP doesn't allow full-duplex communication; that is, one cannot use one IP:port pair for both sending and receiving data packets at the same time. Is that correct?&lt;/li&gt;&#xA;&lt;li&gt;If one wants to bind a socket that is already been bound, the function throws a bind error saying &amp;quot;Address already in use.&amp;quot;. I figured there is a UDP option to allow binding to the same port or address even if they are in use. These options are namely SO_REUSEADDR and SO_REUSEPORT. However, &lt;a href=&quot;https://www.unixguide.net/network/socketfaq/4.5.shtml&quot; rel=&quot;nofollow noreferrer&quot;&gt;this&lt;/a&gt; page states that it is only possible if the port is in TIME_WAIT state. So this also supports my suspicion.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;On the other hand, there is &lt;a href=&quot;https://datatracker.ietf.org/doc/html/rfc4961&quot; rel=&quot;nofollow noreferrer&quot;&gt;symmetric RTP&lt;/a&gt; that clearly states a device can receive RTP streams from an address and port that it simultaneously uses to transmit RTP streams from. With exact words of the RFC:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;A device supports symmetric RTP if it selects, communicates, and uses&#xA;IP addresses and port numbers such that, when receiving a&#xA;bidirectional RTP media stream on UDP port &amp;quot;A&amp;quot; and IP address &amp;quot;a&amp;quot;, it&#xA;also transmits RTP media for that stream from the same source UDP&#xA;port &amp;quot;A&amp;quot; and IP address &amp;quot;a&amp;quot;.  That is, it uses the same UDP port to&#xA;transmit and receive one RTP stream.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;A device that doesn't support symmetric RTP would transmit RTP from a&#xA;different port, or from a different IP address, than the port and IP&#xA;address used to receive RTP for that bidirectional media steam.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;So this is where I get confused. Is symmetric RTP somehow works around the limitations of UDP? How am I getting this wrong?&lt;/p&gt;&#xA;&lt;p&gt;Now going back to FFMPEG and the use of symmetric RTP, I see there is an rtp option we can use to set it up, the so called &lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#rtp&quot; rel=&quot;nofollow noreferrer&quot;&gt;localrtpport=n&lt;/a&gt;. I can find almost no explanation to what it does and how it's useful though. Can anyone help me with that? As far as I can tell, this option tells FFMPEG to use port &amp;quot;n&amp;quot; as the outbound port when transmitting an RTP stream. So if the receiver transmitted its stream to this port then the problem of symmetric NAT requirement would be resolved. Or so I thought...&lt;/p&gt;&#xA;&lt;p&gt;To draw you a better picture, here are my FFMPEG commands (I'm trying everything in my local host in these commands):&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;# My Mac with en0 IP of 192.168.1.64&#xA;ffmpeg \&#xA;-hide_banner \&#xA;-re \&#xA;-fflags +genpts \&#xA;-f lavfi -i aevalsrc=&amp;quot;sin(400*2*PI*t)&amp;quot; \&#xA;-ar 8000 \&#xA;-f mulaw \&#xA;-f rtp -reuse 1 &amp;quot;rtp://192.168.1.72:9193?reuse=1&amp;amp;localrtpport=16386&amp;amp;localrtcpport=16387&amp;quot; \&#xA;-protocol_whitelist udp,rtp \&#xA;-i rtp://192.168.1.64:16386 \&#xA;audio_signal_with_symmetric_rtp.mp3&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here I am simply generating a fixed sound signal and outputting it in mulaw format through rtp. I am using the 'localrtport' option to set my outbound port and I am expecting to receive the remote peer's stream on the same port. This command starts running and and waits for the incoming stream. As soon as I start transmitting the stream from my Raspberry Pi which is on the same wireless network, I get the dreaded &amp;quot;Address already in use.&amp;quot; error and the process terminates. Here is the command I use on the Raspberry:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;# My Raspberry Pi with wlan0 IP of 192.168.1.72&#xA;ffmpeg \&#xA;-hide_banner \&#xA;-re \&#xA;-f lavfi -i aevalsrc=&amp;quot;sin(400*2*PI*t)&amp;quot; \&#xA;-ar 8000 \&#xA;-f mulaw \&#xA;-f rtp &amp;quot;rtp://192.168.1.64:16386?reuse=1&amp;amp;localrtpport=16386&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;h2&gt;TLDR&lt;/h2&gt;&#xA;&lt;p&gt;The short form of the question comes down to this: How can I make use of symmetric RTP with FFMPEG, receive a stream from the same port I am actively transmitting another stream from? Is what I'm asking impossible? Should I go for an alternate route and try to set up a TURN server for my system? Any help would be appreciated.&lt;/p&gt;&#xA;" OwnerUserId="43583" LastActivityDate="2024-02-04T06:16:10.867" Title="Using FFMPEG for Bidirectional Voice Communication with Symmetric RTP" Tags="|ffmpeg|rtp|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37199" PostTypeId="1" CreationDate="2024-02-04T12:04:21.417" Score="0" ViewCount="34" Body="&lt;p&gt;I wrote the following script to capture both the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Capture/Desktop&quot; rel=&quot;nofollow noreferrer&quot;&gt;screen&lt;/a&gt; and the &lt;a href=&quot;https://trac.ffmpeg.org/wiki/Capture/ALSA&quot; rel=&quot;nofollow noreferrer&quot;&gt;audio&lt;/a&gt; from the microphone, both lossless from my laptop:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;#!/bin/bash&#xA;&#xA;d=$(date +&amp;quot;%Y%m%d_%-H%M&amp;quot;)&#xA;dimensions=$(xdpyinfo |grep dimensions| awk '{print $2}';)&#xA;&#xA;ffmpeg -f x11grab -r 25 -s &amp;quot;${dimensions}&amp;quot; -i &amp;quot;${DISPLAY}&amp;quot; -f alsa -ac 2 -i default -c:v libx264rgb -crf 0 -color_range 2 -preset ultrafast -c:a pcm_s16le -strict -2 &amp;quot;${d}.mkv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The sound becomes very intermittent when setting to a very low number of frames per second (the sound practically disappears when r is set to 7) and it improves substantially to an acceptable quality with &lt;code&gt;-r&lt;/code&gt; set to 50 or higher.&#xA;This behaviour is also present with lossy capturing of the screen and audio as with &lt;code&gt;ffmpeg -f alsa -ac 2 -i default -f x11grab -s &amp;quot;${dimensions}&amp;quot; -r 7 -i &amp;quot;${DISPLAY}&amp;quot; &amp;quot;${d}.mkv&amp;quot;&lt;/code&gt;&lt;br /&gt;&#xA;&lt;strong&gt;Why does the &lt;code&gt;-r&lt;/code&gt; parameter influence the quality of the sound?&lt;/strong&gt; &lt;strong&gt;Is the syntax of my script incorrect?&lt;/strong&gt;&#xA;When I record the audio without screencasting, either &lt;code&gt;ffmpeg -f alsa -ac 2 -i default &amp;quot;${d}.mp4&amp;quot; &lt;/code&gt; or &lt;code&gt;ffmpeg -f alsa -ac 2 -i default &amp;quot;${d}.wav&amp;quot; &lt;/code&gt;works fine giving me satisfying quality of the audio.&#xA;The output from recording with &lt;code&gt;ffmpeg -f x11grab -r 25 -s &amp;quot;${dimensions}&amp;quot; -i &amp;quot;${DISPLAY}&amp;quot; -f alsa -ac 2 -i default -c:v libx264rgb -crf 0 -color_range 2 -preset ultrafast -c:a pcm_s16le -strict -2 &amp;quot;${d}.mkv&amp;quot;&lt;/code&gt; is:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version 5.1.4-0+deb12u1 Copyright (c) 2000-2023 the FFmpeg developers&#xA;  built with gcc 12 (Debian 12.2.0-14)&#xA;  configuration: --prefix=/usr --extra-version=0+deb12u1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libdav1d --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libglslang --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librabbitmq --enable-librist --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libsrt --enable-libssh --enable-libsvtav1 --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzimg --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opencl --enable-opengl --enable-sdl2 --disable-sndio --enable-libjxl --enable-pocketsphinx --enable-librsvg --enable-libmfx --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libx264 --enable-libplacebo --enable-librav1e --enable-shared&#xA;  libavutil      57. 28.100 / 57. 28.100&#xA;  libavcodec     59. 37.100 / 59. 37.100&#xA;  libavformat    59. 27.100 / 59. 27.100&#xA;  libavdevice    59.  7.100 / 59.  7.100&#xA;  libavfilter     8. 44.100 /  8. 44.100&#xA;  libswscale      6.  7.100 /  6.  7.100&#xA;  libswresample   4.  7.100 /  4.  7.100&#xA;  libpostproc    56.  6.100 / 56.  6.100&#xA;[x11grab @ 0x55d20fe24040] Stream #0: not enough frames to estimate rate; consider increasing probesize&#xA;Input #0, x11grab, from ':0':&#xA;  Duration: N/A, start: 1707046868.487852, bitrate: 1658880 kb/s&#xA;  Stream #0:0: Video: rawvideo (BGR[0] / 0x524742), bgr0, 1920x1080, 1658880 kb/s, 25 fps, 1000k tbr, 1000k tbn&#xA;Guessed Channel Layout for Input Stream #1.0 : stereo&#xA;Input #1, alsa, from 'default':&#xA;  Duration: N/A, start: 1707046868.768038, bitrate: 1536 kb/s&#xA;  Stream #1:0: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s&#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (rawvideo (native) -&amp;gt; h264 (libx264rgb))&#xA;  Stream #1:0 -&amp;gt; #0:1 (pcm_s16le (native) -&amp;gt; pcm_s16le (native))&#xA;Press [q] to stop, [?] for help&#xA;[libx264rgb @ 0x55d20fe7e9c0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2&#xA;[libx264rgb @ 0x55d20fe7e9c0] profile High 4:4:4 Predictive, level 4.0, 4:4:4, 8-bit&#xA;[libx264rgb @ 0x55d20fe7e9c0] 264 - core 164 r3095 baee400 - H.264/MPEG-4 AVC codec - Copyleft 2003-2022 - http://www.videolan.org/x264.html - options: cabac=0 ref=1 deblock=0:0:0 analyse=0:0 me=dia subme=0 psy=0 mixed_ref=0 me_range=16 chroma_me=1 trellis=0 8x8dct=0 cqm=0 deadzone=21,11 fast_pskip=0 chroma_qp_offset=0 threads=24 lookahead_threads=4 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=0 weightp=0 keyint=250 keyint_min=25 scenecut=0 intra_refresh=0 rc=cqp mbtree=0 qp=0&#xA;Output #0, matroska, to '20240204_1241-loseless.mkv':&#xA;  Metadata:&#xA;    encoder         : Lavf59.27.100&#xA;  Stream #0:0: Video: h264 (H264 / 0x34363248), bgr0(pc, progressive), 1920x1080, q=2-31, 25 fps, 1k tbn&#xA;    Metadata:&#xA;      encoder         : Lavc59.37.100 libx264rgb&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: N/A&#xA;  Stream #0:1: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 48000 Hz, stereo, s16, 1536 kb/s&#xA;    Metadata:&#xA;      encoder         : Lavc59.37.100 pcm_s16le&#xA;frame=    1 fps=0.0 q=0.0 size=       1kB time=00:00:00.02 bitrate= 286.5kbits/sframe=   21 fps=0.0 q=0.0 size=       1kB time=00:00:00.02 bitrate= 286.5kbits/s[alsa @ 0x55d20fe30440] Thread message queue blocking; consider raising the thread_queue_size option (current value: 8)&#xA;[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=   33 fps= 32 q=0.0 size=       1kB time=00:00:00.81 bitrate=   7.3kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=   46 fps= 30 q=0.0 size=       1kB time=00:00:00.82 bitrate=   7.3kbits/sframe=   58 fps= 28 q=0.0 size=       1kB time=00:00:01.58 bitrate=   3.8kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=   71 fps= 28 q=0.0 size=       1kB time=00:00:02.34 bitrate=   2.6kbits/sframe=   84 fps= 28 q=0.0 size=    5376kB time=00:00:02.34 bitrate=18780.5kbits/[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=   96 fps= 27 q=0.0 size=    5376kB time=00:00:03.14 bitrate=14003.2kbits/[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  109 fps= 27 q=0.0 size=    5376kB time=00:00:03.93 bitrate=11186.2kbits/frame=  122 fps= 27 q=0.0 size=    5376kB time=00:00:03.93 bitrate=11186.2kbits/[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  134 fps= 26 q=0.0 size=    5376kB time=00:00:04.70 bitrate=9358.3kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  147 fps= 26 q=0.0 size=    5376kB time=00:00:04.88 bitrate=9020.9kbits/sframe=  160 fps= 26 q=0.0 size=    5376kB time=00:00:05.49 bitrate=8010.2kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  173 fps= 26 q=0.0 size=    5376kB time=00:00:06.25 bitrate=7039.7kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  185 fps= 26 q=0.0 size=    5376kB time=00:00:06.39 bitrate=6889.9kbits/sframe=  198 fps= 26 q=0.0 size=    5376kB time=00:00:07.02 bitrate=6268.2kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;[matroska @ 0x55d20fe7d800] Non-monotonous DTS in output stream 0:1; previous: 7108, current: 7104; changing to 7108. This may result in incorrect timestamps in the output file.&#xA;[matroska @ 0x55d20fe7d800] Non-monotonous DTS in output stream 0:1; previous: 7173, current: 7170; changing to 7173. This may result in incorrect timestamps in the output file.&#xA;frame=  211 fps= 26 q=0.0 size=    7424kB time=00:00:07.82 bitrate=7776.2kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  223 fps= 26 q=0.0 size=    7424kB time=00:00:07.97 bitrate=7626.0kbits/sframe=  236 fps= 26 q=0.0 size=    7424kB time=00:00:08.58 bitrate=7088.3kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  248 fps= 26 q=0.0 size=    7424kB time=00:00:09.34 bitrate=6510.1kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  261 fps= 26 q=0.0 size=    7424kB time=00:00:09.40 bitrate=6469.2kbits/sframe=  273 fps= 26 q=0.0 size=    7424kB time=00:00:10.14 bitrate=5996.0kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  286 fps= 26 q=0.0 size=    8960kB time=00:00:10.93 bitrate=6711.2kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  299 fps= 26 q=0.0 size=    8960kB time=00:00:10.94 bitrate=6703.8kbits/sframe=  312 fps= 26 q=0.0 size=    8960kB time=00:00:11.69 bitrate=6276.2kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  324 fps= 26 q=0.0 size=    8960kB time=00:00:12.46 bitrate=5888.5kbits/sframe=  337 fps= 26 q=0.0 size=    8960kB time=00:00:12.46 bitrate=5888.5kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  349 fps= 26 q=0.0 size=    8960kB time=00:00:13.26 bitrate=5533.0kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  362 fps= 26 q=0.0 size=    8960kB time=00:00:13.47 bitrate=5445.9kbits/s[matroska @ 0x55d20fe7d800] Non-monotonous DTS in output stream 0:1; previous: 13457, current: 13451; changing to 13457. This may result in incorrect timestamps in the output file.&#xA;[matroska @ 0x55d20fe7d800] Non-monotonous DTS in output stream 0:1; previous: 13457, current: 13453; changing to 13457. This may result in incorrect timestamps in the output file.&#xA;frame=  374 fps= 25 q=0.0 size=    8960kB time=00:00:14.05 bitrate=5220.9kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  387 fps= 25 q=0.0 size=    8960kB time=00:00:14.82 bitrate=4952.8kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  400 fps= 25 q=0.0 size=    8960kB time=00:00:15.04 bitrate=4878.7kbits/sframe=  413 fps= 25 q=0.0 size=   11776kB time=00:00:15.57 bitrate=6193.0kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  425 fps= 25 q=0.0 size=   11776kB time=00:00:16.33 bitrate=5905.7kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;frame=  438 fps= 25 q=0.0 size=   11776kB time=00:00:16.48 bitrate=5853.3kbits/sframe=  451 fps= 25 q=0.0 size=   17408kB time=00:00:17.09 bitrate=8340.0kbits/s[alsa @ 0x55d20fe30440] ALSA buffer xrun.&#xA;&#xA;&#xA;[q] command received. Exiting.&#xA;&#xA;frame=  455 fps= 25 q=-1.0 Lsize=   21617kB time=00:00:18.16 bitrate=9750.7kbits/s speed=1.01x    &#xA;video:20715kB audio:896kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.025721%&#xA;[libx264rgb @ 0x55d20fe7e9c0] frame I:2     Avg QP: 0.00  size:950424&#xA;[libx264rgb @ 0x55d20fe7e9c0] frame P:453   Avg QP: 0.00  size: 42629&#xA;[libx264rgb @ 0x55d20fe7e9c0] mb I  I16..4: 100.0%  0.0%  0.0%&#xA;[libx264rgb @ 0x55d20fe7e9c0] mb P  I16..4: 56.4%  0.0%  0.0%  P16..4:  0.1%  0.0%  0.0%  0.0%  0.0%    skip:43.5%&#xA;[libx264rgb @ 0x55d20fe7e9c0] coded y,u,v intra: 1.8% 1.8% 2.0% inter: 0.1% 0.1% 0.1%&#xA;[libx264rgb @ 0x55d20fe7e9c0] i16 v,h,dc,p: 98%  2%  0%  0%&#xA;[libx264rgb @ 0x55d20fe7e9c0] kb/s:9323.81&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The laptop (Debian based system, utilizing X11 for the window manager, 16GB of RAM, Intel i7-10870H CPU 2.20GHz - 16 cores, NVIDIA Corporation GA106M [GeForce RTX 3060 Mobile / Max-Q]) does not lack compute, the loading averages when not recording are:&#xA;&lt;code&gt;0.16, 0.14, 0.38&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="38160" LastEditorUserId="38160" LastEditDate="2024-02-04T19:11:54.273" LastActivityDate="2024-02-04T19:11:54.273" Title="How do I get better sound quality when screencasting with ffmpeg without having to increase -r?" Tags="|ffmpeg|audio-recording|screen-casting|audio-quality|lossless|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37200" PostTypeId="1" CreationDate="2024-02-05T19:19:28.783" Score="0" ViewCount="22" Body="&lt;p&gt;I'm trying to correct lens distortion of a video.&lt;/p&gt;&#xA;&lt;p&gt;I use below code that I took from here: &lt;a href=&quot;https://ffmpeg.org/ffmpeg-all.html#Examples-132&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.org/ffmpeg-all.html#Examples-132&lt;/a&gt;&#xA;(I just change the input and output file paths).&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -vf lensfun=make=Canon:model=&amp;quot;Canon EOS 100D&amp;quot;:lens_model=&amp;quot;Canon EF-S 18-55mm f/3.5-5.6 IS STM&amp;quot;:focal_length=18:aperture=8 -c:v h264 -b:v 8000k output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But I get this error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_lensfun_0 @ 000002a85a0f7ac0] Failed to load lensfun database from default path&#xA;[AVFilterGraph @ 000002a8638fa880] Error initializing filters&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid data found when processing input&#xA;Error while processing the decoded data for stream #0:0&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;How can I resolve this issue?&lt;/p&gt;&#xA;&lt;p&gt;I tried to give full path with db_path command as seen below:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mov -vf lensfun=make=Canon:model=&amp;quot;Canon EOS 100D&amp;quot;:lens_model=&amp;quot;Canon EF-S 18-55mm f/3.5-5.6 IS STM&amp;quot;:focal_length=18:aperture=8:db_path=E:\lensfun-master\data\db\slr-canon.xml -c:v h264 -b:v 8000k output.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And I get this similar error:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[Parsed_lensfun_0 @ 0000020b955cb7c0] Failed to load lensfun database from E path&#xA;[AVFilterGraph @ 0000020b94e2e9c0] Error initializing filters&#xA;Error reinitializing filters!&#xA;Failed to inject frame into filter network: Invalid data found when processing input&#xA;Error while processing the decoded data for stream #0:0&#xA;Conversion failed!&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Am I doing something wrong?&lt;/p&gt;&#xA;" OwnerUserId="43590" LastActivityDate="2024-02-05T19:19:28.783" Title="ffmpeg fails to load lensfun database" Tags="|ffmpeg|video|lenses|distortion|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37201" PostTypeId="1" CreationDate="2024-02-05T21:42:48.403" Score="1" ViewCount="24" Body="&lt;p&gt;I've been digitizing some old (late 90s, early 2000s) Hi8 tapes and I've noticed some short black (sometimes white but very rarely) lines that appear randomly in points where the brightness goes from low to high sharply, including the left edge of the frame. Some tapes have no lines and some have many.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/NXmTz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NXmTz.png&quot; alt=&quot;a frame from a video with black and white lines&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;In 2022, I recorded a video on an old tape. When I played it back afterwards, there were very few black lines. But when I played it back 1 year after I recorded it, there were about as many as there were in recordings from the 2000s.&lt;/p&gt;&#xA;&lt;p&gt;What causes this and how can I remove these lines from the video?&lt;/p&gt;&#xA;" OwnerUserId="43591" LastActivityDate="2024-02-05T21:42:48.403" Title="What causes these black lines in Hi8 video and how can I get rid of them?" Tags="|analog|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37202" PostTypeId="1" CreationDate="2024-02-06T16:25:41.193" Score="1" ViewCount="33" Body="&lt;p&gt;I have an mp4 video shot on an iPhone. Part way through the video the user rotated the camera 90 degrees and kept shooting. The first 1/4 of the video is right side up, there is a small section where the camera rotates, and then the last 3/4 of the video is rotated by 90 degrees. All one video clip.&lt;/p&gt;&#xA;&lt;p&gt;Is there a way to fix the video without using an iPhone? I don't have an iPhone, just an Ubuntu 22.04 computer. ffmpeg? VLC media player? Openshot? Do I have to use an iPhone?&lt;/p&gt;&#xA;&lt;p&gt;There are lots of tutorials for rotating an entire video using these tools, but I can't find anything that shows how to rotate the video starting at a certain time stamp.&lt;/p&gt;&#xA;&lt;p&gt;I could add the video to Openshot, cut the clip into three pieces, the good stuff, the frames showing the rotation, and the rotated stuff. Then rotate the rotated clip correctly, and then join the first and third clips together and throw out the frames showing the rotation in progress. There would be a rough transition from one clip to the other.&lt;/p&gt;&#xA;&lt;p&gt;Is there any open source program that can read each frame's metadata and correct the rotation angle on each frame? Can ffmpeg do that?&lt;/p&gt;&#xA;" OwnerUserId="43594" LastEditorUserId="43594" LastEditDate="2024-02-06T16:33:11.740" LastActivityDate="2024-02-07T03:06:35.323" Title="How to fix an mp4 when 1/4 of the video is in one orientation and the other 3/4 is rotated 90 degrees?" Tags="|ffmpeg|editing|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37203" PostTypeId="1" CreationDate="2024-02-06T23:59:46.300" Score="0" ViewCount="52" Body="&lt;p&gt;I am trying to improve the video of a ripped DVD. The current file is encoded in MPEG2 interlaced and 720:480. I am trying see if it is possible, with a bit of conversion, for it to look better... possibly upscaling to near-HD if it is possible. My computer does have an Nvida (1050 Ti) card, so I was thinking that may help.&lt;/p&gt;&#xA;&lt;p&gt;I used&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -hwaccel cuda -i &amp;quot;input.mkv&amp;quot; -c:v hevc_nvenc -preset p7 -profile:v 1 -level 0 -tier 1 -tune 1 -vf yadif -vf &amp;quot;scale=1440x1080:flags=lanczos&amp;quot; -c:a aac -c:s srt output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The &amp;quot;-vf yadif&amp;quot; portion in that was intended to de-interlace, after looking at ideas on de-interlacing but the output still ends up being interlaced. The interlace artifact is quite annoying when viewed on my computer.&lt;/p&gt;&#xA;" OwnerUserId="43597" LastActivityDate="2024-02-06T23:59:46.300" Title="FFMPEG - converting interlaced 720x480 MPEG2 to scaled up progressive 1440x1080 HEVC (Nvidia available)" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37204" PostTypeId="2" ParentId="37202" CreationDate="2024-02-07T03:06:35.323" Score="1" Body="&lt;p&gt;pad, rotate animation&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg \&#xA;-ss 0.0 -to 2.5 -i input.mp4 \&#xA;-ss 2.5 -to 3.0 -i input.mp4 \&#xA;-ss 3.0 -to 5.5 -i input.mp4 \&#xA;-filter_complex &amp;quot;&#xA;[0:v]pad='max(iw,ih)':'max(iw,ih)':-1:-1[a];&#xA;[1:v]pad='max(iw,ih)':'max(iw,ih)':-1:-1,rotate='lerp(0,PI/2,t/0.5)'[b];&#xA;[2:v]pad='max(iw,ih)':'max(iw,ih)':-1:-1,rotate=PI/2[c];&#xA;[a][0:a][b][1:a][c][2:a]concat=n=3:v=1:a=1&#xA;&amp;quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;t/0.5&lt;/code&gt; → where 0.5 is duration of second part of input&lt;/p&gt;&#xA;" OwnerUserId="40740" LastActivityDate="2024-02-07T03:06:35.323" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="37205" PostTypeId="1" CreationDate="2024-02-07T11:10:59.797" Score="0" ViewCount="19" Body="&lt;p&gt;Here is the style:&lt;/p&gt;&#xA;&lt;p&gt;A person is talking in a certain setting and a certain dress, let's say for 10 seconds, and when he finishes his first sentence there is cut and after the cut, the same person is in a different setting and different dress but continues with his 2nd sentence. The viewer gets impression that it was a complete sentence spoken.&lt;/p&gt;&#xA;" OwnerUserId="4297" LastActivityDate="2024-02-07T11:10:59.797" Title="is there any name for this style of video editing?" Tags="|editing|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37207" PostTypeId="1" CreationDate="2024-02-08T15:33:21.127" Score="0" ViewCount="4" Body="&lt;p&gt;I used to use Windows Movie Maker when I was growing up and I really enjoyed using it. I have since moved on to free, nonlinear editors like ShotCut and PowerDirector. There was however one feature that I really enjoyed using in Movie Maker. That feature was the &amp;quot;Storyboard&amp;quot; feature on Movie Maker.&lt;/p&gt;&#xA;&lt;p&gt;The &amp;quot;Storyboard&amp;quot; feature was a feature that allowed us to reorder the clips that were being used. It is different from the timeline feature where you trim your clip or modify the timing. I know I am essentially describing Movie Maker but I really like that feature and I want to focus on the clips I use. Does anyone know of an editor that have this feature? Or where can I ind this feature in the editors I use?&lt;/p&gt;&#xA;" OwnerUserId="34688" LastActivityDate="2024-02-08T15:33:21.127" Title="What video editors have a similar feature (Storyboard) to Windows Movie Maker?" Tags="|video-editor|editing|youtube|windows-movie-maker|intermediate|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37208" PostTypeId="1" CreationDate="2024-02-09T00:50:12.637" Score="0" ViewCount="48" Body="&lt;p&gt;I'm attempting to send an RTMP stream from my encoder (Wirecast or OBS) to an MS Teams Town Hall event. The Town Hall event has RTMP-in turned on. However, when I start streaming from my encoder, Microsoft's RTMP server (&lt;code&gt;MSRTC/1.0&lt;/code&gt;) consistently drops the connection after the encoder sends the stream metadata in the &lt;code&gt;@setDataFrame&lt;/code&gt; message. The server first stops the TCP/IP connection with a &lt;code&gt;[FIN/ACK]&lt;/code&gt; packet and after the encoder continues to send data, it finally blasts back a bunch of TCP &lt;code&gt;[RST]&lt;/code&gt; packets.&lt;/p&gt;&#xA;&lt;p&gt;Microsoft's server just does this over and over with each connection attempt by my encoder.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;It does this regardless of the encoder I pick or its streaming settings&lt;/li&gt;&#xA;&lt;li&gt;It does it no matter which network I'm connecting from (corporate, home, tethered phone)&lt;/li&gt;&#xA;&lt;li&gt;It continues this way for 10 or 20 minutes and then finally accepts a connection from my encoder.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;After it accepts the connection from the encoder once, I can then connect again with any other encoder from any other network or device and their server will accept the stream.&lt;/p&gt;&#xA;&lt;p&gt;I noticed that traceroute to their server (emea.rtmpingest.mcr.teams.microsoft.com), places it in Dublin. Our corporate headquarters so far as Microsoft is concerned is in Berlin. However, this office and our ISP is in the U.S.&lt;/p&gt;&#xA;&lt;p&gt;Has anyone else observed this behavior with MS Teams Town Hall events with RTMP-In? Any idea how to fix it?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SCWfO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SCWfO.png&quot; alt=&quot;traceroute to server&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4890" LastActivityDate="2024-02-13T00:20:33.550" Title="RTMP Stream in to MS Teams Seldom Works" Tags="|rtmp|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37209" PostTypeId="1" CreationDate="2024-02-09T08:14:52.853" Score="0" ViewCount="48" Body="&lt;p&gt;There exists a video-player known as &lt;a href=&quot;https://en.wikipedia.org/wiki/VLC_media_player&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;strong&gt;VLC Media Player&lt;/strong&gt;&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;My question is, for the scene video filter, what is the &lt;em&gt;recording ratio&lt;/em&gt;?&lt;/p&gt;&#xA;&lt;p&gt;If the number is &lt;strong&gt;50&lt;/strong&gt; does that mean...&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;extract one frame every 50 seconds.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;extract 50 frames per second.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;extract 1 in 50 frames. Ignore the other 49 frames.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/b7kcE.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/b7kcE.gif&quot; alt=&quot;animated GIF of graphic user interface option for &amp;quot;Recording Ratio&amp;quot; pulsating with yellow highlighting on and off, on and off ,on and off&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43609" LastActivityDate="2024-02-09T08:14:52.853" Title="What do they mean &quot;Recording Ratio&quot; in in the VLC Media Player, and what are the units (e.g. frames per second)?" Tags="|keyframes|vlc|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37210" PostTypeId="1" CreationDate="2024-02-09T12:46:30.523" Score="0" ViewCount="7" Body="&lt;p&gt;I am developing a video streaming website and trying to decide on what the best video containers and codecs would be for its use. For this, I need to know what the compatibility of each OS and browser is with each container and codec. Where can I find an up-to-date reference that contains a table summary of this information and is kept up to date?&lt;/p&gt;&#xA;&lt;p&gt;An example of things I want to know: Per OS, on which browsers are the H.264, H.265, VP9, and AV1 codecs supported (and not supported)? The same question for audio codecs like AAC, Opus, etc.&lt;/p&gt;&#xA;" OwnerUserId="43611" LastActivityDate="2024-02-09T12:46:30.523" Title="Where to find up-to-date video compatibility reference?" Tags="|video|webvideos|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37211" PostTypeId="2" ParentId="28427" CreationDate="2024-02-09T15:50:07.177" Score="0" Body="&lt;p&gt;For me, the solution was exactly as mentioned in the link in the second answer, all kudos to that site. I'll put the answer here explicitly to make sure it won't be lost:&lt;/p&gt;&#xA;&lt;p&gt;You get pcm_f32 [error] because source audio is decoded in raw pcm (float).&#xA;To save audio in mp4 you need to select compatible compression:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;select Audio-&amp;gt;Full processing mode&lt;/li&gt;&#xA;&lt;li&gt;select Audio-&amp;gt;Compression-&amp;gt;FFMpeg AAC or FFMpeg Lame MP3&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="23186" LastActivityDate="2024-02-09T15:50:07.177" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37212" PostTypeId="1" CreationDate="2024-02-09T23:16:18.377" Score="0" ViewCount="17" Body="&lt;p&gt;I have a video streaming website that has videos with lengths of around 3 hours, and video file sizes going between 2GB and 5GB for 720p and 1080p ~30fps H.264 AAC videos. There are some outliers (like files that are just a few minutes long and 100-300MB in size), so it should work fine with them too (even if not that efficient). The streaming is VOD (not live). I am running out of bandwidth and trying to encode the videos to minimize their file size.&lt;/p&gt;&#xA;&lt;p&gt;To reduce bandwidth consumption, I am searching for an efficient codec that:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;would preserve as much quality of the original videos as possible while keeping the output file sizes as small as possible&lt;/li&gt;&#xA;&lt;li&gt;have wide compatibility with the latest internet browser versions for all popular OS (without any OS changes or browser settings needed).&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Tre-encoding will be done using &lt;code&gt;ffmpeg&lt;/code&gt; and Intel® Xeon® E-2276G CPU which comes with Intel® UHD Graphics P630 GPU.&lt;/p&gt;&#xA;&lt;p&gt;So far, I've decided on AV1 but am not sure if it's the best choice given my context and am not sure about its browser compatibility. If AV1 is a good option, I would also want to use AV1 in fmp4 HLS streams if possible, so that I can also reuse the fmp4 segments for DASH. I am not sure if this is possible and how much web players (like video.js) could influence positively the browser compatibility.&lt;/p&gt;&#xA;" OwnerUserId="43611" OwnerDisplayName="kataba" LastActivityDate="2024-02-10T03:00:44.567" Title="What would be the most efficient codec for streaming long videos?" Tags="|video|streaming|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37213" PostTypeId="2" ParentId="37173" CreationDate="2024-02-10T07:04:44.863" Score="-1" Body="&lt;p&gt;Besides your claim of AV1 encoding being &amp;quot;extremely resource demanding&amp;quot; being out-of-date (that hasn't been the case for years), this is kind of like asking for proof that the sky is really blue. Video coding is a niche enough field that academics generally don't write papers on &amp;quot;is the sky blue&amp;quot; type questions, and amateur video encoder tests (when they do exist) are by-and-large terrible because the people conducting them often have no idea what they're doing. Reliable data is so hard to find that the most common and useful answer to a question like this is &amp;quot;do your own testing for your specific use case&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;If you do look at research on hardware encoders though, you may see a bunch of &amp;quot;comparable to software encoding&amp;quot; claims. However, these are for specifically designed implementations, and the reality of practical hardware encoders is that they rarely have the luxury of only focusing on a single video coding format. They need to be able to produce H.264 and HEVC, and possibly others as well. Combine this with a strict silicon area budget of consumer hardware and you get multi-format hardware encoders that need to have as many shared parts as possible. With all these limitations, it's easier understand why most hardware encoders only target the lower end of the efficiency curve, and that hardware encoders with the &amp;quot;same settings&amp;quot; as software encoders don't really exist. For example, no AV1 hardware encoder I currently know of has implemented film grain synthesis, so hardware encoders may completely skip some encoding tools, which will reduce efficiency.&lt;/p&gt;&#xA;&lt;p&gt;This isn't to say that there are no hardware encoders with higher-than-average efficiency. When most people say &amp;quot;hardware encoder&amp;quot;, what they really mean is &amp;quot;hardware encoder I could get my hands on&amp;quot;. Dedicated hardware encoder cards aimed for commercial/datacenter users do exist, for example &lt;a href=&quot;https://www.anandtech.com/show/18805/amd-announces-alveo-ma35d-media-accelerator-av1-video-encode-at-1w-per-stream&quot; rel=&quot;nofollow noreferrer&quot;&gt;this AMD card&lt;/a&gt; which claims x265 slow efficiency for its AV1 encoder (roughly comparable to SVT-AV1's current preset 8, so still not comparable to what software encoders can produce). Companies that deal with video at large enough scale may also design their own hardware encoders for private use, which is something &lt;a href=&quot;https://www.tomshardware.com/news/intel-replaces-xeons-with-custom-vcus&quot; rel=&quot;nofollow noreferrer&quot;&gt;Google has done&lt;/a&gt;.&lt;/p&gt;&#xA;&lt;p&gt;If you really are that skeptical about hardware encoder efficiency and you're interested enough, I suggest you prove this to yourself. Consumer-grade AV1 hardware encoders are easy enough to obtain. There are some very affordable Intel Arc cards, but Nvidia &amp;amp; AMD cards with AV1 encode are currently more expensive. Or you could try literally any hardware encoder for any format, since the principle is exactly the same. There's nothing special about AV1 hardware encoders that make them fundamentally different in this context than, say, H.264 or HEVC hardware encoders. However, some recent encoders for older formats may (or should, even) be better in their comparative efficiency than these first-generation AV1 hardware encoders, since the former are on their Nth hardware iteration and have therefore had more development time.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;As a bit of a meta-aside, this question seems to come up every time a new video compression format is introduced and the initial software implementations are slow compared to encoders for current-generation formats. Hardware encoders get hyped up by some as this amazing future technology that will save us from single-digit encoding speeds, but the end result is always the same. Hardware encoders don't reach anywhere near the full potential of video compression formats, and software development, optimization, and more powerful CPUs are what actually bring us the most efficient encoders. So, for the information of OP and anyone reading this in the future: hype and misleading/false claims are not uncommon when it comes to video encoders. In fact, &lt;a href=&quot;https://web.archive.org/web/20101105163420/http://x264dev.multimedia.cx/archives/472&quot; rel=&quot;nofollow noreferrer&quot;&gt;they're pretty much the rule rather than an exception&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="22468" LastActivityDate="2024-02-10T07:04:44.863" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="37214" PostTypeId="1" CreationDate="2024-02-10T16:32:54.837" Score="0" ViewCount="39" Body="&lt;p&gt;I'm trying to split &amp;amp; combine multiple portions of the same video file.&lt;/p&gt;&#xA;&lt;p&gt;Since there are multiple portions that I want to combine, I want to use filtercomplex to do this.&lt;/p&gt;&#xA;&lt;p&gt;Also, since some of the portions are quite small in duration, I want to use precise timestamps (setpts=PTS-STARTPTS)&lt;/p&gt;&#xA;&lt;p&gt;The &amp;quot;script.txt&amp;quot; file contains the code below.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[0:v]trim=0.823625:5.88717,setpts=PTS-STARTPTS[v0];&#xA;[0:a]atrim=0.823625:5.88717,asetpts=PTS-STARTPTS[a0];&#xA;[0:v]trim=6.87858:10.2093,setpts=PTS-STARTPTS[v1];&#xA;[0:a]atrim=6.87858:10.2093,asetpts=PTS-STARTPTS[a1];&#xA;[0:v]trim=10.5683:11.5989,setpts=PTS-STARTPTS[v2];&#xA;[0:a]atrim=10.5683:11.5989,asetpts=PTS-STARTPTS[a2];&#xA;[0:v]trim=11.9066:13.2301,setpts=PTS-STARTPTS[v3];&#xA;[0:a]atrim=11.9066:13.2301,asetpts=PTS-STARTPTS[a3];&#xA;[0:v]trim=14.2123:14.903,setpts=PTS-STARTPTS[v4];&#xA;[0:a]atrim=14.2123:14.903,asetpts=PTS-STARTPTS[a4];&#xA;[0:v]trim=15.2467:16.5819,setpts=PTS-STARTPTS[v5];&#xA;[0:a]atrim=15.2467:16.5819,asetpts=PTS-STARTPTS[a5];&#xA;[0:v]trim=17.1012:20.1223,setpts=PTS-STARTPTS[v6];&#xA;[0:a]atrim=17.1012:20.1223,asetpts=PTS-STARTPTS[a6];&#xA;[0:v]trim=20.9504:22.5714,setpts=PTS-STARTPTS[v7];&#xA;[0:a]atrim=20.9504:22.5714,asetpts=PTS-STARTPTS[a7];&#xA;[0:v]trim=23.4482:24.8745,setpts=PTS-STARTPTS[v8];&#xA;[0:a]atrim=23.4482:24.8745,asetpts=PTS-STARTPTS[a8];&#xA;[0:v]trim=25.5697:26.8718,setpts=PTS-STARTPTS[v9];&#xA;[0:a]atrim=25.5697:26.8718,asetpts=PTS-STARTPTS[a9];&#xA;[0:v]trim=27.5758:27.9942,setpts=PTS-STARTPTS[v10];&#xA;[0:a]atrim=27.5758:27.9942,asetpts=PTS-STARTPTS[a10];&#xA;[0:v]trim=28.5431:30,setpts=PTS-STARTPTS[v11];&#xA;[0:a]atrim=28.5431:30,asetpts=PTS-STARTPTS[a11];&#xA;[v0][a0][v1][a1][v2][a2][v3][a3][v4][a4][v5][a5][v6][a6][v7][a7][v8][a8][v9][a9][v10][a10][v11][a11]&#xA;concat=n=12:v=1:a=1[outv][outa]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The command that I am using to run ffmpeg with this script file is as below&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;input.mp4&amp;quot; -c:v libx265 -filter_complex_script &amp;quot;script.txt&amp;quot; -map [outv] -map [outa] &amp;quot;output.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But after running this command, the output video file is only ~5 seconds long (the very first portion of the input video).&lt;/p&gt;&#xA;&lt;p&gt;As we can see from the first line of the &amp;quot;script.txt&amp;quot;, the start timestamp is ~0.8 and the end timestamp is ~5.8 giving a duration of ~5s for the first piece of the output video.&lt;/p&gt;&#xA;&lt;p&gt;So, ffmpeg is not joining any other parts of the input video after the first part. I am unable to understand why so.&lt;/p&gt;&#xA;&lt;p&gt;I am facing this problem since the past couple of months after I updated ffmpeg. The same syntax of script file and command line used to work fine before that. Did any changes in the update alter the syntax that ffmpeg expects for this task?&lt;/p&gt;&#xA;&lt;p&gt;Any help is much appreciated.&lt;/p&gt;&#xA;" OwnerUserId="33940" LastEditorUserId="33940" LastEditDate="2024-02-11T19:38:10.743" LastActivityDate="2024-03-12T20:03:45.430" Title="ffmpeg problem with split &amp; combine portions of same video" Tags="|ffmpeg|" AnswerCount="1" CommentCount="3" ContentLicense="CC BY-SA 4.0" />
  <row Id="37215" PostTypeId="1" CreationDate="2024-02-10T20:48:25.353" Score="0" ViewCount="6" Body="&lt;p&gt;I used adjustment clips in some videos to highlight areas in videos by darkening the background.&#xA;Up until now I have never had any problems.&#xA;After rendering the video there show up some pixel fragments in the video right after the adjustment clip with the highlight effect.&#xA;I also used adjustment clips to create little arrows but they work perfectly fine and no fragments show up after the arrows.&#xA;So there are fragments only after the highlighting adjustment clips.&#xA;When I delete these specific adjustment clips, the fragments also dissapear.&#xA;Can anybody help me with that?&#xA;I added this picture of the fragments I have been talking about&#xA;Thank you in advance for your help!&#xA;&lt;a href=&quot;https://i.stack.imgur.com/1b6Yk.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1b6Yk.png&quot; alt=&quot;fragments&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43618" LastActivityDate="2024-02-10T20:48:25.353" Title="Pixel fragments after rendering only after adjustment clips that highlight a little area in the video" Tags="|render|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37216" PostTypeId="2" ParentId="37035" CreationDate="2024-02-11T08:25:33.937" Score="0" Body="&lt;p&gt;I'm working on a program that can do this, but it's not an automatic process, you have to adjust it to frame what you want to see, just like when you move the head with the headset.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://vongoob9.gitlab.io/vr2normal&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://vongoob9.gitlab.io/vr2normal&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43622" LastActivityDate="2024-02-11T08:25:33.937" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37217" PostTypeId="2" ParentId="37214" CreationDate="2024-02-11T19:37:38.013" Score="0" Body="&lt;p&gt;Thanks to &lt;a href=&quot;https://video.stackexchange.com/users/4273/celdor&quot;&gt;Celdor&lt;/a&gt; for identifying the problem.&lt;/p&gt;&#xA;&lt;p&gt;The build of ffmpeg I had installed on my system was the culprit. Here's the output of running &lt;code&gt;ffmpeg -version&lt;/code&gt; in the command line&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg version N-113032-g76cd71bf0c-20231219 Copyright (c) 2000-2023 the FFmpeg developers built with gcc 13.2.0 (crosstool-NG 1.25.0.232_c175b21)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The problem was solved after I installed the build of ffmpeg from &lt;a href=&quot;https://github.com/BtbN/FFmpeg-Builds/releases&quot; rel=&quot;nofollow noreferrer&quot;&gt;BtbN&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="33940" LastActivityDate="2024-02-11T19:37:38.013" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37218" PostTypeId="1" CreationDate="2024-02-12T10:36:47.100" Score="0" ViewCount="50" Body="&lt;p&gt;I am using this Video-List:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file 'C:\Users\X\Documents\test\input.mp4'&#xA;inpoint 00:00:02.7650000&#xA;outpoint 00:00:04.7650000&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and the following Command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -safe 0 -f concat -i output.txt -map 0:v -map 0:a -c:a copy -c:v copy output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;which should result in a Video with 2 Seconds in Length. But if I do a check with ffprobe I get this:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'output.mp4':&#xA;  Metadata:&#xA;    major_brand     : isom&#xA;    minor_version   : 512&#xA;    compatible_brands: isomiso2avc1mp41&#xA;    encoder         : Lavf60.16.100&#xA;  Duration: 00:00:04.85, start: 0.000000, bitrate: 394 kb/s&#xA;  Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709, progressive), 1920x1080 [SAR 1:1 DAR 16:9], 382 kb/s, 30 fps, 30 tbr, 15360 tbn (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;  Stream #0:1[0x2](und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 2 kb/s (default)&#xA;    Metadata:&#xA;      handler_name    : SoundHandler&#xA;      vendor_id       : [0][0][0][0]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Whats the cause of this?&lt;/p&gt;&#xA;" OwnerUserId="43631" LastActivityDate="2024-03-13T15:07:10.863" Title="Concatenated Video created with FFMPEG is longer than expected" Tags="|ffmpeg|mp4|ffprobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37219" PostTypeId="1" CreationDate="2024-02-12T12:28:06.193" Score="0" ViewCount="40" Body="&lt;p&gt;I am using&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mp4 -vf &amp;quot;v360=input=fisheye:ih_fov=122.6:iv_fov=94.4:output=hequirect:h_fov=180:v_fov=180:in_stereo=2d:out_stereo=sbs,format=yuv420p&amp;quot; -b:v 25M -maxrate 60M -bufsize 25M output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Which works as advertised to convert a fisheye to hequirect except for two problems:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;The background is not black but seems to try and set it to the average color of the video. It should be black throughout.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The corners are not blurred but should be, there should be a soft transition from the corner of the video into black.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="2460" LastActivityDate="2024-02-12T12:28:06.193" Title="Convert video to hequirect while setting the background black and blur the transitional area" Tags="|ffmpeg|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37220" PostTypeId="2" ParentId="37218" CreationDate="2024-02-12T13:14:35.250" Score="0" Body="&lt;p&gt;As explained in the &lt;a href=&quot;https://ffmpeg.org/ffmpeg-formats.html#concat-1&quot; rel=&quot;nofollow noreferrer&quot;&gt;documentation&lt;/a&gt;, the &lt;code&gt;inpoint&lt;/code&gt; directive works best with intra frame codecs, because for non-intra frame ones you will usually get extra packets before the actual In point and the decoded content will most likely contain frames before In point too.&lt;/p&gt;&#xA;&lt;p&gt;And it's the same problem for &lt;code&gt;outpoint&lt;/code&gt; directive.&lt;/p&gt;&#xA;" OwnerUserId="37160" LastEditorUserId="37160" LastEditDate="2024-02-12T13:23:30.300" LastActivityDate="2024-02-12T13:23:30.300" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37222" PostTypeId="1" CreationDate="2024-02-12T22:47:13.367" Score="0" ViewCount="9" Body="&lt;p&gt;A lot of effects in KDE support automation/animation. However, effects such as the colour channel mixer don't seem to have this option. Here's a screenshot of the greyed out time remapping panel (top mid-left):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/odZyF.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/odZyF.png&quot; alt=&quot;Time Remapping Panel Greyed Out&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;My goal is to be able to automate some sort of colour rotation, which doesn't seem to be possible with this effect for some reason. Why is my time remapping panel greyed out for that effect amongst others, and is my assumption accurate that animation for that effect is unavailable?&lt;/p&gt;&#xA;" OwnerUserId="43639" LastActivityDate="2024-02-12T22:47:13.367" Title="Time Remapping Panel Greyed Out for Colour Channel Mixer" Tags="|kdenlive|visual-effects|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37224" PostTypeId="1" CreationDate="2024-02-13T14:41:46.900" Score="1" ViewCount="14" Body="&lt;p&gt;i've recorded an old video tape via USB grabber - it has a resoution of 720x576 pixels.&#xA;What i want to do now is:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;enhancing quality by AI-resizing to 4K (maybe using Topaz AI 4 or a cheaper method)&lt;/li&gt;&#xA;&lt;li&gt;apply some video stabilization as the footage is pretty shaky&lt;/li&gt;&#xA;&lt;li&gt;apply frame interpolation by using Flowframes for smoother video&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;In what order should i do it? Can you recommend software for those tasks? I was thinking about using Videodub and the Deshaker plugin - or maybe Adobe premiere?&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="67" LastActivityDate="2024-02-13T14:41:46.900" Title="Improving / upscaling old VHS video footage" Tags="|vhs|footage|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37225" PostTypeId="1" AcceptedAnswerId="37226" CreationDate="2024-02-13T16:17:13.060" Score="1" ViewCount="43" Body="&lt;p&gt;How to move foreground objects forward and the background backward in one picture? I would like to recreate something similar like this in gif video. I use Adobe Aftereffects 2022. I do notice that the effects used only two pics on those two scenes but I didn't know how they were able to move foreground objects forward and the background backward in their picture. I never knew they were possible.&lt;/p&gt;&#xA;&lt;p&gt;How can I do it? A simple example would suffice.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EZVAx.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EZVAx.gif&quot; alt=&quot;DSWD Loop&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="43608" LastEditorUserId="26178" LastEditDate="2024-02-19T21:01:13.587" LastActivityDate="2024-02-19T21:01:13.587" Title="How to move foreground objects forward and the background backward in the picture?" Tags="|after-effects|animation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37226" PostTypeId="2" ParentId="37225" CreationDate="2024-02-14T14:09:08.967" Score="1" Body="&lt;p&gt;You can do this in After Effects and Photoshop.&lt;/p&gt;&#xA;&lt;p&gt;Bring the original image into After Effects.&lt;/p&gt;&#xA;&lt;p&gt;Duplicate the layer.&lt;/p&gt;&#xA;&lt;p&gt;Name one 'foreground' and the other 'background'&lt;/p&gt;&#xA;&lt;p&gt;Hide the background layer for now.&lt;/p&gt;&#xA;&lt;p&gt;Isolate the foreground layer. This can be achieved using a number of different tools:  Use rotobrush to isolate the foreground layer, or a mask around it manually, or use Photoshop to isolate it (eg using the Quick Selection or Object Selection tool).&lt;/p&gt;&#xA;&lt;p&gt;Hide your foreground layer, and un-hide the background layer, so you can work on the background.&lt;/p&gt;&#xA;&lt;p&gt;Use the same mask inverted to isolate the background layer, by inverting the mask or matte you used to create the foreground layer.&lt;/p&gt;&#xA;&lt;p&gt;Use Content Aware Fill (either in Photoshop or in After Effects) to fill in the gaps inside where the foreground layer was. It doesn't matter if it doesn't look perfect, as most of it won't be seen.&lt;/p&gt;&#xA;&lt;p&gt;Enable both layers.&lt;/p&gt;&#xA;&lt;p&gt;Use keyframing on the Scale variable to slowly enlarge the foreground.&lt;/p&gt;&#xA;&lt;p&gt;Do the same on the background layer, but start with it slightly larger than 100% and slowly reduce it in size.&lt;/p&gt;&#xA;&lt;p&gt;Isolate some colours, on the foreground or background using the Lumetri plugin - the tools you need are in the 'HSL Secondary' controls.  Keyframe the saturation in the Secondary controls to zero, then slowly increase to 100% over time.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2024-02-14T14:09:08.967" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37227" PostTypeId="1" CreationDate="2024-02-15T02:51:56.643" Score="0" ViewCount="17" Body="&lt;p&gt;&lt;em&gt;[This was originally posted at https://stackoverflow.com/questions/77971906/structure-of-mpeg-4-xyz-box, and I was redirected to here. I understand if it is too OT and is closed.]&lt;/em&gt;.&lt;/p&gt;&#xA;&lt;p&gt;I am trying to parse out ISO/IEC 14496-12 based files (essentially MPEG-4 movies). There are a few boxes are not in the standards (or on the MP4 Registration Authority lists), but are in real-world files. They mostly pretty simple to trace to QuickTime or similar, where the implementation is just not updated.&lt;/p&gt;&#xA;&lt;p&gt;I'm struggling with the GPS location box (&lt;code&gt;©xyz&lt;/code&gt;).&lt;/p&gt;&#xA;&lt;p&gt;Here is an example:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;0x00, 0x00, 0x00, 0x1e, 0xa9, 0x78, 0x79, 0x7a,&#xA;0x00, 0x12, 0x15, 0xc7, 0x2b, 0x34, 0x31, 0x2e,&#xA;0x33, 0x37, 0x35, 0x38, 0x2b, 0x30, 0x30, 0x32,&#xA;0x2e, 0x31, 0x34, 0x39, 0x32, 0x2f&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The first eight bytes are the box length and box name. No problem with that.&lt;/p&gt;&#xA;&lt;p&gt;The next four bytes are the unknowns: &lt;code&gt;0x00, 0x12, 0x15, 0xc7&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;The remaining bytes are text &amp;quot;+41.3758+002.1492/&amp;quot; which is the expected&#xA;latitude and longitude (Barcelona) per ISO 6709 (albeit not the 2023 version).&lt;/p&gt;&#xA;&lt;p&gt;Of the unknowns, I can interpret the first two bytes as a 16 bit (unsigned) integer which matches the number of characters in the text. That is guesswork though.&lt;/p&gt;&#xA;&lt;p&gt;The next two are a mystery - could perhaps be constants since I see the same &lt;code&gt;0x15 0xc7&lt;/code&gt; values when generated from a different device in Australia.&lt;/p&gt;&#xA;&lt;p&gt;What is the defined structure for this box, and is there a published specification that defines that structure?&lt;/p&gt;&#xA;" OwnerUserId="43647" LastActivityDate="2024-02-15T02:51:56.643" Title="Structure of MPEG-4 &quot;©xyz&quot; box" Tags="|metadata|mpeg4|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37229" PostTypeId="1" CreationDate="2024-02-15T18:03:39.350" Score="0" ViewCount="17" Body="&lt;p&gt;A while ago I was uploading some old videos on my computer, and I found &lt;a href=&quot;https://www.youtube.com/watch?v=rOhLfkCAVds&amp;amp;t=576s&quot; rel=&quot;nofollow noreferrer&quot;&gt;this video&lt;/a&gt;,and thought glitching on it looked really interesting, and I wanted more info on it. However, I couldn't find any info about this specific type of corruption, and I'm not sure if this has happened to someone else before or if it's a result of damage to my hard drive.&#xA;Thanks!&lt;/p&gt;&#xA;" OwnerUserId="43654" LastActivityDate="2024-02-15T18:03:39.350" Title="What is this glitch/corruption?" Tags="|digital-recording|avi|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37230" PostTypeId="1" CreationDate="2024-02-15T20:01:56.957" Score="2" ViewCount="100" Body="&lt;p&gt;I am a newbie to photography and i keep hear 60fps. What does that mean? And how can it have an impact on my videos?&lt;/p&gt;&#xA;" OwnerDisplayName="Gift David" LastActivityDate="2024-02-26T10:11:00.323" Title="What does video frames per second mean?" Tags="|video|" AnswerCount="3" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37231" PostTypeId="2" ParentId="37230" CreationDate="2024-02-16T01:36:30.580" Score="2" Body="&lt;p&gt;&lt;strong&gt;Basic terminology&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;A video is a series of frames.&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;FPS&lt;/strong&gt; Is a unit of how many of these frames you use every second. &lt;strong&gt;F&lt;/strong&gt;rames &lt;strong&gt;P&lt;/strong&gt;er &lt;strong&gt;S&lt;/strong&gt;econd. In this specific case you are using 60.&lt;/li&gt;&#xA;&lt;li&gt;You can use those FPS during recording or during playback (or both).&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;As you can use them during recording, during playback or both you have different combinations: R=Recording, P=Playback, E=Effect (Look).&lt;/p&gt;&#xA;&lt;p&gt;R=60 P=60 E= Live action performance&lt;/p&gt;&#xA;&lt;p&gt;R=60 P=30 (Less than 60) E=Slow motion&lt;/p&gt;&#xA;&lt;p&gt;R=30 (Less than 60) P=60 E=Fast motion&lt;/p&gt;&#xA;&lt;p&gt;But also you need to understand other commonly used values to achieve different looks.&lt;/p&gt;&#xA;&lt;p&gt;24Fps (Cinematic look)&#xA;30Fps (Normal video)&#xA;120Fps during recording only (Super slow speed)&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2024-02-16T01:48:28.627" LastActivityDate="2024-02-16T01:48:28.627" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37233" PostTypeId="2" ParentId="14556" CreationDate="2024-02-17T00:06:32.023" Score="0" Body="&lt;p&gt;I was having this same problem and finally figured out a solution.&lt;/p&gt;&#xA;&lt;p&gt;My project consists of one main video track with several tracks of generated media above it (to obscure aspects of the video track that I don't want to see with colored boxes).&lt;/p&gt;&#xA;&lt;p&gt;Then above all of that I have a secondary video track to which I occasionally want to fade in and out of from the main video track.&lt;/p&gt;&#xA;&lt;p&gt;The problem is that when I set the fades, the generated media fades out too and what it's obscuring is briefly visible during the transition.  Or if I don't use a fade on the generated media, the bars are visible and then abruptly disappear during the transition.&lt;/p&gt;&#xA;&lt;p&gt;The solution was to add a new video track with a generated media object black background beneath the secondary video track.  Then whenever I fade in to or out of the secondary video, I also add the same fade to the black object, and the primary video and all of its generated media fade in/out evenly with each other (i.e., the obscured content is not visible during the transition).&lt;/p&gt;&#xA;&lt;p&gt;Thanks,&#xA;Steven&lt;/p&gt;&#xA;" OwnerUserId="43668" LastActivityDate="2024-02-17T00:06:32.023" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37234" PostTypeId="1" AcceptedAnswerId="37259" CreationDate="2024-02-17T17:11:49.743" Score="1" ViewCount="31" Body="&lt;p&gt;When recording on-screen software tutorials there's a balance between fitting the 16:9 format, making it low enough resolution that it's readable on smaller devices but big enough that there's enough working area in the application so that the view window of the application being demonstrated isn't ridiculously small.&lt;/p&gt;&#xA;&lt;p&gt;What is the recommended setting? e.g., is 1280 x 720 (16:9) a good compromise or do I need to allow anything for YouTube borders, etc.?&lt;/p&gt;&#xA;&lt;p&gt;Many thanks.&lt;/p&gt;&#xA;" OwnerUserId="11734" LastActivityDate="2024-02-27T11:20:36.760" Title="Optimum video resolution for YouTube screen-casting software tutorials?" Tags="|youtube|screen-casting|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37235" PostTypeId="1" CreationDate="2024-02-18T13:51:38.303" Score="1" ViewCount="13" Body="&lt;p&gt;Is it somehow possible to reuse text styles in Davinci Resolve (and Fusion)?&#xA;Each text node by default has OpenSans font, which does not work for me when I want to insert Japanese text (e.g. I want to switch the font to Noto Sans JP, adjust the size a bit etc.) Basically, like I would use character styles in Word, Libreoffice, Affinity Publisher etc, to develop a kind of custom stylesheet for my videos.&lt;/p&gt;&#xA;&lt;p&gt;I know that I can create a custom title template which holds this Text+ node in Fusion, and just include it in the timeline. Unfortunately, then I cannot use any of the normal templates available (let's say a call out template). Or I would need to customize every one of these and save in a power bin.&lt;/p&gt;&#xA;&lt;p&gt;I guess my main options are currently just to note in a separate text file the custom options and then just apply it manually? This seems really ugly though...&lt;/p&gt;&#xA;&lt;p&gt;Are there maybe any better options?&lt;/p&gt;&#xA;" OwnerUserId="41687" LastActivityDate="2024-02-18T13:51:38.303" Title="Text styles in Davinci Resolve" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37236" PostTypeId="1" CreationDate="2024-02-19T08:35:43.677" Score="0" ViewCount="9" Body="&lt;p&gt;I'm still using the 2018 version of Premiere and AE, I do know that they introduced the mogrt and other features to fast place block of graphics developed in ae and to be changed in premiere.&lt;/p&gt;&#xA;&lt;p&gt;Now the 2018 version had the ability to change the texts in realtime via directlink.&lt;/p&gt;&#xA;&lt;p&gt;I'm talking about this function: &lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/TKzqvUoNstU?start=0&quot;&gt;&lt;/iframe&gt;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Has this option been deprecated?&lt;/p&gt;&#xA;&lt;p&gt;What if I'm working in premiere with various instances of graphics and suddenly I want to change the graphics in ae and go back in premiere ?&lt;/p&gt;&#xA;&lt;p&gt;Given that the mogrt have to be saved outside ae and imported back in premiere, the ability to edit the file in ae and have premiere automatically updated is still here?&lt;/p&gt;&#xA;&lt;p&gt;Or... do you have to finish completely the graphics in ae, export as file and work in premiere hoping that you will never need to change something in the ae graphic?&lt;/p&gt;&#xA;&lt;p&gt;Thanks&lt;/p&gt;&#xA;" OwnerUserId="11789" LastEditorUserId="11789" LastEditDate="2024-02-19T08:58:21.963" LastActivityDate="2024-02-19T08:58:21.963" Title="After Effects CC and Premiere CC Live Text after CC 2018" Tags="|after-effects|premiere|adobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37237" PostTypeId="1" CreationDate="2024-02-19T13:31:22.773" Score="0" ViewCount="22" Body="&lt;p&gt;I am using yt-dlp to get a direct link to the video. Some 360p and 720p links have an acodec. yt-dlp formats&lt;/p&gt;&#xA;&lt;p&gt;In case if you trim a video with a segment of 5 minutes for example, a video that has acodec will be trimmed in seconds, while the same segment in the same quality but without acodec will take several minutes.&lt;/p&gt;&#xA;&lt;p&gt;The FFmpeg command I use:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -ss 00:00:01 -to 00:05:00 -i &amp;quot;direct_video_link&amp;quot; -c copy video.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;With the &lt;code&gt;-c copy&lt;/code&gt; argument, trimming video with an acodec takes less time but does not affect the speed of video without an acodec.&lt;/p&gt;&#xA;&lt;p&gt;The yt-dlp command I use:&lt;/p&gt;&#xA;&lt;p&gt;video with acodec - &lt;code&gt;yt-dlp -S res:720,acodec:mp4a.40.2,ext:mp4,proto:https,fps30 -g &amp;quot;link&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;video without acodec - &lt;code&gt;yt-dlp -S res:720,ext:mp4,proto:https,fps30 -g &amp;quot;link&amp;quot;&lt;/code&gt;&lt;/p&gt;&#xA;" OwnerUserId="43680" LastActivityDate="2024-02-19T13:31:22.773" Title="FFmpeg video trimming without acodec is time-consuming" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37238" PostTypeId="2" ParentId="37234" CreationDate="2024-02-19T18:46:14.310" Score="0" Body="&lt;p&gt;I am not sure if the approach you are asking is actually recording a video of 720P.&lt;/p&gt;&#xA;&lt;p&gt;That would not be a good idea, because you are generating a video blurrier than FullHD 1080P. IMHO, the ideal resolution is recording the video at full HD 1080P.&lt;/p&gt;&#xA;&lt;p&gt;But to solve the tiny window there are several options.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;1. Changing the accessibility settings on your OS&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is probably the easiest solution.&lt;/p&gt;&#xA;&lt;p&gt;In Windows (My OS is not in English so the actual text might vary slightly)&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Right-click on the desktop &amp;gt; Screen Settings &amp;gt; Design and style.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Use for example 125%.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/kkclW.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/kkclW.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Here are two screen captures, one is using 150% zoom on these settings and the other is using 100% zoom.&lt;/p&gt;&#xA;&lt;p&gt;You can see that the pixel size is the same, but the zoomed-in version has bigger elements.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/4E07P.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/4E07P.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;2. Make Zoom during the edition&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;This would be time-consuming, especially because you need to track which part of the screen you are working on. Also, the resulting crop could be confusing.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;3. Use a recording software that allows you to make temporary zooming&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I do not use any in particular, so I can not recommend one.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;4. Internal (theme and zoom) adjustments&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Some software have settings that can be changed independently of the OS, Blender comes to my mind.&lt;/p&gt;&#xA;&lt;p&gt;Some web-based applications use the zoom defined by the browser (Ctrl+MouseWheel)&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;But this is also something that the user might need to solve by themselves. Some applications on mobile devices allow the zooming and panning of the videos with gestures. I would focus on a pleasant desktop experience where normally you can't.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2024-02-19T20:51:06.007" LastActivityDate="2024-02-19T20:51:06.007" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="37239" PostTypeId="2" ParentId="37225" CreationDate="2024-02-19T20:01:48.970" Score="1" Body="&lt;p&gt;I would call this parallax-dolly-in effect, (you can combine it with Ken Burns)&lt;/p&gt;&#xA;&lt;p&gt;Let me make an illustrated quick tutorial.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;1.&lt;/strong&gt; Take your photo &lt;strong&gt;(A)&lt;/strong&gt; and make a version without the background &lt;strong&gt;(B)&lt;/strong&gt;. There are new AI tools to remove complex objects.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/92j3N.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/92j3N.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;2.&lt;/strong&gt; Now you can add both layers into actually &lt;em&gt;almost any video editing software&lt;/em&gt;. You do not need AE.&lt;/p&gt;&#xA;&lt;p&gt;Animate the &lt;strong&gt;scale&lt;/strong&gt; of the transparent layer as you want. One important thing is to define the center of the element (green cross) &lt;strong&gt;(C)&lt;/strong&gt; so the object remains covering the original location.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/EMpHY.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/EMpHY.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;3.&lt;/strong&gt; If the center of the animation is not working, for example, you have two people, and the &amp;quot;zooming&amp;quot; reveals the previous persons or objects, (like the hair in this example)&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qK92r.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qK92r.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;you need to retouch the background. Use some content-aware removal tool on Ps&#xA;or the clone tool to &amp;quot;remove&amp;quot; the objects &lt;strong&gt;(D)&lt;/strong&gt; if your software is primitive (like mine).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1wNWO.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1wNWO.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;4.&lt;/strong&gt; Now you can zoom with the center on a more natural-looking location &lt;strong&gt;(E)&lt;/strong&gt;. Keeping the center at &amp;quot;the center&amp;quot; makes the dolly in effect more natural.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/yv3k3.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/yv3k3.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/vZ1wx.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vZ1wx.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;You can add &amp;quot;drama&amp;quot; also animating some blurriness when the planes move away, (but that is more software specific) n_n&lt;/p&gt;&#xA;&lt;p&gt;You can also animate the background, it does not need to stay at 100% scale.&lt;/p&gt;&#xA;&lt;p&gt;You can also play with the panning instead of scaling or using both.&#xA;Zooming &amp;amp; Panning is the Ken Burns variation.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastEditorUserId="26178" LastEditDate="2024-02-19T20:59:53.990" LastActivityDate="2024-02-19T20:59:53.990" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37240" PostTypeId="1" CreationDate="2024-02-20T09:40:31.627" Score="0" ViewCount="47" Body="&lt;p&gt;Over on Super User, I asked the question, &lt;a href=&quot;https://superuser.com/questions/1830199/what-file-properties-affect-the-size-of-a-video-file&quot;&gt;&amp;quot;What file properties affect the size of a video file?&amp;quot;&lt;/a&gt;. A comment from Gantendo taught me about &lt;a href=&quot;https://en.wikipedia.org/wiki/Video_compression_picture_types&quot; rel=&quot;nofollow noreferrer&quot;&gt;picture types&lt;/a&gt; and the apparently equivalent &lt;a href=&quot;https://en.wikipedia.org/wiki/Inter_frame&quot; rel=&quot;nofollow noreferrer&quot;&gt;frame types&lt;/a&gt;. Another comment from him taught me that I can inspect a file to observe the use of these techniques by installing &lt;a href=&quot;https://ffmpeg.org/&quot; rel=&quot;nofollow noreferrer&quot;&gt;FFmpeg&lt;/a&gt; and running:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;FFmpeg -i &amp;lt;filespec&amp;gt; -vf &amp;quot;showinfo&amp;quot; -f null -&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;and then looking at the values of the field &lt;code&gt;type&lt;/code&gt; in the output.&lt;/p&gt;&#xA;&lt;p&gt;I did that on one of my files and if I understand the output, it has some introductory data followed by a line of data for every frame, including a field &lt;code&gt;type&lt;/code&gt;. From a quick look at that output, it appears that there are a few I frames, while most of the frames are of type P. So it seems that the file is using &amp;quot;&lt;a href=&quot;https://en.wikipedia.org/wiki/Inter_frame&quot; rel=&quot;nofollow noreferrer&quot;&gt;inter-frame prediction&lt;/a&gt;&amp;quot; a lot.&lt;/p&gt;&#xA;&lt;p&gt;My question has four parts:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is there a way to tell if a file is using inter-frame prediction without having to inspect thousands of lines of output from FFmpeg?&lt;/li&gt;&#xA;&lt;li&gt;Is there a way to tell if a file is using inter-frame prediction optimally, so that I know whether this type of compression is being done as well as possible or could be improved?&lt;/li&gt;&#xA;&lt;li&gt;If a file is not using inter-frame prediction, is there a way to convert it to one that does?&lt;/li&gt;&#xA;&lt;li&gt;If a file is using inter-frame prediction, but not optimally, is there a way to convert it to a file that uses the technique better?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="43690" LastActivityDate="2024-03-26T01:02:35.293" Title="How to find out if a video file has picture types P and/or B and uses inter-frame prediction optimally?" Tags="|compression|" AnswerCount="1" CommentCount="10" ContentLicense="CC BY-SA 4.0" />
  <row Id="37241" PostTypeId="1" CreationDate="2024-02-20T16:37:19.117" Score="0" ViewCount="7" Body="&lt;p&gt;I am trying to export my project and sequence to the final video format for distribution, which ideally would be H.264, however, after reviewing the resulting MP4 video in MediaInfo, I am concerned that it exhibits a Variable Frame Rate.  The variables being Min 29.97fps and Max 30fps.  To my knowledge most film distributors require video submissions to have a constant frame rate, and yes, I realize I could use Handbrake to achieve this in post production, but I would like to know if this is how all H.264 codecs currently process video with VFR.  I say this, because I have some older MP4 videos that I previously created through PP CS5, and they are reported to have a constant frame rate by MediaInfo. Yet, all my exports to H.264 from PP CS6 have a Variable Frame Rate.  Any help would be appreciated, I have been experimenting with all of this for 5 weeks and I can't afford any more time being lost.  Thank you&lt;/p&gt;&#xA;" OwnerUserId="43691" LastActivityDate="2024-02-20T16:37:19.117" Title="The H264 Codec in Premiere Pro CS6 Creates MP4 Files with Variable Frame Rates" Tags="|premiere|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37242" PostTypeId="1" CreationDate="2024-02-20T21:26:37.867" Score="1" ViewCount="15" Body="&lt;p&gt;I would like to find out what the easiest way to take one video (of slides) as the main video and superimpose on it another video of a person speaking about those slides (in a small window at the upper right corner). These videos already exist (the two sync'ed videos), and I would like to upload them to YouTube. I am hoping there is an easy way to do that with a bunch of videos that doesn't require using too much editing (I know how to do it with iMovie, but it would take too much time to do it for all videos). Thanks.&lt;/p&gt;&#xA;" OwnerUserId="43695" LastEditorUserId="43695" LastEditDate="2024-02-20T21:27:11.637" LastActivityDate="2024-02-20T21:27:11.637" Title="How do I impose a video with my face on a video with slides running on YouTube?" Tags="|video-editor|editing|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37243" PostTypeId="1" CreationDate="2024-02-21T00:34:34.303" Score="0" ViewCount="58" Body="&lt;p&gt;I want to make a video using a cover image and an audio file with the audio file as the length. What's the most optimal modern way to do this with new codecs and high resolutions?&lt;/p&gt;&#xA;&lt;p&gt;Reason why I want 4K/8K: The deployment display is an 8K panel and a lower resolution yields sub-par experience.&lt;/p&gt;&#xA;&lt;p&gt;Here's the command I tried:&#xA;&lt;code&gt;ffmpeg -r 0.01 -loop 1 -i image.jpg -i audio.mp3 -c:v hevc_toolbox -c:a aac  -b:a 196k -pix_fmt yuv420p -shortest out.mp4&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;But the output was inconsistent and usually 1.5-2x the length of the audio file even with &lt;code&gt;-shortest&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Relevant Past Research:&lt;/p&gt;&#xA;&lt;ol start=&quot;0&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;ffmpeg has a long-standing still-open bug about this issue where it can't approximate timing of the output correctly: trac.ffmpeg.org/ticket/5456&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;a href=&quot;https://superuser.com/questions/1041816/combine-one-image-one-audio-file-to-make-one-video-using-ffmpeg&quot;&gt;https://superuser.com/questions/1041816/combine-one-image-one-audio-file-to-make-one-video-using-ffmpeg&lt;/a&gt; but it doesn't cover it&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;And a lot of Reddit posts with h264/1080p instructions that were not fully applicable here.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;ffmpeg version 6.1.1 Copyright (c) 2000-2023 the FFmpeg developers&#xA;built with Apple clang version 15.0.0 (clang-1500.1.0.2.5)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;" OwnerUserId="12781" LastEditorUserId="12781" LastEditDate="2024-02-27T06:48:04.837" LastActivityDate="2024-03-28T07:02:35.290" Title="Creating an 8K/4K video in ffmpeg from single image frame leads to video longer than audio" Tags="|ffmpeg|hevc|h265|vp9|av1|" AnswerCount="1" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="37244" PostTypeId="2" ParentId="37243" CreationDate="2024-02-21T00:34:34.303" Score="0" Body="&lt;p&gt;Directly converting &lt;code&gt;mp3&lt;/code&gt; was yielding incorrect times. So pre-converting to &lt;code&gt;aac&lt;/code&gt; and then doing a loss-less copy to &lt;code&gt;mp4&lt;/code&gt; fixed it. I currently use the following:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for i in *.mp3;&#xA;do (&#xA;  ffmpeg -i &amp;quot;$i&amp;quot; -b:a 256k &amp;quot;${i%.*}.aac&amp;quot;;&#xA;  ffmpeg -r 0.01 -i image.jpg&#xA;         -i &amp;quot;${i%.*}.aac&amp;quot; -c:a copy -shortest -max_interleave_delta 500M&#xA;         -c:v libx265 -x265-params lossless=1 -pix_fmt yuvj420p -vf &amp;quot;loop=-1:1&amp;quot;&#xA;         -movflags faststart &amp;quot;${i%.*}.mp4&amp;quot;);&#xA;done&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-r 0.01&lt;/code&gt;: Sets a very low framerate (0.01 frames per second), making it essentially a static image video. This feels so hacky, I'd love to get your input if there's a better/proper way to do this!&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-i image.jpg&lt;/code&gt;: Specifies the input image file that has resolution of 7680x4320.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-i &amp;quot;${i%.*}.aac&amp;quot;&lt;/code&gt;: Takes the previously generated AAC audio file.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-c:a copy&lt;/code&gt;: Copies the audio stream without re-encoding (saving time).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-shortest&lt;/code&gt;: Makes the output video end when the shortest input (image or audio) ends.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-max_interleave_delta 500M&lt;/code&gt;: Improves compatibility for streaming by limiting audio/video gaps.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-c:v libx265&lt;/code&gt;: Uses the x265 (HEVC) video encoder for efficient compression. I wanted to use &lt;code&gt;hevc_toolbox&lt;/code&gt; since I'm on an &lt;code&gt;arm64&lt;/code&gt; MacOS machine but it doesn't seem to support similar parameters. &lt;em&gt;&lt;strong&gt;If you know a hack to use that for still images, please share!&lt;/strong&gt;&lt;/em&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-x265-params lossless=1&lt;/code&gt;: Sets x265 encoding to lossless mode for high-quality output.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-pix_fmt yuvj420p&lt;/code&gt;: Sets a common color format for compatibility. Even though &lt;code&gt;, using [this format fixes/avoids][1] the &lt;/code&gt;deprecated pixel format used, make sure you did set range correctly` warning that you get.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-vf &amp;quot;loop=-1:1&amp;quot;&lt;/code&gt;: Loops the image indefinitely (-1 means unlimited, size is 1 frame).&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-movflags faststart&lt;/code&gt;: Optimizes the video file for web streaming.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;&amp;quot;${i%.*}.mp4&amp;quot;&lt;/code&gt;: Replaces the &amp;quot;.mp3&amp;quot; extension with &amp;quot;.mp4&amp;quot;, creating an MP4 video file as output.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;The resultant file works in Youtube, but doesn't work well in Infuse, VLC, Quicktime or Finder's QuickLook. Dunno how to fix that.&lt;/p&gt;&#xA;&lt;p&gt;Next goal is to do a royalty-free version of this with &lt;code&gt;av1&lt;/code&gt;/&lt;code&gt;vp9&lt;/code&gt; and &lt;code&gt;Opus&lt;/code&gt;. And to add subtitle files&lt;/p&gt;&#xA;" OwnerUserId="12781" LastActivityDate="2024-02-21T00:34:34.303" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37245" PostTypeId="1" CreationDate="2024-02-21T00:55:34.873" Score="0" ViewCount="13" Body="&lt;p&gt;I have a stroke in my composition, and the anchor point of the stroke is set to the middle of the stroke.&lt;/p&gt;&#xA;&lt;p&gt;I'm trying to use the Align Panel functions to bring the stroke to the middle of the composition, but it won't work. I can't seem to understand why.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/LVZQi.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/LVZQi.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43696" LastActivityDate="2024-02-21T00:55:34.873" Title="Shape Layer won't Align to composition" Tags="|after-effects|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37246" PostTypeId="1" CreationDate="2024-02-21T05:41:57.730" Score="0" ViewCount="9" Body="&lt;p&gt;I downloaded a free LUT from the almighty Youtube and want to apply this Da Vinci Resolve. However there are plethora of options and 100 blogs telling 1000 different settings. Can someone give me a straight forward answer what settings to apply, please skip the PhD-level dcientific thesis about color science.&lt;/p&gt;&#xA;&lt;p&gt;This is what I am seeing in my project settings under color management, which drop downs do I need to use to select my LUT?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/0l4Hu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/0l4Hu.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43698" LastActivityDate="2024-02-21T05:41:57.730" Title="How to apply LUT in Da Vinci Resolve - no PhD in Color Science" Tags="|davinci-resolve|color|lut|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37247" PostTypeId="1" CreationDate="2024-02-21T23:49:03.337" Score="0" ViewCount="48" Body="&lt;p&gt;I'm serving an HLS stream with the following ffmpeg command:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -f flv -i rtmp://127.0.0.1/live -crf 22 -ar 44100 -ac 2 -fps_mode passthrough -force_key_frames expr:gte(t,n_forced*2) -map 0:v:0 -map 0:a:0 -map 0:v:0 -map 0:a:0 -map 0:v:0 -map 0:a:0 -c:v libx264 -filter:v:0 scale=1280:720 -maxrate:v:0 3000k -c:a aac -b:a:0 160k -c:v libx264 -filter:v:1 scale=854:480 -maxrate:v:1 2000k -c:a aac -b:a:1 160k -c:v libx264 -filter:v:2 scale=640:360 -maxrate:v:2 1000k -c:a aac -b:a:2 128k -var_stream_map &amp;quot;v:0,a:0,name:720p v:1,a:1,name:480p v:2,a:2,name:360p&amp;quot; -preset veryfast -hls_list_size 30 -threads 0 -f hls -hls_time 2 -master_pl_name master.m3u8 -y %v.m3u8&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;The playlist is limited to 30 segments of 2 second duration, 60 seconds total. I'm using hls.js with low latency enabled for html video playback.&lt;/p&gt;&#xA;&lt;p&gt;I'd like to make the stream have up to 12 hours of duration, which is 720x longer than it currently is. Is there a way to do this without creating enormous playlists? If I adjusted my command to just have a higher list size that would make the user have to constantly fetch ~500kb m3u8 files.&lt;/p&gt;&#xA;&lt;p&gt;I figured if we know the overall duration and the segment duration then we can make a pretty accurate guess what # segment to serve if the user rewinds 6 hrs into a 12 hr stream...&lt;/p&gt;&#xA;&lt;p&gt;I assume there's something in the HLS spec that allows for very long/infinite duration streams. Is there? If so how do I implement it?&lt;/p&gt;&#xA;" OwnerUserId="27762" LastActivityDate="2024-02-21T23:49:03.337" Title="How to serve long duration HLS playlist (12 hours) without creating massive playlists in FFMPEG?" Tags="|ffmpeg|hls|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37248" PostTypeId="2" ParentId="37240" CreationDate="2024-02-22T16:04:19.343" Score="0" Body="&lt;p&gt;The following answer is compiled from comments on the question made by Gantendo.&lt;/p&gt;&#xA;&lt;p&gt;A helpful resource for understanding video compression is &lt;a href=&quot;https://imagekit.io/blog/video-compression-techniques/&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;em&gt;A Detailed Overview Of Popular Video Compression Techniques&lt;/em&gt;&lt;/a&gt; by ImageKit.&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Is there a way to tell if a file is using inter-frame prediction?&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Yes, you can look at which codec is used. If it is a codec that does not use inter-frame prediction then it is not used and vice versa.&#xA;&lt;ul&gt;&#xA;&lt;li&gt;(This part of the answer is not entirely helpful. How can I know if a particular codec uses it? I have not found a place with this information.)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Is there a way to tell if a file is using inter-frame prediction optimally?&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&amp;quot;Optimal&amp;quot; is a difficult word in this context because, since there is a tradeoff between space (and even gpu/cpu used) and quality. Use H.265 and it is pretty damn good.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If a file is not using inter-frame prediction, is there a way to convert it to one that does?&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Yes, you can convert videos from one codec to another. Check out &lt;a href=&quot;https://handbrake.fr/docs/en/1.7.0/introduction/about.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;Handbrake&lt;/a&gt; and &lt;a href=&quot;https://docs.tdarr.io/docs/welcome/what&quot; rel=&quot;nofollow noreferrer&quot;&gt;Tdarr&lt;/a&gt;.&#xA;&lt;ul&gt;&#xA;&lt;li&gt;In addition to those, it appears that &lt;a href=&quot;https://imagekit.io&quot; rel=&quot;nofollow noreferrer&quot;&gt;ImageKit&lt;/a&gt; also does this. The &lt;a href=&quot;https://imagekit.io/blog/video-compression-techniques/&quot; rel=&quot;nofollow noreferrer&quot;&gt;ImageKit article&lt;/a&gt; also says VLC and Adobe Media Encoder can be used.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;If a file is using inter-frame prediction, but not optimally, is there a way to convert it to a file that uses the technique better?&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;If a file is H.264 you can convert it to H.265 which should improve compression. See &lt;a href=&quot;https://www.boxcast.com/blog/hevc-h.265-vs.-h.264-avc-whats-the-difference&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;em&gt;HEVC (H.265) vs. AVC (H.264): What’s the Difference?&lt;/em&gt;&lt;/a&gt; by BoxCast.&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="43690" LastEditorUserId="43690" LastEditDate="2024-02-25T00:35:40.293" LastActivityDate="2024-02-25T00:35:40.293" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37249" PostTypeId="1" CreationDate="2024-02-23T12:25:20.987" Score="0" ViewCount="36" Body="&lt;p&gt;I've encountered an issue while concatenating video files using FFmpeg, specifically when including multiple streams using the &lt;code&gt;-map 0&lt;/code&gt; option. Here are the details:&lt;/p&gt;&#xA;&lt;p&gt;I have two FFmpeg commands to trim the first three seconds of a video from a public sample:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Without &lt;code&gt;-map 0&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i http://commondatastorage.googleapis.com/gtv-videos-bucket/sample/BigBuckBunny.mp4 -t 3 output_t.mp4 -y&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;With &lt;code&gt;-map 0&lt;/code&gt;:&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -y -i http://commondatastorage.googleapis.com/gtv-videos-bucket/sample/BigBuckBunny.mp4 -map 0 -t 3 output_t.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;When using the output from the first command in a concat demuxer, everything works fine. However, using the output from the second command results in numerous &amp;quot;Non-monotonic DTS in output stream&amp;quot; errors and the final video's length is incorrect.&lt;/p&gt;&#xA;&lt;p&gt;The whole process looks like&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i http://commondatastorage.googleapis.com/gtv-videos-bucket/sample/BigBuckBunny.mp4 -map 0 -t 3 output_t.mp4&#xA;ffmpeg -y -i http://commondatastorage.googleapis.com/gtv-videos-bucket/sample/BigBuckBunny.mp4 -filter_complex '[0]trim=duration=3[s0];[0]atrim=duration=3[s1]' -map '[s0]' -map '[s1]' trim_atrim_duration.mp4&#xA;ffmpeg -y -f concat -safe 0 -i files.txt -map 0 -c copy concat_demuxer.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;the body of files&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;file 'output_t.mp4'&#xA;file 'trim_atrim_duration.mp4'&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Here are my questions:&lt;/p&gt;&#xA;&lt;p&gt;Why does including &lt;code&gt;-map 0&lt;/code&gt; (to include all streams) in the trimming process cause non-monotonic DTS errors when those segments are later used in a concat demuxer?&lt;/p&gt;&#xA;&lt;p&gt;Any advice on how to diagnose and resolve these issues would be greatly appreciated. I'm particularly interested in understanding the underlying cause of the non-monotonic DTS errors and finding a reliable workflow for trimming and concatenating videos with multiple streams.&lt;/p&gt;&#xA;&lt;p&gt;Thank you for your help!&lt;/p&gt;&#xA;&lt;p&gt;I tried analysis the PTS &amp;amp; DTS to see if there is any difference between the w/o map output_t.mp4&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;&#xA;ffprobe -v error -select_streams v -show_entries frame=pkt_pts_time,pkt_dts_time -of default=noprint_wrappers=1:nokey=1 output_t.mp4 &amp;gt; video_pts_dts.txt&#xA;ffprobe -v error -select_streams a -show_entries frame=pkt_pts_time,pkt_dts_time -of default=noprint_wrappers=1:nokey=1 output_t.mp4 &amp;gt; audio_pts_dts.txt&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;but didn't find any difference&lt;/p&gt;&#xA;" OwnerUserId="22414" LastActivityDate="2024-03-04T13:19:18.730" Title="Non-monotonic DTS Errors in Concatenated FFmpeg Output with Multiple Streams" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37250" PostTypeId="1" CreationDate="2024-02-23T18:45:06.333" Score="0" ViewCount="11" Body="&lt;p&gt;I would like to reduce the value looping rotation of the leaves on this foliage design further towards the base of the design. I could do this manually by setting two keyframes and setting the rotation of each leaf from a negative value to a postive value. Then I can add the expression&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;loopout (&amp;quot;pingpong&amp;quot;)&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;to achieve the motion in a short loop that can be time remapped.&lt;/p&gt;&#xA;&lt;p&gt;However it is tedious to do this for multiple leaves.&lt;/p&gt;&#xA;&lt;p&gt;I am aware of the index expression and how it can increase a value like rotation depending on the value of the layers index number in the stack on the timeline. Can the index expression also be used to target individual keyframes.&lt;/p&gt;&#xA;&lt;p&gt;It would be nice to be able to increase the value of the rotation from -2 to 2 degrees at the base of the plant up to say -16 to 16 degrees right at the tip using an expression like index combined with something else to automate the process of setting up the rotations?&lt;/p&gt;&#xA;&lt;p&gt;Thank you&lt;a href=&quot;https://i.stack.imgur.com/vmLfK.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/vmLfK.png&quot; alt=&quot;Plant&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="24328" LastActivityDate="2024-04-06T11:01:40.163" Title="Adding the index expression to a rotation property and making that change over multiple keyframes?" Tags="|after-effects|after-effects-expressions|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37251" PostTypeId="1" CreationDate="2024-02-23T21:01:11.627" Score="0" ViewCount="7" Body="&lt;p&gt;I am using VSDC to create a GIF image of three images that fade from one into the other.  I think I have gotten the fade working well.  In the timeline, I fade out one image as I also fade in the next one.  This works pretty well.&lt;/p&gt;&#xA;&lt;p&gt;I made each image the same size and dimension. So this, I thought, would make it look smoother and the transitions look flawless.&lt;/p&gt;&#xA;&lt;p&gt;The problem was not the images but the canvas.  I thought I was scaling the canvas/work site down to the size of the images.  But this is not the case since the resulting GIF has a huge black border.  Please advise.  I will probably have several follow-up questionis.&lt;/p&gt;&#xA;" OwnerUserId="43717" LastActivityDate="2024-02-23T21:01:11.627" Title="I need help creating a good GIF" Tags="|video-editor|video-quality|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37252" PostTypeId="2" ParentId="37230" CreationDate="2024-02-24T20:34:46.110" Score="1" Body="&lt;p&gt;Framerate refers to the number of frames (images) per second, as cameras don't record continuously, but in individual discrete periods of time. So the more frames, the smoother your video will look, as it is closer and close to approximating continuous recording. This is limited by your playback device however. A 30fps screen will not gain a benefit from 60fps video played on it.&lt;/p&gt;&#xA;&lt;p&gt;Framerate is not just important to how smooth footage is however, it is tied to another important part of video, shutter angle. 180 degrees shutter angle on 60fps, is equal to 90 degrees shutter angle on 30 fps. This is because the angle represents the portion of time between one frame to the next where the camera is exposing, and so changing the amount of time between frames, changes the equivalent time shutter angle conveys.&lt;/p&gt;&#xA;" OwnerUserId="43720" LastEditorUserId="43720" LastEditDate="2024-02-24T20:39:53.243" LastActivityDate="2024-02-24T20:39:53.243" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37253" PostTypeId="1" CreationDate="2024-02-26T03:16:42.223" Score="0" ViewCount="15" Body="&lt;h2&gt;Issue&lt;/h2&gt;&#xA;&lt;p&gt;I have a bunch of anime I've ripped from DVDs and even BDs that are 480i.&lt;/p&gt;&#xA;&lt;p&gt;I want to upscale these videos with Topaz Video AI for higher quality on a big screen, but also because subtitles are a blurry mess at 480px height unless the player I use keeps the resolution at 1080p or 4K.&lt;/p&gt;&#xA;&lt;p&gt;In this case, the upscale is introducing interlacing artifacts that aren't in the original file.&lt;/p&gt;&#xA;&lt;h2&gt;Anime Framerate&lt;/h2&gt;&#xA;&lt;p&gt;Anime is &lt;code&gt;23.976&lt;/code&gt;fps yet the files on the discs are &lt;code&gt;29.970&lt;/code&gt;fps at what is essentially &lt;code&gt;60i&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;The first frame is duplicated twice and the second 3 times, then twice for the 3rd frame, and 3 times for the 4th. This is 2:3 pulldown.&lt;/p&gt;&#xA;&lt;p&gt;Devices can do inverse telecine to get back the original 23.976fps video in realtime, but to upscale, I need to convert it to &lt;code&gt;23.976&lt;/code&gt;fps first on disk, then send that file to the upscaler.&lt;/p&gt;&#xA;&lt;h2&gt;&lt;code&gt;ffmpeg&lt;/code&gt;&lt;/h2&gt;&#xA;&lt;p&gt;I'm trying to use ffmpeg to convert these files, but my command seems to be broken. Can you help me figure out how to alter this command to achieve my intended results at minimal to no quality loss?&lt;/p&gt;&#xA;&lt;p&gt;This is the command I settled on so far:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;input.mkv&amp;quot; -c copy -map 0 -map_metadata 0 -vf &amp;quot;pullup&amp;quot; -c:v hevc_nvenc -profile:v main10 -level:v 4.1 -crf 18 -preset slow -fps_mode cfr -tag:v hvc1 -r 24000/1001 &amp;quot;output.mkv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I added &lt;code&gt;-level:v 4.1&lt;/code&gt; because the original file is L4.1. For some reason, it gets converted to L3 without this change. I'd rather just say &amp;quot;use whatever it was originally&amp;quot;, but I haven't figured out how.&lt;/p&gt;&#xA;&lt;p&gt;I'm also converting to HEVC &lt;strong&gt;not&lt;/strong&gt; because I care about compression, but because I think it produces a higher-quality encode. Especially if I'm going lossy to lossy, I want to lose as little detail as possible, so I figured AVC to HEVC should be safe. &lt;em&gt;This assumption could be incorrect.&lt;/em&gt;&lt;/p&gt;&#xA;&lt;h2&gt;File still shows Interlaced&lt;/h2&gt;&#xA;&lt;p&gt;So long as I've done everything correct up to this point, my remaining issue is the file showing &amp;quot;Interlaced&amp;quot; when it should be, and visually looks, progressive.&lt;/p&gt;&#xA;&lt;p&gt;Original file specs:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Baxtp.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Baxtp.png&quot; alt=&quot;Original file specs&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Resulting file showing Interlaced:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/J1nsJ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/J1nsJ.png&quot; alt=&quot;Resulting file showing Interlaced&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;h2&gt;Keyframes are wrong&lt;/h2&gt;&#xA;&lt;p&gt;For some reason, after converting, the keyframes are wrong. I might not be understanding this term correctly, but when I seek through the file, it goes in 10- and 11-second intervals. The original file lets me seek in 1-second intervals.&lt;/p&gt;&#xA;" OwnerUserId="41223" LastActivityDate="2024-02-26T03:16:42.223" Title="Inverse Telecine (IVTC) anime DVDs" Tags="|ffmpeg|hevc|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37256" PostTypeId="2" ParentId="37230" CreationDate="2024-02-26T10:11:00.323" Score="-3" Body="&lt;p&gt;In simple terms, fps basically means how many pictures are shown in a single second of a video. The higher the fps, the better the video quality because there are more frames giving a smoother look. A video with 60fps is considered high-quality and looks very realistic.&lt;/p&gt;&#xA;&lt;p&gt;Having a higher fps is great for videos with lots of movement, as it makes everything look smoother and reduces blurriness. It can really enhance the overall watching experience for your audience. But keep in mind, recording and playing back videos at 60fps requires more power and storage space, so you'll need to make sure your equipment can handle it.&lt;/p&gt;&#xA;" OwnerUserId="42044" LastActivityDate="2024-02-26T10:11:00.323" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37257" PostTypeId="1" CreationDate="2024-02-26T22:03:12.147" Score="1" ViewCount="18" Body="&lt;p&gt;I've been trying to convert Blu-Ray footage to the most efficient, yet least time consuming format for editing footage from them. For a while, I would make an MXF container and encode the h264 to DNxHD and the lossless compressed audio to pcm_s24le. I really liked how convenient it was to have my audio linked to my video, how it could be played as a single track in a media player, but then be inserted into my NLE as 6-8 separate mono tracks.&lt;/p&gt;&#xA;&lt;p&gt;However, I found the DNxHD encodes to be unnecessary as they took up too much storage space and my NLE could perfectly handle the original h264 files in an MOV or MP4 container. But I noticed that switching from MXF to an MOV container meant that things that were jettisoned from the former were in the latter. Some of this was actually welcome, like the chapter markers, but I noticed that 7.1 audio (but not 5.1 for some reason) would now render in my NLE as a single 7.1 track.&lt;/p&gt;&#xA;&lt;p&gt;I looked in MediaInfo and think I figured out that the issue is that the MOV container formats the channel layout while the MXF one doesn't. I'll paste the info to show what I mean&lt;/p&gt;&#xA;&lt;p&gt;MOV FILE&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;ID : 2&lt;/li&gt;&#xA;&lt;li&gt;Format : PCM&lt;/li&gt;&#xA;&lt;li&gt;Format settings : Little / Signed&lt;/li&gt;&#xA;&lt;li&gt;Codec ID : in24&lt;/li&gt;&#xA;&lt;li&gt;Duration : 1 min 41 s&lt;/li&gt;&#xA;&lt;li&gt;Bit rate mode : Constant&lt;/li&gt;&#xA;&lt;li&gt;Bit rate : 9 216 kb/s&lt;/li&gt;&#xA;&lt;li&gt;Channel(s) : 8 channels&lt;/li&gt;&#xA;&lt;li&gt;Channel layout : L R C LFE Ls Rs Lb Rb&lt;/li&gt;&#xA;&lt;li&gt;Sampling rate : 48.0 kHz&lt;/li&gt;&#xA;&lt;li&gt;Bit depth : 24 bits&lt;/li&gt;&#xA;&lt;li&gt;Stream size : 111 MiB (34%)&lt;/li&gt;&#xA;&lt;li&gt;Title : English&lt;/li&gt;&#xA;&lt;li&gt;Language : English&lt;/li&gt;&#xA;&lt;li&gt;Default : Yes&lt;/li&gt;&#xA;&lt;li&gt;Alternate group : 1&lt;/li&gt;&#xA;&lt;li&gt;Menus : 3&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;MXF FILE&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;ID : 3&lt;/li&gt;&#xA;&lt;li&gt;Format : PCM&lt;/li&gt;&#xA;&lt;li&gt;Format settings : Little&lt;/li&gt;&#xA;&lt;li&gt;Format settings, wrapping mode : Frame (AES)&lt;/li&gt;&#xA;&lt;li&gt;Codec ID : 0D01030102060300&lt;/li&gt;&#xA;&lt;li&gt;Duration : 1 min 13 s&lt;/li&gt;&#xA;&lt;li&gt;Bit rate mode : Constant&lt;/li&gt;&#xA;&lt;li&gt;Bit rate : 9 216 kb/s&lt;/li&gt;&#xA;&lt;li&gt;Channel(s) : 8 channels&lt;/li&gt;&#xA;&lt;li&gt;Sampling rate : 48.0 kHz&lt;/li&gt;&#xA;&lt;li&gt;Frame rate : 23.976 FPS (2002 SPF)&lt;/li&gt;&#xA;&lt;li&gt;Bit depth : 24 bits&lt;/li&gt;&#xA;&lt;li&gt;Stream size : 81.1 MiB (5%)&lt;/li&gt;&#xA;&lt;li&gt;Delay_SDTI : 0&lt;/li&gt;&#xA;&lt;li&gt;Locked : Yes&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;Any ideas?&lt;/p&gt;&#xA;&lt;p&gt;I tried this code:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i &amp;quot;INPUT.mkv&amp;quot; -c:v copy -r 23.976 -c:a pcm_s24le -filter_complex &amp;quot;[0:a:0]pan=mono|c0=c0[a0]; [0:a:1]pan=mono|c0=c0[a1]; [0:a:2]pan=mono|c0=c0[a2]; [0:a:3]pan=mono|c0=c0[a3]; [0:a:4]pan=mono|c0=c0[a4]; [0:a:5]pan=mono|c0=c0[a5]; [0:a:6]pan=mono|c0=c0[a6]; [0:a:7]pan=mono|c0=c0[a7]; [a0][a1][a2][a3][a4][a5][a6][a7]amerge=inputs=8&amp;quot; &amp;quot;OUTPUT.mov”&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And got this error message:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream specifier ':a:4' in filtergraph description [0:a:0]pan=mono|c0=c0[a0]; [0:a:1]pan=mono|c0=c0[a1]; [0:a:2]pan=mono|c0=c0[a2]; [0:a:3]pan=mono|c0=c0[a3]; [0:a:4]pan=mono|c0=c0[a4]; [0:a:5]pan=mono|c0=c0[a5]; [0:a:6]pan=mono|c0=c0[a6]; [0:a:7]pan=mono|c0=c0[a7]; [a0][a1][a2][a3][a4][a5][a6][a7]amerge=inputs=8 matches no streams.&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43729" LastActivityDate="2024-02-26T22:03:12.147" Title="How to get a 7.1 PCMle encode in an MOV container to stay a single track while also rendering as 8 mono tracks in an NLE like an MXF container" Tags="|ffmpeg|editing|audio|file-formats|quicktime|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37258" PostTypeId="1" CreationDate="2024-02-27T00:07:36.757" Score="0" ViewCount="21" Body="&lt;p&gt;&lt;code&gt;hls_playlist_type event&lt;/code&gt; means the playlist file is supposed to be appended with each new segment reference and segments are never removed.&lt;/p&gt;&#xA;&lt;p&gt;And yet I've always noticed in the ffmpeg log with each update:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;[hls @ 000001c7870a4440] Opening '720p.m3u8.tmp' for writing&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;Which looks like it's not doing a simple append but rewriting the entire lot.&#xA;Every other playlist type this makes sense for but, for this it doesn't.&lt;/p&gt;&#xA;&lt;p&gt;I'm using ffmpeg to create very (very) long running playlists containing potentially tens of thousands of segments, and if I'm correct in my assumption then it's going to be doing a lot of unnecessary writing and I'll need to find an alternative.&lt;/p&gt;&#xA;" OwnerUserId="27762" LastActivityDate="2024-02-27T00:07:36.757" Title="Does FFMPEG rewrite HLS m3u8 playlist files from scratch every segment when -hls_playlist_type = event?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37259" PostTypeId="2" ParentId="37234" CreationDate="2024-02-27T11:20:36.760" Score="0" Body="&lt;p&gt;I couldn't find a definitive answer for the best option on YouTube. In the end I decided that a screen resolution of 1280 x 720 gave me a good compromise between legibility and working area while maintaining the 16:4 aspect ratio.&lt;/p&gt;&#xA;" OwnerUserId="11734" LastActivityDate="2024-02-27T11:20:36.760" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37260" PostTypeId="1" CreationDate="2024-02-27T20:30:47.023" Score="0" ViewCount="23" Body="&lt;p&gt;I am looking for a way to batch generate thumbnails contact-sheets with ffmpeg.&#xA;A single line bash command line will do but a script is also okay.&lt;/p&gt;&#xA;&lt;p&gt;This a example.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/8A0H2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8A0H2.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;-The dimensions of the jpg must be 1498x753 pixels&#xA;-4 rows and 4 columns&#xA;-the first thumbnail 55 seconds into the video&#xA;-the rest of the thumbnails evenly spread till the end of the video and it must have the time in the nail itself when it was made&#xA;-it must include information about movie size, duration, resolution, length and name&#xA;-it must make thumbnails for all video's in the directory&#xA;-if there is a error it must stop and print the name of the faulty video&lt;/p&gt;&#xA;&lt;p&gt;I’m using a debian based distro.&#xA;I looked at the ffmpeg man page but it is way above my level of understanding. I also searched the web and fount nothing.&#xA;I hope some one knows.&lt;/p&gt;&#xA;" OwnerUserId="43739" LastActivityDate="2024-02-27T20:30:47.023" Title="batch generate thumbnails" Tags="|ffmpeg|thumbnails|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37261" PostTypeId="1" CreationDate="2024-02-28T10:28:53.427" Score="0" ViewCount="15" Body="&lt;p&gt;I want to create an animation from two still images. One still is the front of a card, the other is the back, and I want the animation to turn over the card. [Here](is an example in Adobe After Effects]. I looked at the Wipe transitions that are built-in, as well as the add-ons provided by the community, and they all seem 2D transitions with an animated opacity mask between the two images, whereas this one would be closer to 3D with perspective and distortion.&lt;/p&gt;&#xA;&lt;p&gt;Is it possible in Kdenlive to produce a &amp;quot;flip card&amp;quot; turnover animation?&lt;/p&gt;&#xA;" OwnerUserId="25024" LastActivityDate="2024-03-16T08:05:39.083" Title="Flip card (turnover) animation from two still images" Tags="|kdenlive|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37262" PostTypeId="1" CreationDate="2024-02-28T17:36:06.407" Score="0" ViewCount="16" Body="&lt;p&gt;I am in search of an application, website, or tool that allows for the creation of video compilations based on the selected videos as input. I want to generate 60-90 seconds videos for social media based on dosens of video files I have. I don't care much about how the input videos are cut for the final video.&lt;/p&gt;&#xA;&lt;p&gt;Most AI tools I've experimented with create entirely new graphics (no option to import your own video) or apply AI effects to existing footage, which is not what I need.&lt;/p&gt;&#xA;&lt;p&gt;Google Photos has a feature somewhat aligned with my needs, where it can create videos based on a keyword from my video library. However, it does not allow for manual selection of specific videos. Also, its keyword functionality is limited — you cannot assign keywords to your videos yourself, and it generates the same video every time you try.&lt;/p&gt;&#xA;&lt;p&gt;Is there a tool that allows for manual selection of specific videos and generates a new video of specific length?&lt;/p&gt;&#xA;&lt;p&gt;Ideally, this tool would be user-friendly and designed for generating content suitable for social media platforms like Instagram.&lt;/p&gt;&#xA;&lt;p&gt;Thank you for any suggestions.&lt;/p&gt;&#xA;" OwnerUserId="5762" LastActivityDate="2024-02-28T17:36:06.407" Title="Automatic video compilation AI based tool or app" Tags="|video-editor|editing|software-recommendation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37263" PostTypeId="1" CreationDate="2024-02-29T01:00:46.613" Score="0" ViewCount="29" Body="&lt;p&gt;I'm trying to develop a simple video transcoding system. When you upload a video, After extracting the video and audio separately, I want to encode them at 360, 720, and 1080p resolutions respectively and then merge them to create three final mp4 files. At this time, I have two questions.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Is there a big difference between encoding the video and audio separately in the original video file and encoding the original video file as is? In a related book, it is said that a system is created by separating video and audio, and I am curious as to why.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;I want to change the resolution without compromising the original image quality. At this time, the resolution of the uploaded file can be known at the time of upload. As a test, I created files according to each resolution, and found that the image quality was damaged. If I want to change only the resolution while keeping the original image quality, I would like to know how to adjust each ffmpeg option. We plan to change it to 360, 720, and 1080p.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Lastly, are there appropriate settings for the three resolutions (360, 720, 1080) that I am trying to convert to ffmpeg?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="43751" LastActivityDate="2024-02-29T01:00:46.613" Title="How to change resolution without compromising video quality using ffmpeg?" Tags="|ffmpeg|encoding|transcoding|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37266" PostTypeId="2" ParentId="24973" CreationDate="2024-02-29T18:48:38.610" Score="1" Body="&lt;p&gt;There used to be a variant of XLR plug rated for AC power. It was 50 years ago so the details are hazy, but I remember helping my supervising tech replace the power connector on the back of a Tektronix Vectorscope with one in my first two years of apprenticeship as a broadcast tech.&lt;/p&gt;&#xA;" OwnerUserId="43753" LastActivityDate="2024-02-29T18:48:38.610" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37267" PostTypeId="1" CreationDate="2024-03-01T01:44:49.547" Score="0" ViewCount="3" Body="&lt;p&gt;Unable to use last 2 Gigabytes of Storage on my SD card at the same rate as previous video.&lt;/p&gt;&#xA;&lt;p&gt;I have been using a converter box for recording to an SD CARD. The amount of video was reduced to only 40 minutes for 2 Gigabytes, instead of 7 Hours for 6 GB. What would cause the difference in recording bitrates?&lt;/p&gt;&#xA;&lt;p&gt;Trying to record video to SD card and make video file size consistent with recording previous files. I changed channels and made sure Television Set picked up video without interference.&lt;/p&gt;&#xA;" OwnerUserId="43754" LastActivityDate="2024-03-01T01:44:49.547" Title="Converter Box SD CARD" Tags="|sd-card|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37268" PostTypeId="1" CreationDate="2024-03-01T04:33:33.910" Score="1" ViewCount="12" Body="&lt;p&gt;I have no idea how to word this correctly. Normally in Premiere Pro I can move clips on different layers and have them perfectly aligned from the beginning of the clip, but now that feature is gone for some reason. How can I turn it back on?&lt;/p&gt;&#xA;" OwnerUserId="43757" LastActivityDate="2024-03-01T13:37:23.907" Title="Timeline movement lock turned off in Premiere Pro" Tags="|adobe|premiere-pro|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37269" PostTypeId="2" ParentId="37268" CreationDate="2024-03-01T13:37:23.907" Score="1" Body="&lt;p&gt;Snapping - with the timeline panel highlighter, press &lt;kbd&gt;S&lt;/kbd&gt; and look for the little magnet icon.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/tkVyl.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/tkVyl.png&quot; alt=&quot;snap&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://helpx.adobe.com/premiere-pro/using/clips-sequence.html&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://helpx.adobe.com/premiere-pro/using/clips-sequence.html&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2024-03-01T13:37:23.907" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37270" PostTypeId="2" ParentId="37100" CreationDate="2024-03-01T13:50:05.660" Score="1" Body="&lt;p&gt;Rectifying single photo:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.jpg -vf v360=fisheye:e:ih_fov=200:iv_fov=200 -y output.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Rectifying horizontal double fisheye:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.jpg -i dftest.gif -filter_complex &amp;quot;[1:v]v360=input=dfisheye:output=equirect:ih_fov=200:iv_fov=200[out_v]&amp;quot; -map &amp;quot;[out_v]&amp;quot;  output.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;You have a vertically stacked double fisheye, so you have to convert it in advance:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;crop the 2 parts (540x540, one at 0,0, the other at 0,540):&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;crop=out_w=540:out_h=540:x=0:y=540&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;&lt;strong&gt;crop=out_w=540:out_h=540:x=0:y=0&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;stack them horizontally: &lt;strong&gt;hstack&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;li&gt;send to v360 filter as above; &lt;strong&gt;v360=input=dfisheye:output=equirect:ih_fov=200:iv_fov=200&lt;/strong&gt;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Final result:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.jpg -filter_complex &amp;quot;[0:v]crop=out_w=540:out_h=540:x=0:y=540[3];[0:v]crop=out_w=540:out_h=540:x=0:y=0[1];[1][3]hstack,v360=input=dfisheye:output=equirect:ih_fov=200:iv_fov=200[out_v]&amp;quot; -map &amp;quot;[out_v]&amp;quot; output.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/SUvQC.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/SUvQC.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I used FOV=200 rather than FOV to remove overlapping.&lt;/p&gt;&#xA;&lt;p&gt;You can add parameter &lt;strong&gt;yaw&lt;/strong&gt; to turn camera around:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i input.jpg -filter_complex &amp;quot;[0:v]crop=out_w=540:out_h=540:x=0:y=540[3];[0:v]crop=out_w=540:out_h=540:x=0:y=0[1];[1][3]hstack,v360=input=dfisheye:output=equirect:ih_fov=200:iv_fov=200:yaw=45[out_v]&amp;quot; -map &amp;quot;[out_v]&amp;quot; output.jpg&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;yaw=0:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/gjqa6.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/gjqa6.png&quot; alt=&quot;yaw 0&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;yaw=45:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/GhvgT.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/GhvgT.png&quot; alt=&quot;yaw 45&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Test result here: &lt;a href=&quot;https://renderstuff.com/tools/360-panorama-web-viewer/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://renderstuff.com/tools/360-panorama-web-viewer/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Used this amazing tool to experiment: &lt;a href=&quot;https://ffmpeg.lav.io/&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://ffmpeg.lav.io/&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;You can also experiment with windows software I wrote to replace XDV360 software which came with my panocam with single 220° fisheye lens:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://github.com/jumpjack/fishconLC&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/jumpjack/fishconLC&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="35867" LastActivityDate="2024-03-01T13:50:05.660" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37271" PostTypeId="1" CreationDate="2024-03-01T16:38:30.637" Score="0" ViewCount="20" Body="&lt;p&gt;I have separate raw audio and video frames from a camera that I'm trying to merge to a single file.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Video processing&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have &lt;code&gt;JVT NAL sequence, H.264 video, main @ L 31&lt;/code&gt; data, I had the frames separated and I appended (concat) the frames to one file.&lt;/p&gt;&#xA;&lt;p&gt;here is the &lt;code&gt;ffprobe&lt;/code&gt; output of the data:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe version 4.2.7-0ubuntu0.1 Copyright (c) 2007-2022 the FFmpeg developers&#xA;  built with gcc 9 (Ubuntu 9.4.0-1ubuntu1~20.04.1)&#xA;  configuration: --prefix=/usr --extra-version=0ubuntu0.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --arch=amd64 --enable-gpl --disable-stripping --enable-avresample --disable-filter=resample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libaom --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libcodec2 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libjack --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librsvg --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-lv2 --enable-omx --enable-openal --enable-opencl --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-nvenc --enable-chromaprint --enable-frei0r --enable-libx264 --enable-shared&#xA;  libavutil      56. 31.100 / 56. 31.100&#xA;  libavcodec     58. 54.100 / 58. 54.100&#xA;  libavformat    58. 29.100 / 58. 29.100&#xA;  libavdevice    58.  8.100 / 58.  8.100&#xA;  libavfilter     7. 57.100 /  7. 57.100&#xA;  libavresample   4.  0.  0 /  4.  0.  0&#xA;  libswscale      5.  5.100 /  5.  5.100&#xA;  libswresample   3.  5.100 /  3.  5.100&#xA;  libpostproc    55.  5.100 / 55.  5.100&#xA;Input #0, h264, from 'frame_data.h264':&#xA;  Duration: N/A, bitrate: N/A&#xA;    Stream #0:0: Video: h264 (Main), yuvj420p(pc, bt709, progressive), 1280x720, 25 fps, 25 tbr, 1200k tbn, 50 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;the file is being played on vlc, however the video is played like it is on fast forward (every 2 seconds of the video should be about 1 second)&lt;/p&gt;&#xA;&lt;p&gt;The video should run at max 15fps (according to the camera specification)&lt;/p&gt;&#xA;&lt;p&gt;here is &lt;code&gt;ffprobe&lt;/code&gt; output of avi file that contains the raw frames and plays the audio and video correctly after the frames had been processed somehow, This avi file info is for reference only - to compare it with the raw frames to help figure out how to process the frames:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Input #0, avi, from 't.avi':&#xA;  Duration: 00:03:29.00, start: 0.000000, bitrate: 1116 kb/s&#xA;    Stream #0:0: Video: h264 (Main) (H264 / 0x34363248), yuvj420p(pc, bt709, progressive), 1280x720, 849 kb/s, 30 fps, 15 tbr, 30 tbn, 60 tbc&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I tried this command &lt;code&gt;ffmpeg -i frame_data.h264 -filter:v fps=15 test.h264&lt;/code&gt; on the raw frames but the video is still playing like its on fast forward&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;vlc data before changing fps to 15&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/AmFBZ.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;vlc screenshot&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/0TRvN.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;vlc screenshot&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;vlc data after changing fps to 15&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Mdd6K.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;vlc screenshot&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ER1YO.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;vlc screenshot&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;however playing the video via &lt;code&gt;ffplay frame_data.h264 -framerate 15&lt;/code&gt; make it much better, almost synced all the time, however occasionally the video become faster for couple of seconds (maybe it should be synced other way and not by frame rate?)&lt;/p&gt;&#xA;&lt;p&gt;frames info (raw)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[FRAME]&#xA;media_type=video&#xA;stream_index=0&#xA;key_frame=1&#xA;pkt_pts=N/A&#xA;pkt_pts_time=N/A&#xA;-&amp;gt; pkt_dts=N/A&#xA;-&amp;gt; pkt_dts_time=N/A&#xA;best_effort_timestamp=N/A&#xA;best_effort_timestamp_time=N/A&#xA;-&amp;gt; pkt_duration=48000&#xA;-&amp;gt; pkt_duration_time=0.040000&#xA;pkt_pos=1476573&#xA;pkt_size=57677&#xA;width=1280&#xA;height=720&#xA;pix_fmt=yuvj420p&#xA;sample_aspect_ratio=N/A&#xA;pict_type=I&#xA;coded_picture_number=189&#xA;display_picture_number=0&#xA;interlaced_frame=0&#xA;top_field_first=0&#xA;repeat_pict=0&#xA;color_range=pc&#xA;color_space=bt709&#xA;color_primaries=bt709&#xA;color_transfer=bt709&#xA;chroma_location=left&#xA;[/FRAME]&#xA;[FRAME]&#xA;media_type=video&#xA;stream_index=0&#xA;key_frame=0&#xA;pkt_pts=N/A&#xA;pkt_pts_time=N/A&#xA;-&amp;gt; pkt_dts=N/A&#xA;-&amp;gt; pkt_dts_time=N/A&#xA;best_effort_timestamp=N/A&#xA;best_effort_timestamp_time=N/A&#xA;-&amp;gt; pkt_duration=48000&#xA;-&amp;gt; pkt_duration_time=0.040000&#xA;pkt_pos=1534250&#xA;pkt_size=3928&#xA;width=1280&#xA;height=720&#xA;pix_fmt=yuvj420p&#xA;sample_aspect_ratio=N/A&#xA;pict_type=P&#xA;coded_picture_number=190&#xA;display_picture_number=0&#xA;interlaced_frame=0&#xA;top_field_first=0&#xA;repeat_pict=0&#xA;color_range=pc&#xA;color_space=bt709&#xA;color_primaries=bt709&#xA;color_transfer=bt709&#xA;chroma_location=left&#xA;[/FRAME]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;frame info from working (processed) avi&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[FRAME]&#xA;media_type=video&#xA;stream_index=0&#xA;key_frame=0&#xA;pkt_pts=N/A&#xA;pkt_pts_time=N/A&#xA;-&amp;gt; pkt_dts=500&#xA;-&amp;gt; pkt_dts_time=16.666667&#xA;best_effort_timestamp=500&#xA;best_effort_timestamp_time=16.666667&#xA;-&amp;gt; pkt_duration=1&#xA;-&amp;gt; pkt_duration_time=0.033333&#xA;pkt_pos=1772182&#xA;pkt_size=3070&#xA;width=1280&#xA;height=720&#xA;pix_fmt=yuvj420p&#xA;sample_aspect_ratio=N/A&#xA;pict_type=P&#xA;coded_picture_number=191&#xA;display_picture_number=0&#xA;interlaced_frame=0&#xA;top_field_first=0&#xA;repeat_pict=0&#xA;color_range=pc&#xA;color_space=bt709&#xA;color_primaries=bt709&#xA;color_transfer=bt709&#xA;chroma_location=left&#xA;[/FRAME]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;&lt;code&gt;pkt_pts&lt;/code&gt; and &lt;code&gt;pkt_dts&lt;/code&gt; are missing in the raw data, maybe that is the reason the video plays on fast forward? in the working (processed) avi &lt;code&gt;pkt_dts&lt;/code&gt;, &lt;code&gt;pkt_dts_time&lt;/code&gt;, &lt;code&gt;pkt_duration_time&lt;/code&gt; are not missing.&#xA;&lt;code&gt;pkt_duration_time&lt;/code&gt; is always &lt;em&gt;0.033333&lt;/em&gt;&#xA;&lt;code&gt;pkt_dts&lt;/code&gt; always jumps by 2 (there is no odd &lt;code&gt;pkt_dts&lt;/code&gt;)&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Audio processing&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have raw pcm audio of the video:&lt;/p&gt;&#xA;&lt;p&gt;here is an output of &lt;code&gt;ffplay -f s16le -ar 16k -ac 1 frame_data2.h264&lt;/code&gt; on the raw data&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/m4AuP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;ffplay screenshot&lt;/a&gt;&lt;a href=&quot;https://i.stack.imgur.com/m4AuP.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;5&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;The raw audio does not playing well using this command.&lt;/p&gt;&#xA;&lt;p&gt;I guessed the parameters (incorrectly?) from working avi file that contains the pcm data:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Stream #0:1: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 16000 Hz, 1 channels, s16, 256 kb/s&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;here is frame info from working (processed) avi file&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;[FRAME]&#xA;media_type=audio&#xA;stream_index=1&#xA;key_frame=1&#xA;pkt_pts=4320&#xA;pkt_pts_time=0.270000&#xA;pkt_dts=4320&#xA;pkt_dts_time=0.270000&#xA;best_effort_timestamp=4320&#xA;best_effort_timestamp_time=0.270000&#xA;pkt_duration=480&#xA;pkt_duration_time=0.030000&#xA;pkt_pos=11670&#xA;pkt_size=960&#xA;sample_fmt=s16&#xA;nb_samples=480&#xA;channels=1&#xA;channel_layout=unknown&#xA;[/FRAME]&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I'm trying to understand how should I process the video and the audio so that they will play well (merge them myself with the right av processing to avi/mp4 file)&lt;/p&gt;&#xA;&lt;p&gt;I also find this extra data that was included for each frame:&#xA;I suspect the first column is a sequence number maybe related to dts somehow, second column is a timestamp (milliseconds/microseconds?)&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;600 0xd96533 (audio)&#xA;601 0xd9e1dd (audio)&#xA;602 0xda4f52 (audio)&#xA;603 0xda5a63 (video)&#xA;604 0xdacc4b (audio)&#xA;605 0xdb39a3 (audio)&#xA;606 0xdb5ee9 (video)&#xA;607 0xdbb6d8 (audio)&#xA;608 0xdc23fe (audio)&#xA;609 0xdcb255 (audio)&#xA;610 0xdd0e69 (audio)&#xA;611 0xdd8b96 (audio)&#xA;612 0xdd67d0 (video)&#xA;613 0xddf8bd (audio)&#xA;614 0xde75fe (audio)&#xA;615 0xde6c28 (video)&#xA;616 0xdee328 (audio)&#xA;617 0xdf6012 (audio)&#xA;618 0xdfcd9d (audio)&#xA;619 0xe04a7d (audio)&#xA;620 0xe07523 (video)&#xA;621 0xe0b80c (audio)&#xA;622 0xe134db (audio)&#xA;623 0xe1798b (video)&#xA;624 0xe1a251 (audio)&#xA;625 0xe21f5c (audio)&#xA;626 0xe28ce1 (audio)&#xA;627 0xe27df7 (video)&#xA;628 0xe309a7 (audio)&#xA;629 0xe376fe (audio)&#xA;630 0xe3826e (video)&#xA;631 0xe3f3fd (audio)&#xA;632 0xe46154 (audio)&#xA;633 0xe486e9 (video)&#xA;634 0xe4de79 (audio)&#xA;635 0xe54bbe (audio)&#xA;636 0xe58b79 (video)&#xA;637 0xe5c8cb (audio)&#xA;638 0xe6361e (audio)&#xA;639 0xe6b35b (audio)&#xA;640 0xe68fb7 (video)&#xA;641 0xe72093 (audio)&#xA;642 0xe79db1 (audio)&#xA;643 0xe7942f (video)&#xA;644 0xe80b09 (audio)&#xA;645 0xe887ed (audio)&#xA;646 0xe8f546 (audio)&#xA;647 0xe97256 (audio)&#xA;648 0xe99d2c (video)&#xA;649 0xe9dfbd (audio)&#xA;650 0xea5ca8 (audio)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Thanks.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Update&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I fixed the audio frames, I'm able to play them fine, now I only need help with merging the audio and the video to one file and syncing them with the timestamp (microseconds).&lt;/p&gt;&#xA;" OwnerUserId="43761" LastEditorUserId="43761" LastEditDate="2024-03-02T01:25:57.313" LastActivityDate="2024-03-02T01:25:57.313" Title="Processing h264 video/audio stream" Tags="|ffmpeg|video|audio|streaming|h.264|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37274" PostTypeId="2" ParentId="27701" CreationDate="2024-03-04T01:16:50.083" Score="0" Body="&lt;p&gt;You may be able to use a variant of XML and AppleScript to accomplish your goals. See the Apple page on the subject at &lt;a href=&quot;https://developer.apple.com/documentation/professional_video_applications/content_and_metadata_exchanges_with_final_cut_pro&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://developer.apple.com/documentation/professional_video_applications/content_and_metadata_exchanges_with_final_cut_pro&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43777" LastActivityDate="2024-03-04T01:16:50.083" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37275" PostTypeId="1" CreationDate="2024-03-05T16:08:09.407" Score="0" ViewCount="13" Body="&lt;p&gt;I'd like to be able to search for a text in a video. E.g., if a video frame contains the text &amp;quot;Interactive&amp;quot;, then I'd like the solution to point to that frame if I search for this word:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/TzsVS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/TzsVS.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;(&lt;a href=&quot;https://youtu.be/KcELPpdN770?si=iwa-GWdvS1zjw0XG&amp;amp;t=5&quot; rel=&quot;nofollow noreferrer&quot;&gt;image source&lt;/a&gt;)&lt;/p&gt;&#xA;&lt;p&gt;How can  I do that?&lt;/p&gt;&#xA;" OwnerUserId="2117" LastActivityDate="2024-03-06T20:00:47.040" Title="Search for a text in a video (text is from the images, not the speech)" Tags="|video|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37276" PostTypeId="1" AcceptedAnswerId="37279" CreationDate="2024-03-06T01:48:55.393" Score="0" ViewCount="48" Body="&lt;p&gt;So I just switched from Final Cut Pro to Davinci Resolve. I feel general good since Davinci is more powerful overall. But one thing I do miss is the magnetic timeline. Are there any alternatives in Davinci to get a similar experience to the magnetic timeline in FCP?&lt;/p&gt;&#xA;" OwnerUserId="43796" LastEditorUserId="4426" LastEditDate="2024-03-07T12:09:17.343" LastActivityDate="2024-03-07T12:09:17.343" Title="Does Davinci Resolve have a magnetic timeline?" Tags="|davinci-resolve|final-cut-pro-x|fcpx|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37278" PostTypeId="1" CreationDate="2024-03-06T18:29:01.277" Score="0" ViewCount="3" Body="&lt;p&gt;I've been looking into making a compact camera rig with 4-axis stabilization in the style of a Ronin 4D. I plan to use a Black Magic Micro Studio Camera 4k G2 along with a smaller gimbal that will be attached to a stabilizer arm that should be around 5-6 inches long. The total weight of the camera rig at the end of the arm will be approximately 35 oz. My main issue was finding an electronic 4th-axis with little information on the topic. Is this arm something that is worth trying to make myself, or would a spring arm have the same results? What type of motor is on the Ronin 4D's arm? Also, does anyone have any suggestions on a gimbal that is compact, can hold 15oz, and is easily dissectable?&#xA;Thanks for any feedback!&lt;/p&gt;&#xA;" OwnerUserId="43801" LastActivityDate="2024-03-06T18:29:01.277" Title="DIY Ronin 4d-like camera rig with a Micro studio camera G2" Tags="|stabilisation|blackmagic|diy|electronics|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37279" PostTypeId="2" ParentId="37276" CreationDate="2024-03-06T18:39:06.923" Score="3" Body="&lt;p&gt;Resolve does not have a magnetic timeline, but it does have ripple delete where when you delete a clip it will slide everything over. This is done via the Delete key (not backspace) or ctrl backspace on Windows, and command delete on Mac. Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="43801" LastActivityDate="2024-03-06T18:39:06.923" CommentCount="5" ContentLicense="CC BY-SA 4.0" />
  <row Id="37280" PostTypeId="2" ParentId="37275" CreationDate="2024-03-06T20:00:15.357" Score="1" Body="&lt;p&gt;I found a tool that can run on Linux that does what you want! If you don't have a Raspberry Pi or a Linux PC, you can use a Kali Linux virtual machine inside VirtualBox.&lt;/p&gt;&#xA;&lt;p&gt;Just follow the instructions here. :)&#xA;&lt;a href=&quot;https://pypi.org/project/video-ocr/&quot; rel=&quot;nofollow noreferrer&quot;&gt;Video-OCR&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43801" LastEditorUserId="43801" LastEditDate="2024-03-06T20:00:47.040" LastActivityDate="2024-03-06T20:00:47.040" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37281" PostTypeId="2" ParentId="37250" CreationDate="2024-03-07T10:41:20.390" Score="0" Body="&lt;p&gt;This kind of thing might do it?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/z1o6B.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/z1o6B.gif&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/Hd4k6.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Hd4k6.jpg&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Null control at the top has a slider for movement and a slider for scale factor (how much you want each index position to be affected).&lt;/p&gt;&#xA;&lt;p&gt;The rotation of each &amp;quot;leaf&amp;quot; is controlled by an expression.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;thisComp.layer(&amp;quot;Null 1&amp;quot;).effect(&amp;quot;Slider Control&amp;quot;)(&amp;quot;Slider&amp;quot;) * (thisComp.layer(&amp;quot;Null 1&amp;quot;).effect(&amp;quot;scalefactor&amp;quot;)(&amp;quot;Slider&amp;quot;)*(1/index))&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Which takes the value of slider 1, multiplies it by the inverse of the scale factor.&lt;/p&gt;&#xA;&lt;p&gt;Then a &amp;quot;loop out&amp;quot; property on slider one and three keyframes does the animation (number of keyframes is counted from zero):&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;loopOut(type = &amp;quot;cycle&amp;quot;, numKeyframes = 2)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2024-03-07T10:41:20.390" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37282" PostTypeId="1" AcceptedAnswerId="37285" CreationDate="2024-03-07T12:33:29.623" Score="0" ViewCount="13" Body="&lt;p&gt;How to activate the Speed Graph of the Graph Editor of Adobe Aftereffects 2022?&lt;/p&gt;&#xA;&lt;p&gt;In the tutorial that I'm watching now, when he pressed his Graph editor, the result looked like the one that is encircled.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/1ChJL.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/1ChJL.png&quot; alt=&quot;GraphEditorofAftereffects&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;But when I pressed my Graph Editor in my Adobe Aftereffects 2022, the result look quite different from his, like this:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/8mwyp.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/8mwyp.jpg&quot; alt=&quot;TooDifferentGraphEditor&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I don't understand why the same icon produces different functions for him and for me. How do we activate the Speed Graph of the Adobe Aftereffects 2022?&lt;/p&gt;&#xA;&lt;p&gt;Thanks for the help!&lt;/p&gt;&#xA;" OwnerUserId="43608" LastActivityDate="2024-03-07T20:22:14.943" Title="How to activate the Speed Graph of the Graph Editor of Adobe Aftereffects 2022?" Tags="|after-effects|adobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37284" PostTypeId="1" CreationDate="2024-03-07T20:05:08.143" Score="0" ViewCount="61" Body="&lt;p&gt;Would you say Davinci Resolve is too advanced for the editing of shorts? Are there any other high quality yet simplistic editors you'd suggest that provide a lot of resources without paying? I've heard capcut is pretty good, and I even tried it for a while, yet in the free version, (which is the only version I've used) I felt like more advanced edits weren't available to me. Basically I'm asking about a free editing service in a level between both of them.&lt;/p&gt;&#xA;" OwnerUserId="43809" LastEditorUserId="43809" LastEditDate="2024-03-15T19:49:16.640" LastActivityDate="2024-03-17T21:17:39.720" Title="Editor between Davinci and Capcut?" Tags="|davinci-resolve|recommendation|" AnswerCount="2" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37285" PostTypeId="2" ParentId="37282" CreationDate="2024-03-07T20:22:14.943" Score="1" Body="&lt;p&gt;You've used Orientation, and he has used Rotation. He has also separated the dimensions, which means that for a 3D object, you will see three separate graphs for x, y, and z rotations. Then he's selected only the Y rotation keyframes.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2024-03-07T20:22:14.943" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37286" PostTypeId="1" CreationDate="2024-03-07T20:45:23.637" Score="0" ViewCount="8" Body="&lt;p&gt;I need to put a logo watermark on a video but the aliasing is terrible. I already tried all the settings (premultiplied etc) in clip attributes. I also tried moving the vector over to Photoshop and exporting a .tiff file instead but the issue is still present. The aliasing is present both on the watermark as well as on the zoom animation (zooming from original size to smaller). How can I fix this? I really don't want to use After Effects for something this simple.&lt;/p&gt;&#xA;&lt;p&gt;Thank you in advance!&lt;/p&gt;&#xA;" OwnerUserId="36753" LastActivityDate="2024-03-07T20:45:23.637" Title="PNG Logo from Illustrator in Da Vinci aliasing issue" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37287" PostTypeId="2" ParentId="37284" CreationDate="2024-03-08T16:52:25.227" Score="0" Body="&lt;p&gt;I wouldn't say Davinci is too advanced for a YouTube short, but the workflows are more optimized for bigger projects. To simplify it, skip the media page and go straight to the edit page. Then, drag your footage into the media pool. Pretty much all you'll need is the edit page, the color page (for basic correction), and the deliver page for exporting. Once you get to know how to set up the project settings, it's pretty straightforward from there. You will just need to set your timeline resolution to a 9:16 aspect ratio or 1080x1920 (most are already presets in the dropdown menu). For other editors, I'm not sure what would be free, but I think that since Resolve is free, it might be worth learning when it could become a useful skill in the future if you ever end up doing some more complex projects. Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="43801" LastActivityDate="2024-03-08T16:52:25.227" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37288" PostTypeId="2" ParentId="15929" CreationDate="2024-03-08T17:37:03.267" Score="0" Body="&lt;p&gt;I would say that you might be overthinking it a little. You could speed up the video mathematically (in an editor) and then extract all of the frames from that. For example in Blender we could, if it is 24fps, speed it up by 1440 times (to get 1 frame every minute) and then export all of the frames from the video as PNG or another format to a folder. I use this for time-lapses sometimes, and this way there is no scripting involved. I would still put the 23.98 into the equation to make sure you are getting the exact frames and not skipping over a couple.&lt;/p&gt;&#xA;&lt;p&gt;Just multiply your fps by your increments in sec.&lt;/p&gt;&#xA;&lt;p&gt;(fps*sec)&lt;/p&gt;&#xA;&lt;p&gt;Hope this helps!&lt;/p&gt;&#xA;" OwnerUserId="43801" LastActivityDate="2024-03-08T17:37:03.267" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37289" PostTypeId="1" CreationDate="2024-03-08T20:35:52.297" Score="0" ViewCount="8" Body="&lt;p&gt;hi I have written a Python program to concatenate multiple video files using ffmpeg concat demuxer. initially, I used media files from WhatsApp in my mobile which were sent to my laptop via email.&#xA;but all the WhatsApp media files failed to concatenate and program gave an error &amp;quot;non monotonous dts... &amp;quot; but when i replaced the whatsappp media files with the video files in my laptop which were diectly downloaded from a site the program worked and it concatenated the videos. i am wondering what might be the reason whatsapp media files not working here ? is it some kind of special encryption by whatsapp of its media files which is making them unreadable from ffmpeg ?&lt;/p&gt;&#xA;&lt;p&gt;here is code&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;def story(path):&#xA;videos = [f for f in os.listdir(path) if f.endswith(&amp;quot;.mp4&amp;quot;)]&#xA;print(videos)&#xA;command = [&#xA;    &amp;quot;ffmpeg&amp;quot;,&amp;quot;-y&amp;quot;,&#xA;    &amp;quot;-f&amp;quot;,&amp;quot;concat&amp;quot;,&#xA;    &amp;quot;-safe&amp;quot;,&amp;quot;0&amp;quot;,&#xA;    &amp;quot;-i&amp;quot;,&amp;quot;concat_list.txt&amp;quot;,&#xA;    &amp;quot;-c&amp;quot;,&amp;quot;copy&amp;quot;,&#xA;    &amp;quot;final.mp4&amp;quot;&#xA;&#xA; ]&#xA;with open(&amp;quot;concat_list.txt&amp;quot;,&amp;quot;w&amp;quot;) as f:&#xA;    for video in videos:&#xA;        f.write(&amp;quot;file &amp;quot; + os.path.join(&amp;quot;assets/story/&amp;quot;,video) + &amp;quot;\n&amp;quot;)&#xA;        #print(os.path.join(&amp;quot;assets/story&amp;quot;, video))&#xA;subprocess.run(command)&#xA;os.remove(&amp;quot;concat_list.txt&amp;quot;)&#xA;&#xA;return &amp;quot;final.mp4&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;path = &amp;quot;assets/story/&amp;quot;&#xA;story(path)&lt;/p&gt;&#xA;" OwnerUserId="43813" LastActivityDate="2024-03-08T20:35:52.297" Title="whatsapp media files cannot be concatenated by ffmpeg" Tags="|ffmpeg|ffmbc|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37290" PostTypeId="1" CreationDate="2024-03-09T01:46:29.590" Score="0" ViewCount="16" Body="&lt;p&gt;I want to edit some videos in batch, i want to be able to change volume, speed, zoom, contrast, volume and also be able to crop the videos. I want to be able to adjust all the mentioned options.&lt;/p&gt;&#xA;" OwnerUserId="43814" LastActivityDate="2024-03-09T01:46:29.590" Title="Bulk crop, change speed, volume, zoom, contrast etc Videos" Tags="|ffmpeg|video|video-editor|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37291" PostTypeId="2" ParentId="37284" CreationDate="2024-03-09T15:39:51.803" Score="0" Body="&lt;blockquote&gt;&#xA;&lt;p&gt;Is Resolve too advanced, (vs. Capcut)?&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;No. &lt;strong&gt;I would say they are different types of editors&lt;/strong&gt;. One &amp;quot;feature&amp;quot; of Capcut-like editors is the template library.&lt;/p&gt;&#xA;&lt;p&gt;Resolve has some libraries, like different styles to add text lower thirds and credits. You can get third-party libraries but it does not offer one by itself.&lt;/p&gt;&#xA;&lt;p&gt;So, if what you need are those kind of templates, probably &lt;strong&gt;Canva&lt;/strong&gt;. (The same case, a free limited version)&lt;/p&gt;&#xA;&lt;p&gt;One editor that I used to recommend (that was pretty good) actually changed the business model, from editor alone to be part of a library. &lt;strong&gt;Hit Film&lt;/strong&gt; is now part of Artist. It has a basic free plan.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;I felt like more advanced edits weren't available to me.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;What features? You need to define your specific needs, probably the software has them and you have not found them.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;But if you are asking about free alternative software, as software, not services (which would include templates, assets, and cloud storage) Yes, there are several (besides the already mentioned). Look for Open source projects, like &lt;strong&gt;ShotCut&lt;/strong&gt; And &lt;strong&gt;OpenShot&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Another one that has a free version, and a bit of a different interface is &lt;strong&gt;VSDC&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;But, personally, I would stick to &lt;strong&gt;DaVinci Resolve&lt;/strong&gt;. You do not need an OP computer to run it. And it is one of the best.&lt;/p&gt;&#xA;&lt;p&gt;One open-source software to check is &lt;strong&gt;Blender&lt;/strong&gt;. You could explore it as a simple video editor, but as an entry point to explore it as the 3D suite that it is.&lt;/p&gt;&#xA;" OwnerUserId="26178" LastActivityDate="2024-03-09T15:39:51.803" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37292" PostTypeId="2" ParentId="22203" CreationDate="2024-03-09T16:20:00.947" Score="0" Body="&lt;p&gt;The problem you're describing with blanks between each segment is due to priming samples. This can be removed with the inpoint directive. However, for it to be completely seamless, there's a bit more to do.&lt;/p&gt;&#xA;&lt;p&gt;To concat seamlessly with no gaps, you can do the following:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Calculate the AAC frame length based on the sample rate, e.g. 1024/44100 = 0.02321995 for 44.1KHz.&lt;/li&gt;&#xA;&lt;li&gt;Encode an extra 2 AAC frames at the beginning and end of each segment.&lt;/li&gt;&#xA;&lt;li&gt;Account for the 2 silent padding frames that ffmpeg always adds internally.&lt;/li&gt;&#xA;&lt;li&gt;Assign inpoint and outpoint directives in the concat txt file so that only the &amp;quot;good&amp;quot; content is used when creating the output file.&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The 2 extra beginning frames are required because each AAC frame is dependent on up to 2 frames before it. So to encode the first frame correctly, it needs that context. The 2 extra frames at the end are required because ffmpeg tapers the audio at the end to avoid a sudden pop. By adding 2 extra frames, we shift the taper so it doesn't affect our actual content. These extra frames are then removed with inpoint and outpoint to avoid repeated content.&lt;/p&gt;&#xA;&lt;p&gt;Using this method, it's important that all segments have a length that's an exact multiple of an AAC frame duration. If they don't, you will see unpredictable artifacts at segment boundaries.&lt;/p&gt;&#xA;&lt;p&gt;I recently released a repo that demonstrates this further with actual code: &lt;a href=&quot;https://github.com/wistia/seamless-aac-split-and-stitch-demo&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://github.com/wistia/seamless-aac-split-and-stitch-demo&lt;/a&gt;.&lt;/p&gt;&#xA;" OwnerUserId="43820" LastEditorUserId="43820" LastEditDate="2024-03-10T21:21:00.000" LastActivityDate="2024-03-10T21:21:00.000" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37293" PostTypeId="1" CreationDate="2024-03-11T19:00:50.667" Score="0" ViewCount="15" Body="&lt;p&gt;I am trying to mux in subtitles with ffmpeg, but I am having trouble getting the desired style and output with a reference point being VLC's standard format of showing subtitles matching the look of the subtitles below (when selecting standard.srt files in VLC):&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ytuMX.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;VLC standard subtitle format&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;What would be the command to achieve this exact output style for burning subtitles into a video file? I have tried commands looking like this one, but to no avail so far in getting it to match the VLC standard subtitle style:&lt;/p&gt;&#xA;&lt;p&gt;&lt;code&gt;ffmpeg -i input.mkv -vf &amp;quot;subtitles=sub.srt:force_style='FontName=Arial,FontSize=22,PrimaryColour=&amp;amp;Hffffff&amp;amp;,SecondaryColour=&amp;amp;Hffffff&amp;amp;,OutlineColour=&amp;amp;H000000&amp;amp;,BorderStyle=3,Shadow=1,Outline=2&amp;quot; output.mkv&lt;/code&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have been trying to extract a style from the VLC settings by tweaking some of the parameters, but no matter what I try to adjust it seems to give an undesired output style or format&lt;/p&gt;&#xA;" OwnerUserId="43835" LastActivityDate="2024-03-11T19:00:50.667" Title="Ffmpeg command to mux in subtitles matching the style of VLC" Tags="|ffmpeg|subtitles|" AnswerCount="0" CommentCount="4" ContentLicense="CC BY-SA 4.0" />
  <row Id="37294" PostTypeId="1" CreationDate="2024-03-12T23:35:16.100" Score="0" ViewCount="10" Body="&lt;p&gt;I NEED THIS TYPE OF PRODUCTION+VFX+3D ANIMATION&#xA;&lt;a href=&quot;https://youtu.be/Kg8lC7nUyQ4?si=7puo7V30wv6gciSG&quot; rel=&quot;nofollow noreferrer&quot;&gt;VFX+3D&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;My storyboard of the scene:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/iFP97.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/iFP97.jpg&quot; alt=&quot;Frame 1 - A man on a air baloon attracts a crowd&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/Aqq7n.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/Aqq7n.png&quot; alt=&quot;Frame 2 - Crowd about 20ppl&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/VVFlD.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/VVFlD.png&quot; alt=&quot;Frame 3 - they go into a air balloon&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/NOA0z.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/NOA0z.png&quot; alt=&quot;Optional frame - look from top&quot; /&gt;&lt;/a&gt;&#xA;&lt;a href=&quot;https://i.stack.imgur.com/UASjz.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/UASjz.png&quot; alt=&quot;Frame 5 - look from down to flying baloons with ppl&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;If We shoot the crowd on a chromakey from these angles, which option would be easier and faster:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;To make a full 3D city scene, and put footages into 3d scene?&lt;/li&gt;&#xA;&lt;li&gt;To shoot the real city from exactly the same angles, and just add 3D air balloons into city footage, and put crowd footage into 3D balloon?&lt;/li&gt;&#xA;&lt;li&gt;Just shoot on camera crowd in the city, and imitate camera angle to the sky, to add on post the 3d balloons, with tracking and compositing(masking crowd)&lt;/li&gt;&#xA;&lt;li&gt;... I dont know&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I found this tutorial, but im not sure how to get right results. I just dont know the right pypeline&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://youtu.be/RxD6H3ri8RI?si=cJ-N5ZWeqr4EGXYg&quot; rel=&quot;nofollow noreferrer&quot;&gt;Chromakey in Blender&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Please share the right pypeline! More about how to shoot and work with chromakey&lt;/p&gt;&#xA;&lt;p&gt;Btw, i need to understand how to make this type video until 15 march(15 march will video-prod day)&lt;/p&gt;&#xA;&lt;p&gt;UPD.&#xA;Softwares: Blender, C4D, Embergen, FSpy, Material Maker, AE, Davinci Resolve, Photoshop, AI, Audition, Premiere Pro, Final Cut&lt;/p&gt;&#xA;&lt;p&gt;Our skills:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;Concept arts&lt;/li&gt;&#xA;&lt;li&gt;2D/3D motion design - Blender mostly, a bit C4D&lt;/li&gt;&#xA;&lt;li&gt;Rigging and character animation&lt;/li&gt;&#xA;&lt;li&gt;Blender Geo-Nodes - junior&lt;/li&gt;&#xA;&lt;li&gt;VFX - Embergen, AE, Davinci Resolve Fusion&lt;/li&gt;&#xA;&lt;li&gt;Tracking - KeenTools, FSpy, Blender, AE, C4D&lt;/li&gt;&#xA;&lt;li&gt;Compositing - AE, Davinci Resolve&lt;/li&gt;&#xA;&lt;li&gt;Video shooting&lt;/li&gt;&#xA;&lt;li&gt;Film Making&lt;/li&gt;&#xA;&lt;li&gt;Color Correction&lt;/li&gt;&#xA;&lt;li&gt;Editing&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;I NEED THIS TYPE OF VFX+3D ANIMATION:&#xA;&lt;a href=&quot;https://youtu.be/Kg8lC7nUyQ4?si=ezWYrkcmO39eKkNc&quot; rel=&quot;nofollow noreferrer&quot;&gt;VFX + 3D ANIMATION WITH LARGE CITY BACKGROUND&lt;/a&gt;&#xA;Scenario of video - one blogger on an air balloon(in the city, ground) calls a crowd of people, atract them. They are come to him, listen something and follow him, buy standing on an air balloon. And Balloon starts flying from the city. Next shot is fro the ground looking to the sky, how these people flying on a balloon. Final shot from the sky, air balloon flying to another city.&#xA;15 March - day of shooting(production), we will do prod.&#xA;So until 15 March i need to get the best way to shoot&lt;/p&gt;&#xA;&lt;p&gt;And I guess i have enough of skills to make it, i'm just not sure in pypeline&lt;/p&gt;&#xA;" OwnerUserId="43844" LastActivityDate="2024-03-12T23:35:16.100" Title="Right pypeline to shoot crowd on chromakey, to add 3d on post" Tags="|video|camera|3d|visual-effects|chromakey|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37295" PostTypeId="1" CreationDate="2024-03-13T02:50:14.903" Score="0" ViewCount="24" Body="&lt;p&gt;I made a Python script to use FFMPEG to extract a subtitles file(ASS) from an MKV, modify a few things with Pysubs2, and then remux it as a new sub. The code works has worked correctly until now, but a file that I decided to use it for today is now throwing an error message that I'm just unable to understand what's going on.&lt;/p&gt;&#xA;&lt;p&gt;This is the equivalent of the command that I use with Python to mux the ASS file to the MKV&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -loglevel quiet -report -y -i &amp;quot;Videofile_02.mkv&amp;quot; -i &amp;quot;Videofile_02.ass&amp;quot; -c copy -map 0:v -map 0:a -map 0:s:0 -map 1 -metadata:s:s:1 language=eng -metadata:s:s:1 handler_name=English -metadata:s:s:1 title=Test -max_interleave_delta 0 -disposition:s:0 0 -disposition:s:1 default &amp;quot;./Finished/Videofile_02.mkv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I use the -report option to attempt to understand what's happening, but, this is what I get:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;...&#xA;Applying option disposition:s:0 (disposition) with argument 0.&#xA;Applying option disposition:s:1 (disposition) with argument default.&#xA;Successfully parsed a group of options.&#xA;Opening an output file: ./Finished/Videofile_02.mkv.&#xA;[file @ 0x55abe42c5780] Setting default whitelist 'file,crypto,data'&#xA;Successfully opened the file.&#xA;[matroska @ 0x55abe42b8c00] get_metadata_duration returned: 1431013000&#xA;[matroska @ 0x55abe42b8c00] Write early duration from metadata = 1431013&#xA;Could not write header for output file #0 (incorrect codec parameters ?): Invalid data found when processing input&#xA;Error initializing output stream 0:4 -- &#xA;Stream mapping:&#xA;  Stream #0:0 -&amp;gt; #0:0 (copy)&#xA;  Stream #0:4 -&amp;gt; #0:1 (copy)&#xA;  Stream #0:1 -&amp;gt; #0:2 (copy)&#xA;  Stream #0:2 -&amp;gt; #0:3 (copy)&#xA;  Stream #1:0 -&amp;gt; #0:4 (copy)&#xA;&#xA;[AVIOContext @ 0x55abe42c59c0] Statistics: 0 seeks, 1 writeouts&#xA;[AVIOContext @ 0x55abe4212cc0] Statistics: 1050661 bytes read, 2 seeks&#xA;[AVIOContext @ 0x55abe4258c40] Statistics: 34795 bytes read, 0 seeks&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;From what I'm understanding, seems like there might be a problem muxxing the subtitle file into the MKV(Maybe?). As an aditional piece of data, this file is part of a set of files that I'm applying this process to, all have the same characteristics, and the first one completed correctly, muxxed the subtitle file and is viewable, but from the 2nd to 6th it show this problem, and the others work correctly, so I don't think that the problem could be caused due to syntax errors in the ASS file, or things like that. Also, probably very important, I tried to mux these files using MKV Toolnix, and it merged them correctly, so is not like is not possible to mux them or there is an error, just FFMPEG that is not allowing me to.&lt;/p&gt;&#xA;&lt;p&gt;Does someone knows what might be a cause, or what might I do to gather more info? Sorry, I'm not very into using these tools, so I'm not sure what kind of other data I could provide, or what else to check.&lt;/p&gt;&#xA;" OwnerUserId="41793" LastActivityDate="2024-03-13T02:50:14.903" Title="FFMPEG Invalid data found when processing input when muxxing ASS file" Tags="|ffmpeg|mkv|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37296" PostTypeId="1" CreationDate="2024-03-14T15:13:33.667" Score="-1" ViewCount="8" Body="&lt;p&gt;How can I change the depth of video to 1 bit per color (meaning 3bit in total). Normally video file format depth is 8 bit but I want 3bit. Actually i want the final video file to contain 3 bits per pixel when it saves, no matter how many colors are reduced &lt;strong&gt;but i want the video file to be saved in 3 bits (1bit per color) to significantly reduce the video file size if i change the depth of video to 3bits.&lt;/strong&gt; and it doesn't matter what format mp4, avi, mkv, etc, etc. is this possible ?&lt;/p&gt;&#xA;" OwnerUserId="43855" LastActivityDate="2024-03-14T15:13:33.667" Title="How can I change a bit depth of video to 1 bit per color (meaning save video file format contains 3bit in total)?" Tags="|video|conversion|file-formats|compression|bitrate|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37298" PostTypeId="1" CreationDate="2024-03-15T15:16:57.970" Score="0" ViewCount="6" Body="&lt;p&gt;I’m working on a dance video project where there are multiple clips of people dancing to the same song. I want to synchronize these clips so that they match the beats of the music. How can I achieve this using DaVinci Resolve or Adobe Premiere Pro? (I have access to both).&lt;/p&gt;&#xA;&lt;p&gt;The background music is the same song for all clips and it is recorded from a camera, so there is some level of additional noise.&#xA;I need a method to align these clips, so that I can cut to another clip without missing the beats of the music.&#xA;Is there a feature in DaVinci Resolve or Premiere Pro that can automatically synchronize the clips based on the audio waveform?&lt;/p&gt;&#xA;" OwnerUserId="5416" LastActivityDate="2024-03-15T15:16:57.970" Title="How to synchronize multiple Video Clips based on background music" Tags="|davinci-resolve|sync|premiere-pro|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37299" PostTypeId="1" CreationDate="2024-03-15T20:16:59.403" Score="-1" ViewCount="33" Body="&lt;p&gt;These are the encoding settings on my Mediainfo File.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;Encoding settings                        : cpuid=1111039 / frame-threads=6 / wpp / no-pmode / no-pme / no-psnr / no-ssim / log-level=2 / input-csp=1 / input-res=3840x1608 / interlace=0 / total-frames=0 / level-idc=51 / high-tier=1 / uhd-bd=0 / ref=4 / no-allow-non-conformance / repeat-headers / annexb / aud / no-eob / no-eos / no-hrd / info / hash=0 / no-temporal-layers / no-open-gop / min-keyint=1 / keyint=24 / gop-lookahead=0 / bframes=4 / b-adapt=2 / b-pyramid / bframe-bias=0 / rc-lookahead=25 / lookahead-slices=4 / scenecut=40 / no-hist-scenecut / radl=0 / no-splice / no-intra-refresh / ctu=64 / min-cu-size=8 / rect / no-amp / max-tu-size=32 / tu-inter-depth=1 / tu-intra-depth=1 / limit-tu=0 / rdoq-level=2 / dynamic-rd=0.00 / no-ssim-rd / signhide / no-tskip / nr-intra=0 / nr-inter=0 / no-constrained-intra / strong-intra-smoothing / max-merge=3 / limit-refs=3 / no-limit-modes / me=3 / subme=3 / merange=57 / temporal-mvp / no-frame-dup / no-hme / weightp / no-weightb / no-analyze-src-pics / deblock=0:0 / no-sao / no-sao-non-deblock / rd=4 / selective-sao=0 / no-early-skip / rskip / no-fast-intra / no-tskip-fast / no-cu-lossless / no-b-intra / no-splitrd-skip / rdpenalty=0 / psy-rd=2.00 / psy-rdoq=1.00 / no-rd-refine / no-lossless / cbqpoffs=0 / crqpoffs=0 / rc=abr / bitrate=8000 / qcomp=0.60 / qpstep=4 / stats-write=0 / stats-read=2 / cplxblur=20.0 / qblur=0.5 / ipratio=1.40 / pbratio=1.30 / aq-mode=1 / aq-strength=1.00 / cutree / zone-count=0 / no-strict-cbr / qg-size=32 / no-rc-grain / qpmax=69 / qpmin=0 / no-const-vbv / sar=1 / overscan=0 / videoformat=5 / range=0 / colorprim=9 / transfer=16 / colormatrix=9 / chromaloc=0 / display-window=0 / master-display=G(13250,34500)B(7500,3000)R(34000,16000)WP(15635,16450)L(10000000,1) / cll=413,65 / min-luma=0 / max-luma=1023 / log2-max-poc-lsb=8 / vui-timing-info / vui-hrd-info / slices=1 / no-opt-qp-pps / no-opt-ref-list-length-pps / no-multi-pass-opt-rps / scenecut-bias=0.05 / hist-threshold=0.03 / no-opt-cu-delta-qp / no-aq-motion / hdr10 / hdr10-opt / no-dhdr10-opt / no-idr-recovery-sei / analysis-reuse-level=0 / analysis-save-reuse-level=0 / analysis-load-reuse-level=0 / scale-factor=0 / refine-intra=0 / refine-inter=0 / refine-mv=1 / refine-ctu-distortion=0 / no-limit-sao / ctu-info=0 / no-lowpass-dct / refine-analysis-type=0 / copy-pic=1 / max-ausize-factor=1.0 / no-dynamic-refine / no-single-sei / no-hevc-aq / no-svt / no-field / qp-adaptation-range=1.00 / scenecut-aware-qp=0conformance-window-offsets / right=0 / bottom=0 / decoder-max-rate=0 / no-vbv-live-multi-pass&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;What Should be my line of code on Termux while encoding my original video to obtain above result ?&lt;/p&gt;&#xA;" OwnerUserId="43853" LastActivityDate="2024-03-15T20:16:59.403" Title="What should be my line of code in ffmpeg Android for H.265 encoding to obtain desired result?" Tags="|ffmpeg|android|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37300" PostTypeId="1" CreationDate="2024-03-16T05:32:37.447" Score="0" ViewCount="6" Body="&lt;p&gt;I'm using VideoProc Converter to convert several video clips. The video clips are in different format. My purpose is to make all of them in same format with 1080p resolution and 30 fps.&lt;/p&gt;&#xA;&lt;p&gt;I've noticed that a few files are showing 1:1 aspect ratio, despite the video having 9:16 aspect ratio:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/R5Yg9.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/R5Yg9.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;On the left preview pane, you can see the aspect ratio.&lt;/p&gt;&#xA;&lt;p&gt;The problem is, after I convert, whether I keep the resolution and aspect ratio same or whether I change the aspect ratio to 16:9, the resulting video's aspect ratio becomes 1:1 and thus the video is stretched horizontally.&lt;/p&gt;&#xA;&lt;p&gt;How can I convert properly so that the videos aren't stretched this way?&lt;/p&gt;&#xA;" OwnerUserId="43118" LastActivityDate="2024-03-16T05:32:37.447" Title="Fix video files which have aspect ratio 1:1" Tags="|video|conversion|aspect|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37301" PostTypeId="1" CreationDate="2024-03-17T15:30:19.460" Score="0" ViewCount="28" Body="&lt;p&gt;&lt;strong&gt;The Problem&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have a mkv file that contains audio in a format that not all my devices support. To get full support, I want to copy that audio and convert it &lt;strong&gt;while retaining&lt;/strong&gt; the original audio.&lt;/p&gt;&#xA;&lt;p&gt;Input:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;mkv&lt;/li&gt;&#xA;&lt;li&gt;4 &lt;em&gt;stereo&lt;/em&gt; audio tracks&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Output:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;strong&gt;mka&lt;/strong&gt; (I only care about the audio)&lt;/li&gt;&#xA;&lt;li&gt;2 &lt;em&gt;stereo&lt;/em&gt; audio tracks (original, track 0 and 2 copied)&lt;/li&gt;&#xA;&lt;li&gt;2 &lt;em&gt;stereo&lt;/em&gt; audio tracks (converted, track 0 -&amp;gt; track 1, track 2 -&amp;gt; track 3)&lt;/li&gt;&#xA;&lt;li&gt;the original track 1 and 3 shall be discarded&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;&lt;strong&gt;What I´ve found so far (using ffmpeg 6.1):&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;To copy audio track 0 and 2, I can use the following command:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i input.mkv -map 0:a -c:a:0 copy -c:a:2 copy output.mka&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;And this command to change the audio format of track 0 to OPUS.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i intput.mkv -map 0:a -mapping_family 1 -ac 6 -c:a:0 libopus -metadata:s:a:0 title='Opus 5.1' -metadata:s:a:0 language='eng' output.mka&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I think I can remove the &lt;code&gt;-mapping_family 1 -ac 6&lt;/code&gt; part, as I´m only dealing with stereo audio.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;The question:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;How can I combine both commands to get the following track layout?:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;track 0 (original, copied, metadata retained)&lt;/li&gt;&#xA;&lt;li&gt;track 1 (re-encode from track 0)&lt;/li&gt;&#xA;&lt;li&gt;track 2 (original, copied, metadata retained)&lt;/li&gt;&#xA;&lt;li&gt;track 3 (re-encode from track 2)&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;" OwnerUserId="43872" LastActivityDate="2024-03-17T15:30:19.460" Title="ffmpeg copy some audio streams and re-encode some audio streams" Tags="|ffmpeg|audio|encoding|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37302" PostTypeId="1" CreationDate="2024-03-17T20:39:59.900" Score="0" ViewCount="8" Body="&lt;p&gt;As I understand, there are 2 types of keyframes in AE: basic (Linear, Bezier, Continuous Bezier, Auto Bezier, Hold) and hybrid ones. Here is a picture from the &lt;a href=&quot;https://thesbit.com/types-of-keyframes-in-after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;site&lt;/a&gt; I read:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/5tSpD.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/5tSpD.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;It’s clear for me about the basic ones, but I’m totally confused with the hybrid keyframes. There's a quote from the same &lt;a href=&quot;https://thesbit.com/types-of-keyframes-in-after-effects/&quot; rel=&quot;nofollow noreferrer&quot;&gt;site&lt;/a&gt;:&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;By default, a keyframe would use only one type of Temporal&#xA;Interpolation (linear for example). But in some cases, a keyframe&#xA;might show dual nature as well. Which means one half of the keyframe&#xA;is Linear (incoming/outgoing) while the other half could be Hold or&#xA;Bezier (e.g. Toggle Hold or Ease In/Out settings). This is something&#xA;that I call hybrid keyframes.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;As I understand it, the right part of the key should show the previous key, and the second part should show the subsequent key. But this doesn't happen:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/eGJp2.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/eGJp2.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Apparently I misunderstand it. So, how does this actually work? Thank you very much!&lt;/p&gt;&#xA;" OwnerUserId="43873" LastActivityDate="2024-03-18T13:54:53.270" Title="How are hybrid keyframes created in After Effects?" Tags="|after-effects|adobe|keyframes|frame-interpolation|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37305" PostTypeId="2" ParentId="37302" CreationDate="2024-03-18T13:54:53.270" Score="1" Body="&lt;p&gt;I think only the symbols shown in your diagram are the available ones in after effects. If you make three temporal keyframes:&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;linear&lt;/li&gt;&#xA;&lt;li&gt;easy ease&lt;/li&gt;&#xA;&lt;li&gt;auto bezier&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Then change the middle one (2) to be a hold keyframe, you'll see one of the hybrid examples shown (hold ease in).&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/qxNvq.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/qxNvq.png&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;In general, the keyframe symbols are a great useful way to get certain kinds of motion working quickly, but it's often clearer to understand what's going on by separating dimensions and looking at the graph mode.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2024-03-18T13:54:53.270" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37306" PostTypeId="1" CreationDate="2024-03-18T20:16:35.497" Score="0" ViewCount="30" Body="&lt;p&gt;My Mercedes-Benz dashcam saves to SD card the video feeds from the front and rear cameras (in 1-minute long chunks) as separate tracks in the same MP4 file. Track 1 is from the front camera; track 2 from the rear one.&lt;/p&gt;&#xA;&lt;p&gt;Unsurprisingly, ordinary players such as Windows built-in ones can only play the first track. VLC player, on the other hand, can play any track no problem. However,  how can I extract say track No. 2 and save it as a single-track MP4 file?&lt;/p&gt;&#xA;&lt;p&gt;I have tried VLC's Convert/Save function, ticking the De-Interlace box (assuming it matters), but ended up again with a two-track MP4 file.&lt;/p&gt;&#xA;" OwnerUserId="43876" LastEditorUserId="43876" LastEditDate="2024-03-20T21:09:01.037" LastActivityDate="2024-03-20T21:28:47.400" Title="How to extract video tracks from an mp4 file and individually save them to file" Tags="|ffmpeg|mp4|vlc|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37307" PostTypeId="1" CreationDate="2024-03-19T01:17:22.563" Score="0" ViewCount="17" Body="&lt;p&gt;My scenario is as follows:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Working with large original 8K file, captured at 100Mb/sec with hvec (h265) codec&lt;/li&gt;&#xA;&lt;li&gt;The file was reencoded at 50Mb/sec for a reasonable balance between size and quality&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Now there's a requirement is to lower the bitrate for space savings, going to 40Mb/sec.&lt;/p&gt;&#xA;&lt;p&gt;My questions are:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;Is there a benefit to go back to the original file and reencode it at 40Mb/sec bitrate, vs. using the already reduced 50Mb/sec file and reencoding that one at 40Mb/sec?&lt;/li&gt;&#xA;&lt;li&gt;If there's indeed such a benefit, can we quantify it in comparison to the intermediate bitrate version of the file?&lt;/li&gt;&#xA;&lt;li&gt;If there was a follow-up requirement to further reduce the bitrate to 30Mb/sec, what would be the benefit of going with the 40, 50, or the 100Mb/sec versions?&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;For reference, ffmpeg would be the encoding tool, using similar options to those listed below:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;-c:v hevc_nvenc -preset p6 -tune hq -b:v 40M&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43880" LastActivityDate="2024-03-21T18:34:08.870" Title="Impact of reencoding an HEVC file: How much loss if I do it in two steps, vs. going directly to a lower bitrate?" Tags="|ffmpeg|encoding|bitrate|hevc|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37308" PostTypeId="1" CreationDate="2024-03-19T11:03:01.173" Score="0" ViewCount="16" Body="&lt;p&gt;I've been sent this video (image attached) by a client and I'm trying to recreate it so I can add some extra wording to the animation. The text raises word by word, with the 3d shadow extending up with it. I've managed to get the black outline and 3d shadow by adding Stroke and then Repeater with 55 copies at a 0.3 angle. The words are converted from text to shape. I just can't for the life of me figure out how to extend the letters HIGHER. When I add more copies to the Repeater, it extends the shapes backwards (away from the viewer) instead of pushing the letter towards the viewer.&lt;/p&gt;&#xA;&lt;p&gt;Hope I'm making sense. Thank you for your help!&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/465Lj.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/465Lj.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43881" LastActivityDate="2024-03-21T07:52:56.447" Title="How to achieve this raising text with shadow in AE?" Tags="|after-effects|3d|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37309" PostTypeId="1" CreationDate="2024-03-19T18:15:21.747" Score="0" ViewCount="9" Body="&lt;p&gt;I want to concat several videos using ffmpeg.&#xA;I have 1.mp4 2.mp4 3.mp4 files&#xA;I used this command&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i 1.mp4 -i 2.mp4 -i 3.mp4 -filter_complex &amp;quot;[0:v]trim=0:10,scale=1920:1080,setsar=1[v0];[1]trim=0:10,scale=1920:1080,setsar=1[v1];[2:v]trim=0:10,scale=1920:1080,setsar=1[v2];[v0][v1][v2]concat=n=3:v=1[outv]&amp;quot; -map &amp;quot;[outv]&amp;quot; -g 12 -c:v libx264 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I expected the output.mp4 to be 30 seconds but it was 20 seconds long and the third video wasn't concatenated correctly.&lt;/p&gt;&#xA;&lt;p&gt;If I try to concat using the same video like this&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i 1.mp4 -i 1.mp4 -i 1.mp4 -filter_complex &amp;quot;[0:v]trim=0:10,scale=1920:1080,setsar=1[v0];[1]trim=0:10,scale=1920:1080,setsar=1[v1];[2:v]trim=0:10,scale=1920:1080,setsar=1[v2];[v0][v1][v2]concat=n=3:v=1[outv]&amp;quot; -map &amp;quot;[outv]&amp;quot; -g 12 -c:v libx264 output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;It worked.&lt;/p&gt;&#xA;&lt;p&gt;Please help me solve this.&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="43564" LastActivityDate="2024-03-19T18:15:21.747" Title="How to concat several video clips with different property using ffmpeg" Tags="|ffmpeg|video|concatenation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37310" PostTypeId="1" CreationDate="2024-03-19T19:24:59.037" Score="0" ViewCount="17" Body="&lt;p&gt;I have a folder named &lt;code&gt;frames&lt;/code&gt; with images, named &lt;code&gt;frame0001.png&lt;/code&gt;, &lt;code&gt;frame0002.png&lt;/code&gt;, &lt;code&gt;frame0003.png&lt;/code&gt;, etc, all the way to &lt;code&gt;frame0061.png&lt;/code&gt; (or &lt;code&gt;frames/frame%04d.png&lt;/code&gt; using FFmpeg).&lt;/p&gt;&#xA;&lt;p&gt;I have an input video file simply named &lt;code&gt;video.mp4&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;Starting at &lt;code&gt;00:00:03&lt;/code&gt; (3rd second), I want next frames to be &lt;strong&gt;replaced&lt;/strong&gt; with all frames from under &lt;code&gt;frames&lt;/code&gt; folder, and then save the output video as &lt;code&gt;output.mp4&lt;/code&gt; using ffmpeg.exe.&lt;/p&gt;&#xA;&lt;p&gt;For example, starting at 3 seconds, next 61 frames (because there are 61 frame files under the &lt;code&gt;frames&lt;/code&gt; folder) in &lt;code&gt;video.mp4&lt;/code&gt; will be overwritten with the frames under &lt;code&gt;frames&lt;/code&gt; folder.&lt;/p&gt;&#xA;&lt;p&gt;Which command-line options should I pass to FFmpeg to apply this task?&lt;/p&gt;&#xA;" OwnerUserId="43884" LastEditorUserId="43884" LastEditDate="2024-03-19T19:31:20.617" LastActivityDate="2024-03-19T19:31:20.617" Title="How can I replace next frames using FFmpeg?" Tags="|ffmpeg|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37311" PostTypeId="1" CreationDate="2024-03-20T01:12:20.110" Score="0" ViewCount="14" Body="&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;ffplay and VLC can playback HDV.m2t source camcorder clips joined with cat. That is video and audio seamingly works with this ffplay output:&lt;/p&gt;&#xA;&lt;p&gt;ffplay -hide_banner HDV01.m2t&#xA;[mpegts @ 0x7f82c4000cc0] Could not find codec parameters for stream 2 (Unknown: none ([160][0][0][0] / 0x00A0)): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' (0) and 'probesize' (5000000) options&#xA;[mpegts @ 0x7f82c4000cc0] Could not find codec parameters for stream 3 (Unknown: none ([161][0][0][0] / 0x00A1)): unknown codec&#xA;Consider increasing the value for the 'analyzeduration' (0) and 'probesize' (5000000) options&#xA;Input #0, mpegts, from 'HDV01.m2t':&#xA;Duration: 01:02:20.32, start: 0.440000, bitrate: 26168 kb/s&#xA;Program 100&#xA;Stream #0:0[0x810]: Video: mpeg2video (Main) ([2][0][0][0] / 0x0002), yuv420p(tv, bt709, top first), 1440x1080 [SAR 4:3 DAR 16:9], 25000 kb/s, 25 fps, 25 tbr, 90k tbn&#xA;Side data:&#xA;cpb: bitrate max/min/avg: 25000000/0/0 buffer size: 7340032 vbv_delay: N/A&#xA;Stream #0:1[0x814]: Audio: mp2 ([3][0][0][0] / 0x0003), 48000 Hz, stereo, fltp, 384 kb/s&#xA;Stream #0:2[0x815]: Unknown: none ([160][0][0][0] / 0x00A0)&#xA;Stream #0:3[0x811]: Unknown: none ([161][0][0][0] / 0x00A1)&#xA;23.04 A-V: -0.022 fd=   0 aq=   47KB vq= 3588KB sq=    0B f=0/0&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The HDV.m2t camcorder sources are itself mpeg2 BD-video compliant and can be copied as is without re-encoding. The MP2 audio needs to be transcoded using pcm_bluray in my case and ffmpeg 6.1 on openSUSE Leap 15.5.&lt;/p&gt;&#xA;&lt;p&gt;ffmpeg -hide_banner -i HDV01.m2t -c:v copy -c:a pcm_bluray -mpegts_m2ts_mode 1 HDV-01.mts&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;Also this BD-compliant mts stream playback fine with ffplay&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffplay -hide_banner HDV-01.mts&#xA;[mpegts @ 0x7f2174000cc0] stream 1 : no PTS found at end of file, duration not set&#xA;Input #0, mpegts, from 'HDV-01.mts':&#xA;  Duration: 01:02:38.24, start: 1.440000, bitrate: 27883 kb/s&#xA;  Program 1 &#xA;    Metadata:&#xA;      service_name    : Service01&#xA;      service_provider: FFmpeg&#xA;  Stream #0:0[0x1011]: Video: mpeg2video (Main) ([2][0][0][0] / 0x0002), yuv420p(tv, bt709, top first), 1440x1080 [SAR 4:3 DAR 16:9], 25000 kb/s, 25 fps, 25 tbr, 90k tbn&#xA;    Side data:&#xA;      cpb: bitrate max/min/avg: 25000000/0/0 buffer size: 7340032 vbv_delay: N/A&#xA;  Stream #0:1[0x1100]: Audio: pcm_bluray ([128][0][0][0] / 0x0080), 48000 Hz, stereo, s16, 1536 kb/s&#xA;   7.79 A-V: -0.023 fd=   0 aq=  221KB vq= 3161KB sq=    0B f=0/0   &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ol start=&quot;3&quot;&gt;&#xA;&lt;li&gt;&lt;p&gt;The mts files are accepted as input in tsMuxer to create BD-Video iso, which next is used to burn the BD-video structure to BD-R disks with Xorriso.&lt;/p&gt;&#xA;&lt;p&gt;tree -sh /run/media/terje/HDV-01+02+03_BD&#xA;/run/media/terje/HDV-01+02+03_BD&#xA;├── [ 520]  BDMV&#xA;│   ├── [  40]  AUXDATA&#xA;│   ├── [ 288]  BACKUP&#xA;│   │   ├── [  40]  BDJO&#xA;│   │   ├── [  92]  CLIPINF&#xA;│   │   │   └── [141K]  00000.clpi&#xA;│   │   ├── [ 120]  index.bdmv&#xA;│   │   ├── [ 290]  MovieObject.bdmv&#xA;│   │   └── [  92]  PLAYLIST&#xA;│   │       └── [ 402]  00000.mpls&#xA;│   ├── [  40]  BDJO&#xA;│   ├── [  92]  CLIPINF&#xA;│   │   └── [141K]  00000.clpi&#xA;│   ├── [ 120]  index.bdmv&#xA;│   ├── [  40]  JAR&#xA;│   ├── [  40]  META&#xA;│   ├── [ 290]  MovieObject.bdmv&#xA;│   ├── [  92]  PLAYLIST&#xA;│   │   └── [ 402]  00000.mpls&#xA;│   └── [  92]  STREAM&#xA;│       └── [ 37G]  00000.m2ts&#xA;└── [  88]  CERTIFICATE&#xA;└── [  40]  BACKUP&lt;/p&gt;&#xA;&lt;p&gt;14 directories, 9 files&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;ffplay and VLC does also playback video and audio ok directly from the BD-Video disc&lt;/p&gt;&#xA;&lt;p&gt;ffplay -hide_banner /run/media/terje/HDV-01+02+03_BD/BDMV/STREAM/00000.m2ts&#xA;[mpegts @ 0x7fbbf0000cc0] stream 0 : no PTS found at end of file, duration not set&#xA;[mpegts @ 0x7fbbf0000cc0] stream 2 : no PTS found at end of file, duration not set&#xA;[mpegts @ 0x7fbbf0000cc0] stream 3 : no PTS found at end of file, duration not set&#xA;[mpegts @ 0x7fbbf0000cc0] stream 5 : no PTS found at end of file, duration not set&#xA;Input #0, mpegts, from '/run/media/terje/HDV-01+02+03_BD/BDMV/STREAM/00000.m2ts':&#xA;Duration: 01:02:30.04, start: 4200.000000, bitrate: 83837 kb/s&#xA;Program 1&#xA;Stream #0:0[0x1011]: Video: mpeg2video (Main) (HDMV / 0x564D4448), yuv420p(tv, bt709, top first), 1440x1080 [SAR 4:3 DAR 16:9], 25000 kb/s, 25 fps, 25 tbr, 90k tbn&#xA;Side data:&#xA;cpb: bitrate max/min/avg: 25000000/0/0 buffer size: 7340032 vbv_delay: N/A&#xA;Stream #0:1[0x1012]: Video: mpeg2video (Main) (HDMV / 0x564D4448), yuv420p(tv, bt709, top first), 1440x1080 [SAR 4:3 DAR 16:9], 25000 kb/s, 25 fps, 25 tbr, 90k tbn&#xA;Side data:&#xA;cpb: bitrate max/min/avg: 25000000/0/0 buffer size: 7340032 vbv_delay: N/A&#xA;Stream #0:2[0x1013]: Video: mpeg2video (Main) (HDMV / 0x564D4448), yuv420p(tv, bt709, top first), 1440x1080 [SAR 4:3 DAR 16:9], 25000 kb/s, 25 fps, 25 tbr, 90k tbn&#xA;Side data:&#xA;cpb: bitrate max/min/avg: 25000000/0/0 buffer size: 7340032 vbv_delay: N/A&#xA;Stream #0:3[0x1100]: Audio: pcm_bluray (HDMV / 0x564D4448), 48000 Hz, stereo, s16, 1536 kb/s&#xA;Stream #0:4[0x1101]: Audio: pcm_bluray (HDMV / 0x564D4448), 48000 Hz, stereo, s16, 1536 kb/s&#xA;Stream #0:5[0x1102]: Audio: pcm_bluray (HDMV / 0x564D4448), 48000 Hz, stereo, s16, 1536 kb/s&#xA;4222.27 A-V: -0.000 fd=   4 aq=  205KB vq= 3160KB sq=    0B f=0/0&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;However, playback the disc in a standalone Blu-ray video player, doesn't find the audio.&#xA;Is here possibly a mapping problem that can be solved during transcoding 2) above?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Another second issue I discovered just now without exploring it more yet:&#xA;Three mts files were loaded as input to tsMuxer, resulting in the&#xA;[ 37G]  00000.m2ts stream above.&#xA;But so far I didn't succeed to access more than the first 12G stream....?&#xA;Any ideas what has happened here ?&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;" OwnerUserId="41067" LastActivityDate="2024-03-20T01:12:20.110" Title="Audio issue with pcm_bluray when creating BD-Video using ffmpeg, tsMuxer and Xorriso" Tags="|ffmpeg|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37312" PostTypeId="2" ParentId="17816" CreationDate="2024-03-20T02:30:11.583" Score="0" Body="&lt;p&gt;Any properly configured and performant web server is fine.  The choice of web server software has no direct bearing on HLS, any more or less than it does for any other kind of files.  That's the whole point of a segmented protocol... to re-use existing web infrastructure as streaming servers by turning a stream into a pile of files.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Some times, changing the source of video takes more than usual time&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;It's not clear specifically what you mean by this.  It really could be anything.  I'd assume that you're saying it is taking awhile to buffer video.  This probably has more to do with available bandwidth, latency from the client to the server, and perhaps encoding parameters as well.  None of that is directly related to your choice of web server.&lt;/p&gt;&#xA;&lt;p&gt;If quick load times matter to you, consider using a CDN.&lt;/p&gt;&#xA;" OwnerUserId="129" LastActivityDate="2024-03-20T02:30:11.583" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37313" PostTypeId="1" CreationDate="2024-03-20T12:25:56.523" Score="0" ViewCount="22" Body="&lt;p&gt;I have a camera with a fixed noise (&lt;a href=&quot;https://youtu.be/pl1V9rpm3MM&quot; rel=&quot;nofollow noreferrer&quot;&gt;video sample&lt;/a&gt;). Is it possible to remove this noise completely using ffmpeg?&lt;/p&gt;&#xA;&lt;p&gt;I tried ffmpeg &amp;quot;-vf&amp;quot; noise reduction but didn't find any way to remove the noise by supplying a noise mask.&lt;/p&gt;&#xA;" OwnerUserId="43891" LastActivityDate="2024-03-20T12:25:56.523" Title="ffmpeg fixed video noise reduction" Tags="|ffmpeg|noise-reduction|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37314" PostTypeId="1" CreationDate="2024-03-20T12:40:06.037" Score="0" ViewCount="13" Body="&lt;p&gt;I just bought a &lt;a href=&quot;https://www.amazon.fr/dp/B0BTYN8Z68?ref=ppx_yo2ov_dt_b_product_details&amp;amp;th=1&quot; rel=&quot;nofollow noreferrer&quot;&gt;scart to hdmi adapter&lt;/a&gt;. It was not the cheapest as it also acts as a switch between 3 types of inputs : SCART, &amp;quot;3-cable AV&amp;quot;, or just HDMI.&lt;/p&gt;&#xA;&lt;p&gt;My goal is to video capture some VHS movies. Yet, even playing them on the TV fails with this adapter.&lt;/p&gt;&#xA;&lt;p&gt;Here are the observations:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;Plugging the SCART-SCART cable directly between the VHS player and the TV works perfectly fine.&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Plugging the same SCART-SCART cable to the adapter and then plugging the HDMI to the TV results in the movie being &amp;quot;shredded&amp;quot;: it oscillates between the actual movie and a &amp;quot;No Signal&amp;quot; blue screen&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;The same problem happens if I plug the HDMI from the adapter to a computer:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;on MacOS, using QuickTime&lt;/li&gt;&#xA;&lt;li&gt;on MacOS, using VLC&lt;/li&gt;&#xA;&lt;li&gt;on a PC with Debian Linux, using VLC&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Conclusion is easy: the problem comes from the adapter/converter&lt;/p&gt;&#xA;&lt;p&gt;Some people are just returning the product online, claiming it is faulty, but I'd like to go deeper.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;Personal Interpretation:&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;this is not a hardware problem, but I have the feeling that the adapter is actually looking for another channel, as if there was a chance it could find a higher-resolution input. These devices are supposed to handle Game Console and many other things, so I assume it would make sense in those cases.&lt;/p&gt;&#xA;&lt;p&gt;In the case I would be right, would there be a way to stick to the same channel throughout the movie?&lt;/p&gt;&#xA;&lt;p&gt;Otherwise, what could be the issue?&lt;/p&gt;&#xA;" OwnerUserId="43892" LastEditorUserId="43892" LastEditDate="2024-03-22T23:06:26.567" LastActivityDate="2024-03-22T23:06:26.567" Title="SCART To HDMI recurrently loses signal: hardware problem, firmware bug, or else?" Tags="|video-capture|digital-recording|hdmi|vhs|" AnswerCount="0" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37315" PostTypeId="2" ParentId="37308" CreationDate="2024-03-20T14:10:32.710" Score="0" Body="&lt;p&gt;Add a text layer to a comp.&lt;/p&gt;&#xA;&lt;p&gt;Make the text layer 3D.&lt;/p&gt;&#xA;&lt;p&gt;In the Composition Settings, change the 3D render to Advanced 3D&#xA;&lt;a href=&quot;https://i.stack.imgur.com/sbXab.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/sbXab.png&quot; alt=&quot;grab&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Duplicate your text layer&lt;/p&gt;&#xA;&lt;p&gt;Make the top layer text a bright colour, and the lower text layer black&lt;/p&gt;&#xA;&lt;p&gt;Set the black text layer Geometry Options to have an Extrusion Depth:&#xA;&lt;a href=&quot;https://i.stack.imgur.com/ev0Il.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ev0Il.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Adjust the 3D rotation or orientation of both text layers so the text is slightly angled from your view:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/ctZmZ.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/ctZmZ.png&quot; alt=&quot;grab2&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Precomp both layers, choosing &amp;quot;Move all attributes into new composition&amp;quot;.&lt;/p&gt;&#xA;&lt;p&gt;In your master comp that now only contains a single pre-comped layer, make sure the pre-comp layer is 2D not 3D, otherwise the next step won't work.&lt;/p&gt;&#xA;&lt;p&gt;Right click on your pre-comp layer and choose Outer Glow from the Layer Styles.  Make the Blend Mode Normal, Spread to 100%, and adjust the Size to taste.  Put a bright background layer behind it.&#xA;&lt;a href=&quot;https://i.stack.imgur.com/CHLRu.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/CHLRu.png&quot; alt=&quot;grab3&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="4426" LastEditorUserId="4426" LastEditDate="2024-03-21T07:52:56.447" LastActivityDate="2024-03-21T07:52:56.447" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37316" PostTypeId="2" ParentId="37306" CreationDate="2024-03-20T20:47:26.020" Score="0" Body="&lt;p&gt;After further research and experimenting, I've figured out how to do it using ffmpeg from command line.&lt;/p&gt;&#xA;&lt;ol&gt;&#xA;&lt;li&gt;&lt;p&gt;Extract the relevant video stream (in my case track No. 2, which has index 1) into a temporary MP4 file, using the same codec as the source. The resulting video will have no audio:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i original_video.mp4 -map v:1 -codec copy  rear_no_audio.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Extract the audio stream into a temporary M4A file:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i original_video.mp4 -map a:0 -codec copy  audio.m4a&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;Merge the two streams into the final MP4 file.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i rear_no_audio.mp4 -i audio.m4a -codec copy  rear_with_audio.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ol&gt;&#xA;&lt;p&gt;The argument of the -map option includes v for video and a for audio streams. The second digit is the stream ID, which can be found by running&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffprobe original_video.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43876" LastEditorUserId="43876" LastEditDate="2024-03-20T21:28:47.400" LastActivityDate="2024-03-20T21:28:47.400" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37317" PostTypeId="1" CreationDate="2024-03-21T01:17:30.047" Score="0" ViewCount="10" Body="&lt;p&gt;I'm transcoding some high bitrate h264 5K videos which start with a fade in, at CRF 22 H264 mp4 using FFmpeg via MyFFmpeg. The fade ins are all causing some blocky glitching for a few frames. It's not visible on my powerful pc but played back on a Meta Quest 3, I'm seeing them every time. The videos are otherwise perfect - are there any settings I can tweak to maintain quality during this fade in, whilst not having to significantly increase file size throughout the whole video? Thanks for the advice.&lt;/p&gt;&#xA;" OwnerUserId="43899" LastActivityDate="2024-03-21T01:17:30.047" Title="FFmpeg CRF causing glitches on fade-ins" Tags="|ffmpeg|transitions|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37318" PostTypeId="2" ParentId="3274" CreationDate="2024-03-21T03:35:15.977" Score="0" Body="&lt;p&gt;For those coming across this, this is using ffmpeg 6.1.1 and allows from and to timestamps and appears to be very efficent&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -i original.mp4 -ss 00:00:02.285 -to 00:00:12.925 -c copy first_clip.mp4 -ss 00:00:19.905 -to 00:00:53.245 -c copy second_clip.mp4 -ss 00:01:03.065 -to 00:01:14.625 -c copy third_clip.mp4 -ss 00:01:17.615 -to 00:01:53.585 -c copy fourth_clip.mp4 -ss 00:03:14.345 -to 00:03:43.73 -c copy fifth_clip.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43901" LastActivityDate="2024-03-21T03:35:15.977" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37319" PostTypeId="2" ParentId="36336" CreationDate="2024-03-21T07:22:54.960" Score="0" Body="&lt;p&gt;I found my answer.&lt;/p&gt;&#xA;&lt;p&gt;The issue was ffmpeg was only using two thread and two pools. I had to trigger the parameter &amp;quot;-x265-params&amp;quot; to enable more thread and pools as my device capability.&lt;/p&gt;&#xA;" OwnerUserId="40907" LastActivityDate="2024-03-21T07:22:54.960" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37320" PostTypeId="1" CreationDate="2024-03-21T09:55:46.507" Score="0" ViewCount="11" Body="&lt;p&gt;I have videos and images. I want to concatenate them. And I want the images to be displayed for specific duration, say 10 seconds.&#xA;If I first convert image to video and concate, it works&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -loop 1 -t 10 -i missing.png -c:v libx264 -pix_fmt yuv420p 7.mp4 &#xA;&#xA;ffmpeg -y -i 5.mp4 -i 7.mp4 -i 2.mkv -filter_complex &amp;quot;[0:v]trim=0:10,scale=1920:1080,setsar=1[v0];[1:v]trim=0:10,scale=1920:1080,setsar=1[v1];[2:v]trim=0:10,scale=1920:1080,setsar=1[v2];[v0][v1][v2]concat=n=3:v=1[outv]&amp;quot; -map &amp;quot;[outv]&amp;quot; -c:v libx264 -r 30 output.mkv&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;But I want to do it with one ffmpeg command.&#xA;for example&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -y -i 5.mp4 -loop 1 -t 10 -i missing.png -i 5.mp4 -filter_complex &amp;quot;[0:v]trim=0:10,scale=1920:1080,setsar=1,format=yuv420p,fps=30[v0];[1]format=yuv420p,scale=1920:1080,setsar=1,fps=30[v1];[2:v]trim=0:10,scale=1920:1080,setsar=1,format=yuv420p,fps=30[v2];[v0][v1][v2]concat=n=3:v=1[outv]&amp;quot; -map &amp;quot;[outv]&amp;quot; -c:v libx264 -r 30 -pix_fmt yuv420p output.mkv&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I expected above command to be working but it didn't. It only concate the first video and 10 seconds of image. Only a few frames of the  third video were added and the duration of output video was only 20 seconds. I expected it to be 30 seconds.&lt;/p&gt;&#xA;&lt;p&gt;Please help me what is wrong or provide me such ffmpeg command&#xA;Thanks&lt;/p&gt;&#xA;" OwnerUserId="43564" LastActivityDate="2024-03-21T09:55:46.507" Title="How to concat videos and images with ffmpeg" Tags="|ffmpeg|video|concatenation|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37321" PostTypeId="1" AcceptedAnswerId="37322" CreationDate="2024-03-21T11:23:00.833" Score="0" ViewCount="16" Body="&lt;p&gt;This &lt;a href=&quot;https://youtu.be/tTxSHmBOEvk?si=u_xkhA_EPoJGql3_&amp;amp;t=703&quot; rel=&quot;nofollow noreferrer&quot;&gt;lecture&lt;/a&gt; seems to have been filmed in a classroom with ar conditioning.  I can see the professor is using a microphone that's very close to his mouth.  I would like to also record lectures like that, but I think the sound result is very poor and I'd like to do anything I can do to resolve this.  What could be done?  Would buying a much better microphone really produce a much better result?  Can you recommend all the necessary equipment so that I try it out?  I'm willing to invest a good deal of money in the equipment.&lt;/p&gt;&#xA;" OwnerUserId="43904" LastEditorUserId="43904" LastEditDate="2024-03-21T23:18:43.350" LastActivityDate="2024-03-21T23:18:43.350" Title="What can be done in this video to solve &quot;the air-conditioning problem&quot;?" Tags="|audio|video-recording|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37322" PostTypeId="2" ParentId="37321" CreationDate="2024-03-21T12:41:54.950" Score="2" Body="&lt;p&gt;The audio on this video isn't from the mic around his neck.&#xA;It's from a mic much further away. I would guess the wrong input was selected when the video was filmed. The main noise on the audio is electrical interference because it's a cheap mic in a laptop or phone.&lt;/p&gt;&#xA;&lt;p&gt;Any radio mic or clip mic around the neck should work better than what we hear in this clip. &lt;a href=&quot;https://www.sennheiser.com/en-gb/catalog/products/wireless-systems/ew-112p-g4/ew-112p-g4-a-509507&quot; rel=&quot;nofollow noreferrer&quot;&gt;Sennheiser&lt;/a&gt; make good expensive reliable radio mics. &lt;a href=&quot;https://rode.com/en/microphones/wireless&quot; rel=&quot;nofollow noreferrer&quot;&gt;Rode&lt;/a&gt; make some cheaper clever rechargeable models. Even a £10 clip mic plugged into an iPhone in airplane mode and recording into the Voice Memo app can give good results in a situation like this, if you're prepared to re-sync the audio and video afterwards.&lt;/p&gt;&#xA;" OwnerUserId="4426" LastActivityDate="2024-03-21T12:41:54.950" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37326" PostTypeId="1" CreationDate="2024-03-23T19:54:47.920" Score="0" ViewCount="16" Body="&lt;p&gt;I like to embed a cover image into my video files, but I have noticed that they are lost whenever I convert or remux, is there a way to retain these embedded images like I can with metadata? Are there limitations to this depending on which container I use? The code below is for converting the video stream to AV1, and keeps the original infile container. Most of the time the container I am using is Matroska Video.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;for %%f in (%*) do (ffmpeg -hide_banner -y -i %%f -movflags use_metadata_tags -c:v libsvtav1 -preset %Preset% -crf %CRF% -b:v %ABR%M -c:a copy -c:s copy &amp;quot;%%~nf (AV1)%%~xf&amp;quot;)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43918" LastActivityDate="2024-03-23T19:54:47.920" Title="Retain Embedded Cover Images Between ffmpeg Conversion?" Tags="|ffmpeg|metadata|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37327" PostTypeId="1" CreationDate="2024-03-24T13:58:02.290" Score="0" ViewCount="17" Body="&lt;p&gt;This is the Mediainfo File of my encoded video. The original video has multiple audio tracks &amp;amp; subtitles. I want to keep them all intact. Plz note the encoding needs to be done on Android via Termux. Sorry if this is a newbie question. Thanks for the help.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;General&#xA;Complete name                            : TheBatman4KEncoded.mkv&#xA;Format                                   : Matroska&#xA;Format version                           : Version 4&#xA;File size                                : 1 010 MiB&#xA;Duration                                 : 12 min 1 s&#xA;Overall bit rate mode                    : Variable&#xA;Overall bit rate                         : 11.7 Mb/s&#xA;Frame rate                               : 351.338 FPS&#xA;Writing application                      : Lavf60.16.100&#xA;Writing library                          : Lavf60.16.100&#xA;ErrorDetectionType                       : Per level 1&#xA;&#xA;Video #1&#xA;ID                                       : 1&#xA;Format                                   : HEVC&#xA;Format/Info                              : High Efficiency Video Coding&#xA;Format profile                           : Main 10&#xA;Format level                             : 5.1&#xA;Format tier                              : Main&#xA;HDR format                               : SMPTE ST 2086, HDR10 compatible&#xA;Codec ID                                 : V_MPEGH/ISO/HEVC&#xA;Duration                                 : 12 min 1 s&#xA;Bit rate                                 : 8 023 kb/s&#xA;Width                                    : 3 840 pixels&#xA;Height                                   : 1 608 pixels&#xA;Display aspect ratio                     : 2.39:1&#xA;Frame rate mode                          : Variable&#xA;Frame rate                               : 351.338 FPS&#xA;Original frame rate                      : 23.976 FPS&#xA;Color space                              : YUV&#xA;Chroma subsampling                       : 4:2:0&#xA;Bit depth                                : 10 bits&#xA;Bits/(Pixel*Frame)                       : 0.004&#xA;Stream size                              : 9.87 GiB&#xA;Writing library                          : x265 3.5+rarbg-HDR-38-20255e6:[Linux][clang 16.0.0][64 bit] 10bit&#xA;Encoding settings                        : cpuid=1111039 / frame-threads=6 / wpp / no-pmode / no-pme / no-psnr / no-ssim / log-level=2 / input-csp=1 / input-res=3840x1608 / interlace=0 / total-frames=0 / level-idc=51 / high-tier=1 / uhd-bd=0 / ref=4 / no-allow-non-conformance / repeat-headers / annexb / aud / no-eob / no-eos / no-hrd / info / hash=0 / no-temporal-layers / no-open-gop / min-keyint=1 / keyint=24 / gop-lookahead=0 / bframes=4 / b-adapt=2 / b-pyramid / bframe-bias=0 / rc-lookahead=25 / lookahead-slices=4 / scenecut=40 / no-hist-scenecut / radl=0 / no-splice / no-intra-refresh / ctu=64 / min-cu-size=8 / rect / no-amp / max-tu-size=32 / tu-inter-depth=1 / tu-intra-depth=1 / limit-tu=0 / rdoq-level=2 / dynamic-rd=0.00 / no-ssim-rd / signhide / no-tskip / nr-intra=0 / nr-inter=0 / no-constrained-intra / strong-intra-smoothing / max-merge=3 / limit-refs=3 / no-limit-modes / me=3 / subme=3 / merange=57 / temporal-mvp / no-frame-dup / no-hme / weightp / no-weightb / no-analyze-src-pics / deblock=0:0 / no-sao / no-sao-non-deblock / rd=4 / selective-sao=0 / no-early-skip / rskip / no-fast-intra / no-tskip-fast / no-cu-lossless / no-b-intra / no-splitrd-skip / rdpenalty=0 / psy-rd=2.00 / psy-rdoq=1.00 / no-rd-refine / no-lossless / cbqpoffs=0 / crqpoffs=0 / rc=abr / bitrate=8000 / qcomp=0.60 / qpstep=4 / stats-write=0 / stats-read=2 / cplxblur=20.0 / qblur=0.5 / ipratio=1.40 / pbratio=1.30 / aq-mode=1 / aq-strength=1.00 / cutree / zone-count=0 / no-strict-cbr / qg-size=32 / no-rc-grain / qpmax=69 / qpmin=0 / no-const-vbv / sar=1 / overscan=0 / videoformat=5 / range=0 / colorprim=9 / transfer=16 / colormatrix=9 / chromaloc=0 / display-window=0 / master-display=G(13250,34500)B(7500,3000)R(34000,16000)WP(15635,16450)L(10000000,1) / cll=413,65 / min-luma=0 / max-luma=1023 / log2-max-poc-lsb=8 / vui-timing-info / vui-hrd-info / slices=1 / no-opt-qp-pps / no-opt-ref-list-length-pps / no-multi-pass-opt-rps / scenecut-bias=0.05 / hist-threshold=0.03 / no-opt-cu-delta-qp / no-aq-motion / hdr10 / hdr10-opt / no-dhdr10-opt / no-idr-recovery-sei / analysis-reuse-level=0 / analysis-save-reuse-level=0 / analysis-load-reuse-level=0 / scale-factor=0 / refine-intra=0 / refine-inter=0 / refine-mv=1 / refine-ctu-distortion=0 / no-limit-sao / ctu-info=0 / no-lowpass-dct / refine-analysis-type=0 / copy-pic=1 / max-ausize-factor=1.0 / no-dynamic-refine / no-single-sei / no-hevc-aq / no-svt / no-field / qp-adaptation-range=1.00 / scenecut-aware-qp=0conformance-window-offsets / right=0 / bottom=0 / decoder-max-rate=0 / no-vbv-live-multi-pass&#xA;Default                                  : Yes&#xA;Forced                                   : No&#xA;Color range                              : Limited&#xA;Color primaries                          : BT.2020&#xA;Transfer characteristics                 : PQ&#xA;Matrix coefficients                      : BT.2020 non-constant&#xA;Mastering display color primaries        : Display P3&#xA;Mastering display luminance              : min: 0.0001 cd/m2, max: 1000 cd/m2&#xA;Maximum Content Light Level              : 413 cd/m2&#xA;Maximum Frame-Average Light Level        : 65 cd/m2&#xA;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43853" LastActivityDate="2024-03-26T13:11:44.083" Title="ffmpeg - How to do H.265 encoding on ffmpeg using Mediainfo encoding data?" Tags="|ffmpeg|android|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37328" PostTypeId="1" CreationDate="2024-03-24T19:23:28.647" Score="0" ViewCount="3" Body="&lt;p&gt;I have a Blu-Ray compatible home theater from Sony (BDV-EF200) and I'm wondering whether it would be possible to get some kind of &amp;quot;digital&amp;quot; data directly to my computer, rather than reading the stream using an HDMI cable connected to a &amp;quot;Video Capture&amp;quot; HDMI-&amp;gt;USB adapter.&lt;/p&gt;&#xA;&lt;p&gt;In summary, I have the appropriate laser to read blu-rays (from the home theater), and I'm wondering what kind of trick I could use to plug the flexible pins that come out of the disk reader into something that can mount it as a drive on my computer.&lt;/p&gt;&#xA;&lt;p&gt;Is this possible in practice?&lt;/p&gt;&#xA;&lt;p&gt;My current belief is that it would be possible in theory, but then in practice, the signal that gets out of the pins of the disk reader might be hard to interpret because of some kind of proprietary architecture of the wires...?&lt;/p&gt;&#xA;&lt;p&gt;PS: please don't judge if it reads like I don't know what I'm talking about. I'm trying to make sense of this stream/drive insanity ;)&lt;/p&gt;&#xA;" OwnerUserId="43892" LastActivityDate="2024-03-24T19:23:28.647" Title="Is it possible to plug a home theater (like in the old days) to a computer and mount it like an external drive?" Tags="|digital-recording|bluray|" AnswerCount="0" CommentCount="0" ClosedDate="2024-04-04T08:22:20.990" ContentLicense="CC BY-SA 4.0" />
  <row Id="37329" PostTypeId="1" CreationDate="2024-03-24T19:59:01.957" Score="0" ViewCount="26" Body="&lt;p&gt;I made a script for ffprobe I can use to view information of my media more easily.  An additional feature I want is to breakout the output information to a log file.&lt;/p&gt;&#xA;&lt;p&gt;Implementation 1:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;&#xA;for %%f in (%*) do (ffprobe -hide_banner -i %%f&amp;gt;&amp;quot;%~dp1ffprobe.log)&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;Implementation 2:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;@echo off&#xA;&#xA;(&#xA;for %%f in (%*) do (ffprobe -hide_banner -i %%f)&#xA;)&amp;gt;&amp;quot;%~dp1ffprobe.log&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;The issue I am having is that the log is being created in the expected location but it it always empty with either of these implementations. Usually either of these methods for breaking into a file have worked for me. Is there a native or alternative way of accomplishing this?&lt;/p&gt;&#xA;" OwnerUserId="43918" LastActivityDate="2024-03-25T04:31:38.860" Title="Save ffprobe Output to Log File?" Tags="|ffmpeg|windows|ffprobe|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37330" PostTypeId="2" ParentId="37329" CreationDate="2024-03-25T04:31:38.860" Score="0" Body="&lt;p&gt;With ffprobe 5.1 or later, you can add &lt;code&gt;-o OUTFILE&lt;/code&gt; to store probe data in a file.&lt;/p&gt;&#xA;&lt;p&gt;If using redirection with earlier versions, redirect stderr as well.&lt;/p&gt;&#xA;" OwnerUserId="1871" LastActivityDate="2024-03-25T04:31:38.860" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37331" PostTypeId="1" CreationDate="2024-03-26T11:43:47.087" Score="0" ViewCount="9" Body="&lt;p&gt;Please tell me how I can disable automatic color correction and white balance in DaVinci Resolve? I'm editing a video recorded on my iPhone. I imported it, cropped it, but the colors changed when it was exported.&#xA;I opened my project, made a right click on the timeline and selected Reset Node Grade, but after I reexported the video the colors remained unchanged.&lt;/p&gt;&#xA;&lt;p&gt;My Deliver settings are default:&lt;/p&gt;&#xA;&lt;p&gt;Video Format: QuickTime&lt;/p&gt;&#xA;&lt;p&gt;Codec: H.264&lt;/p&gt;&#xA;&lt;p&gt;Encoding Proflie: Auto&lt;/p&gt;&#xA;&lt;p&gt;Entropy Mode: Auto&lt;/p&gt;&#xA;&lt;p&gt;Advanced Settings:&lt;/p&gt;&#xA;&lt;p&gt;Color Space Tag: Same as Project&lt;/p&gt;&#xA;&lt;p&gt;Gamma Tag: Same as Project&lt;/p&gt;&#xA;&lt;p&gt;This is what I have in my original video and what I want to get&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/mJOPr.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/mJOPr.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;This is what I get after exporting the video&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/oQasm.jpg&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/oQasm.jpg&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;" OwnerUserId="43932" LastEditorUserId="43932" LastEditDate="2024-03-26T12:49:00.767" LastActivityDate="2024-03-26T12:49:00.767" Title="disable automatic color correction and white balance in DaVinci Resolve" Tags="|davinci-resolve|color-correction|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37332" PostTypeId="2" ParentId="37327" CreationDate="2024-03-26T13:11:44.083" Score="0" Body="&lt;pre class=&quot;lang-bash prettyprint-override&quot;&gt;&lt;code&gt;ffmpeg -i &amp;quot;in.mp4&amp;quot; -map 0 -c copy -c:v libx265 &amp;quot;out.mkv&amp;quot;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;&lt;p&gt;&lt;code&gt;-map 0&lt;/code&gt; From input index #0 (the 1st input) select all streams.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://trac.ffmpeg.org/wiki/Map&quot; rel=&quot;nofollow noreferrer&quot;&gt;Source&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;li&gt;&lt;p&gt;For each stream, the last matching &lt;code&gt;c&lt;/code&gt; option is applied, so &lt;code&gt;-c copy -c:v libx265&lt;/code&gt; will copy all the streams except the (first) video, which will be encoded with &lt;code&gt;libx265&lt;/code&gt;.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://ffmpeg.org/ffmpeg.html#Stream-copy&quot; rel=&quot;nofollow noreferrer&quot;&gt;Source&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;If you want to encode all audio streams to &lt;code&gt;aac&lt;/code&gt; rather than just copy them, you would you can add the audio encoding like so:&#xA;&lt;code&gt;-c copy -c:v libx265 -c:a aac&lt;/code&gt;.&lt;/p&gt;&#xA;" OwnerUserId="24237" LastActivityDate="2024-03-26T13:11:44.083" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37333" PostTypeId="1" CreationDate="2024-03-26T15:36:22.880" Score="0" ViewCount="11" Body="&lt;p&gt;I just started using ffmpeg so I am new this. I am currently (code-1) to overlay a simple png on a video nothing fancy.&lt;/p&gt;&#xA;&lt;p&gt;Now I want to the same thing but with hardware acceleration using a NVIDIA GPU. But I am clue less as to how to go about it. Can you please tell me how to do this.&lt;/p&gt;&#xA;&lt;p&gt;FFMPEG is the latest version and my gpu is supported plus i have all the latest drivers and the cuda support.&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;!ffmpeg -i /content/tst.mp4 -vf &amp;quot;movie=/content/over1.png[img01];[in][img01]overlay[out]&amp;quot; output.mp4&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="43934" LastActivityDate="2024-03-26T15:36:22.880" Title="{Help} FFMPEG with NVIDIA hardware acceleration" Tags="|ffmpeg|video-editor|nvidia|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37334" PostTypeId="1" CreationDate="2024-03-29T02:38:10.787" Score="0" ViewCount="8" Body="&lt;p&gt;How do we slowly darken the picture as shown in the sample GIF?&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/WQ2nj.gif&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/WQ2nj.gif&quot; alt=&quot;Gin vs Aizen&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;I have a still image of a face made but I really don't have idea on how to achieve that effect in Photoshop.&lt;/p&gt;&#xA;&lt;p&gt;Any hints would be very welcome.&lt;/p&gt;&#xA;&lt;p&gt;Thank you all!&lt;/p&gt;&#xA;" OwnerUserId="43608" LastActivityDate="2024-03-29T02:38:10.787" Title="How to Slowly Darken a Picture using Photoshop?" Tags="|adobe|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37335" PostTypeId="1" CreationDate="2024-03-29T11:02:10.403" Score="0" ViewCount="5" Body="&lt;p&gt;I need to make a vfx shot that requires using the video itself as a texture for a wall breaking (basically projecting the original footage onto the tracked CGI wall). The clip on my timeline is BRAW. What is the best way to do the round trip so that my CGI plate has still enough information for color grading and overall compositing in fusion?&lt;/p&gt;&#xA;&lt;p&gt;1)Should I send it to Blender in log?&lt;/p&gt;&#xA;&lt;p&gt;2)What color space should I export it in?&lt;/p&gt;&#xA;&lt;p&gt;I usually color manage my projects in Da Vinci WG through nodes.&lt;/p&gt;&#xA;" OwnerUserId="36753" LastActivityDate="2024-03-29T11:02:10.403" Title="Da Vinci Raw to Blender and back to Da Vinci" Tags="|davinci-resolve|workflow|colorspace|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37337" PostTypeId="2" ParentId="36355" CreationDate="2024-03-29T16:05:57.933" Score="2" Body="&lt;p&gt;The short answer: &lt;strong&gt;container overhead&lt;/strong&gt;.&lt;/p&gt;&#xA;&lt;p&gt;MKV (and to a lesser extent, MP4/ISOBMFF) are very &amp;quot;flexible&amp;quot; containers, and basically adapt to whatever you're trying to shove into them, provided the muxer knows how to handle it and the demuxer at the other end is expecting it.&lt;/p&gt;&#xA;&lt;p&gt;MPEG-TS is a rigid dinosaur meant to behave exactly the same way, every single time; on discrete hardware, in software, over the air, in cables under the ground, over cellular networks, etc. It &lt;em&gt;can be&lt;/em&gt; more resilient as a result, but that comes at a cost - usually padding bytes and wasted packets.&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;While it's from an &amp;quot;Internet video infrastructure&amp;quot; company's blog, this article from a Mux engineer gave the nicest explanation I could find for you. &lt;a href=&quot;https://www.mux.com/blog/quantifying-packaging-overhead-2&quot; rel=&quot;nofollow noreferrer&quot;&gt;Mux - Quantifying packaging overhead&lt;/a&gt;&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;TS has some strange properties. It was built for a pre-ethernet world and includes features such as lost and out of order packet detection and remote time synchronization. These features are required for digital over-the-air broadcasts...TS also &lt;strong&gt;uses a fixed packet size of 188 bytes with each packet starting with a sync byte to identify the start of a packet&lt;/strong&gt;...&lt;strong&gt;The downside of not using these features is that they still take up space in the file.&lt;/strong&gt;&lt;/p&gt;&#xA;&lt;p&gt;Each 188 byte TS packet has a 4 byte header. This header contains the sync byte, some flag bits, a packet id (or PID, which identifies a unique audio or video stream), and a continuity counter (used to identify missing or out of order packets). Every frame then has a prepended Packetised Elementary Stream (PES) header. The PES header is a minimum of 14 bytes, (or 19 bytes if the frame decode time does not match the presentation time, i.e. B frames) and encodes the frame timestamps among other things. Therefore, the first packet has at most 170 bytes available while subsequent packets have 184 bytes available. If a frame is less than 170 bytes, it must be padded to consume the full packet. If a frame is 171 bytes, a second packet is required and thus 376 bytes (188x2) is needed to transmit the 171 bytes of payload, more than doubling the required bandwidth. In reality, frames under 170 bytes are not very common. However at bitrates under 1Mbps, a 10% or more overhead is not uncommon.&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://www.mux.com/blog/quantifying-packaging-overhead-2&quot; rel=&quot;nofollow noreferrer&quot;&gt;Mux&lt;/a&gt;&lt;/p&gt;&#xA;&lt;hr /&gt;&#xA;&lt;p&gt;You'd likely see a similar size reduction remuxing to .mp4. Since this is a satellite TS, there could be more than one video, audio, or subtitle track, but I'll assume you preserved them all when remuxing. There might also be other satellite specific &amp;quot;program data&amp;quot; that is discarded when you remux to MKV. e.g. MPEG-TS packet IDs 16–31/0x0010-0x001F are used for DVB metadata. MKV muxers toss that out if they don't know what to do with it, but it's likely of little use to you, especially if it is repeated with every single packet.&lt;/p&gt;&#xA;&lt;blockquote&gt;&#xA;&lt;p&gt;Some transmission schemes, such as those in ATSC and DVB, impose strict constant bitrate requirements on the transport stream. In order to ensure that the stream maintains a constant bitrate, a multiplexer may need to insert some additional packets. The PID 0x1FFF is reserved for this purpose. The payload of null packets is all zeroes, and the receiver is expected to ignore its contents. &lt;a href=&quot;http://www.img.lx.it.pt/%7Efp/cav/Additional_material/MPEG2_overview.pdf&quot; rel=&quot;nofollow noreferrer&quot; title=&quot;A Guide to MPEG Fundamentals and Protocol Analysis (PDF), Tektronix, p. 37, retrieved 23 April 2020&quot;&gt;&lt;sup&gt;15&lt;/sup&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;/blockquote&gt;&#xA;&lt;p&gt;They could also be null/padding packets - like I mentioned above for ATSC/DVB, or you might sometimes see with a .ts/series of .ts files used for MPEG-DASH or HLS internet streaming at a &lt;strong&gt;strict&lt;/strong&gt; constant bitrate. TS overhead for internet use usually comes down to how many &amp;quot;extra&amp;quot; nearly empty frames are required depending on your bitrate, not strict CBR padding.&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/MPEG_transport_stream#Null_packets&quot; rel=&quot;nofollow noreferrer&quot;&gt;https://en.wikipedia.org/wiki/MPEG_transport_stream#Null_packets&lt;/a&gt;&lt;/p&gt;&#xA;&lt;p&gt;Use MediaInfo to look at your source .ts and you might be able to get a better idea if there's any extra program data or not.&lt;/p&gt;&#xA;" OwnerUserId="43947" LastActivityDate="2024-03-29T16:05:57.933" CommentCount="2" ContentLicense="CC BY-SA 4.0" />
  <row Id="37338" PostTypeId="1" CreationDate="2024-03-29T16:26:24.437" Score="0" ViewCount="6" Body="&lt;p&gt;Hello fellow creators and enthusiasts,&lt;/p&gt;&#xA;&lt;p&gt;I recently created a music clip featuring &amp;quot;Be Our Guest&amp;quot; from Disney's Beauty and the Beast and uploaded it to YouTube. I'm reaching out to this community seeking constructive feedback and advice on various aspects of the footage, we are planning to record other footage of this kind in the future, but we are newbies at video shoot / mouting.&lt;/p&gt;&#xA;&lt;p&gt;Here are some specific points I'd appreciate input on:&lt;/p&gt;&#xA;&lt;p&gt;Editing and Visuals: I aimed for a visually captivating experience that complements the iconic song. Did the editing flow well with the music, and are there any specific visual elements that could be improved or enhanced?&lt;/p&gt;&#xA;&lt;p&gt;Audio Quality: Ensuring clear and high-quality audio is crucial for a music clip. Did the audio come across crisply, and are there any adjustments needed in terms of volume or balance?&lt;/p&gt;&#xA;&lt;p&gt;Engagement: Did the video capture your attention throughout, and were there any moments where you felt disengaged or distracted?&lt;/p&gt;&#xA;&lt;p&gt;Overall Impact: What was your overall impression of the video? Did it effectively convey the essence of the song and the scene it represents from Beauty and the Beast?&lt;/p&gt;&#xA;&lt;p&gt;Suggestions for Improvement: Any additional thoughts or suggestions you have for enhancing the video's impact and appeal would be greatly appreciated.&lt;/p&gt;&#xA;&lt;p&gt;Feel free to provide as much detail as possible, including specific timestamps or examples if applicable. Your insights will be immensely valuable in refining and enhancing this project.&lt;/p&gt;&#xA;&lt;p&gt;Thank you in advance for taking the time to watch and provide feedback. I'm eager to hear your thoughts!&lt;/p&gt;&#xA;&lt;p&gt;&lt;div class=&quot;youtube-embed&quot;&gt;&lt;div&gt;&#xA;                &lt;iframe width=&quot;640px&quot; height=&quot;395px&quot; src=&quot;https://www.youtube.com/embed/qOXCzkJ3oUg?start=0&quot;&gt;&lt;/iframe&gt;&#xA;            &lt;/div&gt;&lt;/div&gt;&lt;/p&gt;&#xA;&lt;p&gt;Warm regards,&lt;/p&gt;&#xA;" OwnerUserId="43948" LastEditorUserId="43948" LastEditDate="2024-03-29T16:26:56.617" LastActivityDate="2024-03-29T16:26:56.617" Title="Seeking Feedback and Advice for My YouTube Video" Tags="|editing|youtube|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37339" PostTypeId="1" CreationDate="2024-03-29T23:24:33.453" Score="0" ViewCount="11" Body="&lt;p&gt;I use a 35mm motion film camera to shoot some scenes of my productions.&lt;/p&gt;&#xA;&lt;p&gt;The area of the images shot by the camera, when scanned at around 4k, is roughly 3648 x 2862. It can also be 2214 x 1712 but I prefer to make a higher quality file.&lt;/p&gt;&#xA;&lt;p&gt;All images are scanned RAW, and I usually drop them as a 15fps sequence in After Effects. Ordering them into an animated sequence is the easy part, but exporting is more difficult.&lt;/p&gt;&#xA;&lt;p&gt;When I export as &lt;strong&gt;Lossless&lt;/strong&gt; from After Effects CS6, the file doesn't play on any other devices or plays very slowly and is huge (but the frames look decent, the grain is not too badly damaged by compression).&lt;/p&gt;&#xA;&lt;p&gt;When I export with &lt;strong&gt;H.264&lt;/strong&gt; codecs from After Effects, however, parts of the image's edges are randomly clipped in the exported file.&lt;/p&gt;&#xA;&lt;p&gt;I tried exporting as &lt;strong&gt;Lossless&lt;/strong&gt; .mov from AE, then converting to one of the profiles in AME called HD 1080i 25 (1.33 PAR), but this step either adds black bars randomly, creates a file I cannot play on recent devices, or compresses the image and the result looks very poor.&lt;/p&gt;&#xA;&lt;p&gt;&lt;strong&gt;How can I export a sequence of a pixel size and frame rate that I defined, without losing quality, the resulting file not being playable of having parts of the image cut off?&lt;/strong&gt;&lt;/p&gt;&#xA;" OwnerUserId="11754" LastActivityDate="2024-03-29T23:24:33.453" Title="How can I create a video file from 35mm film shot with a motion picture camera?" Tags="|after-effects|editing|adobe|adobe-media-encoder|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37340" PostTypeId="1" CreationDate="2024-03-30T12:41:53.073" Score="0" ViewCount="11" Body="&lt;p&gt;I have an unlocked Samsung Galaxy A03s [1]. Per the Samsung website, it's supposed to be specked at FHD (1920 x 1080)@30fps. Unfortunately, I almost never get it to actually record at 30fps constant. Instead, it frequently records at what I think is about 17fps variable [2]. IIRC in extreme cases, the audio and video may even get out of sync.&lt;/p&gt;&#xA;&lt;p&gt;I tried resetting the phone to factory defaults and turning on airplane mode several times, but I still get the lower 17fps.&lt;/p&gt;&#xA;&lt;p&gt;Is there any way to get either the front or rear facing cameras on this phone to consistently do 30fps constant at 1920 x 1080? Presuming it's legal, would I be better off jail breaking this phone and installing a mobile GNU\Linux distro? Is it possible that buying a new external MicroSD card for the Samsung would alleviate these problems? Would coughing up $250 for a GoPro be the only way to truly resolve this?&lt;/p&gt;&#xA;&lt;p&gt;Please keep amateurs on extremely limited budgets in mind when answering this question.&lt;/p&gt;&#xA;&lt;p&gt;BTW: This somewhat tangential, but I also have a Kodak Z980. Unfortunately, it does worse with audio/video synchronization than my Samsung Android...&lt;/p&gt;&#xA;&lt;p&gt;[1] - I believe I paid full retail price for said phone on the Samsung website and use the phone as much for video recording as I do for cellular service.&lt;br /&gt;&#xA;[2] - Sorry, I don't have the best memory. I also have problems with the phone automatically adjusting the lighting and focus when it shouldn't, but that's really a different question.&lt;/p&gt;&#xA;" OwnerUserId="34749" LastActivityDate="2024-03-30T12:41:53.073" Title="Galaxy A03s Not Recording at 30 FPS Constant - Mouth Movement and Audio Out of Sync" Tags="|video|audio|framerate|sync|" AnswerCount="0" CommentCount="1" ContentLicense="CC BY-SA 4.0" />
  <row Id="37341" PostTypeId="1" CreationDate="2024-03-30T17:32:39.800" Score="0" ViewCount="5" Body="&lt;p&gt;This is pretty obscure, but there may be a fellow old-timer here with experience in VTRs and edit controllers.&lt;/p&gt;&#xA;&lt;p&gt;In Sony P2 (&amp;quot;9-pin&amp;quot;) protocol, the Jog, Shuttle and Var commands use two data bytes to express the desired speed, in a convoluted way that yields a range of .01x to 999,728x play speed (64 00 gives 1x play, for example).&lt;/p&gt;&#xA;&lt;p&gt;Jog is a low speed affair, so most of this range is wasted. So my question is: Do 'Jog' (and Var) use a limited range of data bytes, or do they scale the speed after computing it from the full range of data bytes?&lt;/p&gt;&#xA;&lt;p&gt;Any insights welcome.&lt;/p&gt;&#xA;" OwnerUserId="3908" LastActivityDate="2024-03-30T17:32:39.800" Title="How did Sony VTRs use 'jog' data in 9-pin protocol?" Tags="|sony|control|serial|rs-422|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37342" PostTypeId="2" ParentId="28108" CreationDate="2024-03-30T21:15:58.593" Score="0" Body="&lt;p&gt;If you are using the free version then it could be that you don't have the necessary codecs to import those files.  I was unable to import *.mp4 so I used the following command to convert them to *.mov and that worked fine:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffmpeg -i 2015_0101_000056_008.MP4 -c:v dnxhd -vf &amp;quot;scale=1280:720,fps=60000/1001,format=yuv422p&amp;quot; -b:v 110M -c:a pcm_s16le footage08.mov&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;" OwnerUserId="33973" LastActivityDate="2024-03-30T21:15:58.593" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37343" PostTypeId="1" CreationDate="2024-03-30T21:44:40.647" Score="0" ViewCount="4" Body="&lt;p&gt;I am trying to use DaVinci Resolve 18.6 on Linux Mint 21.3 but I am having a rather peculiar issue when trying to add footage to the media storage.  I had rather lengthy footage in *.mp4 format that wasn't even recognized by Resolve (most likely because I am on the free version).  I converted this to *.mov format using ffmpeg and the result (even larger than the mp4) could be imported.&lt;/p&gt;&#xA;&lt;p&gt;However, it was impractical to work with this huge file. It didn´t seem able to even generate proxies in spite of the resolution of my *.mov files being 720p.&lt;/p&gt;&#xA;&lt;p&gt;I then resorted to extracing the various segments I was interested in using this ffmpeg incantation:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;ffmpeg -v quiet -y -i 2015_0101_000056_008.MP4 -c:v dnxhd -vf &amp;quot;scale=1280:720,fps=60000/1001,format=yuv422p&amp;quot; -b:v 110M -c:a pcm_s16le \&#xA;-ss 00:01:16 -t 00:00:22 -sn -an -dn footage08_001.mov \&#xA;-ss 00:02:07 -t 00:00:30 -sn -an -dn footage08_002.mov \&#xA;-ss 00:02:42 -t 00:00:06 -sn -an -dn footage08_003.mov \&#xA;-ss 00:32:40 -t 00:00:21 -sn -an -dn footage08_004.mov \&#xA;-ss 00:38:43 -t 00:00:32 -sn -an -dn footage08_005.mov \&#xA;-ss 00:39:34 -t 00:00:46 -sn -an -dn footage08_006.mov \&#xA;-ss 00:40:53 -t 00:00:35 -sn -an -dn footage08_007.mov \&#xA;-ss 00:41:42 -t 00:00:11 -sn -an -dn footage08_008.mov &#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I have confirmed that I can watch each of these shorter clips both in VLC and Celluloid.&lt;/p&gt;&#xA;&lt;p&gt;Now comes the issue: when I try to import these clips (by either dragging&amp;amp;dropping or using the contextual menu &amp;quot;Import Media&amp;quot;) only the first one is imported.  I even tried removing the clip that was imported and then manually selecting just the second one but that didn't work. Re-importing the first one again worked fine.&lt;/p&gt;&#xA;&lt;p&gt;I dumped the metadata for the first two clips but I cannot see anything that would explain why the first one can be imported but none of the others:&lt;/p&gt;&#xA;&lt;pre&gt;&lt;code&gt;$ ffprobe -show_data -hide_banner footage08_001.mov&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'footage08_001.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 512&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf58.76.100&#xA;    comment         : DEMO1&#xA;    comment-eng     : DEMO1&#xA;  Duration: 00:00:22.01, start: 0.000000, bitrate: 219975 kb/s&#xA;  Stream #0:0(eng): Video: dnxhd (DNXHD) (AVdn / 0x6E645641), yuv422p(tv, bt709/unknown/unknown), 1280x720, 219980 kb/s, SAR 1:1 DAR 16:9, 59.94 fps, 59.94 tbr, 60k tbn, 60k tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : FFMP&#xA;      encoder         : Lavc58.134.100 dnxhd&#xA;$ ffprobe -show_data -hide_banner footage08_002.mov&#xA;Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'footage08_002.mov':&#xA;  Metadata:&#xA;    major_brand     : qt  &#xA;    minor_version   : 512&#xA;    compatible_brands: qt  &#xA;    encoder         : Lavf58.76.100&#xA;    comment         : DEMO1&#xA;    comment-eng     : DEMO1&#xA;  Duration: 00:00:30.00, start: 0.000000, bitrate: 7791 kb/s&#xA;  Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 1280x720, 7785 kb/s, 60 fps, 60 tbr, 15360 tbn, 120 tbc (default)&#xA;    Metadata:&#xA;      handler_name    : VideoHandler&#xA;      vendor_id       : FFMP&#xA;      encoder         : Lavc58.134.100 libx264&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;As a matter of fact, I have several original footage that I broke down in the manner described above.  When importing media, only the first clip is ever imported.  So, I could see:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;footage01_001.mov&lt;/li&gt;&#xA;&lt;li&gt;footage02_001.mov&lt;/li&gt;&#xA;&lt;li&gt;footage03_003.mov&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;Imported correctly but never:&lt;/p&gt;&#xA;&lt;ul&gt;&#xA;&lt;li&gt;footage01_002.mov&lt;/li&gt;&#xA;&lt;li&gt;footage02_002.mov&lt;/li&gt;&#xA;&lt;li&gt;footage03_002.mov&lt;/li&gt;&#xA;&lt;/ul&gt;&#xA;&lt;p&gt;I searched blackmagic's forum and stackexchange for something vaguely similar to no avail.&lt;/p&gt;&#xA;&lt;p&gt;It may well be something very silly but I would be really greateful if someone could shed some light in this mystery.&lt;/p&gt;&#xA;" OwnerUserId="33973" LastActivityDate="2024-03-30T21:44:40.647" Title="DaVinci Resolve 18 not importing footage into media library" Tags="|davinci-resolve|" AnswerCount="0" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
  <row Id="37344" PostTypeId="1" AcceptedAnswerId="37347" CreationDate="2024-03-31T16:00:57.270" Score="0" ViewCount="20" Body="&lt;p&gt;I have a Kdenlive project that was started with 25 FPS and now I want to switch it to 30 FPS, but no matter what I do, it stays on 25 FPS and produces 25 FPS output files during rendering.&lt;/p&gt;&#xA;&lt;p&gt;The title bar says 30 FPS, the project properties say 30 FPS, but when I open the &lt;code&gt;.kdenlive&lt;/code&gt; file with a text editor the profile still says 25 FPS:&lt;/p&gt;&#xA;&lt;p&gt;&lt;a href=&quot;https://i.stack.imgur.com/33RIS.png&quot; rel=&quot;nofollow noreferrer&quot;&gt;&lt;img src=&quot;https://i.stack.imgur.com/33RIS.png&quot; alt=&quot;enter image description here&quot; /&gt;&lt;/a&gt;&lt;/p&gt;&#xA;&lt;pre class=&quot;lang-xml prettyprint-override&quot;&gt;&lt;code&gt;&amp;lt;?xml version='1.0' encoding='utf-8'?&amp;gt;&#xA;&amp;lt;mlt LC_NUMERIC=&amp;quot;en_US.UTF-8&amp;quot; producer=&amp;quot;main_bin&amp;quot; root=&amp;quot;Videos/Project&amp;quot; version=&amp;quot;7.23.0&amp;quot;&amp;gt;&#xA; &amp;lt;profile colorspace=&amp;quot;709&amp;quot; description=&amp;quot;HD 1080p 25 fps&amp;quot; display_aspect_den=&amp;quot;9&amp;quot; display_aspect_num=&amp;quot;16&amp;quot; frame_rate_den=&amp;quot;1&amp;quot; frame_rate_num=&amp;quot;25&amp;quot; height=&amp;quot;1080&amp;quot; progressive=&amp;quot;1&amp;quot; sample_aspect_den=&amp;quot;1&amp;quot; sample_aspect_num=&amp;quot;1&amp;quot; width=&amp;quot;1920&amp;quot;/&amp;gt;&#xA; &amp;lt;producer id=&amp;quot;producer0&amp;quot; in=&amp;quot;00:00:00.000&amp;quot; out=&amp;quot;00:00:45.600&amp;quot;&amp;gt;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xA;&lt;p&gt;I even tried changing the profile by editing the &lt;code&gt;.kdenlive&lt;/code&gt; file directly with an editor, but after loading it with Kdenlive it was back at 25 FPS.&lt;/p&gt;&#xA;&lt;p&gt;Is there anything, short of creating a new project and arranging 100+ clips again to change this?&lt;/p&gt;&#xA;&lt;p&gt;It doesn't matter if I open the project under Windows or Linux, I tested it with Kdenlive versions 24.02.1 and 22.12.3.&lt;/p&gt;&#xA;" OwnerUserId="37317" LastActivityDate="2024-04-01T09:07:00.483" Title="Kdenlive project stuck on 25 fps" Tags="|framerate|kdenlive|" AnswerCount="1" CommentCount="0" ContentLicense="CC BY-SA 4.0" />
</posts>